FROM   THE   LIBRARY   OF 

REV.    LOUIS    FITZGERALD    BENSON.   D.  D. 

BEQUEATHED    BY   HIM   TO 

THE   LIBRARY   OF 

PRINCETON  THEOLOGICAL  SEMINARY 


3^ 


Digitized  by  the  Internet  Archive 

in  2012  with  funding  from 

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COMPLETE 


ENCYCLOPAEDIA  OF  lAIUSIC, 


fkmentoq,  CerljnirDi,  UijEitnririil,  Singrir^jiiral, 
ilnrol,  anil  SnfilrumentaL 


BT 


JOHN    W.    MOORE. 


TO   WHICH   13   ADDED   AV 


APPENDIX, 

liSTTRODUCXNGr    MTJSICAL    EVEXTS    TO     1876. 


BOSTON: 
OLIVER  DITSON  &   CO.,  451   WASHINGTON  STREET. 

NEW  YORK:  CinCAGO:  PHILADELPHIA: 

C.  H.  DITSON  &  CO.  LYON  &  HE^VLY.  J.  E.  DITSON  &  CO. 


DiBTBlCT  OP  Vebmost,  to  wit.  Be  it  reinenil.cred,  that  on  the  2iBt  day  of  December,  Anno  Domini 
1852,  John  W.  Moohk,  of  the  said  district,  hath  deposited  in  this  odice  the  title  of  a  book,  the  title 
of  wbich  is  in  the  words  following,  to  wit:  "Complete  Eticyclnpxdia  of  Music,  Elementary,  Technical, 
Historical,  Biographical,  Vocal,  and  Instrumental."  By  John  W.  Mooke.  The  right  whereof  he  cl.iim« 
M  author.  In  conformity  with  an  Act  of  Congresii,  entitled  "  An  Act  to  Anioud  the  several  Acts  respecting 
Dopyrights."  Kdw.\ko  II.  Puemiss,  Clerk  oi  the  District. 

District  Clerk's  Ol5c*,    J 
¥en&ont  Diitriot,  to  wit.  >  ^  heroby  certify  the  above  to  be  a  true  copy  of  record. 

£dwaju>  ii.  Pkektus,  Clerk. 


PREFACE. 


The  value  of  undertakings  in  the  way  of  reference,  and  for  the  rapid  acquirement  of 
leading  particulars  concerning  men  more  or  less  eminent  for  genius,  skill,  and  science, 
being  now  universally  acknowledged,  little  apology  will  be  deemed  necesssiry  for  extend- 
ing the  benefit  to  a  department  so  interesting  as  that  of  Music.  The  utility  of  individual 
effort  for  the  purpose  of  collecting  and  preserving  whatever  remains  of  the  history  of 
music  cannot  be  questioned ;  for 

"  Tradition  is  a  meteor,  which,  if  it  once  falls,  can  never  be  lekindled." 

Mankind  are  generally  interested  in  the  feelings  and  pursuits  of  man  in  different  ages  ; 
hence  arises  a  fontlness  for  even  those  details  which  singly  may  be  unworthy  of  regard, 
but  which,  in  the  aggregate,  form  the  most  valuable  sources  from  which  to  leani  the  exact 
condition  of  a  people.  The  author's  motive  in  undertaking  the  drudgery  of  preparing 
the  work  now  offered  to  the  public  was,  that  such  a  publication  seemed  to  him  very  much 
needed  by  all  persons  in  any  way  concerned  in  the  i)ractice  of  music,  either  vocally  or 
upon  instruments,  as  well  as  by  all  students  of  music  and  those  who  may  be  engaged  in 
teacliing.  However  prevalent  the  acquirement  of  the  French,  Italian,  and  German  lan- 
guages, among  musical  professors,  artists,  and  amateurs,  it  is  by  no  means  universal ;  con- 
sequently a  faithful  conveyance  of  the  most  interesting  information  from  foreign  sources 
of  the  best  authority,  it  is  believed,  will  be  welcome  to  many  of  those,  to  say  nothing  of 
readers  and  inquirers  in  general.  The  material  from  which  this  first  volume  has  been 
compiled  wiu^  gathered  by  much  labor  and  expense  :  the  labor  has  been  almost  incredible  : 
such  a  viuvt  amount  of  matter  could  not  be  collected  in  a  day  or  a  year:  the  gathering  of 
it  together  has  consumed  the  patient  industry  of  many  years.  ]\Iuch  of  the  infonnation 
was  difficult  to  obtain  and  slow  to  collect,  and,  when  obtained,  had  to  be,  at  great  expen-e, 
translated  and  rewritten.  The  reader  will  notice  that  a  very  large  amount  of  infornmtion, 
not  to  be  found  in  foreign  compilations,  in  other  languages,  is  here  collected  and  method- 
ized, not  only  from  the  formal  works  of  Dr.  Burnoy  and  Sir  John  Hawkins,  but  from  all 
the  lighter  and  more  fugitive  notices  of  French,  Gennan,  English,  and  American  musical 
progress  which  have  been  scattered  abroad  for  many  years  past.  Fixxluctions  which  are 
the  result  of  labor  more  than  of  genius  generally  lie  under  two  great  disadvantages  :  the 
pleasure  of  composing  is  incomparaf)ly  less,  and  the  composition  itself  is  held  in  far  le«9 
estimation  ;  and  it  is  more  than  jirobable  that,  if  tlio  author  of  this  volume  had  not  |>os- 
iessed  an  earnest  desire  to  become  fiuuihar  with  some  of  the  hidden  treasures  of  an  art 

3 


PREFACE. 


&'waj5.  most  dear  to  liiin,  he  would  have  shrunk  from  tljc  titsk  of  collecting  and  arranging 
such  a  vast  amount  of  historical  and  other  matter  as  will  here  be  found,  and  which  will 
render  these  pages  valuable  hereafter  as  a  book  of  reference. 

In  preparing  the  Comi'LKTK  ExcyCLOi'yEDiA  OF  Music,  I  have  endeavored,  hj  ex- 
ami)le6  selected  from  the  best  forei^'n  authorities  and  the  introduction  of  musical  charac- 
ters, to  render  the  instructions  familiar  and  eiusy  to  be  comprehended  ;  and  I  only  regret 
that,  in  m:iny  instances,  they  could  not  be  made  more  extensive,  particularly  the  instruc- 
tions for  musical  instruments.  Limited  as  they  arc,  however,  it  is  confidently  believed 
that  no  other  work  ever  pubhshcd  can  be  found  containing  so  much  that  is  desirable  to  be 
known  by  every  student  of  music.  I  have  compressed  the  language  generally  ;  and  yet 
I  have  retained  all  the  important  intelligence.  Whatever  regards  melody  and  harmony, 
either  vocal  or  instrumental ;  the  invention,  formation,  powers,  and  characters  of  musical 
instruments  ;  the  nature  of  composition  and  performance  in  general ;  or  of  the  music  of 
particular  ages  and  countries.  Elementary,  Technical,  Historical,  Biographical,  Vocal,  and 
Instrumental,  —  I  have  endeavored  to  define  and  elucidate  :  and  should  this  volume  of  a 
work,  executed  on  so  comprehensive  a  plan,  be  found  not  wholly  without  omissions  or 
entirely  free  from  defects,  the  candid  reader  will,  I  trust,  ZLske  due  allowances  for  the  dif- 
ficulties inseparable  from  such  an  underiaKJng ;  and  I  am  confident  that  the  various  and 
important  subjects  treated  of  will  be  an  excuse  for  any  small  inaccuracies  which  may  be' 
noticed  by  those  who  are  conversant  with  the  subject.  The  elementary  portions  of  the 
Encyclopedia  will  be  found  very  fully  explained  and  exemplified  ;  the  various  mu 
sicid  terms  are  d(;fined  in  such  a  manner  as  to  a|)pear  plain  to  all.  It  has  been  so  long 
the  custom  to  use  Italian  and  French  words,  indeed,  whole  phrases  of  the  former,  and 
Latin  and  German  words,  when  describing  or  indicating  the  style,  time,  and  occasional 
characteristics  of  a  piece  of  music,  that  it  would  be  a  vain  undertaking  at  this  day  to  at- 
tempt any  innovation  on  a  system  which  li:is  received  the  sanction  of  conventionalism,  not 
only  in  this  country,  but  idl  over  the  civilized  world.  I  have  in  this  work,  however,  aa 
will  be  noticed,  endeavored  to  make  their  order  iis  lucid  as  possible  and  their  meanings 
perfectly  intelligible.  It  would  require  a  tedious  circumlocution  of  translation,  were  it 
attempted,  to  displace  these  old  terms  for  vernacular  ones.  I  have  retained  them  in  their 
original ;  for,  their  signification  being  once  understood,  their  brevity  will  always  be  found 
to  be  convenient  In  my  collection  of  words  and  terms,  as  well  as  the  various  instruction 
in  the  different  departments,  without  confining  myself  to  the  theory  and  practice  of  any 
time,  I  have  endeavored  to  include  whatever  might  be  necessary  to  the  reading  of  the 
treatises  of  the  old  masters,  and  even  to  the  undei-standing  of  the  systems  and  practice 
of  the  ancient  Jisi  well  as  the  later  and  moie  moilern  schools  of  music.  There  will  be 
found  here  collected  and  alphabetically  arranged  a  large  amount  of  historical  matter,  be- 
sides a  summary  of  the  general  history  of  music  from  the  earliest  ages,  never  before 
published  in  this  country.  I  have,  at  great  expense,  caused  to  be  translated  important 
portions  of  many  foreign  musical  j)ublications,  and  have  also  succeeded  in  enriching  ilie 
work  by  the  introduction  of  a  huge  number  of  original  memoirs  of  eminent  living 
musiciiuis.  The  treatises  uixtn  Harmony,  Thorough  Bass,  and  Wind  and  Stringed  Ir 
struments  are  full  and  comprehensive  ;  and  I  have  given  scales  for  many,  and  descrij)- 
tions  of  every  known  musical  instrument,  with  concise  directions  for  the  practice  of  such 
jis  are  in  common  use.  I  have  personally  devoted  more  than  seventeen  years  to  the  one 
object  of  making  this  work  complete,  during  which  time  every  attainable  authority  has 
beea  consulted.  I  have  availed  myself  of  extracts  fiom  the  works  of  Gerber.  Clioron, 
FayoUc,  OrlofT,  Burney,  Hawkins,  Hogarth,  Calcott,  Gardiner,  Busby,  Hamilton,  Schil- 
ling, Fetis,  and  other  distinguished  authoi-s.     I  had,  in  addition,  much  assistance  from  the 


r  KEF  ACE. 

late  Professor  Henry  E.  Moore,  and  have  been  materisilly  aided  by  John  S.  Dwig'it, 
Esq.,  editor  of  Dwijriit's  Musical  Journal,  and  by  Richard  Stori-s  'Willis,  Esq.,  editcr  of 
the  New  York  Musical  Times,  from  whose  valuable  journals  I  have  gained  much  infor- 
mation not  elsewhere  to  be  found.  I  am  therefore  confident  that  this  P^ncyclopa'dia  will 
be  found  to  be  as  perfect  and  reliable  as  the  materials  I  have  been  so  many  years  gather- 
ing and  my  own  patient  industry  can  make  it. 

The  CoMPLKTE  Encyclop^.dia  of  Mcsic,  now  offered  to  the  public,  enters  an 
unoccupied  field,  no  such  work  having  been  compiled  before  either  in  this  country  or  in 
England,  and  notiiing  like  it  existing  in  the  English  language  excepting  a  small  Lex- 
icon publislied  by  the  author  of  this  work  in  1845.  In  all  the  foreign  musical  works 
which  liave  come  to  my  knowledge  there  is  a  neglect  and  almost  supercilious  disregard 
of  modern  musical  pretensions,  which  have  led  me  to  believe  tiiat  a  correct  and  modest 
record  of  them  (in  this,  and  another  similar  volume  which  is  to  follow  at  a  future  day) 
may  assist  to  preserve  much  historical  and  biographical  information  which  but  for  this 
etibrt  migiit  be  forever  lost. 

The  better  music  is  known  and  understood,  the  more  it  will  be  valued  and  esteemed ; 
and  a  love  of  the  higher  schools  of  musical  comiwsition  is  one  of  the  surest  tests  of  a  re- 
lined  and  elegant  state  of  society.  The  reading  and  study  of  music  and  the  use  of  mu- 
sical instruments  have  become  so  general  among  all  chxsses  of  people  in  this  country  that 
books  treating  of  the  subject  begin  to  have  a  ready  sale.  Musical  progress  in  the  United 
States,  since  1850,  has  been  very  extraordinary,  and  has  more  than  kept  pace  with  the 
other  arts  and  sciences.  Music  propagates  itself  with  great  rapidity  :  from  the  pleasure 
it  gives,  and  from  the  facilities  aflbrded  in  our  day  for  acquiring  a  knowledge  of  it  in  a 
country  so  prosperous  as  ours,  a  country  the  great  mass  of  whose  people  can  afford  to  hear 
the  performances  of  the  greatest  musical  artists  of  the  age  and  can  afford  the  best  musical 
education  for  their  families,  the  rapid  extension  of  the  art  may  be  anticipated.  The  great 
European  vocalists  and  artists  who  have  followed  each  other  to  this  country  in  quick  suc- 
cession have  produced  a  remarkable  effect  in  raising  the  standard  of  musical  taste  and 
spreading  the  science  and  practice  of  music  over  the  land.  Critics  talk  of  the  want  of  a 
national  music  in  America :  a  national  music  is  the  spontaneous  growtli  of  ages  of  insu- 
lated life  and  feeling.  It  is  impossible  that  American  music  can  do  more  tiian  reproduce 
the  music  of  other  ages  and  jiations.  We  are  too  open  to  the  world,  too  receptive  of  all 
influences  from  abroad,  too  much  a  nation  made  up  of  others  to  possess  a  music  of  our 
own.  We  are  for  a  long  time  yet  to  remain  in  the  position  of  leamci-s  ;  let  us  not,  then, 
fear  the  charge  of  imitation  ;  it  is  too  stale  a  charge  to  be  pungent  We  must  imitate 
while  we  continue  in  a  state  of  pupilage. 

Man,  di>tinguished  from  the  inferior  parts  of  creation  by  the  divine  gift  of  n-ason,  ex- 
hibits no  greater  evidence  of  that  faculty  than  by  the  seeds  of  science  which  the  Creator 
has  implanted  in  ins  nature  and  the  power  which  he  jKjssesses  to  cultivate  and  bring  them 
to  jierfection  ;  but  of  all  tiie  various  arts  and  sciences  which  lie  is  qualified  to  j)n)secufp, 
no  one  appears  more  congenial  to,  no  one  more  intimately  interwoven  with,  the  constitu- 
tion of  his  frame  tiian  that  of  music.  Vocal  music,  indeed,  seems  to  have  been  coeval 
with  human  nature  itself.  Tiie  invention  of  musical  instruments  must,  consequently, 
have  taken  place  at  a  very  early  period  of  the  \y)rld  ;  though  the  different  epochs  of  their 
introduction  .and  improvement,  as  well  as  the  gra<lation  by  which  the  harmonic  laws  ai"- 
rived  at  their  first  systenmtic  order  and  regulation,  cimnot  perhaps  be  accunitely  ascei- 
tiined  by  modem  inquiry.  It  is  more  than  probal)le  that  he  who  first  tuned  his  voice  to 
song  little  tlioi'ght  of  tlie  marvels  of  music  or  dreamed  to  what  perfection  the  rules  of 
Bound  would  one  day  be  brought.     He  used  tiie  power  wliich  God  had  given  him,  no* 

6 


PREFACE. 


etopped  to  inquire  into  the  nature  or  construction  of  the  tones  which  he  ahnost  involun 
tarily  produced,  and  wliich  lightened  his  hibor  while  they  made  glad  his  lieail.  Music 
is  the  finest  expression  of  life,  from  its  lowest  actual  up  to  its  highest  ideal  phages.  It  ii 
the  most  centi-al,  universal  mode  of  utterance  which  art  can  attain  ;  it  is  vague,  because 
the  thoughts  and  feelings  it  aims  to  express  partake  of  tie  infinite.  It  represents  nothing 
witii  the  gniphic  outline  of  the  pencil,  because  it  strives  to  paint  what  no  outlines  car 
t;ike  in  :  it  is  the  heart's  prayer,  which  cannot  imbody  itself  so  fully  as  in  the  language 
of  tones  and  harmonies  :  it  seems  like  the  soul's  effort  to  speak  its  mother  tongue  in  a 
strange  land,  a  yearning  for  a  completer  fulfilment  of  its  destiny,  an  attempt  to  ]).iint  on 
the  blank  canviis  of  the  present,  with  color-like  melodies  and  tint-like  harmonies,  its  ideal, 
Claude-like  reminiscences  of  the  scenery  of  its  native  clime.  Never  do  such  visions  of 
perfect  life  come  to  us  as  when  listening  to  the  highest  musical  compositions.  These 
point  to  a  real  spiritual  fountain  of  which  they  are  the  streams. 

In  December,  1852,  I  addressed  a  circular  letter  to  a  large  number  of  American  as 
well  as  foreign  musicians,  requesting  answers  to  certain  questions  therein  propounded. 
I  took  that  method  of  reaching  such  as  I  could  not  personally  visit,  because  I  was  de- 
sirous of  extending  my  work  so  as  to  cover  the  whole  ground,  not  only  in  relation  to  de- 
ceased merit,  but  to  enrich  it  by  obtaining  original  notices  of  all  the  most  eminent  living 
professors.  But  modesty  on  the  part  of  those  addressed,  and  other  obstacles  incident  to  ■ 
the  nature  of  the  autobiographic  portion  of  the  publication,  rendered  this  part  of  my  plan 
both  critical  and  difficult.  Some  consented  at  once  to  answer  the  few  questions  I  had 
taken  the  liberty  of  asking ;  and  the  information  thus  obtained  can  scarcely  fail  of  being 
of  historicid  importance  as  well  as  gr;\teful  to  the  intelligent  part  of  the  public.  But  of 
tlie  many  addressed,  comparatively  few  have  as  yet  given  me  the  information  in  regard 
to  themselves  desired,  and  this  will  consequently  be  considered  a  sufficient  apology  to  any 
and  all  who  may  look  in  vain  for  some  notice  of  themselves  or  their  works  in  these  pages ; 
though,  under  the  head  of  Psalmodj',  mention  is  made  of  nearly  all  American  musicians 
with  whose  history  I  have  been  made  familiar.  In  another  volume,  wherein  I  propose 
to  take  up  many  subjects  but  slightly  treated  of  in  this,  (owing  to  the  want  of  space,)  an 
effort  will  be  made  to  collect  sketches  of  such  musicians  as  I  have  been  unable  to  obtain 
as  yet. 

Those  who  examine  this  volume  will  find  it  presents  a  view  of  the  whole  subject  of  mu- 
sic, Elementary,  Technical,  Historical,  Biographical,  Vocal,  and  Instrumental,  each  article 
being  arranged  under  appropriate  heads  in  alphabetical  order.  It  will  be  found  as  com- 
])lete  as  any  work  of  its  size  could  be  made.  The  elements  of  music,  I  believe,  are  suf- 
ficiently explained  and  exemplified.  I  have  given  definitions  and  explanations  of  more 
than  Jive  thousand  technical  terms,  in  connection  with  much  historical  and  valuable  in- 
formation. I  have  given  a  complete  and  full,  though  not  elaborate,  history  of  the  science 
of  music  from  the  earliest  time  to  the  present ;  a  very  full  and  comprehensive  musical 
biography,  embracing  a  succinct  memoir  of  more  thanybMr  /Aow^awrf  distinguished  musical 
celebrities  and  composers,  bringing  many  of  the  notices  down  to  1854.  I  have  endeavored 
to  jjrescnt  all  the  necessary  information  which  may  be  required  by  tiiose  who  wish  to  arrive 
at  eminence  as  vocalists  or  musicians  ;  and  I  have  given  a  description  of,  or  directions  how 
to  use,  all  the  known  musical  instruments,  with  more  than  two  hundred  ?\\ov\.  yet  imjwrtaiit 
essays  upon  various  subjects  connected  with  the  art  and  science  of  music,  among  which 
will  be  found  treatises  upon  harmony,  thorough  bass,  modulation,  counterjioint.  composi- 
tion, writing  for  an  orchestno,  writing  for  wind  and  stringed  instruments,  and  almost  everj 
subject  to  which  the  attention  of  the  musical  student  should  be  directed. 

In  all  ages,  ancient  and  modern,  music  lias  had  its  inspired  votaries.     But  it  is  «mly 

8 


PREFACE. 


within  the  last  few  centuries,  as  we  all  know,  that  it  has  attained  to  any  thin;;  like  perfeo 
lion  as  a  science  and  an  art.  How  the  plants  wliich  Cor  fo  many  njrcs  looked  ^:o  dry,  and 
dead,  and  un[)romising,  at  length  l>looined  out  in  such  fragrant  and  brilliant  comi>letencss. 
is  alike  known  to  all.  It  is  a  privilege  of  priceless  value  that  we  live  in  an  age  through 
which  are  transmitted  the  inspirations  of  Palesfrina,  Bach,  Handel,  Haydn,  Mozart.  Beet- 
hoven, Weber,  Schubert,  Mendelssohn,  Rossini,  Jleyerbeer,  Aub(>r,  and  the  long  line  ol 
masters.  It  is  a  great  thing  to  live  afler  these  men — men  whose  lives  were  all  one  bum* 
ing  feeling,  one  overmastering  idea,  one  deep  yearning  after  a  perfect  expression  of  the 
beautifd,  one  long  series  of  grand,  tniclassified  psychological  facts.  In  their  still  world  of 
dn-ams,  what  miracles  did  the  power  of  art  work  out  from  their  intense  conceptions 
what  skilful  choice  and  marshalling  of  means  for  producing  their  intended  effects !  and 
what  patinnt  and  intense  labor  at  composition ! 

The  lives  of  these  men  are  like  instdated  points  in  histf)ry,  only  to  be  well  comprehend- 
ed by  those  who  are  somewhat  simihu-ly  organized.  But  their  influence  is  wider  than  we 
can  imagine.  A  great  musical  composer  is  a  central  power,  who  radiates  a  finer  sense  of 
beauty,  by  little  and  little,  into  the  outmost  and  least-delicately  organized  souls.  He  is 
but  a  poet,  whose  language  is  more  interior  and  universal  than  those  who  sing  in  artic- 
ulate words.  Where  we  stop  short  on  the  threshold  of  the  holy  of  holies  and  are  unable  to 
penetrate  by  reason  of  tlie  imperfection  of  human  speech,  the  high  priest  of  harmony  en- 
ters and  utters  to  the  world's  ear  the  deep,  soul-entrancing  oracles  of  Go<l.  The  cuise  of 
Babel  falls  not  on  him.  He  speaks  and  writes  in  the  native  tongue  of  the  angtds,  and 
the  music  is  caught  up  and  repeated  with  joy  and  acclamation  in  the  isles  beyond  the  sea. 
His  style  becomes  the  style  of  his  age.  We  sing  variations  —  imitations  of  his  themes. 
These  in  turn  are  caught  up  and  repeated,  and  in  other  forms  of  melody  and  combinations 
of  harmony  they  again  burst  forth  upon  the  ear.  And  thus  they  go  circling  tlirough 
lands,  flashing  from  soul  to  soul :  the  air  is  pervaded  by  a  musical  s])irit,  the  ear  is  more 
delicately  tuned,  the  soul  more  enlarged  and  spiritualized  ;  and  beaut}-,  which  is  God's 
primal  benediction  to  his  children,  is  celebrated  with  pious  joy  and  reverence. 

Nature,  through  all  her  depths,  is  full  of  music  —  varied  in  its  tones  and  rich  in  its 
melody.  There  is  a  music  in  the  stillness  of  the  twilight  hour ;  in  the  voices  of  the 
balmy  breeze,  as  it  siglis  amid  the  stirring  leaves  of  the  starlit  grove  or  sleeps  ujxm  the 
cahn  bosom  of  the  reposing  waters  ;  in  the  bubbling  of  the  inland  fountain  and  the  thun- 
derings  of  the  foaming  cataract  ;  in  the  ripplings  of  the  mountain  rill  and  the  majestic 
voice  of  the  storm-stirred  sea.  There  is  music  in  the  glad  symphonies  of  the  joyous 
songsters  of  the  grove  beneath  and  the  mutterings  of  the  pealing  thunders  above  ;  in  heav- 
en, on  earth  ;  in  the  outspread  skies  and  the  invisible  air ;  in  the  solitary  dell  and  on  the 
mountain's  cloud-veiled  top,  where  human  footsteps  have  never  lef\  an  echo ;  in  the  deep- 
est cells  of  the  passion-stirred  heart  and  the  inanimate  depths  of  the  material  world  ;  in 
the  dim  rays  of  earth  and  the  beams  of  those  celestial  lights  which  gem  the  high  firma- 
ment and  light  the  angels  to  their  evening  orisons  ;  in  the  tones  of  woman's  voice  oti 
earth  and  the  devotions  of  the  pure  sj)irits  of  a  better  land  ;  in  all.  through  all,  and  ovei 
all,  and  forever  vibrating  the  rich  music  of  universal  harmony  and  the  deep  tones  of  un- 
dying melody.  Thousands  of  invisible  harps  are  pouring  their  united  melo<ly  through 
the  depths  of  air  and  earth  ;  millions  of  archangels  touch  their  heavcn-stnmg  lyres  and 
send  celestial  harmonj'  through  the  vast  halls  of  the  temple  of  the  living  Gotl  up  to  the 
throne  of  the  dread  eternal  One.  It  is  the  air  of  earth  ;  it  is  the  atmosphere  of  heav- 
en. The  tmbounded  universe  is  one  sleepless  lyre,  whose  chonls  of  love,  and  hope,  and 
purity,  and  peace  arc  fiuined  into  a  dreamy  and  mystic  melo<ly  by  the  bn-ath  of  ihf 
invisible  God. 

7 


1'  K  E  F  A  C  E . 


ir  this  volume  of  ihc  Compliite  Encyclopaidia  of  Music  shall  conduce  to  the  dif- 
fusidn  of  musical  knowledge ;  if  it  shall  serve  to  make  known  the  history  of  the  stars 
which  have  appeared  and  lighted  the  musical  hemisphere;  if  it  shall  animate  any  to 
X)py  tlie  virtues  and  reject  the  vices  of  those  wlio  have  gone  before  us, —  I  shall  receive 
•lit'  most  gralifyinjr  reward  for  tlie  days  and  years  of  laborious  toil  which  I  have  devofcil 
»  this  one  tnidcrtaking. 

JORN  W.  M()0'»B. 

Bhux>w>  Fall*.   I'trx^ont,  18A« 


COMPLETE 


ENCYCLOPiia^IA   OF  MUSIC. 


A. 


A  is  the  nominal  of  the  sixth  note  in  the  nat- 
ural diatonic  scale,  or  gamut  —  the  sixth  diatonic 
step  of  tlie  first  or  lowest  octave  of  the  modern 
scale  —  to  which  Guido  (Aretints,  or  Aueti.va, 
called  Guido  and  Guidone)  originally  applied 
the  monosj-llable  La.  A  is  the  sixth  ;  a  indicates 
the  same  stop  in  the  second  octave.  As  the  ItaUc 
capital  A  is  used  in  the  first  instance,  and  the 
small  Italic  a  in  the  next,  the  former  is  called  the 
larye  or  yreat  octave,  the  latter  the  small  octave. 
The  mark  which  represents  the  same  note  in 
the  third  octave  is  d,  with  one  line  above  it,  and 
J  with  two  lines  above  it  repre-ionts  the  same 
note  in  the  fourth  octave.  These  lait,  being 
designated  by  lines,  are  named  the  one-liiud  octave 
and  the  tico-lined  octave,  and  so  on,  because  the 
number  of  lines  denotes  the  number  of  octaves 
above  the  small  or  second  octave.  A  is  also  the 
name  of  one  of  the  two  natiinU  modes,  and  Ls 
the  opeti  note  of  the  secotid  string  of  the  violin, 
and  the  note  by  which  the  other  strings  of  that 
instnunent  are  tuned  and  regulated.  A  is  like- 
wise the  name  of  that  note  in  our  system  which 
answers  to  the  lowest  sound  used  by  the  ancient 
(jreeks  ;  that  is,  the  pros/a mbaiiomettos  of  the  Ily- 
perdorian,  or  deepest  (jroek  mode,  which  note 
wc  now  place  on  the  first  space  in  the  bass  clef. 
A  (the  Itahnu  A,  sounded  broad,  an  in  father) 
is  natiu'ally  the  first  letter,  because  it  represents 
the  first  vocal  sound  naturally  fonned  by  the  hu- 
ninn  organs  ;  being  the  sound  uttered  with  the 
mere  Ojicning  of  the  mouth,  without  constraint, 
ami  ^nthout  any  effort  to  alter  the  natural  po- 
sition or  configuration  of  the  lips.  A  is  placed 
by  modem  musicians  on  the  tirst  space  of  the 
bass  staff",  or  on  the  first  space  with  the  F  clef, 
thus  :  — 


S 


-^.-CkTOI 


A  was  long  the  lowest  sound  kno-wn.  Tlie  letter 
A  has  for  ages  been  used  as  the  name  of  a  tone 
—  it  was  so  xised  by  Aristoxenus,  .340  years  be- 
fore Christ.  It  is  the  name  of  the  first  string  of 
•he  violoncello,  by  which  its  other  strings  are 
tuned  ;  and  the  various  instruments  of  an  or- 
chestra, or  band,  are  generally  tune<l  trora  this 
letter,  llie  lowest  string  of  the  double  bass  viol 
2 


is  generally  tuned  to  A ;  and  the  tuning  fork  and 
pitch  pipe  are  generally  keyed  on  A.  lliis  letter 
is  called  by  all  nations,  in  solmizatiou,  L.v, 
thus  :  — 

r,  1234. ■>  67A 


i 


^J^     ^^    s     =>     =         

Do  B«  Ul  r>  Bd  U  Bl  Da 

A  not  only  represents  the  first  natural  vocal 
sound,  the  sound  first  made  by  infants,  but  it  is 
the  first  letter  of  the  alphabet  in  most  of  the 
known  languages  of  the  earth  ;  in  the  Ethiopic, 
however,  it  is  the  thirteenth,  and  in  the  Kussic, 
the  tenth.  A,  or  the  sixth  note  in  our  system,  it 
will  be  obsen-cd,  corresponds  with  the  proslamba- 
nomciios,  or  lowest  sound,  of  the  CJrcek  scale. 
The  more  ancient  Greek  scales  fonned  their  sep- 
teniu-ies  from  the  letter  \  ;  and  the  letters  below 
A  in  the  bass  were  made  double,  and  those  above 
the  staff  with  the  (i  clef  were  tcnncd  in  alt ;  but 
the  septenaries  being  reckoned  from  \,  the  limits 
of  the  bass,  tenor,  and  treble  were  not  accurate- 
ly defined.  Iliis  letter  has  in  the  English  lan- 
guage, regularly,  only  two  sounds  peculiar  to  it- 
.self,  a  short  and  a  long  one  ;  all  other  sounds  of 
the  letter  being  irregular  and  various,  according 
to  its  combination  with  other  letters.  A,  as  the 
mark  of  a  vocal  so\uid,  is  the  most  simple,  and 
that  which  the  diimb  are  most  easily  taught  to 
utter.  To  pronounce  it  clearly,  we  need  only  to 
open  the  moiith  wider  than  for  any  other  sound, 
and  then  emit  the  air  from  our  hmgs.  In  miisie, 
A  has  several  distinct  and  different  meanings  : 
il"  any  numerical  figure  Ls  added  to  the  letter  .-V, 
when  prefixed  to  a  vocal  composition,  it  denotes 
the  number  of  voices  for  wliich  the  piece  is  in- 
tended ;  as,  A  2,  for  two  voices ;  A  .3,  for  three 
voices,  &c.  It  occurs  in  both  vocal  and  instru- 
mental music,  technically,  in  a  great  many  dii- 
ferent  connections;  a«,  a  tcmjio,  in  time  ;  a  diif,  for 
two  voices  ;  a  piaccre,  at  jileasure,  .tc.  From  the 
earliest  ages,  the  tones  of  music  were  designateil 
by  the  letters  of  the  alphabet,  and  the  lowest  or 
first  tone  of  the  ancient  Greek  scale  was  called 
A ;  and  this  tone  continued  to  l>c  the  lowest  or 
most  grave  tone  known  till  about  the  year  OGO, 
when  Guido  Aretinus  added  another  note  below, 
which  he  calle<l  hypi-pro.%lamb<innmfnn»,  thtls  ex- 
tending the  scale  down  to  G  in  o^ir  pre*«nt  gamut 
From  this  time,  or  from  the  time  in  which  Guide 


ABA 


ENCYCLOPEDIA    OF    MUSIC. 


ABl 


flourished  as  a  popular  musician  and  teacher,  or 
about  the  eleventh  century,  A,  of  course,  ceased 
to  be  the  lowest  tone.  Since  the  time  of  Ouido, 
j;rc«ter  chniif^es  have  taken  place  in  the  arrange- 
ment of  the  tones,  and  C  Ls  now  the  lowest  note, 
thus  establishing  our  present  system  of  naming  the 
hcvcn  princii)al  tones,  and  making  A  the  toxth 
degree  of  tlie  diatonic  scale.  The  Greeks  used 
hII  the  letters  of  the  alphabet,  making  in  all  1020 
(liHbrent  musical  characters,  (an  endless  ta.sk,  al- 
most, to  learn  them  ;)  but  we  use  oidy  seven,  the 
M'vcu  tirst  letters  of  the  alphabet,  making  A  the 
sixth  letter,  and  submediaut  in  the  natural  scale, 
thus  :  — 


r* 


m 


r©^ 


:5-«^ 


^i^^ 


^^ 


6  A  SsboMllul. 


J-C-  Toelo. 
A  8abta«dUnt. 


1   0   Tonlo. 


A.  An  Italian  preposition,  signifj-ing  in,  for, 
at,  with,  &c. 

A  ABOVK  G  GAMUT.  That  A,  or  that  note,  which  !•  one  tone 
higher  thnn  O  ^amut 

A  ABOVE  THE  BASS  CLEF  NOTE.  That  A,  or  that  note, 
w7iich  is  a  tliirti  hii'hor  than  ttie  bass  clef  note, 

A  Ano\  E  TirK  TKKIil.E  CLEF  NOTE.  That  A,  or  that  rote, 
which  i»  niic  note  higher  thun  the  treble  clef  note. 

AAXES.  One  of  the  barbarous  terms  applied 
by  the  modem  Greeks  to  the  modes  and  tones. 

A-^RON,  Abbot  of  St.  Martin,  at  Cologne,  was 
boru  in  .Scotland.  lie  wrote  a  work  on  the  util- 
ity and  manner  of  singing  church  music  ;  and  he 
introduced  the  Gregorian  night  chant  tirom  Italy 
into  Germany.     He  died  in  10.52. 

-\AKOX,  PIETllO,  a  Florentine  of  the  order 
of  Jerusalem,  and  canon  of  lUmini,  was  a  volu- 
minous ■writer  on  music.  The  most  considerable 
of  his  writings  is  "  //  Toscanello  deUa  Miisica," 
1.523,  1529,  1539  —  a  rare  and  important  work. 
He  gave  in  it  a  decalogue,  or  ten  precepts  for 
counterpoint,  in  honor,  it  is  said,  of  the  ten  com- 
mandments of  God  ;  and  six  precepts  of  less  im- 
])ortance,  in  honor  of  the  six  commandments  of 
the  church.  His  works  became  particularly  use- 
ful, from  being  for  the  most  part  -vsTitteu  in  Ital- 
ian ;  whereas  those  of  almost  all  the  preceding 
musical  writers  were  in  the  Latin  language. 
I'ietro  Aaron  gives  a  ILst  of  such  extraordinary 
j.'erformers  as  were  able  to  sing  from  notes,  "  can- 
tare  a  libra,"  by  which  we  may  suppose  that  the 
art  was  then  in  its  infancy. 

ABACO,  EVARISTO"  FELICE  D.ILL'.  A 
violinist  and  composer,  bom  at  Verona.  In  the 
year  1720,  he  was  musician  to  the  court  of  Maxi- 
milian Emanuel. 

AB.\CO,  BARON,  bom  at  Verona,  was  an 
amateur  performer  on  the  violoncello  and  com- 
jjoser  for  that  instrument.  One  of  his  pieces  is 
dnted  17-18. 

ABACUS,  (L.)  or  Ket-boaiid.  An  instru- 
ment of  ancient  invention,  for  dividing  the  inter- 
v:tls  of  the  octave. 

ABACUS  ET  PALMUL.^.  (L.)  The  name 
given  to  the  machinery  by  which  the  strings  of 
the  ancient  imlyjilectrum  were  struck. 

ABACUS  HARMONICUS.  (L.)  The  stmc- 
.nre  and  disposition  of  the  keys  of  a  musical  in- 

rument. 

A  B.VLLATA.  (I.  A,  prep.,  according  to,  and 
UJfUa,  tho  ballad.)    To  be  performed  in  the  bal- 


lad style.  A  song,  duet,  &c.,  Ls  said  to  be  com- 
posed rt  hal'tUa  when  its  general  construct.on  re- 
sembles that  of  a  ballad.  The  term  also  applies 
to  a  chorus  that  is  repeated  at  the  end  of  each 
verse  of  a  song :  thus  the  chorus  "  Rule,  Bri- 
tannia, rule  the  waves,"  which  concludes  each 
verse  of  an  English  national  song,  "  AVhen  Brit- 
ain first  at  Heaven's  command,"  is  a  chorus  c 
baUata.  llie  ballad  has  less  musical  pretension 
than  the  air,  and  the  words  of  a  ballad  claim  oui 
attention  quite  as  much  as  the  tune.  With  or- 
diniiry  listeners,  this  species  of  song  is  more  gen- 
erally lelt  and  understood  than  any  other.  Songs 
have  at  all  times  afforded  amusement  and  conso- 
lation to  mankind.  Every  passion  of  the  human 
breast  has  been  vented  in  song.  Before  music  is 
cultivated  as  an  art,  every  countn.-  has  its  nation- 
al songs,  which  enter  largely  into  all  their  amuse- 
ments, and  are  sung  with  feeling  by  exiles  and 
wanderers  from  their  native  land.  Every  pro- 
fession and  trade  has  its  song ;  the  shepherd,  the 
reaper,  the  miller,  the  weaver,  the  smith  ;  also 
the  nurse  and  lover.  For  simplicity  and  expres- 
sion, perhaps  there  are  no  ballads  more  genimio 
than  those  of  the  Scotch. 

A  BAITLTA.  (L)  In  exact  beat  —  like  the 
pendulum  of  a  clock,  in  true  time.  By  Beating.- 
An  expression  generally  employed  after  a  break 
in  the  time  of  any  piece,  by  a  recitative,  or  can- 
tahile  ad  libititin  ;  to  apprise  the  performer  that 
the  measure  is  to  be  resumed,  and  the  time  beat- 
en, as  before. 

ABBANDONE,  ABBANDONO,  CON.  (I.) 
With  self-abandonment ;  despondingly. 

ABBASSAMENTO.  (I.  n.  A  fainnq  or  deprcmnn'i  To  p««l 
UTi(itT.  It  is  iist'd  in  music  written  f'-r  the  harpsichord  pinno,  and 
organ,  and  allows  that,  when  playing  verj  rapid  passages  sometimes 
one  lmn<l  jKisses  over  or  under  the  o^her. 

AHHASSAMENTO  DI  MANO.  (I.  Falling  of  the  hand.) 
The  downward  mOTement  of  the  hand  in  beating  the  time  of  any 
piece  nf  niusie. 

ABBASSAMENTO  DI  VOCE.  (L  FaUing  of  ttiK  licr .)  Tlio 
Hill  or  change  of  the  voice  from  tenor  to  bo«8. 

ABBATINI,  ANTONIO  MARL\,  -was  bom 
at  Tifemo,  in  the  year  1605.  He  was  chapel 
master  of  the  churches  of  St.  John  of  Latcran, 
and  of  Santa  Maria  Maggiore  at  Rome.  He  wrote 
many  motets,  the  scientitic  construction  of  which 
procured  him  a  weU-mcrited  reputation.  He  was 
the  master  of  the  celebrated  Abbe  Stejliani,  of 
the  Venetian  school. 

ABBRE■^^ATION.  A  stroke  whict.,  placed 
over  or  under  a  note,  divides  it  into  quavers,  if 
there  be  only  one ;  if  two,  into  semiqui.vers ;  if 
three,  into  dcmi-scraiqtiavers.  Persons  who  are 
accustomed  to  reading  music  which  has  been 
written  or  copied  with  the  pen,  will  perhaps  have 
considered  abbre\-iations,  as  they  frequently  occur 
in  such  music,  as  a  kind  of  short  hand,  as  it  is 
the  art  of  reducing  something  to  a  smaller  com- 
pass, and  occurs  alike  in  music  and  in  speech. 
llie  marks  of  abbreviation  are  generally  ^^Titten 
with  strokes,  thus :  ss,  which  are  representa- 
tives of  ties,  and  signify  that  as  many  notes  arc 
to  be  played  as  tied  notes  as  are  contained  in  the 
written  note. 

ABEILLE,  LOUIS,  was  bom  in  the  year  1705, 
it  is  believetl,  at  Ba>Teuth.  In  1802  he  was  a;)- 
pointed  musician  to  the  Duke  of  Wurtemberg,  at 
Stuttgard.  He  composed  many  esteemetl  works, 
both  vocal  and  instrumental,  between  the  years 
1788  and  1810. 


10 


ABB 


ENCYCLOPAEDIA    OF    MUSIC. 


ABE 


ABBUEVIATIONS  are  letters  used  for 
words ;  at,  A.,  Alto  ;  Ped.,  Pedal ;  B.  C,  Ba».HO  j 
Coiitimio ;  Leg.,  Legato;  V.,  Violin;  M.  F., 
Mezzo  Forte,  &c. ;  but  we  shall  notice  each  ab- 
breviation under  its  jjrojjcr  head.  There  are  cer- 
tain abbreviations  which,  although  oi'  modern 
introduction,  are  not  in  general  use.  This  mark, 
•— ■,  set  against  a  note,  divides  it  into  quavers  ; 
thi-^,  ——,  divides  it  into  semicpiavers  ;  and  this, 
—  •-  into  dcraisemiquavers.  This  mark,  ^— ,  by 
it.<ell',  im].lic8  that  the  quavers  ])reccding  it  in  the 
Bame  bar  are  to  be  repeated  ;  tliis,  77—,  that  the 
Bemi<iunvers  preceding  it  are  to  be  repeated  ;  and 
this,  —  that  the  demisemitjuavers  preceding  it 
are  to  be  repeated.  Tlie  Itidian  word  sejue,  set 
against  any  of  thc^e  abbreviations,  signilies  a 
repetition  of  the  siune  notes,  or  passage.  Abbre- 
viations were  invented  to  siwe  time  and  si)ace ; 
many  of  them  are  indeterminate  and  uncertain, 
on  which  account  manuscripts  of  others  cannot 
always  be  read  with  ease,  except  by  practised 
musicians.  'ITie  immortal  Handel  was  the  tirst 
■who  used  a  short  hand  in  musical  notation.  It 
may  easily  be  conceived  as  the  result  of  his  rapid 
imagination,  wliirh  could  not  stop  to  write  out  its 
Uueut  fancies  by  the  ordinary  method. 

EX-VMPLES    OF   ABBREVIATIONS. 
Writteo. 


^^ 


0tt»tn4nm»0» 


«»^*>  """  *—  — "*   t 


These  abbreviations  fonn  a  musical  brachvg- 
raphy,  or  short  hand,  highly  useful  both  to  the 
composer  and  copyist,  and  are  now  so  generally 
adopted,  wherever  admissible,  as  to  have  become 
a  nec-eisnry  object  of  attention  to  the  pupil.  'Wlien 
the  same  note  or  similar  passages  are  to  be  re- 
peated, much  time  is  saved  to  the  composer  or 
copyist  by  the  use  of  abbreviations.  A  single 
stroke,  over  or  under  a  seraibreve,  or  through  tlie 
stem  of  a  minim  or  crotchet,  divides  them  into 
quavers ;  a  double  stroke,  into  semiquavers ;  and 
a  triple  stroke  mto  deimsemiqiiavers.  Sec  e.\- 
araples,  hero  and  above. 


The-;e  passages,  in  Italian  music,  had  formerly 
the  word  ei-aiiv',  (quavers,")  or  semi-rromc,  (serai- 
quavers')  annexed  to  them.  At  present  we  often 
use  the  term  jcyKo  to  signify  that  we  must  per- 
form the  following  notes  in  the  manner  in  which 


the  first  are  marked.  Another  kind  of  ab))revia> 
tion  is  very  fro  juently  used  in  modern  music,  viz. 
grouping  the  stcius  of  loinims  like  thoHC  of  qua- 
vers, thus  : — 

Wilma. 


^^ 


A.VOTUE&   8TTLB   OP    WUmXO. 

/r ±-M ^ 


Most  of  these  abbre\-iations  are  exclusively  con- 
fined to  orchestral  and  band  music ;  but  every 
performer  and  student  of  music  should  be  made 
acquainted  with  them,  for  they  are  frequently 
made  use  of  at  the  present  time,  a,s  well  in 
piano-forte  music  as  in  the  accompaniments  to 
vocal  music. 

ABEILLE,  a  French  composer.  In  the  year 
1710,  he  published,  at  Paris,  "  Reciieil  (TAirs 
serietix  et  d  boire,"  (Collection  of  Serious  and 
Drinking  Airs.) 

ABEL.VUD,  PETER,  famous  for  his  learning 
and  for  his  love  of  IleloLse,  was  distinguished  for 
his  miLsical  talent,     lie  died  1142,  aged  G3. 

ABEL,  LEOPOLD  AUGUSTUS,  a  violin  pu- 
pil of  Uenda,  was  born  at  C'oethen  in  1720.  He 
was  musician  to  several  Uennan  princes. 

ABEL,  CHARLES  FREDERIC,  youngest 
brother  of  Leopold  Augustus  Abel,  was  boni  at 
Coethen,  and  was  a  celebrated  composer  as  wcU 
as  performer  of  music.  During  nearly  ten  years, 
he  was  in  the  band  of  the  electoral  King  of  Po- 
land, at  Dresden,  at  the  time  that  the  celebrated 
Hasse  was  chapel  master.  Either  from  the  ca- 
lamities of  war  having  reduced  their  court  to  a 
close  economy,  or,  as  some  say,  by  reason  of  a 
dispute  with  Ilasse,  .\bel  quitted  Dresden  about 
the  year  17<)0,  with  only  tlu-ec  dollars  in  his 
pocket,  and  proceeded  to  the  next  little  tJcnnan 
ca])ital,  where  his  talents  procured  him  a  tempo- 
rary supply  of  money.  The  following  year  he 
made  his  way  to  Elngland,  where  he  soon  obtained 
notice  and  reward.  lie  was  first  patronized 
by  the  Duke  of  York,  and,  on  tluj  formation  of 
Queen  Charlotte's  band,  was  appointed  chamber 
mvisician  to  her  majesty,with  a  salary  of  £200  pei 
annum.  In  1703,  in  conjunction  with  John 
Christian  Bach,  he  establLslied  a  weekly  concert, 
by  subscription,  which  was  well  supj)orte<l.  Abel 
performe<l  on  several  insf riuuents ;  but  that  to 
which  he  chiefiy  attached  him>olf  was  the  viol  da 
gamba,  now  hanlly  ever  u~ed.  He  remained  in 
I<ondon  till  1783,  when  the  de-.ire  of  seeing  his 
brother  and  revisiting  his  native  country  led  him 
again  into  (Jermany.  It  was  during  f  hi  1  journey, 
that  notwithstanding  his  advanced  age,  he  ga%'e,  at 
Berlin  and  Ludwi<;shist,  the  most  striking  prooft 
of  his  talent.  King  Frederic  William,  tlicii  prinr« 
royal  of  Prussia,  ou  hearing  his  per.oniiance  01 
the  viol  da  gamba,  presented  )um  with  a  valumhli 


11 


A.BE 


EXCYCLOP.^DIA    OF    MUSIC. 


AI.X 


f  nuff  box  niul  n  huiulrcd  pieces  of  gold.  A  few 
yours  nf'tcr  tliis,  the  (Icrnngemcnt  of  his  affairs 
i;l)liged  him  to  rcraniii  for  some  time  at  I'aris, 
wlicuce  he  subseqHontly  returned  to  London. 
.Vbol  was  a  man  who  well  knew  the  world,  and 
kept  on  tolerable  terms  with  society,  though  a 
natural  irascibility  and  disposition  to  say  strong 
things  sometimes  rendered  him  overbearing  and 
iii;-olent  in  company.  His  greatest  failing  was  a 
love  ol'the  bottle,  in  which  he  indulged  to  a  degree 
lliat  probably  shortened  his  life.  He  died  in  Lon- 
don in  1787,  alU-r  remaining  tluee  days  in  a  lethar- 
gic state,  witho\it  experiencing  any  pain.  Dr.  Bur- 
ney  gives  the  following  character  of  his  composi- 
tions and  perfonnance  :  "His  compositions  were 
easy  and  elegantly  simple,  for  he  used  to  say,  '  I 
do  not  choose  to  bo  always  struggling  with  diffi- 
culties and  pbn-iiig  -with  all  my  might.  I  make 
my  piece?  ditficult  whenever  I  please,  according 
to  my  disposition  and  that  of  my  audience.'  Yet 
in  nothing  was  he  so  superior  to  himself,  and  to 
other  musicians,  as  in  writing  and  playing  adagios, 
in  which  the  most  pleasing,  yet  learned  modula- 
tion, the  richest  hannony,  and  the  most  elegant 
and  polished  melody,  \\ere  all  expressed  with 
such  feeling,  taiite,  and  science,  that  no  musical 
production  or  performance  with  which  I  was  then 
acquainted  seemed  toa])proach  nearer  perlection. 
'l"he  knowledge  Abel  had  acquired  in  Germany 
of  every  part  of  musical  science  rendered  him  the 
umpire  of  all  musical  controversies,  and  caused 
him  to  be  consulted  on  many  difficult  points. 
His  concertos  and  other  pieces  were  very  popular, 
and  were  frequently  played  on  public  occasions. 
The  taste  and  science  of  Abel  were  rather  greater 
than  hLi  invention,  so  that  some  of  his  latter  pro- 
ductions, comjiared  with  those  of  younger  com- 
posers, appeared  somewhat  languid  and  monoto- 
nous; yet  he  jire  erved  a  high  reputation  in  the 
profession  till  hLs  death."  Abel's  published 
works  consist  chiefly  of  overtures,  concertos, 
quartets,  and  trios.  His  adagios  in  score,  and  for 
the  piano-forte,  have  been  long  published  sepa- 
rately in  Ijondon  ;  and  a  new  edition  of  them  has 
been  lately  edited  by  Mr.  Cramer,  who  was  his 
pupil  in  counterpoint,  previously  to  studying  un- 
der Clementi. 

In  17S7,  the  admir'^rs  of  the  then  modem  school 
lost  the  great  abilities  of  Abel,  who  was  the  only 
Eikilful  jierformcr  on  the  viol  da  gamba.  This  in- 
strument, the  then  wiry  tone  of  which  even  the 
always  pleasing  and  frequently  learned  modula- 
tions of  Abel  could  scarcely  render  attractive,  was 
j.ractised  witli  considerable  success  by  one  M. 
Lidl,  who  obtained  upon  it  a  facile  execution,  and 
just  rendered  bearable  its  nasal  and  ungraieful 
powers.  It  is  perfectly  unaccountal)k",  but  not 
the  less  true,  that  Abel's  ear,  finely  tuned  as  it 
was  known  to  have  been,  was  partial  to  tb.c  crude, 
gn\ting  tones  of  this  instrument.  The  late  Dr. 
'Walcott  says,  that  at  tl'.e  table  of  a  certain  noble- 
man, Abel  and  himself  were  a  part  of  a  numerous 
com])any,  in  which,  the  various  qiuilitics  of  musi- 
cal instruments  coming  under  discussion,  each 
Rue-t  was  requested  by  the  nobleman  to  name  his 
favorite.  One  said  he  preferred  the  variety  and 
spirit  of  the  violin ;  another  was  partial  to  the 
generous  maidiness  of  the  violoncello;  a  third 
advocated  tlie  maje-^ty  of  the  organ  ;  a  fourth  was 
most  scnsilile  to  the  mellow  murmurings  of  the 
hautboy  ;  and  a  fifth  to  the  thrilling  sweetness  of 
the  flute;  when  Abel,  finding  that  no  one  men- 


tioned the  viol  da  gamba,  dLsdainfuUy  rose  frcm 
his  seat,  and,  sans  cerenionie,  quitted  the  room. 

ABELL,  JOIIX.  An  English  musician,  be- 
longing to  the  Chapel  Iloyal  of  Charles  II.  He 
was  a  good  vocalist,  celebrated  for  a  fine  counter- 
tenor voice,  and  for  his  skill  on  the  lute.  Ho 
preserved  the  natural  tone  of  his  voice  to  extreme 
old  age.  In  1701,  he  published  a  collection  of 
songs  in  several  languages,  which  he  dedicated  to 
the  king.  He  continued  in  the  chaj.el  till  the 
revolution,  when  he  was  discharged  as  being  a 
Papist.  Upon  this  he  went  abroad,  and  at  War- 
saw met  with  a  very  extraordinary  adventure. 
He  was  sent  for  to  court ;  but  evading  to  go  by 
some  slight  excuse,  was  commanded  to  attend. 
At  the  palace,  he  was  seated  in  a  chair,  in  the 
middle  of  a  si)acious  hall,  and  suddenly  drawn  up 
to  a  great  height,  when  the  king  and  his  attend- 
ants appeared  in  a  gallery  opposite  to  liim.  At 
the  same  instant,  a  number  of  wild  bears  were 
turned  in,  when  the  king  bade  him  choose, 
whether  he  would  sing  or  be  let  down  among  the 
bears.  Abel  chose  to  sing,  and  declared  after- 
wards that  he  never  sang  so  well  in  hb  lile. 
He  afterwards  sang  ui  Holland,  and  other  places 
in  Germany,  where  he  acquired  considerable 
wealth,  but  squandered  away  his  money,  and  was 
afterwards  obliged  to  travel  about  the  country  on" 
foot,  with  his  lute  slung  on  his  back.  In  1701 
he  published,  in  London,  a  collection  of  songs  in 
several  languages.  There  are  two  songs  by  this 
composer,  in  the  fourth  volume  of  "  Pills  to  purge 
Melancholy." 

ABEL,  THOMAS,  taught  music  and  grammar 
to  Queen  Catharine,  wife  of  Henry  ^'IU.  Having 
written  a  treati-e  "  De  non  disso/cendo  Henrici  ei 
Catharintr  Matrinionio,"  he  was  hanged  and  quar- 
tered, July  30,  looO. 

ABEL,  i\_VMOR  IIEXRY,  chamber  musician 
at  Hanover,  was  born  in  AN'estphalia,  and  pub- 
Ushed  a  work  in  1674,  at  Frankfort  on  the  Maine, 
entitled  "  ErstUngc  miisicalisc/ie  DlUnien,"  (Early 
Spring  Flowers.) 

ABEL,  J.  E.,  was  bom  in  1795,  at  Lud^vigsIust, 
the  re  -idence  of  the  Grand  Duke  of  Mecklenburg- 
Schwcrin,  where  his  father,  a  nejjhew  of  C.  F. 
Abel,  resided  uj)wards  of  fifty  years,  being  a 
member  of  the  household  band  of  that  prince.  J. 
E.  Abel  was,  from  hi-  earliest  infancy,  together 
^\■ith  an  elder  brotlier,  destined  for  the  profession 
of  music,  and  enjoyed,  to  that  effect,  the  most 
zealous  instruction  from  lus  father,  who  was  a 
good  violinist.  Abel  began  his  studies  on  the 
piano  and  ^-iolin  when  he  was  but  five  years  ohl. 
During  a  period  of  four  years  six  hours  daily 
were  devoted  to  the  practice  of  both  instrument- ; 
and  liis  father  used  to  excite  the  youtliiul  ambi- 
tion of  his  sons  by  frequently  holding  out  to  thein 
the  view  of  their  grandunde's  fame.  At  the  ex- 
piration of  the  above  period,  J.  \l.  Abel,  being 
then  nine  year's  old,  played  with  his  brother, 
before  a  party  of  able  judges,  who  were  so  sur- 
prised a.  theattainmentsof  the  children,  that  sev- 
eral of  them  voluntarily  offered  their  professional 
assistance  towards  the  further  education  of  tht 
young  perfonners.  After  receiraig  the  promised 
instiuctions  from  these  professors  (some  of  whom 
were  eminent)  during  the  space  of  about  two 
vears,  the  sons  commenced  a  musical  excursion 
with  their  father,  wl\o  intended  that  they  should 
per.brm  in  \  ublic,  in  different  parts  of  the  north 


12 


ABI 


ENCYCLOP-EDIA    OF    MUSIC. 


ACA 


of  Germany.  Thia  j)lnn,  however,  from  various  j 
invidious  aud  otlicr  motives,  did  not  tiuccced  in  a  [ 
peouuiury  point  of  view  ;  which  so  disappointed 
the  father,  that  he  decided  to  change  the  profession 
of  Ids  sous,  destining  J.  li.  Abol  for  the  church, 
and  hLs  brother  for  mercantile  life.  In  the  course 
of  liLs  stulics  fortliviuity,  J.  E.  Abel  always  found 
time,  however,  to  persevere  in  his  musical  pur- 
suits :  he  now  changed  the  violin  for  the  violon- 
cello, and  took  lessons  of  Xavier  Ilimmcr,  first 
violoncellist  of  the  grand  duke's  hou -ehold  band, 
and  a  very  superior  performer.  When  seventeen 
years  of  age,  J.  E.  Abd  was  otfered  the  situation 
of  instructor  in  the  tine  art-s  to  the  children  of  a 
Uenuiin  count,  for  which  occupation  he  was 
thought  moreparlicularly  (pialitied,  as  he  painted 
well  in  minia  uie.  Here  he  remained  during 
tlu'ie  years,  when  he  was  suddenly  seized  with  a 
most  painful  disease,  (the  tic  donloiireiur,)  that  de- 
lied  the  jiower  of  mccUcine  during  two  years,  and  ; 
at  length  made  him  resolve  to  migrate  to  a  ' 
woimer  climate,  which  he  bad  a  good  opportunity 
of  doing,  as  his  brother  had  previously  quitted 
lus  commercial  pursuits,  and  crtabhshed  himself 
in  tl.e  musical  prolession  at  Savannah,  (ia.,  in  the 
United  States.  In  the  year  1819,  having  received 
a  jiressing  invitation  from  his  brother,  he  em- 
liarked  iit  Hamburg  for  America,  and  had  the 
happine-s  to  Hnd  his  disease  give  way  on  the 
very  tir.^t  touch  of  the  .Vmerican  soil.  After  a 
few  months'  residence,  however,  at  Savannah,  the 
climate  brought  on  so  complete  a  constitutional 
decay,  that  he  was  again  obliged  to  quit  .Vmerica, 
and  embarked  for  Liverpool,  where  he  arrived  in 
a  state  of  great  weakness,  in  September,  1820. 
He  next  proceeded  to  London,  where,  by  a  sin- 
gular coincidence,  he  wiu*  introduced  to  J.  B. 
Cramer,  wliilc  this  great  master  was  just  correct- 
ing the  proofs  of  a  publication  in  grateful  mem- 
ory of  f.  F.  Abel,  and  as  a  vindication  of  hLs 
early  studies  in  counteqioint  under  that  master. 
That,  under  such  cfrcumstances,  the  nephew  of  an 
honored  master  should  come  more  strongly  rec- 
ommended to  such  a  pupil,  aud  that  he  conse- 
quently met  the  kindest  reception  from  Mr. 
Cramer,  will  appear  natural  to  every  one  who 
knows  the  character  fir  generosity  borne  by  the 
great  piauL^t.  In  short,  the  instructive  guidance 
and  continued  friendly  patronage  of  J.  B.  Cramer 
and  Griietf  (another  celebrated  pupil  of  C.  J. 
Abel)  afforded  J.  E.  Abel  the  first  inducement  to, 
and  suret  tbundation  of,  his  professional  life  in 
London,  as  teacher  of  the  piano  and  violoncello. 
J.  E.  Abel  has  published  a  few  compositions  for 
the  piano. 

ABELTSHAUSER.  A  composer  of  twelve 
(jtiatuors  for  flutes,  &c.,  published  at  Mentz  1822. 
He  has  also  written  quatuors  for  four  horns. 

A  BENEPLACrrO.  (L)  At  your  own  pleasure  ; 
just  as  you  please.  TliLs  mark  leaves  a  great 
deal  to  the  judgment  of  the  musician,  who  takes 
the  music  of  the  composer  into  his  owni  hands. 

ABILITA.   (I.)   Skill;  force  of  understanding. 

ABINGDON,  LORD,  was  an  exceUent  per- 
former on  the  flute,  and  composed  for  that  instru- 
ment, lie  is  said  to  have  expended  much  money 
in  fruitless  attempts  to  support  Bach  and  Abel's 
concerts.  After  the  loss  of  £  1  (iOO,  his  lordship  de- 
clined to  volunteer  any  further  pecuniary  guar- 
anty, and  the  profession  derermined  to  try  their 
fortune  in  carrjnng  them  on.     From  178  j  to  1733, 


the  performances  continued  to  flourish ;  but  tht 
opposition  established  by  .Salomon,  and  the  in- 
creasing taste  for  vocal  music,  i)ut  an  end  to  the 
efforts  of  the  professors  in  that  year.  This  musi- 
cian Wiis  pi^jued  at  being  left  out  of  the  ])rofe-- 
sional  concerts,  and  hearing  that  Haydn  had 
been  engagc<l  by  I^ord  Abingdon,  and  that  ho 
was  disaM|>ointed  by  the  termination  of  his  lord- 
ship's management,  Salomon  brought  Haydn  ti> 
London.  It  U  to  this  circumstance  that  tlie 
world  probably  owes  those  sjnuphonics  which  are 
among  the  finest  monuiuents  oi  instrumental  art. 
Haydn  was  engaged  not  only  to  compo:>o.  but  to 
direct  the  periOrmance  of  his  productions ;  and 
thus  he  wa<  roused  by  every  motive,  and  "xcited 
by  the  higlie-it  instances  of  talent  tliat  co'Ud  bf 
engaged  in  Ids  service. 

ABOS,  SYll.  Chapel-master  at  the  conscrva 
tory  of  A-i  J'irta,  at  Naples,  about  the  year  17G0. 
He  composed  the  Opera  of  7'<<3  M<iiUio,thc  favor- 
ite airs  of  wlxich  were  published  in  London,  by 
AValsh,  about  the  year  17.5  J.  He  wa-s  a  pupil  of 
jVllessanilro  Sciu-latti. 

ABRAHAM,  teacher  of  the  clarinet  at  Paris, 
compo-ed  a  gre  it  many  airs  for  his  instrument, 
about  the  year  1788.  lie  also  published  a  meth- 
od for  the  ba:>soon.     He  died  in  1805. 

ABRAMS,  MISS.  A  celebrated  English  sinner 
and  comi)o-er  of  songs.  Tlie  air  of  "  Crazy  Jane  " 
Is  the  most  popular  of  her  compositions.  Hei 
sLstcr,  Thbohosia  Aiuiams,  posi.ossed  a  remark- 
ably tine  mezzo-soprano  voice. 

ABRIDGMPA'T.  Diminution,  contraction, 
reduction ;  collecting  in  a  small  compass  the  chief 
parts  of  an  overture  or  oratorio.  To  abridge  will 
require  a  thorough  knowlc<lge  of  tlie  subject,  with 
tact  to  seize  upon  the  prominent  ])oints,  and  re« 
produce  them  clearly  and  succinctly. 

AB.S.VTZ.  (G.)  A  section  or  musical  sentence. 

-\.BT',  FRANZ.  One  of  the  most  popular  of 
the  living  song  writers  in  Germany. 

ABWECHSELND.  (G.)  .Vltemating;  as,  m,* 
ahireh-trlniUn  Manwil'u,  alternately  from  the 
great  to  the  choir  organ. 

ACADEMIA  MU.SICALE.  (L)  Musical 
academy.  A  term  long  since  appUed  by  the 
Italians  to  certain  musical  meetings,  held  under 
a  directing  leader,  for  the  purpose  of  amusement 
and  practical  improvement.  The  earliest  Acade- 
mia  Miuiiciih  of  which  we  have  any  account  wa"? 
instituted  at  Vincenza  about  the  year  1.500,  and 
called  the  Academia  degli  Fitarmnnici,  (Academy 
of  the  Philharmonics,  or  lovers  of  harmony.) 

ACADEMIE  ROYALE.  (F.)  .\ji  academy 
of  music  instituted  in  the  year  I'lOO,  at  Pari*  by 
the  Sieur  Perrin,  under  a  patent  granted  by  LoiiLi 
XIV.,  for  the  public  perfonnance  of  musical 
dramas,  but  which  patent  LouLs  soon  after  re- 
voked, ordering  another  to  lie  made  out  in  favor 
of  Lulli,  who  was  judged  more  capable  of  con- 
ducting the  design. 

ACADEMY.  A  society  of  persons  united  foi 
the  purpose  of  improvement  in  the  art  of  music, 
or  any  art  or  science.  Musical  acadrmiis*  were 
fre<iuent  in  most  parts  of  Euro|e,  but )  articularly 
in  France  and  Italy,  long  since ;  and  t<.>ociationr 
under  the  uam<!   of  Mu:>ical   Convc  tions,   aiiJ 


13 


\ca 


ENCYCLOPyEDIA    OF    MUSIC. 


ACC 


Peachers'  Classtw,  Institutes,  Normal  Schools,  &c., 
we  now  becoming  uuiucrous  in  this  country. 

ACADEMY.  MUSICAL.  Tlie  first  institution 
of  a  musical  academy  in  Enf^land  took  phice  in 
the  year  1710,  at  the  Crown  and  Anchor  Tavern. 
It  consisted  both  ol  professors  and  non-prol'essors, 
issLsted  by  tlie  gentlemen  of  the  Chapel  lloyal,  and 
the  children  of  the  several  choii-s,  and  wiis  con- 
ducted on  an  extensive  scale,  and  in  the  most 
respectable  style.  Since  that  tuue,  several  others 
have  taken  place  on  various  plans ;  among  which, 
one  of  the  most  successful,  at  least  for  a  time, 
was  that  established  by  Giardini,  about  the 
year  17'50. 

ACADEMY,  ROYAL.  The  lloyal  Academy 
of  Music  was  formed  in  England,  for  the  per- 
fonnance  of  ojicras  composed  by  Mr.  Ilandel,  and 
conducted  by  him  at  the  theatre  in  the  IlajTuar- 
ket.  ThLs  institution  attracted  e.vtraordiuary  at- 
tention, and  continued  to  flourish  for  a  consider- 
able time,  with  great  reputation.  The  subscrip- 
tion amounted  to  £.50,000  ;  and  the  king,  George 
I.,  subscribing  £1000,  allowed  the  society  to 
assume  the  title  of  lioyal  Academy.  It  con- 
sisted of  a  governor,  deputy  governor,  and  twenty 
directors.  A  contest,  however,  bctwlvt  Handel 
and  Sencsino,  in  wluch  the  directors  took  the 
part  of  the  latter,  occiusioned  the  dissolution  of 
the  Academy,  after  it  had  existed  for  more  than 
nine  years.  Dr.  Busby  says  it  was  fonned  by 
subscription  in  the  year  1720,  for  patronizing, 
supporting,  and  performing  Italian  operas,  pastic- 
cios,  and  intermezzi. 

ACADEMY  OF  AXCLENT  MUSIC.  This 
institution  was  established  in  Loudon,  in  1710, 
by  tlie  most  eminent  masters  of  the  time,  with  a 
view  to  the  study  and  practice  of  vocal  and 
instrumental  music,  and  continued  to  flourish  ibr 
many  years.  The  institution  had  the  advantage 
of  an  excellent  library,  consisting  of  the  most 
celebrated  foreign  and  domestic  compositions,  and 
W!us  aided  by  the  amateurs  of  the  Chapel  lloyal 
and  the  choir  of  St.  I'aul's  Church,  and  the  boys 
belonging  to  each.  In  1731,  a  charge  of  plagia- 
rism was  brought  against  Uononcini,  a  member  of 
the  Academy,  for  claiming  a  madrigal  of  Lotti  as 
his  own,  and  threatened  the  existence  of  the  in- 
stitution. Dr.  Greene,  leader  of  the  choir  at  St. 
I'aul's  Church,  who  had  introduced  the  mailrigal 
into  the  Academy,  took  part  with  Bononcini,  and 
both  withdrew  from  the  iiLstitution.  About  tluroe 
years  afterwards,  Mr.  Gates,  leader  of  the  choir 
at  the  Cliapcl  lloyal,  retu'cd  in  dlsgast ;  and 
from  this  time  the  Academy  became  a  semina- 
ry for  the  instruction  of  youth  in  the  science  of 
music. 

A  CAPELLA.  (I.)  In  church  or  chapel 
style. 

A  CAPRICCIO.  (L)  Just  as  you  please ;  arf 
libitum,  at  will,  agreeable  to  our  fancy. 

ACATIIISTJS.  (Gr.)  A  solemn  h>-mn,  an- 
ciently sung  in  the  (ireek  church,  on  the  Satur- 
day of  the  filth  week  of  Lent,  in  honor  of  the 
Virgin,  for  having  tlirico  delivered  Constantiuo- 
ole  from  tlie  invasions  of  barbarians. 

ACC  AllEZZE  VOLE.     (I.)     Fawningly. 

AC(;A11EZZEV0LMEXT0.  (I.)  Persuasively. 

ACCEL     (1.)     Accelerando. 


ACCELEll.lXDO.  (L)  The  term  for  accel- 
crating  the  time  in  the  middle  of  a  piece  of  mu- 
sic ;  increasing  fa.ster  and  yet  more  fast  to  the 
close. 

ACCELEIIATO.  (I.)  With  increased  qtiick- 
ness. 

ACCELDO.  An  abbreviation  of  Accelerando 
—  meaning  that  one  must  accelerate  the  tiui*  of 
a  i)icce  of  music  at  a  particular  place  to  produce 
eftect. 

ACCE>rr.  A  term  applicable  to  every  modu- 
lation of  the  voice,  both  in  speaking  and  singing 
a  swelling  of  sounds  for  the  puri)ose  of  variety  or 
expression.  l"here  are  a  great  variety  of  accents, 
but  we  speak  particularly  of  the  musical  accent. 
It  is  to  the  study  of  tlus  anima  vocis,  as  Diomedes 
so  justly  calls  it,  that  the  composer  and  performer 
should  unceasingly  apply  hijnself ;  since  without 
accent  there  can  be  no  music,  because  witliout  ac- 
cent there  can  be  no  expression.  Much  controversy 
has  arisen  concerning  both  the  origin  and  the  use  of 
the  accent.  The  Jews,  in  all  probability,  made  use 
of  it  to  distinguish  the  sense,  as  well  as  to  regulate 
the  musical  cadence  or  melody ;  they  undoubted- 
ly sang  instead  of  reading  the  Scriptures  in  their 
synagogues.  The  Chinese  and  Siame-c  are  noted_ 
for  the  musical  accent  with  which  they  speak ; 
they  pay  great  attention  to  accent  —  the  Chinese 
from  necessity,  since  Ya  in  their  language  means 
God,  a  wall,  excellent,  stupiditij,  and  a  goose ;  so 
that  it  depends  entirely  upon  the  accent  what 
they  say.  The  names  wliich  the  Greeks  gave 
their  accents  prove  that  their  eflect  was  musical, 
consisting  in  a  variation  of  the  tone  of  voice  in 
respect  to  acuteness  and  gravity.  The  ancients 
instituted  academies  for  the  management  of  the 
voice;  and  some  of  them,  when  declaiming  in 
public,  it  Is  said,  were  accustomed  to  have  a  mu- 
sician stationed  behind  them,  in  order  to  regulate 
the  tones  of  the  voice  by  a  pipe  or  flute.  Many 
passages  might  be  cited  from  Cicero,  Quinc- 
tiUan,  BoetMus,  and  Plutarch,  in  order  to  prove 
that  not  only  miLsicians,  but  others,  had  a  tiota- 
tion,  by  which  the  inflections  of  the  voice  peculiar 
to  their  several  professions  of  singing,  &c.,  were 
ascertained.  Mr.  Steele  ascertained  that  very 
minute  intervals  could  be  accurately  marked  for 
the  purpose  of  ascertaining  the  most  effective  in- 
flections of  the  voice.  He  was  abo  able  to  imitate, 
upon  a  ^•ioloncello,  the  exact  tone  of  the  voice 
ui  declamation,  as  it  naturally  passes  from  grave 
to  acute,  and  from  acute  to  grave,  and  to  express 
it  in  writing.  With  a  finger  on  the  fourth  string 
of  a  violoncoUo,  and  a  corresponding  motion  of 
the  bow,  he  imitat<Kl  the  precise  tones  of  speech,  by 
rapidly  sliding  the  finger  up  and  down  the  string, 
so  as  to  produce  a  continued  transition  of  the 
sound  I'rom  acute  to  grave,  or  the  contrary.  This 
kind  of  musical  tone  is  very  diflerent  from  any 
succession  of  notes  in  the  diatonic,  cluomatic,  or 
even  enharmonic  scales ;  for  the:>e  aU  consist  of 
iiUcrvaU,  or  sudden  starts  from  tone  to  tone.  But 
the  music  of  declamation  Is  a  continual  and  in- 
sensible gliding  upwards  or  do^^^lwarcls,  witliout 
any  sudden  transitions  of  tone.  It  Is,  however, 
perfectly  susceptible  of  notation,  and  on  principles 
altogetlier  analogous  to  our  common  method  of 
writing  music,  as  was  shown  by  Mr.  Steele,  who, 
to  denote  this  kind  of  melody,  inscribed  on  the 
start"  of  five  lines,  instead  of  crotchets  and  quavers, 
a  set  of  right  lines  obliquely  ascending  or  de- 


li 


ACC 


ENCYCLOPAEDIA    OF    MUSIC. 


ACC 


icending  through  a  space,  correspoudiiig  to  the 
musical  inten-al,  through  which  the  voice  natu- 
rally glides  ill  speaking.  The-ie  sliding  notes  or 
mark.s  of  declamation,  when  taken  out  ot'tlie  statl', 
are  the  exact  representations  of  the  ancient  ac- 
cents. Mr.  Steele  made  considerable  progress  in 
analv/ing  and  recording  the  melody  of  Ki)eoch, 
and  could  repeat  a  sentence  as  correctly  as  if  it 
had  been  set  to  music,  'llicro  is  a  musical  ac- 
centuation observable  in  all  pleasijig  declamation. 
When  wo  utter  the  interjection  Oh  !  under  the 
strong  impression  of  wonder  or  surjirise,  we  use 
a  circumiie.x  musical  slide,  lirst  a.scending  and 
then  descending  through  no  less  an  intervid  than 
a  w  hole  octave,  thus  :  — 


"WHicn  the  musical  accent  denotes  sorrow,  the 
tone  of  the  voice  continues  all  the  while  at  the 
same  pitch ;  for  it  is  the  natural  character  of  grief 
to  be  monotonous.  An  accented  syllable  may  be 
long  or  short,  ^\^lcn  the  stress  is  laid  upon  the 
vowel,  as  in  GLo-ry,  FA-ther,  Ilo-ly,  kc,  the  sylla- 
ble is  long  ;  when  upon  the  consonant,  as  in  hab- 
it, bat-tie,  bor-row,  i>ic.,  the  syllable  is  short.  In 
mu-sic,  generally  speaking,  the  notes  or  parts  of  a 
bar  on  which  the  emphasis  naturally  falls  are 
said  to  be  accented.  Li  common  time,  whether 
vocal  or  instrumental,  the  first  and  third  parts  of 
a  bar  are  accented ;  and  in  triple  time,  the  hrst 
and  last  note,  as  ^^■ill  be  sliowu  herealter.  Accent 
is  the  aritlunetical  order  by  which  the  contents 
of  a  bar  ixie  di\'ided  and  arrangetl.  .Vlthougli  the 
principles  of  the  accent  belong  cliiedy  to  the 
composer,  yet  the  performer  ought  not  to  be  un- 
acquainted with  them.  To  accent  is  to  utter  a 
note  or  syllable  with  a  particular  stress  or  modu- 
lation of  voice  ;  it  is  a  swelling  of  sounds,  for  the 
purpose  of  variety  or  expression.  The  accented 
and  unaccented  parts  of  a  bar  in  the  several  meas- 
ures may  be  seen  in  the  following  e.xamples.  In 
the  sign  of 

or  and 


the  first  note  is  accented,  the  second  unaccented, 
the  third  accented,  and  the  fourth  unaccented, 
thus  : — 


Exftinptea. 

A.V.A.V. 

A.  U.  A.  U. 

A.  U.  A.  U. 

A               1111 

^     S 

-r-^f  d 

#^^^ 

'III 

C^  1a  llM  cuinplM,  A.  uasik  for  Aecvotwl.  U.  fa*  L'bmocbi 

Ii.  the  sign  of  2  or  j,  the  first  note  is  accented, 
and  the  second  unaccented,  thus  :  — 


A.U. 

A.        U. 

A.  U. 

A.    C. 

A.    IT. 

1^     9     *>   m  m 

. 

.    . 

t\    s    a   ^  » 

^   ,      ^ 

a     4    •>  1 

r     r 

'        W      J 

•4     a' 

'           ' 

In  the  signs  of  »,  J,  |,  the  first  note  is  accented, 
the  second  unaccented,  and  the  third  accented. 

A.  U.  A.      A.  U.  A.         A.  U.  A.         A.  i:.  A.       A.  U.  A. 


m 


rg^FrfHTTfffi^ 


±Sz 


-v-^ 


^ 


III  the  signs  of  «,  ^  the  first  and  third  notes  ore 


accented,  the  second  unaccented,  the  fourth  and 
sLxth  accented,  and  the  fifth  unaccented. 

A.  U.  A.  A-  U.  A.  A.U.A.  A-f.A.         A.U.A.    A.U.A. 


gg^gy 


In  the  signs  of  '-j  '-^  the  accents  lie  in  the  order 
of  "  and  'ij.  In  the  signs  of  J,  ^,  the  accents  lie  in 
tlie  order  of  J  and  ^, 

ITie  tcnns  aa-ctiUd  and  wiaere/itcd  strictly  re- 
quire no  dirt'orence  in  the  strength  of  tone.  In 
vocal  music,  if  any  diHerence  be  allowed,  it  rauit 
arise  from  the  i)ronunciation  of  accented  and 
unaccented  syllables.  Accent  is  a  cerUiin  modu- 
lation or  warbling  of  the  sounds  to  exprc^w  jjas- 
sion  ;  either  naturally  by  the  voice,  or  artiticiallv 
by  instruments.  Every  bar  or  mea.siire  Is  divided 
into  the  accented  and  unaccented  parts ;  the 
former  being  the  cmphatical,  on  which  the  spirit 
of  the  music  depends.  Tlic  notes  or  parts  of  a  bar 
on  wliich  the  emphasis  naturally  falls  arc  said  to 
be  accented.  The  tonic  accents  are  intended  to 
give  the  proper  tone  to  syllables,  and  are  divided 
into  grammatical  and  musical.  Upon  aecenl  the 
spirit  of  music  depends.  The  hannony  shoxild 
be  always  lull,  and  void  of  discords,  in  the  ac- 
cented parts  of  the  measure.  In  the  unaccented 
parts  this  Ls  not  so  necessary,  discords  here  pass- 
ing without  any  great  offence  to  the  ear.  lu 
music,  as  in  speech,  we  may  designate  several 
distinct  kinds  of  accent.  ITie  t/ranumitifai  or 
measure  accent,  the  rhytlnnical  accent,  and  the 
descriptive,  or  accent  of  feeling,  are  i)erhaps  the 
most  important  of  all  the  various  kinds.  Accent 
Ls  a  peculiar  tone,  or  natural  expression,  given  to 
certain  parts  of  each  meinure  in  every  sjieiies  oi 
time ;  and  without  accent  there  Ls  no  more  mel- 
ody in  song  than  in  the  humming  of  a  bee;  and 
without  the  regular  management  of  long  and 
short  syllables  there  can  be  no  versification. 
'ITiere  are  as  many  different  accents,  or  modes  of 
enforcing  or  enfeebling  the  meaning  of  words,  in 
music  as  in  speech.  There  is  a  i/vs  that  says  no, 
and  a  7to  that  says  yes.  The  voice  of  a  feeling 
singer  can  modulate  all  these  shades,  and  affect 
the  hearer  on  the  side  of  intellect  as  well  as 
sense.  Accent,  in  its  primitive  sen-ie,  Ls  an  affec- 
tion of  the  voice,  which  gives  each  syUidile  of  a 
word  its  due  jjitch,  in  respect  to  height  or  low- 
ness.  By  accent  we  Icam  the  raiinner  in  whicli 
sounds  are  vittered,  without  re.erence  to  their 
loudness  or  softness.  The  same  note  may  be 
struck  on  a  drum  with  a  glove,  or  with  a  stick, 
but  the  accent  will  be  entirely  different.  'Hie  natu . 
ral  accent  of  all  instruments  Ls  different,  but  may 
be  varied  by  certain  methods  of  ])laying.  'iliis  is 
particuliurly  the  case  with  the  violin,  upon  which, 
by  means  of  the  bow,  every  variety  of  accent  may 
be  produced.  As  no  characters  have  been  ado])ted 
that  will  sufficiently  express  the^o  varictic!*,  it  is 
evident  that  accent  must  depend  ])rincipaUy  upon 
the  tiuste  and  fancy  of  the  perfonucr.  Accent  is 
a  modulation  of  the  voice  to  express  a  pa.->sion. 
Every  bar  or  measure  Ls  dividetl  into  cuxeiUrd  and 
uiuuTcitied  parts.  "Yhc  accented  jiarts  arc  the 
principal,  being  those  intendeil  chiefly  to  move 
and  affect ;  it  is  on  these  tl'.e  spirit  of  the  music 
depends.  Ilio  lieginuing  and  middle,  or  the  be- 
ginning of  the  first  half  of  the  bar,  and  tiie  he- 
ginning  of  the  latter  half  thereof,  in  common  time, 
and  the  beginning  or  first  of  the  tin  e«    uotva  ii 


AUG 


ENCYCLOPAEDIA    OF   MUSIC. 


ACC 


trijjle  time,  ai-e  always  the  accented  parts  of  the 
nu'iL-iure.  In  common  time,  the  first  and  third 
crotchet  of  the  bar  are  on  the  accented  parts  of 
the  measure.  In  triple  time,  where  the  notes  al- 
ways (;o  by  tlirce  and  thrfo,  that  which  is  the 
niicldlc  of  every  tlucc  is  always  unaccetUed ;  the 
tirst  and  last  acccntetl ;  but  the  accent  in  the 
lirst  is  80  much  stronger,  that  in  many  cases  the 
last  Ls  accounted  as  if  it  had  no  accent.  'Y\\q 
hanuouy  is  always  to  be  full  where  the  accent 
tails. 

EXAMPLES. 

131121        12   3    1        123112       3       4 

Gm-ry.  I  Ho-ly.   I    JlKL-o-(ly.  |    UAR-mo-ny.   |   iN-itru-MES-taL 

1234         I        12    3      4SCI12345S 

Ji-bi-LA-lc.       I      Mu-ui-ci-i'AL-i-ty.     |     iM-pos-si-uiL-i-ty. 

Every  species  of  measui'e  may  be  subdivided 
by  accent  according  to  the  degree  of  rapidity  in 
which  it  Ls  performed  ;  and  the  weak  part  of  any 
measure  may  be  made  emphatic  at  the  pleasm-e 
of  the  composer.  To  this  last  species  of  effect 
may  be  referred  all  si/ncapaled  or  driving  notes.  In 
psalm  suaging,  the  accent  of  the  music  should 
confonn  to  the  words,  because  words  are  often 
u^cd  entii-cly  different  from  those  adapted  to  the 
music.  If  the  words  require  it,  the  accent  may 
full  on  the  unaccented  part  of  the  measure.  It  is 
better,  however,  where  it  can  be  done,  to  alter 
the  rhythm  of  the  music  so  as  to  make  it  conform 
to  the  words.  There  is  no  way  of  giving  expres- 
sion to  words  but  with  accent,  and  without  accent 
we  cannot  make  music.  All  monotonous  sounds 
are  very  disagreeable  to  the  ear,  and  it  is  certain 
that  the  different  degrees  of  loud  and  soft  give 
the  greatest  jjleasure  to  the  ear. 

ACCENTED.  Uttered  with  accent.  Those 
notes  or  those  jmrts  of  a  bar  are  said  to  be  accented 
on  which  the  empluisLs  or  expression  naturally 
falls.  In  common  time,  of  four  crotchets  in  a 
bar,  the  accentuation  \^-ill  fall  on  the  first  and 
thiid  crotchets  of  the  bar  ;  in  triple  time,  on  the 
first  note  of  the  bar. 

ACCENTER,  or  ACCENTOR,  in  the  old 
music,  denoted  the  vocal  or  instrumental  per- 
fonuer  who  took  the  leading  part  in  a  duet,  trio, 
quartet,  &c. ;  one  of  thetliree  singers  in  parts,  or  the 
person  who  sang  the  predominant  part  in  a  trio  ; 
the  director,  or  leader,  with  whom  the  accentua- 
tion of  the  performance  in  general  chiefly  rested. 

ACCENTS.  TliLs  plural,  in  the  old  music,  sig- 
nifies verso,  or  song,  and  is  derived  from  the 
Latin  words  canere  (to  sing)  and  ca«/i(.»,  (song;) 
wlience  the  derivation  of  accentits,  the  former 
denoting  accent,  the  latter  a  musical  concert,  or 
the  melody  of  birds. 

ACCENTUATION.  Tlie  act  of  accenting ;  the 
gi'i'ing  to  the  several  notes  of  a  composition  their 
(lue  emphasis,  or  expression  ;  the  art  of  placing 
accents,  or  of  pronouncing  them  with  the  voice. 
In  vocal  music,  it  is  best,  and  it  is  a  general  rule, 
to  obser\-e  that  the  accent  conform  to  the  words ; 
for  without  accent  there  can  be  no  such  thuig 
as  music. 

ACCENT  OF  NOTES.  The  bars  of  music 
are  not  only  useful  for  diWding  the  movement 
into  equal  measures,  but  also  for  showing  the 
notes  upon  which  the  accent  is  to  be  laid.  The 
measxires  of  common  time  are  divided  into  four 
parts ;  of  these,  the  first  and  third  are  accented ; 


the  second  and  fourth  unaccented.  AVe  shall 
term  the  accented  strong  parts,  and  >)ie  unaccent- 
ed weak  parts,  of  the  measure,  thus  : — 


^ 


i3rt± 


f^^^Tg^ 


StroDg.  Wemk.    8.      W. 


The  measures  of  triple  time  consist  of  three 
parts ;  the  first  strong,  the  two  others  weak ;  al- 
though the  last  part  is  rather  strong  m  compari- 
son of  the  middle  part. 


i 


^ 


J I J  J  J I  ^~f^ 


S.  W.    8.        S.    W.    8.        8.  W.    S.       8.  W.    8. 

In  slow  common  time,  the  accents  are  more  fre- 
quent ;  but  they  are  found  in  the  same  i)ropor- 
tion  on  the  first,  third,  fifth,  and  seventh-  qua- 
vers, which  are  the  strong  parts,  while  the  second, 
fourth,  sixth,  and  eighth  are  the  weak  parts.  In 
three  crotchet  time,  when  divided  into  quavers, 
the  first,  third,  and  fifth  quavers  are  strong  ;  the 
second,  fourth,  and  sixth  weak.  In  six  quaver 
time,  the  first  and  fourth  quavers  are  strong,  and 
the  others  toeak.  From  tlie  nature  of  accent 
arises  the  necessity  of  lieginning  some  move- 
ments with  only  part  of  a  measure,  as  with  a 
single  weak  part,  thus  :  — 


fe 


± 


:^±: 


^M=3^ 


From  the  same  reason   arises  the  necessity  of 
commencing  a  melody  with  a  half  measure,  as,  — 


1   r.   r  •A 

\   1  j;  y  #  1 

— \ — 

^'     !     1 

— ' — ^ — i — ' — 

dv. 


The  following  melody,  barred  in  two  different 
ways,  produces  two  opposite  effects,  the  accent 
falling  upon  different  notes. 


OrigiDkl  Sfclodj. 


!,  b«md  dUTcrcBtl;. 


"WTien  the  composer  intends  that  the  tccak  parts 
of  the  measure  should  be  made  of  more  impor- 
tance than  the  strong  parts,  such  deviation  from 
the  regular  accent  should  be  termed  emphasis. 
In  passages  like  the  following,  the  quavers  are 
often  grouped  together  according  to  the  empha- 
sis, aud  not,  as  is  general,  according  to  the 
accent. ' 


m 


=i=?i 


##» 


s^ 


V-L^-i^J^ 


In  the  first  two  measures  of  this  example,  tlie 
quavers  are  grouped  according  to  the  accent ;  in 
the  third,  according  to  the  emphasis,  contrary  to 
accent ;  aud  in  the  fourth,  the  accent  again  re- 
sumes its  importance.  The  Germans  ditide  ac- 
cent into  two  principal  species  —  grammatical 
and  rhetorical ;  and  the  first  of  these  we  term 
here  accent,  and  the  last  emphasis.     The  Italiaa 


\6 


ACC 


EXCYCLOP.T.DIA    OF    MTSIC. 


ACC 


words  Riiiforzando,  Sforzato,  or  their  contrac- 
tion's, ]{int'.,  lit".,  Sforz.,  St".,  are  often  used  to 
mark  the  emphasis,  and  Bomctimes  are  phiced 
over  accented  notes.  As  every  Kiiecics  of  mea.s- 
nre  may  be  Bubdivided  by  accents  according  to 
tlie  decree  of  <lui(•kne^^s  in  which  it  in  perfonued, 
80  also  the  weak  parts  of  every  measure  may  be 
occa-'ionally  made  emphatic  at  the  jjleasuro  of 
the  compo-^er.  To  this  species  of  effect  may  be 
referred  the  syncopated  or  tlrichirj  notes,  which 
begin  on  the  weak  and  end  on  tlie  strong;  part 
of  the  mea-suro.     See  the  following  examples  :  — 


fm^^^mm^ 


In  this  example,  the  emphasis  is  on  the  synco- 
pated minims,  which  begin  on  the  second  and 
end  on  the  third  i)Hrt  of  the  measure. 


Wi^^^^ 


4= 


In  this  example,  the  emphasis  is  on  the  s>-nco- 
pated  crotchets,  which  begin  on  the  second  and 
sixth,  or  the  weik,  and  end  on  the  third  and 
Bcventh,  or  the  strong  partt  of  the  measure. 

ACCENT  OF  FEEI.IXO.  This  accent  breathes 
tliro\igh  the  whole  subject  an  animating  sjiirit. 
It  is  the  most  spontaneous,  quick,  and  docjilv 
ir.wroilght  product  of  every  good  performer,  ft 
^ves  the  execution  designed  both  by  the  author 
of  tlio  words  and  the  writer  of  the  music. 
^^^leu  one  hears  it,  he  can  revel  in  the  full  lux- 
ury or  music  ;  and  to  thus  enjoy  song,  one  can 
have  no  hired  minstrel,  no  crowded  benches,  no 
g.aro  of  lumps,  no  Imstle.  He  must  have  a  still, 
calm  eye,  in  some  ((uiot  bower,  away  from  the 
hum  of  c'.tles;  with  one  who  needs  not  ask  or  be 
told  what  string  to  strike  —  one  who  will  cling 
to  the  merit,  not  the  less  precious  that  we  sel- 
dom hc:ir  it,  the  pathetic  simplicity  which  na- 
ture i)rompts  —  whose  heart  Ls  in  the  strain 
breathed  lorth  —  carolling  in  its  own  created  at- 
mosjiliere  of  harmony.  Such  is  a  banquet  at 
which  there  would  be  no  chai.oc  "  that  the  ap- 
petite should  sicken,  and  so  die."  To  such  a 
least  one  would  be  even  selfish  enough  to  wish 
no  fellow-guests.  One  would  have  no  voice  to 
break  the  spcU  —  to  startle  the  si)ii-it  from  its 
trance  of  enchantment  —  to  mar  with  the  sountLs 
of  eiirth  the  tones  which  bless  us  with  dreams 
of  heaven. 

ACCESSORY  PARTS.    Accompaniments. 

ACCESSOUY  SOUNDS.  I,ittle  sounds  which 
aid  in  producing  effect  in  a  secondary  manner. 

ACCESSORY  TONES.  Harmonics.  Tones 
faintly  heard  in  higher  octaves,  as  the  principal 
tone  dies  away. 

ACCIACCARE.  (I.)  A  broken  and  unex- 
pected way  of  striking  a  chord. 

ACCIACCATURA,  or  ACCIACCATURE.  (I.) 
(Old  tcnn, nciirly  equivalent  toAp/mf/ijialiim.)  Cle- 
menti  says  that,  in  the  old  music,  this  character, 
half  boat,  is  sometimes  found  placed  on  the  sem- 
itone above,  and  taken  as  a  flat.  Acciaccatura  is 
particularly  used  to  indicate  the  manner  in 
which  certain  passages  are  intended  to  be  per- 
formed on  the  harjisichord,  and  signifies  that 
•weeping  of  the  chords,  and  dropping  of  sprin- 


kled noie-1,  which  are  particularly  proper  in  ac- 
companiments, and  which  constitute  one  of  the 
greatest  beauties  of  that  instrument,  (icrmini- 
aiii  asserts,  in  his  "  Treatise  on  Good  Taste,"  i)ub- 
lished  in  1719,  that  the  Acciaccatura  had  been 
then  in  Ufie  above  a  hunilred  years.  It  is  said 
by  some  to  be  a  useless  ornament ;  still  it  is 
much  used  by  the  most  skilful  performers,  and 
is  a  grace  pecuhar  to  the  piano-forte  and  organ. 
It  Ls  always  expressed  by  a  small  note  before  the 
principal  note,  and  is  generally  a  semitone  bcloio 
the  principal  note,  as  follows :  — 


^^^ 


r^:± 


Tliero  is  another  species  of  Acciaccatura,  which 
is  expressed  by  the  sign  i^c,  and  is  tcnned  by 
some  the  Double  Acciaccatura. 

<    -  As  vHtuo. 


=*c:#= 


-^j ^J ^ 


S 


I 


ACCIAJTOEI,  FII.IPPO.  A  dramatic  poet 
and  comiioscr,  born  at  Rome,  in  Irt.'i".  lie  wrote 
the  words  and  comjioscd  the  music  to  several 
operas.  He  is  the  first  composer  whose  name 
we  observe  to  a  comic  ojiera,  such  as  wa.s  li Ls 
"  Oirello,"  perfonned  with  success  in  Ui'o.  IIi« 
grand  operas  were  "La  Damira  I'lacala,"  i)lpyed 
in  1<>S0,  and  "  Vlisse." 

ACCIDENS.  A  French  term,  applied  to  flats, 
sharps,  and  naturals,  which  are  found  before  or 
after  particular  notes  in  the  course  of  a  piece. 

ACCIDENTAL.  An  epithet  applied  to  such 
accessory  sharps,  flats,  or  naturals  as  do  not  ap- 
pertain to  the  original  key  of  any  piece ;  some- 
thing non-essential,  as  songs  are  accidental  to  a 
play. 

ACCIDENTALS.  Sharps,  flats,  and  naturals 
are  called  accidentals  because  they  are  used  to 
change  the  sound  of  letters,  as  the  chord,  of 
which  these  letters  are  a  jiart,  may  re<]tiire  ;  and 
because  they  artect  the  sound  of  the  letters  upon 
which  they  are  set  no  fart/u-r  than  the  compass  of 
the  bar  in  which  they  are  enclosed.  If  there  be 
occasion  for  them  in  a  succeeding  bar,  they  mu«*. 
he  again  renewed;  but  if  one  measure  eniLs  i:.d 
the  next  begins  with  the  same  note,  the  tccl- 
dental  chamcter  which  alters  the  first  note  is  un- 
derstood to  affect  the  second.  Those  flats,  and 
sharps,  and  naturals  which  are  seen  at  the  com- 
mencement of  a  movement  are  not  accidentals 
but  are  called  the  Siiinntiire,  and  denote  the  key 
in  which  the  piece  is  to  be  j-erlomied.  A  shari>, 
flat,  or  natural,  frequcntlv  implies  some  change 
of  key,  or  dirterent  modulation  from  that  in 
which  the  piece  commenced,  and  some  consider 
these  signs  as  e<iually  affecting  the  key,  whether 
found  at  the  commencement  or  in  the  progress 
of  the  tune.  Rut  we  generally  designate  Ihc 
flats,  sharps,  Jtc,  at  the  beginning,  as  *.he  signa- 
ture, and  such  as  come  aftcrwaritd  in  the  music 
as  accidentJils 


17 


A.CC 


ENCYCLOPyEDIA    OF    MUSIC. 


ACC 


EXAMPLES  OP  THE  USE  OP  THE  ACCIDENTAI,. 


X/'^''?*' 


In  rums,  sometimes  the  first  of  the  four  notes 
3  )mpo.sin'r  it,  and  at  other  times  the  third,  are 
required  to  be  semitones  ;  in  which  case  they  must 
1)C  cxprcs:  ed  by  an  accidental  either  above  or  be- 
low the  sign  of  the  turn,  thus :  ,^,  '^,  .^, 

The  German  theorists  place  the  accidental  nhorc 
^^h^n  tl;c  iirst  note  is  required  to  be  a  semitone, 
and  when  the  third  note  Ls  a  semitone  they  place 
the  accidcntid  below,  as  ui  the  above  example. 

ACCIDENTAL  CIIOKDS.  Chords  which 
rcust  contain  one,  and  often  do  contain  several 
notes,  not  belonging  to  their  o-«-n  proper  har- 
mony—  which  may  be  occasioned  either  by 
means  of  anticipation  or  suspension. 

ACCIDENTAL  HAKMOXIES.  Koch  terms 
the  three  harmonies  of  the  key  essential,  and  the 
three  relatives  aecirlental.  Koch,  in  liis  Lexicon, 
has  placed  hLs  accidental  harmonies  in  this  point 
of  view.  He  considers  them  as  conucctiu!; 
chords,  and  seems  to  agree  with  Kirnbergcr,  who 
asserts  tliat,  by  a  species  of  transition,  the  har- 
mony of  the  triad  is  thus  united  to  another  of  its 
inversions. 

ACCIDENTAL  NOTES.  Notes  which  do 
not  belong  to  the  harmony. 

ACCOLADE.  That  brace  which  binds  or  in- 
cludes all  the  parts  of  a  score.  The  brace  at  the 
beginning  of  a  tune,  which  shows  how  many 
paorts  move  together. 


ACCOMPANIMEN'T.  The  instrumental  part 
of  a  composition,  which  moves  with  the  voice,  to 
which  it  Ls  to  he  kept  subordinate ;  it  also  de- 
notes th.e  parts  wliich,  in  a  concerted  piece,  move 
with  a  particular  instrument,  whose  powers  it  Ls 
the  object  of  the  composition  to  exhibit.  ITie 
accompanunent  is  considered  as  a  vocal  or  instru- 
mental accessory,  whieli  may  consist  of  an  un- 
limited number  of  parts,  to  supply  the  ncce.>sary 
chasms,  and  to  heighten  the  general  effect.  Ac- 
companiments must  be  executed  with  much  skill 
aud  delicacy,  and  in  such  a  manner  as  to  fiiltil 
not  only  the  object  of  the  composer,  but  to  admit 
of  the  leader  giving  the  full  effect  to  the  compo- 
sition, which  will  otherwir.c  make  but  a  feeble 
impression,  though  in  the  most  skilful  hands. 
Accomiianiments  are  in  no  dc.,'ree  susceptible  of 
embellishment ;  a  circunv^tance  which  Ls  too  often 
overlooked.  It  is  extremely  dillicult,  without  a 
pre\-ious  knowledge  of  the  composition  in  the 
person  accompanying,  to  treat  an  accompaniment 
in  a  way  which  is  at  once  judicious  and  jilcai-ing. 
It  is  generally  believed  that  the  accomjianimcnts 
of  the  ancients  consisted  in  nothing  more  than 
playing  in  octave,  or  in  antijihony  to  the  voice  ; 
though  the  Abb6  Fraguire  )ias  endeavored  to 
prore,  from  a  passage  iu  I'lato,  that  they  had  ac- 


tual s}-mi)hony,  or  music  in  parts.  The  accomp*- 
niment  truly  does  denote  souietliiug  attending,  or 
added  as  a  circumstance  to  another ;  cither  by 
way  of  ornament,  or  for  the  sake  of  s^iuraetry,  or 
the  like.  Organists  sometimej  apply  the  word 
to  several  pipes  which  they  occasionally  touch,  to 
accompany  the  treble,  as  the  drone,  flute,  itc. 
llie  nccomjjanimeut  Ls  always  a  part  or  jiarts  writ- 
ten for  instruments  wliich  accompany,  to  make 
the  music  more  full.  'Hie  accomiianiment  often 
plays  a  very  different  part,  or  melody,  from  the 
song  ;  but  authors  are  not  agreed  whether  it  was 
60  or  not  among  the  aucients.  An  efficient  ac- 
companiment, well  performed,  Ls  very  jjlcasing  to 
the  ear.  All  music,  says  AdtlLsoii,  is  to  deduce 
its  laws  and  rules  from  tlie  general  sense  ami 
taste  of  mankind,  and  not  from  the  principles  of 
the  art  itself;  or,  in  other  words,  the  taste  Ls  not 
to  conform  to  the  art,  but  the  art  to  the  taste. 
Music  is  not  designed  to  ])lease  only  cliromatic 
ears,  but  all  that  are  capable  of  dLstinguishing 
harsh  from  agreeable  notes.  A  man  of  an  ordi- 
nary ear  is  a  judge  whether  a  paiwiou  Ls  expressed 
in  proper  sounds,  and  whether  the  melody  of 
those  sounds  be  more  or  loss  pleasing. 

The  accompaniment  can  be  executetl  either  by 
many,  by  a  few,  or  even  by  a  single  instrument. 
We  have,  therefore,  pieces  of  music  with  an' 
accompaniment  for  several,  or  only  for  a  single 
liLstrument.  The  principles  on  which  tlip  effect 
of  the  accompaniment  rests  are  so  little  settled, 
that  its  composition  Ls  perhaps  more  diificult 
than  even  that  of  the  melody,  or  principal  part. 
Frequently,  the  same  musical  thought,  according 
to  the  character  of  the  accompaniment,  produce." 
a  good  or  bad  effect,  without  our  being  able  to 
give  a  satisfactory  reason  for  the  difference. 
Formerly,  the  Italians  were  the  most  dLstin- 
guLshed  for  expre^^sive  accompaniments,  con- 
tained in  a  few  notes,  but  productive  of  great 
effect.  They  never  weakened  the  effect  of 
the  prijicipal  part  by  means  of  the  accompani- 
ment. The  French  are  behind  some  of  the 
other  nations  in  respect  to  this  part  of  compo- 
sition, as  they  frequently  estimate  the  effect  by 
the  quantity  of  notes.  The  accompaniment  re- 
quires of  the  performer  the  most  scrupulous 
study,  and  of  the  composer  the  greatest  care  and 
delicacy.  Tlie  accompaniment  of  various  solo 
instruments  —  for  example,  the  violin,  flute, 
piano,  S:c.  —  is  extremely  difficult,  and  to  give  it 
full  effect  requires  great  knowledge  and  skill. 
The  Italian  composers  accordingly  consider  a 
piano  accompaniment  for  a  full  orchestra,  es- 
pecially in  the  recitative,  as  a  great  problem, 
which  they  have  labored  zealously  to  solve.  As 
the  object  of  every  musical  accompaniment  is  to 
give  effect  to  the  principal  part,  the  accompanist 
should  always  aim  to  support,  and  by  no  means 
to  overjiower  and  oppress  it.  Of  all  composers, 
Mozart,  even  in  respect  to  the  accom])animent.-', 
claims  the  first  place,  for  the  sim])licity  and 
beauty  with  which  he  amalgamates  the  leading 
and  accompanpng  parts,  through  his  unrivalled 
knowledge  and  e.xcellcnt  management  of  the 
parts  for  every  indi\-idual  instrumeiit.  'Yh.3 
modem  German  composers  excel  in  accompani- 
ment. 

ACCOMP.  Accompaniment,  abbreviated.  A 
separate  instrumental  part  added  to  any  com- 
position by  way  of  embellishing  the  piec6  and 
enriching  the  effect. 


18 


AUO 


ENCYCLOP-EDIA    OF    MUSIC. 


A.UC 


ACCOMPAGXAMEXTO.  (I.)  An  accom- 
0  tiiimeiit. 

ACCOMPAXIMEXT  AD  LIBIITM,  or  AD 
LIB.  Accompaniment  at  ploanue.  This  plira-se 
implies  that  the  movement,  or  pi(!ce,  at  the  head 
ol'  which  it  iii  placed,  may  he  pert'ormed  with  or 
without  the  accompaniment.  It  does  not,  how- 
ever, mean  that  the  performance  will  be  as  per- 
fect without  aa  with  the  accompaniment ;  but 
tliat  the  accompaniment  may  be  omitted  without 
any  material  detriment  to  the  intended  effect. 

ACCOMPAXIMEXl'  OBLIGATO.  This  ex- 
pression carries  with  it  a  sense  directly  opposite 
to  that  of  Accomjianiment  ad  Libitum ;  and 
when  viitten  at  the  bc:5iiining  of  a  .song,  solo, 
PoniUa,  &c.,  signifies  that  the  accompaniment  is 
indispensable  to  thejust  per»ormauceof  the  piece. 

ACCOMP.VXniEXTS.  Those  instrumental 
parts  in  a  composition  which  do  not  include  tlie 
principal  or  priucijials,  but  which  are  added  to 
relieve  them,  to  supply  the  necessary  chasms, 
fill  up  the  hannony,  decorate  and  variegate  the 
modvo,  and  heighten  the  general  effect. 

ACCOMPAXIST.  The  perfonncr  in  music 
who  takes  the  accompanj-ing  part.  One  who 
accompanies,  or  plays  the  accompaniment  to  any 
piece  of  music  for  the  voice.  A  person  who  un- 
dertake:i  to  play  an  accompaniment  should  be  a 
skilful  musician,  and  oxight  perfectly  to  under- 
stand the  music ;  he  must  possess  a  quick  ear 
and  good  taste,  or  he  will  mar  the  beauties  of  tlie 
music.  As  he  will  have  the  pitch  to  sustain,  he 
must  restrike  firmly  any  notes  where  the  voice 
falters.  There  should  never  be  any  attempt  at 
disjilay,  except  in  tlie  sj-mphony. 

ACCOMP.VXY.  To  perform  an  accessory  and 
subordinate  part,  calculated  to  set  off  aud  improve 
the  effect  of  the  principal  part. 

ACCOPIATE.  Parts  united,  joined,  or  cou- 
pled by  a  brace. 

ACCORDEOX.  (Spelled  also  .Iccocfto;!.)  The 
accordeon  Ls  an  instrument  entitled  to  notice.  It 
produces  melodious  sounds,  and  is  remarkal)lc 
for  its  peculiar  sweetness  and  power  of  tone. 
Difficult  passages  can  be  pcribrmed  on  it  with 
taste  and  delicacy ;  while  the  bold  swell  of  the 
organ,  the  enchanting  tones  of  the  .Eolian  haq), 
and  the  dulcet  strains  of  the  hautboy  arc  happily 
united.  In  the  performance  of  quadrilles,  waltzes, 
and  other  melodies,  it  is  capable  of  giving  to  the 
different  compositions  grace  and  expression.  It 
may  bo  played  upon  (if  attention  is  i)aid  to  the 
dii'ections  here  given)  by  the  most  inexperienced 
learner,  who  will  insensibly,  as  it  were,  be  taught, 
without  any  knowledge  of  the  science  of  music, 
to  distinguish  the  various  expressions  and  pas- 
sions which  music  is  intended  to  convey.  ITie 
accordeon  being  so  well  known,  any  detailed 
account  hero  of  its  size  or  shape  seems  to  he  un- 
necessary. The  sounds  are  jiroduccd  by  the 
action  of  wind  upon  metallic  springs.  Elach 
spring  Ls  fixed  in  a  metal  frame,  and  placed  in  a 
small  groove  or  channel  under  the  different  keys  ; 
the  wind,  passing  either  into  or  from  the  bellows, 
causes  the  spring  to  vibrate  immediately  when  a 
key  ia  pressed.  Tlie  touch  is  particularly  light, 
tlie  articulation  distinct,  and  the  performer  has 
the  means  of  increasing  or  diminishing  the  tone 
at  pleasure.     Accordeons,    tliough    now    much 


manufactured  in  tliis  country,  have  former.y  been 
chiefly  mado  in  France  and  Germany.  'ITioso 
made  in  France  ssould  he  held  in  the  right  hand, 
and  those  in  (.ieiTnany  in  tlie  left.  They  may  Ije 
played  either  in  a  sitting  or  standing  position : 
the  former  Ls  better  adapted  to  ladies.  It  may 
here  be  observed,  as  a  general  rule,  that  on 
every  accordeon,  the  first  finger  of  either  hand 
should  always  lie  placed  upon  that  end  of  tlie 
instrument  which  produces  the  lowest  note. 
^\^lile  sitting,  the  end  of  the  accordeon  may  b« 
supported  by  resting  it  upon  the  knee,  which 
should  be  raised  by  placing  the  foot  upon  an 
ottoman,  carefully  remarking  that  the  leather 
folds  of  the  bellows  are  quite  clear  from  touching 
any  part  of  the  dress,  ^\^len  the  performer  is 
BtantUng,  the  instrument  may  be  supported  by 
the  thumb,  either  by  preivsing  the  inside  of  it 
against  tlie  under  jiart  of  the  brass  rail,  which  is 
fixed  and  runs  along  at  the  back  of  the  keys,  or 
by  passing  the  thumb  so  far  into  the  loop  as  will 
enable  the  fingers  to  reach  the  extreme  keys  with 
ease  and  facility.  The  first,  second,  third,  aud 
fourth  fingers  should  be  in  readiness  to  press  any 
of  the  keys,  marked  I,  2,  3, 4,  &c. ;  the  other  keys 
are  used  by  extending  the  little  finger,  or  by  re- 
moving tlie  hand  towards  that  end  of  the  instru- 
ment, 'llie  otlier  hand  should  hold  tlie  opposite 
side  of  the  accordeon,  the  thumb  resting  on  one 
of  tlie  ebony  or  pearl  slips,  and  the  second,  third, 
and  fourth  fingers  on  the  opposite  side,  the  first 
finger  being  left  at  liberty  to  open  the  valve  when 
necessary.  The  two  keys  which  are  affixed  at 
the  opposite  directions  of  the  instrument,  when 
raLsed,  make  an  accompaniment,  harmonizing  with 
the  whole  of  the  keys  in  front,  and  may  be  used 
or  not,  at  pleasure.  Each  key  produces  two 
chords,  if  the  end  keys  are  raised,  and  two  sin- 
gle notes,  if  the  end  keys  are  closed  ;  one  by 
drawing  the  bellows  outward,  the  other  by  press- 
ing the  bellows  inward  ;  so  that,  on  every  accor- 
deon, there  are  t^vice  as  many  notes  as  there 
are  keys.  Those  instruments  which  have  tlio 
accompaniment  stops  fixed  in  front,  at  the  bot- 
tom, require  the  pressure  of  the  second  and  tliird 
fingers,  to  keep  them  open,  as  long  as  the  dura- 
tion of  the  hunuouies  is  necessarj-.  Should  it 
be  required  to  repeat  a  chord,  after  the  bellows 
have  been  qiute  compressed,  or  expBnde<l,  the 
first  finger  must  open  the  valve,  that  the  air  may 
escape  during  tlie  reaction  of  the  bellows,  in 
order  to  prevent  the  production  of  another  sound. 
The  bellows,  by  being  gi'adually  opened,  augment 
or  su]ipre.s8  the  sound  at  pleasure  :  the  quicker 
the  motion,  the  louder  the  tone,  and  rice  rersA. 
Particular  care  shoidd  bo  taken  not  to  move  the 
bellows  wthout  a  kev  or  the  valve  being  opened  ; 
for  should  bolh  be  shut,  and  the  bellows  moved, 
the  instrument,  by  being  nearly  air-tight,  might 
be  considerably  injured.  A  figurative  represen- 
tation is  added  to  all  the  following  scales,  which 
will  enable  persons,  without  much  knowletlgc  of 
music,  to  play  on  the  accordeon.  Tlie  figures, 
which  are  counted  upwards  from  the  key  pro- 
ducing the  lowest  note,  1,  2,  3,  4,  &c.,  plnrevl 
undor  or  over  the  notes  describe  what  keys  am 
to  be  touched  ;  and  without  any  other  mark  ovci 
tliem,  the  bellows  must  always  be  ilrawn  out- 
wards.    ^\'hen  this  sign.  A,  occurs,  the   bellow 

should  be  pressed  inwards.     The  dash  lincx 

— ,  after  a  figure,    indicate  that   the  note  i«  t"  b  • 
produced  on  the  key  last   pressed,    l>y  tlic  movo- 


19 


ACC 


ENCYCLOPAEDIA    OF    MUSIC. 


ACO 


ment  of  the  bcUows  only.  A»,  when  used,  shows 
tliat  the  viilve  is  to  be  opened,  to  allow  the  bel- 
lows to  contract,  or  expand,  lor  the  succeeding 
n3te,  as  occa.-iion  may  retiuire.  The  lenf^th  of 
each  note  dejiends  on  the  performer  ;  the  slower 
the  bellows  are  moved,  the  lonf^er  the  duration, 
avd  the  converse.  To  make  a  shake,  the  instru- 
ment should  be  held  very  tinnly  in  one  hand,  and 
after  the  bellows  have  been  drawn  out  about  four 
inches,  the  other  hand  should  move  them  in  and 
out,  with  a  c^uick,  tremulous  motion.  'Die  scales 
are  all  wi-ittcn  in  the  key  of  C,  as  that  key  Ls  the 
moct  easy  ;  and  melodies  for  the  accordeon,  may 
be  all  easily  transposed  into  that  key.  Accordeon 
mlJ^ic  is  generally  written  in  the  key  of  C. 

All  exercises  and  melodies,  liuj^ered  for  the 
accordeon,  with  G  keys,  may  be  jilayed  with  equal 
facility  on  those  with  8,  10,  or  12  keys,  if  the 
key-note,  which  Lsthe  second  key  on  each  of  the 
latter  instruments,  be  considered  as  the  first, 
omitting,  in  the  calculation,  the  lowest  key  en- 
tirely. The  learner  should  be  very  particular 
in  learninj;  the  scale  ;  for  if  well  acquainted  with 
the  manner  of  producin}^  every  note  in  the  scale, 
any  piece  of  music  can  be  played,  as  notes  in  the 
same  situation  ai-e  always  made  the  same  way. 


Scalt  of  the  French  Accordeon  with  6  Keys. 

AeeovpftnTins  Cbonlf. 
BtilpiiaiuocUTcWwir.       1        A2A3AA  A  /| 


m. 


^r-^^—ir-^^ 


^^ 


^ 


-0-^ 


KEV  NOTE. 

Ti  C8  C        DEPOABCDBFQ 

Prvwcdia.  I  DnwD  uiit.  I  Dnw.  I  Pr.  DrDrroppr    Dnwn. 

NOTI. — Accorileon  music  may  be  fingered  differently  in  dif- 
fcreut  books.  The  learner  will  be  itble  tojudgc,  however,  whei 
any  change  of  movement  in  the  bellows  lieeomee  necessary. 


Scale  of  the  French  Accordeon,  with  8.  10,  and  12  Keys. 


•  of  the  NoiM. 

0      B     C     D      K     F     0 

How  u  b«  prO(la««>L 

Pressed.  Drawn,    d     p      d     p      d     p      D 


ABC 
p      p      D 


S    - 


10    -    11    -    la    - 

^        ±-  A  r       .^        2? 


£ 


rt=:4: 


DEFGACBEDGFCAK 
PDPDPDPDPDPDPD 

f  Ad  oeUTt  higher. 

Scale  for  tht  German  Accordeon,  with  6,  8,  and  10  Keys. 


A  A  A  A  A       A 

4-5-6-7-8    -V  9-10 


«-p+ 


^H 


^ 


r  NoTl. 

C  C  D  E  P 
P    P    D     P    D    P 


ABODE 
D    D    P     D    P 


Sv« 
■Ita 
FOBCDEFO 
DP     DPSPDP 


ACCORDANDO.     (I.)    Tuning.     In  tune. 

ACCORD  ARE.     (I.)    To  agree  in  sound;  to 
jecome  in  tune ;  to  put  in  tune. 

ACCORD ATUllA.     (I.)    The  scale  or  tuning 
'  the  open  strings  of  any  instnuncnt ;  the  notes 


G,  D,  A,  and  E  form  the  acccnrdatura  of   the 
violin. 

ACCORDER.    One  that  tunes  instruments. 

ACCORD.  To  agree  in  pitch  and  tone.  Thia 
is  a  French  word,  and  is  formed,  according  to 
some  authors,  from  the  Latin  (ul  cor ;  but  others, 
with  more  probabUity,  derive  it  from  the  French 
corde,  a  string  or  cord,  on  account  of  the  agree- 
able unison  between  the  sounds  of  two  strings 
struck  at  the  same  time.  AMience  also  some  of 
the  consonants  in  music  came  to  be  called  tctrn- 
chorch,  hexachordi,  &c.,  which  are  chords  of  a 
fourthand  a  sixth.  When  two  or  more  voices  or  in- 
struments are  perfectly  in  tune  ^vith  respect  to 
each  other,  and  their  tones  blend  and  mtennbt, 
so  as  to  form  one  consonant  and  harmonious  re- 
sult, they  are  said  to  accord.  Accord  is  generally 
used  as  concord,  and  has  the  same  meaning. 

ACCORD,  (noun.)  Sjiionj-mous  with  cAorrf ,- 
as,  the  accord  of  the  sLxth,  &c. 

ACCORDIBAXI,  AGOSTIXO,  a  Roman 
composer,  produced  several  operas,  and  other 
works,  between  the  years  1780  and  1790. 

ACCORBIBONI,  BALDASSARO.  An  Ital- 
ian church  composer  of  the  sixteenth  century. 

ACCRESSIMEXTO.  (L)  The  increase  of  a 
sound  ui  duration.  A  point  of  addition,  or  a  dot 
placed  after  a  note,  increases  its  length  one  hal£ 

ACCRES.  (I.)  A  term  the  sense  of  which 
is  similar  to  that  of  the  word  auijmentation ;  as, 
pu'ito  d'accressimcnio,  the  point  of  augmentation. 

A  CEMBALO,  or  A  CEMB.  (I.)  For  the 
harpsichord.  Since  the  happy  invention  of  the 
grand  piano-forte,  the  use  of  this  expression,  to- 
gether with  tlie  instrument  to  which  it  alludes, 
has  nmch  declined. 

ACETABULUM.  (L.)  An  ancient  instru- 
ment of  music. 

ACIITELXOTE.  German  term  for  an  eighth 
or  quaver. 

ACKERMAKN",  MADAME.  Her  maiden 
name  was  Baclimaiui.  In  the  year  179n,  she 
was  first  female  singer  at  the  Konigsberg  llieatre, 
and  performed  the  principal  parts  in  Mozart's 
operas. 

ACOEMET-E.  A  certain  order  of  ancient 
monks,  whose  principal  establislunents  were 
among  the  Eastern  nations.  Their  appellation 
is  derived  from  the  Greek  word  akoimao,  (not  to 
sleep  in  bed,)  because  they  i)cr;'ormed  their  reli- 
gious offices  (cliiefly  consisting  of  singing)  both 
night  and  day.  For  this  jjurpose,  they  divided 
themselves  into  tliree  bodies,  who  vociferized 
alternately. 

ACOLYTIII,  (Gr.)  ACOL"iTES.  Young 
persons  cmj)loycd  in  the  Romish  church  to 
light  the  tapers,  carry  the  candlesticks  at  ths  rd- 
lebration  of  all  offices  in  wliich  music  and  sing- 
ing are  introduced,  to  prcjjarc  tl'.e  -icvpral  articles 
used  in  the  mass,  and  occa.sionnlly  to  chant  i« 
the  choirs. 

ACOIATIIIA.  (Gr.)  Tlie  order  of  service 
observed  in  the  Greek  church.  This  term  ig 
also  «p))liod  separately  to  the  hymns,  psahr.s 
&c.,  of  wliich  that  service  is  principally  composed 

ACOUSTICS.     A  word  first  applied  by    M 


20 


ACO 


encyclop.«:dia  of  music. 


ACT 


Sauveur  to  the  theory  of  sounds.  By  the  knowl- 
edge of  acoustiuH,  we  are  cnublcd  to  determine 
the  relation  of  tones,  and  the  ratios  of  the  har- 
monic iutervahi,  as  i)roduceil  by  tlic  various  vibra- 
tions of  diti'erent  chords,  and  other  sonorous 
bodies.  Afoustifs,  indeed,  coiupreliend  nothing; 
less  than  the  whole  tlieoretical  portion  of  music, 
as  discovered  and  laid  down  by  Aristoxenus, 
Prtlmgonus,  Lasus,  Kuclid,  I'tolemy,  and  others 
among  the  great  fatliers  of  musical  science.  W'u 
mav  call  acoustics  tlie  science  which  teaches  the 
physical  laws  and  phenomena  of  sound  and 
hear'ng.  Several  important  facts  conceniing 
sound  must  have  been  known  at  a  very  eai-ly 
period.  The  tuning  of  the  lyre,  and  various  other 
instruments,  which  are  coeval  with  remotest  an- 
tiquity, necessarily  implies  an  acquaintance  with 
the  fact  that,  as  wo  diminisli  the  length  of  mu- 
sical strings,  or  increa;-ie  their  tension,  we  render 
their  tone  more  acute.  We  have,  however,  no 
reason  to  beUeve  that,  till  .500  years  before  the 
Cliristian  era,  any  attempt  had  been  made  to  dis- 
cover the  relation  wliich  subsists  between  the 
lengths  of  strings  producing  the  various  notes  of 
music.  About  this  time,  Pythagoras  gave  a  cor- 
rect determination  of  the  ratios  between  difl'crcnt 
sounds.  The  ancients  certainly  seem  to  liavo 
understood  some  principles  in  acoustics  which 
we  have  lost ;  or,  at  least,  they  applied  them  bet- 
ter, 'lliey  contrived  to  convey  tlie  voice  distinct- 
ly in  their  huge  theatres,  by  means  of  pipes, 
which  created  no  echo  or  confusion.  Our  cliurches 
and  theatres  are  yet  much  too  large,  though  we 
do  not  need  pipes  or  speaking  tubes,  ll'  we  rub 
our  moistened  ringer  along  the  edge  of  a  drink- 
ing glass,  or  cb'aw  a  bow  across  the  strings  of  a 
violin,  we  can  in  both  ciu^es  procure  sound.s 
wliich  remain  undiminished  in  intensity  as  long 
as  the  operation  by  which  they  are  excited  is 
continued.  If  we  strike  two  bells,  one  of  lead, 
and  the  other  of  brass,  the  sound  of  the  former  Ls 
feeble  and  momentary,  compared  with  tliat  of  the 
latter ;  so  we  see,  that,  though  bodies  all  sound, 
yet  the  sounds  produced  are  not  all  aUke.  Tlie 
ciicumstanccs  wliich  affect  the  sounds  of  bodie-.; 
are,  their  form,  their  magnitude,  their  density, 
the  mode  by  which  they  are  excited,  and  the 
oompiu-ative  force  of  the  power  by  whidi  they 
>-ibrate.  Musical  sounds  have  occupied  the  at- 
tention of  pliilosophcrs  more  than  any  gthcr 
class  of  sounds,  'llic  superior  precision  with 
■which  the  car  can  eitimateany  variation  in  pitch 
renders  these  sounds  more  ca;.ily  compared ;  and 
the  vibrations  of  sonorous  bodies,  wliich  produce 
them,  are,  on  account  of  their  superior  simplicity 
of  fonn,  more  easily  investigated.  A  musicid 
string  Ls  of  a  unifonu  thickness,  and  is  stretched 
between  two  points,  by  a  force  much  greater  than 
its  weight.  The  stretching  force  whidi  is  ap- 
plied is  generally  conceived  as  measured  by  the 
weight  wliich  would  occasion  an  e<iual  tension, 
llie  sound  which  a  string  gives,  thus  stretchetl, 
or  in  tliis  motle  of  vibration,  is  called  its  fumla- 
mciitcl  Hoiuid.  The  tone  of  a  string  becomes 
more  acute  as  we  increase  its  tension,  or  dimin- 
ish its  leui^h,  and  the  weight  of  a  given  portion. 
On  this  fact  depend,  for  the  most  part,  the  vari- 
ous modes  of  producing  the  several  musical 
sounds  on  stringwl  instruments.  Wind  instru- 
ments constitute  one  of  the  genera  of  those 
which  perform  their  vibrations  longitudinally ; 
«id    though    the   air   which   vibinttw   iji  nil  of 


them  is  the  same,  yet  they  admit  of  such  a  va- 
riety in  their  form,  and  derive  such  ditfereut 
characters  from  tliLs  variety,  that  tliey  may  l>e 
regarded  as  a  geniLs  not  less  extensive  and  im- 
portant than  the  chiss  of  bodies  which  vibrata 
by  tension.  Obsen-atioiis  have  been  made  to 
ascertain  the  rate  at  which  sound  travels  tlirough 
the  air  ;  and  the  mean  result  is,  tliat  all  miuiuIs 
travel  at  al>out  the  velocity  of  llliO  leet  in  a 
second  of  time.  A  musical  sound  consists  of  a 
series  of  undulations  wliich  arrive  at  the  ear  at 
etiual  intervals  of  time,  and  the  pitch  of  the 
sound  depends  on  tlie  length  of  the  interval  be- 
tween each  imprcssi(m.  Ma-.ical  sounds  can 
therefore  be  produced,  not  only  by  the  Lsodao- 
noiLs  vibrations  of  sonorous  bodies,  but  also  by 
any  other  mode  in  wliich  a  rapid  succeseion  of 
equiilLstant  imiiuLses  can  be  communicated  to 
the  ear,  whether  those  impulses  originate  from 
the  same  or  dilfercnt  sources,  llie  sounds  pro- 
duced by  instruments  are  chiefly  musical. 
Kratzenstein  and  Kempelea  have,  however,  by 
making  experiments  on  the  effects  of  pipes  of 
ditfereut  fonns,  succeeded  in  constructing  such 
as  will  imitate  very  accurately  the  different 
vowel  sounds  produced  by  tlie  human  voice. 
The  speaking  trumpet  is  an  instrument  intended 
for  transmitting  sound  to  considerable  dl-tances 
in  a  particular  direction.  The  form  wliich  Is 
usually  given  to  the  hearing  trumiict  corresponds 
to  that  of  the  speaking  trumpet  in  being  a  cone, 
truncated  near  its  summit ;  but  dilfers  from  it  in 
being  sometimes  of  a  cu^^-ed  form.  The  summit 
of  the  cone  is  j)laced  ui  the  ear,  and  the  wide 
extremity  turned  towards  the  point  from  which 
the  sound  comes.  The  effect  of  this  instrument 
Is  to  augment  sound  considerably.  Sound  may 
be  conveyed  to  much  greater  distances  by  being 
courined  in  pipes.  Such  jiipes  are  fre(juently 
used  in  coffee-rooms  and  taverns  for  convej-ing 
orders  to  the  attendants.  Captain  Parry,  during 
tlie  cold  experienced  in  Winter  Harbor,  was  sur- 
prised at  the  great  dutancc  at  which  the  human 
voice  coidd  be  heard.  "  I  have,"  he  says,  "  often 
heard  people  distinctly  conversing,  in  a  common 
tone  of  voice,  at  the  distance  of  a  mile  ;  and  to- 
day, I  heard  a  man  singing  to  himscb',  as  he 
walked  along  the  beach,  at  even  a  greater  dis- 
tance than  this."  'Hie  strong  tendency  of  sound 
to  ascend  has  also  a  great  effect.  Ilumlioldt 
liius  remarked,  that  the  barking  of  a  dog  has  been 
heard  when  the  listener  was  in  a  baUijon,  at  an 
elevation  of  about  tliree  miles.  It  has  nL~o  been 
noticed,  that  from  the  ridge  of  the  Table  Moun- 
tain, which  Is  S'iOO  feet  high,  and  the  ujipex 
part  of  which  rises  perjiendicularly  at  a  diHtance 
of  about  a  mile  trom  Cape  Towni,  every  noige 
made  below,  even  the  word  of  command  oa  ths 
parade,  may  be  distinctly  heard. 

ACTOU.  Musical  aetors  were  primitively  no 
more  than  sin^jing  men.  'ITic  drama,  in  itj 
origin,  consisted  of  a  simjtle  chorus,  who  sang 
hjnniis  and  songs.  An  actor,  musically  speak- 
ing. Is  a  singer  whose  pro.fcision  it  is  to  nT«- 
re,.ent  human  nature  by  action,  speech,  ami 
musical   intonation. 

.vers.  Acts  are  those  parts  of  an  0]i«ra  or 
musical  entertainment,  the  separations  of  which 
from  each  other  form  the  first  and  grand  division 
of  tlie  piece ;   divi.-ions  wh'cb,  in    ome  res|>ects 


21 


VbA 


EXCYCLOPiEDIA    OF    MUSIC. 


ADA 


arc  to  the  wliole  tlruina  whnt  the  scenes  of  an 
ail  are  to  the  whole  of  that  act. 

ACTIS,  ABUE,  wrote  about  the  year  1788, 
iu  the  Miiiioircs  du  I'Acad.  Itoyale  dei  iicicitces,  ob- 
(•ervatiouK  on  the  echo  in  the  cathedral  of 
Ciirgenti,  also  on  the  celebrated  Ear  of  Dio- 
uvsius. 

ACT  TUXES.  Those  pieces  performed  at 
theatres  between  the  different  acts  of  any  play 
Ijcrlonued  upon  the  stage. 

ACUMEX.  (L.)  A  word  used  by  the  ancients 
in  siguiiicatiou  of  the  fullest  or  keenest  sound  of 
tlie  voice. 

ACUTE.  Sharp ;  somethiiig  piercing ;  a  term 
ap;)lied  to  any  sound  that  L;  sharp,  or  hijjh,  in 
respect  to  some  other  Bound ;  a  tone  wliich  Ls 
sluirp,  slirill,  and  high  ;  in  which  sense  the 
word  stands  opposed  to  grave.  Sounds  con- 
sidered as  acute,  and  grave,  that  is,  in  relation  of 
gravity  and  acuteness,  constitute  what  we  call 
tune  —  the  foundation  of  all  harmony. 

ACUTEXES3.  The  opposite  oi gravity.  There 
Ls  no  such  thing  as  acuteness  and  gravity,  abso- 
lutely so  called  ;  they  are  only  relations  ;  so  that 
the  same  sounds  may  be  either  acute  or  grave, 
according  to  that  other  sound  they  refer  or  are 
compared  to.  The  degrees  of  gravity  and  acute- 
ness, in  fact,  make  so  many  tones  or  tunes  of 
voice  or  sound.  Acuteness,  then,  is  that  quality 
which  constitutes  the  shrUluess  of  any  soiuid. 

AB.     (L.)     At,  to,  &c. ;  as,  ad  libitum. 

ADAGIO,  or  ADA'O,  formerly  ADASIO. 
(I.)  The  word  adagio  signifies  the  second  de- 
gree, from  slow  to  quick ;  and  Ls  generally 
applied  to  music,  not  only  meant  to  be  performed 
in  a  slow  time,  but  aLio  witli  grace  and  embel- 
Usliment.  It  is,  likewLse,  frequently  used  sub- 
stantively ;  as  when  we  say,  "  an  adagio  of 
•I'crgolese,"  "  an  adagio  of  Beethoven,"  &c. 
Adagio  is  apphed  to  exi)ress  tender  and  plaintive 
emotions,  'llie  Italian  word  denotes  a  degree  or 
distinctness  of  tunc,  the  slowest  of  any  except 
grave,  and  should  be  performed  slowly  and  lei- 
surely. Ado.  is  an  abbreviation  of  thLs  term ; 
a  very  slow  degree  of  movement,  dcmandijig 
much  taste  and  expression  in  the  performance. 

ADAGIO-ADAGIO.  (I.)  A  double  retarda- 
tion of  time,  neaily  as  slow  as  grave,  and  twice  as 
slow  as  adagio. 

ADAGIO  ASSAI.  (I.)  More  slow,  or  very 
slow. 

.ADAGIO  CAXTABILE  E  SOSTEXUTO. 
(I.)  ThLs  plirase  implies  that  the  air  or  move- 
ment to  which  it  is  prefixed  Ls  to  be  performed  in 
a  slow  time,  and  with  a  graceful,  ornamental, 
and  sustained  expression. 

-VDAGISSBIO.  (I.)   Almost  as  slow  as  grave. 

ADAGIO  PATETICO.  (I.)  Slow  and  pa- 
thetic. 

ADAM,  ADOLPII  CIIAKI.ES,  son  of  Louis 
Adam,  born  nt  Paris  in  1803,  and  became  pupil  at 
the  Conser\-atoire  in  1817,  then  studied  har- 
mony and  counterpoint  with  Kcioha,  and  after- 
wards fonned  his  style  with  Boicldicu.  His  first 
Bt1em])ts  at  composition  were  fantasias  and  va- 
riations for  the  piano.  In  this  form  he  was 
]uito  piolifin,  aL>o  iu  aii's  and  concerted  pieces  for 


vaudevilles  and  operettes,  performed  at  the  minor 
theatres.  IILs  first  opera,  Pierre  et  Cat/iariiie,  was 
performed  at  the  Opera  Comique  in  Februarv 
1829,  and  well  received,  as  e\'incing  talent,  aiicl 
perhaps  too  great  facility.  DaiUlowa,  another 
opera  in  three  acts,  produced  at  the  same  theatre 
in  1830,  showed  still  more  power.  From  this 
time  liis  productions  succeeded  one  another  with 
great  rapidity.  Some  of  the»e  were  too  ephem- 
eral to  warrant  a  hope  that  Adam's  name  w  ould 
live;  but  in  1833  his  Proscrit  appeared  —  a  work, 
says  M.  Fetis,  of  more  force,  dramatic  sentiment, 
and  novelty  in  its  ideas,  than  he  had  put  into 
any  of  hLs  earlier  efforts.  In  1832,  he  went  to 
London,  where  he  wrote  the  music  of  a  grand 
ballet  for  the  Covent  Garden  'ITieatre.  Adolph 
Adam  still  figures  among  the  most  active  com- 
posers for  the  Opera  Comique,  and  many  of  his 
si)arlding  operas,  as  "  Ricfiard  Cxur  de  Lion," 
"  Le  Jirasseur  de  Preston,"  "  Le  Postillion  de  Lon- 
Jiimcau,"  &c.,  enjoy  great  popularity.  He  has 
also  composed  sacred  music,  among  other  pieces 
one  called  the  "  Mass  of  St.  Cecilia."  During 
the  past  year  he  composed  the  "  Cantata,"  at 
the  Opera  Comique,  Ln  honor  of  the  President 
Louis  Xapoleou. 

ADAM  DE  FULDA.  A  monk  of  Franconia,, 
composer  of  some  church  music  La  the  fifteenth 

century. 

ADAM,  D.  VICEXTE,  a  mu.sician  at  Ma- 
drid, published  there,  in  1786,  "  Instructions  in 
Composition." 

ADAM,  LOUIS,  of  ParLs,  was  bom  about 
1760,  at  Miettersholtz,  near  the  Rhine.  HLs 
first  master  on  the  harpsichord  was  one  of  his 
relations,  an  excellent  amateur ;  he  had  after- 
wards lessons  on  the  piano,  for  some  months, 
from  an  organist  of  Strasburg,  by  the  name  of 
Hepp,  who  died  about  the  year  1800  ;  but  Adam 
was  more  especially  indebted,  for  the  science 
and  talent  wliich  placed  him  in  the  first  rank  of 
professors  of  the  piano,  to  his  unassLsted  study  of 
the  writmgs  of  E.  Bach,  Handel,  Scarlatti, 
Mozart,  and  Clementi.  Adam,  when  young, 
taught  hijnself  the  violin  and  the  harp,  as  aL^o 
composition,  the  knowledge  of  which  he  obtained 
from  the  writings  of  Mattheson,  Fux,  Mar])urg, 
and  other  Germans.  He  arrived  at  Paris  at  the 
age  of  seventeen,  meaning  to  follow  music  as 
a  profession,  and  made  his  d(^biU  as  a  composer 
by  two  concertante  sATnphonies  for  the  harj)  and 
piano,  with  the  violin,  which  were  executed  at 
the  Sjiiritual  Concerts,  and  were  the  first  of  the 
kind  that  had  been  heard.  After  this  he  applied 
himself  to  teaching  and  comjmsition.  In  1797, 
he  was  appointed  profassor  of  the  piano  at  the 
Conservatory,  where  he  formed  a  great  number 
of  excellent  pupils,  among  whom  the  most  known 
an!  KaUvbrenner,  F.  Cha'ulieu,  Merland,  Henri  le 
Moine,  \:c.  Adam's  works  are,  "  A  Method  of 
Fingering  for  the  Piano,"  "  A  Method  for  Piano. 
Playing,  adopted  by  the  Conservatory  and  all  other 
Schools  of  Music  in  France,"  various  sonatas,  &c. 

ADAMI  DA  BOLSEXA,  AXDREA.  One 
of  the  chapel-masters  to  the  pope  at  the  begin- 
ning of  the  last  century.  He  published,  iji  1711, 
"  Instructions  for  properly  directing  the  Chor 
Lsters  of  the  Pontifical  Chapel,  both  fT  (he  Ordi- 
nary and  Extraordinary  Serviscs,"  in  4U>.  He 
died  iu  1742. 


22 


A.DA 


ENCYCLOr.EDIA    OF    MUSIC. 


ADD 


ADAMI      ERNEST,      DANIEL,     wa3    di- I      ADDED  SIXTH.    A  sixth  added  to  a  fimdA- 


T'ctor  ol  music  nt  Landithut,  and  published,  in 
1"50,  a  work  entitle  i  "  Ketieftions  on  the  Triple 
Echo  at  the  Eiitruncc  of  the  Forest  ot'  Adenbach, 
n  Bohemia,"  in  4to.  lie  al.so  ^\Tote  "  Di.s.serta- 
tious  on  the  Sublime  licuutie.t  of  the  Canticles,  as 
suiig  at  Divine  Service,"  in  8vo.,  I^eipsic,  l7oo. 

ADAMI.  Composer  of  a  quatuor  for  the  ttute, 
&c.,  pu'oIisheA  at  lliimburg. 

ADAMS,  THOMAS,  was  born  in  1783.  He 
be,:^au  his  musical  studies  under  Dr.  Busby,  at 
about  eleven  years  of  age.  In  ISOJ,  he  was  ap- 
pointed orgnni-.t  of  Carlisle  Cliapel  Lambeth, 
where  he  olHcinted  till  1814,  in  wluch  year  he 
was  chosen  (after  a  competition  agiiinst  twenty- 
eight  other  candidates)  orijanist  of  St.  Pauls, 
Deptford.  In  his  writings  and  extempore  per- 
formances he  makes  fiee  U'-e  both  of  the  strict 
ond  florid  styles  and  is  known  to  have  carclully 
studied  the  works  of  Sebastian  Bach,  Haydn,  and 
Mozart.  'Hie  following;  are  among  the  principal 
compo'-itions  of  T.  Ailams  :  "  Sue  Voluntjuies," 
published  in  1812;  "  Scots  wha  hae  with  M'al- 
laco  bled,"  with  variations  for  the  orijan,  (May- 
hew  ;)  "  Adeste  Jideles,"  with  variations  ;  "  A 
Itose  Tree  in  fuU  Bciruii:,"  with  variations ;  Paesi- 
ello's  "  Uttant  e  piit  beila,"  with  variations,  (the 
Ia:Jt  three  pieces  at  dementi's;)  "  Dch  prciuli," 
and  "  My  jo  Janet,"  both  with  variations,  (Har- 
monic Institution  ;)  "  Six  Fugues  for  the  Organ," 
(dementi ;)  "  Three  Voluntaries  for  the  Organ," 
(llodsoU.) 

ADAMS,  MISS.  A  professor  of  the  piano- 
forte at  the  lloyal  Academy  of  Music. 

ADAMUS,  DORENSIS,  abbot  of  a  mon- 
fcUery  near  Ilerel'ord,  in  England,  WTote,  in  the 
year  IJOO,  "  limiimeiUa  Masicen"  (The  Kutli- 
mcnts  of  Music.) 

AUASIO.    Old  farm  of  APAOIO,  which  tet. 

ADCOCK,  -ABRAHAM.  An  EngUsh  com- 
poser at  the  begiuuing  of  the  last  century. 

ADCOCK,  J.VMES,  master  to  the  choristers 
of  Kinii's  College,  Cambridge,  was  boni  in  1778, 
ftt  Eton,  in  Buckinghamshire.  In  178G,  he  was 
iidmitted  a  chori^ter  of  his  majesty's  Chapel  of  St. 
George,  Wuxdsor,  and  of  the  College  ol  Eton, 
where  he  received  his  musical  educatioii  under 
Dr.  Aylward  and  Mr.  .Sexton,  organist  of  St. 
George,  Windsor.  In  1797,  he  was  elected  one 
of  the  lay  clerks  of  St.  George's  Chapel,  and  in 
1799,  wiVi  appointed  to  the  same  situation  at  Eton 
College,  both  of  which  pi  i''e~i  he  gave  up  on  being 
nominated  lay  clerk  of  King's,  Trinity,  and  St. 
.lohn's  Colleges,  Cambridge.  Adcock's  principal 
compo-^itions  ai-c  glec< ;  vi/.,  "Three  (Jlees,  ded- 
icated to  Sir  Patrick  Blake,"  (BirchaU  ;)  "  Hark 
how  the  Bees,"  glee,  four  voices,  (Preston;) 
"Welcome  Mirth,"  glee,  three  voices,  (Gould- 
ing;)  N;c.  Adcock  also  published  rudiments  of 
singing,  wth  about  thirty  solfeggi,  to  assist  per- 
sons who  wish  to  sing  at  sight. 

.\J)DED  LINES.  Short  additional  lines  either 
above  or  below  the  staff,  which  are  used  when 
morB  than  nuie  degrees  are  wanted. 


mental  chord. 

ADDIMARI,  LUIGI,  a  Florentine  noble- 
man, compo<ed  a  musical  drama,  entitled  "  Ho- 
berto."     lie  died  in  1708. 

ADDISON,  JOHN.  Tlie  son  of  an  ingenious 
mechanic,  born  in  England  neiu-  the  close  of  the 
last  century. 

Addison  tirst  discovered  a  propensity  to  music 
when  at  school ;  where,  beginning  with  tlie  flage- 
olet, and  proceeding  to  the  thite,  bassoon,  and 
violin,  he  soon  made  a  cons])icuo\is  figure  in  his 
village  choir.  About  this  time  a  Miss  Willems, 
(niece  to  the  celebrated  Roinhold, )  l)eing  left  al- 
most deititute  by  the  loss  of  her  jiarents,  and 
knowin'4  the  intimacy  that  had  exi-.ted  between 
the  famUios,  claimed  the  jjrolection  of  Mr.  and 
Mrs.  Addison.  She  possessed  a  fine  voice  ond 
considerable  taste,  which  soon  captivated  J.  A  1- 
dison,  and  lir;t  made  him  conceive  the  idea  of 
pursuing  music  a.^  a  prol'ession,  i)articularly  as  it 
would  atl'ord  him  the  opportunity  of  cultivatijig 
her  talent ;  they  wei-e  married,  and  she  soon  af- 
ter sang  at  Vauxhall,  with  great  success. 

After  this  she  was  engaged  to  perform  at  the 
private  theatre  in  DubUn. 

The  interval  between  the  closing  of  Vauxhall 
and  the  opening  of  the  Dublin  'Dieatre  was  filled 
up  bv  an  engagement  with  Mr.  Francis  .(Vickin, 
at  Liveqionl  :  here  it  was  that  Addison  first 
stepped  into  the  profession. 

Addison  next  went  to  Dublin,  where  he  was 
appointed  director  and  superintendent  of  the  or- 
ciiestra,  which  was  then  comjio-ed  of  amateurt, 
among  whom  were  the  Earl  of  'NVestmeath,  Col- 
onel I^mbert  Walpo'.e,  Counsellor  Curran,  kv. 
Here  he  had  an  opjwrtunity  of  studying  counter- 
point ;  and  was  soon  employed  to  compose  the 
orchestra  accompaniments  to  the  musical  piecex 
which  were  perfonned  there. 

The  ensuing  summer,  he  and  h.is  wife  returned 
to  Liveq)ool,  where  they  M-cre  engaged  at  both 
the  theatre  and  the  concerts.  Being  now  anxious 
to  try  his  ability  as  a  composer  of  an  original 
melody,  he  cau'^ed  Mrs.  Addison  to  sing  one  of 
his  songs  at  a  re'-.earsal,  gix-ing  it  out  a.,  a  manu- 
script by  Sliield  ;  it  jilea-^e  I  so  much,  that  he  was 
requested  to  let  it  be  performed  at  the  next  con- 
cert :  he  con-^cnted ;  but  his  vanity  would  not 
permit  liim  longer  to  conceal  the  real  composer, 
which  he  was  flattered  by  finding  did  not  lessen 
the  success  of  the  ballad. 

From  Liveqwol,  Mr.  and  Mrs.  AcIqLiou  re- 
turned to  Dublin,  on  an  en:;agemeut  for  two  sea- 
sons, at  a  verv  liberal  salary.  His  attention  was 
now  chiefly  devoted  to  Mrs.  Addison's  imjirove- 
ment,  in  which  he  succeeded  so  well,  that  she 
maintained  a  high  rank  as  a  vocal  performer, 
notwithstanding  such  powerful  opponents  at  the 
other  theatre  as  MLvS  Pool,  late  Mrs.  Dickons,  and 
Mrs.  Second. 

ITie  following  summer,  his  father's  aiTairs 
called  Addison  to  Lond.in,  whither  he  carrietl  his 
wife,  and  introduced  her  to  Mr.  Harris,  of  Covent 
(iarden,  who  heard  her,  was  ])leased,  and  instant- 
ly ent;age<l  her  for  as  lone  as  she  could  remain 
before  her  Dublin  engagement. 

They  next  returned  to  I>ul>lin  ;  where,  besides 
his  tfjeatncal  enijagemenf,  AddL-win  now  became 
in  great  re^juest  as  »  singing  mastiff,  and  taught 
in    several    noblemen's    tJamilics.      Among    his 


23 


ADJJ 


ENCYCLOPAEDIA    OF    MUSIC. 


ADD 


lupils  ho  liiul  the  honor  of  rockonin;;  I.aily  Clinr- 
lotte  1'ack.euham,  aftenvards  Duchess  oi'  Wel- 
liiif^ton. 

Tluuking  that  still  more  might  be  done  for  Mrs. 
A(l(li:ion'.s  imi)rovoment,  he  passed  part  of  the 
next  summer  and  autumn  in  fiath,  and  placed 
her  under  the  celebrated  Rnuzzini,  who  Avas  very 
much  pleased  with  her,  and  spoke  in  such  hand- 
Homc  terms  of  her  tuition,  that  Addison  declared 
himself  her  master,  and  that  he  liad  a  double 
motive  for  brinf^inj;  her  to  him,  as  he  expected  to 
receive  much  benefit  himself,  by  witneiisin^;  his 
manner  of  instructing ;  this  was  pleasantly  re- 
ceived, and  an  attendance  on  liiin  for  some  months 
gratified  all  partie;. 

From  liath  they  returned  to  Dublin,  where 
they  remained  tluee  years  at  the  public  theatre, 
\inder  tlie  management  of  Mr.  Jones,  who  had 
become  the  patentee;  the  summers  were  passed 
ill  excursions  to  dLtiorcnt  parts  of  the  country,  in 
the  manner  of  the  I,o)ulon  theatrical  meteors. 

About  tliis  time  I'cUamy,  with  whom  Addison 
was  on  the  close  >t  terms  of  friendnhi]),  became  a 
joint  pro]5rietor  of  the  Manchester  Theatre  with 
Ml'.  Ward  ;  and  with  him  AdcUson  made  an  en- 
gagement for  himself  and  wife,  as  also  for  the 
concerts  at  the  same  place,  and  those  at  Liver- 
pool. AStCT  some  months'  re:;idence  at  Manches- 
ter, domestic  events  induced  Mr.  Addison  to  give 
up  the  musical  profession  ;  and  he  sought  a  per- 
son who  was  conversant  with  the  cotton  trade, 
collected  the  property  he  had,  and  commenced 
manul'actvu-er.  In  tliis  he  might  have  succeeded 
in  other  times ;  but  no  sooner  had  he  turned  the 
chief  of  his  capital  into  goods,  than  the  war  re- 
commenced, and  hw  stock  wivs  deteriorated  fiiU 
twenty  per  cent,  in  value.  lie  now  consulted  his 
friends,  who  gave  liim  hopes  that  afi'airs  would 
►.lend ;  but  these  were  delusive,  for  they  gradu- 
ally declined ;  till  despairing  of  a  change  for  the 
better,  he  called  his  creditors  together,  and  found 
no  difficulty  in  persuading  them  to  take  charge 
of  the  goods,  convert  them  into  cash,  pay  them- 
selves, and  remit  the  balance,  if  any,  to  him  in 
London. 

Previously  to  quitting  Manchester,  he  re- 
mained, however,  a  short  time,  and  composed  the 
music  of  a  ])antomime ;  soon  after  he  went  to 
Chester  with  liellamy,  and  composed  an  opera, 
AXTitten  by  a  lady  of  that  place. 

On  liis  arrival  in  London,  he  called  on  his  fi-iend 
Kelly,  who  had  for  some  time  opened  his  musical 
saloon.  The  want  of  a  scientific  person,  as  well 
as  a  man  of  business,  to  conduct  it,  had  long  been 
felt,  and  proposals  of  a  present  salary,  with  a 
prospect  of  eventually  becoming  a  partner,  were 
made  to  Addison,  and  accepted.  He  wa-s  also 
engaged  for  the  ensuing  season,  to  play  the  dou- 
ble bass  at  the  Italian  opera,  at  the  Ancient,  and 
at  the  Vocal  Concerts,  wliich  situations  he  held 
lor  several  years. 

In  the  following  year,  Kelly  was  employed  to 
compose  the  music  of  the  "  Sleeping  lieauty," 
written  by  Mr.  iSkefHngton,  for  I)rm-y  Lane.  Be- 
fore beginning  the  music,  however,  Mrs.  Crouch 
was  taken  so  ill  that  she  was  obliged  to  be  re- 
moved into  tlie  country  ;  her  illncvs  gaining 
ground  attlicted  Kelly  so  mudi  that  he  coukl  not 
fix  his  mind  to  composition  :  still,  the  jioetry  hav- 
ing been  sent,  Addison  could  not  resist  the  desire 
of  trving  his  ability,  and  composed  several  songs 
for  the  piece,  which  he  showed  to  Mr.  Skeffiug- 


ton ;  at  the  same  time  observing,  that  should 
KeUy  find  himself  inclined  to  compose  them  him- 
seb",  he  (Addison)  would  sujjpress  his  attempts. 
Mrs.  Crouch  continuing  to  decline,  Addison  wm 
suffered  to  proceed ;  but  not  without  that  sus- 
liicion  which  authors  and  managers  naturally  feel 
at  employing  untried  talent.  Mr.  Skeffington 
was  very  anxious  to  have  the  words  of  the 
"  Woodland  Maid  "  adapted  to  an  air  of  Mozart's ; 
but  AddLson  having  pleased  hbnself  with  his  own 
composition  for  those  words,  and  finding  that  he 
must  take  much  liberty  with  the  production  of 
Mozart,  to  adapt  it  to  the  metre,  proposed  that 
Gibbon,  who  was  to  sing  the  song,  should  hear 
both  melodies,  without  being  told  whose  they 
were,  and  make  his  selection.  The  choice  fell  on 
Addison's,  and  its  success  proved  that  it  was  not 
an  unfortunate  one.  ITiis  song  had  another  strug- 
gle for  existence,  and  was  only  suflered  to  he  per- 
formed on  the  first  night,  upon  Addison's  con- 
senting to  exchange  it,  sliould  it  be  ineffective, 
llie  "  Sleeping  Beauty  "  was  i)erformed  upwards 
of  thirty  nights,  with  great  success. 

After  this,  Addison  was  engaged  to  compose  a 
piece  for  Henry  Siddons  ;  but  the  unfortunate 
conflagration  of  Drury  Lane  Tlieatre  destroyed 
the  manuscript,  and  his  hopes  for  the  present ; 
however,  !Mr.  Arnold,  shortly  after  opeiiing  the 
Lyceum  as  an  English  Opera  House,  agreed  with 
H.  Siddons  for  the  piece  ;  which  he,  having  just 
then  taken  the  Edinburgh  Theatre,  put  together 
hastily,  and  handed  to  Mr.  Arnold,  who  brought 
it  out,  having  made  first  such  additions  and  alter- 
ations as  he  thought  best  adapted  to  his  company. 
It  was  the  second  opera  produced  on  those  boards, 
"Up  at  Night"  being  the  first.  Phillips,  the 
eminent  singer,  who  had  made  a  most  successful 
debut  in  the  first  opera,  was  not  less  approved  in 
the  second  ;  his  song  of  "  Tlie  Young  and  Charm- 
ing Bride"  never  having  been  sung  without  au 
encore.  The  whole  of  the  music,  indeed,  pleased 
very  much  ;  and  it  has  often  been  regretted  that 
a  difference  between  Mr.  .:Vrnold  and  the  author, 
about  some  further  claun  bi  the  event  of  the 
opera's  exceeduig  fifteen  nights,  stopped  its  ca- 
reer. 

Addison  has  composed  other  pieces  for  the 
same  theatre,  viz.,  "  My  Uncle,"  "  My  Aunt," 
"  Two  Words,  or  Silent,  not  Dumb,"  "  Free  and 
Easy,"  &c. 

For  Coveut  Garden  he  has  composed  the  mu- 
sic of  "  Kobinet  the  Bandit,"  and  airanged  Boiel- 
dieu's  music,  as  well  as  composed  some  pieces 
in  "  Hose  (T Amour." 

^\^len  Sir  George  Smart  first  had  the  oratorios 
at  Drury  Lane,  Addison  adapted  some  selections, 
from  ^^"inter's  favorite  operas,  to  the  sacred  drama 
of  "  l-^lijah,"  written  by  T.  W.  Moucriefi'e,  Esq., 
which  was  successfully  repeated  several  times 
during  the  season. 

These,  with  several  single  songs,  duets,  glees, 
&c.,  are  the  chief  items  of  his  compo-iiiou.  It 
should  be  remembered,  that  he  was  aiiitely  self- 
taufjlit  in  composition,  and  is  a  proof  of  what  as- 
siduity, with  a  perseveruig  mind,  may  accomplish. 

ADDFITON.  The  extra  duration  given  to 
notes  by  affixed  dots.  A  point  set  before  or 
after  a  note  adds  to  it  lialf  its  original  length, 
and  a -second  point  bears  the  same  pro])ortion  to 
the  first  as  the  first  does  to  the  original  note. 
Addition  Is  denoted  by  a  dot  ou  the  right  side  of  • 


2i 


A.DD 


encyclop-i:dia  of  music. 


a:  01 


note,  (*•)  to  signify  that  it  is  to  be  sounded  or 
lengthened  half  as  much  more  as  it  would  have 
been  without  s'lch  luiu-k. 


EXAMPLES. 


S 


.  K<iulvklrat  10 


ADDITIOXAL  KEYS.  Those  keys  of  n  piano- 
forte, which,  above  or  below,  lie  beyond  the  for- 
mer compa!<s  of  that  iuKtrument.  'lliese  keys 
arc  generally  extended  four  notes  above  F  in 
alt.,  and  three  notes  below  doul)le  F,  and  some- 
times to  F  iu  alti-isiiuo.  Additional  keys  ore 
any  keys  adiled  to  an  instrument  after  it  has 
been  tiuishcd. 

A  DEUX  TEMPS.  An  expression  applied  by 
the  French  to  time,  and  signifying  two  crotchets 
or  beats  in  a  bar. 

ADJUNCT  NOTES.  Notes  which  do  not 
form  any  essential  part  of  the  harmony. 

ADI-EIl,  GEORGE  CHRISTIAN,  was  bom 
at  Wohlbach,  in  1674.  lie  wrote,  among  many 
other  musical  works,  "  Pro^ramma  He  liberalium 
Artiiim  in  Ecclesia  Utilitate,  si  rite  tracientur," 
in  1702. 

ADLER,  G.  Named  in  Wessel  and  Stodart's 
Catalogue,  for  1822,  as  composer  of  a  quintuor 
for  violins,  &c. 

AD  LIBITUM,  or  AD  LIB.  (L.)  At  dis- 
cretion ;  at  i)lea.sure,  especially  with  regard  to 
time.  An  expression  notifying  to  the  performer, 
that,  at  the  particular  part  of  the  composition 
where  it  is  wTitten,  he  is  at  liberty  to  introduce 
the  extemporaneous  effusions  of  his  own  fancy. 
Ad  libitum  u  also  used  adjectively,  as  when  we 
speak  of  an  ati  libitum  pause,  oi  fill  ad  libitum 
cadenza. 

AD  LONGUM.  (L.)  A  term  applied  by  the 
first  reli.;ious  reformers  to  certain  compositions 
of  the  church,  which  consisted  entirely  of  notes 
of  equal  duration,  and  those,  generally,  the 
longest  in  use. 

ADLUNC;,  J.VMES,  member  of  the  Academy 
of  Erfurt,  was  bom  in  IflOO,  and  wrote,  among 
other  works,  one  entitled  "  Musical  Science ; "  a 
book  of  great  utility  to  organists.  He  died  at 
Erfurt,  iu  17'.)2. 

ADOLFATI,  a  pupU  of  the  celebrated 
Galuppi,  is  known  as  the  author  of  several 
operas.  In  I'oO,  he  mnde  an  attempt  to  unite  in 
tlie  same  strain  two  sorts  of  time,  the  one  com- 
posed of  two  note---,  the  other  of  three.  'ITie 
piece  was  effective  and  applauded.  AdoUkti 
unitated  in  tlus  Beneiletto  ^Iarcello. 

A  DOUBLE.  Double  A;  the  A  bdow  G 
gamut,  one  oi'tave  lower  than  the  proslnmbaiiome- 
ins,  or  lowest  note  of  the  ancient  Greeks. 

AD  OMNEM  TONUM.  (L.)  To  every  note; 
an  expression  applied  by  the  ecclesiastical  musi- 
cians of  the  sixteenth  century  to  compositions 
the  parts  of  which  wore  so  contrived,  that  from 
whatever  tone,  or  note,  the  caniua  started,  if  the 


aliita,  when  it  began,  took  the  same  note,  and  the 
tenor  and  ba.s8  the  octave  below,  noticing  the 
necessary  sharps  and  flats,  the  harmony  was  still 
sound  and  correct. 

ADONIA.  Solemn  feasts  observed  by  the 
ancients  in  honor  of  \'enus,  and  to  peqietuato 
the  memory  of  her  l)eloved  Adonis.  They  com- 
menced with  the  lamentations  of  young  women,  iu 
imitation  of  the  goddess's  grief;  the  remainder  of 
this  religious  ceremony  consisted  of  ode;i  and 
hymns  of  a  laudatory  and  exhilarating  kind,  and 
iu  which  the  devotees  rejoiced,  on  the  supi)osi- 
tion  that  AdouLs  was  immortalized,  or,  jjerhaps, 
restored  to  liic.  Menu^ius,  however,  Ls  of  opin- 
ion that  these  were  distinct  rites,  and  jierformod 
alternately  every  sLx  months ;  under  the  idea 
that  the  favorites  of  Venvis  passed  with  that  god- 
dess one  half  of  the  year,  and  the  other  half  with 
Proserpine.  Bishop  Patrick  dates  the  origin  of 
Adonia  from  the  slaugliter  of  the  fii-st  born,  in 
the  days  of  Moses ;  and  the  prophet  Ezekiel  is 
Bupijosed  to  allude  to  them,  in  chap.  viii.  verso 
11.  They  were  observed,  with  great  solemnity, 
by  most  nations,  particularly  the  Greeks,  Phcjeui- 
cians,  Lycians,  Syrians,  and  Egyptiaus. 

AD(iUISlTA.  A  term  in  the  ancient  Greek 
music,  applied  to  the  sound  adilcd  to  the  bottom 
of  the  scale,  in  each  of  the  several  modes,  and 
denominated  prosUimbanomciios. 

ADRASTUS,  a  Poripatetic  philosopher,  and 
pupil  of  ^\j-lstotle,  left  a  MS.,  iu  three  books,  on 
hiunnouy  :  tlus  work  remained  unknown  till  the 
yeiu:  1788,  when  it  was  announced  to  have  been 
found,  iu  good  preservation,  and  well  written, 
among  the  MSS.  in  the  library  of  t^c  King  of 
Sicily. 

ADRLYNO.     See  Willaert. 

ADRIANO,  an  Italian  singer,  was  engaged 
at  the  opera,  in  London,  in  1817. 

ADRIANUS,  EM.VNTJEL,  published  at 
Antweq),  in  1592,  a  work  called  "  Pratum 
Muaicuiit." 

ADRIANUS,  FRANCISCUS,  published  some 
psalms,  for  four  voices,  at  Venice,  in  lo(J7. 

ADRIEN.  There  are  three  brothers  of  this 
name  :  the  eldest  published  several  collections  ot 
airs,  at  Paris,  during  the  time  of  the  French 
revolution. 

A  DUE,  or  A  2.  (I.)  For  two  voices,  ortwc 
instruments. 

A  DUE  CORDE.  (I.)  Consisting  of  two 
strings. 

-ENATORES.  (L.)  An  appellation  applied 
by  the  ancients  to  military  musicians  in  general, 
but  particularly  to  those  who  blew  trumpets, 
horns,  buccuia,  and  the  brazen  or  corneous  in- 
Btnunents. 

-^LIANUS,  CLAUDR'S.  live<l  about  the 
year  22.5,  and  in  his  work  "  I'arup  llisloria' 
wrote   much   on   the  subject   of  music. 

AEMINGA,  doctor  anil  professor  of  law  at 
Griesswald,  printe<l,  in  17  40,  a  work  on  festive 
vocal  music.     He  died  in  1708. 

.'EOLI.VN.  Tlie  epithet  given  by  the  ancient 
Greeks  to  one  of  theii  modes. 


2d 


SOL 


ENCYCLOPAEDIA    OF    MUSIC. 


^OL 


^OLIAX  IIAllP,  LYRE,  or  ANEMOCIIORD. 
A  music  il  instrumoiit,  tirst  describcil  by  Kireher,* 
which  products  the  most  dehcate  and  euchaut- 
liig  toiR's  merely  bj-  the  impulse  of  the  wiud. 
It  is  composed  of  n  rcctanguhir  box,  made  of  very 
thin  deal,  of  the  same  width  as  the  window  iu 
which  it  Ls  i)lacc(l,  aud  about  five   inchc.j  deep 


thus  formed  a  uatural  iEolian  harjj  in  the 
boughs  of  the  ftrs  and  slirubs,  to  the  tones  of 
which  the  dasliiiig  of  the  mountain  stream  fur- 
nished an  accompaniment.  This  uatural  music 
is  still  heard,  on  a  windy  night,  by  the  side  of  the 
mountain  stream  'Hie  soldiers,  impelled  by  that 
religious   feeling  which   at  those  times   was  a 


and  six  inches  wide.     Over  the  upper  surface  of  |  prominent  trait  in  the  common  people  a*,  w  ell  as  in 


this  box,  which  Is  pierced  with  sounding  holes, 
like  the  sounding  board  of  the  fiddle,  are  stretched 
eeveral  catgut  or  wire  strings,  with  a  slight 
degree  of  tension.  When  the^se  strings  are  in 
unison,  and  the  instrument  exposed  in  the  win- 
dove  to  the  action  of  a  gentle  breeze,  they  wiU 
emit  the  most  agreeable  combination  of  wUd  and 
melting  sounds,  changing  from  one  harmonic  of 
the  string  to  another,  according  to  the  var\-ing 
impulse  of  wind,  and  its  unequal  action  on  the 
dilfcreut  parts  of  the  vibrating  strings.  In  the 
^olian  harp  constructed  by  the  Rev.  W.  Jones, 
the  strings,  instead  of  being  on  the  outside,  are 
fa.stcned  to  a  sounding  board  within  a  wooden 
ca;;e,  and  the  wind  is  conveyed  to  the  strings 
through  a  horizontal  aperture.  The  mstrumeut 
may  then  be  used  even  m  the  open  air.  Ur.  Young 
says,  to  remove  all  uncertainty  in  the  order  of 
the  notes  in  the  IjTe,  I  took  off  aU  the  strings 
but  one ;  and  on  placing  the  instrument  in  a  due 
position,  was  surprised  to  hear  a  great  variety  of 
notes,  and  lirequeutly  such  as  were  not  produced 
by  any  aliquot  part  of  the  strmg ;  often,  too,  I 
lieard  a  chord  of  two  or  three  notes  from  this 
euigle  string.  Discords  are  also  often  heard 
from  the  unison  strings  of  this  instrument ;  tlie 
cause  of  wluch  is  e\'ident  from  the  manner  in 
which  the  notes  are  generated ;  for  the  alic^uot 
parts  of  ft  string  contain  in  themselves  an  infi- 
nite variety  of  discords. 

yEOLI-VN  HARP,  XATLiLVL  ONE.  In  Kolb's 
topograj))iical  dictionary  of  the  Grand  Duchy  of 
Baden,  we  find  the  following  notice  of  a  natural 
Jlioliiiu  haiq),  in  a  wild  mountain  notch  of  the 
Llack  Forest  of  Preisgau,  near  the  town  of  Trj'- 
bcrg  :  Some  soldiers  stationed  on  these  heights, 
near  the  end  of  the  seventeenth  century,  several 
times  heard  wonderful  musical  tones  jiroceed 
from  the  tops  of  the  firs  which  crowned  the 
cataracts  near  them.  In  the  notch  of  the  moun- 
tain, a  pi'ojecting  rock,  breaking  off  abruptly, 
gave  a  singular  opposite  impulse  to  the  current 
of  air  streaming  up  and  down  tlirough  it,  and 


their  superiors,  looked  for  something  supernatu- 
ral. They  found  fixed  on  the  highest  aud  most 
beautiful  fir,  near  a  clear  Ibuntain,  an  image  of 
the  Virgin  Mary<  made  of  soft  wood,  holding  the 
Holy  Infant  in  her  arms.  A  citizen  of  Trybcrg, 
Frederic  Schwab,  had  fixed  it  there  in  the  year 
1G80,  as  a  token  of  acknowledgment  for  his 
recovery  at  the  fountain.  The  soldiers,  taking 
the  tones  for  the  adoration  of  the  angels  paid  to 
the  mother  of  the  Savior,  made  a  tin  cupola 
over  the  image,  with  the  iitscriptiou,  "  St.  Mary, 
patron  of  soldiers,  pray  for  us."  Thej-  also 
added  a  box  for  contributions,  wliich  was  very 
soon  so  well  filled  that  they  were  enabled  to  erect 
a  wooden  chapel. 

Persons  who  live  on  any  of  our  lines  of  tele- 
graphic wires,  especially  at  centre;j  where  several 
such  wires  converge,  maj-  often,  of  a  windy 
night,  hear  natural  ^olian  harps. 

iE0LL\2^  ATTACiniEXT.  This  is  the  name 
which  the  ingenious  inventor,  Coleman,  has  af- 
fixed to  one  of  those  musical  desiderata,  which 
have  been  rather  hoped  for  than  expected.  All 
pianists  and  manufacturers  of  the  instnuuenl 
have  long  felt  that  artistic  skill  aud  mechanical 
ingenuity  had  vainly  essayed  to  banlih  that 
woodiness  of  sound,  and  want  of  sustained  vi- 
bration, that  attended  the  emission  of  its  tone. 
The  yEoUan  Attachment  not  only  removes  the 
evils  that  are  inherent  in  the  piano-forte,  but 
imparts  to  it  a  distinctive  vibratory  and  sustain- 
ing power,  combining  the  rich  volume  and  swell 
of  the  organ  with  the  passionate  intensity  and 
pathetic  tenderness  elicited  fiom  an  Amati,  or 
a  Straduarius,  by  a  girted  violinist.  15y  the  aid 
of  this  invention,  the  dominant  vibration  may  be 
sustained  duruig  the  execution  of  the  most  diffi- 
cult passages,  and  yet  there  is  the  most  perfect 
assimilation  of  sound ;  indeed,  not  only  Is  the 
necessary  balance  never  dcUroyed,  but  the  gen- 
eral quality  of  tone  Is  improved.  The  power  of 
the  lower  portion  of  the  piano-forte  may  be 
increased  to  that  of  the  lower  double  C  of  an 
organ  pipe  of  tliirty-two  feet.  15ut  th.e  princijial 
advantage  li  gained  in  the  middle  region  of  the 
instrument;  and  here  the  most  delicate  shades 
of  feeling  may  be  expressed  :  the  white  and 
black  keys  seem  instinct  with  human  passion, 
and  all  the  various  emotions  which  the  most  ac- 
complished vocalist  can  feel  and  achieve  are 
placed  beneath  the  fingci-s  aud  at  the  command 
of  the  performer.  And  yot  the  piano-forte  is 
not  bereft  of  its  peculiar  nature  ;  all  its  usual  re- 
sources remain  undisturbed  ;  aud  so  perfect  is  the 
application  of  the  invention,  that  it  is  adapted  to 
every  class  of  piano-forte,  large  or  small,  square 
or  upright,  thin  and  poor,  powerful  and  brilhant. 
Like  the  soul  of  haiTnony,  it  lies  concealed  with.- 
in,  and  its  voice  Is  alone  evoked  at  the  will  of  the 
performer.  Its  only  external  sign  Is  an  extra 
l)edal,  and  the  slightest  pressure  w  ample  to  draw 

.  forth  the  vocal  power.     It  w  the  invention  of 

imnJuiiccd  »ii  invcuUou  uniuiowu  10  tiie  j  -^^  Colemau,  an  .American  gcntUraan.  who  ha« 


•  li  ii  now  many  year*  oeo  that  Kirch^r  mcntIone«l.  lu  a  contri- 
ranci'  of  hia  own,  an  ioFtninicnt  which  a  few  yean  ufterwnnl«  wa« 
obtrudetl  uix>n  the  public  as  a  new  invention,  and  called  the  Harp 
of  yKitlufc  We  will  (Tive  a  descriptitin  of  it  nearly  iu  Kircher's  own 
words :  **  A*  the  iU9trun*ent  is  new,  so  it  is  alito  easy  to  construct, 
•nd  ven*  pleasjiut .  It  is  the  aduiir.ition  of  every  one.  It  is  made 
exactly  to  tit  a  wind(^w,  in  which  it  is  placed  :  and  the  hari\  while  tlie 
vind<'*w  reiiiains  shut,  it  silent ;  hut  as  noun  aa  it  is  opened,  an  harmo- 
nious sound,  thoufth  somewhat  inelnncholy,  coniinj;  fnini  the  pass- 
ing wind,  ast<jnishes  the  hearers:  for  they 'are  not  ohic  to  perceive 
from  whenec  the  Moind  prr»ceeds,  n»»r  yet  what  kind  of  instrument 
it  is.  f'lr  it  rcenihli-B  neither  the  sound  of  a  striufjed  nor  yet  of  a 
nueumutlc  inslrument,  hut  partakes  t>f  IkiIU.  The  iii!>truinent  should 
Ite  made  of  pine  wimmI,  Ave  palms  long,  two  bntad,  and  one  deep  ; 
It  mav  contain  tifleen  or  inorv  ehonls.  nil  iqiial  and  com|iosed  of  the 
inteiitino  of  nuimnls.  It  should  le  >ilnnted  in  a  close  place,  vet  so 
that  the  iiir  niiiy  on  either  side  have  free  access  to  it,  in  order  to 
which,  it  may  licol«erved,  that  the  wiinl  mny  Im-  collected  by  %-nrious 
methods:  tlrsl.  bv  canals,  that  are  ma-le  in  the  form  of  cones  or 
shells,  or  else  br  v:.lvtsi  these  valves  should  be  pluceil  on  the  out- 
lidr,  ond  luinillel  iHmnls  in  the  inside  of  the  room :  iu  s<nind 
Terr  much  n  .embles  tiiat  of  pipes  and  Hiites  playinj;  in  unison. 
Various  are  the  opinions  enl«Tl;iinedof  the  iuTention  ol  thedillbrcnt 
InstruiuenUof  music:  those  of  the  mc"lerns,  like  those  of  the  an- 
drills,  are  tensile  and  iiiHatilc.     Modem  Antes,  as  far  as  can  b« 

ludL'ed  bv  II inarison  of  them  with  the  graphical  representations 

of  the  aiiVii  nt  tibia;,  have  grvatir  the  advantage:  and  as  to  pipes  of 
oilier  kitid*,  such  n*  the  hauttiov  iind  liassotin,  the  chaliimeau,  and 
Others,  tliise,  as  having  the  luljnnct  of  a  rviil,  are  a  new  and  ori- 

final  species,  and  may  IK*  |ir  '       '  ""' 

uuieula." 


26 


^OL 


ENCYCLOPAEDIA    OF    MUSIC. 


AGM 


devoted  many  years  to  iJie  labor  wliich  he  has  so 
triampbautly  achieved. 

iEOLODICON.  A  keyed  instrument  whose 
tones  are  produced  by  tliiii  pieces  of  metal  so 
phiced  as  to  play  freely,  being  ])ut  into  motio)i 
by  means  of  a  current  of  air.  By  the  pressing 
down  of  a  key,  a  kind  of  wind  chest  is  oj)ened, 
and  wliile  the  air,  compressed  tlierein  by  a 
species  of  bellows,  flows  out  against  the  metallic 
spring  or  plate,  the  latter  is  put  into  a  vibrating 
motion,  and  produces  a  tone  wliich  is  still  furtlier 
raoditied  by  the  manner  of  pressuig  down  the 
key. 

J:0L0MEL0DIC0X,  or  CIIORAT.EOX,  as  it 
'w  freiucntly  called,  Ls  a  keyed  instrument,  invent- 
ed in  Warsaw,  and  is  sometimes  in  the  form  of  an 
organ,  though  much  smaller. 

ii:OLOPANTAI,ON'.  An  instrument  com- 
bining the  piano-forte  and  the  wolomelodicou. 

aEOLUS'  harp  was  introduced  into  Eng- 
land about  the  middle  of  the  last  century.  It  is 
much  like  the  .'Eolian  harp,  consisting  of  strings 
extended  between  the  deal  boards.  Mr.  Rich- 
ardson, m  liis  dissertation  on  the  "  Manners  and 
Customs  of  the  East,"  proves  that  such  an  in- 
strument was  used  at  a  much  earlier  date  than 
that  claimed  by  Kirchcr  for  the  invention. 

.T.QUISOX.VNT.  A  term  properly  appUed  to 
uuLsons,  but  which  is  frequently  given  to  oc- 
taves, because  they  so  affect  the  ear  a.s  almost  to 
seem  one  and  the  same  sound. 

iEUUR'AGANS.  lliLs  term  was  used  by  the 
T.atius  to  signify  that  all  the  parts,  in  the  pas- 
sage against  which  it  was  placed,  syncopated,  or 
Uviatcd  from  the  natural  order  of  the  measure 
\^  one  and  the  some  time. 

.i5-;S'niETICS.     ^^'hatever  belongs  to  matters 
/  taste  m  music. 
AFFABILE.    (I.)    In  an  easy,  affable  manner. 

AFFEITO.  (I.)  A  direction  to  render  notes 
•oft  and  affecting.     With  tenderness  and  pathos. 

AFFETTUOSO,  or  AFFETFO.  (I.)  This 
word,  at  tlie  beginnmg  of  a  movement,  denotes  it 
to  be  tender  and  affecting,  and  to  require  a  soft 
and  dchcate  style  of  j)erfonnance. 

AFFE'rrUOSISSBIO,  or  AFFETTUOSA- 
MENTE.     Tenderly,  affectionately. 

AFFIE.VIID.  A  didactic  writer  on  music  in 
Paris,  at  the  beginning  of  the  la-st  century.  He 
published  "  Easy  Rules  for  Singing  at  Sight,"  in 
whicli  the  time  of  the  airs  is  regulated  by  a  pen- 
dulum. 

AFFINITY.  Relation,  agreement.  Chorda 
have  an  affinity  which  admit  of  an  easy  and 
natural  transition  from  one  to  the  other. 

AFFLIZIONE.  (I.)  Music  with  this  mark 
should  be  pcrtbrmed  in  a  slow  manner,  expres- 
sive of  sadness. 

A  FLAT.  That  flat  which  Ls  the  seventh  of  B 
flat.  Tlie  third  flat  introduce<l  in  modulating  by 
fourths  from  the  natural  diatonic  mode. 

A  FLAT,  MAJOR.  A  most  lovely  key.  The 
major  of  A  flat  is  univisuming,  delicate,  and  ten- 
der; and  it*  relative,  F  minor,  Ls  penitential  and 
Bloomy.  ITie  most  refined  sentiments  of  our 
best  authors  have  been  expressed  in  this  key. 


AFFRETI'AXDO,  AFFREri'ATE.  (I.)  Ac- 
celerating, hurrying  the  time. 

AFRAXIO.  Canon  of  Ferrara  in  the  begin- 
ning of  the  sixteenth  century  ;  he  is  supposed  to 
have  invented  the  bassoon. 

AFI'ER  XOTES.  Small  notes  which  occur 
on  the  unaccented  i)arts  of  the  measure,  taking 
their  lime  Irom  the  preceding  note. 


AGATHOX,  a  Greek  singer,  lived  about 
400  years  before  Jesus  Christ ;  his  style  of  sing- 
ing was  proverbially  excellent. 

AG  AZZARL  AUGUSTIXO.  Bom  of  a  noble 
family  at  Sienna,  was  chapel-ma.ster  at  Rome  ; 
according  to  Quadro,  he  was  the  flrst  who  intro- 
duced iustnmicntal  concertos  into  the  ch<irch, 
about  the  beginning  of  the  sixteenth  century  ; 
but  by  the  word  coiuerti,  used  in  the  title  i)age 
of  his  work,  is  only  meant  "  Salmi  Conrertati,"  or 
psalms  accompanied  with  viohns.  Agazzori  ■\\T0te, 
in  1538,  a  work  on  ecclesiastical  music. 

AGAZZI  published  three  duos  at  Amster- 
dam, ui  1781. 

AGELAUS  obtained  the  first  prize  which 
was  given  to  the  players  on  stringed  uistrumeuts 
at  the  Pythian  games,  559  years  before  Jesus 
ChrLst. 

AGHTE,  F.  W.  Composer  of  some  music  for 
the  horn. 

AGIA.  One  of  the  barbarous  terms  use<l  by 
the  modem  Greeks  in  characterizing  their  modes 
or  arranged  tones. 

AGILITA.     (I.)    With  skiU  and  quickness. 

AGITATO.  (I.)  TliLs  term  signilies  a  rapid 
and  ^•iolent,  but  broken  and  interrupted,  style  of 
performance,  calculated  to  shake  and  sur])rLse  the 
hearer — a  style  adopted  with  propriety  only 
when  it  is  the  composer's  design  to  awaken  the 
flurry  and  i)Crturbation  incident  to  irresolution, 
and  the  conflict  of  opposing  passions. 

AGITATO  ALLEGRO.  (L)  Astyleofper- 
fonnance  both  perturbed  and  rapid. 

AOrrATO  LN  POCO.  (I.)  A  Uttle  agi- 
tated. 

AGXELLI,  LOREXZO.  A  composer  of 
church  music. 

AGXESI,  MARIA  TERESA,  was  bom  at 
MUan,  about  the  middle  of  the  last  centiu-y,  and 
Ls  one  of  those  composers  who  have  contributed 
much  to  the  liLstre  of  the  Ix>mbard  school  of 
music.  Xot  content  with  cultivating  the  science 
to  the  extent  usually  airae<l  at  by  )icr  sex,  she 
aspired  to  a  depth  of  composition  e<|ual  to  the 
great  ma-sters  of  our  sex  ;  to  arrive  at  which,  she 
entered  upon  studies  proportiouably  profound 
and  jierscvering.  'ITiLs  talent  for  ai)]ilication 
8€>eme<l  to  be  a  natural  inheritance  in  the  family 
of  Agnesi,  whose  sister,  (iaotana,  attainc<l  as  much 
eminence  in  the  raathematirs  ns  she  horvolf  did  in 
counteqioint.  She  first  pul>lishe<l  several  canta- 
tas, which  were  well  received,  not  only  as  being 
the  productions  of  a  female,  but  beokxise  th«T 


A.GN 


ENCYCLOPAEDIA    OF    MUSIC. 


AOU 


oore  the  tr\ic  stamp  of  geuius.  Ilor  first  opera 
Was  "  S(>f<iiii.sba,"  which  was  well  received,  and 
Boon  followed  hy  two  others,  "  Ciro,"  nud  "  Ni- 
tocri,"  both  of  which  met  with  decided  success. 

AGXr.S  DKI.  A  prayer  of  the  RoiaLsh  lit- 
urgy, generally  sun;;  before  the  cominuuion,  and, 
according  to  the  regulation  of  I'ope  Sergius  U.,  in 
688,  at  the  close  of  the  mass.  Most  of  the  great 
ma.ss  composers,  as  Mozart,  Haydn,  Beethoven, 
Hummel,  Cherubiui,  &c.,  have  employed  all 
their  depth  and  tenderness  of  melody  and  har- 
mony in  tills  portion  of  the  mass. 

AGOSTIXI,  I.UDOVICO,  chapel-master  to 
Duke  .Vlphouso  II.,  was  born  at  Ferrara.  He 
published  "  Messc,  Vespri,  Motctti,  MadngcUi,  e 
Sitifoiiii;"  Ancona,  1588.  He  died  iu  1590,  aged 
fifiy-sLx. 

AGOSTIXI,  PAOLO,  of  Vallerano,  pupU 
of  Xaniiii,  succeeded  to  F.  Soriano,  as  chajjcl- 
master  of  St.  Peter's  at  Rome.  Padi-e  Martini 
has  inserted  an  "  Agniis  Dei  "  of  this  composer, 
in  eight  parts,  which  is  a  truly  curious  produc- 
tio)i,  thicc  ditt'erent  canons  being  carried  on  at 
the  same  time,  in  a  clear  and  natm-al  manner, 
both  as  to  melody  and  harmony.  Agostini  died 
at  an  advanced  age,  about  the  year  IGCO. 

AGOSTIXI,  PIETRO  SIMOXE,  a  knight, 
was  born  at  Rome,  and  composed,  at  Venice,  in 
1688,  "  II  Uatto  delle  Sabine,"  an  ojiera,  which 
was  not  only  represented  in  his  own  country,  but 
in  several  other  theatres  of  Italy. 

AGOSTIXI,  ROSA,  was  first  female  singer 
of  the  theatre  at  Florence,  in  the  year  1777, 
wlien  she  jjarticidarly  distinguished  herself  with 
Aprile,  in  the  opera  of  "  C'rwstts,"  by  Borghi. 

AGOGE.  The  name  given  by  the  ancient 
Greeks  to  one  of  the  subdivLsions  of  their 
melo))(ria ;  a  species  of  melody,  or  modulation, 
in  which  the  notes,  both  ascending  and  descend- 
uig,  ijroceeded  by  contiguous  degrees.  Of  this 
modulation  there  are  tlirce  species.  Tlie  fii'st  is, 
when  the  sounds  move  from  grave  to  acute, 
called  by  the  Latins  ductus  rectus,  and  by  the 
Italians  conducitnciito  recto ;  the  second,  when 
they  pass  ti-om  acute  to  grave,  called  by  the 
Latins  ductus  rcvertens,  and  by  the  Itahans  con- 
ducimento  ritornantc  ;  the  thud,  wlicn  they  rise 
by  sharps,  and  fall  by  fiats,  called  by  the  Latins 
ductus  circiiiiiciirrcns,  and  by  the  Italians  condu- 
cimciito  cirmiicf>iTcnte, 

A  GRAXI)  CTItEUR.  (F.)  An  expression 
apphed  to  anthems,  services,  &c.,  composed  for 
the  full  choir,  'llie  full  chorus,  in  the  French 
music,  Ls  called  the  ffraitd  clucur,  in  ouposition  to 
the  ])eiit  c/iaiir,  which  is  composed  ot  tlirce  parts 
—  i.  e.,  two  trebles  and  a  tenor. 

A  GRAXI)  ORCHESTRA.  An  expression 
applied  by  the  Italians  to  a  composition,  or  a 
movement,  written  for  a  full  band. 

AGRKLL,  JOHN.  Chapel-master  at  Nurem- 
burg,  where  he  died  in  1767.  His  compositions 
were  numerous,  and  highly  esteemed  in  his  time. 

A(iRi:srA,  AGOSTIXO,  a  comjioscr  of 
eminence,  is  mentioned  in  the  "  Treatise  on  Mu- 
sic "  of  Cerreto,  published  iu  IGOl. 

AGRICOLA,  FREDERIC  HEXRY.  A  j 
^apel-mnslcr  and  composer  towards  the  close  , 


of  the  seventeenth  century.     He  died  in  Ger- 
many, iu  1G91. 

AGRICOLA,  GEORGE  LEWIS,  bom  at  a 
village  near  Sondershauseu,  in  1G4.3,  was  chapel- 
master  at  Gotha,  and  died  in  167G.  He  pub- 
lished sonatas,  preludes,  allemandcs,  &c.,  for  two 
violins  and  two  viols  da  gamba,  and  several  other 
works. 

AGRICOLA,  JOHX,  of  Erfurt,  pubUshed,  in 
IGOl,  motets  for  four,  five,  six,  eight,  and  more 
voices  ;  also  canticles  for  the  principal  festivals. 

AGRICOLA,  JOIIX  FREDERIC,  com- 
poser  to  the  court  St  Berlin,  was  a  native  of 
Dobitschen,  in  Altcnburg.  He  studied  music  at 
Leipsic,  under  Sebastian  IJach.  He  died  in  1774. 
Agricola  translated  itom  the  Italian  "  The  Ele- 
ments of  the  Art  of  Singing,"  by  Tosi.  He  also 
composed  much  music  both  for  the  church  and 
stage.  Agricola's  compositions  of  all  kinds  ex- 
hibit in  their  character  a  happy  union  of  genius 
and  facility.  He  was  one  of  the  best  organists 
of  Germany. 

AGRICOLA,  MARTIXTJS.  A  chorister  in 
the  Cathedral  of  Magdeburg.  He  •^^Tote  several 
tracts  on  music,  the  principal  of  which  were  re- 
published at  Wittenburg,  after  his  death,  under 
the  title  of  "  Duo  Libri  Musiccs  contiiientes  Com- 
pendium Artis  et  iUustria  Excmpla."  Agricola  died 
in  1556. 

AGRICOLA,  BEXTEDETTA  EMLIA  MOL- 
TEXI,  wife  of  J.  F.  Agricola,  was  a  singer  at 
the  opera  of  BerUn,  to  which  place  she  came  in 
1742.  She  had  been  a  pupU  of  Porpora,  Hasse, 
and  Salimbeni.  When  filty  years  of  age,  she  still 
sang  bravura  airs  in  an  astonishing  maimer. 

AGRICOLA,  RODOLPH.  An  excellent 
paijiter,  orator,  poet,  and  musician.  He  ^\as 
one  of  the  builders  of  the  organ  at  Groniugen. 
He  died  at  an  early  age  at  Heidelberg,  in  1485. 
Erasmus  places  Agricola  among  the  first  of 
mortals. 

AGRICOLA,  M-iRTIX,  singer  at  Magde- 
burg, published  several  musical  works  between 
the  years  1512  and  1540.     He  died  in  1556. 

ACJRIPPA.  Tills  king  inherited  a  taste  for 
music,  as  well  as  for  magnificent  buildings. 
About  forty  years  after  Christ,  he  built  a  splendid 
theatre  at  the  city  of  Berj-tus,  where  the  most 
costly  musical  exhibitions  were  displayed. 

AGRIPPA,  H.  C,  born  at  Cologne  in  14S6, 
was  renowned  for  his  great  erudition.  In  Lis 
work  "  De  Iiicertiiudine  licientiarum,"  he  treats 
on  music. 

AGTIIE,  C.  C,  organist  to  the  Prince  of 
Anhalt-Bamburg,  was  born  in  1759.  He  com- 
posed several  songs  and  operas.     He  died  in  1797. 

AGUJARI,  LUCREZIA.  A  celebrated  fe- 
male singer.  She  married  Colla,  an  esteemed 
comjioser,  and  sang  in  London  for  some  yeai-s,  at 
the  Pantheon,  where  she  was  at  one  time  en- 
gaged at  tlie  enormous  salary  of  £100  per  night, 
for  singing  only  two  songs.  Agujai-i  was  truly  a 
wonderful  performer.  She  had  two  octaves  of 
fair  natural  voice,  from  A  on  the  fifth  line  in  the 
bass  to  A  on  the  sixth  line  iu  llie  treble,  and  be- 
yond that,  in  att,  she  had,  in  early  youth,  more 
than  Mji/i'lier  octave.     Sacchini  said  he  had  heard 


28 


IGU 


ENCYCLOP.T.DIA    OF    MUSIC. 


A  K  R 


her  go  up  to  B  flat  iu  altUsimo.     She  (lied  at 
Parma  in  1783. 

AGUILEILV,  SEBASTIAN  DE.  Composer 
and  orr;nnist  at  Snra^jossa  in  the  early  part  of  the 
peveutccuth  century. 

AGl'S.  A  composer  -who  resided  for  some 
years  at  I'nris,  and  died  thinx-  about  IT'.iS.  Ho 
was  scieutilic,  but  had  little  taste  or  (;ouius.  He 
published  several  iustrinueutal  works,  also  sol- 
fBg^i,  wliich  were  not  much  approved. 

AIILE.  JOHN"  OKt)U(;K,  orgauist  at  Mul- 
hausen,  died  in  1707.  He  left  sundry  works  on 
the  ori>;iu  of  music,  and  on  composition. 

AHLE,  JOHN"  UODOLl'II,  father  of  the 
]:reccdins;,  was  Imr^jomaster  and  organist  at 
MuUiausen.  He  juibUshed,  at  Erfurt,  in  Ifi4S, 
a  method  of  singing,  under  the  title  of  "  Com- 
pcmliinn  pro  Tenellis"  &c.,  with  esteemed  hw- 
torical  anil  critical  notes.     Uc  died  in  Ui73. 

AHLSTUOM,  OL,  organist  at  Stockholm, 
composed  several  operas,  aLso  sonatas.  He  was 
liviug  iu  17'.''i. 

AIIXESORGEX,  C.  G.,  published  in  1776, 
at  Iliuuburg,  sbc  sonatas  for  the  harjisichord. 

AIBLIN'GER.  Conductor  at  the  Italian  opera 
at  Munich  in  1823. 

AICH,  G.,  regular  canon  of  the  order  of 
rrcmonstrants,  published  some  chvirch  music  at 
Augsburg  in  1(>63. 

i\JCinXGER,  G.,  an  organist,  published, 
between  1.547  and  1590,  a  great  number  of  works 
for  the  organ. 

AIGXAX,  author  of  a  French  translation  of 
Homer's  Iliad,  has  composed  several  operas.  lie 
was  living  in  1810. 

AIGXEK,  EXGELBERTO.  A  German  com- 
poser at  Vienna,  of  high  reputation  for  his  knowl- 
e<lgc  in  counteq)oint.  He  published  "  Missa  qua- 
tuor  }'oeiim,  tola  in  C'anoiie." 

AIGUIXO,  BRESCIAXO,  published  several 
musical  works  at  Venice,  between  the  years  1562 
and  1581. 

A  IX  ALT.  The  second  note  in  alt.  The 
ninth  above  G,  or  treble  clef  note. 

A  IN  ALTISSIMO.  Ilio  second  note  in 
altUsimo.    llie  octave  above  A  m  alt. 

AIMOX,  P.  I,.  F.,  born  at  Eisle  in  1779,  led 
the  band  of  the  theatre  at  Marseilles  when  iu  his 
seventeenth  year.  He  afterwards  composed  many 
quatuors  anil  quintets.  Uc  was  living  at  Paris 
in   1810. 

A.IOLLA,  FRAXCESCO,  a  composer,  bom 
at  Florence,  was  living  in  France  about  the  year 
1530. 

AIR,  or  ARIA.  (I.)  A  tunc ;  a  short  song 
or  piece  of  music  adapted  to  words  ;  the  peculiar 
raodidation  of  notes  which  gives  music  its  char- 
acter. Haydn  says,  "  Let  your  air  be  good  ;  for 
it  is  the  life,  the  spirit,  and  the  essence  of  a 
composition."  An  air,  generally  speaking,  is  any 
melody,  the  passages  of  which  arc  so  conBtrucfed 
as  to  lie  within  the  pro\-iuce  of  vocal  expression, 
or  which,  when  sung  or  played,  forms  that  con- 
nected chain  of  sounds  which  we  call  a  imw. 
But  the  strict  import  of  air  is  confined  to  vocal 
miuic ;    and  the   word  signifies   a   composition 


written  for  a  single  voice,  and  applie<l  to  poetry. 
Simple  airs  arc  easily  learned,  and  may  be  por- 
fonuod  with  or  without  instrumental  Bccom]>iuu- 
ments.  It  is  related  as  a  curiosity,  that  a  gentle- 
man of  Philadelphia,  rei'cutly  returned  from 
Europe,  brought  with  liirn  a  canary  bird,  the 
gift  of  a  Iriend,  which  distinctly  sings  two  airs  — 
the  Hunter's  Chorus  iu  /)rr  Frcinrhlllz,  and  a 
waltz  of  Beethoven's.  'Hils  wonderf\d  little 
cantatrice  was  instructed  by  a  lilind  (lute  jilnyer ; 
and  one  of  its  other  accomplishments  is  said  to 
be  beating  time  with  its  foot  while  singing.  In- 
stances of  birds  being  taught  a  few  bai*  cfn  very 
simple  melody  are  not  uncommon  ;  but  cultiva- 
tion to  the  jioint  which  this  canary  has  reaidiod 
must  be  exceedingly  rare.  The  mocking  bird 
would  douljtless  be  a  more  apt  pupil  than  any 
other.  Its  natural  ear  is  certainly  (juickest,  anrl 
its  vocal  power  most  versatile.  Ilic  secret  of 
teaching  a  bird  to  sing  an  air  consists  in  playing 
the  first  notes  over  and  over  again  upon  some 
instrument  agreeable  to  the  bird,  taking  care  to 
suit  the  jjitch  exactly  to  the  learner's  capacity. 
When  these  notes  are  successfully  imitated,  the 
lesson  ])rocecds  with  a  few  I'oUowing,  and  so  on 
to  the  end.  A  vast  amount  of  patience  is  re- 
quired for  this. 

The  chief  excellence  of  that  measured  strain 
of  music  called  air  resides  in  the  beauty  of  its 
melody,  the  sjTnmetry  of  which  lays  hold  of  our 
affections  in  a  peculiar  way.  "When  addressed  to 
the  gentler  passions,  its  tender  ex]>ressions  are 
more  inteUigible  than  words,  of  wliich  few  are 
necessary  to  assist  its  meaning  ;  and  the  less  it  is 
encumbered  with  them,  the  more  powerful  is  its 
(^mrra.  Melody  demands  the  expression  of  its 
own  thoughts,  before  it  attempts  to  express  the 
idea  of  the  poet  —  a  means  exclusively  its  own, 
and  which  acts  upon  us  iu  a  plcasuralile  way. 
Its  power  of  calling  up  ideas  of  the  jiast,  upon 
which  the  mind  loves  to  dwell,  is  oltcn  a  source 
of  great  deUght :  with  music  of  this  kuid  the 
singer  seldom  fails  to  ])lea>e ;  he  trusts  to  tlio 
chai-m  of  the  melody  rather  than  the  force  of  the 
words,  recollecting  that  we  must  first  please  the 
ear  before  we  can  touch  the  heart.  It  is  an  ob- 
sen-ation  of  Madame  de  .Stael,  that  when  the 
powers  of  melody  are  but  feebly  felt,  we  expect 
that  it  should  faithfully  confonn  to  every  varia- 
tion of  the  words  ;  but  when  the  whole  soul  is 
affected  by  it,  every  thing,  except  the  music  it- 
sell',  is  unreasonable,  and  distracts  the  attention, 
pro\nde(l  there  be  no  opposition  between  the 
words  and  niusic.  AVe  give  ourselves  up  to  that 
which  shoidd  always  predominate  over  the  rest ; 
for  the  delighthd  revery  into  which  it  throws  ua 
annUiilates  all  thoughts  which  may  be  expressed 
by  words.  \Ve  give  oiu^elves  up  to  the  general 
affections  of  the  soul.  Metasta-sio  reduced  his 
language  in  versification  to  so  limited  a  nuratier 
of  words,  j)lirases,  and  cadences,  that  they  seem 
always  tlie  same;  and  his  poetry  oltcn  produces 
the  effect  of  a  musical  instriiniont,  which  conve\"s 
no  idea,  but  delights  you  with  its  melody. 

AIR  VARlfi.  (F.)  Air  ^»ith  variations. 
This  expression  sometimes  impUos  no  more  than 
that  the  melody  to  which  it  Is  prefixctl  is  varie- 
gatetl  and  embellished,  aH  libitum,  by  the  com- 
poser or  arranger,  or  even  the  performer. 

AIS.     (G.)     A  sharp. 

AKEROYD,  S.     Ji  u  English  composer,  seran* 


29 


kL\ 


ENCYCLOPAEDIA    OF   MUSIC. 


ALB 


teenth  century.     lie  publkhed  numerous  Bongs 
in  the  yeiir  16'8.5. 

AL,  ALL',  ALLA,  ALLE,  ALLO,  AI.  Tre- 
lixed  syllnblor.,  and  menning  very  nearly  the  same 
thing  —  to  the,  or  in  the  style  of;  as,  al_fine,  to  the 
end  ;  alia  capelUi,  in  the  style  of  church  music. 

A-LA-MI-RE.  An  Italian  method  to  deter- 
mine the  key  of  A  by  its  dominant  and  sub- 
dominant,  A  E  D.  In  the  Guidonian  scale  of 
nxusic,  a-la-mi-re  is  the  octave  above  a-re,  or  A 
in  the  first  space  in  the  bass. 

A  lyA  GllEC.  (I.)  An  appellation  occasion- 
ally given  to  choruses  performed  at  the  end  of 
each  act  of  a  modern  drama,  in  the  manner  and 
Bt'lo  of  those  introduced  in  the  ancient  Greek 
tragedies. 

A  LA  POLACCA.  (I.)  In  the  style  of  the 
Poli:<h  music.     See  Pol\cca. 

ALA,  G.  B.,  organLst  at  MUan,  is  said  to  have 
died  in  1612  ;  yet  hLs  many  published  songs  and 
madrigals  bear  a  later  date. 

ALAXUS  An  insulis,  a  renowned  philos- 
opher and  theologian,  was  called,  on  account 
of  his  great  learning,  the  Universal  Doctor.  He 
died  in  1203.  In  his  work  called  "  AiUi-Claudi- 
a/iiis,"  he  treats  on  music. 

ALARDUS,  L.,  a  Protestant  theologian  in 
Hoist ein,  died  in  1672.  He  wrote,  among  other 
works,  one  "  De  Veteran  Munica." 

ALAUIUS  set  to  music  some  songs  in  a 
collection  published  at  the  Hague  in  1735. 

ALBANEZE,  or  D'ALBANESE,  a  singer 
and  pupil  of  one  of  the  conservatories  at  Naples, 
went  to  Paris  in  1747,  when  eighteen  years  old, 
and  wiis  immediately  engaged  at  the  king's 
chapel.  He  was  first  singer  at  the  spiritual  con- 
ceits from  17o2  to  1762.  He  died  m  1800.  His 
compositions  consist  of  au-s,  and  some  charming 
duets. 

ALBANI,  MATTHLVS.  A  renowned  violin 
maker  in  the  TjtoI.  His  instruments  sire  still 
much  sought  for.  He  lived  in  the  middle  of  the 
seventeenth  century,  and  marked  his  violins  thus  : 
"  Matthias  Albanus  fecit  in  Tyrol  Bulsani,"  1654. 

ALBANO.    See  Sebastini. 

ALBAIIINI  published  some  music  at  Vienna 
about  the  year  1780. 

ALIJEUGANTE,  H.  S.,  an  Italian  priest, 
died  at  Como  m  1698.  He  ■WTOte  several  musical 
works. 

ALBERGATI,  P.  C,  of  an  illustrious  famUy 
at  Bologna,  was  an  amateur  and  esteemed  com- 
jioscr  01  music.  There  are  several  operas  of  his, 
wliich  appeared  about  the  beginning  of  the  last 
century  ;  among  otlicrs,  "  Gli  Amici,"  and  "  II 
I'riiicipe  Selcaggio." 

ALBERGHI,  PAOLO,  of  Faeuza,  was  a 
celebrated  violin  pupil  of  Tartini. 

ALBERGHI,  I.,  an  Italian  composer  and 
linger,  was  living  in  1760. 

ALBERICI,  G.,  vicar  general  at  Rome,  died 
there  in  1(«10.  He  wrote  biographical  sketches 
of  celebrated  Venetian  writers,  among  whom  he 
has  noticed  many  eminent  musicians. 

ALBERICI,  L.     An   Italian   poet   ard   com- 


poser, at  the  end  of  the  seventeenth  and  bcginiunp 
of  the  eighteenth  century.     He  died  in  1704. 

ALBERICI,  P.  G.,  an  Italian  poet  and  com- 
poser at  the  beginning  of  the  eighteenth  cen- 
tury, published  a  musical  dialogue  for  four 
voices,  at  Ors-ietto,  in  1703. 

ALBERICI,  V.     See  Albrici. 

ALBERICUS,  cardinal  and  Benedictine  monk 
of  the  convent  of  Montcassui,  was  one  of  the 
most  learned  men  of  his  time.  He  died  at  Rome 
in  1106.  He  was  the  author  of  a  dialogue  on 
music. 

ALBERS,  F.  B.,  a  composer  at  Jena,  wa* 
living  in  1785. 

ALBERT.     A  singer  at  the  opera  in  London 

in  1820.     His  voice  was  a  baritone. 

ALBERT,  JUADAME.  Principal  singer  at 
the  great  opera  of  Paris.  She  appeared  for  a  few 
months  at  the  opera  in  London,  in  1821,  but  was 
not  very  successful ;  was  a  fine  actress,  but  a 
moderate  singer. 

ALBERT,  HENRY,  a  good  composer  and 
poet,  was  born  at  Lodcstein  in  1604,  and  was 
afterwards  organist  at  Konigsberg,  where  he  died_ 
in  1668.  He  was  the  author  of  much  church 
music,  still  sung  in  Prussia. 

ALBERT,  PRINCE.  Soon  after  he  married 
Queen  Victoria,  he  was  appointed  the  director  of 
the  Society  for  the  Performance  of  Ancient  Mu- 
sic, and  is  spoken  of  as  being  familiar  with  the 
compositions  of  the  classical  masters  of  every 
school.  ITie  society  of  which  he  was  director 
consisted  of  170  performers. 

ALBERTI.  A  celebrated  professor  of  the 
violin,  engaged  by  Francis  I.  of  France,  iu  1530. 

ALBERTI,  a  composer  and  guitarist  at  Paris, 
was  living  in  1796. 

ALBERTI,  DOMINICO.  A  Venetian  ama- 
teur, pupil  of  Biffi  and  of  Lotti.  He  astonished 
Farinelli,  in  Spain,  by  his  talent  in  singing.  In 
1737,  he  set  to  mu;ic  the  "  Endymion  "  of  Met^is- 
tasio,  and,  a  short  time  after,  the  "  Galatea  "  of 
the  same  author.  He  died  at  Rome  very  young. 
He  was  also  the  composer  of  thirty-si\  sonatas  in ' 
a  new  style.  Dr.  Bumey  highly  valued  tl-.e  vo- 
cal compositions  of  Alberti,  wliich  are  little  kno^\^l 
in  England,  and  were,  indeed,  scarce  every  where, 
even  at  the  time  the  doctor  was  on  the  continent 

ALBERTI,  GIUSEPPE  MAITEO.  A  com- 
poser  and  violinist  at  Bologna,  at  the  beginning 
of  the  last  centiu-y.  He  pubUshed  twelve  sym- 
phonies, which,  being  light  and  easy,  were  fonner- 
ly  much  played  in  England.  He  also  published, 
in  1713,  ten  concertos,  in  sis  parts,  for  \-iolins. 

ALBERTI,  J.,  composer  and  court  musician 
at  Fcrrara,  lived  at  the  beginning  of  the  last 
century. 

ALBERTI,  J.  F.,  organist  of  the  court  of 
Saxony,  composed  some  chefs-dComvres  for  the 
church.     He  died  in  1710. 

ALBERTI,  P.,  a  composer,  lived  at  the  be- 
ginning of  the  last  century. 

ALBERTINI,  F.,  doctor  of  the  canon  law, 
was  bom  at  Florence,  and  wrote  a  treatise  on 
music  about  th»  year  1510. 


30 


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ENCYCLOPAEDIA    OF   MUSIC. 


ALB 


ALBERTINI,  JOACIIIM.  Chapel-master  to 
the  Kin;;  of  Poland  in  1784  ;  he  composed  some 
operas,  and  was  livin;^  iu  the  year  1790. 

ALBERTIXI,  I.,  an  instrumental  composer, 
flourished  towarila  the.  end  of  the  seventeenth 
centiurj-.  lie  composed  twelve  sonata;*,  and  dedi- 
cated them  to  Leopold  I. 

ALBEllTUS  MAGXUS,  a  learned  bishop 
of  Ratisbon,  died  in  1'280.  lie  Avas  the  writer 
of  many  theological  works,  also  of  two  treatises 
on  mu:4c. 

ALRERTUS,  \'ENE'rUS,  a  Dominican,  WTOte 
a  treati-sc  ou  muaic  in  the  middle  of  the  sLxtecuth 
century. 

ALBICASTRO,  II.  A  SwLss,  whose  real 
name  was  Weissenburj  ;  he  served  in  Spain  in 
the  army,  and  subiequently  published  many 
musical  works  at  Amsterdam,  with  the  initials 
B.  B.  W.  Ue  flourished  at  the  beginning  of  the 
.ast  centiuy. 

ALBIXI,  v.,  an  instrumental  composer,  pub- 
lished some  sonatas  towarila  the  end  of  the  last 
ccnturj-. 

ALBIN0N7,  THOMAS,  of  Venice,  was  the 
composer  of  thirty-three  operas  for  that  city,  be- 
tween the  years  ir)!)4  and  1730  ;  he  was  likewise 
an  excellent  performer  on  the  violin,  and  pub- 
lished in  the  bejjinning  of  tlic  last  century,  be- 
eides  several  vocal  productions,  nine  different 
works  for  instruments,  chicHy  light  aiul  easy  con- 
certos and  sonatas  for  -v-iolins.  One  of  these 
works  is  a  coUection  of  airs,  entitled  "  liallctti  a 
tri;  due  Violini  e  ViolonceUo  col  Bcvsin,"  which  be- 
came so  familiar  in  England,  that  most  of  the 
common  fiddlers  of  tlie  time  were  able  to  play 
them. 

AliBIOSO,  M.  A  good  musician  and  poet, 
jiativc  of  Sicily.  He  died  in  IGSil,  and  left  a  col- 
lection of  Sicilian  canzonets,  which  were  pub- 
lished at  Palermo. 

ALBIZZI  TAtiLIAMOrill,  B.,  a  reno«-ned 
female  sinfjcr  at  Florence,  lived  in  the  middle  of 
the  seventeenth  centiuy. 

ALBOXESIO,  A.  T.  Bom  at  Pa\-ia  in  1  tr,n  ; 
he  was  a  rcnoAvncd  Orientalist :  in  one  of  his 
works  he  describe*  the  bassoon  of  ^yhmius,  and 
gives  a  representation  of  it. 

AI-BONI,  MARIETTA,  the  great  contralto, 
was  born  at  Cc-;ena,  in  182G,  of  very  honorable 
parent-i,  and  re.eivcd  an  excellent  education.  At 
the  age  of  eleven  she  took  lessons  in  music  of  the 
celebrated  Maestro  P.agioli.  Eight  years  after  she 
entered  t';e  Lyceum  of  Bologna,  when  Rossini 
was  its  dirci'tor.  Her  first  Mhut  was  at  Milan,  iu 
the  great  theatre  of  Ia  Scala,  where  she  con- 
tinued to  sing  during  four  seasons.  She  then 
Rang  three  cngngoments  at  Vienna,  and  made  her 
mark,  like  all  the  tir-^t  class  Italian  artists,  in  St. 
Petersburg.  She  lett  that  city  in  1S45  for  (icr- 
many,  alter  which  time  she  made  no  engagements 
with  managers,  but  sang,  as  her  mood  prompted, 
in  the  principal  cities,  sharing  in  Ixindon  the  tri- 
umphs of  (irisi,  Mario,  and  Tamburini,  until  she 
went  to  Paris,  where  the  rapture  of  her  admirers 
had  no  precedent,  both  at  the  Italian  and  Grand 
Opera  Houses. 

A  year  ago  she  was  exciting  great  enthusiasm 
Ln  Belgium.     And  her  last  public  appearance  was 


in  Paris,  on  the  13th  of  May,  18.52,  at  a  grand 
solemnity  in  the  theatre  of  the  Palace  of  Versailles, 
at  which  Louis  Napoleon  assiiiU  d.  She  was  tho 
great  star  of  the  occasion,  and  a<-tonlshed  and  de- 
liglited  every  body  by  her  singing.  'ITie  director 
of  the  Grand  Opera  made  propositions  to  her  to 
sing  in  Halevy's  new  opera,  "  Le  Jiiif  Errant," 
and  offered  to  produce  expressly  for  her  a  piece 
of  Balfe's :  "  Mation  tE-icaut,"  the  "  checal  tie 
bafitillc,"  as  it  has  been  called,  of  Malibrau.  But 
she  had  concluded  all  the  preliminary  arrange- 
ments for  a  trip  to  America. 

Here  she  amved  in  June,  18.52,  and  her  bril- 
liant career  in  New  York,  Philadelphia,  Boston, 
&c.,  both  in  concerts  and  in  opera,  is  too  well 
known  to  need  especial  notice.  A  Piu-Ldan  criti". 
describes  Alboni's  voice  as  "  a  veritable  contralto, 
of  the  most  sweet  and  most  sonorous.  It  goes 
down  to  F  in  the  bass  clef  and  up  to  the  C  in  alt 
of  the  soprano  ;  that  is  to  say,  it  traverse*  a  com- 
pass of  two  octaves  and  a  half,  llic  first  registci 
commences  with  the  F  in  the  bass,  and  reaches  tc 
the  same  note  in  the  medium  ;  here  lies  the  rcai 
body  of  Alboni's  voice,  and  the  admirable  timbre 
of  tills  register  colors  and  characterize;*  all  the 
rest.  ITie  second  register  extends  from  the  G  of 
the  medium  to  the  F  above ;  and  the  remaining 
compiws  of  a  fourth  above  that,  fonning  the  third 
portion,  is  but  an  elegant  sumptuosity  of  nature. 
One  must  heiur,  to  conceive  vrHW  what  incrclible 
skill  the  artist  uses  this  magniticent  instrument ! 
It  is  the  pearly,  liglit,  and  fluid  vocalization  of 
Persiani,  joined  to  the  brilliancy  and  pomp  of 
style  of  Plsaroni.  Nothing  can  give  an  idea  of 
this  voice  always  united,  always  ecpial,  which 
vibrates  without  effort,  and  of  wliich  each  note 
opens  like  a  rosebud.  No  en,-,  no  prcter.ded 
di-araatic  contortion,  to  bruise  and  wound  your 
t>Tupanura  under  the  pretext  of  moving  you 
to  tears  I  No  doubt  the  admirable  voice  of 
Alboni  Is  not  without  some  uuiienections ;  it 
counts  several  notes  that  are  feeble  and  slightly 
dull,  as  so),  Id,  si,  d>,  notes  which  sen-e  as  tlie 
transition  between  the  chest  voice,  of  an  unpar- 
alleled beauty,  and  the  register  of  sounds  formed 
above  the  larpix,  commonly  called  the  Iwad  t-iiies. 
A\lien  the  singer  Is  not  careful,  this  little  hfath 
enlarges,  and  thc-ie  notes  appear  a  little  stifled. 
It  in  quite  evident  that  the  virtuosa  glides  over 
this  little  brid'jc  of  si'jln  with  all  sort.s  of  precau- 
tions, and  that  she  evinces  a  satisfaction  when 
she  arrwcs  at  a  real  tone  of  her  contralto  voice, 
whi(!h  she  makes  leap  out  and  vibrate  with  so 
much  the  more  sonorousness.  Frequently  she 
co)>trasts  thee  two  registers  with  an  exquisite 
taste,  balancing  hcr.-clf  lightly  on  the  mixed  note 
before  bounding  upon  the  terra  Jirma  of  lier  clicst 
voice,  which  she  governs  with  a  sujireme  author- 
ity. We  have  heard  her  make  a  gamut  from  the 
C  in  alt  dovm  to  V  in  the  bass ;  this  gumut  flew 
before  the  ear  with  the  rapidity  of  lightning, 
without  your  losing  a  single  note,  and  bU  this 
was  done  Avith  an  unconcern  entirely  hopeless  for 
mediocrity." 

Of  her  personal  appearance,  her  favorite  r^i'e-^, 
&c.,  at  the  time  of  her  arrival  in  America,  a  writer 
in  tlie  Tribune  thus  speaks  :  "  Marietta  Alboni  ii 
about  twenty-six  years  of  age,  —  h.as  great  cinbon- 
]X}int,  —  used  to  keep  her  hair  clipped  short  and 
hanging  in  her  neck,  when  we  heard  her  two  or 
three  years  since  in  Europe  —  has  remarkable 
self-possession  a'ld  almost  indifference  of  mannei 


31 


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ENCiCLOPyEDIA    OF    MUSIC. 


ALL* 


upon  the  stage,  of  ■which  Steffiinone  constantly 
remiudcd  us,  and  acliicves  her  {^lowuip;  triumjjha 
more  by  the  si)londor  of  her  voice,  uud  her  cx- 
quLsite  mana;^ement  of  it,  than  by  any  dramatic 
genius,  in  wliidi  she  Ls  deticient.  Ilcr  voice  is 
the  purest,  rii-he-t,  fullest,  and  sweetest  contralto, 
nie  limited  rcjuirtoirc  for  such  a  voice  lias  induced 
Alboni,  who  Ls  suiftularly  rcitless,  with  all  her 
Linj^uor  of  temperament,  to  undertake  many  parts 
not  strictly  within  her  run^^e ;  but  so  remarkable 
Ls  her  voice,  so  delicious  to  licar  under  any  cir- 
cumstances, that  we  believe  she  has  acliieved  a 
success  in  every  i)art  she  has  undertaken.  In 
llossiui's  music,  in  liis  brilliant  finales  and  scenas, 
like  tlie  Xon  piu  mcsta,  Alboni  Ls  wonderful.  Her 
voice  jiours  out  of  her  mouth  without  the  slij^ht- 
est  effort,  and  with  Lrresistible  elfect,  and  gushes 
through  tlie  glittering  _/?or(VMre  of  that  style  with 
a  sparkling  facility  which  Ls  most  fasciuatmg. 
The  lirindisi,  from  '  Lticrczia  Borgia,'  known  as 
the  (Iriiikiiiff  son;/,  is  another  of  her  exquisite  bits 
of  vocalization.  She  used  often  to  sing  it  be- 
tween the  acts  at  the  Italian  Opera  in  I'lurLs,  and 
it  always  excited  unmingled  enthusiasm." 

ALBRECIIT,  J.  I,.,  diicctor  of  the  music  in 
the  principal  diurch  of  Mulhausen,  died  about 
the  year  1773.  lie  published  many  didactic 
works  on  music. 

ALBllECirr,  J.  M.,  organist  at  Frankfort, 
was  born  in  1701.  He  composed  several  concer- 
tos for  the  harpsichord. 

ALBKECIITSRERGER,  JOUX  GEORGE, 
■was  born  at  Klosterneuburg,  in  the  year  1736, 
and  at  the  age  of  only  seven  years  was  engaged 
as  a  singing  boy  in  his  native  town,  fi-om  whence 
he  removed  to  the  Abbey  of  Moelk,  wliere  lie  con- 
ducted a  school.  In  tlie  mean  time  he  learned  the 
organ  and  composition  of  Monn,  the  court  orgaii- 
Lst,  and  was  soon  himself  appointed  organLst  at 
lliiab.  In  1772,  he  obtained  tlie  situation  of  court 
organist,  and  member  of  the  academy  at  Vienna, 
and  subsequently  was  made  chapel-master  at  the 
Catheibal  of  St.  Stephen's,  at  Vienna.  He  died 
Ln  1803.  Albrechtsberger  was  one  of  the  most 
learned  of  modern  contrapuntists.  He  formed  a 
great  number  of  eminent  scholars,  among  whom 
Beethoven  Ls  particularly  clLstinguished.  Ilayibi 
had  the  greatest  esteem  for  Albrechtsberger,  and 
Ls  said  sometimes  to  have  consulted  liim  profes- 
sionally. Of  his  works,  his  "  Elementary  Trca- 
tLse  on  Composition,"  publLshed  in  1790,  at  Leip- 
sic,  is  the  one  by  which  he  is  most  generally 
known  ;  it  Ls  an  excellent  book,  and  is  tor  mod- 
ern composition  what  the  (Jnulu.i  of  Fux  is  for 
ancient  music.  The  principal  part  of  this  work 
has  been  translated  into  French.  He  also  wTOte 
"  Methods  of  Harmony,"  "  Figured  Bass,"  and 
"Composition,"  adapted  for  self- instruction. 
His  remains  re:-t  in  the  same  burying-place  with 
those  of  his  friends  and  associates,  Ilaydn  and 
^lozart.  Among  his  dLstinguished  pupils,  in  ad- 
dition to  Beethoven,  were  Eybler,  Hummel,  Sey- 
fiied,  Lidesdorf,  Schneider,  AVcigl,  and  Moscheles ; 
and  though  AUirechtsberger  had  no  power  to 
form,  he  had  the  ability  to  direct,  the  muuls  of 
these  eminent  men.  He  did  not  make  them,  but 
he  enabled  tJicm  to  bo  what  they  were.  The 
seed  fell  on  good  soil,  but  it  was  hLs  seed,  and  he 
must  have  felt  proud  of  such  a  pupil  a^^  that  co- 
lossus of  harmony  —  the  wizard  and  the  poet  — 
Bketuoven.       dementi    made    iVlbrechtsberger 


known  to  England  as  a  corapostr.  There  seems 
to  have  existed,  among  some  of  the  German 
school,  a  jiredlsposition  tor  complicated  harmony  ; 
their  mu.sical  alijucnt  appears  to  have  necessarily 
generated  fugue  and  canon,  or  the  organ  oi philo- 
fa{iativeness  must  have  been  develojied  Ln  an  un- 
usual degree.  Albrechtsberger  said  of  hunselfi 
"  I  have  no  merit  in  composing  good  fugues,  for 
I  do  not  recollect  ever  having  an  idea  that  might 
not  be  employed  in  double  counterpoint."  It  is 
from  All)rechtsbcrger  and  Seoastian  Bach,  and 
like  men,  that  the  materiel  of  harmony  Ls  ac- 
quu-ed :  they  have  furnldied  our  musical  store- 
houses and  arsenals ;  they  have  efiul])ped  our 
Haydns,  Mozarts,  and  Beethovens  for  the  field; 
they  discovered  and  laid  bare  "  the  chains  that 
tie  the  hidden  soul  of  harmony." 

ALBRICI,  V.  A  Roman  composer  and  organ- 
ist, whom  the  Queen  Christina  of  Sweden  brought 
with  her  out  of  Italy.  He  died  about  the  year 
1680.  Most  of  his  compositions  are  for  the 
church. 

ALBUJIO,  composer  and  singer,  was  liHng, 
about  the  year  17()0,  at  Bergamo.  Some  opera 
airs  of  his  are  occasionally  met  with. 

ALCiEUS.  A  IjTic  poet  of  Mitylene,  native  of 
the  Isle  of  Lesbos,  and  celebrated  by  the  invention 
of  .'Vlcaic  verse.  He  lived  G08  years  before  Jesus 
Christ.     Athenasus  calls  him  musiccs  scientissimus. 

ALCIBLADES.  This  general,  like  most  of  the 
Athenians,  had  been  taught,  while  young,  to  jilay 
on  musical  instruments,  and  he  excelled  many 
others.     ZopjTus,  a  Thracian,  was  his  instructor. 

ALCOCK,  JOHN,  doctor  of  music,  was  a 
native  of  London,  born  in  1715.  \\'hcn  only 
seven  years  of  age,  he  -was  entered  as  chorister 
of  St.  Paul's,  and  at  fourteen  became  an  arti- 
cled pupQ  of  Mr.  Staidcy,  who,  although  at  tliat 
time  himself  only  sixteen,  was  organist  of 
two  London  churches.  Dr.  Alcock  died  at 
Litchfield,  in  1806,  aged  ninety-one.  His  works 
consist  of  six  suites  of  lessons  for  the  harpsichord, 
and  twelve  songs,  published  at  I'h-mouth ;  six 
concertos,  and  some  psabns,  hjnnns,  and  canons, 
published  at  Reading  ;  twenty-six  anthems,  and 
a  coUcction  of  glees,  ctiUedthe  "Harmonia  Festi;" 
also  many  double  and  single  chants,  published 
at  Litchfield.  At  each  of  the  above  places  he 
was  organist.  A  glee  by  Dr.  Alcock,  entitled 
"  HaU,  ever-pleasing  Solitude,"  gained  a  prize 
medal  at  the  Catch  Club,  and  is  considered  to  be 
a  beautiful  as  well  as  scientific  performance. 

ALLDAY,  P.,  a  composer  and  excellent  ■violin 
pupil  of  Viotti,  was  born  at  Perpignan.  He  left 
France  in  the  revolution,  and  went  to  London, 
wliere  he  published  much  music  for  the  violin. 
He  subsequently  gave  lessons  at  Edinburgh. 

ALDEiaXUS,  COSMA,  a  Swiss  composer, 
published  at  Berne,  in  1553,  fil'ty-scven  hpnns. 

ALDOVAXDRINI.  This  Italian  musician 
composed  seven  operas  for  Bologna  and  A'enice, 
between  the  years  1G!)6  and  1711.  Some  of  them 
■were  comic,  especially  one  entitled  "  Ai'wr  Torna 
in  58,  at  50,"  which  ■Cvas  written  in  the  dialect  of 
the  Bolognese  peasantry. 

ALDRICH,  REV.  DR.  JIEXRY,  appointed 
dean  of  Clirisfs  Church,  OxJbrd,  in  1  389,  was  a 
singular  instance  of  au  unprofessioutA  musician. 


32 


ALD 


ENCYCLOP.EKIA    OF    MUSIC. 


A  LI 


At  the  same  time  that  he  was  greatly  diHtin- 
gmahiiij;  hiin-icli'  as  a  polemical  writer,  a  polite 
Bcholur,  a  theologian,  a  proloiiuil  critii',  an  archi- 
tect, and  a  man  of  sound  jiulgmcnt  uiul  exquisite 
taste  in  arts,  science,  and  literature  in  (general, 
he  became  so  profound  and  skilled  in  the  theory 
and  practice  of  hiu-mony,  that  his  compositions, 
particularly  for  the  church,  equal  in  number  and 
excoUeuce  those  of  the  greatest  ma.sters  of  his  time. 
ITiough  not  more  than  live  or  six  of  hts  choral  pro- 
ductions continue  to  be  performed,  except  at  Ox- 
ford, yet  he  composed  nearly  forty  services  and  an- 
tliems,  wliich  are  i)re.ier\-ed  in  tlie  third  volume 
of  Dr.  Tudway's  collection,  in  the  liritish  Muse- 
um, llesido.i  these.  Dr.  Aldrich  enriched  the 
cathedrals  with  many  admirable  compositions, 
by  adapting  English  words,  from  the  psalms  or 
liturgy,  to  anthems  and  motets  of  Tallis,  ]{ird, 
Palestrina,  Carissimi,  Graziani,  and  Ba.'isani, 
wliich  were  originally  set  to  Latin  words,  for  the 
lloman  Catholic  service.  Among  his  composi- 
tions of  a  lighter  kind,  he  amused  himself  with 
setting  rounds  and  catches,  of  which  eight  or  ten 
are  inserted  in  the  two  books  of  the  "  Catch  Club," 
or  "Merry  Companion."  'ITie  smoking  catch, 
"  Good  I  good  !  indeed,"  and  the  round,  "  llark  the 
bonny  Christchurch  Bells,"  have  been  always  ad- 
mired ;  the  first  for  humor  and  contrivance,  and 
the  second  for  its  pleasing  melody  and  general 
effect.  The  admirable  choral  discipline  Dr.  Al- 
drich preserved  in  his  college,  at  O.xJ'ord,  for  up- 
wards of  twenty  years,  is  still  remembered.  In- 
deed, without  ueglectLug  more  important  con- 
cerns, he  seems  to  have  interested  himselt"  in  the 
cultivation  and  prosperity  of  the  musical  art, 
with  as  much  zeal  and  diligence  as  if  his  studies 
and  pursuits  had  been  circum:icribcd  to  that  alone, 
lie  bequeathed  to  Ids  college,  at  liLs  decease,  in 
1710,  an  admirable  collection  of  music.  Dr. 
Burney  says  that,  having,  in  177S  and  177"J, 
made  a  catalogue  of  thc--e  musical  works,  he  can 
venture  to  say,  that,  for  masses,  motets,  madrigaLs, 
and  anthems  of  the  sLxteeuth  and  seventeenth 
centuries,  the  collection  is  the  most  complete  of 
any  that  he  had  an  opportunity  of  consulting. 

ALDiaGIIETTI,  AXTOXIO  LODO^^CO, 
an  Italian  nobleman,  born  at  Padua,  was  profess- 
or of  law  there,  and  -wrote  a  work  on  music  and 
poetry.     He  died  in  1660. 

ALDIIOVAXDINI.    See  Aldovandrini. 

ALEMAX.  Amongst  the  ancient  bards  of 
Greece  was  one  Aleman,  who  was  a  native  of  Sar- 
dis,  and  Uvcd  about  670  yciu^i  before  the  Christian 
criu  lie  was  a  celebrated  composer  of  love  songs  ; 
was.  remarkable,  also,  for  a  most  voracious  appe- 
tite, being  the  greatest  glutton  of  his  time. 

ALEMBERT,  JEAX  LE  ROXD  D'.  Be- 
tween the  years  1690  and  1711,  composed,  for 
Bologna  and  N'enice,  several  operas.  He  also 
published  some  sacred  music. 

ALEOTTL  RAFAELE  ARGEXTA,  an  Au- 
gustmc  monk  at  Fcrrara,  pubUshcd  some  motets 
and  madrigals  in  the  seventeenth  century. 

ALEOrri,  VITTOllIA.  A  female  composer 
of  macb'igals,  in  the  latter  part  of  the  sLxteenth 
tentury. 

ALESS.VXDRL  FELICE.  Bom  at  Rome  in 
1742.  He  went  to  England  in  the  year  1768, 
nad  composed  two  comic  operas  for  the  English 


stage,  "  Le  Moglie  Fedele,"  and  "  II  re  aUa  Caccia," 
whifh  we  not  devoid  of  merit.  He  was  the  hus- 
band  of  Signora  Guadagni,  an  excellent  Italian 
singer.  On  his  return  to  the  continent,  he  com- 
posed many  other  operas,  up  to  tlio  year  1792. 

ALESSAXDRO.  ROMAXO,  a  singer  ad- 
mitted into  the  pope's  chai)el  in  1560,  was  like- 
wise so  cx(iiu»ite  a  performer  on  the  viol,  that  ht 
obtained  the  cognomen  of  .Vlessandro  deiJa  ]'iola. 
lie  composed  motets  accompanied  by  many  in- 
struments, which  seem  to  have  been  the  first  of 
the  kind.  Adami  says  that  Alessandro  Romano 
aLso  invented  canzonets  for  four  and  five  voices. 

ALEXAXDER,  J.,  violonceUist  and  com- 
poser at  DuLsburg,  has  pubUshed,  chiefly  i.t 
Amsterdam,  several  works  for  that  instrument, 
since  the  year  ISOO. 

ALEX.YXDEIl  ab  alkx.vndro,  a  Neapolitan 
lawyer,  died  at  Rome,  in  1523.  Ho  WTote  some 
works  on  ancient  music. 

ALEXAXDER,  SYMPHOXIARCIIA,  a 
composer  in  the  early  jjart  of  the  seventeenth 
century,  publishetl  three  books  of  motets,  at 
Frankfort,  in  1606. 

ALEXAXDER,  a  native  of  Asia  Minor,  wa-i 
the  foiuider  of  a  sect  of  persons  who  thought  it  a 
religioius  duty  to  keep  awake  day  and  night  to 
sing  music ;  believing  that  constant  singing 
would  fit  them  for  heaven.     He  died  430. 

.^.LEX.YXDER  THE  GRE.VT.  Music  flour- 
Lshed  in  the  reign  of  this  man,  and  found  in  him 
a  skilful  judge  and  generous  protector.  It  was 
customary  for  the  musicians  in  his  employ  to 
sing  hpuns  to  his  praise,  accompanied  with 
instruments. 

ALEXAXDRE,  C.  G.  Author  of  six  ducte, 
Paris,  1775. 

ALFIERI.     A  musician   and    poet.     He  has 

surjiassed    everj-  other   poet   in  jiortraj-ing   the 

heart  of  a  tjTant.  The  scenes  of  his  "  Timoleou  " 
are  very  line. 

ALG.U10TTI,  COUXT  FRAXCESCO,  was 
born  at  Venice,  in  1712.  He  was  much  esteemed 
by  Frederic  H.,  King  of  Prussia.  He  died  at 
Pisa,  in  1761.  He  wrote  an  essay  on  the  opera, 
which  was  translated  into  English,  and  published 
in  1767. 

ALGISI,  or  ALGIIISL  D.  P.  F.  \  renowned 
Italian  composer,  born  at  Brescia,  about  the  year 
1666.  He  afterward  lived  at  Venice,  and  composeil 
two  operas  there,  which  were  much  esteemed, 
especially  "  11  Trionfo  de  la  Coniiitciiza." 

ALIX.  Bonnet,  in  his  "  Ilistoirc  dc  la  Miisujtu;" 
gives  the  following  extraordinary  account  of  a 
mathematician,  mechanician,  and  musician, 
named  .VlLx,  who  lived  at  Aix,  in  Provence, 
about  the  middle  of  the  seventeenth  century. 
.rVlix,  after  many  years'  study  and  lalx)r,  succeeded 
in  constructing  an  automaton  figure,  having  the 
shape  of  a  human  skeleton,  which,  by  means  of  a 
concealed  mechanLsm,  played,  or  had  the  appear- 
ance of  playing,  on  the  guitar.  The  artist,  after 
having  tunetl  in  perfect  unison  two  guitars,  place<l 
one  of  them  in  the  hands  of  the  skeleton,  ix. 
the  position  proper  for  playine,  and  on  a  calm 
summer's  evening,  having  thrown  open  the  win- 
dow of  his  apartment,  he  fixed  the  skeleton,  witL 


33 


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ENCYCLOPEDIA    OF    MUSIC. 


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the  quitJir  in  its  hands,  in  a  position  where  it 
coulil  ho  poen  from  the  Htrcct.  lie  then,  taking 
the  othiT  in'itrumeiit,  seiitcd  liiraselfin  an  obscure 
corner  of  the  room,  and  commeueed  playing  a 
piece  ol'  music,  the  jjassnges  of  wliich  -were  faith- 
fully repeateil  or  echoed  by  the  guitar  held  by 
flie  .skeleton,  at  the  sumo  time  that  the  movement 
jf  its  wooden  tingcrs,  as  if  really  executing  the 
music,  completed  the  illusion.  This  strange  mu- 
jicul  feat  drew  crowds  around  the  house  of  Alix, 
iud  crcatcil  the  greatest  astonishment ;  but,  alas 
for  the  ill-fated  lu^ist !  this  sentiment  was  soon 
changed  in  tlic  minds  of  the  ignorant  multitude 
into  the  most  superstitious  dread.  A  rumor 
arose  that  AlLx.  was  a  sorcerer,  and  in  league  with 
the  devil.  He  was  arrested  by  order  of  the  par- 
liament of  I'rovencc,  and  sent  before  their  crim- 
inal court.  La  Chamhre  de  la  Tournelle,  to  be  tried 
on  the  capital  charge  of  magic  or  witchcraft.  In 
vain  the  ingenious  but  unfortunate  artist  sought 
to  cou\'ince  his  judges  that  the  only  means  used 
to  give  a])parcnt  vitality  to  the  fingers  of  the 
skeleton  were  wheels,  springs,  pulleys,  and  other 
e(iually  umuagical  contrivances,  and  that  the 
mjirvellous  result  produced  was  nothing  more 
crimijial  than  tlie  solution  of  a  problem  in  me- 
chanics. .  IlLs  explanations  and  demonstrations 
were  either  not  understood,  or  failed  of  convin- 
cing his  stupid  and  bigoted  judges,  and  he  was 
condemned  as  a  sorcerer  and  magician.  Tlie  ini- 
quitous judgment  was  confirmed  by  the  parlia- 
ment of  I'rovcnce,  which  sentenced  lum  to  be 
bunied  alive  in  the  principal  square  of  the  city, 
together  with  the  equally  innocent  automaton 
figure,  the  supposed  accomplice  in  his  magical 
practices.  This  infamous  sentence  was  carried 
into  execution  in  the  year  1064,  to  the  great  sat- 
isi'actiou  and  edification  of  all  the  faithful  and 
devout  inhabitants  of  Aix. 

ALIQUOT  TOXES.  Accessory  tones,  or  har- 
monics. Tones,  faintly  heard,  which  are  always 
produced  with  the  principal  tone,  at  hanuonic 
iiiters-als  above  it. 

ALL'  AXTICA.  (L)  In  the  old  style.  Tliis 
expression  ajjplies  to  music  not  absolutely  anti- 
quated, but  that  is  composed  m  tlie  scientific 
style  of  the  Ixst  age ;  that  is,  of  the  oU  scliool. 

ALLA  BREVE  (I.)  is  the  proper  designation 
of  the  time  of  a  piece  of  music,  in  which  the 
breve  is  equal  to  a  semibreve  iu  %  time  ;  and  is  to 
be  played  in  a  movement  of  twice  the  usual 
rapidity ;  so  that  a  breve  is  played  as  fast  as 
a  semibreve,  a  semibreve  as  fast  as  a  minim,  and 
60  on.  It  is  usual,  iu  this  mode  of  time,  to  i)retix 
to  the  piec«  a  designation  that  rcembles  a  V,, 
with  a  jieriK'iidicular  line  tluough  it,  but  which 
is  intended  to  rcprer-ent  a  circle  bisected ;  some- 
tin;  es,  also,  a  ',  or  large  %  or  '\.  It  is,  however, 
dLsiLuct  from  tAvo-minim  time,  wliich  is  also  often 
called  alia  brt-ne  time,  and  may  be  designated  by 
2,  and  by  C  n  ith  a  i)eq)cndicidar  line  through  it ; 
but  the  value  of  the  note  corresponds  with  the 
designation.  Hcsides,  the  expression  alia  capcUa 
is  sometimes  used;  by  which  plura.se  is  meant, 
that  though  the  notes  in  their  proportional 
magnitude  are  the  same  as  in  the  ancient  psalm 
tunc,  yet  tlu-y  are  not  to  he  given  in  the  choral 
style,  as  sung  by  the  congregation,  but-  more 
lively,  as  Ls  usual  in  the  chapel  style. 

ALLA  CACCLV.     (I.)     In  the  hunting  style. 


ALLA  CAPELLA.  (I.)  An  expression  ap- 
plied by  the  Italians,  generally,  to  music  com- 
posed in  the  church  style  ;  but  occasionally  only 
as  referring  to  time.     See  All.^  Bueve. 

AM.A  MADRE.  (I.)  To  tiik  Mothf.r,  1.  e..  to  the  Viririn 
Mary.  An  exprv'ssioD  writtcu  at  Uii;  tM-giiiuiug  uf  hvnmf  addresM^ 
to  the  Vlr»rin. 

Al.LA  >1  ARCKV.    (I.)    Id  the  ntylo  of  a  march. 

ALI.A  .MODEUNW.  (I.)  Iti  Ihr  mo<lerD  iirle.  The  exprMflon 
aUa  uto'femn  i«  applied  to  uny  miiiitc  cornposeu  in  ativ  !»tyle  wliieh 
liaj.  Ih-vii  iidcmted  eluce  the  time  ol  lliindel,  Con'lli,  oil'l  GerminianL 

AM. A  Kl'SSE.  (I.l  In  the  Kussiun  etylc.  An  exprension 
f'tuud  fit  the  beginning  of  coniputfitions  written  in  iniilutiun  of  Kun- 
siuii  music. 

AIJ-A  SCOZZESE.  (I.)  In  the  Scotch  iityle.  Tliis  expretiiinn 
i«  applied  liy  the  ItuIi.inB  ettiu-r  to  n  wliole  inoveni'ii!  ortoapiir- 
ticul;ir  p:L«i9uce.  It  does  not  nlwiivii  HJ/^iiifv  tliut  the  ^t'.  le  is  directly 
Sc'ittiMh  ;  hut  that  it  iii  so  liir  of  a  Caledouiau  cwfte  or  litit/c,  Bfi  to  re- 
mind ut  of  the  Scotch  music. 

ALLA  SICILIAXA.  (I.)  Thia  cxpmiion  implies  a  crrtoui 
species  of  air  penerully  written  In  G->*  or  Ti-fi,  thou^li  s*iinrtimes  in 
(^4.  Its  nrincilia]  cIiaructerJNties  are,  its  being  in  a  sniuewhat  slow 
time,  ond  chiefly  movinc  hy  alternate  crotchets  and  quavers,  if  in 
ti-8orll*.S;  and  in  minims  and' crutcliets,  if  in  (M:  in  either  cs«e. 
uniformly  having  tlie  longest  note  at  tlic  tAcscJi,  or  points  of  accentu- 
aticin. 

-\LL.\  TmCA.  (I.)  This  exprt-ssion  sieiiiflM  th«t  the  move- 
ment, nt  the  beginnine  of  which  it  is  writteu.iscOMlitosedin  imitation 
of  the  Turliish  stvle. 

ALLA  V1:XE;5I.\N'A.    (I.)     In  the  Venetian  stvle. 

ALL.V  ZUPP.V,  or  AL.  ZOI'.  (I.)  An  cxpressi.n  applied  by 
the  It;tlians  to  any  constrained,  syncopated  mnvemeut,  the  notea 
of  whicti  proceed  in  au  irregular  and  awkward  style. 

ALLAN,  MADAME  CARADOKI.  A  dis- 
tmguLshed  Italian  soprano.  Her  chief  attributes 
seem  to  have  been  clearness,  beauty,  poUsh,  in- 
vention, and  tiiste.  She  sang  with  sweetness, 
delicacy,  and  variety,  and  was  one  of  the  stars  in 
our  -\merican  musical  hemisphere  in  1S40. 

ALLATIUS,  or  ALLACCI,  LEO,  wrote  a 
treatise  on  the  melodies  of  the  Greeks.  He  died 
at  Home  in  1669.  He  was  a  professor  of  Greek, 
and  principal  inspector  of  the  library  of  the  Vat- 
ican. He  had  a  great  facility  in  copying  Greek 
manuscripts,  and,  it  is  said,  was  .so  much  grieved 
as  to  have  wejjt  on  wearing  out  the  only  pen 
wliich  he  had  used  in  copying  during  the  space 
of  forty  years.  AUatius  wa»?  also  the  author  of 
a  useful  catalogue  of  dramatic  piece;-  up  to  the 
year  1667,  entitled  the  "  Drammaiurgia." 

ALLEGILVMEXTE.     (I.)     Rather  quick. 

ALLEGRANTI,  MADDALEXA.  A.n  emi- 
nent Italian  singer  :  she  made  her  first  ajipear- 
ance  at  Venice,  iu  1771,  and  after  singing  at  sev- 
eral other  Italian  theatres,  went,  iu  1774,  uito 
Germany,  where  she  continued  to  perform  at 
Manheim  and  liatLsbon,  till  the  year  17S9,  when 
she  returned  to  Venice,  and  after  performing 
tliere  at  the  theatre  of  San  Samuele,  during  the 
carnival,  came  to  England  in  1781.  Her  voice 
was  very  sweet  and  ile.xible,  though  not  very 
powerful.  Li  178.J,  she  returned  to  Germany, 
when  she  was  engaged  at  Dresden,  by  the  Electoi 
of  Saxony,  at  a  very  large  salary.  We  find  hct 
again  performing  at  the  oratorios  iu  Loudon,  ir. 
tiie  year  1799. 

ALLEGREITO.  (L)  A  term  si,gnL''>-ing  a  time 
quicker  than  aiulaiitc,  but  not  so  quick  as  alhgro 
of  which  word  it  is  the  diminutive. 

ALLEGRErrO-SCIlERZAXDO.  (I.)  Livel3 
and  sportive. 

ALLEGRI,  GIOVAXXI  BATTISTA,  or- 
ganist in  the  Venetian  Stfltes,  published  some 
motets  at  Venice  in  the  year  1700. 

ALLEGRI,  GREGORIO,  born  at  Rome,  of 
the  family  of  Correggio,  was  received  in  1629  it 
the  i)ope's  chapel  as  a  singer  and  composer.  He 
was  a  pupil  of  Xanini.  His  celebrated  "  Miserere  " 
Ls  still  sung  iu  the  papal  chapel  during  passion 


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EXCYCLOP.EDIA    OF    MUSIC. 


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week,  and  is  forbidden  to  be  copied  on  pain  of 
txcommimication.  It  is  well  known  that  Mo- 
zart, ha\'in<:;  hcird  it  ijert'ormed  twice,  retained 
the  score  so  'itron^ly  in  his  memory,  that  he  wrote 
it  down  in  almost  peri'eet  conionnity  to  the  orii^i- 
nal  manuscript.  The  "  Miscrvrc  "  of  .VUe^ri  wius 
jirinted  in  London  in  1771,  under  the  superin- 
tendence of  Dr.  lUirney ;  and  in  1810,  M.  C'ho- 
ron  inserted  it  in  his  eoUection  of  chuisical  music. 
Alle}p:i  died  in  l'!.")2,  and  was  buried  in  the  chapel 
of  San  Filijjpo  Neri,  in  the  IJhiesn  Nuova  at 
Home.  This  is  now  the  common  i)lace  of  inter- 
ment for  the  singers  of  the  ])ontitical  chapel.  The 
followinf;  is  the  strikinj;  epitaph  inscribed  on  tae 
walls  of  the  chapel :  — 

Cantnrcf  pontlficU 

Ne  qiuMi  viVfH 

Conrttrv  iiiflixliiL  jonxit, 

Hortuoi  coriHtn*  (liMrtin*  m«oIiiti»  disfolverct, 

llic  una  cuutll  vuluerv. 

The  rK^ntiflciil  sincrr*, 

Arixi»ii4  th'it  ttiM^L- 

Whom  h:\riiiunv  iiiiit'-il  in  life 

Should  11. .t  bt-  ii'ii  inili'il  in  cl.iUh, 

Wished  Ulis  lU  Ui^-lr  buri^l-pluce. 

Though  his  abilities  as  a  singer  were  not  very 
conspicuous,  yet  he  was  reckoned  a  cojnplete 
master  of  harmony,  and  was  in  such  estimation 
with  the  performers  of  his  time,  that  he  was  ap- 
pointed by  the  pope,  A.  D.  1G29,  to  a  situation 
\i\  the  choir  of  his  chapel.  His  priucipal  compo- 
.Hitions  are  of  a  sacreil  and  solemn  d&icription  ; 
and  many  parts  of  the  church  service  in  Italy, 
remarkable  for  the  di^•ine  simplicity  and  purity 
of  the  hannouy,  are  at  this  day  the  evidences  of 
his  successful  application  to  the  musical  art.  To 
his  >kill  as  a  composer  he  added  a  gentleness  of 
dispo.ition,  and  a  wannth  of  bcnovolen  e,  which 
showed  that  he  was  pos-.c8sed  of  merit  still  higher 
and  more  enviable.  The  poor  tlocked  around  his 
abode,  and  were  reheved  by  his  charity,  and  guitl- 
ed  by  his  exhortations.  It  was  his  d'lily  busi- 
ness to  visit  the  prisons  of  Rome,  and  to  attend 
to  the  wants  of  the  unhappy  persons  wlio  wore 
shut  up  iji  tho;e  tlreary  mannons.  At  length, 
altera  life  spent  in  useful emplo.\Tnent  and  active 
benevolence,  he  died,  in  Ui.32,  and  was  buriod  in 
the  Chiesa  Xuova,  before  the  chapel  of  San  Fil- 
ijjpo  Xeri,  near  the  altar  of  annunciation.  Of  all 
his  works,  the  "  Miserere "  is  the  most  distin- 
guished. It  was,  for  upwards  of  a  huncbed  and 
hfty  years,  annually  performed  in  jiassion  week, 
ot  the  pope's  chapel,  on  Wc.lnc.-.day  and  (iood 
Friday ;  it  is  in  apjieiirance  so  simple  as  to  make 
those  who  have  only  seen  it  on  paper  wonder 
whence  its  be  i\ity  and  etiect  co»ild  arLse  ;  but  it 
owej  its  reputation  more  to  the  manner  in  which 
it  is  pcrfonned  'Jian  to  the  composition ;  the 
fame  mu  ic  is  many  times  repeated  to  different 
words,  and  the  singers  have,  by  tra  lilion,  certain 
cust>m<,  expre,< sions,  and  graces  of  convention, 
which  produce  great  e'lccts  ;  such  as  swelling  and 
diminishing  the  sounds  altogether,  accelerating 
or  retarding  the  measure  at  some  particular 
words,  and  singing  some  entire  vcrse-j  quicker 
than  others.  So  says  Signor  .Sautarclli,  who  had 
often  heard  the  "  Miserere."  Anilrea  .Vdami,  in 
a  work  of  his,  mentions  that  "  after  sevenU  vain 
attempts,  by  precc.Ung  composers,  for  more  than 
a  hundred  years,  to  set  the  snmc  words  to  the 
satisfaction  of  the  heads  of  the  church,  Gregorio 
Allegri  succeeded  bo  well  as  to  merit  eternal 
praise ;  for  \\-ith  few  notes,  wr U  modulated,  and 
well  understood,  he  compose  1  such  a 


as  will  be  continued  to  be  sung  on  the  same  dayp«, 
every  year,  for  ages  yet  to  come ;  and  one  that  w 
conceived  in  such  just  proportions  as  will  astonish 
future  times,  and  ravish,  as  at  present,  the  soul 
of  every  hearer."  However,  some  of  the  great 
etfccts  produced  by  this  piece  may,  perhaps,  bo 
justly  attributed  to  the  tune,  place,  and  solemnity 
of  the  ceremonials  use  I  during  the  performance  : 
the  pope  and  conclave  are  all  prostrated  on  the 
ground  ;  the  can  Uc ;  of  the  chapel  and  the  torches 
of  the  balustrade  are  extinguished,  one  by  one ; 
and  the  Inst  verse  of  this  psahu  L»  tenninated  by 
two  clioirs;  the  nutcilro  <li  cujir/ia  beating  time 
slower  and  slower,  and  the  singers  dimiiiL^hing, 
or  nither  extingiiLshing,  the  harmony,  by  littlo 
and  little,  to  a  i)cr.'cct  point.  This  composition 
used  to  be  held  so  sacred,  that,  it  was  imagined, 
excommunication  would  be  the  con-equence  of 
an  attempt  to  transcril)e  it.  Padre  Martini  says, 
that  there  were  never  more  than  tliree  copies 
made  by  authority,  one  of  which  was  for  the 
Emperor  Leopold,  one  for  the  late  King  of  Portu- 
gal, and  the  other  for  himselt":  tliis  latter  he 
penuitted  Dr.  Buniey  to  transcribe  at  Bologna, 
and  .Signor  Sautarclli  favored  him  with  another 
copy  trom  the  archives  of  the  pojie's  chapel. 
Upon  collating  these  two  copies.  Dr.  Biuruey 
found  them  to  agree  pretty  exactly,  except  in 
the  fir>t  verse ;  he  says,  "  I  have  seen  several 
spurious  copies  of  this  composition  in  the  pos- 
sesion of  ditierent  persons,  in  which  the  melody 
of  the  soj)rano,  or  upper  part,  was  tolerably  cor- 
rect, but  the  other  parts  differed  very  much,  and 
this  inclined  me  to  suppose  the  upper  part  to 
have  been  written  from  memory,  which,  being  so 
often  repeated  to  dilfcreut  words  in  the  per- 
fonnauce,  would  not  be  very  dithcult  to  do,  and 
the  other  parts  to  have  been  made  to  it  by  some 
modem  contrapuntist  al'tenvarcb.  The  Emperor 
Ix-opold  I.,  not  only  a  lover  and  patron  of  music, 
but  a  good  comjioser  himself,  ordered  hLs  ambas- 
sador to  liome  to  entreat  the  pope  to  j)ennit  him 
to  have  a  copy  of  the  celebrated  "  Mim-rere  "  of 
Allegri  for  the  use  of  the  imperial  chapel  at 
Vienna,  whi'h  being  granted,  a  copy  was  made 
by  the  senior  maejtro  of  the  pope's  chapel,  and 
sent  to  the  emperor,  who  had  then  in  hLs  service 
some  of  the  best  singers  of  the  age ;  but,  not- 
withstanding the  abilitie:?  of  the  performers,  this 
compo^iition  was  so  far  from  answering  the  ex- 
pectations of  the  emperor  and  his  court  in  the 
execution,  that  he  concluded  the  pope's  maestro 
di  cajteUa,  in  order  to  keep  it  a  mystery,  had  put 
a  trick  upon  liim,  and  sent  him  another  compo- 
sition. Upon  which,  in  great  wrath,  he  sent 
an  expr&ts  to  his  holiness,  with  a  comjilaint 
against  the  m,v~,tro  di  cajwlln,  which  occasioned 
his  imme'liate  disgrace  and  disrais.ion  from  the 
service  of  the  lajal  chapel ;  and  in  so  great  a 
ilegree  was  the  pope  oifcnded  at  the  supj)Oscd 
imposition  of  his  composer,  that,  for  a  long  time, 
he  would  neither  sec  him  nor  hear  his  defence ; 
however,  at  length  the  poor  man  got  one  of  the 
cardinals  to  ])lead  hLs  cause,  and  to  acquaint  hi« 
holiness  that  the  style  of  singing  in  hLs  chapel, 
particularly  in  ];er.'orming  the  "  MiMrcre,"  wa.s 
such  as  could  not  be  cxpresseil  by  notes,  nor  taught 
or  transmitfeil  to  any  other  place,  but  by  exam- 
ple ;  for  which  reason  the  piece  in  question, 
though  faithfully  traascrilicd,  mast  fail  in  it* 
effort  when  performed  eLsowhcre.     IILs  holin(>4 


Miserere'  '  did  not  understand  music,  and  could  hardly  com- 
35 


ALL 


ENCYCLOPAEDIA    OF    ML'SIC. 


ALF 


prehend  how  the  snino  notes  xhould  Houiid  so 
dilforeutly  ii»  ditfcrput  pliicos ;  however,  he  ordered 
hLs  nuiestro  ili  ai/x'lla  to  write  down  hLs  defence, 
in  order  to  be  sent  to  Vicnnn,  wnich  wiw  done  ; 
^nd  the  emperor,  Hecin;;  no  other  way  of  f^riitity- 
ni;;  his  wishes  in  rcspc-t  to  this  composition, 
bOL^jjed  of  the  pope  that  some  of  the  musicians 
in  the  ser\-icc  of  his  holines:)  mi^^ht  be  sent  to 
Vienna,  to  instruct  tho;e  in  tlie  ser\-ice  of  his 
shapcl  liow  to  perform  tlie  "  MUcrere"  of  Allegri. 

ALLEGUI  1)1  BUAVUIIA.  (L)  Brilliant 
and  striking  compositions,  or  movements. 

ALLEGRLV.     (L)     Joy,  gladness. 

ALLEGRO,  or  ALL'O.  (I.)  Gay,  quick. 
A  term  expressive  of  tlie  third  dejjrce  of  masical 
rapidity.  Generally  applied  to  lively  movements ; 
but  sometimes,  in  conjunction  with  another  word, 
placed  at  the  bej^innin;^  of  compositions  intended 
to  rouse  and  stimulate  the  more  violent  passions ; 
as  alieyro  agitato,  quick  and  agitated  ;  aUer/ro 
fiirioso,  with  rapidity  and  vcheraonce.  AlUnfro 
also  denotes  one  of  the  six  distinctions  of  time, 
■which  succeed  each  other  as  follows :  grave, 
adagio,  largo,  vivace,  alkgro,  and  presto. 

RO  ASSAI.    (I.)     Moif  quick,  or  exceedinclv  quick. 

KO  COMMODO.  W.th  iic(iiivcnicntdc(.'n>fof  uuickneM. 

HO  COX  nillO.     yuick,  with  brillinncv. 

RO  CO.N  riOCO.    Quick  nnd  sniinatol. 

KO  CO.\  .MOTO.    Quitk,  witli  more  than  the  usual  dc- 

vcnu'iit. 

RO  ro>f  SPIRITO.    Quick,  with  «pirit 

KO  ,MA  OKAZIOSO.     l.ivilv  an  1  graceful. 

KO   MA   NOX   I'KKSTO.      Quick,  but  not  in  the  ex- 

RO  MA  NOX  TROPPO  has*  aimilarmeaning ;  IWcly, 

»  flpirilcd. 

KO  MOI.TO,  or  DI  MOI.TO.    Very  quick. 

RO  XOX  MOI.TO.    Xot  verv  quick. 

RO  VKI.OCE.    With  rauidity. 

KO  VIVACE.    With  vivacity 

KO  Vivo.     With  nnUiiiinl  brisknesi. 

RISSIMO.    The  supcrlutivc  of  Allegro;  very  quick. 

ALLELUIAII.  Praise  to  Jehovah.  A  word 
M'ed  to  denote  pious  joy  and  exultation,  chiefly 
m  hymns  and  anthems. 

ALLE^LVXDE.  (F.)  A  slow  air,  or  melodj-, 
ill  common  time  of  four  crotchets  in  a  l)ar.  A 
sjjecie.i  of  composition  supposetl,  from  its  name,  to 
be  of  German  origin.  We  meet  with  the  Alle- 
mande  in  Handel's  harpsichord  lessons,  and  other 
works  of  about  their  date ;  but  as  a  sonata  move- 
ment, it  is  now  obsolete.  The  dance  known  by 
the  same  name  is,  however,  still  used  in  (iermany 
and  Switzerland,  and  is  written  in  common  time 
of  two  crotchets  m  a  bar. 

ALLENT.WDO.  (L)  Retarding  the  time, 
slower  and  slower,  to  the  end.      See  Rallex- 

TAXDO. 

ALLLSON,  RICHARD,  professor  of  mu.sic 
in  London,  in  the  reign  of  Queen  Elizabeth,  was 
one  of  the  ten  composers  who  adapted  the  I'salms 
to  music ;  they  were  lirst  published  by  Tliomas 
Este,  in  1591 ;  some  of  the  tunes  are  still  in  use. 

ALL'  IMPROVIST.V.  (L)  Extempoi-ancous. 
Tlus  expression  is  applied  by  the  Italians  to  the 
perfonuance  of  any  extemporary  strain  ;  as,  "  He 
sang  .1/^'  Improvista;"  i.  e.,  he  sang  without  pre- 
meditation ;  he  invented  as  he  proceeded. 

A  L'lT.VLIEXXE.    (F.)    In  the  Italian  style. 

-VL  LOCO.  (I.)  A  terra  chiefly  used  m  vio- 
lin m\isic,  to  signify  that  the  hand  (having  been 
shifted)  LH  to  be  used  lus  before. 

ALL*  OITAV.V.    (I.)    In  the  octave.    Instni- 


ALLEO 
AI.LEG 
AI.LKC 
.^LI.Ed 
-Vl.I.EG 

grt-c  of  nio 
AI.I.EC, 
AI.I.EC 
AI-I.EG 

Ireiiie, 
AI.I.EC 

but  not  t<K 
AI.l.EC; 
AI.I.K.C 
.\I,l,E(i 
ALI.EC. 
.\LI.E(; 
ALLEU 


mcnts,  or  voices,  are  said  to  play  or  sing  Alt 
Ottaca,  when  their  jjarts  lie,  note  for  note,  an  oo. 
tavc  above  or  below  some  other  part. 

ALL-  ROVERSICO.  (I.)  By  reversing.  A 
tenn  ai)i)lied  to  a  contrary  motion  in  the  parts  of 
any  composition. 

ALL  SEGNO,  or  AL  SEG.  (L)  To  the 
mark  or  sign.  'Hus  expression  is  usually  accom- 
panied with  tills  character,  ^  ,  and  signifi'»  that 
tlie  performer  Ls  to  return  to  a  similar  mark  in  the 
composition,  and  end  with  the  tii-st  part  of  the 
strain,  or  a  similar  character  in  the  course  of  the 
movement,  and  i)lay  or  sing  from  that  place  to 
the  word  iixi;,  (end,)  or  the  mark  "^  over  a 
double  bar. 

ALL'  L'NLSONO.  (I.)  In  unison,  or  some- 
times by  extension,  in  octaves. 

ALLWOODE.  All  English  composer  for  the 
organ  in  the  seventeenth  centurv. 


ALMA  REDEMPTORIS. 
the  Virjiin. 


(L.)     A  hymn  to 


Composer  of  some  music 


ALMEIDA,  ANTONIO  DE.  was  chapel-mas- 
ter of  the  cathetlral  at  Oporto  in  the  middle  of 
the  seventeenth  century,  and  composed  several 
comic  musical  works. 

ALMEIDA,  MANDO  DE.  A  Portuguese 
composer  of  church  music,  died  in  1660. 

ALMEIDA,  or  ALMEYDA,  an  instrumental 
composer,  publLshed  several  sets  of  quatuors 
about  the  year  1800.  Some  of  his  waltzes  and 
other  piano-forte  music  are  published  by  de- 
menti. 

ALMELO\'EEN,  ITIEODORE  JANSSON 
AB,  professor  of  medicine  at  Ilarderwyck,  wo» 
born  in  \M7.  He  wTote  a  work  on  musical  in- 
ventions in  1712. 

ALMENRAEDER. 
for  the  bassoon. 

ALMERIGHI  DE  RIMENO,  J.,  chamber 
musician  to  the  landgrave  of  Hcsse-Dannstadt, 
published  sLx  sonatas  in  1701,  at  Nureraburg. 

ALMEYD.V,  C.  F.  A  violinist  and  composer 
at  Macb-id.  PJcycl,  of  Paris,  published  six  quar- 
tets of  thLs  composer  in  1798. 

ALOUETFE,  N.,  conductor  of  the  music  in 
the  church  of  Notre  Dnme,  at  Paris,  Ls  known  as 
a  composer  by  his  motets,  and  a  very  fine  "  Mise- 
rere."    Lulli  was  liis  master. 

ALOVISIO,  G.  B.,  published,  in  162S  and 
1637,  some  church  music  at  Bologna. 

ALOYSIUS,  JOHN  B-VITISTA,  rended  at 
Bologna  towards  the  end  of  the  sLxtecnth  and 
beginning  of  the  seventeenth  century.  He  com- 
I)osed  much  church  music,  part  of  which  was 
published  at  Venice. 

ALOYSIUS,  JOHN  PETR.     See  Palestmna, 

ALPH.VBET.  Applied  to  the  seven  letters 
used  in  music,  thus  :  — 


i 


n 


>Nnicn  cither  part  exceeds  these  seven,  either  a9- 


3r> 


A.LP 


ENCYCLOPAEDIA    OF    MUSIC. 


ALT 


I 


•ending  or  descending,  the  some  scries  is  repeated, 
Dbser\-uig  the  siune  order. 

ALPINE  IIOUX.  An  instrument  made  of 
the  bark  of  a  cherry  tree ;  and,  like  a  speaking 
trumpet,  used  to  convey  souiuU  to  a  great  di.s- 
tance.  ^\^ien  the  last  rays  of  the  sun  gild  the 
Kuminit  of  the  Alps,  the  shepherd,  who  inhabits 
the  highest  peak  of  those  mountains,  takes  liis 
horn,  and  cries  with  a  loud  voice,  "  PraLicd  be 
the  Lord."  ^Vs  soon  as  the  neighboring  shep- 
herds liear  him.  they  leave  their  huts  and  repeat 
tlie  words.  The  sounds  arc  promulgated  many 
minutes,  while  the  echoes  of  the  mountains,  and 
grottoes  of  tlie  rocks,  repeat  the  name  of  God. 
Imagination  cannot  picture  any  thing  more  sol- 
emn or  sublime  than  this  scene.  During  the 
Kilcnce  that  succeeds,  the  shepherds  bend  their 
knees  and  ))ray  in  the  open  air,  and  then  retire  to 
their  huts  to  rest.  The  sunlight  gilcUng  the  tops 
of  those  stupendous  mountains,  upon  which  the 
blue  vault  of  heaven  seems  to  re-t,  the  magnif- 
icent scenery  around,  and  the  voices  of  these 
shepherds  sounding  trom  rock  to  rock  the  praise 
of  the  -Vlmighty,  must  till  the  mind  of  every 
traveller  with  enthusiasm  and  awe. 

ALSTED,  or  ALSTEDIU.S,  JOHN  HENRY, 
a  OeiTuan  divine,  wrote,  among  other  works,  the 
followiug,  which  was  translated  into  English  : 
"  Tcmplain  Mitsiciiin,  being  a  compendium  of  the 
rudiments  both  of  the  mathematical  and  practical 
parts  of  music,  on  wliich  subject  not  any  book  Ls 
extant  in  the  English  tongue.  Faithfully  trans- 
lated out  of  the  Latin,  by  John  IJirchcnsha.  Lon- 
don, 1664."  ITiis  book  consLst-s  of  little  more 
than  nearly  unintelligible  and  dry  detinitiomi. 
Alsledius  died  in  1G38. 

XLT,  secretary  to  the  town  of  Glognu,  a 
composer  and  violinist,  i)ublLshed  some  quartets 
at  Berlin  about  the  year  1790. 

ALT,  PHILIPPE  SAMUEL,  composer  and 
organist  at  Weimar,  was  born  in  1689. 

jVLT.  An  abridgment  of  the  Italian  adjective 
a!to,  liigh.  A  term  appUed  to  that  portion  of  the 
great  scale  of  pounds  wliich  Ues  between  F,  on  the 
upper  line  of  the  treble  staff,  and  (J  of  the  octave 
above.  Thus  the  .1  ou  the  first  added  line  above 
is  called  A  iit  alt. 

ALTA.  (I.)  High.  Tliis  word  is  frt^iuently 
to  be  understood  in  the  companitive  degree ;  as, 
S  ca.  altu  signifies  an  octave  higher. 

ALTEIl-VTA.  (I.)  One  of  the  terms  given 
by  the  old  theorists  to  the  first  deviation  from  the 
eocle-iastical  mode ; ;  which  modes,  till  this  inno- 
v.ifiou,  were  so  rigidly  contined  to  the  diatonic 
scale,  as  to  admit  of  no  semitone!  but  those  Irom 
E  to  F,  A  to  15  flat,  and  B  natural  to  C. 

ALTEKATION.S  IN  ANCIENT  P.SALMO- 
DY,  illustrated  in  the  history  of  "  Old  Hun- 
dred." \Ve  tJike  the  fol'owing  interesting  and 
able  article  lVr>m  the  columns  of  the  "  New  Eng- 
land Puritan." 

The  melody  of  "  Old  Hundred  "  wa'^  printed  for 
the  first  time,  as  we  conclude  after  a  careful 
investigation,  without  any  accompanying  part 
whatever,  about  the  year  l.').)0,  and  set  to  the 
French  version  of  the  l.llth  psalm;  and  it  was 
printed  alone,  in  England,  in  l.)t>2,  to  Sternhold 
tnd  Hopkins's  version  of  the  100th   psalm,  but 


differing  from  the  French  copy  in  several  uotoa, 
probably  through  mistake,  in  part,  at  least. 

It  wiLS  harmonized  or  arranged  in  parts,  iu 
France,  by  Claude  {joudiiuel,  and  printed  in  l.jiio, 
to  the  I.'Uth  psalm,  three  part-s  being  added  to 
the  original  melody  ;  and  a  tew  years  after,  it  was 
done  by  Claude  Le  Jeune,  and  set  to  the  same 
])salm,  but  was  not  printed  till  16 1. 3,  several 
years  after  his  death. 

It  was  harmoni/cd  in  England,  by  AViUiam 
Damon,  in  1.^79,  and  again  by  the  same  author, 
differently,  iu  1.591  ;  also  by  Dr.  Dowlanrl,  in 
b)91,  and  set  to  the  100th  psalm;  likewise  by 
Uicliard  .Vllisou,  iu  l.)99,  and  by  llavenscroft, 
still  differently  from  the  rest,  and  publislied  in 
11)21,  to  the  I.'Uth  psahn,  Dowland's  copy  beiiiij 
included  in  the  same  volume  with  the  latter.  Wo 
have  it  again,  in  three  parts,  iu  John  Playford't 
collection,  published  in  l(i71,  which  wius  \erj 
pojjular,  and  continued  in  use  during  a  mucb 
longer  i)eriod  than  any  other  ever  made. 

Various  arrangements  of  this  tune  have  been 
made  in  different  ages  and  countries,  tim(!S  al- 
most without  number,  in  two,  three,  four,  and 
five  parts.  Many  of  the  greatest  composers  have 
exercised  their  ingenuity  upon  it ;  yet  among  all 
the  arrangements  that  have  ever  been  made  of 
thLs  tune,  no  one  can  claim,  by  its  sujierior  merit, 
to  be  established  as  the  standard  for  all  after  ages  ; 
and  we  venture  to  predict  that  no  such  arrange- 
ment will  ever  appear.  In  the  reign  of  George 
IV.,  Gardiner,  the  author  of  "  Music  of  Na- 
ture," made  the  trial,  under  the  sanction  of  the 
king,  to  supply  tlic  churches  with  a  collection 
both  of  poetry  and  music,  as  a  "  standard  book 
of  psalmody  ;  "  and  although  the  work  produced 
was  highly  creditable  and  much  admired,  the  re- 
sult was  no  less  than  a  royal  failure,  in  respect  to 
the  object  for  which  it  was  designed. 

ANTiat  one  age  considers  periect,  or  looks  upon 
with  complacency,  another  may  view  in  a  vcrj 
different  light.  ITiis  fact  is  exemplified  in  all  our 
experience,  and  perhaps  in  notliing  more  striking- 
ly than  in  music  and  metrical  i)salmody.  Stem- 
hold  and  Hopkins's  version  of  the  Psalms,  in  Eng- 
land, was  satisfactory  for  a  long  time ;  but  at  length 
complaints  being  made  and  imjirovements  de- 
manded, almost  every  succeeding  impression  was 
altered  to  the  fiLshion  of  the  day.  So  it  was  with 
that  of  Marot  and  IJeza  in  France,  which,  it  is  be- 
lieved, is  still  wfcA.  to  some  extent  in  that  country. 
They  have  been  altered  from  time  to  time,  through 
a  great  number  ofeditions,  so  as  to  correspond  with 
those  variations  to  which  all  languages  are  liable. 

The  melody  of  "  t)hl  Hundred"  is  common 
property,  and  any  qualified  compo-er  has  both  a 
legiU  and  a  moral  right,  as  we  think,  to  aild  to  it 
such  hannony  as  he  tiehevcs  will  'oe  an  improve- 
ment :  if  he  succeeds,  it  is  well ;  if  he  fiuls,  he 
will  have  his  trouble  and  the  expense  as  hLs  re- 
ward ;  and  how  many  have  ex|>erience(l  this  re- 
sult !  Hut  what  true  lover  of  the  art  would  stay 
the  hand  of  improvement,  or  forbid  the  correction 
of  errors,  in  a  case  wherein  all  have  an  equal 
right  to  try  their  skill :  and  who  will  rehnquUh 
the  use  of  this  tune,  lus  it  is  now  arranged,  l)e<  au.-c 
in  the  course  of  time  it  has  undergone  tin  said 
changes  ?  On  such  a  principle,  we  should  hare 
to  relinquLsh  a  considerable  portion  of  the  Ei  jli:-h 
language. 

Some  of  the  most  celebrated  musicians  h-we 
constructed  parts  upon  the  simple  melot  i  of 


37 


A.LT 


EXCYCLOl'^TiUiA    OF    MUSIC. 


A  LI 


"  Old  Iluiulrcil."  Eii^^lLsh  publications  of  different 
H^os  pre-^out  it  witli  durercat  harmony  from  thoso 
that  i)vecedcd  tlicm,  and  different  Iroiu  others  of 
the  same  ai^c.  One  work,  published  more  than 
two  hun(b-ed  years  ago,  contains  two  different  ar- 
raus;euients ;  a  later  one  };ivcs  us  Jiee,  and  one 
edition  of  Tate  and  IJrady's  I'salmti,  which  was 
accompanied  with  music,  presents  sL\  variations 
of  the  nu'hdij,  as  it  Ls  rejjeatod  to  difl'erent  psalms  ! 
Dr.  Croft  only  rearran;;cd  "  London,"  and  Kirby 
"  Windsor,"  both  of  wliicli  had  already  been  done 
by  Ravenscroft,  and  probably  by  others  ;  and  John 
^Iilton  (father  of  the  poet)  altered  his  own  ar- 
rangement of  "  York,"  and  Lisued  both  copies  at 
the  same  time ;  and  tlic  one  iiaw  in  use  is  mdtlier  of 
his.  The  melody,  says  llaveuscroft,  was  ori;j;lnally 
a  Xortlwrii  tunc.  The  melody  of  "  St.  David's," 
\vhich  was  harmonized  by  llavcnscroft,  was  of 
M'elsh  origin ;  those  of  "Dundee"  [Dundy]  and 
"  MartjTs"  were  Scotch. 

The  feelings  of  our  nature  require  a  constant 
succession  of  new  tunes,  (we  do  not  mean  to  the 
exclusion  of  all  former  ones,)  and  neither  choir 
nor  congregational  singing  can  long  be  sustained 
without  them.  Dr.  Busby  says,  "  In  general, 
without  variety,  pleasure  ceases,  and  nothing 
more  urgently  requires  relief  than  an  old  soiiff." 

Metrical  psahnody  had  its  rL-e  in  Germany,  and 
there  is  no  doubt  but  German  musicians  were 
authors  of  some  of  the  old  melodies ;  and  tradi- 
tion, in  Germany,  accords  to  Luther  the  author- 
ship of  several.  Schamelus  and  Walther  assert 
that  one  John  Galliculus  had  a  share  in  them. 
Many  persons  have  entertained  the  behcf  that 
"  Old  Hundred  "  was  at  least  Lutheran,  while 
others  have  been  disposed  to  grant  it  still  higher 
antiquity.  Its  origin  is  very  uncertain,  and 
enveloped  in  great  obscurity,  although  it  is  gen- 
erally ascribed  to  liUthcr  in  the  American  singing 
books.  But  history  supports  a  luuch  stronger 
claim  for  a  musician  by  the  )iame  of  AVilliam 
Franc  as  its  author.  Yet  it  may  have  been  one 
of  those  very  "secular  tunes,  such  as  were  easy  to 
learn  and  play  on  the  viol  and  other  in-^'ru- 
ments;"  or  one  of  the  "  most  favorite  songs  of 
the  times ;  "  *  or  one  of  those  "  ballad  airs  as 
would  best  suit  its  metre ;  "  or  an  "  opera  song ;  "t 
all  Mhich  were  sung  to  the  psalms  early  in 
the  reformation,  not  only  by  Lutherans  and 
Calviuists,  but  Roman  (.,'atholics  :  the  latter, 
however,  soon  became  alarmed,  and  pronounced 
psabn  singing  heretical,  and  forbade  its  practice. 
But  it  may  have  originated  in  an  ancient  Roman 
char.%,  some  of  which,  or  adaptations  thereirom, 
wcrs  3ng  retained  in  the  Protestant  service.  One. 
author  says  it  was  a  "  love  ditty  written  long 
before  Luther's  time."  Ravenscroft,  who  pub- 
lished It  in  1621,  was  ignorant  of  its  author  even 
at  that  early  day. 

.Vdnptations  of  the  melodies  of  profane  songs 
to  sacred  poetry,  three  hundred  years  ago,  were 
not  uncommon ;  and  Luther  himself,  it  ajipears, 
was  not  very  scrupulous  about  it,  for  he  set  the 
Lord's  prayer,  or  the  following  words,  "  Our 
Father,  who  art  in  heaven,"  to  a  melody  of  this 
kind,  one  which  had  been  used  in  singing  "  lils- 
tories  in  rhyme,  something  like  the  romances  or 
OaUads  of  the  pre  -ent  day  ;  "  i.  e.,  near  the  middle 
of  the  eighteenth  century.  The  King  of  Navarre 
sang,  "  Stand  up,  O  Lord,"  to  the  air  of  a  fosliiou- 


t  Mi'iU'itriL 


able  dance !  and  in  an  ancient  religious  work 
occurs  a  Christmas  subject  set  to  the  tune  of  "  O 
ca))er  and  frisk  it,"  and  another  to  the  tune  of 
"  O  Mother  Rogers."  But  such  examples  wt 
highly  de])recate,  and  hojie  never  to  see  followed 
in  our  times.  It  Is  probable,  nay,  almost  certain, 
that  some  tunes  of  the  above  character  crept  into 
the  number  which  were  afterwards  adopted  and 
printed  to  the  Psalms,  and  wliich  have  como 
down  to  us  ;  but  it  should  be  borne  in  mind  that, 
whether  the  association  was  ever  offensive  or  not, 
no  objection  on  this  score  can  be  made  by  us  at  the 
present  time,  as  relates  to  these  tunes,  for  we  have 
only  known  them  as  used  for  sacred  pui-jjo  >es. 

In  justice  to  Luther,  the  fact  should  be  staled 
that,  before  Marot  and  Beza's  Psalms  were  ))rinted 
with  the  melodies,  the  Lutheran  reformers  in 
Gennany  made  great  use  of  psalms,  hymns,  and 
spiritual  songs.  Luther  hunself  published  a 
small  psabn  book,  with  a  few  melodies.  In  lo2'>- 
which  was  subsequently  enlarged  ;  and,  before 
his  tune,  IIuss  and  the  Bohemian  Brethren  had 
l)een  psalm  singers.  'Hie  latter,  also,  had  a  small 
Ivvsnu  or  spu-itual  song  book,  with  notes,  printed  at 
U'lm  in  1.538. 

The  people,  high  and  low,  were  every  whei;e 
infatuated  with  the  notion  of  psahn  singing,  on 
the  appearance  of  Marot  and  Beza's  version  ;  and, 
before  the  melodies  were  printed,  each  one  sang 
such  tunes  as  he  thought  fit  —  dances,  jigs,  operas, 
and  merry  tunes.  (Bayle.)  Xew  tunes  were, 
also,  set  to  the  psalms,  by  "  e.xcellent  composers, 
that  chimed  so  sweetly  that  every  one  dcsurcd  a 
new  psalter."     (Strada.) 

It  is  ■\\ell  settled  that  some  of  the  old  melodies 
had  their  origin  in  Germany,  whence  they  wer( 
transfcncd  by  the  reformers  to  other  parts  of 
Eiu'ope,  where  many  were  adopted  or  imitated  : 
thus  they  may  have  become  an  ingredient  in  Marot 
and  Beza's  collection  ;  but  whether  or  not  "  Old 
Ilunchx'd  "  was  among  the  number  so  transferred 
is  unknown.  In  no  (ierman  choral  book,  nearly 
all  of  which  contain  tliistune,  do  we  find  Luther's 
name  attaclicd  to  it  —  a  circumstance  which 
would  be  very  strange  if  the  Gcnnans  could 
rightfully  claim  their  countryman  as  its  author  ; 
and  it  was  not  ascribed  to  him,  we  beUeve,  in  any 
English  pubhcation  until  the  time  of  Handel,  who 
cxpre-.-sed  an  opinion  that  Luther  wrote  it ;  but 
of  that  Burney  and  other  writers  say  they  have 
not  been  able  to  find  autlientic  ])roof.  Ravens- 
croft, who  published  his  work  in  11521,  calls  it  a 
"  French  tune,"  which  he  would  not  have  been 
hkely  to  do,  If  there  had  been  any  chance  of  its 
having  been  written  in  F.iKjland.  He  states  that 
his  work  con-.nsts  of  "  psalms,  with  such  tunes  as 
have  been  and  are  usually  sung  in  England,  .Scot- 
land, Wales,  Gennany,  Italy,  France,  and  the 
Netherlands." 

Most  of  the  old  melodies  were  at  first  sung 
alone,  by  the  whole  congregation,  and  subse- 
quently underwent  the  same  chewing  up,  and 
have  had  ahuost  as  many  ne»v  suits  as  "  Old 
Hundred."  They  have  been  hanuonized  at  dif- 
ferent times,  in  from  two  to  six  parts. 

The  i)ractice  of  choir  singing,  that  is,  singijig 
performed  by  a  few  select  jicrsons,  sufficiently 
skilled  in  music  to  sing  each  by  hunself  the  jiart 
assigned  him,  arose  soon  after  the  mcilodies  be- 
came harmonize<l.  Extemporaneous  descant  was 
practi-^ed,  to  some  extent,  by  artists,  before  the 
harmonics  were  printed. 


3S 


A.1T 


ENCYCLOPAEDIA    OF    MUSIC. 


ALT 


In  England,  in  tlie  reign  of  Queen  Mary,  the 
psalms  were  bjuui;  aoUo  vucc  ;  but  alter  the  acces- 
sion of  (iuccn  Elizabeth,  "  like  orjjies,  they  were 
roared  aloud  in  almost  every  street,  as  -nell  as 
church,  throughout  the  kingdom."  (Burncy.) 
And  at  one  time,  such  was  the  rage,  "  they  were 
Bung  by  soldiers  on  raarcli  and  parade,  and  at 
lord  mayor's  dinners  and  city  feasts."  (Ilaw- 
kin**.)  i'he  enthusiasm  in  fiivor  of  psalm  singing, 
at  the  same  time,  per\-aded  all  France,  Holland, 
and  the  adjacent  countries,  both  m  the  chiuch 
and  out  of  •*.  lloger  Ascliam,  m  a  letter  dated 
Augsburg,  m  1.5.51,  says,  "  Three  or  fom- thousand 
Ringing  at  a  time  in  a  church  in  this  city  ia  but 
u  tritie." 

We  conden-e  tlic le  facts  from  Hawkins,  Bur- 
nov,  Choron,  an.l  other  authentic  sources.  We 
have  also  enjoyed  the  opportunity  of  examining 
and  comparing  most  of  the  origmal   books  of 


psalmody  and  music  referred  to,  wliich  are  very 
"  nire  and  curious ;  "  and  we  have  endeavr*  e<l 
to  embody,  in  as  small  a  sjjace  as  possible,  all  thii 
reasonable  hints  and  suggestions  concerning  tho 
origin  of  "  Old  lluudred,"  and  other  old  tunes. 
That  "  Old  Hundred  "  came  from  one  or  the  other 
of  these  sources,  we  apprehend  there  will  be  little 
ditliculty  in  believing  —  precisely  which,  will 
probably  forever  remain  a  matter  of  conjecture. 

We  subjoin  a  transcript  of  several  e:irly  ar- 
rangements of  this  tune  ;  and  also  of  the  oldest 
copy  of  tho  simple  melody  that  has  been  pre- 
served ;  together  with  others  of  nearly  the  same 
age  :  the  latter,  while  they  gratify  curiosity,  show 
that  alterations  were  made  long  ago,  even  in  the 
very  outset,  /)i  this  part.  And  we  would  hero 
express  our  disa])probatiou  oi  altering  the  melody 
of  any  tunes  without  the  strongest  reasons. 


The  simple  melody  of  (PlD  lllunlirtli,  as  published  la  France,  with  Marot  &  Ueza's  Psalms,  about  1550. 


Ur  aiu,  fcrritoun  du  t)«ictiaur,       Voui  qui  d«  Dull  M  Sum  booacur,       D^Uaiu  m  akiaoa  U  mitm. 


Leucl4«,   M  Ma  Kom  tlarts. 


The  Mime,  as  published  with  Stemhold  &  ITopklns's  Psalms,  in  England,  in  I5'>2. 


33-lJj»-  'ff^fp.  ««^^^ 


at 


Ai  p«oid«  (Jut  OS  tortii  du«  dwell,    8in{  u  th«  Lord  witb  «bMrcful  , 


Hiin  Hm«  wiUi  few*,  Hil  pnlM  furt)il«U,     C«iu  je  tMfur*  hia  And  njoW. 


The  same,  published  in  IGOS,  in  Barker's  Bible. 


(C?~  We  K>vu  the  above  spcrimens  exartly  ns  we  find  them  :  our  object  would  not  t>e  attained  by  moderuiziDg  them  with 
tars,  new  key,  &c. ;  or  even  correcting  the  errors. 


Dessus. 


0ITi  }l{untir(ti,  as  harmoniied  by  Claadc  Le  Jeune,  printed  in  1S13. 
-'TNt ..-x^ ^i^-, \ — I J 


/. 


Caxtvs. 


C>lll  lUuntlf'B,  as  harmoniied  by  Dr.  Dowlaml,  in  1594. 


X 


^^S^^^:^ 


i8t 


7 

MEDrvs. 


'^g^-» 


323t 


sr«^ 


i^0-. 


^e:*!^ 


i^jz: 


^^\^ 


!lSE^ 


^i^E^^i^^^^^i^^ 


rsrz.rs 


7S — rg-r 


t  gs^f'g^t 


Te.nOR,  or  I*UtVN80N0. 


h^^^^^^^^^^^ 


V  LI- 


ENCYCLOPEDIA    OF    MUSIC. 


ALT 


Ca.ntvs. 


C'li  munCrtti,  ail  harmouizcd  by  RaTcnscroft,  in  1G2I. 


^ 


^^^E^^^^^rrr^^^V't^ri^^f^^ 


Memts. 


M 


^:^=^ 


■'-  ^ — ' ' a>  'g^' s.*-i5».#^^- — — -•- 


Cantus. 


©IB  lljunfirflr,  as  harmonized  by  Playford,  in  1671. 


^i^ii 


ii3t 


^E^ 


n 


HEnios. 


■^Jj^P^^^^t^-^ 


[SIS^ 


^f^?^^^JE^ 


55- 


=2^ 


J=^S- 


Ail  pMplt  thkt  oa  «u11i  Jo  dwell,    SiDf  to  Ux  IiOid  with  cheerful  roiot.        Him  Mire  with  fcftr,  hia  praiM  PortbteU,    Come  j*  before  him  kad  rejoice. 

Ba^e. 


t=^^ 


fc=P25-±=t4 


=£:^rs: 


<g  _  I 


2?^ 


±^ 


fS'/j  O^'S- 


r-©- 


mz 


^^ 


^^ 


I 

|J— 


CIB  fllunDrct),  from  Jobn  Sebastian  Bacb'8  Choral  Boole,  1730. 


i 


:^i=^ 


^    — ' 


^^^ 


:f:qE 


?^^        1 


?=5= 


II         II 


it  J   ...       J         I  ^ 


gg^E|^?^=f=^^^ 


^S^ 


^- 


w. ;  . ;  J ;  y  w 


=*rr*^ 


^ 


aETSc 


*jf&i 


I         I         rrv 


iV 


I 


-—i C -J \ 1 1 1 , 1 Si -^ 

r  □     ^  *  f  ^    '    r     r  ^ 


L-*i 


,  -^*-^-r^?=^ 


^E^^^^fe^^ 


/  Alto. 


orb  9|anbr(1i,  from  J.  B.  Sales's  Collection,  published  iu  England,  In  1837. 


fr"  t^  I  i  i|  I  il JJ^gl^t^B^l^^sij-J-t^ 


:i±ti^ 


■■*z;) 


«^-E^ 


-Oh   o~^ 


>5«y 


aggagaa 


&»fH» 


&<» 


1-^ 


Treble. 


^  WIUi  ou  •tMMBl  bl  tU  lh«  nrth. 

Bam. 


tf^^-^ 


ggji 


^<^5- 


o-  - 


— & 


SZ^^SI 


WIUi  giu  HMralbl  tU  lk<  wtb,       A  Sad  Uxli  abMrful  ralMa  nlH,       01^  toufa  p4;  »lth  >wful  alnk,       A>J  liiit  brfora  Ua  «cs  <£  pnili 


\_ 


ig^spsiii^^assi 


O pg- 


40 


A.LT 


ENCYCLOPAEDIA    OF    MUSIC. 


ALT 


Compare  these  early  arrangements  witli  most 
of  those  wluch  appear  in  the  singing  books  of 
the  present  time,  and  we  think  there  -nill  be  no 
question  but  some  progress  hn  i  been  made  in  the 
art  of  composition  since  "  Ohl  Hundred "  wiis 
tirst  hanuouized  ;  notwithstanding  the  author  of 
one  of  the  early  copies  (Dr.  Dowland)  was  a  great 
favorite,  and,  Anthony  N\'ood  says,  was  styled  the 
"  rarest  musician  tliat  the  age  did  behold."  Yet 
Dr.  Buruey  has  since  .said  of  this  author's  com- 
positions, "  I  have  been  equally  disappointed  and 
a-stonishcd  at  hi*  scanty  abilities  in  countcq)oint, 
and  the  great  reputation  he  obtained  with  his 
contemponiries."  Wc  are  not  told  that  the  copy 
ui  the  above-mentioned  work  is  therein  original ; 
indeed,  but  a  small  part  of  it,  if  auy,  appears  to 
be  so. 

Regarding  the  old  tunes,  generally,  as  used  in 
this  country  at  a  former  period,  we  adopt  the 
following  language  of  tl'.e  venerable  and  highly 
respectable  editor  (the  lion.  Nahum  Mitchell)  of 
the  "  Bridgcwater  Collection  "  ;  which  work,  we 
will  stcid  this  opportunity  to  say,  was  the  most 
popular  binging  book  pulilished  in  its  day,  and 
one  of  the  most  important  in  the  musical 
reformation  of  Xew  England.  "  ^Vheu  the 
English  books,  containing  these  tunes,  wore  tirst 
brought  to  thw  country,  as  Tansur,  Williams, 
Kuapp,  J.  iVrnold,  i"ic.,  who  were  by  no  means 
musicians  of  the  first  cla.ss,  they  wore  evidently 
set  or  hannonized,  as  Tansur  professes,  in  the 
most  simple  manner  ;  containing  principally  the 
coQunon  chords,  without  any  regard  to  the 
modem  rules  of  rehition  and  progression." 

Music,  says  Dr.  Buruey,  "  is  pursuing  her  slow 
ftud  steady  course  towiurds  taste,  elegance,  sim- 
plicity, and  invention,  under  the  guidance  of 
judgment  and  (<cieuce."  Choron,  a  French 
author,  says,  "  AVithin  the  space  of  tliree  cen- 
turies, all  jiarts  of  the  musical  system,  namely, 
the  melody,  the  principles  of  musical  construc- 
tion and  de-<ign,  and  every  kind  of  composition, 
have  arrivetl,  successively,  at  a  degree  of  excel- 
lence which,  it  would  seem,  can  hardly  be  sur- 
passed ;  biU  let  tis  iu>t  imliiije  the  idea  tfutt  nothing 
more  is  to  bo  done."  Tlie  Uev.  Dr.  Hooker,  of 
Vermont,  an  able  advocate  for  musical  education, 
in  a  late  tract,  says,  "  It  in  gratifi/iny  to  observe  that 
both  the  ait  and  the  prtifession  of  teaching  it  are 
advancing."  This  is  uutloubtediy  true  in  rcgai'd 
to  musie  in  this  country,  more  than  in  any  other. 
AXTio  has  been  aciiuaintcd  with  its  state,  here,  for 
any  length  of  time,  but  knows  that  since  the  first 
elforts  of  such  men  as  Mitchell,  Hastings,  Ma;<on, 
and  others  that  might  be  named,  natives  of  this 
country,  the  progre-vs  of  music  has  been  most 
rapid  and  sure  •  To  others,  aL<o,  who  have  come 
among  us  from  abroad,  we  are  indebted  for  its 
advancement,  in  no  small  degree.   ' 

ALTERED  TRIADS.  The  cUatonic  dissonant 
triad  has,  by  license,  its  third  sometimes  flattened 
and  sometimes  sharpened ;  and  thus  are  formetl 
two  altered  triads,  wliicii  are  very  seldom  useil. 
The  German  authors  term  these  triatls  aiiomaious. 


1       3       h 
These  altered  triads  consist  of  a  major  and  an 
extreme  fiat  third,  and  are  consetjuently  both 
chromatic. 

6  41 


ALTERED  NOTES.  Changed,  or  varied. 
Accidentals  placed  before  notes,  such  as  a  flat,  a 
natural,  or  a  shar]),  alter  them  by  raL-^ing  or  de- 
jiressing  the  tone ;  and  such  notfti  are  called  al- 
tered notes. 

ALTERXAMENTE,  or  ALTERN.VTR'O. 
(I.)     One  after  another,  alternately. 

.\LTERNATIOXS.  Changes  rung  on  bellfl. 
See  1'kai.s. 

ALTEXBLTIG,  MICHAEL.  A  Luthemn 
clergpnan  at  Erfurt,  where  ho  died  iii  IGiO.  He 
published  some  sacred  music. 

ALTIST,  or  ALTISTA.  ITie  apl)(•Uati^n  for- 
merly given  to  the  vocal  performer  who  took  the 
aito  primo  part. 

ALTISSIMO,  or  ALTISS.  (I.)  ThLs  word 
(the  superlative  of  alto)  Is  applie<l  to  all  notes 
situated  above  F  ui  alt ;  i.  e.,  those  notes  wliich 
are  more  than  an  octave  above  F  on  the  fifth  line 
in  the  Ci,  or  treble  clef. 

ALTITOXAXS,  ALTISONAX"!,  or  ALTIS- 
OXOUS.  High  sounding.  This  compound  ad- 
jective is  found  apjicnded  to  the  counter  tenor 
piirts  of  anthcius,  motets,  and  choral  compositions 
of  the  sixteenth  century,  and  wa-s  used  to  signify 
the  highest  of  the  parts  intended  for  the  natural 
adult  male  voice. 

ALT.MAXX  published  at  Breslau,  iu  1718,  a 
work  entitled  "  Compviuliuni  Musieuni." 

ALTXIKOL,  an  organist  in  Saxony,  pupU 
ami  son-in-law  of  Sebiistiau  Bach,  composed,  Lii 
the  middle  of  the  last  century,  much  church 
music. 

ALTO.  At  the  commencement  of  the  present 
century  the  alto  of  the  female  voice  wa:f  unknown 
here  ;  the  part,  when  made  use  of,  being  sustained 
by  men.  Old  singing  books  will  accorilingly 
show  you  the  alto  written  iu  counter  tenor  upon 
the  high  notes  of  the  stafl",  an  octave  above  where 
it  now  stands  for  the  femide  voice.  It  may  be 
added  that  the  contralto  part,  of  which  the  first 
effective  employment  was  made  by  Rossiiu  in 
duets  for  two  female  voices,  within  this  period, 
Ls  .sjiid  to  have  been  brought  into  favor  by  (Jras- 
sini,  the  celebrated  friend  of  the  more  celebrated 
Grisi,  and  by  whom  the  latter  was  encouragwl  to 
follow  the  path  which  led  to  her  ftune.  —  Dwight's 
Juiir.  Music. 

ALTO,  ALTUS,  or  ALTO  TEXORE.  Alto 
is  the  term  applied  to  that  part  of  the  great  voc.il 
scale  wliich  lies  between  the  niezzo  anprano  and 
the  tenor,  and  which  Ls  assigned  to  the  highest 
natural  adult  male  voice.  In  scores  it  always  sig- 
nifies the  counter  tenor  part.  It  Ls  now  a-ed  to 
indicate  the  tenor  in  iustrumcutnl  music. 

-\LTO  CLEF.  When  the  C  clef  Ls  jjlaced  so 
that  the  two  strokes  enclose  the  middle  line,  it  Ls 
called  the  counter  tenor,  or  xxoXn  clef ;  and  also 
the  alio  and  contralto.  'DiLs  borrows  the  two 
lower  lines  of  the  treble  for  its  uiijier  degi-ees, 
and  the  two  upper  lines  of  the  bass  for  its  lower 
degrees.  'ITie  middle  line  Ls  the  added  one  be- 
tween the  treble  and  the  ha-w.  ThLs  clef  Ls  itsed 
in  "  Handel's  400  Songs."  'ITie  nine  degrees  of 
the  alto  clef  arc,  — 


'-m  J  J- 


=t 


-;- 


:t 


It 


ILT 


ENCYCLOP.EDIA    OF    MUSIC. 


AMi 


ALTO  COXCERTAXTE.  (I.)  'llie  tenor  of 
iho  liulc  cliorus,  which  slugs  or  plays  through- 
out the  peri'orinauco. 

ALTO  FLAUTO.     (I.)    A  tenor  flute  used  in 
band-i. 
ALTO  OCTAVO.     (I.)    An  octave  higher. 

ALTO  rilLMO.  (I.)  The  alto  primo  Ls  the 
firnt,  or  upper,  alio.  TTil'^  expression  Ls  used  in 
music  coiitainiug  more  than  one  alto,  and  is  r.et 
ftt  the  bc;;inuing  of  the  rn'ore,  and  upon  the  staff 
of  that  part,  to  distinguish  it  from  the  alio  aecondo, 
or  under  alto. 

ALTO  IIIPIENO.  (I.)  llie  tenor  of  the 
great  chorus,  which  slugs  or  plays  m  the  full 
parts  of  the  concert. 

ALTO  SECOXDO.  Second  alto.  Used  in 
opposition  to  alio  iirinio. 

ALTO  VIOLA,  or  ALTO  VIOLIXO.  (I.) 
Count(!r  tenor  viol,  or  small  tenor  viol,  on  which 
the  alto  may  be  played. 

ALTllO,  ALTIL4.,  ALTRI.  (I.)  Other  or 
others. 

AIX'ERI.  An  ItaUan  composer  at  the  com- 
mencement of  the  eighteenth  century. 

ALVIMARE,  P.  A.  A  celebrated  French 
amateur  harpist  and  composer  for  tlus  uistru- 
ment  at  the  commencement  of  the  present  cen- 
tury. He  has  composed  many  very  pleasing 
romances. 

ALIPrUS,  born  at  Alexandria,  in  Egypt, 
lived  about  the  year  350.  His  manuscript  "  De 
MiLiin's"  is  preserved  in  the  hbrary  at  Bologna. 
Without  this  mauuscrijjt  we  should  never  have 
known  in  what  manner  the  ancients  wrote  their 
music.     Their  musical  characters  appear  to  have 


been  1020  in  number,  as  may  be  seen  by  the  ta- 
bles of  Alipius. 

ALZAMENTO  DI  MAXO.  (I.)  TTie  up  be^ 
of  the  hand. 

ALZAMENTO  DI  VOCE.  (L)  To  raise  th« 
voice. 

AMABILE,  or  AMAREVOLE.  (I.)  Li  an 
amiable  manner  ;  affectionately. 

A^LVDE,  COUXT  TIIADE  D'.  Composer 
of  a  sonata  and  other  music  for  two  piano-fortea. 
(Wcssel  and  Sloddart's  Catalogue,  1822.) 

AMEDEI,  an  Italian  composer  in  the  begin- 
ning of  the  eighteenth  centurj-,  composed,  jointly 
witli  Orlandi,  the  opera  of  "  Arsace." 

AMADIO,  CAR.,  published  some  Italian 
dramivs  about  tho  year  1GG9. 

AMADIO,  PIPPO,  a  violonceUist,  lived  at 
the  commencement  of  the  hist  century. 

AMADORL  JOSEPH,  pupU  of '  Bernacchi, 
was  a  principal  composer  of  the  Roman  school  at 
the  time  that  Porpora,  Leo,  and  Vinci  were  at  the 
head  of  the  Xeapolitan  school.  He  published  at 
Rome,  in  1702,  an  oratorio  called  "The  MartjT- 
dom  of  St.  Adrian." 

AMADIII,  MICHAEL  AXGELO.  A  com- 
poser of  motets  in  the  sixteenth  century. 

AMADUCCI,  DOXATO.  A  composer  in  the 
seventeenth  century. 

A  MAJOR  is  that  key,  in  modern  music,  in 
•which  the  sixth  diatonic  tone  Ls  assumed  as  the 
fundamental  tone  of  the  major  key.  To  maiji- 
tixin  the  natural  characterL-itics  of  the  major,  F,  G, 
and  C  must  be  made  sharp,  F*f ,  Gff ,  C??.  Ac- 
cording to  "  Schubart's  ChiuracterLstics  of  Music," 
this  key  conveys  the  expression  of  ijuiocence, 
love,  content,  and  cheerfulness. 


A  Major,  rektire  to  F  sharp  Minor, 


i    2     1     V  V-     3  Corset. 


a 


0=f^ 


■1  —* TT 1 n 

=S?"iLL-  '  -^— 1 ' 1 — - 1 

■0-^--    , -U — — « — #  ff*J — '9-" 


-^-p 


^i=^ 


zz:. 


AM.VL.VIUUS,  SYMPHOSIUS.  A  priest  at 
Metz,  and  composer  of  church  music  about  the 
year  380. 

AMAXTIXI.  Knight,  and  first  soprano  singer 
\o  the  Ciueon  of  France  in  17S3. 

AMAXTIUS  lived  at  tho  beginning  of  the 
■eveuteeuth  century  ;  he  wTOfe  a  treatLse  on 
music. 

AM-UIEZZA.  (I.)  A  mark  expressive  of 
grief  or  sorrow. 


AMATEUR.  A  lover,  or  non-professing  prac- 
titioner, of  music.  Any  one  particularly  attached 
to  the  science,  or  who  practLiCs  music  for  pleasure. 

AM  ATI.  An  Italian  composer ;  he  was  en- 
gaged in  1790  at  the  opera  at  St.  Petersburg. 

AM.^TI.  There  were  four  persons  of  this  name, 
natives  of  Cremona,  and  celebrated  makers  of 
violins ;  that  Ls  to  say,  Andrew,  Jerome  and  An- 
tony, his  sons,  and  Xicholas,  the  son  of  the  latter. 
Andrew  flourished  about  the  year  1000.    Besidei 


42 


A.  MA 


ENCYCLOP.EDIA    OF    MUSIC. 


A  )IA 


the  ie  there  were  two  persons  of  the  mime  of  Stra- 
divwius,  of  Cremonn,  ailiuixable  artLsaus;  the  lat- 
ter was  liviii;^  at  the  begiiiuiug  of  this  century ; 
his  sij^i'.aturo  was  "  AiUo/iiits  Strntltparius,  Crenij- 

lio/isis,  faricba'.  Anno ."     Antbew  Uuaruier, 

also  of  Creiuona,  signed  thus :  "  Andreus  (lutr- 
tieriim,  fecit  CreiiiontE  sub  titu/o  Sanctie  Tereirr,  ItiSO." 
The  violins  ot  Cremona  are  exceeded  oid y  by  thoMC 
of  Sifiiier,  a  German,  who:>e  iustriuuents  are  rc- 
mark'ibl'j  for  a  full  and  peuelratiug  tone ;  his  signa- 
ture Ls  as  follows:  "  Jiuu)btui  Stiiner,  in  Abso/n  pripe 
JEnipontvin,  1Q17."  .'Ihiipons  Ls  the  Latin  name 
of  lnspru;;k,  in  Germany,  the  chief  i-ity  of  the 
TjTol.  Matthew  Albani,  also  a  TjTolose,  signed 
thus :  "  Matthias  Albaniis  fecit  in  Tt/rol  Bulsani, 
U;.51.  " 

'Ihc  tirst  violin  ever  made  was  constructed  in 
Italy,  about  the  year  KiOO ;  but  those  which  are 
esteemed  by  musical  men  as  most  valuable,  were 
manufactured  by  the  family  of  A.  and  J.  Amati, 
at  Cremona,  in  the  yotu:  lij.jO.  The  A-ioliu  was 
tirrt  introduced  into  concerts  about  two  hunched 
years  a;^o,  and  when  first  played  upon,  it  was  i)ro- 
nouuieil  a  failure,  never  capable  of  beiug  used 
with  any  success. 

"  Nicholas  Amati  was  the  head  of  this  family 
of  Amalb,  so  celebrated  among  violinists  and 
instrument  makers.  It  was  he  who,  assisted  by 
his  brother,  Anilrc  Amati,  made  for  the  chapel 
of  Charles  IX.  those  superb  instruments,  chcf- 
d'wacres  of  the  art,  which  yet  ornament  it  by  their 
color.  Their  number  was  twenty-four,  and  con- 
sisteil  of  sLx  treble  violins,  sbc  alto  ^•iolins,  sLx 
tenor  vioUns,  and  sLx  violoncellos.  Hie  elegant 
simpliiity  of  the  form,  \uiited  with  an  exquisite 
quality  of  tone,  distinguished  the  works  of  the 
two  artists.  It  is  only  to  be  regretted  that  their 
mo-t  common  patterns  were  small  or  medium,  as 
their  violins  constructed  upon  the  large  model 
are  r:irc  and  very  choice.  Their  tone  is  admi- 
rable, and  the  only  f.iult  that  can  be  brought 
against  them  would  be,  that  the  fourth  string  has 
a  sUght  degree  of  drpicss. 

"  Jerome  -Vmati,  eldest  son  of  Andre,  worked 
wjually  upon  the  two  models,  of  which  tlic  largest 
arc  likewise  the  most  esteemed.  His  violins  difi'er 
8  httlc  from  those  of  Nicholas  and  Andre,  and 
the  clianges  that  he  introduced  in  his  coiustruc- 
tion  ra:»ke  the  tone  of  the  first  string  often  too 
tine,  and  always  too  clear. 

"  .\ntoine  Amati  followed  the  principles  adopted 
by  his  brother  ;  his  instruments  have  the  same 
qualify  and  the  same  faults  with  the  ))receding. 

"  Nicholas  Amati,  son  of  Jerome,  who  has  been 
often  confounded  with  the  old  Nicholas,  has  made 
some  very  choice  violins,  and  worthy  of  being  so 
—  particularly  of  the  large  patterns,  in  which  he 
wpe.'ially  excelled.  His  seconds  are  sometimes 
nasal,  owing  to  the  thinness  of  the  bottom.  The 
artist  Koliker  owns  the  finest  Nicholas  Amati 
that  is  known.  The  preservation,  the  form,  the 
material,  the  color,  the  tone,  all  are  admirable. 

"  Jacques  or  Jacobus  Steiner,  native  of  Absom, 
a  small  village  of  TjTol,  near  Inspruck,  was  pupU 
of  .Vntobie  Amati,  and  worked  in  the  same  line 
with  his  master.  Wishing  to  have  a  model  of  his 
own,  he  began  to  shorten  tliat  which  is  in  common 
US",  llis  numerous  counterfeiters,  without  sus- 
pecting it,  have  all  missed  this  mark,  in  restoring 
to  their  imitations  the  accu:<tomeil  width.  The 
brilhancy  of  the  tone  of  the  instnimenta  of 
Steiner  makes  amends  for  what  they  lack  in  vol- 


ume; likewise  his  violins  are  better  adapted  to 
the  music  of  a  chamber  than  to  that  of  a  concert. 

"  ^Vjitoiue  Stradivarius,  of  Cremona,  was  th» 
most  perfect  of  all  the  manufacturers  of  Italy. 
Pupil  of  nature  more  than  of  art,  he  oidy  left  th« 
school  of  the  Amatis  to  be  their  equal,  and  soon 
to  excel  them.  It  was  about  the  year  1700  that 
he  reibnued  the  faidts  that  he  had  acquired  un- 
der his  masters,  and  that  he  discovered  the  deep 
combinations  that  we  trace  in  each  of  his  pro- 
ductions. In  working  for  the  ear,  .Stradivarius 
has  e<iually  labored  for  the  eye ;  thus  tlie  elegant 
form  of  llis  violins,  and  the  superb  color  with 
which  they  are  adorned,  make  them  the  moie!^ 
of  perfection. 

"  Among  the  distinguished  artists  who  emerged 
from  this  school  ought  to  be  noticed  Joseph  and 
I'ierre  Guarnerius.  The  former  was  pupil  of 
Stradivarius,  and  the  latter  of  Jerome  .Vmati. 
Wisliing,  in  their  turn,  to  be  original,  and  not 
reilectiug  that  the  true  principles  of  making 
^-iohn3  were  established,  they  made  some  altera- 
tions in  the  principles  they  had  recei->  ed,  in  Hat- 
toning  the  tops,  increasing  the  thickncrv),  and 
diminlsliing  the  model.  They  have  given  a  great 
celebrity  to  their  works,  but  it  is  to  be  regretted 
that  their  fourth  string  should  possess  an  exces- 
sive dryness,  and  that  it  should  be,  so  to  speak, 
sacrificed  to  their  others.  The  violijis  of  I'ierre 
Guarnerius  are  much  superior  to  tho^^c  of  Id) 
brother,  with  whom  he  Is  often  confounde  1,  but 
the  works  of  the  latter  have  a  much  finer  tone. 
Joseph  Guarnerius  had  for  a  pupil  Franrois  Supot, 
maker  to  the  Duke  of  Wurtemberg,  and  came  into 
France  in  the  year  17C!). 

"  Nicholas  Supot,  who  has  been  sumamcd  the 
Stradivarius  of  the  age,  was  son  of  the  preceding, 
lie  was  born  at  Stuttgart,  the  tth  of  De^'embcr, 
1758,  and  received  from  his  father  the  first  ele- 
ments of  the  art  which  he  pushed  to  so  high  a 
degree,  -'yter  having  long  worked  under  the 
best  masters  of  Germany,  he  set  himselt"  to  study 
the  models  of  the  celebrated  artists  of  whom  we 
have  just  sjioken.  15y  dint  of  care,  of  patience, 
and  of  multiplied  efforts,  he  succeeded  in  discov- 
ering a  second  time  the  varnish  used  by  the 
Amatis,  tlie  .Stradivarii,  and  the  (iuarnerii.  The 
violins  that  he  made  alter  the  patterns  of  the  great 
masters  have  deceived  connoisseurs,  and  espe- 
cially a  renowned  manufacturer  who  had  obtained 
one  of  his  violins,  beUeving  it  to  be  a  Guarnerius. 
M.  Supot  is  one  of  those  who  have  reflected  deeply 
upon  the  art  which  he  practised  with  success. 
He  is  the  author  of  a  little  work  entitled  '  La 
C'helonomie,'  or  the  complete  Musical  Instrument 
Maker,  one  vol.  12mo.  pp.  301),  I'ari-*,  1S0>, 
which  has  been  com])iled  by  M.  I'Abbc  Siliire,  so 
well  knowni  for  his  love  for  fine  instruments. 

"  M.  .Supot  came  to  France  in  1701,  and  when 
it  was  decreed  that  the  Con.servatory  of  Music 
should  give  a  violin  as  the  grand  pri/.e  tor  this 
instrument,  Gavinies  petitioned,  and  gained  hia 
re que-it,  that  Supot  should  be  chargeil  with  it4 
construction.  This  artist  owns  n  superb  bosi 
spoken  by  Charles  IX. 

'•  The  maker  to  the  co\irt,  Mr.  Zacharie  Fischer, 
to  whom  the  art  is  already  much  indebted  lor  the 
perfecting  of  stringed  instruments,  ha-*,  notwith- 
standing his  advanced  age,  invente<l  a  peculiar 
machine  to  strengthen,  and  at  the  same  time  to 
sweeten  tie  tone  of  the  violin.  The  instrument* 
which  ho  ouikca  after  tiua  new  process  arc  abova 


43 


I 


A.MA 


ENCYCLOPEDIA    OF    MUSIC. 


AMM 


those  of  the  (pitsatest  masters.  A  violm  thus 
perfected  may  he  procured  of  him  for  100  louis. 
It  is  possible  that  what  Mr.  Fischer  has  done  for 
the  violiu  v.ill  be  apphed  to  other  .stringed  instru- 
ments. Ili.s  invention  would  thus  be  of  so  much 
greater   importance."  —  Magazine  Eiicijchpediquc. 

AMATU.S,  VIXCEXTIUS,  bom  in  SicUy  in 
lt)29,  was  chapel-master  at  Palermo.  lie  pub- 
li^^hcJ  some  church  music  for  three,  four,  and  five 
voices.     lie  died  ui  1670. 

AMRITUS.  (L.)  This  word  was  formerly 
\iKcd  to  si^^nify  the  compass  of  a  mode.  The 
ambitus  of  any  mode  was  consetiuently  its  extent ; 
that  is,  the  distance,  or  inten-al,  comprehended 
between  its  extremities,  or  highest  and  lowest 
notes. 

AMBO,  or  AMBOX.  A  name  given  by  the 
priests,  in  the  early  age.s  of  Christianity,  to  the 
desk  in  tl:c  church  at  which  the  canons  were 
Buuir,  and  which  was  similar  to  what  is  now 
called  the  reading  desk.  It  was  in  the  ambo  that 
that  part  of  the  service  called  the  gradual  was  al- 
ways performed.     See  Guadual. 

AMBREVILLE,  RO.SE,  wife  of  Peroni,  the 
violoncellLst.  She  was  born  in  Italy,  and  in  177;i 
was  first  singer  at  Prague,  in  the  grand  opera 
"  Coiistanza  e  Fortczza,"  hy  Fux,  which  was  per- 
fonned  in  the  jjublic  market-place  of  the  above 
town,  by  one  hundred  excellent  singers,  accom- 
pauicd  by  two  hundred  instruments. 

AMBROGETTI.  An  Italian  bass  buffo  singer 
at  the  0])era  in  London.  He  first  appeared  in 
1817,  and  quitted  England  before  the  season  of 
1822.  He  had  much  fire,  whim,  and  richness  in 
his  style,  but  was  sometimeg  too  extravagant  and 
absurd. 

AMBROGI.  A  bass  singer  at  the  Italian  opera 
ot  Berlin,  in  1823.  He  has  been  also  received 
>\-ith  great  applause  at  Vienna. 

AMBROXX,  PETER  CHRISTIAN,  chamber 
musician  to  the  Uuke  of  Saxe-Meiningen,  was 
born  in  1742.  He  is  said  to  have  been  an  emi- 
nent contrapuntist. 

AMBROSCII.  A  celebrated  singer  at  the  Ger- 
man theatres,  and  a  composer  of  vocal  music,  up 
to  the  year  1800. 

AMBROSE,  ST.,  introduced  what  Ls  called  the 
"  Cant  IIS  Ain^ji-osianiis"  into  hLs  church  at  Mi- 
lan, about  the  end  of  tlie  fourth  century.  He  is 
gaid  by  St.  Augustine  to  have  brought  tliis  man- 
ner of  singing  from  Greece.  Those  who  have 
written  on  the  subject  agree  that  St.  Ambrose 
only  used  the  four  authentic  modes,  and  that  the 
four  plagal  were  afterwards  added  by  St.  Gregory. 

AMBROSE.  An  English  composer  of  ballads, 
(dementi's  Catalogue.)  He  is  a  professor  of  mu- 
eic,  resident  at  Chelmsford. 

AMBROSIAXUS  CAXTUS.  (L.)  Ambrosian 
Chant.  -V  kind  of  cbaut  used  about  374,  by  or- 
der of  St.  .Vmbrose,  Bishop  of  Milan. 

AMBROSIXE.  A  first  female  singer  about 
t'^e  year  1722,  at  the  conservatory  of  La  Pieta  at 
Venice. 

AMK.     Ilie  sound  post  of  a  vioUn,  tenor,  &c. 

AMK.  A  viohnist  and  composer.  He  led  the 
bandnt  the  ItaUan  Opciu  at  Paris  i;i  1760. 


AMEX.  So  be  it ;  or,  taking  the  word  in  tho 
sense  in  which  it  is  frequently  used  in  the  Gos- 
pels, truly,  veiily.  The  word  amen  forms,  gen- 
erally, the  conclusion  of  antliems,  hjnnns,  and 
other  compositions  ;  and  has  so  long  been  one  of 
the  principal  themes  of  choral  hannony  as  to 
have  given  birth  to  a  distinct  appellation  for  mu- 
sic adai)ted  to  its  expression ;  as  when,  using  the 
word  adjectively,  we  say,  such  an  oratorio,  or  an- 
them, concludes  with  an  .iVmen  chorus. 

AMEX  DA,  a  vioUuLst  and  composer  for  that 
instrument,  is  the  son  of  a  clergpnan  in  Cour- 
land.     He  was  at  Riga  in  1799. 

AMEXDOLA.  An  Italian  composer  of  operas 
towards  the  end  of  the  last  century. 

AMERBACH,  E.  N.  Organist  at  Leipsic  in 
1.57 1  ;  he  composed  several  works  for  that  instru- 
ment. 

AMERIGIII,  SIGXORA,  of  Bologna.  A  singer 
of  extraorduiary  merit  at  Xaples,  at  the  com- 
mencement of  the  liist  century. 

A  MEZZA  ARIA.  (I.)  An  expression  ap- 
plied to  the  compass  of  an  air,  the  notes  of  which 
have  no  great  extension,  either  in  height  or  dej)th* 
that  is,  which  Ue  towards  the  middle  of  the  com- 
pass of  that  species  of  voice  for  which  it  was  com- 
posed ;  as  a  bass,  tenor,  or  soprano,  llus  phrase 
is  also  used  to  signifj-  a  style  of  composition  be- 
tween air  and  recitative  ;  a  kind  of  aria  parUintc. 

A  MEZZA  DI  VOCE.  (I.)  An  expression 
implying  a  soft  t-ne,  or  gradual  diminution  of 
voice. 

AMICIS,  ANNA  DE.  An  Italian  female  singer; 
she  performed  in  the  coinic  operas  in  London  in 
1703,  and  was  afterwards  selected  by  J.  C.  Bach 
to  take  the  principal  parts  in  serious  operas.  Her 
figure  and  gestures  were  in  the  highest  degree 
elegant  and  graceful ;  her  countenance,  thougli 
not  perfectly  beautiful,  was  extremely  high  bred 
and  uiteresting,  and  her  voice  and  manner  of 
singing  exquisitely  polished  and  sweet.  She  had 
not  a  motion  that  did  not  charm  the  eye,  nor  a 
tone  but  what  delighted  the  ctur.  De  .Vmicis  al'- 
terwards  held  the  first  rank  among  female  singers 
in  the  serious  operas  of  Naples  and  other  capital 
cities  of  Italy. 

AMICO,  RAYMUNT)US,  a  Dominican  monk, 
born  in  Sicily,  published  some  motets  at  Messina, 
in  the  year  1621. 

AMICOXI,  AXTOXIO.  A  Xeapohtan  com- 
poser for  the  theatre  at  the  end  of  the  last  cen- 
tury. 

AMIOT,  a  Jesuit  and  missionary  to  China, 
translated  the  works  of  Ly-koang-ty,  which  the 
Chinese  consider  their  best  pubhcation  on  music. 
He  sent  tlus  translation,  in  1754,  to  the  secretary 
of  the  Academy  of  Inscriptions,  who  deposited  it 
in  the  royal  library  at  Paris,  where  it  is  stiU  to  l)e 
found  among  the  manuscripts.  Amiot  also  sent 
to  Paris  an  original  treatise  on  the  music  and 
musicid  instruments  of  the  Chinese. 

A^^.IXG,  MA'IT'ILEUS,  music  master  at 
Niu'emburg,  was  born  in  1 603.  Some  of  liis  com- 
positions are  to  be  met  wth. 

AMMERBACH,  EUSEBIU.S,  organist  and 
organ  builder  at  Augsburg,  Uved  in  the  latta 
paxt  of  the  sbcteeutli  century. 


44 


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EXCYCLOr.EDIA    OF   MUSIC. 


ANC 


AMMKUlLVCirEU,  J.  G.  SiiiKor  at  XordLu- 
geu,  jjublisheil  iii  1717  a  short  method  lor  siuijint;. 

AMMOX,  AXTOX  BLASIUS,  a  native  of 
the  Tyrol,  died  in  the  year  l.i'.tO.  Many  of  hLs 
Bacred  mu-iical  corapositioiu  wore  afterwards  col- 
leeted  aud  published  at  Munich. 

AMMOX,  DIETRICn  CIIUISTIAX,  a  rau- 
Biciau  nt  llaiubur;,',  coiupo.iod  an  opera  there  iu 
17!)1. 

AMMOX,  J.  Director  of  the  music  nt  Ilcil- 
tronn.  lie  went  to  Paris  about  the  year  17U0, 
snd  has  publi-shcd  there  many  instrumental 
work". 

AMMOX,  JOIIAXX  CnRISTOPII,  a  cler- 
gyiuiin  at  Eiishcim,  in  Franconia,  published  in 
174:i,  in  the  journals  of  lliitisbon,  a  dissertation, 
iu  which  lie  endeavors  to  produce  proof  that  there 
Li  rc^illy  excellent  music  in  the  life  to  come. 

AMXER,  JOriX,  bachelor  of  music,  and  or- 
ganist ot  the  cathedral  of  Ely,  lived  in  the  be- 
Kinning  of  the  seventeenth  century.  lie  pub- 
ILshed  "  .Sacred  Iljnnns  of  three,  four,  five,  and 
six  I'lU-ts,  for  Voices  and  Viols,"  London,  IGlo; 
likewise  some  anthems,  the  words  of  wliich  are 
to  be  found  iu  Clitford's  collection. 

AMODEI,  CATALDUS,  composer  ami  chap- 
el-master at  Xaplcs,  died  in  1G9.5.  lie  published 
soiuc  cantatas,  S:c. 

AM<En.EUS,  a  celebrated  Greek  harper, 
whenever  he  appeared  on  the  8ta^;o,  was  paid  an 
Attic  talent,  or  193/.  los.,  a  day  for  his  perform- 
ance. 

AMOX,  J.     See  Ammon,  J. 

AMOIIEVOLEMEXTE.  (I.)  AVith  extreme 
affection. 

AMOREVOLI  was  an  adminible  tenor  singer; 
he  was  cn^af;ed  by  the  Earl  of  Middlesex,  at  the 
opera  in  London,  in  1711. 

A  MORISCO.  (I.)  In  the  style  of  a  Moorish 
Dr  morris  dance. 

AMOROSO,  or  AMOREVOLE.  (L)  Amo- 
rously ;  in  a  soft,  delicate,  amatory  style. 

AMPIIIRRACIL  This  mark  of  musical 
rhythm  may  bo  represented  by  the  words  delijht- 
Jul,  domestic;  in  notes,  thus  :  — 


A^[PIIIMACER.  A  musical  foot,  composed 
ol  one  short,  one  long,  aud  one  short  note.  Same 
as  A  mph-ihrach. 

AMPIIIOX.  Tlic  son  of  Antiopc,  and  re- 
nowne<l  for  his  eloquence  and  skill  in  music. 
'Hie  ancients  say  he  was  instriictcd  by  Mercury, 
and  that  the  magic  of  liis  1\tc  so  charmed  the 
stones,  that  they  arranged  thcmsolvos  in  archi- 
tectural order,  and  formed  the  walls  of  lliebes. 

"  Amphion  (oo,  M  wtnry  froc«,  crtnl"!  cull 
Obedient  ftoneii  to  inakp  (hf  Thrbiii  wnlt. 
He  leil  them  o*  he  ptenned  :  the  roekn  fibeye«l- 
And  danced  in  order  to  the  tunc*  tie  plnycd. 

Amphion  was  a  Tlicbnn,  who,  if  he  did  not 
perform  all  the  wonderful  things  attributed  to 
Kim,  certainly  softened,  by  the  sound  of  his  lyre, 
the  savage  manners  of  the  first  ijihal)itant.s  of 


Greece,  and  engaged  them  to  build  towns.     lie 
invented  the  Lydian  measure. 

AMSELIUS,  PAXCRATIUS,  bom  at  Bos- 
tock  in  KiOS,  was  an  eminent  singer. 

AX  AC.VMPTIC.  A  name  given  by  the  ancient 
Greeks  to  sounds  produced  by  reflection ;  a-*  in 
echoes.  It  was  also  sometimes  understood  as  the 
opposite  of  the  adjective  Ealltian. 

AX.VCAMPTOS.  A  Greek  term,  signifying  a 
course  of  retrograde  or  reflected  notes.  Aua- 
cainptic  notes  were  also  those  which  procee<lod 
do«  nwards,  or  from  acute  to  grave,  'llic  word 
Anacamptos,  taken  in  this  sense,  was  the  con- 
trary of  Euthid. 

AX.VC;RE0X,  bom  nt  Teos,  in  Ionia,  live! 
500  years  before  Jesus  Christ,  lie  is  said  by 
Athcn;eus  to  have  invented  the  iustruraont  called 
Bnrhiton.  lie  died  (a,s  is  well  known)  by  being 
choked  with  a  grapestone. 

AXACREOXTIC.  This  derivative  from  the 
name  of  Anacrcon,  the  bacchanalian  Greek  poet, 
is  sometimes  placed  at  the  beginning  of  convivial 
songs,  glees,  and  festive  odes,  (especially  when 
they  include  the  celebration  of  the  grape,)  and 
denotes  an  hilarity  of  movement,  and  a  free  and 
easy  style  of  performance. 

AX  ALYZE.  To  separate  a  ])Iece  of  music  into 
its  parts  or  chords,  for  the  purpose  of  examining 
eacli  chord  or  note  separately,  and  ascertaining 
how  they  are  placed  together  —  a  very  good  ex- 
ercise for  the  musical  student. 

AX.VXES,  or  AX.EXES.  One  of  the  bar- 
barous terms  by  which  the  Greek  church,  during 
the  ninth,  tenth,  and  eleventh  centuries,  charac- 
terized the  modes  or  tones,  and  which  tenns  are 
still  retained  by  the  modem  Greek-s  in  their  ec- 
clesiastical music. 

AX.VPEST.  A  musical  foot,  containing  two 
short  and  one  long  notes.  This  mark  of  rh\-thm, 
or  accent,  may  bo  represented  by  the  wortls  con- 
travene, acquiesce;  iu  notes,  thus  :  — 


AX.VSTATIUS.  A  modern  Greek  composer 
and  violinist,  in  the  service  of  the  sultan  nt  Con- 
stantinople, about  the  j-car  178!). 

AX.VXEXOR,  a  famous  performer  on  tlie 
lute,  lived  about  forty  years  before  Jesus  Cliri.-t. 
Mark  .\ntony  gave  him  guiirds,  and  the  revenues 
of  four  towns. 

AXCIIERSEX,  AXSGAim-S,  a  physician 
at  Coiienhngen,  wrote,  about  the  year  17-'"i,  a  dis. 
sertation  on  the  powers  of  masic  over  the  human 
body. 

AXCIIR.  (F.)  Literally,  a  tul>o,  or  pipe ;  a 
reed.  Any  instruments  with  rc<<<ls  come  under 
this  name,  as  melodeons,  sora-phiups,  clarinet*, 
hautboys,  or  bassoons  ;  also  the  reed,  or  mouth- 
piece of  the  oboe,  clarinet,  &c. 

AXCIEXT  COXCERT.  A  society,  o<=tnblisho<l 
in  London,  for  the  pur]>oso  of  pro»cr%-ing  mui-ic 
which,  in  the  fashionable  world,  is  calletl  ancient. 
Tliey  gave  concerts,  at  wliich  were  perionued  the 
masterpieces  of  Pcrjf  lose,  Leo,  Dumutp,  Mar- 


io 


fc.NC 


ENCYCLOPAEDIA    OF   MUSIC. 


ANC 


polio,  and  Scarlatti ;  in  a  word,  they  performed 
the  rau>ic  of  t)int  constellation  oi'  distinguished 
racu,  who  ajtpeared,  almost  at  the  siime  time, 
about  the  year  1730.  It  Ls  certainly  unwLse  to 
neglect  the  productions  of  penius,  to  whatever 
period  they  may  belong.  Yet,  as  music,  like 
every  other  branch  of  art  and  knowledge,  is  pro- 
gressive, it  cannot  surely  be  expedient  constantly 
to  refer  to  the  works  of  our  forefathers,  as  did 
tliis  society,  for  the  only  models  of  excelleuce. 

AN'CIEXT  MODES.    The  modes  or  scales  of 
tlie  ancient  Greeks  and  Romans. 

ANCIENT  MUSIC.  Tlie  epithet  an<?/e)i/, 
when  ni)i)lied  to  the  term  mtisic,  is  not,  as  when 
conjoined  with  the  word  literature,  to  be  referred 
to  the  proihictions  of  the  classical  Greeks  and 
Kenans.  The  eleventh  century  of  the  Christian 
era  arrived  before  the  appearance  of  Guide's 
Bcalo ;  to  the  age  of  De  Muris  (i.  e.,  the  four- 
teenth century)  we  arc  indebted  for  the  intro- 
dviction  of  tlie  bass,  tenor,  and  treble  clefs ;  and 
half  of  the  seventeenth  century  had  elajised  be- 
fore the  art  was  attained  of  composing  in  a  plu- 
rality of  real  and  distinct  simultaneous  parts.  It 
is,  therefore,  chiefly  to  the  composers  of  the 
eighteenth  century,  that  the  expression  ancient 
music  properly  relates ;  and,  indeed,  it  seldom 
alludes  to  productions  of  an  earlier  date.  M. 
Fotis,  in  18 13,  made  some  discoveries  at  Brussels, 
which  are  interesting  in  respect  to  the  history  of 
music.  The  best  is  a  manuscript  which  was 
placed  in  the  Iloyal  Library,  among  the  books  of 
plain  chant.  It  contains  masses  and  :notets,  by 
celebrated  composers  of  the  close  of  the  four- 
teenth and  the  beginning  of  the  fifteenth  century, 
'n^.c  most  important  pieces  in  the  volume  were, 
"  Three  masses,  for  three  voices,  by  Guillaume 
Dufay  ;  two  masses,  for  four  voices,  by  the  same ; 
one  mass,  '  Omnipotens  Patei;'  for  three  voices, 
by  a  hitherto  unknown  composer,  named  Jean 
Plounnel ;  the  mass  '  Deiis  Creator  Omnium,'  by 
an  English  composer  named  Riquarctt  [Richard] 
Cockx."  All  these  authors  wrote  from  about 
1390  to  1420.  Then  came  the  motet,  "  Oibis  Ter- 
rarum,"  for  four  voices,  by  Busnois ;  a  Magnifi- 
cat, for  four  voices ;  and  several  other  i)ieces  by 
the  same  author.  The  volume  concludes  with  a 
mass  ly  Le  Roy.  Tliese  highly  interesting  com- 
positii  ns  fill  up  a  considerable  hiatus  in  the  his- 
tory of  the  art.  The  other  discovery,  though  less 
important,  is  wortliy  of  notice ;  it  is  a  beautiful 
manuscript,  twenty-eight  inches  high  and  nine- 
lecn  broad,  on  very  fine  vellum,  most  admirably 
writ!  en,  with  arabesques,  among  which  is  seen 
the  ]  ortrnit  of  the  toot  of  Mary  of  Burgundy. 
In  tl  i3  volume  wa.s  found  entire  an  admirable 
comj  osition  by  Josquin  de  Pres,  for  six  voices, 
and  iix  or  seven  other  important  compositions, 
•vsrilleii  about  1430. 

ANCIENT  MUSIC  SCHOOLS.  Among  the 
Jews,  li.ere  were  schools  of  the  prophets,  where 
young  men  were  taught  to  sing  jisalms,  and  to 
jilcy  on  musical  instruments  ;  and  the  pro])hets 
■often  ])rophcsicd,  i)laying  on  the  harp,  and  other 
mcient  Jewish  instruments.  In  these  schools, 
I  ersons  were  only  taught  the  study  and  practice 
nf  miLsio.  'Dius  we  sec  that  music  schools  are 
of  a  very  ancient  date.  For  music  is  a  language 
«vli.ch  all  nations  speak  ;  n  Ivuguage  which  ad- 
li  c  bcs  the  heart. 


ANCIENT  MUSICIANS.  Musicians  wlic 
flourished  before  the  introduction  of  Cliristiauity, 
such  as  the  Greeks  and  RoraaiLs,  and  their  con- 
temporaries. The  Egj-jitiau  flute  was  only  a 
cow's  horn  with  but  three  or  four  holes  in  it,  and 
their  harj)  or  lyre  had  only  three  strings ;  the 
Grecian  \yrc  only  seven  strings,  and  was  very 
small,  being  held  in  one  hand  ;  the  Jewish  trum- 
pets, that  made  the  walls  of  Jericlio  fall  down, 
were  only  rams'  homs  ;  their  flute  was  the  same 
as  the  Egyptian.  'ITiey  had  no  other  instru- 
mental music  tlian  that  by  percussion  ;  of  wliich 
the  most  boasted  was  that  of  the  psaltery,  a  small 
triangular  harp  or  lyre  with  wire  strings,  aiid 
struck  with  an  iron  needle  or  stick  ;  their  sackbut 
was  sometliing  like  a  bagjiipe ;  the  timbrel  was  a 
tambourine  ;  and  the  dulcimer  was  a  horizontal 
harp,  with  wire  strings,  and  struck  with  a  stick, 
like  the  psaltery.  They  had  no  written  music  ; 
had  scarcely  a  vowel  in  their  language  ;  and  yet, 
according  to  Joiscphus,  the  Jews  had  two  thou- 
sand musicians  playing  at  the  dedication  of  the 
temple  of  Solomon. 

ANCIENT  PREFACES.  Many  of  these  old 
musical  works,  collections,  treatises,  &c.,  are  cu.  . 
rious  and  instructive.  Here  are  some  spec-i- 
meus :  —  "  Tlic  whole  Booke  of  Psalmes  :  -with 
The  llj-mues  Evangclicall,  and  Songs  Spirituall. 
—  Composed  into  4  parts,  by  several  Authors, 
with  such  seucraU  'i'unes  as  haue  beene,  and 
are  vsuaUy  sung  in  England,  Scotland,  'Wales, 
Germany,  Italy,  France,  and  the  Netherlands. 
Neuer  as  yet  before  in  one  Volume  published. 
Also  :  A  brief  Abstract  of  the  Prayse,  ]-j;hcacie, 
and  Vertue  of  the  Psalmes.  Newly  corrected 
and  enlarged  by  Tho.  Rjiuenscroit,  liachelor  of 
Musicke.  Gloria  in  excelsis  Deo.  I>ondon,  Print- 
ed bv  Thomas  Ilarper  for  the  company  of  Station- 
ers, 1633." 

Extracts  from  the  Preface. 

"To  all  that  have  ^kiU  or  Will  unto  Sacred 
Musicke,  I  will  Coxcoitu  among  thcmsclces,  with 
God,  and  with  their  own  consciences. 

"  llarmouicall  Brethren,  I  have  here  under- 
taken, with  no  small  labour  and  charge,  to  In-ing 
the  Tunes  of  the  Psalmes,  Iljnnnes  Evangelical, 
and  Songs  Spiritual,  (as  they  are  usually  sung 
tliroughout  Great  Britaine,)  into  one  entire  vol- 
ume ;  which  are  so  composed,  for  the  most  part, 
that  the  musickfull  may,  with  little  practice,  be 
enabled  to  sing  them  in  parts,  alter  a  plausible 
manner. 

"  But  whatsoever  the  tunes  were  in  David's 
time,  there  is  no  question  but  they  were  concord- 
ant and  harmonious,  which  could  not  be,  had 
they  not  been  divided  into  parts.  For  if  ye  look 
into  1  Cliron.  chap.  15,  16  verse,  ye  shall  see  how 
the  I'ropliet  David,  at  the  dedication  of  tl;e  Aske, 
as  likewise  Solomon  his  Sonne,  at  the  dedication 
of  the  temple,  2  Cliron.  chap.  6,31  verse,  distin- 
guished all  their  musicke  in  ])arts,  and  appointed 
such  to  bo  Masters  and  Overseers  of  it,  as  were 
most  eminent  for  their  knowledge  in  that  kind, 
as  Chenaniah  the  chiefe  Levite,  to  have  the  chiefe 
l)lace,  which  was  to  be  master  of  the  song.  .  An 
office  which  consisted  not  only  in  the  diiTCtion  of 
the  Quire,  but  likewise  in  the  tramming  up  of 
others  to  sing,  that  there  might  still  lie  a  supply 
of  able  persoiLS  for  that  service :  Asajih  the  next, 
and  so  Ilcman  his  Brother,  likewue  Jeduthun 


46 


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ENCYCLOPAEDIA    OF    MUSIC. 


ANC 


and  Ethan,  all  of  them  tlie  most  renowned  chant- 
ers of  those  times,  and  such  as  successively  in  one 
another's  absence,  were  to  dli-ect  the  due  jicr- 
fomiaai-o  of  that  char;<c,  so  that  not  only  the 
voyce  of  the  Sin:,'cr-i,  but  likewise  the  souinl  oi  t'le 
Instruments,  aj;reed  so  well  together,  that  they 
secmeil  to  be  b\it  one  sound  and  one  voyco. 

"  Neither  was  thLs  method  contiued  only  to  the 
Old  Testament,  but  sanctified  to  the  Cliurch  of 
Christ  by  the  prcucription  of  the  holy  Apostle  .S. 
Paul,  Cor.  3,  verse  I'i.  Let  the  word  of  Uod, 
&c.     Suigina;,  &c.     With  grace,  iScc. 

"  I  have  therefore  endeavoured  for  the  (Itting 
of  every  heart  to  that  Psalme,  which  it  shall 
most  affect,  to  place  s:)Ocial  Tunes,  proper  to  the 
nature  of  each  I'sahne,  (not  imitating  art,  so 
much,  as  the  natural  inclination,  but  joining  one 
Tvith  another,")  and  am  bold  to  admonish  the 
Singers  tluit  they  observe  tliree  rules : 

"  1.  That  Psaimes  of  Tribidation  be  sung  w-ith 
a  low  voyce  and  long  measure. 

"  2.  That  i'salmcs  of  Tlianksgiviug  be  sung 
with  a  voyce  indiirerent,  neither  too  loud  nor  too 
soft,  and  ^^■itll  a  me:\aure  neither  too  swift  nor 
too  slow. 

"  3.  Tliat  Psnlraes  of  Rejoicing  be  sung  with 
a  loude  voyce,  a  swift  and  jocund  measiire. 

"  In  all  which  the  observing  of  Time,  Tune, 
and  Earc,  will  jjroduce  a  {)erl'ect  Hannony. 

"  AccCjit  kiuiUy,  what  I  have  labored  earnest- 
ly, and  11:^0  it  to  thy  comfort.  Tlius  lend,  hum- 
bly wishing  to  all  true  Clmstian  Hearts,  that 
sweet  consolation,  in  singing  prayses  unto  God, 
here  upon  earth,  as  may  bring  us  hereafter  to 
bear  a  part  with  the  Quire  of  ^Vngels  in  the 
Heavens. 

"  Your  well  according  and 

"  Best  widliing  Brother, 

"Tao.  li-vuExscRorr." 

The  following  Ls  the  "  Recommendatory  Pref- 
ace "  to  a  work,  the  title  of  which  Lj  as  follows : 
"  The  Grounr!i  and  liit^s  of  Music  Explained : 
Or,  An  Introduction  Ir)  the  A)-t  of  Singin'j  hy  .Vj^c. 
Fitted  to  the  meant-st  Capacities.  By  Thomas 
AValtcr.  M.  I),  llecommeuded  by  several  Min- 
isters. Boston :  Printed  for  Samuel  Gerrish. 
1746." 

"  .'Vn  ingenious  Hand  having  prepared  Instruc- 
tions to  dircot  tlicm  that  would  learn  to  sing 
Ps.vLMs  after  a  regular  Manner ;  and  it  being 
tliought  proper  that  we  should  signify  iinto  the 
Public  some  of  our  Sentiments  on  tliis  Occasion  ;  \ 
Vfc  do  declare,  that  we  rejoice  in  good  Helps  for 
a  beautiful  and  laudable  Perlormance  of  that 
holy  Service,  wherein  we  are  to  glorify  Gon,  and 
edify  one  another  with  the  spiritual  Honjs,  where- 
with he  has  tnric'.;cd  us. 

"  And  we  would  eu-'ourage  all,  more  particu- 
larly ovir  V.iiin;  P^ojiic,  to  accompUsli  themselves 
with  Skill  to  sing  lit-.-  S/tnns  of  the  Loiin,  according 
to  the  g.o  I  H:tlea  of  Psalmody  :  Hoping  that  the 
Conse'iuenco  of  it  wdl  be,  that  not  only  the  As- 
tcmbliet  of  Zi  m  will  iljc-nllg  and  in  Urd-T  carry  on 
this  Exercise  of  1'ikty,  but  also  it  wiU  be  the 
more  introduced  into  private  Families,  and  be- 
come a  Part  of  our  Fumily  Sa<r{fici'. 

•'  At  the  same  Time  we  would  above  all  exhort, 
rhat  the  miin  Concern  of  all  may  be  to  make  it 
not  a  mcer  B^ilg  Exercise,  but  sing  iri/h  Gnu-e  in 
iheir  Heart*,  and  with  Minds  attentive  to  the 
Truths  in  the  Psalms  which  they  sing,  and  affect- 


ed with  them,  so  that  iu  their  Hearts  they  make  a 

Mcloilg  to  tlie  LoiU). 
"  Pkteu  Tk.vcbieu,  Increase  Matukii, 

J()si:i'n  Skwei.l,  CoTrox  Mathkk, 

TuoMAs  pRiscE,  Nekemiaii  NValter, 

J.)i(N  WEmi,  Joseph  Belcueu, 

WiM.lAM    COOPEH,  BeS'J.    WaDSWOHTH, 

Thomvs  FoxcKOFr,      Besj.  Colman, 
Samuel  Cukcklev,      Nathaniel  Williams, 
Nathaniel  IIitntino. 
"Boston,  April  18,  1721." 

"  Ampiiion  Anolici's.  A  work  of  many  Com- 
positions, for  one,  two,  three  and  four  Voices : 
with  several  .Vccompagnemonts  of  Instrumental 
Musirk;  anda'Hiorow-BasstoeachSong :  tigiir'd 
for  an  Organ,  Harpsichord,  or  ITicorboe-Lute. 
By  Dr.  John  13low. 

"  To  Her  Royai  Highness,  the  Princess  Ann  nf 
Denmark : 

"  Madame  :  Tlie  excellent  \xt  of  Mu'-ick  vran 
thought  by  many  of  the  Wisest  Ancients,  to  have 
derived  its  Original  immediately  from  Heaven; 
as  one  of  the  First,  most  beneficial  (iilfs  of  the 
Divine  Goodness  to  Maidcind :  thereby  to  draw 
and  allure,  the  old,  rude,  and  untaught  World, 
into  Civil  Societies  ;  and  so  to  soften  and  i>rei>are 
their  Minds  for  the  easier  reception  of  all  other 
Accomplishments  of  Wisdom  and  Vcrtue. 

"  'Tlio  most  Learned  of  the  Ancient  Heathens, 
the  Greeks,  were  so  much  of  this  Oi)inion,  that 
they  carried  their  Veneration  for  this  Admirable 
Facidty  too  far.  TTiey  believetl  they  could  not 
do  it  right,  but  by  assigning  to  it,  for  its  IVotec- 
tion  and  Improvement,  some  peculiar  tutelary 
(iods  of  its  own.  Nay,  when  to  all  the  other 
Ornaments  and  Perfections  of  human  Life,  they 
seldom  appointed  more  than  one  single  Deity  trt 
preside  over  each  of  them,  to  Musick  alone  they 
allotted  a  greater  number  of  Guardian  Diviiutie? 
than  to  any  of  the  re<t ;  some  of  the  Msdc,  but 
most  of  the  Female  and  Fairer  Sex. 

"  They  were  indeed  mistaken,  when  they  be- 
stowed on  it  these  FabiUous  Honours  ;  and  they 
made  but  ill  Gods  and  Goddesses  of  tho^o  Men 
and  Women,  who  would  have  done  oxccUontly 
well  if  they  had  only  pas»c<l  for  Patrons  of  it,  or 
Inventors  in  it,  as  they  really  were. 

"  But  in  all  times  of  the  truer  Antiqiuty,  even 
amongst  (iod's  own  pccidiar  Peoiilo,  wc  find  this 
most  instructive  and  deliglitful  SkiU  did  always 
meet  with  its  due  and  doHarcil  Honours,  short  of 
Idolatry,  and  within  the  bounds  of  Sobriety  and 
Decency. 

"Thus  we  read  in  the  Holy  Scripturos,  not 
long  after  the  History  of  the  Creation,  the  Name 
of  the  Man  is  Solemnly  reconleil  witli  Ucnown, 
among  the  Founders  of  Nations,  wlio  was  the 
first  Inventor  of  the  Ilaqi  and  the  Or:;'in. 

"  .\nd  undoubtedly,  there  was  never  any  Ag« 
of  the  true  Church  aflcrwiinls,  whether  Jc^vish, 
or  Christian,  wherein  the  .Siicred  delights  of 
Musick  were  not  admitted,  to  bear  an  eminent 
Part  in  the  Worship  of  the  Tnic  (ind. 

"  In  the  Jewish  (.'hurch,  it  is  certain,  that  ever 
before  tlie  Temple  it  self  was  builf,  while  it  ww 
yet  only  in  Design,  (iod  Inspir'd  David,  the  Man 
after  his  own  Heart,  to  Compose  Iwforc-hand,  the 
H^inns  and  Divine  Anthems  that  were  to  be 
Sung  in  it. 

"And  the  choice  of  tht  Pcnon  for  that  Woik 


47 


ANC 


ENCYCLOP.IilDIA    OF   MUSIC. 


ANC 


was  iufinitoly  for  the  difjuity  of  the  Art :  Since 
no  le-is  a  Man,  than  tlie  chief  of  their  Monarclin, 
and  the  greatest  of  their  Conciueiors,  was  or- 
dained hy  ( rod,  to  be  their  Poet  and  Musician  ou 
that  occa'iion. 

"  And  it  were  easy  to  prove,  that  the  same 
Celcitial  Spirit  of  Musical  Concord  and  Harmony, 
was  all  alon;;  cherished  and  entertained  in  the 
Christiiin  Church,  durinf;  the  very  best  Times  of 
its  jnircst  Doctrines  and  Devotions. 

"  It  will  be  cnou!;h,  only  to  mention  one  unde- 
niable Instance,  That,  in  the  Primitive  A^e,  dur- 
iu'^  the  crucllcit  I'ersccutious,  in  their  most 
Private  and  Ni'^htly  Assemblies,  the  Cliristians 
of  that  early  Time,  as  Pliny  informed  Trajan, 
remarkably  distiiiLjuish'd  themselves,  by  their 
alternate  Sinj^in^  of  Psalms  and  Spiritual  Son!»s. 

"  Such,  Madame,  have  been  always  the  Eiu- 
I  lopuents  of  the  Sublime  Art  of  Musick,  to  teach 
and  cidtivale  Humanity ;  to  Civilize  Nations ;  to 
Adorn  Courts ;  to  Inspirit  Armies ;  to  Inspire 
Temples  and  Churches  ;  to  sweeten  and  reform 
the  fierce  and  barbarous  Passions ;  to  excite  the 
15rave  and  Magnanimous ;  and,  above  all,  to  in- 
flame the  Pious  and  the  Devout. 

"  For  these  Keasons,  it  has  all  along  receiv'd  the 
Encouragement  and  Favour  of  the  Greatest,  the 
Wisest,  tlie  most  Religious,  the  most  Ileroick 
I'ersons  of  all  Ages.  And  it  seems  but  reason- 
able, that  it  sliould  be  so,  that  they  should  ])rin- 
eipally  take  upon  them  the  care  of  this  High- 
born Science  of  Tuneful  Sounds  and  Numbers, 
whose  Souls  are  more  elevated  than  others,  and 
seem  most  to  partake  of  that  Natural,  and  Divine 
Harmony,  it  professes  to  Teach. 

"  You  see,  Madame,  what  undoubted  Title 
Your  lloyal  Highness  has  to  the  Patronage  of 
this  -Vrt.  It  is  Your  o\vii  by  many  rightful 
chiims,  not  only  for  Your  High  Pirth  and  Royal 
Dignity,  but  for  something,  that  is  even  yet  more 
Your  own  ;  for  that  admirable  temper  of  Spirit, 
that  harmonious  sweetness  of  Disposition,  that 
silent  Melody,  and  charming  Musick  of  Your 
whole  Life. 

"  After  I  have  said  this,  it  cannot  be  denied, 
but  that,  by  inscribing  these  Papers  to  Your 
Royal  Highness,  I  have  chosen  the  worthiest  and 
most  excellent  Patroness  for  these  my  Studies, 
that  this  Nation,  or  Age  has  produc'd.  Yet  I 
must  still  confess,  wliilc  I  applaud  my  self  for  the 
happiness  of  ray  Choice,  the  ambition  of  it  puts 
me  into  Confusion ;  I  am  ashamed  to  think,  that 
to  such  a  Patroness  I  can  present  so  very  little, 
cither  worthy  of  the  Art  1  admire,  or  of  the 
Glorious  Princess  to  whom  I  dedicate  all  my 
Muses. 

"  But  for  that  part,  which  concerns  Your  self, 
^ladame,  Your  own  Goodness  and  Benignity, 
has  set  my  Mind  at  ease,  by  Your  generous  In- 
vitation and  iiivourablc  Promise,  of  accepting 
the  low  Present  I  now  oflbr,  and  your  Gracious 
Assurance  of  a  peq)etual  Protection  to  its  Au- 
thor. 

"  And  that  also,  if  any  thing  can,  may  possibly 
enable  me  to  supply  the  other  Part  better  for  the 
future,  and  lift  uj)  my  (ionius  to  something  more 
becoming  the  Majesty  of  Art  it  self. 

"  The  two  most  Noble  cniLs  of  Musick  Vocal  and 
instrumental,  being  either  to  raise  and  nourish 
the  tender,  and  the  Generous  Piussions  of  Love, 
Friendship,  and  Honour,  among  Men  ;  or  to 
animate  our  Affections,  and  to  kindle  the  ardo'ir 


and  zeal  of  our  Devotions  towards  God :  I  must 
own,  that  what  I  now  lay  at  your  Royal  Iligh- 
uess's  Feet,  coitslsts  only  in  some  weak  Perform- 
ances of  the  first  kind. 

"  I  will  make  no  Apology  for  the  Subjects  of 
any  of  them,  tho  they  are  generally  conversant 
about  Love-Affairs ;  since  the  divertlsements  and 
delights  of  those  softer  Affections,  when  conceiv'd 
in  pure  Thoughts,  and  clonthcd  with  innocent 
Exjjressions,  have  been  always  allowed  in  all 
AN'ise  and  Good-natur'd  Polite  Nations ;  and 
never  any  where  Condemn'd  by  the  truly  Good 
and  Honourable  part  of  Maidiind. 

"  I  dare  atiirm,  that  nothing  but  the  unsociable 
sullenness  of  a  Cynick.  would  ever  exclude  secu- 
lar Musick,  so  qualified,  out  of  CivU  Societies ;  as 
nothing  but  the  perverse  soweniess  of  a  Fanat- 
ick,  would  ever  drive  Divbie  Musick  out  of  th« 
Church. 

"But  yet,  lest  a  AVork  of  this  Nature,  tho  per- 
haps not  blameable  in  it  self,  either  for  the  Matter, 
or  the  manner  of  it,  should  however  seem  to  feU 
below  what  Is  due  to  Your  Royal  Highness's 
Greatness  of  Mind,  and  consummate  Vertue : 
Give  me  leave,  Madame,  to  tell  You,  I  am  pre- 
paring, as  fast  as  I  can,  to  make  some  amends  for 
this,  by  a  Second  Musical  Present,  upon  Argu- 
ments incomparably  better  :  I  mean  my  Church- 
Sei-vices,  and  Divine  Compositions. 

"  To  those,  in  truth,  I  have  ever  more  especially 
consecrated  the  Thoughts  of  my  whole  Life.  AU 
the  rest  I  consider  but  as  the  Blossoms,  or  rather 
the  Leaves ;  those  I  only  esteem  as  the  Fruits  of 
all  ray  Labours  in  this  kind.  AVith  tlicm  I  began 
ray  first  Youthful  Raptures  in  this  Art :  With 
them,  I  hope  cahnly  and  comfoitahl)-  to  finish  roj 
days.  Nor  wUl  my  mind  be  ever  at  rest,  till  I 
have  offer'd  them  up  to  God,  for  the  Publick  us« 
of  the  best  Church  in  the  Cliristian  AVorld,  under 
the  Propitious  Authority  of  Your  Ilo3-al  High- 
uess's  Name. 

"  May  it  please  Your  Royal  Highness, 
"  I  am  Your  most  Humble,  most  Dutiful, 
"  And  most  Devoted  Sen-ant, 

"  John  Blow. 

"London,  A.  D.  1700." 

ANCIENT  SIGNATURES.  In  the  music  of 
Corelli,  Gemuiiani,  Handel,  &c.,  the  general  rules 
of  finding  the  tonic,  either  in  th.e  major  mode  by 
the  characteristic  notes  of  the  signature,  or  in  the 
minor  mode  by  the  leading  note  accidentally  in- 
serted, are  not  always  sutticient.  When,  instead 
of  the  complete  series  of  sharps  or  flats  of  the 
signature,  the  last  sharji  or  fiat  Is  suppressed,  and 
inserted  accidentally  when  rcciuisite,  like  the 
leading  note  of  the  minor  mode,  such  deviation 
from  the  usual  method  of  notation  is  termed  the 
ancient  signature.  Thus,  in  the  seventh  and 
twelfth  sonatas,  or  violin  solos,  of  Corelli,  op.  5, 
the  signatures  appear  to  be  either  C  major,  or  A, 
its  relative  minor  ;  but  the  accidental  notes,  C 
sharj)  and  B  flat,  show  that  the  real  key  \a  D 
minor  ;  and  that  the  B  flat,  which  is  used  in  the 
modern  signature,  is  omitted  at  the  clef.  So  we 
see,  that,  although  the  term  siynnturc  is  defined 
to  be  the  number  of  sharjis  or  fiats  at  the  clel^ 
yet  the  word  will  be  also  a))]ilied  to  the  two  nat- 
ural keys  of  C  major  and  A  minor.  Examples 
of  the  ancient  signature  of  1)  minor  may  also  bft 
found  in  the  third  and  fifth  concertos  of  Gemini- 
ani,  op.  2,  and  in  the  fourth  concerto  of  op.  3i 


48 


ANC 


ENCYCLOP.EDIA    OF    MUSIC. 


AND 


For  instance,  the  first  movement  of  his  tJiird  con- 
certo l)e<'ins  thus :  — 


Here  the  key  is  kno\^rn  to  he  I),  by  the  nccidentnl 
C  shnq),  and  to  be  aluo  1)  minor  by  the  nntnrnl 
F,  which  remains  umiltcrcd,  as  in  the  signature. 
The  Slime  ancient  method  of  notation  is  Horao- 
times  found  in  the  key  of  (r  major,  where  the 
Bharj)  of  the  leading  note,  !•',  is  inserted  accident- 
ally, when  requisite  ;  as  in  the  foUowin;^  exam- 
ple from  the  tirst  chorus  of  Handel's  oratorio  of 
"Saul,"  "How  excellent  thy  name,  ()  Lord!" 
One  of  the  intermediate  movements  commences 
thus  :  — 


r^ 


Here  the  key  is  known  to  be  (i,  by  the  sharp  be- 
fore the  F,  which  is  used  in  the  second  treble  as 
a  third  below  the  A ;  and  the  11  natural  of  the 
clef  shows  it  to  be  (i  major. 

AXriENT  SIIAKI'  SIONATniES.  The  >ncli>nt  ilgnatiire  of 
one  nhiir])  \*  nppIirriMe  to  tlie  ki'Vsof  1)  ini^jnr  and  U  niini>r;  hut  tile 
■harp  sik'ivittiri!!  of  Ihi*  nncirnt  invthiMt  nre  in-vrr  f'luiiil  in  the  nii- 
H(ir  ni",l  ■ :  fur,  a«  tin*  sfCoinl,  or  finihTt'>nic  of  the  key  wnnM  tlii-n 
require  on  aeciilentil  !)harp,  the  irrecutiiritv  of  the  fliftnntnre  wnnlil 
pcrpetuiilly  oeeiir.  In  tl\e  *oios  u(  Corelli,  hitwevcr,  several  in- 
■tance«  i»cenr  of  the  nneU-nt  nhnrp  siftniitnre  in  the  mnjor  nio<le, 
Tir,:  the  sLTth  un<i  ninth  soiiatai  in  two  iliar|}«  nr<'  in  the  key  of  A 
in^jor:  nnd  the  (t  alinrp  \»  ueciflentally  inserted.  The  eleventh 
■onntu  of  the  same  vork  henrii  the  ^i^niatnre  of  thn>c  sharps  and  is 
In  the  key  of  E  ln;ijor,  the  I)  i»harp  being  inserted  aceidentall^. 
Handel's  duet,  in  the  onibirio  of  "  .ll/iahVi,  "Ji>y8  in  gentle  train 
►Pr^'^nc."'  is  also  ill  thi-*  key.  and  ha*  thi>i  signature.  The  aneient 
llguatiire  of  four  sivirps  is  foilnd  in  Hiindel's  lieiililiful  air.  " /f/'H//i 
U  »-re««  ill  cifilin"  lr*>in  the  opera  "  S'>*<iriius  "  This  is  in  B  major, 
vith  the  shar|t  to  it*  leadini;  note.  A,  oecosioiiallv  inserteit  It  was 
•Jiolnl  oliievd  in  17?»i,  liv  Dr.  Am. .1.1,  in  the  .iratoriu  of  "  Kcdcini)- 
Uon,"  t.)  the  »..rd«,  "  I/'rd,  nniiTnl.er  Oovid.- 

ANflKNT  H.AT  SKJNATLKKS.  The  ohjection  to  the  sharp 
•i^atnn-s  .lor*  n..t  -ipply  to  the  fliit,  sinee  the  seeond  of  their  minor 
mo<les  IS  ii.it  atr,-ele.l  liy'the  fl'.it.  For  this  r\>ason,  and  from  the  va- 
riuhle  ii:itii,-e  *'f  the  sixth,  or  stilimedjint.  in  the  minor  scale,  the  an- 
cient rtiit  Kigniitures  an*  very  frequently  found.  The  signature  of 
one  flat  liel.'iigs  to  U  tint  ni.ijor  and  (j  minor.  The  following  ex. 
ample  in  tliu  opening  of  CoreiU's  flfth  conccrlu  is  in  li  flat  mtgor. 


TWi  example  affords  a  very  striking  instance  of  the  use  ond  effect 
of  harnionv  in  deciding  the  key  ana  mmle,  indepen.lent  of  the  sig- 
nature. 'i\v  eiyhth  eoncerto  o^  Corelli  opens  willi  Uiis  signature  in 
O  minor,  as  in  ttic  following  example:  — 


This  also  depends  upon  harmony  for  the  decision  of  Its  key  and 
mmle  :  the  inelodv.  as  it  stands  ah,',ve.  miu-ht  Ik-  e<|iiii1ly  In  U  fl.it  ma- 
jor, or  (f  minor  1  liut  the  K  sharp,  which  iiee.)iii|,iiiiie*  the  ('  in  the 
scroii.l  in.asiire,  deri.les  the  key.  The  signature  of  fuo  Jintt  bo- 
\onga  to  K  flat  inigor,  as 


The  flgnntnre  of  three  0at»  U  nnusnal  In  the  mnjor  mode  of  A  flat, 
hut  extremely  frequent  in  the  minor  of  F.  Handel,  indeed,  hois 
•eldora,  if  ever,  used  the  niixtem  signature  in  thi*  mmle. 


In  the  ahore  example,  the  E  natural  Is  the  leading  nole,  and  polnta 
•o  the  key  note,  F  i  of  which  A  Hal  is  the  leucr  third,  and  decide* 
»he        • 


ANCIENT  TIIE.VrUES.  These  buUdint^f 
wore  so  constructed,  ori;;;inally,  that  the  aclorf 
could  uot  be  heard  at  the  extremity  of  the  stage. 
The  (Jreeks,  therefore,  contrived  a  i)Lin  to  supjily 
that  delect,  and  to  augment  the  tone  of  the  voice, 
and  make  it  more  distinct  and  articidate.  For 
this  jjurpose  they  invented  lar;re  copi)er  vessels, 
wliich  were  disposed  under  the  scats  of  tlie  tlio 
atrc  in  such  a  manner  as  made  all  souiult  strike 
U]>on  the  ear  with  more  force  and  distinctness. 
ITie  orchestra  was  divided  into  three  parts.  The 
first  and  most  considerable  was  more  particulaily 
called  the  orchestra,  and  was  apjiropriated  to  tlio 
pantomimes  and  dancers.  In  the  second  part 
were  placed  those  who  sung  in  chorus ;  and  in 
the  tliird  were  disposed  their  sj-mpliony  or  band. 
The  passion  of  the  Athenians  and  all  the  (irccks  for 
comedy  and  dramatic  representation  is  inconceiv- 
able. Their  eyes,  ears,  imagination,  and  under- 
standing, all  equally  shared  in  llic  satLsfaetiou. 
Nothin;;  gave  tliem  so  sensible  a  pleasure,  how- 
ever, as  the  strokes  which  were  aimed  at  the 
affairs  of  the  pubUc.  Frequently  mere  accident 
was  the  occasion  of  sudden  application,  which 
was  very  afjreeable  to  the  peoi)le.  Upon  the  fol- 
lowui}r  couplet  of  yEschylus  bein;;  spoken  upon 
the  stage  in  praise  of  Amphiaraus,  — 

"  'Tis  his  desire 
Not  to  apixnr,  but  to  be,  great  and  gooil."— 

the  whole  audience  rose  up,  and  unanimously 
appUed  it  to  another  person.  A  similar  circum- 
stance hai)pened  to  I'liilopfrmon :  at  tlie  instaiii 
he  entered  tlie  theatre,  they  were  singing,  — 

"He  comes,  to  whom  we  owe 
Our  liberty,  the  noblest  go,id  below  ;  ••  — 

and  nil  the  Greeks  cast  their  eyes  upon  him,  and 
with  clapping  of  hands  and  acclamations  of  joy, 
expressed  their  veneration  for  the  hero. 

ANCILLV.  (L.)  The  sacred  shields  on  which 
the  ancients  beat  the  time  of  their  music  at  pub- 
lic festivals. 

ANCOKA.     (I.)     Again,  once  more. 

ANDANTE.  (I.)  This  word  seems  to  have 
had,  in  times  past,  a  signification  dirferent  from 
that  attached  to  it  by  the  musicians  o/  the  jjreseut 
day,  and  is  frequently  to  be  found  at  tlie  begin- 
ning of  old  movements  of  a  grand  and  even 
cheerful  style.  IJut  now,  it  Ls  used  to  imply  a 
time  somewhat  slow,  and  a  performance  distinct 
and  exact,  gentle,  tender,  and  soothing. 

ANDANTK  AFFETTTOSO.    0)    SI  .w  ,in.I  nff  cti.inate. 

A.NDANTE  (ON  Mori).     (I.)     All'  Andante. 

ANDANTK  <;lt  VZlilSO.     (I.)     SI.. v. 

ANU.VNTi:  I.AKdil.  or  I.Atir.O    \  -       -  1'      Ily   thU 

ex[. ri-*«i>. 11  w.' iiTi.li  r*t  .11.1  that  the  |H'rT.<.  .uovinienl  to 

which  it  i*  pr.rtx-"l  i.  to  Ik«  slow,  distin^-t.  jn  1  ■  xa.  t. 

A.NDVN  I  K  MAKS  roSO.     ,1.)     Slow,  with  uajestr. 

ANDA.NTK  MI.N    rKDl'Pt).     (U     Slow, -i-.t  n..t  t<«)  mneb  •«. 

AM>.V.\TE  I'AS TOKALE.  (I.)  Slow,  and  with  poslora:  •im- 
plicit)-. 

AND^VXTINO.  (I.)  Diminutive  of  Andiuito. 
Gentle,  tender,  and  somewhat  faster  than  An- 
dante. 

ANDER.«!,  IIEINRICIT,  organist  of  the  olJ 
church  at  .\msterdam,  was  horn  in  (Jcnuany  in 
the  year  I'JOO.  He  publish wl  in  1720  two  books 
of  sonatas. 

ANDERSON,  .^OIIN.  A  composer  of  Scotch 
music,  considered  oy  some  as  unrivalled  since  th« 
days  of  Oswald.  He  dieil  at  Inverness  in  1.S03 
(Clemouti's  Cat.) 

ANDER.SON,  LUCY,  daughter  of  Mr.  John 
Phillpot,  music  seller  and  professor  of  music,  wm 


49 


AND 


ENCYCLOPAEDIA    OP   MUSIC. 


AND 


1mm  at  Bath  in  1707.  The  only  instruction  Mrs. 
Anderson  over  rc-pivpd  on  the  jiiano-fortc  was 
from  her  cousin,  Mr.  Windsor,  of  liath,  and  that 
was  very  irrc:;ulnrly  p^'cn  ;  hut  her  natural  love 
for  the  art  induced  her  to  persevere  with  no  other 
assistance  than  what  she  derived  from  hearing  the 
BBveral  eminent  perfonners  who  occasionally  ap- 
peared at  the  Hath  concerts.  At  a  very  early  age, 
Jlrs.  Anderson  (then  Miss  Phillpot)  followed  her 
profession,  and  played  with  f^eat  success  at  the 
Bath  concerts,  liut  in  conseiiueuccof  her  health 
uufferini;  from  a  residence  in  that  town,  she  was 
induced  to  go  to  London,  where  the  success  she 
met  with  determined  her  finally  to  settle.  In 
July,  1820,  she  was  married  to  Mr.  Anderson, 
also  a  professor  of  music. 

AXDEUSON,  (JEORGE  FREDERIC,  hus- 
band of  the  preceding;,  and  professor  of  the  violin 
and  piano-forte,  was  horn  at  Carlton  I'lilace  in  the 
year  179.5.  lie  wa:}  a  pupil  of  Wiechscll.  An- 
doi-son  for  many  years  jjlayed  at  the  Opera, 
Ancient,  and  Philharmonic  Concerts,  of  which 
last  society  he  was  an  a:>sociate.  He  was  also 
musician  in  ordinary  to  Ills  majesty. 

ANDRE,  JOHN,  was  born  at  Offenbach,  in 
1741.  He  was  first  intended  for  trade  by  his 
friends,  who  had  a  silk  manufacton,'  in  that  town. 
Andre  was  not  re;;ularly  taught  music,  though 
he  had  a  p^eat  taste  for  it ;  all  the  instruction  he 
obtained  in  that  art,  tiU  the  age  of  twelve,  was 
fiom  one  of  his  little  companions,  who  went  to 
Frankfort  to  take  lessons  on  the  violin,  wliich  he 
repeated  to  Andre.  In  thw  way  he  improved 
much  :  he  soon  afterwards  taught  hunself  the 
hari)sichord  and  the  rudiments  of  composition. 
TUl  the  age  of  twenty,  Andre  liad  only  composed 
a  few  songs ;  but  being  at  Frankfort  about  the 
year  17G0,  he  heard  the  French  and  Italian  comic 
operas  there,  which  determined  him  to  attempt 
composition  for  the  theatre.  His  first  work  of 
this  description  was  the  little  opera  called  "The 
Porter,"  which  was  played  at  Frankfort,  and 
pleased  the  public  by  its  gaj-ety  and  simplicity. 
He  next  composed  Goethe's  "Erwiu  aud  El- 
mira,"  which  aLso  succeeded.  In  a  short  time 
these  two  pieces  were  performed  at  Berlin,  and 
were  so  successful  that  their  autlior  was  sent  for 
to  compose  for  the  theatre  of  that  metropolis  ; 
■where  also  he  followed  up  his  studies  in  compo- 
sition under  the  direction  of  the  celebrated  Mar- 
purg.  Andre  continued  at  BcrUn  for  several 
years,  and  comjiosed  many  operas ;  he  afterwards 
returned  to  Oll'enbach,  wl-.erc  he  had  previously 
established  a  large  music  warehouse.  This  was 
one  of  the  most  famous  of  its  kind  in  Europe. 
He  directea  all  departments  of  the  work  in  per- 
son, and  emj)lo',od  more  than  fifty  workmen.  He 
died  in  1799.  His  compositions  consist  of  more 
than  twenty  opera:i,  including  music  to  the  trage- 
dies of  Macbeth  and  King  I,car  ;  tliree  sonatas 
for  the  piano-forte,  violin,  and  violoncello  ;  songs 
\\-ith  quartet  accompaniment ;  Burger's  "  Leo- 
nora," a  romance  for  tlio  piano-forte,  which  went 
tlirough  five  editions,  &c.  His  style,  says  M.  Fctis, 
is  not  remarkable  for  novelty  of  ideas  or  harmo- 
ny, but  liis  melodies  have  a  natural  grace  aud 
gayety. 

ANDRE,  JOHN  ANTONY,  son  of  the  pre- 
ceding, was  born  at  Olfenbach  in  177.5.  At  two 
years  of  age  lie  is  said  to  have  shown  a  musical 
'eiidency.     He  received  hia  first  lessons  on  the 


violin  and  piano-forte  in  Berliu,  when  liis  fathei 
directed  the  orchesti-a  at  the  opera  there.  Marsch- 
baUm,  the  tenor,  taught  him  singing,  and  at  the 
age  of  nine  he  sang  difficult  airs  with  taste  and 
accuracy.  Reluming  with  his  father  to  Offen- 
bach, he  devoted  himself  with  ardor  to  his  in- 
struments, besides  lessons  in  hannony  and  ac- 
companiment, and  in  the  art  of  reading  a  score. 
A  couple  of  years,  under  the  tuitifii  :>f  Ferd. 
Frflnzel,  made  him  a  finished  violini>t. 

HLs  first  compositions  (before  he  was  thirteen) 
had  been  sjinphonies  for  amateur  concerts ;  but 
his  first  avowed  work  was  a  sonata  for  piano  and 
violin,  composed  on  a  journey  to  Maidieim  aud 
Strasburg,  wth  his  father,  in  1788.  In  1790, 
aged  only  sixteen,  he  was  conductor  of  an  or- 
chestra at  Offenbach,  where  the  business  of  his 
father  had  recalled  him.  He  composed  much 
and  with  great  facility.  From  1793  to  1796,  hLs 
time  was  divided  between  the  music  publishing 
establishment  and  the  practice  of  his  art.  At 
the  age  of  twenty,  he  went  to  the  University  of 
Jena.  In  1793,  he  made  a  second  musical  tour 
in  the  Rhine  cities.  The  death  of  his  father 
threw  the  music  warehouse  upon  his  hands  in 
1799,  which  did  not  prevent,  however,  a  third_ 
and  larger  musical  tour  through  Xuremburg, 
Augsburg,  Munich,  Vienna,  Prague,  Dresden, 
Jena,  "Weimar,  &c.,  during  which  he  made  the 
acquaintance  of  all  the  great  German  composers. 
%\'liile  at  Vienna,  he  purchased  the  Mi^zart  manu- 
scripts of  the  widow ;  and  those  priceless  treas- 
ures are  yet  in  the  hands  of  the  Andre  house, 
which  has  a  branch,  conducted  by  a  son,  in  Phil- 
adelphia.    In  1800,  Andre  visited  England. 

The  list  of  his  compositions,  printed  since  1783, 
includes  twenty-one  spnphouics  for  orchestra, 
three  concertos  for  violin,  seven  concertos  for 
wind  instruments,  several  collections  of  military 
music,  two  masses,  an  opera,  ("  Rin  ildo  and  Al- 
cina,"  1799  ;)  seven  opera  of  stringed  quartets  ; 
sLs  of  piano-forte  sonativs ;  serenades,  dances, 
fantasias,  &c.,  for  orchestra  ;  cantatas,  ri)mances, 
and  songs.  HLs  music,  it  is  said,  lacks  invention, 
but  is  agreeable  and  pure  in  harmony.  In  1832, 
Andre  announced  a  general  treatise  on  music,  in 
six  large  octavo  volumes.  The  first  volume  ap- 
peared the  same  year,  and  treats  of  the  scieuee 
of  harmony,  modiilation,  the  ancient  modes,  the 
harmonizing  of  chorales,  &c.  Volume  two  con- 
tains single  and  double  counterpoint,  fugue,  aud 
canon.  Volume  tliree  is  destined  to  mclodieo 
and  rhythmics  ;  four,  to  instrumentation  ;  five, 
to  song  wTiting  ;  aud  sue  to  style,  form,  the  u;** 
of  voices  and  instruments. 

ANDRE,  LE^^^S,  was,  in  1729,  chapel-mas- 
ter and  composer  to  the  King  of  Poland. 

ANDRE,  Y^'ES  MARIE,  a  Jesuit,  was  bora 
at  Caeu,  iu  Normandy,  in  1675.  He  wrote  a 
treatise  on  the  beauties  of  music.  It  Is  contained 
in  his  work  called  "  Kisai  aur  k  liiiu,"  Paris, 
1711,  wliich  has  gone  through  many  e;Litions. 

ANDRE,  of  Modena,  a  monk,  published  is 
1690  a  work  on  vocal  music. 

ANDRE,  LUCREZIA,  often  called  Cara.  A 
celebrated  Italian  singer  at  the  beginning  of  th« 
last  centurj' ;  she  wa;*  in  the  service  of  the  Grtnd 
Duke  of  Tuscany. 

ANDREA,    HONOFIUO    D',    a    NeapolitAn 


60 


AND 


ENCYCLOP.EDIA    OF    MUSIC. 


A  N  F, 


poet,  ^\Tote  a  discourse  on  music  at  Naples,  in 
1636. 

ANDREA,  NICOLAUS,  pastor  in  Swedish 
lyRplnnd,  published  some  church  music  at  Stock- 
holm, at  the  begiuuiiig  of  the  seventeenth  ceu- 
^ury. 

ANDREAS  ARUOENSIS,  a  composer  of  the 
leventeenth  century,  publLihed  the  I'sabns,  set  to 
music,  in  1626. 

ANDREAS,  CRETENSIS,  Archbishop  of 
Crete,  ilied  in  721.  He  composed  much  music 
for  the  Greek  church. 

ANDREAS.  SYLVANUS.  A  renowned  con- 
trapuntist about  .lie  yeiu:  lotO. 

ANDREINI,  ISABELLA,  a  celebrated  singer, 
poet,  and  a'.'trcss,  bora  at  Padua,  in  1.5')2.  She 
lived  a  long  time  in  France,  and  died  in  1601. 

ANDREONI.  An  Italian  soprano  singer.  He 
was  engaged  in  1741  for  the  opera  in  London. 

ANDREOZZI,  GAETANO,  bom  about  the 
middle  of  the  ciglitccuth  century,  was  a  relation 
and  pupU  of  Joiuelli,  and  master  of  the  Royal 
Chapel  of  Naples,  lie  composed  for  all  the  prin- 
cipal theatres  of  this  capital,  and  also  lor  tlie 
greater  part  of  Ital^  His  principal  operas  are 
"  Arbace,"  "  Olympiads,"  and  "  Catonc,"  Florence, 
1787;  "  Affi'siliio,"  Venice,  17>S8.  His  favorite  air, 
''Ah!  qxiest'  anima  non  sjicri,"  is  still  much  cele- 
brated in  Italy,  and  the  oratorio  "  Ln  Pu-isin/u;  rli 
Giesu  Cristo"  is  justly  esteemed.  lILs  style  was 
learned,  graceful,  and  digniticd.  Andreozzi  also 
composed  some  quartets  for  the  violin,  in  excel- 
lent taste. 

ANDREOZZI,  ANNA,  wife  of  the  prccetUng, 
wiis  principal  female  singer,  in  1791,  at  Florence  ; 
and  in  1801,  at  Dresden,  where,  shortly  after, 
she  lost  her  lil'e  by  being  overturned  in  her  car- 
riage. 

ANDREWS.  An  excellent  performer  on  tlie 
tenor,  resident  at  Manchester.  He  jjlaved  at  the 
York  festival  in  1823. 

ANDRIGIIETTI,  A.  L.,  published,  in  1620, 
lit  Padua,  a  work  on  music. 

ANDROIDES.  In  1738.  M.  Vauranson  ex- 
hibited at  the  Royal  Academy  of  Sciences,  in 
France,  a  machine  capable  of  playing  several  airs 
on  the  Gcnnan  flute.  Ry  means  of  springs, 
valves,  and  levers,  he  produced  all  the  motions 
rc(iuisite  for  an  expert  player  on  the  flute ;  and 
he  executed  music  in  such  a  mimner  as  to  have 
it  acknowledged  equal  in  beauty  to  that  derived 
from  the  exenions  of  a  well-practised  living  per- 
fonner.  'Hie  same  gentleman  attenvnrds  exer- 
ci -ed  his  ingenuity  in  the  construction  of  another 
mu-iical  androides,  exhibited  to  the  Academy  in 
1711,  and  which  was  not  less  admired  than  I'.is  (lute 
jdayer.  In  constructing  liis  pipe  and  tabor  play- 
er, M.  Vaucnnson  made  some  discoveries  which  he 
little  thought  of ;  and  among  the  rest,  that  this 
kind  of  flute  is  one  of  the  mo-<t  fatiguing  instru- 
ments to  the  lungs  of  the  jierformer.  In  order 
to  produce  the  highe-<t  note  of  the  instrument, 
the  muscles  of  tbe  chest  of  a  living  perfonner 
must  make  an  effort  equal  to  tif;y-sLx  pounds,  for 
such  was  tl;c  weight  with  which  he  found  it 
necessary  to  load  tbe  pair  of  bellows  which  sup-  ! 
phed  the  air  for  tliis  tone   in   the  machine.     A 


single  ounce  sufficed  for  the  lowest  tone  ;  whence 
we  may  deduce  the  variety  of  intermediate  pro- 
portions necessary  to  be  given  to  the  air  in  giving 
even  the  scale  of  the  flageolet.  Many  musical 
androides  have  been  invented  ;  but  lunong  the 
most  celebrated  automatical  mechanisms  was  that 
of  M.  Maillardet,  a  native  of  Switzerland,  who 
constructed  an  androides  representing  a  beautiful 
female,  seated  at  a  piano-forte,  on  which  she  per- 
formed eighteen  tunes.  Independent  of  the  exe- 
cution of  the  music,  which  is  produced  by  the 
actual  pressure  of  her  Angers  upon  the  keys,  all 
her  motions  were  elegant  and  graceful,  and  so 
nearly  imitating  life,  that,  even  on  a  near  a;>- 
proach,  the  dece])tiou  could  hartUy  be  dLscoveroX 

ANDRON,  a  flute  player,  born  in  Sicily,  is 
said  to  have  invented,  about  the  year  130,  the  art 
of  dancing  in  correct  time  to  music. 

ANDRONICUS.  A  Neapolitan  musician  of 
antiquity.  He  composed  a  h\nnn,  which  was 
solemnly  chanted  by  a  chorus  of  young  \-irgins, 
to  appease  the  wrath  of  the  gods  against  the  Ro- 
mans. (Vide  SaUuit.>  In  the  private  as  well  as 
public  sa''ritices  of  the  ancient  Romans,  music 
was  considered  an  important  aid  *»  their  cere- 
monials, nie  flute  was  the  ijistrument  in  u -e, 
as  also  in  Greece,  to  accompany  the  voices  of  their 
priests.  The  flutes  u-^ed  in  the  temples  were 
made  of  boxwood  ;  those  for  the  theatre;  and 
public  garner,  of  silver.  Tlie  trumpet  and  the 
lituus  were  also  ijitroduced  (according  to  the 
Grecian  custom)  during  the  hecatombs.  To  .shov/ 
the  importance  which  was  attached  to  the  musi- 
cal characters  in  ancient  Rome,  it  is  related  that, 
early  in  the  hi.--tory  of  that  city,  the  musicians 
formed  together  a  college  or  society,  and  were 
accustomed  to  partake  daily  of  a  dinner  at  the 
capital,  given  them  by  tlie  state.  On  account  of 
tliLs  dinner  being  suppressed,  they  all  retired  to 
Tibiu: ;  and  the  only  terms  on  which  they  would 
agree  to  retiirn  to  Rome  were,  not  only  the  renewal 
of  their  usual  daily  repa/.-t,  but  to  be  treated  with 
much  more  magni;icence  ;  a-s  a  foretaste  of  which 
enjoj-ments,  a  banquet  was  prepared  for  them  at 
Tibur,  where  they  all  became  inebriated,  and  in 
that  state  were  removed  to  Rome. 

ANDROT,  A.  A.,  was  bom  at  Paris  in  1781  : 
he  was  aibnitted,  in  1706,  a  pupil  of  the  Conser- 
vatory, and  in  1802  gainetl  the  prize  for  compo- 
sition. He  then  went  to  Rome,  where  he  wa? 
patronized  by  GugUclmi,  and  corajKised  some 
chun'h  mu:iic,  wliich  was  perlbnue<l  iji  passion 
week  in  1804.  Just  as  he  had  flnishetl  a  "  /><•  pn^ 
fnndis,"  he  died,  in  the  twenty-third  year  of 
his  age. 

ANEAU,  RARTHELEMY.  Author  of  two 
book-i,  the  one  containing  church  mu^ic,  nn  I 
the  other  the  fourth  eidoguc  of  \  irgil  fct  to 
music,   jiriiited  at   Lyons  in  l.">39   and  1359. 

ANKMOCIIOKD.'   .Eolian  harp. 

ANERIO,  FELICE,  is  said  by  Wnlther  to  have 
been  a  pupil  of  Maria  Nanino,  anil  by  Adami  tc 
have  succeeded  Palcstrina  as  marstro  Hi  ntpcUa  of 
the  pontiflcal  chapel.  These  two  circumstancfsi 
alone  imply  no  common  degree  of  merit ;  and, 
according  to  Adami,  many  admirable  comjK  - 
sitions  by  this  author  were  prc?-er%-ed  in  tit 
pope's  chapel,  and  in  daily  use.  He  sooras  jc 
have  been  regarded  as  a  great  raa^.ter  of  his  profe— 
sion.     His  madrigals  for  six  voi<;e9  were  printed  a' 


AXE 


EXCYCLOP^DIA    OF    MUSIC. 


AN  a 


Antwerp,  1.599,  and  canzonets  for  four  voices,  at 
Frunktbrt,  in  MIO  ;  wliicli,  for  a  tiiuc,  eujoyod  a 
ooit-.iderable  share  of  public  favor. 

AXERIO,  G.  F.,  a  Korann  composer  and 
chnpol-mnster  at  A'cronn  at  the  be^innin!»  of  the 
foventeenth  century,  published  macb:ij;al.s  and 
other  works  at  Venice  and  at  Home. 

AXFAXGS-RITOIIXEL.  (G.)  An  intro- 
ductory symphony  to  an  air,  &c. 

AXFOSSI.  An  eminent  performer  on  the 
doulile  bass,  resident  some  years  since  in  Lon<lon. 
He  perfonned  at  the  York  musical  ie;>tival  in  1823. 

AXFOSSI,  PASQUAI.E,  bom  about  the  year 
1736.  He  first  applied  himself  to  the  practice  of 
the  violin,  in  the  conservatories  of  Xaples ;  but 
fcclin;^  that  hLs  imagination  was  too  much,  re- 
Ktrained  by  this  study,  he  preferred  tliat  of  com- 
])o;ition,  under  the  auspices  of  Saccliini  and 
I'iccini  ;  tlie  latter  of  whom,  perceiving  in  him 
m;irks  of  vigor,  tact,  and  most  of  those  qualities 
which  lit  a  musician  for  liis  art,  conceived  an  af- 
fection for  him,  and  soon  communicated  to  him 
some  part  of  the  fine  talent  which  he  himself 
jtosscsscd.  Picciiii  procured  him  his  first  engage- 
ment, in  1771,  for  the  theatre  Delle  Dame  in 
liome.  'riie  first  attempt  of  Anfossi  was  unfor- 
tunate ;  but  Piccini  made  a  like  engagement  for 
the  following  year,  and  notwithstancUng  a  second 
failure,  he  concluded  a  third  for  the  next,  and 
exhorted  Aiiibssi,  who  had  prepared  to  leave 
Home  ui  disgust,  to  apply  with  greater  ardor,  in- 
stead 01  being  discouraged  by  the  first  obstacle.? 
he  might  encounter  in  his  arduous  career.  His 
counsel  was  ])rophclic,  and  so  favorable  to  his 
j)upil,  that  tl'.ey  soon  turned  to  the  disadvantage 
of  the  master  who  gave  them.  Anfossi  hesitated 
not  to  follow  them.  He  composed  his  opera  of 
"  II  Scoiiosciufo  perscguito,"  which,  when  per- 
fonned in  1773,  experienced  so  brilliant  and  so 
continued  a  success,  that  Picciui  beheld  his  re- 
po;  e  comj)romlsed,  less  by  the  merit  of  the  work, 
which  could  in  no  case  have  siu-passcd  liis  own, 
than  by  a  spirit  of  euvy  and  intrigue,  wliich 
made  use  of  it  to  inflict  disgrace  more  unjust 
than  painful  to  liira,  hut  wliich  obliged  the 
master  to  give  way  to  the  disciple.  Anfossi, 
freed  from  the  presence  of  his  master,  and  proud 
of  the  unexpected  favor  of  the  Romans,  (he  only 
was  talked  of  at  Rome ;  liis  music  only  was 
listened  to,)  redoubled  that  ardor  with  which 
I'icciui  himself  had  inspired  him.  He  became 
more  laborious,  more  active  than  ever  he  had 
been  ;  he  composed  w  ith  the  greatest  care  and 
the  most  scrupulous  attention  ;  and  ha%-ing  com- 
jilcted  the  opera  of  "  La  Finta  Clardinicra,"  it 
was  performed  ui  1771,  and  he  beheld,  with  less 
joy  than  surprise,  that  the  public  continued  its  j 
favor.  It  was  followed  by  "  //  Gcfoxo  in  Chncnto,"  1 
in  177i>,  which  met  with  the  same  good  fortune, 
'i'his  composer  had,  however,  not  yet  essayed  his  i 
talents  in  the  most  dilHcult  style.  He  had  not  I 
yet  written  a  serious  opera  ;  which,  if  it  demands  ; 
less  vivacity  than  the  comic,  recniires  more  real  I 
geiiivis,  ami  a  knowledge  of  the  noblest,  most  in-  I 
tense,  and  most  expressive  emotions  of  the  human 
heart.  He  WTOte  the  opera  of  "  L'0/i/mj)ia<ie ;" 
it  wa.s  perfonned  in  177G,  and  he  had  the  grief 
to  beliold  the  laU  (as  great  ha  it  was  unseen)  of 
liis  work.  He  now  experienced,  in  his  turn,  the 
uuin   Ids  raa.sler  had   undergone ;  he   felt  that 


disgrace,  inflicted  by  a  pubUc  who  had  lavished  fa- 
vors upon  liim,  was  the  most  painful  to  endure ; 
and  like  Piccim,  being  unable  to  support  the 
blow  this  event  uiflicted  on  his  sensibility,  he 
quitted  Rome.  Anfossi  traversed  Italy,  and 
stoi)])cd  at  Venice.  'ITie  Venetians  enjoyed  the 
new  works  composed  for  them,  and  this  enabled 
hira  to  forget  his  disgrace.  He  was  named 
director  of  one  of  the  coiLservatories  of  that  city. 
With  this  honorable  title  he  repaired  to  Paris  in 
17.S0,  where  he  gave  "  Caii(j  Marim"  at  the 
Academy  of  Music.  ITie  success  of  this  work, 
although  not  brilliant,  was  satisfactory  to  the 
author.  He  then  gave  "  //  Scottosciuto pcrscguit  >," 
Rda])ted  to  French  words ;  but  whether  the 
Italian  style  was  not  yet  perfectly  understood  at 
Paris,  or  whether  the  translation  of  the  words 
was  prejudicial  to  its  effect,  it  certainly  did  not 
succeed  according  to  its  merit.  It  was  uncertain 
whether  this  was  the  cause  of  Anfossi's  lea\Tng 
France,  but  he  quitted  Paris  in  1782,  and  re- 
paired to  London,  where  he  remained  till  1785  ; 
but  he  arrived  at  an  unfavorable  time,  for  Sac- 
cliini had  preceded  him,  and  the  affairs  of  the 
opera  were  in  so  embarrassed  a  state,  that  hia 
reputation  was  diminished  rather  than  increased, 
by  his  visit  to  England.  He  returned  to  Rome 
in  1787,  where  he  composed  several  works,  and 
had  the  happiness  to  meet  with  universal  ap- 
plause. He  died  in  that  city  about  179.5,  in  the 
enjo>Tnent  of  considerable  reputation.  The  com- 
positions of  Anfossi  do  not  boar  the  stamp  of 
genius  like  those  of  his  two  predecessors,  PicciiJ 
and  Sacchini,  on  whose  style  his  own  was  formed. 
He  understood  the  art  of  developing  and  retiuing 
musical  expression,  and  mauy  of  his  finales  be- 
came models  of  this  department  of  art.  His 
clearness  of  style  may  be  compared  to  the  same 
quality  in  literature,  and  lus  fecundity  proves 
that  he  wTote  with  facility.  His  opera  of 
"  L'Avaro"  is  considered  as  his  cli^f-d'cpucre ;  and 
among  his  oratorios,  "  Betulia  Ltberata"  is  most 
distinguished. 

AXGEBER,  "W.,  published  some  piano-fort* 
lessons  at  Augsburg  about  1799. 

AXGELI,  LE  PERE,  Uved  at  the  end  of  the 
seventeenth  century.  He  published,  in  1691,  a 
work  on  counterpoint. 

AXGELIXI.  ORAZIO,  a  fine  performer  on 
the  organ,  lived  in  Italy  in  1-580. 

AXGELO,  COUXT,  bom  at  Venice,  wn.s 
author  of  several  musical  dramas  perionned  at 
^'enice  about  tlie  yeiu-  16.51.  Among  the^^e  are 
"  Cleopatra,"  "  Demetrio,"  and  "  Aureliano." 

AXGELO  DA  PACCITOXO,  a  Franciscan, 
published  at  Venice,  in  lo47,  a  work  on  music. 

AXGELO,  MICHAEL,  of  Bologna.  Princi- 
pal soprano  at  Munich  in  1780. 

AXGERSTEIX,  JOHAXX  KARL,  a  prie<t  at 
Brelkow,  published  a  work  on  siuguig,  in  1798 
at  Stcndal. 

AXGIER,  J.  H.  An  English  musician  of 
merit,  who  flourished  about  1810. 

AXGIOLEIJJ.  A  celebrated  6ii:ging  mastei 
and  singer  in  Portugal,  in  1822. 

AXGIOLIXI,   GASPARO,   ballet  master  U 


')2 


ANQ 


ENCYCLOP.EDIA    OF    MUSIC. 


AX. 


the  Emperor  of  Russia,  ^TOto,  about,  tho  year 
l789,  several  works  in  Italian,  on  his  art. 

ANGIOIJXI,  GIOVANNI  FUKDKRIGO. 
A  Rooil  composer,  bom  at  Sienna,  lived  ehietly 
in  Prussia  and  Russia,  and  published  much  mu- 
sic for  the  harj)  and  piano-t'orte. 

ANGLAISE.  (F.)  A  tune  adapted  for  a 
country  dance,  in  the  Enj^lish  style. 

ANGLEHKRM.EUS,  or  ENGLEBERM.E- 
US,  JOANNES  I'YRUIIUS,  a  lawyer  at  Or- 
leans,  li^-'^l  in  1.3K),  and  published  a  work 
on  mu.->ic  and  dancin;.^. 

ANGLEUEUT,  J.  K.  Chamber  musician  of 
the  Kiuf?  of  France,  and  organist.  lie  jnibUshed 
some  works  for  the  orjjan  and  harpsichord,  about 
the  year  1(579. 

ANGLERIA,    CAMILLO,    a  Fmnciscnn,    at 

Cremona,  stutlicd  counterjioint  under  Corejjfgio. 
lie  died  in  lliiiO.  lie  is  tho  author  of  rules  for 
composition,  published  at  Milan  in  1022. 

ANGLOSINI.  A  composer  of  songs  published 
by  dementi. 

ANGLO-S.\XON  MUSIC.  Among  the  An- 
glo-Saxons, music  was  much  jirnctiscd ;  and 
though  their  strains  would  in  all  jirobability 
have  sounded  harsh  to  a  modem  ear,  yet  over 
the  simple  and  strong  sensations  they  had  a 
powerful  iiitluonce.  ilusic  had  not  yet  been  dis- 
joined from  its  natural  alliance  with  poetry  —  a 
circumstance  which  gave  to  both  arts  a  fasci- 
nation unknown  to  them  separately.  'Hie  most 
astonishing  etfects  are  ascrit)cd  to  their  music  ; 
stories  are  told  of  the  perfect  witchery  which 
their  barcLs  exercised  over  the  passions  of  their 
Budieni  e  ;  of  companies  being  melted  into  tears 
by  tlu'ir  doleful  airs  ;  then  exhilarated  to  laugh- 
ter, dancing,  and  shouting,  by  their  sprightly 
songs  ;  and  roused  at  last  to  madness  and  mutual 
Wounds,  by  tlie  tierce  notes  that  provoketl  re- 
venge. All  tlus  is  perfectly  intelligible,  without 
sui>[iosiug  tlicir  musicians  to  have  possessed  any 
secret  iu  melody  that  is  lost  to  the  present  age, 
when  we  consider  tlic  convivial  nature  of  those 
assembhes  where  music  wius  generally  introduced. 
It  id  not  uncommon  to  see  the  manliest  natures 
melted  into  teai-s  by  simple  melody,  or  a  com- 
pany to  join  in  dancing  and  shouting,  when  the 
glass  has  circulated  and  the  fiddle  has  struck  up. 
()>u-  northern  ancestors  drank  very  heartily ;  and  it 
is  much  more  credible,  that  the  strong  potations 
which  they  had  swallowed,  rather  than  the  hand 
of  the  harper,  introduced  riots  into  their  meetings. 
From  an  illuminated  manuscript  of  the  Anglo- 
Saxon  HiWe,  it  appears  that  they  had  a  variety  of 
musical  inslrumcnts,  sutHcient  at  least  to  make  a 
considerable  uoi.-e  in  their  concerts.  In  tho  picture 
alluded  to,  there  is  a  harj)  of  eleven  strings,  n 
foiu-striugcd  instrument  like  a  vioUn,  with  a 
bow,  a  short  trumpet,  aiul  a  curved  horn.  In  the 
reign  of  Edgiur,  the  famous  St.  Dun.stan  gave  a 
fine  organ  to  Glastcnbur}",  which  is  describtjjl  by 
AViUiam  of  (ilastenbury.  lUit  it  was  to  vocal 
and  church  music  that  the  greate-st  attention  was 
paid.  Teachers  were  sent  for,  at  a  great  cost, 
from  ilistant  countrie;*,  and  the  monks  ireviueutly 
travelled  to  Rome,  that  they  might  learn  to  excel 
their  bretliren  in  an  accomplishment  on  which 
their  promotion  often  depended.  In  the  reign 
of  Athelstan.  the  lirst  set  of  bells  was  introduced 


into  England,  and  pre*entcd  to  the  monastery  of 
Croylaud  by  their  abbot,  Turketul.  Single  belK 
however,  must  have  been  known  in  the  seventh 
centurv,  as  thcv  are  mentioned  by  the  vcucrabla 
Bode.  ■ 

ANGOSCIOSAMENTE.  With  aiuuety  ;  ap- 
prehensively ;  sorrowfully. 

ANGRI,  ELKXA,  the  famous  contralto,  was 
born  on  the  Island  of  Corfu,  May  11.  1«24,  anil, 
judging  from  the  name  alone,  ol  Italian  paicnts. 
'llic  misfortunes  of  her  father  forced  Eleiui  to 
cultivate  her  musical  talents,  and  she  went,  undet 
the  care  of  an  uncle,  to  NapkM  and  Florence,  to 
enjoy  tho  Instnu'tions  of  tho  distinguished  mas- 
ters, TagUoni  and  I  )oglia.  At  the  age  of  eighteen, 
Lilian  engaged  her  for  tlie  Scala  at  Milan,  whence 
she  went  to  Vienna,  and  was  appointed  first 
singer  to  the  imperial  court.  Iler  next  engage- 
ment was  for  .St.  Petersburg  ;  but  an  attack  of 
cholera  forced  her  to  give  tliis  u)).  In  IHIO,  she 
appeared  in  the  Royal  Italian  Opera  at  C'ovent 
Garden,  in  London,  and  during  tlie  winter  of 
1849-.i0  was  prima  donna  at  the  Italian  Opera 
in  Paris.  In  the  autumn  of  LS.'iO  she  retunie<l  to 
London,  having  accepted  an  engagement  to  sing  iu 
the  national  concerts.  In  January  of  the  la«it  year 
she  accompanied  Ernst  in  a  tour  through  Leland, 
Scotland,  and  England,  and  aroused  every  where 
the  highest  ontliusiasni.  She  has  always  been  au 
especial  favorite  of  Rossini,  Meyerbeer,  and  Spon- 
tuii,  the  latter  of  whom  wrote  an  ItaUan  sonnet 
in  praise  of  her  full  and  sonorous  voice  —  one 
also  of  cxtraordinaiy  compass. 

ANGRISANI,  C^ARLO,  an  Italian  singer  and 
comjioser,  published  some  collections  of  Nottumi, 
at  Vienna,  in  1798.  lie  sang  at  the  opera  in 
London  for  several  seasons,  from  the  year  1817. 
His  voice  was  remarkable  for  tho  rouncbie.is, 
gravity,  and  volume  of  its  tones. 

ANHANG.  ((}.)  An  adjunctive  member  to 
a  musical  sentence  ;  a  sort  of  coda. 

ANIMA,  ANIMO,  ANIMOSO,  and  ANI- 
MATO.  (I.)  These  words  have  all  a  similar  mean- 
ing. The  sound  box  of  an  instrument  is  the 
a/iiina,  the  soul,  the  spirit  oi  it.  Animato,  ani- 
mateil,  is  a  term  by  which  the  Itiilians  indicate 
that  a  movement  is  to  be  performed  with  bold- 
ness and  spirit. 

ANLACfE.  (G.)  Tlic  plan  or  outline  jf  % 
composition. 

ANLEITUNG.  (G.)  An  introduction.  This 
tenn  often  occurs  in  the  titles  to  German  publi- 
cations. 

ANIMl'CCIA,  GIOVANNI,  bom  at  Ilorenc^ 
was  an  eminent  composer  of  motets  and  madn- 
gals  in  four  parts,  jirinted  at  Venice,  before  the 
year  l.i.iS.  He  also  published  a  set  of  masses  at 
Rome,  dedicated  to  the  canons  of  the  Vatican. 
He  was  chapel-master  of  St.  Peter's,  at  Rome, 
and  died  in  l.)71.  Animuccia  is  named  as  one 
of  the  companions  of  San  Filippo  Neri,  who  fir^t 
applied  music  to  the  purjiosc  of  attracting  com- 
l>aiiy  to  the  I'hieta  Siim-n,  or  New  (.'hurch,  at 
Rome,  on  Sunday  evenings  ;  whence  sacn-<l 
dramas,  or  mysteiics,  or  moralities,  in  music,  were 
afterwards  called  oratorios. 

AN  JOS,  BIONISIO  DOS.  A  good  composci 
and  haq)i:.t  ;  "le  likewise  per.orme<l  on  the  viol  ila 
ganxha.  He  died  at  Listion  in  1709.  He  wrote 
some  churc).  music  and  motets. 


63 


ANN 


EXCYCLOPiEDIA    OF    MUSIC. 


ANT 


ANNA,  D.  G.  I)',  an  Itiiliun,  printed  some 
trios  for  two  violins  and  a  bass,  at  Naples,  in  1793. 

ANXA  AMELIA,  of  Prussia,  sister  to  Fred- 
eric- the  Grout,  wits  born  in  \~2^.  She  was  a  pu- 
pil in  composition  of  Klrnbcrj;or,  and  composed 
a  sacred  cantata  of  extraordinary  merit,  and  sev- 
eral other  musical  works.  She  died  at  15erlin  in 
1787,  and  betpieathed  her  very  valuable  collec- 
Liou  of  music  to  the  GjTunaaiura  at  Berlin. 

AXXELLI.  An  Italian  vocal  composer  to- 
wards the  end  of  the  last  century. 

^VXXIBAI-,  of  Padua.  A  rcno\vued  master  on 
the  organ  at  the  end  of  the  sixteenth  century. 
He  composed  motets,  madrigals,  and  other  works. 

ANXIUALI,  DOMIXICO.  An  ItaUan  singer 
at  the  court  of  Saxony.  lie  was  engaged  by 
Handel  for  his  operas,  in  1736. 

AXXUXCIACAM,  FR.  GABRIEL  DE,  bom 
«t  LLsbon  in  1679,  published  there  a  treatise  on 

sjiging, 

ANOMALIES.  Those  false  scales,  or  iuter- 
%'als,  which  necessarily  exist  in  all  keyed  instru- 
ments, from  their  incapacity  of  a  true  and  perfect 
temperament. 

ANOMALOUS,  or  AXOMALOUS  TRIADS. 

Altered  Triads.     See  that  term. 

AXSALDUS,  CASTUS  IXXOCEXTIUS,  a 
Dominican,  published,  in  1747,  a  large  work  on 
the  musical  instruments  of  tlxe  Jews. 

AXSANI,    or     ANZANL    GIOVANNI,     an 

Italian  singer  and  composer,  sang  in  London 
about  the  year  1781.  Dr.  Burney  says  his  voice 
was  one  of  the  sweetest,  yet  most  powerful  ten- 
ors he  ever  heard.  lie  was  of  an  irritable  dis- 
position, and  his  wife,  Signora  Maccherini,  a  very 
Lnditferent  singer,  had  a  still  worse  temper.  It 
i?  said  tliat  in  Italy,  when  employed  in  the  same 
theatre,  if  one  happened  to  be  applauded  more 
tliau  the  other,  they  have  been  known  to  employ 
persons  to  liLis  the  successful  rival. 

ANSDELL,  "SV.  F.,  was  born  in  1798,  in  the 
parish  of  Pancras,  and  at  the  age  of  foxirtecn 
commenced  his  musical  studies  under  the  cele- 
brated M.  P.  King,  and  some  time  alterwards  be- 
( imc  a  pupil  of  Augustus  Meeves.  ^Vmong  his 
published  works  are  "  Le  Souvenir,"  ail' with  vari- 
a\ions,  "/.«  liii-n  Venn,"  march  and  rondo,  and 
•'  Aure  Felici,"  as  a  rondo. 

ANSCIILAG.     The  percussion  of  a  discord. 

ANSCIIUETZ,  J.  A.,  a  (Jcnnan  composer, 
piiblisliv'l  gome  allemaudes  and  waltzes  at  Bonn, 
in  17'Ja. 

ANSE  AUME,  of  Paris.  Composer  for  the  comic 
opera,  between  the  years  1750  and  1780. 

ANSELMI  SECONDINL  A  composer  at  Lodi. 
He  has  written  some  operas  since  tlie  )car  1788. 

ANSON,  of  Manchester.  An  eminent  performer 
on  the  trumpet. 

ANTAO  DE  SANTA  ELIAS,  a  Carmelite 
monk,  and  chapel-master  at  Lisbon,  died  in  1718. 
He  conipo.  ed  a  "  Te  Dcum"  and  other  sacred 
music. 

ANTEGENIDES,  an  ancient  Greek,  improved 
ooth  the  tlutc  and  the  dress  of  the  performer.    He 


was  the  first  who  appeared  in  public  with  delicati 
Mile:,ian  slippers  and  a  sat&on-colored  robe. 

AXTEGNATI,  COST.VXZO,  organist  at  Bres- 
cia,  pubUshed  some  works  for  that  iiLstrument, 
also  masses  and  motets.     He  died  in  16 19. 


AXTEXOia,  D. 
at  Milan,  in  1760. 


A  celebrated  violin  player 


AXTHEM.  A  vocal  composition  set  to  words 
generally  selected  from  the  Psalms,  and  adapted 
to  cathedral  serv-ice.  There  aie  five  species  of 
anthems  :  the  verse  and  ehorits  anthem,  consisting 
of  verse  and  chorus,  but  beginning  in  chorus ; 
the  verse  anthem,  containing  verse  and  chorus,  but 
beginning  in  verse;  the  faU  anthem,  consistii:g 
wholly  of  chorus ;  the  solo  anthem,  consisting  of 
solos  and  choruses,  but  without  verse  ;  the  instru- 
mental anthem,  which  may  be  similar  to  either  of 
the  foregoing,  but  is  furnished  with  accompani- 
ments. Anthem  singing  is  very  ancient  in  the 
church  ;  some  suppose  it  to  have  descended  from 
the  practice  of  the  earliest  Christians,  who,  ac- 
cording to  Pliny,  were  accustomed  to  sing  their 
hjTnns  to  Christ  in  parts,  or  in  tunes.  Anthems 
■were  first  introduced  in  the  reformed  ser\-ice  of 
the  English  church  in  the  beginning  of  the  reign 
of  (Jueen  Elizabeth.  Socrates  says,  "  St.  Igna- 
tius is  the  author  of  anthem  singing  among  the 
Greeks,  and  St.  jVmbrose  among  the  Latins."  At 
the  present  day  we  call  any  sacred  tune  or  piece 
of  music  set  to  words  from  the  Psalms,  &c.,  an 
anthem. 

ANTIIEMA.  A  dance  practL-ed  much  by  tlie 
Grecians,  in  which  they  sang  while  dancing. 

ANTHEM  SINGING.  As  the  proper  execu- 
tion of  psabuody  requires  the  voices  of  all  in  the 
congregation  who  can  sing,  the  sijigmg  of  a/i- 
thcms  should  be  confined  to  the  choir.  In  the 
ancient  Jewish  church,  persons  were  expressly 
appointed  by  God  to  conduct  his  praises,  and  the 
assembled  congregation  occasionally  united  in 
the  loud  chorus.  So  aLso  in  the  primitive  church, 
and  in  the  church  of  England,  anthems  are  per- 
formed by  a  choir,  to  which  the  congregation  are 
supposed  to  listen  with  devout  sentiments.  The 
form  of  the  anthem  is  naturally  derived  from  the 
structure  of  some  of  the  Psalms,  in  wliich  we 
frei|ueutly  find  the  soliloquy,  the  dialogue,  and 
the  chorus.  Thus,  "  The  Lord  hear  thee  in  the 
day  of  trouble,"  is  the  voice  of  a  company  en- 
couraging a  priest  in  his  intercession.  He  then 
expresses  his  confidence  in  these  words  :  "  Now 
know  I  that  the  Lord  helpeth  his  anointed." 
Then  all  join  together  in  supplication :  "  Save, 
Lord,  and  hear  us  when  we  call  upon  tl.ee." 
Tlie  solo,  the  verse,  and  the  chorus,  in  church 
music,  express  all  these  turns  of  tlie  sacred  jjoe- 
try,  when  properly  applied.  But  as  anthems  are 
not  often  introduced  in  the  sen-ice  of  our  churches, 
and  as  it  Ls  jjresumed  they  will  only  be  attempted 
when  there  is  an  able  and  well-instructed  choir, 
under  the  direction  of  an  exi)erienced  leader,  fur- 
ther observntio)is  are  not  required  ui  this  place. 

ANTHEM- WISE.  Alternately,  in  the  m  in- 
ner of  an  anthem. 

ANTICTl' ATION.  The  taking,  in  a  precec  ing 
chord,  one,  two,  or  more  of  the  intended  n  tea 
of  an  anticipated  combination. 

ANTICO.     (I.)     lu  ;he  rncient  etvle. 


54 


A.NT 


ENCYCLOP.EDIA    OF    MUSIC. 


APB 


AXTKiEXIDAS,  of  Tliebes.  One  of  the  most 
reiiowno  I  ruu.siciiius  of  nnti'iuity ;  he  was  ap- 
pointed tlute  master  to  Alcibiadcs.  Aulus  Gel- 
liu»  relate?!,  that  Alcibiade.-i,  sotting  up  for  a  tine 
gentleman,  and  taking  the  utmost  care  of  his 
person,  was  soon  disgusted  with  his  instrument, 
lus  Minerva  had  been  before;  for  hai)i)cning  to 
see  him-i'lf  in  a  mirror  while  he  was  playing,  he 
■wivs  80  shocked  at  the  distortion  of  his  counte- 
nance, that  he  broke  his  Hute  in  a  tmnsi)ort  of 
rage,  and  threw  it  away,  which  brought  this  in- 
strument into  great  disgrace  among  the  young 
men  of  rank  at  Athens.  This  disgust  did  not, 
however,  extend  to  the  sound  of  the  dute  itself; 
for  we  hnd  by  I'lutiuch,  that  great  performers 
upon  it  continued  long  after  to  be  much  followed 
and  admired.  Antigenidas,  notwithstanding  the 
height  of  his  reputation,  regarded  jjublic  favor  as 
a  precarious  possession,  and  was  never  elated  by 
the  acclamations  of  the  multitude ;  and  so  fully 
was  he  persuaded  of  the  coarse  taste  of  the  com- 
mon pe.i])le,  that  one  day,  hearing  at  a  distance  a 
violent  biu-st  of  applause  bestowed  upon  a  flute 
player,  he  sixid,  "  There  must  be  something  very 
bad'  in  that  man's  performaiK-e,  or  those  people 
would  not  be  so  lavish  of  their  approbation." 
Antigenidas  was  the  author  of  several  improve- 
ments on  the  tlute.  He  increased  the  number  of 
holes,  which  extended  the  compass  of  that  in- 
strument, rendering  its  tones  more  flexible  and 
versatile. 

ANTINORI,  LUDOVICO,  an  Italian  singer, 
was  engaged  by  Ilandcl  for  liis  operas  in  London, 
iu  1726. 

ANTIPHON.  (Gr.)  In  ancient  church  music, 
the  short  verse  sung  before  the  psalm  and  other 
portions  of  the  Catholic  service. 

ANTIPHON.AIIIUM.  (L.)  A  hook  contain- 
ing the  notation  of  the  antiphony,  chants,  &c.,  of 
the  Catholic  church. 

AXTIPIIOXE.  (Gr.)  Tlic  response  which,  in 
the  Catholic  church,  one  side  of  the  choir  makes 
to  the  other,  in  the  chant.  In  (ireek  music,  this 
word  signifies  the  interval  of  the  octave,  whose 
ratio  is  half. 

ANTIPIIOXIZIXG.    Singing  in  octaves. 

AXTIPIIOXS.  Certain  ecclesiastical  compo- 
sitions, much  used  in  the  early  Cluistian  church, 
and  sung  alternately,  or  in  dialogue. 

AXTIPIIOXY.  A  term  used  by  the  ancients, 
ill  opposition  to  homophony,  which  implied  a  per- 
lonuance  wholly  in  unison.  Antiphony  lUso  sig- 
nified certain  sjinphonics  performed  by  various 
roices,  or  instruments,  in  octaves  and  fifteenths 
to  each  other,  but  was  more  particularly  applied 
to  the  practice  of  singing  anthems  and  h>-mns 
alterna-toly,  or  iu  dialogue.  This  word  was  after- 
wards used  by  the  primitive  Christians  in  the 
latter  sense.  St.  Ignatius  has  generally  the  cretlit 
of  its  revival,  and  Ambrosius  of  introducing  it 
into  the  Latin  church,  'llie  present  signification 
of  the  word  extends  to  certain  short  pa-ssages 
occa-sionally  drawn  from  Scrijjture,  and  allusive 
to  the  particular  feast  or  celebration  of  the  pass- 
ing day. 

AXTIQUIS,  GIOVAXXI  DE,  chapel-ma-^tcr 
at  a  town  in  Xaplcs,  published  some  madrigals  at 
Venice  iu  1584. 


£6 


ANTISTllOPIIE.  (G.)  The  name  given  to 
the  second  couplet  of  the  periods  of  the  Greek 
odes. 

AXTISTIIEXES,  a  disciple  of  Socrates,  wrot« 
several  works  on  music,  324  years  before  Jcsuj 
Chi'ist. 

AXTOIX,  FEllDIXAXD  Vf,  published  some 
dramatic  music  in  I7U2  and  1794. 

AXTOIXE,  I)',  captain  in  the  service  of  th* 
Elector  of  Cologne,  was  a  scholar  of  Miu-i)urg  and 
Kirnlicrger.  He  set  to  music  several  0])eras,  and 
]uil)hslied  some  sjiuiihonied  and  quartets  since 
the  year  1780. 

AXTOX,  COXIIAD  GOTTLOB,  a  leanied 
Orientalist  at  W'ittenburg,  published  some  works 
on  sacred  music,  and  on  the  ancient  metres,  since 
the  year  1770. 

AXTOX ELLI  TORRES.  A  Portuguese  com- 
poser of  operas  since  the  year  M  V.\. 

AXTOX  ELLIO,  or  AXTIXELLIO,  ABUX- 
I)IO.  A  Xe.ipolitan  composer  of  motets,  4cc., 
about  the  year  1614. 

AXTOXEI,  PIETIIO  DEGLI,  a  chapel-mas- 
ter  at  Bologna,  i)ul)lished  several  workis  at  the 
end  of  the  seventeenth  century. 

AXTOXIO.  A  composer  of  violin  sonatas  and 
motets,  about  1729. 

AXTOXIO.    A  tenor  singer  at  Rome  in  1790. 

AXT(3XIO,  DAGL-  ORGAXI.  A  celebrated 
organist  at  Rome  about  the  year  1460.  It  is 
said  that  foreigners  went  to  Rome  from  various 
nations  purposely  to  hear  liim  play. 

AXTOXIOITO,  or  AXTOXIOITI,  GIORGIO, 
an  Italian  musician,  resided  many  years  in  I^ii- 
don.  He  pubhshed,  in  1760,  a  work  entitled 
"  L'  Arte  Armonica,"  or  a  treatise  on  the  compo- 
sition of  music,  originally  written  in  Itahan,  and 
translated,  under  the  eye  of  the  author,  into  Eng- 
lisli.  Tliis,  in  the  opinion  of  some  very  good 
judges,  is  a  work  of  merit,  though  it  is  now  sel- 
dom refeiTcd  to.  Great  expectations  were  excited 
on  it-s  first  pubUcation  ;  so  much  so,  that  all  th.e 
principal  musicians  of  the  time  subscribed  to  it. 

AXT()X"IU.S  a  reiiownie<l  composer  in  Sicily, 
wrote,  about  the  yeiu-  1680,  a  work  called  "  Cilha- 
ra  in-ptcnt  Chordarum,"  (l\Te  of  seven  strings.) 

AXTOXIUS,  J.  G.,  a  singer  at  Bremen,  pub- 
lished at  Des;iau,  in  1742,  a  treatise  on  music. 

AXTOXIUS,  M.UICUS.  A  Roman  comporei 
about  the  year  1647. 

AXZAXI.    See  Ans.vxi. 

A  P-\RTE  EQUAIJE.  (I.)  When,  in  an  Italiaa 
opera,  two  heroes  or  heroines  are  introduced 
on  the  stage  at  once,  the  singers  iire  '.aid  to  per- 
form a  parte  equtilt'.  The  same  expression  is  a])- 
plied  to  any  musical  pcrfonnance  in  which  the 
voices,  or  instruments,  are  all  eviually  conducive 
to  the  effect. 

APEL.  FRIEDRICII  AUGUST  FERDI- 
XAXI),  doctor  of  law  at  Lcipsic,  wa.H  bom  in 
176S.  Ho  published  several  works  on  music,  up 
to  the  year  1800.  He  also  composed  a  "  T» 
Deiim,"  published  at  Offenbach. 

APELU  DAVID  AAROX,  ooui  seUor  of  wa» 
at  Cassel,  was  bom  there  in  17o  (.      Be  compoee^ 


APE 


EXCYCLOP/EDIA    OF    MUSIC. 


API 


many  rmisicul  works  for  the  church,  theatre,  and 
chnmber,  uj)  to  the  year  180C ;  amoji^  others  a 
"  Mass,"  which  he  presented  to  the  pope,  and  a 
lelebratcd  "  Tu  Ih'iim." 

APEUTO.  (I.)  Open,  ^^^len  a  coda  con- 
sists wholly  of  the  tonic  harmony,  the  open  pedal 
of  the  urand  piano-forte  may  be  employed  with 
good  elfcct. 

A  PIAt'EUR.  CI.)  At  pleasure  ;  an  expres- 
sion the  signitication  of  which  is  simUar  to  ad 
libitum. 

A  PLOMB.  A  term  by  which  the  French  ex- 
press an  energetic  precLsion,  and  certainty  of  per- 
ionnaucc.  AMien  a  sini^er  marks  liLs  time  with 
exactitude,  iii'mue:>s,  and  em.phasis,  he  is  said  to 
eiug  a  plomb. 

APOLLO.  One  of  the  heathen  gods,  and 
said  to  be  the  inventor  of  music.  lie  raised 
the  walls  of  the  city  of  Troy  by  the  music  of  his 
harj)  alone :  — 

**  Trrty  you  dliall  8eo,  nnd  walla  divine  admire, 
liuilt  t>y  the  muitic  of  Apollo's  lyre." 

It  is  said  there  was  a  stone,  upon  which  Apollo 
only  laid  do\m  his  harp,  and  the  stone  by  the 
touch  became  so  melotlious,  that  whenever  it  was 
Btruck  with  another  stone,  it  sounded  like  a  harp. 
It  has  been  thought  that  Apollo  was  the  uame  of 
the  sun,  for  it  may  be  observed  that  Apollo's 
skill  in  music  seems  to  agree  with  the  nature  of 
the  sun,  which,  being  placed  in  the  midst  of  the 
jilanets,  makes  with  them  a  kind  of  harmony, 
and,  as  it  were,  a  concert ;  and  because  the  sun  is 
thus  placed,  the  middlemost  of  the  seven  planets, 
the  poets  assert  that  the  instrument  wliich 
Apollo  plays  on  is  a  haqj  with   seven   strings. 

APOLLIXO.  The  name  of  an  harmonic  in- 
strument, or  rather  machine,  completed  by  one 
Mr.  Plimpton,  who  had  labored  hard  upon  it  for 
more  than  tilt eeu  years.  It  combineil  the  tones, 
characteristics,  and  powers  of  a  great  number  of 
instruments,  and  was  cxliibited  first  in  1820,  at 
New  York  and  Boston.  It  contained  twenty- 
eight  diiforcnt  kinds  of  instruments,  which  could 
be  j)layed  all  at  once,  separately,  or  any  number 
of  them  united.  It  combined,  at  the  same  time, 
the  music  of  a  full  church  organ,  a  grand  orches- 
tra, a  martial  band,  and  the  .Eolian  haqj ;  it  con- 
tamed  twcnty-tivc  flageolets,  twenty-five  imita- 
tions of  birds,  twenty-five  clarinets,  four  bugles, 
twenty-five  trumpets,  eight  French  horns,  twelve 
biussoons,  ten  serpents,  twenty-eight  flutes,  twen- 
ty-eight fifes,  thirty-seven  strings  on  ^•iolin  and 
violonccOo,  thirty-seven  strings  on  harp ;  bagpipes, 
bass  drum,  cjnnbals,  hannonica,  twonfy-tive  music 
glasses,  &c. ;  the  whole  inchuled  in  one  machine, 
and  played  hy  one  man  assisted  by  a  small  boy.  Mr. 
Plim])tou  was  a  self-taught  artist,  and  from  liLs 
laachiiic  would  give  forth  music  from  the  soft 
breathings  of  the  -Eolian  liarp  to  the  swelling 
majesty  of  the  organ;  from  the  sweet  warbling 
of  the  canary  bird  to  the  hoarse  trumpet's  inspir- 
ing clangor  ;  from  the  mellow,  licjuid  notes  of  the 
musical  glasses  to  the  astounding  "  thunder 
drum  of  heaven."  In  order  to  pcqictuate  the 
genius  of  Mr.  Plimpton,  the  inventor  of  the 
AjtolJiiw,  it  was  afterwards  called  Plimptonia,  and 
Itill  again   I'limptonithnrd. 

APOLLOXI,  CHEVALIER  GIOVAXXI.was 
bom  at  Arezzo.  lie  composed  the  grand  operas 
»f  "  Argia,"  •*  Astiage,"  and  of  "  tichiavo  liegio," 


also  "  Don,"  which  we  believe  to  be  either  a  pas- 
toral or  comic  opera. 

APOLLOXI,  SALV ADORE,  bom  at  Venice 

towards  the  close  of  the  eighteenth  century,  was, 
at  an  early  period  of  Ufe,  nothing  more  than  a 
barber  and  bad  fiddler.  He  afterwards  became 
celebrated  for  the  composition  of  barcaroUea 
a  sort  of  local  music  sung  by  the  boatmen  of 
Venice.  Emboldened  by  the  success  of  these 
songs,  which  were  not  wanting  in.  a  peculiar  de- 
scription of  grace,  Apolloui  attempted  a  higher 
flight  in  composition,  and  wrote  tluce  operas, 
entitled  "  Fama  deW  O/fjre,"  "  Le  Metamorfosi,' 
and  "  II  Pastor  Ado,"  which  procured  him  much 
api)lause  from  his  townsmen,  who  were  probably 
more  indulgent  to  his  talent  than  satisfied  with  it. 

APOPEMPTIC.  A  farewell  h>-mn,  anciently 
sung  to  a  stranger  about  to  return  to  his  own 
country.  Apopcmptic  strains  were  also  addressed 
to  the  gods  on  certain  consecrated  days,  from  an 
idea  that  each  deity,  at  that  period,  jjaid  a  visit 
to  his  own  country. 

APOTOME.  (Gr.)  Tliat  portion  of  a  tone 
major  which  remain*  after  deducting  from  it  au, 
interval  less,  by  a  comma,  than  a  semitone  major. 
The  ancients  called  other  intervals  also  by  this 
name.  The  little  interval  which  Rameau  terms 
"  the  enharmonic  quainter  of  a  tone,"  they  knew 
by  the  appellation  of  apotome  major.  And  a  cer- 
tain interval  still  less  than  this  they  denominated 
ajKlomc  minor.  The  curious  relations  which  the 
magnitude  of  musical  intervals  bear  to  each  other 
have  of  late  years  engaged  the  attention  of  sev- 
eral ingenious  and  learned  men.  They  aflix  cer- 
tain letters  and  chiuacters  to  the  most  important 
and  useful  intervids,  in  their  calculations,  in  order 
to  exhibit  their  relations  in  the  form  of  algebraic 
equations.  Dr.  Royce  has  described  this  inter- 
val {ajntome)  as  equivalent  to  that  hy  which  a 
shaq)  elevates  any  given  note ;  and  Dr.  Callcott 
describes  it  as  the  chromn'ic  semitone,  by  which, 
according  to  his  calculation,  a  sharp  elevates,  and 
a  flat  depresses,  any  given  note  in  the  scale ;  biit 
other  authors  have  assigned  different  values  to 
these  very  common  marks  in  use. 

APPASSIOXATO,  APPASSIOXAMEXTO. 
(I.)  With  intensity  of  fceUng  ;  in  an  impassioned 
style. 

APPELLES.  This  man,  a  tragic  actor  of  Asca- 
Ion,  was  one  of  the  civil  counsellors  of  Caligula, 
and  one  of  the  sweetest  singers  of  the  day.  Sue- 
tonius relates  that  "  as  he  was  standing  with 
Caligula  near  a  statue  of  Jupiter,  the  emperor 
suddenly  asked  Api)elles  which  of  the  two  was 
the  greater.  Apj)elles  hesitated,  and  Caligula 
ordered  him  to  be  scourged  with  the  utmost 
violence,  praising  the  sweetness  of  his  voice  all 
the  time  that  he  was  slirieking  in  agony." 

APPLICATUR.  A  position  or  shift  on  the 
violin,  ^^oloncello,  &c. 

APPOGGIATURA.  or  LEAXIXG  NOTE. 
From  the  Italian  ApjMggiare.  A  small  additional 
note  of  embelUshmcnt  employed  in  slow  move- 
ments to  connect  the  greater  inter\-als ;  but  in 
rapid  movements,  to  give  an  opi)ortunity  for  dis- 
playing flexibility  in  voice  or  finger,  and  for  using 
intonation  and  impassioned  expression.  Appoggia- 
tiira,  or  leaning,  or  preparaiice  notes  are  notes  to 
lean  on,  in  passing  intervals,  and  must  be  dwell 


06 


4.PP 


ENCYCLOPAEDIA    OF    MUSIC. 


ARA 


i 


upon  according  to  the  value  or  the  length  of  the 
note.  It  is  n  smaO  leading  note,  or  note  of  embel- 
lishment, placed  bcl'ore  the  princii)al  note,  on  the 
accented  \nirt  of  the  mciisure,  and  borrows  half  its 
time,  unleis  it  should  occiirbeiorea  pointed  note, 
in  which  case  the  uppoggiatnr,.  takes  the  time  of 
the  note,  and  the  point  takes  the  time  of  the 
appoggiatura.  'lliis,  however,  is  not  an  arbitrary 
rule,  peribrmors  being  at  liberty  to  vary  their 
length  according  to  their  judgment. 


Kemomhcr,  that  since  the  appoggiatura  is  a 
small  note,  reversed  and  added  to  other  notes  for 
the  sake  of  expression,  whatever  length  Ls  given 
to  the  timiU  note  must  be  taken  out  of  the  time 
of  the  principal  note,  which  is  the  note  immedi- 
ately after  it.  There  are  two  sorts  of  nppoggiatu- 
ras,  tl'.c  greater  and  the  lesser.  The  greater  ap- 
poggiatura is  most  frciiuently  iLsed  in  slow  move- 
ments ;  and  at  the  end  of  a  strain,  when  properly 
performed,  sets  oH'the  perfonnance  to  the  utmost 
advantage.  (Sec  examples  above.)  The  lesser  ap- 
poggiatura is  chiefly  made  use  of  in  quick  move- 
ments ;  and  when  it  occurs,  is  always  slurred 
immediately  into  the  note  to  which  it  belongs.  It 
is  also  jjlaccd  at  the  beginning  of  a  lesson  or  piece 
of  music,  to  take  oti"  that  harsh  and  disagreeable 
effect  which  it  otherwise  would  have,  were  it  not 
for  the  appoggiatura. 


.^* 


wm^ 


I 


The  appoggiatura  has  been  termed  a  kanin^  note, 
fi-om  its  fre.juently  bearing  the  expression  of  a 
concluding  cadence,  or  from  its  deciding  the 
climax  of  a  musical  period.  It  is  called  pn'para- 
tive  from  its  causing  asuspensionof  the  resolution 
of  a  chord.  "  An  appoggiatura  is  a  note  of  decora- 
tion. In  slow  movements,  its  chief  office  Ls  to 
Fofteu  and  smooth  the  effect  of  certain  distances, 
and,  by  dwelling  upon  a  note  of  any  chord,  to 
retard  the  completion  of  the  subsequent  harmo- 
ny. In  bold,  energetic,  and  voluble  movements, 
a  chain  of  appoggiatme  not  only  serves  to  link  the 
greater  intervals,  but  affords  the  singer,  or  player, 
full  scope  for  the  display  of  flexibility  in  voice  or' 
linger,  and  for  the  employment  of  intonation  and 
unpnssiined  expression.  'ITie  appoggiatura  not 
being  always  in  consonance  with  the  bass  and 
athcr  pai-fs  to  avoid  a  riiihle  breach  of  the  laws 
Dfhannony  it  is  generally  written  in  a  small  note. 

The  apijoggiatuni  may  be  placed  either  above  or 
!)elow  the  principal  note,  of  which  it  may  borrow 
•naif  the  value,  and  is  then  accented  more  strong- 
y  than  'the  note  which  follows  it. 


The  appoggiatura,  in  an  harmonic  point  of  view, 
fonus  the  highest  class  of  discords  ;  as  in  the  fol- 
lowing combination,  every  note  of  the  scale  it 
struck,  of  which  the  upper  four  resolve  them- 
selves as  appoggiatura  notes  into  the  coiumou 
chord. 


f^m^m 


^^'hen  so  einployetl,  the  hanuojiy  may  be  said  to 
be  susi)ended ;  but  when  substantially  or  em- 
I)hatically  used,  this  combination  is  termed  the 
chord  of  the  thirteenth. 

APRII.I,  GIUSErrE.  born  about  the  year 
17(14,  was  a  so;)rano  singer.  He  sang  at  many  of 
the  theatres  of  Italy  and  (iennany,  and  finally  set- 
tled at  Naples.  I)r.  Ihiniey  heard  him  there  in 
1770,  and  says  that  he  had  a  weak  and  unequal 
voice,  but  was  jjerfectly  in  tune  and  had  an  ex- 
cellent shake.  lie  was  a  good  singing  master, 
and  a  collection  of  his  solfcgtil  are  jiublishcd  in 
London,  wliich  are  still  much  used.  He  wa^ 
one  of  the  masters  of  Cimarosa.  Signor  Aprili, 
in  his  solfcgrii,  has  attended  to  the  practical  part 
of  singing  more  than  the  theoretical.  He  tirst 
gives  lessons  for  the  intervals,  both  quick  and 
slow,  and  the  di\nsionsmost  tJeriuently  met  with. 
His  tii-st  solfe'/f/i  are  in  a  cantabilc  style,  and  well 
adapted  to  form  the  voice.  They  are  intenuixcd 
with  lessons  that  are  ([uicker,  but  they  still  pre- 
ser^-e  the  same  character.  They  rise  by  degrees 
to  higher  execution,  and  are  throughout  elegant 
and  graceful.  They  are  of  great  comjiass,  and 
contain  much  execution,  and  are  of  a  kind  most 
likely  to  be  beneliciid  to  a  singer. 

APYCNI.  A  collective  name  given  by  the 
Greeks  to  those  three  sounds  in  their  scale,  or 
system,  which,  separately,  were  called  proshunhu- 
fio/neiioi,  ncte  syintieitu-nott,  and  lutc  lnjiH-rhiUvon. 
Tlinse  notes  received  the  common  appellation  of 
api/ciii,  the  sense  of  which  is,  uiu-rotmlcd,  because 
they  did  not,  on  either  side,  touch,  or  press  upon 
the  compact  intervals. 

A  QUATIIE  M-VIXS.     (F.)>^      .       ,       , 
A  QUATllO    MANI.    \l.)  \  ^°^  ^"'"^  ^^•'"'^• 

AfiUAVIVA,  ANDRKVS  MATITLErS.  a 
Neapolitan  diike,  died  in  1528.  lie  wrote  somt 
works  on  music. 

AQUINO.     See  Aigiixo. 

AQUINO,  JOSEPH.  Aji  exceUent  (omii 
musical  perlbrmer  at  Milan  in  1683. 

AQUINUS,  a  Dominican  of  Suabia,  MTote 
about  the  year  ll9i,  a  treatise  on  the  propor- 
tions of  niunbers  and  sounds. 

-VllAIilAN  MUSIC.  Lieutenant  I,ynch,  in  his 
"  P^xpeilition  to  the  Dead  Sea,"  gives  a  graphic 
description  of  some  Arabian  music,  which  the 
company  enjoyed,  and  he  endured,  at  one  of  their 
evening  encampments,  on  the  River  Jordan,  .Vjiril 
1-5,  1848.  At  Acre  and  at  Tiberias,  he  had  cn- 
piige<l  some  .Vmb  chiefs  to  accompany  the  ex]  e- 
dition.  ITic  name  of  one  of  these  was  ^Vkil  .A  ja 
el  Ha-ssoo,  a  border  sheikh.  Akil  had  a  mu^i<^Hl 
attendant,  whom  Lieutenant  Lynch  dennminatet 
Akil's  bard,  who  sanz  .Vrahic  love  songs  foi 
their   entertouimcut,  :iid  accompanied  hlmseli 


57 


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ENCYCLuP.EDIA    OF   MUSIC. 


ARC 


upon  the  "  nehabeh,  or  viol  ■with  one  string." 
Lieutenant  L)nich  approached  the  sheikh's  tent 
to  heiir  more  distinctly,  and  was  politely  invited 
to  be  seated  upon  a  mat.  The  music,  wliich  was 
interrupted  by  his  entrance,  was  continued,  by 
request  of  his  principal.  Xot  a  coujjh  or  an  ex- 
cuse was  uttered.  With  a  semicircular  bow  he 
prelude.!,  and  then  added  hLs  voice.  The  melody 
was  rude  and  barbarous,  in  the  minor  mode.  The 
Boni;  was  one  of  love,  and  thouf^h  the  tout  ensem- 
ble gave  evident  pleasure  to  the  sons  of  the  desert, 
yet  it  presented  no  congruous  expression  of  the 
subjei't  to  the  cars  and  hearts  of  our  ^Vmerican 
travellers. 

After  refreshments.  Emir  Nassir,  another  hon- 
orable Arab,  surprised  the  listeners  by  snatching 
up  the  iiiL^trument  and  even  excelling  the  pro- 
fessional bard  in  liLs  performance,  both  vocal  and 
instrumental.  The  mur-.ic,  however,  was  of  a 
similar  cliaracter  with  that  of  the  &st  player,  of 
a  wailing,  dolorous  tone,  wliich  seemed  more 
suitable  for  a  funeral  than  for  a  lively  scene  of 
living  love  and  beauty. 

The  account  is  interesting  to  musicians,  strong- 
ly contrasting  the  musical  instruments  and  vocal 
cultivation  of  civilized  and  Christian  nations  ■w'ith 
those  savage  tribes  which  roam  over  Palestine 
and  the  adjacent  countries. 

AKAJA,  FRANCISCO,  bom  at  Naples  in  1700, 
was  chapel-master  at  St.  Petersburg,  in  the  service 
of  the  Empress  Catharine.  He  composed  several 
operas,  and  among  others  "  ('ej)halo  e  Procris,"  in 
175.5  ;  this  was  the  first  opera  in  the  Russian  lan- 
guage :  alter  the  representation  of  it,  the  empress 
made  him  a  present  of  a  magnificent  sable  skin. 
Araja  amassed  a  handsome  fortune,  and  retired  to 
Bologna  m  1759.  HLs  style  was  rajiid,  brilliant, 
and  uigenious ;  his  subjects  were  often  beautifid, 
always  varied,  and  never  insignificant ;  hLs  mel- 
ody was  pure  and  sweet,  and  in  subordination  to 
the  voice.  He  not  only  did  honor  to  hLs  art  by 
his  talents  and  learning,  but  rendered  it  an  object 
of  general  attention  aud  interest.  The  names  of 
some  of  iVraja's  operas  are  as  follows  :  "  Berenice," 
at  Florence  ;  "  Amore  per  rcgnante,"  at  Rome ; 
"  Abiatarc,"  "  Semiramis,"  "  Scipionc,"  "  Arsace," 
and  "  Sileuco,"  at  St.  Petersburg. 

ARANDA,  DE  SESSA  D',  a  monk,  com- 
posed some  madrigals  and  other  mxLsic,  which 
he  pubUshed  at  Venice  about  the  year  1571. 

ARAUO,  or  ARAUJO,  FR.VNCISCO  DE 
CORKE.V  D",  a  SpanLsh  musician,  died  in  166.3. 
lie  ^\rote  a  work  on  the  organ  and  other  music. 

ARIiEAU,  TOYNOT,  of  Langres,  pubUshed  in 
that  town,  Ln  1588,  a  work  treating  of  music  and 
dancing. 

AKHITRII.  (L.'>  Certain  extemporaneous 
preludes.     See  llEcnEttCUF.. 

ARDUTHNOT,  DR.,  was  a  warm  partisan  of 
Handel.  He  WTOto  several  anthems,  among 
which  the  words  of  one,  '•  As  pants  the  Hart," 
are  in  a  collection  printed  in  17ri,  without  a 
name,   but   made  by    Dr.  Croft,   wlio    wrote  a 

Erel'ace  to  the  book.  He  wrote  also  several 
urlesiiue  poems,  and  what  he  calls  "  Mani- 
festoes," on  the  subject  of  theatrical  affairs, 
always  espousing  the  cause  of  Handel. 

ARCADELT,  JACQUES,  was  chapel-master 
in  Lorraine.    In  1572   he  pubUshed  at  Venice 


five  books  of  madrigals.  Ills  melodies  are,  foi 
the  age  in  which  he  wrote,  natural,  soft,  and 
agreeable.  He  seems  to  have  spent  the  chief 
part  of  hLs  lii'e  in  Italy. 

ARCADI.VNS.  A  people  of  Arcadia,  wh« 
were  not  distinguished  in  any  of  the  Uberal  arts, 
except  poetry  and  music.  Durujg  their  repasts, 
they  aU  occasionaUy  joined  in  singing.  Musia 
was  a  stated  branch  of  their  education,  and 
under  the  special  patronage  of  the  magistrates. 
The  Arcadian  music  and  jioetry  were,  probably, 
like  those  of  aU  nations  in  their  early  stages, 
artless  and  uncouth  ;  but  they  jjossessed  a  natu- 
ral expression  and  fervid  sensibiUty,  that  have 
procured  this  scquestorod  nation  the  first  rank 
in  rural  song.  But  music,  though  it  unques- 
tionably softened  their  domestic  manners,  did 
not  by  any  means  render  the  ArcatUans  effemi- 
nate, nor  the  less  formidable  to  their  enemies. 
On  the  contrary,  the  very  flute  which  soothed 
them  in  their  retirement  aiumated  them  with 
rage  in  the  day  of  battle,  and  regulated  the 
evolutions  of  their  battalions.  To  Pan,  the 
god  of  the  shepherds  aud  the  patroii  of  rustic 
festivals,  they  paid  their  daily  homage,  by  exer-' 
cLsiug  their  skill  in  the  song  and  the  dance,  %vith 
the  music  of  the  pipe. 

ARCANZA,  MLLE.,  a  favorite  Portuguese 
singer  in  Lisbon  lu  1822. 

ARCATO,  or  COLL'  ARCO.  (L)  Sig- 
nifies that  the  movement,  or  the  passage,  against 
which  it  Is  placed.  Is  to  be  played  with  the 
bow.  This  word  is  used  in  coutradistinction  to 
pizzicato. 

ARCH.  A  curve  fonnerly  placed  over  a  bass 
note,  to  signify-  that  it  waj  accompanied  with  the 
imperfect  fifth. 

ARCIIANGELUS.  A  church  composer  of  the 
sixteenth  century.  He  pubUshed  many  of  his 
works  at  Venice  in  1585. 

ARCHENIUS,  or  ARRCIIENIUS,  L..  pruitad 
at  Upsal,  in  1729,  a  dissertation  on  the  first 
uiventors  of  music, 

ARCHESTRATUS,  an  ancient  Greek  com- 
poser at  Syracuse,  was  the  pupil  of  Terpsion,  and 
wrote  two  books  "  De  Tibici'ilbus." 

ARCHET.    (F.)    A  bow.    See  Arco. 

ARCH-LUTE,  or  ARCIELUTO.  (L)  A 
theorbo,  or  large  lute,  the  bass  strings  of  which 
are  doubled  with  an  octave,  and  the  higher 
strings  with  a  unison.  This  instrument  was 
formerly  in  such  repute,  in  most  parts  of  Europe, 
that  soios  were  frequently  performed  upon  it  ui 
pubUc.  It  is  still  used  in  Italy,  where  it  is 
caUed  the  arcithU/). 

ARCIULEI,  LA  VITTORIA,  celebrated  by 
the  poet  Guarini,  was  the  original  performer  of 
the  part  of  Euridice,  in  Jacob  Peri's  opera.  She 
UkewLse  sang  in  "  La  Dcsperazione  di  Fiteno,"  in 
which  recitando  she  is  said  by  the  composer, 
CavaUere,  to  have  drawn  tears  from  every  hearer. 

ARCHILOCHUS,  one  of  the  first  poets  and 
musicians  of  ancient  Greei-e,  lived  about  721 
years  before  Jesus  Christ.  He  invented  several 
sorts  of  verse,  with  their  musical  accompani- 
ment ;  also  ancient  dramatic  mclo  ly,  which  WM 
similar  to  modern  recitative.    In  his  youth  h* 


fiS 


ARC 


EXCYCLOP.-EDIA    OF    MUSIC. 


AllB 


sei-vod  hi  tlio  army,  and  in  his  ftrst  buttle  ho  lost  i  is  the  know-n  inventor  of  the  bbc  notes  claimed 
his  buckler,  and  saved  liis  lii'o  by  tiikiiig  to  hia  i  by  Guy  ^Vretin. 


heel 

AUCIIIMEDES,  an  ancient  Greek  philoso- 
pher, proposed  a  theorem  to  demonstrate  the 
Bnalo;^y  between  the  proportions  of  certain  nolid 


-UlETIXA,  GUIDO,  a  native  of  Arezza,  in 
Tuscany,  celebrated  for  his  improvements  in 
music,  HourLshed  in  the  eleventh  century.  He 
became  a  monk  of  the  order  of  St.  IJeiieiict,  in 

bodies   and   those  of  the   musical  consonances,  j  Pomposa,  near   I^venna,   and    was    a:ter\vard3 

lie  thought  the  discovery  of  such  importance  to  '       ''    '      "  "'  '     "  ''      ■»•<'• 

mankind,  that  he  caused  a  diagram  thereof  to  be 

engraved  on  Ills  tomb. 

ARCIUXTA,  M.,  of  a  noble  family  at  Milan, 
about  the  year  1520  composed  the  words  and 
sjx'osic  of  many  songs  and  madrigals. 

AllCIIYTAS.  Au  ancient  Greek  composer  at 
Mityleuc. 

AIICHYTAS,  a  Pythagorean  philosopher  of 
Tarentum,  lived  about  400  years  before  Jesus 
Christ.  He  is  said  to  have  invented  some 
musical  instrumeuts.  He  wrote  on  the  harmony 
of  iiutes. 

ARCHYTAS'S  GEXERA.  One  among  the 
many  modes  which  the  Greeks  pretended  to  liave 
of  dividing  the  tetrachord,  or  minor  fourth,  in 
forming  their  scales  of  musical  intervaL>. 

ARCO,  (I.)  or  ARC.  ITie  bow;  the  utensU 
with  wluch  the  ^^olin,  viola,  viol  da  gamba,  vio- 
loncello, and  double  bass  are  perfonued.  This 
word  is  frequently  used  in  violin  masic,  in  opposi- 
tion to  the  tenn  pizzicato,  to  denote  that  the  bow 
is  again  to  be  used,  instead  of  applying  the  lingers 
to  the  strings. 


ARCOLEO,  A.,  of  Candia.  Author  of  some 
music  in  1090. 

AJIDALUS,  according  to  Pausanias,  was  the 
Inventor  of  the  flute,  and  of  flute  accompaniment 
to  the  voice. 

ARUEMANIO,  GIULIO  CESARE,  of  Milan, 
was  organist  and  chapel-master  of  that  town ;  he 
died  in  1C.50.  He  published  motets  and  other 
music. 

iUlDESPlN,  MELCHIOR  D\  A  composer  at 
the  beginning  of  the  last  century. 

ARDES'A  pubhshed,  about  1784,  six  sj-mpho- 
nies  for  a  full  orchestra. 

ARDrrO.     (I.)     Bold  and  energetic. 

ARDORE,  M.VRQUIS  DE  ST.  GEORGES, 
ET  PRINCE  D',  Xeapolitiui  ambassador  at 
Paris  from  1767  to  17S(),  was  a  very  ingenious 
amalciir.     He  published  several  cantatas. 

AREXA.  GIUSEPPE.  A  Xeapohtan  dramatic 
lomposer,  about  the  yew  1741.  He  set  to  music 
the  "  Tiipane  "  of  Goldoni. 

ARESTI,  FLORIAXO,  of  Venice,  was  a  com- 
poser of  moderate  abilities,  about  the  year  1712. 
Ho  \\Tote  the  operas  of  "  Ciiippo,"  and  "  Enigma 
discioUa,"  and  several  others,  both  tragic  and 
comic. 

ARETTX,  GUT.  A  Hcnedictinc  monk,  who 
lived  in  the  eleventh  century.  He  rendered 
himself  famous  by  discovering  a  new  method  of 
learning  music,  ond  was  said  to  have  been  the 
inventor  of  the  six  notes  of  music,  "  Ut,  Re,  Mi, 
Fa,  Sol,  La."  'lliere  can  be  hut  httle  doubt 
that  Guy  vVrctin  and  Guido  Aretina  are  one 
and  the  same.     Guido  .:Vretina.  mentioned  below. 


made  abbot  of  the  convent  of  the  Holy  Cross, 
at  Avellano,  in  the  neighborhood  of  liLs  native 
city.  HLs  new  mode  of  musical  notation  was 
suggested  to  liira  during  the  performance  of  the 
hymn  to  St.  John,  composed  in  770  by  Paul,  a 
deacon  of  the  church  of  Aiiuilia.  The  reiteration 
of  the  words  of  this  hymn,  and  the  frequeu; 
returns  of  ut,  re,  mi,  fa,  sril,  la,  made  such  an 
impression  upon  his  mind  that  it  suggened  ta 
him  the  thought  of  using  these  sbc  syllables  in 
perfecting  an  improvement,  viz.,  that  of  convert- 
ing the  ancient  tetrachords  into  hexachords. 
'ITus  new  system,  though  oi)posed  at  its  first  j)rom- 
ulgation,  was  soon  universally  introduced,  and 
thus  spread  the  fame  of  its  inventor  over  all 
Europe.  -Vretina  was  invited  to  Rorne  by  Bene- 
dict Vni.,  in  1022,  and  afterwards  by  Pope  John 
XIX.  He  was  received  by  tliis  holy  father  with 
great  kindness ;  and  upon  showing  him  an 
antiphony,  with  the  syllables  marked  according 
to  the  iiew  notation,  the  pope  was  so  mujh 
delighted  with  it,  that  he  refused  to  stir  from  hii 
seat  till  he  had  learned,  by  means  of  it,  to  sing 
a  verse.  On  his  return  from  Rome,  Guido 
visited  the  Abbot  of  Pomposa,  in  the  Duchy  of 
Ferrara,  who  persuaded  liim  to  settle  in  the 
monastery  of  that  place.  ITiere  he  composed  a 
tract  on  mnsic,  entitled  "  Microlog,"  which  was 
finished  in  the  .34th  year  of  his  age.  He  pub- 
lished also  another  treatise,  entitled  "  Antiphona- 
rium  ;  "  but  it  Is  in  a  work  entitled,  "  Argiimen- 
turn  imct  Cantiu  inrenicndi  "  that  he  has  explained 
his  new  system  of  notation.  It  was  Guido 
Aretina  who  improved  the  ancient  method  of 
wTiting  miLsic.  Formerly,  all  the  notes  were 
placed  upon  one  line,  and  distingxushed  by  tl'.e 
letters  of  the  alphabet ;  but  Guido  introduced  the 
use  of  lines  and  spaces,  upon  wliich  points  were 
placed  instead  of  the  letters  of  the  alphabet.  The,-e 
points  were  first  disposed  upon  four  hues,  and 
aftcnvards  upon  five,  and  from  them  the  term 
coHit(t'ri>oint  is  derived.  ITie  hymn  which  sug- 
gested to  Guido  Ills  new  method  of  notation  was 
aa  follows :  — 

••  I'T  qucant  Uxif,    RR.fnnnrv  fthrif, 
Ml-rm  vcftoriiin,     FA-niiili  tunruin, 
SoL-ve  pulluli*.      Lt-tiii*  rcatum, 
Sanctc  JrMuine*.' 

Giudo's  method  of  solmization  was  pre^erve«l 
in  Italy  until  about  the  end  of  the  last  century, 
and  it  is  still  used  by  some;  but  lUter  the  rest  of 
the  world  had  adopted  a  seventh  monosyllable, 
called  si,  the  Italians  did  the  same ;  and  hence  the 
modem  scales  of  the  two  modes,  major  and 
minor.  This  author  had  either  some  well- 
founded  tradition,  or  some  fragment  of  the 
Greek  music,  or  else,  by  means  of  his  studies 
and  of  his  labor  and  genius,  he  formed  three 
hexachords  into  a  system,  wliich  includes  in  sub- 
stance the  true  principle  of  the  Greek  music,  and 
that  of  all  ages,  for  there  can  be  but  one. 

ARETINIAX  SYLLABLFJ^.  Those  syllable! 
mentioned  above,  invented  by  Guido  .Vrctiua, 

ARETIXO,  GIOVAXXI  APOLLOXI,  pub 
lished  some  madrigals  at  Venice,  in  1007. 


69 


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EXCYCLOP.EDIA    OF    MUSIC. 


ARI 


ARETIXUS,  PAOI-O,  of  the  lloman  school 
of  luusiciauH,  publislied  some  sacred  music  at 
Venice,  iu  15G7. 

AUEVALO,  FAUSTIXO,  published  some 
sacred  music  at  Rome,  in  1784. 

AUEZETO,  A.,  leader  of  the  band  of  the 
Spanish  re;^iment  Guadalaxara,  composed  some 
mu:iic  for  wind  instruments. 

ARGENTI,  AUGUSTIN,  a  nobleman  of 
Ferrara,  died  in  1.5TG.  He  ■wTote  a  drama,  in 
15G7,  called  "  Lo  Sfortttnato,"  wliich  was  set  to 
music  by  Mphonso  de  la  Viola. 

AlUiEXTILLY,  CARLO  D',  a  chapel-master 
at  St.  Peter's  at  Rome,  composed  some  music, 
which  was  much  esteemed,  about  the  year  1.543. 

ARGEXTIXI,  STEFFAXO,  called  also  Filip- 
pini,  chapel-master  at  St.  Stephen's  at  Venice, 
published  some  sacred  music  there  iu  1033. 

•  ARGEXTIXI,  CESARE.  Chapel-mn'4cr  at 
Rimini,  noticed  by  Walther,  but  probably  the 
same  person  as  the  preceding. 

ARGR'ES.  This  ancient  people  is  said  to 
have  excelled  in  the  practice  of  music  ;  whether 
vocal  or  instrumental,  or  both,  liistory  is  silent ; 
probably  both,  as  many  instruments  were  used 
by  them. 

ARGYROPILUS,  a  Greek  professor  at  Flor- 
ence in  1430,  died  at  Rome  in  1474.  He  \\T0te  a 
volume  of  songs  entitled  "  Moitodia." 

ARIA.     (I.)     An  air.     See  that  word. 

ARIA  BUFFA.  (I.)  A  comic  air.  Tlie 
appellation  given  by  the  Italians  to  the  humor- 
ous songs  in  their  comic  operas. 

ARI.V  D'ABILITA.  (I.)  By  the  expression 
nrin  d'abilita  Ls  to  be  understood  a  melody  of 
difficult  execution ;  a  song  that  ranks  far  above 
the  plain  and  familiar  style,  and  the  just  jierform- 
ance  of  which  calls  forth  all  the  powers  of  the 
singer. 

ARIA  COXCERTATA.  (I.)  Tlie  aria  con- 
certata  is  a  grand  species  of  vocal  composition  for 
a  single  voice,  the  accompaniments  of  which  are 
constructed  in  the  concert  style,  enriclicd  and 
embellished  with  solo  passages  for  the  various 
instruments  concerned. 

ARIA  DI  BRAVURA.  (I.)  A  melody  at 
once  Uorid,  rapid,  and  energetic.  Its  tlivLsious 
arc  volatile,  and  the  passages  every  where 
striking,  bold,  and  heroic.  'I'he  execution  of 
tills  s])ccies  of  air  is  generally  confined  to  sopra- 
no voices,  and  it  is  only  to  powers  of  the  tirst 
order  that  we  can  look  for  its  just  pcrfonnance. 

ARIA  DI  CAXTABILE.  (I.)  ^^^len  tliis 
expression  is  WTitten  at  the  bc;^inning  of  a 
melody,  or  movement,  it  implies  that  its  style  is 
riowin:;  and  chdnt.intc,  and  that  its  performance 
should  be  smooth  and  tinislied,  elegant,  grace- 
ful, and  replete  with  feeling. 

ARIA  FUGATA.  (I.)  Fuguod  r.j-.  An 
•Iftborate  si)oi'les  of  melody,  much  used  fonnerly, 
\nd  fro<iuently  found  in  the  operas  of  Handel, 
Uouoncini,  and  their  contemporaries.  Tiie  aria 
fit mta  \\a*  so  called  because  the  accomjinnyinij 
parts  were  ■wTitten  <ji  fugue.  This  labored  kind 
Oi  song  writing  is  now  judiciouslj-   declined,  as 


undramatic,  because  deficient  m  the  first  of  all 
IjTic  qualities  —  passionate  exjjression. 

ARIAXUS,  JOILYXN'  L.,  MTote  au  accouul 
of  lyric  poets,  at  Erfurt,  in  1581. 

ARIA  PARLAXTE.  By  aria  parUmte  the 
Italians  mean  that  species  of  cantikiui,  the  stylo 
of  which  lies  between  air  and  measured  recita- 
tive ;  a  kind  of  speaking  melody,  or  recitative 
a  tcnijm,  like  that  of  "  Comfort  ye  my  people,"  in 
Handel's  "  Messiah,"  and  tlie  greater  part  of 
Purcell's  celebrated  song  of  "  Mad  Bess." 

ARIA  TEDESCA.  (I.)  An  air  composed  in 
the  German  style. 

ARIBERTI,  MARQUIS  GIACOMO,  of  Cre- 
mona, comjjosed  the  opera  of  "  Argeiude,"  at 
Rome,  iu  16.51.  He  was  one  of  the  most 
celebrated  amateurs  of  Ms  age. 

^IRIBO.  A  monk,  towards  the  end  of  the 
eleventh  century.  He  wrote  a  treatise  on 
music. 

ARICHOXDAS.      A    musician     of    ancient 
Greece.      He    is    said    to     have    invented    the  , 
trumpet. 

ARIE  AGGIUXTE.  (I.)  Supplementary 
airs.  Airs  added  to  an  oratorio,  opera,  or  other 
vocal  production,  after  its  first  public  perform- 
ance, and  which  were  not  originally  designed  to 
be  included  in  the  i)iece. 

ARIETTA.  (I.)  A  short  air  or  melody. 
The  diminutive  of  aria. 

ARIEITA  AI,LA  VEXEZIAXA.  (I.)  An 
expression  applied  to  certain  little  melodies  com- 
posed in  the  style  of  the  Venetian  airs,  called 
barcarolles.     See  that  word. 

ARIETTIXA.    (I.)    A  short  air,  or  song. 

ARIGOXI,  FRAXCESCO.  An  illustrious 
musician  of  Ferrara,  in  the  seventeenth  eenturj-. 

ARIGOXI,  GIOV.  GIACOMO,  also  called 
Il-YfTettuoso,  published  some  madrigals  at  Venice, 
about  the  year  1623. 

ARIOX".  A  hTic  poet  and  musician  of  Me- 
thj-mna,  in  the  Island  of  Lesbos,  who  flourished 
about  six  hundred  years  before  the  Christian 
era.  He  was  immensely  rich,  and  when  travel- 
ling from  Lesbos  into  Italy,  hLs  companions 
assaulted  him,  to  rob  him  of  his  wealth ;  but  he 
entreated  the  seamen  to  suffer  him  to  play  on  his 
harp  before  tliey  cast  him  into  the  sea  :  he  played 
sweetly,  and  then  tlirew  himself  into  the  sea, 
where  a  dolphin,  drawn  thither  by  tlie  sweetness 
of  his  music,  received  him  on  his  back,  and 
carried  him  to  Cape  Tsenarus. 

**  He  on  his  crouchinff  back  «iU  all  at  eas<>. 
With  harp  in  hand,  i>y  which  he  ciUni«  the  iea5, 
And  fur  hi*  passage  with  a  song  he  pays." 

He  had  previously  resided  at  the  court  of 
Periander,  King  of  Corinth,  and  had  amassed 
his  fortune  by  the  profession  of  music.  From 
Cape  Tii'narus,  he  returned  to  the  court  of 
Periander,  who  ordered  all  the  sailors  who  had 
conspired  to  tlirow  him  overboard  to  be  crucified 
on  their  return.  He  invented  the  dithyrambic 
)ucasurc,  and  comjiosed  many  hymns. 

ARIOSE  C.VN'T ATE.  (L)  A  kind  of  speak- 
ing airs.  The  ario.ie  cantate.,  by  introducing  fre- 
quent changes   of  measure  and    manner,   firs ; 


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ENCYCLOi'^DIA    OF    MUSIC. 


Altl 


«erved  to  draw  the  line  between  air  and  recita- 
tive. 

ARIOSO.  (I.)  Air-like;  melodious.  Bythb 
■word  the  ijoriorracr  is  to  understand  that  the 
style  of  the  music  requires  a  pert'ormancc  smooth, 
gracoail,  and  siiti/iu;/  in  its  style. 

AKIOSTI,  ATTILIO.  This  master,  was  born 
about  l()f)0,  at  Bologna,  and  intended  t'orthepriest- 
hood.  But  he  had,  in  early  youth,  such  a  passion 
for  music,  that,  dcrcatin^  all  tlic  intenlions  of 
his  family,  he  devoted  his  whole  time  to  the 
study  of  it,  and,  in  spite  of  all  rcmonstriinccs, 
dcfennined  to  make  it  liis  profe  ision.  lie  was 
known  Li  Germany  much  earlier  than  in 
Ejigland,  having  composed  "  La  Fcnta  it  Ime/iei," 
and  "  AtU,"  at  Brandenburg,  in  1700,  wliere  ho 
was  appointed  chapel-master  to  tlie  eleetriue. 
But  beore  he  quitted  Italy  we  find  his  name  en- 
rolled among  the  opera  composers  at  Bologna 
and  Venice ;  in  the  hrst  city  he  set  an  act  of 
Apostolo  Zeno's  "Daphne,"  in  KiOtJ  ;  and  in  the 
second  the  opera  of  Eritile,  "  L<t  Gloria  ilcl/a  I'oenia 
e  delUi  Mmica."  Here  lie  is  called  Padre  Attilio 
Ariosti,  SerN^ta  Bolognese ;  and  it  is  believed 
that  he  had  been  reguhurly  initiated  as  a  Domin- 
ican friar,  hut  that,  by  a  dispensation  from  the 
pope,  he  had  been  excepted  from  the  rule  of  his 
order,  and  pcnuitted  to  exercise  a  secular  profes- 
sion. In  1700,  he  composed  "  Xabucodonosor," 
an  oratorio,  for  Vienna  ;  and  in  the  same  year, 
the  opera  called  "  La  piii  ijloriosa  Fatten  <C  Ercok," 
for  his  native  city,  Bologna.  1708,  we  find 

him  again  at  Vienna,  when  he  set  to  music  the 
opera  of  "  Amor  tra  Siiiiici."  His  tirst  arrival  in 
England  was  in  the  year  17U),  where,  it  a[>pears 
by  the  "  London  Courant,"  that  at  tb.e  sixth  rep- 
rcfcutation  of  Ilaudcl's  "  Anri'lU,"  July  I'i,  he 
perfonuei  a  new  sjnuphony  on  the  v'o'e  tramoiir, 
an  instrument  unknown  in  England  till  that 
time.  We  hear  no  more  of  him  till  the  establish- 
ment of  the  Koyal  Academy  of  Music  in  1721, 
when  he  composed  the  opera  of  "  Vim,"  or 
"O.lio  <•(•/  Ainorc,"  the  tirst  act  of  "  Miuiio  Sccrola," 
and  aflervviuds  "  Caii(3  Marciiis  Corhlaniu,"  and 
"  Vespasiaiio."  Kespectuig  the  opera  of  "  Miisio 
Scovola,"  wo  should  mention  that  the  directors 
chose  to  divide  the  task  of  setting  it  to  music 
among  their  three  composers  ;  assigning  to  Attilio 
the  lirst  act,  Bononeini  tlie  sci-ond,  and  Handel 
the  third.  This  opera  has  been  thought  to  tbnn 
an  epo^-h  in  Handel's  life  ;  as  it  has  been  con- 
cluded, though  without  sutKcient  proof,  that  the 
partition  of  the  same  drama  among  the  three 
compo  iers  was  a  premeditated  plan,  to  try  their 
several  ablUties  and  determine  prcr-minence.  But 
it  seeiu--<  to  have  been  thus  distributed  merely  for 
greater  despatch,  without  meining  it  as  a  tinal 
competition.  The  same  expedient  has  been  fre- 
quenily  practised  in  Italy,  lor  variety  as  well  as 
expedition,  when  two  or  tliree  great  masters 
have  been  in  the  city  ;  and  nothing  wa-s  deter- 
mined in  coHLieiuenoe  ot'  tliis  concurrence  in 
London.  When  -Vriosti  was  at  Berlin,  he  gave 
Ilandel  (then  a  child)  lessons  on  the  haq)si- 
chord,  holiling  him,  it  is  saiil,  for  hours  together 
on  his  knees. 

AIIISI,  F.,  doctor  of  laws  at  Cremona,  died  in 
1713.  He  left  a  work,  dated  1706,  containing  a 
list  of  the  celebratetl  musicians  of  the  seventeenth 
century. 


ARISTEAS,  an  ancient  Grecian,  wrote  a  bool 
relating  to  performers  on  the  cithara. 

ARISTIDES  QUINTILIAXUS,  a  Grecian 
musician,  lived  about  the  year  130.  'Direc  of 
liis  books  on  music  are  still  extant. 

AKISTOCLES.  A  Greek  comjioser  and  per- 
former on  the  tlutc  and  cithara  at  Athens  in  the 
tune  of  Xerxes. 

ARISTOXICUS,  a  performer  on  the  cithara 
at  CorcjTa,  was  in  the  service  of  King  Philip  of 
Macedonia. 

ARISTOXOUS,  a  famous  flute  player,  gained 
sLx  prizes  at  the  I'vthian  games. 

ARISTOXYMl'S.  A  renowned  performer  oa 
the  cithara,  at  Athens. 

ARISTOPIIAXES.  Tliere  are  two  ancient 
Greek  authors  of  this  name,  the  one  a  writer  of 
comedi&t,  the  other  a  grammarian.  It  Ls  probably 
the  latter  who  wrote  a  treatise  on  music. 

ARISTOTLE,  the  celebrated  jiliilosopher  and 
preceptor  of  Alexander  the  Great,  wrote  a  work 
on  music,  which  Ls  now  lost.  He  also  treats  on 
the  utiHty  of  music,  in  the  eighth  book  of  his 
"  Politics."  It  was  in  his  old  age  that  he  ajiplied 
himsclt'  to  the  practice  of  the  science  of  music, 
wliich  he  calle-'  "  the  medicine  of  heaviness." 

ARISTOXEXU^  SELIXUXTIUS,  cited  by 
Eusehius  as  a  musician  of  ancient  fireece,  lived 
in  the  twenty-eighth  Olpnpiad.  He  must  uot 
be  confounded  with  ^Vristoxenus  of  Tarentum, 
who  lived  more  than  three  hundred  years  after 
him. 

ARISTOXEXrS,  of  Tarentum,  a  philosopher 
and  musician,  lived  about  tliree  huu'lred  and 
hfty  years  before  Jesus  Christ.  He  is  snid  to 
have  written  four  hundred  and  fifty-tl:ree  vol- 
umes ;  but  there  are  only  now  extant  three  vol- 
umes of  hid  "  Harmonic  Elements,"  which  Ls  the 
oldest  musical  work  at  present  known. 

Aristoxenus  was  born  at  Tarentum,  a  city  in 
that  part  of  Italy  called  Magna  (Jrecia,  (now 
CiUabria.")  He  lived  in  the  time  of  Alexander 
the  Great,  and  subsequently,  viz.,  about  A.  M. 
3')10.  He  held  it  was  absurd  to  aim  at  an  arti- 
ficial accuracy  in  gratitjing  the  ear  bpi/omt  it.n  own 
jKitcer  of  distinct  inn  !  Tliat  he  had  anticipntei.1 
the  satisfactory  discoveries  of  modem  ages  by  hut 
doctrine,  is  sutHciently  clear  nowacbiys,  al- 
though a  distinguished  ancient,  Cicero,  ( '•  I>ti 
Finibuji,")  speaking  of  the  elements  of  Ari-.!r>x. 
enus,  pronounces  them  as  utterly  unintelligible^ 
We  should  not  wonder  at  this  ignorance,  w  hen 
we  find  people  in  our  owni  time  asserting  ll:c  ex- 
istence of  quarter  tones.  Sec,  in  our  subdivision 
of  the  octave,  seeing  that  it  can  be  j)la;nly  i)rovc<l 
we  cannot,  for  practical  utility,  adopt  any 
other  system  than  twelve  semitones  in  the  said 
octave.  Hence  the  best  writers  use  D^  and  Eb 
indiscriminately,  just  as  the  dinrti  of  the  n^pec- 
tive  instruments  lequires  for  the  sake  of  facility. 
Xobody  will  doubt  that  Mozart, Wcbor,  Spohr,  itc.. 
are  musicians  ;  and  yet  their  works,  particularly 
those  of  the  last,  abound  in  contlicting  notation. 

ARISTOXEXrS'S  GEXER.V  were  amongst  the 
numerous  modes  in  which  the  Greek  Avriters  pre- 
tended to  divide  their  tetrachord,  or  minor  iourth. 
According  to  Ptolemy,  Aristoxenus  had  six  dif 


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ENCYCLOP-EDIA    OF   MUSIC. 


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feront  scales,  all  formed  by  Ruppoaing  the  fourth, 
divided  into  thirty  equal  parts. 

AllKADELT.    Sec  Aucadelt. 

ARMAXD,  ME8DEM0ISELLES.  Two  dLs- 
tini^uished  French  singers  at  the  grand  opera  of 
I'aris,  ut  the  commencement  of  the  present  cen- 
tury. 

ARMANDOLINO,  GIOVANNI  BATTISTA. 
An  excellent  singer  and  performer  on  the  organ 
in  Italy,  towards  the  end  of  the  seventeenth 
century. 

ARMON.  Author  of  a  sextuor  for  the  flute, 
&c.,  published  at  Offenbach.  (Boosey's  Cat.  1822.) 

ARMONIA.     (I.)     Harmony. 

ARMONICA.  The  nnme  given  by  Dr.  Frank- 
lin to  a  musical  instrument  which  he  constructed, 
con?Lsting  of  hemispherical  glasf  es,  wliich  jnelded 
the  most  agreeable  tones  by  lapng  the  wet  finger 
upon  the  margin  and  gi\'ing  a  rotatory  motion  to 
the  glasses.  Might  not  bells  of  glass  be  substi- 
tuted with  advantage  in  place  of  the  musical 
metallic  bells  now  in  use  ?  The  Italian  word 
armonica  means  harmnnious.  'ITiis  term,  when 
used  adjectively,  implies  a  quality,  or  character, 
of  hannony  —  as,  sinfonia  arinonica,  harmonious 
ejnnphony  ;  guida  arinonica,  harmonious  guide. 

ARMSDORFF,  ANDREAS,  organist  at  Er- 
furt, died  in  1699,  in  his  twenty-eighth  year;  he 
composed  some  agreeable  music. 

ARMSTRONG,  SIR  RICHARD.  Avery  good 
musician,  and  a  general  in  the  British  anny.  He 
retained  the  power  of  his  voice  at  the  age  of  sixty, 
and  could  then  play  his  own  accompaniment  on 
the  piano. 

ARN  ALDUS,  or  ERNALDUS,  abbot  of  Bon- 
neval,  was  in  great  repute  as  composer  of  can- 
ticles, about  the  year  lUl. 

ARNAUD,  L'ABBE,  died  in  Paris  in  1784. 
He  published,  in  17.54,  a  letter  on  French  music, 
addresiicd  to  M.  De  Caylus,  and  several  other 
musical  essays,  relating  to  the  performances  of 
the  day.     lie  was  a  strong  partisan  of  Gluck. 

ARNAUD,  PIERRE,  published  some  quartets 
at  Paris,  in  1784  and  1787. 

ARNAUD,  MADAME.  A  principal  singer  at 
the  Grand  Opera  at  Paris  in  1817. 

ARNi:,  DR.  THOMAS  AUGUSTINE,  was 
born  in  1710,  and  was  the  son  of  Anie,  a  cel- 
ebrated uphol>tcrer,  in  King  Street,  Covent  Gar- 
den, at  whose  house  the  Indian  kings  lodged  in 
the  rci.;n  of  Queen  Anne,  as  mentioned  in  the 
Spectator,  No.  50.  Anie  had  a  good  education, 
having  been  sent  to  Eton  by  his  father,  who  in- 
tended liim  for  the  law.  But  his  love  for  music 
operated  u]ion  him  too  powerfully,  even  wliile  at 
Eton,  fiir  his  own  peace  or  that  of  his  compan- 
ions ;  for,  with  a  miserable  cracked  common  tlute, 
he  use;l  to  torment  them  night  and  day,  when  not 
obliged  to  attend  tl;e  school.  AMien  he  left  Eton, 
Buch  was  his  passion  for  music,  that  he  used  to 
avail  himself  of  the  privilege  of  a  scr\-ant,  by  bor- 
rowing a  livery  and  going  into  the  upper  gallery 
cf  the  opera,  which  was  then  appropriated  to 
domestics.  At  home  he  contrived  to  secrete  a 
(spinet  in  his  room,  upon  which,  after  muflling 
the  strings  with  a  handkerchief,  he  used  to  prac- 


tise in  the  night  while  the  rest  of  the  family  were 
asleep  ;  for  had  his  father  discovered  how  he 
spent  his  time,  he  would  probably  have  tlirown 
the  instrument  out  of  the  window,  if  not  the 
player.  ITils  young  votary  of  Apollo  was  at 
length  obliged  to  serve  a  three  years'  clerkship  to 
the  law,  without  ever  intending  to  make  it  his 
profession  ;  but  even  during  this  servitude  he 
dedicated  every  moment  he  could  obtain,  fairly 
or  otherwise,  to  the  studj-ing  composition  by 
himself.  He  contrived,  during  his  clerksliip,  to 
acquire  some  instructions  on  the  violin,  of  Fes- 
ting  ;  upon  which  instrument  he  made  so  consid- 
erable a  progress,  that  soon  after  he  had  quitted  his 
legal  master,  his  father,  having  accidentally  called 
at  a  gentleman's  house  in  the  neighborhood  upon 
business,  found  him  engaged  with  company  ;  but 
sending  in  his  name,  he  was  invited  up  stairs, 
where  there  was  a  large  company  and  a  concert, 
in  wliich,  to  his  great  astonishment,  he  caught 
his  son  in  the  very  act  of  playing  the  first  fiddle  ! 
Finding  him  more  acbnired  for  his  musical  talents 
than  knowledge  in  the  law,  he  was  soon  prevailed 
upon  to  forgive  his  unruly  passion,  and  to  let  him 
try  to  turn  it  to  some  account.  No  sooner  was 
the  young  musician  able  to  practise  aloud  in  his 
father's  house,  than  he  bewitched  the  whole 
family.  On  discovering  that  his  sister  was  not 
only  fond  of  music,  but  had  a  sweet-toned  and 
touching  voice,  he  gave  her  such  instructions  as 
enabled  her  to  sing  for  Lampe,  in  the  opera  of 
"  Amelia ; "  and  finding  her  so  well  received  in 
that  performance,  he  soon  prepared  a  new  char- 
acter for  her,  by  setting  Addison's  opera  of  "  Ro- 
samond," in  which  he  employed  his  younger 
brother  likewise,  in  the  character  of  the  page.  l"he 
opera  was  performed  ten  nights  successively,  and 
with  great  applause,  the  last  time  for  the  benefit 
of  Mr.  Arne,  Jr.,  the  composer.  Having  suc- 
ceeded so  well  in  a  serious  opera,  our  young  mu- 
sician tried  his  powers  at  a  burletta,  and  fixed 
upon  Fielding's  "  Tom  Thumb  "  for  that  pur- 
pose, wliich,  under  the  title  of  the  "  Tragedy  of 
Tragedies,"  having  met  with  great  success  in 
1731,  he  now  got  it  transformed  into  the  "  Opera 
of  Operas,"  and  setting  it  to  music,  (after  the 
Italian  manner,)  had  it  performed,  May  31,  at 
the  new  theatre  in  the  HajTnarket ;  the  part  of 
Tom  TLIiumb  by  Ma.ster  Ame,  his  brother.  In  17.38, 
Arne  established  his  reputation,  as  a  hiic  com- 
poser, by  the  admirable  manner  in  which  he  set 
Milton's  "  Comus."  In  this  masque  he  intro- 
duced the  light, .  airy,  original,  and  pleasing 
melody,  wholly  different  from  that  of  Purcell  or 
Handel,  whom  all  English  composers  had  hither- 
to pillaged  or  imitated.  Indeed,  the  melody  of 
Ame  at  this  time,  and  of  his  VauxhaU  songs  af- 
terwards, forms  an  era  in  English  music  ;  it  was 
so  easy,  natural,  and  agreeable  to  the  whole  king- 
dom, that  it  had  an  effect  upon  the  national  taste ; 
and  tiU  a  more  modern  Itahan  style  was  intro- 
duced in  the  pasticcio  of  Messrs.  Bickcrstaff  and 
Cumberland,  it  was  the  standard  of  all  perfection 
at  the  theatres  and  public  gardens.  It  was  in 
17G2  that  Anie  quitted  the  former  style  of  melody 
in  which  he  had  so  well  set  "  Comus,"  and  fur- 
nished Vauxhall  and  the  whole  kingdom  with 
such  songs  as  improved  and  polished  our  national 
taste ;  and  when  he  set  the  bold  translation  of 
Metnsta.sio's  opera  of  "  Artaxerxes,"  he  crowded 
the  airs,  particularly  in  the  part  of  Mandane,  foi 
Miss  Brent,  with  all  the  Italian  di\-isions  and  dif 


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ficultios  will  :]i  ha.l  ever  boon  hoard  at  the  opera. 
ITiis  drama,  by  t!ic  novelty  of  tlic  music  to  Enj;- 
ILsh  ears,  with  the  talents  of  Tenducci,  Peretti, 
and  the  doctor's  scholar.  Miss  Brent,  had  very 
great  success,  and  still  continues  to  be  reprc- 
sented  whenever  sin;;ers  can  be  found  who  are 
possessed  oi  sufficient  abilities  for  its  perfonn- 
tnce.  But  in  setlin;;  "  Artaxcrxcs,"  thouqh  the 
melody  is  loss  original  than  that  of  "  Comus," 
Ame  had  tlie  merit  of  first  adaptin-;  many  of  the 
best  passarjcs  of  Italy,  which  all  Europe  admired, 
to  our  own  language,  and  of  incorporating  them 
with  his  own  pro;)erty,  and  with  what  was  still 
in  favor  of  ionner  English  composers.  Dr.  Anie 
6old  tho  copyright  of  "  Arta\cr.\os  "  for  sixty 
guineas  —  a  sum  which,  though  at  present  consid- 
orcd  inadc'iuate  to  the  value  of  a  good  open*, 
was  iu  his  time  reckoned  a  heavy  sum  for  such 
a  projierty.  The  general  style  of  Dr.  jVme's 
melody,  if  analyzed,  woukl  perhaps  appear  to  be 
neither  Italian  nor  English,  but  an  agreeable 
mixture  of  Italian,  Eni;lish,  and  Scotch.  Many  of 
his  ballads,  indeed,  wciC  professed  imitations  of 
the  Scotch  style;  but  in  his  other  songs  he  fre- 
quently dropped  uito  it,  perhaps  without  design. 
Ame  was  uei-er  a  cloic  imitator  of  Handel,  nor 
thought,  by  the  votaries  of  that  great  musician, 
to  be  a  sound  contrapuntist.  However,  in  the 
science  of  harmony,  though  ho  was  cliiefly  self- 
taught,  yet,  being  a  man  of  genius,  quick  parts, 
iiul  great  jienetration  in  his  art,  he  betrayed  no 
ignorance  nor  want  of  study  in  his  scores.  IILs 
aratorios  were  so  iiufortuuate,  that  he  was  a  loser 
wlienever  they  were  ])erl'onned  ;  and  yet  it  would 
be  unjust  to  say  they  did  not  merit  a  better  fate ; 
for,  though  the  choruses  were  much  inferior  in 
force  to  those  of  Handel,  yet  the  airs  were  fre- 
quently admirable,  lint  besides  the  great  repu- 
tation of  Handel,  with  whom  he  had  to  contend, 
^Vnie  never  was  able  to  have  his  music  so  well 
|.erformed  ;  as  his  competitor  had  always  a  more 
numerous  and  select  band,  a  better  organ,  which 
he  played  himscK,  and  better  singers.  None  of 
this  ingenious  and  pleasing  composer's  capital 
productions  had  full  an. I  unequivocal  success 
but  "  Comus  "  and  "  Artaierxcs,"  at  the  distance 
of  twenty-four  years  tVom  each  other.  "  Ro.:a- 
mond,"  his  first  musical  drama,  produced  in  1773, 
had  a  few  songs  in  it  that  were  long  in  favor,  and 
the  "  Judgment  of  Paris "  many ;  but  except 
when  his  si:^ter,  MLss  .\.nie,  aftenvards  Mrs.  Cib- 
bei,  sang  iu  them,  he  never  gained  any  tiling  by 
either.  "  Thomas  and  Sally,"  indeed,  as  a  farce, 
with  very  little  musical  merit,  was  often  acted ; 
and  previous  to  that,  "  Eliza  "  was  a  little  while 
in  favor ;  but  the  number  of  his  unfortunate 
pieces  for  the  stage  was  prodigious  ;  yet  none  of 
them  were  condemned  or  neglected  for  want  of 
merit  in  tlie  »iii.iic,  but  in  the  irorrLi,  of  which  the 
doctor  was  too  frcqucnily  guilty  of  being  the  au- 
thor. Upon  the  whole,  though  this  composer  had 
fonued  a  new  style  of  his  own,  there  did  not  aj)- 
jiear  that  fertihty  of  ideas,  original  grandeur  of 
thought,  or  those  rewurcea  upon  all  occasions 
which  arc  discoverable  iu  the  works  of  his  prede- 
cessor, I'urccU,  both  for  the  church  and  stage ; 
yet,  in  secular  music,  he  must  be  allowed  to  have 
suriiassed  him  in  ea-e,  grace,  and  variety,  which 
is  no  inconsiderable  praise,  when  it  Ls  remembered 
that  trom  the  death  of  I'urceU  to  that  of  Arne,  a 
period  of  more  than  fourscore  years,  no  candidate 
for  musical  fame  had  appeared,  who  was  equally 


admired  by  the  nation  at  largo.  Dr.  Ame  died 
in  1778.  Of  near  one  liundi-ed  and  fifty  musical 
pieces  that  were  brought  on  tho  stage  at  the 
national  theatres  within  forty  years  a;tor  his  death, 
thirty  of  them,  at  least,  wore  set  by  Anie.  A 
modern  critic,  of  high  authority,  thus  speaks 
of  Arne :  "  He  was  a  singular  instance  of  that 
prede.tiuatc  taste,  which  is  to  be  accounted  for 
only  by  peculiar  organization,  tho  existence  of 
which,  among  other  less  si)leiidid  instances,  has 
been  since  confinuod  by  Crotch,  llimmel,  and 
Mozart.  His  first  stealthy  acquisitions  in  musi- 
cal science,  made  chiefly  during  tho  night,  con- 
trary to  tho  direction  of  the  principal  jnirsuit  of 
his  life,  and  in  opposition  to  the  will  of  his  fa- 
ther, arc  proofs  of  that  irrc-iisfiblc  propensity  by 
which  genius,  perhaps  universally,  governs  its 
possessors.  'Iliis  was  the  pure  and  unbought 
love  of  the  art,  generated  by  the  j>leasurablo  jier- 
ccption  of  sweet  sounds  ;  for  although  Handel's 
operas  had  begun  to  draw  tho  atteulion  of  tho 
public,  Anie  was  too  young  either  to  compre- 
hend or  to  covet  the  chances  of  jirofitable  exer- 
tion, when  he  resorted  to  the  means  by  wliich 
he  obtained  the  first  rudiments  of  liis  futme  pro- 
fessional skill.  Perhaps  tho  highest  testimony 
that  Ame's  music  has  obtained  from  time  haa 
been  the  continued  reception  of  '  -Vrtaxerxes,' 
against  the  universal  souse  and  feeling  of  tbamatic 
effect.  Excellent  and  attractive  ijideod  must  the 
airs  be  that  can  atone  to  English  sentiments  aud 
habits  for  the  recitative  and  consequent  destruc- 
tion of  all  interest  in  the  language,  the  incident*, 
and  the  plot.  It  is  sufficient  that  scarcely  a 
second  attempt  of  tho  kind  has  been  since  made, 
lliere  was  in  Ame's  compositions  a  natural  ease 
and  elegance,  a  flow  of  melody  which  stole  ujion 
the  scn.ses,  and  a  fulness  and  variety  in  the  har- 
mony, which  satisfied,  without  suri)risiug,  the 
auditor  by  any  new,  affected,  or  extraneous  mod- 
ulation. He  had  neither  the  vigor  of  Purcoll, 
nor  the  grandeur,  simpUcity,  and  magnificence  of 
Handel ;  he  apparently  aimed  at  pleating,  and  he 
has  fully  succeeded.  The  fault  of  '  .Vriaxerxes,' 
if  we  may  bo  allowed  to  complain  of  an  almost 
faultle-ss  ijorfonnance,  is  the  level  uniformity  that 
pervades  the  entire  i)iece.  It  is  sweet,  elegant, 
and  appropriate ;  but  the  songi  of  most  preten- 
sion do  not  strongly  affect  or  carry  the  hearer 
away.  It  was  allotted  to  Ame  first  to  give  to 
English  sijigers  passages  of  execution  which 
e!iuallcd,  in  ])oiut  of  difficulty  and  compass,  those 
that  had  only  boon  heard  from  Italians  of  the 
best  school.  In  the  present  reign  of  brilliant  ex- 
ecution, it  is  hardly  possible  to  fiml  songs  of 
more  crowded  notation.  '  Fly  soft  ideas,'  and 
'  'n»e  Soldier  tired,'  are  still  mdeed  amongst  tho 
standard  airs  of  agility  in  concerts ;  and  the  en- 
tire character  of  Mandane  has  been,  ever  since 
.Vme's  time,  the  universal  trial  of  an  English 
singer's  abiUtie*.  With  this  composer  ended  the 
accession  of  new  principles  to  the  art  of  dramatic 
■WTitiii^.  Whatever  of  novelty  has  since  been  ap- 
pended to  our  musical  ilraraa  will  not  be  found  to 
sink  beyond  the  original  ca«t  which  particulai 
composers  have  given  to  their  air  or  accompani- 
ment. Ame's  use  of  instruments  was  certainly  del- 
icate, but  he  is  neither  so  scientific  nor  power I'ul  a» 
later  comjjosers.  We  perceive  from  the  score  of 
'  .Vrtaxerxcs,'  that  he  employs  the  hautboys  prin- 
cipally, the  tint  OS  seldom,  and  the  clurincts  iu  two 
songs  only.    h\  the  beautiful  air  of  'If  o'er  the 


ARN 


ENCYCLOPAEDIA    OF    MUSIC. 


ARN 


cruel  tjTaiit/  the  violins  arc  generally  in  unLson 
with  tlio  voice.  Wo  dislike  this  mode  of  accom- 
pauiiuent  upon  piiiuijde ;  it  adds  nothing  to  the 
tarmony,  and  in  disagreeable  both  to  the  singer 
and  the  hearer ;  for  it  the  precise  accoril  bo  by 
any  rocan^  broken,  (and  who  can  insure  it  in  the 
ViU-ious  neocisilics  ol'  brcii(hin!»,  "I'eakin";,  &c.  r) 
tlic  cll'ect  is  iiiterrui)ted  and  diminished  ;  delicate 
and  ta.steful  arc,  however,  the  epithets  wliich 
charnctcrlze  Arne's  instrumentation,  as  perhaps 
they  best  descrilie  the  attributes  of  his  style  and 
manner."     (Mus.  licv.  vol.  i.  p.  201.) 

AUXE,  MRS.  Wile  to  the  preceding.  Her 
maiden  name  wa.s  Cecilia  Young  ;  she  was  a  pupil 
of  (ieminiani,  and  sang  in  public  for  the  first  time 
at  Driiry  I.aiie,  in  1730.  With  a  good  natural 
voice  and  hue  shake,  Mrs.  ^Vrne  had  been  so  well 
tauglit,  that  her  style  of  singing  was  intinitely 
superior  to  that  of  any  other  English  woman  oi' 
her  time.     She  died  about  the  year  179.5. 

AKXE,  MICHAEL.  Son  of  the  preceding.  So 
early  did  the  genius  of  this  musician  develop  it- 
self, that  at  the  early  age  of  ten  or  eleven  years 
his  performance  on  the  harpsichord  was  such, 
that  he  was  able  to  execute  all  the  lc?sons  of 
Ilaudel  and  Scarlatti  with  wonderful  correctness 
and  rapidity.  Even  at  this  early  age,  so  great 
had  been  his  practice,  and  such  wa.s  his  perfec- 
tion on  this  instrument,  that  it'  was  thouglit  he 
coidd  i)lay  music  at  sight  as  well  as  any  perform- 
er then  living. 

In  conjunction  with  Mr.  Battislull,  he  produced 
at  Drury  Lane  Theatre,  in  1704,  the  opera  of 
"  Alcmcna ;  "  but  its  success  was  not  very  flatter- 
ing, lie  afterwards  produced  at  the  King's 
Tlicatre  the  ojiera  of  "  Cjinon,"  from  which  he 
derived  both  emolument  and  fame.  Several  of 
the  airs  have  been  lasting  favorites  ;  and  particu- 
larly tlie  two,  "  Yet  a  whUe  sweet  sleep,"  and 
"  Tlie  sweet  passion  of  love,"  which  wUl  be  for- 
ever remembered. 

The  attention  of  Anie  was,  not  long  after  this 
tune,  turned  so  strongly  towards  the  study  of 
chemistry  that  he  not  merely  neglected,  but,  i'ora 
wliiie,  entu'ely  abandoned,  liis  professional  i)ur- 
suits.  Uidiculous  a.s  it  may  seem  at  the  present  day, 
he  became  a  convert  to  the  absurd  notions  of  those 
persons  who  believed  in  the  philosopher's  stone, 
and  tl;c  transmutation  of  metals.  In  order  that 
lie  might  discover  the  former,  he  was  at  the  ex- 
pense of  building  a  laboratory  at  Chelsea  ;  but 
when  he  found  himscLt'  deceived  in  his  expecta- 
tions, he  had  the  good  sense  to  return  to  liia  pro- 
fessional avocatioiLs,  and  he  afterwards  composed 
music  for  Covcut  Uardeu,  Vauxhall,  and  Itane- 
lagh. 

As  a  composer,  Ame  did  not  possess  that  hap- 
py taste,  nor  that  jjower  of  writing  bcautilul 
melody,  whicli  were  so  conspicuous  in  his  father  ; 
yet  tliere  Is  a  certain  good  i-ense  which  pervades 
all  Ids  works;  though  it  must  at  tlie  same  time 
bo  observed,  that  if  some  of  them  were  less  com- 
jdex,  they  would  perhaps  be  more  pleasing. 
I' poll  the  whole,  however,  his  merits  very  justly 
entitle  him  to  a  high  and  dLitinguished  rank 
amongst  English  eomposcrs. 

ARXE,  MISS.    See  CninER,  Mas. 

AUX]:sTrS.  Tlic  first  Bishop  of  Prague,  in 
the  lourteonth  century.  He  WTOte  some  sacred 
music  about  the  year  1350. 


AllN'KIEL,  T.,  a  pa.stor  in  Sclileswi^,  pub- 
lished, in  1683,  a  treatise  on  the  use  of  horns  in 
music. 

AKXOLD,  GEORGE,  organist  of  the  Bishopric 
of  Bamberg,  wTotc  much  sacred  mu;;ic  about  the 
middle  of  tlie  seventeenth  century. 

ARXOLT),  FERDIXAXD,  bom  at  Vienna,  was 
a  celebrated  tenor  singer  at  Riga  in  1790. 

ARXOLD,  IGXATIUS  FERDIXAND,  an 
Lli.  D.  at  Erfurt,  born  in  1779,  wTote  several 
works  on  music  between  the  years  1799  and  1809. 

ARXOLD,  JOIIAXX  GOTTFRIED,  a  pood 
composer  and  violoncellist,  was  born  in  1773. 
He  lived  chiefly  at  Frankfort  on  the  Maine, 
where  he  died  in  180(>,  in  his  thirty-fourth  year. 
He  published  six  concertos  for  the  violoncello, 
which  are  used  as  exorcises  by  the  pupils  of  the 
Conserv-atory  at  Offenbach  and  Bonn;  he  also 
composed  much  other  music  for  his  instnmicut. 
which  is  chiefly  printed. 

ARXOLD,  DR.  SAMUEL,  an  English  mu- 
sician and  composer  of  considerable  eminence, 
was  born  in  London,  about  1739,  and  received 
hia  musical  education  at  the  royal  chapel,  St. 
James's,  under  Mr.  Gates  and  Dr.  Xares,  who 
discovered  in  him  the  most  promising  talents, 
wliich  he  afterwards  cultivated  and  strengthened 
by  constant  study.  In  17(iO,  he  became  com- 
poser to  Covent  Garden  'Ilieitrc,  of  which  the 
celebrated  Mr.  Board  was  then  one  of  the  man- 
agers, and  had  the  advantage  of  having  his  com- 
positions introduced  to  the  public  tlu-ough  the 
medium  of  the  vocal  abilities  of  that  popular 
singer  and  Ills  associates.  For  them  he  com- 
posed "  The  Maid  of  the  MIU,"  which  has  ever 
been  a  favorite  with  the  public.  But,  in  1767, 
he  tried  his  skill  in  a  higher  species  of  com- 
position, (the  oratorio,)  setting  to  miLsic  Dr. 
Brown's  "  Curse  of  Saul,"  in  which  it  was  uni- 
versally coni'essed  that  he  was  eminently  success- 
ful. 'Iliis  encouraged  him  to  proceed  in  the 
same  style ;  and  he  produced  "  Abimelech," 
"  The  Resurrection,"  and  "The  Prodigal  Son," 
the  various  merits  of  wliich  have  been  justly  ap- 
plauded by  the  best  musical  critics.  'l"he  latter 
became  so  much  a  favorite,  that  when,  in  1/73, 
it  was  in  contem])lation  to  in-tall  the  late  Lord 
X'orth,  as  chancellor  of  the  University  of  Oxford, 
the  stewards  appointed  to  conduct  the  musical 
department  of  the  ceremony  apjilicd  to  Mr. 
Arnold  for  leave  to  pcrlorm  "  'ilie  Prodigal 
Son."  Ills  ready  compliance  with  this  request, 
wliich,  however,  it  would  have  been  very  impru- 
dent to  refuse,  i)rocured  him  the  offer  of  an  hon- 
orary degree ;  and  his  refusal  of  this  did  him  real 
honor.  He  was  not  insensible  of  the  real  value 
of  a  degree,  but  determined  to  enrn  it  in  the 
usual  academical  way,  and,  confonnably  to  thf 
statutes  of  the  university,  received  it  in  the 
school  room,  where  he  jieribrmed,  as  an  exer- 
cise, Hughes's  poem  on  the  power  of  music.  On 
such  occasions,  it  Is  usual  for  the  musical  profess- 
or of  the  university  to  examine  the  exercise  of  the 
candidate;  but  Dr.  Win.  Hayes,  then  the  profess- 
or of  Oxford,  returned  Mr.  Arnold  his  score  un- 
opened, saying,  "Sir, it  isunnecossaryto  scrutinize 
the  exercise  ol  the  author  of  '  The  Prodigal  Son.' ' 
About  1771,  he  purchased  Mary-le-boiie  Gardens, 
for  which  lie  composed  some  cxccllcut  burlottos. 


64 


AKX 


EXCYCLOr.^I)IA    OF    MUSIC. 


ART 


ami  oUicr  piet-ci,  to  wliicli  he  nd<leil  snrae  iii- 
gcnioTis  Mrow-ork'i.  This  scheme  succccdo'l ;  but 
ill  1770,  the  lease  of  the  gnnlens  expired,  nnd 
they  were  let  for  the  purjiose  of  buildiiif^.  We 
ttiici  ])r.  Arnold  nrterwiiriLs  emi)loyed  by  Mr. 
Cohuiiu,  then  manager  of  Coveut  Garden,  as  mu- 
sical composer ;  and  when  he  jiurchased  the 
llaymarket  Tlieatre,  Dr.  Arnold  was  there  en- 
pagixl  in  the  same  capacity,  and  continued  in  it 
for  lil'e.  On  the  death  of  Dr.  Nnres,  in  178:5,  he 
was  appointed  hi.s  successor,  as  organist  and 
composer  to  his  majesty's  chapel  at  St.  James's  ; 
and  at  tlie  commemoration  of  Ilandcl,  in  AVest- 
niiustcr  Abbey,  in  1784,  was  nominated  one  of 
the  sub-directors.  In  1786,  he  began  to  publish 
a  unit'orm  edition  of  Handel's  works,  and  about 
the  smuc  time  brought  out  four  volumes  of 
catliCvUal  mu:ac.  In  17S9,  he  was  appointed  di- 
rector aii>l  manager  of  the  pcrfonnaiiccs  held  It. 
the  Academy  of  Ancient  Music,  a  post  of  hoi>  '. 
in  wliich  he  actjuitted  himself  with  the  highest 
<iedit.  In  private  ILie  he  is  allowed  to  have  pos- 
sessed those  virtues  which  engage  and  secure  so- 
cial esteem.  lie  died  at  his  house  in  Duke  Street, 
Westminster,  Oct.  22,  1802,  in  his  sixty-third  year. 
Dr.  Arnold's  published  works  are,  four  oratorios, 
eight  odes,  thiee  serenades,  forty-seven  operas, 
three  burlettas,  besides  overtures,  concertos,  and 
many  smaller  jjieces.  Perhaps  the  composition 
by  wliich  he  will  be  longest  remembered  is  the 
Boug,  "  Flow,  thou  regal  puqilo  stream." 

AIIN'OLD,  C.  Composer  of  some  guitar  nnd 
other  instrumental  music.  (Waisol  &  Stoddart's 
Cat.  1822.) 

AUXOXE,  GUGLIELMO,  an  orgaiiLst  at  Mi- 
Inn,  published,  ui  159.3,  a  "  Majnificat." 

ARXOULD,  SOPHIA.  A  celebnite<l  French 
ftcti-e»s  and  singer,  between  the  vears  1757  and 
1778. 

AKXI'LL.  An  excellent  performer  on  the 
horn,  some  years  ago,  in  London. 

AliXULPIIUS  wrote  a  treatise  on  singing,  in 
the  lifteenth  century. 

AROX.    See  A.\ron. 

ARPA.     (I.)     A  harp.     See  that  word. 

ARPA  DOPPL\.     (I.)     Double  harp. 

ARPEGGIATO,  or  ARP'O.  (I.)  This  terra 
implips  that  the  passage,  or  movement,  against 
which  it  is  placed,  is  to  be  performed  in  the  style 
of  harp  music. 

ARPEGGIATURA.  (I.)  This  term  (a  deriv- 
ative from  the  word  arpa,  a  harp)  Ls  applied  to 
those  passages  which,  by  taking  the  notes  of  the 
harmony  in  succession,  are  imitative  of  harp 
music.  Every  sweep,  to  and  fro,  through  the 
notes  of  the  chord,  may  be  called  an  arj>ejgiatura. 

ARPEGGIO,  or  ARPEG.  (I.)  This  term  is 
derived  tiom  arpa,  and  signifies  reiterated  succes- 
sions of  the  several  notes  which  compose  any 
shord.  The  violouceUo,\-iola,  violin,  and  all  instru- 
ments perxbrmed  with  a  bow,  are  capable  of  per- 
forming an  arpeggio  ;  but  it  is  to  the  harj^sichord 
and  piano -forte  that  its  execution  more  particu- 
larly appertains. 

ARPEGGIO  ACCOMPANIMENT.  An  ac- 
companiment, the  passages  of  which  chiefly  con- 


sist of  tlie  notei  of  the  several  chords,  taken  ii" 
returning  succeasions. 

.VRPILCUETA,  of  Navarro.  A  Spajush  mu- 
siciiin  in  the  sixteenth  century. 

AlUil'IER,  JOSEPH,  a  Frenct  compo»er  of 
petit  opera  music,  since  the  year  1789. 

ARRAXGEMEXT.  That  extension,  or  sel«c. 
tion  and  disposal,  of  the  movements  and  parts  of 
a  composition  which  tit  and  accoinmodato  it  t« 
the  powers  of  some  instrument,  or  instrumenls, 
for  which  it  was  not  originally  designed  by  the 
composer. 

.\RRIIEXIUS,  LAUREXT.    See  Dun^cs. 

ARRIAGA.     JEAX   CHRYSOSTOME    DE. 

Rorii  at  Bilbao,  in  1808  ;  self  taught  in  music , 
for  which  he  showed  rare  talent,  until  the  age  oi 
tliirtcen,  when  he  was  sent  to  tlie  Conservatoiie 
at  Paris,  nnd  studied  the  violin  under  M.  Haillot, 
and  counterpoint  under  M.  I'Vtis.  He  had  al- 
ready, with  no  knowledge  of  harmony,  written  u 
Spanish  oiiera,  in  which  there  were  charming  and 
original  itleivs.  His  jirogress  was  nstouLshing  :  in 
less  than  three  months  he  had  a  jierfeft  knowl- 
edge of  harmony,  and  l)y  the  end  of  two  yeius 
he  could  laugh  at  any  ditHculty  in  counterpoint 
and  fugue.  He  had  two  gi.ls  rarely  united ; 
viz.,  ready  invention  and  a  scientitic  turn.  He 
wrote  a  fugue  for  eight  voices,  on  the  words  of 
the  Credo,  "  El  vitam  venluri,"  which  Cherubini 
did  not  hesitate  to  pronounce  a  masterpiece.  On 
the  violin  his  progress  was  equally  remarkable. 
He  was  tormented  by  the  continual  need  of  com  - 
jjosing.  His  first  work  was  three  quatuors  for 
violin,  itc,  which  appeared  in  Paris  in  1824. 
These  were  original,  elegant,  nnd  purely  written 
'I'hen  came  an  overture,  a  sjnuphony,  a  mass,  a 
"  Salve,  licgiiia,"  several  cantatas  antl  romances. 
&c.  Exhausted  by  intense  labor,  he  died,  la- 
mented and  esteemed,  m  1825. 

ARRIGHI,  PIETRO  DOMIXICO.  An  opera 
composer  between  1783  and  1790. 

ARRIGIIUS,  JO  AX  BATl'ISTA.  A  monk  of 
Florence.  He  died  in  1607.  He  wrote  on  th« 
science  of  music. 

ARRIGO  TEDESCO.     See  Isaac. 

ARRIGOXI.     See  .\uiooxi. 

ARROR  AT,  CO.STE  I)'.  A  French  opera  com- 
poser soon  alter  the  time  of  Lulh. 

ARS  C.A.NEXDI.     (L.)     The  art  of  singing. 

^  ARS  COMPOXEXDI.  (L.)  llie  art  of 
composing. 

ARSIS  and  THESIS.  (L.)  Terms  appropri- 
ated to  prosody  and  melody.  Ar.ii.i  signifies  the 
elevation  of  the  hand,  or  that  pnrt  of  the  bar  at 
which  it  Ls  raised  in  bcatuig  time.  Thesis,  on 
the  contrary,  implies  the  fall  of  the  hand,  or 
that  part  of  the  bar.  Thesis  denotej  the  em- 
phatic or  accented  part  of  the  bar,  and  arsis  the 
weak  or  unaccented  part.  Arsit  and  thesis, 
therefore,  is  but  another  expreasion  for  raising 
and  faUing,  as  apphed  to  the  action  of  beating 
time ;  and  Ls  e  [uivalent  to  accented  and  wuk. 
ccnted,  as  connected  with  the  phraseology  of  the 
melody. 

AR'rEAGA,  STEFFANO,  a  Spanish  Jesuit, 
died  at  Paris  in  1799.     lie  wrote  a  work  in  thre* 


65 


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ENCYCLOP.-EDIA    OF   MUSIC. 


ART 


volumw,  ciititlod  "  />•  RcvoUizioni  del  Teatro  ^fu- 
m'l-aJfi  Ilaliann,  iolla  sua  oriijiite,  sino  al  prcicntr," 
the  pcooiid  f(l  tiuii  of  which  appeared  at  Venice 
n\  ITS.).  lie  also  wrote  on  the  rhj-thra  of  the 
nncieiits,  and  wo,-*  the  most  philosophical  and 
profound  of  all  authors  upon  the  melo-drama. 

AUTEMAXIO,  G.  C,  court  organist  and 
chapel-miislor  at  Milan,  died  in  17o0.  lie  pub- 
lished sevcrul  collections  of  motets  and  other 
pieces. 

ARTinTR  AUX  COirrEAUX,  music  master 
to  the  College  of  St.  (iuintin,  lived  about  the 
year  lG:iO.  He  composed  psalms  and  other 
Bacrcd  music.  He  was  the  most  eminent  com- 
poser for  the  church  during  the  reign  of  Louis 
XIII. 

ARTICULATION.  This  word  is  one  of  the 
most  important  in  the  musician's  vocabulary. 
It  refers  equally  to  vocal  and  instrumental  per- 
formance ;  to  words  and  to  notes ;  and  includes 
that  (Ustinctness  and  accuracy  of  expression 
which  gives  every  syllable  and  sound  with  truth 
and  perspicuity,  and  forms  the  very  foundatiou 
of  pathos  and  grace. 

ARTICULATO.  (I.)  Articulated;  distinctly 
enounced. 

ARTIFIC'L\L.  Not  natural :  any  note  or 
chord  Ls  arliticial  when  chromatics  are  introduced 
with  it. 

ARTIFICIAL  COMPOUND.  The  artificial 
compound,  which  alone  comes  under  the  mu- 
Ficiau's  province,  is  that  mixture  of  several  differ- 
ent pounds,  which  being  produced  by  art,  the 
ingredient  soundu  arc  separable,  and  distinguish- 
able from  one  another.  In  this  sense  the  distinct 
sounds  of  several  voices  or  instruments,  or  sev- 
eral notes  of  the  same  instrument,  are  called 
simple  sounds,  in  contradistinction  to  the  com- 
pound ones,  in  which,  to  answer  the  purposes  of 
music,  the  simple  ones  mu-it  have  such  an  agree- 
ment in  all  relations,  chiefly  as  to  acuteness  and 
gra^-ity,  as  that  the  ear  may  receive  the  mixture 
with  pleasure. 

ARTIFICIAL  HARMONY.  Those  combina- 
tions whicli,  though  discordant,  are  allowable, 
B8  bearing  some  relation  to  the  triad,  or  common 
chord,  of  the  fundamental  note. 

ARTIFICIAL  SCALE.  Not  natural.  See 
CunoM.vTic  Sc.VLE. 

ART  OF  MUSIC.  The  Greeks,  who  were 
fond  of  chiiining  to  themselves  the  invention  of 
every  art  and  science,  have  not  scrupled  to  a.s.sign 
the  origin  of  music,  and  to  name  the  inventot. 
To  Mercury  they  ascribe  the  honor  of  inventing 
the  l\Te,  the  iinit  of  musical  instruments.  The 
shell  of  a  tortoise,  they  say,  (having  been  ex- 
posed on  the  shore,  till  the  flesh  was  entirely 
dried  up,  and  nothing  but  the  sinews  remained, 
Btretched  over  the  cavity,)  was  observed  by  Mer- 
cury, when  breathed  ui)on  by  the  wind,  to  emit 
musical  sounds ;  and  it  was  this  that  suggested 
to  him  the  construction  of  the  Ij-re,  which  was 
first  formed  of  tortoise  shell,  with  cords  stretched 
across  it.  In  music,  the  fittest  subjcfts  for  imi- 
tation are  all  those  particulars  which  are  emi- 
nently characteri/.ed  by  motion  and  sound.  Mo- 
tion may  be  eith  ;r  slow  or  quick,  even  or  un- 
even, broken  or  continuous.  Sound  may  be 
either  soft  or  loid,  high  or  low,  i.  e.,  acute  or 


grave.  Wherever,  therefore,  any  of  these  specie* 
of  motion,  or  sound,  may  be  found  in  an  eminent 
degree,  there  is  room  for  musical  imitation.  Thus, 
in  the  inanimate  world,  music  may  imitate  th« 
gliding,  murmuring,  or  roaring  of  water,  as  per- 
ceived in  fountains,  cataracts,  rivers,  seas,  &c. ; 
the  noise  of  thunder,  and  of  winds,  a--  well  the 
stormy  as  the  gentle.  In  the  animal  world,  it 
may  imitate  the  voices  of  certain  animals,  but 
chiefly  those  of  singing  birds ;  and  it  may  also 
faintly  copy  some  of  their  motions.  In  the 
human  species,  it  can  also  imitate  some  motions 
and  sounds ;  and  of  sountLs,  those  most  perfectly 
which  are  expressive  of  grief  and  anguish ;  for 
grief  naturally  expres-^cs  itself  by  sounds  which 
are  not  unlike  to  lengthened  notes  in  the  chro- 
matic system.  Music,  as  the  practice  of  it  is  of 
more  easy  acquisition  than  that  of  either  of  the 
other  fine  arts,  as  it  is  more  indiscriminately  ad- 
dressed to  all,  of  every  age  and  condition,  from 
youth  to  age,  from  the  daily  laborer  to  the  prince, 
and  as  it  is  in  fact  more  universally  practised, 
may  more  unhesitatingly  be  treated  of  by  those 
but  moderately  initiated,  without  fear  of  the 
charge  of  presumption.  The  right  of  music  to 
be  enumerated  among  the  fine  arts  has  never, 
been  disputed,  although  its  relative  place  in 
point  of  dignity  has  often  been  matter  of  contro- 
versy. Without  touching  this  question,  as  being 
one  of  very  little  interest  and  less  importance,  we 
shall  be  satisfied  with  \-indicating  its  utility  and 
its  just  claims  to  the  respectful  not^c  and  diligent 
cultivation  of  every  civili/ed  community.  It'  we 
needed  to  appeal  to  the  authority  of  names  in 
support  of  this  position,  we  could  easily  sum- 
mon a  formidable  an-ay.  One,  however,  shall 
suffice ;  but  that  one,  for  strength  of  intellect  and 
purity  of  moral  character,  is  e(iuivaleiit  to  a  host 
of  ordinary  names.  I  allude  to  Dr.  Samuel  John- 
son. Were  not  the  fact  well  known  and  fuUy 
acknowledged,  that  he  was  the  author  of  the 
passage  I  am  about  to  quote,  its  peculiarity  of 
style  would  indicate  its  origin  witla  an  almost  ab- 
solute certainty.  In  the  dedication  to  Bunjey's 
great  work  on  the  "  General  History  of  Music," 
we  find  this  striking  passage  :  "  Tl-.e  science  of 
musical  sounds,  though  it  may  have  been  depre- 
ciated, as  appealing  only  to  the  ear,  and  affording 
nothing  more  than  a  momentary  and  fugitive  de- 
light, may  wth  justice  be  considered  as  the  art 
that  unites  coqioral  with  intellectual  pleasures, 
by  a  species  of  enjoj-ment  which  gratifies  sense 
without  weakening  reason ;  and  which,  there- 
fore, the  great  may  cultivate  without  debase- 
ment, and  the  good  enjoy  without  depravation. 
Those  who  have  most  diligently  contemplated 
the  state  of  man  have  found  it  beset  with  vexa- 
tions, which  can  neither  be  repelled  by  splendor, 
nor  eluded  by  obscurity;  to  the  necessity  of 
combating  these  intrusions  of  discontent,  tiie 
ministers  of  plcivsure  were  indebted  for  that  kind 
reception,  which  they  have,  perhaps,  too  indis- 
criminately obtained!  I'leivsiue  and  innoieiuc 
ought  never  to  be  separated  ;  yet  we  seldom  find 
them  otherwise  than  at  variance,  except  when 
music  brings  them  together."  To  the  truth  of 
the  last  remark  of  the  great  moralist,  that  pleas- 
ure and  innocence  are  generally  at  variance,  ex  ■ 
cept  when  music  brings  them  together,  we  ma> 
surely  demur ;  and  certainly  a  moderate  expe- 
rience in  the  ways  of  the  world  would  excite  in 
the  mind  of  every  serious  person  the  earnest  wiah 


60 


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ENCYCLOPAEDIA    OF   MUSIC. 


ART 


♦hat  no  other  associations  than  such  as  are  char- 
acterized by  pleasure  in  combination  with  inno- 
cence were  ever  occasioned  or  encourap;cd  by  this 
delit;htful  art.  But  the  assertion  that  music 
unites  coqioral  with  intellectual  pleasure,  and 
gratifies  sense  without  weakening;  reason,  and 
therefore  that  the  great  may  cultivate  it  with- 
out debasement,  and  the  good  enjoy  it  with- 
out depravation,  is  as  true  as  it  is  forcible.  An 
opposite  conclusion  would  be  at  war  with  our 
convictions  of  the  wisdom  and  benevolence  of 
the  Deity,  who  made  the  hearing  ear  and  formed 
the  melodious  voice,  and  strung  the  soxil  of  man 
■with  chords  ever  responsive  to  the  influence  of 
sweet  sounds.  Music  is  as  truly  the  voice  of  na- 
ture as  speech ;  that  Ls,  it  is  as  natural  for  man  to 
convey  and  to  receive  the  movements  of  senti- 
ment by  the  inlluence  of  sweet  sounds  as  by  the 
use  of  ^rords.  And  when  I  say  it  Ls  natural,  I 
moan  to  ascribe  this  arrangement  directly  to  the 
wise  ordinance  of  the  Great  Being  who  framed 
us  as  we  are.  It  was  he  who,  while  he  gave  us 
the  element  of  air  to  breathe,  gave  it  also  the  pe- 
culiar quaUties  by  which  it  conveys  the  vibra- 
tions of  sound  ;  and  while  he  made  the  ear  to  re- 
ceive the  impulses  of  the  articulate  voice,  ren- 
dered it  susceptible  to  musical  intonations ;  and 
while  he  made  the  wonderful  mechanism  by 
which  words  are  uttered,  enabled  it  also  to  pro- 
duce effects  sweeter  than  the  song  of  birds.  The 
philosophical  theory  of  musical  sounds  is  very 
remarkable,  and  gives  the  clearest  evidence  that 
their  employment,  for  the  benefit  and  jjleasure  of 
man,  was  originally  designed  by  the  -Vlmighty. 
In  illustration  of  this  position,  I  will  instance  a 
few  of  those  laws  or  principles  of  sound  which 
have  been  discovered  by  experiment  and  proved 
by  demonstration.  In  music  there  Ls  no  such 
thing  as  a  simple  sound  ;  that  Ls,  no  tone  of  a 
musical  character  can  be  produced  wliich  is, 
strictly  speaking,  one  and  indivisible.  It  is 
capable  of  separation  into  distinct  constituent 
parts.  As  the  rays  of  light  arc  the  result  of  the 
combination  of  the  seven  primary  colors,  which 
can  be  separated  by  the  prLsmatic  glass,  so  musi- 
cal sounds  are  themselves  combinations  of  other 
soiuitls.  Every  tone  which  proceeds  from  a 
stringed  instrument,  as  a  violin,  a  harp,  a  piano- 
forte, or  from  a  pipe,  as  a  flute,  or  an  organ,  or 
from  a  bell,  gives  out  at  the  same  time  other 
sounds  which  are  not  the  same,  but  yet  unite  so 
a-  to  form  one  whole  in  their  effect.  In  a  large 
boll  thLs  can  easily  be  perceived  when  it  is  tolled 
slowly ;  the  note  sounds,  and  immediately  after 
we  hear  others,  more  particularly  the  twelfth, 
fit'tccuth,  and  seventeenth.  A  delicate  car  will 
perceive  the  same  in  a  j)iano-forte  ;  for  a  string 
sounded  in  its  whole  length,  the  parts  of  it  also 
sound  in  certain  exact  sections  or  divisions  which 
bear  a  definite  proportion  to  the  whole.  Now,  in 
the  greater  of  these  divisions,  as  the  twelfth  and 
fifteenth  above  mentioned,  wliich  are  most  easily 
perceived,  the  combination  is  harmonious ;  f)ut 
in  the  lesser  and  intermediate  parts,  the  vibra- 
tions run  into  discords,  and  arc  not  readily  dis- 
tinguishable by  the  car.  Were  they  so,  there 
could  be  no  such  effect  produced  as  music,  be- 
cause dLscord  would  be  as  freijuent  and  as  prom- 
inent as  concord.  Tliia  law  of  sound  has  been 
•dduced  by  an  eminent  ecclesiastical  writer  to 
»how  the  wLsdom  and  goodness  of  God  in  this 
sonvspondence  between  the  physical  nature  of 


man  and  the  con^.titution  of  the  material  world 
"  Tliere  Ls  another  providential  circumstance,"' 
says  he,  "  in  the  theory  of  sounds,  tliat  if  a  jiipf 
is  blown  to  give  its  proper  note,  a  stronger  bla-1 
will  raise  it  to  its  octave,  eight  notes  higher 
'ITiis  is  done  by  an  instantaneous  leap,  which,  if 
it  were  done  by  procession  from  the  one  to  th« 
other,  as  bodies  in  motion  rise  or  fall,  not  music, 
but  a  noise,  would  be  the  conse<iuence,  most  dis- 
agreeable to  the  ear ;  to  which  nothing  Ls  more 
offensive  than  a  sound  rising  or  faUiug  by  the 
way  of  the  whole  intermediate  space,  and  not  by 
first  intcr\-als ;  for  that  is  a  principle  of  noises  a« 
they  diHcr  from  notes.  We  find  music  as  a  work 
of  God  in  the  constitution  of  the  air,  which  '• 
made  capable  of  proportionate  vibrations  to  de- 
light us ;  and  in  such  degree  and  manner  as  to 
save  the  ear  from  offence  and  interruption.  Mu- 
sic may  be  further  traced  as  the  work  of  Gpd  in 
the  nature  of  man  ;  for  God  hath  undoubtedly 
made  man  to  sing  as  well  as  to  speak.  ITie  gift 
of  speech  we  cannot  but  derive  from  the  Creator ; 
and  the  gift  of  singing  is  from  the  same  Author. 
The  faculty  by  which  the  voice  forms  musical 
sounds  is  as  wonderful  as  the  flexures  of  the  or- 
gans of  speech  in  the  articulation  of  words.  The 
human  pipe  is  of  a  small  diameter,  and  very 
short,  when  compared  with  the  pipes  of  an  or- 
gan ;  yet  it  wUl  distinctly  give  the  same  note 
with  the  pipe  of  an  organ  eight  feet  in  length. 
The  movable  parts  wliich  are  around  the  pipe 
of  the  human  throat  have  but  a  verj'  small 
range.  Yet  with  the  contraction  and  expan- 
sion of  which  the  whole  is  capable,  the  voice 
can  utter  a  scale  of  seventeen  degrees,  and 
sometimes  more,  and  divide  each  whole  tone  into 
many  parts.  But,  more  than  this,  man  Ls  an  in- 
strument of  God  in  his  whole  frame ;  besides  the 
powers  of  the  voice  in  forming,  and  of  the  ear  in 
distinguisliing,  musical  sounds,  there  is  a  general 
sense,  or  sympathetic  feeling,  in  the  fi))res  and 
membranes  of  the  body,  which  renders  the  whole 
frame  susceptible  of  musical  emotion.  Every 
person  strongly  touched  with  music  must  be  as- 
sured that  its  effect  is  not  confined  to  the  ear,  but 
is  felt  all  over  the  frame,  and  to  the  inmost  affec- 
tions of  the  heart ;  disposing  us  to  joy  and  thank- 
fulness on  the  one  hand,  and  to  penitence  and 
devotion  on  the  other.  It  Ls  a  verj-  well-known 
experiment  in  music,  that  when  one  stringed  in- 
strument Ls  struck,  and  another,  in  tune  with  it,  is 
held  in  the  hand,  it  will  be  felt  to  tremble  in  all 
its  sohd  parts,  and  one  instrument  being  sounded, 
another  will  respond  the  same  note,  if  in  tune 
with  it ;  thus  doth  the  frame  of  man  feel  and  an- 
swer to  instruments  of  music,  as  one  instrument 
answers  to  another.  Man,  then,  is,  as  it  were,  a 
musical  instrument  of  God's  own  formation ;  he 
has  music  in  his  voice,  hLs  ear,  his  whole  frame."' 
And  the  thoiight  is  beautifully  exprev..ed  ami 
enlarged  by  the  poet  Cowpcr :  "  'ITiore  Ls  ir 
souls  a  sj-mpathy  with  sounds,  and  as  the  mind 
is  pitched,  the  ear  is  plea.scd  with  melting  airs 
or  martial,  brisk,  or  grave  ;  some  chonl  in  unisot 
with  what  we  hear  is  touched  within  us,  and  the 
heart  replies.  As  music,  then,  has  its  origin  in 
the  nature  of  man,  and  in  the  constitution  of  the 
material  world,  which  has  been  assignetl  a«  the 
place  of  his  temporary  hat)itation,  we  may  expect 
to  find  c\-idences  of  its  practice  wherever  the 
human  voice  has  boon  heard.  We  hear  of  no 
people,   however    wild  and  savage  in  other  r»- 


67 


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KXCYCLOP^DIA    OF    MUSIC. 


ARl 


iipectii,  who  have  not  music  of  xomo  kind  or  other 
witli  which  we  nmst  suppose  them  to  be  greatly 
delighted  by  their  constant  use  of  it  upon  occa- 
sions the  most  ojiposite ;  in  the  temple  and  the 
theatre,  at  funerals  and  weddings,  to  give  dig- 
nity and  solemnity  to  festivals,  and  to  excite 
mirth,  and  clieerfulness,  and  activity  in  the  dance. 
Music,  indeed,  like  vegetation,  flourishes  differ- 
ently in  different  climates,  and  in  proportion  to 
the  culture  and  encouragement  it  receives  ;  yet 
to  love  such  music  as  our  ears  are  accustomed 
to  is  an  instinct  so  generally  subsifiting  in  our 
nature,  that  it  Is  not  wonderful  it  should  have 
been  held  in  high  estimation  at  all  times." 
From  what  has  been  said  concerning  the  origin 
of  music,  it  will  be  seen  that  we  could  not  for 
a  muraent  assent  to  that  theory  which  would 
consider  this  noble  art  as  havijig  had  its  begin- 
nings in  the  imitation  of  birds  or  other  animals, 
or  of- any  of  the  ordinary  sounds  of  nature, 
'fills  we  should  consider  as  an  h\-pothesLs  verv 
degrading  to  him  who  was  made  lord  of  this 
lower  creation.  It  is  reasonable  to  suppose, 
indeed,  that  liis  natural  love  of  imitation,  and 
the  delight  he  took  in  listening  to  the  sweet 
songstress  of  the  forest,  prompted  him  to 
attempt  both  with  his  o^vn  voice,  and  by  the 
help  of  mechanical  appliances,  sounds  wliich  had 
60  often  given  him  pleasure.  And  it  is  possible 
that  the  idea  of  the  shepherd's  pipe  may  have 
been  suggested  by  the  whLstling  of  the  wind 
among  the  dry  reeds,  and  that  the  lyre,  one  of 
the  most  ancient  instruments,  may  have  had  its 
origin  in  the  accident  that  Hermes,  wandering  on 
the  shore,  struck  his  foot  ujion  a  tortoise  shell, 
the  inner  parts  of  wliich  had  decayed,  except  a 
tendon,  which,  being  more  firm,  had  remained 
stretched  across  it,  and  thus  gave  the  hint  for  the 
fonnation  of  a  stringed  instrument.  But  the 
first  music,  we  believe,  proceeded  from  the  first 
and  most  perfect  of  instruments,  the  human 
voice  divine;  and  its  earliest  effort  was  not  to 
imitate  the  vocal  powers  of  the  irrational  creation, 
but  to  emulate  the  harmony  of  heaven,  when,  at 
the  glorious  spectacle  of  the  new-created  world, 
the  morning  stars  sang  together,  and  all  the  sons 
of  God  shouted  for  joy.  llie  great  poet  of  our 
language  has  represented,  in  his  immortal  work, 
our  first  parent  as  having  heard  tliis  anthem  of 
the  celestial  choir,  and  we  see  no  reason  for 
regarding  it  merely  a.s  poetical  fiction.  ITie 
angel  llaphael,  in  the  seventh  book  of  "  Paradise 
Lost,"  is  describing  to  Adam  the  work  of  cre- 
ation :  when  the  six  days'  work  were  ended,  the 
Almighty  Creator  returned  up  to  the  House  of 
Heaven,  his  high  abode.  Tliese  are  the  words 
which  the  poet  gives  to  t)ie  angel  when  ad- 
dressing Adam :  — 

•*  T'p  he  rode, 
Fnllowcd  with  ftrclnmntinn  nnd  the  tound 
Syniphunioii*  nr  tt-n  thouwind  harpi,  that  tuned 
Aniiclic  Imrninnirt ;  thet'Rrth,  th*-  air 
Kt'sounili'd.  (ih»m  rciin'niiMTVt.  for  thou  he&rd'ft :) 
The  heavciiB  and  all  the  rrmwtcUiitloni  rung. 
1'he  pianwt*  in  ttirir  station  liptcninff  wtnod, 
Vhili-  till-  ItrJL'lit  pomp  nvccnilt-d  juhilunL 
t)lK'n,  yc  i-viTlnitinir  ^.-atf*.  thi-y  •unci 
<)l»-n,Vo  hcavi-n«.  your  livinft  doom  j  let  in 
Thu  (in-ftt  Cn'ator,  fniin  hit  work  returned. 
80  tunc  thov  ;  and  the  cmpyrvan  rung 
With  haUt'lujaha." 

Now,  wliilo  to  the  subsidiaries  of  this  gorgeous 
depcription  we  ascribe  no  liighcr  n\ithority  tlian 
the  imagination  of  the  poet,  and  therefore  read 
his  words  only  as  those  of  sacred  fiction,  wc 
need   not   suppose  it  improbable,  although   we 


make  it  not  an  article  of  faith,  that  our  first 
parent  learned  the  use  of  vocal  sounds  from  an- 
gelic choirs;  and  hence  we  may  say  with  th« 
poet,  but  with  the  sentiment  of  uttering  almost 
historic  trutli,  — 

"  From  hearen,  from  heaTen,  the  smcred  fong  begun." 

If  thus  derived  from  heaven  we  esteem  this 
noble  art  to  be,  should  not  its  highest  employ- 
ment be  the  service  and  worship  of  God  r  and 
should  not  we  deem  it  a  -wTetchetl  and  criminal 
degradation,  when  its  powers  and  capacities  tre 
made  to  minister,  as  they  too  often  are,  to 
worldly  and  sensual  purposes  ? 

ART  OF  READING  FROM  A  SCORE. 
The  musician  who  sits  down  to  ■write  a  s^in- 
phony,  a  concerto,  an  opera,  or  any  piece  for 
several  voices  or  instruments,  can  oidy  form  an 
idea  of  the  effects  which  may  be  exi)ected  to 
result  from  liis  labors  by  having  under  his  cycj 
all  the  parts  which  concur  to  form  the  whole. 
The  process  which  he  employs  for  this  purpose 
is  extremely  simple ;  it  consists  in  writing,  on 
separate  staves  in  each  page,  whatever  is  des- 
tined to  each  voice  or  to  each  iiLstrument,  and 
then  in  connecring  these  different  staves  by  a 
brace,  and  by  bars  dra-wTi  perpendicularly  across 
the  page.  This  union  of  the  different  parts  is 
called  a  score.  Scores  are  necessarj-  to  conductors, 
chorus  masters,  and  directors  of  concerts,  and 
uidispensable  to  accompanists  ;  for  it  is  only  by 
them  that  they  can  gather  any  idea  of  the  com- 
position as  a  whole,  or  of  its  effects,  or  of  what  is 
assigned  to  the  different  voices  and  instruments. 
All  composers  do  not  lay  out  their  scores  in  the 
same  manner.  Tliere  are,  however,  certain  rules 
of  arrangement  which  have  been  generally 
adopted,  and  which  are  dictated  by  reason. 
'ITius  the  voices  are  ranged  in  the  order  which 
they  occupy  in  the  general  system  of  sounds  ;  the 
deepest  as  to  pitch  being  placed  lowest  in  the 
page,  and  the  others  gradually  above  them. 
Hence,  in  a  chorus  for  four  voices,  the  sojiranc 
will  be  placed  above  the  contralto,  the  latter 
above  the  tenor,  and  this  last  again  above  the 
bass.  In  a  double  chorus,  the  four  parts  belong- 
ing to  the  first  chorus  vnU.  bo  arranged  aa 
above,  and  immediately  beneath  them  the  four 
parts  belonging  to  the  second  chorus.  In 
concerted  vocal  pieces,  as  a  quintet,  ses- 
tet, finale,  &c.,  all  the  voices  of  the  same 
species  are  ranged  above  each  other.  Thus  all 
the  trebles,  all  the  tenors,  all  the  basses,  arc 
assembled  in  adjacent  staves.  The  order  gen- 
erally adopted,  in  vocal  pieces,  accompanied  by 
the  orchestra,  is  that  in  which  all  the  in-^truments 
are  placed  above  the  voice  parts,  except  the  bass, 
which  is  placed  below  them.  There  is  not  any 
positive  rule  for  arrangmg  parts  in  scores  of 
instrumental  compositions.  The  first  arrange- 
ment of  the  follo\%-ing  is  that  of  the  Italian  mas- 
ters, and  of  Mozart ;  the  second  that  of  Cheru- 
bini,  Beethoven,  and  the  modern  French  and 
German  school ;  some  of  Haydn's  works  obsen-e 
the  third  arrangement.  The  insatiate  thirst  after 
novel  effect  has,  of  late,  caused  the  introduction 
of  many  other  instruments,  newly  invcntcd.and 
all  perhaps  good ;  but  they  are  joined  to  one 
or  other  of  the  following  classes.  Thus  the  small 
flutes  are  joined  to  the  ordinary  or  concert  flute  j 
the  opliicleides  and  trumpets  with  slides,  valvar 


68 


ART 


ENCYCLOPAEDIA    OF    MUSIC. 


ASU 


or  keys,  fall  within  the  class  of  brass  iiistrumonts  ; 
the  triangles,  cvmbaLs,  and  (;rcat  drum  arc 
ranged  by  the  side  of  the  kettle  drums. 


\Mi  Arrangement, 

2fi  Arrangement. 

Hrit  Violin. 

Klueen. 

Kettle  Drunil. 

Second  Violin. 

llaullKiyi. 

TrurnpeU. 

Alio. 

C'lnrincU. 

llorni. 

Flutet. 

llorni. 

Troinbonci. 

Iliiiill>n7t. 

TrunipctJ. 

Klule«. 

ClariiicU. 

IlaifooniL 

lUutboyn 

llonm. 

Troinlxine*. 

Clarlnelj. 

TninipflU. 

Kvttle  Drtiini. 

Itiiiiuoni. 

Daitsoont. 

Kiril  Violin. 

Kint  Violin. 

Trcrtilntne*. 

Si-conil  Violin. 

Second  Violin. 

Ki'ltle  Druint, 

Tenor. 

Alt<i. 

Violoncello. 

Viol..nccllo. 

Violoncello. 

Double  Bust. 

Double  Uui. 

Double  liul. 

AIlTEMIllA.  This  queen  was  a  distinguished 
musical  lady.  .She  took  Cairo  by  a  musical 
stratagem.  Slic  went  there  with  a  powerful  band 
of  music,  drums  and  trumpets  ;  and  the  pcoi)le, 
unarmed,  ran  in  throngs  to  hear  the  music,  while 
the  queen's   troops   took  possession  of  the  city. 

ARTOT,  JCSEI'ir,  a  celebrated  \-iolinlst,  was 
bom  at  Brus.scls  on  the  4th  Februarj-,  181.5  ;  re- 
ceived his  tin*t  les.sons  of  hit  father,  who  wa.s  first 
homist  at  the  theatre ;  at  the  age  of  si.x  or 
Be\'en,  played  in  public  a  concerto  of  Viotti ; 
was  sent  to  Piui.s,  and  made  a  i)age  in  the  royal 
chapel ;  took  the  second  ])rize  at  the  Conserva- 
toire, at  the  age  of  12.  lie  then  performed  with 
success  in  his  native  city,  London,  Jtc,  an<l  then 
for  some  time  was  attached  to  orchestras  in  the 
theatres  of  Paris.  But  the  desire  of  tlistinguish- 
ing  himself  led  him  to  renounce  these  situ- 
ations for  an  artistic  tour  in  the  south  of  France, 
where  he  had  briUiant  success.  He  visited  the 
Uuite<l  States,  and  gave  concerts  with  Mrae. 
Ciuti  Damourcau,  in  IS  if,  and  ilicd  soon  after  his 
return  to  Europe.  Some  interesting  particulars 
of  the  last  days  of  .^Vrtot  appeared  at  that 
time.  "  He  made,  the  year  previous,  a  jour- 
ney into  Italy  for  the  benefit  of  his  health, 
and,  finding  it  somewhat  reOstabli.shcd,  was 
an.xious  to  go  to  Madrid,  hoping  there  to  add  a 
flower  to  his  crown.  He  was,  liowever,  full  of 
sad  prescntunonts,  and  receiving,  on  the  eve  of  his 
departure,  the  order  of  I,eopold  from  the  King  of 
Belgium,  said  to  his  friends,  after  expressing  his 
pleasure  at  the  unexpected  distinction,  *  It  is  a 
crown  upon  a  coffin.'  At  Madrid  he  had  a 
brilliant  success  ;  the  queen  wished  to  hear  him, 
but  at  one  of  lus  last  concerts  he  was  exposed  to 
a  current  of  freezing  air,  and  the  cold  thus 
caught  brought  on  a  mortal  illness.  Seeing  his 
end  approach,  the  poor  artist  wished,  at  least,  to 
die  in  France,  and  was,  though  with  great  diffi- 
culty, transported  thither.  ITierc  Is  something 
in  these  details  which  hannonizes  with  the 
feminine  delicacy  and  refined  sentiment  that 
distiugxilshed  the  plaj-ing  of  .Vrtot." 

AIITS,  FINE.  Napoleon  Bonaparte,  when  at 
MUau,  in  1797,  then  pu.shing  his  way  onward  by 
ceaseless  acti\-ity,  was  addressed  by  the  inspectors 
of  the  Conservatory  of  Music  at  Paris,  with  a 
re<iuest  to  use  his  influence,  or  his  power,  to 
procure  for  them  collections  of  musical  compo- 
nitions  from  the  Itahan  towns.  In  his  answer  is 
tlie  following  paragraph  :  — 

"  Of  all  the  fine  arts,  music  Is  that  which  has 
most  influence  on  the  passions,  and  which  the 
legislator  ought  the  most  to  encourage.  A  musical 
composition  of  an  intellectual  character,  if  the 
work  of  a  master,  never  fails  to  to  ich  the  feel- 
ings ;   and  it  has  more   intluence    >n  the  mind 


than   a  good  moral  book,  which  convinces  oui 
reason,  but  does  not  influence  our  habits." 

ARTUFEL,  DAMIANUS  D',  a  Spanish  Do*, 
minicau,  published  at  Valladolid,  in  Io7'.',  a 
treatise  on  vocal  church  music. 

ARTUS.  Court  musician  to  the  Emperor 
MaximiUau,  about  the  year  1.512. 

AKTUSI,  fJIOVANNI  MARIA,  a  canon  of 
Bologna,  ])ublished,  in  1.398,  a  work  called  "  The 
Art  of  Counterpoint,"  which  redin  es  the  i)re- 
cepts  of  Ziirlino  into  a  compendium.  In  li>03, 
ho  gave  a  continuation  of  tills  work,  in  which  h« 
treats  more  especially  of  the  impcrtections  of 
modem  miLsic.  In  IGOO  anil  ICOl,  he  published 
some  further  tracts  on  music.  -Vrtusi  wlshetl  to 
prove,  by  extracts  from  celebrated  authors  of 
anticiuity,  especially  from  Plato,  that  the  Greeks 
understood  music  in  parts ;  in  other  words,  tlie 
rules  of  couuterpoLut. 

AS.    (G.)    A  flat 

ASAPH.  A  musician  of  the  tribe  of  \a:v\,  in 
the  age  of  Da\'id.  Twelve  psalms  bear  his  name, 
but  it  is  not  generally  thought  he  composed 
them.  I'robably  he  set  them  to  music,  or  some 
of  his  descendants  did,  and  called  them  by  his 
name.  Kings  had  their  piulicular  music  and 
music  masters ;  and  iV.saph  was  King  Da\-id's 
music  master.  Ho  taught  the  Bweet  Biuger  of 
Israel. 

ASCENDING  NOTES,  or  ASCENDING 
SCALE.     Thus :  — 


ASCILEXBRENXER,  CHRISTLVN,  was  bom 
in  16.34.  He  was  a  celebrated  vioUnlst,  and 
composetl  si.x  sonatas,  which  he  presented  to  the 
emjjcror  at  Vienna,  and  was  recompensed  with  a 
chain  of  gold  and  a  metlal.     He  died  in  1732. 

AS  DUR,     (G.)     A  flat  major. 

ASHE,  ANDREW,  was  bom  in  the  town  of 
Lisbume,  m  the  north  of  Ireland,  about  the  year 
17.59.  His  parents  sent  him  to  a  school  near 
Woolwich,  in  England,  before  he  was  nine  years 
of  age.  At  this  early  period  he  showetl  a  great 
disposition  for  music,  and  devoted  a  certain  sum 
of  his  weekly  allowance  to  the  master  of  the 
artillerj-  band,  (who  occasionally  attcnde<l  the 
academy,)  to  rweive  les.sons  on  the  vioUn.  ITjo 
young  votary  made  such  progress,  that  in  a  short 
time  his  school- fellows  preferred  dancing  to  his 
fiddle  to  their  usual  gjinnastic  exercises  t)etwct'n 
school  hours.  He  continuetl  at  this  academy 
until  he  had  attained  his  twelfth  year  ;  at  this 
period,  a  lawsuit,  which  had  been  ])ending  for  a 
number  of  years,  between  a  ueiglil>oring  noble- 
man and  his  grandl'ather,  tcnuinatiug  to  the 
great  disadvantage  of  the  latter,  rcnderc<l  it  in- 
convenient to  his  parents  to  continue  their  son 
at  so  iUstaiit  a  seminary,  and  cause<l  them  to 
resolve  on  his  return  to  Ireland.  Previously  to 
this  proposed  removal,  Count  Bentinck,  a  relation 
of  the  Portland  family,  and  a  colonel  in  the 
British  service,  happene<l  to  be  riding  by  the 
academy  at  Woolwich,  and  perceiving  voung  Ashe 
in  tears,  with  his  letter  of  recall  in  his  liaud,  a^k<kl 
him  what  vat  the  mkttcr;  he  replied,  sobbing 


69 


ASH 


ENCYCLOPAEDIA    OF    MUSIC. 


A  SB 


tliat  his  faiuUy  wore  ruined  by  a  lawsuit,  and 
that  he  wius  desired  to  return  home  to  Irehind,  as 
his  friends  could  not  afford  to  keep  him  any 
loiif^er  at  ^^'oolwil•h.  The  humane  nobleman, 
struck  with  the  boy's  ajipiurent  grief,  was  induced 
to  make  further  inquiry  about  him  from  the 
master  of  the  academy  ;  and  a  correspondence 
between  the  count  and  the  child's  jiareuts  com- 
menced in  conse<iucnce,  which  terminated  in 
young  Ashe's  removal  to  the  liouse  of  the  count, 
who  shortly  after  took  him  to  the  Island  of 
ilinorca,  where  his  regiment  then  was.  ITicre 
he  procured  for  him  instructions  on  the  violin  by 
on  eminent  Italian  master,  under  whom  he  im- 
proved so  much,  that  he  was  soon  looked  upon  as 
a  musical  prodigy  for  his  age.  lie  next  accom- 
panied his  jirotoctor  in  a  considerable  tour 
throvigh  Spain,  Portugal,  France,  and  Germany, 
and  hnnlly  settled  •with  him  on  liis  estates  in 
Holland.  Here  young  Ashe's  education  was 
paid  particular  attention  to,  the  count  ■wishing  to 
prepare  him  to  l)e  a  confidential  sei-vant  on  his 
estates;  but  the  boy  was  too  far  advanced  in 
music,  and  loved  it  too  much,  to  permit  him  to 
pay  the  attention  requLsite  to  complete  himself 
for  the  intended  office  of  land  steward.  He  had 
now  acquired  a  pretty  general  knowledge  of 
various  wind  instruments,  having  attended  the 
regular  practice  of  liis  patron's  regimental  band, 
with  wliich,  we  have  heard,  he  even  used  to  do 
duty  in  Minorca.  About  tliis  time  he  showed 
an  e\'ident  disposition  for  the  flute ;  but  it  was 
then  so  limited  an  instrument,  that  after  con- 
siderable application  he  relinquLshed  it,  in  con- 
sequence of  its  great  imperfections.  Shortly 
after  this,  the  Sieur  Vanhall  (brother  to  the 
celebrated  composer  of  that  name)  arrived  at 
the  Hague  from  London,  and  brought  a  flute 
with  six  keys.  Vanhall  announced  a  concert,  in 
which  he  was  to  perform  a  concerto  on  this  flute 
with  sLx  keys.  It  being  the  first  of  these  im- 
proved instruments  that  had  reached  Holland,  a 
general  curiosity  was  excited  to  see  where  these 
keys  could  be  placed  on  a  flute,  and  no  one  was 
60  actively  curious  in  this  respect  as  young  Ashe, 
who  lost  no  time  in  ofl'ering  his  services  on  the 
violin,  and  j)romising  tlic  count's  patronage  of 
the  concert,  which  he  accordingly  prociu-ed  for 
Vanhall.  The^e  additional  keys  on  Vauhall's 
flute  were  in  his  hands  only  ornamental,  a-s  he 
had  not  acquired  the  use  of  them ;  but  when 
young  Ashe  tried  them,  and  found  that  they  pro- 
duced all  the  half  notes  as  full  and  round  as  the 
tones  natural  to  the  instr»iment  in  it-s  unkeyed 
ttate,  he  made  up  his  mind  to  have  this  flute,  route 
quicoute  ;  which  he  accomplished  at  a  considerable 
price,  by  the  couut's  indulgence.  This  was 
about  the  latter  end  of  1774,  when  Ashe  had  not 
attaii\ed  his  sixteenth  year.  From  that  period 
he  gave  up  the  violin,  aiul  dedicated  liis  entire 
attention  to  his  newly-acquired  jjurcha-se.  After 
some  months'  application,  the  celebrated  AVend- 
ling,  successor  to  Quantz,  the  King  of  Prussia's 
master,  came  to  the  Hague,  of  whom  young  Ashe 
had  some  lessons ;  but  on  his  second  \'i.sit, 
Wendling  told  him  his  new  flute  was  a  bad  one, 
that  the  long  keys  on  the  bottom  joint  spoiled  the 
instrument,  and  that  the  small  keys  were  of  no 
use,  i)nrticularly  iu  (juick  passages.  These  ob- 
serwitions  of  the  master  not  corresponding  -with 
the  high  ideas  and  expectations  the  scholar 
•utertaiiicd  of  its   excellence,  induced   him   to 


discontinue  his  lessons  as  soon  as  a  proper  re- 
spect for  such  a  distinguishefl  master  would 
permit.  Our  young  aspirant  had  then  recourse 
to  his  own  natural  genius,  and,  after  a  few  years' 
incessant  application,  became  the  admiration  of 
Holland,  chiefly  from  the  uncommon  fulness  of 
hLs  tone  in  those  more  abstruse  keys  iu  music, 
which  could  not  be  produced  from  the  flute 
then  in  general  use,  and  which  jierfection  was, 
erroneously  in  a  great  measure,  ascribed  to  the 
performer,  without  allowing  a  participation  in 
this  honor  to  be  due  to  the  great  improvement  in 
the  construction  of  his  instrument.  All  thif 
time  Ashe  continued  under  (we  may  call  it)  the 
paternal  roof  of  his  benefactor,  the  count ;  but, 
a-s  ingratitude  is  inherent,  in  a  more  or  less 
degree,  in  some  natures,  we  are  sorrj-  to  have  a 
particle  of  it  to  annex  to  the  subject  of  our 
present  article;  but  the  truth  is,  that,  flushed 
with  the  admiration  he  experienced,  he  was 
anxious  to  launch  into  the  world  from  under  the 
roof  which  had  so  long  sheltered  him  ;  and  the 
count,  who  saw  his  thoughts  by  his  demeanor, 
permitted  him  to  go,  on  a  handsome  salary,  as 
femily  musician  to  the  late  Lady  Torrington,  then 
on  the  point  of  removing  from  Holland  tc 
Brussels.  He  remained  in  Lord  Torrijigton's 
family  until  that  nobleman  thought  proper  to 
reduce  his  establishment ;  and  was  next  engaged 
by  the  late  Lord  Dillon,  who  also  resided  in 
Brussels.  This  nobleman  was  a  great  patron  of 
the  opera  in  that  city,  and  wished  his  musician  to 
have  the  situation  of  first  flute  in  the  opera 
orchestra,  to  which  a  demur  was  made  by  the 
Brabant  nobility  and  Flemish  subscribers  in 
general.  Parties  rail  high;  but  there  being  at 
this  period,  1778  and  1779.  a  great  nimiber  of 
English  at  Brussels,  who  were  a  material  support 
to  the  opera,  they  demanded  a  public  trial  of 
skill  between  the  resident  flute  of  the  opera  and 
young  Ashe,  which  accordingly  took  place  at  the 
first  rehearsal  of  the  season;  and,  although  it 
was  acbuitted  that  the  Sieur  ^'aullaU  was  by 
far  the  most  experienced  musician  and  flute 
player,  yet  Ashe  gained  the  general  approbation 
and  situation  by  hLs  superiority  of  tone,  ibr  wliich 
he  had  to  thank  the  improvement  of  hLs  addi- 
tional keys,  in  all  probability,  more  than  any 
preference  of  embouchure.  In  this  school  of  musi- 
cal improvement  our  young  flutist  remained  for  a 
few  years,  when  an  IrLsh  gentleman  of  the  name 
of  AVhrte,  a  great  amateur  of  music,  exjiressed 
the  intention  of  making  a  grand  continental  tour ; 
and  as  Ashe  was  by  this  time  a  general  linguist, 
in  addition  to  hLs  flute  playing,  Mr.  Whj-te  pro- 
posed to  take  Ashe  with  liiin,  which  was  too 
congenial  with  our  young  traveller's  disposition 
to  be  declined.  After,  however,  relinciuishing  all 
his  engagements,  letters  called  Mr.  AMiyte  back 
to  Ireland,  and  Ashe,  lia\-ing  long  had  a  hanker- 
ing after  the  land  of  his  birth,  from  which  ne 
had  been  absent  since  his  infancy,  willingly 
accepted  Mr.  Whj-te's  off'er  of  accompanjing  him 
to  Dublin.  Not  long  after  his  an-ival  in  Ireland, 
he  was  engaged  for  tlie  Rotunda  concerts  in 
Dublin,  which  were  then  brilliantly  supported- 
Here  Ashe  remained  a  low  years,  and  the  great 
applause  his  perfonnance  always  met  wiih  Vas 
a  stimulus  to  hLs  further  improvement.  His 
celebrity  lia\nng  for  some  time  reached  England, 
the  late  Mr.  Salomon  (who  had,  in  1791,  brought 
over  the   immortal   Havdn   for  lus  concerts  ir 


70 


iSII 


ENCYCLOP.'EDIA    OF    MUSIC. 


Asn 


Hauovcr  Sjuare,  and  was  anxious  to  have  a  suit- 
able orcherftrii  to  execute  tliLs  incomparable  mas- 
ter's symiihonies,  which  were  composed  expressly 
for  these  concerts)  suspended  the  engagement  ot' 
liis  principal  llute  until  he  had  the  opportunity 
of  hearing;  Ashe ;  which  was  art'orded  him  the 
same  summer,  he  bein;;  engaged  to  perl'orm  at 
the  Rotunda  concerts,  with  a  celebrated  violon- 
cello j)layer  of  tl'.e  name  of  Spcrat.  Salomon 
was  so  liigiily  plea.-ed  with  Ashe's  intonation 
and  tone,  that  he  gave  him  a  very  liberal  engage- 
ment for  Hanover  Square;  and  accordingly,  in 
1792,  he  made  liLs  liist  ])ublic  appearance  in 
London,  at  Salomon's  second  concert,  in  a  man- 
uscript concerto  of  his  own  composition,  which 
iras  replete  with  such  novelty  as  to  excite  very 
considerable  admiration.  .Vtter  this  favorable 
debut,  it  is  not  to  be  wondered  that  he  became 
and  remained  the  reigning  flute,  both  as  an 
orchestra  and  concerto  player,  at  all  the  estal)- 
lishod  concerts  in  London.  Upon  the  abdication 
of  Monzani,  Aslie  was  appointed  principal  flute 
at  the  Italian  Opera,  whicli  situation  he  held  for 
Boverid  years.  He  next,  on  the  demise  of 
Kauzzini,  in  IS  10,  was  unanimously  elected 
director  of  the  liath  concerts,  which  he  conducted 
with  great  abihty  for  twelve  years ;  but,  in  con- 
sequence of  the  times  being  unpropitious  for 
public  undertakuigs,  was  induced  to  reluinuLsh 
their  management  in  the  winter  of  l.S'21-2  ;  hav- 
ing, as  we  undtT'tand,  lost  a  considerable  sum 
by  the  last  foiu:  years  of  his  direction.  "  In  the 
year  17'.>D,"  says  the  eilitor  of  the  Lomlon  Times, 
"  Ashe  miuiied  a  pupil  of  Rauzzini,  whose  vocal 
•xcelleuce  (as  Mrs.  Ashe)  is  too  generally 
known  to  make  any  comment  from  us  necessary. 
They  have  had  a  numerous  lamily,  nine  or  ten  of 
whom  are  now  living :  the  eldoit  daughter  is  a 
very  finished  i)erfonuer  on  the  harp,  but  is  not 
ill  the  proiession,  being  married  to  a  gentleman 
of  property  in  the  West  Lulies.  We  have  fre- 
quently been  delighted  with  the  second  MLss 
Ashe's  accomplished  style  of  singing,  and  very 
superior  perfonuancc  on  the  piauo-lorte,  although 
from  appearance  she  is  not  yet  nineteen.  AVe 
can  only  speak  of  Ashe  as  an  author,  from  hav- 
ing heard  many  of  his  flute  concertos  performed 
by  liimselt',  which  abounded  with  new  passages 
fancifully  ilispersed,  and  the  melodies  highly 
pleasing.  The  reaion  we  have  heard  assigned 
for  their  not  being  as  yet  given  to  tlie  jiublic,  is 
a  tenaciousness  in  the  composer  to  resen'e  them 
for  liis  own  performance  ;  but  we  understaiul  he 
purposes  shortly  to  print  them,  when,  we  have 
no  doubt,  they  -will  be  eagerly  sought  after  by 
both  ililettniUi  and  profe-sors.  We  have  dedi- 
cated rather  more  space  to  this  article  than  we 
can  conveniently  atford,  having  been  anxious  to 
lay  Ix-fore  our  readers  a  somewhat  detailed  ac- 
count of  a  gentleman  so  highly  esteemed  as  Mr. 
Ashe,  both  in  his  i)ublic  and  private  character. 
He  continues  in  full  pos-ii^sion  of  Ids  powers,  is 
iu  robust  health,  and  we  have  heard  liim  sav  he 
has  been  but  a  bad  customer  to  both  law  and 
ph)-sic  ;  never  having  expended  a  shilling  on  the 
former,  and  only  a  single  guinea  fee  to  the  latter." 

ASHE,  MILS.,  wife  to  the  preceding,  was  n 
good  singer,  and  for  some  years  sang  at  the 
oratorios  and  other  public  conceits. 

ASHE,  MISSES,  daughters  of  the  preceding, 
were  e.\celleut  pertbrmeni  on  the  harp  and  piano ; 


they    aLso    sang   jjleasingly.      They    performed 
before  the  London  public  in  18'2I. 

ASHLEY,  GEXERAL,  a  celebrated  English 
violinist.  His  father  was  the  jnanagcr  of  th» 
oratorios  at  Covcut  (jiirden  Theatre,  which  per- 
formances ho  led  with  great  aliility  for  many 
years.  After  his  death,  liis  sons,  (jenoral  and 
Charles  Ashley,  succeeded  him  as  joint  managers. 
General  Ashley  was  educated  in  music  undei 
Giardini  and  Harthelemon,  and  was  esteemed  an 
excellent  j)erformer  on  his  instrument.  He  was 
considered  also  as  the  best  modern  judge  of 
violins  and  violoncellos ;  of  which,  in  the  hittei 
years  of  his  lil'e,  he  had  a  very  valuable  colliC- 
tion.     He  died  near  London  in  1818. 

ASHLEY,  JOHN"  JAMES.  An  eminent  or- 
ganist and  singing  master.  He  presided  for  seven 
years  at  the  oratorios  at  Coveiit  Garden,  where 
he  introduced  many  of  his  pupils  ;  among  whom 
were  Mrs.  Vaughan,  Mrs.  Salmon,  Master  EUiott, 
C  Smith,  and  other  lavoritc  vo.nl  performers. 
He  was  in  early  life  a  scholar  of  the  celebrated 
Sclu-<rtcr,  and  well  versed  in  the  science  of 
music,  and  author  of  some  excellent  lessons  for 
the  )iiano-forte,  canzonets,  &c.,  .S;c.  He  was 
brother  of  the  precetling,  and  died  a  few  years 
since. 

ASHLEY,  CHARLES,  brother  to  the  two 
preceding,  is  an  eminent  violonceUist,  still 
living  in  London.  He  is  one  of  the  original 
thirty  members  of  the  I'hilliannonic  Society. 

ASHLEY,  RICHARD,  younger  brother  of  the 
three  foregoing,  is  a  celebrate  I  tenor  player, 
rc-.iding  in  London.  He  was  i)rincipal  tenor  at 
the  York  musical  festival  in  182.'J. 

ASHLEY,  JOHN',  of  Bath,  received  his  mu- 
sical education  from  his  eltler  brother,  Josiah 
Ashley,  an  eminent  flutist  and  liauiboy  i)layer 
of  his  day.  He  has  been  a  jierfonuer  on  the 
bassoon  at  the  Bath  concerts  and  theatre  during 
nearly  half  a  century,  and  was  also  a  vocalist  at 
the  concerts,  Harmonic  .Society,  and  Yauxhall  of 
the  same  city.  The  sister  art  of  poetry,  or,  as  he 
has  termed  it,  rbyminri,  was  comliiued  Avith  the 
al)ove  professional  pur>uits  as  mav  be  seen  bv  a 
volume  he  pubUshed,  called  "Trilles  in  Rhjnue." 
With  regard  to  music,  Ashley  never  abjured  to 
any  thing  great  in  composition  ;  his  efforts  were 
confined  to  ballads  and  songs,  serious  and  comic  ; 
and  it  Is  believed  that  he  has  written  the  words 
to,  and  composed  more  of,  thc^-e  trifles,  which 
have  been  sung  by  eminent  performers,  anJ 
favorably  received  by  the  jiulilic,  than  any 
English  comjOTser  of  his  time.  The  following 
is  a  list  of  some  of  Ashley's  compositions  :  bal- 
lads, "  Honest  Ben,"  "  I'oor  Joe  the  Marine," 
"'nie  Sailor's  Cree<l,"  "  "I'he  Heart  that  oer- 
flows,"  "Poor  ()ri)han  Maid,"  "Tom  and 
Susan,"  "Unanimity;"  song-*,  "England's 
King,"  "  Bundle  of  Proverbs,"  "  RhjTiie  A\ith- 
out  Reason,"  "  Boney  at  Bayonne,"  "  Origin  of 
Old  Bachelors,"  "  Wonderful  Song,"  "  Lads  of 
the  Ocean,"  ice,  &c. 

ASHWF;LI>,  T.  a  church  oorapoecr  in  th( 
time  of  Henry  YtU.  and  Edward  VI.  Many  of 
his  works,  are  still  prcserred  at  Oxford. 

A.SH\VORTH,  an  Englishman,  «-rote  an  in 
troduction  to  the  art  of  singing  about  the  y«H 
1787. 


71 


\SM 


EXCYCLOPyEDIA    OF    MUSIC. 


ASP 


AS  MOLL.     A  Hat  minor. 

ASPEROES  ME.  (L.)  'ITie  opening  of  the 
miisH. 

ASPREZZA.     (L)     With  dryness ;  coarsely. 

ASSAL  (L)  Very;  as,  adayio  a«ai,  very  slow. 

ASSOLL'TO.  (I.)  Solus;  alone.  One  voice, 
without  an  J'  nccornpaniment. 

ASIOLI,  BOXIFAZIO,  was  born  at  Correggio 
nbout  the  year  17G0.  About  the  year  179G,  he 
went  to  London,  where  he  remained  some  time, 
and  then  returned  to  Milan,  and  was  appointed 
chapcl-mitster  and  chamber  musician  to  the 
King  of  Italy.  In  1808,  a  new  conserva- 
tory was  established  at  Xaple^  to  the  direction 
of  which  A  doli  was  aijpointed  by  the  king. 
Among  hLs  numerous  dramatic  and  vocal  works, 
the  following  list  is  given  by  Gerber  :  1st,  "  La 
Voluhile,"  ojiera  buffa  ;  2d,  "  //  Ratio  di  Proser- 
pina," intermezzo,  1785  ;  3d,  "  Six  Italian  Duets," 
London,  170G;  4th,  "Six  Italian  Aus,  in  the 
Style  of  Canzonets,"  London ;  5th,  "  Variaz,  p. 
it  Ccmb.  siiW  Aria,  V  ame  Dettiiml  a  me'l  h-a 
fatta,"  Vienna  ;  fith,  "  Ottaoiiio  a  2  V.  2  Fl.  2 
Viole.  Fag.  e  Vc,"  Vienna;  7th,  Capriccio p.  Piano 
F.,"  Op.  1,  Zurich,  1803;  8th,  "Z  Arivtte  colV  ace. 
ch  Piano  F.,"  Op.  2,  Zurich;  9th,  "  Capriecio p. 
Piano  F.  a  4  Mani,"  Op.  3,  Zurich;  10th,  "Ca- 
priccio p.  Piano  F.,"  Op.  5,  Zurich,  1803  ;  11th, 
"  3  Arietta  coW  ace.  di  Piano  F.,"  Op.  i,  Zurich, 
1803;  rith,  "3  Daetti  p.  2  Soprani  coW  ace.  di 
Piano  F.,"  Op.  (},  Zurich;  13th,  "La  Campaiia 
i/i  Morte,  Sonetto,  coll'  accotnp.  di  Piano  F.," 
Zurich,  1800.  Tliere  are  several  other  vocal 
works  of  Asioli,  some  of  which  are  published  by 
Rirchall  in  London,  and  evince  a  taste  in  melody 
eijual  to  that  of  any  of  the  modern  Itahan  com- 
posers. He  never  attempted  the  more  severe 
order  of  comjiosition ;  but  his  works  are  in  music 
what  those  of  Propertius,  Catullus,  and  Tibullus 
wore  in  poetry,  as  compared  with  Horace  and 
Virgil ;  as  true  music  di  camera,  they  will  very 
long  be  admued. 

ASOLA,  or  ASULA,  GIOVAXXI  MATTEO. 
A  composer  of  church  music  at  Verona,  between 
the  years  15G5  and  1600. 

ASOR.  An  ancient  instrument,  very  much 
resembling  the  tiuadrangular  lyre. 

ASPELMEYEIl,  or  APPELMEYER,  FRAXZ, 
musician  to  the  emperor,  and  ballet  composer  at 
Vienna,  died  in  178G.  He  composed  some  instru- 
mental music  and  two  operas. 

ASPULL,  (JEORGE.  nie  London  Musical 
II WW,  for  1825,  contains  the  loUowing  notice  of 
this  extraordinary  youth  :  "  In  the  more  select 
musical  circles  of  London,  there  has  been, unob- 
trusively stealing  into  notice  a  child,  in  whom  is 
developed  so  early  and  so  extraordinary  a  talent 
lor  music,  that  the  most  fastidious  predict  for 
Lira  a  reputation  of  the  highest  order,  and  speak 
of  him  as  a  genius  born  to  bastow  a  character  for 
eminence  in  that  art  which  hits  hitherto  been 
withheld  by  foreigners  Ixom  the  natives  of  this 
country.  His  father  was  formerly,  we  under- 
t-tand,  in  business,  but,  not  being  successful  in 
the  i)ursuit  he  at  first  chose,  was  compeUed  to 
resort  to  mu>ic  an  a  profession,  and  by  diligent 
and  successful  praitice  has  acqviired  some  repu- 
l-ation  Bfi  a  ]ier.brmcr  on  the  violin.  It  was  not 
till  Ilia  son  had  ccusidcrably  passed  the  age  of 


five  years  that  he  gave  any  indications  ot  that 
decided  bent  which  his  mind  has  smee  tcken 
but  the  marks  of  genius  he  then  discovered  wer4 
so  evident,  that  Mr.  Aspull  determined  to  ui  der- 
take  himself  the  care  of  liLs  education  in  music, 
and,  foreseeing  the  advantages  to  wliich  it  might 
lead,  devoted  the  whole  of  his  time  and  attention 
to  that  object.  Ilie  fruit  of  liis  care  and  assi- 
duity is  apparent  in  the  surprising  talent  which 
young  Aspull  now  displays.  The  instrument  on 
wliich  he  perfonns  is  the  piano-foite,  at  which 
he  does  not  usually  sit,  his  stature  bting  so  small 
as  to  render  the  position  of  standing  that  which 
gives  him  the  most  perfect  command  of  the 
instrument.  His  lingers  are  extremely  short, 
even  for  hLs  age  ;  with  the  left  hand  he  cannot 
reach  an  octave  so  as  to  press  down  the  two 
notes  which  fonn  it  at  one  time,  and  is  only 
enabled  to  do  so  with  the  right  hand  with  much 
difficulty,  and  by  depressing  the  wrist.  The  im- 
pediment thus  ionned  to  the  acquisition  of  the 
mere  mechanical  difficulties  of  the  piano-forte 
wUl  be  perfectly  understood  by  all  those  who 
have  ever  attempted  that  instrument ;  but  they 
have  not  prevented  young  Aspidl  from  conquer- 
ing the  most  complex  and  rapid  passages  that  ' 
have  ever  appeared  in  the  form  of  musical  com- 
position. With  some  slight  aUowaiice  oidy  for 
those  passages  reijuiring  greater  strength  than 
that  to  which  his  little  Irame  Ls  adequate,  or 
combinuig  more  distant  intervals  than  liis  lingers 
can  possibly  command,  there  is  no  difficulty  of 
execution  that  can  stop  him  for  a  moment.  The 
compositions  of  Kalkbreuner  and  iloscheles, 
prepared  for  displaying  in  public  the  manual 
skill  of  those  celebrated  professors,  are  played 
evidently  ^s-ithout  the  smallest  effort  by  this  ex- 
traordinary child.  He  has  also  made  himself 
master  of  a  piece  of  most  singular  dilficulty,  by 
a  foreign  composer  whose  name  is  Czerny,  and 
w-ho  wrote  it  as  a  trial  of  skill  for  all  the 
eminent  professors  of  Europe,  and  in  order  to 
combine  all  the  mechanical  niceties  of  execution 
of  which  the  instrument  is  susceptible.  Thi- 
piece,  consisting  of  oidy  one  movement,  occupies 
nearly  forty  pages  of  printed  music,  every  one  of 
which  is  crowded  with  rapid  di\-isions,  intricate 
modulations,  and  the  most  clu'omatic  passages 
that  the  art  of  the  composer  could  devise.  Some 
idea  may  be  formed  of  the  complexity  of  this 
movement,  by  the  fact  that  some  of  our  most 
eminent  professors,  to  whom  it  has  been  shown, 
have  shrunk  Irora  the  attempt  to  play  it.  But 
the  mechanical  skill  of  young  Aspull  is  that 
which  has  least  surprised  those  who  have  had  the 
pleasure  of  hearing  him  perfonu.  A  cliild,  with 
a  certain  cleverness  and  quickness  of  parts,  may 
be  taught,  by  repeated  elforts,  to  conquer  the 
greatest  intricacies,  and  when  conquered,  there 
will  remain  nearly  the  same  im;)ression  from 
them  wliich  results  on  \-iewing  an  exhibition  on 
the  tight  ro])e,  or  the  antic  tricks  of  the  unfor- 
tunate pupils  of  the  postiue  master.  Mr. 
Aspull's  i)upil  Ls  not  of  this  class ;  the  boy's 
mind  eWdently  participates  in  all  that  his  hand 
executes.  A  passage  wliich  he  is  compelled  to 
leave  imperfect,  through  a  defect  of  phj-sical 
power,  does  not  stop  or  disconcert  him,  as  it 
would  an  ordinary  pupil,  but  he  passes  on  to 
the  next,  and  is  as  certain  to  give  it  with  effect 
as  if  liimself  had  composed  it.  Short  as  the 
period  is  which  young  Aspull  has  devoted  to  th« 


72 


ASS 


ENCYCLOPAEDIA    OF   MUSIC. 


ATU 


study  of  music,  he  has  cultivated  every  style,  and 
»11  with  success  ;  in  these  are  included  the  con- 
certos of  Ilandcl,  and  the  fugues  of  the  Baclis 
and  Scarlatti ;  than  which  latter,  perhaps,  no 
works  could  i)ossibly  be  selected  less  accessible 
to  a  juvenile  student.  Young  Aspull  unites 
with  these  the  talent,  which  is  rare  amon^  pro- 
fessors, of  extempore  ])laj-ing  ;  at  which,  if  per- 
mitted to  do  so,  he  will  jiass  horns,  and  with  a 
fluency  that  would  indicate  musical  notes  to  be 
that  vehicle  by  which  he  could  best  express  his 
ideas.  "VVc  ought  not  to  omit  to  state  of  him, 
that  he  sings  ballads  to  his  own  accompaniment 
on  the  piano-forte,  in  a  voice  thin  and  weak, 
owing  to  his  extreme  youth,  but  with  peculiar 
taste  and  delicate  expression.  Ilis  appearance 
anil  behavior  do  not  diiicr  from  those  of  otlier 
chililrcu  of  the  same  age  ;  but  hLs  manner,  when 
per.bnning  on  the  piano-forte,  Ls  that  of  a  person 
deeply  attentive.  The  most  rapid  and  involved 
passages  do  not  produce  a  change  of  counte- 
nance, nor  any  sign  of  effort.  Little  study  is 
requisite,  even  for  the  most  elaborate  pieces  ;  and 
those  of  ordinary  dilKculty  he  can  execute  at 
once,  on  being  permitted  to  cast  his  eye  over 
them  belore  taking  his  station  at  the  piano-forte. 
Certainly  this  child  bears  about  liim  prognostics 
of  futiue  eiuineuce,  wliich  could  not  have  been 
greater  or  more  conclusive  in  the  person  of  Mo- 
zart himself.  In  February,  1SJ5,  Master  .Yspull 
was  introduced  to  his  majesty  and  a  party  of  dis- 
tinguislicil  personages  at  Winilsor,  when  he  de- 
lighted the  company  for  two  hours  with  his  per- 
fonnances.  lie  playe.l  many  of  tlie  most  dilhcult 
compositions  oa  the  piano-forte,  with  a  power  of 
execution  scarcely  exceeded  by  the  most  ex- 
perienced professors,  and  with  a  tivste  and  feeling 
which  no  practice  alone  can  give,  'llie  king, 
during  the  whole  performance,  expressed  his 
most  unnualiiied  delight,  and  bestowed  \ipon 
this  mtcrcsting  boy  that  encouragement  and 
commendation,  which,  to  the  frienrls  of  this  phe- 
nomenon, are  doul'ly  valuable,  from  liis  majesty's 
exalted  riuik  and  scientitic  knowledge ;  and  as  the 
greatest  jjroof  of  lus  m  ijesty's  opinion  of  him,  he 
commanded  his  attendance  at  the  castle  the  fol- 
lowing evening,  to  have  another  opportunity  of 
^vituessing  liis  powers.  The  Princess  Augusta 
w;is  equally  delighted  and  a-stouLshcd  by  the 
genius  of  tlvLs  cliilil,  and  condescendingly  turned 
over  the  leave  <  of  liis  books  during  the  whole 
performance.  In  addition  to  his  display  on  the 
piano.  Master  Aspiill  sang  four  songs  in  a  style 
which  called  forth  tlie  most  enthusiastic  plaudits." 
Ila  died  JOth  .Vugust,  1832. 

Af^SM  AYEIl.  Composer  of  some  quintets  and 
other  instrumental  music  for  the  piano-forte,  &c., 
at  Vienna.     (NVe:>sel  and  Stodart's  Cat.  1822.) 

ASSOUCI,  CHAUIJiS  COYPEAU  D",  a 
French  composer  for  the  theiitre,  died  in  1679, 
at  Piuris. 

ASSUXI    or    ASUNI.    GinLUNI    DI.     A 

composer  for  the  tlule  and  guitar.  Preston 
published  some  of  his  music  about  the  year 
1705.     (See  also  dementi's  Cat.  1823.) 

ASTAUITA,  GEXNARO,  is  celebrated  both 
as  a  serious  and  comic  composer,  but  particularly 
the  latter.  His  nntiu'al  and  aijreeable  style  con- 
ciliated the  lavor  of  the  public,  although  the 
opinion  of  the  connoisseurs  was  not  always  cqual- 

10  7 


ly  favorable.  HLs  air,  "  Come  lasciar  poss'io,'' 
was  uiiivei-sally  sung  and  applauded.  His  oj)enw 
were,  "  l^i  Cjiitdjisu  ili  Bimhi.ipuU,"  1772  ;  "  /.« 
VUtDiMri,"  1772;  "  Fiitezzj  it  Aiiuire"  1773;  "I 
Marito  che  7U>n  tui  Mo  /lie,"  1771 ;  "La  Critical 
TeairaU;'  177.5  ;  "  //  M'xtodella  Luiui,"  177.5  ;  "  Ui 
Dama  iiiui'/iiutria,"  1777;  "  L' IsoUt  iti  Benijoli," 
1777  ;  "  Armiila,"  1777  ;  and  "  Circa  e  i'tiue," 
which,  in  1787,  was  given  under  this  title,  in 
all  the  theatres  of  Germany,  as  a  now  jiiece. 
Neither  the  nature  nor  the  niuuher  of  the  com- 
positions of  thLs  master  entitle  him  to  a  high 
rank  among  classical  compo-orj  ;  but  he  ia 
worthy  to  be  jihiced  at  the  head  of  the  second 
class  of  the  musicians  of  Italy. 

ASTER,  DAVID.  A  German  organist  and 
voluminous  composer  at  the  begiiuiiug  of  the 
eighteenth  century. 

ASTIER.  A  French  composer  at  the  begin- 
ning of  the  livst  century. 

ASTON.  An  English  organLst  and  comjioser 
ui  the  time  of  Henry  VIU.  Some  of  his  music  ia 
preserved  at  Oxford. 

ASTORGA,  BARON  EMANt'ELE  D',  a 
Sicilian,  composed  an  elegant  and  refined  "  i^ahat 
MiUer,"  a  considerable  portion  of  which  is  in  the 
first  volume  of  Latrobe's  selection  ;  also  several 
cantatas,  which  were  much  celebnited.  He  came 
to  England  some  time  in  the  beginning  of  the 
last  centiu-y,  and  passed  one  or  more  Vinters 
in  London.  Dr.  Bumey  states  the  three  best  of 
Astorga's  cantatas  to  be  "  Qtuindo  jkiiso,"  "Tonie 
ApriU,"  and  "  In  ijiieito  core."  In  these,  he  says, 
there  are  expression,  grace,  and  science,  devoid  of 
pedantry. 

AST(JRGA,  J.  O.,  published  at  London,  in 
17'iO,  sLx  trios  for  the  flute,  and  in  1780,  some 
Italian  ariettes. 

ASTRU  A,  GIOVANNA,  of  Turin,  was  an  ex- 
cellent singer,  at  first  in  the  sen-ice  of  the  Sar- 
dinian, and  subsequently  of  the  Prussian  court. 
She  died  in  17')8,  in  her  thirty-third  year. 

ASUK.\.     See  .Asol.v. 

A  TEMPO,  or  .\  TEMP.  (L)  In  time.  Of 
similar  signification  with  a  brUtiita ;  and,  like 
that  cxprc>sion,  seldom  used  but  when  the  regu- 
lar me;vsure  has  been  designedly  intcrrupte<l. 
^\^len  there  has  been  some  short  relaxation  in 
the  time,  a  temp,  or  a  tem/>o,  denotes  that  the  per- 
former must  return  to  tlio  original  degree  of 
movement. 

ATKMPODI  OAVOTTA.  (L)  An  expres- 
sion denoting  that  the  movement  before  wliich  it 
Ls  placed  is  to  be  performed  in  the  time  of  a 
gavot.     See  G.vvotta. 

A  TEMPO  GIUSTO.  (I.)  In  equ.al  and  ju-n 
time.  An  expression  generally  applied  to  the 
manner  of  performing  a  steady,  sound  move- 
ment ;  a  movement  less  directed  to  the  feelings 
than  to  the  judgment ;  more  scientitic  tl\an  im- 
passioned. 

ATHANASIUS,  Bishop  of  .\Jexandria,  died 
in  the  yeiu-  372.  He  wrote  some  works  rclatiiii; 
to  church  music. 

ATHEN.EUS,  a  Greek  grammarian,  was  horn 
in  the  year  liiO.     In  the  fourth  bo<-)k  of  his  works, 
he  ticata  of  mu^nLc,  musician; ,  and  musical  iualru 
ments. 


ATn 


EN'CYCLOP.EDIA    OF    MUSIC. 


AUB 


ATIIERSTAXE.  A  composer  of  some  piano- 
forte music  published  iu  Loudon.  (Clemeuti's 
Cat.  1823.) 

A  THE,  or  A  3.     (I.)     For  three  voices. 

ATI.S.  A  good  flute  player,  born  at  St.  Do- 
mingo about  the  year  1715.  He  resided  chiefly 
iu  P'rauce,  and  composed  much  instrumental 
music. 

A'lTACCATO  SUBITO.  (I.)  To  be  com- 
menced immediately. 

ATTACCA,  ATTACCA  SUDITO,  (I.)  impUes 
that  the  performer  must  directly  commence  the 
following  movement. 

AITEXDANT  KEYS.  AccorcUng  to  Boyce 
and  Callcott,  attendant  keys  are  the  keys  on  the 
fifth  above  and  lifth  below  (or  fouith  above) 
any  given  key,  wliich  in  modulation  are  intro- 
duced by  the  addition  of  a  new  flat  or  sharj)  to 
the  signature.  Mr.  Maxwell,  in  his  essay  on 
tune,  proposes  a  system  of  eighteen  notes  on  the 
octave,  which  shall  make  the  keys  of  C  major 
and  A  minor,  with  the  attendant  keys,  or  six 
auxiliary  scales,  perfect,  iu  their  harmony, 
throughout. 

ATTERBURY.  A  celebrated  English  glee 
com])oser  in  the  latter  half  of  the  last  century. 
His  most  popular  works  were,  "  Come,  let  us  all 
a-Mnying  go,"  glee,  four  voices  ;  "  With  horns 
and  hounds  in  chorus,"  catch,  three  voices ; 
"  Take,  {),  take  those  lips  away,"  round,  three 
voices  ;  "  Sweet  enslaver,"  round,  three  voices  ; 
"  Joan  said  to  John,"  catch,  tlvroe  voices ; 
"  Lay  that  sullen  garland  by,"  glee,  three  voices ; 
"Come,  till  the  board,"  glee,  four  voices;  "  O, 
thou  sweet  bird,"  glee,  four  voices  ;  and  "  Adieu, 
ye  streams,"  glee,  four  voices.  (Birchall's  and 
Clemeuti's  Cat.)  Atterbury  died  during  the  per- 
formance of  one  of  lus  benelit  concerts. 

ATTEY',  JOHN.  An  English  composer  of 
some  songs,  published,  early  in  the  seventeenth 
century,  in  a  collection  entitled  "  Ayres  of  four 
and  more  Parts." 

ATOLIO.     See  Aeiosti. 

AITO.  (I.)  Act.  The  word  otto  Ls  found  in 
all  Italian  operas,  in  conjunction  wth  one  of  the 
words  expressive  of  the  ordinal  numbers ;  as,  cdto 
prima,  act  the  first ;  atto  sccondo,  act  the  second ; 
otto  terx,  act  the  tliird.     See  Act. 

ATTO  DI  CADENZA.  (L)  An  act  of  cadence. 
This  expression  denotes  that  disposition  of  the 
parts  which  indicates  a  cadence ;  as  when,  at 
tlie  end  of  a  strain,  the  bass  rises  a  fourth,  or 
iftUr.  a  fifth. 

ATIOIII,  ATT'RICI.  (I.)  The  principal 
sjigers  in  an  opera. 

AITWOOD,  THOMAS,  was  born  in  the  year 
17'>7.  ANTien  nine  years  of  age,  he  was  admitted 
a  chorister  in  the  chapel  royal,  and  received  the 
rudiments  of  his  musical  education  under  Dr. 
Narc^,  (the  master  of  the  chapel  boys,)  and  his 
successor.  Dr.  A)Tton,  remaining  »inder  their 
tiiition  about  five  years.  AVhon  Attwood  had 
attained  his  sixteenth  year,  he  was  so  fortunate 
as  to  i)orrorm  at  Buckingham  House  before  the 
Prince  of  Wales  who  most  graciously  proposed 
to   send  him   to  Italv,  to  stud>-'  under  the  cele- 


brated masters  of  that  school,  and  for  this  pur- 
pose  settled  a  handsome  income  ujmju  him 
paid  out  of  liis  royal  liighness's  private  purse, 
for  the  whole  period  of  hw  absence  from  Eng- 
land. This  unlooked-for  patronage  and  bounty 
was  remembered  with  the  deepo-it  sense  of 
gi'atitude  by  Attwood,  who  ascribed  to  that  gen- 
erous act  his  subsequent  professional  successes. 
In  the  year  1783,  he  accordingly  went  to  Naples, 
where  he  resided  two  years,  receiraig  instruc- 
tions during  that  time  from  FiUppo  Cinque 
and  Latilla.  From  Xaplw  he  went  to  Vienna, 
where  he  was  so  fortunate  as  to  become  the  pupil 
of  the  celebrated  Mozart,  under  whom  he  studied 
till  the  year  1786,  when  he  returned  to  England. 
HLs  royal  highness,  still  most  nobly  and  gen- 
erously continuing  his  patronage,  nominated  Att- 
wood one  of  the  musicians  of  his  chamber  band, 
to  which  the  celebrated  Scluwder  was  at  that 
time  attached.  Soon  alter  tlie  marriage  of  the 
Duke  of  Y'ork  witli  the  Princess  Royal  of  Prus- 
sia, Attwood  was  applied  to  by  the  duke  to 
instruct  her  royal  highness  in  music.  On  the 
amval  of  the  Princess  of  Wales  in  England,  he 
was  also  selected  by  his  munificent  patron  to  be 
her  royal  liighness's  musical  instructor.  In  1795,' 
Attwood  succeeded  Jones  as  organist  of  St.  Paul's 
Cathedral ;  and,  m  1796,  obtained  the  situation 
of  composer  to  his  majesty's  chapels  royal, 
succeeding  the  late  Dr.  Dupuis.  Lastly,  in 
1821,  his  majesty  added  to  the  numerous  in- 
stances of  royal  favor  already  shown  him,  and 
which  he  had  continued  through  so  loug  a 
period,  by  appointing  Attwood  to  the  situation 
of  organist  of  the  private  chaj)el  in  the  Pavilion 
at  Brighton.  All  these  situations  he  is  said  to 
have  had  the  gratification  of  obtaining  either 
directly  from  his  majesty,  or  in  couicjuence  of 
his  majesty's  generous  recommeudatiou.  For  sev- 
eral years  Attwood  devoted  much  of  his  time  to 
di'amatic  music,  m  which  he  was  so  eminently 
successful,  that  the  pubUc  exijerienced  a  great 
loss  when  he  thought  tit  to  change  the  line  of  his 
studies.  He  composed  several  operas,  of  wliich 
the  foilo-tting  were  the  most  popular :  "  The 
Prisoner,"  "  The  Mariners,"  "  'I'he  Adopted 
Child,"  "  Tlie  Smugglers,"  and  "  The  Castle  of 
Sorcuto."  Among  his  other  works  the  lollow- 
mg  are  the  greatest  favorites  with  the  public, 
viz.  :  songs,  "  llie  Soldier's  Dream,"  "  The 
Adieu,"  "  Sweet  Charity,"  and  "  The  Convent 
BcUs  ;  "  glees  and  trios,  "  The  Curlew,"  "  Iii 
peace  love  tunes,"  "  To  all  that  breathe,"  "  Quai 
aileiizio,"  and  "  O,  heavenly  sjnupathy."  Attwood 
has  fiuther  produced  several  pieces  of  cathedral 
music  ;  and  of  late  yeai's  has  employed  a  consider- 
able poition  of  liis  time  in  this  species  of  compo- 
sition. In  virtue  of  his  otKce,  as  composer  to  the 
chapels  royal,  he  A^Tote  the  coronation  anthem, 
"  I  w!us  glad,"  wliich  was  perionued  at  the  coro- 
nation of  George  IV.  In  sj)eaking  ot  this  comiio- 
sition,  a  modern  critic  observes,  "  We  have  tire- 
quently  heoi-d,  from  persons  of  undoubted  author- 
ity, that  Attwood  has  a  profound  knowledge  of 
orchestral  effects,  and  we  now  have  a  proof  of  the 
fact  before  us.  In  particular,  we  admue  the  use 
wliich  he  has  made  of  the  wind  instruments. 
His  admirable  disposition  of  them  is,  indeed, 
worthy  of  a  pupil  of  Mozart."     He  died  in  1838. 

AUBADE.  (F.)    A  concert  given  in  the  morn- 
ing, in  the  ( \  en  air,  and  under  the  windows  of  th< 


AUB 


ENCYCLOPAEDIA    OF    MUSIC. 


AUB 


party  whom  it  is  intended  to  celebrate  or  enter- 
tain.    See  Sekexade. 

AUBEULEX,  S.  G.,  was  livinp;  nt  Tubingen 
in  1802.     lie  has  composed  many  aUcmandes,  &c. 

AUBER,  DANIEL  FRANCOIS  ESPRIT, 
born  at  Cncn,  the  29th  of  January,  1784,  on  a 
journey  which  his  parents  made  to  that  city, 
was  tlie  son  of  a  print  seller  of  Paris,  who  was  in 
easy  circumstances.  Endowed  with  a  most  hap])y 
disposition  for  music,  M.  Auber  tlrst  studied  this 
art  a-i  an  object  of  pleasure.  After  having  learned 
to  jjlay  upon  the  piano  under  the  diiection  of 
Ladumer,  he  was  sent  to  Loudon  to  pursue  the 
profession  of  a  merchant ;  but  being  soon  dis- 
gusted with  a  situation  for  which  he  did  not  feel 
tht.l  ue  had  been  bom,  he  returned  to  Paris. 
Being  well  received  by  the  public  because  of  his 
talents  and  genius,  he  began  to  make  himself 
known  by  some  small  compositions,  such  aa  ro- 
mances, some  of  which  met  with  success.  A  trio 
for  the  piano,  violin,  and  violoncello,  which  he 
pubhshed  about  the  same  time  at  Paris,  proves 
that  he  could  treat  instrumental  music  with 
ability.  But  some  other  more  considerable  works 
soon  increased  his  reputation  among  artists.  He 
was  an  intimate  friend  of  Lamare,  the  celebrated 
violoncellLst,  who  had  a  style  altogether  peculiar 
in  his  manner  of  plaj-ing  the  bass,  and  which  he 
desired  to  propagate  by  a  species  of  music  adapt- 
ed to  that  purpose ;  but  by  a  remarkable  circum- 
stance, which  it  would  be  difficult  to  explain,  he 
had  neither  a  melodious  idea  nor  trait  in  his 
head  which  he  was  able  to  employ  in  a  piece  of 
music.  At  his  retjuest,  M.  Auber  wTOtc  all  the 
bass  concertos  which  have  appeared  in  the  name 
of  this  virtuoso,  and  also  some  others  which  have 
remained  in  manuscript.  'ITie  public  thought 
tliat  these  concertos  were  the  compositions  of 
Lamare  ;  but  all  artists  knew  that  they  were  due 
to  the  talent  of  M.  Auber.  ITie  original  charac- 
ter of  tliis  music  produced  a  very  great  sensation 
in  the  public,  and  it  could  be  foreseen  that,  from 
that  time,  the  youthful  composer  to  whom  it  was 
due  would  one  day  enjoy  a  brilliant  reputation. 
About  the  same  time,  M.  Auber  wrote  a  concerto 
for  the  violin,  which  was  performed  at  the  Conser- 
vatory of  Music  at  Paris,  by  M.  Ma/as,  and  which 
was  eminently  successful.  TTie  desire  of  laboring 
lor  the  theatre  had  already  caused  him  to  set 
again  to  music  the  old  comic  opera  entitled 
"  Julie,"  with  an  accompaniment  for  two  violins, 
two  altos,  violoncello,  and  contraba.sso.  This 
work,  which  contained  many  cliamiing  pieces, 
was  represented  at  a  theatre  of  amateurs  at  Paris, 
and  received  much  applause.  A  short  time  af- 
terwards, M.  Auber  wrote,  for  the  small  theatre  of 
M.  de  Caraman,  I'rince  of  Chiraay,  another  opera, 
with  orchestra  complete,  from  which  he  has  since 
selected  many  jjieces  for  his  other  works. 

Notwithstanding  his  success,  which  until  that 
time  had  been  confined  within  the  circle  of  a 
certain  number  of  artists  and  araatciirs,  M.  Auber 
was  sensible  that  his  musical  studies  had  been 
incomplete,  and  that  his  knowledge  failed  him  in 
the  art  of  writing  ;  and  being  desirous  of  com- 
pleting his  education  in  this  respect,  he  devoted 
hunsell'  to  some  arduous  labors  under  the  direc- 
tion of  M.  Cherubini.  Tliese  studies  being  fin- 
ished, he  wTote  a  mass  for  four  voices,  from  which 
lie  has  since  taken  the  prayer  in  his  opera  of 
"La  Muette  de  Portici."     In   1813,  he  made  his 


debut  in  public  by  an  opera  in  one  ad.  which 
lie  caused  to  be  represented  at  the  theatre  Fey- 
deau,  under  the  title  of  "  Sijoiir  Militaire."  'ITiid 
work  did  not  answer  the  expectations  which  the 
first  attempts  of  M.  Auber  had  excited,  and  con- 
tained nothing  of  that  grace  and  originality  of 
ideas  which  had  gained  applause  for  his  fonnci 
productions.  A  repose  for  many  years  followed 
this  check,  and  the  composer  seemed  to  have 
renounced  a  career  in  which  brilliant  snccose 
awaited  liira,  when  the  derangement  of  his  for- 
tune, and  the  death  of  liLs  father,  obliged  M. 
Auber  to  seek  some  resources  for  his  sujjijort  in 
the  exercise  of  an  art  which  until  then  had  been 
to  him  only  a  relaxation.  In  1810,  he  caused  to 
be  represented,  at  the  Opera  Comique,  "Le  Testa- 
rnentet  le  ISilkU-doux,"  an  opera  in  one  act.  Thi* 
work  was  still  less  fortunate  than  the  first  j>ublic 
attempt  of  the  talents  of  M.  Auber  hail  been. 
ITie  eulogiums  wliich  had  been  la\Tshed  ui)on 
him  were  now  considered  as  the  opinion  of  a 
coterie,  and  arising  from  partiality  ;  but  the  com- 
poser soon  retrieved  himself  by  "  La  Bergire 
chAtelainc,"  an  opera  in  tliree  acts,  which  was 
played  at  the  same  theatre  during  the  first  part 
of  the  year  1820.  The  original  ideas,  the  melody, 
an  elegant  instrumentation  and  dramatic  effect, 
distinguislied  this  work,  which  obtained  com- 
plete success,  and  which  may  be  coitsidered  as 
the  fii-st  foundation  of  the  brilliant  reputation  of 
its  author.  "  Emma,  ou  la  Promesse  impriulciUe," 
an  opera  in  three  acts,  performed  in  1821,  com- 
pleted what  a  "  Bcrrjire  chatelaine "  had  com- 
menced, and  from  that  time  M.  Auber  has  known 
nothing  but  success. 

Aul)cr  was  first  brought  into  notice  in  1823,  by 
liis  opera  "  La  Nei'je,"  wliich  became  very  pop- 
ular, not  oiUy  in  France,  but  in  Germany,  and  \a 
fre<iuently  perfonued  in  the  principal  German 
theatres.  HLs  "  Pra  Diavolo,"  and  his  most 
celebrated  piece,  "  La  Mtietfe  de  Poiiici,"  (or 
MasanicUo,)  are  well  known  aU  over  Europe.  In 
Auber's  earlier  works  there  is  a  palpable  imitation 
of  Rossini ;  but  he  gradually  acquired  greater  in- 
dependence of  style  ;  and,  in  his  latter  composi- 
tions, his  manner,  both  in  the  cast  of  his  melodies 
and  the  disposition  of  his  accompaniments,  is  deci- 
dedly hLs  own.  HLs  jieculiarities,  indeed,  are  so 
marked,  and  so  constantly  perceptible,  that  they 
give  liis  music  too  great  a  uniformity  of  charac- 
ter, and  lay  him  open  to  the  charge  of  manner- 
ism. His  music  is  not  marked  by  depth  of 
thought  or  strength  of  feeling.  HLs  combina- 
tions are  ingenious,  but  not  profound ;  and  his 
melodies,  though  often  sweet,  and  sometimes  ten- 
der, are  very  rarely  pathetic.  But  hLs  music  is 
brilliant,  sparkling,  exhilarating,  and  remarkable 
for  the  clearness  and  simplicity  of  its  dnimatic 
effects,  even  in  scenes  of  the  greatest  bustle  and 
confusion,  'lljcse  are  the  btmuties  which  havt 
rendered  "  Ma-ianielln  "  so  generally  attnu-tivo. 
Every  auditor,  learned  or  unleanie<l,  Ls  animatca 
and  delighted  by  the  chanuing  bantirolJf,  the 
market  chorus,  the  chonis  of  fishermen,  the 
beautiful  finale  to  the  third  act,  (in  the  original 
piece,)  the  bacchanalian  song,  and  the  air  sung 
by  Masauiello.  Bea\itics  of  a  similar  kind, 
though  in  an  inferior  degree,  are  to  l>c  found  in 
"  Pra  DiaKolo."  Among  Aul)cr's  minor  iiroduc- 
tions,  a  comic  opera  (■alle<l  "  Le  Phiitrr,"  written 
by  Scribe,  and  brought  out  at  the  Acadcmie 
Koyale  in  1831,  is  probably  the  mast  agreeable. 


76 


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ENCYCLOPAEDIA    OF    MUSIC. 


AUP 


In  Mtiy,  1S25,  M.  Auhcr  was  made  a  Kiiight 
of  the  Legion  of  Honor,  and  the  Academy  of 
Fine  Arts  of  the  Institute  elected  hbn  one  of 
their  nienihcrs  in  the  month  of  April,  1829.  He 
has  since  held  many  posts  of  distinction,  both 
civil  and  professional.  lie  continues  to  produce 
sparkling  works  for  the  Opera  Gomique,  and  his 
overtures,  such  us  those  to  "  Xanctta,"  "  L' Es- 
toc'jiw,"  "  Miuiiiniello,"  "  l^s  Diainaiis  de  la  C'ou- 
roiiiu;"  ^c,  &c.,  every  whore  prcser\'e  their  pop- 
ularity in  mLsccUaneous  concerts.  "  Marco  Spcula  " 
is  the  title  of  liLs  last  opera.  M.  Auber  was  re- 
cently appointed,  by  Napoleon  HI.,  director  of  the 
Nnperial  music  and  maitre  de  chapelle  at  the  Tuile- 
rics. 

AUBERT,  musician  to  the  Duke  of  Bourbon, 
was  engrts^od  at  the  opera  at  Paris,  as  violinist,  in 
1727.  He  died  in  1758.  lie  composed  some 
sonatas  and  other  miisic. 

AUBERT,  son  of  the  preceding,  was  first  vio- 
lin at  the  opera  at  Paris  till  1771,  when  he  re- 
tired \v\t\i  a  pension.  Either  he  or  one  of  his 
brothers  wrote  a  refutation  of  the  principles  of  J. 
J.  Rousseau  respecting  French  music. 

AUBERT,  P.  F.  OLIVIER,  (sometimes  writ- 
ten O,)  a  violoncellist  at  the  Comic  Opera  at  Paris, 
was  born  at  Amiens,  in  1763.  He  has  written  an 
excellent  instruction  book  for  the  violoncello,  also 
much  iiistrumeutal  music. 

AIIBERTI,  a  violoncellist  at  the  Italian  The- 
atre at  Paris,  published  some  music  for  that  in- 
strument.    He  died  about  the  year  1805. 

AUBIGNY  VON  ENGELBRONNER,  NI- 
NA D',  the  youngest  of  two  sisters,  who  were 
celebrated  composers  of  songs  in  Germanj'.  She 
went  to  the  East  Indies  with  an  English  family. 

AUBIN,  MADAJiIE  ST.,  at  one  time  a  very 
celebrated  singer  of  the  Opera  Comique,  died  in 
1850,  at  Paris,  at  the  advanced  age  of  eighty- 
seven.  She  was  performing  during  the  worst 
period  of  the  first  revolution,  and  was  in  com- 
munication -with  Marat,  Robespierre,  and  CoUot- 
d'HcrboLs.  She  exerted  her  influenee  with  these 
men  to  save  victims  from  the  scaffold,  although 
there  was  a  certain  risk  in  so  doing  ;  and  during 
all  her  lilc  was  remarkable  for  charity  and  kind- 
ness. Slie  left  the  stage  at  the  age  of  forty-two. 
The  Empress  Josephine  appointed  her  one  of  her 
readers. 

AUDACE.     (L)     With  boldness. 

AUDIBILITY  OF  SOUND.  M.  Savart, 
speaking  of  the  inferior  limit  of  the  number  of 
vibrations  jicr  second  which  compose  a  sound 
just  pcrcci)tible  to  the  human  car,  says  he  had 
before  jirovod  by  experiments,  that  the  limit  was 
much  further  extended  than  he  had  generally 
supposed.  For  example,  sounds  are  very  dLs- 
tinctly  heard  which  result  from  more  than  fifty 
thousand  oscillations  in  a  second.  By  means  of 
a  new  apparatus,  he  can  now  show  that  sounds 
are  distinctly  perceptible,  and  even  strong,  when 
comjjosed  of  no  more  than  eight  vibrations  in  a 
iccond. 

AUDINOT.  Author  of  the  petit  opera  "  Le 
Tonm-lu'i;"  at  Paris. 

AUDINOT,  MLLE.  Suiger  at  the  Opera  at 
Paris  about  the  year  1782.     Ciretry  composed  the 


music  of  some  particular  parts  for  her,  especially 
"  Colinetle  d  la  Cour." 

AUENBRUGGER,  F.,  a  female  composer  of 
vocal  and  instrumental  music,  died  at  Vienna  in 
nso.  Her  sister,  Mary  Anne,  also  published 
some  music. 

AUFIIALTUNG.    (G.)    A  suspension. 

AUFLOSUNG.  (G.)  The  resolution  of  a 
discord. 

AUFFMAN,  J.  A.,  a  chapel-master,  published 
three  concertos  for  the  organ  at  Augsburg  in 
1754. 

AUFFSCHNAPTER,  BENEDICT  ANTON, 
chapel-master  at  Pa.ssau,  published,  between  1695 
and  1719,  various  sacred  compositions. 

AUGMENTATION.  This  word  is  chiefly  con- 
fined to  the  language  of  fuguists.  Augmentation 
Ls  the  doubling  the  value  of  the  notes  of  the  sub- 
ject ot  a  fugue,  or  canon ;  or,  to  speak  in  plaiu 
tenns,  giving  the  intervals  of  the  subject  in  notes 
of  twice  the  original  length.  AMien  whole  notes 
are  used  for  half  notes,  half  notes  for  quarter 
notes,  or  when  in  any  part  of  a  fugue  the  sub- 
ject is  taken  up  in  notes  of  double  thQ  value  of 
those  in  wliich  it  commenced,  the  process  is  called 
augmctitation.  In  fugues  by  augmentation,  feet 
become  phrases,  phrases  become  sections,  &c. 

AUGUSTIN.  Court  musician  to  the  Emperor 
Maximilian  I.,  1512. 

AUGUSTINI,  PAOLO.     See  Agostlxi. 

AUGUSTINUS,  AURELIUS,  lived  at  the  en<l 
of  the  foiirth  century  ;  he  wrote  a  book  on  music, 
which  was  printed  at  Basil  in  1521. 

AULBERUS,  or  ALBERUS.  A  Lutheran, 
professor  of  music  at  Tubingen.  Many  of  the 
canticles  now  in  use  in  the  Lutheran  church  are 
of  his  composition. 

AULEITA,  P.,  composed  an  opera,  entitled 
"  Ezio,"  about  the  year  1728. 

AULETTA.  An  Italian  buffo  singer  at  the 
Opera  at  Paris,  in  the  year  1820. 

AULETES.  One  of  the  names  given  by  the 
ancient  Greeks  to  flute  players. 

AULNAYE,  M.  DE  L".  Author  of  a  work 
entitled  "  De  la  HaUation  Theatrale,"  Paris,  1789, 
in  which  there  are  some  observations  on  music. 

AULUS  GELLIUS  lived  a  short  time  after 
the  death  of  Plutarch,  and  WTOte  some  works  on 
music. 

AUMANN,  DIETRICH  CHRISTIAN,  a  com- 
poser at  Hamburg,  published  several  vocal  works 
between  1787  and  1789. 

AUMER.  A  composer  of  some  theatrical  mu- 
sic at  Vienna.     (Boosey's  Cat.,  1822.) 

A  UNA  CORDA.     (I.)     On  one  string. 

AURELI,  A.,  of  Venice.  A  voluminous  writer 
of  dramatic  pieces  about  the  middle  of  the  seven- 
teenth century. 

AURELIANUS  REOMENSIS.  A  priest  and 
musician  at  Rheims  about  the  year  900. 

AURENHAMMER,  MADAME.  An  ingen- 
ious professor  of  the  haq)sichord  at  Vienna,  in 


76 


AUR 


encyclop-«:dia  of  music. 


AVI 


1787.  She  superintended  the  publicntion  of  somo 
of  Mozart's  works.     See  IJasENUOEMO. 

AURIEMMA.  A  Neapolitan  composer  for  tho 
opera  about  tho  year  1790. 

AURISICCHIO.  A  Roman  composer  about 
the  middle  of  the  eighteenth  centurj-.  lie  died 
very  young. 

Al'S.  (G.)  From,  oiU  of;  it  occurs  in  Ger- 
man titles,  &c. 

AUSARUEITUNG.  (G.)  The  elaboration  or 
last  finish  of  a  musical  composition. 

AUSDEIINUNG.      (G.)      Extension,   expan- 
sion. 
AUSDRUCK.     (G.)     Expression. 
AUSWEICHUNG.     (G.)    Modulation. 

AX'TENTICO.  Authentic  ;  chosen  or  ap- 
proved. A  tenn  appUed  by  the  Italians  to  cer- 
tain church  modes.     See  Mode. 

AUniENTIC.  Tliis  term  means  having  an 
immediate  relation  to  the  key  note  or  tonic  ;  in 
distinction  from  playal,  having  a  corresponduig 
relation  to  the  fifth  or  domuiant,  in  the  octave 
below  tho  key  note. 

AITIIENTIC  MELODIES.  Those  which 
have  their  principal  notes  between  the  key  note 
and  its  octave ;  in  distinction  from  pl<ti/al  mehdies, 
which  have  their  principal  notes  in  the  octave  be- 
low the  filth  of  the  key. 

Al'TIIEXTIC  MODES  or  TONES.  In  the 
ancient  church  music,  the  four  modes,  introduced 
by  St.  Ambrose,  in  which  the  princij>al  notes  of 
the  melodies  are  confined  within  the  octave  above 
the  key  note  ;  in  distinction  from  the  pUi'ial  modes 
or  tones,  introduced  by  Gregory  the  Great,  in 
which  the  principal  notes  of  the  melodies  are 
confined  within  the  octave  below  the  fifth  of  the 
key. 

AITIIENTIC  or  PERFECT  CADENCE.  The 
chord  or  harmony  of  the  dominant,  foLlowc<l  by 
that  of  the  tonic,  or  the  progression  of  the  domi- 
nant to  the  tonic  ;  in  distinction  from  the  plafjai 
cculencc,  the  chord  of  the  fourth  or  subdominant, 
followed  by  that  of  the  tonic,  or  the  progression 
of  the  subdominant  to  the  tonic. 

AUTOMATON.  D\Uembcrt  gives  an  ac- 
count, in  the  "  Encychpidie  Mit/iodit/iw,"  of  a 
gigantic  mechanical  fiute  player.  It  stood  on  a 
pe<lc^tal,  in  which  some  of  the  "  works  "  were 
contained  ;  and  not  only  blew  into  the  flute,  but, 
with  its  Ups,  increased  or  diminished  the  tones 
it  forced  out  of  the  instrument,  performing  the 
legato  and  staccato  passages  to  perfection.  The 
fingering  was  also  quite  accurate.  This  marvel- 
lous riutLst  wa.s  exhibited  in  Paris  in  1738,  and 
was  made  by  Jacques  de  Vaucanson,  the  prince 
of  automaton  contrivers.  A  full  orchestra  of 
clockwork  musicians  Ls  quite  possible.  Maelzcl, 
the  inventor  of  the  metronome,  opened  an  exhi- 
bition in  Vienna,  in  1809,  in  which  an  automaton 
trumpeter,  aa  large  as  lile,  performed  with  sur- 
prising accuracy  and  power. 

AUTOS  SACRAMENTALES.  (S.)  Certain 
theatrical  representations,  as  we  lenm  from  Fa- 
ther Menestrier,  which  the  Spaniards  formerly 
made  in  their  churches  expressly  for  great  pub- 
lic and  religious  festivaLs,  in  wliich  great  musical 
dull  was  displayed. 


AUTRE.VU,  J.,  a  pamter,  died  in  174.5.  II« 
wrote  some  French  songs  and  an  opera. 

AUVERGXE,  ANTOINE  D'.  Director  of 
the  (irand  Opera  at  Paris  in  1792. 

AU  VR.VY,  J.  B.  Composer  of  some  romanca. 
and  war  songs  at  Paris,  in  1797  and  ISOO. 

AVANT.VNO,  P.,  an  amateur  of  Nai)les,  pub- 
hshed  in  1730,  at  ^Vmsterdam,  twolvo  sonatas  foi 
the  violin  and  ba.ss. 

AVANZOI.INI,  GIROL.VMO,  a  contrapun- 
tist  of  tlie  seventeenth  century,  published  at 
Venice,  in  1()23,  some  psahns  for  eight  voices, 
with  the  thorough  bass. 

AVAUX,  D",  a  musical  amateur  -N-iolinist  at 
Paris,  published  many  sjnuphonics  and  quartets 
between  the  years  1787  and  1795.  He  also  wToto, 
in  1781,  a  letter  on  a  newly-invented  i)cnduluni 
to  measure  time  and  luiisic.  We  l\ave  not  seen 
this  work,  but  jirobably  it  takes  away  the  merit 
of  originality  from  the  metronome  of  Muelzel. 

AVELLA,  GIOVANNI  D',  a  Franciscan 
monk,  i)ubUshcd  a  book  on  the  rules  of  music,  at 
Rome,  in  lGo7. 

AVE  MARIA.  (L.)  Tlie  angel  Gabriel's 
salutation  to  the  Virgin  Mary,  when  lie  brought 
the  tidings  of  the  incarnation.  This  expression 
has  long  since  become  a  theme  for  raiLsical  com- 
position in  the  Romish  church,  and  is  generally 
set  in  chorus. 

AVENA.  (Ij.)  An  oaten  straw.  TluA  reed, 
as  supposed,  was  tho  third  kind  of  mmncal  in- 
strument used  by  the  ancients,  and  sticceedeil 
that  formed  of  the  honis  of  quadrupeds.  The 
first  was  a  shell :  so  simjjle  was  the  origui  of  mu- 
sic !  To  such  artless  beginnings  do  we  trace  its 
counteqjoint,  fugue,  double  fugue,  pealing  cho- 
ruses, melting  airs,  exalting  grandeur,  thrilling 
sweetness,  and  all  its  magic  power  over  our 
passions. 

AVEXARmS,  JOIIAN'X,  a  German  professor 
of  theology,  died  in  1692.  He  left  a  work  en- 
titled "  Musica." 

AVEXARIUS,  PmLTPPE,  organist  at  Al- 
tenburg,  pubUshed  some  sacred  music  at  Nurem- 
burg  in  1572. 

AVEXTIXUS,  JOIIAXXES,  a  reno\%nied  Ger- 
man historian,  died  at  Ratisbon  ui  lo.'U.  He 
>vrotc  a  work  entitled  "  Musica  RudimeiUa." 

AVERTEL.  A  composer  of  music  for  ■wind 
instruments  at  Vienna,  at  the  end  of  the  last 
century. 

AVIA,  J.,  a  musical  amateur,  published  in 
1650,  at  Constance,  a  collection  of  convivial 
songs. 

A^^ANUS,  JOHAN'N,  of  Eisenbcrg,  died 
there  in  1617.     He  wTote  some  works  on  music. 

AVICENXA,  a  celebrated  Arabian  physician, 
died  in  1036.  He  wrote  a  treatise  on  music  in 
the  Persian  language. 

AVILES,  MANUEL  LEITAM  DE.  Chapd- 
master  at  Granada  in  1625,  and  composer  oi 
several  ma-sscs. 

AVISON,  CHARLES,  orgamst  at  NewcasU^ 


AVI 


ENCYCLOPAEDIA    OF    MUSIC. 


AZO 


and  pupil  of  Geminiani,  was  the  author  of  an 
essay  on   musiciil   expression,  published  in  the 

C17i)2.  He  assisted  in  the  publication  of 
rello's  miLsic  to  the  Psalms,  adapted  to  Eng- 
lish words.  Of  liis  own  compositions  there  are 
extant  five  collections  of  concertos  for  \-iolins, 
and  two  sets  of  sonatas  for  the  harpsichord  and 
two  violins,  (dementi's  Cat.)  The  music  of 
Avison  is  light  and  elegant,  but  it  wants  origi- 
nality. In  his  essay  on  musical  expression,  he 
was  tlie  encomiast  of  MarccUo  and  Geminiani, 
frequently  to  the  prejudice  of  Ilandcl.  His  work 
was  answered  by  Dr.  Hayes  of  Oxford,  who  proved 
AvLhou  to  have  been  by  no  means  a  profound 
contrapuntist.  Soon  after  Avison  republished  his 
book,  with  a  reply  to  Dr.  Hayes,  and  a  letter  con- 
taining many  detached  particulars  relative  to  mu- 
sic. 'I'liis  last  edition  of  Avison's  work  is  now 
very  scarce. 

A  ^^STA.  (I.)  At  sight ;  a  prima  vista,  at 
first  sight. 

AVOLI.O,  or  AVOLIO,  J.,  appears,  by  Breit- 
kopf 's  Catalogue  of  1802,  to  have  been  a  com- 
poser of  instnunental  music  at  Leipsic.  (See 
also  dementi's  Cat.) 

AVOXT.VNO,  PIETRO,  a  NeapoHtan  com- 
poser, published,  in  1732,  twelve  sonatas  at  Am- 
sterdam. 

AVOSAXI,  ORFEO,  bom  near  MUan  in  the 
early  part  of  the  seventeenth  century,  by  no 
means  justified  by  his  talents  the  title  which  he 
chose  to  bestow  on  himself  of  Hitsband  to  Euryd- 
ice.     He  published  some  church  music. 

AXAMENTA.  (L.)  A  denomination  given  to 
the  verses,  or  songs,  sung  by  the  Sahi,  in  honor  of 
all  men.  Tlie  axamenta  were  never  accompanied 
by  instruments. 

AXT,  F.  S.,  died  in  Germany  in  1745.  He 
■«TOte  a  work  entitled  "  Anmis  Masicas." 

AYLWARD,  THEODORE,  was  one  of  the 
assistant  directors  at  the  commemoration  of  Han- 
del, in  1784,  at  AVestminster  Abbey.  He  com- 
posed some  church  music. 

AYRTOX,  DR.  EDMUXD,  was  bom  in  1734, 
at  Ripou  in  Yorkshire,  of  which  borough  his  fa- 
ther was  an  active  and  upright  magistrate,  whose 
three  immediate  ancestors  held,  successively,  the 
consolidated  Uvings  of  Xidd  and  Stainley,  witliin 
the  liberty  of  that  town. 

He  was  intended  for  the  church,  and  received 
his  education  at  the  free  grammar  school  of  hLs 
native  i)lace ;  where,  during  live  years,  he  was  a 
contemporary  of  Beilby  Porteus,  afterwards  Bish- 
op of  London.  But  his  father,  finding  it  pnident 
to  indulge  liis  son's  natural  incUnation  for  the 
study  of  music,  placed  him  under  the  instruction 
of  Dr.  Xares,  then  organist  of  the  cathedral  at 
York,  with  whom  he  commenced  an  acquaint- 
ance, which  ripened  into  a  friendship  that  death 


alone  terminated.  At  an  early  age  he  was  elected 
organist,  auditor,  and  rector  chori  of  the  collegiate 
church  of  Southwell,  in  Nottinghamshire,  where 
he  resnded  some  years,  and  married  a  lady  of 
good  family,  by  whom  he  had  lilteen  cliilclren. 
He  quitted  that  place  in  17G4,  upon  being  ap- 
pointed gentleman  of  the  chapel  royal ;  shortly 
after  which,  he  was  installed  a  vicar  choral  of  St. 
Paul's  Cathedral,  and  subsequently  became  one 
of  the  lay  clerks  of  Westminster  Abbey.  In  1 780, 
he  was  promoted,  by  Bishop  Lowth,  to  the  office 
of  master  of  the  children  of  hLs  majft^ty's  chapels, 
upon  the  resignation  of  his  valuable  friend  Dr. 
X'ares.  In  1784,  the  University  of  Cambridge 
conferred  on  him  the  degree  of  doctor  in  music  ; 
and,  some  time  after,  he  was  admitted  ad  eundem 
in  the  university  of  Oxford.  His  exercise  was  a 
grand  anthem  for  a  fuU  orchestra,  which  merited 
and  gained  so  much  praise,  that  it  was  ordered  to 
be  performed,  with  a  complete  band,  in  St.  Paxil's 
Cathedral,  on  the  29th  of  July,  1784,  being  the 
day  of  the  general  thanksgiving  for  the  peace. 
This  work  was  afterwards  published  in  score.  In 
the  same  year  he  was  chosen  one  of  the  assistant 
directors  of  the  far-famed  commemoration  of 
Handel,  in  Westminster  Abbey  ;  which  situation 
he  filled  at  all  the  succeeding  performances  in 
that  venerable  buUding,  till  they  were  discon- 
tinued at  the  troublesome  era  of  the  French  rev- 
olution. In  1805,  he  relinquished  the  mastership 
of  the  cliildren  of  the  royal  chapel,  having  been 
allowed  for  many  previous  years  to  execute  the 
duties  of  all  liis  other  appointments  by  deputy. 
He  died  in  1808,  and  his  remains  were  deposited 
in  the  cloisters  of  Westminster  Abbey,  near  those 
of  his  -wife  and  several  of  his  children,  whom  he 
survived. 

Dr.  A>Tton  was  an  excellent  musician,  of  which 
his  compositions  for  the  church  bear  mdubitable 
evidence.  The  performance  of  these  has  been 
confined  chiefty  to  the  royal  chapel ;  but  the 
publication  of  them,  which  has  long  been  ex- 
pected, would  usefully  augment  the  miLsical  re- 
sources of  oxir  various  choirs,  and  add  uo  small 
lustre  to  the  name  of  their  author. 

AYTOX,  FANNY.  An  English  soprano  of 
eminence,  educated  in  Italy.  She  could  utter  more 
than  twenty  syllables  in  a  second  of  time,  with  a 
neatness  and  precision  not  easily  surpassed.  Her 
first  appearance  in  England  was  in  1828,  as  Ni- 
netta,  in  "  La  Gazza  Ladra,"  and  an  engagement 
of  considerable  extent  was  offered  her,  had  she 
consented  to  Italianize  her  name  to  Atonini. 

AZAIS  published,  in  1776,  "A  Method  for 
Music,  according  to  a  new  Plan,"  and,  in  1780, 
some  sonatas  and  other  ijistrumental  music. 

AZIONE  SACRA.     (I.)     A  sacred  drama. 

AZOPARDI,  FRANCESCO,  chapel-master, 
published,  about  the  year  1760,  a  small  treatise 
on  composition,  which  5  as  translated  into 
French. 


78 


ENCYCLOPAEDIA    OF   MUSIC. 


BAC 


B. 


B  is  the  nominal  of  the  seventh  note  in  the 
natural  diatonic  scale  of  C  ;  to  which  De  Xcvcrs, 
a  French  muiician  in  the  beginning  of  the  la.st 
centur>-,  is  said  to  have  first  applied  the  syllable 
11 ;  Oiiido  Arctina  havini»  only  furnished  sylla- 
bles for  the  six  notes  C,  I),  E,  F,  G,  A.  B  is  the 
Bubtonic,  or  seventh  uote,  thus  :  — 


B  is  also  sometime?  used  as  an  abbreviation  for 
bans.  The  ( ierman>  call  B  natural,  II ;  and  they 
call  B  flat,  B,  to  di;iiiu^uish  it  from  B  natural. 

BABBI,  C.  Chamber  musician  to  the  Elector 
of  Saxony,  at  Dresden,  where  he  published  some 
instrumental  mu-.ic  about  the  year  1 780.  lie  was 
a  pupil  on  the  violin  of  Paul  ^Vlberghi. 

BABBI,  (iUEGORIO.  A  celebrated  tenor 
singer  at  the  opwa  at  Lisbon,  in  1775. 

BABBINI,  MATTEO.  A  celebrated  tenor 
singer  of  the  Bolognese  school.  lie  performed 
at  the  opera  in  Loudon,  in  1785. 

BABELI-,  AVILLIAM.  An  organist  in  Lon- 
don. IIi.<  first  ei.^ay  in  composition  was  to  make 
the  favorite  airs  in  the  o'lenus  of  "Pj-rrhus  and 
Demetrius,"  "  Ilydnspts,"  and  some  others,  into 
lessons  for  the  liari)siehord.  After  that  he  did 
the  same  by  Ilniidcl's  opera  of  "  Rinaldo,"  and 
Bucccedcd  so  wcU  in  the  attempt,  as  to  make  from 
it  a  book  of  le:ions,  which,  by  the  way,  few 
would  play  but  himself,  but  which  has  long  been 
deservedly  celebnited.  lie  also  composed  twelve 
Bolos  for  tlie  violin,  or  hautboy,  twelve  solos  for 
the  German  Hi\te  and  hautboy,  and  some  con- 
certos for  small  tlufes  and  violins,  and  some  other 
works  enumcmted  in  ^Valsh's  catalogue.  Balwll 
died  a  young  man,  about  the  year  1722,  having 
shortened  his  days  by  intemperance.  It  seems 
the  fame  of  BaV.ell's  abilities  had  reached  Ham- 
burg, for  Matth(-;ou  says  he  was  a  pupil  of  Han- 
del ;  but  in  tlii*  he  Ls  mi-itaken,  for  Handel  dis- 
dained to  teach  hi-i  art  to  any  but  princes. 

BABTICOrCHI  publishetl,  in  1786,  some  so- 
natas in  lA^ndon. 

B  AHuVE  n  r.AMI'T.  Xhnt  n,  or  that  not»,  which  U  >  third 
highiT  ttin'i  G  ff-itntit 

ri  AMOVK  TlIK  HASS  ri.EF  NOTF.  Thll  B.  or  th.t  not«, 
which  i^  n  fourth  hiirhcr  Ihnn  Ihp  hfl««  clrf  nntf. 

B  ABOVK  TIIK  TRKIII.K  ("I.EF  NOTE.  Th»l  B,  or  that 
Dotc,  which  is  a  thinl  higher  Ih.in  the  treble  clef  not«. 

BACCHirS,  senior,  a  Greek  writer  and  great 
musician,  lived  ])robably  in  the  second  cent\iry. 
He  wrote  an  introduction  to  music,  which  was 
translated  into  I.atin,  and  published  at  Amster- 
dam, in  lfi52.  Fi'tis  says,  that  of  aU  the  (Jrcek 
writers  »ipon  mur-ic  he  was  the  least  pretentiously 
learned  and  most  practical. 

BACCI,  PIKTUO   GIACOMO,  was  bom   at 


Pemgia,  n  town  in  the  Roman  states,  towards  the 
middle  of  the  Beventecnth   century.     He  com 
I)osed  several  operas,  the  most  approved  of  which 
was  from  a  sacred  subject,  and  entitled  "  Abigail." 

BACCUSI,  HIPPOLITA.  An  Italian  monk, 
chapel-master  at  Verona,  about  1590.  Cerreto 
assures  us  that  he  composed  m\isic  as  early  aa 
1550.  He  was  one  of  the  first  who  sustained  the 
voices  in  church  music  by  instruments  plajing 
in  uubon. 

BACH,  JOHN  SEBASTIAN,  was  bom  on  the 
21st  of  March,  1685,  at  Eisenach.  His  father, 
John  Ambrosius,  was  musician  to  the  court  and 
to  the  town,  and  had  a  twin  brother,  John  Chris- 
topher, who  was  musician  to  the  court  and  town 
of  Amstadt,  and  was  so  very  like  him,  that  even 
their  own  wives  could  not  distinguish  tlicm,  ex- 
cept by  their  dress.  ITiese  twins  were,  perhaps, 
in  this  respect  the  most  remarkable  ever  known. 
They  tenderly  loved  each  other ;  and  their  voice, 
disposition,  and  style  of  music  were  alike.  If  one 
was  ill,  the  other  was  so  likewise  :  they  died  also 
within  a  short  time  of  each  other.  ITiey  were, 
indeed,  a  subject  of  astonishment  to  all  who 
knew  them.  In  the  year  1695,  when  Jolm  Se- 
bastian was  not  quite  ten  years  of  age,  his  father 
died  ;  he  had  lost  his  mother  at  an  earlier  perioil. 
Being  thus  left  an  oqjhan,  he  was  obliged  to  have 
recourse  to  an  elder  brother,  John  Christopher, 
who  was  an  organist  at  Ordnitf.  From  liim  he 
received  the  first  ijistructions  in  plaj^ing  on  the 
clavichord.  But  his  inclination  and  talent  for 
music  must  have  been  already  very  great,  since 
the  pieces  which  his  brother  gave  him  to  learn 
were  so  soon  in  his  power  that  he  be:,'nn  with 
much  ea-^cniess  to  look  out  for  some  tliat  were 
more  difficult.  'Yhc  most  celebrated  composers 
for  tlie  clavichord,  in  those  days,  were  Frotterger, 
Fischer,  John  (Jaspar  Kcrl,  Pachelbel,  Buxte- 
hude,  Bruhn,  Boehm,  .tc.  He  had  observe<l  that 
his  brother  had  a  book,  in  which  there  were  sev- 
eral pieces  of  the  above-mentioned  authors,  and 
earnestly  benged  him  to  give  it  to  him,  but  it  was 
constantly  denied,  till  his  desire  to  possess  the 
Ixiok  was  so  increased  by  rci'usal,  that  he  at  length 
sought  for  means  to  get  possession  of  it  secretly. 
As  it  was  ke])t  in  a  c\i])board  which  had  only  a 
little  door,  and  his  hands  were  still  small  enough 
to  pa.ss  through,  so  that  heould  roll  up  the  l)ook, 
which  was  merely  stitch*  i  .n  paper,  anrl  draw  it 
out,  he  did  not  long  hesitate  to  make  use  of  these 
favorable  circumstances  ;  but  for  want  of  a  can- 
dle he  could  only  copy  it  in  moonlight  uighu, 
and  it  took  six  whole  months  before  he  could 
finish  his  laborious  task.  At  length,  when  he 
thought  himself  safely  possessed  of  the  treasure, 
and  was  intending  to  make  use  of  it  in  secret,  his 
brother  found  it  out,  an<l  took  from  him,  without 
pity,  the  copy  which  had  cost  him  mi  much  pains ; 
and  he  did  not  recover  it  till  his  brother's  death, 
which  took  place  soon  after.  John  Sebastian 
being  thus  again  left  destitute,  went,  in  compauj 


79 


BAG 


excyclop-.i:dia  of  music. 


BAG 


with  one  of  his  schoolfellows,  named  Ertlraann, 
afterwiirds  Ilussinn  president  in  Dantzic,  to  Lu- 
ncbuig,  and  cupja^ed  tlicre  in  the  choir  of  St. 
Michncrs  school  as  a  treble  or  poprano  singer. 
His  fine  treble  voice  procured  liiin  here  a  decent 
livelihood  ;  but  he  soon  lost  hLs  voice,  and  did 
not  iinmndiately  acquire  another  good  one.  Ilis 
inclination  to  play  on  the  cla^•ichord  and  organ 
was  as  ardent  at  this  time  as  in  his  more  earlj' 
years,  and  imjielled  him  to  try  to  hear  and  see 
every  thing,  which,  according  to  the  ideas  then 
entertained,  would  contribute  to  Ids  improvement. 
With  this  view,  he  not  only  went  several  times, 
while  lie  was  a  scholar,  from  Luneburg  to  Ham- 
burg, to  hear  the  organist  John  Adam  Reinken, 
who  was  at  that  time  very  famous,  but  some- 
times also  to  Zell,  in  order  to  get  acquainted  with 
the  prince's  band,  which  consisted  chiefl)'  of 
Frenchmen,  and  with  the  French  taste,  which 
was  then  a  novelty  in  those  parts.  It  is  not 
known  on  what  occasion  he  removed  from  Lune- 
burg to  Weimar,  but  it  L'i  certain  that  he  became 
court  musician  at  the  latter  town  in  1703,  when 
he  was  just  eighteen  years  of  age.  He  exchanged 
this  place,  however,  in  the  following  year,  for 
that  of  organist  to  the  new  church  at  Arnstadt, 
probably  to  be  able  to  foUow  his  inclination  for 
the  organ  better  than  he  could  do  at  Weimar, 
where  he  was  engaged  to  play  the  violin.  Here 
he  began  most  zealously  to  make  use  of  all  the 
works  of  the  organists  at  that  time  celebrated, 
and  which  he  could  procure  in  his  situation,  by 
which  means  he  improved  both  in  composition 
and  the  art  of  plajdng  on  the  organ  :  further  to 
gratify  his  desire  of  learning,  he  even  made  a 
journey  on  foot  to  liubeck,  to  hear  Diederich  13iix- 
tehude,  organiiit  to  St.  Slary's  Church  in  that 
city,  with  whose  compositions  he  was  already  ac- 
quainted. For  almost  a  quarter  of  a  year  he  re- 
mained a  secret  hearer  of  this  organist,  who  was 
really  a  man  of  talent,  and  much  celebrated  in 
liis  time,  and  then  returned  with  an  increased 
stock  of  knowledge  to  Arnstadt.  The  effects  of 
his  zeal  and  persevering  diligence  must  already 
have  excited  great  attention ;  for  he  received,  in 
quick  succession,  several  offers  of  places  as  or- 
ganist ;  among  others,  that  of  the  church  of  St. 
Blasius,  at  Muhlhausen,  which  he  accepted.  But 
a  year  after  he  had  entered  upon  it,  making  a 
journey  to  Weimar,  to  perform  before  the  reign- 
ing duke,  liLs  playing  on  the  organ  was  so  highly 
approved  of,  that  lie  was  offered  the  situation  of 
court  organist,  which  he  accepted.  The  extended 
sphere  of  action  in  which  he  here  lived  impelled 
him  to  exert  liimself  to  the  utmost ;  and  it  was 
probably  during  tliis  period  that  he  not  only 
made  himself  so  able  a  performer  on  the  organ, 
but  also  laid  the  foundation  of  his  great  compo- 
sitions for  that  mstrumont.  lie  had  still  fm-ther 
occasion  to  improve  in  his  art ;  when  hLs  prince, 
in  1717,  appointed  him  director  of  the  concerts, 
in  which  place  he  had  to  compose  and  execute 
pieces  of  sacred  music.  Handcrs  master,  Za- 
chau,  organist  at  Halle,  died  about  this  time,  and 
J.  S.  Bach,  whose  reputation  was  already  high, 
was  invited  to  succeed  liim.  He,  in  fact,  went 
to  Ilalle,  to  prove  hLs  qualilications,  by  perform- 
ing a  piece  as  a  specimen  of  hLs  skill.  However, 
for  wliat  reason  Ls  not  known,  he  did  not  enter 
upon  the  oHice,  but  left  it  to  an  able  scholar  of 
Zacliau's,  of  the  name  of  Kirchhof.  John  Sebas- 
tian I'ach  waa  now  thirf-two  years  of  age ;  he 


had  made  such  good  use  of  his  tiine,  had  studied, 
composed,  and  played  so  much,  and,  by  his  un- 
remitthig  zeal  and  diligence,  acquired  such  a 
mastery  over  every  part  of  the  art,  that  he  stood 
like  a  giant,  able  to  trample  all  around  liim  into 
dust.  He  had  long  been  regarded  with  admira- 
tion and  wonder,  not  only  by  amateurs,  but  by 
judges  of  the  art,  when,  in  the  year  1717,  Mar- 
chand,  formerly  much  celebrated  in  France  as  a 
performer  on  the  clavichord  and  organ,  came  to 
Dresden,  where  he  performed  before  the  king, 
and  gained  such  approbation,  that  a  large  salary 
was  offered  him,  if  he  would  engage  in  his  ma- 
jesty's service.  Marchand's  merit  chiefly  con- 
sisted in  a  very  fine  and  elegant  style  of  jierfonn- 
ance ;  but  his  ideas  were  emjity  and  feeble,  al- 
most in  th*!  manner  of  CouperLii ;  so  far,  at  least, 
as  may  be  judged  by  his  compositions.  But  J. 
S.  Bach  had  an  equally  fine  and  elegant  style, 
and  at  the  same  time  a  coriiousness  of  ideas, 
which  might  perhaps  have  made  Marchand's 
head  giddy,  if  he  had  heard  it.  Ail  this  was 
known  to  Volumier,  at  that  time  director  of  the 
concerts  in  Dresden.  He  knew  the  absolute 
command  of  the  young  Gennan  over  his  thoughts 
and  his  instrument,  and  wished  to  produce  a  con- ' 
test  between  him  and  the  French  artist,  in  ordei 
to  give  the  prince  the  pleasure  of  judging  of  theij 
resjjective  merits,  by  comparing  them  himself. 
M'ith  the  king's  approbation,  therefore,  a  message 
was  sent  to  J.  S.  Bach,  at  Weimar,  to  invite  him 
to  this  musical  conte.^t.  He  accepted  the  invi- 
tation, and  immediately  set  out  on  his  journey. 
Upon  Bach's  arrival  in  Dresden,  Volumier  first 
procured  him  an  opportunity  secretly  to  heai 
Marchand.  Bach  was  not  discouraged,  but  sent 
a  polite  note  to  the  French  artist,  formally  invit- 
uig  hun  to  a  musical  trial  of  slciU ;  he  offered  to 
play  upon  the  spot  whatever  Marchand  should 
set  before  him,  but  requested  the  same  readiness 
on  his  part.  As  Marchand  accepted  the  chal- 
lenge, the  time  and  place  for  tlie  contest  was 
fixed,  ^^•ith  the  king's  consent.  A  large  company 
of  both  sexes,  and  of  high  rank,  assembled  in  the 
house  of  Marshal  Count  Fleming,  which  was 
the  place  appomted.  Bach  did  not  make  them 
wait  long  for  him,  but  Marchand  did  not  appear. 
After  a  long  delay,  they  at  last  sent  to  inquire  at 
)iis  lodgings,  and  the  company  learned,  to  their 
great  astonislunent,  that  he  had  left  Dresden  in 
the  morning  of  that  day,  without  taking  leave  of 
any  body.  Bach  alone,  therei'ore,  had  to  perform, 
and  excited  the  admu-ation  of  all  who  heard  him ; 
but  Volumier's  intention,  to  show  a  sensible  and 
striking  difference  between  the  French  and  Ger- 
man artist,  was  frustrated.  Bach  received  on  this 
occasion  praise  in  abundance  ;  but,  it  is  said,  he 
did  not  receive  a  present  of  a  hundred  louis  d'ors. 
wliich  the  king  had  designed  for  him.  He  had 
not  long  returned  to  Weimar,  when  Prince  Leo- 
pold, of  -\nhalt-Cothen,  a  great  judge  and  lover 
of  music,  mvitcd  him  to  take  the  ofttce  of  master 
to  his  chapel.  He  immediately  entered  on  this 
situation,  which  he  filled  ne.irly  six  yeai-s ;  but 
during  this  time  (about  1722)  took  a  joiu-ney  to 
Hamburg,  in  order  to  perfonn  on  the  organ  there. 
His  perfonuance  excited  universal  admiration. 
The  veteran  Reinken,  then  near  a  hundred  years 
old,  heard  him  with  particular  plca-iure  ;  and  in 
regard  to  the  chorus,  "  An  Wa.iwrjliuiiien  liaby- 
loii.i,"  wliich  he  varied  for  half  an  hour  iii  the 
true  organ  style,  he  paid  him  the  complimem  of 


80 


BAG 


EXCYCLOP.EDIA    OF    MUSIC 


BAC 


Rfiyin;;,  "  I  thoui^ht  that  thw  art  wa?  dead,  but  I 
see  that  it  still  Uves  in  you."  Ucinken  himself 
had,  some  yeart^  het'oro,  composed  that  chorus  iit 
this  mimner,  and  had  it  cn^nved,  hh  a  work  on 
■which  ho  set  a  f^reat  value.  His  praifiC,  therelbro, 
wai  the  more  flattering  to  Bach. 

On  the  death  of  Kuhnau,  in  the  year  173.3, 
Bacli  Vi!S  appointed  director  of  music  and  chant- 
er to  St.  Thomas's  school,  at  Leipsic.  In  this 
l)lace  he  remained  till  his  death.  Prince  Leopold 
of  Auhalt-Cothen  had  a  great  re<;ard  for  him, 
and  Ba.-h,  therefore,  left  his  service  with  re;j;ret. 
Hut  the  death  of  the  prince  occurring;  soon  after, 
he  saw  that  Providence  had  giiided  well.  Upon 
this  de:ith,  which  greatly  atllicted  him,  he  com- 
posed a  funeral  dirge,  with  many  remarkably  tine 
double  choruses  and  executed  it  himself  at  Co- 
then.  That  in  his  present  situation  he  received 
the  title  of  msister  of  the  chapel  from  the  Duke 
of  Weisseufels,  and  in  the  year  173(),  the  title  of 
court  composer  to  the  King  of  I'oland,  Elector  of 
Saxony,  is  of  little  conseviucuce ;  only  it  is  to  be 
observe  1,  that  the  last  title  wa;s  derived  from 
connections  in  wliich  liach  was  engaged  by  his 
office  of  chanter  in  St.  Thomas's  school.  His 
second  son,  Charles  Philip  Emmanuel,  entered 
the  service  of  Frederic  the  Great  in  1740.  The 
reputation  of  the  all-surpassing  skill  of  John 
Sebastian  was  at  this  time  so  extended,  that  the 
king  of  I  en  lieard  it  mentioned  and  praued.  This 
made  him  curious  to  lieur  so  great  an  artist.  At 
first  he  distantly  hinted  to  the  son  his  wish,  that 
his  father  would  one  day  come  to  Potsdam.  But 
by  degrees  lie  began  to  ask  him,  diiectly,  why  his 
father  ilid  not  come.  The  son  could  not  avoid 
acquaiuiing  his  father  with  these  expressions  of 
the  king  ;  at  first,  however,  he  would  not  pay  any 
attention  to  them,  being  in  general  too  much 
overwlielmed  witli  business.  But  the  king's  ex- 
pression h  being  repeated  in  several  of  his  son's 
letters,  he  at  length,  in  1717,  prepareil  to  take 
this  jouniey,  accompanied  by  his  eldest  son, 
William  Friederaaun.  At  tliis  time  the  king  had 
every  evening  a  private  concert,  in  which  he  him- 
sell'  generally  pcnormeJ  some  concertos  on  the 
flute.  One  evening,  just  as  he  was  getting  his 
tlute  ready,  and  his  musicians  were  assembled, 
an  officer  brought  hira  the  list  of  the  strangers 
who  had  arrived.  With  liis  flute  in  his  hand  he 
ran  over  the  list,  but  immediately  turned  to  the 
assemblcil  musicians,  and  said,  with  a  kind  of 
agitation,  "  Gentlemen,  old  Bach  is  come."  The 
flute  was  now  laid  asiile,  and  old  Bach,  who  had 
ahghtcd  at  his  son's  lodgings,  was  immediately 
Fummone  I  to  the  palace.  'I'lve  king  then  gave 
up  his  loucert  for  that  evening,  and  ijivited  Bach 
to  try  his  forte-pianos,  made  by  Silbermann, 
which  stood  in  sovenvl  rooms  of  the  palace.  The 
musicians  went  with  him  from  room  to  room,  and 
liach  was  invited  every  where  to  play  unpremed- 
itate  I  compositions.  After  he  had  gone  on  for  a 
short  time,  he  asked  the  king  to  give  him  a  sub- 
ject for  a  tugue,  in  order  to  execute  it  immediate- 
ly without  any  preparation.  Tlie  king  admired 
the  learned  manner  in  which  his  subji-ct  wa.s  thus 
executed  extempore  ;  and  probably  to  sec  how 
far  such  art  could  be  carried,  expressed  a  wish  to 
heiu-  a  fugue  with  six  obhgato  parts.  But,  a.s  it 
is  not  every  subject  that  Ls  fit  for  such  full  har- 
mony. Bach  chose  one  himself,  and  immediately 
executctl  it,  to  the  astooishment  of  all  pre.ent, 
in  tlie  satne  maguiticcut  and  learned  manner  he 

11  81 


had  done  that  of  the  king.  Ills  majo;fty  desired 
also  to  hear  hii  performance  on  the  organ.  'Hic 
next  day,  therefore.  Bach  was  taken  to  all  th» 
organs  in  Potsdam,  as  he  had  before  been  to  Sil- 
bermann's  forte-jjinnos.  After  hw  return  to 
Leipsic,  ho  composed  the  subje^-t  which  he  had 
ro:;eived  from  the  king,  in  three  and  six  part-s, 
added  several  artificial  passage;  tr,  it,  in  strict 
canon,  and  had  it  engraved  under  the  title  of 
"  Miisikalhchfs  Opft-r,"  (Musical  Offering,)  and 
dedicated  it  to  the  inventor.  This  was  Bach  k 
last  journey.  'Y\\e  indefatigable  diligence  with 
which,  particularly  in  hLs  younger  years,  he  had 
fro'iuently  passed  days  and  nights  in  the  stml) 
of  bis  art,  had  weakened  his  sight.  'Oils  weak- 
ness continued  to  increase  in  his  latter  years,  till 
at  length  it  brought  on  a  very  paint  il  ilisorder  in 
the  eyes.  By  the  advice  of  some  friends,  vho 
l)laccd  great  confidence  in  the  ability  of  an  ocu- 
list who  had  arrived  at  Leipsic  from  England,  ho 
ventured  to  submit  to  an  operation,  which  twice 
failed.  Not  only  was  his  sight  now  wholly  lost, 
but  his  constitution,  which  had  been  hitherto  so 
vigorous,  was  quite  umlcrmined  by  the  use  of, 
perhaps,  noxious  medicines.  In  consequence  of 
the  operation  he  continue  1  to  dcvdine  for  full  half 
n  year,  till  he  exi)ired,  on  the  evening  of  the  30th 
of  July,  17o0,  in  the  sixty-sixth  yeir  of  his  age. 
On  the  morning  of  the  tenth  day  before  his  death, 
he  was  suddenly  able  to  sec  again,  and  bear  the 
light.  But  a  few  hours  afterwards  he  wa.-i  seized 
with  an  apoplc.-tic  fit ;  this  was  followed  by  an 
inflammatory  fever,  which  his  enfoel)led  frame, 
notwithstanding  all  possible  medical  aid,  was  un- 
able to  resist.  Such  was  the  li.c  of  this  remark- 
able man.  We  wiU  only  add,  that  he  was  twice 
married ;  and  that  he  had  by  his  first  wife  seven, 
and  by  the  second  wife  thirteen  chililren,  namely, 
eight  sons  and  five  daughters.  All  the  sons  had 
admiral)lo  talents  for  music ;  but  they  were  not 
fully  cultivated,  except  in  some  of  the  elder  ones. 
Concerning  the  performance  and  compositions 
of  Bach,  it  certainly  Is  true  what  Marpurg  says, 
that  "  he  was  many  musiciaiw  in  one."  "  No 
true  idea,"  says  Kollmann,  "  can  be  formed  of  .S. 
Bach's  organ  playing,  except  by  hearing  his 
works,  expre.--sly  composed  for  the  organ,  ])er- 
fonued  in  the  manner  in  which  he  played  them, 
viz.,  those  for  the/ii.V  organ,  on  a  good,  large  in- 
strument, and  the  pedal  part  on  a  double  base 
stop  ;  those  for  solo  .stops,  on  as  many  sets  of 
keys,  with  different  stops,  as  they  contain  parts, 
and  the  bass  part  on  a  suitable  tlouble  bass  stop. 
.\nd  it  must  l)o  ob.ervecl,  that,  though  many  of 
Bach's  piece  1  comjm-ed  for  the  harpsichord  also 
have  a  fine  cffo  Jt  on  a  numual  org  m,  particidarly 
most  of  his  forty-eight  fuguo'i  in  the  \\\U-t«m- 
pered  Clavichord,'  the  list  of  his  works  will  show  that 
they  do  not  come  imdcr  the  denomitiatioa  of  hii) 
organ  pieces ;  becau  'O  they  are  deficient  in  Am 
princi])al  requidte  for  such  pierc:*,  namely,  a  i)art 
lor  obligato  pedals;  and  consequently  their  effect 
cannot  give  an  idea  of  his  organ  playing,  unlovi 
an  obligato  part  for  the  pedals  be  still  selocfd 
from  their  bass  part,  and  pcrimmed  on  a  douule 
ba-ss  stop."  Concerning  Bach's  abilities  as  a  j>er- 
former  on  the  harpsichord,  Kollmann  thus  pro 
ceetLs  :  "  It  might  perhaps  l)e  supi)Osed  that  on* 
so  famiUor  with  the  deep  and  heavy  touches  of 
a  large  organ,  and  with  a  true  crgan  style,  could 
not  be  ctpially  great  in  the  brilliancy,  expression, 
and  style  colculntod   for  strijiiTed   iu:«trumeats 


liAC 


ENCYCLOPEDIA    OF    MUSIC. 


BAG 


But  the  nature  oC  all  liis  compositions  for  the 
('lavicr,  (liiirj)iichord  and  clavichord,)  as  well  as 
the  uiiauinioui  tcitimouy  of  all  the  writers  on 
that  Kuhjcct,  convinces  ua  of  the  contrary;  which 
iH  also  i)rovccl  by  his  uncontested  victory  over  the 
ele;;ant  harpsichord  player  Marchand,  mentioned 
before.  Tliat  ho  must  likewise  have  been  a  great 
j)erformcr  on  the  violin,  follows,  not  only  from 
his  first  appointment,  which  was  as  violinist,  but 
also,  and  particularly,  from  Ids  s^jIos  for  the  violin. 
A;»ain,  his  solos  tor  the  violoncello  i)rove  that  he 
also  had  the  (;re»tcst  practical  knowledge  on  that 
instrument."  The  following;  list  of  S.  Bach's 
works  in  j^ivon  by  Kollmann  :  "  1.  '  ClauierUbnny,' 
part  first,  consiitinj  of  preludes,  allemandcs, 
rouraute;,  saraban:ls,  giguei,  meuuets,  &c.  In 
the  Leipsic  edition,  this  work  is  entitled 
'  Exercicci  pvir  le  Clavecin.'  2.  '  Claoierilbuny,' 
part  second,  (Excreta-^  pour  le  CUiceciu,)  contain- 
ing a  concerto  in  the  Italian  style,  and  an  over- 
ture in  the  French  style,  for  a  harpsichord  with 
two  sets  of  keys.  3.  '  ClacierUbiuig,'  part  third, 
[Excrcices,  kc.,)  containing  Vor.ipiule,  or  the  giv- 
ing out  of  hpnus  for  the  organ ;  and  four  duets 
(pieces  in  two  obligate  parts  only)  for  the  harp- 
sichord, wliich  are  a  complete  harmony  tlirough- 
out.  4.  '  .SL\  6%Dco/<?,  (hprins,)  of  divers  kinds, 
for  an  organ  with  two  sets  of  keys  and  pedaLs.' 
5.  '  Clavici-U'jii/iy,'  part  fourth,  {Exercicca,  &c.,) 
containing  an  air  with  thirty  variMioiis,  for  a 
harpsichord  with  two  sets  of  keys,  as  mentioned 
before.  6.  '  Five  Canonical  Variations  on  the 
Christmas  rfi/mn,  Von  Uimmel  hoch,  ("  Behold,  I 
bring  yaw  good  tidings,")  for  an  organ  with  two 
sets  of  keys  and  pedals.'  They  are  in  divers  in- 
tervals similar  to  those  of  the  preceding  work. 
7.  '  Mimical  Oifiiritvi,'  (as  mentioned  belbrc,) 
dedicated  to  Frederic  II.,  King  of  Prussia,  con- 
sisting ill  a, /ur/iw  riccrcata  in  three  parts,  aliio  one  in 
six  parts,  for  one  performer,  divers  canons,  and  a 
trio  for  the  Gcnuiin  Hute,  (that  king's  favorite 
instrument,)  with  a  violin  and  bass;  the  whole 
composed  on  the  subject  wliich  liis  maje-ity  laid 
before  Bach  to  extemporize  upon.  8.  '  The  Art 
9/  t/ic  Fii'jue,'  consLsting  in  twenty-three  period- 
ical and  canonical  fugues,  on  one  subject,  the  last 
with  two  additional  subjects,  and  a  h\inn  for 
three  sets  of  keys  and  pedals.  9.  '  An  Hundred 
Ili/miis,'  in  foiu'  parts,  published  in  two  books, 
by  his  son  Emmanuel  Bash  ;  and  four  more  books 
of  hjTnus,  ])ul)lislied  by  Kirnberger.  The  follow- 
mg  have  been  more  recently  printed  :  A.  Works 
for  tlie  II  irpiichord,  withjut  AccoinjKinimcnts.  1. 
Six  Preludes,  for  the  use  of  beginner ; ;  2.  FL'teeu 
Inventions,  in  two  parts ;  3.  Fiitcon  Inventions, 
in  three  parts,  also  called  Symph;iuics ;  4.  The 
"  Well-tempered  Clavichord,"  parts  one  and  two 
—  each  part  consLits  in  twenty-four  preludes  and 
fugues,  being  one  in  every  major  and  minor  key  ; 
5.  A  Clirouiatic  Fantasia  and  Fugue  —  this  Ls 
the  beautiUil  pieje  printed,  with  some  additions 
of  Mr.  Kollmann,  by  Preston  ;  G.  A  Fanta;ua  — 
this  is  like  an  allegro  of  a  sonata  ;  7.  Six  Suites, 
7ontaiuing  preludes,  allemandcs,  courantes,  sara- 
bands, giguci,  &c.,  al,o  callcl  English  suites; 
i.  Six  le.>er  Suites,  containing  allemande-s 
courante;,  S:c.,  also  called  French  suites.  B. 
Works  J'tr  tlic  Harpsichord,  with  Accjmpanimcnis, 
1.  Six  Sonata;)  for  the  harpsichord,  with  a  viohn 
obligato  ;  2.  Many  single  Sonatas  for  the  harj)- 
lichord,  with  accom;)animeuts  for  the  violin, 
flute,  viuld  du  g'unba,  vScc. ;  3.  Concertos  for  the 


harpsichord,  with  numerous  accompaniments; 
4.  Two  Concertos  for  two  harpsichords,  with 
accompaniments  for  vioUus,  tenor,  and  violon- 
cello ;  6.  Two  Concertos  for  thiee  harpsichord.s, 
with  the  same  accompaniments,  which  are  aLsr 
concerting  atuong  them  iclves  ;  0.  A  Coiwerto 
for  four  harpsichords,  with  the  above  ac- 
companiments. C  Wjrki  for  the  Orjan.  1. 
(irand  Preludes  and  Fugue  i,  for  miiuuals  and 
obligato  pedals;  2.  Vonpiele  (Preludes)  on  va- 
rious hymns ;  3.  SLx  Sonatas  or  Trios,  for  two 
manuals  and  obligato  pclaLi.  D.  Wirks  for  Bj:d 
Instrument.  1.  .Six  Solos  for  a  ^aoliu,  without 
any  accompaniments  —  these  are  a  mo*t  unique 
work  ;  2.  Six  Solos  for  a  violoncello,  without  any 
accompanimcat  —  the -e  are  simiLir  to  the  pre- 
ceding ones.  E.  Vocal  Work.^.  1.  Five  complete 
annual  choruses  of  church  pieces,  (like  cantatas,) 
with  recitatives,  airs,  and  choruses,  for  every  Sun- 
day and  other  festival ;  2.  Five  Paiisioit-,  amon;? 
wliich  there  Ls  one  for  two  choirs  ;  3.  Many  Orato- 
rios, Masses,  Magnificats,  and  single  Sanctuses 
also  Pieces  for  Birthdays,  Xamedays,  and  Funeral 
Pieces ;  Weddmg  Masses,  Evening  Pieces,  and 
several  Italian  Cantatas ;  4.  Many  Motets,  for  one 
and  two  choirs.  —  X.  B.  Of  those  for  two  chou-s 
there  are  at  present  only  eight  extant." 

BACH,  CARL  PHILIPP  EMMAXUEI„ 
second  son  of  the  great  Sebiuitian  Bach,  and  born 
in  1714,  was  commonly  named  Bach  of  Berlin. 
He  was  chatH-l-master  to  the  Princes^;  Ameha  of 
Prussia.  IILs  father  was  his  only  master  in  mu- 
sic ;  but  it  appears  that  he  acquired  from  Hasse's 
operas  his  fine  vocal  taste  in  compo-ing  lessons, 
so  different  from  the  dry  and  laborious  style  of 
his  father.  lie  modestly  gave  a;?  a  reason  for 
choosing  a  style  of  liLs  own,  or  at  lea-t  for  differ- 
ing from  that  of  his  instructor,  that  he  was  aware, 
is  he  had  followed  his  father's  method,  he  never 
could  have  equalled  him.  In  the  yi^xv  1767,  he 
was  chosen  director  of  music  at  Hamburg,  hi 
which  town  he  resided  many  years,  and  died 
there  in  1783.  Emmanuel  Bach  de-lares  that, 
of  all  his  works,  those  for  the  clavichord  or  piano- 
forte are  the  chief  in  which  ho  hidulzed  his  own 
feelings  and  ideas.  His  j)iincipal  wish  was  to 
play  and  compose  in  the  most  vocal  manner  pos- 
sible, notwithstanding  the  great  de.ect  of  all 
keyed  uistruments,  except  the  organ,  in  r  ot  sus- 
taining their  tone.  To  make  a  harpsichord  or 
piano-forte  sing  is,  indeed,  not  easily  accom- 
plished, as  the  ear  must  lie  tired  by  too  thin  a 
hannony,  or  stunned  by  too  full  and  noisy  an  ac- 
companiment. In  his  opinion,  music  ought  to 
touch  the  heart ;  and  he  never  found  that  this 
could  be  effected  by. running,  ratthng  drum- 
ming, or  arpeggios.  If  Haydn  ever  looked  up  to 
anv  great  master  as  a  model,  it  seems  to  have 
been  Emmanuel  Bach.  The  bold  modulations, 
rests,  pauses,  free  use  of  semitones,  aid  unex- 
pected flights  of  Haydn,  remind  us  tien-ently  of 
Emmanuel  Bach's  early  works,  more  Xiv.ix  of  any 
otiier  composer.  But  in  wTiting  for  Aiohns,  it 
must  be  confessed  that  Haydn  surpiussed  his 
model  in  facility  and  invention.  Emmanuel  Bach's 
compositions  consist  of  sjnuphonic-,  concertos, 
sonatas,  and  much  church  music.  In  the  whole, 
there  are  more  than  fifty  tlifferent  ]mblished 
works  of  his  composition,  some  of  which  wci-e 
printed  after  hi*  de-'e:vse. 
■  BACH,  JOHX  CHllISTLVX,  called  Bach  o< 


82 


BAG 


EXCYCLOl'.KDIA    OF    MUSIC. 


II  AC 


Milnn,  nud  iil'tcrwards  Biich  of  London,  was  a  son 
ol"  St'haitinu  by  his  second  wile.  He  wna  very 
early  in  lie  deprived  ol'  the  instructions  of  liis 
father,  and  wa:*  for  some  time  a  scliolar  of  liis 
elder  brother,  P^mmanuel,  under  whom  he  bci'ame 
n  tine  performer  on  keyed  instruments,  lie  sub- 
KCiiucntly  went  to  Italy,  where  his  chiet  study 
was  the  composition  of  vocal  m\i-ic ;  here 
he  added  new  lustre  to  his  name  and  family,  by 
liis  several  dramatic  compositions,  and  wa:«  aj)- 
pointed,  by  the  empress  queen,  or|;anist  of  the 
l)uomo  of  Milan.  In  17G3  he  was  eu^njjcd  by 
Mattel  to  compose  for  the  opeia  in  London,  and 
he  soon  alterwards  arrived  in  that  country.  His 
(irst  o]<pva  in  Eni;land,  "  Orioue,"  was  extremely 
applauded  for  the  richnftw  of  its  harmony,  the 
i  ii;cuiou.s  texture  of  its  parts,  and,  above  ail, 
ft.r  the  new  and  happy  use  the  corapo:-er  had 
made  ot  wind  instruments ;  this  being  tl:e  fir.it 
tiiue  clariuc.s  had  admission  in  the  opera  or- 
che  itra.  Soon  after  tills,  J.  C.  Ilach  and  Abel, 
unitin:;,  opened  a  subscription  for  a  weekly  con- 
cert ;  and  as  their  own  compositions  were  new 
and  excellent,  and  the  be:-t  performer*  of  all 
kinds  enlisted  under  their  banners,  this  concert 
was  better  patronized  and  lon;;er  supported  than 
I  erhaps  any  one  that  had  ever  been  established 
in  that  country,  havin;;  continued  for  at  least 
twenty  years  in  uninterrupted  prosperity.  NNliile 
C  Hach  was  in  Italy  he  made  little  .u<e  of  his 
jiiano-.orte,  but  to  compose  for  or  accompany  a 
voice  ;  but  when  he  lurived  in  Knglaud,  hij  style 
of  playinj;  wa:*  so  much  admired,  that  he  recov- 
ered many  of  the  losses  his  hand  l;ad  sustained 
by  disuse,  and  by  being  constantly  cramped  and 
crippled  by  a  pen  ;  but  he  never  wiui  able  to  re- 
instate it  in  force  and  readiness  tiulhcient  for 
great  dilKciUties  ;  and,  iu  general,  his  composi- 
tions for  the  piano-forte  are  such  as  lailies  can 
execute  with  little  trouble,  and  the  allegros 
rather  re-emble  brjciira  songs  than  instrumental 
pieces  for  the  display  of  great  execution  ;  on 
which  account  they  lose  much  of  their  elfect 
wb.en  i>layed  without  the  accorapanimcnt.s,  wliich 
are  admirable,  and  so  masterly  and  inter&.ting  to 
the  audience,  that  want  of  execution  or  eom- 
j)lication  in  the  harpsichord  i)art  is  never  dis- 
covered. There  are  many  aibnirable  airs  in  the 
operas  he  composed  for  the  stage  that  long 
remained  in  favor.  The  richness  of  the  accom- 
paniments, perhaps,  deser\-e  more  prai>e  than  the 
originality  of  the  melodies  ;  which,  however,  are 
always  natural,  elegant,  and  in  the  beu  tiuste  of 
the  Italian  school,  at  tlnit  time.  The  Neapolitan 
hchool,  where  ho  studied,  is  manliest  in  his 
"  (.'iintileita,"  and  the  science  of  his  father  and 
Lr  »tiier,  in  his  hannony.  J.  (.'.  Bach  had  tlic 
merit  of  giving  a  more  dramatic  ell'e.-t  to  his 
o  era  airs  by  not  bringing  back  alter  the  allegro 
t'.e  slow  movement  of  the  commencement,  as 
•»d  the  Italian  comjjosers  bc.bre  him  had  done, 
liach  seems  to  have  been  the  first  compo-er 
who  observc<l  the  law  of  contriust  as  a  prin- 
ciple, lie.ore  his  time  there  freijuently  was 
contrast  iu  the  works  of  others,  but  it  seems  to 
liave  been  accidental.  l»ach,  in  his  Hjinphoniej 
»nd  other  instrumental  pieces,  a:*  well  as  his  songs, 
seldom  failed,  after  a  rapid  and  iu)Lsy  passage,  to 
jitroduce  one  that  was  slow  and  soothing.  His 
Vmphonies  seemevl  infinitely  more  original  than 
ther  hL<  songs  or  harpsichord  piece:*,  of  which 
e  haruonv,  mixture  o'l  wind  in<truiuenta  and 


general  riehnes's  and  variety  of  nccorapnniinent, 
are  certainly  the  most  j)rominent  features.  J.  ('. 
Hach  remained  in  London  almost  constantly  till 
his  death,  which  took  place  in  the  year  1782. 

UACH,  JOH.VXN  (ilUISTOl'H  FUIED- 
UK'II,  ninth  of  the  eleven  sons  of  Sebastiin 
Hach,  was  born  at  Weimar  in  MVl.  He  was  a 
pui>il  in  music  of  his  father  and  ehler  brothers ; 
and  he  published  some  instrumental  works  not 
unworthy  the  name  of  Hach.  lie  held  the  sit- 
uation of  master  of  the  concerts  at  the  court  of 
Huckeburg.  J.  V.  V.  Hacli  imitated  Uramanuel 
Hach's  manner,  b\it  did  not  equal  him.  Accord- 
ing to  the  te-timony  of  W.  Friedeiuann,  he  was, 
however,  tlie  ablest  ])erfonner  of  all  the  brother^, 
and  the  one  who  played  most  readily  his  lather's 
compositions  for  the  clavichord. 

IJACII,  AVILIIKLM  FUIEDKM.VXX,  eldest 
son  of  Sebastian  Bach,  was  born  in  1710.  He 
approached  the  nearest  to  his  father  in  the  origi- 
nality of  hLs  musical  concejjfions.  All  his  melo- 
dic *  have  a  different  turn  from  tho^o  of  other 
compo  ers,  and  yet  they  are  not  only  extremely 
natural,  but,  at  the  same  time,  uncommonly  in- 
genious and  elegant.  When  perfonued  with 
delicacy,  lui  he  himself  used  to  play  them,  they 
cannot  fail  to  enchant  every  connoisseur.  It  Ls 
only  to  be  regretted  that  he  tried  more  to  jilay 
from  his  fancy,  and  to  seek  after  extemporaneous 
mu  'ical  delicacies,  than  to  wx"ite ;  the  number, 
therefore,  of  his  compositions  is  but  smaU.  AV. 
F.  Bach  died  at  Berlin  in  1784. 

BACH,  CECILI-i.  Wife  to  John  Christian 
Bach.  Her  maiden  name  was  Grassi.  She  per- 
formed the  first  woman's  part  for  several  succes- 
sive yciirs  at  the  opera  in  London. 

BAt;H,  FIIIEDRICH  LUDWIG,  a  music 
master  at  Berhn,  was  liviixg  m  1790,  and  ha-i 
made  many  good  scholars. 

BACH,  GEORGE  CHRISTOPHER.  A  singe* 
and  composer,  who  lived,  in  the  year  lij8'J,  ut 
Schwciniurt.  Among  the  music  of  Emmanuc' 
Bach  was  found  some  church  music  by  this  com- 
poser. 

BACH,  JOIIAXX  BERXHARD.  nephew  of 
Sebastian  Bach,  was  organist  at  Onlrutf',  wher* 
he  died  in  1742.  One  of  this  name  was  chambei 
musician  and  organist  at  Eisenach.  He  com- 
posed some  very  fine  overtures  in  the  French 
style. 

BACH,  JOIIAXX  CHRISTOPH,  was  prob- 
aldy  one  of  the  greatest  contrap\inti.'ts  and  most 
expert  organists  iu  Germany  towards  the  clo-e  o: 
the  seventeenth  century.  He  was  court  and  town 
organist  at  Eisenach.  In  the  lu-chive;  i  lus  ther 
were  called)  of  the  Bach  family,  which  Emman- 
uel Bach  i>osse*,-ed  in  Hamburg,  there  was,  among 
other  pieces,  a  motet  of  Johann  Chri.toph's com- 
position, in  which  he  had  vent\ired  to  make  u-se 
of  the  extreme  sixth,  which,  in  his  days,  wbj* 
considered  an  extremely  l>olil  attempt.  He  wb.-i 
also  an  uncommon  master  of  f\ill  harmony,  as  is 
proved  by  a  piece  of  church  music,  compo^e<l  by 
him  for  Michaelmas  day,  to  the  words  "  IU  crhub 
aich  ciii  Sireit,"  which  has  twenty  obligato  part's 
and  yet  is  per.ectly  pure  in  rcsjiect  to  tlie  harmony 
A  second  proof  of  liis  great  skill  in  the  harmon} 
is,  that  he  Ls  state*)  utvcr  to  have  playeil  ou  t*- 


S3 


RAC 


ENCYCLOPEDIA    OF    MUSIC. 


BAr 


orffRii  niul  cliivic)ioid  with  less  than  five  necessary 
or  ohlii^ato  jjarts. 

UACII,  JOHANX  EliXST,  chapel-master  to 
the  Duke  of  Wi-inmr,  iit  Kisoiiach,  was  born  there 
ill  172J.  He  published  a  collection  of  fables  set 
to  music,  and  several  instrumental  works.  He 
died  in  1781. 

B.VCII,  JOIIANX  I.rDWIG,  born  in  ir,77, 
was  chapel-master  to  the  Dukeof  Saxe-Meiuing- 
en,  and  died  in  1730.  He  composed  Some  good 
church  music. 

BACH,  JOIIAXX  MICHAEL,  brother  of  Jo- 
hann  Christoph,  was  born  at  Arnstadt  in  1660. 
He  composed  much  sacred  music. 

BACH,  JOIIAXX  MICHAEL,  (the  younger.) 
was  an  advocate  in  the  Duchy  of  Mecklenburg, 
in  1792.  He  published  at  Cassel,  in  1780,  a 
method  for  composition. 

B.VCH,  OSWALD.  Author  of  rules  for  sing- 
ing, in  1790. 

BACH,  WILIIELM,  son  of  J.  C.  F.  Bach, 
born  in  17ol,  was  chapel-master  to  the  Queen  of 
Prussia  in  1798.  He  pubUshed  a  celebrated  can- 
tata, dedicated  to  the  king,  and  some  uistrument- 
al  works. 

BACIIAUMOXT,  LOUIS  PIEllIlE  DE.  Au- 
thor of  memoirs  on  the  opera,  Paris,  17 15. 

BACHELOR  OF  MUSIC.  A  degree  con- 
ferred at  the  universities  of  Europe,  a.s  a  title  of 
honor.  It  is  given,  as  the  first  degree  in  music, 
to  such  musicians  as  have  at  some  time  composed 
B  piece  of  music,  consisting  of  as  many  as  sue 
parts,  for  voices  and  instruments.  One  of  the 
qualifications  formerly  reriuired  of  a  candidate 
for  this  academic  honor,  was,  the  being  able  to 
read  and  expound  certain  books  in  lioethius,  a 
Greek  musical  autlior  of  the  sixth  century.  But 
this  test  has  long  since  been  dispensed  with,  and 
the  composition  iu  six  parts  has  taken  its  place. 
The  excrciiic  must  be  publicly  performed  in  the 
music  school,  or  some  other  place  in  the  univer- 
sity, liowever,  to  give  claim  to  the  degree. 

BACmiAXX,  CARL  LUDAVIG,  was  cham- 
ber musician  to  the  King  of  Prussia,  and  one  of 
tlie  founders  of  the  amateur  concerts  at  Berlin. 
He  had  also  a  manufactory  of  violins  and  tenoi-s  ; 
the  latter  are  much  esteemed.  Bachmann  died 
in  the  year  1800. 

BACHMAXX,  CIIARLOTIE  CIIRISTIXE 
\V I LII K LM I X E.  AN'ilc  of  the  preceding,  a  ccle- 
1  rated  singer  at  Berlin  since  the  year  1779.  She 
has  also  pul)lishcd  several  songs. 

BACII>L\XX,  (JO'lTLOB.  Organist  at  Zeitz 
in  the  vear  1791.  He  published  much  vocal  and 
instrumental  music  betweeu  the  years  179j  and 
1806. 

B.VCIIM.'VXX,  J.,  composer  of  sonatas,  &c., 
published  at  Vienna  iu  17'J(>. 

BACIIM.VXX,  PATER  SIXT,  an  exceUent 
contrapuntist  and  organist  in  Suabia,  was  born 
in  17')i.  He  published  mucli  music  for  the  or- 
gan, itC. 

B.VCIIOFEX,  a  composer,  lived  at  Zuricn,  in 
Switzerland,  in  the  year  171-5,  and  publishe<l 
(tome  vocal  works. 

BACHSCHMIDT.       Chapel-master   at   Eich- 


stadt,  about  the  year  1783.     He  composed  some 
quartets,  &c. 

BACILLY,  B.  DE.  Author  of  a  work  on  sing- 
ing, Paris,  1608. 

BACKOFEX,  J.  G.  H.,  a  composer  and  ex- 
ceUent  ])erlbrmer  on  various  instruments,  was 
chamber  musician  at  Gotha.  He  has  composed 
much  instrumental  music  ;  the  last  wliich  wf 
have  seen  is  dated  1803. 

BACKOFEX,  ERXST.  Younger  brother  of 
the  i)reeeding,  a  celebrated  bassoon  player  at  Xu- 
remburg  in  1803.     He  was  a  pupil  of  Schwarz., 

BACKOFEX,  GOTTFRIED,  youngest  brother 
of  the  two  preceding,  was  first  clarinet  player  at 
Xuremburg  in  1803,  and  a  resident  in  that  town. 

BADER.  Bom  1791,  a  principal  tenor  singer 
at  the  (jerman  'llicatre  in  Berlin.  His  power, 
firmness,  and  tone,  together  with  his  delightful 
performance,  gaii\cd  him  much  ajiprobation. 

BADIA,  CARLO  AGOSTIXO,  court  musician 
and  composer  at  Vienna  at  the  beginning  of  the 
eighteenth  century.  Composed  several  operaa 
and  oratorios. 

BADIXAGE.     (F.)    Plaj-fulness. 

B  ADOXIXI.  A  celebrated  Italian  singer  about 
the  year  1776. 

B.VEHR,  .JOSEPH.     See  Beer. 

BAER,  FERDIXAXD.     SeePAER. 

BAEUMEL,  director  of  the  music  at  Bamberg, 
died  in  1796.  He  was  an  excellent  performer  on 
the  violin. 

BAEl'MER,  FRIEDRICH,  chamber  musician 
to  tlie  (Juccn  of  I'russia  in  1794,  has  published 
some  romances  &c. 

BAGATELLA,  AXTOXIO,  ■wTote  at  Padun, 
in  1 796,  a  valuable  work  on  the  construction  of 
violins,  tenors,  violoncellos,  and  bass  viols. 

BAG  Am  FR  AXCESCO.  A  celebrated  com- 
poser and  organist  at  MOan.  He  wrote  soma 
church  music  about  the  year  lO.iO. 

BAGGE,  BAROX  C.  ERXEST  DE,  gentle- 
man  of  the  chamber  to  the  King  of  Prussia,  died 
at  Paris  in  1791.  He  was  a  celebrated  amateui 
player  on  the  violin,  but  had  a  most  singula; 
method.  He  published  also  a  concerto  fdr  thai 
instrument. 

BAGLIOXI,  FRAXCOIS,  born  at  Rome,  wa' 
an  excellent  singer  since  the  year  1740.     He  ha 
five  daughters,  all  of  whom  dLitinguLshed  thera 
selves  as  singers. 

BAGLIOXI,  LOUIS.  Son  of  the  precctUng 
and  one  of  the  b&it  violinbts  at  Wurtembur 
since  the  year  1770. 

BAGPIPE.  Tliu  instrument  has  so  long  beer 
the  favorite  with  the  natives  of  Scotland,  that  i 
mav  be  considered  as  their  national  instrument 
It  is  probable  that  the  Xorwegiaiis  and  Dauei 
first  introduced  it  into  the  IIel)riiU's  which  isl 
ands  they  long  po  -soi-sed.  Among  the  many  >vh< 
hav«  tht  honor  of  its  invention,  aie  reckoue 
Pan,  Mercury,  Faunus,  Mai'syas,  and  Dai)hnis 
the  young  Sicilian  shepherd.  The  ancient  bag- 
pi|jc.s  of  the  Greeks,  anil  the  tiliia  ii(ric>il<iri<!  of  tlit 
Roman:!,  is  a  well-known  musical   instrument 


81 


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BAl 


which  has  erroneously  lieen  supposed  peculiar  to 
Scotland  and  Ireland.  Tlie  ancients,  both  Greeks 
»nd  Romans,  however,  were  acquainted  with  it ; 
and  in  many  countries  it  is  a  favorite  and  popular 
instrument  at  this  day.  The  baj^pipe,  as  con- 
structed at  the  present  period,  consists  of  a  lars^e 
leather  bag,  inflated  by  the  mouth,  or  by  means 
of  bellows.  Connected  to  it  is  a  flute  part,  or 
chanter,  as  it  is  called,  into  which  is  inserted  a 
reed,  and  the  action  of  the  air  from  the  bag  on 
this  reed  j)roduces  the  music.  'ITie  chanter  is 
perforated  witli  holes  like  a  common  flute,  for  the 
different  notes.  The  other  parts  are  tlirec  drones, 
also  consisting  of  reeds  and  tubes,  two  of  which 
are  in  unison  with  D,  ou  the  chanter,  or  the  first 
note  of  the  (lennan  flute,  and  the  tl-.ird,  or  long 
drone,  is  an  octave  lower.  The  bagpipe  is  an  ex- 
tremely defective  and  imperfect  instrument  in  all 
its  ditterent  kinds,  of  which  there  are  four.  P'irst, 
the  Irish,  or  soft  pipe,  in  which  the  chanter  takes 
a  range  of  ten  or  twelve  notes  with  tolerable  pre- 
cision, and  which  is  always  played  with  bellows ; 
the  reeds  are  softer,  and  the  tubes  longer ;  whence 
the  Irish  pipe  is  more  suitable  for  performance  in 
an  apsu-tnient.  An  improvement  has  been  at- 
tempted, by  adapting  three  or  four  keys,  like 
flute  keys,  on  one  of  the  drones  ;  by  pressing 
one  of  them  with  the  ann,  a  third  or  fifth  to  the 
note  of  the  chanter  Ls  produced,  which  forms  an 
intermediate  chord  with  the  drone,  and  has  a 
plcasijig  effect.  The  second  kind  of  this  instru- 
ment is  the  Scottish  or  Highland  bag])ipe,  which 
is  played  either  with  the  mouth  or  with  bellows, 
like  the  Irish  pipe  ;  and,  excepting  that,  as  far  as 
we  know,  keys  have  never  been  adai)ted  to  it,  is 
almost  the  same  in  every  re^jiect.  The  jirincipal 
difference  consists  in  the  reeds  being  constructed 
to  produce  a  louder  sound,  and  the  drones  lu-e 
shorter.  'ITiird,  tlie  small  or  Northuml)rian  bag- 
pipe, which  is  the  Scottish  bagpipe  in  miniature. 
Properly  speaking,  the  .Scottish  bagpipe  has  but 
eight  or  nine  good  notes ;  one  or  two  more  may 
be  gained  by  wliat  pipers  call  pinrhing ;  that  is. 
halt  covering  the  thumb  hole,  which  sometimes 
is  attended  with  the  most  disagreeable  tones. 
Nothing  is  so  well  adapted  for  the  bagpipe  a.s 
tunes  consisting  of  few  notes,  and  idl  set  on  the 
same  key  ;  tor  its  compass  is  really  very  limited, 
and  by  no  means  of  that  extent  of  which  most 
performers  endeavor  to  ])ersuade  themselves. 
From  the  limited  compass  of  the  instrument,  and 
its  imperfections,  we  find  but  Uttle  music  written 
for  it ;  to  which  may  be  added  another  reajwn  — 
tluit  those  in  genenU  who  can  play  cannot  write. 
Tlie  favorite  and  peculiar  music  is  the  Highland 
pibradi,  which  we  confess  has  always  appeared 
to  us  utterly  unintelligible.  It  is  supposed  to  be 
a  battle  piece,  a  march,  a  lamentation,  or  the  like ; 
and  sometimes  occupies  a  complete  half  hour  or 
more  in  performance.  Of  the  progressive  history 
and  ijuprovement  of  the  bagpipe  to  its  present 
state,  we  know  but  very  little.  It  is  supposc<l 
that  there  are  allusions  to  an  instrument  of  simi- 
lar construction  in  sacred  writ ;  and  there  Ls  no 
doubt  that  it  is  the  origin  of  the  organ.  Perhaps 
it  first  consisted  of  an  inflated  bag  alone,  with 
the  pipe  and  reed  ;  and  in  such  a  form  it  seems 
to  have  been  used  by  the  (i reeks,  and  alio  at  a 
later  i>eriod  by  less  civilizeil  nations,  lly  the 
Uomaus  it  wius  calle<l  lihia  tUricuUiria,  and  as  cer- 
tain authors  have  couceive<l,  chorus,  or  c/iorautm, 
uid  it  vfoa  probably  played  in  the  some  way  an 


!  the    modem    Highlanders    play   it.      Suctoniui 
speaks  of  the  bag])ipe ;  and  it  appears  that  Nero, 
I  tlie  Uoman  emperor,  played  on  it.     On  one  of  hii« 
!  coins  a  bagi)ipe  ai)piars,  and  we  are  told  of  a 
'.  ])iece  of  sculpture,  not  long  ago,  in  Rome,  of  thij 
instrument,  greatly  resembhng  its  present  form. 
t  The  sculpture  was  supposed  to  be  (irecian.     Sf. 
Jerome,  in  his  epLstle  to  DardaniLs,  alludes  to  the 
j  bagpipe  in  its  more  simple  shape.     In  Franco  it 
appears  likewise  in  its  simple  state,  in  the  Danxe 
(U'3  AcviigUt,  in   the  fifteenth  century;  and  it  i) 
among  the  instruments  represente<l  in  the  dance 
of  death,  at  Uiusle,  in  Switzerland,     'llie  bagpipe 
Ls  said  to  be  of  great  autiipiity  in  L-eland,  and  to 
have  been  early  known  in  Itritain.    In  the  twelfth 
or  thirteenth  century,  wo  sec  it  reprosenteil  with- 
out drones,  or  with  only  one,  haWng  a  flag,  bear- 
ing a  coat  armorial,  such  as  wius  recently  usetl  in 
the  Highlands  of  Scotland.     King  Edwiu-d  III. 
had  pipers ;  and  Chaucer,  s])eaking  of  the  miu- 
streLs,  a  vagrant  tribe,  describes  the  bagi)ipe  un- 
der tho  name  of  mmmiise,  which  is  the  appella- 
tion at  present  given  to  it  in  France  :  — 

**  Commute  and  fhulines,  mftny  a  flojti?  and  lytlynge  bomr.** 

Among  the  musicians  of  Queen  Elizabeth's  house- 
hold are  namc<l  pipers.  With  regard  to  the  in- 
troduction of  the  bagpipe  into  Scotland,  we  arc 
altogether  uncertain.  Eminent  authors  have 
affirmed  that  it  wivs  not  known  at  the  battle  of 
Bannockbum,  in  1.31 1.  But  a  bagiiipe  of  one 
drone  appears  among  the  sculptures  on  Melroso 
Abbey,  which,  we  are  told,  is  a  very  old  edifice. 
James  I.  of  Scotland,  who  was  murdered  in  H.'Sb, 
is  said  to  have  been  a  performer  on  thLs  instru- 
ment. We  only  know  of  it-s  being  in  general  u;  e 
during  the  last  or  perhaps  the  preceding  century. 
•Vt  present  it  enters  on  the  ILst  of  military  instru- 
ments, for  every  Highland  regiment  ha.s  a  piper  ; 
and  lus  a  national  instrument,  we  have  heard  of 
institutions  for  teaching  it  in  the  Lsles  of  Mull 
and  Skye.  Neither  pupil  nor  preceptor,  however, 
being  able  to  read,  musical  notes  were  reproent- 
ed  by  pins  driven  into  the  ground.  To  encourage 
tlie  cultivation  of  this  instrument,  annual  jjrcmi- 
ums  were  distributed  by  the  lligliland  Society  to 
the  most  eminent  perionucrs.  A  competition, 
generally  in  the  end  of  July,  takes  j)lace  before  u 
committee  of  that  society,  at  Edinburgh,  who 
decide  on  the  merits  of  the  candidates.  'Hie 
competition  lasts  several  hours ;  aiul  Highland 
dances,  introduced  by  way  of  interlude,  are  per- 
formetl  with  uncommon  skill  and  agility.  We 
doubt  if  thLs  kind  of  music  can  be  brought  to 
great  perfection,  on  account  of  the  defects  insep- 
arable from  the  instrument.  But  the  ])a.>sionnta 
attachment  which  the  Highlanders  (Usplay  lor  it, 
and  the  use  of  which  it  \\n>  actually  l)een  in  gain- 
ijig  victories,  in  the  day  of  battle,  render  it  a  fit 
sul>ject  for  encouragement. 

BAlIIIVr,  a  celebrated  performer  on  the  haut- 
boy at  Copenhagen. 

B.VIIN,  T.  (;.,  publishe<l  at  Berlin,  in  1790, 
six  trios  for  the  hivrj)sichonl  aiul  two  violiLt. 

B.VIF.  JOHN  .VNTONY  DE.  private sc<rct«ry 
of  Charles  IX.,  ditxl  at  Paris  iu  1691.  IK>  pub- 
lisheil  several  musical  work*. 

B.VII.DON,  a  celebratoil  English  glr*  com- 
poser, tlourLihc<l  Wtwccn  thn  year*  17  0  and 
1780.     Uc  is  the  author  of  tho  two  glees  ■  Adievi 


BAI 


ENCYCLOP-^DIA    or   MUSIC. 


BAI 


to  the  village  deli'^hts,"  and  "  ^\^len  gay  Bac- 
chus tilled  ray  lireast ; "  both  of  which,  in  their 
different  styles,  must  ever  delight  tlie  amateur  of 
our  English  part  songs. 

I5AILEY,  ANSELM,  an  English  composer, 
•)ublishcd  '*  A  Treatise  on  Singing  and  l'lu)-ing 
with  just  Expression  and  real  Elegance,"  Lou- 
don, i771. 

BAILEEUX,  AXTOINE,  published  at  Parii?, 
in  1758,  six  sjnnphonics  for  four  performers  ;  and 
almut  1767.  six  s)-mphonies  for  a  full  orchestra. 
He  also  WTote  some  solfeggi  for  vocal  and  instru- 
mental music,  a  tliii'd  edition  of  which  appeared 
in  1792. 

BAILLOX,  P.  L.  Guitar  and  singing  master, 
and  author  of  a  method  for  that  instrument,  pub- 
liihcd  at  Paris  in  1781. 

EAILLOT,  PIERRE,  a  celebrated  French  vi- 
olinist, was  born  near  Paris,  in  the  year  1771. 
He  went  to  Rome  for  some  years,  and  took  lessons 
of  Polani,  an  excellent  professor  of  the  school  of 
Tartini.  About  the  year  179.5,  he  succeeded 
Rode  as  professor  of  the  violin  to  the  Conserva- 
tory of  Paris ;  since  which  time  he  has  edited  an 
excellent  method  for  the  violin,  and  oue  for  the 
violoncello,  both  of  which  are  now  in  use  at  the 
Conservatory ;  he  has  also  published  some  instru- 
mental music.  This  eminent  artist  expired  at 
Paris,  ou  the  16th  of  October,  1842,  in  the  71st 
year  of  hLs  age.  His  funeral,  which  took  place 
on  the  following  Saturday,  in  the  cemetery  of 
Montmartre,  was  attended  by  aU  the  most  emi- 
nent musicians  in  Paris,  anxious  to  mingle  their 
regrets  over  the  grave  of  a  highly-talented  brother. 
BaHlot  is  known  throughout  Europe  by  his  ex- 
traordinary genius  and  tiirlshed  style  as  a  per- 
former, and  as  being  master  of  nearly  aU  the 
most  celebrated  violinists  of  the  last  quarter  of  a 
century. 

B.ULLOU,  LUIGI.  Director  of  the  music  at 
the  opera  in  Milan,  in  1784.  He  has  published 
several  pieces  for  the  theatre. 

BAILLY,  M.  I)E,  published  "  Curious  Re- 
marks ou  the  .\rt  of  Singing,"  Paris,  1668. 

B.VIXI,  LOREXZO,  an  Italian  composer,  boru 
at  ^'enice,  composed  some  opera  music  between 
the  years  1785  and  1790. 

BAINVILLE,  organist  at  Augers,  published 
some  music  for  his  instrument  in  the  year  1767. 

BAJ,  T.,  author  of  the  "  Miserere,"  commonly 
tiung  on  Holy  Thursday  in  the  pontifical  chapel 
at  Rome,  was  born  near  Bologna,  and  died  at 
l{ome  in  1718.  Ilis  "  Miserere"  is  a  chef-d'ecuvre 
for  its  prosody  and  just  accentuation  of  the  words. 
It  is  the  only  modem  production  received  iu  the 
popt's  chapel. 

BAKER,  DR..  a  composer  and  eminent  pcr- 
I'orraer  on  tlie  violin  ftud  piano-forle,  was  born  at 
Exeter  in  the  year  1768.  Prom  his  mother's  sis- 
ter he  received  his  first  instructions,  by  which  he 
was  enabled,  at  the  juvenile  age  ol  seven,  to  [ler- 
fonn  with  precision,  on  the  har])sichord,  Handel's 
and  Scarlatti's  lessons.  His  first  masters  were 
Hugh  Bond  and  the  late  celebrated  Jackson,  (at 
that  time  organist  of  the  cathedral  at  Exeter,) 
luid  for  tlic  violin,  Ward ;  which  combined  in- 
Ktructions  enabled  him  very  soon  to  lead  the  con- 
serts  iu  that  neighborhood. 


About  the  age  of  seventee  he  left  Exeter  foi 
London,  from  whence  he  A'-'as  recei^-cd  in  th< 
fomily  of  the  Earl  of  Uxbri(.ge,  to  whom  he  ii 
indebted  for  the  princi])al  part  of  his  musical  ed- 
ucation. He  was  under  Cramer  (the  father)  fot 
the  violin,  and  Dussek  for  the  piano-forte.  It 
was  through  tliis  nobleman's  interest,  exerted  in 
his  favor,  tliat  he  was  permitted  to  perform  tho 
"Storm,"  in  Hanover  Square  rooms,  which,  by 
the  late  Dr.  Burney,  was  considered  an  inimitable 
imitation.  During  his  residence  as  organlstat  .Staf- 
ford, he  took  his  degree  at  Oxford.  The  principal 
of  Dr.  Baker's  works  are  the  following,  beudei 
numerous  manuscript  compositions.  *'  Three  So- 
nata.s,  dedicated  to  Lady  Wright,  for  the  piano- 
forte and  violin."  "  'ITiree,  dedicated  to  Couutesfi 
Talbot."  "  'lliree  Ducts  for  two  performers,  dedi- 
cated to  the  Duchess  of  Rutland."  "Six  Anthems, 
for  four,  five,  and  six  voices."  "  Voluntaries  for 
the  Organ."  "  Glees,  for  three  and  four  voices, 
dedicated  to  the  Earl  of  Uxbridge."  "  The  Storm 
at  Sea,  and  the  whole  of  the  music  performed 
at  his  concert  at  the  Hanover  Square  rooms." 
"  Duets  for  two  voices,  dedicated  to  Miss  Abrams." 
"The  Overture  aud  Songs  of  the  Caffres,  a  mu- 
sical Entertainment  performed  at  Coveut  Garden 
Theatre."  To  the  above  may  be  added  a  great 
number  of  songs,  (several  sung  in  public  by  In- 
cledou,  &c.,)  duets,  concertos,  solos  for  thevioUu, 
aud  airs  with  variations  for  the  piano-forte. 

B ALARIXI.  One  of  the  most  emineut  Italian 
singers  of  the  seventeenth  century. 

BALBATRE,  CLAUDE,  bom  at  Dijon  in 
1729,  went  to  Paris  in  1750.  He  was  an  excel- 
lent organist  of  Ramcau's  school.  His  organ 
concertos  at  the  concert  spiriiuel  were  long  tha 
delight  of  Paris.  He  published  some  works  for 
the  harjisichord,  and  died  in  1799. 

BALBI,  LOREXZO.  A  violoncellist  and  com- 
poser  at  the  beginning  of  the  eighteenth  century. 

BALBI,  IGXATIUS.  An  Italian  singer.  He 
composed  some  ariettes  in  Gcnnany,  about  the 
year  1782. 

BALBI,  LUDO^^CO,  a  celebrated  composer 
at  Venice,  wa,s  a  scholar  of  Costanzo  Porta ;  he 
published  some  church  music  about  the  year 
1578. 

B-^LDACIXI.  ANTOXIO  LUIGI,  an  ItaUan 
violinist,  published  some  sonatas  about  the  year 
1720. 

B.^LDAX  published  six  sj-mphouies  at  Ven- 
ice in   1785. 

BALDEXEKER,  U.,  court  musician  and  vio- 
linist at  Mentz,  published  some  trios  for  the 
violin  at  Frankfort,  about  the  year  1781. 

BALDI.  Singer  at  Handel't  operas  in  London 
iu  1726. 

BALDUCCT.  A  first  femac  singer  at  tha 
opera  at  Venice  iii  1778. 

BALESTRA,  R.  An  Italiai  composer  at  the 
beginning  of  the  seventeenth  century. 

BALE'ITI,  RICCOB.  ELENA,  was  bom  at 
Stuttgard  \n  1768.  She  was  afterwards  first 
singer  at  the  Opera  Buffa  at  Pa)  is. 

BALLABEXE,   GREGORIO,   a  -ocal  coai 


86 


BAL 


ENCYCLOPEDIA    OF    MUSIC. 


BAL 


poser  at  Home,  wR'i  bom  about  1720.     He  com- 
posed miicli  aacrcd  muaic. 

BALLAD.  Formerly  a  little  history,  told  in 
IjTic  ver  OS,  and  suiif;  to  the  harp  or  ^-iol,  cither 
bv  the  author  himself,  or  the  jon'jicur,  wlioHC 
profession  it  was  to  follow  the  bard,  and  sin;;  his 
works.  It  is  about  a  cciitiiry  since  the  word 
ballad  be,'iin  to  imply  a  brief,  simi)le  talc,  con- 
veyed in  three  or  four  verses,  and  set  to  a  short, 
familiar  nir.  Perhaps  no  kind  of  music  has  so 
much  iiifluonce  with  the  multitude  a.s  ballad  or 
sons  sin;,anf;.  Anihew  I-'lctchcr  once  said, 
"  (rive  mo  the  makinij;  of  the  sonijs  of  a  nation, 
and  I  care  not  who  makes  the  laws."  Foreij;n 
travellers  have  complained  of  the  American 
people,  that  they  rarely  have  leisure,  and  that 
when  they  have,  they  know  not  how  to  enjoy  it. 
ITicre  is  some  truth  in  the  remark.  ^Ve  are 
eminently  a  working  people.  Part  of  this  iu- 
du-try  re-ults  no  doubt,  from  our  condition, 
and  from  the  powerful  incitements  to  enteq)rise 
afforded  by  a  young  and  prosperous  country. 
Part  of  it,  however,  seems  to  result  from  iju- 
patience  of  rest.  Not  a  few  of  the  rash  adven- 
tures and  ruinous  sjieculations,  by  which  we 
have  di^inguished  oui-sclves  in  years  past,  had 
their  origin  in  a  love  of  excitement,  and  in  our 
aversion  to  bcin;;  without  emplojiuent.  A  par- 
tial remedy  for  this  evil  might  be  found  by  dif- 
fusing a  taste  for  the  e!egiiut  and  ornamental  arts. 
These  arts  would  I'uruish  that  moderate  and 
agreeable  excitement  which  L;  so  desirable  in  the 
in'ervals  of  labor.  Since  the  days  of  Martin 
Luther,  music  h.is  contributed  to  the  retincmcnt 
o.*-  taste  and  the  strengthening  of  moral  fceUng. 
Hie  greiite  t  compeers  of  (ienuany  have  conse- 
crated their  genius  to  the  sorviic  of  religion. 
Haydn,  whose  memory  is  so  honored,  was  deeply 
religious;  his  oratorio  of  the  "Creation"  was 
produced,  as  he  himself  tells  us,  at  a  time 
when  he  was  much  in  prayer.  In  writing 
musical  scores,  he  was  accustomed  to  place,  both 
at  the  beginning  and  clo:-e  of  each  one,  a  Latin 
motto,  expressive  of  his  i)rofound  tecling  that  he 
was  dependent  on  (iod  in  all  his  cHbrts,  and  that 
to  hLs  glory  should  be  consecrated  every  offspring 
of  his  geiuus.  'ITie  art  of  music  has  special 
claims  upon  the  .Ymcrican  people.  All  men  have 
been  emlowcd  with  susceptibility  to  its  influence. 
The  child  is  no  sooner  bom,  than  the  nurse 
Ijcgins  to  soothe  it  to  repose  by  music.  Througli 
lite,  mu^ic  is  employed  to  animate  the  depressed, 
to  inspire  the  timid  with  courage,  to  lend  new 
«-ings  to  devotion,  and  to  give  utterance  to  joy 
or  sorrow.  It  is  prcMuinently  the  language  of 
the  heart.  The  understanding  gains  knowledge 
through  tlie  eye.  The  heart  is  excited  to  emotion 
through  tones  falling  on  the  ear.  And  so  uni- 
versal is  the  disposition  to  resort  to  music,  for 
the  purpose  of  either  exprcsing  or  awakening 
emotion,  that  the  great  dramatist,  that  master  in 
the  science  of  the  heart,  declares  that  — 


"Thp  mnii  lli.l  I 
Nur  i»  11.' 
Ifttt  tor  t 
'I'he  ni"t 
An<l  hit 


Lvt  no  such  luau  t>v  uiifted.' 


iiisic  in  hiirm-lf, 
'iH-onl  of  nvrt- 1  aoundt, 
iii«,  nixl  sjMtils ; 
'  An'  iliiil  u  night, 
>  Krrbuf : 


Well  may  this  be  said  of  an  art  which  has 
power  to  raise  the  coarsest  veteran  to  noble  sen- 
timents of  deeds,  and  to  inspire  the  rawest  and 
most  timorous  recruit  with  a  contempt  of  death. 


87 


It  Ls  worthy  of  remark,  that  as  the  »U'<ceptibilit\ 
to  no  other  art  is  so  iiniversal,  so  none  seem  ■,  *r 
have  so  strong  an  athnity  for  virtue,  and  for  tl-.c 
purer  and  gentler  atl'ections.  It  is  certain  thai 
from  the  fabled  days  of  Orjjhcus  and  Aiiollo, 
music  has  always  been  regarded  as  the  handmaid 
of  civilization  and  moral  rclinement.  Whcrovei 
we  would  awake  the  better  aHc'itions,  wliclhet 
in  the  sanctuary  or  the  closet,  in  the  school  foi 
infants  or  in  the  house  of  refuge  for  juvenile 
delimiucnts,  we  employ  its  aid.  'llie  Germanf 
have  a  proverb  which  has  come  down  from  Luther, 
that  where  music  is  not,  the  devil  enters.  Ai 
DaWd  took  his  haq),  when  he  would  cause  th« 
devil  to  depart  from  .Saul,  so  the  (Germans 
employ  it  to  expel  obduracy  from  the  hearts  of 
the  dej)raved.  In  their  school  i  for  the  refonna- 
tion  of  youtliful  offenders,  (and  the  same  remark 
might  be  applied  to  those  of  our  own  country, ) 
music  has  been  found  one  of  the  most  effectual 
means  of  inducing  docility  among  the  stubborn 
and  vicious.  "  At  Berlin,"  says  Profe!;*or  Stowo, 
"  there  is  an  establiihment  for  the  rcfonuation  of 
youthful  oti'enderi.  Here  boys  are  i)laced,  whc 
have  committed  offences  that  bring  tl  em  under 
the  supervision  of  the  police,  to  l)e  instructed  and 
rescued  from  vice,  instead  of  being  hardened  in 
iniquity  by  living  in  the  common  prison  with  old 
offenders.  It  Ls  under  the  care  of  Dr.  Ko])f,  a 
most  simple-hearted,  excellent  old  gentleman  ; 
just  such  a  one  as  reminded  us  of  the  ancient 
ChrLstians,  who  lived  in  the  times  of  the  persecu- 
tion, simidicity,  and  purity  of  the  Clirislian 
church.  Ho  has  been  very  succosslul  in  reclaim- 
ing the  young  offender  ;  and  many  a  one,  who 
would  otherwise  have  been  forever  lost,  has,  by 
the  influence  of  this  institution,  been  saved  to 
himself,  to  his  country,  and  to  (rod.  As  I  wai 
pas.sing  with  Dr.  K.  from  room  to  room,  I  heard 
some  beautiful  voices  singing  in  an  adjoining 
apartment ;  and  on  entering,  I  found  about  twenty 
of  the  boys  sitting  at  a  long  talile,  making 
clothe-J  for  the  e^tal)Ushment,  and  singing  ut  their 
work.  The  doctor  enjoyed  ray  surprise,  and  on 
going  out,  remarkeil,  '  I  always  keep  these  little 
rogues  sijiging  at  their  work ;  for  wliilo  the 
cliildrcn  sing,  the  devil  cannot  come  among 
them  at  all ;  he  can  only  sit  out  doort  there  and 
growl;  but  if  they  stop  singins,  in  the  devil 
comes."  The  Bible,  and  the  singing  of  religioas 
hymns,  are  amongst  the  most  etKcient  instru- 
ments which  he  eraiiloys  for  softening  the  hard- 
ened heart,  and  bringing  the  ^-iciousand  stubl)oni 
will  to  docility."  It  would  seem  that  so  long  as 
any  remains  of  humanity  linger  in  the  heart,  it 
retains  its  susceptibility  to  niu-nc.  And  n?  a 
proof  that  this  music  is  more  powerful  for  goo<l 
than  for  evil,  is  it  not  worthy  of  i>rofound  con- 
sideration that,  in  all  the  intimations  which  the 
Bilde  gives  us  of  a  fviture  world,  music  is  associ- 
ated only  with  the  em->loj-ments  and  happiness 
of  heaven  ■  We  read  of  no  strains  of  music 
coming  up  from  the  regions  of  the  lost.  To 
asiiociate  its  melodie-i  and  hanuonies  with  the 
wailings  and  convulsions  of  roi'rolmte  Ri)iriti 
would  be  doing  violence,  as  all  feel,  to  our  con- 
ceptions of  its  true  character.  We  think  thai 
the  great  Milton  offore  1  violm^-e  both  to  natnrt 
and  revelation  in  the  picture  which  he  diaw^i 
towards  the  close  of  the  firt  ho<->k  of  hLs  "  P»ra- 
dLse  I,<Mt,"  where  he  represents  the  lc>gions  ol  .St. 
tan  as  moving  "  ir  pcrlect  phalaux  to  the  Doriao 


RAL 


ENCYCLOP.TiDIA    OF    MUSIC. 


Ti\l 


mood  of  fliilfri  nnd  soft  recorders,"  "  soft  pipes 
that  clianucd  theu'  painful  steps,"  &c.  Music  can 
have  couiici-tion  only  with  our  bettor  nature. 
.\buscd  it  doubtless  may  be;  for  which  of  God's 
gii'ts  is  not  abused?  but  its  value,  when  properly 
einploved  an  a  menus  of  culture,  as  a  source  of 
refined  i)lcasurc,  and  as  the  i)ro])er  aid  and  ally 
of  our  eHbrts  nnd  asjjirationt  alter  };ood,  is  clear 
and  uu(iue>tionnble.  "  In  music,"  Hays  Hooker, 
"  the  very  imnijo  of  vice  and  vii-tue  is  perceived. 
It  is  a  thiu^  that  deli;<htcth  nil  ages,  and  be- 
»eemeth  all  states — a  tliins;  as  seasbnable  in 
grief  as  joy,  as  decent  being  added  to  actions  of 
greatest  solemnity  as  being  used  when  men 
sequester  tlicmselves  from  actions."  Bisliop 
Beveridge  sny  *,  "  That  wliicdi  I  have  found  the 
best  recreation  both  to  my  mind  and  body, 
whensoever  either  of  them  stands  in  need  of  it, 
is  music,  which  exercises  both  ray  body  and  soul, 
especially  when  I  play  myself;  for  then,  methinks, 
the  same  motion  that  my  hand  makes  upon  the 
instrumtnt,  tlie  instrument  makes  upon  my 
heart.  It  calls  in  my  siiirits,  comjjoses  my 
thoughts,  delights  my  ear,  recreates  my  mind, 
and  so  not  only  fits  me  for  after  business,  but 
fills  my  heart  at  the  present  with  pure  and  use- 
ful thoughts  ;  so  that,  when  the  music  sounds 
the  sweetlie  -t  in  my  ears,  truth  commonly  flows 
the  clearest  ui  my  mind.  And  hence  it  is  that  I 
find  my  soul  is  become  more  harmonious  by 
being  accustomed  so  much  to  harmony,  and 
adverse  to  all  manner  of  discord,  that  the  least 
jarring  sounds,  eitlier  in  notes  or  words,  seem 
\'ery  harsh  and  unpleasant  to  mc."  *V11  men 
are  more  or  less  susceptible  to  the  influence  of 
music.  It  is  also  true  that  nil  can  acquire  the 
rudiments  of  the  art.  It  has  long  been  supposed 
that,  in  order  to  learn  to  sing,  a  child  must  be 
endowed  with  what  is  called  a  musical  ear. 
That  this,  however,  is  an  error,  is  evident  from 
experiments  which  have  been  made  on  the  most 
extensive  scale  in  Germany,  and  which  are  now 
repeating  in  this  country.  In  Germany,  almost 
every  child  at  school  is  instructed  in  singing,  as 
well  as  in  reading.  The  result  is,  that  tliough 
in  thLs  respect,  as  in  many  others,  there  is  a 
great  diflcrencc  in  the  natural  aptitude  of  chil- 
dren, still  all  who  can  learn  to  read  can  also 
learn  to  sing.  It  is  found,  further,  that  thLs 
knowledge  can  be  aciiuiied  without  interfering 
with  the  other  branches  of  study,  and  with  evi- 
dent beiieSt  both  to  the  disposition  of  the  scholar 
and  discipline  of  the  school.  A  gentleman,  who 
in  this  country  has  had  more  than  four  thou- 
sand pupils  in  music,  atfirius  that  his  experience 
gives  the  same  result.  The  number  of  schools 
among  us,  in  which  music  is  made  one  of  the 
regular  branches  of  elementary  instruction,  is 
already  great,  and  is  constantly  increasing;  and 
we  have  heard  of  no  case  in  which,  with  projjer 
training,  every  child  has  not  been  found  cajjable 
of  learning.  Ii  deed,  the  fact,  that  among  the 
ancients  "H'l  i"  the  schooL<  of  the  middle  ages, 
music  was  regarded  as  indisiiensable  in  a  lull 
course  of  education,  might  of  itself  teach  us 
that  the  prejudice  in  question  Is  founded  in  error. 
Another  consideration  which  gives  music  sjiecial 
claims  ou  our  regnrd,  its  a  brancli  of  culture.  Is, 
that  the  best  ^peciIuens  of  tlie  art  are  within  otir 
reach.  It  Is  rare  that  the  pui)il  can  ever  look,  in 
tliis  country,  on  the  original  works  of  a  ma-stcr, 
in  paiiitii)^  or  Bculpturc.     N\'c  have  engravings, 


casts,  and  other  copies,  but  they  can  give  ua 
only  faint  conceptions  of  the  artist's  design,  and 
of  his  execution  hardly  an  idea.  In  written 
music,  we  have  a  transcript  of  the  conceptions  of 
the  composer,  ahnost  as  complete  as  in  written 
poetry,  or  eloquence,  and  as  easy  of  access.  In 
all  these  arts,  however,  much  may  be  done  to  call 
forth  and  Improve  the  taste  of  our  peoj.le.  By 
multiphing  exhibitions  of  art;  by  extending 
patronage  to  native  talent  for  painting  and  sculp- 
ture wliich  abounds  among  us ;  by  i)romoting 
efforts  for  the  difl'u.sion  of  a  correct  taste  in  music," 
and  a  love  for  that  art,  so  essential  in  our  devo- 
tions, and  so  useful  every  where  ;  and  finally  and 
especially,  by  introducing  elementary  int-truction 
in  music  into  our  common  schools,  —  we  can  do 
much  towards  securing  a  general  love  tor  the 
art.  There  are  said  to  be,  at  this  time,  not  far 
from  eighty  thousand  common  schools  in  this 
country,  in  wliich  Is  to  be  found  the  power 
which,  in  coming  years,  will  mould  the  charac- 
ter of  this  democracy.  If  vocal  music  were 
generally  adopted  as  a  branch  of  instruction  in 
these  schools,  it  might'  be  ren-sonably  expected, 
that  in  at  least  two  generations  we  should  be 
changed  into  a  musical  people.  The  great  point 
to  be  considered,  in  reference  to  the  introduction 
of  vocal  music  into  popular  elementary  instruc- 
tion, Is,  that  thereby  you  set  in  motion  a  mighty 
power,  which  silently,  but  surely  in  the  end,  will 
humanize,  refine,  and  elevate  a  whole  commu- 
nity. "  AVe  have  listened,"  saj's  a  recent  travel- 
ler in  Switzerland,  "  to  the  peasant  children's 
songs,  as  they  went  out  to  their  morning  occupa- 
tions, and  seen  their  hearts  enkindled  to  tlie 
liighest  tones  of  music  and  poetry  by  the  setting 
sun  or  the  familiar  objects  of  natiu-c,  each  of 
which  was  made  to  echo  some  truth,  or  point  to 
some  duty,  by  an  appropriate  song.  A\'e  have 
heard  them  sing  the  '  han-est  hymn,'  as  they 
went  forth,  before  daylight,  to  gather  in  the 
grain.  We  have  seen  them  a.ssenible  in  groups 
at  night,  chanting  a  hymn  of  praise  for  the  glories 
of  the  heavens,  or  joining  in  some  jjatriotic 
chorus,  or  some  social  melody,  instead  of  the 
fi'ivolous  and  corrupting  conversation  which  so 
often  renders  such  mcetuigs  the  source  of  evil. 
In  addition  to  this,  we  >-liited  communities 
where  the  youth  had  been  trained  from  child- 
hood to  exercises  ui  vocal  music,  of  such  a 
character  as  to  elevate  instead  of  deba  -ing  the 
mind,  and  have  found  that  it  served  in  the  same 
maimer  to  cheer  the  social  assemblies,  in  place  of 
the  voice  of  folly  or  the  poisoned  cup  of  intoxi- 
cation. We  have  seen  the  young  men  of  such  a 
community  assembled  to  the  number  of  several 
hundreds,  from  a  cii-cuit  of  twenty  miles  ;  and, 
instead  of  spending  a  day  of  festivity  in  rioting 
and  drunkenness,  pass  the  whole  time,  with  the 
exception  of  that  einploye<l  in  a  fi'ugal  repast 
and  a  social  meeting,  in  a  concert  of  social,  moral, 
and  religious  hjTuns,  and  devote  the  j>roceed8 
of  the  exhibition  to  some  object  of  benevolence. 
We  could  not  but  look  at  the  coutra;-;t  presented  on 
similar  occasions  in  our  own  country  with  ablush 
of  shame.  We  have  visited  a  village  who  -e  whole 
moral  aspect  was  chnnged  in  a  few  years  bV  the 
introduction  of  music  of  this  character,  even 
among  adults,  and  where  the  aged  were  com- 
pelled to  express  their  astonishment  at  seeing 
the  young  abandon  their  eomi])ting  and  riotous 
amusements   for  this  delightful  and  improving 

88 


BAL 


EXCYCLOPiEDIA    OF    MUSIC. 


BAL 


exercise."  Music  Ls  one  of  the  fine  arts;  it 
therefore  dcnln  witli  r.bstr  ict  beauty,  and  so  lifts 
man  to  the  source  of  all  beauty  —  from  tiuite  to 
infinite,  and  from  tlic  world  of  matter  to  the 
world  of  spirit*  and  to  God.  Music  is  the  j^rcat 
handmaid  to  civiUzation.  WTicnce  come  those 
traditions  of  a  revered  anti(|uity  —  seditions 
quelled,  cures  wroufjht,  fleets  and  armies  gov- 
erned by  the  force  of  son;;  ?  whence  that  re- 
sponding of  rofk-i,  woods,  and  trees  to  the  harp 
of  Orpiieus »  whence  a  city's  walls  uprising 
beneath  the  wonder-working  touches  of  Apollo's 
IjTe  r  These,  it  Ls  true,  are  fables ;  yet  they 
shadow  forth,  beneath  the  veil  of  allegory,  a 
profound  truth.  They  beautifully  i)roclaira  the 
mysterious  union  between  music,  as  an  instru- 
ment of  man's  civilization,  and  the  soul  of  man. 
Prophets  and  wise  men,  large-minded  law- 
givers of  au  olden  time,  understood  and  acted  on 
this  truth.  The  ancient  oracles  were  uttered  in 
loug.  The  laws  of  the  Twelve  Tables  were  put 
to  music,  and  got  by  heart  at  school.  Minstrel 
and  sage  ai-e,  in  some  languages,  convertible 
terras.  Mvisic  is  allied  to  the  highest  sentiments 
of  man's  moral  nature  —  love  of  God,  love  of 
country,  love  of  liieuds.  Woe  to  the  nation  in 
which  these  sentunents  are  allowed  to  go  to 
decay  !  What  tongue  can  tell  the  unutterable 
energies  that  reside  in  these  three  engines  — 
church  music,  national  airs,  and  tinished  melo- 
dies —  as  means  of  inlorraing  and  enlarging  the 
mighty  heiurts  of  a  fiee  people  ? 

IIALLAD  SINGER.  One  whnsc  employment  It  il  to  ling  bal- 
lads. 

BATJ,  \l)  STYLE.    In  llie  nir  or  mnnnir  of  n  hollnrl. 

HAI.I.AI)  TINT-  The  ciiininoii  xtng  or  tunc  of  n  Imllad.  Bal. 
lad  tune  itonerjllv  mean*  a  kind  of  (tone,  iidnpti'd  to  the  nipocity  of 
the  lower  elasa  of  penplf.  Thi-  ballad  hojf  not,  howevcT.alwayii  been 
eonftned  to  the  low  and  Inf.-rior  onler  of  couiliositfoui.  lu'an  olil 
Enffli^h  version  of  thu  Hihlc,  Solomon's  Sons  ii  dealimnted  on  the 
Uiillii'l  of  hiillii  /».  Som.'  suppose  Ihitt  a  knowli'dfte  of  the  Imllnds 
in  common  usr  is  neci'*«Ary  t*>  a  miuisler  of  state  to  Icurn  ihi-  tem- 
per and  dis)i.>sition  of  the  iH'opIe  ;  .mil  I»nl  Ci-fil,  prime  miniiler 
Ui  Queen  Kli/iilieth,  is  s  itd  to  liave  made  an  ample  rollei-tion  of  h»l- 
l.lds  for  this  purpose.  .See  Dr.  Perey's  Collection  of  old  English  and 
Scotch  Bull.id-,  and  a  dissertation  predxed  to  Dr.  Alkin't  Collection 
of  Ballad  TuiiL-s,  or  Soni;s. 

BAI.I.AKE.     (I)     To  dance. 

B.\LI..\T.V.  (I.J  A  term  applied  by  the  Italian!  toany  song,  the 
melody  of  which  is  calculated  to  regulate  the  measure  uf  a  dauce. 

BAUXO.  A  celebrated  tenor  singer  at  the 
Chapel  Royal  at  Lisbon.     He  died  in  1700. 

B.\LL.\RO'rn.  A  composer  of  opera  music 
at  Venice,  at  the  end  of  the  seventeenth  century. 

B.VI-LF/nT,  MADEMOISELLE.  First  female 
singer,  in  1708,  at  the  Opera  Butfa  at  Paris. 

BALLET.  A  kind  of  dramatic  poem,  repre- 
senting some  tabulous  action  or  subject,  di^'idctl 
into  several  acts  in  which  several  persons  appear, 
and  recite  ihings  under  the  name  of  some  deity, 
or  other  illu-.triou8  character.  The  term  is  now 
particularly  u-cd  lor  a  sta;;e  dance.  Ballet  is 
hkewise  the  name  given,  in  France,  to  a  whim- 
sical kind  of  opera,  in  which  dancing  is  a  princi- 
pal part  of  the  perfonuaiuc.  In  most  of  the>e 
ballets  the  several  acts  seem  so  many  different 
subjects,  connected  only  by  some  general  relation 
foreign  to  the  a'/tion,  which  the  spectator  could 
not  discover,  if  it  was  not  made  known  in  the 
prologue.  Ballots  are  accompanied  with  music, 
*nd  sometimes  aonsist  of  a  series  of  airs  with 
lilferent  movements. 

UAI.I.ETTD.  (1.1  A  hallelto  is  a  theatrical  representation  of 
Icmii-  lide^  or  table,  t4>ld  in  danre.  or  metncml  octluu,  sccum|Minied 
kith  music  I  on  inter.udei  acunilc  danc«. 


BAM.ET  MASTER.  The  artist  who  inrenU  and  »upertnlend» 
the  rehearsal  aiid  iH-rfunnaiiee  of  the  balleL 

B.VLLI.  (I.)  Certain  analogous  dancc«,  which 
the  Italians  first  uitroduced  about  the  year  1730, 
betweeu  the  at^ts  of  their  operas,  but  in  the  com- 
j)osition  of  which  they  were  not  suffered  to  in- 
trude so  much  on  the  attention  of  the  audience 
as  to  rob  the  poet,  composer,  and  vocal  liorlorm- 
ers  of  their  due  rank  and  importance  in  the  ibama. 

B.VLUCOUUT.  A  celebrated  flutist  and  com- 
})oser  for  his  instrument  iu  Loudon,  about  the 
year  17  ft. 

BALLIEUE,  C.  L.  D.,  died  at  Ilouen  in  1800. 
He  wrote,  among  other  works,  a  theory  of  music, 
which,  although  approved  by  the  academy  of 
Kouen,  Ls  essentially  false. 


(I.)     A  sort  of  ballet ;  any  dancing 


BALLO. 
tune. 

BALFE.  A  good  vocalist  and  fine  composer. 
lie  sang  in  Xew  York  in  IS 31.  He  hasacijuired 
such  musical  reputation  as  few  Kngli.sh  singers 
or  composers  have  ever  done.  Ball'e  was  born  in 
Ireland,  and  was  first  distinguished  as  a  singer. 
His  voice  was  a  baritone  of  moderate  i)Ower ;  but 
his  style  was  most  beautifully  finished  and  full 
of  feeling.  He  has  since  merged  the  singer  in 
the  composer.  His  sparkling  and  effective  opera:*, 
the  "Enchantress,"  the  "Bohemian  (iirl,"  &c., 
enjoy  great  popularity.  Balle  has  jjresidetl  over 
the  orchestra  for  some  time  in  one  of  the  great 
rival  opera  e.<tablishments  in  London. 

BALTAZ.'VIIIXI,  a  celebrated  violinist,  was 
sent,  at  the  head  of  a  band  of  violin  players, 
from  Piecbnont,  by  Marshal  Bressac,  to  Catha- 
rine of  Medicls,  and  appointed  by  that  princess 
her  first  ra/et  fie  c/uimbn;  and  superintendent  of 
her  music.  He  was  the  delight  of  the  court,  as 
well  t)y  his  skill  on  the  \'iohn  as  by  his  invention 
of  balh'l.t,  or  fetes  with  dancing  and  luusic.  It 
was  he  who  composed,  in  1.581,  the  h,itl)t  for  the 
nuptials  of  the  Duke  de  Joyeuse  with  Mademoi- 
selle de  Vaudemout,  sister  of  the  queen ;  au  en- 
tertainment that  was  reiireicnted  with  extraor- 
dinary pomp.  Dr.  Bumey  tliinks  this  wius  the 
origin  of  the  heroic  and  historical  baliut  in  France. 

BAL^niAZ-UUXL  BEAUJOYEUX.  An 
ItaUan  musician,  who  composed  several  ballads 
and  pieces  of  music  in  the  reign  of  Henry  III. 

BALTZ.\R,  "niOMAS,  was  bom  at  Lubec!;. 
and  was  estc^racsd  the  finest  perfonner  on  the 
violin  of  his  time.  He  went  to  England  in  the 
year  Ki.iS,  and  lived  atxiut  two  years  in  the  hotuso 
of  Sir  Anthony  Cope,  of  Hanwell,  in  O.vfonl- 
shire.  He  was  the  great  competitor  of  Davis 
Mell,  who,  thou!;h  a  dockmaker  by  trade,  was, 
till  Baltzar  went  there,  allowed  to  be  the  finest 
performer  on  the  ^•iolin  in  England  ;  antl  alter  his 
arrival,  he  lUvided  with  him  the  public  ajiplau-se, 
it  being  agrectl  that  McU  excelled  in  the  finene..s 

I  of  his  tone  and  the  sweetness  of  his  manner,  and 
Balt/.ar  in  the  power  of  extxtition  ami  command 
of  the  instrument.  Moreover  it  Is  said  of  the 
latter,  that  he  first  taught  the  Engli.sh  the  prac- 

\  tice  of  shifting,  and  the  use  of  the  upper  ]iart  of 
the  finger   Ismnl.     Ball/ir  was   given  to    •itciu> 

'  perance,  and  is  ttaid  to  \ave  shortened  h  j>  dayi 


12 


89 


DAL 


ENCYCLOPAEDIA    OF   MUSIC. 


BAN 


oy  exce%-.ivo  drtiikini;.     He  was  buried  in  West- 
minster Abbey,  iii  the  year  16G3. 

BALVAXSKY  published  twelve  IlongroUea  at 
Vieiiim  in  17!)-5. 

BALZLVXI,  LEONARDO.  A  violin  com- 
poser at  the  bcj;inuing  of  the  last  century. 

BAMBElKiEK,  ^L\DAME.  A  celebrated 
liermiin  singer  at  Frankfort. 

BAMHLN'I,  F.,  of  Bologna,  Mcnt  to  France, 
when  ten  years  of  age,  with  his  father,  who  was 
manngcr  of  a  company  of  Italian  coinoclians. 
I'hey  pci-foiTued  abo\it  the  year  1760  in  Paris. 
F.  Bamlnni  composed  several  operas,  also  some 
instrumental  music. 

BANCIIIERI,  ARIANO.  A  celebrated  Itid- 
ian  comi)0:5er  between  the  years  1598  and  1638. 

.  BANCZ.VKEWIC,  a  chapel-master  at  War- 
saw, composed  some  sacred  music,  and  was  a 
wanu  promoter  of  that  style  of  composition. 

BAND,  or  BANDA.  A  company  of  practical 
musicians,  associated  for  the  puqjose  of  i)erfonn- 
ing  together  on  their  respective  instruments. 
Some  bands  use  brass  instruments  only,  and  are 
called  brass  bands ;  others  use  various  instru- 
ments, and  such  as  are  common  in  orchestras. 

BAXDERALI,  professor  of  singing  at  the 
Conservatoire  at  Paris  for  twenty  years  previous, 
died  of  cholera,  in  that  city,  in  1849. 

BAXDIXL  AXGELO  MARIA.  Among  the 
musical  manuscripts  purchased  by  Dr.  Burney  at 
Rome,  in  1770,  was  the  music  book  of  Salvator 
Rosa,  the  celebrated  painter,  poet,  and  musician. 
Number  eleven,  in  the  above-mentioned  curious 
maniiscript,  contains  a  grumbling,  gloomy  his- 
tory of  Salvator  Rosa,  in  which  the  comic  exag- 
geration is  not  unpleasini;  ;  but  it  is  rather  a 
satire  on  the  times  in  which  he  lived  than  a  IjtIc 
composition.  However,  it  is  set  by  Bandini ;  but 
being  chiefly  narrative,  the  music  is  almost  whoUj- 
recitative.  Dr.  Burney  has  published  a  transla- 
tion of  this  cantata.  Bandini  was  a  native  of 
Florence. 

BAXDORE.  (I.)  A  stringed  instrument  of  the 
lute  kind,  used  many  years  ago,  but  now  aban- 
doned. 

B.VX'ESTER,  G.  An  old  English  composer 
about  the  year  1190. 

BAXISTER,  JOIIX,  succeeded  the  celebrated 
Baltznr,  as  leader  of  King  Charles's  new  band  of 
l\*cnty-four  violins.  He  was  the  lirst  English 
riolinist  of  any  note.  lie  died  in  1()79.  lie  set 
to  music  the  opera  of  "  Cinv,"  written  by  Dave- 
nant.  and  jjorlormcd  at  the  theatre  and  in  Dor- 
set (iardens  in  1(>7<).  He  also  comjiosed  several 
songs.  Banister  was  the  tirst  musician  who  es- 
tablished lucrative  concerts  in  London.  The-o 
concerts  were  advertised  in  the  Loudon  Gazette 
of  the  times;  and  in  Xo.  742,  December  30, 
iri72,  there  Is  the  following  advert i'^ement  ; 
"The  c  arc  to  give  notice,  that  at  Mr.  John  Ban- 
ister's house,  now  called  the  Mvi'-ic  .School,  over 
against  the  (ieorge  Tavernc,  in  ^Vhitc  Friars,  tliis 
pre-ent  Monday,  will'  be  Musiok  performed  by 
exccUeut  masters,  beginning  precisely  at  four  of 
the  clock  in  the  afternoon,  and  every  aUenioon 
for  the  future,  precisely  ut  the  same  hour." 


BAXLSTER,  JOIIX,  son  of  the  preceding, 
was  an  eminent  performer  on  the  violin  ;  he  wai 
one  of  King  William's  band,  and  played  the  first 
violin  at  Drury  Lane,  wl:en  operas  were  tirst  per- 
formed there.  He  died  about  the  year  172.5.  H« 
composed  several  grounds,  with  divisions,  in- 
serted in  the  "  Division  Yiolin." 

BAXISTER,  CHARLES.  A  bass  singer  at 
the  London  theatres  in  the  latter  part  of  the  last 
century,  and  father  to  John  Banister,  the  cele- 
brated comedian.  C.  Banister's  voice  and  style 
were  aUke  powerful  by  nature  and  feeling,  though 
rough  and  unpolished.  He  gave  Carter's  very 
spirited  description  of  a  sea  tight,  "  Stand  to  youi 
guns,  my  hearts  of  oak,"  with  a  corresponding 
animation.     Shield  wrote  "The  Wolf"  for  hiiu. 

BANISTER,  H.  J.  A  composer  of  vocal  mu- 
sic, and  teacher,  resident  in  London.  Some  of 
his  songs  were  published  at  the  Harmonic  Insti- 
tution. 

BANJO.  A  favorite  instrument  among  the 
negroes  of  the  south.  It  is  a  rude  imitation  of 
the  guitar  united  with  the  tambourine.  Its  head, 
and  neck  are  formed  like  tlie  guitar  ;  it  has  five 
strings.  Is  played  with  the  fingers  and  hand,  and 
its  body  Is  m  the  form  of  a  hoop,  over  which 
parchment  is  stretched  as  over  a  drum. 


SC.\.LE    POK    THE    n\XJ0. 


l5t  9tring. 

-M  ►triug. 

:'A  strillK. 

• 4th  or  ImM  ttring. 

C 5th  string. 

Position.  —  Hold  the  banjo  in  the  left  hand, 
about  two  inches  from  the  nut ;  let  the  neck 
rest  in  the  hollow  of  your  hand,  wlii.^h  wiU  briu;} 
your  fingers  and  thumb  diiectly  over  the  string:-, 
and  let  the  instrument  rest  against  your  right 
side,  which  will  bring  it  in  a  proper  po.-.itiou  to 
perform  with  the  right  hand.  You  must  sit  in 
an  upright  and  graceful  position,  as  it  is  less  tire- 
some, and  will  give  your  right  hand  a  fuller  Use 
of  the  instrument. 

Oil  tuning  the  Banjo  in  the  Key  of  C.  —  Tune  the 
middle  or  tliird  string  to  C,  the  tirth  or  shorter  to 
C  an  octave  above ;  tune  the  fourth  string  to  F  a 
fifth  below  lower  C.  Tune  the  second  string  to 
E  a  third  above  the  lower  C,  and  tune  the  first  to 
G  on  a  third  above  the  second  or  a  tilth  above 
lower  C. 

SCALE    FOR   TUE    B.VXJO    I.V    THE    KEY   OF   C. 


i 


^^- 


Kunii  oTDotM,  0      TOAB     C     D       CrOAno'nEFOABO 

tigixif,  0      0  1  '<i  S     0    1      U  1    01  i!3  1  1^34>  1  ii  3 

The  0  above  represents  the  open  strings,  the 
figures  1,  2,  3,  and  4,  the  fingers  to  place  upoa 
them. 

On  tuning  the  Banjo  in  the  Key  of  (£).)  i*  J* 
Tune  the  middle  or  third  string  to  D,  the  fifth  M 
D  an  octave  above,  the  fourth  to  G,  the  second  to 
F,  and  the  first  to  A,  which  corresponds  to  A  on 
the  violin. 

BAX'K,  J.  C.  H.,  a  composer  and  organist  at 


00 


BAN 


ENCICLOP.EDIA    OF    MUSIC. 


BAB 


Magdchurj»,  publLshctl  some  miuic  for  the  piano 
at  Leipsic,  about  the  year  1797. 

BANKIIART,  professor  of  music  at  Leices- 
ter, was  an  eminent  violoncellist.  Ho  performed 
at  the  York  musical  festival  in  1823. 

liANN'EUX.  A  theatrical  composer  at  Paris 
about  the  year  1798. 

BAXXUS,  JOIIX  ALBERTUS.  A  writer  on 
music  in  the  first  half  of  the  seventeenth  century. 
His  works  were  ]>ublished  in  Holland ;  amon!;st 
other:',  n  book  in  the  Italian  language,  called 
'  AUnu^nta  Miisiae." 

BANTI,  BUKiADA  GEORGI,  a  celebrated 
female  Itnlinn  siuijor,  was  the  daughter  of  a  Ve- 
netian gondolier,  and  in  her  youth  nothing  more 
nor  les;t  than  a  street  singer  in  Georgi,  her  native 
town,  where  a  noble  amateur,  having  noticed 
the  brilliancy  of  her  voice,  had  her  instructed  in 
singing  at  his  expense.  It  is  probable  she  vran 
Bhortly  after  ailvi^cd  to  try  her  fortune  in  a  for- 
eign country,  for  slie  soon  left  Venice  on  her  road 
to  Paris ;  not,  however,  as  it  would  Rccm,  in 
prosjiorous  circumstances,  since  she  sang  at  cof- 
fee hou  .e*  and  inns,  at  Lyons  and  other  towns, 
for  small  sums  collected  from  the  guests.  Mon- 
sieur de  Vi:uitv,  tlicn  manager  of  the  opera  at  [  sel,  between  the  years  1760  and  1770 
Paris,  relates,  that,  in  the  year  1778,  he  stopped  '  Battista. 
one  evening  at  a  coHee  house  on  the  Boulevards, 

being  struck  bv  the  sound  of  a  verv  beautiful  I      BAPTISTIX,  or  JOIIX  BAPTISTE  STRUK, 
voice;  it  was  Banti  whom  he  heard,  as  she  was  I  »  musician  ot  Florence,  died  1740. 
singinii  in  the  cotfee  room.     He  put  a  louis  d"or  |      B.\R,    or    B.VR.S.      A   bar   is   a   line  drawn 
into  her  hand,  di>suing  her  to  call  on  him  tlie  j  tlirough  the  stntf  at  right  angles  to  the  statf  it- 
next  morning.     The  result  was,  that  Monsieur  de     self,  for  the  purpose  ot  dividing  the  notfti  into 


by  Francesco  Bianchi,  and  then  first  produced. 
The  celcbroted  prayer  in  it,  "  Cran  l)io  die  refjoli, 
was  given  in  a  style  of  tenderness  and  appropri 
ate  devotion,  which  perhaps  has  never  been  ex- 
ceeded on  the  stage.  We  believe  tliat  the  yeai 
INO'2  was  the  hist  season  of  Banti's  singing  iu 
England.  She  died  at  Bologna,  in  ISO  i,  aged 
about  fifty.  It  Ls  said,  that,  on  opening  her  body, 
the  lungs  were  found  to  be  of  an  unu.sually  larga 
siite. 

BAXWART,  JACOll,  a  composer  of  mo- 
tetj),  &c.,  in  the  latter  half  of  the  sovenleenth 
century,  was  born  in  .Swe<len,  and. became  chapel- 
master  at  the  cathedral  in  Constance. 

BAPTISTA,  FR.  ERAXCISCO.  An  Au- 
gustine monk  and  music  miuster  at  Cordova  in 
1G25. 

BAPTISTE,  JOIIX.     See  Boxsometti. 

B.VPTIS'L'K.  A  celebrated  French  violinist  at 
Paris  at  the  commencement  of  the  last  century. 
lie  «Tent  to  Rome  to  learn  of  CoroUi  the  method 
of  playing  his  sonatas,  which  no  one  at  that  time 
in  Paris  could  execute. 

BAPTISTE,  LUDWIG  ALB.  FRIICDRKII, 
a  composer  of  instrumental  music,  did  at  Cas- 

Sce 


Visnes  engaged  her  immediately  for  the  Opi'ru 
Biijfii,  where  she  made  her  ilvhiu,  by  an  air  sung 
between  the  second  and  third  acts  of  "  I'thiijeiiic 
en  AtiliiU;"  and  created  a  universal  sensation  of 
delight.  -Vfter  tlie  departure  of  the  celebrated 
-•Vgujari  from  Loiulon,  the  managers  of  the  Pan- 
theon engaged  Madame  Banti  for  three  seasons, 
upon  comlit  ion  that  £100  a  yejir  should  be  de- 
ducted from  her  salary,  for  the  pa)-ment  of  an 
able  master  to  cultivate  her  voice.  Sacchini  was 
the  first  appointed  to  this  office ;  but  he  found 
her  so  iiUe  and  obstinate,  that  he  soon  quitted 
her  as  an  incurable  patient.  She  was  next  as- 
signed to  Pio/.zi,  whose  patience  was  likewise 
soon  exhausted  by  her  incorrigible  inattention. 
ller  last  miuster  in  England  was  .Vbcl ;  soon  alter 
wliich  she  lelt  that  coiuitry,  and  sang  with  en- 
thusiastic applause  at  several  of  the  Gennan 
courts,  and  subsenuently  at  almost  every  prui- 
cipal  town  in  Italy.  Her  gieat  success  ccrtamly 
exemplifies  most  strongly  the  truth  of  the  old 
adage,  that  "  there  are  a  hundred  reiuisites 
nece  sary  to  constitute  a  good  singer,  of  which, 
whoever  is  gifted  with  a  fine  voice,  is  already  in 
possc.ision  ot  ninety-nine."  After  several  years' 
absence,  Banti  returned  to  England  in  the  spring 
of  17T»0,  when  her  performanie  and  singing  in 
Gluck's  opera  of  "  Alccsle  "  was  thought  to  be 
most   porlect ;   everj*   look,   every  a  -tion,  cvcrj- 


equal  measures  of  time.  By  the  aid  of  the  bar, 
an  orchestra  or  band,  however  numerous,  Ls  reg- 
ulated and  held  together.  It  is  by  the  aid  of  tlia 
bar,  also,  that  the  composer  figiues  to  us  the  cor- 
respondence of  the  parts  of  his  score. 

Every  musical  jnece  Ls  divided  into  equal  por- 
tions of  time,  calle<l  mccuiurv^.  These  are  ascer- 
tained by  straight  lines,  called  bar.i,  drawn  down 
tlie  statf.  -Vll  the  notes,  therefore,  contained  be- 
tween two  bars,  constitute  one  measure. 

-0- 


In  common  language,  the  word  bar  is  used  im- 
properly for  me<iiure.  It  is  so  used  in  tliis  work, 
because  the  use  of  it  has  become  very  common. 
'ITie  word  score  probably  originated  from  the  bar, 
which,  in  its  first  use,  was  drawn  through  all  the 
parts,  as  it  should  be  still,  if  a  ])iece  ot  mitsic  be 
in  ]mrtitiou  or  partituru.  The  first  introduction 
of  bars  took  place  about  the  middle  of  the  seven- 
teenth century.  Bars  always  denote  strokes 
drawn  perpendicularly  across  the  lines  of  a  piece 
of  music,  including  between  each  two  a  certain 
(luantity  or  measure  of  time,  which  is  varioiLS  aa 
the  time  is  triple  or  common.  In  common  time, 
between  each  two  bars  Ls  included  the  measum 
of  four  crotchets  ;  in  triple  time,  three  crotchets. 


note,  appearing  to  be  strictly  ap;  ropriate  to  the  ,  Their  principal  use  Ls  tc  regulate  the  beating  or 


character  she  had  assumed,  and  to  no  other, 
Soon  after  this,  on  the  occasion  of  I.ord  Howe's 
victory,  Banti  introduced  in  one  of  her  cantatas 
the  national  air  of  "  God  save  the  King,"  in  a 
style  which  perfectly  electrified  the  audience. 
In  the  year  1799,  she  enraptured  every  hearer  by 
her  perfonuancc  iu  "  IiU'a  de  Castro,"  composed 


measure  of  a  musical  time  in  a  concert.  Ther« 
Ls  also  a  thick  bar  used  in  music  at  the  end  of 
strains  and  movements,  called  the  tlouble  bar. 

B.VR-VXELLI.    See  Galcppi. 

BARAXIU.S,  IlEXIUETTA.     A  female  sing- 
er  at  Berlin  between  the  years  1784  and  1707. 


91 


BAR 


EXCYCL0P-5DIA    OF    MUSIC. 


BAR 


BAllAVICINI,  MADAME.  A  celebrated  fe- 
male porlbriucr  ou  the  violiu.  She  was  bom  at 
Milan  ill  1778. 

UAlUiA,  DANIEL.  A  composer  of  instru- 
mentiil  music  at  Vienna  about  the  year  1799. 

IJAUHAXT,  rilAULKS.  About  the  year  17fi 4, 
or'^anist  at  the  H;iviirinn  cliiipel  in  London.  He 
was  tlie  muster  of  .Samuel  Webbe,  the  celebrated 
^lee  comjioicr,  and,  in  170'!,  published  a  Kmall 
collection  of  pieces  for  the  Catholic  ser\-ice,  under 
the  follo%vin<;  title  :  "  Sacred  Hymns,  Anthems, 
and  Ver-ides,  for  Morning  and  Evening  Service." 
ThLs  work  Ls  now  extremely  scarce. 

BARUARINO,  BARTOLOMEO,  called  11 
Pcsarino.  A  composer,  bom  at  Tabriara  at  the 
end  of  the  sixteenth  century.  He  published 
some  miidrigals  at  Venice. 

BARBARISM.  False  harmony,  or  modula- 
tion which  is  very  ofi'ensive  to  a  musical  ear. 

B.UIBAROUS.  An  epithet  that  was  some- 
times applied  by  the  Greeks  to  the  Lydian  mode, 
because  the  liydians  were  an  Asiatic  people. 

B.VRBELLA,  EMAXUELE.  A  modest,  in- 
genious musician,  and  true  follower  of  Tartini's 
principles  on  the  violiu.  He  studied  composition 
under  the  celebrated  Leo,  and  j)leasantly  re- 
marks of  himself,  that,  "  notwithstanding  thLs 
advantage,  Barbella  is  a  mere  ass,  who  knows 
nothing."  lie  died  at  Naples  in  1773.  Some  of 
Barbella's  compositions  for  the  violiu  have  been 
published  in  England. 

BARBER.  An  English  composer  of  vocal  and 
instrumental  music  about  the  year  1790. 

]$ARBICI  published  some  quartets  for  violins 
at  I'aris  in  1709. 

BARBIER,    MADAME    WALBONNE.      A 

French  female  singer  about  the  year  1800. 

BARBIER,  MRS.  An  English  singer  between 
the  years  1711  and  1729.  Her  timicUty,  on  her 
debut,  is  favorably  alluded  to  by  Addisou  in  No. 
231  of  the  "Spectator." 

BARBIERE.  A  dramatic  composer  about  the 
year  1790.  lie  wrote  an  oratorio,  "  La  Pazicuza 
di  Tobia." 

BARBIERI,  GIOVANNI  ANGELO.  An 
Italian  singer  and  composer  about  the  year  1G50. 

BARBITD.  A  celebrated  musician  at  the 
court  of  Persia. 

BARCA,  DON  ALESSANDRO,  published  a 
new  theory  of  music  at  Padua  in  1786. 

BAIUWROLLES,  BARCORELLES,  and 
BARC'ARUOLA.  Ccnuin  songs  composed  by 
the  Venetian  gondoliers,  and  sung  by  them  in 
their  boats.  The  Ktyle  of  these  airs  is  sim|)le  and 
natural,  like  the  manners  of  the  i)eople  who  jn-o- 
duce  them  ;  and  they  possess  a  kind  of  artless 
beauty,  which  not  only  strikes  common  ears,  but 
delights  even  the  virtuosi.  The  Venetian  i;""- 
dolicrs  have  the  liberty  of  visiting  all  the  theatres 
grn(is,  which  gives  them  an  opportunity  of  cul- 
tivating their  ear  and  taste  without  expense. 
Tlic  gondolier  songs  are,  many  of  them,  so  grace- 
ful and  ])lea.sing,  that  the  musicians  of  Italy  pride 
Ihem.Helves  on  knowing  and  singing  them. 

B.VRD,  or  B.UIDD.     (W.)    An  appellation 


originally  given  by  the  Cambro- Britons  to  their 
poets,  or  minstrels,  and  by  allusion  since  ap])Iied 
to  the  poetic  authors  of  all  ages,  from  the  rhap- 
sodist  of  ancient  Greece  to  the  rhymLst  of  modern 
times.  The  rejiutation,  influence,  and  i)ower  of 
this  order  of  men  were  formerly  very  liigh  ;  they 
were  courted  by  the  great,  and  seated  at  the 
tables  of  princes.  Their  power  in  stiiring  the 
courage  and  rousing  the  fury  of  armies  Ls  uni- 
versally recorded  ;  and  generals  have  often  con- 
fessed themselves  indebted  for  victory  to  their 
heroic  strains.  The  bards  were  the  chosen  ne- 
gotiators with  the  enemy  ;  the  deeds  of  the  day 
were  at  night  recorded  m  their  songs,  and  the 
fame  of  the  fallen  heroes  perpetuated  by  their 
praise.  The  term  bardus,  according  to  Festus 
and  Camden,  is  pure  BritLsh  or  Celtic,  and  de- 
note a  si/ir/er.  The  term  bard,  however,  denotes 
any  professed  musician  and  poet,  or  minstrel,  of 
ancient  times,  whose  office  it  was  to  celebrate  in 
song  the  mighty  deeds  of  heroes,  or  to  lament,  in 
pathetic  strains,  their  untimely  losn,  or  any  great 
public  calamity.  Carolan  was  the  last  of  this 
order  in  Leland,  and  he  died  in  1738.  To  him 
we  are  indebted  for  a  large  proportion  of  the  pop- 
ular Irish  melodies.  (.See  C.vuolax  Twalogh.) 
Bochart  derives  the  word  bard  from  pai-ut,  to 
sing.  It  may  be  considered  the  old  name  for 
both  poet  and  singer,  as  it  is  nearly  synonNTuous 
with  mi/iJitrel.  In  fact,  there  can  be  little  doubt 
that  the  bards  were  ancient  poets  among  the 
GauLs  and  Britons,  who  not  only  described,  but 
sung,  in  ven-e,  the  brave  actions  of  the  great  men 
of  their  nation,  with  design  to  paint  and  recom- 
mend virtue,  and  even  sometimes  to  put  an  end 
to  the  dilfcreuce  between  armies  at  the  point  of 
engagement. 

B.UIDI,  GIOVANNI  DE,  of  Florence,  Count 
of  A'ernio,  was  maestro  di  camera,  towards  the  close 
of  the  sixteenth  century,  to  Pope  Clement  VHI., 
by  whom  he  was  tenderly  beloved.  This  most  ac- 
complished nobleman  was  particularly  attached  tc 
the  study  of  antiquity,  and  to  the  theory  and  pr^.c- 
tice  of  music,  to  which  he  had  apjjlied  himsell"  foi 
many  years  so  closely,  that  he  became,  for  the  time 
in  which  he  lived,  a  correct  and  good  composer. 
Giovanni  Bardi's  name  is  chierty  famous  in  con- 
nection with  the  origin  of  the  opera,  about  the 
year  I  (iOO.  He  was  the  head  of  a  circle  of  scholan 
and  dilettanti,  who  were  wedded  to  the  ancient 
Greek  di°ama,  and  whose  attempts  to  reproduce 
its  siii'jiiig  speech  resulted  in  the  modern  ItalioL 
recilatico.     See  Opkilv. 

BARDI,  GIROLAMO,  son  of  the  preceding., 
wrote  some  works  ou  music  about  the  year  1651. 

BARETTI,  GIUSEPPE,  wa.s  born  at  Turin  it 
1716.  He  was  a  language  miustcr  in  London, 
and  wrote  several  volumes  of  travels,  in  wliick 
much  is  related  on  the  subject  of  ItaUan  music. 

BARETTI,  A.,  brother  of  the  preceding,  re- 
sided at  Turin  in  1770.  He  was  a  good  instru- 
mental composer.  Some  of  his  duets  for  violon- 
cellos were  published  at  ParLs. 

BARGAGLL^.,  SCIPIONE.  A  composer  of 
the  sixteenth  century.  In  his  works  on  music, 
the  word  concerto  seems  (according  to  Dr.  Bur- 
ney)  to  be  used  for  the  first  time. 

BARILLE.  An  Italian  buffo  singer.  He  wa. 
engaged  at  the  Italian  Opera  in  Paris  in  1719. 


92 


BAH 


ENCYCLOr^DIA    OF    MUSIC. 


BAP 


BATIILLI,  MADAME.  A  good  Italian  fiiii(;cr 
in  I'nrirt  nt  the  commeucement  of  the  present  ceu- 
tury. 

IJARIPICNI.  The  name  given  by  the  ancient 
Greeks  to  low  sounds  in  general.     Sec  Oxipicni. 

BAUIIMIAXUS.     See  Buiyphanus. 

IJAUrrOXO  voice.  Sarytoiu-,  or  Daritonf,  is 
apiiliod  to  a  male  voice  the  corapa  s  of  which 
partake!  of  the  common  bass  and  tenor,  but  does 
not  extend  so  far  downwards  as  the  one,  nor  to 
an  <;qual  height  with  the  other.  The  compass  of 
a  baritone  voice  unially  extends  from  H  Hat  to  F. 
Phillips  and  Tamburini  arc  tiuo  examples  of  this 
voice. 

HARITONO  CLEF.  Tlie  name  given  to  the 
F  clef,  when  placed  on  the  third  lino,  in  order  to 
accommodate  the  liaritone  voice.  IJut  it  is  oidy 
iu  Homc  of  the  old  music  that  the  F  clef  Ls  found 
in  this  situation. 


»--=Sfe=t=5b=^^P^F^=i=^ 


BARIZEL.  An  excellent  French  performer 
on  the  double  bass.  He  ])layed  a  concerto  on  his 
instrument  at  the  Socictc  Philharmoui<iue  at  Par- 
is in  ISJ:). 

B.VRLY.  A  celebrated  performer  on  the  haut- 
boy at  Madrid  about  the  year  1790. 

BARMAN,  F..  of  Munich.  A  celebrated  per- 
former on  the  clarinet.  He  was  remarkable  for 
hLs  beautiful  piano,  and  for  liis  facility  more  than 
for  his  general  tone.  He  composed  eight  operas 
of  duos  for  Hutcs.  Died  June  U,  1817,  at  Mu- 
nich, nged  sixty-four. 

BARM.VXN,  JOIIAXN  BAPTIST,  a  Ger- 
man Benedictine,  died  in  178S.  He  published 
some  church  music  at  Augsburg  in  I'liO. 

BARNARD,  REV.  JOHN.  A  minor  canon  of 
St.  Piiul's  Church,  London,  in  the  time  of  Charles 
I.  He  published  a  noble  collection  of  church 
music  by  tlitfcrent  EngUsh  masters.  ITiis  work, 
unfortunately,  was  not  printed  in  score,  and  the 
conse  luence  of  the  parts  being  separated  is,  that 
at  i)reiont  it  is  entirely  lost  to  the  world. 

BARNETT,  JOHN,  is  the  eldest  son  of  Mr. 
Barnctt  Baniett,  a  rcs])ectahle  jeweller  and  dia- 
mond merchant,  residing  in  London  ;  he  was  bom 
at  Bedford  in  1802.  When  only  two  years  of  age, 
he  discovered  so  strong  a  genius  for  music,  that 
he  could,  after  once  having  heard  an  air,  sing  it 
■»ith  an  exactnefs  truly  astonishing;  be-ides 
which,  he  could  sing  a  part  of  a  glee,  or  fonn  ex- 
act haiTUony  to  any  theme  that  happened  to  be 
sung,  of  course  without  any  knowletlge  of  notes. 
AVc  cannot  here  rc-ist  the  desire  of  introducing 
an  anecdote  reipecting  him  at  this  time.  His 
mother  lulled  him  to  rest  with  a  (icrman  nation- 
al air,  (her  own  native  music,)  which  he  soon 
learned  by  the  fre<iuent  hearing  of  it,  and  actually 
sang  in  the  cradle ;  the  same  will  be  found 
among  his  piano-forte  works,  arrangc<l  as  a  fan- 
ta;na.  From  the  age  of  eight  he  became  passion- 
ately fond  of  sinicing  and  declamation,  and  com- 
pose^l  the  melodies  of  many  little  songs  for  him- 
self and  his  brothers,  which  he  tausht  them  from 
memory,  not  yet  having  a  knowledge  in  music, 
nor  any  means  of  writing  down  his  effusions. 
At   ten   years  old   his  voice   became  peculiarly 


powerful,  and  distinctly  ditferent  from  the  gener- 
ality of  juvenile  voices,  being  a  contralto,  a  spe- 
cies of  voice  never  before  known  in  a  boy ;  pos- 
sessing at  the  same  time  the  compass  and  (luality 
of  the  tenore,  contralto,  and  so))njno.  .\t  this 
time  he  was  able  to  sing  the  mont  dillicult  songs 
of  Braham  without  the  least  knowledge  of  music. 
In  ISl.'i,  he  was  introduced  to  Mr.  S.  J.  Arnohl, 
(proprietor  of  the  English  Opera,  and  then  man- 
ager of  I)r<iry  Lane,)  who,  upon  hearing  him,  was 
HO  much  astonished,  that  he  immediately  entered 
into  articles  of  agreement  with  Mr.  Baruett,  sen., 
to  take  his  son  under  his  direction  for  five  yearn, 
and  provide  him  with  jiroper  instructors  in  music, 
i*tc.  He  brotight  him  before  the  public  on  the  'Jd 
of  July,  1SI.'{,  (after  giving  liim  but  a  very  f£w 
days'  time  to  study  his  part, )  at  the  English  Opera, 
in  the  "  Shipwreck,"  which  made  a  considerable 
impression  upon  the  audience.  The  ensuing  win- 
ter, 181.3-11,  Mr.  Arnold  brought  him  out  at  Dru- 
ry  Lane,  where  he  sang  in  one  piece  thirty  succes- 
sive nights  or  upwards,  and  was,  the  same  season 
and  tlirec  foUowuig,  engaged  as  principal  singer 
at  the  oratorios.  Mr.  -Vrnold  bcliavod  in  the 
kindest  manner  towards  him ;  but  being  much 
occupied  with  his  management  of  Drury  Lane, 
and  the  rebuilding  of  the  English  Opera,  which 
had  recently  been  pulled  down,  he  did  not  attend 
to  his  musical  studies,  but  intrusted  his  tuition 
to  a  master,  who  took  advantage  of  Mr.  Arnold's 
occupations  by  not  instructing  young  Barnett  nt 
all  on  the  piano,  and  endeavoring  to  teach  hira 
composition  from  an  abstruse  work  of  Gaspet 
Heck,  to  understand  the  elaborate  rules  of  which 
required  a  course  of  study  of  at  least  three  years. 
In  consequence  of  this,  Barnett  gained  but  little 
knowledge  during  the  five  years,  at  least  tirora 
the  instructions  of  his  teacher.  At  this  period, 
however,  he  exercised  his  natunil  talents  for  com- 
position, and  printed  several  tilings  (which  are 
now  to  be  seen)  as  by  "  Ma.ster  Barnctt ;  "  one  of 
which,  entitled  "  Tlie  Groves  of  Pomona,"  a  scena, 
is  peculiarly  noticed  and  highly  spoken  of  in  the 
Musical  (Juartorly  Re\-icw,  Xo.  IX.  In  1815, 
Barnett  appeared  at  Covent  Garden,  at  wliich 
theatre  he  was  engaged  for  two  years,  or  a  longer 
period,  at  the  discretion  of  the  propriefor<.  lilt 
voice  changing  about  the  close  of  that  season,  he 
received  liis  discharge,  as  though  he  had  been 
regularly  engaged  for  one  season  only ;  upon 
which  occasion  a  lawsuit  ensued,  and  Mr.  Bar- 
nett, sen.,  recovered  damages  to  a  satisfactory 
amount.  Having  now  been  long  without  in- 
struction in  any  branch  of  music  whate\er,  Bar- 
nctt felt  compelled  to  pur;ue  his  studies  from  the 
perusal  of  works  only,  dejicnding  much  on  hi« 
own  natural  talent  for  any  improvement  he  might 
make.  Having,  however,  contracte<l  numerous 
had  habits  in  I'iano-fortc  plajing,  he  wiis  plactt 
by  his  father  under  the  celebrate<l  Fcrdinauc] 
Rics,  who  improved  him  considerably  on  the 
jjiaiio,  and  also  in  the  German  stdiool  of  compo- 
sition. 'I'he  following  is  a  list  of  Banietl's  prin- 
cipal works.  All  those  which  are  in  maniLsoript 
are  intended  for  publication.  Vocal :  "  Omnd 
Mass,"  Xo.  l,in  fr.  min. ;  "(imnd  Mass*,"  Xo.  i, 
in  C  ;  "  Ru  i.sian  Melodies,  with  Words,"  one  vol. ; 
"  Cantata  for  four  voices,  with  .S)los  and  Chorus- 
es, including  .'<tonn  Chorus  ;  "  ••  'Hircc  (ilces" 
one  set ;  "  .Shadows  tly  hence,"  madrigal ;  "  Can- 
on for  three  Voice,  for  Miss  Pnton ; '  "Thrw 
Catches  ; "    "  Abraham  on  th'    Altar     i  Liaac,' 


93 


BAR 


ENCYCLOP.-EDIA    OF    MUSIC. 


BAB 


•cena;  "The  horn  liath  called,"  Bcena;  "Death 
of  Moore,"  KC'cua ;  "  (Jroves  of  Pomona,"  scena  ; 
"Tlie  Dart  of  Isdabcl,"  cantata,  one  voice; 
"  Comforts  lasting,"  cantata,  in  ancient  style ; 
"Bower  of  Love,"  sonj;,  in  ancient  style; 
"  Screnadivf,  1,  2,  and  3,  in  the  Spanish  Style  ;  " 
"  Love  wakes  and  weeps,"  serenade ;  "  Lady,  the 
silver  moon,"  serenade  ;  "  SL\  Italian  Songs,"  set 
one;  "Three  Italian  Duettos,"  set  one;  "AW 
Temfr,"  duetto  sop.  and  bass ;  "  Ebben  Lauretta," 
duetto,  sop.  and  bass  ;  "  Primavera,"  canzonetta  ; 
"  Knight  of  St.  Edward,"  romance  ;  "  Aljjhonso 
and  Leonore,"  romance ;  "  Land  of  ray  birth," 
romance  ;  "  A  Farewell,  in  the  Scottish  Style  ; " 
"  Ronald,"  scena ;  songs,  "  A  Bard's  Song  ;  " 
"  Dear  sainted  form  ;  "  "  Spirit  of  the  sunny 
I  row;"  "Hide,  O,  hide  those  ebon  tresses;" 
"  Sun"s  liiiit  Rays  ;  "  "  Twilight's  Invitation  to  Cu- 
pid ; "  "  There's  a  magic  in  thine  eye  ;  "  "  Smiles 
and  Tears ;  "  "  Beam  brightly ;  "  "  Book  of  Love ;  " 
"  AMien  Clara  touched  the  "fairy  string  ;  "  "  Poor 
Rose  ;  "  "  'Tis  sweet  to  hear  ;  "  "  Xo  dearer  mo- 
ments." Orchestral :  "  Overture  in  C  ;  "  "  Over- 
ture in  -'V  ;  "  "  Mozart's  Fantasia,  in  C  min.  as  a 
Quintette  ;  "  "  Fugue  for  two  Voices,  ten.  and 
bass."  Piano-forte  :  "  Sonata  in  E  flat ;  "  "  So- 
nata in  C  min. ;  "  "  Sonata  iu  G,  with  Violin  Ob- 
lig. ;  "  "  Fantasia  Duetto,  on  a  Theme  of  Mozart ; " 
"  Fanta  >ia  and  Fugue  on  a  German  Air ;  " 
"  Fugue  Canon ;  "  "  Introduction  and  Rondo  on  an 
Air  irom  Beggar's  Opera  ; "  "  Fanta,sia  on  an  Air 
from  Rosina ;  "  "  Three  Waltzes,  brilliant."  Vio- 
lin ;  "  Fantasia,  in  which  are  introduced  two  Airs 
Kusses,  Piano-forte  ace."  Flute:  "Fantasia  on 
an  Air  fi'om  Mozart ;  "  "  Solo,  in  which  is  mtro- 
duced  an  Air  in  the  TjTolian  Style,"  &c.,  &o. 

BARXI,  CAMILLE,  of  the  Lombard  school 
of  musicians,  was  born  at  Como  in  I7<j2.  He 
commenced  his  musical  career  chiefly  by  arriving 
at  eminence  as  a  violoncellLst.  He  next  became 
second,  then  first  violin  at  the  Grand  Opera  in 
Milan ;  subsequently  he  settled  at  Paris,  where 
he  has  composed  many  French  romances  and 
Italian  aricttes ;  also  airs,  with  variations,  for  the 
violiji  and  violoncello. 

BAIKJN,  ERNST  GOTTUEB,  publL,hed 
Bomc  works  relating  to  music  at  Berlin.  He  died 
in  17()0.  He  was  aathor  of  an  liistorical  treatise 
on  the  lute. 

BAROXI,  ADRIAXA,  of  Mantua,  for  her 
beauty  surnamed  the  fair,  was  a  fine  singer. 
She  lived  in  the  beginning  of  the  seventeenth 
century. 

BAROXL  AXTOXIO.  An  Italian  composer. 
Some  of  his  music  was  iiublished  at  N'ienna  in 
1799. 

BAROXI,  CATH  ARIX  A.  A  sister  of  the  fol- 
lowing, was  a  poctci-;  and  musician. 

BARONi,  LLONORA,  a  daughter  of  Adri- 
ana  Baroni,  born  at  Xaples,  went  in  IG;>8  to 
Rome,  where  ahc  was  considered  the  finest  singer 
in  Italy. 

BA1U)QL'^.  (F.)  An  adjective  applied  to  n 
com]io-iuon,  the  hannony  of  which  Ls  false,  and 
overcharged  wit>i  modulation,  wliile  the  intona- 
tion is  forced  anJ  unnatural. 

BARRb2.  (F.)  In  guitar  playing,  a  tempo- 
rary nut,  formed  by  placing  the  fore  finger  of  the 
*ft  hand  across  tlie  stiings. 


BARRE,  ANTOXIO.  Publisher  at  MUan,  in 
1.588,  of  a  largo  collection  of  motets  by  various 
composers. 

BARRE,  TRILLE  LA.    See  Labarre. 

BARRED  C.  C  ^vith  a  bar  across  it;  the 
second  mark  of  common  time. 

BARRED  SEMICIRCLE.  Used  to  denote  a 
quicker  movement  than  the  semicircle  without 
the  bar,  and  is  called  aUa  breve,  because  it  wa.s 
formerly  written  with  one  breve  in  a  measure. 

BARREL  ORGAN.  Any  organ  or  music 
box  which  produces  music  in  consequence  of  the 
turning  of  a  barrel  or  cylinder  in  which  ])ins  an- 
fixed  to  represent  notes  upon  the  staff.  A  hand 
organ. 

BARRETT,  JOIIX,  a  pupil  of  Blow,  wa.s  an 
organist  in  London  at  the  beginning  of  the  last 
century.  In  the  "  Pills  to  purge  Melancholy  " 
are  many  songs  composed  by  him,  among  others 
the  air,  "  'When  he  holds  up  his  hand,"  iji  the 
"  Beggar's  Opera." 

BARRETfl.    See  Baketti. 

BARRIERE,  E.  B.  J.,  a  French  violinist  and. 
composer,  was  born  at  Valenciennes  in  1749. 

BARRIXGTOX,  HOX.  DAEs'ES,  ^^Tote  in 
the  "  Philosophical  Transactions,"  vol.  Lx.,  an 
account  of  a  very  remarkable  young  musician. 
This  was  the  celebrated  Mozart,  who  had  been 
performing,  as  a  child,  in  London.  D.  Barring- 
ton  published  also  a  volume  of  "Miscellanies," 
in  which  there  are  some  particulars  of  Dr.  Crotch's 
precocity  of  musical  talent,  also  of  the  early 
genius  for  music  ennced  by  Samuel  Wesley. 

BARSAXTI,  FRAXCESCO.  A.  native  of  Luc- 
ca, born  about  the  year  1690.  He  studied  the 
civil  law  in  the  University  of  Padua,  but,  alter  a 
short  stay  there,  chose  music  for  his  pro.cssion. 
Accordingly  he  put  himself  under  the  tuition  of 
some  of  the  ablest  masters  in  Italy,  and  havuig 
attained  to  a  considerable  degree  of  proticieucy 
ui  the  science  of  practical  eompo-^ition,  took  a 
resolution  to  settle  in  England,  and  arrived  there 
with  Geminiani,  who  was  also  a  liUccese,  iu  the 
year  1714.  He  continued  many  years  a  perform- 
er at  the  Opera  House ;  at  length  reflecting  that 
there  wius  a  prospect  of  advantage  for  one  of  his 
profession  in  Scotland,  he  went  thither,  and,  with 
greater  truth  than  the  same  i;j  asserted  of  David 
Rizzio,  may  be  said  to  have  meliorated  tlie  music 
of  that  country,  by  collecting  and  making  basses 
to  a  great  numl)cr  of  the  most  popular  .Scotch 
tunes.  About  the  year  17.50,  Barsautirctui-nod  to 
England  ;  but  being  advanced  in  years,  he  wis 
glad  to  be  taken  into  the  opera  band  as  a  p»r- 
fonucr  on  the  tenor  violin,  and  in  the  summer 
Bea;<on  to  that  of  Vauxhall.  At  this  time  he  pub- 
lished twelve  concertos  for  violins,  and  shortly 
after,  "  Sci  Antifoiie,"  in  which  he  endeavored  to 
imitate  the  style  of  Palestrina  and  the  old  com- 
posers of  motets ;  but  from  the:;e  publications 
little  profit  resulted.  Among  his  earlier  compo- 
sitions were  six  solos  for  a  flute,  with  a  thorough 
bass,  and  alterwards  "  Six  Solos  for  a  Gqrman 
Flute  and  a  Bass."  lie  likewise  formed  the  Jirtt 
six  soloi  of  Ocmiiiiani  iiUo  soiuifas  for  two  vioUiu 
ami  a  bas.i. 

BART.V  ,  or  BARRTA,  J.,  a  composer  ol 
operas  at  Vienna,  and  other  mutw  r^f-^-ccn  tLa 
I  years  1780  and  1795 


94 


BAR 


EXCYCLOP/EDIA    OF   MUSIC. 


liAU 


BAIITALI,  A.,  chnpel-master  to  the  emperor 
at  Vienna,  about  the  year  1780,  was  reckoned  one 
of  the  best  composers  of  his  time. 

BARTEI.OZZI,  B.,  composed  some  variations 
for  the  guitar  in  1802. 

BARTO,  CinilSTIAX  SAMTEL,  a  cele- 
brated master  on  tlie  hautboy,  died  at  Copenha- 
gen in  1809. 

BARTII,  F.  P.,  son  of  the  preceding,  per- 
formed on  the  hautboy  at  the  king's  chapel  at 
Copenhagen  aui  omposed  for  that  instrument. 

BARTIIEF,,  JOHAXX  CHRISTIAX.  Court 
organist  at  Altenburg  since  the  year  180t. 

BARTIIELEMOX,  F.  mPPOLITE,  a  cele- 
brated violinist  and  composer,  was  born  at  Bour- 
dcaux,  in  France,  in  17  U,  and  lived  some  time 
in  Paris,  in  which  capital  he  composed,  among 
other  music,  an  opera  called  "  Le  Fteuve  Scainan- 
dre,''  for  the  Italian  Theatre.  In  the  year  176.5, 
hf  went  ti  Engliind,  and  in  the  following  season 
produced  a  serious  oper.i  for  the  king's  theatre, 
entitled  "  Pelopida,"  which  was  received  with 
so  much  apjilause,  that  Gnrrick  was  induced  to 
pay  the  author  a  visit  for  the  purpose  of  asking 
him  if  he  thought  he  could  set  English  words  to 
music.  On  Barthelemon's  rephdng  atfirmatively, 
(jarrick  asked  for  pen,  ink,  and  paper,  and  wTote 
the  words  of  a  song  to  be  introduced  in  the 
play  of  "  Tlie  Country  Girl."  'WTiilst  thus 
engas^ed,  Burtheleraon,  looking  over  Garrick's 
shoulder,  actually  wrote  down  music,  in  parts,  to 
the  song,  as  fast  as  the  other  ponne<l  the  words, 
(iarrick  then  turning  round,  and  handing  Bar- 
thclemon  the  words,  said,  "  There,  sir,  is  my 
song ; "  to  which  the  other  answered,  "  And 
there,  sir,  is  my  music  for  it."  Astonished  and 
ilolighted  nt  this  unexpected  exertion  of  talent, 
(iarrick  invited  the  composer  to  dine  that  dav 
with  him,  in  company  with  Dr.  Jolinson.  The 
song  proved  so  successful  that  it  was  encored 
every  time  it  was  sung  ;  and  Garrick,  in  the  ful- 
nass  of  his  heart,  promised  to  make  Barthele- 
raon's  fortune.  As  a  beginning  of  encourage- 
ment, he  employed  him  to  set  to  music  the 
operatic  fane  of  "  A  Peep  behind  the  Curtain." 
The  little  burlotta  of  Orpheus,  in  the  second  act, 
was  so  much  admired,  that  this  farce  was  per- 
formed a  hundred  and  eight  nights  in  one  year, 
(iarrick  thus  cleared  by  it  several  thousand 
pounds,  anil  rewarded  liarthclemon  with  the 
sum  oi  forty  ijuii\ea.t  instead  of  tifty,  which  he 
had  originally  promised  him,  alleging,  as  an 
excuse,  that  the  (Uindit^  coifs  had  cost  him  so 
much  money  that  he  really  could  not  afford  to 
pay  him  any  more.  Bartheleraon  has  composed 
the  music  to  several  other  petit  pieces  for  the 
theatres ;  particularly  to  General  Burgoj-ne's 
dramatic  eutertiiinmcnt,  "'ITie  Maid  of  the  Oaks," 
which  was  tirst  acted  at  Drury  Lnne,  about  the 
year  1774.  At  length,  however,  disgustctl  with 
the  condiict  of  managers,  he  decline<l  writing 
any  thing  more  for  tlie  stage ;  and,  about  the  I 
year  1791,  wius  engaged  with  hLs  tnmily  nt  the  | 
Rotunda  in  Dublin.  Mrs.  Bartheleraon  and  her 
daughter  were  both  musical,  and  had  also  a 
taste  for  composition.  The  fonner  pubhshefl  a 
set  of  hjTuns  nnd  anthems  for  the  Asylum  and  ' 
Magdalen  Chapels.  We  shoidd  have  obser\-ed  I 
that,  whilst   in   England,  Barthelemon   led   for  ' 

95 


several  seasons  the  opera  band.  As  a  violimst, 
hLs  adagios  were  much  admired  :  he  aLso  partic- 
ularly excelled  as  a  solo  performer  of  Corelli'i 
music.  He  died  in  London,  at  an  advanced  age, 
in  the  year  1808. 

BARTIIELEMOX,  MRS.     See  Youso. 

B.VRTIIOFFER.  A  musician  at  Vienna  aboul 
the  year  1799. 

BARTIIOLDY.     See  Mexdelssoh.v. 

BARTHOLIXI,  RIXDIO.  A  compo=er  at  Si- 
enna about  the  year  liiOO.  lie  publLshed  motets, 
&c.,  at  Venice. 

BARTIIOLOM.EUS,  an  Englishman,  vrroie 
a  work  in  136'j,  in  which  various  musical  instru- 
ments of  that  time  are  described.  Sir  John 
Hawkins  states,  that  he  frequently  consulted  this 
work,  in  writing  the  history  of  mu.<ie  during  the 
dark  ages. 

BARTLEMAX,  J.,  the  celebrated  ba«3  singer 
was  a  pupil  of  Dr.  Cooke,  and  originally  in  the 
choirs  of  Westminster  Abbey  and  the  Chapel 
Royal.  Miss  Hawkins,  in  her  auecdote-s,  states 
of  Bartleman  as  follows  :  — 

"  Tlicre  was  one  singiilar  feature  in  his  history, 
that  he  lived  to  occupy  the  identical  house  in 
Beniers  Street,  in  which  his  first  patron  resided. 
ITiis  patron,  Mr.  lioyer,  who  had  a  situation  in 
one  of  the  public  offices,  percci\-ing  the  promi-e 
of  his  voice,  presented  him  to  Dr.  Cooke  for  liLi 
acceptance  as  a  singer. 

"iliough  delicate  in  person  and  constitution, 
and  often  ill,  Bartleman  was  lively  and  spirited 
to  a  remarkable  degree.  It  used  to  puzzle  me  to 
find  out  when  or  how  he  learned  ;  and  indee<l  I 
have  heard  Dr.  Cooke  say,  ''ITiose  boys  of  mine 
leani  of  one  another  more  than  from  tif .'  Ol' 
his  early  superiority  he  was  as  little  vain  as  if  it 
had  consisted  in  spinning  a  top,  or  tnindling  ii 
hooj) ;  ho  never  went  further  in  settuig  himsell' 
above  another  than  by  humorously  caricaturing 
something  ludicrously  bad.  In  short,  he  was 
one  of  the  most  agreeable  lads  that  ever  had 
'  the  run '  of  a  house.  An  instance  of  Dartle- 
man's  nice  feeling  I  call  to  mind.  My  father  had 
made  him  a  present,  annexing  to  the  gi:t  the 
condition  that  he  should  copy  out  some  music 
for  him,  which  he  imdertook  cheerfully ;  but 
just  afterwards,  having  reached  a  point  in  his 
miLsical  studies  that  left  him  less  leisure,  ho 
found  he  had  not  time  to  do  what  he  had 
promi.ed,  and  having  detainetl  the  mu-sic  he  had 
to  copy  long  enough  to  make  the  experiment,  he 
returned  it,  together  with  his  present,  with  an 
extremely  well  penned  note,  saying,  that  '  as  he 
could  not  j)pr.orm  the  ta-sk,  it  was  not  just  to 
accept  the  rewiurd.'  I  remember  my  own  aston- 
ishment at  this  promptitude,  though,  indeed, 
being  out  of  the  choir,  we  had  for  some  time 
seen  loss  of  him  ;  but  it  aiipearcd  to  mo  as  if  a 
boy  had  on  a  sudden,  ^Wthout  the  intervention 
of  —  what  shall  I  say:  —  UvlhnnH  f  start  e-l  into 
manhood.  I  can  add,  with  pride  and  niknowl- 
e<lgment,  that,  in  the  goodno-s  of  hLs  nature,  ho 
never  forgot  where  he  had  spent  many  of  hLs  boy- 
ish hours,  and  that  whatever  time  elapsed  without 
our  meeting,  he  was  always,  on  every  occasion, 
prompt  to  show,  and  conUnl  in  cxpre^»>ing  the 
continuance  of  his  regard.  .Success  never  altered 
him,  applause  never  e^  rvated  him  ;  and  he  died 


KAR 


ENCYCLOPAEDIA    OF    MUSIC. 


BAS 


I  am  coutidcnt,  as  he  had  lived,  beloved  beyond 
the  usual  dcjp'ee  of  love  bcfltowcd  on  those 
whose  cxcellenoc,  to  use  Wordsworth's  beauti- 
ful words  respecting;  lon;;evity,  '  has  no  com- 
panion.' "  —  So  far  Miss  Hawkins.  We  have 
now  to  reniiirk  that  Hartlciunn,  as  he  advanced  to 
manhood,  became  celebrated  for  his  powers  as  a 
bass,  or  rather  baritoim  sinj^cr,  in  which  line  he 
first  appeared  in  pubUc,  we  believe,  at  the  con- 
certs at  Kreemason.-)'  Hall.  He  was  next  engaged 
at  the  ancient  concerts,  and  lastly  became  one 
of  tlic  proprietors  and  conductors  of  the  vocal 
concerts  at  the  Hanover  St^uare  rooms.  He  died 
in  1820. 

B  ARTLETT,  JOHN.  Author  of  «'  A  Book  of 
AjTes  for  the  Lute  and  Viol  da  Gamba,"  IjOU- 
dun,  IGOG. 

BARTOLI,  DANIEL,  of  Bologna,  was  the 
author  of  a  work  entitled  "  I)d  Suono  de  Trc- 
niore  Armonici  e  dell  Vdito,"  published  in  1680. 
In  tlus  truly  scientific  and  ingenious  work  are 
to  be  found  several  discoveries  in  hannouics  that 
have  been  enlarged  upon  by  posterior  writers  on 
the  subject.  It  contains  four  dissertations :  the 
first  treats  of  the  similarity  between  tlie  circular 
undulations  occasioned  in  still  water  when  a 
stone  is  tlirown  into  it,  and  the  propagation  and 
motion  of  sound.  The  second,  of  the  motion  of 
sound  compared  with  that  of  light ;  of  echoes  or 
reflection  of  sound,  and  of  its  augmentation  in  a 
whispering  room  or  gallery.  Third,  of  hanuonic 
vibrations  and  ratios  of  sound ;  of  sympathetic 
sounds  ;  of  the  breaking  a  glass  with  the  voice. 
Fourth,  of  the  mixture  oi  sounds ;  of  consonance ; 
harmonics ;  and  the  immense  increase  of  sounds 
in  a  vessel  or  enclosed  place,  by  repercussion ; 
with  many  other  curious  inquiries,  and  ends  with 
the  anatomy  of  tlie  ear.  He  was  the  author  of 
many  other  profound  and  learned  works,  and 
died  at  Home  in  1685. 

BARTOLINI  I'ERUGINO,  SIMONE.  A 
singer  in  the  pope's  chajjcl  at  Rome  about  the 
year  1513.  He  was  sent  with  eight  other  singers, 
by  the  pope,  to  the  council  of  Trent. 

■  BARTOLOZZI.  An  excellent  performer  on 
the  tenor,  recently  living  in  England. 

BARTOLUS,  ABRAILVM.  A  professor  at 
Leipsic,  at  the  beginning  of  the  seventeenth 
century.  lie  wrote  a  mathematical  work  on 
music. 

BARTON,  JUSQUIN.  A  composer  of  the 
French  school  in  the  sixteenth  century. 

BARTSCH,  C.  F.  Author  of  a  collection  of 
Airs,  published  at  Halle,  in  179'2. 

BARTSCH.  A  pianLst  in  the  orchestra  at  the 
theatre  of  Venice,  and  composer  of  some  operas, 
about  the  year  1796. 

BARUTA.  A  celebrated  violinist  at  Padua 
about  tlic  year  1800. 

BAUVl'HONUS,  HENRY,  a  skUful  theorist, 
flourished  about  the  year  1630,  and  was  author 
of  several  treatises,  particularly  one  in  Latin, 
entitled  "  Plfjofies  MiisicT,"  which  Walthcr  styles 
excellent. 

B.VRYPICNI.  (Gr.)  Tlie  ancients  gave 
this  name  to  tivc  of  the  eight  sounds,  or  princi- 


pal chords,  of  their  system,  viz.,  the  Hypate- 
lI}^5aton,  the  Hj-pate-McAou,  the  Mese,  the  Par- 
amcsc,  and  the  Nete-Diazeugmenon. 

BARYT'ONE,  or  BARITONE.  This  word 
means  literally  deep-toned,  pertaining  to  or  noting 
a  grave,  deep  sound,  or  male  voice.  The  bary- 
tone Is  the  lowest  but  one,  of  the  six  registers, 
into  which  the  scale  of  the  human  voice  is  com- 
monly divided.  It  Is,  perhaps,  tlie  most  common 
kind  of  male  voice,  Ij'ing  between  the  bass  and 
the  tenor  as  to  compass,  and  correr.ponding,  at 
the  distance  of  an  octave,  with  the  mezzo 
soprano,  or  middle  female  voice. 

BASANIER,  MARTIN.  Author  of  a  work 
entitled  "  I'laswnrs  beaux  Secrets  toiichant  la  The- 
orie  et  la  Pratitjite  de  la  Mitsiqtie,"  Paris,  1584. 

BASILE,  ADRIANA.     See  Baroni. 

BASILICAPETRL  CARLO,  Bishop  of  No- 
vara,  died  in  1615.  He  wrote  a  work  entitled 
"  De  Chords." 

BASIIiU,  D.  F.  A  composer  in  the  latter 
part  of  the  seventeenth  century.  He  lived  at 
Perouse. 

BASILIO,  FRANCESCO.  An  opera  compo- 
ser  at  MUan  about  the  year  1790. 

BASS,  BASE,  or  BASSO.  AU  have  the  same 
meaning ;  the  lowest  or  deejiest  part.  Basi 
is  thus  written  in  imitation  of  the  Italian  bcviso, 
which  is  the  English  base,  low,  or,  substantive- 
ly, basis,  foundation  ;  yet  with  the  pronuncia- 
tion of  base  and  plural  bases.  The  bass,  or 
lowest  part,  is,  with  sound  musicians,  the  most 
important  of  all  the  parts.  It  is,  indeed,  the 
foundation  of  the  harmony  —  the  support  of 
the  whole  supei-structure  of  the  composition. 
The  word  bass  is  technically  used  ui  various 
connections ;  as.  Thorough  Bass,  Fundamental 
Bass,  Ground  Bass,  Figured  Bass,  iS:c.,  all  of 
which  will  be  noticed.  A  Figured  Bass  is  a 
bass  with  tigures  written  over  or  vnider  each  noto, 
to  mdicate  the  accompanying  harmonies.  I'he 
term  Figured  Bass  is  also  u^ed  as  synonjTnous 
with  Figurative  Bass,  meaning  a  bass  not  confined 
to  the  plain  canto-fermo  style,  but  moving  with 
more  freedom,  and  with  a  melody  of  its  own. 
For  instance,  the  Bass  in  Bach's  arrangement  of 
"Old  Hundi-ed."  (See  Ai.teu\tioxs.)  Funda- 
meiUal  Bass  is  that  bass  which  forms  the  tone,  or 
natural  foui\dation,  of  the  incumbent  harmony, 
and  from  which,  as  a  lawful  source,  that  harmony 
is  derived.  To  explain  tliis  by  an  example  :  If 
the  harmony  cousUts  of  the  common  chord  of  C, 
U  will  be  its  fundamental  bass,  because  from  that 
note  the  harmony  is  deduced ;  and  if,  while  that 
harmony  is  continued,  the  bass  be  changed  to 
any  other  note,  it  ceases  to  be  fundamental, 
because  it  is  no  longer  the  note  from  which  that 
harmony  results,  and  is  calculated.  (Iround  Bass 
is  used  sometimes  as  STOOnymo'xs  with  Funda- 
mental Bass,  and  sometuues  as  a  bass  which  starts 
with  some  subject  of  its  own,  and  continues  to  be 
repeated  tlu'oughout  the  movement,  while  the 
u])per  part,  or  piu^ts,  of  the  compositii\i»  pursue  a 
8ei)arate  air,  and  supply  the  harmony.  This  kii  d 
of  bass  was  greatly  in  fashion  about  haL''a  ccntuiy 
since,  but  has  for  some  time  been  rejected  as  an 
unnatural  restraint  upon  the  imagination,  and 
productive  of  a  monotonous  melody.     Tfiorvugk 


86 


BAS 


EXCYCLOl'.EDIA    OF    MUSIC. 


fiAS 


Baas  is  the  art  by  which  hiinnony  in  supcrnJilcJ  I 
to  any  proposed  bu.s>t,  ami  includes  the  I'uiulu- 
mental  rulor)  of  composition.  This  brunch  of  the 
musical  science  Ls  twofold,  theoretical  and  prac- 
tical. Theoretical  Tliorough  Ba.HS  comprehends 
the  knowleds^*  of  the  connection  and  disposition 
of  all  the  several  chords,  harmonious  and  disso- 
nant, and  includes  all  the  established  laws  by 
ivhicli  they  are  formed  and  regulated.  Practical 
ITiorough  Bass  is  conversant  with  the  manner  of 
takin'j  the  several  chords  on  an  instrument,  as 
prescribed  by  the  figures  placed  over  or  under 
the  bass  part  of  a  composition,  and  supposes  a 
familiar  ac'iuaintance  witli  the  powers  of  the-e 
figures,  a  faciUty  in  taking  the  chords  they  indi- 
cate, and  judgment  in  the  various  applications 
and  effects  of  those  cliords  in  accompaniment. 
The  Bans  Is  that  part  of  a  concert  which  is  the 
most  heard ;  which  consists  of  the  gravest  and 
largest  sounds,  or  which  is  played  on  the  longest 


])ipRS  or  strings  of  a  common  instrument,  or  on 
instruments  birgcr  than  common  for  the  pur])oso. 

BASS  BK.VM,  or  BAS.S  BRIDGE.  'Di* 
name  given  by  instrument  makers  to  the  Hmall 
beam  uiside  the  viol,  and  nearly  under  the  bass 

string. 

B.VSS  IIORX.  ThLs  instrument,  formerly 
much  used  in  bandtt,  has  declined  much  hinc« 
the  introduction  of  the  Ophicleidc,  whidi  instru- 
ment it  somewliat  resembles.  The  player  of  the 
bass  horn  should  possess  a  (juick  and  correct  eiir, 
and  a  knowledge  of  thorough  bass,  in  order  to 
perform  u])on  tliat  instrument  acceptal)ly.  Tlie 
instrument  hiLs  been  found  rather  imperf'.-ct,  and 
Ls  not  now  much  used.  'Hiere  is  a  French  honi 
called  bass  horn,  and  the  directions  for  learning 
that  instrument  will  be  found  under  the  term 
French  Horn. 


SCALE    FOR   TUB    B\S3    UOKX. 


H — I — I — I — h 


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B  c  c^  D  D^  E)  zq  r  rj  a  1^  Aji  g^  tj  c  c)|  ob  d||  i>8  i9  >3  *  f'i  o  eg  ii;?  a);  aJJ  b^  bJ    c  cj(  d?  D|j  d<)  ib  >S  f   '•>  o  aq 


•  •   •  o   o 

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o    o    o   o    o 
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O  O 

o  o 

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o  o 


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O  O  •  00  O  03  O 
O  O  •  00  o  oo  o 
O   O    •  30   O  00   O 

o  ooooaoaoo  o 
o  o   •  ••  o  ••  • 


oo  eooooo*«««« 

00  aooooo***** 

oo  aooo     oo***** 

o   o  *  *o*oo*o*   *    o   o**    *o*c 


BASS  CI.F.F  NOTE.  Thit  nol»  which  In  Ihi-  Nim  tlalT i<  plucd 
on  thr  mmc  line  wilh  Ihc  Imi  clif:  I.  c,  the  fuiirth  liin-. 

HASS  (JRVCE.  A  «iimll  now,  like  ft  ihort  (iiu-ov^Vifwrrt,  «nd 
very  iiTiiilnr  ti»  the  ar^KiociifMi-rt  of  (he  Italinn*.  It  i»  ttnick  onlr 
once,  aixl  at  the  uitni-  tinu'  uilh  the  principal  note,  but  !•  immeill- 
•tely  qnittfd.  It  i«  frequently  \tM-<\  up-in  tJie  ori^n  to  ttrengthcii 
Uie  piirt«.  an<l  Ut  flTipplv  the  want  nf  p«Uli. 

BASS  STRING,    'nic  luweit  note  of  any  ctringed  Inatruroent. 

BASS,  niOROUGII,  is  the  art  of  express- 
ing by  Hniires  any  combination  of  notes  to  be 
struck  with  the  right  hand  upon  the  organ  or 
piano-forte,  to  any  given  note  in  the  bass.  ITiese 
figiires  are  a  sort  of  short  hand,  which  describes 
the  accord,  and  in  which  is  contained  the  har- 
mony of  the  full  score. 

If  C  l.»  (iken  X'>  the  tnnie  or  kry  noit,  the 
naruml  h.tniimiy  brlnn)dnK  to  it  ronnLtrmir  the 
thirvl.  fifth,  nii'l  elghih,  making  the  common 
chord  of  0,  thus: 

Common  chords,  whether  major  or  minor, 
require  no  fljcunu,  though  formerly  they  were 
marked  with  one  or  both  of  the  flxunai  &.  A 
key  is  min'ir  wlien  the  third  is  *t  the  di«(unr«  of  three  acml- 

tnoes  fntm   the  tonic,  and  major  when     -C, gB, 

«t  four.     The  order  in  which  the  sounds  / 
«re  huilt  upon  the  bnss  note  is  at  the  y 
tute  of  tlie  performer,  tliat  is,  wlic'her 
the  third  shall  come  next  to  the  tonic, 
be  placed  in  the  middle,  or  be  upper- 
most, thus : 


Whenerer  the  b«ss  note  steps  otit  of  Its  place  Into  that  of 
the  third  of  the  key,  this  change  U  called  the  Jirtl  derieatirt 

13  q; 


of  the  chord,  Is  marked  wilh  the  tgan  6,  and  U  termed  tb* 
cnoRD  or  THE  bixtii,  as  it  lakes  the  har- 
mony of  the  sixth  note  at>oTe  It.     The  | 
dominant  of  the  key  Ls  alwayi  the  fifth  ' 
note  above  the  key  note — and  when  llie 
ba.«s  steps  Into  the  place  of  the  fifth, 
dominant,  it  is  called  the  srcomt  rlrrir 
lire  of  the  chord,  and  lakes  the  figures 
8  or  simply  4: 

The  flKures  denote  the  Interrals  abore 
the  bass  note,     finiplr  a  sharp  or  fiat  placed  under  s  note, 
signifies  that  the  third  is  to  Iw  sharp  or  flat. 

An  example  of  a  succession  oj  Kt  Chord  oflht  Sixth. 

(5 


•*•  I 


A  ^  n  fi 


-9 — (O- 


I 


Example  of  the  Chord  » . 

5f  5!  Fo'S'. 


^ridiiliiiij 


a^M-£^I^M^ggEj^g 


UAS 


ENCYCLOPAEDIA    OF    MUSIC. 


BAS 


A  minor. 


l^BH 


^ 


g 


C7"  When  a  sharp  prfcrdps  or  follows  a  fipnrf,  U  f i(.Tiifles 
Ihat  the  note  which  that  fipire  reprefenta,  niuet  be  iharptd. 

Another  mode  of  indicating  the  sharp,  sometimes  used, 
ia  by  a  stroke  or  d-TJ-h  drawn  through  the  figure. 


Another  pet  of  combinations,  called  Discords,  are  procured 
fWim  the  Chord  of  the  Dominant  Seventh,  termed  the  caoBD 
OF  THE  SEVENTH.    (Ste  above.) 

When  the  bass  steps  into  the  place  of  the  third,  as  before 
mentioned,  it  is  termed  the  Jirst  derivative  of  Iht  stvrnlh, 
and  takes  the  figures  «,  being  the  chord  of  sixth  and  fifth. 
When  the  bass  steps  to  the  fifth,  or  dominant,  it  is  termed 
the  second  deritaine  of  the  sen  nth,  and  lakes  the  figures  4 
being  the  chord  of  the  fourth  and  third.  T^Tjcn  the  bass 
tleps  still  a  degree  Cirther  into  the  place  of  the  seventh,  it  is 
termed  the  third  dirtvative  of  the  seventh,  and  takes  the  figures 
21  and  is  called  the  chord  of  the  fourth  and  second,  or  sim- 
(ily  the  second. 

The  Seventh  and  Us  Derivative. 


Thai  far  the  figure*  show  wliat  harmony  is  built  upon  the 
baas;  and  when  the  bass  ascends  from  its  foundation  place 
nto  Ihooe  of  the  di'rivative.i.  the  hannonv  is  then  said  to  be 
jivfrted.  as  the  key-note,  which  ought  to  be  at  the  bottom, 
«  then  ab<jve  the  b.iss. 

In  conxidering  the  numerous  chords  still  to  be  explained, 
u  the  flpires  t>ecome  so  very  complex.  It  Is  doubtful  whether 
they  tend  to  simplify  our  notions  further  than  iminting  out 
Uic  root  or  fcumlaiion  note  of  the  chord  The  distorJ  of  the 
ruilNlgBED  iEVt-Wil,  is  produced  by  raising  the  bass  note  of 
the  dominant  Mrventli  a  semitone,  which  forms  a  compoimd 

•f  thrao  minor  thirds,  

^^ ^naturally  resolving 

t^'t^  "JIntn   the   harnmn; 

of  a  semitone  abovi 
Ithe  ba^s  note, 
#"  -^        — 

and  having  the  same  derivatives  as  the  dominant  seventh. 
The  eHi^m"  of  this  chord  in  modulation  are  strikingly  power- 
ful ;  and  it  rraclily  admita  of  a  transition  to  any  chonl  in 
which  one  of  i's  notes  may  form  a  part  There  is  still  a 
higher  cla**  of  dl^^o^d«  to  be  mentioned,  which  are  produced 
by  pliu-lng  the  chord  of  tlie  dominant  seventh  upon  the  coni- 
Dion  chord  of  the  tonic,  funning  the  chord  of  the  eleventh, 
(vcolnng  into  the  common  chord,  tliu*  - 


^na 


§=«I2- 


ny  adding  iLe  third  above 
the   dominant  seventh,   we  |  f^  ^       [^  j 
obtain  the  chord  of  the  thir-  V '   '  /  "      1^ 
teenth.  which  involves  every      ^    \^.,^ 
note  in   the  diatonic  scale,  '         ^      ^ 
and  resolves  into  the  com-  i^^'.-yj—  ^j| 


<_|  mon  chord 


These  di.«cord8  are  in  fact  a  compound  of  ap(X)CL'iatiira  note*, 
forming  suspended  hiirmonies,  which  ultimately  melt  Into 
the  common  chord. 

The  following  examples,  with  the  chords  filled  up  at  length 
In  notes,  v/111  be  found  simple  and  u«cful  Persons,  who 
have  not  the  advantage  of  a  master,  will  find  themselves 
much  a'-'isted  in  their  progress,  by  first  wridTig  out  the 
figured  ba.«ses  and  the  top  notes  of  each  chord  as  here  given, 
and  then,  without  looking  at  examples,  supplying- the  remain- 
ing notes  according  to  their  own  ide.ia.  After  which,  a  rom- 
(mrison  of  their  perf'irmance  with  the  corresponding  exampli^s 
in  this  key,  will  enable  them  to  correc*.  any  errors  into  which 
they  may  have  fallen. 


/^ 


KXA.MPLES  ON  COMMON  CHORDS. 
Exercise  1. 


&mmM 


v— =^ 


§js 


^m 


Exebcibi  2. 


§^=Ie^^ 


i^EE 


I 


Exercise  3. 


BAS 


ENCYCLOPEDIA    OF    MUSIC. 


HAM 


^K^^^ 


•  •  •  Here  the  fifth  Is  umlersfood  to  b«  ahnrp,  to  »Told  the 
inhnnnoniouK  interval  Fjj  Dj,  which  cannot  beloog  to  a  cod- 
wnuit  chord. 


KSERCISE  ON  TTTE  COTDION  CHORD  AXD  ITS  TWO 
INVERSIONS,  THE  «  AND  « 

s  <■ 


Exercise  5. 


iS 


To  aTold  octnTes 


^-S>- 


^ 


rtziOq 

1 — 1 — \—\ 

c)  -g- 

=5=i= 

— 9 

1 ^  — •"" 

— 1 

^    1 

'^      s~T 

% 

Isi. — U 

-=M- 

6 

1^^ 


[iS3=a 


c*  o 


^Sr 


i! 


=?^tS 


'i^r^ 


6 


•  In  thorough-baF«,  the  major  third,  ai  F  shArp,  may  occ»- 
«ionaIljr  dcscund  to  the  fifth  D,  when  the  former  ii  not  ths 
upper  note  of  the  chord. 


•Told  oeUTfl*. 


i ^ 


S 


^ 


m 


gj^-iH 


-« — f- 


^ 


^^ 


g^gEi^ 


^"^^tn 


fi 


liss: 


r^ 


o  o 


:^ 


-^ 


a 


m 


•  m  "J 


I 


S   8 


•  _      •  _      •  _ 


99 


^r^ 


HAS 


ENCYCLOPEDIA    OF    MUSIC. 


BKt 


m^^^^m 


y^imm 


J«6*)0      _         _66  0_       6 


CHORD  OF  THE  SEVENTH  AND  INVERSIONS. 
£SEECI3£  T. 


^ 


^^§^ 


677       7777      77 


:r3c 


3=t: 


-1— i_j- 


d  d  ^  d 


J  J        «'        O         §177   1^ 


^^W# 


ii!^g^fe^£fjifeg 


I  '''    '  %?  J 


'.i^f- 


>^rif^rV^r^ 


EURCWE  10. 


E 


\ 1 — '<  I       # 


,  "f",  f^bfa  ,!7<a 


^ 


s  »t  •  t  • 


e   t 


ruug—i^EE^j  J^  ^ 


-*^^— t 


^ 


-348         77 


i 


t^— gr 


^^^ 


6         6        77777         7 


Exercise  8. 


ii!^T-|7r^ 


•  if  87      T-p   f§  st 


"Z     ^g 


EZEKCISE  9 


fi^^^i^^g 


'■^ 


-•-. — f. 


IfSflf^^^^ 


!f|^    •    b«»  »|    e  g  J  J 


^UfjM^MdN£=d=^ 


i  §    I 


>UJOR  SCALE  WITH  CHKOMATIC  NOTES  INTER- 
MIXED. 


EXCBCISE  11. 


iE 


il 


^s 


6  'A 


6  JS 


^ 


:«= 


I 


"2 


i? 


»! 


-Ci i-f 


k^ 


100 


BAS 


ENCYCLOPiEDIA    OF    MUSIC. 


BAH 


^^^Es^ 


if-=-^ 


shS: 


^ 


:^ 


^ 


MINOR  SCALE  WITU  CHROMATIC  NOTES. 
Exercise  12 


^^ 


§iE 


^ 


^y^^=|j^^^^^^z:|^ 


^* 


'v* 


^:s=«= 


9^:e^ 


82  f* 


7  jM 


EXZKCISI  13. 


a 


^^-^^rr  I  ^rr 


•*»■  •*• 


i^^^ 


g  —    I  «  -  »  i;« 


t^ 


^mt^ 


9-  p  r  I  ,j.r4 


:^raz 


26 


/di 


i 


Exercise  14. 


=  --:^ 


G3 


aLEi'-H^! 


^ 


fe 


te: 


I^SI 


£ 


^ 


m 


-IS= 


i 


^r=^ 


m 


EXERCISES  ON  SUSPENSIONS. 
Exercise  15. 


ii^ 


p 


ii 


1 


9         H 


5       T       5 

DOUBLE  SUSPENSIONS. 


i^^^^^m 


IS     S     S     3 


-^=^3^1 


^- — ^-j*"  -y 


P 


§? 


2      §       5   5     T^ 

ExERriSE  IG. 


m 


ini 


BAS 


ENCTCLOPiEDIA    OF    MUSIC. 


BAS 


SCALE  Vma  SUSPENSION'S. 
ExzacuE  17. 


i^^^^^m 


m^^M-^A^^^ 


^#ft4^^^^i^^ 


-T — \- 


jit=± 


^- 


l    ' 


I  \ 


r^ 


«  0      8 


^SP 


-« — * 


fT^FF^^^fr^ 


7    6  I2         ,      6    g 

P 


2ii 


V 


fe^Ot-i 


r-f-j^ir^^^TT^ 


9iEE 


4   3   I    1^  t^.i  t  I 


^^ 


■^   \fi  ;  ti- 


-$r 


"«    h:^l     i     S     1*1 


I 


EXEBCIBE  20. 


W^T^ 


k  \  z  It    5    I? 


2b 


■r^i 


BAS 


ENCYCLOPEDIA    OF    MUSIC. 


BAS 


v- 


EXIBCIBI  25. 

H h 


^= 


ii^ 


-^,— ■ 


I 1- 


1=1: 


8    t  «    4§    sa  T" 


ExxKCisi  27. 


I 


*Lli^ 


5^ 


^^ 


m 


U'    S 


DOMINANT  CADENCES. 

£X£KCI8(  28. 


*i=S 


^ 


^ 


I^ 


•f 


^ 


^ 


i=fh^ 


iEEE 


^ 


^:   I      [^ 


j=«i 


S 


J-    z     s      T 


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INTERRUPTED  CADENCES. 
Exucul  29. 


m 


^ 


ExzBCisi  80.  Interraptad. 

it 


-^>- 


5^ 


^ 


.<»rSE: 


^ 


2: 


9^^ 


I 


EXAMPLES  ON  MODULATION. 
EXIBCUI  81. 


^^^^^P 


S 


^ 


-^-iji- 


b2  6    «b  'i      St" 

BxiBcm  8S 


d=3^: 


1 


a 


Se 


::^ 


1 f- 


f!    s}3 


i 


103 


BA3 


ENCYCLOPEDIA    OF    MUSIC 


BAS 


ExtnciBE  33. 


iS 


"^  I     I.—  J  I  ■:».    i\\    ^    -j 

4^8    48^        7    6    4  „^         4      8   ^ 


I 


!«  a       '    «   t  6- 

Exercise  84. 


^  ■■  fa ' 


->>-•—#• 


S 


E^ 


§iEz 


:ii^ 


::«: 


«^ 


'^^Sp 


6      Bg     6         45  6   -     5 

Exercise  35. 


ife 


-^^- 


t^r^ 


:^ 


5p 


Exercise  i 


(^ 


±5t 


*=g£ 


iS 


I   III 


+ 1 r 


«if 


4    8 


Exercise  38. 


1 h?»     ^  Ji^ 


g 


'  .Jt  !    » •}   "   i  **!  i     w 


EXEBCIBS 


Exercise  40. 


PrrY-TT*^ 


^^m 


%    6: 


P^ 


Ob     5 
Exercise  41. 


^  ^'^ 

t  u 


■^^^^p^ 


ii^s 


'  8  2-ii*  6ji  >? 


2ff  ^  *if  j? 


Ezekcise  42. 


^7    6t)      6  4      -  6/  "_  h\) 


In  order  that  the  stuclent  maj  more  readily  learn  Thorough 
Ba«s,  we  give  some  of  the  most  simple  sfudieo.  The  differ- 
ence between  Harmony  and  Thorough  Hms  lies  in  the  first 
being  a  science,  the  second  an  art.  Thorough  Bx<is,  in  this 
sense,  is  the  art  of  playing  upon  ihe  organ,  piano-forte,  or 
any  keyed  iD.«trumont,  proper  harmonies  to  the  notes  of  a 


given  ba-ss ;   such  harmonies  being-p^^ 
indicated  by  figures  placed  over  or  un-  ^^^ 
der,  generally  vn'ler,  the  baiss  notes.     ^ 
Thus,  the  following  figured  bass  — 

would  be  played  thus : 


±t 


(^ 


IJfCTZ 


:g=J 


i^ 


X 


m 


There  are  three  Scatrs ;  the  Major,  the  Minor,  and  the  Chro- 
matic. The  major  scale  is  formed  by  whole  tones  and  semi- 
tones. So  is  formed  the  minor,  but  in  the  minor  scale,  the 
halftones  are  placed  in  different    _  H>irioiiM. 

positions  from  those  in  the  ma-    U  •'~     ,     ^     f^ 

jor :  and  the  chromatic  scale  is  A.  i     i     i        g  0  0i 

formed  by  semitones  only.   The  y  '^ — 1-— f-^  m  ^-^—'' 
major  contains  five  whole,  and  %J 
two  halftones,  distributed  thus: 


^  f  ■- 


Wbolc  too«f. 

The  real  minor  scale  cont.iins  three  whole  tone  interrals, 
three  half  tone  intervals,  and  one  interval  of  a  tone  and  a 
half,  (from  the  6th  to  the  7th,)  thus : 

a^ruM.     B^       BM.       This  is  the  only  minor  scale, 
Q  ^^  '~' ',     ''""-1  both a-scenilinc and. lescending, 

JL.  .     I     I     Uji^#  I*-  which  is  justifieil  hv  the  har- 

mj    -^J^'  Iodic  minor  scale  the  sixth  and 

WboltKaua.  ToMudb^t.  seventh  are  variable  ;  a  law  of 
euphony  compels  us  sometimes  to  sharpen  the  sixth  and 
seventh  by  accidentals,  in  oicmditK^,  and  again  to  flatten 
them  in  descending,  thus : 


I 


& 


xi 


^"^ 


S^^^^IP^ 


•^^ 


There  arc  four  kinds  of  intcrfob;  major,  minor,  <UniD- 
Ished,  and  extreme  sharp.    A  minor  Interval  cuutal: «  004 


BAS 


ENCYCLOPJCDIA    OF    MUSIC. 


J!  AS 


wmltone  less  than  a  majnr.  E  i«  the  major  third  of  C ; 
K  flat  the  minor  third.  There  1»  one  semitone  in  a  minor 
■eoond,  and  two  In  a  major  second ;  three  wmitunes  in  a 
minor  third,  and  four  iu  a.  major;  five  in  a  miaor  fourth, 
and  rix  in  a  major,  &c. 

EXAMPLES. 

M>>>lDUmI.      Htaur.       Mlnar  SmoikI.       H>Ji>r.  MhorTkM. 


i 


^Ff^^ 


S 


^^B^^^ 


HtJorTUrd. 


HIbot  Fonxlh. 


Ut)mT0>nih. 


^^;^^^ 


i 


Htjm  EliMb,  <r  0<Ut<. 


'^^^l^^:^±^(l^^^^'^'=^=^ 


A  diminif/ifd  interval  containi  one  wmitODe  Ins  than  the 
minor  Interrol,  thai : 


i 


t*- 


^s 


^^ 


The  extreme  sharp  intrrral  it  formed  bj  adding  one  aeml- 
tone  to  the  major  interral.  .All  minor  interralj  become 
diminished    Intervals,    by  Jni«  Sd.         Iiiitx  ik^  M. 

taking  away 
fh>m  each.     All 
Icrrals     beconie 
•harp  interrah 
one  semito: 

There  are  two  primitire  harmonies  ;  a  simple  harmony, 
often  denomln.ttexl  a  common  chonl.  and  a. 
oompount 

r' 

If  the 

flfth 

meicly  doublim;  the  tonic.     No  fimires  are 

necwsary  to  denote  a  simple  harmony  ;  therefore,  whenerer 

you  see  a  bass  note  withc^ut  any  (imire  oxer  it,  you  must  pUy 

the  simple  harmony  of  r~t~v» 1  means   tou 

that  note.  Pzj'    _  I  should  play 


Intervals,    by  Mt|i»  M.         Iiinw  ik«n>  M- 

■    A    semitone    Q  j  1 1 

All  maj..r  in-^   ^       ,     ll    ,       i     I   .     '  Ti 

ala  by  adding   i/^oA^  ^  ^Ajk^^T^'^Si 

)  to  each.  ^  , 

two  primitire  harmonies  ;  a  simple  harmony, 
len  denomln.tlevl  a  common  choni,  and  «    Q 
impound  hannony.  frvijuently.  but  impro-  ^  f  I 

T/y,  called  a  disconl.     A  simple  harmony  fm         ,   —       I 

the  tonic,  or  key  note,  with  its  thirl  and  ^+ 8-j^ — • 

rth  :  the  eighth  may  be  ad<leil.  but  this  la  ^  ,■  -n     ^-  j. 


mm- 


When  Tnsto  R^ln,  or  T.  S  Is  written  orer 
notes  haring  to  figures,  such  note*  are  to  be 
played  as  they  are  written,  unaccomp*nle<l  hy 
any  harmonies  All  the  notes  of  the  seajc  beair 
idmple  harmonies  :  but  «.<  all  the  harmonies  of 
the  scale  are  derired  fVom  the  scale  Itself,  It  will  be  found 
•hat  they  vary  in  their  natures.  Kor  Instance,  the  tonic 
bears  a  major  hannony,  the  second  of  the  scale  hears  a  minor 
harmony,  and  the  .<erenth  or  leading  note  bear*  a  diminished 
hannony,  although  the  figures  K  are  the  same  on  all  tlirt* 
notes.  ' 

.A  major  harmony  may  be  known  by  Iu  third :  If  the  third 
be  m^Jor,  It  Is  a  mivjor  harmony.  A  minor  harmonv  may 
also  be  known  by  Its  thir.l :  if  the  thini  be  minor.  It  is  a 
minor  hannony  A  dimlmshe  t  hannony  mar  be  known  by 
Its  thirit  and  fifth  .  if  both  b«  minor,  it  Is  then  a  dimlnlabed 
harmony. 


Major.  Minor.  Minor.  Major.  Major.  Minor.  Diminithtd, 


EjE^lElEip^ 


The  serrnth  Is  the  only  sound  In  the  m^Jor 
bean  a  diminished  tuuiuouy. 


ale  which 


REQARDLNO  TUE  HAHMONIE.''   nELOXGINO  TO  THB 
MINOK  SCALE. 

The  tonic  of  the  minor  scale  bear*  a  minor  harmony,  bo- 
cause  iu  third  Is  minor.  The  scroti'/  >H-ani  a  diiiiinUlied  har- 
mony, because  Its  third  and  flflh  are  bnik  minor.  The  Ihitd 
bean  a  major  hannony,  lx.cnuse  lis  third  Is  major.  The 
fourth  b«an  a  minor  harmony,  Ix'cause  Its  third  is  minor. 
The  fiflk  bean  a  minor  hannony,  because  lu  third  Is  minor. 


Tonic.  2</.  id.  *lh.  t>th. 


When  the  fifth  of  a  minor  scale  Is  used  as  a  ilnminnnt.  the 
third  of  its  hannony  must  be  shar[>ened  bv  an  acciilental. 
All  dominants  bear  major  harmonies. — The  stTth  and  s^vrntK 
of  a  minor  scale,  in  a.%renilins,  bear  diminished  hannonles, 
becau.«e  the  third  and  fifth  are  6o(A  minor.  In  rlrti-tnJinf, 
they  bear  major  harmonies,  because  the  tliird  is  major. 


Dominant  5<A. 


I 


7th.  C/A. 

DMMBdinr. 


fert^-frr^g 


All  the  other  notes  of  a  minor  scale  bear  the  same  harmo- 
nies In  asrrnding  as  In  desctndint;. 

A  flat,  sharp,  or  natural,  placed  orer  any  bass  note.  Indi- 
cates that  the  third  of  the  note  is  to  be  pbiyed  either  flat, 
sharp,  or  natural,  according  to  the  sign. 

The  student  should  now  endeavor  to  fill  up  the  subjoined 
exercise  b«'fore  he  proceeds  to  the  next  study.  Each  boM 
note  is  tq  bear  ita  own  simple  harmony. 


S 


ite 


T^ 


1=^ 


s 


REOARDINO   THE  DERTVATTTES  OF  A  SlilPLE  HAR- 
MONY. 

When  the  thlnl  or  fifth  of  a  simple  harmony  Is  used  for  a 
bans  instead  of  the  tonic.  It  becomes  a  derivative. 

8      S 

There  are  two  deriratires  of  a  simple  harmony,  rli :    Aua^ 

S      4 

The  first  derivative  of  a  simple  harmony  Is  formed  by 
making  the  thlnl  of  the  harmony  your  l»ass  In-  fl 

stead  of  the  tonic,  and  placing  orer  It  the  figure 
6,  thus : 

Whenever  you  see  a  note  with  a  6  orer  It,  you 
must  play  the  harmony  of  the  sixth  note  above,  thus : 
The  E,  the  third  of  C,  Is  omitted  In  the  treble, 
because  in  this  harmony  vou  must  avoid  tiou- 
bllng  the  bass  note,  which  is  the  major  third 
of  the  tonic.  The  major  third  1*  of  so  very 
powerful  a  nature,  that  were  you  to  double  it, 
(particularly  In  a  piano  morement,)  It  would 
create  a  harshness  ;  rememWr  that  this  rule 
is  to  l>e  appliivl  to  all  hannonies. 

The  maj<T  third  may  i*  doubled  In  fortis- 
simo movements,  where  noise  Is  the  principal  object ;   and 
aUo,  where  correct  progreasion  cannot  lie  obtained  without  It. 


hus: 
J  6 


Firtt  Derivatir*  of  SimjiU  Harmottitt. 


The  second  deriratire  of  a  simple  harmony 
Is  formed  by  making  the  fifth  of  the  harmony 
,  your  bas.«  Instead  of  the  tonic,  and  placing  over  "•^*~_ 
it  the  flgnres  4  and  6,  thus  : 


u 


^VheneTer  you  see  a  noU  with  the  4  orer  It,  you  mtift  pik) 


105 


BAS 


ENCYCLOPEDIA    OF    MUSIC. 


BA8 


the  banuony  of  the  fourth  note  aboTc,  tbiu  : 

The  Viasd  note  ia  <]nul>le<l  in  the  treble,  be- 
eause  the  rule  "hut  iipplM  n  the  nnijor  third 
does  n  jt  HpF  ;  to  the  ninjoi  inji ;  whenever, 
fcr  the  »ake  ;.*  aildinn  fulness  to  jour  li.ir- 
moDV,  you  wlnh  t<j  double  pome  of  the  notes, 
the  best  first  note  to  Ijc  doubled  l»  the  tonic, 
and  the  next  buit  is  the  fifth  of  the  tonic. 


Steond  Derivalivt  of  Simple  Harmonits. 


REGARDING  COMPOUND  HARMONIES. 

A  compouud  harmony  ia  a  simple  harmony  with  one  or 
more  sounds  added  to  it.  The  dominant  seventh  is  most 
frequently  used.  It  Is  formed  by  adding  a  minor  seventh  to 
the  simple  harmony  of  the  douUnant  or  fifth  of  the  tonic  ; 

7 
and  the  Aill  figuring  of  a  dominant  seventh  is    5,  but  the 

(jmple  figure  7  is,  in  most  cases,  suflicient.  A  minor  seventh 
is  adde<l  to  the  simple  harmony  of  the  dominant  to  create  a 
new  and  stronger  power.  You  may  remain  as  long  as  you 
please  upon  a  simple  harmony  ;  but  the  moment  you  add  a 
ccventb,  it  becomes  necessary  tlint  you  should  almost  imme- 
diately move  from  that  harmony  to  another.  The  first  rule 
by  which  you  most  move  from  a  dominant  seventh  is,  that 
the  seventh  must  descend  either  a  whole  or  half  tone.  The 
second  rule  is,  tliat  the  third  must 
ascend  a  half  tone.  The  funda- 
mental and  it.<  fifth  move  according 
to  circumstances.  This  is  c;dleJ  the 
resolution  of  the  dominant  seventh. 
The  first  resolution  of  the  domi- 
nant seventh  is  into  the  harmony 
of  it«  tonic  major,  thus : 

The  second  resolution  of  the  dom- 
inant .seventh  is  into  the  harmony 
<>f  its  tonic  minor,  thus : 

The  third  resolution  of  the  dom- 
inant seventh  is  inio  the  harmony 
of  the  minor  third  below  the  tonic, 
and  is  formed  exactly  the  same  na 
the  first  remlution.  with  the  single 
exception  of  the  bass  rising  one 
whole  tone,  instead  of  to  the  tonic. 
tbns: 

The  third  of  the  second  harmony 
is  doubled  by  the  third  and  fifth  of 
the  first  harmony,  (the  one  a«ocnd- 
ing  and  the  other  descending  to  the 
same  note, )  because,  had  the  D,  tlie 
fifth  of  G,  ascended  to  E,  it  would  have  formed  consecutive 
or  following  fifths,  which,  with  one  exception,  is  never  allowed. 
The  exception  to  this  rule  is,  that  an  imperfect  fifth  may 
follow  a  perfect  fifth,  thus : 


or  thus: 


rhere  is  one  other  rule,  which  forbidi 
the  use  of  hidden  fifths,  which  ocy 
in  pass.igcs  similar  to  the  following 

In  this  Instance  B  is  the  hidden  fifth,  which,  although  not 
actually  sounded,  would  have  nearly  the  same  effect  upon  a 
delicate  car,  as  if  it  had  been  sounded. 

Consecutive  octaves  arc  equally  to  be  avoided  ;  they  occur 
when  two  notes  of  the  same  name  move  in  the  same  direc- 
tion, thus : 

The  difference  between  octaves  and  uni- 
sons is,  that  octaves  are  accompanied  by 
harmonies,  unisons  never. 

The  fourth  resolution  of  the  dominant 
w'venlh  is  into  the  hiinnony  of  the 
major  third  l>clow  the  tonic:  the  pro- 
gression of  each  note  is  the  same,  with 


g=^=S= 


one  exception,  as  Id  ise  second  resolution ;  the  bass  In  tlill 
resolution  ascends  a  semitone  only,  thus : 

In  this  resolution  we  are  compelled 
to  double  the  major  third  of  the 
second  harmony  ;  for  did  we  make 
D,  the  fifth  of  0,  a.scend  to  E  flat, 
the  fifth  of  A  flat,  consecutive  mivjor 
fifths  would  be  the  result,  which  if 
never  allowed. 


Exercise  oftht  Dominant  Seventh,  with  it$  Four  Re»olution$. 


i^ 


stisS: 


ias: 


I 


JiL 


:^ 


bs 

J3_ 


E7 


St       ^     « 


-5«s- 


~g5- 


a 


REGARDING  THE  DERITATITES  OF  THE  DOMINANT 
SEVENTH. 

The  dominant  seventh  has  three  derivatives :  the  8,  5,  and 
6 ;  the  3,  4,  and  6 ;  and  the  2,  4,  and  6.  The  first  derivatlT* 
is  formed,  as  in  the  case  of  simple  harmonies,  by  taking  the 
third  for  abass  instead  of  the  fundamental,  and  placing  OT«r 


i 


A  note  bearing  5  means  that  you  must  play  the  harmony  of 
the  sixth  note  above,  to  which  you  are  to  add  the  fifth. 

Exercise  of  the  First  Derivative  of  a  Dominant  Seventh. 

b6 

B  8  b8  !>•■* 


A  straight  Une  placed  over  two  or  more  notes,  means  that 
you  should  hold  on  the  harmony  you  have  tJiken  with  the 
first  note,  while  you  play  all  the  notes  which  fall  under  the 
straight  line,  thus : 


I 


m 


m 


##^r^ 


^ 


^ 


±3#- 


rf^r^ 


=E^ 


iV 


11 


OL=f=i^ 


=t 


J-    7 


106 


BAS 


EXCYCLOP^.DIA    OF    MUSIC. 


BAS 


The  deconj  doriTatiTO  of  the  Jominant  m>Tenth  is  formed 
ty  Ukin{(  the  fifth  for  a  ba«ii,  inntvad  of  the  fUndomeuCal, 
■nd  placing  over  it  the  flgum)  i,  thua  : 


1 


yoadiiriOTiul.        Birnnil  Dtrindf*. 


A  note  bearing  g  means,  that  yon  miut  plaj  the  bannony 
of  the  fourth  cote  above,  to  which  you  an  to  add  the  third. 

Sxercise  of  the  Secotvi  Derivative  of  the  Dominant  Seventh, 


The  third  derivative  of  a  dominant  acventh  i»  formed  by 
t4king  the  seventh  for  a  basa  instead  of  the  fundamental, 
and  {3aclog  over  it  the  figure  2,  thus : 


m 


^^m 


FundAmMIAl.        ThlrJ  DvrlntlT*. 

A  note  bearing  a  2,  means  that  you  must  play  the  simple 
Harmony  of  the  note  above. 

Exercise  of  the  Third  Derivative  of  the  Dominant  Seventh. 

2  be         be  be 

f-\>»  ^^        a  be  ^b*  ^f"/^^^   ^'^    b 


All  the  notes  of  the  scale  may  bear  sevenths  ;  but  the  domi- 
nant or  fifth  of  the  scale  is  the  only  note  which  bears  a  major 
third  and  a  minor  seventh. 

Koch  seventh  (the  dominant  excepted)  Is  resolved  Into  the 
harmony  of  the  fourth  note  above  the  t>a«s  note,  thus  : 


or  into  the  harmony 
of  the  note  above  the 


basa,  thus: 


The  doubling  of  the  eighth  of  the  bass  in  the  second  exam- 
'>le  is  omitted  to  avoid  consecutive  octave*. 


UEa.VRDINO  THE  DIMINISIIED  SEVENTH. 

The  harmony  of  the  diminished  seventh  may  be  formed  by 
iml4ng  the  l>ass  note  of  any  dominant  seventh  one  semitone, 
khoj: 


^m 


-^^ 


A  diminished  seventh  is  to  be  re-  \ 
solved  Into  the  harmony  of  the  semi- 
tone above  the  fundamental,  thus : 


in^^ 


Exereite  of  the  Diminished  Seventh. 


msaiii 


A  diminished  seventh  has  three  derivatives,  the  same  afl 
the  dominant  seventh,  and  they  are  formed  by  the  same 
rules  ;  but  in  the  derivatives  of  a  dlinin-  t^n 

ished  seventh  there  will  always  be  found 
an  accidental  sharp,  tlat,  or  natural,  at- 
tached to  one  part  of  each  derivative,  thus  :  p* 


You  will  know  the  first  derivative  of  a  diminished  seventh 
by  the  figures.  Whenever  you  see  a  note  bearing  the  flgurM 
fie,  you  will  know  it  to  be  the  first  derivative  of  a  diminishml 

seventh,  and  you  must  play  the  harmony 
of  the  sixth  note  almve,  which  note  you  j 
will  sharpen,  and  to  which  harmony  you  I 
will  add  the  fifth  note  above  the  boas, 
thus: 

The  second  derivative  of  the  diminished  | 

seventh  is  indicated  by  the  figures  >■> 

3 

being  placed  over  a  bn.'is  note.  Play  the  harmony  of  the 
fourth  note  above,  which  note  you  will  sharpen,  to  which 
you  must  add  the  third,  thus : 


The  third  derivative 

^ is    iniiicated  by   the 

SCi.^  -  figure  Jj^  being  pla- 
'^i-  ccd  over  a  Imu*s  note. 

Play  the  harmony  of 
the  note  above,  which 
note  you  must  sharp, 
thus: 


Each  note  of  the  derivatives  is  to  move  in  its  resolntion, 
exactly  in  the  same  manner  as  when  the  fundamental  waj 
taken  for  a  bass.  The  bass  note  bearing  a  diminl'hi-'l  wventh 
is  always  the  fundamental  of  that  hamiony,  alilioiiKh  some 
writetv  assert,  that  the  fundamental  is  to  l>e  fi'und  a  third 
below,  bearing  a  minor  seventh  with  a  tlat  ninth  ad-led; 
thus  they  would  say,  the  diminished  seventh  on  G  sharp  is 
the  simple  harmony  of  E,  with  a  minor  seventh  and  a  Hat 
ninth  added.  E  luvs  no  more  to  do  with  this  harmony  than 
F  has  to  do  with  the  simple  harmony  of  A  minor. 

The  fundamental  is  always  to  be  found 
in  each  separate  harmony.  For  example  : 
This  U  the  harmony  of  C  bearing  a  minor 

seventh  :  if  you  first  take  away  the  C,  the  

harmony  immediately  becomes  ttiat  of  the  dlminlshnl  har- 
mony of  E,  E  now  t>eing  the  fundamenL-U  :  take  awnv  the  R, 
it  becomes  the  harmony  of  0  minor,  O  now  l>rlng  the  funda- 
mental ;  take  away  the  0,  and  the  B  Oat  becomes  the  fund»> 
mental. 

PASSING  NOTES. 

Passiog  note*  are  those  which,  &y  license ,  ynu  are  allowed 
to  sound  in  passing  from  one  note  to  another,  without  in  anj 
way  altering  the  harmony  fh>m  which  you  move,  or  the  on* 
to  which  you  arv  moving. 

In  the  following  harmonies  of  C  and  F,  between  the  0  and 
A,  there  is  a  Q  sharp  which  may  be  lotuidcd,  Ibnninc  th* 
paaing  note : 


&^^^^ 


PiMlng  note*  may  be  rarrled  to  alnuvt  tny  x  ent. 
log  ftom  on*  C  to  It*  rctave,  evtrj  semltCDk  betw 


107 


BAS 


EXCYCLOPyEDIA    OF    MUSIC. 


BAS 


two  notoK  mlilit  he  pounJeJ,  wiUiout  iu  the  least  altering  the 
boniioiiy.    Lxiuuplo : 


The  extreme  sharp  sixth  is  formed  by  the  system  of  pasnog 
notes 
more  thi 
of  the  Uai 
of  the  iiiaj' 

know,  bc.irs  a  iliiiiinished  har- 
Diooy,)  the  third  being  flatten- 
rd  by  licenM;  as  a  pasing  note, 
thus : 

Some  authors  consider  0  as  the  fundamental  of  this  harmony. 

TIIE  DIFFERENT  POSITIONS  OF  HARMONIES. 

A  harmony  can  be  taken  in  six  different  positions — three 
close  positions,  and  three  open  positions. 

B    3    5 

thus: 


i 


i^^=n 


m 


The  three  open  positions  are 


thus: 


IV ''^~ 


^^gs 1 


Z^SSZ 


The  deriratives  hare  also  six  positions. 

A  sequence  is  a  succession  of  similar  harmonies ;  as  a 
sequence  of  thirds,  a  sequence  of  sixths,  kc.  A  sequence 
may  be  formed  of  mixed  harmonies ;  the  following  is  a  se- 
quence of  fifths  and  fourths : 


i 


:S= 


&c. 


^^ 


§g 


£ 


The  next,  of  fifths  and  sixths,  descending  and  ascending  : 


DESCEKDINO. 


6  !>      6  Re 


i^^^-^^^fl^ 


KS  66  68  66 


m^^m^: 


JTie  next  Is  a  sequence  of  sevenths  and  sixths  by  suspenMon, 
which   might    nllh  equal   propriety  bo  called  a  lequeDce 


of  appogglaturas ;  the  seventh,  in  this  case,  being  nothii  g 
more: 


o   g>"-|-'J 


yg  ei^ 


&c. 


A  sequence  is  seldom  composed  of  more  than  three  notes  In 
each  harmony. 

CADENCES. 

A  cadence,  in  harmony,  means  a  termination  or  close. 
There  are  two  sorts  of  cadences  —  perfect  and  imperfect. 
There  is  but  one  perfect  cadence ;  all  the  rest  come  under 
the  latter  denomination. 

A  perfect  cadence  is  formed  by 
the  harmonies  of  the  subdouiinant 
and  the  dominant  seventh,  fol- 
lowed by  that  of  the  tonic,  thus : 


All  other  cadences  are  imperfect.  jC^} 
To  prevent  the  harshness  between  \z^~ 

the  two  first  harmonies,  it  is  usual    

to  introduce  the  harmony  of  the  tonic  before  taking  that  of 
the  dominant  seventh,  thu< : 


SUSPENSIONS. 


A  suspension  Is  formed  by 
holding  on  a  part  of  one  har- 
mony, instead  of  at  once  mov- 
ing the  whole  to  the  following 
harmony,  thus : 

This  is  the  suspension  of  the 
third. 

Suspensions  are  generally 
prepared,  which  preparation 
is  accomplished  by  sounding 
the  note  in  the  first  harmony, 
the  note  in  the  second. 


m 


m 


which  is  employed  to  su.ipend 
A  suspended  note  is  prepared  by  the 
note  above ;  thus,  the  third  is  prepared  by  the  fourth ;  the 
fifth  by  the  sixth,  and  so  on. 


MODULATIONS. 

Modulation  is  the  passing  from  one  key  to  another.  The 
easie.'it  modulation  is  from  a  given  note  to  the  harmony  of 
the  fourth  note  above.  This  is 
accomplished  by  merely  adding 
a  minor  seventh  to  the  first  | 
harmony,  which  immediately 
changes  it  to  a  dominant  sev- 
enth :  its  tonic  is  to  be  found  a 
fourth  above,  into  which  har- 
mony you  resolve,  according  to  | 
the  rules  heretofore  given,  thus : 

An  enharmonic  change  is  formed  by  changing  the  name 
and  position  of  a  note  without  (on  keyed  instrument*)  chaug- 
ing  the  sound,  thus : 

The  enharmonic  change  is  of 
great  use  in   modulation,   as  il 
enables  tlie  modulator  to  go,  by 
a  very  short  road,  from  liat  to 
_  sharp  keys.     Suppose  we  wished 

to  modulate  from  the  key  of  C  through  all  the  major  key*, 
and  back  again  to  C  by  means  of  the  dominant  seventh  only  , 
this  could  only  be  done  by  the  assistance  of  the  enharmonio 
change,  thus : 


BAS 


ENCYCLOPAEDIA    OF    MUSIC. 


DAS 


^^^^^^ 


^^^M^^ 


§ia=^ 


b'  bs       5*     ,         fc 


JZSE 


SO — -<P- 


~i r 


«     5    h'     «  8  bi 


m 


^  «  H' 


:t=::t: 


^ 


In  mo<liilatinf;  from  one  key  to  another,  too  mnrt  flmt 
■on^MiT  the  relntlonnhlp  between  the  key  from  which  ynu 
•re  i^iiii;,  iinil  the  one  jou  wi.«h  to  arrire  at.  The  ea«ie«t 
moiliil'ition  i.i  to  either  of  the  attendant  key«— whlrh  ar» 
the  ilnininant.  the  aulxlomlnant  or  fourth  of  the  wale,  and 
the  n'lntlTc  minor. 

You  r.in  moUulnte  from  any  key  to  either  of  ita  attendant 
hamionios  by  merely  p.iMlng  through  the  dominant  (with  Ita 
minor  noventh)  of  the  key  to  which  you  wliih  to  modulate. 
Thu«,  from  ('  to  its  attmd.tiit  harmony,  the  ilominnnt.  which 
la  O.  you  must  paM  throuith  the  harmony  of  I),  the  dominant 
of  0,  tu  which  you  must  add  a  minor  serenth  : 


Or  to  its  attendant  harmoDT, 
the  siibdominant,  which  is  F, 


you  must  pass  throujth  the  har- 
mony of  •;,  the  dnniinnnt  of  P, 
to  which  you  must  add  a  minor 
scTenth  : 


Or  to  its  relative  minor,  which 

A    minor,     you    must    pass 

through  the  harmony  nf  F,  the 

~  dominant  of  A,  to  which  you 

most  add  a  minor  serenth : 


Tou  may  modulate  to  a  key 
bearing  no  relationship  to  the 
key  from  which  you  wish  to 
moTe,  by  nio<lul.ttlng  thnnigh 
Tarious  keys  until  ynu  arrire  at 
one  bearing  some  n-lationship 
to  the  key  you  aim  at.  For  ex- 
ample, C  narural  bears  no  rela- 
tionship to  O  flat,  yet,  by  adding  a  minor  seTenth  to  the  C, 
•od  taking  advantage  of  the  fourth  resolution  of  the  domi- 
luuit  seventh,  (which  It  has  now  become,)  we  very  soon  arrire 
tt  s  key  that  does  :  thus, 


I  having  nrrlvi'd  at  D  flat,  we  flod 
to  be  till'  doniinunt  of  0  flat; 
thi'n'forc,    by    inMuig   a  minor 
S4>vi*ntli,  we  shtill  quickly  accom- 
plish our  aim. 


HARMONIES  WlllCir  ARE  NOT  TO  BE  CONSIDERED 
AS  INDEPENDENT  HARMONIES. 

The  harmony  of  the  seventh  and  flat  ninth  added  Is  nothing 
more  than  the  dlmliiislipd  seventh  on  the  seventh  of  tha 
scale,  using  the  dominant  as  a  bass,  thus  : 

The  resolution  of  this  harmony  Is  exactly 

the  same  as  it  would  lie  were  the  U  not 

played  ;  namely,  into  0. 
The  harmony  of  the 

2,  4,  5  and  T,  is  merely 

the  dominant  seventh 

played  upon  the  tonic  ; 

and  its  resolution  is 
the  aame  as  if  the  fundamental  had  tteen 
taken  ai  a  ban,  thus : 


Any  harmonies  may  be  played  upon  the  tonic  or  dominant, 
and  at  times  upon  both  combined.  This  latter  obserration 
applies  more  particularly  to  movements  in  the  pastoral  styla. 


m 


^ 


*s 


i 


^3 


fr=r-iP? 


f^ 


-»-^—f^=r 


=P=^?F 


i 


^ 


#-i- 


3^E^ 


BEQ 


^ 


RrrvTiiM. 

Rhythm,  or  rhythmos,  means  proportion.  There  are  two 
kinds,  a  simple  and  a  compouml  rhythmos ;  into  one  of  then 
all  music  can  be  divide  1.  Music  is  in  simple  rhythm  wheo 
it  can  1»'  divllol  Into  proportW  ns  of  two  bars  each  ;  the  final 
close  coniing  upftn  the  second  bar  of  the  last  rhythm.  A 
compound  rhvlhm  is  forme<l  by  commencing  a  new  rhythm 
upon  the  last  kir  of  the  pn'cedlng  rhythnius.  This  vtry  fr^ 
quently  takes  place  in  symphonies  and  overtun-s  :  f^r  exam- 
ple, the  following  is  from  Haydn's  Surprise  Symphony  : 


i 


fe 


^ 


fct 


itH 


A 


-^zzz 


'^ 


— l-Ti-J — ^  \-  " ^J- 


^^ig^rt 


At  tb*  and  of  the  third  bar,  tb*  compnnnd  rbytbiB  I 
place. 


109 


BAS 


ENCYCLOPEDIA    OF    MUSIC. 


BAS 


We  close  this  short  treatise  upon  thoeouoh 
BASS,  &c.,  with  a  remark  on  counterpoint,  or 
the  art  of  adding  to  a  gicen  subject  one,  two,  three, 
or  more  parts,  which,  by  their  combination,  shall 
form  an  harmonious  whole  at  once  systematical- 
ly correct  and  agreeable  to  the  ear.  Counter- 
point presupposes  some  acquaintance  with  the 
principles  of  harmony,  of  which,  indeed,  it  is  the 
first  and  simplest  ajiplication.  If  its  study  be 
pursued  in  connection  with  thorough  bass, 
harmony,  and  mod»ilation,  it  cannot  fail  to  lead 
the  pupil  by  easy  and  almost  imperceptible  de- 
grees to  a  thorough  knowledge  and  facility  in  the 
practice  of  composition.  Tlie  folloTs-ing  system 
may  be  adopted.     First,  — 

Select  a  subject,  consisting  of  a  few  notes,  all 
of  equal  length,  and  each,  for  greater  simplicity, 
generally  occupying  one  entire  bar.  This  sub- 
ject begins  with  the  key  note  ;  in  the  course  of  it, 
no  intermediate  cadence  or  rhythmic  point  of  re- 
pose is  introduced  ;  and  it  usually  closes  with 
the  tonic,  preceded  by  the  Becond  note  of  the 
scale.    Example :  — 


TT         £L 


g=5 


i 


Such  a  subject  is  sometimes  called  a  plain  song ; 
or,  from  the  Italians,  a  canto  fermo.  To  tliis  sub- 
ject, which  may  be  taken  either  as  a  bass  or  an 
upper  part,  the  student  is  first  taught  to  •nTite  a 
second  part,  formed  of  notes  of  equal  length  to 
those  of  the  given  subject,  and  consisting  only  of 
concords ;  that  is,  of  unisons,  thirds,  fifths,  sixths, 
or  octaves,  intermixed ;  or  of  the  octaves  to  these 
consonant  intervals.     Example  :  — 

Counterpoint 
&  S  6  6.8 


I 


P 


Subject, 

After  ha^nng  sufficiently  practised  this  species, 
which  we  will  call  the  Jirst  species  of  counter- 
point, the  student  will  proceed  to  write  two  equal 
notes  to  each  note  of  the  subject.  Here  the  first 
or  accented  note  must  always  be  a  concord ;  but 
the  second  note  may  be  either  a  concord  or  a 
discord  of  transition  ;  that  is,  a  passing  note.  In 
the  latter  case,  the  dissonant  note  must  neither 
be  taken  nor  quitted  by  a  skip ;  and  this  may  be 
called  the  second  species  of  simple  counterpoint. 
Example :  — 

Coanterpotnt 


s 


<^. '^  JIJJI'^   Jl5 


SulqKt. 

In  triple  time,  three  notes  are  written  to  each 
note  of  the  subject.    Kxamplc :  — 

SuliJccU 


S 


Oouiilcrpotnt 


^fe^^ri^^i 


^ 


The  stars  in  this  example  point  out  the 
passing  notes. 

The  third  species  admits  of  four,  six,  or  eight 
equal  notes  being  placed  against  each  note  of  the 
subject ;  but,  in  other  respects,  it  does  not  material- 
ly differ  from  the  preceding  species,  as  only  con- 
cords or  notea  of  transition  can  bfe  used.  Exam- 
ple :  — 

Counterpoint 


I 


P 


S=^^ 


^ 


Subject 


l5- 

5 -+-6 


When  this  species  is  well  understood,  the  stu- 
dent may  proceed  to  the  fmirth  species,  in  which 
again  only  two  notes  are  WTitten  against  each 
note  of  the  subject,  except  in  triple  time.  Its 
chief  peculiarity  is,  that  the  last  note  of  each  bar 
is  continued  by  sjTicopation,  so  as  to  form  the 
first  note  of  the  following  bar.  The  last  note  in 
each  bar  must  always  be  a  concord  ;  but  the  first 
note  of  the  bar  will,  in  consequence  of  this  syn- 
copation, be  sometimes  a  concord  and  sometimes 
a  discord  of  suspension  ;  in  the  latter  case,  it  must 
be  resolved  by  descending  one  degree  to  a  con- 
cord :  thus  the  ninth  resolves  into  the  eighth, 
the  seventh  into  the  sixth,  and  the  fourth  into 
the  third ;  and,  when  the  suspensions  are  in  the 
bass,  the  second  resolves  into  the  third,  and  the 
fourth  into  the  fifth.     Example  :  — 

Counterpoint. 


i 


Subject 


6 


6 


'6 


I 


We  will  now  proceed  to  the  fifth  and  last  spe- 
cies, which  admits  of  various  notes,  and  which 
is,  in  reality,  an  admixture  of  all  the  preceding 
kinds  :  this  is  called  yZortd  counterpoint.  Exam- 
ple: — 

Counterpoint 

a     Jj-»-*-     — 


I 


w 


thnT^v^^ 


w 


Subject 


7  B—         4  3^-    6 


Fifth  Species,  in  thbeb  Parts. 


i^M^ 


In  additional  parts  use  notes  similar  in  length 
to  those  of  the  subject,  and  thus  fill  up  the  har- 
mony with  four  or  five  parts.  The  counterpoints 
in  which  the  essential  discords  arc  employed  are 
these :  the  different  chords  of  the  seventh  and 

their  inversions,   the  t,  4,  and  i>    the  supeiflu- 

3   3  a 

ous  sixth  variously  accompanied,  the  chord  of 
the  ^,  and  the  imperfect  common  chord,  altered 
chords,  &c. 


110 


HAS 


ENCYCLOPEDIA    OP   MUSIC. 


ilAS 


BASS  VIOLIN.  In  inMtrumental  music,  when 
the  pas.sai,'e  ascends  above  the  bas.s  staff,  the  tenor 
clef  is  sometirncs  introduced,  and  the  notes  are 
thus  performed  on  the  violoncello,  as  a  bass  violin. 

BASS  VIOL.  Properly,  violoncello.  (See 
that  instrument.)  A  stringed  instrument,  rc- 
semblini;  in  form  the  violin,  but  much  larger.  It 
hits  four  strings  and  eight  stops,  which  are  sub- 
divided into  scmistops,  and  i«  performed  by  a 
bow.  niis  instrument  has  long  been  in  use,  and 
is  much  esteemed.  It  has  a  noble  effect  in  con- 
cert.    See  VioLo-NCELCo. 


COMPASS   OP  TUB   BT&INOS. 


i8t,ftnng, 
A.- 


_-P 


— _-A- 


„-C--- 


2d,     D. r-D- 


p-r 


»i,    O. ;rT~^ 


—B-i 


—i7-r 


BASS  VOICE.    ITic  gravest  or  deepest  of  the 

male  voices. 

BASS  CIIANTANTE.    (F.)     Slnrinff  bun    Thii  exprMvion  ii 

■ppLiiMl  to  nny  b:i*R,  tho  nntea  of  which  flow  In  ft  fmooCh  and  pleft»> 
ing  manner  :'t<»rmii((r  in  tht<mivlTi'fl.  indt'pendcntly  of  the  sutirrior 
piirti,  n  ifnitrt'iil  kind  of  melody.  Not  the  fundamental  boM,  but  the 
•«Cond,  or  in<'liNlioi/?<  ban*. 

BASS  CI.KF.  The  chanietcr  placed  nt  the  beginning  of  a  ■tnff", 
in  which  thi'  ba^s  nr  I.>wr»r  mtttHnfa  cnmptvtition  are  placed,  and 
wrvinu  ti>  di-ti  rinine  Ihit  nilrti  trnd  namt-i  of  thoflo  notea. 

UaSs  coin  ri:R,or  Ci»\TKA  UASS.  The  under  boaa.  That 
part  which,  whrn  there  are  two  ha.4'«<'!t  in  acompoaitlon,  ia  performed 
by  the  <Ii>ublt:  bosaea,  the  viulunccUoa  taking  the  upper  baaa,  or  boMO 
ettncertttntr, 

BASSA.     (I.)     Lower. 

BASSAXI,  (JIOVAXXI  BATTISTA,  of  Bo- 
logna, the  violin  master  of  Corelli,  was  a  pupil 
of  Carissirai,  and  a  man  of  extensive  knowledge 
and  abilities  in  his  art,  having  been  not  oidy  a 
Buccessful  composer  for  the  church,  the  theatre, 
and  the  chamber,  between  the  years  1680  and 
170.3,  but  an  excellent  performer  on  the  violin. 
His  sonnta-s  for  the  violin,  and  accompaniments 
for  that  instrument  lo  his  masses,  motets,  psalms, 
and  cantatas,  manifest  a  knowledge  of  the  finger- 
board and  bow,  which  appears  in  the  works  of  no 
other  composer  anterior  to  Corelli ;  and  the  lov- 
ers of  the  jnirc  harmony  and  simple  melody  of 
that  admirable  master  would  still  receive  great 
pleasure  from  tlie  performance  of  Bassani's  sona- 
tas for  two  violins  and  a  bass. 

BASS.AM,  GEROXIMO,  bom  at  Venice  to- 
wards the  close  of  the  seventeenth  century,  was 
an  excellent  singing  master  and  composer  of 
tragicomic  dramas,  among  which  are  especially 
cited  "  Bertoldo"  and  "  L'  Amor  per  Forza." 

BASSAXI,  OR.VZIO.  A  celebrated  ItaUan 
composer  ui  the  sLxtocnth  century.  I'urcell  is 
said,  but  we  believe  without  reason,  to  have  im- 
itated some  of  the  compositions  of  this  master. 

BASSE.  (F.)  The  bass  part,  whether  vocal 
or  instrumental. 

BASSE  CmFFRE.     (F.)    The  figured  bass. 

BASSEGGIO,  I.OREXZO.  An  Italian  com- 
poser about  the  year  1715. 

BASSE'lTO.  (I.)  The  diminutive  of  b<uso. 
The  name  sometimes  given  to  the  tenor  violin ; 
or  to  a  small  bass  viol. 

BASSET  IIORX,  CORXO  DI  BASSETTO, 
(I.)    con  AXGL-US,    (F.)    This  instrument 


is  but  seldom  iised.  Its  tone  is  very  sweet,  and 
in  solo  ])asKagos,  it  ia  capable  of  producing  very 
striking  etfofts  ;  it  resembles  a  hautljoy  of  a  large 
si/c,  a  little  bent  at  tho  top.  It-*  real  compass 
comprises  the  notes  contJiinod  between  F  bass 
and  11  fiat  in  aU,  except  the  note  F  shivrp,  wliicli 
Ls  delicient.  As  the  person  wlio  plnys  the  haut- 
boy generally  takes  this  instrument,  the  part  for 
it  is  usually  WTitten  a  filth  higher  than  its  real 
pitch,  thus  :  — 


Vq^m  m  «rlu««. 


^Hm  Mtaally  ptntani. 


m 


m 


"^ 


^ 


g 


Two  basset  horns  are  sometimes  usod  instead 
of  two  clarinets  or  two  hautlxiys;  but  tlm  is 
only  in  compositions .  of  a  tranquil  and  religious 
character. 

BASSI.  An  Italian  buffo  singer  about  the 
year  1797. 

BASSmOX,  PHILIPP.  A  composer  of 
church  music  at  Venice  in  1513. 

BASSISTA.  (I.)  The  singer  who  takes  the 
lowest  part. 

BASSO.  (I.)  Tlie  bass.  Basso,  in  choral 
scores,  is  generally  placed  against  the  staff  of 
the  instrumental  bass,  in  preference  to  that  of 
the  vocal  bass. 

nASSO  CONCERTANTE.  (I.)  The  bu«  of  Iho  littlp  chnrni. 
Thf  bos^  which  nccomnanii-d  ttic  foft^r  ports  nf  »  comiH>«iUoD,  u 
well  o-i  those  whirh  i-mi)Ioyc<l  the  whule  power  of  the  band.  ThU  port 
ia  (r«-n«'r:»ll%'  tiikcn  hv  the  Tltilonceilo. 

Dasso"  CONTIS'UO.  (I.)  Cnntlniied  bum.  Thi«  finreetion 
ia  npplieil  U*  that  Via*  jmrt  of  a  cotnpn«ition  which  i»  tlgur\-J  for  the 
orpnu.  hnrpaiehortl.  or  piano-forte,  in  concert. 

IIASStj  t  OSTKfrTO.  Ground  ban,  or  conttninetl  boM.  See 
Gh.)1  vr.  H.»». 

llA-^sii  I'HIM').    The  fundamrnUl  or  flrat  Uu*. 

Has-o  KK  II  ante.    The  bsM  uf  the  little  chnnii. 

llASsi)  HIlMCNi).  The  haaa  of  the  ^nuid  chonii :  that  ban 
which  joini  in  tJu-  full  partj  of  a  compoeition,  and,  by  isr  depth  of 
tone  and  inenry  of  utroke,  give*  a  powerful  contrmat  to  tJie  Ug\itKl 
and  #ortiT  pii««flffr«,  or  moTetnent*. 

BASSO  RIVOLTATO.  .\  tr-t^  ■■-■  -r  •■'•'-- •  -'mIfV 
that  t>a«s  which,  initead  of  beinn  '  '«■  of 

the  chonl  t*»  which  it  ia  applied,  i  'i.of 

the  fundamental  note.    Suchabn*-  i    dia- 

tinaui.h  it  from  the  fundamental  ha...,  wfinJi  i«  callnl  l^i--  •  f.runo. 

BASSO  SECO.NDO,    A  aecond  baafc 

BASSOOX.  Tlie  compa-ss  of  the  bassoon  ex- 
tends from  double  B  fiat  up  to  B  flat  in  alf,  three 
octaves,  including  all  the  intennedinte  semitones 
except  B  natural.  The  notes  C  sharp  and  D  flat, 
however,  are  very  bad,  and  should  not  be  uscfl. 
^^'hen  the  ba.'jsoon  a-sceniLs  very  high,  tho  notes 
are  generally  written  in  tlie  tenor  clef. 

C    OR   TE.NOR    CLEF,  IN   fXISOH  WrTK    THE    BASS,    OB 
F   CLEF. 


This  in.strument  serves  as  the  ba.ss  to  tlie  wind 
instruments,  and  frequently  doubles  the  bass  of 
the  orchestra ;  its  tone  Ls  so  a-ssimilatrd  to  that 
of  the  hautboy,  as  to  render  it  the  natural  bass  tc 
that  instrument.  The  ba.ssoon  i«  imperfect,  and 
requires  the  a.'«.si5tance  of  a  gor^l  mu.siral  c«r  to 
blow  it  in  tolerable  tune.  To  make  it  mnr« 
portable,  it  divides  into  two  part.s,  whence  it  aLv 
bears  the  denomination  fticot,  or  faifuttn,  l>ec«uMk 


111 


fiAS 


ENCYCLOPEDIA    OF   MUSIC. 


BAS 


when  taken  to  pieces  and  bound  together,  it 
resembles  a  fagot,  or  bundle  of  stickR.  Its 
diameter  at  bottom  Is  nine  inches,  and  its  holes 
are  stopjied,  like  large  tiutes.  A  good  bassoon  is 
said  to  be  worth  four  or  five  hundred  pistoles. 
ITie  bassoon  has  fourteen  holes,  as  represented 
by  the  fourteen  lines  in  the  scales,  eight  of  which 
are  stopped  by  the  thumbs  and  fingers,  and  six 
■with  the  keys.  The  six  first  holes  are  stopped 
with  the  fingers ;  the  seventh  with  the  F,  or 
great  lower  key  ;  the  eighth  with  the  A  b  or  Gif 
key,  which  is  the  small  key  at  the  bottom  ;  the 
ninth  with  tlie  Frf  key,  or  the  key  governed  with 
the  right  hand  thumb ;  the  tenth  is  the  right 
hand  thumb  hole ;  the  eleventh  with  the  long 
key  above  the  right  hand  thumb  hole,  which  is 
governed  with  the  left  hand  thumb  ;  the  twelfth 
with  the  small  key  above  the  right  hand  thumb 
hole,  wliich  is  the  E  b  or  Bff  key  ;  the  thirteenth 
Ls  the  left  hand  thumb  hole  ;  the  fourteenth  with 
the  upper  long,  or  double  B  b  key,  which  is  the 
lowest  note  on  the  bassoon,  to  make  which,  you 
must  stop  at  once,  with  your  left  hand  thumb, 
two  keys  and  one  hole,  as  may  be  seen  by  the 
scale. 

The  bassoon  was  probably  introduced  into 
England  by  Ilandel,  as  it  does  not  appear  to  take 
B  part  in  any  composition  prior  to  the  publication 
of  "Tamerlane,"  in  1720.  In  hLs  oratorios,  Han- 
del introduces  the  bassoon  as  a  mere  helper,  and  it 
rarely  appears  as  a  principal ;  it  joins  the  hautboy 


in  reply  to  the  stringed  instruments,  and  these 
alternate  changes  from  the  violins  and  basses  to 
the  wind  instruments  were  the  first  attempts  at 
orchestral  effect.  ITie  bassoon  was  a  drudge  in 
the  orchestra  for  more  than  fifty  years,  before  it 
was  raised  from  its  menial  station  to  become  a 
principal  there.  It  is  now  made  a  very  eloquent 
and  interesting  instrument. 

DIATONIC   SCALE    FOK  THE   BASSOO.X. 


jjj^'rrr' 


£ 


CDEFOABCDEFGABCDEFO 


1 

2 

3 

4 

6 

6 

7 

8 

9 

10 

11 

12 

13 

U 


•  ••00 


o  o 

o  o 

o  o 

o  o 


•  o  o««***oo« 

oo  o«««^ooo« 

oo  o«««ooooo 

oo  o*«oooooo 

oo  oeooooooo 

oo  ooooooooo 


•   •   o    o 


ooooo    ooo 
ooooo    ooo 


ooo 

0    0    0 


•  ooo 


oooooo    oooooo 
oooooo    oooooo 


CHBOMATIC   SCALE    FOK  THE   BASSOON'. 


^^^^i^^ 


i^^M-^^ 


1 


Bpii$it)F]|ot>o$^AjE!)cj|ii!)       D;{i^Fj)ebeSiit)       AJtEticjiiiii>J^rj{ob 


1 

2 

3 

4 

6 

6 

7 

8 

9 

10 

11 

12 

13 

14 


The  holM  In  the  aboTe  Kmlo  are  nnmbercd ;  and  the  niimhen  are  the  aame  In  the  diatonic  acale.    It  vfll  be  eeen  that  the  mianer  of 
■harping  double  C  and  flotting  double  D  ii  not  given,  bccauie  thty  cannot  be  founded  perfectly  without  an  additional  key. 


b^ 


^^ 


h^. 


)^  %^         "^ 


First  learn  the  notes  on  the  bass  clef,  and  then 
those  on  the  C  or  tenor  clef  may  be  attended  to. 
The  C  clef,  occurring  frequently  in  bassoon 
music,  ought  to  be  well  understood.  \Micn  the 
U-arncr  has  a  suflicient  knowledge  of  the  notes. 


and  can  readily  call  them  by  their  names,  it  will 
be  ad\'isable  to  practise  the  scale.  The  black 
dots  represent  the  holes  which  are  to  be  stopped, 
and  the  ciphers  those  which  are  to  remain  open. 
Great  care  should  be  taken  to  have  the  reed  in 
good  order.  \xx  old  reed,  if  sound,  is  far  better 
than  a  new  one.  It  should  be  sufficiently  thin  to 
blow  easy,  and  yet  so  stiff  as  to  sound  the  notes 
full  and  distinct,  ^^'hen  you  have  your  reed  in 
good  order,  be  sure  and  preserve  it  so,  and  let  no 
person  but  yourself  ever  touch  it.  The  holes 
are  numbered  in  the  direction  the  wind  passes 


112 


BAS 


ENCYCLOr.EUIA    OF    MUSIC. 


BAT 


through  the  instrument :  beginning  nt  the  mouth 
piece,  it  passes  to  near  the  bottom  ;  thei\,  return- 
ing, makes  its  escape  at  tlie  licU  above  the  mouth 
piece.  To  transpose  a  tune  I'or  the  bassoon,  or 
any  other  instrument,  observe,  tirst,  wliat  key  it 
is  in,  which  may  be  seen  by  comparing  the  key 
note,  anil  the  number  of  fiats  or  sliaq)s  prelixcil 
to  the  clef;  and  having  raised  the  key  note  to  (J, 
I),  or  F,  S:c.,  taking  care  to  keep  within  the  com- 
pass of  your  instrument,  raise  or  lower  every  note 
exactly  in  the  same  proportion.  The  same  finger- 
ing, in  some  instances,  on  the  bassoon,  gives  dif- 
ferent sounds ;  the  alteration  being  produced 
entirely  by  blowing  and  pinching  the  ree<l ;  but 
this,  practice  will  soon  make  easy.  The  reed  re- 
qi4irf!s  a  gentle  pressure  of  the  lips,  to  be  gradually 
increased  lus  you  ascend  to  the  highest  notes.  A 
performer  wlio  wishes  to  excel  will  learn  the  G 
clef  in  addition  to  the  F  and  C.  The  bassoon, 
which  belongs  to  the  oboe  species,  and  forms 
its  bass,  was  invented  by  Alfranio,  a  canon  of 
Pa^•ia,  A.  1).  lo.'J'J.  It  was,  it  is  suppose<l,  intro- 
duced into  England  by  Handel,  about  1720.  It 
consists  of  a  long  tube,  doubled  near  the  centre, 
Bo  as  to  allow  the  thumbs  to  play  several  low 
notes.  It  is  blown  with  a  reed,  through  a  brass 
tube.  AMicn  well  played,  the  tones  of  the 
bassoon  are  sweet  and  jjlaintive,  and  make  a 
good  accompaniment ;  but  if  not  well  managed, 
its  tones  are  coarse  and  disagreeable.  It  Ls  one 
of  the  most  important  and  effective  instruments 
iji  the  band  ;  and,  by  the  modem  additional 
keys,  may  be  made  a  very  accurate  accompani- 
ment to  vocal  music.  In  Gci-many,  a  large 
species  of  tills  instrument,  called  the  double  bas- 
soon, contra  farjottn,  is  sometimes  used,  and  gives 
the  octave  below  ;  but,  in  addition  to  its  articu- 
lating sounds  very  slowly,  it  is  very  ditticult  to 
play,  and  requires  a  very  robust  constitution. 

BASSUS.  Some  derive  this  barbarous  Latin 
term  from  the  Italian  word  baxso ;  others  think 
with  Zarluio,  the  Italian  musical  \vriter,  that 
ba-tis  is  its  root,  and  that  it  originally  implied  the 
fundamental  sounds  upon  wliich  all  harmony, 
and  even  melody,  is  constructed. 

BASTA,  or  BASTANT^.  (I.)  Enough,  or 
Btop.  An  expression  by  which  a  performer  in 
•  band  untlcrstands  that  he  is  not  to  proceed 
»ay  further,  unless  directed  by  the  leader  or  con- 
ductor. 

BASTAMENTO.  An  eminent  Spanish  mu- 
kician  m  the  sLxtcenth  century. 

BASTERNnTZ.     Sec  r.vsTERwrrz. 

BASTIDE.  A  French  author.  In  his  works, 
called  "  I'ariitis  Littiraires,  Galtintet,  *r.,"  Paris, 
1774,  is  a  letter  on  the  great  schools  of  music. 

BASTIXI,  VIXCEXZO.  A  composer  of  the 
Mxteenth  century.  Ho  published  madrigals,  &c., 
at  Venice. 

BASTOX,  JOSQUIX.  A  good  composer  of 
Flanders  between  the  years  15  Jo  and  I.j.59. 
"  He  wrote,"  says  Dr.  Buniey,  "  in  a  clear  and 
clean  manner." 

B.VTAILLE,  GABRIEL.  A  lute  player  at 
Paris  between  the  years  1608  and  1612. 

BATEX,  FLEUR,  a  native  of  Flanders,  wrote 
k  work  on  music  about  the  year  1360. 

16  113 


BATES,  JO.MI,  ESQ.,  one  of  the  commission- 
ers of  the  (  ustoms,  was  a  good  musical  tlieorist, 
and  an  excellent  perfonnor  on  the  organ.  I  If 
was  a  native  of  Ilalitax,  in  Yorkshire,  and  born 
about  the  year  1710.  Such  were  his  talentfi,  and 
so  great  was  his  repute  as  a  sound  musician,  that, 
at  the  commemoration  of  Handel  in  Westminster 
Abbey,  he  was  fixed  upon  as  manager  to  arrange 
the  band,  and  to  su])crintend  and  conduct  the 
performance.  To  tliis  gentleman  are  also  to  bo 
ascribed  the  undeviating  correctness  and  energy 
which  for  many  years  attended  the  choral  pcr- 
fonnanccs  at  the  concerts  of  ancient  music,  of 
which  ho  was  conductor  till  the  year.  1793,  when 
ho  was  succeeded  by  Mr.  Greatorex.  It  is  un- 
derstood that  none  of  the  compositions  ol  Mr. 
Itate-s  have  hitherto  been  given  to  the  public. 
He  died  m  1799. 

BATES,  MRS.,  wife  of  Joah  Bates,  was  a  cele- 
brated female  singer.  She  was  remarkable  for 
her  fine  and  clear  articulation,  which  has  been 
compared  to  that  of  Garrick  in  acting.  She  Is 
said,  by  a  professor  of  great  reputation,  to  have 
possessed  viust  natural  rc(iulsites  for  a  singer,  to 
which  was  added  high  cultivation.  She  studied 
Handel  with  that  great  judge  and  enthusiastic 
acbnirer  of  his  compositions,  the  late  Mr.  Bates, 
her  husband,  and  the  Italian  school  with  Sac- 
chini.  Her  voice  was  full  and  rich,  her  shake 
brilliant  and  ecjual,  and  her  expression,  especially 
of  Handel's  pathetic  airs,  matchless.  She  was 
not  confined  to  the  soprano,  for  she  sang  the  con- 
tralto songs,  "  He  was  dosjiiscd,  "  and  "  Re- 
turn, O  God  of  hosts,"  with  such  feeling  and 
expression  as  they  had  not  received  since  the 
days  of  Mrs.  Gibber.  In  the  "  Rosy  Bowers  " 
and  "  Mad  Bess  "  of  Purcell,  she  was  inimitable. 

BATES,  JTl.,  professor  of  music  at  Halifax,  in 
Yorkshire,  was  an  eminent  pcrfonuer  on  thfl 
violin.  His  brother  was  also  cmuieut  on  the 
double  bass. 

BATESOX,  THOMAS.  Organist  of  the  cathe- 
dral at  Chester  about  the  year  liiOO.  He  pub- 
lished a  set  of  "  English  Matlrigals,  for  three, 
foiu",  and  five  voices; "  he  also  contributed  to  Mor- 
ley's  collection  of  madrigals,  called  "  The  Tri- 
umplis  of  Oriana."  Bateson  is  justly  placed 
among  the  best  of  our  madrigal  writers. 

BATHE,  W.,  an  Irish  Jesuit,  wrote  a  work  on 
music  in  1596. 

BATILLUS.  An  instrument  use<l  by  the  .Vr- 
meniaus  in  their  church  sei^nce.  It  was  metallic, 
formed  hke  a  staff,  furnished  with  rings,  an  i 
jaelding  a  harraonical  sound. 

BATISTIX,  or  BAPTISTIX,  JE.VX  .STUCK, 
bom  at  Florence,  was  a  composer  and  first 
violoncello  at  the  opera  at  Paris.  Ho  dicJ 
in  1745. 

BATOX,  the  younger,  wTotc  in  favor  of  thfl 
ancient  style  of  French  music,  in  opjiositiou  to 
J.  J.  Rousseau,  in  the  year  175t. 

BATOX.  (F.)  The  rod  or  stick  used  by 
the  conductor  of  an  orchestra  in  beating  the 
time,  &c. 

BATTEX.  ADRIAX.  Organist  of  St.  Paul'i 
in  the  reign  of  Charles  I.  and  II.  He  ccmpoMt] 
■omc  church  music  of  no  remarkable  character. 


nAT 


EXCYCLOPyEDIA    OF    MUSIC. 


BAl 


B  ATIERE.  (I.)  The  downward  or  Erst  beat 
of  any  measure. 

HAITEUX,  CIIAIILES,  diwl  in  Paris  in  1780. 
lie  wiLs  nn  uhbot  at  Kheims,  and  wrote  several 
works  relating  to  music. 

BATTIFERXI,  LUIGI.  A  composer  of 
church  music  in  the  first  half  of  the  seventeenth 
century. 

BATTIXO.  An  Italian  composer  of  instru- 
mental music  in  London  in  the  year  1790. 

BArriSIIILL,  JOXATIIAX,  was  the  son  of 
an  attorney,  bom  in  London  in  the  year  1738.  At 
the  age  of  about  nine  years  he  was  placed  in  the 
choir  of  St.  Paul's,  where  he  received  the  usual 
instructions  in  suiging  from  Mr.  Savage,  who  was 
at  that  time  the  master  of  the  boys  there.  At 
an  early  age  he  was  regularly  articled  as  ap- 
prentice or  pupQ  to  this  person,  and  prosecuted 
his  studies  with  great  diligence.  This  anxious 
spirit  of  research,  combined  with  constant  prac- 
tice on  the  organ,  (says  the  \\Titer  of  hw  life 
in  the  "Public  Characters,")  at  once  stored  his 
mind  ■n-ith  those  riches  of  harmonic  combination 
and  evolution  on  which  he  formed  his  style,  and 
gave  him  a  command  of  hand  adequate  to  the 
execution  of  whatever  his  imagination  suggested  ; 
and  at  the  expiration  of  his  engagement  with  Mr. 
Savage,  he  was  considered  one  of  the  best  extcra- 
porai-y  performers  on  the  organ  which  his  coun- 
try could  boast.  He  had  not  been  long  his  own 
master  before  he  was  solicited  to  compose  some 
songs  for  the  theatre  of  Sadler's  Wells ;  and  he 
produced,  for  that  place,  several  of  the  best 
ballads  of  the  time.  He  was  next  engaged  to 
preside  at  the  harpsichord  at  Covent  Garden 
Theatre ;  and  afterwards  was  appointed  organ- 
ist, first  of  the  united  parishes  of  St.  Clem- 
ent, Eastcheap,  and  St.  ^Iartln  Orgar,  and  sub- 
sequently of  Christ  Church,  Xewgate  Street. 
About  this  time,  iu  conjunction  with  Michael 
Anie,  he  wTOte  the  music  of  an  opera  entitled 
■"  Alcmena,"  the  subject  of  which  was  taken  from 
the  Persian  history.  It  was  performed  at  Drury 
Lane  in  the  year  1764,  and  excellent  as  the 
music  was,  the  managers  found  it  necessary, 
from  the  general  insipidity  of  the  drama,  to  lay 
it  aside,  after  having  been  repeated  five  times. 
This  piece  was  shortly  afterwards  succeeded  by 
the  "  Rites  of  Hecate,"  a  musical  drama,  in  which 
he  afforded  further  proofs  of  hLs  very  superior 
talent.  Xotwitlislanding  Battisliill's  numerous 
engagements  with  the  theatre  and  his  ])\ipiLs,  he 
by  no  means  neglected  the  study  of  sacred  music, 
but  produced  at  different  times  several  anthems 
And  hjTnns,  wliich,  for  their  various  excellences, 
have  been  much  admired.  In  the  composition 
of  eaUhes  and  plccs,  he  has  afforded  numerous 
^loofe  of  the  diversity  of  liis  taste  and  genius. 
About  the  year  1770,  lie  obtamcd  the  prize  of 
the  gold  medal,  given  by  tlie  Xoblemen's  Catch 
Club,  at  the  Thatched  House,  St.  James's  Street, 
to  the  coni])oser  of  the  best  dieerfid  glee ;  this 
was  obtaiiicd  by  his  well-known  glee  lor  tlu-ee 
voices,  "  Underneath  tliis  mjTtle  shade."  In 
177G,  he  published  by  subscription  two  excel- 
lent collections  of  three  and  lour  part  .songs. 
Soon  after  lus  engagement  at  Covent  Garden, 
Uattishill  married  a  ML-^s  Davies,  one  of  the 
roca".  iH.'r;brmers  of  tliat  theatre.  She  died  in 
the  year  177.5,  ajid   from  this   period   he  dLssi- 

itcti  much  of  his  time  iu  conviviid  parties,  and 


80  far  gave  way  to  excess,  as  gradually  to  under- 
mine  his  constitution.  He  died  at  Islington  it 
1801,  aged  sixty-tliree  years;  and,  according  tc 
his  last  request,  was  interred  near  Dr.  Boyce, 
in  the  vaults  of  St.  Paul's  Cathedral.  It  has 
been  stated  that  the  memory  of  Battishill  was 
such,  that  even  the  longest  compositions  of 
Handel,  Corelli,  or  Ame,  were  always  sufficiently 
present  to  his  recollection,  during  the  time  he 
was  playing  them,  to  render  the  assistance  of 
the  text  unnecessary.  It  is  said,  that  if  he  had 
once  heard  music,  the  impression  of  it  was  al- 
most indelibly  fixed  on  his  mind ;  and  a  very 
singular  instance  has  been  recited  in  proof  of 
this  fact.  He  was  one  day  dining'  wth  Dr. 
Arnold,  when  he  played,  from  memory,  several 
passages  of  the  doctor's  oratorio  of  the  "  Prodigal 
.Son,"  which  he  had  not  heard  for  tliirty  years, 
and  which  the  doctor  himself  had  entirely  for- 
gotten. 

With  respect  to  the  general  character  of  Bat- 
tishill's  compositions,  they  are  marked  by  a 
peculiar  strength  of  idea,  great  force  and  just- 
ness of  expression,  a  masterly  disposition,  and  a 
happy  contrivance  in  the  parts.  Four  of  his 
anthems,  "  Call  to  remembrance,"  "  How  long 
wilt  thou  forget  me,  O  Lord  r "  "I  will  magnify 
thee,  O  Lord,"  and  "  Deliver  us,  O  Lord  our 
God,"  are  printed  in  Page's  Harmonia  Sacra.  He 
also  left  in  manuscript  at  his  death  six  anthems, 
several  psalm  tunes,  and  some  glees,  rondos,  and 
songs.  .Some  of  his  choruses  in  "  Alcmena," 
for  science,  dignity,  and  expression,  deserve  to 
be  classed  with  the  first-rate  productions.  Most 
of  his  songs  are  Ukewise  extremely  energetic  and 
vigorous  ;  this,  in  particular,  is  the  characteristic 
of  the  two  bass  songs,  "  Poised  in  heaven's 
eternal  scale,"  and  "  Thus  when  young  Ammon 
marched  along."  As  proofs  of  the  beauty  and 
originality  of  his  fancy  in  ballad  composition, 
every  one  will  admit  the  charming  pastoral 
melody  of  "  Ye  shepherds  and  njinphs  of  the 
grove,"  the  mellifluous  and  affecting  air  of 
"  ^V^len  Damon  languished  at  my  feet,"  the 
expressive  passages  in  "  ^V^len  beauty  on  the 
lover's  cheek,"  and,  above  all,  his  popular  song 
of  "  Kate  of  Aberdeen." 

BATTLSTA,  ALB.  L.  FR.,  composed  some 
sonatas  at  Augsburg.  He  was  an  excellent  vio- 
linist, bom  m  Suabia  in  1700. 

BATTISTIXE,  GIACOMO,  chapel-master  at 
N^oviu-a  in  1700,  published  a  collection  of  sacred 
music  at  Bologna. 

BA'ITLE  IIYMX.  During  and  pre^ous  to 
many  of  the  battles  of  tlie  ancients,  they  had 
hjnuns  and  war  songs  composed  and  dedicated  to 
certitin  gods.  At  tlie  expei.lition  of  C\tus  against 
the  Babylonians,  before  he  came  within  reach  of 
the  enemy,  he  gave  the  rallying  word,  which  was 
"  Jupiter,  protector  and  conqueror,"  and  then 
caused  the  war  h>-mn  to  be  sounded,  to  which 
the  soldiers  answered  with  a  loud  voice.  ITiis 
hjnnn  was  dedicated  to  Castor  and  Pollux,  and 
whenever  it  was  sung,  it  seemed  to  inspire  the 
soldiers  with  both  military  and  religious  ardor. 
So  aL<o  at  the  battle  with  tlie  Persian  army; 
history  says,  "  On  the  first  signal  of  C>tus,  his 
troops"  faced  about  on  every  side,  keeping  a  pro- 
found silence  in  expectation  of  the  event.  The 
prince  now  thought  it  time  to  sing  the  song  of 
battle.     The  nhole  array  answered  it  with  loud 


114 


BAT 


ENCYCLOPJJDIA    OF    MUSIC. 


11  A  Y 


ehouts  and  invocations  to  the  god  of  war."  At 
ftie  battle  of  Cunaxa,  when  the  armies  were  not 
far  distant  trom  each  otlier,  "  the  (jrceks  began 
to  sing  t!ie  hjnnn  of  battle ;  and  after  the  death 
of  young  C'jTus,  on  seeing  the  victors  approach, 
they  sang  a  hj-mn."  During  the  wars  sustained 
Dy  the  ancients  in  Africa,  Agathoiles,  desirous 
jf  putting  his  soldiers  under  the  necessity  of 
:on(iuering,  by  leaving  no  other  refuge  than 
victory,  resolved  to  burn  every  ship  in  liis  tloct. 
Therefore,  "  taking  a  Hambeau  in  his  hand,  and 
causing  the  battle  song  to  be  sounded,  he  hastily 
le<l  the  way  on  board  his  own  ship,  and  set  Hre 
to  it.  All  the  other  olHccrs  did  the  like,  and 
w  ere  cheerfully  followed  by  the  soldiers.  The  mu- 
sic sounded  from  every  iiuarter,  and  the  whole  array 
resounded  with  joyful  shouts  and  acclamations." 
Of  the  general  trcatiuont  of  cai)tivcs  by  tlie  Haliy- 
lonians,  we  know  but  little,  'llicy  were  a  mu- 
sical people,  and  had  taste  enough  to  appreciate 
their  poetical  and  musical  talents ;  and  they  were 
BUinmoncd  occasionally  to  amuse  the  ban<iuets 
of  their  masters,  though  it  was  much  against 
their  will  that  thoy  sang  the  songs  of  /ion  in  a 
Btrange  land.  "  Hy  the  rivers  of  IJabylon,  there 
they  sat  down  and  wept  when  they  remcmliered 
thee,  O  Zion."  No  nation,  perhaps,  at  that  early 
period,  were  equal  to  the  Babylonians  either  in 
vocal  or  instrumental  music. 

B.\TTUTA.     (I.)    The  art  of  beating  time. 

BATU.  A  composer  of  instrumental  music 
nt  Paris  m  1798. 

BAl'C'K.  An  organist  in  Saxony,  and  com- 
poser in  1799. 

BAU.  (G.)  The  stivctttre,  speaking  of  rau- 
Bical  instruments,  &c. 

BAUD,  M.,  published  at  Paris,  in  180.3,  obser- 
vations on  strings  for  musical  instruments. 

BAUDIOT,  CHARLES  H.  An  instrumental 
composer  at  Paris  in  1802.  He  was  also  pro- 
fessor of  the  violoncello  at  the  Conservator}-,  and 
one  of  the  authors  of  the  method  for  his  instru- 
ment, approved  by  that  body. 

BAUDROX,  ANTOIXE  LAURENT,  first 
vioUn  at  tlie  T/iid/re  Franrais,  was  boni  at  Amiens 
in  1743.  He  composed  the  music  of  several 
operas,  among  others  the  new  music  to  the 
"  I'ljgmnlion  "  of  J.  J.  Rousseau. 

BAUER,  FRANCOIS,  a  violinist  of  extraor- 
dinary quickness  and  precision,  was  born  in 
Bohemia.  Mozart  heard  him  at  Prague,  and  Ij 
said  to  have  much  admired  his  plaj-ing. 

BAUER,  CATHARINE,  an  amateur  pianist, 
pupil  of  Sterkel,  published  some  piano-forte 
mi.sic  in  the  years  1798  and  1799.  She  was  bom 
»t  Wurtzburg  in  178.5. 

BAUER,  G.  CILVRLES.  A  composer  about 
the  year  1785. 

BAUERSACHS,  CIIRISITAN  FRIEDRICH. 
.\  perfoi-mer  on  the  bass  horn  and  violoncello, 
ilso  composer  for  the  above  instruments.  He 
was  bom  at  Anspach,  in  1770. 

BAUERSCHMIDT,  pianist  and  composer, 
redided  at  Petersburg  in  1794. 


BAUMANX,  PAUL  CIIiaSTOPHE.  Dire  rtor 
of  the  music  and  composer  at  Stuttgard  al  out 
the  year  17  JO. 

BAUMBACH,  FR.  A.,  was  director  of  the 
orchestra  at  the  theatre  of  Hamburg,  about  thfl 
year  178.'J.  He  published,  from  tluit  time  up 
to  the  year  1799,  a  great  variety  of  vocal  Mid 
instrumental  pieces. 

B.'VUMBERG.  A  German  instrumental  com- 
poser since  the  year  1783  ;  some  of  his  works 
have  been  published  at  Amsterdam,  others  at 
Berlin. 

BAUMGARTNER,  JEAN  BAPTISTE.  A 
celebrated  violoncellist.  Ho  wrote  "  Iiutriudoa 
(U  MMi'i/iie  tMoriijiie  ct  jtrutiijtui  a  t  I'saije  iln  IVo- 
loncel/e,"  published  at  the  Hague.  He  composed 
also  for  his  instrument,  in  various  parts  of  Ger- 
many and  Holland.  Ho  died  at  Eichstadt  in 
1782. 

BAUMGARTEN,  C.  F.  Organist  of  the 
Lutheran  church  in  Savoy,  and  leader  of  the 
orchestra  at  Covent  Garden  nieatre,  towards  the 
close  of  the  last  century.  Besides  his  perform- 
ance on  the  violin  and  organ,  he  deserves  notice 
as  an  instrumental  composer  and  profound  har- 
monist. 

B.YUMGARTEN,  GOTTTHLF  VON,  an  offi- 
cer in  the  Prussian  ser\'ice,  composed  and  pub- 
lished scvera.  German  operas  between  the  years 
111!)  and  1779. 

BAUMG.VRTEN.  An  excellent  performer  on 
the  bassoon.  He  resided  in  Loudon  about  the 
year  1781. 

BAUR,  CHARLES  ALEXIS,  was  bom  at 
Tours,  in  France,  in  1789.  Both  his  father  and 
mother  were  professors  of  the  liarp  and  piano  in 
that  town,  and  gave  their  son  instructions  on 
those  instruments.  At  the  age  of  sixteen  Baur 
went  to  Paris,  and  became  a  pupil  of  the  cele- 
brated Naderman.  In  the  year  1820  he  went  to 
London,  where  he  established  himscll'  as  pro- 
fessor of  his  instrument,  and  published  some 
pleasing  music  for  the  harp,  piano,  and  flute, 
among  which  wc  may  name  "  Lc  Cararan,  hy 
Gretry,  arranged  for  the  Harp."  (Harm.  Inst.) 
"  Duet  for  the  Harp  and  Flute."     (Id.) 

B.VURAN.'^,  N.  A  French  composer  of  petUt 
opertus  in  the  Italian  style,  died  in  I7C4. 

BAUSTELLER,  JOIIANN  CONRAD.  An 
instrumental  composer  since  the  year  1729.  He 
published  at  Amsterdam  six  sonatas  for  the  har]>  • 
sichord,  in  the  year  17G0. 

BAVERINI,  FRANCESCO,  an  ItaUan  com- 
poser, wrote  a  sacred  ojiera  called  "  />i  Conver- 
stone  di  S.  Paolo,"  at  Rome,  in  1410. 

BAYART,  CON.STANZ  A.  M.  .V  Gcrma:i 
composer  at  Osnabruck  about  the  year  1790. 
He  has  pubhshcd  some  piano-forte  music,  and 
also  songs. 

BAYER,  JOSEPH  D.,  a  composer  for  th« 
piano,  published  his  Op.  1  at  -Vugsburg,  in  1801. 

BAYER,  ANDRE,  an  organist  and  compoiici 
at  Wurtzburg  in  1710., 

B.VYER,  MLLE.  A  female  composer  at  Vi 
cnna  in  1797. 


115 


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ENCYCLOP^DIA    OF    MUSIC. 


BEA 


BAYLY,  AXSELM,  LL,  D.,  published  "  The 
AUinncc  of  Munic,  Poetry,  aiul  Oratory,"  Lou- 
dou.  1789. 

liAYOX,  MLLE.,  published  sLx  sonntaa  at 
Paris  in  1770. 

B  AZZINO,  or  B  AZZANI,  N  ATAI.E.  A  com- 
poser of  masses,  motets,  &p.,  at  Venice.  lie  died 
in   1G:V.). 

BAZZIXO,    or    BAZZAXI,    FRAXCESCO, 

yount;er  brother  of  the  preceding,  was  a  celebrated 
theorist  and  composer,  bom  in  the  Venetian 
Ptates  in  IfiOO.     He  died  in  1660. 

B  nOfnLE.  or  DOT'BI.E  B.  That  B  below  G  gamut ;  or  the 
twelfth  below  the  ha«.  elef  note. 

B  Dl'RU.M,  or  IIAKI)  B.  11  XATiir.AL.  So  named  in  opposition 
to  n  Mnlh:  or  »c,n  II.     See  B  Mol.MAIiE. 

B  KI.AT  ii  the  flnt  seventh  of  the  nntiiml  key  C.  onrl  the  flr«l 
flnt  introduced,  in  inoduUlting  by  fourths,  from  the  natural  diatonic 
mode. 

BEALE,  JOITX.  An  En<;lLsh  pianist,  and 
pupil  of  the  celebrated  Cramer.  In  1820  he  was 
elected  a  member  of  the  I'hilharmonie,  having 
jierformcd  repeatedly  at  the  concerts  of  that 
pociety.  About  the  same  period  he  became 
n.sociatcd  with  Messrs.  Attwood,  Braham,  Sec, 
in  the  unfortunate  speculation  of  rebuilding  the 
Argylc  Rooms,  was  a  performer  and  du'ector  in 
the  concerts  undertaken  by  that  musical  combi- 
nation, and  contrilmted  as  a  composer  in  the  for- 
mation of  their  musical  catalogue.  In  1821,  a  com- 
memoration of  Mozart  took  place,  at  Beale's  sug- 
gestion, on  whicli  occasion  Cramer  united  with  his 
pupil  in  the  performance  of  a  duet,  (on  two  piano- 
fortes,) selected  from  the  most  classical  music  of 
that  dejiartcd  genius.  Beale  was  since  recent- 
ly appointed  a  professor  of  hLs  instrument,  in 
the  Royal  Academy  of  Music,  and  to  cue  of 
his  pupib  was  adjudged  the  annual  prize  medal 
distributed  at  the  first  concert  of  the  students. 
Among  various  pleasing  compositions  by  Beale 
for  liis  instrument  may  be  mentioned  the  two 
flramatic  airs,  "  Will  great  lords  and  ladies," 
from  the.  "  Haunted  Tower,"  and  "  Fra  tante 
anyoscic,"  by  Caralii,  both  arranged  beautifully 
as  rondos  for  the  piano-forte. 

BEAI.E,  WIIJJAM.  An  English  composer 
of  madrigals,  glees,  and  other  vocal  music.  He 
wa.s  educated  as  a  chorister  of  Westminster  Ab- 
bey, and  was  an  e.vcellent  part  singer.  In  181.3, 
he  obtained  the  jirize  cup  given  by  the  ^Madrigal 
Society,  his  composition  on  that  occasion  being 
"  Awake,  sweet  Muse."  W.  Beale  published  at 
BirchaH's,  in  1S20,  a  collection  of  glees  and 
madrigals,  which  did  him  great  credit.  "  He  bor- 
rows," says  an  eminent  modern  critic,  "from  the 
old  school,  with  the  lofty  and  indeiicndent  air  of 
a  man  who  is  conscious  he  can  repay ;  and  as  he 
has  given  us  sufHcient  proof  of  lus  ability  to  copy 
other  styles,  we  trust  tliat  he  will  go  on  to  form  and 
ira])rove  a  style  of  his  own."  Certainly  we  may 
add,  that  the  jjeculiar  harmony  of  the  old  madri- 
gals has  never  been  so  well  imitated  a.s  by  Beale, 
cince  the  publication  of  Dr.  Cooke's  "In  the 
merry  month  of  May."  Among  various  songs 
by  Beale,  the  cantata  of  "Brutus"  is  especially 
worthy  the  attention  of  amateurs. 

BEAI.E,  profes.sor  of  music  at  Manchester,  was 
«n  excellent  violoncellist.  He  performed  at  the 
lork  meeting  in  1823. 

BEARD,  JOIIX.     .\n  English  suigor  of  celeb- 


rity. His  name  first  appears  in  the  dramatU  per- 
sontr  of  Handel's  operas  ])erfonncd  at  Covent 
(larden  in  17.'i').  Beard  had  his  masical  e<luca- 
tion  in  the  Chapel  Royal  under  Bernard  Gates. 
He  first  became  a  great  favorite  of  the  town  by 
his  style  of  singing  Galliard's  hunting  song, 
"  With  early  horn."  His  voice  was  a  rich  tenor, 
lie  died  in  1791,  in  the  seventy-fifth  year  of  hia 
age.     He  was  higlily  esteemed  in  private  life. 

BEARIXG  XOTES.  In  the  tuning  of  keyt  I 
instruments,  harps,  &c.,  bearing  notes  signify 
those  notes  between  wliich  the  most  erroneous  or 
highly-tempered  fifth  Ls  situate,  on  which  also  the 
xoolf  is  said  to  be  thro\vn.  Many  tuners  begin  at 
C,  and  tune  upwards,  through  the  progression  of 
fifths,  C,  G,  D,  A,  E,  B,  Gb,  Db,  and  Al>,  and 
then  stop  and  begin  again  at  C,  the  octave  above 
the  former  note,  "vud  tune  downwards,  through 
the  fifths  F,  Bb,  a  «1  Eb,  and  thus  the  resulting 
fifth  A  b ,  E  b .  produces  bcariud  notes ;  owing  to 
each  fifth  having  been  made  more  or  less  flat  than 
the  system  of  twelve  notes  will  bear,  the  ka-tt  sum 
of  all  their  errors  or  temperaments  being  the 
Diase/iisma.  Some  tuners  are  in  the  habit  of 
throwing  their  too//"  into  the  fifth  Ab,  Db,  and 
others  into  that  of  Db,  Gb,  which  last,  as  being 
nearest  to  the  middle  of  the  whole  progression 
of  fifths,  seems  its  most  appropriate  place  for 
general  use. 

BEAT,  or  BATTEMEXT.  (F.)  A  transient 
grace  or  ornament  in  the  perfonnauce  of  a  note, 
denoting  that  a  kind  of  shake  is  to  be  made,  by 
beginning  with  the  half  totie  below  the  given  note, 
and  quickly  repeating  the  given  note  and  that ; 
on  the  contrary,  the  shake,  marked  ti\,  is  effected 
by  beginning  on  the  note  aboce  the  given  one, 
(whether  a  half  or  whole  tone  distant,)  and  re- 
peating the  given  note  and  it  alternately.  The 
turn  differs  from  both  of  these  in  using  the  notes 
above  and  below  the  given  one.  When,  there- 
fore, a  whole  tone  lies  below  any  note  marked 
for  a  beat,  an  accidental  sharp  Ls  to  be  supposed 
on  that  lower  note,  e.Kcept  that  A  is  seldom  thus 
sharpened  in  a  beat.  The  beat  is,  therefore,  the 
reverse  of  the  shake,  (but  without  the  turn,)  and 
is  made  generally  at  the  distance  of  a  semitone 
below  ;  and  all  the  note-s,  excepting  C  and  F.  re- 
quii'e  the  note  below  to  he  sharped  for  the  beat. 
The  beat  upon  B  natural,  however,  Ls  seldom 
made  with  A  sharp,  on  account  of  the  great 
harshness  arising  from  the  vicinity  of  the  semi- 
tone B  C.  In  some  cases  of  regular  accent,  it  is 
recommended  not  to  make  the  beat  with  the 
semitone,  unless  particularly  so  marked. 

BEATIXGS.  Tliose  regular  pulsative  heav- 
ings,  or  swellings  of  sound,  produced  in  an  organ, 
by  pipes  of  the  same  key,  when  they  are  not  ex- 
actly in  unison,  i.  e.,  when  their  vibrations  are 
not  i)erfectly  equal  in  velocity  ;  not  simultaneom 
and  coincident ;  which,  as  Mr.  Emerson  observes, 
occasions  a  repetition  of  noises  like  iraw,  atr,aw,nto, 
or  ;/a,  ija,  ya,  ;/a  ;  the:;c  are  called  beats  by  Dr. 
Roijcrt  Smith,  Sir.  I^merson,  and  we  believe  every 
other  mathematical  writer  that  notices  the  phe- 
nomena. Earl  Stanhope,  in  a  letter  in  the  "Phil- 
osophical Magazine,"  vol.  xxviii.  page  150,  has 
labored  to  nuike  a  distinction  between  the  mean- 
ing of  beats  and  beatinrjs,  in  order  to  identify  the 
former  with  the  pulses  or  viiir.vtioss  of  the 
sounds  themselves,  and  to  denominate  the  above 


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ENCYCLOPiEDIA    OF    MUSIC. 


BEE 


phenomenon  by  the  exclusive  use  of  the  term 

teatiitiis. 

BEATS.  ITic  audible  phenomenon  ottenduig 
the  sounding  of  two  notes  at  the  Kamc  time, 
which  approach  within  certain  limits  to  the  pro- 
ducing of  a  concord  with  each  other,  wliich  the 
late  Dr.  Kohert  ijmith,  in  his  "  Harmonics,"  has 
applied,  with  the  happiest  eti'et^t.  to  the  practical 
tuning  of  instruments,  according  to  any  given 
Bvstem  or  arrangement  of  tlie  inter\'als.  'ITie 
phenomenou  of  beats  forms,  also,  the  means  by 
which  practical  tuners,  unac(iuainted  with  theory, 
or  the  exact  comparative  magnitudes  of  intervahi, 
adjust  the  notes  of  organs,  piano-fortes,  hiu^is, 
&c.,  by  the  judgment  of  their  ear,  in  the  daily 
exercise  of  the  tuning  profession. 

BEATIN(;  TIME,  lliat  motion  of  the  hand 
or  foot  used  by  the  performers  tlieiuselves,  or 
some  person  presiding  over  the  concert,  to  specify, 
maik,  and  regulate  the  measure  of  the  move- 
ments. If  thp  time  be  common,  or  equal,  the 
beating  is  alSo  equal  —  as,  down,  left,  right,  up, 
or  one  down  and  one  up ;  if  the  time  be  triple, 
or  unequal,  the  beating  is  also  unequal  —  as, 
dowii,  left,  up,  &c. 

BEATTIE.  DR.  JAMES,  the  celebrated  au- 
thor of  the  poem  "The  Minstrel,"  wrote  also  an 
essay  on  poetry  and  music  as  they  affect  the  mmd. 
In  his  essay  on  the  nature  aiul  immutabihty  of 
truth  are  UkewLse  to  be  found  several  ingenious 
obsen-ations  on  the  subject  of  music.  Born,  in 
Scotland,  1735,  died  1S03. 

BEAUJOYEUX  DE  — .     See  Baltazaiuxi. 

BEAUMESXIL,  MLLE.,  composed  the  ope- 
retta "  Les  LeijiaUUrices,"  at  Paris,  in  1786.  Died 
there  in  1813. 

BEAUMONT,  SAUXIER  DE,  a  French  au- 
thor, wrote  a  letter  on  ancient  and  modem  music, 
Paris,  1743. 

BECARRE.     (F.)     The  sign  b  ,  or  natural. 

BECIIE.  There  were  several  brothers  of  thus 
name,  musicians  to  the  King  of  France,  about 
1750;  one  of  them  assisted  in  editing  the  sol- 
feggi of  Italy. 

BECK,  C.  F.  A  piauLst  and  composer  in  Ger- 
many, ill  the  latter  part  of  the  eigliteeuth  cen- 
tury. 

BECK,  FRANCOIS.  An  eminent  composer 
at  Bounlcaux.  Ills  ••  iitahat  Matt-r"  was  pertbnned 
at  Paris  in  1783,  and  highly  applauded,  lie  died 
in  ISO;),  at  an  advanced  age.  Four  operas  by 
Beck,  each  consisting  of  six  sjnnphonics,  were 
published  at  Paris  about  the  year  1776. 

BECKEN.  An  ancient  musical  instrument, 
much  used  by  tlie  Turks  on  festive  occasions 

BECKER,  or  BEKER.  C.  L.  Organist  at 
Norilheim,  and  an  instrumental  composer  since 
the  year  1790. 

BECKER,  D.  Violinist  and  iustrumcutal  com- 
poser at  Hamburg  in  1668. 

BECKER,  FRED.  AUO.  Composer  of  vocal 
music  at  Frankfort  in  1775. 

BECKER,  JEAN,  died  at  Cassel  in  1803.  He 
trtui  organist  tliere,  and  composed  much  muidc 
lor  the  church. 


BECKMANX,  JEAN  FREDERIC  GOTr. 
LIEB,  a  celebrated  poptilar  instrumental  and  vo- 
cal com])oser  in  (jermany  between  tlie  years  l7i>C 
and  1790,  one  of  the  best  pianists  ol  the  Li:-t 
century-.  Ho  published  sonatas,  concertos,  &c. 
He  died  in  1792,  aged  hlty-six. 

BECKWITH,  DR.,  organist  of  tlie  cathedral 
and  of  St.  I'eter's  at  Norwich,  was  a  very  able 
theoretical  and  jiractical  musician,  and  a  scholar 
of  the  Hayses  of  Oxford.  Some  very  simple  in- 
structions by  him,  for  ])laying  thorough  ba-^s,  are 
given  in  the  tirst  voliuue  of  the  "  (iuarterly  Mu- 
sical Review,"  j).  380.  Dr.  Beckwith  was  the 
master  of  Vaughan,  the  singer.  Ho  composed  the 
glee,  "Hark  o'er  the  waves,"  and  "The  Sup- 
pliant's Prayer,"  a  song.  "  Six  Anthems"  ot  his 
are  also  published  by  dementi. 

BECZWAliZOWSKY,  A.  F.  Vocal  and  in- 
strumental composer  in  Gcnnauy  between  the 
years  179  J  and  1801. 

BEDARD,  JEANE  BAPTISTE,  bom  in  Brit- 
tany about  1765,  died  1815,  composed  vioUn 
music,  two  sj-mphonies  for  orchestra,  aud  in  1800 
a  method  for  the  viohn. 

BEDE,  surnamed  "  the  venerable,"  was  bom 
in  G72,  in  the  tliocese  of  Durham,  iji  England, 
and  was  brought  up  in  the  monastery  of  St.  Paul, 
at  Yarrow,  in  which  he  passed  his  whole  lil'e. 
He  was  ordainwl  deacon  at  the  age  of  nineteen, 
and  priest  at  thirty.  He  Ls  believed  to  have  died 
in  his  convent,  in  735,  at  the  age  of  sixty-three. 
An  edition  of  his  works  was  published  at  Cologne 
in  1612,  (8  vols.  foUo,)  in  which  we  tind  two 
treatises  upon  music,  one  entitled  "  Miuica  qumi- 
rata  sett  mciuiurata,"  (Music  s(in!U"cd  or  measured,) 
and  the  other  "  Miisica  T/worctiai."  Burney  and 
Forkel  both  tliiuk  that  the  tirst  of  these  treati-^es 
must  have  been  the  work  of  a  later  writer.  Yet 
it  is  not  proved  that  no  notions  of  meius\ire(l 
music  existed  among  the  northern  nations  in  the 
eighth  ccntiiry.  In  his  "  Ecclesiastical  History," 
Bede  mentions  a  harmony  in  two  consonant 
jjarts,  of  wliich  there  were  examples  in  England 
in  his  time.  1IL<  two  works  on  miLsic  have  been 
united  under  the  title,  "  I'ciu-rMIU  IMr  da 
Mu-iU-A  Lihri  Dim,"  (Basle,  1565.)  'Die  l)ook  is 
exceedingly  rare.  In  the  eighth  volume  of  liia 
works  is  found  a  little  essay  entitled,  "  IiUerpre- 
tatio  vocum  rariontm  in  I'salmU,  f/iii/iiui  inslrumriita 
musica  tel  ali<e  species  simjulurc-a  denolantur,"  (In- 
terpretation of  the  usual  names  by  which musi<iil 
instruments,  &c.,  are  called  in  the  P.sabns.) 

BEDFORD,  ARTHUR,  die<l  in  England  in 
1745.  He  puhlLshinl  "ITie  great  .Vbuseol  Music," 
London,  1711;  also,  " 'llie  Temple  ot  Mu"ic,  or 
an  Essay  concerning  the  Method  of  Singing  the 
Psalms  of  David  in  the  Temple  belore  the  11  iby- 
lonish  Captivity,"  1712. 

BEDOS  DE  CELLES.  DOM  FRANCOLS  a 
Benedictine  of  the  congregation  of  St.  Maur, 
member  of  the  .Vcademy  ot  Scienics  at  Bourdimux 
aud  correspondent  of  the  .Vcadt-iny  at  Paris,  w«< 
bom  at  Caux  in  1706,  and  ditsl  in  1779.  He 
published  at  Paris,  in  1776-8,  a  work  in  3  voU. 
folio,  callcil  "  l.'itrt  tin  f'lulrur  tfon/iu-t,"  (Th« 
Organ  Builder's  Art.)  'l1ic  fourth  i)iut  contains 
an  abridginl  history  of  the  organ. 

BEDIUCK.  A  hoiper.  He  is  said  to  hav« 
possessed  no  1cm  than  three  villas  iu  Uloucestcr- 


117 


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ENCYCLOPAEDIA    OF    MUSIC. 


BEB 


s!iiro.  It  is  therefore  evident  that  at  a  very  early 
jeriod  commenced  the  custom  of  extravagant 
remuneration  for  musical  ability. 

BEECKE,  lON'AZ  VOX.,  captain  of  dragoons 
in  tlie  regiments  of  Prince  Frederic  of  Wurtem- 
burg,  at  Vienna,  composed  a  considerable  quan- 
tity of  vocal  and  instrumental  music  between 
the  years  1780  and  1802.  His  compositions  for 
the  piano-forte  arc  much  admiied  at  Vienna. 
He  died  in  1803. 

BEER,  JOIIAXN.     See  Baf.hu. 

BEER,  JOSEPH  (sometimes  written  Boer  by 
the  Germans)  was  born  in  GrUnwald,  in  Bo- 
hemia, iu  1744.  At  the  age  of  fourteen  he 
played  in  a  military  band  in  the  emperor's  service, 
and  afterwards  was  trumjieter  in  the  French  army 
during  the  Seven  Years'  War.  Chance  led  him 
to  Paris,  wlierc  he  became  cojincclcd  with  the 
music  of  the  Duke  of  Orleans.  Here  he  first 
devoted  himself  to  the  study  of  the  clarinet.  He 
remained  here  twenty  years.  In  1788  he  visited 
Holland,  Italy,  and  Ru.ssia,  where  his  talent 
excited  great  admiration.  In  1791  he  gave  a 
brilliant  concert  in  Prague,  then  went  to  Hun- 
gary, and  returned  to  Prague  in  1792,  at  the, 
coronation  of  the  Emperor  FrancLs  II.,  at  which 
time  his  concerts  created  great  enthusiasm.  Called 
to  Berlin  soon  after,  he  remained  there  as  con- 
cert ma-ster  to  the  Prussian  monarch  until  1808. 
Thence  he  revisited  Prague,  and  returning  to 
Berlin,  died  in  1811.  Before  him  the  art  of 
plajlng  the  clarinet  was  in  its  infancy ;  he  may 
almost  be  said  to  have  created  tliis  instrument, 
since  he  overcame  so  many  of  its  imperfections. 
In  his  kind  he  was  one  of  the  most  remarkable 
artists  that  Germany  has  produced.  But  few 
compositions  of  his  are  known  ;  one  concci'to  for 
the  clarinet,  six  clarinet  duos,  an  air  with  seven 
variations,  &c.,  arc  all  that  Fetis  mentions. 

BEETHOVEX,  LOUIS  VAN.  The  greatest 
composer  of  the  present  century,  was  bom  in 
Bonn,  on  the  Rhuie,  December  17,  1770.  His 
father  was  tenor  singer  in  the  elector's  chapel,  a 
man  of  irregular  habits,  besides  being  a  severe 
taskmaster  to  the  boy,  whose  early  musical  edu- 
cation he  superintended  in  person  —  a  stubborn, 
impetnous,  impatient  boy,  who  hated  to  sit  stiU, 
and  had  absolutely  to  be  driven  to  the  piano,  and 
yet  who  loved  music  dearly  in  liis  own  way. 
These  were  circumstances  to  imbitter  the  sweets 
of  home,  and  to  provoke  to  surly  self-reliance  a 
g<.-nius  which  could  not  brook  artificial  methods, 
and  could  feel  its  owii  appointed  way  better  than 
rules  a)id  teachers  could  show  it.  Yet  he  loved 
to  talk  of  the  good  old  grandfather,  who  died 
when  he  was  but  three  years  old,  and  he  always 
cherished  a  warm  atfection  for  his  mother.  Be- 
sides music,  the  rest  of  his  education  was  cora- 
DKin  enough  —  the  rudijnents  of  a  public  school, 
srd  "  a  little  Latin."  But  the  ideal  side  of  liis 
nature  found  a  more  genial  home  in  the  society 
of  the  refined  and  hosjiitalile  family  of  Von  Brcu- 
nii  g,  his  wannest  friend  through  life.  The  fam- 
ily coiLsistc<l  of  the  mother,  three  sons,  and  a 
younger  dniightor,  who  became  Beethoven's  ])u- 
•^il.  These  were  his  good  angels,  who  could  ap- 
preciate hLs  mind,  and  forgive  his  sins  against 
•jonvcniionahty.  Here  he  was  always  welcome 
and  at  home;  here  he  grew  familiar  with  intel- 
lectual society,  and  with  the  works  of  the  Ger- 
man poets. 

1 


At  the  age  of  15,  he  was  appomted  organist  i| 
the  chapel  of  the  Elector  of  Cologne,  Max  Franz 
brother  of  the  Emperor  Joseph  U.  Tliis  post 
was  obtained  for  him  by  Count  ^Valdstein,  an 
amateur  of  taste,  who  was  the  first  to  recognize 
his  genius,  and  his  fiiend  and  patron  through  life. 
An  anecdote  of  his  skill  and  plaj-fuluess  at  this 
time  Ls  related  :  —  . 

"  On  the  last  three  days  of  the  pa.ssion  week, 
the  Lamentations  of  the  Prophet  Jeremiah  were 
always  chanted  ;  these  consisted  of  passages  of 
from  four  to  sLx  lines,  and  they  were  sung  in  no 
particular  time.  In  the  middle  of  each  sentence, 
agreeably  to  the  old  choral  style,  a  rest  was  made 
upon  one  note,  which  rest  the  j)laycr  on  the  ))iano 
(for  the  organ  was  not  itsed  on  those  three  days) 
had  to  fin  up  with  a  voluntary  flourish.  Beetho- 
ven told  Heller,  a  singer  at  the  chapel,  who  was 
boasting  of  his  professional  cleverness,  that  he 
would  engage,  that  very  day,  to  put  him  out,  at 
such  a  place,  without  his  being  aware  of  it,  so 
that  he  should  not  be  able  to  proceed.  He  ac- 
cepted the  wager  ;  and  Beethoven,  when  he  came 
to  a  passage  that  suited  liis  jjurpose,  led  the  sing- 
er, by  an  adroit  modulation,  out  of  the  prevailing 
mode  into  one  having  no  affinity  with  it,  still, 
however,  adhering  to  the  tonic  of  the  former  key ;  ' 
so  that  the  singer,  unable  to  find  his  way  in  this 
strange  region,  was  brought  to  a  dead  stand. 
Exasperated  by  the  laughter  of  those  around  him, 
Heller  complained  to  the  elector,  who  (to  use 
Beethoven's  expression,)  "  gave  him  a  most 
gracious  reprimand,  and  bade  him  not  play  any 
more  such  clever  tricks." 

It  was  whUe  in  tliis  situation,  a  few  years  after, 
that  he  had  an  opportunity  of  sho\\-ing  a  can- 
tata of  his  own  composition  to  Haydn,  who,  on 
liis  way  home  from  England,  was  invited  to  a 
breakfast  by  the  electoral  band.  The  resnlt,  as 
we  may  suppose,  was  encouraging  to  the  young 
artist.  He  continued  to  busy  himself  with  the 
composition  of  small  sonatas,  songs,  and  especial- 
ly variations  for  the  piano.  A  feat  of  his  in  this 
kind  displayed  his  extraordinary  power  before 
Sterkel,  the  most  accomplished  pianist  whom 
Beethoven  had  ever  heard.  "  The  doubt  ex- 
pressed by  this  finished  performer,  whether  the 
composer  of  these  variations  could  play  them 
fluently  himself,  spurred  on  Beethoven,  not  only 
to  play  by  heart  such  as  were  printed,  but  to  fol- 
low them  up  with  a  number  of  others  extempo- 
rized on  the  spot ;  and  at  the  same  time  he  imitat- 
ed the  light  and  pleasing  touch  of  Sterkel,  whom 
he  had  never  heard  till  then,  whereas  hLs  own 
usual  way  of  playing  the  piano  was  hard  and 
heavy,  owing,  as  Beethoven  declared,  not  U)  his 
want  of  feeling,  but  to  his  i)ractising  a  great  deal 
iijjon  the  organ,  of  which  he  was  very  fond." 
But  it  was  natural,  that  the  impetuous,  restless 
young  artist  should  incline  more  to  excess  of 
strength  than  of  delicacy  in  his  playing. 

His  life  in  Bonn  terminated  in  1792,  when,  by 
the  favor  of  the  elector,  and  tliro'igh  the  instru- 
mentality of  his  old  patron,  he  was  sent  to  Vien- 
na, to  enjoy  the  instruction  of  Haydn.  He  was 
now  twenty-two;  and  he  looked  back  upon  tliia 
jieriod  as  the  hapi)icst  part  of  his  life.  Very  little  is ' 
told  of  it.  Evidently  he  was  not  a  youth  to  be  easi- 
ly known.  He  lived  in  his  art,  too  absorbed  in  it  to 
be  much  given  to  dazzling  exploits  before  the 
crowd.  The  deafness  which  withdrew  him  from 
the  world  at  a  later  perio  1  was  already  predicted 
18 


BEE 


ENCYCLOPiEDIA    OF   MUSIC. 


BEB 


and  prepared  in  the  raj)t  and  inward  tone  of  his 
whole  mind.  He  was  indeed  morally  "  deaf"  from 
the  firrit  to  what  most  regard  the  loudest  call ;  by 
hirth  and  constitution  an  awkward  .stran^'er  in 
the  world  of  commonplace,  and  ill  confonned  to  its 
details  and  its  re^jularitics.  He  had  then  and  al- 
ways a  ^rc^it  dislike  to  fjivin'^;  lessons.  He  never 
would  have  submitted  to  it,  to  hel))  himself;  only 
the  necessities  of  his  family  and  the  thought  of 
his  dear  mother  could  induce  him  to  it.  Mad- 
ame von  llrcuuing  iLscd  to  compel  him  against 
his  will  to  go  over  to  the  opposite  liouse,  and 
continue  his  lessons  in  the  family  of  the  Austrian 
ambassador.  As  he  knew  liimself  observed,  he 
would  sulk  along,  "  itt  inir/uir  nieiiliji  axilhis"  but 
even  on  the  doorstep  would  often  turn  back,  and 
jiromise  to  give  two  hours  the  next  day,  for  it 
was  impossible  to  do  it  now.  After  one  of  these 
occurrences,  or  any  like  freak  of  wayward  genius, 
Mme.  von  Itreuning  was  accustomed  to  wink  and 
say,  "  Our  liecthoven  has  had  another  '  rapt  its' " 
—  a  phrase  which  he  was  fond  of  using,  as  we 
ohall  see. 

It  is  to  be  regretted  that  more  is  not  preserved 
of  his  sayings  and  doings  in  the  house  of  Von 
Breuning,  for  there,  it  seems,  he  was  in  his  cle- 
ment. How  intimate  liis  relation  was  to  these 
good  friends,  and  how  nobly  he  could  repent  of 
the  violent  impulses  which  were  idways  involving 
him  iji  misunderstandings  with  his  friends,  is 
showii  by  a  letter  which  ho  wrote  txom  Vienna 
to  the  dauj;htcr,  his  pupil,  in  1793. 

"CnARMiNn  Ei-toxoRA.  My  <learc«t  Friend  :  A  ynir  haa Flnpard 
fhicc  my  iUy  iit  thif  capiul,  and  thi«  U  tho  rlnt  Ivttvr  you  n-ci-irc 
l>om  nu't  yft  rest  aK«uri-(l  you  huvi-  i*viT  lived  In  my  n-colli-ctitm. 
I  have  often  e<^nver«i-d  with  von  and  yonn,  nlthoiiffh  not  with  thot 
penie  of  min'l  which  I  could'h  ivr  di'ind,  fur  the  lute  wrelchwl  ol- 
terCiition  wa.t  tlo\eriniI  bef<»rv*  lile,  ullowln;;  me  inyown  <leA|)lcal>Ie 
eunduet.  Hut  tn  it  was  :  und  whnt  would  f  not  irlve,  coul<l  1  uhliler- 
Bte  fmm  the  \*-iav  of  my  life  thi«  pant  aetion.  *o  de^mdinit  tu  my 
character,  and  fto  unlike  my  uaunl  proctv^linirs.  It  it  tiue,  Iherv 
were  many  cireunntunce*  wideuiuK  the  br«-ach  hctween  u»,  and  I 
prvitutnc  thjit  in  thmc  whla|H<rintr«,  couveyInK  to  n«  our  mutual  ex- 
preaiiii>u»,  lay  the  chief  wiurce  of  the  KroWini;  evil.  We  Iwth  im- 
ai^tied  that  we  trjoke  from  conviction,  and  yet  It  wut  but  in  ansi-r, 
and  we  were  lK>th  of  u<  deceived.  Vour  grxVl  and  noble  minrl  hai, 
I  know,  lon^  f.-miven  me  :  but  tbcy  iiav  that  •elf-iiccu^ation  in  the 
liureit  !ii>,m  of  rontritioii,  and  it  i.4  th'iin  1  wunte*!  t>>  ^taiid  befon'  you. 
Now  let  u»  draw  a  veil  over  the  whole  atliiir,  tnkini;  a  wnrninir  liy  it, 
that,  should  a  ditferiMire  arise  between  friend*.  Ihev  should  not  liuve 
recourse  to  a  in.-diator,  but  explain  face  Ut  fare.  Vou  receive  here- 
with a  dedication  fr\un  me  to  you,  and  1  only  wish  the  ui>rk  were 
ITTcater  and  more  worthy  of  voti.  .  .  .  Let  it  be  a  revival  of 
the  many  bles^.-d  hours  which  I  spent  at  yonr  hr>use:  perhaft*  it  mav 
tend  t()  recall  nie  to  your  mind  until  1  T\>turn,  which,  however,  will 
uot  be  so  soon.  How  we  will  rejoice  then,  my  dear  friend  !  Vioi  will 
And  me  a  more  cheerful  creature,  whose  davs  of  trouble  have  passed 
away,  their  furrows  smoothed  by  the  lot  of  K-tter  days,"  Ac 

Vienna  was  too  much  the  seat  of  the  Muses, 
with  its  princely  amateurs,  its  congress  of  great 
artists,  Haydn  still  living,  the  spirits  of  Gluck 
anil  of  Mozart  (only  a  year  since  departed)  still 
hovering  over  the  place,  ever  to  let  him  "  return ;  " 
und    "  i  titer  ilaya "    he   was    destined    never   to 

KUOW. 

He  went  to  Vienna,  already  a  distinguished 
conij  <ser,  but  comparatively  ignorant  of  the 
science  of  counterpoint ;  for  his  own  in.-.tinct  re- 
vealed to  him  the  laws,  so  ftir  as  they  were  found- 
ed in  nature ;  and  he  had  no  hesitation  then,  or 
ever  after,  in  setting  at  nought  such  as  were 
merely  arbitrary.  His  own  sense  of  beauty  he 
trusted,  in  sjiite  of  science ;  and  the  world  soon 
acknowledged  in  the  violation  of  the  law  the 
presence  of  a  higlier  law.  'Hiat  he  learned  much 
from  Ilaydn  is  evident  from  the  traces  of  Haydu 
perceptible  in  his  earlier  style,  (for  instance,  in 
the  Jirsl  symphony  in  C  major,  and  in  his  tirst  set 
nf  three  souatius  dedicate<l  to  that  mivstcr.)  Hut  his 
confidence  in  hira  ivs  a  teacher  was  soon  destrove<l. 
For   returning   one   day   from   his   lesson,    with 

1 


his  roll  of  music  under  his  arm,  he  met  th« 
learned  composer,  Schcnk.  Schenk  ran  his  evf 
over  it,  and  found  it  full  of  mistakes,  which  had 
not  been  noticed,  though  licethoven  said  tliat  the 
exercise  had  just  come  from  Haydn's  correcting 
hand.  This  aroused  Jiis  su;<picion  ;  and  taking 
advantage  of  Haydn's  second  visit  to  England, 
he  withdrew  from  his  instructions  entirely,  and 
was  never  again  intimate  with  him.  Schenk 
from  that  time  became  the  contidcntial  corrector 
of  hLs  compositions,  even  after  Albrechtsberger 
gave  him  lessons  in  count  eq)oint. 

It  was  the  Augustan  age  of  music  in  Vienna 
when  lU'Cthovcn  settled  there,  perhaps  tlie  only 
place  where  he  could  have  found  patrons  worthy 
of  him.  His  jirouil  ilisregard  of  outward  rank, 
which  he  would  never  condescend  to  flatter,  and 
which  (unless  he  found  it  combined  with  benev- 
olence) he  could  hardly  treat  with  conventional 
courtesy,  believing  as  he  did  that  genius  and  vir- 
tue derive  the  only  true  patent  of  nobility  from 
Heaven ;  his  e.K])osure  to  calumny  through  the 
strangeness  of  his  manners,  and  to  the  malignant 
criticism  of  those  who  envied  liis  ri-ing  lame,  and 
could  not  understand  his  compositions  ;  and  his 
determined  principle  of  never  writing  a  word  in 
his  own  del'ence,  unless  his  honor  were  attacked, — 
woidd  have  found  him  little  favor,  had  there  not 
been  among  the  wealthy  and  powertul  of  Vienna 
those  who  had  a  soul  for  art,  and  insight  enough 
to  read  his  Heaven-derived  patent  of  equality 
with  the  greatest. 

HLs  tirst  welcomer  and  friend  was  Von  Swietcn, 
once  physician  to  the  Empress  Maria  'ilicresa  — 
a  zealous  amateur,  whose  deUght  it  was,  in  liis 
old  age,  to  assemble  the  tinest  musical  talent  in 
his  house.  Here  licethoven  bocar.ie  acquainted 
with  the  compositions  of  Handel,  Uach,  and  all 
the  great  masters  as  far  back  as  1'ale^.tiina ;  and 
he  was  always  obliged  to  stay  after  the  rest  wero 
gone,  and  add  halt  a  dozen  fugues  of  Bach  ''  by 
way  of  a  l)lcs.sing."  I're<iueutly  the  old  man 
would  not  let  him  go  at  all. 

'ITio  Prince  Carl  vou  liichnowsky,  too,  the 
most  noble-minded  of  those  Austrian  princes, 
with  hLs  consort,  became  like  father  and  mother 
to  the  young  artist.  'Oieir  "  kindness  pursued" 
him,  and  "  did  not  abate  even  when  the  adopted 
son,  by  his  obstinacy,  would  have  forfeited  the 
favor  of  any  other  patrons."  The  princess  found 
every  thing  he  chose  to  do  or  let  alone  "  right 
clever,  original,"  &c.  To  use  his  own  words  • 
"They  would  have  brought  mo  up  there  with 
grandmotherly  fondness,  which  was  carried  to  sufh 
tt  length  that  very  often  the  prince-^  was  or.  the 
point  of  having  a  ghi.s8  shade  made  to  put  over 
me,  so  that  no  unworthy  person  might  touch  or 
breathe  upon  me."  It  was  at  Prince  Lichnow- 
sky's  music  parties  that  all  Beethoven's  composi- 
tions were  tirst  tried.  To  the  prince's  stricture* 
he  always  listened  with  respect ;  and  indeed  cen- 
sure from  those  whom  he  tru.sted  was  dearer 
to  him  than  praise.  Here  too  was  that  famoiu 
"  llasumowsky  (iuartet,"  consisting  of  the  same 
four  superior  artists,  who  lor  years  performed 
Beethoven's  <iuartetn  under  his  own  dire<'tioii ; 
thus  forming  a  lountain  lieud  of  the  gcnuina 
Beethoven  spirit,  and  the  stnudord  for  players  all 
over  the  world. 

I'hus   fiu'  hope  and   prosperity  •ttGndc<l  him. 
By  the  year  l.SDO  he  had  composed  his  two  tir» 
s}'mphonies,  over  twenty  sonat«.s  trioe,  quan«U 
19 


UEE 


ENCYCLOPAEDIA    OF    MUSIC. 


BEB 


\nd  Ilia  well-known  septet,  embracing  many  of 
Ik  must  admired  productions.  Not  only  at  the 
shrine  of  art  had  he  worshipj)ed.  Love  was  the 
ruliufj  star  and  chief  source  of  hLs  insi)iration 
through  this  early  jieriod  and  long  alter.  Though 
never  married,  though  never  blessed  with  a  fair 
ministering  si)irit,like  Mozart's  Constance,  though 
utterly  uncommunicative  on  the  whole  subject,  yet 
it  appears  that  the  secret  passion  always  preyed 
upon  him.  liut  so  ideal  was  it  that  it  doomed  it- 
Belf  to  dLsai>i)ointment.  Its  objects,  it  is  said, 
wers  generally  ])crsons  of  rank  ;  for  with  such, 
necessarily,  he  chietly  associated.  Here  was  the 
beginning  of  sorrows  —  one  of  tlie  causes  which 
hhut  his  heart  against  the  world,  and  made  him 
soll'ary  and  reserved,  while  it  infused  a  dej)th 
Rud  slrcngtli  of  passion,  an  unutterable  longing, 
into  his  compositions  of  that  time.  His  "  Sonata 
Pathetique,"  (Op.  1.3,)  his  Sonata  in  A  b,  (contain- 
ing the  "Marcia  Finwbrc,"  (Op.  2(>,)  and  that  other, 
in  Crf  minor,  (Op.  27,)  called  the  "Moonlight 
Sonata  ;  "  his  incomparable  song  "  Adelaide,"  &c., 
fee,  may  be  regarded  as  confessions  of  a  platoiiic 
love,  which  shi'uuk  from  the  cold  air,  where 
words  pa,ss  current.  The  Giulietta  Uuicciai'di,  to 
whom  the  latter  sonata  Ls  dedicated,  was  for  a  long 
time  the  "  bright  particular  star."  Nothing  is  told 
concerning  her ;  but  we  have  several  of  his  let- 
ters to  her,  written  in  1806,  which  are  full  of  the 
purest  passion,  while  their  abrupt,  impatient  style 
seems  all  along  to  curse  the  coarse  and  unman- 
ageable nature  of  speech. 

In  the  year  1800  he  composed  his  only  oratorio, 
the  "  Mount  of  Olives,"  which  he  ^note  during 
a  summer  residence  in  a  pleasant  village  adjoin- 
ing the  Imperial  Gardens  of  Schiinbrun.  Both 
tliis  and  hLs  only  opera,  "  Fidelio,"  a  few  years 
later,  were  composed  in  the  thickest  part  of  the 
wood  in  the  park  of  Schonbrun,  where  he  used 
to  sit  between  the  two  stems  of  an  oak,  which  shot 
out  from  the  main  trunk  a  couple  of  feet  above 
the  ground.  But  before  thb  time,  "  the  evQ 
principle,"  (as  he  called  it,)  in  the  shape  of  his 
brother  Carl,  had  begun  to  govern  him,  taking 
advantage  of  his  ignorance  of  worldly  affairs,  and 
making  him  suspicious  of  all  the  world.  His 
younger  brother,  John,  soon  followed  and  joined 
the  interest  of  Carl.  It  was  he,  who,  having  by 
his  thrift  some  yeiurs  later  become  an  owner  of 
real  estate,  sent  in  his  card  one  new  year's  day,  as 
if  to  provoke  and  tantalize  his  unsuccessful, 
nobler  brother :  "  John  von  Beethoven,  Land- 
owner." Beethoven  returned  it,  "  Ludwig  von 
Beethoven,  Brain-owner."  Add  to  these  troubles 
the  rapid  and  alarming  increase  of  his  deafness,  and 
we  see  how  WTetched  was  to  be  the  worldly  lot  of 
uo.f  wb ;  was  soaruig  higher  and  higher  into  the 
jjure  heaven  of  art.  'llie  rcmaikable  "  Will," 
which  he  addressed  to  his  brothers  during  a  severe 
fcickness  in  1802,  describes  hi.»  state:  — 


"For   Mr  Brotiif.iis,  Cabi.   axii 


BcKTnovEX.  — O  ye, 


wlin  convi'lcr  or  tU-cUrc  ine  to  t>o  lioHtili*.  oI)i*tiniiU',  or  niisnnthronic, 
wiiut  injustice  yi- (io  me  I  Yc  klun*-  not  the  (t«'cr»'t  cauncs  uf  tlliit 
which  t.iy>)u  wi-;tni  lucti  an  apiH-uinnt'e.  My  heart  and  niy  mind 
wi-n*  frotn  I'hihlhcvHl  nr«ne  l<i  titi-  IvniK-r  fi-elinirs  <»f  niTecliim.  Nny, 
I  w;i,.  olwiiyit  iiJnMn<e(l  over  t«i  perllirnt  pn-at  HtCion-t,  Itut  lonnitlt-r 
thut  t'T  th."  liut  nix  wan  I  hnvi-  In-t-n  attiu-ke<l  hy  an  incunihU-coni- 
iHsinl,  AC.  .  .  .  lj(in»  M'ith  a  lively.  nnU-nnliirHKilinn.  micc-ptihlc 
t>i  the  liivernii.nn  t'f  wH-ielv,  1  w.ib  lnr\'ed  lit  an  e.trly  aye  10  n'ni.mice 
tUcin.  mul  l.>  pjiKi  my  lite  In  veeluainn.  If  1  htrciveat  any  tinie  t.»»el 
invit'lf  nlx'v,'  nil  thin',0,  how  cruelly  wa«  I  drivcu  Ihick  hy  the  tluublr 
|.nlnfiil  eiperieii.e  ol  iny  detVetive  hearing:  And  yet  it  «M  not 
|><'MibI«  for  nie  ti>  iiiiy  to  people.  '  Speak  louder,  hnwl,  for  1  nm  deaft* 
All,  h.or  could  1  pn«-laini  the  defect  of  a  iienae  th:it  I  once  rwiMetved 
ku  the  hifhett  perie4tion  —  in  a  perlin-tion  in  which  few  of  my  col 


leaxtletf  poMrna  or  e 

me,  then.  If  yt 


nlid  iMinfefit  ttt    Indeed.  1  cannot!    Forgive 
mw  luck  w  hen  I  would  gliuilyniitiKlc  among 


y*Mi.    IkixiiAr  mortifying  i>  m>  niiffurtiine  toiiitf,  a«  it  niuat  lend  to 
•aiuc  lut:  iu  he  iniicunccivcd.    Frvui  ivcrvAtlOU  iu  the  society  of  my 


fellow-creaturt'g.  from  the  pleanur^s  of  conversation,  frf.ni  the  efl\i- 
sions  of  friendship,  I  am  cut  otfl  Almost  alone  in  the  world,  I  dare 
not  venture  in^^  society  more  than  ahsolute  necessitv  n-quires.  I 
am  obliged  to  live  as  in  exile.  If  I  po  into  conipriny,  a  p:unful  anx- 
iety comes  over  me,  Airice  1  am  apprehenittve  of  beiti^'  cxiiosed  to 
the  ilan)ier  of  betrayinu  niv  ■iluation.  Such  Utui  been  inv  state,  bn, 
durine  this  hall  vear  that  1  have  6])ent  in  the  country.  L'niolned  by 
my  intelliL'eiit  pliysician  to  spare  my  heuriiiK  as  mu'i-h  as  [Mssible,! 
have  U-en  almost  eneourii;?efI  by  him  in  mv  present  natural  dispo- 
sition !  though  hurried  owoy  bv  mv  fondness  for  scK!ietv.  I  sometime! 
■uttered  myself  Ui  he  enticed  into  iL  But  what  a  hun'iiliation.when 
any  one  standing  beside  me  could  hear  at  a  distance  a  flute  that  I 
could  not  hear,  or  any  one  heard  the  shepherd  singinp.  and  1  could 
not  distinguish  a  sound!  Such  eircuinetal^es  broujiht  me  to  the 
brink  of  despair,  and  ha<l  well  nipli  made  nie  put  an  end  to  my  life  : 
nothing  but  my  art  held  mv  hand.  Ah.  it  seemed  to  me  impossible 
to  quit  the  world  before  I  had  produced  all  that  I  felt  nivsclf  called 
to  accomplish.  And  so  I  emlured  this  wretched  lite— so  truly 
wretched,  that  a  somewhat  speedy  chnnae  is  capable  of  transporting 
ine  from  the  best  into  the  worst  condition.  Patience  —  so  I  am  told 
—  I  must  choose  for  my  guide.  I  have  done  s<i.  Steadfast,  I  hope, 
will  be  my  resolution  ti  iK-rsevere.  till  it  shall  please  the  inexorable 
Fat*'S  to  cut  the  thread.  Perhaps  there  inav  be  amendment  — perhapi 
not ;  I  am  prep:ired  for  the  wor«t  —  I,  who,  so  early  as  my  twenty- 
eighth  year,  was  forced  to  become  a  philosopher— it  is  not  eosy  — 
for  the  artist,  more  difliciilt  than  for  any  other.  O  God.  thou  look- 
est  down  upon  my  misery ;  thou  knowest  that  it  is  accompanied 
with  love  of  my  fellow-ereaturee,  and  a  disposition  to  do  good  1  O 
men.  when  ve  shall  read  this,  think  that  ye  nave  wronped  me;  and 
let  the  chihf  of  affliction  take  comfort  on"  tlnding  one  like  himself, 
who,  in  spile  of  all  the  impediments  of  nature,  yet  did  all  that  lay 
in  his  power  to  obtain  admittance  iuto  the  rmnk  of  worthy  artiata 
and  men." 

In  1802,  Beethoven  commenced  his  "  Heroic 
SjTnphony,"  which  was  not  finished  till  1804. 
It  was  intended  in  honor  of  Napoleon,  to  whom 
Beethoven,  in  the  simpUcity  of  his  enthusiasm  for 
freedom,  looked  up  as  the  hero  of  democracy. 
The  score  lay  before  him,  neatly  printed,  and 
dedicated  to  the  First  Consul,  when  the  news 
was  brought  to  him  that  Napoleon  had  caused 
himself  to  be  proclaimed  Emperor  of  the  French. 
Instantly  he  tore  off  the  title  page,  and  flung  the 
work  upon  the  floor ;  and  it  was  long  before  he 
could  be  induced  to  give  his  mind  to  it  agaui. 
AVTien  he  did,  he  changed  its  title  to  "  Heroic 
SjTnphony,  to  celebrate  the  Memory  of  a  Great 
Man  "  —  and  the  famous  funeral  march  became 
rather  a  lamentation  over  disappointed  hopes  in 
a  man. 

"  Fidelio  "  occupied  him  exclusively  in  1804-5, 
the  stormy  history  of  whose  first  production  wo 
may  not  stop  to  relate.  He  found  his  peace 
again  in  a  form  of  art  where  there  were  no  sing- 
ers to  consult,  no  opera  manager  or  public  to 
please,  oidy  his  own  arti:5tic  ideal,  namely,  In  the 
symphony.  The  years  1806-8  witnessed  the 
production  of  his  Iburth,  fifth,  and  sixth  sj-m- 
phouies  —  the  last  two  being  the  one  in  C  minor, 
and  the  "  Piistorale."  He  directed  the  orchestra 
himself.  But  here  again  his  deafness  caused 
new  trouble ;  for  in  ILsteiung  for  the  coming  in 
of  the  dittercnt  parts,  he  would  unconsciously 
retard  the  time  and  mislead  the  pcnbnners,  and 
sometimes  get  involved  in  serious  altercations 
with  them. 

In  1809,  he  wa.'s  tempted  to  leave  Vienna  by 
the  offer  of  a  good  situation  from  a  neighboring 
monarch.  This  roused  the  pride  of  some  of  his 
noble  patrons,  who  subscribed  an  annuity  of  four 
thousand  florins  for  him,  on  condition  that  he 
would  not  leave  Austria.  A  depreciation  of  the 
currency  reduced  this  sum  to  one  fitth,  and  the 
death  of  one  subscriber,  and  the  failure  of 
another,  reduced  it  still  further ;  so  that  he  re- 
lied mainly  on  his  compositions  for  support. 

It  was  in  1810  that  he  met,  perhaps,  the  most 
appreciatuig  sj)irit  with  whom  he  ever  conversed, 
in  the  person  of  the  girl  Bettine  Brentano,.of 
Frankfort,  \\  ho  seems  to  have  passed  in  and  out 
unannounced  among  people  of  genius,  by  a  sort 
of  divine  right ;  and  whose  letters  to  Goethe 
contain  some  of  the  best  things  which  have  been 
said  concerning  Beethoven. 


120 


BEE 


ENCYCLOPAEDIA    OF    MUSIC. 


15EH 


••  I  could  not  get  any  one  to  intmiluec  mc,"  »hc  my*,  ••  but !  flHind 
him  uut  nloiu-.  lie  hiu  thn'i'  n|mrliiitriil«,  in  wlili'li  he  ult«-rim(i*ly 
It-rrftvi  hiintiflf:  oin-  in  tin-  I'.iimlry.one  in  town,  nnil  n  tliini  im  the 
ruinimrt!).  It  was  tht-n- 1  t'i>iin<t  hiin.nn  lliv  thini  t1<Mir.  1  i-ntrn-il 
ununiinuncfd;  hv  was  itviiU-d  lit  tli«-  i»iuni»;  1  jtuvv  n»y  nanii-i  In* 
wai  inuitl  fiilMidly.  oml  imliiMl  nif  if  I  wtmUl  lipur  a  whir  wliirh  hir 
had  jiitt  b«eii  ci>nii>o»iiiir,  and  A^nitr  with  u  shrill  nnd  ititTcintr  vuii-e 
that  niudt'  tlu>  liiurer  thrill  with  wul'uhu-«s,  'Knitwcst  thou  the 
land.*  '  Is  it  ntit  iH'Uutiful  ? '  nid  hf,  t-uthuKiaslirullv  :  '  i-xiiMi^iti'ly 
tenutiAil  I    I  will  Ktntf  it  uxain.*    lie  wiw  pli-iui'd  with  my  chevrfiil 

C raise.  *  .%Ioit  iH-o|ile,'  he  lenuirkeil,  *ure  i/<orf*/  iin  liettrimr  miuit-, 
ut  thefo  have  ntil  muaicinns'  oimiIs:  title  iittiaiciiins  are  too  ^ftfri/  lo 
wi'tp,"  lie  then  »mi|;  uliotlier  loiih'  uryoiirs,  whieh  he  hjil  Jmtt  heell 
conipoiinit;  *  Dry  not,  drv  not,  ve  teunt,"  .%c.  lie  jeromiiunleil  me 
home,  anil  it  UMsiluiniu  our  wiitk  Ih  it  he  wll  nil  llieae  Hue  IIiIoki 
on  theart- tiilltin;.-  so  loud  till  the  while,  and  slandiiii.-  still  so.,ften, 
that  it  required  someei.unn-e  to  li-teii  lohim  In  the  sinel.  lie,  how- 
•Ter,  B|ii>kesoniit«;ouatelv'. :  nil  nil  ttiiit  h"  utte  ed  starve  1  me  S4<.  that 
I  forKot  even  llie  street  They  weie  all  not  a  little  .ur|irls.-.l  ul  home 
un  seeinu'  me  enter  the  n>om  with  him.  in  the  midst  ol  a  hirife  dinner 
purty.  \n<-r  dinner  he  siit  dow  ii  to  the  instrument,  and  pluj-ed  uu- 
ojked,  woudert'ully,  and  ut  great  length."    .    .    . 

M'c  linvc  not  room  lor  the  many  wonderful 
tnyino;s  nscribetl  to  licplhovcii  in  this  letter  ;  the 
render  will  find  it  entire  in  the  "  Corresjiondciu-e 
o;'  (ioi"tho  with  a  Child,"  a  triinfilntion  of  which 
was  puhli.'ihed  in  Lowell,  Massachusetts,  soiuo 
yeai-s  siiuc. 

Schindlor  (the  bio!;rnphcr  to  whom  we  ore  in- 
debted I'hietly  for  our  tnctsl  is  disturbed  by  seein;; 
so  much  fine  Uilk  put  into  tlic  mouth  of  the  down- 
rijjht  laconic  arti-it ;  and  Bottiue  adds,  that  when 
she  showed  Uecthoveu  what  she  had  written, 
he  exclaimed,  "  And  diit  I  say  all  this  5  Then 
indeed  I  had  a  niptus  !  "  But  the  letters  which 
he  wrote  to  her  a  short  time  alter,  when  she  had 
become  the  wife  of  \'ou  .Vmun,  are  in  quite  as 
high  a  strain,  and  tjuite  as  fluent.  (See  Life  of 
Beethoven,  bv  Moschcles,  published  in  London 
m  ISU.) 

'llius  iar,  (1813,)  Beethoven's  troubles  were  all 
of  that  nature  that  he  could  escape  from  them 
into  liis  inner  world  of  art.  They  rather  favored 
the  creative  imjiuliie.  DLsnppointed  love,  deaf- 
ness, want  of  worldly  tact,  which,  if  it  drew  him 
into  many  dileiumas,  also  brought  him  exemption 
from  many  cares,  and  his  proud,  indopendent 
spirit,  —  these  only  made  hLs  abstraction  from  tlic 
outward  world  more  complete,  and  increased  his 
feeling  of  the  greatness  of  his  mLssion.  Abstrac- 
tion, entire  devotion  to  liis  art,  and  liring  in 
music,  is  the  key  to  aU  lus  peculiarities  and 
eccentricities  in  liis  way  of  living.  Inspired  with 
new  musical  suggeslioiij,  he  would  even  forgot 
his  food.  'Ilius  there  v-  a  story  of  his  going  into 
an  inn,  and  tlurowing  lumsclf  down  ujion  a  scat, 
buried  in  thought ;  alter  some  time  he  rose  and 
called  for  the  reckoning,  quite  unconscious  that 
he  had  ordered  nothing.  One  of  his  habits  was 
to  stand  by  the  hour  pouring  buckets  of  cold 
water  iqion  his  hand;,  while  in  the  frenzy  of 
composition.  And  this  may  have  had  sometiung 
to  do  with  his  Irequent  change  of  lodgings  ;  for 
otien  he  would  be  paying  for  three  or  four  dwell- 
ing-places at  once  —  since  his  humor  would 
have  it  that  now  he  could  not  compose  unless  he 
were  on  the  north  side,  and  now  unless  he  were 
on  the  south  side  of  the  city.  Once  a  certain  baron 
R-ssigncd  to  him  a  suit  of  apartments  in  his  beau- 
ful  villa,  and  supremely  happy  was  he  as  he 
surveyed  the  cliarming  landscape  from  his  win- 
dow ;  yet  he  soon  took  a  dislike  to  the  place,  and 
for  no  other  rcivson  than  l)ecause  "  the  baron, 
whenever  he  met  him,  wivs  continually  making 
too  profound  obei.sances  to  him."  He  was  ex- 
tremely fond  of  the  country  and  the  open  air, 
and  would  olteu  walk  alone,  absorbed  in  his 
work,  till  the  day  was  far  sjient,  nay,  be  gone  for 
;'ays.     Klos  relates  tl-.e  lollowing  anecdote  :  — 

"  In  a  walk,  in  which  we  wauderetl  about  a 
lii  12 


great  wliilo  before  we  got  home,  Beethoven  had 
ke;)t  all  the  way  muttering  or  partly  howling  t« 
himself,  up  and  down  continually,  without  siugin^ 
any  definite  notes.  To  my  iiuiuiry  wliat  it  was, 
he  answered,  '  A  theme  has  just  occurred  to  me 
for  the  last  allegio  of  my  sonata,  (Op.  .57.)' 
When  we  enterotl  his  room,  ho  ran  to  the  piano, 
without  taking  ort'  his  hat.  I  seateil  myself  in  a 
corner,  and  he  soon  forgot  all  about  me.  And 
now  he  thundered  away  at  least  an  hour  at  the 
new  and  licautiiiil  finale  of  that  composition. 
Finally  he  stood  tip,  astonished  to  see  mc  still 
there,  and  said,  '  I  can  give  you  no  lesson  to-day. 
I  mu.st  trork.'  " 

Think,  too,  of  his  improvisntion-s  on  tho  piano, 
at  which  he  was  fond  of  seating  himself  in  the 
dusk  of  tho  evening.  "  In  the  latter  part  of  his 
life,  his  ])laying  at  such  times  was  more  painful 
than  agreeable  to  those  who  heard  it.  The 
inward  mind  alone  was  active ;  the  outward 
sense  no  longer  cooperated  with  it.  Sometimw 
he  would  lay  his  left  hand  Hat  Ui)on  the  key- 
board, and  thus  drown,  in  discordant  noLse, 
the  music  to  which  his  right  was  feelingly  giv-* 
ing  utterance."  In  the  soft  passages  he  i)ressc<l 
the  keys  .so  lightly  that  they  gave  no  sound. 
"  The  most  painful  thing  of  all  was  to  hear  liira 
improvise  on  Btringed  instruments,  owing  to  his 
incapacity  of  tuning  them,  llio  music  which  he 
thus  proiluced  was  frightfid,  though  in  his  mind 
it  was  piu-c  and  harmonious."  Let  his  deafnetis 
convince  those,  who  are  spiritually  deaf  to  hLs 
works,  that  music  is  more  a  thing  of  the  soul 
than  of  the  sense ! 

In  tho  last  twelve  or  thirteen  years  of  his  life, 
Beethoven  was  subjected  to  cahimities,  which 
served  not  so  much  to  altstract  him  from  the  world 
as  to  distrart  him  altogether,  lie  wa.s  forced  into 
relations  with  tlie  practical  side  of  lile,  and  with 
tire  sclfishne-is  of  the  world,  which  he  knew  how 
to  renounce,  but  to  engage  in  which,  unfitted  as 
he  was,  could  only  craze  and  bewilder  Irim.  He 
got  involved  in  a  provoking  lawsuit  \\\i\\  Mael- 
y.cl,  the  inventor  of  the  metronome,  who,  it  seems, 
had  unfairly  approiniated  the  score  of  one  of  his 
symphonies  (^called  the  "  Battle  of  \'ittoria,"  not 
reckoned  among  his  nine  great  symphonies  : )  tliL, 
increased  his  suipicion  of  men,  and  made  him 
watch  his  copyists  with  the  utmost  jealousy. 
Again :  in  Is  1.'),  his  brother  Carl  dictl,  leaving  him 
the  guardianship  of  his  son,  since  the  motl'.er  was 
considered  an  unsafe  per.iou  to  whom  to  intrust 
the  education  of  a  child.  Hence  another  law- 
suit, continued  through  sevend  years,  subje.-tii  g 
him  to  all  manner  of  mortifications  and  di-tntc- 
tions,  and  ([uite  breaking  the  calm  heaven  ot  the 
creative  artist.  But  his  sense  of  rospou>ibility 
was  strong ;  nnd  he  woidd  leave  uo  stone  un- 
turned to  secure  to  himself  the  untUsputcd 
guardianship  of  the  boy,  to  whose  welfnie  he 
studiously  devoted  himself.  Meanwliil'.',  xnn,  in 
pre])aration  for  his  new  duties,  he  hiul  under- 
taken housekee])ing,  of  which,  with  his  bachelor 
iuexi)erieiice  and  eccentricities,  he  of  r<>»u>e  made 
a  sorry  pitn-c  of  work  —  petty  vexations  all  the 
time.  Finally,  the  boy,  who  ha»l  tine  taleuto, 
and  of  whom  no  father  could  l>o  more  fond  than 
he,  provetl  unworthy  ancl  ungrateful,  and  poisoned 
his  last  source  of  worldly  hope.  His  letters  to 
the  young  man,  isce  Mi»chelcs)  in  ISJ.),  poxMiss 
a  most  mourninl  iutcre^^,  and  e.\hihit  liis  deep 
seu^flbility,  hia  coiiscieatiotis  ragazd  for  dut  j,  I  b* 
1 


DEE 


ENCYCLOPAEDIA    OF    MUSIC. 


DEE 


struggle  between  his  tender  love  and  liLs  stem, 
uncoiuproinisiuK  nense  of  truth,  in  the  noblest 
and  most  iiirectini;  liiiht.  We  pity  and  admire 
the  noble-minded  suHerer  when  we  read  the 
^hort,  pithy,  buruinfj  sentences. 

Every  thins  seemed  to  conspire  to  try  the  en- 
duranie  of  the  lii^jh-soulcd  Prometheus,  chained 
to  the  rock  of  necessity.  Deafness  now  become 
almo'it  total,  decay  of  general  health,  anxiety 
about  the  means  of  subsistence,  the  intrigues  of 
enemies,  the  death  of  his  old  friend  I'riuce  Lich- 
nowsky,  and,  above  all,  the  degeneracy  of  pub- 
lic taste  in  Vienna,  (the  florid,  sensuous  manner 
of  Rossini  having  carried  all  before  it  like  a  flood, 
BO  tliat  he,  Beetlioven,  was  now  considered  out 
of  date,  though  several  of  liLs  noblest  compo- 
sitions had  never  yet  been  heard  in  pubhc,)  —  all 
these  things  served  to  cloud  and  depress  him. 
But  he  trusted  in  his  soul.  There  was  that 
in  him  that  was  greater  than  fate.  Inwardly  he 
felt  aUied  with  the  good  and  all-prevailing 
I'ower,  the  soul  and  essence  of  all  thbigs.  He 
felt  that  God  was  near  him  in  his  art.  He 
had  been  true,  and  bowed  to  no  meanness  ;  he 
had  sacrificed  self,  and  wrought  for  truth  and 
beauty  with  a  single  aim.  So  that  even  now  hLs 
creative  energies  did  not  fail  him.  The  greatest 
of  his  works  (as  time  is  slowly  and  surely  dis- 
covering) were  produced  in  those  dark  days. 
His  Mass,  (the  second,  in  D,)  wldch  he  com- 
l)0sed  for  the  installation  of  the  Archduke 
Rudolph  as  Archbishop  of  Ohuutz,  he  himself 
esteemed  liis  greatest.  He  made  a  subscription 
for  a  certain  number  of  copies  of  it  among  the 
crowned  heads  of  Europe ;  and  it  Ls  remarkable 
that  Goethe,  to  whom  he  wrote  as  prime  minister 
to  the  Duke  of  Weimar,  found  it  convement  to  re- 
txuii  110  answer  to  his  old  friend.  The  minister 
of  the  King  of  Prussia  suggested  to  Beethoven 
whether  he  would  rather  receive  a  royal  diploma 
iu  lieu  of  the  price  proposed.  "  Fifty  ducats  !  " 
rejiUed  Beethoven  firmly,  to  whom  all  the  badges 
princes  could  bestow  were  no  temptation.  At  the 
Bame  time  his  brain  was  teeming  with  the  concep- 
tion of  liis  gigantic  "  Choral  SjTuphony,"  his 
ninth  and  last,  in  which,  having  exhausted  all 
the  usual  orchestral  effects,  and  being  at  a  loss 
how  to  carry  out  his  thought  on  so  sublime  a 
scale,  he  at  last  exclaimed,  "  I  have  it !  Friends, 
let  us  sing  the  immortal  Schiller's  '  H>nnn  to 
Joy; '  "  and  a  choir  of  voices  accordingly  are  in- 
troduced. These  works,  as  well  as  the  sonatas 
and  quartets  of  that  period,  which  bring  the 
number  of  liis  printed  works  up  to  about  one 
liundied  and  forty,  are  but  beginning  to  be 
understood,  yet  are  fast  outgrowing  the  preju- 
dice that  they  are  only  the  wild  and  ouiri  clfu- 
eions  of  a  mind  nearly  insane.  Indeed,  this 
insanity  bids  fair  to  be  the  wisdom  of  ages  to 
come. 

Some  few  bright  signs  there  were  to  cheer  him 
in  the  surrounding  darkness,  ^^'hat  must  have 
been  his  feelings  wlien,  after  long  withdrawal 
from  the  public,  his  ])lace  usuqied  by  the  modern 
Bhowy  style,  he  received  a  letter  signed  by  many 
of  the  noblest  names,  of  persons  who  had  a  sense 
for  genuine  art,  codling  upon  him,  for  the  honor 
of  music  and  of  Germany,  to  ajjpear  once  more, 
and  suffer  his  Mass  and  "  Choral  Symphony  "  to 
be  jHjrfonneil  at  a  benefit  concert. 

"  Let  thLs  summons,"  they  write.  "  to  so  uoblo 
a  vork  not  bo  heard  in  vuin.     Delay  no  further 

1 


to  transport  us  back  to  those  long-departed  days 
when  the  power  of  Polyhj-muia  moved  with 
mighty  spelLs  alike  the  hearts  of  the  multitude 
and  of  the  consecrated  priests  of  art.  Need  we 
say  with  what  deep  regret  your  late  retired  mode 
of  life  has  tilled  us  ?  Is  any  assurance  reijuired 
that  all  eyes  have  been  turned  towards  you,  and 
that  all  have  seen  with  sorrow  that  he,  whom 
they  acknowledge  as  the  lughest  of  UNdng  men  in 
his  own  domain,  should  have  looked  on  in  silence 
while  our  German  soil  has  been  invaded  by  the 
footsteps  of  foreign  art,  the  seat  of  the  German 
muse  usurped,  and  German,  works  have  be- 
come but  the  echo  of  those  of  strangers,  threat- 
ening a  second  childhood  of  taste  to  succeed  its 
golden  age  ?  &c.     .     .     ." 

Beethoven  declined  reading  the  paper  till  he 
should  be  alone.  "  I  arrived,"  says  Schindler, 
"  oidy  just  as  he  had  finished  its  perusal.  He 
communicated  to  me  the  contents,  and  alter  run- 
ning them  over  once  more,  handed  the  paper 
quietly  to  me ;  then  turning  towards  the  win- 
dow, he  remained  some  time  looking  up  at  the 
sky.  I  could  not  help  observing  that  he  was 
much  affected,  and,  after  I  had  read  it,  I  laid  it 
down  without  speaking,  in  the  hope  that  he 
woidd  first  begin  the  conversation.  After  a  long' 
pause,  whilst  Im  eyes  never  ceased  following  the 
clouds,  he  turned  round,  and  said,  in  a  tone 
which  betrayed  his  emotion,  '  It  Ls  really  gi'ati- 
fying  !  I  am  much  pleased.'  "  "  To  Schindler's 
entreaties  that  he  would  accept  the  proposal  he 
rephed,  '  Let  us  get  into  the  ojieu  air.'  After  a 
great  deal  of  discussion  and  management,  not 
without  innumerable  provocations,  intrigues  on 
the  part  of  selfisli  managers,  &c.,  the  concert  was 
arranged.  Still  it  wjis  a  glorious  day  for  Beetho- 
ven and  for  art.  The  theatre  was  crowded. 
The  master,  standing  with  Ids  back  to  the  pro- 
scenium, was  not  even  sensible  of  the  tumultuous 
applause  of  the  auditory  at  the  close  of  the 
sjnnphony,  until  Mme.  Unger,  by  turning  round 
and  making  signs,  roused  his  attention,  that  he 
might  at  lesist  svc  what  was  gouig  on  in  the  front 
of  the  house.  This  acted,  however,  like  an 
electric  shock  on  the  thousands  present,  who 
were  struck  with  a  sudden  consciousness  of  his 
misfortune ;  and  as  the  floodgates  of  pleasure, 
compassion,  and  sjTupathy  were  opened,  there 
followed  a  volcanic  explosion  of  apphiuse,  which 
seemed  as  if  it  would  never  end." 

Beethoven  died  on  the  26th  of  March,  1827, 
aged  lltty-six,  during  a  tremendous  hail  storm, 
after  a  most  painful  sickness,  brought  on  by  a 
cold  taken  while  travelling,  and  aggravated  by 
carelessness  on  his  own  part  and  neglect  on  the 
part  of  those  who  should  have  been  nearest  to 
him.  Several  beautiful  anecdotes  are  told  of  his 
last  sickness.  Thus,  only  a  tew  days  before  his 
death,  he  received  from  an  admirer  in  England  a 
magnificent  present  of  all  Handel's  works,  whom 
he  had  always  reverenced  as  the  greatest  of  com- 
posers. The  volumes  were  laid  upon  his  bed  ; 
and  he  exclaimed,  pointing  to  them.  "That  is 
the  true  thing,"  {lias  ist  d<is  Wahrc,)  and  he 
spent  his  brightest  hours  for  the  few  last  days  in 
poring  over  the  notes  of  those  sublime  religious 
strains. 

Beethoven  was  a  Catholic  by  birth.     His  was 

a  deeply-religious  sjiirit ;  although  religion  was 

Avitli  liim  rather  a  matter  of  sentunent  and  es- 

pcrimentid  feeling,  than  of  any  technical  crtvJ 

22 


BEE 


ENCYCLOPAEDIA    OF    MUSIC. 


BEE 


and  systoni.  It  is  said  be  had  writteix  with  his 
own  hand  two  inscriptions,  said  to  be  taken  Irom 
the  temple  of  Isis,  which  were  framed,  and  lay 
constantly  upon  liis  writing  table.  They  were 
as  follows :  — 

I.  "  I  um  that  which  is,  —  I  am  all  that  is,  all 
that  was,  and  all  that  shall  bo,  —  no  mortal  miui 
hath  my  veil  uplifted  !  " 

II.  "  lie  is  One,  self-existent,  and  to  that  One 
all  thinfjs  owe  their  existence." 

Two  things  he  woidd  never  talk  about  —  re- 
ligion and  thorough  bass.  For  he  regarded  them 
both  as  things  ultimate  and  settled  ;  the  one  the 
tbundation  of  life,  the  other  of  music,  lie  re- 
giu'dcd  a  good  lite  as  the  only  confession  of  faith  ; 
and  tlio  production  of  true  works  of  musical  art 
as  the  only  solution  of  the  laws  of  hanuony. 
His  ILte  ancl  hLs  mu.-.ic  alike  were  a  yearning  and 
striving  towiuds  the  spiritual  essence,  which  he 
felt  to  be  sujiremc,  and  the  grouud  of  all  things. 
His  music  was  bis  religion  ;  into  that  he  poured 
liis  llie.  In  his  music  he  aspired  to  the  Inhnite. 
In  hi.-,  music  he  accomplished  the  great  sacritice 
of  sell',  and  displayed  the  heroic  will  by  liis  reso- 
lute adherence  to  the  theme,  mastering  and  con- 
trolling his  thronging  inspirations.  In  his  music 
wofi  he  always  true,  as  in  his  lite,  compromising 
notliing  for  effect,  for  immcdiiitc  success  or  com- 
fort, but  speniliug  himself  to  give  worthy  ut- 
terance to  holy  and  deep  sentiments.  In  his 
music  are  the  tcuderest  love,  and  energetic  will, 
and  lottiest  aspiration,  and  purity  and  faith  ;  as 
he  hijuselT  said,  "  The  secret  of  all  true  art  lies, 
after  all,  in  the  ntoroL"  To  such  truth-loving 
seli'-rcnunciation  as  his,  how  much  was  revealed  1 
How  much  he  has  bequeutlied  to  the  ages  in  that 
language  wliich  admits  of  no  misconstructions, 
like  words  ;  which  sets  forth  no  partial  truths, 
like  all  thoughts  and  systems  which  are  oidy 
started  to  be  contradicted ;  that  huiguage  which 
comes  from  tlie  heart  of  the  man,  and  expresses 
the  sentuueut  which  reconciles  all  confiictuig 
views,  and  speaks  to  the  heart  again  !  ^\'heu 
will  the  world  appreciate  his  music  r 

\Ve  add  the  lollowmg  from  I'etia'  Dioyraphie 
UniverseUe  :  — 

"  Never  was  tlie  interest  which  so  great  a  man 
excited  manilested  so  lorcibly  as  during  his  last 
Bickncss :  anxiety  was  depicted  on  every  face ; 
a  great  crowd  obstructed  the  avenues  to  liis 
hou.-e,  and  the  most  lUstinguished  personages 
called  at  his  door  to  leam  the  news.  The  report 
of  the  danger  which  threatened  him  was  rapidly 
circulated,  and  soon  reached  Weimar,  where 
Hummel  was,  who  departed  instantly  for  \'ienna, 
witJi  tl.e  intention  of  becoming  reconciled  to 
Beethoven,  who  had  been  angry  with  him  some 
ve;us  previous.  On  entering  the  chamber.  Hum- 
mel melted  into  teiurs ;  Beethoven  stretched  out 
his  hand  to  liim,  and  these  two  celebrated  men 
i.ei)araled  only  as  true  friends.  After  the  latal 
moment,  a  general  consternation  spread  tlirough 
the  city.  More  than  thirty  thousand  persons 
lollowed  in  the  funeral  procession,  and  among 
the  eight  masters  of  the  chapel  who  othciated  as 
pall  bearers  might  be  seen  Kybler,  Wcigl,  Hum- 
mel, Ciyrowetz,  and  Scylried.  Thirty-six  artists, 
among  whom  were  the  poets  Urillpar/.cr  and 
Castelli,  carried  the  torches.  'ITie  rciiuiem  of 
Mo/art,  as  also  a  hymn  by  M.  .Seyfried,  were  per- 
fonued  lor  the  obse<iuics,  in  the  church  of  the 
.  A.ugustincs ;  and  the  remains  of  the  great  mou 


were  deposited  in  the  cemetery  of  Wharing,  nca. 
Vienna,  where  a  monument  was  shortly  alter 
wards  erected  over  hLs  grave. 

' '  We  know  of  but  two  pupils  who  were  educated 
by  Beethoven  :  one  is  the  Archduke  llodolph, 
who  ]>ossesses  remarkable  talent  us  a  piauLst,  and 
who  has  practLse<l  with  some  success  as  a  com- 
poser;  the  other  is  Ferdinand  Uie-^.  Beethoven 
was  little  suited  to  direct  a  musical  education,  as 
he  was  too  much  preoccupieil  and  too  iin])atient, 
and  could  not  follow  the  progress  of  a  pupil  in 
methodiciU  order. 

"  Although  twenty-four  years  old  when  he  pub- 
lished hLs  trios  lor  the  piano,  violin,  and  violon- 
cello, which  he  considered  hLs  tirst  protluction. 
Beethoven  has  left  a  consideral)le  niuuber  of 
works  of  every  kind.  His  actirity  of  compo- 
sition might  indeed  be  cousidertxl  astonishing, 
were  it  not  that,  being  seclude<l  from  society  by 
the  attlicting  accident  which  deprived  him  of  hu 
hearing  about  the  year  179(),  it  was  uece>siu\v  to 
devote  his  whole  liie  to  composition,  llie  cata- 
logue of  his  productions  comjirises  thirty-tive 
sonatiis  for  the  piano  ;  thirteen  pieces  of  diHerent 
kinds  for  the  same  UL^trument,  such  as  andantes, 
fantasias,  preludes,  rondos,  and  dances;  twenty 
themes  with  variations  for  the  ])iano  idone  ; 
twenty-two  otlier  themes  with  variations  for  the 
l)iano,  with  an  accompauiiuent  for  the  violin, 
violoncello,  or  flute ;  a  sonata,  two  themes  with 
viuiatious,  and  marches  for  the  piano  for  four 
haniLs ;  ten  sonatas  for  the  piano,  with  an  ac- 
companijueut  for  the  violin  ;  sLx  duets  for  a  piano 
and  violoncello  ;  six  trios  lor  a  piano,  violin,  and 
violoncello  ;  it  trio  for  a  piano,  clarinet,  and  vio- 
loncello ;  a  quartet  for  a  piano,  violin,  viola,  and 
violoncello  ;  a  quintet  for  a  piano,  liautboy,  clari- 
net, bassoon,  and  honi ;  seven  concertos  for  the 
piano,  the  tirst  in  C,  the  second  m  B  flat,  the 
third  in  C  minor,  the  fourth  in  C  minor,  (with 
violin,  violoncello  couccrtante,  and  orchestra,) 
the  tilth  in  (i,  the  sLvth  in  I),  and  the  last 
in  E  Hat ;  a  fantasia  for  the  piano,  with  a  chorus 
and  orchestra  ;  five  trios  for  a  vioUu,  viola,  and 
violoncello  ;  a  serenata  for  a  violin,  tlute,  and 
olto  ;  seventeen  quartets  for  two  violins,  viola, 
and  violoncello  ;  thi-ec  ([uintets  for  two  violins, 
two  violas,  and  a  violoncello ;  a  sejituor  for  a 
violin,  viola,  violoncello,  clarinet,  bassoon,  horn, 
and  contra-basso  ;  a  sextuor  for  two  \-iolius,  viola, 
two  horns,  and  a  violoncello  ;  two  romances  for 
a  violin  and  orchestra,  the  first  in  U  and  the 
second  in  F  ;  a  concerto  tor  a  violin  and  orches- 
tra ;  seventy-four  pieces  for  the  voice,  with  a 
piano  accompaniment  —  among  which  we  may 
mention  the  cantata  of  '  Adelaide,"  the  '  Invita- 
tion to  the  Waltz,'  romances,  ballails,  conWvial 
songs,  canons,  and  the  '  War  Cry  of  Austria,'  a 
national  song  comiK>scd  in  1707  ;  twelve  song-.* 
for  one  or  more  voices,  with  an  orche.-tni,  in  one 
scene  of  which  Ls  the  air  '  Ah  .'  jx  ;;.i'././ .  '  tlic  song 
entitled  'Genuania;'  three  scries  ol  ,S-otch  airs ; 
a  march  and  chorus  of  the  *  liuins  of  Atheiui ; ' 
the  trio,  *  Trematc,  empi,  Irematr,'  and  an  elegiac 
song ;  two  mavises  for  four  voices,  chorus,  and 
orchestra,  one  in  C,  (op.  8f>,)  the  other  in 
D,  (op.  123;)  the  oratorio  of  '  Chii:«t  on  th* 
Mount  of  Olives  ; '  a  dramatic  cantata,  (''Ilio  glo- 
rious moment ;')  '  Fideho,'  an  0{>cra  ;  '  Egmont," 
a  melodrama ;  nine  symphonies  tor  orchestra, 
the  first  in  C,  (op.  21,)  the  second  in  I),  (op. 
3ii,)  the  third  ui  E  llat,  (■  Heroic,'  op.  5j,)  th< 
23 


DEE 


ENCYCLOPAEDIA    OF    MUSIC. 


BEE 


fourth  in  B  flat,  (op.  GO,)  the  fifth  in  C  miuor, 
'op.  67,)  the  sbcth  in  F,  (pastoral,  op.  68,) 
the  »c\-enth  in  A,  (o)).  9'2,)  the  eighth  in  F, 
(op.  9.3,)  the  ninth  in  D  minor,  with  a  chorus, 
(op.  125;)  'The  Victory  of  Wellington  at  the 
Battle  of  Vittoria,'  a  military  8>'mphouy  for  a 
double  orchestra  ;  ten  overtures  for  a  full  orches- 
tra, viz.,  '  Prometheus,'  (op.  43,)  '  Coriolanus,' 
(op.  01,)  '  K^;mont,'  (op.  81,)  'Leonora,'  (op. 
87,)  '  Fidclio,'  and  tic  '  Ruins  of  Athens,' 
(op.  113,)  '  Xahmen.sfei/ri;'  (a  patronal  festival, 
op.  11.5,)  'King  .Stephen,'  (op.  117,)  '  Wci'ie 
dfs  lldttuci,'  (The  Dedication  of  the  Temple,  op. 
124 ;)  a  characterLstic  BjTaphony,  (op.  138 ;) 
Bome  detached  works  for  an  orchestra,  consLstinfj 
of  two  minuets,  Gcnnau  dances,  two  waltzes,  and 
the  ballet  of  '  Prometheus  ; '  a  trio  for  two  haut- 
boys and  an  English  horn,  (op.  66) ;  a  sextuor 
for  two  clarinets,  two  horns,  and  two  bassoons  ; 
a  piece  in  full  hannony,  a  piece  for  four  trombones, 
and  a  march  for  a  military  band.  Some  works 
had  been  commenced  by  the  illustrious  com- 
poser, but  were  not  completed  before  liLs  death  ; 
among  which  we  may  mention  the  plan  of  a 
tenth  symphony,  (an  allegretto  in  E  tiat,  pub- 
lished at  Vicuna,  by  Artaria,  has  perhaps  been 
extracted  from  this  work ;)  an  octet  tor  two 
clarinets,  two  hautboys,  two  liorns,  and  two  bas- 
soons ;  a  harmony  of  eight  parts  in  B  fiat,  a  part 
of  wliich  has  been  published  by  Diabelli,  at 
^"ienna.  Tlie  first  two  parts  of  a  (quintet  for  two 
violins,  two  violas,  and  a  violoncello,  were  pur- 
chased by  the  same  publisher ;  aLso  a  rondo  for 
the  piano  and  orchestra,  (Vienna,  Dialjelli,)  be- 
sides three  (luartets  for  the  piano,  and  some  other 
jiicces  of  less  importance.  There  have  been  found, 
aLso,  among  the  man\i.scripts  of  Beethoven  a  great 
number  of  unpublLshed  pieces,  the  greater  part 
of  which  were  written  in  his  youth,  and  con- 
demned to  oblivion. 

"  The  works  of  Beethoven  may  be  divided  into 
several  chvsses,  each  of  which  indicates  a  pro- 
gressive development  of  his  genius.  Being  iiom 
the  first  an  enthusiastic  admu-er  of  ^lozart,  he 
could  not  escape  the  effect  of  tliis  admiration  —  an 
effect  wliich  always  manifests  itself  among  n\cn 
the  most  original,  and  the  best  qualified  for  in- 
vention. Thus,  notwithstanding  the  incontesta- 
ble originality  of  his  ideas,  the  trios  for  the  piano, 
violin,  and  bass,  (op.  1  ;)  the  sonatas  for  the 
piano,  (op.  2,  7,  and  10 ;)  sonatas  for  the  i^iano 
and  violin,  (op.  12 ;)  the  trios  for  the 
violin,  viola,  and  bass,  (op.  3,  8,  and  9  ;)  and 
the  quartets  for  the  violin,  (op.  18,)  remind  us, 
in  form  aud  arrangement,  of  the  style  of  Mozart, 
although  different  shades  of  a  more  distinct  in- 
dividuality are  observed  wlien  we  have  ad- 
van(X'd  as  far  as  op.  18.  In  the  symphony  in  C, 
(op.  21,)  this  shade  becomes  more  vivid,  and 
the  scherzo  is  indeed  the  jiiu'c  fancy  of  Beet- 
hoven. And  the  richness  of  the  composer's 
imagination  shows  itself  still  more  brilliantly 
in  the  (juintct  in  C  for  violins,  violas,  and  bass, 
(oj).  29,)  and  in  the  beautit'ul  sonatas  for  the 
uiano  and  violin,  (op.  30.)  The  symphony  in  D 
(^op.  36 >  is  a  composition  less  remarkable  for 
origiuahty  of  ideas  than  for  the  merit  of  its  arrange- 
aient,  wliich  is  very  great ;  it  Ls  in  this  symphony 
thai  we  perceive  tor  the  first  time  that  remark- 
able iustijict  lor  instruuentid  ::ombinations  which 
allerwards  gives  to  the  sjinphonies  of  Beethoven 
a  beauty  so  varied,  bo  vigorous,  aud  so  brilliant. 


But  it  is  in  the  third  sjTniihony  particular!}',  (tli« 
Heroic,'  op.  5.5,)  that  the  genius  of  the  artist 
iLsplays  itself  in  the  absolute  character  of  crea- 
tion ;  there  every  trace  of  anterior  form  disap])ears, 
the  composer  is  himself,  hLs  individuality  rises  up 
with  majesty,  and  hLs  work  bec^omes  the  type  of 
an  epoch  in  the  history  of  the  art. 

"  The  second  epoch  of  Beethoven's  life,  which 
Ls  so  distinctly  marked  by  his  '  Heroic  Sj-mpho- 
ny,"  comprises  a  i>eriod  of  about  ten  years,  during 
which  he  wrote,  besides  tliLs  work,  the  s>tu- 
phonies  in  B  flat,  C  minor,  aud  •  the  Pastoral, 
the  beautiful  quartets  of  op.  59,  the  opera  of  •  Fi- 
delio,'  the  overture  of  '  Coriolanus,'  the  bamti- 
ful  sonatas  for  the  piano  in  F  miuor,  F  sharp,  and 
E  minor,  the  concertos  for  the  piano  in  C,  G,  aud 
B  flat,  a  concerto  for  the  violin,  a  sextuor  for  two 
violins,  a  \-iola,  two  horiLs,  and  a  violoncello,  and 
his  first  mass.  ,V11  these  are,  in  general,  founded 
ujjon  a  fancy  free  and  full  of  boldness,  but  yet 
confined  within  bound*  fixed  by  taste,  and  by  a 
true  feeling  of  analogy  in  the  hannony,  and  of 
the  necessity  of  precision  in  the  idea.  To  the 
same  epoch  belongs  also  the  oratorio  of  '  Christ 
on  the  Mount  of  Olives  ; '  but  a  kind  of  restraint 
which  is  fie(iuently  felt  in  tlie  vocal  compositions  , 
of  Beethoven,  when  he  wishes  to  use  scientific 
forms,  has  tlirown  over  this  work  a  certain  hue 
of  coldness  which  injures  its  merit,  notwith- 
standing the  beautiful  ideas  which  are  diffused 
tlu-ough  it. 

"  It  appears  that  the  residence  of  Beethoven  in 
the  country  was  more  permanent  after  1811  than 
before,  aud  that  at  this  jjcriod  he  devoted  him- 
self, in  his  lonely  walks,  aud  in  the  silence  of  his 
closet,  to  historical  and  philosophical  pursuits, 
of  wluch,  until  that  time,  he  had  known  but  the 
outlines.  His  readings  became  frequent,  and  he 
was  every  day  more  fully  convinced  of  the  neces- 
sity of  confining  himself,  as  an  artLst,  to  the 
design  of  ideality,  inde])endent  of  all  exterior 
communication.  Insensibly,  and  without  his  per- 
ceiving it.  Ills  philosophical  studies  gave  to  his 
ideas  a  sUght  tincture  of  mysticLsm,  which  dif- 
fused itself  through  his  works,  as  we  may  ob- 
serve by  his  last  quatuors ;  and  without  his 
observing  it,  his  originality,  iu  becombig  sys- 
tematic, lost  something  of  its  spontaneousness. 
and  the  bounds,  within  which  he  had  until  then 
kept  it,  were  destroyed.  The  repetition  of  the 
same  thoughts  was  even  carried  to  excess ;  the 
development  of  the  subject  which  he  had  selected 
sometimes  approached  rambling  ;  the  idea  'i<>- 
came  less  clear  in  proportion  as  it  was  niort 
melancholy ;  the  harmony  was  characterized  by 
more  harshness,  and  seemed  from  day  to  day  t- 
indicate  the  weakness  of  his  recollection  of  sound-. 
—  finally,  Beethoven  wished  to  find  new  forms, 
not  so  much  for  the  effect  of  a  sudden  iusi)iiiilioii 
as  to  salLsiy  the  conditions  of  a  preconcerted  plan. 
The  works  composed  under  this  direction  o;  the 
ideas  of  the  artist  comprise  the  third  period  o; 
his  life,  and  his  last  style,  upon  wliich  we  have 
remarked  iu  the  sjTuphony  in  A,  the  trio  lor  the 
piano  in  B  flat,  (op.  97,)  and  the  last  five 
sonatas  for  the  piano  —  those  fine  works  in  ■vvhich 
i  the  beauties  more  than  make  amends  for  the  de- 
lects. ThLs  style  arrives  at  its  limit  in  the  grand 
miuss  iu  D,  the  last  ovcrtuies,  the  sjnnphony  with 
a  chorus,  and  especially  in  the  (juatuors  lor  the 
j  violin,  (^op.  127,  130,  131,  132,  and  135.) 
I      "  Thus  we  see  that  the  compositions  of  Beet- 


124 


BEF 


ENCYCLOPAEDIA    OF    MUSIC. 


BEL 


hovcn  arc  divided  into  three  classes,  each  indica- 
tive of  the  particular  direction  of  his  j;enius :  those 
of  the  first  class  IJcethovcn  did  not  value ;  he 
disliked  to  hear  them  si)okcn  of  with  ])raise,  and 
really  believed  that  those  who  praised  them  did 
it  merely  with  a  de-.ii,'n  of  undervaluint;  others. 
Such  a  di  <])osition  of  mind  is  not  without  exam- 
ple amon^  f;reat  artists,  when  they  are  advanced 
in  life.  And,  uotwithstandin;^  his  o|iiuioii  in  this 
re-<pect,  it  is  nevertheless  true  that  many  conijio- 
sitions  heloni^inp;  to  the  hrst  pcii.d  jmsscss  some 
admirable  beauties,  'llio  com]>ositions  of  the 
second  period  are  those  in  which  the  great 
musician  has  shown  the  most  power  of  invention, 
combined  with  the  most  extende<l  knowledge  of 
the  perfection  of  the  art.  This  period  extends 
froni  op.  ■').'}  to  op.  !)2.  At  the  commencement 
of  tlie  third  period,  his  ideas  suflercd  the  last 
transformation,  which  went  on  developmg  itself 
more  and  more  even  to  his  latest  work. 

"  IJut  what  dLstin;^uishes  the  compositions  of 
this  i^TCiXt  man  is  the  spontaneousness  of  the  epi- 
sodes by  which  he  arrests,  in  his  beautiful  works, 
the  interest  which  he  has  created,  by  substitutin-' 
for  it  another  as  lively  as  it  Ls  unexpected.  ThLs 
art  is  peculiar  to  him,  and  it  is  to  this  that  his 
great  success  is  to  be  attributed.  Strangers  in 
appearance,  at  tirst  thought,  these  episodes  im- 
mediately an-est  the  attention  by  their  origuial- 
ity ;  then,  wlien  the  cft'cct  of  surprise  begins  to 
Bubside,  the  composer  knows  how  to  reunite 
them  to  tlie  unity  of  his  plan,  and  makes  us  per- 
ceive that,  in  the  cn-icmhle  of  his  comjiosition, 
variety  is  dependent  upon  unity.  Hccthoven 
united  to  this  rare  quality  a  deep  feeling  of  the 
effect  of  iustruraentation,  which  docs  not  resem- 
ble that  of  any  other  author.  No  one  possesses 
as  well  as  he  the  art  ni  JiUing  up  {remplir)  the 
orchestra,  and  opposing  harmony  to  hannony. 
Hence  it  is  that  tlie  effect  of  hLs  great  works  sur- 
passes in  power  every  thing  wliich  had  been  done 
before. 

"  Whatever  diversity  of  opinion  there  may  be 
as  to  the  works  of  the  different  periods  of  Heet- 
hoven's  lite,  there  is  one  point  on  which  the  world 
will  be  forever  agreed,  viz.,  that  the  author  of 
tliese  works  deserves  to  be  reckone<l  among  the 
number  of  the  greatest  artists,  and  of  those  who 
by  their  genius  have  contributed  most  to  the 
development  of  their  art." 

BEFFIiOI  DE  IlEIGNY,  L.  A.,  cnUed  Le 
Coiuin  Jcux/ufs.  A  song  writer  at  Paris,  and 
Buthor  of  some  petili  ojteraa,  between  the  years 
178(>  and   180.5. 


(G.)    Exaltation,  excite- 


mXiEISTEUUNG. 
raent,  enthusiasm. 

BEGLEITUNG.    (O.)    An  accompaniment. 

BKGUEZ,  PIERRE-IGNACE,  was  bom  at 
Namur,  in  Belgium,  in  17S7.  At  the  age  of  sLx 
years  he  waa  entered  as  a  chorister  in  the  cathe- 
dral church  of  St.  Aubain,  where  the  bcautv  of 
Lis  voice  was  much  admired.  A  few  yeius  ajfler- 
wards,  he  quitted  the  Netherlands  for  Pari-S 
where  l;e  was  received  as  a  violin  pripil  at  the 
Conservatory  of  Music.  .Vftcr  this  time,  he  wa^s 
during  several  years,  emiiloycd  in  the  orchestra, 
»t  the  Italian  Opera  at  Paris,  which  was  under 
the  direction  of  tlie  celcbrateil  Oras-et.  He  then 
quitted  the  violin,  his  voire  having  settle<l  into  a 
due  tenor,  and  devoted  himself  entirely  to  the 


study  of  singing,  under  the  tirst  maj'ters  then  at 
Paris;  so  that,  in  the  year  ISlf,  he  gained  tlio 
tirst  prize  for  singing  at  the  Conservatory.  lu 
ISl.i,  he  made  hisi/^iii/  at  the  (irnnd  Opera,  and 
obtained  tlie  greatest  success  in  the  jirincipal  parts 
of  the  several  oi)eras,  "  Annidc,"  "  Ia:i  liaijiulvrf.i," 
and  "  Aiuicrioii."  lie  still,  however,  although  l.o 
received  much  encouragement,  felt  that  hii 
studies  had  fonued  him  rather  for  the  Italian 
than  the  French  school  of  singing ;  he  conse- 
quently decided  to  take  the  earliest  opjiortunity 
of  quitting  the  French  opera  establishment,  and 
travelling  in  Italy.  At  the  close  of  the  year 
18  li),  Begrez  went  to  England  as  first  tenor  at 
the  King's  Theatre,  to  which  estalilishnient  lie 
remained  attached  till  the  end  of  the  season  of 
1821 ;  since  which  time  hecjuitte'l  the  stage,  and 
confined  himself  to  concert  singing  and  tuition. 

BEGUE,  LE,  or  LEBEGUE,  a  celebrate<l  or- 
ganist at  Paris,  died  in  1700. 

BEIIU,  SAMUEL  IIUDOLPII.  published  some 
instrumental  trios  at  Leipsic  ui  17015. 

BELL.  A  well-known  puLsativc  metallic 
machine,  ranked  by  musicians  among  the  most 
musical  instruments  of  percussion.  'ITic  bell, 
the  metal  of  which  is  a  composition  of  tin  and 
copper,  consists  of  three  distinct  parts  —  the  body, 
or  barrel ;  the  clapper ;  and  the  ear,  or  cannon, 
by  which  the  bell  i.%  suspended.  AVhcn  liells 
were  tirst  invented,  or  who  tirst  introduccrl  them 
into  use  in  the  I^atin  church,  is  not  positively 
known.  But  it  is  certain  that  tliey  were  em- 
ployed in  the  Eastern  church  in  the  ninth 
century,  when  Ursus  Patrisiacns,  Duke  of 
Venice,  made  a  present  of  a  set  to  Michael,  the 
Greek  emperor,  who  built  a  tower  to  the  church 
Saiitta  Soji/iia,  to  hang  them  in.  Fretiucnt  men- 
tion is  made  of  bells  in  ancient  history.  At  the 
funeral  of  Alexander,  the  collars  of  the  mules 
that  drew  the  chariot  were  "  cnriche<l  with 
precious  stones  and  gold  bcUs;  and  to  the 
pavilion  of  entire  gold,  erected  on  the  chariot, 
were  fastened  large  bells,  whose  sound  was  heard 
at  a  great  distance."  Co«i)er,  in  the  person  of 
Alexander  Selkirk,  finds  no  stronger  mode  of 
expressing  the  tlreary  desolation  of  the  island  of 
Juau  Fernandez  than  the  following  :  — 

*  The  found  of  the  churrh-ffnlnfr  hrl! 
Thc»o  valli'VB  ami  nH-k«  never  ht-nrd, 
NerertieliM  ■■  Ihe  ioiiikI  i.f  a  knrll. 
Nor  aniiUHl  whon  the  Sabbath  appeared." 


Milton, 
pensir* 


All  ears  delight  in  the  music  of  a  Ml. 
for  instance,  numbers  it  among  liis 
pleasures  :  — 

"  on,  on  ■  rl"t  of  rialni  ground, 
I  hear  the  fkr-otT  eurrew  Miund, 
Orcr  ftinie  wtde-waleml  thnrr, 
S»winging  flow  with  tDllen  roar." 

The  accents  of  its  iron  tongi»e  have  a  stranga 
influence  over  human  8j-mi)athies ;  or,  rather, 
they  chime  in  with  every  tone  of  sentiment,  and 
make  religion  more  venerable,  grief  ni-irc  tender, 
and  joy  more  gladsome.  Such  an  etfe<-t  has  boon 
recognized  from  the  earliest  times.  TTic  Egyp- 
tians  ushered  in  the  festal  days  of  their  deities 
by  the  ringing  oi'  bells ;  and  bells  wore  nmg,  too, 
in  some  of  the  religious  solemnities  of  the  ancient 
Greeks.  It  is  suiiposctl  that  liells  were  infro« 
duced  into  Cliri^tinn  churches  about  the  yeai 
400,  although  they  were  not  brought  iutt 
general   uae  till   three  or  four   ccnturicij   ster 


125 


BEL 


ENCYCLOPAEDIA    OF   MUSIC. 


BEL 


wards.  They  were  given  by  princes  and  great 
men  to  relif;io\is  cominuuitie* ;  and,  in  the  early 
B<;cs  of  tlic  Catholic  faith,  it  was  usual  to  baptize 
the  l)olls,  with  jjrcat  ccicmouy;  the  crossing, 
benediction,  and  other  rites  being  pcrlbnned  l)ya 
bishop.  Many  marvellous  viitues  were  attributed 
to  them ;  and  among  the  rest  that  of  dispelling 
thunder  Ktorms,  in  order  to  effect  which,  they 
were  generally  rung  amid  the  roar  of  the  temijcst. 
ITic  church  belLs  were  also  sounded  at  the 
moment  when  the  soul  of  a  dying  person  was 
passing  from  his  body  ;  a  custom  lor  which  there 
were  two  reasons  —  one,  that  all  (Christians  might 
be  reminded  to  pray  for  their  departing  brother ; 
and  the  other  because  the  kneU  was  believed  to 
chase  away  the  evil  spirits,  who  watched  around 
the  sinner's  death  bed.  Bells  have  the  same 
general  shape  in  all  countries;  and  it  Li  con- 
jectured that  their  fonn  was  imitated  from  that 
of  a  pot  or  kettle.  They  have  recently  been 
made  without  any  curvature  of  the  sides,  but 
straight  up  and  down,  like  a  tub.  llie  largest 
beUs  in  the  M-orld  are  in  Nankin  and  in  Moscow. 
lu  the  former  city  there  were  four  bells  of  such 
size,  that,  though  they  were  never  swung  in  the 
heliry,  but  merely  struck  with  a  wooden  mallet, 
they  caused  the  tower  to  fall,  and  are  said  to  be 
still  Ipng  amid  the  ruins.  In  Moscow  there  is 
a  bell  which  was  presented  to  the  cathedral  of  tliat 
city  by  the  Empress  Anne,  the  height  of  which 
is  twenty-one  feet,  its  circumference  near  the 
bottom  more  than  sLxty-seven  feet,  and  its  weight 
at  least  four  hundred  and  thirty-two  thousand 
pounds.  It  remains  in  a  deep  pit,  where  it  was 
cast,  and  has  a  Kssure  in  its  side,  tluough  wliich 
two  persons  may  pass  abreast  witliout  stooping. 
TliLs  enormous  bell  is  worth  above  three  hundred 
thousand  dollars,  considering  it  merely  as  a  mass 
of  old  bell  metal,  and  \\-ithout  reckoning  the  gold 
and  silver,  a  large  amount  of  which  Ls  supposed 
to  Ix;  mingled  with  its  materials ;  for  tradition 
affirms  that,  while  the  metal  was  in  a  state  of 
fusion,  many  of  the  Russian  nobility  and  people 
threw  in  their  plate  and  coin.  The  tone  of  a 
beU  Ls  thought  to  be  greatl}'  improved  by  a 
mLxture  of  silver.  Bell  metal  is  composed  of 
copper  and  tin,  generally  in  the  proportion  of 
twenty-tliree  pounds  of  the  latter  to  one  hundred 
of  the  former;  and  it  is  a  singular  fact,  that  not 
only  is  tlie  compound  more  sonorous  than  either 
of  the  metals  separately,  but  Ls  also  heavier  than 
their  aggregate  weight.  Bells  of  moderate  size 
ire  moulded  in  the  manner  of  large  pots.  In 
•.he  manuiacture  of  larger  ones,  i)its  are  diig  in 
the  eiirth,  and  they  are  cast  in  a  sort  of  pla.ster 
moulds.  A  cracked  bell  is  generally  considered 
irremediably  ruined  ;  but  attempts  have  recently 
been  made,  and  sometimes  \nth  success,  to 
restore  the  jiropcr  tone  by  cutting  out  the 
fractured  part.  While  the  "  Great  Tom "  of 
Lincoln  was  undergoing  tliis  operation,  a  piece 
was  broken  off  the  rim,  eight  feet  in  length,  and 
weigliing  six  liundred  pounds.  It  would  have 
been  by  no  means  wondcr-'ul,  if  our  pious  an- 
ient ors,  w}ien  they  emigrated  to  New  England, 
faad  rejected  the  use  of  IhjUs,  and  refused  to  be 
thus  summoned  to  public  worship,  because  the 
itarae  mode  was  i)ractised  in  the  churches  and 
high  cathedrals  of  the  ancient  faitli.  They  do,  in 
fact,  in  some  of  the  country  towns,  and  jirobably 
in  Boston,  during  the  first  years  of  its  settlement, 
api>ear  to  have  hubstituted  the  beat  of  a  drum. 


instead  of  the  ringing  of  a  bell,  on  Sabbath  and 
lecture  days.  This,  however,  was  attributable 
to  the  necessity  of  the  case ;  and  bells  were 
imnorted  from  England  almost  as  soon  as  the 
Pilgrims  had  excliangetl  the  canopy  of  forest 
bougliri  for  a  temple  built  with  hands.  Tiie 
earliest  use  of  belLs  in  North  America  was  prob- 
ably in  the  French  and  Catholic  city  of  Quebec. 
Every  little  chapel  in  the  wUdemess,  where  the 
French  Jesuits  preached  to  the  red  men,  had  its 
bell.  AVe  recollect  to  have  seen,  in  the  museum 
of  Bowdoin  College,  one  which,  we  believe,  had 
belonged  to  the  chapel  of  the  martyred  Father 
liaUe.  After  the  priest  was  slain,  and  hLs  altar 
desecrated,  by  the  bloody  hands  of  the  New 
England  rangers,  this  beU,  if  we  mistake  not, 
lay  hidden  many  years  beneath  the  forest  leaves  ; 
until,  being  accidentally  brought  to  light,  it  was 
suspendetl  in  the  belfry  of  the  college  chapel. 

BELLA,  DOMENICO  DALLA.  A  performer 
on  the  violoncello,  and  composer  in  Italy,  in  the 
beginning  of  the  eighteenth  century. 

BELLAMY,  THOMAS  LUDFOIID,  was  born 
in  the  parish  of  St.  John,  Westminster,  in  1770. 
He  was  the  son  of  llichard  Bellamy,  the  cele- 
brated bass  singer  of  his  day,  from  wliom  he 
received  his  first  musical  education.  Ilis  next 
instruction  was  from  Dr.  Cooke  ;  and  afterwards, 
when  his  voice  changed  to  a  bass,  he  became  a 
pu])il  of  the  celebrated  Tasca,  with  whom  he  was 
to  have  gone  abroad  in  the  year  succeetling  to 
that  in  which  Tasca  died.  Thus  disappointed 
Bellamy  pursued  his  studies  in  London  for  some 
time,  and  was  appointed  deputy  to  his  father, 
and  others,  in  the  King's  Chapel  at  St.  James's, 
and  in  St.  Paul's  and  ■\Ve..tminstcr  Abbey.  He 
was  also  employed,  from  time  to  tune,  at  the  An- 
cient Concerts ;  on  one  of  which  occasions,  and 
some  time  preceding  the  last  commemoration  of 
Handel,  in  1791-2,  he  was  particularly  noticed  by 
Joah  Dates,  who  kindly  volunteered  giving  him 
a  series  of  lessons  in  singing  ancient  music.  In 
consequence  of  such  instruction,  Bellamy's  per- 
formance at  those  concerts  was  soo:i  crownied  with 
the  most  flattering  success.  In  the  year  1794,  find- 
ing little  hopes  of  promotion  but  in  the  event  of 
deaths,  Bellamy  resolved  on  accepting  an  offer 
made  him  to  go  to  Ireland,  as  agent  to  a  nobleman's 
estates,  which  he  enjoyed  but  a  short  time,  as  cer- 
Uxin  mortgages  were  foreclosed,  and  he  was  super- 
seded, and  left  to  sjjeculate  In  a  theatrical  career, 
which  commenced  by  his  being  appointed  stage- 
manager  to  the  Dubliji  Theatre,  in  the  yciu:  1797. 
Here  he  was  extremely  successtul,  and  in  the 
year  1800  purchased  into  the  Manche-.^tcr,  Ches- 
ter, Slirewsbury,  and  Litchfield  theatres,  as  joint 
]>roi)rietor ;  which  projierty  he  sold  in  the  ycai-s 
180:i— 1,  and  purchased  the  Belfast,  l/ondonderrj-, 
and  Newry  theatres,  becoming  sole  proiirietor. 
This  last  speculation  proving  unfortunate,  Bel- 
lamy accepted  an  engagement  at  Coveut  Uarder 
Theatre  for  five  years,  and  was  also  ap])ointed  a 
member  of  the  Ancient  and  Vocal  Concerts, 
Oratorios, &c.  In  Ifil'i  he  was  engaged  at  Drury 
Liuic  for  five  years,  retaining  Ills  concert  engage- 
ments and  the  country  meetings,  in  conjunction 
with  Bartlcman,  who  was  his  friend  and  contem- 
porary (man  and  boy)  untU  the  day  of  his  death ; 
u])on  which  event  Itellamy  was  appointed  prin- 
cipal bass  singer  of  the  Ancient  Concerts.  Ho 
also  held  the  appointment  of  master  of  the  choiz 

20 


BEL 


ENCYCLOPEDIA    OF    MUSIC. 


15  EL 


of  his  Catholic  majosty'B  chapel,  luider  the 
Bpanish  embassy,  to  which  he  was  nominated  in 
the  year  ISl!).  Bellamy  had  not  time  to  write 
for  publication,  all  liis  hours  unoccupied  in  pub- 
lic performances  having  been  engaged  in  tuition, 
in  the  conduct  of  his  music  actulemi/,  established 
upon  the  Lo(/ierian  system,  hluco  the  year  1818. 

BELLAXDA,  LUDOVICO.  A  very  cele- 
brated Italian  vocal  composer  about  1590. 

BELLAVEll,  VIXCKXT.  A  poet  and  com- 
poser of  madrigals  at  Venice  in  lofiS. 

BELLEUMAN,  t'ONSTANTIX,  bom  at  Er- 
furt in  1690,  publislicd  many  vocal  and  instru- 
mental musical  works  bctweeu  the  years  1726 
and  1735. 

BELLETO,  GIOVANNI,  the  barytone,  who 
accompanied  Jenny  Lind  on  her  Wsit  to  the 
United  States,  was  bom  in  Genoa  in  the  year 
1815.  He  liad  ever  been  passionately  fond  of 
music ;  yet,  deeply  as  he  loved  it,  he  did  not  com- 
mence his  regular  stiidies  with  the  view  of 
adopting  it  as  a  profession  until  he  had  attained 
the  age  of  seventeen.  At  tliis  time  he  was 
admitted  as  a  student  in  the  Conservatory  of 
Bologna,  under  the  direction  of  Signor  Donelli. 
Under  the  tuition  of  this  master  he  speedily 
arrived  at  a  sutKcient  knowledge  of  the  piano  to 
make  liis  appearance  in  publiu.  He  then  placed 
himself  under  the  tuition  of  Signer  Pilotti,  a 
master  of  counterpoint  in  the  same  institution, 
and  ui  the  space  of  a  single  year  and  a  half  was 
enabled  to  ])as3  his  examination,  at  which  lie 
acquired  the  diploma  of  a  comi)oscr  and  teacher 
of  singing.  Alter  this  he  returned  from  Bologna 
to  his  native  city,  and  became  tlie  master  and  com- 
po:ier  attached  to  the  cathedral.  Ho  was  paid 
by  a  purely  honorary  stipend  ;  but  after  hLs  voice 
had  been  tried  in  a  few  miusscs  it  attracted  notice, 
and  many  of  his  friends,  seeing  that  he  had  the 
means  of  making  it  more  lucrative  than  he 
would  probably  ever  make  hLs  present  ])osition, 
advisod  him  most  strongly  to  undertake  the  far 
more  largely  paid  career  of  a  theatrical  vocalist. 
After  long  hesitating  whether  or  not  to  comply 
with  their  advice,  his  indecision  was  brouglit  to  an 
end  by  the  Chevalier  Bystrom,  the  sculptor  to  his 
majesty  the  King  of  Sweden,  who,  alter  some 
difficulty,  induced  him  to  follow  him  to  Stockholm. 
Here  propositions  were  made  him  of  an  engage- 
ment at  Uie  Uoyal  nieatre.  'fliese  he  determined 
upon  accepting.  He  consequently  found  himself 
singing  at  the  side  of  Jenny  Liiid,  who  had  not 
at  this  time  commenced  the  career  which  ha.s  so 
completely  dazzled  and  bewildered  Europe.  His 
dibitt  was  maile  in  the  "  l.iirin  di  Lamnurmnor." 
In  tliis  ojH'ra  he  obtained  a  highly-satisfactory 
success,  and  in  conse<i\ience  determined  upon 
embracing  the  career  which  was  offered  him  by 
the  stage.  In  tliis  theatre  he  remained  four 
years.  About  this  period  Jenny  Lind  quitted 
Stockholm  to  make  her  first  ajipearanco  at  Berlin, 
and  shortly  after  Signor  Belletti  rc-^olved  upon 
returning  to  hLs  native  country. 

Here  he  wils  wanuly  recoiveil,  and  establLshed 
his  success  in  Europe  by  making  a  reputation  of 
the  highest  order  in  his  own  country  —  a  repu- 
tation to  bo  justified  not  alone  by  the  natural 
Rifts  of  his  voice,  b»it  by  the  thorough  and 
admirable  application  of  that  musical  science  to 
whose  acquirement  hLs  earliest  years  had  been 
devoted. 


In  the  midst,  however,  of  his  arrangement* 
witli  the  varioiLs  Italiait  tlieatrcs,  he  was  written 
to  by  Mr.  Lumley,  and  offered  an  engagement  in 
London  at  her  Majesty's  Theatre.  The  ])rospect 
of  again  finding  himself  singing  with  Jenny  Lind 
induce<l  him  to  accept  thLs  offer.  He  remained 
with  Mr.  Lumley  tliree  years,  and  made  such  a 
decide<l  impression  upon  the  English  i)ublic  that 
he  woiild  in  all  probability  not  have  separated  hi* 
future  from  them,  had  it  not  been  at  the  ^vLsh  of 
Jenny  Lind  herself,  who  urged  him  to  acce])t  the 
proposition  made  him  by  Mr.  Bamum,  and  ac- 
company her  to  America,  where  he  sang  iu  all 
her  concerts  until  her  marriage. 

As  an  operatic  artist,  Signor  Belletti  holds  * 
high  rank;  but  as  an  accomplished  and  clevfr 
musician,  he  has  a  right  to  take  even  higher 
ground.  Since  his  return  to  Europe,  Belletti  has 
sung  at  the  operas  of  I»ndon  and  I'arLs  with 
great  distinction. 

BELLEZZA,  CON.  (I.)  With  beauty  of 
expression. 

BELLI,  GIOVANNI.  A  celebrated  soprano 
singer,  in  1750,  at  Dresden.  He  drew  tears  from 
most  of  hLs  audience  in  the  air  of  "  V  OlimpiaHe," 
beginning,  "  Consola  il  genitore."  He  ilied  at 
Naples  in  1760. 

BELLINI,  VINCENT,  a  dramatic  composer, 
was  bom  on  the  .3d  of  November,  1S02,  at 
Caiania,  a  city  of  Sicily,  and  cnteretl  at  a  very 
early  age  as  a  pupil  at  the  Consen-atory  of  Mu.sic 
at  Naples.  After  having  lcame<l  to  piny  on  some 
instrumeiifs,  and  stiidicd  the  i)rinciplea  of  sing- 
ing, he  had  for  a  master  in  counteqioint  Tritto, 
and  after  his  death  Zingarelli.  WliiU  these 
masters  taught  him  amounted  to  but  little ;  for 
musical  studies  have  been  for  a  long  time  in  n 
poor  condition  in  Italy,  and  especially  at  Naples 
—  iu  addition  to  which  Zingarelli,  although 
sutHciently  well  acquaintetl  with  the  tniditionsof 
the  ancient  school,  yet  took  little  interest  in  the 
pupils  of  the  Conservatory  intnL^ted  to  hLs  care, 
and  gave  them  but  few  lessons.  Bellini  ought 
therefore  to  be  considcre<l  rather  as  a  musician 
of  instinct,  who  has  formed  hinLself,  than  as  a 
pupil  of  any  one  great  school :  hLs  best  stutlies, 
those  o(  Mercadante  for  example,  cousLsted  in 
the  reading  of  some  works  of  celebrated  masters. 
.•Vfter  having  published  at  Naples  some  small 
compositions  for  different  instmments,  such  as 
the  tiute,  clarinet,  and  piano,  Bellini  produced 
there  a  cantata  entitlc<l  I.^mf  iw,  tiiteen  overtures 
and  s)Tnphonies,  thrceentirc vespers,  two  "Dixit 
DomiiiiiA,"  three  mas'*c>s,  and  some  other  piecas  of 
religious  music.  HLs  first  opera,  "  AdeUon  r 
Salriiut,"  was  pcrfonned  in  18'i4  in  the  little 
theatre  of  the  lloyal  College  of  Music ;  two 
years  after  which  he  funushcd,  for  the  Saint 
Charles  Theatre,  "  liiaiim  e  (Jmiaiuin."  lliese, 
hLs  first  productions,  made  known  the  talent  of 
the  youthful  composer,  and  excited  high  expec- 
tations of  him  for  the  future.  'ITie  sxiccess  of 
"  liianm  e  (Irnianih  "  procurcil  him  an  engage- 
ment for  the  theatre  Delia  .Scala,  at  Milan,  in 
18'.'7  —  a  privilege  which  a  musician  rarely 
attains  at  hLs  dibiit ;  for  the  most  celebrated 
ma:itcrs  have  fTC<iuently  written  their  first  v  orki 
for  some  small  cities,  and  it  is  not  until  after  hav- 
uig  acquired  some  renowni  that  they  are  ii  rited 
to  compase  for  the  tics  of  the  prima  carUik 


'27 


BBL 


ENCYCLOPAEDIA    OF    MUSIC. 


DEL 


Fortune  speraed  to  fiivor  Bellini  also  in  offer- 
ing  hiin  tlie  best  singers  of  Italy  to  perform  his 
compositions :  thns,  for  the  "  J'irata,"  which 
•was  repreented  at  Milan  in  1827,  and  which 
Bttrai'ted  to  its  author  the  attention  of  the  mu- 
Bieal  world,  he  had  the  good  fortune  to  find  in 
Iluhini  that  talent  which  was  l)est  adapted  to  the 
principal  character  in  his  work.  .Some  other 
circumstances  also  favored  him  at  his  dchitt  —  the 
uuexamjiled  popularity  wliich  the  productions  of 
llossini  liad  ac(niircd  during  a  period  of  nearly 
fifteen  years ;  the  immoderate  use  which  had 
been  made  of  them  by  reproducing,  in  a  hundred 
dift'erent  ways,  the  melodies  of  his  works  ;  and 
finally  the  tickle  taste  of  the  ItaUans,  which, 
after  having  raised  statues  to  the  genius  of  an 
nrtL^t,  the  next  day  destroys  the  idols  which  it 
worsliii)ped  the  evening  before  —  aU  tliLs,  I  say, 
favored  Belhni ;  and  being  a  man  of  genius,  he 
knew  how  to  take  advantage  of  the  favorable 
circumstances  which  were  offered  to  him.  lie 
perceived  that  the  imitation  of  Rossini's  style, 
into  which  were  thrown  those  of  Paccini,  Mer- 
cadante,  Carafa,  and  Donizetti,  in  his  first  works, 
■was  no  longer  suited  to  the  taste  of  the  people 
who  had  already  begun  to  show  their  satiety  of 
this  style,  notwithstanding  those  beauties  of  the 
first  order  which  the  master  had  there  lavished. 
AMietlicr  it  were  the  result  of  instinct  or  reflection, 
he  perceived  that,  after  so  many  brilliant  thmgs, 
n  simple,  expressive  manner,  and  one  analogous 
to  the  dramatic  character  of  the  French  music, 
would  be  that  by  means  of  which  he  could  afford 
the  greatest  novelty  to  an  Italian  audience  ;  and 
it  was  under  the  influence  of  these  ideas  tliat 
he  -nTote  las  "  Pirata."  Its  success,  which  was 
doubtful  at  the  first  representation,  was  tlie  next 
tuue  very  brilliant,  and  the  piece,  to  use  the 
popular  i)hrase,  was  all  the  raijc.  In  1828  "  La 
Straniera"  was  welcomed  with  enthusiasm  at  the 
great  tlieatre  of  Milan,  on  which  occasion  Madam 
Meric  Salande  (who  was  considered  at  that  time 
one  of  the  best  singers  of  Italy)  and  Tamburini 
sang  and  contributed  much  to  its  success.  From 
this  time  Bellini  attracted  the  attention  of  all 
Italy  ;  and  "  /  Capukti  ed  i  Monlecchi,"  performed 
at  Venice,  and  "  La  .Sonnambtda,"  -Nvritten  at  Milan 
for  Mme.  Pasta,  added  to  his  reputation. 

Bellini  has,  however,  been  censured  for  condens- 
ing the  forms  of  a  great  part  of  the  pieces  of  liLs 
compositions  into  narrow  proportions,  and  writing 
his  instrumentation  with  negligence.  lie  ap- 
peared to  be  susceptible  to  this  criticism,  and,  iii 
his  opera  of  "  Norma,"  made  hLs  style  more  grand 
and  nervous.  This  production,  written  for  Milan, 
had  at  first  rather  doubtful  success ;  but  it  after- 
wards recovered  itself  so  far  as  even  to  excite 
enthusiasm  in  Italy,  to  wliich,  however,  the 
admirable  dramatic  talent  of  Madame  Mahbran 
contributed  not  a  little.  In  "  llcatricc  di  Tenda," 
which  succeeded  "  Surma,"  the  composer  has 
been  less  happy ;  but  he  had  already  determined 
to  carry  his  talent  to  other  climes,  and  to  found 
in  France,  upon  a  solid  basis,  both  liis  fortune 
and  his  fame.  Arriving  at  Paris  in  183.3,  he  first 
studied  the  taste  of  the  inhabitants  of  that  great 
city,  and  then  went  to  I<ondon  to  direct  the 
arrangement  in  a  scei\e  of  one  of  his  works ; 
and  on  hit  return  to  Paris  in  1831,  he  «Tote  "  / 
I'ttritiiiii  "  for  the  Italian  Theatre  of  that  city. 
The  good  fortune  with  wliich  Belhni  had  even 
to  tlm  time  been  bicsricd  still  smiled  upon  liim, 


on  this  occasion,  in  affording  him  the  most  satis- 
factory combination  of  singers  that  could  he 
made  —  Uubini,  Tamburiui,  Lablache  and  Mile. 
Grisi,  each  in  their  sphere,  jiossessing  talents  of 
the  highest  order.  Nevertheless,  if  the  singers 
favored  the  author  of  the  "  J'uritani,"  he  had  also 
the  merit  of  disposing  these  singers  ui  his  work 
in  such  a  manner  a-s  to  present  them  under  the 
most  favorable  aspect. 

Bellini  had  learned,  while  he  was  at  Paris,  that 
the  French  pubhc  was  not  enchanted  by  two  or 
three  small  pieces,  and  that,  m  order  to  be  suc- 
cessful with  them,  it  was  noce;sary  to  offer  them 
works  composed  with  more  care  than  the  greater 
part  of  those  wliich  are  repre-iented  in  Italy. 
Hence  it  happens  tliat  "  The  Puritans  "  is  a  more 
finished  composition  than  his  other  operas;-  it 
contains  more  variety,  a  more  elegant  instru- 
mentation, and  more  perfectly  developed  forms. 
Although  there  have  crept  into  it  many  defects  in 
the  style  of  writing  and  modulations  which  are 
badly  followed  out,  yet  his  jjrogress,  so  far  as 
art  Is  concerned.  Is  incontestable. 

Belhni  died  ui  183.5,  at  the  early  age  of  thirty- 
three.  —  Fitis'  Biographic  i'/iivcrsclle. 

BELLOCm,  SIGNORA  GEORGL  An  ItaUap 
singer.  She  sang  at  the  0])cra  and  various  con- 
certs in  London  in  the  yciir  181",  and  several 
subsequent  sea-sons.  She  had  a  sound,  good  style, 
but  her  voice  was  remarkable  neither  for  tuue 
nor  compass. 

BELLOLI.  There  were  two  celebrated  horn 
players  of  this  name  (father  and  son)  at  MUan 
at  the  beginning  of  tliis  century. 

BELLS,  MUSICAL.  Music  bells,  or  carilhtvt, 
are  preserved  in  several  parts  of  Britain,  and  in 
many  towns  of  the  continent.  They  arc  played 
by  means  of  kej-s  resembling  those  of  a  piano- 
forte, and  when  well  tuned,  and  heard  at  a  dis- 
tance, the  music  is  not  disagreeable.  It  is  not 
evident,  when  they  were  first  introduced,  but  they 
may  be  of  considerable  antiquity,  the  number 
augmenting  according  as  alterations  were  made 
in  music.  Prefi.xed  to  a  manuscript  copy  of  the 
Psalms,  as  old  as  the  fourteenth  century,  is  a 
painting  of  King  David,  pla>-ing,  with  a  hammer 
in  each  hand,  on  five  beUs  hung  up  before  him. 
In  the  great  tower  of  the  cathedral  at  Antwerp 
were  suspended  thirtj'-three  music  bells,  the 
largest  seven  feet  wide  and  eight  feet  high,  the 
melody  of  which  is  liighly  celebrated.  The  late 
Mr.  Joseph  Strutt  obseri'cs,  that  he  saw  a  man  in 
London  ring  twelve  bells  at  a  time ;  two  were 
placed  on  his  head,  he  had  two  in  each  hand, 
one  was  affixed  to  each  knee,  and  two  upon  each 
foot ;  all  of  which  he  managed  with  great  adroit- 
ness, and  i)erfonncd  a  vast  variety  of  tunes. 

BELL  RINGER.  One  whose  occupation  is  to 
ring  a  bell  or  bells.  A  company  of  Swiss  bell 
rmgers  visited  many  of  the  cities  and  large 
towns  in  the  Eastern  and  Southern  States  in  1844, 
and  with  their  unique  performances  excited  con- 
siderable attention.  Four  of  these  men  had  be- 
gun to  practlic  their  difficult  art  seven  years 
before.  At  first  they  used  but  seven  bclLs,  but 
gradually  increased  the  number  to  twcuty-sLx. 
The  company  consisted  of  seven,  ar  A  they 
used  forty-two  bells,  varying  in  size  froc  a  large 
cow  bell  to  the  smallest  dinner  bell.  Tne  clap- 
pers ore  upon  a  spring.     A  piece  of  leather  goea 


12A 


BE  I. 


ENCYCLOr.EDIA    OF    MUSIC. 


BKL 


Jhrough  the  ball  of  the  tongue ;  the  leather 
strikes  the  bell,  and  rcjulers  the  tone  more  soft 
and  sweet.  The  lowest  boll  is  the  lowest  C  ot"  the 
treble  clef,  and  tliey  run  up  three  octaves  and 
one  fourtli,  with  all  the  semitone^.  Four  of 
them  j)laye(l  the  air  ;  the  others  played  a  hanuon y 
in  the  lowest  octave  of  the  bells,  similar  to  a  guitar 
nccompaiiiment  to  a  song,  'lliey  trilled  notes 
beautifully.  Kvery  i)iece  of  music  is  necessarily 
arranged  for  them.  Ueing  unable  to  read  music, 
the)  learned  it  altogether  by  the  ear  Ihit  i\\- 
ture  and  art  have  made  them  so  perfect  in  this 
matter,  thut  one  of  them  cannot  ring  a  false  note 
without  its  being  instantly  detected  by  nil  the 
others.  'ITieir  memory,  too,  is  wonderful.  Any 
•ne  of  them  can  tell  instantnmeously  all  the  notes 
ihat  arc  to  be  played  for  ten  bars  ahead.  Their 
ncUs  have  to  be  changed  frequently,  often  with 
as  much  rapidity  os  jirinters  take  up  their  tj'i)es. 
Kach  peribrmer  appeared  to  have  liis  own  lot 
of  bells  upon  the  table  before  him  ;  but  the  result 
showed  tluit  the  use  of  thnm  was  sometimes  in- 
terchangeable along  the  whole  line  of  perform- 
ance. The  performance  began  by  each  advancing 
one  step  to  the  table,  and  seizing  a  bell,  which 
they  elevated,  with  its  mouth  outward  towards 
the  audience,  and  moved  it  so  as  to  cause  the 
tongue  to  strike  once,  when  that  was  retunied  to 
the  table,  and  anotlier  .seized ;  and  thus  the  music 
went  on  —  some  of  the  richest  sounds,  the  most 
nicely  varied,  that  we  ever  heiurd.  All  the  parts  of 
the  tune  were  carried  on,  each  one  striking  his 
note  or  notes  at  the  exact  instant ;  and  the  time 
was  iterf'ct.  lliere  is,  to  be  sure,  somethuig  per- 
fectly wonderful  even  in  the  manual  and  mechan- 
ical dexterity  with  wliich  they  manage  to  extract 
B\ich  ex(iuLsite  melody  from  such  apparently  un- 
promising material-,  and  to  make  forty-two  com- 
mon-looking bells  discourse  such  eloquent  music  ; 
but  this  is  not  all,  or  even  one  half  the  mar\-el  of 
their  performances,  'lliey  play  all  sorts  of  music, 
and  execute  the  most  dilKcuJt  passages  with  a 
precision  and  harmony  that  delighteth  even  the 
fastidious  and  most  scientific  admirers  of  the  art. 
ITiere  are  peals  of  beUs  rxuig  in  the  towers  of 
many  cli\irches  m  Germany,  called  cariHons,  or 
chimes,  on  which,  by  the  contrivance  of  a  rope 
fastened  by  the  clappers,  and  collected  together 
at  the  lower  extremities,  tunes  are  played  at  stat- 
ed hours  in  the  day. 

Let  us  next  consider  the  duties  of  the  bells  as 
they  hang,  a  m\isical  octave,  in  their  airy  home. 
ITiese  duties  are  threefold  —  to  cliime,  to  ring  in 
peal,  and  to  toll ;  and  they  arc  tlius  dctiucd  in 
tome  quaint  old  vcrsides  :  — 

"  To  cmll  the  fold  lo  church  In  time, 

Wc  chlinr. 
When  joy  and  mirth  arc  on  the  wIdc 

Wc  rin«. 
When  we  lament  ■  driiartnt  eoul. 

We  tulL- 

Uncomraon  as  the  prnctice  Li  —  at  least  in  this 
part  of  the  cotmtry  —  only  to  chime  the  bells  as 
the  call  to  church,  (this  being  generally  done  by 
half  an  hour's  good  round  ringing  with  changes, 
and  closing  perhaps  by  tolling  a  sini;le  bell.l  there 
Ls,  nevertheless,  no  doubt  of  its  being  the  proi>cr 
way.  Lest  any  of  our  readers,  however,  should 
not  understand  what  chiming  is,  it  consists  of 
swinging  the  beU  to  and  fro  by  the  rope,  so  tliat 
it  moves  like  the  pendulum  of  a  clock,  and  comes 
In  contact  with  the  cUpper,  which  remains  nearly 
•tAtiouory  inside,  owing   to   its  weight  and   the 

17  l: 


loose  manner  of  suspending  it.  Nor  let  any  one 
despise  this  method  as  a  dull  substitute  for  th« 
wilder  pe;il,  which  seems  to  cheer  the  i)e<5ple  on 
their  walk  to  chiu-ch  by  its  sonorous  changes. 
It  is  possible  that  those  who  obje<'t  may  never 
have  listened  to  good  chimes.  If  so,  let  them 
withhold  their  judgment,  for  wo  can  assure  them 
that  eight  sweet-toned  bells,  if  well  cliimed,  af- 
ford as  beautiful  music  as  ever  channed  a  C'lu^is- 
tian's  ear.  'ITie  effect,  too,  being  more  solemniz- 
ing than  inspiriting,  Ls  only  more  becoming  the 
occasion  ;  and  this  inlluence,  though  viu^-ing  ac- 
cording to  circumstances  of  place,  time,  health, 
and  state  of  mind,  will  seldom  fail  to  induce  feel- 
ings in  harmony  with  devotional  exercises,  and 
to  move  the  sensitive  with  tendere-.it  impressions. 

Ringing  a  jital  hiw  next  to  be  noticed.  This  is 
done  on  idl  occasions  of  congratulation  or  festiv- 
ity ;  such  as  marriai;es,  births,  victories,  election!!, 
the  arrival  of  distinguisheil  persons,  &c.  A  peal, 
in  technical  language,  is  a  performance  on  the 
beUs  of  more  than  .5000  changes ;  and  it  occu- 
pies the  ringers  a  considerable  period  of  time, 
generally  more  than  tlirce  hours.  But  a  touch 
or  flourish  on  the  bells,  wliich  b  the  ordinary 
method  of  notifying  any  joyful  occurrence,  Ls 
round  ringing  varied  by  changes  at  the  option  of 
the  ringers,  or  according  to  the  custom  of  the 
beltry.  It  is  usual  in  the  first  instance  to  set  the 
beUs  ;  that  Ls,  to  throw  every  bell,  with  its  mouth 
upward,  in  a  stationary  position  in  the  frame. 
And  then,  every  ringer  being  ready  in  his  jdace, 
the  treble  beU  is  first  dropped,  and  off  they  all 
go  in  quick  succession,  closing  the  round  with 
the  stroke  of  the  heavy  tenor.  ITiLs  performance, 
often  repeated,  is  called  round  ringing,  to  distin- 
guish it  from  change  ringing ;  and  fonnerly  it 
was  the  custom  to  close  every  change,  as  well  as 
every  round,  with  the  tenor  bell.  liut  this  prac- 
tice is  discontinued,  as  any  bell  may  conclude  a 
change. 

A  common  peal  of  rejoicing  might  be  arranged 
thus  :  First,  round  ringing  for  one  hundred  times  ; 
then  firing  a  number  of  cannons,  which  means  a 
simultaneous  crash  from  all  the  bells ;  then  the 
belLs  trip  off  lightly  again,  1,  2,  3,  4,  5,  G,  7,  8, 
from  treble  to  tenor.  And  again,  and  yet  again 
they  go,  quicker,  at  each  rotation,  until  the 
sounds  flash  past  the  ear  just  as  the  sjiokes  of  a 
turning  wheel  dazzle  the  eye ;  and  then,  on  a 
sudden,  they  all  stop  as  if  the  whole  jieal  were 
demolishetl.  liut  no;  the  belLs  are  only  set, — 
mouths  up  agaui  in  their  cage, — and  first  one 
of  them  drops  for  a  single  stroke,  and  then  an- 
other, just  to  prove  tliat  they  had  not  lost  their 
voices. 

Let  us  try  a  wedding  peal,  which  our  fair  rend- 
ers may  ])ractise  for  amusement  on  the  piano-forte, 
since  it  is  certain  thit  they  will  not  attend  to  it 
when  it  gilds  their  own  nuptial  mom.  Wo  will 
first  ring  twelve  rounds  in  regular  order,  1,  2,  .3,  4, 
6,  (>,  7,  »,  then  twelve  changes  on  the  l>ell»  in  the 
following  rota,  1,  .5,  '.',  fi,  ;{,  7,  4,  8,  then  twelve 
changes  thus,  1,  .1,  .5,  7,  2,  4,  fi,  8,  then  twelve 

chorda  thiL«,  e  !!  -  -,  and  conclude  the  peal  with 
twelve  rounds,  as  at  starting. 

Ah  I  was  it  not  the  merry  peal  thus  dc!icribcd 
which  holds  that  i>oor  lad's  attention,  who  Icau.i 
against  a  mile  stone  nt  llnllowoy  on  a  certain  cold 
Xovemlwr  mom :     His  small  wallet  L*  over  hli 

i  shoulder,  containing  all  that  he  has  in  the  world. 

29 


BEL 


ENCYCLOPJSDIA    OF    MUSIC. 


BEN 


He  has  run  rwbv  from  his  employer.  He  is  go- 
in^  he  knows  not  whither;  any  where  to  which  a 
chance  or  u  kind  word  may  inWte  him.  But  who 
Is  there  to  siiciik  to  the  lonely  runaway  ?  Hark  ! 
R  voice  of  Providence  tlirounh  the  air  seems  to 
j^rcpt  him.  The  wind  is  pently  blowing  from  the 
Pouth-eiist,  and  it  wafts  the  sound  of  ei-^ht  bells 
in  full  peal  into  his  oars ;  and,  as  he  listens,  his 
fancy  extracts  from  them  a  clearer  promise  than 
Delpliic  oracle  ever  spoke. 

1         2         .t         4         s         6        7         8 
Tum        a       pain,       a       pAn,  Vi'hit     ting     ton, 
Lord   mayor,  lord    mayor    of      Lon     don    town. 

And  again  in  the  chords,  the  notes  of  which 
are  struck  slightly  apart,  but  they  soon  mingle  in 
the  r  vibrations. 


1  a 

2  n 

37 

48 

Turn 

Ofrain, 

Whilting 

ton. 

Lord 

mayor 

London 

town 

A  dumb  peal,  to  commemorate  a  death,  ought 
a- ways  to  be  conducted  in  round-ringing  order  ; 
and  it  is  thus  managed.  One  side  of  tlie  bulb  of 
the  clapper  is  covered  with  a  thick  cloth  or  felt, 
and  over  this  a  lirm  piece  of  leather  is  tightly 
strapped.  When  aU  the  bclLs  are  thus  prepared, 
one  round  Ls  struck  with  the  uncovered  side  of 
the  clapper,  and  the  usual  tone,  somewhat  dead- 
ened, perhaps,  is  produced.  At  the  next  rotation, 
the  padded  side  of  the  clapper  strikes  the  bell, 
and  a  dull  \-ibration,  scarcely  perceptible,  follows. 
ITiese  alternations  produce  a  very  saddening 
effect. 

But  the  ordinary  way  of  noticing  a  death  or  a 
funeral  is  by  tolling.  This  is  done  by  a  succes- 
sion of  single  strokes  on  one  bell.  It  needs  no 
further  explanation.  Few  who  read  this  will  not 
be  able  to  recall  at  least  one  occasion  in  their 
past  lives  when  each  toll  of  the  bell  went  like  a 
shock  to  their  own  hearts ;  and  they  knew  that 
nearer  every  stroke  was  the  moment  coming 
■when  the  grave  would  evermore  hold  the  beloved 
dead. 

There  are,  generally,  rules  and  regulations  for 
good  order  in  the  bell  chamber ;  and  it  is  very 
desirable  to  make  these  conducive  to  the  deco- 
rous beha^•ior  of  the  ringers  in  the  dLscharge  of 
their  important  duties  about  a  church.  In  All 
Saints'  Church,  at  Hastings,  a  maudlin  exertion 
in  this  direction  seems  to  have  been  made  by  the 
subjoined  inscription,  which  is  painted  on  the 
wall:  — 

"  TMt  in  a  Iwlfry  that  if  free 
y*iT  fUI  t)io8e  that  civil  be; 
And  if  you  plciiie  tt>  chime  or  ring, 
Xt  i«  a  Tcry  pleoaaiit  thing. 

••  Then'  i»  no  ninxic,  plnypd  or  snnp, 
I,llt*'  lint..  iH-ll*  wlu-n  llu-v'rc  well  ning: 
Tlifii  riii/r  y.iiir  Ixlli  wolf  if  you  can — 
8tlt'no<  li  lH'»t  fur  every  man. 

'Bnllf  jrourfmi  In  (piirorhtt, 
6ixn«DCv  jou  pay  —  he  sure  of  that  I 
And  If  J.jur  beil  voti  overthrow, 
l*rny  |»y  a  groat  before  you  go."'    (Doled  1756.) 

BELL  OF  A  HORN.  Tlie  large,  open  part  of 
the  horn,  from  wliich  the  sound  ultimately 
iasues, 

BELLOWS.  A  pneumatic  appendage  of  cer- 
tain wind  instruments. 

BELLOAVS  OF  AX  ORGAX.  The  bellows 
are  the  pneumatic  part  of  the  machine,  by  which 
it  is  sujjpliod  with  wind,  and  is  wroiight  by  a 
man  called  the  l)lowcr  ;  but  in  small  organs  by 
the  loot  of  the  player,  lliis  machine  is  of  various 
constructions,  but  in  general  is  composed  of  two 


flat  boards,  sometimes  of  an  oval,  sometimes  of 
a  triangular  form  ;  two  or  more  hoojis  are  placed 
between  them,  and  bent  according  to  the  figure 
of  the  boards  ;  a  piece  of  leather,  broad  in  the 
middle  and  narrow  at  both  ends,  Ls  nadod  on  the 
edges  of  the  boards,  that  the  leather  may  the 
more  easily  ojjcn  and  fold  again  ;  and  there  is  a 
valve  withiii,  that  covers  the  holes  in  the  under 
board,  to  keep  in  the  air. 

BELLY  OF  AX  IXSTRUMEXT.  llie  beUy, 
in  a  harpsichord,  or  jnano-forte,  is  that  smooth, 
thin  boarding,  over  which  the  strings  are  distend- 
ed, and  which,  by  its  vibration,  greatly  contributes 
to  the  tone.  In  a  double  bass,  violoncello,  tenor 
^•iolin,  and  all  instruments  performed  with  the 
bow,  as  also  in  the  guitar,  it  Ls  that  part  of  the 
body  which  lies  immediately  under  the  strings. 

BEL  !*IETALLO  DI  VOCE.  An  expression 
used  by  the  Italians  to  signify  a  clear  and  bril- 
liant-toned soprano  voice. 

BELTRAME.  An  eminent  organist  and 
church  composer  at  Verona  in  1799. 

BEMETZRIEDER,  bom  in  Alsace  in  1748, 
went  to  Paris,  and  formed  an  acquaintance  with 
Diderot,  to  whose  daughter  he  taught  music' 
Bemetzrieder  has  written  several  didactic  works 
on  music,  published  at  ParLs  and  in  London,  in 
which  latter  capital  he  resided  several  years. 
Some  of  his  music  for  the  piano-forte  was  pub- 
lished by  Preston. 

BEMOL.    A  French  term  for  B  flat. 

BEX.  (I.)  Well ;  as,  ben  marcato,  well  markfid. 
This  expression  indicates  that  the  passage  must 
be  executed  in  a  clear,  distinct,  and  strongly- 
accented  manner. 

BEXCIXI,  P.  P.  An  Italian  vocal  composer 
at  the  beginning  of  the  eighteenth  century.  He 
is  the  author  of  the  oratorio  "  L'  Innocetiza  Piv- 
tetta,"  arranged  for  four  voices. 

BEXDA,  FRAXZ,  or  FRAXCIS,  mus.cian 
to  Frederic  II.  of  Prussia,  and  founder  of  a  Gor- 
man school  of  violinists,  was  bom  in  Bohemia,  in 
1709.  He  was  appointed  a  singing  boy  to  the 
Church  of  St.  Xicholas,  at  Prague,  in  1718  ;  and 
from  thence  he  went  to  Dresden,  wl\ere  he  was 
engaged  at  the  Chapel  Royal.  About  the  same 
time  he  applied  himself  to  the  study  of  the  vio- 
lui,  and  had  no  other  resource  to  save  himself 
from  poverty  (having  quitted  the  king's  chapel) 
than  to  engage  with  a  company  of  street  mu- 
sicians, among  whom  there  hapjjcned  to  be  a 
blind  Jew,  named  Lobcl,  an  excellent  violinist, 
and  who  became  Bcnda's  master  and  model. 
Fatigued  with  liis  wandering  IL'e,  Bcnda,  then 
eighteen  years  of  age,  retiunied  to  Prague,  and 
soon  afterwards  went  to  Vienna,  where  he  re- 
ceived lessons  from  one  of  the  first  masters  of  the 
place.  There  he  remained  two  years,  when  he 
proceeded  to  Warsaw,  and  procured  the  situation 
of  chapel-master.  The  prince  roya!  of  Prussia, 
afterwards  Frederic  II.,  took  Ben<la  into  his  ser- 
vice in  17;i'2,  on  the  recommendation  of  Quanz. 
Finally,  in  177-,  he  succeeded  Graun,  as  concert 
master  to  Uie  king.  He  died  at  Potsdam,  in  1780. 
Dr.  Burncy  says,  that  Benda's  manner  of  placing 
was  neither  that  of  Tartini,  nor  Somis,  nor  Vera- 
cini,  nor  any  other  great  master,  but  peculiarly 
his  own.     He  publibhed  "  Studies  for  the  Violin,' 


130 


BEN 


ENCYCLOPAEDIA    OF    MUSIC. 


BEN 


"  Prof^essive  Exercfaes,"  and  other  instrumental 
works  ;  especially  "  Eight  Solos  lor  the  Violin," 
which  are  extremely  admired  for  their  good  taste 
and  tnily  cautahite  style. 

BEXDA,  GEORGE,  brother  of  the  prece<l- 
ing,  a  native  of  Althenndky,  in  Hohemia,  was 
bom  in  1722.  lie  was  many  years  in  the  Her\nce 
of  the  court  of  (jotha,  and  published,  in  Mnl,  a 
very  beautiful  set  of  sonatas  for  the  harpsichord, 
in  the  style  of  Emmanuel  Bach.  He  also  com- 
posed several  German  comic  opera.s,  and  two 
works,  which  he  calls  duodramas,  "  Ariadne  in 
Naxos,"  and  "  Medea."  The  author  has  mani- 
fested gicat  abilities  and  feeling  in  the  expres- 
sive and  picturesfpie  sj-mphonic  composition  with 
which  he  has  told  the  story  and  painted  the  dis- 
tress of  Ariadne,  when  aban<lone(l  by  'ITicseus  in 
the  I?<land  of  Naxos.  This  is  done  wholly  with- 
out singing.  The  narrative  part  is  spoken  in 
blank  verse,  and  fne  several  pa.ssions  and  senti- 
ments are  secoude<l  and  highly  colored  in  frag- 
ments of  s}Tn])hony,  like  those  of  accompanied 
recitative  of  the  most  select,  impassioned,  and 
exquisite  kind.  G.  Ucnda  was  received,  in  1742, 
as  hrst  violin  at  the  chapel  of  the  King  of  Prus- 
sia, and  sub;-.e(]uently  was  chapel-master  at  Gotha. 
About  the  year  1760,  he  obtained  pennission  to 
visit  Italy,  and  it  was  after  his  return  that  he 
composed  his  l)est  vocal  miisic.  Dr.  Bumcy 
Bays,  that  the  music  of  (i.  Benda  is  new,  pro- 
found, and  worthy  of  a  great  master ;  the  only 
objection  that  can  be  made  to  it  is  an  occasional 
affectation  of  too  great  novelty ;  but  this  obser- 
vation can  only  api>ly  to  liis  earlier  productions, 
be.'ore  he  went  to  Italy.  In  1778  he  settled  at 
Hnmbiurg,  and  afterwards  went  to  Vienna,  and 
then  returned  to  Gotha,  where  he  was  re\varde<l 
for  his  musical  talents  with  a  pension,  and  where 
he  died  in  170.5,  aged  seventy-four.  He  was  the 
most  absent  man  imaginable.  It  has  been  said 
that,  on  the  very  verge  of  death,  Benda  rose  from 
his  bed  to  finish  a  tune  which  a  wa\"ward  boy, 
who  had  run  away,  had  left  unfinished.  He  com- 
pleted the  musical  phrase,  and  instantly  died. 

BEXDA,  FRIEDRICH  LUDM'IG,  died  in 
great  poverty  at  Konigsberg,  in  Prussia,  bi  1792, 
aged  forty-eight.  He  composed  several  cantatas 
and  operettas. 

BEXDA,  FRIEDRICH  ^^^LITEI.M  HEIN- 
RICH,  us\jally  called  Friedrich  Benda,  was  bom 
in  Potsdam,  in  174.1.  He  was  a  good  instrument- 
al composer,  and  also  pubhshed  several  oratorios. 

BENDA,  JOSEPH,  musician  to  the  King  of 
Prussia,  was  brother  and  pupil  to  Franz  Benda. 
Ho  died  at  Berlin,  in  1804,  aged  seventy-five. 

BENDA.  CARL  HERRMANN  HEIN,  was 
bom  at  Potsdam,  in  Prussia,  in  1748.  He  was 
ballet  master  at  the  opera  at  Berlin,  and  was  ap- 
pointed chamber  musician  to  the  King  of  Prus- 
sia, in  1802. 

BENDA,  MADAME.     See  IIkv.nr. 

BENDELER,  JOHANN  PHILIPP,  pub- 
lished some  worics  on  music,  between  the  years 
1688  and  1706.  He  was  bom  near  Erfurt,  in 
1660. 

BENDER,  A  celebrated  performer  on  the 
clarinet,  in  Gennany.  In  beauty  and  richness 
of  tone,  facility,  brilliancy  of  execution,  and  tine 


taste,  he  \n  said  to  rival  the  first  performert  oa 
that  instrument. 

BENDINELLI,  AGOSTIXO.  A  composei 
of  church  music  between  the  years  1.58.5  and 
1604.  He  was  a  regular  canon  of  the  Lateran, 
boni  at  Lucca,  in  1.5'50. 

BENE.     (I.)    Excellent;  good. 

BENECKEN,  F.  B.,  a  clerg>Tnan,  near  Han- 
over, publLshcd  some  sacred  and  dnunatic  mutie 
at  Hanover  since  the  year  1787. 

BENEDICT,  JULES,  was  bom  December  24, 
180 1,  of  an  Israelite  family.  He  is  a  native  of  Stutt- 
gart, in  Germany.  While  yet  a  boy  he  exhibited 
so  decided  a  passion  for  music  that  hLs  parent* 
determined  on  indulging  his  inclinations.  He 
was  accorilingly  jdaccd  under  the  tuition  of 
Hummel,  at  Weimar.  Under  the  care  of  tlJi 
master  he  made  au  improvement  so  rapid  that  in 
the  winter  of  1820  he  left  him  to  pursue  his 
studies  as  a  pianist  and  composer  at  Dresden  with 
Carl  Maria  von  Weber.  For  more  than  four 
yciu-Lt  did  Benedict  remain  with  this  illustriou* 
master,  treated  more  as  a  beloved  son  than  as  a 
mere  student.  During  this  period  of  hLs  life  ho 
accompanied  Weber  both  to  Berlin  and  Vienna  to 
witness  the  first  performance  of  his  c/tef  tCccuvres, 
the  "  Fi-eyschutz  "  and  the  "  Euryanthe."  In 
Berlin  it  was  that  he  became  acquainted  with 
Mendelssohn,  then  a  boy,  and  formed  a  lasting 
friendship  with  the  author  of  "  St.  Paul "  and 
the  "Elijah."  At  Vienna  he  was  also  introduced 
to  the  immortal  Beethoven,  and  obtained,  through 
Weber's  influence  and  his  own  talents,  the  posi- 
tion of  musical  director  to  the  Italian  Opera. 
At  this  time  he  was  scarcely  seventeen  years  of 
age.  Barbaja,  who  was  then  its  manager,  also 
conducted  the  theatres  of  Naples  and  Milan,  and 
shortly  alter  proposed  to  Benedict  to  take  the 
position  of  macitro  di  ca/MiUa  at  Naples,  in  the 
theatres  San  Carlo  and  Fondo.  This  was  in  the 
spring  of  182.5.  In  this  position  Benetlict  re- 
mained for  more  than  four  years.  In  1830  he 
became  acquainted  with  Malibran.  This  great 
singer  took  a  warm  interest  in  Benedict's  career, 
ajid  formetl  a  high  opinion  of  his  talectii.  She 
accordingly  urged  him  to  accompany  her  to 
England.  HLs  departure  wa«,  however,  deferre<l, 
in  consequence  of  his  engagement  to  a  young 
Neapolitan  lady,  (whom  he  subsequently  mar- 
ried,') until  183.),  when  he  arrived  in  England. 
His  first  concert  stampe<l  his  reputation.  It  in- 
deed gave  him  a  European  celebrity  which  ho 
has  ever  since  maintained.  At  this  concert 
Malibran  an<l  Grisi,  for  the  first  time,  snr.g 
together,  lliis  was  in  the  celebrated  duet  from 
"  Aiulrotiico."  Sul)se<iuently  he  appcaretl  as  con- 
ductor of  the  opera  buffa  at  the  St.  James 
Theatre,  and  was  afterwards  engaged  for  a  num- 
ber of  years  as  the  musical  director  of  the  Drury 
Lane  and  Covcnt  Garden  Theatres.  During  this 
time  he  produce<l  several  o]icris,  an<l  it  will 
scarcely  be  out  of  place  in  this  brief  biography  to 
enumerate  his  more  important  works.  In  1827 
ho  produce<l  the  "  Gincinta  eii  F.rite.%tn  "  at  Naples, 
in  the  Fondo.  In  18.10  the  management  of  th» 
San  Carlo  produceil  "  /  Vortoyhrxi  i/i  lk>a."  ITi* 
j  first  of  these  works  was  an  opcrn  bulTa,  and  the 
second  an  opera  seria,  each  of  them  being  iu  two 
acts.  In  18:)'),  "  I'n  muui  eH  un ymmo,"  a  rharrn- 
ing  little  opera  bulfa  in  a  single  act.  was  given  U 


131 


BEN 


EXCYCLOP-EDIA    OF    MUSIC. 


BEN 


»he  public.  After  his  arrival  iu  London,  the  first 
apera  which  he  prodncod  was  the  "  (jj-i)sy'8 
Waniinj;."  ThLs  was  in  18.'iS.  It  was  only  in 
two  acts ;  hilt  such  were  the  sweetness  of  the 
inelodie>  and  the  art  displayed  iu  the  instrumen- 
tation of  the  opera,  that  it  at  ouce  stamped  his 
reputation  ;  and  when,  in  18H,  "  llie  Brides  of 
Venice,"  a  fjrand  ojiera  in  four  acts,  was  produced 
by  the  manaReracnt  of  Drury  Lane,  he  had 
already  been  reco<;nizcd  as  one  of  tlie  (greatest 
composers  then  iu  the  country  of  liis  adoption. 
Since  this  he  has  produced  but  one  opera,  called 
"  llie  Crusaders,"  at  the  same  theatre,  llie 
talent  dispLiycd  m  this  work  confirmed  his 
reputation. 

The  aiTangements  and  direction  of  the  Musical 
Festivals  in  London,  Norwich,  and  Liveqiool, 
have  also  been  intrusted  to  him,  and  he  is  prob- 
ably the  only  conductor  in  England  who  is  as 
well  known  and  as  well  appreciated  in  the 
provinces  as  he  is  in  Loudon  itself. 

In  1817  he  was  introduced,  as  we  have  heard, 
to  Mademoiselle  Jenny  Lind,  who  made  her  first 
appearance  as  a  singer  of  sacred  music  iu  England 
at  the  performance  of  Mendelssohn's  "  Elijah," 
at  Exeter  Hall,  on  the  1.5th  December,  1848, 
under  the  direction  of  Mr.  Benedict,  lliis  per- 
formance, which  was  given  by  a  committee  of 
Mendelssohn's  personal  admirers,  with  the  view 
of  providing  a  fund  for  the  purpose  of  instituting 
two  scholarships  in  the  name  of  the  deceased 
master,  at  Leipsic,  proved  eminently  successful, 
and  deserves  commemoration  as  the  fii-st  intro- 
duction of  Jenny  Lind  to  the  English  public. 
He  was  the  conductor  of  her  concerts  ui  the  United 
States  in  1851-'2,  until  the  termination  of  her 
connection  with  Mr.  Bamum  as  manager,  when 
he  returned  to  Europe,  and  passed  a  sad  season 
in  Italy,  where  he  buried  his  wife  and  son.  M. 
Benedict  now  resides  again  in  London,  and  has 
been  dLstinguished  during  the  past  year  as  con- 
ductor of  the  Norwich  Festival,  and  of  the  New 
Harmonic  Society. 

BENEDICT,  of  Appenzel.  A  composer  of 
church  music  in  the  middle  of  the  sbcteenth 
century. 

BENEDICTUS.  (L.)  A  movement  belong- 
ing to  a  mass,  or  Catholic  morning  ser\'ice. 

BENEDICTUS,  JOH.  BAPTIST  A,  a  mathe- 
matician at  Venice,  died  at  Turin  in  1590.  He 
wrote  some  works  on  music. 

BENEDIKT,  a  pianist  at  Dresden,  was  a  pupil 
of  C.  M.  Von  Weber.  He  was  said  to  have  great 
firmness  of  finger. 

Bl'^NEKEN.     See  Bexeckex. 

BENELU,  ALEMANNO.     See  Melom. 

BliNELLI,  ANTONIO.  An  ItaUan  tenor 
singer  and  composer.  He  sang,  about  the  year 
1798,  in  England;  and  in  the  following  year  was 
engaged  at  Dresden,  where  he  remained  in  1810, 
and  published  some  sonatas. 

BENELLI,  SIGNOH.  An  Italian  singer,  and 
director  of  the  king's  theatre  for  the  season  of 
1821. 

BENE  PLACITO.  (I.)  At  pleasure.  An 
expression  signifying  that  the  perfonuer  is  at  lib- 
3rty  to  exerci:-e  his  own  taste  in  ornamenting  and 
varying  the  movement,  oi  the  passage,  over  which 

is  written. 


BENET,  JOHN.     See  Bennet. 

BENETri.  An  Italian  bass  singer,  engaged 
at  the  king's  theatre  for  the  season  of  1824. 

BENEVENTO,  GIUSEPPE  J.  U.  An  Ital- 
ian composer  at  Venice  between  the  years  1680 
and  1727,  during  which  time  he  brought  out 
eleven  operas. 

bene\t:nto  di   san   raffale,  le 

COMTE.  An  excellent  amateur  violinist  at  Tu- 
rin. He  publLshed  six  duos  for  the  ■\'ioUn,  in 
London  and  Paris,  about  the  year  1770.  Healsj 
wrote  some  letters  on  music. 

BENEVOLI,  OllAZIO,  chapel-master  of  St 
Peter's,  at  llome,  was  one  of  the  greatest  com- 
posers of  the  seventeenth  century,  and  a  pupil 
of  Bernardo  Nanini.  Liberati  asserts  that  Bene- 
voli  was  superior  to  liis  master,  and  all  other 
composers,  in  the  art  of  wTiting  fugue  and  coun- 
teq)oint  for  four  and  six  choirs,  each  of  four  parts. 
Dr.  Bumey  cites  a  mass  of  this  kind,  composed 
by  lienevoli,  which  suri)asses,  in  effect,  every 
thing  he  had  known  of  the  same  description. 
Tliis  is  probably  the  mass  which  BenevoU  com- 
posed for  the  cessation  of  the  jilague  at  Rome, 
for  six  choirs,  of  four  i)arts  each,  the  score  cort- 
sLsting  of  twenty-four  different  parts.  It  was 
performed  at  St.  Peter's  church,  of  which  he  was 
vumstro  di  capclla  ;  and  the  singers,  amounting  to 
more  than  two  hundred,  were  arranged  m  dif- 
ferent circles  of  the  dome,  the  sixth  choir  occupy- 
ing the  summit  of  the  cupola. 

BENGRAF,  JOHANN,  published  at  Vienna, 
m  178'j,  some  instrumental  music. 

BEN^NCORI,  ANGELO.  An  instrumental 
composer  in  France  and  Germanv  since  the  year 
1802. 

BENINI,  GIUSEPPE,  bom  at  Florence  in 
1701,  was  a  celebrated  performer  on  the  harpsi- 
chord, and  composer  for  his  instrument.  He  died 
at  an  early  age,  in  France. 

BENINL  SIGNORA.  A  buffo  singer  at  the 
opera,  in  London,  in  1787. 

BENNET,  JOHN,  one  of  the  best  EnglLshmad- 
rigalists,  seems  to  have  had  a  melody  more  i)hrascd 
and  chantante  than  most  of  his  contemporaries. 
Besides  his  madrigals  ibr  four  voices,  publLshed 
in  1.599,  and  of  which  several  are  still  noticed  by 
the  admirers  of  old  music,  he  contributed  largely 
to  tl;c  compositions  inserted  in  a  work  pubhshed 
by  Thomas  l{jivonscrolt,  in  lOU,  entitled  '-A 
briefe  Discourse  of  the  true  but  neglected  Use 
of  characterLsiug  the  Degrees  of  Mensurable 
Musicke,"  &c. 

BENNET,  WILLIAM,  professor  of  music, 
and  organist  of  St.  Andrew's  Church,  Phnnouth, 
was  descended  from  an  ancient  and  highly  respect- 
able family.  He  was  born  about  the  year  17G7. 
He  was  educated  in  music  at  Exeter,  by  Bond 
and  Jackson,  both  comjiosers  and  eminent  musi- 
cians. He  afterwards  went  to  London,  and  fin- 
ished his  studies  under  the  direction  of  Christian 
Bach,  at  whose  de.Uh  he  placed  liiinself  undei 
the  celebrated  Schroeter,  who,  it  is  well  kno^vn. 
by  lus  su])erior  and  very  elegant  performance  on 
the  grand  ]iiano-fortc,  brought  that  instrument 


1.12 


BEN 


EXCYCLOPJEDIA    OF   MUSIC. 


BEn 


Into  public  notice,  and  superseded  the  use  of  the 
harjisichord.  His  pupil  Bonnet  did  the  same  at 
Plymouth.  Beinf;  invited  to  settle  there,  he  was 
the  first  person  that  introduced  a  grand  pinno-forte 
into  that  town ;  and  by  his  perseverance  and  re- 
peated perlbnnancc  on  that  instrument,  at  tlie 
public  and  private  concerts,  he  overcame  the 
prejudice  of  the  natives  and  professors  for  harp- 
sichords. Soon  alter  hLs  arrival  at  Plj-mouth,  in 
the  year  1793,  Beunet  was  appointed  organist  of 
St.  Andrew's  church,  and  was  considered  one  of 
the  best  extemporary  performers  in  England  on 
the  organ.  His  musical  compositions  are  exten- 
sive and  classical.  ITiey  consist  of  "  nirce  So- 
naias  for  the  Piano-forte,  with  Accompaniment ;  " 
"A  Concerto  for  the  Grand  Piano-forte,  with 
Accompaniments  for  a  full  Orchestra  ;  "  "  Two 
Divertimentos  ;  "  "  Three  Sets  of  sLx  Songs,  with 
a  Glee  to  each  Set ;  "  "  Three  Duets  for  two  per- 
formers on  the  Piano-forte ;  "  "A  Coronation 
March  ;  "  "A  Coronation  Anthem  ;  "  The  cel- 
ebrated glee,  "  AVhen  shall  we  three  meet  again: " 
with  several  other  glees,  &c.,  &c.  Bennet  also 
published  very  extensive  works  :  "  The  Collects  of 
the  Church  of  England,  in  Score,"  for  the  use  of 
cathedrals,  or  for  other  public  or  private  perform- 
ances ;  and  the  "  Xew  Version  of  Psalms,  in  four 
Parts,"  with  a  full  accompaniment  for  the  organ 
or  piano-forte.  He  has  likewise  composed  sever- 
al overtures  and  fugues,  and  voluntaries  for  the 
organ. 

BEXXEIT,  THOMAS,  organist  of  the  cathe 


BEQUARRE.     (F.)     A  natural. 

BERAIID,  bom  in  1710,  published  "Th« 
jVrt  of  Singing,"  Paris,  175.5,  a  work  of  much 
merit  at  the  time  it  was  written. 

BERARDI,  AXGELO,  a  chapel-master  a| 
Spoletto,  published  at  Bologna,  in  1G87,  "  Docu- 
nwnti  Armonici,"  containing  the  rules  of  counter- 
point; in  1G89,  "  Miscetianea  Musicale ;"  in  1G90, 
"  Arcani  Musicali  ; "  and  in  1693,  "  II  Perch* 
Muaicale."  Berardi's  works  were  a  high  authori- 
ty in  music  at  the  time  he  wrote.  Many  of  his 
precepts  are  ananged  and  given  by  Clioicn  in 
his  great  work  on  composition. 

BERAUDIERE,  MARC  DE.  A  French  com- 
poser  of  vocal  music  at  the  beginning  of  the 
seventeenth  century. 

BERBIGUIER,  BEXOIT  TRAXQUILLE.  A 
pupil  of  Bcrtou  at  the  Conservatory  at  Paris  ;  ha 
is  a  good  flutist,  and  has  composed  many  works 
for  his  instrument.  He  is  also  author  of  an  ex- 
cellent method  for  the  flute,  and  some  useful  ex- 
ercises for  the  same  instrument,  licrbiguicr's 
compositions  for  the  flute  are  excellent,  full  of 
beautiful  passages,  conducted  with  fine  taste, 
knowledge,  and  correct  judgment,  and  always 
written,  l)oth  for  the  jierformer  and  the  effect, 
according  to  the  genius  of  the  instrument. 


BERCHEM,  JAQUES  GLVCHETIO,  or  JAC- 

QUET  OF  MAXTUA,  a  native  of  the  Xether- 

,    ,        ,».,„.  ,     ,        ,     ^  f,      T  ,       ■  lands,  lived  for  a  considerable  time  at  Mantua. 

dral.  and  ot   the  Episcopal  chapel  of   St.  John,     He   published   motets  and   various   other   vocal 

y"':!?®j'*!':_'"_M   ,"''/,   '^.:°^  *^*  !?!*  ''v"'.*^':.  I  music  of  great  merit  at  Venice,  between  the  years 

1539  and   15G1.     Some  of  hLs  compositions  are 


received  his  musical  education  in  the  choir  of 
Salisbui-y,  under  Joseph  Corfe.  Bennett's  prin- 
cipal works  ai-c,  "  An  Introduction  to  the  Art  of 
Singing  ;  "  '•  Sacred  Melodies,"  a  selection  which 
is  allowed  to  be  made  with  much  judgment  and 
good  taste ;  also  "  Cathedral  Selections,"  consist- 
ing of  anthems,  commandments,  and  chants. 
Each  of  the  above  productions  has  met  with 
much  approbation  in  the  musical  world. 

BEXXEIT.  WILLIAM  STERXDALE.  One 
of  the  most  admired  of  the  English  composers 
now  living,  whose  style,  however,  Ls  so  conqjlete- 
ly  imbued  with  the  peculiarities  of  Mendelssohn, 
of  whom  he  was  a  favorite  and  devoted  pupil, 
that  it  can  scarcely  be  called  original.  He  was 
bom  in  181G.  His  early  orchestral  compositions 
and  songs  (quite  in  the  manner  of  German  iie- 
de-r)  were  hailed  as  evincing  most  rare  i)romise. 
His  romantic  overtures,  called  "  'I'he  XaiatLs,"  and 

The  Wood  Xpujih,"  are  still  favorites  in  the 
conceit  room,  ond  are  remarkable  for  a  certain 
vein  of  delicate  ond  fairy-like  imagination,  and 
for  their  great  resemblance  to  the  overtures  of 
Mendelssohn,  of  wliich,  however,  they  ore  but 
pale  and  lecble  copies.  We  do  not  hear  of  any 
works  of  magnitude  produced  by  this  writer 
since  these  early  efforts. 

BEXMARCATO.  (I.)  WcU  marked.  By 
thus  expression  the  performer  understands  that 
the  j)iece  before  which  it  is  i)laced  Ls  to  be  execut- 
:d  in  a  clear,  strong,  and  pointed  manner. 

BEXSER.  A  pianist  and  composer  at  London. 
He  published  sonatas,  &c.,  for  his  instrument 
since  the  year  17iS4.  Benser  was  a  Gennan  bv 
hirth,  and  the  first  master  of  the  celebrated  J.  B. 
Cramer. 


preserved  in  the  British  Museum. 

BERG,  a  German,  published  some  piano- 
forte music  in  Loudon  between  the  veiu-s  1770 
and  1797. 

BERGER,  LOUIS.  A  celebrated  pianist  and 
pupU  of  Clementi,  bom  at  Berlin  in  1777.  He 
published  a  valuable  work,  entitled  "  hou^e  Etu- 
dei  pour  le  I'iano-forte,"  which  is  reprinted  at  de- 
menti's, in  Ixindon.  The  exercises  are  sfoted,  in 
dementi's  Catalogue,  to  hold  a  middle  station 
between  facility  and  extreme  ditKculfy.  They 
are  fingered  by  the  author,  so  as  to  render  them 
of  great  advantage  to  performers  who  have  small 
hands. 

BERGER,  JOHAXN  WILHELM  VOX,  died 
at  Wittenberg,  ui  17.51.  He  was  professor  and 
dean  of  the  universitr  there,  and  wrotii  several 
works  relative  to  music. 

BERGOGXOXI,  BERNARDO.  An  open 
composer  at  Venice  in  the  beginning  of  the  liu'.  t 
century. 

BERGOMUS,  ALEXANDER.  A  composer 
of  ma^vcs  in  lt572. 

BERGT,  fHRISnAX  GOTTLOB  AUtU'ST. 
organist  of  St.  Peter's  Church  at  Baugoii,  wa^ 
l>om  at  Freyberg  in  1772.  He  originolly  studied 
theology,  hut  soon  gave  up  that  pursuit  for  mu- 
sic. Since  the  year  ISOl,  he  has  pu'>lishe<l  many 
adraire<l  vocal  compositions  for  the  church,  thea- 
tre, and  chamber.  His  grand  chorus,  "  Christ 
Jesus,"  is  said  to  he  one  of  the  most  effective  evej 
pertonne<l  in  England.  It  was  sung  at  the  M.;i> 
Chester  Philharmonic  C«  ucerts. 


133 


BER 


ENCYCLOPEDIA   OF   MUSIC. 


I3ER 


REUI.IX  ACADKMY  OF  MUSIC.  ITic 
fiorliii  Aciuleiuv  of  Mu^ic  wns  Ibumletl  in  the 
vcar  ISoO,  by  Dr.  A.  H.  Mnrx,  Dr.  T.  Kulliik,  and 
llerr  Julius  Stem,  ol'  liorlin,  niul  has  risen  rapid- 
ly in  the  estimation  of  tlie  Kuropcau  public. 

BERLIN,  JOH.VXX  DANIEL.  Organist  in 
Norway.  He  publislicd  "  The  Elements  of  Mu- 
Ric,"  and  some  other  didactit:  works,  at  Copenha- 
pen,  about  the  middle  of  the  last  century.  He 
die<l  about  the  year  1775. 

UEKLIOZ,  IIECTOU.  the  composer,  was  bom 
at  Cote  St.  Andre,  (Isere,)  in  France,  in  1803. 
'ITie  son  of  a  physician  of  some  local  reiiute,  he 
was  sent  to  Paris,  after  completing  his  college 
studies,  to  attend  the  courses  in  law.  At  that 
time  he  knew  little  of  music  ;  the  flageolet  and  the 
euitar  were  the  only  instruments  of  which  he  had 
any  notion.  Yet,  though  he  wa.s  nearly  twenty 
rears  old,  and  scarcely  able  to  decipher  a  few 
notes,  he  was  passionately  fond  of  the  art,  and 
vainly  begged  his  parents  to  pennit  him  to  devote 
himself  to  it  exclusively.  In  such  a  cajjital  the 
temptation  was  not  to  be  resisted  ;  so  he  took  the 
matter  into  his  own  hands,  quitted  the  study  of  the 
law,  and  entered  tlie  Conservatory.  Ilis  father, 
irritated  at  this  defiance  of  his  authority,  cut  ofl" 
his  supphes,  and  M.  Bcrhoz  had  no  resource  but 
to  become  a  chorus  singer  in  the  Dramatic  Gym- 
nasium. He  longed  to  become  a  composer,  and 
by  the  shortest  route.  To  learn  the  piano,  to  ac- 
custom himself  to  reading  music  and  to  the  styles 
of  various  schools  and  masters,  seemed  too  long 
a  task  for  him.  Besides,  the  music  in  his  head 
bore  little  resemblance  to  all  this.  For  him  the 
history  of  his  art  began  with  himself,  and  with 
the  exception  of  the  "  Vestak"  of  Spontini,  which 
made  an  early  and  lasting  impression  on  him,  he 
knew  but  little  of  the  celebrated  master-pieces  of 
music,  and  had  but  slight  esteem  for  what  he  did 
know.  Of  course  studies  were  out  of  the  ques- 
tion. He  resolved  to  have  no  master  but  his  own 
experience.  His  first  work  proved  absolutely 
strange  and  unintelligible  both  to  hearers  and 
performers.  It  was  a  mass  for  four  voices,  with 
chorus  and  orchestra.  But  the  ridicule  it  called 
forth  oidy  stimulated  him  to  renewed  ardor. 
An  overture  to  "  M'averley,"  another  to  a  drama 
called  "  Lea  Francs  Jhijcs,"  a  "  Concert  de  Sijlphes," 
a  "  Symphonie  Funtastii/ue,"  an  overture  to  Shak- 
speare"s  "  Tempest,"  scenes  from  Goethe's  "Fatist," 
music  to  some  of  Moore's  "  Melodies,"  &c.,  marked 
the  development  of  his  tendency.  M.  Fctis 
'»Tom  whom  we  glean  the  above)  expresses  the 
pretty  general  opinion  of  musicians  about  these 
n-orks  in  the  following  sentences;  — 

"  His  thought,  at  first  uncertain,  at  length 
defines  itself,  so  that  you  may  see  that  the  violent 
passions  prvdominate  in  it,  that  the  genius  of 
melody  i*  foreign  to  it,  and  that  the  instinct  of  in- 
ilninwUti.  ejfects  is  the  most  jirecious  gift  with 
which  Nature  has  endowed  Berlioz.  Prodigal  to 
him  on  this  side,  she  hius  not  given  him  the  wis- 
dom to  keep  him  from  abusing  the  gilt.  Fjrects, 
always  ejhcts!  that  is  what  Berlioz  regaids  in 
music,  and  what  constitutes  three  ([uartcrs  of  his 
own  music.  It  is  but  justice  to  admit  that  these 
effects  are  often  ha])py,  and  woidd  be  still  more 
10  if  their  author  economized  their  use.  As  to 
plan,  I  find  not  the  shadow  of  it  in  what  Berlioz 
Las  publislied  up  to  this  date,  ( 18.'i7.')  Very  dif- 
ferent in  that  from  Beethoven,  by  whose  example 


he  so  often  justifies  his  own  vagaries,  he  seems 
never  to  liave  comprehended  the  utility  of  a  cer- 
tain i)eriodical  return  of  ideas  ;  and  when  he  re- 
peats them,  it  is  in  a  uniform  and  monotonous 
manner.  His  melodies  are  devoid  of  metre  and  of 
rh  j-thm  ;  and  his  harmony  —  a  strange  assemblage 
of  incongruous  sounds  —  does  not  always  merit  the 
name.  Moreover,  charm  is  wanting  in  all  this, 
because,  entirely  wedded  to  his  thought,  M.  Ber- 
lioz has  not  the  art  of  suspending  its  course  by 
the  introduction  of  unexpected  episodes,  as  men 
of  genius  ill  all  times  have  done,  especially  Beet- 
noven." 

This  opinion,  however,  is  far  from  unanimous. 
BerUoz  had  then,  and  has  still  more  now,  a  large 
party  of  aibnirers,  composed  of  those  who  aie 
charmed  by  what  Ls  adventurous,  and  free,  and 
new ;  those  who  gladly  hail  any  revolution  in 
art;  there  are  more  poets,  painters,  &c.,  than 
musicians  among  them.  BerUoz  competed  sever- 
al times  before  the  French  Institute  for  the  prize 
in  musical  composition,  and  obtained  the  second 
prize  in  1828,  and  the  first  in  1830.  T'hen  he 
wrote  under  the  ijispiration  of  the  cannons  of  the 
revolution  of  July,  and  while  the  bullets  struck 
the  Palais  dcs  Arts,  where  he  had  shut  himself  up. 
'I'he  subject  of  the  cantata  which  he  then  com- 
posed was  "  Sardanapalus."  It  was  performed  on 
the  30th  of  October  of  the  same  year,  at  a  public 
meeting  of  the  Academy  of  Fine  Arts.  As  a 
pensioner  of  government,  he  made  the  tour  to 
Italy  ;  but  in  his  state  of  mind,  Italy,  so  far  aa 
music  was  concerned,  had  httle  for  him.  With- 
out even  entering  Germany,  but  preferring  to  fol- 
low out  his  own  plan,  he  returned  soon  to  Paris, 
where,  since  1832,  he  has  repeatedly  given  con- 
certs, bringing  out  his  own  compositions  with  an 
orchestra  of  unusual  number  and  variety  of  in- 
struments ;  for  therein  lies  his  forte.  M.  Ber- 
lioz has  also  distinguished  himself  as  a  litera- 
ry \\Titer  and  critic  upon  music,  in  the  Gazette 
ilusicalc  of  M.  Schlesinger,  and  more  recently  in 
the  Journals  des  Dcbats.  He  always  pens  a  bril- 
liant article,  and  his  opinions  of  new  works, 
singers,  players,  and  composers,  which  he  seldom 
withholds,  are  still  widely  copied.  In  184-1,  he 
pubUshed  a  "  Musical  Tour  in  Germany  and  Ita- 
ly," in  two  octavo  volumes,  which  is  full  of 
pleasant  musical  criticism  and  goss'p.  Berlioz 
has  recently  been  in  liigh  favor  with  Liszt  at 
\\'eimar,  where  all  that  is  new  and  original  in 
music  is  most  encouraged,  and  where  his  opera 
"  Jicncentito  Cellini  "  has  been  produced  success- 
fully during  the  past  year.  His  overture  to 
"  Lear,"  and  liis  djamatic  sj-mphony,  "  Romeo 
and  Juliet,"  have  been  the  subjects  of  much  dis- 
cu.ssion  of  late.  The  latter  was  performed,  in  the 
summer  of  18.52,  in  London,  at  the  concerts  of  the 
New  Pliilharmouic  Society,  the  first  season  of 
which  was  signalized  by  the  conductorship  of 
Berlioz,  who,  among  other  thmgs,  did  not  fail  to 
bring  out  that  great  work  of  Beethoven,  from 
which,  it  seems,  he  wotdd  fain  date  his  own  artis- 
tic career,  namely,  the  ninth  or  "  Choral"  Sym- 
phony. 

BERLS,  JOHANN  RLT)OLPH,  was  bom 
near  Erfurt  in  1 758.  He  has  composed  various 
s\nnphonies,  also  some  vocal  music,  since  the 
year  1780. 

BERMUDO,     JUAN,    a    Spanish    musician, 


13i 


BER 


ENCYCLOPAEDIA    OF    MUSIC. 


BER 


wrote,  in  the  sLxtecnth  ceutiin",  a  work  entitled 
"Libra  ile  la  Declaration  de  Iiulriimentoa." 

BEllXABEI,  ERCOLE,  tlie  scholar  and 
successor  of  Bcnevoli  at  St.  Peter's  at  Home,  and 
instructor  of  the  Abbate  SteH'nni,  may  be  ranked 
among  the  greatest  masters  of  harmony  in  the 
ancient  ecclesia-stical  style  of  the  seventeenth  cen- 
tury. This  composer,  beini;  invited  by  the  Elector 
of  Bat  aria  to  Munich,  about  the  year  ItJoO,  entered 
into  the  sen-ice  of  that  court,  where  he  continued 
the  rest  of  his  life.  A  specimen  of  liis  works 
may  be  seen  in  Stevens's  sacred  music. 

BERXABEI,  GIUSEPPE  AXT.,  son  of  the 
precedins;,  alter  followin-;  hLs  father's  steps  in 
the  study  of  ecclesiastical  hannony,  surjjassed 
him  considerably  in  melody  aiul  modulation,  as 
he  lived  long  enough  to  see  a  great  relaxation  iix 
the  rigor  of  ancient  rule-.i.  Alter  succeeding  hLs 
father  as  /ntwsfro  dicaptlla  to  the  Elector  of  Bava- 
ria, by  whom  he  was  honored  with  the  title  of 
eoiueilleur  tiiilitjiu:,  and  publisliing  several  composi- 
tions for  the  church,  replete  with  musical  science 
of  the  first  class,  he  lived  till  the  year  1732,  ex- 
tending his  existence  to  the  great  age  of  eighty- 
uine. 

BERN-iCCm,  ANTONIO.  An  Italian  sing- 
er, engaged  by  Handel,  in  the  year  ITlfi,  for  the 
opera  in  London.  This  performer's  voice  seems 
by  nature  to  have  been  feeble  and  defective  ;  but 
he  supphed  the  delects  of  nature  by  so  mucli  art, 
that  his  performance  was  always  much  more  ad- 
mired by  professors  than  by  the  public  in  gener- 
al. He  staid  there  at  first  but  one  year,  alter 
which  he  went  back  to  Italy,  but  returned  in 
1729.  Alter  quitting  the  stage,  Beniacchi  estab- 
li.shed  a  school  for  singing  at  Hologna,  wliere  he 
had  himself  been  educated,  and  where  he  formed 
several  admirable  scholars,  who  rendered  hia 
name  and  school  famous. 

BERNAKP,  ANTON.  Chamber  musician  to 
the  King  of  Prussia  at  BerUu,  in  1791. 

BERNARD,  GIFFARD,  ti-anslatcd  into 
English,  in  1779,  Bemetzrieder's  "Treatise  on 
Singing."  He  has  also  composed  some  vocal 
music. 

BERNARD!.  BARTOLOMEO,  chamber  mu- 
sician to  the  King  of  Denmark  at  Copenhagen, 
in  17"20,  was  a  good  violinist  and  composer  of 
vocal  and  instrumeittal  music. 

BERNARDI,  FR.\NZ,  a  flute  player  and 
composer  for  his  instrument  in  Austria,  wa8  bom 
iu  1707. 

BERNARDI.  SIT.FFANO,  wa.s  a  learned 
theorist,  n.s  well  as  composer  of  masses  and  mad- 
rigals of  a  most  elaborate  aiul  correct  kind.  He 
flourished  Irom  Kill  to  about  UVM,  and  in  16'2.3 
was  chapcl-mostcr  of  the  Duomo  nt  Verona.  He 
published  a  didactic  work,  called  "  Porta  Musi- 
caie,"  at  Verona,  in  It'-l.S.  Iliis  elcmentarj-  tract 
has  the  meiit  of  cleanness  and  brevity. 

BERNARDI,  FIL\NCESCO,  commonly  caUed 
Senesiito,  was  an  excellent  soprano  singer,  bom 
at  Sienna  about  the  year  1680.  His  celeb- 
rity ap])ears  to  have  commenced  at  Dresden,  in 
1719.  Handel,  hearing  of  his  talent,  then  engaged 
him  for  liLs  opera  in  London,  at  a  large  salary, 
and  he  made  his  rli'mi  there  in  1721.  Scncsino's 
voice  was  considered  on  the  continent  as  a  mezzo 


soprano,  though  in  England  it  was  regarde<l  as  a 
contralto.  In  the  year  1726,  he  was  taken  ill,  and 
as  soon  as  he  was  able  to  travel,  went  to  Italy  for 
the  recovery  of  his  health  ;  after  rcra.uning  there 
about  two  or  tlirce  years,  he  retiimed  to  London. 
Sencsino's  voice  was  penetrating,  clear,  eiual, 
and  flexible  ;  his  intonation  was  pure,  his  shake 
perfect,  and  he  wius  peculiiurly  renowned  for  his 
delivery  of  recitative.  In  17.'i9,  Senesino  was  re- 
siding at  Florence.     He  died  about  the  year  17*50. 

BERNARDINI,  MARCELLO,  called  also 
MarcelJo  di  Cajnta.  A  composer  of  many  operas 
since  the  year  1784,  to  several  of  which  he  also 
wTote  the  words. 

BERNASCONI,  ANDREA,  of  Verona.  A 
contemjjorary  of  Hasse.  He  was  long  in  the 
serx-ice  of  the  King  of  IJavaria,  and  died  at  Mu- 
nich. He  coraijosed  several  serious  opera« 
between  the  years  1711  and  \"M. 

BERNER,  ANDREA,  a  violinist  and  con- 
poser  at  Bonn,  was  bom  in  Bohemia  in  1766. 

BERNHARD,  CHRISTOPH,  a  compotscr 
and  tenor  singer,  was  chapcl-ma.ster  to  the  court 
of  Saxony.  He  died  in  1G92.  He  published 
some  sacred  music  of  great  science  at  Dresden 
and  Hamburg. 

BERXHAUD,  surnamcd  L' Mlcmand,  or  A« 
Teutonique,  a  Cicrman  organist,  so  early  as  tlie 
year  1470  invcntcil  pedals  for  the  organ  at 
Venice  —  a  discovery  which  reflects  great  honor 
upon  the  organists  of  his  coiinrry.  as  it  implies 
ideas,  harnioiiy,  and  ctVccts  beyond  the  power 
of  hunum  hands. 

BF.RNILR,  Nir()L.\S,  was  born  in  the  year 
1GG4  at  Mantes,  on  the  Seine.  By  his  merit  in 
his  |)rofcssion,  ho  attained  to  he  conductor  of  the 
music  at  the  ('h;i]icl  of  St.  Stc]>hrn,  and  after- 
wards at  that  of  the  King  of  Fr.ince.  The  regent 
Duke  of  OrliMiis  admired  his  works,  ami  patron- 
ized their  author  This  musician  died  at  Paris 
in  17:14.  His  live  books  of  cantatas,  anil  .songs 
for  one  and  two  voices,  the  words  of  wliich  were 
written  by  Rousseau  and  Fusciier,  have  procured 
him  groat  reputation.  There  are,  besides,  of  his 
composition,  "/,<.<  .ViiiV.s  de  San>ix,"  and  many 
motets,  which  are  still  in  great  esteem.  Bcrnier 
was  a  pupil  of  ("ahhiia,  and  is  regarded  by  M. 
De  la  Bonle  as  one  of  the  greatest  contrapuntisu 
and  fuguists  that  ever  existed. 

BERRETARI,  AURELIO,  called  also  Fie- 
soli,  published  a  mass  and  psalms  at  Venice  io 
1656. 

BERTALI,  ANTONIO,  ehapcl-master  at  Vi 
enna,  wiis  born  nt  Verona  in  1605.  He  composel 
much  vocal  and  instrumental  music. 

BERTANI,  LELIO,  born  at  Brescia  in  15UQ. 
was  chapcl-masicr  there,  and  afterwards  at  Vi- 
enna. He  was  a  voluminous  composer  of  mad- 
rigals. 

BERTEZEN,  SALVADOR,  an  It.nlinn  com- 
poser, pulilished  a  work  entitled  "  The  Principles 
of  Music,"  nt  Rome,  in  1780. 

BERTHAUD.or  BF.RTAUD.  A  violoncellist 
and  s<h()lar  of  Diiport,  at  Hamburg,  in  1796. 

BERTIIEAUMK,  about  1790.  first  violin  at 
the  Cotnie  Opera  at  Paris,  published,  since  1780. 


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EXCYCLOP.EDIA    OF    MUSIC. 


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eight  instrumental  works,  nerthcaume  was  con- 
ductor nt  the  Comrrt  Spiritiwl,  in  1783.  Some  of 
Ills  ]m])il:<  —  Gra-s.set,  lor  instance  —  have  arrived 
at  much  celebrity  on  the  violui. 

CKUTIIOLDO,  SPIRIDIO.  A  composer  of 
madri;,'nls  ut  Venice  in  1501  and  15G2. 

IJEUTIX.  A  comi)oscr  of  operas  in  France 
between  the  years  1706  and  1720. 

BEUTIX.  A  composer  of  instrumental  music 
in  London  Bince  the  year  1793. 

BEiniNI.  SALVATOUE,  bom  in  the  year 
1721  at  I'ldenno,  received  his  musical  education 
Ht  the  Oon.-ervatory  of  La  I'ieta,  under  the  cele- 
brated Leo.  lie  wa;?  a  Kkilful  composer.  Ills 
first  works  were  for  the  theatre ;  he  then  com- 
posed church  music,  and  was  Buccessi'ul  in  both 
Btyles,  liis  melodies  being  sweet  and  simple  in  his 
dramatic  pieces,  whilst  in  those  for  the  church 
they  were  sublime  and  pathetic,  lie  died  at  Pa- 
lermo in  1794. 

BEllTIXL  BEXOIT  AUGUSTE.  Bom  at 
Lyons  in  1780.  lie  was  a  pupU  of  Clemcnti  on 
the  piano,  and  publi:ihcd  some  sonatas  in  London. 
Since  his  return  to  I'arLs,  in  1806,  he  has  also 
published  some  instrumental  music. 

BERTOLA,  GIOV.  AXTONIO.  A  composer 
of  sacred  mtisic  in  Italy  at  the  beginning  of  the 
seventeenth  century. 

BERTOLDI.  An  Italian  composer  of  mad- 
rigaLs  in  the  seventeenth  century. 

BERTOLDI,  SIGXOILV.  A  good  female 
singer  in  Handel's  operas,  in  London,  in  the  year 
1729. 

BERTOLOTl'I.  A  celebrated  Italian  singer  in 
the  latter  half  of  the  last  century. 

BERTOX,  riERRE  MOXTAX,  a  celebrated 
French  musician,  was  taught  music  from  four 
years  of  age,  and  at  six  yeiu-s  old  was  able  to  read 
common  vocal  compositions  at  sight ;  at  twelve 
he  sang  in  the  cathedral  of  Senlis,  and  occasion- 
ally played  the  organ.  In  the  year  17 14,  he  made 
Ids  (Ubut,  as  a  singer,  at  the  Opera  at  Paris,  wliich 
situation,  however,  from  the  faUiire  of  some  notes 
in  his  voice,  he  did  not  long  hold ;  but  obtained, 
about  two  years  afterwards,  the  place  of  chff- 
(torcheslre  at  the  Grand  Opera.  Here  his  talents 
became  so  conspicuous,  that  he  obtJiiued  succes- 
sively theoflices  of  chamber  musician  to  the  king 
and  dfrector  of  the  Opera.  P.  M.  Berton  com- 
po?ed  or  made  consideralilo  alterations  in  nine  or 
ten  operas.  It  was  during  his  direction  that 
Gluck  and  Piccini  came  to  Paris,  when  the  great 
revolution  in  French  mu>ic  was  effected.  Gluck 
hnd  such  coutidencc  in  the  talents  of  Berton,  that 
he  requested  him  to  revise  and  alter  the  deitoue- 
vieiit  of  his  "  li>/iii/riiic  en  Aiilide,"  which  is  still 
l)erl'onucd  lus  Berton  arrangeil  it.  Berton  did  all 
in  his  jmwcr  to  appease  the  parties  of  the  Gluck- 
ists  and  PiccinLsts,  by  reconciling  the  cliicls.  He 
tlie<l  at  Paris  in  1780*. 

BERTOX,  IIEXIU  MOXTAX,  son  of  the 
pre<'e<ling,  was  born  at  Paris  in  1767.  He  was 
taught  music  from  six  years  of  age,  and  entered 
the  Opera  Imnd,  as  a  violinist,  at  thirteen.  The 
taste  of  young  Berton  was  fonued  on  the  models 
constantly  prescnti'd  to  him  in  the  performance 
of  the  dramatic  compo^iitions  of  Gluck,  Piccini, 


and  Sacchini.  Ho  soon  became  anxious  to  com- 
pose an  opera,  although  one  of  his  masters  in 
composition  had  given  it  as  liLs  opiiuon  that  he 
would  never  succeed  as  a  dramatic  composer. 
Having  obtained  the  words  of  a  comic  opera, 
"  La  Dame  InvUihlv,"  he  composed  '.he  music, 
and  exiu-essing  great  fear  that  it  would  not  suc- 
ceed, a  lemalc  friend  showed  the  maniLscript  to 
Saccliini,  who  not  only  decided  in  his  favor,  but 
desired  to  see  the  author,  and  from  that  time  had 
so  tender  a  regard  for  liim,  that  he  called  him  his 
son,  and  was  his  friend  and  guide  till  Saccliini's 
death,  in  1786.  11.  M.  Berton  has  coraj  )sed 
several  oratorios  for  the  spiiitual  concerts,  and 
near  thirty  operas,  the  most  admired  of  which  at 
the  i)rc!ient  time  are,  "  Montaiuj  et  Stc/i/ianie," 
"  Aline,"  and  "  Fmn(;oiic  de  Foix."  He  has  also 
publislied  several  cantatas,  and  a  great  variety  of 
romances.  On  the  establishment  of  the  Conser- 
vatory of  Music,  Berton  was  named  processor  of 
harmony.  He  has  also  ■written  several  didactic 
works  of  great  celebrity,  of  which  the  following 
are  the  titles:  " Arbre  Genealoyique  des  Accords," 
"  Methode  sur  C Uarmonie"  and  a  "  Dictionnaire 
aur  Us  Accords." 

BERTOX,  FRy\-XCOIS,  son  of  the  preceding, 
was  bom  at  Poris  in  1781.  He  was  a  good  pian- 
ist, and  has  composed  several  romances,  &c.  Died 
in  1832. 

BERTOXL  FERDIXAXDO,  chapel-master 
at  the  Conser>-atory  of  the  MendwaiUi,  at  Venice, 
■was  bom  in  1727.  He  was  pupil  of  Padre  Mar- 
tini. In  the  year  1776,  he  obtauied  great  renown 
by  his  composition  of  the  opera  of  "  Orf'eo," 
which  was  received  with  enthusiasm  at  the  thea- 
tre in  Venice.  In  1779,  Bertoni  accompanied 
Pacchierotti  to  England ;  however,  Saccliini  was 
then  in  too  high  favor  in  London  for  Bertoni  to 
have  much  success.  Few  masters  knew  better 
than  he  the  mechanical  parts  of  their  business; 
his  melody  was  flowing  and  graceful,  though  not 
often  new  ;  his  parts  were  clear  aiid  well  arranged, 
and  his  counterpoint  perl'ectly  correct ;  still  there 
was  sometimes  a  pacific  smoothness  in  liis  music 
that  bordered  upon  languor.  Upon  the  death  of 
Galuppi,  in  1785,  Bertoiu  was  appointed  chapel- 
master  to  St.  Mark's  Church  and  the  state  of 
Venice,  the  most  honorable  and  lucrative  employ- 
ment to  which  a  musical  composer  can  aspire  in 
Italy.  Bertoni  was  the  master  of  the  celebrated 
singer  Tenducci.  He  composed  thirty  operas,  the 
words  of  most  of  which  were  \vritten  by  Metas- 
tasio,  Apostolo  Zcno,  and  other  eminent  Italian 
poets. 

BERTRAM,  BAI-TOASAR  CIIRLSTIAX 
FRIEDRKTI,  chamber  musician  to  tlie  King  of 
Prussia,  and  a  pupil  of  Graun,  died  m  17S7. 

BERTRAXD,  AXTON'Y,  born  ui  Auvergne, 
set  to  music  the  songs  of  Ronsard,  the  favorite 
bard  of  France  during  the  reigns  of  Henry  U., 
Francis  II.,  Charles  IX.,  and  Henry  lU.  He 
publishetl  them  in  four  parts,  in  1578,  under  the 
title  of  "  Amours  do  Ilonsard." 

BERTUCH,  CARL  VOLKMAR,  was  bom  at 
Erfurt  about  the  year  1730.  He  was  organist  of 
St.  Peter's  Church,  at  Bcrhn,  and  considered  tc 
be  a  fine  player  of  Sebastian  Bach's  music. 

BERTUCH,  or  BERTOUCH,  OEORG  VON, 
■n-as   bom   in  1668.     He  was  a   Danish  general 


136 


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ENCYCLOPAEDIA    OF   MUSIC. 


BEV 


officer,  and  composed  several  cantatas  and  other 
music. 

BERWAI.D,  JOIIANN  FRIEDRICH,  was 
bom  at  Stockholm  in  1788.  ^\^len  between  four 
and  five  years  of  age,  he  played  at  a  public  con- 
cert on  a  small  violin.  Alter  tliat  time  he  visited, 
with  his  father,  various  courts  of  Europe,  whence 
he  received  medals  and  many  other  marks  of  roy- 
al approbation  ;  at  the  same  time  he  prosecuted 
his  studies  in  composition  and  on  the  piano-forte. 
Several  of  his  instrumental  works  have  been  pub- 
lished in  Germany  since  the  year  1798. 

BESARDUS,  JEAN  BAPTISTE.  A  per- 
former on  the  lute,  and  composer  for  his  instru- 
ment, at  the  commencement  of  the  seventeenth 
century. 

BESNECKER,  J.  A.  A  celebrated  organist 
and  church  composer  at  Prague  in  the  beginning 
of  the  seventeenth  century. 

BESOZZI,  JOSEPH.  A  musician  at  Parma 
in  the  latter  part  of  the  seventeenth  century. 

BESOZZI,  JEROME,  born  at  Parma  in  1712, 
was  bassoon  player  to  the  court  of  Sardinia  from 
the  year  17:{0.  He  went  with  his  brother  Alex- 
ander to  Paris  for  a  short  time,  wliere  they  were 
heard  with  tlie  greatest  applause.  The  two 
brothers  subsequently  lived  together  at  Turin 
till  their  death. 

BESOZZI,  ANTOINE,  brother  of  the  two 
preceding,  was,  in  175o,  a  performer  on  the  haut- 
boy at  the  chapel  at  Dresden.  He  died  at  Turin 
in  1781.  He  performed,  at  different  times,  at  the 
principal  courts  of  Europe. 

BESOZZI,  G.AETAX,  brother  of  the  three 
preceding,  was  born  at  Paima  in  1727,  and  first 
entered  the  scr\-ice  of  the  court  oT  Naples  as  per- 
former on  the  hautboy,  and  subsequently  held 
the  same  situation  at  the  court  of  France.  His 
playing  was  much  admired  in  London  about  the 
year  1793. 

BESOZZL  CHARLES,  son  of  Antoine  Besoz- 
ri,  was  born  at  Dresden.  He  was  also  a  perform- 
er on  the  hautboy. 

BESSEL,  A.  M.  S.  E.  VON,  pubUshed  some 
instrumental  music  in  Germany,  between  the 
years  1790  and  1793. 

BESSER,  T.  G.  An  organist  at  Halberstadt, 
and  composer,  between  the  years  1779  and  1784. 

BESSON,  or  BESON,  a  French  composer, 
publLslied  some  sonatas  at  Paris  in  1729. 

BETHISY,  a  French  composer,  published,  in 
1752,  a  treatise  entitled  "An  Explanation  of  the 
Theory  and  Practice  of  Music,  according  to  the 
new  Discoveries."  The  author  has  availed  him- 
lelf  of  Ramoiiu's  principles.  It  is  a  work  of  little 
merit. 

BETTS,  ARTHUR,  was  bom  in  Ijncoln- 
shire.  He  received  instructions  of  Hindmarsh 
and  Viotti  on  the  violin,  and  of  Eley,  Dussek, 
and  Steibelt,  in  the  theory  of  music  ;  he  also  de- 
rived great  bcnctit  from  the  friendly  lessons  of 
Russell,  and  from  his  long  practice  and  expe- 
rience, may  be  ranked  among  the  most  eminent 
teachers  of  the  present  day.  The  best  compo- 
sitions of  A.  Belts  are  as  follows  :  "Three  Sona- 
tas for  Piano-forte  and  Violin  ; "  "  A  Duet  for 


two  Performers  on  the  Piano-forte  ; "  "  Set  of 
Duets  for  Violin  and  Violoncello  ; "  "  Set  of  I)uet4 
(easy)  for  Violin  and  Tenor;"  "A  Sonata  int 
I'iano-forte,  (violin  obligato,)  and  Violoncello 
(ad  Ub.  ;")  "A  Divertimento  for  Piano-forte  and 
Violin;"  "Andante  for  Violin  Obligato,  with 
scjcond  Violin,  .Vlto,  and  Bass."  He  has  aL-^o  com- 
posed some  songs,  and  arranged  j)ieces,  amongst 
which  Ls  the  much  admired  "  Overture  to  the 
Men  of  PromethciLS,"  by  Beethoven,  arranged 
as  a  quintet  for  two  violins,  alto,  dute,  anil  vio- 
loncello. 

BEUF,  JEAN  LE,  published  at  Paris,  in 
1739,  a  treatise  on  church  music. 

BEURHUSIUS,  FRIEDERICUS.  A  writer 
on  music  in  the  latter  part  of  the  sLxtecnth  cen- 
tury. 

BEUTHNER,  JOHAN^  HEINRICH,  direct- 
or of  the  music  at  Riga,  was  born  at  Hamburg 
in  1693.    Hepublished  a  cantata  at  Riga  in  1717. 

BEUTLER,  JOH-AJS'N  GEORG  BERN- 
HARD.  Director  of  the  Musical  Academy  at 
Berlin,  and  composer  of  piano-forte  music.  He 
was  both  an  excellent  pianist  and  violuiist. 

BE%"ERINI,  FRANCESCO,  one  of  the  oldest, 
and  probably  the  first,  dramatic  composers,  lived 
at  Rome  about  the  year  1480. 

BEVIN,  ELWAY,  a  musician  eminently 
skilled  in  the  knowledge  of  practical  composition, 
flourished  towards  the  end  of  Queen  Elizabeth's 
reign.  He  was  of  Welsh  extraction,  and  had 
been  educated  under  Tallis,  upon  whose  recom- 
mendation it  was,  that,  in  1589,  he  was  sworn  in 
gentleman  extraordinary  of  the  chapel ;  from 
whence  he  was  expelled  in  1637,  it  being  dis- 
covered that  he  adheretl  to  the  Romish  com- 
munion. He  was  also  organist  of  Bristol  Cathe- 
dral, but  forfeited  that  cmplopnent  at  the  same 
time  with  his  place  in  the  chapel.  Child  (after- 
wards Dr.)  was  hLs  scholar.  He  has  composed 
sundry  sers-ices,  and  a  few  anthems.  Before  Be- 
vin's  time,  the  precepts  for  the  composition  of 
canons  were  known  to  few.  Tallis,  Bird,  Water- 
house,  and  Fanner  were  eminently  skilled  in  this 
most  abstruse  part  of  musical  practice.  Every 
canon,  as  given  to  the  jniblic,  was  a  kind  of 
enigma.  Comjiositions  of  this  description  were 
sometimes  exhibited  in  the  form  of  a  cross,  some- 
times in  that  of  a  circle  ;  there  is  now  one  extant, 
resembling  a  horizontal  sundial ;  and  the  resolu- 
tion (as  it  was  called)  of  a  canon,  wliieh  was  the 
resoh-ing  it  into  its  elements,  and  reducing  it  into 
score,  was  deemed  a  work  of  almost  as  great  dii- 
Rculty  as  the  original  composition.  But  Itevin, 
with  a  view  to  the  improvement  of  students, 
generously  communicated  the  result  of  many 
years"  study  and  experience,  in  a  treatise  which 
is  highly  commended  by  all  who  have  taken  oc- 
casion to  speak  of  it.  'ITiLs  lx>ok  wb.s  jnihlished 
in  1631,  (4to.,)  and  dedicated  to  Goodman,  lliOiop 
of  Gloucester,  with  the  following  title :  "  A  bricfo 
and  short  Insfrviction  of  the  Art  of  Musicke,  to 
teach  how  to  make  discant  of  all  proportions  that 
are  in  use ;  very  necessary  for  all  such  as  are  de- 
sirous to  attain  to  kuowle<lge  in  the  Art ;  and 
may,  by  practice,  if  they  sing,  soon  be  able  tn 
compose  three,  four,  and  five  Parts,  and  also  to 
compose  all  sort  of  Canons  that  are  usuall  by 
these  directions,  of  t  ^ro  or  three  Parts  in  one  upon 


18 


1S7 


BEY 


ENCYCLOPAEDIA    OF    MUSIC. 


BIB 


the  i)liiin  Song."  Tlie  rules  contained  in  this 
book  lor  composition  in  general  are  very  brief ; 
but  tor  the  composition  of  canons  tliere  arc  in  it 
a  variety  of  e\aiu))le8  of  almost  all  the  possible 
fonus  in  which  they  are  capable  of  being  con- 
structed, even  to  the  extent  of  sixty  ports. 

BEYEll,  o  (^lennnn,  invented  ot  Paris  a  new 
kind  of  |)iiino-lortc,  with  ^;liuss  instead  of  strings. 
Franklin  called  it  the  glass-chord.  It  was  pub- 
licly exhil)ited  at  Paris  in  1785,  and  has  since 
been  used  in  dramatic  music  on  some  particular 
occasions. 

BEYER,  JOHANX  SAMUEL,  director  of 
reusit:  nt  Frcyberg,  j)ublished  several  vocal  works 
between  the  years  1703  and  1730. 

BI.  A  syllable  applied  in  lolmization,  by  the 
Spaniards,  to  the  note  B  natural,  called  by  other 
nations  si. 

BIAXCA.     (I.)     A  minim,  or  half  semibreve. 

BIAXCARDI,  VINCEXZO.  An  opera  com- 
poser at  Florence  in  1790. 

BIAXCIIETTA.  A  celebrated  female  singer 
in  one  of  the  consers'atories  at  Venice,  in  1800. 
Haydn  is  said  to  have  written  his  "  Ariadne  "  for 
her. 

BIAXCHI,  PIETRO  ANTONIO.  A  cele- 
brated composer  at  Venice  between  the  years 
1571  and  1609. 

BIAXCIU,  GIULIO  CESAEE.  A  composer 
of  motets  at  Venice  in  1620. 

BIAXCHI,  GIOV.  AXTOXIO,  a  writer  on 
Bubjeits  connected  with  music,  died  at  Rome  in 
1758. 

BIAXCHI,  GIOVANNI.  An  instrumental 
compo.-^er  at  Milan  about  the  year  1710. 

BIAXCHI,  AXTOXIO,  a  singer  and  com- 
poser, was  born  at  Milan  in  1758,  and  sang  at 
various  courts  of  Europe  until  the  year  1793, 
when  he  went  to  Berlin,  and  composed  several 
Italian  intermezzi.  He  tjuitted  Berlin  in  the  year 
1797,  and  subsequently  visited  various  of  the 
great  towns  in  Genuany.  His  compositions  are 
all  vocal,  and  for  the  most  part  dramatic. 
Among  his  oi)eras  are  "  La  Reduction  de  Paris," 
performed  at  Paris  ;  "  Le  Mart  Marie,"  also  at 
Paris  ;  "  Castore  e  Polluce,"  at  Florence ;  "  Caio 
ilaiiu  ;  "  "  Demofoonte  ;  "  "  Arbace  ;  "  "  Piramo  e 
Tiibe  ,■  "  "  Scij>ione  Africano  ;  "  "  AHascrae  ;  " 
"  Pizarro  ;"    and    "  II  Hitratto ;"  all  for  Xaples. 

BLVXCIU,  FRAXCESCO,  was  born  at  Cremo- 
na. He  composed  either  fifty-seven  or  fifty-eight 
entire  operas,  t>esides  a  considerable  quantity  of 
church  and  other  music.  He  wrote  a  great  deal 
for  Pacchierotti  and  Marchesi,  and  some  of  his 
operas  remain  iji  public  estimation,  and  were 
performed,  l)oth  in  It»ily  and  in  England,  at 
least  as  often  oa  those  of  any  other  master.  He 
composed  his  "  Disertor  Fruiwht'se  "  at  N'cnice  in 
1785,  which  obtained  its  celebrity  in  the  follow- 
ing manner  ;  Pacchierotti  perfonued  the  part  of 
the  deM-rter,  and  in  the  proper  costume  of  a 
Frendi  soldier,  llio  ilress  of  common  life  had 
never  l>cfore  been  seen  upon  the  opera  stage,  and 
to  shocked  was  the  classical  taste  ol  the  Venetians 
•t  tliis  innovation,  that  they  actually  refused  the 
piece  ft  lair  hearing.     It  happened,  however,  that 


some  royal  personage,  passlug  through  Venice, 
expressed  a  strong  desire  to  see  this  opera,  and  in 
deference  to  him,  the  music  suffered  no  interrup- 
tion ;  their  rapture  was  equal  to  their  first  un- 
worrautable  disgust,  and  the  poor  discarded 
"Disertor"  became  a  reigning  favorite.  Bianchi 
wTote  the  fijst  opera,  both  for  Storace  and 
for  BiUington,  "  d-itore  e  Poliuce "  for  the  for- 
mer, and  "  Inez  di  Castro  "  for  the  hitter.  Ills  forte 
lay  in  fine  expression.  Though  his  "  Mcrope  "  (the 
best  of  his  works)  displays  how  thoroughly  he  un- 
derstood the  use  of  instruments,  his  accompani- 
ments were  rather  natural  and  easy  than  recherches. 
He  went  hand  in  hand  with  the  style  of  his  con- 
temporaries, PaesieUo,  Cimarosa,  &c.,  preferring 
simplicity  to  the  more  complicated  effects  intro- 
duced by  the  Germans.  His  "  Semiramide  "  is 
remarkable  as  having  been  chosen  by  Banti  for 
her  dibui  in  England,  when  it  had  an  extraor- 
dinary run.  I'he  fame  of  his  success  induced 
the  managers  to  send  for  him  to  England,  where 
he  remained  till  the  end  of  his  life.  Bianchi  was 
previously  engaged  by  the  court  of  Vienna,  but  hifl 
residence  in  the  ser\-icc  of  the  emperor  was  pre- 
vented by  the  death  of  that  great  personage.  It  is 
said  that  the  emperor,  ha\-iiig  desired  his  presence 
at  some  town  in  Italy,  after  conversuig  with  him 
for  near  two  hours  with  great  familiarity,  at  length ' 
questioned  him  as  to  his  willingness  to  settle 
at  Vienna.  Bianchi  assented,  and  an  engagement 
was  formally  made  out  by  the  Austrian  minister 
at  Venice.  He  had  just  read  the  i)aj)er  of  his  ap- 
pointment, when  news  of  the  deatli  of  the  em- 
peror was  brought  him,  and  his  good  fortune 
died  with  the  prince.  We  may  relate  an  anec- 
dote which  is,  perliaps,  the  strongest  proof  of 
this  composer's  talents,  ^^^lile  Haydn  was  in 
England,  he  a.ssured  Bianchi  that  whenever  the 
accidents  of  lif«{,  disturbed  his  temper,  he  kept  one 
leaf  of  Bianchi's  works  turned  down  for  rel'erence ; 
to  this  he  always  resorted,  and  it  never  failed  to 
restore  his  serenity. 

As  a  learned  contrapuntist,  Bianchi  ranked 
high,  and  a  great  work  of  his  on  the  theory  of 
music  remained  unpublished  at  his  death,  in  the 
hands  of  his  widow,  Mrs.  Lacy.  The  entire  work 
was  intrusted  to  the  care  of  the  editor  of  the 
"  Quarterly  Musical  Review,"  with  permission  to 
publish  extracts.  A  series  of  these  will  be  found 
in  the  above  work,  commencing  at  vol.  ii.  p.  22. 

BLVXCm,  J.  M.  C,  was  a  celebrated  per- 
former on  the  violin.  As  a  musician,  both  prac- 
tical and  theoretical,  he  has  not  often  been 
excelled ;  and  in  other  respects  he  was  a  liighly 
accomplished  scholar.  His  manuscrijjts  consist 
of  Italian  operas,  English  canzonets,  \-ioUn  con- 
certos, &c.  This  excellent  musician  died  at 
Xeuilly,  near  Paris,  in  1802,  aged  only  twenty- 
seven  years. 

BIAXCLVRDL  FRAXCESCO.  An  Italian 
composer  of  madrigals  about  the  year  1590. 

BIBEB,  HENRY  JOHN  FRANCIS,  vice 
chapel-master  to  the  Bishop  of  Saltzburg,  pub- 
lished in  16S1  a  set  of  solos  for  a  violin  and 
bass.  He  seems  to  have  been  amongst  the 
first  violin  players  of  his  time ;  and  his  solos 
are  the  most  dilRcult  and  fancitul,  saj'B  Dr. 
Burney,  of  any  music  of  the  same  period.  One 
of  the  pieces  is  written  on  three  staves,  as  a  score 
for  two  violins  and  bass,  but  meant  to  be  played  ic 


138 


BID 


ENCYCLOP.'EDIA    OF    MUSIC. 


BU 


double  stops.  Others  nre  played  in  iliffcrcut 
tunings  of  fourths  nnd  tilths,  as  for  a  treble 
viol.  A  second  work  by  this  musician,  entitled 
"  Fidiciniuin  sacro-profanam"  consLsts  of  twelve 
•ouatas,  in  four  and  five  parts,  to  bo  played  on 
three  instruments  ;  and  a  third,  "  llarnvmica  arti- 
ficioso-arioM,"  published  at  Nuremberg,  consists 
of  pieces  of  seven  parts,  to  be  played  on  tluree  in- 
Btrumonts. 

BIDEAU,  DOMINIQUE,'  published  an  es- 
teemed method  for  the  violoncello,  and  some 
other  instrumental  works,  since  the  year  1796. 

BIEGO,  PAOLO.  A  Venetian  dramatic  com- 
jtoser  between  the  years  1G80  and  1C90. 

BI-E(iUAL  THIRD.  A  name  given  by  Earl 
Stanhope,  in  his  "  Principles  of  the  Science  of 
Tuning,"  to  intcr\-als,  two  of  which,  added  to 
a  major  third,  make  up  an  octave ;  consequently 
two  of  them  equal  a  minor  sLxth. 

BIEUEY,  GOITLOB  BENEDICITS,  cliapcl- 
master  and  chef-cForche-stre  at  the  theatre  at  Bres- 
lau,  was  hopii  at  Dresden  in  1772.  He  composed 
near  twenty  operettas,  and  much  other  instru- 
mental and  vocal  music. 

BIFERI,  NICOLAS,  of  the  Neapolitan  school 
of  musicians,  was  born  at  Naples  in  1739.  The 
characteristics  of  his  style  of  composition  are 
facility  and  good  taste.  After  leaving  a  favor- 
able imjiression  of  liis  talents  in  Italy,  he  went  to 
Paris,  where  he  was  appointed  a  chapel-master. 
He  then  published  a  work  entitled  "  Traiti  de 
Mttsifjiie  uhrtiji."  in  which  the  arts  of  singing,  ac- 
companiment on  the  piano-forte,  composition,  and 
fugue  are  well  taught,  in  language  remarkable 
for  its  perspicuity. 

BIFFI,  GIUSEPPE.  A  composer  at  Milan  in 
the  sbcteenth  century.  Many  madrigals  of  his 
eomposition  were  published  between  the  years 
1582  and  1600. 

BIFFI,  DON  ANTONIO,  a  Venetian  chapel- 
master  to  the  Conservatory  of  the  Meudicanti, 
composed  some  oratorios,  &c.,  in  1701. 

BIGAGLL\,  DON  DIOGENIO,  a  Venetian 
Benedictine,  composed  some  cantatas  and  other 
music  about  the  year  1720. 

BIGAITI,  CARLO,  one  of  the  best  pupils  of 
Pache  Mattel,  and  aLso  of  Ziugarelli,  was  bom  at 
Milan  iu  1778.  lie  has  pubUshed  nearly  twenty- 
tive  works  of  masses,  motets,  and  airs  with  varia- 
tions. He  is  said  to  show  in  his  works  a  profound 
knowledge  of  harmony. 

BIGGS.  A  celebrated  EnglLsh  composer  of 
iong-*  aiul  canzonets.  He  was  a  particular  friend  of 
Mrs.  (.)pic,  and  set  much  of  her  poetry  to  music. 
Among  his  publications  are  a  collection  of 
Hindoo  airs,  and  a  collection  of  ^VeLsh  airs, 
the  words  of  both  by  Mrs.  Opie.  Biggs  ranked 
very  high  in  England  as  a  teacher. 

BIULER,  FRANZ.  Chapel-master  at  Augs- 
burg. He  publLshed  much  vocal  and  instru- 
mental music  between  the  years  1792  and  1803. 

BIHLER,  GREGORIUS.  A  composer  at 
Douawert,  in  Germany.  Some  of  his  music  was 
printed  at  the  Hague  in  the  year  1796. 

BILLINGS,  WILLIAM.  For  one  hundred 
and  fifty  years  alter  the  landing  of  the  Pilgrims 


at  Plymouth,  no  native  son  of  New  England  had 
attempted  musical  composition.  This  dLstinction 
was  reserved  for  William  Billings,  a  native  of 
Boston,  whose  works  were  so  much  admired  in 
his  day,  and  so  much  neglected  afterwards.  He 
was  born  October  7,  1746,  and  died  in  Boston, 
S-jptembcr  26,  1800,  aged  fifty-four.  He  was  the 
author  of  six  distinct  publications,  namely  :  1. 
"  The  New  England  Psahn  .Singer,"  108  pages, 
jjublLshed  October  7,  1770;  2.  "The  Singing 
Ma^ftcr's  Assistant,"  102  pages,  publishe<l  1778, 
being  an  abridgment  of  the  fonner  work ;  3. 
"  Music  in  Miniatiu'c,"  32  pages,  r2mo.,  pub- 
lished 1779  —  this  is  principally  a  collection,  con- 
taining seventy-four  tunes,  thirty-one  new  and 
original,  and  thirty-two  from  his  former  booka, 
and  eleven  old  standard  European  tui  es ;  4. 
"Tlie  Psahn  Singer's  Amusement,"  103  pages, 
published  1781 ;  5.  "ITie  Suffolk  Ilannony,"  h^ 
jjages,  published  1786 ;  6.  "  'Ilie  Continental 
Harmony,"  199  pages,  published  1791.  TTiese, 
with  a  few  separate  anthems,  vi/.,  "  Except  the 
Lord  buUd  the  house,"  &c. ;  "  Mourn,  mourn, 
ye  Saints,"  &c. ;  "  The  Lord  is  risen  Irom  the 
dead,"  &c. ;  "  Jesus  Christ  is  risen  from  the 
dead,"  &c.,  comprise  all  his  published  compo- 
sitions ;  and,  excepting  the  eleven  European 
tunes  above  mentioned,  the  whole  were  his  o^xti. 
Billings  was  of  humble  origin,  and  by  occuiiation 
a  tanner.  HLs  ojjportunities  for  education  of  any 
kind  were  small,  and  his  literary  ac(iuli-cnients  of 
course  scant.  He  had  little  knowledge  of  coun- 
teq)oint,  having  seen  probably  no  work  on  the 
science  or  rules  of  harmony,  except,  perhaps, 
Tansiur's  Grammar,  a  very  meagre  and  imperfect 
treatise  ;  but  his  love  of  music  and  skill  in  the 
art  of  singing  were  early  manifested,  and  even  in 
youth  he  became  a  popular  singing  master,  and 
began  to  compose,  and  commenced  his  tia-st  pub- 
lication while  quite  young,  llie  English  i)ubli- 
cations  by  W.  Tansur,  A.  Williams,  J.  .Vruold, 
W.  Knapp,  and  J.  Stephenson,  had  found  their 
way  across  the  Atlantic  about  the  time  he  came 
on  the  stage.  The  lovers  of  psalmody  here,  who 
had  from  tlieir  youth  heard  nothing  but  the  slow, 
isochronous  notes  of  the  very  few  old  church 
tunes  introduced  in  their  day  in  the  country, 
very  gladly  accepted  the  more  lively  and  spirited 
airs  which  these  authors  offered  them.  Billings 
was  foremost  in  adojjtiug  the  now  style,  and 
formed  his  taste  and  took  his  cue  in  his  com- 
I)ositious  from  such  tunes  as  the  third  jjsalra, 
tliirty-fourth  psahn,  MUford,  Chrlstmivs  Ilj-nin, 
and  many  other  similar  fuguing  and  lively  com- 
positions, then  just  becoming  po])ular.  Ilia 
works  were  of  course  eagerly  adopted,  and  all 
the  old  sacred  melodies,  however  before  ajjproved 
and  established,  were  entirely  laid  aside  tor  many 
years.  'ITiose  who  succeeded  and  imitated  him 
carried  this  style  and  taste  to  a  still  greater 
extreme.  This  music,  therefore,  so  mucli  rid- 
iculed by  some,  and  called,  in  derision,  the 
American  or  Yankee  style,  had  not  its  origin,  as 
has  been  already  suggcste<l,  on  this  side  the 
water.  England  alx>unded  at  that  time  with  the 
same  flashy  composition.  Volumes  Aere  there 
publish«Kl,  and  are  still  extant,  in  w  ich  not  • 
single  solid  tune  can  be  found,  not  c  c,  of  any 
description,  which  has  found  its  way  into  any 
respectable  collection  of  music  there  or  here. 
TTiough  their  harmony  may  be  more  correct,  th. 
melodies  bear  no  compatison  with  those  of  Bil 


139 


BIL 


ENCYCLOPEDIA    OF   MUSIC. 


P.IL 


lin|;s,  wlio  therefore,  in  thU  respect  at  least,  far 
e.xcee<U><l  l-.is  models.  His  first  publication  was 
excoediuf^ly  (Icticit-nt  in  all  the  t-onstitvient  rwiui- 
hites  of  ;;ooil  melody,  as  well  as  (;ood  harmony, 
and  particularly  as  to  accent.  It  will  not  bear 
criticism,  and  it  may  amuse  the  reader  to  see  the 
remark*  of  the  author  himself  on  his  own  work. 
In  the  jprchce  to  liLs  second  publication,  he  said, 
"  Kind  reader,  no  doubt  you  remember  that  about 
ten  years  a>;o  I  publLslied  a  book,  entitled  '  'ITie 
New  lin^hind  I'salm  Sin;ier  ; '  and  truly  a  most 
masterly  jjerfonuance  I  then  thought  it  to  be. 
How  lavish  was  I  of  encomiums  on  thu  my 
infant  iiroduction  !  Said  I,  'ITiou  art  my  Keuben, 
my  first  born,  the  beginning  of  my  strenfjth  ;  but 
to  my  f;rertt  mortification  I  soon  discovered  it 
was  llcuben  in  tlie  se<iucl,  and  Keuben  all  over. 
I  have  discovered  that  many  pieces  were  never 
worth  my  printing  or  your  inspection."  Of 
course,  in  his  second  work,  which  at  length  ob- 
tained the  name  of  "  Billiugs's  Best,"  ancl  wliich 
professed  to  be  an  abridgment  of  the  first,  ho 
omitted  altogether  a  great  proportion  of  the 
tunes,  and  amended  very  much  those  he  retained, 
particularly  in  the  jjoint  of  accent.  Tliis  work, 
as  well  as  his  fourth,  called  the  "  I'salm  Singer's 
Amusement,"  became  very  popular,  and  no  other 
music  for  many  years  was  heard  throughout  New 
England.  Many  of  the  New  England  soldiers, 
w^ho,  during  the  revolutionary  war,  were  en- 
camped in  the  Southern  States,  had  many  of  liLs 
popular  tunes  by  heait,  and  frequently  amused 
themselves  by  singing  them  in  camp,  to  the 
delight  of  all  who  heard  them.  A  gentleman  in 
Philadclpliia,  dLstinguLshed  for  his  great  literary 
attainments,  as  well  as  for  his  musical  taste,  often 
spoke  of  the  great  pleasure  he  enjoyed  from  this 
source  during  that  period,  and  said  that  the  name 
of  BUliugs  had  been  dear  to  him,  and  associated 
with  the  happiest  recollections  ever  since.  Bil- 
lings possessed  something  also  of  the  spirit  of 
poetry,  as  well  as  of  music,  and  was  the  author 
of  many  of  the  words,  as  well  as  the  tunes,  he 
publislied.  The  following  words  set  to  "  Chester  " 
were  his  own  :  — 

"  L^(  tyrant*  shake  thoir  iron  rod, 

Antj  Sluvery  clank  her  (falling  chainf  i 
Wf'll  fvar  Uit-m  not ;  we  lru«t  in  God  — 
New  Knglaud'a  Uod  forever  reigof." 

He  was  a  /.calous  patriot  also,  and  much  attached 
to  Ciovcrnor  Samuel  Adams,  of  Massachusetts, 
who  was  also  a  great  lover  and  performer  of 
psalmody ;  and  it  Ls  witliin  the  recoUectiou  of  many 
now  living,  that  that  venerable  statesman  uni- 
fonuly  was  seated  at  chui-ch  in  the  singing  choir. 
One  secret,  no  doubt,  of  the  vast  popularity  Bil- 
lings's works  obtained,  was  the  patriotic  ardor 
they  breathed.  The  words  above  quoted  are  an 
example,  and  "  Chester,"  it  is  siiid,  was  fre- 
quently heard  from  every  fife  in  the  New  Eng- 
land ranks.  The  si)irit  of  the  revolution  was 
also  manifest  in  his  "  Ijimcntafion  over  Bos- 
ton," his  "  Uetrospect,"  his  "  Independence," 
his  "Columbia,"  as  well  as  his  "  Chester,"  and 
many  other  pieces.  Finally,  whatever  may  be 
said  of  Billings's  music,  and  however  deficient 
it  may  now  be  thought  to  be  in  good  taste  as 
well  as  in  many  other  respects,  it  certainly  ijave 
great  deli;,'ht  in  its  day,  and  many  now  living, 
who  were  accustomed  to  hear  it  in  their  youth, 
are  much  inclined  to  prefer  it  to  the  more  elab- 
oi'kie   and   leiuncd   music  of  the  present  time. 


And  who  can  wonder  that,  after  an  age  of  slow, 
dull,  monotonous  singing  in  our  churches,  con- 
fined at  the  same  time  to  half  a  dozen  thread- 
bare ttmes,  our  congregations  should  have  been 
electrified  and  delighted  wth  the  chanting, 
song-like,  sjiirited  style  which  Billings  intro- 
duced ■  Besides,  the  manner  of  performance 
should  be  considered.  In  the  old  way,  tunes 
were  set  and  struck  up  by  the  chorister  at  ran'lom ; 
without  tuning  fork  or  pitch  pipe,  and  performed 
by  role,  and  of  course  often  without  time  or  time  ; 
while  the  new  could  be  performed  only  by  tho,so 
who  had  been  instructed  in  schools  and  in  the  art 
of  singing.  Billings,  therefore,  may  .iu-^tly  be 
considered  in  the  light  of  a  reformer,  and  as  hav- 
ing given  a  new  impulse  to  music  generally  in 
ovir  country.  Had  he  live<l  at  the  present  day, 
with  the  superior  advantages  for  obtaining  musi- 
cal skill  and  science  now  enjoyed,  or  had  he  lived 
in  any  other  period,  there  is  no  reason  to  doubt 
he  would  have  been  as  much  distinguished  as  he 
was  in  his  own  ;  and  though  his  name  and  mciic 
(as  improvement  in  knowledge  and  taste  in  the 
art  advanced)  soon  declined,  and  were  almost 
entirely  out  of  date,  yet  we  now  begin  to  see 
both  his  name  and  hLs  melodies  making  their 
way  again  into  respectable  notice  and  the  best 
collections.  There  is  fasliion  even  in  music. 
The  style  and  taste  of  one  period  have  no  charm.* 
at  another.  So  we  look  in  vain  into  the  music  of 
the  earlie:it  antiquity  for  the  wonderfxil  effects  as- 
cribed to  it.  So  Ls  it  also  with  the  tastes  of  the 
ditt'erent  nations  at  the  same  period ;  what  pre- 
vails in  one  is  without  interest  iji  another.  The 
fugues  and  divisions,  once  so  common  and  prev- 
alent, and  which  abounded  even  to  disgust  and 
satiety  in  fonner  days,  particularly  in  our  .Vmer- 
ican  composition,  and  which  served  finally,  nc 
less  than  their  violation  of  the  rules  of  harmony, 
to  cast  them  into  the  shade  of  neglect  and  de- 
rision, are  now  much  disused  and  out  of  fashion. 
In  this  respect  we  have  gone  to  the  other  ex- 
treme. ^"e^y  few  fugues  or  divisions  are  admit- 
ted, into  church  music  at  least,  and  s])aringly 
into  any  other.  Within  the  last  twenty  years 
much  has  been  done  to  restore  a  better  taste,  and 
introduce  a  better  kind  of  music  among  us.  The 
struggle  has  been  to  banish  the  fuguing  and 
frivolous  airs  which  deluged  the  country,  and  iu 
doing  it  we  have  returned  too  far,  perhaps,  to- 
wards the  exclusive  use  of  the  old  tunes  with 
notes  of  equal  length,  and  to  the  plain  chanU 
This  cannot  last,  and  the  want  of  more  exciting 
and  animating  melodies  in  our  churclies  begin* 
to  be  manifested,  and  must  and  will  be  j5;rttliried. 
Besides,  they  want  a  more  distinctive  charac'er. 
To  the  great  majority  of  every  audience  all  tunca 
seem  too  much  alike.  Modern  hiu-mony  being 
restricted  to  a  few  simple  rules,  which  also  re- 
straiit  the  lieedom  of  the  melodies  themselves, 
and  the  time  and  measure  of  our  sacred  music 
having  settled  down  into  a  slow  and  solemu  uni- 
formity, it  requires  some  practical  aciiuaintance 
with  music  to  distinguish  one  tune  from  another. 
-\  greater  variety  and  more  characteristic  <iilfer- 
ence  seems  to  be  called  for.  Billings's  melodie* 
wore  certainly  many  of  them  very  good,  and  ht 
generally  gave  something  of  an  air  to  the  ba.s8 
and  intermediate  parts.  This  led  liim  often 
into  errors  in  his  harmony,  such  as  the  unncceb- 
sarv  omission  of  the  third,  consecutive  eighth* 
and  filths,  and  permitting  the  inner  and  in^rioi 


140 


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EXCYCLOP.EDIA    OF    MUSIC. 


BIL 


parts  to  transgress  their  proper  limits.  These 
and  other  rules  of  harmony  and  progression  were 
not,  however,  much  known  or  promulgated  with 
us  in  his  time.  Correct  musical  grammars  were 
then  unknowix  in  New  England.  But  it  cannot  be 
denied  that  he  had  genius  and  talent,  which 
would  in  any  age,  probably,  have  tUstinguishcd 
him,  and  raised  him  above  his  contemporaries  ; 
Bnd  he  must  be  allowed  the  merit  ot  exciting 
a  musical  si)irit,  wliich  gave  to  New  England  an 
impulse  that  is  felt  even  to  this  day.  j 

BILLIXGTON,  ELIZABETH.  This  cele- 
bratcd  singer,  musician,  and  piano-forte  player, 
was  a  (huighter  of  Weichsell,  a  native,  we  be- 
lieve, of  Freyberg,  ui  Saxony.  She  was  born  in 
England  about  the  year  1770.  llcr  mother,  who 
was  a  singer  of  some  eminence,  died  while  her 
ott'spring,  >Ir.  C.  Weichsell,  the  celebrated  vioUn- 
ist,  and  Mrs.  Billington,  were  young.  These 
children  were  traijied  to  music  at  the  earhest 
possible  age,  and  even  jierformed  on  the  piano- 
forte and  violin  for  the  benetit  of  Mrs.  N\'eichsell, 
at  the  Ilaymarket  Theatre,  at  six  years  old.  Her 
first  master  was  Scliroeter,  an  excellent  teacher 
of  the  piano-forte,  and  her  father  superintended 
her  musical  education  with  a  degree  of  severity 
that  could  scarcely  be  justified  even  by  the  pro- 
ficiency of  the  pupil.  Few  persoius  have  attained 
the  perlcctiou  that  MLss  Weichsell  reached  upon 
this  instriuuent.  At  fourteen  she  came  before 
the  public  as  a  singer,  at  (Jxford,  and  at  sixteen 
married  Mr.  Billington,  then  a  performer  on  the 
double  bass,  who  carried  her  immediately  to 
Itubliji,  where  she  commenced  her  theatrical 
career  in  the  opera  of  "  Orpheus  and  ICurydicc." 
Here,  jierhaps,  for  the  only  period  of  her  lite,  she 
was  doomed  to  suffer  mortification,  in  the  greater 
np])lause  and  respect  obtained  by  MLss  Wlieeler, 
a  singer  much  Inferior  to  herself;  and  siich  was 
the  etl'ect  on  the  ardent  mind  of  Mrs.  Billington, 
that  it  had  nearly  been  the  occasion  of  l;cr  leav- 
ing the  stage  in  disgust.  The  reputation  of  Miss 
^Vheelor  itrociired  her  an  engagement  at  Covent 
Garden  Theatre  for  three  years.  Mrs.  Billing- 
ton followed  her  to  London,  and  no  sooner  had 
she  arrived,  than  Mr.  Harris,  the  proprietor,  and 
Mr.  Lewis,  the  manager,  waiteil  upon  her  vfith  a 
proposal  to  play  three  nights.  So  short  a  trial 
she  positively  reiused,  expressing  her  desire  to 
6ubstit\jte  twelve  nights,  under  the  apprehension 
that  her  too  anxious  solicitude  to  plea.«e  her 
count  rjnuen  might  defeat  her  first  efforts.  Such, 
indeed,  was  her  distrust,  that  she  considered  this 
as  a  final  experiment ;  and  she  had  determined,  in 
the  event  ot  any  failure,  cither  in  the  ease  of 
Belt'-posscssion  or  ot  deficiency  of  jiowcrs  and  at- 
tainments, to  quit  the  profession  of  an  actress  at 
once,  lliey  proceeded  to  discuss  the  terms  of 
her  engagement,  and  she  desired  a  salary  of 
twelve  pounds  j)cr  week  ;  to  which  the  managers 
objected,  as  being  the  hii/hrsC  sum  then  ijicvn,  and 
as  the  remuneration  assigned  to  Miss  Wheeler, 
whose  reputation  was  so  high  and  established. 
The  comparison  was  unfortunate  ;  it  irritated  Mrs. 
BiUiugton,  and  she  instantly  declined  to  enter 
into  any  permanent  contract.  .She  consented, 
however,  to  appear  for  the  twelve  nights,  and 
.vas  advertised  for  the  part  of  Uosctta,  in  Ame's 
opera  of  "  Love  in  a  Village."  She  was  an- 
nounced for  the  Wednesday  night ;  but  the  name 
of  Mrs.  Billington,  late  Miss  Weichsell,  having 


caught  the  attention  of  the  kmg,  liis  majesty 
commanded  her  apjiearance  to  take  place  two 
days  sooner — a  circumstance  highly  tlatteriuii, 
as  it  was  a  solitary  in.tance,  and  contrary  to  the 
custom  generally  observ'ed  by  the  sovereign. 

It  will  readily  be  conceived,  that  Mrs.  Billing- 
ton, whose  habits  of  study  and  practice  had  bccu 
fixed  by  the  severest  exercise  of  parental  author- 
ity, omitted  no  preparatory  exertion  to  insure 
her  success  with  the  public  under  such  auspicai. 
Indeed,  she  labored  night  and  day,  and  nothing 
could  be  more  complete  than  her  triumph  over 
the  esteem  of  her  audience  and  the  rivalry  of  her 
former  lavored  competitor.  MLss  NMieelcr  was 
laid  on  the  shelf,  as  the  thealiical  phrase  goPH, 
and  at  the  expiration  of  the  twelve  ni;;lit<^,  the 
managers  a;;iiin  waited  on  Mrs.  Billington,  to  re- 
new her  engagement  on  a  pennaiient  footing. 
They  (juestioned  her  cautiously  respecting  her  cx' 
pectations,  and  she,  rather  in  jest  than  in  earnest, 
demanded  one  tliousand  pounds  and  a  benefit  for 
the  remainder  of  the  season,  with  which,  to  her 
\itter  astonishment,  they  immediately  complied ; 
and  they  after^vards  voluntarily  gave  her  a  second 
night,  in  return  for  the  extraonlinary  emolument 
they  had  derived  from  the  exercise  of  her  talents. 
During  tlus  season,  although  her  theatrical  duties 
were  unremitted,  she  never  relaxed  from  the  most 
sedulous  general  pursuit  of  the  knowledge  and 
practice  of  her  art.  She  labored  incessantly,  and 
received  lessons  of  Mortellari,  an  Italian  master  of 
celebrity,  at  that  time  inEngland.  The  theatre  had 
no  sooner  closed  than  she  availed  herself  of  the 
interval  to  tty  to  Paris,  where  she  enjoyed  the 
instructions  of  the  great  Sacchini,  the  composer. 
Tlius  she  continued  from  the  first  to  fortify  and 
enrich  her  natural  gilts  with  the  strength  and 
ornaments  of  high  science. 

At  this  time,  Madame  Mara  arrived  in  England, 
unenuaUed  in  the  eminence  she  had  attained.  In 
178.),  the  sul)ject  of  our  memoir  made  her  debut 
at  the  Concert  of  Ancient  Music.  Mara  herself  is 
said  not  to  have  beheld  her  reception  quite  un- 
moved, and  some  disjjutes  even  arose  respecting 
place  and  preeminence  in  the  seats  of  the  orches- 
tra—  a  species  of  contention  very  tmworthy  the 
transcendent  abilities  of  these  gifted  individuals. 
Mrs.  Billington's  fame  continued  to  spread,  while 
her  never-ceasing  ardor  and  assiduity  were  day  by 
day  enlarging  her  stock  of  knowledge,  acqxiirc- 
ment,  and  facility.  She  was  a  constant  perform- 
er at  the  concerts  of  the  metropolis,  and  she  sang 
at  the  memorable  Westminster  Abbey  perfonn- 
ances.  She  remained  at  Covent  (iarden  until 
179:i,  when  she  adopted  a  resolution  to  reti'e 
from  public  lite,  which  she  vainly  imagined  she 
had  finnness  enough  to  adhere  to.  At  the  insti- 
gation of  her  husband  and  her  brother,  she  was 
inducetl  to  make  a  continental  tour,  with  a  view 
solely  to  amusement ;  and  to  this  iiitent  she  de- 
clined all  letters  of  introduction,  intending  to 
travel  inmijnila.  For  some  time  they  s\»ccoeded, 
and  passed  alon;;  without  notice  ;  but  at  Naples, 
the  English  ambassador,  Sir  W.  Hamilton,  pene- 
trated their  sei'ret,  and  pentuadetl  Mrs.  Billing- 
ton and  Mr.  Weichsell  to  perform  in  private  be- 
fore the  king  and  (juecu,  at  Ca-^erto,  a  country 
residence.  'l"he  gratification  they  received  in- 
duced their  majesties  to  retiuest  Mrs.  Billins;ton  to 
I)erform  at  the  great  theatre  of  St.  Carlo,  then 
thought  to  bo  the  finest  opera  established  in  tha 
world.     She  acc^rilingly,  in  May,  1704,  made  h« 


141 


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ENCYCLOPAEDIA    OF    MUSIC. 


BI> 


lUbiti  in  "  Iiifz  (li  Cailro,"  which  was  composed 
expressly  for  hor  by  the  maestro,  Frnncesco  Bian- 
chi,  who  wTote  nii  opcni  worthy  the  supcremiucnt 
ability  of  this  prima  ilonna.  Her  success  was 
complete,  for  indeed  her  celebrity  made  her  name 
known  in  Italy ;  and  previous  to  her  quittin-; 
£np;land,  the  Wnetian  ambassador  had  i)con  in 
treaty  with  her  to  accept  an  engagement,  which, 
however,  she  broke. 

Her  pcrfonnance  at  Naples  was  interrupted  by 
n  sudden  and  affecting  event.  On  the  second 
night,  as  Mr.  Dillington  was  seeking  his  hat  to 
accompany  his  wife  to  the  theatre,  he  fell  down 
in  a  tit  of  apoplexy,  and  died  in  the  arras  of  lii- 
Bnchi,  at  the  residence  of  the  Bishop  of  Win- 
chester. Nor  was  this  the  only  circumstance  that 
impeded  her  progress.  About  this  time,  un 
eruption  of  Mount  Vesuvius  took  place,  and  the 
fuperstitious  bigotry  of  the  Neapolitans  attrib- 
ute<l  the  visitation  to  the  permission  granted  to  a 
heretic  to  perfonn  at  St.  Carlo.  Serious  appre- 
hensions were  entcrtauied  by  Mrs.  Billington's 
friends  for  the  consequences  of  such  an  imjjres- 
eion.  Her  talents,  however,  triumphed  ;  she  re- 
newed her  performance,  and  no  prima  ilonna  was 
ever  more  raptuously  received  in  that  country, 
■where  the  opera  is  best  cultivated  and  understood. 
Paesiello,  Paer,  and  Himmcl  successively  wrote 
for  her  after  Bianclii. 

In  17i1G  she  went  to  A'enicc,  where,  after  the 
first  performance,  she  was  taken  so  ill  that  she 
could  sing  no  more  during  the  season ;  and  it  b 
among  the  records  honorable  to  human  nature, 
tliat  the  manager  generously  brought  her  the 
whole  of  her  salary,  wliich  she  compensated  by 
playing  the  succeeding  season  without  any  other 
reward  than  the  pleasure  of  reoijjrocating  the 
liberality  of  her  cini>loyer.  Conceiving  that  the 
air  of  Venice  did  not  agree  with  her,  she  emitted 
the  place.  On  her  journey  from  Venice  to  Rome, 
Hhe  was  earnestly  requested  to  give  a  concert  at 
Home,  which  she  at  first  declined  ;  but  a  society 
of  CaraJieri  undertook  the  whole  of  the  arrange- 
ment, and  she  and  Mr.  AVcichsell  perfoi-med  to  a 
very  crowded  audience.  Between  this  period  and 
the  year  179S,  she  visited  all  the  principal  theatres 
in  Italy,  and  in  this  year  married  Mr.  Felissent, 
and  appeared  only  twice  subse<iuently  at  Milan. 
An  1801,  still  retaining  the  name  of  BiUington, 
the  returned  to  her  native  country.  No  sooner 
was  her  arrival  known,  than  all  the  conductors 
of  the  public  amusements  were  alike  eager  to 
engage  her.  The  managers  of  Covent  Ciarden 
and  Drury  Lane  'I'heatri's  evinced  e<iiuil  anxiety 
to  secure  her  talents,  and  the  disposal  of  her 
services  was  at  length  reterred  to  arbitrators,  who 
awarded  tiiat  she  should  appear  at  the  two 
theatres  alternately.  Mandane,  in  Arne's  "  Arta- 
xerxes,"  was  the  character  selected  for  her  dibul, 
and  the  audience  were  strvick  with  rapture  and 
astonishment  at  her  amazing  powers,  which  were 
then  in  their  full  meridian.  On  this  occasion  she 
introduced  a  song  from  Bianchi's  "  Infz  di  Castro," 
to  the  Kn^Ush  words  "  Lost  in  anxious  doubts  ;" 
which,  being  compose<l  exj)ressly  for  her,exhibite<l 
ht  one  view  her  prodigious  ciualities,  heightened 
by  the  delightful  execution  of  her  brother's  obli- 
yntn  violin  accompaniment.  Perhaps  no  other 
hinger  could  have  sung  this  song  ;  very  certain  it 
is,  no  one  has  ever  attempted  it.  Engagements 
now  multiplied  upon  her.  She  sang  at  tlie  Ital- 
ian Opera  in   ISO:),  at  the  lung's  concert,  at  the 


Hanover  S<juare  Vocal  Concerts,  and  at  a  round 
of  pro\-incial  meetings,  from  this  time  till  1809, 
when  she  finally  retired.  Two  remarkable  cir- 
cumstances attended  her  during  this  period  of  her 
jniblic  life.  On  her  reap])earance  at  the  opera, 
Banti,  then  in  the  zenith  of  her  excellence,  ])layed 
the  character  of  Polifonte  to  Mrs.  Billington's 
Merope,  in  Nasonini'e  opera  of  that  name.  Never 
was  the  house  so  crowded  as  on  this  occasion ; 
the  stage  was  so  covered  with  ladies  and  gentle- 
men, that  the  performers  had  scarcely  room  tn 
move.  'Die  second  occurrence  was  her  perform- 
ance with  Mara  on  the  3d  of  June,  ISO'i,  the  last 
night  of  that  most  distinguished  singer's  ajipear- 
ing  In  England.  ITicy  sang  a  duet  together, 
composed  to  display  their  mutual  accomplish- 
ments, and  the  contest  excite<l  both  to  the  utmost 
pitch  of  scientific  expression.  At  length  Mi-s. 
Billington,  having  gained  a  competency,  and  feel- 
ing her  health  very  sensibly  affected  by  her  efforts 
in  the  ser^-ice  of  the  public,  retired  ui  IfsOO  from 
nil  public  performances,  and  was  never  aitenvards 
induced  to  appear  excejrt  on  one  occasion,  when 
she  sang  for  the  benefit  of  a  charity  at  M'hitehall, 
in  the  presence  of  the  royal  family.  Mrs.  Bil- 
lington finally  quitted  England  with  her  husband 
in  1817,  and  died,  after  an  illness  of  a  very  few 
days,  at  her  estate  of  St.  Artien,  near  Venice. 

BILLINGTON,  THOMAS,  husband  of  the 
preceding,  and  whose  sudden  death  at  Naples  has 
been  before  mentioned,  was  a  musician  of  talent, 
and  composed  some  pleasing  vocal  pieces,  among 
which  were  Gray's  "  Elegy,"  "  Maria's  Evening 
Sen-ice,"  "Eloisa  to  Abelard,"  Pope's  "Elegy," 
Prior's  "  Garland,"  "  ChQdrcn  iji  the  Wood,"  and 
part  of  Young's  "  Night  Thoughts,"  all  set  for 
one  or  more  voices. 

BILS,  FRANZ.  An  organist  in  Germany,  and 
voluminous  composer,  towards  the  end  of  the  la.st 
century. 

B  IN  ALT.     (I.)    The  tenth  above  the  treble 

clef  note  ;  the  third  note  in  alt.     See  treble  clej 

NOTK  and  .\LT. 

B  IN'  AI.TISSIMO.  (1.)  The  oclare  •hoTc  B  in  alt :  the  Ihird 
nolf  in  aJtisfimo,    See  B  is  Alt.  and  ALTlssiuo. 

BINARY.     Twofold  or  double  measure.     Set 

TIME. 

BINCHOIS.  A  celebrated  French  composer 
between  the  years  1400  and  1460.  He  is  cited  by 
Gaffori,  as  being,  together  with  Dunstable,  Caron, 
Regis,  I)ufay,  and  Bra.sart,  one  of  those  musicians, 
who,  at  the  commencement  of  the  fifteenth  cer.- 
tury,  gave  a  great  impulse  to  the  art  of  counter- 
l)oiiit,  and  were,  in  fact,  the  precursors  of  tho 
masters  of  the  Flemish  school. 

BIND.  A  ligature,  or  tie,  connecting  two  or 
more  notes. 

BINDER,  AUGUST  SIEGMUND,  organist 
at  Dresden,  was  bom  there  in  I'fil.  He  received 
his  instructions  in  music  of  his  father,  C.  _S. 
Binder,  and  has  composetl  several  vocal  and  in- 
strumental pieces. 

BINDERNAGEL,  JOSEPH.  A  German  mu- 
sician, h\-ing  about  the  year  1800  in  Paris.  He 
publishevl  some  instrumental  music  in  the  y«U8 
179'.)  and  1800. 

BINDING  NOTES.  Notes  held  together  by 
curves,  or  ties.     See  holpino  .notes. 


Hi 


BIN 


ENCYCLOPAEDIA    OF    MUSIC. 


BIR 


BINDUNG.     (G.)    Syncopation. 

BINGTOX,  WALTI-^R,  an  En-;lishmnn,  wTote, 
Jl  the  thirteenth  centiirvi  a  work  entitled  "  I)e 
Specitlalione  Musicce." 

BINI  PASQUALIXO,  of  Pesaro,  was  one  of 
the  favorite  jjupils  of  Tiirtiiii.  About  the  year 
1757,  he  was  director  of  concerts  to  the  Duke  of 
Wurtemhurn,  at  Stuttf^aril,  at  the  Bame  time  that 
Jomelli  was  chapel-master  to  the  duke. 

BION,  a  Oreck  philosopher,  wrote  a  work  on 
music,  which  is  now  among  the  manuscripts  ui 
the  king's  library  at  Vienna. 

BIOXI,  AXTOXIO,  a  voluminous  composer 
of  opera  music,  and  i)upil  of  Giovanni  Porta,  was 
bom  at  Venice  in  lli'JS.  He  went  to  Breslau,  in 
Germany,  where,  and  at  Vienna,  he  ccmix)Red 
numerous  operas  between  the  years  1724  and 
1738. 

BIRCH,  II.  W.,  was  a  friend  of  the  celebrated 
Dr.  Croft.  On  the  death  of  the  doctor,  in  1727, 
Mr.  Birch  erected  a  monument  for  his  friend 
at  his  own  expense.  'ITiis  gentleman  was  re- 
markable for  the  singularity  of  his  character, 
lie  was  a  man  of  abilities  in  hLs  profession  ;  was 
one  of  the  counsel  for  Woolston,  in  the  prosecu- 
tion against  hiiu  for  his  blasphemous  publications 
concerning  the  miracles  of  our  blessed  Savior, 
and  made  for  him  as  good  a  defence  as  so  bad  a 
cause  would  admit  of.  He  was  possessed  of  a 
good  estate,  and  was  therefore  at  liberty  to  grati- 
fy his  passion  for  music,  which  was  a  very  strange 
one,  for  he  prelerred  that  style  which  had  a  ten- 
dency to  cb-aw  tears.  Of  all  compositions  he  i 
most  admired  the  funeral  service  by  Purcell  and 
Croft,  and  would  leave  the  circuit  and  ride  many 
miles  to  hear  it.  At  the  funeral  of  Queen  Caro- 
line, for  the  greater  convenience  of  hearing  this 
music,  he,  with  another  lawyer,  who  was  after- 
^^■ards  a  judge,  walked  among  the  choirmen  of  the 
abbey,  each  clad  in  a  surj)lice,  with  a  music  paper 
in  one  hand  and  a  taper  in  the  other,  though 
neither  he  nor  his  friend  could  sing  a  note. 

BIRCHEXSHA,  JOIIX,  an  Irishman,  pub- 
blished  a  prospectus,  in  1072,  of  a  complete  sys- 
tem of  music,  intended  to  be  published  by  him 
under  the  title  of  "  Si/ntayma  Miiaicte."  It  is 
doubtful  whether  this  work  ever  appeared.  He 
wTote,  however,  two  other  small  works  on  music, 
and  translated  the  "  EiemeiUale  Musicum"  of 
Alstedius. 

BIRCKEXSTOCK,  J.  A.,  chapel-master  at 
Eisenach,  was  bom  in  1()87.  He  composed  some 
instrumental  music.     He  died  in  1733. 

BIRD,  WILLIAM,  the  worthy  and  admira- 
ble scholar  of  'rallis,  is  supposed  to  have  been  the 
son  of  'lliomas  Bird,  one  of  the  gentlemen  of 
Edward  VI.  chapel,  in  which  he  was  him- 
Boh'  a  singing  lioy.  By  the  great  number  of  his 
ecclesiastical  compositions  to  Latin  words,  and  the 
Bcvcnvl  portions  ot  the  Romish  ritual  which  he  so 
frequently  set  to  music,  and  published  late  in  life, 
he  seems  to  have  been  long  a  zealous  adherent  to 
that  religion.  He  must,  however,  have  conformed 
to  the  church  e-otablLshments  of  (Jueen  Eliza- 
beth's reign,  for,  in  loG3,  he  was  chosen  organist 
of  Lincoln  Cathedral,  where  he  continued  till 
1569;  when,  upon  the  accidental  death  of  Robett 
Parsons,  who  was  drowned  at  Xewark-u{>ou- 


Trent,  he  was  appointed  gentleman  of  the  Cliapel 
Royal ;  notwithstanding  which  office,  ho  seerat 
to  have  comjiosed  the  chief  part  of  his  choral 
music  to  Latin  words,  and  to  have  published  it 
in  that  language,  as  Into  as  the  middle  of  the 
reigji  of  King  James  I.  Bird  composed  a  vast 
fiuantity  of  vocal  music,  chiefly  sacred,  between 
the  years  1575  and  IGll. 

Dr.  Tudway's  collection,  in  the  British  Muse- 
um, contains  a  whole  ser\-icc  in  I)  minor,  by  Bird, 
with  responses,  and  the  anthcin.s,  "  Sing  jojiuUy 
unto  (iod,"  "  ()  Lord,  turn  thy  wrath,  '  (all  jjub- 
lished  in  the  second  and  third  volumes  of  Dr. 
Boyce's  Cothedral  Music,)  "  O  I>ord,  make  thy 
servant,"  "  Save  me,  O  God,"  "  Prevent  us,  O 
Lord,"  and  "  L'irUas  sanrti  tut."  One  of  hij 
sarrarum  raiUlonum,  or  sacretl  songs,  published  in 
1589,  has  been  long  sung  in  the  cathedrals  to  the 
EngUsh  words  "  Bow  thine  ear,  O  Lord,"  and  is 
one  of  the  admirable  pieces  of  hannony  in  the 
second  volume  of  Boyce's  printed  collection. 

Dr.  Aldrich  was  a  great  admirer  and  collector 
of  the  works  of  Bird,  and  adapted  English  words 
to  most  of  his  compositions,  which  were  original- 
ly set  to  parts  of  the  Romish  sen-ice  in  I^tin. 
He  be(iueathed  to  Christ  Church,  Oxford,  beauti- 
ful and  correct  copies  of  these  productions. 

HLs  jjieces  for  the  organ  and  virginals  are  almost 
innumerable.  In  a  magnificent  folio  manuscript, 
curiously  bound  in  red  morocco,  which  Ls  gencr- 
aUy  known  by  the  name  of  Queen  Elizabeth's 
virginal  book,  there  are  nearly  seventy  of  his 
compositions. 

It  has  been  imagined  that  the  rage  for  varia- 
tions, that  is,  multiplpng  notes,  and  cUsguising 
the  melody  of  an  easy  and  generally  well-known 
air,  by  every  means  that  a  iioie-splitler  sees  possi- 
ble, was  the  contagion  of  the  present  century ; 
but  it  appears  from  the  virijiiuil  book,  that  this 
species  of  induenza,  or  corruption  of  air,  was  more 
excessive  in  the  sLxteenth  century  than  at  any 
other  period  of  musical  history.  Xone  of  Bird's 
pieces  for  keyed  instruments  seem  to  have  been 
jirinted,  except  eight  movements  in  a  thin  folio 
book  of  lessons,  that  were  engraved  on  copper, 
and  publi.she<l  in  the  reign  of  King  James  L, 
under  the  following  title :  "  Partheuia,  or  the 
Maidenhead  of  the  first  Musicke  that  ever  was 
printed  for  the  Virginals,  composed  by  three  fa- 
mous Masters,  Williiuu  BjTd,  Dr.  John  Bull,  and 
Orlando  Gibbons,  Gentlemen  of  his  Majestie's  most 
illustrious  Chapel."  These  lessons,  tho\igh  not 
equally  difficult  with  some  of  those  in  the  virgin- 
al books  of  (iuecn  Elizalieth  and  Ijuly  XeviU,  are 
rather  more  dry  and  ungraceful. 

The  canon,  "  Son  »i/>Ai\',  l>omim;"  appears  in 
none  of  his  works  published  by  himself,  or  col- 
lected by  others,  before  the  year  liio'J,  when  Hil- 
ton inserted  and  prefixed  the  name  ot  Bird  to  it, 
in  a  collection  of  catches,  rounds,  and  canons  ; 
but  as  no  claim  was  laid  to  it,  by  or  in  favor  of 
any  other  composer  before  or  since  that  time,  till 
about  the  middle  of  the  present  centurj-,  when  it 
was  given  to  I'alestrina  by  Carlo  Ricotti,  —  who 
published,  in  Holland,  among  his  concertos,  a 
fugue  in  eight  parts,  on  the  same  subject,  —  there 
seems  no  doubt  remaining  of  Bird  having  been 
the  author  of  that  pleosing  and  popular  comjjo- 
sition. 

Bird  diixl  in  1623,  surviving  his  master,  Tallis, 
thirty-eight  years ;  and  if  we  suppose  him  tc 
have  been  twenty  in  the  year  1563,  when  he  wai 


Ud 


BIR 


ENCYCLOPAEDIA    OF    MUSIC. 


BIS 


chosen  orcanLst  of  Liucolii,  he  must  have  been 
eij^hty  nt  his  decca.«c. 

Jn  n  collection  of  music  by  this  writer  there 
are  the  loUowinj;  reason8  why  people  Bhould 
learn  to  sing  :  — 

Rnuonf  irt  down  bj  Ui'  auctcr  to  persuade  ercrie  one  to  Ifom  to 
•Ing :  - 

1.  It  I*  k  knnwicdfre  cmIIc  tniijrht  and  quicklle  learned,  vhtn  there 
b  n  fffMMl  iniKUT  and  an  ajit  iirhf>lnr. 

X.  The  fxcrr isr  of  »\ngiug  i»  doliglitful  tn  nature,  and  good  to  pre- 
■rrrelhi'  health  of  man. 

S.  It  do  ftrenglheu  all  (larts  of  the  heart,  and  doth  open  the  |ripca 
Wc). 

i.  It  Ii  a  lincular  good  rcmcdle  for  a  stuttering  and  itammcHng  in 
the  ■iM-t-rh. 

5.  I!  li  thr  bc't  mrnni  to  prcwrre  a  perfect  pronunciation,  and 
to  ntnkc  a  fftMMl  orutor. 

6.  It  iii  thv  onlic  wn^v  when  nntnre  hath  bestowed  the  hcneflt  of  a 
forid  vit>  cr ;  which  ftxft  l«  n>  rare,  im  there  ii  not  one  among  a  thou- 
aanil  thut  htith  it ;  and  in  rnnnni*-  that  cxccUeut  gift  ii  lotl,  because 
Uiey  wnnt  Ihv  art  tn  expn-i'*  natiin-. 

7.  Then-  in  not  any  muiicke  of  inntrunient*  whatsoever  compam- 
blc  In  tlint  which  is  ina'lc  by  the  voyrca  of  men,  ichcn  the  voycea  are 
2<mhI.  and  the  iome  Wfll  norted  and  ordoreij. 

H.  The  better  the  voyce  l»,the  sweeter  it  is  to  honor  and  serve  God 
therewith  :  and  the  voyce  of  man  is  chieAy  (o  be  employed  to  that 
end  —  oinnif  fjArituit  Uiwict  Dominuni. 

rmMINOIIAM  MUSIC  HAI,L.  This  b  the 
Inrfiest  in  Eugland,  hoiw^  140  I'ect  Ion;;,  fi.5  feet 
vide-,  and  05  Icet  liigh.  It  is  capable  of  contain- 
ing an  audience  of  about  3000  persons.  It  has 
rectilineal  walls,  broken  at  intervals  by  pilasters, 
and  w  surmounted  on  all  sides  by  a  eoviug 
deeply  groined,  which  terminates  in  the  flat  ceil- 
ing above.  Two  narrow  galleries  extend  along 
the  sides  of  the  room,  and  are  of  greater  depth 
across  the  end ;  at  the  other  end  is  jdnced  the 
orchestral  platform  and  choral  scats,  wliich  plat- 
form is  on  the  same  plane  with  the  lower  gallery. 
The  floor  of  the  haU  is  level. 

BIS.  (L.)  Twice.  Tliis  term  always  implies 
that  the  bar,  or  bars,  included  with  it  in  the 
same  cur»-e,  (dra^^-n  under  or  over  the  notes,)  is 
to  be  sung  or  played  twice  before  the  performer 
proceeds  to  the  succeeding  bar,  or  bars. 

EXAMPI.K. 


i?-ff-f- 


^ 


^^ 


BISDIAPASON.    (L.)    A  double  octave. 

niSINIA.  (L.)  A  term  formed  from  the  word  M«.  twice,  and 
ftnplit'il  tn  [tiuntv forte  pieces,  or  movements  in  which  hotn  iiniids  are 
alternntely  employed  upon  tlic  some  melody,  or  tuccesiioa  of  in- 
lervali. 

BISACCIONI,  an  Italian  composer,  lived  about 
the  jniddle  of  the  seventeenth  century.  He  com- 
posed at  Venice,  in  IGl.i,  the  opera  "  Ercolc 
Amaiite,"  wliich  was  performed  at  Paris  in  16C0, 
on  the  king's  marriage. 

BISCACCLVNTI,  SIGXOllA.  Miss  Eliza 
Ostinclli  was  bom  in  Boston,  Massachusetts,  in 
1825.  Her  father,  I-ouLs  Ostinelli,  a  talented 
Italian  musician,  was  for  many  years  a  resident 
of  Boston,  and  leader  of  the  orchestra  in  the 
principal  theatres.  Her  mother  was  a  native  of 
New  York,  and  a  pianist  of  rare  excellence  for 
that  time.  Her  voice  in  her  girlhood  was  rcmark- 
«ble  for  its  richness,  beauty,  and  great  compass, 
embracing  more  than  two  octaves  and  a  half. 
^\'ith  a  ([uick  ear  and  impassioned  brilliant  style, 
she  sang  the  English  and  Italian  songs  that  were 
in  vo;;uo,  and  which  nhe  caught  pretty  ranch  by 
ear,  to  the  great  admiration  of  her  friends,  who 
anticiiintcd  in  her  a  di^linguLshod  singer,  and 
were  anxious  that  she  should  cullivafc  the  rare 
gilt  which  she  possessed  without  lutisical  knowl- 
edge or  liabiis  of  application.     A  subscription  was 


easily  raLsed,  and  in  the  latter  part  of  the  year 
1843,  at  the  age  of  eighteen,  she  left  America 
in  company  with  her  fatlier,  for  the  direct  purpose 
of  cultivating  her  voice  under  the  best  ItaUar. 
masters.  An  introduction  ti-om  the  American 
consul  at  Leghorn  brought  her  to  the  notice  of 
Oiuditta  Pa.sta,  then  m  Como,  the  native  city  of 
Signor  (Jstinelli.  She  continued  to  receive  instruc- 
tion from  Madame  Pasta  for  ten  months,  and 
subsequently  became  a  pupil  of  Vaccni,  Xani,  and 
Laraberti,  tlirce  of  the  most  celebrated  masters 
of  Ital}-.  In  May,  1847,  Miss  Ostinclli,  who  by 
this  time  had  changed  her  name  for  that  of  Bis- 
caccianti,  a  distinguLshed  faiuily  of  Milan,  made 
her  fust  public  api)carance  in  the  difficult  char- 
acter of  Elvira,  in  Verdi's  "  Krna/ii,"  at  the 
Carcano,  the  same  theatre  at  which  Pasta,  who, 
up  to  this  time,  had  continued  to  evince  the 
greatest  interest  in  her  success,  had  made,  many 
years  before,  her  dibui.  Her  success  was  com- 
plete. She  returned  to  America  in  the  summer 
of  the  same  year,  had  an  enthusiastic  welcome  in 
her  native  city,  and  sang,  with  great  success,  in 
opera  and  concert,  in  all  the  princijial  cities  of  the 
Union.  A  few  years  since,  Mme.  BLscaccianti 
visited  Europe  a  second  time,  sang  several  times, 
if  we  mistake  not,  in  the  opera  at  Loudon,  and 
then  withdrew  trom  the  public  for  a  year  or 
more,  which  period  slie  devoted  to  the  most 
earnest  studies,  under  the  best  teachers  in  Lon- 
don and  Piiris.  On  her  return  to  the  United 
States,  a  marvellous  improvement  appeared  in 
the  finish,  style,  and  sentiment  of  her  singing. 
She  was  in  every  sense  an  accomplished,  refined 
artist,  alike  admirable  for  voice,  method,  execu- 
tion, style,  and  expression.  During  the  past 
year,  Mme.  Biacaecianti  has  been  exciting  great 
entliusiasm  by  her  concerts  in  the  principal  cities 
of  California.  She  was  tlic  first  great  singer  that 
visited  that  golden  land. 

BISCU,  JEAN.  Author  of  "Elements  of 
Music,"  published  in  1802.  This  is  probably  the 
same  BLsch,  a  German  by  birth,  who  published 
some  miUtary  music  at  Paris,  in  1794. 

BISCIIOFF,  JEAN  GEORGES,  was  bom  at 
Nuremburg  in  1733.  He  was  a  skilful  performer 
on  several  instruments,  and  composer  of  some 
violin  music. 

BISCllOME.     (I.)     A  semiquaver. 

BISCIOI^V,  LELIO,  a  learned  Jesuit,  wrote 
on  the  subject  of  music  at  the  beginning  of  the 
seventeenth  century. 

BISGARGUI.     See  Viscauqui. 

BISHOP,  JOHN,  a  scholar  of  Rosingrave,  was 
organist  of  the  cathedral  at  AN'inchester  early  in 
the  last  century.  He  published  a  collection  of 
airs  tor  two  flutes,  and  composed  some  church 
music.  His  "  Ilymmis  MatiUinus "  is  even  now 
elegant. 

BISHOP,  HENRY  ROWLEY,  was  born  in 
London  in  1782,  and  early  in  lilc  was  placed  under 
the  musical  tuition  of  tlie  celebrated  Francesco 
Biauchi.  In  the  year  1806,  he  commenced  the 
course  of  composition  which  still  dislinguLshes  him, 
by  a  part  of  tlie  music  of  a  ballet  produced  at  the 
King's  Theatre,  under  tlie  title  of  "  Ttiimrlancl  Ba- 
jazet ;  "  s\ibse(iuently  to  which  he  wrote  the  ballet 
called  "  XarcUse  ct  l<is  Graces."  After  the  lapse  of 
two  seasons,  he   came   forward   at   Drury  Lane 


144 


rilS 


KXCYC'LOP.EDIA    ()  !•"    Ml'SIC 


Bl!4 


Theatre  with  "  Cara^acus,"  a  grand  ballet  of  ap- 
tion,  ill  \vhi''li  hi:i  efforts  were  a;;aiii  hucccwI'uI; 
but  when,  about  twelve  mouths  nilerwaids,  ho 
made  his  fir:.t  decided  attempt  as  n  dramatii'  com- 
poser, it  was  thwarted  by  circumstance -i  Oi'])e;Hiliar 
ploom  and  mis;brtune.  On  the  'l'M\  oi  February, 
1,S09,  an  opera,  called  the  "  Cii'cassinii  Itride," 
was  produ'.'c.l  at  Drury  I.niie,  witli  Hi.hop'H 
music.  On  the  I'ollowiii;^  ni-iht,  Drury  Lane 
Theatre  was  burned  to  tlie  ground,  and  t"ie  scores 
of  the  new  opera  were  entirely  consume!  in  the 
flame  s  Tliis  luusi'^  liad  been  received  with 
enthusiasm  by  those  (qualified  to  criticize  it,  and 
there  a.e  :i!!ccimeiw  slid  oi-casionally  periormcd, 


alHo  held  the  same  otiice  nevcnil  times  since.  Ho 
further  belon','(  to  t!-.c  Koyal  Academy  of  Munic, 
as  a  i)ri);'e.«or  ot  harmony. 

Hishoj)  liiM  been  cuncenic  I  in  the  production 
of  more  than  t-eventy  theatrical  pieces:  of  thw 
numl)er,  more  than  half  are  liis  own  una^ifiiated 
compositions.  He  also  supplied  the  muititi 
of  tliree  tra;;edie s,  the  "  Ajiostate,"  "  Retribu- 
tion," and  "Miiinidola;  '  and  a  "Triumphal 
Ode,"  perfornio  I  at  the  orat^jrios :  he  lias  pub- 
ILdied  a  luuhiiilicity  of  single  son;;s,  ducts,  f^lees, 
&c.,  of  great  merit.  He  arranged  the  first  vohime 
of  the  "Melodies  of  various  Nations;"  three 
volumet  of  the    "National   Melodies"   arc  also 


such   n.s   the   duct    of  "  I'll  love  thee,"   which  I  furnished  with  his  nyniiihonies  and  accompani- 


amply  communicate  the  extent  of  the  loss.  But 
bv  a  calamity  even  oi'  thL;  extent,  llLshop's  tide 
of  fortune  was  not  to  be  turned ;  the  pro-prit'tors 
o.'Covent  (iarLlen  Thenlre,  scein;;  l-.i-^  merits,  and 
kuowiui;  how  to  employ  them,  formed  an  enga,;e- 
meiit  with  him  for  three  ycar^,  to  compose  and 
direct  the  music  of  tliat  cstablisbraent.  He 
entered  on  this  important  office  with  the  season 
o;  i:sio-u. 

The  lirrit  piei-c,  in  conseiucuce  of  this  arrani^e- 
mciit,  upon  wiiich  Bishop's  talents  were  era- 
jdoycd,  was  a  lavisical  drama  in  tliree  acts,  by 
Norton,  sele.tcd  from  Scott's  poem  of  the  "  Lady 
of  the  Like,"  with  some  unimportant  variations,  i 
and  produced  as  the  "  Kni;;ht  of  Snowdowu." 
Ill  the  music  of  this  jiiece  Bishop  disjdaycd  a 
de^ee  of  talent  seldom  surjiasscd  by  British 
composers.  Be.ore  the  exisiration  of  tlvis  eu3;age- 
nicnt,  the  "  Virgin  of  the  .Sun,"  the  "  -Ethioj)," 
nnd  the  "  llcne;.;ade "  were  produced;  and  the 
t;ie.it  musi-al  pict'Oic  of  a  storm  and  carthiiuake, 
with  which  the  first  of  the. e  piexM  was  enriched, 
wlU  be  long  remombere  I.  A  fre-h  engagement 
for  five  yean  wa-  now  concluded;  and  w);eu  wc 
siy  thiit  Bisho|)  signalized  it  immediately  by  the 
"  Miilcr  au  1  his  Men,"  no  am;  ler  proof  can  be 
given  of  the  indic:itioiis  with  which  it  commenced. 
"  For  Eiii;laird,  ho  I  "  a  melodramatic  tritle  of 
superior  pie'.ensions,  next  enabled  him  to  main- 
tain tl.e  imprc-sion  his  prior  works  had  just 
made ;  and  the  annexed  record  of  his  composi- 
tions will  show  the  magnitude  of  his  labors 
during  these  five  year*. 

A  new  engagement  of  BLshop  at  Covcnt  Gar- 
den Theiitre  to)k  place  in  1818,  and  being  made, 
as  be.oie,  for  a  tenn  of  five  years,  of  course  ex- 
pired with  18'^:}. 

In  1810,  Bishop  became  a  joint  proprietor  of 
theorat  )rios  wiili  Mr.  Harris,  and  they  were  con- 
fi  led  to  his  exclusive  direction  ;  in  1S20,  a  separa- 
tion of  intere-'ts  occurred,  and  those  splendid  pcr- 
formani'es  were  couducle  I  by  Bi'hop  on  his  own 
re-iponsibility,  and  under  his  entire  control.  Ar- 
rnngemcntj  hud  bi-eu  made  wiiich  invested  )iim 
with  the  pame  de  jrce  of  power  lor  acru-n  successive 
reasons;  he  prodte  I,  however,  by  a  clause  in  the 
contract  to  reliniuish  them  at  the  end  of  the 
jirst,  and  withdrew  to  the  continuance  of  those 
ll'.eaLrioal  avo'.-ations  they  l.ad  too  bcnsibly  in- 
tcrrupte  I. 

A  gre.it  public  honor  w.-w  paid  to  Bishop  in 
the  autumn  of  IS'iO,  when  he  visited  Dublin, 
and  re.-eived  the  Ircedom  of  that  city  by  the 
cordial  and  unanimous  suffrage  of  those  who  prc- 
leiited  it. 

Ou  the  institution  of  the  Philharmonic  Society, 
Bialiop  was  appointed  one  of  itj  directors  ;  he  ha.s 


ments;  and  he  finally  stijiuhited  with  Mr.  I'owei 
to  sui)eriiiiend  his  publications  of  Irish  and  other 
classical  airs. 

The  following  is  a  li  -t  of  BLshop's  dramatic 
pro  luctions  :  — 

"T(im;r!<in  ct  It  ijazet,"  (composed  and  selected,) 
grand  heroic  ballet.  King's  Tlieaire,  ISO*!  ;  "  .Vrtr- 
cUsc  vt  It's  Graces,"  Anacreontic  ballot,  do.,  June, 
LSOR  ;  "  ('ar.u-iu  IIS,"  grand  ballet  of  action,  Drury 
Lane,  March,  180)  ;  "  Love  in  a  Tub,"  ballet, 
do.,  November,  ISOi;  "The  Mystcrioin  Bride," 
(compo.ed  and  selected,)  romantic  drama,  do., 
June,  1808;  "The  C'ircivisian  Bride,"  opera,  do., 
February,  1800  ;  "Mora's  Love,"  ballet.  King's 
Theatre,  June,  1800;  "The  Vintagers,"  musical 
romance,  llajTuarket,  August,  1800;  "llie  Ma- 
nia:-," Ojiera,  Lyceum,  March,  1810  ;  "  Knight  of 
."snowdown,"  do.,  C'ovent  (iardeii.  February,  1811  ; 
"Virgin  of  tl-.e  Sun,"  do.  do.,  January,  1812; 
"The.Kthio;','  do.  do.,  Oitober,  1S1_>;  "  Ilarouii 
Alraschid,"  (altered  from  t'le  .Kthiop,)  do.  do., 
January,  18i:i ;  "The  Brazen  Bust,"  melodrama, 
do.,  May,  181.'$;  "  llaiTy  le  Uoy,"  (comjiosed 
and  selected,)  burleila,  ilo.,  July,  181.3;  "  I'he 
Miller  and  his  Men,"  melodraui'i,  do.,  October, 
181.'5 ;  "  For  En.;land,  ho  I  "  (with  the  exception 
of  three  airs,)melodrainatii-  opera,  do.,  December, 
181.'};  "  The  Farmer's  Wife,"  (withD.ivy,  Reeve, 
&c.,)  opera,  do.,  F'ebruary,  1814;  "The  Wan- 
dering Boys,"  melodrama,  do.,  February,  1814; 
"  Sadak  and  Kahvsrade,"  (first  act  of,)  grand  spec- 
tacle, do.,  April,  1814;  "The  (iraiid  Alliance," 
(composed  and  selected,)  allegorical  spectacle, 
do.,  June,  1S14  ;  "  Doctor  .Sangrado,"  ballot,  do., 
September,  1814;  "The  Forest  of  Bondy,"  melo- 
drama, do.,  .September,  1814;  " 'llie  Maid  of  the 
Mill,"  additional  music  in  opera,  do.,  October, 
1814;  "John  of  Paris,"  (composed  and  selected 
from  the  French  of  Boieldicu.)  do.  do.,  November, 
1814;  "Brother  and  SiMer,'  (with  Mr.  Ueeve,) 
mu.ical  entertainment,  do.,  February,  ISl.);  "'Ilie 
Noble  Outlaw,"  opera,  do.,  Apnl,  181.) ;  "  'I'elema- 
chus,"  (composed  and  .selected,)  Oj.era,  diveiit 
Garden,  June,  181.i;  "  Magpie  ami  the  Maid," 
melodrama,  do.,  .September,  18 1.5 ;  "John  d  u  Bart," 
do.  do.,  O.tobcr,  181.5  ;  "  C'jnnon,"  (overture  and 
additional  music  in,)  musical  entertainment,  do., 
Noveml'.er,  181.5;  "  t'omus,"  (additional  music 
in,)  do.  do.,  181.5  ;  "  Midsummer  Night's  Dream," 
(composed  and  selei-ted,)  ojicra,  do.,  Jonuarj', 
181();  "(juy  .Maunering,"  iwith  Whitaker,  &c.,) 
do.  do.,  March,  1810;  "Who  want.s  a  Wife  .=  " 
melodrama,  do.,  April,  1816  ;  "  Uoyal  Nuptials" 
(selected  nnd  arranged,)  occasional  interlude,  do., 
Novmber,  ISl'i;  "Tl'.e  Slave,"  openi,  do.,  No- 
vember, 181(i;  "Heir  of  Veroni,"  (with  Whit- 
aker,) operatic  picjc,  do.,  Febriuuy,  IS  17;  "Uu- 


19 


149 


BIS 


EXCYCLOP.EDIA    OF    MUSIC. 


ULA 


•norou-t  LieutemHt,"  opera,  do.,  January,  1817; 
•"The  liiljpiliiio,"  ( ndnpted  from  Mozart,)  oponitic 
piece,  do.,  1S17  ;  "  Duke  ol  Savoy,"  opera,  do., 
Sejitember,  IS17;  "  Fatlier  and  liis  Children," 
melodrama,  do.,  October,  ISl";  "  Znma,"  (-with 
Hmlsiim,)  opera,  do.,  Febriiary,  1818;  "Illustri- 
ous'IVavcUer,"  melodrnma,  do.,  February,  1818; 
'  December  and  May,"  operatic  piece,  do..  May, 
1S18  ;  "  liarber  of  Seville,"  (overture  and  addi- 
rioiial  mu^ie,  and  adapte  I  from  Uos>-ini,)  do. 
do.,  October,  1S18  ;  "The  Mamai^c  of  Figaro," 
(compo'.;ed  and  adajjted  from  Mozart,)  do.  do., 
Mnrcli,  1811)  ;  "  Fortunatus,"  melodrama,  do., 
April,  1819;  "The  Heart  of  Mid-Lothian," 
(comi)osed  and  selected,  1  opera,  do.,  .Vpril,  1819; 
"A  lloland  tor  an  Oliver,"  music  arran^icd  for 
musical  entertainment,  do.,  1819;  ".Swedish 
Patriotism,"  melodrama,  do..  May,  1819;  "'ITie 
(inoine  Kins;,"  operatic  piece,  do.,  October,  1819  ; 
"  Tlie  Comely  ot  Error;,"  oi)era,  do.,  December, 
1819;  "The  Anti;iuary,"  (composed  and  se- 
lected,") do.  do.,  January,  1820  ;  "  I5attleof  IJoth- 
weU  ]{ri;;,"  (composed  and  selected,)  musical 
entertainment,  do.,  1820  ;  "  Henri  (iuatre,"  opera, 
do.,  April,  1820;  "  TweLth  Xisht,"  do.  do., 
1820  ;  "  Don  John,"  {\)art  of  the  music,")  do.  do., 
1821 :  "Two  Ocntlemen  of  Verona,"  do.  do.,  1821 ; 
"  Montro-e,"  (composed  and  .selected,)  do.  do., 
Fel>ruary,  1822  ;  "  The  Law  of  Java,"  do.  do., 
Mav,  1822  ;  "  Maid  Marian,"  do.  do.,  December, 
1822;  "Clari,"  do.  do.,  May,  1823;  "llie  Boa- 
con  of  Liberty,"  musical  romance,  do.,  October, 
182.3;  "  Cortez,"  opera,  do.,  November,  1823; 
"  Native  Land,"  do.  do.,  February,  1824. 

BISHOP,  ANNA,  was  educated  at  the  Royal 
Academy  of  Mu:  ic,  in  I/ondon.  Her  first  appear- 
ance in  public  was  at  a  concert  given  by  JJochsa, 
July;),  1839.  Orisi,  Pauline,  Viardot  Garcia,  Per- 
siani,  Kubini,  Tamburini,  and  Lablac);e,  all  sang  at 
this  concert ;  Thalber;;  and  Dohler  presided  at 
the  piano,  and  Bochsa  at  the  harp  ;  still,  in  spite 
of  this  brilliant  phalanx  of  artists,  who  threatened 
to  echp:  e  altoi;etber  the  talent  of  the  new  fh-hii- 
taiUe,  she  obtained  the  most  triumphant  success. 
Soon  after  she  ventured  on  an  artistic  tour  through 
the  principal  countrie*  of  Europe,  and  visited  the 
most  noted  towns  of  Denmark,  Sweden,  Russia, 
Ike,  in  all  of  which  jilaccs  she  was  successful. 
Her  visit  and  reception  in  the  large  cities  of  the 
I'nited  State;  will  be  remembered  by  the  thou- 
sands who  I'.eard  and  admired  her. 

RIS(")XI  A  church  composer  at  Lugo,  in 
Tiuiy,  m  1788. 

mSSET,  CATHARINE.  Elde=t  daughter  of 
Jlobert  llis^et,  LL.  D.,  author  o.  the  "  Life  of 
Rurke,"  and  the  "  Reign  of  (jeorge  III."  At  an 
earlv  age,  Miss  IJLsset  gave  promise  of  musical  abi- 
lities. In  con:  equence  of  the  death  of  lier  father,  I 
■when  she  was  quite  a  child,  she  was  advi-  ed  l)y 
many  friends  to  study,  as  a  profession,  that  art 
which  sl-.e  had  ]reviously  cultivate  1  a--  an  accom- 
)>li:.h]aent ;  and  notwithstanding  the  hi'_'h  rank  of 
several  of  her  nearest  relatives  at  twelve  years 
of  age  she  was  giving  lessons  to  as-.i  t  in  sujiport- 
uig  her  family.  Shortly  after,  she  became  ac- 
quainted with  J.  R.  Cramer,  who,  with  the 
liberality  of  mind  which  so  pecidiarly  character- 
ized him,  instructed  her  without  any  emohmient. 

In  isll,  Mii:t  lli-set  ]>er;"onue  1,  at  tl.e  New 
Musical  Fund  concert,  Cramer's  dilKcult  concerto 
in  C  minor,  with  the  raont  iuibounde<l  applause. 


Having  c«tabli;ihcd  her  fame  as  a  ]ni))lic  per- 
former, MLss  Ris-et  pre'erred  being  lieard  at  th« 
nobility's  ])rivate  concerts  until  the  season  of 
1823,  when  she  was  prevailed  on  to  play  at  Paris 
where  she  was  enthusia'^tically  receive  1,  and  pro- 
nouncel,  by  several  of  the  first  profc  -nrs  in  that 
city,  to  be  the  only  performer  of  the  present  day 
in  the  true  style  of  her  inimitable  master. 

IlLSSET,  MISS  ELIZAHETH,  pupil  of  Mr. 
Dizi,  was  as  celebrate  1  on  the  harp  a-  her  sLster 
on  the  iiiano-forte. 

lilSSON,  LOriS.  A  French  corapo'ser  in  th« 
latter  half  of  the  sixteenth  century.  He  altered 
many  four  part  songs  of  Nicholas  Cl.emin  into 
duets,  without  changing  the  first  part. 

BriTHEUSER,  F.  R.  A  monk  and  com- 
po' er  ol  music  at  Wurtzburj  iii  the  latter  half 
of  the  last  century. 

BIITI,  MARTINI.  A  distiiiguiihed  violinist 
and  composer  of  in  strumcutal  music  at  Florenc* 
about  the  year  1714. 

BITZENIiERG,  MADAME.  A  celebrated 
pianLsl,  singer,  and  x-ioliuLst  at  Vienna,  about  th* 
year  1798. 

BH'ML  GIACOMO  FILIPPO,  an  organist 
and  composer  at  Milan,  died  in  16d2.  He  p\ib- 
ILshed  motets  and  church  music. 

BLZARRO.  A  celebrated  compo-er  of  madri- 
gals, ^i:.,  at  Rome,  iu  the  first  halt  oi  the  seven- 
teenth century. 

BIZZARO.  (I.")  This  term  irar.lie-,  that  the 
style  of  the  movement  to  which  it  i->  prefixed  i* 
odd,  fantastical,  and  irregular;  now  quick,  now- 
slow  ;  sometimes  loud,  sometime ;  so:t  ;  just  a" 
the  carelessness,  or  whim  of  the  moment,  dictates 
to  the  composer. 

BLACKWELL,  ISAAC.  An  En-lish  com- 
poser of  songs,  some  of  which  were  printed  in  a 
collection  entitled  "  Choice  Ayres,  ."^ongs,  and 
Dialogues  to  sing  to  the  Theorbo,  Lute,  and  Base 
Viol,"  fol.  Ifi".).  Tliere  are  some  composition!" 
of  his  for  the  church  in  the  book  s  of  the  Chapel 
Royal,  and  in  those  of  Westminster  Abbey. 

BLAMONT,  FRANCOIS  COLIN  DE,  wa.s 
born  at  \'crsailles  in  the  year  1090,  and  for  hit 
merit  in  his  j)ro:'ession,  was  made  a  ch.evalicr  of 
the  order  of  St.  Michael.  He  was  a  composer  for 
the  opera,  and  enjoyed  the  places  of  superin- 
tendent of  the  king's  music,  and  master  of  that 
of  his  chamber.  He  wrote  the  opera.*  "  Didon," 
"  A»"^  Fttes  Grrcr/ttes  ct  liotiiaiin^,"  "  II  PastorJUh," 
kc.     He  died  in  the  year  17<)0. 

BLANC,  DIDIEli  LE.  A  French  composer 
of  four  part  songs  in  l.v97. 

BLANC,  lU'BERT  LE,  published  a  work  on 
th.c  bass  viol  at  Amsterdam  in  1740. 

BL.VNCH.VRD,  E.  J.  A.,  a  celebrated  French 
musician,  died  at  Vcrsaillei  in  1770.  He  wa-i 
chamber  musician  to  the  King  of  France,  who 
granted  him  letters  of  nobility  and  tl  c  order  of 
St.  Michael.  He  composed  some  sacred  mu.sic 
containing  beautie-s  of  the  Rrat  order,  among 
wl'.ich  Ls  a  magnificent  motet,  calleJ  "  iMiidatt 
Duminum." 

BL.VNCHE.  (F.)  (Literally,  'vhite  note.\ 
A  minim,  or  halt  note. 

BLANCIIIS,    PETRUS    ANTONIUS.      Ser 

BlANCIIl,  P.   A. 


U6 


P  T.  A 


ENCYCLOr.i:DIA    OF    MUSIC. 


ltl..\ 


HI-AND,  MRS.,  i.;  the  dnu-ihtcr  of  an  Italian 
Jewess  of  tlie  name  of  lioraan/.ini,  and  was  tir«t 
introiu'>c'l  into  public  life  by  a  Mr.  Cady,  hair 
dro;^er  to  the  Koyal  Circus,  who  heard  and  ap- 
proved of  her  voice  while  an  infant,  and  by  the 
consent  of  her  mother  she  was  eu;iaf,'ed  at  a 
small  salary.  She  soon  distin';:uished  herself  by 
lier  wit  and  pleasing  manner  of  sin!;ing,  and 
rapidly  advanced  in  the  tjood  opinion  of  her 
audience.  Miss  Uomanziui  soon  aspired  to  a 
re;^ular  sta'^e,  and  was  eiKjafiied  by  Mr.  Daly, 
mannjjcr  of  the  Dublin  'll'-catre,  where  she  was 
well  rei'eive  1. 

When  Mrs.  AVriijhten  left  the  st«p;e,  the  raan- 
Bfjeri  found  fireat  difliculty  in  siipjdyiiig  her 
place.  Amony;  others,  Miss  Romanzini  wiw  cu- 
gngeil  for  that  i)uri'0--e,  and  in  a  short  time  she 
proved  herself  an  excellent  sub -titute.  The  pub- 
lie  were  peally  plev^ed  with  her  perfonnance  of 
the  yia'^c,  in  "  Richard  Ciriir  de  Lion,"  wliich 
added  much  to  the  popularity  of  the  pie^e,  and 
hor  fame. 

In  the  summer  of  1789  she  went  to  Liverpool, 
and  became  a  favorite  with  the  inhabitants  of 
that  place,  both  as  an  actress  and  as  a  concert 
linger.     About    this    jicriod    s'-.c    married    Mr.  I 
Jiland,    brother   to    Mrs.  Jordan,  by  whom    she  ] 
had   several   chiltlren.     niis   lady,   both   a*   an  | 
actre-=s  and  as  a  singer,  afforded  much  pleajure  i 
to  the  public.  I 

BLANGIXI,  JOSEPH  M.VRIE  FELIX,  was  ! 
bom  at  Tiu-in  in  17.S1.  At  the  aj^e  of  t"olve  or 
thirteen  he  di;l  the  duty  of  organist  at  the  cathe- 
dral of  that  town,  and  at  foiu^tcen  led  a  mass 
with  a  full  orchestra.  He  went  to  i'aris  in  17Ji), 
and  devoted  himsell"  with  the  greate  .t  sueccs;<  in 
ginng  lessons  in  singin<»  and  composition.  He 
at  the  same  time  composed  operas  and  many 
pleasing  romances,  and  other  light  vocal  pieces. 
In  USOo  he  was  invited  to  Muu'ch,  and  appointed 
chapel-master  to  the  King  of  Ravaria  ;  and  in 
180'J  the  King  of  Westphalia  conferred  on  him 
the  situations  of  chapel-miister,  chamber  mu- 
Kician,  and  chef-cTorchestrc  to  t'lc  the:itre.  lUan- 
gini  composed  one  hundred  and  sixty-four 
romances;  one  hundred  and  seventy  noitunioB, 
for  two  voice* ;  seventeen  sets  of  canzonets  ;  six 
motets ;  four  masses ;  and  about  twenty  operas. 
Among  the  more  favorite  of  his  operas  may  be 
cited  "  LaJ'aiuse  Dueiriu;"  "  yepAtnli,"  "XflieH 
Terrille,"  "  lues  de  Vast m"  "  Let  F<ite.i  Lacfdeino- 
uieniifji,"  and  "  />;  Stu-rifice  <t Abraham." 

BL.VN(HNI,  MLLE.,  sister  of  tht.  i.jeceding, 
was  a  good  violinist,  and  has  per;'orme<l  con- 
certos on  that  instrument  at  the  public  concerts 
Di  Turin,  Milar,  Vienna,  and  Paris.  She  has 
ilso  composovl  some  music  for  the  violin. 

RLAXKENRORCi,  (Jl'IRINTS  VA-\,  organ- 
st  at  the  Hague,  published  a  book  on  thorough 
Dass  in  17:>'.l,  also  some  church  music. 

RLANKEXUriUJ.  FRIEDRICH  VOX.  died 
iX  Lcipsic  in  17!>'l.  He  edited  the  new  edition 
>f  Sulzcr's  "'I'heory  of  the  Fine  Arts,"  and 
»dded  to  the  miLsical  articles  of  tliat  work. 

RLASEBL-VGE.  (G.)  The  bellows  of  an 
i»rg!u». 

RLASIS,  FR-VXCESCO  AXTOXIO,  com- 
posed at  Milan  the  opera  of  •'  Arminio,"  in  1790. 

RLASIUS,  M.VTIIIEU  FliEDIUC,  was  chrf- 


(Forrhextre  at  the  Opera  Comique  in  Paris.  He 
published,  in  179'>,  a  method  for  the  clarinet, 
lie  also  arranged  Haydn's  sonatas  as  <martets, 
&c.,  and  wrote  several  operas  and  in^truiuental 
pieces.     He  died  in  1829. 

RI.AVIT,  M.  A  musician  of  Resan<;on,  who 
was  engaged  in  the  opera  at  Paris,  and  dis- 
tinguished himself  by  his  taste  and  the  superior 
merits  of  his  jiieces  of  vocal  and  instrumental 
music.     He  died  in  17J8,  aged  sixty-eight. 

BLAVIERE,  about  the  year  1772,  wa.s  a  sing- 
ing master  at  -Vntwer]).  Dr.  Buniey  speaki 
liighly  of  his  intcllii;ence  in  musical  literature 
and  compositions* for  the  church. 

BLAZE,  IL,  published  piano-forte  music  .it 
Paris  between  the  years  1799  and  180-5.  He 
died  in  18;53. 

BLAZE,  FRAXCOIS  IIEXRI  JOSEPH  CAS- 
TIL,  son  of  the  preceding,  was  born  December  1, 
17S4.  Destined  for  the  bar,  he  studied  in  his 
youth  all  that  was  necessary  for  the  profession 
of  advocate,  which  did  not  prevent  him  from 
cultivating  music,  of  which  the  first  lessons  were 
given  to  him  by  his  father.  He  went  to  Paris  in 
1799,  to  pursue  his  studies  in  the  law  school, 
wliich  he  neglected  sometimes  for  those  of  the 
Consen-atoiie.  Having  finLshed  the  study  of 
solieggi,  he  received  lessons  in  harmony  from 
Penie,  and  prepared  himself  to  complete  his 
musical  education,  when  he  found  it  neces.sary 
to  renounce  his  inclination  in  order  to  occupy 
himselt  exclusively  with  his  business.  He  be- 
came, successively,  advocate,  sub-jirefecfin  the 
department  of  Vau'duse,  insjiector  of  the  library, 
&c.  He  had  but  little  time  to  give  to  the  culture 
of  an  art  which  he  passionately  loved.  However, 
he  played  several  instruments,  and  had  composed 
many  romances  and  other  fugitive  ])iece-,  which 
were  published,  when  he  suddenly  detennined 
to  renounce  the  bar,  the  administrative  career,  in 
line,  every  obstacle  to  his  inclination  :  trusting 
in  the  future,  he  set  out  for  Paris  with  his  wile 
and  children  —  more  careful  of  his  trunks  of 
scores  and  maniiscripts  than  of  his  other  l>aggage. 
Two  projects  led  him  to  the  metro])olisof  the  arts 
—  he  wished  to  have  represented  there  the  "  Don 
Juan"  of  Mozart,  and  some  other  oi)eras  which 
he  had  translated  and  arranged  for  the  French 
stage,  and  to  puldidi  thci-c  a  book,  in  liopes  of 
future-  renown.  This  book  appeared,  under  the 
title  of  "  The  Opera  in  France,"  i  Paris,  1820, 
2  vols.  8vo. )  A  man  of  talent,  a  writer  full  of 
fancy,  M.  Castil  Blaze  attacked  with  energy,  in 
this  work,  certain  prejudiced  persons,  who,  in 
France,  were  op))0:-ed  to  dramatic  music.  He 
pointed  out  tl.e  de.ects  of  the  librettos  of  the 
operas,  the  vices  of  the  interior  administration  of 
the  theatres,  tl-.e  bad  distr;b\ition  of  tlie  parts, 
the  false  and  arbitrary  cla:isilication  of  the  voices 
in  tine,  all  the  cause-<  which  prevente  1  th.e  good 
execution  of  the  ma-ik'.  He  al.o  made  war 
against  the  pas  ionaJe  taste  of  the  French  for 
songs,  (rA<//Mi)ii.<, )  con--iderin5  them,  with  j\istice, 
OS  obstacles  to  the  ]>ro^ress  of  art.  I'ntil  the 
moment  when  ^L  Ca.stil  lllaze  coramence<l,  in  the 
"  Joiirital  des  D'Imt.i"  the  fcries  of  ]>iquant 
orticle^  which  were  the  foundation  of  his  repu- 
tation, mere  men  of  letters,  ignorant  of  the  tirsl 
elements  of  muMC,  had  aisumed  tlie  right  of 
putting  forth  the  false  opinions,  wliich  they  took 


m; 


n  i.E 


encyc;lop,edia  of  music. 


BLB 


k>T  (loctriiic«,  upon  an  art  of  which  they  did  not  i  in  1782.     He  was  the  son  of  Jonas  li.ewitt,  an 


(•■iiuiirchciul  cvt-n  the  aim.  To  tliis  wo  must  at 
liilmtc  llio  j)ii'ju(li(C'  which  existed  amoiifjst  the 
Kieat  jiart  of  llif  popuhilion  nf;ninst  harmony,  the 
luxury  of  instrumentation,  and  wliat  Li  called 
kcM-/i///fc  music.  The  author  ol  the  Musical  Cliron- 
ide,  in  the  "  Di'.hnts,"  was  remarked  for  the 
specialty  of  liLs  knowledjjc ;  he  silenced  the  non- 
^ense  of  the  men  of  letters,  and  bof^an  to  initiate 
the  public  into  the  technical  lanj;uaj;e  which  he 
used.  \Vhatever  |)ro;^ress  the  art  of  writinij;  on 
music  in  the  jiapcrs  has  made  in  France,  we  must 
not  for;;et  that  M.  t'aiitil  lilazu  was  the  first  who 
imturalized  it  in  that  country. 

The  treatl-c  ui)on  the  "  Ojjera  in  France  " 
iucrea  ;ed  to  an  "  Essay  upon  the  Lyric  Drama 
and  Khythmical  Verse,"  wliich  wius  published  in 
ISL'li.  After  havin"^  written  for  more  than  ten 
years  the  Musical  Chronicle  for  the  "  Journal  lies 
Dcbnts,"  M.  Castil  Blaze  Icit  that  paper  in  1832, 
to  write  for  t};c  "  Coustitutioniiel."  In  18.32,  he 
piiblir.hed  two  works.  One  is  called  "  Chajicl 
^lusic  of  the  Kinp;s  of  France,"  (I'arLs,  Paulin, 
1  vol.  12mo.,)  and  the  other  "  The  Dance  and  the 
BaUet,  from  Bacchus  to  Mademoiselle  Taglioui," 
(^I'arii,  I'aulin,  1  vol.  12rao.) 

The  translations  of  the  "  Nozze  di  Figaro"  of 
"  Don  Juan,"  "  Zauberjlote,"  and  the  "  Mairimouio 
Seijreto,"  were  done  by  M.  Castil  Blaze  before 
he  went  to  Paris.  The  success  of  the  music  of 
llossini  at  this  jieriod  dctemiined  him  to  con- 
tinue his  works  of  translation,  and  succetisively 
he  jniblisliod  "  T/ie  liarbur  of  Seville"  "La  Gazza 
Ladru,"  "  Otello"  and  "  Slotse."  He  also  at- 
temi)ted  several  pasticci,  composed  of  a  union 
of  parts  of  the  scores  of  llossmi,  Mozart,  Pacr, 
and  several  other  masters.  He  even  composed 
sojuc  pieces  himsell,  of  wliich  the  best  known  are 
"  Les  l-'olicH  Aiii'>ureus!;s,"  and  "  Lc  ForCt  de 
Si/iart."  The  Theatre  Odcon,  in  I'aris,  was  es- 
pecially dc.i;,'ned,in  1822,  for  the  re])rescntation 
of  translated  tiermau  and  Italian  ojjoras ;  every 
thing  played  there  was  successful ;  but  tlic 
"  J)er  Frei/scliutz,"  by  Weber,  under  the  French 
name  of  "  llMit  dc  liois,"  was  received  with  the 
most  enthusiasm. 

The  translation  of  "  Earijanthe "  was  also  by 
M.  Castil  Blaze,  but  was  not  so  well  received. 
M.  Caslil  Blaze  is  known  as  a  composer  by  some 
pieces  of  religious  music,  ([Uiutets  for  the  violin, 
and  a  colleclio)i  of  twelve  romances,  amongst 
which  are  the  "  Cluint  de  T/wrmopi/les,"  and  the 
pretty  song  of  "  Uoi  Uent."  (Coudeu:ied  liom 
FetLi'.) 

BI.EIX,  M.  l.E  BAUOX,  a  general  ofKcer  in 
the  FrcMuli  engineer  corps,  was  lioru  about  17G7. 
II:-  publisheil  in  Pari:;,  in  1827,  an  "  Exp%it  de  r/uel- 
qucs  I'ri'iiijHS  uourcdiijc  sur  t' .\v!>usti']uc  et  la  Thioric 
ties  Vibrations,  etc."  In  1828  he  labored  to  relbrm 
the  diatonic  gamut,  ihe  mode  of  writing  music, 
S:c.  Finally,  he  publisheil,  in  1832,  "  Principles 
oi  Melody  and  Harmony,  deduced  tr<jm  the  Theory 
of  Vilm'fions,"  I'aris,  8vo ,  with  plates.  His 
theories  have  been  accused  of  fundamental 
errors. 

BLESSING,  M.  An  excellent  musician,  and 
the  inventor  of  a  celebrated  instrument,  com- 
bining the  jiowcr  and  variety  of  a  lull  orchestra, 
railed  the  orchestrion. 

BLEWirr  JONATII.VX,  was  born  in  London 


organist  in  London,  and  author  of  the  lirst 
treatise  on  the  organ  published  in  England. 
Jonathan  Blewitt  received  the  groundwork  of 
hLs  musical  education  under  his  lather,  and  was 
afterwards  placed  under  liis  godfather,  Jonathan 
Battishill.  At  an  early  age  Blewitt  evinced  a 
taste  for  music,  and  at  eleven  years  old  was  ap- 
pointed deputy  organist  to  liis  lather.  He  was 
afterwards  engaged  to  play  at  ^Ul  Hallows  Bark- 
ing, Tower  Street,  for  evening  lecture,  for  which 
a  choir  was  engaged.  He  then  became  organist 
oi'  the  chapel  at  IJlackV.cath,  at  the  time  it  was 
attended  by  her  royal  higluiess  the  Princess  of 
AN'ales.  From  thence  he  removed  to  Haverhill. 
Sutiblk,  at  the  recommendation  of  Dr.  Arnold, 
one  of  his  early  friends.  He  next  became  organ- 
lit  at  Brecon,  succeeduig  Mr.  Campion,  a  pupil 
of  his  father's,  where  he  remained  three  yearj. 
On  the  death  of  his  father  he  returned  to  Ixm- 
don  ;  first,  in  the  expectation  of  succeeding  him 
in  his  situation,  and  secondly,  because  he  had 
composed  an  opera  written  by  a  lady  of  distmc- 
tion,  which  was  to  have  been  brought  out  at 
I  Drury  Lane.  The  theatre,  however,  being  burned 
down  at  this  j.'eriod,  and  cu'cumstances  occur- 
ring which  prevented  hi*  election  to  Ills  father's- 
place,  he  was  disappointed  in  both  expectations, 
and  again  returned  to  the  country,  where  he 
succeeded  in  gaining  the  situation  of  organist  at 
Sheltield,  after  a  competition  in  playini;  with 
many  candidates.  In  the  year  1811,  Blewitt 
visited  Ireland,  and  was  patronized  by  the  laie 
Lord  Cahir,  in  whose  family  he  resided  for  some 
months  ;  he  then  became  composer  and  director 
to  the  Th.ealre  Royal  in  Dublin. 

After  Logier  commenced  propagating  his  sys- 
tem of  musical  instruction  in  lieland,  Blewitt 
was  the  first  who  joined  him  ;  and  being  an  able 
lecturer,  and  possessing  sound  muMcal  knowl- 
edge, lie  soon  procured  the  great  majority  of  mu- 
sical pupils  in  the  metropolis  of  Ireland.  He 
was  then  appointed,  by  the  Duke  of  Leinster, 
grand  organist  to  the  masonic  body  of  Ireland  ; 
he  also  conducted  concerts  in  Dublin,  and  of- 
ficiated in  this  capacity  at  the  coronation  concert 
during  the  stay  of  Ids  majesty  in  that  kingdom. 
He  then  became  organist  of  the  jiarldi  church 
of  .'^t.  Aiuhcw's,  DubUn.  Blewitt  was  much  ad- 
mired for  his  extemporaneous  pcrlbrmancos  on 
the  organ,  especially  in  the  fugue  style.  Hb  com- 
positions are  numerous  ;  among  the  principal  arc, 
"  The  Corsair,"  an  opera  ;  "  The  Magician,"  an 
opera;  "  The  Island  of  Saints,"  anoj:era;  "Con- 
certo for  tl'.e  Pinno-lorle;  "  "Grand  Sonata  lor 
the  Piano-forte;"  "La  Symplie  Ileurcnse ;" 
"  The  Bal4lc  of  N'ittoria  ;  "  "  Royal  Divertimento, 
dedicated  to  the  Iving  ;  "  "  Royal  Scotch  Diver- 
timento, dedicated  to  the  King  on  his  Visit  to 
Scotland;"  "/  Pczzi  Seelli;"  "  Im  I'iohtta;" 
"Duets  tor  the  Piano-forte;"  "The  Vocal  As- 
sistant ; "  "  Simplilication  of  Modulation  and 
Accompaniment ;  "  "  Voluntaries  lor  the  Organ," 
ktc.  Songs  in  the  Irl'h  style  :  "  Katty  O  Lynch  ; ' 
"  Emerald  Isle;  "  "  Xorah  MacFriskey  ;  "  "  Pad- 
dy O'Ran,"  *:c.  Songs  and  ducts:  "Rosalie," 
"  Rosabel,"  "  I  blame  tliee  not,"  &c. 

BI.EVER,  GEORGE.  Clamber  musici*n  to 
the  Duke  of  Schwarlzburg  in  IGGO.  He  com- 
posed some  vocal  and  iustrumentiU  music,  chiefly 
of  a  sacred  chai-acter. 


US 


BLI 


ENCYCLOP-EDIA    OF   MUSIC. 


ni.I' 


BI-IESKXEK.  JOIIAXN.  A  pupil  of  Gior- 
aovichi  on  the  violin,  lie  corai)o:iC(l  imich  music 
for  his  instrument  at  Uerlin  iinil  ^'ionnH,  between 
the  years  1789  nnd  1801. 

BLITIIKMAX,  WUAA  i.M.  Organist  of  the 
Chapel  Koyal  to  (Jueen  Elizabeth,  lie  was  mu- 
sic master  to  1  )r.  Hull. 

BLOCKI.ANI).     .See  Buocklanu. 

BLONDEAl',  AU(i.  l.OUIS,  born  at  Paris  in 
178G,  was  a  pupil  of  Mchul,  and  gained,  in  1808, 
the  grand  j)rizc  for  composition  given  by  the 
Paris  Conservatory.  The  cantata  composed  for 
the  prize  was  "  Mary  .Stuart,"  the  words  by 
Monsieur  de  Jouy.  Blondcau  has  lUTanged  some 
of  the  sonatas  of  Beethoven  as  quartets.  His 
cantata  of  "  Mary  Stuart "  may  be  tbuiid  in  the 
"  Juurnul  Ihhdoinaduirc "  of  Lcduc,  thirty-eighth 
year,  Xos.  1.5-48. 

BLOXDEL.  A  rhymer  or  minstrel  to  Richard 
I.,  King  of  England,  about  the  year  1 190.  ^\^^ilst 
his  mac^ter,  being  a  prisoner  of  the  Duke  of  Aus- 
tria, wivs  pining  in  a  tower  in  (iennany,  Bloudel 
traversed  the  whole  of  the  Jloly  Land,  and  all 
parts  of  Gcnuany,  in  search  of  the  king,  whom 
he  at  length  discovered  to  be  confined  in  the 
castle  of  Lowenstein,  by  singing,  near  the  walls 
of  the  castle,  a  song  which  tlie  king  and  himself 
had  jointly  composed.  This  anecdote  fiuiiishcd 
the  subject  of  Grotry's  beautiful  opera,  "  Richard 
Coctir  de  Lion." 

BLOW,  JOIIX,  doctor  of  music,  boni  in  1048, 
at  Xorth  Collingham,  in  Xottinghamshirc,  was 
one  of  the  lirst  :.ct  of  children  of  the  Chapel  Ur)y- 
al,  after  the  re-toration.  lu  1(>73,  he  was  swoni 
one  ot  the  gentlemen  of  the  chapel,  and  in  1074, 
upon  tlie  ikvea.-.e  of  Humphrey,  appointed  master 
of  tlie  children,  lu  lii8.),  he  was  nominated  one 
of  the  private  musiciaii<;  to  King  Jamct  II. ,  and  in 
1687  he  wa-i  likewise  appointed  almoner  and 
master  of  the  clioristers  in  the  Cathedral  ("hurch 
of  St.  Paul  ;  but  in  1G93  he  resigned  tb.is  last 
place  in  favor  of  his  pupil  Jeremiah  Clark.  l?low 
had  hLs  degree  of  doctor  in  music  conferred  on 
him  by  the  special  grace  of  Archbishop  SancroU, 
without  perlonning  an  exercise  for  it  in  either  of 
the  universities.  On  the  decea.se  of  Purcell,  in 
Iti!).),  he  was  elected  orgnnLst  of  St.  Margiu-et's, 
Westminster,  and  in  Ili'JSt  appointed  composer  to 
the  chapel  ot  their  majesties  Kins;  William  and 
(Jueen  Mary,  at  a  salary  of  forty  pounds  a  year, 
which  afterwards  was  augmented  to  seventy- 
three  j)ounds.  A  second  composer,  with  the 
like  ap])ointiuent,  was  added  in  171.5,  when  John 
Weldou  wius  swoni  into  that  otKcc ;  at  which 
time  it  was  re.piired  that  each  should  produce  a 
new  anthem  on  the  tirst  Sunday  of  his  month  in 
waiting.  1  hat  Blow  was  a  composer  oi  anthems 
while  a  singing  boy  in  the  Chapel  Koyal  ap|>ears 
from  CliUbrd's  collection  of  the  words  of  the  ser- 
vices and  anthems  used  in  the  collegiate  and 
cathedral  churches  in  lt!(i4;  for  among  the  cc- 
;-lesiastical  composers  mentioue<l  in  thLs  hook, 
amounting  to  upwards  of  sixty,  are  included  the 
names  ot  Pelhani,  Humphrey,  John  Itlow,  nnd 
Kot)ert  Smith,  children  of  his  maje.ty's  chapel. 
Uunii)hrey  was  born  in  l("i47,  and  Blow  in  l(i48, 
lo  that,  at  the  re.itorntion,  the  first  was  only 
tliirtecn,  and  the  second  but  twelve,  nieircom- 
pohing  antheius  fit  for  the  Chapel  Boyal,  lieiore 
they  Imd  attimie<l  the  age  of  sixteen  or  seven- 


teen, would  now  he  regarded  as  more  wondtrfu. 
])roofs  of  precocity,  if  Puroell,  soon  after,  at  a 
still  more  early  period  of  life,  had  not  pri)du<'etl 
compositions  that  were  superior  to  these.  l)r. 
Blow  died  in  1708,  at  sixty  years  of  age;  and 
though  he  did  not  arrive  at  great  longevity,  yet, 
by  beginning  his  cotuse  and  mounting  to  tha 
summit  of  his  jirofesiion  so  ciirly,  he  enjoyed 
a  prosperous  and  eventful  life.  His  compositions 
for  the  church,  and  his  scholars  who  arrived  at 
eminence,  have  rendered  his  naiuc  venerable 
among  the  musicians  of  England.  "  'ITiough 
there  arc  strokes  of  the  jiathetic,  aiul  subjects  of 
fugue  in  Blow's  works  that  are  admirable,  yet  I 
have  examined,"  says  Dr.  Burncy,  "no  one  of 
them  which  appears  to  be  wholly  unexception- 
able, niul  free  from  confusion  and  crudities  in 
the  counterpoint.  He  has  been  celebrated  by 
Dr.  Boyce  for  '  his  success  in  cultivating  an  un- 
common talent  for  modulation  ;  '  but  how  so  ex- 
cellent a  judge  of  connect  and  pure  harmony 
could  tolerate  his  licenses,  is  as  uuacco\intablc 
as  any  thing  in  Blow's  compositions,  coiisideriu;' 
the  knowledge  and  known  probity  of  the  late 
Dr.  Boyce.  'I'ho  ballads  of  Dr.  Blow  are  in 
general  more  smooth  and  natural  than  his  othei 
l)roductions,  and,  indeed,  than  any  other  bnll-.d' 
of  his  time ;  there  L;  more  melody  than  in  tho-e 
of  Henry  Lawcs,  or  any  compojcrj  of  the  pre- 
ceding reign  ;  yet  it  is  not  of  that  graceful  kind 
in  which  the  Italians  were  now  advancing  to- 
wards perfection  with  great  rapidity.  It  is  either 
of  a  Scotch  ca-st,  or  ot  a  langiiid  kind,  that  ex- 
cites no  other  sensation  than  fatigue  and  drowsi- 
ness. lILs  pastoral,  '  Since  the  spring  comes  on,' 
is,  however,  as  chaiitautc  as  any  mongrel  mixture 
of  Scotch,  Irish,  French,  and  English,  that  hiui 
been  since  compiled.  The  first  movement,  par- 
ticularly, seems  to  have  been  the  model  of  most 
of  the  Vauxhall  songs  of  the  Imst  forty  yciuN. 
'  Fill  me  a  bowl '  has  the  same  kiiul  of  merit. 
Tlie  collciting  his  secidar  compositions  into  a 
folio  volume,  in  1700,  under  the  title  of  '.Ini- 
pliinn  An;/licii.t,'  was  doubtless  occasioned  by  the 
great  succe:ss  of  the  '  ()r/>/uii.i  Jiriltitmiriui,'  a 
similar  collection  of  Purcell's  dramatic  and  mis- 
cellaneous songs,  published  by  his  widow  in 
11)98.  But  whether  Dr.  Blow  was  stimulatetl  to 
this  ])tiblicatiou  by  emulation,  envy,  or  the  so- 
licitation of  his  scholars  and  friends,  by  whom 
there  are  no  less  than  fil'teen  encomiastic  co])ie!' 
of  verses  jiretixed  to  the  work,  the  ungrateful 
public  seems  to  have  always  renuiined  insensible 
to  these  strains  of  the  modem  Aniji/tinn,  which 
were  not  only  incapable  of  building  cities,  but 
even  of  supporting  his  own  tottering  fram*". 
'  (io,  perjured  man,'  Is  the  best  of  all  his  secular 
jiroductious ;  but  that  which  was  an  imitation  of 
a  duet  by  Carissimi,  '  J)ifi;  o  Cirli,'  is  r,verloa<le<l, 
in  his  '  Ain/i/iinn  Ani/lirm,'  with  a  labored  and 
unmeanint;  accom))auiment.  Pages  tl  ami  !''>  of 
this  collection  contain  two  of  his  bi-st  ballads  — 
'  Saliua  has  a  thousand  chanus,'  and  '  Philander, 
do  not  think  of  arms.'  In  these  ballad*  th« 
union  of  Scotch  melody  with  the  English  is  first 
conspicuous.  The  subject  of  a  s<ing,  pa^c  liiS, 
'  Orithea's  bright  eyes,'  is  likewise  broad  Scclch.  ' 
Sec  Ancient  Pekfacks. 

BUM,  M.  IL,  of  the  Uoyal  Berlin  Xational 
ITieatre,  was  an  eminent  thrntrical  singer  in  tier- 
raany.     Amoug  many  other  first  |>nrtH,   he  hoa 


149 


BLU 


EXCYCLOP.EDIA    OF    MUSIC. 


BOC 


perfonneil  Don  Juan,  iind  Cit-ipnr  in  the  "  Frey- 

lihlltZ." 

BLUM,  CAUL.  Born  in  1788.  A  drarantic 
coini)oscr,  (guitarist,  Kingcr,  and  director  of  the 
opera  at  Berlin.  lie  composed  several  operas,  as 
"  (.'laitiline  th:  Villa  ItelUi,"  "  ZoraitU;  oil  la  Paijc  dc 
iiraiiiiflii,"  "  I^'S  I'df/cn  da  Due  Vcnddiifi,"  SiC. 
Carl  Blum  was  a  great  favorite  with  the  Gcnnau 
public. 

BLYMA,  F.  XAV.,  director  of  tlie  orcheitra 
at  Moscow  in  17!)  i,  published  some  violin  music 
lit  Vienna  and  Leipsic  between  the  above  year 
and  1803. 

B  MOL,  (Cf.)  or  SOIT  B.  B  flat;  so  called 
in  contradistinction  *o  B  Uur.     See  B  Duii. 

BOCCIIEUINI,  LUIGI,  was  born  at  Lucca,  in 
1710.  He  rofcived  his  first  lessons  in  music  and 
on  the  violoncello  from  the  Abbe  Vannucci,  then 
music  master  of  the  arch)nshopric.  Boecheriiii, 
at  an  early  a;j;e,  showing;  a  great  disposition  for 
music,  his  father,  himself  an  ingenious  musician, 
cultivated  his  son's  talent  with  care,  and  at 
length  sent  liim  to  Rome,  where  he  soon  ac- 
ijuired  a  high  reputation  for  the  originality  and 
variety  of  his  pro<luctions.  A  lew  years  alter 
this  he  retui-ncd  to  Lucca,  where  his  sonatas 
were  first  performed  in  public.  F.  Manfredi, 
a  pupil  of  Xardini,  and  also  a  native  of  Lucca, 
being  there  at  the  time  of  Boccherini's  return 
from  Rome,  they  executed  together  his  sonatas 
for  the  violin  and  violoncello,  (op.  7,)  to  the 
great  delight  of  the  audience.  After  this,  the 
two  professors  became  intimate,  and  quitted  Itixly 
together  for  Spain,  where  Don  Louis,  tl;e  in- 
fante, was  collecting  professors  of  the  KrU  talent. 
They  were  received  at  Madrid  with  i)artlcular 
distinction,  and  Boccherini  at  length  determined 
to  remain  in  Sjiain.  lie  was  well  received  by  the 
king,  who  sliowed  much  jiartiality  for  him,  and 
loaded  him  witli  honor  and  presents.  Tlic  only 
professional  obUgation  imposed  on  him  was  to 
produce,  every  year,  nine  pieces  of  his  com- 
position, for  the  use  of  the  Royal  Academy. 
Boccherini  assented  to  these  conditions,  and 
faithfully  kept  them.  He  died  at  Mailrid  in 
ISOf),  aged  sixty-six.  It  is  said  that  Boccherini 
kejit  up  a  regular  correspondence  with  Haydn, 
the-e  two  great  musicians  endeavoring  to  en- 
lighten each  other  reipecting  their  compositions. 
Carter  has  said  of  this  composer,  that  "  If  God 
wished  to  address  man,  he  might  be  supposed  to 
do  so  by  the  music  of  Haydn  ;  but  if  he  wished 
to  hear  )uusic  himself,  he  would  prefer  that  of 
Boccherini."  I'uppo,  the  viohnLit,  well  ajjjjre- 
tiated  Boccherini's  music,  by  calling  him  "  the 
wife  of  Haydn."  Dr.  Burney  says,  "There  is, 
perhaps,  no  instrumental  music  more  ingenious, 
elegant,  and  pleasing  than  Boccherini's  quintets  ; 
hi  wliich  invention,  grace,  modulation,  and  good 
taste  co'ispire  to  render  them,  when  well  exe- 
cuted, a  treat  lor  the  most  refined  hearers  and 
critical  jiulgc*  of  musical  composition."  I'art  of 
the  "  Slah'U  M.Ucr"  of  Boccherini  may  be  seen 
in  tlie  second  voluine  of  La  Trol>e's  selection  ; 
it  is  a  truly  original  and  highly-finished  pro- 
duction. 

BOCHS.V.  ROBERT  NICHOLAS  CHARLES, 
WHS  born  in  17.S'.),  at  Montmedi,  in  the  depart- 
ment of  tlie  Meuse,  in  France.  IIU  father  iKsing 
first  perform(T  on  the   huutl'oy  at   the    Grand 


nicatre  at  Lyons,  the  young  musician,  while 
yet  an  infant,  had  the  means  of  hearing,  and 
couse(iucntly  imbibing,  some  notions  of  good 
muiiic.  Xor  were  these  opportunities  neglected, 
for,  at  the  age  of  seven  years,  he  jjublicly  per- 
fonued  a  concerto  on  the  piano-foile.  Even  at 
this  early  period  Ids  genius  for  composition  ako 
develoi)ed  itself;  lor,  in  liLs  ninth  year,  he  com- 
posed a  duet  and  a  s^^nphony  for  the  flute.  Xt 
eleven  he  i)layed  ou  the  flute  a  concerto  of  his 
own  composition ;  and  at  twelve  he  composed 
several  overtures  for  ballets,  and  soon  after  a 
quartet,  without  knowing  a  single  rule  of  com- 
po.iition.  At  sixteen  he  set  to  music,  at  Lyons, 
the  opera  of  "  Trajan."  At  the  same  period,  he 
applied  himself  to  the  study  of  the  haq),  and  had 
made  liimself  familiar  with  that  instrument, 
when  he  went  with  hLs  family  to  Boui-deaux. 
Here,  meeting  with  the  celebrated  Beck,  he 
studied  composition  under  him  with  the  greatest 
enthusiasm,  for  the  space  of  a  year,  and  set 
to  music  the  ballet  of  "  La  IXin-wntanie,"  and  an 
oratorio,  {"  Li:  Dclui/c  Unircr.wUc,")  in  wliich  he 
introduced  a  chorus  for  two  orchestras.  About 
this  time,  Bochsa  had  so  far  mastered  the  diffi- 
culties of  the  harp,  the  piano-forte,  the  violin, 
the  tenor,  and  the  flute,  as  to  be  able  to  perform 
concertos  on  cither  of  these  instruments,  besides 
being  able  to  play  in  a  slight  degree  on  the  haut- 
boy, and  understanding  perfectly  the  scale  and 
capabilities  of  nearly  all  other  instruments.  Ou 
hLs  arrival  at  Paris,  he  was  received  into  the  Con- 
servatory of  Music,  and  placed  as  a  pupil  of 
Catel,  under  whom  his  progress  was  so  great, 
that,  at  the  close  of  the  first  year,  he  obtained  the 
principal  prize  in  harmony.  After  this,  he 
studied  the  higher  branches  of  composition, 
under  the  celebrated  Mchul,  who  mauLi'ested  for 
his  pupil  ]iarticular  kindness  and  friendship.  As 
Bochsa  still  continued  to  apply  himscli'  to  the 
harp,  he  received  also  some  lessons  from  Xader- 
mann,  and  afterwards  studied  more  jjarticularly 
under  the  celebrated  Viscomte  Marin.  But 
judging,  with  reason,  that  no  one  could  rise 
to  eminence  by  imitating  the  productions  of 
another,  he  seems,  from  hLs  iiublications,  whi<ih 
ajjpeared  soon  after  this  time,  to  have  applied 
liimself'  to  a  style  of  composition  for  the  harp, 
which  had  liitherto  been  unknown.  It  is,  doubt- 
less, to  this  self-confidence  that  may  be  attrib- 
uted the  celebrity  which  he  since  has  acquired. 
It  frequently  indeed  hajiijcns  that,  through  a 
want  of  jiroper  confidence,  the  most  original 
talents  remain  dormant.  To  give  a  detailed 
account  of  Bochsa's  many  improvements  in  harji 
composition  would  require  more  space  than  we 
can  devote  to  a  single  life.  It  has  been  l)y  his 
eminent  talout-s  that  the  harp,  which  was  before 
so  far  confined  its  to  be  only  adapted  for  accom- 
panying the  voice,  b  now  capable  of  performing 
the  highest  species  of  musical  composition.  To 
conclude,  Bocli:>a  has  obtained  a  generally  al- 
lowed pre^'minence  on  the  harp,  which  few 
uidividual  performers  on  any  other  instrument 
liave  ac(iuired.  HLs  comi)ositious  for  the  haq), 
which  were  published  at  Paris,  amount  to  about 
one  bundled  and  fifty,  consLiting  of  concertos, 
symphonies,  quintets,  quartets,  trios,  ducts,  sona- 
ta-, lanta-.ias,  capiiccios,  \c.,  besides  two  method-s 
and  filty  studios,  dedicated  to  G.  B.  Cramer.  lu 
18i;f,  the  Emixjror  Xapoleon  appoin'ed  Bochsa 
first  harpLst  oi'  his  private  concerts.     Soon  after 


150 


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ENCYCLOP.liDIA    OF    MUSIC. 


BO 


this  he  apijlied  himself  M-ith  greiit  eiithusinnm  to 
dramatic  coiuiiosition,  and  composed  lor  the 
royal  Comic  Opera  "  L'lIerUu:r  tie  I'aimpal,"  an 
opera  in  three  acts,  which  oxpcricuced  f,'rcat  suc- 
cess. In  1814,  he  was  ai)pointed  (on  the  resto- 
ration of  Louis  XVIII.)  to  compose  an  opera 
called  "  />(•?  Il-ritiera  Michaiuc,"  which  produc- 
tion received  the  approbation  of  the  kin^  and  of 
the  Emperors  of  Aiustria  and  Russia.  This  opera 
is  said  to  have  been  prepared  by  Uochsa  in  a  tew 
days,  and  we  have  heard  that  the  overture  was 
positively  composed  in  two  hours.  The  follow- 
in;;  Ls  a  list  of  some  of  the  other  dramatic  produc- 
tions of  tliii  comjwscr,  in  the  order  in  which  they 
appeared :  "  Li  Lettre  de  Change,"  in  one  act ; 
"  Ia!  Hoi  it  la  Lif/ne,"  in  two  acta  ;  "  Lea  Xocen  de 
(lamruhe,"  VL.  three  acts ;  and  "  Le  lioi  (f  Airayoa," 
in  throe  acts. 

On  the  20th  of  January,  1815,  a  {;rand  re  [uiem 
wa.s  perlonued  for  the  service  of  Louis  XVIII. , 
composed  by  Uochsa  tor  wind  instruments  only. 
-■Vbout  this  time  he  was  appointed  harpist  to  the 
king  and  the  Due  de  Kerri,  by  whom,  as  well  as 
by  Monsieur,  he  was  particularly  patronized. 
Uochsa  went  to  Euslaud  in  1817;  where  for 
isome  ttmo  he  published  yearly  more,  on  an  aver- 
age, than  Fcveuteen  or  eighteen  pieces  for  the 
harp.  In  182.,  he  became  dii'ector  of  the  ora- 
torios, wliich,  under  his  management,  gradually 
improved  both  in  sclcolion  and  perlonuance. 
At  the  o].ening  of  the  Royal  Aciulemy  of  Music  in 
1822, he  became  a  life  govenioi-,  and  was  appointed 
professor  of  the  harp  and  secretiirv  to  the  masical 
department  of  that  institution.  For  several  yeivrs 
past  Uochsa  has  been  tUiector  of  the  concerts  and 
operas  of  Madame  Auna  Uisliop  in  the  United 
States  and  in  Mexico. 

UODE,  JOIIAXX  JOACHIM  CIIRISTOPII. 

A  printer  at  Ilamburv;,  and  composer  of  some 
music  since  the  year  1773.  lie  published  a  tier- 
man  translation  of  some  of  the  workii  of  Dr. 
Uuruey. 

UODEXHUKG.  JOACHIM  CIIIUSTOPII, 
a  ticrman,  wrote  a  work  on  ancient  music,  espe- 
cially of  the  Jews,  also  a  work  on  the  music  of 
the  middle  ages  and  modern  times.  Ho  tliotl  ui 
the  year  17o9,  at  the  age  of  sixty-eight. 

UODINI.  SEUASTIEX.  Musician  to  the  Mar- 
grave of  Uaden  Dourlack  about  the  year  17.5(5. 
He  published  much  iustrumentul  music  at  .\ugs- 
burg. 

UOECK,  AXTOIXE  and  IC.XACIUS,  broth- 
ers, were  oxiellcnt  performers  on  the  horn  in 
:"82 

UCECKLIX.  FR.\XCOI.>^  FREDERIC  SI- 
lilSMUXD  AU(  JUSTE.  UAROX  DE.  nn  amateur 
composer,  was  bor>»  at  Stra-burg  in  174.5.  He 
was  a  favorite  pujiil  of  Jomelli ;  ho  also  took  les- 
sons of  Richtcr :  he  composed  symphonies,  church 
music,  and  abo  some  operas. 

UOEHM.  THEOBALD,  inventor  of  tho 
'•  Uoehm  tlute,"  so  called,  the  most  celebrated  of 
(jerman  riutists,  was  boni  in  Uavaria  in  1802,  and 
belongevl  to  the  music  of  the  king  ot  Munich. 
Ht  has  composed  all  forms  ol  music  for  the  flute, 
lome  with  orche;<tml  accompaniment.    See  Flute. 

UOEHM.  JOHAXX.  manager  of  a  theatre  in 
Ucnnany,  comimsed  tho  music  of  some  operas 
.bout  tlic  vcur  17So. 


IK^EHM,  TWAX,  violinist  at  the  Chai)cl  Roy- 
al at  Uerlin,  was  born  at  Moacow  In  1713.  lie 
wiLs  pupil  of  Graun. 

UOEHM,  GOITFRIED,  published  sorao  in- 
strumental music  at  Xm'cmburg  between  the 
years  1741  and  1750. 

UOEHMER  published,  in  1302,  some  sym- 
phonies for  a  grand  orchestra. 

UOEKKR,  II.  The  editor,  in  the  year  1791, 
of  a  collection  of  vocal  and  instrumentid  music, 
by  celebrated  modern  coin;)o.sers ;  tlxis  work,  we 
believe,  was  published  at  Uerlin. 

UOELSCIIE,  J.,  an  organist  and  composei  in 
Brunswick,  died  in  1()84. 

UOESEXIIOEXKJ,  JOSEPHA.  A  celebrated 
pianist  and  composer  at  Vienna.  She  was  a  pu- 
pil of  Mozart,  Kozeluch,  and  Richter  ;  she  pub- 
lished ranch  music  for  the  piano-forto  between 
tho  years  1731  and  1799. 

BOESSET,  JE.VX  BAITLSTE.  was  the  favor- 
ite secular  composer  of  tho  early  part  of  tho 
seventeenth  century,  also  the  be->t  lutist  and 
principal  composer  of  songs  of  his  time.  Some 
of  his  "  Court  Ayrcs  with  their  Dittie*  En^- 
Ushed,"  were  published  in  London  by  Filmor, 
1629,  of  which  it  is  now  dlthcult  to  find  tho 
measure  or  accent. 

BOErHIU.S,  A.  M.  T.  S.  A  Avritcr  of  five 
books  on  music  m  the  latter  part  of  the  fifth  cen- 
tury. His  works  were  printed  at  Basle  between 
the  years  l.54()  and  1.570. 

BOEITXER,  JOIIX  CHIUSTIAX,  organist 
at  Hanover,  pubUshcd  some  music  lor  that  in- 
strument in  1787. 

BOOEX.     (G.)    Tlxe  bow. 

nOGEXFUURUNG.  (G.)  The  management 
of  the  bow. 

UOHRER,  ANI'nOXY  and  MAXIMIIIAX, 
two  celebrated  performers,  the  one  on  the  violin, 
the  other  on  the  violoncello,  are  lirothers.  'Ilicy 
performed,  in  1823,  at  Milan.  It  Is  said  that  in 
their  performance  of  a  duet,  so  great  wa.s  tho 
similitude  of  their  tones,  that  the  auditor  could 
scarcely  detenuine  which  of  the  two  was  the  per- 
fonucr  on  the  violin.  Maximilian  was  well  re- 
ceived in  England  in  1811. 

UOIELDIEU,  FRAXCOIS  ADRIEX,  a  cele- 
brated dramatic  composer  at  Paris,  was  bom  at 
Rouen  in  1770.  He  went  to  Paris  al)out  the  year 
1795,  and  first  became  known  by  his  talcnU  c.n 
the  piano-forte,  and  as  a  composer  of  romances, 
some  of  which  had  prodigious  success,  especially 
the  two,  "  i>il  cat  vrai  (jw  tfitre  Hcitx,"  and  "  I^. 
Mcnrstrcl."  He  soon  after  began  to  compose 
operas  ;  among  the  more  favorite  of  which  may 
be  named  "  L*-  Cali/c  de  Itaydiul,  1800,"  "  Ia;  Pe- 
tit C'Jui/wmn,"  and  "  Im  I'oiliirc  rer.si'i ."  Uoicldieu 
was  one  of  the  jjrofc.isors  of  tlic  piano  at  the  Con- 
servatory at  Paris  since  the  year  ll'tl  ;  afterwards 
he  resided  at  Petersburg,  having  been  ap)>ointcd, 
in  1803,  chapel-master  to  the  Emperor  of  Russia, 
after  the  death  of  Sarti.  He  dieil  at  his  country 
seat,  near  Paris,  October  9,  1831. 

nOISGELOU,  PAUL  LOUIS  ROUAI.LK 
DE,  wa;<  born  at  Paris  in  1734.  He  was  cele- 
brated as  an  iuiiant  muiucian,  by  J.  J.  Rousseau, 


151 


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ESCY CLOT JET>1\    OF    MUSIC. 


BON 


in  the  following  passage  of  his  Kmllo  :  "Tat  vuc 
chrz  un  nui'jutrat,  ann  Jils  pi'tit  bon  homme  de  huit 
0(W,  i/u'oH  nutldit  sar  la  tMe  an  dessert  coinme  uiie 
\latuc  ail  milieu  des  plateiix,  jouer  la  cttm  violon, 
ore.ir/iu;  aiuai  i/raiid  giie  lui,  el  snrprendre  par  son 
rreadion  lea  artislca  mtmea."  lie  died  at  Paris  in 
1800. 

BOISMORTIER,  a  corupoFcr  of  some  operas 
and  other  music,  died  at  Paris  in  175.5,  aged 
BLxty-four.  ]Io  was  remarkably  absent,  so  much 
BO  tliat  lie  would  not  undertake  to  diretit  the  or- 
chestra at  the  rehearsals  of  his  own  music.  A 
motet  of  this  composer,  "  Faijit  Nox,"  has  been 
much  celebrated. 

150ISSET,  AXTOIXE.  Chamber  musician  to 
the  Kin^  of  France  at  the  beginning  of  the  seven- 
teenth century. 

BOLICIO,  NICHOLAS.     See  Wollick. 

BOI-LA,  SIGXORA.  A  female  buffo  singer 
at  the  Opera  in  London,  in  the  year  1800. 

BOLERO.     A  .S])anish  dance  with  castanets. 

BOLOGXA,  LUIGI.  Born  at  Bologna.  A 
composer  of  opera  music  since  the  year  1786. 

BOMBARDO.  (I.)  A  wind  instrument,  re- 
sembling the  bassoon  ;  formerly  used  as  a  bass 
to  the  oboe. 

B0M15IX.  An  inflatile  instrument  of  the  an- 
cient Greeks,  consLsting  of  a  long  reed.  It  con- 
tained two  parts,  the  olntos,  or  mouth,  and  the 
iiipholme,  or  main  body. 

BOX,  GIROLAMO,  called  Momoh,  was  born 
at  Venice,  and  published  at  Xurembui-g,  in  17C4, 
home  easy  sonatas  for  the  ^-iolin  and  bass. 

BOXA,  VALERIO.  A  Franciscan  monk  at 
Milan  in  loOO.  He  published  madrigals,  motets, 
and  church  music,  also  rules  for  composition. 

BOXADIES,  I'ERE  JEAX,  was  a  Carmelite, 
and  the  master  of  Franchinus  Gassui'uls.  P. 
Martini  has  given  a  tragment  from  a  "  Kyrte 
EUi.sm,"  composed  by  Bonadies  in  1473,  when 
(iaforio  was  twenty-two  years  old. 

BOXAXXI,  FILIPPO,  a  Jesuit  at  Rome,  was 
born  in  1()3S,  and  published  a  work  on  music, 
called  the  "  Cabiiictto  Armonirx)  I'ieno  d' Istro- 
meiiti  Soiiori."  In  1776,  a  new  edition  of  this 
work  appeared  at  Ro)ue  with  a  French  transla- 
tion, and  the  following  title  :  "  Descrizioite  degC  h- 
(rjmcnti  Armonici  d"  O'jni  ffenere  del  Padre  Boiiaii- 
III,  secoiula  Editions  rivediUa,  corretta  ed  accreaciiUa 
deW  Abbitic  (Jiacliilo  Ccriili,  oniaia  con  140  rami." 

BOXARDI,  FRAXCESCO.  An  ItaUan  com- 
poser of  madrigals  at  Venice  in  loGo. 

BOXAZZI,  AXTOXIO,  an  amateur  %-iolinist, 
w:ls  born  at  Cremona.  At  his  death,  he  left  a 
collection  of  upwards  of  a  thousand  instrumental 
jiieces  by  different  composers,  among  which  were 
a  few  of  his  own  compositions.  He  also  left 
forty-two  violins,  made  by  (iuanierius,  Amati, 
Straduarius,  and  other  great  makei-s ;  several  of 
t)iese  instruments  were  worth  one  hunilred  and 
tilty  ducats  apiece.  Bonazzi  died  in  1802  at 
Mantua. 

BOXI),  HUGH.  A  collector  and  editor  of 
jsalms,  hymns,  and  anthems  in  Ix)ndon  previous- 
Iv  to  tlio  vear  17'J5. 


BOXD.  An  eminent  performer  on  the  doubU 
bass,  resident  in  I<ondon.  He  was  engaged  t4 
the  York  musical  festival  in  1S2.3. 

BOXniXERI,  MICHELE.  A  Florentim 
composer  of  operas  between  the  years  1785  and 
17'J1. 

BOXDIOIJ,  GIACIXTO.  A  composer  c f  sa- 
cred music  pubEshed  at  Venice  between  tha 
years  1620  and  162.5. 

BOXEL.  An  admired  tenor  singer  at  th« 
Grand  Opera  at  Paris  in  the  year  1820. 

BOXELIO,  AURELIO,  of  Bologna,  published 
some  vocal  music  at  Venice  about  the  year  1.596 

BOXE.SI,  B.,  of  Bergamo.  A  composer  of  ope- 
ra;?, etc.,  resident  at  Paris  in  the  year  1806.  He 
studied  composition  under  Fioroni,  a  pupil  of 
Lco-Boneo,  and  was  master  of  the  celebrated 
Chorou. 

BOXEVEXTI,  GIUSEPPE.  A  favorite  com- 
poser  of  operas  between  the  years  1690  and  1727. 

BOXIXI,  a  monk,  published  some  motets  at 
Venice  in  the  year  1615. 

BOXIXI,  SE\'ERO,  born  at  Florence,  pub-  , 
lished   the    "  I^mcnto   (TAriayia,"    a   cantata,    al 
Venice,  in  1613  ;  probably  he  is  the  same  person 
as  the  foregoing. 

BOXJOUR,  L.  Organist,  in  1786,  of  the  Mili- 
tarj-  School  at  Paris.  He  published  "  Xouveattx 
Principes  de  Mtisigiic"  in  1800;  also  several  sona- 
tas, &c.,  in  preceding  years. 

BOXXAY,  F.  A  composer  of  operas  at  Paris 
about  the  year  1787. 

BOXXE  D'ALPY,  MLLE.,  published  some 
romances  at  Paris  in  1804. 

BOXXET,  JACQUES,  author  of  "L'nUtoirt 
de  la  Musipte  et  de  sea  EffcU,"  published  at  Paria 
in  1715.     It  is  a  work  of  no  great  merit. 

BOXXET,  J.  B.,  organist  at  Montauban,  and 
a  pupil  of  Jarnowich,  composed  much  music  for 
the  violin.  He  was  bom  in  1763,  and  formerly 
held  the  situation  of  chef-d'orchestre  at  the  thea- 
tres of  Brest  and  Xantes. 

BOXXEVAL,  REXE  DU.  Author  of  a  de- 
fence of  the  French  music  against  J.  J.  Rousseau ; 
this  work  was  published  at  Paris  in  1754. 

BOXXO.     See  Bono. 

BOXXOT.     See  M.vhlt. 

BOXO,  JOSEPH,  chapel-master  and  court 
musician  at  Vienna  in  1710,  died  there  in  1788. 
He  composed  several  operas  and  oratorios. 

BOXOMEITI,  GIOVAXXI  BAITISTA,  a 
composer,  boni  at  Bergamo,  was  in  the  service  ol 
the  Archduke  Ferdinand  of  Austria  at  the  be- 
ginning of  the  seventeenth  century.  He  pub- 
lished a  large  collection  of  motets,  psalms,  &c., 
by  eminent  masters,  also  some  trios  for  tv.-o  vio- 
lins and  bass. 

BOXOXCIXI.    See  Buoxo.ncini. 

BOXPORTI,  ABATE.  A  celebrated  VialiaB 
violin  maker  towards  the  end  of  the  seven  :*entt 
century. 

BOXPORTI.  FRAXCESCO  AXI'OX,    n  in- 


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BON 


EXCYCLOriEDIA    OF    MUSIC. 


noR 


^trumcutnl  composer,  published  some  music  at 
A.ugsb\iri^  about  the  year  1741. 

BONTEMPI,  GIOVANNI  ANDIUA  AN- 
GELINI,  was  boni  in  Perugia.  He  wius  the 
author  of  a  history  of  music,  iiublLshcd  in  lOO.i, 
in  one  small  volume  folio.  lie  is  considered  by 
Dr.  Burney  an  excellent  composer  for  the  a:;o  in 
which  he  lived,  and  a  profound  theorist.  Bon- 
tempi  has  given  an  exhibition  of  the  ancient  dia- 
tonic system,  as  applied  to  the  key  of  A  minor, 
exactly  corrctipouduig  with  that  of  Pj-thagoras. 

BONTEMPO,  ALESSANDRO.  An  Italian 
ooroposer  of  motctj  at  the  beginning  of  the  seven- 
teenth century. 

BONTEMPO,  J.  I).,  an  excellent  pianLst  and 
crmi)oser  of  instrumental  and  of  church  music. 
He  lived  some  years  at  Paris,  and  afterwards  at 
Lisbon,  where  he  lormcil  a  I'hilhanuonic  society. 
A  reiiuicm  composed  by  Bontempo,  at  Lisbon,  is 
said  to  be  a  work  of  great  merit. 

BOllCIIOUEVINCK,  MELCinOR.  Court 
organLst  at  C'opeulia^cn  at  the  end  of  the  six- 
teenth century.  He  published,  in  IGOG,  a  large 
collection  of  mndrigals  by  tlie  most  celebrated 
Italian  composers. 

BOIIDET,  a  flutLst  and  composer  of  music  for 
his  instrument,  published  also  a  method  for  mu- 
sic at  Paris  in  1755. 

BOllDIEIl,  chanel-master  at  Paris,  publLshed 
a  method  for  mu>ic  in  17'iO.  It  was  reprinte<l, 
in  1770,  wth  additions,  after  his  death,  and  en- 
titled "  A  Treatise  on  Composition." 

BORDOGNI.  A  singer  of  eminence  at  the 
Italian  'ITieatrc  at  Paris  since  the  year  1810.  He 
is  still  distinguished  as  professor  of  singing  at 
the  Piuris  ConserN-ator)-. 

BORDONI,  FAUSTINA.     See  ILissE. 

BORErn,  GIOVANNI  ANDREA.  A  com- 
poser of  serious  operas  at  Parma,  between  the 
years  ItJiiG  and  1071.'. 

BORDER  TUNES.  The  name  given  to  melo- 
dies composed,  or  supposed  to  have  been  com- 
posed, in  the  counties  bordering  on  Scotland  ; 
as  Durham,  Westmoreland,  and  Northumber- 
land. 

BORGIIESE,  A.  An  Italian  composer  of  an 
operetta  at  Paris  in  1787. 

BORGHI,  fJIOVANNI  BATFISTA.  Chapel- 
master  at  Loretto  in  1770.  He  composed  several 
operas  tor  the  theatres  of  Venice  and  Florence. 
Ills  compositions  are  much  esteemed.  Among 
his  opens  are  "  f  Vr.),"  performed  at  Venice ; 
"  Piramn  e  Tiibf,"  at  Florence ;  "  Eumene,"  and 
"  UiciiDrn-." 

BOIKilll,  LUKfl,  a  pupil  of  Pugnani,  was 
the  leader  of  the  se;"ond  violins  in  the  orchestra, 
ot  the  commemoration  of  Handel  at  Westminster 
Abbey.  He  has  published  much  music  for  hLs 
instrument  in  London,  Bcilin,  Paris,  and  Amster- 
dam. There  are  also  some  Italian  canzonets  by 
this  composer. 

BOR(;0,  CESARE,  organist  at  Milan,  pub- 
lished many  part  songs  and  masses  of  his  com- 
position at  Venice  and  Milan,  between  the  years 
1684  aiid  1614. 


BORGONDIO,  SIGNORA,  an  Italian  singer, 
was  born  ot  Brescia,  in  Italy,  in  the  year  17Si). 
She  was  of  a  noble  family,  and  dedicaleil  licf 
talents  to  theatrical  pursuits  on  account  of  family 
misfortunes,  arising  from  theconse<iuencos  of  tlie 
French  revolution.  She  made  her  ilihiit  in  Italy, 
at  the  court  of  the  Duke  of  Modena.  She  then 
l)as!>cd  to  Munich  in  181ii,aiid  was  thrlii-st  singer 
who  performed  Rossini's  music  on  the  (icrnian 
stage;  she  ai>pcared  in  "  Tuncrcdi,"  and  in  thu 
"  Italinna  in  Al</irn,"  and  was  much  a)>plauded. 
.She  afterwards  proceeiled  to  Vienna,  where  sho 
remained  three  years,  and  met  with  much  suc- 
cess. She  next  went  to  Moscow  and  Petersburg. 
at  wliich  latter  capital  she  sang  six  times  before 
the  emperor,  and  received  from  liiiu  several  hand- 
some jiresents.  On  quitting  Russia,  she  vL-itcd 
Dresden  and  Berlin,  and  tinally  went  to  IjOndon, 
where  she  apjjcared  three  times  in  the  sca.son  of 
1823,  in  the  character  of  Tancrcdi. 

BOROIIIMES  H.VRP.  It  is  well  known  that 
the  great  monarch  Brian  Boroihme  was  kille<l  at 
the  battle  of  Clontarf,  A.  D.  1014.  He  left  hii 
son  Donah  his  har|);  but  Donah,  having  mur- 
dered his  brother  Tiege,  and  being  de])osod  by 
his  nephew,  retired  to  Rome,  and  carried  with 
liim  the  crown,  haqi.  and  other  regalia  of  hii. 
father,  'llieso  regalia  were  kejit  in  tlic  Vatican 
till  Pojjc  Clement  sent  the  harp  to  Henry  VIII., 
hut  kept  the  crown,  wjiich  was  massive  gold. 
Henry  gave  the  harp  to  the  fii-st  Earl  of  Clanri- 
carde,  in  whose  family  it  remained  until  the  be- 
ginning of  the  eighteenth  century,  when  it  came 
by  a  lady  of  the  Dc  Burgh  family  into  that  of 
McMahou  of  Glenagh,  in  the  county  of  Clare  ;  af- 
ter whose  death  it  passed  into  the  possession  of 
Counsellor  Macnaraara  of  Limerick.  In  1782  it 
was  presented  to  the  Right  Honorable  William 
Conyngham,  who  deposited  it  in  Trinity  College 
Museum,  where  it  now  Ls.  It  Is  thiity-two  inches 
high,  and  of  good  workmanship :  the  sounding 
board  is  of  oak;  the  arms  of  red  sally;  the  ex- 
tremity of  the  uppennost  arm  in  jiart  is  capped 
with  silver,  well  wrought  and  chiselled.  It  con- 
tains a  largo  crystal  set  in  silver,  and  under  it 
was  another  stone,  now  lost. 

BORONI,  or  BURONI  ANTONIO,  a  pupil 
of  Padre  Martini,  was  born  at  Rome  in  173S.  Ho 
composed  much  dramatic  and  church  music  be- 
tween the  years  1705  and  17i)2.  Boroui  was  the 
principal  composer  of  St.  Peter's  Church  for  somo 
years ;  he  also  went  to  Germany,  and  was  chapel- 
master  to  the  Duke  of  Wurtemburg.  He  was  the 
earliest  master  of  the  celebrated  Clement  i,  to 
whom  he  was  related.  His  principal  operas  are 
"  Sojhniiha"  and  "  La  Sotte  Critiai." 

BORROWED  HARMONY.  Chords  of  the 
added  ninth  have  been  tenned  chords  of  tho 
major  and  minor  fulatitulion  ;  since  they  are  con- 
sidered as  derived  from  the  dominant  seventh,  by 
gwbstituting  the  ninth  in  the  i)lace  of  the  eight. 
They  are  chords  of  borrowed  hannony  ;  since  tho 
seventh  and  ninth  are  supi)osed  to  be  derived  or 
borrowed  from  the  sul)-doniinanf. 

BORSARI,  ARCAN(;EL0.  a  composrr  ol 
part  songs  at  Venice  at  the  end  of  the  sixteenth 
and  commencement  of  the  seventeenth  century. 

BORTNIANSKY,  DEMEIRIO.  A  composei 
of  church  music  at  MrM:ow  since  the  year  1783. 


20 


163 


BOR 


EXCYCLOP.EDIA    OF    MUSIC. 


B03 


noRZIO,  C'AllI.O,  chnpel-mantcr  at  Lodi. 
i)ul)lishccl  some  chiirch  music,  alijo  some  dramat- 
ic pieces,  about  the  year  KilG. 

BOS,    AlJl?l':   DU.     See  Dubos. 

BOSfll,  VAX  DER.  An  ort;aiiist  at  Antwerp 
Ui  177-.  He  composed  and  published  at  Paris 
tiome  music  for  the  piano-forte. 

liOSClII,  GIROLAMO,  a  native  of  Viterbo, 
was  n  celebrated  ba ;»  singer,  whom  Handel  en- 
paged,  in  1710,  to  sing  at  liLs  operas  in  London. 
Boschi's  wile  had  been  a  great  singer,  but  was 
much  ])ast  her  prime  when  she  went  to  England, 
llanders  genius  and  tire  never  shone  finer  than 
in  the  bass  songs  which  he  composed  for  Boschi, 
wliose  voice  being  sufficiently  powerful  to  pene- 
trate through  a  multiplicity  of  instrumental  parts, 
llandcl  set  every  engine  to  work  in  the  orchestra 
to  enrich  the  harmony  aud  eixliven  the  movement. 

liOSELLI.  A  lovely  singer,  in  whose  society 
Haydn  spent  much  of  his  time.  She  was  at- 
tached to  the  service  of  his  i)rince,  Nicholas  Ester- 
hazy,  and  died  in  1790.  It  ir,  sujjposed  that 
Haydn  would  never  have  left  Eiseustadt,  if  Mile. 
Boselli  had  not  died. 

BOSELLO,  ANNA  MORICIIELLI.  Prin- 
cipal female  singer  at  Milan  in  1788,  and  subse- 
quently at  Paris  in  1701.  She  died  in  1800,  aged 
forty.  She  was  a  great  patroness  aud  friend  to 
Catalan!  in  early  life. 

BOSI,  of  Fcrrara.  A  composer  of  operas  at 
Milan  in  1783. 

BOSIO,  AXGIOLINA.  Angiolina  Bosio  de 
XindaveloiiLs,  one  of  the  best  singers  that  has 
appeared  in  opera  in  the  .States,  was  born  in 
Turin,  August  20,  1829.  Her  esu-ly  love  of  music, 
and  the  decided  talent  for  singing  which  she 
evinced  even  in  childhood,  Induced  her  parents  to 
bcud  her  to  Milan,  where  she  studied  under  Ven- 
cesloa  Cattanco.  So  rapid  was  her  progress  that 
in  Jidy,  18-14,  being  then  only  fifteen  years  old,  she 
made  her  dibut  at  Milan,  in  Verdi's  Opera,  "  / 
Due  Foscari."  Her  success  was  decided,  and  for 
one  so  young,  was  indeed  wonderful.  Tlius  en- 
couraged, alter  fullilling  a  brief  engagement,  she 
proceeded  to  Verona,  where  she  confirmed  the 
best  hopes  of  her  ti'icnds,  and  created  quite  an 
excitement  among  the  habittc'.i  of  the  opera. 
From  ^'erona  she  went  to  Copenhagen,  wlicre 
the  became  so  popular  that  she  was  offered  an 
engagcmout  for  six  years,  and  every  means  were 
taken  to  induce  her  to  accept  it.  But  the  daugh- 
ter of  the  sunny  south  languLslied  beneath  the 
cold  skies  of  Denmark,  and  against  her  will,  but 
not,  as  it  turned  out,  against  her  interests,  she 
declined  the  ofler.  Her  leave-taking  at  Copen- 
hagen is  described  as  something  remarkable. 
We  next  find  her  at  the  Circo  Theatre,  in  Madiid, 
where  she  created  an  enthusiasm  whicli  amounted 
to  a  furore.  Her  lame  had  now  become  European, 
and  she  was  induced,  in  the  soiv-ion  1818-9,  to  ac- 
L'ei)t  an  engagement  at  the  Itahan  Opera,  in  Paris, 
wlicre  slie  became  the  reigning  favorite. 

It  was  fortunate  for  our  opera-loving  friends, 
'.hat  the  proprietor  of  the  Tacon  Theatre,  in 
Havana,  being  in  Paris  during  this  season,  lost 
no  time  in  engaging  her.  In  Havana  her  triumph 
nas  even  more  decided.  Her  faiu-J  preceding 
aer  to  tliis  country,  on  her  appeiurar  ;c  at  Castle 


Garden,  Xew  York,  under  Mr.  Marctzek's  man- 
agement, slie  at  once  became  ])opular.  Indeed, 
few  artistes  have  so  securely  taken  hold  of  the 
wann  affections  of  the  musical  i>ublic.  15osio  is 
married  to  Signor  do  XindavelonLs.  During  the 
past  year  she  has  sung  with  great  success  iu  the 
operas  of  London  and  ParLs. 

BOSTON  ACADEMY  OF  MUSIC.  A  socie 
ty  formed  in  Boston  about  twenty  years  ag' 
whose  object  it  Ls  to  raise  music,  as  a  branch  of 
education,  to  the  rank  it  is  entitled  to  hold ;  Xa 
diffuse  a  knowledge  of  its  principles  among  aU 
classes  in  society  ;  to  show  its  advantages  ;  to  re- 
move the  prejudices  which  prevent  attention  to 
it ;  and  to  correct  the  al)uses  to  which  it  Ls  liable. 
The  efforts  of  the  society  are  not  exclusicely  de- 
voted to  instruction  and  improvement  ui  sacred 
music,  though  this  was  the  fii-st  and  even  princi- 
pal design.  The  Academy,  under  the  principal 
direction  of  its  professors,  Lowell  Mason  and 
George  J.  M'ebb,  has  done  excellent  ser\-ice  to  the 
cause  of  music  in  Boston  and  Xew  England.  By 
its  orchestral  concerts,  it  first  introduced  and 
formed  an  audience  for  the  symphonies  of  Beet- 
hoven, &c.,  in  Boston.  It  gave,  too,  the  first  ex- 
ample and  impulse  to  the  summer  "  Musical  Con- 
ventions," or  "Teachers'  Institute-s,"  for  some' 
years  jjast  so  common  in  this  country. 

BOSTOX  MUSIC  HALL.  This  noble  struc- 
ture was  erected  in  1852.  'The  main  hall  Ls  one 
hundred  and  tliirty  feet  long,  seventy-eight  wide, 
and  sixty-five  high  ;  the  lower  door  is  level.  The 
oroliestra  rLses  from  one  extremity,  at  the  other  is 
an  end  gallery,  of  five  rising  tiers  of  seats,  above 
and  behind  which  is  a  narrower  balcony  ;  and  from 
the  ends  of  these,  two  balconies  am  carried  along 
the  sides  of  the  hall,  projecting  eight  feet  sL'c  inches 
from  the  walls.  'The  Iront  stage  of  the  orchestra 
rLses  five  feet  from  the  floor,  and  fi-om  tlus  level 
continues  rising  rearward  ui  successive  platform! 
to  the  extremity  of  the  hall  in  that  duei-tion,  the 
upper  platform  being  on  a  level  with  the  lower 
balcony.  The  whole  orchestra  is  thirty  feet  deep 
and  sixty-three  long,  and  is  so  connected  with 
the  lower  balcony  that  a  portion  of  the  latter 
might,  if  required,  be  eiv:>ily  connected  with  it, 
and  occupied  by  choral  singers.  The  walls  of  the 
hall  have  a  series  of  piers  which  sujjport  the 
balconies,  and  which  are  formed,  above  the  upper 
one,  into  Corinthian  pilasters,  supporting  the 
cornice  of  the  wall  and  covbig  of  the  ceiling. 
This  coving  is  circular,  and  is  groined ;  semicir- 
cular lights  are  jjlaced  in  the  w^aUs  under  the 
groins,  and  ventilators  in  the  ceilings  of  the 
same.  The  hall  is  lighted  at  night  by  a  series  of 
gas  jets  along  the  top  of  the  cornice,  which, 
being  placed  under  the  ventilators,  perform  the 
ventilation  as  well  as  the  illumination  of  the 
hall.  Corridors  are  ciu-ried,  on  the  level  of  the 
floors  and  balconies,  all  aroiuid  the  building, 
communicating  with  the  hall  by  doors  in  the  sido 
walls  at  intervals  of  not  more  tlian  fifteen  feet. 
Xearly  three  thousand  persons  can  be  comfort- 
ably accommodated  in  this  hall  —  none  so  placed 
that  they  cannot  both  hear  and  see  the  orchestra, 
or  easily  leave  the  hall  by  some  adjacent  door 
leading  into  the  corridors. 

BOSTWICK,  EMMA  GILLIXGHAM.  Bom 
in  Philadelphia,  and  daughter  (  f  George  Gilliug- 
ham,  leader  of   the  orchestra    )f    the  old  Park 


\oi 


DOT 


ENCYCLOP.'EDIA    OF    MUSIC. 


BOO 


Theatre,  New  York,  and  also  of  the  orchestras  at 
Philadelphia  and  Baltimore.  In  early  lile  Emma 
gave  evidence  of  extraordinary  musical  precocity. 
When  a  mere  infant  she  could  sin^  various  songs  ; 
and  her  earliest  recollections  are  said  to  have 
been  of  those  songs,  and  many  simple  l)alla(ls, 
which  she  was  accustomed  to  sing  lor  the  gratiti- 
cation  of  friends  of  the  family,  and  of  strangers 
that  called  to  hear  the  wonderful  performances 
of  the  young  music>al  phenomenon.  She  always 
accompanied  her  voice,  even  at  that  ciuly  age,  on 
the  i)iano-forte,  which  she  played  with  remarka- 
ble skill,  considering  her  tender  years. 

At  the  age  of  twelve.  Miss  Gillingham  com- 
menced regular  studies  with  John  I'atldon,  organ- 
ist of  Exeter  Catl;edral,  in  England.  On  return- 
ing to  America,  she  became  a  teacher  of  mu>ic  at 
Flatbush  Academy,  New  York.  Since  that  time, 
she  married  Cliarles  J.  IJostwick,  and  has  been 
Bucce  isful  in  giving  concerts  in  New  York,  and 
nil  parts  of  the  United  States. 

IJOrrAllELLI,  JOILVXX  "WALPERT,  a 
Florentine  poet,  jiublished  in  London,  in  1757, 
"Del  (Aiitzoniere  if  Orazio  Ode  12  Mesne  in  Musica 
da'  pill  reitoiiiati  I'roJ'cssori  Inylesi." 

BOITESI.  One  of  the  greatest  violinists  of 
Taitini's  school,  about  the  year-  1770. 

BO'ITI  published  ui  1781,  at  Paris,  six  trios 
for  the  harpsichord  and  violiu. 

BOrrOMI.EY,  JOSEPH,  was  bom  at  Halifax, 
in  Yorkshire,  in  17S().  His  predilection  for  music 
Krst  ai)pcared  at  a  concert,  to  which  his  parents 
had  taken  him.  At  the  age  of  seven  h.e  per- 
lormcd  a  concerto  on  the  violin.  His  studies  on 
the  piano-forte  did  Jiot  commence  before  he  was 
eight  years  of  age.  At  twelve,  ho  was  removetl 
to  Manchester,  where  he  was  placed  under  the 
tuition  of  (jrinishaw,  organist  of  St.  John's,  and 
of  AVatts,  leader  of  the  concerts.  I'jjon  the 
recommendation  of  A\'atts,  he  after^vards  received 
instructions  on  the  violin  from  Yaniowit/,  who 
was  engaged  at  that  time  to  jicrfonn  concertos  at 
Manchester.  At  tUteen,  he  was  a])i)rentice(l  to 
Lawton,  organist  of  St.  Peter's,  Leeds,  who  had 
been  an  apprentice  of  Dr.  Miller,  and  a  pupil  of 
the  celebrated  Uaumgarten.  Under  this  gentle- 
man he  obtained  considerable  theoretical  infor- 
mation, both  by  his  private  uistructions  and  from 
his  excellent  musical  library. 

Alter  the  completion  of  his  terra  witli  Lawton, 
Bottomley  went  to  I^ndon,  where  he  devoted  a 
(.hort  time  to  the  instructions  of  the  renowned 
AVoeW. 

At  nineteen,  having  finished  hLs  musical  educa- 
tion, he  announced  him>elf  to  the  public  as  a 
pro.essor.  Although  he  was  appointed  organist 
of  the  parish  church  of  Bradford,  in  the  year 
1807,  yet  Hulilax,  being  a  very  musical  town, 
and  atl'ording  him  much  teaching,  became  his 
principal  place  of  residence.  In  18'J0,  after 
leaching  in  some  of  the  most  respectable  families 
in  tlie  country,  giving  instruction  to  several  pro- 
fessors, and  leading  a  very  consiilcrable  numl)er 
of  perionnances,  both  sacretl  and  miscellaneous, 
he  was  induced,  by  a  Uberal  salary,  to  accept  the 
situation  of  organist  of  the  parish  church,  Shef- 
field, at  which  place  he  is  now  stationed.  As  a 
•tiniulus  to  exertion,  it  may  not  l)e  improper  to 
add,  that,  notwithstanding  an  inattention  to  liter- 
ature in   earlv  life,  and  a   continual  devotion  of 


time  to  teaching  and  composition,  Bottomley 
found  opportunities  of  cultivating  nn  ac<iuaint- 
ance  with  several  languages,  the  mathematics,  and 
most  of  the  sciences.  The  following  is  a  li.~.t  of 
Bottoinley's  jjrincipal  works  publisjied  :  "  Six 
Exercises  for  Piano-forte,"  "Twelve  Sonatinas," 
"Two  Divertimentos,  Flute  Accompaniment," 
"Twelve  Walt/.e:,"  "Eight  liondos,"  "Ten  Airs, 
witli  Yariation;s"  one  song,  one  duet,  one 
sonata,  "Twenty-eight  Songs,  set  to  Dr.  Watts'i> 
familiar  Poems."  All  the  foregoing  are  for  the 
Piano-forte.  "  A  small  Dictionary  of  Music." 
llis  manuscript  works,  which  are  numerous,  con- 
sist of  ovcrtuies,  quintets,  one  quartet,  trios,  con- 
certos, fugues,  anthems,  &c.,  &c. 

BOn'UIOAUI,  IL  CAVALIEUE  ERCOI.l-; 
was  born  at  Itologini  in  l.j.'il.  He  was  a  man  ol 
rank,  fortune,  and  erudition,  who  seems  to  have 
spent  his  whole  lile,  which  extended  to  eighty 
eight  yeiu-s,  in  the  study  of  music  and  in  musical 
controversy.  He  died  in  liiOO,  and  bc<iueathod 
hLs  very  valuable  musical  library  to  his  friend 
I'adre  Martini. 

BOrrUKi  AUI,  ROSA,  for  whom  Rossini  wrote 
•many  principal  parts  in  the  oi)eran,  died  at 
Bologna,  on  the  7th  of  May,  1847,  aged  43. 

BOUCHER,  ALEXANDRE  JEAN,  was  born 
in  Paris  in  1770.  At  seventeen  years  old  he 
went  to  Spain,  where  he  was  appointed  violinist 
of  the  cham))er  and  chapel  of  Charles  lY. 
Dui'ing  the  time  that  monarch  resided  in  France, 
Boucher  was  also  in  his  suite.  He  has  publislied 
some  pieces  for  the  viohn  at  Brussels.  IJoucher 
was  at  St.  Petersburg  in  18"2u,  and  performed  be- 
fore the  empress  mother. 

BOURDELOT,  L'ABBE,  an  advocate  at  Paris, 
published  a  letter  relating  to  dramatic  music 
about  the  year  1700. 

BOURDELOT,  PETER  BOXNA.  Younger 
brother  of  tlie  preceding,  commenced  a  history 
of  music  conjointly  with  his  brother,  which  work 
was  completed  l)y  Jaccjues  Bonna  after  their  de- 
cease. A.n  edition  of  this  book  was  publislied 
at  the  Hague  and  at  Frankfort  in  174;i.  Some 
amusing  absurdities  extracted  from  it  on  the  sul)- 
ject  of  "The  Etl'ects  of  Music  ui)on  Animals," 
may  be  found  in  the  Quarterly  Musical  Review, 
vol.  V.  p.  1,59. 

BOURDON.  (F.)  A  kind  of  drone  bivss ;  a 
deep,  unchangeable  sound,  accomi)anyiug  a  mel- 
ody, or  series  of  notes,  moving  above  it.  For- 
merly, this  word  signitied  the  drone  of  a  bagpipe; 
it  Is  sometimes  ap])Ued  to  the  double  diapason,  or 
lowest  btop,  in  French  and  Ucnuau  organs. 

BOURREE.  (F.)  A  certain  dance  or  move- 
ment in  common  time,  of  four  crotchets  in  a  l)ar, 
supposed  to  have  l)een  tirst  invented  in  France; 
it  somewhat  resembles  a  gavot,  anil  always  begina 
in  the  last  quaver,  or  the  last  crotchet,  of  the 
measure. 

BOURGEOIS.  Bom  in  Hainnult  in  1675. 
He  published  many  cantatas  between  the  yearn 
1713  and  1750;  also  two  operiLs,  "  Z^j  Anviurg 
De^nisis,"  and  "  L(s  J'hisirs  tie  k  raijc."  llour- 
geoLS  died  at  Paris  in  17.)0. 

BOURNON YILLE,  JE.VN,  organist  at  Amiena. 


loo 


BOU 


excyclop.i;:dia  of  music. 


BOY 


published  several  masses  between  the  years  1618 
aiid  Ul.'tO. 

UOrUXONVILLE.  VALENTIN  DE,  son  of 
the  jneceding,  published  several  luusital  works 
bi  K'.ii). 

BOUIINONA'ILLE,  Rrandson  to  Jean  Bour- 
noiivillo,  died  about  1758.  lie  composed  and 
l)ubli->lied  many  motets.  He  was  a  jiupil  of  Ber- 
nier,  nncl  much  celebrated  amongst  the  French 
musicians  of  his  age. 

BOrssi:T,  JEAN  BAPTISTE  DE,  died  at 
Paris  in  172.'),  aj^ed  sixty-three.  He  was  chapel- 
master  at  the  Louvre,  and  published  some  sacred 
music. 

BOUSSET,  DROUART  DE.  Orj^anist  to  Notre 
Dame  at  Paris  in  17G0.  lie  died  suddenly  in  the 
church,  jiist  after  he  had  huishcd  perlorming  a 
mass  with  unusual  energy. 

BOUSSET,  RENE  DROUARD  DE.  A  native 
of  Paris,  who  died  there  in  1700,  aged  tii'ty-sevou. 
He  was  eminent  for  his  taste  and  genius  as  a 
musician. 

BOUTADE.  (F.)  A  lesser  kind  of  ballet, 
formerly  jiractised  in  France,  and  which  was  af-, 
fectcd  to  be  executed  as  an  impromptu.  Simila' 
lierlbnuances  are  now  called  capriccioa  and  fan- 
tasias. 

BOUTELOU.  A  celebrated  counter  tenor  sing- 
er in  the  chapel  of  Louis  XIV.  He  wa-s  so  ex- 
travagant that  he  was  frequently  in  prison,  where 
the  king  sent  him  dinners  daily  of  sLx  covers, 
and  frciuently  paid  his  debts. 

BOUTMI,  LE(JNARD.  Composer  of  some  ro- 
mances at  Paris  in  1793. 

BOUTMY,  LAURENT,  born  at  Brussels  in 
1725,  was  the  author  of  a  treatise  on  thorough 
bass,  published  at  the  Hague  in  1700.  He  also 
composed  much  hai-psichord  and  church  music, 
some  of  wliich  was  printed  at  the  Hague  and 
Amsterdam. 

BOUTROY,  ZOZIME,  the  inventor  of  a  ma- 
chine called  the  planisphere  or  liarmonic  compass, 
at  I'aris,  in  17H5.  He  afterwards  published  a 
symphony  for  ei;;ht  instruments,  the  bass  being 
numl)ered  according  to  tlie  plan  of  the  above 
machine ;  he  likewLjC  composed  some  romances. 

BOUVARD.  Composer  of  two  operas  and  other 
vocal  music  in  I'aris  at  the  commcuccmcnt  of  the 
eighteenth  century. 

BOUVIER,  M.  J.,  a  composer  of  instrumental 
music,  and  violinist,  at  Paris  in  1785. 

ISOVK'ELLI,  GIOVANNI  BATITSTA,  pub- 
lished rules  for  music  at  Venice  ui  lo'Jt,  also 
some  maiLigals  and  motets. 

BOWING.  Managing  the  bow.  Bowing  con- 
ptitutcs  a  jirincipal  \n\il  of  tl'.c  art  of  the  viohnist, 
the  vioUst,  fee,  since  on  their  skill  in  this  par- 
ticular greatly  depends  the  quaUty  of  their  tones, 
Bnd,  in  some  measure,  the  facility  of  their  cxc- 
rution. 

BOW  INSTRUMENTS.  AU  the  instruments 
Plrving  with  catgut  or  goatgut,  from  which  the 
tonfs  are  jiroduced  by  means  of  the  bow.  ITie 
mos",  usual  are  the  double  bass,  (riotoiio  or  contra- 
bnsn  ;)  the  small  bass,  or  violoncello;  the  tenor, 
(viol :  ili  braccio ; )  and  the  violin  proper,  {violino, 
froD  vioion.)     In  reference  to  their  construction, 


the  several  parts  are  alike;   the  difference  is  in 
the  size. 

BOYCE,  DR.  WILLIAM,  born  in  1710,  waJ 
the  son  of  a  cabuiet  maker  in  London.  He  wa« 
a  professor  to  whom  the  EngUsh  chorid  sen-ice  ia 
greatly  indebted  for  tlie  well-selected,  correct, 
and  splendid  collection  of  cathech-al  music,  which 
he  published  m  three  volumes  large  folio,  ujion 
the  plan  and  on  the  recommendation  of  his 
master  and  predecessor.  Dr.  Greene.  In  1731, 
he  was  a  candidate  for  the  jilace  of  organist  of 
St.  Michael's  Church,  Cornhill.  But  though  he 
was  unsuccessful  in  this  application,  Kelway  hav- 
ing been  elected,  yet  he  was  ajjpointed  the  i^arae 
year  to  the  place  of  organist  of  Oxford  Chapel ; 
and  in  1730,  \x\ic,n  the  death  of  Weldon,  when 
Kelway,  being  elected  organist  of  St.  Martin's  in 
the  Fields,  resigned  his  jjlace  at  St.  Michael's, 
Cornhill,  Boyce  was  not  only  elected  organist  of 
that  church,  but  organist  and  compo:  er  in  the 
Chapel  Royal.  The  same  year,  he  set  "  Da\'id'8 
Lamentation  over  Saul  and  Jonathan,"  which 
was  jjerformed  at  the  Apollo  Society.  About  the 
year  1743,  he  produceil  the  serenctta  of  "  Solo- 
mon," which  was  long  and  justly  admired  as  a 
pleivsing  and  elegant  composition.  Hl<  next 
publication  was  twelve  sonatas  or  trios  for  two 
violins  and  a  bass,  which  were  longer  and  more 
generally  purchased,  performed,  and  admired  than 
any  jiroductions  of  the  kind  in  England,  except 
tliose  of  CoreUi.  They  were  not  only  in  con- 
stant use  as  chamber  music  in  private  concerts, 
for  which  they  were  originally  designed,  but  in 
the  theatres  as  act  tunes,  and  at  public  gardens 
as  favorite  pieces,  during  many  years.  In  17-t'), 
he  set  the  ode  -sTOtten  by  the  Rev.  Mr.  Mason, 
for  the  installation  of  the  Duke  of  Newcastle 
as  chancellor  of  the  university  of  Cambridge,  at 
which  time  he  was  honored  with  the  degree  oi 
doctor  in  music  by  that  University.  Soon  after 
tills  event,  he  set  for  Drury  Lane  Theatre  "  The 
Chaplet,"  a  musical  dr-ama  in  one  act,  the  dialogue 
of  which  is  carried  on  m  recitative.  It  had  a 
very  favorable  recejjtion  and  long  ruir,  and  con- 
tinued many  years  in  use  amoirg  the  stock  pieces 
of  that  theatre.  Not  long  after  the  tirst  ])cr;bnn- 
ance  of  this  drama,  his  friend  Mr.  Beard  brought 
on  the  same  stage  the  secidar  ode  written  by 
Dryden,  and  originally  set  by  Dr.  Boyce  for 
Ilicklbrd's  room,  or  the  Castle  Concert,  where  it 
was  first  performed,  llris  piece,  though  less 
successful  than  "  The  Chaplet,"  by  the  animated 
performance  and  friendly  zeal  of  Mr.  Beard,  was 
many  times  exhibited  before  it  wa-s  wholly  laid 
aside.  These  compositions,  with  occasional  single 
songs  for  Vauxhall  and  Ranelagh,  disseminated 
the  lame  of  Dr.  Boyce  throughout  the  kingdom 
as  a  dramatic  and  miscellaneous  composer,  wliile 
his  choral  comiiositions  for  the  king's  chti)el,  for 
the  fciust  of  the  sons  of  the  clergy  at  St.  Paul's, 
and  for  the  triennial  meetings  at  the  throe  cathe- 
drals of  Worcester,  Hereford,  and  Gloucester,  at 
the  j>erformance!  in  all  wliich  places  he  constant- 
ly presided  till  the  time  of  his  death,  established 
his  reputation  as  an  ecclesiastical  composer  and 
able  master  of  harmony.  Dr.  Boyce,  with  all 
due  reverence  for  the  abilities  of  Handel,  was  one 
of  the  few  English  church  composers  who  ncitliei 
pillaged  nor  servilely  imitated  him.  There  is  an 
original  and  sterling  merit  in  his  pn  ductious, 
lounded  as  much  on  tlie  study  of  oil  English 
masters  as  on  the  best  models  of  other  couutrieH, 


156 


BOY 


ENCYCLOPAEDIA    OF    MUSIC. 


UltA 


that  fjivos  to  all  his  works  a  peculiar  stamj)  and 
charnctor  tor  strength,  clearness,  and  facility, 
without  any  mixture  of  ntyles,  or  extraneous  and 
hetcro'^eneous  onunncnts.  Dr.  Hoycc,  dyin^  iu 
177i>,  was  succeeded  in  the  Cliapel  lloyal  by  Mr. 
Dupuis,  and  as  master  of  his  majestyV  band,  by 
Mr.  .Stanley. 

liOYKR,  PASCAL,  born  m  17i:>,  was  chapei- 
inastcr  at  Nimcj  in  his  sevenlcenth  year;  he 
nt'tcvwards  went  to  Paris,  and  pul)lished  a  bio- 
(jraphical  sketch  of  Per^ole-^e  in  the  Mcrriire  de 
Fiaiiii;  q{  July,  1772.  He  subsequently  published 
some  instrumental  music. 

BOYVIX,  JACQUES,  published  a  treatise  on 
ncco)n])aniiuent,  and  much  orjjan  music,  at  Paris 
and  .Vnisterdam,  about  the  bcginniug  of  tlie 
ei^;litcouth  century. 

B  (iUADIlUM.  (L.)  S<iuare  B.  ITie  name 
formerly  <iiven  to  B  natural,  on  account  of  the 
ftijure  of  its  si^jnature —  ^.  llie  natural,  loiif; 
alter  (juido  Aretinus,  was  expressed  by  a  (jothic 
B,  = ,  while  the  Italic  Jl,  b,  represented  the  flat. 
Hence  one  acquired  the  Latin  name  of  B  quad- 
rum,  and  the  other  that  of  B  rotundum. 

BRACES.  Those  double  vertical  curves  which 
arc  placed  at  the  beginning  of  the  staves  of  any 
composition.  Their  use  is  to  bind  together  the 
hanuonizing  parts,  and  lead  the  eye  with  facility 
from  one  set  of  staves  to  another.  In  those 
score:;  wliich  include  a  part  for  a  keyed  iiLstru- 
ment,  i.  e.,  the  organ,  haj-psichord,  or  piano-forte, 
it  is  usual  to  draw  a  smaller  brace  within  the 
great  one,  to  uidude,  and  to  distinguish  from  the 
other  parts  in  the  score,  the  two  staves  designed 
for  either  of  those  instruments.     See  Accolade. 

BRADE.  WILLIAM,  an  Englishman,  pub- 
lished some  vocal  aiul  in-.itrumcntal  music  of  a 
light  description,  at  Hamburg  and  Frankfort  on 
the  Oder,  at  the  beginning  of  the  sevcnteeuth 
c«utury.     His  iustruineut  was  the  viola. 

BRADLEY,  ROBERT.  An  EnjiUsh  composer 
of  songs  at  the  beginning  of  the  eighteenth 
century. 

BRAETrEL,rLIlICII,  published  somemotets, 
&c.,  at  Augsburg,  about  the  year  1.545. 

BRAIIAM,  JOHN,  whose  real  name  was  Abra- 
ham, was  boni  of  Jewi-ih  parents  about  1774, 
at  London.  He  was  le;t  an  oqihan  when  very- 
young  ;  but  having  a  natural  inclination  for  the 
study  of  music,  he  was  taken  under  the  protec- 
tion of  Lconi,  the  singer,  and  at  the  age  of  about 
ten,  made  his  first  api)earance  on  the  stage  at  the 
lloyiil  'ITieatre.  His  vocal  jiowcrs  were  at  tliat 
time  so  great,  that  he  was  able  to  execute  with 
oonectneis  most  of  the  branircu  that  had  been 
sung  by  Madame  Mara,  llie  sut)scquent  break- 
ing ot'  his  voice,  however,  deprived  him  for  a 
wliile  of  the  means  of  making  a  further  progress 
in  t'.ie  public  tavor.  It  was  about  this  period 
that  Lconi,  from  the  disarrangement  of  liis 
domestic  concerns,  was  coraiielleil  to  leave  the 
country.  He  went  to  Jamaic.i,  and  left  Brahaiu 
a  sci'ond  time  unprovided  for.  In  this  emergency 
his  abilities  antl  good  cond»u-t  procurcvl  him  n 
shelter  in  the  fricnibhip  of  the  (iohlsmidts,  n 
family  of  high  respectability  in  the  city,  and 
under  their  protection  he  became  n  teacher  of  the 
piano-forte.      His    greatest    assiduity,  however, 


157 


was  employed  in  recovering  the  ])owcrs  of  hia 
voice;  and  in  the  numeroiis  musical  societies 
he  frc(iucnte<l,  he  exerted  his  utmost  ollorts  to 
regain  his  tormer  excellence.  At  one  of  these 
meetings  he  accidentally  became  acquainted  with 
Mr.  Ashe,  the  celel)rated  jjerformer  on  the  tlute, 
who,  delii^lited  with  his  vocal  abilities,  )>er:iuiideJ 
him  to  accept  an  engagement  for  the  subve  |uent 
season  at  Bath.  He  readily  assented,  and  in  tl  c 
year  17!) I  made  his  firU  apjjeiirance  as  a  tenor 
hinger  at  the  Bath  concerts,  of  which  Raux/ini 
wiuf  the  conductor.  No  sooner  had  Braham 
apjjcared  at  these  concerts  than  he  bci-aUit  ii 
pui>il  of  Rau/./ini,  and  greatly  ])rolited  by  his 
able  instrui'tions.  This  liberal  master  cv«  n  re- 
ceived him  gratuitously  into  his  house,  and  <,'av9 
hun  lessons  lor  three  years;  and  when  Br;  ham 
nfterwiuds  sang  at  his  annual  concerts,  he  in:-i;.ted 
on  his  receiving  a  very  ample  remuneration.  In 
the  spring  of  the  year  17l)<i,  Braham  was  engaucd 
by  Storace  to  sing  at  Drury  Lane  Theatre  for  a 
limited  number  of  nights;  but  before  tlie  o])era 
of  "  Ma/i'iioiid"  was  perfonncd,  in  which  he  was 
to  appear,  that  invaluable  composer  sank  into  the 
gi'ave.  It  was,  however,  brought  forward  after 
his  death,  and  Braham's  vocal  talent:;  receive<l 
from  a  London  audience  those  uneiiuivocal  marks 
of  applause  which  they  .so  justly  merited,  'llie 
following  season  Braham  made  his  first  aj)pear- 
ancc  0)1  the  boards  of  the  Italian  Oiicni,  in 
"  Zemira  and  Azor."  Not,  however,  t'atlificd 
with  himself,  so  long  as  he  conceived  there  was 
a  possibility  of  further  imjirovement,  he  deter- 
mined to  seek  ui  Italy  the  la:;t  and  highest 
acompllshmeut  of  his  tiilents.  For  this  purpose 
he  embarked  for  the  continent.  He  went  first 
to  Paris,  where  he  continued  nearly  eight  months, 
duiing  wliich  tiiue  he  had  several  concerts,  which 
were  crowded  at  the  high  price  of  a  louis  per 
ticket.  From  thence  he  travelled  to  Italy.  The 
first  engagement  Braham  accepted  in  Italy  was 
at  Florence,  where  he  was  received  witli  the  most 
flattering  marks  of  approbation.  I'rom  Florence 
he  proceeded  to  Milan  and  Genoa,  at  which 
places  he  accei)te<l  several  succcsiiive  engat;eraents. 
At  the  latter  town  he  continued  for  some  time, 
and  assiduously  applied  him.-elf  to  th.e  stuily  of 
composition  under  the  able  maestro,  Isola,  of 
whose  school  he  has  exhibited  such  successful 
specimens,  ^\^leu  at  (jenoa,  he  rccciveil  oilers 
from  the  conductors  of  the  theatre  at  Nai)lei,  but 
the  troubled  state  of  the  country  at  that  time  did 
not  make  it  desirable  to  accept  them.  He  there- 
fore directe<l  l-.is  route  to  Leghorn,  Vcnii-e.  Tri- 
este, and  finally  to  Hamburg,  every  where  ac- 
companied with  the  most  gnitifying  marks  .  f 
approbation.  Havin;;  had  numerous soliciiatli-ie 
to  return  to  his  native  country,  he,  at  leimth, 
waived  some  suripending  engagements  at  Milai» 
and  Vienna,  and  accepted  one  from  the  theatre 
of  C'ovent  tiiu-ilen.  Here  he  a]i]ienrc  1  iu  tlic 
winter  of  ISOl,  in  the  opera  of  "  (b.ains  of  the 
Heart,"  the  com]>osition  of  Mnzzinuhi  ami  Reeve, 
and  has  since  that  period  held  the  very  first 
rank  among  Eniilish  stage  and  conccil  dingers. 
In  enerjiy  and  pathos  of  style,  Bniham  was  un- 
ri^•allc>ll ;  and  his  powers  in  this  re-'pei't  were 
especially  conspicuous  in  accom]>anie,l  re<itativOk 
which  generally  exjires<cs  strong  pa.v.ii>n  ;  thus, 
"  Deejier  and  deei)er  still,"  of  Hamlel,  was  ih« 
chrf-trrrurrc  of  Braham's  declamatory  and  pa- 
thetic mani\er,  describing  u  it  did  Jephthah  ir 


u  u  v 


EXCYCLOPiEDIA    OF    MUSIC. 


BRA 


Ihc  HRony  of  his  rash  vow.  In  the  order  of  tou- 
ficnl  oiicrt^,  his  sinKiii^  ot  this  Bccompmiicd  reci- 
tative is  ranked,  by  nil  iii<;eiiiou:i  contributor  to 
llie  (Junrtcily  Musical  Review,  with  tlie  finest 
I'tforts  or  Mrs.  Siddons  in  the  dnima.  Urahain 
has  likewise  been  remarkable,  aiuon;;  the  natives 
ot  Eiifjland,  tor  his  power  in  sustaining,  with 
the  jiroper  manner  and  pronunciation,  the  prin- 
cipal male  character  on  the  Italian  stage ;  so  much 
BO,  indeed,  that  by  many  hi.s  Italian  singing 
was  thought  far  to  transcend  his  English. 

lie  i>eitormed  at  the  King's  'I'hciitrc  several 
Fea'-oiis,  from  ISOli  to  \H\(\,  with  those  celebrated 
pingers,  Mrs.  IJillington,  Madame  Grassini,  and 
Madame  Fodor.  In  1S09  he  was  engaged  to 
eing  at  the  'llicatre  Royal,  Dublin,  on  such  terms 
as  were  never  given  before  to  any  performer, 
viz.,  tiro  t/iniixaiid  ijuincas  for  fi  fir  fin  nights  ;  and  SO 
well  Wiis  the  manager  sntistied  with  the  bargain, 
that  it  was  extended  to  thirty-six  performances 
on  the  same  terms. 

More  latterly  Braham  was  engaged  at  Drurr 
I^ane  Theatre,  where  he  generally  "  ran  the  round 
of  his  characters  "  with  undiminished  power  and 
effect.  Foreign  singers,  who  were  engaged  in 
England,  paid  his  talents  the  highest  compli- 
ment, by  saying,  "  Xon  o  i  tenore  in  Italia  come 
Jiriihum." 

With  regard  to  his  merits  as  a  composer,  we 
have  only  to  obsen-e,  that  if  it  be  allowed  that 
true  genius  Ls  required  to  produce  chaste,  mel- 
lifluous melodies,  then  was  Braham  highly  gifted  ; 
for  he  certainly  has  written  a  vast  number  of 
songs,  duets,  &c.,  S:c.,  which  have  gained  the 
greatest  degree  of  popularity ;  as  a  proof  of  which 
most  candidates  for  vocal  fame  introduce  some  of 
them  at  their  dibitts.  "  As  a  national  song,"  says 
an  ingenious  modem  critic,  "  Braham's  '  Death 
of  Nelson  '  has  pleased  and  continues  to  please  a 
vast  majority  of  the  inhabitants  of  the  British 
isles ;  it  has  therefore  aer^mp/ished  its  piir/Msr ; 
for  to  whom  are  national  songs,  which  are  always 
appeals  to  the  passions,  and  seldom  free  from 
vainglory,  addressed?  To  the  multitude.  They 
are  meant  to  flatter  the  pride  of  the  ])Cople,  to 
cherish  their  love  of  country,  and  to  inflame  their 
zeal  in  its  defence.  Of  such  compositions,  this 
most  ))Oi)ulHr  singer  has  produced  some  that  have 
operatocl  with  great  force  on  public  feeling,  and 
will  hereafter  even  be  considered  as  teatures  in 
the  musical  history  of  the  pie^.ent  eventful  age. 
They  w  iD  be  preserved  along  with  the  Tyrtieau 
ttrains  of  I'uivell,  Arne,  and  Dibdiu." 

Our  space  will  not  penuit  us  to  give  a  list  of 
tl'.e  various  jiicccs  composed  by  him,  but  they 
may  lie  lound  to  constitute  the  prominent  estab- 
lished favorites  in  the  following  o])eras :  "  The 
Cabijiet,"  "  The  English  Fleet,"  "  Thirty  Thovi- 
sand,"  "  Out  of  Place,"  "  Family  tjuarrels," 
"  'llic  Paragraph,"  "  Kais,"  "  Americans,"  "  The 
Devil's  Bridge,"  "  False  Alarms,"  "  Zuma," 
"  Navcnsky,"  \:c.,  &c. 

Braham  was  remarkably  quick  in  "  exploring 
n  score  ;  "  he  entered  into  the  spirit  of  the  com- 
]>osition  immediately,  and  took  up  the  accom- 
jianinicnts  for  the  various  instruments  with  the 
greatest  lacility,  on  the  piano-forte. 

Braham  sang  in  the  United  States,  in  oratorios 
«nd  concerts,  about  thirteen  years  ago,  and  pro- 
duced the  greatest  enthusiasm  ;  as  he  has  done, 
indeed,  several  ycai-s  since  then,  in  England. 

Of  Braham's  visit  to  thw  country  we  find  the 

I 


following  notice  in  the  Boston  Eeening  Gazette, 
for  March  19,  18.5.3.  On  the  11th  of  January, 
1841.  .Tohn  Braham  made  his  first  appearance  in 
a  Boston  theatre  at  the  'Fremont,  in  the  charac- 
ter  of  Henry  Bertram,  (Ouy  Manncring,)  with- 
out, however,  any  vocalist  to  sustain  him,  tht 
only  show  of  ojicra  being  his  own  unaided  efforts. 

A  few  performances  to  wTetched  houses  closed 
this  unfortinuitc  exhibition,  and  Braham  returned 
to  his  apjjropriate  field  of  action,  —  the  concert 
room,  —  where  he  continued  to  reup  a  golden 
harvest,  and  by  his  superb  vocalization  soon  ef- 
faced all  recollection  of  his  failure  in  opera. 
England's  greatest  tenor  was  introduced  to 
Boston  audiences  by  the  Ilandcl  and  llaydn  So- 
ciety. The  announcement  of  his  dihut  was  a 
chef-cf mivre  of  the  enthusiastic  secretary  who, 
for  so  many  years,  managed  the  afliiirs  of  that 
association.  On  the  20th  and  22d  of  November, 
1840,  two  entertainment;*  were  promised,  so  af- 
forcUng  Bostoj'.ians  the  only  opportunity  of  lis- 
tening to  the  dulcet  notes  of  Europe's  most  cele- 
brated songster.  Crowds  rushed  to  pay  th.eir 
dollar  for  this  only  opportunity,  and  the  va;!t 
majority  were  fuUy  satisfied  that  John  Braham's 
reputation  had  a  solid  foundation  in  the  great, 
feats  he  accomplished.  HLs  remarkable  power, 
comjiass,  and  good  quality  of  voice  fairly  as- 
tonisb.ed,  in  their  remarkable  union,  all  listeners. 
They  could  not  credit  the  existence  of  their  own 
senses,  when  they  witnessed  such  daring  and 
brilliant  performances  of  the  greatest  difficulties 
by  a  man  acknowledged  to  be  very  near  tliree 
score  and  ten. 

Mr.  Braham,  after  his  failure  at  the  Tremont, 
went  into  the  concert-giving  business  on  his  own 
account,  besides  singing  lor  the  Ilandcl  and 
Haydn  in  oratorios  and  selections  from  sacred 
music.  Towards  the  close  of  his  somewhat  pro- 
tracted concert  season  he  invoked  Russell  and 
"  the  Rainers  "  to  his  aid.  His  farewell  concert 
took  place  February  IG,  1841,  and  his  la.<t  appear- 
ance on  the  20th  of  that  month  for  Mr.  Ilayter's 
benefit. 

In  sacred  music  his  most  popular  and  effiectiv'e 
pcrlorniances  were,  "  Sound  an  --Vlarm,"  Irom 
Juda-s  Maccaba;us ;  "Comfort  ye,"  and  "  Every 
Valley  ;  "  "  Thy  Rebuke,"  and  "  Behold  and 
see;"  "He  that  dwellcth,"  and  " 'lliou  shall 
dash  them ; "  "  Deeper  and  deeper  still,"  and 
"  Waft  her  AngeLs ; "  "  Total  Eclipse,"  and 
"  Why  doth  the  (lod  of  Israel  sleep,"  and  "I'ho 
Judgment  IIjTnn."  He  was  also  pleasing  in  the 
"  Da^•id "  of  Ncukom,  and  in  the  tenor  songs 
from  "The  Creation." 

In  "  Sound  an  Alarm,"  "  Thou  shalt  daah 
them,"  the  great  tests  of  a  tenor  in  "  Samson," 
and  "  Hie  Judgment  IIjTnn,"  he  has  never  been 
approached  here,  and  the  most  daring  are  con- 
founded in  their  attempt  to  imitate  his  surpossuig 
excellence. 

In  music  of  a  secular  character  he  shone  most 
brilliantly  when  delivering  "  Scots  wha  hae  wi' 
WaUace  bled,"  "  All  the  Blue  Bonnets  arc  over 
the  Border,"  "'Hie  Bay  of  Biscay,"  "The  Death 
of  Nelson,"  and  "The  Marseilles  Hymn."  Kin 
fire  and  outpouring  of  soul  in  these  moved  and 
swayed  his  audience  to  a  degree  few  tenors"  ever 
attained  with  our  cold  public.  "  Rocked  in  the 
Cradle  of  the  Deep,"  "The  Soldier's  Dream," 
"  Robin  Adair,"  "  The  I^ast  Wonls  of  Marmion," 
"  llie  Evening  Gun,"  and  "  Kelvin  Grove,"  nevei 
.53 


r.RA. 


ENCYCLOr.TlDIA    OF  MUSIC. 


I?  HE 


failed  to  bring  out  his  wondrous  union  of  feeling 
nnd  expression  with  just  the  amount  of  execution 
which  sliould  meet  the  demands  of  the  miL'*ic, 
and  yet  not  smother  nnd  conceal  the  sentiment. 
John  ISruhnm  was  a  marvel,  and  those  who  missed 
the  opportunitj'  to  hear  tliat  greatest  musical  won- 
der of  tliis  or  any  other  age  must  have  deeply 
rci^rctted  their  inadvertence.  He  retained  his 
energy  and  command  of  the  tenor  scale  longer 
than  any  other  man  has  ever  done.  Don/elli, 
the  eelehiatcd  Italian  jirimo  tenore,  who  flourished 
some  twenty  years  since,  came  tlie  nearest  to 
liraham  in  this  re<pei'f,  liaving  acquitted  himself 
well  in  "  Offlh  "  at  Naples  when  sixty  years  old  ; 
but  John  Braham  made  the  Birmingliam  Town 
Hall  ring  with  his  clarion  voice  at  the  age  of 
eighty,  and  filled  Exeter  Hall  with  admiring 
tlirong  J,  wlien  some  years  past  that  extreme  limit 
of  human  life. 

BRAXDEXSTEIX.  CHARLOTTE  DE.  A 
sonata  of  her  composition,  in  17S0,  is  inserted  in 
the  musical  jounuil  of  Vogler. 

BRANDES,  CHARLOTTE  GUILHELMINA 
FRANCOLSE,  n  singer  and  composer  at  Ham- 
burg, died  in  1788.  She  composed  some  ro- 
mances and  piano-forte  music. 

BRATSCHE.     (G.)    The  tenor  violin. 

BRAULE.  (F.)  An  old  dance,  said  to  have 
been  very  lively,  and  performed  in  a  circle,  to  a 
rondeau  tune. 

BRAI'N,  O.  A  celebrated  performer  on  the 
hautboy  at  Berlin.  He  published  a  curious  pa- 
per on  the  character  and  treatment  of  the  haut- 
boy, an  extract  from  which  may  be  seen  in  the 
"  Harmonicon,"  vol.  i.  p.  163.     Bom  1791. 

BRAVO,  BRAA'A,  or  BRAVI.  (L)  An  ex- 
pression of  admiration  of  the  music  performed, 
a.s  well  done. 

BRA\TRA.  (I.)  This  word  generally  sig- 
nifies a  song  of  considerable  spirit  and  execution ; 
but  someiimcj  hi  also  applied  to  the  performanee 
of  such  a  song. 

BREIDENSTEIX,  JE.\X  PinLrPPE,  organ- 
ist at  llanau,  died  in  1785.  He  published  sonatas 
for  the  piano-forte,  and  Home  songs. 

BREINDEL,  a  pupU  of  Albrechtsberger,  wa-s 
director  of  the  choir  in  St.  Peter's  Church,  in 
Vienna,  in  179().  He  has  composed  some  church 
music. 

BREITEXGASSER,  WILHELM,  a  celebrated 

v'omposer  in  Germany  in  the  first  half  of  the 
pLxtcenth  century.  Ho  puhHshedat  Nureniburg, 
in  l.'»:59,  a  collection  of  fifteen  masses  by  cele- 
brated composers. 

BREITKOPF,  JOILVXN  GOTTT.OB  niAX- 
I'EL,  a  letter-founder,  printer,  and  bookseller 
at  Leipsic,  was  born  there  in  1719.  In  17.)o  ho 
invented  a  new  mode  of  musical  tj^iography, 
which  has  since  been  imitated  by  other  nations. 
Font,  a  Sweile,  procured  a  patent,  and  attempted 
Fome  years  since  to  introduce  in  I/mdon  Brcit- 
kopfsmode  of  printing  music  ;  but  his  specimens 
were  so  incorrect,  in  comparison  to  the  music 
engraved  on  pewter,  that  he  was  soon  obliged  to 
relinquish  his  project.     Breitkopf  died  at  Leijisic 


in  1794,  nnd  loft  liis  business  to  his  son  ChrLito- 
phcr.  Besides  a  general  catalogue,  ■with  the 
l)rices  marked,  of  jirintcd  and  manuscript  music, 
the  Breitko])fs  have  annually,  ever  since  the  year 
17i)2,  distril)\ited  a  theme  catalogue,  in  which  the 
8u))ject  of  each  piece  is  exhibited  in  notes,  so  tliat 
a  musical  collector  is  enabled  to  discover  whether 
he  Ls  in  possession  of  any  of  the  works  specified. 

BREITKOPF,  BERXARD  THEODORE,  son 
of  the  preceding,  composed  some  vocal  and  piano- 
forte music.  He  was  born  at  Leipsic  in  1711',  and 
was  in  1780  director  of  the  printing  office  to  the 
senate  at  Petcrsbiu-g. 

BREITKOPF,  CHRISTOPHER  GOTILOB, 
brother  to  the  jireccding,  was  bom  at  Leipsic  in 
17>iO.  He  composed  .some  vocal  and  piano -forte 
music. 

BREMXER,  ROBERT,  an  English  composer, 
published  in  London,  in  17G.3,  "  llie  Rudiments 
of  Music,  with  Psalmody;"  he  also  published 
"  Thoughts  on  the  Performance  of  Concert  Mu- 
sic," "  Instructions  for  the  Guitar,"  "A  Collection 
of  Scots  Reels,"  "  A  Selection  of  Scotch  .Sings," 
&c. 

BRESCIANELLO,  JOSEPH  AXTOIXE, 
chapel-master  to  the  Duke  of  Wurtembiug,  Ls 
known  by  twelve  concertos  for  the  violin,  pub- 
lished at  Amsterdam  in  the  year  1738. 

BRESSOX,  MLLE.,  was  bom  in  17So.  She 
was  a  pupil  on  the  piano  of  Adam,  during  nine 
years,  and  has  published  a  method  for  adapting  u 
score  to  the  piano-forte,  also  some  pleasing  ro- 
mances. 

BRETEiriL,  LE  B.VROX,  a  zealous  French 
minister,  and  a  friend  of  every  thing  which 
tendetl  to  good,  founded,  in  1781,  the  rov;il 
school  cf  singing  and  declamation  in  Paris,  from 
wliich  the  prt-zjut  Conscn^atory  originated. 

BRETOX,  MAHOXI  LE,  violinist  at  the 
Italian  Theatre  at  I'aris  in  1760,  published 
several  trios  for  violins,  and  duos  for  the  flute. 

BRE\'E.  A  note  of  the  third  degree  of  lengtli ; 
and  formerly  of  a  s^piaro  figure,  as  thus,  Z  ;  but 
now  made  round,  with  a  line  peqiendicular  tc 
the  stafl"  on  each  of  its  sides,  qj  .  'Hie  breve, 
in  its  simple  state,  that  is,  without  a  dot  after  it, 
is  e(iual  ill  duration  to  one  (piarter  of  a  large,  or 
to  two  semibreves,  nnd  is  then  called  iinjH-r/cct ; 
but  when  dottetl,  it  is  equal  to  three  eights  of  a 
large,  or  three  semibreves,  which  being  the  great- 
est length  it  can  assume,  it  is  then  called  prrj'rrt. 
llie  breve  was  formerly  much  use<l  for  choir  ser- 
vice.    Sec  Boyce's  "Cathedral  Music." 

BREVAL.  JEAX  B.VPTISTF>.  A  celebrated 
violoncellist  at  Paris.  He  published,  in  isni,a 
method  for  the  violoncello;  also,  prcvioudy  to 
that  date,  much  music  for  the  ^•iolin,  violoncello, 
and  wind  instruments. 

BREVI,  GIOVAXXI  BATTISTA.  A  chapel- 
master  at  Milan  at  the  clo-^e  of  the  seventeenth 
centurj-.  He  published  vocil  music  of  various 
descriptions  at  Modcnn  and  Venice. 

BREWER,  THOMAS.  A  pcTfonnor  on  th« 
viol  da  gamba,  and  composer  of  fantasias  and  of 
rounds  and  catches  in  the  reign  of  Charles  L 
He  is  the  author  of  the  well-known  gle<>,  ■■  Turn. 


lo9 


BRE 


ENCYCLOP-EDIA    OF    MUSIC. 


BRO 


Amaryllis,"  which  was  orifiinally  set  by  him  in 
two  ])nrtM,  and  is  said  to  have  been  injured  by  the 
addition  of  a  tliird  ])art. 

IJKEAVSLEU.  Author  ofatrcatL-^c  on  thorough 
ba-^s,  in;icrted  iji  dementi's  Catalogue,  I/ondon, 
1791). 

nUIAN,  ALBERT.  A  church  composer  in 
England  in  the  seventeenth  century.  Dr.  Boyce 
has  inserted  some  ol'  this  composer's  miL';ic  in  his 
collection  of  anthems. 

BRICCIO,  GIOVAN'XI.  A  composer  of  canons, 
&c.,  at  Rome.     lie  died  in  164G. 

BRICCIUS,  TIIEODORU.S.  A  composer  of 
madrif;als  at  Venice  in  the  latter  haK  of  the  six- 
teenth centurj-. 

BRIKGEL,  WOLFGANG  CARL,  chapel- 
master  nt  Dannstadt  and  Gotha,  was  born  in 
IG'ifi.  lie  composed  a  f^reat  variety  of  vocal  and 
instrumental  music,  and  died  in  1709. 

BRIDGE.  In  a  haiiisichord,  or  sijinet,  the 
bridjie  is  that  flat  ruler  wliich  Ls  laid  over  the 
jacks,  to  prevent  their  leaping  out  of  their  sock- 
ets when  the  keys  are  in  action.  In  a  double 
bass,  violoncello,  tenor,  violin,  guitar,  &c.,  it  is 
that  elevated,  peq)endicular  arch  which  stands 
upon  the  belly,  at  right  angles  with  the  strings, 
and  .serves  to  raise  them  from  the  body  of  tue  in- 
strument. 

BRIJOX,  E.  R.,  a  French  musician,  published 
some  didactic  works  on  music  at  Paris  and  Lyons, 
betwceu  the  years  1776  and  1781. 

BRILLANTE.  (I.)  This  cmphatical  expres- 
sion signifies  that  the  movement  to  which  it  is 
prefixed  is  to  be  performed  in  a  gayr  showy,  and 
sparkling  style. 

BRILLIARD.  A  French  composer  of  violin 
music  about  the  year  178G. 

BIJLLON  DE  JOUY,  MADAilE.  A  cele- 
brated amateur  performer  on  the  piano-forte,  and 
com])oscr  for  her  instrument.  Dr.  Burney  heard 
her  near  Paris,  and  speaks  higlily  of  her  talents, 
in  his  travels. 

BllIXD.  Organist  of  St.  Paul's  Cathedral  in 
London  in  1600,  and  the  master  of  Dr.  Greene.  He 
composed  two  thanksgiving  anthems,  now  hardly 
known. 

BRIOCIII.  An  Italian  composer  of  instru- 
mental music  before  the  year  1770. 

BRIO,  or  BIUOSO.  (I.)  With  briskness, 
Bl^lrit,   animation. 

BRISE.  (F.)  Sprinkled,  broken  into  arpeg- 
gio, in  treating  of  chords. 

BRI'ITOX,  THOMAS,  the  famous  musical 
small-coal  man,  was  l)om  about  the  middle  of 
the  seventeenth  century.  He  set  uj)  in  the  coal 
business,  but  his  principal  object  \\as  music,  in 
the  theory  of  which  he  was  very  knowing,  and  in 
the  pnictice  not  inconsiderable.  He  \va.s  so  much 
addicted  to  it,  that  he  pricked  with  liis  own  hand 
very  neatly  and  accurately,  and  left  behind  him 
a  collection  of  music,  mostly  pricked  by  himself, 
which  was  sold  for  nearly  one  liundred  pounds. 
He  left  an  excellent  I'ollection  also  of  ])rintcd 
musical  books.  But  what  distingtiished  him 
.most  of  all  was  a  kind  of  musical  meeting,  held 


at  his  own  small  house,  and  kept  up  at  his  own 
charges  for  many  yeari.  I'hi:*  society  was  fre- 
quented by  gentry,  even  those  of  the  best  quahty, 
with  whom  he  conversed  familiarly,  and  by  whom 
he  was  much  esteemed ;  for  liritton  was  as  re- 
spectable for  moral  endowments  as  he  was  curious 
for  intellectual,  llie  circumstances  of  his  death 
are  not  less  remarkable  than  those  of  hia  life. 
'l"here  was  one  Honejinan,  a  blacksmith,  who 
was  famous  for  speaking  as  if  his  voice  jiroceedcd 
from  some  distant  part  of  the  house,  (a  ventrilo- 
quist, or  speaker  Irom  his  belly,  as  these  persons 
are  called.)  This  man  was  secretly  introduced 
by  Robe,  a  Middlesex  justice,  who  frequently 
played  at  Britton's  concerts,  for  the  sole  purpose 
of  terriiying  Britton ;  and  he  succeeded  in  it  en- 
tirely ;  for  HonejTnan,  without  moving  hLs  lips, 
or  seeming  to  speak,  announced,  as  from  afar  off, 
the  death  of  poor  Britton  within  a  few  hours ; 
with  an  intimation  that  the  only  way  to  avert 
hLs  doom  was  to  fall  on  his  knees  immediately 
and  say  the  Lord's  Prayer.  The  poor  man  did 
60 ;  but  it  did  not  avert  hLs  doom  ;  for,  taking  to 
hLs  bed,  he  died  in  a  few  days,  leaving  Justice 
Robe  to  enjoy  the  fruits  of  hLs  mirth.  His  death 
happened  in  September,  1714. 

BRRTO,  CARLO  FR.AN'CESCO.  An  ItaUan 
singing  master,  and  composer  of  vocal  music  at 
Milan,  in  the  first  half  of  the  last  century. 

BRIXI,  FRAXXOIS  XA^^ER,  chapel-master 
at  Prague,  was  born  in  1732.  He  was  a  volu- 
minous composer  of  sacred  and  other  music. 

BRIXI,  VICl'ORIX,  an  organist  in  Bohemia, 
was  born  in  1717.  He  composed  much  sacred 
music,  and  some  sonatas  for  the  piano-forte. 

BRIZZI,  a  Florentine  by  birth,  was  considered 
an  excellent  tctior  singer.  Ho  was  engaged  at 
Vienna  in  1801. 

BRO  AD  WOOD,  JAMES.  A  celebrated  piano- 
forte maker,  in  London.  His  uistruments  were 
considered  as  excelling  in  workmanship  and  tone. 
Mr.  Broadwood  employed  the  best  set  of  practi- 
cal tuners,  for  attending  to  the  tuning  of  the 
instruments  of  his  customers  at  stated  periods. 
He  was  the  author  of  a  "  Practical  Method  of 
Tuning,"  called  "  Broadwood's  Temperament  of 
the  Musical  Scale."  He  says,  after  mentioning 
that  most  tuners  begin  their  operations  with  the 
note  C,  "  I  prefer  tuning  from  A,  the  second 
space  in  the  treble  clef,  as  being  less  remote  from 
the  tinishijig  fifths,  than  any  other  point  of  de- 
parture :  the  A  being  tuned  to  the  forte,  tune  A 
below  an  octave ;  then  E  above  that  octave,  a 
fifth ;  then  B  above,  a  fifth ;  then  B  below,  an 
octave ;  the  Vif  a  fifth  above ;  then  its  octave, 
F*f  below  ;  then  C**,  its  fifth  above ;  then  G**, 
its  fifth  above ;  and  then  Gsf,  its  octave  below.  Wo 
then  take  a  fresh  departure  from  A,  tuning  1), 
its  fifth  below  ;  then  G,  its  fifth  below  ;  then  ti, 
its  octave  above  ;  then  C,  its  fifth  below  ;  then  C, 
its  octave  above;  then  F,  its  fiftli  below;  then 
Bb,  its  fifth  below;  then  Bb,  its  octave  above  ; 
tlien  El),  its  fifth  below.  The  five  filths  tuned 
f'roiu  notes  below  are  to  be  tuned  flatter  than  the 
jicrfect  fifth,  and  the  sLx  fifths  tuned  from  tones 
alKJve  must  be  made  shari)er  than  tlie  perfect 
fifth.     Tins  Is  similar  to  the  equal  temperament." 

BROCK,  OTIIONE  ^  OX   DEX,  a  perform  ei 


160 


bUO 


EXCYCLOP.KDIA    OF    MUSIC. 


URIJ 


on  tho  horn,  has  published  much  mu.sic  I'or  hLs  i 
ustrumcut  at  I'luis  since  the  year  1788. 

BROCKLESBY,  DR.  RICHARD,  iniblinhcd 
**  Reflections  on  Ancient  and  Modern  Music, 
with  its  Application  to  the  Cure  of  Disoases," 
London,  174'J. 

BRODERIES.  (F.)  A  term  applied  to  those 
flourishes  and  embellishments  which  perl'ormers 
throw  en  passunt  into  any  composition. 

BRODERIP,  of  Bristol,  was  a  good  composer 
of  Protectant  church  music  towards  the  cud  of 
I  he  last  century. 

BROCiXOXICO,  OR.\ZIO.  A  compoter  of 
matlrigals  in  Venice  in  1611. 

BROIvEX  CHORDS.  Not  simultaneous,  but 
tiiken  in  a  broken,  ijiterrupted  manner,  without 
exact  rci;ulimty. 

BROXXER,  GEORGE.  An  organist  and 
composer  of  operas,  Xc,  at  Hamburg  between 
the  years  1693  and  1715. 

BROOKBAXK,  JOSEPH.  Author  of  "  Tlie 
well-tuned  Organ,  or  a  Discussion  on  the  Ques- 
tion whether  or  no  Instrumental  and  Organical 
M\isic  be  lawfid  in  Holy  Public  Assemblies," 
lyondon,  16()0. 

BROSCHI,  C.VRLO.  A  celebrated  singer, 
boni  at  Andria,  in  the  Xeapolitan  states,  and 
better  known  by  the  name  of  Farhtelli,  wliich  he 
received  from  the  patronage  of  three  brothers 
called  Farina.  A  fall  from  liis  horse  in  his 
youth  rendered  castration  necessary,  and  to  this 
accident  he  was  indebted  for  his  celebrity.  After 
enrapturing  the  crowded  audiences  of  the  theatres 
of  Xaplcs,  Home,  Venite,  and  Vienna,  Broschi 
was  invited  by  Lord  Essex  to  London,  where  for 
tliree  years  he  displayed  the  yuperiority  of  his 
powers,  and  was  muniliccntly  rewarded.  In 
1737,  he  left  London,  and  passing  through  Paris 
on  his  way  to  Madrid,  he  drew  the  admiration  and 
the  applauses  of  the  French  king  and  of  his  court. 
In  Spain  he  was  treateil  with  all  the  distinction 
which  his  talents  de>ervcd,  so  that  King  Philip 
not  only  lavished  every  honor  upon  him,  but  re- 
garded him  with  the  confidence  and  affection  of 
nn  intimate  friend.  He  held  the  same  distin- 
guished nink  of  honorable  partiality  with  Philip's 
successor,  Ferdinand,  and  till  his  death  and  that 
of  his  (jucon,  Barbara,  in  17>30,  he  continued  the 
favorite  of  the  court,  and  deservedly  respected  by 
the  public  for  the  generosity  of  his  heart,  the 
benevolence  of  liis  conduct,  and  the  con<le:icen- 
sion  and  affability  of  his  manners,  not  only  to  his 
inferiors,  but  even  to  his  personal  enemies.  On 
the  succession  of  Charles  to  the  Spanish  throne, 
FarincUi,  though  honorably  received  by  the 
monarch,  hastened  to  his  native  country,  whore, 
in  the  neighborluiod  of  Bologna,  he  enjoyed  the  | 
remainder  of  his  life  in  dignified  retirement.  | 
Though  occa-iionally  haunted  by  melancholy,  yet  ! 
he  continiied  traniiuil ;  the  jiowers  of  his  voice  i 
remaine.l,  to  tho  last,  strong,  clear,  and  mclo-  ; 
dious,  and  for  tlirec  weeks  before  his  death,  hkc 
the  dying  swan,  he  daily  entertained  his  admiring  , 
friej\ds.  He  died  September  111,  17SJ,  in  his 
seventy-eighth  year,  leaving  his  musical  books  . 
and  his  lands  to  lus  sister.  His  great  readiness 
to  relieve  ilistress,  and  to  sweeten  the  cup  of 
21  16 


calamity,  whenever  ho  found  it  possible,  pre- 
vented the  accumulation  of  riches,  and  Farinelli, 
after  sharing  the  favors  of  monarclis,  witliout 
feeling  his  heart  biased  by  (lattery,  and  after  re- 
maining unsullied  by  the  vices  and  oxtravagancci 
of  a  theatrical  life,  lived  and  died  esteemed  as 
a  man  of  worth. 

BROSCHI,  RICCARDO,  chapel-master  at 
Nai)les,  was  the  brother  of  the  celebrated  Fari- 
nclli,  whom  he  instructed  in  the  first  rudiment." 
of  music.  Broschi  composed  the  opera  called 
"  U I  sola  d'Alciiia,"  for  the  Roman  theatre,  in 
1728  ;  it  was  in  this  opera  that  the  memoniblr 
contention  happened  between  Farinelli  and  a 
celebrated  performer  on  the  trumpet,  over  wlioiu 
that  rantclUess  singer  obtained  a  complete  \-ictory. 
In  1730,  Broschi  accompanied  his  brother  f. 
Venice,  wlicre  he  composed  his  opera  of  "  Idaspf, 
in  which  Farinelli,  Xicolini,  and  Cuzzoni  per- 
fonued.  His  style  was  grand  without  bombast, 
elevated,  and  noble.  It  did  not  possess  tho 
maje;5ty  of  Leo  or  Jomelli,  nor  the  depth  and 
purity  of  Feo,  but  deUcacy  and  expression  were 
principally  apparent. 

BROSSARD,  SEBASTIEX  DE,  a  French 
musician,  born  in  KiGO,  was  chapel-master  and 
grand  chaplain  to  the  cathedral  at  Moaux.  He  ii 
the  a\itlior  of  a  musical  diction.ary,  first  publishe<l 
at  Amsterdam  in  the  year  1708,  and  translated 
into  English  by  Grassincau,  in  17fO,  but  not 
called  by  him  a  translation,  wliich  it  ought  to 
have  been.  Brossard  also  composed  some  vocal 
and  instrumental  music,  and  collected  a  very 
complete  musical  library,  which,  at  his  death,  in 
1730,  he  left  to  the  royal  library  of  France. 

B  ROTUNDUM.  (L.)  B  flat.  See  B  Qim- 
niuM. 

BRO^^'X,  JOIIX.  Author  of  "Letters  on 
the  Poetry  and  Music  of  the  Italian  Opera," 
London,  1789.  His  lines  of  criticism  seem  to  be 
drawn  from  nature,  as  exemplified  in  the  pas- 
sions and  sentiments  of  men.  .So  far  as  they  go 
they  are  immutable,  and  are  therefore  aiiplicable 
to  all  times  and  to  all  countries.  Brown  sup- 
poses the  lyre  to  be  of  the  earliest  antiiiiiity ;  tor 
as  man,  according  to  his  just  remark,  was  in  his 
first  state  a  hunter  and  a  fisher,  this  oldest  in- 
strument partakes  most  of  that  state,  tho  two 
principal  pieces  being  composed  of  the  horns  of 
the  animal  and  the  shell  of  a  R>h. 

BROWXE.  An  English  composer  about  the 
year  l.')00. 

BRUCE,  in  his  account  of  his  voyage  to  Egj^it, 
mentions  several  musical  instruments.  He  says 
the  Abyssinian  llute  is  about  the  si/e  and  shape 
of  the  German  tlute,  with  a  mouthpiece  the  si/.o 
and  shape  of  that  of  the  clarinet ;  it  is  played 
upon  lengthwise. 

BRUCKHAUSEX.  An  amateur  composer  of 
nn  operetta  at  Munster,  in  1791. 

BRUCKXER.  CYRI.VQUE.  nn  organist  and 
composer,  died  in  tho  Palatinate  in   1599. 

BRUCKXER.  ALOYSIUS.  A  Genmui  com- 
poser of  the  seventeenth  centuTTi'. 

BRUXIXGS,   JOHAXX    DAVID,   a   pianist 
nntl  compo-^er  at  Zurich,  published  some  souatJU 
for  his  iustrumciit  in  1792-1791. 
1 


riiu 


ENCYCLOPEDIA    OF   MUSIC. 


BUG 


BKUMEL,  ANTONY.  A  composer  of  sacred 
nausic  about  the  year  I/iOO.  Ho  was  a  conteni- 
pornrj'  of  Jnsquiu  des  Prcz,  and  pupil  of  Oken- 
oeini.  lie  is  l•on^i^lcred  as  the  founder  of  the 
Frencli  school  of  music. 

miUN,  LK.     See  Lebbun. 

BUUNiyn'E.  (F.)  A  Uttle,  tender,  delicate 
nnd  simple  air. 

BKUNPnTI,  ANTO^^O,  chapel-master  at 
FLsa  in  1752,  was  born  at  Arezzo  in  172(5.  He 
wrote  music  for  the  church.  Motets  of  his,  for 
bass  voices  with  orchestra,  are  known. 

BRUNETTI,  GAETANO,  son  of  the  pre- 
ceding, WHS  bom  at  Pisa  in  1753.  His  father 
taught  him  the  violin  ;  then  he  went  to  Florence, 
nud  became  the  pupil  of  Nardini,  whose  manner 
of  playing  that  instrument  he  imitated  with  great 
success.  After  completing  his  studies,  he  trav- 
elled through  Italy  and  Germany,  and  was  some 
time  in  the  service  of  the  elector  pnlntine. 
Mozart,  who  hc:ird  him  at  Manheira  in  177S, 
thought  highly  of  his  talent.  In  1779  he  went 
to  Paris,  and  there  published  his  first  two  works, 
a  set  of  six  trios  for  two  violins  and  bass,  and 
some  quatuors,  which  had  little  success.  Being 
invited  to  the  place  of  first  violin  to  the  King  of 
Spain,  by  Boccherini,  then  director  of  the  royal 
music,  he  was  happy  to  place  himself  under  so 
good  a  master.  This  changed  his  style,  for  he 
became  as  good  an  imitator  of  Boccherini  as  he 
had  been  of  Nardini.  His  tliird  work,  another 
set  of  trios,  showed  the  change ;  but  imitation, 
however  clever,  is  not  genius.  Brunetti  owed 
all  to  Bocclierini ;  but  he  proved  ungratoiid,  and 
bj-  intriguing  superseded  lum  in  the  directorship. 
Then  he  had  to  compose,  for  the  ser\-ice  of  the 
court,  a  great  number  of  sjTuphonies,  serenades, 
and  pieces  of  chamber  music.  He  also  wrote 
quatuors  and  (juintets  for  the  Duke  of  .\lba,  in 
whose  house  alone  they  were  ever  heard.  He 
■was  fifty-four  years  old  when  Napoleon  entered 
Spain ;  terror  brought  on  a  fit  of  apojjlexy,  of 
■which  he  died  in  1»07.  He  left,  both  published 
and  unpublished,  a  large  number  of  duets,  trios, 
quartets,  quintets,  sextets,  sonatas,  concertos,  and 
r>7ii  thirty  sjTuphonies  for  full  orchestra. 

BRUNETTI,  GIOV.VNNI  GUALBERTO, 
younger  brother  of  the  preceding,  born  at  Pisa 
about  17(50,  was  the  author  of  several  operas; 
as,  "  Lo  SjKtso  (li  tre  ;  "  "  Lc  iitrava{ianze  in  (,'am- 
pagna ;"  "  UertoUlo  e  Bertoldiiia  ,■  "  "  Le  Xozzc  per 
invito  ; "  "  Faiuna ; "  "  Denmfoontc,"  &c.  He  suc- 
ceeded his  father  as  chapel- master  at  Pisa,  and 
■wrote  much  church  music,  especially  "  Matines 
de  la  TrinUi,"  lor  four  voices. 

BRUNI,  BARTOLOMEO,  born  in  Pied- 
mont in  1750,  chiotiy  resided  in  ParU,  and  was 
omp"  lyed  as  chef-d'orchcstre  of  diflcrent  theatres 
there  "  He  composed  some  violin  music  and  six- 
teen operas  between  the  vears  1785  and  1802. 


at  Yenice  in  the  first  h«lf  of 


BRUNMAYER,  ANDRE.\.S,  organist  at  Saltz- 
burg  in  ISO:!,  has  composed  some  church  and  in- 
ftrumentnl  music. 

BRUNMri.LER,  ELIAS.  A  composer  of 
tnstrumentnl  music  at  Amsterdam  at  the  be- 
|inning  of  the  eighteenth  century. 

BRUS.V.    FRANCESCO.       A    composer 


dramatic  music 
the  last  century. 

BRYENNE,  M.VNTTEL.  The  most  recent  of 
the  Greek  writera  upon  music  of  whom  any 
works  remain.  He  lived  in  the  reiirn  of  tVj 
Emperor  Micliacl  Paleologus,  the  older,  about 
1320.  The  treatke  which  bears  his  name  is 
entitled  "  Harmonics,"  and  is  a  compilation  from 
all  the  old  Greek  ^\Titcrs  on  the  suljject,  in- 
cluding not  only  Euclid  and  Ptolemy,  l)ut  llieon 
of  iSmjiTna,  ArLstoxenus,  and  many  others. 

BRYNE,  ALBERTUS.  An  English  com- 
poser in  the  seventeenth  century,  and  organL^t 
of  St.  Raid's  Church.  He  died  about  the  year 
1670.  Some  of  his  anthems  are  to  be  foujid 
in  Clifford's  collection. 

B  SHARP.  Tlie  sensible  or  jiroper  seventh  of 
the  major  diatonic  of  C  sharp.  In  keyed  instru- 
ments it  is  the  same  as  C  natural. 

BUCCIXA.  (L.)  A  military  wijid  instani- 
ment  of  high  antiquity.  The  tone  and  form  of 
the  b-.'ccina  arc  now  unkno-»\-n ;  but  it  is  gen- 


erally supposed  to  have  resembled  the  trumpet ; 
and  the  definition  given  by  Festus,  who  calls  it  a 
crooked  horn,  seems  to  sanction  that  opinion. 

BUCH.  A  German  performer  on  the  horn  at 
the  Grand  Opera  at  Paris.  He  published  some 
quartets  for  his  instrument  m  1788. 

BUCHOLTZ,  JOHANN  GOTFRIED,  a  mu- 
sician at  Hamburg,  published  some  instrument- 
al music  there  between  the  years  1782  and  1798. 
He  died  in  1800. 

BUCOLIC,  or  BUCOLICAL.  Pastoral  songs, 
such  as  were  frequently  performed  by  the  ancient 
shepherds  upon  pipes. 

BUDD.  A.  composer  of  some  harp  music  in 
London,  about  the  year  1785. 

BUECHNER,    JOHANN   CHRISTOPH.    A 

suiger  and  chm-ch  composer  at  Gotha  in  1800. 

BUERDE,  SAMUEL  GOTTLIEB,  private 
secretary  to  the  King  of  Prussia,  was  bom  at 
Breslau  in  1753.  He  pubUshed  some  collections 
of  sacred  music  between  the  jxars  17S7  and  1794. 

BUERINGER,  JOSEPH.  A  composer  of 
music  for  the  piano-forte  at  Yiemia  in  1799. 

BUFFO,  BUFFA.  A  term  applied  by  the 
Italians  to  an  actor  and  singer  who  takes  the 
liumorotLs  and  ludicrous  parts  u\  their  comic 
operas.  This  epithet  is  also  applied  to  the  piect-s 
themselves  ;  as,  opera  bujfa,  a  comic  opera. 

BUFFO  C.VRICATO.  A  humorous  and  lu- 
dicrous character  in  an  Italian  opera. 

BUGLE,  ROY.\L  KENT.  This  Ls  by  no 
means  a  limited  instrument,  as  tlie  bugle  wa-s 
justly  considered  previous  to  the  invention  of 
keys,  for  the  keys  have  given  it  such  extent  and 
perfection  that  its  capabilities  may  now  be  ranked 
equal  to  those  of  most  wind  in:Irumeuts ;  its  ef- 
fects both  as  a  solo  instrument  and  a>^  an  accom- 
paniment to  others,  liavc  been  so  olten  displayed 
in  military  and  orchestral  bar.ds  that  its  powers 
are  now  well  known.  As  a  chamber  instrument 
it  is  valuable,  for  when  played  sotlly  and  with 
taste,  it  tonus  an  excellent  accorapaniraent  to  the 
piano-forte.  One  of  the  advantages  it  possesses 
of  1  over  oost  horns  b  that  of  a  methodical  finger- 


162 


BUG 


ENC\CLOP.^DIA    OF    MUSIC 


BDL 


bag,  by  which  tnie  sounds  arc  produced,  without 
having  no  much  recourse  to  the  imnginntion, 
which  if  in  error,  false  tones  must  unnvoidnhly 
be  produced,  llic  Kent  bugle  has  six  keys,  four 
of  which  are  commanded  by  the  riglit  hand,  and 
two  by  the  left,  and  are  named  us  loUows :  — 

Right  Hand.  L(fl  Hand. 

B      D     A|,   g5      aJj      e!j      fI; 


-+- 


:^^U 


^ 


The  bugle  should  be  firmly  held  by  the  second 
finger  and  thumb  of  the  right  hand,  the  second 
joint  of  the  former  resting  on  the  guard  of  tlic  A 
key,  and  the  latter  jilaced  underneath,  so  as  to 
command  the  Dkcy ;  this  position  being  formed, 
the  tirst  finger  will  command  the  A,  the  fourth 
finger  the  H,  and  the  thumb  the  I)  keys.  The 
thumb  of  the  left  hand  must  be  placed  over  the 
E  key,  the  first  finger  on  the  F  key,  and  to  sup- 
port the  instrument  the  fourth  finger  should  lie 
placed  underneath,  and  the  second  and  third  by 
the  side  of  the  first.  The  instrument  should  be 
inclined  rather  downwards,  the  elbow  of  the 
right  arm  elevated,  but  the  left  ann  kept  near 
the  body,  as  this  position  insures  the  greatest 
freedom  and  command  of  the  instrument.  To 
facilitate  the  acquirement  of  a  good  embouchure, 
the  following  directions  should  be  obscr\-ed : 
Draw  the  lips  tiglit  over  the  teeth,  extending  the 
mouth,  and  leaving  sufiicicut  sjiace  between  the 


teeth  for  the  admission  of  the  tongue;  then  ])liioe 
the  mouthpiece  firm  in  the  centre  of  the  mouth, 
rather  more  on  the  ujjiier  than  the  lower  Lij);  the 
smooth  surface  of  the  li])M  not  exi)osed  to  the  air 
then  becomes  the  embouchure,  which  renders  the 
tone  more  sure,  sweet,  and  brilliant,  'ilie  souiidi' 
which  proceed  from  the  bugle  are  all  produced 
and  articulated  by  the  tongue  ;  by  the  proj^er 
method  of  using  this  organ,  that  facility  Ls  ob- 
tained which  so  greatly  diminishes  the  ])ractice 
this  instrument  reiiuires.  To  produce  any  note, 
the  tongue  should  be  dra^^^l  suddenly  back  by  a 
jerk,  by  which  the  wind  will  be  forced  into  the 
instrument  ;  whUst  the  tongue  is  thus  in  actio'.. 
til,  tu  should  be  pronounced  by  the  breath  only, 
without  the  voice  beini;  heard.  \\'hen  sufficient 
is  known  to  produce  the  sounds,  and  to  jdace  the 
U])s  properly  to  that  jiart  of  the  mouthpiece  they 
should  occupy,  it  is  a  rule  that  should  never  be 
disregarded,  that  in  performing  the  different  oc- 
taves, the  embouchure  should  not  be  altered,  but 
the  lips  should  be  closed,  and  the  mouthpiece 
pressed  in  jirojiortion  as  the  sounds  ascend,  and 
in  tlie  contrary  as  they  descend.  Strict  attention 
to  the^e  observations  will  enable  the  learner  to 
practise  the  tiatural  or  harmonic  scale. 


i 


The  learner  should  practise  the  swell  on  all 
these  notes. 


SCALE    FOn    THE    BUGLE. 


0 

B 

C 

D 

E      F 

0 

A     I 

1      C 

D     I 

14 . 

F 

0         A        B 

C 

-jt 1     1     1,  !     I.I  ^'m^^f^i^-' 

-LI; — 1 '■  .      i        — .1 

frPi       1     1          \-1j-A 

-<:^^-',-i  i  1  ■  ' — H 

V  .'    i    '  ■'   1    ^  '  -r»^ 

1 

f  Open  Notes . 

J 

■*■ 

:«' 

'^ 

»1     T 

0      1 

^  0 

A. 

)  ..;.. 

0^ 

' 

><  ■  ■ 

: 

.!v  .  . 

•  y  •  • 

4 

5 

First  FIngsr, 

V 

1 Y .  . 

...  2  . 

1  -1  . . 

' 

1 

..   2 

1 

. 

...••  2 
..3. 

ft 

Xhird    do 

.. :  3 

..;8 

.  .   3 
I  .  .. 

V.K.   4  ] 

.  3  .. 

.  ..,4 

4 

.  .M 

.'. .  .   i 

i 

1 

^C 

[ 

First  Finger, 



. . ' , . 

..'.. 

.  .1. . 

.  ..'.. 

..!.  . 

. .  t. . 

are  the  distances  between  the  key  note  and  the 
seven  notes  of  its  scale.  The  notes  included  in 
the  intervals  are  called  degrees. 


T)\e  following  are  the  major  inten-als,  which  i  dirt  affects  the  free   action  of  a  key,  the  key 

should  be  taken  out  and  the  spring  cleaned. 
Sometimes  the  clapper  of  a  key  does  not  lie  level 
on  the  ridge  ;  this  may  be  ascertained  by  press- 
ing the  key  ;  the  side  that  is  highest  will  yield  tr 
the  finger,  and  may  be  rectified  by  twisting  the 
clapper  with  a  pair  of  pliers  till  the  pressure 
is  c<|ual. 

BTJISSOX,  MICH.VEL  CH.UILES  DE.  A 
singer  and  composer  of  vocal  music  published  nt 
Munich  in  1.573. 


"y 

h — 



C. 

— e» 

_fl 

Unii*on. 

2d. 

3.1 

4th. 

•*• 

6th. 

6th 

Tth. 

8th. 

No  practice  can  be  better  or  moic  useful  for 
the  student  than  the  scale  and  the  above  in- 
ter\-als.  Great  precaution  should  be  taken  to 
keep  the  keys  of  the  bugle  in  order,  as  any  im- 
perfection in  their  stopping  affects  all  the  sounds. 
One  of  the  princijial  things  to  be  obser\'ed  is  the 
proper  method  of  leathering  them  ;  for  this  pur- 
pose choice  should  be  made  of  soft,  thick  leather, 
and  the  soft  side  should  be  nearest  the  instru- 
ment. In  order  to  assist  the  action  of  the  keys, 
ind  prevent  them  from  sticking,  a  little  sweet 
oil  should  be  occa-sionally  applied,  and  when  any 


Bl'INI,  GI'IS  M.VR.'s.  An  opera  composer 
in  Italy  in  the  early  jiart  of  the  last  century. 

BULGAKELLI.  MARIANNE  I5ENFI,  called 
La  Homaninii.  She  was  much  celebrate*!  as  n  sing- 
er in  Italy  between  the  years  1700  and  1730. 

nri,I„  DR.  JOHN.  This  celebrated  mu.sicinn 
was  l)om  about  l.)t>.T,  in  Someryetshire.  Hit 
master  in  nm-^ic  was  William  Rlitheman,  organ- 
ist of  the  Chapel  Royal  to  Uueca  Eli2abctL,  \m 


\f.% 


BUL 


EXCYCLOPyEDIA    OF    MUSIC. 


BDl 


wliicli  c-ai)ncity  ho  was  very  much  celebrated. 
Hull,  on  the  death  of  hiti  mn-ster  ui  1.591,  was  ap- 
poiutcd  hw  Hucccssor  in  the  ([ueeii's  chapel,  and 
in  l.i'.Xi,  at  the  reooiumendatioii  of  her  majesty, 
he  was  made  professor  of  mn:iic  to  CJreshara  Col- 
le;;e,  which  situation  he  resijjned  in  1007.  Dur- 
iu;;  more  than  a  year  of  his  jjrofessorship,  Mr. 
Thomas  Uird,  son  of  the  vcneralile  William  Hird, 
Bxcrcised  tlie  otticc  of  a  substitute  to  Dr.  Hull, 
while  he  travelled  on  t,he  continent  for  the  re- 
covery of  his  health.  Alter  the  decease  of  (iueen 
£lizalR>th,  Hull  was  a])pointe<l  chamber  musician 
to  Kini5  James,  and  on  July  l(i,  1()07,  when  Ids 
majesty  and  l'rin<e  Henry  dined  at  Merchant 
Tailors'  IlaU,  the  royal  <;uests  were  entertained 
with  music,  both  vocal  and  instrumental,  as  well 
as  with  several  orations.  And  while  his  majesty 
was  at  talile,  according  to  Stowe,  "  Dr.  Hull, 
who  was  free  of  that  company,  being  in  a  citizen's 
gowno,  cappc,  and  hood,  played  most  excellent 
melody  upon  a  small  payre  of  organs,  placed  there 
for  that  purpose  only."  In  1()13,  Dr.  Hull  linally 
quitted  England,  and  entered  into  the  service  of 
the  archduke,  in  the  Netherlands.  He  after- 
wards seems  to  have  settled  at  Lubec,  from  which 
jdace  many  of  his  compositions,  in  the  list  pub- 
lished by  Dr.  A\'ard,  arc  dated,  one  of  them  as 
late  as  1622,  the  sui)posed  year  of  liLs  decease. 
Dr.  Hull  has  been  censured  for  quitting  hi:?  es- 
tablishment in  England ;  but  it  Ls  probable  that 
the  increase  of  health  and  wealth  was  the  cause 
and  consequence.  Indeed,  he  seems  to  have  been 
praLsed  at  home  more  than  rewarded ;  and  it  is 
iio  uncommon  thing  for  one  age  to  let  an  artist 
star\-e,  to  whom  the  next  would  willingly  erect 
statues.  Tlie  professorship  of  (iresham  College 
w.\s  not  then  a  sinecure.  His  attendance  on  the 
Cliapel  Ilnyal,  for  which  he  had  forty  pounds  j^er 
annum,  and  on  the  I'rince  of  ^Vales,  at  a  siniQar 
salary,  though  honorable,  were  not  very  lucrative 
appointments  for  the  first  performer  in  the  world, 
at  a  time  when  scholars  were  not  so  profitable  as 
at  present,  and  there  was  no  i)ublic  performance 
where  this  most  wonderful  musician  could  tlis- 
play  Ids  abilitici,  and  receive  applause  and  re- 
ward. A  list  of  more  than  two  hundred  of  Dr. 
Hull's  compositions,  vocal  and  instrumental,  is 
inserted  in  his  life ;  all  of  which,  when  his  biog- 
raphy was  written,  in  1740,  were  preserved  in  the 
coUecfion  of  Dr.  I'epusch.  The  chief  part  of 
these  were  pieces  for  the  organ  and  virgimil. 

HULL,  the  violin  virtuoso.     Sec  Oi.e  Bull. 

BUXTIXG.  An  English  musician  and  editor 
of  two  collections  of  Irish  music,  (dementi's 
Cat.)  Hunting  has  also  prertxed  to  one  of  his 
works  an  historical  and  critical  dissertation  on 
the  Egyptian,  Hritish,  and  Irish  harp. 

BUOXOXCIXI,  or  1U)X()XCIXI.  GIOVAX- 
XI  MAUIA,  bom  at  Modena  in  ir.40,  one  of  the 
first  masters  of  tlie  Loml>ard  school,  and  father  of 
the  celebrated  Giovanni  and  Antonio  Huononcini, 
was  a  pupil  of  Carissimi.  He  jiulilished,  in  l(i73, 
a  work  enlitled  "  //  .UiwiVyj  I'l-afliro,"  dedicated 
to  the  Emperor  Leopold.  This  treatise  contains 
many  useful  precepts  and  examples  of  compo- 
Kition,  but  is  neither  so  accurate  as  to  be  im- 
plicitly loUowed,  nor  so  ample  as  to  supply  all  the 
wants  ol  a  musical  student  of  the  present  time. 
At  p.  18  of  this  work,  he  s])oaks  of  a  canon,  in 
liiii   oi>era   of  "  Turza,"  for   tittecn  hundred   and 


ninety-two  voiccp,  or  six  hundred  and  forty- 
eight  choirs,  which,  on  account  of  the  difficulty 
of  finding  such  a  number  of  singers  assembled 
together,  he  has  reduce<l  to  twenty-two.  Gio- 
vanni Maria  Huononcini  published  other  chamber 
and  church  music  at  Hologna  between  the  years 
lOSG  and  1691  ;  his  chamber  duets,  published  in 
the  latter  year,  are  remarkable  as  learned  and 
labored  compositions. 

BUOXOXCIX'I,  GIOVAXXI  HATTLSTA, 
son  of  the  preceding,  was  also  born  at  Modena,  in 
1672.  After  having  finished  his  musical  studies, 
probably  under  his  father,  he  went  to  Vienna, 
and  having  a  very  fine  hand  on  the  violoncello, 
was  entered  in  the  band  of  the  Emperor  Leopold, 
and  retained  at  a  very  large  salary.  At  this 
time,  Alessandro  Scarlatti  had  gained  great  repu- 
tation by  the  operas  he  had  composed,  and  Huo- 
I  noncini,  desirous  to  emulate  him,  though  but 
I  eighteen  years  of  age,  composed  one,  entitled 
"  Camilla,"  which  was  performed  at  Vienna,  and 
I  also  at  different  Italian  theatres,  with  greater 
applause  than  had  ever  been  given  to  any  work 
of  the  kind.  Mi-.  Haym,  convinced  of  the  merit 
of  "  CamiIJa,"  and  of  the  possibility  of  altering  it 
to  the  taste  of  an  English  audience,  then  but 
little  sensible  of  the  charms  of  Italian  music,  con- 
trived to  adapt  it  to  English  words  ;  and,  not- 
withstanding the  disadvantages  arising  from  this 
conjunction,  it  Li  said  to  have  been  received  in 
England  with  great  favor.  This  was  about  the 
year  1707  ;  and  so  deep  was  the  impression  which 
the  music  of  Huononcini  had  made  upon  the 
minds  of  the  people  there,  that,  till  the  year 
1710,  the  managers  found  themselves  reduced  to 
a  kind  of  necessity  of  introducing  into  every 
ojiera  they  exhibited  more  than  an  equal  propor- 
tion of  Huononcini's  airs,  selected  from  a  variety 
of  works,  which  by  that  time  he  had  composed. 
In  the  year  above  mentioned,  Handel  arrived  in 
England,  and  gave  to  the  English  tlie  opera  of 
"  Kiitahlo,"  thereby  laying  the  foundation  of  hu 
musical  fame  :  stiU,  however,  Huononcini,  who 
was  still  at  Rome,  had  many  admirers  in  England, 
and  he  was  sent  for  to  London,  on  occasion  of 
the  foundation  of  a  Koyal  Academy  of  Music. 
It  was  hardly  possible  that  men  possessed  of 
talents  so  different  as  were  those  of  Handel  and 
Huononcini  should  be  equally  admii-ed  and 
patronized  by  the  same  persons.  The  style  of 
Huononcini  was  tender,  elegant,  and  pathetic  ; 
Handel  jiossessed  all  these  (jualities,  and  num- 
berless others,  and  Lis  invention  wa-s  inexhausti- 
ble. For  some  or  other  of  these  considerations, 
and  jierhaps  for  others  of  a  very  dlffeient  kind, 
i  two  parlies  were  fonucd  of  the  English  nobility, 
the  one  prole-sing  to  patronize  Handel,  and  the 
■  other  Huononcini.  The  works  of  the  latter, 
I  published  in  England,  consist  of  cantatas,  cham- 
j  ber  duets,  the  operas  of  "Antarto  "  and  "  drUcUUi," 
a  funeral  anthem  for  John,  Duke  of  Marlliorough, 
and  twelve  sonatas  for  two  violins  and  a  bass. 
Hefore  he  (luitted  Jlnglnnd,  Huononcini  was 
much  disgraced,  by  its  being  discovered  that  a 
'  madrigal,  which  he  had  given  out  its  his  comjio- 
sition,  was  the  work  of  another  person  in  Italy. 
Dr.  CJreene,  who  had  introd\ued  the  machigal  in 
question  into  the  academy,  notwithstaniling  the 
evidence  to  the  contrary,  was  one  of  the  last  to 
believe  that  it  was  a  composition  of  any  othet 
•  than  his  friend  Huononcini ;  but  fiuduig  himsell 
104 


BUO 


excyclo?-i:dia  of  music. 


BUh 


almost  singuliir  in  this  opinion,  he  witlulrew  from 
the  Royal  Aciulemy,  carryin<,'  with  him  the  boys  of 
St.  Paul's ;  and  calling  in  to  his  assistance  Mr. 
Festinj;,  the  first  violinist  of  the  kinjj's  band,  he 
established  a  concert  at  the  Devil  Tavern,  'romple 
liar ;  the  joke  ujjon  this  occasion  amonf;  the 
academicians  was,  that  "  Dr.  (ireene  wan  gone  to 
the  devil."  From  a  propensity  tliat  must  seem 
unaccountable,  he  affected  to  be  thouf^ht  a  much 
older  man  than  he  was;  and  in  the  year  1730, 
when  every  cii'cumstance  in  his  person  and  coun- 
tenance bespoke  the  contrary,  he  scrupled  not  to 
assert  that  he  wa.s  on  the  verf^e  of  fourscore. 
About  the  year  173.3,  his  affairs  were  come  to  a 
crisis  in  England.  'Hiere  wius  at  that  time  about 
the  town  a  man,  who,  with  scarcely  any  other 
recommendation  than  line  clothes  and  a  great 
stock  of  impudence,  appeared  at  court,  and  as- 
sumed the  title  of  Count  Ughi.  It  is  said  that 
he  was  a  friar ;  but  his  pretence  was,  that  he  was 
an  Italian  nobleman,  and  a  natural  son  of  King 
Jamcri  U.  Being  a  man  of  parts  and  well  accom- 
plished, he,  on  the  footing  of  relationship,  such  as 
it  was,  gained  an  easy  admission  to  the  Duchess 
of  Buckingham,  and  became  so  much  her  favor- 
ite, that  those  who  were  not  aware  of  tlie  sup- 
posed consanguinity  between  them,  hesitated  not 
to  say  she  meant  to  make  him  her  husband, 
'lliis  fellow,  among  various  other  arfiftces,  pre- 
tended to  possess  the  secret  of  making  gold ;  and 
liuononcini,  who  had  never  in  his  life  known  the 
want  of  it,  was  foolish  enough  to  believe  him. 
In  short,  he  was  prevailed  on  to  leave  the  hospi- 
table roof  under  which  he  had  so  long  been  shel- 
tered, and  become  a  sharer  in  the  fortunes  of  tliis 
egregious  impostor.  They  ciuitted  the  kingdom 
together ;  but  it  is  possible  that  this  connection 
lasted  not  long,  and  that  Buononciui  was  con- 
strained to  recur  for  a  livelihood  to  the  exer- 
cise of  his  profession  ;  for  a  few  years  after  his 
leaving  England,  he  was  at  Paris,  and  composed 
for  the  Royal  Chapel  there  a  motet,  in  which  was 
a  solo,  with  an  accompaniment  lor  the  violoncello, 
which  he  himself  jjerformed,  in  tlie  presence  of 
the  King  of  France.  Upon  the  conclusion  of  the 
peace  of  Aix-la-Chapelle,  Buoiioncini  was  sent 
for  to  Vienna  by  the  Phnperor  of  (lermanv,  and 
wrote  the  music  for  that  occasion,  being  rewarded 
with  a  present  of  eight  lunub-ed  ducats.  This  was 
in  the  year  1748  ;  and  soon  alter  the  rejoicings  for 
the  peace  were  over,  he,  together  with  Monticelli, 
a  singer  who  had  appesired  in  the  opera  at  Lon- 
don, set  out  for  Venice,  the  one  having  l)een  en- 
gaged as  a  composer,  the  other  as  a  principal 
dugcr  there.  We  here  lose  sight  of  Buonoucini, 
who  probably  died  at  Venice. 

BUONONCINI,  MARC  ANTONIO,  elder 
brother  of  (J.  B.  Buononcini,  was  an  eminent 
composer  and  violoncellist,  also  bom  at  Modena  ; 
he  lived  in  the  strictest  fricndshii>  with  hLs  broth- 
er, and  they  travelled  together  to  various  towns 
in  (iennany.  It  does  not,  however,  ajjpear  that 
Antonio  accompanied  his  brotlier  to  England,  but 
he  probably  remained  at  Modena.  M.  .\.  Buo- 
noncini composed  masses,  motets,  and  several 
operas,  between  the  years  l(i79  and  1718.  A 
work  on  composition,  printed  at  Venice  in  176j, 
is  also  attributed  to  him. 

BUONPORTI,  FRANCESCO  ANTONIO,  a 
nobleman  of  the  city  of  Trent,  published,  be- 


tween  the  years   1702   and   17U,  ten  different 
works,  chiefly  for  violins. 

BUONTE.MPI.     Sec  Boxtkmpi. 

BUONACCORDO.  (I.)  An  instrumMit  re- 
sembling a  spinet,  and  of  small  dimensionH,  to 
accommodate  tlie  fingers  of  very  young  practi- 
tioners. 

BUONO  MAXO.  (I.)  A  good  hand.  An 
expression  implying  a  free  and  facile  power  of  ex- 
ecution. 

RURCIIARD,  GEORGE,  compceel  a  mass 
and  some  symphonies,  which  were  pul  lij<hcd  at 
Augsburg  in  1624. 

BURDEN.  A  regular  return  of  the  theme  of 
a  song  at  the  end  of  each  verse,  llie  adoption 
of  a  burden  of  a  sour;,  in  lyric  poetry,  is  a  very 
ancient  practice,  and  Ls  still  occasionally  intro- 
duced with  a  pleasing  and  interesting  effect.  The 
tenn  burden  is  borrowed  from  the  French  word 
bourdon,  a  drone  bitss ;  because  the  f)ne,  like  the 
other,  is  characterized  by  an  unchangeable  tone, 
and  bears  upon  the  ear  with  a  similar  monotony. 
Sec  BouuDo.v. 

BURLANDO.  (I.)  Playfully,  in  a  jesting 
manner. 

BURLESCO.  (I.)  With  comic  and  even  far- 
cical humor. 

BURLE'lTA.  (I.)  A  light,  comic  species  of 
musical  drama,  wldch  derives  its  name  from  tht 
Italian  verb  bur/arc,  to  jest,  to  jeer.  'Hie  burletia 
was  lirst  invented  in  Italy  ;  from  Italy  it  passed 
to  France,  from  France  to  England,  and  thence 
to  this  country. 

BURE'lTE,  PIERRE  JE.VN,  was  a  French 
jihysician,  and  born  at  Paris  in  tlic  year  lt>6.5. 
During  his  infancy  he  was  so  feeble  and  sickly, 
tliat  he  was  chieliy  alloweil  to  amuse  liimsell'  bv 
playing  on  tlic  spinet,  which  he  had  been  tAught 
to  do  by  his  mother  ;  and  so  early  was  he  a  ])ro- 
ticient  in  music,  that  at  the  age  of  eight  years 
he  was  invited  to  play  in  a  concert  before  the 
king,  who  expressed  himself  well  satisfied  with 
his  performance.  Not  long  after  this  period  he 
assisted  his  father,  who  was  at  that  time  a  teach- 
er ot  music,  in  instructing  hLs  pujjiLs  ;  but  having 
a  turn  for  literature  as  well  as  for  music,  he  de- 
tennincd,  when  at  the  age  of  eighteen,  to  adopt 
one  of  the  leanie<l  professions.  He  consequent- 
ly became  a  student  in  the  College  of  llarcourt, 
and  in  ICino  was  admitted  to  the  degret>  of  doctoi 
of  physic.  Besides  the  Ijitin  and  (ireek  lan- 
guages, which  he  had  previously  ac(iuire<l,  he  at- 
tained whilst  at  llarcourt,  and  alterwards,  a 
knowledge  of  Hebrew,  Syriac,  Arabic,  Italian, 
Spanish,  (ierman,  and  English.  He  afterwards 
became  eminent  as  a  physician,  read  n  course  of 
lectures  on  the  materia  mcdica,  and,  in  1710,  w«« 
nominated  ])rot'es,sor  of  medicine  in  the  royal  eoI» 
lege  at  Paris.  His  literary  attainments  were  suc'i 
that  he  had  a  considerable  share,  for  more  than 
thirty  years,  in  the  juiblication  of  the  ••  Journal 
des  Siriui.i,"  and,  in  1718,  had  an  appointment  in 
the  liibliot/i^tjiif  dii  Iloi.  Amongst  liLs  other 
productions,  there  is,  in  the  memoirs  of  the 
French  Academy,  "  -V  Translation  of  l'l\itarch'« 
Treatise  on  Mi  a-c,"  accompaniiil  by  notes  and 
remarks.     In  t'lin  work,  to  which  almost  all  Uf 


IGo 


n  r  K 


ENCYCLOPAEDIA    OF    MUSIC. 


BUK 


writers  on  tlie  subject  have  boon  under  great  ob-    Tavern,  b\irned  down  the  year  before.     In   the 


.i:;ation«,  he  has  exhibited  much  genius  and  learn- 
iiiLC :  "but,"  ob.-crvo- Dr.  liurney,  "  he  does  not 
heen»  alwavK  to  have  been  |)Oi>esse(l  oi'  an  equal 
share  of  sagacity,  or  of  courage  sufKcicnt  to  con- 
fess himself  unable  to  explain  inexplicable  ])a8- 
eages  in  his  author,  lie  never  sees  a  difhcuilty ; 
he  explains  all.  Hence,  amidst  great  erudition 
and  knowledge  of  anti(iuity,  there  arc  a  thousand 
unintelligible  ex])lniiations  in  his  uotcs."  He 
died  iu  the  year  1717,  at  the  great  age  of  eighty- 
two. 

HURGHERSII,  l.OUD,  son  of  the  Enrl  of 
Westmoreland,  and  liritish  ambassador  at  Flor- 
ence, is  a  celebrated  musical  amateur.  He  has 
been  jiresidcnt  of  the  lloyal  Academy  of  Musi- 
cians in  London,  which  establLshment  owes  its 
origin,  in  a  great  degree,  to  his  exertions  and 
lartuence.  Ix)rd  Hurghersh  is  said  to  have  studied 
music  in  England,  in  Germany,  ai\d  in  Italy.  He 
has  composed  an  oratorio  entitled  "  Bnjazet," 
which  is  much  admired  for  its  smooth  and  elegant 
style ;  he  has  also  published  various  cantatas, 
which  an  emuient  modem  critic  declares  to  be 
really  good,  not  speaking  of  tliem  relatively  as  the 
works  of  an  amateur,  but  positively  as  music. 
Among  Lord  Burghersh's  principal  compositions 
are  the  following:  "  Bajazcf,"  above  mentioned, 
"  La  Primacera,"  "  II  primo  Amore,"  "  L' Amor 
timido,"  "  Cantata,  by  Leoni,"  "  Cantata  by  Count 
Girard,"  "  La  Getosia,"  "  L'JticiamjM,"  "  'Tis  done, 
'tis  done,"  "  Day  set  on  Xorham's  castled  steep," 
"  Seven  Canzonets,  Duets,  kc,"  "  Spirit  of  bliss," 
"Fly  to  the  desert,"  "Beudemeer's  Stream," 
"  Why  so  pale,"  and  "  A  Song  and  Catch  for  four 
Voices." 

BURMAXX.  GOTTLOB  WILIIELM,  pub- 
lished some  vocal  and  iur-trumental  music  at 
Berliji,  between  the  years  1792  and  1794.  He 
died  at  Berlin  iu  IS 05. 

BURXEITI,  DOMEXICO,  chapel-master  at 
Bologna,  published  some  sacred  music  there  iu 
l(i33.  He,  together  with  Francesco  Bertacchi, 
founded  a  musical  society  at  Bologna  iu  l(!;i;i, 
called  the  Aa-ailemia  df  Mu.iici  Filarchisi,  having 
for  its  s\inbol  a  jiair  of  kettle  drums,  with  the 
motto,  "  Oihrm  dcinulnl  attaitu." 

BURXEY,  J.VMES.  An  eminent  music-master 
and  organist  at  Shrewsbury.  He  was  half  broth- 
er to  the  celebrated  Dr.  Burney,  and  one  of  his 
first  instructors  in  music.  He  died  ui  17S9,  aged 
eighty. 

BURXEY,  DR.  CHARLES,  was  bom  at 
Shrewsbury  in  172().  He  received  part  of  his 
education  at  the  free  school  founded  by  Queen 
Eli/ivbeth  in  that  town,  and  i)art  at  the  public 
hi'liivi.  at  Chester,  in  which  city  he  tirst  began  his 
musical  studies  uuder  Mr.  Baker,  the  organist 
of  the  catheib-al.  About  the  year  1711,  he  re- 
turned to  Shrewsbury,  and  pursued  the  study  of 
music  under  his  half  brother,  Mr.  James  Burney. 
In  1741  he  met  with  Dr.  Arne,  who  persuaded 
his  friends  to  send  liim  to  London,  and  he  was 
then  ])laced  under  that  master  for  three  years. 
In  1749  he  was  elected  organist  of  a  churcli  in 
IVnclmrch  Street,  with  an  annual  salary  of  only 
thirty  pounds,  and  in  the  course  of  the  same  ye;ir 
was  engaged  to  fake  the  organ  part  at  the  new 
concert  estnblislied  at  the  King's  Arms,  Conihill, 
tiistead  of  that  which  hud  bccu  hold  at  the  Swan 


winter  of  1749-1750  he  composed  for  Drury 
Lane  tlirce  musical  dramsis,  namely,  "  Alfred," 
"  Robin  Hood,"  and  "  (hieen  Mab."  Being  in 
an  ill  stiitc  of  health,  which,  in  the  opijiion  of  tha 
jjhysicians,  indicated  a  consujnption,  he  was  pre- 
vailed upon  to  retire  into  the  country.  Accord- 
ingly he  went  to  Lynn  Regis,  in  Xorfolk,  where 
he  was  chosen  organist,  with  a  salary  of  one 
hundred  i)ounds  a  year.  He  continued  there 
nine  years,  and  at  that  period  formed  the  design 
of  compiUng  his  "  General  History  of  Music." 
In  1760,  his  health  being  recstabUshed,  he  gladly 
returned  to  the  metropolis,  with  a  large  and 
young  family,  and  entered  upon  t!ie  pursuits  of 
his  j)rofession  with  an  increase  of  profit  and  rep- 
utation. His  eldest  daughter,  who  was  then 
about  eight  years  old,  obtained  great  notice  in  the 
musical  world  by  her  astonishing  perfonnances 
on  the  harjjsichord.  Soon  after  his  arrival  in 
London,  he  composed  several  much  admired  con- 
certos ;  and  in  17()6,  he  brought  out  at  Drury 
Lane  'I'heatxc  a  translation  of  Rousseau's  "  Decin 
du  \'illa'iv,"  wliich  he  had  executed  during  his 
residence  at  Lynn.  In  17G1,  he  had  the  honora- 
ry degree  of  doctor  of  music  conferred  ujiou  him 
by  the  University  of  Oxford,  on  which  occasion 
he  perfonued  an  exercise  in  the  miLsical  school  of 
that  university.  I'hls  exercise,  consisting  of  an 
anthem  of  great  length,  with  an  overture,  airs, 
recitatives,  and  choruses,  was  several  times  after- 
wards performed  at  the  Oxford  music  meeting,  un- 
der the  direction  of  the  famous  Emmanuel  Bach. 
In  the  year  following,  he  travelled  through  France 
and  Italy,  as  well  with  a  view  to  imi)rovement  as  to 
collect  materials  for  his  intended  "  History  of  Mu- 
sic "  —  an  object  which  he  never  had  out  of  hL<  mind 
from  the  time  he  first  conceived  the  j)lan  of  such  a 
work.  In  1771,  he  published  his  "  Musical  Tour, 
or  Present  .State  of  >Iusic  in  France  and  Italy  " — a 
work  wliich  was  weU  received  by  the  public,  and 
deemed  so  good  a  model  for  travellers,  that  Dr. 
Johnson  i)rofc;;sedly  adopted  it  in  his  account  of 
the  Hebrides.  Speaking  of  his  owni  hook,  "  I 
had,"  said  the  doctor,  "  that  clever  dog  Bumey's 
Musical  Tour  in  my  eye."  In  1772,  he  travelled 
through  the  Netherlands,  Genuany,  and  HoUand, 
and  in  the  course  of  the  next  year  he  published 
an  account  of  his  journey,  in  two  volumes  octevo. 
In  the  same  year  he  was  elected  a  feUow  of  the 
Royal  Society.  In  1776  appeared  the  first  volume, 
in  quarto,  of  his  "General  History  of  Music." 
The  remaining  volumes  of  this  elaborate  and  in- 
telligent work  were  publisheil  at  iiTCgular  peri- 
ods ;  and  the  lour  of  which  it  now  consists  were 
not  completed  till  the  year  1789.  In  1779,  at  the 
desu-e  of  Sir  John  Pringle,  Dr.  Burney  (hew  up, 
for  the  Philosophical  Transactions,  "  An  Account 
of  little  Crotch,  the  Infant  Musician,"  since  pro- 
fessor of  music  in  tlie  Univei-sity  of  Oxford.  The 
grand  musical  festival  iu  1785,  in  commemoration 
of  Handel,  held  in  NN'estminster  Abbey,  was  con- 
sidered as  deserving  ol  a  particular  memoir ;  the 
historiai»  of  music  was  therefore  fixed  upon  as 
the  most  jirojier  jjci-son  to  ilraw  it  up.  Accord- 
ingly, in  the  same  year,  a  sjilendid  volume  was 
published  by  Dr.  Burney,  in  ([uarto,  for  the  ben- 
elit  of  the  musical  fund.  In  this  work  the  doctor 
dis])layed  eminent  talents  as  a  biographer ;  and 
the  "  Life  of  Handel "  Is  one  of  the  best  memoirs  to 
be  found  iu  oiur  language.  In  1796,  he  published 
the    "Life    of    Metastas:o,"    in    three   volumes 


IGG 


BUR 


ENCYCLOPAEDIA    OF    MUSIC. 


BUfc 


octavo  ;  hut  this  pcrfonaancc  wants  that  arranso- 
raeiit  uiul  jiuUcious  ^^clection  wliich  characterize 
his  tbriner  ])iihlicutions.  Besides  these  produc- 
tions, Dr.  Ihirney  wrote  "  An  Essay  towards  the 
History  of  Comets,"  "A  I'hm  of  a  Public  Music 
Scliool,"  Jijc,  M:c.  IILs  musical  works,  in  addition 
to  those  ahciuly  mentioned,  are,  "  .Sonatas  for 
two  Violins  and  a  liass,  two  parts,"  "Six  C'ornet 
Pieces,  with  an  introduction  and  Fuj^ue  for  the 
Organ,"  "A  Cantata  and  Son;;,"  "Six  Duets  for 
two  Geniian  Flutes,"  "  Six  Concertos,  for  Violin, 
ftc,  ui  cii;ht  parts,"  "Two  Sonatas  for  a  Piano- 
forte, Violin,  and  Violoncello,  two  parts,"  "  Six 
Harpsichord  Lessons,"  &c.,  &c.  Dr.  liuniey  wa.s 
twice  married,  and  had  eight  children,  of  whom 
several  have  manilcstcd  very  superior  abilities. 
His  eldest  daughter  was  celebrated  for  her  ex- 
traordinary musical  powers.  Madame  d'Arblay, 
the  author  of  "  Evelina,"  "  Cecilia,"  "  Camilla," 
and  "The  AVandcrer,"  was  the  second.  IILs  eld- 
est son,  James,  sailed  round  the  world  with  Cap- 
tain Cook,  and  afterwards  commanded  the  Bristol, 
of  fifty  guns,  in  the  East  Indies ;  he  published 
some  judicious  tracts  on  the  best  means  of 
delemling  the  island  against  an  invaduig  enemy, 
and  commenced  a  history  of  voyages  of  discovery. 
The  second  son  was  the  very  learned  Chailes 
Bumey,  LL.  D.  Ilis  youngest  daughter  pursued 
the  career  of  her  sister  as  a  novclLst.  For  many 
years  Dr.  Burney  resided  in  a  house  in  St.  Mar- 
tin's Street,  Leicester  Fields,  which  was  formerly 
occupied  by  Sir  Isaac  Xewton ;  but  during  the 
last  twenty-five  j-ears  of  his  life,  ha\-ing  been  ap- 
pointed organist  of  Chelsea  College,  he  inhabited 
au  elegant  suite  of  apartments  there,  and  enjoyed 
a  handsome  independence.  He  died  in  the  year 
1814,  aged  eighty-eight.  His  remains  were  de- 
posited in  the  burying  ground  belonging  to  Chel- 
sea College,  and  the  luneral  was  numerously  at- 
tended by  the  governor,  deputy  governor,  and 
chief  officers  of  the  college,  and  by  the  famUy 
and  friends  of  this  accomplished  and  excellent 
man.  Dr.  Biuiiey  was  intimately  acquainted 
with  all  the  distingiiished  characters  who  flour- 
ished in  his  time,  as  well  in  other  countries  as  in 
Great  Britain,  and  in  habits  of  peculiar  friendship 
with  Dr.  Johnson,  of  whom  he  used  to  relate 
many  interesting  anecdotes.  Indeed,  it  is  knov\ni 
that  soon  alter  the  death  of  that  colossxis  of 
learning,  he  had  some  thoughts  of  giving  a  me- 
moir of  him  to  the  world  ;  but  the  subject  was  so 
ovenvhehned  by  various  publications,  that  he  re- 
LinquLshed  his  design.  In  all  the  relations  of 
private  life,  his  character  was  exemplary,  as  a 
husband,  fatlier,  and  friend.  His  manners  also 
were  peculiarly  easy,  spirited,  and  gentlemanly, 
and  he  had  the  graces  of  the  ChesterHeld  school, 
without  any  of  its  formality. 

BURPOA\'ES,  JOHX  FRECKLETOX,  pupU 
of  William  Horsley,  Mus.  Bac.  Oxon.,  was  bom 
in  London  on  the  "i.'kl  of  April,  1787.  He  tirst 
became  known  to  the  public  by  the  production 
of  au  overture  and  several  vocal  pieces,  with  full 
orchestral  accompanijnents,  at  the  Hanover  Square 
concerts,  and  subsequently  by  an  overture  at  the 
"  Philhai-monic,"  of  which  society  he  was  one  of 
the  original  associates.  The  knowledge  of  in- 
strumental ettcct  evinced  in  these  compositions, 
and  the  favorable  impression  they  made,  render 
it  unaccountable  that  he  should  have  abandoned 
this,  the  higher  branch  of  the  art,  in  which  he 


had  so  fair  a  prospect  of  success,  for  the  less  ex- 
alted, though  more  lucrative,  branch  of  com- 
posing for  the  piano-forte.  Such  wa-s,  however, 
the  fact  ;  and  it  is  for  this  instrument  that  Mr. 
Bvirrowcs  has  published  several  sonatas,  with  ac- 
companiments, besides  numerous  rondos,  diver- 
timentos, and  variations  n\mn  ori.;inal  as  well  as 
popular  airs ;  he  has  adapted  nearly  the  whole 
of  Mo/art's  operas  for  the  piano-forte,  and  made 
large  selections  from  the  works  of  Handel,  Haydn, 
Kossini,  &c.,  and  arranged  tlieni  both  for  that 
and  various  otlier  instruments.  l?urrowes  is  also 
the  author  of  two  elementary  works,  viz.,  "  The 
Piano-forte  Primer,"  and  the  "  Thorough  Bass 
Primer,"  which  are  strongly  recommended  by 
the  lirst  masters  for  their  clearness  and  useful- 
ness ;  indeed,  there  are  very  few  students  now 
without  them.  TTie  success  of  his  publications, 
and  the  rapidity  w  ith  which  they  succeeded  each 
other,  justify  us  in  pronouncing  him  one  of  the 
most  jiroliiic  as  well  as  most  popular  ■writers  of 
the  day. 

BUUTIUS,  or  BT^RZIO,  NICOLAS,  profess- 
or of  the  fine  arts  at  Bologna,  was  the  Ciuidoniau 
adversary  of  Bartholomew  Kamis,  and  a  Pythag- 
orean follower  of  Boethius  ;  he  wrote  a  Latin 
work  entitled  "  KiicoDiitim  Mmica,"  Bologna, 
1489  ;  also  "  Musices  Opimciilum,"  1487.  Bur- 
tius  admitted  no  consonances  but  octaves,  fifths, 
and  fourtlis  ;  he  called  the  thirds  and  sixths  al- 
lowable dissonances,  and  has  given  five  precepts 
of  counteq)oint,  which  will  ever  be  classical, 
particularly  that  of  avoiding  consecutive  tilths 
and  octaves. 

BURTON,  JOHN,  an  EngHsh  pianist,  -who 
died  in  178.5,  was  a  pupU  of  Keeble.  He  was  an 
enthusiast  in  his  art ;  but  having  in  his  youth 
exercised  his  hands  more  than  his  head,  he  was 
not  a  deep  contrapuntist ;  he  had,  however,  in 
his  pieces,  and  manner  of  playing  them,  a 
style  of-liis  own,  to  which,  from  his  having  been 
one  of  the  first  harjjsichord  jjlayers  in  that  coun- 
try who  attempted  expression,  and  light  and 
shade,  he  excited  an  interest  and  attention  wl\ich 
would  now,  perhaps,  be  much  more  dillicult  to 
obtain. 

BURTON,  AVERY.  An  English  composet 
and  musician  in  the  time  of  Henry  XHl. 

BLTIY,  BERNARD  DE,  bom  at  VersaiUes  in 
1720,  was  a  court  musician,  and  composer  of 
some  sacred  music. 

BURY.  A  performer  on  the  horn,  and  com- 
poser for  his  instriuneut  at  Paris  in  1800. 

BUSBY,  THOMAS,  doctor  of  music,  was  bom 
in  AVestminster  in  17.55.  He  was  an  articled 
pupil  of  Battishill,  and,  soon  after  he  had  served 
his  time,  was  appointed  organist  to  St.  Mary's, 
Newijigton,  in  Surrey.  He  then  began  to  com- 
pose, and  his  first  essay  in  composition  was  an 
oratorio,  called  "  The  Proi>hecy,"  which  was 
performed  with  some  applau>e  at  the  Haymarket 
Theatre  in  1799,  after  having  received  improve- 
ments for  many  years  from  its  author.  TTie  other 
principal  works  of  Dr.  Busby  consi;>t  of  a  collec- 
tion of  sacred  music,  entitled  "  ITie  Di\-ine  llar- 
monLst ;  "  "Melodia  Britannica,  or  the  Beauties 
of  British  Songs  ;  "  the  music  to  tiray's  Ode,  tha 
"  Progress  of  Poesy,"  luider  the  title  of  "  British 
Genius ; "    the  music   to   Pope's   "  Ode   ou   St. 


167 


rrs 


EN'CYCLOr^DIA    OF    MUSIC. 


BY3 


Ci-ciliri's  Dny;"  "  C'omnln,"  a  dramntic  poem 
from  Os.'-iiDi ;  "  Johnniin,"  a  drniuiUic  romance; 
"  Ilritiiiiiiiii,"  nil  oratorio ;  and  tlie  music  to 
tlireo  minor  jici-os  at  C'ovcnt  Uarden,  namely, 
"A  Talo  of  Mystery,"  "The  Fair  Fu^^itives," 
and  "  Uu^'nntino."  Dr.  IJusby  has  also  pub- 
lished a  small  musical  dictionary  and  a  f;rammar 
of  music  ;  a  "  Gciionil  History  of  Music,"  being 
an  abridj^nent  of  those  of  Uurncy  and  Hawkins, 
and  ill  Ittl4,  a  "Musical  ISiography,  or  Memoirs 
of  the  Lives  and  Writin)];s  of  the  most  eminent 
Musical  Com)>osers  and  Writers  who  have  liour- 
Lshed  in  the  dillbrcnt  Countries  of  Europe  during 
the  last  tliree  Centuries." 

BUSCHMANX.  A  German  musician,  and 
inventor  of  a  new  musical  instrument  called 
by  hiiu  the  'J'crjM/dion.  He  exhibited  this  in- 
strument in  London  in  tlie  year  1820.  The 
greater  part  of  it  resembled  the  horn  finely 
played ;  the  upper  notes  had  precisely  the  tone 
of  a  flute. 

IJUSXOY.  One  of  the  chief  writers  of  the 
French  school  of  music  in  the  sixteenth  century. 

BUSTYN,  or  BYSTYX,  PIERRE.  Organist 
and  composer  of  piano-forte  music  iu  Zealand 
about  the  year  1720. 

BUTLER,  CHARLES.  Author  of  a  work  en- 
titled "  The  Principles  of  Music  ui  Singing  and 
Setting,  with  the  twofold  L'se  thereof,  ecclesias- 
tical and  civil,"  IfiSG.  lliis  book  is  a  good  one 
lor  the  time  in  which  it  was  written,  and,  accord- 
ing to  Dr.  Burney,  contains  more  knowledge,  in  a 
small  compass,  than  any  other  work  of  that  pe- 
riod in  our  language.  Butler  was  master  of 
arts  of  Magdalen  College,  Oxford. 

BUTLER,  THOMAS  HAMLY,  professor  of 
music,  is  the  son  of  James  Butler,  who  was  also 
respectable  for  his  musical  talents.  He  was  born 
iu  London  about  the  year  17()2,  and  received  his 
musical  education  under  Dr.  Xarcs,  as  one  of  the 
king's  singing  boys,  in  which  situation  he  con- 
tinued for  about  ten  years.  On  the  expiration 
of  this  term,  he  went  to  Italy  to  study  compo- 
sition under  I'icciui,  and  remained  three  years 
under  that  master.  Whilst  in  Italy,  he  was  in- 
troduced to  Sir  William  Hamilton,  the  English 
ambassador  at  the  court  of  Xaples,  from  whom  he 


received  great  allention.  On  his  return  to  hia 
native  country  he  attracted  the  notice  of 
Sheridan,  and  also  of  the  managers  of  Covent 
Garden  Theatre,  tlie  musical  department  of 
which  house  he  was  engaged  to  superintend. 
About  this  time  he  brought  out  liis  "  Book  of 
Sonatas,"  dedicated  to  the  Duke  of  Gloucester. 
On  the  termination  of  his  theatrical  appointment 
Butler  went  to  .Scotland,  and  afterwards  spent 
most  of  his  lile  as  a  teiicher  of  masic  at  Edin- 
burgh, occa.sionally  visiting  London,  to  dispose 
of  his  numerous  compositioius.  'ITic  beautiful 
Scotch  air  of  "  Lewie  Gordon,"  being  sung  oy 
the  maid  of  the  house,  struck  Butler's  fancy 
when  he  first  went  to  Scotland,  and  in  conse- 
quence was  the  first  theme  he  chose  for  the 
rondo  he  composed  in  that  country.  Among 
Butler's  other  works  we  may  notice  liis  "  ilusi- 
cal  Games,"  "  A  Book  of  Sonatas,  dedicated  to  the 
late  Princess  Charlotte,"  and  many  Scotch  airs 
with  variations,  liis  music  is  cliiefly  published 
by  Clementi.     Butler  died  in  Edinburgh  iu  1823. 

BLTrSTEDT,  JOHAXX  ILEIXRICH,  bom 
in  1666,  a  scholar  of  Pachclhel,  and  organist  of 
the  principal  church  of  Erfurt,  the  capital  of 
I'huringia,  is  numbered  among  the  great  organ 
players  and  composers  for  that  instrument  of  his 
time.     He  died  in  1727. 

BUXTEHUDE,  DLETRICII,  son  of  Johann 
Buxtehude,  an  organist  of  Lubeck,  was  one  of  the 
great  performers  on  that  instrument  in  Germany. 
Ilis  compositions  for  the  harj)sichord  were  nu- 
merous and  masterly.  In  1696,  he  published 
two  sets  of  sonatas,  lliat  he  was  an  organist  of 
some  merit  would  appear  from  the  fact  that  J. 
Sebastian  Bach  made  a  secret  visit  to  Lubeck  to 
hear  him  and  study  liis  m-inner. 

BUZZOLEXI,  GIOVAXXI,  of  Brescia.  A 
celebrated  singer  about  the  year  1700. 

BYRD.     See  Bmi). 

BYREXHEY,  DE  .  Organist  and  com- 
poser in  Sa.xony.     He  died  in  1750. 

BYSTROEM,  THOMAS.  A  Swedish  officei 
and  amateur  composer  of  some  sonatas  pub* 
lishcd  at  Leipsic  in  ISOl. 

BYSTYX.     See  Bubty5. 


168 


ENCYCLOPEDIA    OF    MUSIC. 


CAD 


c. 


C  b  the  nominal  of  one  of  the  two  natural 
modes.  That  :iote  in  the  natural  major  mode  to 
which  Guido  applied  the  monosyllable  iit,  but 
which  has  long  since  been  relinquislied  by  the 
Italians  for  that  of  do,  as  softer  and  more  vocal. 
It  b  the  major  tonic  of  a  natural  signature, 
thus  :  — 


i 


C  -^  TiBki 


m 


:erai 


In  modem  times,  since  the  temperament  of  the 
musical  scale  baa  been  attended  to,  it  has  been 
usual  to  consider  C  as  the  key  note ;  and  its 
pitch  or  degree  of  acuteness  has  been  regulated 
and  preserN-ed  by  steel  instruments,  called  tuning 
forks,  or  C-forks,  used  by  the  tuners  of  finger 
keyed  instruments ;  but  violin  performers  use 
the  A-fork  for  tuning  their  instruments,  because 
they  have  no  string  to  the  note  C ;  and  some 
few  persons  use  the  A-fork  for  piano-fortes. 
Tlie  pitch  or  degree  of  tone  of  the  tenor  clef  C, 
in  our  best  concerts,  is  now  such  as  to  make  or 
excite  in  the  air  two  hundred  and  forty  complete 
vibrations  in  one  second  of  time,  and  the  C  below 
thb  half  a~i  many,  or  one  hundred  and  twenty  ; 
the  C  above  b  four  hundred  and  eighty ;  and 
that  higher  still  nine  hundied  and  sLxty  vibra- 
tions in  one  second  of  time.  The  tone  C  is  the 
one  with  which  the  so  called  natural  scale  com- 
mences —  a  scale  wliich  has  neither  flats  nor 
sharps.  Again,  a  simple  C,  or  rather  a  semicircle 
placed  after  the  clef,  uitimates  that  the  music  is 
in  common  time,  which  b  either  quick  or  slow, 
as  it  is  joined  with  allegro  or  adagio  ;  if  alone,  it 
b  usually  adagio. 

CABALETTA.  (I.)  A  passage  very  agree- 
able, soothing,  and  comforting,  occurring  in  a 
larger  piece  of  music. 

CACCI.A..  (I.)  A  composition  written  in  the 
hunting  style.  Hunting  music,  vocal  or  instru- 
mental. 

CACCIXI,  OITLIO,  caUed  also  Ghdio  Romam. 
He  was  bom  at  Rome,  but  resided  thirty-seven 
years  at  Florence.  He  was  a  celebrated  scholar, 
and  likewbe  a  dramatic  composer.  Giuho  Ko- 
mano  composed,  in  conjunction  with  Jacobo 
Peri,  the  opera  called  "  Euridice,"  which  wa.s 
produced  on  the  occasion  of  the  marriage  of 
Ilenry  IV.  of  France  to  Mary  de  Medicis,  and 
acted  at  Florence  in  1000.  Dr.  liurney  con- 
siders "Euridice"  to  have  been  the  first  opera 
tver  perfonned  in  public,  though  primary  at- 
tempts at  dramatic  music  were  i)rohably  made  at 
an  earlier  period,  (iiulio  Komano  died  in  1615. 
lib  most  celebrated  work  was  entitled  "  A'uore 

22  169 


Mtuiiche,"    publbhed  at  Venice  just  before  hia 
death. 

CACCIXI,  FRANCESCA,  called  also  La  Ce- 
china,  daughter  of  Giulio  Caccini,  was  for  many 
years  the  admiration  of  Florence,  not  only  for 
her  musical  abilities,  both  in  singing  an  I  compo- 
sition, but  for  her  poetry,  in  the  Latin  as  well  as 
Tuscan  languages.  She  flourbhcd  about  the 
year  1640. 

CACOPIIOXY.  (Gr.)  A  combination  of  db- 
cordant  sounds.  A  jarring,  dbagrceable  noise. 
Tlie  effect  of  the  wohen,  or  highly-tem])cred 
concords,  on  keyed  instruments,  which  result  or 
come  out  from  the  tuning  or  adjusting  a  certain 
number  of  other  concords,  has  been  thus  denom- 
inated by  Mr.  Hawks  and  some  other  -vrnters  on 
the  subject.  Cacophony  is  a  bad  tone  of  voice, 
proceeding  from  the  ill  disposition  of  the  organs 
which  produce  sound. 

CADENCE.  (F.)  A  pause,  or  suspension, 
at  the  end  of  an  air,  to  afford  the  performer  an 
opportunity  of  introducing  a  gracefvil  extempore 
close.  The  word  cadence  is  also  frequently  ap- 
plied to  the  embellishment  itself ;  as  when  we 
say,  He  closed  his  song  with  a  fine,  or  a  good, 
cadence. 

A  cadence  in  harmony  consists  of  two  distinct 
chords,  the  last  of  which  b  generally  accented, 
and  is  used  to  terminate  the  sections  and  perioda 
01  musical  rhjthm.  ITie  term  cadence  was  for- 
merly ap])lied  to  the  final  melody  of  a  musical 
close.  The  Germans  adopted  the  Latin  word 
clattsula  in  the  same  sense,  'llie  dominant  mo- 
tion b  the  foundation  of  the  perfect  and  imper- 
fect cadences,  as  the  gradual  motion  is  of  the 
false  and  mixed  cadences.  When  the  bases  of 
both  chords  are  the  roots  of  their  respective 
triads,  the  cadence  is  termed  radical ;  and  of 
these  radical  cadences,  there  arc  four  in  general 
use  —  the  jierfcct,  in>perfcct,  false,  and  mixed; 
and  to  these  may  be  added  the  plugal,  or  church 
cadence,  which  b  only  a  variation  of  the  imper- 
fect ;  and  the  autlienlic,  wliich  b  only  the  ancient 
term  for  the  perfect. 


CAOENTE  INTERROMrVE.     (F.)     An  Itit.— 
CADKNZA.(I.l('rl.'AI)E\Z.  (O.)  Thiiworl  ' 
Ine  ancnifriici .     Hut  t)u'  Italians  einptoy  it,  in  t-> 
rnrc  toi-vi-rv  hnrnionic  pn'BTt-Mion,  when-  ufT.  r  . 
■  conunim  clinni  f.illnwii  of  thf  wtno  kr\ 
nieiiiit  Dtiit  t'Xtt'tiiixtri'  flr>iin<<ti  n(M>n   ii  ^ 
in  intriKlur.il  at  the  will  ol  the  |>.rf..rlii 
Ijute  or  tnliut.     Whin  thij  i>  nwi.lv  Ih. 
priute  etti'L'tji,  anil   condnctfl  « :t 
when  it  i»  rvwn-iil   fnr  the  nnpr. 
»ictanm  who  fain  wnuhl  trvat  ui  *■•■ 
hut  tht-nicrr  empty  wantlcriniiof  I. 
1»  n'qui«ite  for  tlie'intn»tiuctitin  aii'l   liialiJ^-t  l)i< 
enilM-lli.hment.  9l*  the  ear  If  penaihie   of  any  ■'■ 
cuurae  which  a  currvct  har'ouuy  procribca.   GA>^i  : 


■  .nn- 

.  frr- 
ntta 

r.llt 

i.ich 
»  of 
,pn> 
hut 
mil- 


..of 
thai 


CAD 


ENCYCLOPAEDIA    OF    MUSIC. 


ca;- 


thr  ftvir  • 

It  l>  It'lt.r 
CCUt!     ■       • 

rorni. 
cnti  >' 
c'litnti  t  r 
It  if  liitr.. 
fTfiunill.v 
villi);  t'fit 
iluvliua. 


radcnxA  thould  he  drawn  fnMii  tli«  luni«  of  the  piece 

'  rtditrn      Thr-  Itfffhfit  dfllpary  In  n'C|iiln-d  in  the  cx- 

■    '    "  -'  •  ,  whuhthe  imfrcr  i«  only  tiifthled  to 

r  vowel,  on    which  they   arr  per- 

jvt-n  hy  which  IhU  eniU-llithnient 

codiiixa    liiuit    Lm.'   luit^-d    to  the 

(i-  i . ,  if  M  •  I]  If.  t.i  the  linrnufny  <tl  Ur'  note  on  wliich 

The  (-iuli'tiKu  iiiiiot  1h-  Kiin^  in  one  hreuth:  iiii'l  It  Is 

1  hy  a  lirnliitiil  ihiike.     'I'lie  linl  note  of  a  raiUnxa  it 

uppritc  tlie  «ccuiii|ianyhi|{   |K'rfuniicn  of  Iti  lutro- 


fr 


i^^Mi^-^ 


A-------------    men. 

CADENZA  SUSPE8A.    (L)    A  luipcnded  or  continued  puusc. 

C-ESUIIA.  (L.)  The  termination  of  any  pas- 
sage M'liicli  cousLsts  of  moic  than  one  musical 
foot.  A  rest  8ho^^■illg  the  rhjthmical  end  of 
a  portion  of  melody,  or  the  close  of  a  melodic 
foot. 

CAFFARELLI,    GAETANO    MAJORANO, 

a  celebrated  Italian  singer,  was  the  son  of  a 
peasant  ui  the  kingdom  of  Xajjles,  and  was  bom 
in  1700.  lie  was  the  pujjil  of  Porpora  at  the 
same  time  as  Farinelli,  whom  he  equalled  in 
reputation  and  talent,  though  not  ui  modesty. 
It  is  said  that  I'orpora  taught  him  thus  :  Dur- 
ing five  years  he  made  him  constantly  leani  the 
elements  of  singing,  and  a  few  graces  and  pas- 
sages, from  one  single  sheet  of  music  paper.  In 
the  sixth  year,  he  proceeded  to  give  him  lessons 
in  articulation,  pronunciation,  and  declamation. 
At  the  end  of  that  year  Caffarelli  thought  lum- 
self  very  little  beyond  the  elements  of  his  art, 
and  wa:J  much  surprised  when  his  master  said  to 
him,  "  You  may  now  leave  me,  young  man  ;  you 
have  nothing  more  to  learn  from  mc,  and  are  the 
tirst  singer  in  Italy,  if  not  in  the  M'orld."  Caf- 
farelU  went  to  England  in  the  year  1738.  It 
is  said  that  he  was  never  well  or  in  voice  all  the 
time  that  lie  remained  there.  In  Italy  he  had 
long  before  this  gained  considerable  reputation 
as  a  singer  ;  but  it  was  not  till  after  he  returned 
from  England  that  he  was  classed  by  hLs  coun- 
trjTiicn  among  their  most  exquisite  singers. 
CartarclU  amassed  much  money  by  his  profes- 
sion, and  purchased  the  Duchy  of  Santo  Dorato, 
in  the  kingdom  of  Naples.  He  died  in  1783, 
aged  eighty,  and  bequeathed  a  large  fortune, 
with  the  dukedom,  to  liis  nephew. 

CAFFAKO,  PASQUALE,  was  born,  in  1708, 
at  Lecce,  one  of  the  provinces  of  the  kingdom  of 
Naples.  He  quitted  the  conservatory  after  pro- 
found study,  and  his  ojicras  were  successively 
represented  at  several  Italian  theatres,  where  he 
had  jio  cause  to  complain  either  of  the  severity 
or  the  coldness  of  the  public,  lie  cliieHy  ex- 
celled in  the  cantabilo  ;  his  air  "  Dflle  luci  die 
ncceiuhte  "  has  served  lus  a  model  in  this  style  to 
hiH  successors,  and  is  said  to  liave  been  so  pojju- 
lar  at  the  time  of  its  appearance,  that  the  subject 
was  painted  on  the  porcelain  of  the  manufacto- 
ry ot  the  King  of  Naples.  This  aii-  was  sung 
throughout  Italy  after  the  lapse  of  a  century. 
Caflaro  also  excelled  as  a  comi)oser  for  the 
church  ;  his  "  Stalmt  Muter  "  f<  r  four  voices,  and 
in  double  canon,  will  bear  comi)arLson  with  the 
inuaortol  productiou  of  PorgoloiC.    Catfaro  was 


master  of  the  king's  chapel  at  Naples,  and  also 
of  tlie  conser>-atory  of  La  Pieta.  He  died  ii 
1787. 

CAFFIAT,  or  CAFFIAUX,  PHIL.  JOS.,  au- 
thor  of  an  essay  on  the  history  of  music,  Paris.- 
175o,  died  iu  1777,  aged  sL\ty-live. 

CAniO,  GIUSEPPE.  A  voluminous  com- 
poser of  canzonets  and  madrigab  at  Milan,  be- 
tween the  years  loCO  and  1585. 

CALAMUS,  PASTOKALIS.  (L.)  One  of 
the  tirst  instruments  used  by  antiquity.  A  sim- 
ple reed,  or  cane. 

CALANDO,  or  CALAND.  (I.)  A  term  sig- 
nifyuig  that  the  time  of  the  passage  over  which 
it  Ls  written  is  to  be  gradually  dimiiushcd  iu 
quickness. 

CALASCIONE.     (I.)    A  species  of  guitar. 

CALCANDO.  (I.)  Pressing  upon,  hurrjing 
the  time. 

CALDAIU.,  ANTONIO,  one  of  the  ^^ce 
chapel-masters  of  the  Emperor  Leojiold  under 
Fux,  was  born  at  Venice  in  1G78.  He  Ls  cele- 
brated for  the  sublimity  of  his  style,  which  he 
manifested  in  two  oratorios  of  hLs  compositioiiy 
the  one  entitled  "  Giuseppe,"  performed  in  the 
year  1722,  the  other,  " //  Re  clol  Dolore."  He 
published  two  sets  of  sonatas  for  two  vioUns  aud 
a  bass,  printed  at  Amsterdam,  and  "  Cantate 
da  Camera  a  Voce  sola,"  printed  at  ^"euice.  Ho 
continued  the  favorite  composer  iu  the  imperial 
service  till  the  year  1736,  liavmg  been  a  dramatic 
composer  near  fifty  years.  He  died  at  Vienna  in 
17(33,  aged  ninety. 

CALEGARL  ANTONIO.  A  dramatic  com- 
poser and  performer  on  the  violoncello,  bom  at 
Padua.  He  flourished  towartLs  the  latter  end  of 
the  last  century,  aud  resided,  during  many  years, 
at  Paris. 

CALEGARI,  CORNELIA.  A  female  singer 
and  composer  of  vocal  music,  principally  for  the 
church  at  MUan.  She  was  born  at  llergamQ  iu 
1G4-1. 

CALKIN,  JOSEPH,  vioUn  and  tenor  player, 
was  bom  in  1781.  He  tirst  studied  music  under 
Thomas  Lyon,  and  subsecmently  was  articled  for 
two  years  to  Spagnoletli.  HLs  lii-st  engagement 
in  an  orchestra  was  at  Drury  I,ane  Tbeatre  in 
1798,  where  he  remaijied  ten  years  ;  alter  which 
he  was  engaged  as  a  tenor  at  the  opera,  ancient 
and  vocal  concerts,  and  the  Pliilliarmonic,  of 
which  society  he  was  a  member  aud  likewise 
librarian. 

In  1813,  Calkin  married  the  widow  of  the  late 
Mr.  Budd,  bookseller,  of  Pall  Mull,  and  had  the 
honor  of  being  bookseller  to  the' king;  therefore 
we  may  justly  say  that  he  has  had  "  two  strings  to 
his  bow."  In  1821  he  was  apjjointed  one  of 
the  king's  state  band,  which  gave  him  the  title 
of  musician  in  ordinary  to  hLs  majesty. 

CALKIN,  JAMES,  younger  brother  to  Joseph, 
wa.s  born  in  Ixmdon  in  178().  He  finished  hia 
education  at  Dr.  Lurrow's  school  iu  Soho  Square, 
and  retlccts  with  great  pleasure  that  he  sat  at  the 
same  desk  with  the  celel)rated  II.  R.  ULshop.  He 
began  to  lejirn  the  violin  at  a  very  early  age,  be- 
ing taught  at  that  time  by  his  elder  brother,  and 
at  the  age  of  thirtccu  was  apprenticed  (for  sevea 


170 


CAL 


ENCYCLOPAEDIA    OF    MUSIC. 


CAl 


years)  to  Thomas  Lyon,  of  whom  lie  Iciirnccl  the 
piano-forte,  violin,  violoiu-ello,  and  thorouijh  bass. 

lu  1823,  Calkin  was  elected,  unanimously,  an 
associate  of  the  Philharmonic  Society  ;  and  then 
an  houorarj'  associate  of  the  Couccntore  Society. 
He  has  composed  many  divertimcuti,  ^:c.,  for  the 
piano-forte,  also  several  instniniental  ([uartcts, 
one  of  which  was  jicrforraed  iit  tlie  British  con- 
certs in  1820;  the  latter  has  been  published,  and, 
as  a  mark  of  respect  for  the  inimitable  manner 
in  which  he  played  it,  is  inscribed  to  Mr.  Mori. 

Calkin  has  further  ^^•ritten  a  j^rand  sinfonia  for 
a  full  orchestra,  which  has  been  played  by  the 
PhilhaiTuonic  band,  but  not  yet  publicly  per- 
formed. 

CALL,  LEOXAllD  I)E.  A  voluminous  com- 
poser of  instrumental  music,  chieHy  for  the  guitar 
accompanied,  and  published  at  Vienna  since  the 
commencement  of  the  present  century. 

CALLC(nT,  JOHN  WALL,  was  bom  at  Ken- 
emgton,  Middlesex,  in  17(56.  lie  ;;ave  early  in- 
dications of  that  love  for  knowledi;e  by  which  he 
was  afterwards  so  much  distin;;;uished. 

At  the  age  of  seven  ho  was  sent  to  a  neighbor- 
ing school,  where  he  made  considerable  progress 
in  Latin  and  (Jreck.  AMien  only  twelve  years 
old  he  was  taken  from  school,  and  from 
that  period  may  be  said  to  have  educated  him- 
self. 

In  the  summer  of  1778,  he  obtained  an  intro- 
duction to  the  organist  of  Kensington,  and,  con- 
stantly attending  the  organ  loft,  actiuired,  as  a 
recreation,  the  first  rudiments  of  music,  havijig 
previously  detennined  to  follow  surgery  as  a  pro- 
fession. 

His  study  of  anatomy  was,  however,  but  for  a 
short  jicriod;  for,  witncssuig  a  severe  operation, 
his  feelings  received  such  a  shock  that  ho  aban- 
doned from  that  time  all  idea  of  the  medical  pro- 
fession. 

In  1779,  he  commenced  hLs  practice  of  music, 
attemjitcd  composition,  and  wTote  various  pieces 
for  a  private  jilay.  He  also  continued  to  improve 
himselt'  in  classical  learning,  and  in  the  French, 
Italian,  Hebrew,  and  SjTiac  languages,  algebra, 
and  some  branches  of  the  mathematics. 

In  1782,  he  was  introduced  to,  and  became  in- 
timate with,  the  late  Drs.  Arnold  and  Cooke,  also 
with  .Mr.  Sale. 

In  1783,  he  became  assistant  organist  at  St. 
George  the  Mart>T,  Hanover  Stjuare ;  and  in 
178o,  Dr.  Cooke  introduced  him  to  the  members 
of  the  Academy  of  Ancient  Music.  'ITie  profes- 
sional connections  ho  now  formed  gave  him  his 
first  bins  towards  glee  writing. 

Having  assiduously  studied  harmony  and  coun- 
terpoint, in  1781  he  sent  his  first  glee  to  the  Catch 
Club  OS  a  ciuulidate  for  the  prize.  It  was  unsuc- 
cessful ;  but  he  was  not  discouraged,  and  dil- 
igently prepm-ed  a  number  of  compositions  for 
the  following  year,  when  he  experienced  the 
gratification  of  tindiug  himselt  signally  rewarded 
with  three  medals. 

Abotit  this  period  he  actively  engaged  with 
Dr.  Arnold  in  the  formation  of  the  lilec  Club  ; 
and  in  compliance  with  an  invitation  to  take  a 
bachelor's  degree,  from  Dr.  Philip  Hayes,  profess- 
or of  music  at  Oxford,  he  commencetl  bachelor 
bi  178.5,  and  set  for  the  occasion  Wharton's 
*'  Ode  to  Fancy." 

Li  1786,  two  mire  medals  were  awarded  him 


from  the  Catch  Club,  and  tlirough  the  recom- 
mendation of  Dr.  Arnold  he  succeeded  to  several 
vahnilile  engagements  as  a  teachoi. 

In  1787,  the  Catch  Club  admitted  liim  as  an 
honorwy  member,  and  ho  sent  in  nearly  one 
hundred  comjjositions  as  candidates  for  the  pri/cs. 
On  that  occasion,  only  two  i)ieces,  a  canon  and  a 
glee,  wore  successful ;  but  in  conse<iuence  of  this 
oxtraoi'dinary  inllux  of  compositions,  it  was  re- 
solved that  tlic  pieces  i)rosented  should  bo  limited 
to  three  of  each  de-icrijition.  Complyin.;  with 
this  new  regulation,  in  1789  Callcott  otfered  oidy 
twelve  i)ieces,  but  all  the  four  meilals  were  as- 
signed him  —  a  circumstance  uni)aralloled  in  the 
history  of  the  Catch  Club.  This  same  year  he 
was  chosen  joint  organist  with  C.  Evans,  of  St. 
Paul's,  Covont  Ciarden. 

In  1790,  Callcott  obtained  an  introduction  to 
Haydn,  then  in  England,  and  under  that  great 
master  for  some  time  studied  instrumental  music. 

From  1789  to  1793,  (after  which  the  Catch 
Club  ceased  to  oft'er  prizes,)  he  never  tailed  an- 
nually to  obtain  distinction  ;  but  the  chief  part  of 
his  time  was  occupied  in  teaching. 

At  this  period  he  began  to  stiuly  the  theoret- 
ical writers  on  music.  From  the  jjcrusal  of  these 
works  he  felt  emidous  to  rank  among  the  didactic 
writers  of  his  country.  An  intimacy  fonuod  about 
this  time  with  Overend,  the  organist  of  Islewoith, 
greatly  increased  this  desiie. 

On  the  death  of  Overend,  Callcott  jiurchased 
all  his  manuscripts,  a.s  well  as  those  of  Dr. 
Hoyce ;  and  it  was  the  study  of  those  which  de- 
tennined him  to  compile  and  write  a  musical 
dictionary. 

In  1797,  the  plan  being  completed,  he  began  to 
collect  his  materials,  and  contrived  each  day, 
notwithstanding  other  numerous  eugagements,  to 
gain  a  jiortion  of  time  for  reading  and  making 
extracts  at  the  l!riti>h  Museum,  of  which  labor 
many  volumes  remain. 

In  1800,  ho  took  his  doctor's  degree  in  music 
at  the  University  of  Oxford,  and  his  exercise  on 
the  occasion  was  a  Latin  antliom. 

In  1801,  the  Kensington  volunteer  corps  was 
established,  and  Callcott  detennined  to  fonn  a 
military  band  from  among  the  inhabitants  of  the 
place.  Assisted  by  a  subscription,  l;c  ju-ocured 
instruments,  and  not  only  composed,  compiled, 
and  an-anged  all  the  music  for  the  i)erformance, 
but  even  taught  the  performers  himself.  l"he 
great  fatigue  he  thus  underwent  had  an  inju- 
rious effect  upon  his  health,  anil  his  friends  ven- 
tured to  remonstrate,  but  wore  silenced  by  that 
cheerful  coiUideuce  he  always  e.xpressed  in  his 
own  powers. 

The  compilation  for  his  dictionary  still  went 
on  ;  but  the  labor  of  classifying  his  materials  in- 
terfering too  much  with  other  occu])ations,  ho 
resolved  to  relinquish  its  further  jirosecution  un- 
til a  future  period  —  a  period  which  was  never  to 
arrive,  lliinking,  however,  that  the  ])ublic  had 
ground  to  cxi)oct  something  from  him  on  the 
theory  of  music,  in  conso<iuonce  of  his  prosjiectus 
for  the  dictionary,  he  wrote,  in  1801  and  180.5, 
his  '•  Musical  Cirommar."  In  the  same  year  he 
succeeded  Dr.  Crotch  as  lecturer  on  music  at  the 
Royal  Institution  ;  but  his  hmlth  was  now  too 
seriously  impairo<l,  and  the  very  anxietv  he  felt 
to  execute  with  honor  the  task  he  had  under- 
taken completely  overcame  him,  and  he  l)ecame 
at  once  incapable  of  all  bu<iu'>M. 


171 


HAL 


EXCYCLOP-^DIA    Oi-    ML'SIC. 


CAM 


During  the  inclLsposition  which  followed,  the 
public  e:*tocm  niul  ndniiriition  for  Dr.  C'aUcott's 
talents  and  character  di.splaycd  themselves  in  a 
remiirkiihlc  iimmicr. 

lu  liLs  abiiciice,  he  occasionally  em])loyed  him- 
eelt'  in  coiu])osition,  and,  amoug  other  things, 
planned  a  work  on  musical  biography,  but  was 
never  able  to  carry  it  into  execution. 

At  the  end  of  live  years  liLs  friends  indulged 
the  idea  of  bis  conii>letc  and  jjenuanent  restora- 
tion to  health ;  but  their  hopes  were  eventually 
disappointed.  After  a  jicriod  of  two  years  his 
indifiwsition  returned,  and  iji  the  spring  of  1821 
his  Constitution  was  unable  to  resist  any  longer 
the  mvages  made  upon  it  by  repeated  attacks, 
and  ho  was  released  from  a  life  of  utttiction  on 
May  lij,  IJS.'I,  hi  the  fifty-fifth  year  ol  liLs  age. 

Of  the  diiu-actcr  of  Dr.  C'aUeott,  it  is  sufficient 
to  observe,  tliat  the  excellent  qualities  of  his 
heart  were  fully  equal  to  his  extraordinary  tal- 
ents, and  that  he  jiossessed  the  sincere  affection 
of  every  one  who  knew  him. 

His  compositions  were  very  numerous!,  and  his 
printed  works  are  by  no  means  ecjual  in  extent  to 
those  wliich  still  remain  in  manuscript. 

Many  of  these  consist  of  anthems,  services, 
odes,  iVc.  ;  but  liis  fame  will  cliiefiy  rest  upon  his 
admirable  glees,  catches,  and  canons. 

These  were  given  to  the  world  at  various  times, 
and  in  a  great  variety  of  publications  ;  but  a  col- 
lection of  the  most  favorite  among  them  has  been 
made,  in  two  folio  volumes,  by  his  son-in-law 
Mr.  Iloisley,  together  with  a  memoir  of  the  au- 
thor, whence  we  have  extracted  the  greater  part 
of  the  above  account. 

CALLENUERG,  GEORGES  ALEXANDER 
HENRY  HERRMANN,  COUNT  OF.  A  Ger- 
man nobleman,  born  in  1741.  He  composed 
Bome  sonatas,  wliich  were  published  in  Berlin  in 
1781. 

CALLENBERG.  A  celebrated  organist  at 
Riga  about  the  year  1739. 

CALLIOPE.  One  of  the  Muses  ;  the  mother 
of  Apollo  ;  and  Horace  supposes  her  capable  of 
playiug  on  any  musical  instrument. 

CALMATO.     (I.)     At  rest,  calm,  quiet. 

CALMUS.  A  performer  on  the  \'ioloncello, 
and  composer  for  his  instrument  at  Altona  iu 
1797.     He  died  at  Dresden  in  1809. 

C-\LORE.  (I.)  With  much  warmth  and 
animation. 

CALORI,  SIGNORA.  An  Italian  female 
Biuger  in  London  in  the  year  17.58. 

C-\LVI.  GIOVANNI  BAITISTA.  An  ama- 
teur com])Oser  of  dramatic  music  at  Milan  be- 
tween the  years  1784  and  1788. 

CALVIERE,  or  CALVIAIRK,  a  celebrated 
organist  and  composer  at  I'aris,  wils  born  in  1()9.5. 
Ills  "  Ti!  Di:um  "  is  a  very  tine  composition.  He 
tUed  in  17>3o. 

C^VLVISIUS,  SETIIUS,  or  C.VLVITZ,  the 
ton  of  a  poor  ])easant,  and  born  in  Thuringia  iu 
15.)'),  was  a  learncil  theorist  and  a  good  practical 
musician  ;  he  published  a  Latin  work  ou  music 
in  1592,  and  composed  much  music  for  the 
church.    Ho  died  iu  1617. 


CALVOER,  GASPARD.  A  German  writer 
on  music,  who  died  in  the  year  1725. 

CAMBI:RT,  organist  at  Paris,  and  the  Erst 
French  musician  who  tried  to  set  an  ojiera,  (piitted 
France  in  disgust  on  Louis  XIV.  taking  from 
him  the  management  of  the  opera  and  giving  it 
to  Lulh.  He  went  to  London,  and  was  a])pointed 
master  of  King  Charles  II. 's  band.  It  has  been 
said  that  Cambert,  who  died  iu  London  in  1077. 
broke  his  heart  on  account  of  the  bad  success  of 
his  operas  ui  England. 

CAMBIARE.     (I.)     To  change. 

CAMBINL  GIUSEPPE.  A  voluminous  com- 
jjoser  of  vocal  and  instrumental  music  published 
in  France  and  Germany  between  the  years  1780 
and  1800.  He  was  a  pupU  of  P.  Martini,  and  a 
correct  theorkt. 

CAMBIO,  PERISSONE.  A  composer  of  little 
national  songs,  "  Canzone  ]'iliancschc,  aUa  Xapo- 
litana,"  some  of  which  were  j)ublished  at  Venice 
in  the  middle  of  the  sixteenth  century.  Di. 
Bui-ney  says,  "  In  these  canzone  there  is  gener- 
ally more  humor  in  the  words,  and  more  air  and 
vivacity  in  the  melody,  than  in  any  other  compo- 
sitions equally  ancient.  They  appear  to  ha\'e 
been  originally  stmg  iu  the  streets  iu  jiarts,  as  the 
words  of  several  imply.  In  one  of  them  a  sing- 
ing master  speaks,  who  offers  to  teach  the  gamut 
in  an  hour,  and  the  syllables,  ut,  re,  mi,  fa,  &c., 
aie  ingeniously  applied,  in  most  of  the  parts,  to 
such  sounds  as  require  them  in  sobnization." 

CAMEFORT.  A  French  composer  of  songs 
in  the  reign  of  Louis  XIV. 

CAMERA.  (I.)  A  chamber.  X  word  used 
in  conjunction  with  some  other,  to  indicate  that 
the  comj)osition  to  which  it  is  prefixed  in  written 
for  the  chamber ;  or,  in  other  words,  that  it  is 
chamber  music ;  as  soiuUq  di  camera,  a  sonata 
for  the   chamber. 

CAMERLOHER,  or  C.^MMERLOCHER, 
DON  PL.YCIDO  DE,  chamber  musician  at 
Munich,  published  some  instrumental  music  at 
Amsterdam  and  Nuremberg  about  the  year 
1760. 

C.\MIDGE,  DR.  An  eminent  organist  and 
composer,  resident  at  York.  He  presided  at  the 
organ  at  the  grand  vocal  festival  at  York,  in 
1S23.  His  organ  introductions  to  some  of  Dr. 
Croft's  anthems,  performed  at  the  meeting,  were 
so  masterly  as  to  attract  great  and  deserved  atten- 
tion. 

CAMIDGE,  MR.  An  eminent  musician,  also 
residing  at  York.  He  was  an  assistant  conductor 
with  Dr.  Camidge  at  the  York  festival. 

CAMINANDO.  (I.)  Flowing  with  gentle 
and  easy  progression. 

CAMPACJNOIJ,  BARTOLOMEO.  VioUulst 
at  Dresden  in  178.3.  He  was  born  iu  Italy  in 
17dl.  He  has  published  much  uistrumeutai  mu- 
sic.    He  died  in  1827. 

CAMPBELL,  ALEXANDER.  Editor  of  som« 
Scotch  songs  in  1792,  also  of  some  harp  music. 
We  believe  he  was  an  organist  at  Edinburgh. 

CAMPELU. 
in  1707. 


An  opera  composer  at  I'admi 


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(-•AN 


CAMPION.  A  French  composer  and  didactic 
irritcr  on  music  in  Paris  at  the  commenccmeut 
of  the  last  century. 

CAMPION,  DK.  THOMAS.  An  English 
poet  and  musician  in  the  seventeenth  century. 
lie  ])ul)lished  also  didactic  works  on  music. 

CAMPIONI,  CARLO  ANTONIO.  Chapel- 
master  to  the  Grand  l)i\ko  of  Tuscany.  lie 
composed  a  celebrated  "  7V  Drum  "  in  17(>7. 
lie  also  pubUshed  some  violin  ducts. 

CAMPOBASSO,  VINCENZO.  A  dramatic 
composer  at  Milan  in  1789. 

CAMPORESE,  MADAME.  This  celebrated 
finger  was  the  wile  of  Signor  (Jiuntiniani,  a  gen- 
tleman of  family  and  vespcctabiUty.  ^She  was  prin- 
cipal chamber  singer  at  the  court  of  Ronaparte, 
and  never  apjjcared  as  an  actress  till  she  made 
her  (Icbiif,  in  1817,  at  the  King's  Tlieatrc  in  the 
llajnnarket,  in  Cimarosa's  "  Pviwlope."  Slie  was  at 
tirst  extremely  embarrassed  ;  but  every  successive 
performance  dispelled  a  part  of  her  fears,  and  in 
her  next  character,  the  Contessa  in  the  "  Xozze 
di  Fii/aro,"  she  had  so  entirely  conquered  them, 
that  her  reputation  as  an  actress  was  completely 
establislicd,  her  deficiency  from  the  Hr.<t  having 
been  only  iu  the  usages  and  manners  of  the 
theatre.  In  Agnese,  and  Donna  Anna  in  "  II 
Don  Oioraiini,"  more  especially,  she  gave  proofs 
of  consummate  talents.  In  the  season  of  1818, 
the  management  of  the  Opera  House  having 
passed  into  other  hands,  Miss  Corri  was  substi- 
tuted ns  prima  donna  for  Madame  Camj)orese, 
who  ([uittcd  England,  but  was  roingaged  by  Mr. 
Ayrton  for  the  season  of  1821,  when  she  gave 
peculiar  suti.sfaction  in  the  part  Ninetta,  in  "  La 
(ifu-u  Ladra,"  where  the  situations,  more  inter- 
esting than  the  music,  called  into  full  exertion 
her  abilities  as  an  actress.  In  I8'22-1823,  she 
appeared  in  Dcsdemona,  in  Rossini's  "  OtclJo," 
wliich  was  considered  as  her  best  character  ;  aud 
at  the  end  of  the  season,  after  singing  admirably 
at  the  oratorios  and  various  public  concerts,  she 
retired  from  the  stage  and  public  singing. 

CAMPRA,  AXDRK,  bom  at  .Ux,  in  Provence. 
in  1()(J0,  was  at  tirst  a  chorister  in  the  cathedral 
of  that  city,  ha\-ing  for  his  instructor  in  music 
^Villiam  Poitevin,  preacher  to  that  church.  Soon 
after  his  leaving  the  choir,  he  became  distin- 
guished by  his  motets,  which  were  jierformed  in 
churdics  and  private  concerts.  His  genius  hav- 
ing been  too  much  confined  wliile  restrained  to 
the  narrow  limits  of  a  motet,  ho  set  himself  to 
compose  for  the  stage,  and  made  the  music  to 
Buniiry  operas.  The  grace  and  vivacity  of  his 
airs,  the  sweetness  of  his  melody,  and,  above  all, 
his  strict  attention  to  the  sense  of  the  words, 
render  l:is  compositions  truly  estimable.  Carapra 
died  at  Versailles  in  1711. 

CANNAltK'H.  CHRISTIAN,  chapel-raastcr 
to  the  elector  of  IJavaria,  a  native  of  Manheim, 
and  a  pupil  of  Stamitz  for  the  violin  and  com- 
posiliiiM,  was,  in  1778,  concert  master  and  director 
of  the  Italian  t)pera  at  Munich.  He  was  consid- 
ered as  one  of  the  best  solo  players  in  all  tier- 
many.  Many  of  his  compositions,  in  sjnuphonics 
»nd  other  instrumcnt.'d  pieces,  were  jjublishcd 
even  in  Paris  and  London. 

CANAIOE,  (F.)  or  CiVNARIO,  (I.)   is  the 


name  of  a  piece  of  music  supposed  to  have  come 
to  us  from  the  Canary  Islands,  whence  it  d'rivM 
its  name.  It  is  a  sort  ot  r/ii/iu;  or  jig,  Irom  wlii.-b 
it  is  distinguished  only  by  a  still  swifter  time. 
It  is  commonly  ui  J,  or  ",  but  more  rarely  in  '* 
measure. 

CANDEILLE,  P.  J.  A  dramatic  composer  at 
PaiTs  in  the  latter  half  of  the  last  century,  lie 
also  composed  some  motets. 

CANDEILLE  SIMONS,  KMILE.  Daughter 
of  the  preceding,  a  French  actress,  singer,  and 
composer  at  Paris  since  the  year  1787.  She  was 
a  good  performer  on  the  harp. 

CANDIDO,  LODOVICO.  A  ^-iolinist  and 
composer  for  his  instrument  at  Venice  in  171'2. 

CANETl'I,  FR.\NCESCO.  An  ItaUan  dra- 
matic composer  between  the  years  1781  aud  1790. 

CANGE,  CHARLES  DU.     Sec  Fbesne. 

CANIS,  CORNELIUS,  a  Belgian,  composed 
several  good  canons,  which  were  published  iu 
the  Antwerp  aiul  Louvain  collection  of  songs, 
printed  about  the  year  1511.  He  died  be*"orc  the 
year  155G. 

CANON.  A  vocal  composition,  in  two  or 
more  jiarts,  so  constructed  as  to  fonn  a  perpetual 
fugue.  There  are  various  kinds  of  canons,  as  the 
simjile,  the  double,  and  the  triple  canon  ;  the 
augmented,  the  diminished,  the  reversed,  and  the 
increased  canon  ;  tlie  resolved,  the  unresolved, 
j  the  finite,  and  the  infinite  canon  :  all  of  which 
rank  under  the  general  name  of  canon,  and  are 
but  so  many  different  ways  of  conducting  a  con- 
tinued fugue,  consisting  of  one,  two,  or  three 
suljjects,  carried  on  by  a  greater  or  lesser  number 
of  harmonic  parts.  A  canon  is  a  com])osition 
in  which  the  several  voices  begin  at  fixed  in- 
ten-aLs,  one  after  the  other,  and  in  which  each 
successive  voice  sings  the  verse  or  the  strain,  of 
the  preceding  one.  In  Italian,  therefore,  it  is 
called  /"Ki/a  di  conscijuenza ;  in  Latin,  canon  j>erj>etiiia, 
or  continuous  fugue  ;  in  (ienuan,  AVc/.v/hvc  (cir- 
culating fugue.)  Sometimes  each  voice  begins 
with  the  same,  sometimes  with  different  notes. 
Canons  may  be  Knife  or  infinite.  The  fonner 
end,  like  any  other  compositions,  with  a  cadence, 
while  the  infinite  canon  is  so  contrived  that  the 
theme  is  begun  again  before  the  parts  which  fol- 
low arc  concluded.  By  tliis  means  the  pertonu- 
ance  might  be  continued  to  an  indefinite  length. 
A  canon  may  consist  of  two,  tlirce,  four,  or  more 
voices,  (ienerally  only  one  voice  of  a  canon  Li 
written,  and  a  sign  shows  the  place  where  the 
other  voices  are  to  begin.  Formerly,  at  tl;e  be- 
ginning of  canons,  it  was  the  custom  to  place  the 
directions  by  which  they  were  to  be  decijihercd 
and  sung.  Thoe  directions  were  called  the  ride 
or  canon,  and  thence  arises  the  title  whicli  such 
compositions  have  since  retained.  Canons  differ 
from  ordinary  fugues  ;  for  in  the  latter  it  is  suf- 
ficient that  the  sul)jpi't  be  occasionally  repeated 
;  and  imitated  according  to  the  laws  of  coimfer- 
i  point  ;  but  in  the  fonuer  it  is  e-i-ential  that  the 
!  suliject  be  strictly  repeated  by  all  the  Mirree<ling 
1  parts ;  which  repetition  may  lie  made  in  the 
ui\ison  or  octave,  the  fourth  or  the  fifth,  or 
I  any  other  interval  of  the  scale.  There  are  scv- 
'  eral  other  canons,  as  oa/ion  polymorphug, 
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ENCYCLOPEDIA    OF   MUSIC. 


CAN 


per  toiws,  cniioii  per  tiimiiiiUionem,  and  cniu>n  per 
nuimriUntionrm,  wliicli  to  fully  explain  would  ex- 
reed  our  limits.  Sometimes,  also,  a  musical  pos- 
»age  of  a  composition,  in  which  one  voice  repeats, 
lor  a  Hhort  time,  another,  is  called,  improperly, 
u  canon. 

Canon,  in  ancient  music,  is  a  rule  or  method 
of  dctcnuining  the  interval  of  notes.  Ptolemy, 
rejecting  the  Aristoxeninn  way  of  measuring 
the  intervals  in  music  by  the  magnitude  of 
a  tone,  (which  was  supposed  to  be  fonned 
by  the  diiferencc  between  a  diapente  nud  a 
diatesseron, )  thought  that  musical  intervals 
should  be  distinguished  according  to  the  ratios 
or  proportions  which  the  sounds  termiuatijig 
those  intervals  bear  to  one  another,  when  con- 
fcidered  n>i'''"rding  to  their  degree  of  acuteness  or 

fravity  ;  wliich,  before  Aristoxenus,  was  the  old 
'ythngorean  way.  lie  therefore  made  the  dia- 
pason consist  in  a  double  ratio  ;  the  diapente  in  a 
sesquiatternte ;  the  diatessaron  in  a  sescjuitertian  ; 
and  the  tone  itself  in  a  sesiniioctave ;  and  all 
the  other  infer\-als  according  to  the  proportion 
of  the  sounds  that  terminate  them  ;  wherefore, 
taking  the  canou  (as  it  Is  called)  tor  a  deter- 
minate line  of  any  length,  he  shows  how  this 
canou  is  to  be  cut  accordingly ;  and  this  method 
answers  exactly  to  experiment,  in  the  different 
lengths  of  musical  chords.  From  this  canon, 
Ptolemy  and  his  followers  liavc  been  called 
canoiiici ;  as  tliose  of  Aristoxenus  were  called 
mtuici.  This  term  with  the  ancient  Greeks  sig- 
nitied  what  we  now  call  nwiiocliord. 

C.OrON'E  APEUTO.    (I.)     An  open  canon. 
CASOXE  CIIIl  SO.    (I.)    A  close  or  hiddtn  canon. 

CANTA13ILE,  or  CANTAB.  (I.)  A  term 
applied  to  movements  intended  to  be  perfonned 
ill  a  graceful,  elegant,  melodious,  singing  style. 
The  cantabile  or  singing  style  has  of  late  obtained 
great  attention  in  piano-forte  composition.  And 
as  a  substitute  for  the  too  often  rapid  airs  with 
variations  which  once  monopolized  the  time  of 
the  student  of  that  instrument,  for  the  creation 
of  an  elegant  taste,  such  works  as  the  "  Lieder 
ohiie  iVorte  "  of  Mendelssohn  and  others  must  be 
regarded  as  of  high  value.  In  modern  pianos  of 
best  quality  much  regard  seems  to  be  had  to  the 
production  of  a  tender  and  expressive  singing 
tone.  It  was  in  fact  the  search  lor  this  which 
gave  rise  to  the  invention  of  striking  the  strings 
with  lianiiucrs  instead  of  quills. 

CAXTADOUR.S.  Certain  itinerant  singers  of 
fcongs  and  ballads,  who,  with  other  musical  pro- 
fessors of  viu'ious  descriptions,  sprang  up  in 
Provence  about  tlie  middle  of  the  ninth  century. 
It  was  their  practice  to  perform  on  public  stages 
U-.  the  open  air,  and  to  sell  their  i)roductions,  and 
receive  preicnts  in  money  from  their  surrounding 
(uditors. 

CANTANDO.     (I.)     In  a  singing  manner. 

CANT.VNTE.  (I.)  An  expression  some- 
times used  to  distmguish  the  voice  part  of  a 
compn.sition. 

CANTAUE.     (I.)    To  sing. 

CAN  T.VTA.  (I.)  An  elegant  and  passionate 
species  of  vocal  composition,  consisting  of  an  in- 
termixture of  air  and  recitative.  The  cantata, 
which  was  invented  by  Uarbara  Strozzi,  a  Vene- 
tian ladv,  who  flourished  about  tbo  middle  of  the 


seventeenth  century,  was,  at  one  time,  extended 
to  such  a  length  as  to  form  a  little  opera,  but 
has  since  been  cultivated  in  Italy,  Gc^nnany,  and 
England  only  as  chamber  music  —  a  sort  of 
song  or  composition  intermixed  with  recitatives, 
airs,  and  variety  of  motions,  ordinarily  intended 
for  a  single  voice,  with  a  thorough  bass ;  some- 
times for  two,  three,  or  more  voices,  with  one  or 
more  violins,  or  other  instruments.  The  cantata 
passed  from  Italy  into  France,  and  thence  to 
England  ;  it  has  something  in  it  extremely  fan- 
tastical and  capricious.  'ITie  word  cantata  was 
used  in  tlie  church  as  early  as  ui  the  year  1314, 
to  e.xpress  what  we  olten  mean  by  antlitm,  with 
which  it  is  still  spionjTnous  in  Germany,  being 
chicrty  confined  to  Lutheran  chuich  music.  The 
secular  cantata  is  a  kind  of  composition  suited  to 
the  chamber,  wherein  less  light  and  shade  are 
requisite  tlian  in  either  ecclesiastical  or  diamatic 
music.  "When  Pope  Gauganelli  and  the  King  of 
Portugal  were  reconciled,  in  1770,  cantatas  were 
sung  at  Venice  and  Home,  etjual  in  length  to  an 
opera. 

CANTATILLA.  (I.)  The  diminutive  of  con- 
iata.  A  short  song  in  air  and  recitative.  Little 
used  at  present. 

CANTATRICE.     (I.)     A  female  singer.      ' 

CANTICA.  (L.)  Ancient  dramatic  soliloquies, 
which  are  supposed  to  have  been  introduced  as 
interludes,  or  act  tunes. 

CANTICI.  (I.)  One  of  the  names  given  to 
the  laitde,  or  songs,  sung  by  the  Romish  priest- 
hood, in  the  twelfth  and  thirteenth  centuries,  in 
praise  of  God,  the  Virgin  Mary,  or  the  sauits  and 
martjTS. 

CANTICLE.  A  hymn,  or  song,  anciently 
sung  by  the  Hebrews  in  honor  of  the  Divinity, 
and  generally  supposed  in  commemoration  of 
some  sacred  and  important  event.  The  most 
distinguished  production  of  this  kind  is  tl:e  can- 
ticle attributed  to  Solomon,  concerning  the  oc- 
casion and  intention  of  which  there  are  various 
opinions,  llie  Greeks  gave  the  name  of  canticles 
to  certain  vocal  soliloquies  in  their  tragedies. 

CANTILENA.  (I.)  A.  melody.  ITiis  word 
was  originally  used  as  a  diminutive  of  canzone ; 
but  now  it  bears  a  different  sense,  and  serves  to 
distinguish  the  treble  melody,  or  upper  part  of 
any  composition,  from  the  bass  and  other  inferior 
parts. 

CANTILENA  SCOTICA,    (L)    A  Scotch  melody. 

CANTINO,  PAOLO-  A  composer  cf  madri- 
gals at  Venice  in  178.5. 

CANTO,  or  CANT.  (I.)  A  word  cliiefly 
used  in  choral  music,  and  signifying  the  melody, 
or  highest  vocal  part. 

CANTO  CLEF.  The  name  of  the  C  clef 
when  placed  on  the  first  line. 

CANTO  FERMO.  (I.)  The  name  given  to 
the  ancient  chants  of  the  Romish  church  ;  which 
were  adopted  as  standing  melodies.  ITiese 
chants,  till  countcq)oint  was  discovered,  were 
unaccompanied,  or  only  harmonized  with  oc- 
taves. 

CANTO  FIGURATO.  (I.)  This  term  was  ap- 
plied  by  the  old  Cliristian  ecclesiastics  to  the 


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canto  fermo  in  its  more  cultivated  state,  when 
harmony  began  to  nti.sume  modulation  and  con- 
trivance. 

CANTO  PLAXO.  (I.)  An  old  term  applied 
JO  ecclesiastical  chanting. 

CANTOUATE.     A  loading  singer. 

CANTOKE,  or  CANTOR.  (I.)  A  general 
name  for  a  singer. 

CANTO  KECITATIVO.  (I.)  A  speaking 
gong.     See  Cantus. 

CANTUS.  (li.)  A  mode  of  recital  between 
the  characters  of  air  and  recitative.  Cantus  also 
Bigniiies  the  treble. 

CANTUS  AMiniOSIANUS,  or  AMBRO- 
hlAN  CHANT.  A  method  of  sijiging  and 
chanting,  tirst  introduced  by  St.  Ambrose. 
What  this  method  was,  is  not  at  present  known ; 
but  it  is  said  to  have  bonie  some  analogy  to  the 
modes  of  the  ancient  Greeks.  It  does  not  appear 
to  have  consisted  of  any  particular  or  determined 
series  of  notes.  His  design,  however,  it  is  thought, 
was  only  to  inculcate  a  simple  melody ;  founded, 
indeed,  on  the  rules  of  art,  but  so  familiar  and 
easy,  that  tlie  whole  congregation  might  join  in 
the  performance.  It  is  to  this  accommodation 
that  we  trace  the  origin  of  the  practice,  in  the 
Romish  church,  of  the  people  uniting  with  the 
choir  in  chanting  divine  serN-ice. 

CANTUS  GREGOiaANUS,  or  GREGO- 
RIAN CHANT.  This  chant,  wliich  derives 
its  name  from  St.  CJrcgory,  its  inventor,  added 
four  inteqiosiiig  notes  between  the  four  insti- 
tuted by  St.  Ambrose,  in  which  the  diapente 
held  the  ujipcrmost  place  in  the  diapason.  The 
chief  diifercnce  between  the  tones  employed  by 
these  improvers  of  the  ancient  chant  ^^•Tls,  that 
those  of  St.  Ambrose  arose  from  the  arithmetical, 
and  those  of  St.  Gregory  icova.  the  harmouical, 
division  of  the  diapason. 

CANTUS  MENSURAIHIJS.  (L.)  Measured 
melody.  A  term  applicable  to  every  kind  of 
music,  whether  vocal  or  instrumental,  in  which 
the  length  of  the  component  sounds  is  regulated 
and  detenuiiied  by  the  received  rules  of  time. 

CANUN.  The  canun  is  the  name  of  an  in- 
rtniment  much  used  by  the  Turks  ;  it  is  strung 
with  catgut,  and  is  something  in  tlie  form  of  the 
dulcimer. 

CANZONE.  (I.)  The  word  canzone,  in  its 
literal  sense,  signities  an  ode,  or  song,  of  consid- 
erable length  ;  but  it  is  now  applied  by  Italian 
musicians  to  any  air  in  two  or  three  parts,  with 
passages  of  fugue  and  imitation. 

CANZONET,  or  CANZONETTA.  (I.)  Can- 
totut  is  the  diminutive  of  canzone,  and,  in  Italy, 
signifies  a  short  song  in  one,  two,  or  three  parts ; 
but  in  England  it  is  more  generally  applied  to 
the  two  latter. 

CAOINAN.    The  Irish  funeral  song. 

CAPELLA.     (I.)     Chapel. 

CAPISCOEUS.  A  ilignitary  in  certain  cathe- 
drals ^^'ho  siiperintended  the  choir,  or  band ;  and 
corresponded  with  him  who,  in  other  churches, 
is  called  the  chanter,  or  precentor. 


C.VPISTRTTM.  (Or.)  A  kind  of  muzzle  used 
by  the  ancient  trumpeters,  so  fonncd  as  to  ex- 
tend horizontally  across  the  face,  and  embrace 
and  confine  tl>e  cheeks,  to  ])rcvcnt  their  bursting 
with  the  violence  with  which  they  blew  the  in- 
strument —  an  accident  to  which,  without  such 
l)recaution,  the  performer,  from  his  vehement 
exertion,  was  continually  liable. 

CAPO.     (I.)     Head  or  beginning. 

CAPOLLINI,  MICHEL  ANGEI.O,  composed 
the  music  to  a  sacred  drama  at  Mantua  in  IG'27. 

CAPORAI-E.  A  celebrated  violonceUist.  He 
went  to  London  in  1735,  and  though  no  profound 
musician,  nor  gifted  with  a  very  j)owerlul  hand, 
he  was  heard  for  some  years  witli  great  par- 
tiahty,  from  the  almost  single  merit  of  a  full, 
sweet,  and  vocal  tone.  He  published  some  solos 
for  his  instrument  in  London. 

CAPOTASTO,  or  CAPO  D'  ASTRO.  The 
principal  touch,  as  the  bridge  of  any  instrument 
is  the  place  where  the  strings  touch,  or  bear. 

CAPPUS,  JEAN  BAPTISTE.  A  French 
composer  of  vocal  and  instrumental  music  be- 
tween the  years  1730  and  1733. 

CAPRANICA,  >L\1TE0.  An  ItaUan  dra- 
matic composer  at  Rome  in  17-16. 

CAPRICCIO,  (I.)  or  CAPRICE.  A  loose, 
irregular  species  of  composition,  in  which  the 
composer,  without  any  other  restraint  than  the 
boundai-y  of  his  imagination,  continually  di- 
gresses from  his  subject,  and  runs  wild  amid  the 
fers'or  of  hb  fancy. 

CAPRICCIETl'O.     (I.)     A  short  capriccio. 

CAPRICCIOSO.  An  ItaUan  adjective,  sig- 
nifjing  that  the  movement  at  the  beginning  of 
whicli  it  is  written  is  to  be  jjlayed  in  a  fantastic, 
free  style. 

CAPRICORNU.S,  or  BOKSHORN,  SAMLTIL. 
Cliapcl-raaster  at  Stuttgard.  Much  of  his  vocal 
and  instrumental  music  was  published  between 
the  years  Ifioo  and  1708,  though  some  of  it  prob- 
ably is  posthumous,  as  he  is  supposed  to  have 
dieil  at  Stuttgard  in  1669. 

CAPRIOLI,  GIOVANNI  PAOLO,  published 
some  sonatas  nt  Venice  in  1628. 

CAPRON.  A  French  composer.  He  made 
his  dibul  at  the  spiritual  concerts  about  the  year 
1768,  and  soon  after  published  some  sonatas  and 
(questions  for  the  vioUn. 

CAPUTI,  ANTONIO.  An  Italian  dramwtic 
composer  about  the  year  1754. 

CAPUZZI,  or  CAPUCCI,  ANTONIO.  There 
were  two  brothers  of  this  name,  violinists  at 
Venice,  composers  of  dramatic  and  instrumental 
music  since  the  year  178.5. 

CAILVDORI,  ALLAN,  ^LVDAME,  was  bom 
in  the  Casa  Palatiiia  at  Milan,  in  lSOi».  Her 
father  was  the  llaron  De  Munck,  a  native  of  Al- 
sace,  who  formerly  held  the  rank  of  colonel  in 
the  French  service. 

Tlie  musical  education  of  Mile.  De  Munck  was 
completed  entirely  under  the  guidance  of  her 
mother,  without  the  aid  of  masters  or  any  other 
auxiliary.  'ITie  death  of  the  Haron  De  Slunck, 
and  the  consc(pient  failure  of  pecuniary  rcsourcct 


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ENCYCLOPEDIA    OF    MLSIC. 


CAU 


n  bin  family,  at  length  obliged  his  dnughter  to 
6rajiloy  her  musiciil  powere  jjrofes.sionnlly  ;  mid 
for  tliih  ])uri)osc  she  went  to  Kugland,  mid  under 
the  name  o{'  Caradori,  derived  trom  a  hiancli  of 
her  luotlier's  family,  made  her  dibul  at  the 
King's  Theatre  ou  the  lith  January,  1822.  ITie 
first  character  in  whicli  she  appeared  was  tlie 
Page,  in  "  Fi(/aro ;  "  and  it  is  not  a  little  remarkable 
that  circum-tauceri  recjuiied  l-.cr  to  learn  that  part, 
and  to  make  her  tirst  apjiearance  on  any  stage 
within  the  short  period  of  tliree  days. 

This  attempt  was  completely  successful,  and 
she  was  since  equally  fortunate  in  the  operas  of 
"  //  liiirone  de  Uolshei/n,"  "  I'Jisa  e  Ctatidio,"  "  Co- 
ratliiio,"  and  "  /.a  CIvmeiiza  di  Tito"  in  the  latter 
of  which  she  sustained  the  part  of  prima  donna. 
As  n  concert  singer,  Mme.  Caradori  rapidly  rose 
into  pulilic  estimation  by  her  performances  at  the 
Phil^nnnonic  Society  and  other  musical  establish- 
nie'.ts  in  ditt'erent  pans  of  Great  IJritain,  espe- 
cial'/ at  Ihigliton,  Oxford,  Hath,  Bristol,  Glouces- 
ter, &c.,  \c.  As  a  composer,  she  is  best  known 
as  the  authoress  of  the  pleasing  romauce.i,  "  La 
Plu»  Jolie,"  "  Le  Sourire,"  and  "  La  FUeusc." 

The  principal  advantages  possessed  by  Madame 
Caradori  are,  a  voice  of  great  sweetness,  Hexibil- 
ity,  and  justness  of  intonation;  an  extensive 
knowledge  of  the  different  branches  of  the  art 
whicli  she  possesses ;  and  a  facility  of  reading 
music,  liy  which  slie  is  enal)led  at  once  to  sing 
and  accompany  {a  prima  vista)  any  vocal  piece 
which  is  presented  to  her.  To  these  may  be  ad- 
ded, an  intimate  knowledge  of  four  languages,  of 
wliicli  the  English  is  one,  an  agreeable  person,  a 
graceful  deportment,  and  liigli  moral  cliaracter. 

In  August,  1S23,  Madame  Caradori  was  mar- 
ried to  Mr.  Allan,  tlie  secretary  of  tlie  King's 
Theatre.  She  gave  concerts  in  this  country  about 
twenty  years  since,  and  her  exquisite  rendering 
of  "  I  know  that  my  Redeemer  liveth,"  in  an  ora- 
torio performance  of  tlie  Boston  Handel  and 
Haydn  Society,  is  still  remembered  with  delight. 

CARAFA,  MICHEL,  born  at  Naples  in  1785, 
commenced  the  study  of  music  in  the  Convent 
of  Monte  Olireto,  at  the  age  of  eight  years.  His 
first  master  was  a  Mantuaii  musician  named  Faz- 
si,  n  skilful  organist.  Francesco  Ruggi,  a  pupil 
of  Fenaroli,  gave  him  lessons  in  harmony  and 
accompaniment,  and  later  he  passed  \nider  the 
direction  of  Fcnaroli  himself.  Whilst  visiting 
Paris,  he  received  lessons  in  counterpoint  and 
fugue  from  Cherubini.  Though  he  had  written 
in  his  youth,  for  amateurs,  an  oi)era  called  "  //  Fan- 
tasmu,"  and  had  composed,  about  1802,  two  canta- 
tas, "  //  Sutdle  di  Giove  "  and  "  AchiUe  e  Deidamia," 
in  which  were  the  germs  of  talent,  he  had  not 
thought  of  cultivating  music  except  as  a  relaxa- 
tion irom  other  work ;  he  entered  the  ciureer  of 
arms  ;  he  became  an  officer  in  a  regiment  of  hus- 
sars of  the  guard  of  Murat,  afterwards  equerry  to 
the  king  in  the  expedition  against  Sicily,  and 
chevalier  of  the  order  of  tlie  Two  Sicilies.  It  was 
not  until  the  spring  of  18 It  that  Carafa  thought 
of  turning  to  account  liis  talent,  and  that  he  pro- 
duced his  first  opera,  called  " //  I'asnlJe  I'  Orci- 
diiUc,"  at  the  tlieatre  J)cl  J'unde.  Thi»  work,  which 
was  quite  successiul,  was  followed  by  "  A/i  (lehsia 
Cofrctin,"  in  181.5  ;  "  Oabrielcdi  I'en/i,"  in  1810  ;  the 
•*  Ifii/cnia  in  Tauridc,"  San  Carlos  at  Naples,  in 
1817  ;  "  Adele  di  Lusignatw  "  at  Milan  ;  in  the  au- 
tumn of  the  same  year,  "  licrcnicc  in  Si/ria,"  at  San 
C'arlob.      In  182\  he  made  liis  dibut   upon  the 


French  stage,  by  the  opera  "  Jeanne  tFArc,"  n.is 
opera  had  not  the  success  which  it  merited ;  for 
there  were  many  beautiful  things  in  it.  After  he 
had  brought  out  tliis  opera,  Carafa  went  to  Rome, 
where  he  wTOte  "  La  Capriciosa  ed  il  Soldato,"  which 
had  great  success ;  he  there  comjiosed  the  "  Soli- 
taire." Of  all  Carafa's  operas,  the  most  jjopular  is 
the  "  Solitaire."  There  is  some  carelessness  in  the 
score,  but  there  are  m  it  dramatic  situations  well 
conceived  and  well  rendered.  After  the  repre- 
sentation of  tliLs  piece,  which  took  jilace  in  Paris 
in  Augu-st,  1822,  Carafa  returned  to  Rome,  whcr? 
he  wrote  "  Eufemie  di  Messina ;"  tliLs  work  was  a 
complete  success.  In  1 82.3,  he  produced  "  Abufar," 
at  Vienna.  Ou  his  return  to  Paris  he  produced 
the  "  Vaiet  dc  (Jhainhre  "  and  "  L'Aiiberi/e  supjtosde." 
In  the  autumn  of  182.5,  he  WTOte  "  //  .Sonnaoibulo," 
at  Milan  ;  and  at  ^'enice,  the  "  Paria,"  in  Febru- 
ary, 1826. 

In  1827,  he  returned  to  Paris.  The  17th  of 
May  of  that  year,  he  produced  an  opera  in  one 
act,  called  "  .'^angarido ;  "  tliis  had  no  success.  This 
was  followed  by  "  La  Violctte,"  opera  in  tlixccacts, 
of  which  M.  Lelorne  composed  some  pieces ;  "  J/o- 
sanielJo,"  in  tliree  acts,  a  work  full  of  beauties,  and 
which  should  he  considered  the  masteqjiece  of 
Carafa.  Since  then  he  has  written  "  La  Fiancdt 
de  Lammermuor,"  and  "La  Prison  if  I^linboitrg,' 
1831-183.3. 

M.  Carafa  is  often  censured  for  filling  his  works 
with  reminLscenccs  and  imitations.  It  must  be 
owned  he  did  not  always  choose  his  ideas  as  well 
as  he  was  able :  he  wrote  quickly  and  carelessly, 
as  was  the  custom  of  Italian  composers  ;  but  if  he 
had  been  more  careful  of  liLs  scores,  judging 
from  the  beautil'ul  things  found  there,  his  reputa- 
tion would  be  more  brilliant. 

C.VRAFFE,  the  younger.  Chamber  musician 
to  the  King  of  France ;  he  published  several 
symphonies  about  the  year  1752. 

CAR.IPELLA,  TOMMASO,  was  born  at 
N-iples  about  1700,  and  delighted  that  city  by 
his  compositions,  which,  although  in  the  ancient 
style,  termed  by  the  Italians  viadrigalesco,  united 
energy  witii  taste  and  sentiment.  His  master  is 
unknown,  but  his  compositions  obtained  the  ap- 
probation of  the  learned,  both  in  the  theory  and 
practice  of  music.  The  sound  doctrines  and  pure 
principles  which  had  presided  at  tlio  foundation 
of  the  Neapolitan  school,  and  under  whose  aus- 
pices its  numerous  great  works  had  been  pro- 
duced, revived  under  the  pen  of  Carapella ;  or 
rather  he  was  one  of  its  most  religious  defenders, 
and  endeavored  to  prevent  the  diffusion  of  bad 
taste  or  false  doctrines,  and  the  destruction  of 
the  sacred  and  venerable  vestiges  of  ancient 
simplicity.  Hymns  and  cantatas  lieing  greatly 
in  favor  with  the  nation  at  the  time  he  finished 
his  studies,  he  composed  chiefiy  in  this  style. 
One  of  his  religious  hymns  is  still  sung  at  Naples, 
on  the  ftte  of  Santa  Francesco  Homana.  Cara- 
pella afterwards  set  to  music,  with  great  success, 
the  opera  entitled  "  .Massimi."  After  having 
successively  and  equally  succeeded  in  both  the 
sacred  and  profane  styles,  and  taken  rank  among 
the  best  masters  of  his  school  and  of  Italy, 
he  published  a  collectiim  of  his  hymns  and  can- 
tatas for  two  voices,  distinguished  for  their  per- 
fection in  melody — a  work  which  recommends 
him  to  the  esteem  of  posterity,  altliougli  not  liis 
only  claim  to  lionorable  recollection. 


170 


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EXCYCLOP.EDIA    OF    MUSIC. 


CAR 


CARATTERE.  (I.)  Charavlcr ;  a%  lonmoUo 
oarattere,  witli  much  character  and  cmpha-sis. 

CARAVACCIO,  GIOVANXI,  u  composer  of 
church  music  at  Venice  in  l(i20. 

CARAVAOGIO,  GIOVANNI  GIACOMO 
GASTOLDI  DE.  A  poet  and  composer  of  vocal 
music  at  Venice  in  1590. 

CARAVOGLIA,  IJARHARA.  Principal  fe- 
male singer  at  Naples  in  1788. 

CARBONEL,  JOSEPH  NOEL.  A  very  cele- 
brated French  performer  on  the  tarahourine  ;  he 
published  a  method  for  his  instrument  in  17GG. 
lie  died  in  ISOl. 

CARBONEL,  JOSEPH  FRANCOIS  NAR- 
CISSE,  probably  the  son  of  tlie  preceding,  was 
born  at  Vienna  in  1773.  He  has  com])osed  much 
vocal  and  instrumental  music,  published  at  Paris. 

CARBONELLI,  STEFFANO,  a  celebrated  %-io- 
linist  and  puj)il  of  Corelli,  went  to  En>;land  from 
Rome  about  the  year  1720.  He  was  received  into 
the  family  of  the  Duke  of  Rutland,  a  great  pa- 
tron of  music.  Durins;  his  residence  with  this 
nobleman,  ho  published  and  dedicated  to  him 
twelve  solos  for  a  violin  and  bass,  of  his  compo- 
sition, which  he  trequcntly  played  in  i>ublic  with 
great  applause.  About  the  year  172.),  he  (juitted 
the  Opera  House,  and  went  to  Drnry  Lane  'llieatre. 
where  he  led  the  band,  and  frcciuently  played 
select  pieces  between  the  act.s.  After  continuing 
a  few  years  at  Drury  Lane,  Carbouelli  quitted  his 
station  there,  and  attached  himselt'  to  Handel, 
at  the  time  when  he  began  to  perform  oratorios. 
For  a  scries  of  years,  he  played  at  the  rehearsal 
and  performance  at  St.  Paul's  for  the  benefit  of 
the  sons  of  the  clergy.  At  first,  in  England,  Car- 
bonelli  profcs!;ed  liimself  to  be  of  the  Romish 
persuasion  ;  but  afterwards  he  became  a  Protes- 
tant, and  married  the  daughter  of  Mr.  Warren, 
parish  clerk  of  St.  James's,  Westminster.  In  the 
latter  part  of  his  lUe,  he  in  some  measure  declined 
the  profession  of  music,  and  betook  himself  to 
that  of  a  merchant,  and  an  importer  of  wines 
from  France  and  (iennany.  By  the  interest  of  a 
powerful  friend,  he  obtained  the  place  of  one  of 
the  purveyors  of  wine  to  the  king,  and  died  in 
that  emplojnnent  in  the  year  1772.  At  the  time 
of  Carbonelli's  resiv:ning  his  profession  of  violin- 
ist for  that  of  wine  merchant,  the  following  lines 
were  written,  wliich  have  been  admirably  set  to 
muiiic,  as  a  duet,  by  Dr.  Cooke :  — 

••  Let  Riihint-IH  charm  the  enr, 
Aiul  sin)?,  iw  fr«t,  with  voice  divine  \ 
To  C.irlK.iu'ili  I  adh.'re: 
IniitratI  t>f  nuiilcffive  ine  wine. 
Hilt  yet,  perhftp»,  with  wine  combined, 
Snrt  imisic  itriv  i.ur  jovii  imnmrv  ; 
l.cl  t»ith  tngiiliiT  Ihen'he  joinr  I. 
And  IVu5t  we  liVi'  the  ffiMls  nbuvc." 

C.\RBOR,  ROBERTUS.  One  of  the  oldest 
known  composers  of  sacred  music  in  Scotland : 
a  mass  of  his  composition  in  the  twcll'th  century 
is  extant. 

CARCANI,  JOSEPH,  chapel-ma.ster  at  Venice, 
was  a  celebrated  dramatic  comjioser  alwut  the 
year  1742. 

CARDON.  A  harpist  at  Paris,  and  composer 
for  his  instrument ;  hLs  method  for  the  harp  was 
published  at  Paris  in  1785.  He  died  in  Russia 
about  the  year  ISO.i. 

CARDUCCI,   GIOVANNI    GIACOMO.       A 

23  1 


voc-d  composer  at  Venice  in  the  latter  half  of  th« 
sixf^cnth  century. 

CARESANI,  CRLSTOFORO,  organist  at  the 
Chapel  Royal  of  Naples  about  the  year  1680,  ij* 
considered  one  of  the  best  composers  of  liLs  time. 
His  duos,  which  appeared  in  liiSl,  are  espevially 
held  in  (estimation.  Choron,  at  the  end  of  h'a 
"  l'rincii>f.%  de  Composition,"  has  given  exercises  oi 
all  the  intervals  by  Caresani,  which  are  in  the 
highest  dej;rec  useful. 

CARESTINI,  GIOVAN'NI,  a  celebrated  Ital- 
ian singer,  was  bom  at  Mount  Filantrana,  in  the 
March  of  .\ncona,  and  at  twelve  years  old  went 
to  Milan,  wliere  he  was  patronized  by  the  Cusa'ii 
family,  whence  he  was  frctiucntly  called  Cusanina. 
His  voice  was  at  first  a  powerful  and  clear  sopra- 
no, which  afterwaribt  changed  to  the  fullest,  fin- 
eit,  and  deepest  countertenor  that  has  perhaps 
ever  been  heard.  HLs  first  appearance  on  the 
stage  seems  to  have  been  at  Rome,  in  1721,  in  the 
female  character  of  Costnn/a,  in  Buononcini's 
opera  of  "  Grimlda."  In  1723,  he  was  at  Prague 
during  the  great  musical  congress  there,  on  occa- 
sion of  the  coronation  of  the  Emperor  Charles 
VI.,  as  King  of  Bohemia.  In  1721  he  was  at 
Mantua;  and  in  1720  at  Venice,  where  he  per- 
fonncd  with  Farinelli  and  the  famous  tenor  Paita. 
In  1728  he  was  at  Rome,  and  atjain  in  1730, 
where  he  ])erfonncd  in  N'inci's  ccletirated  operas 
of  "  Alessiinttro  lull  Iiidir,"  and  "  Artaxcrse,"  both 
written  by  Mota'^tasio.  He  was  now  engaged  by 
Handel  to  suj^jly  the  place  of  Senesino,  wlio,  to- 
gether with  his  whole  troop,  except  Stradn,  had 
deserted  from  his  service,  and  enlisted  under  the 
banners  of  Porpora  and  tlie  nobility  at  Lincoln's 
Inn  Fields.  Carestini's  person  was  tidl,  beautiful, 
and  majestic.  He  was  also  a  very  animated  and 
intelligent  actor.  He  manife<tcd  great  agility  in 
the  execution  of  difficult  divi..ions  irom  the  chest 
in  a  most  articulate  and  aibnirable  manner.  It 
was  the  opiiuon  of  Ilasse,  as  well  as  of  many 
other  eminent  jjrofessors,  that  whoever  had  not 
heard  Carestini  was  unacquainted  with  the  most 
powerfiU  style  of  singing.  He  continued  in  the 
highest  reputation  for  twenty  years  alter  qmttiug 
England,  and  sang  at  Berlin  in  1750,  1754,  and 
1755,  and  at  Petersburg  till  the  year  1758,  when 
he  returned  to  Italy,  and  soon  after  died. 

CAREW,  MISS.  This  eminent  English  vocal- 
ist was  born  in  Ixmdon,  of  a  good  iamily,  origi- 
nally Irish.  Her  musical  education  was  directed 
to  the  stage,  and  she  appeared  at  Covent  Garden 
in  1815.  She  attracted  a  good  share  of  public 
regard,  and  appeared  subseqxiently  at  the  Hay- 
market,  the  Eu'^lish  Opera,  and  at  Drur\'  Lane. 
She  was  also  enga^ccl  in  the  Philharmonic  and 
various  public  and  private  concert.s  of  Ixmdon  ; 
at  Bath,  Oxford,  York,  Manche-Jter,  Norwich 
and  other  place's.  Miss  Carew's  voice  was  not  ex- 
tremely powerful,  but  her  intonation  was  perfect, 
and  the  sweetness  and  ductility  of  her  notes 
joined  to  excellent  taste  and  science,  justly  en- 

]  title  her  to  a  high  rank  amongst  recent  British 

I  female  singers. 

I  r.VREV,  HENRY,  was  a  man  of  facctiotu 
temper.     He  was  a  musician  by  profwwion,  and 

]  one  of  the  lower  order  of  poet.s.  HLs  first  pre- 
ceptor in  music  was  Linnrrt.  a  German :  he  re- 

1  ccived  some  further  instmrtions   from   Ro(>ein- 

I  grave ;  and,  lastly,  was  a  disciple  of  Geminiaoi ; 


CAR 


EXCYCLOPJ^DIA    OF    MUSIC. 


CAB 


but  with  all  tlio  a<lvnntnKC«  he  might  be  supposed  i  Uved  to  the  aRC  of  ninety.  Bemp;  prnised  for  the 
to  have  derivcMl  Irora  lliese  instructors,  the  ex-  I  grace  and  ease  of  his  melodies,  he  is  said  to  nave 
tout  of  hLs  abilities  seems  to  have  been  the  com-  reiiUed,  "  Ah!  qumto  farile,  quan/o  e  '/'#«fe.'  _ 
Losition  of  a  L'ood  ballad  air,  or  at  most  a  canta-  "  Ah  !  vith  what  lUmcidty  is  this  ca.se  acciuured  ! 
ta  Vbout  the  vear  17U,  in  a  fit  of  desperation,  I  There  are  some  cunous  specimens  o.  tlm  com- 
he  laid  violent  hands  upon  himself  at  his  house  poser's  works  in  Dr.  Burney's  History,  vol.  iv.  p 
in   Warner  Street,  Cold    Bath    Fields,  putting    a     U.3. 


l>eriod  to  a  liio  which  ho  had  led  without  reproach. 
In  all  th.e  poems  and  songs  written  by  Ciircy  on 
wine,  love,  and  subjects  of  that  kind,  he  raani- 
li"sted  an  inviola'ile  regard  for  decency  and  good 
manners.  He  composed  the  air  of  "  Sally  in  our 
Allev,"  aid  is  thought  by  some  to  have  been  the 
author  of  "  God  save  the  King." 

CARICATO.     (I.)     With  exaggerated  expres- 
sion. 

CARILLONS.  <F.)   The  name  of  small  instru- 
ments funiLshed  with  bells,  properly  tuned,  that 

are  acted  on   by  finger  keys,  like   those  of   the         v^.^.v,,„.^..,    . 

l)iano-forte,  and'  used  for  accompanying   certain  '  ^j^j   musical   composer,  justly   styled   the   Irith 

songs,  where  the  ringing  of    church  beUs  is   to      -  ■  '  \^-^  :-  ^i :ii 

1  e  i7uitnted,  and  where  dampers  are  not  used  for 
j.reventing  the  continuance  of   the  sound.      Li 


CARLETOX,  RICHARD.  An  EugUsh  cler- 
g)-man  and  composer  of  madrigab  in  loOl. 

CAROL.  An  old  name  for  a  song  sung  to 
dancing.  IliLs  word,  derived  from  the  old  Ital- 
ian word  caroUi,  has,  in  England,  long  lost  its 
original  acceptation.  Wc  never  meet  with  it  at 
present,  except  in  the  works  of  old  English  poets, 
or  at  the  head  of  the  balladu  of  the  Christmas 
minstrels. 

iynony- 


CAROLA.  (I.)  Thi»  ntd  Italian  word  -vm  fomierl 
mom  with  IjaUnIn,  and  sigiiiflcd  a  «oug  of  a  plain,  eliiip 
melody,  to  bt  suni;  to  a  dance. 


ly  L,  .- 
de,  popular 


Holland  and  some  parts  of  the  Netherlands  the  , 
steeples  of  the  churches  are  furnishefl  with  a  I 
large  series  of  bells,  tuned  accurately  to  the  tones 
and  half  tones  of  the  scale,  and  with  strong  wires 
that  are  connected  at  one  end  with  hammers  that  1 
strike  the  bells,  and  at  the  other  with  keys,  and  | 
pedals  for  the  lower  notes  of  the  scale,  on  which  i 
persons  called  carilhiicurs  perform  music  in  parts, 
by  striking  the  keys  rather  forcibly  -with  their 
hands  and  feet.    It  is  hard  tcnrk  to  play  the  caril-  | 
Ions ;    the   carilloneur  i)erforms  with  a  kind  of  j 
keys  communicating   with  the  bells,  as  those  of  ] 
the  organ  do  with  the  pipes.     The  keys  are  pro-  j 
jeeting  sticks,  wide  enough  asunder  to  be  struck  | 
with  violence   and  velocity  by   the  two    hands, 
edgewise.     The  performer  wears  a  thick  leather 
covering  for  the  little  finger  of  each  hand,  to  pro-  I 
tect  the  hand   from  the  violence  of  the  stroke  [ 
given.     The  first  and  second   trebles  are  played  , 
with  the  hands,  and  the  bass  with  the  feet  on  the  , 
pedal   keys.      The  keys  to  the  carillons  at  Am-  j 
sfcrdam   liave  three   octaves,  with  all  the  semi-  | 
tones  complete,  in  the  manual,  and  to  the  octaves 
in  the  pedals.      The  bra:-s  cyUndcr  to  the  chimes  ; 
at  Amsterdam,  (which  are  played  by  clockwork,)  | 
on  which  the  tunc:^  are  set,  weighs  HH  pounds,  I 
and  has  7200  ii-on  studs  fixed  in  it,  \vhich  in  ro- 
tation of  the  cyhuder  gives  motion  to  the  clap- 
pers of  the  bells. 

CARISSIMI,  GI.\COMO.  Chapel-ma-ster  of 
the  German  college  at  Rome,  and  of  the  pontifi- 
cal chapel,  from  about  the  year  liUO.  His  pro- 
ductions are  very  numerous,  though  it  docs  not 
appear  that  he  'comi)Osed  for  the  theatre.  HLs 
sacred  and  secular  cantatas  and  motets  have  al- 
ways Lad  admission  into  every  collection  of  good 
music.  He  did  not  invent  the  canfjita,  but  has 
the  merit  of  transfenring  this  uivcnt ion  from  the 
clamber  to  the  church,  also  of  improving  recita- 
tive in  general.     'Hiere  Ls  something  iiilcrestin  - 


CAROLAN,  TWALOGH,  a  celebrated  poet 
„iid  musical  composer,  justly  styled  the  Irith 
Handel,  was  born  in  the  year  in70,  in  the  village 
of  Nabber,  in  the  county  of  Westmcath,  on  the 
lands  of  Carolan's  Town,  which  formerly  belonged 
to  his  ancestors,  'llie  cabin  in  which  he  was 
bom  has  become  a  jjrey  to  all-devouring  time ;  yet 
the  spot  whern  it  stood  will  perhaps  be  visited  a» 
a  future  day,  by  the  lovers  of  national  music  and 
song,  with  "as  much  true  devotion  a;  the  birth- 
place of  Shake. peare,  or  the  cottage  of  Bums. 
At  the  age  of  ten  years  he  was  receiving  instruc- 
tions upon  the  harj) ;  and  though  fond  of  the  in- 
strument, he  was  too  negligent  to  strike  it  with  a 
master's  hand.  He  used  it  only  to  assist  him  in 
composition  ;  hLs  fingers  wandered  tnrough  the 
strings  in  tjucst  of  melody,  while  his  mind  was 
onlv  intent  on  the  musical  cxprc  ssion  of  the  then 
vibrating  chord.  He  lived  at  Mosshill  for  some 
years.  But  extravagant  h.abits  soon  reduced  his 
resources;  and  finding  himself  unable  to  support 
his  familv  in  a  way  siuted  to  his  inclination,  ke 
resolved  to  become  an  itinerant  haqicr  and  bard, 
in  which  character  he  continued  dming  the  re- 
mainder of  hLs  li;e.  He  was  every  where  a  favor- 
ite and  everv  where  well  received.  He  was  very 
fond  of  ardent  spirits,  and  imagined  that  whiskey 
a.ssisted  him  in  his  musical  compo.sitions,and  never 
composed  without  a  bottle  of  whiskey  by  his  side. 
The  fame  of  Carolan  as  a  musician  having  reachetl 
the  ears  of  an  eminent  ItaUan  mu  -ic  master  in 
Dublin,  he  detcmiined  to  put  his  abilities  to  a 
severe  trial,  the  result  of  which  convinced  him 
how  well-founded  had  been  whatever  was  said 
in  his  favor.  The  method  he  made  use  of  was 
this  :  he  selected  an  excellent  piece  of  music  in 
the  ItaUan  style ;  hut  here  and  there  cither  altered 
or  mutilated'  it  m  such  a  way,  that  none  but  n 
real  iudge  could  delect  the  alicratioiis.  Carolan 
be-itowcd  the  deepest  attention  on  tl  c  perfonncr 
while  he  w!u<  plaving  it,  not  knowiii-  it  was  in- 
tended as  a  trial  of  hLs  skill,  and  tluit  the  cntical 
moment  was  at  hand  which  was  to  determine  hn 
reputation  as  a  musician  forever.  He  declared 
it  to  be  an  excellent  piei-e  of  mu-ic,  but  to  the 


^"  r'Z^  cv,i^  Xm^t"  ;aI^omp;;it^n;i  astonL^hment  of  all  present,  he  said,  ^■ery  hu- 
^•thls  adtS,^;  master,  and  in  his  wo'rks  may  '  morouslv  "  Here  "-1  there  it  imps  and ^um 
ccrtaiidv  be  traced  more  traits  of  fine  melo.ly  hies."  He  was  then  rcque  ted  '""•>;■«  ^ 
than  in 'those  of  anv  composer  of  thescvenleenlh  I  rors  which  he  accordingly  did  .  «"     »   "^"  «\^f 

•enturv        It    is   manifest   that    I'urcell    partlv  i  the  piece  was  t^ent  Irom  Connaught  to  Dubhn. 

onue^l  his  stvle  o"tle  productions  of  CariLimi.  I  The  Itnlian  no  sooner  saw  it  than  he  pronounced 
He  is  Maid  to  have  acquJed  a  considerable  fortune  Carolan  to  he  a  true  musicd  genms  Mv, 
bv  the  exercise  of  his  profw^bion.  and   to  have  I  whde  ou  a  visit  to  Mrs.  M  Dermott  b,  of  Alder- 

178 


CAR 


ENCYCLOP.EDIA    OF    MUSIC. 


CAi 


ford,  in  the  county  of  lloscoramon,  was  tnken 
suddenly  ill  and  died  there  in  the  month  of  March, 
I'.'JS,  in  the  sixty-eiiijhth  year  of  his  n'^o,  and  was 
interred  in  the  iiarish  church  of  Kilronan,  in  the 
diocese  of  Arda;;h.  15ut  no  memorial  exists  of  the 
sjjot  in  which  his  remains  were  laid.  A  collec- 
tion of  his  music  was  published,  by  his  son,  in 
171",  and  it  was  republished  by  John  Lee,  in 
])ublin,  in  17S0.  C'arolan,  as  a  musician,  stood  in 
the  first  class  ;  and  he  added  considerable  to  the 
auci  tut  stock  of  L-ish  music. 

C  AROLI,  ANGELO.  An  Italian  composer  of 
church  mujic  in  the  middle  of  the  eighteenth 
century. 

CAROLUS,  JOANNES.  A  Spanish  writer  on 
the  guitar  iu  liJiiG. 

CARON.  An  old  French  composer,  who  flour- 
ir.hcd  before  the  period  of  the  rcnovatiou  of  the 
arfci. 

CAROSO,  MARCO  FARRIZIO.  Author  of  a 
collection  of  dances  at  Venice  in  loSl  ;  the  mu- 
sic of  them  is  regularly  barred,  which  is  not  the 
case  with  any  otb.er  music  of  the  sixteenth  cen- 
tury that  Dr.  Biuiiey  ever  saw. 

CARPANI,    or    CARPINI,    GAETANO.     A 

church  compo^ier  of  the  year  11  nO  ;  he  was  con- 
sidered the  most  profound  contrapuntist  of  his 
day  in  Rome.  The  celebrated  Clemcnti  took  les- 
sons of  hira  for  some  tune. 

CARPENTIEIl,  Author  of  a  method  for  the 
guitar,  Paris,  1770. 

CARPIANI,  EUCAS.  CTiapel-master  at  Bo- 
logna, and  dramatic  composer,  in  1673. 

CARPINI.     See  Caupani. 

CARRE,  EOUIS.  A  French  writer  on  music 
•t  the  commencement  of  the  last  century. 

CARRE,  REMI.  A  French  monk  and  writer 
on  singing  in  the  year  17H. 

CARTELLIERI,  A.  A  composer  of  vocal  and 
instrumental  music,  published  at  Berlin  and  Vi- 
enna between  the  years  1792  and  1806. 

CARTER,  THOMAS,  a.  singer,  pianist,  and 
composer  of  vocal  music,  was  born  in  Ireland,  in 
1768,  but  left  that  country  very  young,  and  was 
patronized  by  the  Earl  of  Inchiquin.  lie  tinislcd 
ins  musical  education  in  Italy ;  and  whiic  at  Na- 
ples was  much  noticed  by  Sir  William  and  I.ady 
Hamilton.  He  composed  the  beautiful  ballad  of 
'•  O  Nanny,  wilt  thou  gang  with  me  f  "  also  the 
celebrated  description  of  a  sea  tight,  "  Staiul  to 
your  guns,  my  hearts  of  oak."  lie  was  likewise 
known  as  composer  of  n  capriccio,  beginning 
with  the  words,  "  Fairest  Dorindn,"  in  wliich  he 
iiuited  all  the  elegances  of  musical  science  with 
tl'.e  most  humorous  comic  expre<»sion.  Carter 
passed  some  time  in  India,  where  he  conducted 
the  musical  department  of  the  theatre  in  Bengal ; 
but  the  climate  so  greatly  atlcctcd  his  health  that 
he  was  under  the  necessity  of  returning  to  Eng- 
land ;  and  it  is  supposed  that  in  India  he  irabibwl 
a  liver  comjilaint,  which,  at  length,  in  the  year 
ISOt,  tenuinated  his  existence.  Mr.  Carter  did  | 
not  always  meet  with  that  encouragement  to  I 
which  his  musical  talents  might  have  entitled 
him  ;  and,  as  economy  was  not  among  the  virtues 
wliich  ho  cidtivated  in  early  lile,  he  was  often  I 

17 


reduced  to  those  straits  and  difficulties  from  whic': 
genius  and  talent  can  plead  no  exemption.  Iu 
one  of  those  scenes  of  embarrassment,  his  meani 
and  resources  having  been  exhausted,  he  ran- 
sacked the  various  species  of  composition  he  ha'i 
by  him,  but  liniling  that  none,  nor  all  of  them 
would  jiroduce  a  single  guinea  at  the  music 
shops,  he  hit  upon  the  following  expedient  foi 
the  immediate  su]>ply  of  his  most  jircssiiig  neces- 
sities. Being  well  acquainted  with  the  character 
of  Handel's  manuscript,  he  procured  an  old 
skin  of  parchment,  which  he  jjreparetl  for  the 
purpose  to  wliich  he  meant  to  turn  it,  f>r.v4  miiiiit- 
ing  as  closely  as  he  could  the  handwriting  as  wcl. 
as  the  style  and  manner  of  that  great  master,  ho 
produced,  iu  a  short  time,  a  piece,  which  so  well 
deceived  a  music  seller,  that  he  did  not  hesitate 
to  give  twenty  guineas  for  it :  and  the  piece  passes 
this  day,  amongst  many,  for  a  genuine  produc- 
tion of  Handel.     Carter  died  in  1804. 

CARTIER,  JEAN  BAPTISTE.  A  good 
French  violinist  at  Pari.-,  since  the  year  1701.  He 
was  a  pupil  of  Viotti,  and  published  much  mu- 
sic for  his  instrument  between  the  years  1792  and 
1801 ;  he  has  also  edited  the  sonatas  of  Corelli, 
Porpora,  and  Nardini. 

CARL'LLI,  FERDIX.VNDO.  A  NeapoUtan 
guitarist,  and  composer  for  his  instrument.  He 
was  born  in  1770.  He  has  published  at  Paris  an 
excellent  method  for  his  instrument. 

CARUSO,  LUIGI,  bom  at  Naples  in  17.5}, 
was  son  of  a  chapel-master  of  some  estimation, 
and  brother  of  Emiuanuele  Caruso,  who  also  dis- 
tinguished himself  as  a  musician.  He  quitted 
Naples  at  the  conclusion  of  his  studies,  which 
were  pursued  under  his  father.  His  first  operii 
was  "  //  Medico  ma'/iiijico,"  given  nt  Florence  iu 
1771.  Encouraged  by  its  favorable  reception, 
Caruso  compo'^ed  for  Rome,  in  1781,  "  II  Fnnati.  i 
per  la  MiMiai,"  which  succeeded  completely,  ami 
supported  several  repie-entations.  It  was  fol- 
lowed by  "  L<i  Teiiiprsta,"  "  C'o/oiiiho,"  and  "  fl 
Miiledico  coiifiiso,"  wliich  were  e(iuaUy  fortunate. 
He  returned  to  Naples,  where  he  gave  "  G.i 
Amnnd  di.ipi'ffnsi,"  founded  on  "  Le  Depit  Anioii- 
rciu  "  of  Molicre.  Cai'uso  resided  some  time  in 
Gennany,  where  he  distinguished  himself  in 
vocal  composition,  and  from  thence  proceeded  to 
Sicily,  where  he  was  named  chapel-master  at  Pa- 
lermo, llic  style  of  this  composei  wa"  formed 
upon  that  of  the  best  masters. 

CASALI,  (JIOVANNI  BATTISTA.  Chapel- 
master  at  Rome  in  1760.  He  had  the  honor  <■( 
being  master  to  Gretry.  He  composed  a  greii'. 
nuiuber  of  masses,  some  oratorios,  and  also  a  fe^'v 
works  for  the  theatres,  llie  second  mass  in  tl".8 
first  volume  of  Novello's  collection  is  by  Ca.sali. 

CASALI,  LUDOVICO.  A  writer  on  music  at 
Modena  in  162^. 

CASATI,  FRANCESCO.  An  organist  nmi 
composer  of  motets  in  Venice  at  the  beginumg  of 
the  seventeenth  century. 

CASATI,  GASPARO.  A  Venetian  Tocal 
composer  in  the  middle  of  the  seventeenth  ceii- 
tury. 

CASATI,  THEODORO.      An   organi?     and 
vocal  composer  at  Milan  in  the  middle         tli« 
seventeenth  century. 
9 


CAS 


ENCYCLOPAEDIA    OF    MUSIC. 


CAS 


CA  E,  JOHN.  An  Eii!,'lLsh  physician,  born 
Bt  W  odstoi-k.  He  wrote  a  work  caUeil  "The 
I'rai^t  of  M>i!^ic',"  nn  edition  of  which  was  pub- 
lished nt  Oxford  in  ITSr, ;  also,  two  years  aftcr- 
■wards,  a  Latin  work  on  music.     He  died  m  IGOO. 

CASELLA, ,  rcmaikablc  as  the  first  raad- 

risnl  composer  mentioned  in  the  history  of  music, 
liveA  at  I'lorcnce  about  the  year  1280,  and  was 
Ru  intimate  friend  of  Dante. 

CASELLA,  AUGl'STUS  CAESAR,  was  bom 
at    Lisbon   on   the    loth    of   October,    1820,    of 
(Jcnocsc  parents.     His  father  was  a  celebrated 
prol'essor  of  the  violoncello,  and  nt  that  period 
held  the  office  of   leader  at  the  theatre  of   San 
Carlo,  in  the  above-mentioned  city.     At  the  a>^e 
of  four  Years  C'asella  evinced  a  great  taste  for  mu- 
Hic.     ^^'hen   his    father  was  practisiug  upon  Ins 
instrument,  he  would  draw  near  to  him,   and  a 
desiic  to  become  a  great  performer  was  percepti- 
ble in  the  cliild,  even  at  that  tender  age.     He 
was  alwavs  singing,  scribbhng  musical  characters, 
and  laviii"  his  hands  on  evcrv  instrument  that 
came  witliin  his  roach.     Finally  his  ruling  pas- 
sion was  yielded  to.     HLs  father  left  Lisbon,  and 
returned  "to  his  own  country,    where  he   com- 
menced superintending  the  studies  of  his  son. 
The  violin  was  the  first  instrument  put  into  the 
hands  of  the  youth;    but  the   experiment   was 
truitless.     llie"  learner  showed  no  inchnation  for 
the  study.     The  violoncello.  Ids  father's  instru- 
ment, was  then  tried ;  to  that,  and  to  that  only, 
he  applied  himseU'  with  the  greatest  eagerness. 
He  studied  under  the  tuition  of  lus  father,  and 
with  so  much  assiduity  that  at  the  age  of  four- 
teen he  gave  his  fii'st  concert  at  the  tlieatre  of 
Cnrlo  Felice,  in  Genoa.     This  concert  met  with  a 
higlily-i'avorablc   result,    and   produced    a    great 
etiect'     But  many  allowances  are  made  to  one  at 
the  age  of  the  young  dibutant.     His  father,  who 
was  a  finished  master  of  his  art,  was  well  aware 
I'uit  much  more  study  was  necessary  to  make 
a  -reat  artUte  of  Ills  son.     Consequently  he  placed 
him   at    the  Conservatory  of  Music,  m  Genoa, 
where  he  remauied  for  some  tune,  and  until  his 
lather  received  the  ajipointment  of  first  violoncel- 
list to  his  Sardinian  majesty,  and  was  obhged  to 
leave  Genoa  in  order  to  proceed  to  the  capital. 
Here  it  was,  it  may  be  said,  Ciu^ella  began  hLS 
musical   career,    by    occupying    a   distinguished 
place    in   the   orchestra  of  the   lloyal    iheatre, 
where  be  remained  for  six  years,  endeavoring  to 
pcnect  himscU  in  his  art.     But  never  did  a  m:.n- 
u'l-r  have  so  insubordinate  a  musician  as  t  asella. 
iFc  could  not  adapt  himself  to  the  materialism  ol 
tl.e  ondiestia,  and  although  his  father  had  con- 
Iri.ted  for  him  for  eight  years,  he  managed  so 
tiat  at  the  close  of  the  sixth  Casella  was  per- 
mitted to  resign  his  post.     From  that  time  he 
.handed  completely.     He  applied  liimseU  to  the 
st'.dv  of  the  solo  violoncello  and  to  composition, 
.md  in  the  year  1841  he  gave  his  farewcU  concert 
in  the  presence  of  I'rincc  Carignaiio,  at  which  he 
K-ceive.l   great   applause.     On  that  oceasion   he 
produced,  lor  the  first  time,  his  elegy  on  the  loss 
of  his  mother.     Tliis  pathetic  piece  met  with  so 
much  favor  that  he  was  not  allowed  to  withdraw 
l.r;oic  having  repeated  it,  at  the  re>iuest  ot  las 
rovid  highness.  ,oio    .♦ 

He  next  went  to  Genoa,  in  the  year  184i,  at 
H.c  time  the  royal  court  was  indulging  in  great 
ItoUviticrt  -in    account  of   the  marriage  of    the 


hereditary  Prince  Victor  Emanuel  Carella,  and  waa 
employed  to  plav  at  a  concert  before  the  court,  at 
which"  were  pres'ent  Charles  Albert,  King  of  Sar- 
dinia, all  lus  family.  Prince  Carignauo,  the  King 
of  Naples,  the  Viceroy  of  Milan,  &c.  He  pro- 
duced such  an  eficct  "that  he  was  rewarded  tor 
his  perfonnaucc  with  the  title  of  solo  violoncellist 
at  the  roval  coui-t.  He  also  received  at  Genoa 
the  degree  of  professor  of  the  Conservatorio. 

Thence  he  proceeded  to  France,  where  he  gave 
several  concerts,  which  created  a  great  sensation. 
Mcry,  the  French  poet,  said  "  Casella  sings  with 
the  violoncello  as  Kubini  does  with  the  voice.  His 
elegy  causes  tears  to  fiow,"  &c. 

He  was  created  honorary  member  of  seversl 
Philharmonic  Societies  ;  he' also  obtained  the  U- 
gree  of  professor  of  the  Conservatory  of  Turin ; 
and  relying  upon  the  success  which  he  hatl 
already  met  with,  on  the  fondness  of  the  Araen- 
can  people  for  music,  and  on  their  capacity  to 
appreciate  it,  he  did  not  hesitate  to  set  foot  on 
tlie  new  world.  He  was  weU  received  m  thl* 
country. 

CASENTINI,  MARSILIO.  A  composer  of 
raadrigak  and  other  vocal  music,  published  at 
Venice  in  1007  and  1016. 


CASINI,  D.  GIOVAN  MARIA,  a  norentinc 
priest  and  composer,  was  chapel-master  and  or- 
ganist to  the  Grand  Duchess  of  Tuscany  in  the 
year  1700,  and  pubUshed  some  vocal  and  mstru- 
inental  music  between  the  years  1703  and  171-1. 

CASSIODORUS,  MAGNUS  AUKELIUS.  A 
Roman  consul,  who  wTOte  on  the  subject  of  mu- 
sic.    He  died  m  1575. 

C^STAGNEDA    Y  PARES,   D.   ISIDORE  • 
Author  of  a  theoretic   trer.tlse  on  the  first  ele- 
ments of  music,  published  at  Catliz  in  1785. 

CVSTANETS,  or  CASTAGNETS.  Instru- 
ments  used  in  dancing.  They  consist  of  two  hol- 
lowed chestnut  shells.  The  dancer,  holding  a 
Castanet  in  each  hand,  rattles  them  to  the  motion 
of  his  feet.  The  castanets,  in  conjunction  with 
the  guitar,  were  fonuerlv  the  favorite  accompauir- 
ments  of  the  Mooixsh  and  Spanish  dances. 

CASTELBIANCO,  QUIRINO  DI.  A  i-ct- 
forraer  on  the  harpsichord,  and  composer  for  his 
instrument,  living  in  Italy  in  the  year  1700. 

CASTF.LLAN,  SIGNORA,  a  native  r>f  Lyons. 
France,  developed  ui  her  infancy  great  musical 
talent,  and  at  eight  years  of  age  was  placed  under 
Cinti  Damoreau,  the  celebrated  singer.  bJe 
studied  till  she  was  inxtcn,  wh.en  she  appeared 
in  opera.  She  has  a  compass  of  three  octaves. 
She  sang  in  Boston,  Mass.,  in  the  winter  ot  184  5-4, 
and  has  since  held  a  distinguished  rank  m  the 
operas  of  London  and  Paris. 

CASTELLI,  PAOLO.  A  dramatic  composer 
and  poet  at  the  court  of  Vienna  in  1083. 

C  YSlTiLLO,  D  ARIO.  A  composer  of  instru- 
mental music  pubUshed  at  Venice  in  the  yeai-s 
1<;J7  and  1829. 

CVSTELLO,  GIOVANNI.  An  Italian  per- 
former on  the  harpsichord,  and  composer  ot  some 
music  for  his  instrument,  published  at  \  lenna  m 
1722. 

C  \STOLDI,  or  G  ASTOLDI,  GIOVANNI  GI- 
ACOMO,  born  at  Carraggio,  was  the  author  ol 
thirty   musical   works,   the  titles   and  dates  o' 


180 


CAS 


EXCVCLOP.-EDIA    OF    MUSIC. 


;a7 


whicli  maj'  be  seen  in  Wnlther's  "  Miisiknlischc.i  '  couverHation.     DurinjT  her  rciidcnco  in  tliis  hou'-t 
■exicon."      llis    ballads,  printed  at  Antwerp  in  I  of  learning  and  religious  repose,  the  I'aiue  of  hc^ 


596,  under  the  title  of  "  lialktti  a  5  e  6  Versi  per 
Jantarc,  Sonare,  e  Ballare ;  con  una  Masc/ierata  di 
Cacciatori  a  C,  c  un  Concerto  di  I'astori  a  8,"  put 
the  derivation  of  our  word  baUad  out  of  all  doubt, 
which  originally  meant  a  song,  sung  and  danced 
to  at  the  same  time.  "  llie  tunes  of  Ga>toldi," 
obsei-ves  Dr.  Uurney,  "  aic  all  very  lively,  and 
more  graceful  than  any  I  have  Been  before  the 
cultivation  of  melody  for  tl-.e  stage." 

CASTRO,  JOHANNES  A.  A  voluminous 
composer  of  voc^al  music,  published  in  the  Neth- 
erlands between  the  years  lo'JG  and  1600. 

CASTKOVILI.AKI.  A  monk  and  Italian 
dramatic  composer  bi  the  middle  of  the  seven- 
teenth century. 

CASTRUCCI,  riETRO,  bom  at  Rome,  about 
1690,  was  an  excellent  performer  on  the  violin. 
lie  succeeded  Corbett  as  tirst  violin  at  tlie  Opera 
House  m  London,  about  the  year  171S,  and  led 
the  opera  baud  for  many  years  ;  but  growing  old, 
Handel  liad  a  mind  to  i)lace  a  young  man  named 
John  Clegg,  scholar  of  Dubourg,  at  the  head  of 
the  orchestra.  Castrucci,  being  in  very  necessi- 
tous circumstances,  and  not  in  the  least  conscious 
of  any  failure  in  his  hand,  was  unwilling  to  quit 
his  post ;  upon  wliich  Ilandcl,  in  order  to  con- 
vince hijn  of  his  inabUity  to  till  it,  composed  a 
concerto,  in  which  the  second  concertino  was  so 
contrived  as  to  retjuire  an  equal  degree  of  execu- 
tion with  the  first :  tliis  he  gave  to  Clegg,  who  in 
the  performance  of  it  gave  such  proofs  of  his  su- 
])eriority  as  reduced  Castrucci  to  the  necessity  of 
yielding  the  palm  to  his  rival.  Oppressed  with 
years,  he  immediately  sunk  into  oblivion,  and  at 
the  age  of  eighty,  upon  tlie  merit  of  his  past 
services,  became  a  supplicant  to  the  public  for  a 
benefit,  at  which  he  i)erfonned  a  solo,  and  soon 
after  ilied.  He  published  two  sets  of  solos  for  a 
violin,  with  a  thorougli  bass,  and  twelve  concer- 
tos for  violins,  which,  though  hardly  known,  have 
great  merit.  It  is  Castrucci  who  is  represented 
in  one  of  Hogarth's  prints  as  the  enraged  musi- 
cian, the  painter  having  sutlicieut  jmlissonncrie, 
jirevious  to  making  the  drawing,  to  have  the  mu- 
sician's house  beset  by  all  the  noisy  street  instru- 
ments he  could  collect  together,  whose  clamorous 
performance  brought  him  to  the  window  in  all 
the  agonies  of  auricular  torture. 

CASri.ANA,  MADDELANA.  A  female 
composer  of  some  madrigals  publislicd  at  Venice 
and  lirescia  between  the  years  1568  and  loS.'J. 

CATACOl'SriCS.  (From  the  Greek.)  ITiat 
branch  of  ihe  science  of  acoustics  which  consid- 
ers the  doctrine  of  echoes,  or  reflected  sounds. 

CATAI.ANI.  ANGELICA.  This  celebrated 
singer  and  acti-ess  was  a  native  of  Sinigaglia,  in 
the  neighborhood  of  Rome,  where  she  was  born 
in  the  year  1783.  Her  father  was  a  merchant, 
and  lived  in  high  respectability,  but,  from  the  in- 
cursions of  the  French,  lost  all  his  property. 
Very  early  in  life  Catalani  was  noticed  by  Car- 
dinal Onorati,  who,  being  deligV.ted  with  tlie 
power  and  sweetness  of  her  voice,  recommended 
her  to  the  coiwent  at  Gubbio,  with  such  injunc- 
tions on  its  masters,  with  respect  to  the  care  and 
attention  of  their  fair  pupil's  talents,  as  soon  ren- 
dered her  the  accomplished  subject  of   general 


extraordinary  voice  brought  persons  from  distant 
l)art.s  of  Italy  to  hear  her  sing.  As  a  striking 
instance  of  the  delight  which  the  tones  of  hei 
voice  i)roduced  on  her  aiulitors  at  this  period,  it 
may  be  mentioned  that  she  was  publicly  ap])laud- 
ed  in  the  chapel  of  the  convent,  when  she  sang 
with  the  nuns  ;  which  the  cardinal  could  by  no 
other  means  prevent  than  by  forbidding  her  per- 
fonuance  in  the  church.  At  the  age  of  fifteen 
she  left  the  above  convent,  when  the  unexpected 
revolution  in  her  fatlier's  affairs  first  induced  her 
to  become  a  public  pcrlbrmer;  for  which  puq)0;.c 
she  went  to  Venice,  where  slie  made  her  first  ap- 
pciirance  on  the  boards  of  a  theatre  at  the  early 
age  of  fifteen.  She  next  proceeded  to  Milan, 
where  she  made  her  dibut  in  an  opera,  in  wliich 
the  celebrated  Marchesi  performed. 

The  great  success  which  accompanied  her  first 
exertions,  together  with  the  valuable  instructions 
she  received  in  music  from  Marchesi,  soon  gave 
Catalani  a  very  high  degree  of  professional  em- 
inence. 

Alter  having  delighted  the  inhabitants  of  Ven- 
ice, Verona,  and  Mantua  for  three  years  in  her 
professional  capacity,  she  was  called  to  Lisbon, 
where  she  continued  three  years,  enjoying  every 
kind  of  attention  her  heart  could  possibly  pant 
for.  In  this  city  Monsieur  de  Valebre<jue,  then  a 
very  young  officer  in  the  8th  regiiuent  of  French 
hussars,  fell  in  love  with  her  during  her  perfonu- 
ance  ;  and  it  is  said,  that  a  prc.ictit intent,  on  first 
seeing  each  other,  j)roduced  the  following  remark  : 
"  If  ever  I  raany,  that  gentleman  (meaning  the 
above)  will  be  my  husband  ;  "  and  the  same  sen- 
timent was  expressed  by  Monsieur  de  Valebre(|uo. 
In  a  short  time  they  were  married,  and,  it  is 
said  they  passed  many  years  together  in  an 
uninterrupted  state  of  domestic  happiness.  They 
have  three  cliildren,  two  of  whom  were  born  in 
England.  Madame  Catalani  (for  so  we  shall  con- 
tinue to  call  her)  stood  so  high  in  the  estimation 
of  tlie  court  of  Portugal,  that  when  she  signified 
her  inlcntion  of  leaving  I/isbon,  the  consort  ot 
the  prince  regent  wrote  a  letter  to  her  mother, 
the  Queen  of  Spain,  reconmieiidiiig  Catalani  to 
her  majesty  in  terms  of  the  strongest  respect  and 
admiiatiou.  On  her  arrival  at  tlie  court  of  .Sjiaiu, 
her  majesty  received  hec  with  the  most  familiar 
kindness,  and  was  jirofuse  in  her  royal  presents 
and  favors.  The  king  also  gave  many  proofs  of 
his  respect  for  lier  moral  demeanor  and  extraor- 
dinary talents  ;  one  of  which  was  the  free  u-e  of 
the  Opera  House,  by  his  command,  for  the  pei- 
formance  of  a  concert.  Her  re'jiitation  had  at 
this  time  advanced  so  rapidly  in  Sjiain,  that  tho 
grandees  of  the  court  fixed  the  prices  of  the  rtt>t 
seats  in  tlie  opera  at  six  ounces  of  gold,  wliidj  is 
e(iual  to  twenty-one  guineas.  Even  at  this  high 
price  tlie  theatre  was  crowded  ;  and  the  receipts, 
independent  of  frescnts,  amounted  to  two  thou- 
sand five  hundred  guineas.  From  Spain  Madame 
Catalani  went  to  I'lu-is,  where  her  reception  was 
the  most  ftatteriiig,  and  where  she  gave  lour  con- 
certs, the  price  of  admission  to  which  wa*  in- 
crea'-ed  fiom  the  usual  sum  of  six  francs  (ten 
shillings)  to  one  pound  five  shillings,  and  eacli  ol 
these  enfertainmentji  produced  to  her  twcnty-fouj 
thousand  francs. 

nie  celebrity  this  beautiful  and  accomplished 
artist   had   acquiied   in   Italy  and   Lisbon   soo/ 


181 


CAT 


ENCYCLOPEDIA    OF    MUSIC. 


CAl 


reaclifxl  Eiiglniul,  niul  as  isoon  created  a  wLsh  on 
tlio  part  ol'  UritL-ili  amateurs  to  attach  such  au 
acquLsition  to  the  Italian  opera  of  that  country. 

All  the  Knulish  ivho  woie  in  Portui^al  at  the 
time,  and  who  witne-^sed  tlie  prodigious  jiowcrs 
and  '^reat  succe-is  of  Madame  Catalani,  recom- 
mended her  poinp;  to  England,  and  acceptini^ 
ivhatever  salary  mifjht  be  offered  her ;  but  only 
;ir  a  sing^lc  season,  as  they  were  convinced  that 
»u  the  sei-ond  year  she  might  make  her  own 
terms,  both  at  the  King's  'Hieatre  and  at  the  Lon- 
don concerts.  In  compliance  with  this  advice, 
she  eu'^aged  her-elf  for  one  year  at  the  King's 
Theatre,  at  a  salary  of  two  thousand  g\xincivs ; 
and  on  the  13th  of  December,  180G,  made  her 
first  appearance  in  London,  in  the  character  of 
Serairamidc  in  the  serious  opera  of  that  name, 
*■  disposed  expressly  lor  her  by  I'ortogallo.  The 
prognostics  of  her  Iriends  in  Lisbon  were  now 
soon  to  be  completely  verified ;  for  in  the  second 
i-cason  of  Madame  Catalani's  re:^idence  in  Eng- 
land, she  cleared  more  than  ten  thousand  guin- 
eas, as  will  appear  by  the  following  calculation  : 
She  received  five  thousand  guineas  from  the  King's 
Theatre,  and  two  benefits  assured  to  her  at  one 
thousand  guineas  each;  one  thousand  one  hun- 
dred and  fifty  guineas  from  Harrison's  and  the 
king's  concerts  ;  one  thousand  guineas  from  the 
oratorios  at  Covent  Garden ;  and  moi'c  than  one 
thousand  from  different  subscription  concerts ; 
thus  forming  a  total  receipt  of  upwards  of  ten 
thousand  guineas  in  less  than  six  nutiit/is  ! 

In  1807  she  perfoiined  the  part  jireviously  en- 
acted by  Mrs.  Uillington,  in  the  opera  of  "  It 
j'-'a/ititico  per  la  Mu.iica  ;"  and  in  LSOS  appeared 
in  various  new  characters,  evincing  her  admirable 
powers  as  well  in  the  comic  as  tragic  scene.  In 
1809  her  talents  were  withdrawn  from  the  King's 
I'heatre,  in  consequence  of  a  misunderstanding 
with  the  managers.  The  same  season  she  gave 
fcix  concerts  at  the  Hanover  .Square  rooms,  and 
performed  at  the  oratorios.  In  1810,  she  reap- 
peared at  the  King's  Theatre,  and  had  two  bene- 
lits,  in  which  she  personated  La  Vestale  in 
Pucitta's  opera  of  that  name,  and  La  Buena  Fig- 
liuola  in  I'iccini's  opera  so  culled.  She  also 
perlorraed  at  the  oratorios,  and  succeeded  Mrs. 
Billington  at  the  Ancient  Concerts.  In  IS  11,  she 
perlonucd  the  "  Klfrida"  of  Taesiello,  for  her 
benelit.  In  1812,  she  appeared  in  the  following, 
among  other  operas:  "  Enrico  11'.,"  of  Martini; 
"  La  CIcmeiiza  di  Tito,"  of  Mozart ;  "  CamilUi,"  of 
I'aer;  and  "  Le  Sozze  di  J-'ir/aro,"  of  Mozai-t.  In 
I8i;i,  the  Opera  House  opened  with  "II  Fiirlx) 
pthli-a  il  Ftirix),"  a  burletta  by  Fioravanti,  in  which 
Madame  Catalani  pcr;urmcd.  At  her  benefit  she 
npitvirod  in  an  uns\icce-slul  opera,  by  Ferrari, 
••  L' I'.roiiia  de  Itiiab."  She  abo  returned  to  the 
Ancient  Concerts,  from  which,  for  one  season,  sh.e 
1  ad  seceded.  In  18 l.j,  Madame  Catalani  quitted 
England,  and  proceeded  to  I'ari-i,  where  the  King 
of  France  granted  her  the  pateut  of  the  Theatre 
lioyal  Italien,  and  condescended  to  annex,  by 
way  of  encouragement,  an  annual  allowance  of 
about  seven  thousand  pounds  sterling.  She  con- 
tinued for  four  years  proprietor  and  sole  manager 
of  that  theatre,  then  the  most  elegant  in  Paris. 
She  gave  alternate  engagements  to  the  celebrated 
comjiosors  Paer  and  Spontini,  lor  conducting  tl-.e 
mu-.ical  dcpanment,  and  also  engaged,  during  the 
time  mentioned,  almost  all  the  tir>t  singer-,  both 
liiale   and    Icir.ale,    of    Italy.      Nevertheless,    a,s. 


when  Madame  Catalani  did  not  herself  sing,  thi 
receijjts  were  trifling,  the  establLslnnent  became  a 
burden  to  her,  and  she  resolved  on  leaving  Pari:;, 
and  exerting  her  talents  in  all  the  capitals  of 
Europe.  The  trumpet  of  liimc  succe-isively  an- 
nounced the  glorious  fruits  of  this  determimition. 

From  ParLs  she  went  direct  to  lierhn,  where 
success  the  most  flattering,  and  honors  the  most 
disting\iLshed,  awaited  her.  She  excited  no  less 
admiration  by  her  beneficence  than  by  her  ex- 
traordinary talents ;  and  hLs  Prussian  majesty 
bestowed  upon  her  the  most  honorable  rev.  ard,  iu 
deigning  to  write  her  a  most  gracious  lettir, 
transmitting  to  her,  at  the  same  time,  the  grand 
medal  of  the  academy,  (similar  to  that  wliich  the 
great  Frederic  sent  to  A'oltaire.)  The  king's 
letter  was  publLshed  in  all  the  journals  of  the 
time.  Madame  Catalani  likewise  received  from 
the  court  of  Prussia  the  most  distinguished  tci- 
tinionies  of  kindness. 

Laden  with  honors  and  presents,  she  went  from 
Berlin  to  Hanover.  HLs  royal  highness  the  Duke 
of  Cambridge,  whose  enlightened  taste  for  the 
arts,  and  particularly  for  music,  Is  generally 
known,  received  her  with  all  that  amenity  which 
distinguishes  him  ;  and  all  the  ladies  of  the  court 
hastened  to  make  her  sensible  of  their  goodness. 
She  gave  a  concert  for  the  benefit  of  the  ix)oi, 
and  was,  the  same  evening,  cro>viied  at  the 
theatre. 

Madame  Catalani  afterwards  went  to  Stuttgard. 
The  charms  of  her  voice  made  such  an  impres- 
sion on  the  late  king,  who,  as  we  know,  was  pa.s- 
fcionately  fond  of  music,  that  some  minutes  before 
liis  death,  which  happened  a  few  days  after  hLs 
hearing  her,  he  pronounced  her  name. 

From  Stuttgard  she  went  to  Munich.  At  this 
first  vLit  to  that  cajiital,  m  cousetiuence  of  a 
trifling  misundei-standing,  she  did  not  ting ;  but 
returning  some  time  after,  when  she  paid  hei 
duty  to  the  queen,  her  majesty  embraced  her,  and 
la^-ished  her  goodness  upon  her,  as  if  to  indem- 
nity her  for  the  slight  mistake  that  had  occurred. 
The  king  was  not  less  obliging  in  his  conduct  tc 
Madame  Catalani,  and  was  so  good  as  to  recom- 
mend her  to  the  friendship  of  lus  daughter  the  , 
Empress  of  Avistria. 

Furnished  with  this  powerful  recommendation, 
she  jiroceeded  to  Vienna,  where  she  met  witli 
prodigious  success.  To  give  an  idea  of  it,  it  will 
be  sutficicnt  to  cite  the  following  facts :  At 
each  of  her  concerts,  the  great  room  of  the  Ilc- 
doubt  wius  filled  to  excess,  though  the  price  of 
admission  was  very  liigh ;  the  room  contains 
three  tliousand  jiersons.  She  also  obtauied  the 
favor  of  the  whole  imperial  court,  and  the  em- 
peror made  her  a  present  of  a  superb  ornamental 
set  of  opal,  enriched  with  diamonds.  The  poor 
shared  her  success,  and  blessed  the  benevolence 
of  her  heart.  The  magistracy  of  the  city  testi- 
fied at  once  their  own  admiration  and  the  public 
gratitude,  by  causing  to  be  struck,  expressly  for 
her,  a  medal  wliich  bears  the  most  honorable  in- 
scription. 

For  a  long  time,  jjresiiing  invitations  called  for 
Madame  Catalani  in  Russia,  where  the  briOiancy 
of  her  reputation  had  excited  an  impitient  desire 
to  hear  her.  On  leaving  Austria,  si  e  made  the 
journey  to  St.  Petersburg,  where  she  oommeuced 
with  a  concert,  the  tickets  for  which  were  fixed 
at  twenty-five  rubles  Such  was  the  impression 
she  made,  that  the  room  could  not  contain  th< 


18:2 


CAT 


ENCYCLOPAEDIA    OF   MUSIC. 


CAT 


crowd:;  of  persons  who  came  to  tlie  succeediiii; 
uoncerts,  and  every  oveiiiiig  several  hundred  wore 
dLsappoiiiied  of  phicos.  At  Icnst'i  ^^^  chose  for 
the  scene  of  her  concludiu^  concert  the  public 
exchange ;  and  more  than  four  thousand  persons 
were  present.  Always  the  patroness  of  the  poor, 
Madame  t^atalani  determined  that  the  lar^e  re- 
ceipts of  this  evening  should  be  devoted  to  the 
wants  of  two  handled  unfortunate  families  in  .St. 
Petersburg;.  AMieu,  after  this,  she  took  leave  of 
tV.e  empresses,  their  nnijesties  condescended  to 
embrace  her,  ^ivin-;  her  assurances  of  the  inter- 
e-,t  with  which  the  preeminence  of  her  talents 
hiiCL  the  excellence  of  her  oonduct  had  inspired 
them.  The  reit;ning  empress  made  her  presents 
of  a  pair  of  gold  ear  rings  and  a  diamond  neck- 
lace. The  Emperor  Alexander  was  not  less  gen- 
erous. In  the  jirescnce  of  his  whole  court,  he 
graciously  kissed  her  hands,  thanking  her  for  the 
good  act  she  hud  done,  and  presentmg  her  with 
a  magniticent  gii-dle  of  brilliants.  Madame  C/'ut- 
alaui  remained  four  mouths  in  Uussia ;  and  in 
that  space  of  time  the  concerts  which  she  gave, 
as  well  in  the  capital  as  at  Uiga,  at  Moscow,  and 
at  M'ilna,  produced  her,  all  expenses  paid,  more 
than  tiltcen  thousand  giiincas,  exclusive  of  pres- 
ents of  great  value.  The  liberality  with  which 
the  liusi-ian  nobility  encourage  the  fine  arts  is 
well  known,  and  the  following  is  a  new  testimo- 
nial. \\'hen  Madame  Catalani  went  from  Mos- 
cow to  AVarsaw,  she  found,  on  lier  arrival  at  this 
latter  city,  a  letter  from  the  principal  Muscovite 
nobles,  in  which  they  oH'ered  to  secure  to  her  two 
hundred  and  forty  thousand  rublej,  (about  ton 
thousand  guineas,)  if,  during  the  winter,  she 
would  come  and  give  ten  concerts  in  their  ancient 
capital.  Fcivriiig  that  her  health  would  not  bear 
the  severity  of  th.e  climate,  she  was  compeCed 
to  decline  this  offer,  advantageous  as  it  wius,  and 
for  which  fdie  conveyed  nn  answer  in  tenus  at 
once  of  gratitude  and  regret.  Resides  the  capi- 
tals we  have  named  above,  Madame  Catalani 
sang  in  fitty  or  sixty  populous  towns  of  Genna- 
ny  and  Italy  ;  and  every  where  the  most  august 
personages,  as  ^vcll  as  the  public  at  large,  showed 
her,  by  brilliant  favors,  that  their  esteem  for 
her  ]iersonal  conduct  and  beneficent  disposition 
equalled  their  admiration  for  the  wonders  of  her 
talent.  It  may  be  said,  that  her  success,  and  the 
lUstinctions  with  which  she  was  honored  at  all 
courts,  have  hitherto  been,  and  will  probably  re- 
main, without  a  parallel.  In  the  summer  of  1821, 
Madame  Catalani  returned  to  London,  and  im- 
mediately announced  a  concert  at  the  Argyle 
rooms,  wliich  was  brilliantly  attended.  She  sang, 
on  'hat  occasion,  an  air  by  the  Marciuis  Sampieri, 
"  Lflla  .i'ij>cr!)a  lioina  ;  "  "  An  Air  l)y  llode,  with 
Variations,  originally  wTitteu  for  the  Violin  ;  "  a 
recitative  and  ail'  of  Pucitta,  "  Mio  bene  ;  "  and 
Mozart's  bass  song  in  Figiuo,  "  \on  piu  andrai." 
In  point  of  energy,  force,  and  brilliant  execution, 
it  seemed  hardly  possible  that  Catalani  could  ex- 
ceed the  degree  of  perfection  she  had  arrived  at 
before  quitting  England ;  competent  critics  gave 
it,  however,  as  their  opinion,  that  her  powers 
were  certainly  improved.  The  (Juarterly  Musi- 
cal reviewer,  who  was  present  at  her  first  concert 
in  1821,  speaks  of  her  in  these  words  :  "  Madame 
Catalani's  style  is  still  purely  dramatic.  liy  this 
epithet,  we  mean  to  convey  the  vivid  conception 
that  exalts  passion  to  the  utmost  pitch  of  ex- 
vressivcncBS ;  the  brilliaucy  of  coloring  that  in- 


vests every  object  ujjon  wliich  the  iraaginntioo 
falls  with  the  richest  clothing,  that  gives  th 
broadest  lights  and  the  deepest  shadows.  Ilrnce 
there  is  a  i)articidar  point  in  the  perspective  fioni 
which  alone  she  can  be  viewed  to  advantage. 
Distance  Ls  iiidisj)en:>able,  for  her  efforts  arc  cal- 
culated to  operate  through  amplitude  of  space, 
and  u;)on  the  large-t  assenil)lics.  Apjiroach  her, 
and  she  is  absolutely  terrific  ;  the  spectator  trem- 
bles for  the  lovely  frame  tliat  he  perceives  to 
be  so  tremendously  agitated.  Iliey  who  have 
never  witnessed  the  enthusiasm  which  illumi- 
nates that  finest  of  all  created  countenances  have 
never  seen,  no,  not  ui  Mrs.  Siddons  herself,  tin- 
perj'i-clion  of  iiiajcs/i/,  nor  in  Miss  O'Xeill,  the 
softest  triiimplu  of  the  teiuUr  affections.  Madam>3 
Catalani's  jierson  is  a  little  increased,  and  her 
features  are  now  stamped  with  the  comjilete  oud 
perfect  dignity  of  consummate  beauty  in  its  rich- 
est maturity.  Iler  thoughts  literally  coruscate 
through  the  bright  radiance  of  her  eyes  and  the 
ever-changing  varieties  of  her  countenance, 
llers  Ls  the  noblest  order  of  forms,  and  every  vein 
and  every  fit)re  seem  instinct  with  feeling  the 
moment  she  begins  to  sing.  Never  do  v  e  rec- 
ollect to  have  observed  such  powerful,  such  in- 
stantaneous illuminations  of  her  figure  and  her 
features  as  Catalani  displays.  Thus  the  whole 
person  is  aiding  (how  strongly  I)  the  effects 
of  the  most  extraordinary  voice,  the  most 
extraordinary  energy,  and  the  most  extraordi- 
nary tacihty  the  world  of  art  has  ever  known ; 
and  the  combined  results  are  iiTe>L4ible. 
The  mind  is  now  allured,  and  now  impelled, 
now  awetl  by  dignity  surpassing  all  that  can  be 
conceived,  now  transported  by  smiles  of  tender- 
ness more  exquisite  than  poetry  has  ever  fancied." 
In  the  season  of  1822,  Madame  Catalani  gave 
five  concerts  at  the  Argyle  rooms,  with  her  usual 
success.  She  sang  lour  airs  in  various  styles  at 
each  concert,  and  Ls  said  to  have  given  the 
opening  of  the  Messiah,  "  Comfort  ye  my  peo- 
ple," in  the  traditionary  style  of  llandel,  with 
her  own  magnificence  and  force,  and  with  nearly 
as  much  purity  as  Mr.  Vaughan  hirascLf.  Since 
these  concerts,  she  was  heard  at  the  two  cele- 
brated ])roviucial  music  meetings  of  York  and 
liirmingham,  which  took  jilace  ui  the  autumn  of 
1823.  At  the  former  meeting  she  sang  the 
"  (Iratias  aifimiis,"  from  a  ma.ss  by  Guglielmi ; 
"  Holy,  holy,"  by  Handel ;  "  Sceiui  deve  e  il  ci- 
mento,"  by  Facci ;  Uode's  violin  air  with  varia- 
tions, "  At  dotce  incanto ; "  "  Comfort  ye,"  "  Every 
valley,"  "  I  know  that  my  Kedecmer  liveth," 
and  "  Angels  ever  bright  and  fail,"  by  Handel ; 
"  Luther's  Hymn ;  "  "  Domim;  labia  men  ;  "  grand 
aria,  "  La  iu  redrai,"  Clementi ;  "  Robin  Adaii", 
with  Variations  ;  "  "  .Vo/i  piu  andrai,"  Mozart  ; 
"  Sing  ye  unto  the  Lord,"  Handel.  At  Hir- 
mingham  she  sang  "  Mio  ben,"  Pucitta  ;  "  Ilode's 
Air  ;  "  grand  scena,  "  La  di  Marte,"  Morlacclii ; 
"  ^>c  »uii  turbo,"  Cianchettini,  &c.  An  invitation 
having  been  made  to  Madame  Catalani  to  perform 
for  a  tew  nights  in  London,  in  the  opera  sca.soii 
of  1824,  and  it  being  the  ardent  wish  of  the  public 
that  she  should  acquiesce,  (her  logitiit  Ue  throne 
being  most  decidedly  the  boards  of  a  tneatre, 
and  not  the  orchestra  of  a  concert  room,  where 
the  half  of  her  unrivalle<l  talents  Ls  alone  within 
the  sphere  of  observation,)  she  accordingly  re- 
appeared on  the  boariLs  of  the  King's  Theatre^ 
after   an   absence   of    ten    years,   and   we  h»T< 


1S3 


,AT 


ENCYCLOP-EDIA    OF   ifUSIC. 


CAV 


jnly  spnce  here  to  ndd,  with  powers  unimpnircd. 
Madame  Cntalani  for  twenty-two  ye^\ris  held  a 
i.iilh  nink  uiiion!»  rauKicians.  She  died  at  her 
villa,  iieiir  ^^illil;n■^lia,  Uoman  States,  at  the  af;e  of 
fifty-nine.  Sl;c  lel't  a  fortune  stated  at  tlircc 
hundred  and  Ihirty-two  thousand  pounds.  She 
was  distiii);ui--hed  by  piety  of  life,  and  modesty 
and  jnirity  of  manners,  (ioncrous  and  henevo- 
Unt,  she  <;avo  away  much  i)i  c-harity,  and  it  Ls  es- 
timated that  the  product  of  her  concerts  for  the 
benefit  of  the  poor  amounted  to  more  than  two 
millions  of  francs.  She  founded  on  her  domain 
a  school  of  music,  where  she  taufjht  singing  gra- 
tuitously to  a  certain  number  of  poor  young  girls. 

CAI  AI.ISANO,  GENARO.  AVritcr  of  a  work 
on  the  princi])lc8  of  music,  published  at  Home  in 
17S1. 

CATEl,,  CHARLES  SniOX,  a  French  musi- 
cian, bom  at  Aigle(Pays  deVaud'l  in  1773,  went 
« li  L'c  very  youn'^  to  Paris, where  he  was  befriended 
by  Snc(  hini,  and  studied  under  Gobert  and  Gossec. 
In  tlic  third  year  of  the  republic,  when  the  Con- 
pen-atory  was  instituted,  lie  was  made  professor 
of  harmony.  In  1810,  Catel  was  chosen  as  a 
I'onnh  insiiector,  of  overseer,  of  the  Conserratory, 
in  addition  to  Gossec,  Mehul,  and  Cherubini, 
who  had  held  tliat  otiice  from  its  commencement. 
This  post  he  resigned  in  1814,  on  account  of  the 
removal  ol  his  triend,  M.  Sarrette,  from  the  ad- 
ministration ;  and  from  that  time  he  declined  all 
offices,  only  excepting  his  nomination  as  member 
of  the  Institulc  in  IHlo.  In  1824  he  was  made  a 
chevalier  of  the  legion  of  honor.  He  has  com- 
posed a  great  number  of  musical  works,  but  none 
lias  done  him  so  much  credit  as  his  "  Treatise  on 
Harmony,"  printed  in  1802,  and  adopted  by  the 
Conserv-atory.  Tliis  work  is  now  very  generally 
received  tlirovighout  Europe.  It  contains  a  theory 
which  may  bo  considered  as  a  8im])lification  of 
Uameau's  system ;  but  which  is,  in  fact,  the 
development  of  a  more  ancient  and  fertile  obser- 
vation. It  consists  in  regarding  only  as  chords, 
j>roperly  so  called,  those  which  need  no  prepara- 
tion, il.  Catel  calls  them  natural  chorcls ;  their 
employment  gives  natural  harmony ;  artificial 
harmony  is  deduced  trom  these  by  the  retarda- 
tion of  one  or  other  of  several  parts,  which  ai-e 
prolonged  in  the  following  chords.  This  theory 
ts  extremely  simple  and  luminous.  He  died  at 
Paris  in  1830. 

CATCH.  A  humorous  vocal  composition,  of 
English  invention,  consisting  of  three  or  more 
aarmoniic-  parts,  in  which  the  melodies  are  so  op- 
posed and  interrupted  by  tlie  contrivance  of  the 
composer,  that  in  the  perfonuance  the  singers 
catch  up  each  Oihcr's  sentences,  and  give  to  the 
SNOrds  a  sense  diflcrent  from  tliat  of  the  original 
reading.  From  this  characteristic  such  a  piece 
derives  the  name  of  catch. 


(I.)     A   chain   ot 


.  CATCH  CI.l'B.  A  mutficnl  fo<{ety.  the  mrmhorf  of  which  in«<A 
I    toKethiT  Tur  Uic  puriH^tt-  ff  iiiii,Hiijl  catchf*  and  glccH.     There  mn 

nuny  4'f  thi-M-  wiciul  invtilutiom  in  Ihc  hir^fe  cithi  of  Knclanrl.  Tht 
!  nir«t  re»m'rtLhlr  roU-h  cluli  w»«  llinl  hrlil  al  the  Thntihed  llouM 
I    I'uvcrn,  SL  James  Street,  which  was  established  so  eurlv  u  the  t«a: 

iroi. 

(CATENA    DI    TRILLI. 
succession  of  short  shakes. 

CATGUT.  A  small  string  for  fiddles  and 
other  musical  uistruments,  made  from  tlie  intes- 
tines of  sheep  and  lambs,  dried  and  twisted, 
either  singly  or  together.  Great  quantities  are 
imported  into  England  and  tliis  country  from 
France  and  Italy. 

CATHEDRAL  DfTY.  An  expression  ap 
plied  to  the  office  or  performance  of  the  organist 
of  a  cathedral.  To  execute  ^^■ith  preci-ion  and 
effect  the  organ  serj-ice  of  a  cathedral,  the  officiate 
must  be  intimately  acquainted  with  the  works 
of  the  great  church  masters  ;  be  well  versed  in 
thorough  bass,  counterpoint,  and  all  the  various 
evolutions  of  ancient  harmony ;  and  to  a  natural 
aptitude  for  this  species  of  performance,  add  the 
advantage  of  sedulous  appUcatiou  and  long  ex- 
perience. 

CAITANEO,  FRANCIS  MARLY,  bom  at 
Lodi  in  1739,  was  chapel-master  and  instru- 
mental comi)oser  at  Dresden  in  the  year  1756.     . 

CAUCIELLO,  PROSPERO.  A  composer  of 
instrumental  music  published  at  Lyons  in  1780  ; 
he  belonged  to  the  Chapel  Royal  at  Naples. 

CAULERY,  JEAN.  Chapel-master  to  the 
Queen  of  France.  He  published  a  collection  of 
sacred  songs  at  Antweq)  in  the  year  1.556. 

CAURROY,  FRANCOIS  EUSTACHE  DU, 
successively  chapel-master  to  Charles  IX.,  Henry 
III.,  and  Henry  IV.,  of  France,  and  also  canon  of 
the  Holy  Chapel  in  Paris,  and  prior  of  St.  Aloul, 
was  born  in  the  year  1549.  jVlthough  consid- 
ered one  of  the  greatest  miLsicians  of  his  day, 
he  does  not  appear  to  have  been  much  known 
out  of  his  own  countrj-.  There  are  extant,  of  his 
com])Osition,  "  A  Mass  for  the  Dead,"  which  was 
formerly  sung  once  every  year  m  the  cathedral 
church  of  Notre  Dame  at  Paris;  and  a  posthu- 
mous work,  ptiblLshed  in  1610,  entitled  "Md- 
l<iiif/e.i  (le  la  Musi>/ue  de  Eustache  de  Caurroy."  He 
died  in  the  year  preceding  the  date  of  the  last 
publication. 

CAVACCIO,  GIOVANNI.  A  singer  and 
comj)oser,  born  at  IJergamo  in  1556.  He  spent 
some  years  of  his  youth  in  Bavaria.  He  com- 
posed much  vocal  music,  iJublLshcd  after  his 
return  to  Italy  between  the  years  1581  and  1615. 
He  died  at  liis  native  towni  in  1626. 

CAVALIERE,  EMILIO  DEL.  Born  about 
1550  ;  a  celebrated  Roman  nobleman  and  amate\ir 
composer.  He  set  to  music  the  first  known 
oratorio  which  was  pcrfonued  at  Rome,  in  the 
year  1 600  ;  it  Ls  called  "  Im  linpprcscntazione  di 
Aniina  e  di  Corpo"  and  was  represented  ijj 
action  on  a  stage  in  the  church  of  La  ^'allicella, 
with  scenes,  decorations,  and  chorus,  n  I'antiqxtc, 
and  analogous  dances.  Emilio  del  Cavaliere,  as 
well  as  the  re-^t  of  the  early  comjiosers  of  dra- 
matic nmsic,  imagined  that  he  hatl  recovered,  in 
his  recitative,  that  style  of  music  which  th« 
ancient  Greeks  and  Romans  used  in  theil 
theatres.  And  a  singer  of  such  music  is  re- 
quii-ed  by  Cavaliere  to  have  a  line  voice,  per 
1 


CAV 


ENCYCLOP.^DIA    OF    MUSIC. 


CEB 


fect.y  in  tune,  and  free  from  nil  defects  in  his 

deliven-,   together  with  a    pathetic   expression, 

the  power  of  swelling  and  diminishing  the  tones, 

and  an  equal  resjiect  for  tlie  composer  and  poet,  in 

rendering  them  closely,  and  attending  well   to 

the  articulation  and  exjjression  of  the  words.     It 

is   recommended   to  ])lace  the   instruments   of 

accompaniment  behind  the  scenes,  which  in  the 

first  oratorio  were  the  following  :  — 

Vila  lira  doppia.     A  double  IjTC,  perhaps  a  viol 

da  gamba. 

Vn  clavicembalo.     A  haqjsichord. 

I'll  chitarone.     A  large  or  double  guitar. 

Dai flauti,  o  vero  dui  Jr..    ^ „^ a..*„_ 

.r.i   •■...•  ?  Iwo  common  Uutcs. 

J 1011  all  Hiitica.  ) 

No  violin  is  mentioned  here  ;  but  what  excites 
the  most  surprise  at  present,  in  these  instructions 
for  the  pcrl'onnance  of  an  oratorio  on  a  stage 
in  a  church,  ai"e  the  directions  for  the  dances. 
There  arc,  however,  examples  of  religious  dances 
in  the  sacred  writings,  as  well  as  in  the  history 
of  almost  every  ancient  people,  in  which  their 
religious  ceremonies  are  mentioned.  Most  of 
these  dances  are  performed  to  the  music  of  cho- 
ruses, which  are  singing  at  the  same  time,  in  the 
manner  of  those  in  the  old  French  operas.  On 
many  occa,sions  it  is  recommended  for  the  actors 
to  have  ui^truments  in  their  hands,  as  the  plajiug 
or  appearing  to  play  ujion  them  would  assist 
illusion  more  than  a  visible  orchestra. 

CAYALIERI,  GIROLAMO.  An  Italian  priest 
and  comj)0>cr  of  some  vocal  music  published  at 
MUan  and  Louvain  between  the  years  1600  and 
1616. 

CAVAI.I  J,  FKAN' CISCO.  Chapel-master  at 
Venice,  and  composer  of  thirtj'-live  operas,  be- 
tween the  years  lii'.il  and  1607  ;  several  of  these 
were  fre<|uently  revived  long  after  his  decease. 
Dr.  Burney  says  that  the  "  grave  recitative  began 
tirst  to  be  interrupted  with  that  ornamented  sort 
of  stanza  called  aria,  m  the  opera  of  '  Giasone,' 
set  by  Cavalli  in  1019."  Born  in  Venice  in  1610, 
aiul  died  there  ia  lOTl. 

CAV  ALLO,  TIBEIUO.  An  author  of  a  paper 
on  musical  instruments,  in  the  "  London  Phil- 
osophical Transactions  "  for  the  year  1788. 

CAVALLO,  FORI'UNAIUS,  bom  in  the 
bishopric  of  Augsburg  in  1738,  made  his  first 
studies  in  the  seminary  of  that  city ;  learned 
composition  of  the  cathedral  chapel-master 
Julini ;  afterwards  stutlied  under  Riepel  at  Katis- 
bon,  where,  in  1770,  he  became  chapel-master  at 
thf  cathedral,  lie  died  at  this  post  in  1801. 
Ca'^allo  comjjosed  more  than  twenty  solemn 
ma,«ses,  concertos  for  the  clavichord,  sjTnpho- 
nies,  cantatas,  &c. ;  but,  with  the  exception  of 
two  masses  and  some  offertories,  all  his  composi- 
tions fell  a  prey  to  the  flames  when  a  part  of 
RatLsbon  was  burned,  in  1800.  He  was  a  skilful 
organist,  and  played  well  on  the  violin. 

CAVATIXA.  (I.)  A  short  air  without  a  return, 
or  second  jiart,  and  which  is  sometimes  relieved 
■with  recitative. 

C.\ZZATI,  MAI'limO.  A  voluminous  com- 
poser, bom  at  Mantua.  In  the  year  1078  he 
published  his  sixty-filtli  musical  work  ;  his 
compositions  chiefly  consist  of  motets  and 
masses 


C  CLEF.  The  clef,  so  called  because  it  gives 
to  the  notes  placed  on  the  same  line  witli  itself 
the  letter  C  for  their  local  name. 


Alto.    K    Ai^       ^  S 


The  staves,  as  here  placed,  embrace  all  the 
notes  within  the  ordinary  compass  of  all  the 
varieties  of  voice.  The  best  soprano  voices 
rise  a  few  notes  above  the  treble  staff —  to  B  or  C 
natural ;  which  notes,  occurring  only  occasion- 
ally, are  provided  for,  without  inconvenience,  by 
means  of  leger  lines  above  the  staff.  Scarcely  a 
note  is  fouiul  in  the  best  bassos  below  the  staff, 
though,  as  an  exccjjtion,  some  descend  to  D  I), 
three  notes  below  the  staff.  The  extent  of  the 
interval  between  the  notes  in  the  bass  and  those 
m  the  treble  is  not  often  understood  by  begin- 
ners. From  this  diagram  they  will  sec  that  a 
single  line  inserted  between  the  two  staves  makes 
the  progression  perfect,  note  by  note.  The  sin- 
gle line  referred  to  is  that  upon  which  the  note  C 
(ut)  is  placed.  Treble  voices,  generaOy,  can  de- 
scend to  this  C,  and  bass  voices  reach  it,  though 
they  seldom  rise  much  above  it ;  so  that  it  may 
be  considered  as  a  sort  of  standard,  being  a  note 
■\nthin  the  compass  of  all  voices.  But  the  gener- 
aUty  of  male  voices  can  neither  rise  high  into  the 
treble  staff,  nor  descend  low  into  the  ba>s.  Ij 
follows,  therefore,  that  neither  the  treble  nor  the 
bass  staff  is  appropriate  for  repreiienlin^  the 
compass  of  these  voices.  In  providing  for  tliese, 
which  are  called  the  mean  voices,  the  C  line  be- 
fore referred  to,  as  being  the  middle  of  the  vocal 
system,  is  adopted  as  a  starting  point  from  which 
to  reckon  upwards  and  downwards.  The  higher 
male  voices,  usually  called  countertones,  (some- 
times coii/r  alti,  sometimes  alti,)  range  about  as 
high  into  the  treble  staff  as  they  descend  into  the 
bass.  For  such  voices,  therefore,  it  is  obviously 
convenient  that  —  since  fashion  has  limited  the 
stafl'  to  five  lines  —  the  C  line  should  be  the  mid- 
dle line.  Accordingly  a  staff  is  adopted  for  the 
alto  or  countertenor  part,  upon  the  middle  line 
on  which  C  is  written,  or  —  whicli  is  the  same 
tiling  —  the  C  clef  is  placed.  Agam  :  for  that 
class  of  voices  wliich  are  of  a  somewhat  deeper 
pitch,  a  staff  is  more  convenient  with  the  C  une 
placed  higher  up.  Hence  we  have  the  tenor 
staff,  with  the  second  Une  (from  the  top)  marked 
C,  and  tliree  lines  beneath  it  out  of  the  bass  ^taff. 
In  like  manner,  for  baritone  voices,  (of  a  >fill 
lower  register,)  the  C  line  is  the  top  line  of  the 
staff,  and  four  lines  are  taken  from  the  bass. 
The  student  will  find  his  advantage  from  familiar- 
izing himself  with  this  diagram,  imtil  he  has  got 
the  habit  of  assigning  a  staff,  as  soon  as  he  looka 
at  its  clef,  to  its  proper  place  in  the  system.  Now, 
it  must  be  obvious  to  all,  by  this  time,  that  the 
tenor  and  countertenor  parts  cannot  l>e  written 
on  the  treble  staff,  ^^'heu  the  "  mean  parts  ' 
are  placed  on  a  staff  with  the  treble  cle!,  that 
clef  then  loses  its  original  effect,  and  represent! 
notes  an  octave  below  its  usual  significatiou. 

CEBELL.  n»e  name  of  a  species  of  air  fre- 
quently found  in  the  compositions  of  the  trirelgl 
masters  of  the  violin,  who  lived  iu  the  time  at 


U 


185 


,EC 


>  .CCYCLOriEDIA    OF    MUSIC. 


CHA 


Cliarles  11.  Hy  the  oxumplcs  still  remaining  of 
thin  kin<l  ol'  nil-,  it  nppcars  to  liavc  boon  in  duple 
time  ol'  lour  liars  or  mciusurcs,  repeated  in  division 
at  the  pleasure  of  the  i)orl'onner.  Tlie  most  char- 
acteristic louture  in  this  air  is  the  alternate  scries 
of  grave  and  acute  uotes  which  form  its)  several 
etraius. 

CECCIII,  DOMENICO,  called  ako  Corloiia. 
An  Italian  singer  at  the  commcucemeut  of  the 
eighteenth  century. 

CECCHIELLI,  DOMEXICO.  Chapel-master 
at  Komc  in  10-19. 

CECCHINI,  ANGELO.  An  ItaUan  musician 
and  (b-amalic  composer  at  Ilomc  in  1641. 

C  DUIl.     (G.)     The  key  of  C  major. 

CELESTIXO,  ELIZIO,  chapel-master  to  the 
Puke  of  Mccklonburg-Sehwerin,  was  born  at 
Home  ill  1739.  He  was  a  colobratod  violiiiLst, 
and  resided  for  some  time  in  London ;  some  of 
liis  compositions  for  his  instrument  were  pub- 
lished iu  Loudon  previously  to  the  year  1797. 

CELLA,  LUD^YIG.  A  i>ianLst  and  composer 
for  his  instrument  at  Erlangeu  iii  1797. 

CELOXIAT,  IGN^IZIO.  An  Italian  dramatic 
composer  iu  the  year  17()8. 

CEMHALO,  or  CEMB.  The  ItaUan  name  for 
a  harpsichord. 

CEXCI,  LUDO\7CO.  An  ItaUan  madrigal 
composer  in  IGoO. 

CEPILVLICAS.  The  name  of  one  of  the  mu- 
sical characters  of  notation  used  in  the  middle 
ages. 

CERCIA,  DOMEXICO.  A  NeapoUtan  dra- 
matic  oomjioser  in  the  present  century. 

CEllO,  LUIGI.  An  ItaUan  composer,  born 
at  Genoa.  His  compositions  are  dated  since  the 
year  1785. 

CEKOXE,  D.  PEDRO,  born  at  Bergamo,  was 
a  singer  at  X'aples,  and  author  of  a  didactic  work 
on  singing  in  1609.  He  pubUshed  also  a  very 
ample  musical  treatise,  written  in  the  Sjianish 
language,  and  entitled  "  El  Mo/opeo,"  Xaples, 
1G13.  This  is  a  scarce  and  curious  book,  con- 
sisting of  nearly  twelve  hundred  foUo  pages, 
among  which,  though  many  are  bestowed  upon 
obsolete  science,  there  is  a  complete  body  of  the 
Epeculativc  and  practical  musical  knowledge  of 
the  times. 

CEUVALET.  A  short  kind  of  bassoon,  for- 
merly much  in  use,  which  was  blown  thi-ough  a 
reed  roscmbUng  that  of  a  hautboy.  The  instru- 
ment itseU'  is  not  more  than  live  inches  in  length, 
yet  is  capaV.le  of  producing  a  sound  equaUy  deep 
with  one  of  forty  inches. 

CERVEITO,  JAMES,  the  elder.  A  vioUnist, 
born  in  Itjdy  in  I'JtSJ.  He  wont  to  London  in 
173S,  where  he  continu(>d  fill  17S:i,  and  died  at 
the  groat  age  of  one  hundred  and  one.  He  lirst 
brought  the  ^^oloncello  into  favor  in  England, 
thoug)i  his  tone,  in  comparison  to  more  modern 
performei-s,  was  raw  and  uninteresting. 

CERVETl'O,  J.VMES,  the  younger,  son  of  the 
nrc<-<'(ling,  was  born  about  the  year  1710  ;  he  in- 
acrilcd  a  good  fortune  Irom  his  father.  Mhen 
quite  a  child,  and  hardly  aci|UHintcd  with  the 
gamut,  he  had  u  b"Uer  tone  on  tLs  violontcUo, 


and  pla\ed  what  he  was  able  to  execute  in  a 
manner  much  more  ch<tiifanU,  than  his  fatlier; 
and  when  anived  at  manhood,  his  tone  and  ex- 
pression were  ccjual  to  lho:ie  of  the  best  teun 
voices.  It  was  at  the  ]>roi'cssional  concerts  iu 
London  that  he  established  hi;  reputation,  till  ai 
length  he  wa-s  considered  matchless  on  his  in- 
strument. He  composed  and  published  some 
instrumental  music. 

CES.     (G.)     C  flat. 

CESTI,  P-\DRE  yiARC  AXTOIXE.  An 
ItaUan  composer.  He  wa«  admitted  as  a  tenor 
singer  in  the  Pope's  Chapel  in  IGGO,  but  he  had 
set  an  opera  for  Venice  eleven  years  before  this  ; 
it  was  caUed  "  Oron/ta,"  and  was  in  such  favor 
as  to  be  produced  in  different  towns  of  Italy  during 
thirty-four  years.  'Die  most  celebrated,  how- 
ever, of  all  Cesti's  operas  wits  "  Jm  Dori ; "  this 
first  appeared  at  Venice  in  16(J3,  and  was  fre- 
quently performed  iu  other  principal  cities  of 
Italy.  Cesti  was  also  one  of  the  first  writers  of 
cantatas. 

CHA.  An  instrument  kindred  to  the  kin,  but 
having  the  chromatic  scale,  used  in  China. 

CHABAXOX.  MICHEL  PAUL  GUI  DE. 
member  of  the  French  Academy,  died  at  I'aris  irf 
1792.  He  was  the  author  of  several  works  on  mu- 
sic ;  he  aLso  composed  some  music  for  the  piano- 
forte. Chabauon  WTOte  in  favor  of  tlie  music  of  liis 
own  country,  and  says,  among  other  things,  llid 
French  maimer  of  singing  is  more  jilacid  and 
more  mitigated  than  the  ItaUan.  We  believe 
there  are  lew  judges  of  vocul  music  who  will 
accede  to  this  ojiuiion. 

CmUBAXOX  DE  MAUGRIS,  brother  of  the 
preceding,  was  a  poet  and  (Uamatic  composer. 
Tlie  piano-forte  music  which  has  been  attributed 
by  Forkel  to  his  brother,  is  probably  of  his  com- 
position.    He  died  iu  1780. 

CHABRAX.     See  CuiAniiAND. 

CHACOXXE.  (F.)  CIACOXXE.  (L)  An 
air  borrowed  from  the  .Vrubians,  the  character- 
istic of  which  is  a  ground  biuis,  consisting  of  loui 
or  eight  measures  of  triple  lijue  of  tlaoo  crotchets, 
with  its  repetition  tocontinujUJy  viuied  melodies. 
The  chacoitne  somewliat  resembles  the  saraband, 
but  is  rather  more  grave,  has  the  first  and  bust 
crotchet  of  every  bar  strongly  accented,  and  was 
formerly  used  as  an  accompaniment  to  a  certain 
dance,  slow  and  graceful  in  its  movement. 

CHAGXIOT.  An  cxceUcnt  artist  in  the  man- 
ufactiire  of  violins,  at  Paris.  He  is  said  to  have 
greatly  improved  the  instrument,  and  has  changed 
its  shape  a  Utile,  making  it  rather  resemble  the 
guitar.  If  he  has  not  obtained  the  Uquid  tone  of 
those  of  Italy,  at  least  he  has  already  jiroduced  a 
tone  both  as  powerful  and  of  as  fine  quality, 
which  siiccessfuUy  rivaUed  one  made  by  Stradi- 
varius,  at  a  public  competition. 

CHALAMEAU,  or  CHALMEY.  .\  wind  in- 
strument, so  called  from  the  I^tin  word  caJamiui, 
a  reed,  through  which  it  is  blown.  The  chala- 
meau  has  been  long  since  improved  by  the 
French  into  the  hautboy,  and  now  forms,  under 
that  name,  one  of  the  most  utfra<tivc  and  useful 
instruments  iu  tlio  on  hestra. 

CILVLIL.     An   ol  i  Hebrew   instrument.     A 


188 


!HA 


ENCYCLOP-'F.DIA    OF    MUSIC. 


CHA 


pipe  perforated  and  t'uruLshcd  with  holes  like  the 
file  or  flute  of  the  present  day. 

CHALLONEU,  NEVILLE  BUTLER,  born 
in  London  in  17S4,  beu;rtn  the  violin  at  a  very 
early  age  under  the  tuition  of  Claude  Joseph  Du- 
ooeck,  a  native  of  Brussels,  and  i)erfor]ue(l  a  con- 
terto  on  that  instrument  at  nine  years  of  a^e. 
Xt  thirteen  he  was  articled  to  General  Ashley, 
and  previously  to  rcceivin;;  any  instruction,  was 
found  competent  to  assist  in  the  orchestra  of  the 
oratorios  at  Covent  Garden  Tlieatro,  and  at  the 
public  pcriormancos  at  lianelagh.  In  1790,  bciui; 
then  liftcen,  he  was  en;;aged  to  lead  the  band  at 
the  Kichmond  Theatre  ;  the  following  year  ho 
held  the  same  situation  at  the  l!ii-miu;;ham 
Theatre.  In  1803  and  1801  he  studied  the  haq) 
and  piano-forte,  and  led  the  band  at  Sadler's 
\Vells.  In  1805  he  entered  the  Royal  Society  of 
Musicians,  and  the  next  year  published  "  Four 
Preceptors,"  for  the  piano-forte,  violin,  harj),  S:c. 
In  1807,  he  was  appointed  first  tenor  at  the  Har- 
monic City  concerts,  at  which  were  the  first  per- 
formances of  Mozart's  "  Don  Giovanni,"  S:c.,  in 
England.  In  1809  he  was  engaged  as  harpist  at 
the  Opera  House.  In  1813  Challoner  was  en- 
gaged as  principal  second  tenor  at  the  Philhar- 
monic concerts,  being  also  an  associate  of  that 
society.  His  Piano  Preceptor  sold  to  the  extent 
of  nearly  nine  thousand,  and  his  Violin  and  Haii) 
Prccej.tors  to  the  number  of  between  tlirec  thou- 
sand and  four  thousand  each.  He  taught  upwards 
of  six  hundred  private  pupils. 

CHALOX,  F.  An  arranger  of  opera  music 
for  the  rtute  and  clarinet,  at  Paris,  ui  the  pres- 
ent century. 

CHALONS,  CHARLES.  A  composer  of 
some  instrumental  music  published  at  Amster- 
dam in  17()2. 

CHAMPEIN,  STANISLAS,  was  bom  at  Mar- 
seilles in  17o3.  ^Vheu  only  thirteen  j'earsof  age, 
he  composed  a  mass  and  other  sacred  music.  He 
went  to  Paris  in  177<i,  after  which  time  he  was 
principally  known  as  a  tlramatic  composer.  His 
operas  have  been  very  numerous,  amounting 
nearly,  if  not  quite,  to  the  number  of  titty,  be- 
tween the  years  1780  and  1800.  'Hiere  were  at 
the  Tltidtre  Fcydvau,  at  Paris,  two  rival  schools, 
the  first  composed  of  the  works  of  Monsigny, 
Grctry,  DalajTac,  and  Champein ;  the  second,  of 
those  of  Cherubini,  Mehul,  Kreutzcr,  Berton, 
Boieldieu,  and  their  pupils. 

CH.\NGE.S.  TTiose  alternations  or  variegated 
peaLs  rung  on  beUs. 

CHANSON.     (F.)     A  song, 

CIIANSD.VXETTE.    (F.)     A  little  iong.    The    diininutirc  of 

CHANSONS  DEGESTF.  (F.)  A  name  (riTen  In  the  hiatoricnl 
ftn<l  hrniioul  romance*  duns  fn>in  town  to  town  by  the  itinormnt 
min«tr\-[3i  of  the  tliirteeuth  eenlury. 

CHANTANT.  (F.)  A  term  appUcd  to  in- 
etrumoutiU  music  composed  in  a  smooth,  melo- 
dious, and  singing  style. 

CILVNT.  A  species  of  cathedrnl  melody,  of  a 
style  between  the  characters  of  air  and  recitative, 
to  which  the  psalms  of  the  day  are  repeated. 
Fhe  first  chant  was  that  established  by  St.  Am- 
brose, Bishop  of  Milan  ;  the  second  was  the  Gre- 
gorian Chant,  commonly  called  the  Roman  Chant, 
and  which  is  still  retainetl,  under  the  apjiellation 
if  plain  sonj,  or  canto  J'crnio.      Chants  are  now 


used  for  the  vocal  music  of  churches,  to  some  ex- 
tent, throughout  tliis  country. 

The  use  of  chanting  ascends  to  the  most  re- 
mote auticiuity.  The  (ireeks  «cre  aware  of  font 
ditferent  kinds,  which  fonncd,  said  they,  the  most 
jjcrfect  music,  and  might  be  called  the  oracles  of 
the  soul. 

The  Dorian  Chant,  imagined  by  I-amias,  wh« 
lived  before  Homer,  and  with  which  the  haq; 
was  sometimes  associated,  was  adapted  to  grave 
and  warlike  measures. 

The  Phrygian  Chant  had  the  power  of  exciting 
the  hearers  to  fury. 

The  Sub- Phrygian  Chant  appeased  the  furor  ex- 
cited by  the  former. 

The  Lydian  Chant  was  so^ro^^'ful,  and  occasioned 
languor  and  melancholy. 

Amongst  the  modems,  the  Gregorian  Chant  waj 
established  by  St.  Gregory  the  Great,  who  lived 
in  the  reign  of  the  Emperor  Maurice.  Charle- 
magne incorporated  it  with  the  Roman  Liturgy 
in  789. 

CHANTER.  A  male  ffinecr.  Sometimes  used  to  denote  preemi- 
nence :  n^i  thr  rhnntrr  siirniHeti  the  lender  of  the  choir. 

CIIANTEKKI.I.E.  Thehiiihest  orniont  acuU'ofthc  fourllringa 
of  n  violin,  timed  to  I'  above  the  treble  clef  note. 

CIIANTEIH.    (K.)     Amnle»inBer. 

CHAN  TEISE,  iK.)  or  CMANTRESS.    A  female  jincer. 

CIIAN'TJNG.  In  all  enthedrala,  and  in  many  churches,  chapell, 
ami  other  places  of  worship,  the  ptialms  in  prowe  ore  sunir,  or  rather 
recited,  to  certain  l)luin  and  Bimple  melwlicK  called  chuntn.  The  ef- 
fect of  thi.t  peciilior  nnHle  of  delivering  them,  when  well  exectjted, 
is  very  striking  niid  snhlime,  and  must  be  familiar  to  all  who  habitu- 
ally attend  places  of  worship. 

A  chant  is  nn  extrenu-ly  short  and  simple  kind  of  melody,  divided 
into  two  parts  by  double  burs. 

In  our  pniyer  hooks  and  p«nlter»  each  verse  of  the  psnims  if  di- 
vided into  two  parts, or  nieinherf,  by  means  of  a  eoli>n  ;  vw.  — 

"  O,  '«e  ioft/'tit  in  t/iK  [jird,  all  vc  InitfU  ;  Kerrc  the  Otnl  witft  ptatt* 
nrs.",  iind  come  ht^fore  hi*  tfrejtrnce  trilh  n  frjinj." 

Tlie  tirst  halt;  or  member,  of  each  verse  must  be  sunc  to  the  incip- 
ieut  note  of  the  elmut.  all  but  the  two,  three,  or  four  last  syllables, 
which  mn*t  be  apiilied  to  the  last  three  notes  of  the  first  part  of  the 
chant.  Simihiriy,  the  second  half  of  each  verse  of  tlie  psalm  must 
be  recited  to  the'ineipient  or  recitin?  note  of  the  seconil  half  of  the 
chant,  except  the  last  four,  live,  or  six  syllables  of  the  sentence,  nc- 
conlinf:  I's  the  accents  may  allow  of  their  being  given  to  the  conchid- 
ins  notes  i>f  the  chants. 

y*>r  example,  Uie  words  and  chant  given  here  will  be  sung  aa 
follows :  — 


•y- 


Bcdiloc  NoU. 


R«dUo|  NoU. 


TAtLI*. 


^--^  HJH=^-=li^gH3 


0,  be  jojfu]  Iq  tbt  1«nl,  »U  j«  laad«:  I  8ert«  lit*  Loid  witfa  |  prcMOM  «lib  ft  mxtt, 
i  clftilnrsi.  and  oom*  I 
(  Uton  hla  1 

All  othtr  vorscs  of  this  psalm  arc  to  be  sung  lo  repetitions  of  thU 
snine  iiii'UmIv. 

To  such  a'melody  as  this,  any  of  the  psalms  in  prose  may  be  sung 
or  reciti-il. 

A  chuitt  of  this  sort  Is  called  a  ringle  chant 

There  i^i  nnolhtT  kiml  which  is  callnl  n  ttouhle  chant  In  theae 
the  melmly  is  divitleil  into  fuur  pans,  or  nienUwra,  liy  double  bars, 
and  thtse  take  in  two  verses  of  each  psiUni,  iu  exactly  the  lan-.a 
iiinnner  ns  just  t-xplaincd.  Where  the  nmnber  of  vcrsrs  in  any 
pii:iliti  i«  i;n>:it.  thu  iluiihle  chant  is  leM  iiinui'trmous  thnn  thr  single 
choiit,  and  therefore  tirvferuble,  Uiough  eitJicr  may  be  employe*! 


DocoLE  Chant. 


Lord  Morning  ton. 


OntiUj    UlUlfa  »B  -  «lb«T :        Aad  ob«     aifbl  Mtti  ■  e«th  u  •  vtUr. 


In  applyins  the  wonls  of  the  psalms,  the  chief  nile  to  be  tib«rrrft| 
Is.  that  ever>'  aeecnted  note  mnst  he  sung  tn  an  nreeiite<l  #yllahl^ 
Kor  this  reason  we  arc  fre<iuently  obltciMl  tn  sins  two,  or  rT>  n  three 
■ylUbIrs  to  one  accented  nttle,  or  occB*iiinally  evi-n  to  nn  unnrcent- 
vd  note:  in  such  caaus  theac  notes  became  partial  or  teiiiiH)rary  rv> 
citing:  notes. 

Kvery  «'ord  of  two  or  more  sylUblcs  has  one  occrrtMl  •rlloMc, 
which  inu*t  fidl  to  an  accented  note  in  the  chant.  With  rrVarrl  t« 
mimosrllablrs  the  ense  Is  ilittonut ;  they  n\ay  tw  sccf-ntnl  or  roL 
areonriDff  08  wi<  ch'XMie  to  cornidcr  them.'  Artd  bore  Ht*«  tlf  rhiel 
difficulty  rif  arrnneinff  tlie  wonU  to  the  notes.  Pvri'  wi*  i,  .  t« ,.  i^f* 
sonii  would  be  found  ti.'  ajm-e  tn  thl«  rrs|H*ct  i   an  in 

recoinntend  li,  tbnt,  to  nvold  roiifu«inn,  as  f»>w  t^  \\t 

should   beentplt*yvU  lur  the  few  Uft  ban  of  ca. .  Uia 

eliaiiL 


187 


CHA 


ENCYCLOPAEDIA   OF   MUSIC. 


CIIA 


Tti'        ■  •     II. ,t  nntiirallr 

•'^•■' '  iu«t  ii..t»  r.r 

'"'  ■■-•li-    .vlliilik- 

"'"  Uii'  whole  of 

Uir  next  1j  lf. 

Ti'  iij.»i.|  ihf  »rii(l(-nt  in  applying  the  wonli  bt  the  notcf.  wo  hive 
niarkcO  tho  |>lnci-«  of  ttiv  tingle  bun  on d  Uoubte  b«r»  of  the  cluiiiu 
vy  till-  t'lmnirlcn  I  anil  I. 

Where  •  »vlliihlr  l>  to  lie  hiM  out  intoihe  flrrt  half  of  the  next  h«r, 
or  to  occu|iy  the  whole  of  Uiat  bar,  we  hnve  inuJe  ui«  ol  the  eliirac- 
ter  — . 

Thui  tlie  nortlon  of  the  Trr«e  en  llnu  witli  Jolli  |  —  <icl  LnauUdgt 
I  rAer,  will  U:  mluiik-d  to  the  chant  Ihiu :  — 


-T: 


fcs 


-#-*- 


^?f=^ 


m 


then." 
of  i: 
li. 
thr- ■. 
forte, . 


do  -  th      ac  -    kuowlcdgc  thee. 

M>tngcoDtinuod  so  as  to  occupy  the  accented  half 

'ioninll  the  chant«arv  harmonized  for  one,  two, 
■  "  of  voice*,  Willi  on  accompauiiiicat  for  the  puiuo- 
ttphim*. 


"  Knoiiph  of  onrth  I  Lo.  round  the  lapphirc  throne, 
]{j)iu'v  M-rnph*.  fWinl  to  frtmt,  with  ruiliiug  wing, 
]n  nuiiilK-r  iiuiiitM  rtins,  in  fflor>-  fine: 
Kn*ni  lip  t'l  lip  Ihcir  lftu«l?  ulUTniito  rinp: 
Iliirk  !  h«»w  with  nnj.Tl  Uiiuh  Ihcy  Bwi-vp  the  itringf 
Ami  ji.yium  chant  n«  un  crcatinnV  nujrii. 
Holy,  thrici-  hnly  Lonl.of  kin^r^  the  Kind 
Cntwnird  t»e  that  \ni\<\,  once  wreathed  with  pointed  thorn  I  — 
Btrauge,  that  a  seraph 'i  song  should  wake  a  niurtal's  scorn  I  ** 

The  chant  may  bo  denominated  the  simplcrt  form  of  musical  ex- 
pression. It  has  neither  the  complex  invulutioni  of  the  uiilhem.  nor 
the  ever-cIiansinjT  harmonies  of  the  chomle.  Its  present  chnmctcr, 
which  llu^  not  MuhxtiDtiHlly  varied  from  itit  oripnal  couetnictiou,  is 
inanifv!iti'd  eithi  r  in  a  mpid  and  unitMrm  intonation,  rvM-niblinf* 
"  the  nnif.ipal  pn.nouncinL',"  upoki-n  of  hy  St,  Auuiistine.  as  in  use  in 
the  chiinlKS  of  Ak-xandria;  or  in  the  distinct  articulation  of  a  part 
of  u  font<-ncc  ui>on  out*  note,  tenninating  with  a  few  varied  and  de- 
Hbirntc  chorfls. 

The  antiquity  of  the  chant  is  universally  admitted,  although  the 
author  and  time  of  its  invention  have  heen  contro\  crtiil.  ANtut 
tJie  middle  of  the  fourth  ccnturv,  St  Ambrose  inlroduccd  chanting 
into  the  wrv'iccs  at  Milan,  whence  the  practice  extended  itself 
throupliout  the  we^item  branch  of  the  Chrii-liiin  churcli.  He  de- 
nved  it,  us  SL  Ancustine  informs  us,  from  Uie  Greek  fathers  — a  tes- 
timony c<tntinncd  by  Kusebiii<i. 

It  ia  probable  that  the  style  thus  traced  to  the  first  n^es  of  the 
church  was  in  eflict  but  an  adaptation  of  the  mode  of  chanting  the 
Hebrew  ritual  in  the  Temple  scr\*icc;  embracing  euch  inipmvcmcnts 
as  the  pn»pn'^s  of  knowledge  and  acquaintance  with  tlie  muKic  of 
pflitan  c«.nntrie»  mifiht  sucgeet.  Thus  Calvin  admits  his  conviction, 
"that, fnun  the  Invninintr,  the  Christians  tVdlowed  the  Jewish  use  in 
sinpin^  of  p«alms,  and  that  in  his  admonitions  to  the  KjihcKians  and 
Colo^Kians  the  aiMmllc  evidently  reconimcndg  this  duty,  which  was 
so  much  i»ractis(Hl  by  the  Jews."  The  latter,  as  we  have  already  oh- 
sen'ed,  cmtined  tlu-ir  munic  nlmnitt  exclusively  to  the  teninle;  and 
many  purtfof  the  Old  Testament  had  t<i  the  conclusion  tnat  they 
were  not  unacf^uaintcd  with  responsive  sin^ng.  The  fact  that 
wttnicn  os^ir^tetl  m  musical  divi^ionti,  as  well  a^  the  structure  of  many 
psalms  and  pmphttcal  hynma,  favon  thisopinion.  Thus  I'salm  civ. 
IK  itluinly  fi'iniudon  tbiw  nuHlel ;  in  which,  bj*  Itishonlxtwth  ob-erv 
*•  the  part-*  are  easily  distintruishcd  :  inasmuch  as  whde  one  Sen 

nisulw:iv!<  ^IM'iiks  of  t;<Ml  in  the  third  person,  the  other  add = 

hnn  in  the  i*ieond.'*  Vsalm  cxxxvi.  presents  anotlier  sm cinien,  tlio 
bunlen  orcLisinff  couolet  of  which  is  expressly  quoted  by  Kzru  as 
an  anti|*h<<n.  -And  they  mm  i:  t'>j:ether  hv  cour$c  in  prating  and 
pivinc  thnnks  unto  the  l^»nl :  because  he  is  good,  for  his  mercy  ea- 
dureth  fi'H  ver  t«»waril8  Israel." 

It  i«d>tticult  to  conceive  stronger  authority  for  the  admisaion  of 
any  of  the  circunictjmtiols  of  ChrisGan  faith  "than  can  be  produced 
in  support  of  the  neglected  chant.  We  can  trace  the  chant  back 
lo  within  a  tVw  centuries  of  the  flood,  through  all  the  gradations 
of  religions  worship  under  the  pnscnt  and  former  dis|K  nsation. 
whether  ChrlMian  or  Jewish,  church,  temple,  or  tHl>ernacte ;  wc 
B»k.  therefnre.  Monie^lichl  caution  before  an  unlimited  condemnation. 
"For."  a%lh>4>ker  obwrves.  ••  whow>ever  were  the  author,  Mhat«>- 
cver  the  tim.-.  wlicns<K'ver  the  example  of  tn-ffinnlnc  thin  custom  in 
Uu'cliM  .  '  .  t  »  hri>t:  «ith  wcarc  wont  t-»  su!t|ict  thincsonly  Ih-Iuiv 
trial,;.  ■■  ilhertonppn»vetl:em  us  ci^od.orif  we  find  thejn 

evil  inik-e  of  them  :  their  connnel  mu«t  nt'e<lii  seem 

unt-  '  i.dvine  men   now  to  (umpect  that  wherewith  the 

w<»r;i  .        their  own   BCC'>unl.  twelve  huiwlnd   vears' ac- 

quaiiilaiiLc  mid  upwanlA.  cnonizh  (o  takeaway  suspicion  and  jeal- 
ousy. Men  know  by  thi«  time,  if  erer  they  will  know,  whether  it  be 
go(Kl  or  evil  which  hath  U'rn  so  long  retained." 

The  pntgress  of  chanting  is  so  nearly  connected  with  the  general 
history*  of  church  music,  that  few  otidcrrations  need  be  ailtbd  lo 
brine  it  <lown  to  our  own  time.     Hrfore   the  invention  of  connter* 


cho- 


JKiiiil,  and  thf  rons.  quent  lntr.vlnrri..n  .-f  iiu>re  Viirl.-t  :in.l  intricate 
hoiM  .,..,.     .^^j^.  ^^^j^^ 

chii:  ■  i»  n  chant; 

the  (  i,nt  till  the 

adoj  ■  ,    truce  lo  the 

fidi.   :  !.r,iiitl,.  f.l.       I,,.K..!.:,.  ».     I,.,^,    ..I  rrad  V  PiH-n.  It 

wo*  I  I  VI  ntioii  of  rouiiieriwiiiii  tltnt  mutiic  ventured  In 

step  '  M'  and  s'lenm  ib  •c:uit  which  ctiatnni  hnd   famil- 

lan/.  ,  i.ty  rendered  Tenemble.     S,t  lonir,  however,  as  it 

wait  lifi  iiuuiily  ti.<  the  management  of  the  priests  anil  ininn-diate  otfi- 
rcrs  of  the  church,  U  retained  its  hold  upim  the  ccclesiastiLal 
scri-|ce«. 

Hy  ..       ; —  f>f  the  specimens  of  the  nlte-"-'-  r»  -■  •  -rhich 

bInh-  ■  irtfv,  with  the  rhornl  prarti.  ;,|i(l 

rari.  inin<l  is  struck   with  nutn  ,(^s 

exi-*  'n.nll   d.  ir.i'ii»trnt;v,   ..f  tli.  Mo 


anti', 
•en- 
ain. 
la  tt. 


alwunding  stom  of  modem  harrnonlea.    It  mar  not  be  UDlnterrttini 
to  entinierutc  a  few  in«tanci-«  of  general  rtsemblance. 
I        I»/'>e  temple  serrice  there  wen.-  two  precentor«.one  for  cac* 
S".    **    •'"^".  who  were  apjwiuUrd  to  commence  and  direct  th« 

i  They  seem  to  have  had  not  onlr  sindng  men,  but  singing  Iwyt 

^.  J  he  singers  were  generally  l>evites.  and  sUhhI  in  the  desks 
while  they  Mng:  and  the  singing  boys,"  as  Uedfbrd  suppoauL 
•*  stmMl  flirectly  under  them."  i  •      -h 

4.  Tlieiiingersan<l  Ik.vs  were  divided  inti>  two  band«,  standing  op- 
posite  each  other.  Their  places  were  determined  bylot!"w«r(l 
aguiint  word,  as  well  tlie  small  as  the  great,  the  teacliei  as  the 
•clKMar.  • 

^  'I"''fy  answered  one  another!  "and  then-fore."  as  Bedford  aave, 

it  Is  very  }>rohflble  that  one  side  sung  one  verse  of  a  psulm.and  the 
other  side  sung  the  other." 

ti.  It  mav  be  added,  tliat  the  singers  divided  each  psalm  into  three 
parts,  making  long  pauses,  during  which  the  trumpi'ts  stiumled  and 
the  |>eople  worshipped  ;  to  which  the  symphonies  and  u:|ier  instru- 
menttU  movements  in  nur  anthems  ma.v  bear  siMue  anabvv. 

^jl*-^*T£RRES.    (K.)     Certiin  Provencal  singer*  of  tongs  loil 

CHANTORor  CHArXTOR     A  penon  who  *  r  of 

a  cathedral.     St.  On  gorv  f  rst  instituted  the  ofti,  ,  ^t. 

ing  them  into  a  IxmIv.  called  SrhuUt  Cnntor^im.  i  .-ius 

seems  ti- attribute  their  rise  to  pope  Hilary,  wh  .  ired 

vears  before  On  gory.  But  the  worfl  is  obsolete  iu  ihu  M.u»e,  and 
instead  thenof  we  use  tlie  word  churiMer  or  lewter, 

CH.\NTK1KS.  Cert-iin  ndlgious  institutions  of  the  Romish 
church,  endowed  for  the  particular  pur(M.se  uf  singing  m^iFses  for  the 
souls  of  the  founders.  1  hese  suiwr-titutus  e-Uibhshments,  to;.'ether 
with  those  of  free  chapels,  were  irranted  to  Henry  VIII.,  be  the  Pajw 
Uament.  in  1.H5.  and  were  dissolved  bv  a  statute  "of  Kdwnrd  V|. 

CHANTS  ROY.AL,  CerUiin  Ivrics  written  on  lofty  subjects,  and 
much  used  in  the  earlv  time*  of  French  poesv. 

CHANTRY  PRIFSTS.  Those  stimndiarV  priests, whose  jwutio- 
ular  olHce  it  wns  to  sinir  the  innss  in  the  chantries. 

CH.WT  FN  ISON.  (K.)  The  name  formerly  eiven  to  a  speclcf 
of  chant,  or  ps.ilmo<lv,  consisting  onlv  of  two'souuds.  Many  «>• 
licious  orders  a<|oiite<t  this  chant,  and  sonte  had  no  other. 

CHANT  Sin  LK  LIVRF„  An  expression  bv  which  the  French 
mean  something  more  than  nnging  at  hght.  It  implies  the  compos- 
ing 0  nart  ui>on  aeeing  only  the  clunt,  or  canto/cnuo,  on  wliich  it  if 
to  be  founded. 

CHAOS.  A  rude  and  shapeless  mass  of  mat- 
ter, and  confused  as.semblage  of  inactive  elements, 
which,  as  the  poets  suppose,  preexisted  the  for- 
mation of  the  world,  and  from  wliich  tlie  universe 
was  formed  by  the  hand  and  power  of  a  superior 
bem;^'.  Chaos  was  deemed  by  some  as  one  of  the 
oldest  of  the  gods,  and  invoked  as  one  of  the  in- 
fernal deities.  A  good  representation  of  Chaos 
may  be  found  in  the  orchestral  introduction  to 
Haydn's  "  Creation," 

CHARACTEU.  A  general  name  for  any 
musical  sign,  llie  note,  the  brace,  the  bar,  and 
the  marks  of  time,  as  well  as  those  which  denote 
the  shaq),  the  flat,  the  natural,  the  shake,  the 
turn,  the  beat,  the  crescendo,  and  the  diminuen- 
do, iS;c.,  c^c,  are  all  characters.  'Hie  ancient 
Grei'ks  used  letters  uistcad  of  notes  for  their 
characters  of  pitch ;  and  the  Latins,  after  them, 
adopted  the  same  method. 

CH.VRACTERS.  The  defect  of  Guido's  not.ntion  was  first  reme- 
died by  John  de  .Muris.  an  advocate  of  the  pariianient  of  PariNin 
the  fourteenth  ceniurv.  by  the  inventiim  o»  certain  cbaracurs.  or 
Dotts,  by  which  the  different  times  miglit  be  commodiouftly  expressed. 

The^echamrtors  consisted  of  the  Maxima,OT  Lar^fy 

vqual  in  dunttiou  tn  four  brercs; 
The  Loti^y  equiil  to  four  semibreTes ; 

The  Breve^  equal  to  four  minims  ;  ^^or  ; 

The  S^mibreve.  equal  to  two  minim<i; 

The  Minim^  equal  t^  two  semi-uiiuiDis,  or  crotchets; 

The  CrnUhfty  equul  to  two  cbroma«,  or  quavers  ; 

Tlie  Quni'fr: 
and,  in  pt^ceii.t  of  time, 

The  .^vmiyifarvr  and  Drmisemiqitnver^  0 

diminifUing  in  value  by  Uic  8ume  proportion.  ^ 


In  England  and  (icrmanj  the  nntfd  «ru  niiincd  after  lli« 
«ovcn  Itttrrs.  A.  11,  C,  D,  K,  F,  (>.  Th?  only  diUcrtnce  in  that 
the  Germans  aiipl}'  the  letter  B  to  1>  flat  only,  and  cajl  oui 
1)  natural.  II. 

In  ItJily  and  France  the  note*  arv  named  la,  kI,  do,  re,  mi 
£i,  ml,  corresponding  to  our  A,  11,  C,  D,  E.  F,  0. 

Themj  notes  may  Ik;  natural,  sharp,  or  Hat,  and  occasion 
ally  even  double  fharp,  or  douMe  flat.  Thus  we  hare  C 
uaiuml,  0  sharp,  C  Hat,  and.  at  times.  C  double  sharp,  and 
C  double  Hat.  In  France  and  Italy  these  notes  would  re 
siHCtively  be  called  ilo  nuturilU^  do  tlifzf,  do  btttwl^  do  doubU 
ditzt,  do  double  btmol,  &c.    The  0«rman8  add  lo  the  'ettei 


IS3 


CHA 


ENCYCLOPEDIA    OF    MUSIC. 


CHA 


which  U  U!tc(l  to  denoniinato  the  note  in  its  nnturnl  fitats,  is, 
when  it  is  to  be  nindc  s/tarp,  and  rs,  wUenJIat ;  thus. 

C  sharp         is  called  cis. 

0  tlat  '•         crs 

C  dnul>le  siinrp  "         ciscis. 
—  C  double  tlut     "         teicis. 

I       The  Staff,  on  which  the  notes  are  wrlt- 

1  ten  :    with    I^'i^cr-lines,  drawn   above  or 

below    the    stalF,     to    .supply    additional 
places  for  the  notes. 


^ 


TthIiId  ot  0  elrf. 

Each  note  has  its  corresponding  resi ;  as, 
—  n    Jirrvf  rfst,  or 
i_~|   two   bars    in 
' — I  any  lime. 


T  nBtm  cl«r. 


S^mibrefi  rest,  or  gener- 
ally a  single  bar  rest. 


Minitn.     Crotchet.    Qunvn.  Stmiquafet.  Demisemiquavtr. 


^ 


EE 


I!ar  line!!,  dividing  a  moTement  into  small  equal  por- 
l«jns  of  duration. 


13  twelve  semiquaTers 
9  nine  crotchets 
Q  nine  quavers 

A  nine  semiquavers 


Rests  may  be  dotted  or  doubly  dotted,  like  the  notes  which 
they  represent. 

Notcn  an;  (iometinies  divided  into  3,5, 7, 9,  &c.  equal  parts, 

Instead  of  2,  4,  or  8,  as  i.<t  usual ;  in  this  case,  the  number  of 

parts  is  expressed  by  a  figure,  and  a  curved  line  is  drawn 

over  it,  thus:    OT'O''^   &c. 
'  3    6    7     9 

Mark)  of  Transposition  or  AUeraiion  of  the  pitch  of  the 
Natural  Notts. 

^  The  sharp.    ^  The  flat.    ^  The  natural.    X  Double  sharp. 

Uk  noiiblp  flat       t^  ^'"B'"  "''^''P  "^^^    tu  ^'"k'®  "■''  "f'*' 
W  "0"^"=  "»'•      Iff  a  double  sharp.        *1*?  a  double  flat. 

Table  of  Characters  denoting  the  different  sp'cies  of  Time. 

Ml 

't  two  crotchets 

jj  three  minims 

8  three  crotchets 
3  three  quavers 

9  six  crotchets 
Q  six  quavers 

Olhtr  Characters  affectins:  the  duration  of  the  Notes. 
.,0-^  A  bind  or  tie,  which  connects  two  or  more  notes  of  the 
same  name  into  one  longer  note. 
A  /inusr,  which  lengthens  at  will  the  duration  of  a  note 
*     or  rest. 

Chararters  indicating  the  various  drgyees  of  Loud  and  Soft. 

m  signifies  mezzo,  a  medium  or  middle  sound. 

p         ■'        piano,  a  soft  sound. 

f         "        fortr.  a  loud  or  strong  sound. 

pp      '•        pianissimo,  softer  than  piano,  yet  a  good  audible 

souncl. 
ff       "       foriissimn,  stronger  than  forte,  but  not  so  loud 

as  to  ileg^Miernre  into  a  scream. 
'•— ^  indicates  a  cresrendn.  or  gradual  increa.se  of  tone. 
^=*—  indicates  a  decrrs^rndn,  or  gradual  ilecrense. 
•~=C;^.—  iiulicntcs  first  a  cn'scemlo.  and  then  a  derrescendo. 
S»-— =;:  indickirs  first  a  decr-.'cendo,  and  then  a  crwicendo. 

Marks  of  Accent  and  Erprrssion. 

>   V   A    •    i   indicate  a  stre/s  or  marlted  accent  on  any 

single  note  or  chord.     The  abbtvviatlons  rf,  sf,  rfz,  sft, 

fl\  or  even  /  over  a  single  note,  are  also  used  for  the  same 

purpO'«e. 
I  I  I  I     Dxshes,  Indicate  notes  struck  very  short,  or  staccato; 

that  is,  not  held  their  full  value. 
•  •  •  •     Dots,  notes  struck  short,  but  not  In  so  marked  a  way 

as  flip  preceding. 
7, .  ^     Curves  and  dots.    Notes  still  less  staccato 
'-"^    Slur,  or  legato  mark. 

Graces. 


[7  Turn  with  the  note 
g^    above  made  flat.  « 

tt,  or  <r  ■'-'-■  A  shake.    »>or 


e^9  Turn  with  the  ncte  below 
2      made  sharp. 

-  Vibration  or  close  shak* 


<    Imlicates  that  the  chord  before  which  it  Is  placed  must  b» 
J       sprinkled  or  arpeggio-ed. 
< 
Charactrrsused  to  separate  a  Moremrnt  into  its  romponent 
parts  or  strains,  Marks  of  liQKtUion,  ^c. 

Itfa 

of  the 

g  strain. 

Indicates  je  strain 
which  is  t<  conclndi 
the  piece.' 


I>ouble  bar,  with 

titionofthe 

preceding  strain. 


Tl^DonMe  bar,  w 
Jllari'iietiiionofl 
III  folloving  strai 


Double  bar,  with 
a  repetition  of  the 
strain  on  each  side. 


jl 


Marks  of  Punctuation,  or  Rhythm. 
^    Indicates  a  phrase,  or  incomplete  muslc.1l  idea. 
I  Indicates  a  section,  or  complete  but  not  independent  idea. 

O    Indicates  n  period,  or  complete  and  independent  musical 
sentence. 
The  ordinary  marks  of  punctuation  «  ;  :  .  arc  employed  by 
some  composers  for  a  similar  purpose. 

Miscellaneous  Characters. 
^     A  brace,  used  to  connect  Hvo  or  more  stolBi  together  in 
(         piano-forte,  harp  and  organ  mu.'^ic,  or  in  scores. 

r^^So    '*■'  ™*'''  "'^  application  of  Maelzel's  Metronome. 

--    A    J,    p  ,    Arc  met  with  in  piano-forte  music,  to  indi 

^  f    <•    ""■       eate  the  use  of  the  pedals. 

^^    The  direct ;  it  is  placed  upon  the  same  line  or  space  ai 

the  note  wliich  begins  the  next  stall', 
j — I     A    Are  often  met  with  in  violin  music,  the  former  to 
indicate  a  down,  and  the  latter  an  up,  bow. 

CHARACTER  OF   KEYS.      Most  of   those 
^^Titcr^l  who  have  brought  I'onvard  irrcr/ular  sys- 
tems of  temperament,  or  such  wlierein  an  invari- 
able law  is  not  observed  in  the  temi)crament  of 
dicate.  two  minim,  or  four  crotchets  In  each  Ur.     ^^'^  'liffcrent  conconb,  as  far  as  the  scale  or  the 
ets  hi  each  bar.     v^  twelve  quavers  "  pusher  ot  notes  in  an  octave  ycA\  admit,  have 

in-sisted  much  on  the  advantages  of  what  they 
call  the  peculiar  character  of  certaift  keys,  arising 
from  the  varied  and  vcrj-  considerable  degrees  of 
imperfection  in  the  princijial  concords  of  such 
keys.  From  all  we  have  rcail  or  heard,  we  are 
disposed  entirely  to  disregard  the  character  of 
keys  derived  from  their  imperfections,  and  to  con- 
tend that  nothing  seems  wanting  to  heighten  the 
pleasure  of  hearing  modulation,  skillully  con- 
ducted, on  regular  tempered  scale-;,  and  where 
the  ditl'crcnt  keys  are  exarthj  alike  tempeml,  as  on  I). 
Loe;-;chman's  instriuncnts  with  twenty-lour stringa 
or  pipes  in  each  octave,  or  by  able  singers  or  violin 
players,  who  use  no  tempered  hamionies  what- 
ever; this  opinion  will  be  confinned  by  such  as 
hear  organs,  where  every  hannony  is  given  aliso- 
lutcly  jx-rferf,  and  yet  nothing  seems  wanting  in 
the  cfTect  ot  its  modulations,  or  of  tlie  pieces 
performed  in  ilitfcrcnt  keys.      Sec  Eiihumonio 

OUOAN. 


i^    Turn. 


Inverted  turn. 


CH.VTZOZEUAH.  The  straight  trumpet,  and 
in  this  diirering  Irom  the  sbophar.  Tlie-e  instru- 
ments were  made  of  pure  beaten  silver,  by  order 
of  Moses,  who  had  been  directed  by  (jod  how  to 
make  them. 

CHAXDOSCIIKIX.  A  Russian  riolinirt  and 
composer  lor  his  instrument ;  some  of  his  work* 
were  publi>Leil  at  rctcr.iburg  in  1795  and  l"9t5, 

CHArEI.LE,  riEllUE  nAVII)  ATGU.STIN. 
A  French  violinist  and  drnmalic  composer,  be- 
tween the  years  \7><o  and  17'Jj.  He  was  bom  *l 
Rouen  in  17<36. 


139 


CUA 


ENCYCLOPAEDIA    OF    MUSIC. 


CUE 


CIIAl'l'I.E,  SAMl'EL,  wn«  boni  at  Crciliton,  i  CIIARTRAIX.  A  French  violinist  and  cnm- 
In  DovonHliire,  in  177.5.  At  llie  ngc  of  fifteen  poser  for  his  ini;tnimeut  al  Paris,  about  the  yeai 
monthti  I'.c  wn"  nttiu-kc<l  with  the  natural  small    1780. 


pox,  which  deprived  him  of  sight.  As  soon  a.s  he 
could  roni'h  the  distances  on  a  violin,  he  began  to  i 
take  lessons  on  that  instrument.  At  about  fifteen  | 
vears  of  age  be  commenced  the  j)iano-forte,  [ 
under  Enmes  of  Crediton,  who  learned  of  'I'homa.s,  | 


CIIASSmOX,  PIERRE  MAITIIIEU  MAR. 
TIX  1)E.  Author  of  a  work  on  dramatic  music 
publLshed  at  Paris  in  1751. 

CHASSE.     (F.)     The   name  applied  to  an> 


a  pupil  of  Stanley  ;  all  these  three  organists  were '  instrumental  composition  written  in  imitation  of 
blind.     Chapjilc  had  also  with   him  two   young    hunting  music. 


men  as  piipils,  who  were  blind,  lie  was  ap- 
pointed organist  of  Ashburton  in  the  year  179.5. 
His  publications  consist  of  "  Sonatas  for  the  Piano- 
Forte  with  Violuj,  Songs,  Anthems,  &c." 

CIIARDE,  JOANNES.  Professor  of  music  at 
0.tford  in  1.518. 

CHART)  INI.  or  CHARDIN,  was  bom  at  Rouen, 
ai'.d  entered  as  *eiior  singer  at  the  Grand  Opera  at 
Paris  about  the  year  1780.  Chardini  composed 
also  an  oratorio,  called  "  Le  livUnir  de  Tobie,"  and 
several  ojicras.     He  died  young,  in  1790. 

(-'HAllLES  V.  was  entertained  at  his  meals 
with  music ;  and  even  in  the  sbcteenth  century, 
music  was  considered  the  best  regale  that  could 
be  given  to  any  distinguLshed  individual.  After 
his  abdication  he  often  retired  to  an  ajiartment 
near  tlic  high  altar,  where  he  sung  and  beat  the 
time  during  the  performance  of  mass.  If  any  of 
his  singers  sung  out  of  time  or  tune,  he  could  be 
overheard  calling  them  names,  as  "  red-headed 
blockhead,"  itc.  A  composer  of  Seville  presented 
him  a  book  of  motets  and  masses,  and  upon  one 
of  them  being  perfonned  as  a  specimen,  he  called 
to  his  confessor,  and  said,  "  See  what  a  thief, 
what  a  plagiarist,  is  this  scoundrel !  Why,  this 
passage  is  taken  from  one  composer,  and   that 


CHASTELEUX,  I,E  MARQUIS.  A  French 
writer  on  the  subject  of  music.  He  died  at  Paris 
in  1788.  He  wrote  "  lUsai  sur  I'Unhn  de  la 
Poisie  et  de  la  Musiqtie,"  Paris,  176.5. 

CHAUVET,  F.,  a  blind  organist  at  Paris, 
composed  some  songs,  &e.,  about  the  year  1798. 

CHAUVET,  I.E  JEUXE,  C.  R.,  probably  the 
son  of  the  preceding,  pubUshed  some  piano-forte 
music  at  Paris  in  1803. 

CHECCI,  REXE,  published  some  flute  musio 
at  Augsbiu-g  in  1798. 

CHE.  An  Italian  preposition,  signifying  Ihan ; 
as,  Poco  piu  CHE  aliegretto.  A  little  quicker  than 
allegretto. 

CHELYS.  An  ancient  stringed  instrument, 
resembling  the  harp.  By  some  authors  it  has 
been  described  as  originally  formed  of  a  shell 
found  in  the  Xile  at  low  water ;  and  its  inven- 
tion is  ascribed  to  Mercury. 

CHELEERI,  FORTUXATO,  was  boni  at  Par- 
ma in  1668.  He  was  a  celebrated  dramatic  com- 
poser ;  hLs  first  opera  met  with  much  success  at 
Placcnza,  m  1707.  After  this  he  travelled  for 
three  years  in  Spain,  and,  on  his  return  to  Italy, 
from  iinother,'  naming  the  composers  as  lie  went  I  composed  many  operas  ;  he  was  then  invited  by 
on.  Tl'.e  astonishment  of  the  singers,  who  had  the  BLshop  of  A\'iutzburg  to  go  into  Germany, 
not  before  obscn-ed  the  plagiarism  of  the  pre-  where  he  remained  till  the  year  1726,  wliich  he 
tended  composer,  may  be  imagined.     He  selected  i  spent  in  England,  publishing  there  a  set  of  can- 

tata;--,  and  being  received  a  member  of  the  Royal 
Academy  of  Music.  His  next  journey  was  to 
Sweden,  where  he  remained  four  or  five  years, 
afterwards  retiring  to  Cassel,  where  he  died  in  the 
year  1757. 

CHEXARD,  X.  A  celebrated  singer  at  the 
ThiAtre  Fei/denu  at  Paris.  He  was  also  a  violon- 
cello pupil  of  Duport,  and  an  excellent  per- 
former on  that  instrument. 


about  fifteen  fiiars,  who  were  good  singci-s,  for 
his  choir,  and  if  one  ever  sang  wrong,  he  would 
cry  out  and  mark  him.  He  would  allow  no  sing- 
ei-s  but  those  of  some  religious  order  in  his  choir. 
One  day,  a  layman  with  a  contralto  voice  sang  a 
part  well,  but  all  the  th.anks  he  got  for  his  pains 
was  an  order  from  Charles  to  leave,  or  to  hold 
his  tongue. 

CHARPENTIER,  MARC  AXTOIXE,  was 
supcriiiicndont  of  the  music  of  the  Duke  of  Or- 
leans, and  his  instructor  in  the  art  of  musical 
com])osiuon.  He  has  left  several  operas,  one  of 
which,  viz..  Ids  "  Middi;"  was  in  its  time  highly 
celebrated.  He  composed  another,  called  "  y^i- 
lomlh;"    which    was    tluico   represented   in   the 


CHENIE,  MARIE  PIERRE,  was  bom  at 
Paris  in  1773  ;  he  was  professor  of  the  double  bass 
at  the  Grand  Opera,  and  has  composed  sever-il 
masses,  also  several  romances. 

CHEROX.     A  French  composer  for  the  flute 


Palais  Royal.     The  Duke  of  Orleans,  ^yho  had   nbout  the  year   1720;   he  also  composed  some 
compose<l  jmrt  of  it,  would  not  suffer  it  to  be   motets. 


published.     Charpeniicr  died  at  Paris  in  1704 

CHARPENTIER,  J.  J.  REAUV.VRLET,  was 
bom  at  Abbeville  in  1730.  He  was  an  organist  at 
I'aris,  nnd  published  much  sacred  music  u])  to 
the  time  of  the  French  revolution.  He  died  in 
1774. 

CHARPENTIER,  J.  M.  REAUVARLET,  son 
of  the  jireceding,  was  iKirn  at  Lyons  in  1766.  In 
the  year  1780,  he  was  organist  of  St.  Paul's 
Chim'h  at  Paris.  He  published  some  masses 
arranged  .or  the  piano-forte,  also  n  work  entitled 
"  Thioric  d'Urfftie,"  between  the  years  179i  -•■' 
1800. 


and 


CIIERT-RIXI,  MARIA  LUIOI  ZEXOBIO 
SAIA'ATOR,  was  bonj  at  Florence,  September 
8,  1760,  and  commenced  the  study  of  compo- 
sition in  1769.  His  first  masters  were  Bartolo- 
meo  and  Alessandro  Felice,  father  and  son.  At 
the  age  of  thii-tcen  he  -wTote  a  mass,  which  gave 
promise  of  the  fine  musical  endovnuents  he  sub- 
se<|uently  reaUzed.  From  that  time  till  1778,  he 
produced  a  great  nuiuber  and  variety  "of  pieces 
for  the  theatre  and  the  church,  which  continual- 
ly met  with  high  ajiproval,  and  extended  hit 
reputation.  Meanwliile  the  yo>ing  artist,  tliirst- 
iug   for  knowledge,    and   ambitious   of    liighci 


190 


CUE 


ENCYCLOPiEriA    OF    MUSIC. 


CIIF 


attempts  than  he  had  yet  found  opportiuntj'  for, 
(jrew  weary  of  the  limits  of  his  nntive  town,  and 
during  four  years  studied  under  Snrti,  at  liolo^na. 
It  was  to  this  course  of  study  that  lie  owed  his 
scientific  acquirement  and  surpassing  knowledge 
of  counterpoint,  and  the  simple  purity  of  style, 
which  form  the  distinctive  seal  of  his  admirable 
talent.  Cherubini  was  not  rich,  and  found  but 
one  way  of  paying  for  the  excellent  lessons  he  re- 
ceived :  this  was,  to  make  his  master  profit  by  the 
science  he  imparted.  Sarti  was  at  that  jicriod  so 
much  in  rc'i^iest  throughout  Italy,  that  he  found 
it  unpracticable  to  snpi)ly  the  numerous  and 
valuable  demands  made  upon  his  talent ;  he  was 
therefore  fortunate  in  meeting  with  a  discijjlc  of 
Cherubini's  genius,  who,  careless  of  all  but  the 
perfection  of  his  art,  was  willing  to  devote  his 
own  budding  excellence  to  the  glory  of  hLs  mas- 
ter. 8ome  of  Siuti's  most  celebrated  ojieras,  pro- 
duced during  the  sojourn  of  Cherubini  in  Bo- 
logna, were  aftcrNvards  acknowledged  by  the 
master  to  have  been  almost  entirely  the  progeny 
of  the  pupil.  Two  of  these  are  recorded  :  "  Achil- 
le  ill  Scirn,"  and  "  (jiii/io  S<thiiio;"  the  latter  of 
which  Cherubiui  afterwards  recomposed  in  Lou- 
don. In  1781,  Cherubini  was  engaged  by  the 
manager  of  the  ItJiIian  Opera  in  London,  where 
he  produced  two  very  successful  works,  "  La 
Finta  Principesxa,"  and  "  Giulio  Sabino."  From 
London  he  went  to  I'aris,  with  the  intention  to 
fix  himself.  In  1788,  he  made  a  short  tour  in  hLs 
native  country,  which  he  never  revisited.  Dur- 
ing this  visit,  he  produced  an  opera  on  the  subject 
of  "  Iphiijcnia  in  Aiilida,"  at  the  theatre  of  Turin. 
His  first  opera  given  to  France  was  produced  at 
the  (irand  Oi)era,  and  met  but  a  cool  reception, 
in  const^|ucnce  oi  the  ex])ectations  raised  by  an 
announced  posthumous  work  of  Vogel  on  the 
same  subject,  "  Di'mophoon"  which,  however, 
proved  a  laihire,  and  Chcrubini's  opera  was  ad- 
mitted, though  then  too  late,  to  have  merited  the 
preference  ;  the  overture  of  Vogel  alone  sur\-ives. 
During  the  tollowing  yciu^,  Cherubini  contented 
himself"  with  composing  a  vast  number  of  mor- 
ceaiur,  which  were  uitroduced  into  the  operas  given 
by  an  excellent  Italian  company  in  Paris,  whose 
rehearsals  he  superintended,  and  whose  perform- 
ances he  directed,  with  indefatigable  care  and 
success.  An  opera  entitled  "  Koiicoiirgi,"  which 
was  on  the  jioint  of  being  represented  at  the  Fey- 
doau  Theatre,  ^Opera  Comiquc,)  was  interrupted 
by  the  troubles  which  succeeded  tlie  memorable 
10th  of  August,  lie  produced  at  the  same 
theatre,  in  17!'l,  his  "  Lmhiska,"  the  success  of 
which  was  eclipsed  by  Kreut/.er's  more  popular 
opera  of  the  same  name,  perlormcd  at  the  theatre 
,)f  the  Itali^tn  Comedy.  In  1794,  he  brought  out 
"  FAisa,"  of  which  the  beautiful  introduction  iii 
well  remembered;  in  1797,  his  "  Midde,"  the 
stylo  of  which  is  noble  and  severe ;  in  this  opera, 
Vadame  Scio  attained  a  just  celebrity,  and  we 
find  it  abounding  in  beauties  of  the  very  highest 
order.  In  1708,  he  produced  "  L'Ifotcllerie  I'oriii- 
(jucse,"  of  which  the  overture,  (a  chef  (Tfnivre,)  and 
an  exquisite  trio,  retain  their  popularity  undi- 
minislied.  It  was  in  1800  that  "  Les  Detix  Jour- 
nic3,"  aj)pearcd,  with  a  success  perfectly  colossal ; 
this  charming  opera  is  too  wcU  known  to  every 
amateur  to  need  the  indexing  of  a  single  morcrau. 
In  1801  he  was  dep\ite<l  by  the  Acadimie  rlci  Bcnitx 
Arts  to  present  to  Ilaydn  the  medal  which  they 
uad  ordered  to  be  struck  in  his  honor,  immedi- 

19 


ately  after  the  first  performance  of  the  "  SeAson«." 
In  1803  "  Aiiacreon  "  was  j)roduced  at  the  (irnnil 
Opera,  and  is  reidete  with  well-known  delicioui 
])iece'i;  and  at  the  same  theatre,  in  1801,  the  cel- 
ebrated biUlet  "Achillea  Scijrns."  Cherubini'* 
success  in  Paris  now  resounded  in  (iermany, 
whither  he  was  in^•ited  in  ISOo,  and  where  he 
produced  his  opera  of  "  Faniska,"  at  the  Imperi- 
al llieatre  at  Vienna ;  several  ])icces  from  the 
"  Koufoiirrti,"  which  had  not  hitherto  been  heard, 
being  successfully  rcada])te(l  in  this  oi)era. 
During  this  sojoum,  all  his  most  favorite 
works  became  po])ulari/.ed  in  (jennany.  In 
1809  his  opera  of  "  Pi/r/malion  "  was  produced  at 
the  TMAlrc  den  Tuileries  ;  in  1810  "  l^e  Crescendo  " 
at  the  'J'hddtre  Fn/dcau;  this  was  a  one-act  ope- 
retta, of  which  one  air  and  a  duct  are  alone  re- 
membered. In  1 8 1 .3  his  opera  "  I^s  Ahrnicrraijcs  " 
was  triumphantly  given  at  L'Acadi':mie ;  hut  its 
promising  career  was  interrupted  by  the  news  of 
the  fatal  disasters  at  Moscow.  Up  to  this  mo- 
ment, despite  his  immense  reputation,  Chei-ubini 
had  enjoyed  no  i)ublic  distinction  ;  he  was  not  in 
esteem  with  Xapoleon,  who  could  not  pardon  the 
countr}-man  of  Cimarosa  (with  whose  music  the 
emperor  was  delighted  even  to  into.xicatiou)  for 
what  seemed  to  him  the  heresy  of  writing  in  the 
German  school ;  the  honors  and  emoluments 
lavished  ujion  Paisiello  and  Paer  were  an  indi- 
rect reproach  on  Chenibini,  who  disdained  to 
make  his  talent  subservient  to  any  master.  AVith 
the  exception  of  "  I^s  detix  Joitrnics,"  the  works 
of  Cherubini  were  far  more  popularly  known 
throughout  Germany  than  in  France;  and  though 
the  imperial  domination  was  infiexible,  yet  no 
steps  were  taken  to  remunerate  Cherubini  for  th.e 
frequent  execution  of  hLs  works  in  Vienna  and 
Herlin.  Cherubini  had  no  other  resource  but  the 
emoluments  of  his  office  of  inspector  of  the 
Conserratoire,  which  he  held  from  its  establLsh- 
ment  in  179.5  ;  but  his  glory  consoled  hira  for  the 
rigors  of  his  fortune,  until  the  lioiirbon  resto- 
ration opened  a  richer  prospect  before  him.  In 
181.T  he  revisited  London  by  the  invitation  of 
the  Philharmonic  Society,  and  produced  a  s)"m- 
phony  and  other  successful  pieces  at  their  con- 
certs of  that  f-eason.  Named  superintendent  of 
music  to  the  king,  a  station  last  enjoyed  by  Mar- 
tini, he  ardently  gave  himself  up  to  the  perfec- 
tion of  a  style  of  composition  to  which  he  had 
long  been  affectionately  devoted,  and  in  which 
he  had  already  signalized  himself  by  the  publi- 
cation of  his  beautiful  miiss  for  three  voices,  hia 
"  Grand  Pequicra,"  Ids  "  Mcise  du  sacre  ;  "  and  ■» 
crowd  of  works  of  the  same  character,  too  n;i- 
merous  to  mention  here,  now  followed  in  rapid 
succession.  The  Institute  now  opened  its  doors; 
the  Legion  of  Honor  cnrolle<l  him  among  it» 
members;  ho  was  invested  with  the  order  of  St. 
Michael ;  in  fine,  justice  was  at  length  accorded  to 
him.  In  1821  he  coojjerated  with  Hoieldicu, 
Uerton,  and  Krcutzcr  in  the  production  of  a 
"  Piece  de  Circonslance,"  on  occasion  of  the  birth 
of  the  Duke  do  Bourdcaux,  one  of  his  choruses 
in  which,  "  Dars  nohle  cnfinif,"  will  never  be  for- 
gotten. In  1822  he  was  appointeil  director  of 
the  Conxcrratoirc,  a  function  which  he  continued 
to  discharge  till  the  .3d  o!  February  1812.  TL« 
revolution  of  July  dc])rived  Cherubini  of  hia  of- 
fice of  director  of  the  King's  Chapel,  and  did  t 
fatal  injury  to  the  art,  by  destroying  one  of  th« 
finest  schools  that  had  ever  existed  for  the  com- 
1 


CHE 


ExrYC'i.op.r.DiA  or  Mrsic. 


CHE 


position  mid  execution  of  sncrcd  music.  Chcru- 
oini  now  iccomiucnccd  liis  dmmntic  career,  in 
1832,  in  nn  opera  called  " />i  Mur'/uhe  de  Drinvil- 
liers."  'YV.c  introduction  Ls  remarkable  for  a 
vigor  and  s))rif;litlinc,sa  perfectly  juvenile.  In 
183;i  lie  produced  his  "  Alt  liaha,"  in  four  acts, 
in  Avliich  lie  incorporated  a  few  of  the  pieces 
from  tlic  niuictcd  "  Koucourt/i "  which  had  not 
found  a  place  in  "  FanUha  ; "  there  Ls  an  admi- 
rable trio  (If  ilnrmetirs  in  this  opera,  and  several 
other  charminp  niorccaiur,  the  merits  of  which 
■were  neutralized  by  the  ineffectiveness  of  the 
libri'tto.  At  the  ago  of  pcventy-thrcc,  Cherubini 
had  put  forth  all  the  nerve  of  his  youth,  the  pol- 
ish of  liis  prime,  and  the  maturity  of  his  age, 
gathered  info  one  bouquet ;  and  it  was  but  too 
truly  said  of  the  French  at  the  time,  and  has  been 
but  too  justly  repeated,  "//«7ra<  I'ublic."  Genna- 
ny,  however,  retributed  Cherubini  for  the  coldne::s 
of  France ;  "  All  Baha  "  had  a  vast  success,  and  is 
yet  a  stock  piece  in  all  the  principal  operatic 
theatres  on  the  other  side  of  the  Rhine.  In  IS^-j, 
some  impediment  having  arisen  to  the  execution 
of  C'licrubini's  (irand  Kequiem  at  the  funeral  of 
Boicldieu,  in  conseriucnco  of  the  ecclesiastical 
authorities  having  forbidden  the  emploj-raent  of 
female  voices  in  the  sen-ice  of  the  church,  Cher- 
ubini undertook  to  compose  a  Kequiem  for  male 
voices  only,  which  he  published  in  183G,  being 
then  at  the  advanced  age  of  seventy-six.  This 
was  his  last  composition,  and  though  perhaps,  as 
a  whole,  inferior  to  his  first  llequiem,  it  contains 
several  very  remarkable  portions ;  it  has  been 
frequently  repeated,  and  received  its  final  glory 
from  being  chosen  to  form  the  musical  rite  of  its 
disiinjuished  author.  In  this  brief  notice  it  has 
been  impossible  to  detail  more  than  the  titles  of 
his  most  celebrated  works  ;  it  would  occupy  far 
more  sjiace,  and  requiie  far  more  consideration, 
to  nttcm2)t  to  do  justice  to  this  extraordinary  man 
by  any  analysis  of  his  merits  as  a  dramatic 
and  sacred  composer ;  be  it  sufKcient  to  awaken 
the  gratitude  of  musicians  and  of  the  public  for 
the  incessant  and  lasting  service  he  rendered  by 
his  lessons  as  a  professor  of  composition,  from 
170.5  to  1822,  and  as  director  of  the  C'onxervatoire 
from  that  time  till  nearly  the  day  of  his  death. 
Amongst  his  numerous  pupils,  the  names  of 
IJoieldieu,  Auber,  Carafa,  llalevy,  liCbome,  Bat- 
ton,  Zimmcnuan,  and  Kuhn  may  be  cited  as 
forming;  the  most  triumphant  eulogy  of  his  tal- 
ent as  a  great  master  of  his  art.  Finally,  a  monf  li 
previous  to  his  demise,  the  kiiig  invested  him 
■with  tlie  grand  cross  of  the  Legion  of  Honor, 
it  being  the  only  time  that  badge  of  distinction 
had  ever  been  worn  by  a  musician.  lie  died 
March  l.i,  1812.  Cherubini's  character  as  a 
man  has  been  diifeicntly,  and  more  than  once 
unjustly,  appreciated ;  extremely  nervous,  abrupt, 
irritable,  and  of  an  absolute  independence,  his 
first  inlerviews  were  almost  always  unfavorable  ; 
but  he  readily  gave  way  to  the  excellence  of  his 
nature,  which  forced  him  to  burst  through  the 
less  flattering  aiipcarancca  which  circumstances 
compelled  him  to  assume  ;  thus,  notwithstanding 
the  inequality  of  his  humor,  (which  some  have 
paid  to  be  always  equal,  because  always  choleric,) 
lie  was  adored  by  those  who  surrounded  him  ; 
the  veneration  of  his  pupils  ahno^t  amounted  to 
fanaticism.  MM.  Ilalcvy  and  liatton  attended 
his  last  moments  with  a  prodigal  tenderness,  even 
mere  than  iiijtl;  and  Boicldieu  never  spoke  to 


him  but  in  terms  of  affectionate  adoration.  Cher- 
ubini returned  with  no  less  warmth  and  constan- 
cy the  love  of  his  scholars ;  above  all,  he  was 
attached  to  M.  Ilalcvy,  whom  lie  com-idered  as  a 
son.  The  sensations  one  exjierienced  on  ap- 
proaching Cherubini  were  difhcult  to  describe, 
and  even  to  comjjrehend  ;  the  veneration  inspired 
by  Ills  great  age  and  eminent  talents  was  at 
once  neutralized  by  hi?  peculiar  demeanor,  and 
the  apparent  egoti'-m  of  his  opinions ;  but  at 
every  instant,  a.s  one  grew  famihar  with  his  sin- 
gular characteristics,  one  beheld  more  and  more 
the  great  and  good  man ;  his  countenance  un- 
ciu-tained  itself,  his  tine  spiritual  smile  shone 
forth,  and  the  perfect  contour  of  his  head  became 
a  model  of  aged  beauty ;  his  conversation  grew 
sweet  as  rich,  his  native  good  nature  stole  upon 
you  little  by  little,  he  became  companionable  in 
spite  of  himself,  his  heart  claimed  relationship 
with  yours,  you  quitted  him  enchanted,  and 
wondering  at  the  sudden  and  different  emotions 
you  had  experienced,  you  felt  that  your  awe  had 
softened  into  admualion,  that  your  almost  aver- 
sion had  melted  into  love.  n:ough  the  style  of 
Cherubini  belongs  more  to  the  Gcimau  than  the 
Italian  school,  still  he  cannot  proiierly  be  placed 
amongst  the  artists  of  the  former  ;  yet  his  m^^i- 
ner  Is  less  Italian  than  that  of  iMozart ;  it  is  purer 
than  that  of  Beethoven  ;  it  Is,  in  fact,  the  chaste 
ancient  style  of  Italy,  refreslied  and  decorated 
with  the  harmony  of  modem  times.  One  cannot 
help  thinking,  that,  if  I'alestrina  had  sur\-ived  to 
these  days,  he  would  have  been  another  Cheru- 
bini ;  here  are  the  same  purity,  the  same  sobriety 
of  proceeding,  the  same  results,  obtained  by  the 
same  (so  to  speak)  mysterious  means;  for,  to  the 
eye,  their  music  prc' cuts  combinations  of  which 
it  is  impossible  to  divine  the  eftcct,  until  the  exe- 
cution of  it  reveals  the  same  to  the  ear.  Cheru- 
bini is  not  to  be  ranked  with  those  musicians 
whose  labors  have  eH'ccted  revolutions  in  the  art 
by  an  entire  transfonnation  of  style.  Contem- 
porary of  Haydn,  of  Mozart,  of  Beethoven,  and 
of  llossini,  Cherubini  seems  to  have  been  placed 
by  nature  amongst  those  great  geniuses  as  a 
moderator  whose  wisdom  and  iirmness  was  des- 
tined to  counteract  the  ideality  of  the  satellites 
of  those  luminous  jilanct-s ;  as  Reason,  by  the  side 
of  Imaguiation,  corrects  licr  iu  her  eccentric  orbit, 
and  locuses  her  scattered  rays.  ITie  works  of 
this  master  will  always  serve  as  models,  because, 
written  on  a  system  of  exactitude  almost  mathe- 
matical, and  consequently  exempt  from  the 
changeable  atfcctations  of  time  and  fashion,  they 
will  survive  many  a  composition  of  more  startling 
pretcn:<ions,  and  which  may  have  reached  a  wider 
renown  on  its  iirst  appearance.  If  we  compare 
tlic  early  works  of  Mozart  with  those  of  Cheru- 
bini, which  were  written  at  the  same  ejjoch,  there 
being  but  four  years'  difference  b.ctwecn  the  peri- 
od of  their  respective  births,  we  cannot  but  re- 
mark in  the  compositions  of  th.e  lormer  certifiu 
))assagcs  in  accordance  with  the  prevalent  taste 
of  the  day,  while  in  the  latter  we  find  nothing 
to  indicate  the  era  in  which  they  were  written. 
Cherubini  very  rarely  attained  to  much  populari- 
tv ;  his  works  are  generally  of  too  grand  and 
mental  a  conception  to  meet  with  simultaneous 
appreciation,  and  it  wiU  be  for  jiosterity  to  enjoy 
and  reward  what  the  li\-ing  world  have  j-et  scarce- 
ly learned  to  comprehend. 

[The  above  is  abridged  from  an  article  written 


192 


CHE 


ENCYCLOPAEDIA    OF    MUSIC. 


CHJ 


R  week  niter  Cherubini's  death  by  the  composer, 
^.dolphe  Adam.] 

CIIERUlilCAL  HYMN.  A  h)inn  of  Rrcat 
note  in  the  early  Cliristiau  church.  It  was  Ukc- 
wisc  called  tristujium,  or  thrice  holy  ;  because  its 
form  wa-*  in  these  words  :  "  Holy,  holy,  holy. 
Lord  God  of  hosts,"  S;c. 

CIIEUUliINO,  NICOLO.  An  Itahnn  compo- 
»er  of  sacred  music  in  the  seventeenth  century. 

CHEST  OF  VIOLS.  A  chest  of  vioh  is  an  old 
expression,  applied  to  a  concert  or  set  of  viols, 
consistinj^  of  six,  which  were  generally  two 
basses,  two  tenors,  ni\d  two  trebles,  each  with  six 
hCjings.  The  jiarticulnr  use  of  a  chest  of  viols 
■TAs  to  play  fantasias  in  six  parts.  They  were, 
iiowever,  variously  employed;  and  tof;ether  with 
a  harpsichord,  or  organ,  formed  an  ordinary  band. 

CHEVALKT.  (F.)  llio  bridge  of  a  vioUn, 
tenor,  or  violoncello,  &c. 

CHEVALIER.  A  composer  of  small  dramat- 
ic piecc-i,  and  actor  at  the  French  ITieatre  in 
Ilambur;^,  in  179!!,  1797,  and  1798. 

CHEVALIER,  MADAME.  Niece  to  the  fore- 
going, and  actress  at  the  French  Theatre  in  Ham- 
burg, in  1796,  1797,  and  1798.  She  was  a 
bcautilul  woman,  an  excellent  actress,  and  a  verj* 
pleasing  singer.  From  Hamburg  she  went  to 
St.  I'etersburg,  where  she  was  patronized  by  the 
Emperor  I'aul,  and  reahzed  a  considerable  for- 
tune. On  tlie  death  of  Paul,  she  was  sent  out  of 
Russia  by  the  government. 

CHEVILLE.  (F.)  ITie  peg  of  a  violin, 
tenor,  \c. 

CHEVRIER,  FRANCOIS  ANTOINE.  A 
■wTiter  on  dramatic  music  at  Paris  in  1755.  He 
died  in  Holland  in  1760. 

CHIARINI,  P.  A  performer  on  the  harpsi- 
chord, and  composer  of  Itahan  operas,  between 
tlie  vears  1739  and  1741. 

cillAVACCI,  VINCENZO.  A  composer,  bom 
at  Rome  in  1760.  Several  of  his  vocal  works 
were  published  at  Vienna  about  the  year  1799. 
In  1801,  he  produced  an  opera  at  Warsaw,  where 
he  first  mtroduced  the  ojxra  bujfa.  He  died  in 
1815. 

CHIAVE.     (I.)     A  clef,  or  key.     See  Clef. 

CHIESA.  (I.)  A  church,  a  word  frequently 
used  in  conjunction  with  some  other,  to  signify 
that  the  music  to  which  it  is  prefixed  is  in  the 
church  style  ;  as,  sonata  di  chiesa,  a  church  sonnet. 

CHIFFRES.  (F.)  Ciphers,  figures,  in  speak- 
ing of  thorough  bass. 

CHILCOrr,  THOMAS,  organLst  of  the  ab- 
bey church  at  Bath,  was  composer  of  some  con- 
certos for  the  liarpsichord.  He  was  the  first 
master  of  the  celebrated  Thomas  Linlcy. 

CHILI),  I)U.  WILLIAM,  was  a  native  of  Bris- 
tol, and  a  ])upil  of  Ehvay  Bcvin.  In  1631,  being 
^  then  of  Christ  Church  College,  Oxford,  he  took 
his  degree  of  bachelor  of  music,  and  in  16?6  was 
appoinlcd  one  of  the  organists  of  St.  (icorge's 
C:hapcl,  ut  Windsor,  and  soon  after  one  of  the 
organists  of  the  Royal  Chapel  at  M'hitehall. 
After  the  restoration  he  was  made  chanter  of  the 
King's  Cluipel,  and  one  of  the  chamber  musicians 
to  Charles  il.  In  1663  the  University  of  O.xibrd 
tonferrcd  on  him  the  degree  of  doctor  in  music. 
Dr.  Child,  after  having  been  organist  of  Windsor 
Chapel  sixty-five  years,  died  in  that  town  in  1697, 


at  ninety  years  of  age.  His  works  are,  "  Psalma 
for  three  Voices,  itc,  with  a  continued  Basti, 
eitlier  for  the  Organ  or  'llieorbo,  composed  a{ter 
the  Itahan  way,"  London,  1639  ;  "  Catches, 
Rounds,  and  Canons,"  publislied  in  Hilton's 
"Catch that  catch  can,"  165'i;  "Divine  Anthems;" 
and  compositions  to  several  pieces  of  poetry,  some 
of  which  were  written  by  Dr.  Thomas  Pierce  of 
Oxford.  Some  of  his  secular  compositions  Uke- 
wLse  appeared  in  a  book  entitled  "  Court  AjTes," 
printed  in  1655.  But  his  principal  productions 
are  his  services  and  full  antlicms,  printed  in  Dr. 
Boyce's  collection.  His  style  was  so  remarkably 
easy  and  natural,  comi)nred  with  that  to  which 
choirraen  had  been  accustomed,  that  it  was  're- 
quently  treated  by  them  with  derision.  Indee;., 
his  modulation  was  so  nearly  modem  as  not  to 
produce  that  solemn,  and,  seemingly,  new  effect 
on  our  ears,  which  we  now  experience  from  the 
productions  of  the  sixteenth  century. 

CHILMEAD,  EDMUND,  a  deeply-read  math- 
ematician, and  well  skilled  both  in  the  theory 
and  practice  of  music,  was  the  author  of  a  tract, 
"  De  MttsicA  Anfir/ud  Gnrcd,"  printed  at  the  end 
of  the  Oxford  edition  of  "  Aratiis,"  in  167"i.  He 
was  bom  at  Stow  in  the  Wold,  in  Gloucestershire, 
and  became  one  of  the  clerks  of  Magdalen  Col- 
lege, OxJbrd.  About  the  year  1632,  he  was  one 
of  the  petty  canons  or  chaplains  of  CHirist  Church ; 
but  being  ejected  by  the  Parliament  visitors,  in 
1648,  he  went  to  Ix)ndon,  and  took  lodgings  in 
the  house  of  ITiomas  Est,  the  musician,  in  Alders- 
gate  Street.  In  a  large  room  of  tliLs  house  he 
held  a  weekly  music  meeting,  from  the  profits  of 
which  hLs  chief  subsistence  was  derived.  He 
was  an  excellent  Greek  scholar,  and  was  employed 
to  draw  up  a  catalogxie  of  the  Greek  manuscripts 
in  the  Bodleian  library.  Wood  mentions  a  trea- 
tise of  his,  "  De  Sonis,"  wliich  does  not  appear  to 
have  been  pubUshed.  Tlie  rest  of  his  works 
seem  chieHy  to  have  been  translations.  He  died 
in  the  year  1654,  in  the  forty-third  year  of  his 
age.  His  tract  "  De  Mu.ucd  Anti/iid  Grrccd  '■ 
contains  a  designation  of  the  ancient  genera, 
agreeable  to  the  sentiments  of  Bocthius,  with  a 
general  enumeration  of  the  modes,  after  which 
follow  tliTce  odes  of  Dionysius,  with  the  Greek 
musical  characters  adapted  to  the  notes  of  Gui- 
de's scale. 

CHILSTON.  An  old  English  musician  in  the 
commencement  of  the  fifteenth  century.  He 
\\Tote  some  curious  directions  for  the  practice  of 
extemporary  descant. 

CHIMES.  A  kind  of  periodical  music,  pro- 
duced at  equal  inter\-als  of  time,  by  means  of  a 
particular  apparatus  added  to  a  clock  ;  of  the 
parts  of  which  apparatus,  the  principal  are  the 
bells,  the  chime  barrel,  and  hammer.  In  order 
to  calculate  numbers  for  chimes,  and  adnjjt  the 
chime  ban-el,  it  must  be  observed  that  the  bar- 
rel must  turn  round  in  the  same  time  that  the 
tune  it  is  to  i>lay  rctjuircs  in  singing.  As  for  the 
chime  l)arrcl,  it  may  be  made  of  certain  bars  that 
run  athwart  it,  with  a  convenient  numl)er  of 
holes  punched  in  them,  to  put  in  the  pins  that 
are  to  draw  each  hammer ;  and  these  pins,  in 
order  to  play  the  time  of  the  tune  rightly,  must 
stand  upright,  or  hang  down  from  the  bar  some 
more,  some  less.  To  place  tlie  pins  rightly,  you 
may  proceed  by  the  way  of  changes  on  l)ell.s  vi/., 
1,  2,  3,  4  ;    or  rather  make  u«e  of    the  munical 


26 


193 


cni 


EXCYCLOr-¥.DIA    OF    MUSIC, 


Cfl 


notes.  Ohfpn-p  -xvliat  ix  the  compass  of  your 
tunc,  and  divide  t)ic  bnrrcl  accordingly  from  end 
to  end.  'llius  in  the  following  example,  the 
tune  is  eight  note-<  in  conijinss,  and  therclore  the 
barrel  is  divided  into  eiirl'.t  ))arts  ;  these  divisions 
are  struck  round  the  barrel,- opposite  to  which 
are  the  hnnnner  tails  ;  hut  when  two  notes  of  the 
same  Kound  come  together  in  the  same  tune,  there 
must  be  two  hammers  to  that  bcU  to  strike  it. 
Then  you  are  to  divide  it  round  about  into  as 
many  divisions  as  there  arc  musical  bars,  pcmi- 
breves,  minims,  ,"tc.,  in  your  tune.  Thus  the 
hundredth  Psalm,  Old  Hundred,  has  twenty 
notes  ;  the  first  note  is  a  semihreve,  and  therefore 
on  the  chime  barrel  must  be  coiTcsponding  divLs- 
ions.  This  may  be  better  understood  by  conceiv- 
ing the  surface  of  a  band  to  be  represented  in 
the  second  table  below,  as  if  the  cylintlrical  su- 
perficies of  the  bniTcl  was  stretched  out  at  length, 
or  extended  on  a  ])lane ;  and  then  such  a  table, 
PO  dotted  or  divided,  if  it  was  to  be  WTai)ped 
round  the  barrel,  would  show  the  places  where 
all  the  pins  are  to  stand  in  the  barrel ;  for  the  dots 
running  about  the  table  are  the  places  of  the 
pins  that  play  the  tunes. 

Tlu  Notes  of  Old  Hundrfd. 


f 


=t^ 


■^^ 


=ns 


g>-g- 


«-??- 


=r 


-<S-6^& 


^^ 


i 


^^§ 


^ 


g 


^=&= 


t=t: 


A  Table  for  dividing  the  Chime  Barrel  of  Old  Hundred 


1  1  )-t-l— 

-O-O- C — 1 

(-Si 

1 

1 — 1 — 1 — 1 : 

>-4— o— t— j— ■ 

_: 

k-l^:^*— ^ 

If  you  -would  have  your  chimes  complete,  you 
ought  to  have  a  set  of  bells  to  the  gamut  notes, 
so  that,  each  bell  having  the  tune  sound  of  so/,  la, 
mi,  fa,  you  may  play  any  tune,  with  its  fiats  and 
sharps,  nay,  even  the  bass  and  treble,  with  one 
barrel ;  and  by  setting  the  names  of  your  bells  at 
the  head  of  any  tunc,  you  may  transicr  that  tune 
to  your  chime  barrel,  without  any  skill  in  music  ; 
but  ob?er\-e  that  each  line  in  the  music  is  three 
notes  distant,  that  is,  there  is  a  note  between  each 
line  as  ■well  as  upon  it. 

CHINELIJ,  GIOVANNI  BAPTISTA.  An 
Italian  composer  of  vocal  and  instnimental  music 
about  the  year  10.30. 

CmNKSK  MU.'^IC.  Tlie  Chinese  have  had  a 
»y>tem  of  music  from  the  most  remote  ]ieriod, 
tnd  in  its  scale  it  seems  to  have  more  resemblance 
to  the  (irecian  than  any  other  to  which  it  could 
be  compared.  From  the  lime  of  Yao  and  Chun, 
which  their  chronology  would  carry  back  two  and 
twenty  centuries  beibre  ChrLst,  they  have  had 
what  they  call  eight  spei'ies  of  sounds:  1st.  The 
sound  of  dried  skins,  such  as  drums;  2d.  'Hie 
pound  emanating  from  stone,  called  kiiifl ;  .3d. 
Tliat  of  nictnl,  as  bells;  4th.  That  of  baked 
earth,  called  hivcii ;  /Jth.  'Hiat  from  silk,  called 
Am  and  c/ie ;  fith.  'lliat  from  wood,  called  yn  and 
ti/ion  ;  7th.  That  from  bamboo,  such  as  Hufes, 
called  konn  ;  Hfh.  That  from  the  gourd,  called 
cAcH^.  Tlieir  scale  consists  of  fourteen  notes,  of 
which  the  seven  middle  notes  corret»pond  to 
our  gamut  Inini  F  ujjwards.  They  seem  unac- 
quainted with  harmony.     It  is  supposed  that  the 


Chinese  were  the  earliest  inven;or8  of  the  musi- 
cal scale  and  notation,  having  possessed  them 
long  before  Pj-thagoras.  He  this  as  it  may,  what- 
ever ex])ansions  the  Chinese  mind  ever  had  art 
now  lifeless,  and  have  long  been  so.  Certain  art* 
have  been  reser\-ed  for  modem  time«,  and  foi 
Europe  and  jVmerica;  among  them  harmony,  oi 
the  combination  of  musical  sounds,  which,  as  a 
science,  was  clearly  unknown  to  the  ancients  :  the 
Chinese  at  this  day  have  no  combinations  of 
sounds,  using  oidy  the  links  of  melody.  n-.e 
Chinese  claim  that  under  their  eight  qualities  of 
sound  all  can  be  classed.  This  division  of  metal, 
stone,  silk,  bamboo,  gourd,  earthenware,  skins, 
and  wood,  they  eay,  Ls  not  fictitious,  but  to  be 
found  in  nature,  lliey  believe  that,  although  all 
the  ditTerent  tones  are  to  be  found  in  each  of  the 
substances  each,  however,  contains  a  note  be- 
longing to  it  more  than  to  all  the  others,  and 
that  nature,  in  combining  the  particles  which 
produce  it,  made  provision  for  uuivei-sal  con- 
cord. ITie  Cliinese  say  that  lloang-ty,  who  lived 
twenty-two  centuries  before  the  Christian  era, 
employed  L>j»(i-hin,  a  princii>al  personage  of  his 
court,  to  undertake  the  regulating  of  the  Chinese 
music.  This  worthy,  in  his  travels,  accidentally 
cut  a  beautiful  bamboo  in  such  a  manner  as  to 
form  a  tube  in  the  parts  divided  by  the  larg* 
knots ;  he  cut  out  the  marrow,  blew  in  it,  and  a 
sound  issued  which  exactly  corresponded  with 
the  pitch  of  his  voice,  when  he  spoke  unaffected 
by  any  passion.  At  another  place  he  found  a 
spring  bubbling  from  the  earth,  which,  to  hia 
great  astonLshment,  produced  a  sound  in  unison 
with  the  one  he  had  drawii  from  his  tube.  A 
bird  accompanied  by  its  male,  which  he  noticed 
perched  on  a  tree,  produced  a  sound,  again,  in 
unison  with  that  of  the  tube  and  the  stream  :  he 
then  made  a  number  of  sounds,  which  formed 
among  themselves  six  semitones  ;  the  leraale  add- 
ed to  these  six  oth.er  semitones,  and  while  the 
two  alternately  sang,  Lyiuj-hm  cut  twelve  tubes 
of  dificrent  sizes,  in  unison  with  the  twelve  semi- 
tones furnished  by  the  voices  of  the  birds,  and, 
delighted  with  his  discoveni',  he  carried  his  tubes 
to  the  emperor,  who  eommandetl  that  forthwith 
the--.e  twelve  sounds,  found  in  so  man'ellous  a 
manner,  shoiUd  form  the  gamut  of  tlie  Chinese 
music.  Amiot,  in  his  "  Mimoires  cottcrniantl'JIi-a- 
toire  (id  Chitmis,"  (tom.  vi.  I'aris,  17S0,)  which 
contains  the  first  satisfactory  account  of  the 
Chine:;e  music,  mentions  sixty-nine  theoretic 
works  upon  the  subject,  which  the  Chine-e  possess. 

CHINESE  FLUTE.  This  is  made  of  bamboo, 
bound  « ith  silk  between  the  apertures  to  pre- 
sence the  wood  from  cracking,  which  helps,  doubt- 
less, to  sweeten  the  sound. 

CHIRON.  An  ancient  teacher  of  music. 
One  of  the  best  antique  ]>aintings,  dug  from  Her- 
culaneum,  represents  Chiron  teaching  Achille* 
to  play  on  the  Ijtc. 

CHIHOPLAST.  A  guide  for  the  hand  in 
piano-forte  playing. 

CIIITARA.     (I.)     A  cithara,  or  guitar. 

CHIUDENDO.  (I.)  Closing,  ending.  A 
word  generally  used  in  conjunction  with  som* 
other ;  as,  chiiulcndo  col.  ritomeUn,  ending  with 
the  s>Tnphony ;  chiudendo  col.  aria,  ending  with 
the  air. 


194 


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ENCYCLOPAEDIA    OF    MUSIC. 


cnc 


CHLADXI,  ERNST  FI-ORENS  FRIEDIlICn, 
IJ,.  D.,  was  boni  at  M'ittcnbiirg  in  1750.  His 
father  was  first  i)rofeisor  of  law  in  tl'.at  town. 
Dr.  Chladni  published,  in  1787,  a  work  entitled 
"  Discoveries  conrerning  the  'llieory  of  Sounds," 
and  in  1802,  "  A  Treatise  on  Acoustirs,"  which 
was  reprinted  at  Paris  in  1809.  This  latter  work 
contains  many  very  valuable  and  novel  e-\,])eri- 
mcnts  on  the  nature  of  the  vibrations  of  sono- 
rous bodies  ;  prefixed  to  it  is  a  biographical  me- 
moir of  the  author  from  liisown  pen,  a  translated 
abridgment  of  which  we  copy  from  the  third 
volume  of  the  Musical  Review  :  "  My  father 
(first  professor  of  law  at  ^Vittenbur■;,  in  Saxony) 
had  given  mc  a  good  education  in  my  paternal 
mansion,  and  at  length  in  the  provincial  school 
of  (jriiumc.  My  education  left  mc  very  little 
liberty,  so  that,  if  others  consider  their  youth  as 
the  most  happy  ])art  of  their  lives,  I  cannot  say 
as  much  of  mine.  Iliis  continual  restraint, 
which  would  not  have  been  necessary,  because  I 
was  not  dusposed  to  abuse  liberty,  produced  quite 
a  controi-y  effect,  by  impressing  me  with  an  al- 
most irresistible  inclination  to  choose  for  myself 
my  occupations,  to  travel,  to  strive  against  ad- 
verse circumstances,  &c.  Being  returued  to 
^Vittenburg  and  to  Leipsic,  and  alter  having  ful- 
filled what  was  re(iuued,  I  obtained  at  Leipsic 
the  emplojTnent  of  a  ])rofessor  of  law  ;  but  after 
the  death  of  my  father  I  quitted  jurisprudence, 
because  it  was  not  conformable  to  ray  inidinations, 
and  I  applied  myself  principally  to  tlie  study  of 
nature,  which  had  always  been  my  secondary  oc- 
cu]iatiou,  and  yet  the  most  cherLshed.  As  a  lover 
of  music,  of  which  I  had  begun  to  learn  the  first 
elements  a  little  late,  in  my  nineteenth  year,  I  ob- 
served that  the  theory  of  sound  had  been  more  neg- 
lected than  many  other  branche,*  of  physics,  which 
ins;>ired  me  with  the  wish  to  supply  tlie  want,  and 
of  being  useful  to  this  jiart  of  natural  philosophy 
by  some  discoveries.  In  making  (in  the  year  1 7S.i ) 
a  great  many  very  imperfect  exi)eriments,  I  had  ob- 
sei-ved  that  a  plate  of  glass  or  metal  gave  ditlerent 
sounds  when  it  was  confined  and  struck  at  differ- 
ent places ;  but  I  found  no  part  of  the  discovery 
on  the  nature  of  the  manner  of  thc--e  vibrations. 
'Die  journals  had  given  ui  those  times  notices  of 
a  musical  instrument,  made  in  Italy  by  tl-.e  Abbe 
Mazzochi,  and  consisting  of  bells,  to  which  he 
applied  one  or  more  violin  bows,  which  caused 
me  to  conceive  the  idea  of  making  use  of  a  violin 
bow  in  order  to  examine  the  vibrations  of  differ- 
ent sonorous  bodies,  ^\'hen  I  applied  the  bow 
to  a  round  plate  of  brass,  fixeil  in  the  middle,  it 
gave  different  sounds  ;  which,  compared  with  each 
other,  were  equal  to  tl-.e  squares  ol  1,  2,  3,  4,  .5, 
&c.,  &c. ;  but  the  nature  of  the  movement  to 
which  the  sounds  corresponded,  and  tl;e  means 
of  producing  each  of  these  movements  at  pleas- 
ure, were  hitherto  unknown  to  me.  The  expcri- 
nionts  on  electric  figures,  formed  by  a  plate  of 
re  -in  covered  with  sand,  discovered  and  publishe<l 
by  Litchenburg,  ^in  the  Memoirs  of  the  Royal  So- 
ciety of  Ciottiugen,)  made  me  presume  that  the 
different  vibratory  motions  of  a  sonorous  plate 
ought  to  offer  diff"erent  appearances,  if  a  little 
Hind  or  other  similar  matter  was  strewed  on  their 
surface ;  and  emploj-ing  these  means,  the  fii"st 
figure  which  presented  itself  to  my  eyes  on  the 
surface  of  a  round  plate,  of  wliich  I  have  been 
e^peaking,  resembled  a  star  with  ten  or  twelve  rays, 
and  a  verv  acute  sound  waa  heard  in  the  series 


mentioned  above,  such  as  agreed  with  the  square 
of  the  number  of  the  diametrical  lines.  Only 
guois  my  astonishment  in  seeing  this  ])henorae- 
non,  which  no  other  jierson  had  ever  seen  before 
After  having  rcHected  on  the  nature  of  the^:c 
movements,  I  did  not  find  it  difficult  to  vary  aiid 
multii)ly  the  exi)rrlments,  whose  rcs\ilts  followed 
with  rapid  succession.  My  first  memoir,  whlcli 
contains  researches  on  tlie  vibrations  of  a  roui  d 
plate,  of  a  square  jilate,  of  a  bell,  of  a  ring,  Sn-., 
appeared  at  Lel])sic  In  1787.  'ITie  results  of  tl;e 
rc-^earchcs  which  I  liave  since  made  on  longitii- 
dinal  vibrations,  and  on  other  objects  of  acoustics, 
are  to  be  fouiul  in  certain  German  journals,  and 
in  the  memoirs  of  different  societies.  Finally, 
after  having  made  yet  more  experiments,  I  have 
united  as  much  as  possible  the  results  in  my 
'Treatise  on  Acoustics,'  which  aj)pcared  In 
German  at  Leipsic,  in  which  1  have  abridged, 
changed,  and  added  a  great  deal,  as  appeared  to 
me  most  convenient.  ITie  invention  of  the  eu- 
phnii,  and  of  the  clairnjlindrc,  and  their  execution, 
in  very  unfavorable  circumstances,  cost  me  much 
more  time,  more  labor,  and  more  expense,  than 
ray  researches  on  the  nature  of  sound,  of  which 
these  two  instruments  are  the  practical  apjilica- 
tious.  Those  who  have  labored  in  a  similar 
sphere,  as,  for  exarajjle,  those  who  have  tried  to 
perfect  the  harmonica,  know  full  well  the  unibrc- 
seen  difficulties  which  are  met  with  in  similar 
efforts.  Too  often,  when  we  would  apjjly  to 
practice  the  ideas  which  appear  conformable  to 
theory,  nature,  consulted  by  experiments  and 
trials,  disavows  our  conjectures,  and  opposes  to 
us  insurmountable  obstacles,  which  we  could  not 
fore-see.  Thus,  after  having  labored  in  vain  dur- 
ing a  long  space  of  tirac,  we  must  sometimes  de- 
stroy all  we  have  done,  and  begin  again.  Tb.o 
cuphon,  invented  in  1789,  and  tinLshed  in  1700, 
consists,  externally,  in  small  cylinders  of  glass, 
which  arc  rubbed  longitudinally  with  the  finger.i 
moistened  with  water.  These  cylinders,  of  the 
thickness  of  a  pen,  arc  all  equal  in  length,  and 
the  difference  of  the  sounds  is  produced  by  infe- 
rior mechanism.  ITie  sound  more  resembles  that 
of  the  harmonica  than  that  of  any  other  instru- 
ment. TTie  claircyllndre,  begun  about  the  year 
1800,  and  since  brought  to  perfection,  contains  a 
fingerboard,  and  behind  this  fingerboard  acyhn- 
der  of  glass,  which  is  turned  by  means  of  a  pedal 
and  a  leaden  wheel.  This  cylinder  is  not  itself 
the  sonorous  body,  as  the  bells  of  the  harmonica, 
but  it  produces  the  sound  by  its  friction  on  tho 
interior  raechanisra.  ITie  principal  quality  of 
this  instrument  is  tho  yawcr  of  prohnrjin/f  the 
sounds  at  jileasiire,  with  all  the  sliades  of  rnn- 
n'liclo  and  diiuiinteiulo,  according  as  we  augment 
or  diminish  the  pressure  of  the  keys.  This  in- 
strument never  gets  out  of  tune.  'ITio  reports  of 
the  Institute  of  France  and  the  Conservatory  of 
Music  have  judged  very  favorably  of  this  instru- 
ment, which,  if  well  made,  will  always  be  con- 
fonuable  to  the  theory.  The  best  manner  of  pro- 
ducing the  sounds  will  be  to  u.,e  a  violin  bow. 
Chladni  died  in  1827. 

CHOICE  NOTES  are  essential  notes  placed 
on  different  degrees  in  the  same  measure,  either 
or  all  of  which  may  be  sung,  thus  :  — 


195 


CHO 


ENCYCLOPEDIA    OF   MUSIC. 


CHO 


CIIOIU.  At  this  clay,  by  a  chnir,  wc  compre- 
heud  four  choruses ;  TreblcM,  Altos,  Tenors,  and 
BassCH.  When  a  sulficient  )iuml)cr  of  persons  to 
constitxite  a  chorus  on  all  of  the  jmrts  unite,  or 
are  united  top;efher  in  song,  they  constitute  a 
clioir.  Hy  a  clioir,  or  cliorus,  is  ordinarily  meant 
a  oorapany  of  sin;;ers.  llie  original  word  means 
to  collect  or  hind  ;  a  choir  accordiimly  si^^nifies  a 
company  collected  or  bound  together  in  their 
einging.  'Hie  term  choir  also  designates  the 
place,  or  gallery,  in  a  church,  where  the  music  is 
performed.  The  choir,  in  nunneries,  Ls  a  large 
hall  adjoinini:  to  the  body  of  the  church,  separated 
by  a  grate,  where  the  nuns  sing  the  office.  The 
choir  of  a  catludrcU  is  that  part  of  the  cathedral 
in  which  divine  service  is  performed.  The  clioir 
Ls  separated  from  the  chancel  where  the  com- 
munion is  celebrated,  and  also  from  the  nave  of  the 
church,  which  latter  division  took  jilacc  in  the 
time  of  Constantine.  In  the  twellth  century, 
they  began  to  enclose  it  with  waUs  ;  but  on  ac- 
count of  the  beauty  of  the  architecture,  the  an- 
cient balustrades  were  soon  restored. 

CIIOIRMaN.     a  term  Inelegantly  applied  to  any  Tocal  offlciat* 
•f  a  choir. 

CHOIR  ORGAN.  The  smaller  or  softer-toned 
organ,  used  to  accompany  the  principal  singers 
in  solos,  duets,  &c. 

CHOPIN,  FREDERIC,  the  most  original, 
imaginative,  and  delicately  spiritual  of  recent 
pianists,  and  com])osers  for  the  piano,  has 
been  so  fully  and  intelligently  commemorated  in 
a  memoir  from  the  pen  of  his  surviving  brother 
artist,  Franz  Liszt,  that  we  borrow  the  following 
notices  from  him,  and  for  the  rest,  refer  the  reader 
to  a  translation  of  the  memoir  in  "  Dwight's 
Journal  of  Music,"  (vol.  i.  nos.  .3-11.) 

•'  Chopin  was  bom  at  Zelazowa-Wola,  in  AVar- 
saw,  in  tlie  year  1810.  llis  own  recollection  of  his 
boyhood  related  chiefly  to  a  gift  from  the  Catala- 
ni,  a  gold  watch  with  the  inscription — <  1820. 
Madame  Catalani  to  Frederic  Chopin,  ar/ed  ten  years.' 

"  The  years  of  his  childhood  otter  nothing  es- 
pecially remarkable.  He  was  fraiUy  built  by 
nature,  and  the  anxious  attention  of  his  friends 
was  directed  above  all  to  hLs  health.  He  grew 
up  among  patterns  of  domestic  virtues  and  re- 
ligious observances,  and  had  the  examjile  of  sim- 
plicity, activity,  piety,  and  rctined  culture  before 
his  eyes.  In  his  ninth  year  he  received  instruc- 
tion in  music,  and  soon  after  he  was  placed  under 
the  charge  of  a  passionate  worshipper  of  Sebas- 
tian Hach,  by  the  name  of  Ziwna,  who  for  many 
years  condiu'tcd  the  musical  studies  of  the  boy 
in  the  good  old  thorough  mantier.  His  parents, 
(his  mother  was  a  I'ole,  his  father  a  Frenchman.) 
lived  in  limited  circunastanccs,  and  indeed  never 
thought  of  building  hopes  tipou  a  brilliant  virtu- 
osity in  their  son,  but  kept  him  to  the  earnest  and 
conscientious  study  of  rau;<ic,  so  that  he  might 
become  a  comjietent  and  skilful  teacher. 

"  Through  the  magnanimous  patronage  of 
Prince  .Vnton  Uiidziwill,  the  same  who  has  shown 
his  artistic  capacity  by  his  comjiositions  to  (Goe- 
the's '  Faust,'  t'hopiu  was  admitted  rather  early 
to  one  of  the  high  schools  of  Warsaw.  But  the 
prince  did  not  stop  there  ;  he  provided  for  the 
complete  education  of  the  boy,  in  whom  he  had 
discerned  a  remarkable  talent,  and  obviated, 
through  the  mediation  of  n  friend  of  the  family, 
Ajitou  Kor/.uchowbki,  all  the  uocessities  involved 


in  the  education  of  are  artist.  At  the  school 
Chopin  made  the  ac(juaintance  of  the  sons  of 
Prince  Horsy  Czctwertynski.  Their  mother,  who 
loved  and  ])ractLsed  music  with  a  true  feeling  for 
the  art,  conceived  a  great  sjTupathy  for  the  young 
artist,  and  in  her  saloons  he  had  first  an  oppor- 
tunity to  know  the  select  and  brilliant  circles  of 
the  higher  society,  in  which  Warsaw  was  at  that 
time  so  rich.  Soft,  full  of  feeling,  fine  in  every 
sense,  the  featiires  of  his  face  had  in  his  sixteenth 
year  an  ideal  beauty,  of  which  it  might  have 
been  said,  that  it  belonged  to  no  determined  ag^ 
or  sex. 

"  Into  this  first  period  of  his  youth  faUs  his  tt- 
tachmcut  to  a  young  maiden,  who  all  her  life  has 
thought  of  him  with  loving  devotion.  ITn 
stonu  which  tore  him  far  away  from  his  nom« 
severed  this  first  love,  and  robbed  the  exile  of  r 
fond  and  faitliful  wife,  as  well  as  of  his  lather- 
land.  Never  in  his  after  years  was  there  for  hiir 
the  bliss  of  such  a  tie  as  he  dreamed  of  then. 
His  beloved  kept  his  memory  sacred,  and  dunp 
with  filial  afl'ection  to  bis  parents ;  nor  would 
Chopin's  father  permit  that  the  portrait  of  hi» 
Frederic,  which  she  had  drawn  in  their  days  of 
hojie,  should  ever  be  replaced  by  another,  how- 
ever more  artistically  perfect. 

"  AVhen  he  had  finished  his  schooling,  and  ha'd 
learned,  through  the  study  of  harmony  with 
Joseph  Eisner,  the  difficult  art  of  being  severe 
with  himself,  his  parents  wished  him  to  travel, 
in  order  to  hear  great  perfonuances  of  important 
musical  works.  With  this  view,  Cho])in  visited 
some  cities  in  Gennany,  in  which,  however,  he 
never  staid  more  than  a  short  time.  In  the 
year  1830  he  had  just  left  Warsaw  again  with  a 
similar  jjurpose,  when  the  revolution  of  the 
twenty-ninth  of  November  broke  out. 

"  He  saw  himself  compelled  to  remain  in  Vien- 
na, where  he  perfonncd  in  some  concerts,  with- 
out, however,  making  the  impression  which  he 
had  a  right  to  exi)cct.  He  Icit  Vienna  with  the 
intention  of  going  to  London ;  still  he  desired  to 
stop  some  time  in  Paris ;  he  had  liis  passport  vi.i6- 
ed  to  England  '  via  Paris,'  and  this  word  con- 
tained his  whole  future.  Long  years  after,  when 
he  had  become  naturalized  and  settled  down  ia 
France,  he  used  often  to  say,  laughingly,  '  I  am 
only  here  on  my  passage  tlirough.' 

"  Shortly  after  his  airival  in  Paris  he  gave  sev- 
eral concerts,  and  was  heard  by  the  higher  societ- 
and  by  the  young  artists  equally  with  admiration. 
I  still  remember  very  well  his  first  apjicarance  ir 
the  saloon  of  M.  Pleyel,  where  the  ever-reiter- 
ated applause  could  not  satisfy  our  sui'prisc  and 
enthusiasm  at  a  talent  which  reveale.l  a  new 
phase  in  the  poesy  of  musical  art,  and  developed 
such  felicitous  innovations  in  form. 

"  Chopin  did  not  allow  hijuselt  to  be  dazzled 
nor  intoxicated  by  his  triumphs  ;  he  bore  them 
otl"  without  pride,  but  at  the  same  time  without 
false  modesty.  All  his  countrymen  who  were 
then  in  Paris  prepared  the  most  h.einty  and  ap- 
preciating reception  for  him;  and  from  that  time 
forward  he  was  constantly  welcome  in  the  house 
of  Prince  Cziu-toryski,  the  Countess  Plater,  Lady 
Von  Komar  and  her  daughter,  tlie  Countess  Del- 
phine  Potocka.  This  latter  lady  was  in.  beauty 
intellect,  and  grace  one  of  the  most  admi  -oo 
queens  of  society ;  to  her  he  has  dedicated  his 
second  Concerto,  with  the  beautiful  Adagio.  At 
a   later   time   he   aj.>ocialed  eopecially  with    liic 


I  ■<•. 


19G 


CHO 


ENCYCLOPiEDIA    OF    MUSIC. 


cnc 


cc  untrjTuen,  aiul  this  too  had  some  influence  on 
his  musical  Ofcupntious.  lie  continued  in  fact 
by  this  means  in  a  sort  ol'  musical  conesiiondcnce 
with  his  fatherland;  they  broufj;ht  liini  new 
Bongs  and  poems  to  Paris,  and  furnished  witli  his 
melodies  these  tlew  home  afjain,  and  (luickly  he- 
came  generally  known  and  loved,  without  any 
body  knowing  the  comiioscr's  name.  As  the 
number  of  these  melodies  had  increased  consider- 
ably, he  thought  at  last  of  collecting  and  pub- 
lishing them.  I?ut  he  was  not  destined  to  realize 
this  thought,  and  so  his  songs  have  remained  lost 
and  scattered  flowers,  whose  fragrance  only  here 
and  there  salutes  a  wanderer,  whom  chance  has 
led  into  the  distant  regions  where  they  still  grow. 
We  have  heard  some  songs  in  Poland  which  are 
ascribed  to  him,  and  which  are  wortliy  of  liim  too ; 
but  who  can  venture  to  undertake  an  accurate 
separation  of  the  jiroductions  of  his  muse  Irom 
those  of  the  spirit  of  the  people  ? 

"  Hut  evidently  Cho])iu  is  a  tone  poet,  wlio,  by 
his  compositions,  has  lent  an  individual  expres- 
sion to  the  poetic  sense,  the  ])oetic  way  of  feeling, 
of  a  people  in  a  given  jieriod.  His  music  does 
not  tit  either  of  the  two  great  frames,  which  are 
distinguished  by  tlie  names  of  Ocnnan  and  Ital- 
ian music.  But  that  national  colming  was  with 
him  by  no  means  a  thing  purposely  sought  for : 
he  did  not  make  it  a  priori  his  ideal ;  perhaps  he 
woidd  himself  hare  wondered,  had  you  called 
him  a  national  composer.  As  with  the  genuine 
national  poets,  so  in  his  music  the  ])eculiar  na- 
tional spirit  pervaded  the  creation  without  fore- 
thought and  without  the  consciousness  of  the 
creator.  And  this  spirit  resides  not  merely  in  the 
form  and  rlnthm  of  the  Polonaises,  Mazourkas, 
Jic. ;  but  one  and  the  same  feeUng  runs  in  a 
thousand  ways  through  all  his  works,  t'oncertos, 
Scherzos,  Preludes,  Etudes,  and  esi)ecially  Xot- 
turnos.  Thoroughly  subjective,  (.'hopin  has 
breathed  into  all  his  tone  creations  one  and  the 
same  life,  his  own  inmost  and  most  indi\'idual 
life,  so  that  in  all  a  unity  of  character  prevails, 
an  exclusive  mode  of  feeling,  out  of  which  their 
beauties,  and  indeed  tlieir  weaknesses  and  defects 
loo,  flow. 

"  lie  could  not  go  outside  of  himself,  and  the 
greatest  beauties  and  the  greatest  merit  passed 
tor  nothing  with  him,  if  they  contradicted  one 
side  or  another  of  lus  rosthetic  cominehension. 
As  great  an  admiration  as  he  cherished  for  I5cet- 
hoven,  yet  certain  portions  of  his  works  appeared 
to  him  too  roughhewn  ;  their  build  was  for  him 
too  at  hli'tic ;  the  passion  in  them  seemed  to  him  too 
sickly,  the  rage  too  impetuous  and  thundering  ;  to 
liim  the  Uon's  marrow  in  this  gianfs  limbs  was 
too  coarse  a  stuff,  and  the  seraphic,  Ra])hael-like 
profiles,  which  emerge  amul  the  violent  crea- 
tions of  this  spirit,  became  fre<iucntly  abuost 
painful  through  the  cutting  contrast. 

"  In  some  of  the  melodic-*  of  Franz  Schubert  he 
recognized  the  full  cliann ;  but  unwillingly  he 
listened  to  those  wliose  outlines  (to  Am  ear  at 
least)  were  too  shaqi,  in  which  the  feeling  lies,  as 
it  were,  bare  and  naked,  and  wliere  you  (so  to 
speak)  hear  the  limlis  crack  under  the  rack  of 
pain.  Even,'  thing  immoderate  and  rude  repulsed 
him  ;  every  tiling  that  approached  the  :-tyle  of  the 
new  French  melodrama  was  martyrdom  to  him. 
If  he  was  partial  to  the  romantic,  yet  he  hated 
all  insane  excess,  all  startling  and  bhudder-e.\cit- 
Lng  etfectt' 


"  All  the  free  and  .uparkling  flow  of  the  Italian 
music,  as  unsought  as  it  is  unlearn'.'d,  jileased 
I'.im  (luitc  as  little  as  that  which  in  tbe  (jernian 
bears  the  stamp  of  a  power  of  wliich  he  rccognizei* 
the  strength,  but  not  the  elevation.  Among  th« 
composers  of  the  fonucr  period  he  valued  and 
])layed  Hummel  most,  and  Mozart  was  to  him  the 
ideal  tyiie  of  musical  jioetry,  since  he  more  sel- 
dom than  all  others  condescended  to  overstep  the 
bounds  which  sei)ixrate  the  excellent  from  the 
common.  And  yet  his  abhorrence  of  the  com- 
monplace and  his  jjure  nature  found  even  m 
"  Don  Juan,"  that  immortal  mastcqiiece,  passages 
whose  presence  he  lamented ;  hLs  reverence  lor 
Mozart  was  not  thereby  lessened,  but,  as  it  were, 
saddened ;  lie  coidd  go  so  far  as  to  forget  what 
he  did  not  like,  but  to  become  reconciled  to  it 
was  to  him  impossible. 

"  How  much  Chopin  regarded  art  as  his  most 
sacred  calling,  how  proud  ho  was  that  Heaven 
had  appointed  him  to  this  vocation,  and  with 
what  a  religious  piety  he  looked  upon  himself  as 
a  priest  of  the  same,  was  proved  in  his  dying 
hour  by  a  j)rovision  of  his  last  will.  He  who, 
among  the  first  artists  of  hLs  time,  had  given  the 
fewest  concerts,  nevertheless  ordered  on  his  death 
bed  that  he  should  be  buried  in  the  dress  he  used 
to  wear  in  his  public  concerts.  As  he  associated 
his  love  for  art  and  his  faith  in  it  with  the 
thought  of  immortality,  so  he  again  testified,  by  a 
dumb  s}Tubol,  when  he  laid  himself  do'wn  in  the 
tomb,  to  the  con\-iction  that  had  elevated  and 
made  beaxitiiul  his  life." 

Chopin  was  an  invalid  through  all  the  best 
period  of  his  artistic  life.  His  frail  ji/iysirjttc,  his 
melancholy,  refined,  and  spiritual  tone  of  char- 
acter, unfitted  him  to  be  a  popular  composer  or 
performer  in  the  concert  room  ;  he  shrank  Irora 
laige  assemblies,  and  exerted  the  magic  influence 
of  his  genius  only  in  select  and  sjnupathetic  pri- 
vate circles.  In  the  year  18.3fi  commenced  his 
intimacy  with  the  celebrated  novelist  Mme.  I)u- 
devant,  nlias  "  Ucorgc  Sand."  AVe  copy  again 
from  Liszt  :  — 

"  Chopin  seemed  at  first  to  have  a  certain 
shrinking  from  this  lady,  who  was  so  jirominent 
al)ove  all  others,  and  like  a  Delphic  priestess  ut- 
tered so  much  wliich  others  might  not  utter. 
He  avoided,  he  postjjoncd  meeting  her.  George 
Sand  knew  not,  suspected  not  this  sylph-like  fear ; 
she  ajjproached  him,  and  her  look  soon  dissipated 
the  prejudice  which  ho  till  then  had  obstinately 
cherished  against  literary  women. 

"In  the  autumn  of  the  year  IS:)"  he  became 
subject  to  attacks  of  a  malady,  which  from  that 
time  loft  him  scarcely  more  than  half  his  vital 
energy.  Alarming  symptoms  showed  themselves, 
and  compelled  him  to  travel  to  the  south,  to  es- 
cape the  severe  winter  air.  Madame  Sand,  who 
was  always  so  watchful  and  syiuimthizing  for  th.e 
afllictions  of  her  friends,  would  not  allow  him  to 
travel  alone,  since  his  situation  demanded  sc 
much  care  and  nursing,  and  she  resolved  to  ac- 
company him.  They  selected  flu-  Isle  of  MajorcH 
for  their  place  of  abode,  because  there  the  sea  air, 
together  with  the  mild  climate,  is  very  beneficial 
to  weak  lungs.  Although  he  had  so  serious  an 
attack,  at  his  departure,  that  his  friends  hardly 
expected  to  see  him  again,  yet  he  sur\-ived  tber« 
a  long  and  painful  sickness,  and  his  health  b©» 
came  so  far  restored  that  it  coutmued  hetta 
for  sever  jI   years.     .     .     .     There,    in   solitude 


197 


:;ho 


ENCYCLOPAEDIA    OF    MUSIC. 


CiiU 


naAhcd  on  nil  hides  hy  tlie  l)lue  waves  of  the 
MeditemiiicHii,  ovei>.hiiilo\ved  by  citron  trees,  he 
inhaled  the  air  lor  which  natures,  that  here  be- 
low have  no  home,  foul  an  eternal  homesicknctis  — 
the  air.of  that  drcamed-of  land,  bo  easily  diiicov- 
ered  in  spite  of  all  reality  and  of  all  hinderancc 
if  dm  seek  it —  the  air  of  that  home  of  the  ideal, 
whitl.iT  one  would  fain  take  with  hun  all  that  is 
tair  an<l  dear  to  him. 

"  Dnring  the  whole  time  of  his  sickucss  Ma- 
<lame  Sand  never  for  a  moment  lelt  the  bedside  of 
the  man  who  loved  her  until  death,  and  with  a 
fer\-or  that  did  not  lose  it.s  strenjjth  when  its  joy 
was  dejiarted. 

"  In  tact  Madame  Sand  had  become  a  super- 
earthly  being  lor  ('hopin,  who  had  chased  away 
the  shadows  of  death  from  his  bed.  She  clier- 
ishcd  him  with  that  all-anticipating,  Ibnd  care, 
which  is  oftentimes  more  healing  tlian  the  reme- 
dies prescribed  by  the  jjhysician's  art.  All  the 
while  she  knew  nothing  of  fatigue,  of  exhaus- 
tion, of  ennui ;  neither  her  i)owers  nor  her  spirit 
surrendered  before  the  tnsk.  At  length  the 
malady  abated,  and  '  the  pre.-entiment  of  death, 
which  gnawed  at  Chopin's  heart,  and  undemiined 
all  tranquil  satisfaction,  gradually  moved  farther 
otf ;  the  checrliil,  amiable  spirit  of  his  friend  put 
to  Hight  the  gloomy  thoughts,  the  dark  forebod- 
ing, and  rekindled  his  spuitunl  lil'e.'  Joy  stepped 
into  the  place  of  cloudy  anxieties. 

"The  recollection  of  the  days  which  he  had 
spent  upon  the  Isle  of  Majorca  rcmaijied  in 
Choi)in's  heart  like  the  memory  of  an  ecstatic 
bliss,  such  as  fate  vouchsafes  but  once  to  its  most 
favored  one.  In  later  years  he  always  si)oke  of 
this  period  with  deep  emotion  and  thank  tulness, 
ns  of  a  benel'action  equivaleut  to  the  happiness 
of  a  lil'ciime,  and  without  any  hope  that  it  could 
ever  be  possible  to  tind  a  like  blessedness  on 
earth  :  '  The  world  had  no  joys  more  after  this.' 

"After  1840  hLs  health  declined  by  steady  in- 
termissions. 'ITie  weeks  which  he  sj)eut  every 
stunmer  on  the  Xohant  estate  he  counted,  lor 
several  years,  w  his  best  moments.  There  he 
worked  with  satislaction,  and  every  year  brought 
several  compositions  back  witli  him ;  but  the 
wuitcr  always  increased  his  sufi'erings.  It  became 
dirticult,  and  soon  impossible,  for  him  to  move 
about.  In  the  winter  of  ISKi-"  he  could  scarce- 
ly walk  any  more,  and  he  could  not  go  up  stairs 
without  ]jaintul  strictures  in  the  chest ;  Irom  this 
time  forward  l-.e  respited  his  li;e  oidy  by  the 
greatest  lorethotight  and  careftiluess. 

"  In  the  oi)ening  of  the  spring  of  1847  he  grew 
worse  from  day  to  day,  and  he  became  so  sick 
that  they  despaired  of  his  recovery.  He  spoke 
during  this  si'kness  lre(iucntly  and  ahuost  with 
exclusi^'e  partiality  of  the  .Sand,  without  bitter- 
ness i'.n<l  without  rejiroach.  Tears  came  into  hLs 
pyi-s  at  the  ineulion  of  her  name,  and  the  recollec- 
tion of  past  days  was  to  hijn  a  ])ainful  consolation. 

"  In  sjiite  of  the  <livcrsions  by  which  hLs  Iriends 
»ought  to  turn  him  from  the  subject,  he  idways 
rame  back  to  it,  tu  if  he  wanted  to  de..troy  li.e 
by  the  recollection  of  the  feeling  >x  hich  had  made 
liie  beautilul,  and  to  stiHe  himself  in  tliis  dead- 
ly aroma.  In  vain  they  tried  to  remove  liis 
thoughts  from  this  object ;  he  kejit  continually 
I  |)caking  of  it,  and  when  he  s/mke  of  it  no  longer, 
did  he  not  continue  to  t/tiiik  of  it  r  It  was  as  if 
l-.e  would  have  sucked  i)i  this  jJoLson,  tliat  he 
might  L'  >t  have  to  breathe  it  too  long. 


"Hic  winter  of  1847-8  wa.s  only  a  painful  r1- 
tcniation  of  reliefs  and  relapses.  In  s])ite  of  that, 
he  resolved  in  the  spring  to  execute  his  old  j)ur- 
j)oso  of  going  to  I^ndon.  \\'hen  the  February 
revolution  broke  out,  he  was  still  confined  to  his 
bed ;  it  seemed  as  if  a  dark  destiny  drove  hia 
to  a  livelier  sjinpathy  in  the  events  of  the  day 
and  he  spoke  more  about  them  than  was  other- 
wLse  hLs  habit. 

"In  Ajjril  he  felt  himself  better,  and  now  seri- 
ously though.t  of  vLsiting  that  island,  to  which 
he  had  set  out  to  go  when  youth  and  lu'e  still  of- 
Icred  him  the  brightest  jjrospects.  He  travelled 
to  England,  where  his  works  had  aheady  foun>l 
an  intelligent  ]Aiblic,  that  knew  them  and  ad- 
mired them.  He  left  France  in  that  state  of 
mind  which  the  EnglLsh  cull  low  spirits.  The 
momentary  spupathy  which  he  had  bestowed 
with  a  certain  degree  of  exertion  upon  political 
events  had  quickly  passed  awaj'.  He  had  be- 
come more  silent  than  ever.  His  affection  to- 
wards the  few  persons  whom  he  continued  to 
see,  took  the  color  of  that  soul-per\-ading  excite- 
ment which  precedes  the  last  farewell  greeting. 
His  indiUcrence  for  all  outward  things  still  grew 
upon  him.  ^Vrt  alone  retained  its  unlimited  power 
over  him.  In  the  shorter  and  shorter  momenta 
m  which  he  was  permitted  to  occupy  himself' 
with  it,  music  claimed  his  whole  being  as  earnest- 
ly as  in  the  time  when  he  was  full  of  life  and 
hojic.  Before  he  left  Paris  he  pave  yet  one  con- 
cert in  the  hall  of  M.  Pleyel,  a  friend  to  whom  he 
always  stood  in  the  most  intimate  relation,  and 
who  now  too  pays  a  worthy  tribute  to  his  memory 
and  his  friendship  by  the  erection  of  a  monu- 
ment over  lus  grave.  In  this  concert  his  select 
and  long-tried  public  m  Paris  heard  him  for  the 
last  time. 

"  In  London  he  was  received  with  extraordi- 
nary cordiaUty,  and  this  reception  drove  away  his 
melancholy,  and  scattered  lus  gloomy  and  de- 
sjionding  iiiunor.  He  fancied  himself  entiiely 
master  of  it,  when  he  flung  all,  even  his  fonner 
habits  of  lil'e,  into  the  stream  of  oblivion.  He 
neglected  the  prescriptions  of  hLs  physician,  and 
the  carefulness  which  hLs  sickly  condition  re- 
quired. He  played  twice  in  public,  and  innumer- 
able times  in  jirivale  circles.  He  went  much  into 
company,  staid  longer  than  usual,  defied  all  ex- 
haustion, and  let  no  consideration  bind  him  to  a 
regard  for  his  health. 

"  At  the  Duchess  of  Sutherland's  he  was  pre- 
sented to  the  queen,  and  the  selectest  cucles  of 
society  were  emulous  of  his  jiossession.  He  made 
a  joiu-ney,  too,  to  Edinburgh  ;  but  the  aii-  there 
was  jiarticularly  injurious  to  him.  After  liis  re- 
turn from  Scotland  he  felt  very  feeble;  the  phy- 
sicians urged  him  to  leave  England  as  soon  as 
possible,  but  he  delayed  hk  departure  a  h)ng 
time.  N\'ho  can  derinc  the  feeling  which  suffered 
huu  to  linger  r  Ho  ))layed  once  more  m  a  con- 
cert for  the  Poles ;  it  was  the  last  love  token  that 
he  sent  to  his  fatherland,  the  last  look,  the  last 
longing  sigh !  All  his  Iriends  crowded  round 
him,  and  ho  received  the  most  enthusiastic  ap- 
l)lausc.  He  bade  them  all  farewell,  witho<it  their 
dreaming  that  it  would  fcc  the  last.  What  may 
the  thought  have  been  that  moved  his  heart  when 
ho  crossed  the  Channel  to  return  to  Paris  :  to  that 
Paris,  now  so  diHerent  to  him  from  that  which 
he  had  lound,  without  seeking  it,  in  the  year  1S31. 

"  This  time  a  bitter  and  unexpected  blow  awaited 


198 


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ENCYCLOPAEDIA    OF    MUSIC. 


CHO 


him  ou  his  an-ivnl.  Dr.  Molin,  wliose  advice 
aud  skiU'ul  altendauce  had  liavcd  liis  life,  to 
whom  alone,  as  he  was  convinced,  he  owecji  tlie 
prolonfjation  of  his  days,  lay  on  his  dcntli  bed. 
He  felt  this  loss  severely  ;  it  had  a  dispiritinj^  in- 
fluence on  him.  He  cherished  the  ftnu  belief  that 
no  one  could  supply  that  man's  place  to  him, 
and  had  confidence  in  no  physician  more.  He 
kept  continually  chanf^in;;  his  physicians ;  none 
would  suit  him,  and  he  placed  no  further  hojjc 
ill  their  art.  A  sort  of  supei"stitious  despondency 
got  possession  of  him. 

"After  the  winter  of  1S18  he  had  ceased  to  be 
in  a  condition  to  work  continuously.  Hero  aud 
there  he  took  in  hand  some  leaves  containing 
hastily-sketclied  thouj^hts,  but  the  strength  failed 
him  to  aiTauge  them  into  an  orderly  whole. 

"  In  his  latter  days  he  designed  to  wTite  a  Piano- 
I'orte  .School,  in  which  he  wished  to  embody  his 
tlioughts  aboxit  the  theory  and  practice  of  his 
art,  the  fruit  of  his  long  labor,  of  his  happy  inno- 
vations and  his  artistic  e.\perience. 

"  But  Che  pin's  powers  sufficed  no  longer  for 
such  purposes.  He  traced  in  thought,  to  be  sure, 
the  outhue  of  his  plan,  and  spoke  of  it  repeated- 
ly ;  but  tlie  execution  was  to  him  impossible.  He 
only  wrote  out  a  few  pages  of  it ;  the  fire  has 
consumed  them  with  the  other  papers. 

"  At  length  his  iUness  increased  so  visibly 
that  further  hope  was  out  of  the  question.  Soon 
he  coidd  no  mox-e  leave  his  bed,  and  he  could 
hardly  speak.  His  sister,  at  this  sad  news,  has- 
tened from  Warsaw,  and  never  left  his  sick  bed. 
He  saw  the  anxiety,  tlie  forebodings,  the  mourn- 
ing around  him,  without  betrajnng  any  signs  of 
the  impre.^sion  it  all  made  upon  him.  He  spoke 
of  his  eud  with  entire  Christian  peace  aud  com- 
posure, and  yet  he  hoped  for  a  coming  morrow. 
I'he  singular  passion  which  he  always  had  for 
changing  his  habitation  came  once  more  to  light ; 
he  had  hired  other  quarters,  ordered  them  to  be 
fitted  up,  and  busied  himself  with  arrangements, 
often  relating  to  the  smallest  jiarticulars.  As 
thc^e  directions  were  not  taken  back,  they  were 
all  strictly  executed,  and  some  articles  of  furni- 
ture were  carried  to  the  new  dwelling  on  the  very 
day  of  his  death. 

"  From  week  to  week,  soon  day  by  day,  the 
shadow  of  death  stepped  closer  and  closer  to  him. 
The  sickness  reached  its  goal,  the  suffering  be- 
came more  and  more  painful,  the  decisive  mo- 
ment drew  near.  In  the  intermissions  of  the 
more  and  more  frequent  crises,  Choi)in  preser\'ed 
to  the  laat  his  prc'-ence  of  mind  and  force  of 
will,  llie  wishes  he  expressed  in  these  painless 
moments  showed  with  what  solemn  tranciuillity 
he  looked  death  in  the  face.  He  wished  to  be 
Ijuried  next  to  Bellini,  with  whom  he  had  lived 
in  very  friendly  relations  during  his  abode  in 
Paris.  Bellini's  grave  is  in  the  churchyard  of 
Pirt  la  Cluiise,  next  to  that  of  Cherubini ; 
the  desirj  to  become  acciuainted  with  this  great 
master,  in  the  admh-atiou  of  whom  he  had  bceu 
ctlucated,  was  one  of  the  motives  which  induced 
him  to  touch  at  Paris  on  his  route  from  Vienna 
to  London  in  1831.  His  earthly  resting-place  is 
now  between  Bellini  and  Cherubmi,  those  two 
«o  different  spirits,  whom  Chopin,  however,  ap- 
proached in  equal  degrees,  since  he  had  as  high 
an  esteem  for  the  science  of  the  one,  a-s  he  had 
attraction  towards  the  other.  He  shared  the  me- 
lodic feeling  with  the  composer  of '  Korma,'  and  at 


the  same  time  aspii-ed  after  the  inward  substancf 
aud  tl:e  harmonic  dc])th  of  the  old  master. 

"  To  his  very  end  he  maintained  tiie  rc^ervt 
tliat  was  peculiar  to  hinj  in  his  relations  with  hw 
friends  ;  he  desired  to  see  no  one  for  the  last  time ; 
but  his  thanks. to  the  friends  who  vi-.ited  him  he 
embroidered  round  with  tlie  pure  gold  of  a  touch- 
ing acknowledgment,  'llie  first  days  of  October 
leit  no  further  room  for  doubt  or  hope.  The 
fatal  moment  was  to  be  feared  each  day,  each 
hour;  his  sister  and  Outmann  never  left  him  for 
a  minute.  The  Countess  Dclphine  Potocka  has- 
tened back  to  I'aris,  when  she  heard  of  his 
dangerous  condition.  AU  who  came  to  the  dying 
man  found  it  impossible  to  tear  themselves  away 
from  the  sight  of  this  beautiful,  great  soul  in  ita 
departure  from  this  life. 

"  On  Saturday,  the  l.jth  of  October,  a  crisis,  still 
morn  jiaiiilul  than  any  that  had  preceded,  lasted 
several  hours.  He  bore  it  with  jiatience  and 
strength  of  spirit.  The  Countess  Delphine  was 
there ;  her  soul  was  penetrated,  her  ieai-s  flowed. 
He  ojieiied  his  eyes,  and  saw  her  siandiug  at  the 
foot  of  his  bed,  the  tail,  slender  figure,  clad  in 
white,  the  image  of  an  angel  beautiful  as  ever 
painter's  fancy  had  created.  Surely  she  seemed 
to  him  a  heaveidy  apparition ;  he  revived  an 
instant,  and  breathed  out  a  jiraycr  to  her  to  sing. 
AU  beUeved  that  he  was  talking  wild ;  but  he 
repeated  his  request  with  a  tone  of  earnestness 
which  no  one  could  resist.  They  jiushed  the 
piano  in  the  hall  close  to  the  door  of  his  chamber, 
and  the  countess  sang  witli  sobbing  voice ;  tears 
ran  down  her  cheeks,  and  never  had  her  fine  tal- 
ent and  her  wonderful  singing  a  more  touching 
expression.  Chopin  listened,  and  seemed  to  for- 
get his  sufferings ;  she  sang  the  hymn  to  the 
Holy  Virgin,  which,  it  is  said,  saved  StradeUa  his 
life.  '  llow  beautiful !  O  my  (iod,  how  beauti- 
ful ! '  said  he —  'once  more,  once  more  ! '  The 
countess  pressed  down  the  overflowing  fountain 
of  lier  feeUng,  seated  heriiclf  again  at  the  piano, 
and  sang  a  jisalm  of  Marcello.  But  within  the 
chamber  a  piercing  pain  suddenly  seized  the  sick 
man  ;  all  the  bystanders  were  terrified,  and  invol- 
untarily sank  in  silence  on  their  knees ;  only  the 
voice  of  the  countess  floated  like  a  heavenly 
melody  above  th"  sighs  of  the  others.  The  night 
came  on ;  a  twilight  sjirend  its  shadow  over  the 
mournful  scene ;  Choijin's  sister  kneeled  against 
his  bed,  and  wejit  and  prayed. 

"  In  the  night  he  grew  worse  ;  yet  on  Monday 
morning  he  became  somewhat  belter,  and  a,sked 
for  the  holy  sacrament.     In  the  absence  of  the 

Reverend ,  with  whom  he  had  been  on  very 

friendly  tonus  in  their  common  exUe,  lie  sent  for 
the  Kevcrcnd  .\iexander  Jclowicki,  one  of  the 
most  distinguished  men  of  the  I'ollsh  emigration. 
He  saw  him  twice,  and  received  from  liiin  the 
holy  supper  with  devotion,  in  the  pre>ence  of  his 
friends.  'ITicreupon  he  let  these  approach  singly 
to  his  bedside,  gave  them  a  last  farewell,  and  in- 
voked God's  blessing  on  them  and  on  what  they 
loved  aud  hoped.  The  remainder  of  the  day 
passed  off  amid  increasing  pains  ;  he  spoke  no 
word  more.  Only  towarcL*  eleven  o'clock  in  the 
evening  did  he  feel  himself  slightly  relieved. 
I'he  clergjinan  had  not  left  liim,  and  Chopin  ex- 
pressed a  desire,  so  soon  as  he  found  his  speech 
again,  to  pray  with  him.  He  pronounceil  fh« 
prayer  of  the  dying,  in  I.atin,  with  a  clear,  intelli- 
gible voice,  leaning  Ids  head  steadily  ou  (iut- 


199 


Clio 


ENCYCLOPAEDIA    OF    MUSIC. 


CHO 


maiin'R  shoulder.  A  cataleptic  sleep  lasted  till 
the  17th  of  Octohor,  1849.  About  two  o'clock 
hegnu  the  death  (<tru(;'_'le :  n  cold  sweat  ran  from 
Ids  brow.  Alter  a  brici'  shnuber,  he  asked,  with 
scarcely  audible  sound,  '  Who  Ls  with  me  5 '  lie 
inclined  his  head  to  press  liLs  lij)s  once  more 
pmtefully  upon  the  hand  of  (jutmann,  who  held 
bun  in  liLs  ann,  and  in  tliis  moment  he  breathed 
forth  his  soul.    He  died  as  he  had  lived,  in  love." 

As  to  the  form  and  quality  of  C'hopin's  com- 
positions, we  fjlw*"  from  the  same  source  the 
foUowijig  ajjpreciative  sentences  :  — 

"  By  confinijii^himsfclt'  exclusively  to  the  piano- 
forte, Chopin  has  proved  himseli',  in  our  opin- 
ion, to  possess  one  of  the  most  essential  proper- 
ties of  a  writer  or  a  composer  ;  namely,  a  correct 
appreciation  of  the  form  ui  which  his  mission 
was  to  be  acliicved,  mid  hLs  designs  executed. 

"How  admirable  this  well-considered  feeling 
of  the  beautiful  for  its  own  sake !  On  the  one 
hand,  he  restrains  liLs  talent  from  the  common 
tendency  to  dLstribute  every  shred  of  melody 
over  a  hundred  music  desks  ;  and  on  the  other, 
he  enriches  the  auxiliary  sources  of  the  art,  in 
teaching  us  how  to  concentrate  them  upon  a 
given  space. 

"  Far  from  seeking  Ills  renown  in  the  noise  of 
the  orchestra,  Chopin  contented  himself  with 
seeing  his  thoughts  fully  quickened  into  life  upon 
the  key  board  of  the  piano.  He  always  reached 
his  end,  which  was  no  other  than  to  secure  to  the 
musical  essence  of  his  idea  the  fuU  expression  of 
its  power  ;  but  he  despised  the  mere  effect  of 
masses  and  the  coarse  pencil  of  the  scene  painter. 

"  It  Is  impossible  to  subject  Chopin's  labors  to 
an  intelligent  analysis  without  finding  in  them 
beauties  of  the  first  magnitude,  an  expression 
perfectly  new,  and  a  harmonic  texture  as  original 
as  it  Ls  complete.  With  him  the  boldness  always 
justifies  itself;  the  richness,  even  to  exuberance, 
does  not  exclude  clearness ;  the  strangeness  does 
not  degenerate  into  baroque  affectation.  The  em- 
bellishment begets  no  blur;  the  luxury  of  orna- 
ments does  not  smother  the  beauty  of  the  mam 
lines.  HLs  best  works  are  rich  in  combinations 
which  may  be  said  to  make  epochs  in  the  treat- 
ment of  musical  style.  Audacious,  shining,  se- 
ductive, they  clothe  their  jirofundity  with  so 
much  grace,  their  art  with  so  much  charm,  that 
one  has  ditficulty  to  disintwine  himself  from 
their  transjiorting,  magic  clasp,  so  as  to  jiulge 
them  in  cold  blood  from  the  standpoint  of  their 
theoretic  worth.  I'his  worth  has  been  already 
felt ;  but  it  will  bo  more  and  more  appreciated 
■when  the  time  shall  come  for  an  exact  examina- 
tion of  the  services  that  have  been  rendered  to 
the  art  of  music  in  the  period  iji  which  Chopin 
lived. 

"  To  him  we  owe  that  expansion  of  the  chord, 
both  when  struck  full,  and  when  broken  into  ar- 
peggio and  through  several  octaves  ;  those  chro- 
matic and  enharmonic  windings,  of  which  his 
EliulfJi  contain  such  astonishing  examples ;  those 
minute  groups  of  interpolated  notes,  which  fall 
down  like  a  colored  dew  upon  the  melodic  figure, 
and  for  which,  until  he  came,  only  the  fiori/iire  of 
the  older  Italian  song  school  had  been  taken  for 
a  model.  Wliile  he  enlarged  the  boundaries 
within  which  it  had  hitheno  kept,  he  lent  to 
thLs  kind  of  ornament  that  unexpc<'te<lness  and  i 
that  multilbriuity,  wliich  lay  beyond  the  compass 
.if  the  human  voice,  heretofore  always  slavislUy  I 


copied  in  the  (so  called)  emhelUshmenU  ioi 
the  piano,  that  had  become  so  stereotx-jied  and 
monotonous.  He  invented  those  wonderful  har- 
monic progressions  which  lent  a  serious  charactej 
even  to  those  pages  which  with  their  light  mate- 
rial could  scarcely  lay  claim  to  such  meaning. 
Hut  what  of  the  ■maivriall  (the  subject  mitter.) 
'llxe  idea  wliich  he  charms  out  of  it,  the  mspi- 
ration  wliich  he  breathes  into  it,  exalts,  ennobles 
magnifies  it.  ANTiat  melancholy  there  is,  what 
subtilty,  what  fine  percejjtion,  and  above  all, 
what  art,  in  those  masterpieces  of  Laiontaiiie, 
whose  matter  is  so  conimonjilace,  and  whose  title 
so  modest  !  Etiules  and  Preludes  are  titles  (juite  as 
modest ;  nevertheless,  the  mu.sical  pieces  of  Cliopin 
which  bear  them  remain  forever  periect  t>-pes  of 
a  Ki)ecies  which  he  has  created,  and  which,  like 
all  his  works,  sprang  from  the  character  of  IJfl 
poetic  genius. 

"  Almost  the  earliest  of  hLs  works,  they  beai 
the  stamp  of  a  young  creative  power,  which  in 
some  of  hLs  following  productions,  that  are  more 
labored,  more  filed,  more  learnedly  written,  grad- 
ually disappears,  to  become  lost  entirely  in  his 
latest ;  for  these  are  the  offspring  of  a  morbid 
sentimentality,  which  might  be  called  the  painful 
fruit  of  an  exhausted  vital  energy. 

"  Had  we  here  to  talk  the  language  of  the 
school  about  the  development  of  piano-forte 
music,  we  should  proceed  to  analyze  the  contents 
of  those  noble  pages  which  present  so  rich  a  har- 
vest of  observations.  We  should  in  the  tirst  line 
examine  those  y<.tturi>os,  BalUids,  Inipromptits, 
Sc/u-r:os,  which  are  aU  full  of  unexpected  and  un- 
heard-of subtilties  of  harmony.  We  should 
then  seek  these  same  refinements  in  hLs  Polonaises, 
Ma:ourkas,  Waltzes,  and  Boleros.  But  such  a 
work  would  ouly  be  of  interest  to  those  initiated 
into  counterpoint  and  thorough  bass. 

"  I'hrough  the  feeling  that  flows  forth  in  all  of 
them,  these  works  have  spread  and  become  much 
loved  m  large  circles ;  and  this  feeling  is  in  the 
highest  degree  romantic,  individual,  peculiar,  and 
yet  related  not  only  to  that  people  which  has  to 
thank  him  for  one  more  celebrity,  but  aUo  to  all 
hearts  that  were  ever  touched  by  the  misery  of 
exile  and  by  the  sentiment  of  love. 

"  Meanwhile  Chopin  was  not  always  contented 
with  those  frames  witlun  which  he  sketched  his 
happily-chosen  figures ;  he  would  also  bring  his 
thoughts  into  the  limits  of  the  classic  form.  He 
has  written  fine  Concertos,  and  fine  Somitas ;  but 
it  is  not  difficult  to  discern  in  these  productions 
rather  the  will,  the  piu-pose,  than  the  inspiration. 
ThLs  last  with  him  was  capricious,  arbitrary, 
fantastical,  bound  to  no  rcHcction  ;  he  had  to  give 
it  free  play,  and  he  did  violence  to  hLs  genius,  as 
we  think,  as  often  as  he  thought  to  chain  it  to 
traditional  rule.  Chopin  could  not  imjirUon  the 
wavering,  never  sharply  defined  outline^,  which 
lend  his  thoughts  their  highest  charm,  within  the 
stiff,  angular  framework  of  a  precise  pattern. 

"  Nevertheless,  the>e  cttbrts  are  decidedly  dis- 
tinguLshed  by  a  riue  nol^ility  of  style,  and  contain 
passages  of  high  interest  and  movements  of  sur- 
jirLsiiig  grandeur  of  thought.  We  may  mention, 
for  example,  the  ailaf/io  of  the  second  concerto,  to 
wliich  lie  was  partirularly  partial,  and  wliich  he 
was  very  fond  of  playing.  The  embellisliments 
in  this  belong  to  the  finest  manner  of  the  com- 
poser, and  the  leading  thought  is  kept  up  with  a 
wonderlul   breadth.      'Die   entire  movemert  ii 


200 


CHO 


ENCYCLOPAEDIA    OF   MUSIC. 


Clio 


ideally  perfect,  and  the  expression  of  the  fcelinp; 
now  bright  and  gleaming,  now  touching  and 
penetrating. 

"  How  cun  we  omit  to  mention  the  '  Funeral 
March  '  in  liis  iirst  sonata,  which,  lor  the  first 
time  arranged  for  orchestra,  was  played  at  his  own 
burial  ?  No  other  tones  could  have  expressed,  in 
a  language  which  so  goes  through  the  soul,  the 
anguisli  and  the  tears  which  must  have  accom- 
panied that  miin  to  liis  last  resting-place,  who 
had  so  sublimely  conceived  the  manner  in  which 
a  great  loss  sliould  be  wept.  One  of  his  young 
countrjTucn  said  once  to  me,  '  Only  a  Pole  could 
have  WTitten  this.'  And  in  fact,  ail  that  there  is 
6olemn  and  heart-rending  in  the  funeral  proces- 
sion of  a  wliolc  nation,  weeping  its  own  death, 
resounds  in  this  funeral  strain. 

"His  Poloiuiitis  belong  among  the  finest  products 
of  his  insi)irations.  They  have  nothing  in  com- 
mon with  the  jminted  primness  of  ball  room,  vir- 
tuoso, and  saloon  j/ohiuiises.  Tlicii  powerful 
rhythm  elcctrilies  the  slack  nen-es  of  our  blasd  in- 
diftercnce.  'llie  noblest  traditions  of  the  Polish 
national  character  are  preserved  in  them. 

"  In  listening  to  many  of  C'liopin's  polonaises, 
vou  fancv  that  voii  hear  the  firm  and  hcavv  tread 


original  themes  of  the  Polish  mazourkas.  ^^^lil« 
he  lias  adhered  to  their  rh\-thm,  he  has  ennobled 
their  melody,  enlarged  their  outline,  and  magical- 
ly introduced  into  many  passages  a  hanuonic 
c'liiimscuro,  which  gives  back  that  world  of  ex- 
citements and  emotions  wherewith  hearts  art 
moved  in  the  dance  of  the  inazourka.  C'o(iuetry, 
vanity,  fantasticiU  luimors,  inclination,  sadness, 
passion,  the  outgush  of  feelings,  all  arc  in  it.  To 
comprehend  how  admirably  this  frame  suits  these 
soul  pictures,  which  Chopin  executes  within  it 
as  with  a  jiencil  dijiped  in  the  colors  of  the  rain- 
bow, one  ntust  have  seen  the  tnazourka  danced 
in  I'oland  ;  there  only  can  one  learn  the  whole 
that  lies  in  thLs  national  dance. 

"  Indeed,  one  must  j)erha])s  have  been  in  Cho- 
pin's fatherland  fully  to  understand  and  api)re- 
ciate  the  character  not  only  of  his  mazourkas,  but 
also  of  many  of  his  other  compositions.  'Iliey 
almost  all  breathe  that  aroma  of  love  aiul  longing 
which  surround  his  jireludes,  his  nottunios,  his 
impromjitus,  like  an  atmosphere,  in  which  all  the 
pha.ses  of  passion  move  by  in  succession.  In  all 
these  comi)ositions,  as  in  every  ballad,  every 
waltz,  every  Etude  of  Chopin,  Ues  the  memory  of 
a  fleeting  moment  of  life  full  of  poetry,  which  he 


of   men,  advancing  with   the   consciousness  of  '  often  so  idealizes,  and  spins  bus  web  out  of  such 


courage  against  every  turn  of  fate.  In  some  of 
the  others  thLs  broad  manner  disappears.  Esjje- 
cially  in  the  jwloiuii.ie-fantasie,  which  belongs  to 
the  last  period  of  his  works,  you  perceive  no 
more  those  bold  and  brilliant  portraits  ;  no  more 
the  Uvely  step  of  that  cavalrj'  so  used  to  victory ; 
an  elegiac  mood  predominates,  •which  at  the  most 
b  interrupted  only  by  a  melancholy  smile. 

"  'I'he  celebrated  mazourkas  of  Chopin  wear  an 
entirely  different  character  from  the  Polonahes. 
Upon  a  wholly  dilferent  ground  play  tender,  pale, 
and  opaline  niumres,  instead  of  the  juicy  ond 
strong  coloring.  The  feminine  and  even  effem- 
inate element  is  no  longer  jilaced  in  a  certam 


fine,  ethereal  threads,  that  they  seem  no  longer 
to  belong  to  our  nature,  but  to  the  fairy  world, 
and  sound  like  the  chattering,  confidential  whis- 
per of  a  Peri,  a  Titania,  an  ^Vriel,  or  of  those  ele- 
mental spirits  which  likewise  are  subject  to  the 
bitterest  illusions  and  to  unendurable  ennui. 

"  Amongst  the  great  nximber  of  his  mazom-kas, 
too,  there  reigns  a  striking  diversity  of  subjects, 
and  of  the  impressions  they  call  forth.  In  many 
you  hoar  the  clink  of  spurs,  but  in  the  most, 
above  all,  the  scarcely  distinguishable  rustling  of 
crajie  and  gauze  in  the  light  breeze  of  the  dance, 
amid  the  flutter  of  fans  and  the  jingling  of  gold 
and  diamonds.     Some  seem  to  describe  the  hvely 


mysterious  twilight,  but  advances  into  the  fore-  [  enjoyment  of  a  ball,  which,  on  the  eve  of  a  storm 
ground  with  such  decided  significance,  that  the  t  ing  of  the  castle,  is,  as  it  were,  undennincd  with 
other  elements  vanish  before  it,  or  are  banished  j  heavuiess ;  you  hear  the  sighs  throughout  the 
into  its  train.  AVoman  here  appears  the  queen  '  dance  rhythm,  and  the  (h-ing  away  of  the  farewell 
of  life.      Man,  to  be  sure,  is  still   spirited  and  j  whose  tears  it  veds.     'liirough  others  glimmers 


proud,  but  lost  in  the  dizziness  of  plea-sure.  In 
spite  of  this,  there  is  a  sad  vein  running  through 
it.  The  national  songs,  in  their  melody  and  in 
their  words,  strike  both  these  tones,  and  both 
bring  out  the  singularly  effective  contrast,  which 
results  in  real  life  from  that  necessity  of  cheering 
sorrow,  which  finds  a  magical  narcotic  in  the 
grace  and  stolen  charm  of  the  mazourka.  The 
words  siuig  in  I'oland  to  these  melodies  give  them, 
moreover,  the  right  to  cling  closer  to  tlie  life  of 
memory  than  any  other  dance  music. 

"  Chopin  has  happily  appropriated  to  himself 
the  popidar  melodies,  and  transferred  into  them 
the  whole  merit  of  his  labor  and  his  style.  In 
polishing  these  diamonds  to  a  thousand  facets, 
he  discovered  all  their  hidden  fire,  and,  even 
gathering  uji  their  dust,  he  set  them  in  a  pearly 
ornament.  Could  there  be  a  better  frame  in  which 
to  enclose  his  personal  recollections,  poesy  of  all 
sorts,  attractive  scenes,  episodes,  and  romances  ? 
These  now  owe  to  him  a  circulation  far  outreach- 
ing  their  own  native  soil,  and  they  belong  at 
present  to  the  ideal  tj'jies  which  art  surrounds 
with  the  glorj-  of  its  sanction. 

"  Chopin  has  set  free  from  its  bondage  the  secret 
essence  of  poesy,  wliich  is  only  indicated  in  the 


the  anguish,  the  secret  sorrow,  which  one  has 
carried  with  him  to  the  festival,  whose  stir  cannot 
drown  the  voice  of  the  heart.     ITiere  it  Is  o  mur- 
muruig  whirlwind,  a  delirium,  thro\igh  which  a 
breathless  and  spasmodic  melody  is  hurrying  to 
,  and  fro,  like  the  impetuous  beating  of  a  heart 
I  that    breaks  and   perishes  in    love  and   passion. 
1  1'here  again  resound  from  alar  bold  fanfara,  like 
distant   reminiscences   of    glory  and,  oi"  victory. 
Some  there  are  whose  rhj-thm  is  as  vague  and  eva- 
nescent as  the  feeling  with  which  two  lovers  con- 
template the  rising  of  a  star  in  the  firmament." 

CIIOU.  (G.)  Choir,  chorus ;  as^,  aria  und  chor, 
air  and  chorus. 

CHOUALMASSIG.  (G.)  In  the  style  of  • 
chorale,  or  psahu  tune. 

CHORAL,  or  CHOIU.STIC.  An  adjective, 
derived  from  the  word  chonts,  and  not  only  ap- 
plied to  vocal  music  consisting  of  a  combination 
of  different  melodies,  and  intended  to  be  per- 
formed by  a  plurality  of  singers  to  each  jtart,  a* 
when  we  speak  of  a  chnml  anthem,  a  chnrat  ter- 
vict,  itc,  but  which  is  also  iise<l  in  a  cnlleitivt 
sense,  to  dist'i^^uish  the  j>ct formers  of  chorusei 


26 


201 


:ho 


ENCYCLOPEDIA    OF    MUSIC. 


cno 


when  assemtilcd  for  pcrlbrmauce,  who  a.'e  then 
taJed  a  cliorul  band. 

CIIORAI,,  (as  a  substantive.)  A  plain  and 
simple  wicrcd  (une,  like  "  Old  Ilundicd,"  Luther's 
"  Judt;raciit  Hymn,"  ^Scc.  What  'xve  call  a  psalm 
lune  the  (jcrmnns  call  a  choral. 

CHORD.  The  word  chord,  before  the  intro- 
duction of  simultaneous  sounds,  was  solely  ap- 
plicable to  a  di.stended  sonorous  string ;  but 
wlien  atiiiitirjxjiiit  was  dLscovcrcd,  and  various 
combinations  formed  and  established,  a  general 
term  became  necessary  to  express  those  combi- 
nations ;  and  that  which  before  applied  o:ily  to  a 
single  string,  was  now  borrowed,  and  its  sense 
extended  to  a  union  of  the  sounds  of  several 
strings,  pipes,  or  voices.  In  practical  music, 
there  iue  various  species  of  chords.  'Yhc  funda- 
mentiil  chord,  wliich  consists  of  the  three  funda- 
mental consonances  ;  i.  e.  the  third,  the  filth,  and 
the  eighth  of  the  fundamental  bass,  or  their  in- 
versions. The  accidental  cliard,  which  is  produced 
either  by  anticipation  or  retardation  ;  by  aniicij/a- 
tioii,  when,  in  a  preceding  chord,  one  or  more 
notes  lire  taken  of  a  succeeding  chord  to  which 
they  do  not  belong ;  by  retardation,  when  one  or 
more  notes  of  a  preceding  chord  are  by  saspcn.iion 
carried  intD  the  composition  of  the  succeeding 
chord.  The  aiiomahta  or  equivocal  chord,  in 
which  some  interval,  or  intervals,  are  greater  or 
less  than  those  of  tlie  fundamental  chord.  The 
transient  chord,  in  which,  in  order  to  smooth  the 
transition  from  one  chord  to  another,  some  intcr- 
mediiitc  notes  are  introduced,  which  do  not  form 
any  component  parts  of  tlie  fundamental  hanuo- 
ny,  nor  can  justly  be  called  either  anticipations 
or  suspensions.  For  examples  of  chords,  see 
Scales. 

CIIORDS.  Strings  by  the  vibration  of  which 
the  sensation  of  sound  is  excited. 

CHORION.  A  Greek  composition,  consisting 
of  a  hymn  sung  in  honor  of  Cybele,  the  mother 
of  the  gods ;  said  to  have  been  invented  by 
Olympus  of  Phrygia. 

CHORISTER,  llie  general  name  for  a  vocal 
officiate  in  a  choir ;  formerly  much  used. 

CIIORON,  ALEX^VNDRE  ETIENNE,  was 
bom  21st  October,  1772,  at  Caen,  wlicre  liis  father 
was  overseer  of  farms.  His  studies,  which  he 
terminated  at  the  age  of  tiiteen  years,  at  the  Col- 
lege of  JuiUy,  were  brilliant  and  solid  ;  but  he 
considered  them  only  as  jircliminaries  of  a  ujore 
extended  instruction,  of  which  he  felt  the  want, 
and  which,  during  nil  his  lite,  was  the  object  of 
his  labors.  Few  j)ersons  know  as  well  as  he  the 
Latin  tongue  ;  lie  spoke  and  wrote  it  with  ease, 
liis  memory  was  wonderful,  and  he  often  recited 
long  passages  from  Virgil,  Horace,  Martial,  or 
Catulhis,  whose  works  he  had  not  read  for  a  long 
time.  The  pleasure  of  reciting  became  such  a 
habit,  that  he  rarely  conversed  with  his  friends  | 
without  introducing  some  Latin  verse,  some  phrase 
of  Cicero,  and  even  some  Bible  passage,  or  from 
the  lathers  of  the  church,  his  favorite  reading. 
Greek  literature  was  not  less  familiar  to  him  ;  and 
such  was  his  inclination  for  it,  that  in  the  latter 
part  of  his  lite,  he  delivered  himself  up  to  the 
reading  of  philosophers,  historians,  and  (ireek 
poets,  with  all  the  ardor  of  yoath.  While  young 
lie  de\  olcd  himself  to  the  study  of  II  ibrew,  and 

20 


his  progress  was  so  rapid,  that  in  the  absence  ol 
the  professor,  he  took  liis  place  sometimes  in  tht 
College  of  France. 

From  his  infancy,  Choron  had  a  passionate  love 
for  music ;  but  destined  by  his  father  to  a  pro- 
fession eutuely  opposite  to  the  culture  of  arts,  he 
was  not  penuitted  to  devote  his  time  to  this  most 
enticing  study.  The  masters  whom  he  eagerly 
demanded  were  rei'used  him ;  and  it  was  seversil 
years  aftcT  he  had  left  college  beiore  he  could, 
with  no  other  lielp  than  the  books  of  Ra- 
meau,  D'Alembert,  J.  J.  Rousseau,  and  of  the 
Abbe  Roussier,  acquire  any  notions  of  theoretical 
music,  as  then  understood  in  France.  As  to  the 
exercises  relative  to  tlie  practice  of  the  ai-t,  he 
could  do  nothing,  having  no  masters.  Perhaps 
they  would  have  been  only  a  moderate  help,  for 
he  had  nearly  reached  his  twentieth  year,  and 
musical  studies  commenced  at  that  age  seldom 
lead  to  skill  in  reading  or  execution.  Choron 
felt  the  insufficiency  of  his  first  musical  education, 
and  although  nature  had  endowed  liim  with  an 
exquisite  sense  of  the  beauties  of  music,  he  could 
never  seize  at  the  first  glance  the  character  of  a 
composition. 

'ITie  calculations  with  which  the  theoretical 
books  of  the  school  of  Ramcau  are  filled  led 
Choron  to  study  mathematics  :  at  first  he  consid- 
ered them  as  only  accessory  to  musical  science, 
but  he  soon  liked  them  for  themselves,  and  de- 
voted much  time  to  them.  HLs  progress  was 
rapid,  and  was  remarked  at  the  school  of  the 
Fonts  dcs  Chaussies.  Monge  judged  him  cajiablo 
of  receiving  his  advice,  adopted  him  as  a  pupil, 
and  made  him  fuUil,  in  this  quality,  the  duties  of 
tutor  of  descriptive  geometry  in  the  normal 
school,  in  1795  ;  a  short  time  alter,  he  was  chosen 
cliief  ill  the  polji;echnic  school,  which  had  just 
been  instituted.  As  he  progressed  in  the  science 
of  mathematics,  he  felt  there  was  much  less  re- 
lation between  them  and  music  than  was  generally 
believed.  He  perceived  the  entirely  metaphysical 
action  of  the  latter  upon  the  human  organization, 
and  was  persuaded  it  could  be  studied  only  in 
itself.  Convinced  of  this  truth,  he  began  to  de- 
vote himself  exclusively  to  the  study  of  the  prac- 
tical art,  and  Bonesi,  author  of  a  "  Treatise  on 
Measure,"  which  was  not  without  merit,  taught 
him  the  principles  of  this  art.  Choron  was  then 
twenty-five  ;  Gretrv,  who  had  become  a  friend  of 
his,  advised  him  to  take  some  lessons  in  hannony 
of  the  Abbe  Roze,  who  then  passed  for  a  learned 
musician,  although  his  science  was  but  small. 

Bonesi  taught  him  the  Italian  litcratui-e  of 
music  ;  he  began  to  read  the  works  of  P.  Marti- 
ni, Eximeuo,  Sabbatini,  and  then  those  of  an- 
cient authors,  such  as  Gafori,  Aaron,  Zarlino, 
Berardi.  The  necessity  of  knowing  all  the 
schools,  to  compare  the  systems,  led  him  to  learn 
the  German  language,  in  order  to  read  the  writ- 
ings of  Kiniberger,  Marpurg,  Koch,  and  Al- 
biechtsberger.  Of  all  these  authors,  the  last  and 
Marpurg  were  those  whose  motliod  and  ideas 
he  liked  the  best.  Alter  some  years  employed  in 
these  serious  studies,  he  gained  more  knowledge 
of  tlie  theory  and  practice  of  music  than  any 
Frenchman  at  that  period  jiossessed.  He  associated 
himself  with  M.  Fiocchi,  composer  and  professor 
of  singing  ;  and  the  tjuit  of  their  union  was  the 
imblication  of  a  book,  entitled  "  Principles  of 
Accompaniment  of  the  Italian  Schools,"  Paris, 
lti04.  in  folio.   This  title  was  not  justified  by  the 


CHO 


ENCYCLOPJiDIA    OF  MUSIC. 


ciia 


nature  of  the  work,  which  was  a  sort  of  eclectic 
comblnntiou,  in  which  vcrj*  different  doctrines 
were  reconciled  with  more  address  than  reason. 
The  object  which  the  authors  proposed  was  not 
perceived. 

At  the  time  this  work  appeared,  Choron  was 
known  throuj;h  a  publication  of  a  different  char- 
acter. His  thoughts  upon  the  necessity  of  ])er- 
fcctinj;  the  instruction  in  primary  schools  had 
caused  him  to  discover  more  simple  and  rational 
means  of  teaching  the  art  of  reading  and  writ- 
ing. He  published  the  result  of  his  researches 
in  1800,  under  the  title  of  "  Method  of  Primary 
Instruction  in  the  Art  of  Heading  and  AVriting." 

Desirous  of  increasing  the  taste  for  good  mu>ic, 
and  of  ditfusing  the  taste  for  instruction  in  the 
history  and  theory  of  this  art,  C'horon  associated 
himself,  in  ISOo,  in  a  musical  commercial  house 
in  I'aris,  and  carried  into  it  all  his  fortune,  to 
employ  it  in  the  publication  of  ancient  classical 
works,  forgetting  there  were  then  in  France  no 
readers  of  thor>c  productions.  He  bought,  at  a 
great  expense,  the  cantatas  of  Poqiora,  solfeggios 
for  several  voices,  of  Caresana,  those  of  Sabbati- 
ni,  pieces  which  were  executed  in  the  SL-tine 
Chapel  during  holy  week,  a  mass  in  double  canon, 
and  the  Stabat  of  Pierluigi,  of  Palcstrina,  of  Jos- 
quiu  Desprcs,  the  Kequiem  and  the  Miserere  of 
Jnmelli,  tlie  Miserere  for  two  choirs  of  Leo,  and 
many  other  compositions  of  the  same  sort. 

At  the  same  time  he  was  occupied  with  the 
publication  of  a  voluminous  compilation  under 
the  title  of  "  Principles  of  Composition  of  the 
Italian  Schools."  The  exercises  of  countcrj)oint 
and  fugue  composed  by  Sala,  and  engraved  upon 
copper  phites  at  the  expense  of  the  King  of 
Naples,  formed  the  foundation  of  thLs  collection. 

After  immense  labor  and  enonuous  expense, 
this  work  a|ipeared  in  ISOS,  in  three  great  vol- 
umes in  folio,  of  more  than  eighteen  hundred 
pages,  which,  since  then,  have  been  divided  into 
six  volumes  under  new  titles,  llieir  publication 
anniliilated  Choron's  fortune.  But,  endowed 
with  rare  activity,  hLs  mind  was  occupied  with 
many  works  at  once,  and  the  "  Principles  of  Com- 
positioit "  yet  being  unpublished,  from  reading  the 
"Historical  Dictionary  of  Musicians,"  written  in 
German,  by  K.  L.  Gcrber,  he  concuived  the  idea 
of  publishing  a  work  of  the  same  kind  in  French. 
l'n:ort\inatcly,  the  plan  was  made  hastily,  and 
the  book  of  Uerbcr,  which  scr\-ed  as  its  base,  was 
badly  translated  by  a  (iennan  who  knew  but  little 
of  French,  and  did  not  understand  music.  Cho- 
ron, whose  health  was  disordered,  took  M.  Fa- 
yoUe  tor  a  partner  in  this  work,  and  it  was  the 
latter  who  did  most  of  the  labor ;  as  Choron 
could  give  but  little  care  to  it,  oidy  a  few  articles 
were  tunilshed  l)y  him.  Tlie  most  considerable 
piece  which  he  put  in  the  book  was  the  historical 
introduction,  a  viUuable  summary,  which  had 
already  appeared  in  the  "  Principles  of  Composi- 
tion." ITie  "  Dictionary  of  Musicians  "  was  pub- 
lished in  the  years  1810  and  1811.  At  the  same 
time  he  wrote  many  remarkable  reports  upon 
matters  of  art  and  literature.  'l"hat  which  he 
wTote  upon  the  "  Principles  of  Versiticatiou,"  by 
8coi)pa,  may  be  considered  as  a  masteq)iece. 

Until  then  his  lli'e  had  been  one  of  study ;  but 
in  1812  he  became  devoted  to  institutions  of 
public  utility.  Occupied  in  this  year  in  the  com- 
piling of  the  Bulletin  of  the  Society  for  the  En- 
ioura;  uncut  of  National  Industry,  he  was  charged 


by  M.  Bigot  de  Prearaciieu  with  a  j)lan  of  reor- 
ganizing the  mastei-ships  and  the  choim  of  the 
cathedrals,  as  well  as  the  direction  of  the  music 
at  fctea  and  religious  ceremonies.  Some  writing 
upon  the  objects  of  his  new  duties  made  him 
known,  to  his  advantage,  in  relation  to  hi-i  idea* 
concerning  the  instruction  of  music  ;  but  he  did 
wrong  to  call  in  question  the  utility  of  the  Con- 
ser\-atoue,  whose  direction  did  not  conform  with 
his  views.  He  conceived  unjust  prejudices 
against  an  establishment  which  for  many  years 
had  produced  tine  talents  of  all  kinds. 

Ite  restoration  was  at  first  fatal  to  the  exist- 
ence of  the  Conserv-atoire  of  music.  Born  of  the 
revolution,  this  establishment  had  in  the  eyes  of 
the  partisans  of  the  ancient  monarchy  an  origi- 
nal stain,  so  that  it  was  maintained  with  reluc- 
tance in  1811,  and  closed  in  the  following  year. 
Ilils  bloAv,  given  to  the  school  towards  which 
Choron  had  shown  himself  such  a  wann  antag- 
onist, seemed  to  be  a  triumph  for  him  ;  but  he  had 
too  much  justice  in  his  mind,  and  too  much  love 
for  the  art,  to  think  of  triumphing.  Choron  was 
dircM-tor  of  the  Oi)era  in  January,  ISlfi.  He  was 
scarcely  installed,  than  he  acquired  the  convic- 
tion of  the  necessity  of  establishing,  between  the 
Conser\'atoire  of  music  and  the  theatre  which 
was  trusted  to  him,  intimate  relations ;  he  pro-, 
posed  a  reorganization  of  this  same  establishment, 
under  the  name  of  the  lloyal  School  of  Singing 
and  Declamation.  He  was  charged  with  the  di- 
gesting of  the  scheme  ;  and  was  often  rejiroached 
afterwards  for  the  mean  combinations  of  the  ))lan. 

llie  administration  of  the  Opera  under  the  di- 
rection of  Choron  was  not  exem])t  from  blame ; 
but  whatever  may  be  said,  it  cannot  be  denied 
that  it  was  the  least  expensive  and  the  most  pro- 
ductive. .Struck  by  the  difficulty  that  joung 
composers  met  with  in  making  themselves  known, 
Choron  desiicd  to  ojien  an  entrance  to  their 
career,  and  decided  that  a  certain  quantity  of 
])ieces  inar.  act  should  be  intrusted  to  them,  that 
they  might  write  the  music.  His  benevolence  for 
the  artists  made  him  forget  that  the  Opera  was  or- 
ganized for  great  things,  and  that  it  Mas  not  a  the- 
atre of  experiment.  Choron  had  too  many  enemies 
to  be  able  to  remain  long  at  the  head  of  the  admin- 
istration of  the  Ojiera.  In  the  first  month  of  the 
year  1817,  he  received  his  dismissal  without  any 
compensation  :  no  one  recollected  that  a  man  who 
had  made  so  great  sacrificcjs  for  music  merited 
some  reward  from  the  government.  Hnp])ily,  he 
had  energy  in  his  soul,  and  ideas  in  his  head ;  ho 
lost  no  time  in  complaining  of  the  ingratitude 
with  which  his  services  were  paid,  but  employed 
himself  for  a  long  time  upon  works  on  music.  He 
then  undertook  the  editing  of  a  sort  of  encyclopie- 
dia  of  mvisical  sciences,  by  the  title  of  "  Introduc- 
tion to  the  general  and  analytical  Study  ot  Music." 
Brilliant  with  new  ideas,  and  strong  in  the  fniit- 
ful  principles  of  truth,  this  work  was  destine<l  to 
place  Choron  in  the  rank  of  the  most  distin- 
guished men,  among  men  of  letters  and  historians 
of  music.  No  doubt,  had  he  tinishe<l  it,  ho 
would  have  introdiiced  many  new  ideas  in  the 
theory  of  this  art,  and  wo\ild  have  drawn  upou 
himself  the  attention  of  m\isicians  of  all  coun- 
tries ;  but  such  was  the  activity  of  his  mind,  that 
he  could  not  occupy  himself  a  long  time  with  the 
same  object.  At  the  end  of  a  few  nionth<i  be 
was  fatigued  with  hit  labor  —  loat  his  faith  in  hii 
first  conceptions. 


203 


CHO 


EXCYCLOP-'EDIA    OF    MUSIC. 


cue 


Many  times  niter  lie  had  read  me  pnssa;»es  from 
it,  I  have  said,  "  How  lieaiitilul  and  new  !  PublLsh 
it,  and  vnur  name  will  live  in  the  history  of  art." 
He  promised  to  work  again.  Eight  days  after,  a 
new  idea  seized  him,  and  he  would  be  entirely 
indifferent  for  this  work. 

Next  to  the  inconstancy  of  his  views,  the 
greatest  obstacle  that  Ciioron  met  with,  in  the  ac- 
complishment of  his  projects  upon  musical  books, 
consLsted  in  the  facility  with  which  lie  surrendered 
himself  to  the  objections  made  to  him.  Once,  as 
au  absurd  observation  was  made  to  him  against 
the  fundamental  jirinciple  of  a  "  TreatLse  ou  Har- 
mony and  Accomjjaniment,"  which  he  had  just 
finished,  he  stojiped  tlie  printing  of  it,  paid  the 
printer,  and  condemned  the  book  to  forgetfulncss. 

In  the  first  month  whicli  followed  his  expul- 
sion from  the  opera,  Choron  conceived  the  pro- 
ject of  a  mode  of  instniction  of  music  by  a  simul- 
taneous method,  which  he  called  coiicertaute.  The 
idea  had  scarcely  struck  him  than  he  rushed  to 
M.  de  I'radel,  superintendent  general  of  th.e  royal 
household,  who  had  taken  him  under  his  jirotec- 
tion,  and  obtained  a  slight  sum  in  aid  of  the  school 
he  was  about  to  establish.  He  began  the  work 
■with  his  u--nai  ardor.  He  multiplied  hw  Oiideav- 
ors  to  bring  hLs  method  to  the  perfection  of 
wliich  he  believed  it  susceptible.  He  at  length 
conquered  all  the  difficulties,  and  published  in 
1818  his  "  Coucertante  Method  of  Music  in  four 
Parts."  It  was  harshly  criticized  on  account  of 
some  want  of  correctness  in  harmony ;  but  it  was 
no  less  one  of  those  happy  ideas  that  one  would 
have  i)ut  in  practice  for  the  simidtaneous  in- 
struction of  music.  The  new  career  in  which 
Choron  was  placed  gave  him  an  occasion  to  em- 
ploy those  faculties  no  one  knew  he  possessed. 
It  was  not  only  by  an  uncommon  activity  that 
he  dLstinguislied  himself  as  chief  of  a  musical 
institution,  but  his  ardent  soul  communicated  to 
his  pupils  a  love  for  the  art,  and  a  sentiment 
•which  docs  not  exist  to  so  great  a  degree  in 
pupils  of  any  other  school. 

At  first  unperceived,  the  school  of  Choron 
excited  attention,  by  exercises  in  which  slight 
defects  of  exactness  and  completeness  were  re- 
deemed by  a  deep  sentiment  of  the  character  of 
music.  There,  for  the  first  time,  was  heard  in 
Paris  the  sublime  compositions  of  Uach,  Handel, 
Palestrina,  and  other  great  masters  of  the  (icr- 
man  and  Italian  schooL-. 

If  Choron  had  been  able  to  realize  his  projects, 
if  he  had  found  all  the  protection  that  was  due 
to  him,  wc  should  congratulate  ourselves  upon 
the  course  he  took  after  his  administration  of  the 
Opera.  But  after  the  annihilation  of  the  iruit  of 
his  efforts,  we  can  but  regret  that  he  abaiuloned 
his  labors  as  a  literary  musician  for  those  of  a 
professor.  Ho  composed  a  multitude  of  hymns 
and  anthems  for  two,  tlu'ec,  and  four  voices ;  he 
•WTOte  chorals  in  church  music  lor  three  voices ;  a 
method  of  church  music ;  a  collection  of  choral 
chants  used  in  the  churches  of  Gennany,  arran.;ed 
for  four  parts,  with  organ  ;  a  conii>U'te  selection  ot 
church  ni\i--ic  for  one  or  more  voices  ;  and  many 
other  things  of  the  same  kind.  As  to  the  other 
works,  wliich  he  announced  liy  ditferent  pro- 
spectuses, the  greater  jiart  were  only  projected,  lor 
he  had  not  time  to  write  tliem.  It  is  in  this 
category  that  are  ranged  "The  .Vbridged  Exposi- 
tion ot  the  Principles  of  Music  ;  "  "  The  Encyclo- 
pa-dic  Manual  of  Music,"  wliich  made  a  part  of 


the  collection  of  the  manual  of  M.  Roretj  the 
translation  of  the  "  TreatLse  on  Modern  Composi- 
tion," of  Preindl,  a  work  of  which  Choron  ha< 
too  favorable  an  oiiinion ;  the  "  Repertory  of 
Contrapuntists;"  last,  "  llie  Introduction  to"  the 
general  and  analytical  .Study  of  Music,"  of  which 
he  unlortunately  has  fiiiLshed  but  a  part. 

Tlie  chronological  list  of  works  comjjosed  or 
published  by  Choron  are,  1.  Collection  of  ro- 
mances, songs,  and  poetry,  set  to  mubic,  I'aris, 
Le  Due,  1806,  Svo.  Among  these  romances  are 
"  The  Sentinel,"  whose  success  has  been  great. 
2.  "  Musical  Bulletin  of  Augustus  Le  Due-,  and 
Company,"  Paris,  1807  and  1808,  8vo.,  twenty- 
four  numbers,  of  four  pages  each.  .3.  French 
and  Italian  notices  u])on  Leo,  Jomelli,  I'iorlui- 
gi,  Palestrina,  and  Josquin  Desprcs.  'iliese 
notices  are  put  at  the  commencement  of  each 
number  of  the  "  General  Collection  of  the 
Classical  Works  of  Music,"  Paris,  Le  Due.  4. 
"  Principles  of  Accompaniment  of  the  Italian 
School,"  by  Choron  and  Fiocchi,  Paris,  Imbault, 
1804,  one  vol.  in  fol.  5.  "Principles  of  Com- 
position of  the  It^dian  Schools,"  Paris,  Auguste 
Le  Due,  1808,  three  vols.,  fol.  This  work  waa 
divided  into  six  volumes,  with  new  titles,  in  1816. 
The  first  volume  contains  a  preface  of  17 
pages  ;  the  first  book,  which  treats  of  harmony 
and  accompaniment,  in  102  pages,  and  a  selec- 
tion of  Parti menii  for  the  accompaniment, 
taken  from  the  works  of  Durante,  Cotumacni, 
Fenaroli,  and  Sala,  ui  142  pages.  The  second 
volume  contauis  a  treatise  on  simple  countei-jjoint, 
in  42  pages  ;  the  models  of  Sala  for  this  counter-, 
point ;  the  trios  of  Caresana,  in  34  pages ;  a  new 
French  ti-anslation  of  the  double  and  conditional 
counterpoint  of  Marpurg,  ino2  pages  ;  the  models 
of  Sala  Jor  double  counteqjoint,  in  7 1  pages.  Tlie 
tltiixl  volume  contains  the  treatiseon  Linitation  and 
fugue,  translated  from  Marpurg,  ui  73  pages;  and 
the  models  ol  Sala  to  the  fugue  in  four  parts,  in  181 
pages.  Tlie  fourth  volume  contains  the  second 
collection  of  fugues  by  Sala,  in  138  pages  ;  the 
treatise  of  canons,  translated  by  Marinu'g,  in  60 
pages ;  and  the  models  of  the  canons  of  Salii,  in 
68  iiages.  At  the  commencement  of  the  fifth 
volume  is  a  treatise  upon  the  style  of  each  kmd 
of  music,  under  the  title  of  Musical  Rhetoric,  in 
39  pages,  followed  by  models  of  the  osservato 
stylo  of  church  music,  extracts  from  the  cscmplara 
of  P.  Martini,  and  models  of  the  concert  style  in 
Jomelli ;  these  models  are  contained  in  202  pages. 
'ITie  sixth  volume  contains  models  of  madrigals 
without  accompaniment,  taken  from  works  of 
Martini  and  Paohicci ;  models  of  ducts,  trios,  and 
cantatas,  taken  from  the  works  of  Marcello,  Lotti. 
Alexander  Scarlatti,  and  Porgolese  ;  models  of 
vocal  music  of  different  kiiuls,  as  A\ell  us  some 
models  of  instrumental  style.  The  work  finishes 
with  elementary  notions  of  acoustics,  by  an  his- 
torical sketch  of  the  progress  of  composition,  and 
by  the  table  of  subjects.  6.  "Historical  Diction- 
ary of  Musicians,"  by  Choron  and  FayoUo,  Paris, 
Valladc,  1810  and  1811,  two  vols,  in  Svo.  This 
work  reappeared  with  a  new  title  in  1817,  Paris, 
Cliiiuot.  (Uioron  did  not  exj)cct  to  take  Fayoll* 
as  a  partner  when  he  undertook  this  work. 
He  announced  it  in  1809,  in  a  prospectus  undel 
the  title  of  "Historical  Dictionary  of  Music." 
7.  "  Considerations  upon  the  necessity  of  re/;s« 
tablisliing  the  Chants  of  the  Church  of  Rorac  ic 
all    the    Churches    of     the    French    Em-  ire " 


204 


CHO 


ENCYCLOPAEDIA    OF    MUSIC. 


CllR 


Paris,  Courcier,  1811,  in  8vo.,  of  lo  pa<;es. 
8.  "  Elementarj-  Method  of  Music  and  Church 
Music,  for  the  use  of  Seminaries  and  Masterships 
of  Cathedrals."  Paris,  Courcier,  1811.  9.  "He- 
port  made  to  the  Class  of  Fine  Arts  of  the  Im- 
perial Institute  of  France  upon  the  work  of  M. 
Scoppa,  entitled,  '  True  Principles  of  ^■e^si^ica- 
tion,' "  Paris,  Baudouin,  1812,  one  vol.  iu  4to. 
In  this  work,  Choroji  has  particularly  examined 
the  musical  rhj-thm.  10.  "  Uejiort  made  to  the 
Class  of  Fine  Arts  of  the  Imperial  Institute  of 
France  upon  a  Manuscript  which  contains  the 
Collection  of  the  Treatises  of  Music,  by  J.  Le 
Tci"»'iricr,"  Paris,  181.3,  8  pa^es  in  8vo.  11. 
"  General  TrentL<e  on  the  Voice  and  Orchestral 
Instruments,  and  princijjally  \Vind  Instruments, 
as  used  by  Composers,  by  J.  L.  Franca-ur ;  new 
edition,  rc\'iewed  and  aufnmented  by  Modem  In- 
struments, byM.  Choron,"  Paris,  181.3  ;  "  Ency- 
clopedical Libmrj'  of  Music,  containing  Notes, 
lle-.-enrches,  and  Dissertations  vipon  'ITicoretical 
and  Practical  Music,"  Paris,  1811.  13.  "  Elc- 
mcntjiry  Method  of  Composition,  by  J.  G.  Al- 
breclitsbergcr,  translated  from  the  German  by  A. 
Choron,"  Paris,  1811.  11.  "Method  of  Accom- 
paniment according  to  the  Principles  of  the 
Scliools  of  Germany,  translate<l  from  the  Gennnn 
of  Albrechtsberger,"  Paris,  ISI.5.  ITiese  two 
■works  have  been  reunited  by  Choron,  with  some 
additions,  from  the  etlition  of  the  complete  works 
of  theory  by  Albrechtsberger.  This  complete 
translation  has  appeared  under  this  title  :  "  Meth- 
ods of  Harmony  and  Composition,  by  the  Aid 
of  which  one  can  teach  himself,  to  accompany 
a  figiired  bass,  and  to  compose  all  Kinds  of 
Music,  by  J.  (i.  Albrechtsbersier,"  Paris,  1830, 
two  vols.  15.  "  The  IVactical  Musician,  or 
Gradual  Lessons  which  lead  the  Pupils  into  the 
Study  of  Harmony,  Accompaniment,  and  the 
Art  of  I'ounterpoint,  teaching  them  the  Manner 
of  composing  all  Kinds  of  Music,  by  Fr.  Azopar- 
di,  Master  of  the  Chaiiel  of  Malta,  translated 
from  the  Italian  by  the  late  M.  De  Framery,  new 
edition,  revised,  correi-ted,  and  put  into  a  l>etrer 
order,  by  A.  Choron,"  Paris,  181i>.  17.  "  ChonU 
Book  of  Paris  containing  the  Chant  of  the  Dio- 
cese of  Paris,  written  in  Counteqioint,  in  four 
Parts,"  1817.  TTiis  work  is  only  a  little  book, 
which  contains  the  annual  ma«ses  and  great  so- 
lemnities. 18.  "  Concertante  Method  of  Music  in 
many  Parts,  of  a  Gradual  Ditfic\ilty,"  Paris,  1817. 
1;).  "  Method  of  Church  Music,  otlierwise 
collei.'  pA-clcniasticHl  or  Gregorian  Chant,  contain- 
ing I.e-sons  and  Exercises  necess-ary  to  attain  to 
a  per  ect  Knowlctlge  of  this  Chant,"  Paris,  1818, 
28  pages.  20.  "  Exposition  of  the  Concertante 
kLothod  of  Music,"  Paris  1818,  a  half  folio  in  two 
column-".  2\.  "Salvation  of  the  Holy  Sacra- 
men;,  containing  Stnnjtas  and  Anthems  in  Honor 
of  the  Holy  Sacrament  and  Holy  Virgin,  put  to 
Mu.-ic  to  three  c<{ual  Voices,  by  Choron,"  Paris, 

1818,  one  vol.  in  8vo.  iJ.  "Concertante  Method 
of  (.'hiirch  Music  and  Ecclesiastical  Counter- 
point." Paris,  1819.  2.3.  "Harmonic  .Sol.''eggio, 
offering  a  Methodical  ."^cries  of  Exercises  in  Har- 
mony tor  four  Voices,  for  a  Master  and  his  Pu- 
pils" one  vol.  The  prosj)cctus  of  this  work  has 
only  appeared.  24.  "  .Vbrid^ed  Instru  .tion 
upon  the  Organization  and  Dirci-lion  of  a 
School  of  Music,  Sol.eggio,  and  Singing,"  Paris, 

1819.  2.1.  "  Elementary  Exposition  of  the  Prin- 
ciples  of  Music,   sen-ing  as   a   Complement   to 


the  Concertante  Method,"  Paris,  1S19.  The 
prospectus  of  this  work  alone  lias  appeared.  20. 
"  Elementary  .SoU'eggios,  containing  the  Fir-"t  I^es- 
Bons  of  Musical  Heading,  for  the  I'sc  of  Begin- 
ners," Paris,  1820.  27.  "  Elementary  Concert 
Method  of  Mitsic,  in  tliree  Parts,"  Paris,  1820. 
28.  "  Method  of  Singing  useil  by  the  Pupils  of 
the  Hoyal  Singing  School,"  Paris,  1821.  Tlie  first 
part  only  of  this  work  has  ai)i)earc<l.  29.  "  Cho- 
ral Chants  in  four  Parts,  used  in  the  Churches 
of  Germany,"  Paris,  1822.  .30.  "Book  of  Cho- 
rals for  three  Voices,  used  in  the  Colleges  of  St. 
LouLs."  Choron  has  jjubllshetl  some  little  works, 
very  short,  and  a  few  occasional  writings,  of  which 
but  few  copies  were  published,  which  are  "ow 
quite  rare. 

CHOHU.S  or  CHO.  An  old  Scotch  name  fcr 
a  kind  of  double  trumpet ;  bo  called  on  account 
of  the  great  power  of  its  tone. 

CHOIU'S.  This  word,  a.s  u.sed  by  the  ancient 
Greeks,  implied  indifferently  a  band  of  singers,  a 
company  of  dancers,  or  an  assembly  composed  of 
both,  or  of  an  indiscriminate  mixture  of  persons ; 
and  had,  in  its  gcuernl  sense,  rather  a  plural  than 
a  specific  meaning  ;  but  the  dramatic  r/ionif,  and 
the  chorus  employed  in  public  festivals,  always 
consisted  both  of  singers  and  dancers,  and  fonned 
a  numerous  body  of  performers. 

'ITie  present  signification  of  the  word  chorus  Ls 
wholly  confined  to  music,  and  in  its  general 
sense  alludes  either  to  a  composition  of  two, 
three,  four,  or  more  parts,  each  of  which  is  in- 
tende<l  to  be  sung  by  a  plurality  of  voices,  or  to 
the  vocal  performers  who  sing  those  jiarts,  and 
form  what  is  called  the  chona,  or  choral  part  of 
the  band. 

CHOUrSES  form  a  separate  mass.  By  unit- 
ing them  to  tlie  complete  orchestra,  we  have  three 
masses  to  treat  at  once.  NMien  a  chorus  is  not 
in  unison,  it  should  always  form  correct  harmony 
in  two,  three,  or  four  parts,  indejjendent  of  the 
orchestra.  It  must  be  treated  exactly  in  the 
same  manner  as  either  of  the  other  masses,  llie 
entire  orche:-.tra  is  often  too  powerful  as  an  ac- 
companiment for  the  chorus ;  in  this  case  it 
must  be  accompanied  by  only  one  of  the  two 
masses,  generally  that  of  the  stringed  instruments, 
which  are  always  to  be  preferred  in  compositions 
of  a  soft  and  tranquil  character.  AVhcii  a  com- 
poser M'ishes  to  accompaii}*  a  voice  by  wind  in- 
struments, he  must  treat  them  as  solo  instru- 
ments ;  that  Is,  employ  only  one  oi  each  sort, 
except  in  the  terminations,  where  a.!  the  mass 
miy  become  necessary. 

CHHOMA.  (Gr.)  A  term  signifjing  a  refineo 
style  of  singing;  also  the  former  a])i)ullation  of 
the  character  now  called  a  qiuivcr.     See  {iu.vvF.n. 

CHHOMATIC.  A  term  applied  by  the  an- 
cient (jreeks  to  that  of  their  three  genera  or 
modes,  which  consisted  of  semitones  and  minor 
thirds.  Modern  musicians  use  the  term  cSrn- 
matic  to  distinguish  those  passages  of  melody 
formed  by  successive  semitonic  inlcn-als ;  or  any 
series  of  dissonant  and  extraneous  chords. 

Chromatic,  in  the  ancient  music,  is  the  second 
of  the  genera,  or  kinds,  in  which  tlie  consonant 
intervals  were  subdivided  into  their  coiK-iunous 
parts.  'Die  chromatic  abounds  in  semitones;  it 
had  its  name  either  by  reason  that  the  (ireeks 
marked  it  with  the  character  of  color,  or  because 
the   chromatic   kind   is  a  medium  between    thi 


205 


run 


ENCYCLOPAEDIA    OF    MUSIC. 


CHU 


other  two,  enharmonic  and  diatonic,  as  color  is 
between  white  and  black ;  or  because  th  ;  chro- 
matic kind  varies  and  embelliMhcs  the  (.intonic 
kind  by  its  semitones,  which  have  the  same  ef- 
fect in  music  with  variety  of  colors  in  painting. 
Uoethius,  and  after  him  Zarlin,  attribute  the  in- 
vention of  the  chromatic  genus  to  Timotheus,  a 
Milesian,  in  the  time  of  Alexander  the  Great. 
The  tSjiartans  banished  it  their  city  by  reason  of 
its  softness.  Mr.  Malcolm  observes,  that  we  are 
at  a  loss  what  use  the  ancients  could  make  of 
these  divisions  and  subdivisions.  All  acknowl- 
edged the  diatoiiic  to  be  the  true  melody  ;  the 
others  seem  only  humorous  irregularities,  calcu- 
lated to  plea.se  the  fancy  by  their  novelty  and 
oddncss ;  and  were  besides  so  vcrj'  difRcult,  that 


few,  if  any,  are  said  to  have  ever  practised  them 
accurately  among  the  ancient  musicians. 

CHROMATIC  SCALE.  This  scale  divides 
every  whole  tone  of  the  diatonic  scale,  and  con- 
sists of  twelve  semitones  in  an  octave.  No 
music  Ls  so  far  chromatic  that  it  does  not  depend 
on  the  diatonic  scale ;  and  no  passage  can  be 
called  chromatic  unless  there  Ls  a  regular  pro- 
gression by  semitones.  From  the  nature  of  chro- 
matic intervals,  wliich  are  not  so  agreeable  to 
the  ear,  nor  so  ea.sy  for  the  voice,  as  the  diatonic, 
we  beUeve  they  should  seldom  be  introduced, 
but  reser\-ed  for  more  powerful  effects  than 
can  be  produced  by  diatonic  progressions  ;  and 
when  they  are  used,  they  should  be  introduced 
so  that  the  music  may  be  both  wild  and  agreeable. 


CHROMATIC  SCALE,  WITH  THE  NUMERALS,  LETTERS,  AND  SYLLABLES. 


ASCENDING  SCALE 

^      ii^- 


Numbers 71  1       ^  2       ^"2  Tl  j  4        :^4 

Lettern |  C       C^jt  D       D.\|t  I    E  |  F       F% 

8)U«blcs I  Do     Di  Re     Ri  I    Mi  |  Ka     Fi 

Pronounced |  Doe  Dte  Ray  Rte  \    Met  \  Fah  Fee 

DESCENDING   SC.1LE. 


-^-^>— - 


-4- 


^ 


5        ^^ 
Q       G% 
Sol     SI 
HoU   Sre 


6        *( 

A     a5! 

U      Li 

Lah  Lte 


B 

Si 
See 


8 
C 
Do 
Doe 


^ 


e 


-fe=L. 


1=~7S 


7 

% 

6        t* 

5         t.5 

4 

B 

A        AtJ 

0      g;» 

F 

St 

Se 

La       I* 

Sol      Se 

Fa 

See 

Sa 

Lnh    La 

Sole    Sa 

Fah 

Numbers |  8 

Ia'Mlts I  C 

Sylliibli'S Do 

Prououuci'd. .. .  Doe 


The  inidont  will  notice,  thot  in  the  application  of  sjMlaliles  to  al- 
tered notes,  the  vnwel  sound  iii  ch;»n.ired  by  sharps  to  ef ,  and  tiv  flotfl 
to  a.  When  we  upeak  of  altered  notes  by  numernlii,  we  plionld  say 
fharj)  oiir^  nhnrp  two.  lint  fij;  JinI  «  een,  *c. ;  and  when  we  speak  of 
them  !)>  litler,  «iiy  J-  .<linr),,  V  fhtirji.  JlJItil,  KJtnl.fic. 

HithiT  a  fliit,  or  n  sharp,  aflecta  all  the  niites  on  the  same  degree 
throughout  tlie  nieasure  in  which  it  occurt=,  Uius  : 


3  >>3 

E  B^ 

Mi  }Ie 

Mee  Jlfa 


2  b2 

D  Db 

]<a  Ka 

Kay  Kay 


1 

0 

Do 

Do 


When  the  last  note  in  o  measure  is  altered,  and  the  first  note  in  the 
next  measure  Is  on  the  sunie  degree,  the  influcuce  of  the  flat  or  sharp 
is  continued,  thus : 


A  natural  '■$  ased  (o  xintradict  the  influence  of  either  tlic  flat  or 
the  sharp. 


vp4    -  J^^^^J  "U   P--^     '<c=±^ — J 


A  note  nharfiffl  nnttintllv  londi  to  the  next  Foiiintordt^CTce  aI>o\c; 
and  n  note  rfu/f/*/  1.;kU  to"  the  next  dc cne   lelcw.     The  ffinrj>,  tlie 

rfdf,  .lint  tlu'  ririf»r«/,  wluii  iiitn>ditcc(l  int<»  nny  piv»  n  nuKKly  or 
nnnnmy,  lire  tiTini"!  rhvomniim.  Niitiint)i>  «nnu-tinni  u^ed  fordin- 
toiiie,  Pinl  nl«o  »onietiini-»  lur   pliysicol.  in  which  nw^t-  \t  \*  that  per- 

ornied  \  y  nnlvrol  <>ri;nii!«.lJint  i»[v<..riil  music,  in  rcntru-liotiiirtion  lo 
artirieisl  or  ni^lrnmcntnl.  Hishop  Wtlkins  ..hjn-nvs,  thiit  tluT»n|>- 
i-oiir*  u  World  of  ditTonnce  iHtwi-m  nntunil  and  iirtitieinl  wmndi*  cr 
thini?'*:  tlie  tlrst  ever  a|'p«'nr  ndnrned  with  nil  iimipinnMe  elepnncc 
and  tietiuty.  the  latter,  tnon^'lt  the  mo«t  riirioua  In  ifu-ir  ktnd,  aie  in- 
Imitily  rude  nnd  nnhewn;  the  II nest  needle  iippeor*.  when  viewed 
with  ndenMcnoei,  n  n>ugh  bnr  of  iron ;  and  the  ino^t  ncctimtc  en- 
gravinfi,  or  eniUuasnicnt,  ni  if  done  with  a  mattock  or  IruweL 

CIIIIONOMETER.  (From  the  Greek.)  The 
name  given  to  any  machine  constructed  for  the 
purpose  of  measuring  tlie  time. 

'Ihe  lirst  modern  chronometer  was  invented 
by  I.oulie;  a  French  musician,  who  flourished 
abo  It  the  latter  end  of  the  seventeenth  century  ; 
and  who,  in  his  "  Elcmenx,  ou  Priiiripci  rie  Mii.si</iic 
mis  iaus  un  noiiici  Oidic,"  gives  a  full  description 
of  the  instrument. 


CmilSTMAS  CAROLS.  The  custom  of  cel- 
ebrating the  festivities  of  the  season  by  the  sing- 
ing of  carols  appeai-s  to  have  mingled  with  the 
ClirLstmas  observances  from  the  earliest  period. 
We  have  specimens  of  the  carols  themselves  of 
a  remote  date;  one  in  the  British  Museum  is 
dated  as  far  back  as  the  thirteenth  century. 
There  are  e\-idences  of  the  universality  of  the 
practice  in  the  tiitecnth  centurj- ;  and  the  great 
popularity  of  thee  songs  Is  proved  by  the  fact 
of  a  collection  thereof  having  been  printed  in  the 
early  part  of  the  following  century,  by  ^Vynk}^l 
de  Wordc.  It  is  to  the  Puritans  that  we  appear 
to  have  been  indebted  for  the  introduction  of  the 
rcUgious  carol.  Those  enemies  of  all  mirth,  — 
even  in  its  most  innocent  or  valuable  fonns,  — 
finding  the  practice  of  carol  singing  too  general 
and  rooted  to  be  dealt  with  by  interdiction,  ap- 
pear to  have  endeavored  to  effect  their  objects  by 
directing  it  inio  a  channel  of  their  own  ;  and  — 
probably  retaining  the  ancient  airs  —  to  have 
adajitcd  them  to  strange  rehgious  ballads.  Tlie 
entire  version  of  the  I'sabns  of  Pavid,  made  by 
Slcnihold  and  Hopkins,  was  pubUshed  about  the 
middle  of  the  sixtecnih  century;  and  some  time 
before  the  middle  of  the  seventeenth,  a  duodeci- 
mo volume  a]>pcared,  under  the  title  of  "  Psalms 
or  Songs  of  Zion,  tunietl  into  the  Language,  and 
set  to  the  Tunes  of  a  strange  Land,  by  W.  S., 
William  Slatyr,  intended  for  C'luLstmas  Carols, 
and  fitted  to  divers  of  the  most  noted  and  com- 
mon but  solcrane  Tunes,  every  where  familiarly 
used  and  knowne." 

CIIUYSOGOXUS.  A  celtbrated  singer  in 
Greece,  who  lived  about  tliirty  years  after  Christ. 

CIIUIICII  MUSIC  was  introduced  into  pub- 
lie  worship  at  a  very  early  period.       "What  tha 


20t» 


CIA 


ENCYCLOP.'EDIA    OF    MUSIC. 


CIB 


music  of  the  first  ClirLstinns  was  can  only  be 
matter  of  conjecture  ;  but  it  may  be  supi)ose(l  to 
have  been  sunilar  to  tliat  which  had  fonuerly 
been  used  in  the  diifcront  countries  where  they 
dwelt.  In  Judea,  the  chant  was  used ;  and  iii 
other  parts  of  the  Koman  empire,  the  new 
Christians  would  have  recourse  to  the  pafjan 
hjTuns  of  the  Greeks  and  Romans,  llie  ccdcsi- 
n-stical  chants  of  the  primitive  Christians  are  sup- 
posed to  be  as  old  as  the  time  of  Kinp;  Da^-id,  for 
in  his  time  music  had  a  reu;ular  establisliment  in 
the  worihi])  of  the  sanctuary.  ITie  Hebrew 
psalmody,  trom  the  time  of  bavid,  appears  to 
have  been  transmitted  from  father  to  son  till  the 
middle  of  the  first  century  of  the  church. 

Till  the  time  of  I'alcstri'na,  about  the  year  1570, 
sacred  music  was  nothing  but  a  tissue  of  sweet 
sounds,  almost  destitute  of  perceptible  melody. 
Music,  like  the  other  arts  of  civilization,  suffered 
by  the  (joths  and  Ihins,  who  overran  Home  and 
Western  Euroj)e.  It  was  not  until  the  eleventh 
century  that  (Juido,  a  Uenedictine  monk,  in 
Italy,  laid  the  foundation  of  soll'aing,  and  Franco, 
a  German,  in  the  latter  end  of  the  same  century, 
laid  the  foundation  of  figuretl  music.  In  the 
four  followini;  centuries,  harmony,  counterjjoint, 
and  fugue  wore  gradiially  developed.  lliorough 
bass  was  discovered  by  S'iadama,  an  Italian,  two 
hundred  years  ago.  AAI  the  inventions  in  music, 
and  the  i]ni)rovements,  have  been  by  Italians  and 
,  Gennans.  Lulli  first  introduced  overtures.  And 
even  this  imperlect  music,  in  which  one  part  only 
executed  the  melody,  was  performed  in  Italy 
with  but  a  small  number  of  instruments.  I'aiil 
Veronese,  the  great  painter,  who  lived  in  the 
raidiUe  of  the  sLxteenlh  cenHiry,  has  presen-ed 
to  us  the  form  of  those  wliich  were  used  in  his 
time  in  his  famous  picture,  the  "  Ccna  di  San 
ijiorgio,"  namely,  a  double  bass,  a  violoncello,  a 
violin,  a  flute,  and  the  sackbut.  But  it  was  not 
till  the  time  of  th.e  immortal  author  of  "nie 
Creation,"  who  only  died  at  Vienna  so  reeentlv 
as  1809,  that  music  attained  its  modern  perfection. 
No  man  bclbre  him  conceived  the  idea  of  an  or- 
chestra composed  of  eighteen  kinds  of  inatru- 
mentM. 

^Vhcn  we  look  at  church  music,  a.s  we  now  en- 
joy it  in  the  United  States,  and  compare  it  with 
it«  infancy,  we  cannot  but  wonder  at  the  progress 
it  has  made.  One  of  the  most  essential  prepara- 
tions for  eternity  Ls  delight  in  praising  God  :  to  be 
able  to  do  this  acceptably,  in  sacred  song,  is  a 
higher  acquirement  than 'even  devotedness  in 
prayer.  .VJthough  the  sjjirit  be  not  master  of 
that  which  it  creates  through  music,  yet  it  is 
bles;.cd  in  this  creation,  which,  like  every  "creature 
of  art,  Ls  rai::htior  than  the  artist. 

CIACONXE.  (F.>  An  obsolete  kind  of  air, 
derived  from  an  old  Itidian  dance,  one  feature  of 
which  is  its  obligatory  ground  ba.«s. 

C  IX  ALT.  (I.)  n-.e  eleventh  above  the  G, 
or  treble  clef  note  ;    the  fourth  note  in  alt. 

C  IN  AI.TISSIMO.  (I.)  The  octave  above 
C  in  alt ;  the  fourth  note  in  altissimo. 

CIS.  ( G. )  C  shaq),  as  cm  dur,  C  sharp  major ; 
cis  tnoU,  C  sharp  minor. 

CIAMI'I,  FRANCESCO.  A  Neapolitan  com- 
po»er  and  violinist.  He  publLshetl  several  op- 
eras  at  Venice  between  the  years  1729  and  MiVl ; 
he  was  likewise  the  author  of  some  admirable 
production*  for  the  church.     Dr.  Bumev  was  in 


possession   of  a   Miserere   and  a   maw   by   thii 
master,  jjosseising  great  merit. 

CIANCIIE'ITINI,  PIO,  son  of  F.  Cianchetti- 
ni,  oj  Rome,  and  of  Veronica  I)us.Hek,  was  l)om 
in   Ixindon  in   170!).     ^\^len  only  five  years  old, 
he  performed  in  j>ublic  a  sonata  (if  his  awn  conj- 
position,  in  the  Opera  concert  room  in  London  ; 
after  which  he  travelled  with  his  father  through 
(jennany,  IloUnnd,  and  France,  in  each  of  which 
countries  he  exhibited  hi-,  talent  with  great  ap- 
jilausc,  and  was  even  callotl  the  Uriti  ^h  .Mozart. 
On  his  return  to  I/indon,  he  continued  liLs  stud- 
ies, and  at  eight   years  old  spoke  perfeitlv  well 
the  French,  English,  Italian,  and  German  lan- 
guages.     Immediately  after   tliis   age,  he  com 
menced  the  composition  of  various  instrumental 
pieces;  nmoiiijst  the  rest  a  grand  concerto,  which 
he  executed   himself  at  a  concert  in  London,  in 
1809,  receiving  the  greatest  applause.     Cianchet- 
tini   attended    Madame   Catalani,  when    first   in 
England,  in  several  of  her  musical   tours,  acting 
as  her  composer  and  conductor  of  her  concerts'] 
and    was   rc.'ingaged    in    the  same   capa'>itv   bv 
Madame  Catalani  on  her  return  to  England  in 
1S22.     In  the  Italian  songs  composed  for  Catala- 
ni by  Cianchcttini,  he  has  been  very  happy  in 
adapting  his  music  so  as  to  display  the  most  bril- 
liant powers  of  that  singer.     In  the  other  songs 
which  he  has  written,  he  has  shown  great  taste 
in  selecting  the  most  cla-ssical  words  in  British 
l)oetry ;  thus  attempting  to  embodv  with  music 
the  finest  effusions  of  a  Milton  and  a  Pope.     Ills 
cantata  for  two  voices,  the  words  of  which  are 
taken  from  the  Paradise  Lost,  was  his  first  speci- 
men in  this  style  of  composition,  and  abounds  in 
sweet  and  tender,  and  at  the  same  time  scientific 
passages.  ULs  music  to  Pope's  "  Ode  on  Solitude" 
is  also  fraught  with  grace  and  feeling.     The  fol- 
lowing are  among   the   principal  works  of  Pio 
Cianchcttini :  "  .V  Cantata   for  two  Voice-*,  with 
Choruses,    \\'ords    from    the    ParadLsc    Lost ; " 
"Take,   O,   take  those  lips  away,"  song ;  "  Fnn- 
ta-iia  on  Di  tanti  pulpiti,  for  Piano- forte ;  "    "In- 
troduction and  an  Italian  Air,  with  ^^•l^iations 
for  Piano-forte  and   Flute  or  Violin  ;  "    "  Pope's 
Ode  on    Solitude  ;  "    "  SLxty  Italian  Catches  for 
two,  three,  and  four  Voices,  by  Padre  Martini, 
with     an     Accompaniment     for     Piano-forte;" 
Scena   ed  Aria,  "  Ah   qiutndo  ce.iaera  ;  "     I)uetto, 
"  l>co  di  Vafo  il   Tempio  ,-  "    "  Benedictus,  three 
Voices."     cianchcttini  died  in  England  in  18.51. 

CIBBER,  MRS.,  sister  to  Dr.  Ame.  She  wa.s 
celebrated  as  a  singer  till  the  year  17.3fi,  v^hcn  she 
first  ai)peare<l  as  a  tragic  actress.  Her  singing 
was  much  esteemed  by  Handel,  who  adaptetl  one 
of  the  airs  in  the  "  Messiah  "  principallv  lor  her 
voice. 

CIBULKA,  or  ZIBULKA.  M.  A.  A  good 
vocal  composer,  and  performer  on  the  harmonica, 
bom  in  Bohemia  at)out  the  yejir  1770.  He  pub- 
lishe<l  much  vocal  and  instrumental  music  be- 
tween the  years  1791  and  1810. 


207 


CIEC(X  FRANCESCO.  A  celebrated  Horcn- 
tine  organist.  He  was  the  son  oi  Jncol)o  a 
painter,  of  great  probity  and  simjdicity  of  man- 
ners. During  childhood  he  was  dejirivcd  of  hi* 
sight  by  the  small-pox.  Being  arriveil  iit  adoles- 
cence, and  beginning  to  be  sensible  of  the  misery 
J  of  blindness,  in  order  to  diminish  the  horror  of 
perpetual  night,  he  began,  in  a  childish  mauuer 


CIF 


ENCYCLOP-EDIA    OF    MUSIC. 


CI&I 


to  tiiiig  ;  but  advancing  towards  maturity,  and 
beooiuint;  more  and  more  captivated  with  music, 
he  bc^an  seriously  to  rtudy  it  as  an  art,  first  by 
learninf;  to  sing,  and  afterwards  by  applying 
bimsolf  to  the  practice  of  mstrumcnts,  ])Hrticu- 
Inrly  the  organ,  which  lie  soon  played  without 
ever  having  seen  tlic  keys,  in  so  maiiterly  and 
sweet  a  luanner  as  to  astonish  every  hearer.  In- 
deed, his  superiority  was  acknowledged  so  unani- 
mously, that,  by  the  common  consent  of  all  the 
musicians  of  his  time,  he  wan  publicly  honored 
at  Venice  with  the  laurel  crown,  in  the  manner 
of  a  poet  laureate,  for  his  admirable  performance 
on  that  instrument  before  the  King  of  Cjiirus 
and  the  Duke  of  Venice.     He  died  in  1390. 

CIFOI.ELIil.  An  Italian  dramatic  composer 
in  France  about  the  year  1770. 

CIFRA,  AXTOXIO,  a  pupU  of  Palcstrina, 
was  chajjcl  master  at  Kome.  lie  published  some 
motets  and  psalms  at  Venice  in  1020,  which  are 
better  than  his  secular  music  ;  in  reference  to 
some  of  which.  Dr.  Burncy  says,  "  N\'e  cannot 
help  respecting  these  old  masters  for  their  science 
in  ecclesiastical  comiiosition,  ui  which  they  have 
left  such  admirable  examples  of  pure  harmony 
and  ingenious  contrivance  ;  yet  whenever,  like 
Mr.  Vellvim,  in  Addison's  comedy  of  the  '  Drum- 
mer,' they  choose  to  be  jocular,  or  to  attempt  grace 
and  gayety,  they  become  grotesque  and  ridicu- 
lous." 

CIMA,  GIOVANXI  TAOLO.  An  eminent 
organist  and  composer  at  Milan  from  lo'Jl  to 
Kilo.  lie  acquired  great  reputation  among  the 
learned  musicians  of  his  time  for  his  construction 
of  perpetual  fugue  or  canon. 

CIMA,  GIOVANNI  BAITISTA.  A  good 
organist  and  composer  at  Milan  about  the  A-ear 
1626. 

CIMA,  ANDREA,  a  brother  of  G.  P.  Cima, 
was  chapel  master  and  organist  at  Milan  and  Ber- 
gamo, lie  published  concertos  for  two,  three, 
and  four  voices,  at  Milan  in  1614,  and  at  Venice 
in  1G27. 

CIMADOR,  GLVMBATTISTA,  born  at  Venice 
in  the  yew  1761,  was  a  musician  of  no  great  sci- 
entific acciuirement,  though  his  works  are  full 
of  fire  and  imagination.  Before  he  quitted  Italy, 
he  composed  an  opera  called  "  I'igmaUone,"  which 
wa.s  well  received  by  the  public  as  a  spirited  and 
original  work ;  the  composer  himself  was,  how- 
ever, so  discontented  with  it,  that  he  threw  the 
score  in  the  fire,  proposing  never  to  -wxxXc  original 
music  again ;  he  kept  his  word,  we  believe,  as 
we  are  not  aware  that  he  subsequently  did  more 
than  arrange  the  music  of  other  composers.  His 
most  important  work,  in  this  latter  way,  was  an 
arrangement  of  twelve  symphonies  of  Mozart,  as 
pestets,  with  a  seventh  jiart  a<l  lib. ;  this  was  done 
while  Cimador  was  in  England,  wlicre  he  reiuained 
many  years,  being,  d»»ring  part  of  the  time,  en- 
gaged in  the  mu.sic  trade.  It  Ls  stated  by  Gerber, 
that  Cimador  was  a  pupil  of  Ilaydu  in  composi- 
tion. 

CIM.VROSA,  DOMIXICO,  was  liorn  at  Naples 
in  17'31.  He  received  his  first  instructions  in 
music  from  Aprile,  and  subseiiuently  studied  on 
the  i)rinciples  of  the  great  l)urante,  at  the  con- 
Hfruiioi  v  1)1  l.oretto,  where  he  took  advantage  of 


the  valuable  lessons  of  Fenaroli,  a  pupil  of  Du- 
rante. He  became  early  in  lil'e  celebrated  as  a 
dramatic  composer,  and  in  17.S7  received  an  invi- 
tation I'rom  the  Empress  Catharine  of  Russia  to 
accept  the  office  of  dramatic  com])oser  to  the 
court  of  St.  Pcterjburg.  He  did  not,  how- 
ever, long  remain  m  that  capital,  for  we  find  him 
in  1791  again  in  Italy,  whence  he  was  invited  to 
Vienna  by  the  Emperor  Leojiold,  being  offered 
the  appointment  of  conductor  of  the  Italian  Op- 
era in  that  city,  in  the  room  of  Salieri.  In  the 
following  year  he  accordingly  ])rorocdcd  to  Vien- 
na, and  soon  composed  for  the  theatre  there  one 
of  hLs  best  operas;,  "  II  ilatrimonio  Se;/rcto."  He 
next  revised  his  opera  of  "  II  I'ittore  Pari^iuo,"  and 
produced  it  on  the  same  stage.  Shortly  after 
this,  the  Emperor  Leopold  died,  when  his  succes- 
sor, the  Emperor  Francis,  presented  Cimarosa 
with  a  splendid  gold  snuffbox,  as  an  acknowledg- 
ment of  the  sense  he  entertained  of  his  talents ; 
at  the  same  time  stating,  that  ho  had  yielded  to  the 
wishes  of  the  inhabitants  of  Vienna,  by  restoring 
their  favorite  Salieri  to  his  office  of  opera  con- 
ductor. Up  to  this  period  Cimarosa  had  made 
himself  knoAvn  by  the  composition  of  the  follow- 
ing operas  :  "  L'  Italiana  in  Ijmdra,"  1779;  "  JX 
Convicto"  "  /  due  liaroni,"  "  Gli  I/iimici  Oenerosi," 
&nd  "  II  Pittore  ParUjiiw,"  1782;  "  Artaserse,"  bi 
Mctastasio,  and  "II  Fakgnamc,"  1785;  "I due 
SupjMsti  Conti,"  1786  ;  "  Volodimiro,"  "  La  Balie- 
rina  AmaiUe,"  and  "  Le  Trame  Dclusc,"  1787;  L' 
Impresario  in  Angustie,"  "  II  Crcdulo,"  "  II  Marito 
Disperato,"  and  "  II  Fanatlco  Ihtrlato,"  1788  ;  "  11 
Convilato  di  Pietra,"  1789  ;  "  Giannina  e  Bema- 
done,"  "  La  VillanclJa  riconosciu/a,"  and  "  Le  Asiu- 
zie  Feminili,"  1790  ;  and  "  //  Mutrimouio  Sef/relo," 
1792.  Cimarosa  now  resumed  his  function  of 
chapel  master  at  Naples,  where  his  talents  and 
industry  had  acquired  him  numerous  friends  and 
admirers.  He,  however,  continued  his  labors  in 
that  city  only  a  very  few  years  longer,  producing 
there,  amongst  other  minor  works,  the  following  : 
"  //  Matrimoiiio  per  Stisurro,"  "  La  Penelope,"  "  L' 
Olimpiadc,"  and  "  II  Sacrifizio  (V Abramo,"  in  1793  ; 
"  Gli  A?natiti  Comici,"  and  "  Gli  Orazi,"  in  1797. 
AMien  the  French  revolutionary  armies  extended 
their  successes  to  Najil&s,  and  occupied  that  city, 
during  which  time  it  was  said  that  Cimarosa 
evinced  a  decided  partiality  for  their  cause,  he 
lost  the  favor  of  the  court,  and  at  length  very 
narrowly  escaped  the  forfeiture  of  his  life.  He 
died  at  Venice  in  1801,  from  the  effects,  according 
to  some  of  his  biographers,  of  the  cruel  treat- 
ment he  experienced  in  the  prisons  of  Naples. 
This  fact,  however,  appears  to  rest  on  no  good 
authority,  as,  after  his  orrival  at  "N'enice,  in  1800, 
he  not  only  completed  the  composition,  and 
brought  out  his  opera,  of  "  L'  ImprudetUc  Fortu- 
tiato,"  but  commenced  writing  another  opera,  en- 
titled "  Artemisi/i,"  only  the  first  act  of  which  he 
had  completed  before  his  death.  Several  com- 
poses afterwards  attempted  to  finish  it,  and  the 
piece  in  this  state  was  announced  for  pcrfcrmance 
at  Venire ;  but  the  public  caused  the  curtain  to 
be  lowered  in  the  middle  of  the  second  act.  All 
the  operas  of  Cimarosa  are  distinguished  by  their 
contrivance,  •riginality  of  ideas,  richness  of  ac- 
companiment, and  the  skill  disjilaycd  in  sceric 

'  effect.  These  merits  arc  peculiarly  conspicu  H 
in  his  mmic  operas.  We  cannot  help  feeling,  as 
we  listen  attentively  to  each  pHssagc,  that  the 
score  must  have  been  dictated  by  the  inspiration 

03 


CIN 


ENCYCLOPAEDIA    OF    MUSIC. 


CLA 


of  the  moment.  The  cnthusiaiim  excited  in  Itnly 
by  the  "  Mutrimonio  Sfflnto  "  can  hardly  be  con- 
ceived. In  a  word,  it  at  once  fixed  tlie  wuvcrinn 
ta.ste  of  tlic  Italians.  C'imarosa  himself  i)resided 
at  the  piano  durinf;  the  first  seven  representations 
of  the  opera  at  Naples  —  a  circumstance  very  un- 
usual there.  At  Vienna,  the  emperor,  after  hear- 
ing the  first  representation  of  it,  invited  both  the 
vocal  and  instrumental  porfonners  to  a  ban(iuct, 
after  jwrtakiiig  of  which,  they  proceeded  the 
same  evening  to  the  tlieatre,  for  ita  second  per- 
formance. 

Several  traits  have  been  cited  of  the  modesty 
of  this  great  master.  A  painter,  desirous  of  pay- 
ing him  a  compliment,  said  that  he  considered 
him  superior  to  Mozart.  "  Sir,"  replied  C'imarosa 
with  wanutli,  "  ic/iat  icoidd  you  think  of  the  man 
who  ahoulil  sriy  thai  you  are  superior  to  llaphaclt" 
Amateurs  have  diflercd  much  in  opinion  as  to  the 
comparative  pleasure  derivable  from  the  dramatic 
works  of  Mozart  and  C'imarosa.  Xapolcon  once 
asked  Circtry  (who  knew  little  about  Mozart's 
music)  ■what  was  the  exact  difference  between 
these  two  great  composers.  "  Sire,"  replied  Gre- 
try,  "  Cimiirosa  places  the  pedestal  in  the  orchestra, 
and  the  statue  on  the  stage ;  whereas  Mozart 
fixes  the  pedestal  on  the  stage,  and  the  statue  in 
the  orchestra;"  meaning  by  this  to  express,  that 
the  renown  of  Cimarosa  depended  on  the  vocal,  of 
Mozart  on  the  instrumental  parts.  Some  of 
Cimarosa's  serious  operas,  especially  his  "  Orazi  e 
Curiazi,"  are  as  great  in  their  style  as  his  buffa 
compositions. 

CINQUE-PACE.  The  name  of  a  dance,  the 
measures  of  which  are  regulated  by  the  number 
five. 

CINTI.     See  Damoiieau. 

CIPRIANO  DI  ROUE,  one  of  the  most  re- 
nownied  composers  of  the  sixteenth  century,  was 
bom  at  Medilin,  in  Flanders,  1.5  Ifi.  In  tlie  title 
page  of  a  book  published  at  Venice  in  1519,  he  is 
called  the  scholiu-  of  Adrian  ^Villacrt.  In  the 
preface  of  the  "  Canti  Carnasciakschi,"  pubUshcd 
at  Florence  in  15.59,  he  b  called  CatUore,  as  if  he 
had  been  merely  a  singer  iu  the  8cr>'ice  of  the 
house  of  Mcdicis.  However,  he  seems  to  have 
upcnt  the  greatest  part  of  his  life  in  Italy  as  a 
composer  ;  in  which  characttr  he  is  mentioned 
with  great  respect  by  Ziurlino,  Vincenzo  Galilei, 
I'ietro  I'ontio,  and  almost  every  ItnUan  musical 
writer  of  his  time  ;  and,  after  having  been  suc- 
cessively mne.iiro  Hi  caih-lla  to  the  Duke  ot  Ferra- 
rn,  the  republic  of  Venice,  where  he  was  the  im- 
mediate predecessor  of  Zarlino,  and  the  Duke  of 
Parma,  he  died  at  the  court  of  that  prince,  in 
1515,  aged  forty-nine.  IILs  motets  and  madri- 
gals were  first  published  at  Venice  in  154 1,  and 
alter  his  decease  were  republished  with  his  mass- 
es. His  "  Cantioiu\i  Sicrtr,"  or  motets,  were  like- 
wise printed  at  Lotivain  in  1573. 

CIPUIANO,  COUXIEIt  A  violinist,  resident 
in  Poland  ;  he  was  a  scholar  of  Nnzari  of  Venice, 
and  was  born  iu  that  town.  He  composed  much 
music  for  his  instntment,  and  died  at  Warsaw  in 
1789. 

CIIUI.1,0,  FRANCESCO.  A  Neapolitan  dra- 
matic composer  about  the  year  1650. 

CIRIU,  (JIAMRA'niSTA.  An  Itahan  vio- 
loncellLst  and  instrumental  composer  between  the 
years   17G3  and   1795.     Some   of  liis  music   has 


27 


been  imblishcd  in  London,  and  other  pieces  at 
lierlin  and  in  Italy. 

CISTELL.V.  (L.")  An  instrument  formed  oL, 
or  contained  In,  a  little  chest. 

CITH.VR.V.  (L.)  An  instrument  of  antiqui- 
ty, the  precise  construction  of  which  is  now  un- 
known, but  which  is  supposed  not  to  have  been 
unlike  the  lyre.  At  first  it  had  only  three  strings  ; 
but  the  number  was,  at  different  times,  increased 
to  eight,  nine,  and  liustly  to  twenty-four. 

CITIIARA  BUl'a  A.  (I..)  A  kind  of  rllhar*.  lo  railed  IVoin  lt> 
hnvinff  two  nccka,  which  dvU'nniuc  th«  IvDifthi  of  Uiu  two  icld  of 
•triliir*. 

(  ITIIARA  msI'AXICA.    (I..)     Spinlfh  mlUr 

CITIIAKISTICA.  (I..)  An  •iljivllve  alipllid  tolnuflcCtlnpo«fd 
fbr,  or  inlcnd'-d  to  \h:  BCcuinpAnliil  bv,  the  harp  or  fruilar. 

CITIIAKODIA.  An  tzprvuiiin  uard  by  tlie  anciruU,  to  lictiifjt 
the  art  of  ninjniiv'  to  the  l^vre.  To  t)c  able  to  ling  to  that  inatrurocnl 
waf  to  be  niavter  of  the  citharodia. 

CITOI.E.  The  word  citole  is  derived  from  eii- 
trlla,  a  little  chest,  and  was  the  name  formerly 
given  to  an  instrument  of  the  most  simple  con- 
struction, being  little  more  than  a  small  chest 
with  strings  on  the  Lid  or  top. 

CITTERN.  The  old  English  name  of  the 
guitar. 

CLAGGET.  An  English  composer,  and  in- 
ventor of  several  improvements  in  musical  in- 
struments, which  he  commenced  exhibiting  to 
the  pubhc  in  what  he  called  a  musical  museum, 
about  the  year  1789.  His  compositions  are  cliief- 
ly  instrumental. 

CL.UR,  J.  M.  LE.  A  French  violuilst,  and 
composer  for  his  instrument.  He  was  chamber 
musician  to  Louis  XV.  He  was  assassinated  in 
the  streets  of  Paris  in  17C4. 

CLANGOR.  A  loud,  shrill  sound,  peculiar 
to  the  trumpet. 

CL.VPPER.  A  certain  longitudinal  piece  of 
metal,  freely  suspended  by  one  of  its  ends  from 
the  central  and  upper  part  of  the  interior  of  a 
bell,  and  which,  actuated  by  the  oscillating  motion 
of  the  machine,  strikes  the  barrel  with  its  lower 
end,  and  produces  those  vibrations  which  cause 
the  sound. 

CLARICHORD.  or  CLAMCHORD.  A  keyed 
instrument,  now  out  of  use,  somewhat  in  the 
form  of  a  spinet,  and  the  strings  of  which  are 
supported  by  five  bridges.  One  distinction  in 
the  clarichord  Is,  that  the  strings  are  covered 
with  pieces  of  cloth,  which  render  the  sound 
sweeter,  and,  at  the  same  time,  so  deaden  it,  as  to 
prevent  its  being  heard  at  any  considerable  dir- 
tance.  On  this  account,  it  was  formerly  much 
used  by  the  ntins,  who  could  purs\ic  its  practice 
without  disturbing  the  silence  of  the  dormitory. 
It  is  sometimes  called  the  dumb  spinet. 

CLARINET.  A  wind  instrument  of  the  leed 
kind,  the  scale  of  which,  though  it  includes  every 
semitone  within  its  extremes,  is  virtually  defec- 
tive. Its  lowest  note  is  E  below  the  F  clef,  liom 
which  it  is  capable,  in  the  hands  of  good  solo 
performers,  of  ascending  more  than  three  octavos. 
Its  powers  through  this  compass  are  not  perfect- 
ly e<[ual ;  the  player,  therclore,  ha.^  not  a  fre« 
choice  in  his  keys,  l)eing  penemlly  confined  to 
those  of  C  and  F,  which,  indeed,  are  the  only 
keys  in  which  the  clarinet  is  heard  to  advantage 
The  music  tor  this  instrument  is,  th»  rofore,  usu- 
ally written  in  those  keys,  lliere  are,  however 
B  flat  clarinets,  A  clarinet-s,  1)  clarinets,  11  clar- 
inets, and  U  clarinets ;  though  the  thr««  latter 


209 


CLA 


ENCYCLOPEDIA    OF    MUSIC. 


CLA 


ire  scarcely  ever  used,  at  least  in  this  country. 
Within  a  lew  years,  this  instrument  has  been  much 
improved.  It  ai)i)roaches  in  tone  the  female  voice 
nearer  than  any  other  instrument,  and,  as  a  prin- 
cipal in  the  ordiestra,  it  now  sustains  a  distin- 
guished part.  Tliis  instrument,  which  is  of  Ger- 
man origin,  was  introduced  into  Great  Britain 
about  the  year  1779;  and  for  the  first  twenty  years 
its  use  was  confined  to  the  military;  for  at  the 
grand  performance  at  Westminster  Abbey,  1791, 
forty  oboes  and  bassoons  were  admitted  info  that 
stupendous  orchestra  of  a  thousand  perfonners, 
but  the  clarinet  had  not  gained  sufficient  reputa- 
tion to  obtain  a  place.  Soon  after  this  j)eriod, 
fiom  its  warlike  tone,  it  was  adopted  by  all  the 
military  bands  upon  the  continent ;  and  the 
IVench  found  it  of  such  singular  efficacy  in  lead- 
ing on  the  troops  to  battle,  that  all  their' regi- 
ments were  headed  by  vast  groups  of  these  per- 
firmers. 

At  the  federation  in  Paris,  July  14,  1802, 
eighteen  thousand  troops  passed  in  review  before 
the  Consul  Bonaparte,  to  which  were  attached 
more  than  twenty  bands  of  fifty  performers  each, 
forming  an  aggregate  of  more  than  one  thousand 
musicians.  The  ordinary  practice  of  military 
men  is  not  less  than  six  hours  per  day,  and  that 
for  twenty  years  is  but  just  adequate  to  conquer 
all  the  difficulties  of  this  instrument.  Probably 
the  greatest  good  effected  by  the  thirty  years'  war 
was  the  improvement  of  the  wind  instruments. 
It  was  the  incessant  practice  of  fifty  thousand 
performers  spread  over  the  continent,  that  drew 
forth  the  genius  and  powers  of  those  instruments, 
by  which  Ilaydu  and  Mozart  perfected  the  miisi- 
cal  science.  In  quality  of  tone  the  clarinet  is 
warm  and  powerful,  partaking  somewhat  of  the 
oboe  and  trumpet  combined ;  and  the  lustre  of 
its  tones  adds  great  refulgence  to  tl.e  orchestra. 
The  tone  of  the  claruiet  is  pecidiarly  graceful  in 
the  open  air. 


The  clarinet  b  divided  into  four  parts  —  th« 
mouthpiece,  (on  which  a  flat  reed  is  tied,)  the 
upi)cr  joint,  the  middle  piece,  and  the  bell,  or 
bottom  piece.  It  has  thirteen  holes,  five  of 
which  are  stopped  by  keys.  It  is  to  those  kevH 
that  the  instrument  Ls  indebted  for  its  chief 
use,  for  before  they  were  contrived,  the  clarinet 
could  not  be  used  in  concert,  as  it  is  at  present 
Wlien  played  by  itself,  the  fulness  and  sweet- 
ness of  tone  is  very  pleasing ;  but  when  joined 
with  other  instruments,  or  in  concert  with  other 
mstrumcnts,  its  charming  effect  is  too  obvious  to 
be  particularly  described.  To  make  it  famiUar, 
and  render  playing  on  it  easy,  the  following  plain 
and  concise  instructions  are  intended  :  — 

TTie  cliu-met  must  be  held  near  the  centre  of 
the  body,  the  bell  part  inclining  downwards, 
with  the  left  hand  uppermost,  and  the  right  low- 
est. The  thumb  of  the  left  hand  Ls  for  the  key 
nearest  the  mouth,  and  the  first  open  hole  that 
is  underneath  ;  the  first  finger  for  the  second  or 
upper  key,  and  the  second  open  hole :  the  second 
finger  for  the  third  open  hole ;  the  tliird  finger 
for  the  fourth  open  hole ;  and  the  little  finger  of 
the  lei^  hand  for  the  two  long  or  lowest  keys. 
The  first  finger  of  the  right  hand  is  for  the  fifth 
open  hole  ;  the  second  finger  for  the  sixth  open 
hole  ;  the  third  finger  for  the  seventh  open  hole ; 
and  the  little  finger  of  the  right  hand  for  the 
eighth  or  lowest  open  hole,  and  the  short  key  at 
the  bottom  ;  so  that  the  thumb  and  first  and  little 
finger  of  the  left  hand  manage  sLx  holes,  and  the 
httle  finger  of  the  right  hand  two. 

Blow  moderately  strong  the  chaiumcait  or  lowest 
notes ;  but  for  the  clarinet  notes,  the  reed  must 
be  pinched  with  the  Ups  a  little,  and  blown  a 
little  stronger ;  yet  be  careful  that  the  teeth  do  not 
touch  the  reed. 

In  the  following  scale,  the  black  notes  repre- 
sent the  holes  which  are  to  be  stopi^ed,  and  the 
ciphers  those  which  are  to  remain  open. 


A   COMPLETE   SCALE    OF   NOTES    FOR   THE   CLARINET. 


*-?fg» 


A  dlfftmtt  vftj  «f 


C 
a 

S1 


EfGA      B[,  D      CcjDI^EPrJOCjArjjBCDIJjEPFjOGjADjBODEPrJOjlDl 

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•  •••  •••••••••ooo«*«««««««»«      ••o»*a  •      •• 

•  •••  •••••••oo*oo*««*«««»««a      ••••••  •      •• 

•  »••  ••••••o«cooo«««««««««««      •ooo««  •      oo 

•  •••  ••••oo««oooo«»*#««««**o      o«o«««  •      •• 

•  •••  ••0J«00OO000«««««»««OO*         00090*  o        •• 


z< 


•  •    •    • 


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ooooooooooo 
•    oooooooooo 


0      3      0000000 
O      O      OOOOOOO      o 


o  o  •  o  o 


o  •  o  o  o  o 


o  ••••  oaaoo 
•  •oo  oooco 


o  o  o  o  o 
o  o  o  o  • 


o  o  o  o  • 
o  o  o  o  o 


ooooooooo 


•  ooo  ooooo 


o  o  o  o 


Ex.  1 


Ex  2. 


Ex.  3. 


£x  4. 


=       i^ 


«^ 


^^^^^^m 


The  compass  of  the  clarinet  extends  from  e  to 
four  times  marked  c,  (see  Ex.  1,)  including  all 
the  intermediate  semitones ;  but  in  orchestral 
music,  the  passages  seldom  run  above  ifii-in 
marked  df,  (Ex.  2.)  and  the  notes  lictween  e  and 
oiire  marked  bb  (Ex.  3)  are  very  soft ;  they  an 
often  used  in  arpeggios.     Those  included  betveec 


210 


CLA 


ENCYCLOrvEDIA    OF    MUSIC. 


CLA 


once  marJced  6  b  and  thrice  marked  c  if  (Ex.  4)  arc 
more  sonorous  and  brilliant,  &c.,  &c. 

Above  this  comjjass,  they  cannot  be  subdued 
without  great  difficulty.  There  are  tliree  kinds 
Dt'  clarinets  used  in  the  orchestra,  the  A,  tlie  IJ  I) , 
and  the  C.  Those  in  C  execute  the  notes  as  they 
arc  written ;  those  in  li  b  play  them  a  major 
Bocond  lower,  and  those  in  A  a  minor  third  low- 
er than  they  are  written.  These  ditt'erent  kinds 
of  instruments  are  used  because  some  keys,  even 
among  those  in  common  use,  would  be  imperl'ect 
or  impracticable  on  the  C  clarinet ;  sucli  keys, 
for  example,  as  have  more  than  two  sliarps  or  tlats 
for  tlieir  signature. 

ITie  C  clarinet  is  iwl  for  the  keys  of  C,  G, 
and  F  major,  and  tlieir  i  dative  minors.  A,  E,  and 
D;  tlic  lib  clarinet  lor  the  keys  of  Bb,  Eb,  Ab 
major,  and  their  relative  minors,  G,  C,  F ;  the 
A  clarinet  lor  tl;e  keys  of  A,  I),  and  E  major, 
and  their  relative  minors  F*f,  B  =  ,  and  CJ ;  the 
15  b  clarinet  diminislies  the  number  of  Hats  in 
the  signature ;  that  of  A  the  number  of  sharps. 
The  composer  chooses  one  of  these  three  clari- 
nets, according  to  the  key  in  which  the  piece  is 
written  ;  and,  in  selecting  one,  Im  aim  is  to  have 
only  a  single  flat  or  shjirp  after  the  clef,  or  at 
most  two. 

CLAIIINO.  A  kind  of  trumpet,  consisting  of 
a  tube  narrower  than  that  of  the  common  trum- 
pet, and  the  tone  of  which  is  exceedingly  shrill. 
The  clarino  was  long  a  favorite  instrument  with 
the  Portuguese,  wlio  had  it  from  the  Moors. 
Clarino  is  now  the  name  given  by  the  Gennaixs 
to  the  common  trumpet. 

CLARION.  An  octave  trumpet.  It  is  said 
that  the  clarion  now  used  among  the  Moors 
ecrved  anciently  for  a  treble  to  scvenil  trumpets, 
which  sounded  tenor  and  bass. 

CLARI,  CARLO  MARIA,  of  Pisa,  a  scholar 
of  Colonna,  and  chaiiel-master  of  the  cathedral 
of  Pistoja.  His  excellent  chamber  duets  and  trios 
were  not  published  till  the  year  17'.!0  ;  they  had, 
however,  been  dispersed  in  manuscript  long  before 
that  period,  and  though  tlie  duet-s  of  Stclfani 
were  more  early  known,  it  does  not  appear  that 
they  had  been  his  model ;  for  he  was  a  comjjoser 
of  great  eminence  so  early  as  the  year  Ui!).'), 
wlien  he  set  an  opera  for  the  theatre  of  Hologna, 
entitled  "  It  Sm-io  Deliraiitc,"  which  wius  cxtreuje- 
ly  admired.  His  style  of  diu-tli  and  terzitti  cer- 
tainly rcsera  les  that  of  Stctfani ;  but  we  tind  no 
similarity  oi  passage,  and  sometimes  he  is  even 
superior  to  the  abbate,  in  grandeur  of  subject  and 
clciauce  of  i)hrase,  in  his  melodies.  Handel  is 
6uppo>ed  to  have  availed  hunself  of  Clari's  sub- 
jects, and  sometimes  of  more,  iu  the  choruses  of 
Tlu'jihra. 

CLARK,  RICIL\RD,  born  nt  Datchct,  near 
New  AVindsor,  in  17S  !,  was  educated  under  Dr. 
Aylward  and  Mr.  Sexton,  in  the  choir  of  St. 
(ieorgc's  Free  Chapel  of  Windsor,  and  under  Ste- 
phen Heather,  at  Eton  College.  On  the  death  of 
his  grandfather,  Mr.  Sale,  in  180J,  Clark  wa-s  ' 
elected  his  successor,  as  lay  clerk  of  St.  (ieorge's  ! 
Chapel,  and  gentleman  extraordinary  at  Eton 
College.  In  180-5  he  wa.s  appointed  a  deputy  at 
Westminster  Abbey  for  J.  1!.  Sale,  and  on  the 
death  of  Page  wa.s  appointe.l  deputy  at  his  ma- 
iesty's  Chapels  Royal,  for  Dartlcman,  and  sccrctarj- 


to  the  Glee  Club.  In  1811  he  quitted  liLs  places 
at  Windsor.  In  1814  he  publLshe<l,  principally 
for  the  vise  of  the  above-named  club,  a  volume 
containing  the  poetry  of  glees,  madrigals,  rounds, 
and  catches,  with  a  pre/ace,  in  which  is  given  an 
account  of  the  national  anthem  of  "  God  save 
the  King,"  the  music  of  which  is  there  attributed 
by  Clark  to  H.  Carey;  also  a  notice  ol  the  ori- 
gin of  the  Glee  Club,  with  some  accoun.  of  the 
woi-d  tnculriijdt,  and  its  introduction  into  Eng- 
land about  l.')8.'! ;  together  with  a  list  of  the 
])rizes  given  at  diHerent  periods  by  the  Xobleman's 
Catch  Club,  and  the  (iloe  Club,up  to  the  year  1812  ; 
some  remarks  on  the  custom  of  applauding  the 
grace,  "Son  iiobis,  Domine;"  also  hLs  regret  at 
not  being  able  to  discover  the  author  of  those 
beautil'ul  words  beginning, 

**  Whi'n  wind!  hrrnthe  toil  ainnff  the  tilrnt  dc«p. 
The  WBtCTi  curl,  thf  peaceful  biUuwi  •leep." 

Tlie  account  of  "  God  save  the  King  "  in  this 
volume  being  contradicted,  Clark  set  hunself 
about  tiiuling  the  real  author  and  composer  ;  and 
alter  more  than  eight  years'  re-^earch,  (in  which 
time  he  a])])ears  to  have  been  indefatigable,")  by  a 
strong  chain  of  circumstantial  evidence  he  labored 
to  prove  that  the  national  anthem  was  written  by 
IJen  Jonson,  the  music  by  Dr.  Hull,  and  that  it 
was  Krst  sung  at  Merchant  Tailors'  Hall  on  July 
7.  1C07,  by  the  gentlemen  and  children  of  his 
majesty's  Chapel  Roynl,  when  King  James  I.  was 
present,  at  a  dinner  given  by  that  company  on 
his  eticape  from  the  powder  plot.  This  curious 
account  was  published  in  IS'il,  with  forty-tliree 
plate«,  among  which  are  portraits  of  Jonson,  Bull, 
King  James,  &c.  ;  the  work  appears  by  the  list  of 
subscribers  to  have  been  very  highly  ])atronized. 
'Iliere  are,  indeed,  some  curious  facts  in  it  which 
had  iireviously  not  appeared  in  print.  .Vfter  this 
work  was  published,  Clark  produced  three  tunes 
from  very  rare  collections,  which  he  had  spoken 
of.  but  from  their  scarcity  could  not  meet  with 
in  time  to  print  for  his  subscribers ;  these  went 
further  to  prove  that  the  same  air  of  "  CJod  save 
the  King  "  existed  in  the  reign  of  King  Charles, 
and  was  composed  by  Bull. 

On  the  death  of  Corte,  Clark  wa.s  appointed 
one  of  the  gentlemen  of  his  majesty's  Chapels 
Royal,  and  continue<l  a  deputy  for  J.  S.  Smith  ; 
he  was  also  a]>pointc<l  a  deputy  at  St.  Paul's  for 
Sale.  Clark's  compositions  consist  of  several 
"  Chants,  Commandments,  .Vnthems,  and  Glees ;  " 
one  of  these  was  a  candidate  tor  the  prize  given 
by  the  gentlemen  of  the  Glee.  Club.  None  of 
them  have  been  printeil. 

CLARKE.  CHARLES  E.  J.,  organist  of  the 
cathetlral  at  M'orcestcr,  was  a  chorister  m  the 
same  cathetlral.  He  was  appointed  organist  to 
the  cathtvlral  at  Durham  before  he  had  attaine<l 
l;is  sixteenth  year,  and  two  years  atterwariLs,  in 
1814,  a  vacancy  occurring  in  the  situation  of  or- 
ganist to  the  cathe<lral  at  Worcester,  bis  native 
city,  he  wa.s  elected. 

CLARKE.  DR.  JEREMIAH,  was  educated  in 
the  Royal  Chapel,  under  Dr.  Blow,  who  enter- 
tained so  great  a  friendship  for  him  that  he  re- 
signed in  his  favor  the  place  of  ma.«fer  of  the 
chililren  and  almoner  of  St.  Paul's  ;  Clarke  vm 
appointed  his  successor  in  IGO.*?.  antl  shortly  after 
he  became  organist  of  that  cathedral.  In  J\ily 
1700,  he  and  hia  fcllow-puril  were  named  gentle 


211 


CLA 


EXCYCLOPiEDIA    OF    MUSIC. 


CLi 


men  extrnordiiiarj'  of  the  Royal  Chapel ;  and  in 
170t  they  were  jointly  admitted  to  the  place  of 
organist.  Clarke  had  the  misfortune  to  entertain 
a  iio])eless  passion  lor  a  very  beautiful  lady,  in  a 
station  of  life  far  above  him  ;  his  despair  of  suc- 
cess threw  him  into  a  deep  melancholy,  and  on 
the  .5th  of  November,  1707,  he  shot  himself. 

llie  compositions  of  Clarke  arc  lew  ;  hi^  an- 
tlicms  were  remarkably  pathetic,  at  the  same 
time  that  they  prcser\-e  the  dignity  and  majesty 
of  the  church  style  ;  the  most  celebrated  of  them 
are,  "  I  wUl  love  thee,"  printed  in  the  second 
took  of  the  Harmonica  Sacra ;  "  Bow  down  thine 
car  ;"  and  "  Praise  the  Lord,  O  Jerusalem."  The 
only  works  of  Clarke  published  by  himself  are 
lessons  for  the  harpsichord,  and  sundry  songs, 
which  are  to  be  found  in  the  collections  of 
that  day,  particularly  in  "llie  Pills  to  pur^c 
Melancholy;"  but  they  are  there  printed  ^^^th- 
out  the  basses.  He  also  composed,  for  D'Urfey's 
comedy  of  "  llic  Fond  Husband,  or  the  Plotting 
Sisters,"  that  sweet  ballad  air,  "The  bonny  gray- 
eyed  morn,"  which  Gay  has  mtroduced  into 
the  "  Beggar's  Opera,"  and  is  sung  to  the  words, 
"  'Tis  woman  that  seduces  all  mankind." 

CLARKE,  DR.  JOHN,  now  CLARKE  "WTIIT- 
FIELD,  was  born  at  Gloucester  in  1770.  He 
commenced  his  musical  education  at  Oxford,  in 
1783,  under  Dr.  Philip  Hayes,  professor  of  music, 
went  to  Ludlow  in  1789,  under  the  patronage  of 
the  Earl  of  Powis,  and  was  elected  organist  of 
St.  La^\-rencc's  church  iu  that  town.  In  1793  he 
tiok  his  degree  of  Mus.  Bac.  at  Oxford,  and  in 
1795  went  to  Ireland,  being  appointed  organist  of 
the  metropolitan  cathedral  at  Armagh.  In  the 
same  year  ho  was  created  Mus.  Doc.  by  Trinity 
College,  Dublin,  and  elected  master  of  the 
choristers  of  Christ  Church  and  St.  Patrick's 
Cathedral  in  that  city.  He  returned  to  England 
in  1798,  owing  to  the  Irish  rebellion  ;  and  was 
i.ext  elected  organist  and  master  of  the  boys  of 
Trinity  and  St.  John's  Colleges,  Cambridge,  which 
appointment  he  held  for  more  than  twenty  years. 
In  1799  he  w.is  admitted  Mus.  Doc.  in  the  luii- 
versity  of  Cambridge,  and  in  that  of  Oxford  in 
IS  10.  In  1814  he  took  the  sumame  of  ^\^litfield, 
by  sign  manual,  on  the  death  of  liLs  maternal 
uiicle,  Henry  Fotherley  Whitfield,  Esq.  In  1820 
Dr.  Clarke  was  elected  organist  and  master  of 
the  choristers  of  Hereford  Cathedral ;  and  in  No- 
vember, 1821,  professor  of  music  at  Cambridge. 
His  vocal  compositions  arc  numerous.  The 
1  rincipal  arc,  four  volumes  of  cathedral  music  in 
soore,  several  sets  of  glees,  two  volumes  of  vocal 
pieces,  with  original  poetry,  by  Sir  AValtcr  Scott, 
Lord  Byron,  Mrs.  Joanna  Baillie,  Mr.  Hogg,  &c. ; 
various  songs  and  glees,  from  "  The  Lay  of  the  last 
Minstrel,"  "  Marmion,"  "  liokeby,"  "  Lord  of  the 
Isles,"  "llie  Pirate,"  S;c.,  many  of  which  were 
j'opular,  as,  "  Fitz-Eustace,"  "  Lochinvar,"  "  The 
last  AVords  of  Manuion,"  "Tlie  Coronach,"  "  The 
Cj'press  Wreath,"  "  Is  it  the  roar  of  Teviot's  tide?  " 
"  Ave  Marin,"  "  Sweet  Teviot,"  &c.,  with  numerous 
Kingle  miscellaneous  songs,  ducts,  and  glees  ;  an 
oratorio  in  two  acts ;  the  first  act  consisting  of 
the  crucifixion,  the  second  of  the  resurrection. 
The  cnicifixion  was  inimitably  performed  in  the 
I  athedral  at  Hereford,  at  the  triennial  music 
meeting,  1822,  by  a  select  and  numerous  band, 
led  by  Mr.  F.  Cramer,  and  received  with  univer- 
sal approbation,     'iliis  oratorio  excited  additional 

2 


interest  from  the  publicity  of  the  circumstanc* 
of  its  having  been  composed  during  the  agonized 
feelings  of  the  author  for  the  loss  of  his  eldest 
son,  an  amiable  young  man,  midshipman  iu  hia 
majesty's  ship  York,  who  perished  with  the  whole 
crew,  December  24,  1808.  Dr.  Clarke  further 
edited  several  works,  jirincipally  consisting  of 
fifteen  volumes  of  Handel's  oratorios  and  corona- 
tion anthems,  with  a  compressed  accompaniment 
for  the  organ  or  piano-forte ;  the  beauties  of 
Purcell,  in  two  volumes ;  two  volumes  of  an- 
thems, by  celebrated  composers ;  Ame's  "  Arta 
xerxcs ;  "  Matthew  Lock's  music  in  "  Macbeth ;  " 
with  numerous  single  songs,  duets,  glees,  &c.,  &c. 

CLASIXG,  JOHAXN  HEINEICII,  music 
teacher,  classical  composer,  and  pianist,  was  bom 
at  Hamburg  in  1779.  T'horoughly  grounded  in 
good  music  himself,  he  zealously  labored,  and 
with  some  success,  to  elevate  the  musical  charac- 
ter of  his  native  city.  As  a  teacher,  he  was  dis- 
tinguished for  thoroughness,  and  formed  many 
excellent  pujjils.  Both  in  and  about  Hamburg 
he  took  an  active  part  in  the  bringing  out  of  great 
church  compositions.  He  edited  many  of  Han- 
del's works,  with  a  new  instrumentation.  His 
piano-forte  an-angements  of  some  of  Handel's 
oratorios,  especially  the  "  Messiah,"  are  corisid- 
ered  among  the  Germans  as  the  very  best  extant. 
As  a  composer,  for  the  church  especially,  Clasing 
was  distinguished ;  but  hLs  creations,  flowing 
from  a  true  religious  spirit,  were  poorly  appreci- 
ated by  his  contemporaries.  As  a  pianist,  his  feel- 
ing and  expressive  delivery  gave  him  a  high  rank. 
He  is  described  as  an  extremely  modest,  unselfish, 
amiable,  and  u])right  man  ;  and  yet,  though  every 
Hamburger  prized  his  merits,  and  loved  to  talk 
of  him  as  "our  Clasing,"  he  remained  all  bis  life 
a  poor  private  teacher,  harassed  ibr  the  means  of 
living,  and  dragged  out  his  last  years  in  poverty 
and  sickness.  He  died  on  the  Sth  of  February, 
1829.  His  principal  works  are,  1.  "  J'ati-r  yos- 
tcr,"  in  German,  for  four  voices,  ^\■ithout  accom- 
paniment ;  2.  "  BeLsazar,"  an  oratorio  ;  3.  "  Jeph- 
thah's  Daughter,"  an  oratorio  for  tliree  voices, 
chorus,  and  orchestra  ;  4.  "  MichcU  et  son'  Fils,'' 
an  oj)era,  as  seciuel  to  Cherubini's  "  Detuc  Jottr- 
nies ; "  5.  "  Which  is  the  right  one  ?  "  a  comic 
opera,  &c. ;  also  a  trio  for  piano,  violin,  and  vio- 
loncello ;  a  sonata  for  piano  and  violin ;  fantasias 
rondos,  &c. 

CLAUDE,  or  CL.^UDIN,  LE  JEITN'E,  whou' 
the  French  rank  among  their  first  composers  ol 
the  sixteenth  century,  was  a  native  of  Valenci- 
ennes, born  about  l.i.30.  He  was  not  only  in  th( 
service  of  Henry  IV.,  but  in  great  favor  at  tl  t 
court  of  his  predecessor,  Henry  IH.,  particularly 
in  the  year  l.')81,  at  the  wedding  of  the  Duke  dt 
Joveuse,  when  his  music  Ls  said  by  several  wri- 
ters of  the  times  to  have  produced  an  extraordi- 
nary effect.  Thomas  d'Embry,  «ho  was  his  inti- 
mate friend,  and  had  the  story  from  Claudin 
himself,  relates  what  happened  on  thLs  occasion 
in  a  less  susjjicious  manner  than  the  rest.  "  This 
great  musician,"  says  he,  "  at  first  caused  a 
spirite<l  air  to  be  sung,  which  so  animated  a 
gentleman  who  was  there,  that  he  dajjped  his 
liand  on  his  sword,  and  swore  it  ^yas  impos- 
sible for  him  to  refrain  from  fighting  with  the 
first  jierson  he  met ;  upon  which  Claudin  caused 
another  air  to  be  jierlonued  of  a  more  soothing 
kind,  which   soon   restored   hun   to   his  natural 

12 


•J  LA 


ENCYCLOPAEDIA    OF    MUSIC. 


CLE 


temperament.  Such  power,"  continues  he, 
"  have  the  key,  movement,  measiuc,  and  inflec- 
tions of  the  voice  over  the  affections."  His  works 
consisted  chiefly  of  miscellaneous  songs  and 
psalms.  His  songs  are  chiefly  French,  and  in 
many  parts  like  the  madrigals  of  Italy. 

CI^VUDIAXU.S,  MAMERTUS,  a  priest,  who 
lived  at  Bieunc  about  tlie  year  4(i'2.  Among  his 
learned  wiitings  are  many  hymns  and  psalms, 
which  he  taught  himself  to  the  singers  of  his 
church.  He  is  chiefly  noted  for  having  flrst  com- 
posed and  inti-oduccd  the  little  litanies  still  sung 
in  the  CathoUc  church  throe  days  before  I'ente- 
cost.  He  is  also  thought  to  have  been  the  com- 
poser of  the  passion  hymn,  "  I'ange  limjtia  glorioti 
pralium." 

CLAUDIO  DA  CORREGGIO.    See  Merulo. 

CL-A-USE.     Phrase. 

CLAVSrLA.    (L.)     In  Gennsn,  clautet     A  close,  or  cadence. 

CLAl'SUI-A  aVKIXALIS.  (I..)  A  I-ntin  naim-  (riven  by  the 
old  c«»iiip<»8eni  tij  a  ciKieiice  in  a  key  related  to  the  pretlominnnt  key 
of  liie  pi<T«;  u  where  a  piece  of  muiic  in  D  minor  endi  witl»  a  ca- 
dence in  Y  niigur. 

CLAlSri.A  DISSECTA.    Old  Ijitin  name  for  holf  cadence. 

CLAUSULA  PKKKGKINA.  (U)  Thi«  u-rtn  ineunl  a  cadence 
In  n  key  whose  key  note  was  not  in  the  acole  of  the  principal  key. 
Mor»?  liiti-lT,  acadt'nce  in  ntttj  kev, 

CLArst'LAPKIMARlA.nrVRIXCIPALIS.  (I,.)  The  princi- 
pal or  customary  cudunee  in  tlie  key  of  the  piece, called  aUo  clausula 
ftmtli.*,  i.r  ^mtl  do*,: 

CUWfiVUX  SKCrVI)  VRlA.or  DOMINANS  (L.)  The«ccond- 
arv  or  ili>niinaiit  i-|«>h*'  ;  i.  e.  the  eudi'iu-.-  m  ihr  nith. 

CLAUSULA  rKKTlAKI.\.nr  .MKDIANS.  (L.)  The  codencc 
of  a  pieco  lu  a  iniui>r  key,  when  it  took  place  in  the  key  of  the  third. 

CLAVECIN,  (F.)  CLAVICHORD.  CLA- 
VlEli.  (G.)  An  old  keyed,  stringed  instru- 
ment, now  universally  superseded  by  the  more 
brilliant  toned  piano- forte.  Its  compass,  in  its 
prime,  was  five  octaves,  from  TFtoft/irire  marked. 
Vet  more  modern  ones  are  found  with  five  and  a 
half  and  six  octaves.  It  dates  far  back  into  the 
middle  age ;  but  it  is  not  true  that  Guido  of 
Arezzo  wtus  its  inventor,  though  he  Ls  commonly 
supposed  to  have  been  the  inventor  of  tlie  spinet, 
an  instrument  which  differs  from  the  clavichord, 
uia^much  as  its  strings  are  snajiped  by  goose- 
quilLs.  The  clavier  or  cla\-ichord  is  unque:ition- 
ably  of  later  origin.  It  came  into  use  in  the 
seventeenth  century,  and  throughout  the  whole 
of'  the  eighteenth,  aiul  even  in  the  beginning  of 
the  nineteenth  century,  it  was  the  favorite  instru- 
ment of  the  dilettanti,  as  the  piano-forte  is  now. 
The  common  English  term  for  the  above  is  haiysi- 
chord. 


n.AVICEMnAI.O.     (I.) 

rr.AVicvMn.vLf" 

tl.AVUVMllKL. 


(I)      i 
(0.1       S 


Old  nunc*  for  the  harpalchoid. 


CLAYTON,  THOMAS.  One  of  the  royal 
band  in  the  reign  of  William  and  Mnry.  Hav- 
ing been  in  Italy,  he  persuaded  himself'  that  he 
could  reform  the  bad  musical  taste  of  the  English 
by  his  own  compositions  in  the  Italian  style,  and 
he  accortUngly,  in  the  year  170.5,  arranged  an  opera 
railed  "  Arsinoe,"  in  which  Dr.  Uumcy  says, 
"  not  only  the  common  rules  of  musical  compo- 
sition were  violated  in  every  song,  but  aLso  the 
prosody  and  accents  of  our  language." 

CL.\VIS.  (L.)  Literally,  a  *^.v.  Used  in 
music  in  several  senses :  1.  As  synonymoiw 
with  Clef,  (which  see;)  2.  A  note  or  tone :  a-s 
:Utres  sii/natir,  (which  see  ;)  .'1.  'llie  lever  to  the 
bellows  of  an  organ;  4.  T\\c  finger  keys  to  a 
piano-forte  or  organ  ;  .i.  The  keys  which  ojien 
»nd  shut  the  holes  in  a  wind  instnuuent,  as  the 
Bute  or  clarinet. 

CL.\VES  SUJN.VT.E.     (L.)     AVyj  iriM  signs. 


An  appellation  given  to  the  colored  lines  used  by 
Guido  in  hLs  tablature,  before  the  invention  of 
clefs,  to  determine  tlie  situations  and  powers  of 
the  notes. 

CLAVKTTHERIUM.  An  ancient  oblon:; 
keyed  instrument.    See  Claiiiciioiid  ;  also  SriSKT. 

CLAVIER.  (F.  G.)  The  key  board  of  a  piauc 
or  organ. 

CLKEMANN,  F.,  a  native  of  Mecklenburg, 
pubUshcd  some  German  songs  in  1797,  and  in 
1800  a  work  entitled  "'Ilie  Musician's  Manual." 

CLEFS.  Literally  ki-gs.  Certain  charac- 
ters placed  at  the  beginning  of  the  several  staves 
in  a  composition,  to  determine  the  local  nar*M  ol 
the  notes,  and  the  sountLs  in  the  great  scale  w  h.t  h 
they  are  intended  to  re))resent.  The  three  clef-" 
now  in  use — viy..,  the  F,  or  bass  clef;  the  C,  or 
tenor  clef;  and  the  G,  or  treble  clef — by  the 
several  situations  given  them  on  the  staff  may 
operate  as  so  many  more  diflerent  clefs,  and  fur- 
nish us  with  the  means  of  expressing  all  the 
notes  within  the  usual  compass  of  execution,  in 
both  vocal  and  instrumental  music,  without  a 
confused  addition  of  leger  lines,  either  above 
or  beneath  the  staff. 

CLEGG,  JOHN.  An  English  violinist.  He 
travelled  with  Lord  Ferrers  to  Italy,  and  much 
improved  his  taste  during  his  stay  in  that  coun- 
try. Clegg,  by  the  account  of  contemporary  pro- 
fessors, seems  to  have  been  superior  to  all  per- 
formers on  the  \-iolin  in  tone  and  execution,  till 
about  the  year  1742,  when  he  had  so  deranged 
his  faculties  by  intense  study  and  practice,  that 
he  was  conttned  in  the  hospital  of  Bethlehem, 
where,  during  intervals  of  sanity,  he  was  allowed 
the  use  of  his  instrument ;  and  it  was  long  a 
fasliionable,  though  inhuman  amusement,  tovL'^it 
him  there,  among  other  lunatics,  in  hopes  of  be- 
ing entertained  by  his  fiddle  or  his  folly. 

CLEMEN.'s,  (called  by  his  contemporaries  Ao;» 
Papa,)  JACOB.  An  excellent  Flemish  compo- 
ser, principal  chapel-master  to  the  Emperor 
Charles  V.  Seven  books  of  his  motets,  in  four 
parts,  were  published  after  his  decea,-e,  at  Ix)U- 
vain,  in  l.i'w,  as  was  his  "  .Mis.ia  Difuncloruin," 
in  1;)S0.  His  style  is  clear,  his  harmony  ])ure, 
and  every  subject  of  fugue  or  imitation  simple 
and  natural. 

CLEMENT,  FRANZ  J.,  bom  at  Vienna  in 
1782,  displayed  a  fjreat  genius  for  music  at  a 
verv  early  age.  When  seven  years  old  ho  went 
to  Ixmdou,  and  performed  publicly  on  the  violin 
with  the  first  masters  of  the  day,  in  some  in- 
stances taking  the  first  violin  jiart.  In  1S02  he 
became  c/iij'-d'orrfwslrf  at  one  of  the  theatres  iit 
Vienna,  where  he  remaine<l  till  ISU.  He  after- 
wards gave  concerts  in  Russia,  Hungary,  Bohe- 
mia, itc,  and  was  recalled  to  Vienna  in  1818.  In 
1821  he  accom])anicd  Mme.  Catalani  as  director 
of  her  con-erts  in  Munich,  Frankfort,  Ncc,  givin.; 
rare  ]iro<)t'  of  skill  as  an  orchestra  conilut  tor.  His 
musical  memory  was  jirodigious,  and  his  enr  ^n 
tine,  that  he  perceived  the  least  mistake  in  a  player 
or  singer.  .Vs  a  violinist,  they  say  that  ho  was  Ixirn 
to  be  another  I'agauini,  but  his  indolunco  pn-- 
vonted.  He  composed  ami  publi.'-lietl  about  2.) 
concertinos  for  the  violin,  a  trio,  a  ip  ntunr,  12 
et>id«»s,  .'1  overf\ires,  ('•  concertos,  many  Mirintions 
rondos,  \c.,  a  little  opera,  and  the  m  isir  to  • 
melodrama  ;  all  thovo  works  are  remu  lablc  fot 
ricbncM  and  abundance  of  idrns. 


213 


;le 


ENCYCLOPEDIA    OF   JkiLSIC. 


CLB 


CLEMKNTI,  MUZIO,  tlie  celebrated  pianist 
and  comijoscr,  was  born  at  Rome,  in  the  year 
1752.  His  lather  was  a  worker  in  silver  of  great 
luerit,  and  priiicii)ally  enf;a}»ed  in  the  execution 
of  embossed  viises  and  litjurcs  employed  in  the 
Catholic  worsliip.  At  a  very  early  period  of  hLs 
youth,  he  evinced  a  strong  disposition  for  music, 
and  as  this  was  an  art  which  greatly  deUghted 
hLs  father,  he  anxiously  bestowed  the  best  in- 
structions in  liis  power  on  liis  son.  Kuroni,  who 
wa.s  his  relation,  and  who  afterwards  obtained 
the  honorable  station  of  principal  composer  of 
St.  Peter's,  was  his  first  raa.ster.  At  six  years  of 
a2;e  he  began  solfaing,  and  at  seven  he  was 
pla.  ed  under  an  organist  of  the  name  of  Cordi- 
ceF..  for  instruction  in  thorough  bass ;  at  the  age 
of  nine  he  passed  hLs  examination,  and  was  ad- 
mitted an  organist  in  Home,  lliis  examination 
consists  iu  giving  a  figured  bass  from  the  works 
of  Corelli,  and  making  the  scholar  execute  an 
accompaniment,  after  which  he  is  obliged  to 
transpose  the  same  into  various  keys.  This  Cle- 
menti  effected  with  such  facility,  that  he  received 
the  highest  applause  from  his  examinei-s.  He 
next  went  under  the  celebrated  Santarelli,  the 
great  master  of  singing.  Between  his  eleventh 
and  twelfth  years  he  studied  under  Carpini,  the 
deepest  contrapuntist  of  his  day  in  Kome.  A 
few  months  after  he  was  placed  under  this  master, 
be  was  induced  by  some  of  his  friends,  and  with- 
out consulting  his  preceptor,  to  write  a  mass  for 
four  voices,  for  which  he  received  so  much  com- 
mendation, that  Carpini  exjjrcssed  a  desire  to  hear 
it.  It  was  accordingly  rejicated  in  church  in  the 
presence  of  his  master,  who,  being  little  accus- 
tomed to  bestow  jjraise  oii  any  one,  said  to  his 
pupU,  after  liis  dry  manner,  "  Why  did  not  you 
tell  me  you  were  about  to  write  a  mass  ?  This  is 
very  well,  to  be  siu-e ;  but  if  you  had  consulted 
me,  it  might  have  been  mucli  better."  L'nder 
Carpini  he  was  practised  in  writing  fugues  and 
canons  on  the  canto  fermo,  and  hLs  master  was 
fjetjuently  heard  to  say,  that  had  Clementi  re- 
mained under  his  instruction  a  year  longer,  he 
might  have  passed  his  examination  in  counter- 
point. During  these  studies  he  never  neglected 
his  harpsichord,  on  which  he  had  made  so  great 
a  proficiency  between  thirteen  and  fourteen, 
that  Mr.  Peter  IJeckford,  nephew  of  the  alder- 
man of  that  name,  who  was  then  on  his  travels 
in  Italy,  was  extreracl}-  desirous  of  taking  him 
over  to  England.  The  declining  riches  of  the 
Komish  church,  at  this  period,  not  giving  much 
encouragement  to  the  trade  of  his  father,  he 
agreed  to  confide  the  rising  talents  of  liLs  son  to 
the  care  of  Mr.  Leckt'ord,  and  soon  after  this 
Clementi  set  off  for  England,  llie  country  seat 
of  Mr.  Beckford  was  in  Dorsetshire,  and  here,  by 
the  aid  of  a  good  library  and  tb.e  conversation  of 
the  family,  Clementi  quickly  obtained  a  compe- 
tent knowledge  of  the  English  and  several  other 
languages.  With  regard  to  his  own  art,  his  early 
studies  were  principally  employed  on  the  works 
of  CoreUi,  Alessandro  Scarlatti,  Handel's  harpsi- 
chord and  organ  music,  and  on  the  sonatas  of 
I'.iradies.  His  eil'orts  to  acquire  preeminence  on 
the  harjjsichord  were  in  the  mean  time  as  inde- 
tatigable  as  they  were  successful ;  and  at  the  age 
of  eighteen  he  had  not  only  suqiassed  all  his 
contera|)oraries  in  the  powers  of  execution  and 
ex))res>ion,  but  had  written  his  Op.  2,  which 
gave  a  new  era  to  that  species  of  composition. 


niree  years  afterwards  this  ce  ibrated  work  waa 
submitted  to  the  public.  Tht  simplicity,  bril- 
liancy, and  origijiality  which  it  dLsplayed  capti- 
vated the  whole  circle  of  professors  and  amateurs. 
It  is  superfluous  to  add,  what  all  the  great  musi- 
cians of  the  age  have  uniformly  allowed,  that 
this  admirable  work  is  the  basis  on  which  th< 
whole  fabric  of  modem  sonatas  for  the  piano- 
forte has  been  erected.  TTie  celebrated  John 
ChrLstiau  Bach  spoke  of  it  in  the  highest  terms ; 
but,  although  one  of  the  most  able  players  of 
his  time,  he  would  not  attempt  its  performance ; 
and  when  Schroeter  arrived  in  England,  and  was 
a.sked  if  he  could  play  the  works  of  Clementi,  he 
replied,  that  "  they  could  only  be  performed  by 
the  author  himself,  or  the  de\-il."  Yet,  such  Ls 
the  progress  which  executive  ability  has  made, 
that  what  was  once  an  obstacle  to  the  most  ac- 
complLshed  talent  is  now  within  the  power  of 
thousands.  A  well-known  popular  air  with  vari- 
ations, hLs  Ops.  .3  and  4,  and  a  duet  for  two  per- 
foi-mcrs  on  one  instrument,  were  the  next  pro- 
ductions of  hLs  youtliful  pen.  Soon  alter  he  had 
quitted  Dorsetshire  to  reside  in  London,  he  waa 
engaged  to  preside  at  the  harpsichord,  in  the  or- 
chestra of  the  Opera  House,  and  had  an  oppor- 
tunity, which  he  never  neglected,  of  improving 
his  taste  by  the  performances  of  the  first  singers 
of  that  age.  l"he  advantage  which  he  derived 
from  this  species  of  study  was  quickly  shown  by 
the  rapid  progress  he  made,  beyond  hLs  coutem- 
jjoraries,  in  the  dignity  of  his  style  of  execution, 
and  in  his  powers  of  expression.  This,  also,  he  car- 
ried into  hLs  compositions ;  and  Dussek,  Steibelt, 
Woelfl,  Beethoven,  and  other  eminent  perfonners 
on  the  continent,  who  had  had  no  opportunity 
of  receiving  personal  instructions  from  Clementi, 
declared  that  they  had  formed  themselves  eutu'e- 
ly  on  his  works.  His  ability  in  extemporaneous 
playing  had,  perhaps,  no  parallel.  The  richness 
of  harmonic  combination,  the  brilliancy  of  fancy, 
the  power  of  effect,  and  the  noble  style  of  execu- 
tion, which  he  displayed,  made  him  stand  alone 
in  an  age  which  produced  such  a  host  of  execu- 
tive talent.  HLs  reputation,  ■4\ithout  the  protec- 
tion of  any  patron,  rose  \\\t\\  such  rajjidity,  that, 
in  a  very  short  time,  he  received  the  same  remu- 
neration for  his  instructions  as  J.  C.  Bach  ;  and 
the  fame  of  his  works  and  of  his  executive  talents 
ha%ing  spread  over  the  continent,  he  determined, 
in  the  year  17S0,  and  at  the  instigation  of  the 
celebrated  Pacchierotti,  to  visit  Paris.  In  that 
city  he  was  received  with  enthusiasm,  and  had 
the  honor  to  play  before  the  queen,  who  be- 
stowed on  liim  the  most  unqualified  apjilause. 
The  warmth  of  French  praise,  contrasted  with 
the  gentle  and  cool  approbation  given  by  the 
English,  quite  astonished  the  young  musician, 
who  used  jocosely  to  remark,  that  "  he  couli 
scarcely  believe  himself  to  be  the  same  man. " 
AMiLLst  he  remained  in  that  capital,  he  composc.l 
hLs  Ops.  5  and  (>,  and  jiublishod  a  new  edition  oi 
his  Op.  1,  with  an  additional  fugue.  Havint 
enjoyed  the  unabated  applause  of  the  Parisiant 
until  the  summer  of  1781,  he  determined  on  pay- 
ing a  ^•isit  to  A'ierina.  In  his  way  there  he  stopjjed 
at  Strasburg,  where  he  was  introduced  to  the 
then  Prince  de  Deux  Ponts,  since  King  of  Bava- 
ria, who  treated  him  with  the  greatest  dLstinction  ; 
and  also  at  Munich,  where  he  was  received  ■Nrith 
equal  honor  by  the  elector.  At  Vienna  he  be- 
came acquainted  with  Haydn,  Mozart,  and  aU  tht 


2U 


CLE 


ENCYCLOPAEDIA    OF    M:,SIC. 


CLE 


celebrntcil  musicians  neident  in  that  capital.  The 
Emperor  Joseph  II.,  who  was  a  great  lover  of 
music,  invited  him  to  his  palace ;  where,  in  the 
latter  end  of  the  year  17.SI,  he  had  the  honor  of 
playing  alternately  with  Mozart  before  the  emper- 
or, and  tlie  Grand  Duke  Paul  of  Russia  and  liis 
duchess.  At  Vienna,  he  composed  three  sonatas, 
(Op.  ",)  published  by  Artaria ;  three  sonatas,  (Op. 
8,)  published  at  Lyons  ;  and  six  sonatas,  ((ips.  9 
and  10,)  also  published  by  Artaria.  On  his  re- 
turn to  England,  he  deemed  it  necessary  to  pub- 
lish his  celebrated  "  Torrutu,"  with  a  sonata,  (Op. 
^1,)  —  a  surrc])titious  copy,  full  of  errors,  having 
been  printed  without  his  knowledge  in  France. 
In  the  autumn  of  178;S,  John  Paptist  Cramer, 
then  about  fourteen  or  fifteen  years  of  age,  be- 
came his  pupil.  He  had  previously  received 
some  lessons  from  Schrocter,  and  was  studying 
counteri)oint  under  Abel.  Clementi,  at  this  time, 
resided  in  Titchfield  Street,  and  Cramer  used  to 
attend  him  ahnost  every  morning,  until  the  fol- 
lowing year,  when  Clementi  returned  to  France. 
Previous  to  liLs  undertaking  this  second  journey, 
he  was  engaged  at  the  nobility's  concerts,  and 
had  published  his  Op.  12;  u])on  one  of  the 
sonatas  of  which  work  both  Dr.  Crotch  and 
Samuel  ^V'esley  afterwards  gave  public  lectures 
in  London.  In  the  year  1784,  he  again  went 
back  to  England,  and  soon  afterwards  ])ublished 
his  Ops.  l.i,  U,  and  1.5.  From  this  period  to  the 
year  180J,  he  remained  in  England,  ])ursuing  his 
professional  labors  with  increasing  reputation ; 
and  wishing  to  seoire  himself  sutKcient  time  for 
the  prosecution  of  his  studies,  he  raised  his 
terms  for  teaching  to  one  guinea  per  hour.  His 
fame,  however,  was  so  great,  that  this  augmenta- 
tion of  price  rather  increit-ed  than  dimiuiHhe<l 
the  candidates  for  his  instruction,  llie  great 
number  of  excellent  pupils,  of  both  sexes,  whom 
he  fonucd  during  this  period,  proved  his  sujierior 
skill  in  tlie  art  of  tuition  ;  the  invariable  success 
which  attended  his  public  perfonuances  attested 
his  preeminent  talents  as  a  |>layer  ;  and  liis  com- 
positions, from  Op.  1.5  to  ()p.  40,  are  a  lasting 
proof  of  his  apjilication  and  genius.  Before  the 
publication  of  this  last  work,  he  had  jiroduced 
one,  the  advantages  of  which  have  been  and  are 
still  felt  and  acknowledged  by  almost  all  jjroless- 
ors ;  we  m«au  hLs  excellent  and  luminous  "  In- 
troduction to  the  Art  of  Playing  on  tlie  Piano- 
forte." About  the  year  1800,'  having  lost  a  large 
sum  of  money  by  the  failure  of  tlie  well-known 
Ilnu  of  Longman  and  Proderip,  26  Cheapside, 
he  was  induced,  by  the  persua.sions  of  some  emi- 
nent meicantile  gentlemen,  to  embark  in  thitt 
concern.  A  new  tirm  was  accordingly  formed, 
and  from  tliat  period  he  declined  taking  any  more 
pupils.  The  hours  which  ho  did  not  thencefor- 
ward employ  in  his  professional  studies  ho  dedi- 
cated to  the  mechanical  and  pliilosophical  im- 
provement of  piano-fortes ;  and  the  originality 
and  justness  of  his  conceptions  were  crowned 
with  complete  succe<s.  The  extraordinary  and 
admirable  talents  of  John  Field  are  still  fresh 
in  the  memory  of  most  lovers  of  clas.-ical  music. 
ITiese  talents  Clementi  had  cultivated  with  un- 
cea.sing  delight.  With  this  favorite  pupil,  in 
the  autumn  of  1802,  ho  paid  his  third  visit  to 
Paris,  where  he  was  received  with  unabated  es- 
teem and  admiration,  'lliis  pujiil  delighted  every 
one  who  heard  him  ;  and  what  is  still  more  wor- 
thy of   remark,  he  played   some   of    the   great 


I  fugues  of    Sebastian  Bach  with   such  jirecL-ion 
I  and  inimitable  taste  as  to  call  forth  from  a  Pa 
risian   audience  the  most  enthusia.stic   ajjplause 
From   Paris  he  jHOceeded    to   Vienna,  where  h( 
intended  to  jjlace  Field  under  the  instruction  of 
Albrechtsberger,  to  which   his  jjupil   seemed   t« 
assent  with  pleasure  ;  but  when  the  time  arrived 
for  Clementi  to  set  off  for  Kussia,  jjoor  Field, 
with   tears  trembling   in   his  eyes,  exprcs.sed  so 
much  regret  at  i)arting  from  his  master,  and  so 
strong  a  desire  to  accom]>any  him,  that  Clemtnti 
could  not  resist  his  inclinations;    they   therefore 
:  jirocecded    directly  to    .St.    Petersburg.     In    this 
'  city    Clementi    was   received    with    the    greatest 
j  distinction  ;    he  played  extemporaneously  in  the 
!  society  of  the  principal  prole-<sors  with  hLs  aceu.s- 
j  tomeil  excellence,  and  to  the  admiration  of  hii 
t  audience ;    and    having  introduced  Field  to   h\s 
friends,  soon  afterwards  left  Russia,  in  company 
witli  a  young  |)rofessor  of  the  name  of  Zeuner. 
Zcuner  was  the  jjrincipal  piano-forte  player  and 
[  teacher  in  Petersburg ;  and  having  received  some 
instructions  from  Clementi  during  his  residence 
there,  he  became  so  attached  to  his  master,  that 
ho  left  all  his  scholars  for  the  sake  of  accorajja- 
nying  him  to  Berlin.     In  the  latter  city  Clementi 
played,    both    extemporaneously    and    from    lii.s 
works,  before  all   the  most   eminent   musicians, 
with  his  wonted  vigor  and  eflect ;  and,  after  re- 
maining  there   two    months,  took   Zeuner  with 
him  to  Dresden,  the  ])lace  of  his  birth,  where  he 
left  him  well  prepared  to  ac(iuire  the  rcputatiou 
which  he  afterwards  obtained.     In  Dresden,  au 
unassuming,  but  very  able  and  excellent  young 
musician,  of  the  name  of   Klengel,   introduce<i 
himself    to   the  accjuaintance  of  Clementi,  and, 
after  obtaining  some  instructions,  became  exceed- 
ingly desirous  of  accompanying  his  master  in  hi« 
travels.     Clementi  was  so  much  pleased  with  liw 
character  and  talents,  which  have  since  become 
well  known  to  the  public,  that  he  consented;  and 
after  a  few  weeks'  residence  at   Dresden,  he  took 
him  on  to  Vienna,  whore,  during  some  months, 
I  his  pupil  worked  very  hard  under  his  instruction. 
j  It  was  at  this  time  that  he  became  acquainted 
with  and  cherishe<l,  by  counsel  and  the  frocjuent 
exhibition  of  his  own  powers  on  the  piauo-forte, 
j  the  rising  talents  of  Kalkbrenner,  who  has  since 
j  raised   himself  to  such   distinguished  eminence. 
During  the  summer  following,  Clementi  took  hw 
pupil  Klengel  a  tour  through   Switzerland,  and 
returned  immediately  aftenvards  to  Berlin,  where 
'  he  married   his   first   wife.     In   the  autumn   ho 
took  his  bride  through  Italy,  as  far  a.s  liome  and 
[  Naples ;  and  on  his  return  to  Berlin,  having  had 
the  misfortune  to  lose  her  in  childbed,  he  imme- 
,  diatcly  left  the  scene  of   his  sorrows,  and  once 
more  visited  Peter-burg.    In  this  journey  he  took 
with  him  another  promi  sing  young  pujjil,  of  thw 
\  name  of  Berger,  who  had  previously  reeeive<l  hw 
instructions,  and  who  Ls  now  the  princijjal  pro- 
fessor of  the  piano-forte  at  Berlin.     At  Petcrs- 
I  burg   he   found  Field  in  the  full   enjoj-ment  of 
j  the   highest   reputation  —  in    short,  the    musical 
j  idol  of  the  Russian   nation.     Here  he  remainc<i 
I  but  a  short   time ;  and   finding  relief   from  the 
I  contemplation  ot  his  severe  los.s  in  the  bu.sUc  of 
travelling,  he  again  went  back  to  Vienna.     T)i« 
following  summer,  having  heard  of  the  death  of 
hLs  brother,  he  jiroceetle*!  once  more  to  Rome,  tn 
settle  the  affairs  of  hi>  family.     He  then  mndi 
short    residences   at    Milan   and    vor.ous    othM 


21.5 


31.  IS 


ENCYCLOP-'EDIA    OF    MUSIC, 


CLl 


places  on  ^le  continent,  whore  he  was  detained, 
m  H]iite  of  liis  inclinations,  by  the  disastrous  con- 
tinuation oi  the  war ;  nnd  seizing  a  hazardous 
opportunity  of  conveyance,  in  the  summer  of 
1810,  he  onco  more  arrived  in  Enf»land,  and  the 
year  following  married.  Although,  during  thLs 
period  of  ncbj-ly  eight  years,  he  published  only  a 
single  sonat.' .  (Oj).  41,)  his  mind  and  his  pen 
were  still  oci-ui)ied  in  the  composition  of  p\nn- 
phonies,  and  in  preparing  materials  for  hLs  "  Ora- 
Hua  ad  Parnas.iiiin."  HLs  lirst  publication,  after 
his  return,  was  the  appendix  to  hLs  "  Introduction 
to  the  Art  of  Playing  on  the  Piano-forte  "  —  a 
work  which  has  been  of  infinite  use  both  to  the 
profession  and  to  the  public.  lie  next  adapted  the 
twelve  grand  symphonies  of  Haydn  for  the  piano- 
forte, with  accompaniments  for  the  flute,  violin, 
and  violoncello.  Tliis  A\'ork  was  a  great  de.sidera- 
tum,  suice  that  which  had  already  been  published 
by  Salomon  was  awkwardly  and  iraperfcctlv  done. 
Before  he  went  abroad,  he  had  adapted  Haydn's 
"Creation"  for  the  piano-forte  and  voices; 
and  he  now  published  the  oratorio  of  the  "  Sea- 
sons," which  he  had  done  in  the  same  manner.  He 
afterwards  adapted  Mozart's  overture  to  "  Don 
Giovanni,"  besides  various  selections  from  the 
vocal  compositions  of  the  same  author.  The  Phil- 
harmonic Society  having  been  now  established, 
he  gave  two  grand  symphonies,  which  were  re- 
ceived there,  and  at  various  other  concerts,  %\-ith 
enthusiastic  aiiplause.  He  produced  several 
other  sj-mphonies  at  the  Philharmonic  Concerts, 
in  March,  18'21.  Clementi  enjoyed  the  highest 
consideration  in  P^ngland.  Having  become  rich, 
in  the  last  years  of  his  liic  he  abandoned  the 
direction  of  his  mercantile  house  to  his  associate, 
M.  CoUard,  and  retiring  to  a  pretty  country  seat, 
lived  in  repose,  and  seldom  visited  London.  Once 
when  he  did  come,  Cramer,  Moschelcs,  and 
others  gave  a  banquet  to  the  patriarch  of  the 
piano,  at  the  close  of  which  he  improvised  to 
the  astonishment  and  delight  of  all  present.  This 
was  his  "swan  song."  He  died  on  the  10th  of 
March,  183'.',  at  the  age  of  eighty  years. 

CLEMEXTI  &  CO.  Mauufacturers  of  wind 
instruments,  London.  Tlieir  instruments  were 
considered  as  the  best  in  their  day.  Their  flutes 
were  very  jiopular  in  the  day  of  XiehoLson,  after 
whose  plan,  and  under  who:ie  immediate  diiectiou, 
they  made  great  numbers. 

CLERAMliAULT,  LOUIS  NICOLAS,  a 
French  vocal  comjjoser,  and  a  great  favorite  of 
Louis  XIV.     He  died  at  Paris  in  1749. 

CLEREAT',  I'lERKE,  a  French  composer 
of  vocal  music,  published  at  Paris,  in  the  middle 
of  the  sixteenth  century,  "  Chansons  Spirituelles  a 
■jiiatre  VoU,"  and  a  work  entitled  "  Tricinia." 

CLERICO,  FRANCESCO.  BaUct  master  and 
dramatic  compo>er  at  Venice  in  1789. 

CLIFFORD,  REV.  JAMES,  a  minor  canon  of 
St.  Paul's,  died  about  the  year  1 700.  He  edited, 
m  1004,  a  useful  little  book,  containing  a  collec- 
tion of  the  words  of  the  services  and  anthems 
ised  in  the  collegiate  and  cathedral  churches. 

CLIFTON,  JOHN  C,  was  bom  in  London,  in 
1781.  He  was  intended  for  mercantile  life  by 
hLs  father,  who  at  length,  however,  on  the  per- 
suasion of  his  son,  placed  him  under  the  musical 
tuition  of  R.  licllamy    win  was  related   to  the 


Clifton   famUy.     Bellamy  was  at  that  time  al- 
moner and  master  of  the  choristers  of  St.  Paul'i 
cathedral.      Under  hLs  able  instructions  Clifton 
remained  nearly  five  years  ;  at  the  expiration  of 
wliich  time  hLs  father  sent   him  to  a   classical 
school,  and  again  wwhed  to  turn  his  mind  to 
commercial  pursuits,  at  the  same  time  not  pur- 
posing to  neglect  liis  musical  education  ;  which 
soon   after  recommenced   under  the   celebrated 
Charles    Wesley,   of    whom    Clifton    became   a 
favorite  pupil.     Again,  however,  his  father  took 
liim   suddenly   from    his   musical  pursuits,    and 
placed  him  in  a  counting  house,  to  the  duties  of 
which  he  could  not  at  all  get  reconciled.     AVhen 
about  eighteen  years  of  age,  he  became  acquainted 
with  Ciinador,  Spagnoletti,  and  other  musicians, 
who  changed  and  improved  hLs  taste  to  such  a 
degree  that  he  determined  immediately  to  follow 
music  as  a  profession  ;  but  when  on  the  jjoint  of 
doing  so,  he  was  given  a  situation  in  the  govern- 
ment stationery  oflice.  where  he  did  not  continue 
more  than  two  years,  again  finding  calculation  and 
account   books  to   interfere  too  much   with   his 
favorite  pursuit.     The  first  opening  of  Clifton's 
professional  life  was  at  Bath,  where  he  was  en- 
gaged to  conduct  the  musical  dei)artment  of  the 
Harmonic  Society,  for  which  he  .set  to  music, a 
Latin  grace,  "  Seu  edanuui,"  written  by  Dr.  Mor- 
gan, and  which  continued  to  be  sung  for  many 
years  before  supper.     "While  at  Bath  he  composed 
several  glees  and  songs,  among  the  latter  his  ad- 
mired song,  "  K  music  be  the  food  of  love."     In 
1802  he  visited  Ireland,  with  the  best  introduc- 
tions.    During  the  time  of  his  residence  there,  he 
met  with  great  encouragement  in  composition, 
and  published  many  of  his  works  m  Dublin  ;  he 
also  wrote  a  biographical  sketch  of  his  friend  Sir 
John  Stevenson,  for  one  of  the  literary  reviews. 
In  181.5  Clifton  produced  a  musical  piece  called 
"  Edwin,"  at  Crow  Street  Theatre,  the  music  of 
which  was  well  received.     He  resided  in  Ireland, 
chiefly  in  Dublin,  for  nearly  fourteen  years,  and 
conducted  during  that  time  several  concerts.  The 
last,  which    he   conducted   conjomtly   with    Sir 
John  Stevenson,  did  credit  to    their  feeUngs,  as 
well  as  to  all  the  professors,  who  volunteered  their 
services,  it  being  for  the  benefit  of  the  poor  of 
Ireland,  who  were  then  in  a  state  of  famine.     The 
concert  was  on  a  very  gi-and  scale,  and  to  make 
it  more  attractive,  Clitton  collected  from  the  mil- 
itary bands  all  \\\\c>  were  able  to  sing,  and  re- 
hearsed them  in  the  choruses  of  Haydn,  Mozart, 
and  Beethoven.     He  likewise  added  some  hun- 
dreds of  the  charity  cliildren,  and  taught  them 
llandel's  halleluiah  chorus,  which  produced  a 
sublime  effect.     The  orchestra  was  composed  of 
more   than   four   hundred  perfonners.     For  his 
exertions  on  this  occa.--ion,  Clifton  received  the 
public  thanks  of  the  committee,  and  was  offered 
a  professor's  degree,  which  his  modesty  declined. 
In  18 1 G  he  finished  a  "'ITieorj'  of  Harmony  sim- 
plified," and  invented  a  machine  called  tlie  Eido- 
musicon,  which,  being  fastened  to  the  piano-fcrte, 
over  the  action,  produced  the  notes  and  chort  s  as 
they  were  struck,  and  gave  you  (he  different  ii  ter- 
vals  so  distinctly,  that   the  eye  and  the  ear  --vere 
engaged  at  the  same  time,  which  rendered  ^  )cal 
distances  easily  attainable  for  sight  singing.     He 
next  publicly  lectured  on  his  new  plan  and  in- 
vention,  which  gave  much  satisfaction.      B-ing 
advised  to  publish  it,  he  went  to   London   ind 
prepared  his  book  for  the  press ;  but  finding  th« 


216 


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ENCYCLOPEDIA    OF    MUSIC. 


COI 


expenses  enormous,  and  the  difficulty  attendinfj 
the  prosecution  of  his  new  design  to  be  very 
great,  he  abandoned  the  idea  altogether.  h\ 
1818,  Clilton  adopted  the  i)nnciples  of  Logicr's 
system,  and  settled  in  London,  where  he  held  a 
highly  respectable  rank  in  his  profession,  as  a 
teacher  of  singing,  and  of  the  theory  and  practice 
of  harmony. 

CLOXAS.  A  celebrated  flute  player,  who 
flourished  soon  after  Tcrjiandcr,  and  who  was  the 
composer  of  several  pieces  of  music  for  his  in- 
strument. 

CLOSE.  The  end  or  conclusion  :  as,  the  clos- 
ing movement,  the  last  movement ;  the  closing 
bar,  the  last  bar.  AVhcn  the  close  has  for  its  bass 
the  key  note  of  the  composition,  it  is  called  a 
perfect  close ;  when  its  bass  is  any  other  than  the 
key  note,  it  is  termed  an  imperfect  close.  Close 
therefore  is  synonymous  with  cadence.  It  is  com- 
monly indicated  thus  : 


i 


9^i^HH-£^^^^ 


Frequently  tiro  dovible  bars  are  used  alone,  and 
•ometimcs  one  with  the  half  bar,  for  a  close  ;  but 
the  regular  character  should  be  used  in  all  causes. 

COBB,  lUCIIAUD.  Organist  to  Charles  I.  of 
England.  Several  of  his  compositions  may  be 
found  in  " 'ITie  Triumphs  of  Oriona.'' 

COBBOLP,  WILLIAM.  An  English  com- 
poser of  madrigals  and  psalms  at  the  close  of  the 
sbcteenth  century.  Some  of  his  compositions  are 
to  be  found  iii  Thomas  Rste's  collection  of 
psalms,  published  in  liOl,  and  in  a  work  entitletl 
"The  Triumphs  of  Oriana,"  published  m  1601. 

COCCin,  GIOACCIIIXO.  A  Neapolitan 
dramatic  composer;  he  was  engaged  in  17.57  to 
write  for  the  Opera  in  Ixindon.  AMien  he  first 
went  to  England,  he  carried  tliere  the  new  passages 
that  were  in  favor  at  Home  and  Naples,  to  which, 
however,  ho  added  so  little  from  his  own  stock  of 
ideas,  that,  by  frequent  rej^etition,  the  public  was 
soon  tired  of  thorn  ;  and  his  publications  in  Eng- 
land are  now  as  much  forgotten  as  if  he  had  lived 
in  the  fifteenth  century.  In  1702  hLs  engage- 
ment ns  opera  composer  in  I/)ndon  eease<l.  About 
1772  he  retired  to  Venice,  where  he  had  been 
maestro  of  a  consrrvaforio  before  going  to  England. 
ITie  exact  year  of  his  death  is  unknown. 

COCCIA,  C.UILO,  a  celebrated  dramatic  com- 
poser, was  bom  at  Naples  aboiit  the  year   1789. 
He  stiidied  coiintcrjioint  under  Fenaroli,  and  the- 
Mtrica]  composition  under  raesiello.     In  the  venr 
1820  he  went  to  LL^bon,  where  he  was  engaged  ' 
for  two  years   as  corapo>er  to  the  theatre,  and  ! 
produced  diuing  that  time  four  operas.     From  I 
Usbon  he  went  to  England,  whore  he  arrivetl  in 
August,  182.'!,  and  was  engaged  for  the  season  of 
1824  at  the  Opera  in  I-ondon,  as  composer  and  ' 
?onductor.      Ilis  most  admired  operas  are,  "  La  [ 
Festa  (ielJa  Mnsi<ii,"  "  A<i  Chtil/lr,"  "  Iai  Selraggin," 
Mid  "  Fq;el."     For  some  time  after  18.3r>,  he  was 
iirector  of  the  Musical  Academy  at  Turin. 

28         '  21 


COCIIEREAU.  A  celebratetl  French  singer 
at  Paris  towards  the  close  of  the  seventeenth  cen- 
tury ;  he  likewise  composed  Bome  aricttes. 

CODA.  An  Italian  word,  applied  to  a  ^mall 
number  of  bars  at  the  end  of  a  composition, 
which  form  the  final  close  after  the  otlicr  strains 
of  the  movement  have  been  duly  rej)cntc(l. 

COGAN,  DR.  PHILIP.  An  English  com- 
poser, chiefly  of  instrumental  music,  since  th« 
year  1788. 

COGGINS,  JOSEPH,  an  English  professoi 
of  the  piano-forte,  was  for  many  years  a  ])Ui)iJ 
and  assistant  of  Dr.  Callcott.  He  published,  in 
1815,  an  excellent  work,  called  "The  MusitV 
Assistant,  containing  all  that  is  trulv  useful  to 
the  ITieory  and  Practice  of  the  Piano-forte."  Ha 
also  published  a  divertimento  from  a  theme  of 
Steibolt's,  and  other  piano-forte  music. 

COICK,  or  LE  COQ,  GIAN.  Author  of 
several  songs  in  the  collections  of  his  time,  par- 
ticularly of  one  in  five  parts,  printed  at  Antwerp 
by  Susato,  lol.i,  in  the  sixth  book  of  "  I'linnson* 
d  cinq  it  six  Parties."  In  tliis  song  the  two  up- 
per parts  are  in  canon,  in  which  the  second  part 
inverts  the  melody  of  the  first,  while  the  other 
three  move  in  fugue.  "  Tout  d  rebour.i  va  nton 
ajfairc  "  is  the  motto  of  tlus  canon.  This  com- 
position is  curious  and  valuable,  merely  from  the 
difficulty  of  its  construction. 

COIGNET.  A  merchant  at  Lyons.  He  was 
a  collaborator  with  J.  J.  Rousseau  in  the  opera 
of  "  Pygnuilion." 

COL,  or  CON  ;  also  CoU  and  ColJa.  An  Italian 
preposition,  signifying  icith ;  as,  col  arco,  with  the 
bow  ;  con  spirito,  with  spirit,  &c. 

COLASSE,  PASCAL,  chapel-master  to  Louis 
XIV.,  was  bom  at  Paris  in  IG.'JR.  He  was  a 
pupil  of  Lulli,  and  took  him  for  his  model  in  all 
his  compositions,  as  the  following  lines  testify  :  — 

*  ColMfp  ric  T,ulH  cniifrnit  At  ■'rfoartcr, 
R  le  pilla, flit-on,  chcrchfcnt  a  rimiter.'* 

But  it  is  said  that,  whether  he  imitated  Lulli 
or  not,  his  opera  of  "TlietLs  and  Pcleus "  will 
always  be  esteemed  an  excellent  production. 
There  are,  besides,  of  hLs  composition,  motets 
and  sonprs.  Colasse  destroyed  both  his  fortune 
and  health  in  an  infatuated  pursuit  of  the  phi- 
losopher's stone,  and  died  at  Versailles  in  the 
vear  1709. 


COLBRAN,   ISABELLA   ANGELA.        See 
Rossixi. 

COLEMAN,  OBED  M.  Bom  at  Barnstable, 
Ma.ss.,  Jon.  2.3,  1817.  In  earliest  infancy  he  ex- 
hibite<l  much  musical  talent,  but  not  until  sixteen 
years  of  age,  and  during  severe  illness,  did  ho  ex- 
hibit extraordinary  powers  of  invention.  About 
this  time,  at  New  Bedford,  Mass.,  he  invented  an 
astonishing  piece  of  mechanism,  known  by  exhi- 
bition as  the  Automaton  Ijidy  Minstrel  and 
Singing  Bird  —  the  figure  of  a  lady  and  bird,  the 
former  performing  several  popular  airs  upon  the 
aecordeon,  while  the  latter,  ])er('he<l  upon  her 
shoulder,  "  warble<l  woodnotes  wild."  Having 
disposfd  of  this  ingenious  contrivance  for  eight 
hundrwl  dollars,  he  romovwl  to  .Saratoga,  N.  V., 
in  l'it2,  where  he  effected  some  valuable  improva 
7 


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EXCYCLOP^lli^iA    OF    MUSIC. 


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luenbi  upon  the  nccordcon,  on  which  instrument 
ne  was  iin  excellent  perfonucr.  llt-re  he  com- 
menced tlie  construction  of  his  yEoliun  Attach- 
ment to  the  ])iHno-ibrte,  which  secured  to  him  a 
tdf^h  rank  amon;;  inventors,  and  to  his  family  a 
fortune.  His  patent  sold  in  this  country  for  one 
hundred  and  ten  thousand  dollars,  lie  died  at 
Saratoga  .Springs,  April  5,  1845. 

COLEMAX,  DR.  CIIAKLES,  was  a  gentleman 
of  the  private  music  of  King  Cliarles  I.  After 
the  rebellion  he  taught  music  in  London.  Cole- 
man, Henry  Lawes,  Captain  Cook,  and  George 
Hudson,  composed  the  music  to  an  entertainment 
•written  by  Sir  William  D'Avenant,  intended  as 
au  imitation  of  the  Italian  ojjern,  and  performed 
during  the  usurpation,  at  Kutland  House,  iu 
Charter  House  Yard. 

COLE'ITI,  A.  B.  A  Venetian  dramatic  com- 
poser at  the  beglnuiiig  of  the  eighteenth  century. 

COLIZZI,  JEAN.  An  Italian  instrumental 
composer  in  the  latter  half  of  the  last  century. 
Some  of  his  music  was  published  in  London. 

COLLA,  GIUSEPPE.  Husband  of  Agujari, 
the  singer,  and  composer  of  most  of  t)ie  music 
which  she  sang  in  public  during  her  stay  in  Eng- 
land. Dr.  Burncy  says  that  CoUa's  music, 
though  often  good,  was  by  no  means  either  very 
original  or  varied. 

COLLA  PARTE  (I.)  implies  that  the  accom- 
panist must  follow  the  pruicipal  part  in  regard 
to  time. 

COLLA  PIU  GRAX  FORZA  E  PRESTEZ- 
ZA.     As  loud  and  as  quick  as  possible. 

COLLEGE  YOUTHS.  A  society  of  London 
bell  ringers.  The  College  Youths  form  the  chief 
society  of  the  kind,  and  were  formerly  so  re- 
spectable as  to  have  for  one  of  their  members  Sir 
Matthew  Hale,  cliief  justice  of  the  Court  of 
King's  Bench.     See  Rixgeks. 

COLOMBE,  or  COLOMBA.  An  instrumental 
composer  at  Paris  in  1783. 

COLOMBIXI.  An  author  of  some  madrigals 
pubUshcd  at  Venice  in  1G33. 

COLOXXA,  FABIO,  a  Roman  nobleman 
and  celebrated  mathematician,  published,  iu  1G18, 
a  speculative  work,  now  become  very  scarce,  on 
the  division  of  the  scale,  which  at  no  time  could 
be  of  much  use  to  practical  musicians,  but  at 
present,  when  so  many  better  treatises  on  har- 
monics arc  extant,  would  not  be  read,  if  it  could 
be  found.     Colonna  died  in  1G47. 

COLOXXA,  GIOVAXXI  PAOLO,  was  bom 
at  Brescia  in  1G30.  He  was  chajjcl-master  at 
Bologna.  He  composed  but  few  operas  ;  but  he 
published,  about  the  latter  end  of  the  last  cen- 
tury, many  excellent  works  for  the  church,  of 
which  P.  Martini  has  given  u  list  to  the  amount 
of  twelve,  in  the  second  volume  of  liis  Histoni'  of 
Music.  It  was  the  opinion  of  Dr.  Boyce  that 
Colonna  was  Handel's  model  for  choruses  ac- 
companied with  many  instrumental  parts  different 
from  the  vocal.  His  Psalms  in  eight  parts,  i)ub- 
ILshed  at  Bologna  in  lG9f,  have  been  very  justly 
admired  for  their  masterly  composition. 

COLORS  OF  THE  GEXERA.  Colors  were 
iu«d  by  the  ancient  Greeks   to  distuiguLsh  the 

2 


different  species  of  their  genera ;  hence,  substi- 
tuting the  name  of  the  sign  for  that  of  the  thing 
siguihed,  they  indifferently  used  the  expressioui 
species  of  Uie  genera,  and  color  of  the  yeiiera. 

COLTELLIXI,  CELESTE.  A  celebrated  Ital- 
ian  female  singer  since  the  year  1780. 

COMA,  AXXIBALE.  A  composer  of  mad- 
rigals, published  at  Venice  at  the  latter  end  of  th« 
sixteenth  century. 

COMAXEDO,  FLAMIXIO.  A  composer  of 
canzonets,  published  in  \'enice  and  Milan  at  the 
beginning  of  the  seventeenth  century. 

COMBIXED  ORCHESTRAL  MASSES  aw 
employed  in  overtures,  sjTnphonies,  in  the  ritor- 
nellos  to  airs,  and  concerted  vocal  pieces,  in  cho- 
ruses, in  au's  for  dancing,  in  pantomimic  music 
in  triumphal  marches,  and,  in  fact,  wherever  we 
desire  to  produce  great  efi'ects  and  develop  pow- 
erful imagery.  But  in  all  cases,  these  combina- 
tions must  not  be  of  too  long  duration,  as  other- 
wise the  music  degenerates  into  mere  noise. 
That  these  combined  masses  may  jiroduce  an 
agreeable  effect,  they  must  be  introduced  after 
intervals  of  repose;  eight,  sixteen,  or  twenty- 
four  bars  in  succession  are  always  sufficient. 
Still,  however,  in  teiinijiating  a  composition,  a 
few  more  bars  may  be  allowed ;  because,  if  tha 
hearer's  attention  Is  exhausted  or  withdi-awn,  at 
least  the  close  of  the  piece  will,  by  this  means, 
dissipate  the  etmui  which  would  otherwise  result. 

COME  'L  PRDIO  TEMPO.  (I.)  In  the  same 
movement  as  at  first. 

COME  SOPRA.  (I.)  As  above,  or  as  before. 
An  allusion  to  the  manner  of  performing  some 
former  passage,  the  stylt  of  which  performance 
has  been  already  denoted. 

COME  STA.  (I.)  As  it  stands.  An  expression 
imph-ing,  that  the  perfoi-mer  Is  not  to  embellish 
the  passage  over  which  it  is  wTitten  with  any  ad- 
ditions of  his  own,  but  to  sing  or  play  it  exactly 
as  it  is  given  by  the  composer. 

COME  TEMPO  DEL  TEMA.  (I.)  Same 
movement  as  the  theme. 

COMES.  (L.)  A.  companion,  or  foUowcr.  The 
appellation  formerly  given  to  the  voices,  or  in- 
struments, which  followed  the  Hiu:,  or  leading 
performer.  Thus,  in  fugues,  the  technical  term 
for  the  principal  theme  is  dux,  and  for  the  fol- 
lowing, comes. 

COMI,  GAUDEXZIO.  An  Italian  musician  in 
the  service  of  the  Prince  of  Conti,  at  Paris,  in 
1790.  He  has  published  some  sj-roplionics  and 
other  instrumental  music  since  the  year  1 786. 

COMIC  SOXG.  A  sonff  consisting  of  the 
combination  of  a  lively  air  with  humorous  words. 

COMIX,  GIACOMO,  music  master  U  Queen 
Margaret  of  France,  and  composer  of  some  Ital- 
ian part  songs,  lived  in  lo89. 

COMMAS.  The  smallest  of  all  the  sensible 
intervals  of  tone.  T]\e  comma  is  the  cifference 
between  a  tone  major  and  minor.  It  it  seldom 
in  use,  except  in  tlie  theory  of  music,  to  sho'n 
the  justness  of  the  concords  ;  for  in  the  practice, 
the  division  Is  drowne<l  and  lost.  Lai  telot  di 
vides  his  tone  uito  nine  parts,  or  commor ;  so  that 

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according  to  him,  a  comma  is  the  ninth  part  of 
a  tone. 

In  perfect  intonation,  i.  e.,  where  the  scale  is 
mathemntically  perfect,  and  not  tcinperod,  tlie  in- 
terval from  1  to  2  is  a  major  tone  ;  and  from  2  to 
3  a  minor  tone.  The  first  contains  nine,  the  sec- 
ond eight  commas.     See  Temi>i;u.v.mk.nt. 

COMMODO,  COMMODAMEXTE.  (I.)  Qui- 
etly, with  composure. 

COMMOX  CHORD.  The  combination  of  the 
third,  fifth,  and  eighth  of  any  note. 

COMMOX  TIME.  A  measure  which  has  an 
tren  number  of  parts  in  a  bar. 

Example. 


COMPANY  OF  MUSICIANS.  A  chartered 
association  of  musical  composers  and  performers. 
King  Charles  I.,  soon  after  his  accession,  showed 
a  disposition  to  encourage  the  liberal  arts,  partic- 
ularly music,  as  appears  by  his  charter  granted  to 
Nicholas  Laniere  and  others,  in  which  I.aniere 
was  appointed  "master  of  the  king's  music," 
with  a  salary  of  two  hunilred  pounds  a  year. 
The  same  monarch  also,  in  the  eleventh  year  of 
his  reign,  granted  a  charter  to  divers  persons,  the 
moyt  eminent  musicians,  incorporating  them  by 
the  style  "  Marshals,  Wardens,  and  Commonali- 
ty  of  the  Art  and  Science  of  Music." 

COMPASS.  A  word  used  to  express  the 
range  of  notes  or  sounds,  comprehended  by  any 
voice  or  instrument. 

COMPASS  OF  VOICES  IN  CHORUSES. 
The  species  of  voices  used  in  choruses  are  the 
toprano  or  treble,  the  contralto,  the  tenor,  and  the 
bass.  The  treble  or  soprano  voice  is  about  the 
same  as  the  tenor  in  extent,  but  is  an  octave  higher 
in  its  pitch.  Soprano  parts  are  often  written  in 
the  C  clef  on  the  bottom  line  of  the  staff.  "Yhe 
contralto  has  about  the  same  extent  as  the  bass, 
but  an  octave  higher  ;  the  tenor  the  same  extent 
as  the  soprano,  but  an  octave  lower ;  the  bass 
the  same  extent  aa  the  contralto,  but  an  octave 
lower. 


Treble  or  Soprano.  Contralto. 


In  \\Titing  for  the  chorus,  it  Ls  necessary  to 
employ  the  medium  notes  of  each  species  as 
much  as  possible,     lliey  are  as  follows  :  — 


When  voices  are  compelled  to  sing  above  their 
medium  notes,  they  soon  become  fatigued,  and 
finish  by  screaming.  Notes  below  the  medium 
of  the  voice  are  deficient  in  power ;  they  render 
the  harmony  feeble  and  iudistiuct :  hence  they 


mu.st  be  employed  but  seldom,  and  never  in  aU 
the  parts  at  one  time. 

COMPIACEVOLE.    (I.)    Pleasing,  attractiva 

COMPLEMENT.  A  term  applied  to  that 
quantity  which  Ls  wanting  to  any  interval,  to  fill 
u))  the  octave.  When  we  take  any  note  together 
with  its  fuitrth,  the  fifth  above  the  upper  of  the 
two  notes  is  the  quantity  wanting,  or  the  com- 
pleineiU. 

COMPOSER.  An  inventor  of  new  music 
according  to  the  rules  of  science :  or,  a  pratiical 
musical  author  ;  so  called  in  contradistinction  to 
a  t/ieorctical  musical  author,  who  speculates  in 
acoustics,  and  writes  on  the  laws  of  harmony 
and  melody,  but  does  not  concern  himself  with 
their  practical  application  in  composition. 

COMPO.SITIOX.  The  production  of  new  mu- 
sic according  to  the  established  rules  of  harmo- 
ny and  modulation.  'Hie  art  of  disposing  musi- 
cal sounds  into  airs,  songs,  &c.,  either  in  one  or 
more  parts,  to  be  sung  bj-  a  voice,  or  jjlayed  on 
instruments.  Under  composition  are  compre- 
hended the  rules,  1.  Of  melody,  or  the  art  of 
making  a  single  pait ;  that  is,  contriving  and  dis- 
posing the  .simple  sounds,  so  that  their  succession 
and  progression  may  be  agreeable  to  the  ear. 
2.  Of  harmony,  or  the  art  of  disposing  and  con- 
certing several  single  parts  together,  so  that  they 
may  make  one  agreeable  whole.  It  mav  be  proper 
to  obser\-e  here,  that  melody  being  chiefly  the 
business  of  the  imagination,  the  rules  of  its  com- 
position serve  only  to  prescrit)e  certain  limits  to  it, 
beyond  wliich  the  imagination,  in  searching  out 
the  variety  and  beauty  of  airs,  ought  not  to  go ; 
but  harmony  being  the  work  of  the  judgment, 
its  rules  are  more  ceitain  and  extensive,  and  mor« 
difficult  in  practice. 

A  superficial  observer  might  imagine  that  all 
the  possible  combinations  of  the  twelve  sounds 
comprising  the  musical  scale,  would  in  time  be 
e.xhau.sted,  and  thus  end  com])osition.  Tlte 
twelve  sounds  of  the  scale  admit,  of  course,  by 
mere  combination,  of  141  difi'erent  successions. 
Each  of  these  combinations  can  be  varied  again 
by  accent,  rhythm,  or  measure,  by  length,  ra- 
pidity, force,  legato,  and  staccato,  so  as  to  ad- 
mit of  constructing  many  millions  of  tones. 
Then  there  lie  slumbering  and  unwronght,  in  the 
musical  quarry,  many  forms  of  exquisite  mel- 
ody, to  say  nothing  of  harmony.  So  there  is 
no  end  to  composition,  and  no  excuse  for  weari- 
some monotony.  ITiere  is  ample  provision  made 
in  the  great  scale  of  nature  for  the  comparer  cl 
music. 

The  nature  of  musical  composition  is  undergo- 
ing a  continual  change  ;  and  so  innumerable  are 
the  combinations  which  may  be  wrought,  that  iti 
style  is  without  limits,  and  its  efTec-ts  un)>ouuded. 
In  the  early  composers,  we  tind  little  more  than 
simple  mutations  of  harmony,  and  scarcely  an 
attempt  to  rise  into  the  more  graceful  region  of 
melody.  As  to  design  or  imitation  of  natural  ef- 
fects, no  such  traces  a]>pear.  'ilie  old  writers  im- 
agine<l  that  they  could  unravel  the  musical  mrii- 
teries,  by  makini;  sounds  follow  each  other  «i;re*- 
ably  to  certain  laws,  thereby  uniting  tl;e  ]irinci 
ple-<  of  harmony  and  melody  at  once.  Every 
device  was  tried  ;  such  as  placing  what  was  up- 
pennost  in  the  composition  occasionally  at  th« 
bottom,   called  inversion  ;    which,  with  coiitrar} 


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motion,  imilntion,  augmentation,  answers,  and  the 
like,  was  thou(;ht  to  acliicve  all  the  varieties  at- 
tiiinahle  in  the  system  of  sounds.  But  "  the 
moulds  of  the  contrapuntist  arc  broken,"  and 
musicians  are  taught  this  great  truth,  that  the 
art  knows  no  bounds  but  what  nature  prescribes. 
Composition  lias  advanced  by  slow  degrees,  and 
every  age  has  had  its  lavorite  authors  and  favorite 
style.  At  each  revolution  it  was  imagined  that 
the  limits  of  the  Art  liad  been  reached,  and  that 
nothing  remained  beyond.  Music  exists  upon  emo- 
tions, which  arc  more  lively  as  they  are  more 
varied.  They  arc  also  quickly  effaced,  and  there- 
fore in  this  art  the  necessity  of  novelty  is  felt 
more  than  in  any  other.  Hence  the  interest  thot 
is  taken  in  revolutions,  and  the  enthusiasm  which 
they  excite.  Hence,  too,  the  regrets  of  those 
V  ho  are  wedded  to  music  of  oldcu  date,  and  their 
exclamations,  that  music  is  gone  !  music  is  totally 
ruined  !  which  signifies  nothing  more  than  that 
the  style  of  music  has  been  changed. 

COMPO.SIZIONE  DA  TAVOLINO.  (I.) 
Songs  for  the  table,  or  convivial  melodies. 

COMPOUND  SOUND.  A  compowui  sound 
consists  of  the  sounds  of  several  distijict  voices 
or  instruments,  all  united  in  the  same  mdividual 
time  and  measure  of  duration,  that  is,  all  striking 
the  ear  together,  whatever  may  be  their  other 
differences.  But  in  tliis  sense  there  is  a  twofold 
compound  —  natural  and  artificial. 

COMPOUND  HARMONY.  Compound  har- 
mony Ls  that  which  to  tlie  simple  harmony  of  an 
octave  adds  that  of  another  octave. 

COMPOUND  TIME.    Measures  which  contain 
two  or  tlu-ce  principal  accents;   as,  6, 
Example. 


9,  &C. 


234:^3^13^34^       321 


>:^ 


COMPUTATOICES.  (L.)  Female  computers. 
One  of  the  names  given  to  the  pnesciac  —  women 
whom  the  ancients  hired  to  sing  and  weep  over 
the  dead  at  their  funerals.  They  were  called 
computatriccs  because  it  was  a  part  of  their  office 
to  enumerate,  or  compute,  the  virtues  and  merits 
of  the  deceased.     See  Pil.«scl«. 

C  MOLL.     (G.)     C  minor. 

cox.     (I.)     With  t  M,  roil  r*7)rfjr.«ionr.  with  cxprewion. 

CON  AKKK'rTO.  (Ll  An  oxprvssion  implying  a  imooth, 
tenilcr.  nn'l  aflVi-tinp  *tvlc  of  pprl'iirnrinro. 

CON  AHII.VNIJONO  El)  tsl'KESSION'E.  With  Mlf-abandon 
and  expression. 

CONHHIO.     'I.)     With  brisknCM  and  spirit 

CON  IIKIO  F.l>  ANIMATO.     Aniinah'd  and  brilliant. 

CON  DOI.OKH    (I.)     S«i-  noi...iios<i. 

COX  M'HI  A.    (I.)     With  v.h'-mcnce  :  with  fury. 

CoN  (ill  S  I'KZZA.      (I.I     With  precilion. 

CON  tatAVrr.V.     (I.)     With  (rravily. 

CONl.KVZIA.     (1.)     With  (Trace. 

CON  r.is  Id.  or  <iirSTOS(\    (I.)    With  tute. 

COXIMTKIO.    (I.)     With  ImpotuMitv. 

COX  MOTO.    If.)    With  aeitntinn  I  with  commotion. 

CON  sriKiro.   (I.)   wi«h spirit 

CON  I'KNKllKZZ.V     (1.)     With  lendemcit. 

CON  TIMIIUZZ  A.     (1.1     With  timidity 

CON  VAKIAZIONK     (I.)     With  variations. 

CON  VIVl:ZZ.\.    (1.1     With  animation,  vlTaclkualy. 

CON  ZKLO.     cl.)     With  zeal 

CON  fva    AD  l.IBlrl'.M.    With  octares  at  pKiuurc. 

CONCKNTO.  (I.^  A  word  formerly  used  by 
the  llahans  to  signify  the  harmony  resulting 
from  the  consonance  of  voices  and  instruments 
ji  concert. 


i 


CONCEKT.  A  musical  performance,  in  which 
any  number  of  practical  musicians,  eitlier  vocal 
or  instrimiental,  or  both,  unite  in  the  exercise  of 
their  respective  talents.  l"he  concerts  of  tht 
ancient  Greeks  were  executed  only  in  the  unison 
or  octave. 

CONCERTANTE.  (L)  A  concerto  for  two 
or  more  instruments,  with  accompaniments  for  a 
band. 

CONCERTINA.  This  Ls  a  new  instrument, 
introduced  in  New  York,  March  9,  1852,  by 
Mr.  Sedgwick,  an  Englishman. 

It  was  patented  in  1829  by  Professor  ^^'heat- 
stone,  whose  name  has  been  since  celebrated  as 
one  of  the  inventors  of  the  present  EngUsh  sys- 
tem of  the  electric  telegraph.  .^Vlthough  the 
tones  are  produced  on  the  same  principle  a.s  that  of 
the  common  accordeon,  it  has  no  nearer  resem- 
blance to  that  instrument  than  au  ordinary  whis- 
tle has  to  the  German  flute. 
Tlie  internal  construction  is  ^ 

quite  different.     It  is  capable  — 

of  the  most  complex  harmo- 
nies, and  the  most  difficult 
viohn  or  flute  musid  can  be 
performed  on  it.  Its  compa.ss 
is   three  octaves  and  a  half.  "^ 

The  instrument  possesses  not  only  a  complete 
chromatic  scale,  but  also  &n  enhannonic  schIq  ;  it 
having  two  separate  tones  (for  instance)  for  the 
notes  Gj*  and  Ab  or  Ds*  and  Eb.  From  this 
fact,  as  well  as  the  ilexibihty  of  the  bellows,  the 
chords  are  in  better  tune  than  is  generally  the 
case  with  instruments  of  a  fixed  sound.  The 
keys  of  the  concertina  are  alternate,  right  and 
left,  thus  :  A,  C,  E,  &c.,  being  on  the  right  side 
of  the  instrument,  B,  D,  F,  and  so  on,  would  be 
on  the  left. 

CONCERTINO.  (I.)  The  principal  instru- 
ment in  a  concert,  or  concertante ;  as,  oboe  concer- 
tino, the  princijjal  hautboy. 

CONCERTO.  (I.)  A  composition  expressly 
written  for  the  display  of  some  particular  instru- 
ment, with  accompaniments  for  a  band. 

CONCERTO  GROSSO.  (I.)  Great  coiuert 
An  expression  applied  to  the  great,  or  grand 
chorus  of  the  concert ;  or  to  those  parts  of  the 
concert  in  which  the  riplenos  and  every  auxiliary 
instrument  are  brought  into  action,  in  order  to 
contrast  and  aggrandize  the  effect.  For  thia 
great  improvement  in  instrumental  music  we  are, 
it  is  said,  indebted  to  Giiiseppe  ToreUi,  who  ii- 
troduced  its  practice  towards  the  latter  end  of  he 
seventeenth  century.    , 

CONCERTO  SPIRITUALE.  (I.)  A  miscel- 
laneous concert,  consisting  of  the  performance  of 
pieces  wholly  selected  from  sacred  compositions. 

CONCIATINI,  GIOVANNI  CARLO,  an  emi- 
nent singer  of  the  Bolognese  school,  was  bom  in 
1745.  lie  was  first  singer  at  the  opera  at  Berlin 
till  179f>,  when  he  retired  with  a  handsome  pen- 
sion from  the  Prussian  court. 

CONCIXNOUS.  The  signification  of  this 
term  is  generally  confined  to  performance  in  con- 
cert. It  apjiMcs  to  that  nice,  discriminating  exe- 
cution, in  which  the  baud  not  only  gives  witi 


220 


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ENCYCLOPEDIA    OF    MUSIC. 


CON 


mechnnicnl  exnctucss  every  passage  of  the  com- 
position, but  outers  into  the  tlesii;n,  or  sentiment, 
of  the  composer,  nnil,  preserviii;;  a  perl'eut  con- 
cord iind  unison  of  effect,  raovc8  as  if  one  soul 
inspired  the  whole  orchestra. 

CONCITATO.     (I.)     Agitated.    See  Agitato. 

CON  COMMODO.  (I.)  With  an  easy 
quickness. 

CONCORD.  A  union  of  two  or  more 
sounds,  wliich,  by  their  harmony,  produce  an 
ntjrcciible  eH'ect  upon  the  esir.  Unisonance  being 
tlie  relation  of  eciuality  between  the  pitih  of  two 
or  more  sounds,  theorists  consider  unisons  as  con- 
cords in  the  first  degree.  But  an  inter»-al,  being 
a  diirerence  of  pitch,  or  a  relation  of  inequality 
between  two  sounds,  will  form  a  concord,  or  dis- 
cord, according  to  the  circumstances  of  that  par- 
ticular relation.  Of  concords,  there  are  two  kinds, 
the  one  called  perfect,  the  other  irai)erl'ect :  per- 
fect cDiicords  consist  of  the  fifth  and  eightli ;  im- 
lierl'ect  concords  of  the  thii'd  and  sixth.  'Die  im- 
jierlect  concords  have  also  another  distinction  — 
that  of  the  greater  and  lesser  third  and  sLxth. 
'llic  concords  are  again  divided  into  consonant  and 
dissonant.  The  consonant  concords  are  the  perfect 
concord  and  its  derivatives ;  every  other  Ls  a  dLsso- 
nant  concord.  AVe  apply  the  word  concord  also  to 
the  state  of  an  instrument  in  respect  of  its  tun- 
ing, as  also  to  the  agreement  of  two  or  more 
voices  ;  as  when  we  say,  "  'Hiat  Instrument  Ls  not 
in  concord,"  or  "not  in  tune;"  "Those  voices 
do  not  concord,"  or  "  do  not  harmonize  and 
agree." 

CONCORDANT.  An  epithet  applied  to  all 
consonant  or  harmonious  combinations. 

CONDUCIMENTO.  (I.)  A  term  answering 
to  the  wjo'je  of  the  Greeks,  the  ductus  of  the  Ro- 
mans, and  signifying  a  melody,  or  succession  of 
sounds,  moving  by  conjoint  degrees. 

CONDUCl'OR.  A  term  applied  to  the  pei-son 
who  arranges,  orders,  and  dii-ects  the  necessary 
preparations  for  a  concert,  and  also  superintends 
and  conducts  the  performance.  The  duties  of 
this  oIKoe  are  well  set  forth  in  the  following  arti- 
cle from  the  "  London  Musical  World." 

"  A  conductor's  business  at  what  Ls  commonly 
called  a  '  Piano-forte  Concert,'  i.  e.,  where  there 
are  merely  two  or  three  principal  perfonners,  and 
where  the  piano  affords  the  only  accompaniment 
to  tl'.c  vocal  music,  are  light  indeed,  compared 
with  those  which  involve  tlie  training  and  prac- 
tL-iing  large  numbers  of  vocalists  or  instrumental- 
ists, for  concerts  with  a  '  full  band,'  an  '  efficient 
chorus,"  or,  as  in  oratorios  and  operas,  with  both 
rorabined.  I'he  duties  of  a  conductor  become 
onerous  in  proportion  to  the  number  of  those  en- 
gaged in  a  performance,  and  the  difficulty  of  the 
works  to  l)e  executed ;  and  those  fretiucnters  of 
our  '  grand '  concerts,  who  imagine  that  the 
conductor's  business  is  confined  solely  to  his  use 
of  the  hAion,  or  to  his  performances  at  the  piano, 
either  as  accompanist  or  soloLsf,  are  egrcgiously 
mistaken.  The  office  of  a  conductor  is,  indeed, 
any  thing  but  a  sinecure.  Tliose  only  have  evw 
entirely  succeeded,  who  have  pnsse--sed  qualifica- 
tions rarely  found  united  in  one  man  :  — 

"1.  It  is  absolutely  necessary  that  the  conductor 
•hould  be  a  composer,  in  the  full  acceptation  of 
the   term ;  one   who  can,  if  necis»sary,  produce 


large  and  good  works  for  band  and  chorus  ;  who 
can  arrange  <iuickly  songs,  ducts,  kc,  for  full  or 
chestra,  from  a  piano-forte  acconii)aniinent,  and  cic* 
versa ;  and  who  can  judiciously  add  extra  parts 
either  for  wind  or  string  instruments,  to  give  ad 
ditional  effect  to  meagrely-constnictc<l  s<-i)reM. 

"  '1.  He  must  possess  a  knowledge  of  the  world 
as  well  as  of  music,  lie  must  unite  great  firm- 
ness anct  determination  of  puri)Ose,  without  com- 
promising the  character  of  the  man  of  good  sense 
and  the  gentleman.  He  must  have  '  no  mean 
and  narrow  prejudices,'  or  spiteful  revenge,  in  hLs 
disposition.  He  must  give  equal  attention  to  the 
half- slumbering  juvenile  at  the  triangles,  to  the 
solemn  double  bass,  and  to  the  careful  and  watch- 
ful principal  violin. 

"  3.  He  must  possess  a  thorough  knowledge  cf 
every  piece  j)ertbrmed,  not  only  in  a  practical, 
but  in  a  theoretical  point  of  \\ew.  Without  this, 
he  cannot  pretend  to  correct  an  error,  either  in 
any  separate  part,  or  in  his  owai  full  score ;  and 
without  this  capability,  he  should  never,  in  my 
humble  opinion,  presume  to  wield  the  bAton. 

"  I.  He  must  possess  the  quick  susceiuibility 
of  faculty,  rendered  in  the  highest  degree  acute 
by  culture,  necessary  to  enable  him  to  detect  the 
most  trifling  error  at  rehearsal ;  and,  in  pointing 
out  the  error,  he  must  do  so  without  wounding 
the  feelings  of  the  performer.  This  latter  point 
is  one  of  the  most  difficult  a  conductor  has  to 
encounter.  Should  he  be  abrupt  in  his  detection 
and  exposure  of  an  erring  executant,  he  is  certain 
to  give  otfonce  ;  and  should  he  be  silent,  and  al- 
low the  error  to  pass  uncorrected,  the  chances  are 
that  he  will  be  denounced,  by  some  charitiibU 
members  of  the  orchestra,  as  incapable  of  fulfil- 
ling satisfactorily  the  manifold  duties  of  his  office. 

"  5.  A  conductor  must  be  endowed  with  the 
most  delicate  jierception  of  the  measure  of  time 
and  the  jilay  of  rhj-thms,  that  he  may  indicate 
the  temjns  -with  accurate  di\-Lsion  and  decision. 
lie  must  neither  beat  time  like  a  machine,  nor 
must  he  be  so  extravagant  or  violent  in  his  man- 
ner as  to  divert  the  attention  of  the  audience 
from  the  music  to  the  eccentric  gjTations  of  his 
spasmodic  bdton.  Like  the  talented  conductor 
Costa,  he  may  make  tlie  motions  of  the  baton  and 
his  hands  indicative  of  both  force  and  expression. 
To  invoke  a  fortissimo,  and  a  decisive  entrance  of 
the  brass  instnunents  in  orchestral  music,  I  have 
seen  the  grand  maestro  significantly  raise  both  his 
hands,  in  addition  to  an  imperial  wave  of  the 
bf'itnn  over  his  head,  effecting  at  once  the  jiurpose 
desired ;  and  how  expressive  the  movements  he 
employs  to  obtain  a  crescendo  tutti,  and  the  intima- 
tion of  the  left  hand  when  he  woidd  l-.ave  the 
delicacy  of  a  piano.  But,  alas  1  to  many  persons 
—  those  who  have  no  real  music  in  tlieir  souLs, 
stocks  and  stones  —  all  that  belongs  to  feelings, 
in  matters  of  art,  Is  stuff  and  affectafinn  ;  beauty, 
they  think,  is  an  affair  of  line  and  nde;  and  taste 
a  question  of  law  and  pre^-cdent,  or  an  easy  rule- 
of-three  sum. 

"  (i.  A  good  conductor  must,  at  all  timots  be 
prepared  to  accompany  on  the  piano-forte  all 
kii\ds  of  pieces  —  songs,  duets,  violin  solos,  xc.,  in 
all  sorts  of  keys,  or  rather  a  '!  '  'm  ys  '  — 
at  a  moment's  notice.  He  niu-;  <•  -oar- 
ing taste  of  the  high   tei.or,  1;.    ; ,      .ug  hii 

song  a  note  or  two  hi,;hcr  ;  the  contralto  he  mu.M 
conciliate  by  jilaving  her  solemn  hallnd  in  • 
lower  key  ;  and  iie  must  accomplish  the  whoU 


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ENCYCLOPEDIA    OF   MUSIC. 


C0> 


task  without  touchiuR  ft  single  ■wrong  note ;  or 
woe  betide  him  froin  the  critics,  great  and  small, 
prol'essinniil,  newspaper,  amateur,  lady,  iS.c.  And 
be*;ides  all  thin,  he  must  have  magnanimity 
enough  to  KU])i)re:«s  all  display  on  the  instrument, 
making  his  jiertormance  wholly  subsidiary  to  the 
vocalist,  whom  he  must,  nevertheless,  support  at 
all  points,  covering  any  failure  with  a  shower  of 
notes,  while  the  artist  revives  again. 

"  Hut  all  this,  and  more,  are  rcqiiired  of  those 
who  a.«])ire  to  the  ofhce  of  musical  conductor ; 
and  though  few  can  lay  claim  to  the  numerous 
qualifications  which  I  have  but  imperfectly  enu- 
merated, still,  it  is  to  him  alono  who  possesses 
the  majority  of  these,  to  whom  may,  with  saiety, 
be  intrusted  the  highly-important  office  of  musi- 
eol  conductor." 

COXDUCTUS.  (L.)  A  species  of  air  much 
used  in  the  time  of  Franco.  Its  particular  style 
is  not  at  present  known  ;  but  this  circumstance 
was  particular  to  it  —  that  though,  in  every  other 
kind  of  descant,  some  known  melody  wa.s  chosen 
which  governed  the  air  originating  from  it,  in  the 
conditctiis  the  descant  and  the  harmony  were  both 
of  them  new,  and  produced  together. 

CONFORTI,  GIOVAXNI  BATTISTA,  a  pu- 
pil of  Claudio  da  Correggio,  published  a  book  of 
madrigitLs  at  Venice  in  15G7. 

CONFORTO,  NICOLO.  Composer  of  the 
opera  "  Antigone,"  which  was  successfully  pro- 
duced in  London  in  1757. 

COXGREGATIOXAL  SINGING.  The  ad- 
vocates of  this  kind  of  singing  have  English  au- 
thority for  attempting  to  introduce  it  into  the 
churches  in  this  countr)-.  Li  1644  psalm  singing 
in  congregational  form  was  established  by  the 
Assembly  of  Divines  at  \Vcstminster.  They 
decided  that  it  was  "  the  duty  of  Christians  to 
praise  God  publicly  by  singing  of  psalms  together 
in  the  congregation  ;  the  whole  congregation  may 
join,  and  all  who  can  read  shall  have  a  psalm 
book.  Rut  for  the  present,  where  many  in  the 
congregation  cannot  read,  the  minister  may  read 
the  psalm,  line  by  line,  before  the  singiiig  there- 
of." Here  we  have  not  only  old  but  good  author- 
ity for  congregational  singing,  and  for  lining  or 
deaconing  the  hjTtiu. 

CON.R'NCT.  (From  the  Greek.)  A  term  ap- 
plied by  the  ancient  Greeks  to  those  tctrachords 
which  were  so  di-.posed  with  respect  to  each 
other,  that  the  last  or  highe-t  note  of  the  lower 
tetrachord  was  also  the  first  or  lowest  note  of  the 
tt'trachord  next  above  it. 

CONNOISSEUR.  (F.)  A  person  who  pos- 
sesses a  knowledge  of  the  principles  of  composi- 
tion, or  performance,  and  is  a  competent  judge  of 
musical  etfect. 

COXRAD,  J.  G.,  published  some  preludes  for 
the  organ  at  Leipsic  in  1798. 

CONR.VDI,  JOIIANN  GEORG,  chapel-master 
at  Deltiugen,  was  one  of  the  first  opera  compo- 
sers for  the  Hamburg  llieatrc  in  the  years  1G91 
—  K>93. 

COXSECUrn'E.  Tins  term  is  applicable  to 
any  two  chords,  one  of  wliich  immediately  suc- 
ceeds the  other.  ITius,  when  any  two  combined 
M'lndA,  which  arc  fifths  to  each  other,  are  followed 

2 


by  two  other  combined  sounds,  ako  fifths  to  each 
other,  such  chords  are  called  consecutive  filths. 

COXSERVATORIO.  (I.)  The  name  given 
in  Italy  to  the  public  music  schools  in  that 
country. 

COXSERVATORY  OF  P-VRIS.  Founded  by 
Sarette,  179.i,  and  the  expense  paid  from  the 
public  treasury,  by  decree  of  the  convention.  In 
1800,  Xapoleon  fully  developed  the  mstitution ; 
and  Sarette  continued  director  until  1814,  when 
he  was  dismissed,  and  Cherubini  ap])ointed  in  his 
place.  At  this  institution  vocal  and  instrument- 
al music,  in  all  then-  branches  are,  taught  by  the 
most  distinguished  practical  performers.  The 
length  of  study  in  every  department  is  three  years 

COXSERVATORY  AT  LEIPSIC.  This  in- 
stitution was  founded  in  1843,  under  the  patron- 
age of  the  King  of  Saxony,  and  with  the  valuable 
cooperation  of  the  chapel-master.  Dr.  Felix 
Mendelssohn  Rartholdy.  Its  reputation  spread 
so  rapidly,  both  in  and  around  Germany,  that  at 
the  close  of  the  first  half  year,  it  numbered  forty- 
four  pupils,  thirty-tliree  male  and  eleven  fen.ale. 
At  the  commencement  of  the  second  term,  the 
number  had  increased  to  sixty.  These  pujiils  are  _ 
attracted  thither  not  only  from  all  parts  of  Ger- 
many, but  from  Belgium,  Holland,  Denmark, 
Norway,  Russia,  England,  and  America. 

COXSOX'ANCE.  Consonance,  if  wc  are  to 
deduce  the  definition  of  the  word  from  its  ety- 
mology, is  the  effect  of  two  or  more  sounds 
heard  at  the  same  time ;  but  its  general  significa- 
tion is  confined  to  coucording  intervals.  AVhen 
the  inten-al  of  a  consonance  is  invariable,  it  is 
called  perfect ;  and  when  it  may  be  either  major 
or  minor,  it  is  termed  imperfect. 

CONSONANT.  This  word  Is  applied  to  those 
intervals  which  produce  consonant  concords ;  i.  e., 
concords  composed  of  consonances  only. 

CONSTANTINI,  FABIO.  A  Roman  composer 
of  sacred  vocal  music  about  the  year  1630.  He 
also  published  a  collection  of  the  vocal  works  of 
the  most  esteemed  masters  of  the  preceding  ages. 

CONTI,  ANGIOLA,  caUed  La  Taccarina.  A 
much  esteemed  Italian  prima  donna  about  the 
year  1760. 

CONTI,  GIACOMO.  Chef-d'orchestre  of  the 
Italian  Opera  at  Vienna  in  1790.  He  composed 
much  instrumental  music. 

C0X"1"I,  GIO^'ACHINO,  caUcd  Gizzieh,  from 
his  master  Giz/.i,  was  a  celebrated  Italian  singer 
about  the  year  17.50.  He  was  engaged  by  Han- 
del for  the  opera  in  liOndon.  Conti  excelled  in 
the  pathetic.  At  the  time  he  was  in  England  he 
was  a  young  singer,  and  so  modest  and  ditfidcnt, 
that  when  he  first  heard  Fariuelli  at  a  private  re- 
hearsal, he  burst  into  tears  and  fainted  away  from 
despondency.  (ii/.zielo  narrowly  escaped  with 
his  life  during  the  earthiiuake  which  happened 
at  Lisbon  in  17.').5,  and  he  was  impressed  with 
such  religious  awe  on  witnessing  that  tremen- 
dous calamity,  that  he  retreated  to  a  monastery, 
where  he  ended  his  days. 

CONTI,  IGNAZIO.  An  It.ilian  composer  of 
dramatic  music  in  the  sen-ice  of  the  Emjieror  of 
Gennauy  at  Vienna  ;  his  compositions  nar  da  « 
from  the  year  1728  to  173S. 


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ENCYCLOPEDIA    OF    MUSIC. 


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CONTI,  LAURA.  A  female  Italian  singer, 
educated  at  the  conservatory  of  V  (hpidaktto  at 
Venice.  Dr.  Buniey  was  delii^hted  with  her 
taste  and  expression ;  he  heard  her  at  Venice  in 
1770.     She  WU9  a  pupil  of  Durante. 

COXTI,  NICOLO.  A  composer  of  Italian 
Bongs  about  the  year  1750. 

COXTI,  FUAN'CESCO,  a  celebrated  theorbist, 
born  at  Florence,  was,  upon  the  decease  of  Zinni, 
in  1703,  appointed  vice  chapel-master  to  tlie 
Emperor  of  (ienuany,  at  Vienna.  He  composed 
an  opera  entitled  "  Arrhelas  lit  di  Cappa'hcia," 
the  words  whereof  were  wTitten  by  Abbate  I'ari- 
ati ;  as  also  the  opera  of  "  ClotiUla,"  performed  at 
London  in  the  ycivr  1709.  He  was  also  the  com- 
poser of  various  other  dramatic  pieces ;  among 
which  may  be  remarked  the  comic  opera  of  "  l)ou 
Quixote,"  said  to  be  one  of  the  tirst  examples  of 
good  comic  dramatic  music,  llie  following  anec- 
dote ot  C'onti  is  preserved.  In  the  year  1730, 
this  musician,  having  been  insultetl  at  Vienna  by 
a  secular  priest,  took  satLsfaction  on  the  spot,  by 
beating  the  holy  father.  The  transaction  having 
been  public,  a  criminal  process  was  issued  against 
Conti ;  he  was  convicted,  and  an  ecclesiastical 
sentence  passed  upon  him,  that  he  should  be  ex- 
posed for  an  hour,  each  of  three  successive  days, 
at  the  great  door  of  the  cathedral  church  of  St. 
Etienne.  The  emperor  commuted  the  sentence 
to  one  instead  of  three  humiliating  exhibitions,  to 
which  he  had  been  condemned ;  but  not  having 
conducted  liimself  with  sufficient  humility  on  the 
first  occaiion,  he  was  ordered  to  suffer  the  remain- 
ing portion  of  his  original  sentence,  by  beine  ex- 
posed on  the  other  two  days,  dressed  in  a  loose 
robe  or  shirt,  and  bearing  in  his  hand  a  lighted 
torch ;  to  this  was  superadded  a  fine  of  one 
thousand  francs,  to  be  given  to  the  priest  who  had 
been  struck.  All  the  expenses  of  the  proceed- 
ings were  ordered  to  be  defrayed  by  him  ;  that  he 
should  be  irai)risoncd  four  years ;  and  after  that, 
banished  forever  from  the  Austrian  dominions. 

COXTIXI,  OIOVAXXL  Chapel-master  at 
Brescia,  and  composer  of  madrigals  and  sacred 
music,  published  at  Venice  between  the  years 
1560  and  1370. 

COXTIXUATO.  (I.)  Held  on.  A  term  im- 
plying that  any  sound  is  to  be  continued,  or  sus- 
tained, witli  an  unvaried  force  or  strength.  Also, 
it  sometimes  means  that  a  movement  is  to  be 
performed  tliroughout  in  equal  time. 

COXTU.V-BASS.    (I.)    The  lower  bass. 

COXTRA-BASSO.  (I.)  The  instrument 
called  a  double  bass. 

COXTRALTO.  (I.)  Countertenor.  A  voice 
between  the  tenor  and  treble.  See  Counterte.nor. 

COXTRARY  MOTIOX.  ^Vhcn  one  part  as- 
cends, and  another  descencLs,  simultaneously, 
they  are  said  to  be  in  contrary  motion. 

COXTRAST.  Contrast,  in  music,  is  that  op- 
position and  relief  produced  by  the  difference  of 
Btyle  in  the  several  movements  of  a  composition  ; 
or  the  chiara  aicttra  of  the  several  passages  in  the 
same  movement ;  the  alternate  crescendos  and  di- 
minuendos, pianos  and  fortes,  employed  by  the 
composer,  to  awaken  the  attention  and  interest 
the  feelings  of  his  audience. 


COXTRAPUXCKT.     (G.)     Counterpoini. 

COXTRAPUXTO.  (I.)  Counterpoint.  8e< 
that  word. 

COXTR.VPUXTLST.  A  musician  skilled  in 
countcqjoint.     See  Counteiipoint. 

COXTRE-B.\SSE.  (F.)  A  double  bass. 
See  DounLE  Bass. 

COXTRE-D.\XSE.  (F.)  A  dance  so  called, 
because  the  jiarties  stand  in  pairs  opposite  to 
each  other.     See  Coi'.ntrv  Dance. 

COXTRIVAXCE.  This  word  Ls  applied  to 
that  branch  of  the  science  of  composition  which 
regards  the  disposition  of  the  several  parlJi  with 
respect  to  each  other.  When  the  parts  of  a 
composition  siny,  or  move  smoothly,  and  at  the 
same  time  harmonize  well,  reply  to  eadi  othfr, 
take  up  the  points  adroitly,  and  mingle  and  mod- 
ulate with  sweetness,  Ircedom,  and  facility,  they 
are  said  to  exhibit  a  great  deal  of  contrivance. 

COXVERSL  or  COX"VERSO,  GIROL.VMO, 
born  at  Correggio,  composed  two  books  of  mad- 
rigals, published  at  Venice  in  1.575  and  l.'iS  t.  Hi-i 
madrigal,  "  ^\'hen  all  alone,  my  pretty  love,"  will 
ever  be  a  favorite  with  the  amateurs  of  this  style 
of  music. 

COOK,  IIEXRY,  was  educated  at  the  chapel 
royal,  during  the  reign  of  King  Charles  I. ;  but 
at  the  commencement  of  the  rebellion  he  quitted 
it,  and  entered  the  army.  About  the  year  1G4'2 
he  had  interest  enough  to  obtain  a  captain's  com- 
mission ;  and  from  that  time  he  was  always  dis- 
tinguished by  the  name  of  Cajitain  Cook,  llie 
loyalty  and  skill  of  this  musical  soldier  recom- 
mended him  to  the  notice,  and  secured  him  the 
patronage,  of  Charles  U.,  by  whom  he  was  not 
long  al'terwartls  appointed  master  of  the  children 
of  tlie  royal  cliapel.  A  hjTun  in  four  parts, 
comjiosed  by  Cook,  was  performed  instead  of  the 
Litany,  in  the  Chapel  of  St.  (ieorge,  at  AVincLsor, 
by  order  of  the  sovereign  and  the  knights  of  the 
Garter,  on  the  17th  of  April,  IGGl.  Xone  of  his 
cluirch  mu*ic  has  hitherto  been  printed  ;  and,  ii 
we  may  judge  from  liLs  few  secular  compositions 
that  are  to  be  found  dispersed  in  the  collections 
of  the  times,  he  seems  to  have  by  no  means  pos- 
sessed the  requisite  qualitications  for  the  high 
office  to  which  he  was  appointed.  In  the  second 
part  of  I'laj-ford's  "  Musical  Companion,"  pub- 
lished in  10(57,  there  arc  two  or  three  of  his  songs, 
which  are  in  almost  every  respect  dry  and  unin- 
teresting. He  was  the  musical  instructor  of 
Humphrey,  Blow,  and  WLse :  and,  as  Anthony 
Wood  informs  us,  die*!  of  grief  in  the  yeiu-  1()72, 
in  consequence  of  the  talents  and  musicai  repu- 
tation of  hLs  pupil  Humphrey  ha\ing  become  far 
superior  to  his  owni. 

COOKE,  DR.  BEXJAMIX,  a  celebrateil  Eng- 
lish musician,  was  the  son  of  Benjamin  i  "ooke,  a 
music  seller  in  Xew  Street.  Covent  Oarden. 
About  the  year  1780,  he  was  organi"t  and  master 
of  the  boys  of  Westminster  .Vbbey.  Dr.  Cooke 
composed  many  bcuitiful  vocal  pieces;  among 
which  may  be  named  the  duets  of  "  ThyrsLs 
when  he  left  me,"  and  "  Lot  liuhinelli  charm  the 
ear  ;  "  also  the  glees,  "  Hark  I  the  lark,"  "  How 
sleep  the  brave,"  "  In  paper  case,"  and  "  In  tht 
merry  month  of  May  ;  "  the  latter  of  which  is  an 
admirable  imitation  of  the  ancient  madrigal  stvlot 


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ENCYCLOPAEDIA   OF    MUSIC. 


COO 


Dr.  Cooke  had  the  character  of  a  most  amiable 
and  njjrccable  man.  Mi«s  IlawkinH,  in  her  anec- 
dotes, says  "  Xo  one  was  ever  less  vain  of  supe- 
rior excellence  in  an  art,  or,  rather,  less  sensible  of 
it,  than  Dr.  Cooke ;  he  certainly  supposed  that 
every  body  could  do  what  he  did,  '  il  they 
vould  but  try;'  and  he  would  lend  his  abilities 
to  assist,  in  the  least  ostentatious  manner.  When 
seated  at  the  organ  of  ^^'c;itraiuster  Abbey,  where 
110  one  ever  excelled  him  in  accompanying  an 
anthem,  he  would  press  every  hand  that  could  be 
useful  into  hLs  service ;  and,  even  at  the  risk  of 
addressing  hiineelf  to  persons  ignorant  of  the 
first  principles  ot  music,  would  say  to  any  lad, 
■who  had  strolled  into  the  church,  and  found  his 
■way  up  to  the  organ,  '  Young  gentleman,  caiVt 
you  lend  us  a  hand  here  r '  To  hLs  boys  he 
■would  say,  '  Coi.ie,  come,  don't  stand  idle ;  put 
in  one  hand  here  under  my  arm.'  "  Dr.  Cooke 
died  in  the  year  1793. 

COOKE,  ROBERT,  organist  and  master  of  the 
choristers  of  Westminster  Abbey,  died  in  the 
year  1814.  lie  was  a  composer  of  some  excel- 
lent vocal  music.  l"he  most  admu-ed  of  his 
works  is,  "  An  Ode  to  Friendship,"  which  was 
sung  on  the  first  night  of  the  British  Concerts. 
Among  his  other  works  are,  "  In  the  rose's  fra- 
grant shade,"  glee,  four  voices ;  "  Love  and  Fol- 
ly were  at  play,"  glee,  four  voices  ;  "  Mark  where 
the  silver  queen,"  glee,  four  voices;  "  Queen  of 
the  sea,"  "  Round  thy  pillow,"  three  voices ; 
•'  Soft  spirit,"  three  voices ;  &c.,  &c. 

COOKE,  NATHANIEL,  was  bom  at  Bosham, 
near  Chichester  in  1773.  He  received  the  prLn- 
cii)al  part  of  his  musical  education  in  London, 
from  his  uncle  Matthew  Cooke,  organist  of  St. 
George's,  Bloomsbury.  N.  Cooke  published 
many  small  pieces  for  the  piano-forte,  some  of 
which  are  particularly  pleasing.  lie  further 
published  "  A  Collection  of  Psalms  and  Hymns 
lor  the  Use  of  the  Brighthebustoue  Church 
Choir,"  wliich  includes  a  well-constructed  canon, 
"I  have  set  God  always  before  me,"  and  a  "  Te 
Dctim  laudumus,"  that  was  much  admired  at 
Brighton,  having  been  sung  in  the  church  nearly 
every  Sunday  lor  fifteen  years.  At  the  election 
of  an  organLst  for  the  parish  church  at  Brighton, 
though  several  candidates  were  put  in  nomina- 
tion, all  the  persons  present,  amounting  to  four 
hundred,  with  one  exception  only,  held  up  their 
hands  in  Cooke's  favor. 

COOKE,  THOMAS,  was  bom  in  Dublin,  about 
178.5.  Having  evinced  an  early  genius  for  music, 
he  studied  under  his  father,  and  at  seven  years  of 
age  played  a  concerto  on  the  violin  in  public, 
■with  an  etiect  and  precision  hardly  ever  ecjuallod 
bj'  so  young  a  performer.  .  A  talent  for  composi- 
tion soon  appeared,  when  he  had  the  advantage 
of  further  instruction  in  theory  from  the  cele- 
brated Giordani,  at  that  time  resident  in  Dublui. 
No  livini;  musician  had  a  greater  knowledge  than 
T.  Cooke  of  the  vario\is  musical  instruments  in 
use,  on  nine  of  which  he  perl'onued  solos  for  his 
benefit,  in  one  night,  at  Drury  Lane  Theatre,  and 
for  all  of  which  he  wrote  with  much  facility.  At 
a  very  early  age,  T.  Cooke  succeeded  to  the  di- 
rectorsliip  and  leading  of  the  music  at  the  The- 
atre Hoyal,  DuWin.  While  in  this  situation  he 
conipo-ed  several  musical  pieces,  wliich  were 
eminently  successfxil ;  but  the  ambition  of  ardent 
geiiiuu  in  seldom  at  reat  so  long  as  theifC  is  any 


thing  to  attain  ;  and  fo  the  surprise  of  all  his 
friends,  he  suddenly  announced  himself  in  Dub- 
lin, to  perform  the  arduous  singing  character  of 
the  Scraskier,  in  the  "  .Siege  of  ]5elgrade."  The 
play-going  part  of  the  town  knew  not  what  to 
thiidi,  not  having  the  least  idea  of  his  possessing 
any  vocal  powers  beyond  those  necessary  to  join 
in  a  glee  ;  but'  it  proved  that  he  well  knew  his 
ground,  for,  to  the  astonijihment  of  a  most  bril- 
liant house,  (it  being  his  own  benetit,)  he  acquitted 
himseli'  in  such  a  manner  as  at  once  to  place  him 
on  the  line  of  first-rate  singers.  After  this  suc- 
cessful dibut,  he,  at  the  request  of  the  proprietors, 
played  some  nights  more  in  Dublin,  and  soon 
afterwards,  having  occasion  to  visit  London,  he 
accepted  a  proposal  from  the  jiroprietors  of  the 
English  Opera,  at  which  theatre  he  filled  the  sit- 
uation of  first  singer  some  seasons,  during  which 
time  he  composed  many  successful  operas.  This 
led  to  offers  from  Drury  Lane,  where  he  closed 
an  engagement  for  a  series  of  years  as  principal 
singer,  and  at  which  theatre  he  was  engaged  as 
musical  director,  leader^  and  composer.  Cooke 
was  a  member  of  the  Philharmonic  Society,  of 
the  Royal  Academy  of  Music,  of  the  Nobleman's 
Catch  Club,  and  of  the  Glee  Club;  director,  leader, 
and  composer  of  the  music  to  the  Theatre  Royal, 
Drury  Lane  ;  and  princi])al  tenor  singer  to  the 
Bavarian  legation,  at  their  chapel  in  Warwick 
Street,  &c.,  &c.  His  principal  compositions  are 
the  operas  "  Frederic  the  Great,"  "  llie  King's 
Proxy  ;  "  overtiire  to  "  Maid  and  Wile  ;  "  glees, 
songs,  &c.,  and  the  "  Scale,  with  fifty-seven  Vari- 
ations, for  youjig  Performers  on  the  Piano-forte." 
Cooke  married  MLss  IloweUs,  smger  at  Covent 
Garden,  and  had  several  children,  who  became 
distinguished  in  music.  In  Loudon  he  went  by 
the  name  of  "  Tom  Cooke." 

COOMBE,  WILLIAM  FRANCIS,  was  bom 
at  Plj-mouth,  in  Devonshire,  in  1786.  He  began 
his  musical  studies  under  his  father,  a  professor  of 
singing  at  Ph-mouth,  in  which  town  he  sang  at 
the  early  age  of  nine  years,  on  occasion  of  some 
oratorios  being  given,  at  which  the  principal 
London  performers  were  present.  He  next  stud- 
ied mxisic  under  Churchill,  and  a  short  time  with 
Jackson,  of  Exeter.  At  the  age  of  fourteen  he 
was  apj)ointed  organist  of  Chard,  in  Somerset- 
shire, afterwards  at  Totness,  in  Devonshire,  which 
situation  he  held  for  nine  years,  subsequently  re- 
moving to  Chelmsford,  in  Essex,  where  he  held 
the  organist's  place  eleven  years.  Having  been 
much  engaged  in  teaching,  he  had  but  httle  time 
for  composition.  lie  has,  however,  published  a 
few  sonatas,  fie,  chiefly  for  the  use  of  his  pupils. 

COOMBS,  JAMES  MORRIS,  bom  at  Salisbury 
in  1760,  was  admitted  a  chorister  in  the  cathedral, 
and  received  his  musical  education  from  Dr.  Ste- 
phens and  Mr.  Parry.  At  an  unusually  early 
period  of  life  ho  composed  and  jiublished  a  "  Te 
Dviiiii,"  which  was  much  admired  for  its  origi- 
nality, and  is  still  occasionally  performed  in  vari- 
ous cathedral  churches.  In  1789  he  was  ap- 
pointed organist  of  Chijjpenhara.  He  afterwards 
published  several  single  songs,  glees,  a  set  of 
canzonets,  &c.,  many  oi  which  were  very  popu- 
lar. In  1819  he  edited  a  selection  of  psalm  times, 
which  is  very  highly  ajijiroved  of,  and  -has  an 
extensive  circulation.  His  last  attempt  in  com- 
j)Osition  was  an  ".Iv"'"  Dei,"  deemed  particu- 
larly beautiful.  He  died  in  the  year  1820,  agec 
fifty-one. 


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COR 


COPEUAllIO,  or  COOl'ER,  JOHN,  a  cele- 
brated perlormer  on  the  viol  da  i/amba,  and  com- 
poser lor  that  instrument  and  tlio  lute,  wa«  one 
of  the  musical  preceptors  to  the  cliildrcn  of  Kinp; 
James  I.  Some  of  his  vocal  compositions  are  to 
be  found  in  Sir  William  Leighton's  collection, 
and  there  arc  several  others  extant  in  manuscri])t. 
In  conjunction  with  Lanicro  and  another  person, 
he  composed  the  sonj^s  in  a  mask  written  by 
Dr.  Campion,  on  the  marriage  of  the  Earl  of 
Somerset  with  Lady  Frances  Howard,  (the  di- 
vorced Countess  of  Essex,)  which  was  represented 
in  the  banciucting  house  at  N\"hitehall,  on  St. 
Stejihen's  night.  Kill.  One  of  the  songs  in  this 
ma.sk,  beginning  with  the  words  "  Come  ashore," 
Is  inserted  in  Smith's  "  Musica  Antiijua,"  as  a 
f pi?  imcn  of  the  music  of  this  composer. 
( 'o;<erario  was  the  author  also  of  "  Funeral 
lears  for  the  Death  of  the  llight  Honorable  the 
Earl  of  Devonshire ;  figured  in  seven  Songes, 
whereof  six  are  soe  set  that  the  Wordcs  may  be 
expressed  by  a  Trelile  Voyce  alone,  to  the  Lute 
and  IJnse  Viol,  or  else  that  the  meane  Part  may 
be  added,  if  any  shall  effect  more  Fulnesse  of 
Parts,  nie  seventh  is  made  in  forme  of  a  Dia- 
logue, and  cannot  be  sung  without  two  Voyccs," 
i)rinte(l  in  1606  ;  and  "  Songs  of  Mourning  and 
bewailing  the  untimely  Death  of  Prince  Ilcnry," 
printed  in  1613.  It  has  been  supposed  by  some 
persons  that  Coperario  was  by  birth  an  Italian. 
This,  however,  is  an  error,  arising  from  the  cir- 
cumstance of  his  having  Italiajiized  his  plain  and 
genuine  name  of  John  Cooper  into  Giovanni 
Coperario. 

COPPOI.A,  GIUSEPPE,  a  NcapoUtan  com- 
poser, published  an  oratorio  entitled  "  L' Appari- 
zioiie  tli  ^.  MUhcle,  in  1788. 

COPYIST.  One  whose  profession  it  Ls  to  copy 
music,  either  for  private  or  public  performance, 
'llie  chief  part  of  this  art  consists  u»  giving  the 
heads  of  the  notes  a  full  rotundity  of  form,  and 
n  decided  and  unequivocal  situation  on  the  Enes, 
and  in  the  spaces  they  lue  meant  by  the  composer 
to  occupy ;  to  make  the  ties  of  the  semifjuavers 
and  notes  of  less  value  strong  and  clear,  as  well 
ns  to  place  them  at  equal  distances  ;  and  where 
two  or  more  staves  move  together,  to  set  the 
jmrts  so  correctly  under  each  other  that  the  eye 
may  catch  at  a  glance  what  the  hands  are  to  per- 
fonu  at  the  same  moment. 

COR.     (F.)    A  horn.     Sec  ConNO. 

CORANTE.    (I.) 
tin.e. 

COR.VNTO.  (I.)  A  certain  air,  consisting  of 
ihree  crotchets  in  a  bar.     See  Coiii.\nt. 

CORUELIX,  a  hari>ist  at  Paris,  publLshe<l  a 
method  for  his  instr\iment  in  1783,  and  other 
musical  works  up  to  the  year  1802. 

CORPEIT,  WILLIAM,  was  a  celebrated  per- 
fonner  on  the  violin,  and  leader  of  the  first  opera 
orchestra  at  the  Hayraarket,  at  the  time  when 
"  Ar.^iiioc  "  was  performed  there.  Of  this  person 
there  are  some  particulars  worth  noting.  He  was 
A  good  composer  and  a  great  collector  of  music 
and  musical  instruments.  When  the  Italian 
Opera,  properly  so  called,  was  e-tablished  in 
Ixmdon,  i^that  is  to  sny,  in  the  year  1710,  when 
'•  Hinaldo  "  was  perfonned  at  the  Ha)-market,)  a 
sot  of  iiistrumcutal  performers  were  introduce<l, 


A  slow  dance  in  3  or  s 
2         « 


and  Corbett,  though  in  the  ser\'ice  of  the  king, 
was  ])ermittcHl  to  go  abroad.  Accordingly  be 
went  to  Italy,  and  resided  at  Rome  many  years, 
during  which  time  he  made  a  valuable  collection 
of  mu.sic  and  musical  instruments.  Those  who 
were  acquainted  with  his  circumstances,  at  a  lose 
to  account  for  his  being  able  to  lay  out  such 
sums  as  he  was  oV)scn'cd  to  do  in  tlie  purchase  of 
books  and  instruments,  confidently  asscrte<l  that, 
besides  his  salary,  he  had  an  allowance  from  gov- 
ernment, and  that  hLs  business  at  Rome  was  to 
watch  the  motions  of  the  Pretender.  In  liLs  young- 
er days,  and  before  he  left  England,  he  had  pub- 
lishetl  two  or  tliree  sets  of  sonatas  for  violins  anf' 
flutes,  twelve  concertos  for  all  instruments,  and 
sundry  sets  of  tunes  made  for  plays ;  but  upoi. 
his  return,  about  the  year  1710,  he  brought  with 
hina  a  great  quantity  of  music  of  hLs  composing 
during  his  residence  abroad,  from  the  publication 
of  which  he  hoped  to  derive  considerable  advan- 
tage ;  he  was,  however,  disappointed  in  liLs  expec- 
tations. Corbett  died  at  an  advanced  age,  about 
the  year  17f8. 

CORDA  ;  plural  CORDE.  (L)  A  string;  as, 
sopra  una  corda,  on  one  string. 

CORDAXS,  DON  I5ART0L0ME0.  A  Ve- 
netian dramatic  cpmposer  between  the  years  1707 
and  173L 

CORDATURA.  (L.)  The  collective  appel- 
lation given  to  the  open  scale  of  any  stringed  in- 
strument ;  thus  the  open  strings,  G,  D,  A.  E,  form 
the  cordatura  of  the  violin  ;  E,  A,  D,  G,  B,  E, 
form  the  cnrdn'itra  of  the  guitar. 

COR  DE  SIGNAL.     (F.)    A  bugle. 

CORDICELLL  S.  GIOVANNI.  A  Roman 
organist  and  composer  of  motets  about  tlie  year 
1750.     He  taught  Clcmcnti  thorough  bass. 

CORELLI,  ARCANGELO,  founder  of  the 
Roman  school  (what  may  now  be  termed  the  an- 
cient school)  of  violinists,  was  born  at  Fusignano, 
near  Imola,  in  tlie  territory  of  IJologna,  in  1653. 
He  is  said,  by  Adami,  to  have  received  his  first 
instructions  in  counterjioint  from  Matteo  Simo- 
nelli,  of  the  pajial  chajiel ;  his  violin  master  was 
Giovanni  Rattista  Rassani,  of  Bologna.  It  has 
!  been  said,  without  authority,  that  Corelli  went  to 
Paris  in  the  year  1672,  but  was  soon  driven 
thence  by  the  jealousy  and  violence  of  Lulli. 
That  he  visited  Germany,  after  he  had  finishetl 
his  studies,  wc  are  assured  by  Gaspard  Printz, 
who  informs  us  that  he  was  in  the  service  of  the 
Duk»  of  Bavaria  in  1680.  Soon  after  thLs  period 
he  returned  to  Italy,  and  settled  at  Rome,  where, 
al)out  16.S3,  he  published  his  first  twelve  sonatas 
In  ir,85,  the  second  set  appeared,  under  the  title 
of  "  IlalMli  da  Camera."  In  1690,  Corelli  pub- 
lished the  third  opus  of  his  sonatas  ;  and  in  169J 
the  fourth,  which,  consisting,  like  the  second,  oi 
movements  fit  for  dancing,  he  called  also  "  lUilUl- 
ti  da  Camrr,!."  About  this  time  the  ojiern  wa> 
in  a  very  fiourishing  state  at  Rome,  and  Corelli 
led  the  band  as  principal  violin.  His  solos,  the 
work  by  which  he  acquired  the  greatest  reputa- 
tion during  his  lifetime,  did  not  appear  till  the 
year  1700,  when  they  were  publishe«l  at  Rome 
under  the  follo>ving  title  :  "  >*>iitjie  A  J'inlino,  e  I'io- 
ion*,  o  Vemhain,  ^H'ra  Qiiinta,  Parte  Prima  ;  Parit 
Secnnda,  Preludii,  Allrmandt,  Correnti,  Giijhi,  Sara- 
bande,  Camlte,  e  t'oliin."  lliLs  work  was  dctli- 
catod  to  Sophia  Charlotte,  Electresa  of  Bnuiden- 
burg.     Corclli's  great  patron  at  Rome  was  Cardi- 


•Z9 


225 


COR 


ENCYCLOr.'EDIA    OF    Ml)  SIC. 


COH 


dhI  Otloboiii,  the  (jreat  cncouraf^cr  of  learning 
and  tlio  polite  arts  ;  to  wlioiu,  in  1094,  he  dcdi- 
euted  Ills  "  Oprra  Qiiinta,"  and  in  whose  palace 
He  constantly  r€^ii(led,  "  ml  spctiosa  carattire  <)'  oltii- 
alf  trrritore  "  of  his  eminence,  as  he  expresses 
liim-^elf  in  the  dedication.  Crcscimbeni,  spenk- 
ing  of  thesiilendid  and  majestic  aaulimir,  or  con- 
cert, held  at  Cardinal  Ottoboni's  every  Monday 
evenini;,  says,  that  the  perfonnnncc  was  regulated 
by  Arcan'^clo  Corelli,  "that  mo^^t  celebrated  pro- 
fessor of  the  violin."  The  fr)llowins  anecdotes 
of  this  eminent  musician  were  comra\inicntcd  by 
(icminiani,  one  of  his  most  illustrious  pupils, 
an'',  who  was  himself  an  eye  and  car  witness  of 
what  he  thus  related.  At  the  time  when  Corelli 
erjoyod  the  highest  rejjutation,  his  fame,  having 
reviched  the  court  of  Is'aplcs,  excited  a  curiositv 
in  the  kin;;  to  hear  his  ]ierformance  ;  he  was  con- 
Bcquently  invited,  by  order  of  his  majesty,  to  that 
capital.  Corelli,  with  f^reat  reluctance,  was  at 
length  prevailed  upon  to  accept  the  invitation ; 
but,  lc--t  he  should  not  he  well  accom])anicd,  he 
took  with  him  his  own  second  violin  and  violon- 
cello. At  Naples  he  found  Alessandro  Scarlatti 
and  several  other  masters.  He  was  entreated  to 
play  some  of  his  concertos  before  the  king ;  this 
he  for  some  time  declined,  on  account  of  his 
whole  band  not  being  with  him,  and  there  was 
no  time,  he  said,  for  a  rehearsal.  Although, 
however,  he  consented,  and  in  great  fear  per- 
formed the  firt  of  his  concertos,  his  a^onishmcnt 
was  very  great  to  find  that  the  Neapolitan  musi- 
cians executed  Ixis  productions  almost  as  accu- 
rately at  bight  as  his  own  band  after  repeated  re- 
hearsals, when  they  had  almost  got  them  by 
heart.  "  .*^i  suona  (says  he  to  Matteo,  his  second 
violin)  h  NapoU."  After  this,  being  again  admit- 
ted into  his  majesty's  presence,  and  desired  to 
perform  one  of  his  sonatas,  the  king  found  an 
ndagio  so  long  and  dry,  that,  being  tired,  he  quit- 
ted the  room,  to  the  great  mortification  of  Corel- 
li. Afterwards  he  was  desired  to  lead  in  the  per- 
formance of  a  mask,  comi)osed  by  Scarlatti, 
which  was  to  he  represented  before  the  king. 
ITiis  he  undertook ;  but  from  Scarlatti's  little 
knowledge  of  the  ^^olin,  Corelli's  ])art  was  some- 
what awkward  and  difficult ;  in  one  place  it  went 
up  to  I",  and  when  they  came  up  to  that  passage, 
Corelli  failed,  and  could  not  execute  it:  b»it  he 
was  astonished  beyond  measure  to  hear  Petrillo, 
the  Neapolitan  leader,  and  the  other  violins,  per- 
form with  ease  that  which  had  l)aflled  his  utmost 
Kkill.  A  song  succeeded  this,  in  C  minor,  which 
Corelli  led  ort'  iii  C  major.  "  Riromincinmn," 
(let  us  begin  again,")  said  Scarlatti,  good  natured- 
ly.  Still  Corelli  persisted  in  the  major  key,  till 
St-arlatti  was  obliged  to  call  out  to  him,  and  set 
him  right.  So  mortified  was  poor  Corelli  at  this 
disgrace,  and  the  deplorable  figure  he  imagined 
he  had  made  at  Naplo,  that  he  stole  back  to 
Rome  in  silence.  Soon  alter  this  a  hautboy 
(ilayer,  whose  name  tleminiani  could  not  recol- 
lect, acquiied  such  applause  at  ){ome,  that  Corel- 
li, disgusted,  would  never  again  iilay  in  public. 
All  these  mortifications,  joined  to  the  success  of 
Valentini,  whose  concwtos  and  i)erforraances, 
though  infinitely  inferior  to  those  of  Corelli,  were 
becoiuc  fashionable,  threw  him  into  such  a  state  of 
melancholy  and  chagrin,  as  was  thought  to  have 
hastened  his  death,  'llus  ai\'<)unt  of  Corelli's 
journey  vo  isnples  is  not  a  mere  personal  anec- 
dote; it  thrv  wh  Iijht  upoii  the  comparative  state 


of  music  at  Naples  and  at  Rome  in  Corelli's  time, 
and  exhibits  a  curious  coiftrast  between  the  fierv 
genius  of  the  Neapolitans,  and  the  meek,  timid, 
and  gentle  character  of  Corelli,  so  analogous  to 
the  style  of  his  music.  In  171'2  his  concertos 
were  beautifully  engi-aved  at  Amsterdam,  by  Es- 
tienne  Roger  and  Michael  Charles  Ic  Cene,  and 
dedicated  to  John  William,  jirince  palatine  of  the 
Rhine;  but,  alas  I  the  author  sur\-ived  the  publi- 
cation of  this  admirable  work  but  sL\  weeks ;  the 
dedication  bearing  date  the  3d  of  December, 
17r2,  and  he  dying  on  the  18th  of  January,  171o. 
He  was  buried  in  the  Church  of  Santa  ilaria 
Delia  Rotonda,  the  ancient  Pantheon,  in  the  first 
chapel  on  the  left  hand  of  the  entrance  of  that 
beautiful  temple,  where  a  monument,  decorated 
with  a  marble  bust,  Ls  erected  to  his  memory, 
near  that  of  the  greate.it  of  painters,  Raphael, 
by  Philip  AVilliam,  count  ))alatine  of  the  Rhine, 
under  the  direction  of  Cardinal  Ottoboni.  Dur- 
ing many  years  after  Corelli's  decease,  a  solemn 
ser\-ice,  consLsting  of  selections  from  his  own 
works,  was  peiiorraed  in  the  Pantheon,  by  a 
numerous  band,  on  the  anniversary  of  his 
funeral.  TliLs  solemnity  continued  as  long  as 
any  of  hLs  immediate  scholars  sur\'ivcd  to  con- 
duct the  performance.  Of  the  private  lL''e  and_ 
moral  character  of  this  celebrated  musician  no 
new  information  can  now  be  obtained  ;  but  if  we 
may  judge  of  his  equanimity  and  natural  dispo- 
sition by  the  mildness,  swcetnei-s,  and  even  tenor 
of  his  mttsical  ideas,  his  temper  and  talents  must 
equally  have  endeared  him  to  all  his  acquaint- 
ance. The  account  that  is  given  of  his  ha-\-ing 
amassed  six  thousand  pounds,  exclusive  of  a  val- 
uable collection  of  pictures,  and  of  his  having 
bequeathed  the  whole  of  his  property  to  his  pa- 
tron. Cardinal  Ottoboni,  savors  more  of  vanity 
than  true  generosity ;  and  the  cardinal  magnani- 
mously evinced  his  opinion  of  thb  beque.-it,  by 
re  •■er\-lng  only  the  pictures,  and  distributing  the 
remainder  of  Corelli's  effects  among  his  indigent 
relations,  to  whom  they  naturally  appertained. 
In  regard  to  the  peculiar  merits  of  Corelli's  pro- 
ductions, it  may  be  briefly  said,  that  his  s^km,  as  a 
classical  book  for  forming  the  hand  of  a  young 
practitioner  on  the  violin,  have  ever  been  regarded 
as  truly  valuable  by  the  most  eminent  masters  of 
that  instnnnent ;  and  it  Ls  said  that  his  "  Opera 
Qiiinfa,"  on  which  all  good  schools  for  the  violin 
have  since  been  founded,  cost  him  three  years  to 
revise  and  correct.  Tartini  formed  all  his  schol- 
ars on  these  solos  ;  and  Giardini  observed,  that 
of  any  two  pu))ils  of  equal  age  and  abilities,  if 
the  one  were  to  begin  his  studies  by  Corelli,  and 
the  other  by  Geminiani,  or  any  otlier  eminent 
master  whatever,  he  was  certain  that  the  first 
would  become  the  best  jierformcr.  llie  concer- 
tos of  Corelli  have  withstood  all  the  attacks  of 
time  and  fa.shion  with  more  firmnc-s  than  any 
of  his  other  works.  The  harmony  is  so  pure,  the 
part.s  are  so  clearly,  judiciously,  and  ingcnioiLsly 
disposed,  and  the  eff«H-t  of  the  whole,  fiom  a  large 
hand,  so  majestic,  solemn,  and  sabliiue,  that  they 
preclude  all  criticism,  and  make  us  forget  that 
there  is  any  other  music  of  the  same  kind  exist- 
ing. Geminiai\i's  character  of  Corelli, 'upon  tie 
wliole,  seems  very  just :  "  His  merit  was  not  depth 
of  learning,  like  tliat  of  his  contomj)orary,  Ales- 
sandro  Scarlatti,  nor  great  fancy,  or  a  rich  inven- 
tion in  melody  or  harmony,  but  a  nice  ear,  atid 
most  delicate  taste,  which  led  liiin  to  select  the 


22C 


COR 


EXCYCLOP.-EDIA    OF    MUSIC. 


COR 


most  pleasing  melodies  and  harmonics,  and  to 
construct  the  part  so  as  to  jjroduce  the  most 
delightful  crtect  upon  the  ear."  At  the  time  of 
C'orelli's  grealost  reputation,  Ocrainiani  aiiked 
Scarlatti  wliat  he  tliought  of  him,  who  answered, 
that  "  he  found  notliing  greatly  to  admire  in  his 
composition,  but  was  extremely  struck  with  the 
manner  in  which  he  played  his  concertos,  and  his 
nice  management  of  his  band,  the  uncommon  ac- 
curacy of  whose  perfonuancc  gave  the  concertos 
an  amazing  eflcct,  even  to  the  eye  as  well  as  to 
the  ear."  For,  continued  ( iemininni,  "  Corelli 
regarded  it  as  an  essential  to  a  band,  that  their 
bows  should  all  move  exactly  together,  all  up  or 
all  down,  so  that  at  his  rehearsal,  which  con- 
stantly preceded  every  public  perionnance  of  his 
concertos,  he  would  immediately  stop  the  baiid  if 
e  saw  an  irregular  bow."  'llicre  was  little  or 
no  melody  in  iustrumental  music  before  Corelli's 
time ;  and  though  he  has  more  grace  and  ele- 
gance iji  his  cantUena  than  his  predecessors,  and 
Jiough  slow  and  solemn  movements  abound  in 
iiis  works,  yet  it  must  bo  coufe-^sed  they  are  des- 
titute of  true,  j)athetic,  and  impassioned  melody. 
However,  when  we  recollect  that  some  of  his 
productions  are  upwards  of  a  hundred  and  fifty 
years  old,  wc  shall,  in  spite  of  this  deficiency,  ad- 
mire and  wonder  at  their  grace  and  elegance, 
which  can  oidy  be  accounted  for  on  the  principle 
of  their  ease  and  simplicity,  which  have  conferred 
longevity  on  the  works  ot  Corelli.  His  jiroduc- 
tions  continued  longer  in  unhiding  favor  in  Eng- 
land, where  they  still  retain  a  considcndilc  por- 
tion of  esteem,  thou  even  in  his  own  country,  or 
indeed  in  any  other  part  of  Europe.  They  have, 
however,  been  compelled  to  submit  to  the  sxipe- 
rior  genius  and  talents  of  Haydn,  Mozart,  Ueet- 
hoven,  and  Cherubini,  who,  in  the  ideas  of  the 
generality  of  musical  readers,  will  probably,  and 
perhaps  justly,  be  considered  to  have  left  at  an 
immeasurable  distance  the  comparntively  humble 
efforts  of  their  laborious  predecessors. 

CORFE,  JOSEPH,  bom  at  Salisbury  in  1710, 
was  one  of  the  choristers  of  the  cathetlral  of  that 
city,  and  received  his  musical  cflucation  from  Dr. 
Stephens,  the  organist.  Early  in  lil'e  Corfe  was 
honored  with  the  patronage  of  James  Harris,  Esq., 
grandl'atb.or  to  the  Earl  of  Malmcsbury,  by  whose 
friendship  he  was  recommended  to  tlie  notice  of 
IJi^hop  Lowth,  which  procured  for  him,  in  1782, 
the  appointment  of  one  of  the  gentlemen  of  his 
majesty's  Chapel  Royal.  In  1792  be  was  elected, 
by  the  dean  and  chaj)ter  of  Salisbury,  orsjanlst 
of  that  cathedral  and  master  of  the  choristers  ; 
which  situation  he  resigned,  in  1S04,  to  his  son 
Artluir.  Few  men  stood  higher,  both  in  public 
and  private  estimation,  than  Corfe.  His  compo- 
sitions are  chierty  for  the  church,  and  his  morn- 
ing and  evening  service,  with  many  excellent  an- 
thems, are  in  constant  use  at  Salisbury  and  other 
cathecbids.  He  died  in  1820.  'ITie  following  is  a 
list  of  his  publications :  "  A  Morning  and  Even- 
ing Sen-ice,  a  Sanctus,  with  eight  Anthems,  ded- 
icated to  the  Dean  and  Chapter  of  Sali>bur)-,"  1 
vol.  ;  "  A  Treatise  on  Singing  ;  "  "  A  Treatise  on 
niorough  Bass ; "  "  Tlie  Beauties  of  Handel, 
detlicated  to  his  late  Majesty,"  3  vols.;  "  Sacrecl 
Music,  adapted  to  some  of  the  choicest  Composi- 
tions of  Jomelli,  Pergolesi,  S:c.,  &c.,  by  the  late 
James  Harris,  R«q.,  dedicated  to  the  Earl  of 
Malme.^bury  ;  "  "llie  Beauties  of  Purcell,  dedi- 
cated to  >Iis5  S.   Beckibrd,"   2    vols. ;    "  Three 


Sets  of  Glees,  from  Scotch  and  other  Melodies ; ' 
"  The  Second  Volume  of  Kent's  Anthem*  ' 

CORFE,  ARTHl'R  THOMAS,  son  of  tl  e  pre- 
ceding, was  bom  at  Salisbury  in  1773.  He  was 
placed  as  chorister  at  Westminster  Abbey  in  17S3, 
and  received  his  musical  education  from  Dr. 
Cooke;  he  alterwards  studied  the  piano-forte 
under  Cleraenti.  In  ISOt  he  was  elected  organ- 
ist and  master  of  the  choristers  of  the  cathedral 
of  Salisbury.  Mr.  .\.  T.  Corfc's  compositio)is  art 
a  "  Te  Diitnt,"  "  Ju'iihile,"  "  Saiutii.i,"  and  "  Com- 
mandments ;  "  an  anthem,  "  Lord  thou  art  become 
gracious,"  for  a  counter  tenor  ;  the  Ordination 
Hymn,  from  Handel's  Works;  and  also  several 
piano-forte  pieces. 

CORKIXE,  WILUAM.  An  English  composci 
of  "  Au-s  to  sing  to  the  Lute  and  Ba.ss  Viol," 
published  at  London,  iu  two  volumes,  in  1010 
and  1012. 

CORXAMUSA.  Ilie  old  name  of  the  bag- 
pipe.     See  Corxmuse. 

CORXE  DE  CIIASSE  (F.)  French  horn. 
Sec  Hoiix,  FuE.NCH. 

C:ORXET  A  PISTOXS.  (F.)  A  species  of 
trumpet  with  valves. 

CORXET.  A  wind  instrument  now  but  Uttle 
known,  having  more  than  a  century  since  given 
place  to  the  hautboy.  Ihere  were  tliree  kinds  ol 
comets  —  the  treble,  the  tenor,  and  the  bass.  The 
treble  and  tenor  cornets  were  simple,  cur\'ilineal 
tubes,  about  three  feet  in  lengtli,  gradually  in- 
creasing in  diameter  from  the  mouthi)iece  to- 
wards the  lower  end.  The  bass  comet  was  a 
serpentine  tube  four  or  five  feet  long,  and  increas- 
ing in  diameter  in  the  same  manner.  Thougli 
the  tone  of  this  instrument  was  naturally  ])Ower- 
ful  and  vehement,  yet  in  skiltul  hands  it  was 
cajiable  of  becoming  both  solt  and  sweet.  Tb.o 
name  cornet  has  more  recently  been  given  to  a 
species  of  trumpet,  much  used  in  the  briuss  bands 
of  our  day. 

CORXETTIXO.   (I.)     A  small  or  little  comet 
the  diminutive  of  cornet.     The  word  cornettino  la 
also  the  appellative  for  an  octave  trumjiet. 

CORXISHE,  ^^^LLL\.M.  Composer  for  the 
Chapel  Royal  in  the  time  of  Henry  VU. 

CORXMUSE.  Tlie  name  of  a  horn,  or  Cor- 
ni-*h  pi)  e,  formerly  much  in  use,  and  blown  like 
the  bagpipe. 

COltXO.     (I.)    A  French  hom  ;  plural  oonu. 

CORXO  1)1  BASSETTO.  (I.)  A  basset 
horn. 

CORXO  IXGLESE.  (L)  English  bom.  A 
reed  instrument  related  to  tlie  hautboy,  but  of  a 
deeper  pitch. 

CORO.  (I.)  A  chorus  or  piece  for  many 
voices. 

COROMEIOX.  (From  the  (Jreek.)  A  brazen 
bell,  much  used  by  the  ancients. 

COROXATA.     The  Italian  name  for  pause. 

CORR.VDIXI,  XICOLO.  Organist  and  rom- 
poser  at  Cremona.  His  "  Canstni  Frattoai"  weit 
published  at  Venice  in  1621. 


227 


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ENCYCLOPyEDIA    OF   MUSIC. 


COB 


COIIREGIO,  CLAUDIO,  pubEshed  some mad- 
ngaLs  nt  Veuii'e  in  luOG. 

CORRI,  DOMIXICO,  an  Italian  composer, 
lesidcnt  in  London,  was  a  pn])il  of  Porpora  at 
Naples  irom  the  year  \7(>'-i  till  Porpora's  death, 
in  17()7.  Corri  went  to  London  in  1771,  and  the 
isme  year  ])ioduced  an  oj)era  entitled  "  Alfssan- 
dro  neir  Indie ;  "  but  Lis  name  was  not  sufHcicntly 
blazoned  to  ^ive  liis  opera  mucli  iriat,  or  indeed 
to  excite  the  attention  it  desen-cd.  In  1788  Cor- 
ri  published  three  volumes  of  English  sonf^s,  with 
ori;iinal  accompaniments  —  a  work  which  was 
moderately  successful.  About  the  year  1797,  he 
en'crcd  into  partnership  with  Dussek  in  a  music 
wiirchou-e,  where  he  published  a  great  deal  of  Ids 
own  and  other  music  ;  but  the  works  by  which 
he  is  chiefly  known  In  England  are  his  opera  of 
"  The  Travellers,"  and  a  treatise  on  singing,  in 
two  volumes,  callorl  "  The  Singer's  Preceptor." 
He  was  father  of  Antonio  Corri,  of  New  York, 
Haydn  Corri,  of  Dublin,  M.  Corri,  of  Manchester, 
and  al-'.o  to  Mrs.  Moralt,  late  Mrs.  Drussek. 

CORRI,  MONTAGUE,  second  son  of  Domi- 
nico  Corri,  was  bom  in  Edinburgh  about  the 
year  1785.  At  an  early  age  he  was  taught  fen- 
cing by  Mr.  T.  Angelo,  and  became  unusually 
expert  at  it  when  only  ten  years  old.  As  all  his 
family  were  musical,  it  was  intended  he  shoiild 
be  brought  up  to  the  same  profession ;  but  liis 
inclinations  lending  him  to  jncl'cr  painting,  for 
which  he  also  showed  a  talent,  some  family  dif- 
ferences took  place,  which  occasioned  his  sudden- 
ly leaving  home  and  entering  the  sea  service ;  he 
soon,  however,  became  tiied  of  this  liie,  and  re- 
turned to  his  family,  where,  on  approaching  the 
age  of  nineteen,  he  began  to  reflect  that  he  must 
depend  entirely  on  himself  for  support,  and  flow 
with  avidity  to  music  as  his  last  resource.  M. 
Corri  may  be  said  to  have  been  ahnost  sdf-taurjht 
in  music,  never  having  received  more  instruction 
than  six  lessons  from  his  father,  twelve  from  his 
mother,  and  a  few  occasionally  from  Winter  and 
Steibelt  on  comi)osition  ;  whatever  fiu-thcr  knowl- 
edge he  derived  was  from  reading  over  the  scores 
of  the  most  celebrated  comjiosers.  His  career  in 
instrumental  practice  was  soon  8topi)cd,  first  by 
an  accidental  wound  in  his  head,  and  soon  after 
by  the  complete  dislocation  of  one  of  the  fingers 
of  his  right  hand,  which  prevented  him  from 
playing  on  the  piano-forte.  Composition  and 
the  arrangement  of  instrumental  music,  both  for 
theatres  and  military  bands,  then  became  his 
only  means  of  support,  and  in  this  branch  of 
business  his  expedition  was  wonderful.  He  was 
first  employed  at  the  Surrey  Theatre  as  comi)oser 
and  comjjiler  of  the  music.  As  an  iristnnce  of 
his  quiikness  and  cleverness  in  theatrical  busi- 
ness, we  will  relate  the  following  two  anecdotes  : 
he  once  received  the  words  of  two  songs  in  the 
morning,  both  of  which  were  sung  the  same 
evening  in  a  tl;eatre.  At  another  time  Mr.  Lis- 
ton  had  advertised  "The  Forty  Thieves"  for  his 
benefit  at  Covcnt  Giirden ;  but  on  the  Saturday  pre- 
vious to  his  benefit,  which  was  to  happen  on  the 
following  Tuesday,  it  was  found  that  tlie  orchestra 
parts  were  not  to  be  had,  they  having  never  been 
reset  since  the  fire  of  Drury  Lane  'llicatre  :  thus 
circumstanced,  M.  Corri  was  named  as  the  person 
most  likely  to  replace  them.  On  Sunday  he  wns 
Bcut  for,  and  after  reflecting  a  little  on  the  diffi- 
culty of  the  undertaking,  ultimately  agreed  to  do 

2 


it.  He  commenced  on  Monday  morning,  without 
giving  himself  time  to  make  the  score,  to  write 
the  wliole  of  the  parts  for  the  different  instru- 
ments from  a  piano-fonc  copy,  and  contrived  to 
be  prepared  for  a  half  band  rehearsal  on  Tuesdaj 
morning.  During  the  rehearsal,  he  quitted  the 
hou'^e  tor  rest  and  refreshment  for  an  hour,  and 
immediately  alter  proceeded  with  his  work,  which 
he  entirely  completed,  without  an  error,  by  eight 
o'clock  that  evening.  Corri's  next  engagements 
were  at  Astley's  and  the  Coliourg  Tlieatre  till  tlie 
year  1816,  when  he  was  appointed  chorus  master 
at  the  English  Opera  House.  About  1817  he 
was  engaged  by  his  uncle  to  manage  his  Panthe- 
on at  Edinburgh.  On  hLs  return,  he  arranged 
some  music  for  regimental  bands,  at  Xewcastle- 
upon-Tyne ;  and  then  took  his  passage  from 
Shields  to  I/Ondon,  on  board  a  Dutch  trader, 
which  was  wrecked.  After  many  hard-shijis, 
Corri  and  the  rest  of  the  crew  were  taken  up 
from  the  long  boat  by  a  collier,  and  he  arrived  in 
Gravesend,  having  lost  every  thing  he  possessed, 
except  the  clothes  on  his  back  and  a  few  pounds 
in  a  pocket  book  which  he  had  tied  round  his 
neck,  .^fter  this  period,  he  residetl  alternately  at 
Manchester  and  Liverpool,  occasionally  employed 
at  the  theatres,  and  giving  instructions  in  fencing. 

CORRI,  X.\.TALE,  brother  of  Dominico  Corri, 
was  a  singing  master  of  reputation  at  Edinburgh, 
where,  for  many  years,  he  gave  public  concerts 
and  other  musical  entertainments.  N.  Corri  has 
publislicd  several  books  of  Scotch  songs,  also 
some  Italian  chamber  music. 

CORRI-PALTOXI,  MME.  F.\^"XY,  daughter 
of  Xatale  Corri,  was  bom  at  Edinburgh  in  1801. 
Iler  earUest  instructor  in  singing  was  her  father; 
but  she  was  early  placed  under  the  tuition  of 
Braham.  She  subsequently  made  a  long  tour  in 
company  with  Madame  Catalani,  during  which 
she  must  have  heard  most  of  the  principal  singers 
in  Europe.  At  the  age  of  seventeen  she  was  in- 
troduced to  the  English  public  at  the  King's 
Theatre,  where  she  undertook  several  arduous 
characters  as  prima  donna.  The  editor  of  the 
Musical  Review,  in  speaking  of  ML«s  Corri's 
singing,  observes,  that  "  no  auditor  would  listen 
for  five  minutes  to  her  si'iging  without  pronoun- 
cing. This  is  the  manner  of  Catalani."  In  1821 
she  went  to  Germany,  where  she  had  small  suc- 
cess ;  and  from  there  to  Italy,  where  she  married 
a  singer  by  the  name  of  Paltoni.  Li  1825  she 
had  actjuired  considerable  reputation  at  Pologna. 
Two  years  afterwards  she  was  called  as  prima 
donna  to  Madrid  ;  then,  in  1828,  she  sang  at  Milan 
with  Lablache.  In  1830  she  returned  to  GjwTiany, 
and  was  afterwards  in  Russia. 

CORRI,  MISS  ROSALIE.  Younger  sister  of 
the  preceding.  She  sang  at  the  oratorios  in  Lon- 
don in  1820  and  1821,  had  a  good  voice,  a);d 
much  of  the  delightful  execution  of  her  sister. 

CORTECCIA,  FR.VXCESCO,  an  eminent 
Italian  orgauLst  and  composer,  was  chapel-master 
during  thirty  years,  to  the  Grand  Duke  Cosmc 
II.  He  published  at  Venice,  1.5G6,  madrigals, 
motets,  and  some  sacred  music.  He  died  in  1581 
A  copy  of  Corteccia's  madrigals  Ls  preserved  ir 
the  Christ  Church  collection,  at  Oxford. 

CORTOXA.  ANTOXIO.  A  Venetian  dramat- 
ic composer  about  the  middle  of  the  last  century. 

CORVPII.EUS.     The  name  given  by  the  ai> 

23 


COS 


ENCYCLOr.-EDIA    OF    MUSIC. 


COL 


cient  Greeks  to  the  conductor,  chief,  or  leader  of 
their  cliorus,  whoso  office  it  was  to  beat  the  time, 
Bud  to  direct  and  reguhite  every  thing  couccniing 
the  perfonnancc. 

COSIMI,  XICOLO.  A  lloman  composer  and 
violinist.  lie  was  in  England  in  1702,  when  he 
published  twelve  solos  for  th«  violin,  which  have 
considerable  merit  for  hLs  time.  There  is  ii  me/,- 
7.otinto  print  of  this  musician,  engraved  by  J. 
Smitli  I'rom  a  picture  of  Sir  (jodfiey  Kncller. 

COSTEI.EY,  WILLIAM,  of  Scotch  origin, 
was  organist  and  valet  tie  chambre  to  Charles  IX. 
lie  wrote  on  music  in  1570. 

COSYN,  an  English  musician,  published,  in 
1585,  sixty  psabns,  in  six  parts,  in  plain  couuter- 
(oiut. 

COSYN,  BENJAMIN,  a  celebrated  composer 
of  '  Lessons  for  the  Hari)fiichord,"  and  probably 
an  excellent  performer  on  that  instrument,  flour- 
ished in  the  first  half  of  the  seventeenth  century. 
There  arc  many  of  his  lessons  extant,  somewhat 
in  the  same  style  with  those  of  Dr.  Bull,  and  in 
no  respect  inferior  to  them. 

COTILLON,  or  COTILL.  A  Uvely,  animated 
dance,  generally  written  in  six  quavers  in  a  bar. 

COUCHED  HARP.  Tlie  original  name  of  the 
gpinet.     See  that  word. 

COULE.  (F.)  A  group  of  two  notes  con- 
nected by  a  slur. 

COUNTER.     See  Alto. 

COUNTER  BASS  i.s  a  second  bass,  where  there 
are  more  than  one  in  the  same  performance. 

COUNTER  FUGUE.  A  fugue  in  which  the 
subjects  move  in  contrary  directions. 

COUNTER  TENOR.  One  of  the  middle  parts, 
so  called  because  it  is,  as  it  were,  opposed  to  the 
tenor. 

COUNTER  TENOR  CLEF.  Tlic  name  given 
to  tlie  C  clef,  when  placed  on  the  third  line,  in 
order  to  accommodate  the  counter  tenor  voice. 

COUNIEU  TENOR  VOICE.  Ui,,h  tau>r.  A 
tcnu  apiilicd  to  tl'.e  highest  natiu'id  mide  voice. 
See  VoicK. 

COUNTERPOINT.  The  combination,  and 
modulation  of  sounds  either  consonant,  or  allow- 
ably discordant.  This  brunch  of  niu-iciJ  prac- 
tice derives  its  name  from  the  jtoint.s  fonnerlv  cm- 
ployed  in  conjposition,  instead  of  notes,  and  may 
be  understood,  jioiiit  wjainst  jmint,  or  note  anainst 
notf.  This  was  the  primitive  state  of  counter- 
;)oint,  which  has  since  been  called  jjliiin  or  simple 
counterpoint,  in  contradistinction  to  tl-.c  modern 
tig'irecl  or  florid  couuteri  oint,  in  which,  for  the 
purpose  of  beiiutifyiiig  the  melody,  and  enriching 
the  general  elfect,  many  not»»s  in  succession  ore 
fre<iuently  set  in  one  part,  n>,<iinst  a  single  note 
in  another.  Soon  alter  the  hiws  of  counterpoint 
be.;;in  to  be  understood,  music  for  the  human 
voice  was  divided  into  four  parts,  the  lowest  of 
which  waiJ  called  tenor,  the  next  counter  tenor, 
tlie  third  inetotus,  and  the  highest  triplum  and 
treble.  About  IJ.iO,  the  parts  were  increased  to 
six,  and  were  called  base,  baritone,  tenor,  con- 
tralto, mezzo  sojirano,  and  soprano.  By  the 
Hudy  of  counterpoint  the  composer  at  the'  same 
time  reaps  the  advantage  of  learning  to  combine 
various  parts  with  facility,  and  of  being  able  to 
»u2)ervise  their  harmonic  connection  ;  he  likewise 
imperceptibly  acquires  the  faculty  of  so  arran- 


ging the  melody,  which  exjiresses  hLs  i  leas,  as  tfl 
make  it  capable  of  a  voiicty  of  varia'.ioiis ;  h< 
reaps  the  advantage  of  being  able  to  lake  in  a 
one  view  all  the  various  harmonic  con.binationii 
which  may  accompany  his  subjcd,  and  luin  then 
choose  those  which  best  answer  his  jiurpose.  lu 
short,  by  the  study  of  counterpoint,  he  accpiiren 
an  expertness  and  dexterity  in  the  use  of  harmo- 
ny, witliout  which  he  is  unable  to  produce  the 
ideas  of  sound  conceived  in  his  fancy,  and  with- 
out which  he  cannot  lurrange  and  complete  them 
to  advantage  in  their  harmonic  extent. 

There  are  very  few  important  inventions  which 
are  involved  in  greater  obscurity  than  that  of  the 
discovery  of  couiiterjioint,  or  written  hannony. 
The  honor  of  this  invention  has  been  given  to 
Guido  Aretinus;  but  it  was  probably  known  hnig 
before  his  time,  and  it  was  one  of  those  discov- 
eries which,  no  doubt,  many  men  made;  one  which 
must  have  been  naluroUy  attained  after  making 
some  progress  in  music ;  but  Guido  probably 
made  great  improvements  in  counterpoint. 

COUNTRY  DANCE.  A  Uvely  iiointed  air, 
calculated  for  dancing,  ^^^len  the  country  dance 
was  tir:-t  introduced  is  not  known ;  but  it  is  cer- 
t;unly  of  French  origin,  tl'.ough  now  transplanted 
into  almost  every  country  in  Europe.  No  rules 
have  ever  l>een  laid  down  for  the  composition  of 
a  country  dance,  nor  is  it,  indeed,  confined  to  any 
particular  measure ;  so  that  any  common  song,  or 
tiuie,  if  sufficiently  cheerful,  may,  by  adoption, 
become  a  country  dance.     See  Contuk  Danse. 

COUPERIN,  ARMAND  LOUIS,  son  of  Nich- 
olas Coupcrin,  chamber  musician  to  the  Count  of 
Toulouse,  was  organist  to  t!ie  king,  and  to  scvenil 
churches  in  Piuris.  lie  composctl  some  instni- 
mcntid  and  church  music,  and  was  much  cele- 
brated for  his  skill  on  the  organ  and  haq>sichord. 
He  died  in  17S".>.  Dr  Bnrney  heard  him  jx'rform 
on  the  organ  at  Paris  in  1770,  ai\d  considered  liim 
as  a  great  player. 

COUPERIN,  FRANCOIS,  organist  and  cham- 
ber musician  to  I^uis  XIV.  and  XV.,  was  a  fine 
perfonner  on  the  harjisichord,  and  comixitcd  for 
tluit  instrument  an  idlcmandc  entitled  "  Lea  Idies 
heurcttscf,"  which  may  lie  seen  in  the  tirst  volume 
of  Sir  John  Hawkins's  History,  p.  48.  Coujx-rin 
died  in  173.3. 

COUPEiaX,  GERVAIX  FRANCOIS,  ton  of 
the  precetling,  8ucceede<l  his  father  as  organist  of 
severiU  churcJies  in  Paris  ;  he  idso  comjwsed  some 
instnimentd  and  church  music. 

COURANT.  (F.)  A  melody,  or  air,  of  three 
crotchets  in  a  bar,  moving  by  quavers,  ard  con- 
sisting of  two  strains,  each  beginning  with  the 
latter  three  (juavers  of  the  bi\r. 

COURT.VUT.  (F.)  An  ancient  instrument, 
similar  to  the  bassoon,  but  much  t-horlcr,  and 
therefore  called  by  this  name,  from  the  Ircnch 
word  miirte,  short.  'l"he  courtaut  bad  two  rowri 
of  projecting  api-rtures,  called  tampions  or  telincs. 
'ITicsc  tetines  were  not  movable,  but  fixture-, 
disjiosed  on  different  sides  of  the  instrximcnt  foi 
the  aeeomniodation  of  left-handc<l  as  well  as  rijiht- 
haiided  performers ;  and  when  the  tetine*  on  <in« 
side  were  used,  those  on  tlic  otlier  side  «cn 
stopped. 

COUSSER,  JOHANN  SIGISMUND.  hon 
about  the  year  1<>.>7,  was  the  son  ot  an  eminent 
musician  of  Prcs^burg,  iu  Hungiirr.  Itcing  ini- 
tiated by  his  fi.tlicr  into  the  nidimcnta  of  ntiudc, 


229 


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ENCYCLOPAEDIA    or    MUSIC. 


CRA 


and  iilso  into  ilic  praclicc  of  coniijoiiition,  lie  trav- 
tUcd  for  iiuprovoiufnt  into  France,  and  at  Paris 
became  a  ftt\orite  of  I,ulli,  and  was  by  him  as- 
ei.stcd  in  the  prosecution  of  his  studies.  After  a 
Htay  of  six  years  at  Paris,  Cousser  visited  Germa- 
ny, and  intriiduced  there  tlic  Italian  method  of 
sin^;in;;,  to  wliidi  the  Oennans  had  hitherto  been 
htran^ers.  About  the  year  1700,  he  \'isited  Itiily, 
making  two  journeys  thither  in  the  course  of  five 
years.  Upon  his  la,-t  return  to  Germany,  not  re- 
ceiving that  encouragement  wliich  he  thought 
due  to  his  merit,  he  quitted  that  country,  and 
went  to  England,  and,  settling  in  London,  became 
a  private  teac!>.er  of  music.  In  the  year  1710,  he 
uent  to  Ireland,  and  obtained  an  emplojnnent  in 
the  catheib-al  cliurch  of  Dublin.  Cousser  com- 
piscd  several  operas  and  other  vocal  music.  lie 
died  ai  Dublin  in  the  year  1727. 

CUAMEll,  AVILLIAM,  born  nt  Manheim 
about  the  year  1730,  was  an  excellent  violinist, 
celebrated  for  his  fire,  tone,  and  certiiinty  of  touch. 
He  is  said  by  the  Gennan  writers,  to  have  united 
in  his  placing  the  brilliancy  of  Lulli  with  the 
expression  and  energy  of  Benda ;  he  was  consid- 
ered as  the  first  \'iolinist  of  liis  time  in  Germany, 
Kiid  was  employed  at  the  chapel  of  the  elector 
palatine,  at  ^Ianheim,  from  1750  to  1770.  In  the 
latter  year  he  went  to  EngLind,  and  was  nomi- 
nated chamber  musician  to  the  king,  and  likewL^e 
appointed  leader  of  the  orcliestra  at  the  Opera,  and 
a  few  years  alterwards  leader  at  the  Ancient  Con- 
certs. It  was  Cramer  who,  in  1787,  led  the  or- 
chestra of  eight  hundred  musicians,  at  the  com- 
memoration of  Handel.  He  died  in  ISOo.  W. 
Cramer  composed  and  published  much  music  for 
the  violin. 

CRAMER,  JOHN  BAPTIST,  son  of  the  pre- 
ceding, though  born  in  Germany,  went  to  Eng- 
Itind  wth  his  father  at  a  very  early  age.  With  a 
Ptrong  natural  genius  for  music,  it  could  not  be 
long  before  young  Cramer's  progress  in  the  art 
gave  to  his  friends  the  promise  of  future  excel- 
lence. Surrounded  also,  as  he  was,  by  the  most 
eminent  musical  circle  then  resident  in  England, 
lie  liad  every  opportunity  of  forming  his  taste  on 
the  best  models.  Still,  it  is  said  that  the  ^^oUn, 
to  the  perfonnanee  of  whicli  instrument  the  father 
wished  to  direct  his  son's  talent  and  taste,  was 
never  sufficiently  admired  by  young  Cramer  to 
draw  forth  the  latent  jwwers  of  liis  genius,  and  it 
was  not  till  he  was  discovered,  when  about  six 
years  old,  to  take  every  opportunity  of  practising 
privately  on  an  old  piano-forte,  that  his  friends 
perceived  the  true  bins  of  liis  mind ;  shortly  after 
which,  his  father  apjjrenticcd  him  for  three  years 
to  a  German  professor  of  that  instrument,  by  the 
name  of  Bcnser  ;  his  next  master  being  Schrocter, 
and  his  third,  though  only  for  the  short  terra  of 
one  year,  tlic  celebrated  Clcmcnti.  Cramer,  on 
the  completion  of  his  tuition,  had  arrived  at  the 
ago  of  thirteen,  wh.cn,  after  another  year's  assidu- 
ous practice  Irom  the  works  of  the  best  masters, 
his  fame  as  a  performer  began  to  spread  througli 
the  metropolis,  and  he  was  in%'ited  to  play  in  pub- 
lic at  several  of  tl.e  liret  concerts,  wl  ere  he  aston- 
ished the  most  judicious  audiences  by  liis  preco- 
cious brilliancy  of  touch  and  rapidity  of  execution. 
At  the  same  time  he  studied  the  theory  of  music 
under  C.  F.  Abel.  The  father  and  son  may  he  con- 
lidercd  as  having  been  at  this  jieriod  two  of  the 
first  instrumental  perfonuers  in  Euioih.'  ;  their  as- 


sistance was  anxiously  sought  for  in  every  orches- 
tra of  importance  throughout  the  kingdom  ;  and 
it  was  not  long  after  this  time,  that  W.  Cramer, 
who  had  for  several  years  been  chcf-dorclieitre  at 
tlie  Ojiera,  w;is  appointed  to  lead  at  one  of  the 
commemorations  of  Handel  in  AVestminster  Ab- 
bey ;  a  professional  honor  of  the  very  highest  de 
groe  to  which  a  violinist  could  aspire,  and  to 
which  no  one  could  have  done  greater  justice.  It 
should  be  recollected  that  the  voc;d  and  instru- 
mental band  on  that  occasion  consisted  of  above 
eight  hundred  performers ;  and  it  is  well  known 
tliat  London  could  then  boast  of  many  excellent 
violinists,  all  of  whom  readily  ceded  their  claims 
to  Cramer,  Sen.  We  believe  th.at  the  son  was  in 
that  year  on  the  continent ;  at  all  events  the  char- 
acter of  his  instrument  was  such  as  to  render  his 
professional  assistance  \iseless  on  the  occasion, 
lie  was  about  seventeen  years  of  age  when  he 
went  to  various  parts  of  the  continent,  exerting 
his  talents  in  several  of  the  capital  towns,  in  such 
a  manner  as  to  attract  the  attention  of  all  ama- 
teurs of  the  piano-forte.  His  return  to  England 
took  place  about  the  year  1791,  previously  to 
wliich  period  he  had  become  known  as  a  comjxiser 
by  several  operas  of  sonatas,  published  at  Paris. 
A  few  years  afterwards  he  again  went  abroad, 
and  proceeded  as  far  as  Vienna  and  Italy.  At 
Vienna  he  renewed  his  friendship  with  Haydn, 
wlio,  when  in  England,  had  evinced  great  partial- 
ity for  him.  On  his  again  revisiting  England  he 
married.  J.  B.  Cramer's  eminence  as  a  teacher 
as  well  as  jKirformer  has  long  been  established  in 
London,  and  his  "  Instructions  "  and  "  Studies  " 
for  I'.is  instrument  are  considered  as  among  the 
best  in  Europe;  the  former  work  has  gone 
through  several  editions.  Tlie  "Studies"  are 
works  displaying  a  great  versatility  of  taste,  and 
fully  answer  the  purposes  for  which  they  were 
\\Titten.  Various  passages  m  them,  as  indeed  in 
many  of  the  other  works  of  this  master,  remind 
one  forcibly  of  the  harmony  of  Sebastian  •  Bach  ; 
this  is,  indeed,  the  less  remarkable,  as  the  works 
of  that  great  master  and  his  family  are  said  to 
have  received  the  strictest  attention  Irom  Cramer, 
in  the  earlier  portion  of  his  professional  career. 
Well  indeed  would  it  be  for  various  professors  of 
the  present  day,  had  they  laid  the  foundation  of 
their  music.d  attainments  on  so  firm  a  basis ! 
The  neglect  of  good  models  is  probably  the 
source  of  all  musical  defects.  "  How  many  a  mu- 
sical genius,"  says  Forkel,  "has  been  cramjxjd  by 
the  deficiencies  of  the  music  master,  who,  that  he 
may  maintain  his  own  credit,  cries  up  and  recom- 
mends studies  to  his  pupils,  comixjsitions  within 
the  reach  of  his  own  limited  tiJcnts,  whilst  the 
sublime  effusions  of  a  Bach  are  decried  as  obso- 
lete and  whimsical,  'est,  if  produced,  it  should  be 
discovered  that  t)i'  master  can  neither  play  nor 
even  comprehend  their  beauties  !  "  Thus  niaiiy  a 
pupil  is  obliged  to  spend  his  time,  labc,  and 
money  in  useless  jingle,  and  in  a  half  f.  dozen 
years  is,  perhaps,  not  a  step  larth.er  advanced  in 
real  musical  knowledge  than  he  was  at  llie  be- 
ginning. With  better  instruction  h.e  would  not 
have  wanted  half  the  time,  trouble,  and  money  to 
be  ])ut  into  a  way  in  which  he  might  have  safely 
and  progressively  advanced  to  perfection  in  his  art. 
"  It  is  certain,"  continues  Forkel,  "  that  if  rausie 
is  to  remain  an  art,  and  not  to  be  degraded  into  n 
mere  idle  amusement,  more  use  must  be  made  of 
classicid  works  than  lias  been  done  for  some  tiiuf 


230 


■JR. 


ENCYCLOP.EDIA    OF    MUSIC. 


CKA 


ptust.  IJiich,  as  the  first  classic  in  music  that  ever 
lived,  or  pc'rhaiyH  ever  wll  live,  can  incontcstahly 
IXTlbrm  tl'.e  most  important  wor\-ices  in  this  respect." 
A  jKTsoii  wlio  has  lor  some  time  studied  his  music 
must  (as  is  proved  by  the  writings  of  J.  B.  Cra- 
mer) readily  distinguish  mere  jingle  from  real 
harmony,  ai\d  will  show  himself  a  good  and  well-  j 
informed  artist  in  whatever  style  he  may  subse-  ; 
(juently  adopt.  'We  conclude  by  a  few  remarks 
on  the  style  of  composition  and  performance  of 
this  eminent  master.  "  If  music  be  a  language," 
says  an  eminent  contemporary  writer,  —  "  if  it  be, 
moreover,  the  language  of  the  passions,  as  authors 
have  dcscrilx;d  it, —  we  must  not,  therefore,  imagine 
that  sounds  convey  only  sentiment,  raise  only 
retinf-^  emotions,  or  excite  only  imjiassionate  feel- 
ings. Music  has  a  phraseology  as  varied,  and 
perhaps  even  more  diversified  than  words  can  as- 
sume ;  an<l  while  we  perceive  that  the  great  body 
of  compositions  passes  across  the  mind  without 
producing  any  pleasunible  ideas,  or  eonvc>'ing  to 
any  other  scn.se  than  our  hearing  any  jX'culiar  ex- 
citement, tlicre  are,  among  the  few,  men  who  sel- 
dom write  a  pa-ssage  that  is  not  remarkable  for 
some  pjulicular  beauty.  It  is  therefore  sufficient- 
ly jierceptible.  that  natural  aptitude  and  cultiva- 
tion arrive  together,  at  last,  to  a  perfection  anal- 
ogous in  the  a:;similation  of  its  object-s  to  th.at 
which  marks  wliat  is  called  fine  taste  in  conver- 
sation and  manners.  Language  defines  the 
thought  preci::ely.  Music,  on  the  contrary,  ad- 
dresses a  whole  cla.ss  of  perceptions.  A  certain 
scries  of  notes  wiU  excite  our  sensibility  to  a 
general  but  undefined  feeling  of  grandeur,  or  pa- 
thos, or  elegance,  without,  perhaps,  producing 
one  single  perl'ect  image  —  emotions  merely  ;  yet 
it  is  obvious  that  these  emotions  attend  as  cer- 
tainly on  pas- age~i  of  a  given  kind  as  definite 
ideas  are  conveyed  by  a  particular  set  of  words. 
It  happens,  th.en,  that  there  is  the  same  choice  in 
musical  as  in  conversational  phraseologv  ;  and  we 
apprehend  that  elevation  and  polish  are  attained 
by  the  same  means  in  the  one  ca-  c  as  in  the  other  — 
by  a  naturally  delicate  ai)i)rehen:-ion,  by  memo- 
n,',  by  a  power  of  a;isimilating  what  is  great  or 
elegant,  by  a  diligent  study  of  the  best  models. 
At  this  perfection  J.  H.  Ciamer  seems  to  have 
arrived.  Seldom,  indeed,  is  it,  that  we  meet  with 
a  weak,  insijiid,  or  coar-  e  pa-^sage  in  his  writings. 
If  he  employs  those  which  are  common  or  famil- 
iar, he  interweaves  them  so  jiidiciously  with  more 
groccfu!  notes,  he  varies  his  exjiression  so  con- 
tinually, dwells  for  so  short  a  time  ui)on  any 
single  expedient  rf  the  art,  ojipo-^es  the  members 
of  his  musical  s(  nfences,  and  even  whole  sen- 
tences with  such  judgment,  throws  in  such  strong 
and  '  ivid  lights  of  fancy,  modulates  with  such 
skill,  and  lay-  lis  foundation  of  harmony  in  a 
manner  «o  ma-teily,  that  they  who  do  and  they 
who  do  not  understand  the  contrivance  and  ehib- 
ontion  of  all  this  complex,  yet  apparently  natu- 
ral order,  feel  alike  the  sweetness  and  etlci't,  are 
alike  agitated  by  the  varying  sensations*.  With 
the  exception  of  (  lementi,  we  know  of  no  com- 
poser who  has  so  universally  succeeded.  .Vnd 
yet,  if  we  were  desired  to  point  out  the  reason  of 
the  xmiversal  ])leas\ire  his  comjiositions  bestow, 
we  should  -say,  after  all  the  attributes  we  have 
already  allowed  to  belong  to  this  author,  that  the 
■ptind  source  of  delight  has  not  yet  been  men- 
tioned. This  grand  delight  is  melody.  This  is 
.he  never-ceasing  charm."     No  words  can  possi- 

23 


bly  give  n  more  just  idea  than  the  above  f  *"  the 
causes  of  the  pleasurable  sensations  derivable 
from  melodious  m\isic ;  also  of  tlie  ))eeuliaritier 
of  merit  in  the  compositions  of  J.  11.  Cramer 
With  respect  to  the  talent  of  this  master  as  a  pi- 
anist, we  need  only  say  that,  by  the  willing  acqui- 
escence of  the  capital,  every  i>iof(?ssor  yielded 
to  him  the  jialm,  not  indeed  in  velocity  of 
finger,  but  in  brilliancy  of  touch  and  genuine 
taste.  The  following  eulogium  of  his  perform- 
ance by  a  contemporary  writer  is  by  no  means 
overcharged.  "  As  a  ])erfonner  on  the  piano- 
forte, Cramer  is  unrivalle<l,  and  we  may  i)erha])s 
venture  to  assert,  every  professor  unreluctantly 
)-ields  to  him  the  ])alm.  Ilis  brilliancy  of  execu- 
tion is  astonishing;  but  this  ciuality,  which  is,  in 
fact,  purely  mecl-.anical,  amounts  to  little  or  noth- 
ing in  the  general  estimate  of  such  merits  as  hLs ; 
taste,  exjfre^sion,  I'eeling,  the  power  that  he  pos- 
sesses of  almost  making  the  instrument  speak  a 
language,  are  the  attributes  by  which  he  is  so 
eminently  distinguished.  The  mere  velocity  of 
manual  motion,  those  legerdemain  tricks  which 
we  are  now  and  then  condemned  to  witnes ;,  may 
entrap  the  unwary ;  the  physical  ojjeration  of 
sounds,  whose  ra])idity  of  succession  is  incalcula- 
ble, may  be  necessary  to  stimulate  the  indurated 
tympana  of  some  few  dull  ears ;  but  those  who 
love  to  have  their  sympathies  awakened  by  the 
'  eloquent  music  which  this  instrument  may  be 
made  to  discourse,"  wlio  derive  any  j)leasure  from 
the  most  social  and  innocent  of  tho  fine  arts,  and 
who  would  gain  the  practical  advantage;;  of  an 
instructive  lesson  by  listening  to  a  delightful  per- 
formance, —  such  jiersons  should  seize  every  op- 
portunity that  is  afforded  them  of  hearing  Cra- 
mer." We  will  conclude  by  a  few  remarks  on  a 
passage  in  the  preface  to  one  of  his  elementary 
works.  He  says  that  "  experience  proves  that 
introducing  popular  airs,  arranged  as  lessons  for 
the  practice  of  learners,  greatly  jiromotes  their 
application  and  improvement ;  bcides,  when  de- 
sired to  i)lay,  they  have  the  satisfaction  to  ob- 
serve that  they  afibrd  more  entertainment  to  their 
hearers,  by  pie  es  of  tliLs  kind,  than  by  playing 
long  and  uninteresting  coniiiosilions :  therefore 
the  author  has  selected  for  hi  i  lessons  many 
favorite  airs,  which  he  has  arraiige<l  in  a  familiar 
style  ;  and  in  order  to  preserve  tl>e  necess.ary  pro- 
gressive gradation,  has  comi)o-ed  the  remainder 
of  the  lessons."  We  are  oxirselves  convinced 
that  the  foregoing  idea  of  Cramer  is  founde<l  on 
enlightened  exjierience  ;  as,  without  cavilUn)} 
about  terms,  we  know  at  j)re;.ent  several  instances 
of  unusvmlly  rajiid  advance-s  in  piano-forte  play- 
ing made  by  children  who  are  studying  on  the 
plan  recommended  above,  and  who  have  thus 
gained  that  confidence  in  their  own  playing 
which  is  absolutely  reiiuL'-ite  to  accustom  a  child 
to  perform  well  before  strangers  ;  and  which  con- 
fidence they  have  aciiuired  by  feeling  and  know- 
ing that,  whilst  they  amuse  themselves,  they  give 
pleasure  to  their  hearers.  The  following  is  a  list 
of  Cramer's  published  works:  Op.  1.  "Three 
Sonatas."  2.  "'nireo  Sonatas"  (easy.)  ,"}."  Three 
Sonatas,  with  Accomixiniments,"  (easy.)  4. 
'•niree  Grand  Sonatas,"  Paris.  .5.  "Three  So- 
natas," (easy,^  I'aris.  (i.  "  Four  f»rand  Sonatna," 
I'aris.  7.  " 'ITirce  (irand  !>»onatas,'"  dedicated  to 
Muzio  dementi.  8.  "  Two  !^<inata>."  9.  "Thre« 
Sonatas,  with  Accompaniments."  10.  "Concer- 
to', with  Orchestral  Aceompaiiimcuts."  1 1.  "Thre* 
1 


;RA 


ENCYCLOPAEDIA    OF    MUSIC. 


CRA 


Sonatas."  I'i.  "Three  Souatas,  with  popubir 
Airs."  m.  "'Iliree  .Sonatinas."  11.  "ITiree 
Sonatas,"  (easy.)  1.5.  "Tlirec  Sonatas,"  (easy.) 
I().  "Concerto,  with  Orchestral  Accompani- 
rucnts."  17.  "  Miirches  niul  Waltzes."  18. 
"  'lliree  Sonatas,  with  Accompaniments."  19. 
"'Diree  Sonatas,"  (easy.)  20.  "Sonata,"  clecli- 
rated  to  Clemcnti.  21.  "Two  Sonatas,"  (easy.) 
22.  "  Tliree  Sonatas,"  dedicated  to  J.  Haydn, 
Vienna.  2:5.  "Three  Sonatas,"  (easy.)  24. 
"Duet  for  two  Grand  Piano-fortes."  26.  "Three 
Grand  Sonatas."  2'i.  "  Concerto,  with  Orclies- 
tral  Accompaniments."  2".  "  Two  Grand  .So- 
natas," London  and  ParLs.  28.  "  Quartet  lor  I'i- 
ano-forte,  Violin,  Tenor,  and  Violoncello,"  Lon- 
don and  Vienna.  29.  "  Three  Grand  Sonatas," 
dedicated  to  J.  L.  Dussek,  London,  Paris,  and 
Vienna.  .30.  "  Fir;it  Volume  of  Studio  peril. 
Piano-forte."  .31.  "  Three  Sonatas,"  (easy. )  32. 
"  Xottui'uo,"  (easy.)  33.  "  Three  Sonatas."  34. 
"  Grand  Duet  for  two  Performers  on  the  Piano- 
forte." 35.  "  Three  Sonatas,  with  popular  Aii-s." 
.3').  "  Grand  Sonata,"  dedicated  to  J.  Woelti.  37. 
"  Concerto,  with  Accompaniments."  38.  "  Three 
Sonatas."  39.  "  Three  Sonatas,  with  popular 
Airs."  40.  "Second  Volume  of  .Studio  peril. 
Piano-forte."  41.  "  Three  Sonatas,  with  popular 
Airs."  42.  "  Grand  Sonata,"  detlicaied  to  G. 
Onslow,  Esq.  43.  "  Three  Sonatas,  with  popu- 
lar Airs."  44.  "  ITiree  Sonatas."  45.  "  Duet 
tor  Piano-forte  and  Ilaq)."  4G.  "  A  Sonata." 
47.  "  Three  Sonatas."  48.  "  Grand  Concerto  iu 
C  minor,"  London  and  Piuis.  49.  "  Three  So- 
natas." 50.  "  Duet  for  two  I'erformcrs  on  the 
Piano-forlc."  51.  "Concerto  iu  E  Hat,  major," 
London,  Paris,  and  Offenbach.  52.  "  Duet  for 
Piano-forte  and  Harp."  53.  "  Grand  .Souata 
(L' Ultima,)"  London  and  Paris.  54.  "  Xottur- 
no."  55.  "  Duke  et  Utile,"  Loudon  and  Paris. 
56.  "  Concerto  in  E  shaq),  major."  57.  "  Sona- 
ta, No.  1,  '  Les  Huivaiiies,'  "  London  and  Leipsic. 
58.  "Sonata,  No.  2,  'Les  Sitiraiites,' "  London 
and  Leipsic.  59.  "  Sonata,  No.  3,  '  Les  tiuican- 
tes,'  "  London  and  Leipsic.  GO.  "  Grand  Bravura, 
with  Variations,"  London,  Paris,  and  Uonn.  CI. 
"  Grand  (Juiutetto  for  Piano-forte,  Violin,  Tenor, 
Violoncello,  and  Contra  Passo,"  London  and 
Bonn.  fi2.  "  Sjnii/a  tie  lietour  a  iMmlres,"  dedi- 
cated to  F.  Hies,  London,  Paris,  and  Leipsic.  (53. 
"  Sonata,"  dedicated  to  J.  N.  Hummel,  Loudon, 
Paris,  and  Leipsic.  64.  "  Aria  a  I' Inglfse,"  dedi- 
cated to  T.  Broadwood,  Esq.,  Loudon  and  Leip- 
sic. Without  oyxM  numbers  :  "  SSketeh  a  la  Ifai/ttii," 
dedicated  to  his  friend,  D.  Dragonetti ;  "Kondo," 
dedicated  to  his  dau;^hter  ;  both  composed  lor 
the  Harmonifon.  "Round,  from  the  Opera  of 
'  Corte/,'  arranj^ed  as  a  Fantasia."  "  t.'apriccio, 
with  Airs  liom  Mozart."  "  Fantasia,  with  Vari- 
Btions  ou  a  Russian  Air."  "  C/ie  faro  sv/iza,  Air 
iidapted  from  tiluck."  "  Vedrai  Cariiio,  with 
Variations  from  Mozart."  "  Ah  .'  Perdona,  with 
Variations  from  Mozart."  "  Deh  J'lviuli,  with 
Variations  from  Mozart."  "  Impromptu  on  a 
Subject  by  Handel."  "  Grand  Sonata,  with  a 
Violin  Oblijjato,"  London  and  Munich.  "  Peri- 
odical Sonatas,  Letters  A,  B,  C,  D."  "  Twelve 
detached  Movements,  consisting  of  Rondos,  Va- 
riations, Adagio,  and  a  Toccata,"  (published  in  an 
oblong  form, )  London  and  Vienna.  "  Four  Ron- 
dos, trom  Subjects  of  H.  R.  Bishop's  Operas." 
"  Two  Serenatas  lor  Piano-forte,  Harp,  Flute,  and 
Horns."      "Twenty-five  Divertimeutos  for  the 


Piano-forte,  including  '  Days  of  Yore,'  La  Re- 
union,' '  Le  lictour  dii  I'rintemps,'  '  La  Vtrenna, 
'  IIar\-est  Home,"  '  B^nks  of  the  Danu  te,'  '  La 
liicordanza,  '  Of  noble  race  was  Shenkiu  '  '  Han- 
overian Air,  with  A'ariations,' '  Rousseau's  Dream, 
with  Variations,'  '  Crazy  Jane,  with  Variations.'  " 

CRAMER,  FRANCOIS,  second  son  of  Wil- 
liam Cramer,  was  born  at  Schwetzingen,  neai 
Manheim,  in  1772.  He  was  early  uistructed  by 
an  able  master  in  the  art  of  playing  the  violin. 
At  the  age  of  seven,  he  left  his  native  country  to 
join  Ills  father  and  brother,  who  were  settled  in 
England.  On  hLs  arrival  in  London,  it  was  his 
father's  anxious  wLsh,  by  giving  him  good  masters, 
to  follow  up  what  he  had  aheady  so  well  begun  ; 
but  the  change  of  climate  operating  on  his  nat- 
urally delicate  constitution,  it  was  advised  that 
he  should  entirely  discontinue  the  study  of  the 
violin,  which  was  strictly  adhered  to  by  his  father. 
\  lapse  of  seven  years  having  made  great  im- 
provement in  the  liealth  of  the  young  artist,  at 
the  age  of  fifteen  it  was  thought  necessary  that 
some  plan  should  be  adopted  for  his  future  pros- 
I)ects  in  lite.  His  brother  John  then  recommended 
him  to  take  up  the  violin  again  ;  wliich  advice  he 
followed,  and  had  the  painful  task  of  being, 
obliged  to  recommence,  even  by  practLsmg  the 
gamut  and  scales  of  diil'erent  descriptions.  Hav- 
ing, however,  had  an  early  impression  of  these 
difficulties,  he  soon  found  the  means  of  overcom- 
ing them,  and  in  a  few  months  was  able  to  take 
a  part  in  some  easy  duets,  for  two  -s-iolius,  and  to 
accompany  his  brother  iu  some  familiar  sonatas 
for  the  piano-forte.  Soon  after  this,  he  found 
himself  equal  to  attempt  some  of  Corelli's  music, 
and  studied  with  much  avidity  the  solos  of  that 
great  master;  after  wliich  he  made  him:^elf  well 
acquainted  with  the  solos  of  Geminiani  and  Tar- 
tini,  and  the  capriccios  of  Benda  and  old  .Stamitz. 
In  the  improvement  of  a  young  artist,  more, 
however,  is  required  than  to  make  himself  ac- 
quainted with  the  secrets  of  his  instrument : 
reading  music  is  of  the  first  importance.  At  the 
age  of  seventeen,  therefore,  his  father  placed  him 
(gratuitously)  in  the  opera  band,  of  wliich  he, 
the  father,  was  the  leader,  that  he  might  profit 
by  the  various  styles  and  character  of  the  music 
generally  heard  in  that  theatre.  In  the  course  of 
a  few  years  he  rose  in  the  ranks  of  the  orchestra, 
and  was  ajipointed  principal  second  violin  under 
his  father,  not  only  at  the  opera,  but  at  all  the 
principal  concerts,  namely,  the  King's  Concert  of 
Ancient  Music,  the  Ladies'  Concerts,  and  the  great 
musical  festivals  given  in  the  country.  Li  the 
autumn  of  the  year  1799,  he  lost  his  father,  and 
in  the  ensuing  season  was  aiijiointed  leader  of  the 
.\ncient  Concerts,  by  the  unanimous  consent  of 
the  noble  directors.  He  was  likewise  engaged  to 
lead  the  Vocal  Concerts,  Philluumonic,  N:c.,  and 
had  the  honor  of  leading,  by  express  command, 
the  band  on  the  occasion  of  the  coronation  of 
George  UI. 

CRANFORD,  "\VTLLI.\M.  One  of  the  choii 
of  St.  Paul's  Church,  in  London,  in  1650.  He 
composed  several  rounds  and  catches,  to  be  fot  jid 
in  Hilton's  and  Playlord's  collections  ;  and  live- 
wise  the  well-known  catch,  to  which  P\ircell  af- 
terwards adapted  the  words,  "  Let's  live  g-  'd 
honest  lives." 

CRAN'nU.S.     See  Kuanz. 

CRANZ.    See  Kbasz. 


232 


CRE 


ENCYCLOPEDIA    OF    MUSIC. 


Ail 


CRECQUII,LOX,  THOMAS.  An  eminent 
Belgian  composer  and  chapel-master  to  Charles 
V.  HLs  compositions  are  dated  between  the  years 
1649  and  157G. 

CREED.  An  English  clerK)-man,  who  died  in 
1770.  A  paper  of  his  was  reail  to  the  Koyal  Soci- 
ety, in  1747,  entitled  "A  Demonstration  of  the 
Possibility  of  makin<;  a  Macliine  that  shall  write 
extempore  Volnntaries,  or  other  Pieces  of  Mu.sic." 
This  paper  is  printed  in  the  I'hilosophical  Trans- 
actions lor  1747,  No.  183,  and  in  Martin's  Abridg- 
ment, vol.  X.  p.  2(56.     See  IIoulfieli). 

CREDO.  (L.)  /  beliere.  One  of  the  prmci- 
pal  movcnicntiS  of  the  mass. 

CREItillTON,  ROBERT,  D.  D.,  was  the  son 
of  Dr.  Robert  Creighton,  of  Trinity  College, 
Cambridge,  who  was  afterwards  Bishop  of  Hath 
and  AVcUs,  and  attended  Charles  II.  during  his 
exile.  In  his  youth  lie  had  been  taught  the  ru- 
diments of  mu.sic,  and  entering  into  orders,  he 
sedulously  applied  himself  to  the  study  of  church 
music,  in  which  he  attained  to  such  a  degree  of 
proficiency,  as  entitled  him  to  a  rank  among  the 
ablest  masters  of  his  time.  He  died  at  Wells,  in 
the  year  17;i'),  ha^•ing  attained  the  age  of  ninety- 
seven.  Dr.  lioyce  has  given  to  the  world  an  an- 
them for  four  voices,  "  I  will  arise  and  go  to  my 
father,"  composed  by  Dr.  Creighton,  wliich  no 
one  can  peruse  without  regretting  that  it  is  so 
short. 

CREM15ALA.  An  ancient  instrument,  which 
resembled  tlic  castanets,  and  was  the  common  ac- 
companiment to  female  singers  and  dancers. 

CREMONA.  The  appellation  by  which  those 
^■iolins  are  ilistinguished,  which,  from  their  super- 
excellence  of  tone,  have  really,  or  are  supposed 
to  have  been  made  at  Cremona,  in  Italy. 

CREMONESI,  AMI5ROSIO.  A  composer  of 
some  concerted  madrigals,  published  at  Venice 
in  1636. 

CRESCENDO,  or  CRES.  (I.)  By  the  term 
crescendo  the  Italians  signify,  that  the  notes  of 
the  passage  over  which  it  is  placed  are  to  be 
gradiujUy  swelled.  This  operation  Ls  not  of  mod- 
em invention,  though  now  generally  ado])ted. 
Tlie  ancient  Romans,  as  we  Icam  from  a  passage 
in  Cicero,  were  aware  of  its  beauty,  and  prac- 
tised it  contiuiially. 

Example. 


i 


-5i- 


razis: 


:a=s: 


^ 


m 


jvjj— a*— «; 


o  _ 


g    _ 


The  swell  is  in  one  sense  applicable  to  all  taxi- 
ric.  There  is  something  of  it  upon  every  note 
played,  and  upon  every  syllable  sung  :  but  in  its 
more  general  and  appropriate  acceptation,  it  is 
mimbered  among  the  most  refined  and  delicate 
beauties  of  music  ;  and  in  this  sense  it  is  never 
used,  unless  the  sentence  or  word  be  very  em- 
phatic, and  the  soiind  intended  to  express  such 
sentiment  in  a  manner  at  once  striking  and  af- 
fecting. 


CRESCENT.  A  Turkish  instrument  with  belU 
or  jingles,  peculiar  to  their  military  music. 

CRESCENTINI,  LE  CHEVALIER  GIROT.A. 
MO,  was  born  in  1769  at  Urbania,  near  L'rbino, 
in  Italy.  This  celebrated  soprano  singer,  of  the 
Bolognese  school,  perfonne<l  at  the  priiu^ijial  the- 
atres and  courts  of  Eurojie.  In  1S04  he  wits  at 
Vienna ;  wliere,  at  a  ropresenfation  of  "  Romeo 
and  Juliet,"  in  which  he  personated  Romeo,  alter 
the  beautiful  air,  "  Oinbra  lutorata,"  which  he 
suigs  in  the  garden,  two  doves  were  made  to  de- 
scend from  the  clouds,  bearing  him  a  crown  of 
laurels,  while,  from  every  side,  flowers  and  gar- 
lands were  tlirown  on  tlie  stage.  Having  con- 
sented, in  1809,  to  perfonu  the  same  opera  at  the 
Court  llieatre  in  I'aris,  lie  so  delighted  tlie  Em- 
peror Napoleon,  that,  at  the  third  representation 
of  the  piece,  the  emperor  sent  him  the  decoration 
of  the  order  of  the  Crown  of  Iron.  Crescentiui 
has  composed  much  vocal  music,  which  has  inva- 
riably met  with  success.  His  singing  exercises  — 
a  truly  valuable  work  —  are  pubUshed  by  Boosey 
&  Co.,  of  London.  In  the  year  1806,  Cre^centini 
was  in  the  service  of  the  Emperor  Napoleon,  as 
principal  singer  at  his  private  concerts. 

CRESCIMBENI,  GIOVANNI  MARIA,  an 
Italian  priest,  died  at  Rome  in  172S.  He  was 
author  of  tlie  foUowijig  works  :  First,  "  hioria 
dilJa  vo/yar  Poi'sia,"  Roma,  1698.  Second,  "  Com- 
meiitarii  iiUomo  aIJa  sua  Istoria  deUa  volt/ar  I'oesia," 
Roma,  1702-1711.  In  these  works  the  eleventh 
chapter  treats  "  De  Drammi  Miisicali,  e  delta  loro 
Oriijiite  e  Sta(o ;  "  the  twelfth  chapter  "  DeUe 
Feste  MiuiraJi,  e  delie  CatUate  e  ik'rciiate  ;  "  and 
the  fifteenth  chapter  "  Dcf/U  OratorJ  o  deUe  Canlate 
Spiritiiali." 

CRESPEL,  WILLLAJM.  A  celebrated  vocal 
comi)oser  in  the  middle  of  the  sixteenth  century. 
His  name  ai>pcars  in  many  of  the  best  collec- 
tions of  motets  and  songs  which  were  published 
about  that  tune. 

CRIES  OF  LONDON.  Certain  musical 
phrases,  or  successions  of  sounds,  in  which  the 
London  hawkers  have  long  been  habituated  to 
announce  their  several  articles,  and  their  ([uali- 
ties.  Fonncrly,  it  was  the  practice  of  comjjosers 
to  harmonize  the  cries  of  London,  faithfidly  re- 
taining every  note  of  the  original  melodic-;,  how- 
ever rude  and  barbarous.  Thus  dignified,  they 
«eemed  to  claim  a  place  in  this  Encyclopa.Mlia.  In 
the  collection  entitled  "  Pammelia"  Ls  a  round  to 
the  cry  of  "  New  Oysters  !  "  and  another  to  that 
of  "  Have  you  any  wood  to  cleave  r  "  The  sjreat 
Orlando  Gibbons  gave,  in  four  parts,  the  cries  of 
his  time,  among  which  is  one  of  "  A  i)lay  to  be 
acted  by  the  scholars  of  our  town."  ilorloy,  in 
the  reign  of  James  I.,  set  those  of  the  Milliner's 
Girls,  in  the  New  Exchange  in  the  Strand. 
Among  others,  equally  unknown  to  the  pri'sent 
times,  were  "Italian  Falling  Bands,"  ••  I'rcncV 
GarteiN,"  "  Roman  fjloves,"  "  Rnbatos,"  la  kind 
of  ruH's,) "  Sisters,"  (i.  e.,  nuns,")  "Thread,"  "  Slick 
Stones,"  "  Poking  Sticks,"  (taper,  and  usc<l  to 
open  and  separate  the  plaits  of  the  great  rufis 
then  in  fashion. >  In  a  play  called  "Tarcjuin  and 
Lucrece,"  the  following  cries  occur:  "A  Market 
Stone,"  "  Bread  and  Meat  for  the  jKvor  Prisoners," 
"  Rock  Samphire,"  "  A  Has.sork  lor  your  Pew,  or 
a  Pesocke  to  thr\»st  vour  Feet  in,"  "  I.anthonil 
and  Candlelight ; "   n  ith  many  othent. 


30 


233 


3R1 


UXCYCLOr.T-DIA    OF    MUSIC. 


CRO 


CKISl'I,  AUlll^:  PIETHO,  wfts  born  nt  Home, 
•bout  tlie  year  17.'t7.  He  publi.shed  Keveral  so- 
natas niid  foiK'crtos  for  the  hari)sichor(l,  in  the 
style  o|  Alberti.  His  compositions  contain  preat 
elegance  of  melody,  which,  thon;;h  sometimes 
simjik'  to  excc-<s,  is  not  cosily  imitated ;  speci- 
mens of  tlicni  arc  inserted  in  Dr.  Crotch's  collec- 
tions.    C'rispi  died  at  Home  in  1707. 

CKIVl'.LLI,  DOMENICO,  was  bom  at  Bres- 
cia in  1791.  At  nine  years  of  ape,  he,  with  his 
father,  an  eminent  tenor  singer,  went  to  Naples, 
the  latter  being  engaged  there  in  the  service  of 
the  Itoyal  fhajjel  of  C'acerta,  as  well  as  in  that  of 
the  'Iheatre  Koyal  of  San  Carlo.  On  liLs  arrival  at 
Naples,  Domenico  Crivelli  immediately  com- 
laenccd  his  studies  in  the  ait  of  singing,  under 
the  tuition  of  the  celebrated  Millico,  and,  on 
2om])leting  his  eleventh  year,  entered  as  a 
pupil  of  tlie  Conservatory  of  St.  Onofrio.  I)ur- 
:jig  the  succeeding  three  years,  his  services  were 
employed  as  a  sojirano  voice  in  that  estabash- 
ment ;  and  so  successful  was  he  in  hLs  public 
performances  as  to  be  deemed  by  the  governors, 
at  tlie  end  of  that  period,  a  proper  object  of  their 
munilicence,  by  dispensing  for  the  future  with 
the  annual  fees  demanded  Irom  each  collegian  at- 
tached to  the  institution.  On  the  change  of  his 
voice,  Crivelli  aijplied  himself  more  seriously  to 
the  study  of  composition  than  he  had  done  before, 
having  been  recommended  to  cultivate  this  por- 
tion of  his  musical  studies  with  attention  and 
a-vsiduity ;  and  in  this  branch  of  the  science,  he 
had  the  good  fortune  to  be  placed  under  the  di- 
rection of  Fenaroli,  pupil  of  the  great  Durante. 
After  five  years  of  close  application  and  deep 
study,  and  after  having  undergone  the  fifth  pub- 
lic examination,  he  was  named  macstrino  of  the 
same  Consen-atory  ;  and  during  the  last  two  years 
of  his  residence  in  that  capacity,  the  instruction 
of  the  solfeggio  of  the  younger  pupils  of  the 
establishment  was  wholly  confided  to  his  care. 
During  this  period,  he  composed  several  pieces 
of  sacred  music  ;  and  it  was  by  these  essays  he 
first  submitted  his  abilities  as  a  composer  to  the 
criticism  of  the  public,  'lliese  efforts  experienced 
the  most  ttattcring  encouragement ;  and,  stimu- 
lated by  the  encomiums  bestowed  upon  him  on 
those  occasions,  as  well  as  by  taste  and  inclina- 
tion, to  render  himself  a  proficient  in  "  ideal  com- 
position," he  took  leave  of  his  college,  in  1812, 
to  visit  Rome,  in  order  to  place  himself  under 
the  in>t  ruction  of  the  celebrated  Zingarclli,  at 
that  time  master  and  composer  to  the  Pontifical 
Cliapd.  The  folio wng  year  he  returned  to 
Nai>lcs,  and  then  commenced  his  profession  at 
Iwgc,  jiarticularly  devoting  his  talents  to  the 
service  of  the  "  ecclesiastical  function  ;  "  and 
though  these  productions  were  honored  by  the 
general  approbation  of  liis  former  masters,  yet, 
being  fortunately  favored  by  the  cordial  friend- 
sliip  of  the  Chevalier  PaosicUo,  he  never  allowed 
any  of  his  compositions  to  make  their  apiiearance 
till  he  had  first  consulted  the  eminent  talents  and 
opinion  of  his  celebrated  friend.  Indeed,  so  sin- 
cere and  affectionate  was  the  attachment  of  the 
chevalier,  that,  a  little  before  his  death,  he 
undertook  to  direct  the  i)erforraance  of  a  new 
ma-ss  composed  by  his  young  friend,  and  dedicated 
to  a  file  of  tie  patron  saint  of  Caravaccio  College 
•t  tjirgo  Mercatello;  there  by  giving  une<iuivo- 
lol  proof  of  the  high  regard  and  estimation  in 
which  he  held  the  talents  of  Crivelli.     Ti.c  result. 


however,  justified  the  opinion  thus  entertained, 
the  performance  being  received  with  marks  of  the 
strongest  approbation  by  professional  artist.s  as 
well  a.s  the  public.  Encouraged  by  the  success 
of  his  classical  effort  in  sacred  music,  the  young 
composer  began  to  try  his  talents  in  theatrical 
composition,  being  now  and  then  called  upon  to 
compose  many  "j)e;/!/i  scwiti"  for  the  stage.  In 
18 IG  he  completed  his  first  theatrical  ])iecc,  an 
"  opera  seria,"  for  the  Theatre  Royal  of  San  Carlo ; 
but  that  theatre  being  unfortunately  burned  at  that 
time,  i)ut  an  end  to  the  pros])cct  of  its  being  soon 
exhibited  there — a  circumstance  which  led  to  some 
flattering  offers  from  the  theatre  at  Palenno.  His 
father,  however,  who  at  that  time  had  lc!t  Paris  for 
London,  under  an  Migageinent  at  the  King's  'I'hea- 
tre,  prevailed  upon  him  to  rclinquLsh  the  proposi- 
tion from  Palermo,  advLsing  him  rather  to  choose 
England  for  his  professional  career,  where  he 
found  the  fine  arts,  and  music  in  particular,  so 
generjilly  cultivated  and  protected  as  to  furnish 
hopes  of  greater  advantage  than  in  any  town 
on  the  continent.  Embracing  immediately  his 
father's  suggestions,  Crivelli  quitted  Naples  for 
England,  passing  through  ParLs  on  his  way.  He 
remained  in  that  capital  about  six  weeks,  during 
which  time  an  overture  of  his  composition  was 
performed  at  a  public  concert,  given  lor  the  ben- 
efit of  the  poor  ;  a  composition  which  he  had  the 
high  gratification  to  hear  not  only  applauded  by 
the  I'arLsian  public,  but  complimented  by  the 
Chevalier  Paer  in  jierson.  Crivelli  soon  aftc: 
quitted  Paris  for  London,  where  he  anived  in 
1817  ;  and  his  recejjtion  there  proved  so  flatter- 
ing to  the  hopes  which  had  been  excited  by  his 
father,  that  he  immediately  commenced  his  ca- 
reer as  "  professor  of  singing."  In  this  avocation, 
he  soon  discovered  the  necessity  of  new  model- 
ling the  materials  of  elementary  instruction  ;  and, 
with  this  view  of  the  defects  of  the  ])revailing 
system,  composed  and  aiTanged,  for  the  use  of 
his  numerous  pupils,  a  progressive  series  of 
scales,  exercises,  and  solfeggi.  The  only  pieces 
Crivelli  had  thus  far  published  in  England  were 
three  canons  and  a  canzonetta.  The  managers 
of  the  Italian  Opera  often  employed  his  j)en  to 
change,  correct,  transpose,  and  othcrwi:.e  adapt 
to  the  peculiar  tones  of  the  voice  of  eminent  per- 
formers, musical  pieces  on  many  different  occa- 
sions, and  some  of  his  original  pieces  were  re- 
ceived on  that  stage  with  general  api)lause.  He 
wrote  there,  also,  an  opera  buffa,  entitled  "  La 
Fiera  di  Salerno,  ossia  la  Fitita  ('apricciosn."  On 
the  formation  of  the  Royal  Academy  of  Music  in 
Ixindon,  which  fixes  a  new  epoch  in  the  annals 
of  British  music,  Crivelli  was  appointed,  by  the 
unanimous  vote  of  the  committee,  "  maestro  di 
canto  "  to  the  boys  on  that  establLsliment ;  and  in 
acquitting  himself  of  this  arduous  task,  he  ap- 
plied the  rules  and  methods  of  the  Conservatorio 
at  Naples,  which  had  been  confirmed,  by  long 
experience,  as  the  best,  and  founded  on  the  closest 
observation  of  practical  etticacy. 

CROCE,  GIOVANNI.     Vice  chapel-master  of 

I  St.  Mark's,  at  Venice,  in    100.5.     He  composed 

i  some  church  music  ;    among  which    his  "  Peni- 

1  tcntial  Psalms"  were  reprinted  in  London  with 

j  English  words.     Ilie  madrigaU  No.  20,  in  "The 

1  Triumphs    of    Oriana,"    Ls    by    this    composer. 

Peacham    says,   that    "  fcr    a    full,    lofty,    and 

sjirightly  vein,  Croce  was  second  to  none."     H( 

died  in  1609. 

34 


\.R0 


EXCYCLOP-EDIA    OF    MUSIC. 


cr: 


CROCIIE.     (F.)     A  quaver.     See  Qu.^veu. 

CUOENEU.  'ITiere  were  four  brothers  of  this 
name  beloni^iii^  to  the  chnpd  of  tlie  Elector  of 
Bavnrin,  about  the  year  1740.  'nicy  ^'ubllshed 
together  some  violin  trios,  at  Amsterdam,  in  1788. 

CROrr,  WILLIAM,  educated  in  the  Chapel 
Royal  under  Dr.  lilow,  was  horn  in  Ui77,  at 
Nether  Eatington,  AVarwicksliire.  His  tir>t  pre 
fenneut,  after  quitting  the  chapel,  on  the  lost  of 
his  treble  voice,  was  to  tlie  situation  of  organist 
of  St.  Anne's,  Westminster,  where  an  organ  was 
newly  erected.  In  1700  he  was  admitted  a  gentle- 
man extraordinary  of  the  Chapel  Royal  ;  and,  in 
1707,  upon  the  decease  of  Jeremiah  Clarke,  he 
was  appointed  Joint  organLst  with  his  master.  Dr. 
Blow;  upon  wlioso  demise,  in  1708,  he  not  only 
obtained  the  whole  place  of  organist,  but  was 
appointed  master  of  the  children,  and  composer 
of  the  Chajiel  Royal,  a.s  well  as  to  the  place  of  or- 
ganist of  Westminster  Abbey.  All  these  appoint- 
ments, at  so  early  a  period  of  lil'e,  he  being  then 
but  thirty-one  years  of  age,  occaMonod  no  diminu- 
tion of  diligence  in  the  iierfonuaucc  of  his  duty, 
or  of  zeal  in  the  study  and  cidtivation  of  his  art ; 
and,  indeed,  he  seems  to  have  gone  through  life 
in  one  even  tenor  of  professional  activity  and 
propriety  of  conduct.  We  hear  of  no  illil)eral 
traits  of  envy,  malevolence,  or  insolence,  lie 
neither  headed  nor  abetted  tiddling  factions  ;  but 
insensibly  preserving  the  dignity  of  his  station, 
without  oppressing  or  mortitying  his  inferiors  by 
reminding  them  of  it,  the  universal  respect  he 
obtained  from  liis  talents  and  eminence  in  the 
profos>ion  seems  to  have  been  blended  with  per- 
sonal affection.  In  the  year  1711,  he  resigned 
his  place  of  organist  of  t>t.  Anne's  Church  in 
favor  of  John  Isham,  and  in  the  following  year 
published  anonjTUOusly,  under  the  title  of  "  Di- 
vine Harmony,"  a  similar  book  to  that  of  Clif- 
ford, mentioned  above,  containing  the  words  only 
of  select  anthems  used  in  the  Chapel  Royal,  West- 
minster Abbey,  St.  Paul's,  &c.,  with  a  preface,  con- 
taining a  short  account  of  Engli--h  church  music, 
and  an  encomium  on  Tallis  and  Bird.  In  171.5 
he  was  honored  with  the  degree  of  doctor  of 
music,  in  the  University  of  0.\Jbrd.  His  exercise 
for  this  degree,  which  was  performed  in  the  the- 
atre, July  l.'J,  by  the  gentlemen  of  the  chapel, 
and  other  assistants  from  London,  consisted  of 
two  odes,  one  in  EnglLsh  and  one  in  Latin,  writ- 
ten by  Dr.  Joseph  Trapp.  The  music  to  both 
these  odes  was  afterwards  neatly  engraved  on 
copper,  and  published  in  score.  During  the  sue- 
cesstul  war  of  (iueen  Anne,  the  freijuent  victo- 
ries obtained  by  the  Duke  of  Marlborough  occa- 
«ioned  Dr.  Croft,  as  composer  to  her  majesty,  to 
bf-  fie<iuently  called  upon  to  funiL-h  hymns  or 
anthems  of  thanksgiving.  Several  of  these,  and 
otlier  occasional  compositions  for  the  church,  arc 
printed  in  his  works,  and  still  performed  in  the 
Ens:;lish  cathedrals.  In  17J+  Dr.  Crolt  published, 
by  subscription,  a  s]dendid  edition  of  his  choral 
music,  in  two  vols,  folio,  under  the  title  of  "  Musi  a 
Sitrit,  or  Select  Anthems  in  Score,  lor  two,  three, 
four,  five,  six,  seven,  and  eight  Voices  ;  to  which 
is  added  the  ]!iirial  Service,  a.i  it  is  ocrasionally 
perl'onned  in  Westminster  Abbey."  llie  neat- 
ness and  accuracy  with  which  the  work  wb« 
publishetl,  tieing  tlie  tirst  of  the  kind  that  wa.s 
gtara])ed  on  pewter  plates,  and  in  score,  rendered 
It  more  acceptable  and  usefid  to  the  purchasers  ; 


as,  whatever  choral  comjiositions  ajipcared  ant«  - 
rior  to  this  publication  had  been  jirinted  wit.i 
t}i)cs,  on  single  parts,  and  extremely  incorrect. 
Dr.  Croft's  music  never  reaches  the  sublime, 
though  lieLs  sonietimn,  grand,  and  often  jiatlietic 
His  allegros  are  always  more  feeble  tlian  his  slow 
moveineuts.  But  more  melody  is  nece^r-ary  te 
support  cheerfulness  witli  decorum  and  dignity, 
than  Croft,  or  iiidied  the  whole  nation,  could 
furnish  during  the  first  twenty  years  of  the  la.st 
century.  This  jileasing  composer  and  amiable  man 
died  in  1727,  in  the  Kftictli  year  of  his  age,  of  an 
illness  occasioned  by  his  attendance  on  hiii  duty 
at  the  coronation  of  King  George  II. 

CllOIX,  ANTOX  I^V.    See  Lacuoix. 

CROME.  (I.  PI.)  Demi-crotchet"!,  or  qua- 
vers. Tills  word  is  scarcely  ever  used  at  jiresent. 
When  written  under  crotchets,  or  minims,  it  di- 
rects the  divisions  of  those  notes  into  demi- 
crotchets,  or  quavei-s. 

CROOKS.  Certain  movable,  cur^-ed  tubes, 
which  are  occasionally  apjilied  to  trumpets  and 
honis,  for  the  purjiosc  of  tumng  them  to  difl'er- 
cnt  keys. 

CROSDILL.  A  celebrated  English  violoncellist, 
born  in  Loudon  in  1755.  He  was  chamber  mu- 
sician to  the  Queen  Charlotte  in  1782.  About 
the  year  1794,  CrosdiU  retired  from  the  duties  of 
his  profession,  having  married  a  woman  of  con- 
siderable fortune.  He  was  principal  violoncellist 
at  the  Ancient  Concerts,  on  their  tirst  insti- 
tution. 

CROTALUM.  (From  the  Greek.)  Synony- 
mous  with  cimbalum.  The  name  of  an  ancient 
instrument. 

CROTCH,  DR.  WILLIAM,  was  bom  at  Xor- 
wieh  in  1775,  and  exhibited  a  most  extraordinary 
Instance  of  precocity  of  musicjd  genius ;  a  very 
interesting  account  of  which  was  given  by  Dr. 
Bumey  in  the  Philosophical  Transactions,  vol. 
Ixix.  part  i.  for  the  year  1770,  to  which,  from  its 
great  length,  we  must  refer  our  readers.  'I'ho 
following  comment.s,  by  the  Hon.  Dailies  Bar- 
rington,  are  nearly  of  equal  interest,  and  more 
concise.  "I  tirst  heard  little  Crotch  on  the  10th 
of  December,  177S,  when  he  was  nearly  three 
years  and  a  half  old,  and  find  that  I  made  the 
following  memorandum  on  returning  home : 
Plays  '  (iod  save  the  King'  and  '  Miiiiut  tie  la 
four  '  almost  throughout  with  chord-s ;  reaches  a 
sixth  with  his  little  lingers ;  cries  tio  when  I  pur- 
posely introduced  a  wrong  note ;  delights  in 
chords  and  running  notes  for  the  bass ;  jilays  for 
ten  minutes  extemporary  passages,  which  have  a 
tolerable  connection  with  each  other ;  seldom 
looks  at  the  harjisichord,  and  yet  generally  liitu 
the  right  intenals,  though  olten  distant  from 
each  other.  His  organ  rather  of  a  hard  touch  ; 
many  of  his  pa.ssage«  hazarded  and  singular,  some 
of  which  he  executes  by  his  knuckles,  tumbling 
his  hands  over  the  keys." 

At  the  same  time  Dailies  Barrington  received 
the  following  account  from  the  mother,  of  tha 
first  appearance  of  a  musical  disposition  in  hei 
child:  — 

"His  father  is  an  ingenious  carpenter  of  Nor- 
wich, and  had  made  an  organ,  on  which  he  wai 
capable  of  playing  two  or  three  ca*y  tunes,  and 


235 


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ENCYCLOPAEDIA    OF   MUSIC. 


CRO 


•wliich  had  not  been  used  for  some  time.  When 
little  Crotch  wns  two  ycHi's  and  tliree  weeks  old, 
he  heard  '  God  kuvc  the  King '  played  on  this 
instruiucnt,  uiter  which  he  was  exc•e^ssively  frac- 
tious, whilst  they  were  ])utting  him  to  bed :  his 
mother  tl.eii  conceived  that  he  wanted  to  get  at 
the  organ,  and,  ])lacing  him  so  as  to  command  the 
keys,  I  he  hoy  imniediiitely  struck  them,  although 
she  did  not  then  distinguish  that  he  played  any 
particular  tune.  Tlie  next  morning,  however, 
there  was  no  doubt  but  that  he  successfully  at- 
temiited  '  Uod  save  the  King.'  After  this  the 
child's  musical  fame  spread  quickly  through  the 
city  of  Norwich. 

"The  accuracy  of  this  child's  ear  is  such,  that 
he  not  only  pronounces  immediately  what  iiote  is 
struck,  but  in  what  key  the  music  is  composed. 
I  was  w  itness  of  an  extraordinary  instance  of  bis 
being  able  to  name  the  note  touched,  at  Dr. 
Uurney's,  who  has  a  piano-forte,  with  several 
keys,  both  in  the  bass  and  treble,  beyond  the 
scale  ill  the  common  instruments  of  the  same 
sort. 

"  Ujion  any  of  these,  very  high  or  very  low 


answered  hiin  once  or  twice  wrong  on  puriwse, 
he  triumphed  much  in  setting  me  right.  1  must 
acknowledge,  also,  that  at  la.>t  he  really  puzzled 
me,  for  he  concluded  in  the  key  of  F  sharp, 
which  is  never  \ised  by  English  composers,  and 
which  I  w;ls  not  able  to  name  on  lus  word  of 
command,  not  having  attended  to  the  last  note  ot 
his  bass. 

'  "  I  need  scarcely  say,  that  I  left  the  room  after 
this  in  great  astonishment ;  and  it  then  occurred 
to  me  that  it  might  be  right  to  make  an  experi- 
ment, whether  he  would  be  equally  ready  to 
transpose  in  the  minor  third,  in  which,  probably, 
the  child  had  never  heard  any  comjxisition  what- 
soever, it  being  so  seldom  used  at  that  time. 

"  I  accordingly  communicated  what  1  had  been 
witness  of  to  Master  Wesley,  desiring  that  he 
would  write  down  a  simple  melody  of  a  few  bars 
in  the  minor  third ;  which  he  immediately  com- 
plied with,  and  went  with  me  to  little  Crotch,  in 
order  to  assist  in  the  experiment. 

"  I  was  in  great  hopes  that  the  child  would 
catch  this  little  air,  after  Master  Wesley  had  re- 
peated it  five  or  six  times;  but  in  this  I  was  dis- 


nores   Injing   struck,   he   distinguished   them   as  ]  appointed,  for  little  Crotch  happened  not  to  be 
readily  as  the  intermediate  notes  of  the  iustru-  i  in  a   humor  for  music,  though   we  endeavored 


meiit.  Now,  it  is  well  known  that  the  har})si- 
chord  tuners  do  not  so  easily  manage  the  ex- 
tremes, as  their  ears  are  not  used  to  such  tones, 
and  more  ])articularly  the  lowest  notes. 

"  A  still  more  convincing  proof,  perhaps,  of 
the  same  kind  has  been  mentioned  to  me  by 
Master  Wesley,  who  takes  little  Crotch  much 
under  his  protection.  The  child  has  lately 
taught  liimself  to  play  on  the  violin,  which  he 
holds  as  a  violoncello,  and  touches  only  with 
two  of  his  fingers.  Master  Wesley  has  some- 
times mistimed  the  instrument,  on  purpose  to 
excite  his  anger,  which  he  never  fails  to  express ; 
adding,  at  the  same  time,  whether  it  should  be 
higher  or  lower.  lie  likewise  judges  most  accu- 
rately of  what  are  called  extremes  on  the  violin ; 
■which  seems  to  be  still  more  astonishing,  as  the 
child  has  scarcely  heard  any  other  instrument 
than  the  organ,  which  is  defective  in  the  (juarter 
tones.  In  other  words,  it  seems  to  prove  that 
Crotch's  ear  is  so  very  exquisite  as  to  distinguish 
quarter  tones ;  whilst  tlie  notes  of  the  organ  are 
only  subdivided  into  half  tones,  all  of  which  are, 
to  a  certain  degree,  imperfect ;  and  the  ability  of 
the  tuner  is  shown  by  distributing  this  deicct  as 
e<iually  as  ])ossible  amongst  them  all.  Surely, 
thereibre,  this  great  rciinement  maybe  pronounced 
to  have  been  almost  innate  in  the  child;  for 
though,  perhaps,  he  might  have  heard  a  Norwich 
fiddler,  yet  it  is  highly  improbable  that  such  per- 
formers should  have  stopped  with  this  great 
precision. 

"  Dr.  liurney  indeed  mentions,  that  Crotch  was 
present  at  a  concert  in  London  where  Pacchierotti 
sang ;  and  where,  undoubtedly,  there  might  bo 
Bomc  able  musicians. 

"  I  once  hai>i)ened  to  be  present  when  he  was 
playing  a  well-known  air  called  the  '  Mhnwt  <lc  la 
Cum;'  in  the  greater  third  and  key  of  .\,  which 
he  atterwarcbi  repeated  in  that  of  H.  Observing 
this  readiness  in  the  child  to  transpose,  I  de-ired 
hiin  to  try  it  in  C,  wliich  he  not  only  comjdicd 
with,  but  proceeded  regularly  through  the  whole  i 
octavo  ;  whilst  he  sometimes  looked  bai'k  with 
great  archness  upon  me,  in(iuiring  whether  I 
knew  iji  what  key  lie  was  playing ;  and  having  I 


much  to  coax  him  to  the  organ.  Having  observed, . 
however,  that  he  would  sometimes  play  from 
piqiie,  when  entreaties  had  no  effect,  I  desired 
>Iaster  Wesley  to  give  the  treble  only,  and  told 
Crotch  that  he  could  not  add  the  bass  to  it :  on 
this,  the  urchin  sat  down  by  Master  Wesley,  ac- 
companying with  the  proper  bass  this  same  tune, 
transiiosed  in  the  minor  third  through  the  whole 
octave. 

"  ANTien  he  had  finished.  Master  Wesley  had  a 
curiosity  to  try  him  in  transposmg  through  the 
octave  in  the  major  third,  which  Crotch  instantly 
did,  and  in  a  maimer  too  peculiar  not  to  be  fully 
stated. 

"  The  tune  fixed  upon,  in  trying  this  experi- 
ment a  second  time,  was,  as  before,  the  '  Minuet  de 
la  four ; '  but  Crotch,  conceiving  at  once  what 
Master  Wesley  wished  to  be  a  witness  of,  only 
played  tlirce  or  four  bars  of  the  first  part,  and 
then  instantly  changed  the  key  tluoughout  the 
octave. 

"  The  child  both  looks  and  is  very  intelligent 
in  other  matters  which  do  not  relate  to  music,  and 
draws  m  a  bold,  masterly  way  with  chalk  on  the 
floor. 

"  One  of  his  most  favorite  objects  to  represent 
Ls  a  violin,  which  he  forms  instantaneously  with 
a  few  strokes.  I  need  scarcely  mention  the  diffi- 
culty of  reversing  the  two  sides  and  S's,  which 
must  be  very  obvious  to  jienmen  as  well  as 
painters.  Tlie  boy  likewise  succeeds  very  well  iu 
the  hasty  outline  of  a  sliip." 

From  the  foregoing  extract  it  will  clearly  ap- 
pear that  young  Crotch  was  a  most  extraordina- 
ry instance  of  precocity  of  musical  genius :  he 
seems,  indeed,  "  by  the  help  of  nature  alone,  to 
have  instantly,  as  it  were,  understood  those  dis- 
tinctions, which  are  accessible  to  common  cars 
and  common  talents  only  by  a  long  course  of 
studv."  His  extraordinary  natural  powers  were, 
however,  in  the  ojiinion  of  many,  checked  by  the 
severity  of  his  pubse<iuent  musical  studies ;  his 
talent  being  cliiefly  trainetl  under  some  celebrated 
masters  of  the  old  school  of  English  music  at  the 
universities,  to  the  minute  perfection  of  strict 
counteqioiut.     At  the  age  of  twenty-two  he  was 


236 


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ENCYCLOPAEDIA    OF    MUSIC. 


cut 


appointed  professor  of  music  in  the  University 
of  Oxford,  which  conferred  on  liim  the  decree  of 
doctor  in  music  ;  since  whidi  period  he  hns  held 
the  hif^hest  rnnk  in  En^hmd  ns  ii  profound  theo- 
rist. He  was  afterwards  ])rofessor  in  the  Koyal 
Acndcmy  of  Music.  His  best  work  is  tlie  orato- 
rio of  "  Palestine."  He  has  published  motets, 
glees,  an  ode  for  Kve  voices,  son-js,  three  vol- 
umes of  "  Specimens  of  the  various  Kinds  of 
Music  of  all  Nations,"  much  piano  music,  &c. 
For  several  years  lie  read  public  lectures  upon 
music  in  London  and  at  Oxford,  the  substance  of 
which  he  published  in  1831.  licsides  his  "  I'ales- 
tinc,"  the  least  Iccble  of  his  compositions  are 
Three  Concertos  for  the  Organ ;  a  Sonata  for  the 
Piano,  in  E  flat ;  ten  Anthems  for  four  voices  ;  a 
Fugue  for  the  Organ  on  a  subject  by  Mufliit,  &c. 
Crotch  has  arranged  for  the  piano  a  great  part  of 
Handel's  oratorios  and  operas;  the  symphonies, 
overtures,  and  quatuors  of  Haydn,  Mozart,  and 
llcctliovon ;  concertos  of  Corelli,  Ueminiani,  &c. 
He  has  also  published  several  treatises  ou  harmo- 
ny and  composition. 

CROTCHET.  Tlie  third  principal  note  used 
in  music.  It  is  equal  in  duration  to  half  a  min- 
im, or  a  fourth  of  the  semibreve,  thus  :  — 


^^m 


BMf 


In  the  above  examjile,  all  the  notes  are  crotch- 
ets, the  stem  of  wliich  may  turn  either  up  or 
down,  according  to  its  situation  upon  the  staff. 

CllOUCII,  F.  NICIIOLLS,  a  popidar  English 
composer,  author  of  the  song  "  Kathleen  Mavour- 
neen,"  was  engaged  as  violoncellist  in  the  King's 
Theatre,  London,  in  1817.  He  came  to  .Vmerica, 
and  was  engaged  in  the  same  capacity  in  one  of 
the  Italian  Opera  troupes,  about  the  year  1818. 
He  hius  since  been  established  as  a  successful 
teacher  in  Portland,  Me.,  where  he  is  at  the  head 
of  several  musical  societies,  and  active  in  the  get- 
ting up  of  classical  performances,  such  as  orato- 
rios, madrigals,  and  chamber  music. 

CROUCH,  MR.S.,  a  celebrated  actress  and  sing- 
er at  Drury  Lane  'i'hcatrc,  was  bom  in  17(>.3,  and 
first  appeared  on  the  stage  in  1780.  She  had  a 
remarkably  sweet  voice,  and  a  iiaU-e,  affecting 
style  of  singing ;  this,  added  to  extraordinary 
personal  charms,  made  her  a  great  favorite  of  the 
public  for  manv  vcars.  She  died  at  Brighton  iii 
1805. 

CRO  WLE.  An  old  EngUsh  instrument,  called 
by  the  French  chrotta.  Some  writers  say  that  it 
■was  a  kind  of  flute ;  according  to  others  it  resem- 
bled the  ancient  crotalum. 

CRUCLVTI,  MAURIZIO,  an  Italian  composer 
of  sacred  music  at  Bologna,  about  the  year  liiGO. 
One  of  his  w(trks  is  entitled  "  Siiera,"  an  orato- 
rio, published  at  Bologna  in  lfi67. 

CRUCinXUS.  (L.)  A  part  of  the  Crcfio  in 
the  mass. 

CRUGER,  JOHANN,  chapel-ma.ster  of  the 
Church  of  St.  Nicholas,  at  Berlin,  was  bom  in 
160'2.  He  was  the  author  of  "  Sij)iop.ii.i  Miuica," 
and  several  other  musical  works,  published  in 
Germany  between  the  years  1022  and  1051.  His 
•ollection  of  Lutheran  h-\-mns,  entitled  "  P'arii 


Pictadu,"  went  through  thirty  editions,  up  to  lh< 
year  1701. 

CRUPEZL\.  (Gr.)  The  wooden  clog  used  by 
the  ancient  musicians  in  beating  time. 

CRUSELL,  BERNIIARD.  A  German  per- 
former on  the  clarinet,  and  composer  for  h's  in- 
strument, towards  the  close  of  the  litst  century. 
Among  his  more  favorite  works  are,  "  Concer- 
tante  for  Clarinet,  Horn,  and  Bassoon,  with 
Acconii)animent  of  (irand  Orchestra,"  Op.  3. 
"  Symph.  Concertanfe  for  Flute,  Clarinet,  and 
Baxs  principal,  with  two  Violins,  Alto,  ana  Ba;is, 
two  Hautl)oys,    two  Horns,"  Op.  '22. 

CRUTH,  or  CROWTIL  An  old  Welsh  instru- 
ment, somewhat  resembling  the  violin.  It  ha« 
six  strings,  supported  by  a  bridge  standing  in  an 
obli<iuc  direction  with  respec-t  to  the  strings,  and 
is  played  on  with  a  bow.  Of  the  strings,  which 
arc  six  in  number,  the  first  four  are  conducted 
from  the  tailpUre  down  the  fingerboard  ;  but  the 
fifth  and  sixth,  which  are  about  an  inch  longer, 
branch  from  them  laterally,  and  range  about  the 
distance  of  an  inch  from  the  neck. 

CUDMORE,  RICH.VRD,  was  horn  in  the  year 
1787,  at  Chichester,  in  Sussex.  His  first  mastei 
was  James  Forgett,  a  native  and  organist  of  that 
city.  Ciulraore  performed  a  solo  on  the  violin  in 
public  when  only  nine  years  of  age ;  at  ten,  he 
was  taught  by  Reinagle,  in  Oxford ;  at  eleven,  ho 
])layed  a  concerto  at  Chichester  (composetl  by 
himself )  in  public,  and  was  then  introduced  to 
the  celebrated  Salomon,  under  whose  instructions 
he  remained  about  two  years,  ^^^len  twelve 
ycai-s  ot  age,  Cudmore  led  the  hand  at  the  the- 
atre in  Chichester ;  also  playe<l  a  concerto  for  the 
celebrated  comic  actor  Sueft,  at  his  benefit ;  in 
the  same  year  he  performed  among  the  primo  vi- 
olins at  the  Italian  Opera,  in  London.  Cudmore 
next  resided,  during  nine  years,  in  Chichester  ; 
in  the  course  of  which  time  he  played  at  Oxforrl 
two  concertos  on  the  violin,  when  Morelli  and 
Mrs.  Mountain  were  engaged.  He  removed  sub- 
sequently to  London,  became  a  pupil  of  Woclfl 
on  the  piano-forte,  played  a  concerto  at  Salo- 
mon's concert  on  the  piano-forte,  aLso  one  at 
Madame  Catalani's  concert.  He  likewise  ])er- 
formcd  in  public  a  concerto  of  hLs  own  composi- 
tion on  the  piano-forte,  and  also  one  of  his  own 
on  the  violin.  He  then  became  a  member  of  the 
I'hilharmonic  Concerts.  AVc  cannot  adduce  a 
more  genuine  instance  of  Cudmore's  musical 
ability  than  the  following  anecdote.  On  one  oc- 
casion a  prrformance  took  place  at  Rowland 
Hill's  chapel  in  London,  for  which  Salomon  had 
rehearsed  with  Dr.  Crotch  and  Jacobs  ;  Salomon, 
being,  however,  suddenly  subprrnaed  on  a  trial, 
sent  to  Ciulmore  to  become  his  substitute  at  the 
chapel,  wl-.en  he  performed  the  music  at  si'ihl.  be- 
fore two  or  three  thousand  persons.  As  another 
instance  of  Cudmore's  skill  in  plajnng  d  livrf  nti- 
reri,  he  is  remembered  to  have  iierlormed  at  sijjht, 
in  a  party  giveJi  by  Mr.  C.  Nicholson,  a  dilKcidt 
manuscript  concerto  which  was  brought  there  by 
a  profes,-ional  man.  Cudmore  once  executed 
three  folox  the  same  evening,  at  a  public  concert  Ml 
Manchester.  At  Liverpool  he  performe<l  a  con- 
certo on  the  violin  by  Rode,  o)\e  on  the  piano  by 
Kalkhrenner,  and  one  by  Ccr>-ctto  on  the  violon- 
cello. 

CUL.\NT,  LE  M.\RQUIS  DE,  a  French  ainm- 


237 


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ENCYCLOPJi:DIA    OF    MUSIC. 


CUl 


teur  musician,  vrrote  a  tract,  entitled  "  Notiveaux 
Priiicipes  (le  Miuiijut,"  Paris,  1785. 

CUM  CANTU,  or  CUM  DESCAXTU.  (L.) 
NVitli  melody.  An  old  phrase  of  the  Romish 
church,  a])])licd  to  those  festivals  the  celebration 
of  which  chiedy  consisted  of  singing. 

CUM  SAXCTO  SPIRITU.  (I-.)  A  part  of 
the  Gloria.     Sec  Mass. 

CUMMINS,  CHARLES,  ^•iolinist,  pianist,  and 
composer,  was  born  at  York  in  1785.  IILs  father 
was  the  Roscius  of  that  theatrical  circuit  for  near- 
ly forty-lour  years,  and  commenced  his  prosper- 
ous career  under  the  management  of  the  eccen- 
tric Tate  Wilkinson.  He  closed  a  valuable  ILIe  in 
the  actual  performance  of  his  public  duty,  dying 
<  n  the  stfisre  at  l.eo'^'s  while  representing  the  part 
rf  Duraont,  in  the  tragedy  of  "Jane  Shore,"  on 
the  -JOth  of  June,  1818. 

Charles  Cummins,  in  the  course  of  a  liberal  ed- 
ucation, received  lessons  in  the  theory  of  music 
from  Dr.  Miller,  of  Doncastcr,  and,  preferring  the 
(icieuce  for  his  profession,  became  successively 
leader  of  the  theatrical  bands  at  Lancaster  and 
Exeter,  till  engaged  at  Bath,  at  the  express  in- 
stance of  hLs  liriend  Mr.  lioder,  as  director  of  the 
choruses  in  that  and  the  Bristol  theatre.  He  was 
since  established  at  Bristol  and  Clifton  as  a  teach- 
er of  the  piano-forte,  singing,  and  thorough-bass. 
He  was  the  composer  of  much  local  and  incidental 
music,  a  small  part  only  of  which  has  been  pub- 
lished. 

His  attainments  in  languages,  and  facility  in  lit- 
erary composition,  rendered  Cummins  a  powerful 
auxiliary  to  the  orchestra,  in  the  writing  and  ar- 
rangement of  English  words  for  several  pieces  of 
celebrity,  for  the  use  of  Signor  Rauzzini's  con- 
certs and  the  Bath  Philharmonic  Society,  (of  the 
latter  of  which  he  was  a  director,)  particularly  the 
"  .Storm  Chorus"  of  Haydn,  two  of  Mozart's  mo- 
tets, (Xos.  1  and  2,)  sundry  extracts  from  his 
"  Requiem,"  and  Cherubini's  "  Monody  on  th.e 
Death  of  Haydn,"  besides  tlie  adai)tation  of  many 
songs  fro:u  foreign  ojieras  for  the  English  stage. 

He  was  a  frequent  writer  in  publications  em- 
bracing musical  criticLsm,  and  distinguished  him- 
self, during  the  existence  of  a  Bath  gallery  of 
jiaintings,  as  a  connoisseur  possessing  no  mean 
powers  of  ])ictorial  discrimination.  He  is  the  au- 
thor of  a  pam])hlet  in  controversy  with  Mr.  Lo- 
gier,  the  propagator  of  a  new  system  of  musical 
tuition  ;  which  was,  by  virtue  of  Cumminr-'s  dis- 
i-ortation  upon  its  merits,  utterly  excluded  from 
Bath  and  the  west  of  England  generally.  He  re- 
ceived notices  of  his  literary  efforts  in  the  cau:-e 
of  music  from  the  most  eminent  individuals  in 
the  profession,  and  was  awarded  a  splendid  token 
of  the  collective  opinion  of  a  large  majority  of 
the  un])rece(lentcd  concourse  of  talent  at  the 
grand  mu-^ical  festival  held  in  the  cathedral  of 
York  in  the  autumn  of  X^TA. 

Cummins  wa.s  a  member  and  secretary  of  a  lit- 
erary and  philosophical  society  in  Bristol,  named 
'Ilie  Inquirers,  to  which  he  delivered  occasional 
lectures  on  music.  Cummins  enjoyed  the  repu- 
tation of  being,  in  conversation,  a  wit,  wliose 
flashes  excite  warmth  in  his  hearers  without 
scorching  or  implacably  degrading  their  personal 
object  ;  and  ho  was  a  not  less  forcible  than  lively 
extcmj.orancous  orator.  Cummins  commenced 
the  season  of  1823-4  as  leader  and  musical  con- 
ductor of  the  Bristol  ITieatrc  Roval. 


CUPIS,  J.  B.  lejcune.  A  violinist  at  Paris,  and 
pupil  of  Bertaud.  He  composed  a  concerto,  well 
known  in  France  by  the  name  of  "  Le  SatU  de  Cu- 
pis."  He  flourished  towards  the  middle  of  the 
last  century. 

CURSCHMAX,  CHARLES  FRIEDERICH, 
was  born  in  Berlin,  June  21,  1805.  He  ivas 
distinguished  in  his  boyhood  for  possessing  an 
unusually  beautiful  soprano  voice,  upon  which 
a  degree  of  culture  was  bestowed  very  unusual 
amongst  boys.  He  frequently  undertook  to  sing 
the  solo  part  at  public  school  feasts  and  other 
musical  performaiices,  astonishing  his  audience 
with  Arie  iti  Bravura,  such  as  that  iu  Graun's 
"  Der  Toil  Jesii."  His  famer,  who  was  a  merchant 
in  Berlin,  had,  however,  no  intention  of  bringing 
up  his  son  to  the  profession  of  music,  and  the 
principal  pursuit  of  the  young  Curscliman  tor 
several  years  was  the  study  of  jurisprudence ; 
but  his  love  for  music  became  so  paramouiit  as  to 
decide  him  to  dedicate  his  whole  life  to  its  study. 
In  i)ursuit  of  this  resolution,  he  repaired  to  Ca-sscl, 
where  he  studied  the  theory  of  music  and  com- 
jjosition  during  four  yeai-s,  under  Sjjohr  and 
Hauptmann.  It  was  during  these  days  of  study 
at  Cassel  that  Curschman  composed  several, 
works ;  and  of  these  a  short  opera,  named  "  Ab- 
dul and  Erinnich,  or,  the  Two  iK-ad  Men,"  and  a 
sacred  jiiece,  were  performed  in  public,  and  re- 
ceived great  applause.  In  1829  Curschman  re- 
turned to  Berlin,  in  which  city  he  constantly  re- 
sided, with  the  exception  of  occasional  short 
tours  through  Gennany,  France,  and  Italy.  He 
became  favorably  known  to  the  public  as  the 
composer  of  several  elegant  songs,  the  popularity 
of  which  was  much  increased  by  his  tasteful 
manner  of  singing  them.  He  seems  to  have  been 
extremely  fastidious  in  the  selection  of  what 
compositions  he  would  give  to  the  public ;  and 
his  printed  works,  diu-ing  sevcrid  years,  were 
confined  to  about  nine  books  of  songs.  ITie 
con^equence  is,  that  they  are  almost  aU  excellent 
in  their  way,  and  are  vivid  musical  illustrations 
of  his  judiciotisly-chosen  poetry.  Death  put  an 
early  period  to  his  promising  career,  in  the  year 
1841.  Several  compositions  of  Curschman  have 
become  favorites  with  the  English  public,  who 
were  first  attracted  to  his  music  by  the  two 
charming  trios,  "  Ti  Prcrjo,  o  Madre  I'm,"  and 
*•  L'Addio,"  first  mtroduced  by  Miss  Masson,  who 
had  them  from  the  composer,  and  for  whom  the) 
were  first  i)rinted.  Several  of  his  songs  hav" 
recently  become  favorites  in  (his  country. 

CURTZ,  BERXARDOXE.  A  bufTo  singer  at 
Vienna  in  1751.  For  an  anecdote  respecting 
him,  see  the  biography  of  Havd.n. 

CUR\'E.  Applied  to  the  slur  and  a  part  of 
the  hold. 

CL"1'LER,  WILLIAM  HEXHy,  Mus.  Bao. 
Oxon.,  \\as  born  in  the  year  1792,  of  respectable 
jiarents,  iu  the  city  of  London.  Shortly  after  the 
birth  of  this  their  second  child,  the  father  ob- 
tained a  spinet  at  a  sort  of  lottery  sweepstake,  and 
after  the  business  of  the  day  was  over,  would  fre- 
([ucntlv  strum  to  his  two  httle  boys  on  this  instru- 
ment, ile  had  then,  however,  very  little  knowledge 
of  music,  but  possessing  industry  and  persever- 
ance, overcame  every  ditKculty  in  the  science,  sc 
a«  to  enable  him  to  superintend  his  second  sor 
through  all  his  subsequent  exertions  in  practic* 


23S 


CUT 


ENCYCLOP-IJDIA    OF   Mt'SIC. 


QZ\ 


A  friend  relates  that  one  time  when  he  entered 
the  lather's  parlor,  lie  saw  him  with  this  little 
hoy  on  hi-;  hip,  teaching  him  his  notes;  at  an- 
other time,  the  siimc  friend  has  seen  lather  and 
Bon  on  the  carpet  playinj;  with  pieces  of  card,  on 
which  the  notes  of  music,  and  their  names  and 
lines,  &c.,  ai)peared,  corresponding  with   papers 
pasted  on  the  keys  of  the  spinet.     At  that  time 
the  child  could  not  have  hcen  much  above  two 
ymrs  of  Bijc,  certainly  not  thrin;  years  old.     His 
ia'hei,  conccivinfj  that  the  boy  had   a  taste   for 
music,  next  ens;av;ed  a  master  to  teach  him  the 
violin,  when  he  improved  so  rapidly  ns  to  play  a 
coi  certo  of  Jarnowich  before  he  was  five  years 
old.     He  performed   on  the  little  Amati  violin, 
which  was  once  Dr.  Crotch's.     Still,  however,  the 
(spinet  appeared  to  be  the  child's  favorite,  and  J. 
II.  I.ittle  was  for  some  time  his  instructor  on  that 
instrument,  which  was  at  Icn^jth  chans^ed  for  a 
pinno-forfe,  (i.  K.    (iriftin  being  engagctl  as  the 
boy's  master.     About  the  year    179i),  the  chUd 
had  lessons  in  sinsin";  and  thorough  baas  from 
Dr.  Arnold,  who  exjircssed  his  approbation  of  his 
talent  by  repeated  gifts  of  small  silver  twopenny 
p.nd    threepenny   pieces.     Shortly  after   this,  he 
played  a  concerto  of  Viotti  on  the  piano-forte,  at 
the  Ilaj-market  I'hcatre,  for   the   Choral  Fund 
Concert,  and   received   universal   applause :    he 
played  concertos,  &c.,  several  times  since  for  the 
same  fund.     He  sang  also  at  the  oratorios  under 
Dr.  Aniold.     In  1801,  when  Dr.  Busby  took  his 
degree  of  doctor  of  music,  young  Cutler  went  to 
Cambridge  to  sing  the  principal  airs  in  that  ex- 
ercise ;  and  under  this  gentleman  he  would  have 
been  placed,  but  his  father  objected  to  his  being 
other   than  a  concert   singer,  while  the   doctor 
wished  him  to  be  brought  out  in  theatrical  per- 
formances.    In  1S03   he  was  placetl  in  the  choir 
of  St.  Paul's.     He  sang  also  at  Harrison's  Con- 
certs, the  Concerts  of  Ancient  Music,  the  Glee 
Club,  (generally,)  Wykhamists,  &c.,  &c.,  and  pri- 
vate concerts.      Previotisly  to  this,  he  had  also 
appeared  before  the  public  as  a  composer,  his  first 
publication  being  a  march  for  the  fuU  band  of 
the  sixth  regiment  of  Royal  London  Volunteers, 
in  the  riHe  company  of  which  regiment  his  father 
was  an  otHcer.     Soon  after  this,  he  sang  in  the 
solemn  ser\-iccs,  dirge,  &c.,  of  three  of  the  great- 
est men  of  the  day,  being  summoned  to  attend 
the  funerals  of  Lord  NcLson  and  Messrs.  Pitt  and 
Fox.     After  leaving  the  choir  of  St.  Paul's,  he 
was  placed  under  the  instruction  of  the  late  W. 
liussell,  Mus.  IJac.  Oxon.,  for  the  theorj*  of  mu- 
sic,  and    was,   in    1818,   clecte<l  organist  of    St. 
Helen's,  IJishopsgate ;  he  also  taught  in  several 
private  families.     In  the  year  1812  he  took  his 
liachelor's  degree  at  Oxford,  highly  complimented 
by  letter  from   the  professor  of  that   university. 
In    1818,  when    I.ogier  went   to    England    from 
Dublin,  W.  H.  Cutler,  influenced  by  Kalkbren- 
ner's  advertisement,  applied  to  I/igier,  and  paid 
one   hundred  guineas   to  learn   his  system.     He 
(hen  opened  an  academy  on  the  Logierian  pUn  ; 
but,  after   between  two  atul   three   years'  trial, 
finding  it  not  advantageous  to  keep  up  the  re<iui- 
site  establishment,   he  relimiuishctl  that   house, 
though  continuing  to  teach  the  theory  of  music 
according  to   I.ogicr'9  system.     In    IS'il    Cutler 
was  engaged   to  sing  at   the  oratorios   at   Dniry 
Lane,  under  tne  direction  of  Sir  (Jeorge  Smart; 
but   want   of    nerve   prevented    his    giving    full 
power  to  his  voice,  and  determined  him  to  relin- 


quish altogether  singing  in  public.  In  IS^.I,  a 
part  of  the  exercise  lor  his  bachelor's  degree  was 
])erformed  at  the  oratorios  u::der  tlic  direction  of 
liochsa.  He  resigned  the  situation  of  organist  of 
St.  Helen's,  and  was  appointed  organist  of  (iue- 
bcc  Chapel,  Portman  Spinre,  for  which  chapel 
he  wrote  a  "  Te  Ihiini,"  and  "  Juhilatf,"  and  a 
"Four  Part  Anthem  for  Cliristmas  Day."  Wo 
should  not  omit  mentioning  that,  among  other 
advantages,  in  the  course  of  Cutler's  rau--ical  ed- 
ucation, he  was  fortunate  enough  occasionally  to 
be  favored  with  the  counsel  of  Clementi,  both  on 
his  compositions  and  performances  on  tlie  piano- 
forte. 

CL'A'ELLIER,  J.  G.  .\  French  dramatic  com- 
poser, born  in  1770.  He  composed  several  op- 
erettas and  songs. 

Cl'ZZONI.     See  Sanhoxi. 

CYMBAL,  or  C'i'MBALl'M.  An  instrument 
of  anti-juity,  similar  to  the  tjtnpanum  of  the 
drum.  The  cj-mbals  were  round,  and  wade  of 
brass,  like  our  kettle  drums,  but  are  generally 
thought  to  have  been  smaller.  The  Jews  had 
their  cymbals,  or  instruments  which  translators 
render  by  that  name.  Ovid  gives  cymbals  the 
epithet  genialia,  because  they  were  used  at  wed- 
dings. CjTnbals,  tambourines,  triangles,  and 
drums  are  instruments  principally  used  I'or  keej)- 
ing  time.  Precise  rides  for  performance  arc 
somewhat  ditticult  to  be  given,  as  almost  every 
performer  has  a  favorite  method  peculiar  to  him- 
sell'.  We  will  therefore  only  obser\-e,  that  the 
indiscriminate  use  which  is  too  often  made  of 
these  instruments,  without  the  least  regard  to  the 
character  of  the  music,  is  to  be  entirely  con- 
demned. Tliey  should  be  intrusted  only  to  per- 
sons of  good  taste,  whose  judgment  will  direct 
them  when  to  give  tlie  forte  and  piano,  and  when 
to  t)e  silent,  and  in  otlier  resjiects  so  to  varj-  as 
to  favor  the  general  design  of  the  music. 

The  cj-mbal  is  an  instrument  whose  origin  is 
very  ancient,  and  on  account  of  the  extreme  sim- 
plicity of  its  construction,  it  was  probably  in  use 
some  time  before  the  tambourine.  The  ancient 
c^•nlbaLs  were  made  of  sonorous  bra.«s,  or  copjier, 
and  were  of  a  diversity  of  foi-ms.  llie  diri'erences 
consisted  in  the  size,  the  depth  or  shallowness 
of  the  bowl,  the  presence  or  absence  of  the  rim, 
and  the  form  oi  the  handle  by  which  the  player 
held  the  instrument.  These  various  forms  -were 
a  mere  matter  of  fancy,  llie  kinds  which  dil- 
feretl  the  most  materially  from  those  now  in  use 
were  those  in  which  the  rim  was  absent,  and  the 
convexity  of  the  bowl  teiTuinatcil  in  an  elevation 
which  furnished  the  player  with  a  handle. 
Others  were  fumlshe<l  with  handles  on  the  sidi.'s, 
and  others  with  handles  in  the  same  position  ae 
ours,  with  the  addition  of  cords  or  rilibons  lo 
join  them.  CiiTubals  were  much  employed  in  the 
sacred  mysteries  of  the  l.eathen,  and  pailiculurlT 
in  the  ser\-ices  of  Cybelc  and  Bacchus. 

CYPUIAXUS.  A  composer  of  madrigals  in 
the  sixteenth  century.  He  and  Orlando  wer« 
the  first  two  who  hazarded  what  art  now  called 
chromatic  pa.ssagcs. 

CZAUTH.  GEORGE,  bom  in  Bohemi*  in 
1708,  was  an  eminent  violinist,  attached  to  the 
court  of  Berlin,  and  subsequently  of  Manheim, 
where  he  die<l  in  1771.  He  publislaed  hix  solot 
for  the  violin  and  flute 


U9 


CZE 


EXCYCLOr^EDIA    OF    MUSIC. 


«"ZB 


CZERXY,  GASPARD,  bom  in  Hohcraia,  was 
an  exc-cUcnt  performer  on  the  Knj^li^h  horn. 
lie  resided  in  his  youth  in  I*rftK"c.  "'"'  afterwards 
at  Petersburg,  and  Frieburg,  at  the  Urisgau,  at 
which  latter  jjlace  he  engaged  himself,  in  178G, 
in  the  service  of  the  Princess  of  Baden.  He  has 
published  at  \'ienna  some  music  for  militarj'  bands. 

C'ZKRNY,  CARL,  the  hiKhly-fiiftcd  author 
and  com])osor,  wiw  born  at  Vienna,  on  the  21st  of 
February,  1791.  lILs  parents  came  from  Uohe- 
m,n,  and  his  father,  who  had  formerly  been  in 
the  imperial  military  seri-ice  of  Austria,  settled 
in  Vienna,  in  1785,  as  a  teacher  of  the  i)iano- 
fortc.  Like  many  others  who  have  highly  distin- 
guished tl-.emselves,  C/.eriiy  displayed  in  his  ear- 
liest infancy  a  great  natural  disposition  for  music  ; 
and  as  hLs  father  at  that  time  very  diligently 
practised  the  works  of  Bach,  Mozart,  Clementi, 
&c.,  and  was  freciueutly  visited  l)ythc  piano-forte 
players,  then  resident  at  Vienna,  as  Kozeluch, 
Gclinck,  Wauhall,  and  others,  the  youth  had 
constantly  the  advantage  of  hearing  good  music, 
and  hence  his  sensibility  for  the  art  was  speedily 
manifested.  This  circumstance,  doubtless,  in- 
duced his  lather,  who  possessed  no  independent 
fortune,  to  devote  liis  earnest  attention  to  educate 
him  for  the  profession  ;  so  that,  even  in  his  eighth 
year,  young  Carl  performed  the  compositions  of 
Mozart,  Clementi,  Kozeluch,  Gelinek,  &c.,  with 
much  facility.  About  this  period  the  early  woijis 
of  Beethoven  appeared,  and  Czerny  became  so 
enamoured  with  them  as  to  prefer  them  to  all  oth- 
ers. He  therefore  studied  them  with  peculiar  as- 
siduity, and  when  about  ten  years  old  (in  1801) 
had  the  pleasure  of  being  introduced  to  their  re- 
nowned author,  who  was  then  in  the  prime  of 
life  and  had  created  the  greatest  sensation  as  a  pi- 
ano-forte player  by  the  production  of  effects  and 
difficulties  which  were  previously  unknown.  He 
played  to  lieethoven  some  of  the  great  masters' 
newest  compositions,  and  made  such  a  favorable 
impression  on  him  that  Beethoven  at  once  volunta- 
rily offered  to  take  him  as  a  pupil.  The  intimacy 
thus  formed  gradually  ripened  into  the  most  per- 
fect friendship,  which  was  maintained  unbroken 
throughout  the  too  short  lile  of  this  the  greatest 
musical  genius  of  this  century.  Among  the 
many  proofs  of  high  regard  wliich  Beethoven  en- 
tertained of  Czerny,  it  may  be  mentioned,  as  a 
fact  not  generally  known,  that  he  selected  him 
ns  the  musical  instructor  for  his  adopted  nephew, 
(Carl  Beethoven,)  who,  afterwards,  alas!  most 
deeply  imbittcrcd  his  uncle's  days,  notwithstand- 
ing the  unbounded  kindness  which  was  ever  ex- 
tended towards  him.  But  to  return  to  the  sub- 
ject of  this  memoir.  L'nder  Beethoven's  guid- 
ance Czerny  studied,  first  the  Clavier  School,  and 
the  works  of  Enian\icl  Bach,  and  then  all  the 
compositions  which  Beethoven  himself  had  writ- 
ten and  published  in  the  course  of  the  year.  He 
had  also  to  arrange  many  of  Beethoven's  works, 
as  well  as  to  correct  the  proofs  of  such  of  thorn 


as  were  being  i)rei)ared  for  jjublicntion,  all  of 
which  afforded  him  much  practice,  and  imparled 
an  accurate  knowledge  of  the  si>irit  of  these  fine 
compositions.  As  the  elder  Czeniy  could  with 
dirticulty  support  himself  by  teaching,  Carl, 
though  only  in  his  fourteenth  year,  (in  180.5,) 
also  commenced  gi^-ing  lessons ;  and  soon  obtain- 
ing some  talented  pupUs,  he  became  so  celebrated 
as  a  teacher,  that,  in  a  short  time,  every  hour  in 
the  day  was  occupied.  In  the  year  1810,  Cle- 
menti resided  in  Vienna,  and  Czerny  became  ac- 
quainted with  him  at  a  noble  house  where  he 
gave  instruction,  at  «hich  Czerny  whs  nearly 
always  present.  ThLs  was  particularly  ad\-an- 
tageous  to  him,  as  he  thereby  acquired  a  knowl- 
edge of  dementi's  classical  method,  and  formed 
his  own  upon  it.  He  soon  became  one  of  the 
most  favorite  and  highly-esteemed  teachers  in 
Vienna,  and  gave  daily  from  ten  to  twelve  hours' 
instruction,  chiefly  in  the  noblest  and  best  fami- 
lies. To  this  occupation  he  devoted  himself  for 
thirty  years — from  180.5  to  1835;  and  among 
his  numerous  pupils  who  have  become  known  to 
the  pu'olic  are  Mademoiselle  Belleville,  Liszt, 
Dohler,  and  others.  Among  amateurs,  too,  of 
hijrh  rank,  he  has  had  many  pupils  who  might 
well  have  passed  for  professors.  The  disposition 
which  Czerny  manifested  for  composition  during 
his  youth  was  fully  equal  to  that  which  ho 
showed  for  piano-forte  playing ;  and  he  almost 
daily  noted  down  ideas,  themes,  &c.,  for  all  kinds 
of  musical  pieces.  His  father  caused  him  to 
study  diligently  the  works  of  Kirnberger,  Al- 
brechtsberger,  and  others,  so  that  he  soon  ac- 
quired all  the  requisite  theorotical  knowledge  ; 
and  Beethoven  thoroughly  exercised  him  in  scor- 
ing and  the  art  of  instrumentation.  But  as  les- 
son-giving occupied  his  whole  time,  Czerny,  for 
a  long  while,  had  no  thought  of  publishing  any 
work.  At  length,  however,  in  the  twenty-sev- 
enth year  of  his  age,  his  Op.  1  appeared,  (Vars. 
Concertantes  for  Piano-forte  and  Violin,)  which 
met  M-ith  such  an  unusually  favorable  reception 
that  he  was  afterwards  completely  overwhelmed 
with  orders,  both  from  the  music  publishers  of 
Germany  and  those  of  other  countries.  Hence 
he  was  obliged  to  devote  his  leisure  hours  in  the 
evening  to  composition ;  and  feehng  at  all  times 
in  a  suitable  frame  of  mind  for  it,  he  Has  pro- 
duced, up  to  1818,  about  eight  hundred  original 
compositions,  exclusive  of  many  great  composi- 
tions in  manuscript,  and  independent  of  nxuner- 
ous  arrangements  of  Masses,  Symphonies,  Over- 
tures, Operas,  Sec,  &c.  In  addition  to  these,  he 
has  also  published  "  Ten  Letters  addressed  to  a 
young  Lady,  on  the  Art  of  playing  the  Piano- 
forte ; "  "  Lettei-s  on  Thorough  Bass,  with  an  Ap- 
jjcndix  on  the  higher  Branches  of  musical  Execu- 
tion and  Expression ; "  "'Diii'ty-two  new  Exercises 

I  on  Harmony  and  lliorough  Bass  :  "  "  School  of 
Practical  Composition,  or  Complete  Treatise  oe 

I  the  Composition  of  all  Kinds  of  Music,  both  in- 

I  strumcntal  and  vocal." 


210 


ENCYCLOP.EDIA    OF    MUSIC. 


DAM 


D. 


D.  The  nominal  of  the  second  note  in  the 
nntiiral  diatonic  scale  of  C,  to  which  Guido  Are- 
tinus  applied  the  monosyllable  Ue,  It  is  the  su- 
pcrtonie,  or  second  note,  thus  :  — 


%J     BASS. 

-C-»^^ 

TMla. 

— "g»p«ia»r 

{^* 

L^ 

— C^^?^'^ — 

"TSat  — 

SiipMMk.- 

-^ 

The  key  of  D  is  ample,  grand,  and  noble,  hav- 
ing more  fire  than  C  :  it  is  completely  unite<l  to 
the  loftiest  puqioses.  D  in  music  marks  in 
thorough  basses  what  the  Italians  call  tliscanto, 
and  intimates  that  the  treble  ought  to  play  alone, 
as  T  does  the  tenor,  and  13  the  bass. 

DA.  (I.)  For,  by,  of,  from  ;  as,  da  camera, 
for  the  chamber. 

DA  CAMERA.  (I.)  An  expression  applied 
to  music  for  the  chamber. 

DA  CAPELLA.  (I.)  For  the  chapel,  or  in 
church  style. 

DA  C.\PO,  (!.,■)  or  D.  C.  An  expression  writ- 
ten at  the  end  of  a  movement,  to  acquaint  the 
performer  that  he  is  to  return  to  and  end  with 
the  first  strain.  ITiis  term  is  composed  of  two 
Italian  words,  signifying  from  the  head  or  begin- 
ning. \\"hen  written  Da  capo  ai  aeyiut^  h  means, 
Repeat  from  the  sign. 

DA  CAPO  SEXZA  REPETIZIOXE,  E  POI 
liA  CODA.  Begin  agair.,  but  without  any  rep- 
etition of  the  strain,  and  then  proceed  to  the 
coda. 

D  ACTYTj.  a  species  of  rhythm  which  may  be 
represented  by  the  word  laborer ;  one  long  and 
two  short  notes. 

DACIER,  ANXE,  died  at  Paris  in  1721. 
Among  her  numerous  wTitings  we  may  distin- 
guish a  dissertation  on  the  flutes  of  the  ancients, 
inr^erted  in  her  edition  of  "  Terence." 

DACrlXCOURT.  A  composer  for  the  harpsi- 
c'ord  at  Piiris.     He  died  at  Rouen  in  1755. 

DAHMKX,  J.  A.  An  excellent  violinist  and 
com])oscr  for  his  instrument,  lie  was  bom  in 
Holland,  and  lived  many  years  in  Ei.gland.  He 
flourished  in  the  latter  part  of  the  last  century. 

DAL.  (I.)  From;  as,  dal  seyiin,  from  the 
Bign  ;  a  mnrk  of  repetition. 

DAL  TEATRO.  (L)  In  the  style  of  theatrical 
music. 

DALAYR.\C,  NICHOLAS.  A  French  com- 
poser of  some  note.  He  was  bom  in  Ijinguedoc, 
of  a  noble  family,  went  to  Paris  young,  and  \te- 
came  early  a  composer.  "  yina,"  1786  ;  "  Adolphe 
et  Clara,"' Xl ^39  ;  "  .UuMOn  A  reiiHrr,"  1800  ;  "  I'i- 
earns  et  Dii-r/n,"  1803;  and  "  Camillf,"  1791,  arc 
■ome  of  hid  operas.     He  died  in  1809. 

31  2 


I  DALBERG.  JOHAXN  FRIEDRICH  HUGO, 
I  FREYIIERR  liAROX  VOX.  A  celebrated  Ger- 
man amateur  composer  and  pianist,  born  about 
the  year  1752.  Von  Dalbcrg's  compositions  con- 
sist both  of  vocal  and  instrumental  pieces,  and 
were  piibllshcd  about  1801. 

D'ALBAXESE.     See  Ai-hanezk. 

DALEMBERT,  JEAX  LE  ROXD,  member  of 
the  Academies  of  Sciences  of  Paris  and  Berlin,  and 
peri)etual  secretary  to  the  French  Academy,  wos 
bom  at  Paris  in  1717.  In  1722  Rameau  ])ublishcd 
his  treatise  on  hanuony,  which  at  first  i)roduccd 
little  effect,  from  it-s  being  too  profound  for  com- 
mon renders.  In  1752  Dalembert  undertook  to 
render  the  system  of  Rameau  more  familiar,  and 
wTote  a  ti-act  for  that  purpose,  by  which  means 
he  oiUy  gave  the  ai)pearauce  of  order  and  clear- 
ness to  a  system  essentiaUy  erroneous,  and  which 
is,  in  great  part,  rejected  by  the  modern  miusical 
theorists  of  France.  Dalembert  also  wrote  some 
tracts  on  music  in  the  periodical  publications  of 
his  time. 

DALLOGLIO,  DOMEXICO,  a  composer  and 
violinist,  was  bom  at  Padua.  In  17.'i5  he  went  with 
his  younger  brother  to  St.  Petersburg,  where  he 
remained  for  twenty-nine  years  in  the  ser%nce  of 
that  court.  He  died  suddenly,  in  17(i4,  being 
then  on  his  return  to  his  native  country.  His 
compositions  were  chiefly  instrumental,  and  for 
the  \-iolin.  Some  of  them  were  published  at 
Vienna. 

D'ALPY,  MLLE.,  an  eminent  performer  on 
the  piano-forte,  was  a  pupil  of  Cramer. 

DALVIMARE.     See  Alvimabe. 

DAMBRIUS.  A  French  composer  about  the 
year  1685. 

DAMEX.     Sec  Dahmex. 

DAMIAXI,  F.  An  Italian  composer  and 
singer,  who  was  in  London  about  the  year  ISOO, 
where  he  published  "  God  save  the  King  "  in 
Italian,  with  variations ;  also  "  Four  easy  Song^ 
for  the  Harp  or  Piano,"  and  "  Xottvxmi,  for  two 
-and  three  Voices." 

DAMOX,  WILLIAM,  is  chiefly  known  on  ac- 
count of  the  harmonies  which  he  p>ibllshp<l  to  a 
collection  of  ])salm  times.  He  was  organist  of 
the  Chapel  Royal  during  the  reign  of  (jiiecn 
Elizabeth,  and  was  a  man  of  considerable  emi- 
nence in  his  proferision. 

D.VMOX",  the  Athenian,  was  the  music  ma.^cr 
of  Pericles  and  Socrates,  llie  philosopher  calls 
him  his  Iriend,  in  a  dialogue  of  Pinto,  where  Xi- 
cias,  one  of  the  interlocutors,  infonus  the  compa- 
ny tliat  Socrates  had  recommendeil,  as  a  music 
master  to  his  son,  Damon,  the  disciple  of  Agath- 
odes,  who  not  only  excelled  in  his  own  profes- 
sion, but  possessed  every  (piality  that  could  bo 
wished  in  a  man  to  whom  the  rare  of  youth  waa 
to  be  confided.  Damon  had  chiefly  cultivated  that 
part  of  muiic  which  conccnu  time  or  cadanc* 
11 


DAM 


ENCYCLOPEDIA    OF    MUSIC. 


DAN 


for  which  he  Ls  highly  conimended  by  Plato, 
who  seems  to  have  re-jarded  rh>-thm  as  the  most 
essential  part  of  music,  and  that  upon  which  the 
raoraLs  of  a  people  dcjiended,  more  than  upon 
melody,  or,  as  the  aucients  called  it,  hannony.  He 
L>  also  mentioned  by  Aristides  Qiiintilianus,  as 
havrnp;  excelled  in  charactorizinR  his  melodies  by 
a  judicious  choice  of  such  sounds  aud  intervals 
iLs  were  be-t  adapted  to  the  effects  he  intended  to 
])roduce.  Damon,  aocording  to  Plutarch,  was  a 
profound  jiolitician,  and,  under  the  ma:-k  of  a 
musician,  he  tried  to  conceal  from  the  multitude 
his  talent.  lie  was,  however,  involved  with  hLs 
patron,  Pericles,  in  the  political  disputes  of  his 
tuue,  and  banished  as  a  favorer  of  tjTanny.  'ITie 
period  when  he  flourished  may  be  gathered  from 
his  connections. 

DAMOUEAU,  MME.  LAURE  CINTIIIE 
MONTALANT.  A  famous  French  soprano, 
known  at  fii-st  as  Mile.  Cinti.  She  was  born  at 
Paris  in  1801,  was  educated  at  the  Conser\-atoire, 
and  in  1823  attracted  the  notice  of  Rossini,  who 
wrote  parts  for  her  in  "  Moses,"'  and  "  llie  .Siege 
of  Corinth."  From  this  time  her  reputation  and 
success  were  very  great,  and  her  talent  is  consid- 
ered by  some  critics  to  be  of  the  highest  order, 
and  comparetl  to  that  of  Sontag  and  Malibran. 
She  married  in  Brussels,  in  1827,  Damoreau,  an 
actor,  but  the  marriage  was  not  a  happy  one.  In 
1844  she  visited  the  United  States. 

DAMPERS.  Certain  movable  parts  in  the  in- 
ternal construction  of  the  piano-forte,  which  are 
covered  with  cloth  or  soft  leather,  and,  by  means 
of  a  pedal,  are  brought  into  contact  with  the 
wires  in  order  to  deaden  the  vibration. 

DANA,  GIUSEPPE.  An  Italian  composer  at 
Naples.  In  1791  he  brought  out  there  two  bal- 
lets of  his  composition,  viz. :  1st,  "  Ijafiiita  Paz- 
za  per  Amove."     2d,  "  FiiUa  campcstre." 

DANBY,  JOHN.  A  celebrated  English  com- 
poser of  glees,  in  the  latter  part  of  the  last  cen- 
tury. He  died  whilst  a  concert  was  performing 
for  his  benefit.  The  following  catalogue  com- 
prises his  principal  works  :  "  La  Guida  aUa  Musi- 
ca  Vocale ;  "  "  When  .Saiipho  tuned,"  glee,  three 
voices ;  "  AMien  generous  wine  exj>ands,"  three 
voices ;  "  When  floods  retire  to  the  sea,"  three 
voices ;  "  The  fairest  flowers  the  vale  i)refer,"  three 
voices;  "Sweet  thrush,"  four  voices;  "Shep- 
herds, I  have  lost  my  love,"  tliree  voices ;  "  Go 
to  my  Anna's  breast,"  four  voices  ;  "  Fair  Flora 
decks,"  three  voices ;  "  Come,  ye  party  jangling 
swains,"  four  voices;  and  "Awake,  .Folian  lyre," 
four  voices.  John  Danby  gained  numerous  ])rize 
medals  lor  his  compositions,  from  the  Glee  Club 
and  otlier  societies,  and  for  a  scries  of  years  he 
shared  with  the  celebrated  Samuel  Webbe  the 
meed  of  public  approbation  in  his  peculiar  school 
of  music. 

DANCE,  ^^^LI>IAM,  was  born  in  17.5.5.  He 
studied  the  ])iano-forte  under  I)r  Aylward,  or- 
ganist of  St.  George's  Chajiel,  Windsor,  and  the 
violui,  first  under  C.  F.  IJaumgarten,  and  subse- 
quently under  the  celebrated  Giiuxlini.  Dance 
lived  to  be  one  of  the  oldest  professors  in  l>ondon, 
having  perforiueil  in  the  orchestra  of  some  theatre 
.lince  the  year  17()7.  He  belonged,  for  four  years,  to 
Drury  Ijiiic  'nieatie,  in  the  time  of  Gaixick,  and 
tfterwards,  for  a  period  or  eighteen  years,  (naice 


ly,  from  177.5  to  1793,)  to  the  King's  Theatre.  H« 
led  the  band  at  the  Ilay market  Theatre  lor  seven 
summers,  from  1784  to  1790,  inclusive.  He  as- 
sisted at  all  the  performances  for  the  commem- 
oration of  Handel  at  Westminster  Abbey,  and 
led  the  band  there,  in  the  year  17'>0,  for  three 
performances,  during  the  mdisposition  of  the 
elder  Mr.  Cramer.  Dance  taught  the  pinuo-forte  in 
London  for  forty-eight  years.  He  was  one  of  the 
founders  of  the  Philliarmonic  Society,  and  one 
of  its  directors  and  trea.surer.  He  has  published 
various  piano-forte  works  of  merit,  consisting  of 
sonatas,  fantasias,  variations,  preludes,  &c.  His 
variations  on  "  God  save  the  King  "  have  been 
extremely  admired,  and  the  sale  was  such  as  to 
require  four  sets  of  plates. 

DANCES.  Certain  tunes  composed  for  or 
used  in  dancing ;  as  the  waltz,  the  mmuet,  the 
saraband,  the  cotillon,  the  reel,  the  hornpipe,  the 
polka,  &c.,  which  see  in  their  proper  places. 

DANCEUIES.  The  general  name  formerly 
given  to  publications  consisting  of  collections  of 
galbards,  allemandes,  ballad  tujies,  aud  other 
lively  melodies. 

DANCING  OF  THE  EARLY  CHRISITANS* 
That  the  early  Christians  danced  in  their  religious 
service  there  can  be  no  doubt,  for  in  the  eighth 
semion  of  St.  Augustine,  we  find  the  follo«-ing 
reproof :  "  It  is  better  to  dig  or  to  plough  on  the 
Lord's  day  than  to  dance.  Instead  of  singing 
psalms  to  the  lyre  or  psaltery,  as  ^-irgins  and 
matrons  were  wont  to  do,  they  now  waste  their 
time  in  dancing,  and  even  employ  masters  in  the 
art."  The  original  of  the  word  cAo/;-  signifies  a 
dance  or  company  of  dancers.  Odo,  Bishop  of 
Paris,  forbade  dancing  iii  his  diocese  in  the 
twelfth  century. 

DANDRIEU,  JEAN  FRANCOIS,  was  bom 
in  the  year  1(584.  He  was  a  celebrated  composer 
for,  and  a  masterly  performer  on,  the  organ  and 
haqjsichord.  Both  in  style  and  execution  he  is 
said  to  have  greatly  resemble<l  the  famous  Cou- 
perin.  Dandrieu  died  at  Paris,  in  1 740,  leaN-ing,  of 
his  works,  three  volumes  of  pieces  for  the  harp- 
sichord, and  one  volume  for  the  organ,  with  "  I'n 
Suite  de  yoSls,"  or  carols  and  songs  celebrating 
the  nativity  of  Christ,  all  of  which  have  been 
greatly  esteemed. 

D.VNN.  A  composer  of  some  sonatas  pub- 
lished at  Heilbronn  in  1797. 

DANNELEY,  JOHN  FELTHAM,  was  bom 
at  Oakingham,  in  Berkshire,  in  178G.  His  grand- 
father was  a  solicitor  of  great  repute  and  consid- 
erable property  at  Windsor,  whose  early  death 
and  unforeseen  misfortunes  i)lunged  his  family  in 
difficulties ;  when  his  son,  G.  Dannelcy,  accepting 
a  situation  obtained  for  him  in  the  choir  at  Wind- 
sor, devoted  himself  to  music  a.s  a  profession,  and 
by  him,  his  second  son,  the  subject  of  this  me- 
moir, was  initiated  into  musical  science.  At  the 
age  of  fifteen,  he  was  placed,  as  a  pupil  for  the 
piano-forte,  under  C.  Knp'ett,  and  under  Samuel 
Webbe  for  thorough  bass.  At  tlie  age  of  seven- 
teen, he  left  his  musical  studies  to  reside  entirely 
with  a  wealthy  maternal  uncle,  who  promised 
and  intended  to  provide  amply  for  him  ;  but  in- 
dulging in  procra-stination,  (which  so  often  frus- 
trates the  bast  intentions,)  was,  by  rapid  Ulnes* 
and  consequent  death,  deprived  of  the  power  oi 


242 


DAX 


ENCYCLOP.^DIA    OF    MUSIC. 


I)A« 


nnkinp;  a  ivill.  By  this  event  young  Dnnneley 
wfis  H<;!iiu  cast  upon  tlie  world  ;  when,  resuminj; 
Ills  jn'olossioiuil  pursuits  witli  increased  nssidiiily, 
he  i)lnced  hiiusclt'  under  tlie  tuition  of  that  very 
eminent  performer,  the  Into  Woeltl,  from  whom 
lie  learned  to  comprehend  iind  ndmiro  the  expres- 
Bion  piveu  to  pinno-l'ortc  playing  by  the  varied 
an  I  sensitive  touch  adopted  by  the  best  tierman 
mustei-s,  and  so  well  described  in  Forkel's  life  of 
liach.  lie  also  took  lessons  from  another  excel- 
lent master,  (.'.  Ncate,  and  then  went  to  reside 
with  his  mother  at  Odiham,  in  Hampshire.  At 
this  pcrio<l  of  his  life  he  contracted  a  -^rcat  love 
for  forci^^n  music,  from  frc<iuently  joininj;  in  con- 
certs with  French  and  Italian  odicers,  placed  as 
prisoners  of  war  in  the  vicinity  of  Odihnm,  and 
11  their  society  he  acciuired  a  knowledge  of  the 
French  and  Italian  lantjua^es.  In  his  twenty- 
Hixth  year,  an  eli:;ible  circle  of  tuition  was  ort'ered 
to  his  accei)tttnce  at  Ipswich  ;  and  oltcr  a  few 
years'  residence,  he  was  elected  organist  of  the 
church  of  St.  Mary  of  the  Tower  in  that  town. 
At  the  commencement  of  the  peace  Danneley 
went  to  I'aris,  where  he  attended  the  meeting!?  of 
L' Eailc  ties  Fii.i  d'A/ioU/ii,  and  studied  assiduously 
under  .\ntoine  Rcicha,  the  first  theorist  of  the 
day,  author  of  some  admirable  quintets,  and  of 
the  "  Coiirs  complet  de  Coni/nsitio/i  Musicale  "  —  a 
work  celebrate<l  all  over  Euroi)e.  At  this  time 
he  also  took  lessons  of  Pradher,  the  Cramer  of 
l'iu:is,  and  Mirccki,  /e  jeune  I'ohnoi.i,  of  whose 
splendid  edition  of  Marcello's  psalms,  Danneley 
was  one  of  the  orifjinal  promoters.  He  also  en- 
joyed the  advantage  of  fretjuent  conversations 
with  the  celebrated  Cherubini,  and  Monsigny, 
the  author  of  an  original  and  elegant,  though 
perhaps  somewhat  fanciful,  theory  of  music.  In 
superior  Parisian  society,  as  well  as  in  profession- 
al circles,  Danneley's  astonishing  facility,  as  a 
sight  player,  was  generally  admiied.  In  1822 
Danneley  prepared  to  visit  Vienna  and  Munich  ; 

but  these  arrangements  were  changed  for  an  at-  [.madrigals,   one   set_  of  which   was   published  at 
tainmcnt  much  more  the  object  of  his  wishes, 
namely,   the   hand   of    an   amiable    and    accom- 


plished young  lady,  to  whom  he  had  long  been 
attached.  The  following  are  among  the  speci- 
mens which  Danneley  has  occasionally  selected 
for  publication  from  his  numerous  manuscript 
compositions  :  "  Queen  of  every  moving  meas- 
ure;" "  C'dI  Arso  d'un  Ci;/Uo;"  "Military  Diverti- 
mento ; "  "  Waves  of  OrivcU ;  "  duet,  "  Rondo  in 
(.';"  "Violets,"  a  song;  and  "  Paliiioilia  d  Xice,"  a 
set  of  twelve  Italian  ducts,  dedicated  to  his  royal 
highness  the  Duke  of  Su.sscx.  Danneley  pub- 
lished in  182')  a  portable  cncyclopicdia  of  music, 
in  one  volume,  consisting  of  all  the  most  useful 
inf'Tra^ition  that  could  be  comjiiled,  abridged,  and 
selecteil  from  the  best  theoretical  works  of  the 
continent  —  a  task  for  which  he  wa-s  well  qualific<l 
by  his  knowledge  of  the  French,  Italian,  and 
German  languages. 

D.VXYEL.  JOHN.  A  bachelor  of  music,  at 
Christ  Church,  Oxford,  in  the  year  I'.Ot.  lie 
published  "  Songs  for  the  Lute,  Viol,  and  Voice," 
London,  KiOti. 

D  AXZI,  FUAXZ.  Chapel-master  to  the  King  of 
Bavaria  at  Munich,  and  an  excellent  violoncellist. 
He  was  born  at  Manheim,  of  Italian  parents,  in 
1763.  His  father  was  on  excellent  performer  on 
the  violoncello,  and  taught  hini  music  ot  a  very 
Mrly  age  ;   l-.e  also  studied,  subsoiucntly,  under 


the  celebrated  Abbe  Vogler,  at  that  time  cjiapel- 
master  to  the  elector.  In  177!>  he  producid  hii 
tirit  opera,  "  AzuAin,"  for  the  theatre  at  Munich, 
to  the  caliiedral  of  which  town  he  was  appointed 
chapel-master.  Since  that  ])erio(l  he  has  pub- 
lished several  other  oiieras,  and  a  great  variety  of 
instrumental  music,  much  of  which  has  been 
printetl  at  Paris.  His  iiuatuors  for  two  viols, 
tenor,  and  violoncello.  Op.  44,  iiublished  at 
Leijisic,  are  particularly  admired.  Dan/i  wax 
appointed,  in  1807,  chapel-master  to  the  King  of 
Wurtemburg,  at  Stuttgard,  from  whence  he  still 
continued  to  publish  instrumental  music. 

D'APEL.     See  Ai-f.i.. 

D.\PHX'IS.  A  musician  of  whom  it  Ls  re- 
corded that  he  was  taught  to  sing  and  play  upou 
the  pipe  by  Pan. 

DAQUIX,  LOUIS  CLAUDE,  organist  to  the 
King  of  France,  was  bom  at  Paris  in  H)04.  Ho 
Ix^came  celebrated  as  an  organist  at  tlu  early  age 
of  twelve  years.  When  Handel  went  to  France, 
he  was  so  astonished  on  hearing  the  performance 
of  Daquin,  that,  although  extremely  pr<N.sed  to 
play  himself  before  him,  he  could  never  be  pre- 
vailed upon  to  do  so.  Daquin  is  said  to  have 
presen-cd  the  brilliancy  of  his  touch  to  the  ad- 
vanced age  of  seventy-eight.  During  his  hist  ill- 
ness, which  was  only  of  eight  days'  continuance, 
he  recollected  that  the  ftte  of  St.  Paul  was  ap- 
I)roaching,  and  said,  "  Je  veiix  me  fiiire  jtorler  d 
t'iilli.Hi:  /Mir  ijiiatre  hommes,  et  ninurir  d  mon  orrnte." 
He  died  the  loth  of  June,  1772,  and  his  funeral 
was  attended  by  a  prodigious  concourse  of  ama- 
teur and  professional  musicians.  'Hie  regular 
canons  of  St.  .\nthony,  to  whom  he  had  been 
organist  for  sixty-si.\  years,  sang  his  funeral 
service.  Dnquin  composed  some  sacred  and 
other  music  for  his  instrument. 

DAQUOXEU.S  JO.VXXES.     A  composer  of 


Venice  in  1.5o7,  and  another  at  Antwcrj>  in  1.594. 

DARBES,  JOH.VXX.  A  Danish  violinist  of 
some  merit,  who  is  also  known  as  the  composer 
of  a  "  Stabat  Mater  :  "  he  lived  near  Copenha- 
gen, in  1784,  having  been  pensioned  by  the  court. 

DARCIS,  M.,  a  pupil  of  Gretry,  composed  the 
opera  "  La  Faiisxe  Pcur,"  in  1774.  "  /.e  But 
Mas'/ui  "  is  also  attributed  to  him. 

D.\RD.  Author  of  some  instrumental  music, 
also  of  a  v\ork  entitled  "  I'riiiri/h'S  de  Mtitii/iie," 
published  at  Paris  about  the  year  1796. 

D.VRELS,  J.  B.  .\uthor  of  some  romance* 
publL-hed  at  Paris  in  1800. 

DAROXDEAU,  BOXOXI,  bom  at  Munich  in 
1740,  was  a  professor  of  singing  at  Paris,  and 
composed  seven  coUcK'tions  of  romances,  ond  the 
music  of  the  opera  "  /^  Soidnt  jxtr  Anmur." 

DAROXDEAU,  IIEXRY,  son  of  the  preced- 
ing, was  born  at  Strasburg  in  1779.  He  was  d 
pupil  of  Bertoii,  and  has  composed  several  col- 
lections of  romances,  and  some  piano- forte  music 

DASERUS,  or  DA.-^SER,  I.UDOVICUS 
Chapel-master  to  the  Duke  of  Wurtemburg  in 
the  latter  half  of  the  sixteenth  century.  H« 
composed  much  sacreil  music. 

D.Y.SU.     The  line  drawn  through  a  figui*  if 


-243 


DAT 


ENCYCLOP.^ilDIA    OF    MUSIC. 


DAV 


(G.)    The  diu-ation   or  length  of 


Jiorough  baxs,  in  order  to  raise  the  intcn-al  des- 
ignated by  tliat  tigure  hnlf  a  tone  higher. 

D.\TIS.  nie  gong  of  mirth.  So  called  by 
the  ancient  Greeks. 

IIAUBE,  JOIIANX  FRIEDRICII,  born  in 
I'.'iO,  was  secretary  to  the  Im])erial  Society  of 
Arts  and  Sciences  at  Vienna.  lie  wrote  several 
hooks  on  music,  and  composed  some  sonatas  for 
the  lute,     lie  died  at  Vienna  in  1797. 

I).\.UBERVAL.  A  pupil  of  Xoverrc,  and  a 
celebrated  ballet  master,  lie  was  born  at  Ver- 
sailles, and  died  in  180G. 

DAUER. 
notes. 

DAUPHIN.  A  composer  of  songs  at  Paris  in 
the  beginning  of  the  last  century. 

DAUPRAT.  Professor  of  the  horn  at  the 
Paris  Conservatory. 

DAUSSOIGNE.  Professor  of  accompaniment 
at  the  Paris  Conser\'atory. 

DAUTRRTi:,  RICHARD.  A  French  violin- 
ist  and  composer  for  hb  instrument  in  the  year 
1799. 

DAUVERGNE,  ANTOINE,  bom  at*  Cler- 
mont in  1713,  was  superintendent  of  the  king's 
music,  and  director  of  the  opera.  He  composed 
manj-  dramatic  pieces,  and  some  music  for  the 
violin.     He  died  at  Lyons  in  1797. 

DAUVILLIERS,  JACQ.  MARIN,  bom  at 
Chartres  in  17.54,  was  a  composer  of  Hglit  vocal 
music. 

DAVELLA,  GIOVANNI,  published  at  Rome, 
in  1657,  "  Rfffola  di  Miisica  "  —  a  work  of  no  great 
mnrit,  according  to  Dr.  Burney. 

DAVID,  "  the  sweet  singer  of  Israel,"  was 
selected  by  Saul  to  comfort  him.  "  David  took* 
a  kinnor,  and  played  with  his  hands ;  so  Saul  was 
refreshed,  and  was  well,  and  the  evil  spirit  de- 
parted from  him."  David  was  an  excellent  mu- 
sician, and  had  plenty  of  singing  men  and  sing- 
ing women  in  his  court.  David  composed  a  va- 
riety of  i)sahns,  and  caused  his  sklll'id  players 
to  set  them  to  music,  as  appears  by  their  inscrip- 
tions to  Jcduthun,  Asaph,  K-c,  the  sons  of  Korah. 
As  the  Lcvitcs  were  cased  of  a  great  part  of  their 
charge  by  the  tabernacle  and  ark  being  fixed  in 
a  place,  David  caused  great  numbers  of  them  to 
devote  themselves  to  music,  and  distributed  four 
thousand  sacred  singei-s  into  twenty-four  classes, 
who  should  serve  at  the  temple  in  their  turns. 
The  four  sons  of  Asaph,  six  of  Jeduthun,  and  four- 
teen of  lleraan,  constif\ite(l  the  chid  of  thc:e 
twenty-four  cliusses  ;  and  .Vsaph,  Jeduthun,  and 
lleman  were  the  chief  musicians.  Tlieir  iiv^innth, 
or  stringed  instruments,  wei-e  the  psaltery  and 
harp,  to  wliich  may,  perhaps,  be  added  the 
iihemineth,  the  shushanim,  and  the  alamoth, 
the  dulcimer,  and  sackbut  ;  and  the  tichiloth,  or 
wind  instruments,  were  tlie  organ,  cornet,  Hute, 
pipe,  and  trumpet.  They  had  also  timbrels,  cym- 
bals, and  bells.  But  as  to  many  of  their  instru- 
ments, our  best  ii\fonnation  affords  \is  no  certain 
knowledge  of  their  particular  forms. 

D.VVID,  FELICIEN.  Bom  in  1810,  at  Cade- 
nct,  near  .Vix,  in  Fram  c .     He  exhibited  musical 


iudicationH  at  an  early  age,  and  he  was  Cimcated 
in  a  college  of  the  Jesuits.  In  1830  he  pioduced 
some  compositions  lull  of  original  inspiration,  but 
not  until  1838  and  1839  did  he  com])OBe  any 
thing  calculated  to  make  him  knowni.  His  great 
work  is  "  The  Desert,"  which  has  been  very 
widely  celebrated. 

DAVID,  GL\COMO.  A  celebrated  tenor 
singer,  born  at  Bergamo  about  the  year  1750. 
He  sang  at  most  of  the  large  towns  of  Italy,  also 
in  London  and  Paris,  till  about  the  year  1796, 
when  he  returned  to  Italy,  and  became  chamber 
musician  to  the  Grand  Duke  of  Parma. 

DAVID,  L.  A  haqiist  and  singing  master  at 
Geneva  in  the  year  1800.  He  has  publi'^hed 
some  romances  with  accompaniments  for  his  in- 
strument. 

DAVID,  the  younger.  A  very  eminent  Ital- 
ian tenor  singer ;  his  voice  Ls  of  extraordinary 
compass.  He  has  been  engaged  for  some  time  at 
Vienna,  where  he  Ls  enthusia-stically  admired. 

DAVIES,  MISS  CECILIA,  known  in  Italy  by 
the  name  of  L'  Ii>f/lciina,  first  ajijieared  at  the  op- 
era in  London  in  1773.  She  was  considered  as 
being  second  only  to  Billington  among  English 
female  vocalists.  .She  had  i)cribrmed  for'  some 
time  in  Italy  before  her  appearance  on  the  Lon- 
don boards,  and  even  the  Italians  confosse<l  that 
her  powers  were  excelled  on  the  continent  by 
Gabrielli  alone.  After  singing  a  few  years  in 
England,  she  returned  to  the  continent  with  her 
sister,  who  was  a  celebrated  player  on  the  har- 
monica. The  once  celebrated  Cecilia  Davies  was 
living  in  London,  in  July,  1832,  and  was  then 
nearly  ninety-one  years  of  age.  It  was  said  that 
she  retained  all  her  faculties,  was  very  commu- 
nicative, and  recollected  the  former  events  of  her 
life  perfectly,  which  she  related  Mith  great  dis- 
tinctness and  vivacity. 

DAVION,  J.,  published  a  collection  of  ro- 
mances at  Paris,  about  the  year  1801. 

DAA"i',  RICHARD.  An  old  EngUsh  compo- 
ser of  songs.     He  hved  about  the  year  1500. 

DAAT,  JO|IX,  was  born  in  the  parish  of 
I'pton-llelion,  about  eight  miles  from  Lxeter 
When  I'.e  was  about  tliree  years  of  age,  he  came 
into  the  room  where  his  uncle,  who  lived  in  thi 
same  parish,  was  i)laying  a  jisalm  tune  on  the 
violoncello  ;  but  the  momeut  he  heard  the  instru- 
ment he  ran  away  crying,  and  was  so  much  ter- 
rified that  it  was  thought  he  would  have  gon( 
into  fits.  For  several  weeks  his  uncle  repeatedh 
tried  to  reconcile  him  to  the  instrument ;  and  ai 
last,  after  much  enticement  and  coaxing,  he  ef- 
fecttnl  it  by  taking  the  child's  fingers,  and  making 
him  strike  the  strings.  The  sound  thus  pro- 
duced very  much  startled  him  at  first  ;  but  in  a 
few  days  he  became  so  passionately  fond  of  the 
amusement  that  he  took  every  opportunity  of 
scraping  a  better  acquaintance  with  the  monster 
wliich  had  be;ore  so  much  terrified  him.  AVith 
a  little  attention,  he  was  soon  able  to  produce 
such  notes  from  the  violoncello  as  greatly  de- 
hghted  him.  About  this  time  there  hajjpened  to 
be  a  comjinny  of  soldiers  quartered  at  Crediton,  a 
town  about  a  mile  from  llelion.  His  uncle  fre- 
quently took  him  there,  and  one  day  attending 
the  roll  call,  he  appeared   much  pleased  with 


■244 


DEA 


ENCYCLOPyEDIA    OF    MUSIC. 


DEB 


the  fifes.  Not  contented,  liowover,  with  heiirinf;,  i  DERAIX,  AI.KXANDRE.  Horn  in  1800. 
he  borrowed  one  of  them,  imd  soon  made  out  I  lie  bccnine  a  »'al)inet  maker.  At  the  end  of  lu.i 
several  tunes,  which  he  ])hiyed  very  decently.  i  a])])renticeshij)  in  IS'i.l,  lie  devoted  himself  t<j 
At  the  af^e  of  four  or  live  years,  his  car  was  so  '  piano-forte  making.  The  mechanism  of  tliis  in- 
correct tliat  he  could  play  an  easy  tune  after  once  strument  he  imiiroved,  and  conformed  to  his  owe 
hearinj;  it.     Itet'ore  he  was  quite  six  years  old,  a  better  taste.     He  was  successively  employed,  an 


neighboring  blacksmith,  into  whose  house  he 
Used  freciuently  to  run,  lost  between  twenty  and 
thuty  horscshnes.  Diligent  search  wius  made  for 
them  many  days,  l)ut  to  no  purpose.  Not  long 
•iltcrwards  the  smith  heard  some  musical  sounds, 


head  workman  and  superintendent,  in  the  prin- 
cipal music  establishments  in  I'aris  till  ISitO.  At 
this  period  he  journeyed  abroad,  rei)aired  and  im- 
])roved  a  great  variety  of  organs,  and  by  obser>'R- 
tion  and  comparison  increased   hLs  own  stock  of 


■which  seemed  to  come  Irom  tlie  upja-r  part  of  his  ,  information.     In  IS.'il  Debaiu  returned  to  I'aris, 


house;  and  having  Ustencd  a  sutKcient  time  to 
be  convinced  that  his  ear  did  not  deceive  him,  he 
went  up  stau-s,  where  he  dL^covered  little  Davy, 
with  hLs  i)roperty,  between  the  ceiling  and  the 
thatched  roof.  The  boy  had  selected  eight  horse- 
shoes out  of  the  whole  number  to  form  an  oc- 
tave, had  suspended  each  of  them  by  a  single 
cord  clear  from  the  wall,  and,  with  a  small  iron 
rod,  wa.s  amusing  himself  l)y  imitating  the  t'redi- 
ton  chimes,  wliich  he  did  with  great  exactness. 

'Diis  story  l)cing  made  public,  and  his  genius 
for  music  daily  increasing,  a  neighboring  clergy- 
man, of  considerable  rank  in  the  church,  showed 
him  a  hiu-i)sichord.  This  he  soon  became  famil- 
iar with,  and,  by  his  intuitive  genius,  was  in  a 
short  time  able  to  j)lay  any  easy  lesson  which 
was  put  before  him.  He  a|)i)lied  liimself  like- 
wise to  the  violin,  and  found  but  few  ditKculties 
to  surmount  in  his  progress  on  that  instrument. 

When  eleven  years  old  he  was  introduced  to 
the  Kev.  Mr.  Ea.stcott  by  this  gentleman,  who 
■was  now  become  his  patron.  Mr.  Eastcott  was 
FO  much  struck  with  his  perfonnance  on  the  ])i- 
nno-forte,  and  his  general  turn  for  music,  that  he 
earnestly  recommended  to  his  friends  to  place 
him  with  some  musician  of  eminence,  under 
whom  he  might  have  free  access  to  a  good  iu- 
titrument,  and  accjuire  a  requisite  knowle<lge  of 
the  rules  of  composition.  'Hicy  applied  to  Mr. 
Jackson,  the  organist  of  Exeter  Cathedral,  and, 
when  he  was  al)out  twelve  years  of  age,  he  was 
articled  as  a  pupil  and  apprcntii  e  of  this  excel- 
lent man. 

HLs  progress  in  the  study  of  composition,  and 
particularly  in  that  of  church  music,  was  ex- 
tremely great.  He  also  became  an  admirable 
liorfonncr,  not  only  on  the  organ,  but  on  the  vi- 
olin and  violoncello.  The  first  of  his  compo- 
sitions that  api)ear  to  have  attained  any  high 
degree  of  celebrity,  were  some  voral  tjutirtets, 
■which  were  considered  by  the  best  judges  to  iil- 
ford  the  strongest  indicatiou  of  musical  genius 
»nd  knowledge. 

Davy  resided  at  Exeter  for  some  time  after  the 
comj)letion  of  his  studies.  One  of  his  earliest 
employments,  upon  his  arrival  in  I.ondon,  ap- 
pears to  have  been  as  a  ])erforuier  in  tlie  ordics- 
tra  at  Covent  (iarden;  at  tliis  time  he  also  em- 
ployed himself  in  teaching,  and  soon  had  a  con- 
eiderablc  numlier  of  pupils.  He  com])oed  some 
dramatic  pieces  for  the  theatre  at  Sadler's  Wells, 
and  wrote  the  music  to  Mr.  Ilolnuin's  opera  of 
"  What  a  IJlunder  I  "  which  was  perfonued  at 
the  little  tlicatre  in  the  Haynuirket  in  the  year 
1800.  In  the  lollowing  year  he  was  eni;aged 
with  Moorehead  in  the  music  ot  •'  l'ero\i-e,'  and 
■with  .Mountain  in  that  of  "  The  llrazen  Mask," 
for  Covent  (iarlen.     He  died  in  February,  1824. 

DEAMICIS,  ANNA.     Sec  AMicrs. 


and  founded  his  j)rescnt  establishment  lor  tlie 
manufactiuc  of  piano-lbrtes  and  ex])rcssive  or 
gnus.  Tliis  he  now  directs  and  controls  with 
great  skill,  industry,  and  success,  e7Ui)loying  ono 
hundred  and  fifty  workmen.  In  his  pianos  he 
has  made  many  improvements.  His  wood  is 
seasoned  from  eight  to  ten  years.  His  workmen 
ore  all  masters  of  their  particular  ])arts  of  the  in- 
strument. Still  Debain  owes  his  widest  celebrity 
to  his  "organs  expressifs."  His  almost  count- 
less experiments  upon  the  metal  and  tone  of  hi« 
reeds,  his  bellows,  and  his  cases,  tlieir  size  and 
"  sonority,"  have  all  taxed  the  brain,  time,  and 
money  of  this  painstaking,  ]iersevering,  and 
wortliy  man.  His  countrymen  appreciate  his 
worth  :  of  these  organs  alone  he  annually  sends 
out  from  liis  establishment  six  hundred.  'Hiis 
instrument  of  four  set?)  of  reeds,  with  twelve 
registers,  Debain  most  apjjropriately  names  the 
"  harmonium."  It  is  equally  suited  for  the  par- 
lor, coi\ccrt  room,  and  small  church.  Debain  in- 
vented a  mechanical  organist  in  IStfi,  four  years 
after  he  completed  the  hanuonium.  Uy  three 
years  more  of  close  study  and  uncounted  trials, 
he  succeeded  in  producing  the  mechanical  pian- 
ist. ITiis  truly  ingenious  piece  of  mechanism  he 
names  "  antiphonel ;  "  it  is  now  applied  to  the 
harmonium  and  i)iano-forte  ;  in  the  harmonium 
it  is  only  placed  on  the  key  board.  The  nuH-hou- 
ical  j)iano  has  a  double  action.  The  music  for 
both  instruments  is  written  in  iron  point-s,  on 
small  ])ieces  of  boards.  This  jiiano  took  one  of 
the  premiums  at  the  "  World's  Fair."  It  was 
com])letcd  and  ])atented  in  l.s;ii).  Debain's  har- 
monium of  eight  half  stops,  and  twelve  registers, 
is  three  feet  nine  inches  long,  two  hn-t  six  and  a 
halt  inches  high,  one  foot  eleven  inches  wide,  and 
weighs  "one  hundred  kilos." 

DEIl.VICiNE,  AIIIIE,  was  music  roaster  to 
I^uLs  XI.  Honchet  relates  that  the  prince  once 
said,  jocosely,  that  lie  should  like  as  well  to  hear 
a  concert  of  pigs  as  of  musicians.  The  abln-,  on 
this,  collected  a  number  of  j)i;;s,  of  ditfercnt 
ages,  in  a  sort  of  ti"nt,  before  which  he  ]da(  e<l  a 
machiiu',  with  keys  similar  to  a  hari)sichoril :  on 
touching  these  keys,  they  moveil  some  shaq>- 
jMiinted  instruments,  which  jirickeil  the  animnls. 
and  caused  them  to  make  a  jirodigious  noise,  to 
the  great  entertainment  of  his  majesty,  who  lav- 
ished his  favors  on  the  ingenious  inventor  of  this 
novel  spei-ii>s  of  hannony. 

DE  lU:(iNI.s.  (iirSEri'E.  was  iMirn  at  I.ugo, 
a  town  in  the  ]iontilical  states,  in  the   year  ITJ'o. 
He  commenci-d   his   vocal   stiiilii-s  at    little   more 
than  seven  years  of  age,  under  I'adrr  Hon^iov.in- 
ni,  and  sum;  soprano  in  the  chapel  at   I.u;;o  from 
,  .  that  time  till  he  was  near  fifteen,  when  his  voice 
broke.     He   always  evinreil    much    gouius   «»  a 
I  comic  actor,  and   was   dtr^irous,  at  the  time  hi> 
24A 


DEB 


excyclop.t:dia  of  music. 


DEB 


roice  fnilpd,  (which  ho  feiired  would  not  return,) 
to  Inllow  that  prot'eH  ,ion,  for  whicli  imrposc  he 
studied  under  the  direction  of  Mandini,  a  cele- 
lirntcd  Italian  actor.  His  lather,  however,  rcfus- 
in;;  to  conn-nt  to  liLs  beiominj;  a  comedian,  he 
took  I'lirthcr  lessons  in  sin^^in-;  from  tlic  composer 
Sarnceni,  brother  to  Madame  Morandi.  In  the  I 
carnival  of  the  year  1813,  he  made  hLs  first  ilibut  i 
as  priiiio  btijt'o  pinker  at  Modeiia,  in  an  opera 
called  "  Marro  Antonio,"  the  mu^ic  by  I'avcsi,  ' 
jind  was  received  with  such  ajiplausc  as  at  once 
to  decide  the  line  of  his  future  j)rolessional  pur- 
suits. From  thence  he  went  to  Forli  and  to  Ri- 
mini, and  tcnuinated  the  first  year  of  his  theatri- 
cal career  af;ain  at  Modcna.  In  the  following 
carnival  he  pcrfonncd  at  Sienna,  at  the  opening 
of  a  new  and  superb  theatre,  called  Tcatro  dcyli 
Acaileinici  llozzi.  He  first  ajjpearcd  there  in  the 
comic  part  of  Pazzo,  in  the  "  ,-l,(/w.«,- "  of  Paer, 
and  was  received  with  enthusiasm  both  as  an 
actor  and  singer.  lie  afterwards  played  Selime, 
the  Turk,  in  the  "  Tvrco  in  Italia  "  of  liossini. 
He  next  i)roceedcd  to  Ferrara,  Badia,  and  Trieste, 
at  which  latter  town  he  appeared  in  the  follow- 
ing operas  :  "  Adcertimento  a/le  Moffli  "  of  Caruso  ; 
"  La  MatiUle  "  of  Coccia  ;  "  Teresa  e  Claudia  "  of 
Farinelli  ;  "  Don  Papirio  "  of  Guglielmi ;  and 
"  Don  Timonclla  di  Piaccnza  "  of  C'elli.  In  the 
carnival  of  181.i,  he  was  at  C'esena,  where  he 
particularly  attracted  the  town  by  his  jierform- 
ance  in  the  opera  "  Belio  piare  a  tutti ;  "  he  sang 
in  it  an  aria  bujia,  in  the  style  of  the  old  rondos, 
and  in  which  he  imitated  with  his  falsetto  the 
celebrated  singer  Facchierotti.  ITie  music  of 
tlie  above  ojjera  is  by  Fioravanti.  He  next  ap- 
peared in  the  "  Due  rrigioniiri  "  of  I'ucitta,  and 
finally  in  "  /,«  (Iticrra  aperta  "  of  Guglielmi.  He 
passed  the  spring  in  Mantua,  and  performed  the 
part  of  Mustapha,  in  "  L' Ilaliana  in  Ab/cri  "  of 
Kossini,  and  in  "  La  Uiicrra  aparta."  At  Udine, 
during  the  summer,  he  perfonued  in  "  L' Italiana," 
and  in  "  L'liiffanno  folice,"  of  llossini.  He 
passed  the  autumn  at  Rome,  where  he  played  in 
"  Af/nese,"  the  part  of  Francesco,  in  the  "  Ginevra 
dvijli  Ahnievi,"  the  Solitario,  in  the  "  La(jritned'  una 
I  edova  "  of  Gcnerali,  Selime,  in  the  "  Turco  in 
Italia  "  of  Rossini,  and  in  "  //  Quid  pro  Quo  "  of 
Romani.  In  the  carnival  of  181*i,  he  was  at 
Milan,  where  he  had  an  illness  of  three  months' 
continuance,  and  was  not  able  to  sing  during  the 
whole  period  of  his  engagement.  On  his  recov- 
«!ry,  he  proceeded  to  I'arma,  where  his  success 
was  the  most  brilliant  of  any  he  had  experienced 
in  the  course  of  his  musical  career,  especially  in 
the  part  of  Mustafa,  in  the  "  Ilaliana,"  and  in 
the  •'  Marmlantlo "  of  I'ajni.  He  passed  the 
[Rummer  at  Modcna,  and  appeared  in  "  Marc  An- 
ioiiio,"  and  in  "  I.ii  Capricciosn  pcndila  "  of  Fiora- 
V  a'lti.  In  the  autumn  he  went  to  Hologna,  where 
he  undertook  the  jjart  of  Sdimo,  the  Turk,  in 
the  "  Turco  in  Italia  ;  "  his  voice  was  at  that  time 
Btill  more  flexible,  and  its  compass  greater  tlian  it 
was  since,  and  he  got  through  the  jmrt  with  con- 
siderable success.  A  singular  circumstance,  and 
highly  honorable  to  his  comic  talent,  now  took 
[)hu'e  at  Rologna.  Uclorc  the  arrival  of  l)e  licg- 
nis,  I'acr's  opera  of  •'  Ai/ii'xe  "  had  been  twice 
»tlemi)te(l  in  that  town,  and  com])letcly  failed  in 
both  instances.  The  mamiger,  however,  having 
heard  of  J)e  UegnLs'  success  in  the  character  ol  j 
I'azzo,  both  al  ICome  and  Ferrara,  wished  again  ' 
'.o  iry  the  pi*  ;e,  and  it  was  accordijigly  chosen  1 

24 


for  the  benefit  of  Mile.  Ronzi.  The  whole  town 
were  against  the  attemjit,  and  the  opera  -was  de- 
clared to  be  mLserably  ennuijant.  The  trial,  how- 
ever, wius  made,  and  its  success  was,  iii  this  in- 
stance, as  complete  as  were  its  former  failures ; 
the  principal  reason  for  which  change  was  gen- 
erally attributed  to  the  talent  of  De  Regnis,  whose 
success  was  such  in  Pazzo,  that  the  piece  wiis 
afterwards  played  many  times,  and  is  still  con- 
sidered there  as  one  of  their  best  stock  operas. 
De  Begnis  also  played  at  Bologna,  with  much 
success,  the  comic  jiart  of  the  Ancien  Militairc, 
who  detests  noLse,  in  the  opera  "  //  Malrimonio 
per  Susurro,"  by  Salieri.  It  was  at  this  town 
that  De  Begnis  was  mai-ried  to  Mile.  Ronzi ;  he 
was  aLso  nominated  I'hilhanuonic  Academician 
to  the  Musical  Institute  at  Bologna.  Soon  alter 
their  marriage,  he  was  obliged  to  separate  for 
some  time  from  Madame  De  BegnLs,  who  had 
previously  to  her  marriage  made  an  engagement 
for  Genoa,  and  De  Begnis  for  Rome;  on  hLs 
se.-ond  visit  to  which  city  he  performed  the 
leigned  i^riuce,  called  Dandini,  in  the  opera  of 
"  La  Cencrentola  "  —  a  part  expressly  written  for 
him  by  Rossini.  The  newly-married  couple 
again  met  at  Florence  in  the  spring  of  1817,  and 
passed  the  summer  at  Vicenza  and  the  autumn  ^t 
^'erona,  where  De  Begnis  was  elected  an  honor- 
ary member  of  the  Musical  Academy  of  the  An- 
Jioni.  The  success  of  De  BeguLs  aud  his  wii'e 
were  here  such,  especially  in  Figaro  and  Rosiua, 
in  the  "  liarbiera  di  iserifflia  "  of  Rossini,  that  this 
celebrated  composer  invited  them  to  perform  at 
tlie  opening  of  the  new  theatre  of  Pesaro,  which 
was  under  his  direction.  The  openuig  piece  se- 
lected by  Rossini  was  "  La  (ja::a  Ladra,"  in 
which  they  played  the  Podcsta  and  Ninette. 
This  was  succeeded  by  the  "  Barbicre  di  ikviglia." 
From  thence  they  proceeded  to  Lucca,  where 
they  passed  the  autumn  of  1818,  and,  in  the  car- 
nival of  1819,  made  their  dibuts  at  Paris.  Here 
their  success  was  comidete  ;  their  first  appeai'anee 
was  in  the  "  Fuorusciti  "  of  Puer,  in  which  they 
played  Isabelle  and  Uberto.  They  afterwards 
performed  together  in  the  "  Barbicre,"  m  the 
"  Mulinara  of  Paesiello,  and  in  the  "Pietra  di 
Paragone"  of  Rossini.  Do  Begnis  played  also 
in  the  "  Pastorella  nobile,"  with  several  other  op- 
eras that  we  have  not  space  to  enumerate.  After 
remaining  three  seasons  at  Paris,  they  made  their 
first  aj)pearance  at  the  King's  Theatre  in  London, 
in  the  oi)cra  of  "  II  Turco  in  IlaJia ;  "  since  wlxich 
period  De  Begnis  was  considered  as  the  most 
natural  and  purest  bujfo  singer  in  England.  He 
Inis  perfonued  at  all  the  jjrincipal  concerts  and 
public  musical  meetings  in  England,  and  has 
had  the  direction  of  the  operas  at  Batli,  wliich 
proved  highly  successful.  Siguor  De  Begnis 
died  of  cholera  in  New  York  in  August,  1849, 
aged  fiuv-lour. 

DE  BEGNIS,  MADAME  RONZI.  Wife  of 
the  preceding.  Many  particulars  respecting  this 
lady  being  included  in  the  foregoing  article,  it  is 
only  rtHiuL--itc  to  mention  that,  attcr  her  marriage 
at  15ologna,  Madame  De  Begnis  went  to  Genoa, 
and  iierformed,  at  the  great  theatre  there,  Eliza- 
btlla  Itft/ina  d'Angktcrra,  in  Rossini's  opera  of 
that  name,  aud  was  received  in  it  with  the  great- 
est enthusiasm.  She  afterwards  sang  in  "  La 
Uiisa  bianca  e  la  liusa  }-ossa  "  of  Mayer.  On  her 
return  to  Florence,  she  sang  at  the  oratorios  there 
in  Lent.     She  alter>vards  accomj  inied  De  Begnis 


DEB 


ENCYCLOPEDIA    OF    MUSIC. 


DBQ 


to  the  difTcreut  towns  mentioned  in  the  preecd- 
ing  article,  nt  uU  of  which  she  received  hi|^)i 
honors  as  un  artist,  especially  as  a  serious  sinj^er  ; 
her  comic  powers,  known  to  have  been  very  great, 
having  been  considered  on  tJie  continent  as  alto- 
gether secondary  to  her  perl'orniancej*  as  prima 
donna  aerUi.  Madame  ]Je  Begiiis  was  remarkable 
lor  her  articulate  execution  ;  her  voice  was  ex- 
tremely pleasing.  .She  was  engaged,  lor  the  sea- 
Bou  of  1S21,  at  the  King's  Theatre. 

DEBLOIS,  CHARLES  GUI  XAVIER,  called 
»'«o  l'an;/ion)u-nrii(le,  was  born  at  huneville  in 
1737.  lie  was  a  pupil  of  Uiiudini,  and  for 
twenty-eight  years  one  oi  the  hrst  violins  at  the 
Italian  Opera  at  I'aris.  lie  composed  a  comic 
oi)era,  called  "  Lcs  lliibana,"  oLso  some  romances, 
and  tour  symphonies. 

DECACIIOllDOX.  A  musical  instrument 
with  ten  strings,  caUed  by  tl'.e  Hebrews  hamir, 
being  ahuo^t  the  same  as  our  harp,  of  a  triangu- 
lar tigure.  with  a  lioUow  belly,  and  souuduig 
tiom  the  lower  part. 

DECANI.  (L.)  Priests.  A  tenn  applied  to 
those  vocal  perlormers  in  a  cathedrid  who  are  in 
priests'  orders,  to  diiitiuguish  them  trom  the  lay 
choristers. 

DECIIAMrS,  L..  published  "  \oiaelks  Ro- 
mances," Op.  1  and  2,  at  I'aris,  in  ISOO. 

DECHE  composed  a  comic  opera,  called 
"  Adik,"  at  Paris,  in  179 1. 

DECISO.     (I.)     With  decision ;  boldly. 
D  DUR.     (G.)     D  major. 

DEDEKIND,   COXSTAXTIX   CIIRISTIAX, 

chamber  musician  to  the  Elector  of  Saxony,  pub- 
lished a  very  large  collection  of  songs,  in  lour 
volumes,  quarto,  at  Drejidcn,  in  IGo7. 

DEEP.  A  word  applied  to  those  notes  which, 
iu  comparison  with  some  others,  are  low,  or  grave ; 
as  when  we  use  the  expressions  deep  voice,  deep 
pitch,  deep  tone,  &c. 

DEERIXG,  RICHARD,  the  descendant  of  an 
ancient  Kentish  tamily,  was  educated  in  Italy  ; 
and  when  his  education  was  completed,  he  re- 
turned to  England,  with  the  cliaracter  of  an  ex- 
cellent musician.  He  resided  in  England  for 
Kome  time,  but,  upon  a  very  pressing  invitation, 
wont  to  UrusscLs,  and  became  organist  to  the 
monastery  of  English  nuns  there.  From  the 
marriage  of  Charles  I.  until  the  time  when  that 
monarch  left  England,  he  was  organist  to  the 
queen.  In  IfilO  he  was  admitte<l  to  the  degree 
of  bachelor  of  music  at  (Jxford,  and  died  in  the 
cmmuuion  of  the  church  of  Rome,  about  the 
year  l^Sol.  He  has  lel't  of  his  composition  "  Can- 
tiones  Same  quin'iiie  J'ociim,  cum  lituao  cotitimio  ad 
Orijanum,"  printed  at  Antweq)  in  l.">!)7,  and 
others  entitled  "  Cantira  Sacra,"  jmblLshed  at  the 
kame  phue  about  nineteen  years  alterwards. 

DEFESCH,  WILIIELM.  was,  in  tlie  year  1725, 
organist  of  the  great  church  at  Antwer]>.  He 
published  much  instnnncntal  and  vocal  music, 
chierty  nt  Amsterdam  ;  his  oratorio  name<l  "  Ju- 
dith "  was,  however,  published  in  Ix)ndon  in  the 
year  1730. 

DEGEX,  HEXRY  CHRISTOPHER,  rhnpol- 
mastcr  to  the  Prince  of  Schwnrtzburg  in  17.57, 


composed  much  music  for  the  violin  and  harj)»i- 
chord,  on  both  of  wliich  instrumeuLs  he  e>ccelh'l. 

DEGREE,  ACADEMIC,  in  music.  A  titular 
honor  contcrred  by  a  university  or  a  <juuliiied 
professor  of  music.     See  Doctou  in  Music. 

DEtJREE,  THEORETICAL.  'Hie  ditfercnce 
of  position,  or  elevation,  betwiHin  any  two  iiolos. 
There  are  conjunct  and  dLsjunct  degrees.  When 
two  notes  are  so  situated  as  to  form  the  interval 
of  a  second,  the  degree  is  said  to  be  cmjanct ;  and 
when  they  lonu  a  f/iird,  or  any  greater  interval, 
the  degree  in  cidled  diyunct. 

I)E(iREES.  Each  line  and  space  of  the  ixJI 
is  calleil  a  degree.  There  are  nijie  defpeea, 
counted  upwards,  thus :  — 


-«— * 


— + ■* 

"WTien  more  than  nine  degrees  are  wanted,  they 
are  obtained  by  adding  short  parallel  lines  either 
above  or  below  the  statf,  thus :  — 

Lines  abiive  the  Staff.    Sl^T  ^Z  IZ.  IZI 


Linea  below  the  SuiS 


These  short  linos  arc  called  nddctl  lines,  oi 
leger  lines.  In  naming  the  degrees  out  of  th« 
compass  of  the  statf,  tlic  pu])il  should  be  careful 
to  give  them  their  true  position  ;  as,  first,  sec- 
ond, third,  vVc,  above  the  staff,  and  the  first,  sec- 
ond, tliird,  &.C.,  below  the  stofii  thus  :  — 


DfRreos  alxive  the  Staff.        _      _^ 


_    I     o_ 


Degrcea  below  the  Staff. 


The  same  care  should  be  had  in  naming  tht 
added  lines  and  spaces.  The  letters  are  apphed 
to  the  tlcgrces  above  and  below  the  stalf,  in  the 
same  order  as  they  stand  upon  the  statf,  thus  :  — 


g: 


-A-?- 


-G   „  - 


-E  r. 


.£-,. 


-C  „- 


By  the  same  principle,  other  lines  m«y  b€ 
added,  citlier  above  or  below  the  statT,  and  the 
letters  and  degrees  continued  to  any  degree  of 
pitch. 

A  melody  proceeds  by  dejieos  when  it  moves 
to  the  next  line  or  space,  cither  asccuding  or  de- 
scending, thus :  — 


II 


DEH 


EXCYCLOP-EDIA   OF   MUSIC. 


DE3» 


DEIIEC,  XASSOVIUS,  principnl  violinist  at 
tiie  Cluircli  of  Siiiita  Maria,  at  IJerf^amo,  pub- 
lished "  Six  Trios  lor  the  Violin,"  at  Nuremburg, 
ill  17f)0. 

DEI-.  (I.)  or  or  by  ;  as,  del  Corelll,  of  or  by 
Co-uUi. 

DELAIIOUDE,  JEAX  BEXJAMIX,  bom  at 
I'uris  in  17;i4,  was  of  a  wealthy  family,  and 
received  a  polisl-.cd  cduoatiou.  Among  other 
masters,  he  was  instructed  on  the  violin  by  the 
celebrated  Dauver-iiic,  and  in  the  theory  of  mu- 
ric  and  composition  by  llameau.  Destined  by 
his  friends  for  a  ;^overnmcnt  hnanciid  situation, 
he  became  at  first  principal  vaU't  de  chambre  to 
Louis  XV.,  ot  whom  he  was  a  great  favorite,  lie 
soon  after  tlus  cultivated  his  talent  for  music 
with  greater  ardor  and  application,  and,  in  1 758, 
produced  at  the  theatre  of  the  court  tho  comic 
opera  "  GilJes  Gar(;on  Peintre,"  which  wa,s  very 
successful.  At  the  death  of  Louis  XV.,  in  1774, 
Delaborde  quitted  the  court,  and  became  one  of 
the  farmers  general  of  Hnance.  In  1780  he  pub- 
ushed  "  Essai  mir  la  Mii.sir/iie  ancieniie  et  modenie," 
four  volumes  in  quarto,  with  plates  —  a  work  of 
little  authority.  After  this,  he  produced  several 
other  books  on  music,  expensively  edited,  but 
which  are  now  considered  of  Ultle  or  no  value. 
Delaborde  was  afterwards  guillotined  in  the  rev- 
olution, for  being  a  partisan  of  the  court. 

DELAFOXD,  JOIIX  FRAXCIS.  A  singing 
master  and  teacher  of  several  musical  instru- 
ments, also  of  the  Latin  and  French  languages. 
lie  published,  in  172.i,  at  London,  an  octavo  vol- 
ume, entitled  "  A  new  System  of  Music,  both 
theoretical  and  practical,  and  yet  not  mathemat- 
ical" —  a  work  of  little  merit 

DELAXGE,  E.  F.,  a  composer  at  Liege,  pub- 
lished there,  in  1768,  his  opera  6th,  consisting  of 
eight  overtures. 

DELAUNAY  published  at  Paris,  in  1799, 
•  Seize  petits  Airs  jmur  le  Clavicin." 

DELAVAL,  MADAME.  A  French  harpist, 
and  composer  of  a  cantata  entitled  "  Lea  Adiviix 
tie  I' in  for/ II /li  Ij)iii,i  XVI.  h  son  Peiiple."  She  has 
also  "published  much  harp  music,  and  some 
French  songs. 

DELCAMRIIE,  THOMAS.  A  professor  of 
the  bassoon  at  the  Paris  Consen-atory,  and  com- 
poser for  his  instrument. 

DEl-FAXTE,  AXTOXIO.  A  dramatic  com- 
poser at  Home.  He  produced,  in  1791,  the  opera 
nutik,  entitled  "  11  liipicgo  deltiso." 

DELICAT.VMEXTE,  or  DELICATO.  (I.) 
Delicately. 

DELICATEZZA.  (I.)  Delicacy;  as,  con 
delicatc::a,  with  a  soft  and  tender  nicety  of  ex- 
pression. 

DELICATISSDIO.  (I.)  With  extreme  del- 
icacy. 

DELILLE,  OCTAVIA,  born  in  Paris,  in  18.10, 
was  lelt  an  ori)han  in  her  second  year,  and  was 
adopted  by  an  officer  of  the  Hank  of  France, 
whoso  name  she  bore  until  her  public  appear- 
ance, and  by  whom  she  was  raised  with  the  ten- 
dercst  care.    Her  unconquerable  love  for  singing, 


and  the  early  development  of  marked  musica. 
genius,  led  to  her  being  placed  as  pui)il  in  the 
Conservatoire.  Slie  studied  faithfully,  with  a  set- 
tled purpose,  and  year  after  year  caiTied  off  the 
first  jirizes  for  the  various  branches  of  singing. 
Her  first  successes  were  obtaii  ed  at  the  Concerts 
of  the  Court  and  the  Grand  Society  Concerts  of 
the  Royal  Conservatoire.  Her  delightful  sing- 
ing, and  the  strange  fascination  of  her  manner, 
attracted  the  notice  of  the  director  of  the  Opera 
Comique,  and  he  induced  her  to  attemjit  the  op- 
eratic stAge.  She  consequently  appeared  in  an 
ojjera  written  for  her,  and  her  success  was  so  de- 
cided that  she  sang  in  the  same  opera  sixty  suc- 
cessive nights,  to  crowded  houses.  Shortly  after 
she  appeared  in  the  well-known  opera  "  La 
Dame  Utanelie,"  which  was  repeated,  with  a  suc- 
cess beyond  record,  for  one  hundred  nights.  She 
I  ai)i)cared  with  equal  success  at  the  Koyal  Theatre 
of  Brussels,  not  only  in  opera  comiqtte,  but  opera 
neria,  and  subsequently  in  the  first  theatres  ui 
Italy,  Home,  Milan,  Xaples,  Venice,  &c.  After 
a  not  very  protracted  tour,  she  returned  to  Paris, 
and  performed  the  usual  rSle  of  characters  with 
increasing  success.  At  this  period  (1850)  she 
had  scarcely  reached  the  age  of  twenty-one ;  but 
by  jirudeuce,  and  the  increasing  use  of  her  fine  . 
talent,  she  had  acquired  an  independent  fortune. 
She  came  to  America  in  Xovember,  1851,  and 
appeared  in  Xew  York  in  December. 

DELLAIX.  Author  of  a  work  entiiJed  "  ^Voi<- 
veaii  Manuel  Musical,"  Paris,  1781.  He  composed 
the  music  of  "  /.xi  Fete  du  Moulin,"  performed  iu 
1758,  at  the  Italian  theatre. 

DELLAMARIA,  DOMEXICO,  bom  at  Mar- 
seilles of  an  Italian  family,  devoted  himself  tc 
the  study  of  music  from  a  very  early  age.  At 
eighteen  years  old,  he  had  already  composed  a 
grand  opera,  which  was  represented  at  Marseilles. 
He  subsequently  went  to  Italy,  where  he  studied, 
during  nearly  ten  years,  under  various  masters, 
the  last  of  whom  was  I'aesiello.  AVliUst  he  re- 
mained in  Italy  he  composed  six  comic  operas, 
three  of  wliich  were  performed  -n-ith  much  suc- 
cess, especially  his  "  //  Maestro  di  Capella."  Del- 
lamaria  returned  to  France  in  1796,  and  first  pro- 
duced the  opera  "  Lc  Prisonnier,"  wluch  much 
increased  his  reputation.  To  this  brilliant  dibut 
succeeded  "L'Oiule  Valet,"  "  Le  vieiix  Chdteau," 
"V  Optra  comique,"  and  some  other  works,  all 
given  within  the  space  of  two  years,  and  attest- 
ing the  fecundity  and  superiority  of  his  talent. 
Dellamaria  died  suddenly,  in  his  tliirty-sixth 
year,  at  Paris,  in  1800. 

DELLEPL.\XQUE,  a  harpist  at  Paris,  com- 
posed and  published  much  music  for  his  instru- 
ment, between  the  yeai-s  1775  and  1800. 


at 


DELLER,  FLORIAX.     A  dramatic  composer 
Ludwig.sburg.     He  died  in  1774. 

DELVER,  FKIEDRICH,  a  pianist  at  Ham- 
burg, has  published  some  romances  and  pianc- 
forle  music  since  the  year  1796. 

DEMACHI,  JOSEPH.  A  violinist  of  tht 
King  of  SardiniaV  cliaiiel  at  Alexandria,  aboi  t 
the  year  17()0.  He  pubhshed  seventeen  open* 
of  instrumental  music  at  Paris  and  Lyons. 


DEMAXCHER.    (F.)    To  change  the  positicB 


248 


DEM 


ENCYCLOPEDIA    OF    MUSIC. 


DE8 


of  the  hand ;  to  shift  on  the  violin  and  similar 
instruments. 

DEMANTIUS,  CHELSTOPHER.  A  celebrat- 
ed composer,  bom  at  Reichenberg  in  1507.  Ilia 
works  are  chiefly  vocal,  both  sacred  and  ])rofane. 
Many  of  them  -Nvcrc  published  at  Nuremburg,  be- 
•-ween  the  years  1595  and  1620. 

DEMAR,  SEBASTIAN,  bom  in  Franconia  in 
1766,  was  a  pupU  of  Haydn.  He  has  published 
much  instrumental  music,  chiefly  at  Paris,  be- 
tween the  years  1795  and  180S.  He  has  for  some 
years  past  been  leader  of  the  town  band  at  Or- 
leans, and  several  of  his  pupiLs  for  the  piano  and 
horn  have  become  excellent  performers. 

DEMAR,  JOSEPH,  brother  to  the  preced- 
ing, resides  at  Wurtzburg,  and  has  composed  a 
method  and  various  music  for  the  violin. 

DEMI-CADENCE.  A  term  used  in  church 
music.  \\'hen  the  last  or  final  sound  of  a  verse 
in  a  chant  is  on  the  key  note,  it  is  called  a  full  or 
complete  cadence  ;  but  if  it  fall  on  any  other 
than  the  key  note,  as  the  fifth  or  third,  it  takes 
the  name  of  an  imperfect  or  demi-cadence.  'ITje 
tenninatiou,  in  this  case,  is  postponed  to  the  suc- 
ceeding verse.  Almost  all  our  double  chants  af- 
ford examples  of  a  demi-cadence. 

DEMI-DITONE.     A  minor  third. 

DEMISEMKiUAVER.  A  note  of  the  ninth 
degree  of  length,  reckoning  from  the  larffe,  or 
of  the  sixth  degree  of  length,  reckoning  from  the 
semibrece,  or  longest  note  now  in  common  use,  of 
which  it  is  a  thirty-second  part.  It  is  the  short- 
est principal  note  commoidy  used  in  music,  a 
black  note,  with  a  line  and  three  blocks  or  hooks, 
thus  :  — 


^"^    *^ II 


€JL€ 

DEMI-TONE.  An  inter^•al  of  half  a  tone. 
See  Skmito.nk. 

DEMMLER.  JE.VN  MICHEL.  A  Oerman 
organist,  and  composer  of  much  vocal  and  instru- 
mental music.     He  die<l  iu  1785. 

DEMNICII.  Author  of  a  collection  of  ro- 
mances, published  nf  Paris  in  1796. 

DEMOIVER.  A  flutist  and  composer  for  his 
instnmiont.  .*^ome  of  his  music  was  puhlishetl 
in  London  towards  the  end  of  the  last  century. 

D  MOLL.     (G.)    D  minor. 

DEMONTI,  II.  A  professor  of  music  at  Glas- 
gow. Some  of  his  sonatas  for  the  piano-forte  are 
publishetl. 

DE  MURIS.  JOHN.  It  is  mngular  that  this 
person,  who  wrote  several  books  and  did  so  much 
to  improve  music,  both  in  its  language  and 
science,  should  have  lost  his  nationality.  His 
books  are  in  the  libraries  of  Italy,  France,  and 
England,  and  he  is  claime<l  as  a  native  of  each  of 
these  countries,  without  there  being  suflicient 
proof  in  existence  to  give  him  to  either.  One  of 
Lis  books  was  dated  1401,  which  indicates  when, 
though  not  where,  he  lived.  He  was  the  first 
who  used  the  minim  as  it,  or  the  half  note,  is 
now  \isetl.  At  first  he  wrote  it  black,  but  af- 
terNvards  white,  as  at  present.  He  wrote  the 
signs  of  the  modes  for  different  kinds  of  time. 

32  24" 


Most  of  the  rules  he  gave  for  counterpoint  he 
had  from  Franco  ;  but  he  wrote  them  in  such  (» 
manner  as  to  make  them  more  easily  understood 
than  thej-  had  been  before. 

DENEUFVILLE,  JEAN  JACQUE.S,  was  th« 
son  of  a  French  merchant.  He  studied  music, 
and  afterwards  became  organist  and  composer  at 
Nuremburg,  in  Germany,  where  he  composed 
some  sacred  music,  at  the  beginnini;  of  the  lasf 
century.  He  died  in  1712,  in  his  twenty-eighth 
year. 

DENNINGER,  J.  N.,  chapel-ma«tcr  at  Oohrin- 
gen,  published  some  instrumental  music  at  Man- 
heim,  about  the  year  1788. 

DENNIS,  JOHN.  Author  of  an  "  Essay  on 
the  Italian  Opera,"  Ix)ndon,  1706.  Dennis  died 
in  1737. 

DENTICE,  LUIGI.  A  Neapolitan  nobleman, 
and  amateur  of  the  fine  arts.  He  wrote  a  work 
entitled  "  Diie  Dialoff/ii  <ktla  Miuica,"  Na])le;', 
1552.  These  dialogues  give  some  idea  of  a  con- 
cert at  Naples  at  that  period.  One  of  the  inter- 
locutors describes  a  perfonuance  at  whicli  lie  had 
been  present,  at  the  palace  of  Donna  Giovannu 
d'Arragona.  He  says  the  performers  were  mo-.t 
perfect  musicians,  and  sung  in  a  wonderful  man- 
ner. It  ajijiears  that  the  vocal  perfomiers  were 
accom])anied  by  a  bantl,  and  each  sang  to  his 
own  instrument.  "  There  are  few  musicians," 
says  the  author,  "  who  sing  to  their  instruments, 
that  have  entirely  satisfied  me,  as  they  have  al- 
most all  some  delect  of  intonation,  utterance,  ac- 
comiianiraent,  execution  of  divisions,  or  manner 
of  diminishing  or  swelling  the  voice  occa'<ionally, 
in  which  particulars  both  art  and  nature  must 
consjiire  to  render  a  perfonucr  perfect." 

DEPLOR.VTION.  A  dirge,  or  any  other 
mournful  strain. 

DE  PROFl'NDIS.  (L.)  One  of  the  seven 
penitential  psalms. 

DERIVATIVE.  An  epithet  applied  by  theo- 
rists to  those  chords  which  are  drrired  from  fun- 
damental chords,  and  to  those  accented  or  har- 
monic notes  of  a  bass  which  are  not  1  undamentaL 

DERIVIS,  an  eminent  French  bass  singer  at  the 
Grand  Opera  at  Paris,  was  a  pupil  of  the  Conser- 
vatory.    IJoni  in  1731. 

DEROSIERS,  NICOLAS.  A  guitarist  and  com- 
poser of  instrumental  music,  published  in  Hol- 
land at  the  latter  end  of  the  seventeenth  century. 

DES.     (G.)     D  flat. 

DESAIDES,  or  DEZEDE.  An  Italian  dramat- 
ic composer,  l>om  at  Turin  in  1745.  He  re>ided 
chiefly  at  Paris,  and  composinl  a  great  niimlH-r  of 
operettas  for  the  French  stage,  between  the  vearg 
1778  and  1787.  The  piece  most  jiri^ed  of  his 
composition  is  "  JilaUe  rt  liahel."  He  died  in 
1792. 

DESAROrS,  XAVIER.  A  professor  of  the 
harji  at  Paris,  and  author  of  a  method  for  his  in- 
strument, publi.shed  there  in  1809. 

DE.SAUtHER.S,  MARC  ANTOINE,  was  bom 
in  Provence  in  1742,  and  made  his  rl/hnf  as  a 
compo-er  at  the  .Vcademy  of  Music  in  Pai  s,  in 
1774,  by  the  opera  of  "  Krixtne."  After  f  viiia 
one  or  two  opw  as  of  inferior  merit,  he  pro  ucw 


DES 


ENCYCLOPEDIA    OF   MUSIC. 


DEX 


"  I^e*  Jiinwatu:  de  Drrgame  "  —  a  ])icce  which  ob- 
taine<I  the  most  complete  success.  Desaugiers 
lived  01.  tonus  of  intimacy  with  Gluck  and  Suc- 
thiui,  mid  comi)osed  a  mass  on  the  occasion  of 
tnc  death  of  tlie  latter  which  ha«  been  greatly  ad- 
mired.    He  died  at  Paris  in  1793. 

DES150RDES.  Member  of  the  Conscr^•atory 
at  Paris,  and  author  of  the  minor  opera  "  /-<i 
A'one  (III  Li lulf lib II /■(/,"  pcrfonncd  at  I'arLs  in  1798. 

DESCARTES,  llEXK,  the  celebrated  French 
philosopher,  wrote,  in  Uil8,  at  the  age  of  twenty- 
two,  a  work  entitled  "  Competuliiim  Musica;" 
which  was  never  published  during  his  liJctimc, 
but  was  translated  into  various  languages  and 
printed  after  his  decease. 

DESCANT,  or  DISCANT.  A  term  used  by 
old  musical  authors  to  signify  the  art  of  compos- 
ing in  ]<arls.  Descant  Ls  of  three  kinds  ;  plain, 
tiguratii'c,  and  double.  Plain  descant  consists  of 
a  due  series  of  concords,  and  is  the  same  with 
simple  counterpoint.  Fiyuratii-e  descant  is  less  re- 
Btraiiied,  and  includes  the  relief  of  discords  ;  and 
double  descant  infers  that  contrivance  of  the  parts 
•which  admits  of  the  treble  or  any  liigli  part  be- 
ing converted  into  the  bass,  and  vice  vers  A.  Des- 
cant also  implies  a  melodious  display  of  succes- 
sive notes  extemporaneously  sung  or  jilayed  to 
a  given  bass.  Ilubald,  Odo,  Guido,  and  other 
Latin  writers  used  discant  to  express  concord  and 
harmony  of  sounds.  In  more  modem  times, 
however,  descant  is  used  to  signify  the  highest 
kind  of  female  voice,  or  highest  part  in  a  score  — 
the  same  as  soprano. 

DESCENDANT.     (F.)    In  descending. 

DESCENDING.  Passing  from  any  note  to 
another  less  acute. 

DESCENT.  A  falling  or  sinking  of  a  voice  or 
instrument  trom  any  note  to  another  less  acute. 

DES  DUR.     (G.)     D  flat  major. 

DESIIAYES.  A  Parisian  composer  of  dra- 
matic and  sacred  music,  also  of  some  instrument- 
al music,  between  the  years  1780  and  1793. 

DESMARETS,  IIENRY.  A  French  composer 
of  dramatic  and  other  vocal  music,  lie  died  at 
Lunevillc  in  1741. 

DESMASURES.  A  celebrated  organist  at 
Rouen  about  the  year  1780.  He  lost  three  fin- 
ders of  his  left  hand  by  the  bursting  of  a  gun, 
and  al'terwards  used  some  fingers  of  wood,  made 
at  Paris,  and  with  which  he  is  said  to  liave  played 
naarly  as  well  as  previous  to  his  accident. 

DES  MOLL.     (G.)     D  flat  minor. 

DESORMERY,  LEOPOLD  BASTIEN,  bom 
at.  Bayo)i.  in  1740,  was  a  French  dramatic  com- 
poser for  the  court,  of  some  eminence.  He  also 
com))osed  some  sacred  music. 

DESORMERY.  Son  of  the  preceding.  An 
eminent  juanist  at  Paris.  *  He  aLso  composed 
some  instrumental  music. 

DESPER.VMONS.  A  French  singer  and  com- 
poser of  romances  at  Paris.  lie  was  born  at  Tou- 
louse in  1783.  At  eight  years  of  age,  he  com- 
menced his  studies  in  music,  and  at  fourteen 
went  to  Paris,  where  he  was  admitted  as  a  violin 
pupil   of  the   Conservatory.      He   subsequently 


quitted  his  violin  studies,  and  devoted  himself  to 
singing,  first  under  Persuis,  and  afterwards  un- 
der (jarat.  Despcramons  was  one  of  the  profess- 
ors of  singing  at  the  Conservatory. 

DESPRES.     See  Josquin. 

DESPREAUX,  L.  FELIX.  A  composer  of  pi- 
ano-forte music  at  Paris.  Rom  in  1746.  Died 
in  1813. 

DE6SUS.  (F.)  One  of  the  appeUatlons  for- 
merly given  to  the  treble,  or  upper  part  of  a  vo- 
cal score. 

DESTOUCHES,  ANDRE  CARDINAL,  borr. 
at  Paris  in  1672,  was  superintendent  of  the  king's 
music,  and  uispector  general  of  the  opera,  be- 
tween the  years  1713  and  1731.  He  made  his 
dibtit  in  composition,  in  1697,  by  the  opera  of 
"  hsi,"  which  pleased  the  king  so  much  that  he 
gave  him  a  purse  of  two  hundred  louis,  adding 
that  "  Dcstouches  itait  le  sinl  qui  tie  iiii  eut  point 
fait  regretier  LttUi."     He  died  in  1749. 

DESTRA.     (L)     1-he  right  hand. 

DESTRUCTION  OF  MUSIC  BOOKS,  &c. 
In  1646,  after  the  IJtany  had  been  denounced  by 
the  House  of  Lords  as  a  superstitious  ritual,  and 
after  the  Westminster  Divines  had  ordered  that 
nothing  but  psalm-singuig  should  be  allowed  in 
worship,  all  the  choral  books  then  to  be  found  in 
England  were  collected  from  the  churches,  libra- 
ries, and  private  houses,  and  destroyed.  Ail  the 
organs  were  also  taken  down,  and  most  of  them, 
with  the  music  books  used  for  them,  were  burned. 
The  consetiueuce  was,  that  when  the  government 
got  back  into  the  hands  of  the  king,  tl-.ere  were 
no  singing  books,  organs,  organists,  or  singers  to 
be  found. 

DEUTEROS.  Second.  Tlie  numerical  term 
by  which  the  ancient  Greeks  distinguished  the 
jEolian  mode. 

DEVLENNE,  FRANCOIS.  A  celebrated 
French  flutist,  and  professor  of  his  instrument, 
at  the  (Conservatory  at  Piu-is.  He  wrote  a  meth- 
od for  the  flute,  published  at  Paris  in  1795,  and 
coro'.oscd  several  comic  dramatic  pieces,  among 
which  are  "  Les  Visitandines,"  "  Lcs  Comddiens 
anibuJans,"  and  "  Le  J'aUt  de  deu-x  Maitres." 
Many  overtures  and  s\Tnphonies  for  a  fuU  orches- 
tra, also  concertos,  quartets,  trios,  duos,  and  so- 
los for  wind  instruments  were  published  by  De- 
vienne.  At  length  the  intensity  and  variety  of 
his  professional  studies  aflbcted  his  mental  fac- 
ulties, and  he  died  insane  at  the  Lunatic  Asylum 
at  Charenton,  in  1803,  at  the  early  age  ot  forty- 
three. 

DEVOZIONE.  (I.)  Devotion  ;  as,  con  devo- 
zione,  devoutly. 

DEVRIENT,  E.  P.  A  bass  singer,  bom  at 
Berlin  in  1601.  He  pcrfonncd,  in  1823,  at  Dres- 
den, and  was  higlily  spoken  of  for  tlie  beauty 
and  freshness  of  liis  tone. 

DEXTliyE.  (L.  PL)  The  ancient  Roman 
flute  jilayers,  who,  ui  general,  possessed  the  art 
of  playing  on  two  flutes  at  once,  fingering  one 
with  the  right  hand  and  the  other  with  the  left, 
gave  to  those  which  they  fingered  with  the  right 
the  name  of  dextrtr.  The  dexlrtr,  for  the  accom 
modation  of  the  right  hand  fingers,  were  per- 
forated in  a  diflerent  manner  from  the  tinittrm, 
which  were  played  with  those  of  the  left. 


250 


DEZ 


ENCYCLOriEDIA    OF    MUSIC. 


DIA 


DEZRUE.     See  Desaides. 

D  FLAT.  The  flat  Bsventh  of  E  flat.  The 
fourth  flat  introduced,  in  modulating  by  fourths 
from  the  natural  diatonic  mode. 

D'lIAUDIMONT,  L'AliBE.  A  pupU  of  Kn- 
meau,  mid  chupel-mnster  at  one  of  the  churches 
in  I'aris.  lie  comi)osed  some  sacred  music  about 
the  middle  of  the  last  century. 

D'lIERBAIN,  LE  CHEVALIER,  a  captain  in 
the  P'rench  inJanti'v,  composed  in  Italy  the  op- 
eras of  "  Eneas  "  and  "  Lavinia,"  also  several 
others  at  Paris,  about  the  middle  of  the  last  cen- 
tury. 

DIA.  A  Greek  preposition,  signifying  through 
or  tliroui;hout ;  as,  diapason,  through  all,  or 
throughout,  the  octave,  or  the  scale. 

DL-VBELLI.  Composer  of  much  instrumental 
music  at  Vienna,  in  all  forms.     Born  in  1781. 

niAGILVM.  (From  the  Greek.)  ITie' name 
given  by  the  ancients  to  their  table,  or  model, 
representing  all  the  souncLs  ot  their  system. 

DIALOGUE.  A  vocal  or  instrumental  com- 
position of  two  parts,  in  which  the  performed, 
through  the  greater  portion  of  the  piece,  sing  or 
play  alternately,  yet  occasionally  unite.  Opera 
scenes,  especially  those  of  the  Italian  drama,  are 
fre<iuently  conducted  upon  this  plan,  and  in  sit- 
uations of  either  humor  or  passion,  are  found  ca- 
pable of  the  most  striking  eft'ects.  The  instru- 
mental dialogue  not  only  aflbrd-s  considerable 
scope  lor  the  display  of  the  composer's  ingenuity 
and  science,  but  from  the  attention  and  exact- 
itude which  it  demands  in  performance,  is  partic- 
ularly calculated  for  the  improvement  of  yoiuig 
practitioners. 

DIAPASON,  or  DIAP.  By  this  tcnn  the 
ancient  Greeks  expressed  the  inter\-al  of  the  oc- 
tave ;  and  certain  musical  instrument  makers 
have  a  kind  of  rule  or  scale,  called  the  diapason, 
by  which  they  determine  the  measures  of  the 
l)ipes,  or  other  parts  of  their  instruments.  'I"here 
Ls  a  diapason  for  trumpets  and  seri)ents  ;  bell 
founders  have  also  a  diajtason,  for  the  regulation 
of  the  size,  thickness,  weight,  &c.,  of  their  bells. 
JUa/xi.son  is  likewise  the  appellation  given  to  cer- 
tain stops  in  an  organ,  so  called  because  they 
extend  through  the  whole  scale  of  the  instru- 
ment. It  is  derived  from  the  Greek  dia  (through) 
and  pason,  (all.) 

DIAPASON  DIAPENTE.  (From  the  Greek.) 
The  intcrN-al  compounded  of  an  octave  and  a 
tilth  conjoined.     A  linl/th. 

DIAPASON  DIATESSARON.  (From  the 
(ircek.)  'Ilie  interval  compoundetl  of  an  octave 
and  a  fourth  conjoined.     An  elei-cnth. 

DIAPENTE.  The  name  by  which  the  ancient 
Greeks  distinguished  the  interval  of  the  Ji/th. 

DIAPENTISSARE.  A  term  derive<l  from  the 
word  riiapente,  and  applie<l  by  MurL<,  and  other 
ancient  theorists,  to  a  certain  method  of  descant 
by  fifths. 

DI APHONIA.  (Gr.)  The  name  applied  by 
Guido  and  others  to  the  precepts  that  formerly 
taught  the  use  of  the  organ,  and  its  api>lication 
to  vocal  melody.  In  explanation  of  these  pre- 
cepts, Guido  says,  "  Suppose  the  singer  to  utter 
any   given   soiuul.   as   for   instance,   A ;    if  the 


organ  proceed  to  the  acutes,  the  A  may  b« 
doubled,  as  A,  I),  a ;  in  which  ca.se  it  will  sound 
from  A  to  D,  a  diate.sseron,  from  D  to  a,  a  dia- 
peute,  and  from  A  to  a,  a  diapa.son. 

DL\PIIONOI.  (Gr.)  DLscords ;  sound.* 
which,  struck  together,  never  unite.  A  tenn  u.-*d 
in  opj)osition  to  symphony. 

DIAPIIOUICA.  (From  the  Greek.)  A  name 
given  by  the  ancient  Greeks  to  every  dissonant 
inten-al.  (Juido  Aretinus  makes  it  synonymous 
with  descant. 

DIASCHISMA.  (From  the  Greek.)  An  in- 
terval in  the  ancient  music,  forming  the  half  of 
a  minor  semitone. 

DIA.STALTIC.  Dilating.  A  term  applicii 
by  the  ancient  Greeks  to  tlic  major  third,  luajor 
sixth,  and  major  seventh,  because  they  are  ex- 
tended or  dilated  intervals,  'lliis  epithet  was 
also  applied  to  that  subdivision  of  the  MelopiL-ia 
which  constituted  the  noble,  bold,  and  exhila- 
rating. 

DIASTEM.  A  word  used  in  the  aiuient  mu- 
sic, and  properly  signitVing  an  interval,  or  space. 
The  Greek  writers,  however,  frequently  under- 
stand by  a  diastcm  any  simple,  incomposite  de- 
gree, whether  a  diesis,  hemitone,  setfuilone,  or  di- 
tone,  and  employ  it  in  opposition  to  the  com- 
pound inter\-al,  which  they  caii  system. 

D  IN  ALT.  The  fifth  note  in  alt.  ITie 
twelfth  above  the  G,  or  treble  clef  note. 

D  IN  ALTISSIMO.  (L)  ITie  fifth  note  in 
altissirao.     The  twelfth  above  G  in  alt. 

DIATESSERON.  A  term  appUod  by  the 
(fncient  Greeks  to  that  interval  which  we  call  a 
fourth  ;  con.-iisting  of  a  greater  tone,  a  Ics.'-cr  tone, 
and  one  greater  semitone. 

DIATESSERON  ARE.  (From  diatfsseron.) 
An  expression  implj-ing  the  singing  in  fourtlts. 

DIATONIC.  A  tenn  applied  by  the  ancient 
Greeks  to  that  of  their  three  genera,  which  con- 
sisted, like  the  modem  system  of  intervals,  of 
major  tones  and  semitones.  The  diatonic  nenus 
has  lonu  since  been  considered  as  more  natiu-al 
than  either  the  chmmatic  or  enharmonic.  Aris- 
toxenus  a.sserts  it  to  have  been  the  first,  and  in- 
forms us  that  the  other  two  were  fonned  from 
the  division  of  its  inte^-als.  The  natural  scale  of 
music,  which,  proceeding  by  degrees,  includet 
both  tones  and  semitones,  is  called  diatonic,  a 
word  compounded  of  dia,  through,  and  tonic,  b 
tone,  because  the  greater  number  of  intcn'al.s 
five  out  of  seven,  in  the  scale,  are  tones.  A  con- 
siderable dirticulty  arises  from  the  dUtribution  of 
intcn-als  upon  keyed  instrument.s,  and  the  stu- 
dent does  not  readily  perceive  how  an  interval  Lt 
to  be  found  t)etween  two  keys,  as  B  and  C,  or  E 
and  F,  which  are  clo.se  together.  The  method  of 
stopping  the  violin,  or  the  frets  on  a  guitar  oi 
lute,  shows  the  nature  of  intcr\-«ls  much  more 
clearly.  For  instance,  the  third  string  of  the 
violin  is  tunc<l  to  the  one  marked  H ;  hut  when 
shortene<l  by  one  ninth  of  the  space  liotween  th« 
nut  and  the  bridge, will  sound  E.  a  tone  higher ;  on» 
sixteenth  of  tlie  reraaininij  length  bein^  further 
taken,  the  sound  F,  a  semitone  higher,  Lh  heanL 
A  j\i.st  idea  of  intervals  L«  hereby  ohtnine<l  ;  and, 
as  the  latter  is  nearly  half  the  magnitude  (f  the 
former,  the  interval  from  D  to  £  it»  called  a  tone, 


251 


DIA 


ENCYCLOPEDIA    OF    MUSIC. 


DIA 


uid  from  K  to  F  a  Keniitonc,  being  real  spaces 
(nkeu  ui>on  the  length  ol'  the  struig. 

DIATONIC  SCALE.  This  scale  consists  of  a 
reries  of  nntural  progressive  sounds,  lying  nt 
the  foundation  of  all  melody.  There  are  eight 
sounds  in  this  scale,  designated  by  nuiueiiils, 
thus:  — 

There  arc  seven  intcn-als  in  this  scale,  five  of 
nhirli  arc  called  tones,  and  the  other  two  semitotifs. 
Tlic  semitones  occur  between  the  third  omA  fourth, 
and  the  seventh  and  eigluh,  thus  :  — 

Ascending  Scale.  Descending  Scale. 

m     0 


8 

cisht. 

7 

Kcven 

(i 

HIX. 

fl 

fivp. 

4 

fiiiir. 

3 

Ilirw. 

2 

two. 

1 

one. 

12     345G7876543     2     1 

Many,  who  have  not  attentively  considered  the 
subject,  suppose  that  the  regular  gradation  of 
tAtnes  and  semitones  is  a  mystery  —  a  certain  some- 
thing which  cannot  be  defined.  True,  great 
mathematical  research  and  many  experiments 
■were  necessary,  in  order  to  bring  out  the  theory 
and  reduce  it  to  practice ;  but  the  principle  is 
natural  to  man ;  so  much  so,  that  any  one,  even 
a  Uttlc  child,  unless  there  is  some  radical  defect 
in  the  hearing  or  vocal  organs,  may  sing  the  scale 
correctly,  without  the  least  tuition. 

'Die  souniLs  of  the  natural  scale  are  applied  to 
the  staff  with  the  F  clef  : 

Number  1  is  placed  on  the  fourth  degree,  C, 
and  the  others  follow  in  regular  order,  thus :  — 


S^ 


Tlie  scale  is  applied  to  the  stafT  with  the  G 
clef: 

Number  1  is  placed  on  the  first  leger  line 
below  the  staff,  C,  and  the  others  follow  in  order, 
thus : — 


i 


-o- 


llie  student  will  notice  the  different  positions 
of  the  scale  with  the  two  clefs,  'lliis  arrange- 
ment is  necessary,  inasmuch  as  it  preserves  a 
regularity  of  sounds  in  pa.ssing  from  one  scale  to 
the  other,  thus  :  — 

1      2     S     4     ft     8     7     « 


m 


-^-C- 


(351 


^^ 


^  o ' 


lXS«ta7S 


Sounds  may  be  cirrit-u  to  the  highest  and  low- 
est possible  degree  of  i)itch ;  but  vocal  sounds 
are  usually  confined  between  the  space  l)€low  the 
staff  with  the  F  clef  and  the  space  above  with  the 
G  clef,  llie  following  table  exliibits  the  exten- 
sion of  the  scale,  from  the  lowest  note  in  the 
hass  to  the  highest  note  in  the  soprano  .  — 


-zfi^ 


-^S^ifi^ 


^^ 


12846678  12346678  1284S 


The  human  voice  Ls  divided  into  four  parts  or 
general  classes  —  the  bass,  the  tenor,  the  alto,  and 
the  soprano.  The  lowest  male  voices  generally 
sing  bass,  the  highest  male  voices  the  tenor,  the 
lowest  female  voices  the  alto,  and  the  highest 
female'  voices  the  soprano.  Hoys,  before  their 
voices  change,  generally  sing  the  alto.  Besides 
the  four  general  divisions,  there  are  three  other 
classes  —  the  baritone,  a  voice  between  the  ba-ss 
and  tenor ;  the  falsetto,  the  upper,  unnatural 
tones  of  a  man's  voice ;  and  the  mezzo  soprano,  a 
medium  species  of  female  voice.  Tlie  following 
example  exhibits  the  usual  compass  of  the  voice 
in  the  several  parts  :  — 


It  is  important  that  the  difference  of  pitch  be- 
tween male  and  female  voices  be  fully  understood 
by  the  pupil.  When  the  G  clef  is  used  for  the 
tenor,  it  denotes  that  each  sound  of  the  scale  is 
an  octave  lower  than  when  used  for  the  alto  and 
soprano. 

The  following  diagram  will  illustrate  the  F  and 
G  clefs  as  variously  used,  and  the  relative  situa- 
tion of  each :  — 

Soprano  and  Alio. 

E 

D 
-C •    • 

B 
-A 

G 
-F 

G 
-D 

C 
-B 

A 
-0 


Ba«8. 


Tenor. 

F— 

E 

_  n— 
•   c 

B- 

A 

—  G- 
T 

—  E- 


Uaiwn. 


2S2 


DIA 


ENCYCLOPiEDIA    OF    MUSIC. 


Die 


From  the  above,  it  will  be  seen  that  C  on  the 
first  line  above  the  bass  staff,  anil  C  on  the  first 
line  below  the  treble  staff,  are  both  in  unison 
with  C  on  the  third  spate  with  the  G  clef,  when 
it  is  nsed  for  the  tenor. 

Tlie  diatonic  scale,  it  ^\ill  be  reraemberod,  is  a 
gradual  succession  of  sounds  by  tones  and  semi- 
tones, which  may  jjroceed  either  from  acute  to 
grave,  or  from  grave  to  acute  ;  five  whole  tones 
and  two  semitones  making  a  complete  natiu'al 
octave.  In  our  ordinary  music  there  are  but 
two  scales,  or  keys  —  the  major  and  the  minor;  but 
on  a  more  thorough  examination  of  the  princi- 
ples of  music,  we  find  there  may  be  as  many 
diatonic  scales  as  the  distribution  of  the  two 
Bcmitoues  in  an  octave  can  be  varied,  which,  in- 
cluding their  original  situation,  is  twelve  times. 

DI.VTOXUM  IXTEXSUM,  or  SILVRP  DIA- 
TONIC. The  name  given  by  musical  theorists 
to  tho:;e  famous  projiortions  of  the  intervals  pro- 
posed bv  Ptolemy,  in  his  system  of  that  niimc  — 
a  system  wliieh,  long  after  the  time  of  this  an- 
cient speculative  musician,  was  received  in  our 
counterpoint,  and  is  pronounced  by  Dr.  Wallis, 
Dr.  Wraith,  and  other  most  learned  writers  on 
harmonics,  to  be  the  best  division  of  the  scaJe. 

DIAZEUXIS.  (Gr.)  Division,  separation. 
The  name  given  by  the  ancients  to  the  tone  which 
separated  two  disjunct  tctrachords.  The  clia- 
Eciuri*  was  placed  between  the  mesis  and  ptirame- 
tis ;  i.  e.,  between  the  highest  note  of  the  second 
tetrachord,  and  the  lowest  of  the  third,  or  be- 
tween the  note  synnemciion  and  jmrainesis  hijperbo- 
leon. 

DIBDIX,  CHARLES,  was  bom  in  Southamp- 
ton, where  his  father  was  a  silversmith,  about  the 
year  17  fo.  lie  was  educated  for  the  church  on 
the  foundation  of  Winchester  School ;  but  music 
soon  too^  such  complete  possession  of  his  mind, 
that  he  would  attend,  as  a  boy,  to  Utile  else.  At 
twelve  years  of  age  he  had  a  very  sweet  voice, 
ond  sang  at  the  cathedral  at  Winchester ;  also  at 
a  subscription  concert  in  that  town,  where  he  was 
patronized  by  the  jirincipal  inhabitants.  Shortly 
after  this,  he  stood  for  the  situation  of  organist 
ut  a  village  in  Hampshire,  but  wa;  rejected  on  ac- 
count of  hid  youth.  Dibdin's  elder  brother  was 
captain  of  a  West  Indiaman,  and  being  in  London 
about  this  time,  pressingly  invited  his  younger 
brother  to  make  a  trial  of  his  talents  in  that  me- 
tropolis, lie  accordingly  went  to  London,  and 
was  introduced  to  several  of  the  most  eminent  mu- 
sic sellers,  for  whom  he  compo:ied  some  ballads  ; 
tV  e  profits  of  which  were,  however,  very  trifling, 
as  the  most  he  received  for  the  copyright  of  six 
songs  wa.s  three  guineas.  The  rest  of  liis  time 
he  filled  up  in  tuning  piano-fortes.  This  occupa- 
tion being  little  to  hLs  taste,  he  soon  became  ac- 
quainted with  the  ])rincipal  musical  and  theatri- 
cal characters  of  the  day,  and  in  the  summer  of 
17612,  when  only  fifteen  years  of  age,  appeared  as 
B  performer  at  the  Richmond  theatre.  ITie  fol- 
lowing year  he  performed  at  Birmingham,  and, 
in  17(il,  made  his  Mbut  on  the  London  boards, 
in  the  character  of  Ralph,  in  the  "  Maid  of 
the  Mill,"  and  received  a  great  share  of  the  pub- 
lic apjirobation.  Still,  however,  he  was  not  in 
his  element ;  he  dLsliked  the  profession  of  an 
•ctor,  and  his  chief  dchght  was  in  composition. 
Accordingly,  soon  after  tliis  time,  he  ^vrotc  the 


principal  part  of  the  music  for  "  Lionel  and  Cla- 
rissa," and  a  venr  or  two  afterwards,  the  entire 
music  of  "  The  Padlock."  'Die  success  of  these 
pieces  fully  established  his  fame  as  a  dramatic 
coraixiser. 

Among  Dibdin's  more  celebrated  works  for  the 
stage  may  be  enumerated  "  The  Deserter,"  pro- 
duced in  177'2  ;  "The  Waterman,"  (words  and 
music,)  in  1771,  and  "The  Quaker,"  in  177'5. 
In  the  intervals  of  these  perlonnanccs,  it  must 
be  confessed  that  his  jirolific  jien  gave  birth  to  n 
great  deal  of  trash.  The  whole  number  of  his 
theatrical  compositions  amounted  to  nearly  a 
hundred.  After  (lunrrelliiig  with  the  proprieto-s 
of  all  the  principal  theatres,  and  more  es])eciiilly 
with  Garrick,  having  also  failed  in  more  than  one 
theatrical  sjieculation  as  a  manager,  Dibdin  at 
length  resolved  on  attempting  to  entertain  the 
public  by  his  single  performance  of  his  own  songs, 
accompanying  them  himself  on  the  piano-forte. 
In  this  he  was  eminently  successful  for  some  years, 
both  in  London  and  in  pi'ovincial  towns  ;  and  he 
might  doul)tless  have  amassed  a  handsome  for- 
tune by  this  singular  exertion  of  his  talent,  had 
he  not  been  unusually  improvident  in  his  pecu- 
niary concerns.  'l"he  number  of  new  songs  which 
he  wTote  (both  words  and  music)  for  these  enter- 
tainments is  astonishing  ;  they  amounted,  it  is 
said,  to  upwards  of  twelve  hundred,  among 
which  his  sea  songs  are  certainly  the  most  clever. 
"  Poor  Jack,"  "Tom  Bowling,"  and  various  other 
ballads  of  that  class,  will  ever  remain  dear  to  the 
ear  of  the  saUor.  Dibdin  died  in  1814,  in  very 
obscure  circumstances,  having  suffered,  for  some 
years  previously  to  his  decease,  from  an  illness 
which  rendered  him  almost  helpless. 

DIBDIX,  MISS,  an  excellent  performer  on  the 
harp,  was  originally  a  pupil  of  Challoner,  and 
since  of  Bochsa.  She  was,  in  1821,  an  assistant 
prolessor  of  her  instrument  at  the  Royal  Academy 
of  Music.  Miss  Dibdin  began  her  musical  stud- 
ies under  Challouer  in  1808,  and  in  181.i  she  per- 
formed Stcibelt's  grand  duetto  on  the  harp  with 
Haydon,  at  the  oratorios  at  Covent  Garden, 
where  she  was  advertised  as  "  a  pupil  of  Mr.  Chal- 
loner." She  afterwards  performed  in  public  with 
Bochsa,  and  with  the  greatest  iclat. 

DICIIORD.  (From  the  Greek.)  'llie  name 
given  to  the  two-stringed  lyre,  said  to  liave  been 
invented  by  the  Egyptian  Mercury.  Apollodorus 
accounts  for  its  invention  in  the  following  man- 
ner :  "  Mercury,"  says  he,  "  walking  on  the 
banks  of  the  River  Xile,  happened  t'l  strike  liis 
foot  against  the  shell  of  a  tortoise,  the  flesh  of 
which  had  been  dried  away  by  the  heat  of  the 
sun,  and  nothing  left  of  its  contents  but  the 
nerves  and  cartilages  ;  he  was  so  pleased  with 
the  sound  it  i)ioduced,  that  he  thence  conceived 
the  idea  of  a  lyre,  which  he  aitcrwarcLs  c  >nstnu-t- 
ed  in  the  fonu  of  a  tortoise,  and  strung  it  with 
the  dried  sinews  of  animals." 

DICKOXS.  MRS.  This  lady,  so  justly  cele- 
brated as  a  singer,  was  also  an  instance  of  pre- 
mature musical  genius,  having  been,  at  the  age 
oi  six  years,  capable  of  perfonning  Handel's  over- 
tures and  fugues  on  the  piano-forte,  with  an  as- 
tonishing degiee  of  taste  and  precision. 

Mr.  Poole  (her  father)  took  advantage  of  this 
extraordinary  talent,  and  placed  her  under  the 
tuition  of  the  celebrated  llauzzini,  of  Bath,  thus 
infusing  into  her  young  mind  the  true  Italian 


2o3 


Din 


excyclop-t:dia  of  musxC. 


T)10 


tanto.  Ill  line  time  Hhe  was  cnzHjjcd  at  the  An- 
cient and  Vocal  Concerts,  and  iiLso  at  Covent 
Garden  Tlicatre,  wlierc  she  made  her  (UbtU  in 
the  dinra'ter  of  Ojihdia,  in  which  she  evinced 
the  most  delicate  I'cchn^  and  pathos  ;  she  also 
IH-rloriued,  with  unrivalled  success,  the  first  range 
of  operatic  character-;  in  England,  Scotland,  and 
Ireland,  and  was  received  hy  the  Irisli  with  en- 
thusiasm. The  excellence  of  Mrs.  Dickons  in 
Bacrcd  music  ia  also  well  known.  In  that  style 
she  sang  with  such  a  degree  of  subhmity,  that 
religion  seemed  to  hrciithc  through  every  note. 
She  was  also  engaged  at  the  Italian  Openi,  and 
performed  (among  other  principal  characters) 
the  Countess,  in  Slozart's  "  Ae  .\o:ze  di  Figaro," 
with  eminent  success,  to  Madame  Catalani's  Su- 
•anna.  At  the  conclusion  of  her  engagement 
•  C  Drury  I.anc  Theatre,  in  1816,  she  was  engaged 
as  yriiiia  dimna  at  Madame  Catalani's  theatre  at 
Paris.  From  thence  she  went  to  Italy,  where  (at 
Venice  in  j)articular)  she  received  the  high  and 
distinguished  honor  of  being  proclaimed,  by  gen- 
eral vote,  socia  onoraria  deW  InslittUo  FiUirmonico, 
She  was  engaged  to  sing  at  several  places  with 
the  celebrated  Velluti ;  but  the  death  of  a  partic- 
ular friend  demanded  her  speedy  return  to  Eng- 
land l)elore  she  could  fulfil  those  engagements, 
and  Mr.  Harris  availed  himself  of  that  opportu- 
nity to  bring  her  forward  once  more  in  his  the- 
atre, where  she  had  so  early  begun  her  theatrical 
career.  She  early  retired  from  puVilic  life,  es- 
teemed and  beloved  by  all  who  had  the  pleasure 
of  knowing  her,  and  although  in  full  possession 
of  her  vocal  powers,  detlincd  many  tempting  and 
lucrative  offers  to  return  to  the  stage.  She  had 
most  flattering  and  advantageous  applications  to 
sing  in  Italy,  where  her  fame  was  well  known 
and  her  talent  duly  appreciated. 

DIDYMl'S  was  an  eminent  musician  of  Alex- 
andria, and,  according  to  Suidas,  contemporary 
with  the  Emperor  Xero,  by  whom  fie  wius  much 
honored  and  esteemed.  He  wrote  upon  grammar 
and  medicine,  as  well  as  music  ;  but  his  works 
are  all  lost,  and  the  whole  that  we  know  at  pres- 
ent of  his  haiTuonical  doctrines  is  from  Ptolemy, 
who  jjreserved  and  disputed  them.  However, 
thLs  author  confesses  him  to  have  been  well  versed 
in  the  canon  and  harmonic  divisions  ;  and,  if  we 
may  judge  from  the  testimony  even  of  his  antag- 
onist, he  must  have  been  not  only  an  able  theo- 
rist in  music,  but  a  man  of  considerable  erudition. 

As  this  writer  preceded  Ptolemy,  and  was  the 
first  who  introduced  the  minor  tone  into  the 
scale,  and  conse(|ucntly  the  practical  major  third, 
which  harmonized  the  whole  system,  and  dcvel- 
oj.ed  the  road  to  counteq)oint,  (an  honor  that 
most  critics  have  bestowed  on  Ptolemy,)  he  seems 
tc  have  8  better  title  to  the  invention  of  modern 
hannony,  or  music  in  parts,  than  has  been  al- 
lowed him. 

DIES  liLE.  (L.)  A  principal  movement  in 
a  re(iuiem. 

DIESIS.  The  name  given  to  the  smallest  in- 
terval Used  in  the  music  of  the  ancient  Creeks. 
In  harmonic  calculations,  those  are  called  dii.ics 
which  are  greater  than  commas,  and  less  than 
Remitones.  lUesh,  in  modern  music,  is  the  name 
given  to  the  elevation  of  a  note  above  its  natural 
pitch.  'J'bis  raising  of  the  sound  is,  however, 
only  a  kind  of  insensible  gliding  tlirough  the  in- 
terval of  o  semitone,  and  does  not  produce  any 


change  in  the  denomination  of  the  note  upon 
which  it  operates.  With  some  authors,  diesis  is 
only  another  name  for  the  quarter  of  a  tone. 
With  others,  again,  it  Ls  indiscriminately  applied 
to  a  variety  of  the  lesser  intervals. 

DIETEIl,  or  DIE'lTER,  CHUISTIAX  Ll'D- 
Wlti,  was  boni  in  1757,  in  Wurtemburg.  He 
comjiosed  much  instrumental  music,  particularlj 
for  the  bassoon,  also  some  dramatic  pieces,  be 
tween  the  years  1781  and  180.3. 

DIEITEXIIOFER.     See  DnTEXHOFEE. 

DIETZ,  JO.'sEPII,  a  German  composer,  pub- 
lished, in  17G8,  at  Xurcmburg,  some  music  for 
the  violin  ;  also,  subsequently,  some  instrumental 
trios  at  Amsterdam  and  Paris. 

DIEZE.     (F.)     Ashaqi.     See  Shakp. 

DIEZELIUS,  VALEX'ITX,  published  a  krge 
collection  of  Italian  madrigals  at  Xuremburg,  in 
the  year  IGOO. 

DIEZEUGMEXOX.  An  appeUation  given  by 
the  ancient  Greeks  to  their  third  tetrachord, 
when  disjoined  from  the  second. 

DIOrrAL  EX.ERCISES  are  exercises  to  ren- 
der the  fingers  independent  of  each  other.  As 
the  third  finger  in  each  hand  is  (as  it  can  be  an- 
atomically demonstrated)  weaker  than  any  other,  ' 
it  will  be  advisable  for  all  who  practise  the  pwno- 
forte,  S:c.,  to  cultivate  its  volition  and  improve  its 
strength  by  exercises  like  the  following.  Such 
exercises  may  at  first  produce  weariness,  and  per- 
haps some  degree  of  pain  ;  but  this  will  gradually 
wear  off,  and  the  student  will  be  amply  repaid 
for  hlj  labor. 


Eaa? 


^^ 


Uald  dovs  the  long  asm,  and  oooUddc  the  flfmrd  flnfCTlsf  w  loot  w  p— ritlt. 

4  3  a  I  3S3S  3333 

DIGXl'M,  CHARLES,  was  bom  at  Rother- 
hithe,  where  his  father  was  a  respectable,  but  not 
atftuent  tradesman.  Being  of  the  Roman  Catho- 
lic church,  he  officiated,  when  a  boy,  at  tie 
Sardinian  ambassador's  chapel,  and  also  sang  in 
the  choir.  His  voice  was  at  that  time  particular- 
ly admiied  by  the  frequenters  of  the  chapel,  lor 
its  melody  and  power ;  so  much  so  that  S. 
^^'ebb,  a  gentleman  well  known  to  the  musical 
world,  remarked  his  talents,  and  gave  liim  in- 
struction. Dignum,  however,  entertained  nn 
idea  of  making  music  his  pursuit ;  he  wlshwl 
rather  to  dedicate  himself  to  the  service  of  re- 
ligion, and  importuned  his  father  to  send  him  to 
the  college  at  Douay  to  complete  his  education, 
and  fit  him  for  taking  holy  orders.  This  plan 
was,  however,  reliiuiuished,  and  young  Dignum 
was  ))laced  on  trial  under  the  care  of  a  carver 
and  gilder  named  Egglesoe,  who  was  at  the  head 
of  that  liranch  in  the  house  of  Messrs.  ."^eddons. 
Though  this  situation  was  by  no  means  suited  to 
his  genius,  be  remained  nine  months  in  it,  and 
was  on  the  point  of  becoming  a  regular  appren- 
tice, when  a  quarrel  between  his  father  au  1  Eg- 
glesoe dissolveil  the  connection,  llius  it  often 
happens  that  the  most  trivial  circumstance 
changes  the  history  of  a  man's  life.  Had  Dig- 
num  pursued  the  occupation  of   F.gglenoe,  h« 


I 


254 


DIG 


ENCYCLOIVEDIA    OF    MUSIC. 


DIS 


Toight  have  lived  in  obsc  irity,  and  died  unknown 
beyond  the  circle  of  his  own  family  ;  chance, 
however,  operated  in  liin  favor,  and  whilst  lie 
was  dubious  what  occupation  to  follow,  he  was 
introduced  to  the  acquaintance  of  tlie  celebrated 
Mr.  liinley.  That  j;reat  master  of  vocal  and  in- 
strumental muttic  readily  perceived  the  talents  of 
young  Uii^num,  and  gave  him  the  most  tlattering 
hopes  that  lie  would  one  day  become  an  aciiuisi- 
tion  to  tlie  stage.  Tlius  encouraged,  and  cou- 
Bcious  of  his  own  natural  powen-,  Dignuni  arti- 
cled himself  to  Linley  for  seven  years.  During 
the  first  two  years  of  lliis  period,  the  master  be- 
stowed the  most  indefatigable  attentions  on  his 
pupil,  and  would  not  permit  him  to  sing  in  pub- 
lic till  his  judgment  was  sufKcieutly  coiTcct. 
Dignum  made  his  {Idbut  at  Drury  Lane  Theatre 
in  1781,  in  the  character  of  Young  Meadows,  in 
the  comic  opera  of  "  Love  in  a  Village."  Ills 
figure  was  indeed  rather  unfavorable  for  the  part 
he  repre:icnted ;  but  his  voice  was  so  clear  and 
full  toned,  and  his  manner  of  singing  so  judi- 
cious, that  he  was  received  with  the  warmest  ap- 
plau.sc.  lie  then  appeared  in  Cj-mon,  and  again 
experienced  the  moit  flattering  approbation.  On 
the  removal  of  llannLster,  Sen.,  to  the  Koyalty 
Theatre,  Dignum  succeeded  to  a  cast  of  parts 
more  suited  to  Ids  person  and  voice,  which  was 
a  fine  tenor ;  amongst  other  charactei-s,  those  of 
Hawthorn  and  of  (iiles  i)articularly  suited  him, 
and  he  was  superior  in  them  to  every  other  actor 
since  the  days  of  Heard,  who  was  their  original 
representative.  Dignum  retired  from  the  stage 
in  easy  cu'cumstances,  and  took  residence  in  Lon- 
don, greatly  esteeme<l,  by  a  numerous  circle  of 
acquaintance,  for  his  private  worth  and  amiable 
disposition.  He  composed  several  pleasing  bal- 
lads, and  also  published,  by  subscription,  a  col- 
lection of  popular  vocal  music. 

DI  GR.VDO.  (I.)  An  expression  implying 
that  the  passage  to  which  it  refers  moves  by  con- 
joint intervals. 

DILE'lTAXTE.     (I)     A  lover  of  music. 

DILUENDO.  (L)  A  gradual  dying  away  of 
the  tone  till  it  arrives  at  extinction. 

DIMINISHED.  An  intenal  is  said  to  be  di- 
minu/ted,  when  by  tlie  api)lication  of  a  shaqi  or 
natural  to  the  lower  tone,  or  of  a  flat  or  natural 
to  the  upper  tone,  it  becomes  contracted  within 
its  natural  space,  or  compass.  Hence,  by  raising 
the  lower  note  of  a  minor  seventh  a  minor  semi- 
tone higher,  we  produce  a  diminished  seventh. 

DIMINUENDO,  or  DIM.  (I.)  A  term  im- 
plying that  the  linidiicss  of  the  passage  over 
which  it  is  jdaced  is  to  bo  gradually  lessened. 
The  opposite  of  crescendo. 

DIMINUTION.  Diminution  implies  the  imi- 
tation of,  or  reply  to,  any  given  subject,  in  notes 
of  half  the  length,  or  value,  of  those  of  the  sub- 
ject itself.  'ITius  a  theme  expresse<l  in  minims 
and  crotchets,  and  taken  up  in  crotchets  and 
quavers,  is  said  to  be  answered  in  diminution. 

DI  MOLTO.  (I.)  An  augmentative  exprcs- 
K  •>■&  ;  a.s,  allegro  di  moUo,  very  quick ;  tari/o  di  moUo, 
very  slow. 

DIRECT.  A  certain  character  placed  at  the 
end  of  a  staff  to  apprise  the  performer  of  the 
situation  of  the  first  note  in  the  succeeding  statr. 
For  this  purpose,  it  is  always  situated  on  that 


line  or  space  in  its  .o'wu  staff  wliich  answer*  to 
the  line  or  sjjace  occupied  by  tlie  note  which  it  \» 
designed  to  announce,  thus  :  — 


DIRECTIVE  TERMS.  llie  terms  andantr, 
ntoilcrato,  piano,  &c.,  are  called  dircclire  tcniui,  be- 
cause from  them  we  discover  the  character  and 
movement  of  a  jiiece  of  music.  Many  performers 
neglect  tliesc  terms,  and  decide  the  velocity  of  a 
movement  from  the  signs  of  the  measure  C,  3 
&c.,  which  are  inserted  at  the  beginning  of  the 
start',  whereas  these  signs  signify  no  mine  than 
the  measure,  or  contents  of  the  bars.  Whenever 
any  dii'ective  words  appear,  an  invariable  adher- 
ence to  them  is  inilispeusably  necessary.  At  the 
same  time  the  subject  ought  to  be  consulted,  es- 
pecially when  no  directive  words  arc  found. 
Then,  and  then  only,  may  the  perfonner  supj)ose 
that  he  has  a  tolerable  idea  of  the  design  of  the 
piece.  In  much  of  the  more  modem  music,  the 
vagueness  of  these  directions  about  time  is  cor- 
rected by  the  metronomic  marks. 

DIRECTOR.  A  person  who  undertakes  that 
department  of  a  concert  which  is  uncounectetl 
with  the  science,  but  which  includes  tlie  me- 
dianical  office  of  fixing  the  salaries  of  the  several 
pertormers,  aj)pointing  the  days  of  performance, 
and  choosing  the  pieces,  &c. 

DIRGE.  A  solemn  and  mournful  composition, 
performed  at  funeral  processions.  The  dirge  was 
in  very  general  use  with  the  ancient  Greeks  and 
lU)mans,  and  was  numerously  filled,  boUi  by 
voices  and  instruments. 

DIRUTA,  GIROLAMO,  was  a  Franciscan 
iriar,  and  the  author  of  a  work  in  dialogue,  en- 
titled "  Jl  Trainilvano,"  printed  at  Venice  in  the 
year  ir>2o.  Tlie  design  of  tliis  work  is  to  teach 
the  proper  method  of  playing  on  the  organ  and 
harjisichord. 

DIS.     (G.)     D  sharp. 

DISALLOWANCE.  A  term  applied  to  any 
anomalous  formation,  or  succession  of  chords. 
Two  succeeding  eighths,  or  two  consecutive  per- 
fect fifths,  in  the  same  direction,  constitute  a  dis- 
ailoicaiux. 

DISCORD.  A  discord  is  a  dissonant  or  inhar- 
monious combination  of  sounds,  so  called  in  op- 
position to  the  concord,  the  effect  of  which  tlie  dis- 
cord is  calcidated  to  sweeten  and  reheve.  Among 
various  other  discords,  are  those  formed  by  the 
union  of  the  fifth  with  the  bi.xth,  the  fourth  with 
the  fifth,  the  seventh  with  the  eighth,  and  the 
third  with  the  ninth  and  seventh  —  all  which  re- 
(luire  to  be  introduced  by  cert;un  prepiu-ativcs, 
and  to  1)0  succeeded  or  resolved  by  concords  to 
which  they  have  some  relation.  DiMiucU  are 
sometimes  introdaceil  intentionally  into  music  ; 
not  for  themselves  simply,  but  to  set  off  the  con- 
cords by  their  contrast  and  opposition.  A  well- 
cidtivatcd  ear  will  ([uickly  distinguish  a  discord. 

No  one  will  deny  the  necessity  of  discord  is 
the  composition  of  masic  in  parts  ;  it  soeius  to  b« 
as  much  the  essence  of  music  as  shade  Ls  of  paiotf 


DIS 


ENCYCLOP.-EDIA    OF    MUSIC. 


r  IT 


ing ;  not  only  aa  it  irajjrovcs  and  meliorates  con- 
cokI  by  opposition  and  comparison,  but,  still  fur- 
ther, ns  it  becomes  n  nccessiiry  stimulus  to  the 
attention,  which  would  lnnj;ui>h  over  a  succes- 
sion of  pure  concords.  It  occasions  a  momentary 
distress  to  the  ear,  which  remains  unsatisfied,  and 
even  uneasy,  till  it  hears  sometliing  better  ;  for 
no  musical  phriusc  can  end  upon  a  discord  ;  the 
ear  must  \x;  satisfied  at  last.  Now,  as  discord  Is 
allowable,  and  even  necessarily  ojiposed  to  con- 
cord, why  may  not  noise,  or  a  seeming  jari;on,  be 
opposed  to  lixed  sounds  and  harmonical  propor- 
tions :  Some  of  the  discords  in  modern  music, 
unknown  till  this  century,  are  what  the  ear  cau 
but  just  bciir,  but  have  a  very  good  effect  as  to 
contrast.  The  severe  laws  of  i)reparing  and  re- 
solving discord  may  be  too  much  adhered  to  for 
great  clfccts ;  we  are  convinced  that,  provided  the 
ear  have  amends  made  at  length,  there  are  few 
dissonances  too  strong  for  it.  If,  for  instance, 
the  five  sounds,  C,  I),  E,  F,  (J,  are  all  struck,  at 
the  same  instant,  jirovided  the  D  and  the  F  are 
taken  off,  and  the  thx-ee  others  remain,  the  ear 
■will  not  suffer  much  by  the  first  shock ;  or,  still 
further,  it,  instead  of  the  five  sounds  above  men- 
tioned, the  following  are  struck,  C,  1)**,  K,  F«*, 
O,  and  the  D*?,  F*?  are  not  held  on  so  long  as  the 
rest,  all  will  end  to  the  satisfaction  of  the  offend- 
ed ear. 

DISCORDS  OF  SYXCOPATIOX  only  differ 
from  those  of  suspension  by  constituting  part  of 
the  radical  harmony,  and  by  not  being  merely 
appoggiaturas.  The  diatonic  sequence  of  sev- 
enths is  one  of  the  principal  passages  iii  which 
these  discords  are  used. 

DISCOllDAXT.  An  epithet  applied  to  aU 
dissonant  and  inhannonious  soundj?,  whether  suc- 
cessive or  simultaneous. 

DIS-DIAPASON,  or  BIS-DIAPASOX.  (From 
the  Greek.)  A  double  octavo,  or  fifteenth.  To 
this  ii.terval  the  ancient  'Jreeks  bounded  each  of 
their  modes,  and  gave  it  the  name  of  the  perfect 
tystem- 

DISEURS.  (V.  PI.)  A  name  formerly  given 
by  the  French  *o  certain  narrators  or  romancers, 
who,  iu  a  kind  of  chant,  recited  their  metrical 
histories. 

DISJUNCT.  A  term  applied  by  the  ancient 
Greeks  to  those  tetrachords  which  were  so  dis- 
posed with  respect  to  each  other  tliat  the  gravest 
note  of  any  tetrachord  was  one  note  higher  than 
the  acutest  note  of  the  tetrachord  immediately 
boieath  it. 

DISSONANCE,  lliat  effect  which  results 
from  the  unison  ot  two  sounds  not  in  concordance 
with  each  otlier.  The  ancients  considered  tliirds 
and  si.xths  as  dissonances  ;  and,  in  fact,  every 
chord,  except  the  ])erfect  eonconl,  is  a  dissonant 
chord,  llie  old  theories  include  an  infinity  of 
dissonances,  but  the  jiresent  received  system  re- 
duces them  to  a  comparatively  small  number. 
One  rule,  admitted  both  by  the  ancients  and  the 
moderns,  is,  that  of  two  notes  dissonant  between 
themselves,  the  dissonance  api)ertains  to  that  of 
the  two  which  is  not  included  in  tlie  fundamentul 
concord. 

DISSONANT.  ITiose  gounds  or  intervals  are 
Mid  to  be  dissonant  which  do  not  form  a  conso- 
nance between  themselves). 

Q 


DISSOLUTION.  A  tenn  used  in  the  Greek 
music  when  a  sound  in  the  enhamionic  genus  is 
lowered  three  dieses ;  for  thereby  that  genu?  is 
dissolved,  and  the  music,  or  that  interval  at  least, 
is  chromatic. 

DISTANCE.  An  expression  applied  to  "iie 
interval  between  any  two  disjunctive  notes ;  ae,  O 
in  alto  is  Kaid  to  be  at  the  distance  of  a  seventh 
from  A  above  the  treble  clef  note. 
•  DISTANT  SOUNDS.  Dr.  Amott  relates 
that,  as  a  ship  was  sailing  parallel  to  the  coast  of 
Brazil,  but  far  out  of  sight  of  land,  the  perse  ns 
on  board  distinctly  heard  sounds  as  of  church 
bells,  ringing  as  Lf  for  some  day  of  rejoicing  and 
festival.  This  was  strange  noise  upon  the  wide 
and  solitary  ocean.  The  bells  could  be  heard 
distinctly,  but  only  from  one  part  of  the  vessel ; 
all  the  crew  and  passengers  heard  the  same  ding- 
dong,  but  none  could  solve  the  mystery.  Many 
months  after>vards  it  was  ascertained,  that  on 
the  day  of  this  phenomenon,  the  bells  of  che 
Brazilian  city  of  St.  Salvador  had  been  ringing 
in  honor  of  some  saint's  day  or  other  festival, 
nie  sound,  blown  from  the  land  by  a  gentle  wind, 
had  come  across  a  wide  tract  of  sea  to  this  ship, 
which  was  then  sailing  opposite  St.  Salvador. 
The  fact  of  its  being  heard  at  only  one  particultkr 
sjjot  on  the  deck  was  accounted  for  by  the  acci- 
dental position  of  a  sail,  which  concentrated  the 
sounds,  and  made  them  audible.  Hence  we 
draw  the  philosophical  inference,  that  an  instru- 
ment might  be  constructed,  that  should  bear  the 
same  relation  to  sound  that  the  telescope  does  to 
sight. 

DITHYRAMBICS.  Songs  sung  in  honor  of 
Bacchus.  From  these  compositions,  consisting 
of  verse  and  melody,  were  derived  the  first  dra- 
matic representations  at  Athens,  and  which 
were  afterwards  sung  as  choruses  to  the  first 
tragedies. 

DITONE.  An  interi-al  comprehending  two 
whole  tones,  or  a  major  third.  The  proportion 
of  the  sounds  that  Ibrm  the  difone  Is  4  :  5,  and 
that  of  the  minor  third  is  5  :  6.  F.  PaiTau  makes 
the  ditone  the  fourth  kind  of  simple  concord,  as 
comprehending  two  tones,  according  to  Aristotle, 
a  greater  and  a  less.  Others  make  it  the  first 
discord,  dividing  the  ditone  into  eighteen  equal 
parts,  or  commas ;  the  nine  on  the  acute  side 
making  the  greater  tone,  as  asserted  by  Salmon 
De  Caux. 

DirrENIIOFER,  JOSEPH,  was  born  at  Vi- 
enna about  the  year  174:5.  He  received  his  in- 
struction on  the  harpsichord  in  that  city  from 
Steffani,  and  his  knowledge  of  counterpoint  ftt)m 
AVagcnseil,  both  of  whom  were  repiited  to  be  the 
first  and  most  skilful  organists  in  Vienna.  After 
having  passed  fifteen  or  sixteen  years  on  his  trav- 
els through  Germany  and  France,  he  at  length 
fixed  his  residence  in  Loudon,  where  he  taught 
the  haqisichord  and  piano-forte,  and  published  a 
didactic  work  on  composition,  also  several  fugues 
and  voluntaries  for  the  organ.  Dittcnhofer  pos- 
sessed a  perfect  knowledge  of  his  instrument,  and 
although  he  had  not  that  brilliant  and  rapid  per- 
formance which  is  remarkable  in  some  of  the 
modern  jirolcssors,  yet  his  cd\ication  waS  so  reg- 
ular that  he  was  a  complete  master  of  harmony 
and  modulation.  One  of  the  most  celebrated 
English  pupils  of  Dittcnhofer  was  Monro,  of 
i  Newcastlc-upou-Tyuc. 


DIT 


ENCYCLOPEDIA    OF    MUSI'J. 


DIV 


DnTERS  VOX  DIITERSDOKF,  C.UiL. 
This  adjuirable  composer  was  by  birth  a  German, 
and  born  in  the  year  1739.  lie  first  made  bim- 
seli"  known  as  a  performer  on  the  violin  in  tlie 
Imperial  Chaix;l  of  Vienna,  and  afterwards  resid- 
ed at  Frankfort.  So  highly  was  he  esteemed  by 
the  Emperor  of  Germany,  that,  as  a  reward  for 
his  merit  and  talents,  he  was  elevated,  in  the 
year  1770,  to  the  rank  of  nobility,  by  the  title  of 
Dittersdorf,  and  at  the  same  time  nominated 
ranger  of  the  forests  in  the  emperor's  Silesian  do- 
minions. Shortly  after  this  period,  he  was  ap- 
pointed by  the  Bishop  of  Breslau  director  of  his 
chapel,  and  from  that  time  he  ai)i)ears  to  have  re- 
sided alternately  in  Silesia  and  at  Vienna.  In 
1792,  says  Dr.  Buniey,  he  lived  in  a  splendid 
manner  on  his  own  property,  in  Austria.  His 
light  comic  operas  for  a  long  time  enjoyed  great 
popularity  in  Gennany  and  France;  but  his  style 
grew  old  and  ordinary  as  the  works  of  Mozart 
were  better  understood.  Ilis  compositions  were 
extremely  numerous,  especially  his  oj)cras,  of 
which  the  most  celebrated  was  '•  Der  Doktor  nnd 
der  Apotheker,"  produced  at  Vienna  in  1786.  Be- 
tween this  date  and  1798  he  produced  upwards  of 
tliirty  operas  or  operettas.  He  also  wrote  several 
oratorios,  as  "  Isaac,"  "  Esther,"  "  Job,"  ice.  ; 
some  masses  and  motets  ;  fifteen  sj'mphonies  for 
grand  orchcsti-a,  entitk'd  "  'l"he  Metamorphoses 
of  Ovid,"  published  at  Vienna  in  1785  ;  some 
forty  manuscript  svTnphonies  ;  concertos,  sonatas, 
quatuors,  duos,  songs,  romances,  &c.,  itc,  in  great 
number.  Some  called  hiiu  the  Gretry  of  Ger- 
many. As  his  popularity  waned  ho  grew  miser- 
able and  poor,  but  found  a  kind  home  in  the 
Baron  Stillfried's  chateau  in  Bohemia,  where  he 
died  in  October,  1799,  two  days  after  he  hud  fin- 
ished dictating  to  his  son  the  history  of  his  life, 
which  was  published  at  Leipsic  in  1801,  (^'291  p., 
8vo.,)  —  a  work  full  of  imIvd  originality. 

DITTY.  -\  short,  simple,  meliincholy  aii\ 
Ditty,  which  is  derived  from  the  L;itin  word  dic- 
tum, and  was  originally  spelled  dittie,  implied,  in  its 
primitive  sense,  a  saying,  or  sentence,  and  had 
no  allusion  to  a  poem  or  song,  to  which  it  was  af- 
twwards  appropriated. 

DR'EUBIA.  (L.)  The  name  given  to  the 
dramatic  dialogues  of  the  ancients.  The  diverbia 
are  supposed  not  to  have  been  set  to  such  refined 
and  elaborate  melodies  as  those  which  accompa- 
nied the  sentimental  and  passionate  cantico;  or 
8oliloq\iies. 

DrVERTIMENTO.  (I.)  A  short,  light,  pleas- 
ing composition,  vocal  or  instrumental,  written 
in  a  familiar  style,  and  calculated  to  engage  the 
geuenil  ear. 

DIVERTISSEMENT.  (F.)  Tlie  name  given 
to  certain  airs  and  dances,  formerly  introduced 
between  the  acts  of  the  French  operas. 

DrN'ISION.  This  word  bears  two  construc- 
tions. With  theoretical  musicians,  it  implies  the 
division  of  the  intervals  of  the  octave  ;  but  taken 
in  a  practical  sense,  signifies  a  coarse  of  notes,  so 
running  into  each  other  as  to  form  one  connected 
scries  or  chain  of  sounds ;  and  which,  in  vocal 
music,  is  always  applied  to  a  single  syllable.  The 
Kinging  or  playing  a  passage  of  this  kind  is  called 
ruiuiing  a  dicisioiu 

DI\'ISIOX    OF    TIME.      "SVc    regulate    the 


length  of  sounds  by  a  division  of  the  time  occu» 
pied  in  the  performance  of  any  given  melody,  oi 
harmony,  into  regular  portions,  called  nie;Lsures. 
During  the  performance  of  any  piece  of  music, 
time  i)asses  away ;  and  in  order  to  preserve  regu- 
larity and  prevent  confusion,  all  masic  must  b« 
divided  into  equal  portions.  The  following  line 
represents  the  time  of  any  given  melody  :  — 


Xow  suppose  this  line,  or  time,  to  be  divided 
into  equal  portions,  each  division  would  coiuiti- 
tute  a  measure,  thus  :  — 


T 


To  keep  the  time  equal,  we  make  use  of  a  mo- 
tion of  the  hand  or  foot,  thus :  knowing  the  true 
time  of  a  crotchet,  we  shall  sui)^)o.-<e  the  measure 
or  bar  actually  subdivided  into  four  crotchets  for 
the  first  species  of  common  time,  then  the  half 
measure  will  bo  two  crotcliets ;  therefore,  the 
hand  or  foot  being  up,  if  we  put  it  down  with 
the  very  beginning  of  the  first  note  or  crotchet, 
and  then  raise  it  with  the  third,  and  then  down 
to  begin  the  next  measure,  this  is  called  beating 
tinu.  By  practice  wo  get  a  habit  of  making 
this  motion  very  equal,  and  consequently  of  di- 
viding the  measure  or  bar  into  equal  parts,  up 
and  down  ;  as  also  of  taking  uU  t)ie  notes  in  the 
just  proj)ortion,  so  as  to  begin  and  end  them  pre- 
cisely with  the  beating.  In  the  measure  of  two 
crotchets,  we  beat  down  the  first,  the  second  up. 
Some  call  half  of  the  measure  in  common  time 
fi  time  ;  and  so  they  call  this  the  meiujurc  or  modn 
of  ttco  times,  or  the  diip/a  measure. 

Time  is  to  music  what  rh)-thm  is  to  poetry, 
and  cannot  be  too  rigidly  obsers-ed.  The  follow- 
ing are  the  usual  divisions  of  time : 


'i 


ae 


3^ 


0000  0000  0000  0000 

-r  -3 — r  ^ 


JSquirUfbt  rtia%,  Aft. 


as 


Xo  I.  is  simple  common  time,  and  is  chiefly 
use<l  for  brilliant  or  grand  movements.  Xo  11.  ii 
half  as  long  again  in  the  bar  or  mca-nirc  a.s  com- 
mon time,  and  is  now  rarely  uso'l,  though  onc« 


2J7 


DIV 


EXCYCLOP.EDIA    OF    MUSIC. 


DI2 


BO  much  in  vo'jue,  jinrticularly  in  serious  vocal 
music.  Xo  111.,  it  will  be  Keen,  is  a  fractional 
portion  of  common  time,  as  its  name,  J,  or  triple 
time,  iiuports  ;  as  isi  also  3. 


VII. 


MIX. 


Eiirouie  Tftlue. 
Eqalnlrnt  rtlu*  Id  TrIpleU. 

-^4 . r- 


¥^ 


Exucme  rmlut. 


EquUaleDt  Tftluf  is  TripleU. 


No.  v.,  2,  or  I'.alf  common  time,  is  generally 
chosen  for  rondos  and  lif^ht  jneces,  but  can  also 
serve  to  exj)rei3  the  grave  and  sentimental.  No. 
VI.,  6,  or  compound  common  time,  is  capable  of 
all  kinds  of  expression,  from  the  most  hilarious 
meiTimeut  to  the  deepest  pathos  ;  3  and  ^  are 
often  misused  for  this  measure.  Nos.  VII.  and 
Vm.,  9  and  1  2  ai'e  onlv  3  and  common  time  in 
triplets,  as  will  be  seen  from  their  symbol  notes, 
wliich  arc  respectively  of  the  same  extreme  value. 

Some  writers  have  made  iLse  of  apparently  un- 
rhythniiral  divisions  of  time,  such  as  five  crotch- 
ets in  the  bar  in  ])lace  of  four,  and  li-equently 
with  most  excellent  effect,  llie  toUowing  speci- 
men from  Ileevc  is  a  felicitous  instance  :  — 


3^     ^      5 


Coma,  lUiJl  Jour  cLctk  wilti  out  or  bcr-rj,  fto. 

And  Others  have  indulged  in  an  alternation  or 
mixture  of  ditl'crcnt  measures,  such  as   3  inter- 

4 

mingled  with  simi)le  common  time.  In  Uoiel- 
•iieu's  "  Dan  -i  liUtiuhv,"  there  is  a  hapjiy  instance 
of  this  li'?cr.<e  in  tlie  notation  of  a  melody  that 
could  ni.  oc  otherwise  so  well  expressed  by  the 
ordinary  c;iuul-barred  subdivision  or  measure. 

Sometimes  t)iree  notes  are  played  in  the  time 
of  two,  (and  are  then  cidlod  n  triplet,)  or  six  in 
the  time  of  four.  In  such  cases  either  the  figure 
3  or  6  is  placed  with  a  curved  line  over  or 
under  the  notes,  thus  :  — 


AMicn  one  part  moves  in  triplets,  and  the  other 
does  not,  but  is  dotted,  the  dotted  note  takes  the 
whole  triplet  be.'ore  the  short  note  is  played  :  — 

Example. 


DIVINE  MUSIC  is  that  respectmg  the  order 
and  harmony  which  obtains  among  the  celestial 
minds.  Mundane  music  is  that  which  respects 
the  relations  and  order  of  every  thing  eke  in  the 
universe.  ITiough  I'lato  by  di^-ine  music  under- 
stands that  which  exLsts  in  the  di\-ine  mind,  viz., 
those  archetypal  ideas  of  order  and  sjTumetry 
according  to  which  God  formed  all  thmgs,  and  at) 
this  order  exLsts  in  mundane  creatures,  he  calls 
it  mundane  music.  This  last  sj)ecie3  the  ancients 
again  subdivided  into  the  following :  celestial 
music,  or  the  music  of  the  spheres,  comprehend- 
ing the  order  and  proportions  in  the  magnitudes, 
dLstanccs,  and  motions  of  the  heavenly  bodies, 
and  the  harmony  of  the  sounds  resulting  from 
these  motions  ;  elementary  music,  or  the  harmo- 
ny of  the  elements  of  things ;  human  music, 
which  consists  chiefly  in  the  hamiony  of  the  fac- 
ulties of  the  human  soul  and  its  various  passions, 
and  is  also  considered  in  the  proportion,  tempera- 
ment, and  mutual  depenilence  of  the  jiarts  of  the 
body  ;  and  also  music,  proj-.erly  so  called,  which 
has  for  its  object  motion,  considered  as  under  cer- 
tain regulations,  by  which  it  affects  the  sensei 
agreeably.  Ai-istides,  Quintilianus,  Bacchius, 
and  some  other  ancient  writers,  define  music  the 
knowledge  of  singing,  and  of  things  belonging 
thereto  ;  which  tlicy  explain  by  the  motions  of 
tlie  voim;  and  body,  as  if  the  singing  consisted 
only  in  the  difTcrent  tones  of  the  voice. 

DIVOTO.  (I.)  A  term  siguifj-ing  that  the  piece 
betbre  which  it  is  wTitten  Ls  to  be  i)erformed  in  a 
grave,  solemn  style,  proper  to  inspire  devotion. 

DIXON,  WILLIAM,  published  some  books 
of  psalms  and  hvmns  in  London,  about  the  vear 
1790. 

DIZI,  F.  A  celebrated  harpist,  resident  in 
Ix)ndon,  and  celebrated  for  the  superior  beauty 
of  the  tone  jiroduced  by  his  touch.  lie  com- 
posed and  arranged  much  very  pleasing  music  for 
his  instrument.  At  the  Covcnt  Garden  orato- 
rios, in  tlie  season  of  1S21.  JUvhop  (the  conductor) 
employed  no  less  than  twelve  harps,  with  Di/.i  al 
tlieir  head,  whilst  Sir  George  Smart,  at  Drury 
Ijiuc,  engaged  thirteen,  headed  by  IJoclisa.  Dizi 
invented  an  imjirovcment  in  the  mechanism 
of  tlie  hari),  and  calls  hLs  invention  "  the  perpen- 
dicular haip."     The  pruiciple  is,  that  the  ten.sioB 


DO 


EXCYCLor.EDIA    OF    MUSIC. 


DOI 


of  the  strings  acts  upon  a  centre,  parallel  to  the 
centre  of  the  column,  as  well  as  to  that  of  the  so- 
norous body.  He  has  arraiijjed  his  mechauLsm 
between  plates  of  iron  and  brass,  which  are  at 
such  a  distance  as  to  allow  the  strings  to  vilirate 
freely.  'I'hese  plates  are  held  together  by  the 
pins  which  serve  to  turn  the  strinj;.  Tlie  streni;th 
of  these  metal  jjlates  is  much  more  than  equal  to 
the  pressure  U])on  them,  and  they  are,  therefore, 
not  liable  to  the  common  disturbances  and  eviLs 
arising  from  loss  of  shape.  'I'he  column  which 
assists  in  supporting  the  mechanism  takes  the 
pressure  exactly  in  the  centre,  and  therefore  has 
no  tendency  to  incline  to  either  side.  The  strings 
are  stated  to  possess  a  freer  jMiwer  of  vibration, 
and  consequently  the  tone  is  i)rolo;iged.  They 
ore,  moreover,  so  placed  that,  when  at  their  ut- 
most tension,  they  still  preserve  a  straight  line, 
and  make  no  angle.  Di/.i  has  substituted  a  damp- 
er pedal  for  the  swell,  by  which  means  the  sons 
iloiijf'ies  may  be  produced  without  the  common 
actiuu  of  the  hand.  There  are  several  simplilica- 
tions  in  the  mechanism,  and  the  instrument,  be- 
ing alike  on  both  sides,  is  more  unitorm  in  its  ap- 
pearance ;  but  the  principal  excellence  we  con- 
ceive to  be,  that  the  string  is  not  drawn  out  of 
its  vertical  perpendicular.  Dizi's  compositions 
for  the  harp  are  distinguished  for  their  elegance. 
Among  his  jiriucipal  publications  we  may  enu- 
merate "  Twelve  Exercises  or  Fantaisies  com])osetl 
expressly  for  the  Patent  Ilarp,  with  double  Move- 
ment," Chappell ;  "  A  Second  Series  of  Twelve 
Fantaisies  for  Patent  Harp,"  Harm.  Inst. ;  "  Six 
French  Romances  arranged.  Hook  L,"  "  Six 
French  Romances  arranged.  Book  U.,"  &c.,  &c. 

DO.  A  monosyllable  long  since  substituted 
by  the  Italians  for  that  of  iit,  which  Guido  ap- 
plied to  the  first  note  of  the  natural  major  dia- 
tonic scale.  Guide's  monosyllable  was  rejected 
as  too  hard  and  rough. 

DOCTOR  IX  MUSIC.  A  musician,  upon  whom 
8ome  university  has  conferred  the  degree  of  doctor 
in  the  faculty  of  music.  At  what  time  this  de- 
gree was  fir>t  uistituted  in  England,  authors  do 
not  agree.  Anthony  Wood  says  it  took  place  as 
eiirly  as  the  reign  of  Henry  II.  ;  but  Spclman 
thinks  it  had  no  existence  till  the  reign  of  King 
John.  No  name  being  to  be  found  of  the  tii-st 
professor  in  music  to  whom  this  title  was  granted, 
.ve  are  in  want  of  the  very  circumstance  which 
would  decide  the  question  ;  and  must,  therefore, 
be  satisfied  with  the  conjecture,  that  its  com- 
mencement must  have  been  pretty  early,  since 
we  know  it  to  have  been  conferred  upon  Hambois, 
wlio  Hourislied  towards  the  beginning  of  the  fif- 
teenth century.  It,  however,  clearly  appears,  by 
the  qualifications  tonuerly  retiuired  of  a  candi- 
date either  lor  a  doctor's  or  bachelor's  degree  in 
music,  that  at  the  time  of  the  institution  of  these 
degrees,  music  was  legardcd  as  a  science  merely 
sjieculative ;  and  that  little,  if  any,  stre»8  was 
laid  on  skill  in  composition.  Hie  being  able  to 
read  and  expound  Bocthius  was  conceived  to  be 
a  higher  criterion  of  scientific  acquisition  tlian  any 
tipecimcn  of  inventive  hannony  and  melody ; 
and  an  acquaintance  with  the  ratio  of  musical 
intervals,  and  the  philosophy  of  sound,  su])er- 
sedcd  the  operations  of  creative  genius  and 
practical  theory.  The  present  statutei,  however, 
ore  forme<l  on  a  broader  principle,  and,  looking 
to  talent  and   activf  science   for  the  necessary 

2 


I  qualifications,  require  of  the  candidate  an  exer. 

'  else  in  eight  vocal  pails,  with  instrumental  ac- 
companiments, which  ho  is  to  submit  to  the  in- 
spection of  the  musical  professor,  and,  if  by  hiia 
approved,  to  have  performed  in  the  music  school, 
or  some  other  public  place. 

'  DODEKACHORDOX.  A  term  applied  bv 
theoretical  musicians  to  the  twelve  modes  oi 
Aristoxenus. 

DOEHLKU,    THEODORE,    a    distinguished 
]>ianist   of  the   new    school,    contemporary  with 
Ilerz,  Thttlberg,  \c.,  was  born  in  1814,  at  Xaplcs, 
where  his  father  was  teacher  of  languages.     He 
showed   great   taste   for  music  while  a  l)oy ;   but 
there  were  no  fit  masters  for  hini  until  the  arrival 
of   Jules    Benedict  at    Xaples,    under  whom    he 
I  mastered  the  mechanism  of  the  piano.     His  fa- 
ther being  called  to  Lucca  to  superintend  the  ed- 
,  ucation  of  the  jjrinces,  young  Doehler  accompa- 
j  nied  liun,  and,  a  few  months  afterwards,  followed 
I  the  duke  to  Vienna,  where  he  was  admitted  to 
j  the  school   of  Carl   C/.erny,  and   made  such  re- 
j  markable  jirogress  that,  at   the  age  of  seventeen, 
he  was  appointed  ])ianist  to  the  Duke  of  Lucca. 
j  From  that  time  he  accompanied  his  sovereign  in 
I  his  travels  through  Germany  and  Italy,  and  every 
I  where  made  a  sensation  by  his  talent.     His  com- 
'.  positions    for   the   piano   are  principidly  brilliant 
I  and  difficult  fantatiias  upon  themes  from  operas, 
I  as    "  Zampa,"    "La   Slraniera,"   "Norma,"   "  Ro- 
bmi  le  DiabU>,"  &c.,  suited  to  the  display  of  rapid 
and  dazxling  execution. 

DOIGTE^J.    (F.)    The  fingering. 

DOLAXTE,  COX  DOLORE,  or  COX  DU- 
OLO.     (I.)     Sorrowfully,  pathetically. 

DOLCE,  or  DOL.  {!.)  Tliis  tenn  expresses 
the  quality  of  tone  in  which  the  passage  ovei 
which  it  is  WTitten  shoiild  be  performed,  which 
should  be,  as  the  term  implies,  soft,  smooth,  and 
delicate.  Upon  the  violin  this  is  produced  by 
drawing  a  light  and  switl  bow  over  the  stringt 
near  to  the  finger  board  ;  and,  for  the  greatest 
degree  of  softness,  the  how  must  still  recede  far- 
ther from  the  bridge.  By  this  means  a  tone  may 
be  ac(iuired  reseml)ling  that  of  the  musical  glass- 
es, or  the  lower  tones  of  the  ttute.  Before  thia 
can  be  obtained  in  vocal  tones  the  organs  must  be 
brought  into  the  most  pliant  state,  and  used  with 
the  greatest  delicacy.  When  this  tenn  is  ap])lied 
to  instrumental  music,  it  is  generally  to  those 
niorceniuc  of  melody  that  are  so  peculiarly  adapt- 
ed to  the  voice,  and  the  performer  cannot  ex])ress 
them  better  than  by  taking  the  vocal  tones  as  his 
model. 

DOLCE  E  PIACEVOLMEXTE  EXPRES- 
SIVO.    (I.)     Soft,  and  with  plcasuig  expression. 

DOLCE  MAXIERA.  (I.)  A  sweet,  delicate 
manner.  An  exjjression  applied  to  a  ])ertnrraer 
who  is  master  of  a  soft,  pathetic,  and  finished 
style  of  execution.  Of  such  a  performer,  we  any 
he  has  a  rlolve  maniera. 

DOLf  EMEXTE.  An  Italian  adverb,  imply, 
ing  a  soft,  sweet,  and  graceful  style  of  perform- 
ance. 


DOLCEZZA.    or    COX    DOLCEZZA. 
1  With  swei^tucss  and  softness- 


(I- 


DOL 


ENCYCLOPEDIA    OF    MUSIC. 


DON 


DOLCISSIMO.    (L)   With  extronio  sweetness. 

DOLES,  JOIIAXX  FUIEDUlCir,  a  singer 
»nd  chai)cl-ninstcr  at  Leipsic,  was  born  in  the 
year  171  j.  lie  corapo^^cd  much  vocal  music, 
principiiUy  for  the  church.     He  died  in  1797. 

DOLES,  DU.  JOIIAXX  FUIEDKICn,  son  to 
the  preceding,  was  born  in  174'!,  and  considered 
as  one  ot  the  best  German  musical  amateurs. 
He  published  some  instrumental  music  at  Leip- 
Hic,  about  the  year  1733. 

DOLOUOSO.  (I.)  A  term  indicative  of  a 
soft  and  jiathetic  style  of  execution. 

domestic:.  (L.  pi.)  The  name  given  to 
those  two  of  tlje  four  singers  in  the  Patriarchal 
Church  of  Constantinople  who  act  a.s  assistants  to 
the  two  prini-ipals. 

DOMINANT.  The  dominant  of  any  mode  is 
that  sound  which  makes  a  fifth  of  the  final,  or 
tonic. 

DOMIXICK,  M.  A  professor  of  the  honi  at 
the  Conservatory  at  Paris.  He  published  a 
method  and  some  miLsic  for  his  instrument,  also 
several  romances. 

DOXA  XOBIS  PACEM.  (L.)  Give  us  peace. 
The  concluding  movement  of  the  mass,  or  Cath- 
olic morning  service. 

DOXATI,  BAI-DASSAR.  Chapel-master  of 
St.  Mark's  church,  at  Venice.  He  composed 
many  madrigals  and  canzonets  {Canzone  Villa- 
nesclie)  bet\%ecn  the  years  loo5  and  1568.  See 
Camhio.  ^ 

DOXATI,  IGXAZIO.  An  Italian  composer 
and  chiipel-master  at  Milan.  He  published  some 
BEcred  music  at  Venice,  between  the  years  1619 
knd  1633. 

DOXI,  AXTOXIO  FllAXCESCO,  published 
at  Venice,  in  1.544,  a  work  entitled  "  Dialorjhi 
delia  Micsiia."  Dr.  liurney  places  this  among  the 
more  rare  musical  publications,  never  having  seen 
but  one  copy  of  it,  which  was  in  the  possession 
of  P.  Martini.  Doni  died,  according  to  Walther, 
ui  1.574,  in  the  fifty- fifth  year  of  his  age. 

DOXI,  GIOVAXXI  BAITISTA,  a  native  of 
the  city  of  Florence,  was  born  in  the  year  1594. 
He  was  the  descendant  of  a  noble  family,  and 
fliough  not  by  profession  a  musician,  has  been 
justlv  celebrated  for  his  skill  in  this  science. 
Early  in  life,  he  was  ai)i)oiiited  professor  of  elo- 
quence, and  member  of  the  Florentine  Academy, 
and  that  of  Delia  Crusca.  He  was  much  favored 
by  Cardinal  Parbarini,  afterwards  Pope  Urban 
V'ni.,  and  at  his  recommendation  was  appointed 
stcrctary  to  the  college  of  cardinals.  Being  a 
man  of  extensive  learning,  and  finding  the  atten- 
tion re<iuircd  in  this  em])loymcnt  too  threat  an  in- 
terruption to  his  studies,  he  ([uitted  it,  and  re- 
tired to  Florence,  where  he  ended  his  days,  at 
the  age  of  about  fifty.  From  an  account  which 
he  has  given  us  of  himself  and  of  his  studies,  it 
appears  that,  in  the  early  jiart  of  his  li;e,  he  was 
taught  to  i)lay  on  the  fiaueolet'  and  the  lute. 
He  says  that  he  also  attained  some  proficien- 
cy on  the  harjjsichord  ;  and  that,  afterwards, 
notwithstanding  tl\e  little  time  he  had  to  spare 
from  his  more  serious  avocations,  he  applied  him- 
self witli  uncommon  assiduity  to  tlie  science  of 
Jjjirmony.     In  1636  be  published  at  Home  a  dis- 


course entitled  "  Compendia  del  TnittcUo  dei  Gencr- 
e  Modi  detia  Miuica,  con  uii  Discotso  sopra  la  Per 
fezzioiie  de'  Conccnti."  ThLs  book  Ls  of  a  miscella- 
neous nature,  but  its  avowed  design  Ls  to  sho^v 
that  the  music  of  the  ancients  was  preferable  tc 
that  of  the  moderns.  It  contains  a  tract,  entitled 
"  Discorao  sopra  la  Peyfezzioue  delta  Melodia,"  at 
the  beginning  of  which  the  author  treats  of  the 
madrigal  style  of  composition,  and  of  the  partic- 
ulai-s  which  distinguish  the  canhisfyjufcUus  from 
the  cantus  eccksiasticus.  The  invention  of  the 
latter,  he  says,  followed  natui-ally  from  the  uce 
of  the  organ.  Five  years  atterwards,  Doni  pub- 
lished his  "  Annotazioni  sopra  il  ComjK-ndio  da' 
Gencri,  e  de'  Modi  della  Miisica,"  and  some  othec 
tracts.  In  one  of  them  he  describes  an  instru- 
ment of  his  own  invention,  called,  after  his  pa- 
tron, a  Li/ra  Barbarini,  resembling,  in  shape,  the 
Si)anish  guitar,  but  having  thi'ce  niches,  each  of 
which  was  double,  like  the  theorbo,  or  arch  lute. 
The  use  of  this  instrument  was  to  enable  the  per- 
former to  play  either  in  the  Dorian,  the  Phrygian, 
or  the  hypo-Lydian  modes  of  the  ancients.  All 
these  tracts  contain  curious  particulars  relative  tc 
the  music  and  musicians  of  the  author's  time. 
Doni  pubUshed,  in  1647,  a  treatise  in  thre* 
books  —  "  De  Pro'stantia  Mitsica  ceteris." 

DOXIZE'ITI,  GAETAXO,  one  of  the  most  ad- 
mired of  the  Italian  dramatic  composers  since  Ros- 
sini, was  bom  at  Bergamo  in  1799.  After  learn- 
ing the  rudiments  of  music  at  the  Lyceum  of 
that  city,  he  took  lessons  of  the  celebrated  maestro 
di  cajielia  Simon  MajT,  and  then  became  a  pupil 
of  Pilotti  and  Maltei  at  Bologna.  Having  com- 
pleted his  studies,  he  wrote  overtures,  violin 
quartets,  cantatas,  masses,  and  other  pieces  of 
church  music.  He  somehow  became  engaged  in 
mihtary  service,  and  it  was  long  before  he  could 
obtain  the  Uberty  to  devote  himself  to  the  object 
of  his  highest  ambition,  namely,  dramatic  com- 
position. Once  free,  he  gave  in  rapid  succession 
to  Venice  the  operas  "  Enrico,  conte  di  Borgogna," 
"  La  Follia,"  "  Le  Nozze  in  Villa,"  "  II  Fateyname 
de  Lironia;"  to  Rome  "  Zoralde  di  Granata ;" 
to  Xaples  "  La  Zingara,"  "  La  Lettera  Anoniina," 
and  other  works  to  other  cities.  In  182'2  his 
"  Chiara  e  Scrajina  "  was  performed  at  La  Scala 
in  Xaples.  These  works  showed  the  usual  faults 
of  a  great  facility  of  production,  and  bore  the 
marks  of  imitation  of  Rossini.  A  multitude  of 
other  feeble  works  continued  to  flow  from  his  fa- 
cile pen  ;  yet  the  composer's  manner  wore,  at 
times,  a  character  more  grand  and  elevated. 
Thus,  in  the  serious  style,  his  "  -\nna  Bolena  " 
and  "  Elizabeth  at  Kenilworth,"  (represented  at 
Xaples  in  1828,)  and  above  aU.  his  "L'Esulcdi 
lionia,"  (1829,)  contain  real  beauties.  In  the 
buffo  kind,  his  "  Elisir  d'  Amore,"  &c.,  were  fidl 
of  vivacity  and  grace.  The  interval  between  this 
and  his  "Marino  Falicro"  (Paris,  183.5)  was 
filled  with  some  fourteen  oper.xs,  all  of  which 
have  sunk  into  obscui'ity.  The  careless  haste  of 
his  compositions  was  due  very  much  to  the  mis- 
erable pay  which  composers  received.  For  sev- 
eral years  Donizetti,  under  engagement  with  Bar- 
baja,  the  impresario  at  Xaples,  had  to  write  every 
year  two  serious  and  two  buttb  operas^  and  re- 
ceived for  his  labor  hardly  enough  to  meet  the 
first  necessities  of  life.  He  has  frequently  been 
known  to  instrument  the  entire  score  of  an  opera 
in  t/iirtu  /tours  Donizetti  was  made  professor  of 
counterpoint  in  the  Roval  Academy  of  Music  a. 


260 


DOS 


EXCYCLOPJEDIA    OF   MUSIC. 


DOT 


Naples,  beinp;,  perhaps,  the  only  young  Italian 
composer  qualified  for  its  functions.  lie  wos, 
moreover,  well  actjuainted  with  the  art  of  siii;;- 
ing,  a  great  reader  of  music,  and  a  remarkably 
good  accompanist  at  the  piano.  'ITic  excitement 
of  incessant  and  rapid  composition  finally  affect- 
ed his  brain,  and  in  the  years  18-14-7  he  was  in 
an  insane  hospital  near  Paris  ;  since  which  he 
was  placed  with  an  experienced  physician,  his 
nephew,  in  Italy.  He  died  about  IS.jO.  Of  the 
Fixty  or  seventy  ojieras  which  he  compo-^ed,  some 
eight  or  ten  have  enjoyed  a  greater  popularity 
in  the  opera-loving  cities  of  Europe  and  America, 
for  years  bel'orc  and  since  his  death,  than  almost 
any  other  works.  His  "  LiwiY:ia  llonjia  "  and 
"Lucia  di  iMinmcnnoor"  are  in  many  respects 
great  works,  and  universally  admired.  The  "  I'li- 
sir  "  still  holds  its  place  ujjon  the  stage  as  one  of 
the  most  charming  of  light  comic  operas  ;  while 
the  "  Filk  till  Uei/imeiit,"  "  Linda  di  Chamounix" 
"  Maria  di  linhan,"  "  Roberto  Drrcmix,"  and  sev- 
eral others  of  his  ojiera:',  besides  the  above  named, 
are  all  associated  with  the  triumphs  of  all  the 
great  singers  of  the  middle  of  the  nineteenth 
century.  Doni/etti's  best  works  sparkle  with 
piquant  or  gracefully  florid  melodies,  such  as  suit 
aiid  please  the  different  kinds  of  voices,  and  with 
musical  ideas  worked  up  into  quartets,  trios,  &c., 
with  the  greatest  effect.  AMiatever  else  he  may 
be,  he  is  essentially  dramatic  in  the  plot  and  con- 
struction of  liis  operas,  and  understands  well  the 
art  of  stimulating  the  enthusiasm  of  the  general 
audience. 

DOXZELLI.  An  Italian  singer,  bom  at  Ro- 
logna  in  1790,  and  distinguished  in  all  the  cities 
of  Europe.  He  had  a  beautiful  voice,  of  such 
compass  that  he  never  used  the  falsetto  ;  his  ac- 
tion was  polished,  his  recitative  particularly  im- 
pressive, his  elocution  generally  good,  and  his 
whole  performance  full  of  life  and  expression. 

DOPPEL.  (G.)  Double;  as  Doppel-^rijf, 
double  stop  on  the  violin. 

DOPPIO.  (I.)  Double  ;  as,  doppio  movimen- 
to,  double  time,  that  is,  as  fast  again. 

DORATUR,  NICIIOL.\S.  Composer  of  mad- 
rigals, published  at  Venice  in  the  middle  of  the 
Blxtcenth  century. 

DOIUAN.  The  epithet  applied  by  the  ancient 
Greeks  to  one  of  their  modes. 

DORIC  MODE.  ITie  first  of  the  authentic 
modes  of  the  ancients.  Its  character  is  severe, 
tempered  with  gravity  and  joy,  and  is  proper 
for  religious  occasions,  as  also  to  be  used  in  war. 

DORIOX  is  mentioned  by  Plutarch  as  a  flute 
player  who  had  made  several  changes  in  the  mu- 
sic of  his  time,  and  who  was  head  of  a  sect  of 
performers  that  militated  against  another  party 
of  practical  musicians,  of  which  Antigenides  was 
the  chief — a  ])roof  that  these  two  masters  were 
contemporaries  and  rivals.  Dorion,  tho\igh  much 
celebrated  as  a  great  musician  and  poet  t^y  Athc- 
nn-us,  is  better  known  to  posterity  as  a  voluptu- 
ary. Both  his  music  and  poetry  are  lost ;  how- 
ever, many  of  his  pleasantries  are  preserved. 
Being  at  Milo,  a  city  of  Egj-pt,  and  not  able  to 
procure  a  lodging,  he  inquired  of  a  priest,  who 
was  sacrificing  in  a  chapel,  to  what  divinity  it 
•was  dedicated :   who  r.iuswered,  "  To  Jupitw  and 


to  Npi)tuno."  "  How  should  I  be  able,"  nayi 
Dorion,  "to  get  a  lodging,  where  the  g' i«  aic 
forced  to  lie  double  ? "  Supping  one  nigt»t  wit  • 
Nicocreon,  in  tlie  Island  of  Cyprus,  and  admirin ,; 
a  rich  golil  cu])  that  was  placed  o  i  the  sidcboarf., 
"  The  goldsmith  will  make  you  just  sxich  anoth- 
er," says  the  i)rince,  "  whenever  you  please." 
"  He  will  obey  your  orders  much  better  than 
mine,  sir,"  says  Dorion;  "so  let  me  have  that, 
and  do  you  bespeak  another."  T\\c  remark  of 
Athcnseus  upon  this  rejily  is,  that  Dorion  acted 
against  the  proverb  which  says,  that 

•*  To  (!ut<'  pliiycn  nnlnre  anve  hrnin*.  then'*!  no  doiihtj 
But  ulos  I  'it!  in  vain,  fur  llu-y  ihm>ii  bluw  tlicni  oiiU" 

Upon  hearing  the  description  of  a  tempest,  u. 
the  Nautilus  of  Timotheus,  Dorion  said,  "He  han 
seen  a  better  in  a  Ijoiling  caldron."  Having 
lost  a  large  shoe,  at  a  banquet,  which  he  wore  on 
account  of  his  foot  being  violently  swelled  by  th« 
gout,  "  The  only  hann  I  wish  the  thief,"  said 
he,  "  is,  that  my  shoe  may  fit  him."  Ilis  wit 
and  talents  made  amends  for  his  gluttony,  and 
he  was  a  welcome  guest  wherever  he  went. 
Philip  of  Macedon,  in  order  to  enliven  his  parties 
of  pleasure,  used  frequently  to  invite  him  with 
Aristonicus,  the  citharist. 

DORXAUS,  PHILIP,  a  German  professor  of 
the  horn,  published  some  music  for  his  instru- 
ment at  Offenbach  in  1802. 

DORXAUS,  L.  Younger  brother  to  the  pre- 
ceding, also  a  professor  of  the  horn,  and  compo- 
ser of  music  for  his  instrument. 

DORXEL,  AXTOIXE,  organist  of  St.  Gene- 
vieve Church,  at  Paris,  died  in  1755.  He  pub- 
lished some  vocal  and  instrumental  music. 

DOT.  A  point  placed  after  a  note,  by  which 
the  duration  of  that  note  is  increased  one  half. 
This  expression  of  continuity  was  formerly  called 
a  })oinl  of  perfection,  because  a  note,  when  dotted, 
attained  its  then  greatest  possible  length,  or  was 
perfected.  A  dotted  note  is  also  termed  a  note  of 
proUttioH. 

DOTT-ED  NOTES,  RESTS,  &c.  The  dot 
placed  after  any  note  renders  it  one  half  longer 
than  it  would  be  if  simply  written.  Thus,  inas- 
much as  a  semibreve  is  as  long  as  two  minims,  it 
follows  that  tlie  duration  of  a  dotted  scmibre<« 
should  he  equal  to  that  of  three  minims,  of  a 
dotted  minim  equal  to  that  of  three  crotchets, 
and  so  on,  as  expressed  in  the  following  table:  — 


Dotud  SMnlbm* 

DMMMWm 

twud  CiMakM 

/ 

(            Si    • 

1         .— . 

•  m   , 

1- — 

1 

1 

bM  k«t  M 


(^^^ 


-!sr. 


3=p: 


IK>M#4  9«aih|mftvav 


f^' — -  =^-' 1=^ 

^ -I        gr-       1       — s 


If  MiMf  M 


-V— i^ 


:iafc 


zi^z 


■  *i  a 


Py  which  it  wiT  ^e  seen  tl  at  the  use  of  rtii 


2P1 


nor 


ENCYCLOPAEDIA    OF    MUSIC. 


DOTJ 


dot  is  only  ft  convontional  method  of  expressing 
the  iiotatiou  of  the  hccoiid  start'. 

Exam  ple  of  Dotted  Notes  op  EVEnv  Value. 


ISU-^ 


ijj^r  ?  ^  ""H'Tf 


PpT'    ,.JjJ^^>^=^^ 


A  double  dot  placed  after  a  note  imparts  to  it 
the  additional  value  of  three  fourths  of  its  simple 
duration.  Thus,  a  semibrove  bcini?  equal  to  two 
minims,  or  four  crotchets,  a  double-dotted  semi- 
breve  is  as  long  as  three  minims  and  a  half,  or 
seven  crotchets,  and  so  forth,  as  will  be  seen 
in  the  annexed  table  :  — 


I>otiMf>-4ott«4    Dwblf-dolted     Doufilp-dolt«d     l>ouM«.^ot(«4     DoiibtrMlAtt«d 
8«rolbrrT«  Mtolm  Crotcbpt  Qu»rer  Semiquivrr 


i^r-rr~ 

'—  .. 

^  •  • 

— F'~' — 

1*  " 

1 

■-] — 

— 1^ 

\%  M  lOBK  U 

b  U  lOQK  u 

-~  ■ — ■ 1 

b  U  tODg  u 

\ Y- 

ti=t^ 

l=tfcy 

1^-t 

Uz^J 

A  dot  affixed  to  a  rest  increases  its  value  in 
like  manner  as  it  affects  a  note.  Thus  a  dotted 
Bemibreve  rest  is  as  long  as  a  semibreve  rest  and 
a  minim  rest,  a  dotted  minim  rest  is  equal  to  a 
minim  rest  and  a  crotchet  rest,  and  so  on. 


P 


W^ 


And  in  like  manner  the  double  dot  may  be 
placed  after  a  rest,  lengtbeninK  the  duration  of 
its  pause  as  the  double  dot  after  a  note  protracts 
Ihnt  of  its  sound. 

nie  dovible  dot  is  rarely  affixed  to  semibreves 
or  minims. 

When  dots  are  placed  at  the  sides  of  double 


bars,  it  indicates  that  the  portions  or  parts  on  the 
sides  of  the  dots  should  be  repeated  :  — 


^m^^^ 


^^^ 


Dots  attached  to  the  single  bars  are  also  used, 
more  particularly  in  manuscript  music,  thus :  — 


t'F^f^^'f^^^^^^^ 


This  repetition  Ls  sometimes  expressed  by  th« 
word  bis  (which  is  literally  twice)  written  under 


a  curved  bne  :  —  • 


6m 


DOTTED  TOUCH.  This  is  a  touch,  \iDon 
keyed  instruments,  which  rigidly  marks  the  dis- 
tinction between  the  dotted  or  doubly-dotted  note 
and  that  which  follows  it,  thus  :  — 


DOTZAUER,  JUSTUS  JOIL\.NN  FHIED- 
RIC'II,  a  composer  and  violuiist  at  Dresden,  was 
born  near  Hildburghausen,  In  Saxony,  in  1783. 
He  was  appointed  chamber  musician  to  the  King 
of  Saxony  in  the  year  1811,  and  has  published 
much  instrumental  music,  chiefly  at  Leipsic 
The  quartets  of  Dotzauer  are  much  admired. 

DOfBI.E.  A  word  which,  in  the  oM  mii^ic,  ctrriei  the  iwme 
sen^o  nn  thnt  which  we  now  pive  to  the  term  variation.  In  the 
harp!iichr)nl  lettsona  or  Handel,  and  other  niQfitcr*  of  liis  time,  we 
find,  (inatead  of  variation  1st,  variation  *.fd,  &c.)  donUe  1,  doubtc  ti, 
ate,  &C. 

DOUBLE  BAR.  A  double  bar  consLsts  of 
two  parallel  straight  lines,  somewhat  broader 
than  the  common  bar,  drawn  near  each  other, 
and  passing  perpendicularly  through  the  staff. 
The  double  l)ar  ser\-es  to  divide  the  dilTcrent 
strains  of  a  movement.  If  two  or  more  dots  are 
placed  on  one  of  its  sides,  they  imply  tht.t  that 
.strain  of  the  movement  on  the  same  side  with 
the  dots  is  to  be  jierformed  twice  ;  and  if  dots 
are  placed  on  each  side  of  the  double  bar,  it  is  to 
be  understood  that  the  mark  of  repetition  ex- 
tends to  the  strains  on  each  side  of  the  double 
bar. 

DOITil-E  RASS,  CONTRA  BASSO,  or  VIO- 
LONO.  A  large,  deep-toned  bass  instrument, 
extending,  in  general,  to  double  C  downwards, 
and  reaching,  in  ascent,  to  the  treble  clef  note,  or 
even  higher.  The  scale  of  the  double  bass  is 
equally  perfect  with  that  of  the  violoncello. 

n-:e  double  bass  is  the  deepest  and  most"i)Ower- 
ful  toned  instrument  used  in  concert  mvisic.  It 
is  so  indispensable  to  enrich  and  sustain  thi 
masses  of  harmony,  that   it  may  be  fairly  con- 


DOU 


ENCYCLOPAEDIA    OF    MUSIC. 


DOU 


cidered  03  the  pillar  and  metronome  of  the  or- 
chestro. 

Music  for  this  instrument  is  written  on  the 
bass  clef,  like  the  violoncello  ;  but  the  actual 
pitch  of  the  notes  is  an  octave  lower  than  on  tluit 
instrument. 

The  double  bass  is  mounted  with  three  thick 
catgut  strings,  which  are  tuned  by  fourth.s,  in 
the  following  manner :  — 


1st  ftring. 

2J  string. 

3d  rtring. 

G  D  A 

0  0  0 

0  IniUcates  the  open  utring. 


Tlie  following  scale  e.xhibits  all  the  natuial 
notes  which  arc  capable  of  being  played  iji  thr 
tirst  or  original  position  of  the  hand,  as  also  the 
finders  employed  to  stop  them.  Notes  above  the 
original  position  are  obtained  by  advancing  the 
hand  upon  the  finger  board  :  — 


8<1  atring.  2d  string. 


1 


g.O<^ 


Ut  string.      Notai  abore. 


-o-a- 


ABC        DEF        OAB       CDEFG 

014        014         014        14141 

Fingvrs  cIomhI.      Clorcd.      Wide  apart.       4    14    14 


&!  string. 


GENERAL  SCALE,  IJJCLCDING  THE  CHROMATIC  NOTES. 
2d  string. 


s 


^^^^^1^' 


1st  atrini?. 


A        A^   B.I,      ni^        C      C^     Dl,      ni;     V^     E'^     eI;      F     Y%  GJ,      Oij     G^     A^      K^     A^    B[,      bJJ 
Oil         1  444         01         11         444         01         1         1         44         4 


In  the  above  scales  the  notes  marked  4  are 
stopped  by  pressing  the  top  joints  of  all  the  four 
fingers  firmly  upon  the  strings.  Tlie  double  ba.«8 
generally  plays  out  of  the  same  book  or  part  as 
tiie  violoncello.  This  may  always  be  done  when 
the  violoncello  part  is  simple,  and  does  not  con- 
tain rapid  passages ;  but,  when  it  contains  diffi- 
cult passages  or  scales  in  unusual  keys,  the 
double  bass  can  no  longer  keep  pace  with  the 
violoncello,  and  it  becomes  necessary  to  simplify 
the  pas-^agcs  so  as  to  suit  it.  In  all  such  cases, 
authors,  for  their  own  interest,  should  not  neglect 
to  write  a  distinct  part  for  the  double  baas  as 
Rim))le  as  possible. 

'llie  contra  basso,  which  used  to  be  played  with 
but  three  strings,  is  now  found  in  the  orchestra 
with  a  fourth  ;  and,  all  unwieldy  as  it  is,  has 
been,  in  late  years,  in  the  hands  of  a  Bottesini, 
made  to  pcrfonu  with  astonishing  success  the  pArt 
of  a  solo  instrument. 

DOUBLE  COUNTERPOINT.  'When,  in  com- 
position in  two  parts,  the  parts  are  so  compose<l 
that  the  upper  part  may  be  inverted  an  octave 
lower,  so  as  to  become  the  under  part,  whiLst  the 
other  retains  its  place  unaltered,  that  is  named 
a  double  counteqwint  in  the  octave.  There  may 
be,  moreover,  a  third  or  fourth  accompan)-ing 
part ;  but  the  intervals  in  the  two  inverted  parts 
mv  St  appear  in  the  following  way  :  — 

I     :j     3    4     &     6     7     8 
8    7     6     a    4     3    ;2     1 

Hence  it  is  obvious  that  the  unison  answers  to 
tlic  octave,  the  second  to  the  seventh,  &c. 


DOUBLE   CROCIIE. 
See  SKMiavAVER. 


(F.)      A   semiquaver. 


DOUBLE  DEMISEMIQUA^'EI^.  A  note 
equal  in  duration  to  one  half  of  a  demisemiqua- 
ver.     See  Demisemku-.vvku. 

DOUBLE  ENDING.  This  consists  of  dots  at 
the  end  of  a  strain,  with  a  double  bar  and  two 
or  more  notes,  a  figure  1  placed  over  the  first 
part,  and  a  figure  2  over  the  second  part.  It  sig- 
lifies  that  certain  measures  axe  to  be  repeated. 


and  the  note  or  measures  under  figure  1  to  be 
sung  the  first  time,  and  the  note  or  notes  under 
figure  2  the  second  time,  omitting  the  part  under 
figure  1.  Should  they  be  connected  by  a  tie, 
both  parts  are  to  be  sung  the  second  time,  thus  :- 


:H=^ 


DOirBLE  FLAT.  After  all  the  seven  notes 
of  music  have  been  made  flat,  the  same  series  o! 
letters  begins  again  with  B,  and  that,  being  the 
first,  takes  the  name  ol  double  B  flat,  thus  :  — 


i 


'^- 


^ 


^^ 


s^ 


The  Germans  have  sometimes  employe<l  a  large 
B,  a.s  the  character  of  the  double  Hat.  As  thf 
characters  double  sharj)  and  double  flat  seldom 
occur,  the  mode  of  restoring  the  single  sharp  or 
flat,  after  the  use  of  the  double  character,  varies 
with  difierent  authors,  .'vjme  u.se  a  single  sharp 
or  flat,  some  employ  a  natural,  or  el-e  unite  the 
single  shaq)  or  flat  with  the  natural,  thus  :  -**, 
'■  b  ;  and  others  again  leave  the  passage  to  the 
ear  and  judgment  of  the  performer. 

DOUBLE  NOTE.     This  is  the  ancient  breve, 

and  was  -nTitten  thus  JJ^  formerly,  but  as  now 
used  Ls  written  thus  :     ,q 

DOUBLE  .SHARP.  The  double  sharp  is 
sometimes  marked  with  a  single  cross,  thxis  :  —  - 
which,  according  to  Vanneo,  originally  represent- 
ed the  two  commas  of  the  quarter  tone,  or  enhar- 
monic diesis,  and  which  properly  represents  the 
distance  between  the  F  double  sharji  and  the  (9 
natural.  After  all  the  notes  of  music  have  been 
made  sharp,  the  same  series  of  letters  l>pgins  again, 
and  F,  being  the  first,  takes  the  name  of  doab]e 
F  sharp,  thus  :  — 


263 


nou 


ENCYCLOr^DIA    OF   MUSIC. 


DRA 


'llie  <ln\it)lc  f  linrp  raises  a  note  before  which  it  is 
placed  two  half  tones. 

DOUBLE  TDIE  has  two  parts,  or  motions,  in 
each  and  every  mcnsure,  and  may  be  marked  or 
beat  by  letting  the  hand  fall  and  rise  alternately, 
tlius  :  •  - 


1                  2 

1                  2 

-iS> G> 

(S S> 

Dowi               Up. 

Down.             Up. 

DOUBLE  TONGUING.  A  term  used  by 
flutists,  or  iliitc  performers,  to  signify  that  action 
of  the  tongue  against  tlie  roof  of  the  mouth,  by 
which  the  most  brilliant  and  spiiited  articulation 
is  produced,  of  which  the  flute  is  capable. 


(F.)     An  organ  stop  called  by 


DOUBLETTE. 
us  fifteenth. 

DOURLEX,  VICTOR,  a  pupU  of  Gossec,  ob- 
tained, in  180'>,  the  grand  prize  for  comjiotiition 
decreed  by  the  National  Institute,  lie  subse- 
quently went  to  Italy,  and  on  his  return  to  Paris 
produced  several  operas,  among  which  are  "  Vhi- 
locles,"  "  Liimic,"  "  La  Dupe  dc  son  Art,"  and 
"  Les  Oics  du  Frire  Philippe." 

DOWLAXD,  JOHN,  a  celebrated  performer 
on  the  lute,  wa-s  born  in  the  year  1.502,  and  at 
the  age  of  twcnty-si.x  was  admitted  to  the  de- 
gree of  bachelor  of  music,  at  Oxford.  He  seems 
to  have  been  a  great  favorite  with  the  public. 
Anthony  Wood  says  of  him,  that  "he  was  the 
rarest  musician  that  the  age  did  behold."  And 
Shakspeare  has  thus  immortalized  him  in  one  of 
his  sonnets :  — 

"If  mtiBic  find  ivfCfX  poetry  sffrpe. 

As  they  needs  must,  (the  r\sWr  nnd  the  hrothcr,) 
Tlien  mtist  the  love  he  (rreut  'twixt  theo  and  nic, 

Bic:ivi«etliou  I"v'«t  the  one.  nnd  I  the  other. 
Dowland  to  thee  isdeiir,  who've  heavenly  touch 

Ui>t»n  tlie  lute  ihith  mvish  human  eense; 
Spenser  to  me.  whose  deep  conceit  is  such, 

As,  piishinff  all  conceit,  needs  no  detiencej 
Thou  hiv'st  to  ht'ttr  the  sweet,  melodious  sound 

That  I*h(phns'  lute  (the  queen  of  musJCj  makes. 
And  I,  in  (hep  delieht  am  chietly  drowned 

When  US  himself  to  •iiusrin^  he  betakes: 
One  (iod  is  eoiwl  to  both,  as  poets  feijm  ; 
Ouc  knight  loves  both,  and  both  in  tliese  remain  I  ** 

In  the  year  1584,  Dowland  travelled  through 
the  principal  parts  of  France.  From  thence  he 
passed  into  Germany,  where  he  was  received  in 
the  most  flattering  manner  by  the  Duke  of 
Brunswick,  and  the  learned  Prince  Maurice,  the 
Landgrave  of  Ile^se  Cassel.  After  a  rc-idcnce  of 
some  months  in  Gennany,  he  crossed  the  Alps 
into  Italy,  and  .successively  visited  Venice,  Padua, 
Genoa,  Fcirara,  and  Florence.  lie  published,  in 
1.595,  "The  first  Booke  of  Songes  or  Ayrcs  of 
tour  Parts,  with  Tablature  for  the  Lute ;  "  and 
ui  the  second  book,  printed  in  liiOO,  he  styles 
himself  lutenist  to  the  King  of  Denmark.  A 
third  book  of  the  same  work  was  afterwards 
given  to  the  public.  Some  time  after  this,  he 
printed  hi:(  "  Lachi-ima",  or  .Seavcn  Tcares,  figured 
>ii  seaven  passionate  Pauans,  with  divers  other 
I'auans,  (ialiard«,  antl  Almands,  set  forth  for  the 
Lute,  Viol-i,  or  Violins,  in  five  Parts."  The  |)ati- 
an,  or  pavan,  was  a  pecuhar  species  of  Si)ani.sh 
dance.  This  work  seems  to  have  attained  con- 
siderable celebrity.  It  is  alluded  to  in  a  comedy 
of  Thomas  Middleton,  entitled,  "  No  Wit  like  a 
Woman's,"  in  which  the  servant  telLs  his  master 
twd  news,  and  is  thus  answered :  "  Xo,  thou  plaicst 


Dowland's  Lachrimse  to  thy  master."  Eowland 
translated  and  published,  in  1609,  the  "  Microlo- 
gus  "  of  Omithoparcus,  containing  the  substanci 
of  a  course  of  lectures  on  rau-^ic,  delivered  by 
that  author,  about  the  year  1.5.35,  in  the  univer- 
sities of  Tubingen,  Heidelberg,  and  Mentz ;  and 
in  1012,  he  published  "A  Pilgrim's  Solace, 
wherein  is  contained  Musical  Harmony  of  three, 
four,  ond  five  Parts,  to  be  suug  and  plaid  ■with 
Lute  and  Viols."  In  the  preface  to  tlus  work 
he  styles  himself  lutenLst  to  Lord  Walden.  One 
of  Dowland's  madrigals  for  four  voices,  "  Go, 
crj-stal  tears,"  is  inserted  in  Smith's  "  Mtuica 
Andijica ;  "  and  another,  "  Awake,  sweet  love," 
which  is  full  of  elegance,  taste,  and  feeling,  in 
Dr.  Crotch's  selections.  He  died  in  Denmark,  as 
it  Ls  supposed,  in  the  year  1615. 

DOWLAXD,  ROBERT,  son  to  the  preceding, 
published  a  work  entitled  "  A  Musical  Banquet," 
London,  1610. 

DRACO.    Instructor  of  Plato  in  music. 

DRAGG,  or  STRASCIXO.  (I.)  A  grace  con- 
sisting of  descending  notes. 

DRAGHI,  ANTOXIO,  a  dramatic  composer, 
born  at  Ferrara  'n  1042,  began  to  write  at  a  very 
early  age,  and  after  producing  masses  and  motets' 
at  the  age  of  twenty-one,  composed  his  first  opera, 
in  1663.  Few  musicians  have  been  so  prolific. 
After  spending  twenty-five  years  in  the  service 
of  the  court  at  Vienna,  he  returned  to  Ferrara, 
where  he  died  in  1707.  Fetis  give»  a  list  of 
eightj'-three  operas  by  Antonio  Draghi. 

DRAGHI,  BERXADIXO.  A  composer  of 
canzonets  f Canzone  I'illanesche)  published  at 
Venice  in  1581. 

DRAGHI,  GIOVAXXI  BATTISTA,  was  an 
Italian  by  birth,  and  is  supposed  to  have  been 
one  of  those  musicians  who  visited  England  with 
Mary  d'Este,  the  Princess  of  Modena,  and  consort 
ot  King  James  II.  He  was  a  fine  performer  on 
the  harjisichord,  &c.,  and  published,  in  England, 
many  lessons  for  that  instrument.  He  joined 
with  Locke  in  composing  the  music  to  ^hadweU's 
English  opera  of  "  Psi/cfie,"  and  on  his  decease, 
in  1077,  succeeded  him  in  the  place  of  organist 
to  the  queen. 

Although  Draghi  was  an  Italian,  and  many  of 
his  compositions  are  entirely  in  the  Italian  style, 
yet,  during  his  long  resitlence  in  England,  he 
seems,  in  a  remarkable  degree,  to  have  assimi- 
lated liis  music  to  that  of  the  old  English  masters. 
This  is  particularly  apparent  in  his  anthem,  "  This 
is  the  day  that  the  Lord  both  made,"  and  in 
many  of  the  ballad  airs  and  dance  tunes  com- 
posed by  him. 

During  the  reigns  of  Charles  II.  and  James, 
Draghi  was  the  favorite  court  musician,  and  he 
Is  supposetl  to  have  been  the  musical  j.receptor  to 
Queen  Anne.  Towards  the  latter  end  of  his  life, 
he  composed  the  music  to  a  whim-^ical  opera, 
written  by  D'Urfey,  entitled  "'ilie  Wonders  in 
the  Sun,  or  the  Kingdom  of  Birds,"  performed 
at  tlie  (iuecu's  Theatre  in  the  IIa\-market,  iii 
170i>.  Some  of  the  mu.'^ic  of  this  oj  era  Is  ex 
tremely  good ;  but  the  piece  proved  unsuccess- 
ful, surviving  only  sLx  nights,  and  ^carccl'y  pay- 
ing half  the  expense  wlxich  had  attended  th« 
getting  of  it  up. 

In  the  printed  collections  of  songs  publishot 


264 


DRA 


ENCYCLOPAEDIA    OF   MUSIC. 


DRA 


towards  the  dose  of  the  seventeenth  centiin',  we 
meet  with  mnny  that  have  the  nnme  of  Siijnor 
Baptist  to  them.  This  uniformly  means  Baptista 
Draghi,  and  not  Baptist  Lulli,  as  some  persons 
have  supposed. 

DRAOOXETTI,  DOMEN'ICO,  the  celebrated 
perfonner  on  the  double  bass,  was  bom  in  Venice, 
in  1771.  Ilis  father,  I'ietro  Dratjonctti,  was  also 
a  performer  on  that  instrument,  but  by  ear  only  ; 
he  excelled  in  accompanying  a  band  at  balls,  and 
wa.«  likewise  a  professor  of  a  sort  of  guitar  with 
steel  strings — an  instrument  which  was  at  that 
time  commonly  in  use  for  the  purpose  of  teaching 
the  chords  in  music.  At  nine  years  of  age,  Do- 
menico,  feeling  an  irrosLstihle  impulse  towards 
music,  api)lied  himself  to  study,  unknown  to  his 
parents,  on  the  guitar  of  hLs  father,  and  in  a 
short  time  made  incredible  progress ;  so  ranch 
so,  indeed,  that  a  certain  Dorctti,  an  excellent 
violinist  nn<l  composer  of  ball  music,  having  re- 
quested Peter  to  accompany  him  on  the  guitar  in 
some  of  Ills  compositions,  and  the  son,  Domeni- 
co,  perceiving  that  his  father  did  not  perfectly 
well  succeed,  asked  for  the  guitar,  to  accompany 
himself  the  composer.  Peter,  unconscious  of 
the  ability  of  his  son,  refused  to  satisfy  him ; 
Doretti,  however,  ob-erving  the  boy's  assurance, 
persuaded  the  father  to  cede  the  instrument  to 
hiju.  How  great  was  the  surprise  which  Domen- 
ico  occasioned  to  both  parties,  when,  taking  the 
guitar  in  hand,  he  began  to  accompany  the  notes 
of  Dorctti  with  chords  so  exact  and  so  masterlv 
B8  to  resemble  ranch  raore  those  of  an  expert 
professor  than  of  a  raere  lad !  Doraenico  having 
at  that  time  an  accjuaintance  named  (liacomo 
Sciarraadori,  a  shoemaker  by  trade,  but  who  was 
a  pns-able  violinist,  and  knew  a  little  of  music, 
begged  this  man  to  be  his  instructor  in  the  rudi- 
ments of  violin  plftjnng.  He  very  willingly 
imdcrtook  the  otfice,  and  with  this  frail  assistance 
alone,  aided  by  his  natural  genius  and  persever- 
ance, Doraenico  soon  picketl  up,  unknown  to  his 
father,  a  knowledge  of  the  use  and  management 
of  his  double  bass.  Soon  after  this,  another 
musical  performance  took  place  between  his  fatlier 
and  Doretti,  when  Peter  played  the  double  bass. 
'Hie  son  then  again  proposed  (as  he  had  done 
before  with  tb.e  guitar)  himself  to  accompany 
Doretti  with  the  double  bass;  when,  on  his 
re.iuest  being  granted,  his  extraordinary  ad- 
\anceraent  on  the  instrument  was  so  highlv 
hpprccinted  by  Doretti,  that  he  earnestly 
begged  the  father  to  allow  his  son  to  play  in 
public  with  him  at  some  of  the  most  brilliant 
musical  parties  of  Venice.  He  was  at  this  time 
•bout  twelve  years  of  age,  and,  on  the  father's 
consenting  to  his  piiblic  performance,  hLs  fame 
soon  spread  through  that  city  as  a  most  extraor- 
dinary instance  of  precocity  of  musical  talent. 
He  was  now  placed  under  the  tuition  of  Berini, 
the  best  ravtcr  for  the  double  bass  in  Venice, 
and  received  from  him  eleven  lessons,  that  num- 
ber being  found  sufficient,  as  Berini  could  teach 
him  nothing  further.  Young  Dragonctti,  now 
abandoning  himself  entirely  to  his  geniu«,  de- 
termined to  carry  the  culture  of  hLs  instrument 
to  the  highest  possible  point  of  pericction,  and 
with  this  object  in  view,  associatecl  himself  with 
his  friend  Mcstrino,  who,  being  likewise  endowed 
with  extraordinary  talents  for  the  violin,  was  en- 
grossed by  a  similar  desire  of  fame.  The  two 
31  2 


students  commenced,  therefore,  at  the  hovise  cf 
Dragonetti,  the  most  scientific  and  accurate  ex- 
crcLses  on  the  violin  and  double  bass,  employing 
many  hours  of  the  day  in  various  jiractical  ex- 
periments on  music  not  adapteil  to  their  instru- 
ments. To  these  exercises  of  execution  they 
added  the  corajjosition  of  Capricci  and  other 
short  pieces,  which  ])unfuits  lasted  for  several 
years,  whilst  the  two  friends  were  ent:aged,  al- 
most every  evening,  at  the  most  brilliant  musical 
circles  in  Venice,  and  on  their  return  from  these 
assemblies,  would  freciuently  amuse  crowds  in 
the  streets  by  serenading  with  the  violin  and 
guitar.  When  Dragonetti  was  only  thirteen 
years  of  age,  lie  held,  with  great  a])planse,  the  sit- 
uation of  tirst  double  bass  at  the  Opera  lUiHa,  at 
Venice;  and  wlien  in  his  fourteenth  year,  he  ob- 
tained the  same  rank  in  the  orchestra  of  the  (Jrand 
(^pera  Seria,  at  the  theatre  of  St.  Benetto,  where  he 
remained  always  employed  during  his  stay  in  Italy. 
When  about  eighteen,  being  at  Tre\-i-o,  lie  was 
invited  by  the  distinguished  family  of  tlic  Signori 
Tomraasini  to  join  in  their  iiuartefs.  At  tliLs 
mansion  he  met  a  nobleman  name<l  Morosini, 
procurator  of  St.  Marco,  who,  a.stonLshe<l  at  the 
performance  of  Dragonetti,  comjilimented  him 
by  observing,  that  he  was  only  sure  of  his  not 
being  a  perfonner  at  the  chajiel  of  St.  Marco,  be- 
cause they  had  no  double  bass  there  cipial  to  him. 
On  his  return  to  Venice,  the  office  of  principal 
double  ha,s3  at  the  above  chapel  was  offered  to 
him  and  acceptetl.  'lliLs  was  thotight  a  peculiar 
honor,  since  the  post  was  certainly  already  well 
filled  by  Berini,  and  it  had  been  a  previoiis  rule 
'  in  the  chapel  that  the  first  placcjs  should  be  given 
by  seniority.  Dragonetti,  however,  tlid  not  will- 
]  ingly  accept  of  this  office,  being  hurt  at  the  idea 
\  ol  8Ui)crse<ling  his  old  master  Berini,  whom  he 
j  much  loved  and  respected  ;  so  much  so,  that  he 
was  just  on  the  point  of  refusing  the  ])rotfere<l 
honor  when  Berini  apjjcared  in  his  chamber,  and, 
embracing  him,  entreated  that  he  would  accept 
the  situation,  as  he  (Berini)  had  been  cora]>li- 
raentcd  with  increa.se<l  salary,  and  was  perfectly 
contented  to  resign  in  favor  of  so  eminent  a  suc- 
cessor. .'Vbout  a  year  after  this  time,  Dragonetti 
'  was  offered  a  very  hicrative  appointment  in  the 
seri-ice  of  the  Emperor  of  Ru.ssia,  on  which  oc- 
I  casion  he  applied  to  the  procurators  of  St.  Marco 
j  for  permission  to  resign  ;  so  far,  however,  were 
they  fi'om  acceding  to  his  request,  that  they  aug- 
mcntc<l  hLs  salary,  and  relieved  him  from  the 
embaiTo-ssment  of  rcfu.sal,  by  taking  that  duty  ou 
I  themselves.  He  was  now  invited  to  perform  at 
the  magnificent  mu.sical  meetings  which  were 
given  in  Venice  on  the  occasion  of  the  grand 
festival  for  the  new  doge.  He  was  likewise  em- 
ployed, with  the  pay  of  a  concerto  periormer,  to 
take  the  solo  and  other  violoncello  parts  in  quar- 
tets with  his  double  bass.  At  one  ot  these 
meetings,  which  was  most  numeroxjsly  nttendecl, 
he  was  unexpectedly  colle<l  upon  for  a  cnnrrrto  d 
I  solo  on  his  instrument,  from  which  he  tried  t* 
excuse  himself,  having  with  him  no  mu«ic  of 
that  descrijjtion.  'lliis  apology  was,  however,  not 
accepted,  and  he  was  at  length  obligo<l  to  jilay  a 
very  difficult  concerto,  written  for  the  bassoon. 
i  After  this  time,  he  set  himself  to  work  to  com- 
I  pose  concertos,  sonatas,  and  solos  for  the  double 
I  bass,  in  which  he  introduced  passages  to  prove 
I  the  superiority  of  his  power  over  the  instniment, 
I  and  many  of  which  were  attcndetl  with  difficul 


DBA 


ENCYCLOPJEDIA    OF    MUSIC. 


DRO 


lies  which  he  alone  was  competent  to  overcome. 
Nor  was  the  execution  of  these  compositions 
loni;  delnyed  ;  for  shortly  after  this  time,  the  re- 
Iiuhlie  of  Venice  received  fourteen  sovereign 
princes  within  their  city,  when  they  elected  Drag- 
onetti  one  of  the  directors  of  their  great  musical 
festivals  on  that  occasion,  at  whiih  meetings  he 
fonneil  the  delight  of  his  distinguished  audience 
hy  the  performance  of  his  own  music  for  the  dou- 
ble hnss.  lie  was  sometimes  called  on  to  perform 
seven  or  eight  i)icces  on  the  same  evening,  and 
almost  always  those  of  his  own  composition.  One 
of  his  concertos  so  delighted  the  (iueen  of  Xaples, 
that  he  was  commanded  to  repeat  it  in  every 
evening's  performance,  which  were  fourteen  in 
numlwr.  lie  afterwards  presented  a  copy  of  the 
concerto  to  the  queen,  which  was  most  graciously 
received.  Dragonetti  next  went  to  Viccnza, 
where  he  played  at  the  grand  opera.  It  was  at 
tliis  town  that  he  was  so  fortunate  as  to  get  pos- 
session of  the  celebrated  double  bass,  manufac- 
tured by  Gasparo  di  Salo,  master  of  the  I'amous 
Amati.  This  instrument  had  formerly  belonged 
to  the  convent  of  St.  I'ietro.  Delighted  with  so 
precious  an  acquisition,  Dragonetti  hastened  to 
get  the  instrument  repaired  with  the  utmost  skill, 
on  the  completion  of  which  he  made  a  trial  of  it 
in  the  hall  of  his  residence  at  Vicenza.  How 
great  was  his  surprise,  when,  after  a  few  sounds, 
he  observed  the  sen-ants  running  from  a  distant 
kitchen  in  alarm,  many  of  the  brass  vessels  on 
the  shelves  having  vibrated  so  powerfully  to  the 
tones  of  the  double  bass  as  to  ring  and  shake  as 
if  they  were  all  ready  to  fall.  On  quitting  Vicen- 
za, Dragonetti  proceeded  to  Padua  to  pay  his 
accustomed  friendly  visit  to  the  inmates  of  the 
celebrated  Convent  of  St.  Giustina.  He  took  his 
newly-acquired  in:^trument  witli  him,  and,  in 
describing  its  excellences  to  .Signor  Turvini  Ber- 
toni,  the  celebrated  chapel-master  and  organist 
of  the  convent,  ventured  to  express  an  opinion 
that  the  lower  strings  of  it  might  be  made  to  pro- 
duce a  more  powerful  effect  than  could  be  derived 
from  the  bass  of  the  magniticent  organ  of  the 
convent.  Turvini  treated  this  proposition  with 
ridicule,  which  so  piqued  Dragonetti,  that  he  re- 
solved to  have  his  little  revenge,  and  accorduigly 
furnished  himself  in  private  with  some  immense- 
ly thick  bass  strings,  which  at  night  he  attached 
to  his  instrument.  The  weather  was  perfectly 
calm,  and,  when  sleep  reigned  through  the  whole 
convent,  he  quietly  carried  his  douhle  bass  into 
one  of  the  spacious  corridors,  and  there  produced, 
from  the  thick  strings,  sounds  so  strange  and 
characteristic,  as  prcciticly  to  counterfeit  the  ris- 
ing of  a  horrid  tempest.  The  imitation  was  so 
i-omjilete,  that  nothing  was  talked  of  the  next 
niorniiig  in  the  convent  but  the  storm  of  the  pre- 
ceding night.  Great  indeed  was  the  surprise  of 
the  fraternity,  when  they  discovered,  from  the 
neighbors,  the  weather  had  been  unusually  se- 
rene. On  the  following  night,  Dragonetti,  having 
remained  unsuspected,  was  desiro\is  again  to  con- 
jure up  the  spirits  of  the  air ;  but,  unluckily,  he 
BO  alarmed  one  of  the  monks,  that,  rushing  pre- 
cipitately from  his  cell,  he  tumbled  over  the  dou- 
ble bass,  and  the  necromancer  was  thus  discovered. 
After  this  anecdote,  it  may  be  well  sujiposed  that 
the  organist  allowed  the  double  biuss  to  be  more 
poweriul  than  his  own  instrument.  Dragonetti 
had  now  attained  the  age  of  twenty-four,  and  his 
Cunc  as  a  performer  bc:ug  decidedly  unrivalled 


in  his  own  country,  he  was  ajiplied  to  bj  ,he  cele- 
brated singer  Banti  to  make  an  engagiinent  foi 
London.  In  this  request  she  was  seconded  by 
Bertoni,  chapel-master  of  St.  Marco,  and  Pacchi- 
erotti  the  singer,  both  at  that  thue  in  England, 
and  who,  on  their  return  to  Italy,  prevailed  on 
Dragonetti  to  accept  the  jirojiosals  made  to  him. 
He  accordingly  took  leave  of  the  directors  of  the 
chapel  of  St.  Marco,  who  kindly  granted  him  a 
year's  leave  of  absence,  with  a  continuation  of 
his  salary  for  that  period.  Dragonetti  remain- 
ed in  London  the  rest  of  his  life,  occupying 
without  a  rival  the  place  of  first  double  bass  in 
the  Royal  Theatre  and  the  concerts  of  the  Phil- 
harmonic Society.     He  died  in  1846. 

DRAMA  BURLESCA.  (1.)  A  burletta.  Sec 
that  word. 

DItAMATIC.  An  epithet  applied  to  miisic 
written  for  the  stage,  and  which  Is  also  appropri- 
ate to  all  imitative  compositions  calculated  to 
excite  interest  and  passion.  'Die  first  musical 
drama  performed  in  England  wholly  after  the 
Itahan  manner  was  "  Arsinoe,  Queen  of  Cy- 
prus," translated  from  the  Italian  of  Stanzani  of 
Bologna,  and  performed  in  1775.  The  singers 
were  all  English. 

DREIBERG,  FREDERIC  DE,  chamberlain  to 
the  King  of  Prussia,  and  born  at  Charlottenburg 
in  178.5,  was  distinguished  by  his  learned  inves- 
tigations into  the  Greek  music,  about  which 
he  wrote  several  elaborate  treatises.  He  also 
composed  some  operas,  having  been  a  pupil  of 
Spontiui. 

DRESE,  ADAM.  A  good  composer  of  church 
music  iu  the  seventeenth  century.  He  waa 
chapel-master  at  Arnstadt. 

DRESE,  JOHANX  SAMUEL.  A  relation  to 
the  preceding,  and  cliapel-master  to  the  Duke  of 
AVeimar.  He  died  in  1716.  His  compositions 
consist  of  harpsichord  music,  also  some  church 
and  dramatic  pieces. 

DRESSLER,  JOHAXX  FRIEDRICH.  A 
German  instrumental  composer  towards  the  end 
of  the  last  century.  He  published  some  con- 
certos and  quartets  for  wind  instruments.  He 
was  the  first  person  who  introduced  the  trom- 
bone into  English  orchestras. 

DREYER,  JOH.VXX  CONRAD,  a  celebratec 
singer  and  director  of  the  music  at  Lunenburg 
was  born  at  Brunswick  in  1672,  and  died  in  1713 

DREYER,  JOHANN  MELCHIOR.  A  cele- 
brated church  comjjoser.  His  compositions  beai 
date  from  the  year  17!)0.  Drc}-cr  was  organist  at 
Elwangen,  a  town  of  Suabia. 

DREYKLAXG.  (G.)  A  chord  of  three 
sounds,  a  triad. 

DREYSTIMMIG.     (G.)    In  three  parts. 

DRIXKIXG  SOXG.     A  vivacious  melody  set 
to  words  in  praise  of  the  bottle. 
DRIITA.     (L)    The  right  hand. 

DRIVIXG  XOTES.  I>ong  notes  placed  be- 
tween shorter  ones  in  the  same  bar,  and  accented 
contrary  to  the  usual  rhythmic  flow. 

DRONE.  The  greatest  of  the  three  pipes,  oi 
conduits,  of  the  bagpipe.  The  office  of  the  dron« 
Is  to  emit  one  continued  deep  note,  aa  an  accom- 

60 


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ENCYCLOPEDIA    OF   MUSIC. 


DUl 


panying  hass  to  the  air,  or  tune,  played  on  the 
smaller  pipes.     Bee  BAonrE. 

DRONB  BASS.  Tlie  raouotonous  bass  pro- 
duced by  the  great  tube  of  the  bagi)i[)e. 

DROUET,  I.OUIR,  a  celebrated  flutist,  was 
born  in  Holland  about  the  year  17!)2,  and  went 
to  London  in  1817,  where  his  talents  as  a  por- 
Ibrnier  deservedly  received  the  most  brilliant  aj)- 
plausc.  lie  performed  at  most  of  the  principal 
concerts  in  London  ;  he  also  established  a  flute 
inanutactory  in  Conduit  Street,  where  lie  resided 
only  one  year,  leaving  England  for  the  continent 
in  ISli).  Drouet  had  an  amazing  facility  in  per- 
fonning  rapid  passages,  but  it  is  said  he  was  de- 
ficient in  taste  in  adagio  movements.  He  has 
composed  much  music  for  his  instrument. 

DIlU^L  A  martial,  ])ulsatile  instrument,  of  a 
cylindrical  form,  perfectly  hollow,  and  covered  at 
each  end  with  vellum,  or  pardimcnt,  so  held  at 
tin?  rim  that  it  can  be  stretched  or  relaxed  at 
pha-ure,  by  means  of  small  cords,  or  braces,  act- 
ed upon  by  sliding  knots  of  leather.  This  is  the 
common  drum,  wliich,  from  its  being  suspended 
at  the  side  of  the  drummer  when  it  is  beating, 
has  also  the  name  of  the  side  drum.  Tliis  in- 
strument is  said  to  be  of  Oriental  invention,  and 
is  thought  by  Le  Clerc  to  have  been  first  brought 
into  Europe  by  the  Arabians. 

DRfMMFin.    Ho  whoto  offlc*  it  1»  to  Iwaf  the  rlnim. 

DKIM  M.VJOlt.    Thi- chill  ilrummcr  of  n  rcciimnt. 

DKl'MS,  KKTTLE.  Kitllc  drunn  Brc  two  large  hatins  of  cop- 
per.  with  uphi-rlcal  bottonia,  nml  cnven'd  at  the  ton  with  volliim  or 
frtmt  i«kin,  wliiih  i«  helil  nuinii  thi-  rim  l»y  a  cirrif  of  irr>n,  and  ticht- 
riu'<l,  or  re'axnl  bjr  sciews  tlxvd  nt  the  *\i\vt  for  that  purpose.  Kettle 
ilruiii*  lire  iilwayi  «i  tuned  that  the  ii.>un<l  *>f  one  U  the  kev  note  of 
the  pi iicciiriij>«nii-<l,  and  that  "f  the  other  a  fonrth  IkIiiw. 

DKIM,  SIDE.  The  coniini.n  drum.  So  ealleil.  lK-cau»i'.  in  beat- 
ing, it  \*  nmiM-ndetl  ut  the  (ide  of  the  drummer. 

I)Kl".MSI..VI)K.    The  name  formerly  given  tea  drummer. 

nurZECHY,  or  DRUSC'irETZKY,  OEORO. 
A  musician  at  I'resburg  in  17S7.  He  composed 
some  (hamatic  pieces,  also  some  solos  for  the 
violin. 

DrBOITRG,  >L\TTnE\V,  a  violinist,  and  pu- 
pil of  Geminiani,  was  born  in  170.'!.  He  led  the 
violins  for  Handel  wlien  in  Dublin.  One  night, 
Dubourg  having  a  solo  part  in  a  song,  and  a 
close  to  make  ad  lihitum,  he  wandered  about  a 
great  while,  and  seemed  a  little  bewildered  and 
uncertain  of  his  original  key  ;  but  at  length  com- 
ing to  the  shake,  which  was  to  tenninate  this 
long  close,  Handel,  to  the  great  deliglu  of  the 
audience,  and  avigmentation  of  applause,  cried 
3ut,  loud  enough  to  be  heard  in  tlie  mo;.t  rcnjoto 
]>aits  of  the  theatre,  "  You  are  welcome  liome, 
Mr.  Dubourg."  It  wa.s  in  1728  that  Dubourg 
was  ap|)ointed  composer  and  master  of  his  majes- 
ty's band  of  music  in  Ireland.  He  rc>.ided  there 
many  years,  and,  in  I7i>l,  received  a  vL.it  from 
.lis  master,  (ieniiniani,  who  died  in  his  house,  at 
the  great  age  of  ninety-six.  It  has  boon  erro- 
neously stated  that  Dubourg  was  no  composer  ; 
he  was,  indeed,  no  publisher,  but  the  odes  which 
he  set  fi>r  Ireland,  and  innumerable  solos  and 
concertos  composed  by  him  for  his  own  public 
perfonnances,  were  left  in  the  possession  of  one 
of  his  pu)iils,  and  some  of  them  arc  excellent. 
Dubourg  died  in  I.iOndon  in  1707. 

DCBUISOX.     A  celebrated  French  composer 
if  songs  in  the  reign  of  Louis  XIV.     He  dietl  in 
712. 


DUE.  (I.)  In  two  parts,  generally  preceded 
by  a  ;  as,  a  due,  for  two. 

DUET.  A  comi)osition  expressly  wTitten  for 
two  voices,  or  instruments,  witli  or  without  a  bass 
and  acconii)aniinents.  In  good  duets,  the  execu- 
tion is  pretty  o<iually  distributed  between  thb 
two  parts,  and  the  melodies  so  connectcil,  inttr- 
mingU'(l,  and  dependent  on  each  other,  iis  to  lo«c 
every  elfect  when  separated,  but  which  are  per- 
ft>ctly  related  and  concinnous  wlien  heanl  to- 
gether. Yet,  however  combined  by  the  di:- posi- 
tion of  tlie  harmony,  the  parts  are  not  necessarily 
similar  in  their  motion  ;  indeed,  it  is  whei.  the 
composer  is  sufficiently  master  of  his  art  t  d  be 
able  to  variegate  the  jjarts,  by  giving  them  con- 
trary directions,  that  the  liapjiiest  effects  of  « luch 
this  species  of  composition  Ls  capable  are  most 
decidedly  produced. 

DUETTINO,  or  DUETTO.   (L)   A  short  duet. 

DUFAY.    Sec  Fay. 

DUFRESXE.  A  French  violinist  at  the  Thi- 
Atre  Fi-ti Horn's  in  17o'2.  He  published,  in  1780,  six 
solos  for  the  flute. 

DUGAZOX.  GUSTAVE,  son  of  Madame 
Dugazon,  tlie  celebrated  French  actress,  was 
a  pujiil  of  Berton,  at  the  Conser\-atory.  He 
ha.s  published  some  romances  and  piano-forte 
music. 

DUGUET,  ABBE,  a  chapel-master  of  Xotre 
Dame,  at  Paris,  about  the  year  1780,  was  an  es- 
teemed composer  of  church  music. 

DULCIAXA.  A  stop  in  the  choir  organ,  of  a 
soft  and  sweet  quality  of  tone. 

DULCIMER.  A  trianguhir  instrument,  con- 
sisting of  a  little  chest  slung  with  about  fifty 
wires  cast  over  a  bridge  fixed  at  each  end ;  the 
shortest,  or  most  acute,  of  which  is  eighteen  inches 
long,  and  the  longest,  or  most  grave,  thirty-six. 
It  is  jicrfonncd  iiymu  by  striking  the  wires  with 
little  iron  rods.  This  name  is  idso  given  by  the 
translators  of  holy  writ  to  an  instrument  used  by 
the  Hebrews,  concerning  the  fonn,  size,  and  tor.c 
of  which  there  have  been  various  conjectures,  but 
of  which  notliing  certain  is  known.  Padre  Mar- 
tini imagines  the  term  dulcimer  to  have  signified  a 
concert  of  instruments  or  voices,  rather  than  any 
single  instrument ;  and  the  sackbut  he  thinks  was 
a  wind  instrument,  formed  of  the  root  of  a  tret, 
and  played  ujxin  by  sto|>s,  like  a  flute.  An  an- 
cient sjtckbut  was,  however,  found  in  tlie  ruins  of 
PomjK'ii ;  from  which  it  api)ears  that  this  instru- 
ment, so  often  mentioned  in  the  sacred  wTiting', 
resembled  the  modem  trombone;  the  latter,  in 
fact,  was  fonncd  by  t!ie  Italians  u]x>n  the  one  tliey 
discovered  in  the  ashes  of  Vi-suvius,  where  it  had 
been  buried  nearly  two  thoui^and  years. 

DUIiCINO.  The  name  formerly  ^ivcn  to  a 
certain  small  bassoon,  which  was  u.sed  as  a  tenor 
to  the  hautboy. 

DULOX,  FRIEDRICH  LUD^VIC;.  A  cele- 
brated (iennan  flutist,  and  coniposor  of  instru- 
mental inii-ic,  i>ublished  at  I.eii)sic  since  the 
commencement  of  tlio  jirosent  century.  He  vras 
appointed,  in  179ii,  chnmlior  musician  to  the  Em- 
peror of  Ru-isia,  from  which  court  he  retired  with 
a  pension,  to  ri-sidc  on  his  property  at  Su-nilal,  ia 
Brandenburg. 


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ENCYCLOPEDIA    OF    MUSIC. 


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DUMAN'OIll,  a  fine  performer  on  the  violin, 
was,  ill  lil.ii),  by  letters  patent,  appointed  king 
of  the  violins,  with  i)ower  to  lioeiis-e  performers 
on  that  instrument  in  all  the  provinces  in  France. 

DUM.VS,  LEWIS.  Tlie  inventor  of  nn  instru- 
ment to  teach  children  music  mechanically,  and 
also  one  to  teach  reading  and  writing.  He  died 
in  1744,  aged  sixty-eight. 

DUMB  SPINET.     See  Clarichord. 

DUMENIL.  A  principal  counter  tenor  singer 
at  the  o])ern  nt  Paris  towards  the  end  of  the  sev- 
enteenth century,  lie  had  been  a  cook,  and  was 
utterly  ignorant  of  music  when  he  first  appeared 
on  the  stage. 

DT'MONCIIAU,  CHARLES,  was  bom  at 
Slrasbiirij  in  177o.  He  was  a  professor  of  music 
at  Lyons,  and  composed  some  minor  dramatic 
pices  ;  also  much  instrumental  music,  some  of 
which  has  been  published  at  Offenbach. 

DUMONT,  HENRI,  chapel-master  to  Louis 
XIV.,  is  celebrated  by  the  French  writers  as  a 
masterly  performer  on  the  organ.  He  was  bom 
in  the  diocese  of  Liege  in  1610,  and  was  the  first 
French  musician  that  introduced  thorough  ba-ss 
into  his  compositions.  ITiere  are  extant  some  of 
his  motets,  which  are  in  great  estimation ;  as  also 
five  grand  masses,  called  royal  masses,  which 
were  performed  in  some  of  the  convents  in  Paris, 
and  in  many  provincial  churches  of  France,  as 
late  as  1824.  Duraont  died  at  Paris  in  the  year 
1G84. 

DUMP.  A  melancholy  tvine ;  oj,  as  b}'  some 
conjectured,  an  old  Italian  dance. 

DUNL  EGIDIUS,  was  bom  in  1709,  at  Ma- 
tera,  in  the  kingdom  of  Naples.  He  was,  like  all 
other  great  melodists,  a  musician  while  yet  a 
child ;  his  taste  for  the  art  was  as  intense  as  it 
was  precocious.  He  was  always  to  be  found  at 
the  village  church,  and  uniformly  attentive  to 
the  chanting  of  the  priests  and  the  sounds  of  the 
organ.  This  decided  taste  for  music  inducetl  his 
parents  to  send  him  to  the  Conserx-atory  of  Na- 
ples, for  they  were  not  rich,  and  the  musical  pro- 
fession was  then  in  such  consideration  that  they 
were  anxious  their  son  should  enter  it.  The 
young  Duni,  therefore,  accompanied  by  his  fa- 
ther, went  to  Naples,  and  «-as  received  into  the 
Conservatory  directed  by  Durante.  'Hiis  great 
master  showed  much  attachment  to  his  pupils  ; 
he  served  as  a  model  of  talent  as  well  a-s  an  ex- 
ample of  virtue  to  them,  and  he  was  no  less  their 
father  by  his  kindness  than  their  master  by  his 
learning  and  instruction.  The  docility  of  Duni 
pleased  him  ;  he  carefully  cultivated  his  opening 
talents  for  his  art,  gave  him  the  best  studies,  and 
when  they  were  cora])leted,  concluded  an  engage- 
ment for  him  at  Rome,  to  which  city  Duni  re- 
paired. He  was  there  commissioned  to  compose 
the  opera  of  "  \ironr,"  which  had  the  greatest 
succt-is.  Duni,  after  having  been  advantageously 
and  honorably  ajipreciated  in  several  of  the  great 
Italian  theatres,  wa,s  next  called  to  Paris.  He  ap- 
peared for  tlie  first  time  in  a  country  of  which  he 
knew  neither  the  taste  nor  the  music  ;  but  he 
was  formed  to  succeed,  ae  much  by  the  sweetness 
and  modesty  of  his  character  as  by  his  talents. 
He  composed  several  comic  operas  for  his  itihut, 
R'nceiving  that  he  ought  especially  to  devote 
himself  to  that  style  in  France  ;  for  he  judged, 


not  without  reason,  that  the  French  would  b« 
better  pleased  with  Italian  music  when  applied 
to  the  comic  than  to  the  great  opera.  He  sue 
cecded.  AVe  cannot  give  a  better  eulogy  thaB 
the  opinion  of  the  authors  of  the  "  Dictiormain 
Historiqne  des  Mtisicicns  "  on  the  style  of  this  com- 
poser. "  Varied  and  natural  music,  delicious 
and  flowing  melody,  these  are  the  (jualities  which 
always  maintain  for  Duni  an  honorable  place 
among  those  who  have  obliged  the  French  to 
appreciate  new  pleasures  in  their  lyric  theatres. 
ANTien  reproached  with  not  being  sufficiently 
powerful,  he  replied,  '  I  desire  to  be  sung  for  a 
length  of  time.'  Nevertheless,  he  composed  airs 
suited  to  the  situation  of  the  scene  when  re- 
quired. It  may  also  be  remarked,  that  it  is  as- 
tonishing for  an  Italian  to  have  so  well  under- 
stood and  obser^'ed  the  prosody  of  the  French 
language."  We  shall  add  to  this  judicious  and 
honorable  analysis  of  Duni's  talent,  that  no  one 
better  understood  the  art  of  giving,  by  means  of 
sound,  the  truest  and  most  animated  jnctures  of 
rural  life,  and  the  most  delightful  and  varied 
scenes  of  village  manners.  He  is  the  Tcniers 
and  Claude  Lorraine  of  music  ;  he  has  the  color- 
ing of  the  one  and  the  design  of  the  other  ;  and 
the  spii-it  of  hLs  subjects,  the  grace  of  hLs  airs  and  . 
accompaniments,  sufficiently  testify  that  nature 
had  bestowed  on  him  the  gift  of  a  richly-stored 
palette,  from  which  he  chose  the  most  lively  as 
well  as  the  most  agreeable  colors.  l"he  first  of 
Duni's  operas  was  "  Le  Peintre  amoureux,"  in 
which  he  has  expressed  the  most  striking  and 
comic  situations.  "  Mazet "  is  one  of  the  pret- 
tiest comjiositions  of  its  kind,  and  not  less  true 
than  original.  "  La  Clochettc "  surpasses  the 
former  in  ease  and  truth  of  local  coloring.  "  Z>* 
Moissoniieiirs  "  enriches  the  French  comic  opera, 
and  insures  the  rei)utation  of  its  author.  "  Les 
Sabots,"  "  1^3  C/iasscKis,"  and  "  La  Sabotiere  " 
leave  nothing  to  be  desired  in  point  of  musical 
expression.  I'he  latter  opera  is  stiU  performed  in 
the  French  theatres.  Duni  died  in  1775,  in  the 
sixty-sixth  year  of  his  age. 

DUNSTABLE,  JOHN,  called  by  the  German* 
St.  Duiistuii,  had  for  a  long  time  the  reputation 
of  being  the  inventor  of  counterpoint ;  but  books 
were  written  long  before  his  time  on  that  subject. 
His  works  upon  music  are  almost  all  lost.  He 
died  in  1458. 

DUNKEL,  FRANZ,  chamber  musician  to  the 
court  of  Saxony,  was  bom  at  Dresden  in  1759. 
He  composed  much  sacred  music  bet»veen  the 
years  1788  and  1797. 

DUO  or  DUETTO.  (L)  A  combination  for 
two  voices  or  instruments.     See  Duet. 

DUPIILY,  a  French  comixiscr  for  the  harpsi- 
chord, was  born  at  Rouen ;  liis  compositions  beai 
date  from  the  year  1750. 

DUPIERGE,  FELIX  TIBUniCE  AUGUSTE, 
born  near  Paris,  in  1784,  published  some  instru- 
mental  music  in  that  city. 

DUPONT,  J.  B.,  a  \nohnist  at  Paris,  published, 
about  the  year  1773,  "  /Vl/lW/«^s  de  Miixiqiw,"  anrf. 
"  Principesdc  Violon."  He  has  also  published  80ro  J 
concertos  for  the  \-iolin. 

DUPORT,  JEAN  PIERRE.  A  pupU  of  tne 
celcbr.ited  Bcrthaud.  He  resided  at  Paris  till  the 
year  1772,  when  he  went  to  Berlin,  where  th« 
king  of  Prussia  named  liim  violoncellist  to  the 
S 


DVP 


ENCYCLOPAEDIA    OF    MUSIC. 


DUB 


court,  and  subsequently  director  of  the  court 
music.  He  has  published  much  music  for  his  in- 
itrument,  both  at  IJerLn  and  at  Paris. 

DUPOKT,  JEAN  LOUIS.  Younger  brother 
to  the  prLXTdinn,  and  his  pupil  on  the  violoncello. 
lie  is  considered  to  have  excelled  his  brother  on 
that  instrument.  lie  jK>rformed  at  the  oncert 
ipiriluel  at  Paris  in  1780,  and  was  n;;ain  heard  in 
public  in  1800,  when,  althou-^h  nearly  sixty  years 
of  ajjo,  he  is  said  to  have  lost  none  of  the  ease, 
brilliancy,  and  energy  which  characterized  his 
style  of  plajing  in  the  j)rime  of  life.  lie  then 
txeouted  every  [wssible  violin  j)iissa<;e  on  his  vio- 
loncello. He  has  composed  much  music  for  his 
instrument,  published  cliicrty  at  Paris. 

DUPllEZ,  GII.IJEUr,  one  of  the  Rrcatcst  of 
recent  tenor  singers,  was  born  at  Paris  in  1805. 
lie  was  educated  in  the  school  of  Choron,  who 
took,  great  interest  in  him.  His  first  public  eflbrt 
was  in  the  representations  of  lUu-ine's  "  Aihulie," 
in  1820,  at  the  Thidtre  Franrais,  wlierc  they  intro- 
d'jccd  choruses  and  solos  into  this  drama.  Du- 
prez  sang  the  soprano  in  a  trio  composed  for  liim 
and  two  ottier  pupils  of  Choron,  and  liis  cxjircssive 
accent  excited  the  wannest  applause.  When  his 
voice  changed,  and  obliged  hiiu  to  suspend  his 
singing  exercises,  he  took  to  harmony  and  coun- 
terpoint, and  his  attempts  at  composition  provetl 
that  lie  might  have  succeeded  as  a  composer,  had 
he  continued  to  cultivate  the  gift.  Meanwhile  a 
tenor  voice  had  replaced  his  bopsh  soprano ;  dull 
and  feeble  at  first,  it  inspired  little  hojic ;  but  tlie 
musical  feeling  of  Duprez  was  so  fine,  so  active, 
and  so  strong,  that  he  triumphed  over  the  delects 
of  his  organ.  In  December,  1825,  he  made  his 
Mbut  in  the  Odeon  TheatJ-c,  ui  the  part  of  Count 
Almaviva,  in  a  French  version  of  Kossini's 
"  Uarl)er."'  He  lacked  assurance  and  stage  ex- 
j)erience,  and  liis  voice  wa.s  weak ;  yet  all  foresaw 
that  he  woidd  be  a  distinguLshed  singer.  He  re- 
mained at  the  Odeon  until  the  end  of  that  theatre, 
in  1828.  Then  he  went  to  Italy,  and  obtained 
engagements,  which  kept  him  obscure  for  a  time, 
but  were  of  service  to  him  in  develojnng  his 
talent  and  his  voice,  which  acquired  more  power 
and  volume.  Returning  to  Paris  in  18.30,  he 
played  several  roles  at  the  Opera  Comii/iw,  espe- 
cially in  "  La  Dame  Blanche,"  where  the  connois- 
seurs applauded  and  remarked  his  progress;  but 
not  obtaining  an  engagement,  he  went  back  to 
Italy.  Since  then  he  has  sung  in  all  the  great 
cities,  especially  Naples,  \vith  more  and  more 
brilliant  success.  He  is  counted  in  the  first  rank 
of  tenors,  after  Kubini  and  Mario,  and  greatly 
distinguished  himself  in  the  ojxjra  at  Paris,  in 
1852,  in  Rossini's  "  William  Tell,"  by  the  splen- 
did manner  in  which  he  took  the  nigh  C  as  a 
chest  tone,  (fl't  <U  poUrine.) 

DUPREZ,  CAROLINE,  daughter  of  the  pre- 
ceding,  was  born  at  Florence  in  1832,  during  the 
period  of  her  father's  second  visit  to  Italv,  where 
he  married  a  vocalist  of  tliat  country.  From  her 
earliest  infancy  she  wrt-s  fond  of  music,  and  when 
Duprez,  after  hLs  career  in  Italy,  returned  to  Par- 
is, in  1835,  to  make  his  (U'biU  at  the  Acadimie 
Jini/nle,  as  Arnohlo  in  "  Guillaiimr  Tell,"  he  took 
esjK'L'ial  jMiins  with  the  musical  education  of  his 
child.  Sl'.c  was  always  anxious  to  Ih>  present  at 
the  (irand  Oi)ora,  and  in  vain  were  her  desires 
•becked  by  her  parents.  While  Duprez  took 
charge  of  her  tuition  in  sin^ng,  she  studied  har- 


mony and  accompaniment  under  M.  .\.  Carpen- 
ticr,  and  the  piano  under  Mile.  Marten.  It  wa' 
principally  for  his  daughter  that  Duprez  wrote 
hLs  work,  "'I1ie  Art  of  .Singing."  At  the  age  of 
fourteen  years  Mile.  Caroline  w;us  enabled  to  con- 
([uer  every  vocal  ditKculty,  and  since  that  time 
she  has  been  singing  with  remarkal)le  success, 
and  on  the  'Jth  of  January,  1851,  she  made  a  suc- 
cessful dibiit  at  the  TliLOtre  (les  Italiviis,  in  PurLs. 

DUPUIS,  THOMAS  SAUNDERS.  Mus.  Doc, 
was  born  in  England  in  the  year  1733,  b\it  his 
j)arents  were  natives  of  France.  His  father  held 
some  situation  at  court,  aiul  tliis,  jirobably,  is  the 
reason  why  his  sou  was  placed  in  the  Clia]x.'l  Royal. 
Tlie  fii-st  rudiments  of  his  musical  education  were 
received  from  Mr.  Gates.  He  altcrwarcLs  became 
a  pupil  of  Travers,  at  that  time  organist  of  the 
King's  Chajiel,  and  for  whom,  in  the  early  part  of 
his  life,  he  officiated  as  dc])uty.  On  the  death  of 
Dr.  Hoyce,  in  the  year  1779,  Dupuis  was  appoint- 
ed organist  and  composer  to  the  Chapel  Royal.  As 
a  composer.  Dr.  Dupuis  is  known  by  several  pub- 
lications, and  many  of  hLs  writings  are  still  in 
manuscrijit  in  the  Royal  Chapel.  Tlie  former  con- 
sist ])rincipally  of  two  or  three  sets  of  "  Sonatas 
for  the  Piano-torte  ;  "  "  Two  grand  Concertos"  for 
that  insti-ument ;  "  Organ  Pieces,"  intended  prin- 
cipally for  the  use  of  young  persons ;  two  sets  of 
"  Chants,"  performed  at  the  Chapel  Royal ;  and 
several  "  -\nthems."  Two  of  the  latter,  "  'ITie 
Lord,  even  the  most  mighty  God,"  and  "  I  cried 
unto  the  Lord,"  are  inserted  in  Page's  Ihinnoitia 
Sacra.  As  a  j)erformcr  on  the  organ,  Dr.  Dujmis 
was  excelled  by  very  few  Englishmen  of  his  time. 
He  died  in  1700,  and  was  succeeded  as  organist 
of  the  Chapel  Royal  by  Dr.  Arnold,  and  as  com- 
poser to  his  majesty  by  Attwood,  then  the  organist 
of  St.  Paul's. 

DUPUY.  A  German  violinLst  and  composer 
for  his  instrument  in  the  year  1790.  He  resided 
for  some  years  at  Copenhagen,  which  jilace  h« 
quitted  in  1809.  He  has  composed  some  much 
esteemed  duets  for  two  violins. 

DUR.  (G.)  Major,  in  relation  to  keys  and 
modes ;  as,  C  dur,  C  major. 

DURAND,  A.  F.,  a  violinist  and  composer  for 
his  instrument,  was  born  at  Warsaw  in  1770.  His 
com)iositions  are  published  at  Leipsic,  Ronn,  and 
Dresden,  and  bear  date  from  the  year  179(5. 

DURANOWSKY,  A.  A  ^-ioIinL^t  and  pupU 
of  Viotti.  He  has  published,  in  ParLs,  some  duoa 
for  the  violin. 

DURANTE,  FRANCESCO,  bom  at  Grumo, 
a  village  near  Naples,  in  lt)93,  was  educated  iu 
the  Conservatory  of  ."san  Onofrio,  and  received 
lessons  of  the  celebrated  Alessandro  .Scarlatti.  He 
quitted  the  Conser\-atory  at  an  early  age,  and  went 
to  Rome,  where  he  was  attracted  by  the  reputa- 
tion of  15.  Pastiuini  and  Pittoni.  He  studiiil  five 
years  under  tliese  ma-sters,  learning  from  one  the 
art  of  singing  and  counter|)oint,  and  from  the 
other  all  the  rtsources  of  countcn'oint.  He  then 
returned  to  Napli-s,  and  devote<l  himself  to  corn- 
pasition  ;  but  he  wrote  prinrip<dly  for  the  church, 
to  which  his  genius  seems  peculiarly  to  have  di- 
rectcil  him.  This  style  bo<-amo  exclusively  lii» 
own,  and  he  di<l  not  hesitate  to  improve  on  the 
manner  of  I'nicstrina  himself,  which,  notwith- 
standing the  genius  of  that  rom|>o<«4T,  (wrtonk  of 
the  infancy  of  the  art ;  he  ombcUiahod  it  without 


2C9 


DUR 


ENCYCLOPEDIA    OF    MUSIC. 


Dl  8 


loading  it  ■with  oniamcnt ;  he  added  to  its  noble 
and  aiiti(iuc  simplicity  thnt  elevation  which  be- 
longs to  a  Kpecics  of  melody  consecrated  to  the 
cclclmition  ot  the  Creator.  IJut  Durante  ])rinci- 
pally  excelled  in  tuition.  To  hLs  instruction  and 
principles  the  Neajmlitan  school  owes  its  greatest 
masters  of  tlie  eighteenth  century,  lie  became 
a  professor  of  the  Conser\-atory  of  San  Onofrio 
about  the  year  1715,  and  was  at  the  head  of  thnt 
of  Gli  I'oieri  ili  (!.  C.  when  Cardinal  Spinclli, 
ArchbLslioi)  of  Naidcs,  abolished  it.  Durante  died 
at  Naples  in  17oo,  aged  sixty-two.  He  was  not 
oidy  a  great  composer,  but  a  good  citizen.  lie 
had  several  wives,  who  all  died  before  him.  One 
of  them  put  his  ])atie)ice  more  to  the  proof  than 
Xanthip])e  did  that  of  Socrates.  She  sold,  for 
the  ])uri)ose  of  gaming,  all  her  husband's  scores, 
which  would  have  been  forever  lost,  both  to  the 
art  and  to  himself,  if,  aided  by  his  wonderful 
memory,  he  liad  not  remembered  and  WTittcn 
thejn  anew.  \\'ith  respect  to  Durante's  style  of 
composition,  his  subjects  are  simple,  and  at  the  first 
glance  ajipcar  commonplace  ;  but  they  are  so  well 
concei'sd,  and  conducted  with  so  much  art  and 
gcuiuft  as  to  produce  prodigious  effects.  He  had 
the  means  of  employing  all  the  ima<;inable  fonns  ; 
and  thus  keeping  alive  the  interest  of  the  auditor, 
be  increased  the  desire  of  hearing  him,  which  is 
the  more  remarkable,  as  his  manner  was  severe 
and  serious,  and  he  generally  sacrificed  but  little 
to  grace. 

The  greatest  singers  and  best  masters  prefer 
the  duets  of  Durante  to  those  of  any  other  com- 
poser in  his  style.  He  formed  them  upon  the 
airs  of  the  cantatas  of  his  master,  Alessandro 
Scarlatti.  ITiey  are  more  in  dialogue  or  duet 
than  fugue,  but  contain  more  beautiful  and  im- 
passioned pieces  of  melody  than  ever  the  creative 
genius  of  old  Scarlatti  invented  ;  and  these  are 
marked  in  so  learned  a  way,  that  it  appears  re- 
finement cau  go  no  farther  ui  this  style  of  com- 
position. 

DUR  ATE.  (I.)  A  term  properly  applicable  to 
whatever  offends  the  ear  by  its  effect.  The  B 
natural,  on  account  of  its  hardness,  was  formerly 
called  li  filtrate.  Also  there  are  rough  or  hard 
intervals  in  melody,  to  which  the  term  durate  is 
applied  ;  such  are  those  produced  by  the  regular 
series  of  three  whole  tones,  whether  ascending  or 
descending,  as  also  all  false  relations. 

DUllIEU,  M.,  published  at  ParLs,  in  1793, 
"  Xourtlls^  Milhode  de  ilusique  Vocale,"  also  a 
••  Mil/iode  de  I'iolon." 

DUUOX,  SEBASTL-VN.  An  eminent  Spanish 
composer  of  church  mvisic  in  the  sbctecuth  cen- 
tury. 

DUSCIIECK,  FRANZ,  a  professor  of  the 
piano-forte,  and  composer  for  his  instrument,  at 
Vienna,  died  in  1799.  He  wa.s  the  son  of  a  day 
laborer.  Many  of  his  compositions  for  his  in- 
Btrument  are  higlily  esteemed. 

DUSSEK,  JOHN  JOSEPH,  organist  at  Czaa- 
lau,  iji  Bohemia,  was  born  there  in  the  year  1740. 
HLs  father,  grandfather,  and  great-grandfather 
■were  all  celebrated  organists.  His  brother,  Fran- 
cis Joseph,  was  also  an  able  musician  and  com- 
poser. 

DUSSEK,  JOHN  I.OUIS,  son  of  John  Dus- 
i>ek,  wart  born  at  Czaslau,  in  Bohemia,  in  the 
year  17G1.     Ue  learned  the  elements  of  music  of 


his  father,  and  at  ten  years  of  age  was  sent  y 
some  noble  friends  of  his  family  to  one  of  the  fiist 
colleges  of  the  University  of  Prague,  where  he  re- 
mained seven  years.  Besides  the  study  of  an- 
cient and  modern  literature,  he  cultivated  the 
science  and  practice  of  music,  profiting  much  by 
the  instructions  of  a  Benedictine  monk  in  co>in- 
terpoint.  Having  attained  the  age  of  nineteen 
he  left  hLs  native  country  for  Brussels,  where  a 
nobleman  of  the  stadtholder's  court  presented 
him  to  the  Princess  of  Orange.  After  this 
honor,  the  young  artist  made  his  d^,biU  in  pub- 
lic, as  pianist,  at  the  Hague,  and  was  patronized 
there  by  the  stadtholder  and  all  his  family. 
On  quitting  Holland,  he  resolved  to  travel  in  the 
north  of  Europe,  and  from  thence  to  visit  Pari'i 
and  London.  At  Hamburg  he  had  the  good 
fortune  to  receive  professional  ad\'ice  from  the 
celebrated  Emmanuel  Bach.  He  then  proceeded 
towards  St.  Petersburg ;  but  being  introduced  on 
his  journey  to  Prince  Charles  ItedziwiU,  he  M-as 
induced,  by  an  advantageous  offer  from  that 
nobleman,  to  remain  with  him  in  Lithuania  for 
two  years  :  at  the  exjjiration  of  which  time, 
instead  of  procee<ling  northwards,  he  returned  to 
Berlin,  and  in  the  year  1780  arrived  at  ParLs. 
There  he  remained  only  tUl  the  breaking  out  of 
the  French  revolution,  when  he  went  to  I/indon, 
and,  by  the  year  1790,  was  well  estabbshed  there 
as  a  teacher  of  the  piano.  In  179G,  he  opened  a 
music  warehouse  in  the  Ha^-market  in  conjunc- 
tion with  N.  Corri,  and  they  were  appointed 
music  sellers  to  their  majesties  and  the  royal 
family.  This  establishment,  however,  did  not 
succeed,  and  Dussek  revisited  the  continent  in 
the  year  1799,  with  the  mtentioTi  of  again  seeing 
his  father :  we  know  not,  however,  if  he  reached 
Bohemia ;  but,  in  the  following  year,  we  find 
him  residing  at  Hamburg,  where  he  occasional- 
ly, but  very  rarely,  performed  in  public.  After 
remaining  there  during  upwards  of  two  years,  he 
proceeded  again,  we  believe,  to  ParLs,  and  in  the 
latter  part  of  his  life,  was  attached  to  the  house- 
hold of  the  Prince  of  Benevento.  He  died  about 
the  year  1810. 

The  following  is  a  list  of  Dussek 's  principal 
works  :  — 

Piano-forte  and  harp  music:  Op.  1.  "Three 
Sonatas,  ^Wth  Accompaniment,  Violin  and  Vio- 
loncello." 2.  "  Tlirce  Sonatas,  with  Accompani- 
ment, Violin  and  Violoncello."  3.  "ITiree  Sona- 
tas, with  Accompaniment,  Violin  and  'N'ioloncel- 
lo."  4.  "Three  Sonatas,  with  Accompaniment, 
Violin  and  Violoncello."  5.  "Grand  Sonata." 
6.  "  ridts  J'iiccs."  8.  "  Three  Sonatas."  9. 
"Three  Sonatas,  Violin  Accompaniment."  10. 
"Three  Sonatas,  Violin  -\ccompaniment."  11. 
"  Diu)  A  deiix  Clavicins."  12.  "ITiree  Sonatas, 
Violin."  13.  "lliree  Sonata-s,  Violin."  14. 
"  Three  Sonatas,  with  Air  Russe."  15.  "  Plough- 
boy."  10.  "'ITiree  Sonatas,  Viohn  Obligate." 
17.  "lliree  Sonatas."  18.  "Three  Concertos." 
19.  "Six  Sonatinas."  20.  "Three  Sonatinas." 
21.  "The  Rosary."  22.  "Concerto."  24.  "So- 
nata." 25.  ".\.  Concerto,  with  favorite  .\irs." 
26.  "  Duet,  Harps."  27.  "  A  Concerto."  28. 
"SLx  Sonatas,"  (easy.)  29.  "A  Concerto." 
30.  "A  Concerto."  .31.  "ITiree  Sonatas,  with 
Airs,  Violin,  or  Flute  and  Violoncello."  32. 
"  Grand  a  Duo  quatre  Mains."  33.  "  Overtur% 
for  two  Performers  on  one  Piano-forte."  34 
"  Two  Sonatas  for  Ilaip,  Accompaniment,  Violir 


270 


DUS 


ENCYCLOPAEDIA    OF   MUSIC. 


DYN 


and  Violoncello."  35  "  Three  Sonatas,  with 
Airs,  Violin,  or  Flute  and  Violin."  30.  "  Duct 
for  lliirp  and  I'iano-ibrte."  37.  "  Sonata,  ar- 
ranged by  Crsuncr."  38.  "  Sonata."  39.  "  Three 
Sonatas."  40.  "A  Military  Concerto."  43. 
"  Sonata,  arranged  by  Cramer."  44.  "  Fare- 
well." 45.  "  Sonata,  for  Clemcnti  and  Co.'s  Pi- 
ano-forte, with  extra  keys,  up  to  F,  and  also  ar- 
ranged for  the  I'inno-forte  up  to  C."  46. 
"  Three  Sonatas."  47.  "  Sonata."  48.  "Duet  to 
the  Sisters."  49.  "A  Concerto."  50.  "Duet, 
arranged  by  Cramer."  51.  "Three  Sonataa," 
(easy.)  53.'  "A  Quartet."  61.  "  Elegy  on  the 
I)eath  of  Prince  Ferilinand  of  Pru.s8ia."  67. 
'l"hree  Sonatas,  progressive,  d  qiuUre  Mains."  68. 
"  Notturno  Concerto,  progressive.  Piano-forte, 
Violiji,  and  Cornet."  71.  "  xVirs  with  Vari- 
ations." 72.  "  Two  Sonatas,  for  Violin  and  Vio- 
loncello," (easy.) 


years    1791    and    1796.     He   also  published,   at 
Vienna,  some  violin  music. 

DUVAL,  MLLE.  A  singer  at  the  opera  at 
Paris,  in  great  repute  about  tbe  year  17'iO.  Sh« 
composed  the  music  of  the  ballet  "  I^s  (iinie»," 
and  afterwards  published  a  "  Mit/iode  ile  Chant." 

DUVEUXOA',  FREDERIC.  A  celebrated 
French  performer  on  the  horn,  and  profe^-or  of 
his  instrument  at  the  Paris  Conserx-atory.  He 
has  also  publishe<l  a  method,  and  much  music, 
for  his  instrument,  which  bear  date  from  1793 
to  1804. 

DUVERNOY,  C1L\RLES.  Brother  to  the 
preceding,  a  distinguished  performer  on  the 
clarinet,  and  professor  of  his  instrument  at  tbe 
Conservatory.  He  has  published  much  instru- 
mental music  since  the  year  1795. 


DUSSEK  MORALT,  MRS.,  wile  of  the  pre- 
■  ceiling,  and  daughter  of  Dominico  Corri,  was 
born  at  Edinburgli  in  177.>.  Her  extraordinary 
musical  genius  showed  itself  at  the  early  age  of 
four  years,  wlien  she  jilayed  in  public  on  the 
piano-forte.  In  1788,  the  family  left  Scotland, 
and  went  to  settle  in  England,  when  Miss  Corri 
sang  at  the  king's,  and  all  the  nobility's  and  pub- 
Uc  concerts  in  London,  being  then  only  four- 
teen years  old.  Ilcr  principal  singing  master  was 
her  father,  but  she  sang  a  great  deal  with  Mar- 
chesi,  Viganoni,  and  Cimador,  at  that  time.  In 
1792,  she  married  J.  L.  Dussek,  and  soon  after 
was  celebrated  not  only  as  a  singer,  but  also  as  a 
player  on  the  haq>  and  piano-forte,  performing  | 
with  her  husband  at  all  the  oratorios,  and  at  t 
Salomon's  concerts.  She  then  sang  at  Cam-  ] 
bridge,  Oxford,  Liverjiool,  Manchester,  Dublin,  J 
and  Edinburgh  with  universal  api)lause,  and  \ 
attersvards  performed  one  season  at  the  Opera 
llovise  ;  but  finding  it  attended  with  so  much 
fatigue  and  cabal,  qxutted  the  stage,  and  became 
a  teacher  and  composer  of  music,  especially  for 
the  harp.  In  1812,  Mrs.  Dussek  married  her 
second  husband,  John  Ah-is  Moralt  ;  after 
which  time  she  resided  at  Paddington,  having 
established  there  an  academy  for  music  with 
great  success.     Sec  Coum. 

DUSSEK,  OLIVIA,  daughter  of  the  preced- 
ing, was  bom  in  London  in  1801.  Inheriting 
the  talents  of  her  parents,  she  excelled  on  the 
piano-forte  and  haq>.  She  received  her  musical 
education  from  Madame  Dussek,  and  played  on 
the  piano-forte  at  the  .Vrgyle  Rooms,  when  onlv 
eight  years  old,  having  then  only  learned  music 
one  year.  She  has  composed  some  very  pleas- 
ing ballads,  and  a  duet,  "  Rule,  Britannia,"  for 
the  harp  and  piano-forte. 

DUTCH  CONCERT.  An  expression  well 
known  among  practical  musicians.  An  aggre- 
gation of  inconsonant  melo<lie8 ;  a  concrrt  in 
which  every  man  plays  simultaneously  his  own 
tune. 

Dl"nLLIEU,    UUNE    YOMMEONI.       See 

YOMMEONI. 

DITILLIEU,  PIERRE,  was  bom  at  Lyons 
in  1765,  and  became,  in  1791,  composer  to  the 
Royal  Opera  at  Vienna,  where  he  producetl 
several  comic   operas  and  ballets,  between  the  i 

27 


DUX.  (L.)  A  leader.  The  name  formerly 
given  to  the  leading  voice  or  instrument  in  a 
fugue,  'lliat  which  followed  was  called  the  cornea. 

DYNE.  A  celebrated  English  counter  tenor 
smger.  He  sang  at  the  Ancient  Concerts  on  their 
first  establishment  in  the  year  1776. 

DYNAMICS,  (from  the  Greek  word  dtinamis, 
8ignif^■ing  poicer,)  is  the  doctrine  of  whatsoev- 
er relates  to  the  strength  of  sounds.  He  is  mas- 
ter of  the  dynamics  of  music  who  knows  how  to 
give  to  each  and  every  sound  that  power  which 
the  subject  requires,  including  the  soft  and  loud, 
the  swell  and  diminish,  the  abrupt  and  gentle, 
and  every  other  possible  variety.  The  contrast 
and  great  variety  in  this  department  is  very  rich, 
and  never  fails  to  please  the  most  uncultivated  ear, 
when  pro]ierly  applie<l.  Loud  sounds  are  con- 
necte<l  with  ideas  of  power  and  majesty  ;  and  soft 
sounds  are  expressive  of  gentleness  and  delicacy. 

There  are  live  principal  dynamic  degrees,  tech- 
nicaUv  termed  pianissimo,  piano,  mezzj>,  forte,  and 
fortissimo.  Those  produced  by  a  careful  exertion 
of  the  vocal  organs,  yet  distinctly,  and  sulHcient- 
Iv  loud  to  be  audible,  are  calletl/«rt;imi»(o.  I'hose 
l)roduce<l  by  home  restraint  of  the  vocal  organs 
are  called  piano.  Those  produce<l  by  the  ordi- 
nary exertions  of  the  vocal  organs  are  calle<l 
mezzo.  Those  produced  by  a  full  exertion  of  the 
vocal  organs  are  called  forte.  Those  produced 
bv  the  greatest  possible  exertion  of  the  vocal  or- 
gans, but  not  so  loud  as  to  degcnenite  into  a 
scream,  are  calle<l/(>rt».sjimo.  These  several  terms, 
when  introduced  into  mtisic,  are  generally  ab- 
bre\natetl ;  as  PP.  for  pianissimo,  P.  for  piano,  M 
for  mezzo,  F.  for  forte,  and  FF.  for  fortissimo 
They  are  Italian  terms,  but  used  by  all  nations 
The  following  diagram  will  illustrate  the  fiv< 
dynamic  degrees  : 


•     •      O     <«^ 


There  are  six  dynamic  tones  :  1.  Hie  organ  tone, 
thus :  ^^^  which  is  commenced,  continued, 
and  ende<l  with  an  e<iual  degree  of  power.  2. 
Tlie  crescendo,  thus  :  -C!I  wliich  coramcncct 

soft  and  gradually  increases  to  loud.  3.  The 
diminuendo,  thus  :  ];:==—  which  commences  loud 
and  gradually  decreases  to  soft.  4.  The  iirtll, 
which  is  a  union,  thua :  :::Ci^r~i      of  the 

1 


DYN 


EXCYCLOr.EDIA    OF    MUSIC. 


DYN 


crescendo  and  dimiuueiido,  and  which  is  in 
one  bonse  niipHcable  to  all  music.  There  is 
Koraethin;^  of  it  upon  every  note  played,  and 
every  syllable  sving ;  and  it  Ls  numbered  among 
the  most  refined  and  deUcate  beauties  of  melody. 
5-  The  pressure  tone,  <  wliich  Ls  a  very  sudden 
crescendo  :  6.  The  ejrplosive  tone,  which  is  an 
uistantnneous  diminuendo,  thus :  > 

In  explaining  or  practising  the  explosive  tone, 
the  jnipil  should  select  some  syllable  commencing 
with  n  consonant,  and  aspirate  the  first  letter  with 
great  power.     The  following  example  shows  the 


characters  which  are  used  to  express  the  dynamic 
tones :  


OrcMi.  CrMMBtlo.     Dii&iiiuetulA.     bwcli.       Wcuun.    Bxpldglr*. 

Tlie  character  used  for  the  organ  tone  is  generally 
omitted  in  all  music  ;  and  the  words  crescendo  and 
diminuendo  are  frequently  abbreviated ;  as,  cres.  for 
crescendo,  and  dim.  for  diminttendo.  The  proper 
application  of  dynamic  degrees  and  tones  con- 
stitutes the  b«auty  of  musical  expression. 


279 


liXCYCLOPiEDIA    OF    MUSIC. 


EAH 


E. 


E.    This  letter  is  the  nominal  of  the  mediant 
or  third  note  in  the  natural  scale,  thus  :  — 


i 


m 


E,  or,  before  a  vowel,  E<l,  the  Italian  conjunc- 
tion, signiiVing  and;  as,  Violino  e  Flauto,  violin 
and  flute. 

EAGER,  JOHN,  was  born  in  1782,  in  the  city 
of  Norwich,  ivhcre  his  father  had  obtained  some 
degree  of  reputation  as  a  manufacturer  of  musical 
instruments,  and  in  organ  building.  Eager  com- 
menced his  studies  under  the  patronage  of  the 
Duke  of  Dorset ;  but  the  death  of  his  master  left 
him  without  means.  This  was  the  more  unfor- 
tunate, since,  from  a  natural  vivacity  and  bold- 
ness of  disposition,  he  had  unconsciously  created 
a  number  of  enemies  in  the  family,  so  that  he 
was  soon  thrown  upon  the  world  again,  with  no 
resources  but  his  talents.  At  the  age  of  eighteen 
lie  married  a  young  lady  at  Yarmouth,  with  some 
dowry,  which  he  soon  exhausted.  Renewed  in- 
dustry as  a  music  teacher  soon  placed  him  above 
dependence  agiiiu  ;  and  he  has  sines  been  chietly 
known  as  an  active  defender  of  Logicr's  system 
of  instruction.  The  opposition  he  encountered 
on  tliis  occa.sion  would  have  overwhelmed  almost 
any  other  man  ;  he  was  attacked,  ridiculed,  and 
abused  by  the  county  newspapers  and  various 
pamphlets,  which  were  written  purposely  to  an- 
noy him  ;  but  he  steadily  supported  the  cause  he 
had  undertaken,  and  replied  to  the  abuse  and  in- 
vectives levelled  against  liim  by  publicly  challen- 
ging his  accusers  to  an  examination  of  pupils  in- 
structed by  himself  and  Logier,  as  to  their 
knowledije  of  theory  and  fundamental  principles 
of  harmony,  the  residt  of  which  may  be  found  in 
a  pamphlet  published  by  him  on  the  occB.sion. 
Logier,  indeed,  has  been  often  heard  to  declare 
that  Eager  was  not  only  the  boldest  and  most  en- 
thusiastic champion  and  advocate  of  his  system, 
but  also  had  a  more  perfect  knowledge  of  it  tlian 
almost  any  other  individual.  As  a  composer.  Ea- 
ger is  not  known  to  tlie  musical  worhl ;  his  occu- 
pations having  ever  been  too  numerous  to  allow 
him  to  attend  to  original  composition.  There  is, 
however,  a  "  Concerto  for  the  Piano-forte,"  which 
he  published,  dedicated  to  the  Duchess  of  Dorset, 
and  a  "  Collection  of  Songs,"  composed  by  him, 
dedicated  to  Lady  13eddingtield,  which  have  been 
much  admired. 


EAR.  The  car  is  a  mechanical  structure  for 
conveying  undulations  of  the  air  to  the  nerves 
and  brain.  The  external  cartilage  collects  the 
sound  into  the  concha,  at  the  bottom  of  which  is 
the  tympanum,  like  the  skin  of  a  drum  ;  and  be- 
neath the  tympanum  Ls  a  cavity,  terminated  by  a 

35  273 


tube ;  and  farthet  on  are  several  winding  pas. 
sages,  filled  with  a  watery  fluid,  in  which  th« 
nerves  are  situated.  The  ear  is  usually  divided 
into  the  external  and  infernal  parts.  The  external 
part  of  the  organ  is  called  the  auricula.  It  consists 
of  a  fibrous  cartilage,  clastic  and  pliable.  On  the 
projecting  or  external  part  are  certain  muscular 
fibres  ;  and  it  receives  several  ncr\'es  and  vessels 
from  the  head  and  body,  which  render  it  very 
sensitive,  and  cause  it  easily  to  become  red.  The 
auditory  passage  extends  from  the  exterior  or 
front  opening  of  the  ear  to  the  membrane  of  the 
tympanum  ;  it  is  not  so  wide  in  tlio  middle  as  at 
the  ends,  and  it  prcsent-s  a  slight  curve  above  and 
in  front.  The  cavity  of  the  tpnpanum  is  full  of 
air,  for  air  is  essential  to  hearing  as  well  as 
breathing.  Hearing  presupposes  motion,  and 
motion  produces  excitability  or  sensation,  which 
we  call  sound.  There  is  nothing  in  nature  that 
arouses  ovir  attention  or  imjjresses  our  feelings 
more  quickly  than  a  sound,  and  there  is  no  doul)t 
that  the  ear  is  an  instrument  of  the  pulsatile  or- 
der, in  action  similar  to  that  of  a  drum.  It  has 
been  ingeniously  supposed  that  the  small  bone 
termed  the  mallet,  which  falls  upon  the  tympa- 
nimi,  may  be  compared  to  the  dampers  on  the 
piano-forte,  from  the  action  of  which  we  probably 
derive  our  ideas  of  loud  and  soft,  as  this  ma- 
chinery may  have  effect  in  extinguishing  loud 
sounds  and  keeping  up  weak  ones. 

'Ilie  word  ear,  as  figuratively  used  by  musi- 
cians, implies  that  sensitive,  clear,  and  true  per- 
ception of  musical  sounds  by  which  we  are  of- 
fended at  dissonance  and  pleased  with  harmony. 
To  have  an  ear  is  to  be  capable  of  distinguishing 
the  true  intonation  from  the  false  ;  to  be  sensible 
of  metrical  precision,  and  to  feel  all  the  nicer 
changes  of  artificial  combination. 

'llie  formation  of  the  tnusical  car  depends  on 
early  impressions.  Infants  who  arc  placed  within 
the  constant  hearing  of  musical  .sounils  soon 
learn  to  appreciate  them,  and  nurses  have  the 
merit  of  giving  the  first  lessons  in  melody,  llie 
musical  percei)tions  of  every  person  are  capable 
of  being  very  much  extended  and  strengthened. 
At  first  we  are  apt  to  cling  with  most  pleasure  to 
the  simplest  relations  of  notes,  because  they  do 
not  perj)lex  or  overtask  the  musical  facidty.  '  As 
the  ear  becomes  exercised,  and  as  we  grow  fa- 
miliar with  varied  musical  combinations,  we  bo- 
gin  to  perceive  the  beauty  of  more  remote  rela- 
tions and  flic  connection  of  more  distant  parts, 
llie  order  and  the  purpose  of  what  originally  had 
only  the  effect  of  confusing  and  stupetying  be- 
comes apparent.  At  the  same  time  it  must  1)« 
admitted  that  in  order  to  understand  some  pieces 
completely,  and  perceive  the  puqiosp  of  them,  it 
is  necessary  to  have  not  only  a  good  car.  but  abso 
a  knowledge  of  the  principles  of  music.  ITio 
old  notion,  that  a  favoretl  few  only  can  sing,  ia 
becoming  obsolete  ;  and,  since  all  can  lonni,  if 
taken  young,  it  is  at  once  perccivetl  to  !>«  impor- 
tant that  youth  should  enjoy  instruction  in  ciu- 
sic  as  well  as  in  other  branches  of  a  comiKor 


EAR 


ENCYCLOPEDIA    OF    MUSIC. 


EBB 


education,  ns  they  will  evidently  feel  the  need  of 
musical  knowled'^e  hereafter  in  their  varied  social 
relations,  as  often  as  that  of  arithmetic,  for  in- 
stance, especially  beyond  the  first  four  rules.  In 
fact,  when  musical  education  shall  become  gen- 
eral, it  will  be  found  that  it  will  a  hundred  times 
come  in  use  where  a  knowledge  of  the  rule  of 
'hrcc  will  be  used  once.  No  question  oftener 
irises,  on  eurveying  the  auditory  apparatus,  than 
this,  viz. :  Why  has  one  person  an  ear  for  music, 
ivhen  another,  whose  internal  organ  is  as  beauti- 
■rully  and  nicely  constructed,  is  totally  unable  to 
appreciate  harmonious  sounds  ■  The  difficulty, 
probably,  is  in  the  peculiar  development  of  some 
jjortion  of  the  brain,  and  therefore  does  not  arise 
in  conse([uence  of  a  defect  in  the  original  con- 
formation of  the  ear.  It  obviously  requires  as 
delicate  auricular  perception  to  appreciate  and 
imitate  articulate  sounds  as  it  does  to  sing  iu  con- 
cert. It  is  by  no  means  uncommon  for  an  indi- 
vidual to  cultivate  the  highest  departments  of 
instrumental  music,  and  at  the  same  time  be 
wholly  unable  to  sing.  This  is  entirely  owing  to 
some  defect  of  the  vocal  organs.  A  perfect  or- 
ganization of  both  in  the  same  individual,  united 
to  that  inscrutable  condition  of  the  brain  which 
gives  the  taste  for  music,  constitutes  the  high- 
est gift  of  performers,  such  as  Handel,  Mozart, 
Beethoven,-  Mm.  Catalani,  Garcia,  the  wonderful 
Paganini,  and  a  few  others,  have  exhibited  to  the 
highest  degree  of  human  perfection.  Another 
circumstance  in  relation  to  the  musical  ear  is  the 
following  :  Some  persons  have  the  ear  as  well  as 
the  taste  for  music,  and  yet  find  it  impossible  to 
accompany  others  in  a  performance.  This  arises, 
probably,  in  most  cases,  in  consequence  of  a  non- 
agreement  in  the  tension  of  the  drumheads  of  the 
two  ears,  or  a  want  of  correspondence  in  the  cal- 
ibre of  the  internal  tubes  ;  hence  one  ear  per- 
ceives sounds  to  be  half  a  tone  above  or  below 
the  other.  The  same  occurs  iu  respect  to  the  fo- 
cal distance,  oftentimes,  of  the  eyes.  Time  rarely 
corrects  the  former,  though  in  the  latter  it  finally 
modifies  the  aberration.  Philosophers  of  an- 
tiquity were  more  conversant  with  the  doctrine 
of  sounds  than  the  modern.  The  remarkable 
cavern,  hewn  in  a  solid  rock  by  a  celebrated  ty- 
rant, and  called  Dionysitis  s  Ear,  is  said  to  have 
been  an  e.^act  model  of  the  windings  ot  the  hu- 
man eiir.  Vitruvius  gives  an  interesting  account 
of  the  manner  in  which  the  Greeks  contrived  to 
augment  the  compass  of  the  voice  in  theatres,  by 
placing  large  metal  vases  in  diiferent  parts  of 
those  edifices. 

EARSDEN,  JOHN.  An  EngUsh  musician  at 
the  commencement  of  the  seventeenth  century, 
who,  together  with  George  Mason,  wrote  the  mu- 
sic of  a  small  opera,  which  was  subscfiuently 
p  iblishcd  under  the  following  title  :  "  llie  Ajtcs 
that  were  sung  and  played  at  Brougham  Csistle 
in  Westmoreland,  in  the  King's  Entertainment, 
given  by  the  Right  Honourable  the  Earle  of  Cum- 
berland, and  his  right  noble  Sonne,  the  Lord 
ClilFord,"  London,  1618. 

EASTCOIT,  RICHARD.  Author  of  a  work 
entitled  "  .^ketches  of  the  Origin,  Progress,  and 
Effects  of  Music,  with  an  Account  of  the  ancient 
Bards  and  Minstrels,"  London,  1793. 

EA.STERN  MU.SIC.  In  some  parts  of  Asia 
they  use  very  curious  muiiicid  iustriimcuts ;  some 


made  of  iron  and  beat  with  a  stick  ;  some  in  the 
shape  of  a  fish,  made  of  wood,  hollow,  and  mount- 
ed on  a  stand,  where  it  is  ])layed  by  striking  on  it 
with  a  stick.  .Some  of  the  North  American  In- 
dians dance  to  the  music  of  a  kind  of  wooden 
drum,  singing  at  the  same  time.  It  Ls  evident 
from  a  good  many  proofs,  that  masic  came  from 
the  East.  The  finger  board  of  the  EomI,  Ara- 
bian guitar,  is  divided  according  to  the  Arabian 
gamut,  and  produces  intervals  which  in  our 
system  do  not  c.vist  at  all.  The  Arabs  divide 
their  octave  into  twenty-four  intervals,  while  wo 
have  only  twelve  for  the  same  space,  and  our  ears 
cannot  conceive  such  nice  and  acute  variations  of 
sound.  In  the  heart  of  Asia  we  find,  even  now, 
a  kind  of  mu;-iic,  which,  to  our  ears,  seems  but  a 
combination  of  discordant  sounds,  but  which,  to 
the  less  refined  but  more  accurate  ears  of  the  na- 
tive, possesses  every  requisite  of  a  good  melody. 

EBDON.  An  English  composer  of  sacred  mu- 
sic and  glees,  also  of  some  sonatas,  pre\'iously  to 
the  year  1797. 

EBELL,  HEINRICH  CAUL,  court  secre- 
tary at  Breslau  in  1810,  has  composed  an  opera 
for  the  theatre  of  that  town,  entitled  "  Anacreou 
in  Ionia."  He  has  also  published  some  other 
vocal  music. 

EBERL,  ANTOINE.  A  celebrated  pianist  and 
composer,  born  at  Vienna  in  1765.  His  talent 
for  music  showed  itself  at  a  very  early  age,  and, 
like  Mozart  and  many  other  great  musicians,  he 
performed  in  public  on  his  instrument  in  early 
childhood.  He  commenced  composition  at  about 
the  age  of  sixteen,  and  soon  after  went  to  Peters- 
burg, where  he  was  patronized  by  the  court.  In 
1801,  he  returned  to  Vienna,  since  which  time  he 
has  published  much  vocal  and  instrumental  mu- 
sic there.  Eberl  died  at  Vienna,  in  1807,  in  the 
forty-second  year  of  his  age. 

EBERLE,  JOHANN  JOSEPH,  a  composer 
of  songs  and  light  piano-forte  music,  died  at 
Prague  in  1772. 

EBERLIN.  DANIEL.  A  celebrated  amateur 
violinist,  and  composer  for  his  instrument.  Some 
of  his  music  was  published  at  Nuremburg  in 
1675. 

EBERLIN;  JOHANN  ERNST.  A  celebrated 
organist,  born  at  Jettenbach,  in  .Suabia,  about 
1757.  He  was  at  first  court  organist  at  Salzburg, 
and  then  cha])el-master  to  the  archbishop.  His 
style  was  original,  his  manner  large  and  learned. 
He  left  a  prodigious  number  of  comjjositions  of 
all  kinds  in  manuscript,  but  only  published  nine 
sonatas  and  fugues  for  the  organ.  This  remark- 
able work  piussed  through  many  editions,  and  wan 
inserted  bj-  Clcmenti  in  his  collection  of  organ 
music. 

EBERS,  CARL  FRIEDRICH,  chamber  mu- 
sician to  the  Duke  of  Mecklenburg-Strelitz,  waa 
born  at  Cassel  iji  1772.  He  was  etlucated  for 
another  profession  ;  but  his  taste  for  music  was  so 
predominant,  that  he  engaged  him-^elf  in  early 
life  as  chef-d'orchcstrc  to  a  strolling  company  of 
players.  "  He  subsequently  settled  at  New  Stre 
lit/.,  where  he  was  engaged  as  musician  to  the 
court,  and,  since  the  year  1796,  has  composed 
many  dramatic  pieces  for  the  theatre  of  tliat  town, 
also  much  instrumental  muidc. 


274 


EBE 


ENCYCLOPEDIA    OF    MUSIC. 


ECK 


EUIRWEIX,  MAXBIILIAN.  A  Gormnn 
noliiii'^t  and  composer,  bom  at  Weimar  in  1775. 
After  visiting  Italy,  and  some  of  the  principal 
towns  of  Germany,  he  composed  some  dramatic 
pieces  »nd  other  music,  published  at  Leipsic.  He 
died  at  Uudolstadt  in  1831.  Full  of  enthusiasm 
for  his  art,  he  was  remarkable  for  the  niuuber 
and  originality  of  his  productions. 

EBXER,  marstro  di  capella  to  Frederic  III., 
publLshed  an  air  with  tliirty-six  variations,  said  to 
have  been  ■written  by  the  emperor,  in  Itioo. 

ECBOLE.  A  term  in  the  ancient  (Jreck  music, 
signifying  a  change  in  the  enharmonic  genus,  by 
the  accidental  elevation  of  a  chord,  or  string,  five 
dieses  above  its  ordinary  pitch. 

EO.'IIEIA.  The  harmonic  vases  XLsed  by  the 
Grei-KS  and  llomans,  in  their  theatres,  for  the  pur- 
pose of  augmenting  the  sound  of  the  voices  of 
the  actors.  These  vessels  were  tuned  in  the  liar- 
monical  proportions  of  fourths,  tilths,  and  eighths, 
with  their  replicates,  and  were  placed  in  cells,  or 
niches,  between  the  seats  of  the  spectators. 

ECCLES,  JOHX,  was  the  son  of  Solomon 
Eccles,  a  professor  of  the  violin,  and  the  author 
of  suniiry  grounds  with  divisions  thereon,  pub- 
lished in  the  second  part  of  the  "  Division  Violin," 
printed  at  London,  in  KiO:}.  John  Eccles  was 
instructed  by  his  father  in  music,  and  became  a 
composer,  for  the  theatre,  of  act  tunes,  dance  tunes, 
and  siu'h  incidental  songs  as  frequently  occur  in 
the  modern  comedies,  a  collection  whereof  was 
published,  and  dedicated  to  Queen  Anne.  He 
composed  the  music  to  a  tragedy,  entitled  "  Ri- 
naldo  and  Armida,"  written  by  Dennis,  and  "per- 
formed ill  1699,  in  which  is  a  song  for  a  single 
voice,  "The  joUy  breeze,"  which,  for  the  florid 
divisions  in  it,  was  by  many  greatly  admired. 
Eccles  likewise  set  to  music  an  "  Ode  for  St.  Ce- 
cilia's Day,"  wTittcn  by  Congrcve,  and  performed 
on  the  anniversary  festival  of  that  saint,  in  1701. 
He  also  composed  music  for  Congreve's  masque, 
entitled  "  ITie  Judgment  of  Paris."  About  the 
yesir  1698,  Eccles  was  appointed  master  of  the 
queen's  band ;  but  in  the  latter  part  of  his  life, 
he  was  known  to  the  musical  world  only  by  the 
New  Year  and  Birthday  Odes,  wliich  it  was  part 
of  his  duty  to  compose.  Eccles  is  chietly  remem- 
bered from  being  the  author  of  the  duets,  "  Fill, 
fill  all  your  glasses,"  and  "  Wine  does  wonders." 

ECCLES,  HENRY,  younger  brother  to  the 
preceding,  was  a  ■^noliuLst  in  the  chapel  of  the 
King  of  France,  and  published  some  music  for  his 
nstrumfint  «t  Paris  in  1720. 

ECCLE=  SOLOMON.  An  English  violinist 
and  compviser  of  rare  musical  ability,  who,  in  the 
zenith  of  his  fame,  turned  Quaker,  and  destroyed 
all  his  instruments  and  music.     He  died  in  1673. 

ECCLESIASTICAL.  An  epithet  appUe<l  to 
all  compositions  written  for  the  church,  but 
more  particularly  to  anthems,  ser\-ices,  mas,ses, 
and  other  cathedral  music. 

ECCLESIASTICAL    MODES,    or    TONES. 
See  Modes. 
ECHELLE.    (F.)    The  scale  or  gamut. 

ECHO.  The  word  echo  is  frequently  found  in 
church  voluntaries,  over  those  pas-sages  of  repe- 
ti*'on  which  are  performed  on  the  jitvW,  and  in- 
tei  ded  as  echoes  to  the  great  organ.     The  word 


was  formerly  U80<1  in  various  species  of  composi- 
tion,  and  bore  the  sense  of  dolce,  or  piaiut,  signify- 
ing that  the  passage  over  which  it  was  placed 
should  be  performed  with  the  sweetness  or  soft- 
ness of  an  i-cho.  At  Milan  there  is  said  to  bo  an 
echo  which  reiterates  the  report  of  a  pistol  fifty- 
six  times,  and  il'  the  report  bo  exceedingly  loud, 
the  reiteration  will  exceed  that  number.  The 
celebrated  echo  at  WooiLstock,  in  Oxfordshire, 
England,  repeats  the  same  sound  filly  times.  But 
the  most  singular  echo  hitherto  sjioken  of  Ls  that 
near  Rosncath,  a  few  miles  from  Glasgow,  Scot- 
land ;  if  a  person,  placed  at  a  proper  distance  from 
this  echo,  plays  eight  or  ten  notes  of  a  tune  with 
a  trumpet,  they  are  correctly  repeated  by  the 
echo,  but  a  third  lower ;  after  a  short  pause,  an- 
other repetition  is  heard,  in  a  lower  tone ;  and 
then,  alter  another  interval,  a  third  repetition 
follows  in  a  still  lower  tone. 

••  Shp  wai  ft  nymph,  thoneh  only  now  a  ioiind  i 

Vvt  of  lUT  tMlltflU'  no  i.lhlT  II***  W;W  foiin.l 

Thin  now  •In-  hn<:  whi-'h  nrv.T  c  oiM  he  mor« 
lltan  to  repeat  whut  she  hail  heiuJ  hetorc'* 

In  the  whole  hemisphere  of  sounds,  there  Ls  no 
circumstance  more  strikingly  curious  than  that 
of  an  echo.  To  hear  one's  own  voice  returned, 
as  if  it  were  the  voice  of  another,  is  perhaps  more 
surprising  than  the  reflection  of  one's  self  in  a 
glass.  Echoes  are  produced  by  the  voice  falling 
upon  a  roHccting  body,  as  a  house,  a  hill,  or  a 
wood.  One  of  the  most  perfect  the  writer  ever 
heard  he  met  with  at  a  little  pond  near  the 
White  Mountains  of  his  native  state.  New  Hamp- 
shire. Words  and  whole  sentences  are  here  dis- 
tinctly repeated  three  times.  On  firing  a  cannon 
at  the  head  of  this  little  pond,  which  was  chris- 
tened Echo  Lake,  the  report  is  so  bandied  about 
from  mountain  to  mountain,  as  to  produce  an 
effect  like  thunder,  which  continues  for  a  time, 
expiring  in  the  distance  with  a  noise  not  louder 
than  a  whisper. 

ECHOMETER.  A  graduated  scale  for  meaa- 
uring  the  duration  of  sounds,  and  determining 
their  different  powers,  and  the  relations  of  theil 
interrals. 

ECK,  JOHANN  FRIEDIUCH,  was  bom  at 
Manheim,  in  1766.  He  was  a  celebrated  violinist 
and  composer  for  his  instrument.  In  1802,  he 
resided  at  Nancy. 

ECKART,  or  ECKARD,  JOHANX  GOT- 
FRIEI),  was  a  native  of  Germany,  but  he  re-ided 
upwards  of  fifty  years  in  Paris.  His  com'>osi- 
tioiis  are  principally  for  the  harpsichord  ;  »nd, 
although  they  afford  great  proofs  of  skill  anJ.  a 
thorough  knowledge  of  the  instnunent,  are  Irat 
little  known.  'I'he  writer  of  an  account  of  thi.* 
musician,  in  Recs's  Encyclojiicdia,  states,  that  in 
his  compositions  there  is  an  elegance  of  style 
built  uj)on  such  sound  jirinciples  of  hannony  and 
modulation  as  few  have  surjiassed ;  and  that,  in 
particular,  his  variations  to  the  minuet  D' Exati- 
dit,  or  Marshal  Saxe's  minuet,  are  in  the  highest 
degree  ingenious,  elegant,  and  fanciful.  Eckart 
died  at  Paris,  in  1809,  ageid  seventy-five  years. 

ECKERSBERCJ,  JOH.  WILT.,  organist  at 
Dresden  in  1783,  pubhshed  some  collections  ol 
songs  there. 

ECKER'F,  CARL  A.  F.,  a  Ulonted  young  com. 
poser,  conductor,  and  pianist,  was  bom  at  Pots- 
dam, in  Prussia,  on  the  7th  December  1320.     Hia 


ECK 


EXCYCLOP^DIA    OF    MUSIC. 


EGY 


father  was  a  mUitary  officer.  lie  firHt  performed  in 
nuhlic  and  in  a  naaimcr  that  ^avc  high  proraLse,  in 
Jierlin  in  1832.  Uuiin;enhaj;i'n  was  at  that  time 
hLs  teacher.  He  has  since  dL-.tinf;uiNhcd  himself  by 
t)ie  composition  of  an  opera,  "  Wiliium  of  Orange," 
and  as  conductor  with  Ferdinand  Ilillcr,  oi  the 
operas  at  the  Thi&trc  Italien  in  Paris.  In  the 
summer  of  18.-52  lie  .eft  this  situation,  and  accom- 
panied Mme.  Sontag  to  America,  as  conductor  of 
her  concert  and  operatic  iierformances. 

ECKIIARDT,  C.  F.  An  amateur  pianist  and 
comjioser  for  his  instrument,  residing  in  Suabia. 
Since  the  year  1798,  several  of  his  works  have 
been  published  at  Offenbach. 

ECLOGUE.  A  pastoral  poem.  The  word  is 
of  Greek  origin,  and  ai)plied  by  Virgil  to  hLs  pas- 
torals. 

ECOI.  The  name  applied  by  the  modem 
Greeks  to  the  tropes,  or  modes,  which  they  sing 
in  their  churches  during  passion  week. 

ECOLE.  (F.)  A  school  or  course  of  instruc- 
tion. 

ECOSSAIS,  or  ECOSSAISE.  (F.)  A  dance, 
tune,  or  air,  in  the  Scotch  style. 

EDEL,  GEORGE.  An  instrumental  compo;-er 
at  Vienna.  His  works  are  dated  from  the  vear 
1798. 

EDELMAXN,  JOHANN  FRIEDRICII,  was 
H  native  of  Strasburg,  and  born  in  the  year  1749. 
He  resided  for  several  years  as  a  teacher  of  music, 
but  principally  of  the  harpsichord,  at  Brussels. 
Previously  to  the  breaking  out  of  the  French 
revolution,  he  had,  however,  been  induced  to  set- 
tle in  Paris.  During  the  time  of  Robespierre, 
though  usually  considered  an  innoxious  and  well- 
disposed  man,  he  became  involved  in  the  dread- 
ful calamities  of  that  ill-fated  country,  and  suf- 
fered under  the  guillotine  at  Strasburg. 

EDER,  CHARLES  GASPARD,  was  bom  iii 
Bavaria  in  1751.  He  was  a  celebrated  violon- 
cellist, and  has  composed  much  instrumental  mu- 
sic, which  has  been  published  in  various  towns 
of  Germany. 

E  DUR.     (G.)    E  major. 

EDWARDS,  RICHARD.  An  English  com- 
poser and  poet,  born  in  Somersetshire  in  1.523. 
lie  was  musician  to  Henry  \UI.  and  Elizabeth, 
and  died  in  1561. 

EFFECT.  That  impression  which  a  composi- 
tion makes  on  the  car  and  mind  in  performance. 
To  produce  a  good  effect,  real  genius,  profound 
science,  and  a  cultivated  judgment  are  indi-'pcn- 
sable  reiiuisites.  So  much  does  th«  true  value  of 
all  music  depend  on  its  effect,  that  it  is  to  this 
quality  every  candidate  for  fame  as  a  musical  au- 
thor should  unceasingly  attend,  llie  most  gen- 
eral mistake  of  composers,  in  their  pursuit  of  this 
great  object,  is  the  being  more  solicitous  to  load 
their  scores  with  numerous  parts  and  powerful 
combinations,  than  to  produce  originality,  purity, 
and  sweetness  of  melody,  and  to  enrich  and  ^en- 
force their  ideas  by  that  happy  contrast  of  instru- 
mental tones,  and  timely  relief  of  fulness  and 
tenuity,  which  give  light  and  shade  to  the  whole, 
fcnd,  by  tlicir  pictures(iue  impression,  delight  the 
tar  and  interest  the  feelings. 


E  FLAT.  The  minor  seventh  of  F,  and  the 
second  flat  introduced  in  modulatmg  by  fourthi 
from  the  natural  diatonic  mode. 

EGLISE.  (F.)  Church  ;  as,  mtwiyite  <f^^/i»«i 
church  music. 

EGLI,  JOIIAXN  FRIEDRICH,  a  Swiss  mu. 
sician,  was  born  in  1712,  in  the  canton  of  Zurich, 
at  the  town  of  Zurich,  a)id  has  published  a  great 
variety  of  church  and  other  vocal  music. 

EGUALMENTE.     (I.)    Equably. 

EGYPTIAN  FLUTE.  The  Egyptian  flut« 
was  only  a  cow's  horn,  with  three  or  four  holes 
in  it. 

EGYPTIAN  HARP,  TIMBREL,  AND  SIS- 
TRUM.  After  Noah  left  the  ark  we  find  he 
built  an  altar  and  returned  thanks  to  God,  after 
the  manner  of  the  children  of  Seth  ;  and  in  the 
thirty-first  chapter  of  Genesis,  twenty-seventh 
verse,  we  find  that  Laban,  ha^^ng  overtaken  the 
fugitive  Jacob  on  the  mountains  of  Gilead,  says 
to  him,  "  ^\^lerefore  didst  thou  flee  away  secret- 
ly, and  steal  away  from  me,  and  didst  not  tell 
mc,  that  I  might  have  sent  thee  away  with  mirth 
and  with  songs,  \\-ith  tabret  and  harp  ?"  This 
proves  that  the  discoveries  of  Jubal  were  pre- 
served by  the  descendants  of  Noah ;  and  also 
that  instruments  of  wind,  strings,  and  percussion 
were  then  in  use.  After  the  miraculous  escape 
of  Moses  through  the  Red  Sea,  the  Hebrews 
break  out  in  a  song  of  praise  and  thanksgi\-ing 
to  the  Lord,  which  song  was  accompanied  by 
Miriam,  the  sister  of  Aaron,  together  with  all  the 
women ;  and  Miriam  the  prophetess,  the  sister 
of  Aaron,  took  a  timbrel  in  her  hand,  and  all  the 
women  went  out  with  her,  with  timbrels  and 
with  dances,  and  Miriam  answered  them,  saying, 
"  Sing  ye  to  the  Lord,"  &c.,  and  is  an  early  in- 
stance of  women  being  permitted  to  bear  a  part 
in  the  performance  of  religious  rites,  as  well  as 
of  vocal  music  being  accompanied  by  instrument- 
al, and  by  dancing.  The  instruments  with  which 
these  songs  were  accompanied  are  decided,  by  all 
the  ancient  authorities,  to  have  been  the  ancient 
cymbal,  made  exactly  like  our  modern  t.ambou- 
rine,  but  the  name  timbrel  was  applietl  to  all 
kincls  of  instruments  of  percussion.  Now,  ai 
Miriam  was  an  Egj-jitian,  and  just  escaped  from 
the  country  where  she  had  been  ediicated,  it  it 
natural  to  suppose  that  the  dance  used  now,  and 
eL^tablished  afterwards  by  the  Hebrews  in  the  cel- 
ebration of  religious  rites,  was  but  the  continua- 
tion of  an  Egyptian  custom.  After  the  death  of 
Saul,  there  appears  to  be  little  doubt  that  the  hTS 
was  greatly  improved,  and  many  strings  added  to 
it,  for  we  tind  it  used  with  six,  eight,  ten,  but  uol 
exceeding  twelve  or  fifteen  in  nmnbcr ;  and  men- 
tion is  made  that  David,  returning  from  the  con- 
quest of  Goliah,  met  the  women  of  the  Hebrew 
citv  singing  and  dancing  with  timbrels  and  sis- 
triims,  which  latter  instrument  l)clonged  to  the 
Egyptians,  and  consisted  of  a  bar  of  metal  formed 
into  an  oval,  and  terminating  in  a  handle ;  this 
handle  was  on  a  line  wifli  some  small  pieces  of 
iron,  bent  a  little  at  both  ends,  and  extending 
from  one  side  of  the  oval  to  the  other,  and  these 
being  struck  with  a  small  metal  stick,  produced 
various  sounds.  Bruce  says,  "  In  Abyssinia  it 
is  ased  in  the  quick  measure,  or  in  allegros.  In 
singing  psalms  of  thanksgiving,  each  priest  haa 
G 


EOT 


ENCYCLOPAEDIA    OF    MUSIC. 


EG  V 


a  sistrum,  wliich  lie  shakes  in  a  verj'  threatening  I  antlj'  said,  were  tj-pes  of  the  three  seasorw  of  tlic 


manner  at  his  neighbor,  dancing,  leajjing,  and 
turning  round,  with  such  indecent  violence  that 
he  re>erablcs  rather  a  priest  of  paganL-iiu,  from 
whence  this  instrument  was  derived,  than  a 
Christian."  The  Abyssinians  have  a  tradition 
that  the  sistrum,  IjTe,  and  tambourine  were 
brought  from  Egypt  into  Ethiopia  by  Thoth,  in 
the  very  first  ages  of  the  world. 

EG  YPTI.VX  MUSIC.  The  opinion  of  the  an- 
cients was  pretty  general  that  Pythagoras  was 
indebted  to  the  lessons  of  the  Egyptian  priests  for 
nearly  all  the  science  he  jiossessed,  and  especially 
that  of  music.  'ITiough  Diodorus  Siculus  assures 
us  that  the  Egyptians  were  not  allowed  to  culti- 
vate music,  and  that  they  considered  it  useless, 
and  even  injurious  to  society,  and  the  cause  of 
effeminacy,  yet  Plato,  who  had  visited  Eg^^)t,  ob- 
Bcn'os,  in  one  of  his  Dialogues,  that  none  but  ex- 
cellent music  was  allowed  where  the  youth  were 
assembled,  lliough  he  atbuits  others  of  their 
habits  were  bad,  he  excepts  the  mv\sic.  Strabo 
tells  us  that  the  youth  were  instructed,  at  the 
earliest  age,  in  music  ;  that  the  songs  were  fixed 
by  law,  and  that  the  sort  of  music  used  was  es- 
tablished by  the  government,  exclusive  of  every 
other  sort,  llie  (j reeks  even  attributed  the  in- 
vention of  some  of  their  musical  instruments  to 
the  Eg)7)tians,  such  as  the  triangular  lyre,  the 
single  flute,  the  drum,  and  the  sistrum.  Herodo- 
tus says  the  Dorians  were  of  Egy])tiftu  extrac- 
tion ;  and,  as  the  three  most  ancient  modes  of 
Grecian  music  were  the  Dorian,  the  Phrygian, 
and  the  I.ydian,  it  is  probable  tl;at  the  Egy])tian 
colony  that  iieojjled  that  province  carrietl  thither 
the  music  and  instruments  of  their  country. 
Like  all  other  i)rofessious  in  Egypt,  that  of  music 
was  hereditary.  A  similar  custom,  as  we  have 
above  stated,  prevailed  among  the  Jews ;  and 
Herodotus  tells  us  that  the  inhabitants  of  Lace- 
diL-monin,  who  were  Dorians,  resembled  their  an- 
cestors, tlie  Egyptians,  in  this,  that  their  musi- 
cians were  all  of  the  same  family  ;  and  that  their 
priests,  like  those  of  Egypt,  were  taught  racdi- 
cuic,  and  the  art  of  playing  upon  stringed  instru- 
ments, when  they  were  initiated  into  the  myste- 
ries of  religion.  'ITie  same  author  mentions  that, 
in  the  processions  of  OsirLs,  the  Egyptians  carried 
statues  of  the  god,  singing  his  jjraiscs,  and  were 
preceded  by  a  flute.  'ITiere  is  a  singular  proof 
of  the  antiquity  of  this  art  to  be  met  with  at 
Kome,  on  the  Guglia  Kotta,  which  Augustus 
brought  to  Rome,  being  one  of  the  largest  obe- 
Usks  that  was  removed  from  Egypt,  and  which 
was  tlirown  down  and  broken  at  tlie  sacking  of 
the  city  in  l.i'27,  by  the  Constable  of  Bourbon. 
It  is,  among  other  hieroglyphics,  the  representa- 
tion of  an  instrument  very  like  the  cr>liusv>ne,  (a 
species  of  guitar.)  still  in  use  in  Naples.  From 
the  pegs,  it  is  evident  two  strings  were  employed  ; 
and  the  length  of  the  finger  board,  if  the  strings 
were  tuned  nt  a  great  interval  from  each  otlier, 
would  uflbrd  a  very  considerable  scale  of  notes. 
ITiis  instrument  alone  proves  to  what  extent  mu- 
sic was  cultivated  in  Egypt,  and  that  its  inhabit- 
ants were  acquainted  with  the  method  of  repeat- 
ing the  scale.  Ilcnntw,  Thoth,  or  the  ancient  Mer- 
cury TrLsmegistus,  to  whom  is  ascribed  the  inven- 
tion of  writing,  astronomy,  the  religious  rites  and 
ceremonies,  has  tlie  credit,  also,  of  having  invent- 
ed the  IjTc  with  three  strings,  which,  it  is  pleas- 


year,  there  being  a  fourth  season  n  >ither  in 
Lgnit  nor  among  the  ancient  Greeks.  The  low- 
est chord,  say  they,  was  tlie  tyjje  of  winter,  tlie 
middle  one  of  spring,  and  the  highest  of  summer. 
'Hie  following,  according  to  AjJoUodorus,  was  the 
origin  of  the  invention  :  'ITie  Nile,  after  its  inun- 
dation on  one  occasion,  left,  on  retiring,  a  quan- 
tity of  dead  animaLs,  and  among  the  rest  a  tor- 
toise. ITjc  flesh  soon  perished  and  dried  up, 
from  the  heat  of  the  sun  ;  nothing  but  the  shell 
and  the  cartilages  were  left,  and,  from  their  con- 
traction, they  had  become  sonorous.  Mercury, 
strolling  on  the  banks  of  the  river,  struck  his 
foot  against  this  tortoLse  shell,  and  wai  agree- 
ably sur))rLsed  by  the  sound  it  i)roduced;  and 
this  furnished  him  with  the  first  idea  of  a  lyre. 
He  gave  his  insti'unient  tlie  general  form  of  a 
shell,  and  strung  it  with  the  dried  tendon-s  of  an- 
imaLs, resembling  the  gut  strings  of  the  i)resent 
day.  'Die  sijiglc  flute,  however,  ninnauha,  also 
invented  in  Egyjit,  seems  to  have  greater  chiimif 
to  antiijuity  than  the  lyre  itself.  It  ■wan  called 
photiiix,  or  curved  flute,  by  the  Egyptians,  its 
form  being  something  like  that  of  a  bullock's 
horn.  Apuleius,  describing  the  mysteries  of  Isis, 
tells  us  tlie  form  of  this  instrument,  as  well  as 
the  manner  in  which  it  wils  held  ;  and  all  the 
represenUitions  of  it  show  that  it  resembled  the 
bullock's  horn.  Indeed,  there  can  be  no  doubt 
that,  in  tlie  remotest  period,  the  horns  themselves 
were  made  use  of.  Put  it  is  certain  that  the 
Egyj^tians  had  instruments  much  more  suscep- 
tible of  inflection  than  those  whereof  we  have 
been  speaking ;  for,  on  the  ceilings  of  the  walls 
of  the  chambers  of  the  tomb  of  Osj-mandya«,  at 
'llicbes,  whicli  are  described  very  circumstantial- 
ly by  Diodorus,  are,  among  other  decorations, 
several  representations  of  musical  instruments  ; 
one  of  which,  from  Denon,  proves  conclusively 
that  the  harp  of  the  pre>ent  day  is,  in  general 
form,  not  very  dLssimilar  to  that  in  Egyptian  use, 
and  that  performance  upon  it  must  have  re<iuired 
considerable  skill.  Other  rciirosentations  of  harps 
occur.  One  has  been  given  by  Dr.  Bumcy. 
There  is  one  at  Ptolemais,  a  city  built  by  Ptol- 
emy Philadelphus,  with  fifteen  strings,  or  two 
complete  octaves  ;  thLs,  however,  Ls  more  trian- 
gular in  shape,  and  much  more  similar  to  the 
modern  haqj.  I'he  instruments  in  Abyssinia 
were  found  by  Mr.  Bruce  to  have  a  close  resem- 
blance to  those  of  Egypt.  The  arts  which  fiour- 
Lshed  in  this  nation  at  so  early  a  period  would, 
doubtless,  have  continued  to  do  so  under  their 
own  kings  ;  but  after  the  subjugation  of  the  na- 
tion by  Cambyses,  525  yeai-s  before  Christ,  the 
arts  and  sciences,  under  a  foreign  yoke,  dLsa])- 
peared,  or,  rather,  ceased  to  be  indii;en')us  in 
Egypt.  The  Ptolemies,  indeed,  encouraged  thcio  ; 
but  under  their  reigns  the  profisisors  of  the  art* 
were  chiefly  Gre<iaii.  The  Egyptians  had  de- 
generated from  the  knowledge  of  their  ancestor* 
whose  hieroglyphics  they  themselves  no  longer 
understood.  It  Ls  jirobable,  however,  that  mu-sio 
was  cultivatctl  under  those  princes,  for,  nt  n  feast 
of  Bacchus,  given  by  Ptolemy  Pliilndelphux, 
Athenxus  says  that  the  choir  wn.H  comi>osc<l  of 
six  hundred  musicians,  an<l  of  that  numt>er  one 
half  were  jierforraers  on  the  cithnra.  Acconling 
to  the  same  author,  under  the  seventh  Ptoleiu\ 
£g)'pt  abounded  with  mu^icinus;  and  at  that  ]H • 
nod  the  practice  of  music  was  »o  common  in  the 


277 


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ENCYCLOPEDIA    OF    MUSIC. 


EL] 


cruntn-  that  tliere  wns  not  a  peasant  or  a  laborer 
ii  the  vicinity  of  AlcxandrLi  that  ^\as  unable  to 
])  \y  on  tl'.o  lyre  and  flute.  The  father  of  Cleo- 
prtra,  wlio  was  the  lu-^t  of  the  I'tokmies,  fiom  his 
skill  on  the  flute,  took  the  title  of  Aulctes,  that 
ifi,  i)laycr  upon  the  tlute.  Strabo  says  that,  not- 
withstanding;; the  debauched  life  he  led,  he  found 
tijne  to  apply  himself  pai'ticularly  to  the  practice 
of  this  instrument.  He  thought  so  highly  of  his 
talent  in  this  rcsjiect,  that  he  established  musical 
competitions  in  his  palace,  and  himself  disputed 
the  prize  with  the  first  musicians  of  the  day. 
Such  was  the  flourishing  state  of  the  art  in 
Eg)-])t  up  to  the  time  of  Cleopatra's  misfortunes 
—  an  event  which  ends  the  history  of  the  empire, 
and  that  of  the  Eg>-])tians.  Among  the  modern 
i!gyi)tiiius  no  remains  or  traces  of  the  ancient 
state  of  the  art  are  now  to  be  found.  Still  they 
are  passionately  fond  of  music  ;  and  there  are, 
according  to  Savary,  to  be  found  among  them 
both  male  and  female  musicians  who  sing  and 
accompany  themselves.  This  author  describes 
them  as  most  successful  in  their  plaintive  music ; 
to  which,  he  says,  even  the  Turks  themselves, 
the  enemies  of  the  art,  will  pass  whole  iiights  in 
listening. 

EIBLER.     See  Eybler. 

EICHHOLZ,  FRIEDRICH  ■V^^LIIELM, 
chamber  musician  to  the  King  of  Prussia,  was 
bom  in  1720.  He  composed  some  dramatic  and 
other  music.     He  died  in  1800. 

EICHXER,  ERNEST,  was  a  German  organist 
of  considerable  eminence.  HLs  writings  con'-Lst 
chiefly  of  sonatas  and  concertos  for  the  jiiano- 
forte,  and  quartets.  AVith  respect  to  the  foi-mer. 
he  introduced  a  style  somewhat  betwLxt  that  of 
Scho))ert  and  the  music  of  the  present  day  ;  with 
less  fire,  indeed,  than  Schobert,  but  with  more 
taste  and  expression.  The  instrument  on  which 
he  himself  chiefly  excelled  was  the  bassoon. 
About  the  year  1776,  he  went  to  England  ;  but, 
owing  to  the  infinn  state  of  liis  health  during  the 
time  he  was  there,  he  seldom  played  in  public. 
Eichner  died  at  Berlin,  in  the  year  1778. 

EIDENBENZ.  A  vocal  and  instrumental 
composer  at  Stuttgard.  His  compositions  bear 
date  from  the  year  1790  to  1798.  He  died  at 
Stuttgard  in  1799,  in  the  tliirty-seventh  year  of 
his  age. 

EIGHTEENTH.  An  interval  comprising  two 
octa*  es  and  a  fourth ;  the  replicate  of  the 
«.  eventh. 

EIGHTH.  An  interval  comprehending  seven 
I  "•ujuuct  degrees,  or  eight  diatonic  sounds.     See 

<  )CTAVE. 

EINFACH,     (G.)    Simple. 

EINHEIT.     (G.)    Unity. 

EINLEITUNGSSATZ.  (G.)  An  introduc- 
tory movement. 

EINSCIINI'iT.    (G.)     A  phrase  or  imperfect 
musical  sentence. 
ELS.     (G.)     E  sharp. 

EISTEDDFOD.  (W.)  Tlie  name  of  the 
lession  ajipointcd  by  Queen  Elizabeth,  at 
Caervvys,  in  North  Wales,  tor  the  election  of 
chief  bards,  and  teachers  of  instrumental  eong. 


EKLYSIS.  By  the  term  ekli/sis,  the  ancient 
Greeks  meant  a  particular-  kind  of  tuning  in  the 
enharmonic  genus,  in  which,  from  a  certain 
sound,  the  performer  dropped  by  an  interval  of 
three  quarter  tones.  The  opposite  of  sjmiuliasm. 
Sec  that  word. 

ELA.  llie  name  originally  given  to  the 
highest  note  in  the  scale  of  Guido ;  and  since 
proverbially  applied  to  any  bj-jjerbolical  saj-ing. 

ELDING,  JOHANN.  A  celebrated  performer 
on  the  clarinet,  and  composer  for  his  iu.strument. 
He  was  bom  near  ELsenach,  in  Upper  Saxony,  in 
1754,  and  died  m  178G. 

ELECTRIC  PIANO.  Thomas  Davenport,  of 
Salisbury,  Vermont,  invented,  18-51,  the  electrica. 
piano-forte.  Mr.  D.  claims  to  have  been  the 
first  man  who  has  turned  a  wheel  by  means  of 
electro-magnetism.  He  has  succeeded  in  vibrat- 
ing musical  wu-es  by  the  same  power.  ITie  per- 
petual and  hitherto  incurable  defect  of  the  piano- 
forte is  the  impulsive  and  evanescent  nature  of 
its  tone  ;  and  though  great  improvements  have 
been  made  upon  it,  and  various  devices  have 
been  elaborated  to  prolong  its  notes  in  some  de- 
gree, yet  the  want  of  a  sustained  vibration  is  stUl 
an  inherent  want  in  that  excellent  instrument. 
The  simple  but  vastly  important  fact  of  the 
science  of  electro-magnetLsm  Ls,  that  common 
iion,  being  encircled  by  currents  of  electricity, 
becomes  instantly  and  intensely  magnetic,  and 
again  becomes  instantly  destitute  of  magnetic 
properties  on  the  suspension  of  electric  currents. 
Tlie  jjroblem  with  wliich  Mr.  Davenport  has 
grappled,  and  which  he  has  solved,  is,  first, 
whether  this  twofold  transition  can  be  perfectly 
eflec.ted  as  rapidly  as  a  musical  chord  will  vi- 
brate ;  (say,  tor  example,  five  hundred  times  in 
a  second;)  and,  secondly,  whether  tliis  rapid 
alternation  of  attraction  and  absence  of  attraction 
can  be  made  to  concur  exactly  with  the  vibra- 
tions of  the  chord,  so  as  to  sustam  those  vibra- 
tions. AVe  have  seen  a  rude  instrument,  con- 
structed under  hLs  dhections,  similar  in  fonn  to 
an  .Eolian  harp,  and  furnished  with  three  wires, 
which  continue  to  vibrate,  under  the  influence  of 
electro-magnetics,  with  a  clear  and  full  note  foi 
any  desired  length  of  time  after  the  first  impulse 
is  im])arted.     So  far,  success  is  demonstrated. 

ELEGAMENTE,  or  CON  ELEGANZA,  EL- 
EG.:VNTE.     (I.)     With  elegajice,  gracefully. 

ELEGIAC.  An  epithet  given  to  certain  pl&Ir.- 
tive  and  attecting  melodies.     See  Ei.egv. 

ELEGY.  An  elegy,  with  the  ancient  Greek 
musicians,  was  a  certain  comjjosition  for  the 
flute,  said  to  have  been  invented  by  Sacados  of 
Argos.  In  modern  times,  the  sense  of  this  word 
has  been  restricted  to  vocal  music  of  a  tender  anc" 
pathetic  kind.  By  an  elegy  we  now  mean 
simple,  mouinlul,  afi'ccting  tale,  told  in  lyric 
measure,  and  set  to  music  for  one,  two,  or  three 
voices. 

ELEMENTS.  The  elements  of  music  com- 
prise the  gamut,  rules  of  time,  simple  harmonics, 
and  all  the  first  or  constituent  principles  of  the 
science,  all  of  which  will  be  found  more  fully 
explained  under  the  various  and  ajjpropriate 
heads  in  this  Encyclopaedia. 

ELER.     A  professor  of  several  wind  Lnstru- 


278 


B  .E 


EXCYCLOP^DIA    OF    MUSIC. 


£Lj 


m  nts  at  Paris,  and  instnimeutal  composer.  His 
w«  rks  are  dated  liom  tlie  year  179G  to  1801.  lie 
hao  composed  several  operas. 

ELEVATION.  A  term  applied  to  the  pro- 
ffrension  of  the  tones  of  a  voice  or  iiistrumeut, 
t'rnm  grave  to  acute ;  also  used  to  siguiJy  the 
raising  of  the  hand,  or  toot,  in  beating  time. 

ELEVENTH.  An  interval  consisting  of  ten 
conjunct  degrees,  or  eleven  diatonic  sounds  ;  the 
octave  of  the  fourth.  It  was  long  a  dispute  with 
the  ancient  writers  on  music,  whether  the  eleventh 
was  a  concord.  Ilubald,  however,  insists  that  it 
is  among  the  consonant  intervals. 

ELFORD,  IIICIIAKD,  an  English  singer,  was 
educated  in  the  clioir  of  Lincoln,  but,  his  voice 
settling  into  a  counter  tenor,  he  was  invited  to 
1  >urhara  Cathedral,  where,  however,  he  did  not 
long  remain,  being  advised  to  go  to  London,  to 
try  his  fortune  on  the  stage.  In  1706,  his  name 
appears  in  Downes  the  prompter's  list  of  per- 
formers, in  D'Urfey"s  opera  of  "'ITie  Wonders  of 
the  Sun,  or  the  Kingdom  of  Birds."  But  hLs 
person  and  action  being  clumsy  and  awkward, 
he  quitted  the  theatre,  and  was  admittetl  as  a 
gentleman  of  the  Chapel  Royal,  as  well  as  to  the 
places  of  lay  vicar  of  St.  Paul's  and  Westminster 
Abbey.  He  had  likewLse  an  addition  of  a  hun- 
dred pounds  a  year  made  to  his  salary  in  the 
chapel,  on  account  of  the  uncommon  excellency 
of  liis  voice. 

ELINE.  A  name  given  by  the  ancient  Greeks 
to  their  song  of  the  weavers. 

ELISI,  PHILIP.  An  Italian  singer,  who  per- 
formed at  the  opera,  in  London,  in  the  years  1760 
and  1761.  Elisi,  though  a  great  singer,  was  still 
more  eminent  as  an  actor. 

ELIZABETH,  QUEEN',  was,  as  well  as  the 
rest  of  Henry  VUI.'s  children,  and,  indeed,  all 
the  princes  of  Europe  at  that  time,  instructed  in 
music  early  in  ILe.  Camden,  in  enumerating  tlie 
studies  of  his  royal  mistress,  says,  "  She  under- 
stood well  the  Latin,  French,  and  Italian  tongues, 
and  was  indifferently  well  seen  in  the  Greek. 
Neither  did  she  neglect  musicke,  so  far  forthe  as 
might  become  a  princesse,  being  able  to  sing,  and 
l)lay  on  the  lute  prettily  and  sweetly."  lliere  is 
reason  to  conclude  that  she  continued  to  divert 
herself  with  music  many  years  after  she  came  to 
the  throne.  Sir  James  >Ielvil  gives  an  account 
of  a  ciuious  conversation  which  he  had  with  this 
princetis,  to  whom  he  was  sent  on  an  embassy  by 
Mary,  (iuecn  of  .Scots,  in  1561  :  "After  her  ma- 
jesty liad  asked  him  how  liLs  queen  dressed ; 
what  was  the  colour  of  her  hair ;  whether  that, 
or  hers,  was  best ;  which  of  the  two  was  fairest ; 
and  which  of  them  was  highest  in  stature ;  then 
she  asked,  what  kind  of  exercises  she  use<l.  '  I 
answered,'  says  Melvil,  '  that  when  I  received 
my  despatch,  the  queen  was  lately  come  from  the 
Highlanil  hunting ;  that  when  her  more  serious 
ati'airs  permitted,  she  was  taken  up  with  reading 
of  histories ;  that  sometimes  she  recreated  her- 
self ^\-ith  playing  on  the  lute  and  virginals.'  She 
asked,  il'  she  played  well.  I  said,  reasonably 
well  for  a  queen.  The  same  day,  after  dinner, 
my  Lord  of  Hunsdon  drew  me  up  to  a  quiet  gal- 
lery, that  I  might  hear  some  music,  and  (but  he 
said  that  he  durst  not  avow  it)  where  I  might 
hear  the  queen  play  on  the  virginals.  After  I 
had  hearkened  a  while,  I  took  up  the  tapestry  that 


hung  before  the  door  of  the  chamber,  ant.  seeing 
the  (fueen's  back  was  toward  the  door,  I  enlcre<l 
witliin  the  chamber,  and  stood  a  pretty  sjiace, 
hearing  her  i)lay  excellently  well.  But  slie  le.t 
off  immediately,  so  soon  as  she  turned  about  and 
saw  me.  Slic  appeared  to  be  surprised  to  see  me, 
and  came  forward,  seeming  to  strike  me  with  liei 
hand,  alleging  that  she  used  not  to  jilay  bcfor* 
men,  but  wlien  she  was  solitary,  to  shun  melan- 
choly. She  asked  how  I  came  there.  I  an- 
swered, as  I  was  walking  with  my  Lord  Hunsdon, 
as  we  jiasscd  by  the  duimber  door,  I  heard  such 
a  melody  ifs  ravished  me,  whereby  1  wius  drawn 
in  ere  I  knew  how  ;  excusing  my  fault  of  home- 
liness, as  being  brouglit  uj)  in  the  court  of  France, 
whore  such  Ircedom  was  allowed ;  declaring  my- 
self willing  to  endure  what  kind  of  punisliment 
her  majesty  should  lie  pleased  to  inllict  ujjon  mo 
for  so  great  an  oHence.  Then  she  sat  down  low 
upon  a  cushion,  and  I  upon  my  knees  by  her ;  but 
with  her  own  hand  she  gave  me  a  cushion  to  lay 
under  ray  knee,  which  at  first  I  refused,  but  she 
compelled  me  to  take  it.  She  inciuired  whether 
my  queen  or  she  played  the  best,  in  that  I  found 
mysell'  obliged  to  give  her  the  praL^c." 

If  her  majesty  was  ever  able  to  execute  any 
of  the  lessons  that  are  pre-erved  in  a  manu- 
script known  by  the  name  of  "  Queen  Eliza- 
beth's Virginal  Book,"  she  must  have  been  a 
very  great  player  ;  as  some  of  tho.-e  pieces,  which 
were  composed  by  TallLs,  Bu'd,  Giles,  Farnaby, 
Dr.  Bull,  and  others,  are  so  dilHcult  that  it 
would  hiurdly  be  possible  to  tiud  a  master  in 
Europe  who  would  undertake  to  play  one  of 
them  at  the  end  of  a  mouth's  practice.  Be- 
sides the  lute  and  virguiaLs,  it  has  been  im- 
agined that  Elizabeth  was  a  performer  on  the  vi- 
olin, and  on  an  instrument  something  like  a  lute, 
but  strung  with  wire,  aiul  called  the  poliphant. 
A  violin  of  a  singular  construction,  with  the  arms 
of  England,  and  the  crest  of  Dudley,  Earl  of 
Leicester,  this  queen's  favorite,  engraved  ujion  it, 
was  purchased  at  the  sale  of  the  Duke  of  Dor- 
set's effects  many  years  since.  From  the  date  of 
its  make,  1578,  and  from  the  anns  and  crest  cn- 
gravetl  upon  it,  it  has  been  conjectured  that 
Queen  Elizabeth  was  its  original  possessor.  It  is 
very  oiriously  carve<l ;  but  the  several  parts  are 
so  thick,  and  loaded  with  oniament.-.,  that  it  has 
not  more  tone  than  a  mute,  or  violin  with  a  sor- 
dine ;  and  the  neck,  which  is  too  tliick  for  the 
grasp  of  the  hand,  has  a  hole  cut  in  it  for  the 
thumb  of  the  player,  by  which  the  hand  is  so  con- 
finetl  as  to  be  rendered  incapable  of  shifting,  so  that 
nothing  can  be  perlormed  on  thLs  instrument  but 
what  lies  witliin  the  reach  of  the  hand  in  its  first 
position,  'llie  music  of  the  queen's  establLsh- 
ment  ditfered  but  little  from  those  of  Mary  and 
Edward.  Burney  says  that  the  musicians, 
through  all  the  changes  of  religion,  tuned  tlieir 
consciences  to  the  court  pitch,  that  is,  in  unison 
with  the  orders  of  tlieir  sovereign,  the  supreme 
head  of  the  cliurch.  But  let  us  see  if  they  had 
not  reason  on  their  side.  In  the  reign  of  Heury 
VIII.,  Testwood,  one  of  the  choir  at  Win(b.or, 
was  bunied  for  being  a  Prote>tant,  and  anolhei 
musician  only  escapwl  the  same  fate  through  tl» 
interference  of  a  friend,  who  ol)taine<l  hLs  pardor 
on  the  ground  that  it  was  not  worth  while  tc 
bum  him,  "  as  he  was  oitVy  a  musician  ; "  am' 
Mar1>e<'k  was  condemned,  and  saved  "  betatue  h( 
was  a  musician.'' 


279 


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ENCYCLOPAEDIA    OF   MUSIC. 


ENQ 


ELOUIS,  J.  A  celebrnted  French  linrpLst  aud 
composer  ior  his  in.strumcnt,  at  the  latter  end  of 
the  last  century.  Many  of  his  works  arc  pub- 
lished at  Paris. 

ELSNEU,  JOSEPH,  bom  in  Prussia  in  1769, 
ehapcl-mastcr  at  Warsaw  in  1802,  is  the  com- 
poser of  many  operas  and  two  melodramas,  the 
words  of  some  of  which  are  in  the  Polish  lau- 
Kuage.  lie  has  also  composed  much  mstrument- 
al  music,  published  at  Vieuua,  Leipsic,  and  Of- 
fenbach. 

ELSPEIKJER,  JOIIAXX  CHRISTOPII 
ZACiLVlilAS,  born  at  Katisbon,  composed  much 
sacred  and  instrumental  music.  He  died  in 
1700. 

EMBOUCHURE.  (F.)  The  aperture  of  a 
hautboy,  flute,  or  other  wind  instrument,  at  which 
the  breath  of  the  performer  is  received.  The 
name  Ls  also  applied  to  the  shaping  of  the  lips  to 
the  aperture  or  mouthpiece ;  tlius  we  say  of  a  flute 
player,  he  has  a  good  cmboiw/iure. 

EMMEUT,  ADAM  JOSEPH,  an  amateur 
composer,  was  born  at  AVurtzburg  in  17(5.5.  He 
composed  a  great  variety  of  vocal  and  instru- 
mental music,  between  the  years  1797  aud  1806. 

E  MOLL.     (G.)     E  minor. 

EMPFIXDUXG.     (G.)     Emotion,  pa.ssion. 

EMPHASIS,  is  the  giving  forcible  utterance 
to  the  important  words  of  any  piece,  which,  in 
order  to  due  effect,  should  be  previously  studied. 
Hence  it  cannot,  in  general,  be  ajiplied  to  metre 
psahuody,  except  so  Jar  as  to  prevent  the  rliytlim 
Irom  appearing  mechanical.  But  in  chanting, 
the  rules  of  emphasis  should  be  perpetually  in 
view.  There  is  no  proper  rhrthm  in  a  chant,  its 
accentuation  being  that  of  prose.  But  by  an 
emphatic  rhetorical  style  in  the  recitative  of 
the  strain,  and  by  care  to  bring  the  accents  of 
the  cadence  upon  accented  syllable^  chants  the 
most  devotional  will  rank  among  the  sublim.est 
branches  oi  music.  Emphasis  difl'ers  from  accent 
in  this  —  accent  always  occurs  on  certain  parts 
of  a  measure ;  and  emjihasis  shows  that  unac- 
cented parts  of  any  measure  may  be  made  em- 
phatic. To  give  dehuite  rules  for  placing  em- 
phasis, or  for  expression.  Is  Ikr  more  difficult  than 
to  detennuie  the  accent :  but  such  words  as  6y, 
with,  of,  but,  tluiii,  aj,  be,  to,  and  others,  and  the 
articles  a  aud  tlie,  should  never  be-erapliasized, 
but  be  passed  over  as  Ughtly  as  possible,  with 
projier  articulation.  A  cultivated  taste,  and  an 
e.\t6usive  acijuaintance  with  the  science  of  har- 
mony, are  the  beat  directions  for  emphasis  aud 
expiessiou. 

ENCORE,  (F.)  Again,  once  more.  A  well- 
luio  ini  expression,  used  by  audiences  at  theatres, 
and  in  concert  rooms,  to  express  their  desire  that 
the  i)erformancc  of  a  song,  or  uistrumental  com- 
position, should  bo  re;,cated. 

ENDERLE,  WILHELM  GOTIFRIED,  was 
born  at  Bayreuth  in  1722.  He  was  one  of  the 
best  violinists  of  his  time,  and  composed  much 
music  for  his  instrument.  He  died  at  Darmstadt 
iji  179:3. 

ENERCaCO,  CON  EXERGIA,  or  ENERGI- 
CAMEXTE.     (I.)     With  energy. 

EXGE.     (G.)     Close,  condensed. 


EXGEL,  CARL  IMMAXUEL,  an  organist  al 
Leipsic,  jjublished  some  piano-forte  and  organ 
music  at  that  town,  from  the  year  1790.  He  died 
in  1796. 

ENGLISH  lilUSIC.  -SMiUe  the  music  of  aU 
other  countries  has  in  it  something  dlstinctirely 
and  peculiarly  characteristic,  English  melodiee 
(if  we  except  their  glees  and  madrigals)  have 
none.  The  late  ojjeras  which  have  been  brought 
out  in  London  betray  an  attempt  at  servile  imi- 
tation of  the  ItaUan  school ;  but  the  English  have 
not  a  wTitcr  at  the  present  day  whose  compo- 
sitions manliest  the  slightest  originaUty;  and, 
with  the  exception  of  Dr.  Arne,  Calcott,  Bishop, 
Rolf,  Rooke,  and  one  or  two  others,  their  musi- 
cal works  are  devoid  of  conception,  character,  or 
beauty.  At  the  same  time  it  must  be  admitted 
that  there  is  nothing  finer  in  the  world  than  the 
Enghsh  glees  and  madrigals.  These  possess  a 
truly  distinctive  character.  They  are  really  Eng- 
lish, and  bear  about  the  same  relation  to  the 
smooth  strains  of  Italy  and  Germany,  astheblujf, 
straightforward  yeoman  does  to  the  French  ex- 
quisite. They  are  at  once  original,  heart-stirring, 
and  amusmg.  Many  of  the  madrigals  exhibit  a 
great  amount  of  artistic  skill  and  musical  acquire- 
ment, and,  when  well  executed,  they  are  ex- 
tremely entertaining.  Some  of  the  English  an-  ' 
thcms  are  also  very  excellent,  but  the  attempt 
to  imitate  the  German  school  is  too  apparent 
throughout.  They  are  not  the  less  agreeable  on 
this  account,  but  they  lose  the  charm  which 
would  attach  to  originality.  The  English  are, 
as  a  nation,  fond  of  music,  but  their  love  for  it 
seldom  reaches  the  enthusiasm  which  is  felt  for 
the  art  by  a  German,  an  Italian,  a  Frenchman, 
or  a  Spaniard.  It  would,  perhaps,  be  more  cor- 
rect to  say  that  the  English  admire  music,  rather 
than  that  they  love  it.  The  uneducated  classes 
wiU  gladly  listen  to  music,  but  they  are  never 
moved  by  it.  They  may  leani  or  become  ac- 
quainted with  certain  airs,  but  they  never  im- 
part to  what  they  sing  or  whistle  that  elegance 
or  depth  of  feeling  which  a  really  musical  mmd 
never  fails  to  throw  into  an  air  which  pleases  him. 
The  organ  builders  of  England  may  be  taken  at 
four  hundred  in  number,  and  putting  their  gross 
returns  at  five  hunch-cd  pounds  per  annum  each, 
we  have  two  hundred  tl.ousand  pounds  a  year  in 
this  branch  alone.  The  materials  employed  by 
the  piano-forte  maker  are  oak,  deal,  ])ine,  ma- 
hogany, and  beech,  besides  fancy  woods ;  baize, 
felt,  cloth,  and  leather,  brass,  steel,  and  iron.  Of 
the  two  leading  houses  in  this  branch,  the  Messrs. 
CoUard  sell  annually  one  thousand  six  hundred 
instruments,  and  the  Messrs.  Broadwood  two 
thousand  three  huudi-ed,  which,  at  the  very  low 
average  of  sixty  guineas,  gives,  as  the  annual 
business  of  these  two  firms  only,  about  t«o  hun- 
dred and  fifty  thousand  pounds.  Ii'  the  whole 
number  of  piano-forte  makers  of  London  —  about 
two  hundred  —  Is  taken  into  account,  the  annual 
return  in  this  trade  cannot  be  less  than  one  mil- 
lion pounds.  Violins,  and  instruments  of  that 
class,  are  almost  entirely  imported,  the  prejudice 
being  in  favor  of  the  foreign  makers.  The  an- 
nual import  duty  on  them  is  probably  not  less 
than  forty-five  thousand  pounds.  The  cost  of 
the  wind  instruments  required  for  a  regimcuttl 
band,  exclusive  of  drums  and  fifes,  wa.''  said  '.c 
be  two  hundred  and  twenty-four  pounds;  and  u 
there  are  in  all   about  four  Irmdred  regimep«. 


280 


Exn 


EXCYCLOPvEDIA    OF    MUSIC, 


EPC 


the  capital  represented  by  these  is  nearly  one 
hundred  thousmul  pounds.  The  number  of  work- 
men employed  by  MessrH.  Brondwood  and  Col- 
lard  resijcctivcly  is  five  hundred  and  seventy-five 
and  four  hundred;  these  are  all  more  or  less 
skilled  workmen,  some  of  them  to  a  very  hi^h 
degree.  It  is  probable  that  the  wages  of  the  arti- 
sans em])loyed  in  this  trade  do  not  amount  to  less 
than  five  hundred  thousand  pounds  per  annum. 
The  great  power  exerted  by  music  is  evinced  by 
the  large  number  of  musical  and  choral  societies, 
both  instrumental  and  vocal,  which  exist,  as  well 
as  by  the  large  and  increasing  audiences  which 
ore  attracted  to  their  public  performances,  lliero 
can  be  uo  doubt  that  this  inducncc  is  in  a  right 
direction,  and  that  by  it  the  social  and  moral  con- 
dition of  the  people  is  being  elevated  and  im- 
proved. In  the  first  fifteen  years  during  which  the 
Sacred  Harmonic  Society  had  been  established, 
two  hundred  and  seventy-one  concerts  had  been 
given,  attended  by  more  than  six  hundred  and 
ten  thousand  persons. 

ENIIAUMOXIC.  Tlie  epithet  given  by  the 
ancient  Cireeks  to  that  of  their  three  genera, 
which  consisted  of  quarter  tones  and  major 
thirds.  They,  however,  had,  originally,  another 
kind  of  enharmonic,  more  simple  and  easier  of 
execution  than  this,  and  upon  which  the  quax'tcr 
tones,  or  dieses,  were  considered  by  the  theorists 
of  the  old  school  as  iimovations  too  rcfiucd  and 
artificial. 

ENIIAKMOXIC.  Equivocal;  as,  enharmonic 
change,  where  the  notation  is  altered,  but  the 
same  keys  of  the  instrument  are  used.  Tlius  a 
modulation  from  the  key  of  F  sharp  into  the  key 
of  G  flat  would  be  an  enhttrmonic  change. 

EXIL\.RMOXIC  SCALE.  This  is  a  gradual 
progression  by  quarter  tones  ;  but  as  these  pro- 
gressions are  not  found  on  keyed  instruments, 
there  is  no  real  enharmonic  scale  used  in  modern 
music.  These  imaginary  jjrogrcssions  have  their 
origin  in  the  chord  of  the  diminished  seventh 
and  its  inversion,  and  will  be  more  fully  explained 
if  you  examine  that  chord.  The  enharmonic,  or 
scale  of  qvuirter  tones,  was  used  by  the  Greeks 
until  the  time  of  Alexander  the  Great,  when  the 
chromatic  scale  came  into  use.  When  a  scale  is 
formed  which  contains  in  some  places  quarter 
tones,  it  is  called  enhannonic.  The  enharmonic 
scale  di\'ides  each  tone  into  two  chromatic  semi- 
tones and  the  quarter  tone,  thus  :  — 


m 


9 


zt 


E 


EX  ROXDEAU.  (F.)  In  the  manner  of  a 
rondeau.     See  that  word. 

EXT,  DR.  GEOR(^rE,  (bom  in  1603,  died  in 
1689,)  wrote  a  paper  in  the  I'hilosophical  Trans- 
actions, volume  twelve,  under  the  title  "  An 
Essay  tending  to  make  a  probable  Conjecture  of 
Temper,  by  the  Modulations  of  the  Voice  in 
ordinary  Discourse." 

EXTERT.VIXMEXT.  The  appellation  for- 
merly given  to  httle  musical  and  other  dramat- 
ic afterpieces,  but  which  has  some  time  been 
changed  for  that  of  opera,  or  its  diminutive, 
operetta. 

EXTR'.-VCTE.    The  name  given  by  the  French 


to  the  music  played  between  the  acta  of  theii 
dramas. 

EXTREMES.  (S.)  ^  A  short  musical  inter- 
lude, much  used  in  Spain.  It  never  consists  of 
more  than  one,  two,  or  three  scenes,  and  the 
number  of  interlocutors  is  seldom  more  than 
four. 

EXTRE-METS.  (F.)  The  inferior  and  less- 
er movements  which  are  inserted  bet\\ecu  the 
greater  and  more  important  movements  of  a 
composition*  for  the  puqiose  of  relief. 

EXTRIES.  The  name  formerly  given  to  the 
acts  of  operas,  burlcttas,  &c. 

EXTUSLiSMO,  COX.  (I.)  With  enthusi- 
asm. 

EXTA\TJRF.  (G.)  Sketch  or  rough  draught 
of  a  composition. 

EX^'OYS.  One  of  the  names  by  which  the 
old  English  ballads  were  known. 

EOUAX.  An  epithet  applied  to  one  of  the 
five  chief  modes  m  the  Greek  music,  the  funda- 
mental chord  of  which  was  immediately  above 
that  of  the  Phrygian  mode.     See  Mode. 

EPIAULA.  A  name  given  by  the  ancient 
Greeks  to  their  song  of  the  Millers,  called  also 
IIjTnea.     See  So.vo. 

EPICEDrUM.  (From  the  Greek.)  A  dirge. 
See  that  word. 

EPIGOXIUM.  An  instrument  of  antiquity, 
so  named  from  Epigonius,  the  inventor.  It  is 
said  to  have  contained  forty  strings ;  but  the 
time  of  its  invention,  though  we  do  not  precisely 
know  when  Epigonius  lived,  is  too  remote  to 
render  it  probable  that  these  strings  formed  a 
scale  of  forty  different  sounds.  It  Is  more 
reasonable  to  suppose  that  they  were  tuned  in 
unisons  and  octaves,  or  regulated  by  the  inter- 
vals of  the  different  modes  and  genera. 

EPIGOXIUS  invented  an  instrument  of  twen- 
ty strings,  of  the  harp  kind.  Little  is  known  ol 
it,  however,  and  it  was  very  little  used,  being  dif- 
ficult to  practise. 

EPILEXIA.  The  name  given  by  the  ancient 
Greeks  to  their  song  of  the  grape  gatherers. 

EPIXICIOX.     (Gr.)  A  song  of  victory. 

EPISODE.  A  term  applied  to  those  portions 
of  a  fugue  which  deviate  from  the  subject  matter, 
or  motico,  and  supply  the  embodying  harmony. 

EPITIIALAMIUM.  A  nuptial  ode,  or  song. 
Compositions  of  this  kind  were  formerly  much 
in  use,  and  in  remote  times  were  usually  sung 
at  the  door  of  the  newly-married  couple. 

EPITRITE.  The  name  given  by  the  Greek 
musicians  to  one  of  the  rhymes  with  which  they 
proportioned  the  time  in  sesquitierce. 

EPODE.  Tlie  name  given  to  the  thinl  couplet 
of  tbe  periods  of  the  Greek  odes,  or  to  the  air  to 
which  it  was  sung.  The  jieriod  consisted  of  three 
couplets  —  the  strophr  .■  the  antistrophf,  and  the 
ejnde.  The  ])ricsts  walkinsj  round  the  altar,  sing- 
ing the  praises  of  the  gods,  rcpeatctl  at  theii 
first  entrance,  when  they  tvimetl  to  the  left,  those 
verses  called  the  strophe ;  those  which  they  sang 
turning  to  the  right,  were  denominated  the  antit- 
281 


EPO 


EXC  /CLOP^DIA   OF   MUSIC. 


ERA 


trophe  ;  and  InKtly,  those  wliich  tLey  sang  stand- 
ine  before  the  altar,  the  epodc.  llie  invention  of 
thi8  third  and  concluding  part  of  the  period,  i» 
attributed  to  Archilocl\us.  Any  short  lyric 
poem,  composed  of  trimeter  iambics  of  six  feet, 
and  dimeters  of  four  feet,  altcrnatclj',  was  abo 
colled  an  epodc. 

E  POI.  (I.)  And  then  ;  as,  e/wt /a  eoiia,  and 
then  the  coda. 

EPPIXGER,  IIEINRICH.  A  vioUnist,  resi- 
dent at  N'ienna.  He  has  published  much  music 
for  his  instrument,  at  Paris  and  Vienna,  since  the 
year  1796. 

EQUISONANCE.  The  name  by  which  the 
ancient  Greeks  distinguished  the  consonances  of 
the  octave  and  double  octave. 

EQUISOXAXT.  Of  the  same  or  like  sound  ; 
a  unison.  This  term  is  often  used  in  guitar  play- 
ing, to  express  the  different  ways  of  stopping  the 
same  note. 

EQUIVOCAL.  Those  chords  are  called  cyHjc- 
ocal  whose  fundamental  bass  is  not  indicated  by 
the  inters-als  by  which  they  are  formed. 

EHARD,  SEBASTIAN,  founder  of  the  cele- 
brated piano-forte  and  harp  manufactories  at 
Paris  and  London,  which  still  bear  the  name, 
was  born  at  Strasburg,  in  1752,  and  was  the 
fourth  son  of  a  cabinet  maker,  who  did  not  marry 
till  the  age  of  sLxty-four.  He  inherited  from 
hLs  father  a  robust  constitution,  and  evinced  in 
chOdhood  a  courageous  spirit ;  for  it  is  said  that 
at  the  age  of  thirteen  he  climbed  the  steeple  of  the 
Strasburg  Cathedral,  and  seated  himself  upon  the 
summit  ojf  the  cross.  At  the  age  of  eight  years  he 
was  sent  to  the  schools  to  study  architecture, 
perspective,  linear  drawing,  practical  geometry, 
&c.  Throughout  his  life  he  was  continually  oc- 
cupied with  new  inventions ;  in  the  latter  half 
of  it  he  slept  but  Uttle,  and  liis  bed  was  always 
covered  with  jiapcrs  and  plans  of  instruments. 
This  fertiUty  of  invention  and  execution  accounts 
for  the  multitude  of  models  still  found  in  his 
workshops  at  London  and  ParLs.  He  lost  his 
father  at  the  age  of  sixteen  and  sought  emploj-ment 
at  Paris,  where  he  became  apprentice,  and  soon 
foreman,  in  a  harpsichord  manulactory.  llic 
young  workman's  ingenious  questions  so  puz- 
zled hLs  mjistcr  that  he  dismissed  him,  reproach- 
ing Imn  for  wishing  to  know  every  thing.  But 
another  famous  maker,  having  received  an  order 
to  construct  a  harjisichord  requiring  knowledge 
that  was  out  of  his  daily  routine,  had  heard  of 
the  young  Erord,  and  ottered  him  a  certain  sum 
if  he  would  make  it,  and  allow  him  (the  employ- 
er) to  put  his  name  upon  it.  Erard  consented, 
and  the  ])erson  who  had  ordered  the  instrument 
was  so  astonished  at  the  perfection  of  the  work- 
manship that  he  asked  the  manufacturer  if  he 
were  really  the  author  of  it ;  the  latter,  taken  by 
surprise,  confessed  that  the  instrument  had  been 
constructed  for  him  by  a  young  man  of  the  name 
of  Krard.  The  fame  of  this  adventure  soon 
Biirend  through  the  musical  world,  and  drew 
attention  to  the  young  artist,  who  soon  signal- 
ized himself  by  his  clavicin  micanlque,  a  masterly 
invention  and  achievement,  wliich  caused  a  great 
»eni4ation  among  the  artists  and  amateuxd  of 
Paris. 


Sebastian  Erard  was  not  yet  twenty-five  years  old, 
and  already  hLs  reputation  was  so  established,  that 
he  was  a])plied  to  for  all  sorts  of  new  things  which 
people  wished  to  have  constructed.  Distinguishec? 
persons  sought  him ;  and  the  Duchess  de  Vil- 
leroy,  a  great  patroness  of  artists,  and  passionately 
fond  of  music,  tried  to  attach  him  to  her  house- 
hold. But  preferring  liLs  independence,  and  hav- 
ing long  desired  to  visit  England,  he  was  onlv 
prevailed  upon  to  remain  with  the  duchess  lonj 
enough  to  execute  several  ideas  of  hers,  having  a 
suitable  work  room  in  her  hotel,  and  enjo^-ing  the 
most  perfect  liberty.  It  was  here  that  he  con- 
structed his  first  piano-forte.  'ITiis  instrument, 
known  for  some  years  in  Gennany  and  England 
was  not  yet  common  in  France ;  the  few  pianos 
found  in  Paris  having  been  imported  from  Ratis- 
bon.  It  was  de  hon  ton  in  great  houses  to  have 
these  foreign  instruments.  Mme.  de  Villeroy  one 
day  asked  Erard  if  he  could  make  a  piano ;  the 
piano  was  already  in  his  head ;  he  set  immediately 
about  it,  and  this  first  piano  from  lus  hands  bore 
the  stamp  of  a  man  of  invention  and  taste.  It 
was  heard  in  the  saloon  of  the  duchess  by  all  the 
amateurs  and  artists  of  distinction,  and  many 
noble  seigneurs  were  eager  to  order  and  possess 
instruments  like  it ;  but  they  were  not  so  eager  to 
discharge  their  part  of  the  contract  —  the  most  of 
them  never  paid. 

,  About  this  time,  his  brother,  Jean  Baptlste 
Erard,  joined  him  ;  and  tliis  indefatigable  worker, 
and  upright,  loyal  man,  from  that  tune  shared 
the  labors  and  the  fortunes  of  Sebastian.  Tlie  great 
demand  for  their  pianos  soon  obliged  them  to 
quit  the  hotel  de  Villeroy,  and  found  a  large 
establishment  in  the  Rue  de  Bourbon,(faubourg  St. 
Germain,)  which  gradually  became  the  first  in  all 
Europe.  The  jealousy  of  other  musical  instru- 
ment makers  was  roused,  and  one  actually  pro- 
cured a  seizure  upon  the  Erard  establishment, 
under  the  pretext  that  they  had  not  subscribed 
the  laws  of  a  certain  guild ;  but  Erard  found  pro- 
tectors, who  made  known  his  merit  to  the  king, 
Louis  XVI.,  from  whom  he  received  a  flattering 
patent.  Under  this  protection  the  establishment 
of  the  two  brothers  develo])cd  more  and  more, 
and  the  sale  of  their  two-string  and  five-octave 
pianos  (such  as  they  made  at  that  time)  was 
immense. 

Among  other  inventions  which  continually  oc- 
cupied him,  Sebastian  Erard  made  at  this  time  an 
instrument  with  two  key  boards,  one  for  the 
piano  and  one  for  the  organ.  This  was  prodi- 
giously popiilar  m  high  society.  One  was  ordered 
for  Marie  Antoinette.  The  queen  had  a  voice  of 
little  comjjass,  and  all  music  seemed  wiitten  too 
high  for  her.  Erard  made  the  key  board  to  slide 
so  as  to  transpose  the  music  Irom  a  semitone  to 
a  tone  and  a  half,  at  will,  without  any  mental 
labor  on  the  part  of  the  accompanist. 

The  troubles  of  the  revolution,  so  injiirious  to 
all  industry,  induced  Sebastian  to  go  to  England, 
and  open  new  channels  for  the  products  of  his 
manufactory.  Tliere  he  remained  several  years, 
and  founded  an  estabUshraent  like  that  in  Paris, 
filled  with  instruments  entirely  of  his  own  inven- 
tion. In  1794  he  took  out  his  first  patent  for 
improvements  in  the  piano  and  haqi,  and  his  in- 
struments were  soon  in  great  demand.  Rut  the 
desire  to  return  to  France  never  Ibrsook  him,  and 
he  arrived  at  Paris  in  17911.  Then,  for  the  first 
time,  he  manuiactured  giand  pianos,  in  the  shapr 


282 


BRA 


ENCYCLOP.IilDIA    OF   MUSIC. 


ESI) 


of  harpsichords,  after  the  English  system,  of 
which  he  had  fjrcatly  jierlected  the  mechanLsm, 
Bud  brought  out  his  hnr])s  of  single  action,  which 
he  had  invented  some  ten  years  before,  but  had 
not  made  public  at  that  time.  'ITicsc  pianos  were 
the  first  instruments  with  e-tcape incut  ever  made 
in  Paris ;  they  had  tlio  defect  of  all  the  instru- 
ments of  that  kind,  tliat  of  slowness  of  action  in 
the  levers  and  the  hammers  —  a  fault  complained 
of  much  by  artists  accustomed  to  the  easy  play 
of  the  small  pianos,  'lliis  difficulty  Erard  labored 
to  overcome;  and  after  many  trials  he  produced, 
in  180S,  a  new  kind  of  grand  piano,  in  wliich  the 
action  answered  more  i)romptly  to  the  touch, 
wliiic  its  smaller  dimensions  were  more  suited  to 
the  size  of  the  Parisian  saloons.  Dussek  played 
upon  one  of  them  with  great  success  in  the  con- 
certs given  at  the  Odiun  by  Kode,  Boillot,  and 
Lamarrc,  on  their  return  from  Russia ;  amateurs 
a!ul  artists  were  well  satisfied,  but  not  so  Erard 
himself,  as  we  shall  see. 

In  1S08  he  returned  to  England,  where  he  put 
the  seal  upon  his  reputation  by  the  invention  of 
his  double  action  harp.  By  gi\-ing  to  each  pedal 
the  double  function  of  raising  the  string  a  half  or 
whole  tone,  as  might  be  retiuired,  he  overcame 
the  whole  difficulty  of  completuig  the  gamut  of 
the  harp  in  all  the  keys.  It  cost  hiin  years  of 
labor  ond  great  outlay,  but  the  success  was  com- 
plete. ITie  double  action  harp  appeared  in  Lon- 
don in  1811,  when  paper  money  was  in  the 
greatest  circulation,  and  the  sales  in  one  year 
amounted  to  twenty-five  thousand  pounds.  Ilc- 
turning  to  ParLs,  he  introduced  the  same  manufac- 
ture there. 

Prciiuent  visits  to  France  made  him  neglect  the 
manufacture  of  pianos  ot  London,  and  his  estab- 
lishment there  became  devoted  to  tlie  harp  ex- 
clusively ;  but  in  all  the  fifteen  or  twenty  jjatents 
which  he  took  out  in  England,  new  ideas  for  the 
perfecting  of  the  piano,  as  well  as  harp,  were  ex- 
pressed. These  he  proposed  to  execute  in  France. 
At  cvei-y  exposition  of  the  products  of  industry, 
his  works  were  crowned  ;  he  had  received  every 
kind  of  public  testimonial,  when  in  18-2:j  he  ex- 
hibited the  model  of  hLs  chrf  d'aui-re,  his  grand 
piano,  a  douhle  ichappenwnt.  Tliese  new  instru- 
ments were  since  established  in  the  London  man- 
ufactory by  his  nephew,  Pierre  Erard.  The 
naturally  robust  constitution  of  Sebastian  Erard 
began  finally  to  j-ield  to  the  inccssjint  latrors  of 
so  active  a  life  upon  the  vast  theatre  of  two  such 
capitals  as  Paris  and  London.  In  1824  he  was 
BtHictcd  with  the  stone,  yet  still  devoted  himself, 
from  the  moment  of  a  successful  operation,  to 
Improvements  in  organs  and  other  instruracnt.s, 
until  an  aggravated  return  of  the  disease  put  an 
end  to  his  career  in  the  month  of  August,  1831. 

^IIARD,  PIERRE,  nephew  of  the  precciling. 
was  born  at  Paris,  about  the  year  irOt'i.  His 
early  studies  were  with  a  view  to  his  continuing 
the  manufacture  of  instruments  inventc<l  by  hia 
father  and  uncle  ;  he  was  taught  music,  mathe- 
matics, and  linear  design.  Sent  to  London,  when 
quitc^young,  to  direct  the  manufacture  of  Sebas- 
tian Erard's  harps,  he  has  i)assed  there  the  great- 
est part  of  his  life.  In  US'.'l  he  published  an 
account  of  his  uncle'.s  double  action  harp,  un- 
der the  title  of  "  Tlie  liar])  in  its  present  im- 
nroveil  state,  compared  with  the  original  pe<lal 
llarp."     After  the  death  of  his  uncle,  he  became 


his  heir,  and  took  charge  of  the  manufactory  in 
Paris,  where  in  1834  he  exhibited  several  new 
models  of  pianos.  At  tlie  same  time  he  pub 
lishcd  an  historical  description  of  "  The  im 
jjrovemcnts  introduced  into  the  mecbanisnj  o 
file  Piano  by  the  Erards,  from  the  origin  of  tin 
instrument  to  the  cxi)Osition  of  18:M,",1'o1.,  with 
ciglit  lithographic  plates.  M.  Pierre  Erurd  has 
since  lived  alternately  at  London  and  Paris,  di- 
recting tlie  two  great  establishments  which  he 
has  inherited. 

KREMITA,  GIULIO,  an  organist  at  Feirara 
in  the  sixteentli  century,  composed  three  books 
of  madrigids,  which  were  subsequently  reprinted 
at  Antwerj). 

ERHOIIUXG.  (G.)  The  raising  the  pitch 
of  a  note  by  a  sharp. 

ERICH,  DAXIEL,  an  organist  ot  Custrow,  in 
Germany,  was  a  pupil  of  Huxtehude,  and  pub- 
lished much  music  for  the  harpsichord  about  the 
year  1730. 

ERLEUACII,  rilllJP  IIEIXRICII,  was  bom 
at  Esseu  in  1G57.  He  published  much  instru- 
mental music  for  the  organ  and  piano-forte, 
which  bears  date  &om  the  year  1692.  Ue  died 
in  1714. 

ERXIEDRIGUXG.  (G.)  The  depression  of 
a  note  by  means  of  a  flat. 

ERXST,  FRAXZ  AXTOX.  A  celebrate<l 
German  violinist  and  musical  mechanic.  He 
died  at  Gotha  in  180.5. 

ERXST,  IIEIXRICII,  one  of  the  greatest  vi- 
olinists of  the  day,  by  many  esteemed  tlie  equal, 
if  not  the  superior,  of  I)e  Ueriot  and  Moli(iue, 
I  was  born  in  lirQiin  in  1814.  He  was  a  jiupil  in 
the  Vienna  Conservatory,  where  Mayseder  exert- 
ed a  good  inrtuence  ujxm  him.  He  was  long 
more  distinguislied  in  the  saloon,  and  in  rhain- 
ber  concerts,  than  before  great  audiences ;  but  in 
the  autumn  of  183'J  he  playeil  with  great  suc- 
cess in  Hamburg,  which  led  him  to  make  an  ar- 
tistic tour  ;  since  which,  he  has  been  continually 
dec])ening  and  extending  his  fame  by  concerts  in 
all  the  musical  cities  of  Europe.  He  has  been 
the  intimate  associate  of  Liszt,  and  all  the  fore- 
most artists  of  tlie  day. 

EROTIC.  An  epithet  applied  to  a  certain 
subdivision  of  the  fJreck  mehixrio,  otherwise 
called  amatory.     Sec  Meloixelv. 

EKWEITERT.     (G.)    Extended. 

ES.     (G.')     E  flat. 

ESCHEXRURG.  JOHAN'N  JOACHIM,  pro- 
fessor of  the  Mies  U-ttres  at  the  College  of  St 
Charles,  at  Brunswick,  was  born  at  Hamburg  in 
1743.  He  has  renderwl  great  service  to  music  in 
Germany  by  his  translations  from  foreign  lan- 
guages, especially  from  the  Enghsh  and  Italian, 
of  various  works  on  the  theory  and  practice  of 
music. 

ESCIISTRITII,  HAXS  ADOLPH.  BARON 
VOX,  counsellor  of  the  regency  at  Cas-Kcl,  and 
member  of  the  principal  literary  societies  of  Eu- 
rope, was  lv)m  in  17.ifi.  He  published,  bctwcer 
the  years  1784  and  1790,  several  works  on  music 
also  some  vocal  com]M)sition8.  He  died  at  Casse 
in  1792,  in  the  thirty-seventh  year  of  his  age. 

ES  DUR.     E  flat  major. 


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ENCYCLOPAEDIA    OF    MUSIC. 


E  .H 


ESES.    (G.)    E  double  flat. 
ES  MOLL.     (G.)    E  flat  minor. 
ESPAGXUOLO.     (L)    In  the  Spanish  style. 

ESPIIESSIONE.  (I.)  ExpresBion.  See  that 
word. 

ESPRESSIVO,  or  CON  ESPRESSIONE.  (L) 
M'ith  expression. 

ESSEMPIO.     (I.)     An  example. 

ESSEX,  DR.  A  native  of  Coventry,  in  War- 
wickshire. At  thirteen  yeara  of  age  lie  amused 
himself  with  the  flute  and  %'iolin,  and  made  a 
rapid  prolicicncv,  though  destitute  of  any  pro- 
letisions.!  aid,  which  induced  his  father  to  let  him 
study  the  science  and  practice  of  music  as  a  pro- 
fession. In  1806  he  obtained  a  bachelor's  degree 
iji  music  at  Oxford.  Ilis  exercise  was  an  anthem 
taken  from  the  fifty-seventh  Psalm.  In  1812  he 
gained  his  doctor's  degree,  the  subject  of  which 
was  an  eutii-e  oratorio  in  verse,  written  expressly 
for  the  purpose,  by  his  friend  K.  A.  Davenport. 
The  following  are  some  of  the  popular  produc- 
tions of  this  composer:  "The  Seaside  Sonnet;" 
"  The  Juvenile  Song  ;  "  "  The  Moonlight  Sonuet," 
from  Mrs.  Anna  Kadchffe's  "  Romance  of  the  For- 
est ;  "  "  Mine  be  a  Cot,"  from  "  The  I'lcasures  of 
Memory,"  by  Rogers  ;  "  To  all  you  Ladies  now 
on  Land,  a  Glee  for  three  Voices,  Words  by  Pratt, 
MTiUeii  expressly  for  Dr.  Essex  ;  "  "A  Canadian 
Boat  Song,  for  three  Voices  ;  "  "  A  Set  of  Six 
Duets  ior  two  German  Flutes  ;  "  "A  Set  of  Slow 
and  Q\iick  Marches  for  the  Piano-forte,  with  the 
full  Scores  added  for  a  Military  Band  ;  "  "A  Pi- 
ano-forte Duet,"  Op.  11;  "A  Duet  for  the  Piano- 
forte, with  Accompaniments  for  two  German 
Flutes  ;  "  "  A  Military  Rondo  Duet  for  the  Pi- 
ano-forte, with  Accompaniments  for  a  Harp  or 
Piano-forte  ;  "  "  The  Britannia,  a  Rondo  for  Pi- 
ano-forte, with  Violiji  Accompaniment,  charac- 
teristic of  the  English  Style  ;  "  "  The  llibernia,  a 
Rondo,  characteristic  of  the  Irish  Style,  for  Piano- 
forte and  Violin  ;  "  "  The  Caledonian,  a  Rondo, 
in  Imitation  of  the  Scottish  Style,  for  Piano-forte 
and  Violin  ;  "  "  The  Guaracha,  a  Rondo,  in  Im- 
itation of  the  Spanish  Style,  for  Piano-forte  and 
Flute  ;  "  "  An  Introduction  and  Fugue  for  the 
Organ." 

EST,  or  ESTE,  MICHAEL,  bachelor  of  music, 
and  master  of  the  choristers  of  the  cathedral 
church  of  Litchfield  in  the  latter  half  of  the  six- 
teenth century,  was  the  author  of  several  collec- 
tions of  madrigals,  and  other  vocal  compositions. 
Ilis  publications  are  much  more  numerous  than 
those  of  any  composer  of  his  time.  One  of  these 
is  entitled  "  The  Sixth  Set  of  Bookes,  wherein 
are  Anthcmes  for  Verses,  and  Chorus  of  live  and 
Bix  Parts,  apt  for  Violls  and  Voices."  It  is  prob- 
able tliat  this  person  was  the  son  of  that  Thomas 
Est  wno  first  published  the  Psalms  in  i)arts,  and 
otlicr  works,  assuming,  on  some  of  them,  the 
name  of  Snodham.  One  of  Michael  Est's  three- 
part  songs,  "  IIow  merrily  we  live,"  has  been  a 
public  favorite ;  and  there  are  several  others 
among  his  works  which  are  etjually  deserving  of 
notice. 

EST,  or  ESTE,  THOMAS,  father  to  the  pre- 
ce<Ung,  edited  "  "Die  whole  Book  of  Psalms,  with 
their  wonted  Tunes,  a.s  they  are  sung  in  Church- 
etv  comj)osed  into  foure  Parts,  by  nine  sondry 


Authors,  so  laboured  in  this  Work,  that  the  un 
skilful,  bj'  small  Practice,  may  attaine  to  jing 
that  Part  which  b  fittest  for  his  Voyce."  Lon 
don,  1.594. 

ES-IERIIAZY,  PRINCE  NICHOLAS,  of 
Austria,  one  of  the  noblest  protectors  and  pa- 
trons that  art  and  artLsts  ever  found,  was  bom  in 
176.),  and  passed  his  early  years  in  travelling 
through  Europe,  especially  in  England,  France, 
and  Italy.  Thus  was  cultivated  a  taste  for  art, 
which  had  been  handed  down  from  father  to  soi\, 
and  which  he  did  not  cease  to  prosecute  after 
he  had  entered  the  mihtary  profession.  Many 
branches  of  art  and  science  are  indebted  to  him. 
Overflowing  with  wealth,  he  maintained  his  own 
private  chajiel,  which  became  the  school  of  not  a 
few  of  the  greatest  heroes  of  music.  His  princely 
residence  in  Ebienstadt,  where  he  had  the  bones 
of  his  favorite  Haydn  laid  with  distinguished 
ceremony,  and  where  he  erected  a  marble  monu- 
ment to  him  in  1820,  became  a  real  temple  of 
music.  His  musical  hbrary  is,  perhaps,  4he  rich- 
est in  existence,  containijig  the  rarest  treasures, 
such  as  complete  collections  of  the  works  of 
Haydn,  Albrechtsberger,  Mozart,  &c.  Especially 
rich  is  it  in  manuscripts  of  unprinted  composi- 
tions. Many  artists,  with  enthusiastic  gratitude, 
have  called  him  the  foster  father  of  the  Muses. 
Since  the  year  1833  he  withdrew,  with  his  son 
I'aul,  from  public  and  diplomatic  hfe,  and  devot- 
ted  himself  to  the  management  of  his  viist  estate, 
exteudiug  from  Vienna  almost  to  Belgrade.  He 
died  in  1849,  at  Como. 

ESTINTO.  (I.)  Becoming  extinct,  dying 
away,  in  regard  to  time  and  tone. 

ESTREE,  JEAN  D'.  Professor  of  the  haut- 
boy to  the  King  of  France  In  the  middle  of  the 
sixteenth  century,  and  editor  of  a  work  entitled 
"  Qiwtre  Licres  de  Danneries,  contenant  le  Chant  des 
Branles  communes,  ffais,  de  Champagne,  de  Boiir- 
ffotfiie,  de  Poitou,  d'Ecosse,  de  Mallhe,  des  sabots,  de 
la  guerre,  et  nuires  ;  GaiUardes,  liaUeis,  Volies,  Bass- 
es Danscs,  Hauberrois,  Alkmandes."     Paris,  1564. 

ET.     (L.)     And. 

ET  INCARNATUS  EST.  (L.)  A  portion  of 
the  Credo. 

ETOUFFE.  (F.)  Stifled,  damped,  in  harp 
playing. 

ET  RESURREXrr.     (L.)    Part  ot  tne  Credo. 

ETRUSCAN.  An  epithet  applied  by  the  an- 
cient Greeks  to  the  music  of  Etruria,  the  people 
of  which  country  were  remarkably  attached  to 
that  science. 

ETUDE.     (F.)    A  study. 

ET   Vri'AM.     A  part  of  the  Credo. 

EUHARMONIC.  (From  the  Greek.)  Sweet- 
ly or  perfectly  harmonious. 

EUHARMONIC  ORG-\N.  This  is  the  name 
of  a  very  ingenious  instrument,  invented  and 
first  constructed  by  Messrs.  Alley  .V:  Poole,  organ 
builders  at  Newbiirj'port,  Mass.,  about  the  yeai 
1848.  It  is  believed  to  be  the  first  entirely  suc- 
cessful attempt  to  solve  the  problem  of  pcrfebt  in- 
tonation. The  name  is  not  to  he  confounded 
with  enharmonic,  —  a  term  whose  occupation  it 
entirely  gone  in  the  true  theory  of  the  scale,  as  il- 


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ENCYCLOPEDIA    OF    MUSIC. 


EUC 


Ixistrated  in  this  "  e«-hannonic  organ,"  which 
means  simiily  ireW-harmonized  or  perJ'ectly-tuncd 
orf(nu. 

Its  peculiarity  is,  that  it  is  perfectly  tuned,  in 
every  note  of  every  key,  according  to  the  strict 
mathematical  ratio  of  vibrations.  This  never  has 
been  done  before,  nor,  save  by  a  few,  thought 
possible.  To  tune  one  scale,  or  key,  or  series  of 
tones,  springing  from  one  given  key  note,  was 
easy  enough.  But  how  to  have  t/ie  licflfe  scales 
pcrfe -t,  without  multiplying  degrees  of  ])itch  and 
linger  keys,  so  as  to  confuse  and  balHe  the  quiik- 
cst  pair  of  eyes  and  hands,  there  was  the  puzzle. 
For  it  was  found  in  tuning  in  the  usual  way,  by 
tifths  and  octaves,  that  if  the  fifth  was  made  a 
perfect  mathematical  interval,  then  the  circle  of 
tilths  would  never  come  round  into  itself  again  ; 
hence  the  true  fifth  to  one  key  would  not  serve 
for  a  true  third,  sixth,  or  what  not,  to  any  other 
key .  Accordingly,  a  compromise,  called  tempera- 
nient,  was  resorted  to.  liy  flattening  every  fifth 
a  very  little,  so  that  only  the  nicest  car  could  per- 
ceive the  variation,  and  by  shaqnng  every  third 
to  a  degree  offensive  to  almost  any  ear,  the  dis- 
cord, or  icolf,  was  so  distributed  amongst  all  the 
tones  as  to  be  nowhere  very  i)receptible,  unless 
in  the  aforesaid  major  third.  This  is  called 
equal  temjierament.  There  iras  a  way,  in 
earlier  times,  of  tuning  the  natural  and  its  few 
most  kindred  keys  as  nearly  true  as  possible,  and 
throwing  the  bulk  of  the  discord  into  the  (so  called) 
remote  keys,  making  the  latter  strangely  and  wild- 
ly expressive,  as  it  was  fancied. 

.■\.ll  this  was  done  to  simplify  the  tone  elements, 
and  reduce  them  to  a  practicable  number,  so  that 
the  sime  twelve  fixed  tones  of  an  octave  might 
serve  well  enough  for  the  forty  or  fiJ'ty  shades  of 
tone  that  would  be  refjuired  within  the  same 
compass  to  furnish  each  key  with  a  j-erfect  set  of 
intervals.  The  ear  so  readily  accommodates  itself 
to  a  slight  swerving  from  true  intonation,  the 
minel  so  readily  catches  the  intention  in  music, 
and  hears  right  even  when  the  actual  sounds  do 
but  apprr)ximate  their  mark,  that  thus  compromise 
or  temperament  has  never  been  entirely  unendu- 
rable. We  have  had  a  plenty  of  true  musical  cn- 
jo)Tnent  in  spite  of  it.  Yet  how  false  it  is,  when 
two  contiguous  sounds,  as  A  sharp  and  B  flat, 
which  should  be  quite  distinct,  are  represented 
by  a  common  intermediate  sound  different  from 
either  of  them  ! 

The  truth  about  this  matter  has  not  been  un- 
der a  bushel  all  this  time.  A  good  ^-iolinist  dis- 
criminates tones  which  arc  merged  into  one  in 
organs  and  piiinos.  Singers  by  instinct  often  in- 
tonate their  scales  more  truly  than  the  instru- 
ments to  which  they  sing.  In  the  quickly  van- 
ishing sounds  of  the  piano-forte  the  discord  is 
less  painful,  but  it  cries  out  in  the  prolonged  vi- 
bration of  an  organ  pipe.  The  evil  has  been  felt, 
but  all  attempts  to  remedy  it  have  shrunk  away 
before  the  mechanical  difficulty,  llicy  have  all 
proceeded  on  the  idea  that  finger  keys  would 
have  to  be  frightfully  multiplied. 

The  euharmonic  organ  solves  the  difficulty. 
It  has  three  or  four  times  the  usual  number  of 
distinct  sounds  within  the  compass  of  an  octave, 
furnishing  the  precise  intervals  for  every  key. 
The  tones  composing  the  scale  of  each  key  are 
selected  out  by  jiressing  a  pe<lal  corresponding  to 
its  key  note.  The  key  board  remains  the  same 
u  in  all  instnunents.     There  is  not  one  C,  oixe  A, 


one  G,  only  ;  but  a  C  and  an  A  of  different  pitch 
for  each  j/lace  which  it  may  occupy,  with  refer- 
ence to  a  new  key  note.  All  this  Ls  accomplished 
by  a  simplicity  and  compactness  of  mechanism 
which  was  incrwlible  to  our  old  organ  builders 
until  they  saw  it  in  operation. 

The  advantages  of  the  instrument  are,  — 

1.  niat  it  gets  rid  of  the  whole  mystery  of 
temperament,  of  all  uncertain  intervals,  and  givei 
you  sounds  that  are  perfectly  true  in  every  key 
You  hear  nothing  of  the  icol/,  the  heai  that  Is  si 
unpleasant  in  most  organ  tones.  Every  diord  k 
perfectly  smooth  and  i)ure.  No  desirable  inter- 
vals have  to  be  avoided,  as  for  instance  the  flat 
seventh,  which  ui  the  tempered  scale  is  never  flit 
enough. 

2.  It  presents  a  perfect  standard  of  true  into- 
nation, which  it  is  always  safe  to  sing  by,  and  to 
form  the  ear  by. 

.3.  It  makes  available  many  chords  and  com- 
binations of  sounds,  which,  in  the  tempered  sys- 
tem, would  bo  unendurable. 

4.  The  quantity  of  sound  from  the  same  pipes 
Ls  increased.  It  goes  farther.  A  musical  tone  Ls 
heard  farther  than  a  mere  noise.  Pipes  or  voices 
perfectly  attuned  penetrate  farther  than  those 
Imperfectly  attuned.  There  is  therefore  economy 
of  power  in  this  organ. 

.5.  It  keeps  in  tune  longer. 

6.  And  finally  it  is  invaluable  as  illustrating 
the  true  theory  and  genesis  of  the  musical  scale. 
A  great  many  theoretical  conjectures  about  the 
science  of  harmony,  when  brought  to  this  test,  are 
soon  settled. 

It  Ls  beautiful  for  a  choir  or  choral  accom- 
panunent.  In  music  of  a  plain  and  massive 
character,  which  does  not  modulate  a  great  deal, 
it  Ls  a  decided  improvement.  But  whether  the 
management  of  these  key  pedals  will  not  com- 
plicate the  task  of  the  jjcrfonner  in  mu^ic  which 
modulates  continually,  and  abounds  also  in  am- 
biguous chords  which  may  be  construed  in 
several  ways,  —  say  in  the  music  of  Beethoven 
and  Mendelssohn,  Bach's  fugues,  &c.,  —  so  as 
to  shut  such  compositions  out  from  use,  is  still  a 
question  that  remains  to  be  solved.  As  yet, 
we  are  not  aware  that  any  thorough  organist 
in  the  fugue  style  has  mastered  the  peculiarity 
of  this  organ  enough  to  prove  that  every  kind 
of  music  may  be  played  upon  it.  What  can  be 
done  with  it,  beyond  the  most  simple  uses,  is 
what  we  do  not  yet  sec.  Whether  the  "  com- 
promises "  of  our  tempered  harmony  must  not 
be  accepted  for  the  complex  purjioses  of  musical 
art,  and  whether  the  euharmonic  "  higher  law  '• 
would  not,  if  insisted  on,  restrict  the  range  of 
musical  invention,  are  questions  upon  which 
time  must  enlighten  us. 

If  the  reader  will  look  more  deeply  into  the 
rationale  of  the  matter,  he  will  find  it  most  thor- 
oughly and  ably  exposed  in  an  "  Kssay  on  I'erfett 
Intonation  and  the  Euhannonic  Organ,"  by 
Henry  Ward  I'oole,  republished  from  Silliman'g 
Journal  for  January  and  March,  IS.iO." 

EUCIIASTIC.  (From  the  Greek.)  An  ep- 
ithet applied  to  that  subdivision  of  the  nulopiria 
which  constituted  the  calm  and  assuaging. 

EUCIIEUO.  PASTOUE  AUCADE,  an  Italian 
singing  master,  published  at  Venice,  in  l/4f», 
"  liijiessioni  lopra  la  mo'jyior  faciiiih  che  Ironut 
tteW  apprtndert  U  canto  oon  tuto  di  un  isol/efgto  dk 


2S5 


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ENCYCLOPEDIA    OF    MUSIC. 


EXA 


dodtei  motiosiilabi,  aileao  il  frequente  ttso  degt  acci- 
deiUi." 

EUCLID.  This  great  geometrician  flourished 
iu  the  tune  of  I'tolemy  Lagus,  that  Ls,  about  277 
years  bet'oro  Christ.  Ilis  "  Elements  "  were  tirst 
publLshed  at  Basil,  in  Switzerland,  1533,  by  Si- 
mon Urinsrus,  from  two  manuscripts,  the  one 
found  at  Venice,  and  the  other  at  Paris.  His 
"  Introduction  to  Harmonics,"  which  in  some 
manuscript  was  attributed  to  Clconidas,  Ls  in  the 
Vatican  copy  given  to  Pappus.  Mcibomius, 
however,  accounts  for  this  by  supposing  those 
copies  to  have  been  only  two  different  manuscript 
editions  of  Euclid's  work,  which  had  been  re- 
vised, corrected,  and  restored  from  the  corrup- 
t'ons  incident  to  fre<iueut  transcription  by  Cleon- 
idas  and  I'appus,  wliose  names  were,  on  that  ac- 
c  lunt,  prefixed.  It  first  appeared  in  print,  with 
a  Latin  version,  in  1498,  at  Venice,  under  the 
title  of  "  Cleoiiida  Ilarmonicum  Introductorium." 
Who  Cleonidas  was,  neither  the  editor,  George 
\'alla,  nor  any  one  else,  pretends  to  know.  It 
was  John  I'eua,  a  mathematician  in  the  service 
of  the  King  of  France,  who  first  published  this 
work  at  Paris,  under  the  name  of  Euclid,  in 
1557.  After  this,  it  went  through  several  edi- 
tions with  hLs  other  works.  Ilis  "  Section  of 
the  Canon  "  follows  hLs  Introduction  ;  it  went 
through  the  same  hands,  and  the  same  editions, 
and  is  mentioned  by  Porphyry,  in  his  Commen- 
tary on  I'tolemy,  as  the  work  of  Euclid.  This 
tract  chiefly  contains  short  and  clear  definitions 
of  the  several  jjarts  of  Greek  music,  in  which  it 
is  easy  to  see  that  mere  melody  was  concerned  ; 
as  he  begins  by  telUng  us  that  the  science  of 
harmonics  considers  the  nature  and  use  of  mel- 
ody, and  consists  of  seven  parts  :  sounds,  intervals, 
genera,  systems,  kej's,  mutations,  and  melopnoia. 
Of  all  the  writings  upon  ancient  music  that  have 
come  down  to  us,  thLs  seems  to  be  the  most  cor- 
rect and  compressed  ;  the  rest  are  generally  loose 
and  dirt'used,  the  authors  either  twisting  and  dis- 
torting every  thing  to  a  favorite  sj-stem,  or  fill- 
ing their  books  with  metaphysical  jargon,  with 
Pythagoric  dreams  and  Platonic  fancies,  wholly 
foreign  to  music.  But  Euclid,  in  this  little 
treatise,  is  like  himself,  close  and  clear,  yet  so 
mathematically  short  and  dry,  that  he  bestows 
not  a  syllable  more  upon  the  subject  than  is  ab- 
solutely necessary.  According  to  Dr.  Wallis, 
Euclid  was  the  first  who  demonstrated  that  an 
octave  is  somewhat  less  than  six  whole  tones ; 
and  this  he  does  in  the  fourteenth  theorem  of  his 
"  Section  of  the  Canon."  In  the  fifteenth  the- 
orem, he  demonstrates  that  a  fourth  is  less  than 
two  tones  and  a  half,  and  a  tiith  less  than  three 
tnd  a  hall' ;  but  though  this  proves  the  necessity 
ot  a  temperament  upon  fixed  instruments,  where 
one  sound  answers  several  purposes,  yet  he  gives 
no  rules  for  one,  which  seems  to  furnish  a  proof 
that  such  instruments  were  at  least  not  generally 
known  or  used  by  the  ancients.  What  Axis- 
toxenus  called  a  half  tone,  Euclid  demonstrated 
to  be  a  smaller  interval,  in  the  i)roportion  of  25  G 
to  213.  This  he  denominated  a  limma,  or  rem- 
nant, because  giving  to  the  fourth,  the  extremes  of 
which  were  called  noni  sfMlcs,  and  were  regarded 
"Ui  fixed  and  unalterable,  the  exact  proportion 
of  I  to  3,  and  taking  from  it  two  major  tones, 
8  X  **.  '!'•-'  li"i"t"  ^vas  all  that  remained  to  com- 
plete the  diatessaron.    This  division  of  the  diatotac 


genua  being  thus,  for  the  first  time,  established 
upon  mathematical  demonstration,  continued  in 
favor,  says  Dr.  Wallis,  for  many  ages. 

EUMOLPUS,  accoriing  to  the  Oxford  mar- 
bles,  was  the  son  of  M  jsajus,  and  at  once  priest, 
poet,  and  musician  —  three  characters  that  were 
constantly  united  in  the  same  person  during  the 
first  ages  of  the  world.  He  was  the  publisher  of 
his  father's  verses ;  and,  like  him,  havuig  trav- 
elled into  Egypt  for  the  acquisition  of  knowledge, 
he  afterwards  became  so  eminent  at  Athens,  as 
hierophant  in  the  Eleusinian  mysteries,  that,  as 
Diodorus  Siculus  informs  us,  the  priests  and 
singers  at  Athens  were  afterwards  called  Ettinol- 
pides,  from  Eiimolpiis,  whom  they  regarded  as  the 
founder  of  their  order. 

EUPIIONIAD.  This  instrument  was  invent- 
ed by  Peter  L.  and  George  Grosh,  of  Petersburg 
Pennsylvania.  I'hey  claim  that  it  differs  from 
all  other  musical  instruments  ever  invented,  and 
combines  in  its  tones  those  of  the  organ,  clarinet, 
horn,  bassoon,  and  violin.  It  possesses  decided 
advantages  over  other  instruments  in  the  regula- 
tions of  its  tones.  In  plaj-ing  sacred  music,  the 
accent  may  be  placed  on  any  syllable  or  word, 
almost  as  distinctly  as  if  pronounced  by  the- 
voice,  and  the  sounds  may  be  swelled  at  the  ■will 
of  the  performer,  by  means  of  bellows  attached. 
There  are  thirty- six  keys,  with  their  semitones, 
■which  are  so  arranged  that  any  performer  upon 
the  organ,  piano,  Sec,  can,  in  a  very  short  time, 
become  perfect  master  of  it. 

EUPHONIOUS,  or  EUPHONICAL.  (From 
the  Greek.)  An  adjective  impU"ing  agreeable- 
ness,  or  sweetness  of  sound. 

EUPHONY.  (From  the  Greek.)  Sweetness. 
A  term  alluding  to  sound;  as,  the  euphony  of 
a  language,  the  euphony  of  a  voice  or  instru- 
ment. 

ELTERPE,  or  ELTERPIA.  The  seventh 
muse,  celebrated  for  the  sweetness  of  her  sing- 
ing. She  is  called  Tibicina,  because  she  presides 
over  the  pipes. 

ELTHIA.  A  term  used  in  the  ancient  Greek 
music,  and  signifj-ing  a  continuity  of  notes  itom. 
grave  to  acute. 

E\TRATI.  Those  male  vocal  performers 
among  the  Italians  who,  from  the  elevated  scale 
of  their  voices,  are  capable  of  singing  soprano 
parts. 

EVOLUTIO.  (L.)  Inversion  of  the  part?  in 
double  counterpoint. 

EVOV.E.  A  barbarous  word,  formed  of  six 
vowels ;  denoting  the  syllables  of  the  two 
■words  scculorum  amen,  and  which  is  found  in 
the  psaltery  and  antiphonaries  of  the  Catholic 
church. 

EXAMINING  A  SCORE.  Most  scores  pub- 
lished before  1750  present  but  little  difficulty  to 
the  reader,  as  the  orchestral  parts  are  but  few  and 
simple ;  but,  as  these  simple  forms  lost  their  attrac- 
tion, it  became  necessary  to  emjjloy  more  compli- 
cated effccfs,  and  to  combine  a  greater  number  of 
instruments  ;  so  that  the  reading  from  a  score  has 
every  day  become  more  difficult.  'l"he  orches- 
tral Itixury  in  which  composers  now  indulge 
gives  to  tlieir  scores  the  appearance  of  a  laby- 


28G 


EXE 


ENCYCLOPEDIA    OF    MUSIC. 


EXl 


rinth,  in  wliich  an  inexperienced  accompanist  is 
totally  bewildered.  On  opening  a  score,  a  prac- 
tised accompanist  sees  at  the  first  glance  the 
eniemble  of  the  page  upon  which  he  casts  his  eye, 
and  discerns  with  the  rapidity  of  lightning  what 
ought  to  tix  his  attention,  and  what  may  safely 
be  neglected.  In  an  orchestra  there  arc,  in  fact, 
certam  instrumental  parts  which  contain  the 
forms  most  interesting  to  the  accompaniment, 
and  others  which,  with  respect  to  the  hannouy, 
>er\-e  merely  to  fiU  up.  As  it  is  impossible  to 
ixan-fcr  all  to  the  piano-forte,  the  accompanist 
is  obliged  to  choohC  only  what  is  really  essential. 
The  first  glance  being  given,  the  arrangement  of 
the  parts  of  the  score  ascertained,  and  the  choice 
of  what  shall  be  retained  and  what  rejected  be- 
ing made,  we  must  then  occupy  ourselves  with 
the  details.  AVhen  the  form  of  the  accompani- 
ment has  a  continued  or  prevailing  design,  or 
sjTnmetrical  groupings  of  notes,  the  eyes  have 
only  to  seek  the  harmony,  and  apply  it  to  this 
design.  Such  cstabhshed  desigTis  have  the  re- 
markable advantage  of  exclusively  occupying  the 
ear,  and  allowing  the  accomi>ani8t  to  neglect  all 
minor  details.  In  these  cases,  the  eye  fixes  it- 
self upon  two  or  three  staves  only,  and  thus 
eim])lifics  its  operation.  In  all  scores  prior  to 
the  time  of  Mo/art,  we  may  pretty  safely  trust  to 
the  orchi^ttral  quartet  for  the  means  of  form- 
ing an  accompaniment.  Rut  in  his  works,  and 
since  his  time,  the  interest  of  the  accompaniment 
is  as  often  to  be  found  in  the  wind  as  in  the 
stringed  instruments.  It  becomes  necessary, 
therefore,  to  run  our  eyes  rapidly  across  the 
whole  page.  To  accustom  ourselves  insensibly 
to  thi.-»t  we  must  practise  reading  scores  for  some 
time,  without  actually  plaj-ing  from  them,  and 
thus  habituate  oiirsclvi-s  to  hear  the  effect  from 
the  simple  perusal,  such  as  if  the  orchestra  were 
really  executing  the  ]iie<'e  which  we  examine. 
'lliitt  cxercLse  will  be  found  extremely  useful. 

Coolness  is  a  quality  indispensable  to  an  ac- 
companist. If  he  be  without  this  quality,  his 
eyes  will  become  troubled  at  the  eight  of  some 
scores,  which,  crowded  with  notes  and  different 
designs,  seem  to  offer  an  inextricable  labyrinth  ; 
though  most  fretjuently  this  apparent  multiplici- 
ty of  subjects  Ls  reducible  to  matter  sufficiently 
simple  and  of  easy  execution.  With  a  calm  eye 
and  a  little  attention,  we  shall  easily  recogni/e 
the  intention  of  the  author,  and  perceive  what 
may  be  transferred  to  our  piano,  and  what  re- 
jected. Very  often  the  i)arts  double  one  another 
in  unisons  or  octaves ;  and  the  difference  of 
clefs  alone  gives  an  appearance  of  diversity  to 
things  which  in  fact  are  identical ;  so  that  many 
pieces  apjjoar  extremely  complicated,  which  nev- 
ertheless may  be  reduced  to  two  or  three  parts 
onlv. 


EXECUTION.  A  term  applicable  to  every 
species  of  musical  jicrtbrmance,  but  more  par- 
ticularly used  to  express  a  facility  of  voice,  or 
finger,  in  running  rapid  divisions,  and  other 
difficult  and  intricate  passages.  Taking  the 
word  in  this  latter  sense,  ejtectUion  is  no  uncom- 
mon quality ;  but  il"  we  give  the  term  its  due 
latitude,  and  include  in  its  meaning  jttst  intona- 
tion, taste,  prncc,  fcelina,  expression,  and  the  other 
liighcr  reipiisites  to  tine  performance,  we  must 
acknowledge  that  the  examples  of  real  exeaUion 
are  verv  rm  e. 


EXERCLSE.  A  term  applied,  in  a  genera 
way,  to  any  composition  calculated  to  improv* 
the  voice,  or  finger,  of  the  yo\nig  practitioner; 
also  significative  of  the  action  ot  practising. 

EXIMENO,  ANTONIO,  a  Spanish  Jesuit,  re- 
sided  at  Home  about  the  year  1780.  He  pub- 
lished, in  1774,  a  large  volume  in  quarto,  entitled 
"  De/l'  oriijine  e  delie  regole  ileUa  miisica,  mlia  sto- 
ria  del  siio  prorjresso,  decadetiza  e  rinuovuzione." 
'J"he  Italians  say  of  tliis  book,  "  Uizzano  roinatizo 
ili  miaica  con  cut  viiol  tlistruyyere  senza  /xiter  /X"i 
rifahricnre."  See  Elogii  Itatiani,  vol.  viii.  In 
177.5,  Eximeno  published,  at  liome,  "  Duhbio  so- 
pra  it  sagijio  di  contrapunio  del  Padre  Martini." 
It  was  an  answer  to  Padre  Martini,  who,  in  his 
"  Saffffio  contrap.,"  had  criticized  Eximeno.  A 
detailed  analysis  of  this  work  is  to  be  found  in 
"  Ej'imcridi  di  Roma,"   1775,  vol.  iv. 

EXPLOSIVE  TONE,  'lliis  mark  >  indicates 
that  the  note  over  which  it  is  written  slioiild  bo 
struck  s\uldenly,  with  great  force,  and  that  the 
sound  should  instantly  cease.  'n»c  tone  is  some- 
times marked  >  and  sometimes  A.  Tliis  Ls  some- 
times recommended  to  l)e  used  for  the  puq)osc  of 
bringing  out  the  voice,  and  to  give  it  power  and 
strength.  It  shoidd  not  be  so  used.  In  order  to 
cultivate  the  voice,  the  pupil  should  sing  the 
scale  first  in  the  organ  tone,  as  slow  and  as  loud 
as  he  can  do  in  exhaling  the  breath  gently  from 
the  lungs,  and  without  exhausting  them.  This 
gives  strength  to  the  voice ;  and  afterwards  it 
should  be  exercised  on  the  swell  under  the  same 
conditions  as  before ;  this  gives  pliability,  and 
brings  the  voice  under  command. 

AAA 


EXPUES.SION.  'Iliat  quality  in  a  compo- 
sition, or  performance,  which  appeals  to  our 
feelings,  and  which  constitutes  one  of  the  first 
of  musical  requisites.  The  expression  of  a  piece 
of  music  may  be  the  ideas  it  expresses,  as  of 
joy,  sorrow,  &c.  —  the  tune  of  it,  whether  simple 
melody  or  lull  harmony,  considered  apart  from 
all  performance.  Musical  expression  and  mere 
execution  essentially  differ ;  the  one  is  solid  and 
lasting,  the  other  frivolous  and  inconstant. 
The  composer  or  player  who  does  not  make  his 
appeal  to  the  feelings,  —  to  the  judgment,  — 
though  he  may  enjoy  for  a  time  the  applause  of 
the  thoughtless  and  low  minde<l,  can  never 
please  those  whose  praise  is  valuable,  or  ulti- 
mately and  permanently  satisfy  himself.  How- 
ever beautiful  a  piece  of  music  may  be,  il  tlio^o 
who  perform  it  have  not  caught  the  spirit  wlich 
exists  therein,  the  true  effect  will  not  be  produced. 
The  student  who  has  at  most  but  a  knowl- 
edge of  the  notes  in  the  8e^•eral  parts  cannot  do 
justice  to  the  composition  ;  and  his  perinnnanco 
cannot  be  genuine,  unless  he  understand  the 
sentiment  of  the  subject.  lie  should,  therefore, 
endeavor  to  acquire  a  correct  knowled;jo  of  th« 
air,  its  connection  with  the  different  parts, 
its  peculiar  accent,  and  the  force  and  energy 
with  which  it  is  characterized.  By  these  means 
he  will  leani  how  and  when  to  ornament  and 
diversity  his  performance,  so  as  to  rcniler  his  ex- 
pression agreeable  and  energetic  :  the  sentiment 
will  then  be  commtinicatcd,  the  mr  ilcli^hted 
and  the  heart  moved. 
287 


EXT 


ENCYCLOPAEDIA    OF   MUSIC. 


EZa 


EXTEMPORE.  A  term  applied  to  a  perform- 
ance consistiii|5  of  the  unpremeditated  effusions 
of  fniicy.  We  use  tliis  word  both  adjectively 
nnd  lulverbially ;  as  wlien  we  speak  of  an  extempore 
J'liffiif  ;  or  say,  such  a  performer  plai/s  exlemjxire. 

EXTENDED  PHRASE.  Whenever,  by  re- 
peating one  of  the  feet,  or  by  any  other  variation 
of  the  melody,  tliree  measures  are  employed  in- 
stead of  two,  the  phrii.se  is  termed  extended,  or 
irrcjiular. 

EXTENT.  The  compass  of  a  voice,  or  instru- 
ment ;  I.  e ,  the  distance,  or  inter\-al,  between 
its  gravest  and  most  acute  tones. 

EXTRAXEOTiS.  Au  epithet  applied  to 
those  sharjis  and  flats,  and  those  chords  and 
modulations,  which,  forsaking  the  natural  course 
of  the  diatonic  intervals,  digress  into  abstruse 
nnd  cliromatic  evolutions  of  melody  and  har- 
mony. 

EXTRAVAGANZA.  (I.)  The  appellation 
given  to  a  certain  species  of  composition,  the 
distinguisliing  characteristics  of  which  are  wild- 
ness  of  idea  and  incoherence  of  construction. 
I'opular  pieces  of  this  kind  are  those  by  Vivaldi, 
composed  about  the  middle  of  the  last  century. 

EXTREME.  An  epithet  given  to  those  inter- 
vals which  are  at  the  greatest  possible  extension, 
without  changing  the  numeral  name  of  the  ex- 
tended notes ;  as  in  the  extreme  sharp  sixth, 
extreme  shaq)  fifth,  &c. ;  also  api)lieable  to  the 
acutest  and  the  gravest  sound,  of  any  scale  or 
compass. 

EXTREME  FLAT  THIRD  consists  of  two 
diatonic  semitones,  being  composed  of  three  de- 
grees, and  is  the  minor  third  diminished  by  the 
chromatic  semitone.  Upon  keyed  instruments, 
this  is  the  same  as  the  tone  which  contains  only 
two  degrees.  This  interval  being  very  harsh  for 
vocal  music,  the  intermediate  sound  is  generally 
inserted,  thus :  — 


a 


'^ 


EXTREME  FLAT  FOURTH  consists  of  a 
tone  and  two  diatonic  semitones,  bemg  composed 
of  four  degrees,  and  is  the  i)erfect  fourth,  di- 
minished by  a  chromatic  semitone.  Upon  keyed 
instruments,  this  is  the  same  as  the  major  third, 
which  contains  only  three  degrees,  thus  :  — 


^^^p^^ 


"^^^^ 


EXTREME  FLAT  SEVENTH.  Tlie  minor 
seventh,  diminished,  consists  of  four  tones  and 
two  diatonic  semitones,  forming  seven  degrees. 

EXTREME  FLAT  EIGHTH.  ITie  octave, 
diminished  by  the  chromatic  semitone ;  never 
\Lsed  in  melody,  but  sometimes  found  in  tran- 
sient passages  of  harmony. 

EXTREMES.  Tlie  name  appUed  to  those 
parts  in  a  composition,  or  in  any  particular  har- 
mony, which  are  at  the  greatest  distance  from 
each  other,  in  point  of  gravity  or  acutenesa. 

EXTREME  SHARP  SECOND  consiste  of 
a  tone  and  a  chromatic  semitone,  being  composed 
of  two  degrees.  Uj)on  keyed  instruments,  this 
is  the  same  as  the  minor  third  ;  which,  however, 
consists  of  a  tone  and  a  diatonic  semitone,  and 
therefore  contains  three  degrees,  thus  :  — 


EXTREME  SHARP  FIFTIi.  The  perfect 
fifth,  increased  by  the  chromatic  semitone,  con- 
sisting of  four  tones,  forming  five  degrees. 

EXTREME  SHARP  SIXTH.  The  major 
sixth,  increased  as  the  fifth,  consists  of  five  tones, 
forming  six  degrees. 

EXTREMITY.  The  last  note  of  any  compass 
of  sounds,  reckoning  from  grave  to  acute,  or 
from  acute  to   grave. 

EYBLER,  JOSEPH.  An  organist  and  pianist 
at  Vienna.  He  has  published  much  vocal  and 
instrumental  music,  bearing  date  between  the 
years  1795  and  1805.  Eybler  wa.s  vice  chapel- 
master  to  the  coiut. 

EZRA  mentions  two  hundred  singing  men  and 
singing  women  who  came  back  with  him  from 
the  captivity  at  Babylon.  What  their  music  was 
in  those  days  we  do  not  so  well  know.  It  is 
probable  that  it  was  a  mixture  of  several  voices, 
all  singing  together  in  the  same  tune,  and  that 
it  consisted  of  only  one  part,  and  was  not  made 
up,  as  now,  of  ba.ss,  tenor,  treble,  &c.  They  also 
accompanied  singing  with  music  on  instruments, 
of  which  they  had  very  many  kinds,  such  as  the 
harp,  the  pipe,  the  viol,  the  tabret,  the  IjTe,  the 
psaltery,  the  cymbal,  the  sackbut,  the  flute,  tnun- 
pet,  drum,  &c.  You  will  find  smging  mentioned  in 
nearly  every  book,  in  both  the  Old  and  New  Tes- 
taments, and  sometimes  in  every  chapter  for  a 
considerable  space  together. 


288 


ENCYCLOPAEDIA    OF    MUSIC. 


FAI 


F. 


F  is  the  subdominant  or  nominal  of  the  fourth 
note  in  the  natural  diatonic  scale  of  C,  thus :  — 


Tliis  note  is  called  Fa  by  the  French  and  the 
Italians.  The  letter  F  is  also  used  as  an  abbrevi- 
ation of  foHe,  fortissimo,  &c.  For  an  increased 
loudness,  the  letters  are  doubled ;  as,  ft",  or  trebled, 

fir. 

FA  is  the  name  given  by  Guido  to  the  fourth 
note  of  his  hexachord.  In  the  natural  hexnehord, 
it  is  expressed  by  the  letter  F,  and  b  applied  as  a 
syllable,  in  solfaing,  to  the  fourth  degree  of  every 
scale. 

FABER.  A  native  of  Freiburg,  in  the  grand 
duchy  ot  l?adcn,  and  inventor  of  the  Sprachma- 
srhitie,  (speaking  macl\iiie,")  ■which  was  capable  ot 
uttering  words  and  singing.  lie  was  formerly 
attached  to  the  Observatory  at  Vienna,  but  owing 
to  an  affection  of  the  eyes,  was  obliged  to  retire 
upon  a  small  pension ;  he  then  devoted  himself 
to  the  study  of  anatomy,  and  soon  offeretl  the  re- 
sult of  Ixis  investigations,  and  their  application  to 
inechanics,  in  the  speaking  maclune. 

FABER,  BENEDICT.  A  celebrated  German 
composer  of  sacred  music  at  the  beginning  of 
the  seventeenth  ccnturj*. 

FABRE,  ANDR6,  was  bom  at  Riez  in  1765. 
He  published  at  Paris,  about  the  year  1800,  some 
piano-forte  mvisic,  also  several  admired  romances, 
orij)CciaUy  the  one  called  "  liaimonde." 

F.\BRE  D'OLIVET,  M.,  was  bom  in  1768 
in  Ijinguedoc.  He  is  well  known  as  the  author 
of  "  Lcttrcs  h  Sophie  siir  niistoire."  He  was  like- 
wise a  good  musician,  and  published  many  ro- 
mances, and  some  instrumental  music. 

FABRICI,  DON  PIETRO,  a  Florentine 
monk,  published  at  Rome,  in  1C78,  "  Rcgole  di 
Canto  Jinn')." 

FABRICIUS,  \\T.RNER,  an  organist  at 
I,oij>sic,  published,  towards  the  middle  of  the 
seventeenth  century,  much  vocal  music,  also 
some  pieces  for  the  organ.     He  died  'n  1679. 

FA  BURDEN.  A  term  apphe<l  by  th-  old 
P^nglish  musical  ^^'riters  to  a  certain  species  of 
counterpoint. 

FACCO,  OIACOMO,  an  instrumental  com- 
poser, publishe<l  twelve  concertos  at  Amsterdam 
in  the  year  1720. 

FACII.IT.\.  (I.)  Ease,  facility  ;  as,  am  fa- 
cilita,  with  facility,  in  an  easy  manner. 

FACKELTANZ.  (G.)  Torch  dance.  .\  very 
pompous,  march-like  kind  of  dance,  much  prac- 


tised in  old  times,   with   imposing  festal  music 
and  in  whicli  tlie  dancers  carried  torches. 

FADINI,  ANDREA,  an  instrumental  com- 
poser,  published  twelve  sonatas  at  ^Vmsterdam  ir 
1710. 

FAGO,  NICOLO.  A  celebrated  Italian  com- 
poser  about  the  year  1700.  He  was  a  pupil  of 
Alessandro  Scarlatti,  and  studietl  in  the  Conser- 
vatory Dei  Poveri  di  (Jirsii  Cristo,  which  he  after- 
wards directed,  as  well  as  tliat  of  La  I'ieth. 
Fago"s  compositions  were  both  for  the  church 
and  theatre.  "  Eustacliio  "  is  the  most  celebrated 
of  his  operas. 

FAGOITO,  or  F-\G.  (I.)  Bassoon.  Ser 
that  word.  'l"here  was  formerly  in  use  a  large 
bassoon,  an  octave  lower  in  tone,  c&WcA  fagottone. 

FAIGNIENT,  NOE.  A  composer  of  madrigals 
and  other  vocal  music,  published  at  Antwerp 
between  tlie  years  loGS  and  159.5. 

FAIRFAX  MANUSCRIPT.  A  verj-  curious 
and  valuable  manuscnpt,  supposed  to  have  been 
written  before  1511,  has  been  preser\'cd  in  the 
British  Museum,  which  once  belonged  to  Dr.  Rob- 
ert Fairfax,  or  Fayrtax,  an  eminent  English  com- 
poser in  the  reigns  of  Henry  VII.  and  VIII. ;  it  was 
afterwards  in  the  jiossesMon  of  (icnernl  Fairfax, 
and  in  the  year  1777  was  the  property  of  Mr. 
White,  of  Newgate  Street  —  a  collection  of  very 
ancient  English  songs,  the  music  of  which  has 
been  carefully  preserved.  The  writing  is  clear 
and  intelligible,  though,  from  the  times  in  which 
it  was  written,  the  want  of  modern  punctuation 
in  some  parts  renders  it  difficult  to  be  ascer- 
tained. In  the  year  1512,  the  third  year  of  Henry 
VUI.,  a  memorandum  is  made  that  three  minstrels 
were  retained  as  a  part  of  the  household  of  the 
Earl  of  Northumberland,  \\z.,  a  tabcret,  a  bu- 
gle, and  a  rebec  ;  every  minstrel,  if  a  taberet,  to 
be  paid  four  pounds,  and  every  bugle  and  rebec 
thirty-three  shillings  and  fourpence.  Dr.  Fair- 
fax wrote  as  early  as  1500.  His  music  was  not 
barred. 

F.\  lA.  A  short  song  set  to  music,  with  a 
repetition  of  the  syllables  Fa  La  at  the  second 
and  fourth  line,  and  sometimes  at  the  end  of 
every  stanza.  Fa  La's  were  much  in  fashion 
during  the  seventeenth  centurj-,  and  are  to  In; 
found  in  the  works  of  Morlcy,  Hilton,  and  other 
eminent  composers. 

FALCO  published,  about  the  year  1776,  in 
London,  his  Op.  2,  consisting  of  six  solos  for  the 
violin.     He  ako  published  some  solfeggi  in  1780 

FALCONIUS,  PLACIDUS,  a  Bcne<lictine 
monk,  composed  some  church  music,  published 
at  Venice  between  the  years  1575  and  1588. 

F.VLKNER.  A  German  musician,  resident  io 
England  nlxiut  the  year  1760,  and  author  of  h 
work  entitled  "  Instructions  for  playing  the 
Harpsichord,    Thorough  Baas     fully    explained 


37 


289 


PAL 


ENCYCLOPEDIA    OF    MUSIC. 


FAB 


find  exact  Rules  for  tuning  the  Harpsichord," 
London. 

FALSE.  An  epithet  applied  by  theorists  to  cer- 
tain chords,  because  they  do  not  contain  all  the  in- 
tervals appertaining  to  tliose  chords  in  their  per- 
fect state ;  as  a  tilth,  consisting  of  only  six  semi- 
tonic  degrees,  is  denominated  a  false  fifth.  Those 
intonations  of  the  voice  which  do  not  truly  express 
the  intended  intervals  are  called  false,  as  well  as 
all  ill-adjusted  combinations ;  and  those  strings, 
pipes,  or  other  sonorous  bodies,  which,  from  the 
ill  disposition  of  tJieir  parts,  cannot  be  accurately 
tuned,  are  called  false.  Certain  closes  are  like- 
wise tenned  false,  in  contradistinction  from  the 
full  or  final  close.  We  apply  false,  in  music,  to 
any  violation  of  acknowledged  or  long-established 
rules,  to  any  tiling  imperfect,  or  incorrect. 

FALSE  ACCENT.  When  the  accent  is  removed  from  the  first 
note  of  the  bar  to  the  second  or  fourth,  it  is  called  a  falfte  accent. 
This,  bydisturlniii:  the  rhvthin,  inipaits  a  peculiar  moveiiient  to  the 
Rtrnin,  iipou  which  depend  its  leading  features  and  character,  as  iu- 
etanced  in  national  airs,  the  polonaise,  the  waltz,  the  polka,  Xc. 

KAI.Sl'J  FIF'I'H.  An  interval  conttiiiiinc  six  semitouic  intervals, 
and  conseQuentlv  smnller  than  the  perfect  fifth. 

FALSE  INTONATION.  The  reason  that  false  intonation  so 
eenerally  prevails,  is  the  want  of  surtieient  attention  to  tunini;  and 
inanagin^  the  voice.  'I'he  followiin,.  positi()ns  of  the  voice  are  i-equi- 
site  to  good  intfination.  First,  jilaee  the  voice  nt  the  back  part  of  the 
throat,  as  is  done  in  pronouncing  the  word  all;  a  sectmd  may  he 
produced  by  the  nu-ans  of  the  vowel  o,  as  pronounced  in  the  word 
art:  and  a  third  upon  the  vowels  f«,  as  pronounced  in  the  word 
nirth.  These  sc%'eral  po.sitions  will  give  that  sweetness  and  fulness 
of  tone  which  constitute  what  the  Ittlians  call  a  "  roce  di  petto'' 
and  will  bring  the  vocal  organs  into  that  position  most  proper  for  ac- 
quiring a  correct  and  rapid  execution. 

FALSETTO.  (I.)  That  species  of  voice  in  a 
man,  the  compass  of  which  lies  above  his  natural 
voice,  and  is  produced  by  artificial  constraint. 
In  the  voices  of  men,  the  voce  di  testa,  or  high 
register  of  the  voice,  is  sometimes  termed  a  fi\l- 
setto,  or  feigned  voice,  the  tone  of  which  is  simi- 
lar to  the  constrained  effect  produced  by  over- 
blowing an  organ  pipe  or  a  flute.  This  fictitious 
voice  is  abandoned  by  the  composers  of  the 
present  day,  as  being  devoid  of  strength  and 
expression.  —  Falsette,  or  Falset,  is  that  part  of  a 
person's  voice  which  lies  above  the  natural  com- 
pass, and  which  generally  is  somewhat  untrue. 

FALSO  BORDONE.  (I.)  A  terra  applied, 
in  the  early  days  of  descant,  to  such  counter- 
point as  had  either  a  drone  bass,  or  some  part 
constantly  moving  in  the  same  interval  with  it. 

FANCIES.  An  old  name  for  little  lively  airs 
or  tunes. 

FANDANGO.  A  dance  much  practised  in 
Spain,  and  of  which  the  natives  of  that  country 
are  particularly  fond.  Its  air  is  lively,  and  much 
resembles  the  English  hornpipe.  The  seguidiUa 
is  another  kind  of  dance  peculiar  to  the  Span- 
iards ;  it  in  some  respects  resembles  the  fan- 
dango, though  it  is  a  more  decent  dance.  The 
b'jlero  is  another  species  of  the  fandango  ;  its 
OiOlions  and  steps  very  slow  and  sedate,  but 
growing  rather  more  lively  towards  the  end.  In 
all  these  dances,  the  time  is  beat  by  castanets. 

FANFARE.  (F.)  A  short,  lively,  loud,  and 
warlike  piece  of  music,  composed  for  trumpets 
and  kettle  drums.  Also,  small  lively  pieces,  per- 
formed on  hunting  horns,  in  the  chase.  From 
its  first  meaning  is  HctwciX  fanfaron,  a  boaster. 

FANTASIA,  (I.)  or  FANTASIE.  (F.) 
riie  name  generally  given  to  a  species  of  composi- 
tion supposed  to  be  struck  off  in  the  heat  of 
imagination,  and  in  which  the  composer  is  al- 
lowed  to    give  free  range  to  his  ideas,  and  to 


disregard  those  restrictions  by  which  other  pro- 
ductions are  regulated.  Some  wTiters  limit  the 
application  of  this  term  to  certain  extempo- 
raneous flights  of  fancy,  and  say  that  the  mo- 
ment they  arc  written,  or  repeated,  they  ceas* 
to  be  fantasias.  TTiis,  they  add,  form«  the  only 
distinction  between  the  fantasia  and  the  ca- 
priccio.  The  capriccio,  though  wild,  Ls  the  re- 
sult of  premeditation,  committed  to  paper,  and 
becomes  permanent ;  but  the  fantasia  is  an  im- 
promiJtu,  transitive  and  evanescent,  e.xists  but 
while  it  is  executing,  and  when  finished  is  nc 
more.  Fantasias  being,  however,  daily  wTiltcn 
and  published,  it  is  evident  in  which  of  the 
above  senses  the  word  is  now  to  be  understood. 
The  term  fantasia,  which  means  fancy,  some- 
thing imagined,  is  frequently  misappUed,  and  its 
meaning  is  now  almost  unknown  to  inany.  A 
fantasia,  according  to  the  modern  acceptation  of 
the  word,  is  a  continuous  composition,  not  divided 
into  what  are  called  movements,  or  governed  by 
the  ordinary  rules  of  musical  design,  but  u. 
which  the  author's  fancy  roves  under  little  re- 
straint. It  is  written  as  it  would  extempo- 
raneously have  proceeded  from  the  finger  of  a 
ready  and  powerful  genius  ;  that  is,  it  shows  all 
the  characteristics  of  sudden  thought  and  imme- 
diate development. 

FANTASIREN.  (G.)  To  impro^-ise,  to  play 
in  the  fantasia  style. 

FARCE.  A  musical  farce  is  a  short,  extrava- 
gant comedy,  the  dialogue  of  which  is  interspersed 
with  suitable  airs,  arranged  for  the  voice  with 
instrumental  accompaniments. 

FARINA,  CARLO,  of  Mantua,  pubUshed,  in 
1628,  "  Pavans  and  Sonatas  for  the  Violin,"  and 
was  a  celebrated  perfonuer  on  that  instrirment, 
in  the  service  of  the  Elector  of  Saxony. 

FARINELLI,  called  also  Carlo  Droschi.  ThLs 
reiiowned  singer,  whose  voice  and  abilities 
surpassed  the  limits  of  all  anterior  vocal  excel- ' 
lence,  was  born  at  Naples  in  1705.  He  was  in- 
structed in  the  rudiments  of  music  by  his  father, 
and  in  singing  by  Porpora.  In  1722,  at  the  age 
of  seventeen,  he  went  from  Naples  to  Rome,  with 
his  master,  then  engaged  to  compose  for  the  ' 
Alberti  Theatre,  where  FarineUi  contended  with 
a  famous  performer  on  the  trumpet.  Every 
night,  during  the  run  of  an  opera,  this  struggle 
was  repeated,  which,  at  first,  seemed  amicable 
and  sportive,  untU  the  audience  began  to  interest 
themselves  in  the  contest.  After  severally  swell- 
ing out  a  note,  in  which  each  manifested  the 
power  of  his  lungs,  and  tried  to  rival  the  other  in 
brilliancy  and  force,  they  had  both  a  swell  and 
a  shake  together,  by  thirds,  which  was  continued 
so  long,  while  the  audience  eagerly  waited  the 
event,  that  both  seemed  to  be  exhausted  ;  and. 
in  fact,  the  trumpeter,  whoUy  spent,  gave  it  up, 
supposing,  however,  his  antagonist  a*  much  tired 
as  liimself,  and  that  it  would  be  a  drawn  battle ; 
when  Fai'inelli,  with  a  smile  on  his  countenance, 
showing  he  had  only  been  sporting  with  him  all 
this  time,  broke  out,  all  at  once,  in  the  samf 
breath,  with  fresh  vigor,  and  not  only  swelled 
and  shook  upon  the  note,  but  ran  tlio  most  rapid 
and  difficult  divisions,  and  was  at  last  silencej 
only  by  the  acclamations  of  the  enraptured  audi- 
ence. From  this  period  of  his  lil'e  may  be  dateil 
that  superiority  which  he  ever  maintained  ovo* 


290 


FAR 


ENCtCLOP.EDIA    OF   MUSIC. 


FAF 


all  his  contemporaiies.  In  the  early  part  of  his 
lite,  he  wns  tlistinguished  by  the  name  of  "  II 
Ragazzo,"  (the  Boy,)  as  Homer  was  called  "  the 
Poet,"  aiid  Swift  "  the  Dean."  From  Rome, 
Farinelli  went  to  Bologna,  where  he  had  the  ad- 
%'antage  of  hearing  Bernacchi,  a  scholar  of  the 
famous  Pistocchi,  of  that  city,  who  was  then  the 
most  scientific  singer  in  Italy.  Thence  he  went 
to  Venice,  and  from  Venice  to  Vienna,  in  both 
which  cities  his  powers  were  considered  as  mi- 
raculous. Farinelli  himself  told  Dr.  Burner, 
that  at  Vienna,  where  he  received  great  honors 
from  the  Emperor  Charles  VI.,  (and  admonition 
from  that  prince  was  of  more  service  to  him  than 
nil  the  precepts  of  his  masters,  or  the  examples 
of  his  competitors,)  his  imperial  majesty  con- 
descended cnie  daj'  to  tell  him,  with  great  mild- 
ness and  afiahiUty,  that  in  his  singing  he  neither 
moved  nor  stood  still  like  any  other  mortal ;  all 
was  supernatural.  "  Those  gigantic  strides," 
said  he,  "  those  never-ending  notes  and  passages, 
{ccs  notes  qui  ne  fiitisseiit  Jamais')  only  surprise,  and 
it  is  now  time  for  you  to  please.  You  are  too 
lavish  of  the  gifts  with  which  nature  has  en- 
dowed you  :  if  you  wish  to  reach  the  heart,  you 
must  take  a  more  plain  and  simple  road."  These 
judicious  remarks  effected  an  entire  change  in 
his  manner  of  singing  :  from  this  time  he  unit- 
ed pathos  to  spirit,  simplicity  ■^\'ith  the  suhhme, 
and  by  these  means  delighted,  as  well  as  aston- 
ished, every  hearer.  In  the  year  1734,  he  went 
to  England,  where  the  effects  which  his  surpris- 
ing talents  had  ujion  the  audience  were  ecstasy, 
rapture,  enchantment !  In  the  famous  air 
"  .Sort  qual  Nare,"  which  was  composed  for  him 
by  his  brother,  the  first  note  he  sang  was  taken 
with  such  delicacy,  swelled  by  minute  degrees 
to  such  an.  amazing  volume,  and  afterwards 
diminished  in  tlie  same  manner  to  a  mere  point, 
that  it  was  applauded  for  full  five  minutes. 
After  this,  he  set  off  with  such  brilliancy  and 
rapitlity  of  execution,  that  it  was  difficult  for  the 
violins  of  those  days  to  keep  pace  with  him. 
But  it  was  not  in  speed  only  that  he  excelled, 
for  he  united  the  perfections  of  every  celebrated 
singer.  His  voice  was  equally  eminent  for 
strength,  sweetness,  and  compass ;  and  his  style 
equally  excellent  in  the  expression  of  tenderness, 
grace,  and  rapidity.  In  a  word,  he  possessed 
such  powers  as  were  never  before  or  since  united 
in  any  one  singer  —  powers  that  were  uresistible, 
and  which  subdued  every  hearer,  the  learned  and 
the  ignorant,  the  friend  and  the  foe.  With  these 
talents  he  went  to  Spain,  in  the  year  1737,  in- 
tending to  return  to  England,  having  entered 
into  articles  ^^^th  the  nobility,  who  had,  at  that 
lime,  the  management  of  the  Opera,  to  perform 
during  the  ensuing  season.  In  his  way  thither, 
he  sang  to  the  Iving  of  France,  at  Paris  ;  where, 
according  to  Riccoboni,  he  enchanted  even  the 
French  themselves,  who  universally  abliorred 
Italian  music.  The  very  first  day  he  performed 
before  the  Queen  of  Spain,  it  was  determined  he 
should  be  taken  into  the  service  of  the  court,  to 
which  he  was  ever  after  wholly  appropriated,  not 
being  once  permitted  to  sing  in  public.  A 
pension  was  then  settled  upon  him  for  life, 
amounting  to  upwards  of  two  thousand  pounds 
sterling.  He  told  I  )r.  Burney,  that,  for  the  first 
ten  years  of  his  residence  at  the  court  of  Spain 
during  the  reign  of  Philip  V.,  he  sang  to  that 
nonarch,  every  night,  the  same  four  airs,  two  of 


which  were  "  Pallido  ilsok,"  and  "  Per  quesio  iMu 
amplesso,"  both  composed  by  Hasse.  He  was 
honored  also  by  liis  first  royal  master,  Phihp  V.. 
with  the  order  of  St.  Jago,  and  by  his  successor, 
Ferdinand  VI.,  under  whom  also  he  continued 
in  favor,  with  that  of  Calatrava,  in  1750.  His 
duty  now  became  less  constant  and  fatiguing,  as 
he  persuaded  this  prince  to  patronize  operas ; 
which  were  a  great  relief  to  Farinelli,  who  was 
appointed  sole  director  of  these  performances, 
and  engaged  the  best  Italian  singers  and  com- 
posers, as  also  !Metastasio  for  poet.  The  goodness 
of  Farinelli's  heart,  and  the  natural  sweetness  of 
his  disposition,  were  not  exceeded  even  by  the 
unrivalled  excellence  of  his  vocal  po\vers.  as. 
some  of  the  following  anecdotes  will  testify.  It 
has  been  often  related,  and  generally  believed, 
that  Philip  V.,  King  of  Spain,  being  seized  with 
a  total  dejection  of  spirits,  absolutely  refused  to 
be  shaved,  and  was,  in  other  respects,  incapable 
of  transacting  the  affairs  of  the  state.  The 
queen,  who  had  in  vain  tried  every  common 
expedient  that  was  likely  to  contribute  to  his  re- 
covery, determined  that  an  experiment  should 
be  made  of  the  effects  of  music  upon  the  king, 
her  husband,  who  was  extremely  sensible  of  its 
charms.  Upon  the  arrival  of  Farinelli,  of  whose 
extraordinary  performance  an  account  had  been 
transmitted  to  Madrid,  her  majesty  contrived  that 
there  should  be  a  concert  in  the  room  adjoining 
the  king's  apartment,  in  which  this  singer  ex- 
ecuted one  of  his  most  captivating  songs.  Philip 
at  fhrst  appeared  surprised,  then  affected,  and,  at 
the  conclusion  of  the  second  air,  commanded  the 
attendance  of  Farinelli.  On  his  entering  th« 
royal  apartment,  the  enraptured  monarch  over- 
whelmed him  with  complunents  and  caresses, 
demanding  how  he  could  sufficiently  reward 
such  talents,  and  declaring  that  he  could  refuse 
him  nothing.  Farinelli,  previously  instructed, 
only  entreated  that  his  majesty  would  permit 
his  attendants  to  shave  and  dress  him,  and  that 
he  would  endeavor  to  appear  in  council  as 
usual.  From  this  moment  the  king's  disease 
submitted  to  medicine,  and  the  singer  had  the 
whole  honor  of  the  cure.  By  singing  to  his  ma- 
jesty every  evening,  his  favor  increased  to  such  a 
degree,  that  he  was  regarded  as  a  prime  minister ; 
but  what  was  still  more  extraordinary,  and  most 
highl}'  indicative  of  a  superior  mind,  Farinelli, 
never  forgetting  that  he  was  only  a  musician, 
behaved  to  the  Spanish  nobles  attendant  upon 
the  court  with  such  unaffected  humility  and 
propriety,  that,  instead  of  envying  liis  good  for- 
tune, they  honored  him  with  their  esteem  and 
confidence.  Tha  true  nobihty  of  this  extraor- 
dinary person's  soul  appears  still  more  forcibly  in 
the  following  rare  instance  of-  magnanimity. 
Going  one  day  to  the  king's  closet,  to  which  he 
had  at  all  times  access,  he  heard  an  officer  of  the 
guard  curse  him,  and  say  to  another,  "  Honors 
can  be  heaped  on  such  scoundrels  as  these,  while 
a  poor  soldier,  hke  myself,  after  thirty  years' 
service,  is  unnoticed."  Farinelli,  without  seem- 
ing to  hear  this  reproach,  comjilainod  to  the 
king  that  he  had  neglected  an  old  servant,  and 
actually  procured  a  regiment  for  the  person  who 
had  spoken  so  harshly  of  him  in  the  antecham- 
ber, and  on  quitting  his  majesty,  he  gave  tho 
commission  to  the  officer,  telling  hira  he  had 
heard  him  complain  of  having  ser\'ed  thirt» 
years,  but  addfid,  "  You  did  -wTong  to  accuse  th 


901 


FAR 


ENCYCLOPEDIA    OF    MUSIC. 


FAS 


king  of  ncgl  •;ting  to  reward  your  services." 
The  foUowiiij'  story,  of  n  more  ludicrous  cast, 
was  frn<iucntly  told  niid  believed  at  Madrid,  dur- 
ing the  Hrst  year  of  Ruiuelli's  residence  in  Spain. 
This  sin^;er,  having  ordered  a  sui)erb  suit  of 
clothes  for  a  ijala  at  court,  when  the  tailor 
brought  them  home,  he  a-sked  for  his  bill.  "  I 
have  made  no  bill,  sir,"  said  the  tailor.  "  nor  ever 
shall  make  one.  Instead  of  money,  I  have  a 
favor  to  beg.  I  know  that  what  I  want  is  ines- 
tiiuablc,  and  only  tit  for  monarchs  ;  but  since  I 
have  the  honor  to  work  for  a  person  of  whom 
every  one  speaks  with  raptuie,  all  the  paj-ment  I 
shall  ever  recjuire  will  be  a  song."  Farinelli 
tried  in  vain  to  persuade  the  tailor  to  take  his 
money.  At  length,  after  a  long  debate,  giving 
•way  to  the  earnest  entreaties  of  the  humble 
tradesman,  and  perhaps  more  highly  gratified  by 
the  singularity  of  the  adventure  than  by  all  the 
applause  which  he  had  hitherto  received,  he  took 
him  into  his  music  room,  and  sang  to  him  some 
of  his  most  brilliant  airs,  delighted  with  tlie 
astonisliment  of  his  ravished  hearer  ;  and  the 
more  he  seemed  surprised  and  affected,  the  more 
Farinelli  exerted  himself  in  everj-  si^ecies  of  excel- 
lence. AMicn  he  had  concluded,  the  tailor,  over- 
come with  ecstasy,  thanked  liim  in  the  most 
rapturous  and  grateful  manner,  and  prepared  to 
retire.  "  No,"  said  Farinelli ;  "  I  am  a  little 
proud,  and  it  is  perhaps  from  that  circumstance 
that  I  have  acquired  some  little  degree  of  su])eri- 
ority  over  other  singers.  I  have  given  ^^■ay  to 
your  weakness ;  it  Is  but  fair  that,  in  your  turn, 
you  should  give  way  to  mine."  Then  taking 
out  his  purse,  he  insisted  on  his  receiving  a  sum 
amounting  to  nearly  double  the  worth  of  the 
suit  of  clothes.  Farinelli,  during  two  reigns, 
resided  upwards  of  twenty  years  at  the  Spanish 
court,  with  a  continual  increa-^e  of  royal  favor, 
and  the  esteem  of  the  principal  nobility  of  the 
kingdom.  During  his  greatest  favor  at  the  court 
of  Madrid,  he  is  said  to  have  been  no  more 
elated  than  with  the  acclamations  which  his 
extraordinary  talents  commanded  whenever  he 
sang  in  public.  In  the  year  17.59,  Farinelli  re- 
turned to  Italy.  After  visiting  Naples,  the  place 
of  his  nativity,  he  settled  at  Bologna,  in  17G1  ; 
in  the  environs  of  which  city  he  built  himself  a 
splendid  mansion,  which  in  Italy  is  called  a 
patazzo.  Here  he  resided  for  the  remainder  of 
his  Ufe,  in  the  true  enjoj-ment  of  atlluent  leisure. 
He  was  remarkably  civil  and  attentive  to  the 
English  nobility  and  gentry  who  visited  him  in 
his  retreat,  and  ajipeared  to  remember  the  pro- 
tection and  favor  of  individuals,  more  than  the 
neglect  of  the  public,  during  the  last  year  of  his 
residence  in  London,  \\lien  the  Marquis  of 
Cacrmarthen  honored  him  with  a  visit  at  Bo- 
logna, upon  being  told  that  he  was  the  son  of 
liis  patron  and  friend,  the  Duke  of  Leeds,  he 
threiv  his  amis  round  his  nock,  and  shed  tears 
of  joy  in  embracing  him.  This  extraordinary 
musician  and  blameless  man  died  in  1782,  in 
the  seventy-eighth  year  of  his  age. 

FARINELLI,  uncle  to  the  precetling,  was 
composer,  viohnist,  and  concert  master  at  Han- 
over, about  the  war  1081.  He  was  ennobled  by 
the  King  of  Denmark,  and  was,  by  King  Ucorge 
I.,  ap])ointe<l  his  resident  at  Venice. 

FAHMKU,  JOHN,  an  English  musician  un- 
der the  reign  of  Elizabeth,  and  author  of  the 


following  works:  1.  " Divers  and  sundrie  AVaies 
of  two  Farts  ui  one,  to  the  number  of  fortie  upon 
one  playu  Song ;  sometimes  placing  the  Grounde 
aboue  and  two  Parts  bencthe,  and  otherwise  the 
Grounde  benethe  and  two  Parts  aboue.  Or 
again,  otherwise  the  Grounde  sometimes  in  the 
Middelst  betweene  Ijoth.  Likewise  other  Con- 
ceites  which  are  plainlie  set  downe  for  the 
Profite  of  those  which  would  attainc  unto  Knowl- 
edge ;  "  by  J.  Farmer,  London,  1591.  2.  "The 
first  Sett  of  Enghsh  Madrigals  to  four  Voyces," 
London,  1.599. 

FARMER,  THOMAS,  originaUy  one  of  th« 
waits  in  London,  was  nevertheless  admitted  tc 
the  degree  of  bachelor  in  music  of  the  University 
of  Cambridge,  in  1G8L  He  composed  many 
songs,  printed  in  the  collectious  of  his  time,  and 
particularly  ui  "The  Theatre  of  Music,"  and 
"The  Treasury  of  Music,"  and  was  the  author 
of  two  very  fine  collections  of  airs,  tlie  one  en- 
titled "  A  Consort  of  Music  in  fom-  Parts,  con- 
taining thirty-three  Lessons,  beginning  with  an 
Overture;"  and  another,  "A  second  Consort  of 
Music  in  four  Parts,  containing  eleven  Lessons, 
beginning  with  a  Ground;"  both  printed  in 
oblong  (luarto,  the  one  in  168-5,  the  other  in 
1690.  In  the  Orpheus  Britannioa  Is  an  elegy 
on  his  death,  wTitteu  by  Tate  and  set  by  Purcell, 
by  which  it  appears  that  he  died  young. 

FARNABY,  GILES,  was  of  Christchurch, 
Oxford,  and,  in  1592,  admitted  bachelor  of  mu- 
sic. There  are  extant  of  his  composition,  "  Caji- 
zonets  for  four  Voices,  with  a  Song  for  eight  Parts," 
London,  1598.  He  also  assisted  Ravenscroft  in 
putting  parts  to  some  of  the  psahn  tunes  pub- 
lished at  the  beginning  of  the  next  centurj-. 
There  are  about  twenty  lessons  in  Queen  Eliza- 
i  beth's  "  Virginal  Book,"  by  Giles  Farnaby,  nearly 
as  difficult  as  those  of  Bud  and  Bull. 

F-\RR.\NT,  RICn.VRD,  a  fine  old  compo- 
ser of  church  music,  was  a  gentleman  of  the 
Chai)el  Royal  in  the  year  1564,  and  afterwards 
master  of  the  children  of  St.  George's  Chapel,  at 
Windsor.  He  was  also  clerk,  and  one  of  the  or- 
ganists. On  his  ajjpointment  to  the  latter  office, 
however,  he  resigned  his  place  in  the  chapel ; 
but  being  called  to  it  again,  he  held  it  till  1580. 
He  is  supposed  to  have  died  in  the  year  1585. 
His  compositions  are  in  a  remarkably  devout  and 
solemn  style  :  many  of  them  are  printed  in  Bar- 
nard's collection  of  church  music,  and  a  few  in 
Dr.  Boyce's  cathedral  music.  The  full  anthem, 
"  Lord  for  thy  tender  mercy's  sake,"  is  at  this  day 
in  frequent  use;  and  Dr.  Crotch,  who  has  in- 
serted it  in  liis  work,  has  justly  observed  that 
"  it  is  remarkable  for  its  serene  effect,  and  for 
being  as  beautiful  as  the  nature  of  plain  coun- 
terpoint will  admit." 

FARRENC.  A  flutist  and  composer  for  his  in- 
strument, born  at  Marseilles  about  1795.  He  was 
a  pupil  of  Berbiguier.  He  has  published  many 
compositions  for  the  flute  which  are  highly  es- 
teemed. 

FASCH,  JOIIANN  FRIEDRICH,  was  boru 
in  Germany  in  1688,  and  died  in  1759.  H« 
composed  some  good  church  and  instrumental 
music. 

F.YSCH,  CARL  FRIEDRICH  CHRISTIAN 
son  of  the  preceding,  was  chamber  musician  t« 


292 


FAS 


ENCYCLOPEDIA    OF   MUSIC. 


FEM 


the  K  ng  of  Prussia,  and  pianist  at  Herlin.  He 
died  -u  1800.  Fasch  com])osed  much  hi^hly- 
estcemcd  cliurch  music,  aud  uLso  some  piano- 
forte music.  His  Op.  1  consists  of  "Three 
Church  Cantatas,"  anthems.  2.  "  A  MLscrcre." 
3.  "A  Mass,"  of  great  merit.  4.  "Psalms." 
6,  "  A  KjTie."  6  and  7.  "  Two  Cantatas." 
8.  Some  very  ingenious  "  Canons."  9.  "  A 
liesson  for  the  Piano-forte."  10,  11,  and  12. 
"  Psalms." 

PASTO.SO.  (I.)  With  a  lofty  aud  splendid 
style  of  execution. 

FAUSITS^V.     See  Hasse. 

FAUX    BOURDON,    F.     See    Falso   Bou- 

DOXK. 

FAVANTI,  alias  MISS  EDWARDS,  made 
her  (libut  at  the  Italian  Opera  House,  London, 
in  1844,  with  success.  She  possesses  a  powerful, 
rich,  and  pleasant  voice,  without  a  siugle  weak 
note.  On  her  first  appenrnncc,  such  was  tlie  in- 
tensity of  her  feelings  that  she  fell  apparently 
lit'eless,  within  a  few  steps  of  the  stage,  on  re- 
tiring ;  but  by  medical  aid  she  soon  recovered, 
aud  at  subsequent  appearances  was  received 
with  the  most  Hattering  plaudits  of  the  house. 

FAVI,  AXI)UE.\,  an  Italian  composer  at 
Forli,  in  Italy.  He  is  the  author  of  the  opera 
bufta  called  "  II  CfcdiUo  Pazzo,"  perfonned  at 
Florence  in  1791. 

F  CLEF.  This  is  a  comixiund  character, 
formed  originally  of  three  notes,  one  placed  on 
the  hue,  aud  two  others  in  the  adjoining  spaces. 
llie  F  clef  must  be  placed  on  the  fourth  line 
of  the  staff,  so  that  tlic  two  dots  are  in  tlio 
third  and  fourth  spaces ;  all  the  notes  on  that 
line  are  called  F ;  the  other  degrees  take  their 
names  from  that,  as  the  clef  line.  The  C  clef 
was  distinguished  from  the  F  by  having  only  the 
two  notes  in  the  spaces  ;  and  these  clct's  were 
adapted  in  the  Gregorian,  wliile  colored  lines 
were  used  for  the  more  ancient  Ambrosian 
Chant.  When  tlie  added  lines  between  the 
treble  and  the  bass  frc(iuently  occur,  it  is  usual 
in  old  music  to  find  the  C  clefs  in  both  upper 
and  lower  staves.  Before  the  invention  or  in- 
troduction of  the  clef,  letters  were  placed  upon 
the  line,  signifying  the  same  tiling  as  the  clefs, 
thus  :  — 


Modern. 


MailtTH. 


v-q.i—a 


The  cle£s  n-s  now  established,  and  the  letters  as 
applied  to  the  staff  with  the  F  and  (i  clefs,  are 
lUso  stationary. 

FKBURE,  AXTON.     See  LErr.nuRE. 

FEBl'RE,  JEAX  I.E.  Chapel  master  at 
Mcntz,  and  composer  of  church  music  between 
the  years  lo95  and  1C09. 

F   DrU.     («.)     F  major. 

FEDEUICL  VINCENZO,  a  native  of  Pcsaro, 
was  member  of  the  conservatory  at  Milan,  and 
*  dramatic  composer  of  merit.  He  went  to  Eng- 
binil  in  1790,  and  several  of  his  serious  operius 
were  perfonued  about  that  time  in  I/indon, 
where  he  also   published  some   sonatas   for  the 


piano-forte.  Two  of  the  songs  from  his  opera 
"/  Giochi  (f  Affrii/cnto,"  aiul  two  from  "  Tcirlo- 
liiitla,"  have  been  printed  by  Bircliall.  The 
aria  "  Grazit  ti  reiiito  "  of  Federiei  i.s  one  of  liid 
most  admired  vocal  compositions,  and  was  fre- 
quently sung  at  private  concertH. 

FEHRE,  J.  A.,  Jr.  A  pianist  in  Germany, 
and  composer  of  mu-sic  for  his  instrument,  pub- 
lished at  Riga  and  other  towns  in  Germany 
between  the  years  1792  and  1797. 

FEKiNEI).  An  epithet  applied  to  a  certain 
description  of  voice.  A  falsetto  is  a  feigned 
voice. 

FELDMAYER,  JOH.VXX.  An  organist  aud 
composer  at  Berchtolsgadcn,  in  the  duchy  of 
Salzburg.  He  publLshed  some  sacred  rau.sic  at 
the  beginning  of  the  seventeenth  century. 

FELICL  An  Italian  dramatic  composer  about 
the  year  17()8;  he  also  composed  some  quatuora 
for  the  violin. 

FELTO.X,  REV.  WILLIAM,  prebendary  of 
Hereford,  was  celebrated  in  his  time  (about  the 
middle  of  the  eiglitccnth  century )  for  a  neat  and 
rapid  execution  on  the  organ  and  the  luurjjsichord. 
He  published  three  sets  of  concertos  tor  the^« 
instruments,  in  imitation  of  those  of  Handel, 
and  two  or  three  sets  of  lessons,  which  have 
been  in  considerable  request.  They  are  not, 
however,  now  to  be  met  with,  except  occasion- 
ally among  collections  of  second-hand  music. 

FEMALE  FLUTE  PLAYERS.  Horace 
speaks  of  bands  of  female  flute  players  and  of 
schools  for  their  instruction.  'Hicre  were  many 
who  were  celebrated,  in  their  time,  as  flute  play- 
ers ;  the  mo.st  renowned  of  these  was  I.amia. 
She  was  beautiful  and  witty,  and  a  prodigy  in 
her  profession.  An  ex(iuisite  engraving  of  her 
head  on  an  amethyst  was  in  the  collection 
belonging  to  the  King  of  France,  which  is  suffi- 
cient to  prove  that  history  has  not  exaggerated 
the  beauty  of  her  person.  She  travellc<l  from 
Athens  to  EgJ^)t  in  order  to  ascertain  the  merits 
of  the  famous  flute  players  of  the  latter  country. 
Her  person  and  performance  soon  attracted  the 
notice  of  the  court  of  Alexandria.  In  the 
conflict  between  Ptolemy,  ."sates,  and  Demetrius, 
for  the  Lsland  of  Cj'prus,  about  .'U2  years  before 
ChrLst,  Ptolemy  being  defeated  at  sea,  liLs  wile, 
seiA'ants,  and  military  stores  fell  into  the  handi 
of  Demetrius.  Lamia  was  among  the  female 
captives  ;  tliough  her  iKauty  was  on  the  decline, 
and  Demetrius  much  younger  than  herself,  yet 
her  concjueror  iK'carae  completely  her  captive  ; 
at  her  instigation  he  conferre<l  on  the  Athenian.4 
extraordinary  benefits.  In  Ilonu'e  we  find  men- 
tion made  of  whole  bands  of  female  players  , 
but  as  they  Ix-came  numerous,  so  their  manners 
became  liccntiou.s,  and  so  much  so  that  their 
occupation  was  forbidden  in  the  co<le  of  Theo- 
dosius. 

BEMALE  SIXOERS.  'ITic  first  h>Tnn  to  the 
Supreme  l!<'ing  upon  record,  is  that  whore 
Miriam,  the  sister  of  Moses,  took  a  timbrel  in 
her  han<l,  anil  sang  the  song  of  thanksgiving,  af- 
ter escaping  the  dangers  of  the  Hed  Son.  And  all 
the  women  wont  alter  her  with  timbrels.  The 
songs  of  Deborah  and  llarak  are  montionc<l  it 
Judges    as    being     sung     without    instrument* 


293 


FEM 


ENCYCLOPEDIA    OF    MUSIC. 


FER 


Delia  Valle,  speaking  of  the  female  dingers  of 
hin  time,  says  of  some  at  Rome,  "  Who  hears 
without  rapture  Signora  Leoiiora  sing  to  her 
nwu  accoiunauiraeiit  on  the  arch-lute,  which  she 
touches  in  so  Inncilul  and  masterly  a  manner ? 
And  who  will  venture  to  say  which  is  the  hcst 
performer,  she  or  her  sister,  Caterina  ?  Nor  is 
there  one  who,  like  me,  has  seen  and  heard  iSig- 
nora  Adriano,  their  mother,  when,  during  her 
youth,  she  sailed  in  a  felucca,  near  the  Pausilip- 
i)cu  grotto,  with  her  golden  harp  in  her  hand, 
but  must  confess  that  in  our  tinics  these  shores 
were  inhabited  by  Sirens  that  arc  not  only 
beautiful  and  tuneful,  but  virtuoas  and  benefi- 
cent." He  mentions  the  nuns  of  his  time,  and 
says  that  those  of  the  two  convents  at  Home  had 
tor  many  years  astonished  the  world  ;  he  also 
mentions  those  of  several  other  places,  whom 
the  people  liocCed  to  hear  as  miraculous.  He 
fc^serts  that  he  brought  the  Sicilian  airs  to 
Home  from  Naple-s  in  1611,  and  afterwards  from 
Sicily.  There  were  many  celebrated  female 
pingers  who  had  sung  in  operas  in  the  sixteenth 
century.  One  writer  gives  a  list  of  about  fifty. 
One  of  them  was  frequently  encored,  as  early 
as  1608,  at  Mantua,  in  the  opera  of  Dafne.  She 
died  the  same  year,  when  only  eighteen,  to  the 
great  regret  of  the  Duke  of  Milan  and  all  Italy. 
Another,  who  was  the  original  singer  of  the 
part  of  Euridice,  in  Peri's  opera,  is  said  to  have 
drawn  tears  from  every  hearer. 

FEMY,  HENllI.  A  French  violoncellist  and 
composer  for  his  mstrument  since  the  year  1810. 
lie  obtained  the  violoncello  prize  at  the  ParLs 
Conscr\'atory  in  1808. 

FEXAROLI,  FIDELE,  was  born  at  Naples 
in  173-1,  and  educated  at  one  of  the  conserva- 
tories there.  He  was  for  some  years  principal 
of  the  conservatory  of  La  I'ietn  in  that  town. 
Fcnaroli  published  a  small  work,  entitled  "  Re- 
gale per  (jli  Pniicijiianti  da  Cembalo,"  which  is  suc- 
ceeded by  a  collection  of  "  Parti  men  ti,"  forming 
an  e.^ccelient  series  of  lessons  in  fundamental 
bass.  Choron,  the  celebrated  French  composer, 
repubUshed  this  work  in  I'aris,  with  additions ; 
and  a  young  composer,  named  Imbimbo,  has  also 
published  a  supplement  to  this  work. 

FEO,  FRANCESCO,  born  about  the  year 
1699,  was  a  pupil  of  Gizzi.  This  composer, 
equally  celebrated  by  his  labore  for  the  church 
and  theatre,  and  for  his  ability  in  teaching  his 
art,  founded  a  school  for  singing  at  Naples,  to 
which  that  city  and  the  whole  of  Italy  owed  a 
great  number  of  singers,  as  famous  for  the 
beautv  of  their  voices  as  for  their  talent  and 
skill  in  the  use  of  them.  This  school  spread  the 
reputation  of  its  founder  throughout  Eurojie. 
F'  o  commenced  his  labors  by  composing  for  the 
cliurch  :  lie  displayed  talents  worthy  of  the 
stvle,  and  his  works  were  distinguished  for  their 
grandeur  and  strength,  science  and  energy. 
Satisfied  with  the  npi)robation  bestowed  by  liis 
fellow-citizens  on  his  superb  masses,  and  among 
others  on  a  justly  celebrated  "  Kyrie,"  he  next 
devoted  himself  to  tlie  theatre,  and  composed 
revcral  operas,  among  wliich  his  "  Ariana  "  and 
"Arsace"  are  pre.-iuincnt.  From  the  latter 
(iluck  borrowed  a  motive  for  his  overture  of 
"  Iphiijenid."  After  having  thus  shone  eciually 
in  compositions  lor  the  church  and  theatre,  he  at 
length  devoted  himself  entirely  to    instruction ; 


and  it  was  he  who  completed  the  musical  educa- 
tion of  JomeUi.  The  talents  and  labors  of  Foo 
procured  him  a  high  sUition  among  the  classical 
composers  of  the  most  brilliant  school  of  Italy 
Besides  his  operas,  there  remain  some  of  hi/ 
masses,  psalms,  and  other  pieces  for  the  church, 
which  complete  the  nomenclature  and  the  merit 
of  his  works. 

FERABOSCO,  ALPIIONSO,  Sen.,  au  Ital- 
ian composer  of  madrigals  and  motets,  about  the 
year  1.544.  Peacham  says  of  Ferabosco's  madri- 
gals, "  They  cannot  be  better'd  for  sweetness  of 
ayre  and  dejjth  of  judgment." 

FERABOSCO,  ALPIIONSO,  Jr.,  son  to  the 
preceding,  was  bom  at  Green^vich,  in  England. 
He  composed  some  songs  at  the  begmniug  of  the 
seventeenth  century. 

FERANDEmO,  DON  FERN.  A  Spanish 
guitarist,  and  author  of  an  excellent  method  for 
his  instrument,  published  at  Madrid  in  1799. 

FERANDINI,  GIOVANNI.  Director  of  the 
mvisic,  and  counsellor  to  the  Elector  of  Bavaria, 
at  Munich,  in  1786.  About  the  year  1760,  he 
made  himself  known  by  several  compositions  for 
the  viol  and  guitar.  In  1756,  he  composed,  for 
the  court  of  Parma,  the  ojiera  called  "  II  Fe-ili- 
no,"  the  words  by  the  celebrated  Goldoni.  Fer- 
andiiii  died  at  Munich,  in  1793,  at  an  advanced 
age. 

FERDINAND  in..  Emperor  of  Austria  be- 
tween the  years  1637  and  1050.  All  historians 
agree  in  representing  this  prince  as  au  excellent 
connoisseur  and  composer  of  music.  Wolfgang 
Ebner,  court  organist  at  Vienna,  published,  in 
1646,  an  ariette,  with  thirty-six  variations,  the 
composition  of  this  prince. 

FERDINAND,  PRINCE  FRIEDRICH 
CHRISTIAN  LUDWIG,  of  Prussia,  was  born 
in  1792,  and  was  an  excellent  pianist.  He  was 
killed  in  an  engagement  with  the  French  army  in 
the  year  1806.  Nine  operas  of  piano-forte  music, 
the  composition  of  this  prince,  have  been  pub- 
lished at  Leipsic  and  Paris. 

FERLENDIS,  GR'SEPPE,  a  celebrated  per- 
former on  the  hautboy,  was  born  at  Venice.  He 
went  to  London  in  1793,  at  the  same  time  with 
Dragonctti,  and  afterwards,  we  beUeve,  settled  at 
Lisbon.  Ferlendis  composed  much  music  for  his 
instrument. 

FERLENDIS,  ALEXANDER,  younger  son  to 
the  preceding,  was  born  at  Venice,  in  1783.  He 
was  a  pupil  of  his  father  on  the  hautboy  and  Eng- 
lish horn.  HLs  pl&y-ng  was  greatly  admii-ed  at 
Paris,  and  several  other  of  the  European  capi- 
tals. 

FERMATA.  (I.)  A  pause,  or  hold,  thus 
marked,  .^js 

FEROCE,  CON  FEROCITA.  (I.)  Fiercely, 
with  an  expression  of  ferocity. 

FEROCE.  A  Florentine  composer.  Dr.  Bur- 
ney  speaks  highly  of  a  mass  by  Feroce,  which  he 
heard  at  Florence  in  1770. 

FERR-^.DINL  GIOVANNI.  A  Hutist  and 
composer  for  his  instrument.  Some  of  hLs  woiks 
were  publishetl  at  Amsterdam,  m  1799. 

FERRANDINI,    ANTONIO,    a    NeapoUtan 


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ENCYCLOPEDIA    OF   MUSiC. 


FER 


composer,  born  in  1718,  left  the  Conser^-ator^-  nt 
Bu  early  a^e,  nnd  nl'ter  havin<»  tnivelled  through- 
out Itniy,  \vi\erc  he  was  remarkaole  tor  more  than 
one  learned  and  agreeahle  composition,  repaired 
to  Germany,  to  make  hiraselt  acquainted  with  its 
masters,  productions,  and  theatres.  He  acquired 
many  friends,  and  nature  had  bestowed  on  hira 
very  estimable  qualities.     His  travels  Knished,  he 


was  performed  in  the  church  of  the  convent ; 
and  that  the  scholars  belon;;ins  to  the  college 
had  the  ri^ht  to  receive  instruction-^  in  any  branch 
of  music  thoy  liked,  by  ))ayin^  only  ninety  Tyro- 
Icsc  llorins  (ei;;ht  pounds  stcrliuj^)  a  year,  in- 
cludinf;  board  in  a  lu.vurious  style,  a  bedroom  to 
each,  washing  and  instructions,  did  no  extra 
charge.     Here  Ferrari  ijcrccivcd  thi.t  he  was  in  a 


settled  at  Prague.     This  city,  as  well  as  the  whole  I  situation  at^reeable  to  his  wishes.     By  constantly 


of  Bohemia,  is  particularly  favorable  to  music,  in 
consetiuence  of  the  number  of  inhabitants  by  j 
whom  it  is  cultivated,  and  of  masters  who  teach 
it.  It  appears  that  the  works  of  Forrandini  were 
admireii  ;  but  the  justice  rendered  to  his  merit  ' 
did  not  save  him  trom  misfortune.  He  had  es]K!- 
ciully  adopted  the  ecclesiastical  style,  and  in  this 
he  particularly  excelled.  He  comixiscd,  amongst 
other  pieces,  a  "  Stahat  Mntvr,"  which  was  long 
sung  in  Prague,  and  generally  admired.  He  died 
in  1779. 

FEURARI,  BENEDEITO,  a  native  of  Rcggio, 
was  both  a  poet  and  a  musician.  He  resided 
principally  at  Venice,  where,  about  the  year  16l!8, 
he  established  an  opera,  which  he  himself  super- 
intended, and  for  which  he  was  both  poet,  com- 
poser, and  singer.  His  best  known  operius  are 
those  of  "  Ariiiida,"  composed  in  lO.'^O,  and  "11 
Pastor  reij'jio,"  in  1G40.  But  in  these  there  are 
no  airs,  the  dialogiie  being  only  carried  on  in 
recitative.  Ferrari  was  himself'  so  excellent  a 
performer  on  the  lute,  that  he  has  not  unfrc- 
(juently  been  styled  Ferrari  tklla  Tinrba. 

FERRARI,  GIACOMO  GOTIFREDO,  the 
son  of  Francesco  Ferrari,  a  respectable  merchant 
and  silk  manufacturer  at  Roveredo,  in  the  Italian 
Tyrol,  was  bom  in  175i).  G.  G.  Ferrari,  after  the 
usual  course  of  study  in  the  public  school  at 
Roveredo,  was  sent  by  his  father  to  Verona,  to 
tinish  his  education  under  the  Abbate  I'aiidolti. 
lliere  he  began  sol  fa,  and  to  learn  thorough  bass, 
first  under  Abbate  Cubri,  and  subse<iuently  under 
Marcola,  and  at  the  same  time  to  ])lay  on  the 
harjjsichord,  under  Borsaro ;  these  being  esteemed 
the  first  mastei-s  at  Verona  at  that  time.  Ferrari 
showed  immediately  a  great  natural  genius  for 
music,  and,  in  the  course  of  two  years,  sang,  ac- 
companied, and  played  at  sight.  He  then  re- 
turned to  Roveredo,  and  \\as  taken  into  his 
father's  counting  house.  But  music  was  already 
so  much  his  delight,  that  he  determii\ed  m  his 
own  mind  to  become  a  composer,  and  to  learn  the 
theory  of  every  instrument  for  that  purpose.  He 
I  *.-suaded  his  father  to  let  him  learn  to  play  on 

'  .•  flute  ;  assigning  as  a  reason,  that  being  on  the 
change  of  bis  voice,  and  therefore  unable  to  sing, 
the  study  of  the  flute  would  prevent  him  forget- 
ting liis  singing.  His  father,  who  could  refuse 
him  nothing,  agreed  to  his  re<iuest,  and  in  a  few 
months  afterwards  he  played  with  fluency  on 
that  instrument.  After  this,  his  family  conceiv- 
ing that  he  became  too  much  attached  to  music, 
he  was  sent  to  Mariaberg,  near  C'hvir,  in  the  Ger- 
man Tyrol,  with  the  intention  of  being  instructed 
in  the  (icrman  language.  But  the  good  man,  his 
father,  did  not  imagine  that  the  institution  of  the 
convent  and  college  of  Mariaberg  wa.«,  that  the 
thirty-two  monks  belonging  to  it  should  be  all 
musicians,  and  could  not  enter  into  it  without 
having  proved  that  they  could  sing  or  play  upon 


gome  instrument  at  sight;  that   every  day,  nnd 

sometimes  two  or  three  timed  a  day,  sacred  music  i  Ferrari  was  cal".  .-d  out 

2W 


hearing  both  sacred  and  jirofane  music  performed, 
and  by  cop\-ing  n  great  deal   of  it,  he  became  a 
solid  musician  at  an  early  period  of  lile.    He  pur- 
sued his  other  .studies  at  school  just  for  the  sake 
of  not  being  punished  ;  but  music  was  his  forte. 
He  learned  also  to  play  on  the  violin,  hautboy, 
and  double  ba.ss,  in  a  slight  manner,  of  course, 
but  well  enough  to  be  al)le  to  take  his  first  jjart 
with  other  instruments.     The   celebrated  fuguist 
Pater  Marianus  Stechcr,   who    was    the   school- 
master, gave  him  also  a  great  many  lessons  on  the 
piano-forte  and  in  thorough  bass.     After  sj)end- 
ing  two  years  at  Mariaberg,  Ferrari  returned  again 
to  his  father's  counting  house,  where  he  attended 
for  three  years,  but  more  from  o))edience  tlian  iji- 
clination.      His   lather  then  died,  and   being  ill 
treated  by  his  partners,  he  determined,  without 
further  delay,  to  try  his  fortune  as  a  coniijoser. 
Prince  AVcnceslas  Lichtensfein,  who  was  then  on 
his  way  to  Rome,  took  young  Ferrari  with  him. 
From  thence  he  repaired  to  Najdes,  with  the  in- 
tention of  taking   lessons  in   counteqioint    from 
Paisiello  ;  but  that  great  dramatic  composer,  hav- 
ing no  time  to  sjjare,  recommended  him  to  Latilla, 
an  able  contrapuntist,  under    whom   he  studied 
for  two  years  and  a  half.     At    the  same   time, 
however,  Paisiello   gave  him  advice,   and,   as    a 
friend,  instructed  him  almost  daily  in   theatrical 
composition.    At  that  period,  M.  Campan,  nuiilre- 
<rh6U:l  to  the  (hieen  of  Frajice,  oH'ered  to  take 
him  on  a  tour  through  Italy,  nnd  from  thence  to 
Paris,  which  proposition  was  accepted.     M.  (.'am- 
pan  ■  introduced  him  to  his  \\\ie,  prciniire  femnu 
lie  chainhre  to  the  queen,  and   Madame  CompnD 
introduced  him  to  her  majesty,  whom  he  had  the 
honor  to  accompany  on  the  piano  for  several  hours. 
Her   majesty  approved   his   manner  of    accom- 
panying, and  also  admired  some  Italian  Hotturni 
of  his  composition  which  he  sang  to  her.     Some 
time  aftersvard.s,  the  ([ueen  sent  Madame  Campan 
to  inform  Ferrari,  that  it  was  her  intention  to  ap- 
point him  her  singing  master,  should  the  public 
aHairs  take  a  good  turn  ;  but  the  revolution  came 
rapiiUy   on,    and   every  •  thing    was   overthrown. 
When  the  Thf.Atrc  Fcyilenu  was  budt  in  Paris  f'^r 
the   Italian   opera,  Ferrari   was   appointed   con- 
ductor, when  he  eomjio-ed  several  i)icces  of  mu- 
sic, which  were  received  with  great  applause.    In 
the  year  1791,  having  witnessed  the  horrors  of 
the  French  rcvohition,  he  emigrated  to  Brussel« 
and  Spa,  where  he  gave  concerts.     He  also  com- 
posed there,  and  performed  a  concerto  and  sev- 
eral sonatas,  which  were  favoraldy  receive<l.     He 
was,  however,  never  n  very  great  player,  but  his 
feelings,  taste,  and  compositions  made  him  ap- 
pear greater  in   that  respect  than   he  really  wa.*. 
In  the  same  year,  he  set  the  opera  "  l^t  Eritu- 
tneiu  imj>ri'.T}U,"  for  the  Th' Aire  MnntaniifT,  which 
was  very  much   admired,  although  it  had  l>ecn 
composed  Iwfore  by  (irefry.     llie  fn%-orife  duct 
of  "  Srrriteur  i)    Mnnsieiir  la    FIcur  "   was   mptur- 
ously  encore<l  ;  also,  after   the   opera   was   over, 
Durii^  the  foiu  ye&n 


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ENCYCLOPEDIA    OF   MUSIC. 


FES 


he  remained  in  Pnris,  he  c'ompose<l  and  published 
neveral  Italian  nnttiinti,  ducts,  modern  canons  for 
three  voii-es,  some  sets  of  romances,  the  favorite 
of  which  arc  "  Thioiiie,  pour  aimer  fat  recu  ta 
rie,"  "  A  I'mnhrc  d'lin  mijrthe  ftenri,"  "  Quand 
T amour  naiuit  li  Cijthirc,"  \:c.,  several  KCts  of  sona- 
tas for  the  i)iano-forte,  and  for  the  piano-forte 
and  violin,  or  Hulc,  S;c.,  Ike.  Ferrari  was  next 
engaged  as  a  composer  to  the  ITieatre  Montansier, 
with  three  Imndrod  huis  d'or  a  year;  but,  fear- 
ing that  the  public  affairs  would  become  worse 
and  worse,  he  emigrated  to  IJrussds,  and  in  the 
year  1792  to  London,  highly  recommended  to 
some  of  the  first  noblemen's  and  gentlemen's 
fomilics,  as  well  as  to  several  foreign  ambassa- 
dors, by  whom  he  was  constantly  well  received 
and  employed  for  musical  tuition,  particularly  in 
ringing.  His  first  composition  in  London  was 
performed  at  Salomon's  concerts,  and  was  a  reci- 
tative and  rondo,  "  Se  mi  tonnenti  amr>rc,"  sung 
with  great  success  by  Simoni.  In  the  course  of 
thirty-one  years'  residence  in  London,  he  com- 
posed a  great  many  pieces  for  public  concerts,  and 
for  the  Opera  House,  some  of  which  are,  *'  lo  son 
capricciosctto,"  "  Sospiro  e  mt  vergogno,"  "  Delte 
F.nee  abbaiuloiiate,"  "  Quamlo  verra  la  sopra," 
"  Qu  Zimira  chc  a<lorai,"  "  Per  pieta  ben  mio  jKr- 
dona,"  "  Le  belie  mie  .ipcran:x,"  "  Soto  amor," 
'•  Tornaie  al  prato,"  "  F  e  come  nobile,"  "  Vedcie 
Vedvte,"  "  Senti  dird  cost,"  "  Scena  di  Pctrarca," 
"  Sento  nel  core,"  "  I'n  bacio  tenero."  He  aLso 
composed  four  Italian  operas,  two  of  which  be- 
came favorites,  "  /  diii  Scizzeri,"  and  "  L'Eroi- 
tm  di  R<ia&  ;  "  two  ballets,  "  Dorea  e  Zeffi.ro,"  and 
"La  Damn  di  Spirilo;"  a  great  deal  of  music  di 
camera,  such  as  sets  of  Italian  and  English  can- 
zonets, duets  caiione  for  three  voices,  sets  of  sona- 
tas for  the  piuno-fortc,  sometimes  with  an  accom- 
paniment for  the  violin,  violoncello,  flute,  &c. ;  a 
great  many  duets  and  divertimentos  for  the  harp 
and  piano-forte,  f  he  first  of  which  (Op.  1.3)  luus  been 
deemed  quite  a  model  for  a  duet  for  those  instru- 
ments. In  the  year  1804,  he  married  Miss  Henry, 
a  celebrated  jiianist,  by  whom  he  had  a  son  and  a 
daughter.  In  tlie  year  1800,  he  wasafHicted  with 
a  complaint  in  his  "eyes,  and  was  blind  for  nearly 
three  years.  At  tliis  period  he  used  to  dictate  his 
compositions  to  liis  fiicnds ;  but  at  length  he  recov- 
ered well  enough  to  be  able  to  write  for  himself, 
with  the  help  of  a  magnifying  glass,  and  to  re- 
sume his  instructions.  Ferrari's  last  compositions 
are   without  doubt  the  best ;  for,  without  chan- 


FERKAKI,  CAllLO.  A  celebrated  violoncel- 
list and  composer  for  hLs  instrument.  Dr.  Bur- 
ney  heard  him  nt  Parma  in  1770,  and  speak* 
highly  of  his  Uilents.  He  published  six.  solos  foi 
the  violoncello  at  ParLs. 

FERllAUI,  DOMIXICO,  brother  to  the  pre- 
ceding, was  a  violin  pupil  of  Tartini,  and  pub- 
lished at  London  and  Paris  some  violin  music, 
which  was  much  esteemed.  He  died  on  a  pas- 
sage from  Paris  to  London  in  1780. 

FES.     (G.)    F  flat. 

FESCA,  FRIEDUICII  EllXST,  concert  mas- 
ter to  the  Grand  Duke  of  Paden,  virtuoso  on  the 
violin,  and  comiMser  in  all  styles,  was  bom  in 
Magdeburg,  in  1789,  of  musical  parents.  In  180.i 
he  became  a  member  of  the  theatre  and  concert 
orchestra  in  Lcipsic,  from  which  place  he  was 
tempted  by  a  better  offer,  the  next  year,  from  the 
Duke  of  Oldenbuig.  Put  even  here  his  restless 
spirit  sought  a  higher  sphere,  wliich  he  found,  in 
the  spring  of  1808,  as  solo  violinist  in  the  new 
chapel  and  opera  at  Cassel,  where,  through  the 
influence  of  Keichardt,  a  brilliant  array  of  talent 
was  assembled  and  well  paid.  Here,  until  1813, 
Fesca  passed  his  happiest  days,  notwithstanding 
repeated  visitations  of  sickness.  Here  he  cam^ 
forward  publicly,  and  with  honor,  as  a  composer. 
Here  he  wrote  his  first  seven  violin  quartets  and 
his  first  two  sjTuphonies.  In  181-4,  after  the 
dissolution  of  the  kingdom  of  AVestplialia,  he 
went  for  a  few  months  to  Vienna,  to  visit  a  broth- 
er. Already  had  his  feeble  health  compelled  him 
to  renounce  concert  plajnng,  so  that  in  "\'ienna  he 
only  perfonned  hLs  quartets  In  private  circles, 
where  they  found  acceptance,  and  his  plajing 
was  warmly  admired.  In  18 lo  he  became  concert 
master  in  the  chapel  of  the  Grand  Duke  of  Baden. 
Here,  for  eleven  years,  he  gave  lilmseK  chiefly  to 
composition,  e\'ldently  Inclining  more  and  more 
to  the  church  style.  In  his  psalms,  his  childlike, 
pious  spirit  expresses  itself  with  clearness  and 
beauty  ;  and  they  reveal  a  lofty  inspiration  and  an 
inwardness  which  he  hardly  reaches  in  his  other 
works.  He  wrote  these  psalms  in  certain  signifi- 
cant periods  of  his  life;  for  Instance,  the  13th 
psalm,  when  he  lay  in  a  state  of  hopelessness 
from  long  and  painful  sickness  ;  and  the  103d 
psalm  in  gratitude  for  liis  recovery  from  repeated 
attacks  of  bleeding,  which  brought  him  near  to 
death  in  the  spring  of  1821.  From  this  sickness 
he  never  quite  recovered  :  declining  various  offers 


ging  either  his  school  or  Style,  he  has  followed  the  j  of  better  situaiions,  he  saw  his  strength  waste 
'"  '  .     !■  T  •    i.^.__     away,  while  other  hitter  experiences  made  him 

shv  of  other  men,  and  ilrew  him  into  solitude. 


modern  taste  with  effect.  As  a  i)art  of  his  latter 
compositions,  we  shall  mention  "  L'Addio,"  "  Stu- 
dio di  Mu.iira  leorica  c  pratica."  We  do  not 
know  why  Ferrari  lelt  London  for  Edinburgh ; 
but  he  was  well  received  there  ;  his  compositions 
and  singing  were  admired  in  many  private  con- 
certs, and  his  ins'.'uetions  were  eagerly  sought 
after  in  tlie  first  tiimilies  and  schools  of  that  me- 
tropolis. 

FEUUAllI,  M.VDAME  VKTOIHE,  wife  ojf 
the  preceding,  snd  daughter  of  Monsieur  Henri, 
a  celebrated  dancing  master,  was  born  in  1785. 
From  the  age  of  seven  ycai-s,  she  studied  music 
under  Kicus.-cr,  an<l  ae(iuired  such  proficiency  on 
the  piano,  that  ut  nine  years  old  she  was  intro- 
duced to  ilaydn,  and  perfonned  before  him.  Be- 
tween eleven  and  twelve  she  played  in  public  at 
Raimondi's  concerts,  before  his  majesty,  who  ex- 
pieuued  liis  a];probation  of  her  talent 


Only  a  few  friencLs  came  near  him  to  revive  his 
drooping  spu-its  for  an  hour  occasionally.  Yet  in 
art  his  soul  continued  free  and  active  ;  indeed,  his 
latest  works,  comiwirod  with  his  earlier,  show 
more  cheerfulnos,  if  not  even  humor.  The  use 
of  the  springs  at  Ems,  in  the  summer  of  1S2.5, 
appeared  to  benefit  him,  and  so  revived  his  ener- 
gies that  he  wrote  an  ovcrtuii  br  the  orchestra, 
and  his  last  quartet  with  flute.  But  this  was 
only  the  last  flickering  up  of  the  dying  Hame ; 
in  January  182(),  he  took  to  his  bed  again,  which 
he  never  left ;  he  longed  to  die,  and  on  the  2Uh 
of  May,  1826,  his  longing  was  fulfilled.  His  de- 
parture was  tranqviil.  "  I  see  nothing  more  I  '*  were 
his  last  words.  Then  he  had  himself  seated  up- 
right, summoned  up  his  last  energies,  raised  hij 
folded   hands   in   prayer,    and   expired   withoul 


296 


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ENCYCLOPEDIA    OF    MUSIC. 


FET 


one  momentary  spasm  of  death  being  visible  upon 
liis  countonnncc.  His  head,  always  beautilul, 
uowmuiiilcsteda  transfiguration  which  astonished 
tlie  bystanders.  He  was  scarcely  tliirty-seven 
years  old.  liochlitz,  his  biographer,  thus  speaks  of 
him  as  a  composer  :  "  He  belongs  among  those 
composers  of  our  day  who  make  less  noise  than 
they  find  s>-mpathy  ;  who  are  less  imposing  and 
transporting  than  they  arc  apt  to  excite  oiu-  re- 
spect and  good  feeling;  who  arc  less  praised  than 
enjoyed."  To  praise,  as  an  artist,  he  was  by  no 
means  indifferent,  but  it  never  led  him  to  sacrifice 
his  convictions  of  what  he  thought  was  right  and 
beautiful  in  composing.  His  wsus  a  pure.  dLsin- 
terested  striving  to  that  end ;  if  he  ever  failed,  it 
was  from  mistaken  judgment  or  from  sickness. 
His  works,  about  the  merit  of  which  the  world  is 
divided  in  opinion,  are  quite  numerous.  For  ;he 
church  lie  wrote  a  "I'tUer  Xosler,"  for  four  solo 
voices,  with  chorus,  and  several  psalms ;  for  the 
theatre,  the  operas  "  Cantemire"  (1819,  much 
admired)  and  "  Omar  and  Leila,"  (romantic),  in 
182.3 ;  and  for  the  chamber  and  the  concert 
room,  twenty  quartets,  (for  string  and  wind 
instruments,)  five  quintets,  (ditto,)  three  grand 
symphonies,  four  overtures,  four  pot-pourris  for 
violin,  one  rondo  for  French  horn  ;  and  a  great 
many  songs  and  ballads  of  various  characters ; 
among  which  his  Op.  17,  consisting  of  four  four- 
part  songs,  his  four-part  song  "An  die  heiliye 
Cacilia,"  and  his  Op.  33,  (aria,  Ja,  dcs  Wiedcr- 
leheni  Freiidt;  for  soprano  and  organ  or  piano,) 
are  especially  worthy  of  mention.  Some  of  his 
songs  liave  been  repubUshed  to  English  words,  in 
this  country. 

FESCEN'XIXE  VERSES.  So  caUed  from  the 
town  of  Fesccnnia,  in  Etruria,  where  they  were 
first  used.  ITicy  were  in  the  form  of  a  dialogue, 
between  two  persons,  who  satirize  and  ridicule 
each  other's  failings  and  vices ;  also  a  sort  of 
dramatic  poem,  perhaps  extemporaneous.  Fes- 
cennina  was  the  name  given  to  the  first  nuptial 
songs,  nds  species  of  IjTic  poetry,  which  was 
afterwards  improved  into  the  epithalamium, 
though,  in  its  early  state,  not  quite  so  chaste  as 
modern  delicacy  would  exact,  wa.s  long  sanctioned 
by  the  customs  of  ancient  times.  The  young 
Komans  sang  Fcscennine  verses,  particularly  at  the 
harvest  festivals,  aci'onipanying  them  with  mimic 
motions.  The  Emperor  Augustus  prohibited 
them,  as  tending  to  corrupt  the  public  morals. 

FESTA,  CONSTANTIUS.  The  compositions 
of  this  master  arc  generally  considered  to  be  ex- 
cellent. One  of  his  motets  is  to  be  found  in  the 
fourth  book  of  Motelli  deUa  Corona,  i)rinted  so 
porly  as  the  yei\r  IjlO.  In  the  third  book  of 
Arkadclt's  madrigals,  published  at  Venice  in  1541, 
there  are  seven  of  Festa's  compositions.  "  In 
these,"  says  Dr.  IJunicy,  "more  rhythm,  grace,  and 
facility  a]>pcar  than  in  any  production  of  his  con- 
temporaries that  1  have  seen.  Indeed,  he  seems 
to  have  been  the  most  able  contrapuntist  of  Italy 
during  tliis  eai'.y  period,  and,  if  Palestriiia  and 
Constantius  Porta  be  excepted,  of  any  period 
anterior  to  the  time  of  (larissimi.  I  could  not 
roeLst  the  pleasure  of  scoring  his  whole  first  book 
of  thrce-])art  madrigals,  from  the  second  edition, 
printed  at  Venice  in  l.j.ii) ;  for  I  was  antonishcd 
as  well  as  deliglited  to  find  the  composition  so 
much  more  clear,  regular,  phrased,  and  unem- 
barrcsscd,  than  I  expected." 


FESTA,  LUIGI.  a  celebrated  Italian  viohnist 
and  composer  for  his  instrument,  resided  at  Najde* 
about  the  year  1805. 

FE.STIXG,  MICILVEL  CIIUISTIAN.  A  Ocr- 
man  violinist  and  composer  for  his  instrument, 
resident  in  Ixindon  m  the  first  half  of  the  last 
century.  He  was  a  pupil  of  Oeminiani.  His 
solos  for  the  violin  are  well  compohcd,  but  little 
known,  having  been  originally  sold  only  l)y 
private  subscription.  To  Festing  appertains  the 
principal  merit  in  establishing  the  fund  for  the 
support  of  decayed  musicians  and  their  families. 
'niLs  society  took  its  rise  in  the  year  1738,  from 
the  following  occurrence  :  Festing,  then  resider.t 
in  London,  being  one  day  seated  ut  the  window 
of  the  Orange  Coffee  House,  at  the  comer  of  the 
HajTnarket,  observed  a  very  intelligent-looking 
boy  driWng  an  ass  and  seUing  brickdust.  He  wiw 
in  rags,  and  on  inquiry  was  found  to  be  the  son 
of  an  unfortunate  m\isician.  Struck  with  grief 
and  mortification  that  the  object  before  him 
should  be  the  child  of  a  brother  professor,  Festing 
determined  to  attempt  something  for  the  child's 
su])port,  with  the  assistance  of  Dr.  Morrice  Green. 
'ITiese  worthy  men  soon  after  established  a  fund 
towards  the  support  of  decayed  musicians  and 
their  families. 

FETIS,  FRANQOIS  JOSEPH,  the  learned 
musical  theorist,  critic,  and  joumaUst,  known  also 
as  an  industrious  composer,  was  born  at  Mons,  in 
Belgium,  in  1784.  He  manifested  a  passion  and 
talent  for  music  at  a  very  early  age,  and  had  hLi 
first  instruction  from  his  father,  who  was  organist 
at  the  cathedral  and  conductor  of  the  concerts  in 
that  city.  He  entered  the  Conservatory  at  Paris 
in  the  year  1800,  where  he  became  the  pupil  of 
Rev,  in  harmony.  In  1804  he  studied  uiuler  Al- 
brechtsberger  in  Vienna.  He  tried  his  fortune 
in  many  branches  of  musical  composition,  not 
excepting  symphonies  and  the  larger  fonns  of 
church  music ;  but  his  true  vocation  more  and 
more  developed  itself  in  the  sphere  of  musical 
learning  and  criticism.  He  published  first,  in 
1823,  his  "  Traiti  iliinentaire  (F llarmnnie  et  Ao 
compa'jncmcnt  "  ( Elementary  Treatise  on  Harmony 
and  Accompaniment);  afterwards,  in  1824,  a  val- 
uable treatise  on  counterpoint  and  fugue,  "  Trait)'- 
dii  (:oiin/rc/x)i/il  el  de  la  Fut/ue," which  was  adopted 
as  the  basis  of  instruction  at  the  Conservatory. 
His  next  work  was  a  memoir  on  the  question, 
"  What  was  the  merit  of  the  Flemish  mu>icianit 
in  the  fifteenth,  sixteenth,  and  seventeenth  cen- 
turies ■  "  which  received  a  prize  from  the  Hoynl 
Institute  of  the  Netherlands.  In  1829  ho  ptil>- 
lished  his  "  Traiti  de  f  AccompaynemeiU  de  la  Parti- 
tion "  (Treatise  on  the  Accompaniment  of  a  Score), 
and  in  1830  his  popular  little  work,  wfiich  has' 
been  translated  into  English  and  German,  "  /» 
Miuiijur  mi.ic  a  In  Port^.f  de  tout  le  Monde,"  (  Music 
made  plain  to  all  the  World.)  In  1827,  Fetis  com- 
menced the  i)ublication  of  his  very  valuable  mu- 
sical journal,  "  Ixt  Penie  Miuicale,"  which  he 
continuctl  withotit  intemiption  till  November, 
1835,  nearly  nine  years.  Of  the  lohor  ond  re- 
sponsibility of  this  ta^ik  we  may  form  some  iden 
from  his  own  description  of  it  in  his  "  liio- 
ijraphie  Vnirenelle."  With  the  exception  of  ton 
or  twelve  articles,  Fctis  e<litotl  the  timt  Kv« 
years  alone,  nmking  an  amount  of  matter  equal 
to  almut  eight  thousand  octavo  pofies.  During 
the  first  three  years  he  gove  every  week  twentj- 


38 


297 


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ENCYCLOPAEDIA    OF    MUSIC. 


FIE 


four  ixifjos  of  small,  close  tjqjc,  and  in  the  fourth 
vear,  tliirty-two  pajies  of  a  larger  size.  Dur- 
ing this  time  he  had  to  be  pre.-ent  at  all  repre- 
Eentntioiis  of  new  o])erius  or  revivals  of  old  ones, 
at  tlie  (h'bii/s  of  singers,  at  all  kinds  of  con- 
certs ;  to  visit  the  schools  of  music  ;  inquire  into 
new  systems  of  leeching  ;  visit  the  ■workshops  of 
musiod  instrument  makers,  to  render  account  of 
new  inventions  or  improvements;  analyze  what 
appeared  most  imjiortant  in  the  new  music  ;  read 
what  was  published,  in  France  or  foreign  coun- 
rries,  upon  the  theory,  didactics,  or  history  of 
tiusic  ;  take  cognizance  of  the  journals  relating 
tO  this  art,  published  in  Gennany,  in  Itidy,  and 
hi  Englund;  and  even  consult  a  great  many  sei- 
entitie  reviews,  for  facts  neglected  in  these  jour- 
tals :  and  finally  keep  up  an  active  correspond- 
ence ;  and  all  this  without  neglecting  hLs  duties 
It,  professor  of  composition  in  the  Conservatory, 
or  intcrru])ting  other  serious  labors."  At  the 
same  time  M.  Fetis  edited  the  musical "  Feuillelon," 
in  the  newspaper  "  Lc  Temps ;  "  and  he  says  that 
several  times  he  has  written  three  articles  upon  a 
new  opera  on  the  same  day,  amounting  in  all  to 
about  twenty-five  octavo  pages, namely,  one  for  his 
own  "  Revue,"  one  for  the  "  Temps,"  and  one  for 
the  "  Xational ;  "  each  article  considered  the  opera 
under  a  ditferent  iioint  of  view,  and  all  three  ap- 
peared tlie  day  but  one  after  the  performance. 
FctLs  commenced  the  collection  of  materials  for 
his  great  biographical  dictionary  of  musicians  as 
early  as  1806.  'llie  first  volume  appeared  ui 
1837,  (Brussels:  Meline,  Cans,  &  Co.,)  and  the 
continuation  in  1844,  (Mayence :  Schott  &  Sons.) 
It  is  the  most  complete  work  of  the  kind  in  ex- 
Lstence,  filling  eight  large  octavo  volumes,  under 
the  title  of  "  Biixjraphie  Universelle  des  Musiciots, 
et  BihUop-aphie  Ginirale  de  la  Musique,"  (Univer- 
sal Biography  of  Musicians,  and  General  Bibli- 
ograjjliy  of  JIusic.)  It  is  a  work  invaluable  for 
reference,  though  the  Gennans  complain,  doubt- 
less with  some  justice,  of  the  partiality  disj)laycd 
in  tliis  and  other  writings  of  Fctis.  In  the  year 
1833,  Fetis  was  appointed  director  of  the  newly- 
established  Belgium  Conservatoire  at  Brussels, 
which  position  he  still  holds.  His  musical  jour- 
nal lias  also  been  revived  for  some  years  past, 
under  tlie  title  of  "  Revue  et  Gtizvlte  Musicalc,"  at 
Paris,  and  jirincipally  edited  by  himself  and  his 
Bon.  He  has  also  continued  to  compose  music,  to 
WTite  and  publish  books  and  treatises,  theoretic, 
critical,  philosophical,  and  didactic,  and  to  give 
historical  concerts  and  lectures  upon  music.  For 
B  fuller  catalogue  of  his  works,  see  article  Fdtis 
in  his  "  Bioy.  Unicersel." 

FF,  I'RIXCIPALMEXTE  IL  BASSO.  Very 
loud,  especially  the  bass.  It  is  also  an  abbrevia- 
tion of  fortissimo.     FFF  is  still  louder. 

FKV'IX,  or  FEUM,  AXTOIXE,  a  native  of 
Orleans,  is  mentioned  by  Glareanus  with  great 
eucoiixiums,  as  a  successful  emulator  of  Joscpiin 
de  Prcz,  and  a  youth  whose  modesty  and  diffi- 
dence were  equal  to  hLs  genius.  There  are  tliree 
of  his  masses,  in  the  collection  of  masses  and 
motets  dc])ositod  in  the  British  Museum,  all  of 
which  are  said  to  be  excellent,  but  particularly 
the  one  entitled  "tiancta  Trinitatis." 

FIASCO.  (I.)  The  technical  term  for  a  fail- 
ure, a  complete  hrca/c  down  in  a  musical  perforin- 
aace.    Tlius  the  Italians,  and  in   imitation  of 


them  the  habituis  of  operas  and  concerts,  say  oi 
a  singer,  slie  made  a  Jiasco  of  such  a  piece.  Per- 
haps derived  bom  Jiasco,  a  round-bottomed  ftaak, 
which  cannot  stand  up. 

PTBICK,  AXTOX,  a  perfotraer  ou  the  trumpei 
at  Prague.  He  composed  some  masses  previom 
to  the  year  1796. 

FIDDLE.  This  instrument  is  mentioned  in 
the  legendary  "  Life  of  St.  Cluistopher,"  wTitten 
about  the  year  1200. 

"  Chri»tofre  hym  ien-cd  lonee  : 
The  kynge  loved  iiicludyc  uf  fillick  itnd  of  ionge." 

Tlie  fiddle  is  a  well-known  stringed  instra- 
raent,  invented  before  the  twelfth  century,  and  ui 
old  Enghsh  called  /t/ule,  a  name  supposed  by 
some  writers  to  have  been  derived  from  the  Latin 
word  Jidicula,  a  little  lute  or  guitar.     See  Violin. 

FIDDLER  One  who  practise!,  or  profeuea  to  perform  upon,  the 
fiddle,  or  violin. 

FIDDLESTICK.  A  utensil  w  called  becauae  uwd  Inperibnn- 
ing  on  the  fiddle.    See  Abco. 

FIDICIXAL.  An  epithet  common  to  all 
stringed  instruments. 

FIELD,  JOHX.  A  native  of  Bath,  and  celebrat- 
ed piano-forte  pupil  of  Clementi.  He  accompa- 
nied his  master,  in  the  year  180'i,  to  Parii., where  he 
delighted  every  one  who  heard  him,  i)laying  some 
of  the  great  fugues  of  Sebastian  Bacli  with  such 
precision  and  inimitable  ta.ste  as  to  call  forth 
fi'om  his  Parisian  audience  the  most  enthusiastic 
apjjlause.  From  Paris  he  proceeded  to  Vienna, 
where  Clementi  intended  to  place  him  under  the 
instruction  of  Albrechtsberger,  and  to  this  Field 
seemed  at  first  to  assent  with  pleasure  ;  but  when 
the  time  arrived  for  Clementi  to  leave  him,  and 
set  out  for  Russia,  poor  Field  expressed  so  much 
regret  at  parting  from  lus  master,  and  so  strong  a 
desire  to  accompany  him,  that  Clementi  took  him 
on  to  Petersburg,  in  ^^•hich  city  he  lelt  him  with 
I)roper  introductions.  The  lollowing  summer 
Clementi  revisited  Petersburg,  and  found  Field 
in  the  full  enjoyment  of  the  highest  reputation, 
wliich  he  has  ever  since  maintained  in  that  capital, 
where  he  contuiued  to  reside  till  1833,  when  he 
revisited  London  and  I'aris,  and  made  the  tour 
of  France  and  Italy,  with  great  applause.  Sick- 
ness detained  him  in  Italy  until  183;3,  when  he 
again  returned  to  Russia.  He  died  January  1 1, 
1837.  Field  has  published  many  concertos  of 
considerable  merit,  and  much  other  music  for  the 
piano-forte.  Among  his  works  are  the  following  : 
Piano-forte  :  "  First  Concerto  in  E  fiat."  "  Sec- 
ond Concerto  in  A  flat."  "  Third  Concerto  in 
Ertat"  "  Fourth  Concerto  in  E  flat."  "Fifth 
Concerto,  or  L'Incendic  par  I'Orage,  in  C."  "  First 
Divertisement,  with  Accom))aniinontof  two  Vio- 
lins, Flute,  and  Bass,"  Bonn.  "  Second  Diver- 
tisement, with  Accomjianimcnt  of  two  VioUns, 
Flute,  and  Bass,"  Moscow.  "  Quintet  for  Piano, 
two  Violins,  Flute,  and  Violoncello."  <'  Rondo, 
with  Accompaniment  of  two  VioUns,  Tenor,  and 
Bass."  "  Grand  AValtz,"  London.  "  Varia- 
tions to  a  Russian  Air,"  Leipsic.  "  Fantaisie 
and  Variation  to  the  Air  Ma  Zetube,"  Bonn. 
"  Fantaisie  to  an  Andante  by  Martini,"  (Op.  3.) 
"  Fantaisie  upon  Guarda  mi  un  poco  dal  capo  a] 
piedc."  "  Xew  Fantaisie,  upon  tlio  Polonois* 
Ah,  quel  domraage,"  (Leijisic.)  "  Three  Sona- 
tas,"   (Op.    1,)    Leipsic.     "Rondo    Ecossoise, 


298 


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ENCYCLOPEDIA    OF    MUSIC. 


FIl 


(ad  lib.)  "  Rondos  from  his  Concertos."  "  Sona- 
ta." "Three  Komnnces,"  (ad  lib.)  "Air  du 
bon  Roi  Henry  IV'.,  with  Variations."  "  Exer- 
cise in  all  the  major  and  minor  Keys,"  Lcipsic. 
"Three  Nocturnos."  "  Fourth  Nocturno  in  A." 
"  Filth  Xocturno  in  B  flat."  "  Si.>cth  Xocf  urno  in 
F."  "  Seventh  Nocturne  in  C."  "  Ki|^hth  Xoc- 
turno in  U."  "Rondo,  Xo.  1."  "Rondo,  Xo. 
2."  "  Rondo,  Xo.  3."  "  Rondo,  Xo.  4."  "Sona- 
ta in  B."  "  Grand  'Waltz,  in  A."  "  Favorite 
I'olonoise,  in  form  of  a  Rondo,  in  E  flat."  "  Fa- 
vorite Rondo  in  A,"  dedicated  to  the  Countuis 
d'Orloff.  Also  some  yoccunios,  considered  his 
best  works. 

FIEXUS,  JOANNES.  A  compo.scr  of  madri- 
gals, published  in  the  Xethcrlands,  between  the 
yaars  1.5.59  and  1580.  lie  died  at  Dordrecht  in 
1585. 

FIESCO,  GIULIO.  A  madrigal  composer 
about  the  middle  of  the  sixteenth  century.  He 
was  born  at  FeiTara,  and  his  works  were  all  pub- 
lished at  Venice. 

FIFE,  or  FIFFARO.  A  slirill  wind  instru- 
ment of  the  martial  kind,  consistiii;?  of  a  short, 
narrow  tube,  with  holes  disposed  along  the  side 
for  the  res^ulation  of  its  tones.  It  is  blown  at 
the  side,  like  the  common  flute.  The  first  thing 
to  be  learned  on  this  instrument  is  the  blowing 
or  filling  it  sufficiently  to  sound  the  notes  clear 
and  distinct.  Observe,  therefore,  the  lips  must 
be  close  except  just  in  the  middle,  to  give  passage 
to  the  wind,  and  likewise  contracted  smooth  and 
even. 

'Ilien,  resting  the  fife  just  under  the  opening 
of  the  lips,  place  the  mouth-hole  of  the  fife  op- 
posite this  opening,  and  blow  aslant  into  the 
hole,  turning  the  fife  outward  or  inward  till 
you  can  make  it  sound.  It  is  not  the  great 
quantity  of  wind  that  is  wanted  to  make  the 
fife  sound,  but  the  manner  of  disposing  of  it, 
letting  it  come  out  quick  and  in  as  small  a  quan- 
tity as  is  necessary,  according  to  the  shrillness 
of  the  tones  you  want  to  produce ;  the  lower  the 
notes  are,  the  more  gently  you  must  blow,  and 
the  higher  they  are,  the  stronger. 

Mil  en  you  can  thus  fill  the  fife,  put  down 
the  three  first  fingers  of  your  left  hand  upon  the 
three  holes  nearest  the  mouth  hole,  and  the 
three  first  fingers  of  your  right  band  upon  the 
other  three  holes,  placing  your  thumbs  on  the 
opposite  side  between  each  of  the  two  first  fin- 
gers, taking  care  to  stop  the  holes  firm  and 
close ;  then  blow  gently,  and  you  will  sound  the 
note  D.  To  sound  E,  take  off  the  third  finger 
of  your  right  hand.  To  sound  F  =  ,  put  down 
'he  third  finger  of  your  right  hand,  and  take  off 
the  second  finger,  To  sound  (i,  take  off  the 
second  and  tliird  fingers  of  the  right  hand ;  and 
BO  on  for  the  other  notes,  as  will  be  seen  in  the 
scale  below. 

'ITiere  are  several  kinds  of  fifes,  that  Ls,  keyed 
on  difl'erent  letters.  Those  in  use  are  from  a 
foot  to  sixteen  inches  in  length,  llie  longest 
are  B  fifes ;  but  those  keye<l  on  C  are  the  most 
common. 

The  fife  is  a  very  simple  instrument,  and 
within  the  reach  of  all ;  and  it  affords  a  degree 
of  pleasiirc  in  playing  flowing  and  lively  raclo- 
lies.  nie  following  directions  for  selecting  and 
laing  the  instrument  will  be  found  of  value  :  — 


Picking  out  a  Fife.  —  One  with  the  mouth-hole 
slightly  oval,  and  not  too  large,  is  generally 
filled  the  easiest. 

Black  ebony  fifes,  or  such  as  aie  made  from 
heavy  wood,  with  a  smooth  bore,  usually  pro- 
duce tones  of  the  best  quality.  A  fife  mad* 
Irom  lead  or  gold,  would  j)robably  be  the  most 
l)owcrhil.  One  with  a  joint  iu  it  is  not  tha 
better  for  playing  on  that  account. 

lloUtimj  and  blowing.  —  Hold  it  in  the  left 
hand;  lay  it  ([uite  down  between  the  thumb  and 
fore  finger,  the  fingers  tightly  placcil  on  the  holes. 
Put  undenieath  tlie  thumb  of  t)ie  riglit  hand. 
The  fingers  the  Kime  as  for  the  left. 

It  will  be  easily  filled,  by  directing  into  it 
a  small,  smooth  current  ot  air,  from  the  mouth, 
in  a  slightly  oblique  direction,  which  will  set 
the  column  of  air  in  the  fife  in  vibration,  and 
a  shrill  sound  will  be  produced.  But  little  wind 
is  required  to  fill  tlus  instrument.  Very  much 
dejiends  upon  the  skill  of  the  perfonner  in 
adjusting  his  lips  so  that  none  shall  be  spilled. 
The  learner  should  not  blow  as  though  he  were 
kindling  a  fire.  It  will  be  better  understood  if 
we  say  the  wind  should  be  tchistlcd  into  the 
fife.  Every  one,  in  beginning,  blows  five  times 
as  much  as  Ls  necessary.  Xothing  like  a  buzzmg 
should  be  suffered,  which  results  from  the  blow- 
ing more  wind  over  the  hole  than  is  forced 
into  it 

ITie  same  sound  is  made  sharp  by  rolling  the 
fife  out ;  flattened  by  rolling  it  in.  The  learner 
often  supposes  that  he  does  not  blow  pro])erly, 
when  the  difficulty  results  from  not  completely 
covering  the  holc-s.  Sounds  in  the  second  scale 
are  produced  by  blowing  a  little  harder;  in 
the  third  by  blowing  with  a  little  more  force, 
and  by  a  different  fingering,  as  may  be  seen  in 
the  gamut  for  the  scales. 

Let  the  scale  be  learned  before  attempting  to 
play  a  melody. 


j.,,iJ;^^rrfrt^ 


DEFOABCDEFGABCDEFtOA 

/•  •  m    ••aoo««***oo**     ao 


•   o   o   a   • 


•   •oooso* 


rO     9    •      0000*»*C0      0 


Rl«hH 


•   •  o    o    o   o   o 
0  0     o    o    o    o 


I* 


•   oooo*«oo     oa 
oooooo»eo     ou 


Tliese  si.x  dots  represent  the  sbc  holes  on  the 
fife ;  the  black  dots  are  the  holt's  stopped  ;  and 
the  small  circles  represent  the  fingers  off".  When 
you  can  play  the  first  eight  notes,  (or  octave,) 
then  try  to  play  the  next,  to  porfonu  which, 
you  must  draw  your  hps  tighter,  and  let  the 
wind  come  out  finer  and  stronger ;  when  you 
have  learned  that,  then  try  at  the  remainder,  still 
forcing  the  wind  out  stronger ;  and  then  practu'* 
the  whole  from  the  lowest  to  the  highii*!.  and 
back  again,  until  vou  have  lenmeil  every  not* 
perfectly,  and  can  p\ay  every  note  iu  the  gamu 
without  stopping. 

KIFEB.     A  |»rf"rni»r  on  lh»  »*. 
Firi'AKO      (I.)     Ilfr.    SannuPirrilO. 
FIKHt:.    (F.)     ABft. 

FirrEENTH.     An  inter  ral  consisting  of  tw\ 


299 


FIF 


EXCYCLOPJEDIA    OF    MUSIC. 


FIN 


octaves  ;  also  the  appellation  given  to  a  certain 
stop  in  the  organ. 

FIFTH.  A  distance  comprising  four  diatonic 
intervals :  that  ix,  tlirec  tones  and  a  liali'.  The 
filth  is  the  second  of  the  consonances  in  the 
order  of  their  generation.  Consecutive  iifths  are 
not  allowable  in  hanuony,  because  they  do  not 
produce  a  good  effect,  and  are  offensive  to  the  ear. 
The  reason  of  this  i«,  they  have  the  effect  of  two 
successive  keys,  without  the  necessary  modula- 
tion, or  connecting  link  between  them  ;  and  it  is 
paintul  to  the  ear  to  leave  the  key  in  which  we 
are  playing  or  singing,  without  proper  prepara- 
tion. If  consecutive  fifths  are  played,  we  have 
exactly  the  same  melody,  at  the  same  time,  in 
iifths,  in  two  different  keys,  the  one  destroying 
the  effect  ol  the  other;  so  that  the  pleasing  effect 
of  each  is  lost.  There  is  no  more  real  difliculty 
or  impropriety  in  fifths  or  octaves,  "  perfect  con- 
coriLs,"  as  they  are  caUcd,  as  such,  succeeding 
each  other  in  similar  motion,  than  there  is  in  any 
other  succession  of  chords ;  and  it  is  only  where, 
so  succeeding,  they  become  a  i)art  of  another 
scale  in  a  new  and  distant  key,  that  any  dithculty 
is  felt,  and  they  are  to  be  avoided ;  and  wlien  no 
such  change  is  the  result,  they  may  be,  and  are, 
as  freely  used  as  any  other  succession  of  chord;, 
whether  perfect  or  imperfect ;  and  a  single  rule, 
capable  of  universal  application,  a  rule  always 
sure,  true  in  all  cases,  and  which  never  need  to 
be  departed  from,  varied,  or  excepted  to,  this 
simple  rule,  —  that  in  a  progression  of  chords, 
whether  classed  as  discords  or  concords,  perfect 
or  imperfect,  an  abrupt  change  to  a  new  and  dis- 
tant key,  without  modulation  or  prejiaration,  is  to 
be  avoided  —  wUl  incltide  all  that  need  be  said, 
and  may  supersede  all  the  various  and  contra- 
dictory rules  wliich  have  been  made  upon  this 
point. 

FIFITI,  SHARP.  Tlie  shaq)  fifth  is  an  in- 
ten-al  consisting  of  eight  semitones. 

FIFIX,  JAMES.  An  EngUsh  musician.  He 
published,  in  1801,  "The  Musical  Calendar,  or 
Vocal  Year,  for  one,  two,  or  three  Voices,  with 
introductory  S}Tnphonies  expressive  of  the  four 
Seasons,"  London. 

FIGURANTES.  (F.)  Those  dancers  of  a 
ballet  who  do  not  dance  singly,  but  many  to- 
gether, and  serve  to  fill  up  the  background  dur- 
ing the  exhibition  of  iutlividual  performers.  They 
correspond  to  the  chorus  in  the  opera.  In  the 
drama,  j)eoj)le  are  called  Jtijuranttis  who  figure 
without  having  to  say  any  thing. 

FIGURED.  A  term  applied  to  that  descant, 
which,  instead  of  mo\-ing  note  by  note  with  the 
bass,  consists  of  a  free  and  florid  melody.  A 
bass  accompanied  with  numerical  characters, 
denoting  the  harmony  formed  by  the  upper  or 
s\iperior  /wrfcj  of  the  composition,  and  directing 
the  chords  to  be  played  by  the  organ,  harpsi- 
chord, or  piano-forte,  is  called  a  fif/uml  bass,  IJy  a 
figure<l  bass  we  mean  a  bass  with  figures  attaclied 
to  it  for  the  jmrpose  of  indicating  the  hannony. 
It  is  a  sign  or  notation  of  liarraony,  though  not 
hannony  it.»clf.  Figured  bass  indicates  the  par- 
ticiilar  chord  to  be  taken  in  connection  with  each 
successive  bass  tone.  Figures  were  originally 
u.scd  for  the   purjjose  of  saving   the   labor   and 


expense  of  wTiting  out  the  parts  upon  the  staff 
in  full.     See  li\ss  Tiiouovgu. 

FIGURED  BASS.  This  term  is  also  used  ii: 
another  sense,  (called  sometimes  _/f^Hrft/  bass,! 
to  denote  a  bass  which,  while  a  certain  chord 
or  harmony  is  continued  by  the  parts  above, 
moves  in  notes  of  the  same  harmony.  For 
exami)le,  if  the  upper  parts  consist  of  C,  E,  G, 
(the  common  chord  or  harmony  of  C,)  and  while 
tliey  are  held  on,  or  continued,  the  ba.is  moves 
from  C,  the  fundamental  note  of  that  harmony, 
to  E,  another  note  of  the  same  harmony,  that 
bass  is  called  a  Jigurcd  bass. 

FIGURES  OF  DnnXUTION  reduce  the 
time  of  the  notes  over  which  they  are  place' 
one  third  of  their  relative  length,  thus  :  — 

-6- 


The  notes  with  a  figure  3  are  called  triplets , 
and  when  two  triplets  come  together,  as  in  the 
above  example,  a  figure  (i  may  be  used,  which 
has  the  saipe  effect  over  the  sLx  notes  as  the 
figure  3  has  over  the  three.  Diminution  takes 
place  when  there  are  a  number  of  worcLs  which 
are  to  make  tones,  and  several  hasty  motions  in 
the  space  of  a  cadence ;  several  quavers  and 
semiquavers  corresponding  to  a  crotchet  or 
minim. 

FILIBERI,  ORAZIO.  A  composer  of  sacred 
music  in  the  seventeenth  century. 

FILS.  A  French  violinist,  and  author  of  a 
method  for  hLs  mstrument,  published  at  Paris  in 
1800. 

FILUM.  (L.)  The  name  formerly  given  to 
the  line  drawn  from  the  head  of  a  note  uj)wards, 
or  downwards,  and  wliich  is  now  called  the  tail, 
or  the  stoii. 

FINAL.  An  old  appellation  given  to  the  last 
sound  of  a  verse  in  a  chant,  wliich,  if  complete, 
is  on  the  key  note  of  the  chant ;  if  incomplete, 
on  some  other  note  in  the  scale  of  that  key. 

FINALE.  (I.)  A  word  signifying  the  last 
comjiosition  perfonned  in  any  act  of  an  opera, 
or  part  of  a  concert,  llic  finale  consists  of  com- 
positions of  various  characters.  In  instrumental 
pieces,  it  has  mostly  a  character  of  vivacity,  and 
requires  a  quick  movement  and  lively  per- 
formance. In  the  opera,  the  finale  mostly  con- 
sists of  a  series  of  compositions  for  many  voices, 
and  of  different  character  and  different  time  and 
movement. 

F  IN  ALT.  ITie  seventh  above  G  in  alt  ; 
the  seventh  note  in  alt. 

F  IN  ALTISSIMO.  Tlie  octave  above  F  in 
alt  ;  the  seventh  note  in  altissimo. 

FINAZZI,  FILIPPO.  A  singer  and  composer, 
born  at  Bergamo  in  1710.  After  performing  at 
the  Italian  opera  at  Breslau,  and  remaining 
for  some  years  in  the  service  of  tlie  Duke  of 
Modena,  he  purchased  a  coiuitry  house  near 
Hamburg,  where  he  marrietl,  and  remained  till 
his  death,  which  took  place  in  the  year  1776. 
Much  of  Fiuazzi's  music  was  published  at  Ham- 
burg. 


300 


F    N 


£ncyclop.5:dia  of  musk 


fIC 


I 


FlXt'II,  EinVAKD.  A  deacon  of  York  in  the 
j-tiar  1700.  In  Dr.  Tudwny'H  collection  of  services 
and  nntheins  nre  a  "  7V  Deum"  and  a  "Jubilate  " 
of  Finch's  composition. 

FIXCK,  IIEKM  AXN.  Author  of  a  work  pub- 
lished at  Wurtemburg  in  lo.5(),  under  tlie  title 
"Practira  Mu.iiia, Kreiii/ila  variorum  Siijiu>rum,  Pm- 
fxtrlioitioH  ct  Caiwnum,  Judicium  de  Tunis  ac 
ijuirdum  de  Arte  auatitcr  et  urtijitiose  cantandi." 
This  is  a  very  rare  book,  and  contains  much 
valuable  matter  respecting  the  early  history  of 
music. 

FIXK,  or  FIN.  (I).  The  end.  Fine  del  atto, 
end  of  the  act.     Fine  del  aria,  end  of  the  air. 

FIXF/m,  (JIACOMO.  A  Franciscan  monk 
and  composer,  bom  at  Ancona.  He  published 
much  sacred  music  at  Venice  in  the  early  part  of 
the  seventeenth  century. 

FIXGEU.  A  word  metaphorically  applied  to 
ability  in  execution  in  general,  but  especially  on 
keyed  instruments ;  as  when  we  say,  such  a 
master  ])ossesses  an  expressive  or  an  elegant 
Jinger ;  that  lady  displays  a  rapid  or  a  delicate 
Jinger. 

FIXGER  BOARD.  That  tliin,  black  cover- 
ing of  wood  laid  over  the  neck  of  a  \-ioUn,  vio- 
loncello, &c.,  and  on  which,  in  performance,  the 
strings  are  pressed  by  the  lingers  of  the  left 
hand,  while  the  right  manages  the  bow. 

FIXGEUED.  A  term  applied  to  piano-forte 
exercises,  over  or  under  the  notes  of  which 
figures  arc  placed,  to  signify  the  linger  with 
which  each  corresponding  key  is  to  be  struck. 

FIXGER,  GOITFRIED.  A  German  musi- 
cian, and  chapel-master  to  King  James  II.  of  Eng- 
land in  168.5.  He  publislied  an  opera  in  London 
in  1()!)1,  called  "  'Ilie  Judgment  ol  Paris,"  and 
afterwards,  on  the  continent,  various  other  dra- 
matic music,  and  some  instrumental  pieces. 

FIXGERIXG.  Disposing  of  the  fingers  in  a 
convenient,  natural,  and  apt  manner,  in  the  per- 
formance of  any  instrument,  but  more  esjwcially 
the  organ  and  piano-forte.  Good  fingering  is 
one  of  the  first  things  to  which  a  judicious  mas- 
ter attends.  It  is,  indeed,  to  this  that  the  pupil 
must  look,  as  the  means  for  acquiring  a  facile 
aud  graceful  execution,  and  the  power  of  giving 
passages  with  articxilation,  accent,  and  expression. 
Easy  passages  may  be  rendered  ditficult,  and  dif- 
ficult ones  impracticable,  by  Iwd  tingcring  ;  and 
thougli  there  are  many  arrangcraent,s  of  notes 
whicli  admit  of  various  fingering,  still,  even  in 
these,  tliere  is  always  one  best  way  of  disposing 
of  t)\c  hand,  either  with  regard  to  the  notes 
themselves,  or  those  which  jjrecedc  or  follow 
them.  Hut  there  arc  an  infinite  number  of  pos- 
sible dispositions  of  notes,  which  can  only  be 
lingered  in  one  particular  way ;  and  every  at- 
tempt at  any  other  is  but  risking  the  cstabli.sh- 
ment  of  some  awkwardness,  which  the  practi- 
tioner will  have  to  unlearn,  before  he  can  hope 
to  attain  the  true  fingerijig.  Hence  it  Ls  obvious 
that  no  qualification  requisite  to  good  i)er- 
fonnaiicc  is  of  more  importance  to  the  learner 
than  that  of  just  fingering,  and  that  whatever 
talents  and  assiduity  may  be  able  to  achieve, 
independently  of  instruction,  in  thLs  great  par- 
ticular, the  directions  of  a  skilful  master  are  bi- 
difipeusablc. 


FINISHED.  An  epithet  habitually  ajiplied 
to  musical  practitioners  sujjjKistd  to  be  advanced 
to  the  vdtimate  stage  of  manual  or  vocal  execu- 
tion. He,  or  she,  whose  performance  is  conceived 
to  be  superlatively  e.xccUent,  ia  said  to  be 
Jinished. 

FIXITO.     (I.)     FuiLshed,  or  ended. 

FIXTO,orFIXT.  (I.)  A  feint.  A  terra  applied 
to  the  ])rej)aration  for  a  cadence  which  is  not 
executed ;  when  the  ])erformer,  having  done 
every  thing  that  Lh  retjuisite  to  a  full  close,  in- 
stead of  falling  on  the  final,  passes  to  some  other 
note,  or  introduces  a  pause. 

FIOCIII,  VIXCEXZO,  was  bom  at  Rome  in 
17*)7.  He  studied  at  Xaples  under  Fenaroli,  at 
the  conser\'atory  of  Iai  J'irtii,  after  which  he  com- 
posed in  Italy  sixteen  operas,  some  of  which  were 
successful  in  the  i)erformancc.  He  was  next 
appointed  organist  to  St.  Peter's  at  Rome,  from 
whence  he  went  to  Paris  about  the  year  ISO'i, 
when  he  produced  the  opera  "  Le  Valet  de  deux 
Mtiitrrs."  Afterwards  he  was  engage<l  in  tuition 
in  Paris,  and  puolLshod,  conjointly  with  Choron, 
"  Le3  Priiu-ipct  it  Accompagnement." 

FIORAVANTI.  VALENTINO.  A  dramatic 
composer,  bom  at  Rome  in  1767,  aud  a  resident 
of  Florence,  especially  dLstinguLshed  by  his  comic 
operas,  which  are  remarkable  for  native  wit,  for 
lightness,  vivacity,  and  spirit.  In  July,  1,S1<'>,  he 
was  appointed  chapel-ma,ster  of  St.  Peter's  in 
Rome.  He  stvulied  at  Naples,  but  entered  on  his 
theatrical  career  at  Turin.  He  set  many  comic 
operas  for  the  Italian  theatres,  between  the 
years  1787  and  1810.  In  1807  he  went  to  Paris, 
where  he  produce«l  "  /  Virtuosi  amhutanti,"  the 
words  of  which  Picard  has  imitated  in  his 
"  Coniidient  ambulana."  This  had  the  same  suc- 
cess as  his  "  Capricciosa  penlitn,"  which  liad 
apjjcared  in  Paris  in  180.5.  He  has  also  obtaine«l 
great  favor  in  Germany  by  his  comic  opera, 
"Le  Cantatrice  tillane  " —  a  piece  full  of  si)irit,  lively 
wit,  and  beautiful  melody,  and  which  may  bo 
considered  as  classic  among  comic  operas.  He 
has  also  written  a  number  of  beautilul  songs, 
with  the  music  for  the  piano-forte,  which  have 
been  printed  in  I/>ndou. 

FIORE,  .STEFANO  ANDREA.  Chapel- 
master  to  the  King  of  Sardinia.  He  was  a  good 
vocal  and  instrumental  composer  in  the  early  part 
of  the  last  century. 

FIORILLI,  AGOSTINO.  A  dramatic  compo- 
Bcr  of  Palermo  between  the  years  1783  and  X'i'Mi. 

FIORILLO,  IGNAZIO,  was  bom  at  Naples  in 
17  lo.  Ilie  name  of  hLs  master  Ls  unknown,  but 
the  method  transmitted  to  the  pupil  ln-speaks 
that  of  Durante  or  Mancini.  After  having  cora- 
po»e<l  several  o[)cras  in  Italy,  which  were  favor- 
ably received  by  the  public,  Fiorillo  was  cnlle<l  to 
Germany  in  consefiuenco  of  the  reputation  he  had 
acquired.  He  was  apjioinfcMl  chapel -ma.«lcr  at 
Brunswick  in  K-H,  where  he  composofl  the  mtisic 
to  Xicolini's  ballets,  who  then  disputed  prc<'e- 
dence  in  tliis  kind  of  upectacle  with  the  fimt 
ballet  masters  in  Europe.  From  this  time  the 
talents  of  Fiorillo  were  specially  sought  in  this 
style  of  composition.  He  was  subsoiuently  en- 
gaged to  direct  the  chai>cl  at  C'asscl,  where  he 
was  equally  succotisful.     In  1780,  he  ob'aiueo 


301 


FIO 


KXCYCLOP-EDIA    OF    MUSIC. 


Fig 


pension  from  the  elector,  and  in  the  bosom  of 
retirement  (ir.d  repose  he  ended  his  days,  in  one 
of  the  vilhi'j;o.s  near  the  town  of  Wclzler,  in  the 
year  1787.  Fiorillo  is  the  autlior  of  many 
■works,  which  have  cemented  the  union  of  Italian 
melody  with  (jennan  harmony.  "  De.mofoonte" 
"  Anilrnmidu,"  and  "  A'ifc<e  "  are  regarded  as  his 
best  oj)eras. 

FIOllII.I.O,  FKDEUICO,  son  of  thcprccediuR, 
was  a  ^ood  violinist.  He  was  bom  at  Bruns- 
wick in  17i)3,  remained  in  Poland  some  time,  and 
wa.s  appointed  chcf-d'orchestre  to  the  theatre  at 
lliga  in  17S3.  From  thence  he  went  to  Italy,  and 
afterwards  to  France,  where  he  published  much 
violin  music  about  the  year  178.5.  From  Paris 
Fiorillo  proceeded  to  London,  where  his  perform- 
Buce  and  compositions  were  much  admired,  es- 
pecially his  trios,  which  were  thought  little  infe- 
rior to  those  ol  Bocchcriui.  The  instrumental 
eomi)ositions  of  F.  Fioi-illo  are  very  numerous, 
and  bear  date  from  the  year  1780  to  1800.  He 
also  published  "  Etude  de  Violon,  formant  tretUe- 
six  Caprices,"  a  work  of  high  authority  in  the  art 
of  violin  playing. 

FIOUIXI,  GIOY.  ANDREA,  a  Milanese,  pupil 
of  the  celebrated  Leo,  flourished  about  the  year 
1750.  Uc  was  chapel-master  to  the  cathedral 
of  Milan,  also  to  that  of  Como.  His  compositions 
for  the  church  were  much  admired. 

FIORINI,  IPPOLITO,  chapel-master  to  the 
Duke  -'\.li)honso  H.  of  Ferrara,  composed  much 
eacred  music  about  the  year  1.570. 

FIORITURE.  (I.)  LiteraUy,  Uttle  flowers. 
EmbcUislimeuts  iu  singing ;  divisions  of  rapid 
notes. 

FIRST.  A  word  applied  to  the  upper  part  of 
a  duet,  trio,  quartet,  kc,  either  vocal  or  instru- 
mental ;  also  to  the  upper  part  of  each  kind,  in 
overtures,  symphonies,  concertos,  and  other  full 
pieces.  Such,  parts  are  called _;frs^  because  they 
generallj'  express  the  air,  and  from  their  superior 
acuteness,  possess  a  preeminence  in  the  combuied 
cftect. 

FIS.     (G.)     F  sharp. 

FISCHER,  JOIIANN  NICHOLAS,  was  born 
in  1707  at  Ilclhen,  in  the  bailiwic  of  Koenigsec,  in 
the  county  of  Schwartzburg.  He  was  a  violinist 
of  some  rcinite,  and  served  the  Duke  Augustus 
William  of  Brunswick  in  that  capacity  for  nine 
months.  Amongst  others  of  his  compositions 
are  the  following  for  the  violin  :  "  Six  Symplio- 
nies  for  two  Violins,  two  Flutes,  Viol,  and  Bass," 
"  Six  Concertos  for  the  Violin,"  and  "  Two 
Books  of  Solos  for  the  Violin." 

FISCHER,  A.  J.,  son  of  Ludwig  Fischer,  is  a 
celebrated  buflTo  bass  singer  at  Berlin.  He  was 
bom  about  the  year  1782.  He  has  composed 
Bomc  ])inno-forte  music,  published  at  Offenbach 
and  Leipsic. 

FISCHER,  CHRISTIAN  FRIEDIUCH.  A 
celebrated  singer  at  Kiel  about  the  year  1740. 

FISCHER,  CHRISTOPH  HEINRICH,  a 
musician  at  Brunswick,  composed  some  piano- 
forte miLsic,  of  a  popular  description,  about  the 
year  1702. 

FISCIIEK,  FERDINAND,  court  musician  at 
Brunswick,  has  published  there  much  instnunen- 
tol  rausic.     In  the  year  1800,  he  received  a  mag- 

30 


nificent  present  from  the  Emperor  Paul,  of  Russia, 
for  a  military  cantata,  composed  on  the  occasion 
of  the  emperor's  birthday. 

FISCHER,  JOHANN,  was  born  in  Suabia. 
He  went  very  early  to  Paris,  and  became  coppst 
to  the  celebrated  Lulli.  On  leaving  France,  he 
engaged  himself  as  \-iolinist  at  several  of  the 
principal  towns  in  Germany,  and  at  length  settled 
at  Schwedt,  a  town  of  Brandenburg,  where  he 
died  at  an  advanced  age,  towards  the  middle  of 
the  last  century.  His  compositions  consist  of 
both  vocal  and  instrumental  music,  published 
chiefly  at  Augsburg,  Hamburg,  and  Berlin,  and 
bearing  date  from  the  years  1681  to  1708. 

FISCHER,     JOHANN     CASPER    FERDI 
NAND.     Chapel-master  to  the  Margrave  of  Ba- 
den, and  pianist.     He  pubUshed  much  vocal  and 
instrumental  music   at  Augsburg,  between  the 
years  1G9G  and  1738. 

FISCHER,  JOIIANN  CHRISTIAN,  a  cele- 
brated performer  on  the  hautboy,  and  composer 
for  his  instrument  and  for  the  flute,  was  a  native 
of  Friburg,  in  the  BrLsgau.  He  resided  for  some 
years  in  London.  In  the  spring  of  the  year  1800, 
while  performing  a  solo  part  in  his  concerto  at 
the  queen's  house,  alter  having  executed  liLs  first  ' 
movement  in  a  style  equal  to  his  best  perform- 
ance during  any  part  of  his  life,  in  the  course  of 
his  adagio,  he  was  suddenly  seized  with  an  ap- 
oplectic tit,  and  fell  down.  Prince  William  of 
Gloucester,  observing  the  accident,  supported 
him  out  of  the  apartment,  whence  he  was  con- 
veyed to  hLs  residence  in  Greek  Street,  Soho, 
where  he  expii'cd  in  about  an  hour  afterwards. 
The  king  was  very  much  affected,  and  had  the 
first  medical  assistance  called  to  hLs  aid.  In  his 
last  moments,  FLscher  desired  that  all  liis  manu- 
script music  might  be  presented  to  his  majesty 
George  HI. 

FISCHER,  JOHANN  GEORG.  Author  of  a 
Latin  work  on  vocal  music,  published  at  Gottin- 
gen  in  1680. 

FISCHER,  JOHANN  GOTITRIED.  A  sing- 
er at  Fribxug  since  the  year  1800.  He  com- 
posed some  vocal  and  instrumental  music,  pub- 
lished at  Ixsipsic  and  Dresden,  between  the  yeara 
1785  and  1795. 

FISCHER,  LUD^^^G.  a  celebrated  singer  at 
the  Italian  Opera  at  Berlin,  was  born  at  Mentz  in 
1745.  His  singing  was  much  admired  both  in 
Italy  and  Gcnuany.  After  singing  in  all  the 
continental  capitals,  he  crossed  over  to  London 
in  1795.  He  was  there  several  times  afterwards 
before  he  finally  left  the  stage,  which  wa.s  about 
1812.  He  died  in  1825.  FLschcr's  voice  was  one 
of  extraordinary  compass,  and  reached  far  down 
below  the  bass  staff,  the  lower  notes  lieing  of 
mighty  power.  The  C  below  the  staff  was  a 
favorite  note  with  him,  and  he  embraced  every 
possible  opportunity  to  hold  it,  swell  it  to  his  full 
l)owcr,  and  then  let  it  tlie  away  amid  the  perfect 
silence  of  the  house.  Once,  however,  he  found 
his  match.  He  was  singing,  one  evening,  an  aria, 
iu  which  he  introduced  the  following  passage :— 


As  hLs  tone  died  away,  and  the  intense  stillness 
of  the  house  was  about  to  be  broken  by  the  usual 


I- IS 


EN'CYCLOP.EDIA    OF    MUSIC. 


FIT 


thunder  of  applause,  a  sailor  in  the  upper  gal- 
lery took  up  the  tone,  and  to  the  astoniKhiueut 
and  mirtli  of  tlie  wliole  audience,  robbed  Fischer 
of  a  portion  of  hia  laurels,  by  clo^iiig  the  aria  for 
him  thus :  — 


FISCIIEK,  MADAME  ILVRBARA,  wife  to 
the  preceding,  wn.s  also  a  celebrated  singer  in 
Germany  at  the  latter  end  of  the  bust  century. 

FIScilER  GEOllU  \VII,HELM,  composer 
of  piano-forte  music  in  Ufrmany,  between  the 
years  17S1  and  17'J'). 

FISCHER,  J.  P.  A.  A  Dutch  author  of  some 
didactic  works  on  music,  published  at  Utrecht  in 
the  year  1728. 

FIS  DUR.     (G.)     F  sharp  major. 

FIS  FIS.     (G.)     F  double  sharp. 

FISH,  W.,  was  bom  at  Norwich  in  the  year 
177o,  and  spent  the  early  part  of  his  life  as  a 
practicfd  musician  in  the  theatre,  whilst  holding 
which  situation  he  composed  several  ha'jatrlk.H  for 
the  stage,  which  were  introduced  and  applauded, 
but  were  never  published.  On  leavuig  the  thea- 
tre, and  determining,  on  hLs  marriage,  to  reside  in 
Norwich,  he  found  it  necessary  to  turn  his  atten- 
tion more  particularly  to  the  piano-forte  — a  study 
that  he  was  the  more  stimulated  to  by  his  natu- 
ral inclination  for  composition,  and  which  at  that 
time  he  had  an  op])ortunity  of  cultivating  under 
H\igh  Rond,  formerly  organist  of  ELxeter  Cathe- 
dral. Since  this  period,  Fish  has  exercised  hLs 
profession  in  various  ways.  On  the  death  of  his 
ionaer  preceptor,  the  justly  celebrated  Michael 
Shari>,  it  tell  to  his  lot  to  be  appoiiited  to  the 
situation  he  vacatml  as  principal  hautboy  at  tl>e 
public  concerts  at  Norwich,  then  under  the  direc- 
tion of  the  Rev.  E.  (ilover.  On  this  instrument 
lie  continued  to  perform  several  years,  occasion- 
ally playing  concertos.  The  following  is  a  ILst  of 
his  principal  works:  Song,  "To  pity's  voice." 
Song,  "  Maid  of  the  Vale."  Song,  "  How  sweet 
were  the  days  tluit  are  gone,"  (words  and  music.) 
Song,  "  Shipwrecked  Sailor,"  (woriLsand  music.) 
Song,  "  When  in  the  tented  field,"  (words  and 
music.)  Duct,  "  llie  Jjirk,"  (words  and  music.) 
Glee,  "  O  thou  that  roUest  above."  Song,  "  In- 
vocation to  Sleep."  Song,  "  Maria's  Adieu." 
Song,  "  Maid  of  MarlwaU."  Song,  "  Go,  balmy 
rephyr."  Song,  "  'n-.c  Evening  Star."  Song, 
"  Joy  to  my  love,"  (words  by  Mrs.  Opic.)  "  Grand 
Sonata,  I'iano-forte,"  Op.  1,  dedicated  to  MLss 
Head.  "  lirand  Sonata,  I'iano-forte,"  Op.  i, 
dcdicatetl  to  Miss  Lovelace.  "  Concerto,  Haut- 
boy," performed  at  the  pro^nncial  meetings  and 
professional  concerts.  "  I'olonnist  Rontio,  I'iano- 
forte."  "  Tekeli,  n  Rondo,  I'iano-forte."  "  I  jfo 
let  us  cherish,  Haqi.  '  dedicateil  to  Miss  L.  Wood- 
house.  "  .Vi7  ctir  pill,  Hiuri),"  deilicated  to  Miss 
Straccy.  "  Winters  of  the  Alps,  Rondo,  Piano- 
forte." "  Fanta,sia,  Harp,"  (leiUcated  to  Miss 
lieevor.  "  Introduction  and  Waitif,  I'iano-forte," 
dedicatcil  to  Mi.-vs  Lukin.  "  Montpellier  Rondo," 
dedicatetl  to  Mrs.  Opie,  (manuscript.)  "  A  Can- 
tata," (words  by  >Irs.  0|)ie.)  "  Grand  Duet, 
Harp  and  Piano-forte,"  dedicated  to  Miss  F. 
Jerningham.  '•  Fantasie  and  Rondo,"  dedicated 
to  Lady  Maria  Ucldcrs. 


ITSHER,  JOHN  ARRAHAM,  doctor  of  rau- 
aic,  was  boni  in  I/Ondon  in  1741.  'Ilic  following 
are  some  of  his  compositions:  1.  ".Monster  of 
the  Wood,"  opera,  published  by  Clemcnti.  2. 
"  Sylphs,"  opera,  published  by  the  same.  3. 
"  Canzonets,"  published  by  Rroderip.  4.  "  Nino 
Concertos  for  the  Pinno-forte,"  puljlLshetl  by  de- 
menti and  Rroderip.  o.  "  Four  Concertos  for  the 
Hautboy,"  ])ublLshed  by  Clemcnti.  0.  "  Diver- 
tLsements  for  two  Flutes,"  publishetl  by  Clementi. 
7.  "Violin  Solo, "published  by  Clementi.  8.  "  Vio- 
hn  Trios,"  Ops.  1  and  2,  published  by  Preston. 

FISIN,  JAMES,  wa-s  boni  in  Colchester,  and 
received  the  first  acquirements  of  his  musical 
education  under  the  tuition  of  the  well-known 
Frederic  Charles  Reinhold,  whose  abilitiw  and 
talents  were  highly  ajjpreciated  by  the  most  emi- 
nent professors  of  his  time,  .'yter  quitting  Col- 
chester, in  the  year  1776,  he  was  so  fortunate  as 
to  be  placed  under  the  ausi)ices  of  the  late  Dr. 
Runiey,  from  whom  he  experienced  infinite  ad- 
vantages, as  well  from  his  fricncLshi])  as  his 
transcendent  knowledge  of  music.  For  many 
years  Fisin  was  patronized  by  the  late  Sir 
Edwiird  Walpolc,  from  whose  exalted  protec- 
tion and  benevolent  attention  he  derived  great 
benefit.  In  the  year  1801,  in  consequence  of  the 
ill  state  of  hLs  health,  FLsin  fixed  his  abode  at 
Chester,  in  which  city  he  resumc<lhis  professional 
pursuits,  teaching  and  composing  music ;  there 
he  remained  tliree  years,  in  the  enjoyment  of 
much  resi>ect  in  a  circle  of  dLstinguislied  charac- 
ters, nie  following  are  among  the  pubUshed 
works  of  Fisin  :  "  One  Set  of  Canzonets,"  dedi- 
cated to  ML"ks  Crew.  "  Oue  Set  of  Canzonets," 
deilicated  to  l^dy  Vernon.  "'OireeSets  of  Can- 
zonets," dedicate<l  to  Mrs.  Wright.  "  Twelve 
linllads,"  dedii'ateil  to  Mrs.  Norman.  "  Six  Vo- 
cal Duets,"  dedicatetl  to  Ijidy  Hume,  "'lliree 
(ilees  for  four  Voices,"  dedicated  to  Sir  George 
Smart.  "  The  Seasons,  or  Vocal  Year,"  dedicat- 
e<l  to  the  Princess  Mary.  "  Judgment  of  Paris," 
dedicated  to  the  Coiintess  of  Rridgewater.  "  Sa- 
cre<l  Songs."  "'Iliree  Sonatas,"  dedicated  tc 
Mrs.  Rurney.  "  Tliree  Sonatinas,"  dedicated  to 
Miss  Graham  ;  besides  a  variety  of  single  pieces. 

FIS  MOLL.     (G.)     F  sharp  minor. 

FISITLA  DULCIS.  (L.)  See  Flito-A-Bec. 
Fiatula  was  an  epithet  which  was  applied  ancient- 
ly to  all  instruments  derived  from  the  pipe  ot 
reed. 

Hsni.A  GFRMAMCA.    (I..1     The  Ornnnn  (lute. 

KISTI"I,.\  I'ANIS.  (U>  n|wofP»n.  A  win.l  iiKtrnmrnl  of 
Ihr  anrlt-nU,  c<>n«iitir)«  iif  rrrtUor  canr«  ciitJUkt  lwU»w  llip  joint 
and  finning  ttoptMsl   piprt,  Ukc  tho«v  of  Uie  »Ioi>|N'iI  iliapiu«n  of 

lIsTl'l.A  rASTOHICIA.  (I.)  Thf  n»nir  lirrn  h.y  i:\nm, 
Bn<l  4>thrr  ct^Mtcal  wri!rr«,  tn  the  o«trn  pipe  u»,  il  t\  (»  r'i<lirnr« 
»t  thf   K^Mnan   tlicatrr*.  in  rxprp««i<in  of  thrtr  n.     II 

vna  Itiixtrr  an')  niorr  hanh.  tiiin  )ii,alne,  an<l  i<  .  limi. 

lar   in  tonr,  aj  well  aa  in  uie  to   th«   Cni;:iah  <  paa4 

ctnlur>. 

FITHELE.  The  old  English  appellation  of  the 
fiddle,  and  supposed  to  have  been  deriveil  from 
the  Ij\tin  wonl  ./f</u-i«/a.     See  Fiddle. 

FITZWIM.IAM,  EDWARD,  long  known 
in  the  musical   profession,  died  in   Ixindon,  Jan- 

\  uary,  18.5:i,  in  the  sixty-eighth  year  of  his  age. 

J  He  was  formerly  a  dramatic  performer  of  Rome 
eminence ;  but  he  has,  till  within  a  short  pfriod 
of  the  termination  of  his  life,  been  kno«-n  as  • 
glee  and  dinner  singer.  Mr.  Fitzwillijun  wm 
fonuerly  very  popular  at  the  Surr«y  theatre,  mu- 

I  tical  pieces  having  been  written  for  him  by  Mr 


303 


rix 


ENCYCLOr.IlDIA    OF    MUSIC. 


FLA 


T.  Bibdui.  In  characters  ^^Tittcll  for  his  pecu- 
liar humor,  he  was  considered  unsurjiassable. 
For  a  lew  years  past  he  has  been  an  annuitant 
upon  the  Drury  Lane  theatrical  fund. 

FIXED  SYLLABLES.  SyUables  wliich  do 
not  change  •with  the  change  of  key.  The  Ital- 
ians Kx  tlieir  syllnbles  on  particular  tones;  thus 
giving  to  tlie  mind  a  jMsitive  representation,  while 
by  movable  syllables  we  get  oidy  a  relative  idea. 

FLAGEOLET.     A  small  pipe  or  flute,  the 


notes  of  which  arc  excceduigly  clear  t.nd  shiill. 
It  is  generally  made  of  box,  or  other  hard  wood, 
though  sometimes  of  ivory,  and  has  six  holes  for 
the  regulations  of  its  sounds,  besides  those  at  the 
bottom  and  mouthpiece,  and  that  behind  the 
neck.  Tliis  instrument  was  formerly  much  used 
as  a  solo  instrument,  llicre  is  also  a  Double 
Flageolet,  consisting  of  two  tubes.  ITiis  is  not 
much  used,  as  it  only  adds  second  notes  to  such 
as  can  be  performed  with  the  left  hand  upon  the 
principal  tube. 


A    DL\T0XIC   SCALE    FOR   THE    PATENT   FLAGEOLET. 


In  order  to  produce  the  low  notes,  the  pupil  must  blow  very  gently,  {jnd  as  he  gradually  as  • 
cends,  so  in  proportion  blow  liarder.  The  delicacy  of  this  kind  of  instrument  will  not  admit  of 
much  force,  particularly  on  the  low  notes. 


i 


^^ 


■*  ^ 


^    ^    Z!^ 


3^ 


ft "T"        DBF 


VtlX  Hand  Fingerfc 


Bight  Bund  FIngen. 


oo 
oo 
oo 


Fonrth  Finger. 

The  flats  and  sharps  are  produced  as  follows  :  — 


••       o*       •• 


!••       ••        00        00  ••  09  OO         09         99 


$ 


-#-#- 


-! — I- 


-*— »- 


• — I 


'?T   K4  «i7  «if  ^b  ^??  Bi;  ^i^  »t»  »S   '■-r?  4  %  G^  A|^  Aj;  li^  C>  Dy  D^{, 


Ihnmb. 


Iicrt  Lland  Finger*. 


Bight  Band  Finger*. 


00 

oo 


oo 
oo 

oo 


Fourth  Fiiigcr. 


I^,»  00  oo  oa  00  oo  oo  oo  oo  oo       oooo         oo 

The  long  key,  which  is  occasionally  added  to  the  flageolet,  takes  the  semitones  in  every  octave 
throughout  the  scale. 


FLAMMIXL  FLAMMIXIO,  a  Roman  no- 
bleman, ))ublished  at  Kome,  in  1610,  "  ViUaneUe, 
A  unc,  duo,  e  tre  I'oci,  cxtn  Stromcnto  e  Chitarra  Spa- 
gnola." 

FLAXDRUS,  D.  ARXOLDUS.  Composer  of 
madrigals,  some  of  which  were  published  at  Dil- 
lengen,  at  the  commencement  of  the  seventeenth 
century. 

FLASCTIXER,     GOTTIIELF     BEXJAMIX. 
A  composer  of  songs,   ))ublished  at   Zittau   and 
Lcipsic  between  the  years  17S9  and  1  "'JO- 
FLAT.     A   sign   of  depression.     A  character 


wluch,  being  placed  before  a  note,  sigiiifies  that 
the  note  is  to  be  sung  or  played  h;Uf  a  tone  lower 
than  its  natural  pitch.  l"hc  natural  scale  of  music 
being  limited  to  fixed  sounds,  and  adjusted  to  an 
instrument,  the  instrument  will  be  found  defective 
in  several  points ;  as  particularly  in  that  we  can 
only  proceed  from  any  note  by  one  iwrticular  order 
of  degrees  ;  that  for  tliis  reason  we  cannot  find  any 
interval  re<}uired  from  any  note  or  lettoi*  upwards 
and  downwards ;  and  that  a  song  may  be  so  con- 
trived, ;us  tliat,  if  it  be  begun  by  any  particular  note 
or  letter,  all  the  intervals  or  other  notes  shall  be 
justly  found  on  the  instrument,  or  in  the  fijced 


.104 


FLA 


ENCYCLOPAEDIA    OF    MUSIC. 


FLO 


series  ;  yet  were  the  song  begun  with  any  ntlier 
note,  we  could  not  proceed.  To  remove  or  supply 
this  defect,  musicians  hnve  recourse  to  a  scale 
proceedina;  by  twelve  degrees,  that  is,  tliirtcou 
notes,  including  the  extremes,  to  an  octave ; 
n-hich  miikcs  tlie  instruments  so  perfect,  that 
there  is  but  little  to  complain  of.  lliis  therefore 
is  the  present  system  or  scale  for  instruments, 
viz.,  betwixt  the  extremes  of  every  tone  of  tlie 
natural  >cale  is  jjut  a  note,  which  divides  it  into 
two  une([ual  jjiirts,  called  semitones,  and  the 
whole  may  be  called  the  semitonic  scide,  con- 
taining twelve  semitones  betwixt  thirteen  notes, 
.'n  the  compass  of  an  octave.  Now,  to  jircserve 
the  diatonic  series  distinct,  these  inserted  notes 
cither  take  the  name  of  the  natural  note  next 
below,  with  a  character  called  a  sharp,  or  they 
take  the  name  of  the  natural  note  next  above, 
with  a  m.irk  called  a  fiat.  Iliis  semitonic  series, 
or  scale,  is  very  exactly  represented  by  the  keys 
of  a  piano-l'?rtc  or  organ,  the  foremost  range  of 
keys  being  the  natural  notes,  and  the  keys  be- 
hiiul,  the  artificial  notes,  or  the  flats  and  shaqis. 

ANlien  a  note  representing  an  intermediate 
sound  is  written  on  the  same  degree  of  the  staff 
as  the  lower  note  of  the  two  sounds  between 
■which  it  occurs,  the  sharj)  is  used  ;  and  the  note, 
letter,  or  sound  Ls  said  to  be  sharped ;  but  when 
the  note  stands  on  tlie  same  degree  with  the  upiier 
note  of  tlie  two  sounds  between  which  it  occurs, 
the  flat  is  used  ;  and  the  note,  letter,  or  sound  is 
said  to  be  flatted. 

The  mark  now  used  for  the  flat  was  originally 
the  letter  B,  introduced  to  avoid  the  tritone,  or 
shiu^)  foiuth,  between  F  and  B  natural.  This 
character  was  formerly  of  such  importance,  that 
it  is  enumerated  by  Gafurius  among  the  clefs, 
and  was  accounted  the  clef  of  the  F  hexachord, 
as  the  other  two  dels,  now  called  the  tenor  and 
the  bass,  were  of  tlie  li  and  C  hexachords. 
These  letters  were  selected  from  the  seven,  to 
show  the  jjlaces  of  the  three  semitones,  in  the 
three  ditferent  scales  of  Guido,  termed  naturale, 
durum,  and  mol'.e ;  and,  being  the  highest 
sounds  of  the  two  which  formed  each  semi- 
tone, were  always  sung  with  the  syllable  k.\.  llie 
Germans  add  the  syllable  es  to  the  names  of  the 
letters  wliich  are  flat.  The  French  use  the  term 
benwl,  from  the  Latin,  and  annex  it  to  the  vocal 
syllable  ;  thus,  si  bemol  is  B  flat. 

FLATS  AND  SHARPS  «re  nlncfd.  In  ill  comDMilionf,  upon 
the  Irlter*  whore  we  rtinl  dit'm.  bi-cause  they  could  not  bv  placed 
diftervntW  without  carrvinfr  the  •emitone*  fnmi  their  iiaturaliituo- 
tion«.  The  ufc  ot  flats  and  iharus  i*  to  enable  the  coni|in«vr  of 
music  to  iiliK-e  the  key  note  on  men  a  letter  a*  he  please*,  aui  yet 
til  pr\'ferve  the  natural  ^tutr  "f  t'lv  i  .  I.ivi . 

FLAT  SKIOM).    Th-  '.tiroK)undi 

at   the  <li»l;ii..>-  of  1  dint  ;    K  K.     C  is  a 

minor  secikiol  hiijher  thm  ;    lower  than 

C.    The  sain,  is  true  witli  ■  rval  is  soiiu- 

limes  calli'il  llie  rf<i»  ».iv<>i  ' .  in.l  rh.- t.-nn  i.  in.  liil  hi  harmonr.  It 
is  found  also  in  the  other  »cales,  iH-tween  F  sharp  ajid  U,  U  flat  and 
A,  .^c.  as  in  the  follow  ing  example  :  — 


^ 


-1^ 


m 


tll  tho*e  irv  dintonic  •emUoncs,  nnd  flirm  minor  or  flai  tectmdK 
FLAT,  DOVBLK,  or  OtH'HLK  FLAT.    A  ch«r»ctcr  compound- 

td  or  two  rtiilf.  and  tlgnifyin^  that  the  note  N'fl>rc  which  it  ii  pUcrd 

«•  to  b«  lunn.  nr  pUyotl.two  •ciuitono*  lowrr  Ihiin  tt*  natural  piUh. 
FLAT  HFTll.     Tliit  ii  coinpoM'd   of  Ave   dif;rTr<i,  and  ci^nOiini 

tiro  lone*  «n<t  two  ■emitunct  —  not  thm  toncf  :  it  may   b«  divided 

into  two  miuor  third*. 


FLAUTO.   (I.)    A  flute. 
39 


FI.AITA'IO,  FLAUTANDO.  (I.)  With  • 
flute-like  tone.  This  term  is  sometimes  met  with 
in  violin  music,  and  the  desired  quality  of  tout 
is  obtained  by  drawing  the  bow  smoothly  and 
gently  across  the  strings,  over  that  end  of  the 
finger  board  nearest  the  bridge. 

FL.\UTIN().  (L)  nie  diminutive  oi  flauto  ; 
signifying  an  octave  flute.  Flauto  piccolo  is  a 
small  flute  or  flageolet.  Flauto  Iracersa  is  a 
Gt-rman  flute. 

FLEBII.E.  (I.)  An  expression  imph-ing 
that  the  movement  before  which  it  is  placed  is 
to  be  performed  in  a  .^ott  and  doleful  style. 

FLECIIE,  J.  A.  MAKSEII.T.E  I)E  I,.\,  gen- 
tleman of  the  chamber  to  the  King  of  M'estpho- 
lia,  at  Cassel,  in  IS  12,  was  born  at  Marseilles  in 
1779.  He  was  a  celebrated  singer  and  amateur 
vocal  composer.  Previously  to  the  year  1811,  ho 
had  composed  "  Le  Trouhculour,"  ojjcra,  in  two 
acts;  "  L'  Amour  PaterntI,"  a  cantata;  and  a  great 
variety  of  romances. 

FLEISCHER,  FIIIEDRICII  GOTTLIEH,  a 
chamber  musician  to  the  Duke  of  Brunswick, 
and  organist  of  that  town,  was  horn  at  Gotha  in 
1722.  lie  was  considered,  in  1790,  as  one  of  the 
first  German  pianists  of  the  school  of  Bach.  IIo 
published  much  vocal  and  instrumental  music  at 
Brunswick,  where  he  died  in  180G,  in  his  eighty- 
fifth  year. 

FLEISCIIMAXX,  FRIEDRICII,  chapel-mas- 
ter and  private  secretary  to  the  Duke  of  Saxe- 
Mciningen,  died,  at  an  early  age,  in  179S.  He 
published  much  music  for  the  piano-forte,  in 
different  towns  of  Germany.  Fleischmann  was  a 
man  of  letters,  and  of  considerable  ta-ste  in  the  arts. 

FLEISCmLVXX,  JOIIANX  GEORG,  violon- 
cellist and  chamber  musician  to  the  King  of 
Prussia,  has  been  celebrated  in  Germany  since 
the  year  1790,  both  for  hLs  performance  on  his 
instrument  and  his  compositions,  none  of  which, 
however,  have  been  i)ublished. 

FLEISCIFMANX,  JOHAXX  XICOLAUS, 
organist  at  Gottingen,  published  some  vocal  and 
piano-forte  music  at  that  town,  between  the  years 
178.5  and  1794. 

FLEURY,  FRAXCOIS  XKTIOLAS  DE, 
published  a  didactic  poem  on  music,  at  Paris,  in 
1678.  He  also  composed  some  sacred  music,  and 
a  method  for  the  theorbo. 

FLIES,  BERXHARD.  a  composer  of  piano- 
forte music,  was  born  at  Berlin,  of  Jewish  parents, 
in  1770.  He  has  published  some  piaco-forte 
music  at  Berlin  and  Zerbst  since  tlie  year  1791, 
also  some  canzonets,  and  an  oj  Ta,  called  "  The 
ridotfo  at  Venice,"  which  has  b.en  successful  at 
the  Berlin  theatre. 

FLOQl'ET,  ETIEXXE  JOSEPH,  was  »)on.  at 

Aix,  in  Provence,  in  1 7.50.    .\fter  beini;  encageil  in 

the  choir  of  one  of  the  churt  hes  at  Paris,  from  a 

very   early  age,  and  havinc  even  attemjitwl  the 

composition  of  church  music,  he  went  to  XBple<, 

'  and  studied  under  .'^ala  and  P.  Martini.     Whilst 

I  at  Xaples,  he  composed  a  "  7>  licum  "  for  a  double 

I  orchestra,  which  the  Italians  mttch  admired.    Or 

I  his   return   to  Paris,  he  devoteil   himself  to  the 

I  composition   of  dramatic  music,  and  brought  oul 

several  operas,  which  were  only  moderately  §uc- 

I  eessful.     He  died  in  1785. 


305 


FLO 


EXCYJLOP.EDIA    OF  MUSIC. 


FLD 


FLOHin.      An   epithet    applied    oy   vaodem  \_f3tiiL-i,  in  ancient  music,  was  an  instrument  of 


musicinns  to  any  movement,  or  pA'sage,  com- 
posed in  a  brilliant,  fancil'ul,  rich,  and  embel- 
Lislicd  style. 

FLOllin  SONG.  An  expression  used  by  the 
musicians  of  the  fourteenth  and  filtccuth  centu- 
ries, and  api)licd  to  the  invention  of  figured 
iescani,  to  dLstingnish  it  from  the  old  chant,  or 
plain  song. 

FLOURISH.  An  appellation  sometimes  giv- 
en to  the  decorative  notes,  which  a  singer  or 
instrumental  jjerfonnor,  adds  to  a  passage,  with 
the  double  view  of  heightening  the  effect  of  the 
composition,  and  dis])laying  liLs  own  flexibility 
of  voice  or  finger.  There  is  nothing  of  which 
a  sensible  performer  will  be  more  cautious  than 
of  the  introduction  of  flourishes,  because  he  is 
never  so  much  in  danger  of  mistaking,  as  when 
he  attemi)ts  to  improve  hLs  author's  ideas. 
With  performers  of  liltle  taste,  plain  passages 
are  indiscriminate  invitations  to  ornament ;  and 
too  frequently,  in  the  promptitude  to  flourish, 
the  beauty  of  a  studied  simplicity  is  at  once 
overlooked  and  destroyed.  Auditors  who  are 
fonder  of  execution  than  of  expression,  and 
more  alive  to  flutter  than  to  sentiment,  applaud 
these  sacrifices  to  vanity ;  but  those  who  prefer 
nature  to  affectation,  and  listen  in  order  to  feel, 
know  exactly  how  to  value  such  performers,  and 
their  performances. 

FLORSCIIUTZ,  EUCHAR.  A  composer  of 
pocal  and  instrumental  music,  published  at  Leipsic 
between  the  years  1792  and  1802.  His  duets  for 
the  piano-forte  jire  much  admired. 

FLOTE.    Tlie  German  for  fliUe. 

FLOTOW.  A  young  and  popular  composer 
of  German  operas,  much  in  vogue,  of  late,  at 
Vienna,  and  elsewhere.  His  "  Alessamlro  Stra- 
delUi,"  first  gave  him  celebrity.  This  was  followetl 
by  *'  Martha."  The  overtures  to  these  two  works 
are  much  played  by  the  concert  orchestras  of 
the  day. 

FLUGEL.     (G.)     A  harpsichord. 

FLUTE.  This  is  a  common  and  well-known 
instrument,  which  has  always  held  a  high  place 
in  public  estimation,  its  tones  being  exceedingly 
rich  and  musical,  affording  a  beautiful  accom- 
paniment to  the  human  voice,  piano,  guitar,  &c., 
and  an  indispensable  auxiliary  to  the  orchestra. 
It  has  existed  in  many  forms.  Tlic  Latins  called 
it  fi.i(ula,  and  sometime.?  ti'iia  or  jnpe  ;  from  the 
former  of  wliich  some  derive  the  word  Jiiite, 
though  Uorel  will  have  it  derived  from  fiutta, 
thus  called  a  fnitando  in  fiuciis  ;  inasmuch  as  a 
flute  is  long,  like  the  lam]>rey,  and  ha.s  holes  all 
along  it,  like  that  fish.  Tlie  ancient  fixtid/r,  or 
jUitfs,  were  made  of  reeds  ;  afterwards  they  were 
of  wood,  and  at  length  of  metal.  Rut  how  they 
were  blown,  whether  as  our  flutes,  or  hautboys, 
docs  not  api)ear.  It  is  plain  some  had  holes, 
which  at  first  were  but  few,  but  altcrwarcLs  in- 
creasctl  to  a  greater  number,  and  some  had  none. 
.Some  were  single  pipes,  and  some  a  combination 
of  several,  i)anicularly  Pan's  syringa,  which  con- 
sisted of  seven  reeds,  joined  together  sidewise. 
Those  seven  reeds  had  no  holes,  each  giving  but 
one  note  —  in  nil  seven  distinct  notes  ;  but  at  what 
interv'als  Ls  not  known.  Perhaps  they  were 
notes   of  the    nat'iral   or   diatonic   scale.      The 


the  wind  kind,  resembling  our  flute,  or  flageolet. 
The  principal  wind  instruments  of  the  ancientc 
were  the  tibia  and  fistula  ;  though  how  these  were 
constituted,  or  wherein  they  differed,  or  how 
they  were  played  on,  does  not  appear.  All  we 
know  is,  that  t.\\o  fistula  was  at  first  made  of  reeds, 
and  afterwards  of  other  mattei-s.  The  flute  has 
had  many  names,  as  flauto,  flautino,  fiauto  tra- 
verso,  flauto  tedeacD,  flautone,  fluta,  &C. 

FLUTE- A-BEC.  or  FI.STULA  DULCIS.  Thi* 
was  once  a  common  flute,  and  was  blown  at  the 
end  ;  it  was  also  termed  the  English  flute,  and  by 
the  French  la  flute  douce.  Tlie  flute-a-bec  wag 
held  perpendicxdarly  to  the  mouth  like  the  clari- 
net. 

FLUTE,  ANCIENT.  An  instrument,  which 
had  some  sort  of  mouthpiece,  and  was  double  as 
well  as  single.  It  was  often  composed  of  two 
tubes,  both  played  together,  which  would  seem 
to  show  that  the  enlightened  nations  of  antiiiuity 
possessed  some  knowledge  of  harmony. 

TILE  BOEHM  FLUTE  was  completed  by 
M.  Boehm,  of  Munich,  in  Germany,  in  December, 
18.32,  and  Mr.  Badger,  the  American  manufac 
turer,  claims  for  it  —  perfection  of  tune,  because 
every  aperture  is  in  its  projier  and  natmal  position  ; 
erjuality  of  tone,  because  the  holes  are  equal  in 
size  and  distance,  relatively,  to  the  conical  form  of 
the  instrument  ;  superior  quality  of  tone,  be- 
cause the  bore  of  the  instrument  Ls  not  sacrificed 
(as  in  the  ordinarj-  flute)  to  a  faLse  arrangement 
and  size  of  the  finger  holes ;  greater  suscepti- 
bility  of  sweetness,  because  ever>'  note  can  be 
produced  without  exertion  or  difficulty ;  increase 
of  power,  because  every  hole  is  enlarged  to 
the  most  available  extent  consistently  with  pu- 
rity of  sound. 

FLUTE,  COMMON.  This  instrument  con- 
sisted of  a  tube  about  eighteen  inches  long  and 
one  inch  in  diameter,  with  eight  holes  disposed 
along  the  side,  by  the  stopping  and  opening  of 
whicli  with  the  fingers,  the  sounds  were  varied  and 
regulated.  This  was  an  improvement  on  the 
flute-i"i-bec,  which  name  came  from  the  old 
Gaulish  word  bcc,  signifyuig  the  beak  of  a  eoek, 
because  the  end  at  which  it  was  blown  is  formed 
like  the  beak  of  that  animal,  llie  common  flute 
is  still  so  called  to  distinguish  it  from  the  Ger- 
man flute.  l/ucrctius  says  "  the  common  flute 
had  its  origin  from  the  breathing  of  western 
winds  over  certain  reeds;  "  and  thus,  he  tells  us, 
was  suggested  to  man  the  rural  pii:c,  the  simple 
tube,  which  the  ingenuities  of  later  age'  have  im- 
jiroved  into  one  of  the  most  fa.scinating  instru- 
ments of  which  art  can  boast. 

FLUTE,  (JERMAN.  A  wind  instrument  of 
German  invention,  consisting  of  a  tube  tormetl  of 
several  joints,  or  pieces,  screwed  together  or  into 
each  other,  with  holes  along  the  side,  like  thost 
of  the  common  flute.  It  is  stopped  a:  the  uppci 
end,  and  furnished  witli  movable  brass  or  silvei 
keys,  which,  by  oi)ening  and  closing  certain  holes 
serve  to  temper  the  tones  to  the  various  flats  anfl 
sharps.  In  playing  this  instrument,  the  per 
former  apj)lies  liis  under  lip  to  the  hole  abou> 
two  inches  and  a  half  from  the  upper  extremity, 
while  the  fingers,  by  their  action  on  the  hole* 
and  keys,  accommodate  the  tones  to  the  notes 
of  the  composition.     The  flute  was  held  in  much 


snr. 


FLU 


ENCYCLOPAEDIA    OF    MUSIC. 


FLU 


esteem  in  days  of  anti(iuity ;  it  filled  an  impor- 
tant place  at  festivities,  in  the  senucc  of  the 
teinple,  in  trium])liaiit  strains,  and  in  the  sad- 
ness of  funeral  obscciuies.  It  was  deemed  so 
esj-ential  to  oratory,  that  speakers  rc;;ulated  their 
discourse,  and  poets  the  rhythm  of  their  verses, 
by  its  sounds.  It  was  invented  at  a  very  early 
period,  and  passed  throui;h  many  ehangos ;  but 
only  in  modern  times  has  it  obtained  that  degree 
of  perfection  which  we  may  bo  justified  in  tcrra- 
inf»  its  culmination  point,  'llie  liute  lias  Ix^eomc 
a  new  instrument.  Not  only  is  ils  treatment  and 
mode  of  performance  altogether  diri'erent  in  our 
days  ti-om  what  it  was  formerly,  in  resjxH't  to  its 
lieing  more  free  and  more  decisive,  but  the  taste 
for  this  instrument  has  become  more  extended 
and  more  retined,  and  the  important  part  which 
has  been  assigned  to  it  in  the  modeni  o]iera  has 
so  f;ir  extended  the  circle  of  its  utility,  that  the 
liutc  may  l)e  almost  said  to  rival  the  violin.  In 
a  word,  such  is  the  degree  of  perfection  to  which 
it  has  attained,  that  all  the  ac(iuirements  of  our 
ancestors  on  this  instr\iraent  would  now  appear 
mean  and  contemptible.  This  most  delightful  of 
wind  instruments,   and  which,   of  all  others,  is 


wLshed  that  those  performers  wlio  arc  am  jtious 
of  drawing  from  the  flute  the  tones  of  the  bassoon 
or  tlie  clarinet  would  well  consider  this,  and  1)C 
governed  by  tlie  pretlominant  character  of  tlieir 
instrument,  whieli  is  confessedly  the  elegiac  —  u 
cliaraeter  of  the  greatest  sweetness,  and  of  thai 
pathos  which  goes  at  once  to  the  heart.  AVith- 
in  a  few  years,  Mr.  A.  Ci.  Badger,  of  New 
York,  has  commenced  in  this  country  the  manu- 
facture of  the  Uoclim  flute,  which  he  considers 
an  improvement  on  all  others.  In  his  "  His- 
tory of  tlie  Fhite,"  he  sriys.  At  the  com- 
mencement of  the  last  century,  the  German  flute, 
which,  in  allusion  to  the  position  in  wlucli 
it  was  held,  was  al.«o  tenaed  the  "  Ftauto  tra- 
verso,"  or  transverse  flute,  began  to  divide  iha 
public  favor  with  the  flute-ii-bec.  The  sujieri- 
ority  of  the  (iennan  flute  over  the  fluteu-bec 
consisted  in  its  improved  (juality  of  tone  and 
somewhat  l)ctter  intonation.  On  tlie  flute-i'i-bec 
no  skill  of  tlie  perlormer  enabled  liiiu  to  vary,  to 
any  extent,  the  iiuantity  and  «iuality  of  its  tone, 
or  the  pitch  of  the  notes,  owing  to  its  being  voiced 
with  the  tongue,  like  the  pi]'e  of  an  organ,  or  like 
a  common  wlli^tle ;  but  on  the  tiennan   flute  the 


thought  to  approach   the  nearest  to  the  human  I  notes  were  produced  by  the  immediate  agency  of 


voice,  IS,  however,  sometimes  miscmiiloyed  by 
players,  in  forcing  it  to  produce  a  kind  of  trum- 
pet tone,  instead  of  its  natural  mellifluous  sound, 
lliis  tone  Is  quite  foreign  to  the  character  of  the 
flute,  and  has,  in  a  great  measure,  been  the  means 
of  strengthening  the  prejudice  that  prevails  against 
it,  and  which  will  not  allow  it  to  be  a  proper  in- 
rtrument  for  concertos.  This  prejudice  is  still 
moi-c  confirmed  by  the  generality  of  compositions 
of  this  kind,  as  they  are,  in  many  instances,  much 
too  unifonu  to  keep  attention  alive,  or  to  interest 
strongly  the  hearers  during  any  long  series  of 
passages.  If  players  were  more  studious  to  imi- 
tate the  varied  and  more  delicate  bowings  of  the 
violin,  and  particularly  it*  ettccts  in  Uiulo,  and 
above  all  in  sUH\uto  passages,  then  the  flute  con- 
certo, instead  of  resembling  the  tones  of  a  musi- 
cal clock,  could  not  fail  to  touch  the  lieart,  and 
to  produce  the  powerful  effects  of  the  human 
voice,  to  which  the  sounds  of  this  instrument  so 
much  assimilate.  The  virttto<io,  who,  to  justify 
his  very  name,  ought  to  Iv  one  who  prizes  excel- 
lence only,  is,  according  to  the  taste  tliat  now  jire- 
vails  in  the  musical  world,  rather  solicitous  to 
excite  suq>ri>e  by  the  powers  of  execution,  and 
by  artificial  difficulties,  than  by  simpliiitj-  and 
purity  of  taste ;  he  considers  that  which  costs 
tl'.e  most  the  mast  worthy  of  attention.  Art  is 
now  every  thing;  and,  as  this  always  stands  op- 
posed to  nature,  the  rirtiioim  who  studies  only  to 
CXI  itc  admiration  and  surjirise  freiiuenlly  exer- 
ci-e-<  liis  jviwers  at  the  expen--o  of  the  ear,  to 
wiiich  he  ought  always  to  pay  the  greatest  defer- 
ence, and  without  whose  approval  all  music  is 
vain  and  ineffectual.  'Hie  triie  master  of  his  in- 
ptruiuent  is  able  to  show  on  that  alone  all  the 
power  which  music  po:ise8ses  of  touching  the 
I'.eart,  of  unlocking  all  the  sacred  sources  of  the 
feeling,  and  will  require  nothing  from  his  instru- 
ment that  is  confriiry  to  its  genius.  Uc-al  art  Ls 
only  trom  within  ;  where  she  reigns,  mechanical 
art  must  always  yield  due  siibmission.  She  holds 
the  cninmiind  over  the  powers  of  execution,  and 
create«  a  language  peculiar  to  herself,  in  order  to 
give  utterance  to  deeply-»i-ntc<l  feelings,  and  to 
impart   them   to   otl'.ors.     Devoutly   is  it  to  be 


the  lips  ;  comparatively  a  greater  variety  of  tone, 
and  certain  unprovements,  even  as  to  intonation, 
were  consiMiuently  obtained.  At  that  time  the 
(iennan  flute  had  but  sLx  holes,  which  were 
stopjsed  by  the  first  three  fingers  of  each  hand. 
From  the-e  holes,  combined  with  the  note  given 
by  the  entire  tube,  —  that  is,  when  all  the  holes 
were  closed,  —  was  produced  the  diatonic  scale  of 
one  key  or  mode,  that  of  D  major.  Shortly  after, 
however,  an  additional  hole  was  added  by  I'hilli- 
hert,  a  Frenchman,  stoppeil  by  a  key,  ( D  sharp,  or 
E  flat.)  ITiis,  which  constituted  the  one-keyed 
flute,  or  flute  with  seven  holes,  as  seen  in  the 
one-keyeil  flute  of  the  present  day,  was  a  death 
blow  to  the  flute-a-bec.  It  iraprove<l  the  quali- 
ty of  some  of  its  tones,  and  extendtnl  its  compass 
upward.  Many  a  kindly  prejudice,  many  a  grate- 
ful rei'olleetion  of  past  enjojinent,  was  enli.sted 
in  favor  of  an  old  sen-ant,  and  lingered  to  the 
last,  but  iu  vain,  llie  flute-.i-bec  is  now  among 
the  things  that  were,  or  Ls  to  be  met  with  only  in 
the  hands  of  the  antiquary.  The  flute  rcmainctl 
in  tl:is  state  until  the  time  of  (iuanz,  who 
flourished  from  about  the  year  1720  to  1770,  and 
was  celebrated  as  a  performer  upon  the  flute,  and 
OS  a  composer  lor  tliat  Lnstrument.  lie  was  also 
celebrated  as  a  manufacturer  of  flute!.  He  add- 
ed another  D  sharp  or  E  flat  key,  and  contrived 
a  method  of  lengthening  and  shortening  the 
head  joint,  so  as  to  raise  or  lower  the  pitch  hall' a 
tone.  Tlie  dL-.covery  of  this  additional  key  was 
made  in  172<>,  and  the  new  head  joint  in  17.52. 
The  use  of  the  latter  is  obvious;  but  it  has  puz- 
zled the  critics  to  divine  what  could  possibly 
have  been  the  object  of  thLs  additional  I)  shaqi 
key,  which,  in  conjunction  with  the  new  turning 
head,  v.-ere  said  at  the  time  to  have  corrcctc*!  "  aL 
the  im]  erlections  of  this  instrument  in  joint  of 
bad  notes  and  lal-e  tuning."  'ITiey  could  not  sup- 
pose it  intended  to  make  the  enharmonic  differ- 
ence between  D  sharji  and  E  flat.  Thus  woulr. 
have  been  attributing  a  refinement  of  perceptior. 
to  Quanz  utterly  inconsistent  with  thcob.tusenCB* 
of  ear  which  could  endure  the  extreme  imj)crlec- 
tion,  not  only  of  the  chromatic,  but  of  the  dia- 
tonic Luterx'ais  of  hia  instrument.     We  know  bj 


307 


FLU 


EXCYCLOP.CDIA    OF    MUSIC. 


FLO 


the  flute  music  of  his  time,  that  several  of  the 
scales  nearest  related  to  that  of  D  major  were 
then  cmi)loye<l,  as  well  as  the  cliromatic  scale ; 
but  we  know  also,  l)y  a  reference  to  the  one-keyed 
flute  of  the  iirescnt  day,  liow  grossly  defective  all 
these  were,  all  the  notes  not  belonging  to  1) 
major  having  been  produced  by  what  may  be 
tenncd  artiticial  tingcrings,  and  the  scale  of  D 
major  itself  having  been  also  very  imperiect. 
I'hat  it  atlbrdcd  no  great  advantage,  may  bo  con-: 
eluded  from  the  fact  that  the  application  of  it  was 
ultimately  discontinued.  Tlie  next  great  im- 
jirovement  was  the  addition  of  tlu-ec  otlier  holes, 
Btopjied  by  three  additional  keys,  constituting  the 
four-keyed  flute,  tliat  i-;,  the  tiute  with  ten  holes. 
Some  dithculty  has  been  experienced  in  ascer- 
taining the  e\act  time  of  tlie  introduction,  and 
the  name  of  the  originator  of  these  keys ;  but  the 
most  approved  authorities  among  the  Germans 
give  the  honor  of  this  contrivance  to  Joseph  Ta- 
cet,  an  Englishman,  who  was  popular  both  as  a 
performer  on  and  as  a  manufacturer  of  the  flute, 
in  London,  about  seventy  3-ears  since.  ITiLs  was 
really  a  great  step  in  the  progress  of  the  flute. 
The  notes  G  sharp  or  A  flat,  A  sharp  or  B  flat, 
and  F  natural,  were,  by  means  of  these  keys, 
produced  upon  the  same  principle  as  the  D  sharp 
or  E  flat,  which  had  been  obtained  by  the  first 
key  and  the  notes  of  the  original  six  holes ;  and 
thus  all  the  notes  of  the  chromatic  scale  in  the 
fuudamcntnl  octave,  excepting  the  C  natural, 
were  each  produced  by  opening  its  legitimate 
hole,  aud  the  artificial  fingerings  for  these  notes, 
which  produced  tones  of  wretched  quality  and 
intonation,  were  no  longer  necessary.  This  im- 
provement, great  as  it  was,  made  its  way  at  first 
but  slowly.  It  was  not  until  the  beginning  of 
the  present  century  that  the  four-keyed  flute 
began  to  be  generally  adopted  iu  the  English  or- 
chestras. Alter  this  the  attempt  was  made  to 
obtain  a  C  natural  by  means  of  a  key,  the  arti- 
ficial C  of  the  four-keyed  flute,  fingered  thus, 
0  2  0  I  12  3,  being  very  imperfect.  For  tliis 
purpose  a  long  key,  acted  upon  bj-  the  first 
finger  of  the  right  hand,  known  as  the  C  shake 
key,  was  added ;  but  although  a  good  note  was 
thus  produced,  it  has  been  of  little  use,  except- 


ing in  the  shake  with  B,  o\%'ing  to  the  necessity, 
when  using  it,  of  moving  the  right  hand.  About 
the  same  time  the  tube  was  lengthened,  and  twc 
long  keys  were  added  at  the  foot  of  the  instru- 
ment, giving  the  two  additional  low  notes,  C  shaqi 
and  C  natural.  This  was  the  seven-keyed  flute. 
The  duplicate  long  F  key,  acted  upon  by  the 
little  finger  of  the  left  hand,  was  next  added,  to 
facilitate  the  execution  of  the  notes  D  natural  or 
E  flat,  in  connection  with  F  natural ;  and  thus- 
was  completed  the  ordinary  eight-keyed  flute. 
^Vs  many  as  seventeen  keys  have  been  added  to 
some  flutes,  but  the  standard  number  has  long 
been  eight.  Attempts  were  also  made,  from  time 
to  time,  to  improve  the  tone  of  the  instrument, 
by  eidarging  the  holes,  and  by  varijuions  in  the 
bore.  Joseph  Tacet,  before  mentioned  as  tho 
originator  of  the  four-keyed  flute,  made  experi- 
ments with  large  holes,  as  also  did  the  late  Mi. 
Nicholson.  But  these  eftbrts,  both  as  to  the  size 
of  the  holes  and  the  variations  in  the  bore,  could 
only  be  partially  successful,  owing  to  the  radi- 
cally incoiTect  position  of  the  holes  aud  the  erro- 
neous principle  upon  which  the  keys  were  con- 
structed. The  first  thing  to  be  learned  on  the 
flute  is  to  make  it  sound  properly,  for  which  pur- 
pose take  tlie  top  piece  only,  and  blow  gently, 
turning  it  outward  or  inward  till  you  can  make 
it  sound,  and  readily  produce  a  good  tone ;  then 
add  another  piece  of  the  flute,  blowing  as  before, 
procectUng  thus  till  you  have  put  the  flute  to- 
gether. Then  place  one  finger,  and  blow,  adding 
the  other  fingers  by  degrees,  endeavoring  at  the 
same  time  to  get  the  right  tone.  After  you  can 
easily  fill  the  flute,  attend  to  the  plain  scale  of  the 
places  of  the  fingers.  The  black  dots  in  the  scale 
signily  the  holes  which  are  to  be  stopped,  and  the 
ciphers  those  which  arc  to  be  left  open.  The 
figures  represent  the  fingers  of  each  hand,  llie 
lowest  row  of  dots  and  ciphers  signifies  the  key. 
Observe  that  as  C  has  two  columns  of  dots  and 
ciphers,  either  may  be  used,  as  you  may  choose. 
Blow  rather  strong  upon  the  high  notes,  jilacing 
your  lips  closer,  and  moving  your  tongue  nearer 
to  the  hps.  Ail  the  notes  above  C  are  said  to  be 
iu  alt,  and  all  from  C  in  alt  are  called  double, 
as  double  D,  double  £,  &c. 


SCALE   FOR  THE   COMMON   GERMAN    FLUTE. 


t 


^   £   £   S    S   =  = 


-<?    (g 


D      £      F 


O     A 


Left  Hand. 


^1««««       •••OorO°         •         *  •         ■  ■Oor'o         •         *         •       o 

/2*«****(^**o         •         *  *         *         o«o*         •         •         oo 

f  Z  *****      o     o     o     m     %        *        *         *        o         ooa*        o        o        •• 


RlgbtBiod. 


I  1  •      •      •      • 

?  2  •     •     •     o 
(  3  •     •     o     o 


■h  nn(«r  Ker.       4  •      •      • 


(  Krj.  4*000000000        o        o  o        o  0000        o         o         00 

308 


FMO 


ENCYCLOPEDIA    OF    MUSIC. 


POF 


The  flats  and  sharps  are  produced  as  follows  :  — 


^_^^^|| 


»H  '■H«^''b^H^H''H'''ir«v°H^H^H^*''t7*'^«i?  °^^b 


1 » 

2  • 
3* 


OorO 
o  o 
o      o 


o  or  °     0  or  o 

•      o    •       o 
o      o    •       o 


IU«ht  nand. 


•th  Finger  Key. 


1  • 

2  • 
3» 

4° 


On  the  flute,  Dif  and  Eb  are  the  same.     So  are  Fi*  and  G  b,  and  Gif  and  Ab,  kc. 


I 


F  MOLL.     (0.)     F  minor 

F,  or  UASS  CLEF.  "ITie  unmo  Riven  to  the 
indicial  character  placed  at  the  beginning  of  the 
start"  dcsifiued  for  the  bass  jiart,  to  dctcnuine  the 
names  and  powers  of  the  notes  on  tluit  stalf. 

FOCKERODT,  JOHAXX  ARXOI,D.  A  com- 
poser,  lorn  at  Muhlhauscn.  Ilis  works,  which 
are  chiefly  for  the  church,  are  dated  from  the 
years  1692  and  1718. 

FOCJOSO,  or  FUOCOSO,  or  CON  FUOCO. 
(I.)  Used  adverbially,  to  signify  that  the  move- 
ment, or  passixge,  over  which  it  is  placed,  is  to 
be  sung  or  played  with  spirit. 

FODOIi,  AXTOINE.  A  French  pianist,  and 
composer  for  liis  instrument.  He  left  France 
during  the  revolution,  and  settled  for  some  time 
at  Am>terdam,  where,  and  at  Berlin,  many  of 
his  works  have  been  published,  between  the  years 
1795  and  1802. 

FODOIl,  JEAX,  elder  brother  to  the  preced- 
ing, wa.s  also  a  good  violinist,  and  composer  for  his 
instrument.  His  works  are  voluminous,  and 
have  bcL'n  published  at  Paris  and  in  (jermany. 
He  remained  some  time  at  Petersburg  duriitg  the 
French  revolution. 

FODOR,  MADAME  M.VIXVILI.E,  an  ac- 
complished singer,  was  born  in  Paris,  in  179:J; 
paj*sed  her  childhood  in  St.  Pelersburi;,  and  made 
her  dtbutal  theOpera  Coraicjue,  in  Paris,  in  1814. 
iShc  performed  in  England,  in  the  seasons  of  1817 
and  1818.  ."^hc  subse<iuently  perfonned  in  Paris, 
and  from  thence  went  to  Italy,  where  she  was 
rf  ccivcd  with  much  enthusiasm.  .She  was  nt 
Vicnnain  182;{,  in  which  capital  herpoi)ularity  was 
al.so  very  great.  Madame  Fodor  made  her  <UbiU 
at  Vienna  in  the  character  of  Dcsdemona,  in  Ros- 
sini's "O^-Wo,"  Donzelli  ])erfonnin;;()tello,  Ambro- 
gi,  F.lmira,  and  David,  Rodrigo.  Educatcil  in  a  fine 
school,  Madame  Fodor  obtained  such  flexibility 
of  voice,  that  every  pa-ssage  in  her  singing  was 
executed  with  indescribable  lightnc>sand  tender- 
ness. It  has  been  said  of  her  at  Vienna,  that  her 
ability  consists  in  making  art  appear  like  artlesa- 
ness. 

FOER.STER,  CHRISTOPH.  A  celehratetl  in- 
strumental and  church  composer,  in  fierraany, 
at  the  commencement  of  the  last  century.  His 
works  are  very  voluminous. 


FOER.STER,  EMAXUEL  ALOYSIUS.  Chap- 
el-master at  Vienna,  where  he  has  compose<l 
much  vocal,  piano-forte,  and  church  music,  since 
the  year  1790.  He  has  also  written  a  treatise  on 
thorough  bass. 

FOG(  ;IA,  FRANCESCO,  of  Rome.  A  pupU  of 
Paolo  Agostino,  from  1G45  to  1681.  In  his  youth, 
he  was  several  years  in  the  service  of  the  court 
of  Bavaria,  and  of  the  Archduke  Leopold,  after- 
wards emperor ;  but  returning  to  Rome,  he  was 
appointed  maestro  di  capeUa  to  the  Church  of  St. 
John  Lateran,  and  other  great  churches  in  that 
city.  Antonio  Liberati  calls  him  the  prop  and 
father  of  music,  and  true  ecclesiastical  harmony. 

FOLLIA.  (I.)  A  species  of  composition,  con- 
sisting of  variations  on  a  given  air,  invented  by 
tlie  Spaniards,  and  hence  frequently  called  fol- 
lia  di  Sjxu/na. 

FOXTAIXES,  R.  DES.  A  French  poet  and 
composer  of  songs,  at  the  end  of  the  .seventeenth 
and  beginning  of  the  last  centurj-. 

FOXTAXA,  BEXIGXUS.  A  composer  of 
sacred  music  at  Goslar,  in  Lower  Saxony,  in  tha 
first  half  of  the  sixteenth  ccntiuy. 

FOXTAX.V,  F.VBRIZIO,  an  Italian  com- 
poser and  organist,  was  born  at  Turin,  in  1650, 
and  pubhshed  some  music  for  his  instrument  at 
Rome  in  1677. 

FORAMIXA.  (L.)  The  name  given  by  the 
Romans  to  the  holes  made  in  tlie  pipf,  for  the 
puqjose  of  varying  its  sounds. 

FORD,  DR.,  the  rector  of  Melton,  England, 
was  an  enthusiast  in  mvisic,  very  sin-ciiliu-  in  his 
manner,  and  «  great  humorist.  His  ])assion 
for  sacred  music  was  publicly  known  from  his 
constant  attendance  at  most  of  the  m\isieal  fes- 
tivals in  the  kingdom.  One  who  knew  him 
says,  "  I  have  fre<iuently  met  him,  and  always 
found  him  in  ecstasies  with  Handel's  music, 
es])eeially  ''Hie  Messiah."  His  admiration  of 
this  work  was  carrie<l  to  such  an  excess,  that  he 
told  me  ho  never  made  a  journey  fr^m  Melton 
to  I^eicestcr,  that  he  did  not  sini;  it  i|uite  through. 
His  performance  ser\"ed  as  a  pedometer  by  which 
he  could  ascertain  his  progress  on  the  road.  Ai 
soon  a.s  he  had  cros.He<l  Melton  bridije  he  l><>gan 
the  overtures,  and  always  found  hiniiclf  in  th« 
chorus    '  Lilt  up   yc  or  heads  '  when  ho  arrirw) 


309 


FOR 


ENCYCLOPJiDIA    OF   MUSIC. 


FOO 


£t  Brooksby  gate,  '  Tlianks  be  to  God '  the 
moment  he  got  tlirour;h  tlie  Thurmasten  toll 
Hftte.  As  the  pace  of  liLs  horse  was  pretty  regu- 
lar, he  contrived  to  conclude  the  Amen  chorus 
always  at  the  cross  in  the  lieli^rave  gate.  Though 
a  very  jiious  person,  eccentricity  was  at  times 
not  restrained  even  in  the  pulpit.  It  need  not 
be  stated  that  he  had  a  pretty  good  opinion  of 
his  own  vocal  i)owers.  Once,  when  the  clerk 
was  giving  out  'he  tune,  he  stopped  him,  saying, 
'  John,  you  ha  /c  jiitched  too  low  —  follow  me  ; ' 
then  clearing  u])  his  voice,  he  lustily  began  the 
tune.  When  the  psalmody  went  to  hLs  mind, 
he  enjoyed  it,  and  in  ])aroxysms  of  delight, 
would  dangle  one  or  both  of  his  legs  over  the 
wide  of  the  pulpit  during  the  singing.  AVheu 
preaching  a  charity  sermon  at  Slelton,  some 
p'titloinen  of  the  hunt  entered  the  church  rather 
l<»(e.  lie  stopped,  and  cried  out,  '  Here  they 
come ;  here  come  the  red  coats ;  they  know 
their  Christian  duties.  ITiere  is  not  a  man 
among  them  that  Ls  not  good  for  a  guinea  ! ' 
The  doctor  was  hinaself  a  performer.  I  tliink  it 
was  at  the  Birmingham  festival  that  he  was 
sitting  with  his  book  upon  his  knee,  humming 
music  to  the  performers,  to  the  great  annoyance 
of  an  attentive  listener,  who  said,  '  I  did  not 
pay  to  hear  you  sing.'  '  nien,'  said  the  doctor, 
•  you  have  that  into  the  bargain'  " 

FOUD,  TIIOM.\S,  one  of  the  musicians  in 
the  suite  of  Prince  Henry,  the  son  of  King  James 
I.,  was  the  author  of  some  canons  and  rounds, 
printed  in  Hilton's  collection,  and  also  of  a  work 
entitled  "  Musicke  of  sundre  Kinds,  set  forth  in 
two  Books,  &c."  This  work  was  published  in 
folio,  in  the  year  1607.  Thomas  Ford  composed 
the  beautiful  madrigal,  "  Since  first  I  saw  your 
face." 

FORKEL,  JOHANN  NICOL.,  a  doctor  of 
philosophy,  and  director  of  the  music  at  the 
University  of  Gottingeu,  was  born  in  1749.  His 
knowledge  of  musical  literature  is  universally 
allowed  to  have  been  very  e.vtensive,  and  his 
theoretical  works  on  that  science  arc  considered 
as  the  highest  authority  among  modern  musi- 
ci.Tus.  The  following  list  embraces  his  principal 
works  :  1.  "  Uber  dU  Thiorie  dfr  Musi/:,"  (the 
Theory  of  Music,)  Gottingcn,  1774,  in  4to.  2. 
"  Mu.si/Mlisch  KritUche  BihUothtk,"  Gotha,  1778, 
.3  vols.  8vo.  .3.  "  On  the  better  AiTangement 
of  Public  Concerts,"  Gottingen,  1779,  in  4to. 
4.  "  A  Definition  of  certain  Musical  Ideas," 
Gottingen,  1780,  in  4to.  5.  "  Almanac  of  Mu- 
sic, for  1782,  ."?,  4,  and  9."  6.  "  Allficmcine 
(Uxrhichte  dvr  Mii<iik,"  (General  Historv  of  Slusic,) 
Ueipsic,  1788  and  1801.  2  vols.  4to.  TbLs  is 
Forkel's  most  celebrated  work  ;  it  contains  the 
history  of  ancient  as  well  as  modern  music.  7. 
"  History  of  the  Italian  Ojiera,  translated  from 
the  Italian,  with  Notes."  Lcipsic,  1789,  2  vols. 
8vo.  8.  '•  Numerous  Critiques  in  the  Literary 
Journal  of  Gottingen."  9.  "  (Jcneral  Literature 
of  Music,  or  Instructions  for  knowing  the  Hooks 
on  Music  which  have  been  published  in  Eurojje, 
from  the  earliest  Ages  to  the  ])reient  Time  ; 
drawn  up  in  the  Form  of  a  Dictionary,  and  ac- 
companied by  Notes  and  Critical  Discussions." 
Besides  his  merits  as  an  author  on  the  science 
3f  music,  Forkel  was  an  excellent  pianist  of  the 
icbool  of  Bach,  of  whom  l;e  published  a  life, 
wi*.h  a  critical  view  of  his  compositions.     Forkel 


also  composed    much    vocal   and    instru  bentn] 
music. 

FOKMULAIIY.  Tlie  name  fonnerly  appUed 
to  the  stated  and  prescribed  number  and  dispo- 
sition of  the  ecclesiastical  tones. 

FOllXAS,  PHILIPPE,  a  French  musician, 
publLshed    "  L'Arl  du  Plain-chatU,"  in  1672. 

FOUSTEU,  GEORG,  chapel-master  at  Dres- 
den, and  composer  of  church  music,  died  in 
1537. 

FORTE,  or  F.  (I.)  A  word  implymg  that 
the  passage  over  which  it  is  i)laced  is  to  be  suug 
or  played  loudly.     Used  in  opposition  to  piano. 

FORTEMENT.  (F.)  A  word  signifying  that 
the  movement,  or  passage,  before  which  it  Ls 
placed,  1:5  to  be  performed  -vrith  strength  and 
energy. 

FORTIA  DE  PILLES,  ALPHONSE,  gov- 
crnor  of  Marseilles,  was  born  in  that  city  in  17'58. 
He  studied  composition  under  Ligori,  a  Neapol- 
itan pupil  of  Durante.  Fortia  composed  four 
operas,  which  were  perfonned  at  Manci.  He 
also  published  much  instrumental  music. 

FORTISSIMO,  or  FORTISS.,  or  FF.  (L) 
Very  loud.     The  superlative  oH  forte. 

FORTUNATO,  GIOVANNI  FRANCESCO. 
A  dramatic  comjKiser  at  Placenza  between  the 
years  1783  and  1791. 

FORTZETZUNG.    (G.)    A  continuation. 

FORZA,  or  FORZATO.  (L)  Force;  as,  con 
forza,  with  force,  vehemently. 

FORZ.\NDO,  or  FORTZ.,  or  FZ.  (L)  A 
term  signifying  that  the  note  to  which  it  applies, 
is  to  be  struck  with  particular  force,  and  held 
on.  This  term  is  expressed  by  fz,  sf,  or  >.  Its 
ertect  forms  a  strong  feature  in  the  character 
of  modern  music ;  we  never  find  it  expressed  in 
any  author  before  the  time  of  Haydn.  It  may 
be  dcscril)ed  as  a  forcible  expression  of  sound, 
which  Ls  no  sooner  uttered  than  it  drops  into  the 
utmost  degree  of  softness.  It  has  its  origin  in 
the  ebullition  of  our  passions.  We  hear  it  iu 
the  expressions  of  joy,  rage,  and  despair;  irdeed, 
it  is  natural  to  persons  under  any  violent 
emotion.  Like  all  other  forcible  expressions, 
its  meaning  wLU  depend  upon  the  situation  and 
manner  in  which  it  is  used.  As  used  in  the 
following  passage,  its  efl'ect  is  rather  that  of 
violence. 


g.#[^— *S» 


Sii^s 


^Isgj 


I  will  brcik •        bercfttilof  brut. 

This  effect  Ls  produced  upon  the  violin  by 
striking  the  note  with  a  firm  and  strong  bow ; 
which  is  no  sooner  commenced  than  it  Ls  light- 
ened, and  falls  into  a  soft  and  continued  sound. 
Its  inrtuence  upon  the  wind  instruments  ii 
similar  to  that  upon  the  voice. 

FOURNIER,  a  French  dramatic  com 
brought  out  the  opera  "  Lis  deux  Avcikj 
Bagdad,"  at  ParLs,  in  1782. 

FOURTH.  A  distance  comprising  tKrc 
tonic  intervals ;  that  is,  two  tones  and  a 
The  fourth  Ls  the  tliird  of  the  consotanc 
the  order  of  their  generations. 


posei, 
<:s    d« 


e  dia- 

half. 

es    in 


310 


FOU 


EXCYCLOPiEDIA    OF    MUSIC. 


FIIA 


FOUHTEEXTII.  ITie  octave,  or  replicate,  of 
the  hcveiith ;  a  cU^tanco  coraprclieudhi^  tliir- 
t«eu   cUiitouic   uiter\'uL!. 

FOUTKXELLE.  A  French  dramatic  com- 
poser. His  principal  work,  the  ojiera  of  "  He- 
cuba," was  broui;ht  out  in  1799,  but  most  of  the 
music  is  said  to  have  been  borrowed  from  (Muck 
and  Sacchini.  He  has  aLso  composed  some  ad- 
mired violin  music. 

FOY  was  many  yeaiH  ft  professor  of  music 
at  Dorchester,  Dorset,  and  he  was  of  a  truly 
religious  and  consc  luently  of  a  very  friendly 
disposition.  His  hospitality  was  so  •jrciit  that 
it  became  almost  proverbial.  He  was  a  ^rPi't 
friend  to  the  iX)or,  and,  indeed,  if  he  could 
render  service  to  any  one,  it  always  afforded 
..im  the  srentest  pleasure.  Foy  was  a  tine  per- 
former on  the  violin.  He  died  suddenly  in  i 
London,  while  on  a  visit,  in  IS2U.  I 

FOY,  J.VMES,  son  of  the  preceding.  From  j 
the  early  proofs  which  he  manifested  of  a  talent 
for  music,  his  father  determined  to  brini;  him  up 
to  that  profession,  and  commenced  teachinj^  him 
the  piano-forte.  In  the  year  1814,  when  the 
lameiite<l  Princess  Charlotte  was  on  a  visit 
to  Abbotsbury  Castle,  in  Dorset.sliirc,  the  seat 
of  the  countess  dowaijer  of  Hchester,  her  lady- 
ship introduced  Foy  to  play  the  piano-forte  to 
the  princess.  Her  royal  hii^hness  was  deli;jhted 
with  his  perfonuance.  His  father,  in  some  of 
the  pieces,  accompanied  him  on  the  violin,  'llie 
])rincess  was  extremely  affable  to  both  father 
and  son,  and  thou<;ht,  from  the  boy's  jierfonu- 
uncc  on  the  piano-forte,  he  had  studied  umler 
the  tirst  masters  in  London  ;  but  was  astonished 
to  tind  that  the  father  had  been  his  only  instruct- 
or. Foy  was  from  this  time  a  );reat  favorite 
with  the  princchis  ;  she  freciuently  observed  how 
much  she  was  delighted  with  his  )ierfoniiance 
and  interesting  manners.  He  xhortly  after  sent 
her  royal  hijjhness  a  piece  of  his  composition, 
the  tirst  he  ever  wrote ;  she  was  highly  pleased 
with  it,  and  desiretl  the  co\intes.s  dowager  of 
Tlchesfcr  to  wTite  to  his  father  to  that  effect ; 
and  there  is  i\o  doubt,  if  that  jirincess  had  lived 
to  occupy  the  throne,  she  would  have  ren- 
dered Foy  great  service.  He  continued  to 
practise  the  piano- forte  and  to  com]X)se,  and 
some  time  al'tervvards  he  commenced  learning  the 
haqi :  and  through  the  kindness  of  his  uncle, 
William  Maddick,  Esij.,  of  London,  who  took 
great  interest  in  his  welfare,  he  wa-s  enabled, 
in  his  occasional  visit.s  to  the  metrojiolis,  to 
study  the  harp,  piano-forte,  and  the  rules  of 
composition,  under  the  most  celebrated  masters. 
When  his  father  died,  the  maintenance  of  his 
mother,  three  brothers,  and  a  sister  devolved 
on  him ;  and  though  he  was  not  at  this  time 
eighteen  years  of  age,  he,  by  his  teaching,  man- 
aged to  support  the  laniily  in  a  very  respectable 
manner.  He  used  to  lead  the  concerts  which 
were  given  at  Dorchester.  Li  the  year  18  2:!, 
he  gave  a  musical  festival  in  that  town,  when  two 
new  overtures  of  his  own  composition,  for  a  full 
orchestra,  were  performed ;  and  the  reception  they 
met  with  must  have  been  truly  gratifying  to  his 
feelings.  The  following  is  a  list  of  his  compo- 
sitions :  "  Three  Concertos  for  the  Haqi," 
"  Three  Overtures  for  a  full  Orchestra ;"  "  'Hur- 
„een  single  Songs,  some  of  which  have  Orches- 
lal  Accompaniments  ; "  "  Three  Yocal  Duets ; " 


"  Four  single  (Jlees,  for  three  and  four  Voice*  ;  " 
"One  (Juartctto  and  Chorus ;"'  "Two  Sjicre*! 
Pieces  ;  "  "  Four  Fantasias  for  the  Harp  ;  "  "  One 
Fantasia  for  the  I'iano-fortc  ;  "  "Two  Duets  foi 
Harp  and  I'iaiio-lorte; ''  and  "  (Jiic  (juurtctt* 
for  Harj),  Flute,  Clarinet,  and  Ha:vsoou." 

FHAMEUY,  NICOLA.S  KITE-NXE.  A  French 
writer  on  music.  He  wrote  the  article  .UiMiV/iir, 
in  the  "  Enri/cloitiiltr  MiUhodiijuc."  He  also  pub- 
li.shed,  in  1802,  "  liUiutim  r/ui  a  rtiii/x>rti  le  I'rU 
(If  Litt^.ratitre  et  ISi-aux  Arts  d'-  t Institut  Sationa. 
lie  FrniitY."  Framery  aliio  wrote  tlie  music,  as 
well  as  the  words,  of  "  Im  Siircifre  i>ar  Hazard," 
an  openi,  performed  at  Paris  ui  178.'J. 

FliAXC,  GIILLAIME.  One  of  the  fifty 
musicians  who  composed  the  tun«X4  to  the  French 
version  of  psalms  by  Marot.  These  tunes  were 
tirst  printed  at  Stra.hurg,  in  the  year  1.54.5,  and 
were  afterwards,  with  several  others,  set  in  parts 
by  UourgeoL*  and  Gondimel. 

FU.yXCESCHL  D.  FUAXCESCO.  An  Ital- 
ian writer  on  music,  and  editor  of  an  edition  of  the 
works  of  Metastasio,  with  copious  notes  on  the 
subject  of  music,  published  at  Lucca  in  1789. 
TliLs  work  is  considered  by  the  Itnliuns  os  a 
chef-trtriirre  in  mui-ical  literature. 

"FU-\XC(F.rU.  FU.VX(;oiS,  chamber  musi- 
cian to  the  King  of  p'rance,  was  l>orn  at  Paris  in 
1()9S.  He  was  a  good  violinist,  and  composed 
some  instrumental  music  and  several  opents.  He 
died  at  Paris  in  1787,  aged  eighty-uine. 

Fll-yXCtKUU,  LOUIS,  first  vioUn  at  the  opera 
at  Paris,  died  in  174.5.  He  was  generally  c^ed 
L'honiifte  homme. 

FR.VXCIEUII,  LOUIS  JOSEPH,  eldest  son  of 
I^uis  Francieur,  was  born  at  Paris  in  1738.  He 
was  educated  by  his  uncle,  Fram.oLs  Franco-ur, 
who  placed  him  at  the  opera,  as  a  \-iolinLst,  in 
17.52.  In  1767  he  was  appointed  chef-iforcfuMrt 
at  the  opera.  Li  1772  Francopur  published  a 
work  entitled  "  DiajxiJion  de  toiu  Ifx  hutrumeni  a 
i'eiit."     He  also  composed  some  o]>eras. 

FllAXCK,  JOHAXX  WOLFOAXG.  A  com- 
poser  of  dramatic  and  instrumental  music,  chieflv 
publLshecl  at  Hamburg  between  the  vears  1679 
and  l(i8f). 

FUAXCK,  MELCHIOIl.  A  celebrated  Ger- 
man  church  and  secular  vocal  composer.  Hia 
work.s,  which  are  very  numerous,  and  ehierty 
written  in  the  Latin  language,  were  published  at 
different  towns  of  (ierraany,  between  the  rears 
ItiOO  and  IG.36.     He  died  in  Ki.'JO,  at  Cobourg. 

FIl.VXCO,  a  monk  of  Cologne,  lx)m  in  th« 
eleventh  century,  wrote  about  filty  years  after 
(iuido,  and  was  the  next  who  imjirove*!  descant. 
He  admitted  the  fifth  an  a  concord,  but  called 
major  and  minor  sixths  discords.  He  was  the 
first  who  WTOte  descant  to  xceular  airn,  called 
roiiiidiUiyf.  He  also  made  some  improvementu 
in  mea-suring  time.  He  used  five  kinds  of 
measure:  1st.,  tlirec  longs;  2d,  a  breve;  3d, 
a  long  and  two  breves  ;  4th,  two  breves  and  a 
long  ;  and  .5th,  a  breve  and  a  semibreve.  Franco 
u.sed  tlie  dotted  note,  and  liars  ;  but  hU  ban 
were  for  the  piirpose  of  indicating  breathing 
places  or  musical  phrases,  and  not  lor  dividing 
the  music  into  measures. 

FUAXCUS,  JOAXXE.*;.  A  compoMr  ot  » 
cred  muaic  published  at  Auijsburg  ia  1600. 


311 


FRA 


EXCYCI.OP^-DIA    OF    MUSIC. 


FRI 


FRAXKLIX,  BKNJAMIX,  a  philosopher 
nnd  strttosinnu,  the  soil  ol'  a  soap  boiler  and  tal- 
low rhaiidler,  was  born  in  Boston,  170*),  and 
died  in  1790.  lie  invented  a  musical  instrument 
i'allo<l  the  harmonica,  or  armoiiica,  which  he 
concealed  from  his  wi;'e  till  the  instrument  was 
fit  to  jilay,  and  then  awoke  her  with  it  one  night, 
when  slie  took  it  lor  the  music  of  the  anj;els.  It 
is  said  that  one  Mr.  I'ockrich,  ol'  Ireland,  was 
the  first  who  tliought  of  making  u.se  of  drinking 
glasses  for  the  purpose  of  producing  music.  He 
collected  a  sufKcient  number  of  glasses  to  pro- 
duce all  the  necessary  tone*,  and  tuned  them  by 
putting  more  or  le:<s  water  into  each,  as  each 
note  retjuired.  Mr.  Delaval  soon  after  made  an 
instrument  in  imitation,  and  from  this  instru- 
ment Dr.  Franklin  took  the  hint  of  constructing 
his  annonica.  'llie  glasses  for  this  musical  in- 
Btrument  are  blown  as  nearly  as  possible  in  the 
form  of  hemisjjheres,  having  each  an  open  neck 
or  socket  in  the  middle.  The  thickness  of  the 
glass  near  the  brim  is  about  one  tenth  of  an 
inch,  increasing  towards  the  neck,  which,  in  the 
largest  glasses,  is  about  an  inch  deep,  and  an 
inch  and  a  half  wide  within ;  but  these  dimen- 
Rions  le.sscn  as  the  size  of  the  glasses  diminishes ; 
the  neck  of  the  smallest  being  about  half  an  inch 
in  length.  The  diameter  of  the  largest  glass  is 
nine  inches,  and  that  of  the  smallest  three  inches. 
Between  these  there  arc  twenty-three  different 
sizes.  'Ilie  largest  glass  in  the  instrument  is  G, 
a  little  below  the  reach  of  a  common  voice,  and 
the  highest  G,  including  three  complete  octaves ; 
and  they  are  distinguished  by  jjainting  the  ap- 
parent parts  of  the  glasses  withiuside,  every 
(semitone  white,  and  the  other  notes  of  the  octave 
with  the  seven  jjrismatic  colors  ;  so  that  glasses 
of  the  same  color  (the  white  excepted)  are 
always  octaves  to  each  other.  When  the  glasses 
are  tuned,  they  are  to  be  fixed  on  a  round 
spindle  of  hard  iron,  an  inch  in  diameter  at  the 
thickest  end,  and  tapering  to  a  quarter  of  an 
inch  at  the  smalleiit.  For  this  ]niq)ose,  the  neck 
of  each  glass  is  fitted  with  a  cork,  projecting  a 
little  without  the  neck.  ITiese  corks  are  per- 
forated with  holes  of  different  diameters,  accord- 
ing to  the  dimensions  of  the  spindle  in  that  part 
of  it  where  th(!y  are  to  be  fixed.  The  gla-sses  are 
all  placed  within  one  another;  the  largest  on 
the  biggest  end  of  the  spindle,  with  the  neck 
outwards  ;  the  ne.xt  in  size  is  put  into  the  other, 
leaving  about  one  inch  of  its  brim  above  the 
brim  of  the  first ;  and  the  others  are  put  on  in 
the  same  order.  From  these  exposed  parts  of 
each  glass  the  tone  is  drawn,  by  laying  a  finger 
>ipon  one  of  them  as  the  s])indle  and  glasses  turn 
round.  The  spindle,  thus  jjrepared,  is  fixed 
horizontally  in  the  middle  of  a  box,  and  made  to 
turn  on  brass  gudgeons  at  each  end  by  means  of 
a  foot  wheel,  lliis  instrumei.t  is  played  upon 
by  sitting  belbre  it,  as  before  the  keys  of  a  piano- 
forte, turning  the  s))indle  with  the  foot,  and 
wetting  the  gliusses,  now  and  then,  with  a  sponge 
and  clean  water.  'Ilie  fingers  should  be  first 
soaked  in  water,  and  rubbed  occasionally  with 
fine  chalk,  to  make  them  catch  the  gliuss,  and 
bring  out  the  tone  more  readily.  Different  parts 
may  be  played  together  by  using  both  hands  ; 
«nd  the  tones  are  best  drawn  out  when  tlie 
glasses  turn  from  the  ends  of  the  fingei-s,  not 
when  they  turn  to  tliem.  The  advantages  of 
this    iustriuneut,   says    Dr.   Franklin,   arc,   that 


its  tones  are  incomparably  sweet,  beyond  those 
of  any  other,  and  that  they  may  be  swelled  or 
softened  at  plea.sure,  by  stronger  or  weaker 
pressures  of  the  finger,  and  continued  to  any 
length ;  and  when  it  is  once  tuned,  it  never 
wants  tuning  again.  From  the  effect  which  it 
has,  or  is  supjjosed  to  have,  on  the  nervous 
system,  it  has  been  suggested  that  the  fingers 
should  not  be  allowed  to  come  in  immediate  con- 
tact with  the  glasses,  but  that  the  tones  should  be 
produced  by  means  of  a  key,  as  upon  the  piano- 
forte. Such  a  key  has  been  invente^l  in  Berlui 
or  Dresden,  and  an  instrument  constructed  on 
thLs  plan,  called  the  harpsichord  harmonica. 
But  these  experiments  have  not  produced  any 
tiling  of  much  value ;  and  it  Ls  impossible  that 
the  delicacy,  the  swell,  and  the  continuation  of 
the  tone  should  be  carried  to  such  perfection  as 
in  the  first-mentionetl  method.  The  harmonica, 
however  much  it  might  excel  all  other  instru- 
ments in  tlie  delicacy  and  duration  of  its  tones 
yet  is  confined  to  those  of  a  soft  and  melancholy 
character,  and  to  slow,  solemn  movements,  and 
can  hardly  be  combined  to  advantage  with  oth- 
er instruments.  In  accompan)-iug  the  human 
voice,  it  throws  it  ui  the  shade ;  and  in  concerts, 
the  accompanying  instruments  lose  in  effect, 
because  so  far  inferior  to  it  in  tone.  It  is  there-' 
fore  best  enjoyed  by  itself,  and  may  produce  a 
charming  effect,  in  certain  romantic  situations. 
Besides  the  proper  harmonica,  there  is  the  pegged 
or  nailed  harmonica,  the  pegs  of  which  are  of 
steel,  and,  being  placed  in  a  semicircle,  are  played 
with  a  strung  bow.  lliis  has  no  resemblance 
to  the  proper  harmonica,  except  some  similarity 
in  tone. 

FKAXZ,  JOHAXX  CHRISTI^S.X,  a  singer 
and  vocal  composer  at  Berlin,  was  bom  in  1762. 
He  published  twelve  songs  in  1795,  and  is 
also  the  author  and  composer  of  the  operetta 
"  EdelmiUh  und  Liebc,"  produced  at  Berlin  in 
1805. 

FRAXZOXI,  AMAXTE.  A  composer  of 
madrigals,  published  at  Venice  at  the  beginning 
of  the  seventeenth  century. 

FRA.SI.  (I.)  Phrases  ;  short  musical  sentences. 

FREDDI,  AMADEO,  chapel-master  at  Padua, 
published  four  operas  of  sacred  music  at  Venice, 
between  the  years  1617  and  1642. 

FREDOX.  A  word  formerly  used  to  signify 
a  short  flight  of  notes  sung  to  the  same  syllable. 
A  kind  of  extempore  flourish. 

FREISLICII,  JOHAXX  BALTHASAR 
CHRI8TIAX.  Chef-d'orchesirc  at  Dantzic  in 
1731.  lie  composed  much  chamber  and  church 
music,  very  little  of  which  ha.s  been  published 

FREXC'H  IIORX.     See  Hokx. 

FKEXEl'SE,  J.  L.  A  writer  in  defence  of 
the  French  school  of  music  against  the  Italian,  at 
the  commencement  of  the  last  century. 

FRERE,  ALEXAXDRE.  Member  of  the 
Academy  of  Music  at  Paris  in  the  early  part  of 
the  last  century.  He  published,  at  jVmsterdam 
"  TransjMsilioiis  de  Miuu/tw,  rdduites  au  nattircl,  par 
I"  Secoiirs  de  la  ModulUion.  Avec  unc  Pratiijtie  dti 
Tmits/xisitioiis  inrr/uliirement  icrites,  et  la  Maniire 
ifen  surmonter  Ifs  Dijficultis." 

FREROX,  ELIAS  CATIIARIXA,  was  a 
Jesuit,  born  at  Quimper  in  1719.     He  published 


512 


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EXCYCLOPyEDIA    OF    MUSIC. 


FRC 


at  Paris,  in  17i53,  "  Deux  Lettres  sur  la  Musiqite 
Prani^aise,  en  Riponac  h  celie  tie  J.  J.  Rousseau." 

1''IIESCHI,  GIOVANNI  DOMENICO.  A 
monk,  bom  at  Viccnzn.  lie  was  chapcl-mastcr, 
and  a  much  admired  chureli  and  dramatic  compo- 
ser at  Venice.  Hi.-*  publications  bear  date  from 
the  year  1060  to  U58.5.  In  1680,  the  opera  of 
"  Bi-renice,"  set  by  this  composer,  wati  produced 
at  Padua  in  a  most  splendid  manner.  There  were 
ohoruscs  of  one  hundretl  virt^ins,  one  hunilred 
soldiers,  one  hundred  horsemen  in  iron  armor, 
forty  comets  of  horse,  si.x  trumpeters  on  horse- 
hack,  six  drummers,  six  ensigns,  six  sackbuts,  six 
L'leat  flutes,  six  minstrels  playing  on  Turkish 
instruments,  six  others  on  octave  flutes,  si.x 
jiages,  three  scrjeants,  six  cymbalists,  twelve 
huntsmen,  twelve  grooms,  six  coachmen  for  the 
triumph,  six  othere  for  the  procession,  two  lions 
led  by  two  Turks,  two  elephants  by  two  others, 
Berenice's  triumphal  ciu-  drawn  by  four  horses, 
(■i.x  other  cars  with  s[)oils  and  prisoners  drawn  by 
twelve  horses,  and  six  coaches  for  the  procession. 
Among  the  scenes  and  representations  in  the  first 
act  was  a  vast  jilaiu  with  two  triumphal  arches, 
another  with  pavilions  and  tents,  a  siiuare  pre- 
pared for  the  entrance  of  the  triumph,  and  a 
forest  for  the  chase. 

Act  second,  the  royal  apartments  of  Berenice's 
temple  of  vengeance,  a  spacious  court,  with  a 
view  of  the  prison,  and  a  covered  way  for  the 
coaches  to  move  in  procession.  Act  third,  the 
royal  dressing  room  completely  furnished,  stables 
\%-ith  one  huuilrctl  live  horses,  a  portico  adorned 
with  tapestn,-,  and  a  delicious  palace  in  perspec- 
tive. In  addition  to  all  these  attendants  and 
decorations,  at  the  end  of  the  first  act  there  were 
representations  of  every  kind  of  chase,  aa  of  the 
wild  boar,  the  stag,  deer,  and  bears ;  and  at  the 
end  of  the  third  act,  an  enormous  globe  descends 
from  the  sky,  which,  opening,  divides  itself  into 
other  globes,  suspended  in  the  air,  upon  one  of 
which  is  the  figure  of  Time,  on  the  second  that 
of  Fame,  on  others  Honor,  Nobility,  Virtue,  and 
Glory. 

FRESCOBALDI,  GniOLAMO,  a  native  of 
Fcrrara.  was  bon\  in  the  year  1601,  and  at  about 
the  age  of  twenty-three  was  appointed  organist 
of  the  Church  of  St.  Peter's  at  Rome.  Fresco- 
baldi  is  not  less  celebrated  for  hLs  corajjositions 
for  the  organ  than  for  his  great  powers  of  execu- 
tion on  that  instrument,  lie  was  the  first  of  the 
Italians  who  composed  for  the  organ  in  fugue  ;  and 
in  this  species  of  comjwisition,  originally  invented 
Sy  the  Germans,  he  was  without  a  rival,  llo 
may  be  truly  consideretl  the  father  of  that  stylo 
of  organ  plaving  calletl  by  the  Italians  tocniioji, 
and  by  the  English  roluntaries.  In  the  year 
lii'iS,  Bartolomo  (Jrassi,  organi.st  of  St.  Maria  in 
Acipiirio,  at  Rome,  published  a  work  of  Fres- 
cobaldi,  entitled  "  lit  Partitura  il  I'rinm  Libro 
delle  Caiizoiii,  fi  una,  tre,  e  quatro  Tori,  per  sonare 
rtxi  o.7'i«  Sorte  di  Siromcnii."  From  the  title, 
it  seems  that  these  were  originally  vocal  compo- 
sitions, but  that  (irassi,  for  the  improvement  of 
those  who  were  employed  in  the  study  of  com- 
position, bad  rejected  the  words,  and  publisho<l 
the  music  in  score.  In  this  form  they  met  with 
so  favorable  a  reception  from  the  public  as  to  be 
twice  reprinted.  Another  work  of  Frescobaldi 
was  printed  at  Rome,  in  1607,  entitled  "  R  Semn- 


do  Libro  di  Toccate,  Canzoni,  et  altre  Partite,  (T  In 
tavotatura  di  Cimbalo  et  Orgaiio." 

FRESCO.     (I.)     Quick  and  Uvely. 

FRETS.  Certain  short  pieces  of  wire  fixed  on 
the  finger  Iward  of  guitars,  ike,  under,  and  at 
right  angles  to,  the  strings,  and  wliich,  as  the 
strings  are  brought  into  contact  with  them  ))y  tho 
jjressuro  of  the  fingers,  serve  to  vary  and  deter- 
mine the  pitch  of  the  tones.  The  frets  are  ahvayti 
j)laced  at  such  distances  from  each  other,  that 
the  string  which  touches  any  particidar  fnt  Ls 
one  semitone  higher  than  if  pressed  on  the  next 
fret  towards  the  head  of  the  instrument,  a'\d 
one  semitone  lower  than  when  brought  ini; 
contact  with  the  next  fret  towards  the  bridge. 
Formerly,  these  frets,  or  stops,  consLsted  of 
strings  tied  round  the  neck  of  the  instrument 

FREUBEL,  J.  L.  P.  L.  An  instmraental 
composer,  some  of  whose  works  were  published 
at  Berlin  between  the  years  1797  and  1802. 
Freubel  was  chef-d^orehestre  at  the  Amsterdam 
theatre   in   1804. 

FREUNDTHALER,  CAJET.AN.  Composer 
of  church  and  ijistrumeutal  music  at  \'ieuna 
previously  to  the  yciu:  1799. 

FRIBERTH,  CARL.  Chapel-master  of  the 
Jesuits'  church  at  Vienna.  Bom  in  17.3'i.  He 
composed  some  church  music.  Friberth  M-as  a 
friend  of  Ilaydn,  and  furnished  many  of  the 
particulars  pubhshed  in  his  life. 

FRICIIOT.  Inventor  of  the  bass  horn.  In 
the  year  1800  was  published,  in  London,  a  work 
entitled  "A  complete  Scale  and  Gamut  of  the 
Bass  Horn,  a  new  instrument,  invented  by  Mr. 
Frichot,  and  manufactured  by  G.  Astor." 

FRICK,  PHILIP  JOSEPH,  formeriy  organ- 
ist at  the  court  of  the  Margrave  of  Baden,  per- 
formed curiously  well  on  the  harmonica  ;  he  wa.s 
also  a  good  pianist.  He  died  at  London  in  1798. 
Frick  ])ul)lished  in  England,  1.  "Treatise  on 
Thorough  Bass,"  Ixmdon,  1786.  2.  "  On -Modu- 
lation and  Accompaniment."  This  work  was 
afterwards  translated  into  French.  He  also  pub- 
lished some  piano-forte  music. 

FRIEDBERG.  A  German  compo.ser,  attached 
to  Prince  Anton  Esterhazy,  at  tho  time  that 
Haydn  resided  with  him. 

FRIEDEL,  S.  L.  A  violoncellist  of  the  Royal 
Chapel  at  Berlin,  and  instrumental  composer, 
about  the  year  1788. 

FRIEDRICH,  I(;N.,  a  Benc<Uctine  monk, 
was  an  excellent  violinist  and  violonceUi-^t  aNo  a 
composer  for  his  instrument.  He  died  at  Prague, 
in  1788. 

FRISCHMimi,  JOIIANN  CHRI.STLVN.  A 
violinist  at  Berlin,  and  composer  for  his  instru- 
ment. He  also  brought  out  some  dramatic  pieces. 
He  died  in  1790. 

FRITZ,  BARTHOLD,  a  musical  instrument 
maker.  He  was  the  author  of  a  work  entitled 
"  Anxreisuiui,"  &c.,  (\.  e.  Guide  to  Temperament,) 
published  at  Leipsic,  in  17<37. 

FROBERGER,  JOHN  JACOB,  a  pupU  ol 
Frescobaldi,  arl  organi^tt  to  the  Em]>erur  Fwd» 


40 


313 


FRO 


EXCVCLOPiEDIA    OF    MUSIC. 


yrjL 


nand  III.,  flourished  about  tbo  year  1650.  lie 
WHS  an  excellent  perl'ormer  on  the  organ  and 
harpsichord,  and  his  compositions  for  those  in- 
dtrumentH  linvc  been  hii^lily  applauded,  lie  is 
said  to  have  been  partial  to  imitations  in  music 
of  ditleient  occurrences  in  life,  to  which  he  had 
the  power  of  ^ivin;;  fircat  expression. 

FROEIILICII,  JOSEPH,  a  professor  of  music 
at  Wurtzbur;;,  was  born  there  in  1780.  He 
has  written  some  works  on  the  theory  of  mu.sic ; 
also  several  compositions  for  the  church,  and 
much  instrumental  music. 

FUOSCII.  (G.)  The  nut  of  a  bow  for  the 
violin,  tenor,  bass,  &c. 

F  SHARP.  The  character  now  used  for  a 
sharp  was  originally  designed  to  represent,  by  its 
four  cross  lines,  the  four  comma.«  of  the  chromatic 
semitone.  Such  is  the  signification  of  the  mark 
given  by  Bontem]n,  1695.  The  sharp  was  used 
by  Marcheto,  in  1274.  The  Germans  consider 
this  character  as  an  alteration  of  the  letter  B, 
and  call  it  a  cross,  (Kreu:,)  or  Intticed  B.  They 
also  add  the  syllable  is  to  the  names  of  those 
letters  of  the  scale  which  are  sharped.  The 
French  use  the  term  diesc,  derived  from  the 
Greek  word  diesis,  and  annex  it  to  the  syllables 
of  Guido,  thus :  Fa-diese,  F  sharp. 

FrCHS,  GEORG  FRIEDRICH,    a   German 

instrumental  composer  at  Paris,  was  born  about 
the  year  1770.  He  has  published  much  instru- 
mental music  since  the  year  1790.  Most  of  his 
compositions  are  for  wind  instruments. 

FUEGER,  GOTTLIEB  CHRISTIAN,  bom 
at  Heilbronn  in  1749,  published  at  Zurich,  in 
178.3,  a  work  entitled  "  Caractcristische  Klavier- 
stUcke." 

FUG  A.     (I.)    Fugue. 

FUGA  DOPPIA.     (I.)    Double  fugue. 

FUGATA.  (I.)  An  epithet  applied  to  com- 
positions written  in  the  style  of  fugues ;  as, 
sinfoiiia  fiif/ata,  a  fugued  sj-mphony. 

FUGHErrA.     (I.)     A  little  fugue. 

FUGUE.  A  term  derived  from  the  Latin 
word  fiit/a,  a  flight,  and  signifying  a  compo- 
sition, cither  vocal  or  instrumental,  or  both,  in 
which  one  part  leads  off  some  determined  suc- 
cession of  notes  called  the  sulijcct,  which,  after 
being  answered  in  tlie  fifth  and  eighth  by  the 
other  parts,  is  interspersed  through  the  move- 
ment, and  distributed  amid  all  the  parts  in  a 
desultory  manner,  at  the  pleasure  of  the  com- 
poser ;  sometimes  it  is  accompanied  by  other 
adventitious  matter,  and  sometimes  by  itself. 
'ITiere  are  three  dLstinct  descriptions  of  fu;/ucs  — 
the  simple  fugue,  the  double  fugue,  and  the 
counter  fugue.  The  futjuf,  simple,  contains  but 
one  subject,  is  the  least  elaborate  in  its  construc- 
tion, and  the  easiest  in  its  composition.  The 
fulfill',  doMe,  consists  of  two  subjects,  occasion- 
ally infenninglcd  and  moving  together ;  and  the 
fi'tgiie,   counter,  is  that    fugue  in  which  the  8ub- 

iocts  move  in  a  direction  contrary  to  each  otlier. 
n  all  the  different  species  of  fugues,  the  parts 
fly,  or  run  after  each  other,  and  hence  the  der- 
ivation of  the  general  name  fiuiue. 

On  the  ;psthetic  character  or  expression  of  the 
fugue,  wo  find  the  following  in  an  article  on  the 
fugues  of  Bach,  by  J.  S.  Dwight : — 

"  There  seems  to  be  no  such  thing  as  an  exhaus- 


tive description  of  fugue,  any  more  than  that  ever- 
growing, kindling,  intertwining  flight  and  pursuit 
of  echoes  of  one  melody  can  exhaust  itself.  "  Bach's 
fugues,"  said  some  one,  "  have  no  end ;  when 
you  have  played  them  through,  you  have  not 
played  them  out."  With  liL;  skill,  —  that  Is  to 
say,  with  his  intimacy  with  the  organic  secret 
running  through  all  being,  whereby  unity  un- 
folds into  variety,  —  the  theme  could  be  sus- 
tained, still  varied,  still  preserved,  in  infinitum. 

"  A  fugue  is  the  unfolding  of  a  musical  germ ;  it 
is  the  development,  the  opening  out,  the  organic 
growth  of  a  musical  thought,  first  lj"ing  latent  in 
any  simple  phrase,  according  to  its  innate  law. 
Li  its  effect,  as  you  get  it  on  the  grand  scale  from 
a  multitudinous  chorus,  it  is  the  theme  echoed 
back,  reflected  from  all  cjuarters,  till  it  becomes 
all-pervading.  One  snatch  of  melody  wakes  all 
the  echoes  tlirough  the  i-ealm  of  sound.  Just  so 
the  moon  puts  out  one  little  point  of  light  in 
the  veiled  firmament,  and  instantly  the  clouds 
are  luminous,  and  every  streamlet  glimmers,  and 
every  i)olished  leaf  and  every  gilded  spire  tele- 
graph the  arrival  of  hght  above. 

"  Nature  is  full  of  fugue.  Through  all  her 
phenomena  there  is  thus  tendency  of  many  to 
one  end ;  this  endless  hide-and-seek,  of  inter-, 
twining,  imitative,  and  yet  most  sensitively 
indi\-idual  hues  or  curves.  The  spiral  growth 
of  the  plant  is  a  fugue.  The  wheat  field  bowed 
before  the  breeze,  the  swell  of  the  advancing 
ocean,  wave  upon  wave,  rising  and  blending 
into  the  whole,  is  a  fugue.  But  perhaps  the 
clearest  illustration  of  it  is  in  flame ;  there  you 
have  the  very  outline  of  its  motion  visiblj-  j>or- 
trayed — a  peq)etual,  restless  soaring  up  of  in- 
numerable little  confluent  tongues  of  flame,  all 
tending  upward  to  one  point.  Thus  the  fugue 
kindles  and  rises,  a  soaring  p^iTamid  of  sounds, 
an  harmoniously-blended  rivalry  of  individuals 
in  eager  imitation  and  pursuit  of  one  another. 
First  the  theme  —  a  simple  phnise  of  a  few  bars, 
but  characteristic  and  pifiuant  enovigh  to  fasten 
on  the  mind  and  provoke  inquiry  into  its 
relations  —  is  uttered  by  one  pnrt  or  voice ; 
instantly  another  and  another  takes  it  up,  till 
all  are  swept  away  in  muigled  pursuit  of  one 
another,  all  possessed,  uisjiired  with  the  one 
sentiment,  yet  each  ambitious  to  exceed  tht 
other's  illustration  and  outdo  his  testimony. 

"  As  a  form  of  art,  then,  it  is  analogous  to 
Gotliic  architecture,  lliere,  too,  innumerable 
details  of  figure,  grouped  columns,  intersecting 
arches,  leaves,  flowers,  spkes,  minarets,  see.-n 
striving,  yearning  upwards,  and  the  raa.ssive, 
intricate  eixsemhle  looks  light  and  instinct  with 
aspiration,  as  if  it  would  float  aloft ;  you  cannot 
convince  yourself  that  it  Ls  fi.xed ;  such  is  tlie 
mystery  of  form.  It  was  the  expression  of  the 
sentiment  of  that  age ;  the  sense  of  the  finite 
every  where  losing  and  finding  itself  in  the  in- 
finite—  of  unity  in  variety.  It  seems  to  say 
that  nothing  is  iiuLshed  ;  no  individual  form  or 
existence  completes  itself;  but  each  and  every 
thing  relates,  refers  unto  the  whole,  and  in  devel- 
oping its  own  tendencies  reveals  a  world." 

FUG  UI.ST.  A  musician  who  composes  fugues, 
or  performs  them  extemporaneously. 

FULL.  -■Vn  epithet  applied  to  certain  anthems  ; 
to  the  organ,  when  all  or  most  of  it,s  stops  are 
out ;  to  a  ioore,  thf  reveral  parts  of  which  are 
U 


PUN 


ENCYCLOPiEDIA    OF    MUSIC. 


FU3t 


complete,  and  its  combinntions  closely  construct- 
ed ;  niid  to  a  band,  when  all  the  voices  and  instru- 
ments are  emiiloyed. 

FUNDAMENTAL.  An  epithet  applied  to  a 
chord,  when  its  lowest  note  is  that  I'roni  which 
the  chord  is  derived  ;  also  the  lowest  note  of  such 
a  chord  is  caUed  the  fundamental  note. 

FUXDAMF.NTAI-  BASS.  The  name  given  to  uny  bau  note 
when  accntniKinit'd  with  the  chord  derived  from  that  note. 

FL'NEBRE.  (F.)  Funcial ;  a.t,  marche  funcbre, 
a  dead  march.  The  Italian  adjective  is  the  same ; 
Bl4,  imirria  fiDiebre. 

FUNZIONI.  (I.  n.)  ITie  general  name 
assigned  by  the  Italians  to  those  oratorios  and 
other  hdcred  compositions  occasionally  performed 
m  the  llomish  church. 

FUOCO.     (I.)     Fire,  animation. 

FL'llCIIEIM,  JOHANX  WILIIELM,  a  com- 
poser of  the  seventeenth  century,  published  some 
instrumental  music  at  Dresden  in  the  year  1674 
and  1()87. 

FUKIOSO.     (I.)     Furious,  with  agitation. 

FURLAXO.     (I.)     An  antiquated  dance. 

FUllXITURE.  The  name  of  one  of  the  stops 
of  an  organ. 

FUKIBOXDO.  (I.)  A  word  applied  adver- 
bially to  movements  intended  to  be  performed 
with  energy  and  vehemence. 

FURORE.  (I.)  Fury,  rage;  as,  con  furore, 
with  fury,  with  great  agitation. 

FURSITIXAU,  CASPAR,  a  celebrated  flutist 
at  Oldenburg  in  ISOl,  was  born  at  MOnstcr,  in 
1772.  He  has  published  much  instrumental 
music,  chicflv  at  Offenbach,  since  the  year  1802. 
He  died  in  1819. 

FURSTEXAU,  AXTOX  BERXHARD,  flu- 
tist to  the  King  of  Saxony,  at  Dresden,  and  old- 
est son  of  the  preceding,  was  boni  at  Monster  in 
1792.  He  has  been  one  of  the  most  distinguished 
masters  of  the  flute,  and  his  exercises  and  studies 
nave  been  frequently  reprinted  in  Germany, 
England,  and  France. 


FCRSTEXAU,  MORITZ,  son  of  the  pre- 
ceding,  was  born  in  Dresden  in  1824.  He  l)cgan 
the  study  of  the  flute  at  the  age  of  six.  In  18.>2 
he  astouLshed  the  inhabitants  of  Dresden  at  a 
l)ublic  concert,  and  has  since  accompanied  hia 
father  on  his  concert  tours  through  Germany, 
exciting  the  greatest  interest. 

FUSA.     (L.)     A  quaver. 

F  QUADRATA.  The  name  given  by  the 
early  writers  on  counterpoint  to  the  sign  which 
represented  sharji  F,  in  tlicir  mii.sica  fnha,  or 
transpositions;  and  the  form  of  which,  like  oar 
natural,  approached  that  of  the  square. 

FUX,  JOH  AXX  JOSEPH.  A  celebrated  con- 
trapuntist, and  composer  of  sacred  and  theatrical 
music,  was  a  native  of  Styria,  a  province  of  (icr- 
many,  in  the  circle  of  Austria,  and  chapel-raa.ster 
to  the  Emperor  of  Germany,  (Charles  VI.  He 
was  born  in  1060.  In  1701,  he  publi>hed,  at 
Xurcmburg,  a  work  entitled  "  Concentu.i  Muairo- 
Inatrumcntalis,  in  septan  Partitn.i  divisii.i."  He 
also  composed  several  operas,  among  others,  one 
called  "  Eliza,"  on  the  occasion  of  the  birth  of 
the  Empress  Elizabeth  Christiana ;  this  was 
printed  at  Amsterdam.  Fux,  however,  is  better 
knowni  to  the  world  by  liis  "  Gradiu  ad  Pnriia.i- 
sum,  sive  Manuductio  ad  Com/nsitiomni  Mu-sicte 
retftilarem,  methodo  novA  ac  certd  noiidum  anti  tarn 
exactoordine  in  liicem  editd,"  printed  at  Vienna, 
in  the  year  1725,  and  dedicated  to  the  Emperor 
Charles  VI.,  who  defrayed  the  whole  expense  of 
the  publication.  This  work,  which  has  been 
translated  into  Italian,  is,  up  to  the  present  mo- 
ment, the  guide  of  all  the  masters  and  schools 
in  Italy.  Fux  died  about  the  year  17')0.  It  is 
recorded  that  t^harlcs  VI.  esteemed  him  .so  highly, 
that  he  caused  the  gouty  old  man  to  be  carried 
on  a  litter  from  Vienna  to  Prague,  in  1723,  to 
superintend  an  opera  at  the  coronation  festival. 
Fux  had  great  influence  on  the  musical  taste  of 
his  time  by  his  compositions.  Ilis  sacred  music 
is  still  highly  esteemed,  particularly  ammo  canon- 
tea,  which  was  published  at  Leipsic. 


lis 


o 


ENCYCLOr.'EDIA    OF    MUSIC. 


GAB 


G. 


G  is  the  nominal  of  the  fifth  note  in  the 
natural  diatonic  scale  of  C,  to  which  Guido 
applied  tlie  monosyllable  Sul,  thus : 


^     -^ng — I 


m 


m 


Tosb. 

Dgmluuit. 

Toolt. 

DomloMll. 
TodIo. 


G  also  stands  for  one  of  the  names  of  the  highest 
clef,  or  the  treble  clef. 

GAA,  or  GAH,  G.  M.  A  good  violinist  and 
pianitit,  at  Heidelberg,  in  1803.  He  published 
at  Manheiin,  in  1798,  "  Six  Aiisf/csuchte  Lieder." 

G ABLER,  CHRISTOPHER  AUGUST.,  a 
vocal  and  instrumental  composer  at  Revel,  pub- 
lished much  music  at  Leipsic  between  the  vears 
1788  and  1802. 

GABLER,  MATTHIAS,  boni  at  Spalt,  in 
Franconia,  in  173G,  published  at  Ingolstadt,  in 
1776,  a  treatise,  in  4to.,  on  the  tone  of  instru- 
ments.    He  died  at  Wembdingen  in  180.5. 

GABRIELI,  AXDREA,  a  celebrated  organ- 
ist of  .St.  Mark's  Church  at  Venice,  flourished  in 
the  second  half  of  the  sixteenth  century.  He 
published  many  madrigals,  and  much  church 
music  at  Venice,  between  the  years  1.572  and 
1590. 

GABRIELI,  CATHARIXA,  one  of  the  most 
celebrated  singers  of  the  eighteenth  century, 
was  born  at  Rome  in  1730.  She  was  a  pu- 
pil of  Porpora  and  Metastasio,  and  was  famed 
for  her  astouisliing  eapricci.  Of  this  extraor- 
dinary woman,  Brydone  thus  speaks,  in  his 
"Tour  through  Sicily  and  Malta,"  vol.  ii.  p.  319  : 
"  The  first  woman  is  Gabrieli,  who  is  certainly 
the  greatest  singer  in  the  world,  and  those  that 
sing  on  the  same  theatre  with  her  must  be  capi- 
tal, otherwise  they  never  can  be  attended  to. 
This  indeed  has  been  tlie  fate  of  all  the  per- 
formers, except  Pacherotti,  and  he  too  gave  him- 
sell"  up  for  lost  on  hearing  her  performance.  It 
happened  to  be  an  air  of  execution  exactly 
ada])tcd  to  her  voice,  in  which  she  exerted  her- 
self in  BO  astonishing  a  manner,  that,  before  it  was 
half  done,  poor  Pacherotti  burst  out  crying,  and  ran 
in  behind  the  scenes,  lamenting  that  he  had  dared 
to  ap|)ear  on  the  same  stage  with  so  wonderful  a  ! 
singer,  whiTe  liis  small  talents  must  not  only  be 
lost,  but  where  he  must  ever  be  accused  of  pre- 
sumption, which  he  hoped  was  foreign  to  his 
character.  It  was  with  some  difficulty  tliey  could 
prevail  on  him  to  ap])car  again  ;  but  from  an  ap- 
plause well  merited,  both  from  his  talents  and  his 
modesty,  lie  soon  began  to  pluck  up  a  little  cour- 
age; and  in  the  singing  of  a  tender  air,  adtlressed 
to  Gabrieli  in  the  character  of  a  lover,  even  she 
herself,  as  well  as  tlie  auiliencc,  is  said  to  have 
been  moved.  'Hie  jierfonnance  of  Gabrieli  is  so 
generally  known  and  admirtd,  that  it  is  needless 

31 


to  say  any  thing  to  you  on  that  subject.  Her 
wonderful  execution  and  volubility  of  voice  have 
long  been  the  admiration  of  Italy,  and  have  even 
obliged  them  to  invent  a  new  term  to  express  it ; 
and  would  she  exert  herself  as  much  to  please  as 
to  astonish,  she  might  almost  perform  the  won- 
ders that  have  been  ascribed  to  Orpheus  and 
Timothcus;  but  it  happens,  luckily  perhajis  for 
the  repose  of  mankind,  that  her  caprice  is,  if  pos- 
sible, even  greater  than  her  talents,  and  has  made 
her  still  more  contemptible  than  these  have  made 
her  celebrated.  By  this  means  her  character  has 
often  proved  a  sufficient  antidote  both  to  the 
charms  of  her  voice  and  those  of  her  person, 
which  arc  indeed  almost  equally  powerful ;  but 
if  these  had  been  united  to  the  qualities  of  a  mod- 
est and  an  amiable  mind,  she  must  have  made 
dreadful  havoc  in  the  world.  However,  with  all 
her  faults,  she  Ls  certainly  the  most  dangerous, 
suen  of  modern  times,  and  has  made  more  con- 
quests, I  suppose,  than  any  one  woman  breath- 
ing. It  is  but  justice  to  add,  that,  contrary  to 
the  genenUity  of  her  profession,  she  is  by  no 
means  selfish  or  mercenary,  but,  on  the  contrary, 
has  given  many  singidar  proofs  of  generosity  or 
disinterestedness.  She  is  very  rich,  from  the 
bounty,  as  is  supposed,  of  the  last  emperor,  who 
was  fond  of  having  her  at  Vienna ;  but  she  was 
at  last  banished  that  city,  as  she  has  likewise  been 
most  of  those  in  Italy,  from  the  broils  and  squab- 
bles that  her  intriguing  spirit,  perhaps  still  more 
than  her  beauty,  had  excited.  When  she  is  in 
good  humor,  and  really  chooses  to  exert  herself, 
there  Ls  nothing  in  music  I  have  ever  heard  to  be 
compared  to  her  performance ;  for  she  sings  to 
the  heart  as  well  as  to  the  fancy,  when  she 
pleases,  and  she  then  commands  every  passion 
with  unbounded  sway.  But  she  is  seldom  capa- 
ble of  exercLsing  these  wonderful  powers  ;  and  her 
caprice  and  her  talents,  exerting  themselves  by 
turns,  have  given  her,  all  her  life,  the  singular 
fate  of  becoming  alternately  an  object  of  admira- 
tion and  contempt.  Her  powers  in  acting  and 
reciting  are  scarcely  inferior  to  those  of  her  sing- 
ing ;  sometimes  a  few  words  in  the  recitative, 
with  a  simple  accompaniment  only,  prod'ice  an 
effect  that  I  have  never  been  sensible  of  from  any 
other  performer,  and  inclines  me  to  believe  what 
Rousseau  advances  on  the  branch  of  music,  wliicli 
with  us  Ls  so  much  despised. 

"  She  owes  much  of  her  merit  to  the  instruction 
she  received  from  Metastasio,"  particularly  in  act- 
ing and  reciting ;  and  he  allows  that  she  does 
more  justice  to  his  operas  than  any  otlier  actress 
that  ever  attemi;fed  them.  Her  caprice  is  so 
fixed  and  stubborn,  that  neither  interc^it,  nor 
flattery,  nor  threats,  nor  punishments,  have  the 
least  power  over  it;  and  it  appears  that  treating 
her  with  respect  or  contempt  has  an  equal  ten- 
dency to  increase  it.  It  is  seldom  that  she  con- 
descends to  exert  these  wonderful  talents,  but 
most  particularly  if  she  imagines  that  such  an  ex- 
ertion Ls  expected.  And  instead  of  singing  her  airg 
as  other  actresses  do,  for  the  most  part  she  oulv 
6 


OAI5 


ENCYCLOP^.DIA    OF   MUSIC. 


GAB 


hums  them  over,  a  mezza  voce ;  and  no  art  whatever 
is  capable  of  making  her  sing  when  she  does  not 
choose  it.  The  most  succc.hsIuI  expedient  ha.s  ever 
Deen  found  to  prevail  on  her  favorite  lover  (for 
she  always  has  one)  to  place  liimself  in  the  centre 
of  the  i)it  or  the  front  box ;  and  if  they  are  on 
pood  terras,  which  is  seldom  the  case,  she  will 
address  her  tender  airs  to  him,  and  e.xert  herself 
to  the  utmost.  Her  present  inamorato  j)roraisod 
to  give  us  this  specimen  of  his  power  over  her. 
He  took  his  scat  accordingly;  but  (Jabricli, 
probably  suspecting  the  connivance,  would  take 
no  notice  of  hira ;  so  that  even  this  expedient 
does  not  always  succeed.  The  ^•iceroy,  who  is 
fond  of  music,  has  trietl  every  method  with  her  to 
no  puqiose.  Some  time  ago  he  gave  a  great  din- 
ner to  the  principal  nobility  of  Palermo,  and  sent 
an  invitation  to  Gabrieli  to  be  of  the  party, 
livery  other  person  arrived  at  tlie  hour  of  invita- 
tion. The  ■i-iceroy  orderctl  dinner  to  be  put  back, 
and  sent  to  let  her  know  that  the  company 
waited  her.  The  messenger  found  her  reading  in 
bed.  She  said  she  was  very  sorry  for  having 
made  the  company  wait,  and  begged  he  would 
make  her  apology,  but  that  really  she  had  en- 
tirely forgotten  her  engagement.  Tlie  viceroy 
would  have  forgiven  this  piece  of  insolence,  but, 
when  the  company  came  to  the  opera.  Gabrieli 
repeated  her  part  with  the  most  perfect  negli- 
genie  and  indifference,  and  sang  all  her  airs  in 
what  they  call  sotto  race,  that  is,  so  low  that  they 
can  scarcely  be  heard.  The  viceroy  was  offended  ; 
but  as  he  is  a  good-tempered  man.  he  was  loath  to 
make  use  of  authority;  but  at  last,  by  a  perse- 
verance in  thLs  insolent  stubbornness,  she  obliged 
hira  to  threaten  her  with  punishment  in  case  she 
any  longer  refused  to  sing.  On  this  she  grew 
more  obstinate  than  ever,  declaring  that  force  and 
authority  should  never  succeed  with  her ;  that  he 
might  make  her  cry,  but  tliat  he  never  could 
make  her  sing.  l"he  viceroy  then  .-ent  her  to 
j)rison,  where  she  remained  twelve  days  ;  during 
which  time  she  gave  magnificent  entertainments 
every  day,  paid  the  debts  of  all  the  poor  prisoners, 
and  distributed  large  sums  in  charity.  'Hie  vice- 
roy was  obliged  to  give  up  struggling  with  her  ; 
and  she  wi\s  at  last  set  at  liberty  amidst  the  accla- 
mations of  the  poor.  She  alleges  that  it  is  not 
always  caprice  that  prevents  lier  from  singing, 
but  that  it  often  depends  tijion  physical  causes. 
And  this,  indeed,  I  can  readily  believe;  for  that 
wonderful  flexibility  of  voice  that  runs  with  such 
rapiility  and  neatness  through  the  most  minute 
divisions,  and  produces  almost  instantaneously 
so  great  a  variety  of  modulation,  must  surely  de- 
jiond  on  the  very  nicest  tones  of  the  fibres.  And 
if  these  are  in  the  smallest  degree  relaxed,  or  their 
elasticity  diminished,  how  is  it  pos,sible  that  their 
contractions  and  expansions  can  so  readily  obey 
the  \v  ill  as  to  prod\ice  these  effects  •  'Ilie  oi>cning 
of  the  •;;lottis  which  tonus  the  voice  is  extremely 
small,  and  in  every  variety  of  tone,  it.s  diameter 
must  sutler  a  sensible  change ;  for  the  same  diame- 
ter must  ever  produce  the  same  tone.  So  won- 
derfully minute  arc  its  contractions  and  dilatations 
that  I>r.  Keil,  I  think,  computes  that,  in  some 
voices,  its  opening,  not  more  than  the  tenth  of  an 
inch,  is  divided  into  upwards  of  twelve  hundred 
parts,  the  different  sound  of  every  one  of  which  is 
perceptible  to  an  exact  ear.  Now,  what  a  nice 
tension  of  fibres  must  thU  require  I  I  should 
imagine  even  the  most  minute  change  in  the  air 


must  cau.sc  a  sensible  difference,  aiul  that  in  foggy 
climates  the  fibres  would  be  in  danger  of  losing 
this  wonderful  sensibility,  or,  at  least,  that  they 
would  very  often  be  \nit  out  of  tune.  It  is  not 
the  same  ca.se  with  an  ordinary  voice,  where  th« 
variety  of  divisions  run  through,  and  the  volu- 
bility with  which  they  are  executed,  bear  no  pro- 
portion to  those  of  a  (iabrieli." 

Gabrieli  went  to  Kngland  in  the  season  of 
177.i-177r>,  and  Dr.  IJuniey,  amongst  other  more 
minute  particulars,  speaks  of  her  as  follows : 
"Catcrina  (iabrieli  was  called,  early  in  life.  '/>a 
Cuochetina,'  being  the  daughter  of  a  cardinal's 
cook  at  liome.  She  had,  however,  no  indications 
of  low  birth  in  her  countenance  or  deportment, 
which  had  all  the  grace  and  dignity  of  a  Roman 
matron.  Her  reputation  was  so  great  before  her 
arrival  in  England,  for  singing  and  ca])rice,  that 
the  public,  expecting,  perhaps,  too  much  of  both, 
were  unwilling  to  allow  her  due  praise  in  her  per- 
formance, and  too  liberal  in  ascribing  every  thing 
she  said  and  did  to  pride  and  insolence.  It  having 
l>een  reported  that  she  often  feigned  sickness,  and 
sang  ill  when  she  was  able  to  sing  well,  few  were 
willing  to  allow  she  could  be  sick,  or  that  she  ever 
sang  her  best.  Her  voice,  though  of  an  ex(iuisite 
quality,  was  not  very  powerful.  As  an  actress, 
though  of  low  stature,  there  were  such  grace  and 
dignity  in  her  gestures  and  deportment  as  caught 
every  unprejudiced  eye ;  indeed,  she  filled  tlie 
stage  and  occupied  the  attention  of  the  spectators 
so  much,  that  they  coidd  look  at  nothing  else 
while  she  was  in  view.  Her  freaks  and  cupifijlerics, 
which  had  fixed  her  reputation,  seem  to  have  been 
very  much  subdued  before  her  arrival  in  England. 
In  conversation  she  seemed  the  most  intelligent 
and  best  bred  virtuoso  with  whom  I  had  ever 
conversed,  not  only  on  the  subject  of  music,  hut 
on  everj-  subject  conceniiug  which  a  well-eilucated 
female,  who  had  seen  the  worUl,  might  rea-son- 
ably  be  expected  to  have  obtained  information. 
She  had  been  three  years  in  Uussia  previous  to 
her  arrival  in  England,  during  which  time  no 
peculiiurities  of  individual  characters,  national 
manners,  or  court  etiquette  had  escajied  her  ob- 
ser\-Btion.  In  youth  her  beauty  and  caprice  had 
occasioned  a  universal  delirium  among  her  young 
countrymen,  and  there  were  still  remains  of  lx)th 
sutlicicntly  jiowerful,  while  she  was  in  England, 
to  render  credible  their  former  inlluence." 

GABHIEU,  FU  ANTES  A,  of  Fcrrara,  was  a 
pupil  of  Sacchini,  in  1770,  at  the  conscr»-atory  of 
the  (hpcilaletto,  at  Venice.  In  1786  she  sang  at 
the  Opera  in  I.ondon,  and  was  second  only  to 
Madame  Mara. 

G.vnUIEIJ,  GIOV.VNNl,  a  celebrated  com- 
poser and  organist  of  St.  Mark's  Church  at 
Venice,  die<l  in  UU'J.  He  publishetl much  sacred 
and  other  vornl  music  at  Venice. 

GATHIIELSKY,  JOHANN  WITJIELM. 
chamber  musician  to  the  King  of  Prussia,  and 
first  flutist  in  the  Royal  Opera  at  Herlin,  was  bom 
in  that  city  in  1791.  He  was  considered  one  of 
the  best  flutists  in  Europe;  and  his  compositions 
for  that  instrument  are  held  in  high  esteem. 
Tliey  consist  of  solos,  duos,  trios,  quatuor>,  con- 
certos, and  various  other  flute  solos,  with  orches- 
tral or  piano-forte  accompaniment.  He  also 
wrote  some  songs,  most  of  which  were  published 
at  Lcipsic. 


3i; 


GAD 


ENCYCLOPAEDIA    OF    MUSIC. 


GAl 


OADE,  XIELS  W..  n  Danish  composer  of 
sjTuphonie's  overtures,  and  other  instrumental 
musio,  who,  siuce  the  death  of  Mendelssohn, 
has  greatly  occupied  the  attention  of  Oermany 
and  the  musical  world  (generally.  His  style  has 
many  points  of  resemblance  with  that  of  Men- 
delssohn, whom  he  succeeded  in  the  direction 
of  the  Gwandhaus  Concerts  at  Leipsic.  Hut 
there  is  a  certain  wild,  northern,  sea  shore, 
Ossianic  chann  in  hLs  music,  which  is  (juitc 
individual.  His  concert  overture,  called  "  Xach- 
klClnrje  atts  Ossian"  (Echoes  fiom  Ossian)  is  full 
of  this  His  first  symphony,  too,  in  C  minor, 
is  :cmaikahle  for  its  richness  of  instrumentation, 
and  its  romantic,  dreamy  tone.  These  works 
buvt!  become  great  favorites  in  the  concert  room. 

G.-\EXSB ACKER,  JOHANX,  a  composer 
at  Prague,  and  pujjil  of  the  Abb6  Vogler,  has 
published  much  vocal  and  instrumental  music 
since  the  year  1803. 

GAFFORIXI,  ELISABETA,  was  one  of 
the  most  charming  virtuosos  of  the  nineteenth 
c«ntury.  She  shone  in  Italy,  and  in  the  principal 
cities  of  Europe,  through  nearly  the  period  of 
1796  to  1815.  She  possessed  a  very  supple  and 
very  sonorous  contralto  voice,  which  went  up 
to  F,  and  down  to  A. 

GAFOR,  or  GAFURIUS,  FRANCHIXUS, 
was  a  native  of  Lodi,  a  town  in  the  Milanese, 
and  born  about  the  year  1451.  His  youth  was 
spent  in  a  close  application  to  learning,  but  par- 
ticularly to  the  study  of  music.  He  was  elected 
professor  of  music  at  Verona  ;  and  he  afterwards 
resided  successively  at  Genoa,  Xaplcs,  Monti- 
cello,  Bergamo,  and  Milan.  In  the  latter  place 
he  was  appointed  conductor  of  the  choir  of  the 
cathedral,  and  received  many  distinguishing 
marks  of  honor.  He  was  living  in  1520,  so  that 
he  must  have  been  at  least  seventy  years  of  age 
when  he  died.  His  first  work,  "  T/icorcticiim 
Opus  Armnnicte  DisciplituF,"  was  printed  at  Xa- 
ples  in  the  year  1480,  and  was  httle  more  than 
an  abridgment  of  Boethius,  with  some  additions 
from  Guido.  In  149G,  he  published  at  Milan 
his  "  Pracfica  Miisica  vtriusque  Caiitvs ;  "  which 
treats  chiefty  of  the  elements  of  music,  and  the 
practice  of  singing,  according  to  the  method  of 
Ouido.  This  is  written  in  so  clear  antl  perspic- 
uous a  manner  as  to  show  plainly  that  Gafor 
was  perl'ectly  master  of  his  subject.  Another 
work  by  this  writer  was  entitled  "Aiigelicum  ac 
dicinum  Opus  Miisico'."  It  was  printed  at  Milan 
in  1508,  and,  from  its  style  and  manner,  seems 
to  have  contained  the  substance  of  the  lectures 
which  he  had  read  at  Cremona,  I^odi,  and  other 
places.  It,  however,  contains  little  more  than 
what  may  be  found  in  the  writings  of  Boethius 
and  other  preceding  harmonists.  His  treatise  "  Ue 
lliirm'»iid  Miisiconim  Iiistrumeiilorum,"  printed  at 
Milan  in  1518,  contains  the  doctrines  of  such 
of  the  Greek  musical  writers  as  had  come  to  the 
hands  of  the  author.  The  writings  of  Gafor, 
in  the  cotirsc  of  a  very  few  years,  became  so 
famous,  that  they  were  spread  almost  all  over 
Europe;  and  the  precepts  contained  in  them 
were  inculcated  in  most  of  the  schools,  univcr- 
Fitie-:,  and  other  public  seminaries  of  Italy, 
France,  Germany,  and  England,  llie  bcnetits 
arising  from  his  labors  were  manifested,  not 
only  by  an  immense  numl)er  of  treatises  on  music 
that  appeared  in  the    world  in   the  succeeding 

31 


age,  but  also  by  the  musical  compositions  of 
the  sixteenth  century,  formed  after  the  precepts 
of  (iafor,  which  became  the  model  of  musical 
perfection. 

GAGLIAXO,  GIOVAXXI  BATTISTA  DA. 
A  comjxjser  of  madrigaLs  and  motets  in  the  first 
half  of  the  seventeenth  century.  He  was  a  na- 
tive of  Florence. 

GAGLIAXO,  MARCO  DA.  A  celebrated 
Florentine  composer  of  the  seventeenth  century. 
He  was  one  of  the  earliest  dramatic  composerB 
of  Italy. 

GAIEMEXT.  (F.)  A  word  signifying  that 
the  movement  to  which  it  Ls  preft.\ed  Ls  to  be 
performed  in  a  cheerful,  lively  style. 

GAIL,  MME.  SOPHIE,  born  at  Melun, 
published  several  sets  of  admired  romances  at 
Paris  in  the  early  part  of  the  present  century. 
She  also  composed  the  music  of  "  LiS  deux 
Jaloux,"  and  one  or  two  other  dramatic  pieces 
of  great  merit.  Madame  Gail  died  in  the  vear 
1819. 

GAILL.\RD,  JOHN  ERXEST,  was  the  son 
of  a  peruke  maker,  and  a  native  of  Zell.  He 
was  born  about  the  year  1687,  and  was  iji-  _ 
structed  in  composition  first  by  Marschall,  and 
afterwards  by  Farinelli,  the  director  of  tlie  con- 
certs at  Hanover  ;  likewise  by  Steffani,  who  also 
resided  at  that  place.  Alter  tinLshing  his  studies 
he  was  taken  into  the  ser\'ice  of  George,  Prince 
of  Denmark,  who  appointed  him  a  member  of 
his  chamber  music.  On  the  marriage  of  that 
prince,  GaiUard  went  to  England,  where  he 
seems  to  have  studied  the  English  language 
with  considerable  diligence  and  success,  and,  on 
the  death  of  Battista  Draghi,  he  obtained  the 
place,  then  become  a  sinecure,  of  chapel-master 
to  the  (lueen  dowager,  Catharine,  the  relict  of 
King  Charles  II.,  at  Somerset  House.  He  com- 
posed a"  Te  Deum"  a  "Jubilate,"  and  "Three 
Anthems,"  wliich  were  perfonncd  at  St.  Paul's 
and  the  Royal  Chapel,  on  thanksgivuigs  for  vic- 
tories obtained  in  the  course  of  the  war,  and  he 
was  generally  esteemed  an  elegant  composer. 
His  merits  and  interests  afforded  some  reason, 
at  one  time,  to  suppose  that  he  would  obtain  the 
direction  of  the  musical  performances  in  the 
kingdom  ;  but  not  being  able  to  stand  in  coir.pe- 
tition  either  with  Handel  or  Buononcini,  he 
wisely  declined  it.  He,  however,  set  to  music 
"  Cah^iso  and  Telcmachus,"  performed  at  the 
Ilayraarket 'Hieatre  in  1712.  This,  notwithstand- 
mg  the  excellence  both  of  its  poetry  and  music, 
was  condemned  by  the  friends  of  the  Italian 
Opera,  and  it  was  therefore  represented  under 
unfavorable  circumstances  ;  but  some  years  after- 
wards it  was  revived,  and  with  better  success,  at 
the  theatre  in  Lincoln's  Inn  Fields.  Gailinrd 
published,  at  different  times,  "SLx  Caiitntas," 
"Three  Cantatas,"  "Six  Solos  tor  tl.c  Flute, 
with  a  Thorough  Bass,"  and  "  Six  Solos  for  the 
Violoncello  or  15assoon  ; "  in  1728,  "  'I1ie  Mnn-.ing 
Hymn  of  Adam  and  Eve,"  taken  from  the  fifth 
book  of  "  Paradise  Lost,"  the  latter  of  which  has 
lately  been  republished,  and  in  1742,  a  trans- 
lation of  Tosi's  "  Opinioni  de  Cantori  antichi 
e  moderni,"  under  the  title  of  "  Observatioiis  on 
the  florid  Songs  or  Sentiments  of  the  ancient  and 
modern  Singers."  He  also  pubUshcd  some 
operas.  His  principal  employment  for  several 
years  was  composing  for  the  stage.  He  set  to 
H 


GAI 


ENCYCLOPEDIA    OF   MUSIC. 


GAL 


music  an  oi)cra  in  one  net,  performed  at  the 
theatre  in  liucoln's  Inn  Fields  in  1717,  called 
"  I'un  and  Sj-rinx  ;  "  and  by  virtue  of  liis  engage- 
ments with  Mr.  Rich,  he  was  doomed  to  the 
task  of  comi)osing  the  music  to  all  such  enter- 
tainments as  that  gentleman  thought  proper  to 
give  hiiu,  which  consisted  of  a  strange  mixture 
of  opera  and  pantomime.  These,  as  far  as  can  now 
he  collected,  were  "  Jupiter  and  Europa,"  "  'llie 
Necromancer,  or  Ilarlcciuin  Faustus,"  "  The  lives 
of  Pluto  and  Pro;H!rpine,"  and  "  Apollo  and 
Daphne,  or  the  Burgomaster  tricked."  One  of 
his  lait  works  of  thi;<  kind  was  the  music  to  an 
entertainment  called  "  The  Uoyal  Chase,  or 
Merlin's  Cave,"  in  which  is  that  famous  song, 
"With  early  horn,"  by  singing  which  for  some 
hundred  nights,  Mr.  l^eard  lirst  recommended 
himself  to  the  notice  of  the  public.  He  composed 
also  the  music  to  the  tragedy  "(Kdipus,"  which  had 
before  been  sot  by  P\irccll.  This  was  never  printed, 
but  is  preserved  in  tlie  library  of  the  Academy  of 
Ancient  Music.  Many  of  his  songs  were  insert- 
ed in  the  Musical  Miscellany  ;  and  about  1710 
he  published  a  collection  of  twelve  songs,  which 
he  had  composed  at  diH'erent  times.  About  the  year 
171o,  he  had  a  concert  for  his  benefit  at  Lin- 
coln's Inn  Fiolclnfeientre,  in  which  were  performe<l 
the  choruses  to  \i.^  Duke  of  Buckingham's  two 
tragedies  of  "  Brutus"  and  "  JiUius  Ctcsar,"  set  to 
music  by  himselt',  and  a  curious  instrumental 
piece  for  twenty-four  bassoons  and  four  double 
basses.  Mr.  liaillard  died  in  the  beginning  of 
the  year  171'),  leaving  behind  him  a  small  but 
curious  collection  of  music,  containing,  besides 
other  things,  a  great  number  of  scores  of  valualde 
composition -i  in  his  own  writing,  and  an  Italian 
opera  of  Ins  composition,  not  quite  completed,  en- 
titled" f)r'3fee  I'Uiutf.or^rahi  Forza  deli  Amicuia." 
This  collection,  together  with  his  musical  instru- 
ments, wi\s  sold  by  auction  a  few  months  after 
hLs  death. 

GAILLIAKDE,  (F.)  GAGUARDA,  (I.)  and 
•oraetimes  written  (hUliard,  is  the  name  of  an 
ancient  Italian  dance,  of  a  sportive  character 
and  lively  movement,  the  air  of  which  was  in 
triple  time.  It  was  calletl,  likewLse,  Roinaneaqiu; 
because  it  was  said  to  have  come  originally  from 
Rome.  GaUiard  is  freiiuently  placed  at  the 
Iwginning  of  lively  airs  and  movements,  to  indi- 
cate that  they  are  to  be  performed  in  a  gay  and 
cheerful  style. 

GAIO     (I.)    Gayly,  cheerfully. 

GALANTEMENTE.    (I.)    Gallantly,  boldly. 

GALOP,  (V,.^  GALOPPE.  (F.)  A  quick 
•pecies  of  dance,  generally  in  2  time. 

GALILEI,  VINCENZO.  father  to  the  cele- 
irated  astronomer  Galileo,  was  a  Florentine  no- 
bleman, and  excellent  musician.  He  publisheil, 
in  1581,  "  Uiahijo  diUa  Miisim  AiUicAa,  e  dtlla  Mo- 
(hnia  in  sua  di/ria,  mtti-a  (1.  Xnrtino."  In  this  dia- 
logue is  a  previous  fragment  of  the  ancient  Greek 
music,.  Galilei  also  publishe<l  "  11  Froiiimo,  Dia- 
tojr.i  mjp~a  CArte  del  bene  intacolare,  ed  rctt>imenle 
tuo^iam  la  Musira  ne-jU  Stromenti  artificiali,  si  di 
torit,  coiif  ili  /i!'),  ed  in  particoiare  net  Liuto," 
Ven.ce,  UCS. 

G.VI  '    V  VORA.     A  performer  of  con- 

si, l«wi,,  on  the  stage  of  the  Kind's  llie- 

»tre,%i^e  ii;i_vmiu:ket,  and  the  last  of  Handel's 


scholars.  That  celebratetl  musician  composetl 
several  of  hLs  most  favorite  airs  expressly  for  h*r, 
both  in  his  operas  and  oratorios,  in  wliich  she 
sang  with  great  a])plnuse,  and  appeared  so  latejy 
as  the  year  1797,  in  Ashley's  oratorios  at  Covenl 
(iarden  'I'heatre.  After  quitting  the  stage,  she 
re-ii<led  as  a  companion  with  the  untbrtunnte  Mi.'s 
Ray,  and  was  in  company  with  her  nt  Covcnt 
(jiurdeu  'Hicatre  on  the  evening  she  was  shot  by 
the  Rev.  .Mr.  Hackman,  April  7,  1779.  She  die<l 
poor,  in  1.S04. 

(JALLEAZZI,  or  GALEAZZI,  FRANCES- 
CO, a  musician  of  Tiu-in,  published  at  Rome, 
in  1791,  a  much  esteemed  work,  entitled  "  JSfe- 
menti  Teoretico-PrtUici  di  Mtixica,  con  iitt  sayyw 
sopra  t'  Arte  di  sumuire  il  Viotino,"  2  vols.  8vo. 

G ALLI,  FIIJPl  O,  i.ne  of  the  greatest  buffo 
singers  of  the  Italian  fnge,  iic<l  at  Puns,  in  the 
summer  of  18.3.3,  agetl  seventy.  He  was  a  native 
of  Rome,  and  made  his  f/cioi  at  Boulogne  in  1801. 
lie  sang  for  the  tirst  time  at  Paris  in  lSJ-3,  where 
he  was  engaged  at  the  Italian  at  a  salary  ol  twen- 
ty-tive  thousand  francs  for  six  months.  Ro.ssini 
wrote  for  him  "  L'  Inr/anno  Felice,"  "L'  Ilnliano  in 
Alijieri,"  "  //  Tiirco  in  Italia"  "  La  t'enereiUola," 
"  La  Gazza  Ladra,"  "  Maometto,"  and  "  La  Semi- 
rainide."  Lablache  was  his  legitimate  successor 
in  the  principal  parts  written  for  him. 

GALLl.VRD.     See  Gaillaiide. 

(i.VLLIM.VRD  published  at  Paris,  in  1754,  a 
treatise  ei\ti(led  "  La  Thiorie  dcs  ihits,  ap,  tlicable  <i 
la  Miisi'/iie,  oil  Von  dfmontre,  dans  une  e-zi  rte  Pri- 
cision,  lea  Itnpports  ct  tons  les  Inlervallea  diatoniques 
ct  chroinnti(jnes  de  la  Gamine." 

GALLIMBERTI,  FERDINAND.  A  distin- 
guished violinist  and  instrumental  composer  at 
Milan,  about  the  year  1710. 

GALLO,  DOMENICO,  of  Venice,  was  a  \-iolin- 
Lst  and  church  composer.  He  composed  likewise 
some  instrumental  music,  alwut  the  year  17o0. 

GALLO,  KJNAZIO,  or  ANTONIO,  bom  at 
Naples  in  U)89,  was  a  pupil  of  .\lessandro  Scar- 
latti. On  the  completion  of  his  studies  he  dis- 
played great  talents  for  tuition,  and  became  mas- 
ter of  the  Conservatory  of  Aa  Pieti),  aiul  on  its 
suppression,  of  that  of  Lnrctti.  Gallo  devoted 
himself  wholly  to  instruction,  and  supcrintetuleil 
several  Conservatories.  HLs  pupils  occujiietl  hL« 
whole  attention,  and  hLs  lalwrs  in  this  branch 
were  too  inces..ant  to  allow  him  time  for  compo- 
sition. If  he  has  left  a  great  name,  without 
leaving  any  great  work,  it  must  be  afributed  to 
hLs  principles  of  instruction,  which  «rere  so  ex- 
cellent as  powerfully  to  contribute  to  the  rapid 
progr«^5  of  the  art.  In  fact,  the  sch  )ol  of  Naples 
was  daily  strcngthenetl  by  tl.e  zeal  of  such  men 
as  (iallo,  and  by  the  researches  of  Itiose  who  de- 
voted themselves  exclusively  to  tl  e  production 
of  theoretical  works.  When  an  art  expands  and 
is  puritied  by  the  acquisition  of  preat  composi- 
tions, the  homage  of  public  cniti'iule  is  not  only 
due  to  those  who  have  pn^Hluccl  theni,  hut  in  a 
great  degree  to  those  who  incid'  ate  jireccpts  and 
principle*  ujMin  which  they  ore  loundetl,  or  which 
they  establish.  Such  was  (iallo,  and  lii*  labiirt 
have  not  been  less  valuable  to  1  is  school  than  th« 
works  of  the  best  compoeers. 

I      G.\LLOPADE.     (F.)     A  gklop,  a  quick  Ger- 
'  man  dance  tuue. 


OAL 


ENCYCLOPEDIA    OF    MUSIC. 


GAR 


OAlXPPI.BALDESSARO.wa-sbom  in  1703, 
in  the  little  island  of  Buriino,  ncnr  Venice,  and 
was  the  most  captivating  composer  of  the  \'enetian 
pchool.  His  father  taught  him  the  first  rudi- 
ments of  music,  and  afterwards  he  had  Lotti  for 
liis  master.  His  two  first  operas  were  i)roduced 
in  17'.!2,  and  he  succeeded  eciually  in  every  spe- 
cies of  vocal  music.  For  t)ie  Church  St.  Mark, 
at  Venice,  of  wliich  he  was  long  the  chapel-mas- 
ter, and  for  the  Conservatory  of  the  Incurabili, 
where  he  also  presided  several  years,  he  comjjosed 
many  mjisses,  oratorios,  and  motets.  The  num- 
ber of  operas,  serious  and  comic,  which  he  com- 
posed for  the  princii)al  theatres  of  Italy  before  his 
departure  for  Petersburg  in  17GG,  exceeded  seven- 
ty;  one  of  them,  that  of  "  Siroe,"  has  been  pub- 
lished in  England.  This  ingenious  and  fertile 
composer  died  at  Venice  in  1785,  at  the  age  of 
eiglity-four ;  and  he  seems,  during  his  long  life, 
to  have  constantly  kept  pace  witli  all  the  im- 
provements and  rcSneraents  of  the  times,  and  to 
have  been  as  modern  in  his  dramatic  music,  to 
the  lost  year  of  his  life,  as  ever. 

CAMBIST.  A  performer  on  the  viol  di  gam- 
ba.  The  place  of  gam  hist  was,  at  one  time,  a 
part  of  the  regular  cstablisliment  of  the  chapels 
of  the  German  princes,  but  is  now,  like  that  of 
lutenist,  totally  suppressed. 

GAMBLE,  JOHN'.  An  English  violinist  and 
composer,  in  the  service  of  Charles  II.  He  pub- 
lished "  AjTes  and  Dialogues,"  London,  1657. 

GAMMA.     (Or.)     Gamut. 

GAMME.  (F.)  The  gamut,  or  scale  of  any- 
key. 

GAMUT.  The  name  given  to  the  table,  or 
scale,  laid  down  by  Guido,  and  to  the  notes  of 
which  he  applied  the  monosyllables  17,  Re,  Mi, 
Fa,  Sol,  La.  Having  added  a  note  below  the 
prosliimbtinomeiMs,  or  lowest  tone  of  the  ancients, 
he  adopted  for  its  sign  the  gamma,  or  third  letter 
of  the  Greek  alphabet ;  and  hence  his  scale  was 
afterwards  called  gamut.  'Y\\\a  gamut  consisted 
of  twenty  notes,  v\7..,  two  octaves  and  a  major 
sixth.  The  first  octave  was  distinguished  by 
capital  Ictter.s,  as  G,  A,  B,  &c. ;  the  second  by 
email  letters,  g,  a,  b,  &c. ;  and  the  supernumerary 
sixth  by  double  letters,  as  gg,  aa,  bb,  itc.  By  the 
word  gamut,  we  now  generally  understand  the 
whole  jiresent  existing  scale  ;  and  to  learn  the 
names  acd  situations  of  its  different  notes  is  to 
learn  the  gamut.  It,  however,  sometimes  sim- 
))ly  signifies  the  lowest  note  of  the  Guidonian,  or 
common  compass. 

The  gamut  seems  but  a  small  fountain ;  yet 
from  that  "  harmonious  spring  "  a  thousand  times 
ten  thousand  rills,  streams,  rivers,  "  their  mazy 
progress  take."  The  human  mind  cannot  com- 
preliend  the  almost  infinite  variety  of  combi- 
nations of  which  even  these  few  fundamental 
tones  are  susceptible.  And  when  wc  are  tempted 
to  believe  that  music  must  have  advanced  to  a 
point  beyond  which  she  cannot  go,  we  shall  do 
well  to  imitate  the  simple  faith  of  Stolzcl,  who, 
■urroundcd  by  the  then  deemed  unsurpassable 
music  of  liis  day,  believed  "  that  the  world  would 
yet  hear  something  greater  than  the  canon  ;  "  or 
of  the  old  teacher  I'ux,  who,  in  his  "  Cradus  ad 
J'armi.tsum,"  says  to  his  inipil,  "  Though  you 
were  to  live  to  the  age  of  Ni-stor,  you  would  still 
have  an  infinity  before  you." 

3 


The  followuig  scale  exliibits  tl;e  G  clef  as  vari- 
ously used,  the  F  clef,  and  the  relative  situation 
of  the  letters  and  notes  ujjon  the  staff.  C  on  the 
leger  line  below  the  treble,  and  on  the  leger 
line  above  the  bass  staff.  Is  in  unison  with  C  on 
the  third  space  in  the  alto  and  tenor,  thus  :  — 

The  G  Clef.      ^ ?-^ 

E  C? 
D (©- 

C  'S? 
B (S- 

A  G 
: Q Q Q        Q 

F  G<  F & — 

E & E        O 

D  O D & — 

The  P  Clef.  -«~        ,^^'~  ^        ^^ 

B  G B © — 

A :r-S)  —  A     o 

G       a G Q— 

F (S — -  F        lO 

E  O E (S  — 

D -fS D        O 

C  G 


The  G  Clef  aa  used  for 
Tenor  and  Alio. 


—  B 
A 


-«  — 


G -<S» 

F  G 

GANZE.  (G.)  AMiole;  t^,  ganzenote,9LViYfi[A 
note  or  semibreve ;  ganzeton,  a  whole  tone. 

GARAT,  JOSEPH  DOMEXICO  FABRY, 
bom  at  Bourdeaux  in  1775,  was  the  son  of  a 
celebrated  advocate  to  the  parliament  of  that 
town,  and  brother  of  Pierre  Garat,  the  celebrated 
professor  of  singing.  J.  Garat  published  eight 
collections  of  romances. 

GARAT,  PIERRE  JEAN.  Professor  of  sing- 
ing at  the  Conservatory  of  Paris.  He  received 
his  first  instructions  of  Lambcrti,  and  subse- 
quently studied  under  Francis  Beck,  at  Bour- 
deaux. P.  J.  Garat  was  esteemed  an  excellent 
tenor  singer  of  tlie  French  school,  with  an  as- 
tonishing compass  and  variety  of  voice.  He  first 
sang  in  public  at  Paris  in  the  year  1795,  after 
wliich  time  he  \dsited  different  townis  of  Germany, 
and  also  Madrid,  and  in  the  ye;ir  1802  was  en- 
gaged in  the  service  of  the  Emperor  of  Russia, 
fi-om  wlience  he  returned  to  France  with  a  pen- 
sion. Garat  has  composed  several  collections  of 
romances,  also  an  excellent  "  MHhode  de  Chant." 
He  died  in  1823  at  Paris,  in  the  sixty- third  year 
of  his  age. 

GARAUDE,  ALEXIS  DE,  bom  at  Nanci  in 
1779,  where  his  father  was  a  counsellor  to  the 
parliament,  found  himself  obliged,  in  the  course 
of  the  French  revolution,  to  take  advantage  of 
the  musical  art,  which  had  only  been  considered 
as  an  ornamental  part  of  hLs  education.  After 
having  studied  for  some  time  under  several  Ital- 
ian masters,  he  devoted  himseL''  to  the  teaching 
of  singing  and  composition.  Garaudc  publi.shed 
several  collections  of  romance*,  of  which  he  also 
wrote  the  words.  He  likewise  composed  much 
instrumental  music,  and  a  "  Mdtholc  de  ChaiU," 
which  was  verv  hishly  esteemed  in  PariB. 

f. 

GARBO,  CON.  (I.)  With  simplicity,  without 
pretension,  unaffectedly. 

GARBRECHT,  a  mechanic  at  Konijrsberg, 
with  the  assistance  of  the  Dcnoon  AVasiaiisky, 
manufactured    a    bow-harpsi( !  .  ;    --uperior 

quality.     He  is  .said  by  Gerber.  ;  ■  ■  ;  00,  to 

have  been  unwearied  in  liis  aj  1  iu.uio*  4b  the 

20 


OAK 


ENCYCLOP-liDIA    OF    MUSIC. 


GAh 


improvement  of   tliis    instrumcut.      Sec   IlouL-  ' 

KELD. 

GARCIA,  MANUEL.  This  celebrated  tenor 
linger,  the  father  anil  teacher  of  Malibran  and 
Viardot,  was  born  at  ScWlle,  in  Spain,  in  the  year 
1775.  He  received  his  tirst  musical  instruction, 
from  the  age  of  seven,  at  the  colJ<t/iitk-  of  his  na- 
tive town,  and  subseciucntly  studied  under  liipa. 
He  sanfj  with  the  greatest  applause  at  the  princi- 
Ijal  ItaliiUi  theatres  of  Madrid,  I'arLs,  Uome,  Na- 
ples, Turin,  and  London.  Garcia  composed  much 
music  for  the  church  and  theati-e.  Amongst  his 
principal  dramatic  works  are,  "  ICl  Potta  culcuUs- 
la,"  (jp.  com. ;  "  La  Floriiula,"  Op.  com.  ;  "  Le 
Culijfe  de  Bagdtul,"  Op.  com.  ;  "  La  DoiucUa  ili 
liiutb,"  Op.  ser.  ;  "  Le  Prince  d'  Occasion,"  Op. 
com.  ;  "  li  Fazzoktto,"  Op.  com. ;  "  La  Mort  du 
Tttjs-ie,"  Op.  ser. ;  "  Florestan,  on  le  Conseil  de 
Vix,"  Op.  ser.  ;  "  Gtiiistan,"  Op.  com.  ;  "  Zcinire 
2nd  Azor,"  Op.  com.  ;  "  L' Inconnu,"  Op.  com.  ; 
"Le  Joseph,"  (.)p.  ser.  ;  "  Le  drand  lAinia,"  Op. 
ser. ;  "  Ls  deux  Contrats,"  Op.  com. ;  &c.  His 
other  compositions  consist  of  "  Kndimione,"  a 
cantata  for  three  voices ;  and  several  masses,  one 
of  which  was  greatly  admired  in  1SJ2,  when  per- 
formed at  the  Bavarian  Chapel  in  London.  Gar- 
cia was  engaged  as  principal  male  singer  at  the 
King's  Theatre  in  the  sea-son  of  1824.  His  voice 
had  extensive  compass,  considerable  power,  and 
extreme  tlexibility  ;  and  his  acting,  both  in  trage- 
dy and  comedy,  was  in  the  highest  degree  im- 
I)rcssive  and  energetic.  Garcia,  however,  has 
been  chietly  distinguished  as  the  foremost  vocal 
teacher  of  the  age.  From  his  school,  which  he 
founded  at  Paris,  many  of  the  most  celebrated 
singers  have  proceeded.  In  18'i4  he  established  a 
school  also  in  London,  which  had  fre<iuently  not 
Jcwer  than  eighty  scholars,  including  his  re- 
nowned ilaughter  Malibran.  During  the  same 
year  he  went  to  America  to  conduct  an  operatic 
troupe  at  New  York,  consisting  of  himself  and 
the  younger  Crivelli  for  tenors,  his  son  Manuel 
and  Angrisani  as  buffo  singers,  Rosich  as  buffo 
caricato,  and  Mmc.  Barbieri,  Mme.  Garcia  and 
his  daughter,  as  sopranos.  Such  an  array  of 
tident  was  something  wholly  new  to  Americans. 
They  performed  "  iUcllo,"  "  Romeo,"  "  It  Ttirco  in 
Italia,"  "lion  Juan,"  "Tancredi,"  " CeneretUoia,"  &c. 
Such  was  their  success,  that  nothing  but  the  se- 
verity of  the  climate  led  them  to  abandon  tko 
undertaking.  In  1SJ7  Garcia  went  from  New 
York  to  Mexico,  where  he  gave  oi^cras,  and  to 
Vera  Cruz,  on  the  way  to  which  he  w:is  robbed 
of  all  he  possessed.  But  his  energy  did  not  fail 
him.  He  returned  to  Paris,  and  resumetl  his 
school  with  the  same  iclat  as  before.  He  also  ap- 
peared again  on  the  stage  in  his  groat  characters 
of  Don  Juan  and  the  Barber  ;  but  age  and  fatigue 
had  imnau-ed  his  voice;  he  retiied  to  the  quiet 
occupation  of  tesiching  and  composing,  and  died 
at  Paris  on  the  2d  of  June  1832,  in  his  til'ty- 
eighth  year. 

GARCIA,  PAULINE  VIARDOT.  Pauline 
Garcia  is  born  of  a  musical  family,  which  for 
three  centuries  has  illustrated  the  IjtIc  stage. 
Her  father  was  the  famous  tenor,  Manuel 
Garcia,  and  her  mother  Joa<iuina  Sitches,  was 
•  celebrated  actress,  under  the  name  of  Brianes, 
on  tht  Madrid  stage.  The  sister  of  Pauline  was 
the  lamented  Malibran,  and  her  brother  Manuel 
Garcia,  professor  of  singing  at  the  Vonscrratjire 
41  3 


in  Paris,  who  has  written  one  of  tlic  best  stan- 
dard  works  on  the  art  of  singing,  was  master  tc 
Jenny  Lind.  The  school  ot  Garcia  in  vocaliza- 
tion is  in  tact  European. 

Pauline  (iarcia  was  l)orn  in  Paris,  on  th# 
ISth  of  July,  1821.  At  four  years  of  age,  she 
spoke  with  fluency  four  languages — Spanish, 
her  maternal  tongue  ;  French,  that  of  tlie  coun- 
try in  which  she  was  bon> ;  English,  which  she 
acquiied  in  the  family  travels  ;  and  Itidian,  des- 
tined to  be  the  study  of  her  future  lut.  At  n 
later  period,  when  invited  to  appear  on  the  great 
lyric  stages  of  (jcnnany,  she  made  hersell  thor- 
oughly conversant  with  the  Teutonic  language. 
Her  genius  in  painting  and  drawing  was  as  soon 
developed  as  her  faculty  for  languages  and  l\er 
aptitude  for  music.  Her  surpassing  talents  foi 
sweet  sounds  were  developed  from  her  earliest 
infancy.  At  seven  years  of  age,  sh.e  accom- 
panied on  the  piano-forte  her  father's  pupil-, 
when  he  gave  his  singing  lessons.  Such  was 
her  manual  dexterity,  facile  tingering,  and  poeti- 
cal touch,  that  at  tirst  it  was  i)roposed  she 
should  piu'sue  the  career  of  a  pianist,  and  sh« 
became  one  of  the  m-ost  accomplished  scholars 
of  Liszt.  Curiously  enough,  she  never  receivetl 
any  regular  lessons  in  singing.  Her  father  died 
in  1832,  before  her  voice  was  tixed,  and  her 
gifted  sister,  Maria  MaUbran,  was  wandering 
unceasingly  throughout  Europe,  so  that  Pauline 
never  heard  her  but  twice  on  the  stage.  Her 
brother,  Manuel,  resided  in  Paris,  whiLit  her 
education  was  going  on  in  Brussels ;  so  that 
what  she  acquired  in  vocalization  was  the  result 
of  her  spontaneous  studies  —  guided,  however, 
by  the  good  taste  and  counsels  of  her  moth.er. 
After  having  accompanied  the  family  migrations, 
first  to  England,  then  to  New  York,  and  after- 
wards to  Mexico,  Pauline  returned  to  Europe  in 
1828,  and  completed  her  education  in  the  Bel- 
gian capital,  drawing  and  painting  occupying 
her  earnest  attention  as  much  even  lus  music 
and  singing.  At  sLxtecn  years  of  age  her  voice 
became  lixed.  IJke  the  organ  of  her  sister,  in 
quality  it  combined  the  two  registers  of  the  so- 
prano and  contralto,  ha\nr.g  that  soul-stirring 
tone  which  exercised  such  a  potent  spell  on  her 
hearers.  In  compa.s3  her  voice  had  three  oc- 
taves. In  the  month  of  May,  1839,  before  she 
had  attained  her  eighteentli  year,  she  made 
her  tirst  appearance  on  any  stage  at  the  King's 
I'heatre,  in  the  character  of  Desdemona,  the  same 
season  that  Mario  Krst  made  his  dchiU.  Her 
success  was  most  brilliant.  She  sang  an  aria 
composed  by  Costa,  introduced  in  "  IHcUo  ;  "  she 
was  recalled  several  times  during  the  j)rogre««s, 
and  at  the  end  of  the  opera.  In  the  month  of 
Octol)er  following,  engaged  for  the  Italian  ( )•  •  r  ■ 
in  Paris,  then  jjlaying  at  the  Odion,  she  ci>  ■ 
equal  enthusiasm,  by  her  dibut  in  tb.e  -  in  ■ 
character.  Her  repertoire  wan  contincd,  however, 
to  Tancredi,  Cencrentola,  .iVrxue  in  "  .Vnii- 
ramide,"  and  Rosina  in  "  //  Burbierc."  In  the 
month  of  April,  1840,  she  was  married  to  M.  I/>uis 
Viardot,  hnmmc-de-lettrcs,  at  that  time  direct<  r  of 
the  Italian  t)pera,  who  on  his  m.irria^e  resi;;ncd 
that  post.  >I.  Viardot  is  a  distinguished  ))ubli- 
cist  in  Paris,  and  was  recently  offered  the  post 
of  charije  if  Affaires  at  Madrid,  by  the  provisioDA 
Government  of  the  republic. 

llie  apjiearance  of  Pauline  Viardot  Garcia 
was  indeed  quite  a  musical  event,  anl  European 
1 


GAR 


ENCYCLOr.'EDI.V    OF    MUSIC. 


GAS 


mnnnp;crs  were  engcr  to  offer  licr  engagements. 
Her  Inst  ni)]>ear;ince  in  London  was  in  the  season 
of  1841,  when  she  »ang  in  Cimarosa's  "  Orazi  et 
Ciiriazi,"  with  Mario,  ller  health  was  not  in  the 
best  state,  and  her  phy^icnl  strength  not  sufH- 
cicnt  to  answer  to  tlie  calls  iijion  her  ardent  nature 
in  giving  vent  to  the  dramatic  excitement  of  the 
scene ;  as  the  peculiar  chnracterLstic  of  (iarcia 
is,  that  her  stage  abstraction  is  so  perfect  that  all 
traces  are  lost  of  the  artiste  in  the  character  she 
Ls  so  vividly  presenting.  It  was  for  this  reason 
that  she  declined  to  receive  the  offers  made  to 
her  by  the  Academic  lloyah  de  Muiit/iie,  in  Paris. 
She  ])refcrred  to  travel,  and  visited  Spain,  sing- 
ing in  Madrid  and  Grenada,  and  then  passed 
another  season  in  Paris,  singing  with  Grisi  and 
PtTsiani.  Her  next  engagement  was  for  two 
Bcasons  in  Menna,  where  her  triumph  was  im- 
mense, singing  every  school  of  music,  so  as  to 
satisfy  the  exigencies  of  the  most  classic  musician, 
as  weU  as  to  astonish  and  dcUght  the  general 
body  of  amateurs  of  Italian  music.  When  Ku- 
bini  formed  the  troupe  at  St.  I'ctersburg,  Mme. 
Viardot  Garcia  was  the  selected  prima  donna; 
and  there,  by  the  side  of  Madame  Castellan  and 
Mile.  Alboni,  sh.e  had  three  triumphal  seasons, 
the  rigor  of  the  climate  alone  compelling  her  to 
trj'  a  more  congenial  atmosphere.  Finally  slie 
appeared  at  the  Italian  Opera,  Berlin,  and  when 
Mile.  Lind  (juitted  the  German  Opera,  Mme. 
Viardot  took  her  i)lace  in  the  repertoire. 

Hamburg,  Dresden,  Frankfort,  Leipsic,  &c., 
were  cities  in  wliich  she  created  uni^aralleled 
enthusiasm.  Her  last  engagements  were  at 
Berlin  and  Hamburg,  in  German  opera. 

The  following  are  the  operas  in  which  Mme. 
Viardot  (Jarcia  lias  sustained  characters :  Desde- 
mona,  inllonsini's  "  Otcllo ; "  Rossini's  "  Cencrcnto- 
la;  "  Kosina  in  "  //  Barbicre  ; "  Camilla,  in  Cimaro- 
sa's "  Orazi  ut  ( 'uri'izi ;  "  Arsace,  iji "  Semiramide ; " 
"Norma;"  Ninctta,  in  "  La  Gazza  Ladra;"  Amiiia, 
in  "  La  Sonnambuln  ;  "  Romeo,  in  the  "C'apiilctti  et 
Moiitecchi "  of  Ilellini  and  \'accaj  ;  "  Lucia; "  "  .I/a- 
ria di  Rohan ; "  Leonora,  in  Donizetti's  "  Favorita." 
In  Mozai't's  "  Don  Giovanni "  she  has  been  ecjually 
successful  as  Zcrlina  and  Donna  Anna.  In  Meyer- 
beer's "  Robert  le  Diablc  "  she  has  doubled,  in  one 
night,  the  parts  of  the  Princess  and  Alice,  the  lat- 
ter, being  one  of  her  best  assumptions.  In  Berlin 
she  took  the  amateurs  by  storm  in  Gluck's  "  Jphi- 
gcnieen  Tauride  "  and  in  Ilalevy's  "  Jaive."  In  the 
la-st-mentioncd  work,  the  sensation  she  produced 
by  one  exclamation  in  the  last  scene,  when 
Rachel  is  on  the  point  of  being  immolated,  and 
says  to  Elca/.or,  "Father,  I  fear  death,"  was 
electrical. 

As  a  tragedian  her  powers  ore  transcendant : 
every  action,  every  gesture,  every  expression,  are 
in  accordance  with  the  di'amatic  situation.  Her 
"Valentine"  in  Meyerbeer's  "Hii^nenoti,"  has  been 
also  the  admiration  of  the  Berlinese  connoisseurs, 
among  whom  we  may  mention,  as  enthusiastic 
admirers  of  her  vocal  and  histrionic  genius,  the 
distinguished  composer  of  that  opera,  and  the 
Earl  of  Westmoreland.  Her  vocalization  is 
characterized  by  its  invariable  adherence  to,  and 
identity  with,  the  pervading  sentiment. 

In  every  relation  of  private  life  Mme.  Pau- 
line Garcia  Viardot  is  endeared  to  her  family 
and  friends.  Ii\  every  circle  she  shines  by  tlie 
brilliancr  of  her  varied  talent* ;  and  royalty, 
rank,  and  fasliion  have  in  turn,  in  every  country. 


whilst    acknowledging    the    supremacy  of   the 
artiste,  admired  the  character  of  the  woman. 

GARDI,  FRANCESCO.  An  Italian  dramatic 
composer  between  the  years  17S5  and  1794. 

GARXERIUS,  a  learned  musical  theorist, 
livetl  at  the  close  of  the  fttteenth  century.  H« 
was  fixed  on  by  I"erdinand,  King  of  Naples,  to 
form  an  academy  of  music,  conjointly  with  Ga- 
fmius. 

GARNIER.  Professor  of  the  hautboy  to 
Louis  XVI.  He  pubUshed  some  music  for  hia 
instrument  at  Paris  iu  1788. 

GARNIER,  le  jeune.  A  professor  of  the  flute, 
and  performer  in  the  opera  orchestra  at  Paris  in 
1799.  He  published  some  music  for  his  instru- 
ment. 

GARNIER,  musician  to  the  King  of  Poland, 
published  a  method  for  the  piano-forte  in  176C. 

G-^RNIER,  a  violinist  at  Paris,  published 
some  instrumental  music  since  the  year  1792. 

GASPAR.  A  composer,  whose  works  ar« 
much  praised  by  Franchinus.  He  lived  in  th« 
latter  half  of  the  fifteenth  and  beginning  of  the 
sixteenth  century.  Dr.  Buniey  discovered  a  mass 
by  this  comjwser  among  the  collection  of  music 
in  the  British  Museum;  it  is  dated  1.50S. 

GASPAR,  MICHAEL,  printed  in  London,  in 
1783,  a  work  entitled  "  De  Arte  Medendi  apttdpris- 
cos,  Mutices  ope  at'jue  Carminum,  S^c." 

GASP^VRLNI,  FRANCESCO,  born  at  Lucca 
about  the  year  1600,  was  one  of  the  most  cele- 
brated vocal  composers  of  his  time.  He  excelled 
equaUy  in  chamber  and  theatrical  music.  His 
cantatas  are  esteemed  among  the  finest  of  the 
kind  that  have  ever  been  published,  and  his 
operas,  of  which  he  composed  a  great  ntimber, 
are  scarcely  exceeded  by  those  of  Scarlatti.  He 
joined  with  Albinoui  in  the  composition  of  the 
opera  of  "  Emjelberta,"  and  was  Hving  at  Rome  in 
the  vear  1723.  His  printed  works  are  "  CantaM 
da  Camera  a  Voce  sola,"  piibllshed  at  Lucca  in 
1697  ;  and  a  treatise  entitled  "  L' Armonioo  pro- 
tico  al  Cembalo,  reffole  per  ben  suoiuire  il  Basso," 
published  at  Venice  in  1708. 

GASPARINI,  QUIIUNO.  A  composer  of 
church  music,  and  also  some  instrumental  pieces, 
pre-viously  to  the  year  1797.  He  was  chapel- 
master  to  the  King  of  Sardinia  at  Tuiin,  8 oout 
the  year  1770. 

GASSE,  FERDINAND,  a  Neapolitan,  was 
pupil  of  Gossec  at  the  Paris  Conservatory,  and 
gained  the  jirlze  for  composition  iu  1805.  He 
afterwards  went  to  Rome,  where  he  composed 
some  sacred  and  dramatic  music. 

GASSMAN,  FLORIAN  LEOPOLD,  chapel- 
master  to  the  Emperor  of  Germany,  and  suiior- 
visor  of  the  im]ierial  library  of  music  at  Vienna, 
was  born  in  Bohemia  in  17'29.  He  composed 
some  church  music,  likewise  some  ojicras  and  in- 
strumental pieces.  His  quartets,  when  compared 
with  those  of  Haydn,  are  stiff  and  ice-cold  com- 
positions. Gassman  was  one  of  the  raajsters  of 
i  Salieri,  who  succeeded  to  his  appointments  o 
chapel-master,  &c.,  at  Vienna. 

I      GASTOLDI.     See  Castoldi. 

22 


viAT 


EXCYCLOP.'EDIA    OF    MUSIC. 


OAV- 


G  ATA  YES.  («.)  A  harpist  nt  I'liris  ;  ho  has 
published  a  method  for  the  guitar,  and  mui-h 
haip  music,  since  the  year  1800 ;  nl>o  some  ro- 
manccM,  among  the  moat  pleasing  of  which  is 
"  Le  paucro  Acemjle." 

GATES,  BEKNARD,  was  teacher  of  the 
choristers  at  the  Chajjcl  Uoyal  in  London,  about 
the  year  1710.  Ilauders  oratorio  of  "  Esther  "  was 
perlbrmed  in  the  house  ot  Gates,  and  met  with 
considerable  applause,  inducing,  as  it  is  said,  its 
composer  to  jiersevere  in  that  style  of  music. 
Gates  die<l  in  1773,  in  the  eighty-seventh  year  of 
his  age. 

GA'ITI,  J.  TIIEOBAI.DE,  called  TIIEOISAL- 
I)0,  wos  bom  at  Florence.  It  is  said  of  him, 
that,  btiug  charmed  with  the  music  of  LuUi, 
wlii'-'  ',iad  reached  him  even  in  his  native  coun- 
irj,  r.e  went  to  Paris  to  compliment  that  cele- 
brated musician,  and  in  all  his  compositions 
studied  to  emulate  him  ;  and  at  length  discoveicd 
himself  to  be  a  meritorious  pupil  of  that  great 
man,  by  two  operas,  which  he  had  caused  to  be 
represented  in  the  Uoyal  Academy  of  I'aris.  He 
died  at  Paris,  in  the  year  1727,  at  an  advanced 
age,  having  for  filty  years  been  u  performer  on 
the  ba.ss  viol  iu  the  orchestra  of  the  opera. 

GATTI,  AHBIC,  was  born  at  Mantua,  and  reck- 
oned one  ol  the  most  agreeable  composers  of 
Italy,  about  the  year  1790.  Ilis  opera  "  Otim- 
viiitle"  was  pertonued  at  Placenza  in  1781,  and 
Lis  "  Demofoonte  "  at  Mantua  in  1788. 

CiAULS.  This  ancient  people  had  acquired 
great  reputation  in  every  jMirt  of  the  country 
where  they  were  known,  both  for  their  warlike 
and  musical  character.  Manlius,  in  an  address 
to  the  lioman  soldiers,  says,  "  I  am  not  surprised 
that  the  (Jauls  should  have  made  tlicir  names 
iormidable,  and  spread  the  strongest  terrors  in 
the  minds  of  a  nation  of  so  soft  and  effeminate  a 
cast  as  the  Asiatics,  llieir  tall  stature,  their 
flowing  hair,  which  descends  to  their  waists,  their 
unwieldy  bucklers,  their  long  swords,  add  to  this 
their  songs,  their  cries  and  bowlings  at  the  first 
onset,  the  ilreadful  clashing  of  their  arms  and 
shields,— all  this  may  in">leed  intimidate  men  not 
accustomed  to  them,  but  not  you,  Romans  I  " 

GAU'niEKOT,  LOUISE,  MADAME,  a  cclo- 
brated  female  violinist,  was  considered,  in  1790, 
among  the  most  celebratetl  players  on  that  in- 
strument.    She  died  in  1808. 

GAU'nilEU,  DENIS,  snniamod  the  Elder. 
.\n  admired  French  lutist.  'Die  principal  pieces 
of  the  elder  Gauthier  are  those  entitled  "  L'lm- 
mortflle,"  "  La  XonjMrriHf,"  and  "  Le  Tomhvau  fie 
Me.aiiijinii."  Tlierc  was  also  another  Denis  (Jau- 
thicr,  who  comjioscd  some  much  admired  le;*sons 
for  tt-.e  lute,  of  which  the  most  esteemed  are  tho.se 
entitled  "  L' llomicidc,"  "  Le  Canon,"  and  "  f^ 
Tomhcaii  de  Lencloa." 

GAUTHIER,  PIERRE, •«  musician  of  Prov- 
ence, was  diiector  of  an  opera  company,  which 
c.vhibitcd,  by  turns,  at  Marseilles,  Mont))eUicr, 
and  Lyons.  He  embarked  at  the  Port  de  Cette, 
and  iierished  in  the  vessel,  at  the  age  of  fifty-five, 
in  li')97.  There  is  e.\tant  of  his  composition  n 
collection  of  duos  and  trios,  which  ia  much  es- 
teemed. 


■  to  Louis  XV.  He  was  the  author  of  "  Traitf.  A 
I  I' Ilarinoiiit  it  la  I'ortie  de  tout  k-  Monde,"  published 
;  at  Paris  iu  1798. 

GAVEAUX,  PIERRE,  composer  to  the  (>,>,;■„ 
Feydeau  at  Paris,  was  born  at  Rcziers  in  17';f. 
He  becnnie  chorister  in  the  cathedral  of  that  town 
at  seven  years  of  age,  and  ir.  less  than  two  year- 
was  able  to  read  every  descrijition  of  music,  and 
in  all  clefs,  at  sight.  He  subsetiuently  went  tc 
Bourdeau.x,  and  was  attached  to  one  of  thr 
churches  as  tenor  singer  ;  here  ho  received  lessor.s 
in  composition  from  Fraju-is  Reck,  and  com- 
posed several  motets,  which  met  with  tlie  apjiro- 
bation  of  his  master.  tJaveaux  then  engaged  i;i 
the  theatrical  career,  first  at  Bour<leau\,  and  after- 
wards at  Montijollier ;  at  length,  in  1789,  he 
made  his  dihiit  at  the  Tliidire  dm  Tiiilerirx,  (then 
named  ThiAtri'  r/c  .Vq/m/ck/',)  taking  the  principal 
tenor  parts,  and  becoming  the  chief  support  of 
that  theatre  till  the  time  of  the  union  of  the  Foy- 
dfuu  and  Opera  ('omi(/iu',  in  ISOO.  The  following 
is  a  list  of  the  principal  operas  composed  by  Ga- 
veaux  :  Op.  1.  "  L' Amour  ^filial,  on  Jamhc  de  Bois," 
in  1792.  2.  "  La  Cfiaiimiire  Indieniie,ou  Ic  Paria," 
1791.  3.  "La  Fainitle  Indiyentc."  4.  "  Lrs  deitx 
llermitcs,"  1792.  .5.  "La  Partis  quarr6e."  6. 
"  Iklnion  ct  Xadine."  7.  "  Le  petit  Mateht."  8. 
"  Le  Trttiti  mil,"  179i>.  9.  "  La  Gasconade."  10. 
"  Les  yoins  supposis."  11.  "  Les  deux  Joekies." 
12.  "  Sophie  ct  ilonears."  13.  "  Lionore,  mi 
r Amour  Conjugal"  14.  "  La  Locataire,"  1799. 
1.5.  "  Le  Diuble  Coulcur  de  Hose."  16.  "  Le  Trom- 
peitr  trompi."  17.  "  Lise  et  Colin."  18.  "  Oicin- 
skn."  19.  "  Ccliane."  20.  "  Tout  par  Ilasard." 
Besides  the^e  dramatic  pieces,  most  of  which  were 
succetisful,  traveau.x  has  composetl  some  romancei 
and  uistrumental  music.  His  lively  air  "  La 
Pi/te  de  Tabac,"  has  been  popular  throughout 
Europe. 

GAVrS'IES,  PIERRE,  a  celebrated  French 
violinist,  wa-s  bom  at  Bourdeau.\  in  1728.  At 
fourteen  years  of  age  he  made  his  il/.but  as  a  per- 
former at  the  Concert  Spirituel  at  Paris,  when 
Viotti,  having  heard  hi.s  playing,  designated  him 
as  Le  Titrtini  de  la  France.  Ga^•inies  published 
three  operas  of  sonatas,  and  several  concertos.  A 
year  before  his  death,  which  took  place  in  1799, 
he  published  a  collection  of  violin  music,  enti- 
tled "  Ia'S  rinift-fuatre  Matinees ;  "  most  of  the 
pieces  in  it  are  e.vtremely  difficult.  'ITie  only 
dramatic  work  of  Gavinies  is  "  Le  Pretendii,"  f  n 
intermidi;  porfonned  with  success  at  the  Italian 
theatre  at  Paris  in  17i')0.  In  1791,  he  was  «])- 
pointed  professor  of  tho  violin  at  the  Paris  Con- 
servatory. 

G.WOT.  A  dnncc  con-isting  of  two  light, 
lively  strains,  in  common  time,  of  two  crotchets  ; 
the  first  of  which  'contains  four  or  eight  bars, 
and  the  second,  eight  or  twelve,  and  sometimes 
sixteen,  each  beginning  with  two  crotchets, 
and  ending  with  one,  or  the  half  of  a  bar.  Some 
authors  say,  that  the  first  str.iin  of  the  tru« 
oarot  has  its  close  in  the  dominant,  or  fifth  of 
the  key,  and  that  if  it  be  in  the  tonic,  or  key 
I  note,  it  is  not  a  garot,  but  a  rondeau. 

I      G.VVOTTA.    (I.)    Gavot ;  the  air  of  a  danc* 
See  (f AViiT. 

GAWLER.     An  orp\nist  in  Ixindon,  and  au- 


0.\UZ.\RGUES,  CHARLES.     Chapel-master  I  thor  of,  1.  "  Harmonia   Sarra ,    a    Collection  of 


323 


DAY 


EXCYCLOP-EDIA    OF    MUSIC. 


GEM 


Psidm  Tunes,  with  Interludes,  with  a  Thorough 
BasH,  foniiiiiR  a  most  coiuplefe  Work  of  Sacred 
Muxie ; "  I^iidon,  published  by  Cleraenti.  2. 
"  Dr.  Watts"s  Divine  Psalms."  3.  "  Lessons  for 
the  IIaq)siohord."  4.  "  Klevcn  single  Volunta- 
ries for  the  Or(;an.'  6.  "  Twenty-four  Interludes 
or  short  Voluntaries  for  the  Organ." 

GAYE.  Chamber  musician  to  Louis  XV.  An 
anecdote  is  related  of  him,  that,  having  spoken 
disrc:<i)ectfully  of  the  Bishop  of  Kheims,  he  feared 
wing  deprived  of  his  situation  at  court :  falling, 
therefore,  at  the  feet  of  the  king,  lie  acknowledged 
his  fault,  and  recjuested  pardon.  A  few  days 
alterwards,  as  he  was  singing  mass  in  the  king's 
l)resence,  the  Archbishop  of  Kheims  took  occa- 
sion to  remark  to  his  majesty,  with  a  view  of 
procuring  the  dismissal  of  the  musician,  "  C'est 
liommage,  sire,  le  pauvre  Gaije  peril  sa  voix."  "  I'oiis 
votis  trompez,"  dit  le  Roi,  "  il  chante  bicn,  mais  il 
parte  vuil. 

GAYER,  JOHANN  JOSEPH  G.,  chamber 
musician  to  the  Landgrave  of  Ilesse  Darmstadt, 
■was  born  in  1718.  lie  composed  an  oratorio  en- 
titled "  Dcr  Engel,  Mensch,  und  Fiend,"  sL\  masses, 
and  some  motets ;  also  a  variety  of  instrumental 
music. 

GAZZAXIGA,  GIUSEPPE,  of  Venice,  was 
chapel-master  at  Verona,  and  a  pupil  of  Sacchi- 
iii.  He  resided  for  a  long  time  at  Vienna,  and 
composed  many  Italian  operas  between  the  vears 
1783  and  1792. 

G  CLEF.  This  is  a  compound  character  of 
the  letters  G  and  S,  for  the  syllable  Sol.  In 
old  music,  the  two  letters  G  and  S  are  some- 
rimes  seen  distinctly  marked.  'ITie  earliest  use 
of  our  present  character  is  ascribed  to  Lampa- 
dius.  The  G  clef  must  turn  on  the  second  line 
of  the  staff ;  all  the  notes  on  that  line  are  called 
G  ;  the  other  degrees  take  their  names  from  that, 
as  the  clef  line  :  — 


Saievckruiii. 


DegTCM  or  Treble  Suit. 


All  other  added  degrees  are  reckoned  from  these, 
whether  above  or  below. 

G  DOl'BLE,  or  DOUBLE  G  ;  the  octave  be- 
low G  gamut ;  the  lowest  note  of  the  letter  G, 
on  the  piano-forte. 

GEBAT'l-ni.  Tliere  were  four  brothers  of  this 
name,  re<ident  at  Paris ;  each  of  them  composed 
instrumental  music  between  the  years  1790  and 
1800,  chieHy  for  wind  instruments.  Many  of 
their  quartets,  which  they  played  together  in  pub- 
lic, were  much  admired.  One  of  the  brothers 
published  "  Sixty  Methodical  Lessons,  as  Duets, 
for  two  Flutes  for  the  Use  of  Beginners,"  a  work 
which  Ls  much  esteemed  in  (jermany. 

GEBEL,  GEORG,  the  elder,  organist  at  Brcs- 
lau,  was  born  there  in  108.5.  He  published  much 
music  for  the  harjisichord,  and  many  composi- 
tions for  the  church.  He  died  about  the  year 
1750. 

GEBEL,  GEORG,  the  younger,  son  of  the  pre- 
«e<ling,  and  born  at  !'3re;dau  in  1700,  was  chapel- 


master  to  the  Prince  of  Schwartzburg  Rudolstadt. 
His  works  are  very  voluminous,  consisting  chiefly 
of  compositions  for  the  church,  and  five  operas. 
He  died  in  1753. 

GEBUXDEX.  (G.)  Connected,  syncopated, 
in  regard  to  the  style  of  playing  or  ^^Titing. 

GEDECKT,  sometimes  written  GEDACKT. 
(G.)  Stopped,  in  opposition  to  the  open  pipes  in 
an  organ. 

GEERE.  A  composer  of  church  music  abc  .1 
the  year  1770. 

GEGEXBE\VEGUXG.  (G.)  Contrary  mo- 
tion. 

GEIIOT,  JOIIX''.  A  violinist  and  composer  in 
London  in  1781,  published  in  that  year  "  ATrea 
tise  on  the  'llieory  and  Practice  of  Music  ;  "  also 
"The  Art  of  Bowing  the  Violin,"  and  "The 
complete  Instructor  for  every  Instrument."  He 
is  likewise  the  author  of  some  instrumental  mu- 
sic, published  at  Berlin  and  Paris. 

GEHKICK.  Author  of  some  instrumenta. 
music  for  the  piano-forte,  published  at  Vienna  in 
179G. 

GEHRIXG,  JOIIAXX  AVILHELM,  chapel- 
master  at  RudoLstadt  after  the  death  of  Gebcl, 
was  a  celebrated  perfoiTQcr  on  the  bassoon,  and 
composer  for  his  instrument.     He  died  in  1787. 

GEIGE.     (G.)     llie  violin. 

GELIXEK,  G.  A  performer  on  the  double 
bass,  at  the  Grand  Opera  at  Paris,  and  composei 
of  a  collection  of  waltzes,  &c.,  for  the  harp,  pub- 
lished about  the  year  1798. 

GELIXEK,  HERMAXX  AXTOX,  called 
CERVEITI,  was  born  in  Bohemia  in  1709.  He 
was  a  celebrated  violinist,  and  sp.cnt  much  of  hia 
life  ill  France  and  Italy.    He  died  at  Milan  iii  1779. 

GELIXEK,  ABBE  JOSEPH,  a  good  pianist, 
and  admired  composer  for  his  instrument,  was 
born  in  Bohemia  in  1700.  About  the  year  1795, 
he  resided  in  the  house  of  a  nobleman  at  Vienna, 
in  which  town  he  published  much  piano-forte  mu- 
sic, especially  airs  with  variations. 

GEMIXIAXI,  FRAXCESCO,  a  native  of 
Lucca,  was  born  about  the  year  1666.  He  re- 
ceived his  first  instructions  on  the  violin  of  Carlo 
Ambrogio  Lunati,  of  Milan,  commonly  called  U 
Gobbo,  a  celebrated  performer  on  that  instru- 
ment, who  set  the  opera  of  "  Ariberto  and  Fln- 
vio,"  for  Venice,  in  1684.  After  this,  Gcminiani 
studied  counterpoint  at  Rome,  under  Alessandro 
Scarlatti  ;  he  also,  in  that  town,  became  a  pupil 
of  Coielli  on  the  violin.  Having  finished  his 
studies,  (jcminiani  went  to  X'aples,  where,  from 
the  reputation  of  his  iierfonnance  at  Rome,  he 
was  at  once  placed  at  the  head  of  the  orchestra ; 
but,  according  to  the  elder  Barbella,  he  was  soon 
discovered  to  be  so  wild  and  unsteady  a  timist, 
that,  instead  of  regulating  and  conducting  the 
band,  he  threw  it  into  confusion  ;  as  none  of  the 
performers  were  alile  to  follow  him  in  liLs  tempo 
riihatn,  and  other  unexpected  accelerations  and 
relaxations  of  measure.  After  this  discovery, 
the  younger  Barbella  a.ssured  Dr.  Burneythat  his 
father,  who  well  remembered  (Tcminiani's  arrival 
at  Xaples,  said  he  was  never  trusted  with  a  better 
part  than  the  tenor,  during  his  residence  in  that 


324 


GEM 


ENCYCLOPAEDIA    OF    MUSIC. 


GEN 


tity.  lie  went  to  England  in  the  year  1714.  In 
1710  he  puhlisht'd,  in  London,  his  first  work, 
.lodicated  to  Huron  Kihuiiiisc<!;;;o,  consisting  of 
twelve  solos  for  the  violin,  which,  thouj^h  few 
could  play,  yet  all  the  jirofcssors  allowed  tlieni  to 
be  still  more  masterly  than  tliose  of  Corelli.  In 
172(),  he  fonued  (.'orclli's  first  six  solos  into  con- 
certos, and  soon  alter,  the  last  six.  He  likewise 
selected  six  of  I'.is  sonatas  for  the  same  purpose; 
and  imitating  his  style  in  composing  additional 
j)arTs  to  them,  manifested  liow  much  he  respected 
the  originals.  It  was  not  till  the  year  17.'ii  tliat 
(jeminiani  jjublished  his  first  six  concertos,  which 
he  called  his  "  Ojirra  Sfconda,"  and  dedicated  to  the 
Duchess  of  Marlborough.  Soon  after  this,  his 
"  (}/>era  Tcrza,"  or  second  set  of  concertos,  ap- 
jjcared,  which  established  his  character,  and 
))laced  nim  it  the  head  of  all  the  masters  then 
living  in  this  species  of  composition.  His  second 
set  of  solos,  commonly  called  his  French  solos, 
either  from  their  style,  or  their  having  been  com- 
jiosed  and  engraved  in  France,  was  published  in 
1 739.  These  were  admired  more  than  jilayed ;  as, 
about  this  time,  it  became  more  than  ever  the 
fashion  for  public  solo  players  to  pcrfonn  only 
their  own  compositions,  and  others  were  unable 
to  execute  tlicra.  His  third  set  of  concertos, 
which  ai)i)carcd  about  the  year  17H,  was  so 
labored,  clitHcult,  and  fantastical,  as  never  to 
be  played  in  either  public  place  or  private  con- 
cert. His  long-promised  work,  with  the  title  of 
"  Otiiila  Armoiiira,"  published  in  17  1'2,  appeared 
too  late ;  for,  though  there  are  many  combina- 
tions, modulations,  and  cadences,  that  woidd  open 
the  mind  and  enrich  the  memory  of  a  young  stu- 
dent in  hanuony,  he  promised  too  much,  and  his 
authority  in  the  kingdom  was  diminished  by  new 
music  and  new  performers,  as  well  as  by  his  own 
freijuent  change  of  sentiment;  setting  up,  at  one 
time,  as  a  mode  of  perfection,  what  he  would  de- 
spise and  condemn  at  another. 

His  "Treatise  on  tiood  Ta.ste,  and  Rules  for 
Playing  in  Good  Taste,"  did  not  appear  till  about 
1747;  but  that  was  too  soon  for  the  time>.  In- 
deed, a  treatise  on  good  taste  in  dress,  during  the 
reign  of  (iueen  Flizabeth,  would  now  be  as  ii.iiful 
to  a  tailor  or  milliner,  as  the  rules  of  taste  iji 
music,  forty  years  ago,  to  a  modern  musician. 

In  17fM  he  published  his  "  .\rt  of  Playing  on 
the  Violin,"  which  was  a  very  useful  work  in  its 
Jay ;  the  shifts  and  examples  of  diflereut  ditHcul- 
ties  and  uses  of  the  bow  being  infinitely  superior 
to  those  in  any  other  book  of  the  kind,  or,  indeed, 
oral  instruction,  which  the  English  nation  could 
f)oa<t,  till  the  arrival  of  (iiardini. 

His  c-mposition  called  the  "  Enchanted  Forest," 
in  wlvlch  he  endeavored,  by  mere  so\ind,  to  repre- 
Fent  to  the  in.agination  of  an  audience  all  the 
events  in  the  episode  of  the  thirteenth  book  of 
Tb-sso's  "Jerusalem,"  wa.s  j)ublisbed  about  1756. 
But  miisic  has  never  the  jxiwer,  without  vocal  ar- 
ticulation, to  narrate  or  instruct  ;  it  can  excite, 
jiaint,  and  soothe  our  passions,  but  is  utterly  inca- 
I'ahle  of  reasoning  or  conversing  to  any  rciusonable 
purj'.ose. 

lie>ides  these  practical  and  theoretical  works, 
re  published  two  books  of  "  Hariisichord  Pieces," 
that  are  rendered  impracticable  by  crowded  har- 
mony and  multiplie<l  notes  ;  and  two  books  upon 
the  "Art  of  Accompaniment,"  which  are  only  in- 
telligible to  those  who  no  longer  want  such  assist- 
ance, and,  if  practised,  would   be  intolerable  to 

3-. 


singers  and  solo  players,  who  M-ish  to  be  hear ' 
through  the  tinkling  of  a  harpsichord. 

(ieminiani  was  seldom  heard  in  ])ublic  durin|; 
liis  long  residence  in  England.  His  com])Ositions, 
scholaj-s,  and  the  j>re--ents  he  received  from  th« 
great,  wliencver  he  could  l)c  jirevailed  ujjou  \c. 
l>lay  at  their  houses,  were  his  cliief  support.  In 
17:tl  he  advertised  a  weekly  concert  of  mu.ic,  to 
be  carried  on  at  Hickford's  room  by  subscription, 
and  at  whidi  h(*])layed  the  first  violin  liimselt. 
In  17H  he  had  a  l)cnetit  concert  at  the  little 
theatre  in  the  Haymarket,  by  command  of  some 
of  tlie  royal  family,  and  in  \' V.)  i\  mnn-i-tn  npiri- 
tiiiilt;  during  Lent,  at  Drury  Ijinc  'ITieatrc,  in 
which  he  led  the  band,  and  i)layed  a  concerto 
from  the  fifth  solo  of  his  fourth  opus,  and  the 
tenth  solo  of  the  same  set.  The  \insteady  manntr 
in  which  he  led  seemed  to  confirm  the  Neapolitan 
account  of  his  being  a  bad  mental  arithmetician 
or  calculator  of  time.  .\tter  this  he  went  to 
Paris,  where  he  continued  till  17.io,  when  he  re- 
turned to  England,  and  published  a  new  edition 
of  his  two  first  sets  of  concertos.  In  17(11  he  went 
to  Ireland,  to  visit  hLs  scholar  Dubourg,  master 
of  the  king's  band  in  that  kingdom,  who  always 
treated  him  with  great  respect  and  afi'ection.  It 
is  supposed  tliat  his  death  was  accelerated  there, 
the  next  year,  by  the  loss  of  an  elaborate  treatise 
on  music,  which  he  had  been  many  years  com- 
piling, and  which,  by  the  treachery  of  a  female 
servant,  was  conveyed  out  of  his  room,  and  could 
never  be  recovered.  Sur\'iving  this  loss  but  a 
short  time,  he  died  at  Dublin,  in  17G2,  at  tha 
great  age  of  ninety-six. 

GEMMIXGEX,  EBERIIARD  FRIEDRICH, 
RAROX  DE.  Privy  counsellor  to  the  Duke  of 
Wurtemburg  about  the  year  1781.  He  wa.s  a 
musical  amateur  of  superior  taste  and  acquire- 
ments, and  comi)ose<l  six  symphonies,  and  much 
piano-forte  music,  which  has  been  greatly  ad- 
mired. 

GEMSEX  IIORX.  An  instrument  formed  of  a 
small  pipe  made  of  the  horn  of  a  (iuadrupe<l 
called  the  t/cmi  —  a  chamois,  or  wild  goat.  Some 
suppose  the  ijemsi-n  horn  to  be  the  same  with  the 
modem  hautboy. 

GEXERA.  (L.)  The  different  scales  by  which 
the  Greeks  regulated  their  division  of  the  tetra- 
chord.  These  gciifra,  as  agreed  by  .VristoxeniL*, 
Racchius,  Euclid,  Roetius,  and  other  ancient  writ- 
ers, were  principally  three  —  the  enharmonic, 
chromatic,  and  diatonic.  Aristides  (juintilian, 
however,  mentions  many  other  .ve;i<rn,  and  enu- 
merates six,  as  very  ancient,  vi/.,  the  Lvdian. 
Dorian,  Phrygian,  Ionian,  Mixolydian,  and  Syn- 
tonolydian.  These  six  i/i-iurn,  which  we  must 
not  confound  with  the  tones,  or  modes,  of  tho 
same  names,  differed  no  less  in  their  degre<'i 
than  in  their  compass.  One  did  not  extend 
to  the  octave,  while  others  rcAche«l,  and  some 
excec<le<l  it.  Indejiendent  of  the  various  sub- 
(livi>ions  of  the  three  ]>rincii>al  t/rnrrn,  therb 
was  a  common  genus,  consisting  only  of  tho 
stidde  sounds  of  the  t/nu-rn  ;  as  al  'o  a  mixed 
genus,  ])artaking  of  two,  or  of  all  the  three 
geitera.  It  is  worthy  of  notice  that,  in  thus  col- 
lection, or  combination  of  ijrnrra,  which  wai 
rarely  use<l,  not  more  than  four  ehonls  oi 
strings,  were  employed,  which  were  tighlentfj 
or    relaxetl  during  performance -- a  practice  of 


GEN 


ENCYCLOPAEDIA    OF    MUSIC. 


GER 


Eftcat  apjiareut  difficulty,  and  of  which  we  can 
I'.ave  no  true  idea.  Indeed,  the  whole  musical 
sVBtein  of  tlie  ani-iciits  beinR  only  conveyed  to 
us  by  si)eculative  autliors,  and  not  by  any  speci- 
mens of  its  ])ractii'e,  we  are  necc-isarily  left  in 
preat  uncertainty  resjiecting  its  execution ;  nor 
will  the  varyin;;  accounts  of  the  dirt'erent  writers 
on  the  subject  afford  us  a  ])crm!uient  resting- 
place  for  our  opiuioiLS  conceniing  the  niceties  of 
its  theory. 

GEXEU.\L  BASS.  Thorough  bass.  See 
Bass,  Thouovoh. 

(jENERALI.  An  Italian  composer  of  the  com- 
ic opera,  "  La  Contcssa  t!i  mile  erboso,"  performed  at 
Munich  in  182:5;  also  of  "Aa  Testa  maraiii/liosa." 

GENEKATEL'R.  (F.)  The  name  first  given 
by  Itameau  to  the  fundamental  note  of  the  com- 
mon chord,  and  since  adopted  by  other  French 
writers  in  the  same  sens.e.  It  ■'vns  but  a  new 
name  given  to  an  old  and  well-known  v-ximbi- 
uation,  but  had,  however,  the  merit  of  being 
particularly  appropriate,  inasmuch  as  the  triad 
is  absolutely  generated  from  its  fundamental. 

GEXEROSO.  (I.)  Noble;  in  a  dignified  man- 
ner. 

GENIALIA.  (L.)  The  name  given  by  the 
ancient  Romans  to  cymbals,  because  they  were 
used  in  the  celebration  of  weddings. 

GENRE.  A  word  used  by  French  connoLs- 
Beurs  in  the  sense  of  style  or  manner.  They 
prefer  the  tjenre  of  this  to  that  composer.  The 
Vcnre  of  this  singer,  or  instrumental  performer, 
is  more  elegant  or  impressive  than  that  of  an- 
other. 

(jENUS.  (L.)  The  singular  of  Genera; 
which  see. 

GEORGE,  SEBASTIAN,  a  inanist  and  com- 
poser for  his  instrument  at  Moscow,  was  born  at 
Mentz  ;  his  publications  bear  date  from  the  year 
1796. 

GEORGE,  J.  P.,  son  of  the  preceding,  also  a 
pianist  and  composer  for  his  instrument  at  Mos- 
cow ;  his  compositions  are  dated  from  the  year 
1797. 

GEORGES,  LE  CHEVALIER  DE  SAINT, 
born  at  Guadaloupe,  died  at  Paris  in  a  state  of 
indigence  in  ISOl.  lie  was  eiiually  remarkable 
for  his  skill  in  cymnastic  exercises,  and  for  his 
talent  as  a  violinist.  He  led  the  band  at  the  concert 
of  amateurs  at  Paris  in  1770.  St.  Georges  com- 
jiosed  some  violin  music,  and  also  an  operetta, 
called  "  La  C/iasse." 

GERADE  TAKTART.   (G.)     Common  time. 

GERADEBEWEOUNG.  (G.)  SimUar  mo- 
tion. 

(JERARD,  HENRI  PHILIPPE,  was  b.,rn  at 
Liege  in  17')3.  At  the  fonuation  of  the  Paris  Con- 
servalorv,  be  was  appointed  profosor  ot  singinj;. 
(rerard  has  publislied  b\it  few  works,  though 
much  of  his  music  in  manuscript  is  known  and 
admired  by  amatcui-s. 

GERBER,  IIEINRICH  NICHOLAS,  organist 
to  the  Prince  of  Schwartzburg,  at  Sondershausen, 
was  born  ij\  17()'i.  He  'tudied  conipo>ition  at 
T.eipsic  under  Sebastian  Bach.  His  works  consist 
ihielly  of  preludes  and  fugues  for  the  organ  and 
niano. 

GERBER,  son  of  the  preceding,  was  born  in 

3 


mCy,  and  succeeded  his  father  as  organist  at  the 
court  of  Sondershausen.  He  is  well  known  as 
the  author  of  the  "  Xeues  IIu<torisch-Itior/raj>/iiscfies 
lexicon  iler  TonkUnstler,"  Leii)sic.  1812,  4  voLs.  8vo. 
This  was  by  far  the  most  valuable  work  on  musi- 
cal biography  which  had  been  i)ublLshed  on  the 
continent,  and  wa.s  especially  rich  in  its  accounts 
of  the  composers  of  the  German  school. 

GERBERT,  MARTIN,  Prince  Abbot  of  the 
convent  of  Benedictines,  and  of  the  congregation 
of  St.  BlaL-.e,  in  the  Black  Forest,  was  born  in 
1720,  at  a  small  town  in  Austria.  He  united  to 
extensive  learning  the  most  elevated  mind,  and 
simple  and  amiable  character.  Having  frequentlv 
in  his  youth  had  opportunities  of  hearing  excel- 
lent music  in  the  chapel  of  the  Duke  of  Wurtem- 
hurg,  at  Ludwigsburg,  and  even  of  occa.'.ionally 
singing  himself,  he  imbibed  that  affection  lor 
music  to  which  we  are  indebted  for  his  learned 
and  toilsome  researches  on  the  history  of  that  art. 
M'ith  a  view  to  render  these  researches  more  pro- 
found and  useful,  he  undertook  to  travel  for  three 
years  in  France,  Germany,  and  Italy,  and  was 
enaliled,  through  Ills  authority  in  the  church,  to 
discover  the  most  secret  treasures  of  musical 
literature,  by  obtaining  admittance  into  the  libra- 
ries of  the  convents,  and  thus  collecting  from  the 
fountain  head  the  materials  for  his  history  of 
church  music.  At  Bologna  he  became  intimate 
with  P.  Martini,  lliey  agreed  to  communicate 
to  each  other  their  different  knowledge,  and  that 
1'.  Martini  should  write  the  history  of  music  in 
general,  while  Gerbert  confined  himself  exclu- 
sively to  that  of  the  church.  The  number  of 
seventeen  thousand  authors,  that  Martini  had 
collected,  certauily  astonished  Gerbert ;  but  he 
says  that  he  actjuainted  him  with  a  still  greater 
number  existing  in  the  German  libraries.  In 
17';2  he  announced  his  intention  of  writing  a 
history  of  church  music,  by  a  j)rintod  prospec-tus, 
and  soliciting  any  information  that  could  be  given 
on  the  subject.  This  jirospectus  is  to  be  found  in 
the  critical  letters  of  Mai-puig.  He  finished  this 
work  in  six  years,  though,  in  the  interval,  (the 
23d  of  July,  1708,)  the  abbey  and  valuable  library 
belonging  to  it  became  a  prey  to  the  flames,  occa- 
sioning the  loss  of  a  great  part  of  his  materials, 
and  likewise  of  his  time,  which  he  was  obliged  to 
emjiloy  in  giving  directions  for  the  construction 
of  a  new  edifice.  ThLs  work  is  in  two  volumes, 
and  contains  many  prints ;  it  is  entitled  "  De  Can- 
tu  vt  MiiA-ird  ikicrd,  a  primd  ecclesiie  eetate  vsr/iie  a/l 
prieseiui  tempiis.  Auetore  Martino  Gerberto,  Mnnas- 
terii  et  Congregationis  St.  li/asii  de  ."silvd  Sujrd  Ai'- 
bate,  Sacri(/HC  liomani  Imperii  Princijx:  Typijs  Suii- 
Dlasinnis,  1771."  Gerbert  divided  his  hLstory  of 
church  music  into  three  parts :  the  first  finishes 
at  the  pontificate  of  St.  Gregory ;  the  second  goes 
i.»  far  as  the  fifteenth  century ;  and  the  third  to 
his  own  time.  But  the  work  which  has  given  the 
Prince  Abbot  Gerbert  the  greatest  title  to  gratitude 
from  artists  and  literati,  is  one  of  far  more  impor- 
tance, published  in  1784,  under  the  title  of  "  .Scnyj- 
torcs  Ecclcsiastici  de  Miisicd  Sacrd  jmtissimum.  Ex 
tariij  Italia,  GaiJia,  et  Germanitf  cotUcibiis  Manii- 
scrijitis  collecti  et  nunc  primum  piib/icd  liicc  doniiti , 
a  Martinn  Gerberto  monaxterii  ct  Congregat.-  S.  ISIus. 
in  Silrd  .\igrd  Abhnic,  S.  Q.  H.  I.  P.  Typi.t  San-II/a- 
sinni.s,  17S4."  TliLs  is  a  collection  of  all  the  an- 
cient authors  who  have  written  on  music  since 
the  third  cent>iry  to  tl-.e  ii  ventio  i  ol   pri  tting, 


OER 


ENCYCLOPAEDIA    OF   MUSIC. 


OIA 


ftiid  V  hose  works  had  remaiiiud  iu  niaiiuscript.  I 
The  h-anied  amateur  has  by  this  work  reiidtTfd  | 
nil  immortal  service  to  the  scieiu-c  of  music.     Un- 
t'ortuiiate'y,  it  Ls  now  very  dilHcult  to  procure  a  I 
copy  of  tliis  book.     Forkel  has  given  an  cxteii- 
hive  aunlvriis  of  it    in   )ns  "  History  of  Music." 
I'lic  Abbot  (ierbert   kept  up  a   constant  corrc-  | 
sponilcnte  with  the  celebrated  Ciluck.     lie  died  j 
in  his  seventy-third  ye;u:,  in  1793.  I 

GEHIUNI,  MLLE.  LUGIA.   An  amateur  per-  | 
former  on  the  violin,  and  jjiipil  ot  the  celebrated  , 
\'iotti.     In   I79i<  slie  went  to  Lisbon,  where  she  ' 
performed  some  concertos  on  the  violin,  between  ; 
the  acts,  at  the  Italian  Theatre.     She  aitcrwards  ' 
encased  at  the  same  theatre  as  singer,  and  proved  | 
r  "rselt  e>iually  jxiwenul  as  in  instninicntal  music. 
1     1801  she  went  to  Madrid,  and  alterwards  per- 
formed on  the  violin  at  some  public  concerts  in 
London. 

CiEUMAX  SCAT,!;.  This  scale  of  the  natural 
notes  is  A,  II,  V,  I),  E,  I',  (J ;  not  A.  1!,  C,  &c.  : 
the  B  Ls  always  reserved  to  expre.*s  15  tlat. 

(JEKMAN  SIXTH,  or  EXTREME  SHARP 
SIXTH.  A  sixth  consistins  of  ten  sMuitonic  in- 
tervals, as  from  F  natural  to  the  D  shiu^)  imme- 
diately above. 

GERSTEXllERG,  JOIIANX  WILHELM, 
VOX,  consul  to  the  King  of  Denmark,  was  bom  at 
Toudern  in  1 737.  He  was  a  most  able  and  enliglit- 
ened  amateur  musician.  He  wrote  two  disserta- 
tions, the  tirst  on  Italian  lyric  poetrj',  the  second 
on  the  manner  of  tigurin;.^  chords. 

UERVAIS,  CHARLES  HUBERT.  A  French 
composer  of  dramatic  and  other  vocal  music.  He 
died  at  I'wis  in  174-t. 

GERVAIS,  P.  X.,  the  elder,  was  born  at  Mau- 
hcim.  He  was  one  of  the  best  violin  pupils  of 
Fraenzl.  He  died  at  Lisbon  iu  170.5.  Some  of 
his  music  for  the  violm  was  published  at  I'arLs. 

GERVASOXI,  CARLO,  chapel-master  at  Bor- 
go-Taro,  published,  in  1800,  two  volumes  octavo, 
entitled  "  L<i  Scuola  delia  Mtuica," 

GES.   (G.)    G  dat. 

GESCinVIXD.  (G.)  Quick  ;  as,  ge3chu:i,ul 
nuirach,  a  quick  march. 

GES  DUR.    (G.)    G  flat  major. 

GESTEWITZ,  FRIEDRICII  CHRISTOPII, 
was  boru  iu  (iermany  m  17.>3,  and  studied  mu- 
sic under  Hiller.  In  17;(0  he  was  director  of 
the  mu>ic  at  the  Italian  Theatre  at  Dresden.  He 
crmposed  some  siicrcd  music,  also  several  dra- 
mat.c  pieces  and  piano-forte  music.  He  died  at 
Dre=.den  iu  1805. 

GESTOURS.  (F.)  The  name  by  which 
those  itinerant  minstrels  were  formerly  di.stin- 
guished  who  intcrhirded  their  songs  and  tales 
with  jokes  and  witticisms,  accompajiied  with 
humorous  gesticulations. 

GESrALDO,  CARLO,  Prince  of  Venosa,  (a 
principality  of  the  kingdom  of  Naples,)  flourished 
about  the  latter  end  of  the  sixteenth  century. 
He  was  the  nephew  of  Cardinal  Alphonso  (iesu- 
aldo,  Archbishop  of  Naples,  and  received  his  in- 
»tructions  in  mu>ic  from  Pomponio  Nenna.  Tlie 
writers  of  all  countries  give  to  this  prince  the 
character  of  being  an  extremely  learued,  ingeu-  ' 

32 


iou.s,  and  artiticial  composer  of  raadrigals.  lie  L 
generally  supjiosed  to  have  imitated  and  im- 
proved tliat  plaintive  kind  of  air  which  dl^tin- 
guislies  the  .Scots  melodiei.  Dr.  Burney,  liowever, 
says,  that,  in  a  very  attentive  perusal  of  the  wliole 
six  books  of  the  Prini-e  of  Veno^n'r'  madrigals,  he 
was  utterly  unalile  to  di>cover  the  least  similitude 
to,  or  imitation  of,  the  Caledonian  nirs;  and,  in- 
stea<l  of  giving  to  liis  compo.sitions  the  unlimited 
jtraiso  that  has  been  ho  lil)er«lly  ho^itowed  by 
others,  he  says,  that  " so  far  from  .Scots  n:eliilies, 
they  seem  to  contain  no  melodies  at  all  :  nur, 
when  scored,  can  we  discover  the  least  reguliirity 
of  design,  phraseology,  rhythm,  or  indeed  any 
thing  remarkalile,  e.xcept  unprincij)lcd  modula- 
tion, and  the  perpetual  embarrassments  and  in- 
ex]ierience  of  an  amateur  in  the  arrangement  and 
tilling  up  of  tl;e  parts."'  Notuitlistanding  this 
opinion  of  Dr.  Burney,  which,  indeed,  few  persons 
would  venture  to  iiucsfion,  it  Ls  well  known  that 
(teminiani  has  often  declared  that  "he  laid  the 
foundation  of  his  studies  on  the  works  of  the 
Prince  de  Venosa."  The  tirst  live  l>ooks  of  his 
madrigal-i  weie  published  in  parts,  in  lo':.5,  by 
Simon  Molmnro,  a  musician  and  chapel-master 
of  (ienoa.  In  the  year  l.i!)3  the  madrigals  of  the 
Prince  of  Venosa  (six  books')  were  published  to- 
gether by  the  same  person.  Tlie  pieces  contained 
in  this  eilition  were  upwards  of  a  hundred  iu 
niunber.  Two  other  collections  were  afterwanU 
printed  ;  l)ut  it  Is  probable  that  the  edition  of  ltjl3 
contains  tlie  whole  of  his  works. 

GEYER,  JOHAX'X  .EGIDIl'S.  An  amateur 
musician,  resident  at  Leipsic  since  the  year  1799. 
He  composed  much  piano-forte  and  vocjil  music 
of  merit.  He  died  iu  the  prime  of  lile,  in  the 
year  1808. 

GEZEK,  WENZEL.  An  organist  at  Prague, 
of  some  celebrity  as  a  church  composer.  He  waa 
boru  in  1733. 

G  GAMUT.  The  first  (}  below  the  bass  clef 
note.  Guido,  who  first  added  this  note  to  the 
aucient  scale,  applied  to  it  the  (ireek  letter  gam- 
ma, from  which  it  derives  it-s  present  name. 

G  FLAT.  The  flat  seventh  of  A  flat ;  the 
fifth  flat  introduced  iu  modulating  by  fourthii 
from  the  natural  diatonic  mode. 

GHERARDESCA,  FIIJPPO,  boni  at  Plstoia, 
was  a  pupil  of  Martini.  Ho  i)ublished,  subse- 
quently to  the  year  I"''",  some  operas,  whicb 
were  performe*!  nt  different  Italian  theatres.  In 
1770  he  comi.ose<l  for  Pisa.  Some  time  after- 
wards, ho  published  at  Florence  six  sonatas  for 
the  piano-forte,  with  a  violiu  accom])animent. 
Among  his  be-t  compositions  is  a  "  lUiiuiem." 
composed  after  the  death  of  Ix)uis  I.,  King  .\l 
Etruria.  It  is  considered  a  masterpiece  of  its 
kind.  Gherardcsca  died  at  Pisa,  iu  1808,  aged 
seventy. 

(ilACOBBL  GIROLAMO.  Bom  nt  Bologna. 
lie  wrote  some  church  and  dramatic  music.  In 
1610  he  composed  the  mu.sic  of  the  opera  of  "An- 
dromciia."  (iiacobbi  is  one  of  the  earliest  mtiaical 
classics  of  the  Bolognoc  .school. 

GIACOMELI.L  GEMINI AXO,  of  Pnrma,  fir.  t 
apjieareil  at  Venice  as  an  oj.em  coni;>o>er,  in  the 
year  17'Jt.  He  was  a  pu]>il  of  Cnpclli,  and  had  a 
lively  imagination,  that  funiuhed  him  with  agree. 


filA 


ENCYCLOPEDIA    OF    MUSIC. 


GIL 


:  ble  flights,  which,  from  their  novelty,  afforded  |  and  at  five  or  six  feet  distance  from  the  notes,  ai 


uch  pleasure,  and  contributed  not  a  little  to 
■  roijagate  and  estttbli:)h  the  tajite  of  subsequent 
■gcs. 

GIAI,  GIOVANNI  ANTONIO,  an  Italian 
composer,  compo:ied  for  the  theatre  at  Vienna  an 
cpera  entitled  "Mitrtilate,"  which  was  afterwards 
performed  at  Venice  in  1730. 

GIANNOTI.  A  performer  on  the  double  bass, 
at  the  Grand  Opera  at  Paris,  in  the  year  1739. 
He  wTOte  a  treatise  on  composition,  published  in 
the  year  1750,  entitled  "  Le  Guide  du  Composi- 
teur." 

GLUIDINI,  FELICE,  was  l)orn  in  Turin  in 
171C.     When  a  boy,  he  was   a  chorister  in   the 
Duomo   at   Milan,  niuler   Paladini,  of  whom  he 
learned  singin;;,  the  harpsichord,  and   composi- 
tion ;  but  havini;  previously  manifested  a  dispo- 
sition  and  partiality    for    the   violin,    his  father 
recalled  him  to  Turin,  in  order  to  receive  instruc- 
tions on   that  instrument  of   the  famous  Somis. 
But  though  his   preierence  for  the  violin,  upon 
which  he  soon  became  the  greatest  perlormer  in 
Europe,  seems  a  lucky  circiimstance,  yet  he  had 
talents  which  would  have  made  him  a  superior 
harpsichord  player,  had  he  continued  to  practise 
that  histrument.     But  he  told  Dr.  Burney  that 
he  was    perfectly  cured    of  that  vanity  at  Paris, 
by  the  performance  of  Madame  de  8t.  Maur,  a 
scholar  of  Kameau,  who  played  in  such  a  manner 
as  not  only  made  him  ashamed  of  his  own  per- 
formance, b\it  determined  him  never  to  touch  the 
instrument  again  in  serious  practice.     He  went 
to  Rome  early  in  life,  and  afterwards  to  Najjles, 
where,  having  obtained  a  place  among  ripinnos  in 
the  opera  orchestra,  he  used  to  flourish  and  change 
passages  much  more  Ireciuently  than  he  ought  to 
have  done.     "  However,"   says   Giardini,  "  I  ac- 
quu-ed  great  reputation  among  the  ignorant  for 
my  impertinence  ;  yet,  one  night  during  tl'.e  opera, 
Jomclli,  who  had  composed  it,  came  into  the  or- 
chestra, and  seating  himself  close  by  me,  I  deter- 
mined to  give  the  maestro  di  cnpcIJa  a  touch  of  my 
taste  and  execution ;  and  in  the  symphony  of  the 
next  song,  which  was  in  a  pathetic  style,  I  gave 
loose  to   my   lingers  and  fancy,  for  which  1  was 
rcwai-ded  by  the  composer  with  a  violent  slap  in 
the  face  ;  which,"  adds  Giardini,  "  was  tl'.e  best 
lesson  I  ever  received  from  a  great  master  in  my 
life."      Jomelli,   after  this,  wius,   however,   very 
kind,  in  a  different  way,  to  this  young  and  won- 
derful musician.      Giardini  went  to  England  in 
17.30.     His   first  public  jjerformance  in    London 
was  at  a   benelit    concert  for   old  C'uzzoni,  who 
sang  in  it  with  a  thin,  cracked  voice,  which  almost 
frightened  out  of  the  Httle  theatre  of  the   Hay- 
market  the   sons   of  those   who    had,   perhaps, 
h&ird  her  at  the  great  theatre  of  the  same  street 
ivith  ecstasy.     But  when  (Jiardini  played  a  solo 
ind  concerto,  though   there  was  very  little  com- 
pany, the  ai)plause  was  so  long,  loud,  and  furious, 
as.  nothing  but  that  bestowed  on  (iiu-rick  had  ever 
equalled.     Dr.  Burney  had  met  him  the  night  be- 
fore, at   a  private  concert,  with  (iuadagni   and 
Fra-ti,  at  the  house  of  one  of  tlie  best  dilettanti 
performers  on  the  violin  at  that  time,  and  says, 
"  We  were  all   eciually  siirpriscd  and  delighted 
witli  the  various  jmwcrs  of  liiardini,  at  so  early 
a  period   of  his   lile ;  when,  besides  solos  of  hLs 
own  composition,  of  the  most   brilliant  kind,  he 
played  several  of  Tartini's  in  manuscript  at  sight. 


well  as  if  he  had  never  practised  any  thing  else. 
Ills  tone,    bow,  execution,   graceful  carriage    j 
himself  and  instrument  ;  jilaying  some  of  my  own 
music,  and  making  it  better  than  I  intended,  or 
had  imagined  it  in  the  warm  moments  of  concep- 
tion ;  and,   lastly,  i>laying  variations  extempore, 
during  half  an  hour,  upon  a  new  but  extraordi- 
nary kind  of  birthday  minuet,  which  accidentally 
lay  on  the  harpsichord, —  aU  this  threw  into  the 
utmost  astonishment  the   whole  company,  who 
had  never  been  accustomed   to  hear  better  per- 
formers than  Festing,  Brown,  and  Collet."     Such 
was  the  esteem  which  Giardini  acquired  in  Lon- 
don, from  his  talents,  that  in  17of   he  was  placet, 
at  the  head  of  the  opera  orchestra.     Two  years 
afterwards   he   joined  Mingotti   in  the   manage- 
ment of  the  opera ;  but  although  they  acquired 
much  fame,  their  management  was  not  attended 
with  much  success.     During  this  period  Giardi- 
ni  composed  several   of  the  dramas  which  were 
j)erforrae<l.     After  the  year  17G3,  Giardini  retired 
from  his  situation  with  considerable  loss,  and  en- 
tered upon  the  occupation  of  teaching  in  families 
of  rank  and  fortune,  at  the  same  time  continuing 
unrivalled  as  a  leader,  a  solo  player,  and  a  com- 
jioser  for  his  favorite  instrument.     He  resided  in ' 
England  till  the  year  I'Si,  when  he  went  to  Na- 
j)lcs,  under  the  patronage  of  Sir  WiUiam  Hamil- 
ton.    Here  he  continued  five  years,  and  then  re- 
turned to  England ;  but  his   reception  was   not 
what   it   had   formerly   been.      His  health   was 
greatly  impaired,  and,  sinking  fast  under  a  con- 
firmed ch'opsy,  all  Im  former  excellence  was  lost. 
Instead  of  leacUng  in  all  the  most  difficult  pieces, 
he  now  played  in  public  only  the  tenor  in  quar- 
tets, which  he  had  recently  composed.     He  at- 
tempted, but  without  success,  a  burletta  opera,  at 
the  little  theatre  in  the  Ha\nuarket,  and  at  length, 
in  1793,  was  induced    to  go  to   Petersburg,   and 
afterwards   to    Moscow,    -with   his    biu-letta   per- 
formers.    But  he  experienced  only  the  most  cruel 
disappointment  in  each  of  these  cities.     The  gen- 
eral capricious    character   and  splenetic    disposi- 
tion of  Giardini  were  his  bane  through  lile.     Ha 
spoke  well  of  few,  and  quarrelled  with  many  of 
his  most  valuable  friends.     Nothing  but  his  very 
superior  musical  talents  could  have  upheld  him 
during  the  time  he  was  in  favor  with  the  public. 
Careless  of  his  own  interest,  and  inattentive  to  all 
those  means  which  would  have  promoted  his  suc- 
cess in  the  world,  he  at  length  sank  under  mis- 
fortunes of  his  own  creating,  and  died  in  1796. 
at   Moscow,  weighed  down  by  penury  and   dis- 
tress. 

GIBBONS,  EDWARD,  elder  brother  of  Or- 
lando Gibbons,  was  a  bachelor  of  music  at  the 
University  of  Cambridge,  and  was  incorporated 
at  Oxford  in  1.59-'.  He  was  organist  of  the  cathe- 
dral cluuch  of  Bristol,  and  was  also  jiriest,  vicar, 
sub-chanter,  and  master  of  .  iC  choristers  there. 
In  1604  he  was  ajipointed  a  gentleman  of  the 
Chajiel  Royal.  It  is  said  that,  in  the  rebellion, 
he  lurnlshed  the  king  with  the  sum  ol  a  thou- 
sand pounds,  for  which  act  of  loyalty  he  was 
afterwards  very  severely  treated  by  those  in  power, 
who  deprived  him  of  a  considenible  estate ;  and, 
though  at  that  time  more  than  eighty  years  of 
age,  he  and  three  grandchildren  whom  he  main- 
tained were  actually  turned  out  of  their  homA 
He  was  musical  preceptor  to  Matthew   Locka 


32S 


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ENCYCLOPAEDIA    OF   MUSIC. 


filM 


and  Anthony  Wood  says  that  several  of  his  com- 
positions were  deposited  in  the  music  school  at 
Oxford. 

GIBHOXS,  OIII.ANDO,  one  of  the  most  cele- 
brated Kn<;lish  musicians  of  his  time,  was  a  na- 
tive of  the  towi  if  Cambridge,  and  born  in  the 
year  15h:5.  At  the  age  of  twenty-one,  he  wa.s 
appointed  organist  of  the  Chapel  Koyal,  and  in 
1622  (along  with  Dr.  Ileythor)  obtained  the  de- 
gree of  doctor  of  music  in  the  I'niversity  of  O.x- 
ford.  Three  years  after  this,  being  ordered  to  go 
to  Canterbury  i'or  the  puq)ose  of  attending  the 
marriage  solemnity  hclwcen  King  Charles  I.  and 
Henrietta  of  France,  (for  whicli  he  had  composed 
the  mu-ii',)  he  was  seized  with  the  small-pox,  and 
died  there  at  tlie  age  of  forty-five.  lie  was 
buried  in  the  cathedral  church  of  that  city.  In 
1612  he  published  "  Madrigals  in  four  Farts,  for 
Voices  and  Viols  ;  "  but  the  most  excellent  of  his 
works  are  his  compositions  for  the  church,  name- 
ly, his  services  and  anthems,  of  which  there  are 
many  extant  in  the  cathedral  books.  His  an- 
them of  "  Ilosanna"  is  one  of  the  most  perlcct 
models  for  composition  in  the  church  style  now 
to  be  found.  He  composed  the  tunes  to  the 
"  Iljinns  and  Songs  of  the  Church,  translated  by 
George  Wilthers  ;  "  and  some  of  his  lessons  for 
the  virginal  are  preserved  in  the  collection  enti- 
tled "  Farthenia."  The  compositions  of  Orlando 
Gibbons  are  for  the  mos-t  part  triUy  excellent. 
The  characteristics  of  his  music  are  fine  harmony, 
untiifected  simjjlicity,  and  an  almost  unexampled 
grandeur.  For  choice  of  subjects,  for  skill  in  tlie 
management  of  them,  and  for  flow  of  melody  in 
all  the  jarts,  this  great  master  was  inferior  to 
none  of  his  contemponiries,  and  infinitely  supe- 
rior to  most  of  them.  Specimens  of  his  anthems 
are  to  be  found  in  nearly  all  the  miscellaneous 
collections  of  ancient  sacred  music  that  are  e.x- 
tant.  His  five  part  madrigal,  "  The  Silver  Swan," 
which  is  a  remarkably  fine  specimen  of  this  species 
of  music,  is  inserted  in  Dr.  Crotch's  publication, 
nnd  also  with  a  piano-forte  accompaniment,  in 
"The  Vocal  .\nthology."  'Hiere  is  likewise  a/>rc- 
liidiiim  for  the  organ,  and  other  organ  pieces  of 
his  composition,  in  Smith's  "  Mitsica  Antiqua." 

GIBBONS,  ELIJS,  brother  to  the  celebrat- 
ed Orlando  Gibbons,  flourished  about  the  year 
1600.  Two  of  his  compositions  are  to  be  found 
among  the  collection  of  madrigals  for  five  and  six 
voices  edited  by  Morley,  in  London,  in  lliOl, 
under  the  title  of  "  Tlie  Triumphs  of  Onana." 

(JinitOX.S,  CHUISTOFIIER.  the  son  of  the 
celebrated  Orlando  (iibbons,  was,  from  his  child- 
hood, educated  to  the  profes;tion  of  music  under 
his  undo,  Kllis  (iibbons,  organist  of  Bristol. 
He  had  been  a  chorister  in  the  chapel  of 
Charles  II.,  organist  in  private  to  his  majesty,  and 
organist  of  AVesfmiuster  .\bbey.  Tlie  king  had 
80  great  a  partialitv  tor  this  musician,  that  he 
was  induced  to  give  him  a  personal  recommenda- 
tion to  tlic  University  of  Oxford,  ro<juesfing  that 
he  might  be  admitted  to  the  degree  of  doctor  in 
music.  This  he  was  in  conseiiuencc  honored 
with  in  16i'>l.  He  died  in  the  year  1(576.  C.  Gib- 
bons was  more  celebrated  for  his  skill  in  playing 
the  organ  than  for  his  compositions.  There  are, 
however,  many  of  his  anthems  extant,  though 
we  know  of  none  that  have  been  le-s  printed. 
ITiose  most  celebrated  are,  "  ( rod  be  merciful  unto 
U9,"  "  Help  me,  O  Lord,"  "  Lord,  I  am  not  high 
42  3 


minded,"  and  "  Teach  me,  O  Lord."  It  w  said 
that  he  assisted  in  the  work  entitled  "  Caution 
Sacra,"  containing  English  and  I>atin  hjinns  and 
anthems,  published  in  1671. 

(ilBEL,  O'lTO.  Director  of  music,  singer, 
and  composer  at  Minden.  He  was  born  at  Borg, 
in  the  Island  of  Femeni,  and  die<l  in  16S2. 

CiIBEUT,  a  French  musician,  composed  many 
operas  for  the  Italian  Theatre  at  I'arls,  and  has 
published  a  work  entitlc<l  "  Solfii/rs  ou  Lc(;oiu  da 
Musi'/iie."     He  died  at  Faris  in  1787. 

GIGA.     (I.)     A  jig,  or  lively  species  of  dance. 

GIGXE.  (F.)  A  species  of  dance  in  compound 
common  time. 

GILES,  XATH.VNIEL,  was  born  either  in  or 
near  the  city  of  Worcester,  and  w;is  admitted,  in 
1.1.58,  to  the  degree  of  bachelor  in  music,  and 
about  forty  years  afterwards,  to  that  of  doctor,  in 
the  University  of  O.xford.  He  was  one  of  the 
organists  of  .St.  George's  Chapel  at  Windsor,  and 
master  of  the  boys  there.  In  l.'>97  he  was  ap- 
pointed master  of  the  children,  and  afterwanls, 
in  tl-.e  reign  of  King  Charles  I.,  organist  of  the 
Chapel  Royal.  He  died  in  16.1.3,  at  the  age  of 
seventy- five.  His  compositions  are  chiefly  services 
and  anthems. 

GILLES,  JEAN,  bom  in  1669  at  Tarascon, 
in  Frovence,  was  director  of  the  music,  or  chapel- 
master,  in  the  church  of  St.  Stephen,  in  Toulouse. 
He  was  a  singer  in  the  choir  of  the  Cathedral  of 
Aix,  and  a  fellow-pupil  with  the  celebrated  Cam- 
pra.  There  are  many  fine  motets  by  (iilles; 
several  of  them  have  been  perfonued  in  the  )r>n- 
cert  npirituel  at  Faris  with  great  ajjplause,  particu- 
larly his  "  Diliriam  te."  But  his  capital  work  is 
a  "  Misse  (Its  Slnrts,"  of  which  the  following  his- 
tory Is  recounted  by  I^borde  :  "  Two  counsel- 
lors of  the  piu-liament  of  Toulouse  died  nearly  at 
the  same  time,  each  of  them  leaving  a  son.  The 
two  youths  were  united  in  the  closest  friendship, 
and  they  agreed  to  join  in  celebrating  a  grand 
funend  ser\-ice  for  their  parents.  They,  conse- 
quently, engaged  Gilles  to  comi)ose  a  rtijuicm, 
allowing  him  six  months  to  complete  the  work. 
AMieu  the  mass  was  finished,  Gilles  colUfted  all 
the  musicians  in  the  town  to  a.ssist  at  the  rehear- 
sal, inviting  the  most  celebrated  masters  of  the 
neighborhood,  and  among  others  Campra  and  the 
Ablx-  Madin.  'Die  composition  was  found  to  bo 
admirable  ;  however,  the  two  young  counsellors 
had  changed  their  opinions,  and  would  not  have 
it  ]>crl'ornied.  Irritated  by  this  circumstance, 
Gilles  said  to  one  of  them,  "  Eh  6iV;i .'  die  ii<-  sera 
c-riruiie  jtniir  jx-rsoniw ;  fen  rem  avoir  ntrrinie .'" 
— Very  weU,  then,  its  first  perfonnance  shall  bo 
for  myself.  In  fact,  he  died  a  very  short  time 
atfer,  when  this  mass  was  sung  for  him.  It  was 
subsequently  used  in  1764,  at  the  funeral  ^er^•ice 
in  honor  of  lUuueau,  at  the  Oratoirc  church  in 
Faris. 

(JIMM.V,  IIY.VCINTO.  A  learned  Italian 
priest.  He  published  a  work  at  Naples  in  1724, 
entitled  "  Idea  deIJa  Storia  drlT  ItuJi'i  l^trra/n,"  in 
4to.,  in  which  is  a  dissertation  on  the  rise  aid 
progress  of  Italian  music. 

(»  IN  ALT.     The  octave  above  the  G,  or  trc'  U 
clef  note ;  the  ''rst  note  in  alt. 
29 


eiN 


ENCYCL01'.i:i)IA    OF    MUSIC. 


OID 


O  IX  AI/nSSIMO.  The  octave  above  G  in 
lit,  aiid  the  lil'iecnth  above  the  G,  or  treble  clef 
note  ;  the  first  note  in  altissimo. 

GINGUENE,  1'.  L.  A  French  author  and  warm 
partLsan  of  I'iccini  in  the  disputes  between  the 
PiccinLstsand  (jluckLstf.  lie  wius  born  at  UcnneH 
in  174S.  lie  published  a  jiumphlct  entitled  "  Ku- 
tretien  siir  I'  El  at  arliicl  de  I'Opcra  de  I'tirin."  This 
book  caused  a  violent  critique  from  Monsieur 
Suard,  wliich  appeared  in  the  Mercure  of  tliat  time. 
lie  subseiiuently  carried  on  a  paj)er  war  with 
MM.  Suard  and  I'abbi'  .\rnaud,  under  the  name 
o(  Mi'top/iiU:  (iin^uenc  occupied  himself  much  in 
the  study  of  Italian  literature,  and  the  liistory 
of  music,  lie  wrote,  conjointly  with  Framcry, 
the  article  Musique  in  L' Eiuyclop^:die  Mitliodique. 
Much  of  Ginguene's  "  lUstoire  de  la  Miisit/iie"  is 
translated  from  Dr.  13urney,  whom,  by  the  by,  he 
mij^lit  a.s  well  have  quoted  throughout  tlie  whole 
article  of  Cantalc,  which  is  one  of  the  most  inter- 
esting in  the  volume.  In  1801  this  writer  pub- 
lished a  very  interesting  memoir  of  the  lite  and 
writings  of  Nicolas  Piccini,  where  he  ai)i)ears  to 
have  acknowledged  the  errors  of  his  youth.  The 
partisans  of  Gluck,  and  even  those  of  I'iccini, 
were  pleased  with  the  moderation  he  at  length 
observed  towards  the  reformer  of  the  French 
opera. 

GIXI,  GIOVANXI  AXTOXIO.  Chapel-mas- 
ter to  the  King  of  Sardinia,  at  Turin,  about  the 
year  1728.  lie  composed  the  music  of  the  operas 
of  "  Mifiidale"  and  "  Tamerlano,"  also  much 
other  vocal  music. 

GIOCOSAMEXTE,  or  GIOCOSO.  (I.)  Mer- 
rily, playfully,  with  sportiveness.  SjiionjTnous 
with  scherzando,  which  see. 

GIOJOSO.  (I.)  Joyously,  -n-ith  buoyant  hi- 
larity. 

GIOKDAXI,  GIUSEPPE,  was  born  in  Na- 
ples in  17.5.3.  He  went  to  England  early  in  life, 
and  resided  so  many  years  in  London,  that  he  was 
at  length  almost  a,s  well  acquainted  with  the 
English  language,  and  English  style  of  music,  as 
any  individual  of  his  time.  In  the  yeiir  1779,  he 
entered  into  a  speculation  with  Leoni,  the  singer, 
by  taking  the  theatre  in  Chapel  Street,  Dublin, 
for  the  performance  of  operas,  in  which  the 
whole  of  the  musical  department  was  to  be  under 
his  management.  This  connection  continued 
about  four  years,  Giordani  composing  the  music, 
and  Leoni  superintendijig  the  singing.  They  had 
considerable  encouragement ;  but  owing,  as  it  is 
supposed,  to  several  improvident  engagements 
which  they  made,  they  at  length  became  bank- 
rnjits,  and  the  concern  was,  of  course,  trans- 
ferred to  other  hands.  (Hordani  from  this  time 
continued  to  reside  at  Dublin,  as  a  teacher  of  mu- 
sic, where  he  had  several  ])upils  of  distinction. 
He  married  there  the  daughter  of  Mr.  Wilkinson. 
He  not  only  wrote,  but  published,  much  music 
Df  his  Italian  opera.s,  which  were  in  general  well 
received.  Those  that  are  now  in  print  are,  "  .-!;•- 
tajieriir,"  "  Aiiti;/i>>w,"  and  "  //  liaccio."  Of  his 
English  operas,  the  first  that  «as  published  ap- 
pears to  have  been  "  Perseverance,  or  the  Third 
I'irao  the  bcwt,"  performed  in  Dublin  in  the  year 
178''.  His  sonalas  and  other  i)ieces  for  tl:e  i)iano- 
forte,  as  well  as  his  single  songs,  lioth  Italian  and 
English,  had  a  great  sale,  llesides  the  above, 
Giordani  composed  an  onitorio  entitled  "  Isaac." 


GIORGIS,  JOSEPH,  a  violin  pupil  of  Viotti, 
published,  at  ParLs,  some  concertos  and  airs  with 
variations  for  his  iiLstrument.  He  was  violiuLs*, 
at  the  chapel  of  the  King  of  We:itphiilia  about 
the  year  1810. 

GIORXOVICHI.  See  Jaunowich. 
GIOVAXELLI  DA  VELLETRI  IIUGGIERO, 
born  about  15(30,  was  a  cha])el-raaster  and  suc- 
cessor to  Palestrina  in  the  churcli  of  St.  Peter  at 
Rome.  He  was  also  a  singer  in  the  pontifical 
chapel.  There  is  extant  a  collection  of  madrigala 
by  Giovanelli,  that  were  printed  at  Venice.  He 
composed  many  masses,  some  of  which  have  been 
much  celebrated.  He  also  publish.ed  a  work  on 
music  in  1581. 

GIRANEK.  Member  of  the  chapel  of  the 
elector  of  Sa.\ony,  at  Drer.den.  He  died  m  1760, 
and  left  some  music  of  bis  composition  for  the 
violin,  harpsichord,  and  flute. 

GIRAUD,  member  of  the  French  Academy  of 
Music,  composed,  in  conjunction  with  Berton,  the 
opera  of  "  Deucalion  et  Pi/nha,"  which  was  per- 
formed in  1755.  In  1762  he  composed  alone, 
"  L  Opira  de  .Sociiti."  His  motets  also  met  with 
much  success  in  France. 

GIRBERT,  CHRISTOPH  HEIXRICH,  direct- 
or of  the  music  at  the  theatre  of  the  Margrave  of 
Anspach,  BajTCuth,  in  1785,  was  a  celebrated 
pianist  and  composer  for  liis  iusti'ument.  Gilbert 
was  born  in  1751. 

GIROLAMO,  DU  N.WARRA,  a  Spaniard  and 
renowned  musician,  flourished  in  Italy  about  the 
year  1550. 

GIROUST,  FRAXCOIS,  was  born  at  ParL^  in 
17.30.  At  seven  years  old  he  was  chorister  at  the 
church  of  Xotre  Dame,  where  he  learned  composi- 
tion under  Goulit,  music  master  of  that  church. 
In  1 775  the  king  named  him  master  of  the  Chajel 
Royal,  and  afterwards  superintendent  of  his  mu- 
sic. Giroust  composed  several  oratorios,  an}-  one 
of  which  would  have  rendered  a  comjioser  cele- 
brated. In  that  of  "  Le  Passat/c  de  la  Mcr  liou^," 
he  sur])assed  himself.  He  also  composed  for  the 
opera  ;  but,  through  cabal  and  envy,  his  works  did 
not  appear  there.  It  was  athrmed  by  connoisseurs 
who  heard  the  overture  of  hLs  "  Tiliphe,"  that  it 
was  at  lea.st  equal  to  that  of  "  Iphiginie."  Giroust 
died  at  Versailles  in  1799. 

GIS.     (G.)     G  sharp. 

GISMOLL.    (G.)    G  shari)  minor. 

GirrER,  J.,  published  at  Mnnbeim  and  Mentz. 
in  1784,  three  quatuors  for  the  flute,  violin,  viol, 
and  violoncello,  and  three  duets  for  tlie  vioUn. 

GIITETH.  An  instrument  which  David 
brought  from  Gath,  of  the  harp  kind. 

GIULIXI,  .\XDREAS,  chapel-master  at  Augs- 
burg. He  was  a  iirotound  theorist  in  music ;  he 
taught  singing  for  the  church,  also  comjjosed 
much  sacred  and  other  music.     He  died  in  1771. 

GIULIXL  COXTE  GIORGIO,  a  celebrated 
poet  and  composer  at  Milan  in  1714.  He  died  in 
1780. 

GIULLARI,  or  GIOCOLARI.  The  name  for- 
merly given  in  Tuscany  to  those  bonds  of  buffoons, 
dancers,  actors,  singers,  and  instrumental  per- 
formers, retained  in  the  courts  of  princes,  and 
other  great  persons,  and  who  by  their  gamtols 


330 


GIU 


ENCYCLOP.i:i)IA    OF    MUSIC. 


GLB 


(isrces,  sporfci,  and  songs,  amused  and  diverted  the 
company. 

GIUS'l'O.  (I.)  A  terra  sif^nifyiiiR  that  the 
movement  before  which  it  is  written  is  to  be 
performed  in  an  equal,  steady,  and  just  time. 

GIVING  OUT.  A  tenn  used  by  tlic  organist.s 
to  8i|;nify  the  previous  or  preluding  performance, 
by  whi'h  the  psalm  tune  about  to  bo  sung  is 
aiuiouuced,  or  i/iven  out,  to  the  congregation. 

GIZZI,  DOMINICO,  was  born  at  .Vprino,  in 
the  kin'j;dom  of  Naples,  in  IGSl,  and  died  at  that 
(■ai)ital  in  171.").  He  was  a  celebrated  sin^jcr,  and 
in  1720  founded  a  school  of  singins.  in  which  ho 
fonucd  the  famous  Conti,  suiniimed  (ji/ziello,  in 
hon«  •  of  his  master.  The  rep\itation  of  (Ji/./.i  us 
a  ma.ucian  is  purely  traditional,  as  none  of  his 
works  are  now  existing. 

GIZZIELLO.     See  Conti. 

GL.VESKU,  CAUL  LUDWIG  TRAUGOTl', 
bom  at  Wcissenfeld  in  1747,  was  director  of 
music  at  the  seminary  there,  aiul  comi)osed  much 
church  and  instrumental  music,  lie  died  in 
1797. 

GLAREAN'US,  HENRY  LORIS,  or  I.ORIT, 
^o  called  because  he  was  of  GlarLs,  in  Switzer- 
land, was  born  in  1488.  He  first  tau;;ht  music  at 
Cologne,  and  afterwards  at  Bale,  Paris,  and  lastly 
at  Friburg,  where  he  died  in  1  oiiS.     His  music     overy  piece  of  vocal  music  in  which  melody  and 


tlie  vibration  of  a  finger  gloss  will  >-ield  in  the 
way  above  described.  The  less  thetivxnntity  of 
water  in  glasses  of  similar  fonus  and  eiual  ca- 
pacity, the  lower  will  be  tlio  scale;  heiue  the 
facility  of  forming  a  complete  scale  bv  the  quan- 
tity of  water  contained  in  each,  'llic  skill,  or 
rather  knack,  of  operating  upon  the  sets  of 
glasses  for  the  production  of  melodies  and  har- 
monies, is  that  of  procuring  instantly  the  required 
vibration  by  a  gentle  and  rapid  action  of  the 
finder  upon  their  edges,  and  so  (juickly  from 
one  to  another  as  to  be  able  to  introduce  hunuo- 
nies  to  the  sounds  of  the  air  or  luelody  before  the 
vibrations  of  its  glasses  have  iciuted.  A  touch 
of  the  finder  on  the  ed^e  of  a  glas.s  puts,  of 
course,  a  stoj)  to  its  vibration,  and  thus  prevent* 
confusion.     See  article  Fiianklin,  1Ji:.nj.vmix. 

GLEE.  A  vocal  composition  in  three  or  more 
parts,  generally  consLsting  of  more  than  ou« 
movement,  and  the  subject  of  which,  notwith- 
standing tho  received  sense  of  tlic  word  ffke, 
may  be  either  gay,  tender,  or  grave ;  bacchana- 
lian, amatory,  or  pathetic.  When  the  glee  was 
first  introduced  is  not  exactly  known,  but  it  is 
of  modern  invention,  and  was  originally,  as 
appears  evident  from  its  name,  confined  to 
themes  of  cheerfubiess  and  couN-iviality.  The 
term  itself  is  derived  from  a  Saxon  word  sigiu- 
fvins   miwiV,   and  therefore,  in   very   strictness, 


master  was  J.  Cochheus,  and  his  preceptor  in 
literature  the  celebrated  Erasmus,  with  whom  he 
was  united  in  the  strictest  friendship.  Erasmus, 
in  his  letters,  represents  (ilaroanus  as  a  man  of 
profound  and  universal  learning,  joining  to  the 
knowledge  of  philo-^ophy,  theology,  and  mathe- 
matics, that  of  ijoetry,  geography,  and  history. 
The  Emperor  Maximilian  1.  gave  him  a  crown 
of  laurel  aiul  a  ring,  as  a  mark  of  his  esteem  for 


harmony  are  combined,  whatever  may  be  the 
nature  of  the  subject  on  which  it  treats,  partakes 
more  or  less  of  the  glee,  as  some  might  su]>pose; 
but  the  term  '//<r  was  not  given  to  vocal  con- 
certed music  at  all,  until  long  utter  the  madrigal 
had  become  known.  Glee  music  is  extended  in 
its  signification,  and  has  ever  been  significant 
of  joy,  pleasure,  and  mirth ;  and  the  music 
itself  Ls,  or  should,  be  calculated  to  produce  such 


his   person  and   poetry.     It   is   known  that  the    Bcnsations.     When  we  speak  the  word  »//<••,  we 


Swiss,  assembled  at  Zurich,  recompensed  mag- 
nificently the  "  Paitigyriijue  tie  I'Al/iance  ili'.i  Can- 
tons," which  Glarean\is  put  into  verse.  Inl.")47, 
his  "  DrJecachnrdoii,"  in  one  volume,  ajipeiu-ed  at 
Bale.  This  work,  which  has  now  become  scarce, 
is  of  great  importance,  inasmuch  as  it  shows  the 
state  of  i>raciical  music  about  the  year  l.)00,  that 
is  to  say,  at  tho  epoch  of  the  Flemish  school. 
n\e  author  establishes  the  twelve  tones  of  the 
ecclesiastical  chant,  and  gives  on  each  of  them  a 
choice  ot  musical  pieces,  for  two,  three,  four,  and 
frequently  more  parts,  selected  from  the  chrf 
d'tFiirrrs  of  tnc  l)est  masters  of  his  time.  In  this 
work  are  to  be  found  documents  respectinij  many 
of  the  best  composers.  Choron  has  republished 
much  from  this  writer,  in  his  great  work  on 
music. 

Gl.ASER,  JOHANN  MICH.,  horn  at  Erlang- 
cii  in  M 25,  was  a  violinist  in  the  Chapel  Royal  at 
.\ns]Mich.  In  177o  ho  rotxirncd  to  Erlangen  as 
town  musician,  where  he  resided  till  his  de- 
cea -e.  .Some  sjnnphonies  of  his  composition  were 
publlsned  at  Amsterdam. 

GLASSES.  ITie  musical  glasses  is  an  instru- 
ment consisting  of  a  number  of  glass  goblets, 
»rs»nibliii!j  finger  glasses,  which  are  tuned  by 
tiilini;  them  more  or  les.s  with  water,  and  jdayed 
upon  with  the  eiul  of  the  finger  damped.  There 
ire  lew  persons  at  a  dinner  table  who  have  not 
•■ietl  their  skill  in  producing  the   sound  which 


use  a  musical  term  sii;nificant  ot  joyous,  mirth- 
ful, cheerful,  compositions.  The  first  use  of  the 
term  i/iei-,  we  believe,  is  found  in  a  pulilication 
,  by  I'layford,  liitl7,  entitled  "Dialogues,  OUv-b, 
AjTOS,  and  Ballads,  of  two,  three,  and  four 
I  voices,"  in  which  tho  glees  are  all  of  that  mirth- 
j  fill  nature  wliich  the  word  indicates.  There 
j  seems  to  be  a  dLstinction  betwei-n  the  term* 
madrigal  and  glee.  "  .\s  fair  as  moni  "  a  niatl- 
rigal  lor  three  voices,  was  composed  by  NN'ilbyo 
ill  1.5".)S.  Whatever  distinction  there  may  have 
been  in  early  times,  and  large  as  the  dill'erence 
mav  have  been  between  the  madrigal  and  ^!c-e, 
modern  writers  confound  the  terms ;  the  glee 
no  longer  remains  in  the  narrow  bouniLs  of  ita 
first  definition,  but  makes  inroads  over  the  boun- 
darv  line  of  the  madrigal  on  the  one  siile,  and 
that  of  the  catch  on  the  other.  The  beautiful 
glee,  as  it  is  generally  called,  of  "  Hark,  the 
lark  at  heaven's  gate  sings,"  by  Dr.  Co<ike,  juir- 
takes  of  the  nature  of  the  madrigal ;  and  so  like- 
wise does  the  canzonet  of  "  Canst  thou  love  and 
live  alone  •  "  by  Ravenscroft,  which  date*  back  as 
far  as  1(!U.  But  composers  early  hes^an  to  refer 
the  term  ijlee  to  its  origin  —  that  ot  music  gen- 
erally, instead  of  the  confine*!  and  corrupted 
meaning  of  ancient  authors ;  and  the  modcma 
have  been  incline<l  to  merge  nia«lrig.al,  catch, 
and  canon,  in  the  general  appellative  ijltv.  It 
is  thus  in  the  economy  of  science  as  in  ih«t  of 
moral  or  of  anum'  economy,  that  the  gnulktioni 


331 


QLli 


EXCYCL01'.-LJ)1A    OF    MUSIC. 


fl'J 


are  so  nice  that  they  may  abnost  be  said  to  run  ' 
into  each  otlier ;  and  this  remark,  as  ai)i)licd  to 
our  present  snbjoct,  is  e<iually  correct  when  we  i 
approach  the  line  of  separation  between  tlie  glee  i 
and  the  catch.      'ITie  early   glees  were  nothing  ' 
more  than  vocal  music  in   parts,  in  which  the  ' 
singers  began    and  ended  together,  singing  the 
same    words.     Gradually,  however,   this   narrow 
limitation,  like   that  of  which  we  have  already 
spoken,  was  overstepped,  and  the  i)lay  of  words 
and  phrases  was  introduced ;  certain  words  were 
elongated  in  musical  expression,  and  points  were 
taken  up  after  the  manner  of  the  catch  ;  in  short, 
on  this  side  as  well  as  the  other,  the  word  glee 
has  become  of  catholic  acceptation. 

The  minstrels,  troubadours,  miiine-siugers, 
gleemen.  Sec,  were  the  direct  successors  of  the 
bards,  scalds,  &c.,  who  were  the  poets  of  early 
times;  and  they  were  not  oidy  the  lyric  histo- 
rians of  their  times,  but  also  the  hLstriones  and 
caiUanii  of  their  own  compositions.  They  were 
conse.iuently  invested  with  a  dignity  in  the  gen- 
eral eye,  were  feasted,  honored,  cherished,  and 
rewarded ;  and  although  this  settled  indulgence 
to  the  class  had  the  effect  of  corrupting  them, 
and  rendering  them  gradually  licentious  and 
practLscd  in  buffoonery,  yet  tills  was  but  a  de- 
parture from  a  higher  caste,  and  it  Is  a  lesson 
of  human  nature.  The  term  Jnculator  wa.s  but 
one,  and  that  the  lowest,  of  those  by  which  the 
minstrels  and  gleemen  of  later  days  were  distin- 
guished in  legal  documents,  when  the  art  itself 
was  slowly  falling  into  desuetude.  In  the  first 
published  books  of  glees,  tw)  parts  were  suffi- 
cient to  constitute  a  glee;  this  is  no  longer  the 
ca.se,  for  by  common,  yet  tacit  consent,  the  last 
sort  of  composition  obtains  now  no  other  title 
than  that  of  duet,  whatever  be  the  natui-e  of  the 
subject. 

OLEEK.  (Saxon.)  Music,  or  musician. 
Obsolete  in  English,  but  in  Scottish  phraseology 
still  used. 

QF.KFMEX.  Bf-fore  the  Nomian  conquent  •'glermen  "  vma  the  name 
■  pi'liid  l'»  thoie  who  wtrc  jflcrwiinlp  cuIUmI  '*  iiiiilfltreU."  The  iniii- 
ccrel'ii  art,  under  the  N<)riiiani,conHifte(l  uftnany  hniiichesihe  wbk  the 
rhymer,  firifii-r,  utory  teller,  ju^'gler.  reluler  of  hen*ic  action*,  hutlboii, 
and  p«fet  ot  thf  timcn :  iin<l  the'Suxon  elet-men  held  nenrlv  the  iame 
Important  irK-'iat  relutirnm.  These  hraiiehcs  were  tilled  gem-rally  hy 
tho#e  ino«t  nkilk'fl  in  each  of  the  particular  arts,  hut  in  ».tnie  case*  a 
gleeman  w  aj*  pnifefnor  of  the  whole.  Atnonjr  the  early  Saxoni  who 
came  to  Knizland  profe^aedly  to  aid  the  Uritons  a^in^t  the  Picts 
and  CnU-doniiMtH,  but  who,  as  goon  aJ  they  had  g.iined  a  fo4)thold, 
Invit4>d  otheri  of  their  countrymen  to  join  tliein.  and  then  turned 
their  arm-t  sut  recsfully  a^.tiiMt  the  Uriton*.  gleemen  were  dibtin- 
ffiiiihed  by  two  appellution^.  the  one  iignit'yinf,'  mrrry.nriker^.  and 
the  other  harpers.  .Mimii-ry,  daneinir,  tunihilng,  ahiKlit  of  hanil, 
and  varinun  'leeeptive  triek*.  were  used  by  gleemen  to  amuse  their 
i|»ecbJtor«,  an'l  thev  bi-came  the  juggler*  and  merry-makers  as  well 
u  the  minstrels  ul'their  time. 

GL?:iCIINLVXX,  JOHAXN  ANDREAS,  was 
born  in  (jermany  in  17"o.  In  1791  he  was  made 
director  of  music  to  the  court  at  Hildburghausen. 
He  has  composed  much  vocal  and  instrumental 
music. 

GLEISSXER,  FIIAXZ,  musician  to  the  court 
at  Munich,  has  composed  an  oratorio  of  consider- 
able merit,  called  "  Lazarti»,"  also  much  other 
vocal  and  ijistrumental  music  since  the  year  179<5. 

GLIDING.  A  term  applied  by  flute  perfonn- 
CTs  to  the  action  of  gently  sliding  the  finger  for- 
wards from  off  the  hole  it  has  been  erajiloycd  in 
Btopiiing,  by  which  the  ear  is  imperceptibly  led 
to  the  succeeding  sound. 

GLISANDO,  or  GLISSICATO.  (I.)  In  a 
gliding  manner. 


GLOEGGL,  FRANZ  XAA'EK.  Chaje  -mas 
ter  at  lint/  in  1790,  and  founder  of  a  music  echoo 
there. 

GLOESCII,  CARL  WILIIELM,  born  ai  Her- 
lin  in  17.'J2,  was  the  only  son  of  I'cter  Gloesch,  t 
celebrated  perfonner  on  tlie  hautboy.  Carl 
Gloesch  was,  in  17G5,  chamber  mu.sician  and 
music  ma-ster  to  the  royal  family  of  Pru.ssia.  lit 
died  at  Berlin  in  1809. 

GLORIA.  (L.)  A  principal  movement  of  the 
mass  or  Catholic  service. 

GLORIFICATION.  Singing  in  praise,  and 
to  the  honor,  of  God. 

GL08S0P,  MRS.  Formerly  Miss  Fearon,  an 
excellent  English  singer.  .She  went  to  Italy  for 
improvement  in  her  art,  and  was  engaged  at 
the  Theatre  of  San  Carlos,  at  Naples,  to  supply 
the  place  of  Madame  Fodor,  and  at  a  salary,  it  w 
reported,  of  thiity  thousand  francs  (one  thousand 
two  hundred  and  fifty  poun(Ls)  per  annum. 

GLOTTIS.  (Gr.)  Two  semicircular  mem- 
branes, situated  at  the  top  of  the  larynx,  and 
forming  a  small  oblong  aperture,  which  can  be 
dilated  or  contracted  at  pleasure,  and  by  the 
various  vibratory  motions  of  which  the  tones  of 
the  voice  are  modified,  llic  same  name  is  ako 
applied  by  the  ancients  to  an  additional  and 
movable  part  of  the  flute,  which  they  placed  be- 
tween their  lips  in  performance,  and  which  is 
supposed  to  have  been  similar  to  our  reed.  The 
name  which  answers  to  the  Latin  word  tinyult,  the 
tongue,  seems  suflicient  to  explain  that  thb  wa.<? 
an  essential  part  of  the  instrument,  and  perfectly 
agrees  with  our  being  told  that  "  the  flutes 
could  scarcely  be  made  to  speak  without  it." 

GLOTTOCOMEIA.  The  name  given  by  the 
ancient  Greeks  to  the  little  boxes  in  which  they 
carried  the  lingula.',  or  tongues  of  their  flutes. 

GLUCK,  CHRISTOPHER.  This  celebrated 
musician  was  boni  in  1714,  according  to  an 
authenticated  certificate  of  his  baptism,  at 
Weidenwaugcn,  in  the  Upper  Palatinate,  where 
his  father  was  head  forester  to  Prince  Lobkowitz. 
Pearly  in  his  childhood,  his  family  removed  into 
Bohemia,  where  the  father  died,  lea%'ing  his  son 
still  under  age,  and  without  either  education 
or  fortune.  Nature,  however,  had  in  a  great 
measure  comprnsated  young  Gluck  for  fl-.ese 
deficiencies,  by  gifting  him  with  musical  talents 
of  the  first  order.  'ITliis  natural  taste  for  music 
is  common  in  Bohemia,  where  the  rural  pojjula- 
tion,  as  well  as  the  inhabitants  of  towns,  may  be 
heard  singing  in  parts  and  playing  on  various 
instruments  in  the  fields  or  .streets,  and  in 
groups,  consisting  of  men,  women,  and  chilih'en. 
Young  Gluck,  with  very  little  instruction,  soon 
became  so  remarkable  for  his  skill  on  various 
instruments,  that  he  determined  on  journeying 
from  town  to  town  to  procure  a  livelihood  as  an 
itinerant  musician.  At  length  he  wandercxl  as 
far  as  Vienna,  where  his  talent  met  with  sutHcient 
encouragement  to  enable  him  to  obtain  some 
little  instruction,  both  in  general  education  and 
in  the  principles  of  his  favorite  science.  In  1736, 
he  went  in  the  suite  of  a  nobleman  to  Italy ;  and 
at  Milan,  after  taking  lessons  of  the  celebrated 
Martini,  he  was  put  upon  Prince  Melzi"s  estab- 
lishment as  musical  composer.  Having  giver 
many   proofs  of  his   genius,  he  wao  at  lengtl' 


332 


IJLU 


ENCYCLOPiEDIA    OF    MUSIC. 


(Ltl 


selected  to  compose  a  grand  opera  for  the  thea- 
tre ill  that  city.  ITiis  work  was  entitled  "  Ar- 
Uuer.ic,"  and  was  produced  at  Milan  in  1711. 
Ill  this  composition,  Glurk  depended  entirely  on 
his  own  (genius,  without  n>kin^  the  advice  of  any 
one,  anci  by  ho  doing  he  avoided  the  usual  rou- 
tine of  other  composers.  In  fact,  expression 
seemed  to  be  his  principal  study,  whilst  he  dLs- 
re;;arded  the  dictates  of  usage  and  fashion.  At 
the  lirst  rehearsal,  which  was  attended  by  a  con- 
Kidcnible  number  of  amateurs,  one  aria  was 
wanting  on  account  of  some  reijuired  alteration 
in  the  words;  when  Gluck,  perceiving  that  his 
music  was  much  criticized,  took  advantage  of 
the  deticiency  of  the  above  air,  and  brought  it 
out  entirely  after  the  Italian  model,  merely  to 
please  the  car,  and  williout  piying  tlie  lca.st 
attention  to  the  words,  to  the  relation  of  the 
rausic,  or  to  the  general  character  of  the  drama. 
This  little  ruse  operated  wonders  at  the  second 
grand  rehearsal,  when  it  wa.s  whispered  about  by 
the  dilettanti  that  this  song  was  not  the  com- 
po^itioll  of  (jluck,  but  of  their  favorite  San 
Slartini.  Still  Gluck  took  no  notice  of  the  above 
remark,  and  the  tixst  public  representation  of  the 
opera  took  place  when  the  audience  were  almost 
unanimous  in  their  approbation  of  the  entire 
music,  with  the  single  exception  of  the  air 
a  rif'iliciirie,  which  they  condemned  as  dull  and 
inappropriate,  the  general  outcry  being,  that  it 
destroyed  the  unity  and  character  of  tlie  whole 
opera.  It  was  thou  that  Gluck  took  signal 
vengeance  on  his  hyjicrcritics  at  the  rehearsals, 
by  himself  avowing  the  air  in  question  to  be  San 
Martini's  composition.  This  ojjera  so  establLshed 
his  fame,  that  he  immediately  received  orders  to 
compose  ior  sevenJ  of  the  principal  theatres  in 
Italy.  lie  in  consequence  jiroduced  "  Dcinetrio  " 
and  "  Ipmnin'-itru"  for  Venice,  "  Artamcne"  ioT 
Cremona,  and  "  Altssanriro  neW  Indie  "  for  Turin  ; 
also  composed  successively,  for  Milan,  "  Dcrno- 
fooiite,"  in  17 12,  *'  Siface,"  in  1743,  and  "  I'/ufdra," 
in  1744.  Almost  all  these  works  were  succes-s- 
ful,  and  placed  him  in  the  highest  rank  of  hi.s 
profession.  In  174.)  he  wa.s  invited  to  England, 
where  he  composed  an  ojiera  entitled  "  La  Caduta 
de  Ijiijaitti,"  and  a  pa:.ticchio  called  "  Piramo 
e  Tiahf ;"  he  also  reproduced  his  "  Artamctw." 
W\»  "  Civlulii  de  Oi^aiili"  was  performed  at  the 
King's  Theatre  before  the  Duke  of  Cumberland, 
in  compliment  to  whom  the  whole  was  written 
and  composed.  'llie  music  had  considerable 
merit,  and  the  opera  was  tolerably  well  received, 
though  it  had  only  five  representations.  His 
"  Artiiincnr,"  which  was  produced  in  the  same 
s«.-v;oii,  (174fi,)  was  also  successful,  and  Monti- 
celli  was  every  night  encored  in  the  beautiful  air 
"  Iliimefena  il  mtslo  cUjIio."  "  Pyrnmo  e  Tithe " 
was  a  selection  of  the  most  beautiful  airs  from 
all  his  other  works;  but  from  their  inapplica- 
bility, as  thus  collectetl,  to  the  scenic  rci)resenta- 
tion,  the  jjasticchio,  as  a  whole,  disappointed  the 
l)ublic ;  and  soon  after  its  representation,  the 
composer  quitted  England,  being  much  aston- 
ished to  tind  that  those  airs  which  had  been  most 
efl'eetivo  in  the  operas  for  which  they  were 
originally  composed,  were  without  effect  when 
reproduced  with  other  words  and  action.  Gluck 
next  proceeded  to  Copenliagcn,  and  from  thence 
to  Germany,  where  he  composeil  several  thcjitri- 
;al  and  other  works,  and  zealously  applied  him- 
self to  repair  th.c  dei'ects  of  his  education,  both 


by  the  study  of  languages  and  by  a.ssociatio{i 
liimself  with  individuals  distinguished  in  tin 
literary  world.  One  result  of  these  pursuits  was, 
his  actiuircment  of  bolder  and  more  comprehen- 
sive ideas  than  had  ever  jireviously  been  con- 
ceived as  to  the  effects  producible  by  the  union 
of  poelry  and  miusic.  lie  soon  felt  that  thrise 
beautiful  melodies,  on  the  powers  of  which  the 
Italians  chiefly  relied  for  the  success  of  their 
vocal  comjiositions,  were  in  them-elves  only 
cajjable  of  jjleasing  the  car,  and  could  never  reach 
the  heart.  When  spoken  to  concerning  the 
pathos  of  certain  cel'.-brated  Italian  airs,  he  was 
known  to  reply,  "They  are  ehanning,  but," 
adopting  an  energetic  Italian  e.xpressioii,  "  thoy 
do  not  draw  l)lood."  It  was  from  about  thi* 
time  that  (iluck  totally  abandoned  the  Italian 
school  of  composition,  seeming  to  think  with  the 
Abbe  Aniaud,  that  their  opera  is  a  concert  to 
which  the  drama  is  a  mere  cloak.  He  now,  tm 
the  Giulio  Romano  of  music,  commenced  tuni- 
iiig  his  mind  to  a  new  dramatic  system,  where 
every  thing  should  be  in  strict  keeping,  the 
music  never  varying  from  the  style  demanded 
by  the  pa.ssing  scene  ;  where,  in  fact,  the  interest 
should  result  from  the  perfect  ensemble  of  all 
the  i)arts  of  the  drama  and  mu.sic.  He  deter- 
mined further,  that  it  was  hopeless  to  bestow 
that  energy  and  those  charms  on  music,  of  which 
it  is  susceptible,  if  it  be  not  intimately  allied 
with  animated  and  simply  expressive  poetry, 
such,  in  fact,  as  truly  depicts  natural  and 
detenninate  sentiments  ;  that  vocal  music  may 
be  made  to  become  a  language  expressive  of  all 
the  affections  of  the  human  heart,  but  that,  in 
order  to  bring  it  to  this  degree  of  jiower,  the 
melody  must  follow  with  prccL-'ion  the  rhythm 
and  the  accent  of  the  words,  and  the  instru- 
mental accompaniments  must  a.ssist  by  their  own 
expression,  either  in  strengthening  the  voice 
part,  or  atfording  a  contrast  to  it,  as  the  scenic 
situation  may  require.  In  the  year  17.')4,  the 
high  reputation  of  Gluck  caused  him  to  be  in- 
vited to  return  to  Italy,  when  he  brought  out  at 
Home  hLs  "  Clrmenza  di  Tito"  and  "  Aiiti;/oiitu." 
He  then  gave  an  opera  named  "  CIclia,"  for  the 
opening  of  a  new  theahre ;  and  proceedetl  to 
I'arma,  where  he  coiiii)Osed  "  Baucis  e  Philemon," 
and  "  Ariiteo,"  all  of  which  were  successlul  ;  in 
his  own  opinion,  more  so  than  they  deser\-e<l, 
because  they  were  written  too  much  in  the 
Italian  taste,  and  against  the  convictions  of  hLn 
own  mind  on  the  subject  of  dramatic  music.  Ho 
next  returned  to  Vienna,  and  between  the  vears 
1700  and  1704  ])roducetl  hLs  operas  of  "  I'lelen 
and  Paris  :  "  and  "  AInsIc :  "  he  also  brought  out 
his  "  Or/e'),"  concerning  the  composition  of 
which  it  is  now  neces.>.ary  to  state  oome  jmr- 
ticulars.  Gluck,  having  t)ecome  convinci-d  that 
the  poetry  of  Metasta-<io,  though  fraught  with 
various  beauties,  was  not  capable  of  oliintiii'.;  the 
greatest  pos,~il)le  effect  of  which  dramatic  music 
Is  capable,  communicate<l  this  opinion  to  M. 
Calzabigi,  an  ingenious  Italian  i>oet,  whom  ho 
met  at  Vienna ;  particularly  statintr  hit  con- 
viction, that  it  would  lie  proper  to  introduce 
choru.siH  with  action,  notliing  tending  more  to 
produce  jiowerful  theatrical  effect  than  the  sen- 
timents ot  an  impassioned  multitude.  Calznbig^ 
had  himsell'  re.Hectcil  on  the  im|>ertc<-tions  of  th« 
Italian  opera,  and  as  he  took  the  saiue  view  of 
the  subject  as  Uluck,  he  was  delighted  to  f  jid  k 


333 


GLU 


ENCYCLOPEDIA    OF    MUSIC. 


GLU 


prcftt  a  musician  rcndy  to  join  with  him  in  at-  ' 
toiuptiiif;  a  revolution  in  this  (leiwrtmcut  of 
literature  and  tlic  tine  arts.  lie  accordingly  ; 
wrote  the  ])oem  of  "  Orphem,"  which  Gluck  set 
to  music,  and  it  was  fijst  pcrfonned  at  Vienna 
in  17«i4.  It  excited  more  astonishment  than 
pleasure  on  its  first  rej)rcsentalion ;  the  public 
car  having  been  accustomed  to  the  routine  of 
recitative,  and  to  the  mannerism  of  the  usual 
Italian  airs.  Still,  however,  its  great  musical 
beauties  surprised  the  connoisseurs,  whilst  its 
simple  and  affecting  situations  and  expression 
ixcitcd  hitherto  unknown  emotions  in  the  sen- 
sitive mind,  lliese  feelings  so  prevailed,  that  at 
I  he  filth  performance  of  the  opera  all  objectors 
were  silenced,  the  piece  wa.s  generally  applaud- 
ed, and  its  success  became  more  continued  by  a 
very  considerable  number  of  successive  rcjjre- 
pentations.  In  1705  Gluck  war,  again  invited  to 
Parma,  on  occasion  of  the  marriage  of  the  infanta. 
He  then  proposed  to  give  "  Orp/wux,"  but  that 
performance  was  not  agreeable  to  the  court  ;  the 
opinion  of  the  citizens  of  Vienna  having  no 
weight  with  the  Italian  amateurs,  who  could  not 
imagine  the  possibility  of  writing  better  poems 
than  those  of  Metastasio,  or  tiner  music  than  that 
of  Jomelli,  Sacchini,  or  I'iccini.  Millico,  the 
principal  singer  at  Parma,  being  requested  to 
npjjear  in  the  part  of  Orpheus,  said,  at  tirst,  that 
Buch  a  request  was  made  only  to  destroy  liLs 
reputation.  Gluck,  however,  overcame  all  ob- 
stacles, and  insisted  on  risking  the  performance, 
esteeming  the  Italians  to  be  more  attached  to 
,  their  sensations  than  their  opinions ;  in  which 
judgment  it  would  seem  he  did  not  err,  for  the 
opera  met  with  perfect  success  on  the  first  repre- 
sentation, and  had  twenty-eight  successive  per- 
fominnces,  the  "  Arniiila"  of  Traetta,  who  was 
engaged  at  the  same  time  with  Gluck,  not  being 
allowed  to  be  brought  forward.  "  Oi-j)hcm"  wa.s 
afterwards  performed  with  success  in  almost 
every  theatre  of  Europe.  Amongst  others  it 
was,  in  1773,  brought  out  at  the  court  theatre  at 
Naples,  when,  on  a  duet  in  the  third  act  l)y 
another  composer  being  substituted  lor  the 
original,  the  audience  called  loudly  for  the  resti- 
tution of  Gluck's  music.  This  opera  obtained 
the  honor  of  being  the  first  ever  printed  in  Italy, 
those  composed  antecedently  having  been  only 
cojiied  for  sale. 

Gluck  now  visited  the  principal  cities  of  Italy, 
and  amongst  others,  Naples,  where  he  was  en- 
gaged to  compose  two  operas  :  in  one  of  these  he 
wrote  for  Cartiirclli  the  celebrated  air,  "  .St  mai 
senti  spirarti  stil  volto,"  with  which  the  Neajiolitan 
professors  found  much  fault,  chiefly  on  account 
of  a  long  j)ause  in  the  vocal  part,  during  which 
the  instrumental  accompaniments  continued  the 
movement.     Tliey  even  laid  the  score  of  the  air 
before  Durante,  to  hear  his  opinion  of  it.     "  I  will 
not   pretend  to  decide,"  said   tliat  great  master, 
"  how  lar  this  is  strictly  agreeable  to  rule ;  but  one 
thing  1  can  assure  you,  that  we  should,  any  of  i 
us,  be  very  proud  to  have  imagined  and  composed 
n  similar  passage."     The  brilliant  success  of"  Or-  | 
phrtis"  induced    Gluck  and  Calzabigi   to    unite  I 
their  cJforfs  in  treating  iqwn  the  same  plan  a  still  I 
more  tragic  subject ;    they  accordingly  composed  | 
"Alrrate,"  which  was  first  performed  at  Vienn»  In  ! 
17'^H.     Never  did   any  opera   obtain  sue!    great  ] 
Bp])lanse  or  d\.nv  so  many  tears ;  no  othtr  drama 
wna  even  allrwed  at  the  court  theatre  for  the  two 

33 


succeeding  years,  every  perfonnance  during  that 
time  being  " -l/fci/c."  In  1709  it  wa,s  printed, 
with  the  following  dedication  prcfixec  to  it,  writ- 
ten by  Gluck  :  "  When  I  determined,"  says  1:q 
"to  comjwse  music  for  this  poem,  I  proposed  tc 
myself  to  shun  various  abuses  in  composition, 
which  the  vanity  of  singers,  or  excessive  compla- 
cency of  composers,  had  introduced,  and  which 
had  rendered  the  Italian  opera  a  most  fatiguing 
and  ridiculous,  instead  of  a  splendid  and  beauti- 
ful spectacle.  I  endeavored  to  reduce  music  to 
its  legitimate  puri)Ose,  which  is  that  of  seconding 
poetry,  in  order  to  strengthen  the  expression  of 
the  sentiments,  and  the  interest  of  the  fable,  with- 
out interrupting  the  action,  or  weakening  it  b^ 
superfluous  erabelhshments.  It  struck  me  that 
mxisic  ought  to  aid  poetry,  a-s  \-ivacity  of  coloring, 
and  a  happy  agreement  of  Ught  and  shade, 
strengthen  the  effect  of  a  correct  and  well-designed 
picture,  by  animating  the  figures  without  altering 
the  outline.  I  have,  therefore,  never  in  thb 
oi)era  interrupted  a  singer  in  the  waiTuth  of  a 
diulogiie,  in  order  to  introduce  a  tciWowf.  ritornclh, 
nor  have  I  stopped  him  in  the  midst  of  a  dis- 
course, to  display  his  agUity  of  voice  in  a  long 
cadence.  I  have  never  deemed  it  requisite  to 
hurry  over  the  second  part  of  an  air  when  it 
consisted  of  the  most  impassioned  and  important 
portion  of  the  subject,  in  order  to  repeat  the 
words  of  the  first  part  four  times  over;  or  to  fin- 
ish where  the  sense  does  not  conclude,  in  order  to 
give  the  singer  an  opportunity  of  showing  that 
he  can  vai-y  a  passage  in  several  ways,  and  dis- 
guise it  in  his  own  peculiar  manner.  In  short,  I 
have  attempted  to  reform  those  abuses  against 
wliich  good  sense  and  good  taste  have  so  long  de- 
claimed in  vain.  I  have  considered  that  the  over- 
ture ought  to  prepare  the  audience  for  the  charac- 
ter of  the  coming  action  and  its  subject ;  that  the 
instrumental  accompaniments  should  be  used 
only  in  proportion  to  the  degree  of  interest  and 
passion  of  the  drama  ;  and  also,  that  it  is  princi- 
pally requisite  to  avoid  too  marked  a  disparity  in 
the  dialogue  between  air  and  recitative,  in  order 
not  to  break  the  sense  of  a  period,  or  interrupt  in 
a  wrong  place  the  energy  of  the  action.  Lastly, 
I  have  thought  that  I  sliould  use  every  effort  in 
aiming  at  simplicity,  and  have  accordingly  avoid- 
ed milking  any  show  of  difficultie-;  at  the  expense 
of  clearness.  I  have  set  no  value  on  novelty,  un- 
less it  naturally  sprang  from  the  expression  of  the 
subject.  In  fine,  there  Is  no  rule  of  composition 
that  I  have  not  willingly  sacrificed  for  the  sake 
of  effect.  Such  are  my  principles,  and  fortunate- 
ly the  poem  strongly  seconded  my  project,  llie 
celcbrate<l  author  of  '  Alccstc,'  having  conceived  a 
peculiar  plan  for  the  lyric  drama,  had  substituted 
for  flowery  descriptions,  for  useless  comparisons, 
for  cold  and  sententious  morality,  strong  passions, 
interesting  situations,  the  language  of  the  heart, 
and  a  constantly  varying  scene.  Success  has 
justified  my  ideas,  and  the  unanimous  ajiproba- 
tion  of  the  public,  in  so  enlightened  a  city,  has 
proved  to  me  that  simplicity  and  truth  are  the 
first  principles  of  the  beautiful  in  the  jiroductions 
of  the  fine  arts,  &c."  These  opinions  abound  with 
sense  and  good  ta.«te,  and  are  well  dosen-ing  the 
serious  attention  of  dramatic  composers'. 

(iluck  now  turned  his  mind  to  another  field  for 
his  exertions.  Notwithstanding  his  renown  in 
Italy  and  Germany,  he  felt  himself"  cajmble  of 
still  further  advances  in  the  caiccr  that  he  had 
J 


GLU 


ENCYCLOP.-EDIA    OF    MUSIC. 


GLU 


entered  on  :  he  considered  that  a  tragedy  in  mu- 
sic, whore  the  principal  performers  were  castriiti, 
must  always  want  theatrical  illusion  ;  and  tlnit 
he  could  not  t'ultil  tlic  idea  he  had  formed  of  dra- 
matic perfection,  unless,  in  addition  to  good  poe- 
try and  a  magniKient  theatre,  he  could  com- 
mand actors  capable  of  uniting  the  art  of  singing 
with  correct,  noble,  and  pathetic  action.  These 
ideas  he  communicated  to  the  liailli  du  Roulet, 
■who  belonged  to  the  French  embassy  of  Vienna 
ill  1772,  stating  tbat  all  the  dramatic  advantages 
he  so  much  desired  were,  as  he  understood,  united 
on  the  French  stage.  This  was  sutHcient  for  the 
Frenchman,  who  adopted  (Jluck's  opinions  with 
warmth,  and  in  concert  with  him  chose  the  "Iji/ii- 
geniii "  of  Uacine,  as  the  subject  bcyt  adapted  to 
unite  strong  tragic  interest  with  great  musical  and 
•cenic  etl'ect.  'llie  "  Iphi lenia  in  Atilile"  was  ac- 
cordingly completed,  and  performed  at  Vienna  in 
the  autumn  of  177-'.  The  BaiUi  du  Koulct  then 
wrote  to  the  director  ot  the  .-Vcademy  of  Music  at 
Paris,  strongly  recommending  the  piece  for  the 
French  stage.  The  offer  was  accepted,  and  Gluck 
accordingly,  when  in  his  sixtieth  year,  departed 
for  Paris,  where  he  was  immediately  patronized 
by  the  queen,  (Marie  Antoinette,)  who  had  been 
his  pujjil  at  Vienna,  and  without  whose  powerful 
assistance,  he  soon  found  it  would  have  been  im- 
possible to  have  obtained  the  performance  of  his 
new  compo;ution.  All  the  musicians  and  ama- 
teurs of  ParLs  formed  an  almost  insuperable  cabiU 
against  him,  having  taken  up  the  prcjuiliced  no- 
tion that  it  was  a  disgrace  to  the  poetry  of  their 
immortal  llacinc  to  be  coupled  with  the  music  of 
a  foreigu  composer  ;  and,  above  all,  that  it  was  an 
insult  to  the  taste  of  their  metropolis,  to  admit 
such  a  heterogeneous  production  on  the  boards  of 
one  of  tlu'ir  principal  theatres.  Under  such  cir- 
cumstances, the  composer  solicited  the  inter- 
ference of  the  queen  ;  upon  whose  positive  man- 
date the  piece  was  jierformcd  for  the  first  time  on 
the  I'Jth  of  .Vpril,  I77f!,  when  it  excited  the  live- 
liest sensation,  and  the  Abbe  Amaud  wrote 
several  elotjuent  pages  \i\  favor  of  the  opera,  ably 
interpreting  the  general  enthusiasm  which  it  hail 
excited.  "  It  should  be  remembered,"  say  the 
editors  of  the  French  Encyclopedia,  "  in  wliat 
state  the  .Vculeray  of  Music  was  beiore  the  arrival 
of  (jlnck  ;  the  coldness  of  the  perfonuers,  the  im- 
movability of  the  chorus,  the  want  of  skill  of  the 
orchestra.  Let  the  real  and  ability  be  called  to 
mind  that  now  animate  all  parties,  antl  what 
moral  activity  and  phy.sical  effort  must  have  been 
required  to  etfect  such  a  change  ;  then  it  will  be 
acknowledged  tlint  Gluck  was  precisely  the  indi- 
vidual to  bring  about  so  fortunate  a  revolution." 
The  success  of  "  Iphiijcnia "  w,is  the  last  blow 
aimed  at  tlie  ancient  French  gr.ind  opera.  But  if 
Gluck  trivuuphcd  without  difficulty  over  Lulli 
and  Itameau,  he  soon  found  in  Piccini  a  more 
formidnlile  competitor.  This  musician,  whose 
'■pputation  was  well  known  to  the  Parisians,  ar- 
rived in  their  capital  in  December,  177i>,  not 
announcing  himsclt'  by  any  of  the  means  em- 
ployed by  (iluck.  He  had  previously  composed 
no  less  than  three  hundre<l  ojieras  ;  but  still  mod- 
e-'tly  determined  to  make  himself  master  of  the 
French  language,  and  especially  of  their  declama- 
tion and  poetry,  before  he  competed  for  their  fa- 
vor a.s  II  dramatic  composer.  The  n.ssistancc  he 
received  in  this  respect  from  the  celebrated  Mar- 
montel  will  be  found  in  our  article  "  Piccini." 


lie  had  only  just  commenced  hU  ojjcra  of"  Ra 
itnil,"  when  Gluck,  with  his  partisans,  fonniilably 
oi)poscd  him,  and  a  (so  called i  "musical  war" 
commenced,  which  for  a  very  considenible  time 
divided  the  theatrical  circles  of  Paris.  'Hie  ag- 
gression wa.s  evidently  on  the  part  of  Gluck.  To 
the  "  Iphi'it-nia  in  AiUi.i"  of  (rluck  succeeded  a 
French  translation  of  his  "  Orfvo,"  and  of  "  Al- 
ce.ite,"  in  I77i3;  o(  "  Armitia,"  in  1777;  of"  Iphi- 
tfenia  in  Tauris,"  and  of  "  Kcho  and  Narcissus,"  in 
177!).  "  Atcestc"  was  established  with  more  difH- 
culty  than  either  his  "  Ip/ii(/i-nin  in  Aiilix,"  or  his 
"  Orp/iriis,"  on  which  account  his  panegyrists  re- 
doubled their  enthusiasm.  'IT.e  musiad  revolu- 
tion in  Paris  was  now  far  advanced.  Some  few 
French  operas  were  still  performed,  but  it  was 
n'early  impossible  to  hear  them.  To  comjiletcthe 
triumph  of  Gluck,  it  only  remaineil  for  him  to 
compose  new  music  to  some  jioems  already  set  hy 
Ranieau  or  I.ulli,  in  order  that,  the  same  verses 
appearing  with  different  music,  the  question  of 
superiority  might  be  no  longer  left  in  doubt.  With 
this  view  CJluck  determined  to  set  the  jioem  of 
"  Annida  ;  "  during  the  time  of  hLs  being  emj)loyed 
on  which  work  Piccini  came  to  Paris,  ii>i  before 
related.  "  .fr;;i»V/rt  "  was  pertormed  with  moder- 
ate success  in  Mai-ch,  1777.  It  wa.s  the  same  with 
this  opera  a-s  with  "  A.'ccstc  ; "  the  public  accus- 
tomed themselves  to  it  by  degrees.  Witli  respect 
to  "  Iphitjcnia  in  Taiiris,"  and  "  Echo  and  Nar- 
cissus," the  former  redoubled  the  enthusiasm  of 
Gluck's  admirers,  and  the  latter  (though  eon- 
dcmnetlt  could  not  cool  it.  The  public  were  not 
at  first  favorable  to  "  Iphirjenia  in  Tauris  ;  "  but  by 
keeping  the  work  on  the  stage,  being  cnrofid  in 
the  jjerformances,  adding  superb  ballets,  and 
causing  it;<  praises  to  be  heard  every  where,  nu- 
merous audiences  were  attracted.  The  two  last- 
named  openus  were  the  latest  comjdete  produc- 
tions of  theii-  great  composer.  He  resided  -several 
years  after  at  Vienna,  wl-.erc  he  peaceably  en- 
joyed in  quietude  his  repulafioii  and  fortune.  He 
had  i>rojeetcd,  and  even  begun,  the  opera  of  the 
"  Danaidi'.t ;"  but  being  attackcil  by  apoplexy,  he 
was  unable  to  continue  it,  and  afterwards  gave 
the  poem  to  Salieri,  who  subsequently  produced 
it  with  succesfi.  (Muck  dietl  of  a  sccoml  apoplectic 
attack  in  17S7,  leaving  a  fortune  of  nearly  six 
hundred  thousand  francs,  (about  twenty-five 
thousand  pounds.)  J.  J  liousseau's  admiration 
for  the  genius  of  Gluck,  as  soon  as  he  bei  arac  ac- 
quainted with  his  works,  is  well  known.  All 
Paris  ob:en-e<l  him  freiuenting  the  theatre  at 
every  representation  of  (iluck's  "  Orphvia,"  al- 
though for  some  time  previou-ly  he  had  at>sented 
himself  from  such  entertainments.  To  one  per- 
son he  said  on  this  subject,  that  Gluek  had 
come  to  France  to  give  the  lie  to  a  jiroj  osition 
which  he  had  formerly  defende<l,  namely,  that 
good  music  could  never  be  set  to  French  wonl«. 
At  another  time  he  oliserved  that  all  the  world 
blamed  (Muck's  w«nt  of  melody ;  for  him.sclf  he 
thou;»ht  it  issue<l  Irora  all  his  ]>orcs. 

Gluck  was  one  day  j)layiim  on  his  piano  the 
part  in  "  I/ihi'/min  in  Tnnri.i,"  where  Gre-te*,  left 
alone  in  prison,  alter  having  ex])erienceil  hU  «c- 
custome<l  agitation,  throws  himself  on  a  bench, 
saying,  "  />■  mime  rentre  dans  mm  rrr-ir."  i^mt 
one  present  thoiight  he  ol>srr»-e<l  n  •  i'ln 

in  the  bass  which  prolonscti  the  pn  'a- 

tion,  alter  Orestes  had  declared  that  ii. :i  «m 

calm;    they  mentioned   this  to  Oluck,  adding. 


335 


GLU 


ENCYCLOryEDIA    OF    MUSIC. 


GOL 


"  but  Orestes  is  calm  ;  he  says  so."  "  He  lies," 
exclniincd  (iluck;  "he  nustukcs  animal  exhaus- 
tion lor  calmness  of  heart;  the  lury  in  always 
here,"  striking  hLs  breast :  "  has  he  not  killed  his 
mother  ■ " 

On  the  day  appointed  for  the  first  representa- 
tion ol'  \nn  "  Iphir/cnia  inAulh"  at  I'arLs,  Gluck 
was  informed  that  the  principal  singer  liad  been 
taken  suddenly  ill,  but  that  another  would  per- 
lorni  his  part  for  that  evcnin;;.  Oluck,  suspecting 
cabal,  immediately  reijlicd,  "  No ;  the  perform- 
ance must  be  postponed."  That  was  declared 
impossilile,  the  piece  having  been  already  adver- 
tised and  announced  to  the  royal  lamily,  under 
which  circumstances  there  was  no  precedent  of  a 
jjostponemcnt.  "I  will  sooner,"  replied  Gluck, 
"  tlu-ow  the  piece  into  the  tire  than  submit  to  its 
being  murdered  in  the  way  proposed."  All  re- 
monstrance was  in  vain,  and  the  circumstance 
was  obliged  to  bo  reported  to  the  royal  family, 
who  kindly  allowed  the  performances  of  the 
night  to  be  altered. 

GLUCK,  JOHAXX,  bom  at  Plauen,  pub- 
lished at  Leipsic,  in  16G0,  a  sort  of  oratorio,  en- 
titled "  Sept  Paroles  de  Jisus  ChrUt  sur  la  Croix." 
It  was  the  same  idea  to  which  llaydn  has  since 
done  more  complete  justice. 

G  MOLL.     (G.)     G  minor. 

GXECCO.  (F.)  An  Italian  dramatic  composer. 
A  piece  by  him,  entitled  "  La  I'rova  rft  im  Opera 
Serin,"  was  performed  with  success  at  the  opera 
buKii  at  Paris,  in  1806,  and  since. 

GXUGAB.  The  name  given  by  tlie  ancient 
Hebrews  to  the  organ. 

GOAT-SOXG.  or  TRAGEDY.  A  song  or  an- 
them, sung  by  the  ancient  Greeks  to  their  god 
Dionysus,  whilst  the  goat  stood  at  his  altar  to  be 
Ricriticed. 

GOCCINI,  GIACOMO,  an  Italian  dramatic 
composer,  set,  in  1713,  the  music  of  the  opera, 
"Amor  fra  g(  incanti." 

GOD  SAVE  THE  KING.  This  is  the  burden 
and  common  appellation  of  a  well-known  English 
national  song,  which  has  become  very  popular  as 
a  church  tune  ui  this  country,  entitled  "  Ameri- 
ca." Concerning  the  author  and  composer  opin- 
ions differ.  It  has  been  generally  believed  that 
Henry  Carey  (see  hLs  biography)  was  the  au- 
thor, and  that  he  employed  Dr.  Thornton,  of  llath, 
and  Christopher  Smith,  Handel's  clerk,  to  correct 
the  words  as  avcII  as  music.  This  gave  rLse  to 
the  assertion  that  Handel  was  the  composer.  Tlie 
words,  witli  the  air,  apjieared  in  "  The  Gentle- 
man's Magazine,"  in  17-to,  when  the  landing  of 
the  young  Stuart  calletl  forth  expressions  of  loy- 
alty Irom  the  adherents  of  tlic  reigning  family. 
After  Dr.  Arne,  the  composer  of  another  Eng- 
lish song,  "  Kule  liritanuia,"  had  brought  it  on 
the  stage,  it  soon  became  very  jjopular.  Since 
that  time  the  harmony  of  the  song  has  been  much 
imiH'oved,  but  tl>e  rhythm  Ls  the  same  as  origi- 
ually.  According  to  a  notice  in  "  Tlie  New 
Montllly  Magazine,"  vol.  iv.  page  ;i89,  there  is  a 
copy  of  this  national  song,  published  without 
date,  by  Kiley  and  Williams,  in  whidi  Anthony 
Younix,  organist  in  London,  is  called  author  oMlie 
ail',  riierc  is  also  a  story,  that  thi*  national  .song, 
an  llurney,  the  author  of  "  The  History  of  Mu- 
sic," uiuint  lined,  was  not  made  for  a  King  (icorge ; 


but  that,  in  older  versions,  it  ran  thus,  "  God  save 
great  James  our  king ;  "  and  Hurney  adds,  thM 
it  was  originally  written  and  set  to  music  for  the 
Catholic  chapel  of  James  II.,  and  no  one  durst 
own  or  sing  it  after  the  abdication  of  James,  fear- 
ing to  incur  the  penalty  of  trea.son,  so  that  the 
song  lay  dormant  sixty  years,  before  it  was  re- 
vived for  George  II.  It  is  very  interesting  to 
observe  how  this  sons,  of  which  the  words  have 
no  great  merit,  has  become  dear  to  the  whole 
English  nation,  on  account  of  the  associations 
connected  with  it.  Tlie  French  Marseillaise 
Hjnnn  is  of  a  much  higher  character,  and  e<iually 
a  national  favorite.  The  Paris  correspondent  of 
the  Boston  Atlas,  says,  "  God  save  the  king,"  is 
of  great  antiquity,  and  of  French  origin,  having 
been  used  for  centuries  as  a  vintage  hymn  in  the 
south  of  France.  'l"he  same  writer  claims  "  Old 
Hundred  "  as  a  French  tune,  originally  wTitten  in 
the  key  of  G. 

GOEPFEIIT,  JOHANN  GOTTLIEB,  singer 
and  director  of  music  at  the  collegiate  chapel  of 
Weeseiistein,  near  Dresden,  was  an  excellent  com- 
poser.    He  died  iii  17G6. 

GOEPFERT,  CARL  GOTTLIEB,  son  of  tlie 
preceding,  was  one  of  the  most  esteemed  -^-iolrn- 
ists  in  Germany.  He  was  born  at  \\'eesenstein 
about  the  year  17.33.  He  was  chorister  at  the 
school  of  St.  Croix,  and  at  the  chapel  at  Dres- 
den. At  the  moment  of  quitting  his  paternal 
home,  for  the  purpose  of  proceeding  to  the  univer- 
sity of  Leipsic,  his  father  is  said  to  have  given  him 
a  violin  with  these  words:  "Voild,  monjils,  un  in- 
strument ;  tu  cnnnais  ma  position,  et  tu  sais  qite  je  ne 
puis  t/uire  te  donner  davaiUage.  Si  tu  es  hcureux,  tu 
ponrras  te  passer  aisinient  de  monfaiblc  sccnurs,  et  si 
tu  es  malhcureiix,  tout  cc  que  je  peux  te  donner  ne 
saurait  t' aider."  Goepfert,  soon  after  this,  expe- 
rienced the  vicissitudes  of  fortune  till  the  year 
1764,  when,  on  occasion  of  the  coronation  of  the 
Emperor  Joseph  II.,  he  went  to  Frankfort,  where 
he  met  with  the  celebrated  Dittersdorf,  and  took 
him  for  his  model  in  music.  In  a  short  time  the 
fame  of  Goe])fert  as  a  violinist  spread  throughout 
Germany,  and  he  afterwards  held  various  lucra- 
tive musical  situations  at  the  Gennan  courts, 
admired  for  his  talent,  and  beloved  for  lus  private 
character,  by  all  his  countrymen.  He  died  in 
1798.    Very  little  of  his  music  has  been  published. 

GOEPFERT,  CARL  ANDREAS,  chapel- 
master  to  the  Duke  of  Saxe-Meiningen,  wasbom 
in  Franconia  in  1768.  He  was  a  celebrated  per- 
former on  the  clarinet,  and  has  composed  much 
valuable  music  for  his  instrument. 

GOETZE,  NICOLAS,  pianist  and  violinist  at 
RudoLstadt,  in  the  service  of  the  Prince  of  Wal- 
deck,  resided,  about  the  year  17-10,  at  Augsburg, 
where  he  publislied  some  harjjsichord  music. 

GOETZEL,  FRANCOIS  JOSEPH,  flutUt 
at  the  chapel  of  the  Elector  of  Saxony  at  Dres- 
de.i,  in  17.J(),  was  celebrated  for  his  talent  and 
compositions  for  his  instrument.  He  resided  in 
London  for  many  years. 

GOL.  One  of  the  vocal  deploiations  used  by 
the  Irish  in  their  funeral  obsequies. 

GOLDBERG,  chamber  musician  to  Count 
Brulil,  at  Dresden,  about  the  year  1757,  was  a 
pupil  of  Sebastian  Bach,  in  composition  and 
harpsichord    playing.      He    died    very    young. 


33ti 


OOL 


encyclop.i:dia  of  music. 


oo^• 


Few,  if  any,  of  his  compositions  have  been  pub- 
lished ;  tliose  which  are  known  in  manuscript 
are  of  extreme  ditficulty. 

GOLD^\^X,  or  GOLDIXG,  JOIIX,  was  a 
pupil  of  Dr.  William  Child,  and  on  the  1 2th  day 
of  April,  1097,  succeeded  him  n.s  organist  of  the 
/ree  chapel  of  St.  George  at  Windsor.  In  the 
year  1703,  he  was  appointed  miLster  of  the  chor- 
Lstcrs  there,  in  both  which  stations  he  continued 
till  the  day  of  his  death,  in  1719.  Of  the  many 
anthems  of  his  composition,  Dr.  Boyce  has 
selected  one  for  four  voices,  —  "I  have  set  God 
always  before  me,"  —  which,  as  regards  the  modu- 
lation, answers  precisely  to  the  character  which 
the  doctor  ha-s  given  of  the  niU.sic  of  Goldwin, 
namely,  that  it  is  singular  and  agreeable. 

GOMBERT,  NICHOLAS,  a  native  of  the 
Netherlands,  was  chapel-master  to  the  Empe- 
ror Charles  V.  lie  was  a  pupil  of  Josquin,  and 
was  well  skilled  iu  the  science  of  harmony  ;  so 
much  so,  indeed,  that  he  is  distinguished  by 
Finch  as  having  surpassed  his  master,  and  as 
having  advanced  the  art  of  fugue.  Gombert 
furnished  a  very  considerable  portion  of  nearly 
all  the  books  of  songs  and  motets  that  were 
printed  in  Antwerp  and  Louvain  during  the 
middle  of  the  si-xteenth  century,  besides  a  set 
of  masses,  published  at  Venice  in  the  year  1.5-11, 
and  two  sets  of  motets  in  15.50  and  15.54,  all  in 
four  parts. 

GONG.  A  Chinese  instrument  r,f  the  pulsa- 
tile kind.  Its  form  is  that  of  a  shallow,  circular 
concave ;  its  material,  a  composition  of  silver, 
lead,  and  copper ;  and  its  tone,  which  scarcely 
consists  of  any  note  that  the  ear  can  appreciate, 
is  loud,  harsh,  and  clanging.  ITie  gong  is  never 
introduced,  except  to  give  a  national  cast  to  the 
music  in  which  it  is  employed,  or  to  awaken  sur- 
prise, and  rouse  the  attention  of  the  auditors. 

GOODBAN,  THOMAS,  was  bom  about 
1780,  of  musical  parents,  who  were  both  natives 
'f  and  residents  in  Cantcrburj-.  His  mother 
[whose  maiden  name  was  SaH'ery)  was  a  singer 
(hove  mediocrity,  and  liLs  father  a  violin  player, 
md  one  of  the  lay  clerks  of  the  cathclral.  They 
Kept  a  taveni  called  th:  Prince  of  Orange,  where 
his  father,  with  the  assbtancc  of  his  rausinil 
friends,  estabhshetl  a  weekly  musical  society, 
during  the  sLx  winter  months,  called  the  Canter- 
bury Catch  Cub,  the  performances  at  which 
Acre  conductctl  by  his  brother-in-law  T.  N. 
."^affcry,  and  afterwards  by  his  son  Osmond  Saf- 
fcry.  T.  Goodban  was  jdaced  in  the  choir  of  the 
;athednil  at  the  age  of  seven  years,  under  Samuel 
Porter,  the  organist,  but,  showing  no  particular 
disposition  to  the  study  of  music,  did  not  begin 
to  practi>e  the  violin  until  fourteen  years  of  age, 
when,  a  change  occurring  in  his  father's  circum- 
stances, his  mother's  death  soon  following,  he 
was  placed  in  a  situation  as  clerk  in  the  office 
of  a  very  respectable  solicitor  in  Canterbury. 
There,  although  laboring  under  the  disadvantage 
of  daily  employment  at  the  desk,  GoodlMin  made 
such  progress  on  the  violin,  that  upon  the  death 
of  Ms  tather  he  succeotled  to  liis  teaching, 
though  only  then  eighteen  years  of  age.  Being 
left,  with  two  younger  brothers,  to  his  own  re- 
sources Goodban  next  l>egan  seriously  to  apply 
him.self  to  the  study  and  practice  of  the  piano- 
fnrte,  and  the  science  of  muac  generally.     In 


1809,  he  was  appointed  one  of  the  lay  clerks  in 
the  cathedral,  and  soon  altorwards  took  to  the 
profession  as  a  teacher  of  the  violin,  piano-forte, 
and  singing,  as  hLs  only  means  of  support.  In 
1810  (the  society  being  then  in  a  declining  state) 
O.  Saffery  gave  u])  tlie  leading  and  direction  of 
the  orchestra  at  the  Catch  Club,  when,  at  the 
solicitation  of  the  members  of  tlie  society, 
Goodban  undertook  the  duties  of  that  honorable 
situation,  and  to  this  circumstance  principally 
attributes  the  success  of  his  subsequent  pro- 
fessional career.  Goodban's  principal  publica- 
tions are  as  follows  :  "  A  complete  (juidc  to  the 
Violin,"  published  in  1810;  "  .V  (iuide  to  tie 
Piano  ;  "  "  A  new  Game  of  Musical  Characters, 
adapted  for  the  Improvement  of  Beginners  and 
Amusement  of  Performers  in  generrtl,"  pub- 
lished in  1818;  "Tlie  Kudimcnts  of  Music,  with 
progressive  Kxercises  to  be  written  ujjon  Slates, 
being  a  new  System  of  Musical  Instruction,  and 
adapted  as  well  for  teaching  in  Classes  iis  for 
private  Tuition,"  published  in  18'20  ;  "  A  Cilee  to 
Apollo  and  Bacchus,  for  four  Voices,"  dedicated 
to  the  President  and  Members  of  the  Catch  Club, 
Canterbury. 

GOODGUOOM,  JOHN.  An  English  composer 
and  singer  at  the  Chapel  lloyal,  London,  about 
the  year  1750.  Some  of  lus  sacred  music  ha»» 
been  published. 

GOODSON,  RICHARD,  bachelor  of  music 
and  organist  at  Christchurch,  Oxford,  was  elected 
profes.sor  o'"  music  there  in  1682.  He  died  iu 
1717. 

GORDON,  JOHN,  a  professor  of  music  at 
Gresham  College.     He  died  in  1730. 

GORGHEGGI.  (I.)  Rapid  divisions,  as  ex- 
ercises for  the  voice  in  singing. 

GOSS,  JOHN  JEREMI.VH,  was  a  native  of 
Salisbury,  and  be<'ame  a  chorister  boy  of  that 
cathedral.  Ills  su])erior  abilities  procured  hira 
the  situation  of  a  gentleman  of  the  ('hapcl  Royal, 
and  vicar  choral  of  St.  Paul's  and  Westminster 
Abbey.  He  was  much  admired  as  a  singer,  his 
voice  being,  not  as  is  fre<iuently  the  case,  a 
falsetto,  but  a  genuine  counter  tenor  of  beautiful 
quality ;  his  tiuste  in  part-singing  was  both 
chaste  and  elegant.  J.  J.  Goss  possessed  many 
most  amiable  qualities  in  private  lii'c,  wliich  will 
long  be  rcmemlxTctl  by  his  professional  and  other 
friends.  He  died  in  1817,  aged  forty-seven,  and 
was  burieil  in  .St.  Paul's  Cathedral. 

GOSS,  JOHN,  son  of  the  preceding,  was  bom 
in  1800,  nt  Fareham,  in  Hants.  At  nijie  years 
of  ago  lie  was  entered  as  one  of  the  children  ol 
the  Chapel  Royal  at  St.  James's,  under  John  Staf- 
ford Smith.  On  leaving  that  estnblishmr  nt  at 
the  breaking  of  his  voice,  he  became  a  \ni\n\  of 
Attwood,  under  whose  excellent  tuition  he  com- 
plete<l  his  musical  education.  John  (ross  was  a 
member  of  the  Concentoros  Society,  also  an  as- 
sociate of  the  Philharmonic.  He  hius  pxib'.ishcd 
a  canon  for  six  voices,  "  I  will  always  give 
thanks,"  dedicatetl  to  his  master,  Attwood;  also 
some  songs. 

GOSSEC,  FRANCIS  JOSEPH,  member  of 
the  instit\ite  and  of  the  legion  of  honor,  wils  one 
of  the  three  inspectors  of  instruction,  and  pro- 
fessors of  composition,  at  the  Conservatory  of 
Music  in  Paris.  He  was  bom  in  17:!.'?,  at  Ver- 
gnies,  in  llainaut.     \\'hnn  ««ven  years  of  age  hf 


i.l 


.riT 


GOT 


ENCYCLOPEDIA    OF    MUSIC. 


GOW 


••as  sent  to  Antwpqi,  and  rcraniiicd  for  eight 
years  in  that  city  as  a  sinking  boy  in  the  cathe- 
dral. Gossec  was  nearly  seli'- instructed  in 
mubic,  chicHy  by  means  of  a  profound  study  of 
the  scores  of  tlie  p-cnt  masters.  It  appears  that 
he  was  never  able  to  visit  Italy,  but  in  17.51  went 
to  Paris,  where  he  afterwards  fixed  his  residence. 
Soon  alter  this  he  was  attached  to  the  suite  of 
the  I'rince  do  Condc,  as  leader  of  his  band,  and 
comi>oscd  several  operas  for  it.  In  1770,  he 
founded  the  concert  of  amateurs,  where  the 
Chevalier  de  St.  George  was  first  violin,  and 
which  liad  the  greatest  success  during  ten  sea- 
sons. In  177.3  (Jossec  took  the  management  of 
the  spiritual  concert,  and  in  17iS4  was  appointed 
a  principal  i)rofessor  in  the  royal  school  of  sing- 
ing and  declamation,  founded  at  the  Minus 
plaisirs  by  M.  le  Uaron  Ureteuil.  At  the  com- 
mencement of  the  French  revolution,  he  accept- 
ed the  situation  of  director  of  the  band  to  the 
national  guard  ;  and  many  symplionies,  hymns, 
&c.,  for  wind  instruments,  were  at  that  time  com- 
posed by  him,  and  perfonncd  by  this  band  on 
different  public  occasions.  In  the  year  1795,  a 
law  was  passed  by  the  National  Convention,  de- 
finitively fixing  the  organization  of  a  Conserva- 
tory ol  Music,  when  Gossec  was  chosen,  con- 
jointly with  Messrs.  Mehul  and  Cherubini,  in- 
spector of  the  establishment  and  professor  of 
composition  ;  Catcl,  his  principal  pupil,  being  at 
the  same  time  named  prol'cssor  of  harmony.  The 
jjupils  of  Gossec  have,  for  the  most  part,  obtained 
the  great  prizes  at  this  institution.  Gossec  at 
the  age  of  seventy-eight  composed  a  "  Te  Deum." 
After  the  dissolution  of  the  Conservatory,  in 
1815,  he  was  rewarded  with  a  penision,  and  con- 
tinued to  freciuent  the  sessions  of  the  Academy 
of  Fine  Arts  until  1823  ;  but  then,  having  reached 
the  age  of  ninety  years,  his  faculties  grew  feeble, 
and  he  retired  to  Passy,  where  he  passed  the 
remainder  of  his  days  in  peace.  The  following 
anecdote  Ls  related  respecting  the  celebrated  "  O 
lalutaris"  of  this  master.  In  the  year  1780, 
Messrs.  Lais,  Cheron,  and  Rousseau,  tliree 
French  suigers,  were  in  the  habit  of  fre  juently 
accompanying  Gossec  to  dine  with  M.  de  la 
Salle,  secretary  of  the  Opera,  at  Clienevieres,  a 
village  near  ParLs.  The.  curate  of  the  parish, 
who  was  well  known  to  them,  one  morning  re- 
quested the  three  singers  to  penorm  in  his 
church  the  same  day,  on  the  occa-^ion  of  some 
l>«t!val.  "  ^Vith  all  my  heart,"  said  Lais,  "  if 
Gossec  will  wrilc  something  for  us  to  sing." 
Gossc.  immediately  asked  for  music  paper,  and 
whilst  the  parties  were  at  breakfast,  wrote  his  "  O 
laiutaris,"  which,  two  hours  ai'tcrwai'd*,  was 
eung  in  the  cl.urch.  This  composition  has  been 
printed  in  England,  in  a  very  elegant  musical 
work,  entitle!  "Vocal  Anthology." 

GOTI,  ANTONIO,  a  celebrated  Italian  sing- 
er, was  engaged  at  the  ojiera  at  Stuttgard,  when 
under  the  direction  of  Jomelli,  in  the  year  1663. 
lie  was  still  living  in  Italy  in  1771. 

GO'rrSClIED,  JOIIANN  CIIRISTOPII,  first 
prolessor  of  philosophy,  senior  at  the  University 
of  iKjipsic,  and  colleague  of  the  grand  college  of 
the  princes.  He  has  published  several  treatises 
on  music,  comprising,  1.  "  Idccs  aur  fOriijiuect 
I'Aniir/uiti  de  In  Miisiqiie,  ct  sur  It  Qiialitis  de 
(Ode;"  2..  "Idtlet  sur  Ifs  Cantuirs ;"  3.  Idies  sur 
VOpira.     Gottsched  died  in  1766. 


GOUDIMEL,  CLAUDE,  a  musician  of 
Franche  Comi)tc,  who  seems  to  have  lost  his  lif« 
at  Lyons,  on  the  day  of  the  massacre  of  Paris,  for 
setting  the  psalms  of  Marot,  is  ranked  among  th« 
most  eminent  composers  of  music  to  CalvinLstical 
psalms  and  spiritual  songs.  Goudimel  has  been 
much  celebrated  by  the  Calvinists  in  France  fo» 
tills  music,  which  was  never  used  in  the  church 
of  Geneva,  and  by  the  Catholics  in  Italy,  for  in- 
structing Palcstrina  in  the  art  of  composition, 
though  it  Is  doubtful  whether  this  great  har- 
monist and  Goudimel  had  ever  the  least  ac- 
quaintance or  intercourse  together.  He  set  the 
"  Chaiuions  Spiriiuclks  "  of  the  celebrated  Marc- 
Ant,  de  Muret,  in  four  parts,  which  were  printed 
at  Paris  in  \o6o.  We  may  suppose  Goudimel, 
at  this  time,  to  have  been  a  Catholic,  as  the 
leaVned  Muret  is  never  ranked  among  heretics 
by  French  biographers.  Ten  years  after,  when 
he  set  the  psalms  of  Clement  Marot,  this  version 
was  still  regarded  with  less  horror  by  the  Catho- 
lics than  in  later  times  ;  for  the  music  which 
Goudimel  had  set  to  it  was  printed  at  Paris  by 
Adrian  Le  Roy  and  Robert  Ballard,  with  a  privi- 
lege, in  15rv5.  It  was  reprinted  in  Holland  in 
1607,  for  the  use  of  the  Calvinists,  but  seems  to 
have  been  too  difficult ;  for  we  are  told  by  the 
editor  of  the  psalms  of  Claude  le  Jeune,  which 
were  printed  at  Leyden  in  1633,  and  dedicated 
to  the  States  General,  that,  in  publishing  the 
psalms  in  parts,  he  had  preferred  the  music  of 
Claude  le  Jeune  to  that  of  Goudimel ;  for  as  the 
counterpoint  was  simply  note  for  note,  the  most 
ignorant  of  music,  if  possessed  of  a  voice,  and 
acquainted  with  the  psalm  tune,  might  join  in 
the  performance  of  any  one  of  them :  which  is 
impracticable  in  the  compositions  of  Goudimel, 
many  of  whose  psalms,  being  composed  in  fugue, 
can  only  be  performed  by  persons  well  skilled  in 
music. 

GOUGELET.  a  musician  at  Paris,  published 
there,  in  1768,  two  collections  of  ariettes  from 
French  operas,  with  accompaniment  for  the  gui- 
tar. He  afterwards  produced  his  "  Mithode,  ou 
Abrigi  des  Jid(jles  d' AccomptuitwtneiU  de  Clavecin," 
and  "  Reciuil  d' Airs,  avcc  AccompaffnemeiU  dun 
nauvenu  Genre." 

GOUPILLIER,  or  GOLTILLET.  Chapel- 
ma&ter  at  the  church  of  Meaux,  in  France,  and 
subsequently  at  the  chapel  of  Versailles,  in  the 
year  1683.  Several  of  the  motets  of  Goupillier 
were  composed  by  Dcsmarets.  Louis  XIV., 
having  been  apprised  of  this  fact  by  Goupillier 
himseli',  said  to  him  "  Atez-vntis  du  mains  pai/e 
Dcsmarets  t"  Goupillier  replied,  "  Oui."  The 
indignant  monarch  commanded  Desmarets  never 
again  to  appear  in  his  presence.  Such  was  the 
sensation  created  by  this  att'air,  that  Goupillier 
was  obliged  to  retire.  The  king,  however, 
granted  him  his  pension  of  retreat,  and  likewise 
conferred  on  him  a  good  canonry,  to  console  him 
in  his  disgrace.  He  did  not  long  enjoy  these 
benefits,  as  he  died  a  very  few  years  afterwards. 

GOW,  NEIL.  The  following  interesting  ac- 
count of  this  extraordinary  mu:-ical  charactet 
was  written  by  the  reverend  princijial  Baird,  of 
the  college  at  Edinburgh.  "  Neil  Gow  was  born 
in  Strathhand,  Perthshire,  of  humble  but  honest 
parents,  in  the  year  17'i7.  His  tasle  lor  music 
was  early  decided.  At  the  age  of  nine  he  begar 
to  play,  and  was,  it  is  said,  self-taught,  till  abou« 


338 


30W 


ENCYCLOP.^DIA    OF    MUSIC. 


oo\« 


I 


ais  thirteenth  year,  when  he  received  some  in- 
nructioii  of  Johu  Cameron,  an  attendant  ol"  Sir 
(jcorgo  Stewart  of  (Jrnndtully.  Tlie  following 
anecdote  of  a  competition,  which  happened  a 
few  years  after  this,  deser^'os  to  be  related,  not 
only  as  a  ]>roof  of  natural  genius  assuming  its 
station  at  an  early  period,  but  on  ac(rount  of  the 
circumstance  with  which  it  concludes  and 
which  was  perhaps  the  first  ncknowledgnu'iit 
of  that  peculiar  professional  ability  to  which  lie 
alterwards  owed  liis  fame.  A  trial  of  skill  hav- 
ing been  proposed,  amongst  a  few  of  tlie  best 
I)crformers  in  the  country,  young  Neil  for  some 
time  declined  the  contest,  believing  himself  to  be 
no  match  for  such  masters  in  the  art.  At  bust, 
however,  he  was  i)revailed  on  to  enter  the  lists, 
and  one  of  the  minstrels,  who  was  blind,  being 
made  tho  umpire,  the  prize  was  adjudged  to  Neil 
(iow,  by  a  sei\tence,  in  the  justice  of  wliicb  the 
other  comi)etitors  cheerfully  ac<iuiesced.  On 
this  occasion,  in  giving  his  decision,  tlie  judge 
said,  that  he  could  distinguish  tlie  stroke  of 
Neil's  bow  among  a  hundred  players.  Having 
now  obtained  the  summit  of  liis  profession  at 
liome,  the  distinguished  patronage,  first  of  the 
Athol  family,  and  iifterwardiS  of  tlie  Duchess  of 
(iordon,  soon  introduced  him  to  the  notice  and 
admiration  of  the  fashionable  world.     From  this 


different  publications  which  have  appeared  unduj 
the  name  of  Neil  (iow,  and  which  contain  not 
only  his  sets  of  the  older  tuncM,  but  variout 
occasional  aim  of  his  own  composition,  for  in- 
stance his  '  I>anient>ition  for  Abucairnoy,"  and 
'  Loch  Eroch  side,"  are  striking  specimens  of 
feeling  and  power  of  embellishment.  'ITicse 
wore  set  and  prepared  for  publication  by  bis  son 
Nathaniel,  whose  rf--pevtable  character  and  pro- 
priety of  conduct  Imig  secured  him  the  esteen. 
and  favor  of  tlic  public,  and  whose  knowledgw 
of  composition,  and  variety  of  talent  in  the  art, 
joined  with  the  grellte^t  refinement  of  taste, 
elegance  of  expression,  and  power  of  execution, 
rendered  him,  beyond  all  dispute,  the  most  ac- 
comi)li.-ihed  and  siicce-isful  performer  ol  Scottt^L 
music  whom  that  country  has  jn-oduced.  In  pn- 
vate  lil'e  Neil  (iow  was  dislinguLshed  by  a  sound 
and  vigorous  understanding,  by  a  singularly  ncuto 
penetration  into  tlie  character  of  those,  both  in 
the  higher  and  lower  spheres  of  society,  with 
whom  he  had  intercourse,  and  by  the  conciliating 
and  a))i)ropriate  accommodation  of  his  remarks 
and  replies  to  the  peculiarities  of  their  station 
and  temper.  In  these  he  often  showetl  a  liigh 
degree  of  forcible  humor,  strong  sense,  and 
knowledge  of  the  world,  and  proved  himself  to 
have  at  once  a  mind  naturallv  sagacious,  and  it 


period  (iow's  excellence  was  doubtless  unrivalle  1  i  very  attentive  and  discriminating  habit  of  obscr- 


in  his  department  of  Scotch  national  music,  and 
formed,  ir.  truth,  an  era  in  the  progress  of  its 
improvement  which  has  since  been  completed  by 
his  sons.  The  livelier  airs  which  belong  to  the 
class  of  what  are  called  the  strathspey  and  reel, 
and  which  have  long  been  peculiar  to  the  nor  h- 
crn  part  of  the  island,  assumed,  in  his  hand,  a 
style  of  spirit,  fire,  and  beauty,  which  had  never 
oeen  heard  before.  It  is  curious  and  iiitcreUing 
to  inipiire,  on  the  principles  of  art,  in  what  con- 
sisted the  peculiar  character  of  a  performance 
which  had  thus  channcd  and  enlivened  the 
scenes  of  gayety  and  innocent  pleasure,  with 
e<iual  effect,  in  every  rank  and  age  of  life.  There 
Ls  perhaps  no  species  whatever  of  music  executed 
on  the  violin,  in  which  the  characteristic  ex- 
pression  depeiuls  more  on  the  ])ower  of  the  bow, 
piu-ticularly  what  is  called  the  ujiward  or  return- 
ing stroke,  than  the  Highland  reel.  Here  ac- 
cordingly was  (Jow's  forte.  IILs  bow  hand,  as  a 
suitable  instniment  of  his  genius,  was  uncom- 
monly powerful ;  and  where  the  note  iiroiluced 
by  the  up  bow  was  otten  feeble  and  indistinct  in 
ither  hands,  it  was  struck,  in  his  playing,  with  a 
iitiength  and  certainty  which  never  tailed  to 
surprise  and  delight  the  skilful  hearer.  To  this 
extraordinary  power  of  the  bow,  in  the  hand  of 
•  great  ori;r.r:al  genius,  must  be  a.scribcd  the  sin- 
gular feiiiirj-  of  expression  which  he  gave  to  all 
his  music,  and  the  native  Highland  (/out  of  cer- 
t.iin  tunes,  such  as  '  Tult-vk  (iorum,'  in  which 
his  taste  and  style  of  bowing  could  never  be 
exactly  reached  by  any  other  performer.  We 
may  add  the  effect  of  the  sudden  shout,  with 
which  he  freiiuently  accompanic<l  his  playing  in 
the  quick  tunes,  and  which  seemed  instantly  to 
?lectriiy  the  dancers,  inspiring  them  with  new 
lilc  and  energy,  and  rousing  the  spirits  of  the 
most  inanunate.  Thus  it  has  been  well  ob>er\-e<l, 
'The  violin,  in  his  hands,  sounded  like  the  haq) 
of  Ossian,  or  the  lyre  of  Orpheus,  and  gave 
reality  to  the  poetic  fictions  which  describe  the 
astonishing  effects  of   their  periorraance.'     The 


vation.  Itut  his  most  honorable  praise  is  to  b« 
drawn  from  a  view  of  his  character,  which  was 
not  so  obvious  to  the  public.  His  moral  and  re- 
ligious principles  were  originally  correct,  ra- 
tional, and  heartfelt,  and  they  were  never  cor- 
rupted. His  duty  in  the  domestic  relations  of 
life  he  uniformly  fullilled  with  exemplary  fidel- 
ity, generosity,  and  kindness.  In  short,  by  tho 
general  integrity,  prudence,  and  propriety  of  his 
conduct,  he  de.erved,  and  he  livetl  and  died  pos- 
sessing, as  large  a  jiortion  of  respect  from  his 
equals,  and  of  good  will  from  his  superiors,  as 
has  ever  fallen  to  any  man  of  his  rank.  Tliougli 
he  had  raised  himself  to  independent  and  atHu- 
ent  circumstances  in  his  old  age,  he  continued 
free  from  every  appearance  of  vanity  or  ostenta- 
tion. He  retained  to  the  last  the  same  ploin 
and  unassuming  sin  plicity  in  his  carriage,  his 
dreis,  and  his  manners,  which  he  had  obsers-ed 
in  his  early  an<l  more  obscure  years.  Ilia  figure 
was  vigorous  and  manly,  and  the  expression  of 
his  countenance  spirited  and  intelligent.  His 
whole  appeiirance,  indeed,  exhibited  so  charac- 
teristic a  model  of  what  national  partiality  con- 
ceives a  Scottish  Highlander  to  be,  that  his  por- 
trait has  been  repeatedly  copiefl.  Four  admirable 
likenesses  of  him  were  painted  a  few  ye.ars  ago 
for  the  Duke  of  Athol,  I>ird  Gray,  Hon.  Wil- 
liam Maule,  M.  P.,  and  for  the  County  Hall, 
Perth,  by  Sir  Henry  liaeburn ;  and  he  has  been 
introduced  into  the  view  of  a  Highland  wedding, 
by  the  ingenious  Mr.  Allan,  to  whom  he  was  re- 
quested to  sit  for  the  purpose.  In  this  jjicture, 
too,  Mr.  Allan  has  pre^-erved  an  admirable  like- 
ness of  Donald  Gow,  the  brother  of  Neil,  his 
steiidy  and  constant  violoncello,  and  without 
whose  able  and  powerful  .iccompaniiucnt  Neil 
could  scarcely,  in  his  latter  days  at  least,  be  pre- 
vailed on  to  play  a  note.  He  dieil  at  Inver,  neat 
Dunkeld,  in  I  SOT.  Itesides  his  son  Nathaniel, 
mentioned  below,  he  left  another,  John,  who 
long  resided  in  London,  and  was  also  dis< 
tinguiiihed  and  admired,  as  inheriting  much  r' 


333 


«ow 


KXCYCLOPyEDIA    OF    MUSIC. 


GRA 


nis  fftthcr's  musical  taste  and  power  of  execu- 
tion. Two  other  sons,  of  e<jU!illy  eminent  rau- 
(iicpj  talcntH,  Willinra  and  Andrew,  died  before 
tlifiir  father,  but  not  till  at'ter  they  had  com- 
)>letely  established  their  rejjutation  as  true  dc- 
Rceudantd  of  old  Neil.  On  the  whole,  a  family 
of  such  celebrity  in  national  mu^ic  as  that  of 
the  Gows,  Scotland  is  not  likely  soon  to  witness 
again." 

GOW,  NATHANIEL.  Son  of  the  preceding. 
His  ability  as  a  performer  beini;  alluded  to  in  the 
fore^joinj;  sketch,  we  need  liere  only  subjoin  the 
following  list  of  the  works  publislied  by  him  : 
"The  Bcfluties  of  Neil  (iow,  in  three  Parts," 
"  Fourth,  Fifth,  and  Sixth  Collections  to  follow 
the  above."  These  six  books  contain  the  chief 
compositions  of  the  Gows.  "  The  complete  de- 
pository, in  four  Parts."  The  above  are  mostly 
all  old,  original,  slow,  and  dancing  tunes.  "The 
Vocal  Melodies  of  Scotland,  in  two  Parts."  This 
work  contains  slow  airs  only,  without  the  words. 
"  The  curious  Collection  of  Scotland,  arranged  by 
Nathaniel  Gow." 

GRAAF,  C.  FRIEDRICII,  a  musician,  born 
nt  Rudolstadt,  in  Germany,  composed  much  vo- 
cal and  instrumental  music  towards  the  close  of 
the  last  century.  Most  of  his  compositions  are 
published  at  Berlin ;  some  few  at  the  Hague, 
where,  from  the  year  1762,  he  was  chapel-raaater 
to  the  Pri)icc  of  Orange. 

GRAAF,  FRIEDRICH  HERMANN,  younger 
brother  of  the  preceding,  was  born  at  RudoLstadt, 
about  the  year  17.30.  He  was  an  excellent  ilutist 
and  composer  for  his  instrument,  and  was  for 
some  time  in  London.  He  died  at  Augsburg  in 
1795. 

GRAI3UT,  a  French  musician,  was  chapel- 
master  to  Charles  JI.,  King  of  England,  and  di- 
rector of  the  music  at  one  of  the  London  thea- 
tres. The  first  dramatic  piece  produced  at  Lon- 
don under  the  name  of  opera  was  of  his  com- 
position, entitled  "  Ariadne,  or  the  Marriage  of 
Bacchus."  It  was  performed  for  the  first  time 
in  1674.  His  second  complete  opera,  with  re- 
citatives, was  "  Albion  and  Albanius,"  performed 
iu  16S5. 

GRACE.  Grace,  either  in  vocal  or  instru- 
mental performance,  consists  not  only  in  giving 
due  place  to  the  appoggiatura,  turn,  shake,  and 
other  decorative  additions,  but  in  that  easy, 
smooth,  and  natui-al  expression  of  the  passages 
which  best  conveys  the  native  beauties  and  ele- 
gance of  the  composition,  and  forms  one  of  the 
first  attributes  of  a  cultivated  and  refined  per- 
former. 

GRACES.  The  general  name  given  to  those 
occasional  embellLshments  which  a  performer  in- 
troduces to  heighten  the  etfect  of  a  composition. 
The  old  English  graces,  used  about  16()7,  are 
divided  into  two  classes  —  the  smooth  and  the 
shaked.  In  the  first  class  are  the  beat,  backfall, 
double  backfall,  elevation,  springer,  and  cadent; 
iu  the  second  are  the  shaked  backfall,  close 
shake,  shaked  beat,  shaked  elevation,  shaked 
radcnt,  and  double  relish.  'Hie  principal  graces 
of  melody  are  the  appoggiatura,  the  shake,  the 
turn,  and  the  beat  ;  with  the  mordent,  boat, 
slide,  and  s])ring,  pecviliar  to  the  Germans.  The 
thief  ornamenta  of  harmony  are  the  aqieggio, 
tremaudo,  &c. 


GRACE-NOTE.  Any  note  added  to  a  com- 
position as  a  decoration  or  improvement.      Se€ 

GUACES. 

GRADO,  sometimes  WTitten  GRADDO.  (1.) 
A  degree.  A  M-ord  which,  together  with  the 
preposition  di,  is  apidied  to  the  notes  of  any  pas- 
sage moving  by  conjoint  intervals;  as  when  the 
sounds  gradually  rise  or  tall,  tluough  the  lines  and 
spaces,  witliout  making  any  hiatus  or  skip,  they 
are  said  to  be  tli  ffraddo. 

GRADUAL,  or  GRAIL.  A  service  book, 
formerly  used  in  the  Romish  church,  containing 
all  that  was  sung  by  the  choir  at  high  mass  ;  as 
the  tracts,  sequences,  and  Itallelujahs ;  the  creed,  of- 
fertory, and  trisiiffitim ;  as  also  the  office  used  at 
sjirinkling  tlie  holy  water.  The  gradual  was 
always  performed  iu  tlie  ambn,  or  desk. 

GRj\.DUATE  IN  MUSIC.  A  person  wlio  has 
taken  the  degree  of  doctor,  or  bachelor,  iu  the 
faculty  of  music. 

GR^EFE,  JOIL\NN  FRIEDRICH,  counsellor 
of  the  chamber  and  of  the  posts  of  the  Duke  of 
Brunswick,  was  born  in  the  year  1711,  at  Bruns- 
wick. He  was  an  enlightened  and  zealous  ama- 
teur of  music.  He  wrote  on  singing,  and  composed 
many  songs,  which  have  been  mucli  admired.  He 
published  sLx  collections  of  airs,  the  first  of  which 
appeared  in  17.36  ;  likewise  "  Les  I'saumes  de  Cra- 
mer," with  an  accompaniment  for  two  violins,  iu 
17G0,  and  a  French  ariette  in  parts,  also  much 
other  vocal  music.  He  died  at  Brunswick  in 
1787,  aged  seventy-six. 

GRAEFF,  JOHN  GEORGE,  a  cUstinguished 
performer  on  the  violin  and  flute,  was  born  about 
the  year  1762,  at  Mentz,  (where  his  father  held  a 
considerable  post  under  the  government,)  and 
originally  intended  for  the  church,  but  having  a 
strong  predilection  for  music,  was  placed  under 
the  tuition  of  the  celebrated  Charles  Frederic 
Abel,  and  subr.equently  under  Haydn.  He  quit- 
ted his  native  city  at  an  early  age,  and  suc- 
cessively visited  Basle,  Bcme,  and  Lausanne,  meet- 
ing with  encouragement  etjual  to  liis  most  san- 
guine expectations,  during  a  period  of  five  yeare' 
residence  in  Switzerland.  At  Lausaiuie  he  was 
intimate  with  the  celebrated  Monsieur  Bonnet  do 
la  Rove,  and  Duverdin,  the  friend  of  Gibbon  the 
historian.  Leaving  Switzerland,  Graeff  made  a 
year's  stay  in  Paris,  where  his  jierformanccs  were 
received  with  the  most  marked  applause.  Among 
the  number  of  his  more  intimate  friends,  there 
was  the  Abbe  Vogler. 

GR.-ESER,  J.  C.  A  musician  at  Dresden.  He 
published  at  I^eipsic,  in  the  years  1786  and  1787, 
three  series  of  sonatas  for  the  harjjsichord,  ot 
great  taste.     He  died  about  the  year  1790. 

GRAETZ,  a  pianist  and  comjwser  for  the  Chap- 
el Royal  at  Munich  in  180.3,  was  a  pupil  of 
Haydn  and  Bertoni.  He  published  an  oratorio 
called  "  The  Death  of  Jesus,"  also  much  other 
sacred,  and  some  dramatic  music. 

GR.EVEN.  A  Gennan  amateur  composer  of 
music,  excellent  pianist,  and  composer  for  his  in- 
strument. He  died  young  in  1770.  Cramer  \\ns 
inserted  a  sonata  of  liis  composition  in  his  "  Flo- 
ra," and  speaks  highly  of  his  taste  in  music. 

German  mu8ician« 


GRAIIL,  ANDR.   T., 


340 


GRA 


ENCYCLOPAEDIA    OF    MUSIC. 


GRA 


born  about  the  year  1715,  pwbUshed  some  vocal 
and  iustrumcntal  music  at  Lcipsic. 

GRAMMATICAL  ACCENT  is  the  common 
measure  accent,  and  is  marked  by  the  length  of 
wordti,  and  with  a  regular  succestjion  of  strong 
and  weak  parts. 

GRAN  CANTORE.  (I.)  A  fine  or  great 
singer  —  an  exi)ression  the  application  of  which 
is  generally  confined  to  the  first  mau  or  woman 
of  the  serious  opera. 

GUAN  GUSTO.  An  expression  api)licd  by 
the  Italians  to  the  style  of  any  full,  rich,  and 
high-wrought  compo^ition.  A  song,  chorus, 
overture,  sonata,  &c.,  the  cast  of  which  answers 
this  description,  is  said  to  be  composed  in  the 
gran  t/iuto.  These  words  sometimes  apply  also  < 
to  performance  :  the  manner  of  a  line  and  great 
8Uigcr  is  said  to  be  ui  the  (/ran  gusto. 

GRAND.  An  epithet  applied  to  compositions 
and  performances  which  derive  importance  from 
their  style,  length,  or  fulness  of  parts.  Hence 
we  say  grand  sonata,  grand  overture,  grand  con- 
cert, &c. 

GIL:VNDFOND,  EUGENE,  was  born  at  Com- 
piegue  in  178().  lie  studied  the  violin  at  the 
Conser\'!itory  under  Ivreut/er,  and  composition 
under  Berton.  lie  comjMxsed  many  collections  of 
romances,  some  of  which  have  been  publLshed, 
two  concertos  for  tlie  N-iolin,  and  the  music  of  a 
comic  opera,  in  two  acts,  performed  at  the  Thid- 
tre  Feyileau. 

GRANDI,  ALESSANDRO,  a  cclebratetl  Ital- 
ian cliurch  composer,  was  a  Sicilian  by  birth. 
He  was  chapel-master  at  Bergamo.  His  compo- 
sitions bear  date  from  the  year  1619  to  1G40. 

GRANDIOSO.  (I.)  In  a  grand  and  elevated 
style. 

GRANDVAL.  A  French  musician.  He  pub- 
lished a  work  at  Paris,  in  the  year  17'i2,  entitled 
"  Essai  3ur  le  bnn  Gout  en  iluaitiue."  He  likewise 
composed  some  cantatas. 

GRASSET,  M.,  cfuf-d' archest  re  at  the  Italian 
openi  at  Paris,  during  Madame  Catalani's  man- 
agement, was  born  1769.  Some  of  his  concertos 
for  the  violin  have  been  published.  He  wiis 
looked  upon  as  the  best  pupil  of  Bortheaume. 
Grasset  was  one  of  the  professors  of  the  violin  at 
tho  Paris  Conser\-atory. 

Gli^VSSINI,  GIUSEPPA,  an  ItaUan  female 
smger  of  great  celebrity,  between  the  years  1795 
and  1810.  Her  voice  wuh  a  contralto  of  uncom- 
mon sweetness,  and  which  she  manage<l  with  a 
judgment  still  more  rare.  She  wbji  engaged  as 
prima  ilonna  at  Venire  in  the  year  1797.  After 
the  battle  of  Marengo,  Bonaparte,  then  chief 
consul  of  France,  invited  her  from  Milan  to  Paris, 
where  she  sang  at  the  great  national  f""'-,  on 
the  2-2d  of  July  1800.  In  1801.  she'quittetl 
Paris  for  Berlin,  and  the  following  year  pro- 
ceeded to  London,  where  she  was  enga-jed  as  the 
successor  of  Banti,  at  a  salary,  it  is  said,  of  three 
thousand  pounds  for  the  sea-on.  Her  acting  was 
;onsidered,  by  the  English,  as  nnrivaUed  on  the 
Italian  stage,  and  her  voice  estceme<l  as  the  finest 
example  ever  heard  of  the  low  soprano.  One 
evening  in  1810,  she  and  Signor  Crcscentini  per- 
formed together  at  the  Tuileries,  and  sang   in 


"  Romeo  and  Juliet."  At  the  adm  j-ablo  Hceue 
in  tlie  tliird  act,  the  Emperor  NnpoliMn  aji- 
plauded  vociferou.«ly,  and  Talma,  the  great  tra- 
gedian, who  was  among  the  audience,  wept  with 
emotion.  After  the  perfonnanco  was  endetl,  th« 
emperor  conferretl  tho  decoration  of  a  high  order 
on  Cre-fcentini,  and  sent  Cinissini  a  scnip  of  paper, 
on  which  was  written,  "  Good  for  twenty  thou- 
sand livres  —  Napoleon." 

"  Twenty  thousand  francs  !  "  w»id  one  of  her 
friends  —  "  the  sum  is  a  large  one." 

"  It  will  serve  as  a  dowry  for  one  of  my  littl« 
nieces,"  replied  Cini.ssini  ijuietly. 

Indeed,  few  persons  were  ever  more  generous, 
tender,  and  considerate  towarils  their  family  than 
tliLs  great  singer.  Many  years  attcrwards,  when 
the  empire  had  crumbled  into  dust,  carrjing  with 
it,  in  its  fall,  among  other  things,  the  rich  pen- 
sion of  Signora  Gnissini,  she  hap]>ened  to  be  at 
Bologna.  ITierc  another  of  her  nieces  was  for 
the  tirst  time  presenteil  to  her,  with  a  re<juest 
that  she  would  do  something  for  her  young  rela- 
tive. 'Hie  little  girl  wiis  extremely  pretty,  but 
not,  her  friends  thought,  fitted  for  the  stage,  as  her 
voice  was  a  feeble  contralto.  Her  aunt  asked  her 
to  sing ;  and  when  the  timid  voice  had  sounded 
a  few  notes,  "  Dear  child,"  said  Grarvsini,  era- 
bracing  her,  "  you  will  not  want  me  to  assist 
you.  'I'hose  who  called  your  voice  a  contralto 
were  ignorant  of  music.  You  have  one  of  tho 
finest  sopranos  in  the  world,  and  will  far  excel 
me  as  a  singer.  Take  courage,  and  work  hard, 
my  love  ;  your  tliroat  will  give  you  a  shower  of 
gold."  The  young  girl  did  not  disappoint  her 
aunt's  prediction.  She  still  lives,  and  her  namo 
is  Giulia  Grisi.  Grassini  was  the  first  female 
singer  who  ai>i)eiured  in  the  Italian  theatre  with 
a  contralto  voice ;  previously  the  part  was  sus- 
tained by  men.  Her  tones,  i)urely  feminine,  were 
received  with  distrust ;  and  some  time  elapsed 
before  listeners  could  become  reconciled  to  a 
voice  deemed  much  too  low  for  a  woman.  Such, 
however,  w;is  the  rich  and  mellow  tjuality  of  her 
new  tones,  extending  only  from  A  in  the  ba.s8  to 
C  in  the  treble,  that  a  new  source  of  deliglit  in 
the  vocal  art  seemed  to  have  been  opened.  She 
was  beautiful  and  graceful,  and  her  acting  in- 
imitable, whUe  her  i)athos  and  feeling  were  the 
more  evident  when  contrasted  with  the  cold  and 
Huty  tones  of  Billington.  From  Gmssini  we  may 
date  the  dwtio  for  female  voices,  which  has  proved 
so  great  an  improvement  to  the  opera,  and  af- 
forded Rossini  the  opportunity  of  disjilaying  such 
exqui.site  and  incomparable  tii:>te.  Gra-ssini  wa.s 
at  Florence  in  XVil'A,  and  she  died  at  Milan  in 
1850. 

GRATIAS  AGIMUS.  (L.)  Part  of  the  Glo- 
ria. 

GRAUN,  CARL  HEINRICH,  chapel-master 
to  Frederic  the  (Jrcat,  at  Berlin,  was  born  at 
Wahrenhrack,  in  Saxony,  in  the  year  1701,  and 
educated  in  the  school  of  the  Holy  Cros«  at  Dres- 
den. He  was  first  engage<l  by  the  king,  when 
Prince  of  Prussia,  in  the  year  17.'55,  as  a  singer 
and  composer,  and  was  afterwards  sent  for  his 
improvement  into  Italy.  There  he  remaine<l 
al>out  two  years,  during  which  time  the  king  con- 
structed one  of  the  most  complete  and  most  mag- 
nificent theatres  in  Europe,  to  which  (imun  wa» 
the  composer  during  the  remainner  of  his  lil'a 
At  the  onset  of  his  mus'cal  career,   Graun  df- 


341 


o  n  .\. 


EXCYCLOPiEDIA    OF    MUSIC. 


GRB 


voted  his  talents  chiefly  to  the  service  of  the 
church.  IIo,  however,  afterwards  composed  a 
grciit  number  of  o|)crius,  a  few  of  which  are  in 
the  (ierman,  hut  by  far  the  (greater  part  in  the 
Itahan  hui<^ua<i;c.  Of  tlie  latter,  he  composed  as 
many  as  seventeen,  between  the  years  1742  and 
17oi).  He  wrote  also  the  overture  and  recitatives 
to  the  i)astoral  opera  of  "  Gaiatea,"  of  which  the 
kinfj  himself  set  jmrt  of  the  songs.  His  other 
compositions  consist  of  several  sets  of  harpsichord 
concertos,  for  the  Princess  Amelia  of  Prussia. 
These  are  graceful  and  pleasing  in  melody,  artful 
in  the  dis;)osition  of  the  parts,  excellent  in  har- 
mony, and  yet  easy  of  execution.  His  sacred 
music  consists  of  a  "  Te  Deuin,"  masses,  and 
spiritual  cantatas  or  oratorios,  almost  innumer- 
n))le ;  among  which  is  a  very  celebrated  one,  en- 
titled "  Dcr  Tod  Jesii."  I'art  of  his  oratorio, 
"  The  Death  of  Jesus,"  and  some  other  compo- 
sitions of  Grauu's,  ai'c  in  Latrobe's  selections, 
who  has  also  pubUshed  an  edition  of  hLs  "  Te 
Deiiin."  Specimens  of  hLs  works  are  also  to  be 
found  in  Dr.  Ciotch's  "Specimens."  Graun,  who 
was  as  much  revered  in  Prussia  as  Ilandcl  was  in 
England,  died  at  Pcrhn,  universally  lamented,  in 
tlie  yciir  1759. 

GKAUX,  JOILVXX  GOITLIEB,  brother  of 
the  preceding,  was  an  excellent  performer  on  the 
violin,  and  a  respectable  composer  of  the  old 
school.  He  was  concert-master  to  the  King  of 
Prussia,  and  there  are  extant  of  his  writings 
several  overtures,  sj-mphonies,  concertos,  a  "  Salve 
RcifiiM,"  and  some  ma.sses. 

GRAUPXER,  CHRISTOPH,  chapel-master 
to  the  court  of  Hesse-Darmstadt,  and  a  cele- 
brated composer  of  haqDsichord  music,  was  born 
about  the  year  1(583.  He  aLso  composed  several 
Dpenis  for  the  theatre  at  Hamburg,  between  the 
years  1707  and  1710.     He  died  in  17G0. 

GRA^'E  Ls  applied  to  a  sound  which  is  of  a 
low  or  deep  tone.  The  thicker  tlie  cord  or  string, 
the  more  grave  is  the  note  or  tone ;  and  the 
smaller,  tlic  more  acute.  Grare,  in  Italian  music, 
denotes  a  very  grave  and  slow  motion,  somewhat 
taster  than  adagio,  and  slower  than  largo. 

GRAVERAXD,  X.,  was  born  at  Caen  in  1770. 
.\t  the  age  of  ni)ic  years,  he  received  instruction 
:>n  the  violin  from  (Jucru,  a  pupil  of  Cai)ron,  and 
afterwards  perfected  himself  under  Baillot.  Gra- 
verand  was  during  several  years  a  violinist,  and 
then  ch'f-<rorclus!rc  of  the  theatre  at  Caen.  He 
published  much  music  for  his  instrument. 

GR.VVITY.  Gravity  is  that  modification  of 
any  sound  by  which  it  becomes  deep,  or  low,  in 
re.sjicct  of  some  other  sound.  Tlie  gravity  of 
souncLs  depends  on  the  thickness  and  tUstention 
of  the  chords,  or  the  length  and  diameter  of  the 
pi])cs,  and  in  general  on  the  mass,  extent,  and 
tension  of  the  sonorous  bodies.  The  larger  and 
more  lax  arc  the  bodies,  the  slower  will  be  the 
vibration*,  and  the  graver  the  sounds. 

GRAVIUS,  JOHAXX  HIEUOXYMU.S.  was 
born  of  a  noble  family,  at  Sul/.l)acli,  in  ItUS.  In 
1 672,  he  went  to  Leyden  for  instruction  in  the 
law,  and  there  studied  also  instrumental  and  vo- 
;al  music,  in  both  of  which  ho  attained  to  a  high 
degree  of  perfection.  In  1()77,  he  went  to  Ih'c- 
ncD    as  singer  and  under  master  to  the  gvmna- 


sian  academy  of  that  town.  He  remaine<l  there 
thirty  years,  until  he  obtained  the  same  situation 
at  licrlin,  where  he  died  in  1729,  aged  eighty. 
Gra^'iu8  played  on  most  instrument«,  and  com- 
posed with  facility.  King  Frederic  offered  him 
the  situation  of  chapel-master,  which  he  refused 
The  following  are  among  his  works  :  "  Dcscriplhn 
de  la  Trompctic  marine,"  Brcme,  1681  ;  "  Chansntts 
Spirititelles  d  deux  Dessiis,  avec  B.  C,"  Brcme, 
1683,  in  octavo;  "  Le<;ons  de  Chant,  en  Dialoijiu-," 
Brfime,  1702,  in  octavo;  "  Rudimenta  Miisica prac- 
tica,"  Brf'me,  1685,  in  octavo. 

GRAZIAXI.  An  excellent  Italian  violoncellist. 
He  published  at  Berlin,  in  1780,  six  solos  for  thf 
violoncello,  Op.  1 ;  and  afterwards,  at  Paris,  six 
solos  for  the  violoncello,  Op.  2.      He  died   in 

1787. 

GRAZIAXI,  BOXIFACIO,  of  Marino,  near 
Rome,  and  chapel-master  to  the  Jesuits'  church 
in  that  city,  jjublished,  between  the  years  1652 
and  1072,  much  church  and  other  music. 

GRAZIOSO,  or  GRAZIOSAMEXTE,  or  COX 
GR^VZIA.  (I.)  A  tenn  implying  that  the 
movement  to  which  it  is  prefixed  is  to  be 
performed  in  a  smooth,  flowing,  and  graceful 
style. 

GREAT  OCTAVE.  The  lowest  series  of 
seven  notes,  which  includes  both  the  di^'isio^s 
of  the  short  keys  in  the  key  board,  beginning 
with  the  two,  Ls  called  by  the  Germans  the  great 
octave,  being  expressed  by  capital  letters.  On 
some  old  instruments,  particularly  orgajis,  the 
lowest  note  on  the  left  hand  is  the  great  C; 
but,  in  general,  pianos,  &c.,  extend  down  to  FF. 
In  our  old  scales,  the  letters  below  the  ba.ss  A 
were  made  doul)le,  and  those  above  the  treble 
staff  termed  in  alt ;  but  the  scptcnaries  were  then 
reckoned  from  A,  not  from  C. 

GREATER  SCALE.  That  in  which  the 
thirds  are  greater,  as  a  scale  composed  of  major 
thirds.     Same  as  Major  Scale, 

GREATOREX,  THOM.VS.  A  native  of  Der- 
byshue.  He  went  to  London  in  the  year  1772, 
and  became  a  pupil  of  Dr.  Cooke,  organist  and 
master  of  the  boys  of  Westmuister  Abbey,  under 
whose  excellent  tuition  the  follo^ving  eminent 
professoi-s  (as  well  as  many  others)  were  educat- 
ed, namely.  Sir  William  Parsons,  Crosdill,  Kny- 
vett,  Bartleman,  M.  Rock,  Spofforth,  S;c.,  &c.  In 
the  years  1774-6,  Greatorex  attended  the  orato- 
rios wliich  Lord  Sandwich  gave,  during  Christ- 
mas, at  Hinchingbrook,  and  there  he  derived  the 
greatest  advantage,  not  only  from  hearing  Han- 
del's music  executed  with  a  precision  and  effect 
till  then  unknown,  but  also  from  the  acquaint- 
ance and  friendship  of  Mr.  Bates,  who  conducted 
those  performances.  The  opportunity  Greato- 
rex thus  enjoyed  of  an  intimate  understanduig 
of  Mr.  Bates's  theory  and  practice  coidd  not  fail 
to  be  beneficial,  to  the  highest  possible  degree,  in 
turning  the  taste,  and  dii-ectiug  the  iiujuirios  and 
intelligence,  of  the  young  musician,  (ircatorex 
has  given  the  strongest  proofs  that  the  friendship 
of  Mr.  Bates  was  not  extended  to  him  in  vaui. 
At  the  establishment  of  the  Ancient  Concert,  in 
1776,  (ireatorex  assLsttnl  in  the  choruses,  and 
continued  a  jwrformcr  there,  till  he  was  advised 
to  trv  a  northern  air  for  the  reOstabUshment  of 


342 


J  Kb 


ENCYCLOPAEDIA   OF    MUSIC. 


UHS 


hia  health ;  and  he  ncccpted  the  Kituiition  of 
or-^HiiLst  ot  the  cathedral  of  Carlisle,  in  I  "SO. 
Here,  though  the  enioluiuent.s  were  Hiuall,  he 
passed  some  of  the  happicit  days  of  his  life.  lie 
spent  two  cvcninj;s  of  each  week  in  a  select  so- 
ciety, in  which  were  included  Dr.  I'ercy,  Kishop 
of  Droiuore,  (then  Dean  of  Carlisle, )  Dr.  Charles 
Law,  liishop  of  Klphin,  and  Archdeacon  I'alcy. 
The  continual  admission  of  (ireatorex  to  bear  a 
part  in  the  conversations  of  such  men  is  a  power- 
tul  testimony  of  his  rank  in  intellect.  In  1784, 
(ireatorex  resi;;ned  his  situation  at  Carlisle,  and 
went  to  Italy,  where  he  stuilieil  vocal  music,  and 
r'yeived  instructions  in  sinf^in^;  from  .Si(;nor 
Santrtvelli,  (the  most  celehrated  sin^iu;;  master 
of  his  time,)  at  Rome,  for  tlie  space  of  two  years. 
He  also  made  a  considerable  stay  at  Naples, 
Florence,  and  Venice  ;  and  visited,  on  his  return, 
liolo;;na,  I'isa,  Leghorn,  I'adua,  N'erona,  Vicenza, 
Mantua,  I'arma,  Milan,  and  (ienoa,  entering 
Swit/erland  by  Mount  St.  (iothard,  and  passing 
down  the  Ulione  to  Cologne ;  from  whence  he 
returned  to  England,  through  the  Netherlands 
and  Holland,  at  the  end  of  tlie  year  178.S.  He 
now  established  himself'  in  London,  and  very 
soon  had  his  time  fully  occupied  a.s  a  teacher  of 
singing.  In  the  year  179.3,  on  the  resigimtion  of 
Mr.  Bates,  as  conductor  of  the  Ancient  Concert, 
the  noble  directors  did  (ireatorex  the  honor, 
without  any  application  on  his  part,  to  appoint 
him  to  that  distinguished  situation,  which  he 
held  for  twenty-seven  years.  In  IHOI,  (ireato- 
re.x,  in  conjunction  with  Harrison,  W.  Knyvett, 
and  Ihirtleman,  revived  the  Vocal  Concert,  and 
afterwards  succeeded  to  the  situation  of  his  re- 
spected master,  Dr.  Cooke,  as  organist  and  mas- 
ter of  the  boys  at  Westminster  Abbey,  wliich  was, 
pcrliaps,  amongst  the  most  grateful  com]>liments 
he  could  receive.  The  publications  of  (ireatorex 
are,  a  compilation  of  "  I'.salm  Tunes,"  harmo- 
nized by  himself,  and  dedicated,  by  pennission, 
to  the  king.  His  labors  have  been  cliieHy  con- 
tiued  to  the  arranging  many  musical  composi- 
tions for  the  Concert  of  Ancient  Music,  and  the 
Vocal  Concerts,  by  adding  complete  orchestral, 
vocal,  and  instrumental  parts,  to  what,  jjcrhaps, 
was  only  a  duet  or  air.  Of  this  sort  are,  "  Sing 
unto  God,"  Dr.  Croft ;  "  ThLs  is  the  day,"  Dr. 
Croft;  "We  will  rejoice,"  Dr.  Croft;  "  (Jreat 
is  Jehovah,"  Marcello  ;  "  Hark,  my  Daridcar," 
I'urcell ;  and  a  great  number  of  harmonized 
glee.s.  He  also  i)ut  wind  instruments  to  the 
musette  in  Handel's  sixth  grand  concerto,  ar- 
ranged the  minuet  to  (iluck's  overture  in 
"  Iphiijciiie,"  and  adapted  the  favorite  movc- 
I'lent  in  Handel  s  lessons  for  a  full  band. 

(illEAT  SIXTH.  The  appellation  given  to 
the  chord  of  the  Hfth  and  sixth,  when  the  fifth 
Ls  perfect  and  the  sixth  major. 

GREr.EU,  (ilACOMO.  A  German  musician, 
who  went  to  London,  in  1703,  with  Margarita  de 
I'Epine,  afterwards  Mrs.  I'epu.sch.  In  1705  (ire- 
ber  composed  at  the  New  Ilajnnarket  Theatre  an 
llalinn  pastoral,  called  "The  Loves  of  Ergasto." 
lliis  was  the  first  attempt  at  dramatic  musio  ia 
the  Opera  House. 

GRECO,  GAETANO,  liorn  at  Naples  in  the 
•arly  part  of  the  eighteenth  century,  was  director 
of  the  conservatory  of  /  J'oreri  di  (Jiesu  Christo. 
It  is  not  known  whether  he  devotetl  liimself  ex- 


clusively to  tuition,  as  none  of  his  com]>o.sitioa8 
have  lived ;  but  his  reputation,  as  a  learned  pro- 
fessor, has  survived  him,  and  if  ho  luis  not  been 
immorUdized  by  his  works,  he  has  by  his  pupils. 
He  was  I'ergolesi's  first  master,  and  is.  said  to 
have  bestowed  particular  care  on  his  illustrious 
disciple,  and  to  have  foreseen  his  talents  aiul 
genius. 

(iUEEK  SCALE.  This,  in  the  time  of  Aris- 
toxenus,  consisted  of  two  octaves  ;  and  the  whole 
system  was  composed  of  a  ditferent  series  of  four 
sounds,  with  one  note  added  to  the  bottom  of 
the  scale  to  complete  the  doul)lo  octave ;  all 
these  sounds  had  different  denominations,  like 
our  gamut.  The  (irecks  used  all  the  four  and 
twenty  letters  of  the  alphabet  for  musical  charac- 
ters,  or  symbols  of  sound.  The  Greek  and 
Chinese  scales  of  music  have  a  very  evident  re- 
semblance to  the  Scottish  ;  the  old  national  airs 
of  Greece  and  those  ol  Scotland  have  so  strong 
a  similitude,  that  one  would  imagine  them  to 
have  been  composed  at  the  same  time  by  tho 
same  genius,  and  in  those  age;i  when  harmony 
and  nature  went  hand  in  hand. 

GREENE,  DR.  M.VT'RICE,.  born  at  London, 
in  liiOO,  was  the  son  of  the  Rev.  Thoma.s  (ireene, 
sergeant  at  law.  He  was  brouglit  up  in  the 
choir  of  St.  I'aid's,  and  when  his  voice  broke, 
was  bound  apprentice  to  Brind,  the  organist  of 
that  catheilral.  He  wa.s  early  noticed  aa  nn 
elegant  organ  i)layer  and  composer  for  tha 
church,  and  obtained  the  place  of  organist  of  Si. 
Dunstan  ni  the  west,  before  ho  was  twenty  years 
of  age.  In  1717,  on  tlie  death  of  Daniel  I'urcell, 
he  was  likewise  elected  organist  of  St.  .Vndiew's, 
Holboni ;  but  the  next  year,  his  mitster,  Brind, 
dying,  (ircene  was  a]>poiiitcd  his  successor,  by 
the  dean  and  chapter  of  St.  I'aul's ;  upon  which 
event  he  quitted  both  the  places  he  had  previously 
obtained.  On  the  death  of  Dr.  Crofts,  in  ll'ii'; 
he  was  a])])ointed  organist  and  com])oser  to  tie 
Chapel  Royal,  and  on  the  death  of  Eccles,  in  173.1, 
master  of  his  majesty's  band.  In  1730  ho  ob- 
tained the  degree  of  doctor  in  music,  at  Cam- 
bridge, r.:id  was  a))pointod  public  music  jirofess- 
or  in  the  same  university,  in  the  room  of  Dr. 
Tudway.  (ircenc  \va,s  an  intelligent  man,  a  con- 
stant attendant  at  the  opera,  and  an  acute  oliserver 
of  the  improvements  in  compo-.ition  and  per- 
formance, which  Handel,  and  the  Italian  singers 
employed  in  his  musical  dramas,  had  introduced. 
His  melody,  therefore,  was  more  elegant,  and 
hLs  harmony  more  pure,  than  that  of  his  pred- 
ecessors, though  l(';ts  nervous  and  original.  — 
Greene  had  the  misfortune  to  live  in  the  age  and 
neighborliood  of  a  musical  giant,  with  whom  he 
was  utterly  unable  to  contend,  but  by  cabal  and 
alUance  with  his  enemies.  Handel  wits  but  too 
prone  to  treat  inferior  artist.s  with  contempt; 
what  provocation  he  had  reccive<l  from  (irecne, 
after  their  first  acciuaintance,  when  he  had  a  due 
sense  of  his  great  powers,  I  know  not,  (says  Dr. 
Buniey;)  but  for  many  years  of  his  life,  Han- 
del  never  spoke  of  him  without  some  injuriovLi 
epithet,  (ireene's  figure  wa.s  Ih-Iow  the  commou 
size,  and  he  had  the  misfortune  to  l)e  vcrj'  much 
dcformeil ;  yet  his  address  and  exterior  manncm 
were  those  of  a  man  of  the  world,  mild,  attentive, 
and  well  bred.  History  has  nothing  to  do  with 
the  infirmities  of  artists ;  wlin,  Ving  men,  in 
8j>ite  of  uncommon   gifts   and  i'lspira'ioiu,  an 


3-13 


(iltE 


ENCYCLOPEDIA    OF    MUSIC. 


GKE 


subject  to  human  frailties,  which  enthusiasm, 
priusc,  anil  the  love  of  fiime,  more  frequently 
au>{raeiit  than  diminish.  AVe  shall  not  oiuit  to 
notice,  that  Greene,  in  conjvmction  with  Festing, 
hns  the  credit  of  beini;  the  first  institutor  of  the 
charitable  fund  for  the  support  of  decayed  musi- 
ciaus.     See  Fkstixo. 

Greene,  during  the  last  years  of  his  lil'e,  began 
to  collect  the  services  and  anthems  of  the  old 
English  church  composers,  from  the  single  parts 
used  in  the  several  cathedrals  of  the  kingdom, 
in  order  to  correct  and  publish  them  in  score  —  a 
plan  which  he  did  not  live  to  accomplLsh  ;  but, 
bequeathing  his  papers  to  Dr.  Hoyce,  it  was 
afterwards  executed  in  a  very  splendid  and 
ample  numner.  Greene  died  in  17o.i,  and  wa.s 
succeeded,  as  composer  to  the  Chapel  Royal,  and 
master  of  his  majesty's  baud,  by  his  worthy 
pupil.  Dr.  William  Boyce. 

GREGORIAN'  MUSIC.  Sacred  compositions 
introduced  into  the  Catholic  service  by  Pope 
Gregory. 

GREGORY,  ST.,  caUed  GREGORY  THE 
GREAT,  a  Roman  pontiif,  was  born  at  Rome, 
of  an  illustrious  family,  about  the  year  5.50. 
His  rank,  and  talents  recommended  him  to  the 
notice  of  the  Emperor  Justin,  who  appointed 
him  prefect  of  that  city.  Reiiig  of  a  religious 
turn  of  mind,  and  Hnding  that  the  duties  of  his 
office  attached  him  too  much  to  the  world,  he 
retired  to  a  monastery  ;  but  he  was  soon  sum- 
moned from  his  retirement  by  Pope  Pelagius 
II.,  who  appointed  him  one  of  hLs  deacons,  and 
sent  him  to  Constantinople  in  the  capacity  of 
nuncio.  Upon  his  return  to  Rome,  he  was  em- 
ployed by  Pelagius  as  his  secretary,  but  at  length 
obtained  leave  to  retire  to  his  convent.  Here  he 
hoped  to  devote  his  days  to  study  and  contem- 
plation ;  but  a  plague,  that  raged  with  violence 
in  the  capital,  drew  him  from  his  seclusion.  He 
came  forth  from  his  retreat,  and  instituted 
Utauies,  which  were  sung  in  procession  about 
the  streets  of  the  city.  On  its  an-ival  at  the 
great  church,  it  is  said  that  the  contagion  ceased. 
Of  this  distemper  Pelagius  died,  and  Gregory 
was  unanimously  chosen  to  fill  this  high  dignitj'. 
Though  of  an  infirm  and  weakly  constitution,  he 
possessed  a  vigorous  mind,  and  discharged  the 
duties  of  hLs  station  with  ecjuanimity  and  firm- 
ness. One  of  the  greatest  events  wliich,  by  his 
prudence  and  judicious  management,  he  effected, 
during  his  pontificate,  was  the  conversion  of  the 
English  nation  to  Christianity.  But  what  par- 
ticularly entitles  Gregory  to  notice  in  this  work, 
w  his  having  effected  a  reformation  in  the  music 
of  the  church.  About  two  hundred  and  thirty 
j^ears  before  the  period  in  which  Gregory  lived, 
St.  Ambrose,  who  was  then  Bishop  of  Milan, 
I'.ecamc  one  of  the  patrons  of  church  music,  and 
instituted,  in  his  church  at  Milan,  a  peculiar 
method  of  singing,  which  received  the  name  of 
caiUiis  Ambrosiaiiiis,  or  Ambrosian  chant.  St. 
Augustine,  the  disciple  of  St.  Ambrose,  speaks 
of  the  great  delight  he  received  in  hearing  the 
psalms  and  hymns  sung  there.  "  As  the  voices," 
nays  he,  "  ttowcd  into  my  ears,  truth  was  in- 
stilled into  my  heart,  and  the  affections  of  piety 
overttowed  in  tears  of  joy.  The  church  of  Mi- 
lan," he  continues,  "  had  not  long  before  begun 
to  pracfi-c  this  method.  It  wius  here  fii-st  or- 
dered that  hynris  and   psnlms  should   be  siuig 


after  the  manner  of  Eastern  nations,  that  th« 
people  might  not  languish  and  jjine  away  with  a 
tedious  sorrow  ;  and  from  that  ])eriod  it  has  been 
retained  at  Milan,  and  imitated  by  almost  all  th« 
other  congregations  of  the  world."  Tradition 
says  that  it  was  uijon  occasion  of  St.  Ambrose 
receiving  St.  Augustine  into  the  chiuch,  on  hit 
conversion,  that  the  BLshop  of  Milan  composed 
the  celebrated  "  Te  Deiim,"  which  has  since  ex- 
ercised the  talents  of  the  most  celebrated  com- 
posers. The  chant  thus  established  by  St.  Am- 
brose continued  in  use,  with  few  alterations,  till 
the  time  of  Gregory  the  Great,  whose  object  in 
reforming  it  seems  to  have  been  twofold  ;  he  en- 
larged the  former  jjlan,  by  introducing  four  new 
modes  or  tones  into  the  "  canto  feri)io,"  and 
banished  from  the  church  the  " canto  fif/uiato," 
as  being  too  light,  and  destitute  of  that  gravity 
and  simplicity  suited  to  the  solemn  offices  of  the 
church.  John  Diaconus,  the  author  of  Gregory's 
Life,  informs  us  that  he  established  a  singing 
school  at  Rome,  and  that  it  subsisted  three  hun- 
dred years  after  his  death,  which  happened  in 
604.  He  assures  us  that  the  original  "  Anti- 
photiarium,"  or  volume  of  anthems  of  this  pope, 
was  still  existing,  as  well  as  the  whip  with  which 
he  used  to  threaten  the  restive  scholars,  and  also 
the  bed  on  which  his  infirmities  obliged  him  to 
rechne,  when,  in  the  latter  part  of  lus  life,  his 
zeal  still  led  him  to  visit  his  favorite  school,  and 
hear  the  scholars  practise.  'ITiLs  pontiff  is  like- 
wise said,  by  ecclesiastical  writers,  to  have  been 
the  first  who  separated  the  chanters  from  the 
regular  clergy ;  for  it  was  his  observation,  that 
singers  were  more  admired  for  their  fine  voices 
than  for  their  precepts  or  their  piety.  At 
present  this  kind  of  singing  has  become  venera- 
ble from  its  antiquity,  and  from  the  use  to 
which  it  is  appropriated ;  for  though  the  more 
rich  and  varied  strains  of  a  Haydn  and  a  Mozart 
have  been  adopted  in  the  general  service  of  the 
Roman  Catholic  church,  yet,  on  particular  oc- 
casions, the  Gregorian  cliant  is  exclasively  used, 
and  heard  in  all  its  ancient  glory,  especially 
during  the  penitential  seiison  of  Lent,  and  in  the 
holy  week.  It  is  true  that  its  simplicity,  and 
its  total  dissimilitude  to  secular  music,  preclude 
all  levity  in  the  composition,  and  all  licentious- 
ness in  the  execution,  and  that  to  cars  long 
habituated  to  artificial  and  refined  music,  its 
simple  tones  may  have  little  charm ;  yet  the 
amateur  will  deliglit  to  trace  in  these  inartificial 
movements  some  of  the  melodies  of  the  olden 
time,  and,  perhaps  it  may  not  be  too  much  to 
add,  of  the  days  of  Athenian  glory. 

GREGORY,  WILLIAM,  a  gentleman  of  the 
Chapel  Royal  in  the  reign  of  Charles  II.,  was  a 
composer   of  several    anthems.      The    best    are, 

i  "  Out  of  the  deep  have  I  called,"  and  "  O  Lord, 

i  thou  hast  east  us  out." 

GREIXER,   JOHAXX  M.,  a   good   violinist, 

I  was  born  at  Constance  in  17"21.     He  filled  the 

j  office  of  chapel-master  to  several  German  courts, 
up  to  the  yeiu-  1781. 

I       G  REIN  Eli,    JOHAN-N    THEODOR,     pub. 

I  lished  in  1774,  at  Amsterdam,  two  works,  eom- 

I  prising  symphonies,  each  coiitaiuiug  six  different 

'  pieces  and  six  ducts. 

1      GRENET,  a  French  dramatic  composer,  pre 

'  duced,  in  1737,  the  opera  "  Le  Trinmphc  de  V  Hm 
tnoitie,"  and  in  1759,  "  Aj)oUon,  Dcnjer  (T Admit*. 


314 


fiRE 


ENCYCLOPEDIA    QF    MUSIC. 


GKB 


I 


OREXET,  CLAl'DE  DE,  born  at  ChAteau- 
dun,  in  Beauce,  in  1771,  wiis  an  otHcer  in  the 
French  anuy.  He  was  a  jjiano-lbrte  pupil  of 
Kuhn,  and  composed  several  concertos  and  sona- 
tas for  his  instrument,  likc\vise  some  romances, 
published  at  Paris. 

GREXIER,  a  musician  at  Paris,  pubUshed 
there,  about  the  yetu  1786,  some  airs  for  the  vio- 
lin and  violoncello. 

GRENIER,  GABRIEL.  A  haqiist  and  com- 
poser for  his  instrument  at  Paris  since  the  year 
1792.     lie  has  also  published  some  romances. 

GREXSER.  or  GREXZER,  JOIIAXN 
FRIEDRICII,  professor  of  the  hautboy  to  the 
Kint;  of  Swc.len,  about  the  year  17S3,  wi\s  born 
at  Dresden.  In  1779  he  published  at  Berlin  six 
trios  for  the  tlutc,  and  other  instrumental  music. 

GRESXICK,  AXTOX,  bom  at  Liege  in  1753, 
Vent  at  an  curly  a^e  to  Italy,  where  he  studied 
ander  the  celebrated  Sala,  member  of  the  Conser- 
vatory at  Xaples.  He  afterwards  visited  London, 
where  he  composed  the  music  for  the  opera  of 
. '  Demetriitu,"  and  obtained  the  situation  of  cham- 
oer  musician  to  the  Prince  of  Wales,  lie  pub- 
lished much  dramatic  music  at  Paris,  amongst 
which  wa-s  the  four  act  opera  of  "  La  For€t  de 
Brama,"  a  work  that  he  himself  thought  would 
entiiblish  his  reputation,  but  which  is  said  to  have 
caused  his  death,  from  liis  great  disappointment  at 
its  being  only  received  at  the  theatre  A  correction. 
H':  died  soon  after,  at  the  early  age  of  forty- 
8'  rcn. 

GRETRY,  ANDRt:  ERXEST  MODESTE. 
fhe  father  of  Grctry  was  a  teacher  of  music  at 
Liege,  where  Andre  Gretry  was  born,  in  the  year 
1711.  At  an  early  age,  he  became  sensible  to  the 
charms  of  music,  and  to  this  sensibility,  when  he 
was  only  four  years  old,  he  was  near  falling  a 
sacrilice.  It  Ls  related  of  him,  that  bein^;  left 
alone  in  a  room  where  some  water  was  boiling  in 
an  iron  pot  over  a  wood  tire,  the  sound  caught 
his  ear,  and  for  some  time  he  amused  himself 
by  dancing  to  it.  The  curiosity  of  the  child, 
however,  was  at  length  excited  to  uncover  the 
vessel,  and  in  so  doing  he  overset  it.  The 
water  fell  upon  and  dreadfully  scalded  him  from 
head  to  foot.  From  the  great  care  and  attention 
that  were  paid  to  him  by  his  parents,  he  at  length 
recovered  in  every  respect  from  this  accident,  ex- 
cept having  a  weakness  of  sight,  which  continued 
ever  afterwards.  When  he  was  six  years  old,  his 
father  placed  him  in  the  choir  of  the  collegiate 
cliurch  of  St.  Denis,  and  unfortunately,  but 
necessarily,  under  the  tuition  of  a  master  who 
'n-as  brutal  and  inhuman  to  all  hLs  pupiht.  Young 
Grctry  had  his  full  share  of  ill  treatment ;  yet 
such  was  his  attachment  to  this  man  that  be 
could  never  prevail  upon  himself  to  disclose  it  to 
his  father ;  tearing  that,  by  his  inlluence,  the 
chapter  might  be  induced  to  take  some  steps  that 
would  l)e  injurious  to  him.  What  little  the  youth 
acquired,  during  tliis  time,  "  wa-s  not,"  as  he  said, 
••  BO  much  from  the  lessons,  as  in  spite  of  the  les- 
sons, of  his  master."  An  accident,  however, 
which  for  some  time  put  a  stop  to  his  studies,  de- 
scr\'es  here  to  be  relatc<l.  It  wivs  usual,  nt  Liege, 
to  tell  children  that  (iod  would  grant  them  what- 
ever they  asked  of  him  at  their  tirst  communion. 
Young  U*ctry  had  long  proposed  to  pray  on  thLi 


occasion,  "  that  he  might  immediately  die  if  he 
were  not  destined  to  be  an  honest  man,  and  a  man 
of  eminence  in  hia  profession."  On  that  very 
day,  having  gone  to  the  top  of  the  tower  to  see 
the  men  strike  the  wooden  beUs,  which  are  always 
u.sed  tluring  the  passion  week,  a  beam  of  con- 
siderable weight  fell  on  his  head,  and  laid  him 
senseless  on  the  floor.  A  person  who  was  pres- 
ent ran  for  the  extreme  unction,  but,  on  his  re 
tuni,  found  the  youth  upon  his  legs.  On  bein^ 
shown  the  heavy  log  thiit  had  fallen  upon  him, 
"  Well,  well,"  he  exclaimed,  "  since  I  am  not 
killed,  I  am  now  sure  that  I  shall  be  an  honest 
man  and  a  good  mu.sician."  He  did  not,  at  first, 
appear  to  have  sustained  any  serioiis  injury,  but 
his  mouth  wa.s  full  of  blood,  and  the  next  di\y  a 
depression  of  the  cranium  was  discovered :  on 
which,  however,  no  operation  was  ever  atteini)ted. 
From  this  time,  but  whether  owing  to  the  acci- 
dent or  not  is  not  known,  his  disposition  was  con- 
siderably altered.  His  fonner  gayety  gave  way, 
in  a  great  measure,  to  melancholy,  and  never 
after  visited  him,  except  at  uitervals.  On  hLs  re- 
turn to  the  choir,  he  acquitted  himself  by  no 
means  to  the  satisfaction  of  hLs  father,  who,  for  a 
time,  withdrew  him,  for  the  purjiose  of  his  re- 
ceiving further  instruction.  He  was  now  placed 
under  the  care  of  a  master  as  mild  as  the  other 
had  been  severe.  'When  his  father  rejjlaced  him 
in  the  choir,  his  improvement  both  in  singing  and 
playing  was  found  to  have  been  very  great.  The 
tirst  time  he  sang  in  the  choir,  the  orchestra,  de- 
lighted with  hLs  voice,  and  fearing  to  lose  the 
sound  of  it,  was  reduced  to  the  pianissimo  ;  the 
children  of  the  choir  drew  back  from  respect ; 
almost  all  the  canons  left  their  seats,  and  were 
deaf  to  the  bell  that  announced  the  elevation  of 
the  host.  AU  the  chapters,  all  the  city,  all  the 
actors  of  the  Italian  theatre,  applauded  him,  and 
the  savage  master  himself  took  him  by  the  hand, 
and  told  him  that  he  would  become  a  musician 
of  great  eminence.  Some  little  time  afterwards, 
his  voice  began  to  break.  It  would  then  have 
been  prudent  to  have  forbidden  his  singing  ;  but 
this  not  being  done,  a  spitting  of  blood  came  on, 
to  which,  on  any  exertion,  he  was  afterwards 
subject.  Xot  long  subsetjuently  to  this,  he  was 
placed  under  the  care  of  Sloreau  ;  but  such  was 
the  exuberance  of  hLs  genius,  that  he  had  previ- 
ously attemptctl  several  of  the  most  com|>licated 
kinds  of  music.  He  has  him.scLf  stated,  that  one 
of  the  first  things  he  did  was  to  carry  hLs  master 
a  mass,  which  he  had  just  completed.  "  Stay, 
stay,"  said  Moreau;  "  you  proceed  too  fa.st ;  "  at 
the  same  time,  returning  to  the  young  composer 
hLs  score  without  looking  at  it,  he  \NTOte  down  on 
a  slip  of  paper  five  or  six  semibrcves.  "  Write," 
says  he,  "  a  treble  to  this  bass,  atd  ihow  it  mo 
to-morrow,  but  attempt  no  more  ma.sscs."  (jn>- 
try  withdrew,  a  little  humbled,  RO)-ing  to  himself, 
"  My  father  was  right  in  thinking  my  late  master 
too  indulgent."  He  carrie<l  Moreau  the  bass  the 
next  day,  ornamented  with  throe  or  four  trebles. 
"  You  still  proccetl  too  fast,"  he  cxclnime<l ;  "  I 
only  a.sked  for  note  against  note  to  this  Itasii." 
Oretry  could  not  restrain  his  musical  irapotuos* 
ity.  "  Sir,"  said  he,  "  I  had  a  thoitsnnd  musical 
ideal  in  my  head,  and  was  ea.;er  to  make  use  of 
them."  "  /)o»u'/iM.i  mfiisruni,  in  contrary  motion," 
said  his  master  ;  "  that  is  the  way  the  jiarts  should 
move."  Circtry  then  quitted  him,  sapug  to  him* 
self,  "  I  hare  leaniMl  uothing  hj  these  two  Im* 


U 


346 


(J  IJ I^, 


EXCYCLOP.-EDIA    OF    MUSIC. 


G  II 


sons ;  Init  let  us  go  on  gently."  Yet  he  could  uot 
help  Miilibling.  He  next  composed  sL\  sympho- 
nies, whicli  were  successlully  executed  in  the  city, 
llasler,  the  canon,  begged  him  to  let  him  caiTj' 
thcni  to  the  concert,  encouraged  him  greatly,  ad- 
vised him  to  go  to  Komo  in  order  to  pursue  his 
6tudie-i,  and  oHcrcd  him  his  purse.  His  ma.'iter  m 
composition  thought  this  httle  success  would  be 
mischievous  to  Grctry,  and  prevent  him  from  pur- 
suing that  regular  course  of  study  so  necessary 
to  his  becoming  a  sound  contrai)uiitist.  He  never 
even  mentioned  his  sj-mphonies.  (jretry  walked 
to  Kome,  in  the  early  part  of  17.59,  being  then 
only  eighteen  years  of  age.  Here,  in  order  that 
iiis  genius  might  be  as  much  unfettered  as  jjossi- 
ble,  he  studied  under  severnl  ma.sters,  and  almost 
every  day  visited  the  chuiches,  in  order  to  hear 
the  music  of  Casali  and  Lustrini ;  but  particu- 
larly that  of  the  former,  with  which  he  was 
greatly  deliglited.  The  ardor  with  which  he  jjur- 
Eucd  his  studies  was  so  great,  that  it  suffered  him 
to  pay  but  little  attention  to  his  health,  which, 
conseiiuently,  became  so  much  impaired,  that  he 
was  obliged,  for  a  time,  to  leave  Koine,  and  retire 
into  the  country.  One  day,  on  Mount  Melini, 
he  met  a  hermit,  who  gave  him  an  invitation  to 
Lis  retreat,  which  he  accepted,  and  became  his 
inmate  and  companion  for  three  months.  He 
then  returned  to  Rome,  and,  young  as  he  ^vas, 
distinguished  himifclf  by  the  composition  of  an 
interiiiizzo,  entitled  "  Le  Vendentiatrice."  HL> 
success  was  so  decisive,  that  he  was  very  near 
suffering  fatally  from  the  jealousy  of  a  rival  in 
Lis  prolession.  Admired  and  courted  in  the  capi- 
tal of  Italy,  Grctry  here  continued  his  labors  and 
his  studies  with  assiduity  and  perseverance,  till 
M.  Mellon,  a  gentleman  in  the  suite  of  the  French 
ambassador,  incited  in  him  a  desire  to  visit  I'aris. 
In  his  way  to  this  city,  in  1767,  he  stopped  at 
Geneva,  and  composed  there  his  first  French 
opera  of  "  Isahelle  et  Gcrtriuk,"  which  was  so  suc- 
cessfid,  that  he  was  called  for  after  the  perform- 
ance. It  was  some  time  before  Grctry  could 
obtain  in  I'aris  a  piece  to  compose ;  and  he  was 
first  introduced  to  public  notice  there  in  1728,  by 
writing  the  music  to  Marmontel's  opera  of  "  1^ 
Huron."  This  was  received  with  the  most  flat- 
tering applause.  The  opera  of  "  Liici/e "  fol- 
lowed, which  was  even  more  successful  than  the 
former.  His  fame  was  now  established  in  France, 
and  he  produced  nearly  si.xty  comic  opera.s  for 
the  great  Opera  House  in  Paris.  Of  these,  "  Ze- 
niirei't  A:or,"  and  "  Itic/uml  Vintr  de  IJon,"  have 
been  translated,  and  successfully  brought  on  the 
English  stage.  The  ta.ste  of  the  Parisians  tended 
greatly  to  corrupt  that  of  Grctry,  but  he  has  done 
much  towards  improving  theirs.  They  have  met 
about  half  way,  and  perhaps  the  genius  of  the 
French  language,  the  style  of  singing,  and  the 
national  prejudices,  even  if  he  had  detcnnined 
to  continue  inflexible,  could  not  have  admitted 
of  a  nearer  approximation  than  we  find  in  liis 
music.  Sacchini  has  been  known  to  say  of  Grfc- 
try,  that  he  remembered  him  at  Naples,  where  he 
regarded  him  as  a  young  man  of  great  genius, 
who  wrote  as  much  in  the  style  of  that  school  as 
even  any  of  the  Italian  masters  ;  but  when  ho 
heard  liis  comic  operas  at  Paris,  many  years  after- 
wards, he  did  not  find  that  he  wa.s  much  im- 
uroved  by  composing  to  French  words,  and  for 
jFrcnch  singers.  Grctry  died  at  Montmorency  in 
1813. 


GRETUY,  ilLLE.  LUCILE,  second  daugh 
ter  of  the  jjreceding,  comjiosed  the  music  of  tht 
Italian  comedy  of  "  Le  Markiijc  d' Antonio,"  in 
178G.  She  afterwards  produced  the  opera  of 
"  Louise  el  Toiiiette,"  performed  in  1787. 

GRETSCH.  Violoncellist  at  the  chapel  of  th« 
Prince  of  'ITiurn  and  Taxis,  at  liiitLsbon.  Hi 
composed  much  music  for  his  instrument,  which 
is  considered  excellent  in  its  kind.  He  died  ii: 
1784. 

GREVILLE,  Rev.  R.  An  Enghsh  amateur 
composer  of  glees  and  other  vocal  music.  Hi:i 
glee,  "  Xow  the  bright  moniing  star,"  is  a  higlilj 
celebrated  composition  in  that  style.  His  com- 
positions appeared  about  the  year  1787. 

GRIESIJACII,  JOHN  HENRY,  eldest  sou  cf 
a  German  musician  in  the  service  of  George  III. 
of  England,  was  born  at  New  Windsor,  in  1798 
At  the  age  of  eight  his  father  placed  him  under 
his  uncle,  G.  L.  J.  Griesbach,  to  be  ir-structed  in 
the  theory  of  music  and  the  piano-forte.  Ho 
jierformed  before  their  majesties  for  the  first  time 
in  1810,  being  then  twelve  years  old,  and  in  the 
following  year  was  appointed  pianist  to  her  ma-- 
jesty,  and  had  the  honor  of  playing  a  solo  piece 
for  tlie  piano-forte  every  night,  at  her  majesty's' 
private  concerts.  This  lionor  he  enjoyed  till  the 
demise  of  her  majesty ;  when,  wishing  to  have 
the  advantage  of  instruction  from  Knlkbreni\er, 
which  he  had  previously  obtained  at  different 
periods,  for  about  a  month  each  time,  he  went  to 
London,  and  resided  with  him,  where  he  had 
also  the  great  advantage  of  improving  by  con- 
stantly hearing  the  extraordinary  performance  of 
that  great  master.  The  following  is  a  list  of  .1. 
H.  Griesbach's  works,  pubUshed  up  to  the  thii- 
tieth  of  October,  1823  :  "  A  Quartet  for  Piano- 
forte, Violin,  Viola,  and  Violoncello,"  dedicated 
to  Mr.  Kalkbrenner ;  "  Two  Fantasias  for  the 
Piano-forte ;  "  "  Romance  for  the  Piano-forte  ;  " 
and  some  duets.  These  works  are  highly  sj)oken 
of  by  the  editor  of  the  "  Quarterly  Musiciil  Re- 
view." 

GRIFFIN,  GEORGE  CHARLES.  An  Eng- 
lish professor  of  music,  and  composer,  bom  at 
London  in  1770.  He  was  one  of  the  original 
members  of  the  I'hilharmonic  Society.  Some  of 
the  instrumental  compositions  of  thus  gentleman 
are  of  a  very  superior  order,  especially  "  A  Quar- 
tet for  two  Violins,  Tenor,  and  Violoncello," 
which  was  performed  at  the  British  conceits,  and 
highly  appreciated  there. 

GRILL,  FRANZ.  A  German  composer  of  in- 
strumental music,  published  at  Offenbach  and 
Vienna,  between  the  years  1790  and  1795,  in 
which  year  he  died. 

GRILLO,  NICOLO.  An  Italian  composer  of 
vocal  music  about  the  year  1750.  His  cantatas 
were  much  admired. 

GRIMAREST,  J.  L.,  a  French  musician,  pub- 
lished, about  the  year  1707,  a  work  entitled 
"  Traiti  dii  Ricitatif."  He  Ls  believed  to  have 
died  about  the  year  1713. 

GRIMM.  HEINRICH,  singer  at  Magdcbur?, 
and  subseijuently  at  Drunswick,  in  the  bcginniii); 
of  the  seventeenth  century.  He  wrote  maa< 
musical  works,  also  luuch  sacred  mutiic. 


34G 


GRI 


EXCYCI.Or.KDIA    OF    MUSIC. 


OUi 


GRIMM,  FREDERIC  MELCHIOR,  cominon- 
Iv  called  the  "  Uaroa  Griium,"  wan  bom  at  Rnt- 
ishon  ill  172:i.  He  went  to  I'arLs  in  1747,  be- 
came attacJiod  to  the  literiuy  and  philosoijhical 
coteries  there,  and  an  associate  of  Rousseau.  He 
was  deeply  interested  in  music  and  the  tine  arts 
generiiUy,  and  wrote  much  about  them.  He  was 
a  li'iend  of  (irctry,  and  aided  Gluck's  tlramatic  re- 
form greatly  by  liis  writings;  lience  the  Parisians 
hold  iiis  memory  in  honor.  He  died  at  Gotha  Ln 
1807. 

GRISI,  JULIA,  or  GIULIETTA.  This  great- 
est Itidian  dramatic  sinijcr  since  the  day  of  Mal- 
ibran,  is,  according  to  one  account,  the  oldest  of 
the  two  nieces  of  the  celebrated  Grassini,  (both 
gre^^  singers,)  and  was  bom  on  the  28th  of  July, 
1811,  'It  Milan.  FotLx,  however,  places  her  birth 
in  1812,  and  that  of  her  sLster  (sec  below)  in 
1805.  At  all  events,  Julia  is  the  Grisi  for  years 
past  in  every  one's  mouth,  and  who  has  become 
80  identified  with  Iiellini"s  Norma,  as  to  be  often 
called  "  the  Diva."  She  commenced  her  musi- 
cal education  in  her  native  city ;  afterwards  her 
vocal  studies  were  directed  by  th.e  com])oser 
Marliani.  Alter  a  dibut  of  no  great  mark  in  Ita- 
ly, slie  arrived  in  Paris  in  18:52,  and  a])i)eared  for 
the  tirst  time  on  the  16th  of  October  of  that  year, 
in  the  r(')le  of  Semiramide,  (Rossini's.)  Ilie  reg- 
ular beauty  of  her  features,  the  truth,  flexibility, 
and  compass  of  her  voice  made  her  success  cer- 
tain from  the  tirst,  although  there  were  marks  of 
inexperience  in  her  singing.  Success  did  not 
bUncl  her  to  the  necesyity  of  further  persevering 
studies  ;  her  jjrogress  was  rapid,  and  she  grew  in 
public  favor  day  by  day.  Several  operas,  partic- 
ularly licllini's  "/  Puritaiii,"  were  written  at 
Paris  for  this  young  cnntatrice ;  in  that  she  cre- 
ated an  enthusiastic  partiality  for  the  singing  "  a 
ilemi-roijr,"  of  which  she  made  fTe<iuent  use.  For 
five  years  after  tliLs  she  sang  alternately  in  Paris 
and  Loudon.  In  18;i<i  she  married,  in  London, 
a  very  wealthy  Frenchman,  by  the  name  of  Au- 
gust Ciiraud  de  Meley  ;  but  in  the  world  of  art 
she  has  always  retained  the  name  of  (Jrisi,  and 
resided  for  years  alternately  in  London  and  on 
her  husband's  estate  between  St.  Cloud  and  Ver- 
sailles. For  dramatic  intensity  and  grandeur  in 
those  ports  which  she  has  made  peculiarly  her 
own,  she  is  the  most  celebrated  prima  donna  of 
the  day.  She  is  the  universally  ([noted  type  of 
what  the  lovers  of  Italian  opera  call  pa.ision  in  a 
suiger.  St.  Petersburg  and  the  other  European 
capitals  have  also  Ikcu  the  scenes  of  her  tri- 
umplis.  At  the  date  of  this  article  a  concert 
tour  ot  Grisi,  with  the  tenor  Mario,  is  soon  ex- 
pected in  the  United  States. 

GRISI,  JUDITH,  or  (JIUDITTA,  si-ster  of 
the  preceding,  was  bom  about  the  year  1812, 
(some  say  180o,)  at  Milan.  She  entered  the  Con- 
8er\'atory  there  at  au  early  age,  and  received  les- 
pons  tirst  from  Minoja,  and  aftcrvvards  from 
Randerali.  Her  voice,  a  mcz/o  soprano,  hard 
and  iutlexible,  refpiired  great  study  to  produce 
an  eciuulity  that  never  was  (juite  sotisfactory. 
For  thLs  she  made  up  by  her  energetic  musical 
and  dramatic  feeling.  Her  first  dihiU.i  were  in 
the  concerts  of  the  Milan  Conservatory.  After- 
wards she  sang  in  Vienna,  in  the  "  Ilianrn  r  Fa- 
Hero  "  of  Rossini,  and  was  at  once  cla.s>cd  among 
the  distinguished  artists.  Returning  to  Italy, 
the  sang  at  Milan.  I'anua,  Florence,  Genoa,  and 


Venice.  In  this  last  city  Bellini  wrote  for  hct 
the  part  of  Romeo  in  "  /  CapnUti."  In  18:i2  she 
appeared  in  Paris  in  "  La  S/ratn'cra  "  with  liitle 
eti'ect ;  but  her  Romeo,  and  her  Malcolm  in  the 
"  Dmna  del  Ltiyo,"  placed  her  in  a  more  favora- 
ble light.  In  18.3;i  she  returned  to  Italy,  and 
since  then  married  Count  Rami.  She  died  in 
1810,  at  her  husband's  villa  in  Robeceo,  (prov- 
ince of  Lodi, )  leaving  a  large  property. 

j  GROEXEMANX,  ALRERT,  born  at  C.logue, 
was  organist  and  composer  at  the  great  chiu-ch  of 
the  Hague  about  the  year  1750.  In  1739  he 
resided  at  Leyden,  where  lie  was  esteemed  a  good 
I  violinist.  He  ])ublished  at  that  time  muiJi  music 
j  for  the  \nolin  and  Hute.  About  the  year  1700  lie 
became  insane,  and  died  some  years  afterwards  iu 
contincmcut. 

GROEXEMAXX,  JOHAXX  FRIEDRICH, 
brother  to  the  preceding,  residetl,  about  the  yeai 
1761,  at  Amsterdam,  and  publLshed  there  and  at 
London  some  compositions  for  the  flute,  &c. 

ORGS,  A.  J.,  published  at  Paris,  in  1783,  his 
I  fifth   work,  containing  airs  for  the  harpsichord 
and  harp. 

GROSE,  an  organist  at  Copenhagen,  pub- 
lished some  pleasing  vocal  and  instrumental  mu- 
sic between  the  years  1780  and  1792. 

GROS  FA.  The  name  formerly  given  to  cer- 
tain compositions  of  the  church,  which  were 
written  in  square  notes,  eemibrcvcs,  and  minuns. 

GROSHEIM,  GEORG  CimiSTOPH.  A  Ger- 
man musician,  boni  at  Hesse-Cassel  in  17iM.  He 
has  composetl  much  vocal  and  instrumental  mu- 
sic, some  of  wliich  is  for  the  organ,  between  the 
years  1790  and  1800. 

GROSSE.     (G.)    Major,  in  regard  to  iiitcr>''al8. 

GROSSE  C.USSE.     (F.)    The  great  drum. 

GROSSE  SOXATE.     (G.)     Grand  sonata. 

GROSSE,  SAMUEL  DIETOICII.  A  cele- 
brated German  violinist  and  composer  for  hLs  in- 
strument. His  playing  was  much  admired  at 
Paris  in  1780.  He  died  in  1789,  at  the  early  age 
of  thirty-two.  His  compositions  were  published 
by  Imbault  in  Paris. 

GROSSE,  Sen.  An  excellent  violinLst,  in 
the  se^^•ice  of  the  prince  royal  of  Pmsia  in  1779, 
and  at  the  C'hapel  Royal  of  Rerlin  in  1790.  He 
waa  a  pupil  of  Lulli,  and  published  some  musij 
for  his  instrument. 

GROSSE,  II.,  eldest  son  of  the  preceding,  was 
a  violoncello  pupil  of  Duport,  and  was  professor 
of  his  instrument  at  the  Chapel  Royal,  llerlin. 
He  has  publLshed  some  instrumental  music.  Ilia 
younger  brother  wos  second  hauttxty  at  the  saice 
theatre. 

(JROS.SE,  WILLI.VM  LEOPOLD.  wa.s  horn 
in  Dessau,  the  capital  of  .Vnhalt,  in  Upper  Sax- 
ony. His  father  wa«  an  officer  of  the  fnrvsts  be- 
longing to  the  dukedom  of  Anhalt- Dessau,  and 
intended  his  son  WilUara  for  the  same  businem, 
which  his  activity  of  mind  and  body  particulnrW 
adapted  hira  for.  Having,  as  a  child,  a  great 
pre<lilection  for  music,  his  father  allowed  him  tc 
learn  the  piano-forte  an<l  French  honi,  to  whick 
I  he  was  much  induced,  by  the  facility  of  procur 


317 


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ENCYCLOPAEDIA    OF    MUSIC. 


GRU 


big  excellent  teachers  from  among  the  many 
eminent  iirot'cssors  then  in  the  service  of  the 
reigning  clukc.  At  the  age  of  fifteen  W.  Grosse 
Icit  school,  and  assisted  his  father  till  about  the 
nge  of  nineteen,  when  he  was  cmi)loyed  by  the 
duke  as  surveyor  of  his  estates,  in  which  occu- 
pation he  continued  to  be  chiefly  employed 
during  six  years,  and  then  requested  his  dis- 
cliargo,  with  the  intention  of  establishing  himself 
in  a  music  wareliouse.  Scarcely  had  he  suc- 
ceeded in  liis  wishes  for  the  short  space  of  four- 
teen days,  during  which  he  had  opened  a  music 
sl'.o;)  at  the  University  of  Ilallc,  when  the  hiattle 
of  Jena  took  place,  and  the  French  army,  with 
Napoleon  at  their  head,  being  victoriovis,  entered 
Halle,  and  ordered  all  the  professors  and  students 
to  leave  the  town  within  twenty-four  hours. 
Grosse,  as  a  teacher,  was  included  in  this  order, 
and  his  prospects  in  business  were  in  consequence 
completely  blasted.  From  Ilalle  he  jiroceeded  to 
Uerhn,  where  he  lost  his  little  remaining  property 
in  an  unsuccessful  sjieculation  in  the  horse  trade, 
between  ]5erlin,  Wittenberg,  and  Lcipsic.  He 
was  now  reduced  to  the  necessity  of  entering  one 
of  the  (iennan  regiments  which  the  French  were 
then  raising,  and  in  less  than  six  months  was 
jjromoted  to  a  lieutenancy,  on  account  of  his  good 
conduct.  His  regiment  was  then  ordered  to 
Flushing,  where  he  narrowly  escaped  death,  and 
being  faikcn  prisoner,  was  carried  over  to  Eng- 
land. Soon  alter  this,  having  no  wish  to  rejoin 
the  Freiicli  eagle,  he  apjihed  to  serve  in  the  Ger- 
man legion  under  the  Duke  of  Cambridge,  but 
was  unsuccessful  in  his  application.  He  then  be- 
took liimself  again  to  music,  and,  alter  many 
severe  struggles  and  privations,  was  enabled  to 
form  a  connection  ui  England,  wldch  gradually 
led  to  extensive  business  as  a  teacher,  and  to  his 
permanent  settlement  in  Loudon,  where  he  pub- 
lished much  music  for  the  piano-forte,  also  many 
Bongs. 

GROSSI,  ANDREA,  a  violinist  and  com- 
poser for  his  instrument,  in  the  service  of  the 
Duke  of  Mantua,  in  1725,  published  sonatas  for 
two,  three,  four,  and  five  instruments. 

GROSSO.  (L)  Great,  grand,  full;  as,  con- 
cert grosso,  a  concerto  for  many  instruments. 

GROTri,  ANTONIO.  A  dramatic  composer 
at  Vicenza  in  the  year  1800.  His  compositions 
for  the  theatre  and  chamber  are  much  approved 
ill  Italy. 

GROUND.  The  name  of  any  composition  in 
which  the  biuss,  consisting  of  a  few  bars  of  inde- 
pendent notes,  is  perpetually  rei)eated  to  a  con- 
tinually varying  melody  ;  as  in  furcel's  ground, 
Pepusch's  ground,  &c. 

GROUP.  A  word  fonnerly  applied  to  a  cer- 
tain kind  of  diminution  of  long  notes,  by  break- 
ing theiu  into  smaller  ones  for  tlie  purpose  of  em- 
bellishment ;  which  ojieration  formed  of  one  note, 
or  knot,  a  group  of  notes.  Group  is  now  applied 
to  notes  of  less  value  than  the  crotchet,  when 
Bung  to  one  syllable ;  for  they  are  there  grouped, 
or  tied  together,  by  their  hooks  or  blocks,  thus  :  — 


The  term  gropjx),  or  group,  was  formerly  limited 


to  those  passages  of  four  notes  in  wldch  the  first 
and  thii'd  were  on  the  same  degree,  and  the  sec- 
ond with  the  fourth  a  degree  higher  and  lower. 

GRUA,  FRANZ  PAUL  VON.  Counsellor  to 
the  Elector  of  Uavaria,  and  chapel-master  at 
Munich  in  1780,  at  the  time  when  that  chaije* 
was  in  the  zenith  of  its  glory. 

G  RUBER,  GEORG  WILHELM.  Born  at  Nu- 
remberg in  1729.  At  seven  years  of  age  he  was 
chorister  at  the  cha])el  of  that  town.  At  eigh- 
teen he  sang  with  much  ai)|)lause  at  Frankfort, 
Leipsic,  and  Dresden.  In  17.50,  on  hLs  return  to 
Nuremberg,  he  was  elected  member  of  the  chap- 
el there,  and  made  chapel-master  in  176.5.  Gru- 
ber  comjiosed  much  sacred  and  other  music.  He 
died  at  Nuremberg  in  1796. 

GRUBER,  JOH  ANN  SIEGMUND,  son  of  the 
preceding,  and  doctor  of  laws  at  Nuremberg, 
published  there,  in  178.3,  a  Gennan  work  in  oc- 
tavo, entitled  "  Literature  of  Music,  or  Means  of 
knowing  the  best  Musical  Works."  In  178.5,  he 
also  published  "  Bcytrage  zur  Litcratur  cler  Mu- 
sik."  It  is  an  alphabetical  catalogue  of  authors. 
Likewise,  among  otlier  choice  works,  "  liiogm- 
p/iun  einiger  Toiikutistler,  ein  Deytrag  zur  Miisika-' 
lUchen  gelehtien  GeschickU,"  Frankfort  and  Leipsic, 
1786. 

G RUBER,  JANN,  a  celebrated  musician  at 
Nui-emberg,  was  born  at  Simitz,  in  Carinthia,  in 
1693. 

GRUND,  CIIRISTLVN,  harpist  at  the  court 
of  Wurtzburg,  was  born  at  Prague  in  1722.  He 
was  considered  one  of  the  greatest  masters  on  his 
instrument. 

GRUNDIG,  JOIIANN  Z.  Tenor  singer  at 
the  Chapel  Royal,  and  afterwards  at  the  school 
of  .St.  Croix,  at  Dresden,  in  171.3.  He  died  at 
Dresden  in  1720.  He  was  Graun's  first  master 
in  vocal  music. 

GRUNDSTIMME.     (G.)    The  bass. 

GRUNDTON.     (G.)    The  bass  note. 

GRUNER.  Nj^THANLEL  GOTTFRIED, 
singer  and  director  of  music  at  the  Gj-mnasium 
at  Gera,  in  Saxony,  was  considered  among  the 
best  German  composers.  He  composed  much 
sacred  and  instrumental  music,  published  at 
Lyons  and  Lcipsic.  Gruner  lost  aM  his  jiroperty 
by  a  fire  which  hai>peucd  at  Gera,  and  nearly 
consumed  the  whole  town,  in  17S1.  On  th'it  oc- 
casion, he  published  six  sonata.s  at  Leipsic,  by 
subscription,  and  soon  got  nearly  fourteen  hun- 
dred subscribers.     He  died  in  1795. 

GRUPPO,  or  GRUPETTO.  (I.)  A  word 
formerly  used  by  the  Italians  to  signify  a  trill, 
or  shake  ;  brought  into  England,  together  with 
that  embellishment,  about  the  middle  of  the 
seventeenth  century.  The  grupetto  Ls  never  ex- 
pressed by  any  sign,  but  re<iuires  the  notes  to  be 
written  as  in  example  1 ;  or  it  is  placed  bel'ore  the 
first  note  of  a  i)lirase,  instead  of  between  two 
notes  of  a  passage,  as  at  example  2. 


348 


ENCYCLOP.'EDIA    OF    MUSIC. 


OU^ 


G,  THE  TUERLE  CLEF  NOTE.  The  ninth 
above  the  F,  or  bass  clef  note,  and  the  fifth  above 
the  C  clef  note. 

(JT'ADAGXI,  GAETANO,  of  Vicenzn,  wont 
to  Euf^land  in  174H,  at  an  early  [K-riod  of  liis  lilo, 
as  serious  man  in  a  burlctta  trouj)  of  singers. 
His  voice  was  then  a  full  and  well-tonetl  coun- 
ter tenor  ;  but  he  was  a  wild  and  careless  sinj^r. 
He  attracted,  bowever,  the  notice  of  Handel,  who 
assifjncd  bini  the  parts  in  his  oratorios  of  "  Sara- 
hon  "  and  "'n\e  Messiah,"'  which  had  l)oen  ori'.;i- 
nally  composed  for  Mrs.  Cibber.  Durini;  his  first 
residence  of  about  four  or  live  years  in  Kn-jland  he 
was  more  noticed  in  sin;;ing  Enjjlish  than  Italian. 
He  quitted  London  about  the  year  IToIt.  In  17o4 
he  was  at  Lisbon,  as  second  serious  man  luider 
(ii/ziello ;  and  in  17.)5  very  narrowly  esca]icd 
destruction  during  the  earthquake.  .Vfter  this 
dreadful  calamity,  (Jizziello,  seized  with  a  fit  of 
devotion,  retire<l  into  a  monastery,  wl-.ere  he 
spent  the  remainder  of  his  life.  Having  a  friend- 
ship for  Guadaijni,  and  beins;  pleased  with  his 
voice  and  quickness  of  parts,  he  persuaded  the 
youm;  singer  to  accompany  him  in  his  retreat, 
where,  for  a  considemble  time,  he  took  great  pains 
in  directing  his  studies  ;  anil  it  is  from  this  period 
that  (iuadagni's  reputation  as  a  refined  and  ju- 
dicious siu'^er  may  be  dated.  His  idea.s  of  acting 
were  iiubibetl  much  earlier  fron\  Garrick,  who, 
when  he  performed  in  an  English  opera  called 
"The  Fairies,"  took  no  less  pleasure  in  forming 
him  as  an  actor,  than  Gizziello  did  afferwanLs  in 
polisliiiig  his  style  of  singing.  After  quitting 
l'ortu:;al,  he  acquired  great  reputation  as  first 
man  in  all  the  principal  theatres  in  Italy,  and, 
the  year  before  his  return  to  Englaiul,  excited 
great  admiration  by  hLs  talents,  as  well  as  dw- 
turbance  by  his  cnjirice,  at  Vienna.  HLs  figure 
was  uncommonly  elegant  and  noble  ;  hLs  co\inte- 
nancc  replete  with  beauty,  intelligence,  and  dig- 
nity ;  and  his  attitudes  and  gestures  so  graceful, 
that  tboy  would  have  been  excellent  studies  for  a 
painter  or  statuary.  But  though  his  manner  of 
singing  was  perfectly  delicate,  polLshed,  and  re- 
fined, his  voice  seemed  at  first  to  disappoint  every 
heanr.  'ITiose  who  remembered  it  when  he  was 
before  in  England  found  it  comparatively  thin 
and  feeble.  For  he  had  now  changed  it  to  a  so- 
prano, and  extended  its  compass  from  six  or 
seven  notes  to  fourteen  or  fifteen  ;  and  let  a  fluid 
of  six  feet  in  depth  be  spread  over  more  than 
double  its  nsual  surface,  it  will,  of  necessity,  be 
shallower,  though  of  great  extent.  The  music 
he  sanj  was  the  most  simple  imaginable  ;  a  few 
notes  with  fi-ei^uent  pauses,  and  opportunities  of 
heim;  liberated  from  the  composer  and  the  hand, 
were  all  he  wanted.  And  in  these  seemingly  ex- 
temporaneous effusions  he  i)roved  the  inherent 
power  of  melody  totally  divorced  from  harmony, 
and  unassiste<l  even  by  unisonous  accompani- 
ment. Those  who  were  surprised  at  such  great 
effects,  from  causes  apparently  so  inconsiderable, 
in  analyzing  the  pleasure  he  communicate<l  to 
the  audience,  dLscovered  that  it  chiefly  arose  from 
his  artful  manner  of  dimijiishing  the  tones  of  his 
voice,  like  the  dj-ing  notes  of  the  ^Eolian  harp. 
Other  singers  captivated  by  a  swell  or  mezzo  di 


voce ;  but  Guftdngni,  after  beginning  n  note  or  ])a.v 
sage  with  all  the  force  he  could  safely  exert,  fined 
it  off  to  a  thread,  and  gave  it  the  entire  etiict  of 
extreme  distance.  And  though  ncitlier  his  voi(8 
nor  execution  contributed  much  to  charm  or  ex- 
cite astonishment,  he  had  a  strong  party  in  Eng- 
land of  enthusiastic  admirers  and  adherents,  of 
whom,  by  personal  quarrels  and  native  cajjrice, 
he  contrived  to  diminish  the  number  very  con- 
siderably before  his  departure.  He  had  strong 
resentments,  and  high  notions  of  his  own  im;ior- 
tance  and  profession,  which  disgusted  many  of  his 
wannest  friends,  and  augmentwl  the  malice  of 
his  enemies,  'llie  serious  ojjeros  in  which  he  per- 
formed, during  the  season  of  IT'iO  and  1770, 
were  "  (Vimpinrlr,"  a  jHistircin,  chiefly  by  I'iccini ; 
"  Ezin,"  hy  (iuglielmi;  and  "  Orfit),"  by(ilu<k 
In  this  last  admirable  drama,  his  attitudes,  ac- 
tion, and  impa.ssioneil  and  exipiisite  manner  of 
singing  the  simi>le  and  ballad-like  air,  "  f'/ia 
ftiro,"  aciiuired  him  very  grtmt  and  just  applause ; 
out  in  the  zenith  of  public  favor,  by  l-.is  private 
difference  with  the  honorable  Mr.  llobart,  at  that 
time  patentee  of  the  Opera  House,  concerning  a 
suppose<l  affront  put  upon  his  sister  in  favor  of 
Zamparini,  together  with  liis  determined  spirit  in 
supporting  the  dignity  and  propriety  of  his  <lra- 
raatic  character,  by  not  bowing  when  applauded, 
or  destroWng  all  theatrical  illusion  by  returning 
to  repeat  an  air  when  encored  at  the  tennina- 
tiou  of  an  interesting  scene,  he  so  greatly  of- 
fended individuals,  and  the  opera  audience  in 
general,  that  at  length  he  never  appeared  without 
being  hissed.  His  enemies,  knowing  him  to  be 
passion's  slave,  fre<iuently  began  an  cmx/re,  with 
which  they  knew  he  would  not  comply,  on  piir- 
])ose  to  enrage  the  audience.  Guadagni  was  al- 
lowed to  be  the  first  billiard  player  in  Europe; 
but  hLs  antagonists,  discovering  his  irritability, 
used,  when  jilaying  for  large  sums,  to  dis])ute  as 
unfair  something  that  was  clearly  otherwise,  by 
which  he  was  so  agitated,  as  not  to  be  a  match 
for  a  child.  lie  quitted  England  for  the  la.st 
time  in  the  summer  of  1771. 

GUADAGNI,  .SIGNOIIA,  wife  of  the  prcced- 
i  ing,  was  a   celcl)rated   Italian   singer,   and   per- 
formed at  the  opera  in  London  between  the  years 
1759  and  1770. 

GI'AJETTA,  GIOV.  A  celebrated  Venetian 
female  singer,  about  the  j-ear  1750.  She  was  the 
wife  of  the  tenor  singer  Babbi. 

GUALANDI,  MARGAREITA,  called  CTAM- 
POLI.  A  celebrated  Venetian  singer  in  the  ser- 
vice of  the  Landgrave  of  Hesse- Darmstadt,  about 
the  year  1710. 

GUAMI,  GIUSEPPE,  organist  at  Lucca,  jiub- 
lishcd,  about  1.5S'>,  many  motets,  and  was  a  cele- 
brated performer  on  the  violin. 

GUARDASONI,  DOMENICO.  An  ItaUan 
dramatic  composer.  He  was  manager  of  tlie  Ital- 
ian opera  at  Prague  and  Leipsic.  He  died  in 
1806  at  Prague. 

GUARDUCCl,  TOMMASO,  of  Montefia-srone, 
one  of  the  greatest  singers  of  Italy,  was  a  jiupil  of 
Bemachi.  He  flourished  about  the  year  17.iO. 
Guarducci  sang  at  the  opera  in  I,ondon  during 
several  seasons,  commencing  with  that  of  17i>7. 
The  tide  of  prejudice  ran  high  against  him  on  hi* 
first  appearance  in  Londor  ;  but  he  had  the  goo4 


349 


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ENCYCLOP.'EDIA    OF    MUSIC. 


CUE 


sense  to  discover,  before  it  was  too  Into,  that  a 
Hiugor  x-nnnot  captivate  the  Englisli  by  tricks  or 
iliKtrumciital  execution  ;  and  many  years  alter- 
■ward.f,  ho  told  Dr.  Hurney,  that  the  gravity  of 
English  taste  had  been  of  iutiiiite  service  to  liim. 

GUAllXEllIUS,  ANDREA,  of  Cremona. 
Born  about  1G30,  a  Celebrated  ranker  of  violins, 
and  pupil  of  Amnti.  Most  of  hLs  instruments  are 
defined  thus  :  "Andreas  Gunrneriua  fecit  Cremonee 
rub  titulo  fsineta;  Teresa;  1680." 

GUAIIXERIU.S,  PIETKO,  son  and  pupil  of 
the  preceding,  was  also  born  at  Cremona,  about 
1670.  The  violins  which  he  made  in  his  native 
city  hoar  dates  anterior  to  1700.  After  that 
time  he  removed  to  Mantua.  His  violins  ai'e  in- 
ferior to  those  of  hLs  fatlier  in  brilliancy  of  tone, 
yet  they  often  sell  for  1000  to  1200  francs. 

GTARXERIUS,  GIUSEPPE,  nephew  of 
Pietro,  was  born  at  Cremona,  and  the  most  cele- 
brated of  the  musical  instrument  makers  of  that 
name.  He  is  said  to  have  studied  vnth  Stradi- 
varius.     His  violins  sell  for  2000  to  3000  francs. 

GUEXEE,  LOUIS,  born  at  Cadiz  in  1781, 
was  one  of  the  principal  violins  at  the  grand 
opera  at  Paris.  He  was  a  pupil  of  Rode.  Gue- 
n6e  published  several  works,  containing  "  Dxiets 
for  the  Violin,"  "Two  Trios,"  "A  Volume  of 
Quartets,"  "A  Concerto,"  &c. 

GUEXIX,  A.,  formerly  first  violin  at  the 
grand  opera  at  Paris,  and  afterwards  in  the 
eervice  of  the  King  of  Spain,  was  born  at  Lan- 
drecias,  about  the  year  174.5.  He  was  a  pupil  of 
Gavinie,  and  has  published  much  music  for  his 
uistruraent. 

GUEXIX,  MADEMOISELLE,  of  Amiens, 
composed,  at  the  age  of  sixteen,  the  music  of  the 
opera  of  "  Dapknis  et  AmattMe,"  which  was  gen- 
erally admired. 

GUERILLOT,  H.,  member  of  the  Conserva- 
tory at  Paris,  and  of  the  grand  opera  band.  He 
was  a  good  violinist,  and  composed  some  con- 
certos for  the  violin,  some  of  which  were  pub- 
lished at  Lyons  in  1782. 

GUERIXI,  FRAXC.  Of  Xnples,  chamber 
violinist  in  the  service  of  the  Prince  of  Orange, 
between  the  years  1740  and  17C0.  He  composed 
some  instrumental  music.  Guerini  resided  for 
some  years  in  London. 

GUERRE,  ELIZABETH  CLAUDE  JAC- 
QUE'lTE  DE  LA,  a  female  musician,  the 
daughter  of  Marin  de  la  Guerre,  organLst  of  the 
chapel  of  St.  Gerv-ais,  in  Paris,  was  born  in  that 
city  in  1669,  and  instructed  in  the  practice  of 
the  harpsichord,  and  the  art  of  composition,  by 
her  father.  An  oi)cra  of  her  composition,  en- 
was  represented  in 


by  joining  a  very  respectable  church  choir  in 
his  native  parish.  At  fourteen  years  of  age,  he 
pursued  with  increasing  ardor  hLs  musical 
studies,  and  soon  became  leader  of  tht  choir 
above  mentioned.  At  twenty-one  he  left  the 
country,  and  through  the  introduction  of  a 
friend  obtained  a  situation  in  business  in  Lon- 
don. There  he  determined  to  relinquish  his 
pursuit,  and  a|)i)ly  solely  lo  his  business  ;  but  on 
attending  Portland  chapel  one  .Sunday,  by  ac- 
cident, his  resolution  gave  way,  in  consequence 
of  again  hearing  the  music  in  which  he  had 
taken  so  much  delight  in  his  native  parish. 
From  this  moment  he  formed  a  part  of  this  ex- 
cellent choir,  at  that  time  so  justly  celebrated  in 
the  metropolLs.  He  now  lost  no  opportunity  of 
hearing  the  best  public  musical  performances  in 
London ;  and  after  a  five  yeara'  residence  there, 
an  advantageous  offer  presenting  itself,  he  be- 
came an  as.-istant  to  Henry  Bullen,  of  Bury  St. 
Edmunds,  in  which  place,  in  the  course  o:  a  few 
years,  he  set  up  business  for  himself.  Here, 
under  the  friendly  instructions  of  Frost,  the  then 
organist  of  St.  James's  paii.sh,  he  not  only  htecame 
a  i)erformer  on  the  organ,  but  also  gre.itly  im- 
proved his  musical  taste  and  acquirements. 
About  the  year  1705,  the  choir  of  St  Mary's 
Church  was  intrusted  to  Guest,  and  when  an 
organ  was  subsequently  erected,  he  became 
organist.  What  liad  been  in  early  life  merely  an 
amusement,  afterwards  became  his  sole  employ- 
ment ;  he  relin(iuL'<hcd  other  business,  and  de- 
voted himself  entiiely  to  the  organ,  and  the  in- 
struction of  private  pupils  in  music.  In  the 
midst  even  of  constant  emplo>Tnent,  he  found 
time  to  publish  "The  Psalms  of  David,"  arranged 
for  every  day  in  the  month,  many  of  the  la^t  old 
tunes  being  retained,  and  more  than  sixty  new 
ones  introduced.  To  thLs  work  was  prefixed  a 
short  introduction  to  singing  and  thorough 
bass.  Soon  afterwards  he  published  a  sort  of 
supplement  to  his  former  work,  entitled  "  Hymns 
and  Psalms,"  the  music  to  which  be  adapted 
and  composed.  In  addition  to  his  compositions 
in  sacred  music,  he  published  many  songs. 

GUEST,  GEORGE,  son  of  the  preceding,  was 
born  in  1771.  He  was  very  early  instructed  in 
the  rudiments  of  music  by  hLs  father,  and  man- 
ifested a  great  precocity  of  musical  talent  and 
cajjability.  ^^^len  no  more  than  two  years  old 
he  began  to  practise  the  diatonic  scale ;  at  tluee 
he  could  sing  "  God  save  the  king  ;  "  at  tive  he 
sung  in  public  at  St.  James's  Church,  Bury,  Han- 
del's song,  "He  shall  feed  his  flock,"  accom- 
panied by  a  fuU  band ;  at  seven  he  took  the  first 
treble  at  the  opening  of  the  organ  at  Stow  Market. 
Here  he  attracted  the  notice  of  Mr.  Taylor,  or- 
ganist of  Chelmsford,  by  whom  he  was  immedi- 
ately recommended   to    Dr.   Xares,   who,   after 


titled    "  Cf.phale  et   I'rocris,      -naa  x<;ij»c:itiin;^«  »ii     ,       :        ,         ,  ,  .         .  .•  tt      i  i- 

'       -  —     -     -  '      gjjg  jjgjj  I  hanng  heard  hun  smg  some  ol  Handel  s  inu:nc 


the  Royal  Academy  of  Paris,  in  1G94. 
in  the  year  1729. 

GUERREXO,  VIANA,  of  Seville.  A  cel- 
ebrated Spanish  musician  in  the  sixteenth  cen- 
tury. He  passed  the  greatest  part  of  his  life  in 
Italy,  and  composed  some  excellent  church 
music. 

GUEST,  RALPH,  was  born  in  the  year  1742, 
at  Basely,  in  Shropshire.  At  six  years  of  age  he 
began  to  discover  a  jiowerful  jiropensity  to  mu- 
sic, which  he  was  able  to  indulge  and  improve 


appointed  him  to  a  situation  among  the  boys  in 
the  King's  Chapel.  In  this  excellent  school  he 
made  great  proficiency  in  musical  knowledge, 
and  so  distinguished  himself  by  his  skill  in 
singing,  that  by  Dr.  AjTton,  who  succeeded  Dr. 
Xares,  in  conjiinction  with  Messrs.  Stanley  and 
Linley,  he  wa-s  brought  to  sing  two  songs  in  an 
oratorio  performed  before  his  majesty.  "  Upon 
this  occasion,  the  king,  who  was  an  excellent 
judge  of  music,  expressed  great  approbation,  and 
gave  commands  to  Stanley  flat  Master   Guest 


350 


GUO 


ENCYCLOPylUHA    OF    MUSIC, 


GUI 


(houkl  alwnys  Hin(»  two  sonf»s  in  the  succcediiiR 
oratorios.  At  the  oommcinointion  of  Ilniidcl  in 
1784,  young  (jiiest  Imvin^  obtiiiiied  the  situation 
of  juincipal  treble  singer  in  the  King's  Chniicl, 
linrtlomnn  enjo\-inf;  the  same  honor  at  We:->t- 
minstor  Abbey,  they  each  acquitted  themselves 
with  (jreat  credit  in  the  prominent  parts  which 
were  iissiijncd  thorn.  The  circumstances  of  these 
contemporaries  in  after  life  were  widely  differ- 
ent ;  liartleman  nc(iuircd  a  dcptroc  of  pni)uliinty 
whidi  (iucst  could  not  possibly  attain  In  1787, 
havim;  been  solicited  to  nccojjt  tlie  organ  nt  Eye, 
Sutlblk,  he  left  the  King's  Chapel,  to  undertake 
the  duties  of  that  sitmition.  He  remaineil  nt 
Eye  only  two  years,  being  in  17H9  api)oiiited  to 
the  organ  erected  by  Oreen,  at  Wisbeck,  in  the 
eounty  of  Cambridge.  For  this  oIKcc  there  were 
nt  first  no  fewer  than  nineteen  candidates ;  but 
when  it  was  understood  that  Guest  was  one,  and 
that  they  were  to  undergo  an  examination  by 
Dr.  llaiidall,  in  St.  Mary's  Church,  Cambridge, 
they  all  witlidrew  their  claims,  except  three. 
Guest  having  ijorfonocd  several  difficult  pieces 
of  music,  and  having  extemporized  upon  a  given 
subject  of  a  few  bars  in  a  masterly  manner,  he 
was  recommendccl  to  the  capital  burgesses  of 
Wisbeck  by  Dr.  Kandall,  and  by  them  accepted. 
Guest  resided  at  Wisbeck,  where  he  was  cel- 
ebrated an  a  teacher  of  the  piano-forte,  and  as  an 
extemporary  performer  upon  the  organ.  In  this 
last  respect  he  long  excited  admiration  by  the 
correctness  and  elegance  with  which  he  poured 
forth  the  impid'  es  of  the  moment.  To  a 
thorough  knowledge  of  his  art,  and  a  complete 
mechanical  command  of  his  instrument,  he 
superadded  the  further  excellence  of  a  ch.aste 
yet  brilliant  original  conception  of  musical  ideas, 
which  he  never  failed  to  develop  with  precision 
and  effect. 

Guest  was  the  author  of  a  variety  of  musical 
publications,  which  were  well  received,  particu- 
larly his  "  Fugues  and  Voluntaries  for  the  Or- 
gan," "  An  Anthem  for  Clmstma.s  Day,  inscribed 
to  Dr.  Clarke,"  "  A  Set  of  Ilj-mns  for  the  .Service 
of  the  Church,"  and  "  Six  Grand  Pieces  for  a 
full  Military  Band."  lie  was  aLso  the  author  of 
several  admired  glees,  duets,  and  songs. 

GUGEL,  II.  A  celebrated  performer  on  the 
honi,  and  corajjoscr  for  his  instrument.  lie  waa 
resident  at  St.  Petersburg,  and  went  from  thence 
to  Paris.  His  knowledge  of  his  instrument  was 
great,  and  his  powers  \ipon  it  beyond  all  expec- 
tation.    Boni  nt  Stuttgart  in  1780. 

GUGI,.  MATTILEUS,  organist  at  the  cathe- 
dral o{  Salzburg,  pubhshed  there,  in  1719,  "  Fun- 
damenta  PartitiiKP  in  C'omjh'iidio  Data."  A  thiid 
edition  of  this  work  was  published  at  Augsburg 
in  1777. 

GUGLIELMI,  PIETRO,  .«on  of  Joachim  Gu- 
glielmi,  mn.stcr  of  the  chnjel  of  the  Duke  of  Mo- 
denn,  wa.s  born  at  Miwvsn  di  Carrnrn,  in  1729.  He 
studied  music  under  his  fntlier  till  he  wn.s  eigh- 
teen, when  he  wns  sent  to  the  Conservatory  of 
horctto,  nt  Napier..  'I'he  celebrated  Durante  then 
directed  this  school,  from  whejice  Piccini,  Sac- 
chini,  Cimarosn,  Maio,  Tmjetta,  PaLsiello,  S;c., 
have  i-ssued.  Gugliebni  did  not  announce  any 
great  disposition  for  music,  but  Durante  subjei-ted 
him  to  the  dry  studies  of  counterpoint  and  com- 
position,    lie  left  the  Conservatory  at  the  age  of 


twenty-eight,  and  composed,  nearly  directly,  for 
the  princi])nl  t^entrcs  of  Italy,  comic  and  serious 
operas,  in  both  of  which  he  succeeded  0(|unlly 
well.  He  wius  sent  for  to  Vienna,  to  Madrid,  t'l 
London,  and  returned  to  Najjles,  being  then  in 
his  tiftietii  year.  It  waw  at  this  epoch  that  his 
faculties  acquired  their  greatest  activity,  and  that 
his  genius  shed  its  greatest  lustre.  He  found  the 
theatre  at  Naples  occupieel  by  the  great  talcntt 
of  Paisiello  and  Cimarosa,  who  there  dis|nitc(l 
the  palm.  He  revenged  himself  nobly  on  th^ 
latter,  of  whom  he  had  caase  to  comphiin.  He 
opposed  a  work  to  each  work  of  his  adversary, 
and  constantly  conquered  him.  Pope  Pius  VI. 
offered  Guglielmi,  in  17IJ3,  the  situation  of  ma:»- 
ter  of  the  chapel  of  St.  Peter.  This  retreat  gave 
him,  being  then  sixty-five,  an  opportunity  of  dis 
tinguishing  himself  in  church  music,  (iugliel 
mi's  works  are  reckoned  to  be  more  tlian  two 
hundred.  The  best  are  the  operas  of  "  /  due 
Gcmelli,"  "  Im  Pa-Htorclla  Nr>bile ;"  aiul  among  his 
oratorios,  "  Im  Morte  d Olnfemc,"  and  "  l>,horah." 
Zingarelli  looked  upon  this  last  as  tl;e  rhef- 
d'ceiivre  cti  (iuglielmi.  Musicians  discover  in  this 
composer  simple  and  elegant  melodies,  a  clear 
and  8upi)orted  liarmony,  nnd  whole  ])ii'ces  full 
of  fancy  and  originality.  He  died  in  1S04,  iu 
his  seventy-seventh  year. 

GUGLIELMI,  PIETKO  CARL(J,  a  Neapol- 
itan musician,  and  eldest  son  of  the  i)reve<Ung, 
was  in  London  during  several  years,  and  much 
esteemed  there  as  a  ilramatic  composer.  Among 
many  successful  comic  ojiera-s,  his  "/  due  Gemel- 
li"  Is  considere<l  Ids  best  work.  He  aLso  com- 
posed an  oratorio,  called  "  La  Distnizzioiu  de  Gc- 
riuaUmnte,"  which  was  performed  at  the  theatre 
del  Fondo,  at  Naples. 

GUGLIELMI,  GIACOMO.  Younger  brother 
to  the  preceding.  He  resitled  at  Paris  lor  some 
years,  and  was  engaged  nt  tlie  opera  bufl'a  in 
IHIO.  G.  (iuglielmi  was  born  nt  Massa  di  Ciu-- 
rara,  iu  1782.  His  Krst  d^biit  was  at  the  theatre 
of  .-Vrgentina,  at  Rome ;  he  then  went  to  Parma, 
afterwards  to  Naples,  Florence,  Bologna,  Venice, 
Am-sterdnm,  and  lastly  to  Paris. 

GUICCIARDINI,  LUDOVICO.  An  historian, 
bom  nt  Florence  in  1.52.3.  He  resideil  nt  Ant- 
werp, where  he  published  some  historical  worki, 
in  which  is  to  be  found  the  biography  of  thirty 
of  the  principal  Flemish  musicinns.  He  died  in 
1.589. 

OUICII A RD,  NICOLAS.  A  French  \  rofessor 
of  the  guitnr.  He  published  a  collection  of  airs, 
among  which  are  "  Boiujittt  de  Hnnuirin,"  "  Le  Coin 
dii  Fell,"  "  U  at  paaai  bon  temps,"  &c.  Guichnrd 
dietl  iji  1807. 

GUICHARD,  LOUIS  JOSEPH,  born  at  Ver- 
sailles in  17.52,  was  appointed  chamber  musician 
to  the  King  of  France  in  177<i.  In  17.S4,  he 
became  prolessor  at  the  Royal  School  of  ."singing, 
nnd  in  1792,  singing  master  nt  the  Acndemy  of 
Music,  (iuichnrd  wns  professor  of  declamntorr 
singing  at  the  Conser»-atory,  nnd  has  composed 
some  romances. 

GUID.V.  (I.)  A  guide.  A  word  frequently 
fonning,  in  conjunction  with  some  other,  thctitU 
of  didactic  musical  works;  as,  Ouidn  Arinonitt^ 
An  Harmonic  Guide,  or  a  Guide  to  Uannonj. 


Sol 


GUI 


EXCYCLOP.EDIA    OF    MUSIC. 


GUI 


GUIDE.  The  nnrnc  given  to  that  note  in  a 
fugue  which  leads  off,  and  announces  the  sub- 
ject.    The  guiding  note.     See  Dux. 

GUIDO.     iSce  AuETixcs. 

GUIDON.     (F.)    A  direct    See  that  word. 

GUIDONIAN  HAND.  The  figure  of  a  left 
liand,  with  the  syllabic  signs  of  the  intervals  of 
Ihe  three  hexachords,  instituted  by  Guido,  marked 
on  the  joints  of  the  fingers;  called  the  Guido- 
nian  hand,  because  first  adopted  by  the  celebrated 
monk  of  Arczzo,  the  father  of  the  modern  nota- 
tion. 

GUIDO;S  GAMUT.  OR  SCALE.  The  an- 
cient music  notes  are  very  mysterious  and  per- 
plexed. Uoethius  and  Gregory  the  Great,  first 
put  them  into  a  more  easy  and  obvious  method. 
In  the  year  1201  Guido  Arctinus,  a  Benedictine  of 
Arezzo  in  Tuscany,  introduced  the  use  of  a  staff 
■with  five  lines,  on  which,  with  the  spaces,  he 
marked  his  notes  by  setting  a  point  up  and  down 
upon  them,  to  denote  the  rise  and  fall  of  the 
voice ;  tliough  Kircher  mentions  this  artifice  to 
have  been  in  use  before  Guido's  time.  Another 
contrivance  of  Guido's  was  to  apply  the  six 
musical  syllables,  %it,  re,  mi,  fa,  sol,  la,  which  he 
took  out  of  the  Latin  hjnnn  : 

UT  queani  laxis  TiEsoiiare  fbria 

MIra  gestorum  FAmuli  tuorum 

SOLve  poUuti  LAbii  reatum 

O  Pater  A  line. 

Besides  his  notw  of  music,  by  which,  accord- 
ing to  Kircher,  he  distinguished  the  tones,  or 
modes,  and  the  seats  of  the  semitones,  he  also 
invented  the  scale,  and  several  musical  instru- 
ments, called  poll/plectra,  as  spinets  and  harpsi- 
cbords. 

guido's  gamut  oe  scale. 


Gs 


11=11 


-dd- 


-bb- 
bb 


^ 


G 

F- 

E 


B  dur 

la 

— sol 

fa 


— re- 
ut 


-la— 

sol 

-fa- 


UT 


LA 
SOL— 

r\ 

-MI  — 

RG 
-UT — 


la 

80l 

fa 
—mi  — 
re 

-lit 


—la 

SOL 

-FA- 
MI 

UT 


molle 


-la— 
sol 


la 

-t!Ol- 

fa 


-VT- 


In vented  in  the  year  1204. 

Tlie  next  cinsidcrablc  improvement  was  in 
1330,  when  Joannes  Muria,  or  de  Muris,  doctor 
at  Paris,  invented  the  diflerent  figures  of  notes, 
which  express  the  times,  or  length  of  every  note 
—  at  lca.st  their  true  relative  proportions  to  one 
another,  now  called  /o»y.»,  breves,  semibreres,  min- 
ims, crntchfts,  (piaters,  &c.  Lasus  Ilcrmionensis  is 
the  most  ancient  writer  on  music.  Aristoxe- 
nus,  n  disciple  of  Aristotle,  is  the  eldest  author 


extant  on    the  subject ;    and   after    Um   came 
Euclid. 

GUIGNON,  JEAN  PIERRE.  IJorn  at  Turin 
in  1702.  He  was  a  celebrated  violinist,  and  gave 
lessons  to  the  dau])hin,  (father  of  Louis  XVI.,) 
and  to  Madame  Adelaide  of  France.  Guignoii 
held  for  thirty  years  an  absurd  ajjpointment, 
named  "Roi  des  1'iolons,  et  Maitredes  Mincstriers," 
which  he  afterwards  gave  up ;  and  at  his  request 
the  office  was  suppressed.  He  gave  gratuitous 
lessons  to  many  young  violinists,  who  requested 
them  of  him.  Guignon's  compositions  consist 
of  some  sonatas,  duets,  trios,  and  concertos  for 
his  instrument.  Guignon  died  at  Versailles  in 
1774. 

GUILLEMAIN,  GABRIEL,  bom  at  Paris  in 
170.5,  was  celebrated  as  a  violinist.  He  composed 
some  sonatas  for  the  violin  and  haqiischord. 
Guillemain  lost  his  senses  late  in  life,  and  in  1770 
destroyed  himself,  intticting  on  his  person  no  less 
than  fourteen  wounds. 

GUILLON,  a  French  musician,  publLshed, 
about  the  year  1780,  at  Lyons,  some  quartets  for 
the  ^dolin,  also  some  instrumental  music  at  Paris. 

GUILLOU. 
Paris. 

GUITAR.  The  guitar,  or  gtiitarra,  Ls  a  stringed 
instrument,  the  body  of  which  is  of  a  somewhat 
oval  fonn,  and  the  neck  somewhat  similar  to 
that  of  a  violin.  The  strings,  six  in  number,  are 
distended  in  parallel  lines  from  the  head  to  the 
lower  end,  passing  over  the  sounding  hole  and 
bridge,  and  are  tuned  by  fourths,  all  except  the 
third  string,  which  is  tuned  a  third  below  the 
second  string.  The  tliree  *irst  strings,  E,  B,  and 
G,  are  usually  like  the  gut  strings  of  the  violin, 
and  are  called  the  treble  ;  the  other  three,  called 
bass  strings,  are  either  of  gtit  or  of  silk,  and 
usually  wound  ^vith  silver  wire.  These  strings 
are,  when  tuned,  — 


First  flutist  at  the  grand  opera  ar 


i 


I  E 


2  B 


8  a 


4  D 


5  A       6  E 


■*•  — 

V 

The  intermediate  intervals  are  produced  by 
bringing  the  strings,  by  the  pressure  of  the  fin- 
gers of  the  left  hand,  into  contact  with  the  freU 
fixed  on  the  key  board,  while  those  of  the  right 
agitate  the  strings,  and  make  the  measure.  To 
learn  tliis  instrument,  it  will  be  necessary  that  the 
pupil  should  possess  a  general  knowledge  of  the 
rudiments  of  music,  after  which  a  few  lessons 
from  any  competent  tcaclicr  will  enable  the  stu- 
dent to  practise  the  scales,  with  which,  when 
once  familiar,  and  ha^^ng  learned  how  to  tune 
the  instrument,  any  person  will  be  enabled  to 
learn  tunes  without  ditliculty.  Instruction  books, 
and  guitar  mxisic,  fingered,  can  now  be  purchased 
at  any  regular  music  store,  and  we  need  here 
only  give  the  natural  scale  for  the  instrument :  — 


6th  etriog.       Cth. 


4th. 


8d. 


2d. 


m 


Sis^ii'J^-'^ 


=3^v 


g 


in. 


U13       02    3     0    23020130184 


352 


GUM 


ENCYCLOPAEDIA    OF    MUSIC. 


GUN 


In  the  above  scale,  0  re])resents  the  open  string  ; 
the  figures  1,  2,  3,  4,  the  lingers  of  the  left  hand, 
which  Htop  the  strings  to  produce  the  several 
notes. 

Tlie  Spaniards,  the  reputed  inventors  of  the 
guitar,  derived  the  name  tlicy  gave  it,  gtiitarra, 
from  cit/iiim,  the  Latin  denomination  for  almost 
every  instrument  of  the  lute  kind.  The  pi'ople 
of  Spain  arc  so  fond  of  music,  and  of  the  guitar 
in  particular,  that  there  arc  few,  even  of  the 
laboring  classes,  who  do  not  solace  themselves 
with  its  ])ractice  ;  it  is  with  this  instrument  that 
the  Ri)anish  gentlemen  nt  night  serenade  their 
mistresses ;  and  there  is  scarcely  an  artificer  in 
nny  of  the  cities,  or  principal  towns,  who,  when 
liis  work  is  over,  does  not  go  to  some  public  place, 
and  entertain  himself  and  his  auditors  with  his 
guitar. 

About  the  middle  of  the  last  centviry,  the 
guitar  was  so  fashionable  in  England  as  to 
threaten  the  ruin  of  those  persons  engngetl  in  the 
manufacture  of  other  instruments,  'llie  use  of 
the  guitar  is  said  to  have  been  stopped  by  Kirk- 
raan,  a  haqjsichord  maker.  Having  bought  a 
number  of  cheap  guitars,  he  gave  them  to  ballad 
singers,  and  persons  in  the  lowest  si)here  of  life, 
teaching  them  at  the  same  time  how  to  play  a 
few  popular  songs.  As  soon  as  it  became  com- 
mon, those  who  had  been  most  interested  in  it  as 
a  fashionable  toy  threw  it  by  in  disgust,  and 
commenced  again  the  study  of  the  piano-forte. 
Tluis  it  is  that  fashion  governs  the  inventions  of 
the  wisest,  and  consigns  to  neglect,  or  raLses  into 
cjitimntion,  the  talents,  genius,  and  industry  of 
the  greatest  men  in  all  ages  and  countries. 

llie  demand  for  this  beautiful  ond  graceful  in- 
strument has  of  late  so  increa.sed,  that  several 
American  houses  have  commenced  the  manufac- 
ture of  them.  Tlie  guitar  seems  to  be  coming 
into  very  general  use.  Until  within  a  few  years 
most  of  the  guitars  were  imported  from  France 
or  Germany,  and  some  few  from  Spain.  Those 
of  the  French  and  German  make,  though  very 
pretty  in  outward  appearance,  were,  many  of 
them,  weak  in  tone,  and  would  not  stand  the 
severe  changes  of  our  climate.  The  Spanish  in- 
struments, though  very  much  superior  to  the 
French  and  German  in  point  of  tone,  were  of  but 
little  use  here,  as  they  soon  went  to  pieces.  We 
have  seen  some  American-made  guitars  of  supe- 
rior tone  and  finish,  made  after  the  Spani-sh 
model,  which  we  think  will  prove  rich  in  tone, 
and  being  made  here,  will  stand  the  severest  tests 
af  this  climate. 

GUMPENIIUBER,  an  amateur  performer  at 
the  Pantalon,  was  engaged  for  three  years  at  St. 
Petersb\irg,  in  1755,  as  chamber  musician,  where 
his  capriccios  and  concertos  were  much  admired. 
He  quitted  that  country  in  1757. 

GUNG'L,  JOSEPH.  Among  renowned  com- 
posers of  that  kind  of  music  applied  to  dancing, 
Joseph  tfung'l  occupies  a  preeminent  rank.  lie 
is  by  birth  an  Hungarian  ;  and  hence  the  soft  and 
effeminate  waltz  does  not  run  so  naturally  in  his 
veins  as  tlie  more  stirring  and  more  elevated 
measure  of  the  "  three-ciuarter  tact,"  a  kind  of 
music  and  species  of  harmony  in  which  M. 
Gung'l  not  only  shines  with  briliiunt  ^clat,  but  in 
which  he  even  surpasses  all  who  have  preceded 
him  in  this  kind  of  music  and  composition.  Jo- 
•eph  Gung'l  wos  bom  at  Zsambck,  in  Hungary. 


IIw  father  was  a  stocking  weaver.  Uenedic-f 
Tschauner,  the  village  schoolmaster,  wo;)  the  first 
instructor  of  young  (rung'l.  If  any  one  had 
prophesied  to  him  the  event,  he  would  hardly 
have  l)elievod  that  the  time  would  arrive  when 
his  little  pupil  would  fill  the  palaces  of  Iterlin 
with  ravishment  and  delight,  by  his  music  and 
musical  compositions,  esi)fcially  as  the  parents 
of  (Jung'l  intended  him  for  a  schoolmaHtor,  anc 
not  for  a  musician. 

At  the  ago  of  fifteen,  young  (luug'l  was  olrcady 
engaged  as  a  teacher  in  the  village  schools  of  his 
native  country,  or  ratlier  he  was  the  plain  usher 
or  assistant  of  more  mature  teachers.  'l"he  jiro- 
fession,  however,  did  not  |)lea.se  young  Gungi, 
and  in  .\pril,  1S2S,  he  enliste<l  as  a  cannonier  in 
on  artillery  regiment  at  Pesth.  H(?  served  seven 
years  in  this  capacity,  and  during  all  this  period, 
had  neither  time  nor  op])ortunity  to  exercise  his 
yet  undcvelopeil  talents  in  music.  Itut,  in  18.35, 
the  donnant  faculty  waked  up  to  fresh  life  ond 
to  stronger  energy  than  it  ever  had  exhibited  lie- 
fore,  and  he  became  the  chief  pcrlormer  on  the 
hautboy  in  the  band  of  the  artillery  regiment  in 
garrison  at  (Jratz.  Very  soon,  as  hautboyist,  he 
obtained  a  great  reputation,  and  at  last  come  to 
be  called  the  Strauss  of  Gratz.  From  this  time 
he  went  on  augmenting  in  fame  and  increasing 
in  talent  and  acquirements.  In  IHH,  GungTs 
first  coniijosition  apjjearcd  before  the  world,  be- 
ing pul)lished  by  Bote  &  IJock,  music  jiublishers 
of  Berlin.  The  title  of  the  piece  was  "  The  First 
Hungarian  March."  After  he  had  left  the  regi- 
ment, in  which  he  had  ottaincd  the  highest  em- 
inence and  reputation  as  leader  of  the  band  and 
choir  master,  he  travelled  for  some  time  in  various 
part.s  of  Germany,  with  a  company  of  musicians 
of  which  he  was  the  soul  and  the  head.  Jilverj' 
where  his  compositions,  and  the  skill  and  per- 
formances of  the  bond  conducted  by  him,  met 
with  the  greatest  applause. 

At  Berlin  he  gave  his  first  concert  on  the 
king's  birthday,  in  .Sommer's  suloon.  Tlie  mod- 
est artist  himself  had  not,  at  this  time,  the  least 
idea  of  the  great  fame  which  would  follow  thLs 
concert,  and  with  what  apjilause  and  rapture  his 
musical  performances  would  henceforth  be  re- 
ceived by  the  connoisseurs  and  the  public.  The 
interest  which  his  musical  talent  and  execution 
excited,  continued,  henceforward,  to  increase  in 
Berlin,  which  Ls  to  soy  much  for  a  city  where  they 
can  only  endure  what  is  excellent,  great,  and  new. 

Since  his  first  publication,  above  referred  to,  a 
great  number  of  marches,  polkas,  quadrilles,  &c., 
of  his  composition,  have  appeared  before  the 
public,  and  hove  uniformly  brought  the  author 
increo-sing  and  deserved  fame.  Some  of  his 
marches  were  taken  up  by  the  army,  and  im- 
mediately became  favorites  with  the  soldiers. 
Gung'l  has  done  much  to  improve  orchestral 
music,  especially  by  introducing  the  violin  in 
those  orchestras  of  public  music  in  which  it  wos 
never  known.  He  has,  in  this  and  other  respecte, 
rendered  a  great  ser\-ice  to  the  musical  world. 

Gung'l,  with  a  small  orchestra,  gave  concerts 
of  light  music  in  the  United  States  in  1347-8, 
but  with  inditferent  success. 

OUNTHER,  organist  at  N'eustndt,  was  named, 
in  1789,  to  the  church  of  St.  Croix,  at  Dresden. 


GUNTHER,  FRIEDRICH,  a  boas  singer  U 


45 


353 


cus 


ENCYCLOPEDIA    OF    MUSIC. 


GYB 


Iho  thcntres  of  Weimar  and  Gothn,  between  the 
years  1770  and  1780. 

GUSTO.     Taste.     Con  gutio,  with  taste. 

OUSTOSO,  or  CON  GUSTO.  A  word  signi- 
fj-ing  that  the  movement  bel'ore  which  it  is 
written  is  to  be  performed  in  an  elegant  and 
finished  style. 

GUTHMAXX,  FIlIEDmCII,  second  ^•iolinist 
at  the  Italinn  Theatre  at  Paris,  published  there, 
in  1786,  six  diiet.s  for  the  violin,  lie  also  pub- 
lished a  method  for  the  guitar,  and  other  works, 
in  Germany. 

GUTTURAL.    An  epithet  given  to  that  tone 


and  style  of  intonation  which  the  Italians  call 
aiiujing  in  the  throat. 

GUY  D'AREZZO.     See  Guido. 

GYMNASTICS.  Pubhc  contests  of  person- 
al skill  instituted  by  the  ancients,  in  which  the 
perfoi-mance  of  music  formed  a  principal  part. 

GYRO^^^ETZ,  ADALBERT,  was  born  in  Bo- 
hemia in  176.5.  He  received  his  musical  educa- 
tion at  Vienna,  and  soon  became  an  excellent 
pianist  and  violinist.  In  1785,  he  went  to  Naples, 
from  thence  to  England,  and  returned  in  1793  to 
Vienna,  where  he  remained,  enjojing  the  place 
of  imperial  chapel-master.  GjTowetz  composed 
very  numerous  instrumental  works,  also  some 
romances  and  other  vocal  pieces. 


S6« 


ENC\C1.0P--EDIA    OF    MUSIC. 


IIAE 


H. 


H.  This  letter  Ls  used  by  the  Germans  for  15 
naturnl.  In  music,  A  is  the  seventh  degree  in  the 
diatonic  scale,  and  the  twell'th  in  the  chromatic. 
In  the  Guidoniau  sobnization  tliiti  tone  was  called 
b  mi,  the  hexachord  commeucing  with  g.  It  is 
the  seventh  major  of  c,  the  pure  filth  of  e,  and 
the  tliii-d  major  of  ff. 

IIA.VCII,  IIAAK,  or  IIAACK,  CAUL,  was 
born  at  I'otsdam  in  17o7,  and  was  appointed, 
about  the  year  1790,  first  vioUu  and  chapel- 
master  to  the  Royal  Chapel  in  licrlin.  'ITie 
following  are  among  his  compositions :  "  Six 
Sets  of  Violin  Concertos,"  jjuhlished  at  BerUn 
between  the  years  1791  and  1797  ;  "I'hree  grand 
Sonatas  for  the  Piano-forte,"  Berlin,  1793. 

IIAACII,  UAAK,  or  IIAACK,  FIUEDRICII. 
the  younger  brother  of  the  prccedin;;,  was  an 
organist  at  Stettin.  He  has  pubUslicd  "  <'on- 
certo  jmur  le  Clav."  Op.  1  ;  "  Three  Trios  pour  le 
t'lav."  Op.  0  ;  "  Thrre  Trit)a  jiour  le  Clac."  Op.  6. 
F.  llaak  was  a  celebrated  piauifit,  and  a  pupil  in 
counterpoint  of  Fasch. 

HAAS,  IGNAZ.  A  celebratc<l  organist  and 
composer  at  Koniggratz,  in  Germany.  Ue  pub- 
lished at  Vienna,  in  1797,  "  Variazoni  topra  f  An- 
dante in  A  diir  del  Sig.  Muzart." 

HAAS,  P.VTER  ILDEFOXS,  a  librarian  and 
monk  in  Germany,  was  born  at  Otfenbui-g  in 
173o.  He  was  an  excellent  theorist,  composer, 
and  vioUnist.  He  died  in  1791.  Haas's  pubh- 
cadons  are  chiefly  for  the  church. 

HABENECK,  F.  A.  ITiere  are  three  brothers 
of  this  name,  all  of  them  violinists.  F.  A.  Hab- 
cncrk,  born  at  Mczii^res  in  1781,  Ls  the  eldest, 
and  was  adjunct  and  one  of  the  best  violin  pu- 
pils of  Baillot,  at  the  Conser\-atory  at  Paris.  He 
was  afterwards  adj\iuct  with  Krcutzcr  for  solo 
playing,  at  the  Imperiid  Academy  of  Music. 
Since  ISOG  F.  .\.  Ilabeneck  has  been  distinguished 
as  a  conductor  of  concert  orchestras  in  Paris.  .\t 
that  time  the  prize  violinists  at  the  Conservatoire 
alternately  conducted  its  concerts  for  a  ye;u- ;  but 
such  was  Ilabenei'k's  superiority  that  he  held  the 
position  alone  until  181.J,  when  the  allied  armies 
entered  Paris.  Here  he  produced,  for  the  first 
time  in  Paris,  the  first  symphony  of  Beethoven 
and  other  great  works ;  but  it  was  not  until  the 
organization  of  a  new  society,  the  "  Societo  des 
Concerts,"  in  the  Conservatory,  in  IS'JH,  that 
these  great  comijositions  excited  the  liveliest  en- 
thusiasm, through  the  fire  and  energy  which 
Ilabeneck  infused  into  the  performance.  He  was 
director  of  the  Opera  from  182 1  to  ISit.  At^cr 
the  revolution  of  July,  18.30,  he  became  first 
violinist  to  the  king.  Uabeneck  hits  corapose<l 
but  little:  two  oimcertos,  and  some  smaller 
pieces  for  the  violin  ;  a  grand  polonaise  for  or- 
chestra, written  for  the  musical  festival  at  Lille, 
in  1829;  a  grand  fantasia  for  violin  and  piano; 
ind  some  morceaux  added  to  the  opera  "A<i  /»m/w 
nereeilieiac," —  are  distinguiithed  for   origiiiality 


and  elegance.     His  most  distinguished  scholara 
are  the  violinists  Cuvillon  and  Alard. 

HABENECK.  JOSEPH,  younger  brother  of 
the  preceding,  also  pujjil  of  the  Conservatory  aid 
of  Baillot,  was  second  orchestra  director  at  the 
Opera  Comiqxie  in  Paris.     Born  in  178.5. 

H.VBENECK,  COREXTIX,  youngest  brother 
of  the  preceding,  born  in  1787,  gained  the  first 
\'ioUn  prize  at  the  Conservatory  in  1808.  He 
has  recently  held  the  place  of  first  violuiist  and 
solo  player  in  the  orchestra  of  the  Grand  Opera 
in  Paris. 

HABERMAXX,  FRAXZ  JOHAXX,  director 
of  music  at  Prague,  in  Bohemia,  was  born  in 
that  city  in  1712.  He  was  particul.irly  esteemed 
as  a  contrapuntist  about  the  middle  of  the  last 
century.  Twelve  masses  of  hLs  composition  were 
published  at  Prague  in  the  year  1746,  and  in 
1747  six  Utanies,  in  folio.  He  has  composed  also 
many  sjinphonies  and  sonatas. 

HACKBRErr.    (G.)    ITie  dulcimer. 

HACKER,  BEXEDICT.  A  German  composer, 
born  in  Bavaria  in  17fi9.  The  following  are 
amoni;  his  principal  works,  up  to  the  year  1800: 
"  Liebe  und  Trctic,  an  Kmma,"  a  song,  Munich, 
1797;  "Six  Soiuja,"  1798;  "  Six  SoM/s,"  1799; 
"  Je  frUher,  Je  lieber,"  song  ;  "  Foiir-l'art  Songs  ;  " 
"  List  gei/en  List,"  an  operetta.  He  was  a  friend 
and  pupil  of  Michael  Haydn. 

HACKMEISTER,  KARL  CHRISTOPII,  or- 
ganist at  the  Church  of  the  Holy  Spirit  at  Ham- 
burg, published,  in  175;f,  a  work  entitled  "ATo- 
tirrilbung,  beste/wiul  in  50  ausertfscnen  Variaiitinen 
Ubrr  cine  MvnmC  ziiin  Xuizen  der  Infuniuition  cnm- 
ponirt,  &c.,"  first  volume ;  in  which  he  discovers 
not  only  good  taste,  but  a  thorough  knowledge 
of  counterpoint. 

H.VURAVA,  or  HADRAWA,  was  an  Ilunjn- 
rian  by  birth.  He  was  a  good  amateur  violinist, 
and  published  in  1782,  at  Berlin,  six  soimtas  for 
the  harpsichord. 

HAEFFXER,  chapel-master,  iji  1797,  to  th« 
King  of  .Sweden  at  Sto<kholm,  was  bom  in  (ier- 
many.  He  studied  Gluck's  style  of  dramatic 
composition,  and  when  quite  a  young  man,  in 
1789,  brought  out  an  opera  at  Stockholm,  called 
"  lUcctrti,"  wliich  was  very  successful. 

HAEMMKRLEIX.  FUAXZ  JOSEPH,  was 
bom  at  .Vugsburg.  He  was  an  excellent  pianist, 
and  resided,  after  the  year  1771,  at  Munich. 

HAEMPELX,  superintendent  of  the  music  of 
the  Dukes  of  Furstenbcrg,  was  consi(i<re<l,  alK>ut 
the  year  1 79.3,  bs  one  of  the  tte^t  A-iolinists  i  iid 
composers  for  his  instrument  in  Germany. 

HAEXDEL.    See  HA-vnEL. 


HAEXDLER,  chapel-mastcr  to  the  Bishop  of 


366 


HAE 


ENCYCLOPAEDIA    OF    MUSIC. 


HA(J 


\Vurtzl)ur;5,  wiis  born  at  Xureinberg,  towards 
the  elobc  ol'  the  seveiitecutli  century.  He  was  a 
pujiil  of  Pa'.'hclbel.  Soon  alter  the  year  1712, 
he  was  named  organist  of  the  court  of  Wurtz- 
burg.     He  died  in  1712. 

HAENEL.  or  HAENDL.  JACOB,  caUed  also 
GALLUS,  was  one  of  the  greatest  German  con- 
trapuntists, about  the  year  15.50.  His  works  con- 
sist cliietty  of  motets  and  chuixh  music.  He 
died  at  Prague  in  1591. 

IIAEXSEL,  PETER,  chapel-master  to  a  no- 
bleman at  \'ienna  in  1798,  was  a  pupil  of  Haydn. 
He  publLslied  "  S'euf  Quatuors  d  deux  Violons, 
Tenor,  et  Violoncello,"  Ops.  1,  2,  3,  (Offenbach, 
1798.)  '"  Trots  Themes  variis  pour  le  I'iolon,  aeec 
Ace.  de  Viola,"  Op.  4.  "Air,  acec  Variations  pour 
la  Ilurpe,"  Op.  4,  (Offenbach,  1799.)  "Six  Qua- 
tuors d  deux  J'ioions,  Tenor,  et  Violoncello,"  Ops. 
6,  6,  (Offenbach,  1799.)  "Six  Quatuors  n  deux 
Violons,  Tenor,  et  Violoncello,"  Op.  7,  (Offenbach, 
1800.)  "  Trois  Quatuors  a  deux  Violons,  Tenor,  it 
Violoncello,"  Op.  8,  (Offenbach,  1801.)  "  Trois 
Quatuors  h  deux  Violons,  Tenor,  et  Violoncello,"  Op. 
9,  (Offenbach,  1802.) 

ILEllLEMME,  A.  G.,  an  Italian  composer  of 
the  seventeenth  century,  published,  iu  1664,  "  / 
»acri  Salmi  di  David,  tnessi  in  rime  volgati  da  Giov. 
Diotati,"  Lucca. 

HAESER,  JOHANN  GEORGE,  born  in  Ger- 
many in  1729,  was,  till  the  year  1808,  chapel- 
master  of  the  university  church  at  Leipsic.  He 
died,  much  lamented,  in  the  year  1809,  leaving 
five  cliildren,  all  of  whom  aie  respectable  musical 
chai'acters  in  Germany. 

HAESSLER,  JOIIAXX  WILIIELM,  diiector 
of  music,  and  organist  at  Ertiirt,  was  born  in 
that  town  in  1747.  He  was  an  excellent  per- 
former, and  likewise  a  good  tenor  singer.  Haess- 
ler  went  to  England  iii  1791,  and  performed  on 
the  piano  before  their  majesties,  and  also  in  sev- 
eral churches.  He  afterwards  proceeded  to  St. 
Petersburg  and  Moscow;  where  he  remained 
until  his  death.  His  works  are  numerous  for  the 
organ  and  piano. 

HAEUSSLER,  ERNST,  a  violoncelUst  and 
composer,  born  at  Stuttgard  in  1760,  resided,  in 
1801,  at  Augsburg.  He  published  much  vocal 
and  other  music  between  the  years  1792  and  1800. 
His  "  12  Canzonctte  Ital.  Ace.  p.  il  Piano-forte  e 
Chilarra,"  published  at  Vienna,  in  1800,  are  said 
to  be  extremely  beautiful. 

HAGUE.  DR.  CHARLES,  was  born  in  the 
year  1769,  at  Tadcastcr,  in  Yorkshire.  From 
ear'.y  youth  he  manifestetl  great  fondness  for 
music.  A  violin  was  placed  in  his  hand,  and  liis 
brother,  who  was  many  years  older  than  himself, 
became  liis  preceptor.  In  1770  he  left  his  native 
place  for  Cambridge,  where  ills  brother  liad  be- 
gun to  reside.  From  the  last-mentioned  period, 
lie  had  the  advantage  of  excellent  instruction, 
both  in  the  jiractice  and  the  theory  of  his  future 
profession.  He  became  the  pupil  of  Manini,  an 
eminent  performer  on  the  violin,  and  studied 
the  rudiments  of  thorou^jh  bass,  and  the  princi- 
ples of  composition,  under  the  elder  Hellcndaal, 
a  man  of  undoubted  attainments  in  musical 
gcience.  Under  these  favorable  circumstances, 
Charles  Hague  rapidly  acquired  celebrity,  by  Ids 


exquisite  performance  on  the  viohn,  wluch  to  the 
close  of  lite  continued  to  be  his  favorite  iustru- 
mcut. 

About  the  year  1785  Manini  died;  and  by  the 
advice,  as  it  is  believed,  of  his  university  IKends. 
young  Hague  then  resided  for  a  time  in  London, 
I  and  became  the  pupil  of  Salomon.  Already  an 
I  excellent  perfonner,  he  could  avail  hi:nself  to 
the  uttermost  of  the  instructions  of  that  great 
master;  and  from  Salomon,  without  doubt,  ha 
acquired  no  small  portion  of  that  skill  and  power 
which  enabled  him  to  give  such  delightful  effect 
to  the  compositions  of  Haydn.  l)ui-ing  this 
period  he  had  the  good  fortune  to  be  assisted  in 
the  study  of  vocal  harmony  by  Dr.  Cooke,  ol 
glee  writers  in  modem  tijues  second  to  few  in 
point  of  elegance,  and  perhaps  the  most  learned. 
On  his  retui-u  to  Cambridge  he  had  the  satisfac- 
tion of  numbering  among  his  pupils  many  mem- 
bers of  the  university,  eminent  both  for  rank 
and  talent.  In  1794  he  was  admitted  to  the 
degree  of  baclieior  of  music  in  the  University  of 
Cambridge.  In  1799  the  professorship  of  music 
became  vacant,  in  consequence  of  t)ie  death  of 
Dr.  Randall ;  when,  encouraged  by  liis  numerous 
friends  among  the  members  of  the  senate,  ho 
became  a  candidate  for  the  appointment,  and 
was  successful.  Soon  after  his  election  to  tHe 
professorship,  he  proceeded  to  the  degree  of 
doctor  of  music.  Dr.  Hague,  fi-om  that  time, 
considered  himself  as  completely  settled  in  Cam- 
bridge, where  he  continued  to  reside.  During 
the  spring  of  1821,  he  frequently  complained  of 
being  unwell ;  but  no  danger  was  apprehended. 

Towaids  the  end  of  May,  he  was  making  ar- 
rangements for  some  concerts  on  a  grand  scale, 
which  were  to  be  performed  at  the  approaching 
commencement,  when  he  became  alarmingly  HI. 
He  remained  two  or  three  weeks  in  a  state  which 
gradually  destroyed  all  hopes  of  his  recovery, 
and  on  the  18th  of  June,  1821,  he  expired, 
deeply  regretted  by  his  family  and  liis  friends. 
Dr.  Ilague  was  well  accjuainted  with  the  jiriuci- 
ples  of  playing  on  keyed  instruments,  although 
not  a  performer  himself.  Resides  the  violin,  he 
wiis  a  complete  master  of  the  tenor  and  the 
violoncello.  On  iiublic  occasions,  on  which  his 
services  were  more  pai'ticularly  called  forth,  ho 
was  accustomed  to  lead  the  musical  performances 
with  a  precision  and  a  certainty  which  showed 
that  he  was  clearly  entitled  to  the  situation  in 
which  he  was  placed.  In  quiurtets,  his  style  of 
playing  was  the  most  delightful  that  can  1)o 
imagiued.  If,  however,  we  were  required  to 
state  one  department  in  which  he  more  particu- 
larly e.\.celled,  we  should  mention  his  violin  ac 
companiment  to  the  piano-forte.  In  that  we 
are  almost  inclined  to  think  he  was  unrivalled, 
so  prompt  was  the  intelligence  with  wliicli  lio 
seized  the  meaning  of  the  composer,  so  fascinat- 
ing the  elo(iuence  with  which  he  developed  his 
ideas.  Dr.  Hague  was  well  acquainted  with  the 
theory  of  music.  Whoever  would  understand 
the  principles  of  composition  will  find  it  an  ad- 
vantage to  consult  many  writei-s  for  the  jmrpose 
of  illustration  ;  but  it  is  indispensable  that  he 
study  one  standaid  author  thoroughly.  We 
may  observe  that  students  in  music  are  not  Iho 
only  students  to  wliom  this  hint  may  be  useful. 
In  the  last  age  Ramoau  was  generally  held  to  be 
the  great  master  tlieoiist  —  the  hierophant  of  the 
mvsteries.     Dr.  Ha;:ue  had  studied  in  the  school 


356 


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EXCYCLOP.EDIA    OF    MUSIC. 


II A 11 


of  Raraeaii.  lie  had  rend  many  modem  writers, 
but  Ran)ca\i  he  had  studied.  On  sulijccts  of 
this  kind  Dr.  IIii^uc  was  always  ghid  to  converse, 
and  olten  has  "  the  witching  time  o"  night " 
found  the  professor  and  his  biographer  with 
music  paper  before  them,  and  black-lead  pencils 
ill  their  hands,  discussing  concords  and  discords 
in  all  tlicir  forms,  and  estimating 

"Thrlr  bmrinm  anil  Ihcir  tiei. 
Their  nice  cuancctiuns  nitd  ilv[>vuUeuL-ivf.** 

ITie  late  professor  had  no  exclusive  admiration, 
either  of  ancient  or  of  modern  music  ;  he  know 
the  pecidiar  value  of  each.  He  was  anxious  to 
preserve  a  sensible  distinction  between  the  secu- 
lar and  the  e!-clesii\stical  style.  To  record  his 
opinions  of  the  great  composers  of  ditferont  ages 
is  beyond  th.e  sco]ie  of  this  memoir.  It  may, 
however,  be  observed,  that  he  was  very  copious 
and  iinimaled  in  his  praise  of  Tartini,  whose 
works  ho  had  studied  with  assiduity.  His  mas- 
ter, llcUendaal,  had  been  n  puitil  of  Tartini ;  and 
from  Hellcndaal  he  had  derived  sevenil  of  Tartini's 
precepts  of  cotu])osition,  which  he  used  to  repeat 
with  great  jilcisure.  Of  the  productions  of  lii* 
contemporaries.  Dr.  Hague  was  always  disposed 
to  speak  with  kindness  and  liberality.  He  spoke 
with  rapture  of  tlie  music  of  "  Palestine,"  and 
in  Ids  copy  of  the  words  of  that  oratorio  ho  had 
made  remarks  on  each  movement,  in  a  style 
which  manifested  the  justness  of  his  taste  and 
the  acuteness  of  his  critical  powers.  The  men- 
tion of  Dr.  Crotch  has  brought  to  mind  a  cir- 
cumstance which  will  probably  be  thought  not 
uninteresting,  and  which  might  otherwise  have 
been  forgotten.  For  a  short  period  during  the 
early  years  of  that  extniordinary  genius,  he  was 
the  pupil  of  Charles  Hague,  who  was  also  at 
that  time  very  young,  being  but  six  years  older 
than  his  pupil.  In  a  journal  of  Dr.  Hague's  yet 
remaining,  the  circumstance  is  .stated,  with  ad- 
miration of  the  rapid  progress  which  his  pui)il 
had  made  ;  and  with  a  declaration,  that  to  have 
had  such  a  pupil  would  always  appear  to  him 
the  greatest  honor  of  his  life.  In  due  time 
Crotch  became  professor  of  music  at  Oxford.  It 
is  pleasing  to  consider  that  the  tutor  and  the 
pupil  invariably  regarded  each  other  with  the 
greatest  atlection.  Numerous  must  have  been  the 
good  qmditics  of  that  man  of  whom  it  may  be 
Biiid  —  lus  it  may  with  truth  be  said  of  Dr. 
Hague  —  that  many  were  the  friends  who  were 
attached  to  him  wlien  living,  and  who  lamented 
his  death.  Of  the  single  songs  which  he  pub- 
lished, few  are  known  to  the  present  writer. 
They  are  siuil  to  possess  considerable  merit.  In 
ISO-),  "  .V  Collection  of  Songs"  wjis  published 
by  the  Uev.  Mr.  Plumptre,  then  fellow  of  Clare- 
hall,  Cambridge.  To  this  work  l)r.  Hague  ren- 
dered his  assistance  in  adapting  the  music,  and 
in  a  few  instances  as  a  composer.  'Die  volume 
was  compiled  for  the  most  praiseworiliy  puq)oses. 
It  contains  many  pleasing  and  popular  meloditM, 
which  are  as  much  as  may  be  freed  from  di!lic\ilty. 
All  that  was  intended  to  he  done  was  ably  per- 
formed. The  title  page  of  a  musical  publication 
seldom  atl'ords  a  date ;  hence  it  is  not  easy  to  say 
in  what  year  Dr.  Hague  introduced  to  the  public 
(by  permission  of  the  composer,  Mr.  Wheeler,  of 
Cambridge)  "Six  Glees  for  three  and  four 
Voices."  Tlie^e  are  productions  of  great  swcot- 
■lesH   and   elegance.     Il'  any   person   should    bo 


induced  to  become  acquainted  with  tliem  on  ihi» 
recommendation,  he  can  hardly  fail,  we  think, 
to  be  delighted  with  such  compo^itions  m 
"  Happy  the  man,"  "  Welcome,  dear  Stella," 
"  .My  Phillida,  adieu,  love  I "  Some  of  oui 
renders  will  not  perhaps  di-spiso  the  infonnation. 
that  the  words  of  the  last-mentioned  glee  may 
be  found  in  Percy's  "  Itelinui's,"  vol.  ii.  p.  :!t)2,  5th 
edition.  Dr.  Hague's  principal  publications  art 
the  following:  I.  "An  .Vnthem  composed  for 
the  Degree  of  Bachelor  of  Music,  and  performe<I 
Juno  -JO,  17t)f;"  the  subject  Is  the  laT'.h 
Psalm  —  "  Uy  the  waters  of  Babylon,"  Jtc.  In 
this  production  the  author  shows  that  ho  had 
completely  overcome  the  me'.-hanical  ditliculties 
of  composition.  The  jiarts  proceed  without  em- 
barrassment, and  the  harmony  is  pure.  Over 
the  whole  there  is  thrown  n  character  of  sim- 
plicity and  of  learning  The  opening  trio,  "  By 
the  waters  ot  Babylon,"  Ls  tender  and  pathetic. 
The  subject  of  the  chorus,  "  As  for  our  harjis,"  was 
employed  by  the  author,  on  another  occasion,  witli 
mvich  greater  effect.  "  For  they  that  led  us  away 
captive,"  and  "  How  shall  we  sing  the  Lord's  sonjj 
in  a  strange  land  ■ "  are  deeply  affecting.  In 
listening  to  the  entire  composition,  we  appear  to 
be  surveying  scenes  of  desolation  and  of  melan- 
choly grandeur.  2  "Glees."  'Hiese  are  worthy 
of  n  pupil  of  Dr.  Cooke.  They  consist  of  real 
parU.  3.  "  Twelve  SjTuphonii's  by  Haydn,  ar- 
ranged as  (Juiutets."  What  is  here  attempted 
is  accomplished  in  a  very  masterly  manner.  4. 
"  The  Ode  as  performed  in  the  Senate  House  at 
Cambridge,  at  the  Installation  ot  his  Koval 
Highness,  the  Duke  of  Gloucester,  Chancellor 
of  the  University."  The  ode  itself  is  from  the 
pen  of  William  Smyth,  Esq.,  professor  of  modem 
history.  We  have  here  the  most  elegant  and  the 
most  sublime  of  Dr.  Hague's  productions.  It 
would  not  be  easy  to  find  any  tiling  more  beau- 
tiful than  the  following  air,  or  more  sublime  than 
the  chorus  which  succeeds  it.  "  The  master  of 
the  British  shell,"  it  will  be  recollected,  is  th». 
poet  (iray. 

M\\. 

'  O  thna  l.«t  niiutrr  of  the  Brttiih  •hell  I 
PIc«»fi|  111  tin-  culm  of  ■cadrmtc  hnweri 
Tti  win  lb-  .i-.il,  ..f  nic-.litnrive  hour», 

An.l  f ■       •• •   -  ': 

S<•l•l^^  '•  loTeIr  train. 

Wi.l.- r  .  rel^ni  — 

Al.i.  ilM. 

Il.>w  111  inr.  ■!  •  1.  ri  .. .  <i.-  ih»I  pearefNil  nnileil. 
Since  In  thi.  .piiw.le.!  <l..nir.  tliT  •kill  <li»lne 
Did  laurvl  wreath*  round  tinn'ta'l  fp«ctx«  twin*  I 

CIIORISL 

What  rnantlem  fiimif,  vith  fVantlc  mini, 
Elare  fl-tti-d  uVr  jriin  darkenp<l  foene  I 
Thejr  c<»nic  —  they  im<e  —  theT  dUappemr 
The  it«*nn  ie  vo<  —  the  pauee  ia  fear  I " 

HAGUE,  II.IRIUOT,  eldest  daughter  of  the 
preceding,  died  in  ISlii,  at  the  early  age  of 
twenty-tlirec.  Her  performance  on  the  piano- 
forte in<licate<l  a  power  of  executing  all  that  the 
most  capricious  fancy  of  the  composer  could 
imagine  ;  but  it  was  a  power  which  was  alwayi 
under  the  dominion  of  taste  and  of  feeling.  She 
could  give  effect  to  the  finest  inventions  of  Mo- 
i;art,  and  triumph,  even  when  listencvl  to  by 
Samuel  Wesley,  over  the  most  intricate  combina- 
tions of  Sehivstian  Bach.  In  IS  14  she  published, 
by  suliscription,  "  Six  songs,  with  an  Accompani- 
ment for  t)ic  Piano-forte,"  which  arc  naid  to  b( 
eminently  l>ost\iti!ul  composition-s. 

HAHN,  (iEOROE  J.  J.,  a  actiM  k  and  directot 


3£7 


UAI 


ENCYCLOPEDIA    OF   MUSIC. 


a  . 


of  music  at  Mdnncrstadt,  in  Frnnconia,  has  pub- 
liKhed,  Kiuce  the  year  1718,  many  tlieoretical  and 
pmctical  works,  chiclly  in  the  German  language. 
Jlis  "  OJfiriiiin  frxpertimim  tuia  rural/',  turn  cicile," 
consisting  of  six  masses  and  psahns  lor  a  full 
orchestra,  was  published  at  Augsburg  in  1759, 
and  thescnond  edition  oi\ua"OeneraU>ass-achuler " 
in  the  same  town  in  1708. 

IIAII5EL.  An  actor  and  good  tenor  singer  in 
Vienna,  subsequently  to  the  year  1791.  He 
compo;-ed  an  operetta,  called  "  Dcr  Tyroter  11  Vm- 
tel,"  wliicli  was  very  successful,  and  jjublished 
in  ditforcnt  ways  in  several  of  tlie  large  townis 
of  Germany. 

HAIGII,  T.  An  English  puinist  and  composer. 
He  was  a  jiuijil  of  Joseph  Haydn,  and  has  not 
only  aiTniiged  for  the  piano  many  of  his  master's 
most  celebrated  works,  but  has  made  himself 
known  by  several  very  excellent  original  com- 
positions. Among  hLs  works  may  be  mentioned 
a  "  Single  Violin  Concerto,"  (Preston.)  "Throe 
Duets,  with  favorite  Airs  for  Piano-forte,"  Op. 
6,  (Preston.)  "  'J'hreeeasy  Ducts,"  Op.  7.  "  Di- 
vertimento." "  Twenty-eight  Sonatinas,  with 
Preludes  and  two  easy  Duets."  "  Twenty-eight 
Sonatinas,  second  Set."  "Six  Sonatas,"  Op.  4. 
"  Tliree  Sonatas,"  Op.  6.  "  Six  Sonatas,"  Op.  8, 
dedicated  to  Dr.  Haydn.  "  Tliree  Sonatas,"  Op. 
9.  "Two  Sonatas,"  Op.  12.  "Sonatas,"  Op. 
16.  "Sonatas,"  Op.  19.  "Eight  Divertimen- 
tos," Op.  42.  "  Divertimento,  with  IMuc  Bells." 
"  Crown  Prince  of  Sweden's  March."  "  Sonata, 
■with  Care  the  Canker."  "  Sonata,  with  Fal,  lal, 
Li."  "  Sonata,  with  Louis  XVI.'s  March." 
"  Thema,  with  Variations,"  dedicated  to  Miss 
ITiornton.  "  -Vir  from  '  Zauberfiote '  of  Mozart, 
with  Variations."  (All  published  by  Preston.) 
"Three  Sonatas,"  Op.  30.  "Two  Sonatas,"  Op. 
31.  "Twelve  Petits  Pieces.  Second  Edition," 
Op.  32.  "  Three  Sonatas,"  Op.  39.  "  Prelude, 
Minuet,  and  Dance  Cossacque."  "  Second  Di- 
vertimento for  Flute  or  Violin,"  Op.  40.  "  Ar- 
rangement of  Haydn's  Symphonies,  Xos.  1,  2, 
and  3,  (Letters  A,  B,  and  C,)  in  which  are  intro- 
duced the  admired  Canzonettas,  '  Far  from  this 
throbbing  bosom,'  '  My  mother  bids  me,'  and 
'  Now  the  dancing  sunbeams  play,'  for  Piano- 
forte and  Flute." 

HAIL  COLUMEL'V.  This,  the  most  popular 
of  all  the  national  songs  of  America,  was  written 
by  the  late  Judge  Joseph  Ilopkinson,  under  the 
circumstunco-i  related  in  the  notice  given  below. 

Joscjih  Hopkinson,  son  of  Francis  Ilojjkinson, 
one  of  the  signers  of  the  Declaration  of  Inde- 
pendence, was  born  in  Philadelphia,  November 
12,  1770.  He  was  educated  at  the  University  of 
Pennsylvania ;  studied  law  with  Judge  Wilson 
and  Mr.  llawle ;  and  jiractised  with  brilliant 
success  in  his  native  city ;  wius  twice  elected  to 
Congress  from  Philadelphia,  (1.S15  and  1817.) 
In  1828  he  was  ai>i)ointed  judge  of  the  district 
court  for  the  eastern  district  of  Pennsylvania  — 
this  being  the  same  oiKce  which  his  father  held 
by  Washington's  ni)poiutment.  Judge  Joseph 
Ilopkinson  remained  in  ofhce  till  his  derea>e, 
which  took  place  June  15,  1842.  He  was  the 
delight  of  the  circle  of  society  in  which  he 
moved.  "His  accomplL^hed  mind,"  says  Mr. 
WaLsh,  "  observ'ant  of  all  the  events,  characters, 
and  opinions  of  the  day,  was  peculiarly  qualitied 


to  delight,  besides  instructing,  in  convivial  inter- 
course, by  a  strong  relish  for  refined  socipty,  «• 
cheerlul  and  vivacious  spirit,  and  a  peculiai 
poignancy  of  remark  and  raciness  of  anecdote.'' 

The  following  is  Judge  Hopkinson's  own  ac- 
count of  the  origin  of  "  Hail  Columbia,"  written 
.•\.ugu»t  24,  1840,  for  the  Wyoming  Baud,  at 
Wilkcsl)arre,  at  their  desire. 

"  This  song  wa-s  written  in  the  summer  of 
1798,  when  a  war  with  France  was  thought  to  b€ 
inevitable  —  Congress  then  being  in  session  in 
Philadelphia,  deliberating  ujion  that  im]X)rtant 
subject,  and  acts  of  hostility  having  actually 
occurred.  'I'he  contest  between  England  and 
France  was  raging,  and  the  people  of  the  United 
States  were  divided  into  parties  for  the  one  side 
or  the  other ;  some  thinking  that  policy  and  duty 
required  us  to  take  part  with  republican  Franco, 
as  she  was  called  ;  others  were  for  our  connecting 
ourselves  with  England,  under  the  belief  that  she 
was  the  great  preservative  power  of  good  princi- 
ples and  safe  government.  The  violation  of  out 
rights  by  both  belligerents  was  forcing  us  from 
the  just  and  wise  policy  of  President  AVashing- 
ton,  which  was  to  do  ecjual  justice  to  both;  to 
take  part  with  neither,  but  to  keep  a  strict  and 
honest  neutrality  between  tliem.  The  prospeft 
of  a  rujjture  with  France  was  exceedinglj'  offen- 
sive to  tl'.e  portion  of  the  peojjlc  which  espoused 
her  cause  ;  and  the  violence  of  the  spirit  of  party 
has  never  risen  liigher,  I  think  not  so  liigh,  as  it 
did  at  that  time,  on  that  question.  The  theatre 
was  then  open  in  our  city.  A  young  man  be- 
longing to  ir,  whose  talent  was  good  as  a  singer, 
was  about  to  take  his  benetit.  I  had  known  him 
'vhen  he  was  at  school.  On  this  acquaintance, 
he  called  on  me  on  Saturday  afternoon  —  liis  ben- 
etit being  announced  loi  the  following  Monday. 
He  said  he  had  no  bo.xcs  taken,  and  his  prospect 
was,  that  lie  shoidd  suffer  a  loss  instead  of  re- 
ceiving a  benetit  from  the  performance  ;  but  that 
if  he  could  get  a  patriotic  song  adapted  to  the 
tune  of  the  "  President's  March,"  (then  the  pop- 
ular air,)  he  did  not  doubt  of  a  full  house;  that 
the  poets  of  the  theatrical  corjis  had  been  trying 
to  accomplish  it,  but  were  saiisticd  that  no  words 
could  be  composed  to  suit  the  music  of  the 
march.  I  told  him  I  would  try  for  him.  lie 
came  tlie  next  afternoon,  and  the  soiig,  such  as 
it  is,  was  ready  for  him.  It  was  announced  on 
Monday  morning,  and  the  theatre  was  crowded 
to  excess,  and  so  continued,  night  after  night, 
for  t!.e  rest  of  the  season — the  song  being  en- 
cored and  repeated  many  times  each  night,  the 
audience  joining  in  the  chorus.  It  was  also  sung 
at  night  Ln  tlie  streets  by  large  assemblies  of  cit- 
izen-, including  members  of  Congress.  The 
enthusiasm  was  general,  and  the  song  was  heard, 
1  may  say,  in  every  part  of  the  United  States. 
The  object  of  the  author  was  to  get  up  an 
American  spirit,  which  should  be  independent  of 
and  above  the  interchts,  passions,  antl  policy  of 
both  belligerents,  and  look  and  feci  exclusively 
for  our  honor  and  our  rights.  Not  an  allu.sion 
is  made  either  to  France  or  Englaiul,  or  the 
quart  el  between  them,  or  to  which  was  the  most 
in  fault,  in  their  treatment  of  us.  Of  coiu-se  th« 
song  found  favor  with  both  j)arties  —  at  least 
ncitlicr  could  disavow  the  sentiments  it  incul- 
cated. It  was  truly  American,  and  nothing  else 
and  the  patriotic  feelings  of  every  AmericaE 
heart  responded  to  it.     Such  is  the  history  of 


368 


HAI 


EXCYCLOP/EDIA    OF   MUSIC. 


HAM 


this  song,  wliich  has  endured  intinitcly  beyond 
any  expectation  of  the  author,  and  beyond  any 
merit  it  can  boast  of,  except  tlint  of  bcinf?  truly 
and  exclusively  patriotic  in  its  sentiments  and 
spirit." 

IIAIXDEL,  or  IIEINDL,  was,  in  1793,  court 
musician  and  chef-cCorchcstre  at  the  theatre  at 
Passau. 

IIAKART,  CAROLO.  A  viol-da-Rambist 
and  composer,  who  died  about  the  year  1730. 

HAKE,  IIANTZ.  A  violinist  at  Stade,  in  the 
middle  of  the  seventeenth  century,  lie  pub- 
•Ishcd  some  music  for  hLs  instrument. 

HAKEXHERCIER,  ANDREAS.  Chapel  mas- 
ter at  Dantzic  in  the  bc-jinningof  the  seventeenth 
century.  He  was  one  of  the  most  eminent  com- 
posers of  his  time.  His  works,  wliich  are  chiefly 
Rkcrel,  bear  date  from  the  year  1612  to  16t.5. 

HAI.nCADEXZ.  (G.)  A  half  candence,  or 
cadence  on  the  dominant. 

HALBERTOX.     (G.)     A  semitone. 

HALBXOTE.     (G.)     A  minim. 

HALEVY,  JACQUES  FROMEXTAL,  one 
of  the  best  dramatic  composers  of  the  French 
school,  was  born  at  Paris  in  1799.  He  entered 
the  Conservatory  in  1809.  He  is  best  known  by 
his  operas  "La  Juive,"  and  "V Eclair,"  and 
his  completion  of  Herold"s  "  Ludovico."  In  1827 
he  was  appointed  teacher  of  harmony  in  the 
Conservatory,  and  pianist  at  the  Italian  Opera. 
In  1829  he  became  director  of  singing  at  the 
(irand  Opera,  and  in  1833  he  succeeded  Fctis  as 
teacher  of  composition  at  the  Conservatory.  In 
1835  the  king  of  the  French  conferred  on  him 
the  cross  of  the  legion  of  honor;  and  in  1836, 
when  Reicha  died,  he  was  elected  to  the  vacant 
place  as  member  of  the  Academy  of  Fine  Arts 
of  the  Royal  Institute  of  France. 

HALF  HEAT.  This  Zwiammetuchlag,  being  the 
inff  rior  note,  is  struck  only  once,  and  at  the  same 
time  with  the  principal  note,  and  is  immediately 
quitted.  Kollman  terms  it  a  base-tfrace,  and  says 
it  is  employed  to  strdigthcn  the  parts,  and  to 
Bupply  the  wiint  of  pedals  in  the  organ.  It  may 
be  written  by  a  small  note,  like  a  short  appoggia- 
tura,  thus  :  — 

-'- 4. 


Jlic  half  heat  is  very  simUar  to  the  acciacatiira 
of  the  Italians.  The  chromatic  licenses  are  de- 
rived from  the  half  beat. 

II.VLF  XOTES.  Semitones  are  sometimes 
called  half  notes,  thnvigh  improperly.  Hutler 
says,  "  From  Mi  to  Fn,  and  from  La  to  Pha,  is 
but  half  a  tone  ;  between  any  other  two  notes 
there  is  a  whole  tone ;  but  in  singing,  how  to 
tune  each  note  and  half  note  to  hLs  fellow, 
cannot  be  declared  by  precept." 

HALL,  IIEXRY.  Tlie  son  of  Captain  Henry 
Hall,  of  New  Windsor,  was  bom  about  the  year 
IBS'T,  and  educated  in  the  Royal  Chapel,  where 
he  had  for  his  tirst  master  Dr.  Plow.  His  tirst 
promotion  was  to  the  place  of  organist  of  Exeter. 
After  that  he  became  orgAnLst  of  Hereford,  and 
•  vicar  choral  in  that  church.     He  died  iu  1707. 


He  had  a  son  named  after  himself,  who  was  also 
organist  of  Hereford,  and  died  in  the  year  1713. 
'ITie  similar  situation  of  these  two  persons,  ant 
the  short  distance  of  time  between  their  death, 
rendered  it  dItKcult  to  distinguish  one  from  the 
other ;  and  this  difficulty  is  increased  by  the  ad- 
ditional circumstance  that  each  liad  a  taste  for 
poetry.  The  elder  was  a  sound  musician,  and 
composed  many  anthems,  well  known  to  those 
who  are  conversant  in  church  music ;  and  most 
of  the  musical  compositions  with  the  name 
Henry  Hall  are  to  be  ascribed  to  him  ;  for  it  has 
not  Ix'cn  ascertained  that  the  younger  was  the 
author  of  any ;  and  indeed  it  seems  that  his 
character  of  a  musician  Ls  lost  in  that  of  a  poet. 

HALL,  WILLIAM,  a  violinist  in  the  Chapel 
Royal  of  King  William  II.,  died  in  the  year 
1700.  There  are  some  i)riuted  airs  of  his  com- 
position.    See  Hawki.ns,  Siu  John. 

HALLELUJAH,  or  ALLELUJA  (Hebrew.) 
Praise  ye  the  Lord.  ITie  singing  of  IlalMujahi 
was  a  sort  of  invitation,  or  call  to  each  other,  to 
praise  the  Lord.  St.  Austin  says,  that  in  some 
churches  it  was  sung  only  on  Easter  day,  and 
the  fifty  daj's  of  Pentecost ;  but  that  it  was 
never  used  during  the  time  of  Lent.  St.  Jerome 
informs  us  in  his  epitaph  of  Fabiola,  that  it  was 
commonly  sung  at  funenils,  and  speaks  of  the 
whole  multitude  joining  in  the  Hallelujah,  and 
making  the  golden  roof  of  the  church  shake 
with  the  peaLs  of  the  chorus.  This  expression 
occurs  often  in  the  Psalms,  and  its  full,  fine 
sound,  together  with  its  simple  and  solemn 
meaning,  has  rendered  it  a  lavorite  of  musica. 
composers,  llie  vowels  in  it  are  very  favorable 
for  a  singer. 

HALTER,  WILIIELM  FERDIXAXD,  or- 
ganist of  the  reformed  church  at  Konigsberg,  in 
Prussia,  published  some  excellent  music  lor  the 
piano-forte.  He  died  in  1806.  Sevenil  sets  ot 
his  sonatas  are  published  at  Leipsic  and  Augs- 
burg. 

HAMBOY.S  JOIIX.  One  of  the  oldest  doctors 
of  music  in  England.  He  flourished  about  tne 
year  U70,  and  left  the  following  works:  IsU 
"  Siimmum  ArtU  Miaices,"  in  manuscript;  and 
2d.  "  Ca)Uio)U'3  artificiaUs  dicersi  Uciieru."  He 
was  an  excellent  musician  for  the  age  in  which 
he  lived. 

HAMERTOX.  WILIXVM  HENRY,  was  bom 
in  Xottingham,  in  the  year  179.5.  At  an  early 
age  he  became  a  chorister  of  Christchurch  Cathe- 
dral, Dublin,  where  he  received  his  musical  edu- 
cation. In  1812  he  visited  I^ndon,  with  the 
intention  of  studying  vocal  music,  and  lor  that 
puq)ose  became  the  pu])il  of  Thomas  Vaughan. 
He  retumetl  to  Dublin  in  1811,  and  then  com- 
menced business  professionally,  as  teacher  of 
vocal  music,  the  organ,  and  jiiano-forte.  In  1815, 
on  the  resignation  of  John  Elliott,  Hamerton  was 
appointed  ma-ter  of  the  musical  academy,  in 
which  he  had  been  himself  eilucated,  and  in 
which  several  of  his  pupils  have  di«linguished 
themselves,  particularly  Master  Onusby,  who  so 
much  attracted  the  attention  of  his  majesty  on 
his  visit  to  Dublin,  as  also  Master  Hill,  a  chori»- 
tcr.  In  1822  Hamerton  ofhciatod  i;nituitously 
as  organist  and  preceptor  to  the  Molyneavix  a-ny- 
lum  for  blind  females,  and  was  ap|H>intcd  ons 
of  the  gentlemen  of  his  majesty's  Chapel  Rojal 
9 


QAM 


ENCYCLOPEDIA    OF    MUSIC. 


HAN 


n  Dublin.  His  compositions,  which  are  all  vocal, 
coiiiiint  of  a  tew  songc,  duets,  and  harmonized 
aii'8,  Bomc  anthems  and  chants  written  for  Christ- 
churdi  Catliedrul,  and  an  elementary  work,  of 
which  the  title  is,  "  Vocal  Instructions,  combined 
with  the  Theory  and  Practice  of  Piano-forte  Ac- 
lompaniment." 

IIAMMEL,  STEFFAX,  an  organLst,  of  a  con- 
vent at  ^\'urtzburg,  published  some  good  sacred 
music  between  tlie  years  1786  and  1807. 

HAMMEUSCHMIDT,  ^VNDREW,  a  Bohe- 
mian, born  in  IGll,  was  organist,  first  of  the 
church  of  St.  Peter's,  at  Freiberg,  and  afterwards 
of  that  of  St.  John,  at  Zittau.  He  was  chiedy 
celebrated  for  his  assiduity  in  the  improvement 
of  the  church  music  in  Saxony,  and  some  of  the 
other  German  provinces.  He  died  in  1675,  at 
the  age  of  sLxty-four.  His  compositions  were 
chietly  motets  for  four,  five,  and  sLx  voices. 

HAMMOND,  HENRY,  an  EngUsh  doctor  of 
divinity,  born  in  1G03,  was  one  of  the  preachers 
to  the  comt  of  Charles  I.  To  hLs  "  Paraplu-ase 
and  Annotations  upon  the  Book  of  Psalms  "  he 
has  added  a  curious  dissertation  on  the  use  of 
music  in  divine  service.     He  died  in  1660. 

HAMPEL,  ANTON  JOSEPH.  A  celebrated 
performer  on  the  horn,  in  the  Chapel  Royal  at 
Dresden,  in  17-18.     He  was  the  master  of  Punto. 

HAN,  GERARDO,  published  at  Amsterdam, 
in  1730,  "  Simatc  a  tre,"  Op.  1. 

HANDEL,  properly  HAENDEL,  GEORGE 
FREDERIC,  the  son  of  an  eminent  surgeon 
and  physician  at  Halle,  in  the  duchy  of  Magde- 
burg, and  circle  of  Lower  Saxony,  was  born  on 
the  ■i4th  February,  1684.  In  his  early  youth,  he 
discovered  such  n  passion  for  music  as  could  not 
be  subdued  by  the  commands  of  his  father,  who 
intended  him  for  the  jjrofession  of  the  law.  He 
had  made  a  considerable  progre^^s  in  thLs  art  by 
stealth,  before  he  was  allowed  a  master;  but  at 
seven  years  old,  his  father,  finding  it  impossible 
to  fix  hLs  attention  to  any  thing  but  music,  for 
which  he  seemed  to  have  been  endowed  by  na- 
ture with  very  uncommon  propensities  and  facul- 
ties, i)laced  him  under  Zachau,  organist  of  the 
catheelral  of  Halle,  a  man  of  considerable  abili- 
ties in  his  profession.  By  the  time  he  was  nine 
years  old,  our  young  musician  was  not  only  able 
to  officiate  on  the  organ  for  his  master,  but  began 
to  study  composition  ;  and,  at  this  early  period 
of  his  life,  is  said  to  have  composed  a  serWce,  or, 
as  it  is  called  in  Germany,  spiritual  cantata,  every 
week,  for  voices  and  instruments,  during  three 
successive  years.  Mr.  Weideman  was  in  posses- 
sion of  a  set  of  sonatas  in  three  ])arts,  which 
Handel  comjjosed  when  he  was  only  ten  years 
old.  In  the  year  1698,  at  the  age  of  fourteen,  he 
was  carried  to  Berlin,  where  operas  were  then  in 
a  very  Hourishing  state,  at  the  court  of  the  Elec- 
tor of  Brandenburg,  afterwards  King  of  Prussia, 
who  at  that  time  retained  in  his  service  not  only 
many  ItAlian  singers  of  eminence,  but  likewise 
Buononcini  and  .Vtlilio,  to  comjiose.  Handel  dis- 
tinguished  hiraseli  so  much  in  this  city  as  a  won- 
deriul  performer  for  his  ago,  that  his  electonil 
highness  offered  to  send  him  into  Italy  at  his  own 
expense,  for  tlie  completion  of  his  musical  stiulies. 
His  fatlier,  however,  jierhaps  from  a  mistaken 
•jiirit  of  independence,  declinetl  tliis  honor,  and 


the  young  musician  returned  to  Halle.  The 
death  of  his  father  happening  soon  after  he  left 
Berlin,  Handel,  unable  to  support  the  expense  of 
a  journey  to  Italy,  whither  he  was  ambitious  of 
going,  removed  to  Hamburg,  in  order  to  procure 
a  subsistence  by  his  musical  talents,  this  citv 
being,  next  to  Berlin,  then  the  most  renowned  fo»- 
its  operas.  John  Matheson,  an  able  musician 
and  voluminous  writer  on  the  subject  of  music 
who  resided  at  Hamburg  during  the  whole  time- 
that  Handel  remained  in  that  city,  informs  us 
that  he  arrived  at  Hamburg  in  the  summer  of 
1703,  endowed  with  genius  and  a  good  disposi- 
tion. "Here,"  says  >Iathcson,  "almost  hLs  first 
acquaintance  was  myself,  as  I  met  him  at  the 
organ  of  St.  Mary  Magdalen's  Church,  on  the 
30th  of  July,  whence  I  conducted  him  to  my 
father's  house,  where  he  was  treated  with  all  pos- 
sible kindness  and  hospitality  ;  and  I  afterwards 
not  only  attended  him  to  organs,  choirs,  operas, 
and  concerts,  but  recommended  him  to  several 
scholars.  At  first  he  only  played  a  ripieno  vio- 
lin in  the  opera  orchestra,  and  behaved  as  if  he 
could  not  count  five,  being  naturally  inclined  to 
dry  humor.  At  this  time  he  composed  ex- 
tremely long  airs,  and  cantatas  without  end,  of 
which  though  the  harmony  was  excellent,  yet 
true  taste  was  wanting,  which,  however,  he  soon 
acquired  by  his  attendance  at  the  opera."  As 
these  young  musicians  lived  much  together,  they 
frequently  had  amicable  contests  and  trials  of 
skill  with  each  other,  in  which,  it  appearing  that 
they  excelled  on  different  instruments,  Handel  on 
the  organ,  and  Matheson  on  the  harpsichord,  ther 
mutually  agreed  not  to  invade  each  other's  prov- 
ince, and  faithfully  obser^-ed  this  compact  for  five 
or  six  years.  "Handel,"  says  Matheson,  "  pre- 
tended  ignorance  in  a  manner  peculiar  to  himself, 
by  which  he  made  the  gravest  people  laugh,  with- 
out laughing  himself.  But  hLs  superior  abilities 
were  soon  discovered,  when,  upon  occasion  of 
the  harpsichord  player  at  the  opera  being  absent, 
he  was  persuaded  to  take  his  place,  for  he  then 
showed  hunself  to  be  a  great  master,  to  the 
astonishment  of  every  one  except  myself,  who 
had  frequently  heard  him  before  upon  keyed  in- 
struments." Soon  after  .thLs,  an  opera  called 
"  Cleopatra,"  composed  by  Matheson,  was  per- 
fonned  on  the  Hamburg  stage,  in  which  he  acted 
the  part  of  Antony  himself',  and  Handel  i)layed 
the  harpsichord  ;  but  Matheson  being  accustomed, 
upon  the  death  of  Antony,  which  happens  early 
in  the  piece,  to  preside  at  the  harpsichord  as  com- 
poser, Handel  refused  to  indulge  his  vanity  by 
relinquLshing  his  post ;  which  occasioned  so  vio- 
lent a  (juarrel  between  them,  that,  as  they  were 
going  out  of  the  house,  Matheson  gave  him  a 
slap  on  the  face,  upon  which  they  both  imme- 
diately drew  their  swords,  and  a  duel  ensued  in 
the  market -jilace,  before  the  door  of  the  (.)pera 
House ;  luckily,  the  sword  of  Matheson  broke 
again--t  a  metal  button  upon  Handel's  coat,  which 
put  an  end  to  the  combat,  and  they  were  soon 
after  reconciled.  This  rencounter  happened  on 
the  .5th  of  December,  170-t ;  and,  as  a  proof  of  a 
sjieody  reconciliation,  Matheson  tells  us,  that  on 
the  36th  of  the  same  month,  he  accompanied  the 
young  composer  to  the  rehearsal  of  liLs  first  opera, 
"  Almira,"  at  the  theatre,  and  performed  th« 
principal  character  in  it ;  and  that  afterwar  la 
tl'.ey  became  greater  friends  than  (!ver.  On  t  it 
2")th  of  February,  I70-),  Handel  produced  a  soc/i.  i 


360 


II  AX 


EXCYCLOP.EDIA    OF    MUSIC. 


n\s 


opera,  culled  "Nero,"  which,  as  well  as  "  Al- 
inira,"  met  with  a  very  favorable  reception.  After 
the  run  of  thcuo  two  dramas,  Matheson,  who  per- 
formed the  jirincipal  character  in  both,  quitted 
the  staf;e,  ou  beinf;  ajipointed  secretary  to  the 
British  resident  at  Hamburg;  —  an  office  in  which 
he  continued  till  his  death,  at  the  distance  of 
near  si.xty  years  from  his  Krst  apj)ointment.  From 
170.i  to  176s,  when  Handel  set  two  other  opera.H, 
"  J'hriiido,  "  and  "  DaJ'iie,"  he  did  not  compose 
any  thiu^  for  the  sta-je,  but  had  many  scholars, 
and  composed  harpsichord  pieces,  sin<;le  songs, 
and  cantatas  innumerable.  Handel,  liavinii  ac- 
quired at  Hamburg  a  sum  sufHcie.-t  to  enable  him 
to  visit  Italy,  set  out  for  that  seat  of  the  Muses,  a 
journey  after  which  every  man  of  genius  so  ar- 
dently pants.  He  staid  some  time  at  Florence, 
where  he  composed  the  opera  of  "  Rodrigo." 
'nieucc  he  went  to  Venice,  where,  in  1709,  he 
produced  his  "  Aijrippina,"  which  is  said  by  his 
biographer  to  have  been  received  with  acclama- 
tion, and  to  have  run  thirty  nights.  Here  he  met 
with  Domenico  Scarlatti,  Uasparini,  and  Lotti. 
Ho  then  vLsited  Kome,  where  he  had  an  oppor- 
tunity of  hearir.g  compositions  and  performers  of 
the  first  class.  Here  the  elder  Scarlatti  and  Uas- 
parini had  brought  vocal  music,  and  Corelli  in- 
strumental, to  great  perfection.  At  Cardinal  Ot- 
toboni's,  by  whom  Handel  was  greatly  caressed 
and  patronized,  he  had  frctjuently  the  advantage 
of  hearing  the  natural  and  elegant  Corelli  perform 
his  own  works.  Here  the  young  composer  pro- 
duced a  serenata,  "  II  Trionfo  del  Tempo."  Aiter 
iiis  he  proceeded  to  Naples  where  he  set  "  Ada 
e  UnUttea,"  in  Italian,  but  totally  different  from 
the  Englisli  drama,  written  by  (iay,  which  he  set, 
in  1721,  for  the  Duke  of  Chandos.  When  he  re- 
turned to  (icrmany,  on  quitting  Italy,  in  the 
i>eginning  of  1710,  he  proceeded  immediately  to 
Hanover,  where  he  found  a  munificent  patron 
in  the  elector,  who  afterwards,  on  the  death  of 
Queen  Anne,  ascended  the  English  throne  by 
the  name  of  George  I.  Tliis  prince  had  already 
retained  in  his  service,  as  miwslro  di  cajieUa,  the 
elegant  and  learned  composer  Steffani,  whom 
Handbl  had  be;brc  met  at  Venice,  and  who  now 
resigned  his  office  in  his  favor.  This  venerable 
musician  served  as  a  model  to  Handel  for  cham- 
ber duets,  and  facilitated  hLs  introduction  to  the 
smiles  of  his  patron,  the  elector,  who  settled  on 
him  a  pension  of  fifteen  h\in(lred  crowns,  upon 
condition  tliat  he  would  return  to  his  court,  when 
he  had  completed  his  travels.  Handel,  accord- 
ing to  this  j)roposiliou,  went  to  Dusseldorf,  where 
he  had  a  flattering  reception  from  the  elector 
palatine,  who  likewise  wiMhe<l  to  retain  him  in 
his  service.  Hut,  be-ides  the  engagement  into 
which  he  had  already  entere<l,  he  was  impatient 
to  visit  England;  having  received  invitations 
from  several  ot  the  nobility,  whom  he  had  seen 
in  Ital^  and  at  Hanover.  It  was  at  the  latter 
end  of  the  year  1710  that  Handel  first  went  to 
London.  His  reception  was  as  fiattering  to  him- 
self as  honorable  to  the  nation,  and  decided  liim 
to  remain  in  that  country,  where  fortune  and  re- 
nown awaited  him,  instead  of  returning  to  more 
limited  engagements  at  Hanover.  On  the  arrival, 
however,  ot  George  I.  in  England,  Handel,  con- 
scious of  his  deficiency  in  respect  ond  gratitude 
to  a  prince  who  had  honored  him  with  such  fiat- 
tcriug  marks  ot  approbation  and  bounty,  durst 
«ot  approach  the  court,  till,  by  the  ingenuity  and 


friei\dly  interposition  of  Uaron  Kilmanse'.;gf  ha 
was  rcNtorcd  to  favor  in  the  following  mam  -^  : 
The  king,  soon  ofter  his  arrival,  ha\Tng  been  |  re- 
vailed  on  to  form  a  party  on  the  water,  the  des.gn 
was  communicated  to  Handel,  who  was  advLscd 
to  compose  some  j)ieces  expressly  on  the  occasion 
the  i)erl'ormance  of  which  he  secretly  conductd 
in  a  boat,  which  accompanied  the  royal  barge 
I'pon  hearing  these  compositions,  which  have 
been  since  so  well  known,  and  so  jtustly  cele- 
brated under  the  title  of  water  music,  hU  ma- 
jesty, equally  surjirised  and  plcase<l  by  their  ex- 
cellence, eagerly  inquired  who  was  the  author 
of  them  ;  when  the  baron  acquainted  the  king 
that  they  were  tlie  ])roductions  of  a  faitlitul  ser- 
vant of  his  majesty,  who,  conscious  of  the  cau.se 
of  displeasure  which  he  had  given  to  so  gracioiis 
a  protector,  durst  not  ])rcsume  to  approach  hLs 
royal  presence  till  he  luid  assurances  that,  by 
every  possible  demonstration  of  duty  and  grati- 
tude in  future,  he  might  hope  to  obtain  a  jiardon. 
Thi<  intercession  having  been  graciously  iiciepted, 
Handel  was  restored  to  favor,  and  honored  with 
the  most  fiattering  marks  of  royal  approbation. 
And  as  a  ratification  of  the  delinquent's  peace, 
thus  easily  obtained,  his  majesty  was  jjlexsed  to 
double  a  pension  of  two  hundrctl  pounds  a  year, 
pre\-iously  settled  -on  him  by  Queen  Anne ;  and 
not  many  yeaw  after,  when  he  was  employe<l  to 
teach  the  princesses,  another  pension  of  two  hun- 
dred pounds  was  added  to  the  former  grants,  l)y 
Queen  Caroline.  From  the  year  171.5  to  1720, 
we  do  not  find  that  any  opera  was  set  by  Han- 
del. During  the  first  three  years  of  thi*  i)eriod, 
he  chictty  resided  with  the  Earl  of  Burlington,  a 
nobleman  whose  taste  and  judgment  in  the  fine 
arts  were  as  ex(iuisite  as  his  patronage  to  their 
votarie:-!  was  liberal.  And  the  other  two  years 
Handel  was  employed  at  Cannons,  as  maestro  di 
cnptUa  to  the  Dtike  of  Chandos,  who,  among 
other  splendid  and  princely  features  of  magnil- 
iccnce,  cstablislied  a  chapel,  in  which  the  cathe- 
dral service  was  daily  perlbrmetl  by  a  choir  of 
voices  and  instruments,  superior,  at  that  time, 
perhaps,  in  number  ai\d  excellence,  to  that  of  any 
sovereign  prince  of  Europe.  Here  Handel  pro- 
duced, besides  his  anthems,  the  chief  part  of  his 
hautboy  concertos,  sonata.s,  lei-isons,  and  organ 
fugues ;  which  are  all  so  masterly,  sjiirited,  and 
exquisite  in  their  several  kinds,  that  il  he  had 
never  compo-cd  an  opera,  oratorio,  "  Te  Dvum," 
or  any  other  species  of  vocal  music,  his  name 
would  have  been  had  in  reverence  by  true  musi- 
cians as  long  as  the  characters  in  wliich  they  are 
written  continue  to  be  legible.  I'hc  most  splen- 
did era  in  the  opera  annals  of  England,  when 
the  King's  Theatre  wa«  under  the  direi-tion  of  the 
Uoyal  Academy  ot  Music,  and  Handel  the  act- 
ing manager  anil  composer,  was  likewi>e  the  pre- 
cise moment  when  this  great  musician  had  ar- 
rived at  the  stage  of  existence  which  DnntccAlla 
" //  nte;;o  del  crimmiit  i/i  w>stra  vitit ;  "  wlien  the 
human  friune  and  faculties  have  attained  theii 
utmost  strength  and  vigor.  Ho  was  cadoweil 
with  extraordinary  natural  jiowerx,  by  that  time 
highly  improved  by  cultivation ;  with  a  hand 
which  no  difficulties  could  cmbarrn.ss ;  n  genius 
for  composition  original  and  incxhaustibli- ;  at  the 
head  ot  a  protossion  which  lucililHte^  ai'coss  tc 
the  great,  and  with  extraordinary  aliihtics  iiuturet 
their  patronage ;  high  in  the  favor  ol  the  sover- 
eign, nobles,  and  public  of  a  rich  and   i>ow«rfit 


i'j 


361 


HAX 


ENCYCLOPAEDIA    OF    MUSIC. 


HAN 


nation,  at  a  period  of  its  prentest  happiness  and 
tranquillity ;  when  it  was  not  only  blessed  with 
leisure  and  zeal  to  cultivate  the  arts  of  peace, 
but  with  power  and  inclination  liberally  to  re- 
ward tliose  whose  successful  efforts  had  carried 
them  beyond  the  re-^ions  of  mediocrity.  .Such 
■were  Handel's  circumstances  when  he  first  en- 
tered into  the  service  of  the  Iloyal  Academy  of 
Music.  In  his  treatment  even  of  first-rate  sing- 
ers, Handel  was  somewhat  despotic,  as  the  two 
following  anecdotes  will  evince.  The  very  sim- 
ple and  well-known  air,  "  Verdi  prati,"  in  "  Al- 
ciiui,"  which  was  constantly  encored,  was  at  first 
sent  back  to  Handel  by  Carostini,  as  too  trifling 
for  liim  to  sing  ;  upon  wliich  he  went  in  a  great 
rage  to  his  lodgings,  and,  with  a  tone  in  which 
few  composers  except  Ilandel  ever  ventiu-ed  to 
accost  a  first-rate  singer,  exclaimed,  in  liis  usual 
curious  dialect,  and  with  his  accustomed  impet- 
uosity, "  You  tog  !  don't  I  know  better  as  your- 
Bcluf  vaat  is  pest  for  you  to  sing  ?  If  you  vill 
not  sing  all  de  song  vaat  I  give  you,  I  vill  not 
pay  you  eiu  stiver."  On  a  similar  occasion,  upon 
Cuzzoui  insolently  refusing  to  sing  his  admirable 
air,  "  Fa'sa  imagine,"  in  "  Otho,"  he  told  her 
that  he  always  knew  she  was  a  very  rkcil,  but  that 
he  should  now  let  /ler  know,  in  her  turn,  that  he 
was  Beelzebub,  the  prince  of  rlevils ;  and  then 
taking  her  up  by  the  waist,  declared,  if  she  did 
not  immediately  obey  hLs  orders,  he  would  tlirow 
her  out  of  the  window. 

During  the  first  years  of  Handel's  retreat  from 
the  opera  stage,  the  profits  arising  from  his  ora- 
torios were  insuflicient  to  indemnify  his  losses ; 
and  it  would  remain  a  perpetual  stigma  on  the 
taste  of  the  British  nation,  that  his  "  Messiah," 
that  truly  noble  and  sublime  work,  was  not  only 
ill  attended,  but  ill  received,  on  its  first  per- 
formance in  17-tl,  wore  not  its  miscarriage  to  be 
■wholl}'  ascribed  to  the  resentment  of  the  many 
great  personages  whom  he  had  offended  in  re- 
fusing to  compose  for  Senesino,  by  whom  he 
considered  himself  affronted,  or  even  lor  the 
opera,  unless  that  singer  was  dismLssed.  ThLs 
inflexibility,  being  construed  into  insolence,  was 
the  cau:se  of  that  powerful  opposition,  at  once 
oi)pressive,  mortifying,  and  ruinous  to  its  victim. 

Finding  it  impossible  to  stem  the  torrent  of 
persecution,  Ilandel  visited  Ireland,  in  order  to 
try  whether,  in  that  kingdom,  his  oratorios 
would  be  out  of  the  reach  of  prejudice  and  en- 
mity. Pope,  on  this  occasion,  personifying  the 
Italian  opera,  put  into  her  mouth  the  following 
well-known  lines,  which  she  addresses  to  the 
goddess  of  dulness  :  — 

*•  Strom  in  new  armi,  lo!  piant  Hnndel  itanda. 
Like  (^Id  Brinrvus  with  liis  hun<lre<i  Iidn<l4; 
To  utir,  to  roimr.  to  iihiilte  the  nonl.  ht'  cfum'S, 
Anil  Jove's  o»-n  thunilim  I..II0W  Miirs's  drum!. 


Stiu  bfjirU,  and  druvc 


or  yon  )*Ifcp  no  i 
iliin  tu  tin;  llibcn 


"  When  Handel  went  through  Chester  this 
year,"  (17tl,l  says  Dr.  IJumey,  "I  was  at  the 
public  school  in  that  city,  and  very  well  remem- 
ber seeing  him  smoke  a  j)ipe  over  a  dish  of  cof- 
fee, at  the  Exchange  Coffee  House  ;  for,  being 
extremely  curious  to  see  so  extraordinary  a  man, 
I  watched  him  narrowly  as  long  as  he  remained 
at  Chester ;  which,  on  account  o!  the  wind  being 
unfavorable  lor  his  embarking  at  I'nrkgate,  was 
several  days.  Dtiring  this  time,  he  ui)plied  to 
Mr.  Ilaker,  the  organist,  my  first  music  miuster, 
to  know  whether   there  were  anv  choir  men  in 


the  cathedral  who  could  sing  at  sight,  as  he 
wished  to  prove  some  books  that  had  been  hastily 
transcribed,  by  trying  tlie  choruses,  which  he 
intended  to  perform  in  Ireland.  Mr.  Baker  men- 
tioned some  of  the  most  likely  singers  then  in 
Chester,  and  among  the  rest,  a  printer  of  the 
name  of  Janson,  who  had  a  good  bass  voice,  and 
was  one  of  the  best  musicians  in  the  choir.  At 
this  time  Han-y  AUcock,  a  good  player,  was  the 
first  violin  at  Chester,  which  was  then  a  very 
musical  place;  for,  besides  public  performances, 
Mr.  Prebendary  Prescott  had  a  weekly  concert, 
at  which  he  was  able  to  muster  eighteen  oi 
twenty  performers,  gentlemen  and  professors.  A 
time  was  fixed  lor  this  jjrivate  rel-.earsal  at  the 
Golden  Falcon,  where  Handel  was  quartered 
but,  alas  I  on  trial  of  the  chorus  in  the  '  Messiah,' 
'  And  witli  hLs  stripes  we  are  healed,'  jioor  Jan- 
son, after  repeated  attempts,  failed  so  egregiously, 
that  Ilandel,  after  swearing  in  four  or  five  dijf- 
ferent  languages,  cried  out  in  broken  English, 
'  You  schauntrel  !  tit  not  you  dell  me  dat  you 
could  sing  at  soite  ? '  '  Yes,  sir,'  said  the  printer, 
'  and  so  I  can,  but  not  &t first  sight.'  " 

Handel,  on  his  arrival  in  Dubhn,  with  equal 
judgment  and  humanity,  began  by  performing 
the  "  Messiah,"  for  the  benefit  of  the  city  prison. 
This  act  of  generosity  and  benevolence  met  with 
universal  approbation,  as  well  as  his  music. 
Handel  was  assisted  by  Dubourg,  as  leader,  and 
Mrs.  Cibber,  who  sang  "  He  was  despised  and 
rejected  of  men,"  in  a  manner  truly  touching. 
Her  voice  was  a  mere  thread,  and  her  knowledge 
of  music  inconsiderable ;  j'ct  in  this  song,  (which 
was  originally  composed  for  her,)  by  a  natural 
pathos,  and  perfect  conception  of  the  words,  she 
often  penetrated  the  heart,  when  others,  with  tal- 
ents infinitely  superior,  could  only  reach  the  ear. 

Handel  remained  eight  or  nine  months  in  Ire- 
land, where  he  extended  his  lame,  and  began  to 
repair  his  fortune.  On  his  return  to  London  in 
the  beginning  of  174'2,  as  he  had  relinquished  all 
thoughts  of  opposing  the  managers  of  the  opera, 
former  enmities  began  to  subside  ;  and  when  he 
recommenced  his  oratorios  the  Lent  following, 
he  found  a  general  disposition  in  the  public  to 
countenance  and  support  him. 

"  Samson  "  was  the  first  oratorio  he  performed 
that  year,  wliich  was  not  only  much  applauded 
by  crowded  houses  in  the  capital,  but  was  soon 
disseminated  in  single  songs  throughout  the 
kingdom  ;  and,  indeed,  has  ever  been  in  greater 
favor  than  any  one  of  his  works,  with  the  ex- 
cei)tion  of  the  "  Messiah,"  which  that  season,  for 
the  honor  of  the  public  at  large,  and  to  the  dis- 
grace of  cabal  and  faction,  was  received  with 
universal  admiration  and  applause ;  and  from 
that  time  to  the  present  hour,  this  great  work 
has  been  heard  in  all  parts  of  Great  Britain  with 
increasing  reverence  and  delight.  It  has  fed 
the  hungry,  clothed  the  naked,  fostered  the 
orphan,  and  enriched  succeeding  luanagers  of 
oratorios,  more  than  any  single  musical  produc- 
tion in  England  or  any  other  country.  Tliia 
sacred  oratorio,  as  it  was  originally  called,  on 
account  of  the  words  being  wholly  composed  of 
genuine  texts  of  Scripture,  appearing  to  stand  in 
such  high  estimation  with  the  public,  JIandel, 
actuatetl  by  motives  of  the  purest  benevolence 
and  humanity,  formed  the  laudable  resolution 
of  j)crfonning  it  annually  for  the  benefit  of  the 
Foundling  Hospital ;  wliich  resolution  was  con- 


36-2 


HAN 


ENCYCLOPEDIA    OF    MUSIC. 


HAN 


Btantly  put  in  practice  to  the  end  of  his  Hfc, 
under  hiH  owni  direction,  and  long  alter  his  death 
under  that  of  Mr.  Smith  and  Mr.  .Stanley.  In  ■ 
consetiuence  of  these  perfominnces,  the  benefac- 
tions to  the  charity  from  the  year  1749  to 
17o9,  bv  eleven  performances,  under  Handel's 
own  direction,  amounted  to  (>'Xii)l.  ;  from  1700 
to  17i)H,  hv  eight  jjertormanccs,  under  the  con- 
duct of  Mt.  J.  C.  Smith,  133-2/. ;  from  17(i9  to 
1777,  l>v  nine  performances,  under  the  direction 
of  Mr.'  Stanley,  2032/.  .•  being,  in  all,  10,299/. 
ITie  organ  in  the  chapel  of  this  hospital  wa.s 
likewise  a  present  from  Handel,  and  he  be- 
queathed, as  a  legacy  to  this  charity,  a  fair  cojjy 
of  the  original  score  of  the  "  Mc-ssiab."  From 
the  time  of  his  return  from  Ireland,  with  little 
opposition,  and  a  few  thin  houses,  in  conseiiuence 
of  great  a.s.semblies  of  the  nobility  and  gentry, 
manifestly  and  cruelly  coUectctl  together  on  his 
night.s  of  performance,  with  hostile  intentions, 
by  some  implacable  remains  of  his  most  ])o\ver- 
fiU  adversaries,  he  continued  hb  oratorios  till 
within  a  week  of  his  death. 

Ikit  though  the  "  Messiah  "  increased  in  repu- 
tation every  year,  and  the  crowds  that  tlocked  to 
the  theatre  were  more  considerable  every  time  it 
was  performed,  yet  to  some  of  his  other  oratorios, 
the  houses  were  so  thin  as  not  even  to  defray  his 
expenses ;  which,  as  he  always  employed  a  very 
numerous  band,  and  paid  his  perfonners  liberally, 
BO  deranged  his  nttairs,  that,  in  the  year  17-1.5, 
after  two  iwrformances  of  "  Hercules"  January 
a  and  10,  before  the  I^nt  season,  he  stopped 
pa)-mcnt.  He,  however,  resumed  the  perform- 
ance of  his  oratorios  of  "  Samson,"  "  Saul," 
"Joseph,"  "  BeLshaz/ar,"  and  the  "  Messiah,"  in 
March.  "  But,"  says  Dr.  Buniey,  "  I  perfectly 
well  remember,  that  none  were  well  attendetl, 
excejit  'Samson,'  and  the  'Messiah.'"  Dr. 
Burnev  likewLse  informs  us,  that  he  has  fre- 
quently heard  Handel,  as  pleasantly  as  philo- 
sophically, console  his  friends,  when,  previous  to 
the  ciirtain  being  drawn  up,  they  have  lamented 
that  the  house  was  so  em])ty,  by  saying,  "  Never 
mind  ;  de  moosic  \i]  sound  de  petter." 

In  1749,  "Theodora"  was  so  very  unfortunate- 
ly abandoned,  that  he  was  glad  if  any  professors 
who  rlid  not  perform  would  accept  of  tickets  or 
orders  for  ailmission.  Two  gentlemen  of  that 
description  having  applied  to  Handel,  after  the 
disgrace  of  "'nieodora,"  for  an  order  to  hear  the 
"  Mes-iah,"  he  cried  out,  "  O,  your  sarvant, 
mein  herren  I  your  are  taranable  tainty  !  you 
would  no  CO  to  'Theodora:'  dcr  vas  room 
enough  to  dance  there,  when  that  was  perform." 
His  majesty.  King  (ieorge  IL,  was  n  steady 
patron  of  Handel  during  these  calamitous  times, 
and  constantly  attended  his  oratorios,  when  they 
were  abandoned  by  hLs  court. 

Handel,  late  in  lite,  like  the  greatest  of  poetJi, 
Homer  and  Milton,  w;is  atllictcd  with  blindness, 
which,  however  it  might  dispirit  or  embarrass 
him  at  other  times,  had  no  etfect  on  his  ner\-es  or 
intellect  in  public;  as  he  continued  to  play  con- 
certos and  voluntaries  between  the  parts  of  his 
oratorios  to  the  last,  with  the  same  vigor  of 
thought  and  touch  for  which  he  was  ever  so 
iustly  renowned.  To  see  him,  however,  le<l  to 
the  organ,  after  thus  calamity,  at  upwards  of 
seventy  years  of  age,  and  then  conducted  towards 
the  audience  to  make  bis  accustomed  obeisance, 
was  a  sight  so  tridy  atllicting  and  deplorable,  to 


persons  of  sensibilit»,  »w  greatly  diminishe<l  theii 
pleasure  on  hearing  hin»  perfonn.  During  the 
oratorio  season,  he  practised  almost  incessantly  ; 
and,  indeed,  that  must  I'.avc  lieen  tlio  ca-^e,  or  bis 
memory  uncommonly  retentive,  for.  after  his 
blindness,  ho  playe<l  several  of  Lis  old  organ  con- 
certos, which  must  have  been  prcviousjv  im- 
pressed  on  his  recollection.  I.^ittcrly,  however, 
he  rather  chose  to  trust  to  his  own  inventive 
powers  than  those  of  reminiscence  ;  for  ginn^ 
the  band  only  the  skeleton  or  ritornels  of  each 
movement,  he  played  all  the  solo  parts  extempore, 
while  the  other  instruments  left  him  a/t  libitum, 
waiting  for  the  signal  of  a  shake,  before  tho) 
I)layed  such  fragments  of  symphony  as  thej 
found  in   their  books. 

Handel  not  only  continued  to  perfonn  in  pub 
lie,  after  he  was  atllictcd  with  blindness,  but  to 
compose  in  private.  The  duet  and  chorus  in 
"  Judas  Maccaba,"us,"  "  Sion  now  hLs  head  shaL 
raise,"  were  dedicated  to  Mr.  .Smith  by  Handel, 
after  the  total  privation  of  sight.  This  compo- 
sition so  late  in  life,  and  under  such  depressing 
circumstances,  confirms  an  opinion  of  Dr.  John- 
son, "  that  it  seldom  happens  to  men  of  j)ower- 
ful  intellects  and  original  genius  to  be  robbed  of 
mental  vigor  by  age  ;  it  is  only  the  feeble-minded, 
and  fool-born  part  of  the  creation,  who  fall  into 
that  species  of  imbecility  which  gives  occasion 
to  say  that  they  are  superannuated  ;  for  these, 
when  they  retire  late  in  life  from  the  world  on 
which  they  have  lived,  by  retailing  the  sense  of 
others,  are  instantly  reduced  to  indigence  of 
mind."  Dryden,  Newton,  Dr.  Johnson  himself, 
and  our  great  musician,  are  admiralile  illustra- 
tions of  this  doctrine.  Indeed,  Handel  not  only 
exhibited  great  intellectual  abUity  in  the  compo- 
sition of  this  duct  and  chorus,  but  manifested  hLi 
power  of  invention,  in  extemporaneous  flights  of 
fancy,  to  be  as  rich  and  rapid  a  week  before  his 
decease  as  they  had  been  for  many  ye;irs.  Sub- 
sequent to  his  privation  of  sight,  he  was  alwa)'s 
much  disturbed  and  agitated  whenever  the  af- 
fecting air  in  ".Samson,"  "Total  Ecli])se,"  was 
performed.  The  bust  oratorio  at  which  he  at- 
tended and  jicrformed,  was  on  the  (ith  of  Ajiril, 
and  be  expired  on  Friday,  the  13th,  1759.  Dr. 
Warren,  who  attended  liim  in  his  last  sickness, 
said  that  he  was  jierfectly  sensible  of  his  ap- 
proacliing  dissolution  ;  and,  having  been  always 
impressed  with  a  jirofound  reverence  for  the  doc- 
trines and  duties  of  the  C^hristian  religion,  that 
he  had  most  seriously  and  devoutly  wished,  for 
several  days  before  his  death,  that  he  might 
breathe  hLs  last,  as  actually  hapj)enod,  on  (iooil 
Friday,  in  hopes,  he  said,  of  meeting  liis  good 
(iod,  hLs  sweet  I/ird  and  Savior,  on  the  day  of 
hLs  resurrection,  meaning  the  third  (hiy,  or  I'laster 
Sunday  following.  'ITie  loss  of  siglit  was  an 
awful  warning,  which  wrought  a  great  change  in 
his  tem])er  and  general  behavior.  'I'hroui;liout 
life  he  was  a  man  of  blameless  morals,  and  man- 
il'este<l  a  deep  and  rational  sense  of  religion.  In 
conversation  he  would  frequently  declare  tht 
pleasure  he  felt  in  si'tting  the  .Scriptures  to  miudc, 
and  how  much  contemplation  of  the  many  sub- 
lime passages  in  the  I'salms  had  contribut€?d  to 
his  e<litication  ;  and  now  that  he  found  himself 
near  his  end,  these  sentiments  were  improved  into 
solid  and  rational  piety,  attcndnl  with  a  calm  and 
even  temper  of  mind.  For  the  last  two  or  thrM 
years  of  his  life,  he  constantly  attended  dirin* 


363 


HAN 


ENCYCLOPEDIA    OF   MUSIC. 


HA> 


eervioc  in  l.Ls  own  parish  churoh  of  St.  George, 
Hanover  Square,  where  his  looks  and  gestieula- 
tions  iiidicnted  tlic  xitraost  fer\'or  of  unnfTocted 
devotion.  He  was  buried  in  Westminster  Abbey, 
tlie  dean.  Dr.  I'ejirce,  ]5ishop  of  Uochcster,  as- 
iLstcd  by  the  choir,  performing  the  funeral  solem- 
nity. Over  the  j)laoe  of  hLs  interment  is  a  monu- 
ment, designed  and  executed  by  Koubilliac, 
representing  him  in  full  length,  in  an  erect  pos- 
ture, with  a  music  paper  in  his  hand,  inscribed, 
"  I  know  that  my  Redeemer  livcth,"  with  the 
notes  to  wliich  these  words  are  so  admirably  set 
in  his  "  Messiah." 

Tl'.ose  who  were  but  little  acquainted  with 
Handel  wore  unable  to  characterize  him  other- 
■wise  thnn  by  his  excellences  in  his  art,  and  cer- 
tain foibles  in  his  nature,  which  he  was  never 
studious  to  conceal.  Accordingly  we  are  told 
that  he  liad  an  enormous  api)etite,  that  he  pre- 
ferred liurgundy  to  Port,  and  tliat  when  pro- 
voked lie  would  break  out  into  profane  expres- 
sions. These  are  facts  that  cannot  bo  denied  ; 
but  there  are  also  particulars  which  mark  his 
character  but  little  known,  and  which  possibly 
may  be  remembered  elsewhere,  when  those  that 
serve  only  to  show  that  he  was  subject  to  human 
imperfections  are  forgotten.  In  his  religion  he 
was  of  the  Lutheran  jiersuasion,  in  wliich  he  was 
not  such  a  bigot  as  to  decline  a  general  confor- 
mity with  that  of  the  country  which  he  had 
chosen  for  his  residence,  at  the  same  time  that  he 
entertained  very  serious  notions  in  regard  to  its 
importance.  These  he'  would  frequently  express 
in  his  remarks  on  the  constitution  of  the  English 
government ;  and  he  considered  as  one  of  the 
greatest  felicities  of  his  life  that  he  was  settled  in 
a  country  where  no  one  suffers  molestation  on 
account  of  his  religious  principles.  His  attain- 
ments in  literatiue  cannot  be  supposed  to  have 
been  very  great.  The  prodigious  number  of  his 
compositions  will  account  for  a  much  greater  por- 
tion of  his  time  than  any  man  could  well  be  sup- 
posed able  to  spare  from  sleep  and  the  necessary 
refreshment  of  nature  ;  and  yet  he  was  well  ac- 
quainted with  the  Latin  and  Italian  languages  ; 
the  latter  of  which  was  so  familiar  to  him  that 
few  natives  understood  it  better.  Of  the  English 
also  he  had  such  a  degree  of  knowledge  as  to  be 
susceptible  of  the  beauties  of  our  best  poets  ;  and 
this  he  has  sufficiently  evinced  by  the  admirable 
manner  in  which  the  sound  is  almost  constantly 
an  echo  to  the  sense  of  those  passages  which  he 
has  selected  and  set  to  music.     The  style  of  liis 


a  state  of  retirement,  showing  no  solicitude  to 
form  new  ones.  HLs  residence  was  on  the  south 
side  of  Brook  Street,  near  Hanover  Square,  in  a 
house  afterwards  in  the  occupation  of  Sir  James 
Wright,  four  doors  from  IJond  Street,  and  two 
from  the  passage  to  the  Stable-yard.  His  per- 
manent income  was  six  hundred  pounds  a  year, 
arising  from  jicnsions,  that  is  to  say,  one  of  twi 
hundred  pounds,  granted  by  Queen  Anne,  and 
two  others  of  two  hundred  pounds  each,  granted, 
as  already  related,  by  (ieorge  I.  and  Queen  Caro- 
line. Tlie  rest  was  precarious ;  for  some  time  it 
depended  u])on  his  engagements  with  the  direct- 
ors of  the  academy,  and  afterwards  upor  the 
profits  arising  from  the  musical  perfonnai, ;«8 
which  he  undertook  on  his  own  account. 

We  have  seen  that,  in  his  ruinous  contest 
with  the  nobility,  he  sold  out  ten  thousand 
pounds,  the  whole  of  his  former  savings,  without 
being  able  even  then  entirely  to  extricate  him- 
self from  his  difficulties.  However,  he  had  at 
all  times  the  prudence  to  regulate  his  ex]ienses 
by  his  income.  Equally  untainted  by  avarice  or 
profusion,  when,  some  years  afterwards,  he  again 
found  himself  in  a  state  of  affluence,  he  re- 
assumed  his  former  course  of  hving.  HLs  social 
affections  were  not  very  strong,  and  to  this  it, 
may  be  imputed  that  he  spent  his  wholfe  liie  in  a 
state  of  celibacy ;  that  he  had  no  female  attach- 
ment of  a  less  honorable  description  may  be 
ascribed  to  a  bettor  motive ;  and  we  may  truly 
say  that  Handel,  endowed  with  many  virtties, 
was  addicted  to  no  vice,  or  even  foible,  that  was 
in  the  remotest  degree  injurious  to  society.  A 
temper  and  conduct  like  this  was,  in  every  \new 
of  it,  favorable  to  his  pursuits  ;  no  impertinent 
visits,  no  idle  engagements,  or  ratlier  expedients 
to  kill  time,  were  ever  suffered  to  interrupt  the 
course  of  his  studies.  He  had  a  favorite  Kucker 
hari)sichord,  the  keys  of  which,  by  incessant 
practice,  were  hollowed  like  the  bowl  of  a  spoon. 
He  wTote  very  fast,  but  with  a  degree  of  impa- 
tience proportioned  to  the  eagerness  that  possesses 
men  of  taste  to  see  their  conceptions  reduced  into 
form.  Like  many  others  of  hLs  profession,  he 
was  passionately  fond  of  paintings ;  and,  till  his 
sight  failed  him,  viewing  collections  of  pictures 
ui)on  sale  was  one  of  the  few  recreations  in  which 
he  indulged  himself.  Handel  in  his  person  was 
large,  and  rather  corpulent,  ungraceful  in  his 
gait,  which  was  ever  sauntering,  and  had  some- 
what of  that  rocking  motion  which  distinguLshes 
those  whose  legs  are  bowed.     His  features  were 


discourse  was  very  singular ;  he  pronounced  Eng-     finely  marked,  and  the  general  cast  of  his  coun 


lish  as  tlie  Germans  do,  but  his  phraseology  was 
exotic,  and  j)artook  of  the  idiom  of  the  different 
countries  in  which  he  had  resided — a  circumstance 
which  rendered  his  conversation  cxceecUngly  en- 
tertaining. HLs  habits  of  life  were  regular  and 
unLlorm.  For  some  years  subsequent  to  his 
going  to  England,  his  time  was  di^•idcd  between 
study  and  practice,  that  is  to  say,  in  composing 
for  tiie  opera,  and  in  conducting  concerts  at  the 
Duke  of  Rutland's,  the  Earl  of  Rurlington's,  and 
at  the  houses  of  others  of  the  nobility  wlio  were 
jiatrons  of  music.  'ITiere  were  also  very  fre- 
quently concerts  for  the  royal  family  at  the 
queen's  library,  in  the  Green  I'nrk,  in  which  the 
princess  royal,  the  Duke  of  Rutland,  Lord  Cow- 
])er,  and  other  jjcrsons  of  distinction  performed. 
Of  these  Handel  had  the  direction ;  and  as  these 
•ounections  dissolved,  he  gradually  retreated  into 


tenance  placid,  bespeaking  dignity  attempered 
with  benevolence,  and  every  quality  of  tlie  heart 
which  has  a  tendency  to  beget  confidence  and 
insure  esteem.  Though  he  was  impetuous, 
rough,  and  iieremptory  in  his  manners  and  con- 
versation, yet  he  was  totally  devoiil  of  ill  nature  or 
malevolence  ;  indeed,  there  was  an  original  humor 
and  jjleasantry  in  his  most  lively  sallies  of  anger 
and  impatience,  which,  \inited  witli  his  broken 
English,  rendered  him  aither  the  cause  of  merri- 
ment than  uneasiness.  His  natural  j)roi)ensity 
to  wit  and  humor,  and  happy  manner  of  relating 
common  occurrences  in  an  uncommon  way, 
enabled  him  to  throw  persons  and  things  into 
very  ridiculous  attitudes.  Had  he  been  as  great 
a  master  of  the  English  language  as  Swift,  hL 
boiis  mots  would  have  been  as  frecjuent,  and  of  » 
similar  east. 


3G4 


HAN 


ENCYCLOPAEDIA    OF    MUSIC. 


HAN 


At  the  coronation  of  the  kiiij;  in  172",  Ilnndel 
had  words  gent  to  him  by  the  bishojjM  for  the 
anthems,  at  which  he  munnured  and  took  otfenoc, 
as  he  thought  it  implied  his  supjioscd  if;nori\nce 
of  the  Holy  Scriptures.  "  I  have  rend  my  Uihle 
very  well,"  said  he,  "  and  shall  choose  for  my- 
seli."  And  his  own  selection  of  the  words,  "  ^Iy 
heart  is  inditing  of  a  good  matter,"  &c.,  was  very 
judicious,  and  inspired  him  with  some  of  the 
tinest  thoughts  that  arc  to  be  found  throughout 
nis  works.  This  anthem  was  sung  at  the  corona- 
tion, while  the  peers  were  doing  homage. 

Ur.  IJurney  informs  us  that,  besides  seeing 
Handel  at  hLs  own  house  in  IJrook  Street,  and  at 
Carlton  House,  where  he  had  rehearsals  of  his 
oratorios,  by  meeting  him  at  Mrs.  Cibbcr's  and 
at  Frasi's,  who  was  then  Ilurney's  scholar,  he  ac- 
quired considerable  knowledge  of  his  private 
character  and  tuni  for  humor.  Handel  was  very 
fond  of  Mrs.  Cibber,  whose  voice  and  manners  had 
softened  hLs  severity,  and  atoned  for  her  want  of 
musical  knowledge.  At  her  house,  on  Sunday 
evenings,  he  used  to  meet  (Juin,  who,  like  Han- 
del, in  spite  of  native  roughness,  was  abnost  as 
fond  of  music  as  of  good  cheer. 

Mrs.  Cibber,  the  first  time  these  giants  met, 
prevailed  on  Handel  to  sit  down  to  the  haqisi- 
chord,  when  he  played  the  overture  of  "  Siroe," 
and  particularly  delighted  the  company  by  the 
wonderful  neatness  with  wliich  he  played  the 
jig  at  the  end  of  it.  Quin,  after  Handel  was 
gone,  being  asked  by  Mrs.  Cibber  whether  he  did 
not  think  Mr.  Handel  had  a  charming  hand  r 
"  A  hand,  madam  r  You  mistake ;  it  is  a  foot." 
"  I'oh  !  poh  !  "  said  she  ;  "has  he  not  a  fine 
linger?"  "Toes,  my  dear  madam."  In  fact, 
lu8  hand  was  so  fat,  that  the  knuckles,  which 
usiuiUy  appear  convex,  were  like  those  of  a  child, 
dinted  or  dimpled  in,  so  as  to  be  rendered  con- 
cave ;  however,  his  touch  was  so  smooth,  that 
his  tingers  seemed  to  grow  to  the  keys.  They 
were  so  cur\'ed  and  compact  when  he  played, 
that  uo  motion,  and  scarcely  the  lingers  them- 
selves, could  be  discovered. 

"  I  remember,"  says  Dr.  IJunicy,  "  at  Frasi's, 
in  the  year  1748,  he  brought  in  his  pocket  the 
duet  from  '  Judas  Maccabiuus,' '  From  these  dread 
scenes,'  in  which  she  had  not  sung,  when  that 
oratorio  was  first  performed  in  17-i'i.  When  he 
sat  down  to  the  haq>sichord,  to  give  her  and  me 
the  time  of  it,  while  he  sung  her  part,  I  hummed, 
at  sight,  the  second  over  his  shoidder,  in  which 
he  encouragetl  me,  by  desiring  that  I  would  sing 
out  ;  but  unfortunately,  something  went  wrong, 
and  Handel,  with  his  usuid  impetuosity,  grew 
violent  —  a  circumstance  very  terrific  to  a  young 
musician.  At  length,  however,  recovering  from 
my  fright,  I  ventured  to  say  that  I  fancied  there 
was  a  mLstnke  in  the  writing,  which,  upon  ex- 
amination, Handel  discovered  to  l>e  the  case ;  and 
then,  instantly,  with  the  greatest  good  humor 
and  humility,  said,  '  I  pec  your  barton  — I  am  a 
very  odd  tog  :  Maishter  Schmitt  is  to  plame.'  " 

Handel  wore  an  enormous  white  wig,  and 
when  things  went  well  at  the  oratorio,  it  had  a 
certain  nod  or  vibration,  which  manifested  his 
pleasure  and  satisfaction.  Without  this  signal, 
nice  observers  were  certain  that  he  was  out  of 
humor.  At  the  close  of  an  air,  the  voice  with 
which  he  used  to  cry  out,  "  Chorus  1  "  was  ex- 
tremely formidable  indeed ;  and,  at  the  rehearsal 
of  his  oratorios  at  Carlton  House,  if  the  Prince 


'  and  Princess  of  Wales  were  not  exact  in  entering 
:  the  music  room,  he  used  to  be  very  violent ;  yei 
such  was  the  reverence  with  which  hLs  royal 
highness  treated  him,  that,  admitting  Handel  to 
have  had  cause  of  comitlaint,  ho  has  been  hear^ 
to  say,  "  Indeed,  it  is  cruel  to  keep  these  pool 
peo|)lc,"  meaning  the  perfonuers,  "  so  long  from 
their  scholars  and  other  concerns."  Hut  if  th« 
maids  of  honor,  or  any  other  female  attci  dants, 
talked  during  the  iierformance,  it  Ls  to  be  feared 
our  modern  Timothcus  not  only  swore,  but  called 
names ;  yet  at  such  times,  the  Princess  of  ^Vale8, 
with  her  accu-^tomed  mildness  and  benignity, 
used  to  say,  "  Hush  !  hush  !  Handel  Ls  in  a  i)as- 
sion ! "  'Diough  totally  free  from  the  sordid 
vices  of  meanness  and  avarice,  and  jjossessed  of 
their  opposite  virtues,  chaiity  and  generosity,  in 
spite  of  temporary  adversity,  and  frtviuent  mal- 
adies of  body,  which  sometimes  extended  to 
intellect,  Handel  died  possessed  of  twenty  thou- 
sand pounds,  which,  with  the  exception  of  one 
thousand  to  the  fund  for  decayed  musicians,  he 
chierty  bequeathed  to  his  relations  on  the  con- 
tinent. 

In  regard  to  his  performance  on  the  organ,  the 
powers  of  speech  are  so  limited,  that  it  is  abuost 
a  vain  attempt  to  describe  it,  otherwise  than  by 
its  effects.  A  fine  and  delicate  touch,  fi  volant 
finger,  and  a  ready  execution  of  the  most  diffi- 
cult jiassages,  are  the  praise  of  inferior  artists ; 
they  were  scarcely  noticed  in  Handel,  whose  ex- 
cellences were  of  a  far  superior  description.  Ilia 
amazing  command  of  the  instrument,  the  fulnesa 
of  his  harmony,  the  grandeur  and  dignity  of  his 
style,  the  copiousness  of  his  imagination,  and  the 
fertility  of  his  invention,  were  (lualities  which 
absorbed  every  subordinate  attainment.  Mlien 
he  gave  a  concerto,  his  usual  method  was  to  in- 
troduce it  with  a  voluntary  movement  on  the 
diapasons,  which  stole  on  the  ear  in  a  slow  and 
solemn  progression  ;  the  harmony  close  wrought, 
and  as  full  as  could  possibly  be  expressed,  the 
passages  concatenated  with  stupendous  art,  the 
whole  at  the  same  time  being  jjerlectly  intelligi- 
ble, and  carrying  the  appearance  of  great  sim- 
plicity. ITiLs  kind  of  jjrelude  was  succeetled  by 
the  concerto  itself,  which  he  executed  with  a  de- 
gree of  spirit  and  firmue«s  that  no  one  ever 
pretended  to  equal.  Such,  ui  general,  was  the 
manner  of  his  perfonnance ;  but  who  shall 
describe  its  effects  on  his  enraptured  auditory  ! 
Silence,  the  truest  applause,  succeeded  the  instmit 
that  he  addressed  himself  to  the  instrument ; 
silence  so  profound,  that  it  checkeil  respiration, 
and  seemed  to  control  the  functions  of  nature, 
wliile  the  magic  of  his  touch  kept  the  attention 
of  his  hearers  awake  only  to  those  cnchantuig 
sounds  to   which   it  gave   utterance. 

Wonderful  as  it  may  seem,  this  command  over 
the  human  passions  is  the  acknowledged  attribute 
of  music  ;  and  by  effects  like  these  the  ])octs  have 
ever  described  it,  always  supposing  in  the  bearers 
a  mind  susceptible  of  its  charms.  Hut  how  are 
we  to  account  for  the  influence  of  that  harmony, 
of  which  we  are  now  spe;iking,  on  those  who,  aa 
far  as  rcganb  music,  may  be  said  to  have  no  pas- 
sions, no  affections,  on  which  it  could  o]>erate  ? 
In  all  theatrical  representations,  a  part  only  of 
the  audience  are  judges  of  the  merit  of  what  they 
see  and  hear ;  the  rest  are  always  drawn  togethci 
by  motives  in  which  neither  taste  nor  judgment 
have  any  share  ;  and  wit) ,  respect  to  music,  it  ii 


36o 


BAN 


ENCYCLOPEDIA    OF    MUSIC. 


HAN 


notorious  thnt  the  greater  number  of  mankind 
are  destitute,  though  not  of  hearing,  yet  of  that 
Muse  which,  suj)eradded  to  the  hearing,  renders 
us  Husceiitible  of  the  fascination  of  musical 
sounds  ;  and  in  times  wlien  music  whs  less 
fashionable  tliaii  it  is  now,  many  of  both  sexes 
were  ingenuous  enough  to  confess  that  they 
wanted  that  sense,  by  saj-ing,  "  I  have  no  car  for 
music."  Persons  such  as  tliese,  who,  had  they 
been  leil  to  themselves,  would  have  interrupted 
the  hearing  of  others  by  their  talking,  were,  by 
the  jjcrformance  of  Handel,  not  only  charmed 
into  silence,  but  were  generally  the  loudest  in 
their  acclamations.  ThL*,  though  it  could  not 
be  regarded  as  genuine  applause,  was  a  much 
stronger  jiroof  of  the  power  of  harmony  than 
the  like  effect  on  an  audience  composed  only  of 
judges  and  rational  admirers  of  his  art. 

There  seems  to  be  no  necessary  connection  be- 
tween those  faculties  which  constitute  a  com- 
poser of  music  and  the  powers  of  instrumental 
perfonnance  ;  on  the  contrary,  the  union  of  them 
in  the  same  ])erson,  in  the  superlative  degree,  ap- 
pears scarcely  practicable ;  nevertheless,  in  tlie 
person  of  Handel,  all  the  perfections  of  the  mu- 
sical art  were  concentrated.  He  had  never  been 
a  master  of  the  violin,  and  had  discontinued  the 
practice  of  it  from  the  time  he  took  to  the  harp- 
sichord at  Hamburg  ;  yet,  whenever  he  had  a 
mind  to  try  the  effect  of  any  of  his  comijositions 
for  that  instrument,  his  manner  of  touching  it 
was  sucli  as  the  ablest  masters  would  have  been 
glad  to  imitate.  But  what  is  still  more  extraordi- 
nary, without  a  voice,  he  was  a  most  excellent 
singer  of  such  music  as  required  more  of  the 
pathos  of  melody  than  a  quick  and  voluble  ex- 
pression. At  a  concert  at  the  house  of  Lady  Rich, 
he  was  once  prevailed  upon  to  sing  a  slow  song, 
which  he  did  in  such  a  manner  that  Farinelli, 
who  was  present,  could  hardly  be  persuaded  to 
sing  after  him. 

To  enter  upon  a  critical  inquiry  into  the  several 
merits  of  the  various  works  of  this  great  master 
would  far  exceed  the  hmits  of  this  work.  Of  some 
of  hLs  ])roductions  a  transient  view  has  already 
been  taken.  Among  those  of  the  first  and  highest 
class,  no  competent  judge  will  hesitate  to  rank 
his  first "  Te  Deum,"  and  "Jubilate,"  his  "  Corona- 
tion and  other  Anthems,"  the  "  Detiingen  Te  De- 
um," and  the  truly  sublime  choruses  in  his  orato- 
rios. To  i)oint  out  the  various  excellences  in  the 
choruses  of  Handel  would  be  an  endless  task.  In 
general,  it  may  be  observed  that  they  are  fugues,  in 
which  the  grandest  subjects  arc  introduced,  and 
conducted  with  such  art  as  only  himself  possessed. 
Some  are  in  the  solemn  style  of  the  church,  as 
that  of  the  conclusion  of  the  first  part  of  "  Sftul ;  " 
others  have  the  natural  and  easy  elegance  of  madri- 
gals; others  are  in  the  higliest  degree  expressive  of 
exultation,  such  as  that  in  "Israel  in  Egyjit,"  "I 
will  sing  unto  the  Lord,"  and  tliose  in  the  "  Mes- 
siah," "  Tor  unto  us  a  child  is  born,"  and  "Hal- 
lelujah, for  the  Lord  God  omnipotent  reigneth." 
Lastly,  tliere  are  others  ii\  a  style  peculiar  to  him- 
•elf,  and  calculated  to  excite  terror,  such  as,  "  He 
^ave  tliem  hailstones  for  rain,"  "  Hut  the  waters 
overwhebncd  tlieir  enemies,"  and  "  Thy  right 
hand,  O  Lord,  hath  dashed  in  pieces  the  enemy," 
in  "  Israel  in  Egy])t."  And  though,  perhaps,  it 
may  be  said  that  Handel,  agreeably  to  the  jjrnc- 
tice  of  his  countrj-men,  lias  too  much  affected 
imitation,  particularly  in  the  latter  of  the  above- 


mentioned  unrivalled  productions,  by  pa<«sage8 
broken  in  the  time  to  express  the  hopping  of 
frogs,  and  others  calculated  to  resemble  the  buzz- 
ing of  flies ;  and  that  in  "  Joshua,"  he  has  en- 
deavored, by  the  harmony  of  one  long-extended 
note,  to  impress  upon  the  imagination  of  his 
hearers  the  idea  of  the  great  luminary  of  the  uni- 
verse arrested  in  his  course,  or,  in  otlier  words,  to 
make  them  hmr  the  sun  stand  still,  it  may  be 
justly  said  that  they  abound  with  innumerabla 
examples  of  the  true  sublime  and  beautiful  in 
music,  and  that  they  far  surpass  in  majesty  and 
dignity  the  productions  of  every  other  deceased 
or  living  author. 

The  lessons  of  Handel  for  the  harpsichord 
were  composed  for  the  practice  of  the  Princess 
Anne,  and  consist  of  suites  of  airs,  intermixed  with 
fugues,  the  latter,  perhaps,  more  proper  for  the 
organ,  and  because  they  require  a  masterly  hand, 
but  little  practised.  ITie  character  of  an  author 
is  but  the  necessary  result  of  his  works,  and  the 
permanent  fame  of  Handel  must  ultimately  rest 
on  the  merits  of  his  oratorios,  and  other  sacred 
productions.  Many  of  the  excellences,  which, 
as  a  musician,  recommended  him  to  the  patron- 
age of  the  public  duiung  a  rendence  of  fifty 
years  in  England,  he  might  perhaps  possess  in 
common  with  a  few  of  the  most  eminent  of  his 
contemporaries  ;  but  till  they  were  instructed  by 
Handel,  none  were  aware  of  that  dignity  and 
grandeur  of  sentiment  which  music  is  capable  of 
conveying,  or  that  there  is  a  sublime  in  music,  as 
well  as  in  poetry  and  painting.  This  is  a  dis- 
covery which  we  owe  to  the  genius  and  inven- 
tive faculty  of  this  great  man  ;  and  there  is  little 
reason  to  doubt  that  the  many  examijles  of  sub- 
limity vniU.  which  his  works  abound  will  con-, 
tinue  to  engage  the  admiration  of  judicious 
hearers  as  long  as  the  love  of  harmoiy  shall 
e.xLst.  AVe  shall  conclude  the  foregoing  account 
of  this  great  musician  by  an  extract  from  a  very 
able  criticism  in  the  "  Quarterly  Musical  Review," 
where  the  author,  in  an  Essay  on  the  Formation 
of  an  English  School  of  Music,  introduces  the 
following  observations  on  the  works  of  Handel  : — 

"  Though  not,  strictly  speaking,  an  English 
composer,  Handel  has  always  been  the  first  and 
most  continual  object  of  English  admiration.  But 
his  popularity  is  fast  ebbing  away,  and  the  higher 
classes  are  almost  universally  devoted  to  Italian 
music.  Handel  was  a  composer  of  great  majesty 
and  strength  ;  even  his  elegance  partakes  of  sub- 
limity. His  style  is  the  great,  and  is  simple  in 
the  degree  which  contributes  most  to  this  end. 
From  a  singer  lie  refjuires  more  legitimate  and 
genuine  expression  than  any  other  master.  In 
the  hands  of  a  common  performer,  Ilnnders  best 
pieces  ar<i  heavy  and  fatiguing  ;  but  when  we  hear 
them  from  one  who  is  alive  to  his  subject,  and 
whose  expression  is  at  all  equal  to  the  task,  they 
awaken  the  noblest  and  best  leelings  of  humanity. 
They  produce  in  us  a  reverential  awe  for  the 
power  wliich  they  celebrate,  wliile  they  elevate 
the  soul  into  adoration  and  thanksgiving.  But, 
alas  I  these  sensations  are  now  hardly  ever  felt ; 
that  dignifietl  simplicity  of  manner,  and  that  pure 
elocution  tliat  '  spoke  so  sweetly  and  so  well,'  the 
finest  accordance  of  sentiment  and  of  sound,  are 
almost  gone. 

"  Let  us  endeavor  to  ascertain  tlie  causes.  It  ia 
admitted  universally  that  onf  of  the  strongesl 
impuliies  to  pleasure  is  novelty     To  this  feeling 


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II  AN 


perhaps,  may  be  traced  the  mental  preparation 
which  is  now  leading,  or  has  led,  to  an  entire 
change  of  musical  opinion  in  England.  The 
managers  of  public  music  used  not  to  be  sufK- 
ciently  attentive  to  variety  in  selection  :  not  con- 
tent with  contining  the  bill  of  fare  to  Handel, 
they  kept  to  particular  songs  ;  and  I  think  I  am 
■warranted  in  saying,  that  while  certain  portions 
of  his  works  have  been  jierformed  night  after 
night,  much  of  very  glorious  composition  is 
almost  unknown.  Satiety  palled  the  appetite. 
Education  h;w  advanceil  hand  in  hand  with  the 
tine  arts ;  the  modern  languages  arc  now  every 
where  taught  and  understood.  In  every  family 
of  tolerable  breeding,  Italian  is  thought  indis- 
pensable ;  tliere  is  no  longer  that  bar  to  Italian 
music  —  the  ignorance  of  the  language.  Not  to 
understand  Italian,  and  not  to  sing  Italian  music, 
are  now  something  allied  to  the  disgrace  of  a  de- 
fective education.  Pride  is  therefore  become  a 
powerful  advocate  for  the  foreigner.  l"he  power 
of  escaping  the  nice  observation  of  English 
critics  upon  pronunciation,  which  the  Italian 
language  affords  to  professional  singers,  must  not 
be  overlooked  ;  there  is  no  judgment  for  them  to 
dread  in  this  respect,  since,  even  at  the  opera, 
the  performers  are  often  known  to  use  a  provin- 
cial dialect  without  censure,  and  almost  without 
discovery.  It  also  happens  that  the  expression 
of  Italian  singing  is  not  required  by  the  English 
themselves  to  be  so  precise  and  absolute  as  the 
expression  of  their  own  words.  It  may  be  very 
easily  imagined,  that  the  vocal  expression  of  a 
passage  may  be  agreeable  in  a  language  with 
which  we  are  not  thoroughly  conversant,  al- 
though we  do  not  perceive  tliat  is  not  the  genuine 
and  exact  exjiression,  which  we  should  not  fail  to 
do  were  it  in  our  owni  tongue.  Honce  Italian 
singing  does  not  a>«k  for  an  English  audience  the 
same  nice  tinish  which,  in  English  singing,  we 
cannot  dispense  with.  We  are  apt,  too,  to  consid- 
er what  we  do  not  entirely  comprehend,  to  be 
idiomatic  and  peculiar.  And  we  are  certainly 
much  more  easily  satisfied  with  Italian  than  with 
English  expression.  Though  these  causes  may 
appear  somewhat  subtle  and  remote,  they  have, 
I  am  persuaded,  a  very  powerful  operation.  I 
shall  now  proceed  to  others,  which  arise  more 
immediately  from  the  nature  of  the  compositions 
of  this  English  favorite,  and  of  Italian  music. 

"  A  certain  portion  of  terror  frequently  mixes 
itself  with  the  emotions  of  the  sublime.  In 
music  this  is  frequently  effected  by  association. 
^Vhen  we  hear  and  feel  '  I  know  that  my  Re- 
deemer liveth,'  'The  trumpet  shall  sound,'  or 
(iny  song  of  a  like  cast,  the  ideas  of  death, 
-esurrection,  and  judgment  till  all  the  mind. 
We  cannot  dwell  without  strong  emotion  upon 
such  subjects ;  the  sensation  produced  is  too 
sublime  and  too  awful ;  and  when  it  is  passetl 
away,  we  are  not  solicitous  to  recall  it  but  at  cer- 
tain and  solemn  occasions.  Svich  are  the  genuine 
effects  of  Handel.  I  have  already  remarked  that 
even  his  lighter  compositions  partake  of  grandeur. 
In  his  '  Ads  and  (inlafea,"  in  despite  of  music  so 
exquisitely  beautiiul,  dc-icriptivc,  original,  and 
impassioned,  the  mind  is  stiwued  beyond  its 
common  pitch,  and  we  are  not  affected  by  the 
tenderness  of  the  lovers,  in  the  same  manner,  or 
to  the  same  degree,  as  we  are  by  the  amatory 
compasitions  of  the  Italian  masters.  In  the  story 
tUtlf,  love  is  mingled  with   apprehension,  and 


pathos  with  ideas  of  the  bulk,  the  ferocity,  thi 
strength,  the  hideous  figure,  and  the  rage  of 
I'olypht-me.  'ITicse  serve  to  give  the  mind  a 
contrary  determination,  and  prevent  it  from  sink- 
ing into  that  delicious  languor  which  it  Is  th« 
sovereign  art  of  the  Italian  school  to  produce. 

"  'Hie  genius  of  the  Italian  language,  of  its 
poetry  and  its  music,  is  principally  calculated  to 
excite  the  gentler  passions,  llic  frequent  re- 
cuiTence  of  soft  syllables,  the  sweetness  of  the 
passages,  and  the  lubricity  with  which  a  true 
Ibdiun  singer  glides  through  melody,  melts  us  at 
once  into  a  dream  of  i)ity  or  of  love,  'llius  then 
we  see  that  the  passions  wliich  most  agreeably 
bias  and  affect  the  mind,  arc  all  on  the  side  of 
Italy.  If  it  should  be  urged  that  only  one  mus- 
ter is  adduced  against  the  wliolc  Italian  school, 
I  reply,  that  I  have  selected  the  man  to  whom 
the  English  are  most  devoted,  and  in  truth,  the 
only  one,  nationally  speaking,  who  is  extensively 
known  to  the  British  public.  ITic  works  of  early 
English  composers,  I'urcell,  Croft,  lilow,  ( jrccne, 
Boyce,  and  Ame,  though  high  in  the  estimation 
of  sound  taste,  are  now  seldom  heard.  Their 
style,  with  an  exception,  perhaps,  in  favor  of  the 
last  master,  is  considered  obsolete.  It  certainly 
lacks  the  improvement  of  modem  art  and  modern 
ta-ste,  while  the  reasons  produced  against  Handel 
bear  still  more  strongly  upon  these  really  English 
writers.  It  appears  to  me  that  so  far-  as  apj)cr- 
tains  to  composition,  the  Germans  have  already 
effected  for  themselves  what  I  propose  to  the 
English.  'Hiey  have  blended  and  incorjiorated, 
with  the  happiest  success,  the  sweetness,  the 
tenderness,  and  the  variety  of  Italian  melodv 
with  a  strong  and  natural  character  of  Gennan 
music.  Haydn  and  Mozart  rank  in  the  very 
highest  order  of  genius ;  and  so  truly  do  their 
notions  of  expression  accord  with  our  own,  that 
we  may  assert,  no  composers  have  treatc<l  the 
expression  of  most  peculiar  subjects  with  such 
eminent  propriety.  It  is  of  little  importance,  1 
think,  whether  they  wTote  to  the  words,  or 
whether  the  words  were  written  to  the  music,  in 
particular  works.  No  Englishman  could  desire 
or  conceive  a  more  exquisite  consent  between 
sound  and  sense,  than  is  to  be  found  in  the 
writings  of  both  these  composers.  'ITic  '  Cre- 
ation '  of  Haydn  contains  most  singular  imita- 
tions ;  and  although  not  comparable  for  gran- 
deur, simijlicity,  and  solemnity,  and  indeed,  not 
comparable  at  all  with  the  '  Messiah '  of  Handel, 
which  is  addressed  to  a  totally  different  class  of 
thoughts  and  perceptions,  it  Is,  nevertheless,  full 
of  beauty,  tenderness,  and  grace.  I  do  not  mfan 
to  draw  a  parallel  between  these  great  works  of 
great  men,  hut  rather  to  contrast  them,  because 
they  are  really  of  a  totally  opposite  nature,  and 
because  they  ought  never  to  be  con>idere<l  to- 
gether as  objects  of  comparison.  Their  beauties 
are  as  distinct  and  different  as  the  jioetry  of  the 
'  Paradise  I>ost '  and  of  the  '  Seasons,'  to  which, 
in  point  of  style,  they  bear,  perhaps,  some  analo;^. 
Tlie  •  Creation  '  of  Ilaydn,  then,  il'  it  seldom  riset 
into  magnificence,  is  full  of  elegance  and  inven- 
tion ;  nor  can  I  point  out  a  single  weak  or  unin- 
teresting melody.  Joy,  gratitude,  benevolence, 
and  love  are  expressed  with  as  much  puritv  and 
as  much  ecstasy  by  Haydn,  in  the  '  Creation,'  m 
are  the  sublime  emotions  which  inspire  all  th< 
hopes  and  the  terrors  of  religion,  all  the  blessing, 
and  honor,  and  glory,  and  power,  we  assign  \t 


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11 AR 


the  great  Creator  and  Preserver  of  luaukiiid,  in 
the  'Messiah  '  by  Handel." 

The  I'oUowing  is  a  clirouological  list  of  Ilan- 
del's  woiks  :  — 

Operas  :  "  Almira,"  an  opera  performed  at 
Hamhurj;,  170o;  "  Xero,"  an  opera  performed 
at  Hamburg,  170.5;  "  Fhrindo,"  "  Dafiu;"  1708; 
"  liiiiiiUlo,"  Loudon,  1711;  "  Tiiseo,"  "  I'astor 
Fido,"  1712;  "  Amatliflc,"  1715;  "  li/uiflamisto," 
1720;  "  Mttzio  Scevo/fi,"  1721;  "  Otloite,"  1722; 
"  Oiitiio  Cesare,"  "  Ftoridantc,"  "  Flacio,"  1723; 
"  Tamcrlano,"  1724;  "  Itodelinda,"  1725;  "  Ales- 
lamiro,"  "  Sripiotie,"  172G  :  "  Ilicardo  I'rimo,"  1727  ; 
"  liodriijn,"  performed  at  riorencc,  1709  ;  "  Ayrip- 
piiia,"  Venice,  1709  ;  "  Amnicto,"  London,  1727  ; 
"  Tolimco,"  "  ^iroe,"  1728  ;  "Lotario,"  1729  ;  "  Par- 
tenope,"  1730;  "Poro,"  1731  ;  "Orlando,"  "Sosarme," 
1732  ;  "Arianna,"  "Ezio,"  1733  ;  "AriodaiUe,"  1734 ; 
"  Alcina,"  1735;  "  Arminio,"  "  Atalanta,"  "Giita- 
tino,"  1736;  "Berenice,"  "  Faramondo,"  "  Ales- 
sandro  Severo,"  "  Pasticcio,"  1737  ;  "  Serse,"  1738  ; 
"  Imeiieo,"  "  Parnasso  in  Feste,"  "  Dcidamia," 
1740.  Miscellaneous  works:  "Anthems,"  8 
vols.  ;  "  Cantatas,"  4  vols.  ;  "  Te  Deums  and 
Jubilate,"  3  vols. ;  "  Opera  Songs,"  2  vols. ; 
"  Laudate  ;  "  "  Collections  of  Songs  and  Cho- 
russes;"  "  Motetti  e  Duetti;"  "II  Trionfo  del 
Tempo,"  Rome,  1709;  "  Acije  e  Galatea,"  Napoli, 
1709  ;  "  Oratorio  Ilaliano  ;  "  "  Cantate  ;  "  "  Concer- 
ti;"  "  Concerti  Grossi;"  "Transcript  of  six  Sona- 
ta.s  for  two  Hautboys  and  a  Bass,"  1694  ;  "  Sona- 
tas for  two  Violins  and  a  Ba.ss,"  two  sets  ;  "  Harp- 
sichord Lessons,"  two  books,  1720  ;  "  Fugues  for 
the  Organ  ;  "  "  Organ  Concertos,"  three  sets  ;  and 
"  Cantata.s,  composed  at  Hamburg  and  Rome, 
between  1703  and  1710."  Oratorios:  "Esther," 
composed  1720;  "Esther,"  publicly  periormed 
in  London,  1732  ;  "  Deborah,"  "  Athalia,"  Ox- 
ford. 1733;  "  Acis  and  Galatea,"  (at  Cannons, 
1721,)  1735;  "Ode,  St.  Cecilia's  Day,"  1736; 
"Israel  m  EgjiJt,"  1738;  "L" Allegro  ed  it  Pcn- 
sieroso,"  1739;  ".Saul,"  1740;  "Messiah,"  1741; 
"Samson,"  1742;  "  Semele,"  "  Belshazzar," 
"Susanna,"  1743;  "Hercules,"  1744;  "Choice 
of  Hercules,"  and  "Occasional  Oratorio,"  1745  ; 
"Joseph,"  and  "Judas  Maccaba;us,"  1746; 
"Alexander  Balus,"  and  "  Joshua,"  1747  ;  "  Sol- 
omon," 1749;  "  ITieodora,"  1750;  "  Jephtha," 
and  "  Time  and  Truth,"  1751. 

HAND-GUIDE.  An  instrument  invented  by 
Kalkbrcnner  to  insure  a  good  position  of  the 
hands  and  arms  on  the  piano-forte. 

HANF,  JOHANN  N.,  organist  at  Schles- 
wick,  died  in  the  year  1706.  He  published  some 
vocal  and  instrumental  music. 

IIANISCH.  FltiVNZ.  A  celebrated  performer 
on  the  hautboy,  and  composer  for  his  instrument. 
He  was  born  in  Bohemia,  in  1749.  There  was 
another  of  the  same  name,  who  was  celebrated 
at  Vienna  as  a  performer  on  the  trombone. 

IIANKE,  CAUL,  singer  and  director  of  the 
music  at  Flensburg,  in  Germany,  has  composed 
fnuch  vocal  music  for  the  church  and  theatre  ; 
also  much  instrumental  music.  His  works  bear 
ilate  between  the  years  1780  and  1800.  Hanke 
•was  for  some  time  chef-d'orcheatre  at  the  theatre 
at  Hamburg. 

HAN.SMANN,  bom  at  Potsdam  in  1764,  was 
chamber  musician  and  violoncellist  at  Berlin.  He 
WBii  a  pupil  of  tlie  ctlebrutcd  Duport. 


HARANC,  LOUIS  ANDRE,  first  violin  of 
the  Royal  Chapel,  and  chamber  musician  at  Paric. 
wiis  born  in  that  city  in  1738.  \Vhen  only  six 
years  of  age,  he  executed  the  most  difficult  sona- 
tas of  Tartini.  He  travelled  in  foreign  countries 
from  1758  to  1761,  when  he  returned  to  France, 
and  was  received  in  tlie  Cliapcl  Royal.  The  dau- 
phin, father  of  Louis  XVI.,  chose  Ilaranc,  in 
1763,  for  hLs  violin  master,  and  took  lessons  till 
his  death  in  17G5.  Haranc  composed  much  in- 
strumental music,  which  has,  however,  remained 
in  manuscript.     He  died  in  1805. 

HARBORDT,  GOITFRIED,  a  German  com- 
poser, has  published  some  music  for  the  piano- 
forte and  flute  at  Brunswick,  since  the  year  1796. 

HARD,  J.  D.,  chapel-master  to  the  Duke  of 
Wurtemburg,  was  born  at  Frankfort  on  the 
Maine  in  1696.  He  was  a  celebrated  performer 
on  the  viol  da  gamba. 

HARDER,  AUGUSTUS.  A  musician,  resi- 
dent at  Leipsic.  Since  the  year  1802,  he  has 
published  a  considerable  (juantity  of  vocal  music, 
with  accompaniments  either  for  the  piano  or  gui- 
tar. He  has  also  published  some  sonatas  and/wto- 
naises  for  the  piauo-forte,  and  progressive  pieces ; 
also  variations  for  the  guitar. 

HARDIMENT.    (F.)     Bold,  brisk,  animating. 

IL^JIDOUIN.  Several  songs  by  a  composer 
of  this  name  are  in  the  Jiecueil  d'  Airs  siriextx  el 
a  boire,  Paris,  1710. 

HARDOUIN,  ABBE  I,OUIS,  probably  a  son 
of  the  preceding,  resided  at  Rhcims  in  1788,  and 
publLshcd  there  "  Douze  Messes  en  ilusique  h  qua- 
tre  Parties." 

HARMATL\N,  or  CHARIOT  AIR.  This 
term  is  derived  from  the  Greek,  and  is  the  name 
given  by  the  ancients  to  a  certain  air  composed 
by  Olympus.  According  to  Hesychius,  it  de- 
rives its  name  of  c/iariot  air  from  its  imitating 
the  rapid  motion  of  a  chariot  wheel,  or  as  being, 
from  its  fire  and  spirit,  proper  to  anijuate  the 
horses  that  drew  the  chariot  dui-ing  battle. 

H.VRMONIA.  A  daughter  of  Mars  and  Venus. 
Her  name  was  first  used  to  indicate  music  in 
general.  She  is  said  to  have  introduced  music 
into  Greece. 

HARMONIC  HAND.     Guide's  diagramma. 

HARMONICA.  A  musical  instrument  con- 
structed with  glasses.  See  article  Gl.\sses  ;  al^o 
FiiA.NKLi.v,  Benjamin. 

HARMONICL  (I.)  Harmonics  in  violin 
music. 

HARMONICS.  1.  An  epithet  applied  to  those 
concomitant,  accessory  sounds  which  accompany 
the  predominant,  and  apparently  simple  tone  of 
any  chord  or  string.  2.  The  mathematical  mensu- 
ration of  musical  sounds  ;  whatever  ajjpertains  t< 
harmony  ;  as  the  liarmonic  divisions  of  the  mon- 
ochord,  the  harmonic  jiroportions,  &c.  The  an- 
cients reduced  their  doctrine  mto  seven  parts, 
namely,  sounds,  intervals,  systems,  genera,  tones, 
mutations,  and  mclopccia. 

HARMONICAL  TRUMPET.  An  instru- 
ment  wluch  imitates  the  sound  of  a  trumpet,  and 


363 


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EXCYCI.OP.EDIA    OF    MUSIC. 


HAR 


•rhich  resembles  it  in  every  thing,  exccptinj?  tliat 
it  is  Ioniser,  and  consL-its  of  more  brunches.  This 
ig  Bometiiuos  I'allecl  the  sackbut. 

IIAKMOXIC  TULVI).  "llie  common  chord. 
Tlie  union  of  any  sound  with  its  third  and  its 
perfect  tilth  i'onns  the  /icirmonic  triad.  Triad,  in 
music,  signifies  three  dillercnt  sounds  combined 
together,  at  the  distance  of  a  tliird  and  a  tifth 
from  tlic  lowest. 

HAUMOXIE.  (F.)  Harmony  in  general; 
also  music  expressly  com[>08ed  for  a  military 
band. 

HARMONIOUS.  A  terra  applicable  to  any 
two  or  more  sounds  which  form  a  consonant  or 
agreeable  union.  Authors,  csj)eciaUy  poets, 
freiiuently  apply  thi.s  cjiithct  to  the  tones  of  a 
single  voice  or  instrument ;  but  only  those  sounds 
can  bo  properly  called  harmonious  which  arc  so 
with  respect  to  each  other,  when  heard  together  ; 
consequently,  that  epithet,  when  confounded 
with  the  word  nu'lodiotts,  in  used  in  an  improper 
iiense. 

HARMONIST.  A  theoretical  musician.  One 
who,  to  a  thorough  knowledge  of  the  principles 
and  con^tructions  of  all  the  received  combinations, 
adds  an  intimate  acciuaintnnce  with  the  various 
Iratuitioiis  anil  evolutions  of  harmony,  and  the 
principles  on  which  they  are  conducted. 

HARMONIZED.  A  melody  is  said  to  be 
harmonized  when  additional  parts  are  subjoined, 
80  as  to  give  it  body,  or  a  fulness  of  effect.  To 
harmonize  is  to  combine  two  or  more  parts 
agreeably  to  the  established  laws  of  couutcrjioint. 

HARMONOMETER.  An  instrument  formed 
for  the  purpose  of  measuring  the  harmonic  rela- 
tions of  sounds,  and  consisting  of  a  monochord 
so  disposed  as  to  be  capable  of  being  divided  at 
pleasure  by  movable  bridges. 

HARMONIZER.  A  practical  harmonist.  In 
the  extended  sense  of  the  word,  any  one  who 
fabricates  or  produces  harmony,  not  excluding 
even  the  original  composer  ;  but  in  its  usual  ac- 
ceptation, a  musician  whose  talents  reach  no 
farther  than  to  the  apjjlying  additional  parts  to 
the  productions  of  others ;  filling  up  scanty 
pieces,  garnishing  popular  airs  with  accompani- 
ments, or  subscribing  new  basses  to  old  tunes. 

HARMONY.  (From  the  Greek.)  llie  agree- 
ment, or  consonance,  of  two  or  more  united 
sounds.  Harmony  is  either  natural  or  artificial. 
Natural  harmony,  strictly  so  called,  consists  of 
the  harmonic  triad,  or  common  chord.  Artificial 
harmony  is  a  mixture  of  concords  and  discords, 
bearing  relation  to  the  harmonic  triad  of  the 
fundamental  note.  The  word  harmony  being 
originally  a  proper  name,  it  is  not  easy  to  deter- 
mine the  exact  sense  in  which  it  was  used  by  the 
Greeks  ;  but  from  the  treatises  they  have  left  us 
on  the  subject,  we  have  great  reason  to  conclude 
that  they  limited  its  signification  to  that  agreea- 
ble succession  of  sounds  which  we  call  air,  or 
melody.  The  moderns,  however,  do  not  dignify 
a  mere  succession  of  unaccompanied  sounds  with 
the  appellation  of  harmony  ;  for  the  formation  of 
harmony,  they  rc(iuire  a  union  of  melodies,  a 
succession  of  combined  sounds  composed  of  con- 
sonant inter^'als,  and  moving  according  to  the 
stated  laws  of  modulation.     Rut  as  the  laws  of 


hamiony  wcvc  not  digested  into  n  code  biit  by 
very  slow  digees,  its  princii)les,  for  a  long  lime, 
consisted  of  no  other  than  almost  arbitrary  rules, 
founded,  indeed,  on  tljeapi)robalion  of  the  ear,  but 
unsanctioiu-d  by  that  science  which  accounts  for 
effects  ralionally,  and  deduces  its  conclusions 
from  minute,  profound,  an<l  satisfactory  investi- 
gation. At  length,  however,  writers  arose,  to 
whose  patience,  talents,  and  learning  the  ijresent 
age  is  indebted  for  a  complete  system  of  harmony 
and  modulation;  and  to  whose  labors  wo  only 
have  to  resort,  to  lie  informed  on  every  point 
connected  either  with  the  improved  theory  itself, 
or  its  application. 

Ilannoiiy,  as  exhil)ited  in  nature,  may  be 
studied  in  the  Italian  harp;  the  instrument  and 
its  tuning  are  indeed  arliticial,  but  nature  regu- 
lates the  music,  for  the  strings  will  not  vibrate 
except  in  lumnony.  One  raiglit  collect  from  the 
strings  of  this  harp  the  several  tones  and  simple 
harmonies,  and  afterwards  other  harmonies  more 
complicated.  A  large  bell,  not  struok  too  rudely, 
sounds  a  variety  of  chords  with  its  i'undamcntul 
tone.  All  these  notes  are  distinctly  produced  by 
the  organ  and  by  other  instruments,  and  in  greater 
perfection  by  the  few  voices  which  are  naturally 
good.  An  ordinary  singer,  to  acquire  accurately 
these  tones,  should  cultivate  his  ear,  by  wliich 
his  voice  will  be  kept  in  unison  with  the  leading 
instruments  or  chorister ;  for  his  sounds  are  not 
correct  as  long  as  there  is  the  least  jar  between 
them  and  the  organ.  Many  male  voices,  how- 
ever, are  not  adapted  to  the  air  or  melody  of  a 
tune ;  and  when  any  such  find  it  impos-sible,  or 
even  difficult,  to  sing  the  air  in  correct  unison 
with  the  organ,  by  studying  the  bass,  (which 
may  easily  be  acquired,)  they  wUl  add  to  their 
own  pleasure  and  to  that  of  the  congregation. 
Indeed,  in  almost  all  strict  arrangement  of  har- 
mony, the  air  belongs  to  the  voices  of  females 
and  children. 

Harmony  is  the  combination  of  sounds  and 
succession  of  chords,  and  may  be  said  to  combine 
the  life,  the  bcatUij,  and  the  soul  of  music.  This 
department  is  comparatively  a  modern  mvention  ; 
ond  the  laws  regulating  the  succession  of  chords 
were  at  first  rather  arbitrary,  although  subject  in 
some  measure  to  the  approbation  of  the  ear.  n»e 
ancients  knew  very  little  of  harmony,  or  of  the 
combination  of  sounds.  Harmony  is  the  agree- 
able result  or  union  of  several  sounds  heard  at 
one  and  the  same  time.  Melody  is  produced  by 
a  succession  of  musical  sounds,  as  hannony  is 
produced  by  their  combination.  The  word  har- 
mony is  of  Greek  origin,  and  denoted  anciently 
an  agreeable  succession  of  sounds,  which  is  now 
called  melody.  In  China  and  other  Eastern  na- 
tions, hannony  is  )iot  yet  introduced  into  their 
music.  The  .Shakers  have  no  music  in  parts,  but 
all  sing  in  unL-ion.  Hannony  is  the  agreeable  re- 
sult of  tl'.e  union  of  two  or  more  concording  mu- 
sical souiuls  heard  in  consonance,  i  e.,  at  one 
and  the  same  time ;  so  that  harmony  is  the  cfToct 
of  two  parts  at  least.  As,  there.ore,  a  continued 
succession  of  musical  sounds  produces  melody, 
so  does  a  continued  combination  of  thc^c  produce 
hannony. 

Harmony  may  be  divided  into  simple  and 
compound.  Simple  harmony  is  that  where  there 
is  no  concord  to  the  fundamental  above  an  oc- 
tave ;  and  compound  hannony  is  that  which  to 
the  simple   hannony  of  an  octave  add*   that  o' 


47 


369 


BAR 


ENCVCLOP-EDIA    OF    MUSIC. 


HAP 


another  octave.  Melody  and  harmony  united 
fonu  music ;  the  former,  indeed,  may  perhaps 
Bubsist  indcpci.deiitly  of  the  latter ;  but  harmony 
cannot  well  exist  without  the  melodious  arrange- 
ment of  each  of  the  several  parts  of  which  it  is 
composed. 

ilarmony  we  will  consider  as  consisting  of 
three  fundnmcntal  chords,  viz.,  the  common 
chord,  the  dominant  seventh,  and  the  Hat  ninth, 
which,  with  their  inversions,  are  alike  traceable 
in  major  and  minor  modes,  or  keys,  to  one  com- 
raon  orif;in  or  basis.  We  consider  all  other 
combinations  as  suspensions  or  anticipations  of 
these  three  primary  or  elementary  principle*,  and 
we  believe  this  metliod  will  not  bewilder  nor  mis- 
lead the  student.  The  true  object  in  studj-ing 
hanuony  should  be  not  only  to  learn  how  to 
read,  but  how  to  write  correctl)-.  The  following 
examples  are  plain,  and  will  be  easily  understood. 

First  Chokd,  or  Common  Choud. 

The  primary  concord,  or  common  chord,  con- 
sists of  any  given  bass  note,  in  any  key  or  mode, 
■with  its  octave,  third,  and  fifth.  It  has  three  po- 
sitions, (or  changes  of  the  right  hand,)  and  two 
inversions,  (or  changes  of  the  left  hand.) 


Positions. 
Int.  2d  3J 


Inversions. 
Ut.         2d. 


FuQdiimental  Uai'a. 

It  is  quite  e-s-ident  that,  as  no  new  element  is 
Introduced,  the  chord  remains  the  same  in  its  in- 
versions as  well  as  positions.  The  same  remark 
will  apply  equally  to  the  following  chords :  — 

Sbcokb   Cuord,   or  Chord  op  the   Flat 
Seventh.* 

The  chord  of  the  flat  seventh  is  the  common 
chord  with  the  addition  of  the  flat  seventh,  and 
has  four  positions  and  three  inversions. 


Positions. 
1st.       2d.        3d. 


Jjh. 


t^ 


i^^  \%»¥^ 


1=5 


h-!     _    \>-> 


h-         hi 


:=3r 


Fuudameutal  Dass. 

In  the  chord  of  the  4,  or  third  inversion  of 

the  flat  or  dominant  seventh,  the  ba.ss  is  rarely 
repeated  or  included  in  the  upper  harmony  ;  and 
the  cliord  itself  may  be  civsily  known  by  reflect- 
ing that  it  is  the  common  chord  of  the  note 
above  the  bass,  or  the  half  note  when  it  bears  the 
tame  literal  or  svUabic  name  as  the  whole  tone. 


*  ll  in  ciiMoimr)'  in  call  tlir  diuiiinnnl  nrvenlh  .1  fl.il  Kevpiilli, 
(IiIioiieIi  its  intcrvnls  iii.ny,  in  diffiTpm  kcv",  Ih'  exiirp-weil  hy 
iny  iif  llu-  fiilliivvini:  ni)in»  :  1,7,  t?7,  u'j47,  or  =  (,"•  ^"' 
brevity's  Kiikc.  tl>r  Icrm  fiiit  Ii;m  liccn  adopted  wlicii  tlicre  i« 
occasion  tu  iiifii>H)ii  the  ctr.>d. 


C4Q.  fciWI'l  flf  Ci 


Example. 

Dkbt.  Com  ebordofO. 


IE 


^^-= 


-gCto>-' 


l^^fl 


WbohtMM.  tUlftoA*. 

Third  Chord,  or  Chord  op  the  Flat  Ninth. 

The  chord  of  the  flat  ninth  includes  the  two 
foregoing  chords  with  the  addition  of  the  inter- 
val of  a  flat  ninth  or  second,  and  has  four  inver- 
sions. In  the  inversions  of  the  flat  ninth  the 
fundamental  note  is  omitted ;  and  in  elegant 
writing  the  bass  note  is  avoided  in  the  upper  har- 
monies, which  is  the  occasion  of  its  having  but 
four  positions. 

Positions. 
\H.  2d.  3d.  4th. 


m 


9'iSP- 


?t5«*- 


^ ^^ 


^ 


b9 


h^ 


^ 


Inversions. 
1st.  2d.  8d. 


4th. 


Fuudaiucntal  liass. 

These  last  chords,  or  inversions  of  the  flat 
ninth,  preserving  their  visual  notation,  admit  of 
prefl.\ed  signatures,  which  change  their  effect  to 
the  ear,  and  render  them  audibly  difterent ;  little 
changed  in  appearance,  but  most  materially  in 
their  expression :  the  fundamental  basses,  how- 
ever, in  some  instances,  vary  according  to  the  pre- 
fixed signs  —  of  which  more  will  be  found  in  an- 
other section. 

The  common  chord  may  have  either  a  major  or 
minor  third,  the  fundamental  remaining  un- 
changed. 

Example. 


^§S1 


MMor.    VoM.    Htjor.    Minor.    H^.   Mtan.    Ulnsr.    M^jv.    Mijv. 

b       S       b       B       b       E      ^ 


S-=^ 


ffiirar 


^^H"^TtI 


370 


HAR 


ENCYCLOP.^DIA    OF    MUSIC. 


IIAR 


When  a  b ,  **,  or  t: ,  is  placed  over  or  under  a 
bass  note,  it  signified,  in  old  thorough  bass,  that 
the  third  from  the  bass  should  be  b.  **,  or  =. 
ITiis  usage  is  yet  retained  by  the  modems  sorae- 
tiraes  in  the  basses  to  recitatives,  and  it  is  fitting 
that  the  student  should  be  made  accpiaintod 
with  it ;  also  that  he  should  know  every  other 
conventional  telegraph  belonging  to  the  said 
myiitery.  A  stroke  or  dash  through  a  figure 
signifies  that  the  interval  represented  by  that 
figure  shall  be  played  half  a  tone  higher ;  as 
does  also  the  +  attached  to  the  figures  4  or  2, 
thus :  4+,  2+. 


SS 


A  diush  also,  thus  —  ,  after  a  figure  or  figures, 
signifies  that  the  same  harmony  is  to  be  jilayed 
iu  the  right  hand,  though  the  bass  may  change. 
It  is  generally  used  as  a  short  hand  for  the  fig- 
ures 4  ;  but  it  also  serves  for  others,  which  will 

2 

he  explained  in  due  place.  It  denotes  likewise 
the  continuance  of  one  or  more  notes,  or  figures 
representing  notes. 


Example. 


fc 


3ES 


^=^ 


^ 


:2=g=3 


a 


!. 


6 


{w^^r~r-r\=^^=^r^ 


feg^J4yt^^l 


m 


■szii 


«      «  01,  7       A      6 

-      4      7  _^      J       4      7 


^1 


The  chord  of  the  seventh  is  more  licentious 
than  the  common  chord,  and  may  have  its  third, 
filth,  or  even  seventh,  minor  or  major,  ^^^len  the 
third  is  minor,  it  is  usual  to  prepare  the  interval 
of  the  seventh  in  a  foregoing  chord,  which  Ls 
nothing  but  a  lingering  or  delay  of  some  mem- 
ber of  a  previous  harmony ;  but  we  have  bold 
instances  of  this  not  being  always  the  case. 
Mozart,  who  alone  is  a  tower  of  strength,  fur- 
nishes us  with  an  instance  of  an  unprepared 
»eventh  with  a  minor  third  ;  and  when  remon- 
ftrafed  with  on  the  monstrous  innovation,  as  it 
wail  then  deemed  by  witless  critics,  he  coolly  re- 
plied, "Pormerly  it  icas  wTong  ;  henceforth  it 
yhaU  be  right  1  "  ' 


Examples  of  the  different  SE%"E>rTiis. 

Slmpl*  Flat  8cT(iith.  Fill  ScTroth,  with  Minor  Tbird. 


i^^^^W 


Be  it  remembered  that  a  !=>,  b,  or  i*,  c^w  a 
bass  note,  signifies  that  the  third  is  to  \)e  -  b, 
or  **,  and  that  the  use  of  any  of  these  signs  iii 
equivalent  to  the  figure  3,  regulated  by  thcii  re- 
spective inrtuences. 


rut  IWTMith.    «tlk         flftl  ff«v#«l>i.  *^ 
>!•>»  niii.  MkMc  TU.-t. 


'4^ 

b? 


-«- 


6     7      7 


^ 


^:d5 


I 


Flat  ScTcnth,  with  ItHnor  Third  and  Flat  nflh. 


Flat  Bmnth.  with  Minor  Third. 


Examples  of  the  Flat  Ndjth  and  rrs 

iNTEBalONS. 


/-  fl *»i: — ' — ' ' — H ' 1 '— •-  W5 — ©— 1 


§^ 


^ 


s 


/J?  >?  ,     (       ll  .  .        I      — I 


g  \  ul 


JTf?7 


^j^^^^§^^ 


The  first  inversion  of  the  flat  ninth  is  general- 
ly calle<l  the  diraiiiiHhe<l  seventh,  and  bv  soro« 
writers  is  esteemed  a  fundamentnl  chord,  but  er- 
roneously. 


371 


n  .K 


ENCYCLOP.TvDIA    OF    MUSIC. 


HAR 


O  f    S'^artd   rs'JSi-EXSIO.VS,    TItKlll   PuEPXaATIONS 

jND  IIksoi-utioni*. 
Tlierr  arc  hut  tlirc*  simple  suspensions,  name- 
!v,  those  ot  the  fouifb,  ■'cventh,  and  ninth.  The 
tirst  is  thrt  of  the  fourth,  in  which  some  note 
that  had  been  in  the  forcgi.iuK  chord  is  dehiyed 
or  ])rohiled,  so  as  to  detain  the  car's  anticipation 
of  the  inter\al  of  a  third  major  or  minor  in  the 
ensuing,  into  which  it  imperatively  mmt  fall. 
Example  of  the  Suspension  op  the  Fouuth  in 
Major  and  Minor  Keys. 


0  4         3  6  4  1 


9§S 


zsz 


i^ 


i 


The  flpurc  3  placed  B^er  the  4  oiKnifies  thai  the  interral 
Cf  the  fourth  refolves  Itself  or  fulls  into  thiit  of  the 
third.  —  SiiispenKions  are   penerally  denoted  liy  a 
tic,  thus,  jS^— -jO,  even  when  a  bar  intervenes, 
ma :—  

Exercise  i^'on  the  Suspension  op  the  Fourth. 


Example  of  the  Suspension  of  the  Seventh, 

CALLED    A    SeUUENCE. 


^mm 


^^ 


•^     ' 


7         7 


It: 


^s 


A  sequence  of  dominant  sevenths,  or  sevenths 
with  major  thirds,  may  also  be  \ised,  and  bv 
great  men  has  been  frequently  made  productive 
of  the  noblest  effects ;  but  a  prodigal  use  of  it 
only  shows  "  a  little  learning." 

Example. 


f      843283       3f#iiL*      ffS437    43 
!'»»»' — H#— ' hr — ^ 


The  second  simple  suspension  is  that  of  the 
interval  of  the  seventh,  which,  like  the  fourth, 
must  be  prepared  in  the  previous  chord,  unless  it 
be  a  dominant  or  flat  seventh,  and  is  resolved 
into  the  note  or  half  note  below  it.* 
Ex-vmple. 


which  might  be  continiied  until  the  initial  chord 
is  arrive<l  at  again.  This  could  not  be  the  case 
but  for  temperament. 

Another  Seuuence  of  Sevenths  rbsolvino  into 
Sixths. 


c!-*'  ^aa_ 


1 ^^  .  c 


«^ 


»&-z^ 


V  '  • 


7    6     7    8     7    8 


The  third  simple  suspension,  that  of  the  ninth, 
consists  of  the  ninth,  instead  of  the  eighth,  and 
must  be  prepared  as  the  fourth  and  seventh  in 
the  preceding  harmonics;  namely,  the  note  whicli 
produces  the  dissonances,  so  called,  must  have 
existed  in  the  foregoing  chord,  which  must  be 
resolved  into  the  note  or  half  note  below. 

Examples  of  the  Suspension  of  the  Ninth. 


•  Hanrtol,  and  alimwl  nil  iIik  writers  of  liis  time,  uBod  a 
favorite  clo«e  or  cadenre  to  a  |ihr.i-e,  in  whiih  the  prepared 
neTrnlh  was  made  Ici  a-rend  lielnrc  it  wa«  finally  revived  ; 
liiil  tins  was  tuily  for  meliHlic  grare.  A  thousand  instancea 
fimilar  to  the  follim  ing  niiBhl  Iw  cited  :  — 


i^ 


^^^m 


^^^^^^^ 


^^^^g^i 


The  resohition  of  the  suspension  of  the  ninth 
has  been  licentiouslv  treated  by  the  best  of 
writers,  and  made  in  moving  ba'^ses  somctmies  to 
take  place  upon  the  third  note  above  the  one  on 
which  its  dissonance  first  occurred,  or  upon  a 
third  below  it. 


HAR 


ENCYCLOPEDIA    OF    MUSIC. 


II A  K 


ExAMPLS  FROM  Bach. 


tr 


^V-*'  ill! 

HARMONY,  FIGURED.  Fif,Mired  harmony 
b  that  harmony  in  which,  for  the  purpose  of 
melody,  one  or  more  of  the  pnrt.s  of  a  composi- 
tion move,  during  the  continuance  of  a  chord, 
through  certain  notes  which  do  not  fonu  any  of 
the  constituent  parts  of  that  chord.  These  in- 
termediate notes  not  being  reckoned  in  the  har- 
mony, considerable  judgment  and  skill  are  neces- 
sary so  to  dispose  them,  that,  while  the  ear  is 
gratified  with  their  succession,  it  may  not  be  of- 
fended at  their  dissonance  with  respect  to  the 
harmonic  notes. 

HARMONY  FOR  AN  ORCHESTRA.  Tlie 
adaptation  of  music  for  an  orchestra  depends 
upon  the  imagination,  taste,  habit,  exjierience, 
particular  knowledge  of  the  instruments  to  be 
employed,  and  even  on  the  whim  of  the  compo- 
ser. It  is  therefore  impossible  to  prescribe  precLse 
rules  for  arranging  a  piece  of  music  in  score.  If 
thirty  clever  harmonists  were  to  adopt  the  same 
ideas  for  au  orchestra,  there  wovild  result  thirty 
different  scores,  all  of  which  might  be  good.  But 
this  great  diversity  does  not  prevent  us  from 
giving  generid  principles  on  the  art  of  treating 
an  orchestra,  nor  from  indicating  tlie  numerous 
resources  which  harmony  offers  us  in  this  species 
of  labor.  The  principal  instruments  used  in  nn 
orchestra  are  violins,  tenors,  \-ioloncellos,  double 
basses,  flutes,  hautboys,  clarinets,  ba.ssoons,  honiB, 
trumpets,  trombones,  and  kettle  dr>ims.  A  com- 
plete orchestra  is  adapted  only  to  large  places,  as 
theatres,  concert  rooms,  &c. 

Music  in  which  there  is  much  detail,  too  many 
notes,  too  rapid  a  movement  in  the  different  parts, 
too  quick  a  succes.sion  of  chords,  much  complica- 
tion of  harmony  arising  from  too  minute  an 
elaboration  of  the  parts,  produces  no  effect  m 
such  places.  All  that  results  is  a  kind  of  indis- 
tinct and  buzzing  noise,  which  says  nothing  to 
the  soul,  and  affords  but  little  pleasure  to  the  ear. 
For  such  an  orchestra  the  movement  should  be 
bold  and  moderate.  Passages  in  unison  ;  noble 
and  well-pronouncod  traits  of  melody ;  occasion- 
al majestic  passages  in  the  ba,Hs,  which  part,  in- 
deed, shoidd  always  march  with  a  certain  degree 
of  gravity  ;  great  masses  of  soviud,  jjrovided  they 
do  not  last  too  long,  and  thus  degenerate  into 
mere  noise ;  little  rapidity  in  the  succession  of 
the  chords;  and,  in  fine,  whatever  partakes  of 
(randeur  and  simplicity,  will  not  fail  to  produce 


its  proper  effect.  In  ■WTiting  for  a  small  orches- 
tra, usually  destined  for  a  confined  space,  it  \t 
almost  always  necessary  to  proscriie  all  such  in- 
strument* as  are  too  shrill  or  noisy  ;  such  as  the 
trumpets,  trombones,  and  drums.  It  will  also 
be  requisite  to  treat  the  wind  instruments  rather 
as  solo  in.struments  than  in  aggregate  masses,  a6 
otherwia"  by  their  superior  power  they  will  in- 
falhbly  drown  the  stringed  instruments,  which 
latter  ought  always  to  predominate  in  the  orclies- 
tra.  Indeed,  at  any  time,  ten  or  twelve  wind  in- 
Htruments  are  more  than  sufficient  for  eighteen  or 
twenty  stringed  instruments.  In  arranging  mu- 
sic for  any  ])articular  orchestra,  the  composer 
will  of  course  be  guided  by  the  instruments 
which  it  contains,  and  by  the  tidcnts  of  the  per- 
formers. A  com|dele  orchestra  may  be  divided 
into  two  parts  or  masses  of  instruments,  viz., 
stringed  instruments  and  wind  instruments.  In 
orchestral  compositions,  the  principal  parts  are 
universally  a-ssigned  to  the  stringed  instruments. 
Nor  is  this  preference  without  good  foundation ; 
they  are  easily  tuned  to  any  required  pitch,  they 
may  be  played  ujion  for  any  reasonable  length 
of  time  without  fatiguing  the  performers ;  they 
admit  of  the  utmost  rapidity  of  execution  ;  they 
are  capable  of  perfect  intonation  in  all  keys,  and 
that  with  almost  equal  facility  in  eacli ;  and, 
lastly,  by  their  jiower,  sweetness,  variety,  and 
dchcacy  of  tone,  they  are  admirably  ada])ted  to 
every  style  and  to  every  variety  of  expression. 

The  wind  instruments  are  used  to  enhance  and 
diversify  the  effect,  and  to  ijnpart  light  and  shade 
to  orchestral  compositions.  Besides  their  use  iu 
the  forte  passages,  where  they  usually  double  the 
stringed  instruments  either  in  the  unison  or  oc- 
tave, they  are  often  employed  alone,  or  alternate- 
ly with  the  former ;  occasionally,  too,  short  solos, 
duets,  &c.,  are  given  to  one  or  more  of  them ;  or, 
when  the  stringed  instruments  contain  rapid 
successions  of  notes,  the  wind  instruments  pro- 
ceed by  notes  of  long  duration ;  this  preserves 
the  impression  of  the  full  harmony,  while  it 
superadds  the  advantages  of  variety  and  contrast. 
Harmony  in  four  parts  forms  the  basis  of  orches- 
tral composition  ;  but  it  is  often  intersected  by 
that  in  two  or  three  parts,  or  even  by  passages 
in  unisons  and  octaves.  All  the  parts  of  these 
harmonies  may  be  doubled,  tripled,  or  quadru- 
jded,  according  to  the  relief  which  the  composer 
may  desire  to  give  to  them. 

Harmony  aa  for  luatrtimcnts,  in  Tiro  Parts 
tcilh  the  Two  Masses  combined.  In  grand  con- 
ceptions it  is  sometimes  necessarj-  to  consido: 
the  whole  orchestra  as  a  single  instrument : 
consequently,  in  two-part  harmony  we  may 
give  one  part  of  the  duet  to  the  stringed  instru- 
ments, and  the  other  to  the  wind  instruments, 
thiis :  — 


^^giM^^^P 


a;aTr.j  r  I  "W^^^ 


The  upper  jtart  of  the  above  pnrase  may  b« 
executed  by  the  mass  of  nind  instrument!,  and 


373 


HAR 


ENCYCLOPAEDIA    OF    MUSIC. 


HAB 


the  lower  part  by  that  of  the  stringed  instru- 
ments ;  thuH :  — 


FlulM,  Uuilt»jt  ud  CUrinaM. 


tr 


■•-«■—      J  « 


Wl»4  IiiJtnuuoli  Ib  ihiM  dlfvrff&i  ocutm. 


i?fes 


E£ 


art 


1 


3S 


•*»•  ■*», 


ntS^ 


SlrtDgod  lastrumtoU  la  Xhn*  diffcrrat  mU*««. 


l*^? 


iteE^^ 


-*--#4- 


^§ 


ife 


-]  — 1 ^■ 


^^^ 


i'^*d- 


Harmont  in  Three  Parts  fob  the  Two  Masses. 

We  have  said  before  that  one  entire  mass  may 
be  considered  as  a  single  instrument ;  as  each 
mass  is  cajjable  of  executing  severnl  parts  of 
the  harmony,  they  may  be  distributed  iu  any  of 
the  several  following  ways  :  — 

1.  The  upper  parts  of  the  trio  may  be  given 
to  the  wind  instruments,  and  the  third  part  or 
bass  to  the  stringed  instruments,  in  unisons  or 
octaves.  This  arrangement  is  the  best  when  the 
lower  part  contains  a  striking  melody. 

2.  Tlie  bass  and  one  of  the  upper  parts  may 
be  given  to  the  stringed  instruments,  and  the 
other  upper  part  to  the  wind  instruments  in 
unison. 

3.  The  parts  of  the  trio  may  be  executed  by 
the  wind  instruments,  and  at  the  same  time  also 
by  the  stringed  instruments. 


No.  1. 


«o.2. 


ARRANGEMENTS    IN   FOL'K   DIKKEREXT  FORMS,  POB 
TUE  ENTIRE  OKCHESTKA. 


No  1. 


■At-  -^    -^^m 


i 


m 


*=^3 


Butbora  k  ClwtoeU. 


m 


^       1 


^ — ^ 


' — hr — ' 1 


I  I  .#■• 


^ 


J.  ^  jnAi 


—  ■»  — --f^- 


iie 


tf 


^±p^^iif^^^= 


No.  2. 


FluM  k  H«ulbo7«. 


J   /^ 


I 


■»     —  ■»  -  — ■*•-  —  -  r 

~±T"y~,'s--i: , 


Clu'u.  Cl'ia  4— "He  lb*  BMtwu,  M  fr*^a«atlj  neeon. 


374 


HAK 


EXCYCLOPiEDIA    OF    MUSIC. 


HAB 


Wo.  8. 


'     *     '      ^•^— ♦-^---   ^r  *—   -—      '     ' 


y^l_)^_f^[^^^|gj^ 


WiDd  instniments  In  unison. 


Hautbnj'8  &  CUiriocU. 


'?t^±^^it«*^ 


Extended  position  of  Wind  Instruments. 
Hems.  


^ 


-s^—- =- 


3t 


■»-• 


Bassoons  #•  J     I       ,1 


Two  Tiolin  parts. 


i 


^ 


.<  >^ 


3=: 


-o — ?s>- 


^^ 


I  i*»  o ©-#• 


-*r- 


jJifXi*- 


Tenors  in  octaves  to  the  Bass. 


i!E^=l 


-«-- 


-liziL 


No.  4. 

Flutes  and  Hautboys. 


^»A    ••       I  1-* 


i 


1 — ^—  —t — «  **■?■  ■'So-*- 


rnyf-?"! 


Clarinets. 


s 


^  f^-J  I  ;  f^  r-rf 


;  [J  I  J?  r  l:g 


i 


Homi. 


tr 

Bassoons. 


.'J^J- 


'I  I         I    I 


^ 


I 


^^ 


Violins.     I 


^M=^W^^ 


than  the  Ist  Violin 


5^ 


3t* 


I 


II.iUMO.SY    I.\    FoUtt   P.\UT3    FOB   THE  TwO    MaMM 
CUMUL.NED. 

The  difTerent  combinations  of  which  this  spe- 
cies of  harmony  is  capable  are  as  follows  :  — 

Firstly.  The  three  upi)er  parts  may  be  e.xecuted 
by  wind  instruments,  and  the  bass  by  all  thi 
stringed  instruments  in  unison. 

Secondly.  One  upjjer  part  may  be  played  by 
the  wind  instruments  in  unison,  and  the  other 
three  by  the  stringed  instruments. 

Thirdly.  Two  parts  may  be  given  to  the  wind 
instruments,  and  the  other  two,  one  of  which 
must  be  bass,  may  be  e.xecutcd  by  the  stringed 
instruments. 

This  arrangement  can  be  used  with  success 
only  when  each  mass,  considered  separately,  forma 
a  correct  harmony  in  two  parts. 

Fourthly.  The  lour  parts  may  be  executed  by 
each  of  the  two  masses ;  each  one  thus  forming 
a  complete  quartet. 


Flutes.      -^  ^ 


95^ 


'r^^-z 


IIautboyi>, 


P 


W    J 


^^i 


Y-ff^r\-r^. 


S 


Clarinets. 


Wind  Instruments  as  a  Trio. 


I 


^5e 


9 


ZSiS- 


Rbt 


n^ 


Vjtr.-:^, 


bsIh 


Horns  added. 


I 


1*^  C<    Sf 


-/v> 1 


Bassoons. 


?fe 


1^ 


E 


vi> ■ 


Stringed  [DBtrumentfl  playing  the  bass  of  cbe  harmony. 


UNISON!  PASSAGES.  The  unUon  lnof  great  ImporUnc* 
in  the  orrhc^tni.  When  it  is  eniplovnl  to  exprev  n  simple 
and  melodious  ideAf  the  elTect  L«  certain.  It  rnrlet-  the  har- 
mony by  allowing  h  to  repose,  without  roldiluir  the  nrrhe^tra 
of  it«  energy  and  rirhnew  The  uninnn  i.*  juiweptlblc  of  difTer- 
ent modiflrationn,  viz. :  with  ."ttrini;i'«lin«tnmirnt>  only  ;  with 
wind  inotrumentP  only;  with  both  nin^oed  rnmbincd  ;  Um 
uniiion  varitU  In  differvnt  manner*,  as  follows  : 

1.  By  SfHCCp€aing,    2.  By  Appoggiatvras.     8.  By  R*su. 


0^.^JfVp^ 


j^: '  r  r>~[ 


^^1 


375 


UAR 


EXCYCLOPiEDIA    OF    MUSIC. 


II  A  H 


KXAMIM.KS  OV  SlMl'UPU'ATION  FOR  WIND  INSTItUMKNTS.  Ak  the  wind  iiiMrumcnU  Jo  not  gfti.nilW  «HmH 
»r  the  saiiic  d<-|{ni-  of  Ulsiliict  and  voluble  execution  at  the  ftriucej  liintrunientH,  It  often  becomes  necessary  to  Klmpttft 
pungtt*  of  rapid  bot«5,  to  a»  U>  adapt  tbem  for  liutnuuenU  of  lea  powers  of  Tolubiliij,  u  follow*  : 


Original  Pimn^e 


Original  Paisnge. 


No.  1. 


-J -| •  -^^    J  I      !_!_; ■ —         I   |-^w»»- 


Original  Pas.uige. 


m^^m 


Xo.  2. 


No   3. 


Simplification. 


m 


m 


Simplification. 


Simplification. 


PED  ih  PASSAOE  FOR  A  NUMEROUS  ORCIIESTRA.  Pedal  passages  frequently  occur  In  orchestral  music.  In  which 
tiifv  tbi-  .«triii(?i!l  Mistruiiient,«  may  play  the  pedal  note  in  unisons  and  octaves,  and  the  upjwr  notes  of  the  harmony  may  be 
given  to  the  wind  inslrunientx  :  or  lioth  uia»»cs  may  combine  in  playing  such  passiigcs,  the  bnus  instruments  taking  tha 
pedal-note,  and  the  more  acute  iustrtuuent£  the  upper  parta  of  the  hannony.  As  the  following  passagv  for  both  i 
Mmbincd. 


Double  UaMW. 


HARMONY  OF  THE  SPHERES.   A  In-poth- 

ssis  of  Pyth;i;;orii.s  and  his  school,  nccordiiip;  to 
which  the  iiiotions  of  the  hoiivoiily  hodies  pro- 
duced a  luusic  impcrcciitible  by  the  ears  of  mor- 


tals. He  supposed  these  motions  to  conform  to 
certain  fixed  laws,  which  could  be  expressed  in 
numbers,  corresponding  to  the  numbers  which 
give  the  harmony  of  sounds. 


376 


EAR 


ENCYCLOP-EDIA    OF    MUSIC. 


II A  R 


HAIU)I,D,  the  elder.  An  organist  at  Vienna, 
celebrated  lor  his  compositions  iu  fugue  about 
the  year  1796. 

H.UiPEK,  TUOMAS.  'lliis  celcbratetl  per- 
former on  the  trumpet  was  bom  in  Worcester, 
in  the  month  of  May,  178(5,  it  is  beUevcd  in  the 
parish  of  8t.  Nicholas.  At  about  ten  years  of 
age  he  (luitted  his  native  city  for  London,  where 
he  studied  music  under  Eley,  and  soon  entered 
the  East  India  volunteer  band,  his  instruments 
being  the  horn  and  trumpet.  In  this  situation 
he  remained  about  eii^htecn  years,  performing 
also  at  some  of  the  minor  theatres  during  the 
first  seven  years  of  his  militiu-y  service,  after 
which  he  was  engaged  as  first  trumpet  at  Drury 
I>ane  'llieatre  ai\tl  the  English  Openi.  lie  after- 
wards engaged  as  first  trumpet  at  the  King's 
Theatre,  Ancient  and  Philharmonic  Concerts, 
and  at  other  ijrincipiil  concerts  and  music  meet- 
ings both  iu  town  and  country. 

He  continued  to  be  conne<-ted  with  the  East 
India  Company  during  his  wliole  life,  having  held 
the  appointment  of  inspector  of  musical  instru- 
ments up  to  the  time  of  his  death  —  a  fact  which 
forms  no  slight  testimony  to  that  regularity  of 
life  which  is  too  frequently  absent  in  members 
of  his  profession  distinguished  for  their  talents. 
It  is  scarcely  necessary  to  note  here,  that  in  all 
the  great  musical  festivals  of  the  la-st  forty  years, 
Harjjer  sustained  a  part,  and  that  he  long  held 
the  supremacy  on  his  own  instrument.  Among 
other  remarkahlc  occasions  on  which  he  assisted, 
it  may  be  mentioned,  that  he  played  at  the  funeral 
obsequies  of  the  two  great  commanders.  Nelson 
and  AVeUington.  Sir  George  ."smart,  in  a  letter 
to  Mr.  Sminan,  of  Exeter  Hall,  after  his  death. 
Fays,  "  I  took  much  interest  in  hLs  professional 
career,  which  commenced  at  the  oratorios  under 
my  direction  at  the  Theatre  Uoyal,  Drury  Lane, 
by  his  accompaniment  of  '  The  trumpet  shall 
sound.'  in  the  iierlormance  of  the  '  Messiah,'  on 
January  30,  18i:i." 

nie  attack  which  terminated  his  valuable  life 
occurred  on  the  •.'Oth  of  January,  1853.  He  left 
his  home  (Chad's  Kow,  King's  Cross)  to  attend 
rehearsal.  During  the  rehearsal  of  AVeber's 
"  Conctrt  Stock,"  he  complained  of  coldness,  and  a 
violent  pain  between  his  shoulders.  Medical  aid 
was  jiromptly  called,  and  he  was  removed  from 
the  hall  to  Mr.  Surman's  residence ;  but,  in  spite 
of  every  attention,  be  expired  about  halt  past  two 
o'clock,  from  discive  of  the  aorta,  as  appeared  by 
a  post-mortem  examination.  It  is  worthy  of  re- 
mark, that  he  breathed  his  last,  as  he  lay" upon  a 
sofa  beneath  a  portrait  of  the  great  author  of  "  I 
know  that  my  lledcemer  liveth."  The  evening's 
performance,  in  which  he  should  have  taken  a 
part,  was  commencing  with  the  "  Dead  March 
in  Saul,"  and  Callcott'a  beautifully  expresaive 
glee, — 

•  ForgiTf,  blc»t  ihndc,  tht  tribatarr  fMr 
That  mourns  Uty  exit  from  «  Horld  like  this." 

The  last  time  Ilarjier  visited  Worcester  was  in 
September,  IS.ii,  after  the  liirmingham  festival, 
in  wliich  he  was  engaged ;  and  it  is  a  pleasing 
trait  in  the  character  of  this  worthy  native  of 
that  city,  that  he  never  missed,  if  he  could  help 
it,  whenever  he  was  in  the  neighborhood,  of 
spending  the  Sunday  in  Worcester,  and  attending 
his  p^-ish  church,  St.  Nicholas.  It  was  also  a 
most  gratifj-ing  sight,  at  the  various  festivals,  to 


48 


see  the  veteran,  with  hit  three  talented  sons,  aU 
seeming  so  much  attached  to  each  other,  and  all 
vying  in  the  resjxxit  they  paid  to  their  honored 
piu-ent. 

A  correspondent  of  the  "  London  Musiea. 
Times  "  says,  "  Mr.  Ilaqier  may  be  considered  the 
last  of  that  tine  group  of  instrumentalists  to  which 
Ijndley,  Willmau,  Mori,  Cramer,  Nicholson,  Jtc, 
belonge<l.  As  a  performer  on  his  instrument,  in 
his  best  days,  Mr.  llarjjer  for  years  held  the 
highest  post  of  honor ;  f.ir  purity  and  delicacy 
of  tone,  and  in  wonderful  facility  of  execution, 
no  rival  has  Bpi)roachetl  him ;  hLs  imitation  of 
the  voice  part  iu  '  Let  the  bright  seraphim'  may 
be  pronounced  one  of  the  greatest  achievementJj 
in  the  whole  range  of  musiciU  executive  art. 
And  here  the  writer  would  pause,  to  bring  into 
notice  how  strictly  has  been  fullilled  a  prophecy 
made  by  Mr.  Harper  after  plajing  the  accom- 
paniment to  the  solo  just  mentioned  to  Clara 
NoveUo's  singing,  when  yet  in  the  earliest  stage 
of  her  career  :  he  told  the  writer  that  it  ^^  as  his 
conviction  that  the  lady  here  named  would  stand 
at  the  head  of  her  profession.  '  I  may  not  live 
to  see  it,'  he  said,  '  but  her  position  Ls  assured  : 
there  is  no  voice  in  the  country,  English  or  for- 
eign, to  equal  hers.'  He  Uved  to  see  his  pre- 
sentiment fidrtUed  ;  but  we  have  now  to  deplore 
the  sudden,  if  not  i)remature,  close  of  the  honor- 
able and  useful  career  of  one  who  invariably  held 
out  the  hand  of  encouragement  to  the  youthful 
j)rofcssors  of  the  art  of  which  he  was  so  dis- 
tinguished an  ornament. 

"  Tlie  Lite  Mr.  Harper  was  an  active  supporter 
of  the  Royal  Society  of  Musicians,  of  which  as- 
sociation he  became  a  member  as  early  as  the 
year  1815.  Finding  improvements  about  to  be 
made  in  the  orchestra  of  the  Philhannonic,  a 
year  or  two  since,  Mr.  Harper,  anticipating  rather 
than  feeling  the  inroads  age  usually  makes  at  the 
time  of  life  at  which  he  had  arrived,  resigned  his 
post  of  first  trumpet,  yet  ^vithout  sacrificin>;  other 
engagements  :  hence  his  name  has  fre<iucntly  ap- 
peared, even  up  to  the  day  of  his  death,  in  the 
programmes  of  some  of  the  principal  miscclliine- 
ous  concerts  of  the  metropolis,  as  weD  as  in  those 
of  the  provincial  festivals.  Mr.  Harper,  with 
that  disinterestedness  which  characterized  his 
general  actions,  frequently  gave  hLs  services  in 
the  cause  of  charity ;  nor  were  they  witliheld 
from  some  of  the  minor  amateur  associations  in 
the  metropolis  :  he  wiis  a  frequent  %-Lsitor  of  and 
performer  at  the  concerts  of  the  Cecilian  ."society. 

"  Mr.  Harper  has  several  sons  in  the  profession, 
upon  the  eldest  of  whom  his  mantle  may  truly 
be  said  to  have  descended.  Mr.  ITiomas  HarjKT 
stands  now  as  the  first  trumpet  player  in  thLs  or 
any  other  country ;  nor  is  his  abih'ty  confined  to 
the  trumpet :  he  is,  singularly  enough,  a  very 
masterly  cornet  player  —  the  two  instruments 
differing  widely  in  the  qualilications  nece-isarj-  to 
be  possessed  by  him  who  would  excel  in  each. 
Mr.  C.  Harper  is  also  a  distinuuishe<l  perfonner 
on  the  horn ;  anil  Mr.  Edmund  Ilaqier,  located 
at  Hillsborough,  in  Ireland,  has  earned  a  high 
reputation  as  a  pianist  and  composer." 

HARPSICHORD.  A  Btrirgod  instrument, 
consLsting  of  a  ease  forme<l  of  mahojjanv  or 
walnut-tree  wood,  and  containing  the  belly,  o» 
sounding  board,  over  which  tie  wires  arc  di». 
tended,  supported  by  bridges.     In  the  front  thf 


377 


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ENCYCLOPEDIA    OF    MUSIC. 


UAB 


ke}!)  are  disposed,  the  long  ones  of  which  are  the 
naturals,  and  the  Bhort  ones  the  sharps  and  dats. 
These  keys,  or  levers,  being  jjrc-tsed  by  the  fingers, 
their  enclosed  extremities  raise  little  u])right,  ob- 
long hli])s  of  wood,  called  jacks,  I'urnishcd  with 
crow-qiiill  jdectrums,  which  strike  the  wires. 
The  great  advantage  of  the  harpsichord  beyond 
most  other  stringed  instruments  consists  in  its 
cap<tcity  of  sounding  many  notes  at  once,  and 
forming  those  combinations,  and  performing  those 
evoluiions  of  harmony,  which  a  single  instru- 
ment cannot  command.  'Diis  instrument,  called 
by  the  Italians  cUivi-ceinbcUo,  by  the  French 
clavecin,  and  ui  Latin  clave  cymbalum,  or  cluve- 
limbnlum,  is  an  improvement  upon  the  clarkhord, 
which  was  borrowed  from  the  harj),  and  has,  for 
more  than  a  century,  been  in  the  highest  esteem, 
and  in  the  most  general  use,  both  public  and 
private,  thioughout  Euro])e ;  but  since  the  in- 
vention of  that  fine  instrument,  the  grand  piano- 
forte, its  practice  has  considerably  declined. 

H.\RREll,  GOTl'LOB.  A  director  of  the 
music  at  Leipsic  about  the  year  1745.  lie 
studied  counterpoint  in  Italy.  Frederic  the 
Great,  during  hLs  stay  in  the  above  town,  much 
admired  Ilarrer's  performance  on  the  piano,  and 
commanded  his  daily  attendance  at  his  chamber 
concerts. 

HARRIES,  HEINRICII,  a  clerg>-man  in  the 
duchy  of  Schleswick,  wrote  some  works  on  mu- 
sic, and  some  vocal  compositions,  iu  the  latter 
part  of  the  last  century. 

H.A.RRIN'GTON,  DR.,  a  physician  at  Bath, 
was  a  celebrated  amateur  musician  and  vocal 
composer  in  the  latter  part  of  the  last  century. 
lie  was  a  liueal  descendant  of  Sir  John  Harring- 
ton, the  godson  of  Queen  Elizabeth,  and  trans- 
lator of  "  Orlando  Furioso."  A  volume  of  glees, 
sung  at  the  Bath  Hannonic  Society,  and  pub- 
lished in  the  year  1797,  contains  the  principal 
part  of  the  following  compositions  by  this  mas- 
ter ;  the  remainder  are  to  be  found  in  a  volume 
of  glees  jjublished  by  the  doctor,  in  conjunction 
with  Edmund  Broderip,  organist  of  WeUs  Cathe- 
dral, and  the  Rev.  William  Leeves,  of  "Wrington, 
Somersetshire,  composer  of  the  still  prevailing 
melody  of"  Auld  Robin  Gray : "'  "  Now  we're  met 
like  jovial  fellows,"  glee,  three  voices.  "  How 
happy,  how  joyous  are  we  !  "  glee,  five  voices.  "  I 
gave  her  cakes,  and  I  gave  her  ale,"  canon,  three 
in  one.  "  lanthc  the  lovely,"  ballad  harmonized. 
•'  Success  to  our  innocent  social  delight,"  glee, 
three  voices.  "  Tlie  Bath  Toast,"  glee,  three 
voices.  "  The  .Mderman's  ITiunib,"  glee,  three 
voices.  "  O  synge  unto  my  roundelaies,"  glee, 
three  voices,  words  from  Rowley's  poems.  "  O 
thou  whoso  notes  could  oft  remove,"  glee,  three 
voices.  "The  rose's  life  is  one  short  day,"  glee, 
three  voices.  "  How  happy,  how  joyous,"  glee, 
five  voices.  "  O  tliat  I  had  wuigs  like  a  dove," 
rota,  three  voices.  "  (iive  me  the  sweet  delights," 
catch,  tliree  voices.  "  Sweet  doth  blush  the  rosy 
morning,"  duct.  "  How  sweet  in  the  woodlands," 
duct.  "  Life's  short  moments  still  are  wasting," 
glee,  three  voice.s.  "  How  great  is  the  pleasure," 
catcii,  three  voices.  "  At  the  close  of  the  day," 
glee,  three  voices.  "  See  o'er  the  brow  the  moon 
doth  i)ecp,"  fairy  glee,  three  voices.  "  Come, 
follow,  follow  me,"  fairy  glee,  four  voices.  The 
last  of  the  doctor's  publications  that  wo  are  ac- 
quainted with  appeared  m  March,  ISOO,  with  a 


dedication  to  the  king.  It  is  a  sacred  dirge  for 
]>assion  week,  "  Eloi !  Eioi .'  or  the  Death  of 
Christ,"  and  was  sung  by  Madame  Mara,  Nield, 
and  Welch. 

HARRINGTON,  a  celebrated  performer  on  the 
hautlwy,  was  bom  in  Sicily.  He  was  a  pupil  of 
Lebrun.  He  performed  at  Salomon's  concert* 
in  London,  in  the  years  1793  and  179-1. 

HARRINGTON,  JOHN.  An  old  Enghsh 
composer  in  the  reign  of  Henry  VIU.  He 
studied  counterpoint  under  Tallis.  See  Haw- 
kins, SiK  Joii.v. 

HARiaS,  JOSEPH.  Many  years  organist  of 
St.  Martin's  Church,  Binningham.  His  abilitiee 
as  a  composer  M-ere  well  known  ;  the  works  of 
Handel  were  his  chief  model.  He  died  at  Liver- 
pool iu  the  year  181-1. 

H.\RRIS,  JOSEPH  MACDON-\LD,  was 
placed  at  an  early  age  as  a  chorister  in  Westmin- 
ster Abbey,  under  the  late  Mr.  Guise,  where  he 
remained  till  the  breaking  of  his  voice,  when  he 
received  from  the  dean  and  chapter  a  marked 
testimony  of  their  approbation  of  his  conduQt. 
On  leaving  the  choir  he  became  the  pujiil  of  the 
late  Robert  Cooke,  then  organist  of  Westminster 
Abbey,  but  is  principally  indebted  for  his  profes- 
sional acquirements  to  the  works  of  Purcell, 
Corelli,  S.  Bach,  Handel,  Haydn,  and  Mozart,  all 
of  which  he  has  carefully  studied.  Harris  has 
subsequently  been  employed  as  a  conductor  of 
concerts,  public  and  private ;  also  as  a  piano- 
forte and  singing  master  and  composer. 

In  the  following  list  will  be  found  the  princi- 
pal part  of  his  compositions.  Vocal  trios  :  "  Ye 
sleeping  echoes  wake,  again."  "  Tlie  heart  that 
bends  at  beauty's  throne."  "  The  May  Bird." 
"  Daylight  when  the  storm  is  o'er."  "  Virtue 
chains  the  conquer'd  soul."  "  Zephyr,  whither 
art  thou  strajingr"  Duets:  "Adieu,  loved 
youth."  "  O,  dinna  weep."  "  The  rainbow's 
lovely  in  the  eastern  cloud."  "  Come,  all  ye 
youths."  Songs:  "Come,  it  thou  prize  a  love 
like  mine."  "The  Indian  Hunter's  Song.' 
"  Must  it  be  r  "  "  We  part,  forever  part,  to- 
night." "  yUctto  amabik."  "  ITie  Evening  Song." 
" 'i'he  Child  of  Tantalus."  "The  Cid's  Rising." 
"'ITie  charmed  Bark."  "  One  Set  of  harmonized 
Airs."  Piano- forte  :  "The  Oddity,"  a  rondo 
"  Introduction  to  an  original  "Dieme,  and  Varia- 
tions." "  Variations  on  a  Scotch  Air."  "  Vari- 
ations on  a  Welsh  Air."  "  Fantasia  for  the 
Piano-forte."  "  La  Suis.irsse,  as  a  Rondo."  "  In- 
troductory Exercises  for  the  Piano-forte." 

HARIUSON,  ROBERT.  This  celebrated  Eng- 
lish singer,  bom  in  1760,  was  trained  from  his 
earliest  years  among  the  choristers  of  the  Chapel 
Royal  of  England.  In  this  school  and  its  ad- 
juncts, the  king's  concerts,  and  those  meetings 
which  are  supported  by  the  gentlemen  of  the 
chapel,  he  continued  till  hw  death.  His  voice 
was  a  legitimate  tenor,  of  no  extensive  compass, 
(about  two  octaves,  from  A  to  A,)  of  very  limited 
power,  but  of  a  tone  enchantingly  rich  and  sweet. 
Harrison's  conception  was  chaste,  and  it  is 
]jrobablo  that  he  owed  the  peculiar  superiority 
lie  enjoyed  over  all  others  iu  this  resj)ect,  and 
the  infinitely  minute  fiiush  of  what  he  did,  to 
the  limited  power  of  voice  we  have  already 
s])okcu   of.     But  this  natural  disqualification  foi 

I  the  bolder  flights  of  imagination  ought  not  ta 

78 


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ENCYCLOPAEDIA    OF   MUSIC. 


HAS 


Impeach  the  character  of  his  judgment.  In  all 
that  ho  voluntarily  attempted  it  was  scarcely  pos- 
sible to  conceive  any  thing  more  pure.  We  say 
in  what  he  voluntarily  attempted,  because  it  is  a 
necessary  reservation  against  the  general  cast  of 
songs  which  provincial  meetings,  where  oratorios 
■re  done  entire,  entail  upon  the  profession.  Har- 
rison's choice  we  sliould  estimate  by  the  songs 
which  he  adopted  in  concerts  of  selection.  They 
were  commonly  Dr.  I'epusch's  cantata  of  "  Alex- 
is," Handel's  "  Lord,  remember  David,"  and 
"  l*leasure  my  former  ways  resigning,"  Dr. 
Boyce's  "  Softly  rise,"  Zingarelli's  "  Onthra  (ulo- 
rata,"  Webbe's  "  A  rose  from  her  bosom  had 
strayed,"  and,  in  later  days,  Attwood's  "  Sol- 
dier's Dream,"  and  Horslcy's  "  Gentle  lyre." 
In  fine,  in  the  true  aria  cantabiU,  Harrison  was 
the  most  finished  singer  of  his  age  or  country,  or 
perhaps  of  Europe.  He  died  in  18  r2,  at  the  age 
of  tifty-two. 

HART.  (G.)  Major,  in  regard  to  keys  and 
modes.     Same  as  dur. 

HAKT,  PHILIP,  supposed  to  be  the  son  of 
James  Hart,  one  of  King  William's  band,  and 
■whose  name  frequently  occurs  in  the  "  Treasury 
of  Music,"  and  other  collections  of  that  time,  was 
organist  of  the  Church  of  St.  Andrew  Under- 
shaft,  and  also  of  St.  Michael's,  CornhiU.  Tliere 
are  extant  of  his  composition  a  collection  of 
fugues  for  the  organ,  and  the  morning  h}-mn  from 
the  fifth  book  of  the  "  Paradise  Lost,"  which 
latter  work  he  pulilished  in  March,  17 '29.  He 
died  about  the  year  1750,  at  a  very -advanced  age. 

HART,  JOSEPH,  was  born  in  London  in  1791, 
and  entered  St.  Paul's  Cathedral,  as  one  of  the 
choristers,  at  the  age  of  seven  years  and  a  half, 
under  the  instruction  of  J.  B.  Sale,  Son.  At  the 
age  of  eleven,  he  acted  as  deputy  for  Mr.  Att- 
wood,  the  organist,  on  several  occasions.  Whilst 
in  the  cathedral  choir.  Hart  received  private  in- 
structions on  the  organ  from  iS.  Wesley  and  M. 
Cook,  organist  of  Bloomsbury ;  he  also  had  les- 
sons on  the  piano-forte  from  J.  B.  Cramer.  He 
remained  in  the  choir  nearly  nine  years,  and  at 
sLxtccn  years  of  age  was  elected  organist  of  ^^'al- 
thamstow  church,  Essex,  which  situation  he  left 
to  become  organLit  of  Tottenham,  Middlesex  ;  this 
last  appointment  he  held  in  18-.'.5.  It  should  be 
mentioned  that  Hart  was  elected  organist  of  Tot- 
tenham, after  a  public  competition  and  trial  of 
skill  of  nine  candidates.  After  ILirt  left  St. 
Paul's  Cathedral,  he  went  also  as  domestic  organ- 
ist to  the  Earl  of  Uxbridge,  where  he  remained 
three  years  ;  and  it  was  at  liis  lordship's  decease 
that  lie  entered  the  profession  as  a  teacher,  com- 
poser, &c.  At  the  termination  of  the  war  in 
ISl.i,  quadrille  dai\cing  became  the  fashion,  when 
Hart  attended  private  parties  as  a  piano-forte 
performer,  and  wrote  several  popular  sets  of 
quadrilles  ;  for  instance,  a  set  from  "  //  Don  Gio- 
raniii,"  '•  Fifth  Set  from  II  Turco  in  Ilalia,"  "  Sixth 
Set  from  La  Ga::a  Ladra,"  &c.,  &c.  He  published 
"  An  easy  Mode  of  teaching  Thorough  Bass 
and  Composition,"  a  work  especially  intended 
for  schools  and  young  professors.  He  was  during 
three  years  chorus  master  and  iiiano-forte  player 
ftt  the  English  opera,  during  which  time  he  com- 
posed several  musical  farces  :  '•  Amateurs  and 
Actors,  "  "  Bull's  Head,"  "  Walk  for  a  Wager," 
and  the  popular  dramatic  vipera  of  "  The  Nam- 
pire." 

3 


HARTMANX,  C.  A  German  composer,  for 
some  time  in  the  Russian  service,  and  subse- 
quently resident  at  Paris,  where  lie  was  a  mcmbel 
of  the  Royal  Academy  of  Music,  and  much  cele- 
brated as  a  flutist.  Among  his  works  are  •'  SU 
Airs,  Fran(;ai3  H  Ilasae,  Variations  jnur  la  Flute, 
nvec  Accom/xuf)Wine>U3  dun  I',  ou  Viohncelio." 
"  lieaieil  de  Priludes  dans  toutes  Sortes  de  Modula- 
tions pour  la  Flute."  "  Recueil  iC Airs  nouveaux." 
"  liecueil  de  Points  cf  Orrfue  dans  tout  les  Tons  tna- 
jeurs  et  mineurs."  "  Trois  Duos  pour  deux  Flutes," 
Op.  7.  I'hc  whole  of  the  above  were  published 
at  Paris. 

HARTMAXX,  C.  H.,  an  organist  at  Limbeck, 
in  Germany,  has  published,  since  the  year  1781, 
several  sets  of  sonatas  for  the  piano,  and  some 
dramatic  music. 

HART-MANX,  II.  A.  F.  Chef-dorchestre  at  the 
French  theatre  in  St.  Petersburg.  His  son  was  di- 
rector of  the  music  at  Moscow  in  1801,  on  the 
occasion  of  the  coronation  of  the  Emperor  of 
Russia. 

HARTMAXX,  JOHAXX,  a  musician  at 
Ploen,  died  in  Copenhagen  in  1791.  He  com- 
posed much  vocal  music  to  Danish  words ;  also 
some  music  for  the  piano. 

HARTUXG,  CARL  AUGUST,  one  of  the 
most  famous  organ  builders  of  the  eighteenth 
century,  lived  at  Erfurt,  and  died  in  1780. 

HARTUXG,  CARL  AUGUST.  Organist  of 
the  reformed  church  at  Bruns^viek.  He  has  pub- 
lished some  vocal  music  smce  the  year  1783. 

IIASER.  CILUILOTTE  HEXRIETTA.  A 
celebrated  singer,  born  at  I.eipsic.  in  1784,  daugh- 
ter of  the  director  of  music  in  the  university  at 
Leii>sic.  In  1804  she  was  engaged  at  the  Itahan 
opera  at  Dresden.  In  1807  she  went  through 
Prague  and  Vienna  to  Italy.  Her  fine  voice,  her 
execution,  and  her  persevering  efforts  to  combine 
the  advantages  of  the  Itahan  and  German  meth- 
ods, gave  her  a  brilliant  success.  In  private  life, 
she  was  distinguished  for  the  correctness  of  her 
morals,  and  her  uncommon  modesty.  The  most 
celebrated  theatres  in  Italy  contended  lor  her. 
She  was  repeatedly  called  to  liome,  where  she 
obtained  great  applause.  She  was  the  first  female 
singer  in  Italy  who  ajipearcd  in  male  characters, 
and  ventured  to  cope  with  tho  celebrated  artists 
Crescentini,  Veluti,  \c.  In  Xaples,  she  was  en- 
gaged at  the'llieatre  of  San  Carlo  for  a  year,  and 
was  commonly  known  by  the  name  of  La  Dicina 
Tedesca.  She  afterwards  married  Vera,  a  res[)octa- 
ble  advocate  in  Rome,  and  retired  from  the  stage. 

IIASLER,  JOHAXX  LEOXHARD,  son  of 
Isaac  Hasler,  a  musician  at  Xuremberg,  and  born 
in  15i>4,  was  court  musician  to  the  Emperor  of 
Germany.  In  1.584  he  went  to  Venice,  where 
he  studied  counterjioint  under  the  celebrated  .Vn- 
drea  Gabrieli.  In  1601  he  proceeded  to  Vienna, 
where  the  Emperor  Rudolph  U.  not  only  took 
him  into  his  service  as  musician,  but  granted  him 
a  patent  of  nobility.  He  died  in  ICtX'I.  Hi* 
works  were  very  numeroas,  hut  chiefly  vocal,  and 
for  the  church.  He  had  two  brothers,  who  were 
also  very  eminent  as  organists. 

HASSE,  GIOVAXXI  ADELFO,  called,  ip 
Italy,  //  Sasfyne,  chapel-master  to  the  King  ot 
Poland,  (Elector  of  Saxony,)  was  boru  at  Bcrgv 

79 


HAS 


EXCYCI.OPiEDIA    OF    MUSIC. 


HAS 


dorf,  near  Ilamburp,  iu  the  year  1099.  He  learned 
the  fir.-^t  elciucntii  of  mutiic  at  Hamburg,  where 
he  went  to  scliool.  His  cxtrnordinary  talents  for 
the  Kcieucc  were  first  observed  by  Johann  Ub-ic 
Konif;,  a  celebrated  poet  and  musical  amateur, 
who  recommended  him,  in  1718,  as  tenor  singer 
nt  the  o])orii  in  Ilambiuf;,  to  which  theatre  the 
renowned  Keiser  was  then  composer,  and  whose 
coni])ositious  served  a.s  a  model  to  Hassc.  lie 
made  extraordinary  proj^ress  in  the  succeeding 
tour  years,  at  the  cxj)iration  ol  wliich  his  pro- 
tector Kouig  obtained  for  him  the  situation  of 
singer  to  the  court  and  theatre  at  IJruuswick. 
His  studies  had,  however,  been  by  no  means  con- 
fined to  siugiuK,  as  he  had  become  an  excellent 
pianist,  and  iji  the  year  after  his  arrival  at  Bruns- 
wick, composed  an  opera  called  "  AiUiyDio," 
which  was  well  received  in  that  town.  Still, 
llasso  had  abandoned  himself  too  much  to  his 
genius,  witliout  studying  any  of  the  profound  rules 
of  counterpoint ;  and  he  began  to  feel  the  incon- 
veniences of  this  negligence,  and  resolved  to  travel 
into  ItiUy  for  the  purpose  of  studying  composi- 
tion iu  one  of  its  most  celebrated  schools.  In 
1721  he  went  to  Naples,  where  he  placed  him- 
self for  a  short  time  under  the  tuition  of  I'orpo- 
ra.  Amongst  the  great  musicians  who  were  then 
in  that  city,  Alessoudro  Scarlatti  was  the  most 
conspicuously  eminent,  and  Hasse  ardently  de- 
sired to  profit  by  hLs  instructions,  but  dared  not 
make  the  proposition  to  him,  fearing  that  his 
pecuniary  means  would  not  pennit  his  affording 
a  proper  remuneration.  His  good  genius,  how- 
ever, carried  him  through  this  difficulty;  for 
meeting  Scarlatti  in  society,  he  so  gained  on  the 
venerable  composer's  affections  by  his  tulcnts, 
modesty,  and  respectful  manner  towards  him, 
that  he  in  a  short  time  called  Hasse  his  son,  and 
offered  to  give  him  lessons  gratuitously.  It  may 
well  be  supposed  that  Hasse  accejited  this  offer 
with  no  common  delight.  In  the  year  172.5  he 
received  an  order  from  a  rich  banker  to  compose 
a  screnata ;  this  was  the  first  opportunity  of 
making  known  )us  talents  in  composition  which 
had  ottered  itself  in  Italy.  His  serenata  was  for 
two  voices,  and  sung  by  Farinelli  and  Fosi  before 
a  brilliant  audience  with  unanimous  applause, 
lliis  first  success  was  extremely  favorable  to  him, 
and  he  was  soon  after  desired  to  comjjose  an 
opera  for  the  Theatre  Royal.  His  piece  was  "  .'y-- 
tos/rale,"  and  so  perfectly  established  his  reputa- 
tion, that  he  wa.s  afterwards  called  in  Naples  // 
Caro  S/is.^niie.  After  this  epoch,  all  the  great 
theatres  of  Italy  disputed  the  honor  of  possessuig 
him  as  nuwstrn  at  the  head  of  their  orchestras. 
In  1727  he  went  to  Venice,  where  he  was  nomi- 
nated chapel-master  to  one  of  the  conservatories. 
IILs  success  in  this  city  was  still  increased  through 
the  interest  of  the  celebrated  Faustina,  who  after- 
wards became  his  wile.  Amongst  the  composi- 
tions which  he  produced  in  consetiuence  of  his 
nituation  as  chapel-master,  a  "  Miserere,"  for  two 
soiinno  voices  and  two  altos,  with  an  accompa- 
niment for  two  violins,  violoncello,  and  double 
lass,  was  so  peciduirly  aduurml,  that  the  great 
I'adre  Martini  called  it  divine  mu-^c.  In  17.'!0 
he  made  himself  further  known  at  Venice  by  the 
composition  of  two  ojiems,  "  DaliUi,"  and  ",lf- 
tiuirsr,"  the  words  of  the  latter  beini;  written 
for  him  by  Metastasio.  His  reputntioii  had  by 
this  time  extended  to  liermany,  and  he  was 
offered  the  sitUAtions  of  chapel-master  and  opera 


composer  to  the  King  of  Poland  and  Elector  of 
Saxony,  with  a  salary  of  twelve  thousand  dollan 
per  annum  for  himself  and  Faustina,  to  whom  he 
was  now  marrie<l.  'I'hcy  accepted  these  terms, 
and  arrived  at  Dresden,  where  Hasse  shortljr 
afterwards  composed  the  opera  of  "  Clcqfide,  o 
Atcssaiutro  7u;lie  Indie."  lliis  piece  was  played 
for  several  successive  weeks,  and  the  most  cele- 
brated singers  of  Italy  perfonned  in  it.  We  find 
Hasse,  soon  after  thLs,  again  journeying  to  dif- 
ferent towns  in  Italy,  and  he  thus  seems  to  have 
divided  his  time  between  Italy  and  Germany.  It 
was  at  this  period  that  the  spirit  of  party  which 
reigned  in  the  opera  establishment  of  London  had 
reached  its  acme.  The  noble  directors,  not  being 
able  to  apjiease  the  differences  between  Handel 
and  the  singers,  at  length  sej)arated  from  that 
composer,  and  0])ened  a  second  Italian  theatre  in 
Lincobi's  Inn  Fields,  of  which  Porpora  had  the 
management,  who  engaged  the  renowned  Fari- 
nelli, Senesino,  and  Cuzzoni  as  principal  singers. 
The  compositions  of  Porjjora  could  iu  no  way, 
however,  compete  with  those  of  Handel,  and 
Hasse  was  accordingly  invited  to  England,  and 
arrived  there  in  173.!,  when  his  opera  of  "  Arta-  ' 
ierst! "  was  ])crfornicd  for  the  dibut  of  the  match- 
less Farinelli,  and  became  such  a  favorite  with 
the  town  that  it  was  played  forty  times  during 
Farinelli's  stay  in  England.  Nothing,  however, 
could  induce  Hasse  to  remain  in  England,  prob- 
ably from  the  virulence  of  the  musical  cabals  at 
that  time,  and  he  returned  to  Dresden,  where  at 
length,  in  the  year  1740,  he  settled.  In  the  cam- 
paign of  171.5,  Frederic  the  Great  entered  Dres- 
den on  the  18th  of  December,  after  the  battle  of 
Kesseldorf,  when,  being  desirous  of  witnessing 
the  talents  of  Hasse,  he  commanded  one  of  hia 
grand  operas.  "  Arntenio"  was  chosen,  which  so 
enchanted  the  king,  that  he  sent  Hasse  a  present 
of  one  thousand  dollars  and  a  diamond  ring.  In 
17.5.5  Hasse  lost  his  fine  voice  so  completely  ai 
hardly  to  be  heard  in  speaking.  In  1760,  at  the 
bombardment  of  Dresden  by  the  Prussians,  all 
the  property  in  furniture,  &c.,  of  Hasse,  and 
among  the  rest  his  manuscript  music,  was  de- 
stroyed by  fire.  This  loss  the  more  deeply  affected 
him,  as  he  was  on  the  point  of  publishing  a  com- 
l>lete  collection  of  his  works,  the  expenses  of 
wliich  the  king  had  promLsed  to  de&«y.  In  1763 
the  court  of  Dresden  experienced  such  reverses, 
that  many  persons  attached  to  it  were  dismissed 
from  their  emi)loj-raents,  among  whom  Hasse  and 
his  wife  were  obliged  to  retire  on  a  small  pension. 
Soon  after  this  he  went  to  Vienna,  and  in  the  fol- 
lowing tluee  years  composed  six  operas  for  that 
capital.  In  17t)9  he  brought  out  I'iraino  c  Tishe" 
an  interlude,  remarkable  for  a  character  of  mu- 
sic distinct  from  all  his  other  coiTipositions.  His 
last  opera  was  "  Hu{irriero"  perfonned  at  Milan  in 
1771,  on  the  marriage  of  the  Archduke  Ferdi- 
nand. After  this  he  retired  te  'Venice,  and  in 
1780  composed  a  "  Te  Drum,"  w^^ch  was  sung 
in  the  presence  of  the  pope.  Thia  was  his  last 
composition,  and  he  died  at  Venice  in  178  i,  in 
his  eighty-fourth  year.  He  had  composed,  only 
a  few  vears  before  his  death,  a  "  Requiem,"  which 
he  meant  to  be  performed  at  hLs  funeral  service. 
This  work  proves  tliat  he  had  retained  hLs  full 
])owers  for  composition  to  a  very  advanced  age. 
Dr.  Uurnoy  considered  Hasse  to  be  the  most 
learned,  natural,  and  elegant,  and  at  the  same 
time  the  most  voluminous  composer  of  his  a({«. 


380 


HAS 


ENCYCLOP-'EI/I/i.    OF   MUSIC. 


HAU 


An  e(iiml  ju(l<;e  of  music  and  poetry,  he  showed 
as  much  judgment  and  genius  in  the  exi)rcs.sion 
of  his  words  as  in  tlie  sweetness  and  melody  of 
his  accompaniments  ;  he  considered  the  voice  as 
the  essential  object  of  dramatic  music,  and  jiaid 
every  attention  to  make  it  conspicuous  in  his 
openis,  and  not  hidden  by  loud  and  chromatic 
instrumental  accompaniments.  lie  had  also  his 
detractors.  The  learned  Ilomilius  rcj)roaches  his 
works  with  want  of  harmony ;  and,  in  point  of 
fact,  he  was  in  this  respect  much  below  Hach, 
Handel,  and  (iraun  ;  occasionally,  however,  there 
are  murceaux  in  hLs  works  most  powerfully  har- 
monious. It  should  be  remembered  that  his 
taste  was  formed  under  l'oq)ora,  Scarlatti,  I.eo, 
Vinci,  and  Pergolcse,  at  a  period  when  the  sim- 
ple and  natural  were  considered  sullicient  to 
charm  the  ear  and  please  the  public  taste.  To 
this  ancient  jiartiality  for  simplicity  he  always 
remained  faithful.  Ilasse  composed  so  much  that 
it  is  said  he  often  could  not  recognize  his  own 
music  when  played.  He  set  all  the  operas  of 
Mclastasio  in  two,  three,  or  four  different  ways. 
Ilasse  wius  agreeable  in  i)erson,  and  of  excellent 
disposition  and  principles.  The  following  is  a 
list  of  some  of  his  compositions  :  "  Scjostrate," 
Op.  Naples,  1720.  "  Attalo."  "  lie  di  Bitinia,"  Na- 
ples, 1728.  "i>a/(7«,"  Venice,  1730.  "  Dcnietrio," 
Venice,  1732.  "  Olimpia  in  Eruda,"  1740.  "  An- 
tigoiio,"  "  Leitcipjx>,"  "Dido,"  "  iiemiramide,"  nil 
operas.  Church  music,  oratorios  :  "  Serpentes  in 
Desvrto,"  "  La  J'irtii  a  pii  delta  Croce,^'  "  La  De- 
posizione  delta  Croce,"  "  La  Cadiita  di  Gerico," 
"  Magdalena,"  "  II  Cantico  riW  fanciulli,"  "  La 
Coitvcrsione  di  S.  Agostino,"  "  //  Giuseppe  riconos- 
eiiUo,"  and  "  Pellegrini  al  Seputchro  di  nostra  Sal- 
vaton;"  all  published  at  Leipsic  m  1784.  "  .V. 
Elena  alt  Calrario,"  twice  composed.  A  "  Te 
Deiim,"  Venice,  1780.  "  Te  Deuin,"  at  Dresden. 
"  Litania  of  the  Virgin"  Venice,  1727.  "  Litania 
for  two  Sopr.,  Alto,  and  Organ."  "  Litania  for  tico 
Sopr.,  icith  Jiutrumcnial  Accompaniments." 

IIASSE,  FAUSTINA  BORDONI,  wife  of 
the  preceding,  born  at  Venice  in  1700,  was  a 
pupil  of  Michael  Angelo  Gasparini,  of  Lucca. 
She  may  be  said  to  have  invented  a  new  mode  of 
singing,  by  running  divisions,  with  a  neatness 
and  velocity  which  a.stonLshed  all  who  heard  her. 
She  had  the  art  of  sustaining  a  note  longer,  in 
the  o;iinion  of  the  public,  than  any  other  singer, 
by  taking  her  breath  imperceptibly.  Her  beats 
and  tiiUs  were  strong  and  rapid,  her  intonation 
pcrfei  r,  and  her  proiessional  perfections  were 
enhanced  by  a  Iteautiful  lace,  a  symmetric  figure, 
though  of  small  stature,  together  with  a  coun- 
tenance and  gesture  on  tlie  stage  which  indicated 
au  cntii-e  intelligence  and  possession  of  the  sev- 
eral parts  wliich  she  represented.  She  first 
appeared  as  a  theatrical  singer  at  Venice,  in  1716, 
in  tlic  opera  of  "  Arindnnle."  In  1719  she  appeared 
on  the  same  stage  with  Cuzzoni  and  ISemachi, 
in  an  opera  composed  by  her  master,  Gasparini. 
Here  she  is  called  Viriuosa  di  Camera  of  the 
elector  palatine.  In  1722  she  sang  in  loco's  opera 
of  "liajazet,"  at  Naples;  and  in  172.5,  at  Vienna, 
■where,  according  to  Apostolo  Zeno,  she  received 
great  honors,  as  well  as  presents.  At  the  palace 
of  I'rince  Lichtenstein,  after  singing  to  a  great 
assembly,  she  was  presented  with  a  purse  con- 
taining a  hundred  pieces  of  gold,  and  nearly  as 
much  more  at  the  French  ambassador's.     She  re- 


mained in  England  but  two  season'*,  and  then 
rctumeil  to  Venice,  where,  in  1732,  she  was  mar- 
ried to  Hassc,  and  soom  after  went  with  her  hus- 
band to  Dresden,  in  the  service  of  which  coiirt 
she  continued  till  the  year  17.50.  During  the  war 
they  retreated  to  Vienna,  and  remainctl  there  til] 
the  year  177.);  then  retiring  to  Venice,  the  ])lace 
of  Faustina's  nativity,  they  ended  their  (hiys  in 
that  city.  Faustina  died  in  1783,  at  the  great  agt 
of  ninety,  and  her  husband  soon  atlcr. 

IIASSE,  NICOLAUS,  organLst  and  composer 
at  Uostock  in  1().50,  published  "  Dcliciie  Mujiictr," 
and  other  collections  of  instrumental  music. 

HATTASCH,  HEINKICII  CIIRISTOriLB. 
An  actor  and  composer  of  some  Gennan  operettas, 
between  the  years  1780  and  1795. 

HA'n'ASCH,  DISMA,  a  violinist  in  the  Royal 
Chapel  of  Saxe-(iotha,  boni  in  172o,  entered,  in 
1751,  the  service  of  the  Duke  of  Gotha.  Two 
symphonies  aiul  six  violin  solos  of  his  composi- 
tion are  known.     He  died  in  1777. 

HAITON.  DAVID,  of lliom ton, North  Britain, 
was  born  in  1709.  He  had  great  musical  talents, 
and  invented  a  musical  instrument,  called  Jlii0 
rum,  something  in  the  shape  of  an  Irish  bagpipe, 
upon  which  he  ])l.nyed,  with  tolerable  accuracy, 
most  of  the  old  Scotch  tunes.  His  house,  both 
internally  and  externally,  was  a  perfect  curiosity 
with  figures,  devices,  and  emblems  of  the  most 
incongruous  beings  in  nature ;  many  visitors 
resorted  thither  in  conseciucnce.  He  had  a  coffin 
made  for  himself  some  years  before  his  death, 
and  realized  the  cost,  by  e.xhibiting  the  elo<{uent 
though  mute  memento  mori.  He  died  November 
22,  1817,  leaving  a  considerable  property  to  be  di- 
vided among  some  distant  relations,  as  he  never 
was  married. 

HATZFELD,  COUNTESS  OF.  A  celebrated 
amateur  musician.  She  performed,  about  the 
year  1793,  at  a  private  theatre  in  Vienna,  several 
principal  characters  in  Italian  operas,  and  was 
coivsidered  equal  to  almost  any  professional  singer 
of  her  time. 

HAUDIMONT,  ABBE  D',  a  pupU  of  Ra- 
meau,  was  worthy  of  his  master  in  the  expression 
of  his  compositions,  and  perhaps  surpassed  him 
in  taste.  He  wTote  much  for  the  church  about 
the  year  1780. 

HAUFF,  AVILH.  GOITL.  A  singer  in  a 
regiment  of  Saxc-Ootha,  in  the  sen-ice  of  Hol- 
land. He  published  at  Pari.s,  in  1774,  six  sym- 
phonies, and  afterwards,  in  1776  and  1777,  six 
sextuors  for  wind  instruments,  three  trios  for 
the  harjisichord,  and  six  quatuors  for  violins. 

HAUG,  VIRGIIJUS,  published  a  work  caUed 
"  Erotemata  Miisiro'  I'ractica  ad  captum  pxicrilem 
formata,"  Brcslau,  1541. 

H  AUITM  ANN,  MORITZ.  As  a  contrapuntist 
and  harmonist,  Hcrr  Music  Director  Hau]itmann 
is  now  acknowledged  to  stand  at  the  head  of  th« 
profession.  Ho  was  born  in  Dresden,  •■V.  D.  1794. 
His  lather  was  "king's  master  builder,"  and 
educatetl  his  son  Moritz  for  an  archit€>ct,  at  the 
same  time  giving  his  nan  a  good  musical  e<luca- 
tion,  he  roanitcsting  nn  early  taste  lor  inusic. 
The  father,  seeing  finally  titat  his  son's  preference 


381 


HAU 


ENCYCLOPAEDIA    OF   MUSIC. 


IIAU 


was  flecidcilly  iu  favor  of  music  as  n  profession, 
let  liiiu  tjiko  his  own  choice ;  and  from  his  seven- 
teenth year  lie  devoted  himself  entirely  to  his 
favorite  study.  His  last  teacher  was  Dr.  Spohr, 
then  concert  niastcr  in  (lOtha,  with  whom  he 
studied  composition  and  the  violin.  In  1812  he 
returned  to  Dresden,  where  he  accepted  an  en- 
Ragfracnt  as  "  chamber  musician  "  to  the  king. 
In  181.3  he  made  a  tour  to  Prague  and  Vienna, 
and  from  this  time  liLs  popularity  increased,  and 
his  fame  spread  quite  extensively.  In  1815  he 
gave  up  his  engagement  at  Dresden,  and  made  a 
tour  to  Russia.  Here  he  remained  iu  St.  Peters- 
burg, Moscow,  and  the  other  cities,  teaching  and 
composing,  about  five  years,  after  which  he  re- 
turned to  Germany,  and  in  1822  accepted  an 
engagement  at  Cassel.  During  this  engagement 
he  made  a  professional  journey  into  Italy,  ob- 
taining leave  of  absence  for  a  year.  In  1842 
Prole.-.sor  Ilauptmann  was  chosen  cantor  to  the 
Thomas  School,  and  director  of  music  in  the  two 
priucipal  choruses,  viz.,  St.  lliomas  and  St. 
Kicolas,  at  Leipsic,  which  post  he  still  occupies. 
Soon  after  his  settlement  in  Leipsic,  he  was  caUed 
to  take  the  head  of  the  profession  of  counter- 
point ajid  fugue  at  the  Conser\'atory.  Professor 
Hauptmann's  compositions  for  the  church  are 
very  much  sought  after,  being  of  an  artLstical 
and  also  of  a  devotional  style.  His  songs,  one 
and  four-voiced,  are  also  very  popular,  and  of  the 
former,  especially,  he  has  composed  very  many. 
A  set  of  Italian  songs,  written  while  in  Italy  for 
a  contralto  voice,  (the  voice  of  his  bride,)  are 
very  beautiful.  Besides  a  great  quantity  for  the 
piano-forte  and  for  stringed  instruments,  he  has 
composed  a  full  mass  for  chorus  and  orchestra, 
an  "  Ofertoriicm  " —  "  Salve  Regina  " —  for  four 
voices,  very  celebrated,  and  desen-edly  so ;  also  an 
opera,  called  "  Matilda."  Professor  Ilauptmann 
is  also  an  excellent  mathematician.  But,  notwith- 
standing his  great  popularity  and  enviable  posi- 
tion in  public,  either  as  a  teacher,  composer,  or  di- 
rector, it  is  in  private  that  Professor  Hauptmann's 
life  is  the  most  enviable.  As  a  teacher  he  is  pa-  ' 
tient,  faithful,  and  most  thorough.  He  is  small  of 
stature,  a  little  bald,  with  a  high,  broad  forehead, 
and  a  countenance  lined  with  the  marks  of  hard 
study,  but  beaming  with  gentleness  and  amiabil- 
ity. In  1841  Herr  Hauptmann  married  Fraulein 
Hummel,  a  young  and  highly  accomplished  lady, 
a  fine  alto  singer,  and  a  superior  artiste  in  painting 
and  drawing.  Her  pencillings  are  highly  spoken 
of  by  good  judges. 


HAUSSE. 
bow. 


(F.)    Tbe  nut  of  a  violin  or  other 


HAUPTMANUAL.     (G.) 
belonging  to  the  great  organ. 


The  set  of   kevs 


HAUPTPERIOD.     (O.)     A  capital  period. 
HAUPTSATZ.     (G.)     The  principal  subject 


w  theme. 

HAUPTSTIMME. 

HAUPTWERK. 


(0.)     A  principal  part. 
(G.)    The  great  organ. 


HAUSCHKA,  VINCENZ,  a  celebrated  vio- 
loncellist at  Vienna,  was  born  iu  Bohemia  in 
ITfifi.  Among  other  works,  he  has  published 
•  Six  Somifrs  jxtiir  \'ioloncclJo  arcc  Arconipaynrmeiit 
\lr  liass.  Op.  1,  I'remiire  et  Drtixiime  I'artir," 
Vienna,  180.3,  and  "  DeuUche  Getdnge  fur  3  Stim- 
mtn\"  Vienna. 


IIAUSEX,  JOHAXN,  harpist  to  the  Duke 
of  Weimar,  died  in  1733. 

HAUSEX,  WILIIELM,  an  ex-Jesuit,  pub- 
lished some  sacred  songs  at  DiUingen  in  1763 
aud  1764. 

HAUSER,  URIEL,  a  Franciscan  monk,  wa» 
born  in  1702.  He  wrote  "  Instructio  Fundamen- 
tatis  CaiUui  Choralis  ad  luum  Ref(/rm.  I'rov.  TirU" 
1765. 

HAUSIUS,  CARL  GOTTLOB,  an  amateur 
musician  at  Leipsic,  was  bom  iji  1755.  He  pub- 
lished several  collections  of  songs  at  Leipsic,  be- 
tween the  years  1784  and  1794. 

HAI'SMAXX,  a  musician  at  Paris,  published, 
about  the  year  1792,  several  pieces  from  operas, 
as  airs,  overtures,  &c.,  arranged  for  the  piano- 
forte. 

IIAUSMAXX,  VALEXTIX.  Son  of  Valentin 
Ilausmann,  a  musician  at  Xuremberg,  at  the  time, 
of  the  reformation.  The  father  wTote  some  mu- 
sic for  the  reformed  churches,  as  did  the  son, 
with  the  addition  of  much  other  vocal  music, 
consisting  chiefly  of  madrigak,  between  the  years 
1590  and  1610.  The  two  grandsons  and  great- 
grandson  of  the  elder  Ilausmann  were  also  or- 
ganists and  musiciiins,  and  all  named  Valentin ; 
consequently  music  under  that  name  is  to  be 
found  in  Germany,  bearing  date  as  early  as  1510 
and  as  late  as  1750,  which  is  about  the  period  of 
the  decease  of  the  last  of  that  name. 

HAUT.  (F.)  Acute,  high,  shrill;  as,  /uitU 
contre,  high,  or  counter  tenor  ;  fund  dessiis,  first 
treble. 

HAL'TBOY.  Called  in  orchestral  scores  by 
the  Italian  name  oboe.  A  portable  wind  instru- 
ment of  the  reed  kind,  consisting  of  a  tube  grad- 
ually widening  from  the  top  towards  the  lower 
end,  and  furnished  with  keys  and  circular  holes 
for  modulating  its  sounds.  The  general  compass 
of  this  instrument  extends  from  the  C  clef  note 
to  E  in  alt ;  but  solo  performers  frequently  carry 
it  two  or  three  notes  higher.  In  order  to  sound 
its  lowest  Cif  the  instrument  requires  a  key  for 
that  express  purjjose.  'l"he  oboe,  now  most  com- 
monly in  use,  has  eight  keys,  which  enables  it  to 
produce  all  the  flats  and  sharps  throughout  a 
compass  of  two  octaves  and  a  half.  The  tone  of 
the  hautboy,  in  skilful  hands,  is  grateful  and 
soothing,  and  particularly  adapted  to  the  expres- 
sion of  soft  and  plaintive  passages.  Its  name  is 
French,  —  /laiU  bois,  that  is,  high  wood,  — and  was 
given  to  it  because  its  tone  was  higher  than  that 
of  the  violin,  originally,  llie  hautboy  is  shaped 
much  like  the  flute,  only  that  it  spreads  or  widene 
more  at  the  bottom,  like  the  clarinet. 

In  ord.T  to  play  this  instrument,  you  must  hold 
it  aslant,  and  fix  your  reed  between  your  lipt 
about  half  way  from  the  extiemity  of  the  scraped 
part,  forcing  in  with  your  reed,  as  it  were,  the 
under  part  of  your  upper  lip,  which  will  give 
vou  a  greater  power  over  your  instrument,  and 
prevent  its  tiring  you.  lUow  strong  with  all  the 
holes  sto])ped,  and  you  will  sound  C,  the  lowest 
note  of  the  instrument.  Then  raise  tire  fourth 
finger  of  the  rigl  t  hand,  which  must  be  the  low 


382 


HAU 


ENCYCLOriEDIA    OF   MUSIC. 


HATJ 


tst,  and  you  will  sound  D  :  when  you  hnve  come  to 
D  on  the  fourth  line,  pinch  tlie  reed  with  your  lips 
for  the  rest  of  the  notes.  The  third  finger  of  the 
left  hand  gencrnlly  covers  two  holes ;  but  it  is 
Boraetiraes  slipjicd  on  one  side.  See  the  scale  of 
flats  and  sharps.  The  black  dots  signify  the 
holes  which  are  to  be  stopped,  and  t)ie  white 
ones  those  which  must  be  left  open.  You  will 
observe  that  some  letters  will  admit  of  two  ways 
of  blowing ;   you  will   find  by  practice   which 


will  be  the  easiest  and  best.  In  trying  the  reeda 
for  the  hautboy,  mtikc  choice  of  t'lat  which 
crows  freely  without  a  pressure  of  the  lip'<.  Be- 
fore you  fix  the  reed  to  the  instrument,  wet  it  a 
little,  which  will  ranko  it  go  easier  thnn  when 
dry.  The  ci-lchr.itcd  Mr.  Fischer  introducetl  a 
method  of  softening  and  improving  the  tone  of 
tlic  instrument,  by  in^^erting  some  cotton  or  wool 
in  the  bell,  which,  however,  must  not  be  i)Ut  up 
higher  tlmn  the  air  holes. 


SCALE   POB  THE    UAUTDOY    ^\^T^    EIOUT   KEYS 


i 


-a    .a.    IT 
.do.     A    ^     ~     tZ 

^  fL  T.   Zi  iz   —   - 


?^^ 


:t=t 


:l=:n 


ill 


^^ 


6th  key 
6th  key 
7th  kev 
8th  key 


0       I) 
'let  finger    •      " 

Ist  key      

2d  finger     •       * 

2d  key       

.3d  finger    •"     •* 

.  fist  finger   **     •* 

1 1  3d  key       

;  I  2d  finger     •       * 

fUthkcy       

[3d  finucr     •       " 


C        D 
•A°---' 


C         D 

o        i 

D- 


•  •        00       00       oo 
OO         00        00        00 


•  •      00       ••      ••      •»       oo      o*      •• 
oo      oo       ••      ••      00       ao      CO      *o 


•     O      •     o 


•     o      •     o 


o     •>  o    o 


O      •  A    o     o 


^   a-lzzTn 


^^ 


s 


7^=:. 


g^l^ 


^^ 


±: 


-sX" 


In  rising  and  falling  these  octaves,  the  beginner  will  be  ready  to  think  that  the  lower  D  sounds 
flat,  and  out  of  tune,  which  may  be  the  case,  unless  the  low  notes  are  blown  strong  and  full,  and 
the  middle  A  rather  soft,  wliich  should  be  remembered,  as  A  is  the  pitch  of  your  instrument  in 
concert. 

SCALE    OP   SHARPS    AND    FLATS. 


fe 

->T 

^^«^ 

\h-f^ 

^ 

12^ 
1 — 1 

r-M 

F5^¥=H 

I'. 

7—1 r- 

^ — 

[—^Tl 

1  b 

1    U 

F 

• 

trc          0    ^D 

•      3      O        •      «       •      O- 

A          E 
•    •     •    • 

L_, U 

B 

o     o 

B 

•       • 

B 

•     o 

A             D 

•      •       •      o 

■?* 

0 

•     • 

-1—   ■ 
c 

•     0 

7# 

F 
•      • 

2fi' 

1    • 

•    •     s    • 

•     • 

•        • 

•      • 

•      •       a      • 

•      • 

0     • 

•      • 

2k- 

.0 

..o.,».  o 

•  •  ••  (O  ••  ••  0  0  J  J  ••  ••  00  00  ••  ••  00  ••  00  00  00  ••  ••  o*  o* 


•  a    00   ••     00  00     ••  •• 


3fi 

<  £••  00   ••  ••  ••   00  00  ••  as  00  ••  ••  oo  00  ••     00  ••  00    ••    ••    00   00    ••   ••    09    00     00  00    ••  •• 

Jk  = •~°- 

2ft 
4k 

3fi 
ftk 
(Jk 
7k 
»  k 

A.  Either  of  these  ways  of  fingering  may  be  used. — B.  Tlie  keys  are  marked  only  when  thej 
are  to  be  used. — C.  This  key  is  employed  merely  to  ensure  the  proper  intonation  of  K  which  Is  un 
certain  in  some  hautboys. — D.  The  o-  with  a  line  drawn  through  it  indicates  that  only  one  half  of 
the  hole  which  it  represents  must  be  stoppetl. — K.  'Hiis  key  may  be  pre»se<l  down  from  C  to  O  U 
necessary  ;  this  will  sometimes  be  found  useful  in  raAintaitiing  the  proper  position  of  the  instrument 
— F.  This  hole  must  be  scarcely  open.     Indeed  this  note  and  the  adjacent  F*»  are  seldom  ua«d. 

333 


o««««oo«»o«ooo«        o*o««oo       ••     0.0    •      o      •       •      • 
0.9 

o«»*oooa»o***oo        o«o**oo«ao«oooo 
...o o.  .o...,o o,.o 

•.•..» •..0 

o .0 


HAW 


ENCYCLOPAEDIA    OF   MUSIC. 


nAW 


HAAVTIS,  WILLIAM,  was  born  in  London  in 
1785,  nnd  became  a  chorister  in  the  Chapel  Roy- 
al, under  Dr.  Edmund  Aj-rton,  in  1793,  where  he 
remained  till  1801.  In  1802  he  first  engaged 
publicly  in  his  profession,  by  becominj;  a  per- 
tbnner  on  the  violin  in  the  band  of  Co  vent  Gar- 
den Theatre,  and  abr  at  the  same  time  commenced 
business  as  singing  master  ;  he  also  attended  the 
Ancient,  Vocal,  and  most  other  concerts.  In  180.3 
he  WHS  apjxjinted  deputy  vicar  choral  of  Westmin- 
ster Abbey,  and  continued  in  that  otficc  till  fully 
appointed.  In  July,  180.5,  he  obtained  the  ap- 
pointment of  gentleman  in  ordinary  of  his  ma- 
jesty's Chapel  Uoyal.  In  1806  he  became  an 
honorary  member  of  the  Noblemen's  Catch  Club. 
In  1807  he  was  elected  a  member  of  the  Royal 
Society  of  ilusicians ;  and  iu  1808,  honorary 
member  of  the  Somerset  House  Lodge,  and  of 
the  societies  called  the  Madrigal  and  Conceutores. 
He  was  one  of  the  original  associates  of  the  Phil- 
hannonic,  which  commenced  in  181.3,  and  a 
member  of  tho  professional  concert,  which  fol- 
lowed shortly  after,  but  on  account  of  the  party 
spirit  wliich  then  prevailed  so  widely  iu  the  pro- 
fession, quitted  the  former  society,  on  the  break- 
big  up  of  the  latter.  In  18  U,  he  was  appointed 
almoner,  master  of  the  boys,  and  lay  vicar  of  St. 
Paul's  Cathedral,  and  in  1817,  master  of  the  chil- 
dren of  his  majesty's  Chapel  Royal,  and  lutenist 
to  his  majesty ;  in  the  same  year  he  was  also  fully 
appointed  vicar  choral  of  Westminster  Abbey, 
but  resigned  the  latter  situation  in  1820,  consider- 
ing himself  treated  with  undue  severity,  in  being 
refused  privileges  which  others  had  before,  and 
have  since,  enjoyed,  lie  was  the  first  promoter 
of  the  Royal  llarmonic  Institution,  under  the 
design  of  giving  composers  the  means  of  pub- 
lishing their  own  works,  and  consequently  reap- 
ing the  whole  advantage  which  should  arise  from 
their  sale.  For  this  purpose  the  old  Argylc  rooms 
were  rebuilt,  and  a  magnificent  establishment 
opened.  The  following  are  among  the  more  fa- 
vorite original  works  and  arrangements  of  this 
composer.  Songs :  "  Barbara  Allan,"  "  Charlie  is 
my  darling,"  "  Comin'  through  the  rye,"  "  Fa- 
ther William,"  "Friendship,"  "He's  dear,  dear 
to  me,"  "  John  Anderson  my  jo,"  "  I  think  on 
thee,"  "  Logic  o'  Buchan,"  "  Lang  syne,"  "  My 
harp  alone,"  "  My  Ellen,  alas  !  is  no  more,"  "  6 
thLs  love,"  "  O  that  I  could  recall  the  day,"  "  O, 
saw  ye  my  father,"  "  ()  Bothwell  bank,"  "  O  for 
ane-an'-twenty,  Tam,"  "  (),  Kenmure's  gone 
awa',"  "Sleep,  baby  mine,"  "The  land  o'  the 
leal,"  "  The  green  spot  that  blooms  o'er  the  desert 
of  life,"  "  Tak'  your  auld  cloak  about  ye,"  "  The 
Beacon,"  "  To  the  Moon,"  "  There  grows  a  boa- 
iiy  brier,"  "  Wert  thou  like  me,"  "  We're  a'  nod- 
din  at  our  house  at  hame,"  "  He's  far,  far  frae 
me."  Glees:  "Alien  a  dale,"  three  voices; 
"  Bring  me  flowers,  bring  me  wine,"  four  voices ; 
"  Boy,  who  the  rosy  bowl  doth  pass,"  four  voices ; 
"  Fairy  glee,  (We  fairy  folks, )  "  four  voices ; 
"Gallant  and  gayly,"  three  voices;  "Henry 
cuU'd  tho  floweret's  bloom,"  four  voices  ;  "  John 
Ajidcrson  my  jo,"  three  voices  ;  "  Lovely  Phillis," 
four  voices  ;  "  O,  saw  ye  my  father,"  four  voices  ; 
'  O,  Bothwell  bank,"  tliree  voices  ;  "  Sweet,  mod- 
est floweret,"  four  voices ;  "  Since  then  I'm 
doomed,"  four  voices ;  "  The  Shepherd's  Daugh- 
ter Sally,"  four  voices.  He  has  also  republished 
Morley's  collection  of  madrigals,  entitled  "The 
Triumphs  of  Oriana." 


HAWKINS,  SIR  JOHN,  was  the  son  of  an 
eminent  8ur\-eyor  and  builder,  and  born  in  1719. 
After  having  passed  through  the  usual  course  of 
school  education,  he  was  placed  under  the  care 
of  Mr.  Hoppus,  for  the  purpose  of  being  brought 
up  to  his  father's  business.  ThLs,  however,  hav- 
ing been  found  contrary  to  the  general  bent  of 
his  inclin.ation,  he  was  afterwards  articled  as  a 
clerk  with  an  attorney.  In  this  situation,  by 
abridging  himself  of  rest  at  night,  and  rising 
every  morning  at  four  o'clock,  he  not  only  found 
an  opportunity  for  reading  all  the  most  emi- 
nent law  writers,  but  also  the  works  of  the  most 
celebrated  authors  both  in  verse  and  prose.  About 
the  year  1741,  a  club  having  been  instituted  by 
Mr.  Immyus,  an  attorney  of  his  acquaintance, 
the  amanuensis  of  Dr.  Pcpusch,  and  some  other 
musical  men,  called  the  Madrigal  Society,  to  meet 
every  Wednesday  evening,  Mr.  Hawkins  became 
a  member  of  it,  and  continued  so  for  many  years. 
He  became  also  a  member  of  the  Academy  of 
Ancient  Mitsic.  In  the  year  following,  Mr.  Stan- 
ley and  he  published,  at  their  joint  expense,  six 
cantatas  for  a  voice  and  instruments,  the  words 
of  which  were  fumLshed  by  him,  and  the  music 
by  Mr.  Stanley.  These  succeeding  beyond  their 
most  sanguine  expectations,  a  second  set  was 
published  a  few  months  afterwards,  which  suc- 
ceeded equally  well.  As  these  compositions  were 
performed  at  many  of  the  public  ])laces,  the  au- 
thor acquired  considerable  reputation  as  a  poet ; 
and  being  a  modest  and  well-informed  young 
man,  of  unexceptionable  morals,  they  obtained 
for  him  an  extensive  acquaintance.  Among  these 
wa-s  Peter  Storer,  Esq.,  of  Highgate,  whose  daugh- 
ter he  afterwards  married.  In  the  winter  of  1749 
Dr.  (then  Mr.)  Johnson  instituted  a  club  at  the 
King's  Head,  in  Ivy  Lane,  near  St.  Paul's,  and 
Mr.  Hawkins  was  invited  to  become  one  of  the 
first  members.  On  the  death  of  his  wife's  broth- 
er, in  17.59,  having  received  a  large  addition  to 
his  fortune,  he  retired  from  business,  and  bought 
a  house  at  Twickenham  ;  and  two  years  after- 
wards, his  name  having  been  inserted  in  the  com- 
mission of  the  peace  for  the  county  of  Middlesex, 
he  became  a  most  active  and  useful  magistrate. 
Mr.  Hawkins's  love  of  music  induced  him  to 
form  a  collection  of  the  works  of  the  best  com- 
posers, and  among  other  acquisitions,  he  had  the 
good  fortune  to  become  possessed  ot  several  most 
scarce  and  valuable  theoretical  treatises  on  the 
science,  which  had  fonnerly  lx;en  collected  by 
Dr.  Pepusch.  With  the  knowledge  which  he  ac- 
quire<l  from  these  books,  he  was  requested  by 
several  eminent  musical  men  to  set  about  the 
preparation  of  materials  for  a  work,  then  much 
wanted,  the  "  History  of  the  Science  and  Prac- 
tice of  Music."  After  sixteen  years'  labor,  he, 
in  1776,  published,  in  five  ([uarto  volumes,  his 
History,  which  he  dedicated  to  the  king.  Few 
works  have  been  attacked  with  more  acrimony 
and  virulence  than  this.  Its  merit,  however,  as 
containing  much  original  and  curious  infonna- 
tion,  which,  but  for  its  author,  must  have  for- 
ever jierished,  has  been  amjily  attested  by  the 
approbation  of  some  of  the  first  judges  of  science 
and  Uterature.  The  University  oi  O.xford,  in 
consequence  of  its  publication,  off'ered  to  him  an 
honorary  degree  of  doctor  of  laws,  as  indicative 
of  their  oj)iuion  of  the  value  of  his  book.  This 
honor  he  thought  proper  to  decline.  From  a  loufi 
and  very  intimate  acquaintance  with  Dr.  John- 


334 


HAY 


ENCYCLOPEDIA    OF    MUSIC. 


HA\ 


son,  an'l,  ns  it  w  generally  believed,  in  conse- 
quence of  a  conversation  that  ])!isso(l  between 
them  on  tlie  subject,  Sir  John  Hawkins,  at  his 
death,  undertook  to  write  a  lil'e  of  the  doctor, 
which  he  afterwards  publLshed.  Scarcely  three 
months  after  the  commencement  of  tliis  under- 
taking, he  sustained  a  most  severe  loss  in  the  de- 
struction of  his  library  by  fire.  This  lamented 
catastrophe,  for  a  short  time,  ])ut  a  stop  to  the 
prof^ress  of  his  undcrtakini;.  Yet,  as  soon  as  he 
could  collect  his  thoufjhts,  he  recommenced  his 
ofiicc  of  biofjraplier  to  Johnson,  and  editor  of  his 
works,  which  he  completed,  and  published  in 
17H7,  in  cloven  volumes  octavo.  With  this  pro- 
duction he  terminated  his  literary  labors;  and 
li.iving,  for  several  years,  been  accustomed  to  ])a.ss 
ali  his  leisure  time  in  theological  and  devotional 
studies,  he  now  still  more  closely  attended  to 
them,  in  order  to  prepare  himself  for  that  event, 
which,  in  the  common  course  of  nature,  he  knew 
could  not  be  at  a  great  distance.  On  the  11th 
of  May,  1789,  he  was  .seized  with  a  paralytic  af- 
fection, under  the  eilbcts  of  which  he  lingered 
until  the  21st  of  the  same  month,  when  he  ex- 
pired. ]Ie  wasintciTed  in  the  cloisters  of  West- 
minster Abbey,  in  the  north  walk,  near  the  ea.st- 
crn  door  into  the  church,  under  a  stone,  contain- 
ing, by  his  e.xi)rcss  injunctions,  only  the  initials 
of  his  name,  the  date  of  his  death,  and  his  age. 

IIAYDEN,  (JEOKGE,  was  organist  of  the 
cliurch  of  St.  Mary  Magdalen,  Berraondscy.  He 
composed  and  published,  about  the  year  17'-'.'?, 
three  etintatas.  There  is  also  extant  of  Havdcn"s 
compositions  a  pretty  song  in  two  jjarts,  "  As  I 
(saw  fair  flora  walk  alone,"  which  is  well  known 
to  the  proficients  in  vocal  hanuony. 

HAYPX.  Fll-\N"CTS  JOSEPH,  wan  bon»  in 
March,  17.'!2,  at  Uohrau,  a  .small  town  about  tit- 
teen  leagues  from  Vienna.  His  fatlier  was  a 
wheelwright,  and  his  mother,  before  she  married, 
wa.s  cook  at  the  chateau  of  Count  Harrach,  a  no- 
bleman residing  in  the  neighboriiood.  Haydn's 
father,  besides  his  trade  of  wheelwright,  was  the 
jiarish  sexton.  He  had  a  tine  tenor  voice,  and 
liked  music  in  general,  but  was  particularly  fond 
of  the  organ.  During  one  of  those  excursions 
which  are  often  undertaken  by  Genuan  artisans, 
being  at  Frankfort  on  the  Maine,  he  leanied  to 
accompany  himself  a  little  on  the  harp;  and  on 
holydays,  alter  the  service  of  the  church,  he  al- 
ways amused  himself  with  tlvis  instrument, 
while  his  wife  sang.  Joseph's  birth  did  not  in  the 
li  ast  change  the  peaceable  habits  of  this  familv 


the  hopes  of  getting  Joseph  more  easily  into  holt 
orders,  if  he  should  be  nnide  to  understand  music. 
He  set  off,  there;bre,  tor  Haiinburg,  and  had  been 
only  a  lew  weeks  at  his  cousin's  house,  when  he 
found  there  two  tambourinei.  lly  i>atience  and 
repeated  trials,  he  at  length  actually  ]>roduced  by 
means  of  ibis  instrument, which  ha.s  l)ut  two  tones, 
a  kind  of  tune,  which  drew  the  attention  of  all 
those  who  visited  at  the  school. 

Haydn  had  by  nature  a  sonorou*  and  j)leasing 
voice.  Frank,  who,  to  repeat  Haydn's  own  words, 
treated  his  young  cousin  with  more  blows  than 
bonbons,  soon  made  the  little  tambourinLst  play 
not  only  the  violin  and  other  instruments,  but 
likewise  taught  him  to  vmderstnnd  Latin,  and  to 
sing  at  tlie  parish  church,  in  a  stylo  that  ere  long 
made  him  known  throughout  the  canton.  Chance 
now  brought  to  Frank's  house  Ketltcr,  chapel- 
master  of  St.  Stephen's  Cathedral  at  Vienna,  who 
was  .searching  round  the  country  for  additional 
voices  for  his  choir;  the  schoohniuster  immedi- 
ately introduced  his  little  relation  to  him,  when 
lledter  gave  him  a  canon  to  sing  at  lirst  sight. 

'I'he  precision,  distinctness  of  tone,  and  lire 
with  which  it  was  performed  by  the  child,  aston- 
ished Ketlter  ;  but,  above  all,  lie  was  enchanted 
with  the  beauty  of  the  boy's  voice.  He  remarked, 
however,  that  he  did  not  shake;  and  on  asking 
him,  smilingly,  the  rea.son,  the  child  replied  witli 
quickness,  "  How  should  I  know  liow  to  shako, 
when  my  cousin  himself  does  not  •  "  "  Come  to 
mo,"  said  Hedter  to  him,  "and  I  will  teach  you." 
He  took  him  on  his  knees,  showed  him  how  to 
make  two  sounds  succeed  each  other  <iuickly,  by 
holding  his  breath  and  agitating  the  top  of  the 
pallet.  The  child  succeeded  immediately.  UcH- 
ter,  delighted  with  the  8ucces.s  of  his  little  pupil, 
took  a  jilatc  of  tine  cherries,  and  emptied  them 
into  the  boy's  iiocket.  'llie  joy  of  the  latter  may 
be  conceived.  Haydn  often  mentioned  this  little 
iiu'ident,  and  added,  laughing,  that  whenever  he 
made  a  shake,  he  fancied  he  still  saw  those  fine 
cherries.  It  may  easily  be  concluded  that  UeOter 
detennined  on  not  returning  'alone  to  Vienna, 
and  tlie  little  shaker,  then  about  eight  years  old, 
accompanied  him  thither.  Haydn  has  said,  that, 
dating  from  this  time,  a  siuijle  day  never  passed 
at  UeUter's  without  his  having  practised  sixteen, 
and  sometimes  eighteen  hours,  'lliis  is  especially 
remarkable,  because,  whilst  at  St.  Stephen's,  he 
wa-s  almost  entirely  his  own  master,  the  children 
of  the  choir  being  only  obliged  to  practi-M?  two 
hours  a  day.  When  Ilaydn  attained  the  ai:e  of 
composition,  the  habit  of  study  was  tluis  already 


J  he  little  concert  \ya.s  renewed  every  week,  and     acquiretl :   indeed,   a  musical  composer  has   this 


the  child,  placing  him.selt  before  his  parents,  with 
two  pieces  of  wood  in  his  hands,  one  for  a 
violin,  and  the  other  for  a  how,  accompanied 
his  mother's  voice.  Haydn,  full  of  years,  aiul 
covered  with  glory,  has  treiiucntly  called  to  mind 
the  simple  aii's  slie  fang,  so  deeply  were  those 
little  melodies  impressed  on  his  musical  soul  I  A 
schoolmaster  of  Haimburg,  of  the  name  of  Frank, 
and  cousin  to  the  wheelwright,  came  one  Sunday 
t(»  Kohrau,  and  wa.s  present  during  the  jiertorm- 
anco  of  one  of  those  family  trios ;  when  he  no- 
ticed that  the  child,  then  not  si.x  years  old,  beat 
time  with  the  utmost  correctness  and  precision 
Frank  understood  music,  and  bogged  his  relations 
to  allow  him  to  take  little  Joseph  back  to  Haim- 
burg with  him,  and  attend  to  his  education. 
They  accepted  the  proposition  with  delight,  in 


groat  advantage  over  other  artist.s,  that  his  pro- 
ductions are  no  sooner  conceived  than  they  are 
finished. 

With  less  precocity  of  gcniu.s  than  Mo/Jirt, 
who,  wnen  oidy  thirteen  years  old,  wrote  a  much 
admired  opera,  Haydn,  at  the  same  ago,  trie<l  to 
com])Ose  a  mass,  which  wa.s  not  without  some 
rea.son,  ridiculed  by  Kedter,  to  the  great  astonish- 
ment, at  first,  of  tl'.e  youni;  musician  ;  his  good 
sense,  however,  even  at  that  early  ace,  soon  con- 
vinced liim  of  the  j\istice  of  its  condemnation. 
He  now  began  to  perceive  that  a  knowle<lcc  of 
counteq>oint  and  of  the  rules  of  harmony  wa» 
retpiisite;  but  how  was  ho  to  loam  them  :  Hea- 
ter did  not  instruct  the  ihildrcnof  the  choir  in 
composition,  and  never  gave  more  than  two 
lessons  in  it  to  Havdn.     Moiart  had  an  exocIlKit 


49 


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ENCYCLOPAEDIA    OF    MUSIC. 


HAY 


master  in  liis  fatlicr,  wlio  was  a  good  violin  play- 
er. IJut  poor  Joseph  was  less  lortunate,  being 
only  a  discarded  chorister  at  Vienna,  who  must 
jiay  lor  any  lessons  he  received,  and  who  had  not 
a  haltpenny  to  Kp])ly  to  that  puq)ose;  for  hia 
lather,  although  he  liad  two  trades,  was  so  poor, 
that  Joseph  having  once  had  his  clothes  Btolen, 
and  having  int'onued  his  father  of  the  circum- 
stance, the  poor  man  with  difficulty  sent  hira  six 
florins  towards  relitting  his  wardrobe.  Of  course 
Jio  master  in  Vienna  would  give  lessons  gratU  to 
n  little  unpatronizcd  chorister;  his  situation  was 
therelbro  truly  embarrassing.  lie  persevered, 
however,  and  in  tlie  first  jdace,  like  Jean  Jacques 
llousseau,  he  purchased,  at  a  second-hand  shop, 
some  old  books  on  the  theory  of  music,  among 
otliers  the  treatise  by  Fux,  which  he  began  to 
study  with  a  degree  of  assiduity,  not  to  be  checked 
even  by  the  tremendous  abstrusencss  of  Fux's 
rules.  Alone,  and  without  a  master,  he  labored 
on,  and  made  n  number  of  little  discoveries  which 
were  subsequently  useful  to  hira.  Poor,  freezing 
with  cold  in  liis  garret,  without  fire,  and  over- 
come Avith  sleep,  he  studied  on,  by  the  side  of  his 
old  broken  harpsichord,  and  tliought  himself 
happy.  Thus  days  and  nights  flew  rapidly  by, 
and  he  has  frequently  been  heard  to  say,  that  he 
never  in  after  ILe  experienced  so  much  felicity. 
Haydn's  predominant  passion  was  rather  the  love 
of  music  tlinn  the  love  of  fame  ;  and  yet  his  as- 
l)irations  after  fame  hatl  not  a  tinge  of  ambition 
in  them,  lie  sought  more  to  please  himself^  in 
composing  mu:-ie,  than  to  acquire  celebrity. 

It  was  not  of  Porpora  that  Haydn  learned  reci- 
tative, as  has  been  rei)resentcd  ;  his  recitatives,  so 
inferior  to  those  of  the  inventor  of  tliLs  kind  of 
music,  prove  this  ;  but  he  acquired  through  Por- 
pora the  ti'ue  Italian  style  of  singing,  and  the 
art  of  accompanying  on  the  piano-forte,  which, 
to  do  well,  is  more  difficult  than  is  commonly 
imagined.  He  was  so  fortunate  as  to  obtain 
these  lessons  in  the  following  way :  A  noble 
Venetian,  named  Corner,  was  then  at  Vienna,  as 
ambassador  from  That  republic.  He  had  a  mis- 
tress, who  was  excessively  fond  of  music,  and  had 
retained  old  Porpora  in  the  hotel  of  the  embassy. 
Haydn  contrived,  solely  from  his  love  for  music, 
to  get  introduced  into  the  family.  He  was  liked, 
and  used  to  accompany  Porjiora  and  the  above 
lady  to  the  baths  of  ManensdorH',  which  was  then 
a  fashionable  place.  Our  young  friend,  who 
was  indifferent  to  everybody  but  the  old  Nea- 
politan, emjdoyed  all  methods  to  got  into  favor 
with  him,  and  to  obtain  his  patronage.  He  rose 
vcrj'  early  every  morning,  beat  hi-s  coat,  brusliel 
his  shoes,  and  arranged  in  the  nice.-t  order  the 
c'1  man's  wig.  Porpora  was  ill-tempered  beyond 
conception,  and  poor  Haydn  seldom  obtained 
more  for  his  trouble  than  the  polite  epithet  of 
"  tool,"  as  soon  as  he  entered  his  room  of  a 
morning.  lUit,  at  length,  tlie  l)ear  finding  he 
was  sjTved  pruds,  and  havini;  discovered  some  of 
the  good  ([ualities  of  his  volunteer  servant,  would 
occasionally  relax  in  his  severity,  and  give  Haydn 
some  good  advice.  Haydn  succeeded  moie  par- 
ticularly in  obtaining  this,  whenever  he  accom- 
panied the  beauteous  Wilhelmina  in  singing  any 
of  Porpora's  own  airs,  whidi  were  filled  with 
difficult  bassci.  Joseph  at  Icngtii  ac(iuired  tl.e 
Italian  taste  in  «in,'ing.  The  ambassador,  sur- 
prised at  the  imijrovcment  of  the  poor  young 
nuui,  settled  on  hi  ii,  on  his  returu  to  the  city,  a 


monthly  pension  of  six  sequins,  (about  threa 
pounds  sterling,)  and  admitted  him  to  the  table 
of  his  secretaries.  Haydn  wits  now  independent ; 
he  bought  a  black  coat,  and  thiLS  attired,  went, 
as  soon  as  it  was  light,  to  take  the  part  of  prin 
cipal  violin  at  the  church  of  the  Fathers  o 
Mercy  ;  from  thence  he  proceeded  to  the  chapel 
of  Count  Haugwitz,  where  he  played  the  organ  ; 
and  afterwards  sang  the  teuor  at  St.  Stephen's. 
He  then  returned  home,  having  Deeii  fully  era- 
l)loyed  all  day,  and  jjassed  a  great  part  of  the 
night  at  his  piano.  His  taste  and  knowledge  in 
composition  were  thus  formed  upon  the  rules 
and  examples  wliich  he  could  collect  from  the 
different  musicians  with  whom  he  associated. 
Availing  himself  of  every  opixjrtunity  of  hearing 
good  music,  and  following  no  one  master  in  partic- 
ular, he  began  to  form  his  own  opinion  of  what 
was  beautiful  in  music,  but  without  any  idea,  at 
that  time,  of  introducing  a  style  of  his  own. 

At  the  age  of  nineteen,  hLs  voice  broke,  and  he 
was  obliged  to  leave  his  situation  in  the  class  of 
soprani  at  .St.  .Stephen's,  or  rather  he  was  expelled 
from  it.  One  day,  in  a  lively  frolic,  he  took  it 
into  his  head  to  cut  off  the  tail  of  one  of  hi* 
companions'  gowns — a  crime  which  was  judged 
unpardonable.  He  had  sung  eleven  years  at  St. 
Stephen's,  and  the  day  he  left  it  hLs  only  fortune 
was  his  rising  talent,  a  poor  resource  indeed  till 
it  becomes  known.  He  had,  however,  one  ad- 
mirer. Forced  to  seek  a  lodging,  by  chance  he  met 
with  a  wig  maker,  named  Keller,  wlio  had  often 
noticed  and  been  delighted  with  the  beauty  of  his 
voice  at  the  cathedral,  and  now  offered  him  an 
asylum.  This  Haydn  most  gladly  accepted,  and 
Keller  received  him  as  a  son,  insisted  upon  his 
participation  of  their  frugal  repast,  and  intrusted 
to  his  wife  the  care  of  the  young  man's  ward- 
robe. 

Haydn,  finding  himself  thus  established  in  the 
house  of  the  wig  maker,  and  exempt  from  all 
pecuniary  cares,  pursued  his  studies  without  in- 
ten-uption,  and  made  rapid  progress.  His  resi- 
dence here  had,  however,  a  fatal  influence  on  his 
after  life.  Keller  had  two  daughtei-s ;  his  wife 
and  himself  soon  began  to  think  of  uniting  the 
young  musician  to  one  of  them,  and  even  ventured 
to  name  the  suhje.t  to  llaydn ;  who,  completely 
engrossed  in  hLs  studies,  had  no  thoughts  to  bestow 
on  love,  but  made  no  objection  to  tlie  proposal. 
He  afterwards  kepthLj  word  with  that  scrupulous 
honor  which  was  his  greatest  characteristic,  and 
this  union  proved  far  trom  happy.  He  now 
began  to  think  of  procuring  money  by  some  of 
hLs  compositions,  and  his  first  productions  were 
some  little  sonatas  for  the  piano,  which  he  sold  at 
a  moderate  price  to  the  few  scholai-s  whom  he 
had  been  able  to  meet  with  ;  also  some  minuets, 
nllemandes,  and  waltzes  for  the  Ridotto.  He 
then  wrote,  for  his  amusement,  a  serenade  for 
three  voices,  which,  with  two  of  liis  friends,  he 
used  to  perform  on  fine  nights  in  t)ie  streets  of 
Vienna.  A  celebrated  buffoon  named  Curtz, 
commonly  called  IJernardone,  was  then  director 
of  the  theatre  of  Carinthia,  and  afforded  much 
entertainment  to  the  public  by  his  jokes.  . Crowds 
were  attracted  to  the  theiitre  by  his  originality, 
and  by  his  good  hwKx  operas.  He  had,  besides, 
a  pretty  wi.e  —  an  inducement,  doubtless,  to  out 
nocturnal  adventurers,  to  periorm  their  serenade 
under  the  harletiuin's  windows.  Curtz  was  ac 
struck  with  the  originality  of  this  iLusic,  th»t  he 


386 


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ENCYCLOP.-EDIA    OF    MUSIC. 


HAY 


came  into  the  stxect  to  inquire  who  was  the 
composer.  "  I,"  answered  Haydn,  confidently. 
"Howl  you?  nt  yourn<;e?"  "  Kvcry  one  must 
have  a  bcj^innin;;."  "  Will,  this  is  sin<;uhir 
enough ;  come  in  with  nic."  Haydn  followed 
the  liarli'qnin,  was  introduced  to  the  i)rctty  wife, 
and  took  liis  leave  with  the  poem  of  an  opera,  en- 
titled "  'ilic  Devil  on  Two  Sticks,"  to  which  he 
was  to  compose  the  music.  It  was  finished  in  a 
few  da)s,  was  received  with  applause,  and  Haydn 
received  twenty-four  sequins  (twelve  pounds)  for 


one  of  the  roost  ardent  dilettanti  of  his  capital 
"We  may  here  take  the  opportunity  of  ftiatini; 
that,  before  Haydn,  no  one  had  an  idea  of  un 
orche^t^n  composed  of  eighteen  Korts  of  iuslru- 
ments.  He  is  also  the  inventor  of  the  prrnlisniiwi, 
the  hare  idea  of  which  made  the  old  Riuarc-toei 
of  Vienna  tremble.  Indeed,  in  music,  as  in  every 
thinf?  else,  we  have  little  idea  of  what  the  world 
was  even  a  hundred  ye;irt>  back.  The  alUijrn,  for 
instance,  was  then  only  an  andaiUino.  Other 
improvement.s  of  Haydn   were,  the  obligini;  th« 


it.  Hut  a  nobleman,  who  had  no  beauty  to  boast,  i  wind  instruments  to  execute  pianUiimo,  also  the 
di.-coverinf»  that  he  was  alluded  to  under  the  '  extension  of  the  scale  into  the  heights  of  altUsimo. 
r.irae  of  "The  Devil  on  Two  Sticks,"  had  the  piece  It  was  at  aboiit  tlie  ago  of  twenty  that  he  pro- 
prohiliitcd.  In  the  composition  of  this  opera,  j  diiced  hLs  first  <iuartet  in  H  thit,  whidi  all  the 
Unydn  often  said  that  it  cost  him  more  trouble  musical  amateurs  soon  learned  by  heart.  .Vlxjut 
to  find  out  a  way  to  represent  the  movement  of  ,  this  time  he  ({uitted  the  house  of  his  friend 
the  waves  in  a  tempest,  than  it  afterwards  did  to     Keller,  for  what  cause  is  not   known  ;  but  it  L-i 


write  a  difHcult  fnp;ne.  C'urtz,  who  had  much 
mind  and  taste,  was  very  ditHcult  to  please  about 
this  tempest,  and  neither  he  nor  Haydn  had  ever 
Been  either  the  sea  or  a  storm.  How  then  could 
they  describe  either  one  or  the  other  ?  Coidd  the 
happy  art  be  discovered  of  dcscribinc;  thins^s  un- 
known, many  great  politicians  would  speak  better 
of  virtue.  C'ui-tz,  in  the  {greatest  agitation,  walked 
to  and  fro,  and  round  and  round  the  composer, 
who  was  seated  at  his  piano.  "Imagine,"  .<aid 
he  to  him,  "  a  high  mountain  and  then  a  valley, 
then  another  mountain  and  then  another  valley  ; 
these  mountains  and  valleys  following  each  other 
rapidly,  alps  and  abys-es  alternately  succeedin;;." 
This  fine  description  had  no  eti'ect.  In  vain  did 
Curtz  add  to  it  thunder  and  lightning.  "  Come," 
he  incessantly  repeated,  "  now,  Haydn,  describe 
all  these  hon'ors  distinctly  in  music,  but  especially 


certain  that  his  talents,  though  they  had  already 
spread  his  fame,  had  not  yet  raised  him  from 
indigence.  He  w.a.s  now  offered  board  and 
lodging  by  a  Mr.  Martinez,  on  condition  of  giv- 
ing lessons  on  the  piano  and  in  sin-iing  to  his  two 
daughters.  It  is  a  singular  circumstance  thai 
two  apartments  in  the  same  house  then  contained 
the  first  poet  of  the  age,  and  the  greatest  sjTn- 
phonist  in  the  world,  as  Metastasio  likewise 
lodged  at  the  residence  of  Mr.  Martinez.  The 
poet,  however,  being  in  the  employ  of  the  Emper- 
or Charles  VI.,  lived  comfortably  at  least,  whilst 
poor  Haydn  remained  in  bed  most  of  the  daj's  of 
winter  for  want  of  fuel.  The  delicate  and  pro- 
found sensil)ility  of  Meta.stasio  had  produced  in 
him  a  just  ta-stc  in  all  the  fine  arts.  He  was  en- 
thusiastically fond  of  music,  and  had  a  consider- 
able knowknlge  of  it.      The  merits  of  the  young 


the   mountains   and   valleys."      Haydn   ran   his  i  German  were  therefore  not  lost  on  him ;  but,  on 


fingers    rapidly   over   the   keys,  then  across  the 
semitones,  was  prodigal  of  sevenths,  and  modu- 
lated in  an  instant  from  sharp  to  fiat ;  still   licr- 
nardone  was  not  satisfied.     At   last,    the   young 
musician,  completely   out  ot  patience,  extended 
his   hands  to   the  two  extremities  of  the  instru- 
ment, and  drawing  them   quickly  together  over  ' 
the  whole  keys,  exclaimed,  "  The  devil   take  the  ' 
tempest !  "  "  That's  it  I  that's  it  !  "  cried  lieniar-  I 
done,  throwing  himself  on  his  neck,  and  almost 
smothering   him   with    his    embraces.      Haytln 
added,  that,  passing  some  years  afterwards  the 
straits  of  Calais  in  bad   weather,   he  could    not  I 
hcl;)  laughing  the  whole  time,  at  the  remembrance 
of  t)  e  tempest  in  "The  Devil  on  Two  Sticks." 

When   Haydn  compose  I  thi-t  opera  he  was  in  j 
his   nineteenth   year.      Mozart,  that   prodigy  of 
music,  wrote  hi*  first  opera  at  thirteen,  i:i  com- 
petition with  Ilasse,  who  said,  after  he-.u-ing  the 
rehearsal,    "Tliis    child    will     edip-^e    lis     all"  I 
Haydn's  success  was  not,  however,  so  great;  his  ' 
talent  was  not  for  dramatic  music  ;  and  though 
he  has  composed  operas  which  would  do  ere  lit  to  i 
any  master,  he  never  attained  to  a  "  Clemfn:a  rli 
Tilri,"  or  a"  Don  Jiuin."      .Vbout  a  year  after  tie 
production  of  the  "Devil  on  Two  Sticks,"  Haydn 
entered  on  his  proper  career,  i)resenting  him-'elf 


the  contrary,  he  cultivated  his  friendship  —  a  cir- 
cumstance highly  advantageous  to  Haydn.  The 
latter  dined  with  the  ]>oet  every  day,  and  derived 
from  his  c:)nvcrsation  some  general  rules  relative 
to  the  fine  arts,  at  the  same  time  that  he  learned 
Italian. 

For  six  long  years  Haydn  endured  this  conflict 
against  penury,  which  has  been  the  usual  con- 
comitant, in  the  early  part  of  their  career,  of  most 
young  arti>ts  who  have  attained  to  celebrity.  If 
at  that  time  he  had  been  ]>atronized  by  some 
man  of  distinction,  and  sent  into  Italy  for  two 
years,  with  a  pension  of  a  hundred  louis,  nothing 
would  perhaps  have  been  wanting  to  the  pertec- 
tion  of  his  talent  ;  but  he  had  not.  like  Metasta.sio, 
his  Uravina.  .\.t  length  an  opportunity  presented 
itself  of  improving  his  circumstances,  and  he 
quitted  the  house  of  Martinez,  entering  into  the 
emplojTnent  of  Count  Mortzin  in  I'.iS.  'Hiis 
nobleman  gave  evening  musical  parties,  and  had 
a  private  orchestra  in  his  pay.  By  chance  the 
old  I'rince  Estertiazy,  a  passionate  amateur  ol 
music,  was  present  at  one  of  these  concerts, 
which  very  jiroperly  commenced  with  Ilaydn'i* 
symphony  in  .\,  \  time.  The  ilelinht  of  the 
prini'e  at  this  piece  was  unl>ounde<l :  and  he  ira- 
me  liately  begged  Count  Mortzin  to  allow  him  to 


in  the  lists  as  composer  of  six  trios.  The  singu-  \  reecive  Haydn  into  his  own  orchestra,  of  which 
larity  of  the  style,  and  the  novelty  of  this  de-  I  he  proposetl  making  him  sub-ilirertor.  Mortzin 
scriiition  of  music,  gave  these  pieces  an  immc<liatc  '  consented.  The  author  had  l>wn  prevente»l  tha« 
celebrity  ;  but  the  grave  tierman  musicians  day  by  indisposition  Irom  attending  the  concert  , 
warmly  attacked  the  dangerous  innovations  in  and  as  the  will  of  princes,  it  not  instnntlv  com- 
them,  and  especially  the  members  of  the  Mu.ical  plied  with,  is  liable  to  change,  or  to  lie  forgotten. 
Academy,  a  sort  of  club  of  amateurs  who  were  many  months  elapsed  belorc  Haydn,  who  of 
patronized  by  the  Emperor  Charles  VI.,  himself  |  course,  was  extremely  anxious  to  cuter  the  sn^ic« 

3S7 


HAY 


ENCYCLOPEDIA    OF   MUSIC. 


HATi 


of  the  first  noblemnn  iu  Europe,  heard  any  thing  i  on  p;ood  terms  with  hLs  wife,  of  composing,  gratia, 


more  on  the  subject. 

A  means  of  recalling  the  young  artist  to  the 
mind  of  the  prince  was  en;;crly  sought  bv  Fried- 
berg,  a  comjioser  attached  to  his  liigliness  ;  and 
he  conceived  the  idea  of  making  him  compose  a 
sjnnphony,  to  l)e  jjerforraed  at  Eisenstadt,  tlie 
residence  of  Prince  Antony,  on  liis  l)irthdny. 
Tlie  composition  was  coiui)lcted,  and  was  worthy 
of  its  author.  On  the  day  of  the  ceremony,  the 
prince,  surrounded  by  his  suite,  and  seated  on 
his  throne,  was  present,  as  usual,  at  the  concert. 
Haydn's  symphony  began  ;  but  scarcely  wa?  the 
iirs:  alUyro  half  over,  than  the  prince,  interrupt- 
ing the  performers,  asked  whose  was  that  fine 
composition.  "  Haydn's,"  replied  Friedberg  ; 
and  jinor  Haydn,  trembling  from  head  to  foot, 
was  made  to  advance.  The  prince,  on  seeing 
him,  exclaimed,  "  What,  is  that  the  music  of  this 
little  Moor?  "  (It  must  be  owned  Haydn's  com- 
plexion justified  the  appellation.)  "  VVell,  Moor, 
henceforth  I  retain  you  in  my  service.  What  is 
yo\ir  name  :  "  "  Joseph  Haydn."  "  Why,  I  re- 
member that  name  ;  I  liad  already  engaged  you  ; 
why  liave  1  not  seen  you  before  r  "  Haydn,  awed 
by  the  majesty  wliich  sun-oundcd  the  prince, 
made  no  answer.  "  Go,"  added  the  prince,  "  and 
dress  yourself  ns  my  chapel-master ;  I  command 
you  never  to  appear  again  in  ray  presence  as 
you  are  now.  You  are  too  little,  and  have  a 
pitiful  looking  face.  Get  a  new  coat,  a  curled 
wig,  a  collar,  and  red-heeled  shoes ;  but  above 
all,  tliey  must  be  high,  that  your  stature  may 
agree  with  your  mind.  You  understand;  go, 
and  every  thing  requisite  shall  be  given  you." 
Haydn  kissed  the  hand  of  the  prince,  and  went 
and  placed  himself  in  a  corner  of  the  orchestra, 
rather  unhap]>y  at  being  obliged  to  give  up  wear- 
ing his  own  hair,  and  to  disguise  his  youthful 
figure.  The  day  following,  he  appeared  at  the 
prince's  levee  in  the  grave  dress  which  had  been 
appointed  to  him.  He  was  nominated  second 
jirofessor  of  music,  but  always  retained  among 
Ixis  new  companions  the  name  of  t/ie  Mior. 

In  consecjuence  of  the  death  of  Prince  Antony, 
which  took  place  a  year  aJtcrwards,  the  title  de- 
scended to  Prince  Nicolas,  a  yet  more  enthusi- 
astic amateur,  if  possible,  of  music  than  tlie 
former.  Haydn  was  now  obliged  to  compose  a 
great  number  of  pieces  for  the  baryton,  a  very 
comjilex  instrument,  not  now  in  use.  It  was, 
liowever,  the  favorite  of  his  prince,  wlio  por- 
fonued  on  it  himself,  and  every  day  desired  to 
have  a  new  ]iiece  for  it  on  liis  desk.  Most  of 
Haydn's  compositions  lor  the  baryton  were  ac- 
cidentally l)urncd ;  those  that  remain  are  useless. 
Haydn  said,  tliat  the  oliligation  he  was  under  to 
comjiose  so  raiu'h  for  this  instrument  improved 
Lau  considerably. 

An  event  occurred  about  this  period  which  for 
some  time  disturbed  the  tranciuillity  of  Haydn's 
life.  As  soon  as  he  had  obtained  the  means  of 
subsistence,  he  did  not  forget  to  fulfil  his  promise 
to  his  old  Iriend  Keller,  of  marrying  his  dau<;hter 
Anne  ;  but  lie  soon  found  that  she  was  a  pr\ide, 
who  had,  in  addition  to  her  tiresome  jjarade  of 
\-irtue,  a  mania  for  priests  and  monks.  The  house 
of  our  poor  composer  was  thus  constantly  beset 
by  them,  and  he  was  himself  incessantly  annoyed 
»nd  interrupted  in  hLs  studies  by  their  clamorous 
conversation.  Added  to  all  this,  he  was  under 
the  necessity,  as  the  only  merns  of  living  at  all 


masses  and  motets  for  the  convents  of  these  good 
fathers ;  but  such  an  em])loyment,  imposed  on 
him  by  her  troublesome  importunities,  could  not 
but  be  extremely  disagreeable  to  a  man  whose 
productions  were  from  the  im])uLse  of  hLs  own 
mind,  and  jmor  Haydn  at  le:igth  sought  consola- 
tion in  the  society  of  a  beautiful  singer,  named 
Mademoiselle  Boselli,  in  the  service  of  the  prince. 
It  may  be  imagined  this  did  not  increase  his  do- 
mestic happiness,  and  at  length  he  sejiaratcd  free 
hLs  wife,  whom,  however,  he  always,  in  pecuniary 
concerns,  treated  with  perfect  honor. 

Attached  to  the  service  of  a  patron  immensely 
rich  and  passionately  fond  of  music,  Haydn  now 
enjoyed,  in  the  family  of  Prince  Esterhazy,  that 
happy  union  of  circumstances  where  every  thin° 
concurred  to  give  opportunity  for  the  display  of 
his  genius.  From  this  period  his  life  was  uni- 
form, and  devoted  to  study.  He  rose  early  iu 
the  morning,  dressed  with  extreme  neatness,  and 
seated  himself  at  a  little  table  by  the  side  of  his 
piano,  where  the  dinner  usually  still  found  him. 
In  the  evening  he  went  to  rehearsals,  or  to  the 
oi)era,  which  took  place  four  times  a  week  at  thp 
palace  of  the  prince.  Occasionally  he  devoted 
a  morning  to  hunting ;  but  in  general  his  spare 
time  was  spent  either  with  hLs  friends  or  with 
MademoLselle  Uosclli.  Such,  without  variation, 
was  the  tenor  of  his  life  for  above  thirty  years,  and 
may  account  for  the  amazing  number  of  his 
works,  consisting  of  three  classes,  instrumental, 
church  music,  and  operas.  In  symphony  he  was 
the  greatest  of  the  great,  before  Mozart  and  Beet- 
hoven ;  in  sacred  music  he  discovered  a  new 
path,  capable,  certainly,  of  criticism,  but  which 
ranks  him  among  the  first  masters.  In  the  third 
style,  namely,  theatrical  music,  he  was  estimable 
only,  chiefly  because  he  was  but  an  imitator. 

Haydn  produced,  in  the  space  of  fifty  years, 
five  hundred  and  twenty-seven  instrumental  com- 
positions, without  ever  copying  himself,  unless 
intentionally.  Leonardo  da  \"iiu'i  always  carried 
about  with  him  a  little  book,  in  whidi  he  sketched 
the  singular  faces  he  met  with.  In  the  same  way 
Haydn  also  carefully  noted  down  in  a  pocket 
book  the  ideas  and  passages  which  occurred  to 
him.  ^^"hen  he  was  in  a  happy  and  cheerful 
mood,  he  would  hasten  to  his  little  table,  and 
write  subjects  for  airs  aud  minuets ;  if  he  fou.  - 
himself  in  a  tender  or  melancni  .V  mood,  Le 
woidd  write  themes  for  andantes  and  ada^f- ; 
thus  afterwards,  wlu-n  composing,  if  he  wanted 
anv  jiarticular  sort  of  passage,  he  had  rec-j-se  to 
his  magazine.  Haydn,  however,  ncvtr  "undertook 
a  symphony  unless  he  felt  himself  quite  disposed 
for  it.  He  had  a  diamoiul  ring,  wliich  had  been 
given  him  by  Frederic  II.,  and  he  often  con- 
fessed, that  if  he  had  forgotten  to  put  this  ring 
on  be.ore  he  sat  down  to  his  piano,  lie  could  not 
summon  a  single  idea.  Tlie  paper  on  wliich  he 
composed  he  would  have  of  tiic  finest  and  best 
descriiition  ;  and  such  was  the  neatness  and  care 
with  which  he  wrote,  that  the  regularity  and  dis- 
tinctness of  his  characters  could  scarcely  be 
e<iuallcd  by  the  best  copyL<t ;  indeed,  hLs  notes 
had  such  small  licads  and  slender  tails,"  that  he 
himself,  not  without  justice,  called  tliem  hLs  fties' 
legs.  All  these  preparations  made,  Haydn  com- 
menced hLs  work,  by  noting  down  his  jirincipal 
idea  or  theme,  and  choosing  his  key.  He  had  a 
perfect  knowledge  of  the  greater  or  less  effect 


383 


HAY 


ENCYCLOPAEDIA    OF    MUSIC. 


HAY 


produced  by  the  succession  of  certain  chords  ; 
and  ho  sometimes  would  picture  to  himself  a 
little  liistory,  wliich  might  convey  mimical  senti- 
ments and  colors  to  liis  mind. 

It  hiU)  been  remurkeJ,  tliut  no  man  ever  under- 
stood the  various  cticcts  of  colors,  their  relations, 
and  the  contrasts  that  tliey  may  form,  so  will  as 
Titian.  So  Haydn  had  tlie  most  perleit  acquaint- 
ance with  all  the  instruments  of  wliidi  his  or- 
chestra was  composed.  No  sooner  did  liis  imagi- 
mition  furnish  hiiu  with  a  passage,  a  cliord,  or  a 
simi)le  idea,  than  immediately  he  saw  by  what 
instrument  it  ought  to  be  executed  to  produce 
the  most  agreeable  and  most  sonorous  etfcct. 
Il»  .  uc  any  doubts  on  tliis  subject  when  com- 
posing a  symphony,  tlie  situation  which  lie  occu- 
pied while  at  Eisenstadt  ati'ordcd  liim  the  easiest 
means  of  clearing  them.  lie  assembled  the  mu- 
sicians, and  had  a  rehearsal ;  he  made  them  exe- 
cute in  two  or  three  dirt'erent  ways  the  passage  he 
had  in  his  head,  selected  which  he  preferred,  then 
sent  away  the  musicians,  aud  continued  his  work. 
Wo  often  meet  with  singular  modulations  in 
IIaydn"s  conii)Ositions  ;  but  lie  felt  that  wluit  is 
extravagant  draws  the  attention  too  much  from 
tlie  beautiful.  He  never  attempted  any  extraor- 
dinary change  without  having  tirst  prepared  the 
car  by  degrees  for  it  by  the  preceding  chords ; 
and  ttius,  when  it  occurs,  it  docs  not  shock  the 
car  by  the  suddenness  o;'  the  transition.  He  said 
that  he  had  borrow  eil  the  idea  ot  many  of  his 
modulations  from  the  works  of  Bach,  and  that 
Bach  himself  brought  them  from  llome.  Haydn 
confCMsed  the  obligations  he  Wiw  under  to  Em- 
manuel Bach,  who,  previous  to  Mozart's  buth, 
was  esteemed  the  tirst  pianist  in  the  world  ;  but 
he  assures  us  tliat  he  owes  nothing  to  the  Milan- 
ese San  Martini,  whom  he  considered  lus  very 
confused.  Haydn,  in  listening  to  sounds,  had 
eaily  found,  to  use  liis  owu  expressions,  "  what 
was  good,  what  was  better,  what  wa.s  bad."  If 
the  question  was  put  to  him,  why  he  had  writ- 
ten such  and  such  a  chord,  or  why  he  had  as- 
signed such  a  j)assage  to  one  instrument,  he 
never  made  any  other  than  the  following  simple 
reply  :  "  I  ilid  it  because  it  went  best  so.  ' 

Haydn  had  some  particular  and  singular  rules 
for  composition,  which  he  never  would  divulge 
to  any  one.  It  is  well  known  that  the  ancient 
(jrcek  sculptors  had  ceitain  invariable  rules  of 
beauty,  called  caiioiis.  Tliese  rules  are  lost,  aud 
their  existence  is  buried  in  I'.rolound  obscurity. 
Haydn,  it  seems,  had  discovered  something  of  the 
same  nature  in  music.  The  composer  Weigl 
begged  him  one  day  to  instruct  him  in  these  rules, 
and  could  obtain  nothing  more  Irom  Haydn  than 
this  rejdy  :  "  Try  and  Knd  tlicm  out." 

He  had  another  very  original  habit  :  when  he 
did  not  intend  to  expri-i-s  by  music  any  particu- 
lar passion,  or  any  particular  images,  all  subjects 
were  alike  to  him.  "  The  whole  art  consists," 
said  he,  •'  in  the  manner  of  treating  and  pursu- 
ing a  theme."  Fre.iuently,  wlieu  a  friend  en- 
tered as  he  was  alwut  to  commence  a  piece,  he 
would  say,  siiiLing,  "  (iive  me  a  subject."  (iivc 
a  subject  to  Haydn  !  Who  would  have  presumed 
to  do  so  r  "  Come,  come,"  said  he,  "  give  me  anv 
subject  that  lirst  strikes  you,  let  it  lie  what  it 
may;"  wlien  'iie  person  jierhaps  felt  himself 
obliged  to  obey.  Many  of  his  finest  quartets  prove 
this  ;  as  they  commence  by  the  most  insignilicant 
idea,  but  by   degrees  this  same  idea  ossmue:)  a 


character  wliich  strengthens,  increases,  and  de- 
velops itself,  till  the  dwarf  rises  into  a  giant  be- 
fore our  astonished  senses. 

Hayiln,  when  asked  to  which  of  his  works  hf 
gave  the  preference,  replied,  "  The  Seven  Words." 
The  following  is  an  explanation  of  the  title.  A 
service  called  the  "  Enticrro  "  (Funeral  of  tlie  Ke- 
deemer)  was  celebrated  at  Madrid  about  the 
year  1770.  The  serious  and  religious  leeling  of 
the  Sjianiards  invested  this  ceremony  with  amaz- 
ing pomp  and  magnilicence.  The  seven  words 
uttereil  by  Jesus  on  the  cross  were  successively 
explained  by  the  bishop  from  the  jmlpit,  the  in- 
ti'nening  time  between  each  ex])osition  being 
hlled  up  by  music  worthy  of  the  sublimity  of  the 
subject.  Tliis  sacred  performance  was  circulated 
by  order  of  the  directors,  tliroughout  EurojK; ; 
and  a  considerable  reward  was  oH'eretl  to  any 
composer  who  would  write  se\en  grand  sjnnpho- 
nies,  expressive  of  the  sentiments  wlxich  the 
seven  words  of  the  Savior  were  calculated  to  in- 
spire. Haydn  alone  made  the  attemjit,  and  pro- 
duced those  symphonies  which  are  very  generally 
considered  to  be  the  rincst  of  his  compositions. 
Fully  to  enter  into  their  spirit,  however,  they 
must  be  heard  with  the  feelings  of  a  Christian. 
Michael  Haydn,  the  brother  of  our  composer, 
afterwards  added  words  and  an  air  to  this  sub- 
lime instrumental  music,  and,  without  altering  it 
in  any  respect,  rendered  it  an  accompaniment. 
Some  of  Haydn's  symphonies  were  composed  for 
holyda\s;  and  even  in  the  sorrow  which  they 
express,  the  characteristic  \-ivacity  of  Haydn  is 
discernible  ;  and  in  some  ]>arts  there  are  move- 
ments of  anger,  wliich  are  probalily  meant  to 
designate  the  feelings  of  the  Jews  and  Hebrews 
crucifying  their  Savior. 

With  rather  a  severe  cast  of  countenance,  and 
a  laconic  method  ot  expressing  himself  in  con- 
versation, which  are  usually  indications  of  an  ill- 
tempered  man,  Haydn  wius  gay,  humorous,  and 
agreeable.  This  vivacity,  however,  it  is  true,  was 
easily  repressed  by  the  pre-scnce  of  strangers,  or 
people  of  sujierior  rank.  His  genius  naturally  led 
him  to  em;doy  his  instruments  to  produce  laugh- 
ter ;and  olten.at  his  reliearsals,  hegave  little  pieces 
of  this  kind  to  his  brother  musicians.  But  we  ])os- 
sess  few  of  these  compositions.  Of  all  Haydn's 
comic  pieces,  the  only  one  extant  is  that  well- 
known  symphony,  in  which  all  his  instruments 
cease  successively,  one  after  the  other,  so  that,  at 
the  couclu-sion,  the  violin  Ls  left  to  perfonn  alone, 
'["here  are  three  anecdotes  connected  with  this 
piece,  which  being  all  attested  by  eye  witnesses, 
it  Ls  difficult  to  say  which  is  correct.  Some  sav 
that  Haydn,  perceiving  that  the  innovations  he 
had  made  in  music  were  offensive  to  the  prince's 
musicians,  determined  to  play  them  a  trick.  Ho 
had  his  sym|)hoiiy  perlonued,  without  a  previous 
rehearsal,  before  the  jirince,  who  had  been  made 
ac<iuaiiitcd  with  the  intention  of  the  thing.  Ttio 
contusion  of  the  performers,  who  all  thought 
they  had  made  some  mistake,  and  especially  tlint 
of  the  first  violin,  when  at  tiie  close  of  the  piece 
he  found  he  was  playing  alone,  afforded  much 
entertainment  to  the  court  of  Kiscnstadt.  It  is 
asserted  by  others,  that,  the  prince  intending  tc 
dismiss  all  his  band,  with  theexceptir.n  ntHnydn, 
this  ingenious  method  ot  describing  the  gcueinj 
departure,  and  the  melancholy  that  wouhl  foUt  w 
in  consctiucnce,  occurred  to  him:  as  soon  as  cash 
musician  had  tiuiahcd  his  part,  he  le<t  the  roo  u 


389 


HAT 


EXCYCLOP.-EDIA    OF    MUSIC. 


HAT 


The  third  may  bo  dispensed  witli.  At  another 
time  Haydn  contrived  the  following  singular 
method  to  amuse  the  prince  and  his  comjjany. 
ITiere  was  a  lair  held  in  a  small  town  of  Hun- 
gary, not  far  from  Kiscnstadt:  thither  Haydn  went, 
•lid  bought  a  basket  full  of  children's  whLstles, 
little  fiddles,  cuckoos,  wooden  trumpets,  and 
other  such  instruments.  He  then  took  the  trou- 
ble of  studying  their  compass  and  cluiracter,  and 
composed  a  inn>t  amusing  symphony  with  these 
instruments  alone,  of  which  some  even  performed 
Bolos  :  the  cuckoo  is  the  buss  of  this  piece. 
Haydn,  being  in  I'^nglaiid  many  years  after  this, 
ibserved  that  the  KngUsh,  who  liked  his  compo- 
sitions much  wlien  the  movement  was  allti/ro, 
genera,  ly  went  to  sleej)  when  it  was  andnittc  or 
adaiji'),  whatever  their  beauties  might  be.  He,  in 
f-onsequonce,  wrote  an  aiuUmle,  full  of  sweetness 
»nd  ttowinir  melody,  the  sound  of  all  the  instru- 
ments in  whicli  gradually  diiuinislies ;  when,  from 
the  moment  they  all  arrive  at  piaiiiisimo,  they 
strike  up  again  together,  and,  aided  by  the  beat- 
ing of  the  kettle  drum,  make  the  drowsy  audi- 
ence instantly  attend. 

Haydn  worked  incessantly,  but  with  difficul- 
ty ;  which  in  him  could  not  possibly  arise  from 
any  deficiency  of  ideas  :  but  his  tiiste  was  not 
easily  satisfied.  A  symphony  cost  him  a  month's 
labor,  a  mass  almost  double  that  time.  His  rough 
coi)ies  are  filled  with  different  passages,  and  for 
one  symphony,  sufficient  ideas  are  noted  down 
for  three  or  four.  Haydii  himself  has  said  that 
hLs  greatest  happiness  was  study.  Solitary  and 
sedate  as  Newton,  and  wearing  the  ring  given 
liim  by  the  great  Frederic,  Haydn  would  scat 
himself  at  his  piano,  when,  in  a  few  moments, 
his  imagination  soared  among  the  angelic  chou's. 
Nothing  disturbed  him  at  ELsenstadt ;  he  lived 
solely  for  his  art,  exempt  from  any  earthly  cares, 
and  this  uniform  and  peaceable  lil'e,  devoted  to 
the  occujiation  most  pleasing  to  himself,  con- 
tinued till  the  death  of  the  I'riuce  Nicolas,  his 
patron,  in  1789. 

At  one  time  he  was  requested  by  the  principal 
managers  of  the  theatres  of  Naples,  Mihm,  Lis- 
bon, Venice,  London,  &c  ,  to  compose  operas  for 
them,  liut  the  love  of  peaceful  retiiement,  his 
attachment  to  his  prince,  and  to  his  own  method- 
ical habits,retainedhim  in  Hungary,  and  were  even 
more  jjowcrful  than  his  wisli  to  pass  the  moun- 
tnins.  It  is  probable,  had  not  Mademoiselle  15o- 
selli  died,  l.e  would  never  have  (juitted  Ei>cn- 
Btadt ;  but  he  then  began  to  feel  a  void  in  hLs  life. 
He  had  sent  a  refusal  to  tlic  directors  of  the  am- 
Ki-l  spirituel  at  I'aris ;  but  since  his  favorite  no 
->uger  existed,  he  accepted  the  projwsals  of  Salo- 
mon, who  was  then  giving  concerts  in  London, 
end  who  thought  that  a  man  of  such  genius  as 
Haydn  being  on  the  spot,  and  comi)o:.ing  ex- 
pressly lor  his  coniert:-,  would  certainly  make 
tliem  "  fashionable.  He  gave  twenty  concerts  a 
year,  and  offered  Haydn  one  liundred  sequins 
(fiftv  pounds)  lor  each  one;  and  accordingly  he 
»e:  out  lor  London  in  1790,  wlieu  in  the  filty- 
ninth  yesu  of  his  age.  He  remained  there  rather 
more  than  a  year,  and  the  music  he  composed  lor 
lliese  concerts  met  with  universal  aj)i)robation. 
His  amiable  manners,  in  aihlition  to  his  jjenius, 
rendered  his  succes-s  liighly  Haltering  to  his  leel- 
iiigs. 

In  1794  Haydu  again  visited  Loudon,  when  he 
was  eugaged  bv  (ialliiu,  maiu\g«r  of  the  King's 


Theatre,  Haymarkct,  to  compose  an  opera,  which 
should  be  got  up  in  the  most  splendid  mannec 
The  subject  was  the  descent  of  Orjjheus  into  hell, 
Haydn  began  the  work ;  but  some  difficulties 
having  arLsen  as  to  the  ojjening  of  the  theatre, 
the  composer,  who  secretly  regretted  his  peaceful 
home,  could  not  wait  till  the  j)ermLssion  to  do  so 
was  obtained,  and  quitted  London  with  eleven 
pieces  of  his  "  Orphcics,"  which,  it  is  said,  are  the 
best  of  his  theatrical  compositions :  he  then  re- 
turned to  Austria,  and  never  afterwards  left  it. 

George  IIL,  who  was  fond  of  no  mu;-ic  but 
Handel's,  stiU  highly  appreciated  that  of  Haydn, 
and  the  Gennan  professor  met  with  the  most 
flattering  rcceiition  from  him  and  the  queen. 
Haydn  had  further  the  honoriU'y  degree  of  tloctor 
of  music  conferred  on  him  by  the  University  of 
Oxford  —  an  honor  which  Handel  himself  had 
never  obtained,  and  which  had  been  bestowed  on 
only  four  persons  since  the  year  HOO.  Being 
expected,  accordi:ig  to  custom,  on  this  occasion 
to  give  a  s\iecimen  of  musical  science  to  the 
university,  Haydn  sent  a  composition,  which, 
whether  read  from  top  to  bottom,  bottom  to  top, 
or  from  the  middle  of  the  page,  or  on  either  sidp 
of  it,  fonued  an  air,  and  a  correct  accompaniment. 
The  following  is  a  copy  of  this  singular  ])iece  of 
music,  which,  to  be  read  double,  the  paper  on 
which  it  is  written  must  be  held  against  tlie 
light. 

Ca.nox  Caxckiza.ns  a  3  Voce.     H.vydn. 


:S±: 


!*-« 


Thy  Voice,  0  liar  -  mo-ny,     is    Di  -  vine. 
•i>niA  -  ig    SI     '.fa  -  oin  -  jsjj  o  '^^lo.V  ^1i 


■ 


S>Z^ 


:rjs: 


Tliy  Voice,  0  liar  -  mo  -  ny,     is    Di  -  Tine. 
•auiA  -  Id    S]    '.<a  -  om-jEii  q  's^ioa  Xqx 


Haydn  left  London,  delighted  with  Handel's 
music,  and  in  passing  through  Germany,  on  his 
return,  gave  several  concerts,  wldch  mcreased 
his  little  fortune  rather  more  than  usual.  H« 
received  little  in  money  from  the  family  oi  Prince 
Esterhazy ;  but  the  respect  he  ever  mot  w  ith 
from  tlie  members  of  that  noble  house  was  infi- 
nitely more  grateful  to  a  man  of  Haydn's  dispo- 
sition than  any  pecuniary  advantages  would 
have  been.  He  was  admitted  at  all  times  to  the 
prince's  table,  and  wjis  always  presented  by  Iris 
highness  with  a  court  dress,  «  hen  he  gave  a  uni- 
form to  his  orchesUa.  Haydn  brought  no  more 
with  him  from  London  tlian  fifteen  thousand 
llorins,  (one  thousand  four  hundred  pounds;)  but 
some  years  subseiiuently  he  obtained  the  addi- 
tional'sum  of  one  thousand  pounds  from  the  sale 
of  the  scores  of  the  "  Creation  "  and  the  "  Four 
Seasons,"  with  which  he  bought  a  small  house 
and  garden  in  tlie  faubourg  of  Gumpendorff, 
near  Schonbrunn.  Here  he  received  a  very 
flattering  letter  from  the  French  Institute,  nomi- 
nating him  one  of  their  members.  As  "Haydn 
jicrused  this  letter  he  melted  into  tears,  and 
never  afterwards  alluded  to  it  without  e.\iu-essing  a 
fceUng  of  gratitude ;  in  fact,  the  letter  was  ex- 
pressed in  that  dignified  and  elegant  style  of 
compliment    peculiar    to    ;)ie     Frtnch    natioa. 


390 


ttAY 


EX  CYCLOP. ED  I A    OF    MUSIC. 


HA^ 


Hnyiln,  who  hail  curly  discovered  tlie  barremiess 
of  ancient  siicred  muhic,  the  prolaiie  luxurious- 
uesj  of  the  mo'lern  Italian  masses,  and  the  mo- 
notonous and  insipid  style  of  the  (ierraan  hymns, 
felt  that,  to  comjiose  sacred  music  as  it  really 
nhoidd  be,  he  must  work  on  a  system  altogether 
(lirt'erent :  he  borrowed,  therefore,  lew  ideas  from 
dramatic  musii',  but  preserved,  by  the  solidity 
of  the  harmony,  some  resemblance  to  the  tine  and 
solemn  airs  of  the  ancient  school,  sustaining,  by 
the  richness  of  his  orchestra,  melodies,  solemn, 
tender,  and  at  the  same  time  digniticd  and 
brilliant ;  he  even  permitted,  in  his  sacred  airs, 
occasional  graces  <\nd  ornaments  which  happily 
relieve,  from  time  to  time,  the  general  loftiness 
ai  d  magniliccnce  of  his  sac^red  style. 

His  only  percursor  in  this  stylo  of  sacred  music 
wae  San  Martini.  Long  before  the  composition 
c  f  tlic  "  Creation,"  Haydn  had  com])osed,  in  1774, 
one  of  his  tirst  oratorios,  entitled  "  Tabic,"  a  work 
of  moderate  merit,  in  which  but  two  or  three 
movements  announce  the  great  master.  We  have 
before  saiil  that,  when  in  Kngland,  he  was  much 
struck  with  the  mu-'ic  of  IIai\dcl;  and  it  was 
from  this  musician  that  he  learned  the  art  of  the 
sublime.  One  day  he  was  present  at  the  perform- 
ance of  Handel's  "  Messiah,"  and  on  hearing  one 
of  the  most  sublime  choruses  in  this  piece  mucli 
admired,  remarked,  in.  the  most  pensive  tone, 
•'  He  is  indeed  the  father  of  us  all." 

It  was  in  17'.'o  that  Uayibi,  then  sixty-three 
years  of  age,  undertook  his  great  work  ol  the 
"  Creation ;"  he  labored  at  it  two  whole  years 
When  any  one  hastened  him  in  the  work,  he 
replied  with  tranquillity,  "  I  am  long  about  it,  for 
I  wish  it  to  last  long." 

At  the  commencement  of  the  year  179S,  the 
oratorio  was  linished,  and  the  following  Kastcr 
was  perfonned,  for  the  first  time,  in  the  room  of 
the  Schwartzenburg  palace,  at  the  expense  of  the 
DUettanti  Society,  who  had  purchased  it  of  the 
author.  ITie  enthusiasm,  delight,  and  applause 
expressed  at  this  first  performance,  can  scarcely 
be  depicted  ;  every  thing  united  to  render  it  more 
imposing.  Ilie  choicest  society  of  men  of  letters 
and  amateurs  of  music  tilled  the  saloon,  wliich 
was  in  every  way  perfectly  adapted  for  music  ; 
Haydn  himself  led  the  orchestra,  llie  most 
profound  silence,  and  an  almost  universal  feeling 
of  devotion  and  respect,  reigned  throughout  the 
assembly  as  the  first  chords  ri-sounded  from  the 
instrumciils.  Kxpcctauon  was  not  deceived.  A 
rapid  succession  of  hith.erto  unknown  beauties 
unfolded  tliemsclvcs  to  the  ear,  overcame  cverv 
hearer,  and  all  agreed  they  had  felt,  for  two 
successive  hours,  a  delight  scarcely  possible  to 
analyze,  i)roduced  by  excited  desires,  ever  renewed 
B  ad  ever  satistie;!. 

The  "  Creation  "  met  with  rapid  success  :  nt 
that  time  every  Genuan  paper  wa-s  tilled  with 
eulogiums  on  this  great  elfort  of  genius,  and  the 
astonishing  etfcot  it  had  i)roduced  in  Vienna,  and 
the  score  which  appeared  a  few  weeks  subsi-quent- 
ly  satisfied  all  amateurs  of  music  as  to  the 
correctness  of  this  statement.  The  wonderful 
sale  of  this  score  augmented  by  some  hundred 
louLs  the  limited  income  of  the  author.  The 
librarian  had  set  both  ticmian  and  English  words 
to  the  oratorio ;  which  were  alterwards  translated 
into  the  Swedish,  French,  Spanish,  liohemian, 
ind  Italian  languages.  The  French  version  Ls 
oompoubly  Hat,  as  may  bo  judgeil  by  its  coming 

39 


from  the  Conservatory  of  the  Hue  Bergere  ;  but 
still  the  translator  was  totally  innocent  of  the 
slight  effect  the  "  Creation  "  produced  the  first 
time  it  was  executed  at  Paris ;  the  fact  is,  nil 
minds  were  engaged  on  another  subject,  for,  a  few 
minutes  before  it  began  at  the  ojiera,  the  infernal 
machine  ol  the  .'id  Nivose  burst  in  the  Hue 
Saint  Nacaise.  Two  years  after  his  comjiositiou 
of  the  "Creation,"  Haydn,  animated  by  success 
and  encouraged  by  his  friend  Van  Swieten, 
composed  a  new  oratorio,  entitled  "The  Four 
Seasons."  The  dcscrijitive  barou  had  drawn  the 
text  for  this  work  li-om  Thomson.  The  music 
contains  less  sentiment  than  the  •'  Creation,"  but 
the  subjeit  admitted  of  sallies  of  gayety,  joy  at 
the  harvest,  and  ))rofane  love:  "The  Four 
Seasons"  would  l)e  the  finest  production,  in  that 
style,  in  the  world,  if  tlie  "  Creation  "  did  not 
exist.  The  music  Ls  more  scientific  and  les.« 
sublime  than  that  of  the  "  Creation ; "  but  it 
nevertheless  surpasses  its  elder  sister  in  one  ])oint, 
namely,  its  ([uartets.  Tlie  best  criti'ine  on  this 
work  is  that  of  Haydn  him-elf,  when  he  was  told 
of  the  rtattering  approbation  it  had  met  with  in 
the  i)alace  of  Schwarlzenburg.  "  I  feel  much 
delight  at  the  manner  in  which  my  miLsic  has 
been  received,"  said  he,  "  but  I  should  not  wish 
to  hear  any  com])liments  on  the  occitsion.  I  am 
persuaded  all  must  feel,  as  I  teel  myself,  that  it  is 
not  a  '  Creation,'  for  the  following  reason  :  In 
the  "  Creation,"  the  characters  are  angels,  in  this 
they  are  peasants."  It  was  an  admirable  distinc- 
tion. 

Haydn's  musical  career  finished  with  "  The 
Four  Seasons."  Old  age,  and  the  labor  which 
this  work  had  cost  him,  exhausted  his  strength. 
"  I  have  done,"  he  said,  some  time  alter  he  had 
comi)lete<l  this  oratorio;  "my  head  is  no  longer 
what  it  has  been.  Formerly,  ideas  came  to  mo 
unsought ;  now  I  am  obliged  to  seek  them,  and  I 
am  not  e-iual  to  this." 

He  composed,  however,  a  few  more  quartets, 
but  he  never  could  finish  that  numbered  eighty- 
four,  although  he  worked  at  it,  alino>t  unintcr- 
rui)tedly,  tliree  years.  Latterly,  he  amused  him- 
self" with  putting  accom])animents  to  some  of  the 
ancient  Scotch  melodies,  for  which  a  Ixtndon  mu- 
sic seller  gave  him  two  guineas  ])cr  song  :  he  ar 
ranged  nearly  three  hundred  in  this  wajf ;  but,  in 
1805,  he  discontinued  this  employment  likewise 
by  order  of  his  physician. 

F'rom  this  time  he  never  left  his  villa  at  Gum- 
pendortf.  When  he  wished  to  remind  his  frieiida 
that  he  was  still  living,  he  sent  them  a  visiting 
card,  with  some  of  his  own  composition  ou  it 
'ITio  words  on  the  cants  were,  — 

"  Ilin  Irt  allr  mfinc  kr»n.     All  und  •rhmeh  bin  IcIl" 
(.My  •imigtli  falls  inc.    I  un  olil  au.l  fnbk.) 

The  music  to  these  words  stops  in  the  middle 
of  the  period,  and  without  arriving  at  the  cu- 
dence,  well  expresses  the  languid  state  of  the  au- 
thor's health. 

MOLTO  ADAGIO. 


»  111-    1_-   -tl- .      ^       .1.  .       .  ..... 


Uln  bt  *lle  HKiiic    kraft.    All  unU  tchwich  bin  klk 

About  this  time  it  wa.«  detorminel  that  th« 
«'  Creation  "  should  Im?  perforrae<l,  w  ith  the  Ital- 
ian words  of  Caq)ini;  and  a  hundretl  and  sixty 
musicians  met,  for  tlm  pur,K>sc,  at  the  jMilace  of 
1 


HAY 


EXCYCLOP--EDIA    OF    MUSIC. 


HAY 


Prince  I.obkowitz.  Tliey  wore  greatly  assisted 
by  the  ))cau;i.nl  voices  o(  Mndaiuc  Frischer,  cf 
Berlin,  Miv;:  r^.  Wi'ituiOller,  and  Kadichi.  More 
than  tiftoi'n  lumdred  i)co])lc  were  present.  The 
poor  old  man  insLucd,  notwilhstandin;;  his  weak- 
ness, upon  once  more  seoin'^  that  public  assem- 
bled for  whom  he  had  labored  so  much.  He  was 
conveyed  in  hi:*  arm  chair  into  the  m.if^niticent 
saloon,  where  every  licart  was  art'ected.  The 
Princess  Estcrhazy,  and  Madame  de  Kurtzbcck, 
the  friend  of  Haydn,  met  him.  The  flourishes 
of  the  orchestra,  and  still  more  the  agitation  of 
the  ^pectators,  announced  his  arrival.  He  was 
jlaced  ill  the  middle  of  three  rows  of  seats,  oc- 
cupied by  his  Iricnds  and  the  principal  persons  at 
Vienna.  Be;oic  the  mu^ic  began,  Salicri,  the 
direcior  of  the  orchestra,  came  to  receive  Haydn's 
orders.  They  embraced  ;  Salicri  then  hastened 
to  his  place,  and  amidst  the  general  emotion  of 
the  assembly,  the  orchestra  commenced.  'llie 
effect  produced  by  this  sacred  music,  added  to 
the  sight  of  its  great  comjioser  on  the  point  of 
quitting  this  world,  may  be  conceived.  .Sur- 
rounded by  the  nobility  of  Vienna  and  by  Ills 
friends,  by  artists,  and  by  lovely  women,  whose 
eyes  were  all  fixed  on  him,  listening  to  the 
praises  of  God,  which  he  himself  had  imagined, 
Haydn  bade  a  glorious  adieu  to  the  world  and  to 
lue. 

So  much  glory  and  love  frequently  caused  him 
to  weep,  and  lie  found  himself  much  exhausted 
at  the  conclusion  of  the  first  act.  His  chair  was 
then  brought  in,  and  as  he  was  about  to  leave  the 
concert  room,  ordering  those  who  carried  him  to 
Btop,  he  first  bowed  to  the  public,  and  then  turn- 
ing to  the  orchestra,  with  real  German  feeling,  he 
raised  his  hands  to  heaven,  and  with  tears  in  his 
eves,  blessed  tlie  former  companions  of  his  labors. 

IJeforc  Haydn  had  entered  his  se vent}-- eighth 
year,  he  had  become  extremely  infirm.  It  was 
the  last  of  his  life.  The  moment  he  went  to  the 
piano-forte,  the  vertigo  returned,  and  his  hands 
quitted  the  keys  to  have  recourse  to  his  rosary, 
which  was  his  last  consolation.  War  broke  out 
between  France  and  Austria ;  this  intelligence 
troubled  Haydn,  and  exhausted  the  remains  of 
his  strength.  He  every  moment  inquired  what 
news  there  was,  went  to  his  ])iano,  and  with  a 
feeble  voice  sang,  "  God  save  the  Em])cror." 

The  French  armies  advanced  rapidly,  and  on 
the  night  of  the  10th  of  May,  having  reached 
Schonbrunn,  aliout  half  a  leagu«  distant  from 
Haydn's  little  villa,  they  tired,  the  next  morning, 
fifteen  hundred  cannon  shot,  only  a  hundred 
vards  from  his  house,  upon  Vienna,  that  town  so 
much  beloved  liy  him.  He  pictured  it  to  himself 
destroyed  by  fire  and  sword.  Four  bombs  then 
fell  close  to  his  house,  when  liis  two  servants, 
witl  terror  depicted  in  their  countenances,  ran  to 
him  ,  the  old  man,  by  an  effort,  rose  from  his 
ann  chair,  and  with  a  dignified  air,  cried,  "  Why 
such  alarm  :  Know  that  where  Haydn  is,  no  evil 
can  hai)pen."  Hut  this  exertion  was  beyond  his 
strength  ;  a  convulsive  shirering  prevented  him 
from  adding  more,  and  he  was  immediately  con- 
veyed to  his  l)ed.  On  the  ^(ith  of  May,  he  was 
tliiiobt  comiilelely  exhausted  ;  notwithstanding, 
ho  had  his  ])iano  moved  towards  him,  and  sang 
three  times,  with  a-s  loud  a  voice  as  he  could, 
"  God  save  the  Emi)eror."  They  were  his  last 
words.  At  his  piano  he  became  insensible,  and 
e.\pired  ou  the  morning  of  tlie  31st,  at  the  age  of 

39 


peventy- eight  years  and  two  months.  Madame 
Kurtzbeck  had  sent  to  him,  during  the  occupa- 
tion of  Vienna,  to  beg  that  he  would  suffer  him- 
self to  be  removed  into  tlie  city  ;  but  he  could 
not  be  persuaded  to  quit  liis  beloved  retreat.  Mo- 
zart's "  Rcqulfm"  was  performed  a  few  weeks 
afterwards,  in  honor  of  him.  at  the  Scotch  church, 
llie  same  homage  was  rendered  ■'.o  liLs  memory  at 
Ilreslau,  and  at  the  Conservatory  at  Pari*,  and  a 
hymn  of  Cherubini's  comiiosition  was  sung.  The 
music  is  worthy  of  the  great  m.in  it  celebrated. 

Haydn  wa.s  very  religious  ;  it  may  even  be  said 
that  through  his  firm  faith  in  the  truths  of  re- 
ligion. Ills  talent  was  increased.  The  commence- 
ment of  aU  his  scores  is  inscribed  with  some  of 
the  following  mottoes  .-  "  In  Xomiiie  Domini,"  or 
"  Soli  Deo  Gloria  ;  "  and  at  the  end  of  them  all, 
"  Laiis  Deo."  If,  when  he  was  composing,  he 
felt  liis  imagination  cool,  or  that  some  insur- 
mountable difficulty  prevented  his  proceeding,  he 
rose  from  his  ])iauo,  took  liLs  rosary,  and  began  to 
repeat  it.  He  said  this  method  never  failed. 
"  When  I  was  working  at  the  '  Creation,'  "  said 
he,  "  I  felt  myself  so  jienetrated  %rith  religion, 
that  before  I  sat  down  to  my  piano,  I  prayed  con-, 
fidently  to  God  to  give  me  the  talent  requisite  to 
praise  liim  worthily."  Haydn's  heir  was  a  far- 
rier, to  whom  he  left  thirty-eight  thousand  florins 
in  cash,  deducting  twelve  thousand  florins  which 
were  bequeathed  by  him  to  his  two  faithful 
servants.  His  manuscripts,  sold  by  auction, 
were  bought  by  the  Prince  Esterhazy. 

HAYDN,  mCHAEL,  brother  of  Joseph 
Haydn,  was  formerly  director  of  music  at  Salz- 
burg. In  1801,  at  his  brother's  solicitation,  he 
was  appointed  to  an  advantageous  situation  in 
the  chapel  of  Prince  Esterhazy.  where  he  met 
with  that  regard  which  his  great  abilities  deserved. 
Many  of  hLs  compositions  are  lor  the  church,  and 
said  to  be  of  the  most  excellent  kind.  A  few 
specimens  are  imerted  in  Latrobe's  admirable 
selection  of  sacred  music  :  these  consist  of  verses 
taken  from  a  mass,  written  for  the  use  of  country 
churches,  and  they  ser\-e  to  show  how  wide  a 
difference  there  is  between  the  taste  and  ability 
of  English  and  Gennan  parish  singers.  Accord- 
ing to  the  testimony  of  his  brother,  Michael 
Haydn  was  in  no  way  inferior  to  him.self  as  a 
musical  genius,  thougli  he  has  not  been  e-^ually 
distinguished  and  successful. 

HAYDON.  An  English  composer  of  vocal 
music,  in  the  early  part  of  the  last  century.  The 
most  remembered  of  his  works  Ls  the  duet  "  -■Vs  I 
saw  fair  Clora." 

HAYDOX,  THOM.\S,  son  of  a  respectable 
attorney,  formerly  of  some  eminence  in  the  city 
of  London,  was  bom  in  17s7.  He  began  the 
practice  of  the  piano-forte  about  the  age  of  seven 
vears,  under  the  tuition  of  Edward  Frith,  a 
London  organist ;  but  as  it  was  intended  he  should 
follow  hLs  father's  profession,  music  received,  at 
that  time,  but  a  moderate  share  of  hLs  attention ; 
and  the  practice  of  it  was,  from  accidental  cir- 
cumstances, discontinued  when  he  was  about 
twelve  years  old,  and  until  he  was  sixteen  or 
seventeen ;  at  which  time  he  spontaneously  and 
vigorously  renewed  his  studies  with  Frith,  for 
whom  he  occasionally  olHciated  as  organist. 
Finding  a  growing  dislike  to  the  quirks  and 
quiddities  of  the  law,  he  at  length  began  to  thialt 


HAY 


ENCYCLOP^DIA    OF    MUSIC, 


HAT 


seriouslj-  of  music  as  a  profession,  and  to  that 
end  continued  liis  studies  with  Charles  Neate, 
from  whom  he  received  much  valuable  instruction 
in  the  art  of  piano-forte  playing.  In  1810-lSll 
he  performed  several  times  in  public,  and  became 
Boon  after  a  member  of  the  Uoyal  Society  of 
Musicians.  Feelinf;  the  imperfections  of  the 
piano-forte,  and  observing  that  those  professors 
most  eminent  for  time  and  manner  were  often 
performers  on  some  concert  instrument,  Iliiydon, 
at  an  early  ])artof  his  ])rofessional  career,  attended 
»lso  to  tlie  practice  of  the  violin  and  tenor,  in 
'Jie  hope  of  appreciating  and  enjoying  the  inesti- 
;nable  quartets  of  Jlnydn,  Mozart,  lieethoven, 
&c.  ;  and  the  establishment  of  the  Philharmonic 
Society  furnished  liim,  as  well  as  others,  with  an 
opportunity  of  studying  the  etfects  which  so 
powerful  an  orchestra  was  capable  of  i)roducing, 
and  of  witnessing  the  manual  skill  and  excellent 
talent  of  his  own  countrymen,  when  put  in  com- 
petition with  some  of  the  most  eminent  professors 
of  the  continent.  Ilaydon,  for  a  short  time, 
devoted  his  attention  to  vocal  music,  and  had  the 
advantage  of  some  excellent  instruction  from 
lliomas  Welch,  whose  knowledge  of  dramatic 
ctlect,  and  of  the  connection  between  sound  and 
sense,  tended  much  to  exalt  hLs  ideas  of  the 
powers  of  his  art.  To  Dr.  Crotch  he  was  also 
indebted,  in  a  great  degree,  for  his  knowledge  of 
musical  science. 

On  the  establishment  of  the  Uoyal  Academy  of 
Music,  Ilaydon  was  chosen  one  of  the  professors 
of  that  institution,  'llie  compositions  publi.shed 
by  him  arc  bagatelles,  which  appear  to  have  been 
written  more  for  the  amusement  of  a  leisure  hour 
tlian  with  the  design  of  distinguishing  the 
author  as  a  composer. 

HAYES,  C.VTIIAUIXR,  a  native  of  Limerick, 
Ireland.  \\'hcn  she  was  yet  a  mere  child,  it  was 
the  good  fortune  of  "  Katie  Hayes  "  to  attract 
the  notice  of  the  late  Right  Uev.  Edmund  Knox, 
then  the  Bishop  of  Limerick,  by  the  singular 
precocity  of  her  vocal  powers.  As  he  was  boating 
on  the  Shannon  with  some  others  of  his  family, 
he  passed  the  town  mansion  of  the  Earl  of 
Limerick,  and  was  attracted  by  tUc  melody  of  a 
sweet  but  childish  voire,  singing  in  the  garden. 
He  listened,  and  was  fascinated  by  the  girl,  and 
determined  on  discovering  her.  Accordingly, 
alter  a  few  days,  he  found  that  she  wns  the  rela- 
tive of  an  aged  lady  who  resided  in  the  mansion, 
and  was  generally  to  be  found  there  when  the 
earl  was  not  iu  town.  "Katie  Hayes"  w.is 
shortly  alter  invited  to  the  episcopal  dwelling, 
where  the  kindest  encoviragement  overcame  her 
timidity,  and  she  soon  became  the  star  of  a  series 
of  musical  reunions  that  were  given  jjrincipally 
for  her  improvement,  by  her  kind  patron.  Soon 
after  this,  Bishop  Knox,  who  had  fonned  an  even 
higher  opinion  of  the  cai)abilities  of  "  Katie," 
detennined,  so  far  as  might  be  in  his  power,  to 
secure  her  instruction  in  her  art,  and  by  the 
subscription  of  several  of  his  friends,  a  sum  of 
money  was  collected  lor  the  purjiosc  of  placing 
her  under  the  instruction  of  Signor  Snpio,  then 
•  resident  in  Dublin.  Here  she  arrived  at  the 
commciu'i^nunt  of  the  spring  in  IStl,  and  imme- 
diately ronnncnced  a  course  of  banl  and  unremit- 
ting study,  iu  which  her  improvement  was  so 
unmistakable,  that  her  first  appearance  in  public 
was    made   at    Signor   Sapio's   annual   concert. 


exactly  one  month  after  her  arrival  in  the  Irish 
metrojiolis.  Her  timidity  was  still  very  great ;  yet 
her  progress  had  been  so  rapid  under  the  instruc- 
tion of  Signor  Sapio,  that  her  friends  were 
astounded  by  it,  and  she  at  once  became  one  ol 
the  most  po])ular  singers  at  this  period  to  bo 
found  in  Ireland.  She  remained  with  this 
instructor  until  ISi:?,  a  year  which  is  signalized 
in  her  memory  by  her  tirst  ha>'ing  listened  to  an 
opera,  and  luiving  heard  Madame  (Jrisi,  with  the 
Signori  Mario  and  Lablache,  who  then  appeared 
in  Dublin.  From  this  moment  her  <lestiny  wa:* 
cast,  and  she  determined  on  becoming  on  oper- 
atic singer.  After,  at  length,  overcoming  the 
oi>position  of  her  friends,  she  was  in  the  follow, 
ing  year  enabled  to  rejiair  to  Paris,  where  she 
placed  herself  under  the  tuition  of  Manuel 
Garcia  —  in  every  respect  tlie  greatest  teacher  of 
singing  at  present  living,  as  may  be  readily  divined, 
when  it  is  remembered  that  he  Ls  the  bnither 
of  M.ilibran  and  Viardot  Garcia,  and  in  adtlition 
to  this,  has  been  the  channel  tlirough  wliich 
Mario,  Jenny  Lind,  Mademoiselle  Nissen,  and 
many  others  of  the  leading  vocahsts  of  the  day 
havo  acciuired  the  instruction  necessary  to  attain 
theii-  present  position.  Somewhat  more  than 
eighteen  months  did  Miss  Hayes  remain  with 
Garcia,  who  was,  to  use  her  own  words,  "  the 
kindest  and  most  generous  of  ma-stcrs."  Ho 
then  decliu-ed  that  it  would  be  impossible,  by 
mere  study,  to  add  a  grace  to  the  fully  develoiieil 
and  beautiful  voice  she  then  possessed,  so  exten- 
sive wa-s  it  in  its  compass,  and  so  perfect  was  it 
both  in  its  upper  and  lower  register.  She  there- 
fore made  uj)  her  mind  to  proceed  to  Italy,  and 
appear  on  the  stage,  under  the  auspices  of  the 
Signor  Felice  lionconi.  Accordingly,  about  a 
month  after,  she  made  her  tirst  appearance  on  the 
stage  at  La  .Scala,  in  the  "Linda  Hi  Chamounit."  So 
unspeakably  triumphant,  indeed  we  may  sav,  so 
absolute  was  her  success,  that  at  the  conclusion 
of  the  opera,  she  was  summoned  before  the 
curtain  no  less  than  twelve  times.  She  next 
visited  Vienna ;  and  hero  her  triumph  was  so 
flattering,  that  in  a  letter  home  she  mentioned 
her  fears  that  she  should  be  (luito  "  spoiled  "  by 
it.  On  the  lirst  night  of  the  Carnival,  she 
appeared  in  Venice  in  a  new  opera.  Her 
performance  of  the  principal  character  rcali/.etl  it« 
success,  in  s|)ito  of  the  poverty  of  the  music. 
She  then  once  more  repaireil  to  Vienna,  and 
subseiiucntly  visited  Naples,  Florence,  and  (tcnoa. 
Evcrywliere  her  course  wa.s  attended  by  the 
same  triumphs.  She  afterwards  rctunusl  to 
England,  to  daz/lc  and  enchant  the  lover.--  of 
music  in  her  own  land.  Hero  she  made  her  rtrst 
appearance  at  the  Uoyal  Italian  Opera,  in  Covent 
GiU'den,  and  her  success  wils  at  the  same  time 
unecjuivocal  and  most  decided.  The  crowd 
arovmd  the  doors  of  the  theatre  was  almost 
numberless,  and  when  they  were  opcne<l,  tbe 
lovers  of  melody  thronged  into  the  building  iu  a 
manner  sutHciently  regardless  of  decorum  At 
the  close  of  the  opera  she  was  ri-<-^llc<l  before 
the  curtain,  and  the  applause  of  the  «\idicnce 
burst  forth  with  an  energy  that  rcndcrr<l  itobviuu^ 
to  her  that  she  had  attained  one  of  the  hi.;'. est 
points  of  her  ambition.  .She  had  succec<lc<l  on  a 
stage  that  witnessed  the  almost  nightly  ap|>car- 
ance  of  (irisi  and  Mario.  From  this  moment  hrt 
course  has  l)oen  consistently  onward.  In  tl.t 
following  season  she  wo3  selected  br  Mr.  Ltunit  1 


50 


393 


HAY 


EXCYCLOl'yEDlA    OF    MUSIC. 


HE  A 


to  replace  Jenny  Lind,  wliohad  retired  altogether 
from  the  hcenes,  und  reaped  an  even  greater 
triumph  at  Her  Majesty's  Theatre,  than  any  which 
ihe  had  previously  gathered.  She  was  al.so  honored 
by  an  invitation  to  sin^  at  Buckingham  Palace, 
where  the  queen  hersell'  complimented  her  on 
the  thoroughly  "deserved  success"  which  she 
had  gained,  and  she  received  from  I'rince  Albert, 
who  Ls  very  essentially  a  thorough  judge  ol'  music, 
a  warm  and  well-merited  tribute  of  his  admira- 
tion for  her  talent.  At  the  close  of  the  season, 
she  ajiiieared  also  in  oratorio,  and  in  the  "  Messiah" 
of  Handel,  and  the  "  St.  Paul"  of  Mendelssohn, 
made  a  success  so  decided,  that  it  at  once 
estahli-hed  her  reputation  a,s  the  greatest  inter- 
preter of  sacred  music  at  present  to  be  found. 
She  had  now  determined  upon  visiting  her  own 
native  land,  and  in  November  she  reappeared  in 
Dublin,  (It  the  Philhannonic  Concerts  in  that 
city.  Here  her  reception  was  beyond  concejjtion 
enthusiastic,  and  she  was  the  recipient  of  an 
ovation  of  popular  delight  which  is  almost 
beyond  belief.  She  then  made  her  api)earance  at 
the  Theatre  Royal,  under  Mr.  Calcraft's  manage- 
ment. Subsequently  she  appeared  at  her  own 
native  city.  Limerick,  and  ui  Cork,  where  the 
enthusiasm,  high  as  indeed  it  mounted,  could  but 
equal  that  which  had  been  displayed  in  Dublin. 
Indeed,  her  success  in  Europe  ha.s  been  remark- 
able. She  has  sung  repeatedly  in  private  before 
the  Queen  of  England,  both  at  Windsor  Castle 
and  Buckingham  Palace.  She  was  honored  by 
the  wish,  personally  expressed  to  her,  by  the 
Emperor  of  Austria,  that  she  should  return  to 
Vienna.  In  every  portion  of  her  professional 
career,  her  reputation  for  virtue  a.s  a  woman  has 
gone  hand  in  hand  with  her  reputation  for 
genius  and  talent  as  an  artist. 

She  sang  in  New  York,  September,  18.51,  and 
has  since  made  the  tour  of  the  United  States  and 
Canada,  giving  concerts  with  considerable  success. 
She  hits  also  sung  to  enthusiastic  crowds  in 
Calil'ornia  and  ia  South  America.     . 

HAYES,  DR.  WILLIAM,  was,  early  in  life, 
organist  of  St.  Mary's  Cluu-ch,  Shrewsl)ury,  which 
situation  he  retained,  until,  a  vacancy  occurring 
in  the  place  of  organist  of  Christchurch,  Oxford, 
he  was  sufficiently  fortunate  to  succeed  to  it,  and 
consequently  left  Shrewsbury  for  liLs  new  ap- 
pointment. Here  he  was  admitted  to  the  degree 
of  doctor  of  music,  and  afterwards  appointed 
professor  of  music  in  the  university,  as  well  as 
organist  of  several  of  tlic  colleges.  Few  of  his 
compositions  are  at  present  known.  'WTiilst  at 
Shrewsbury,  he  comjiosed  and  printed  a  set  of 
"  EngHsh  Ballads."  There  are  extant,  in  manu- 
script, several  of  his  ccclesia.stical  compositions, 
wliich  were  written  for  the  different  colleges,  and 
a  few  of  his  catches,  glees,  and  canons  have 
been  printed.  Ho  also  assisted  in  the  pub- 
lication of  Dr.  Uoyce's  cathedral  music.  Dr. 
Hayes  was  considered  a  studious  and  active  pro- 
fcss'or,  as  well  as  an  excellent  performer  on  the 
arg.m.  He  had  the  sole  conduct  and  manage- 
ment of  the  concerts  and  music  meetings  in  Ox- 
ford until  the  time  of  his  death,  about  the  year 
177!). 

HAYES,  DR.  PHILIP,  son  of  the  preceding,  was 
born  about  the  year  17.'J'.),  and  received  hw  musical 
education  principally  from  his  father.  Early  in  life, 
he  was  admitted oue'of  the  gentlemen  of  tlie  Chapel 


Roj'al;  in  consequence  of  which  appointment  he 
resided  almost  whoUy  in  London,  until  his  fa- 
ther's death,  to  whose  situation  in  the  univer- 
sity he  succeeded.  Resjjecting  his  compositions, 
which  consist  chiefly  of  anthems  and  services, 
little  is  known  ;  they  are,  however,  said,  in  many 
respects,  to  have  great  excellence.  For  several 
of  the  concluding  years  of  hLs  liie.  Dr.  P.  Hayes 
is  supposed  to  have  been  by  much  the  most  cor- 
pulent man  iii  England.  He  Ls  even  said  to 
have  equalled  in  weight  the  celebrated  Mr. 
Bright,  the  miller  of  Maiden,  in  Es.sex.  The 
writer  of  the  article  respectuig  him  in  Dr.  Rees's 
Cyclopajdia  is  by  no  means  liberal  in  his  remarks. 
He  says,  that,  "  with  a  very  limited  genius  for 
composition,  and  unlimited  vanity,  envy,  and 
spleen,  he  was  always  on  the  fret,  and  by  his  sit- 
uation had  a  power,  which  he  never  si>ared,  to 
render  all  other  musicians  uncomfortable.  No 
one  entered  the  university  occasionally,  or  from 
curiosity,  who  did  not  alarm  him.  HLs  extreme 
corpulency  will  be  longer  remembered  than  his 
abilities,  of  which  he  has  left  no  example,  that 
we  can  recollect,  worthy  to  be  recorded."  In  the 
month  of  March,  1797,  Dr.  P.  Hayes  went  to 
London,  for  the  puqiose  of  presiding  at  the' 
ensuing  festival  for  the  Musical  Fund.  He  had 
dressed  himself  in  the  morning  of  the  1 9th  of 
March,  in  order  to  attend  the  Chapel  Royal,  but 
was  suddenly  taken  ill,  and  exi)ired  shortly  after- 
■wards.  HLs  body  was  interrxjtl  in  St.  Paul's  Ca- 
thedral, the  gentlemen  of  the  chapel,  and  the 
cljoirs  of  St.  Paul's  and  Westminster,  singing 
Dr.  Green's  funeral  anthem,  "  Lord,  let  me  know 
my  end."  Several  of  the  most  eminent  musical 
men  attended  as  mourners. 

HAYM,  NICOLO  FRANCESCO,  was  born  at 
Rome,  of  German  parents,  about  1079,  and  early 
in  life  settled  in  London,  as  professor  of  music, 
where  he  was  engaged,  at  the  be;<inning  ol  the 
last  century,  with  Clayton  and  Dienpart,  in  an 
attempt  to  establLsh  an  Italian  opera.  The  mer- 
its of  IlavTu,  as  a  musician,  entitled  liim  to  bet- 
ter encouragement  than  he  seems  to  have  met 
with.  He  publLshed  two  operas  of  sonatas,  for 
two  violins  and  a  bass,  which  show  him  to  have 
been  an  able  master.  He  was  a  man  of  learning, 
and  is  to  be  regarded  in  other  rosjjects  than  as  a 
mere  musician.  Being  well  skilled  in  medals,  he 
published  a  work  entitled"//  Tesoro  dtl'e  Meda- 
plic  Antiche,"  in  two  volumes  quarto,  Italian  and 
English.  He  also  wrote  "  Le  Moopi,"  and  "  La 
Dciiiadicc,"  two  tragedies,  and  publLshed  a  fine 
edition  of  the  "  Gu'nmikmmc  Libcraia  "  of  Tasso, 
in  two  volumes  quarto,  with  cuts  ;  he  was  also 
the  compiler  of  a  book,  very  useful  to  the  lovers 
of  Italian  literature,  entitled  "  Xothia  de  Libn 
rari  Italiani."  He  further  ])ubli.<hed,  about  the 
year  1730,  proposals  for  printing  by  subscription  a 
history  of  music,  in  two  volumes  quarto,  which  he 
had  written  in  Italian,  and  which  was  to  have  been 
translated  into  English ;  but  it  is  to  be  presumed 
he  met  with  small  encouragement,  the  work  hav- 
ing never  been  published. 

HAYN,  F.  G.,  a  pianist,  published  some  mu- 
sic for  his  instrument  at  Dresden  and  BrunsAvick, 
in  the  years  1797  and  1798. 

H  DUR.     (G.)     B  major. 

HEAD.  The  name  by  which  that  part  of  I 
note  is  distinguished  wh..'h  determines  its  poai 


394 


HE  A 


ENC\CL0P-12DIA    OF   MUSIC. 


HEA 


tion  ill  the  staff,  and  to  which  the  filuin,  or  tail, 
is  joined.  Also  applied  to  that  part  of  a  violin 
in  which  the  pins,  or  pegs,  are  screwed. 

HEAD-STALL.  A  utensil  employed  by  the 
ancient  musicians.     See  Capistrum. 

HEADS  OF  NOTES.  ITie  heads  of  notes 
are  either  open  or  close,  that  in,  white  or  black, 
and  must  always  be  placed  on  a  line  or  in  a  space, 
thus  :  — 


m 


z^zM 


11 


HEARINCi.  T:<at  of  the  five  senses  to  which 
harmony  and  melody  refer.     See  Ear. 

IIEAIIIER,  WILLLWI  EDWARD,  was 
born  in  1781.  Manilestiug  at  a  very  early  age 
an  excessive  fondness  for  the  creation  of  musical 
sounds,  young  Heather  first  tried  his  skill  in 
generating  a  scale,  by  suspending  irons,  called 
holdiiists,  used  by  cabinet  makers  and  joinei-s, 
proportioning  them  according  to  their  acutcness 
or  gravity,  and  then  striking  them  with  a  wooden 
mallet  so  as  to  produce  what  he  then  tei-med 
music.  Saws,  chisels,  mortises,  scrapers,  and 
other  tools,  were  put  in  requisition  for  the  same 
purpose  of  yielding  sound,  during  the  absence  of 
his  father's  journeymen  at  meals,  and  to  their  in- 
expressible torment  and  loss  of  time  and  tools.  At 
about  four  years  of  age,  he  succeeded  in  pre- 
vailing upon  his  father  to  look  out  at  some 
broker's  shop  for  an  old  spinet  ;  and  after  much 
discussion  as  to  the  merits  of  the  different  instru- 
ments examined,  the  father  considering  the 
workmanship  of  the  case  of  primary  importance, 
while  the  son  looked  for  a  very  contrary  quality, 
one  was  approved  and  jjurchased  for  a  few  shil- 
lings. After  hammering  this  away  until  it  had 
lost  all  vitality,  it  was  bartered  for  an  old  virgin- 
al, which  then  appeared  to  Heather  the  ne  pi la 
ultra  of  all  musical  instruments.  To  pass  over  a 
variety  of  other  childish  efforts,  he  now  ap- 
proached the  time  when  he  may  be  said  to  have 
entero  1  upon  his  eventful  life.  As  his  father's  fam- 
ily had  much  increased,  and  his  jjai-euts  had  not 
the  moins,  with  their  limited  capital,  of  supply- 
ing their  son  with  efficient  instruction  in  the  mu- 
sical profession,  which  he  was  bent  on  following, 
and  as  it  appeared  pretty  evident  that  some  of  the 
children  must  eventually  seek  good  or  evil  in  the 
wide  world,  it  was  recommended  by  a  worthy 
friend,  a  clergyman,  that  the  subject  of  this  me- 
moir should  be  the  tirst  started  from  the  paternal 
roof.  From  the  boy's  rambling  and  romantic 
propensities,  the  proiMisition  was  at  tirst  met  with 
reluctance  by  his  parents ;  but  in  the  end  the  son's 
good  star  prevailed,  and  the  before-mentioned 
tricud  undertook  to  procure  his  admission  on  the 
establishment  of  St.  Paul's  Cathedral  as  a  choris- 
ter. Dr.  Chard,  of  Winchester,  leaving  the  school, 
young  Heather  was  elected  to  the  vacancy,  and 
place- 1  under  the  late  Mr.  Hudson,  then  almoner 
And  master  of  the  boj's.  He  here  completed  hLs 
time  of  five  years,  and  received  the  usual  gratui- 
ty from  the  dean  and  chapter  ;  but  as  the  choir 
was  not  then  over  strong  in  soprano  voices,  and 
Heather's  voice  being  then  in  its  be>t  state,  he  was 
retained  in  the  cathedral,  and  tumeil  over,  with  the 
other  boys,  to  the  care  and  tuition  of  Mr.  Bellamy, 
who  succeeded  Huibion  as  master.  The  chililren 
In  those  days  were  wholly  provided  for  iu  the 


house,  and  had  ma.stcrs  to  su])erintcnd  the  othei 
branch«>s  of  their  education.  Wliile  in  the  ca- 
thedral, he  was  occasionally  borroweil  to  assist  in 
the  services  of  other  dioct^es,  so  that  from  inces- 
sant employment  therein  for  many  years  may  )ta 
traced  his  constant  predilection  for  culhedial  duty 
althou:;h  the  fashion  of  the  day,  in  a  degree 
oblige<l  him  to  relinquLsh  it  for  more  profitable 
employment.  Having  benefited  by  the  instruc- 
tions of  Uellamy,  and  becoming  restless  (as  he 
himself  expresses)  "  to  cast  my  bread  upon  the 
waters  in  the  hope  of  its  returning  unto  me  after 
many  days,"  he  became  urgent  for  his  relea.sc, 
which  at  last  was  granted.  He  then  engaged 
as  anthem  singer  to  various  chapels  of  case  at 
the  west  end  of  the  town,  and  united  himself 
with  choirs,  (both  Protestant  and  Catholic,) 
wheresoever  established.  During  the  week  he 
got  engagements  in  harmonic  societies  and  pri- 
vate glee  parties,  filling  up  occasional  vacancies 
by  provincial  employment.  With  all  hLs  jjracti- 
cal  experience,  however,  he  tound,  as  he  iu- 
creased  iu  years,  that  his  theoretical  information 
was  too  limited  ;  he  therefore  followed  his  studies 
closely,  and  haunted  the  sides  of  the  musicians 
he  chiefly  esteemed ;  whilst,  under  the  plea  of 
turning  over  for  them,  he  watched  their  manage- 
ment of  their  instruments,  and  humbly  sought 
half  a  dozen  hints  for  hLs  improvement,  when 
they  had  finLshcd  their  performance.  HLs  voice 
still  remaining  undiminished  in  strength,  he  ac- 
cepteil  a  permanent  engagement  under  the  cele- 
brated Rev.  S.  Parry,  to  sing  at  his  chapel,  near 
Bedford  Square,  on  Sunday  mornings.  lliLs  em- 
ployment brought  him  in  contact  with  the  then 
organist  Costellow,  to  whom  he  became  so  much 
attached,  that  in  the  end  he  prevailed  on  his 
father  to  place  him  under  articles  to  that  ijeutle- 
man  for  five  years.  Costellow  had  just  then  suc- 
ceeded the  late  Stephen  Storace  at  the  piano- 
forte ill  the  orchestra  of  Old  Drury,  and  hLs  prac- 
tice being  very  great.  Heather  occjisionally  sup- 
plied his  place  in  the  orchestra  at  rehearsals,  and 
sometimes  on  the  evening  of  periormance.  In 
the  year  17!'8,  he  commenced  a  new  career  by 
making  his  first  ajjpearance  on  theatrical  boards, 
in  the  character  of  Edward,  in  "  'I'he  Smugglers." 
%\"hile  his  voice  lasted,  he  continued  to  tepresent 
the  chaiacters  previously  so  ably  fiUcd  by  the 
then  master  Welsh,  who  had  retired  ;  thLs  occu- 
pation, combined  with  provincial  and  minor  en- 
gagement.s,  terminated  his  theatrical  career.  His 
articles  having  expiretl  with  Costellow,  he  parted 
from  hLs  master  with  regret,  whose  peaceable  and 
paternal  roof  he  left,  to  throw  himself  once  more 
upon  a  turbulent  and  sorrowful  world.  He  then 
entered  gay  lite,  became  what  is  termed  jolly  and 
convivial,  and  as  his  voice  had  settled  into  a 
pleasing  counter  tenor,  found  a  knife  and  fork 
ready  tor  him  at  most  tables  he  chose  to  appronch. 
This  employment  of  his  time  leading  to  endless 
engagements  in  town  and  country,  he  found  his 
healtti  giving  way,  and  his  opportuniiies  of  study 
totally  broken  in  upon  ;  he  conse<iucutly  forme<l 
a  resolution  to  break  the  charm,  and  with  a  small 
fiddle  ill  his  pocket,  and  but  little  money,  com- 
mence<l  his  travels  on  foot.  Poetry,  hi-xtory,  and 
biography  constituting  his  delight,  (ioliL-mith 
came  in  for  his  share  of  admiration  ;  ami,  with  ■ 
light  heart  and  empty  |>urse,  ho  detcrminc<l  upon 
seeking  adventures.  To  be  brief",  he  returned 
from   the   contemplation   of   lovely   nature,  aad 


39a 


HE  A 


ENCYCLOP.^DIA    OF    MUSIC. 


IlEB 


man  iu  his  half  wild  state,  to  the  metropolis,  and 
comiUL-iiccJ  teaching,  to  the  great  improvement 
of  his  liniinocs.  lie  then  became  organist  to  the 
parLsh  of  Walthamstow,  after  a  severe  contest,  on 
the  erection  of  an  organ  in  that  church,  and  took 
up  his  abode  in  a  secluded  p;irt  of  Epjiing  Forest. 
Here  he  read  with  more  avidity,  and  imjjroved 
hLs  musical  erudition  with  more  effect,  than  he 
had  done  for  several  preceding  years.  He  ulti- 
mately succeeded  iu  establishing  a  very  lucrative 
practice,  furnished  a  house  in  the  village  of 
Walthamstow,  and  received  several  pupils  in- 
tended for  the  i)rofession.  But,  alas  I  the  melan- 
choly and  restlessness  wliich  had  at  times  before 
afllicted  him  were  now  renewed ;  he  tlierefore 
speedily  detenuined  upon  once  again  striking  his 
colors,  and  after  apologizing  to  the  neighborhood 
through  whose  kind  exertions  he  had  been  seated, 
after  a  most  unprecedented  and  arduous  contest, 
in  his  actual  situation,  he  made  a  final  retreat 
from  AValthamstow,  tendering  his  resignation  as 
organist,  lie  now  returned  to  the  grand  focus, 
Londou,  and  engaged  in  several  periodical  publi- 
cations. Here,  once  more,  he  succeeded  iu  estab- 
lishiug  liimself  comfortably,  and  increasing  his 
practice.  The  old  leaven  of  vagabondizing,  how- 
ever, returned,  and  he  must  fain  leave  all  i)resent 
happiness  and  prospective  advantage  to  sec  once 
more  a  change  of  country  and  scenery.  In  due 
time  he  returned  to  Londou,  and  undertook  the 
management  of  the  musical  proceedings  of  the 
Caledonian  Institution,  then  in  its  inlancy,  for 
the  support  of  Scotch  soldiers  and  sailors  and 
their  families.  About  the  same  period,  he  agreed 
to  produce  a  musical  piece  at  Co  vent  (jardeu 
Theatre,  called  "  The  Nondescript,"  which,  how- 
ever, was  not  successful.  He  next  engaged  to 
supply  the  late  Duke  of  Kent  with  manuscript 
6j-mphonies  for  his  excellent  band  ;  also  iu  wTit- 
ing  tor  the  music  trade,  and  preparing  young  au- 
thors' works  for  the  press,  at  the  same  time  in- 
creasing a  very  considerable  professional  and  pri- 
vite  practice.  Engagements  and  wealth  now 
once  more  flowed  in  apace,  witln  the  usual  con- 
sequences—  desire  of  change.  He  now  jiictured 
to  himself  the  services  he  might  render  mankind 
by  becoming  a  disciple  of  .Esculapius;  the  thought 
had  no  sooner  existed  tlian  the  change  was  de- 
termined upon.  He  sold  all  his  goods,  and  ex- 
changed music  for  the  dissecting  room.  These 
stuilies  were  jiursued  for  some  time  very  indus- 
triously; but  his  ruling  passion  again  returning 
for  music  and  a  wandering  lile,  he  deserted  the 
table  of  the  demonstrator,  and  renewed  his  visits 
to  former  patrons  at  their  residences  in  the  coun- 
try, remaining  for  a  time  at  ditterent  gentlemen's 
homes.  Conceiving  his  health  to  be  on  the  de- 
cline about  tliis  period,  he  next  decided  on  trying 
the  sea  air  and  bathing  for  a  ni<mth  or  two  in  the 
west  of  England.  He  therefore  proceeded  to 
Sidmouth  with  the  intention  of  remaining  only  a 
.\>w  weeks ;  but  as  the  residence  of  a  very  short 
period  brought  him  into  contact  with  the  sur- 
rounding neighborhood,  music  became  the  order 
of  tlie  day,  and  in  the  course  of  a  few  months  he 
mustered  an  orchestra,  vocal  and  instrumental, 
(purely  amateur,  with  the  exception  of  himself) 
of  all  the  beauty  and  fa.shion  of  that  part  of 
Iievonshiro.  Monthly  dinners  took  place  among 
the  gentlemen,  at  which  Heather  states  he  lias 
heiu-d  lour  and  live  part  glees  executed  with  a 
precision   that  would   have    been   creditable   to 


some  of  his  brother  professors,  llie  kindnesc 
and  libendity  he  experienced  here  from  all  parties 
became,  in  the  end,  the  cause  of  extending  hia 
stay  from  three  or  lour  weeks  to  tliree  years. 
Solicitations  constantly  arriving  for  his  return  to 
the  metropolis,  to  wliich  place  lie  had  only  ouco 
gone,  from  Devonshire,  for  a  few  years,  to  get 
married  !  he  once  more  shifted  his  quarters,  and 
quitted  the  seclusion  and  peace  of  "  Devon's 
myrtle  vales  "for  the  huge  leviathan  London, 
where  he  remained. 

HEBEXSTREIT,  PANTALEON.  The  in- 
ventor of  the  famous  I'antaleon,  and  at  the  same 
time  one  of  the  most  skilful  violinists  of  hLs  time, 
followed,  in  1697,  the  profession  of  a  dancirig 
master  at  Leipsic,  and  had  attained,  even  at  that 
period,  such  jiroficiency  on  his  instrument,  that 
Count  Logi  cried  out  on  hearing  him,  "  Continent  ! 
jai  iti  en  ItalUi,  et  Je  n  at  pas  enletulu  de  jutreil." 
Iu  170.5,  Ilcbenstreit  went  to  Paris,  and  played 
there  before  LouLs  XIV.  This  prince  not  onlv 
loaded  liim  with  his  favors,  but  even  deigned  to 
give  his  new  instrument  the  Christian  name  of 
its  inventor.  The  year  after  his  return  from  Par- 
is, he  entered  the  service  of  the  Duke  of  Else-  • 
nach,  as  chapel  and  ballet  master  to  the  court, 
where  he  played  double  concertos  of  his  own 
composition  with  Telemann.  In  1708,  he  went 
to  Dresden,  as  chamber  musician  to  the  King  of 
Poland,  and  there  received  a  salary  of  a  thousand 
crowns.  The  e.xact  time  of  his  death  is  not 
knowni,  but  he  is  supposed  to  have  lived  beyond 
the  year  1730. 

HEBREW  MUSIC.  Notwithstanding  the 
great  labors  of  the  early  fathers  of  the  church, 
and  of  many  other  learned  men,  there  are  few 
materials,  even  in  the  Scrijitures  themselves,  for  a 
very  satisfactory  account  of  the  music  of  the  Jew- 
ish nation,  whose  restricted  intercourse  with  other 
nations  prevents  our  receiving  any  illustration  of 
it  from  contemporary  writers.  All  that  can  be 
done  is  to  cite  a  few  passages  from  holy  writ, 
relative  to  the  first  ages  of  the  world,  from  which 
it  will  be  seen  that,  from  a  very  early  period,  the 
art  constantly  minLstered  to  the  religious  cere- 
monies of  the  Hebrews.  Moses  (Gen.  iv.  21) 
tells  us  that  Jubal,  sixth  in  descent  from  Cain, 
was  "  the  father  of  all  such  as  handle  the  harp 
and  organ."  This  must  have  been  but  a  short 
period  after  the  deluge.  Six  hundred  years  iifter 
this  period  Laban  reproaches  Jacob  thus :  "Where- 
fore didst  thou  Hee  away  secretly,  and  ste.d  away 
from  me,  and  didst  not  tell  me,  that  I  might 
have  sent  thee  away  with  mirth  and  with  song, 
with  tabret  and  with  harp?"  So  that  at  this 
time  vocal  and  instrumental  music  was  not  un- 
usual. For  two  bundled  and  fifty  years  after  this 
period  notliing  occurs  relative  to  music,  when  we 
find  Moses,  after  passing  the  Red  Sea,  singing 
with  the  Israelites  on  the  occasion.  Miriam, 
Aaron's  sister,  "  took  a  timbrel  ia  her  hand,  and 
all  the  women  went  out  after  her  with  timbrela 
and  with  dances."  There  seems  ground  for  con- 
jecturing that  Mfriam,  by  birth  Egyptian,  and 
educated  in  Egypt,  might  have  learned  the  use 
of  the  timbrel  and  the  dance  in  that  coantry. 
The  instruments  mentioned  during  the  administra- 
tion of  Moses  appear  to  have  been  confined  to  the 
trumiict  and  the  tmubourine.  After  the  siege  of 
Jericho,  where  the  rams'  honis  that  were  blowi 
were  rather  military  signals  than  instruments  of 


396 


HEU 


EXCYCLOriEDIA    OF    MUSIC. 


HEJ 


music,  we  hnve  no  record  of  music  till  the  ap- 
pearance of  tlie  canticle  of  Barak  and  Deborah, 
which  seems  to  have  been  sung  in  dialoi;ne  with- 
out instruments,  excepting  the  timbrel  and  the 
trumpet  before  mentioned.  From  several  jias- 
Ba;;cs  music  appears  to  have  been  united  with 
propliccy.  Samuel  (book  i.  ch.  x.  v.  5)  says  to 
Saul,  "  Thou  shalt  meet  a  company  of  prophets 
coming  down  from  the  high  place,  with  a  psal- 
tery, and  a  tabret,  and  a  pipe,  and  a  I'.arp  before 
them."  These  prophets  were  doubtless  poets  or 
psalmodists,  improvvisatori  of  verses  which  they 
Bang  to  the  accompaniment  of  an  instrument ; 
and  many  of  the  fathers  have  supposed  that  the 
Jews  had  a  college  or  school  of  pr9pliets,  which 
was  also  a  .school  of  music,  for  they  almost  uni- 
versally accompanied  themselves,  or  were  ac- 
companied by  others,  with  musical  instruments. 
David,  who  had  cultivated  music  from  his  in- 
lancy,  seems  to  have  been  destined  by  his  family 
to  the  profession  of  a  prophet ;  and  St.  Ambrose 
Bays  that  he  was  chosen  by  God,  above  all  the 
other  prophets,  to  compose  the  Psalms.  The 
IK)wcr  that  the  harp  of  David  had  upon  Saul, 
when  he  was  tormented  with  tlic  evil  si)irit,  is  an 
example,  among  many  others,  of  the  intiuence  of 
music  on  the  miUadies  of  the  mind,  and  espe- 
cially in  cases  of  melancholy.  Under  the  reign 
of  David  music  was  much  esteemed.  He  ap- 
pointed a  great  corps  of  musicians  for  the  cele- 
bration of  religious  ceremonies,  and  his  patron- 
age necc:isarily  extended  its  intiuence.  David, 
on  all  occasions,  .seems  to  have  been  interested  in 
the  solemnities  of  his  time :  we  find  him  con- 
tinually dancing  and  plajnng  before  the  Lord, 
with  songs,  hari>s,  p.snlteries,  timbrels,  c>Tnbals, 
cornets,  and  trumpets.  As  in  Egypt,  the  mu.si- 
cians  were  confined  to  one  family,  that  of  Levi, 
which  was  exclusively  con>ccrated  to  the  Rcr>ice 
of  tlio  Lord  and  the  cultivation  of  music.  When 
Solomon  was  made  king,  four  thousand  were  the 
number  "  which  jiraised  the  Lord  with  instru- 
ments." Dr.  liurney  calU  the  reign  of  Solomon 
the  .Vugustan  age  ot  the  Jews ;  and  though  Sol- 
omon, unlike  his  father,  was  not  himself  a  jier- 
formcr,  and  ranked  "  men  singers  and  women 
Ringers,  and  the  delights  of  the  sons  of  men,  such 
as  nuisical  instruments,"  among  the  vanities  of 
the  world,  yet  he  continued  the  priests  and  I.evites 
in  his  employ.  Li  tlie  reign  of  Jelioshaphat,  the 
Levitcs  were  useful  in  the  Held  of  battle,  and 
were,  by  their  songs,  the  cause  of  the  victory  that 
was  gained;  and,  indeed,  this  was  not  the  onlv 
instance  in  which  they  were  similarly  serviceable. 
Some  time  bel'oro  the  destruction  of  tbe  temple 
«nd  the  first  Habylonish  captivity,  music  and  the 
sacred  rites  had  met  with  interr\iption,  both  on 
occountotwnrand  bytheir  intercourse  with  foreign 
nations.  The  captivity  was  a  mortal  blow  to  the 
endeavors  they  had  made  to  recover  their  music  ; 
and  si\ty-six  years,  the  period  of  it«  duration,  were 
snthcient  to  etl'ace  all  from  their  remembrance. 
This  oblivion  is  feelingly  deplored  in  the  137th 
I'salni  :  "  How  shall  we  sing  tlie  Lord"*  song  in 
a  strange  land  ?  "  ReOstablislicd,  but  soon  after- 
wards captives  n  second  time,  again  delivered, 
and  then  contiuercd  by  the  Egyptians,  Persians, 
«nd  Romans,  successively,  the  unfortunate  Jews 
had  no  leisure  to  cultivate  the  arts ;  and  it  ap- 
pears jirobable  that  their  music,  which  scarcely 
desert  ed  the  name  till  the  reign  ot  David,  even  at 
ita  beet  epoch,  depended  for  effect  more  upo^  the 


number  of  the  i)erformers  than  ni)on  any  refined 
knowledge  of  the  art.  Among  the  modern  Jcw?s 
instrumental  as  well  as  vocal  music  was  excluded 
from  the  synagogue  from  the  time  of  the  destruc- 
tion of  Jerusalem.  The  singing  they  allow  at 
the  ])resent  day  is  a  modern  innovation ;  for,  ac- 
cording to  a  jjassage  of  their  prophets,  the  Jews 
consivler  it  contrary  to  tlieir  law,  or  at  least  im- 
proper, to  sing  or  rejoice  until  the  coming  of  the 
Messiah.  The  (jennan  are  the  only  Jews  in  the 
present  day  who  have  a  regular  musical  e^tab- 
ILshment  in  their  synagogues.  'Hiey  sing  in 
parts,  and  have  prcseirol  traditional  rac'odics, 
whicli  ai-e  considered  very  ancient.  At  Pra^^ue 
an  organ  is  used  to  accompany  the  singing. 

HECK.  A  writer  of  a  treatise  on  thorough  baoa, 
published  previously  to  the  year  17!i7. 

HEEUEN,  ARNOLD,  H.  L.,  professor  of  phi- 
losophy at  Gottingen,  was  born  in  17 '10.  He 
wrote  "  Di.iseri.  de  Chori  Grttcorum  trayici  S'atura 
et  Indole,  Ratione  Argumenti  habita,"  Gottingen, 
1784. 

HEERINGEX,  VOX,  of  Xew  York,  in  March, 
ISoO,  patented  a  new  system  of  musical  notation, 
and  several  works  on  this  system  were  published 
the  same  ye:u-  by  Huntington  &  Savage,  Xew 
York.  Professor  Heeringen's  system  dispenses 
with  the  use  of  flats  and  shaq)s,  ami  of  what  wo 
call  the  signature.  Listead  of  our  seven  sylla- 
bles, do,  re,  mi,  S:c.,  it  has  twelve,  gising  a  sylla- 
ble for  each  letter,  sharj)  and  natural.  Doe,  dee, 
ray,  ree,  me,  fa,  fee,  sole,  sec,  la,  lee,  da,  doe. 
The  music  is  then  written  in  black  and  white 
notes,  the  color  having  no  reference  to  the  length 
of  the  note ;  that  is,  the  white  notes  are  to  bo 
sung  natural,  or  to  be  playe<l  ujjon  the  white  keys 
of  the  piano-forte,  and  the  black  ones  sung  flat, 
or  sharj),  or  j)layed  upon  the  black  keys.  'ITien 
the  key  is  indicate<l  by  the  syllable  which  be- 
longs to  the  key  note,  as  the  key  of  fa,  &c. 
niere  are  other  important  changes  introducetl. 

HEIRERGER.  J(3SEPH,  a  (Jcrman  composer, 
resiilod  at  Rome  in  1777,  and  wrote  there  the  op- 
era "  11  ColoiuUo,"  which  was  considered  the  best 
piece  of  the  year  in  which  it  wa»  producetl. 

HEIXDL,  or  IIAIXDL,  director  of  the  con- 
certs at  Inirspruek,  about  tlio  yeiu"  17S2,  compose*] 
there  the  music  of  an  opera  called  "  The  Mer- 
chant of  Smyrna." 

HEIXECIIEX,  JOHAXX  DAVID,  chapel- 
master  to  the  King  ot  Poland  and  Klwtor  of 
Saxony,  was  l)orn  in  l'>s;t.  He  wrote  much 
music  for  the  churi-h,  theatre,  and  chambtr,  also 
several  didactic  works  on  mu.sic.  His  composi- 
tions bear  date  from  the  year  1709  to  1728. 

HEIXEKEX,  XICHOLAS.  Composer  of 
"  Eight  Psalm  Tunes  in  Score,  with  an  .Vcrompa- 
niment  for  the  Organ  or  Piano-forte."  A  critic 
in  the  "  Ilarmonicon"  ol>scr\-es  of  this  publicition  : 
"  Mr.  Ileineken's  eight  psaliiis  do  him  infinite 
credit,  as  a  harmonist.  We  have  not  often  met 
with  sacred  music  of  this  description,  the  inspec- 
tion of  which  has  afforded  us  so  much  ple.T.-*un! 
as  this  modest,  meritorious  work.  'Die  sweet- 
ness of  the  melodies,  the  skilful  arrancement  of 
the  parts,  and  tl\e  unexamplctl  moderation  of  the 
price  (three  shillings)  ought  to  recommend  them, 
not  only  to  all  congregation'*  that  promote  r!ero 


S97 


II  EI 


ENCYCLOPEDIA    OF    MUSIC, 


HEM 


tion:il  siii;;iii;^,  hut  to  every  private  family  that 
wLslies  to  cultivate  serious  music." 

HEINLEIX,  PAUL,  director  of  the  music 
and  or({aui-it  at  Xui'emberK,  died  in  IfiSfi.  He 
resided  lor  some  time  in  Italy,  and  was  celelirated 
lor  his  pori'ormance  on  the  harjisichord  and  sev- 
eral wind  instruments.  His  compositions  were 
also  in  hi^h  estimation. 

HEIXUK'H,  AXTHOXY  PHILIP,  is  a  Bohe- 
mian l)y  birtli,  but  has  so  long  resided  in  this 
country  a^s  to  be  '^pnernlly known  as  '■  Father  llein- 
rich,"  the  vptcran  Kentucky  composer.  He  was 
hred  to  the  mercantile  profession,  but  ultimate- 
ly bcoamc  ])riiicipal  in  an  extensive  banking 
houi^e.  In  his  early  lii'e  he  does  not  seem  to  have 
gi\en  much  attention  to  music,  and  not  until, 
durinp;  his  travels,  he  vL^ited  Malta,  did  the  pas- 
sion tor  it  take  decided  possession  of  him  ;  then 
(to  use  the  words  of  his  German  biographer)  he 
met  with  a  (,'rcmona  lady,  who  from  that  moment 
became  his  constant  companion  througli  all  his 
•wanderings,  until  she  was  stabbed  by  a  careless 
musician  in  the  Drury  Lane  orchestra.  For  long 
years  they  «eve  never  separated,  and  in  the 
crowded  city  and  the  solitary  prairie  slie  was  his 
only  and  constant  comfort  and  cheering  com- 
panion. Xo  marriage  vow  consecrated  their  love  ! 
—  the  lady  was  only  a  fiddle.  Several  strange 
anecdotes  are  related  of  him  and  his  violin, 
which  we  have  not  room  now  to  relate.  By  one 
of  those  mutations  of  fortune  common  to  com- 
mercial countries,  he  lost  his  large  fortune ;  he 
neither  cjuailed  nor  repined  at  it,  but  only  gave 
himself  up  the  more  to  music.  He  was  at  Pliila- 
delj)hia  when  the  news  of  his  loss  came,  and  he 
started  from  there  and  travelled  on  foot  over  the 
Alleghanics,  and  sought,  in  the  solitude  of  the 
Kentucky  forests,  to  hold  more  strict  communion 
with  his  musical  being.  For  twelve  months  he 
dwelt  in  a  solitary  log  cabin,  with  no  companion 
but  his  violin :  the  cabin  is  still  pointed  out  as 
the  residence  of  the  musical  enthusiast,  by  the 
old  settlers.  From  there  he  ])rocecded  to  Europe, 
played  there  for  several  years  in  the  large  orches- 
tras, studying  hard,  and  publishing  his  works ; 
he  then  returned  to  this  country,  but  still  had  to 
struggle  with  adversity,  which  he  bore  up  man- 
fully against ;  then  leeling  a  desire  to  see  hLs 
daughter  in  Bohemia,  he  embarked  for  that  coun- 
try, was  still  unfortunate,  was  taken  sick,  suf- 
fei'ed  from  jioverty,  as  it  seems  to  be  the  fate  of 
genius  always  to  do :  when  he  arrived  his  child 
had  left,  and  he  followed  her  over  tlie  continent, 
lind  finally  rejoined  her  in  Xew  York.  Over 
sixty  winters  had  shed  their  snows  upon  his 
brow,  hut  he  still  toiled  on  his  musical  path ;  and 
»lthough  some  of  his  compositions  have  been 
publisl.ed  in  (iermauy,  and  hLs  name  finds  an 
honorable  jilace  in  the  mu'^ical  circles  of  that 
chosen  l:in(l  of  harmony,  still  he  desired  that  hLs 
latest  and  most  mature  works  should  first  be 
given  to  the  land  of  his  adoption. 

HEIXlUrni,  J.  C.  G.,  pubUshed  some  music 
for  the  harp  and  piano-forte  at  Dresden,  between 
the  ye:ir<  1788  and  179.5. 

HEIX.'^IUS,   EUXEST,  an  organist   at    Arn- 
heim,  imblishcd  at  Amsterdam,  about  the   year  | 
17'iO,  six  coiicectos  for  the  violin,  and  six  four-  [ 
pait  symphonies. 

IIELBERT,  a  Gcrmau  musician,  and  violinist 


at  Paris,  published,  in  1 780,  twelve  trios  for  the 
violin,  si.x  duos  for  the  flute,  and  an  ariette. 

HELD,  a  violinist  in  the  Clia])el  lloyal  at  Mu- 
nich, was  considered,  in  the  year  1794,  one  of  the 
best  pupils  of  the  celebrated  Eck. 

HELD,  JOH.  THEO.,  a  doctor  of  laws  at 
Prague,  was  an  excellent  amateur  singer,  guitar- 
ist, and  comi)o«er  of  vocal  music.  His  first  work 
was  i)ublished  in  1 796.  It  Is  called  "  liOsc/icn,  von 
I'fcjfcl,  in  Miisik,"  Prague.  Another  of  his  pub- 
lications is  "  6  Lieiler  mit  KUivier,"  Leipsic,  180-3. 

HELDERUS,  BARTHOLOM.^US,  a  church 
composer  in  the  seventeenth  century,  was  born 
at  Gotha.  His  compositions  bear  date  from  1G15 
to  162 1. 

HELE,  G.  DE  LA,  chapel-master  at  the  ca- 
thedral of  Dornick,  in  Flanders,  lived  in  the  lat- 
ter halt"  of  the  sixteenth  century,  and  published 
some  masses  and  other  sacred  music  at  Antwerj). 

HELPER,  CHARLES  D',  canon  and  choir 
master  of  the  cathednU  of  Soissons,  composed 
several  masses  and  vespers,  bearing  date  from 
16.53  to  1678. 

HELIA,  CAMILLO  DI.  A  contrapuntist  of 
the  fiiteenth  century.  Several  of  his  composi- 
tions were  published  by  De  AntiquLs  at  ^"enice, 
in  1.5S.5,  in  which  work  may  be  found,  also,  some 
pieces  by  Vittorio  di  Ilelia. 

HELICOX.  The  name  of  a  curious  ancient 
instrument  constructed  for  demonstrating  the 
consonances.  It  is  said  to  have  been  originally 
suggested  by  Ptolemy ;  however,  Zarliiio  and 
Salinas  made  such  important  improvements  in  it, 
as  to  entitle  themselves  to  a  considerable  share  of 
the  honor  of  its  invention. 

HELLER  lived,  probably,  about  the  year  170 
as  an  instrumental  perfonner  at  Paris,  where,  in 
the  above  year,    Pleyel   published    two   of   his 
quatuors  for  wind  instruments. 

HELLER,  JOXATHAX,  a  doctor  in  theology, 
published,  in  the  first  half  of  the  last  century, 
several  works  on  music ;  among  others,  "  De 
S.iUationibiis  religiosis,"  Leipsic,  1737. 

HELLER,  STEPHEX,  one  of  the  most  grace- 
ful and  original  of  the  modern  piano-forte  com- 
posers, was  born  at  Pestli,  in  Hungary,  on  the 
loth  of  May,  181-5. 

IIELLMUTH,  FREDERIC,  musician  to  the 
Elector  of  Mentz,  was  born  in  1741-  He  evinced 
great  talents  for  music  irom  hLs  earliest  iulancy, 
and  had  a  fine  tenor  voice.  Tliree  sonatas  for 
the  haqisichord,  with  accompaniments  for  violin 
and  violoncello,  of  his  composition,  were  pub- 
lished at  OHcnbach  in  1774. 

IIELLMUTH,  CARL,  younger  brother  of  the 
preceding,  was  a  musician  at  Mentz,  and  husband 
to  Joseplia  Ilellmuth,  a  celebrated  singer  in  Ger 
many. 

HEMBERGER,  F.  A  German  pianist  and 
good  composer,  resident  in  France.  He.  pub- 
lished at  Lyons  and  Paris  several  operas  of  in- 
strumental and  vocal  music,  between  the  years 
1787  and  1790. 

IIEMI.  A  Greek  word,  used  in  music,  signi' 
fyiug  hvlf ;  as  hemitone,  half  a  tone. 


393 


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ENCYCLOPAEDIA    OF   MUSIC. 


HEN 


much  ndmired,  he  was  iii<luro<l  to  proceed  far- 
ther. The  principnl  work  he  publisliod  is  a  vol- 
ume of"  Church  Service',  Anthems,  and  I'snlm.s," 
dediciiled  to  the  Uishop  of  Lincoln.  Tliin  vrnf 
received  with  the  moHt  fl;itterinj;  applniL-c,  and 
paswd  to  a  wecond  edition.  He  has  also  pub- 
lirthed  an  "  Introductioi\  to  the  I'iano-ibrto,"  anc' 
a  second  edition  of  "Twenty  Sncreil  Melodies,' 
dctliciited  to  tl.e  Earl  of  Falmouth.  Ilempel  ac- 
(juired  the  whole  of  his  knowledge  of  counter- 
point from  the  works  of  Kol'mann,  which  alono 
he  studied.  llcin[)el  also  published  a  pociu,  and 
painted  many  landscapes  in  oil. 

IIEMPSEX.  Denys  A.  Ilumpsy,  or  Ilerapscii, 
the  celebrated  Irish  har|)er,  was  born  in  the  year 
169.5.  lie  had  been  in  C'arolan's  company  when 
a  youth,  l)ut  never  took  ])lcasure  in  playing  his 
compositions.  IIcmi)scn  was  the  only  one  of  the 
haqiers  at  the  Belfast  meetini;,  in  17'.'-,  wlio  liter- 
ally played  the  harj)  with  long  crooked  nails,  as 
described  by  the  old  writers.  In  plaving  he 
caught  the  string  between  the  tlesh  and  the  nail ; 
not  like  the  otlier  liaq)ers  of  hLs  day,  who  piille<l 
it  by  the  fleshy  part  of  the  finger  alone.  He 
learned  to  jilay  that  way.  Ilerapsen's  harp  is 
preserved  at  Doonhill  as  a  relic  of  its  interest- 
ing owner.  Tlie  following  lines  are  9culpturod 
on  it :  — 

"  In  ttic  <1flr«  of  No«h  I  wag  (fTwn  ( 
AftiT  his  floo<t  I'To  not  twvn  Kcn, 
fnlil  iriv.'  I  tin.  r.innil, 
liy  Coniinc  Kflly.  iinilcrjrroundl 
nV  mined  inc  up  tn  ttiat  (U'mrc, 
Queen  ot  .Music  they  call  ine." 

Tlie  harp  was  made  by  Corraac  O'Kelly,  about 
1700,  at  llallynascreen,  in  the  county  of  Derry ; 
a  district  lamous  for  the  construction  of  such  in- 
struments, and  for  the  preservation  of  ancient 
Irish  melodies  in  their  original  purity.  Ilempsen 
died  in  1S07,  at  the  great  age  of  112  years.  It 
will  be  satistactory  to  such  as  take  an  interest  ir. 
the  simple  annals  of  the  hari)ers,  to  learn  that  th» 
close  of  Ilempsen's  long  life  was  rendered  com- 
fortable by  the  humanity  of  the  Rev.  Sir  H.  II 
Bruce,  from  whose  hand  he  was  often  literallj 
fed.  Tlie  day  before  liLs  death,  u])on  hearing 
that  this  gentleman  had  come  to  his  cabin,  he 
desired  to  be  raised  uji  in  his  bed,  and  the  harp 
placed  in  hLs  hands.  Ilav-ing  struck  some  notes 
of  a  favorite  strain,  he  sank  l)ack  unable  to  pro- 
ceed, taking  his  liust  adieu  of  an  instriunent 
which  had  been  a  companion,  even  in  his  slceji- 
ing  hours,  and  was  his  hoxirly  solace  through  a 
life  protr.icteil  to  the  longest  span. 

IIENFLINTr.  CONIt.VD,  of  An?pach.  a  eel-- 
brated    mathematician,    j)ublishe<l,    in    I'liS,    an 
epistle  to  the  president  of  the  Academy  rtf  Sci- 
ences  at    Berlin,   in   which   he  very   leaniedW 
imous   circumstances,    some  i  treats  on  the  theory  of  music.     This  paper  is  re- 


HEMIDIAPEXTK.  (From  Hit  Orcclt.)  A  ful«  or  Imperftct 
flith.    Sec  Fai.mk  Fifth. 

IIEMIDITONI-:.  Gr.  A  ti-rm  uiie<l  In  the  ancient  music,  ilvnify. 
ir.ff  theintcrvul  Ota  mnjor  thirl  diminUlicd  t>^  half  n  tone  i  thutis, 
re<1ucf(l  to  a  minor  thinl.  ]n  the  t'Mrliii>tlon  ot  thi-.  comixiunil  term, 
the  tint  two  or  its  coiii|)Oiieiit -ylh'lile*  are  not  used  tn  their  liti-ral 
sense,  us  /ju(/;  but  as  less,  or  lesser ;  as,  hemidltune,  a  le.v.or  /ejuer 
third. 

HEMIOPE.or  IlEMIOPKfS.  (Or.)  A  wind  Instrument  nse.l 
by  the  unc-ients,  coiikistiug  of  a  tube  wtth  three  holes.  A  kind  ot'tls- 
tula,  or  Mute. 

HEMMERLEIX,  J.  C,  director  of  the  con- 
sorts at  Fulda,  was  considered,  in  the  year  1800, 
on  excellent  violont  ellist.  lie  was  a  pupil  of 
Schlick  for  that  instrument,  and  of  Ulilmann  for 
composition.  He  published  a  concerto  for  the 
violoncello  (his  Op.  1)  in  KSOl. 

HEMMEULEIN,  J.,  a  German  composer,  pub- 
lished, chieHy  at  Offenbach  and  Paris,  twenty 
operas  of  instrumental  music,  between  the  vears 
178.3  and  I79o. 

HEXTMERLIN,  J.  X.,  chamber  musician  to 
the  Prince  of  Bamberg,  published  there,  in  1748, 
a  collection  of  si.x  ma-sscs,  entitled  "  Chorus  Mu- 
lantm."  T!ic  third  of  the  collection  is  of  his 
own  composition. 

HEMMIS,  F.,  chapel-ma.ster  and  organist  at 
Osnabruck,  published  at  Cassel,  in  1781,  a  book 
of  Catholic  hymns,  in  octavo,  and  in  1792  and 
1800,  some  njusic  for  the  piano-forte. 

IIEMPEL,  GEORGE  CHRISTOPHER, 
chamber  musician  and  violinist  to  the  Duke  of 
Sa.xe-Gotha,  is  known  by  his  publications,  since 
the  year  170 1,  of  ditlcrcnt  concertos  and  sympho- 
nies, and  by  twelve  solos  for  the  violin.  He  died 
at  Gotha  in  1801,  in  the  eighty-sixth  year  of  his 
age. 

IIEMPEL,  CHARLES  WILUAM,  was  bom 
at  ClieLsco,  near  London,  in  the  year  1777.  He 
showe<l  very  early  indications  for  musical  talent, 
and  was  placed  under  t!;e  tuition  of  his  relation, 
the  celebrated  A.  V.  C.  KoUman.  With  such 
ad--antages  he  could  not  fail  making  rapid  prog- 
ress ;  and  at  the  age  of  eight,  he  performed 
during  the  service  at  the  King's  German  Chapel, 
in  St.  James's.  Some  years  after  this,  he  was 
placed  at  a  boarding  school  in  Surrev,  where 
those  hours  which  others  devoted  to  sport  and 
idleness,  were  by  him  dedicated  to  music  and 
drawing.  In  the  years  179:5-1791,  he  went  on 
the  continent,  principally  to  Leipsic  and  Dre-den, 
where  he  had  the  most  enviable  opportunities  of 
cultivating  the  cb.icf  plcasiire  of  his  life,  music. 
On  his  return  to  London,  he  became  acquainted 
with  some  of  the  most  eminent  profes,sors,  and 
lost  no  oppnrHinity  of  the  improvement  which 
such  aciiuisitioiiM  afforded  him.  He  had  at  this 
time  the  honor  of  being  introduced  to  the  im- 
mortal    Haydn. 

years  after  this  period,  induced  him  to  have  re 
course  to  music  as  a  profe-.sion,  (which  hitherto 
had  not  been  the  case;1  and  a  prosj>ect  of  suc- 
ceeding to  the  organ  at  Truro  being  held  out  to 
him,  he  was  indticed,  in  180:1,  to  quit  the  raetrop- 
olis.  In  May,  1804,  be  was  elected  organist  of 
St.  Mary's.  Truro,  which  post  he  tilleil  for  many 
years.  Sacred  masic  now  became  his  chief 
delight,  anil  he  spared  no  pains  in  producing 
a  choir,  the  jierformance  of  which  was  rarely 
to  be  equalletl  out  of  a  cathedral.  It  was  long 
ere  he  turned  his  thoughts  to  composition ;  but 
alter  having  composed  a  few  psalms,  which  were 


publishetl  in  the  "  MUcrUnit 

pp.  2»;.5  to  291,  of  the  yeat 

of  "  S/h-ciFHen  He  tioro  tiio  S 

HEXKEL,     MICHAEL     inductor 


fl..n)/iii.  "  T.  1,  P.  3. 
unrler  the  title 
Miisicn," 

of    thi 


TOU~ic  and  organist  at  the  Dome  Church  in  Fulda, 
■was  bom  there  in  17.'<0  He  was  a  pupil  of 
Vicrling,  and  has  coini>osed  and  amuigetl  much 
music  tor  the  organ.  He  has  also  published 
some  pieces  for  the  guitar  and  flute. 

HEXXEBERO.  JOHAXX  B.M'TISTF^  or- 
ganist of  one  of  the  churches  ol  Vienna,  com- 
posetl  several  dramntii-  pivcs  for  one  of  the  the*- 


399 


nEN 


ENCYCI.OPyEDIA    OF    MUSIC. 


HER 


ti*s  of  that  city,  and  has  ako  published  "  S'nftw- 
ni  h  nuiitre  I'nci  e  I'iano-foHe,"  and  some  military 
music,  nicse  compositions  bear  date  from  the 
year  1793  to  1802. 

HEXNET,  FREYIIEim  VOX.  A  noble 
amntcur  of  music,  resident  at  Prajjue  in  1796. 
Tlie  musical  meetings  in  his  house  were  very  cel- 
ebrated, where  he  not  only  took  the  first  vio- 
lin himself,  but  composed  much  of  the  music 
whidi  was  performed,  namely,  symphonies,  quar- 
tets, \c. 

HEX'XIG,  C.  F.,  chapel-master  at  Sorau,  pub- 
lished nt  lierlin,  in  1775,  a  trio  for  the  harpsi- 
chord, and  in  1781,  nt  I*ipsic,  a  "  Qttodlibet,"  for 
young  musicians,  in  two  volumes.  The  latter 
work  is  a  collection  of  different  pieces  for  the 
voice  and  piano-forte.  In  1782  he  brought  out 
another  collection  of  songs.  Besides  these  vocal 
compositions,  twelve  sjTnphonies,  si.x  violin 
quatuors,  and  six  divertimentos  for  twelve  in- 
fitruraents,  have  been  published  b}'  him  at  vari- 
ous periods. 

IIEXXIG,  J.  C.  A  flutist  and  composer  for 
his  instrument.  His  works  have  been  published 
at  Offenbach,  Berlin,  and  Paris,  and  from  Op.  1 
to  19,  bear  date  from  the  year  179G  to  1300. 

HEXRY,  B.,  a  violinist  at  ParLs,  ha.s  published, 
eince  the  year  1780,  "  Concerto  pour  \'io!ou,  a  neuf. 
No.  1."  "  Etudes  pour  ie  Violon,  en  deux  Parties." 
"  Gammes  et  Caprices  en  double  Corde."  "  Thimes 
variis  dans  tes  vinrfi-deuz  Tons  Ics  phis  usitis." 
These  themes  were  adopted  by  Kreutzer,  of  the 
Cor.servatory,  for  the  practice  of  his  pupils. 

HEXRY  Vni.  was  a  composer  and  player 
upon  instruments.  He  composed  two  masses, 
which  were  often  sung  in  his  chapel.  He  sang 
and  played  ujjon  the  recorder,  flute,  virginals, 
and  set  songs  and  ballads.  An  anthem  of  his 
composition,  in  E  minor,  has  been  printed  in 
England.  A\"hen  he  was  journeying,  six  of  the 
boys  and  six  gentlemen  of  the  choir  attended 
him,  who  sang  every  day  "  Masse  of  our  Ladie 
before  noon,  and  on  Sondaics  and  holidaies, 
Mas>e  of  the  dnic,  besides  our  Ladj-  Masse,  and 
an  Anthempne  in  the  afternoon." 

IIEXSEL,  JOHAXN  DAXIEL.  Born  at 
Goldberg,  in  Silesia,  in  17o7.  He  wrote  the 
words  and  music  of  an  oratorio,  called  "  Jesus," 
in  1798.  He  also  publislied  some  dramatic  and 
other  music,  and  a  didactic  work  on  the  piano- 
forte. 

HEXSELT,  ADOLPH,  chamber  virtuoso  to 
the  Emi)ress  of  Russia,  was  born  at  Swnbach  on 
the  12th  of  May,  1814.  Hcnse'.t's  piano-forte 
compositions  are  full  of  sound,  dee;)  feeling,  and 
imagination,  and  perfectly  clear  and  well  rounded 
in  their  form,  even  when  they  are  elaborate  and 
richly  ornamented.  Played  by  the  composer 
himself,  they  arc  said  to  stream  forth  with  a  ful- 
ness of  melodic  and  harmonic  euphony,  and 
Bome  of  them  are  deeply  aflccting.  His  excel- 
lence as  a  player  resides  in  a  remarkably  energetic 
fulnexs  of  tone.  In  those  Icft-linnd  passages 
peculiar  to  the  itiides  of  Chopin  he  is  unsur])asscd 
by  any  of  his  contemporaries.  He  is  highly  es- 
teemed in  (icrmany  as  a  sincere,  gcnuiiu'  artist, 
full  of  fire  and  generous  enthusiasm,  and  belong- 
ing somewhat  to  that  select  class  of  pianists  and 
comuosers,  of  whom  Chopin,  Stephen  Heller,  S:c., 


may  tx-  considered  tj-jies.  Two  of  his  exquisite  little 
romances  for  piano,  viz.,  the  "  Pofnie  d" Amour," 
and  "  If  1  were  a  bird,  I'd  fly  to  thee,"  have  been 
favorites  in  chamber  concerts  in  Xew  York  and 
Boston. 

HEXSTRIDGE,  DANIEL,  organist  of  the 
cathedral  at  Canterbury,  about  the  year  1710, 
composed  many  anthems.  'Hie  words  of  some 
of  them  are  in  the  collection  entitled  "  Divine 
Harmony,"  published  by  Dr.  Croft,  in  1712. 

HEPP,  SIXTUS,  an  organist  at  Strasburg,  was 
born  in  1732.  He  was  a  i)upil  of  Jomelli.  Two 
sonatas  of  hLs  for  the  harjjsichord  were  published 
p.t  the  above  town,  and  much  more  of  his  music 
is  known  in  manuscript. 

HEPTACHORD.  A  terra  which,  with  the 
ancients,  implied  two  conjunct  tetrachords,  or  a 
system  of  se\«en  sounds.  It  was  also  the  name 
given  to  a  lyre,  or  cithara,  with  seven  chords.  In 
the  ancient  poetry  the  word  heptachord  signified 
certain  verses  that  were  sung  to  the  sound  of 
swcn  chords ;  that  is,  to  seven  different  notes,  or 
tones.  The  interval  of  the  heptachord  was 
equivalent  to  our  seventh. 

IIEFTAMERIS.    (Gr.)    In  the  ancirnt  mutie,  the  tennth  put 

of  a  werh,  or  fortv-third  part  of  an  oct:ivo. 

HEl'T.APIIOXOS.  (Or.)  The  name  (riven  to  each  of  the  ten 
mu.ical  notes  u<>cd  in  the  middle  aces. 

HERALDS,  or  DES  HERAL"rS.  ThLs  appella- 
tion the  French  formerly  applied  to  the  minstrels, 
because,  on  account  of  the  strength  and  clearness 
of  their  voices,  they  were  qualilied,  not  only  for 
animating  the  soldiers  in  battle,  but  for  making 
proclamations  at  tournaments  and  public  cere- 
monies. 

HERBERT!!,  ROBERT.  Born  in  Franeonia 
in  1770.  He  published  some  cantatas  and  piano- 
forte music.  Several  of  his  masses  (manuscript) 
have  been  much  admired. 

HERBIXG,  A.  B.  V.,  assistant  organist  to  the 
cathedral  at  Magdebxirg,  died  in  the  prime  of  life 
in  17G7.  He  published  much  vocal  music  of  a 
comic  cast,  which  was  very  jiopular  in  Germany. 

HERBST,  JOI!X  AXDREAS,  was  bom  at  Nu- 
remberg, in  the  year  1.588.  At  the  age  of  forty 
he  was  appointed  chapel-master  at  Frankfort  on 
the  Maine.  He  continued  in  that  station  about 
thirteen  years,  when  he  was  called  to  the  same 
ofhce  at  Nuremberg.  In  1().50,  at  the  solicitation 
of  his  friends,  he  returned  to  Frankfort,  and  kept 
his  former  place  until  the  time  of  his  death,  in 
16C0.  He  was  deeply  read  in  the  theory  of 
music,  and  in  composition  he  had  few  equals. 
Like  most  of  the  Gennans,  he  was  a  sound  and 
judicious  organist.  In  the  year  1^43  he  published, 
in  the  German  language,  a  work  entitled  "  .l/i«i>(» 
I'oetica;"  and  ten  years  afterwards,  a  translation 
into  the  same  language  of  the  "  Arte  Prattica  e 
Poetica  "  of  Giovanni  Chiodiiio.  He  was  also 
the  author  of  a  tract  entitled  "  Musica  Moderna 
Prattica,  occro  Maniere  del  buon  Canto,"  ])rinted  at 
Frankfort  in  16.i8,  in  which  he  strongly  recom- 
mends the  Italian  manner  of  singing.  HLs  other 
works  arc,  "  A  small  Tract  on  Thorough  Bass," 
and  "  .V  Discourse  on  Counterpoint."  -Of  his 
musical  compositions  there  are  only  e.xtant 
"  Mcletemata  sacra  Davidis,"  and  "  Suspiria  S.  Grc- 
fforii  ad  Christum,"  tor  tlirce  voices.  These  were 
printed  in  the  year  lfil9,  at  the  same  time  w^th 
another  of  his  compositions  for  sLx  voices. 


HER 


ENCYCLOP-EDIA    OF    MUSIC. 


HETl 


HERDER,  JOHANN  GOriTRIEl)  VOX. 
First  preacher  nt  the  court  ol  Wuiiuiir.  He  died 
about  1801.  He  published  many  works  rehitiiig 
to  music  ;  among  others,  one  "  On  the  Spirit  ol' 
Hebrew  Poetry,"  the  second  volume  of  which 
contains  dissertations  on  the  music  of  the  Psalms, 
and  on  the  union  of  music  and  dancing. 

HERING,  C.VRL  GOTl'LIEB,  organist  of  a 
town  near  Leipsic,  published  eleven  operas  of 
piano-forte  and  vocal  music,  between  the  years 
1789  and  1812.  Among  them  are  several  didac- 
tic works  of  merit.  They  are  all  published  at 
Leipsic. 

HERMANN,  J.  D.,  a  German  musician  and 
celebrated  pianist  and  composer  for  his  instru- 
ment, resided  from  the  year  178G  at  Paris,  where 
he  published  ranny  works  up  to  the  year  1802. 

HERMES,  HERMANN  DANIEL,  a  clergy- 
man of  lireslau,  born  in  1731,  composed  some 
vocal  music  in  a  printed  collection  of  music  at 
Breslau,  m  1790. 

HERMANNUS,  CONTRACTUS.  A  Bene- 
dictine monk,  bom  in  1013.  He  received  the 
name  of  Contractus  from  being  paralytic  in  his 
lower  extremities  from  infancy.  He  was  equally 
celebrated  a.s  historian  and  comjioser,  of  which 
M'alther  in  his  lo.\icon,  and  the  Abbe  Gerhert  in 
his  collection  of  composers,  have  given  sufKcient 
proof;  the  latter  having  collected  together  the 
rare  works  of  Hermannus,  and  inserted  them  in 
the  second  volume  of  his  collection,  under  the 
title  "  Opiucula  Miuica."  In  the  same  place  he 
ha-s  given  specimens  of  the  method  of  notation  nt 
that  period.     liormannus  died  in  10.5-1. 

HEROLD,  LOUIS  JOSEPH  FERDINAND, 
wa.s  bom  at  Paris,  of  German  parents,  in  1791. 
He  studied  composition  with  Mehul,  and  the 
piano  with  Adam  ;  when  more  advanced,  he  re- 
ceived lessons  from  Cherubini.  In  1810  he 
obtained  the  first  prize  (pr  piano  playing  at 
tlie  Conservatorj-.  Two  years  later  he  won 
the  first  prize  in  composition,  which  gave  him 
the  means  of  a  visit  to  Italy,  where  he  spent 
some  time  in  Milan,  Plorence,  Rome,  and  finally 
Naples.  There,  in  ISl-i,  he  composed  hi.s  first 
opera,  "  The  youth  of  Henry  V.,"  which  had  no 
great  success.  Returning  to  Paris  he  produced 
many  works  for  the  Opera  C'omique.  ITie  first, 
"Charles  of  France,"  an  operetta  in  two  acts,  he 
composed  in  company  with  Hoiltlieu.  ITiia 
pleased,  and  his  operatic  way  wa.s  o]>on.  He 
composed,  in  1817,  "  Ia^s  Rosiires,"  and  "  La  Clo- 
chette;"  in  1818,  "  Le  Premier  rrnit;"  in  1819, 
*'  Let  Tro jiteurs,"  and  "  L' Amour  I'latoniifut ;  "  in 
1820,  "  L'AiUeiir  mart  el   riranl ;  "  in    1823,  "  Ln 


left  an  unfinlihcd  opera,  called  "  I.iulovic,"  which 
was  completed  by  Hulevy,  and  successfully 
brought  out  in  183 1.  The  list  of  Hcrold's  piano, 
forte  works  is  considerable,  including  sonatas 
caprices,  rondos,  fantasias,  viu-iations,  &c. 

HERSCHEL,  J.VCOB,  brother  of  the  cele- 
brated astronomer,  wa.s  born  about  the  year  1734. 
He  was  master  of  the  king's  band  at  Hanover 
and  an  excellent  composer  of  music  for  instru- 
ments, somewhat  in  the  style  of  Abel  and  other 
musicians  of  his  day.  One  set  of  his  "  Sonatajt 
lor  Two  Violins  and  a  Boss  "  have  been  reprinted 
in  England.     He  died  in  1792. 

HERSCHEL.  DR.  FREDERIC  WILLLVM, 
vounger  brother  of  tlie  preceding,  was  born  at 
Hanover  in  1738,  where  his  father  was  a  musi- 
cian, and  by  whom  he  was  educated  both  in  the 
theory  and  practice  of  music.  In  the  course  of 
his  theoretical  studies,  he  turned  his  mind  to 
the  higher  branches  of  the  mathematics,  still, 
however,  considering  music  b.s  hi.s  profession.  In 
the  year  17.57  he  procured  the  situation  of  organ- 
ist in  Yorkshire,  which  he  held  till  17615,  when 
he  accepted  a  place  of  the  same  nature  at  Bath. 
It  wa.s  here  that  he  renewed  with  ardor  his  a.stro- 
nomical  studies,  and,  with  the  aid  of  a  telescope 
of  an  immense  size,  at  length  discovered  the 
planet  which  is  still  known  by  his  name.  After 
this  discovery,  his  majesty  George  HI.  desired 
Herschel  to  bring  his  telescope  for  his  inspection 
to  Greenwich,  and  subsequently  to  the  neighbor- 
liood  of  Windsor,  where  the  king  allowed  Her- 
schel a  pension,  on  the  condition  of  his  giving  up 
music  as  a  jirofession,  and  devoting  himself  en- 
tirely to  astronomy.  We  have  never  heard  of 
any  compo-.itions  by  Dr.  Herschel,  but  under- 
stand there  are  some  in  manuscript, 

HERSTELL,  CONRAD,  court  organist  at 
Cnssel,  was  bom  in  1770.  He  is  considered  in 
(Jcrraany  as  an  excellent  pianist  and  organist, 
and  has  published  some  works  for  hLs  instrument. 

HERSTiaCH,  or  HERABSTRICH.  (G.)  A 
do«ni  bow. 

HEirOL,  JOHANN  CHRISTIAN,  director 
of  the  concerts  of  the  Duke  of  Mecklenburg- 
Strelitz,  and  periormer  on  the  viol  da  gamba, 
was  bom  in  Sunbia  in  1(599.  He  was  very  cele- 
brated in  tiermnny,  as  a  composer  of  instrument- 
al music.     He  died  in  17-i4. 

HERTEL,  JOHANN  WILHEI.M.  son  of  the 
preceding,  was  born  in  1727.  He  was  also  direct- 
or of  the  concerts  of  the  Duke  of  Mecklenburg- 
Strclitx,  and  subsequently  of  the  Duke  of  Meck- 
Icnburg-Schwerin.     In  his  vouth  he  was  coi\sid- 


Mtdctier,"  "  l.ti.ilhinie"  and  "  Le  Vend6me  en  Fj-  !  ercd   one  of  the  liest   violinists  of  the  school  of 
fxitriif,"  the  latter  with  M.  Auber;  in   1824,  "  I^     Bendn ;    b>it  the  weakness  of    his   eyes    having 
25,  "  l^  Lupin  Ulunc ;  "  in  lS2t>,  i  oblrge<l   him   to   give   up 


Itoi  Rent  .  •■  in  1S25,  " /, 

"Marie  i"  in  1827,  .several  ballets;  and  in  1829, 
"  Kinmeliiie."  These  works  were  of  various  suc- 
cess ;  but  in  1831  he  rose  into  the  first  rank  of 
French  composers  by  his  "  /.umjxi,"  in  three  octs. 
Soon  after  this  his  health  liognn  to  decline ;  but 
he  would  not  change  his  laborious  Paris  life.  The 
new  administration  of  the  Opera  Coraique  wantetl 
new  pieces,  and  Herold  coraposeil  the  "  Pri  mix 
Clercs,"  and  "  Im  Mideciite  laits  ,Wt'rf<r»n."  The 
former  was  the  last  producetl,  and  was  his  swan 
•ong.  He  died  on  the  ISth  of  January,  1833, 
et  Thermos,  near  Paris,  and  was  burie<l  at  Pcre 
Lachaisc,  not  far  from  the  tomb  of  Me'aul.     He 


that  instrument,  he  at- 
tache<l  himsell  to  the  ]>iano-forte,  on  which,  in  a 
short  period,  he  airiveil  at  the  highest  degree  of 
perfection.  His  jiractical  works  are,  1 .  "  Two 
Sets  of  Songs,"  17.)7-17*>0.  2.  "  Two  Romances." 
1762.  3.  "Si.x  Soiintos  for  the  Harjwichord." 
4.  "  -V  Concerto  for  the  Harpsichord,  with  Ac- 
companiments," Nuremberg,  X'^y'.  ft.  "Six 
Symphonies,"  1767.  6.  "  Six  .Symphonic*."  Ht 
also  comi>osed  many  vocal  jiie<-es  for  the  court, 
among  which  two  Passions  are  vcrr  highlj 
spoken  of,  the  first  of  which  ap]>earc<l  in  1762, 
and  the  latter  in  1783.  Others  of  his  sacred 
pieces  ore,    •' Jetut   in    Banden,"    1782.      "  Jmui 


61 


401 


HER 


ENCYCLOPyEDIA    OF    MUSIC. 


HEW 


iw  Gerirht,"  1782.  "  Jeaiu  in  Purpur,"  1783. 
"  Die  Gabe  ties  heiligen  Geistca,"  1787.  "  Der  Ruf 
tur  liiuse,"  1787.  "Die  llimmelfahrt  Christi," 
1787,  aud  "  Die  Geburt  Jesu-Christi,"  1787.  lie 
fiirtluT  publislicd  some  critical  observations  on 
the  Italian  and  French  operas.     He  died  in  1789. 

IIEUZ,  HENRI,  the  distinguished  pianist,  was 
bom    at    Vienna,  in    ISOfi,    and   commenced   his 
studies  at  C'oblentz,  under  hLs  father's  direction. 
At  the  age  of  eight  he  jjlayed  Ilummd's  varia- 
tions (Op.  8)  in  a  concert  wth  apphiuse.      To 
obviate  a  weakness  of  the  left  hand,  his  father 
had  him  taught  the  violin.     The  organist  Hunten 
gave  him  some  ideas  of  writing,  and  at  the  age  of 
eight  years  and  a  half  he  composed  his  first  sonati- 
na for  the  piano.     In  18 IG  he  entered  the  Con- 
scr\'atory  at  Paris,  where  he  studied  under  M. 
Pradher,  and  obtained  the  first  prize  in  the  exe- 
cution of  a  concerto  of  Dussek,  and  an  iiiule  of 
Clementi.     From  this  time  his  reputation  grew 
rapidly.     He  studied  harmony  and  composition 
under  Dourlcn  and  Reicha.     His  first  two  pro- 
ductions, published  in  1818,  were  "  L'air  Tyrolien 
varii,"  and  the  "  Hondo  alia  Cosacca."  Moscheles' 
arrival  in  Paris  had  a  great  influence  on  his  man- 
ner ;  his  playing  acquired  more  elegance,  light- 
ness, and  brilliancy.     His  greatest  successes  date 
from  this  time  ;  for  about  twelve  years  the  suc- 
cess of  his  piano  works  surpassed   that  of    all 
other  works  of  the  same  kind,  and  publishers  i 
offered  three  or  four  times  as  much  for  his  man- 
uscripts as  for  those  of  the  best  composers  for  the 
piano.     They  were  widely  reprinted  in  Belgium, 
Germany,    England,    Italy,    and    afterwartls    in 
America.     Herz   has  i)ublished  over  a   hundred 
works.     The  most  remarkable  are  his  tliree  con- 
certos for  piano  with  orchestra  ;  a  trio  for  piano, 
violin,  and  violoncello,  (Op.  54  ;)  grand  polonaise, 
with  orchestra,  (Op.  .30;)  "  Rondo  brillant,"  ded- 
icated to  Moscheles;  fantasia  (for  four  hands)  m 
"  Giiillauine    Tell ;  "  variations  on   "  Xorma,"  on 
"  Otello,"  on  "  //C  Pri  aiix  Clcrcs,"  on  "  F.nrianthe," 
&c.,  &c.     He  also  prepared  a  piano-forte  method. 
In    1831    Herz,   with    the  violinist    Lafont,  gave 
concerts  with  brilliant  success  in  Germany.     In 
1831   he  visited   England,  where,  as  well   as   in 
Dublin  and   Edinburgh,  he  gave  many  concerts, 
and  produced  great  enthusiasm.     lie  passed  some 
months  of  each  year  after  this  in  England.     In 
1824  Herz,  who  had  been  associated  with  Klep- 
fer  in  the  making  of  pianos,  established  a  manu- 
factory himself,  which  is  still  in  activity.     As  a 
teacher  of  the  piano,  he  is  one  of  the  most  re- 
no\raed  in  Paris.     In   1837  he  received  the  dec- 
oration  of    the   Legion  of    Honor.      In    184'>-7 
Herz  passed  a  year  or  more  in  giving  concerts  in 
this  country,  and  he  was  one  of  the  first  of  the 
virtuosos  to  reap  the  new  field  of  public  won<lcr 
in   Calil'ornin,   before  his  return  to   Paris.     The 
music  of  Herz  Ls  distinguished  for  its  brilliant, 
polished,  elegant,  drawing-room  manner,  but  is 
without  much  depth  or  originality  of  ideas. 

HESELTINE,  JAMES,  a  pupil  of  the  cele- 
brated Dr.  Ulow,  was,  during  nearly  half  a  cen- 
tury, orgai\ist  of  the  cathedral  of  Durham,  and 
wa.H  considered  one  of  the  finest  extemporary 
performers  and  church  composers  of  his  day.  He 
composed  many  beautiful  anthems  for  the  use  of 
the  choir ;  but  on  some  mLsunderstanding  taking 
place  between  him  and  tlie  dean  and  chapter,  he 
dwtroyed  the  whole  of  tlicm. 


HESSE,  ADOLPH  FREDERIC,  one  of  th* 
most  celebrated  organists  of  this  day,  was  bom  at 
Ureslau  in  1809.  He  is  son  of  the  organ  builder, 
Frederic  Hesse.  Among  his  compositions  are 
three  sj-mphonies;  "Tobias,"  an  oratorio  ;  several 
overtures ;  cantatas ;  a  psalm  for  chorus  and  or- 
chestra; a  sonata  for  piano,  (four  hands  ;)  a  piano 
concerto ;  a  string  quintet,  and  two  quartets ; 
motets ;  a  choral  book,  and  thirty-two  organ 
compositions  of  all  kinds.  In  1828  and  '29,  he 
gave  organ  concerts  in  the  German  cities,  and 
became  the  intimate  friend  of  Spohr  and  Rink. 

HESSE,  ERNEST  CHRISTIAN,  counsellor 
of  war  to  the  Landgrave  of  Hesse-Danustadt,  was 
bom  in  1676.  He  was  a  celebrated  performer  on 
the  viol  da  gamba.  In  1698  he  went  to  Paris  to 
perfect  himself  on  his  favorite  instrument.  There 
he  remained  three  years,  and  took  lessons  at  the 
same  time  from  the  two  celebrated  masters,  Marais 
and  Foniueray.  These  two  professors  being  bit- 
ter enemies,  Hesse  was  obliged  to  change  hLs 
name  and  call  himself  Sachs  to  one  of  them, 
whilst  to  the  other  he  was  known  by  his  right 
name.  Both  the  masters  were  so  satisfied  with 
the  extraordinary  progress  and  talents  of  theit 
pupil,  that  they  boasted  of  him  throughout  Paris, 
and  finished  by  challenging  each  other  to  a  pub- 
lic trial  of  their  pupil's  skill,  which  was  decided 
on,  and  a  concert  fixed  lor  that  purpose.  Their 
astonishment  may  easily  be  conceived,  when  they 
both  recognized  their  pupil  in  Hesse,  on  the  ap- 
pointed day.  That  the  public  might  not,  however, 
be  disappointed,  Hesse  performed  at  the  concert, 
in  the  style  of  each  of  his  masters,  and  was  con- 
sidered to  do  equal  honor  to  tliem  both.  In  170.5, 
he  undertook  a  journey  to  Holland,  England,  and 
Italy.  On  his  return,  he  visited  Vienna,  and  per- 
formed before  the  emperor,  who  presented  him 
■with  a  chain  of  gold.  About  the  year  1713.  he 
accepted  the  situation  of  court  chapel-master  to 
the  Prince  of  Hesse-Darmstadt.  He  died  in 
1767.  Besides  his  compositions  for  the  church, 
he  left  much  music  for  the  viol  da  gamba. 

HESSE.  JOH ANN  GEORG  CHRIS'HAN,  a 
celebrated  performer  on  the  bassoon,  was  bom  in 
Germany  in  17G0.  He  resided  for  some  time  in 
England. 

IIESSE,  JOHANN  HENRICH.  Author  of 
"  Kiirze  Aniceisunij  :um  General  Basse,"  published 
in  Germany  in  1776.  He  was  previously  knowni 
as  the  author  of  some  sacred  songs. 

HEUDIER,  ANTOINE  FRANCOIS,  bom  at 
Paris  in  1782,  published  some  violin  music,  and 
composed  the  music  of  several  melodramas. 

HEUGEL,  JOHANN,  author  of  several  pieces 
published  in  Salblinger's  "  Concentits  4,  5,  6,  ct  8 
voces"  Augsburg,  1.54.5.  He  was  chapel-ma.ster 
to  the  Marquis  and  Landgrave  of  Hesse-Casscl. 

HEUSCHKEL,  JOHANN  PETER,  a  cham- 
ber musician  to  the  Duke  of  Hildburghausen, 
wa-s  born  in  1773.  He  was  a  celebrated  performer 
both  on  the  hautboy  and  on  the  or^zan,  and  ha» 
published  some  instrumental  music. 

IIEWIIT,  D.  C,  is  by  birth  a  Scotsman,  and 
went  to  London  about  the  year  IS  19.  He  ha« 
written  a  work  entitled  "New  Principles  and 
Theory  of  Musical  Harmony,"  wliioh  is  highlj 
spoken  of  by  musical  critics. 


402 


HEX 


ENCYCLOPiEDIA    OF    MUSIC. 


11 IG 


IIEXACIIORD.     A  series  of  notes  consisting 
m  four  tones  and  one  semitone,  thus :  — 


^^^^ 


riie  hexachord  was  invented  by  Guido.  He 
sujiposed  four  i)arancl  lines  to  be  ])laced  one 
above  tbe  other,  and  the  lowest  line  to  rejiresent 
lit,  the  first  s])ace  ri,  the  second  hne  mi,  the 
second  space  fa,  the  third  line  sol,  and  the  tliird 
spa  »  la  thus  :  — 


M  ni.a.    [  - 


ri,     ml,      &,      Bol,     la. 


I  Third  iiMM. 
Hnon.l  .|i«l. 
flrit  tfoK*. 


But  findin<^  that  the  human  voice  extended  to  a 
greater  compass,  he  supposed  a  second  hexachord 
to  commence  at  fa,  and  rise  by  decrees  throu<;h 
sol,  la,  si  flat,  and  ut,  to  re  ;  and  a  third  to  com- 
mence at  snl,  and  run  through  la,  si  natural,  ut, 
and  re,  to  mi,  thus  :  — 


Cl,  r«,  ml,  fa.  Ml,  !•. 

It,  Ml,  li,   A    01.  n. 

BA  U.  il,  at.  ra,  ml. 

V 

IT)  * 

JL 

-,-1    ■* 

m  "P  ® 

r^                   n  '? 

«  *  '" 

«  «  ® 

?y^sr«^*^^J 

a® 

It,  re,  ml,  fa.  Ml,  Ik.    t't,  rr,  mi,   fa.  tol,  la.    Ul.  n,  mi.  fa,  tol,  la. 


That  which  begins  with  vt,  or  C,  is  the  natural 
hexachord ;  that  which  besiins  with  fa,  or  F,  is 
the  soft  hexachord  ;  and  that  which  begins  with 
sol,  or  G,  is  the  harsh  hexachord.  ITie  repre- 
sentation of  these  chords,  as  given  by  Hawkins, 
will  be  found  to  contain  twenty  note-;  naturally, 
and  six  generations  of  hexachords.  T\\e  follow- 
ing diagram  is  copied  from  Hawkins :  — 

O    A    B    C    D    I    F   0   A    B    B    C    D    I    r  00  A.t  BB  BB  CC  on  EE 


, »r«*  "■11 

.  ,  rff\    1  1  ' hf 

__| j_ 

— 

6- -1 

— ' 

1  Damm  Hexorhord.  S  Natural  Hexachord. 

2  Natural        do.  6  MSlle  do. 

3  Molle  do.  7  Durum  do. 

4  Durum         do. 

Such  was  the  improvement  of  this  ancient 
writer  ;  and  his  contemporaries  speak  of  it  in 
terms  of  highest  praise.  Tl;ey  say  that  it  en- 
abled one  to  learn  in  twelve  months  more  than 
Ve  could  have  learned  for  ten  years  previous  to 
that  time.  So  enthusiastic  were  mnnv  of  (rui- 
do's  disciples,  that  they  believed  and  a-xserted 
that  he  received  this  knowledge  by  divine  in- 
spiration. 

HKYDEX,  J.  B.  VOX.  A  German  composer 
of  vocal  music,  published  at  Berlin  and  Ham- 
biug,  since  the  year  1797. 

HEYNE,  FTIIEPRICH.  Chamber  musician 
to  thcDukeof  Mecklenburg-Schwcrin,  and  second 
hu.sband  to  Madame  Benda,  the  celebrated  Ger- 
man singer.  He  has  published  "  Tnii  l>iio.i  j>nir 
ieiix  Flutes,"  Op.  1,  Berlin,  1792,  and  a  collection 
of  songs,  with  piano-forte  accompaniment,  in  1800. 


HEYSE,    A.    G.,  a  harpist  and  composer  at        HIGH  TREBLE. 

403 


Halle,  has  published  several  works  for  liis  instru- 
ment, and  lor  the  flute,  sijicc  the  year  1792. 

HKrniKR,  WILLIAM.  This  gentleman  wt» 
made  a  doctor  of  music  on  the  following  occasion. 
William  Camden,  the  justly  celebrated  antiquary, 
having,  a  few  years  previously  to  his  dwease,  de- 
termined to  found  a  history  lecture  in  Oxford 
university,  his  friend  Mr.  Heythcr  was  commis- 
sioned to  wait  on  the  vice  chimcelior  with  the 
deed  of  endowment.  Hoyther,  having  been  very 
assiduous  in  tlie  study  of  music,  expressed  a 
dei-irc  to  be  honored  with  a  musical  degree  ;  and 
accordingly  that  of  doctor  was  lonferred  upon 
him  in  Ui'22,  at  the  same  time  with  his  friend 
Orlando  (jibbons.  It  is  supposed  tliai  he  then 
examined  into  the  nature  of  musical  instruction 
at  Oxford,  and  found  that  although  there  wa.s  a 
professorship  of  music  founded  by  King  .\lfred, 
yet  the  stipend  was  not  suthcicnt  to  induce  anv 
skilful  man  to  become  a  candidate  lor  the  office  ; 
and  the  reading  of  an  old  lecture  over  and  ovej 
again  had  long  been  considered  a  matter  of  form. 
He  therefore  proposed,  in  a  convocation  held  in 
1G2G,  to  found  a  new  and  more  u.seful  lecture; 
and  having  gained  the  pennission  of  the  univer- 
sity, gave  to  them  by  deed,  dated  the  26th 
of  February,  1627-8,  an  annual  rent  charge 
of  sixteen  pounds,  sixteen  shillings  and  eight 
pence,  to  found  the  above  lecturesliip.  Of  this, 
thirteen  pounds,  six  shillings  and  eight  pence 
were  to  constitute  the  wagesof  the  music  master, 
and  the  remaining  three  jjounds  were  to  be  given 
to  tlie  reader  of  a  lecture  on  the  theon,*  of  mu- 
sic, once  every  term,  and  of  an  EnglLsh  lecture 
on  music  at  the  time  of  keeping  the  acts.  Dr. 
Herther's  endo«Tnent  w.is  incrcasetl  by  the  ad- 
dition of  the  ancient  stipend,  and  w/^s  Rfter»vard8 
further  augmented  by  Nathaniel,  Lord  Crew, 
Bishoj)  of  Durham.  Dr.  Heyther,  for  some  time 
pre\-iously  to  hLs  taking  bus  degree,  was  a  mem- 
ber of  the  choir  of  Westminster,  and  a  gentleman 
of  the  Chapel  Royal.  Camden  and  he  were  on  so 
intimate  a  footing  as  to  rc-^ide  together  in  the 
same  house.  He  was  appointed  executor  in  Cam- 
den's will,  and  upon  his  death,  came  in  tor  a  con- 
siderable lite  estate  in  his  property.  Dr.  Hey- 
ther's  knowledge  of  music  does  not  appear  to 
have  been  verj-  extensive.  Wood  informs  xis  that 
the  musical  exercise  performed  as  the  act  for  his 
degree  was  composed  by  Orlando  Gibbons.  He 
die<l  in  1627. 

HEYWOOD.  An  Engli.sh  musician  and  poet, 
boni  in  London.  It  is  said  that  Uueen  Mary  was 
so  fond  of  iiLs  performance,  that  ths  wisl.e-i  to 
hear  him  on  her  death  bed.  Aftt:  ihc  decease  of 
that  princes;*,  he  was  obliged  to  quit  England  on 
account  of  his  religion,  and  terminated  his  life  at 
Mechlin,  in  1577. 

HEY-TUOLY-LOLY.  An  old  Scotch  burden. 
See  Bi-KDE.v. 

HIEN,  L.  C.  Chamber  mtuician  to  the  OucheM 
of  Wurtcmburg,  in  1771. 

HIGH.  \n  epithet  given  to  any  note  or  tone 
considerably  acute  in  respect  of  some  other.  A 
word  arbitrarily  used,  and  of  various  meanings 
a»  applied  to  ba.ss,  tenor,  or  treble  voices,  or  in. 
struments 


In  old  French  music,  the 


HID 


ENCICLOP.EDIA    OF    MUSIC. 


HU 


G  clef  is  placed  on  the  first  line,  and  called  the 
high  treble,  thus  :  — 


m 


niDDEX.  This  term  is  applied  to  those  pas- 
sages of  liiirmony  in  which  a  third  or  a  sixth 
moves  to  a  filth;  i.  e.,  in  which  two  consecutive 
tilths  may  be  imagined,  though  they  do  not 
really  exist. 

HILARD.  An  eminent  harpist.  He  received 
from  Edmund,  the  son  of  Ethelred,  a  magnificent 
villa  as  a  jirescnt,  which,  in  liis  declining  years, 
he  presented  to  the  church  at  Canterbury,  Eng- 
land, when  setting  out  on  a  pilgrimage  to  Rome. 

HILARODI.  (Greek  pi.)  Certain  itinerant 
poet  musicians  among  the  ancient  Greeks,  who 
went  about  singing  little  diverting  poems  or 
songs.  They  were  dressed  in  white,  and  crowned 
with  gold,  and  originally  wore  shoes,  but  after- 
wards assumed  the  cn-pida,  or  sole  braced  to  the 
foot  ■n-ith  straps.  The  hUarodi  did  not  sing  alone, 
but  were  accompanied  on  some  instnunent  by  a 
boy  or  girl,  who  always  attended  them  in  their 
excursions.  From  the  streets  they  were  intro- 
duced into  tragedy,  as  the  magodi  were  into 
comedy. 

HILARODTA-    (Gr.)    The  name  eiTcn  by  the  ancients  to  those 
•ougs,  or  short  lyric  iiocms,  sung  by  the  ItHar'odi, 

HILARY,  ST.,  Bishop  of  Poitiers  in  the  fourth 
century,  and  born  in  the  same  tow^l,  was  the 
great  adversary  of  the  Arians,  who  drove  him 
from  his  native  place,  and  obhged  him  to  seek 
refuge  in  I'hrygia.  After  some  time  he  was 
recalled,  and  died  at  Poitiers  in  the  year  .367.  lie 
composed,  in  3.55,  the  first  hymns  in  Latin  verse, 
which  St.  Ignatius  ordered  to  be  sung  in  the 
churches. 

HILDEBRAND,  WILHELM,  a  musician  in 
Germany,  published,  about  the  year  1811,  at 
I.cipsic,  "9  Lieder  mil  Dcgl.  d.  Guitar,"  and  "4 
U'einlieder  mitkleinen  Choren  mit  Dcgl.  d.  Giiitarre." 

HILL,  FREDERIC,  of  the  city  of  York,  a 
professor  of  distinguished  eminence,  was  born  at 
Louth,  in  Lincolnshire,  about  17G0,  where  his 
father  filled  the  ofiice  of  organist  with  respecta- 
bility for  many  years.  At  an  early  age  he  was 
invited  to  tlie  new  organ  at  Loughborough  in 
I>eiccstershire.  Afterwards  he  returned  to  Lon- 
don, and,  at  the  solicitation  of  some  of  the  lead- 
ing musical  characters  in  York,  ultimately  settled 
in  that  city.  As  a  performer  on  the  ])iano-forte 
and  violin,  he  exhibited  considerable  ability,  and 
as  a  teacher  ])robably  still  more,  having  been  em- 
ployed in  the  family  of  the  archbishop  and  the 
surrounding  nobility  for  many  years.  The  fol- 
lowing Ust  of  his  works  bear  evident  marks  of 
taste  and  genius  :  "  Grand  March,"  "  Caledo- 
nian Melody,"  "  Divertimento,"  "  Lady  of  the 
Lake,"  "  Six  Military  Pieces  for  a  full  Band," 
"Canzonet,"  dedicated  to  Kalkbreuncr,  "Six 
Airs,"    "  Six  single  Songs." 

HILL,  THOMAS,  brother  to  the  preceding, 
was  organist  at  Pontcfract,  and  n  professor  of 
eminence  on  the  organ,  piano-forte,  flute,  and 
violoncello. 


HILL,  JOSEPH,  younger  brother  of  the  pre- 
ceding, wa-s  organiiit  of  Stockton.  He  was  t 
performer  of  great  ability  upon  the  organ,  piano- 
forte, and  haqj.  His  princijial  compositions  are, 
"  Prelude  and  Fugue,  Organ  or  Piano-forte  ;  " 
song,  "  Blow,  blow,  thou  vernal  gale  ;  "  glee, 
three  voices,  "  ^\'hen  Aurora's  soft  blushes ;  " 
"  Tlie  Dawn,  or  the  Shepherd's  Call ;  "  "  An  In- 
troduction, Ail-,  and  Rondo  ;  "  "  Two  Numbers 
of  Progressive  Lessons  for  the  Piano-forte ;  "  "  An 
Introduction,  March,  and  Finale ;  "  also  sevei-al 
productions  lor  the  harp. 

HILLER,  properly  HULLER,  JOIIAXN 
ADAM,  chapel-master  of  the  Duke  of  Courland, 
and  conductor  of  the  music  at  the  church  ot  St. 
Thomas,  at  Ixipsic,  was  born  in  1728.  In  his 
cliildhood  he  learned  to  play  on  the  violin,  flute, 
hautboy,  and  trumpet.  He  next  took  lessons  on 
the  harpsichord  of  the  celebrated  Ilomilius,  then 
organist  of  Xotre  Dame  Church  at  Dresden,  where 
Ililler  had  been  sent  to  school.  Singing,  how- 
ever, was  his  jjrincipal  occupation  in  music  ;  and 
what  most  contributed  to  form  his  talents  in  this 
resjjcct  were  fourteen  operas  by  Ilasse,  which  he 
had  the  opportunity  of  hearing  during  nine  years 
that  he  remained  at  Dresden,  and  of  which  he 
studied  the  scores  with  assiduity.  An  idea  may 
be  fonned  of  liLs  zeal  in  this  pursuit,  from  the 
circumstance  of  his  having  in  three  months  copied 
the  scores  of  seven  operas  by  the  above  master. 
In  1758  he  went  to  the  Uiuversity  of  Leipsic  to 
study  jurisprudence.  There  he  still  continued, 
however,  to  cultivate  music,  and  composed  six 
symphonies,  besides  some  sacred  cantatas.  He 
next  began  to  occupy  himself  with  the  theory  of 
music,  and  pubhshed  a  dissertation  on  music,  or 
the  imitation  of  nature  by  musical  sounds.  In 
1766  he  commenced  editing  a  periodical  work, 
entitled  "  Wochcntliche  \achrichtfn  und  Anmer- 
kungen  die  Musik  hctnffend,"  (Weekly  Reports  and 
Observations  concerning  Music.)  This  was  the 
first  periodical  musical  work  in  Germany.  In 
1762  he  established  a  concert  at  Leipsic,  which 
is  cited  by  Gerber  as  a  model  for  that  species  of 
entertainment.  In  1771  he  opened  a  singing 
school  for  young  ladies,  and,  four  years  after- 
wards, founded  a  sacred  amateur  concert,  in 
which  his  pupils  sang.  In  1786  he  joined  the 
Duke  of  Courland  at  Berlin,  and  had  the  honor 
of  executing,  in  the  cathedral  of  that  city,  the 
"  Messiah"  of  Handel,  with  an  orchestra  of  three 
hundred  musicians.  Besides  his  periodical  work, 
he  wrote  "  Instructions  for  Singing  correctly, 
with  Examples,"  also  "  Instructions  for  orna- 
mental Singing,  ■\\-ith  Examples."  He  translate<l 
a  French  work  on  music  ;  wrote  also  the  biog- 
raphy of  celebrated  modern  musicians ;  an  ac- 
count of  his  performance  of  the  "  Messiah  "  at 
Borhn  ;  and  three  small  dissertations  respecting 
the  same  oratorio,  on  the  occasion  of  its  perform- 
ance at  Lci])sic.  He  comi)osed  his  cantatas  for 
the  church  in  1753,  1759,  and  1761  ;  a  new  mel- 
ody to  the  hundredth  psalm,  in  1785.  He  pro- 
duced the  "  .Vrt*rt/  Mater"  of  Pcrgolese,  with  the 
parody  of  Klopstock,  in  1771,  the  same  fuU  choir 
as  in  1786  ;  a  collection  of  motets  for  the  use  of 
the  schools,  in  six  volumes,  from  1776  to  1787  ; 
the  "  'J'c  Deiiin  "  of  Handel  for  the  peace  of 
Utrecht,  with  the  Latin  text,  in  1780;  the  "  Sin 
belt  Milter"  of  Haydn,  with  the  German  trans 
lation   of  Hiller,  for   the   harijsichord,  in    1782 


404 


nir 


ENCYCLOPAEDIA    OF    MUSIC. 


HIM 


"  The  Pilgrims  in  Golgotha,"  an  oratorio  of  Ilassc, 
translated  into  (icnunn,  and  published  for  the 
harpsichord  in  ITS  I;  iind,  lastly,  the  "  Toil  Jvau," 
an  oratorio  by  Uraiin,  arranged  lor  the  harpsi- 
chord, in  17So.  lie  composed  also  some  operas 
and  chamber  music.     He  died  in  1804. 

IIII.LER,  FREDEUIC  ADAM,  son  of  the  pre- 
ceding, was  born  at  I.eipsic  in  1708,  and  easily, 
a«  may  be  imagined,  obtained  a  musical  educa- 
tion from  his  eminent  father.  Early  in  liie,  lie 
appeared  on  the  theatrical  boards  as  a  tragcilian, 
and  made  his  dibut  in  the  character  of  Itomco. 
He  soon,  however,  quitted  the  stage,  and  was 
appointed,  in  179(i,  chiJ'-U'orchcalre  to  the  national 
theatre  at  Altona.  He  published  much  vocal  and 
iustrumcntal  mmtic,  and  some  light  dramatic 
pieces. 

HILI^R,  FERDINAND,  one  of  the  most 
promising  of  the  modern  composers,  was  born  at 
Frankfort  on  the  Maine,  in  1S12,  of  a  Jewish 
family.  He  gave  himself  to  the  study  of  music 
while  very  young,  and  received  lessons  from 
Kink,  the  famous  organist,  and  from  the  j)ianist 
and  composer  Hummel.  He  went  to  Paris  in 
1818,  and  entered  Choron's  institution  for  sacred 
music  as  an  accompanist ;  but  he  did  not  remain 
there  long  :  placed  by  his  family  in  an  independ- 
ent position,  he  occupied  himself  entirely  with 
the  development  of  his  talent  as  a  pianist  and 
composer.  In  18.30  he  gave  his  first  concert  at 
the  Conservatory,  to  make  known  some  large 
works  of  his  own.  A  symphony,  part  of  a  piano 
concerto,  and  a  "  Prayer  of  the  Levitcs,"  justitied 
the  high  opinion  of  him  already  formed  l)y  the 
connoisseurs  upon  the  hearing  of  his  two  string 
quiu-tets.  As  a  pianist  he  was  distinguished  by  i 
the  pure  and  elegant  manner  of  Hummel's  school. 
At  a  second  concert,  in  December,  1SI51,  he 
brought  out  a  second  symphony,  an  overture  to 
"  Faust,"  and  a  piano  concerto.  .Since  then  he 
has  frc'(}uently  had  new  compositions  jierformed 
and  acbuiied  in  Piuis,  and  as  a  pianist  has  ])layed 
in  four-hand  pieces  with  Liszt,  Kalkbrenncr,  and 
others.  But  it  was  by  his  classical  i)iano  and 
violin  soirAes,  with  Haillot,  in  18.i5,  that  he  mo>t 
approved  his  mastery.  After  that  he  lelt  Paris  for 
a  time,  and  retired  to  Frankfort.  .\s  late  as  18.52 
he  was  conductor  at  the  Italian  Opera  in  Paris. 

HILLMER,  GO'lTLOB  FIUEDRICII.  counsel- 
lor to  the  Duke  of  AVurteraburg,  was  born  in 
17.")t5.  He  published  at  Frankfort,  in  1781,  a 
collection  of  odes  and  songs,  and  another  volume 
of  the  same  at  lireslau,  in  1785. 

HILTON,  JOHN,  bachelor  of  music  of  the  Uni- 
versity of  Cambridge,  was  orgajiist  to  the  Church 
of  St.  Margaret,  Westminster,  and  also  clerk  of 
that  parish.  He  died  during  the  time  ot  the  usur- 
pation, and  was  buried  in  the  cloisters  of  West- 
minster -Vbbey.  He  was  the  author  of  a  madri- 
gal in  five  parts,  printed  in  "The  Triumphs  of 
Oriana."  In  lvi27,  he  published  a  set  of  fa-los 
for  three  voices,  which  are  remarkable  for  the 
excellence  of  their  mclotlies ;  and,  in  liir>2,  a 
valuable  collection  of  catches,  rounds,  and  can- 
ons, for  three  or  four  voices,  under  the  title  of 
"  Catch  that  catch  can,"  containing  some  of  the 
best  compositions  of  this  kind  any  where  to  he 
found.  Many  of  them  were  written  by  liimsell, 
Mid  others  by  the  most  eminent  of  his  coutcm- 


jjoraries.  In  the  books  of  some  of  the  cathedral* 
•there  ore  preserved  a  morning  and  evening  ser- 
vice of  lus  composition,  wliich  were  never  printed 

HIMMEL,  FREDERIC  HENRY,  chapcl-ma.s- 
ter  to  the  King  of  Prussia,  was  born  in  L7i;.5,  at 
Treuenbriet/en,  a  small  town  in  the  dustrict  of 
l{randenl>urg ;  which  same  place  also  gave  birth 
to  the  venerable  Nichelmann,  who  was  not  only 
a  great  piano-forte  player,  but  al!»o  a  profound 
composer.  Ilimmcl  wius  intended  for  the  church, 
and  went  to  the  university  at  Halle,  to  study 
theology.  After  remaining  there  two  years, 
chance  afforded  him  an  opportunity  of  surprLsing 
the  King  of  Prussia  (Frederic  WiUiiun  II.)  by 
his  skill  on  the  piano-forte,  which  prcpcsstrwetl 
the  king  so  much  in  his  favor,  that  hi>  majesty 
settled  on  him  an  annual  stipend,  to  assist  him  iu 
cultivating  the  talent  which  he  evinced  for  com- 
position. In  pursuit  of  this  object,  Himmel  went 
to  Dresden,  where  he  selected  for  hLs  master  in 
counterpoint  the  celebrated  Naumann,  under 
whose  ciureful  and  able  tuition  he  advanced  nip- 
idly  in  the  science  of  composition  ;  so  much  so, 
tliat  after  two  or  three  years  he  returned,  in  17"J2, 
to  Berlin,  and  presented  to  the  king  a  part  of  the 
fruit  of  his  studies  at  Dresden,  namely,  the  ora- 
torio of  "  haofo,"  the  words  by  Metastasio.  This 
eomjiosition  was,  by  his  majesty's  orders,  imme- 
diately performed  at  hi:>  private  chapel,  by  the 
principal  musicians  of  the  court,  and  met  with 
such  applause,  that  the  king  appointed  Ilimmcl 
his  chamber  composer,  and  presented  him  also 
with  about  five  hundred  pounds :  hLs  majesty 
further  gave  him  permission  to  visit  Italy  for  two 
yeiurs,  supplying  him  with  an  ample  stipend  to 
defray  all  his  expenses.  Before  he  left  Berlin  for 
Italy,  his  cantata  "  La  Daiiza  "  wa.s  pcrfonued 
with  much  iclat:  this  wius  also  one  of  his  Dresden 
compositions.  It  is  probably  at  Venice  that 
Himmel  first  resided  in  Italy,  as  we  find,  in  the 
year  1794,  his  pastoral,  "II  prima  Savi'jalore," 
composed  for  the  theatre  of  that  city.  \t  Na- 
ples the  king  re<iucsted  him  to  undertake  the 
music  for  a  serious  opera,  to  be  called  " //  .Sc»i»- 
ramiilf,"  and  to  have  it  ready  for  his  majesty's 
birthday,  on  the  Tith  of  Janu.-iry,  179.5.  Whilst 
occupied  with  this  work,  the  place  of  chapel- 
master  becoming  vacant  through  the  dismissal  of 
Reichardt,  the  king  appointetl  Himmel  to  tha 
office  before  his  return  from  Italy.  On  his  ar- 
rival in  Pru-ssia,  at  the  end  of  tl>e  same  year,  a 
great  fire  broke  out  in  Potsdam,  when  he  very 
honorably  i)erformed  his  prole:.sional  du:ie->.  by 
giving  a  scries  of  concerts  of  .sacred  mus-'c  lor  the 
benefit  of  the  unfortunate  sufferers.  Ii.  me  year 
1797,  some  splendid _/?/««  were  given  by  t)»e  king 
in  honor  of  the  prijiccss's  raarrLige  with  the  he- 
redit.iry  Prince  of  Hesse-Cassel.  This  afforde<l 
Himmel  an  opportunity  of  showing  the  fertihty 
ol  his  talents  in  the  highest  i>erlcction.  Ilia 
"  Semiramulc  "  wa.s  got  up  in  the  most  majnifi- 
cent  style  at  the  great  Opera  House ;  hc-ides 
which,  he  composccl,  for  the  occasion  of  the  weil- 
ding,  two  c.intatas,  entitled  "  The  llcs!>ian  Sons" 
and  "The  Prussian  Daughters;"  also  a  grand 
cantata,  called  "  Confidence  iu  Go<l."  Many  ol 
his  airs,  duet-s  choruses,  fugues,  hymns,  ,Vc  ,  were 
also  perfonnod  on  that  occa.sion  in  conivn.*.  A 
biographer,  who  was  present  nt  the  per  orraanr« 
of  "  ifemiranude,"  says  that  "  the  music  conlaini 
such  stores  of  rich  thoughts  and  invci  .ive  gen 


40d 


HIM 


ENCYCLOPJEDIA    OF    MUSIC. 


HI> 


ius,  that  an  Italian  might  easily  carve  out  ten 
works  from  Ilimmcl's  one,  and  still  be  interesting." 
llimmcl  himself  presided  at  the  piano-forte. 
Some  critics  have  remarked,  that  many  of  the 
vocal  compositions  of  Ilimmel,  especially  hLs 
early  ones,  are  overburdened  with  instrumental 
accompaniments.  This  seems  to  have  arisen  from 
his  superabundance  of  ideas,  which  age  cor- 
rected. Woe  to  that  juvenile  talent  which  has 
uo  shoots  that  will  bear  pruning  !  Very  shortly 
after  the  above-named  festival,  Ilimmel's  cheer- 
ful music  was  changed  into  notes  of  woe,  by  the 
death  of  his  muniHcent  patron,  Frederic  Wijliam 
TI.  On  tliLs  occa-sion  he  composed  a  "  llequicm," 
wl^th  was  performed  in  the  Dome  Church,  at  the 
king's  funeral,  in  1797,  by  an  orchestra  of  one 
hundred  and  fifty  performers.  For  the  corona- 
tion of  Frederic  'William  III.,  in  1798,  Himmel 
composed  a  "  Te  Dcum."  He  then  reijuested 
leave  of  the  king  to  take  a  journey  to  Stock- 
holm and  Petersburg.  After  having  performed 
before  the  Russian  court,  the  emperor  gave  him  a 
ring  set  with  brilliants  ;  his  majesty  also  com- 
manded him  to  compose  a  new  opera  for  the  fol- 
lowing winter  ;  in  consequence  of  which  order, 
and  with  the  permission  of  the  King  of  Prussia, 
he  remained  during  that  winter  in  Petersburg, 
and  produced  the  opera  of  "  Alessandro ; "  the 
first  representation  of  which  was  for  his  benefit, 
and  brought  him  the  large  sum  of  sue  thousand 
rubles,  besides  many  valuable  presents.  About  the 
year  1801,  Himmel  A-isited  France,  England,  and 
Vienna.  In  December,  1802,  he  resumed  his  func- 
tions at  Berlin,  where  he  died  in  1814.  The  fol- 
lowing list  contains  his  principal  published  works : 
"  Vimjt  Variations  pour  le  Claviciii"  1790.  "  Der 
Leycrmann,"  1796.  "  Dlumeiistraus,  meinen  GOn- 
tieni  und  Frcuiulen  geicidmet  bey  meiiiem  Abschiede 
atui  Berlin  im  J."  1797.  "  Dar  Bergntann,"  1796. 
"  Deutsche  Licder  am  Klavier,  ein  Neujahrs-  Ge- 
ichenk,"  1798.  "  Musique  Champitre  exicutie  b. 
PyrinoiU.  le  14  Juilkt,  1797,  a  I'Occasion  d'un  File 
donnie  a  S.  M.  le  Roi  de  Prusse,  Fr.  Guil.  II.,  par 
la  Sociiti  dcs  Eaux  d  Pyrmoiit,"  1798.  "  Matro- 
senlied  aus  Roberts  EiUind."  "  Deuisc/ies  Lied  zur 
Gebuiis/eyer  K.  Friedrich  Wil/tehn  III.,"  1798. 
"  Douze  Variations  sur  V Air,  Marlborough  s'en  va 
t'en  guerre,"  1798.  "  Frauer  cantate  zur  Begrttb- 
nissfeyer  Fr.  U'ilJi.  II.  von  Ilerkhts,"  1799.  "  6 
Deutsche  Liedcr,  mii  Begleitung  einer  FlOte,  eines 
Violoncello,  und  des  Piano-forte."  "  Six  liomances 
de  Florian,  avec  Piano-forte  ou  Ilarpe."  "  Six 
Romances  Franf;aises,  (Euvres  de  Florian,  avec  Ac- 
amijxignement  du  Piano-forte,  Cah.  2."  "  Sotiate 
pcur  le  Piano-forte,  avec  la  Flute."  "  Grande  Se- 
nate, pour  deux  Piano-fortes,"  1801.  "  Grande  Ses- 
tAte,  pour  le  Piano-forte,  avec  Accompagnement  de 
deux  A.,  deux  Cors,  el  Violoncello,"  1802.  "  Qua- 
tuor  pour  le  Piano-forte,  avec  Flute,  Vioion,  ct  I'io- 
hncello,"  1803.  "  Fanchon ;  d<ts  Leyermadchen," 
an  operetta  often  printed.  "  Trois  So/iates  pour  le 
Piano- forte,  avec  Viohn  et  Violoncello,  dediis  h  S. 
M.  la  Rcine  de  Prusse,  Xos.  1,  2,  3."  "  Trois  Sa- 
tiates, pour  le  Piano-forte,  avec  Vioion  et  I'iolon- 
utUf,,"  Op.  16.  "  12  Deutsclui  Licder,  mil  Klavicr- 
bejl."     "  Gestlngc  aus  Tiedgc's  I'rania." 

All  the  following  works  arepublLshed  byKuh- 
nol,  at  I.eipsic  :  "Air  dcs  Matclots,  varii  jiour  le 
Piano-foirU,  ct  ViolonceUo,  ou  Vioion."  "  Musica 
Vocale  Let.  E.  Terzetto  p.  2  sopr.  e  Tcnore  coW  Ar- 
monica."  "  " 
qua/re  m 


Violons,  A.  B.  Livre,  1,  2."    Polonoise  fovorite,  pout 
le     Piano-forte."         "  Marche     MUilairc,   jMur    U 


'  6  Gedichte  aus  dent 
Guil."  "  6  Licder  v. 
'  Die  unsichtbareWeli 
'  Ouvert.  de  rOjy.Dif 
"  Klopstock's  Aufer- 


Piano-forte,  Noa.   1,  2,  3. 
Kallenion,    mit    P.    F.   oder 
GOthe,  m.  P.  F.  oder  Guit." 
V.  Elisa  V.  d.  Recte,  m.  P.  F." 
Sylphen,  d  gr.   Orch.  O.  22.' 

stfhungsgesang fUr  2  sopr.  auch  Tenor  uml  Bass,  {aa 
lib.)  m.  P.  F.  23  Op."  "  Gesclhchaftslied :  Eskann 
schon,  mit  P.  F.  oder  Guit."  "  3  Gedichte  von 
Friederike  Brun,  mil  P.  F."  "  Zum  Jahreschluss, 
ein  Lied,  m.  P.  F."  "  Concert,  p.  P.  F.  Oe.  2.5  (in 
D.)"  "  Souvenir  de  Pyrnumt,  Musifjue  de  Gluck, 
avec  P.  F."  "  Roniance :  Assise  au  bord,  avec  P. 
F.  ou  Guit."  "  12  Alte  Deutsche  Lieder  dcs  Kna- 
ben  Wanderhom,  m.  P.  F.  oder  Guit."  "  Freude, 
Friecle,  llojfnung,  m.  P.  F."  "  Glaube,  Liebe,  Hoff- 
nung,  v.  Ilufoland,  mil  P.  F.  Op.  29."  "  6  Grosse 
WalzcrfUr  Liebhaber  des  P.  F."  "  6  Gedichte  von 
Tiedge,  Mahtmann,  m.  P.  F.  oder  Guit."  "  GrOsst 
im  Ungluck,  von  Mahtmann,  m.  P.  F.  oder  Guil." 
"  Bewiisstseyn  und  5  Gedichte  v.  Tiedge  m.  P.  F." 
"  Lied  von  Fr.  Schlcgel,  m.  P.  F."  "  Voter  Unser, 
von  Mahlmann."  "  Marches,  p.  2  Clar.  2  Fag.  ixc." 
"  3  Lieder,  der  Abend  aufd.  Wasser,  m.  s.  w.  mii  P. 
F."  "  Ossian  und  die  untergehende  Sonne,  nach 
Herders  Uebersetzung  uiid  mit  Engl.  Text,  mit  P.  F. 
und  V."  "  Trost  in  ThrOnen,  v.  GOthe,  fur  Sopr. 
uiul  Tenor,  m.  P.  F."  "  Die  Blumen  und  der 
Schmctterling,  10  Licder  v.  MuchJer,  mit  10  nach  der 
Natur  illuminirten  Kupfern,  m.  P.  F.  und  I'c." 
"  Die  Unschuld,  Gedicht  v.  Mtichler,  m.  P.  F." 
"  Ronuinccn  aus  GOthe's  Faust,  f.  e.  mannl.  Stimme, 
m.  P.  F."  "  Wiegenlied,  dreystimmig  zu  singen,  m. 
P.  F." 

IIIXDLE.  An  English  counter  tenor  singer 
and  vocal  composer  towards  the  close  of  the  last 
century.  He  performed  in  the  years  1791-2  at 
the  Vocal  Concerts,  and  was  chiefly  eminent  as  a 
singer  of  part  songs.  He  published  several  sets 
of  canzonets  and  other  vocal  music  in  a  pleasing 
style.  HLs  glee,  "  Queen  of  the  silver  bow,"  is 
much  admired. 

HINDMAIISH,  an  English  violinist,  was  con- 
sidered an  excellent  perfonner  on  the  tenor.  He 
was  a  pupil  of  Salomon,  and  performed  at  hia 
concert*,     lie  died  in  179G. 

HDsGSTOX,  JOHN,  a  pupil  of  Orlando  Gib- 
bon.s,  was  organist  to  Oliver  Cromwell,  who,  not- 
•\s-ithstanding  the  rage  of  the  Puritans  in  general 
against  it,  was  himself  a  great  admirer  of  m;isic. 
Ilingston  had  been  retained  in  the  ser>-ice  of  the 
king,  but,  being  tempted  by  the  offer  of  one  hun- 
tlred  pounds  a  year,  he  went  over  to  the  party  of 
the  Protector,  and  instructed  his  daughter  in 
m\isic. 

HIXNER,  chamber  musician  to  the  Queer 
of  France,  was  a  celebrated  harpLst.  He  was  ip 
London  in  1781,  and  ven-  much  admired  for  hi« 
performance  of  adagios.  He  published  much 
music  for  his  instrument  at  Paris,  ond  four  sona- 
tas (his  Op.  7)  in  London.  He  also  ^\Tote  th< 
music  of  an  opero  called  "  Lafausse  DcUcatesse.' 

lUXRICHS,  JOIIAXN  CHRISTIAX,  a  pro. 
fessor  of  statistics  at  St.  Petersburg,  was  born  a 

_    ^  Hamburg.     He  ])ublLshed  in  the  former   city  r 

"  Erossaise  pour  deux  Piano-ftrtes,  ou  h  \  work  on  the  origin,  progress,  and  actual  state  of 
"FaiKhon,  arr.  en  Quatuora,  pour  deux,     the  music  of  the  chase  in  Uu.ssia.     Suard  states 


406 


iIIN 


ENC\CLOPyEDIA    OF    MUSIC. 


nis 


that  this  work  is  extremely  curious.  ITic  author 
was  a  Iriend  of  Muresch,  who  invented  the  style 
of  music  tor  the  huutiu^  horus,  which  has  been 
since  brou'^ht  to  such  |ierlection  in  Kussia  a^  to 
produce  etfects  of  which  uo  other  miuic  cau  give 
an  iaea. 

lUNSTiaCIL    (G.)     An  up  bow. 

HINZE,  AUGUSTUS  IIIMBEUT,  doctor  of 
medicine  m  Sclilcswic,  composed  some  opcrettus 
about  the  year  1797. 

mUE.  PHILIPPE  DE  LA,  a  mathematician 
and  professor  of  architccturo  at  Paris,  died  in 
1718.  In  a  work  written  by  him,  entitled  •'  Mi- 
moires  de  Mat hematii/ lies  tt  ile  j'/ti/si(jue,  sc,"  ParLs, 
1G94,  is  to  be  found  the  following  essay  :  "  Ex/tli- 
catio  diversonim  iltontin  aonorttm,  qttos  chorda  super 
instrumttitum  mitsicum  btu-cinte  soititum  irmutinis 
tctisa  edit,  laudatd  expositione  I',  de  I'/iales,  et  suppte- 
tis  particularibua  non  nullis  ad  qiue  dictus  pater  non 
attendit."  Hire  also  «Tote  in  the  "  Mimoires  de 
fAcadi mil-  lies  Sciences,"  tor  the  year  171ti,a  disser- 
tation entitled  •'  Iitpirieiu.es  sur  le  Sun." 

IIIRSCH,  LEOPOLD.  An  excellent  violinist  in 
the  chapel  of  Prince  Esterhiizy,  when  under  the 
direction  of  the  celebrated  Ilnydn.  The  following 
of  his  works  are  published  at  Vienna  :  "  Trois 
Duos  pour  deux  I'iotons,"  Op.  2,  1801,  and  "  Truis 
Duos  pour  deux  Violons,"  Op.  3,  1803. 

HIS.    (G.)     B  sharp. 

HISTORY  OF  MUSIC.  The  following  sum- 
mary is  from  the  French  of  Alexandre  Choron  ; 


always  be  traced  to  and  classed  under  one  of 
those  periods  which  are  re;»arde<l  as  princijxtl, 
nnd  arc  therefore  4csignnted  by  the  term  n<>e 
Five  of  these  princi/Htl  jx-rioils  may  be  di.'.tin- 
guished,  namely,  that  of  formation,  develop, 
mcnt,  progress  towiuds  perfection,  permanence 
and  decline.  In  the  subject  1  am  now  alx)ut  tr 
treat,  the  lirst  three  princijMii  j>erioth  of  the  musi 
cal  art,  namely,  its  formation,  doveloi)ment,  ana 
jirogress  towards  perfection,  arc  those  I  shall  have 
occasion  to  consider.  The  existing  state  of  ihin^s 
appears  to  me  to  belong  to  the  fourth  or  perma- 
nent j)eriod  ;  but  I  do  not  feel  authorized  to  s)>cak 
on  that  subject,  lest  I  should  lx>  taxed  with  estab- 
lishing myselt'  as  arbiter,  and  with  undertaking 
to  appreciate  immaturely  the  merits  of  those  of 
whom  posterity  alone  will  liave  the  right  to  judge, 
FllisT  EiiA.  Orijin  cin'l  Fur/nation  of  the  Mod- 
ern System  of  Music.  —  Music,  as  well  a»  all  other 
arts,  is  chiefly  derived  from  the  ancienta ;  and,  as 
it  is  remarked  of  the  French  language,  that  it  is 
merely  a  corruption  or  derivation  from  that  of  the 
Greeks  and  Romans,  so  it  may  ccjually  be  observed 
of  modern  music,  that  it  is  only  a  corr\i])tion  or 
derivation  from  that  of  the  same  jxiople,  who 
probably  owed  <Aci>  knowledge  of  the  art  to  other 
nations  still  more  ancient.  I  do  not  wish  to  inti- 
mate, by  this  remark,  that,  had  the  Greeks  and 
Romans  never  existed,  language,  arts,  or  music 
had  never  been  known,  as  some  persons  appear  to 
imagine.  Nature  bestows  on  all  the  human  race 
the  same  faculties;  but,  s\i]>posing  the  whole  race 
of  mankind  were  endowed  in  the  same  proportion 
with  these  faculties,  which  is  certainly  very  doubt- 
ful, all  are  not  placed  in  efiually  favorable  circum- 


It  is  not  the  intention  of  the  author  of  the  follow-  I  stances  for  the  development  of  their  talents ;  thus. 


ing  sketch  to  comprise  in  it  strictures  on  every 
department  of  the  musical  art,  a  lalwr  which 
woidd  lead  fiu:  beyond  the  limits  assigned  to  this 
article,  but  simply  to  give  an  abstract  of  the  mod- 
ern European  system  of  music,  considered  in  its 
essential  and  constituent  parts,  which  comprehend 
the  laws  of  sounds  or  of  notes  ;  rhythm  ;  simiin- 
technie,  or  the  system  of  musical  characters ;  and, 
lastly,  composition,  which  is  so  closely  allied  to 
the  former  subjects,  that  it  would  be  difficult  to 
divide  them  without  a  diminution  of  perspicuity 
and  interest.  I  shall  treat,  then,  in  the  most  sum- 
miury  manner,  of  all  these  compartments  together ; 
and  this  union  will  he  the  more  ea?y,  as  the  prog- 
ress of  these  different  subjects  is  gimultnneous, 
and  is  often  comprised  in  the  writings  of  the  same 
author.  .Vlthough  no  great  improvement  Ls  ef- 
fected in  any  art  suddenly,  anil  without  much 
previous  thought  and  consideration,  and  though 
every  such  discovery  is  introduced  in  so  gradual 
a  manner  ns  to  be  hardly  perceptible,  yet  there 
are  periods  when  accumulateil  otwcn-atlons,  and 
wants  generally  felt,  lead  men  who  are  hajipily 
organized,  or  placed  in  favorable  circiimstances, 
to  seize  on  more  exten-ive  views  of  a  subject,  and 
to  create  more  powerful  methods  of  arriving  at  a 
knowledge  of  it,  the  superiority  of  which  soon 
becomes  generally  expcrienccil.  and  cTcntually 
lends  the  habits  nnd  ideas  of  the  whole  mass  of 
mankind  in  a  new  direction.  Tliese  rare  moments 
which  are,  however,  renewed  at  inter\-aLs,  form 
what  is  called  periods.  Tliey  are  more  or  less 
remarkable,  according  ns   the  object   attnine<l  is 


if  a  backward  race  of  pco])le  unite  or  associate 
with  a  more  enlightened  race,  mixed  systems  are 
naturally  formed  in  every  branch  ot  knowledge. 
This  is  ]irecisely  what  occurred  in  Europe  in  the 
early  centuries  of  the  Christian  era,  when  whole 
nations  of  barbari;ins  invaded  and  overspread  the 
Roman  empire.  How  thLs  amalgamation  was 
accomplished  is  indeed  a  ([ucstion  worthy  the  pen 
of  the  most  able  writer,  and  the  discussion  of 
which  would  probably  re<iuire  an  extent  of  detail 
that  the  limits  of  this  sketch  will  not  permit.  In 
tracing  the  origin  and  formation  of  the  modern 
svstem,  I  find  four  jirincipal  periods,  of  which  I 
must,  successively,  take  a  short  survey  :  1.  An- 
ticjuity  ;  2.  The  introduction  of  chanting  in  the 
Christian  churches;  3.  Tlic  Ambrosian  and  (ire- 
gorian  constitution ;  and  4.  The  invasion  of  the 
barbarians. 

1.  (>/  Anti/uiti/.  —  Although  there  remain  to  ui 
many  works  on  the  miisi"?  of  the  ancients,  still 
the  obsc\irity  which  prevails  in  them,  their  con- 
tradictory a--sertions,  and,  above  all,  the  want  of 
models,  have  precluded  the  po-sibility  of  our 
having  any  very  distinct  anrl  derided  iilons  on  the 
siibject.  .Vccording  to  Aristides  ( juintiiianus, 
who  has  certainly  lelt  us  the  most  complete  treatise 
that  now  exists  on  theni\isicol  the  ancients,  somii 
authors  of  his  time  defined  music  to  be  tlie  art  of 
sini^ini;,  ond  all  that  relnttM  to  it;  others,  the  con- 
tem|)lative  and  active  art  of  pert'oct  and  ort(nnio 
singling  ;  othi-rs,  the  art  of  tlic  hrnutiful  in  sound* 
and  movements.  .Vs  to  (juii\tilinnus  himself,  he 
looks  uixin  the  following   ex]'o--ition  of  mu»ic  u 


more  or  less  important.  AMienever  they  have  I  the  most  correct,  namely,  that  it  is  the  art  of  th« 
occurred,  nnd  whatever  may  have  be«n  the  system  I  beautiful  in  bodies  and  movements,  (ytoxiic  tvi 
of  ideas  that  has  occaaioned  them,  they  may  |  iii>  >"■'>'(  h  niniwuni  xui  «ii«<i»oi».'(    TlmisaTerj 

407 


HIS 


ENCYCLOPAEDIA    OF    MUSIC. 


HIS 


general  definition,  tliouj^h  little  so  iu  comparison 
to  some  iiuthors,  who  nfKnn  music  to  be  the  uni- 
rersitl  scinncc.  (^uintilinnus,  however,  afterwards 
designs  to  reduce  his  dctinitiou  of  rauMc  to  the 
study  of  the  voice  and  accompanying  action.  To 
give  a  further  idea  of  his  doctrine,  I  shall  here 
demonstrate  some  of  the  principal  divisions  of  it, 
from  wliich  I  have  formed  the  following  table, 
adding  a  few  observations  of  my  own. 

Table  op  tub  Pki.vcipai,  Dmsioxs  of  Music,  ac- 

COaDl.N'0  TO  AUISTIDES  QuiXTlLlANUS. 


Contem- 
pUtiTe, 


rN»lural. 


^ArtificioL 


(Uenernl. 

}  Arithiuctical. 


rSounrla. 
I  IntcrralB. 
I  Sypteni. 
<  GeiieriL 

TOIICB. 

I  MutAttons. 
LMclopteia. 


rlTiual. 


KhTthmle. 
I.  Metric 

JMel9n<cia. 
Khvthiuopala. 
Toetry, 

j  ( Or^nic. 

LEnunciadve.  <  Odic. 

(llypcrcritic. 

The  author  divides  music  into  contemplative 
and  active,  llie  former  lays  down  the  principles, 
and  searcnes  the  causes ;  the  latter  applies  and 
employs  them.  In  the  foregoing  table  we  are 
Alone  interested  in  that  subdivision  of  contempla- 
tive music  which  the  author  has  designated 
artificial ;  this  treats  of  harmony,  of  rh>-thm, 
and  of  metre,  to  which  subjects  he  devotes  the 
first  book  of  his  treatise.  Ly  the  word  "  har- 
mony," in  the  meaning  of  which  all  modern 
authors  agree,  the  ancients  understood  what  the 
French  call  intonation,  or  aiTangement  of  the 
sounds  of  the  system.  Keeping  in  view  this  dis- 
tinction in  the  ancient  signification  of  the  word 
"  harmony,"  we  may  proceed  to  observe,  that 
Quintilianus  understood  the  division  of  the  three 
genera  with  which  we  are  actiuainted ;  that  is  to 
say,  the  diatonic  genus,  the  chromatic,  and  the 
enharmonic.  The  diatonic  genus,  in  a  space  of 
two  octaves  and  a  half,  comprised  the  interval 
between  the  la,  below  our  biuss  clef,  (examjjle  1,) 
and  the  re  on  the  fifth  line,  above  our  soprano 
clef,  (example  '.',)  being  the  fuU  extent  of  a  man's 
voice :  it  contained  eighteen  strings  or  notes, 
which  had  separate  names. 


(!•)  (2.) 


The  following  example  shows  how  these  notes, 
beginning  at  the  second,  were  divided  into  tetra- 
cbords,  that  is  to  say,  assemblages  of  four  notes 
succeeding  each  other  by  a  progression  of  one 
semitone  and  two  tones. 


o« 


^=* 


ff^ 


:a? 


i^i^^ 


tUnlioH.  8«infb««.  ^^  Krmhoot.  Svinluni 

It  may  easily  bo  conceived  that  either  of  these 
notes  niiglit  be  the  final  one  of  an  air,  which 
would  give  so  many  modes,  i.  e.,  keys,  each  mode 
.icing  superior  or  inferior,  according  a.s  the  air 
eithi-r  extended  aitoxc  the  key  note,  or  a^s  the  key 


note  occupied  the  centre.  Every  note  was  repre- 
sented by  a  particular  mark,  according  to  th« 
mode  and  genus.  I  should  liere  observe,  that 
each  genus  introduced  a  number  of  new  notes, 
which  notes  were  represented  by  different  marks, 
varying  with  each  mode,  thus  forming  an  almost 
endless  vocabulary ;  and  as,  in  the  formation  of 
these  marks  or  signs,  analogy  was  in  no  way 
attended  to,  nothing  could  possibly  be  more  con- 
fused, and  the  study  of  music  became,  of  course, 
extremely  difficult.  As  to  rhytlim  and  metre,  mu- 
sic was  entirely  subservient,  in  these  respects,  to 
poetry.  Musical  composition,  it  seems  nearly 
certain,  was,  at  the  time  we  are  speaking  of,  ex- 
clusively confined  to  vocal  pieces ;  for  the  ancient 
authors  never  speak  of  composition,  unless  in 
treating  of  the  voccU  part  of  that  science ;  aud  it  is 
impossible  to  discover  in  their  productions  one 
single  precept  relative  to  the  use  of  intervals  as 
harmonics,  nor  a  single  passage  clearly  proving 
that  they  were  in  the  habit  of  using  that  style  of 
composition.  We  may  therefore  conclude  that 
the  ancients  were  unacquainted  with  our  har- 
mony ;  whilst  another  decisive  argument,  in  favor 
of  this  statement.  Is  derivable  from  our  positive 
knowledge  of  the  origin  and  progress  of  the  mod-  ' 
ern  harmonic  art.  This  I  shall  endeavor  to  prove 
in  a  succeeding  part  of  this  article. 

2.  Firtt  Centuries  of  the  Christian  Era.  —  Music, 
very  generally  cultivated  by  the  Greeks,  waa 
equally  esteemetl  by  the  Romans,  in  the  reigns  of 
some  of  their  first  emperors ;  some  of  whom,  par- 
ticularly Caligula  and  Xero,  piqued  themselvea 
upon  excelling  in  this  art,  and  on  obtaining  the 
public  prizes  for  it.  "  A\Tiat  a  pity  to  kill  so  good 
a  musician  ! "  exclaimed  Nero,  whon  about  to 
stab  himself,  that  he  might  escape  the  ignomin- 
ious death  with  which  he  was  menaced.  It  is 
well  known  that  he  kept  five  thousand  musicians 
at  his  own  expense.  After  lus  death  they  were 
all  expelled  the  city ;  and  music,  which  under  his 
reign  liad  enjoyed  the  greatest  encouragement, 
from  that  moment  sensibly  declined.  But  what 
it  particularly  concerns  us  to  remark  Is,  the  influ- 
ence that  music  received  fiom  its  admission  into 
the  religious  ceremonit>s  of  the  finst  Christians, 
who  alone  have  transmitted  to  us  all  the  ancient 
practical  music  with  which  we  are  acquainted. 
It  is  well  known  that,  in  their  assemblies,  every 
person  present  joined  in  chanting  the  different 
parts  of  the  liturgy,  that  is  to  say,  the  hymns  and 
psalms,  &c.  This  chanting  must,  of  necessity, 
have  been  of  the  most  simple  and  easy  descrip- 
tion, being  sung  in  chorus,  without  any  )irepara- 
tion,  by  peojile  who,  generally  speaking,  had  not 
the  least  idea  of  music,  and  who  professed  also, 
in  every  thing,  to  observe  the  greatest  simplicity. 
Another  cau.^e  which,  no  doubt,  contributed  to 
denaturalize  the  ancient  music,  was  the  manner 
in  wliich  it  was  first  set,  in  Christian  churches,  to 
a  semi- biu' barons  prise,  or  to  still  more  barbarous 
poetry.  The  result  was,  that  the  rhythm  of  their 
mu.sic  being  derived  solely  from  the  words,  it  re- 
tained but  a  slight  impression  of  any  sort  of 
meitsure,  and  was  generally  drawled  out  in  slow 
and  unecjual  time,  to  a  language  without  harmony. 
Xevcrtl-.eless,  even  in  this  state  of  degradation,  it 
still  retained  some  constituent  rules,  and  a  certain 
variety  in  its  dianges  and  character,  which  ren- 
dered it  capable  of  being  applied  to  other  kindi 
of  performances. 
3.  .y.  Antbro$c'$  and  St.  Gregory' i  ItutUutUM  of  tM 


40S 


HIS 


ENCYCLOPAEDIA    OF   MUSIC. 


ills 


Ecclesiastical  Chant.  —  During  the  first  four  ceu-  I  of  the  Herulcs,  overturned  the  wostern  prajiiro, 
tunes  of  the  Christian  church,  the  state  of  music     soon  after  which  he  was  taken  prisoner  and  killed 


is  not  known  with  precision.  The  principles 
were,  at  the  expiration  of  that  time,  probably  still 
the  same  as  from  t!.e  bc^jinnin;,',  nt  least  if  we  may 
judge  from  a  treatise  of  St.  Augustine  ;  but  it 
appears  that  the  practice  of  ecclesiastical  chanting 
■was  then  falling  into  great  confusion,  which  in- 
duced St.  Ambrose,  who  was  consecrated  ^Vrch- 
bishop  of  Milan  in  :i74,  to  undertake  to  give  a 
fixed  constitution  to  cluuch  music.  These  two 
holy  fathers  were,  as  their  works  prove,  great 
amateurs  of  the  art ;  and  there  still  exist,  in  the 
Latin  church,  both  the  music  and  words  of  a 
piece  of  their  composition,  which  is  admired  even 
to  the  prc-cnt  time,  and  has  met  with  a  success 
e>iualling  that  of  the  chcj'-d' teucres  of  more  mod- 
ern masters  ;  I  allude  to  the  celebrated  canticle 
of  the  "  Tc  Dvum."  "\\'e  have  no  other  specimen 
of  St.  -\mbrosc's  peculiar  constitution  of  the 
chant ;  and,  indeed,  on  examining  the  chants  of 
the  Milanese  church,  we  tind  no  obvious  differ- 
ence from  that  of  other  churches.  It  appears, 
however,  that  St.  Ambrose  actually  left  some  de- 
gree of  musical  rhythm,  in  which,  however.  Pope 
Gregory,  who  flourished  two  hundred  years  after, 
far  surpassed  him.  (Sec  the  article  Guegouv  in 
this  Encyclopaedia.)  We  :ieed  not  repeat  what 
we  have  there  stated,  and  shall  only  obser\'e,  that 
with  the  intention  of  simplifying  music,  St.  Greg- 
ory substituted  the  Roman  letters  in  place  of  the 
more  complicated  Greek  notes.  By  A,  B,  C,  D, 
E,  F,  G,  he  designated  the  seven  notes  of  the 
lower  oct^ive,  {octuee  i/raoe,)  which  begins  at  Ut ; 
and  by  a,  b,  c,  d,  e,  f,  g,  those  of  the  higher  octave, 
(I'uclave  supcrieur  ;j  aiul  by  the  same  letters 
doubled,  the  third  octave.  He  appUed  himself 
likewise  to  the  comi)letion  of  the  ritual,  which  he 
made  up  of  select  pieces,  chosen  from  the  best 
remains  of  antiquity.  As  the  result  of  these  vari- 
ous labors,  he  formed  the  system  known  by  tlie 
name  of  the  Jluman  or  (inyorian  Chant,  whicli  is 
used  to  this  day,  precisely  in  the  form  in  which 
it  was  then  established.  Not  satisfied  with  having 
formed  this  code  of  musical  doctrine,  he  main- 
tained and  propagateil  it  by  the  establishment  of 
a  school  for  young  orphans,  who  were  brought 
up  as  singers  for  the  different  Christian  churches. 


in  liavenna,  by  order  of  Thcodoric,  wlio  founded, 
in  fO.'i,  the  kingdom  of  the  (joths  in  Italy.  Il 
may  easily  be  imagined  that,  in  the  midst  ol  such 
revolutions,  the  arts  were  entirely  neglected, 
amongst  which  music  suffered  greatly;  so  that, 
at  the  commencement  of  the  sixth  century,  when 
the  whole  western  emjjire  was  become  barbarous, 
its  music  was  entirely  re<luced  to  the  chants  of 
the  church  and  the  national  songs  of  these  barba- 
rians. But  the  Goths  who  settled  in  Italy  culti- 
vated the  arts,  and  soon  began  to  imitate  the 
enlightened  manners  of  the  people  whom  they 
had  subdued.  From  that  time  the  lloman  school 
of  music  shone  with  renewed  lustre ;  and  about 
the  same  time  we  find  Clovis,  King  of  France, 
requesting  Thcodoric  to  send  him  a  musician. 
Theodoric,  wislung  to  please  the  king,  sent  him 
the  singer  Aicorerle,  who  had  been  selected  as 
the  best  by  the  learned  BoOthius,  whom  Thcod- 
oric afterwards  caused  to  be  beheaded.  "  On  the 
ai'rival  of  this  musician  and  instrumental  per- 
former," observes  William  du  PejTat,  in  his  re- 
searches on  the  King  of  France's  chapel,  "  C'lovis's 
priests  and  singers  formed  themselves  after  hia 
style,  and  sang  with  greater  gentleness  and  sweet- 
nC'^s  ;  having,  also,  learned  to  perform  on  various 
instruments,  this  great  monarch  used  them  ovtc 
after  at  divine  service ;  which  practice  was  con- 
tinued under  all  his  successors  to  the  end  of  that 
generation  :  tlius,  it  appears,  music  was  much  in 
use  at  the  courts  of  our  first  sovereigns."  Tlie 
lloman  chant  was  first  introduced  into  England 
by  the  monk  St.  Augustine,  (whom  St.  Gregory 
had  commissioned  to  preach  the  Christian  religion 
in  his  country,  about  the  year  590,)  and  some 
few  years  later  was  projjagated  in  Germany  by 
St.  Boniface  of  Mentz,  who  is  considered  as  the 
apostle  of  that  country.  Amongst  so  many  dif- 
ferent nations,  the  national  taste  tended,  of  course, 
sooner  or  later,  to  corrupt  and  denaturalize  the 
primitive  purity  of  the  lloman  chant.  With 
regard  to  France,  we  have  a  ]>ositive  confirmation 
of  this  fact  by  an  ancient  anecdote,  inscrtetl  in  the 
annals  of  the  Franks,  and  which  occurred  under 
the  reign  of  Charlemagne.  This  prince  being  at 
Home  in  787,  to  celebrate  the  festival  of  Easter, 


4.  The  Invasion  of  the  Ikirharinns.  —  To  enable  u.s  I  a  (juarrel  arose,  whiist  he  was  there,  between  the 


to  coutiuue  the  history  of  music  with  some  regu-  ' 
larity,  it  is  requisite  to  notice  those  nations  who 
will  soon  be  louud  to  act  a  principal  part  in  the 
history.  Long  previous  to  the  period  of  which 
we  have  been  speaking,  that  is  to  say,  in  the  time 
of  the  Poman  rcpubhc,  and  during  the  whole 
duration  of  tb.e  Roman  empire,  that  nation  was 
distuibed  l)y  the  irruptions  of  swarms  of  barbari- 
ans. Whilst  the  government  continuetl  wise  and 
vigorous,  these  altenipt-<  were  easily  repelled;  but 
when,  with  tlie  chiltlren  of  Thcodosiu.M,  coward- 
ice and  imbecility  mounted  the  throne,  the  bar- 
barians found  but  lew  obstacles  to  oppose  them, 
and,  inundiiting  whole  provinces  of  the  empire, 
Boon  rcduied  tliem  to  submission.  At  the  com- 
mencement of  the  filth  century,  the  Goths  ravaged 
It4\ly ;  Home  wa.s  taken  and  sacked  by  Alaric. 
The  Vandal.s,  traver>ing  Gaul  and  Spain,  pene- 
trated into  ^Vtrica,  the  lluns  into  Italv,  and  the 


Roman  and  French  singers ;  the  latter  affirming 
their  singing  to  be  superior  to  that  of  the  former, 
who  iji  their  turn  accused  the  French  of  haWng 
corrupted  the  Gregorian  chant.  The  dispute  was 
earned  before  the  emperor,  who  decided  it  by 
the  following  question :  "  Declare  to  U-s,"  said 
that  prince  to  his  suigers,  "  which  is  most  pure, 
water  drawn  from  its  source,  or  that  which 
is  taken  from  a  distant  stream.  "  "  Water  from 
the  source,"  replied  the  smgers.  "Well,  then," 
.said  the  emperor,  "  return  to  the  original  source 
of  St.  Gregory,  of  whom  you  have  cWdently  cor- 
rupted the  chant."  The  prince  then  re>iuc>twl 
the  pope  to  give  him  some  .oiugcrs,  wljo  woidd 
correct  the  defects  of  the  French  siiu^ers.  'I"he 
pope  immediately  deputed  two  very  le.irucl  sing- 
ers, named  Theiidore  and  Bcnoit,  to  undennke 
this  otHee,  and  gave  thcra  antiphonaries  note*!  by 
St.  Gregory  himself.      One  of  these  singers  the 


Franks,  under  I'haramond,  made  themselves  emperor  placed  at  Soissons,  and  the  other  at  >!eti, 
masters,  in  4;):i,  of  the  northeni  part  of  tiaul,  commanding  all  the  French  singer*  to  cor-ect 
which  entire  country  his  successors  soon  after-  their  books  from  theirs,  and  to  learn  singins'  M 
«wds  got  podscbsion  of.  li\  47(5,  Odoaccr,  King  well  as  instnimei.Vil  acconpanimcnt  of  tl  em. 
62  409 


HIS 


ENCYCLOPAEDIA    OF    MUSIC. 


nis 


Though  this  command  met  with  some  obstacles 
from  llie  obstinacy  or  incapncity  of  the  various 
singers,  yet  the  Uomiin  chant  which  Charlemagne 
thus  e>tabhshed  in  France  continued  generally 
m  xxac  till  the  commencement  of  the  eighteenth 
century ;  about  wliich  time  the  French  bishops 
took  it  into  their  headii  to  reform  the  liturgy,  and 
consequently  the  church  music.  This  attempt 
succeeded,  though,  with  regard  to  chanting,  its 
effects  were  deplorable ;  for  beuig  now  left  almost 
entirely  to  the  management  of  ignorant  people, 
devoid  of  taste,  and  even,  at  times,  to  illiterate 
schoolmasters,  they  substituted  for  the  Roman 
chant,  —  which,  notwithstanding  its  extreme  sim- 
plicity, had  always  retained  some  sort  of  rhythm, 
—  they  substituted,  I  repeat,  a  slovenly  and  insipid 
style  of  church  music,  which  indeed  had  little 
more  of  singing  than  the  name.  1  must  here 
avow  the  wish  that  at  the  uc.\t  reformation  of  the 
Fiencli  liturgy,  which  it  appciirs  is  to  take  place 
sooner  or  later,  the  Roman  plain  chant  may  be 
substituted  for  these  miserable  compositions,  and 
reiisttiblishcd  in  tliose  rights  of  which  it  sliould 
never  liavc  boeu  dcjjrived.  It  was  about  the 
same  period,  that  is  to  say,  in  the  reign  of  Pepin, 
father  of  Charlemagne,  that  organs  were  hrst  in- 
troduced in  the  west.  In  757,  the  emperor  of  the 
east  (^Constantine  CopronATuus)  sent  one  to  that 
prince,  who  presented  it  to  the  church  of  St.  Cor- 
neille,  at  Compiegne.  They  soon  became  univer- 
sally used  in  the  cliurches  of  France,  Italy,  and 
England.  The  organ  was  at  that  time  very  Uttle 
under>tood,  and  was  exclusively  confined  to  the 
perfonuance  of  the  reyal,  which  is  now  no  longer 
known;  though  its  introduction  is  not  the  less 
remarkable,  from  the  influence  which  this  instru- 
ment has  at  all  times  possessed  over  the  jirogress 
of  the  art,  as  we  shall  presently  perceive. 

SliCONU  EuA.  Decclopment  of  Oie  Modern  Si/s- 
tem.  —  We  have  now'  noticed  in  what  manner  the 
mclaifje  of  the  musical  ideas  of  barbarous 
nations  with  the  remains  of  Grecian  music  gave 
birth  to  the  modern  system,  and  shall  next 
proceed  to  obsen-e  the  gradual  development  of 
this  system.  This  development  may  be  traced 
to  tliree  princii)al  periods  :  tirst,  the  creation  of 
the  gamut  or  scale,  and  of  modern  notation ; 
secouiUy,  the  invention  of  modern  rhythm  ;  and 
thirdly,  the  determining  of  the  value  of  notes,  and 
of  the  rules  of  counteiijoint.  To  these  same  peri- 
ods may  be  traced  the  origin  and  progress  of 
composition .  we  sliall  therefore  discuss  them 
simultaneously,  as  we  originally  intended. 

IiivciUion  of  the  Gamut  and  Origin  of  Counter- 
point. The  invention  of  the  gamut  presupposes 
a  ceruiin  degree  of  i)rogress  in  the  musical  sys- 
tem, in  the  same  manner  that  the  alphabet  convej's 
the  iireliminary  idea  of  the  existence  of  a  lan- 
guage. I  make  this  remjurk  that  the  scale  of 
music  may  not  be  confounded  with  the  system, 
which  might  otherwise  easily  be  the  case.  It  was 
in  tlie  commencement  of  the  eleventh  century, 
ill  the  year  1022,  tliat  the  njusical  scale  first  took 
the  lorm  wliich  it  now  retains.  This  reformation 
■was  chiefly  owing  to  Uuido,  a  Benedictine  monk 
of  the  monastery  of  Pomposa,  born  about  990,  at 
Arezzo,  a  httle  town  of  Tuscany ;  lor  which 
reason  he  is  commonly  called  in  France  Guy 
d'Arezze,  but  elsewhere  he  is  known  as  Guido. 
Duly  to  ap])reciate  tlie  talents  ol  this  celebrated 
man,  we  should  recall  to  mind  wliat  we  have 
already  said  in  regard  to  the  tetrachords  of  the 


Greck.s,  and  the  reform  of  St.  Gregory  j  and  w« 
should  know  that,  in  the  mtervening  time  between 
the  death  of  that  great  jiontifl  and  the  i)eriod  of 
which  we  are  now  speaking,  many  attempts  wert 
made  to  improve  musical  notation.  Indeed,  it 
may  easily  be  conceived,  tliat  letters  placed  on 
syllables,  to  indicate  sounds,  could  not  be  quickly 
understood ;  it  was  therefore  found  necessary  to 
seek  some  more  intelligible  method.  ITiat  which 
most  naturally  occurred  was,  to  place  the  letters 
at  diflerent  degrees  of  height  from  each  other, 
analogous  to  the  elevation  or  depression  of  the 
voice,  and  to  mark  these  degrees  in  a  more  accu- 
rate manner  by  means  of  parallel  hues.  This  was 
the  method  employed  before  Guy,  and  he  only 
simplified  and  reguhited  it.  Instead  of  repeating 
the  letter,  Guy  merely  wrote  it  at  the  commence- 
ment of  the  Une,  and,  whenever  it  afterwards  oc- 
curred, simply  put  a  dot  in  its  place.  Shortly 
after,  he  rendered  this  still  plainer,  by  placing 
dots  in  the  intervals  of  the  hues ;  using  these 
intervals  to  denote  degrees,  by  which  he  reduced 
the  distances  from  one  note  to  another,  and  made 
the  scale  much  easier  to  perform  at  sight.  Guy 
likewise  added  to  the  ancient  system  a  bass  note 
answering  to  sol,  on  tlie  tirst  line  of  the  clef  Fa : 
he  designated  this  note  by  the  gamma  of  the 
Greeks,  (r,)  and  it  is  from  this  sign  that  the  series 
of  sounds  in  the  system  take  their  name  of  yam  «<. 
To  these  inventions  he  added  another  —  that  of 
counting  by  hexachords  instead  of  tetrachords, 
and  of  designating  by  the  syllables  ut,  re,  mi,  fa, 
sol,  la,  the  major  hexachord,  upon  whatever  degree 
of  the  system  it  was  placed  :  this  was  the  founda- 
tion of  his  method  of  sobuization,  which,  how- 
ever, it  would  be  tedious  to  exi)laiu  here.  Tha 
invention  of  counterpoint  is  hkewise  attributed 
to  him,  though  without  any  foundation.  It  is 
true  he  was  one  of  the  first  who  wrote  on  the 
subject,  but  he  was  not  the  inventor  ;  for  though 
this  art  had  made  Uttle  progress,  still  it  wa^f 
known  before  Guy's  time,  and  the  following  was 
its  real  origin  :  — 

We  just  now  observed  that  the  organ  was  uitro- 
duced  into  France  in  tlie  year  7.i7,  and  soon  be- 
came universal  in  tlie  churches  of  the  west.  It 
was  directly  used  as  an  accompaniment  to  the 
voice.  This  accompaniment  was  at  tirst  entirely 
in  unison ;  but  the  facility  with  which  several 
sounds  could  be  cUstinguu^hed  at  once,  occasioned 
the  remark,  tliat,  among  the  various  unions  of 
sounds,  many  were  agreeable  to  the  ear.  The 
minor  third  was  one  oi  the  tirst  remarked  for  its 
pleasing  harmony,  and  was  thereibre  generally 
used,  though  only  at  the  close  of  an  air,  as  we 
shall  perceive  from  the  following  example :  — 
at  U     lu     ia 


^m-. 


3: 


and  tills  method  was  called  organizing.  There 
were  likewise  many  other  methods;  for  instance, 
holding  on  the  sound  of  the  organ  on  some  note 
below  the  chant,  or  singing  part,  or  playing  tha 
air  a  fourth  below  or  a  tilth  above,  and  frequently 
both  together,  which  bust  was  called  doiihle  or- 
ganization. Soon  after,  this  method  was  adopted 
in  singing  without  the  organ  ;  and  from  thcnc4 
the  terms  descant,  meaning  double  chant,  triple^ 
qiiafiruple,  medius,  motet,  quintet,  '/»«/"•»/,  &c.,  all  of 
which  preceded  the  term  cowUvrjnint.     An  unin 


410 


HIS 


ENCYCLOPEDIA    OF    MUSIC. 


Ills 


terrupted  scries  of  authors  anterior  to  Guy,  as  |  they  have  many  accidental  properties,  which,  foi 
Notker,  Komi,  of  Auxerro,  llucbnUl,  and  Odou  do  |  the  sake  of  bri'vity,  must  here  remain  uunotice<l. 


Cluny,  tostity  the  ori;;in  and  jirof^ress  of  this  art, 
and  historiciilly  demonstrate  its  being  a  modern 
invention,  totally  unknown  to  the  ancients. 
Their  writings,  as  well  as  those  of  Guy  and  of  J. 
Coton,  (Ills  commentator,)  aio  to  be  found  in  the 
valuable  collection  which  the  Prince  Abbe  Ger- 
bert  published  under  the  title  of  "  Scriptorcs  EccUi- 
liantici  <le  Mitsird  Sacrd  jx)fissimum,"  Jic. 

2.  'J'/if  Incention  of  Modern  Ithijthm.  —  As  theplnin 
cliant  consisted  of  notes  of  e<iual  value,  and  as, 
up  to  the  period  of  which  we  have  been  speaking, 
it  was  the  only  music  studied  by  the  learned, 
rhythm  was  never  mentioned,  for  being  almost 
eutiiely  null,  it  could  not  be  consideretl  an  object 
of  speculation.  From  that  time,  either  from  the 
tircumstunc©  of  profane  music,  which  contained 
a  more  distinct  rh\-thm,  having  rLsen  to  a  greater 
degree  of  importance,  or  from  musicians  having 
begun  to  feel  the  necessity  of  stricter  time  when 
the  organ  and  voice  moved  together,  it  is  certain 
that  this  branch  of  the  art  began  more  fully  to  be 
considered.  The  lirst  author  who  wrote  on  the 
subject  was  Franco,  called  by  some  Franco  of  Co- 
logne, and  by  others  Franco  of  I'aris.  This 
author,  whose  birthplace,  it  appears,  was  uncer- 
tain, was  supposed  to  have  been  a  scholar  of  the 
cathedral  of  Liege  in  lOdfi  ;  that  Ls  to  say,  in  the 
year  iu  which  \Villiam,  Duke  of  Xormandy,  con- 
quered England,  and  introduced  into  that  country, 
which  was  still  in  a  state  of  barbarism,  the  germ 
of  manners  and  civilization.  Before  Franco, 
many  attempts  at  the  irai)rovemcut  of  this  part 
of  the  musical  art  had  been  made,  as  he  himself 
atHrms  ;  but  it  appears  he  was  decidedly  the  tirst 
who  reduced  into  a  system  the  rules  respecting 
rhythm,  wliich  had  been  astablished  before  his 
time,  also  extending  and  correctuig  them :  this 
entitles  him,  at  least,  to  be  considered  as  the  lirst 
classical  author  on  the  subject,  if  not  the  inventor, 
and  as  the  source  from  whence,  for  some  time,  all 
subsc<iuent  authors  resorted  for  information.  The 
■whole  of  Franco's  work,  entitled  "  Franconis  Mu- 
tica  el  Can'iis  Mensurabilii,"  is  inserted  in  the  col- 
lection of  M.  Gerbcrt.  It  contains  an  introduc- 
tion and  thirteen  chapters  ;  tlie  ten  first,  with  the 
exception  of  the  second,  are  on  rhythm  ;  the  sec- 
ond and  three  last  relate  to  descant.  Without 
entering  into  the  details  of  the  work,  I  shall  en- 
deavor to  give  an  adequate  conception  of  his 
doctrine.  Pleasured  music,  which  he  considers 
far  superior  to  plain  music,  he  describes  as  a 
chant  measured  by  long  and  short  intervals  of 
time ;  these  intervals  of  time  being  expressed 
cither  by  the  voice  or  by  rests.  I'he  subsequent 
details  clearly  prove  that  the  organ  and  organi- 
zation were  the  origin  of  musical  rhj-thra.  lie 
distinguishes  three  degrees  of  time  —  the  long,  the 
breve,  and  the  semibreve.  The  long  may  be 
divided  into  the  perfect,  imperfect,  or  double.  It 
is  perfect  when  in  the  time  of  three,  or  triple ;  for, 
says  the  pious  doctor,  three  is  the  most  perfect 
number,  being  the  emblem  of  the  Holy  Trinity, 
and  it  Ls  imperfect  when  in  the  time  of  two ;  the 
double  it  is  unnecessary  to  ex]>lain.  There  are 
also  two  kiiuls  of  breves,  which,  however,  he  docs 
not  describe.  Tlie  semibreve  Ls  major  or  minor. 
The  forms  of  the  notes  ire  as  follows  :  the  long  SJ  . 
the  double  long,  ^2J  ;  the  breve,  5  ;  and  the 
•emibrcvc,  ^^.     liesidos  their  own  proper  value. 


He  indicates,  also,  the  mark  of  relative  rests  oi 
pausc-i.  He  then  proceeds  to  distinguish  fivt 
modes,  or  elements  of  rhythm  :  the  tirst  mode 
contains  longs,  or  a  long  followed  by  a  breve  • 
the  second,  a  long  preceded  by  a  breve ;  the  third, 
a  long  and  two  breves ;  the  fourth,  two  breves  and 
a  long  ;  and,  tinally,  the  fifth,  comjjoscd  of  two 
semibrcves  and  two  breves,  'lliese  are  the  ele- 
ments of  his  rliyllimopd'ia.  With  regard  to 
descant,  he  defines  it  to  be  the  union  of  several 
melodies,  concordant  with  each  other,  and  com- 
l)Osed  of  different  figures  :  ho  distinguishes  four 
species  of  descant,  namely,  simple,  iirolafe,  fpro- 
l<t/iu,jtTO\\catc,Uroma/iu,)iiud  copulate.  To  these 
four  species  belong  consonances  and  dissonances. 
'Hiere  are  tlu-eo  kinds  of  consonances,  the  jicrfect, 
imjierfect,  and  middling.  The  first  kLul  consists 
of  those  of  whicli  the  sounds  can  hardly  l)e 
8ei)arately  distinguished,  as  in  the  octave '  and 
unison ;  the  second,  where  the  sounds  are  per- 
fectly distinct,  as  in  the  major  and  minor  third ; 
the  middling  consonance  includes  the  fifth  and 
fourth.  Dissonances  are  of  two  kinds,  jjerfect 
and  imperfect :  the  perfect  are  the  semitone,  th» 
tritone,  and  the  major  or  minor  third  with  the 
fifth  ;  the  imperfbct  are  the  major  and  minor  ,hird. 
He  speaks  afterwards  of  the  use  of  consonances, 
and  jjoints  out  some  rules,  wliich,  however,  are 
dithcult  to  understand,  on  account  of  the  imper- 
fection of  the  examples.  An  olmous  progress  is 
nevertheless  visible  in  these  examples,  in  wliich 
we  particularly  remark  the  use  of  the  major  or 
minor  sixth  between  two  octaves  :  this  is  the  first 
example  of  the  kind  to  be  found  in  the  records  of 
the  art. 


After  Franco,  music  remained  in  the  same  state, 
jiarticularly  with  regard  to  harmony,  for  more 
than  a  century  ;  which  may  be  attributed  to  the 
crusades  taking  place  about  that  time,  and  so 
completely  occupying  the  attention  of  all  Europe. 
I  shall  therefore  merely  mention,  in  a  cursory 
manner,  Walter  Odington,  a  Benedictine  monk  o'l 
Eversham,  in  England,  who  flourished  in  1240, 
and  whose  work,  " De  Spcctiiatione  Miisica-''  is 
only  a  commentary  on  the  doctrine  ot  Franco, 
enriched  with  a  few  developments  relative  to  time. 
As  much  may  be  said  with  regard  to  the  work  of 
another  English  author,  Robert  of  Handlo,  enti- 
tled "  Ilcf/iilfe  cum  maxiniU  Mai/Utri  Fniiiivnii, 
cum  Additionibus  aliorum  Musicorum,  compilatif  per 
R.  de  II.,"  dated  1.3'26.  To  give,  however,  some 
idea  of  the  composition  of  that  time,  I  shall  here 
cite  a  specimen  taken  from  a  manuscript  of  the 
thirteenth  century. 

?5 — ^-^^9^^ 


AgDtU 

ffl  g  <g 


De 


I,  qui 


U)  pec    ca     ta 


.^  g  ^  g-sbg: 


-•--#" 


man    di,   mi  m  ra 


bta. 


This  descant  was  componed  on  the  following 
rule  :     "  lliose  who  chant   should  remark  if  tht 
chant  ascends  or  d<-9:ends.      L"  it  ascends,  th« 
411 


HIS 


ENCYCLOPEDIA    OF    MUSIC. 


EI8 


double  note  is  sung ;  if  it  descends,  the  fifth  note." 
Towards  the  close  of  tlie  thirteenth  century,  we 
find  another  commentator  on  Franco,  far  more 
interesting  than  the  before  mentioned,  and  who, 
in  some  respects,  may  be  styled  an  inventor. 
This  wius  Marchetti,  of  Padua,  author  of  several 
works,  particularly  one  on  plain  chant,  bearing 
date  Verona,  1274.  He  must  have  written  this 
work  when  very  young,  for  we  have  another  of 
his,  on  nieasiij-ed  music,  dedicated  to  Robert,  King 
of  Naples;  and  tliis  prince  reigned  from  l.'iOO  to 
1344.  NVe  find  by  these  writings,  that,  at  this 
period,  they  had  admitted  a  new  degree  of  subdi- 
Tision  of  time,  by  adding  a  fourth  to  the  three 
before-mentioned  times  or  values,  namely,  the 
minim.  Descant  had  also  advanced  a  little ;  and 
about  this  time,  chromatic  passages  were  first 
used.     The  following  are  specimens  :  — 


^^^E 


=a:=«- 


^S'-TT 


llic  author  gives  the  theory  of  them,  and  treats 
of  chromatic  and  enharmonic  genera  at  some 
length.  In  short,  it  is  evident  the  art  had  then 
sensibly  advanced.  l"his  remark  is  confirmed  by 
the  wTitings  of  John  de  Muris,  doctor  of  the  .Sor- 
bonne,  who,  some  say,  was  an  Englishman,  others, 
a  Parisian,  and  others,  again,  a  Norman  —  the 
latter  of  which  is  most  probable.  He  was  long 
looked  upon  as  the  author  of  all  the  inventions 
■we  have  been  mentioning,  particularly  of  rhythm 
and  the  form  of  notes,  and  would  most  prob- 
ably still  have  been  considered  so,  if  the  researches 
of  M.  (ierbert  and  Dr.  Burney  had  not  proved 
the  contrary.  It  even  appears  he  did  not  consid- 
erably aid  the  advancement  of  musical  notation ; 
in  regard  to  harmony,  however,  we  are  much  in- 
debted to  him.  The  impropriety  of  making  two 
consecutive  perfect  consonances  by  similar  move- 
ment wa-s  first  suggested  in  his  writings ;  as  were 
many  other  precepts  relating  to  the  succession  of 
intervals,  whicli  are  observed  to  this  day.  We 
also  find  in  his  works,  for  the  first  time,  the  terra 
counlrrjx>i>it  used  instead  of  descant.  It  would 
appear  that,  about  this  time,  there  was  a  great 
variety  of  opinions  respecting  the  rules  of  coun- 
terpoint, for  the  doctor  complains  of  the  -jontinual 
changes  in  the  art  of  music  ;  and  about  the  same 
period,  that  is  to  say,  in  the  year  l.'i"22,  Pope  John 
XXII.  Issued  a  bull  forbidding  the  use  of  the 
descant  in  churches,  it  having  degenerated  into 
abuses,  and  having  no  longer  any  fixed  principles. 
It  is  believed  that  Jolin  of  MurLs  was  still  living 
in  the  year  l.'if.o.  lie,  a,s  well  as  Franco,  had 
many  commentators;  amongst  whom  were  Philip 
de  Vitry,  of  whom  little  more  Ls  known  than 
the  name,  and  Prodoscimo  de  Beldomando,  of 
Padua,  who  was  a  professor  of  raiisic  in  that  town 
in  the  year  1422,  but  whose  writings  are  now  lost. 
From  the  thirteenth  century  to  the  close  of  the 
fifteenth,  there  is  a  comjjlete  vacancy  in  the  his- 
tory of  counterpoint.  It  is  generally  supposed 
that  no  vestige  now  remains  of  the  compositions 
of  that  period;  but  Mr.  Pcrne,  of  Paris,  has  dis- 
covered, amongst  *.he  manuscripts  of  the  royal 
library   of  Frau'^e,   some   sufficiently   important 


materials  to  authorize  the  hope  that  this  interra] 
may  yet  be  filled  up. 

3.  Fixation  of  the  System  of  the  Values  of  Xotet, 
ami  of  t/te  Principles  of  Counterpoint.  —  Towards  the 
close  of  the  fourteenth  century,  the  rhythmical 
feet,  as  determined  by  Franco,  began  to  be  aban- 
doned, and  as  many  sounds  were  introduced  into 
the  measure  or  metre  as  the  subdi^-Lsion  of  the  dif- 
ferent orders  of  notes  at  that  time  would  jicrmit. 
New  forms  or  figures  now  became  necessary  to 
represent  new  values  of  time  ;  these  were  formed 
towards  the  close  of  the  fourteenth  and  beginning 
of  the  fifteenth  century.  Not  that  we  discover 
any  traces  of  their  origin  in  the  writings  of  that 
period  ;  nor  docs  Prodoscimo,  who  wrote  in  1412, 
mention  them ;  but  we  find  them  not  only  insti- 
tuted, but  fixed  and  regulated,  in  authors  of 
rather  a  later  date,  particularly  in  the  writings  of 
John  Tinctor,  who  was  first  chapel-master  to  Fer- 
dinand, King  of  Naples,  and  subsequently  canon 
and  doctor  at  Nivello,  in  Brabant ;  he  must, 
therefore,  have  lived  in  the  second  half  of  the 
fifteenth  century.  Tliis  author  left  many  musical 
works  ;  amongst  which  is  his  dictionary  of  music, 
the  first  ever  formed.  He  published  it  under  the 
title  "  Dcfinitorium  tcrminorum  Musicce,"  the  best 
possible  title  for  a  dictionary  ;  as  works  of  this 
sort  should  be  simply  collections  of  definitions, 
and  not  alphabetical  treatises.  Tlie  doctrine  we 
find  in  John  Tinctor  is  much  better  developed  in 
the  works  of  Franchino  Gafforio.  This  writer 
forms,  in  truth,  a  memorable  epoch  in  the  history 
of  music,  as  well  by  the  extent  as  the  stability  of 
hLs  doctrine.  He  was  born  at  Lodi  m  14.51,  and 
was  named,  in  1484,  chapel-m<uster  of  the  cathe- 
dral at  Miliin,  and  professor  at  the  public  school 
of  music  Ibuhded  in  that  town  by  L.  Sforce.  Of 
the  works  he  left,  or  rather  with  which  we  are 
now  acquainted,  the  most  valuable  Ls  that  entitle<l 
"  Prutica  Musica,"  printed  at  Milan  in  149fi,  and 
one  of  the  first  musical  treatises  ever  published 
by  means  of  the  press.  It  is  divided  into  four 
books.  Tlie  first  treats  of  harmony,  that  is  to 
say,  intonation,  for  at  that  time  the  word  harmony 
possessed  the  same  signification  as  with  the 
ancients ;  the  second  treats  of  measured  chant ; 
thfe  third  of  counterpoint ;  and  the  fourth  of 
musical  proportions.  The  second  and  third  are 
the  only  books  interesting  to  us,  the  first  con- 
taining nothing  new.  As  to  the  value  of  notes, 
Gafforio  considei-s  five  as  essential,  which  are 
the  five  principal  notes  and  their  correspond- 
ing rests,  namely,  the  maxim,  (1 ;)  the  long,  (2;) 
the  breve,  (3;)  the  seraibreve,  (4;)  and  the 
minim,  (.5.)  There  are  likewise  lesser  figures,  as 
the  semi-minim,  of  which  there  are  two  kinds, 
the  major  semi-minim,  (6,)  and  the  minor  semi- 
minim,  (7.)  Each  of  these  have  also  a  corre- 
sponding rest ;  the  long  has  two  rests,  one  denoting 
perfection,  (a,)  the  other  imperfection,  (6.) 

(U  (2)   (3)     (4)     (5)       (6)  (7) 




(0)    (*) 

PI'dB 
-t  — 

-I — 



^ 

'  <j 

=tq: 

The  relation  the«e  notes  bear,  one  to  the  other. 
'  is  denoted  by  difl"crent  terms.  The  relation  of 
12 


HIS 


ENCYCLOPEDIA    OF   MUSIC. 


HIM 


the  maxim  \yith  the  long  is  called  the  major  mode ; 
that  of  the  long  with  the  breve,  minor  mode ;  that  of 
the  breve  with  the  scmibrcve  is  called  lime  ;  lastly, 
that  of  the  semibrcve  with  the  raiuim,  pro/a/ion. 
At  rather  a  more  remote  jicriod,  this  proliitioii  was 
styled  minor  prolntion,  and  the  relation  of  the 
minim  to  the  semi-minim,  major  prolation.  Kacli 
of  thc.iC  relations  rany  be  ])crfect  or  imperfect, 
that  is  to  say,  triple  or  (io\il)le ;  and  that  quntiea 
is  designated  by  different  signs  Besides  this, 
these  relations  arc  perfectly  independent  of  each 
other,  which  occasions  innumernble  combinations. 
Tne  most  generally  used,  as  we  find  from  Glare- 
anus,  were,  tirst,  those  in  which  all  the  relations 
ore  double ;  secondly,  that  in  which  all  are 
doubled,  except  time  :  these  correspond,  the  first 
to  our  common  time  of  two,  and  the  second  to 
our  measure  in  triple  time,  using  figures  of  double 
value ;  the  remainder  are  included  in  our  com- 
I)ound  measures,  with  a  similar  modification. 
Here  then  the  system  of  values  is  fixed,  if  we  ex- 
cept some  slight  modifications,  of  which  we  shall 
presently  have  to  speak.  The  third  book  of  Gaf- 
forio  is  divided  into  fifteen  chapters.  l"he  first 
two  treating,  in  a  general  manner,  of  counter- 
point and  its  different  kinds ;  the  third  containing 
eight  rules  on  the  succession  of  consonances, 
which  rules  are  much  the  same  as  those  in  use  at 
the  i)rcsent  day ;  the  fourth  chapter  is  on  disso- 
nances, and  plainly  proves  that  they  employed 
those  intervals  in  the  time  of  the  writer, 


but  with  much  circumspection,  not  longer  than 
for  tf\e  value  of  a  minim,  in  passages  and  by 
sjTicopc,  and  even  this  very  rarely.  Upon  this 
point  he  cites  various  composers  who  made  use 
of  them  without  any  scruple,  as  Dunstable,  15in- 
chois,  Dufay,  Urasart,  &c. ;  and  concludes  by 
agreeing  that  many  of  these  intervals  may  be 
used  with  propriety.  ITie  fifth  and  sLxth  chap- 
ters are  on  fourths,  and  show  how  they  were  at 
that  time  used;  the  seventh  treats  of  sixths  and 
.thirds ;  the  remaining  chapters  relate  to  the  ar- 
rangement of  the  different  parts.  'ITie  last  but 
one  is  remarkable  for  a  singular  specimen  of  a 
l)iece,  entirely  composed  ol  discords ;  it  used  to 
he  chanted  on  the  eve  of  the  festival  dea  Moris,  in 
the  church  of  Milan,  and  was  called  "  Litanitt 
Mortuorum  DiscordaiUca."  The  following  is  a  verse 
of  it: 


Gafforio  remarks,  with  great  truth,  that  it  Ls 
totally  in  opposition  to  good  sense,  and  to  every 
description  of  good  taste  Satisfied  with  laying 
down  general  precepts,  Gafforio  avoids  all  details 
with  regard  to  the  form  of  musical  pieces,  or  to 
the  composers  of  his  time.  We  find,  however, 
trom  J.  Tinctor,  that,  at  that  time,  canons  were 
used,  and  were  termed  tugue.t ;  even  enigraotical 
canons  were  known.  We  also  ohscr\-e  the  divis- 
ion of   music   into  spiritual   and   profane ;    the 


former  called  motet,  the  latter  cantilena.  Tlie  col- 
lections of  that  period,  and  others  of  ratlier  a 
later  date,  offer  a  choice  of  compositions,  and  dis- 
play the  talents  of  some  composers  still  worthy  of 
our  investigation.  We  shall  now,  thcreforr,  turn 
our  attention  to  this  jjoint,  resuming  events  from 
an  earlier  period.  We  have  previously  seen,  that 
when  the  invasions  of  northern  nations  had  com- 
pleted the  final  destruction  and  dismembermcut 
of  the  western  empire,  music  was  reduced  to  the 
ecclesiastical  chant  ond  the  national  songs  of  the 
barbarians ;  to  which  may  be  added  those  of  the 
nation  whom  they  had  conquered.  The  first 
distinction  between  the  severe  and  ideal  style  ii 
here  ea.sily  perceived.  A  collection  of  popu- 
lar songs  of  the  middle  age,  mostly  composed  by 
the  troubadours,  successors  of  the  ancient  bard.s,  or 
by  j)riest8  and  musicians  of  the  same  period,  such 
a,s  Kaoul  de  Coney,  'lliibaut,  Count  of  Cham- 
pagne, and  others,  will  give  a  correct  notion  of 
the  ideal  style ;  whilst  as  to  the  severe  style,  it 
was  confined  to  plain  chant  and  the  counterjiointa 
com])osed  on  it.  At  the  period,  however,  to 
which  we  now  allude,  counteqioint  rapidly  ad- 
vanced ;  the  invention  of  canons  soon  leading  to 
that  of  fugues,  and  many  other  artificial  compo- 
sitions :  the  revolution  was  indeed  so  sudden  and 
complete,  that  the  art  of  composition  appeared 
entirely  new.  According  to  the  testimony  of 
ancient  writers,  the  composers  who  appear  to 
have  acted  the  principal  part  in  this  revolution 
were,  first,  J.  Dunstable,  an  Englishman,  who 
died  in  14.53  or  14.58,  and  who,  from  the  resem- 
blance of  the  name,  has  been  often  mistaken  for 
St.  Dunstan,  who  ttourishcd  in  the  eleventh  cen- 
tury; and  next,  his  contemporaries  in  France, 
Dufay  and  Binchols.  ITiesc  were  immediately 
succeieded  by  Ockenheim,  IJusnois,  Regis,  and 
Caron.  This  isTinctor's  account,  who  also  wrong- 
ly attributes  the  invention  of  measiired  chant  to 
J.  Dunstable ;  in  which  mistake  he  has  been  fol- 
lowed oy  fSeb.  Ileyden,  who  wTote  in  1.5.37,  and 
8ubse<iucntly  by  J.  Nucius,  who  joins  to  Ocken- 
heim, Husnois,  S:c.,  many  other  composers,  as  Jos- 
quin  de  I'res,  11.  Isaac,  L.  Senfel,  B.  Ducis,  &c. : 
these  last,  however,  arc  of  posterior  date.  It  is 
believed  that  the  compositions  of  Dufay  and  Bus- 
nois  are  now  extinct,  as  well  as  those  of  Uegis, 
Caron,  and  Binchois,  who  flouri.shed  at  the  com- 
mencement and  middle  of  the  fifteenth  century. 
Of  that  period  we  have  but  one  canon,  in  six 
parts,  which  is  rather  a  good  composition,  and  mav 
be  found  in  Dr.  Burney's  "  History  of  Music," 
vol  ii.  p.  40.5  ;  many  works,  however,  still  remain 
of  the  ancient  masters  of  the  Flemish  and  French 
schools,  who  flourished  about  14S0,  and  subse- 
quently. These  two  schools  were  at  that  time 
highly  renowned.  According  to  Guichardin  and 
others,  the  Flemish  was  the  more  ancient  of  the 
two,  and  furnished  all  Europe  with  singers  and 
composers.  ■  Amongst  the  most  celebrated  of  the 
Flemish  masters  were  James  Obreoht,  or  Ho- 
brecht,  J.  Ockenheim,  and,  above  all,  Joscjuin  de 
Pres.  'llie  earliest  of  these  thri'e  was  Olirecht, 
music-master  to  the  celcbraf e<l  Erasmus ;  he  was 
born  in  llfiZ,  and,  it  is  said,  had  such  tncility 
in  composition,  that  in  one  night  he  composed  i 
bcautil'id  masti.  nils  api>eani  an  amazing  cffoit 
of  genius,  when  we  reflect  on  the  cxtrnonlinaiT 
diffic\ilty  of  liis  coni]iosition.s.     He  live<l  towane 

\  the  clo.se  of  the  fittcenth  century.  John  Ocken- 
heim was  a  composer  of  rather  later  date  ;  he 

13 


ais 


ENCYCLOPEDIA    OF   MUSIC. 


HIS 


composed  a  muss  for  nine  choirs  and  thirty-six 
parts,  replete  with  artiticial  passages.  'Hie  cele- 
brated Josquin  de  I'res  was  his  pujiil,  who  waB 
unanimously  regarded  by  his  contemporaries  as 
the  best  composer  of  liLs  time.  Of  this  celebrated 
man  we  have  still  various  j)ieces  which  evince 
the  most  profound  knowledge  of  hLs  art.  He 
was  a  singer  at  Rome,  and  subsequently  chapel- 
master  to  I/5uis  XII.  of  France;  he  died  about 
the  year  1.520.  After  him,  wc  may  place  I'ierre 
de  la  Hue,  B.  Ducis,  and  other  composers,  who, 
lip  to  Orlando  de  Lassus,  maintained  the  glory  of 
the  FlemLsh  school.  The  ancient  French  school 
was  likewise  very  celebrated ;  its  princijial  com- 
poser was  Ant.  Bromel,  a  pupil  of  Ockeuheim 
and  contemporary  of  Josquin.  \Ve  remark,  like- 
nifie,  Fevim,  of  Orleans;  J.  llouton,  chapel- 
n  aster  to  Francis  I. ;  Arcadelt,  Verdelot,  L'He- 
ricier,  Goudimel,  and  ethers  that  I  cannot  here 
enumerate.  In  Germany,  about  the  same  period, 
we  find  II.  Finck,  H.  Isaac,  L.  Senfel,  and  others. 
"ITie  collections  of  Peutinger,  Bodenschaft,  and 
several  more,  make  known  the  names  and  works 
of  above  two  hundred  composers  who  flourished 
between  the  years  14.50  and  1580,  or  thereabouts, 
and  to  whom  fugues  and  the  most  diflicult  compo- 
sitions were  mere  diversions,  which  they  wTote 
■with  the  greatest  case  and  correctness.  The  "  Do- 
decachordon  "  of  Glareanus  contains  a  collection  of 
chef-d^<rut>res  of  the  ablest  of  these  masters,  suf- 
ficient to  gratify  the  curiosity  of  any  reader.  I 
propose  myself  to  devote  one  of  the  parts  of  my 
collection  of  classical  music  to  these  works,  thus 
rendering  due  homage  to  the  memory  of  these 
patriarchs  of  harmony. 

Thikd  Era.  Vcrfecting  of  the  Modern  System. — 
The  era  which  we  have  now  attained  is  certainly 
the  most  important  of  all,  being  the  goal  and 
result  of  the  preceding.  It  appears  to  oti'er  to  our 
notice  the  permanency  of  various  parts  of  the  art, 
as  well  of  those  which  regard  the  foundation  of 
the  system  as  of  those  that  relate  to  the  ditfcrent 
kinds  of  musical  composition.  In  fact,  when  we 
see  doctrines,  established  without  any  variation 
for  nearly  three  centuries,  being  considered  as 
fundamental  principles,  —  when  we  see  chefs- 
dCwuvres  admired  for  an  equal  length  of  time, 
and  regarded  as  impossible,  I  will  not  say  to  be 
eclipsed,  but  even  to  be  equalled,  —  it  may  with 
reason  be  supj)osed,  that,  in  many  points,  the  art 
tias  attained  the  utmost  limits  of  perfection,  and 
that,  li  it  does  not  now  remain  stationary  at  the 
same  point,  it  can  only  recede,  unless,  indeed,  the 
whole  system  were  to  experience  a  complete 
revolution,  equal  to  that  which  has  already  taken 
place  with  the  music  of  the  ancients.  To  proceed 
with  regularity,  1  must  ilivide  this  article  into 
two  part-s.  In  the  first  I  shall  speak  of  the  art 
itselt,  and  its  progress,  without  any  express  allu- 
sion to  the  individuals  or  nations  who  contributed 
to  its  advancement ;  in  the  second  part  I  shall 
consider  the  question  in  an  opposite  point  of 
view,  and  allude  at  some  length  to  the  schools 
tnd  individuals. 

First  Taut.  Of  the  Art  itself.  —  'WTiat  we 
have  to  say  with  regard  to  the  art  itself,  must  be 
discu-s-sed  under  two  principal  heads,  namely,  the 
musical  system,  properlv  so  calleil,  and  the  dif- 
ferent styles  of  composition  :  this  will  be  the  sub- 
•tance  of  the  two  following  sections. 

FuujT  SncTlox.  Of  the  MiisicaJ  System.  — 
Amongst  the  various  combinations  which  resulted 


from  the  perfection  or  imjjerfection  of  the  ancient 
modes,  themes,  and  prolations,  there  is  one  which, 
according  to  Glareanus  and  other  authors,  was  at 
all  times  the  most  prevalent ;  I  mean  that  one  in 
which  all  the  values  of  the  notes  were  imperfect, 
that  is  to  say,  in  a  double  or  sub-double  ratio. 
After  a  time,  thLs  combination  became  .so  general, 
that  it  was  in  some  sort  exclusive,  and  was  re- 
garded as  the  foundation  of  all  the  musical  rela- 
tions. To  this  first  simplification  of  the  system 
of  values,  various  modifications  succeeded,  which 
were  brought  about  by  the  use  of  bars.  As  far 
as  I  can  dLscover,  bars  were  first  introduced  by 
composers  who  were  desirous  to  render  their  cal- 
culation of  corresponding  values  easier,  and  there- 
fore hit  on  the  idea  of  enclosing  within  the  same 
fixed  space  as  many  notes  of  the  score  as  would 
agree  with  one  note  of  great  duration,  such  as  a 
maxim  or  a  long  ;  thus,  in  the  origin  of  bar  writ- 
ing, they  only  drew  a  bar  at  every  eighth  or 
every  fourth  measure.  The  works  published  in 
IGOO  are  printed  in  this  manner,  and  are  the  tirst 
known  with  any  kind  of  bars,  which  were  not 
very  generally  adopted  till  about  one  hundred 
years  after.  The  distance  between  the  bars  was 
in  time  diminished,  till  they  enclosed  but  one 
measure,  as  in  tlie  present  day  ;  the  only  excep- 
tion now  being  the  d  caj>c/la  time,  namely,  in  two 
semibreves,  with  a  quick  movement,  when  the 
bars  are  still  marked  only  every  second  measvire, 
to  avoid  their  too  frequent  repetition  :  this  time 
is,  however,  rarely  used,  except  in  Italy,  the 
French  and  German  composers  ha%-ing  mostly 
submitted  this  measure  also  to  the  prevailing  cus- 
tom. The  introduction  of  bars,  with  their  grad- 
ual increase,  has  produced  the  natural  result  of 
bringing  into  disuse  notes  of  great  value,  and  at 
the  present  period  the  note  of  highest  value 
is  the  semibreve,  if  we  except  the  Breve  in  ca- 
pclJa  time.  As  for  the  round  and  tlie  maxim  they 
are  now  no  longer  knowni,  except  by  the  learned. 
But  in  lieu  of  these  the  modems  have  wonder- 
fully multiplied  the  diminLslied  notes,  by  form- 
ing crotchets,  quavers,  semiquavers,  &c.,  which 
are  now  very  common,  though  formerly  they 
were  scarcely  known,  except  in  instrumental  mu- 
sic, and  then  but  rarely.  The  form  of  these  notes 
has  likewise  sustained  an  alteration,  though 
scarcely  worth  noticing.  Formerly,  the  head  of 
the  note  was  square ;  towards  the  middle  of  the 
seventeenth  century  they  were  formed  roiuid,  or 
of  an  inclined  oval ;  and  in  the  course  of  one 
hundred  years  the  round  became  universal,  and 
Ls  the  form  retained  up  to  the  present  time. 
Khythm,  as  we  have  previously  seen,  has  sus- 
tained but  slight  variation  ;  but  it  has  been  quite 
the  reverse  with  sounds,  and  consequently  with 
harmony  and  counterpoint.  Till  the  close  of 
the  fifteenth  century,  the  degenerated  tones  of 
the  Greeks,  as  preser^-ed  in  tlie  chant  of  the  Ito- 
man  church,  served  not  only  as  a  foundation  to 
ecclesiastical  chanting,  and  to  the  works  of 
composers  who  endeavored  to  harmonize  those 
chants,  or  to  compose  according  to  that  system, 
but  various  profane  songs  of  that  time,  wliich  we 
still  possess,  and  some  of  which  are  to  this  day 
popular,  ajjpear  to  have  partaken  of  the  ecclesi- 
astical modes.  In  the  course  of  the  sixteenth 
century,  however,  a  movement  appeared,  which 
led  the  art  to  that  state  of  perfection  to  which  il 
has  now  attiiined.  To  dispel  whatever  may  ap- 
pear vague  or  obscure  in  this  remark,  it  is  neoe*- 


414 


dis 


ENCYCLOP-EDIA   OF  MUSIC. 


Hia 


lary  to  give  a  clear  idea  of  what  is  meant  in  ' 
music  by  tone  or  mode,  and  subseijuently  to 
demonstrate  the  relations  subsinting  between  the 
modern  and  ecclesiastical  modes.  Xo  one  en- 
dowed with  the  most  ordinary  musical  orRani/.a- 
tion,  or  capable  ol"  the  slinhtcst  observation,  can 
tkil  to  have  remarked  the  tendency  that  every 
musical  jiicce  l\as  to  tenuinnteoii  some  ]iarticular 
note  or  sound,  lor  wliich,  it  another  were  sub- 
stituted, the  air  would  be  rendered  incomplete. 
This  experiment  may  be  tried  on  the  most  sim])le 
tunes  known.  You  say  ol  a  piece  of  music,  it  Ls  , 
in  the  kfi/  of  such  a  note,  when  it  ends  on  that 
note  or  sound,  and  whidi  note  is  called  the  tonic  ' 
or  jirincipul ;  now,  if  you  decompose  a  piece  of  i 
music  wliich  is  supposc<l  to  \ie,  throui-hout,  in 
the  same  key,  you  will  tind  it  is  comjioscd  of  i 
a  certain  number  of  ditferent  keys,  each  havinji  a  ' 
direct  affinity  to  the  principal  key  note.  'ITie  i 
eiuemble  or  system  of  these  athnities  constitutes 
the  wiiuitYi/  iiujrie ;  and  if,  from  the  tonic  to  the 
octave,  you  place  all  the  intermediate  sounds  in 
reijular  succession,  you  will  form  the  scale  of 
your  mode.  It  is  possible  to  imasrine  a  great 
number  of  different  modes,  from  which  may  be 
formed  a  variety  of  systems.  Each  of  these  sys- 
tems of  modes  will  constitute  essentially  the  same 
number  of  idioms  or  musical  languages,  which 
will  belong  to  various  races  of  men.  'Hius  the 
Eastern  nations  appear  to  have  had  a  system  of 
modes  quite  different  from  ours,  and,  indeed,  we 
have  not  to  thus  day  any  very  distinct  idea  of 
them.  Wo  have  already  explained  in  what  the 
tones  of  the  Urccks  consisted,  from  which  were 
derived  the  ecclesiastical  tones.  At  tlie  present 
day  the  Euroj;ean-<  have  but  two  modes,  namely, 
the  major  mode,  the  scale  of  which  Ls  contained 
ill  lit,  n;  mi, /(I,  sol,  !a,  si,  lit ;  and  the  minor  mode, 
in  which  the  a.scending  scale  Lj  la,  si,  u(,  re,  mi, 
faP-,  sol^,  la,  and  in  disccnding,  Ui,  sol^,  /a^,  mi, 
re,  tit,  si,  la  :  this  is,  nt  least,  acconling  to  the  no- 
tions nt  present  existing ;  though,  according  to  ray 
idea,  there  is  still  much  want  of  precision  and 
accuracy  in  the  theory  of  this  subject.  However 
this  may  be,  these  modes  are  entirely  modem,  it 
being  hardly  more  than  one  hundred  or  one  hun- 
dred and  fifty  years  (I  cannot  precisely  state  the 
period)  since  they  have  become  prevalent,  indeed 
exclu.sively  so,  and  to  the  extent  of  rendering  it  • 
doubtful  question,  whether  or  not  the  modern  na- 
tions of  Europe  can  ever  accustom  their  feelings 
to  any  other  system  of  tones,  and  further  whether 
all  other  .such  systems  are  not,  for  them,  rather 
systems  of  modulation,  that  is  to  .say,  of  concate- 
nation of  modes,  than  a  system  of  modes,  prop- 
erly so  called.  I  shall  not  stop  to  examine  this 
question,  but  merely  remark,  en  passaitt,  that  it 
was  in  the  sLxtecnth  century  that  this  modern 
tonality  first  became  universally  known,  and 
began  to  exercise  its  influence  in  composition.  It 
was  in  the  school  of  Naples,  and  particidarly  in 
that  of  Durante,  that  it  was  finally  established,  at 
least  so  far  a-;  concerns  its  practice;  for,  with  re- 
gard to  its  theory,  it  is  -.till  imperfwt,  as  I  have 
already  noticed.  Modern  tonality  ha.s  not  in- 
tluonced  melody  alone,  hut  likewLsc  harmony  and 
counterpoint.  If  the  system  of  tones  had  ex- 
perienced no  variation,  the  science  would  have 
attained  its  utmost  limits  ne.irly  three  centuries 
pa.st.  Tlic  system  remaining  the  same,  there 
would  have  been  nothing  to  add  to  the  labors  of 
Ockeuheim.    Jos<iuin,   Bromel,    Larue,   Mouton, 


Orlando,  and  other  learned  masters  of  tht  ai.cient 
French  and  Flemish  schools  ;  and  this  we  find 
Zarlino,  Artusi,  and  all  didactic  anthora  declar- 
ing, who  wrote  under  the  impression  of  the  an- 
cient opinions  on  the  sul)ject ;  but  the  alterations 
which  subsequently  took  place  in  the  tonal  sys- 
tem necessarily  led  to  changes  in  the  other 
branches  of  composition.  In  the  first  plai;e,  har- 
mony exi  crioiiccd,  though  slowly,  a  com|)leto 
revolution.  The  ancient  contrapuntists  liad  an 
establishe<l  and  almost  exclusive  rule,  to  add  the 
third  and  fifth  to  all  the  notes  of  the  scale,  with 
the  exception  of  that  wliich  licars  the  minor  fifth, 
to  which  they  put  the  sixth  :  they  looked  upon 
all  harmony  as  allowable  which  was  exempt 
from  a  succession  of  fifths  and  octaves  ;  but  the 
doctrine  of  the  new  modes  soon  displaycil  the 
errors  of  this  harmony,  which  fonned  an  infinity 
of  bad  combinations,  such  as  the  sixth  with  the 
third,  or  frequently  on  many  other  degrees  of  the 
scale  :  it  was  on  the  above  principle  that  I'ales- 
trina  and  all  his  school  wrote,  lint  the  most  im- 
portant point  had  yet  to  be  divulged.  A  school- 
master in  Lombardy,  (Charles  Montevcrde,)  who 
flourished  about  1.590,  invente<l  the  harmony  of 
the  dominant ;  he  wa.s  also  the  first  who  dared 
to  use  the  seventh  and  even  the  ninth  of  the 
dominant,  openly  and  without  preparation ;  he 
likewise  employed  the  minor  fifth  as  a  consonance, 
which  had  always  before  been  used  as  a  disso- 
nance. Thus  the  toniU  harmony  bcciunc  known ; 
and  hLs  principle  being  once  admitted,  aU  its  con- 
sequences were  naturally  deduced,  and  musicians 
arrived,  almost  insensibly,  at  the  conclusion,  that 
only  three  essentiid  harmonics  were  to  be  ac- 
knowledged in  the  mode,  namely,  that  of  the 
tonic,  of  the  dominant,  and  of  the  sub-dominant ; 
which  arc  all  that  should  be  placed,  either  direct 
or  inverted,  on  these  notes  and  on  those  com- 
prised in  their  harmony.  Charles  Monteverde 
likewise  introduced  into  composition  double  dis- 
sonances, which  were  soon  succeeded  by  triple 
dissonances,  and  diminished  and  altered  chords. 
It  must  naturally  be  supposed  that  counterpoint 
was  in  some  degree  affected  by  these  innovations  ; 
it  now  became  usual  to  employ  inter\-als  in  mel- 
ody, which  had,  till  then,  been  totally  interdict- 
ed, and  the  intcn-als  in  harmony  soon  succee<led 
each  other  in  a  way  till  then  unknown.  About 
this  time  L.  Viadana  de  Lodi  formed  the  idea  of 
giving  to  the  instrumental  bass  a  different  melody 
from  that  of  the  vocal,  to  which  it  had  hitherto 
strictly  adhered ;  he  further  proposed  to  make 
this  new  biuss  reign  throughout  the  piece,  to  con- 
sider it  as  the  ba-sis  of  the  whole  compo?::i:  n, 
and  to  represent  by  figures  the  chord  it  was  to 
carry.  In  these  points  alone  can  he  be  consiilerfd 
as  the  inventor  of  fundamental  bass,  for  it  doM 
not  appear  he  in  any  way  added  to  harmony.  All 
these  innovations  excite<l  the  indignation  of  the 
masters  attached  to  the  ancient  rules;  but  nt 
length  sense  and  experience  overcame  their  vague 
and  abstract  reasonings.  At  first,  indei'd,  the>e 
new  mctliods  were  merely  applied  to  profane  and 
modem  music,  and  the  ecclesiastical  chnnta  con- 
tinued to  be  formed  on  the  ancient  rule.',  some- 
what mitigated,  however,  according  to  the  meth- 
od of  Talestrina   and   the   Uoman    school ;  but, 

1  towards  the  close  of  the  seventeenth  century 
they  began,  in  practice,  to   consider  the  church 

j  tones  merely  as  a  form  to  enchain  or  keep  within 

'  bounds  the  modem  toucs,  and  accordiug  to  thi« 

15 


HIS 


EXCYCl.OPiEDIA    OF   MUSIC. 


HIS 


principle  they  applied  tonal  harmony  to  their 
ecclcjiastical  compositions.  It  is  thus  tlint  the 
school  of  Xaples,  particularly  Durante,  considered 
the  Kiihjoc't,  and  the  modern  tones  are  now  uni- 
versally acknowledged  in  church  music.  Prac- 
tice has  ever,  in  all  the  arts,  preceded  theory,  or 
rather  doctrine  ;  and  indeed  it  should  always  be 
thus,  lor  doctrine  should  merely  obser\'e  tlie 
operations  of  genius  and  reduce  them  to  prin- 
ciples ;  it  sbouid  not  advance  too  quickly,  there- 
by exposing  itself  to  be  contradicted  by  experi- 
ence. If  wc  examine  the  successive  doctrines  of 
the  jicriod  we  have  been  surveying,  we  shall  find 
an  additional  proof  of  the  truth  of  these  obser- 
vations. P.  Aaron,  I..  Fogliani,  and  all  those 
•who  wTOte  during  the  first  two  generations  of  the 
eLxtceuth  century,  added  little  to  the  improve- 
ments of  the  fifteenth.  Zarlino,  wlio  published 
in  lo71  his  "  Harmonic  Institutions,"  collected 
and  developed  all  the  theories  and  precepts  es- 
tablished up  to  his  time ;  and  his  work  was  then 
considered,  and  for  long  after,  as  the  most  emi- 
nently classical  ever  written  on  music.  Far, 
however,  was  he  fi-ora  preceding  in  knowledge 
the  composers  of  hLs  day,  for  he  appears  not  to 
have  heard  of  Palestrina,  who  flourislied  about 
1552.  All  Zarlino's  doctrine  was  established  on 
the  practice  of  the  masters  of  the  Flemish  school, 
of  whom  he  himself  was  a  pupU.  In  this  he 
•was  followed  by  Artusi,  Zacconi,  and  others,  who 
•wrote  towards  the  close  of  the  sixteenth  century. 
D.  P.  Ceroni,  who  published  at  Naples,  in  1613, 
his  "  Mflopeo  y  Maestro,"  narrowed  the  bounda- 
ries of  the  doctrines  of  music.  He  modified  his 
instructions  according  to  those  of  Palestrina  and 
other  masters  of  the  Roman  school.  Galeazzo 
Sabbatini,  who,  in  1644,  gave  rules  for  thorough 
bass,  wrote  on  the  same  principles.  But  it  was 
not  until  we  possessed  the  treatises  of  Berardi, 
Buononcini,  and  Gaspaiiui,  towards  the  close  of 
the  seventeenth  or  commencement  of  the  eigh- 
teenth century,  that  the  practices  in  counterpoint, 
introduced  at  the  close  of  the  sixteenth  century, 
were  reduced  into  a  theoretical  system ;  from 
that  time  to  this,  these  doctrines  have  remained 
nearly  the  same  as  they  were  established  by  the 
last-named  authors.  Hitherto  I  have  cited 
neither  French  nor  Gennan  authors ;  for  this 
reason,  that  they  have  generally  been  behind- 
liand  with  the  Italian  in  precept,  and  I  have 
merely  \\-ished  to  trace  the  progress  of  the  art, 
and  not  the  history  of  different  schools.  But 
towards  the  commencement  of  the  eighteenth 
century,  a  French  wTiter  produced  some  sensa- 
tion with  regard  to  doctrine ;  I  mean  Ilameau, 
•who  affirmed  that  all  rules,  up  to  his  time,  were 
merely  blind  traditions,  without  connection  or 
foundation,  and  proposed  reducing  them  to  a  few 
precepts,  which  he  pretended  to  deduce  from  the 
laws  of  physics.  As  the  opinions  of  this  cele- 
brated man  have  for  some  time  been  much  in 
■vogue  in  France,  and  have  had  a  usefvil  influence 
on  certain  points  of  musical  doctrine,  I  cannot 
here  dispense  with  giving  some  idea  of  them. 
If  wc  examine  the  various  chords  used  in  ac- 
com]ianiment,  'wo  shall  find  they  may  all  be 
traced  to  different  combinations  of  certain  groups 
of  sounds.  For  example,  the  chords  ut,  mi,  sol ; 
mi,  sol,  nt ;  sol,  ut,  mi,  are  evidently  but  three 
combinations  of  the  sounds  ut,  mi,  sol ;  the 
ehords  sol,  si,  re,  fa  ;  si,  ro,  fa,  sol ;  re,  fa,  sol,  si ;  fa, 
•ol,  si,  re,  arc  four  combinations  of  the  souniU 

4 


Bol,  si,  re,  fa ;  in  which  each  sound  becomes  suc- 
cessively the  bass,  the  aiTangcment  of  the  ligher 
sounds  being  perfectly  indifferent.  Now,  if  -we 
consider  one  of  the  chords  which  are  composed 
of  the  same  sounds  as  principal,  the  others  .•nay 
be  viewed  merely  as  de])endents.  M'ith  this  idea 
the  ancients  were  perfectly  acquainted,  and  they 
considered  that  chord  as  principal  in  which  all 
the  sounds  were  placed  at  intervals  of  thirds, 
the  remaining  chords  (comijosed  of  the  same 
sounds)  being  inversions  of  the  first.  Some  ig- 
norant \vriters  have  attributed  the  origin  of  this 
idea  to  liamcau.  In  this  they  are  mLstaken,  and 
to  be  convinced  of  their  error,  they  have  only  to 
glance  at  the  ■writings  of  Zarlino,  Berardi,  and 
others,  when  they  will  find  tliat  the  above  idea, 
which  Ls  indeed  founded  in  truth,  had  long  been 
familiar  to  the  ancients.  What  may  with  truth, 
however,  be  attributed  to  Kameau  Ls  his  having 
endeavored  to  include  all  the  laws  of  harmony 
in  those  laws  which  govern  the  princi])al  chords. 
To  this  end  he  names  these  chords  funflamcntal 
chords ;  the  note  which  acts  as  bass  he  calls  tho 
fuixdamentaX  tiote ;  and  finally  he  terms  fujidament- 
al  bass  that  hj-pothetical  bass  which  is  formed 
solely  by  the  fundamental  note.  This  being  de- 
cided, he  next  proceeds  to  prescribe  rules  for  the 
formation  of  this  bass,  or  rather  for  the  succes- 
sion of  fundamental  chords  ;  and,  according  to 
his  doctrine,  harmony  will  be  regular  whenever 
the  chords  of  which  it  is  formed,  being  brought 
back  to  their  fundamental  chords,  offer  succes- 
sions in  the  bass  correspondent  to  the  rules  which 
he  has  established.  Unfortunately,  nothing  can 
be  more  en-oneous  than  this  doctrine :  experience 
and  a  survey  of  those  cases  in  which  this  method 
has  been  adopted,  prove,  first,  that  a  fundament- 
al succession  of  notes,  according  to  the  method 
of  Rameau,  may  have  very  bad  derived  succes- 
sions ;  secondly,  that  on  the  contrary,  from  ex- 
cellent and  generally  admitted  derive<i  succes- 
sions, frequently  arise  fundamental  successions, 
which  /)c  rejects  as  faulty.  We  should  add,  that 
llameau,  likewise,  takes  no  notice  of  many  chords 
universally  practised  as  good,  nor  can  he  explain 
their  successions.  For  these  different  reasons, 
Rameau's  system  never  obtained  the  approbatiot 
of  any  clever  practitioner  :  for  a  short  time  it  met 
with  some  success  in  France,  but  no'w  it  is  en- 
tirely laid  aside;  indeed,  it  never  was  of  any 
other  use  than  to  attract  the  attention  of  didactic 
writers  to  the  theory  of  invei-sions,  and  to  pro- 
cure us  some  lists  of  chords  more  or  less  com- 
plete, considered  under  this  point  of  view,  as,  for 
instance,  they  have  been  by  Mar])urg,  De  Knecht, 
De  Sabbatini,  &c.  The  habit  thus  acquu-ed  in 
France  of  considering  harmony  in  a  systematic 
point  of  view,  at  length  produced  a  much  more 
important  advantage.  When  the  Conservatory, 
established  at  Paris  towards  the  close  of  the 
eighteenth  century,  determined,  lor  the  benefit  of 
the  pupils,  to  invent  and  adopt  an  elementary 
work,  a  professor  of  that  establishment  (Catel) 
proposed  a  treatise  on  harmony,  which,  of  all 
those  liitherto  published,  agrees  best  with  the 
practice  obsen-cd  for  nearly  two  centuries  past. 
He  considered  as  natural  chords  all  such  as  are 
commonlv  termed  consonances,  also  all  dissonant 
chords  used  without  preparation ;  he  examines  in 
a  summary  manner  their  principal  successions, 
and  demonstrates  in  what  way,  by  means  of  the 
anticipations,   retardations,   and    alterations    of 

16 


HIS 


ENCYCLOP.EDIA    OF   MUSIC. 


Ill  is 


which  they  are  susceptible,  they  produce  all  arfi- 
Jlcial  chords  or  dissonances,  ])roperly  so  called. 
This  doctrine  had  been  previo\isly  tau<;ht  by  the 
school  of  Durante,  as  we  find  from  the  small 
treatise  of  Feiiaroli,  entitled  "  Rei/ole  per  li  prin- 
cipiante,"  &c.,  and  was  likewise  established  in 
Germany,  as  we  find  by  the  history  of  Forkel, 
(Introd.  art.  67;)  but  Catel  produced  it  in  a 
miy-h  cloorer  and  more  decided  form,  and  it  has 
been  adopted  in  France  by  all  able  musicians  ; 
.ndeed,  it  must  be  considered  »  most  important 
step  in  the  doctrine  of  harmony.  I  imafjine  it  is 
possible  to  effect  still  Kf^ntsr  improvements  in 
this  point ;  but  to  do  this,  it  would  be  necessary 
to  dissipate  some  errors  which  still  obscure  the 
theory  of  tonality,  and  we  cannot  discuss  that 
point  here.  If  we  now  take  a  general  survey  of 
the  past  and  present  state  of  the  science,  we  shall 
clearly  jierceive  how  our  system  has  succeeded  to 
that  of  the  Greeks,  from  which  it  differs  wholly 
with  regard  to  modes,  and  over  which  it  has  sus- 
tained considerable  improvement  with  regard  to 
rhj-thm  ;  we  shall  observe  its  jirogressive  rise  and 
attainment  of  its  present  state  of  i)erfection  ;  we 
shall  see  how  the  theory  of  the  art,  origvnally  es- 
tablished on  the  ancient  system,  and  without  any 
regard,  at  least  but  little,  and  that  merely  from 
condescension,  to  the  developments  of  the  new 
system,  has  continued  in  some  degree  up  to  the 
present  day,  and  has  diffused  a  universal  influ- 
ence ;  in  the  same  manner  as  the  generality  of 
our  grammars  now  in  use  are  founded  on  those 
of  ancient  language*,  notwithstanding  the  dif- 
ference that  exists  in  their  genius  and  construc- 
tion. From  this  conviction,  acquired  by  analogy 
and  close  observation,  we  arrive  at  the  conclusion 
that  the  didactic  part  of  music  is  now  in  want  of 
a  master,  who,  with  clearness  and  decision,  shall 
be  able  to  fix  the  limits  of  the  different  systems 
and  different  styles,  and  to  determine  the  re<iui- 
eites  for  each.  What  we  are  now  about  to  state 
concerning  the  various  styles  of  composition 
may  furnish  some  new  ideas  on  this  subject. 

Second  Section.  Of  the  Stijlei  of  Com/nsUion.  — 
If  we  have  so  long  deferred  alluding  to  the 
different  styles  of  composition,  it  is  not  from 
an  idea  that  the  period  we  are  now  discussing  is 
the  first  in  which  these  various  styles  could  be 
di:itinguished.  For  ages  past  they  have  existed  ; 
and  though,  in  their  developments,  they  have  ex- 
ercised a  reciprocal  influence, yet  there  have  always 
existed  constitutive  and  characteristic  distinctions 
between  them  ;  but  the  fact  is,  it  would  have  been 
by  far  too  arduous  a  task,  and  would  have  led  me 
into  long  details,  to  trace  the  origin  and  progress 
of  each  of  these  styles  separately  ;  I  have  there- 
fore reserved  till  now  the  little  I  intend  stating 
on  the  subject,  being  aware  that  I  shall  find  it 
occasionally  requisite  to  retrace  events  some  way 
back.  Four  principal  styles  are  admitted  in 
music :  church  music,  chamber  music,  dramatic 
music,  and  instrumental  miLsic :  these  will  be 
the  subject  of  the  following  articles. 

Article  Fih>t.  Church  Music.  —  It  is  well 
known  that  church  music  admits  of  four  distinct 
species  :  the  style  d  cape/Ja,  the  accomponied  style, 
the  concertante  style,  and  lastly,  the  oratorio. 

Of  these  kinds,  that  which  most  decidedly  be- 
longs to  the  church  is  the  style  d  cnp,lln.  lliis 
is  a  kind  of  composition  generally  written  on  the 
tones  of  the  plain  chant,  in  the  time  of  two,  and 
for  voices,  without  any  accompaniment.  This  s{>e- 
63  4 


cies  Ls  subdivided  into  four  sorts  :  the  plain  chant, 
the  faux  brunlon,  the  counterpoint  on  the  plain 
chant,  and  the  ecclesiastical  fugucd  counterpoint. 
One  of  these  sorts  (the  plain  chant)  we  have 
alreadv  sufficiently  mcntione<l ;  indeed,  as  it  has 
undergone  no  variation  since  the  time  of  St. 
Gregory,  we  have  nothing  further  to  relate  con- 
cerning it. 

Wit',  regard  to  the  faitx  bourdon,  we  have 
already  traced  its  origin  ;  and  from  this  style  is 
derived  composition  with  many  parts.  This  w 
the  most  simple  style  of  all,  and  consists  of  a 
counteqioint  of  note  against  note,  in  which  the 
bass  bears  only  iierJ'ect  chords  ;  it  has  not  received 
any  alteration  since  the  period  when  the  rules  of 
simple  composition  were  unalterably  fixed,  which 
may  be  traced  to  a  more  remote  period  thai,  the 
Flemish  school.  This  style  exists  to  the  pre;tent 
day,  but  is  only  used  in  psalmody  and  a  few 
canticles. 

Counteqioint  on  the  plain  chant  is  frequently 
mistaken  for  and  confounded  with  the  faux 
bourdon  ;  it  immediately  succeeded  the  former, 
and  we  should  certainly  understand  in  this  light 
the  famous  b\ill  of  Pope  John  XXII.,  which  for- 
bade the  use  of  the  fau.c  bnurdoii,  as  tending  to 
produce  confusion  and  impiety  in  divine  ser\*ice. 
Counterpoint  on  the  plain  chant  consists  in  form- 
ing on  the  plain  chant,  which  is  prc--er\-ed  unal- 
tered in  one  of  the  parts,  various  other  parts,  and 
displaying  in  them  all  the  ingenuity  of  counter- 
jioint,  as  imitations,  fugues,  car.ons,  &c.  Its 
history  is  blended  imperceptibly  with  that  of 
composition  itself.  It  was  brought  to  great  per- 
fection by  the  masters  of  the  Flemisli  school,  who 
have  left  many  fine  productions  in  this  style;  but 
they  have  been  eclipsed  by  those  of  the  Italian 
school,  which  possess  much  more  taste  and  ele- 
gance. 'Hie  finest  specimens  of  this  style  were 
produced  in  the  sixteenth  century,  .'^ince  that 
period  it  has  been  little  attended  to  in  France, 
and  instead  of  employing  the  riches  they  pos- 
sessed, the  clergy  allowed  the  substitution  of  a 
sort  of  counterpoint,  aila  mente,  which  is  sung  at 
sight  in  chorus,  and  Ls  called  chant  from  the  book, 
{sur  le  Here.)  I'adre  Martini  says  he  heard  some 
excellent  music  in  this  style :  we  have  never  been 
so  fortunate,  as  all  we  have  yet  known  in  this 
style  has  been  most  disgusting.  The  contrapun- 
tists of  the  fifteenth  and  sixteenth  centuries  did 
not  always  confine  themselves,  in  the  ba-sis  of 
their  compositions,  to  the  chant  of  the  church 
books ;  they  imjuently  employed  a  plain  chant, 
composed  at  the  moment  from  their  own  idea  ; 
and  not  unlrequently  introduced  vulgar  airs, 
sometimes  French  songs,  and  many  of  them  verv 
popular  at  the  time.  Among  thc.~.c  we  may  par- 
ticularly notice  the  famous  air  of  "  L' Ihmnta 
Arme,"  suppose<l  to  be  the  ancient  song  of  Ro- 
land, upon  which  the  most  celebrated  composers 
of  those  two  centuries  made  a  ])oint  of  composing 
difficult  and  scientific  masses.  They  soon  al'tcr 
this  deviated  from  the  rule  of  confining  the  lead- 
ing chant  to  one  particular  part,  and  dprive<l  their 
successive  subjects  from  the  principal  traits  in  the 
song  or  plain  chant,  introducing  in  the  partj«  vari- 
ous kinds  of  imitations ;  this  was  the  origin  of 
the  fugue  style.  In  this  sort  of  composition  th» 
seuse  of  the  words  was  completely  overlooked, 
and  their  music  fende<l  solely  to  the  di.<i]ilay  of 
the  talents  of  the  composer  or  powers  of  the  sing- 
ers ;  in  fact,  it  was  so  much  abu>c.l,  that  the 
17 


am 


ENCYCLOPEDIA    OF    MUSIC. 


Hia 


Council  of  Trent  deliberated  on  the  means  of 
.m]/l)re**in5  music  in  cliurches,  and  tlic  decree 
»'ould  certainly  have  passed,  had  not  some  par- 
'.icular  and  local  considerations  prevented  it.  In 
■.he  time  of  I'ope  Marcelliis  XL,  who  reigned  in 
1.1.52,  the  im])iety  of  this  style  of  church  music 
Had  reached  its  utmost  height,  and  he  had  re- 
•olved  to  reduce  it  to  the  simple  Gregorian  chant, 
when  a  youni,'  composer,  till  then  hardly  known, 
named  I'nleslrina,  presented  to  the  pontiff  a  mass, 
in  a  style  entirely  new.  It  was  arranged  in  the 
same  manner  n.s  that  of  which  we  have  been 
speaking ;  but  instead  of  tumult  and  noise,  this 
composition  ottered  a  religious  and  noble  style, 
pure  harmony,  and  sweet  and  majestic  expression, 
'lliese  are  the  distinguishing  features  that  charac- 
terize the  etyle  of  Palestrina,  and  by  which  he 
dittbrs  from  the  fugue  style  of  his  predecessors ; 
add  to  this  that  he  points  in  a  more  distinct  man- 
ner to  the  principles  of  the  modern  tones,  without 
discarding  those  of  the  ancients.  This  author 
mny  therefore  be  justly  considered  as  the  inventor 
of  these  united  proiiertics,  though  in  fact  he  only 
improved  them,  and  by  that  means  fixed  them, 
which,  in  reality,  is  a  much  greater  advantage. 
I'alcstrina  was  considered  by  his  successors  as  a 
model  thi'.t  could  not  be  equalled  ;  and  this  con- 
viction, joined  to  the  continual  changes  in  the 
foundation  of  the  system,  soon  induced  all  com- 
posers to  renounce  a  style  in  which  they  could 
acquire  but  little  glory  or  advantage.  Thus, 
although  it  is  much  admired,  this  style  is  now  so 
little  in  use,  that  it  would  be  difficult,  perhaps, 
to  find  throughout  Europe  tliree  composers  who 
would  agree  in  the  manner  of  using  it. 

The  decline  of  tlie  style  d  capeUa,  all  the  va- 
rieties of  which,  in  the  course  of  the  sixteenth 
century,  had  risen  to  a  degree  of  perfection  since 
unparalleled,  was  useful  to  the  other  kinds  of 
ecclesiastical  music,  and  particularly  to  the  ac- 
companied and  concerted  styles.  I  mean  by 
accompanied  style,  that  in  which  the  voices  are 
accompanied  by  tlie  or^an  alone,  or,  at  most,  with 
some  other  low  instruments  to  sustain  the  basses  ; 
and  by  the  concerted  style,  I  mean  that  in  which 
the  voices  aie  accompanied  by  all  sorts  of  instru- 
ments, as  well  those  of  a  high  as  of  a  low  pitch. 
It  is  not  easy  to  determine  the  precise  origin  of 
these  styles,  nor  to  trace  their  progress,  there 
being  nothing  very  decided  with  regard  to  them. 
It  appears,  however,  that  the  organ  or  other 
instruments,  or  both  together,  have  at  all  times 
been  emj)loyed  to  accorajiany  the  voice  in  church 
bingijig  ;  but  this  has  varied  considerably,  accord- 
ing to  the  time  or  place  ;  neither  of  them  having 
liad  any  peculiarity  of  progress  or  devolopraeut. 
The  first  has  been  much  influenced  by  the  pro- 
gress of  the  i-jadrigal  style,  and  the  second  by 
that  of  the  theatre,  of  wl-.ich  we  shall  presently 
B]'eak  ;  simply  observing  for  the  present,  that 
inasmuch  as  we  consider  the  first  of  these  styles, 
that  Ls  to  say,  the  one  accom])anied  by  the  organ 
or  any  other  bass  instrument,  to  be  [iroperly 
adapted  to  tbn  church,  in  so  much  do  we  consider 
the  second  style,  or  that  accompanied  with  vari- 
ous instruments,  as  misplaced  in  a  church,  and 
only  adai)ted  to  produce  confusion  and  impiety, 
OS  well  from  its  connection  with  the  dramatic 
Btyle  of  composition,  as  from  the  circumstances 
necessarily  attendant  on  its  execution. 

The  jireceding  refiections  are  entirely  applica- 
ble to  that  kind  of  compoution  style>l  oratorio. 


I'his  is  a  sort  of  drama,  the  subject  of  which  is 
an  action  selected  from  the  Scriptures,  frequently 
a  pious  allegorical  piece,  meant  to  be  performed 
in  a  church  by  singers  rej)resenting  the  different 
persons  of  the  drama.  \Ve  may  observe  from 
this  in  what  respect  the  oratorio  differs  from  the 
sacred  drama  ;  the  subject  of  both  may  be  the 
same,  but  the  sacred  drama  is  intended  for  the 
theatre,  the  oratorio  for  a  church.  The  inven- 
tion of  the  oratorio  is  commonly  ascribed  to  St. 
Philip  of  Neri,  bom  in  l.ilo,  and  who  founded 
in  1.540,  at  Rome,  the  Congregation  of  the  Oratory. 
This  pious  ecclesiastic,  wishing  to  turu  towards 
religion  the  mania  which  the  inhabitants  of  Rome 
displayed  for  the  theatre,  (a  mania  that  Irequently 
caused  them  to  absent  themselves  from  church, 
particularly  in  the  time  of  the  carnival,)  formed 
the  idea  of  having  these  sacred  interludes  written 
by  good  poets,  set  to  music  by  the  first  composers, 
and  performed  by  the  most  celebrated  singers. 
The  experiment  succeeded  to  the  utmost  extent 
of  his  wishes.  Crowds  were  attracted  to  these 
concerts,  which  took  the  name  of  oratorios,  from 
the  Church  of  the  Oratory,  where  they  were  per- 
formed. 

The  first  oratorios  were  very  simple  and  short 
poems ;  after  a  time  the  words  acquired  more 
importance,  and  finally  they  have  become  genu- 
ine dramas,  the  pomp  of  scenic  effect  being  alona 
wanting,  from  its  being  inapplicable  to  the  place 
in  which  they  are  meant  to  be  performed,  at  least 
in  Catholic  countries.  The  most  celebrated  poets 
and  composers  have  exercised  tholr  talentj^  on 
the  oratorio.  Giov.  Animuccia,  one  of  the  com- 
panions of  St.  Philip  of  Neri,  was  the  first  com- 
poser of  them.  The  style  of  tlie  oratorio  was  at 
first  a  melange  of  the  mailrigal  style,  and  of  the 
cantata ;  but  since  the  modern  diamatic  style 
hss  usurped  the  place  of  all  others,  the  oratorio 
music  differs  little,  or  not  at  all,  from  that  of  the 
theatre ;  anJ  this  ought  not  to  surprise,  when  we 
consider  that  the  modern  masses  and  other  regu- 
lar music  for  the  Catholic  church  vary  only  from 
dramatic  compositions,  by  being,  if  possible,  still 
more  affected  and  maniire. 

Chamber  Music.  —  Didactic  authors,  such  as 
Berardi  and  Padre  Martini,  commonly  distinguish 
three  styles  of  chamber  music,  namely,  simple 
madrigals,  accomjinuied  madrigals,  and  cantatas. 
To  these  three  I  have  ventured  to  add  a  fourth, 
which,  under  the  title  of  fugitive  pieces,  contains 
au  immense  number  of  different  sorts  and  varieties. 

The  madrigal  is  a  species  of  composition  much 
resembling  the  fugue,  but  the  style  of  which,  be- 
ing less  dry  than  tluit  of  the  latter,  is  susceptible 
of  every  kind  of  expression.  It  \\as  so  called 
because  it  was  usually  set  to  a  jieculiar  kind  of 
little  poem,  known  also  by  that  name.  Two 
kinds  of  madrigals  may  be  distinguished :  simple 
madrigals,  i.  e.,  those  executed  by  voices  alone, 
without  the  assLstiince  of  any  instruments ;  and 
accompanied  madrigals,  i.  e.,  those  in  which  the 
voices  are  supported  by  the  organ  or  jiiano-forte ; 
for  in  this  kind  of  composition  no  other  instru- 
ments are  used  with  the  voices. 

Simple  madrigals  appear  to  have  been  the  first 
invented,  but  it  is  impossible  to  say  by. whom. 
Many  authors  have  considered  James  Arcadelt, 
chapel-master  to  the  Cardinal  cf  Lorraine,  wh« 
fiourlshed  towards  the  close  of  the  sixteenth  cen- 
tury, as  the  first  who  composed  this  species  of 
music  ;  but  on  reading  P.  Aaron,  and  other  didao 
18 


U'S 


ENCYCLOP.'EDI.V    OF    MUSIC. 


HIS 


til  authors  of  that  time,  and  subsequent  to  it,  it 
wn  1  be  seen  that  this  assertion  b  evidently  erro- 
neous, other  madriffals  of  more  ancient  masters 
being  there  cited,  and  even  some  by  the  eompo- 
eers  of  the  ancient  Flemish  school.  We  may 
thence  conclude  that  simple  madrigals  are  an  in- 
vention of  the  commencement  of  the  sixteenth 
century.  This  style  was  sinjjularly  cultivated 
during  the  whole  of  that  and  the  followiuj  cen- 
tury; but  it  has  been  completely  abandoned  since 
the  early  part  of  the  ei^-hteenth  century,  as  much 
on  account  of  the  reroi;ni/.ed  impossibility  of 
equalling  the  early  composers  in  this  kind  of  mu- 
sic, as  on  account  of  the  attention  given  exclu- 
sively to  dramatic  and  instrumental  mu-.ic,  which 
are  in  some  respects  comidctely  the  antipodes  to 
iiiis system.  This  style  has  likewise  been  greatly 
varied.  If,  as  llerardi  says,  we  examine  tl.e  raad- 
ripnls  of  the  earliest  composers  of  tliem,  the  style 
will  be  found  to  ditTer  little  from  that  of  their 
sacred  works ;  but,  as  we  advance,  we  see  this 
kind  of  comi)osition  assume  a  style  and  constmc- 
^!■'n  peculiar  to  it-^elf :  this  improvement  may  be 
rem-irkcd  more  particularly  in  the  madrigals  of 
L.  Marenzio,  a  composer  a  little  posterior  to  Pal- 
e^trina,  and  who  acquired  great  celebrity  in  this 
kind  of  music ;  the  same  advancement  may  also 
be  traced  successively  in  the  works  of  (>.  Gesu- 
aldo.  Prince  of  Veniosa,  in  Montevcrde,  in  Mar.- 
zochi ;  and  lastly,  it  seems  to  have  attained  its 
utmost  limit  in  the  celebrated  Alcssandro  Scar- 
latti, the  last  great  compo--er  cited  for  his  compo- 
sitions in  the  madrigal  style. 

Accompanied  madrigals  are,  necessarilv,  a  more 
modern  invention ;  they  can  only  have  existed 
since  the  time  when  the  custom  was  introduced 
of  putting  an  instrumental  bass,  differing  from 
the  vocal  one,  below  the  voices,  lids  plan,  as 
we  have  seen,  may  be  dated  from  the  commence- 
ment of  the  seventeenth  century.  A  great  num- 
ber of  composers  of  this  species  of  madrigal  are 
known,  but  the  most  celebrated  flourished  be- 
tween the  middle  of  the  seventeenth  and  of  the 
eighteenth  centuries.  Tlie^e  are  Fre-icobaldi, 
Carissimi,  I-otti,  {Scarlatti,  Clan,  Marcello,  and 
Durante ;  the  three  last  of  whom,  in  particular, 
have  lett  some  chifn-d'rrwre.i  in  this  style  of  com- 
position, which  are  known  to  most  musicians. 
Since  these  great  madrigalists,  no  one  has  at- 
tempted to  excel  in  this  kind  of  mus-ic,  not  only 
because  the  ta'-te  and  direction  of  musical  ideas 
have  changed,  but,  we  must  not  fear  to  add, 
because  the  studies  in  composition  are,  at  the 
]:rescnt  period,  generally  defective  or  nlto'^cther 
l)ad  ;  in  fart,  no  sooner  has  a  pu])il  learned  to  put 
harmony  to  a  bass,  often  systematic  and  incorrect, 
and  to  place  a  badly-contrived  bass  under  a  vul- 
gar, commonplace  air,  than  he  considers  himself 
a  composer,  and  ha'^tens  to  push  himself  forward, 
especially  in  the  theatrical  line  of  composition, 
followiiiij  the  footsteps  of  his  master,  who  per- 
haps knew  no  more  about  the  matter  than  him- 
self. The  ancients  were  persuaded  that  to  form 
a  composer,  and  to  merit  the  title  of  master,  it 
was  absolutely  requisite  that  a  p>ii.il  should  de- 
vote many  years  to  the  study  of  the  science,  and 
exercise  himself  laboriously  on  each  separate 
rule,  meditatin:;  attentively  on  the  character  of 
different  models,  and  thus  -irulunlly  capacilatiiiij 
hirahclf  to  treat  with  equal  facility  all  kinds  of 
causic.  The  musician  of  the  present  time  limits 
all  his  glory  to  the  compo>ition  of  an  air  or  a 


song,  and  even  does  not  blush  to  jdace  nt  th« 
head  of  such  trifles  the  pompous  titles  of  pupil, 
and  even  iirofessor,  of  some  schocd  in  rejiutation. 

A  cantata  is  a  little  poem,  which,  considered  in 
a  literary  sense,  hits  no  very  determinate  chan.c- 
ter,  though  it  is  usually  the  recital  of  a  simj  It 
and  interesting  fact,  interspersed  with  reflect ioi  s, 
or  the  expression  of  some  particular  sentiment. 
It  may  be  in  lUl  styles  and  all  characters,  sacred, 
profane,  heroic,  comic,  and  even  ludicrous,  rep- 
resenting the  action  or  feeling  of  either  a  single 
or  several  persons ;  it  even  sometimes  assumes 
the  character  of  the  oratorio,  as,  for  instance,  in 
"  The  Passion  "  of  Ilamlcr,  "  The  Creation  "  of 
Ilrtvdn,  and  others. 

The  cantata  takes  its  origin  from  the  h-ric  bs.- 
ma.  The  time  of  its  invention  is  considered  to 
be  about  the  beginning  of  the  seventeenth  cen- 
tury, Cabout  16'20.)  Poliaschi,  of  Rome,  Loteri 
Vittorii,  of  .'spolcto,  and  B.  Ferrari,  of  Keggio, 
(called  Ferrari  of  the  Theorbo.)  are  the  lirst  com- 
posers cited  as  having  acquired  any  degree  of 
celehrity  in  this  style.  After  them  are  mentioned 
T.  Morula,  (Jraziani,  IJassani,  and  es])ecially  Ca- 
rissimi ;  about  the  middle  of  the  s;ime  century, 
M.  A.  Cesti,  a  pupil  of  Carissimi,  who  perfected 
recitative;  L.  Rossi;  Ixsgrcn/.i ;  and  lastly,  the 
celebrated  A.  Scarlatti,  who  surpassed  all  his  pred- 
ecessors as  well  by  thefecundity  as  the  brilliancy 
of  his  talent.  At  the  commencement  of  the 
eighteenth  century,  we  may  mention  Fr.  Gaspa- 
rini ;  (jiov.  and  Ant.  Ihiononcini  ;  the  celebrated 
R.  Marcello,  who  composed  many  much  admired 
cantatas;  Pcrgolcse,  whose  "  Orpheus"  is  cited  as 
n  rhrf-d'irucre ;  Vivaldi,  known  by  his  works  for 
the  violin;  and  lastly,  the  Rai'on  d'.\stnrga,  and 
the  celebrated  N.  Porpora,  both  of  whom  have 
left  collections  considered  perfectly  classical  in 
this  style.  I'nhappily  we  are  under  the  necessity 
of  making  the  same  remark  with  regard  to  the 
cantata  as  we  made  respecting  madrigals  :  it  is  a 
style  of  composition  which  has  been  generally 
abandoned  and  neglected  for  nearly  two  genera- 
tions; so  much  so,  that  learned  amateurs  alone 
now  deign  to  study  the  masterpieces  in  this  style 
left  us  by  jireceiling  Kcnerations. 

Fugitive  pieces  consist,  as  we  have  before  said, 
of  an  immense  number  of  styles,  and  an  amazing 
variety  of  gubjects.  Every  nation  has  its  own 
peculiar  style  of  music.  Italy  has  the  canzonette, 
the  rillanelU;  the  flttol/-,  the  estramhottt;  S:c. ;  Spain, 
the  bolrro,  ,tc. ;  France,  the  mmnju-r,  the  vaiuie- 
rille,  Ike.  Tl;e  history  of  this  branch,  though 
a])pnrently  of  slight  importance,  is,  however,  as 
respects  the  art  in  general,  of  much  greater  inter- 
est than  would  be  at  first  imai;ined ;  first, 
because  the  musical  character  of  every  nation  is 
expressed  in  its  songs ;  and  secondly,  because  it 
is  in  this  kind  of  music  that  is  to  be  found,  as  wo 
have  already  noticed,  the  foundation  of  the  ideal 
style,  and  the  elements  of  the  modern  system. 
'Hiis  makes  us  n-gret  that  our  limits  in  this  essay 
will  not  jiermit  us  to  enter  into  any  details  on 
nanonal  music.  Laborde,  in  his  voluminoui 
essay,  has  made  a  collection  of  the  vocal  music  of 
ditfercnt  na<ion8  and  asjes  ;  h>it  it  is  very  incoi- 
rect  ;  first,  because  many  of  the  airs  are  altered, 
often,  even,  rcpl.u-ed  by  modem  ones  ;  and  sec- 
ondly, because  they  arc  overcharce«l  with  a  har- 
mony both  ill  ima:;ined  and  incorrect.  In  short 
that  collection  merits  no  consideration  whstever 

Dramatic  Mutic.  —  The  invention  of  the  lyrvi 
19 


HIS 


EXCYCLOP.^DIA    OF  MUSIC. 


Hia 


Irnraa  of  the  raodenis  is  considered  by  many  per- 
»ons  to  bo  of  very  distant  date ;  that  is  to  say,  if 
by  tlie  lyric  drnraa  we  are  to  understand  every 
representation  accompanied  by  music.  And,  in 
fact,  altlioush  these  older  reprchentations  dif- 
fer widely  Irom  the  lyric  drama  of  our  time, 
(as  rau<h  by  reason  of  the  chanses  that  have 
taken  place  in  music  in  r;encral,  as  on  account  of 
the  variations  that  have  been  sustained  in  the 
particular  kind  of  music  which  we  are  now 
treating,)  still  we  cannot  fail  to  remark  in  the 
former  the  foundation  and  principle  of  the  latter. 

Ancient  writers  speak  of  representations,  both 
sacred  and  profane,  as  having  been  j)crfoi-mnd 
since  the  thirteenth  century.  An  "Orfe'i"  of  Ange- 
las Politianus  is  cited,  which  was  composed  about 
the  year  1475.  A  musical  tragedy  is  sjjoken  of 
as  having  been  performed  at  Rome  in  1 180.  It  is 
said  that  in  1.5.55,  Aljjhonso  dclla  Viola  set  to  mu- 
sic, for  the  court  of  France,  "  //  Sagrifize,'''  a  pas- 
toral drama  by  Agostino  Beocari ;  and  that,  in 
1574,  an  opera  was  performed  at  Venice  for  the 
reception  of  llenn,-  III.,  when,  on  his  return  from 
Poland,  he  passed  through  that  town,  in  order  to 
take  pos'^ession  of  the  crown  of  France,  to  which 
he  succeeded  on  the  death  of  his  brother,  Charles 
IX.  But  all  these  facts  are  too  remote,  and  so 
very  few  vestiges  of  them  remain,  that  it  is  impos- 
sible to  deduce  any  thing  positive  as  to  the  state 
of  this  branch  of  the  musical  art  at  that  period, 
which,  however,  is  not  so  very  distant,  being 
scarcely  more  than  two  hundred  and  fifty  years. 
We  may,  however,  venture  to  remark,  that,  up  to 
that  time,  the  IjTic  drama  had  no  style  of  music 
peculiar  to  itself,  but  borrowed  fiom  the  style 
then  in  use  in  the  church,  also  from  the  madi-igals 
and  popular  songs. 

The  real  epoch  to  which  the  birth  of  dramatic 
music,  properly  so  called,  may  be  fixed,  is  that 
of  the  invention  of  the  recitative  or  recited  mu- 
sic, which  gave  to  the  IjtIc  drama  a  peculiar  lan- 
guage and  construction.  The  following,  it  is  said, 
was  its  origin. 

Three  Florentine  gentlemen,  J.  Bardi,  P.  Stroz- 
7.i,  and  J.  Corsi,  amateurs  of  the  art,  being  little 
satisfied  with  the  attempts  made,  uj)  to  their  time, 
to  bring  dramatic  poetry  to  perfection,  conceived 
the  idea  of  having  a  lyric  drama  written  by  their 
best  HtIc  poet,  and  composed  by  the  most  emi- 
nent of  their  musicians.  They  consequently  se- 
lected Ott.  Rinuccini  and  Jacq.  Peri,  both  of 
them  Florentines  :  the  former  wrote  a  poem  en- 
titled "  Daphne,"  to  which  the  latter  applied  a 
sort  of  recitation,  in  notes,  having  all  the  sounds 
of  music,  without  its  regular  sujjport  and  marked 
time.  This  work,  thus  disposed,  was  performed 
in  1597,  at  the  house  of  Corsi,  and  obtained  the 
utmost  success  ;  so  much  so  as  to  determine  Ri- 
nuccini to  write  two  other  works  of  the  same 
kind,  namely,  "  I'uriilice"  and  "  Ariann."  In 
the  same  year  in  which  "  Ariana"  was  performed 
at  Florence,  an  oratorio,  with  the  same  descrip- 
tion of  recitative,  composed  by  Emilio  del  Cava- 
Uere,  and  entitled  "  I)i  Anima  e  di  Corpn"  was 
performed  at  Rome.  Ilis  work,  togetlior  with 
that  of  Peri,  was  published  in  IfiOS  ;  and  in  their 
prefaces  the  two  authors  claim  the  honor  of  the 
invention  of  recitative,  which  they  both  main- 
tain to  be  the  revival  of  the  chanting  declama- 
tion of  tl;c  (rreeka.  Each  of  them,  in  suijjwrt  of 
his  claim,  cites  different  works  written  previously 
to  the  time  of  which  we  have  just  been  speak- 


ing ;  and  Emilio,  especially,  mentions  a  drama  of 
his  own,  "  Ita  DispL-ratinne  del  S'ttiro,"  composed 
and  j>erformed  in  private  since  the  year  1590,  and 
"  //  (lioco  del/a  Cieca,"  represented  in  1595.  If 
we  may  credit  J.  B.  Doni,  the  invention  or  re- 
vival of  recitative  belonged  neither  to  one  noi 
the  other,  but  to  Vincent  Galileo,  father  of  th« 
celebrated  Galileo,  the  astronomer,  who,  feeling, 
as  well  as  Bardi  and  the  other  amateurs  of  Flor- 
ence, the  de.'ccts  in  the  music  of  that  age,  and 
tilled  with  the  ardor  of  research,  occupied  him- 
self in  recovering  the  musical  declamation  of  the 
Greeks,  and  having  imagined  the  recitative,  ap- 
plied it  to  the  episode  of  the  Count  Ugolino,  of 
Dante.  He  composed  also,  in  the  same  stylo, 
"The  Lamentations  of  Jeremiah,"  and  sang  them 
himself,  with  a  viol  accompaniment,  before  a  nu- 
merous assembly.  Julius  Caccini,  of  Rome,  a 
young  singer,  who  frequented,  with  many  other 
musicians,  the  house  of  Bardi,  was  enthusia.stic 
in  his  admiration  of  this  new  style,  and  himself 
composed  several  pieces,  with  recitative  of  a  very 
improved  description.  J.  Pen  soon  became  hi 
rival  in  improvements,  and  both,  according  to 
Doni,  cooperated  in  setting  to  music  the  "  Daph- 
ne "  of  Rinuccini.  Peri  afterwards  composed 
"  Eitridice,"  and  Caccini  •'  Ccphalus."  These  pieces 
were  follo\\ed  by  "  Ariana,"  wliich  was  put  into 
recitative  by  CI.  Monteverde,  of  whom  we  have 
already  spoken. 

However  the  above  inquiry  may  be  decided,  it 
Ls  certain  that,  of  all  the  above-named  works,  the 
"  Euridicc  "  of  Peri  was  the  first  which  was  per- 
formed in  public.  This  representation  took  place 
in  1600,  at  Florence,  on  the  occasion  of  the  mar- 
riage of  Henry  IV.  of  France  with  Mary  de 
Medicis.  In  the  preface  to  the  poem,  which  was 
printed  the  same  year,  Rinuccini  states  that  the 
music  composed  by  Peri  to  his  "  Daphne"  had 
made  him  cease  fearing  that  he  should  never 
witness  the  revival  of  the  musical  declamation  of 
the  (Jreeks.  In  fact,  nearly  the  whole  of  this 
work  Ls  in  recitative ;  and  it  is  ditficult  to  dis- 
cover any  difference  from  the  rest  of  the  music, 
in  those  jias.sages  at  the  head  of  which  is  jilaced 
the  word  aria.  The  same  observation  applies  tc 
all  the  works  composed  up  to  the  middle  of  the 
same  century.  It  is  only  in  the  opera  of  "  Jason," 
written  by  Cicognini,  and  set  to  music  in  1649  by 
Cavalli,  that  we  begin  to  perceive  airs  ha\'ing  a 
melody  differing  from  that  of  the  recitative;  yet 
still  these  airs  are  usually  insipid,  and  generally 
(to  give  some  idea  of  them)  a  kind  of  minuet, 
written  in  the  time  of  two-three,  and  varying  re- 
peatedly. A  greater  degree  of  progress  is  per- 
ceptible in  the  operas  of  Cesti,  who,  in  his  "  Do- 
rin,"  composed  in  1663,  began  to  introdiice  airs 
in  which  the  talent  of  the  singer  might  be  dis- 
])layed  to  advantage.  Ihit  what  is  particularly 
remarkable  at  this  epoch  is,  that  tlie  opera  began 
to  degenerate  into  a  sjyectacle  calculated  to  please 
the  sight  alone ;  Insomuch  that,  in  the  worka 
represented  about  the  end  of  the  seventeenth 
century,  no  mention  whatever  Ls  made  either  of 
the  poet,  the  composer,  or  the  singers,  but  only 
of  the  machinist  and  the  decorator.     This,  how- 

I  ever,  did  not  discoura:;e  an  immense  number  of 
composers  from  devoting  themselves  to  this  style. 
So  groit  indeed  is  their  number,  that  it  woulcl 

,  be  impossible  to  enter  ir.to  any  details  with  re« 
gard  to  them,  without  the  risk  of  being  carrier' 

I  too  far. 

20 


ms 


ENCYCLOPAEDIA    OF    MUSIC. 


UIS 


A  monp;  the-<c  composerx,  there  were  many  who 
had  greiu  knowlcdfje  niul  fjonius ;  to  i)rove  which, 
it  id  sufficient  to  name  Fr.  Uasparini,  Perti,  Colon- 
na,  Lotti,  and,  above  all,  the  celebrated  Alcssnu- 
dro  Scarlatti,  to  whom  the  invention  of  the  Mi- 
gato  recitative  is  generally  attributed.  The  prin- 
cipal charai.tori.stic  of  these  celebrated  composers 
of  opcni«  is,  however,  their  science  ;  and  perhiips 
this  wa.s  all  they  could  dj  at  u  period  such  as 
that  in  which  they  wrote. 

In  the  midst  of  this  confusion,  some  few  aiuon;^ 
them,  and  particularly  Scarlatti,  felt  the  necessity 
of  making  the  melody  conformable  to  the  expres- 
sion of  the  words ;  and  some  attenii)ts  made  to 
this  effect  were  very  successful.  This  >;reat  im- 
provement was,  however,  left  to  be  completed  by 
the  tinst  generations  of  the  eighteenth  century"; 
and  it  is  to  the  illustrious  ])upils  of  Scarlatti, 
namely,  to  Leo,  Vinci,  Sarro,  Hasse,  I'orpora,  Feo, 
Abos,  and  especially  Pergoleso,  tltat  this  a;)- 
proacli  to  i)erlcction  is  attributable.  Tliey  were 
well  seconded  by  the  poets  of  their  time,  and 
particularly  by  Apostolo  Zeno,  and  his  pui)il 
Metastasio,  who  presented  them  with  poems,  writ- 
ten with  purity  and  cle^jance,  and  full  of  inter- 
esting situations.  Three  generations  may  bo 
considered  as  having  followed  this  same  system, 
jirotiting  by  the  successive  embellishments  of 
melody  and  of  the  orchestra.  In  the  first  gen- 
eration are  comprehended  the  men  wc  have  just 
named ;  the  second  presents  to  our  notice  names 
not  less  celebrated,  such  as  Jomelli,  Piccini,  Sac- 
cbiui,  Guglielmi,  Traetta,  Anfossi,  Terradellas, 
and  others ;  and  the  third,  fonned  from  the  pu- 
pils of  these  last,  has  been  rendered  famous  by 
Paisiello  and  Ciraarosa. 

ITiis  period,  however  brilliant,  a.s  it  eertfiinly 
was,  was  not  exempt  from  faults ;  for  instance, 
though  their  poems  present  some  interesting  and 
dramatic  situations,  essential  errors  may  be  found 
in  the  general  construction  of  them,  and  even  in 
the  form  of  the  detailed  parts,  where  dramatic 
consistency  is  frequently  sacrificed  to  the  music ; 
added  to  which,  the  singers,  who  then  began  to 
display  abilities  before  unknown,  exacted  gener- 
ally e  the  poet  and  composer  such  situations  as 
woulc  jest  suit  their  talents ;  the  result  of  which 
was,  that  though  dramatic  music  wa-s  indeed 
invented,  the  true  lyric  drama  did  not  as  yet 
exist.  The.se  abuses,  deeply  felt,  and  exposed 
bv  the  best  lyric  poets,  (by  B.  Marcello  and  by 
^IctlVstasio  himself,)  induced  men  of  the  greatest 
talent  to  make  some  efforts  to  create,  at  length, 
a  perfect  lyric  drama,  that  is  to  say,  a  drama 
composed  accoriling  to  all  the  dramatic  rules, 
and  in  which  the  mu:dc  should  be  entirely 
Bubser>-icnt  to  the  action.  Tlie  first  essays  to- 
wards this  were  made  by  H.  Marcello,  who  soon, 
however,  disgusted  with  the  vexations  he  met 
with  at  the  theatre  on  this  account,  contented 
himself  with  laying  open  his  principles  in  his 
writiiigs,  and  giving  examples  ol  them  in  his  sub- 
lime collection  of  psalms,  an  incomparable  mas- 
terpiece of  melody,  harmony,  and  truth.  The 
apiilication  of  these  principles  to  the  stage,  with 
all  the  fulness  of  truth,  was  left  to  the  celebrated 
liluck,  who,  without  possessing,  as  a  composer, 
either  the  profound  science  or  elegance  of  the 
great  Italian  and  (ierman  masters,  had  sufficient 
tident  and  genius  to  complete,  about  tlie  middle 
of  the  last  century,  (in  17iU,l  this  important  rev- 
olution.    He  was  considerably  aided  by  the  poet 


C;alzabi;;i,  who  was  the  first  that  wrote  an  essen- 
tially dramatic  lyric  jOTcm,  his  "  OitIwiis."  (iluck 
thus  became  a  model  to  his  contemporaries,  sev- 
eral of  whom,  such  as  Piccini,  Sacchini,  and 
others,  followed  in  the  same  track. 

After  such  successful  endeavors,  the  art  seemed 
to  be  forever  fixed  on  a  firm  basis,  with  the  ex- 
ce;)tion  of  the  changes  that  the  variations  of 
melody  would  probably  occasion  in  it;  and,  in- 
deed, up  to  the  present  time,  revolutions  hav« 
taken  place  in  this  respect,  of  which  it  appcam 
impossible  to  foresee  the  term.  However,  towardi 
tlie  close  of  the  last  century,  the  advancement  of 
instrumental  music  caused  a  sensible  movement 
in  that  of  t!'.e  dranm ;  some  composers  having 
endeavored  to  introduce  into  operatic  accompani- 
ment the  richness  of  the  symi)hony.  It  is  on 
this  iilan  that  Haydn,  Mozart,  Chcrubini,  and  all 
of  their  school  worked.  This  very  brilliant  sys- 
tem has  great  advantages,  but  a  difficulty  natu- 
rally results  from  it  not  easily  to  be  overcome, 
which  is,  that  the  most  c.s.sential  part,  the  vokU, 
supposing  it  even  to  have  all  its  re<iuLsite  quid- 
itics,  is  apt  to  be  eclipsed,  and  even  sometimes  to 
appear  less  important  than  the  accessory  part. 

On  recapitulating  the  preceding  observations, 
it  will  be  found  that  at  least  si.x  distinct  ejiochs 
may  be  traced  in  the  history  of  dramatic  music 
within  the  space  of  two  centuries.  The  first, 
which  we  shall  name  that  of  the  recitative,  under 
Peri,  Monteverdc,  and  their  imitators  ;  the  second, 
that  of  the  birth  of  dramatic  melody,  under  Ca- 
valli,  Cesti,  &c.  ;  the  tliird,  that  of  science,  under 
Perti,  Colonna,  and  .Scarlatti ;  the  fourth,  that  of 
expression,  under  Vinci,  Poqiora,  Pergolese,  and 
the  other  pupils  of  Scarlatti ;  the  fifth,  that  of 
the  lyric  druinit,  properly  so  called,  under  Gluck 
and  his  followers  ;  and  the  sixth  and  last,  that  of 
dramatic  symphony,  under  Haydn,  Mozart,  and 
Cherubini ;  besides  the  delays,  deviations,  and 
modifications  ot  each  kind,  which  wc  shall  con- 
sider in  treating  of  the  different  schools,  and  even 
of  individuals. 

In  aU  that  we  have  as  yet  said,  we  have  prin- 
cipally had  in  view  the  tragic  drama,  or  rather 
lyric  ti'agedy.  It  will  be  easily  conceived  that  in 
what  concerns  melodic  language,  the  comic  drama, 
otherwise  called  IjtIc  comedy,  comic  opera,  opera 
buffa,  interludes,  &c.,  must  have  experienced  the 
same  revolutions ;  we  shall  therefore  speak  of 
them  here  in  a  very  summary  manner,  and  thi* 
with  the  view  of  pointing  out  those  variations  that 
have  taken  jilace  in  the  proper  construction  of 
comedy,  and  of  recalling  to  the  memory  those 
persons  who  have  most  distinguished  thoraselves 
in  it.  The  invention  of  lyric  comedy  is  con- 
sidered to  be  as  remote  as  that  of  lyric  tragedy. 
'ITie  origin  both  of  one  and  the  other  is,  I  iwcver, 
lost  in  the  obscurity  of  the  middle  age  ;  jirobablv 
wc  ought  to  seek  it  in  the  farces,  moralities,  and 
mysteries  with  which  our  ancestoi-s  were  a'nuscd 
in  the  fourteenth  and  tilteenth  centuries. 

The  most  ancient  lyric  comedies  expressly  men- 
tioned seem  to  be  of  the  sixteenth  ccnt>iry  :  of 
this  kind  are  cited  the  "  Sicrificio "  of  Heecari, 
st't  to  music  in  lo.i.5  by  Alphonso  della  Viola ; 
"  /  I'azzi  Anianfi,"  in  1.5<>0  ;  "  La  y'or.wi  ropprv- 
tfiitatita,"  in  1574;  "  Im  Triujfdiadi  FraityijHini," 
the  music  by  CI.  Merula;  " /»  J'ocsin  rrpieim 
tola,"  &c.,  1678  ;  "  Jl  Re  S,iiomniif"  l.i79  ;  "  lUuk 
e  I'Uioria,"  16«0  ;  "  PallntU"  1.581;  •' LAnJi- 
Pamauo"   of    O.     *'ecchi.    1597;  all  of    whifl 


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ENCYCLOPEDIA    OF    MUSIC. 


HIS 


were  rcpicsciifed  nt  Venice.  Tlie  music  of  these  I 
works  was  completely  in  the  madri<;al  style ; 
p.iicl  if  it  had  its  beauties,  it  had  also  its  absurdities, 
which  were  still  more  apparent  on  the  stage, 
where  every  thin;;  should  a])pear  true.  Amongst 
these  inconvenieiu-es,  wc  shall  name,  as  one  of 
the  most  remarkable,  the  use  of  m/nui/oi/tifs,  bxing 
by  seceral  voices,  on  account  of  the  want  of  instru- 
ments for  accompaniment.  It  is  not  precisely 
ascertained  when  the  recitative  was  introduced 
into  lyric  comedy.  Several  comic  operas  are 
known,  written  in  the  course  of  the  seventeenth 
century ;  but  without  resting  on  objects,  of  the 
details  of  which  we  are  ignorant,  let  us  hasten  to 
reach  the  period  when  IScarlatti  and  his  pupils 
introdiiccd  expression  in  dramatic  music.  Among 
the;.e  masters  we  Knd  Porgolese,  who  distinguished 
lumself  by  Iiis  talent  in  introducing  declamatory 
modulation  into  dram.itic  music.  Logroscino  is 
likewise  remarkable,  as  having,  by  the  invention 
of  finales,  given  to  dramatic  melody  a  new  kind 
of  development ;  and  although,  in  the  two 
generations  which  we  have  indicated  as  succeed- 
ing this,  the  greater  part  of  tlie  composers  and 
poets,  who  rendered  themselves  illustrious,  culti- 
vated lyric  comedy  equally  with  tragedy,  still 
many  peculiarly  distinguished  themselves  in 
comedy ;  such  as  N.  I'iccini,  for  uistance,  whose 
"  Buona  Fiyliola,"  a  masterpiece  of  grace  and 
truth,  announced  the  composer  who  was  to  sur- 
pass his  model.  In  this  same  generation  flour- 
ished the  illustrious  G  retry,  who  made  Pergolese 
his  especial  model,  also  the  composers  who, 
following  his  steps,  have  given  to  France  the  true 
IjTic  comedy.  In  tine,  comic  music,  after  having 
been  embellished  by  the  genius  of  GugUelmi, 
Paisiello,  Cimarosa,  and  other  pupils  of  I'iccini 
and  their  contemporaries,  could  not  escape  fiom 
the  inroads  of  symphony  :  it  supported  the  yoke 
under  the  reigns  of  Mozart  and  his  imitators. 
Let  us  :iot,  however,  exclaim  against  an  innova- 
tion which  has  jiroduced  masterpieces  of  an 
entirely  new  character,  but  rather  let  us  endeavor 
to  con\'ince  all  those  who  would  be  tempted  to 
take  Mozart  as  a  model,  that,  to  give  effect  to  such 
a  school  of  writing,  the  genius  of  a  Mozart  is 
indispensable. 

Instrumental  Music.  —  The  subject  of  musical 
instruments  should  be  considered  under  two 
heads  :  tirst,  as  to  the  sojiorous  principle  which 
tonus  the  basis  of  each  one  separately  ;  secondly, 
as  to  the  mechanism  of  execution.  First,  in 
resjiect  to  the  sonorous  princii)le,  instruments  are 
divided  into  sti-inged,  wind,  and  vocal  instruments, 
(11  timbre,)  iVc. ;  as  relates  to  their  mechanism, 
iliey  may  be  divided  into  six  classes,  namely,  lirst, 
•-  iwed  instruments  ;  secondly,  wind  instruments  ; 
ihiidly,  keyed  instruiuents ;  fourthly,  stringed 
irs'ruraents,  {pincis  .)  tittlily,  iitstruments  of  per- 
mission; sixthly  and  lastly,  mechanical  instru- 
ments, (i!islrumen.'i-miu-/iini's.)  At  .the  head  of 
tlie.>e  six  divisions  must  be  placed  the  human 
voice,  the  tirst,  the  most  beautiful  of  all  instru- 
ments, and  which  serves  as  a  tyjie  to  nil, others. 

All  instrumejits  have  not  always  been  in  use, 
even  among>t  dirfcrent  nations,  and  less  amongst 


first,  amongst  bowed  iiLstruments,  the  violin,  tht 
viola  or  tenor,  the  violoncello  or  bass,  and  th« 
double  bass ;  secondly,  amongst  wuid  instru- 
ments, the  German  flute,  the  clarinet,  the  haut- 
boy, the  bassoon,  tht  horn,  the  trumpet,  th« 
trombone,  tlie  serpent,  i he  fife,  and  the  flageolet; 
thirdly,  amongst  keyed  instruments,  the  harjjsi- 
chord,  the  spinet,  the  piano-forte,  and  the  organ ; 
fourthly,  amongst  stringed  instruments,  {pincis,) 
the  harp,  the  guitar,  the  lyre,  and  the  maudoliu ; 
fifthly,  amongst  instruments  of  percussion,  drums 
of  diflercnt  kinds,  and  cymbals ;  sixthly  and 
lastly,  amongst  mechanical  instruments,  the  bird- 
organ,  and  the  bulafo  or  organ  of  Barbary. 

To  abridge  this  article,  already  too  long,  we 
shall  not  here  speak  of  the  history  of  instruments, 
but  proceed  to  consider  instrumental  music,  wliich 
is  nothing  more  than  a  melody,  or  a  system  of 
melodies,  appropriated  either  to  a  single  instru- 
ment or  to  several  together.  Tliis  leads  us  to 
consider  it  in  two  points  of  view ;  tirst,  as  single 
music  ;  secondly,  as  concerted  music. 

Smgle  music  is  that  which  is  composed 
or  adapted  peculiarly  for  a  single  instrument, 
whether  it  be  in  fact  produced  by  that  one  instru- 
ment, or,  in  order  to  inerea>e  the  cfiect,  be  accoan- 
panied  by  one  or  more  additional  instruments 
they  being  entirely  subservient  to  the  principal 
This  music  is  the  solo,  properly  so  called,  and  the 
accompanied  solo,  of  which  the  concerto  is  the 
most  brilliant  style.  Tliere  are  as  many  styles 
of  solos  as  there  are  of  instruments ;  but  as  it  is 
impossible  that  we  should  enter  into  all  the  details 
which  this  variety  presents,  we  shall  confine  our 
notice  to  the  solo  of  the  violin,  which  is  regarded, 
and  justly,  as  the  first  of  all  instruments. 

Solos,  whether  simple  or  accompanied,  com- 
prehend, under  the  names  of  studies,  fantasias, 
capricci,  sonatas,  concertos,  &c.,  &,c.,  an  infinite 
number  of  pieces  in  various  forms  and  styles. 
We  cannot  here  trace  their  histories,  but  shall 
simply  point  out  some  historical  marks,  relative 
to  their  construction,  pcrfonuance,  and  style  of 
composition. 

The  construction  of  solos,  whether  simple  or 
accompanied,  comprehends  their  melodic  form, 
and  the  choice  of  instruments,  both  wliich  objects 
have  varied  repeatedly,  prc^^ously  to  attaining 
their  present  degree  of  perfection.  Tlic  melodic 
form,  indeed,  is  still  constantly  changing,  so 
much  so  that  there  appears  to  be  no  fixetl  rule  on 
this  head.  With  regard  to  the  selection  of  instru- 
ments, a  subject  that  concerns  the  whole  series  of 
accompanied  solos,  from  the  sonata  (which  is  the 
simplest  of  all)  to  the  concerto,  there  have  also 
been  a  great  number  of  changes.  The  sonata, 
tirst  iiuagined  in  the  course  of  the  seventeenth 
century,  has  been  fixed,  in  many  resjjccts,  by 
Corelli;  the  concerto,  invented  by  Torelli,  his 
coutcmi)orary,  under  the  name  of  coiwerto  grosso, 
employed  at  first  only  five  instruments,  namely, 
the  quartet  (gwttunr)  and  the  lending  part.  Fr. 
IJcntla  and  J.  Stainitz  made  the  addition  of  wind 
instruments,  fonuing  it,  thus,  into  a  kind  of 
STiTuphony.  In  every  thing  relating  to  the  execu- 
tion of  instrumental  music,  it  is  of  the  utmost 


the  same  peoi)le ;  every  nation  and  every  age  liave    importance  to  dispel  a  very  common  error,  which 

"         ■  ■  consists    in   believing  that   music  was   fornerly 

very  simple,  and  easily  pertormed.  This  erroi 
arises  from  the  circumstance  of  the  old  w  •iteiii 
liaving  made  use  of  notes  of  very  great  value 
and  its  not  being  rememl  cred,  at  the  same  time 


had  their  own.  Witl-.out  entering  here  into 
details  which  would  lead  me  too  far,  I  shall  con- 
fine myseh  to  remarking  wliich  are  the  instruments 
now  most  in  u^e  amongst  the  nnlions  whose 
musical  system  resembles  our  own.     These  are. 


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ENCYCLOP-EDIA    OF    MUSIC. 


HIH 


that  these  notes  were  executed  with  great  rapidity, 
to  that  they  had,  iu  lact,  no  grcatiT  value  than 
those  in  use  with  us  at  the  pi-esont  time.  lU'sidcs 
which,  if  we  cast  our  eyes  u;ion  tlie  collections  of 
pieces  rem-.iiniu!;  to  us  from  the  preceding  cen- 
turies, for  example,  upon  the  "  Vir<;inal  IJook  "  of 
IJuecu  Elizahctli,  puhlishcd  iu  lo"S,  ditHculties 
will  be  found  which  w.iuld  puzzle  the  most  able 
of  our  modern  performers. 

There  l:nve  been  the  same  revolutions,  as  to 
taste  and  style,  in  instrumental  music  as  in  siu!?- 
iug;  it  has,  indeed,  lUways  been  iiiHuenced  by 
the  existing  style  of  vociU  composition.  Without 
referring  to  the  periods  anterior  to  the  seventeenth 
century,  concerning  which  we  have  little  or  no 
information,  we  know  that,  during  the  first  two 
generations  of  that  century,  music  was  entirely 
in  the  madrigal  style.  \Vlien  dramatic  music 
began  to  proviul  under  Corclli,  the  contemporary 
of  I'erti,  Colonna,  and  Scarlatti,  it  was  scicutitic, 
and  rather  dry ;  Geminiani  first  enricheil  it  by 
expn-ssinn ;  but  it  wan  under  Tartini,  contem- 
]>orary  of  Leo  and  of  Jomelli,  that  it  attained  the 
highest  degree  of  expression,  both  as  to  composi- 
tion and  execution.  Soon  after  this  period,  tl>e 
concerto,  in  particular,  was  greatly  improved  iu 
the  hands  of  the  elegant  Jainowick  and  of  the 
graceful  Me-^trino  ;  both  of  whom  were  still  sur- 
passed by  Viotti,  who  gave  to  this  style  the 
character  which  seems  so  peculiarly  its  own,  and 
brought  it  to  a  degree  of  perfection  which  it 
seems  incapable  of  exceeding. 

All  we  have  said  concerning  solos  applies 
e<ivially  to  concerted  music  ;  by  which  term  we 
understand  instrumental  music  with  ditferent 
parts,  in  which  all  the  instruments  are  equally 
obliiatn,  either  because  each  of  them  hai  its 
appropriate  jiart,  or  because  each  takes  up  the 
strain  succes-ively,  the  others  alternately  becom- 
ing accom;)animents.  These  two  methods  arc 
j)ractifled  idike,  in  the  duct,  the  trio,  the  ((uartet, 
the  quintet,  and  other  jneces  where  each  instru- 
ment has  its  separate  part,  and  in  the  s\-mphony, 
where  all  the  parts  are  doubled  for  etfect, 
according  to  justly  detenuined  proportions, 
lloccherini  was  the  first  who,  in  ITOS,  gave  to 
the  trio  a  fixed  character  ;  after  him  came  ( Fred.) 


for  the  most  part,  as  well  as  our  music,  on  th« 
system  of  the  barbarians  from  whom  we  arc  de- 
scended, and  combined  with  the  remainsof  (ireek 
and  Uoman  art,)  have  attained  a  similar  ajipear- 
auco  of  perlection  and  stability.  Far,  however, 
from  allowing  this  consideration  to  disco\irage  us, 
or  indulging  an  idea  that  nothing  more  remainf 
to  he  done,  we  shoidd,  on  the  contrary,  only  re- 
joice at  living  iu  an  age  in  which  we  enjoy  the 
advantage  of  jOTsses-iing  an  intinitc  variety  of 
chifi-tTttiivres  of  every  kind  and  every  style,  for 
models  to  improve .  upon,  where  improvement  is 
possible. 

Skcoxd  Division.  Of  the  Schools.  —  Although 
all  the  nations  of  Europe,  to  whom  our  musical 
svstem  is  common,  have  different  tastes,  cu-<toms, 
and  principles  peculiar  to  themselves,  and  in  thin 
sen>e  each  one  may  be  said  to  have  a  ])articulat 
school  of  music,  wc  still,  as  regards  the  art  in 
general,  can  only  consider  those  nations  as  having 
a  school,  which  have  contributed,  in  a  sensible 
manner,  to  the  progress  of  the  art,  either  by  the 
suggestion  of  universally  adopted  ])rinci])les  or 
methods,  or  by  the  production  ol  works  uidver- 
sally  regarded  as  classical.  In  tliLs  sense,  there 
are,  in  fact,  in  Europ.e,  but  three  schools,  the 
Italian,  the  (ierman,  and  the  French,  with  those 
springing  from  them ;  and  we  would  here  have  it 
understood,  that  we  circumscribe  tlie  limits  of 
each  school  to  those  counlrics  where  the  language 
is  sjioken  from  which  each  one  derives  its  name. 

This  being  premised,  I  purpose,  in  tliis  last 
division  of  my  summary,  to  examine  briefly  the 
rights  of  each  school,  and  to  ])oiut  out,  in  a  sum- 
mary manner,  the  jiart  that  each  has  had  in  the 
common  fund  of  musical  knowledge  during  the 
period,  with  the  sketch  of  which  we  are  about  to 
conclude.  In  order  to  proceed  regularlv,  I  shall 
confine  all  I  have  to  observe  on  tliis  ^;ubjcct  to  a 
few  princiiial  jioints,  namely,  their  general  his- 
tory ;  the  most  remarkable  traits  l)y  which  they 
are  characterized ;  and  how  far  they  have  been 
serviceable  relatively  to  the  different  branches  of 
the  art,  reduced  to  four  heads,  namely  :  first,  the 
svstem  itself,  and  its  general  ])rincii)les ;  secondly, 
tiie  four  styles  of  composition  already  devel- 
ope<l ;  thirdly,  vocal  and  inslrunient^d  execution; 


Fiorillo,   Cramer,   Giardini,    Fugnani,  and   lastly  i  fourthly,  the  culture  of  music;  including  uiidci 


Viotti.  It  is  also  Doccherini  who,  at  the  same 
pf  r  od,  first  fixed  the  i/wirt.t ,  he  was  followed  by 
Giardini.  Carabini,  Pugnani,  and,  in  another 
school,  by  Pleyel,  Haydn,  Mozart,  and  Beethoven. 
Poccherini  likewise  about  this  time  fixe<l  the 
quint,!,  in  which  he  has  no  rival  but  Mozart. 

The  #ymi)liony,  improved  since  the  middle  of 
the  same  century,  by  (iossee,  Toeski,  NVanhall, 
and  Emmanuel  Bach,  was  perfected  by  Haydn, 
*-bo,  following  the  steps  of  Bach,  brought  this 
branch  of  music  to  a  degree  of  superiority  till 
then  unknown,  and  which  has  since  become,  for 
his  followers,  a  model  scarcely  to  be  e<puilled. 

On  a  recapitulation  of  the  contents  of  the  pre- 
ceding pages,  we  shall  find  that,  within  the 
space  of  three   centuries,    ^since    l.j.iO,)   all   the 


this  last  head  the  state  of  musical  instruction, 
and  the  literature  of  the  art. 

The  Italian  School.  —  According  to  Padre  Mar- 
tini, in  his  "  Siiffi/io  ili  Vontraputiti,"  five  great 
schools  may  now  be  reckoned  In  Italy,  which  are 
8uhdi\'ided  into  a  number  of  others,  namely  :  first, 
the  Uoman  school,  which  comprehends  those  of 
Palestrina,  of  J.  M.  and  J.  Bern,  Nanini,  of  ().  B»- 
nevoli,  and  of  F.  Foggia  ;  secondlv,  the  school  of 
Venice,  divided  into  thoseof  Ad.  Willaert,  of  Zar- 
lini,  of  Lotti,  of  Gasparini,  and  his  pujiil  B.  Mar- 
cello  ;  thirdly,  that  of  Naples,  tl.e  principal 
masters  of  which  are  Hocco  lladio,  1).  C.  (iesu- 
aldo.  Prince  of  Venosa,  Leonardo  Leo,  and  Fr. 
Durante ;  fourthly,  the  school  of  Lombordy, 
which  comprehends  those  of  P.  Const.  Port.i,  of 


parts  of  the  musical  system,  namely,  melody,  the     CI.   Monteverde,  both  of  Cremona,  of  P.  Pontio 


principles  of  musical  construction  and  design,  and 
fvery  kind  of  composition,  have  attaine<l  a  sta- 
biUty,  and  arrived  successively  ot  a  degree  of 
excellence,  which,  it  would  seem,  cannot  be  sur- 
passed ;  and  this  during  the  same  period  in  which 
our  languages,  our  literary  character,  in  a  word. 


Parmigiano,  of  O.  Vecehi,  of  Modena ;  Atlhlr, 
and  la.stlv,  the  school  of  Bologna,  the  masters  of 
which  are  And.  Uotn,  D.  (iir.  liiacoblii,  (iiov.  P, 
Colonna,  and  .Vnd.  I'erti ;  to  which  may  be  added 
Sarti,  and  the  Pardrc  Martini  himself.  Tliii 
learned  historian  of  music  does  not  mention  tlial 


all  the  various  parts  of  modem  science,  (founded    of  Florcueo,  although  cited  by  various  mastcra, 

423 


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ENCYCLOPEDIA    OF    MUSIC. 


HI 


ioubtle!)8  because  tliose  who  rendered  it  illustxious 
)y  the  invent  inn  ol'  recitiitive,  were  only  amateurs, 
«nd  l)eoau>.e  the  f;reat  men  which  it  has  since  pro- 
iluced  were  most  ot'  tlicm  pupils  of  the  schools  of 
Itome  and  Uolojjna. 

However  tliis  may  be,  all  these  schools  are  com- 
monly considered  as  helonging  to  three  regions, 
namely,  Ujijier,  Middle,  and  Lower  Italy.  The 
iLrst  comprehends  tlic  schools  of  Venice  and  Lom- 
bardy  ;  the  second,  those  of  Rome  and  Bologna; 
the  third,  that  of  Nai)les. 

The  trait.s  which  i)rincipally  characterize  all  the 
schooLs  of  Italy,  arc  a  nice  feeling,  and  profound 
knowledge  of  the  essential  and  constitutive  prin- 
ciples of  the  art,  united  to  grace  and  expression. 
Hut  indejjcndently  of  these  general  traits,  each 
of  the  schools  has  teaturcs  peculiar  to  itself:  that 
«jf  Lower  Italy  ha.-,  more  particularly,  vivacity  and 
truth  of  expression ;  those  of  Middle  Italy,  sci- 
ence, purity  of  de-ign  and  grandeur  ;  and  those 
of  Upper  Italy,  energy  and  force  of  coloring. 

There  have  always  been  schools  in  Italy,  but 
they  have  not  always  been  equally  celebrated. 
In  this  respect,  they  have,  indeed,  frequently 
varied.  We  have  seen  that,  from  the  time  of  St. 
Gregory  and  (iuy  d'  Arez/.o,  Italy  was  the  source 
of  music ;  but  it  appears  tliat  the  horrible  wars 
of  which  that  country  was  the  theatre  during  the 
middle  age,  extinguished  the  arts  there,  and  par- 
ticularly music.  We  have  likewise  seen  that, 
from  the  thirteenth  up  to  the  sixteenth  century, 
the  most  important  imiu'ovcments  in  the  art  were 
due  either  to  the  French  or  to  the  Flemish. 
These  last  pco"])le  merit  peculiar  consideration,  as 
having  lormed,  during  the  last  hall  of  the  hlteenth 
and  early  part  of  the  sixteenth  century,  a  school 
which  was  destroyed  during  tlie  wars,  towards 
the  close  of  the  latter  century,  but  which  was  the 
source  of  iill  those  now  subsisting  iu  Europe. 
The  French  \vere  the  Kr>t  who,  by  reason  of  their 
proximity  to,  and  habitual  intercourse  with,  the 
Flemish,  particijjated  in  the  impulse  they  liad 
given.  At  this  period,  the  chajiels  of  tlie  pope 
and  princes  of  It^ly  were  filled  with  singers  from 
Flanders  and  Picardy,  and  throughout  Italy, 
even  at  Home  it-elf,  the  music  of  French  and 
Flemish  com])oscrs  was  sung  ;  some  of  the  pro- 
fessors of  those  countries  were  invited  to  Naples 
and  Milan,  and  so  great  a  uniformity  then  existed 
between  all  the  nations  of  Europe,  that  they  seemed 
to  form  but  one  school.  The  Italians  followed 
the  same  doctrine,  but  it  must  have  been  with 
little  success,  since  not  one  of  their  com])ositions 
of  that  period  are  cited,  whilst  a  considerable 
number  of  those  of  the  Flemish,  French,  and 
Gemian  composei-s  are  on  record.  Hut,  towards 
the  middle  of  the  sixteenth  xcntury,  the  schools 
of  Italy  began  to  appear  fin  tne  scene.  The  most 
ancient  is  that  of  Itome,  oi  whii  h  Palestrina  is 
considered  to  be  {he  head ;  he  was  pui)il  of 
Gonilimel,  under  whose  care  he  went  to  France 
to  study  composition.  Adrian  Willaert,  pupil  of 
Josfiuin  and  of  J.  Mouton,  was  the  lounder  of 
that  of  Venice ;  C.  Porta,  his  ])upil,  founded  that 
of  Lombardy  ;  and  tliat  of  Naples,  equally  an- 
cient with  the  preceding,  was  celebrated  in  the 
*ixteenth  century  under  Gesualdo;  but  it-s  prin- 
cijial  fame  is  due  to  Scarlatti  The  school  of 
Hologna  is  only  an  emanation  from  that  of  Kome. 
What  Ls,  however,  particidarly  remarkable,  is,  that 
«nce  their  origin  or  revival,  these  schools  have 
attained  a  superiority  iu  abnost  every  kind  of 


music,  and  which  they  will  probably  always  re- 
tain. This  opinion  Ls  the  result  of  a  close  exam- 
ination and  study  of  all  their  works,  in  every 
branch  of  the  art. 

In  the  first  place,  with  regard  to  the  foundation 
of  the  system,  and  its  general  principles,  the 
Italians  have  ever  excelled  other  nations.  Having 
received  the  old  ecclesiastical  counterpoint  from 
tlie  Flemish  and  French,  they  were  the  first  who 
gave  to  it  the  sentiment  of  modern  sounds. 
They  have,  in  short,  determined  and  fixed  these 
sounds ;  they  have  made  phrase-i  and  melodic 
periods,  and  have  created  tonal  harmony  ;  indeed, 
so  superior  have  they  always  been  coiLsiderea  to 
all  other  nations  iu  this  respect,  that  the  chord 
formed  by  the  second  and  the  sviisihlc  or  leading 
note  of  the  mixed  mode,  has  long  been  called  the 
Italian  sixth,  it  being  genei-illy  allowed  that  they 
were  the  inventors  of  it.  The  Itahans  have  like- 
wise perfected  counterpoint  or  musical  design ; 
fugue  and  intricate  couuterjxiint  also  owe  to  them 
their  greatest  beauties.  All  the  schools  of  Italy 
have  concurred  simultaneously  in  these  improve- 
ments ;  but,  in  this  latter  point,  those  of  Kome 
and  Naples  appear  entitled  to  particular  merit. 

With  regard  to  the  various  branches  of  sacred ' 
music,  from  the  plain  chant  to  the  most  highly 
ornamented  styles,  it  is  in  Italy  that  they  have 
been  successively  developed.  In  fact,  on  taking  a 
survey  of  them  ui  succession,  we  shall  find  that, 
in  the  style  d  capella,  plain  chant  itself  comes  to 
us  from  the  Italians,  and  that  the  best/«i(j:  bour- 
(loiis  known  are  those  which,  from  time  immemo- 
rial, have  been  chanted  in  the  iSixtiue  Chapel. 
The  finest  counterijoint  now  extant  ou  the  plain 
chant  is  that  of  P.  Constanzo  Porta,  of  the  school 
of  Lombardy.  The  fugued  style,  by  preserving 
the  name  ot  Palestruia,  announces,  at  the  same 
time,  the  master  and  the  school  which  perfected 
it.  The  accompanied  style  is  indebted  to  the 
Roman  school  for  its  finest  models :  and,  with 
regard  to  the  concerted  style,  although  very  beau- 
tiful works  of  that  kind  have  been  produced  by 
all  the  schools  of  Italy,  yet,  as  it  approaches 
nearer  than  any  other  kind  of  music  to  the  dra- 
matic style,  models  of  it  must  be  sought  for  more 
particulaily  in  the  school  of  Naples. 

Chamber  music,  in  its  principal  kinds,  is  so 
peculiar  to  Italy,  that  it  may  be  considered  as  be- 
longing exclusively  to  that  country.  Madrigals, 
whetlier  simple  or  accompanied,  are  to  be  found 
in  Italy  alone.  In  the  former,  or  simple  madri- 
gals, it  is  the  Roman  school  that  bears  away  the 
palm  ;  those  of  Venice  and  Lombardy  may  claim 
the  best  works  amongst  the  latter.  Th<i  school 
of  Naples  has  produced  the  most  beautiful  can- 
tatas, namely,  those  by  Scarlatti,  Porpora,  and 
Astorga.  Of  the  fugitive  kind  of  chamber  mu- 
sic, the  caiuoiii  in  various  styles,  and  always  full 
of  grace  and  beauties,  ai'e  possessed  by  every 
people  of  Italy. 

The  theatrical  style  belongs  almost  entirely  to 
Italy  ;  it  was  invented  at  Florence,  and  perfected 
at  Naples,  after  having  been  attempted  by  all  the 
other  schools. 

That  the  Italians  have  perfected  every  sort  of 
vocal  composition  is  generally  agreed  ;  but- a  fact 
which  is  apt  to  be  overlooked  is,  that  they  have 
been  the  instructors  of  all  Europe  in  instrumental 
composition,  and  that  to  them  we  are  indebted 
for  the  first  and  most  esteemed  models  in  thia 
department  of  the  art.     Ii  is  the  Italians  w;c 

i 


UIS 


ENCYCLOP-EDIA    OF    MUSIC. 


J[1S 


invented  nil  the  (liffcrcnt  kinds  of  instrumental 
music  which  we  have  called  single  pieces  or  solos, 
from  the  soiiiilii  to  tlie  concerto.  In  violin  music, 
Corelli,  Tartiui,  and  thoir  pupils,  preceded  the 
composers  of  all  the  other  nations  of  Europe,  to 
whom  they  have  servcil  as  models.  The  same 
may  be  said  with  regard  to  tlie  harpsichord,  from 
Frescobaldi  to  C'lcmcnti.  All  other  single  pieces 
have  been  constructed  on  the  model  of  the  com- 
positions for  the  two  last-named  instruments. 

In  concerted  pieces  the  schools  of  Italy  have 
furnished  some  cfuf's-d'a-urrcs,  especially  the  quin- 
tet, which  cannot  be  alluded  to  without  recall- 
ing to  mind  the  name  of  lioccherini.  But  to  the 
symphony,  properly  so  called,  the  Italians  have 
little  or  no  claim  ;  in  fact,  they  have  no  preten- 
sions whatever  on  this  head,  but  rest  satisfied 
with  remarking,  that,  as  relates  to  concerted  mu- 
eic,  the  symphony  dilfeis  only  from  other  pieces 
by  elfecta  achled  to  forms  and  ideas,  which  arc  its 
esi.ential  objeet.s,  and  in  which  their  suiieriority 
camiot  be  disputed,  llius,  in  painting,  they  ac- 
knowledge themselves  to  be  generally  inferior,  as 
to  coloring,  to  tlie  Flemish,  whom  they  surpass 
in  every  otlier  respect. 

In  mu>ical  execution,  the  schools  of  Italy  have 
ever  retained  a  marked  superiority  over  the  rest 
of  Europe  :  and  lirst  in  singing  ;  the  multitude 
of  excellent  jjcrformei-s  of  both  sexes  that  they 
have  produced  can  hardly  be  numbered  :  their 
superiority  in  this  respect  arises  from  three  causes, 
the  tii-st  two  of  which  belong  to  them  exclu- 
Bively,  and  the  third  is  a  natural  consc<juence  of 
the  others  :  these  are  the  climate,  the  organiza- 
tion of  the  inhabitants,  and  the  excellence  of 
their  rules.  I  cannot  here  speak  of  these  causes 
at  length,  but  shall  simply  mention  the  observa- 
tion made  on  the  first  by  the  celebrated  Haydn  : 
he  said  that  the  climate  of  Germany  was  cer- 
tainly injurious  to  the  voice  of  Italian  singers, 
and  that  he  frequently  sent  those  belonging  to 
the  chapel  of  Prince  Esterhazy  uito  Italy  to  im- 
prove their  organ.  Secondly,  with  regard  to  in- 
struments, and  particularly  the  \-iolin  and  harp- 
sichord, it  is  Corelli,  Tartini,  and  Viotti  who  have 
instructed  all  Europe  in  the  use  of  the  former ; 
and  the  same  may  be  said  of  the  school  of  Fres- 
cobaldi with  regard  to  the  harj>sichord,  and  we 
may  add,  of  that  of  the  Besozzi  with  reganl  to 
the  hautboy.  The  Italians  wen;  indeed  the  in- 
ventors of  the  harpsichord,  the  bassoon,  and  the 
trombone,  as  well  a.s  many  other  mstrumentX, 
and  taught  the  use  of  them. 

We  shall  conclude  this  article  by  a  few  obser- 
vations on  the  literature  and  culture  of  the  art  in 
Italy. 

The  preceding  centuries  had  produced  some 
much  esteemed  works  in  the  dilferent  branches 
of  the  art,  and  which  were,  in  fact,  very  estima- 
ble in  many  respo.'ti;  although,  as  I  have  before 
said,  they  were  constantly  behindhand  in  the 
practical  parts.  I  have  already  made  known  the 
test  of  those  works,  'Hie  eighteenth  century  has 
been  less  productive,  and  tor  the  following  rea- 
son :  that,  in  these  latter  times,  the  improvements 
in  the  art  have  bc«'n  much  more  rapid  than  they 
were  formerly,  and  of  a  nature  infinitely  less  sus- 
reptible  of  being  ainily  zed  and  rcdued  toriiles.  In- 
deed, most  of  the  treatises  and  other  com]xwitions 
which  nave  c\i>fcd  in  Italy  are  obsolete.  But  the 
lonscrvatories  of  that  country  possess  excellent 
lollectioiis  of  models,  and  the  principla-i  of  music 


arc  there  taught  by  oral  iusU'uctioii,  the  ma>>t«n 
having  found,  that  it  is  not  by  books,  but  by 
personal  lessons,  tliat  able  artists  are  formeil.  As 
to  the  culture  of  the  art  in  Italy,  it  has  ahvays 
tended  to  the  same  end  :  first,  in  what  concerns 
execution,  the  Italians  devote  themselves  much 
to  singing,  which  is,  in  fact,  the  essential  object. 
The  number  of  their  amateurs  and  i)ri)fessors  in 
this  style  is  very  gieat ;  instrumental  executiou 
is  much  k-ss  cultivated  by  them,  and  notwith- 
standing the  excellence  of  their  rules,  they  are  iu 
this  resjjcct  little  above  mediocrity.  In  Italy,  in- 
struments arc  regarded  only  as  the  means  of 
accompaniment,  and  the  scores  being  always  verj 
clear,  it  Ls  not  rejuLsite  that  the  iierfonaen 
should  be  ])articularly  expert ;  indeed,  so  tar  is 
this  from  being  the  ease,  that  probably  consider- 
able difficulty  would  be  found  iu  having  a  sym- 
phony well  performed  in  It;ily  ;  nor  do  I  even 
think  that  such  an  attempt  has  ever  been  made 
either  in  Middle  or  Lower  Italy.  The  number  of 
their  com])o>ci>i  in  every  style  of  music  is  im- 
mense; the  most  indifferent  of  them  have  at  least 
the  merit  of  possi^vsing  a  style,  but  the  greater 
part  arc  very  well  instructed  in  all  the  principlea 
of  composition.  Musicid  theory  is  little  culti- 
vated by  them  ;  erudition  rather  more  ;  but  still 
only  by  a  few  learned  amateurs,  the  generality  of 
professional  men  being  very  ignorant. 

It  must  also  be  coniassed  that,  since  the  latter 
years  of  the  last  century,  miLsic  ha.s  experienced 
a  sensible  decay  in  Italy,  and  that  it  Ls  no  longer 
what  it  was  during  the  greater  part  of  that  and 
of  the  two  preceding  centuries,  if  not  as  to  the 
number,  at  least  as  to  the  excellence,  of  its  j^ro- 
fessors.  Formerly,  there  were  always  twelve 
singers  of  the  first  order  to  be  found  in  Italy, 
such  as  Farinelli,  Pacchierotti,  Guadagni,  and 
Marchesi,  and  from  sixty  to  eighty  of  the  second 
order,  such  as  Mandini,  \c.  Several  masters, 
likewise,  of  the  first  order  were  always  to  bo 
found,  such  as  Scarlatti.  Durante,  and  I.ci;  and 
a  great  number  of  the  second  rate,  together  ^\-ith 
innumerable  inferior  composers  ;  and  so  of  the 
rest.  But  now,  it  would  be  difficult  to  rind  two 
singers  of  the  first  order,  or  five  or  six  of  the 
second;  and  the  same  with  regard  to  composition 
and  the  other  branches  of  the  art.  AMiat  is  the 
cause  of  this  decay  ?  It  arises,  we  imagine,  from 
the  prefercmc  universally  given  to  dramatic  mu- 
sic, to  accjuire  considerable  success  in  which  a 
very  superficial  knowledge  of  the  art  is  rciiui-ite. 
At  this  time,  however,  we  must  remark,  notwith- 
standing this  very  sensible  decay,  Italy,  in  our 
opinion,  still  preserves  her  superiority  in  m>Lsic 
over  all  the  nations  of  Europe,  which,  we  think, 
may  be  easily  proved,  both  by  the  i)rin(ipks  and 
by  the  number  of  professors  whose  talents  ili  her 
honor  at  the  present  time.  The  Italian  school, 
too,  is  still  excellent  ;  and,  although  public  in- 
struction is  generally  feeble,  yet  many  scientifto 
masters  are  still  to  be  found,  as  well  as  all  the 
models  le.t  by  jirei-eiling  generations  :  in  a  w>rd, 
it  is  still  in  Italy  that  the  best  musical  inntruc- 
tion  may  lie  obtained  by  those  who  know  how  to 
study. 

7Vk'  (Irrman  Schnnl.  —  In  Tlermany,  as  well  »•»  in 
Italy,  numerous  schools  are  recognized  ;  in  fad, 
properly  speaking,  there  are  an  many  •.cho.-il«  .n 
capitals.  In  a  detaile-l  account  of  music,  it  w.ui'l 
be  proper  to  give  tJie  history  of  each  of  tiieM 
schools,  but    in  this  sketch    we  air  obliged  xc 


6i 


426 


nis 


ENCYCLOPAEDIA    OF    MUSIC. 


UI8 


wmfiiie  our.-.clvcj  to  a  general  mention  of  them. 
Tlie  (iprrnans  are  in  many  respects  in  music,  what 
the  Flemish  arc  in  ])nintin;j,  less  scrupulous  in 
the  (le-ij;n  than  in  the  effect  of  the  coloring ; 
that  is  to  say,  they  pret'er  those  chords  the  crtects 
of  wliich  are  the  most  brilliant,  and  those  instru- 
ments which  arc  tJic  most  sonorous,  such  as  wind 
instrumeiit-i ;  and  this  makes  them  pass  lor  ex- 
cellent harmonists  amongst  those  who  confound 
the  tumult  of  complicated  sounds  with  harmony. 
This  science,  which  consists  in  the  simultaneous 
emiiloymcut  of  sounds,  in  the  same  throughout 
Europe  ;  it  is  perhaps  that  part  of  the  art  on  the 
founrlations  of  which  all  nations  best  agree,  not- 
withstanding the  diversity  of  language ;  but  the 
choice  of  instruments,  and  consequently  the 
effects  :liffer  in  every  nation.  Thus  the  Italians 
])refer  j/ure  harmony,  the  Germans  brilliant  har- 
mony, and  the  French,  who  erroneously  suppose 
they  follow  the  example  of  the  latter,  are  gen- 
erally accused  of  being  rather  fond  of  noise. 

The  origin  of  the  Gennan  schools  Ls  considered 
to  be  as  ancient  as  that  of  the  Flemish ;  several 
German  masters  arc  cited  as  having  flourished  at 
the  same  period  with  the  French  and  Flemish ; 
and  under  this  point  of  view  the  German  schools 
should  claim  priority  to  those  of  Italy.  But  the 
wars  wliich  devastated  Germany  during  the  latter 
part  of  the  sixteenth  and  beginning  of  the  seven- 
teenth century,  and  particularly  the  terrible  t/iirti/ 
years'  war,  diu-ing  whicli  five  great  anuies  over- 
ran that  unliapi)y  country,  carrying  desolation 
and  havoc  in  every  ])art  of  it — all  these  wars  de- 
stroyed the  arts,  which  can  only  flourish  in  the 
bosom  of  peace  and  happiness.  It  is  certain  that 
at  this  period  the  school  of  Germany  was  greatly 
inferior  to  that  of  Italy ;  it  even  appears  that  the 
French  school,  then  much  degenerated,  began 
before  the  other  to  emerge  from  obscurity.  It 
seems  not  to  have  been  till  about  the  end  of  the 
seventeenth  century  that  Germany  received  a 
marked  impulse  from  the  works  of  Keysei,  the 
first  German  composer  who,  after  the  renovation, 
evinced  an  original  and  superior  talent.  What 
follows  will  point  out  the  progress  that  music 
has  since  made  in  that  country  ;  and,  in  order  to 
render  it  more  complete  and  more  capable  of 
comparison,  we  shall  observe  exactly  the  same 
order  here  as  in  the  preceding  article. 

In  all  that  relates  to  the  foundation  of  the 
system,  the  Germans,  like  all  other  nations,  have 
only  followed  the  Italians :  they  have  never 
equalled  them  in  melody,  and  especially  vocal 
melody  ;  but  with  regard  to  instrumental  music, 
the  (icrmans  can  boast  some  ma.sterpieces  of  the 
first  class.  In  fugues,  canons,  and  every  kind  of 
mu<."al  design,  they  have  also  been  imitators; 
besides  which,  they  have  always  chiefly  considered 
counterpoint  as  it  relates  to  instruments ;  from 
which  it  frc(iuently  results,  that  the  voice  parts 
ht\rmoni/.e  badly  in  their  compositions,  because 
they  affect  jjassages  and  intervals  contrary  to  the 
nature  and  character  of  the  human  voice. 

As  to  tlic  different  kinds  of  style,  and  first  with 
regard  to  that  of  the  church,  the  Germans  received 
the  Gregorian  chant  from  Italy,  and  they  have 
com])osed  some  peculiar  jneces,  in  several  parts, 
for  th^  chiu'ch,  which  they  call  r/iorah  :  the-e  are 
sung  :y  all  the  congregation,  and  have  an  ex- 
tremel"'  fine  effect.  This  kind  of  music  Is  (piite 
pcculinr  to  themselves,  and  it  is  to  be  regretted 
that  other  nations  do  not  imitate  it.     They  have 

426 


counterpoint,  it  is  true,  in  the  plain  chant,  als 
fugues,  but  they  are  not  equal  to  those  of  Italy 
Lj  the  other  kinds  of  church  music,  that  Is  to  say, 
in  the  accompanied  and  concerted  style,  they  hav« 
long  possessed  very  fine  works  by  their  best 
masters,  which  are  not  inferior  to  "the  Italians; 
such,  for  instance,  are  tlie  masses  of  Graun, 
Haydn,  and  Mozart ;  only,  we  should  remark 
that  these  partake  of  the  style  of  the  sjTuphonio 
drama.  They  ])ossess  also  oratorios  of  the 
greatest  beauty,  such  as  "  The  Ascension "  and 
"  The  IsracUtes  "  by  liach,  "  The  Death  of  Jesus  " 
by  Graun,  "The  Messiah"  by  Handel,  with 
many  others. 

With  respect  to  the  chamber  or  concert  sty  it  : 
in  madrigals  they  have  nothing  very  remarkable  ; 
in  the  cantata,  they  have  some  extremely  beautiful 
works,  at  the  head  of  which  we  may  name  the 
cantatas  of  "  The  Creation"  and  ".Seasons"  by 
Haydn,  which  arc  by  some  erroneously  c&Ued 
oratorios. 

They  do  not  appear  to  excel  in  fugitive  pieces, 
that  style  requiring  a  simplicity  and  i)urity  of 
melody  Uttle  known  amongst  them.  .Such  of 
their  compositions  in  this  style  as  we  are  acquaint- 
ed with  are  for  the  most  part  uninteresting. 

The  German  theatre  Is  of  very  ancient  origin, 
although  not  so  early  as  that  of  Italy ;  but  it  had 
not  attained  any  celebrity  until  about  the  close 
of  the  seventeenth  century,  when  Keyser  under- 
took to  compose  for  the  theatre  at  Hamburg, 
which  was  then  very  flourishing.  As,  however, 
few  traces  of  the  works  of  this  master  remain,  we 
cannot  speak  of  his  style;  but  since  the  com- 
mencement and  during  the  course  of  the  eigh- 
teentli  centui-y,  the  composers  of  the  school  of 
Naples,  or  rather  the  German  com])osers  formed 
in  that  school,  such  as  Hasse,  &c.,  conveyed  that 
style,  into  Germany  :  it  became  predominant,  and 
served  as  a  model  to  all  others.  The  German 
style,  thus  improved,  became  that  of  Graun, 
Naumann,  Gluck,  and  even  of  Haydn  and  Mozart, 
with  the  addition  only  of  a  few  modifications, 
according  to  the  impulse  of  their  genius,  And  the 
latest  improvements  in  instrumental  music. 

I  have  just  named  Gluck,  by  which  it  would 
appear  that  I  class  his  works  among  those  of 
Germany  ;  but  it  will  be  seen  that  tliey  belong 
rather  to  France ;  and  although  this  m  ister  was 
much  admired  by  a  few  Genuans  of  merit  in  his 
time,  yet  his  talent  was  not  by  any  means  duly 
a45preciated  by  the  nation  in  general.  Indeed,  it 
Is  only  lately  that  his  French  works,  translated 
into  German,  have  been  performed  in  their 
theatres,  and  have  there  operated  the  same  revo- 
lution that  they  effected  in  France  thirty  years 
ago,  to  the  great  scandal  of  the  partisans  of  the 
symphonic  drama,  who  were  indignant  at  seeing 
their  countrjnueu  abandon  the  brilliant  Mozart 
for  the  dramatic  Gluck. 

The  Gennan  school  derives  its  greatest  lustre 
from  its  instrumental  music.  With  regard  to 
music  for  single  instruments,  and  first,  as  to  that 
for  the  violin,  although  the  composers  for  that 
instrument  which  Germany  has  produced  have 
only  followed  the  steps  of  Corelli.  yet  they  liave 
done  so  with  so  much  success,  that  they  merit  par- 
ticular notice.  Thus,  from  the  time  of  Corelli, 
whilst  Locatelli  and  Geminiani,  his  two  best 
pupils,  spread  lii>"  school,  the  one  in  Holland  and 
the  other  in  England,  we  remark  in  Germanj 
Fr.  Benda  and  J.  Staiaitz,  formed  on  the  sam* 


I 


HIS 


EXCYCLOP/EDIA   OF  MUSIC. 


HIS 


model.  Tlieir  successors,  still  iiui>roviii<j,  crented 
a  schoo  of  their  own,  at  the  head  of  which  stniid 
Leop.  >Iozart,  Frnen/.l,  and  t'nimer,  wlio  nearly 
approai  lied  Tartini,  his  contemporary.  In  harp- 
sichord music  they  have  produced,  since  Kerler 
and  Froberger,  who  were  formed  in  the  Italian 
and  French  schools,  a  number  of  excellent  com- 
posers, who  require  only  to  be  named  to  make 
known  the  titles  of  the  German  school ;  these  are 
J.  S.  Bach  and  his  children,  Haydn,  Ko/.eluch, 
Mozart,  I)us.sek,  Cramer,  and  otliers  w)iom  I 
cannot  name.  It  is  the  same  with  re'^ard  to  their 
music  for  wind  instruments,  a  species  of  com- 
position which  belongs  almost  exclusively  to 
Germany,  and  in  which  she  possesses  an  ama/ing 
uuniljcr  of  good  composers.  In  instrumental 
roil' cried  music,  the  claim  of  the  Germans  is  not 
inleiiur.  AVe  liave  already  cited  the  quartets  of 
Haydn,  and  the  trios  and  quii\tcts  of  Mozart ;  but 
Ilayiln,  by  bringing  the  grand  symphony  to  a 
degree  of  perlection  which  it  seems  impossible 
should  be  surpas.-ed,  has  raised  his  own  glory 
and  that  of  his  nation  to  the  greatest  height. 

Musical  execution,  in  Gennany,  is  a  mixture  of 
good  and  bad  ;  »inging  is  generally  but  moderate  : 
we  do  not  know  one  German  singer  enjoying 
high  repute  out  of  his  own  country.  Execution 
upon  stringed  instruments,  and  particularly  on 
the  violin,  Ls  solid,  but  is  generally  thought 
wanting  in  grace  and  expression.  That  on  wind 
instruments  appears  to  be  very  superior.  There 
are  a  great  number  of  excellent  German  organists  ; 
iudccil,  with  regard  to  that  instrument,  no  nation 
can  compare  with  Germany.  The  orclicstras  are 
good,  but  not  so  much  so  as  they  might  be, 
especially  as  to  tlieir  proportions. 

Tlie  Germans  are  rich  in  musical  literature, 
possessing  a  prodigious  number  of  excellent  works 
ou  all  the  branches  of  the  art,  most  of  whicli 
were  published  in  the  course  of  the  eighteenth 
century ;  such  are  the  writings  of  Fux,  Matthe- 
son,  Miirpurg,  Kirnberger,  E.  IJach,  Knecht, 
Vogler,  Albrechtsbcrger,  Forkel,  M.  Gerbert, 
Nickclmaii,  Koch,  and  many  more  whom  1  can- 
not ut  the  moment  cite.  In  tliis  respect,  Germany 
a,  without  exception  or  comparison,  tlie  richest 
jouniry  in  Europe. 

The  culture  ol  music  in  Germany  is  astonishing ; 
even  down  to  the  most  iusigniticaiit  charity  schools, 
the  art  is  publicly  taught ;  no  schoolmaster  is 
allowed  to  exercise  his  profession  unless  ho  is 
capable  ol  teaching  at  least  the  elcmcnUi  of  music 
and  .-ome  instruments.  In  the  princii)al  towns 
there  are  puMic  and  special  schools,  where  any 
one  is  admitted  unconditionally,  and  where  all 
the  parts  of  composition  are  taught,  llesides 
this,  the  means  of  ordinary  education  being  very 
numerous,  and  easily  attained  by  every  class,  the 
artisan,  and  even  a  man  of  the  lowest  order  in 
society,  it  he  does  not  require  the  a.ssistaiicc  of 
his  son's  industry  to  attain  a  liveliliood,  may 
give  lam  a  good  education  free  of  all  expense. 
From  these  united  causes  it  results,  that  in 
general  the  musicians  of  Germany  are  very 
numerous  and  well  informed.  Their  methods  of 
instruction  are  moreover  the  same  as  in  Ilaly, 
witli  some  modilicalions ;  they  tend  directly  to 
the  point.  Such,  in  few  words,  is  the  history 
and  present  state  of  music  in  Germajiy,  which 
country,  as  has  been  seen,  possesses  its  full  share 
of  merit. 

Tho  French  ikhoot.  —  If  the  Italians  wera  the 


inventors  of  every  part  of  the  musical  art,  if  thej 
have  brought  them  nearly  all  to  perfection,  and 
if  the  Germans  have  brought  tliosc  paits  to  the 
same  point,  which  the  former  had  left  imperfect, 
what  then  liave  the  French  done,  will  be  asked, 
and  wliat  nglit  have  they  to  figure  a-t  a  schoo' 
witli  those  nations  which  seem  to  have  completed 
every  thing  r  We  answer  briefly,  that  the  French 
ha  ve  been  the  in  ventors  of  some  part  iculiir  l)ranches, 
and  have,  so  far,  exercised  a  real  intluenre  ;  in 
many  otlicr  instances  they  have  successfully  im- 
itated, and  have  introduced  into  their  imilation(! 
a  sentiment  and  style  peculiarly  their  own,  observ- 
ing at  the  same  time  an  order  and  respect  for 
consistency  which  has  fre<iuently  been  neglected 
by  other  nations.  Hence,  in  tlicse  respects,  they 
are  justly  esteemed  models,  and  are  conse<iuently 
considered,  in  many  points  of  view,  as  possessing 
a  school  of  their  own. 

The  French,  as  we  have  already  had  occasion 
to  observe  several  times,  were,  at  the  period  of 
the  revival  of  the  arts,  the  first  to  follow  the  e.\- 
am]ile  of  the  Flemish.  Several  French  compo- 
sers, such  OS  Regis,  Uu  Fay,  Caron,  Itinchoi.s,  and 
others,  are  even  said  to  have  preceded  them  ;  but 
we  shall  not  here  speak  of  these,  as  none  of  their 
compositions  remain ;  others,  such  as  Uromel,  J. 
Mouton,  Fevin,  &c.,  are  considered  to  have  nour- 
ished at  the  same  period  with  the  Flemish ;  and 
N.  Gouibcrt,  w  hose  name  is  evidently  Fn-nch,  is 
distinguished  by  H.  Finck  as  having  surpassed 
his  master,  tlie  celebrated  Josquin,  and  having 
much  improved  the  art  of  fugue.  We  sliall  not 
repeat  what  we  have  already  said,  and  shall  only 
here  remark,  that  the  eminence  of  the  French 
scliool  at  that  time  lasted  during  the  whole  of 
the  reign  of  Francis  I. ;  but  the  religious  dis- 
turbances which  began  about  the  year  l.joO,  and 
lasted  till  near  the  end  of  the  reign  of  Henry  IV., 
the  bloody  wars  and  the  ravages  they  occasioned, 
the  profanation  of  most  of  the  churches,  then  the 
only  repositories  of  music,  gave  a  destructive 
blow  to  the  art,  as  well  by  the  death  ot  a  great 
number  of  artists,  as  by  the  loss  of  their  employ- 
ment. Henry  IV'.  was  indifferent  about  music; 
Louis  XIll.  liked  it  much;  but  tlie  gloomy  and 
tyrannical  Kichelieu,  who  reigned  under  hia 
name,  did  not  place  it  among  the  number  of 
those  arts  which  he  thought  proper  to  patronize. 
The  disturbances  that  prevailed  during  the  mi- 
nority of  Louis  XIV.  were  still  more  fatal  to  the 
arts.  Music,  therefore,  for  more  than  a  century, 
was  not  only  generally  neglected  in  France,  but 
iiiqieded  in  every  possible  way  ;  and  the  French 
school  remained  all  that  time  lor  behind  that  cf 
Italy.  It  produced  only  a  few  musicians,  tlie 
best  of  whom  scarcely  attained  mediocrity.  At 
length  the  reign  of  Louis  XIV.  commenced, 
when  that  prince,  who  was  passionately  fond  of 
music,  and  sang  and  played  well  on  tlic  guitar, 
I)Owerfully  patronized  the  art  which  he  himself 
cultivated.  Lulli,  a  Florentine,  introduced  Itnl- 
iiui  music  into  France  as  it  then  existed  in  Italy ; 
and  it  seemed,  as  it  were,  to  receive  a  new  exist- 
ence. It  was  reestablished  in  the  churches  the 
theatres,  and  concerts ;  and  since  that  time  it  hu 
been  constantly  cultivate<l  with  more  or  less  suc- 
cess, as  will  be  seen  by  the  account  we  arc  about 
to  give  of  the  progress  of  the  French  in  the  dif- 
ferent branches  ot  the  art. 

As  to  the  foundation  of  their  system,  the  French 
have  simply  followed  the  step*  of  the  ItaliaiM 
i7 


HIS 


EXCYCLOr^DIA    OF    MUSIC. 


HIS 


and  they  have  done  the  same  with  regard  to  mel- 
ody, though  at  a  greater  distance.  Indeed, 
ftltliough  the  French,  when  le.t  to  their  natural 
impulse,  have  a  style  of  melody  peculiar  to  them- 
Bclves,  and  which  interests  by  its  treedom  and 
Buni)licity,  yet  they  gave  way,  at  tl;e  period  of 
which  we  are  speaking,  to  a  very  extraordinary 
deviation  from  their  natural  taste,  and  which 
unfortunately  carried  them  far  out  of  the  right 
path.  LuUi,  a  man  of  taste  and  science,  coming 
when  young  into  France,  introduced  into  French 
melody  that  of  Cavalli  and  C'esti,  and  tormed 
from  the  two  a  mixed  style,  estimable  in  many 
respects,  and  especially  on  account  of  its  sim- 
plicity. The  French  soon  became  tired  of  this 
mixed  melody,  and  the  successors  of  LuUi,  who 
possessed  neither  sufficient  taste  to  perfect  what 
Le  had  begun,  nor  sufficient  good  sense  and 
learning  to  follow  the  steps  of  the  Italian  scl-.ool, 
wmuh  was  advancing  towards  perfection  under 
Scarlatti  and  his  pu])ils,  attempted,  by  the  most 
affected  embellishments,  to  conceal  the  poverty 
of  their  melody.  The  bad  taste  displayed  at  that 
time  in  painting,  by  Coyjiel,  Leraoyne,  De  Troy, 
and  others,  successors  of  Lebru]i,  manifested 
itself  in  music.  This  corruption  w.as  carried  to  a 
Btill  further  extent  under  Uameau,  who,  in  science 
and  taste  iu  music,  was  precisely  what  Boucher 
nnd  Vaidoo,  Iris  contemporaries,  were  in  painting. 
Without  liearing  this  music,  it  is  impossible  to 
form  an  idea  of  it ;  having,  however,  done  so,  we 
naturally  ask  how  it  could  ever  have  reached  such 
a  degree  of  depravation,  and  we  are  tempted  to  ad- 
miie  the  astonishijig  elforts  that  must  have  been 
made  to  produce  any  thing  so  absurd  and  mon- 
6trou.s.  A  violent  struggle  took  place  at  the  begin- 
ning of  the  seventeenth  century,  between  French 
and  Italian  melody,  which  lasted  nearly  the  whole 
of  that  century  ;  and  to  the  disgrace  of  the  art  be  it 
known,  that  twice,  French  melody,  supported  by 
all  the  agents  of  ignorance  and  pedantry,  —  twice, 
we  repeat,  — tlte  degenerated  French  melody,  not- 
withstanding public  clamor,  triumphed  at  the  op- 
era and  iu  the  cathedrals  of  France.  At  length,  af- 
ter a  musical  war  of  sixty  years,  the  national  taste 
overcame  tlie  obstinacy  of  a  few  individuals  inter- 
ested i}i  upholding  a  lalse  system.  The  works  of 
Duni,  Pliilidor,  Monsigny,  Uretry,  Gluck,  riccini, 
Sacchiui,  and  some  others,  have  since  given  to 
France  a  melody  of  a  peculiar  character,  in  wliich 
Italian  grace  is  united,  a.s  much  as  possible,  to 
French  decorum.  It  is  to  be  hoped  that  this 
order  of  things  will  be  long  maintained. 

With  rcgartl  to  practical  harmony,  if  by  this 
term  is  understood  not  the  art  of  stunning  by  a 
confused  collection  of  sounds  and  a  dealening 
noise,  but  that  of  determining  the  chords  which 
agree  the  best,  according  to  the  nature  of  modu- 
lation, and  of  selecting  and  disposing  the  ditfer- 
ent  sounds  which  compose  these  chords,  so  as  to 
produce  f lie  ])urest  and  sweetest  ett'ect ;  in  this 
respect  the  French  have  been  for  a  long  time  far 
behind  the  Italians  and  tiermans.  Laborde 
himself,  even  whilst  sustaining  an  opposite 
opinion,  and  likewise  J.  J.  Rousseau,  prove  the 
truth  of  this  assertion  when  they  affirm,  that 
none  xmderstand  better  than  the  great  masters  of 
Italy  the  choice  ot  bass  notes,  and  the  selection 
of  lioies  most  proper,  in  the  construction  of  tlie 
shords,  to  invest  the  harmony  with  its  rciiuired 
effect.  Tlic  French  do  not  in  fjeneral  know  so 
well  how  to  wri'x'  music  as  the  Italians  and  tier- 


mans,  which  is  to  be  accounted  for  from  the  dif- 
ference of  their  methods  :  let  us  explain  tliis. 

In  Germany,  as  well  as  in  Italy,  in  teaching 
composition,  they  proceed  directly  to  the  point. 
They  begiu  by  showing  the  pupil  some  very  sim- 
ple, but  good  basses,  properly  modulated ;  they 
enumerate  the  various  jjositions  in  which  a  basa 
may  be  placed ;  they  show  which  chords  are  most 
a])propriate  to  each  of  these  different  situations, 
and  then  exercise  the  pupil  a  long  while  in 
playmg  partimeiiti  or  figured  basses  on  the  piano- 
forte. After  this  first  study,  an  air  or  melody  is 
given  him,  and  he  Is  instructed  which  are  the 
best  basses  to  be  placed  under  particular  notes  of 
the  melody,  according  to  their  several  situations, 
which  are  soon  ascertained  ;  having  put  the 
proper  harmony  to  the  bass,  according  to  the 
given  rules,  he  is  next  taught  to  write  this  har- 
mony for  two,  three,  four,  or  a  greater  number  of 
parts,  in  every  kindof  simple  counterpoint ;  intht 
same  way  he  proceeds  to  more  difficult  cotmter- 
point,  fugue,  and  all  other  styles ;  the  whole  with- 
out any  discussion  or  loss  of  time  iu  useless  argu- 
ments. This  method  has  a  double  advantage  ;  it 
unites  all  possible  rapidity ;  and,  whensoever  the 
studies  of  the  pupil  may  be  interrupted,  what  he 
aheady  knows  will  prove  useftil  to  him.  The  only 
fault  thac  can  be  found  with  the  Italian,  and  even 
German  professors,  Ls,  that  they  do' not  sufficient- 
ly enforce  the  motives  of  their  precepts,  and  do 
not  give,  as  it  would  be  esisy  for  them  to  do, 
reasons  deduced  from  practice  itself.  This 
renders  the  study  laborious,  and  sometimes  dis- 
gusting, and  gives  an  appearance  of  routine  to  a 
method  in  itself  excelleut,  both  as  rcs])ects  it.i 
general  order  and  the  foundation  of  its  principles. 
Still,  when  a  pupil  is  industrious,  this  incon- 
venience does  not  arrest  his  progress,  and  he  is 
richlv  repaid  for  his  perseverance  by  the  advan- 
tage he  derives  from  this  method  of  acquiring 
style  and  a  great  facility  in  writing. 

In  France,  on  the  contrary,  they  generally  pur- 
sue a  plan  completely  opposite  ;  for  although  the 
above  method  at  one  time  was  iu  use  with  the 
French,  as  well  as  with  the  Italians  and  Germans, 
the  same  errors  which  retarded  their  advance- 
ment in  the  art  mfiucnced  their  progress  in  the 
principles  of  instruction,  ^\^len,  after  the  refonr 
etiected  by  LuUi,  the  French  were  desirous  ol 
following  the  patli  lie  had  traced  out,  the  means 
wore  found  to  be  reduced  to  a  few  scattered  tra- 
ditions, become  perfectly  inadequate,  and  which 
appeared  still  more  so,  when  laid  down  iu  badly 
conceived  and  badly  written  works,  such  as  those 
of  Paron,  Mignot,  Madin  and  others.  It  was 
therefore  deemed  necessary  to  make  some  efforts 
to  produce  methods  more  appropriate  to  the  sta'e 
of  the  science ;  but  instead  of  seeking  them  in 
the  study  of  the  c/iefi-d'ccurres  of  the  great  ma;,- 
ters,  and  establLshing  a  musical  grammar  drawn 
from  the  best  results  of  experience,  they  had  re- 
course to  difiercnt  sciences  having  little  or  nothing 
to  do  with  music.  lUmeau,  who  flourished  at  a 
period  when  the  taste  for  physics  and  mathemat- 
ics began  to  prevail  in  France,  having  read  or 
heard  that  the  vibration  of  a  sonorous  body  gen- 
erated, besides  its  principal  sound,  its  twelfvh  and 
seventeenth,  endeavored  to  found  upon  this  phe- 
nomenon tlie  theory  of  the  inversions  of  harmony 
wliich  we  have  aheady  described.  We  shall  not 
here  enter  into  Im-ther  details  upon  this  article, 
I  but  content  ourselves  with  saying  that,  for  want 


428 


HIS 


E>fCYCLOP.EDIA    OF   MUSIC. 


HIS 


of  good  didactic  works,  those  of   Ilaraeau  (ex-  I  cies  of  the  Htyle  a  «i/>fWn.     After  hnviiic;  received 


poundeil,  simplified,  niid  coranientcd  on  by  cele- 
brated authors)  became  much  in  vogue  ;  conse- 
quently there  are,  at  the  present  time,  a  ({rent 
number  of  professors,  who,  accordiuf;  to  the 
method  introduced  by  him,  bci^in  by  settini?  forth 
to  their  pupils  pliysical  and  geometrical  propo- 
sitions, of  which  they  understand  nothing,  and 
which,  besides,  have  not  the  slightest  relation  to 
tlie  question.  They,  however,  persist  in  it  that 
all  this  nonsense  is  the  foundation  of  the  great, 
the  sublime  science  of  harmony.  After  having 
encumbered  the  mind  with  this  useless  trash,  the 
pupil  is  instructed  in  the  definition  of  hanuony, 
which  is  the  knowledge  of  the  chords.  The 
chords  are  then  defined  and  explained  to  him, 
and  he  is  made  to  learn  a  catalogue  of  them  so 
large,  that  the  best  memory  cannot  ])ossibly  re- 
lain  them  all  in  less  than  a  year.  lie  is  shown 
all  the  different  ways  in  which  they  succeed  each 
other  ;  he  is  accustomed  to  see  the  whole  of  har- 
mony in  common  chords,  to  find  which  alone  he 
has  regular  rules,  consequently  he  Ls  obliged  con- 
tinuiilly  to  have  recourse  to  the  inconvenient  cal- 
culation of  inversions ;  added  to  which,  these 
rules  are  in  themselves  so  vague,  so  imperfect, 
and  so  little  capable  of  being  applied  in  most 
cases,  that  if,  after  a  year  or  two  of  study,  the 
unhappy  pupil  is  presented  with  the  simplest 
bass,  he  is  not  able  to  place  the  same  harmony  to 
it  that  a  pupil  of  Italy  or  Gennany  would  do, 
without  hesitation,  at  the  expiration  of  a  few 
weeks.  AMiat  then  is  the  result  r  The  jiupil  be- 
comes wearied  and  disgusted,  renounces  the 
study,  and,  if  his  profession  or  taste  lead  him 
again  to  attempt  composition,  he  hastens  to  ac- 
quire, as  he  can,  from  bad  principles,  a  certain 
traiiu'i  knowledge  of  the  art  sufficient  for  his 
purpose,  but  ever  remains  ignorant  of  its  funda- 
mental principles. 

Such  Ls  the  certain  result  of  the  system  of 
thorough  bass,  so  cried  up  by  people  entirely 
ignorant  of  music,  as  facilitating  the  means  of 
learning  the  art  ;  ire  should  rather  say,  of  talking 
of  it,  without  understanding  any  thing  about  it, 
as  did  Uoussier,  15ethisy,  and  so  many  more  of  Ra- 
meau"s  commentators.  We  have  already  named  the 
only  advantage  arising  from  this  system,  relatively 
to  the  classification  of  the  chords ;  we  shall  not  say 
more  here  on  this  subject.  Finally,  there  is  no 
study  of  counterpoint,  or,  at  most,  that  of  the 
rcnceriny  (placaffe)  of  chords ;  no  study  of  the 
styles ;  no  knowledge  of  the  models,  even  the 
names  of  whom  are  unknown.  Such  is  a  sum- 
mary and  unexaggerated  account  of  the  usual 
raode  of  studying  musical  composition  through- 
out France. 

It  must,  however,  be  confessed,  that  the  plan 
of  instruction  adopted  by  the  Conservatory  of 
Paris,  a.nl  that  instituted  by  several  i)rofessors, 
according  to  the  Italian  and  (icrraan  methods, 
arc  exempt  from  some  of  these  defects  ;  but  it  is 
easily  to  he  perceived,  that,  withheld  by  local 
considerations,  and  by  the  fear  of  encountering 
prejudices,  they  have  not  yet  done,  in  this  re- 
spect, all  that  perhaps  they  would  have  wished 
to  do. 

This,  then,  is  the  actual  state  of  the  sj^stcm  in 
France,  so  far  as  regards  its  principU>s  and  foun- 
dation. I^t  us  now  see  what  she  has  done  in  the 
4ifferent;  kinds  of  composition.  Firs',  as  to 
inurch  music,  we  shall  begin  by  the  various  spo- 


from  St.  (Jregory  the  Uoman  chant,  that  valua- 
ble remnant  of  the  (ireek  music,  Bn<l  having,  by 
degrees,  made  great  alterations  in  it,  it  was  at 
length  totally  abandoned  for  absurd  p/ain  c/mii/a 
composed  at  the  period  when  th.e  art  was  most 
dejjravcd  in  France,  and  which,  for  the  most  parti 
discover  great  ignorance  and  bad  taste.  Theii 
faiix-bourdoii3  are  nearly  the  same  as  those  used 
in  Italy  ;  liut  it  is  relatively  to  the  counterpoint 
on  the  i)lain  chant  that  the  French  school  is 
greatly  defective.  They  have  no  writings  on  the 
subject ;  which  is  not  surprising,  as  the  French 
chapel-masters  understand  so  little  of  the  plain 
chant,  that  we  have  seen  the  most  cxi)ei:e!i'''d  of 
them  (soi-ilisaii/)  mistake  the  tone  of  the  nanC 
And  besides,  writing  this  kind  of  music  is  not 
taught  in  France,  but  they  practise  instead,  in 
the  cathedrals,  extemporary  counterpoint,  which 
is  called  cfiani  sur  le  lirre.  To  give  some  idea  of 
it,  imagine  filteen  or  twenty  singers  of  every  de- 
scription of  voices,  from  the  bass  to  the  highest 
soprano,  singing  as  loud  as  they  can  bawl,  each 
according  to  his  own  fancy,  without  cither  rule 
or  intention,  and  making  every  note  in  the  sys- 
tem, both  diatonic  and  chromatic,  heard  at  the 
same  time  with  the  plain  chant,  which  is  per- 
foiTaed  by  discordant  and  harsh  voices  :  you  will 
then  begin  to  have  some  conception  of  the  plain 
chant  or  countcqioint,  called  in  France  c/ianl  tur 
U-  tiv)v.  But  what  will  be  thought  still  more  in- 
credible is,  that  there  are  actually  choral  pre- 
centors and  chapel-masters  of  sufficiently  de 
praved  taste  to  admire  and  encourage  this  horrid 
mockery  of  music  in  their  churches.  Such  peo- 
ple do,  indeed,  make  (he  house  of  God  a  den  of 
thicvis ;  it  may  be  truly  called  an  abominalion  and 
desolation  in  the  holy  phice. 

Church  music  with  instrumental  accompani- 
ment has,  in  France,  as  every  where  else,  under- 
gone the  same  changes  as  dramatic  music,  with 
which  it  has  always  had  great  connection.  The 
French  long  pretended  to  excel  and  surjiass  all 
other  nations  in  this  style ;  and  although  the 
falsity  of  such  a  pretension  Ls  now  acknowledged 
by  those  who  sustained  it  only  a  lew  years  ago, 
yet  it  should  be  admitted,  that  in  this  kind  of 
music  the  French  have  really  considerable  merit. 
Notwithstanding  the  variations  that  have  taken 
place  in  the  melody,  there  have,  at  all  times, 
been  French  composers  who  have  acquired  a  just 
reputation  in  church  musie  ;  the  most  celebrated 
of  whom,  reckoning  from  I.ulli,  are  tliat  com- 
poser himself,  Campra,  La  Sueur,  of  Uoucn, 
La  Ijinde,  lilanchard,  and  Mondonvillc ;  »nd 
amongst  the  moderns,  (iossec,  D'llaudimont,  IJi- 
roust  Itoze,  and  lastly,  Ix>  Sueur,  director  of  the 
Emperor  Napoleon's  chamber  music,  who  haa 
produced  some  works  in  thus  style  fraught  with 
beauties  of  the  first  order. 

As  to  chamber  music,  the  French  have  no  mad- 
rigals, excej)t  a  few  by  some  masters  who  were 
contemporaries  with  the  Flemish,  all  of  whose 
works  are  now  forgotten.  This  style  of  music 
flourished  in  Italy  at  the  period  of  the  troubles  in 
France,  during  which  music  was  not  at  all  cul- 
tivated in  that  country.  In  the  cnntnta,  the 
works  of  f'lorerabaut  and  I)e  llcrnicr,  ])upil  of 
Caldara,  were  formerly  cite<l.  Fugitive  pieces  ar« 
one  of  the  styles  in  which  the  French  succeed 
the  best ;  they  posses  some  very  beautiful  speci- 
mens in  all  styles  and  of  every  charmcter,  anc 


429 


HIS 


ENCYCLOPEDIA    OF    MUSIC. 


HIS 


perhaps  no  nation  of  Europe  is  superior  to  them  ,  ceecled  by  French  composers  still  worthy  to  touch 


m  this  respect. 

But  the  greatest  glory  of  the  French  school  is 
in  dramatic  inasic.  They  were  not  ]ireci-icly  the 
inventors  of  it,  but  by  borrowing  the  dramatic 
melody  of  the  Italians,  and  combining  it  with 
that  01'  their  own  nation,  they  have  formed,  as  I 
have  bc'.'orc  said,  a  melody  peculiar  to  themselves, 
and  of  an  excellent  character ;  and  by  applying 
thLs  to  well-imagined  and  well-written  poem-;, 
they  have  given  birth  to  the  li/ric  drama,  properly 
Ko  called,  which  may  be  considered,  thereiore, 
in  some  degree,  as  exclusively  belonging  to  France. 

It  was,  however,  only  by  following,  at  first,  the 
example  of  the  Italians,  that  France  attained  to 
this  brilliant  result.  In  fact,  it  is  well  known 
that  when  Mary  de  Mt^dicis,  wii'e  of  Henry  IV., 
came  to  France,  she  brought  with  her  the  poet 
liinucciui ;  from  which  time  lyric  representations 
took  place  at  the  court.  None,  however,  are 
mentioned  ns  having  been  performed  during  the 
reign  of  Louis  Xlil. ;  his  minister,  Richelieu, 
tvirned  all  his  attention  towards  the  French 
drama.  The  Italian  Mazarin,  who  succeeded 
him,  brought  the  taste  of  his  country  into  France, 
and  caused  the  first  Italian  ojjera  that  had  ever 
been  heard  in  that  country  to  be  performed  at 
the  Louvre,  in  1616.  In  1670,  Perrin  the  poet, 
and  Cambert  the  musician,  brought  out  the  first 
French  opera,  entitled  "  Pomona,"  at  the  TonnLs 
Couit  in  the  Kue  Mazarine.  Two  years  after- 
wards, Lulli  obtained  their  privilege,  and  en- 
joyed it  till  his  death,  which  took  place  in  1G87. 


i  : 


the  l)Te;  the  principal  of  whom  were,  in  tragedy, 
Berton,  Catel,  I,e  Sueur,  Mehul ;  and  in  comedy, 
the  same ;  to  whom  may  be  adde(i  Boildieu,  Eler, 
Gaveaux,  Kreutzer,  Plautade,  Persuis,  and  Solic 
Many  Italians  and  Germans,  also,  came  into 
France  about  this  time,  and  attempted  composition 
in  the  French  dramatic  style  with  success  ;  the 
most  celebrated  are  Cherubini,  Dellamaria,  Nicolo, 
Steibelt,  Spontini,  Tarchi,  and  Winter.  Some 
comjiosers  of  the  present  generation  have  tried  to 
introduf^e  into  tlie  hTic  drama  the  effects  of  the 
symphony  ;  but  they  appear,  at  length,  to  have 
discovered  the  abuses  of  this  style,  and  to  have 
since  renounced  it  entire!)'. 

It  is  to  the  superiority  of  its  national  theatre, 
that  France  owe?  that  of  its  hTic  drama.  The 
great  resort  of  company  to  the  Theatre  Francai', 
considered  to  be  the  best  of  all  of  them,  has  ren- 
dered the  feeling  of  dramatic  propriety  so  general 
that  the  French  spectator  cannot  endure  a  work 
in  which  it  is  not  duly  observed,  whatever  may  be 
its  other  merits.  Penetrated  with  the  same  feel- 
ing, and  imbued  with  the  same  principles,  the 
French  lyric  poets  and  composers,  whether  natives 
or  foreigners,  directed  by  national  taste,  have, 
with  one  accord,  constantly  worked  upon  the  same 
system.  It  would,  certainly,  be  very  a  propos,  in 
sketching  the  history  of  the  Frencli  lyric  theatre, 
to  give  some  idea  of  the  revolutions  that  have 
taken  place  in  the  French  drama  itself,  and  to 
make  some  mention  of  the  poets  who  have  con- 
tributed to  its  progress ;    but  I  must  here  limit 


We   have   already   described  the  kind  of  music     myself  to  naming  a  few  of  the  most  celebrated, 


which  lie  set  to  the  French  poems  of  Quiuault ;  we 
have  also  shown  in  what  respects  his  successors 
erred,  amongst  whom  are  distinguished  t'ampra, 
Destouches,  and  Montcclair.  I{ameau,  who  made 
liis  (libui  in  1733,  by  "  Flypolite  "  and  by  "  An'cic," 
substituted  for  the  true  recitative  and  airs,  which 
were,  doubtless,  too  simple,  and  for  the  most  part 
obsolete,  and  for  the  paltry  accompaniments  of 
Lulli,  an  emphatic  recitative,  more  brilliant  airs, 
but  often  irregular  and  in  bad  taste,  more  orna- 
mented accompaniments,  but  frequently  badly 
written,  although,  with  all  this,  there  miglit 
generally  be  found  in  them  features  and  parts 
which  demonstrated  both  science  and  genius. 

His  successors  fioui'ished  after  him  in  the  French 
IjTic  drama,  till  about  177o  ;  but,  since  17J0,  the 
comic  o;)era  had  appeared  in  France  on  the  model 
S)i  the  interludes  and  buffa  operas  then  in  vogue 
in  Italy.  It  was  in  this  style  that  the  French 
melody  began  to  regenerate  under  Dauvergne, 
La  Itordc,  Floquet,  J.  J.  Rousseau,  Duni,  and 
Philidor  ;  to  whom  succeeded  Monsigny,  Gossec, 
and  Grotry,  who  comjileted  the  improvements  in 
French  lyric  comedy.  Amongst  their  contem- 
j)t,raries  and  imitators  were  Martini,  Dalayrac, 
Chanipein.  ajid  many  others.  The  reibria  op- 
erated by  them  in  comedy,  and  prepared  in  lyric 
tragedy,  was  consummated  by  Gluck,  who,  in 
1774,  gave  at  I'aris  his  "  Iphirjiini;"  and  soon 
nfterwards  enriched  the  French  theatre  by  sev- 
eral other  works.  His  rivals,  Piccini  and  Sacchi- 
ni,  with  the  same  object  in  view,  endeavored,  at 
the  same  time,  to  prcser\-e  the  essential  forms  of 
melody  more  than  Gluck  had  done.  This  diver- 
vity  o.  pretension  occasioned  warm  disputes,  which 
ore  now,  however,  terminated.  Vogel,  Lemoyne, 
and  others,  followed  the  steps  of  these  great  mas- 
ter*.    This  generation  rf  celebrated  men  was  suc- 


such  as  Quinault,  Lamotte-IIoudart,  Fontenelle, 
Labru^'re,  G.  Bernard,  Sedaine,  Favart,  Marmon- 
tel,  MarsoUier,  Monvcl,  Duval,  Guillard,  BouUly, 
Hoffman,  Picard,  Etiennc,  and  Dupaty,  and  refer 
the  reader  to  their  names  in  this  work. 

The  French  have  also  some  celebrated  names  in 
instrumental  composition,  although,  in  this  style, 
they  have  only  been  imitators  ;  and  first  in  mu- 
sic for  siiif/le  hi-itnimen/s,  Leclair,  Guignon,  Guille- 
main,  Mondonville,  Gavinies,  Leduc  the  elder,. 
Bertheaume,  and  Lahoussaye  are  justly  esteemed. 
In  concerted  music,  the  qxiartets  of  Davaux,  and 
the  s\nnphonies  of  Gossec,  are  cited,  which  pre- 
ceded, in  France,  those  of  Haydn,  and  some  of 
whicli  are  still  heard  with  delight.  Diuing  a 
later  period,  some  new  attempts  have  been  made 
in  this  style,  but  we  must  wait  a  future  period  to 
decide  on  them  with  impartiality. 

The  principal  merit  of  the  French  school  con- 
sists in  the  different  branches  of  execution. 

Beginning  this  part  oi  our  examination  by  sink- 
ing, we  distinguish  three  epochs  :  that  of  Lam- 
bert, in  the  time  of  LouLs  XIV. ;  that  of  Rebel 
and  Franccrur,  in  the  time  of  Louis  XV.,  who  dis- 
played all  the  ridicidous  faults  and  affectation  of 
that  period  ;  and  lastly,  the  modern  epoch,  whose 
style  has  great  analogy  to  that  of  melody,  that  is 
to  say,  is  an  Italian  style  modified,  and  rendered 
conformable  to  the  French  language,  and  the 
principles  of  which  are  developed  in  the  excellent 
method  of  singing  of  the  Conservatory.  Each  ot 
these  jieriods  boasts  celebrated  singers ;  the  first 
has  Boutclon,  the  second,  Jelyotte  ;  the  third, 
Garat,  Chardini,  Lays,  and  Mautin,  to  whom  wa 
must  add  EUevion,  for  grace  and  elegance  united 
to  expression  and  dramatic  truth. 

But  with  respect  to  executiim,  the  style  in  whicli 
the  French  have  real  ind  undisputed  merit,  and 


430 


UIS 


ENCYCLOPAEDIA   OF   MUSIC. 


HIS 


tnd'«d,  in  many  respects,  have  a  mnrketl  superi- 
oritVi  is  the  iiistruinentnl  in  Koncnil,  nnd  espe- 
cially that  of  the  violin.  On  this  point,  the  French 
have  always  hiul  great  pretensions,  and  often 
founded  in  justice.  The  excellence  of  the  twenty- 
four /jf<iVs  violins  of  Louis  XIV.  formed  by  LuDi, 
»nd  of  other  French  violinists,  wiis  liighly  spoken 
of  so  far  back  as  tlie  seventeenth  century.  I  do 
not,  however,  know  b.ow  to  reconcile  these  facts 
with  the  following  remark  of  Corette  in  his  prei'ace 
to  his  "  Method  of  Accompaniment,"  published 
»t  Paris  about  the  year  17.50:  "At  the  com- 
mencement of  this  century,"  says  that  author, 
■'  music  was  very  dull  and  slow,  &c.  .  .  .  When 
Corelli's  sonatas  were  tir-t  brought  from  Rome, 
(about  17 lo,)  nobody  in  Paris  could  play  them. 
ITie  Duke  of  Orleans,  then  regent,  being  a  great 
*ranteur  of  music,  and  wishing  to  hear  them,  was 
obliged  to  have  them  sung  by  three  voices  :  the 
violinists  then  began  to  study  them,  and  at  the 
expiration  of  some  i/ears,  three  were  found  who 
could  play  them,  liaptiste,  one  of  these,  \»wnt  to 
Rome  to  stvuly  them  under  Corelli  himself."  Be 
this  as  it  may  ;  since  that  period,  instrumental 
music  has  been  studied  with  ardor  by  the 
French,  and  they  have  made  astonishing  progress 
in  it.  France  has  now  an  excellent  school  for  tlie 
violin,  founded  upon  that  of  Italy.  We  have  al- 
ready named  its  best  masters  in  speakijig  of  in- 
strumental composition  ;  to  those  names  must  be 
added  Pagin,  the  celebrated  pupil  of  Tartini,  and 
Viotti,  who,  during  his  residence  (oi  some  ycai-s) 
in  France,  formed  many  excellent  pxipils,  at  the 
head  of  whom  stands  Rode.  These,  in  their  turn, 
have  comni\inicatcd  their  skill  to  a  number  of 
others,  and  the  French  violinists  are  now,  both  in 
number  and  in  talent,  unrivalled  in  Enroiie.  The 
artists  of  greate-t  rep\itc  at  this  time,  lu-e  IJaillot, 
Grasset,  Kre'.it/er,  Lafont,  and  their  pupils,  Ila- 
beneck,  Mazas,  Fontaine,  S:c.  The  same  may  be 
said  wth  regard  to  many  other  instruments,  and 
paiticularly  the  jiiano-forte  :  amongst  the  prin- 
cipal masters  and  amateui-s  on  which  are  Adam, 
Rigel,  Jadiii,  lioildieu,  Madame  de  Montgcroult, 
Pradlier,  her  pupil,  .S:c.  ;  but  for  the  organ,  which 
■was  in  its  glory  under  Couperin,  Marchand,  Cal- 
vii'-re,  and  I>a'iuin,  there  is  now  scarcely  any 
master  worthy  of  citation,  if  we  except  Sejan,  who 
ha*  followed  their  steps.  Lastly,  to  conclude  this 
article  by  a  paneg\Tic  as  just  as  it  is  important  : 
what  cannot  be  too  much  admired  in  France  is, 
the  excellcivce  of  the  orchestras  in  the  execution 
of  the  sjTuphony  ;  in  this  respect  they  not  only 
infinitely  surpass,  wc  will  not  say  those  of  Italy, 
■which  are  beneath  consideration  in  this  respect, 
but  rival  those  of  (icnnany,  where  instriimcntal 
music  has  attained  the  highest  reputation,  lliis 
fact  is  acknowledged  to  be  true  even  by  the  most 
prejudiced  of  other  countries. 

Tlie  musical  literature  of  France  is  of  little  val- 
ue :  among  her  works  of  this  kind,  some,  com- 
piled by  artists  who  neither  knew  how  to  think 
nor  how  to  write,  arc  as  vicious  in  their  princi- 
ples as  in  tl'.eir  plan  ;  others,  edited  by  learned 
men,  or  by  literati  ignorant  of  the  art,  teach  only 
systems  and  errors.  From  this  condemnation, 
however,  we  must  except,  first,  some  methods 
which  concern  exe'.-ution,  and  particularly  those 
published  by  the  Conservatory  of  Paris ;  secondly, 
concerning  composition,  the  little  treatise  of  har- 
mony by  M.  L'atel,  which  is  a  good  introduction 
'.o  the  study  ot  accompaniment.    We  consider  also 


I  the  principles  of  cwnpoiition  of  the  schools  of  Italy, 
which  wc  have  formed  from  the  union  of  w  hat  w* 
have  found  best  on  the  subject  in  the  French  and 
other  languages,  to  be  the  only  authentic  and 
complete  work  for  the  student  of  this  art,  and, 
notwithstanding  some  jimt  imputations,  tlie  least 
imperfect  of  any  existing  of  the  same  kind. 

Of  tlie  three  nations  of  which  we  have  spoken, 
it  is  in  France  that  music  is  tlie  Iciust  pcneraily 
cultivated  ;  it  is  aLso,  of  all  the  fine  art.s,  the  cue 
least  attended  to  in  France,  and  the  only  one  on 
which  there  are  no  public  lectures,  an  advantage 
which  it  possesses  in  olnio.st  every  other  country 
of  Europe  Ik  fore  the  Froich  revolution,  music 
was  principally  taught  in  the  inaitri-it-s ;  but  not- 
withstanding the  number  of  four  thousand  impila, 
who  ■were  constantly  suj)ported  by  these  e-tablish- 
ments,  they  so  much  felt  the  corruption  and  de- 
cay of  the  art  in  France,  during  the  seventeenth 
andeightet^nth  centuries,  that,  in  the  whole  course 
ot  that  time,  tb'Cy  produced  at  most  but  five  or 
six  singers,  and  as  many  composers  worthy  of 
mention.  Their  reostablishmeiit  was  on  a  still 
worse  footing.  Tlie  ancie:it  chapel-masters  -were 
at  all  events  composers ;  but  lately,  for  want  of 
better,  it  has  been  found  necessary,  with  few  ox- 
ceiitions,  to  employ  any  musicians  that  could  be 
had.  Here  the  chapel-mivster  is  a  parLsh  chanter; 
there  a  violinist ;  elsewhere  even  a  trumpeter, 
or  some  such  person ;  and  these  men  are  intrust- 
ed to  form  singers.  It  will  readily  be  imagined 
that  the  maitrises  thus  organized  would  be  even 
less  productive  than  they  were  formerly  ;  and  up 
to  the  present  time,  it  would  be  dilficult  to  (iud, 
out  of  two  or  three  hundred  pupils  wlucli  they 
contain,  one  who  could  sing  the  seven  notes  of 
the  scale  in  tunc.  ITie  Coiiser\-atory,  establLshc<l 
since  the  revolution,  has  certainly,  however,  pro- 
duced a  great  number  of  instrumental  performers, 
and  many  good  singers. 

Formerly,  the  jjlain  chant,  at  least,  was  taught 
in  many  of  the  primsiry  schools ;  now,  neither 
plain  chant  nor  oiiy  other  kind  of  music  is  taught, 
and  the  bulk  of  the  nation  is  totally  ignorant  of 
the  nrt.  Amongst  the  higher  cla.sses  of  society  it 
is  more  cultivated  ;  amateurs  devote  themselves 
chierty  to  instrumental  music.  In  general,  sing- 
ing is  neglected  ;  and  nothing  is  so  rare  in  Franco 
as  good  singers.  Composition  Lsbut  slightly  cul- 
tivated ;  the  studies  for  it  being,  a,s  ■«-e  have  before 
explained,  for  the  most  part  bad  and  very  expen- 
sive. Resides,  the  profession  of  a  composer  leads 
to  nothing  advantageous  in  France  ;  there  Ls  no 
em))loyment  for  his  talents,  either  in  the  chapel 
or  the  theatre,  the  latter  of  which  Ls  occupied  in 
a  great  measure  by  loreigner.^.  In  such  a  state  of 
things,  composers  are  formed  with  difficulty,  and, 
in  fact,  there  are  very  few  in  France ;  the  num- 
ber of  those  who  have  met  with  succe-^s  in  the 
dramatic  style,  at  present  the  most  cultivated  of 
any,  is  very  inconsiderable  JIany  of  thc-e  men 
are  now  old,  and  wc  fiml  but  few  successors  to 
their  talents.  Theory  is  little  known  in  France, 
and  musical  erudition  is  stiU  more  rare ;  the 
French  are,  indeed,  almost  ignorant  of  the  name. 

From  this  examination  of  the  French  .school,  it 
nevertheless  results,  that  it  holds  a  much  more 
distinguished  rank  amr.ng-t  other  schools  than 
many,  blinded  by  national  jirejudice,  will  allow, 
or  than  is  believed  by  some  Frenchmen  them- 
selves, who  have  been  too  easily  led  aati»y 
by  presumptuous  arguments ;  that  it  possesaes  i 


431 


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ENCYCLOP.EDIA    OF    MUSIC. 


HOP 


marked  superiority  in  two  essential  branches, 
namoly,  lyric  drama  and  instrumental  execution ; 
that,  notwitliHtanding  its  deviations  from  the 
didactic,  it  has  lictMi  very  serviceable  in  this  rc- 
upect  to  tbe  art ;  that  its  inferiority  in  many  other 
points  at  tlie  present  moment  arise  i  from  circum- 
stances wliich  have  l)c.ore  produced  the  same 
effects  in  those  very  nations  which  now  appear  to 
excel  France.  Ili.-tory  declares  tliat,  at  dirt'crcnt 
periods,  the  French  school  has  held  a  su])eriority 
over  tliese  same  nations,  and  proves  likewise, 
that,  by  jnirsuing  wise  measures,  it  would  be  easy 
to  replace  it  upon  the  same  level. 

On  takins;  the  trouble  to  compare  successively 
the  labors  of  the  tlirec  schools,  a  sketch  of  which 
I  have  endeavored  to  draw  with  as  much  exact- 
ness and  order  as  impartiality  and  truth,  it  will  be 
found  easy  to  judge  of  the  merit  of  each  of  them ; 
that  spirit  of  party,  those  prejudices  or  national 
antipathies,  which  eagerly  attribute  every  thing 
to  the  one  side  and  nothing  to  the  other,  will  thus 
V)e  avoided.  The  good  and  the  excellent  will  bo 
fiouuiht  for  where  it  really  exists,  and  will  be  duly 
appreciat&'l  wherever  it  may  be  found. 

IIISTRIO.  (L.)  In  the  ancient  drama,  this  word 
Bignilied  a  come<lian,  or  a  stage  singer;  but  more 
particularly  a  mime  who  exhibited  his  part  by 
gestures  and  dancing. 

HIXSTKICH.     (G.)     An  up  bow. 

HITZELBERGEU,  SAIiRIXA,  born  in  175.5, 
was  a  celebrated  (icrman  singer.  She  sang  with 
great  applause,  in  the  year  177i),  at  the  concerts 
spiritttels  and  dcs  amateurs,  at  Paris,  and  was  after- 
wards engaged  as  chamber  musician  to  the  royal 
Eunily.  Shortly  after  this,  she  retunied  to  Ger- 
many, and  sang  at  Moutz,  Frankfort,  and  other 
citiei  tn  her  native  country,  retiring  from  the 
musical  profession  about  the  year  17'Jo,  and  de- 
voting her  attention  to  the  musical  education  of 
two  of  her  daughters. 

IIITZELBERGEK,  JOIIAXXA,  third  daughter 
of  the  preceding,  was,  in  the  year  1807,  a  singer 
in  the  ser\-ice  of  the  King  of  Bavaria  at  Munich. 
Her  younger  sister,  Rcgina,  also  held  the  same 
Fituation,  and  wa.s  likewise  a  principal  singer  at 
the  theatre.  Napoleon  was  so  delighted  with 
her  performance,  that  he  wished  to  engage  her 
for  his  chamber  music  in  Paris. 

IIITZEXAUER,  CIIRISTOPII,  published  in 
158o,  ill  Germany,  "  Ratio  compoiundi  Symphonias, 
Coiiceii/iisre  Musicos." 

H  MOLL,     (G.)    B  minor. 

irOBEIX,  JOHAXX  FRIEDRICII,  organist 
nt  Wolienbiittel,  died  there  in  1782.  lie  pub- 
lished "  Elysium,"  a  (Tcrmaii  drama  for  the 
harpsichord,  in  1781,  Wolfenbuttel ;  "  A  Collec- 
tion of  Songs."  Cassel,  1778;  and  "Six  Sonatas 
for  the  Harpsichord,"  Cas>el,  1780. 

IIOBOE,  or  OBOE.  (I.)  in  French  IIAUT- 
BOIS.     See  H.mthot. 

IIOBRECHT.  JACOB,  a  Fleminj,  was  the 
precept^r  in  music  to  Erasmus,  and  has  the  credit 
of  having  been  an  excellent  musician.  He  is 
naid  to  have  had  so  great  a  celerity  of  invention, 
that  he  composed  in  one  night  a  whole  nia^is,  to 
the  admir.ntim  and  a.tonishment  of  all  who 
knew  him.  Glareanus  nsscrts  that  the  composi- 
tiins  of  Hobrecht  are  grand  and  majestic. 


(G.)       A     nuptiai 


HOCHBRUCKEU,  an  inhabitant  of  Dona- 
wert  in  1700,  was  an  exiellciit  perfonncr  on  his 
father's  newly-invented  pedal  harp.  He  played 
before  the  imperial  court  at  Vienna  in  1729. 

IIOCHBRUCKER.  probably  a  descendant  of 
the  above-mentioned  family,  was  a  celebrated 
harpist  at  Paris,  in  the  latter  part  of  the  seven- 
teenth century.  He  published  much  music  for 
hLs  instrument. 

HOCHREITER,  JOS.  BALTHASAR,  organist 
at  Larabach,  in  Austria,  published  "  Veapera 
DumiiiicalfS  ct  Festictf,"  for  four  voices,  Augsburg, 
170fi,  and  "  I'esperee  de  D.  V.  Maria,"  for  four 
voices,  two  tenors,  and  bass,  Augsburg,  1710. 

HOCHZEITMARSCIL 
march. 

HOCKET.  The  name  formerly  given  to  a  rest, 
or  the  cutting  a  note  short,  without  accelerating 
the  time.  A  manner  of  execution  corresponding 
with  that  of  our  staccato  passages. 

HODERMAXX,  G.  C,  a  pianist  and  excellent 
instrumental  composer,  resided  at  Amsterdam, 
where  he  published  fourteen  works  for  various 
insti-ument-s,  between  the  years  1789  and  179o. 

IIOECKE,  C,  a  celebrated  violoncellist,  resi- 
dent in  Russia,  published  a  concerto  for  his  in- 
strument, with  accompaniment  for  a  full  orches- 
tra, at  Moscow,  iu  1799. 

HOECKII,  CHARLES,  was  born  at  Ebersdorf, 
near  Vienna,  in  1707.  His  father  began  to  teach 
him  the  violin  at  a  very  early  age,  and  sent  him 
at  fifteen  to  Pruck,  to  learn  his  art  thoroughly. 
At  the  termination  of  his  apprenticeship,  he  en- 
tered the  band  of  a  regiment  as  a  hautboy  player. 
He  remained  two  years  in  Hungary,  and  two 
more  in  Transylvania,  llie  time  of  his  ser\-ice 
having  expired,  he  returned  to  Vienna,  and  there 
meeting  with  Francis  Benda,  who  was  just 
going  into  Poland,  he  accompanied  him  through 
Breslau  to  Wan-.aw,  where  tlie  Starosto  Sukas- 
cheffsky  received  them  both  into  his  service.  In 
17.32,  Hocckh  went  to  Zerbst,  as  concert  master. 
He  died  in  1772,  with  the  renowii  of  having  been 
one  of  the  greatest  violinists  of  hi*  time. 

HOEFFELMAYER,  MARIA  JOSEPH  AN- 
TOX,  born  at  Rastadt,  was  considered  a  good 
violoncellist  and  performer  on  the  kettle  drums. 
He  was  for  some  time  in  England,  and  afterwards 
at  Hamburg,  and  finally,  we  believe,  settled  in 
Paris.     He  is  the  younger  brother  of  Thaddeus. 

HOEFFEL^IAYER,  THADDEUS,  bom  at 
Rastadt  in  1750,  was  violinist  to  the  Elector  of 
Mentz. 

HOFFER,  MADAME,  a  celebrated  female 
singer  at  Vienna,  was  the  sister-in-law  of  the  re- 
nowned Mozart,  who  composed,  among  other 
music  for  her,  two  airs,  sung  by  the  Queen  of 

Xight,  in  the  /.a'lhcrflotp. 

HOFFMAXX,  ERXST  THEODOR  AMADE- 
US,  composer,  painter,  poet,  and  romancer,  was 
born  at  Konigsberg,  in  177(>.  Ills  "  Fantasy 
Pieces,"  and  his  "  Sufferings  of  the  chapel-master 
Kreissler,"  contain  some  of  the  most  genial,  ro- 
mantic, and  appreciative  things  ever  written 
about  music.  Among  them  may  be  noticed,  as 
especially  jiopular  and  influential,  his  papers  on 


4»a 


HOf 


ENCYCLOP.KDIA    OF    MUSIC. 


HOB 


Mozart's  "Don  Juan,"  on  the  "  Hitter  Ohick,"  ]  the  posiihility  of  constructing  such  a  machine  ; 


and  on  Beethoven's  symphony  in  C  minor.  He 
also  wrote  several  novels  and  composed  some 
operas,  the  prineijial  one  of  whjch  wus  called 
"  Undine."     He  died  in  1822. 

HOFFMANN,  HEINRICH  ANTON,  in  the 
year  1810  violinist  at  Frankfort,  was  born  at 
Mentz  in  1770.  He  studied  composition  under 
the  celebrated  Kreutzer.  The  following  are 
among  his  published  works  ;  "  Sechi  Enylische  unci 
Deutsche  Tdnze,"  Op.  1,  Mentz  ;  "  Coiu-erlo  pour 
deux  Viohn.1  princip."  Op.  2,  OfTenbach,  179.5; 
"  Trois  Violin  quartettes,"  Op.  3,  Offenbach,  179-5  ; 
"  SVj;  1)iu>s  Concert,  pour  deux  Motons,"  Op.  4, 
Mentz  and  Paris  ;  "  Ges/tnt/e  beim  KUicier,"  Of- 
fenbach, 1799  ;  "  Seeks  Deutsche  Lieder  mil  Ouitarre 
und  Klacicr,"  1802. 

HOFFMANN,  11.  R.,  a  singer  at  the  German 
theatre  in  Hamburg,  in  1797,  published  there, 
about  the  same  year,  several  pieces  of  vocal 
music. 

HOFFMANN,  GEORG,  composed  some  in- 
strumental music  at  Vienna  previously  to  the 
year  1799. 

HOFFMANN,  JOHANN  GEORG,  organist  at 
Brcslau,  was  born  in  the  year  1700.  He  published 
much  sacred  music,  which  was  held  in  high 
estimation. 

HOFFMANN,  JOSEPH.  Composer  of  a  "Xot- 
turno  d  deux  ]'iolons  et  Bass,"  published  at  Vien- 
na before  the  year  1799,  also  of  a  "  Grarui  Trio 
pour  le  I'iolon,  Tenor,  et  Violoncelio,  Xo.  1,"  Vien- 
na, 1803. 

HOFFMANN,  LEOPOLD,  a  celebrated  com- 
poser at  Vienna,  died  there  in  1782,  and  was 
succeeded  in  several  public  situations  by  Al- 
brechtsbcrger.  He  composed  much  sacred  and 
instrumental  music. 

HOFF>L\NN,  PHILIP  CARL,  musician  to 
the  court  at  Mentz,  and  afterwards  chapel-master 
at  Offenbach,  was  born  in  the  former  town  in 
1709.  He  published  much  piano-forte  music  at 
Mentz  and  Offenbach,  between  the  years  1795 
and  1805. 

HOFFMEISTER,  FRANZ  ANTON,  chapel- 
master  at  Vienna,  and  very  celebrated  as  a  com- 
poser, was  the  proprietor  of  a  music  warehouse  in 
that  city.  He  commenced  publishing,  in  the  year 
1785,  a  monthly  collection  of  instrumental  music, 
which  contains  several  of  the  compositions  of 
Haydn,  Mozart,  and  other  celebrated  masters,  as 
well  as  of  his  own.     He  died  in  1812. 

HOFIIAIMER,  JOHN,  organist  to  the  Empe- 
ror Maximilian  I.,  in  the  tifteenth  century,  is 
stated,  by  the  musical  historians  of  Germany,  to 
have  been  a  very  skilful  performer. 

IIOHI,FELD,  a  mechanic  of  Berlin,  in  the 
middle  of  the  eighteenth  century,  is  worthy  of 
mention  in  this  work  as  the  ])rojector  of  two 
curious  musical  inventions.  The  first  is  a  ma- 
chine which  writes  down  the  notes  as  the  per- 
former plays  them  on  the  harpsichord.  It  is  true 
that  the  Rev.  Mr.  Creed,  an  Englishman,  had 
written  a  paper  on  the  same  subject  in  the  Philo- 
sophical Transactions  for  the  year  1747,  and  that 
Ungel,  a  German,  had,  in  1751,  also  ^Titten  on 


still   Hohlleld   has  the  credit   of  being  the  first 
who  put  the  idea  in  execution.     The  celebrated 
Euler  having  accurately  explained    to  him    the 
proposed     mechanical     problem,    he    succeeded 
ifuickly  in  manufacturing  thg  machinCj  and  soon 
l)re-ented   it  to  the  academy  at  Berlin.     It  con- 
sisted of  two  cylinders,  applied  to  the  jjiano-forio 
in   such    a    manner    tluit    the   one   received    iho 
music  paper,  wliich  was  given  out  again  by  the 
other,  the  notes  played  during  the  time  having 
been  marked  in  small  dots  on  the  paj)er  in  such 
a  way  that  they  could  subsequently  bo  written  in 
regular  notes.     This  jirocess,  however,  being  still 
attended  with  ditKcultics,  the  academy  gave  its 
simple   approbation  of  the  ingenuity  of  the  ma- 
chine, and  awarded  a  small  sum  to  the  construct- 
or, who,  a   few    years   atterwurds,   took    it    to  a 
country   house  near   Berlin,   where  it  was  con- 
sumed by  fire.     The  second  invention  of  Hohl- 
feld  was  an  instrument  in  the  form  of  a  piano- 
forte, presented  to  the  King  of  Prussia  in  1754. 
It  is  mounted  with  catgut  strings,  under  which 
is   a  horse- hair  bow,  jiut  in  motion  by  a  small 
wheel,  small  hooks  being  attached  to  tlie  keys  of 
the  instrument  to  draw  the  strings  towards  this 
bow.      This  last   invention  has  been  since  very 
much  improved  upon,  as  may  be  seen  from  one 
of  the  Gazette  di  Milano  of  the  year   1823,  where 
is  announced  a  new  instrument  called  the  cio/i- 
cemhalo.,  professedly  invented  by  Abbate  Grego- 
rio  Trentin,  of  Venice.    It  is  described  as  a  piano- 
forte, and  played  by  a  bow.     It  hius  been  reward- 
ed by  the  gold-prize  medal,  and  is  patronized  by 
various  amateurs  and  musicians,  at  the  head  of 
whom  is  Perotti,  chapel-master  of  Santo  Marco. 
The  exterior  form  of  the  violicemba/o  of  the  Abbate 
Trentin  is  the  same  as  that  of  a  piuno-forto  of  six 
octaves.     The  strings  are  of  catgut  of  various  di- 
mensions, of  which  the  lowest  arc  covered  with 
metal  wire,  and  each  string  is  appropriated  to  a 
single  tone.     At  the  extremity  of  each  key  is  a 
horizontal  lever,  by  racaits  of  which  the  string  Ls 
raised  upwards  to  meet  the  action  of  the  bow. 
This  bow  consists  of  a  piece  of  woollen  stuff,  in- 
wrought with  sdk  threads  instead  of  hairs,  which 
is  drawn  backwards  and  forwards  by   means  of 
two  cylinders  affixed  to  the  sides,  and  set  in  mo- 
tion by  means  of  a  tly-wheel,  worked  by  the  right 
foot. 

^^^lat  Bi)pears  new  in  this  instrument  is  as  fol- 
lows :  1.  That  in  the  down  pressure  of  the  key, 
the  string  is  compressed  between  a  little  piece  of 
thick  leatner,  and  retained  in  the  same  manner  as 
the  violin  string  between  the  fingerboard  and  the 
finger  of  the  performer.  2.  That  in  the  pressure 
upwards  of  the  strings,  by  means  of  a  quill  athxcd 
to  the  lever,  the  greater  extension  of  the  string 
which  without  this  would  take  place,  is  avoided 
as  well  as  the  impurity  of  the  after  sound. 

ITiat  the  formation  of  this  instrumci\t  ma* 
have  been  attended  with  great  difhculties,  ol 
which  an  account  is  given  in  the  de-icription  of  it, 
and  that  in  overcoming  them,  much  perseverance 
was  necessary,  cannot  be  doubted ;  particularly 
as  the  arrangement  itself,  as  describe.!  by  the  in- 
ventor, api>ears  sufhciently  complicate*!.  The 
editor  of  the  JLirmnnienn  considers  the  riolicemba- 
lo  to  be  only  a  revival  (W  the  CrUttina  stop,  in- 
vented and  performed  on,  sixty  or  seventy  yean 
ago,  by  Mr.  Adam  Walker,  the  well-knoMm  lac 
turer  on  experimental  philosophy. 


65 


433 


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fiXCYCLOP^DIA    OF    MUSIC. 


HOL 


HOLCOMHE,  IIEXIIY,  was  a  singer  in  the  i 
opcnv,  nt  its  first  iiitro.luotioii  into  Knj;lnml,  in  \ 
tlie  be;iinniiis  of  the  citjlitccnth  century.  He 
dill  not,  howover,  continue  long  upon  the  Rta};e, 
but  left  it,  nnd  obtained  a  livehhood  by  teacliing 
the  liarp^ichord.  "  Happy  hours  all  hours  excell- 
int;,"  is  n  sonn  of  his  composition,  in  the  "  Musi- 
c.il  Miscellany."  A  few  years  before  hLs  death 
he  published  a  collection  of  twelve  son<;s,  yet  in 
])rint,  set  to  music  by  himself;  amoii'i  which  is 
that  of  "  Arno's  Vale,"  written  by  Charles,  Earl 
of  Middlesex.  Ilolcombc  died  about  the  year 
17.50. 

HOLDEN,  JOHN.  An  English  musician,  and 
author  of  "An  Essay  towards  a  lational  System 
of  Music,"  Glasgow,  1770. 

HOLDER,  WILLIAM,  doctor  of  divinity. 
Besides  his  eminence  as  a  divine,  and  deep 
knowledge  in  music,  he  distinguished  liimself  as 
a  philosopher,  mathematician,  and  philologist. 
He  composed  some  anthems,  of  which  three  or 
four  are  preserved  in  Ur.  Tudway's  collection,  in 
the  British  Museum.  From  the  regularity  and 
unembarrassed  arrangement  of  the  several  parts 
in  these  sj)ecimens  of  his  composition,  it  is  easy 
to  discover  that  he  had  not  ?itudied  and  practised 
counterpoint  in  the  superficial  manner  of  an  idle 
dilet'.anta,  but  with  the  application  of  a  diligent 
professor.  He  publishe.l  also  "  A  Treatise  on  the 
natural  Grounds  of  Harmony."  Dr.  Holder  died 
in  1693,  aged  eighty-two. 

HOLDER,  JOSEPH  WILLIAM,  bachelor  of 
music  at  Oxford,  was  born  in  the  year  1765,  in 
the  parish  of  St.  John's,  Clerkcnwcll,  London,  of 
respectable  parents,  and  was,  by  his  father's  side, 
a  real  descendant  of  Cardinal  Wolser.  Having 
shown  an  early  disposition  for  music,  ho  was,  at 
the  age  of  seven  year<,  and  through  the  interest 
of  a  particular  friend,  (Mr.  George  Courtup),  ad- 
mitted as  one  of  the  singing  boys  at  the  Chapel 
Royal,  St.  James's,  under  the  much-respected  Dr. 
James  Xarcs,  with  whom  he  remained  seven 
years ;  his  conduct  and  assiduity  during  that 
time  rendcrin,'  him  a  great  favourite  with  his 
master,  who  did  every  thing  in  his  power  to  pro- 
mote his  pupil's  profound  knowledge  in  music. 
Indeed,  the  i)ains  that  were  taken  by  that  worthy 
man  to  instil  the  principles  of  the  science  were 
very  e%ndent ;  for,  on  leaving  the  Chapel  Royal, 
Dr.  Xares  would  not,  on  any  account,  permit 
Holder  to  study  under  any  other  ma;-ter,  so  great 
was  his  conviction  of  his  pupil's  knowledge  of 
the  theory  of  music.  During  the  last  two  years 
ne  was  in  the  Chapel  Royal  he  was  of  considerable 
use  to  his  master,  both  in  the  care  of  the  junior 
boys,  and  in  a.svisting  him  in  playing  the  organ  at 
the  Chapel  Royal.  It  was  at  this  period  that  he 
experienced  much  kindness  from  Major  John 
Lemon,  of  the  Royal  Horse  thiards,  who  was  well 
mown  as  an  amateur :  this  gentleman  was  ex- 
tremely desirous  of  having  Holder  a.s  a  musical 
tompanion,  Init  Dr.  Narcs  strongly  opposed  it, 
And  it  was  \iltiinately  given  uj).  On  leaving  the 
Chapel  Royal,  he  remained  with  his  father  between 
two  and  three  years,  studying  nnd  practising  reg- 
ularly tw-he  /niirs  a  day,  which  his  father  com- 
])clle<l  him  to  do.  During  tliis  time,  he  became 
a.s«istant  to  Mr.  Reinhold,  and  played  tVe  organ 
at  St.  (ieorgc  the  Martyr,  (iucen  S.iuare,  London. 
He  was  then  ajipointe*!  organist  of  St.  Mary's 
Cburcli,  Rungay,  in  Suffolk,  where  he  remained 


seventeen  or  eighteen  years.  From  that  time,  he 
removed  into  lissex,  near  Chelmsford.  In  the 
year  1792,  he  took  hi^  bachelor's  degree  in  music 
at  Oxford,  un(ler  Dr.  I'hilij)  Hayes ;  he  was  ad- 
mitted an  honorary  member  of  the  Royal  Academy 
of  Music,  and  waa  one  of  the  examiners  of  the 
pupils  for  admission  to  that  establishment ;  he 
was  also  unanimously  elected  an  honorary  associ- 
ate of  the  Concentorcs  society.  These  distin- 
guished honors  were  particularly  flattering,  as 
they  were  conferred  without  his  knowledge. 
Holder's  works  are  numerous,  both  vocal  and  for 
the  piano-forte :  amongst  them  are,  "  A  Collw- 
tion  of  Glees  and  Canons,  for  three,  four,  and  six 
voices."  "  O  dear,  what  can  the  matter  be,  with 
variations ; "  this  little  work  has  long  been  a 
favorite.  "  A  second  Collection  of  Glees  and 
Songs."  "A  thii-d  Collection  of  Glees."  "A  Grand 
Duet,"  Op.  18.  "  -A.  Collection  of  Preludes," 
Op.  20.  "A  Military  Divertimento,"  Op.  27. 
"Sonata,"  Op.  29.  "Trio  for  three  Performers 
on  one  Piano-forte,"  Op.  .31.  "  Sonata,"  Op.  34. 
".Sonata,"  Op.  38.  "  Ariette,  with  Variations," 
Op.  40.  "  Le  Retour  de,  Ghent,"  Op.  .53.  "  So- 
nata," Op.  .56.  "Trio  for  three  Performers  on  one 
Piano-forte,"  Op.  00.  Holder  has  arranged  very 
many  of  Handel's  celebrated  choruses  as  duels,  and 
the  same  choruses  to  single  pieces  ;  likewise  a  mast 
for  three  voices.  Besides  the  above  works,  he 
has  composed  several  canons,  glees,  Te  Deums, 
and  many  anthems. 

HOLDING-NOTE.  A  note  that  is  stistained, 
or  continued,  whilst  others  are  in  motion. 

HOLLAND,  JOII.VNN  D.^.^^D,  conductor 
of  the  music  at  the  cathedral  of  Hamburg,  was 
born  in  1748.  He  composed,  about  the  year  1780, 
the  music  of  an  oratorio  called  "  The  Resurrec- 
tion of  Jesus  Clirist ;  "  he  also  published  some  in- 
strumental music  and  songs.  The  last  of  his 
works  is  dated  in  1790. 

HOLLBUSCH,  JOHANN  SEBASTIAN.  Au- 
thor of  a  good  didactic  work,  entitled  "  Ton-sys- 
tem, abgcfasst  in  eiiiem  Gcsprdche  ztceyer  Fretuidi," 
Mentz,  1792.  He  also  composed  some  iiistru- 
mental  music,  published  at  Maubeim  and  -Am- 
sterdam. 

HOLMES.  A  celebrated  English  performer  on 
the  bassoon.  He  performed  at  Salomon's  con- 
certs in  1793,  and  for  many  years  afterwards  at 
all  the  principal  concerts  and  music  meetings  in 
England. 

HOLMES,  JOHN.  An  .organist  of  Salisbury 
Cathedral,  at  the  beginning  of  the  seventeenth 
centurv.  Some  of  his  part-songs  are  to  be  found 
in  a  work  called  "Tlie  Triumphs  of  Oriana," 
publi'«hed  ia  London  in  1001. 

IIOLZBAl'ER,  IGNAZ,  chapel-master  to  the 
elector  palatine,  was  born  at  Vienna  in  1711.  He 
first  studieil  counteri>oint  under  the  celebrated 
Fux,  and  afterwards  made  two  journeys  to  Italy  ; 
in  the  Rccmd  of  which  he  resided  nearly  two 
years  at  Milan.  On  his  second  return  to  Vienna, 
in  174.i,  he  was  norain'iteil  chef-d'onhestre  at  the 
court  theatre.  He  had,  at  the  same  time,  the 
oi)portuiiity  afforded  h.im  of  applying  his  great 
talents  to  the  composition  of  a  great  number  ol 
works  for  the  church,  as  well  as  theatre.  In  17.51, 
he  was  invite<l  by  the  Duke  of  Wurtemburg  to 
Stuttgard,  and  appointed  his  first  chapel-master 


434 


HOL 


ENCYCLOPAEDIA    OF    MUSIC. 


HOM 


In  1753,  he  was  clmrped  with  the  composition  of 
.he  music  for  the  pastoral  opera,  "  II  Fiylio  itette 
Sclve,"  which  was  to  he  jicrfonued  at  the  ojieninf; 
of  a  new  tlieatre.  This  coiti])oaitir)n  had  such 
Buccess,  that  tlie  elector  <jave  him,  the  same  year, 
the  jdaccs  of  chapel-master  and  composer  at 
Manhcim.  There  he  commenced  his  career  hy 
betting  several  Italian  operas.  In  ITJH,  he  un- 
dertook a  tliird  voyage  to  Italy,  principally  with 
H  view  of  becoming  acijuaintcd  with  the  music 
perfonped  at  the  pontifical  chapel  in  Rome.  He 
soon  again  returned  to  Oeriuany.  In  1757,  he 
wa.s  charged  with  the  composition  of  a  new  opera 
for  tlif  Tlieatre  Koyal  at  Turin,  where  he  in  conse- 
quence went,  and  gave  liis  "  Sitelti,"  which  was 
very  succcsslul.  'I'hc  lollowing  year  he  hrough* 
out  at  Milan  "  Alessiiiidro  mil  Indie,"  wliich 
was  enthusiastically  received,  and  was  performed 
for  thu'ty  successive  nights.  In  1771),  he  com- 
posed his  opera  of  "  (iunther  von  Si/tirar:buri;," 
for  the  theatre  at  Manheim,  whi'  h  met  with  the 
greatest  success :  it  was  the  only  (iennan  ojjcra 
he  wrote.  lie  died  in  17815.  Others  of  his 
works,  not  named  above,  are  "  I.sauc  i,"  and  "  La 
lietuliti  Libei-ata,"  two  oratorios,  with  many  mitos- 
es, motets,  iS:c.,  for  the  church ;  also  the  three 
operas,  "  La  CUmcnza  di  Tito,"  "  Le  S'oz:e  d'Aria- 
nae  di  flncit),"  and  "  Tancredi."  He  fuithcr  wrote 
very  numerous  instrumental  piece>,  amounting, 
according  to  (jcrher,  to  no  less  a  number  than 
two  hundred  and  five. 

IIOLYOKE,  S.VMUEL,  son  of  the  venerable 
Dr.  Ilolyoke,  of  Salem,  Mass.,  was  bom  at  Uox- 
ford,  in  1771,  soon  after  which  his  father  and 
family  moved  to  Salem.  In  1700,  Mr.  Ilolyoke 
prei)ared  the  copy  of  his  first  collection  of  .Sacred 
Music,  at  Salem,  and  it  made  its  appearance  in 
January,  1701.  lliis  book  is  entitled  "  Ilarmonia 
Americana.  Containing  a  concise  Introduction 
to  the  Grounds  of  Music.  With  a  variety  of 
Airs,  suitable  for  Divine  Worship  and  the  use  of 
Musical  Societies.  Consisting  of  three  and  four 
parts.  I5y  Samtel  IIolvoke,  A.  B."  It  was 
"  I'rinted  at  Boston,  Tijiyoiiraphicatly.  By  Isaiah 
Tliomas  and  Ebenczer  T.  Andrews,  at  Faust's 
Statue,  No.  45,  Newbury  street.  —  MDCCXCI. 
Soli  at  their  Bookstore,  by  said  Thomas  at  his 
Bookstore  in  Worcester,  and  by  the  Booksellers 
in  Town  and  Country."  This  book  was  pub- 
lished by  subscription  ;  and  at  the  time  of  its 
pulilication,  the  author  had  received  subscribers 
for  it'O  copies.  Ilolyoke  was  only  about  twenty 
when  the  ILxrmonin  Americana  was  published, 
and  must  have  commenced  the  studv  of  music  at 
a  very  early  age.  lie  was  one  of  ti>e  reformers 
who  undertook  to  do  away  with  fugue  in  sacred 
mu-ic,  and  says  in  his  preface,  "  Perhaps  some 
nay  be  disappointed  that  fugning  pieces  are  in 
gei\eral  omitted.  But  the  principal  reason  why 
*Vw  were  uiserted  was  the  trifling  effect  produced 
by  that  sort  of  music  ;  for  the  jiarts,  falling  in, 
one  after  another,  each  conveying  a  different 
idea,  confound  the  sense,  and  render  the  perform- 
ance a  more  jargon  of  words.  The  numerous 
pieces  of  this  kind,  extant,  mu;t  be  a  sufficient 
apology  for  omitting  them  here."  In  this  collec- 
tion we  find  Arnhcim,  written  by  Ilolyoke  at  the 
age  of  fourteen,  the  first  piece  of  music  he  ever  com-  ; 
pose.l  and  the  last  piece  he  ever  sang.  This  was 
at  a  social  gathering  of  his  musical  friends,  at  the  ' 
Uoiisc  of  Jacob  B.  Moore,  Esq.,  ia  the  spring  of  , 


181G.  Mr.  Ilolyoke  had  been  teaching  at  Con- 
cord, N.  II.,  during  the  winter,  and  died  of  an  it- 
tack  ol  lung  fever,  at  Lang's  Tavern,  Eiust  Concord, 
after  a  short  illness  of  lour  days,  aged  forty-five. 
Five  days  previous  to  his  death,  at  tlie  gatliering 
above  spoken  ot',  at  the  close  of  the  musical  exer- 
ci.ses,  lie  reciuested  the  choir  present  to  sing  "  .Vrn- 
heim,"  remarking  that  perhaps  lie  would  never 
meet  with  a  choir  on  earth  so  well  calculated  to 
do  justice  to  his  first  cimiposition.  It  was  sung 
twice,  and  Mr.  Ilolyoke  was  afiocted  to  tears.  He 
never  sang  again.  .Mr.  Ilolyoke  was  extensively 
and  favorably  known  as  a  teacher  and  composer 
of  both  vocal  and  instrumental  music.  In  18fn), 
he  pubhshcd,  at  Exeter,  N.  II. ,  vol.  i.  of  the 
"  Instrumental  -Vssi.tant,"  a  (juarto  of  SO  pages, 
and  in  1M07,  was  j)ublishcd,  at  tlie  same  place, 
vol.  ii.  of  the  As.u.stiin/,  containing  101  pages 
quarto.  In  these  two  volumes  were  given  "  rules 
for  learning  music,  and  com|)lete  scales  for  all  the 
instruments  used,"  and  about  L'OO  ])ieces  of  music 
for  instruments  arranged  in  parts  from  two  to 
eight.  Ill  ISOO,  aii|)eaied  "The  Columbian  Ke- 
poiiitory  of  Sacred  Harmony."  By  Samuel  Ilol- 
yoke, A.  M.  This  was  the  most  e.vtensive  collec- 
tion of  sacred  music  ever  published  in  this  coun- 
try; it  contained  472  quarto  pages,  and  about 
750  jiieces  of  music,  including  the  whole  of  Dr. 
Watts's  Psalms  and  Hymns,  to  each  of  which  a 
tune  Ls  adapted,  and  some  additional  tunes  suited 
to  the  particular  metres  in  Tate  and  Brady's,  and 
Dr.  Belknap's  collection  of  Psalms  and  IIjTnns. 
'Hie  hook  was  "  Published  according  to  Act  of 
Congress."  "  From  the  Music  Press  of  Henry 
Kaiilct,  Exeter,  New  IIami)shire."  It  is  a  very 
good  specimen  of  printing,  and  from  it  have  been 
selected  a  large  number  of  tunes  which  help  to 
make  up  the  various  collections  of  church  music 
which  have  since  appeared.  'l"his  work  was  pub- 
lished by  subscription,  the  price  per  co])y  being 
three  dollars.  Holyoke  was  concerned  in  the  jnibli- 
catiou  of  the  "  Massachusetts  Compiler,"  with  Oli- 
ver llolden,  of  Charlestown,  Mass.,  and  at  the  time 
of  his  death  was  engaged  in  preparing  for  publica- 
tion a  third  collection  of  instrumental  music.  He 
died  poor,  though  highly  resjiected  and  esteemed 
by  those  who  knew  him.  In  early  life  he  possessed 
a  remarkably  good  voice ;  but  in  latter  years  it 
had  became  so  harsh  that  he  was  obliged  to  use  a 
clarinet  in  his  vocal  schools. 

HOMATI,  TOM.\SO,  an  Italian  composer, 
probably  of  the  sixteenth  or  seventeenth  cent'iry, 
published  a  collection  of  masses  and  psalms  for 
eight  voices. 

HO.ME,  GEORGE,  was  a  doctor  of  divinit7 
at  Canterbury,  and  published,  in  178  J,  a  work 
entitled  "  'Hie  .\ntiquity.  Use,  and  E.\cellence  of 
Church  Music." 

HOMILirS,  GO'n'FRIED  AUGUST,  chapel- 
master  of  the  three  jirincipal  churches,  and  singer 
at  the  school  of  the  Holy  Cross,  at  Dresden,  was 
born  at  Rosenthal,  on  the  frontiers  of  Bohemia, 
in  1714.  He  was  one  of  the  greatest  organists  of 
his  time,  and  also  highly  celebrated  for  his  sacred 
compositions.  Among  his  numerous  excellent 
works  for  the  church,  t'^cre  have  only  been  print- 
ed his  cantata  on  tlie  passion  of  our  Savior,  in 
1775  ;  the  rejoicing  of  the  shepherds  on  the  birth 
of  Jesu.s,  in  1777  ;  and  some  motets,  in  the  collec- 
tion pubhshcd  in  sLx  volumes  by  chapel- 
Hiller. 


435 


UC»M 


EXCYCLOP^DIA    OF   MUSIC. 


HOR 


IIOM.MKUT,  n  nni'^icinn  in  the  private  Imiid  of 
his  miijesty  tJcorye  III.,  j)ul)lislied,  niiiong  other 
works,  "  Three  Concertos  tor  the  I'iano-forte," 
dedicated  to  the  Duke  of  York,  Op.  1,  London, 
17!tO,  and  "  Six  Sonatas  for  the  Piano-forte,"  ded- 
icated to  the  queen.  Op.  2,  Loudon,  1790. 

IIOMOI.or.dt'S.  An  rpilhrt  opplird  by  the  ancient!  to  certain 
corT»*«i»'»n<!piicf»  in  their  tctmchfirili. 

IIDMDI'lKlNOI.     iGr.)     I'nicini:  diipiicalei  of  the  Mine  found. 

llo>!«)rll(»NV.  The  worti  Ituiiiophiinr  wu  applied  by  the  an- 
ciiMitt  t.1  lliut  kind  of  niuiic  which  was  i>er1'ornic<l  in  uniMin.and 
woj  u»vd  in  o|>puiitiim  to  tuttijjioiiy^  or  miiiic  pertunned  in  octavti. 

IIOXICKE,  JOnANN  FRIEnUICII,  a  mu- 
8ician,  and  chcf-d'orchestre  for  twcnty-Hve  years 
of  the  theatre  at  HiimburR,  composed,  in  1784, 
the  music  of  an  ojjcra  entitled  "  Le  Mariaije  par 
Aiiwiir,"  and  some  other  vocal  pieces,  lie  also 
published  a  musical  journal,  consisting  of  a  col- 
lection from  the  German  and  French  oi)era8,  ar- 
ranged for  the  piano-forte,     lie  died  in  1809. 

IIONORIO,  ROMUALDO,  a  monk,  and  com- 
poser of  raa.sses,  psalms,  litanies,  &c.,  about  the 
year  1612. 

IIOOGII,  DIRK  VAN  DER,  a  Dutch  mu- 
(iiciau,  and  author  of  a  didactic  work  entitled 
"  De  Gronden  van  het  Vocaal  Miizi/k."  Amster- 
dam, 1769. 

HOOK,  JAMES,  was  bom  at  Norwich,  in  the 
year  1746,  and  was  instructed  in  the  first  princi- 
ples of  music  by  Garland,  an  organist  in  that  city. 
His  early  attachment  to  the  art,  by  which  he  ren- 
dered himself  so  popular  in  England,  was  not 
more  remarkable  than  the  immense  number  of  his 
musical  productions.  Tltese,  which  amount  to 
more  than  a  hundred  and  forty  comjjlete  works, 
consist  chiefty  of  musical  entertainments  for  the 
theatres,  concertos,  sonatas,  and  duets  for  tlie 
piano-forte,  an  excellent  instruction  book  for  that 
instrument,  entitled  "  Giiida  di  Mitsica,"  an  orato- 
rio entitled  "The  Ascension,"  written  in  1776, 
and  more  tlian  two  thousand  songs.  Shortly  af- 
ter Hook  first  went  to  London,  he  ap];oars  to 
nave  been  engaged  as  organist  to  Mary-le-bone 
Gardens,  and  he  was  subsequently  invited  to  ac- 
cept of  a  similar  situation  at  Vauxhall,  which  he 
held  between  forty  and  fifty  years.  He  was  also, 
for  several  years,  organist  of  St.  John's  Church, 
Horsleydown.  The  principal  of  hLs  operatic 
pieces  are,  "  Cupid's  Revenge,"  Arcadian  i)a.s- 
toral,  1772  ;  "  Lady  of  the  Manor,"  comic  opera, 
1778  ;  "Too  civil  by  half,"  farce,  178:i;  "Double 
Disguise,"  musical  entertainment,  1784;  "Fair 
Peruvian,"  comic  opera,  1786;  "Jack  of  New- 
bury," opcnn,  179');  "  Wilmore  Castle,"  comic 
opera,  1800;  "Soldier's  Return,"  comic  opera, 
1805;  "Catch  him  who  can,"  musical  farce, 
180<> ;  "Tekcli,"  melodrama,  1807  ;  "Music  Mad." 
dramatic  sketch,  1807  ;  "  Seige  of  St.  Quintin," 
drama,  1808.     Hook  was  still  living  in  1829. 

HOOPER,  EDMUND,  organist  of  Westrain- 
•ter  .Vbbey,  and  gentleman  of  the  cha])cl  royal, 
(where  he  also  acted  as  organist,)  was  one  of  the 
composers  of  the  psalms,  in  four  parts,  j)ublishcd 
in  1.594,  and  some  of  the  anthems  in  Rarnard's 
collection.     He  died  in  1621. 

HOPKINS.  Tlie  person  engaged  with  Stern- 
hold  in  introducing  metrical  psalmody. 


HOPSWALZER,     (O.)     Quick  waltzes. 


IIORM.VNN,  J.,  a  musician  at  Vienna,  pub« 
lished  there  some  music  for  the  piano-forte  ui  th< 
year  1800. 

HORN.  A  wind  instrument  chiefly  used  in 
hunting,  to  animate  the  chase,  and  call  the  dog* 
together.  The  hunting  horn  was  formerly  com- 
passed, whence  the  old  phrase  to  icind  a  horn. 

HORN,  CHARLES  FREDERIC,  a  native  of 
Germany,  went  to  London  in  the  year  1782, 
where  he  was  kindly  received  by  tlie  .Saxon  am- 
bassador. Count  Brnhl,  and  recommended  by 
him  to  the  Marquis  of  Stafford,  to  instruct  in  mu- 
sic the  ladies  Leveson  Gower.  He  then  dedicated 
his  first  work,  "  Six  Sonatas  for  the  Piano-forte," 
to  Lady  Charlotte.  In  the  year  1789  he  had  tho 
distinguished  honor  of  being  recommended  by 
Lady  Caroline  Waldegrave,  and  his  friend  Mr. 
Clementi,  to  her  majesty  Queen  Charlotte,  to  in- 
struct the  princesses  in  mu.sic,  which  he  did  til] 
the  year  1811  ;  he  was  hLso  commanded  to  attend 
twice  a  week  on  her  majesty,  from  17>"^9  to  1793. 
Horn  was  very  eminent  as  a  teacher  of  the  piano- 
forte and  thorough  ba.ss,  and  composed  for  his 
instrument  various  80uata.s,  and  also  "  Twelve 
Themes,  with  variations,  with  an  Accompaniment 
for  Flute  or  Violin." 

HORN,  CHARLES  EDWARD,  son  of  the 
preceding,  was  born  in  the  year  1786,  in  the  par- 
ish of  St.  Martin's,  London.  He  was  educated 
for  the  musical  profession  by  his  father,  but,  at 
the  age  of  twenty-two,  finding  his  voice  much 
improved,  lie  resolved  to  take  singing  lessons  of 
the  celebrated  Rauzzini,  then  residing  at  Bath,  to 
whom  he  accordingly  went  for  that  pur])0se ;  but, 
vmfortunately,  owing  to  Rauzzini's  ill  health,  of 
wliich  he  soon  after  died,  Horn  had  not  more 
than  five  or  six  lessons.  ITiey,  however,  were  of 
essential  service  to  him,  and  he  still  purposed 
cultivating  concert  singing,  but  soon  found  it 
neither  met  his  wishes,  nor  answered  his  expec- 
tations in  a  pecuniary  point  of  view  ;  upon  which 
he  at  length  resolved  to  appear  before  the  public 
as  a  theatrical  vocalist,  on  the  opening  of  the  Eng- 
lish ojxjra  house,  and  to  make  his  dlbut  in  the 
oi)era  of  "  Up  all  Night."  Mr.  JVmold  (the  pro- 
prietor) knowing  Horn's  talent  for  composition, 
jiresented  him  at  the  same  time  with  a  melodra- 
ma, opera,  M:c.  &c.,  which  latter  was  not  so  suc- 
cessful as  his  hopes  had  anticipated ;  soon  after, 
however,  he  produced  another  piece,  called  "  The 
Ijee-hive,"  which  amply  repaid  him  for  pa.st  dis- 
appointments by  the  flattering  reception  it  met 
with.  At  the  close  of  that  season  he  quitted  the 
stage,  and  did  not  return  to  it  till  1814.  He  then 
appeared  at  the  English  opera  house  as  the  .Se- 
raskier,  in  the  "  Siege  of  Belgrade,"  in  wliich  part 
lie  was  eiuinently  successful,  having  greatly  im- 
proved his  voice  by  long  practice,  and  the  assist- 
ance of  T.  Welch.  From  that  time  he  was  ranked 
among  the  principal  singers  of  the  metropolis. 
Besides  the  before-mentioned  works,  Horn  com- 
posed the  whole  or  the  greatest  part  of  the  music 
in  the  following  operas:  "Persian  Hunters," 
"The  Magic  Bride,"  "Tricks  upon  Travellers," 
"  Boarding  House,"  "  Godolphin,  the  Lion  of  the 
North,"  "  Rich  and  Poor,"  "  The  Statue," 
"Charles  the  Bold,"  "The  Woodma:i'8  Hut,' 
"  Diroe,"  "  .Vnnetto,"  "  Devil's  Bridge,"  witl 
Mr.  Braham,  "  P^lections,"  "  Nourjahad,"  "M 
P.,"  ananged  for  Mr.  T.  Moore,    "  Lalla  liookh,' 


436 


HOR 


EXCYCLOPiEDIA    OF   MUSIC. 


11  OS 


brought  out  in  Dublin,  '"  The  Wizard,"  and 
"  Philandering."  lie  has  also  published  many 
Bougs  and  canzonets. 

HORN,  FRENCH.  The  French  horn,  or 
Corne  lie  Chassv,  is  a  wind  instrument,  consisting 
of  n  long  tube  twisted  into  several  circular  folds, 
and  gradually  increasing  in  diameter  from  the  end 
at  which  it  is  blown,  to  that  at  which  the  sound 
issues.  The  intervals  of  the  natural  scale  of  the 
FrciK'h  horn  are  conformable  to  those  of  the 
trumpet,  but  its  jiitch  is  an  octave  lower.  The 
under  part  of  its  scale  only  includes  the  third, 
lifth,  and  eighth  of  the  key,  but  in  the  upper  oc- 
tave it  takes  all  the  natural  notes,  and  even  com- 
mands the  sharp  fourth.  It.s  natural  fourth  is, 
however,  seldom  in  tune,  and  therefore  scrupu- 
lously avoided  by  those  comixjsers  who  are  ac- 
quainted with  the  constitution  of  the  instrument. 
The  horn  may  have  only  the  extent  of  the  trum- 
pet. There  were  various  lessons  anciently  for  the 
Horn ;  as  the  recheat,  double  recheat,  royal  re- 
cheat,  running  or  farewell  recheat  —  all  having 
reference  to  hunting,  and  lessons  which  the 
huntsman  winds  on  the  horn,  when  the  hounds 
have  lost  thcLr  game,  to  call  them  back  from 
pursuing  a  counter-scent,  N:c.  The  Hebrews 
made  use  of  horns  formed  of  rams'  horns,  to  pro- 
claim the  jubilee  ;  whence  the  name  jubilee. 

On  the  Mouthpiece.  —  The  mouthpiece  is  com- 
monly made  of  brass,  but  silver  is  preferable. 
Mouthpieces  of  ditl'erent  diameters  are  used  for 
the  first  and  second  horn,  because  the  compass 
of  the  instrument  is  extensive.  A  person  who 
practises  on  the  first  horn  should  not  attempt 
to  blow  the  secoiul  horn,  neither  should  the  per- 
son who  blows  the  second  blow  the  first  horn, 
becau.se  it  will  iii  either  case  injure  the  embou- 
chure. 

On  the  maniter  of  holding  the  [lorn.  —  The  com- 
mon method  of  holding  the  horn  is  with  the  right 
hand  nearly  in  the  middle  of  the  hoop,  the  bell 
hanging  over  the  same  arm  ;  but  it  may  some- 
times be  held  in  the  left  hand,  the  bell  hanging 
over  the  same  arm  ;  and  sometimes  the  bell  per- 
pendicular. \Vlien  two  horns  are  blown  with 
cjual  strength,  the  two  bells  of  the  horns  should 
bo  in  one  direction,  that  the  tones  may  more 
•'lually  unite.  To  make  the  chromatic  tones,  let 
the  bell  bear  against  your  side,  and  let  one  hand 
be  within  the  edge  of  the  boll,  ready  to  i)ut  into 
the  pavihou  or  bell  of  the  horn,  as  occasion  may 
require.  Practice  in  thia  case  will  give  the  best 
diiectiou. 

On  _fixing  the  Mouthpiece.  —  The  most  approved 
method  for  fixing  the  mouthpiece  is  to  take  the 
centre,  but  convenience  will  be  found  perhaps  in 
ditl'crei  t  methods.  In  blowing  the  first  horn,  it 
may  be  best  for  the  major  part  of  the  mouthpiece 
to  re-t  upon  the  upper  lip,  though  some  perform- 
ers find  it  answers  the  same  purpose  that  the 
mouthpiece  re.^t  upon  the  lower  lip  in  the  same 
manner.  In  blowing  the  second  horn,  the  mouth- 
jiieco  should  rather  bear  ccjually  agniitst  both 
lips,  the  distance  of  the  notes  of  the  second  horn 
being  so  great  that  a  confined  embouchure  cannot 
rxecute  them.  A  first  horn  generally  makes  use 
»f  two  octaves,  and  sometimes  more  notes.  A 
fecond  horn  must  use  three  octaves,  and  some- 
times more. 

Of  Uhiting.  —  ^\^len  you  blow  the  horn  let  not 
vour  cheeks  be  putted  out,  as  that  will  deprive 


you  of  a  just  execution,  ^\^len  you  attempt  th« 
scales,  let  the  first  notes  be  blown  smooth  and 
even.  It  will  rcijuire  a  little  more  force  of  breath 
and  contraction  of  the  lips  to  moke  the  notes  in 
tune  as  they  rise  higher. 

Horns,  as  if  ordained  by  nature,  generally  go 
in  piiirs.  Certain  it  is,  that  the  tone,  whether  in 
thirds  or  fifths,  prod\iced  from  two  French  horns, 
by  exi)ericnced  performers,  Ls  truly  mellifluous, 
Iiarticularly  in  the  open  air  or  on  the  water. 

Very  rai)id  and  ditlicult  pas.sages  may  be  exe- 
cuted on  the  horn  with  the  assistance  of  th» 
hand,  which  is  pushed  forward  or  drawn  back 
ward  a.s  the  artificial  notes  are  required  ;  we  say 
artificial,  for  the  natural  scale  of  tlie  horn  is  very 
limited.  When  we  compare  the  ])arts  by  Van- 
hall,  I'leyel,  nay,  even  Ilaydn  and  Mozart,  with 
i  what  Weber,  Spohr,  Rossini,  iVc,  have  written  lot 
the  horns,  we  are  ready  to  exclaim,  •'  What  a 
march  of  horn  iilaying  I"  not  that  we  approve  of 
the  rapid  fliglit.s  which  are  too  often  given  ;  fot 
the  beauty  of  the  horns  lies  in  sosteniUo  move- 
ments, which  sustain  the  harmony,  while  othei 
instruments  are  roving  about  ad  lib. 

The  French  horn  can  be  tuned  by  means  of 
crooks  and  shanks,  into  the  following  keys  : 


J-?- 


tf 


rtr: 


J*^ 


*=^S 


■J,  HjMx 

-ff — 


m 


V 


But  the  music  is  always  written  in  the  kev  of 
C;  that  is,  suppo.se  the  horn  parts  to  bo  in  E  flat, 
it  will  be  noticed  at  the  commencement  of  the 
piece  thus:  Horns  in  Eb  ;  or  Eb  Corni ;  and  the 
tonic,  or  key  note,  wiU  be  written  C ;  for  exam- 
ple :  — 


G--^ 


±^ 


«= 


The  natural  scale  of  the  horn  is  as  follows  :  — 


m 


^^^^ 


3^ 


5=?c: 


But,  by  introducing  the  hand  into  the  bell  of  the 
instrument,  the  following  scale  can  be  performed 
tolerably  perfect :  — 


And  even  this  scale  ha-t  been  improved  by  m''\nt 
of  two  valves  or  tubes,  which  Pace  of  Westt  lu- 
ster, and  Percival  of  St.  James  .Street,  I/ondon, 
have  added  to  the  horn,  wl  crcby  the  tollow  iuji 
437 


HOK 


ENCYCLOPEDIA    OF    MUSIC. 


HOB 


noteo  can  bo  ])roduced  with  case,  m  addition  to  i 
the  above :  — 

^^^^^^ 

The  valves  arc  pressed  by  the  first  and  second 
fingers  of  either  the  ri;;ht  or  loit  hand,  as  the  per- 
former fcehi  disposed  ;  one  valve  by  being  |)resRed, 
will  make  a  semitone,  and  the  other  a  whole  tone, 
bcloir  the  natural  one ;  for  instance,  thiii  pas- 
Bage  :  — 


1^^ 


The  G  is  an  open  or  natural  note,  the  F*f  is 
produced  by  pressing  the  semitone  valve,  and  the 
F=  by  pressing  the  whole  tone  valve.  Before 
this  invention  the  hand  within  the  bell  of  the 
horn  was  employed,  but  it  never  could  be  done 
with  that  certainty  wth  wliich  it  may  now  be 
perfonned. 

Both  the  valves  are  occasionally  used  together, 
thus: — 


^i=^- 


The  'E^  is  an  open  note;  Eb  is  made  by  press- 
ing the  semitone  valve ;  D  =?  the  whole  tone  ;  C*f 
by  pressing  both  valves  at  once;  A^i  below  is  pro- 
duced in  the  same  waj*. 

There  Ls  a  peculiarity  attending  the  following 
passage :  — 


P 


—0- 


The  C  is  an  open  note,  B  is  made  by  pressing 
the  semitone  valve,  and  A  also,  by  the  aid  of  the 
hand  within  the  bcU,  and  semitone  valve,  togeth- 
er with  the  assistance  of  the  lip. 

The  part  of  the  French  horn  best  for  quality  of 
tone  is  from  U  on  the  second  line  to  G  above :  the 
notes  above  are  not  good,  and  those  below  resem- 
ble the  trombone.  Comjiosers  should  .seldom 
write  A  above  the  lines,  for  it  is  always  a  bad  note ; 
and  the  etfect  produced  by  it  after  tlie  fine  tone  of 
G,  is  not  unlike  a  violent  siiuecze  given  by  a  Cal- 
edonian to  his  bagpipes  when  Ixis  bellows  are 
nearly  exhausted. 

The  horn  and  the  trumpet,  both  introduced  in- 
to the  orchestra  within  less  than  a  hundred  years, 
liave  since  our  boyhood  altered  their  simple  ap- 
])enrance  by  a  variety  of  added  valves,  tubes,  or 
crooks  ;  and  their  species  have  become  so  nu- 
merous under  the  names  of  i)o_-it  horn,  .Sax  horn, 
valve  trumpet,  cornopeon,  tul)u,  opliicleidc,  &c., 
tliat  of  the  dilferences  between  them  few  have 
a  distinct  idea  Ix'vond  the  dealers  and  virtuosos 
tliemselves.  The  extensive  addition  of  keys  to 
all  this  class  of  wind  in.struments,  —  a  peculiar 
leaturc  of  the  last  lialf  century,  —  while  it  has 
enlarged  greatly  their  eajjaeity,  has  to  a  consider- 
able extent  modified,  an<l  at  times  impaired,  the 
original  tone;  although  imparting  ocrasioually  a 
LriLliancy  which  did  not  lonncrly  belong  to  them. 


HORN',  CHARLES  E.  A  weU-known  vocalisJ 
and  composer,  by  birth  an  Englishman,  but  foi 
many  years  a  resident  in  this  country,  the  lattet 
years  of  his  life  in  Boston,  where  he  died  Oct.  21, 
1849,  aged  ;5o.  lie  was  much  respected,  and 
there  are  many  now  living  who  can  recall  witj 
pleasure  hLs  "  Woodnotes  Wild."  In  1842  Mr. 
Horn  was  in  England,  and  was  employed  as  mu- 
sical director  at  Covent  Garden  Theatre.  lie  liad 
jjublLshed  successful  compositions,  among  which 
are  songs,  duets,  and  glees,  an  oratorio  called 
"  Daniel's  Prediction,"  and  a  cantata  on  Shak- 
8j>eare'8  "  Seven  Ages."  He  had  also  lectured  be- 
fore the  Polytechnic  Institution,  on  the  history  and 
use  of  music,  and  the  condition  of  the  art  in  all 
the  principal  nations  of  the  globe.  His  wiie  wat 
also  known  favorablv  as  a  vocalist  in  this  coun- 
try. 

HORN',  FRAXZ,  a  doctor  of  philosophy  at 
Brunswick,  has  written  several  musical  papers  in 
the  Lcipz.  Mus.  Zcit.,  since  the  year  ISOl. 

IIORX,  HEXRY,  an  eminent  perfonner  on 
the  harp,  was  born  at  Paris  in  the  year  1789,  of 
German  jmrents.  He  received  the  rudiments  of- 
his  education  in  tliat  metropolis,  and  went  to 
England  at  ten  years  of  age,  when  he  was  placed 
under  the  tuition  of  Jean  BaptLste  Mayer,  with 
whom  he  remained  seven  years.  In  the  year 
180.5  he  made  hLs  first  appearance  at  the  orato- 
rios, and  continuetl  his  public  performances  till  the 
year  1808,  after  which  period  he  received  further 
instructions  trom  Jean  Elouis,  (a  harpLst  of  the  first 
celebrity,)  during  the  space  ot  four  years.  With 
Elouis,  he  also  made  a  professional  journey 
through  Scotland  and  Ireland  with  great  success. 
Horn  returned  to  London  in  1812,  and  was  im- 
mediately engaged  for  the  Bath  concerts,  where 
he  had  tlie  honor  of  first  introducing  to  the  pub- 
lic Erard's  double  movement  harp,  the  mechan- 
ism of  which  was  the  admiration  of  all  the  artLsts 
and  amateurs.  On  his  return  to  the  metrop.ilis, 
he  had  an  opportunity  of  introducing  this  beauti- 
ful instrument  before  a  London  audience  at  the 
King's  theatre,  and  was  received  with  the  most 
flattering  applau>e;  since  wliich  time  he  has  con- 
tinued his  professional  ciuoer,  patronizctl  by  a 
numerous  connection.  Henry  Horn's  principal 
publications  for  the  haq)  are,  "  Rudiments  for  the 
Single  and  Double  Movement  lliu:p  ;  "  "  Oucer- 
tiire  d' Albert  ct  d' Adilaide ;"  " 'l"he  Stonn  Ron- 
do;" "La  Chassc,  lioiido;"  "  Le  Prince  Trouba- 
dour ; "  "  La  Surprise  de  Diaiu:,"  and  "  Fifteen 
.fVirs  and  Preludes." 

HORX,  JOIIANX  CASPER.  A  doctor  of 
laws,  and  scientific  musical  amateur,  in  the  latter 
part  of  tlie  seventeenth  century.  He  wrote  a 
work  in  four  parts,  called  "  J'arcrr/rm  Mii.ucuin," 
consisting  chiefly  of  music  in  the  popular  style 
of  his  time,  also  several  other  works,  which  beat 
date  from  the  year  1664  to  1681- 

HORNPIPE.  An  animated  dance  tunc,  sup* 
po>ed  to  have  received  its  name  irom  the  insiru 
ment  anciently  jilnyed  dvu-ing  its  perforuiancc. 
That  it  was  not  unusual  to  give  to  certain  air.-  tlm 
names  of  the  instruments  on  which  they  wer« 
commonly  played,  ap]>ears  from  the  word  Ucii/, 
which,  witli  a  little  variation,  is  made  to  signify 
both  ^jiddlc  and  the  air  called  a  gij.    The  instru- 


438 


HOR 


ENCYCLOP.EDIA    OF    MUSIC. 


HOU 


ment  called  tVie  horn-pipe  is  common   in  Wales.  1  he  had  held   for  some  years,     lie  now  heijnn  to 
Its  name  in  Wclwh  is  t\\c  pib-corn  (horn-pipe.)    It     employ  hiinseli"  in  vociil  compositions  with  iustrii- 


consists  of  a  wooden  jiipc,  with  holes  at  stated 
distances,  and  a  horn  at  each  end.  IIoni;)ipc 
music  is  supposed  to  he  of  Eiif^lish  invention.  Its 
measure  is  compound  triple  time  of  nine  crotchets 
in  a  bar,  six  down  and  three  up. 

IIORSLEY,  WILLIAM,  was  bom  in  London, 
in  1774.  In  his  youth,  he  was  remarkably  un- 
healthy, and,  owin^j  to  this  circumstance,  to  fam- 
ily misfortunes,  and  to  other  causes,  his  "general 
education  was  nofjlectcd,  and  lie  arrived  at  the 
age  of  sixteen  before  it  was  finally  resolved  that 
he  should  j)ursue  music  for  a  profe-ision.  .Vt  that 
period,  he  was  articled  for  five  years  to  'Hieodore 
Smith,  who  was  esteemed  to  be  a  -^ood  piano-forte 
player,  and  who  claimed. to  be  the  first  who  in- 
troduced duets  for  tl'.at  instrument  into  England. 
Smith's  theoretical  knowledge  was  very  limited. 
lie  was,  besides,  passionate  and  indolent  to  an 
extreme  degree,  and  entirely  neglected  the  in- 
struction of  his  pupil,  who  was,  at  all  times, 
most  happy  to  escape  from  his  violence. 

However,  while  with  Smith,  the  subject  of  our 
present  article  made  several  valuable  acqviaint- 
ances,  who  had  a  vast  intluonce  on  liis  future 
pursuits.  In  particular,  he  became  very  intimate 
■with  the  three  brothers,  Jacob,  Joseph,  and  Isaac 
Pring,  and  from  them  he  first  imbibed  that  love 
for  vocal  music  which  he  ever  after  cherished. 
Joseph  I'ring  having  obtained  the  situation  of  or- 
ganist in  the  cathedral  at  Bangor,  removed 
thither,  and  his  brother  Isaac  soon  afterwanls 
went  to  Oxford,  where  he  died,  after  having  been 
organist  at  the  new  college  for  sometime.  Ilors- 
ley's  great  intimacy,  therefore,  was  chiefly  con- 
fined to  Jacob  I'ring,  from  whose  kindness  and 
frieudshij)  he  derived  advantages  which  he  has 
never  failed  to  acknowledge.  In  17i)9  he  had  the 
misfortune  to  lose  his  estimable  friend ;  but  pre- 
■viously  he  had  procured  an  introduction  to  Dr. 
Callcott ;  and  the  example  of  those  two  excellent 
musicians,  and  his  constant  intercourse  with 
them,  had  determined  him  more  particularly  to 
the  practice  of  glee  writing.  At  this  time  his 
ardor  for  composition  was  very  great,  and  every 
moment  which  he  could  sjiare  irom  his  occupa- 
tion, as  a  teacher,  was  devoted  to  it.  Besides 
glees,  he  wrote  services  in  five,  six,  seven,  and 
Mght  parts,  "  Two  Anthems,"  in  twelve  real 
parts,  and  a  "  Siinctus,"  for  four  choirs.  He  also 
employed  himself  much  in  the  construction  of 
can.ins,  and  found  considerable  improvement  in 
the  exercise  of  that  difficult  species  of  writing. 
Id  179S  he  suggested  to  his  friends.  Dr.  Callcott 
and  Pring,  a  plan  for  the  formation  of  a  society, 
the  object  of  which  should  be  the  cultivation  of 
English  vocal  music.  The  members  met  for  the 
fir»t  time  in  that  year,  ami,  on  the  suggestion  of 
Mr.  Webbc,  took  the  name  of  Cnnrentores  Soilales. 
The  establi.shraent  of  this  society  was  a  great  ad- 
vantage to  Ilorslcy.  It  introduced  him  to  an 
acquaintance  with  several  eminent  professors ; 
and,  as  each  member  was  to  preside  in  turn,  and 
furnish  music  for  the  day,  it  gave  a  new  •.timulus 
to  his  exertions.  About  the  same  period,  he 
was  introduced  by  Dr.  t'allcott  to  the  committee 
of  the  asylum  for  female  orphans,  and  was  ac- 
ceptetl  by  them  as  assistant  organist  of  the  insti- 
tution. On  this  occasion,  he  resigned  his  situa- 
tion of  orgauibt  of  Ely  Chapel,  llolboni,  which 


mental  accomjianiments,  and  t-et,  among  othei 
things,  "Smollet's  Ode  to  Mirth,"  "'Hie  ('(intatt 
Domino,"  and  an  anthem  to  words  beginning. 
"  When  Israel  came  out  of  Egypt,"  with  which 
he  took  his  bachelor's  degree  in  ISOO,  at  Oxford. 
His  time  was  now  much  occupied  by  his  ])Upils ; 
neverthele-.s,  when  the  vocal  concerts  were  re- 
vived, in  1801,  he  ajjiilied  himself  with  fresh 
diligence  to  composition,  ami  furnished  the  man- 
agers of  those  concerts  with  Tuuuy  new  works. 
This  he  was  particularly  induced  to  do,  not  only 
from  his  love  to  th.e  art,  but  from  his  great  inti- 
macy with  Harrison  and  Bartleman  ;  and,  till  the 
death  of  the  former,  he  was  the  most  copious  and 
the  most  successful  among  the  native  contribu- 
tors to  their  undertaking.  In  IS02  Di  Callcott 
resigned  his  ».ituation  at  tlie  .\sylura,  and  Horsley, 
having  been  recommended  by  the  committee  to 
the  guardians  at  large,  was  chosen  to  succeed  the 
doctor,  without  any  opposition.  He  continued 
to  perform  the  whole  duty  at  the  Asylum  till 
1812;  when  Bclgrave  chapel,  in  llalkin  Street, 
Grosvenor  Place,  being  finished,  he  accepted  the 
otHce  of  organist  in  it.  For  many  years,  a  very 
largo  portion  of  his  time  was  occupied  in  giving 
instruction  ;  but  the  remainder  he  devoted,  with 
unabated  assiduity,  to  the  study  of  his  art,  and 
to  the  pnv'tice  of  composition.  Ills  published 
works  consist  of  the  services,  odes  aud  anthems 
already  mentioned ;  "  Three  Symphonies  for  a  full 
Orchestra,"  which  were  several  times  performed 
at  the  vocal  concerts ;  several  trios  for  violin  and 
violoncello :  and  a  great  collection  of  single 
])ieces,  consisting  of  glees,  canons,  songs,  duets,  vS:c. 
Of  these  have  been  published :  "  'Hiree  Collec- 
tions of  Glees,  Canons,  and  Madrigals,  for  three, 
four,  five,  and  si.x  Voices;"  ".Six  Glees  for  two 
Trebles  and  a  Bass ; "  "  A  Collection  of  forty 
Canons,  of  various  species."  This  work  the 
author  has  in.scribetl  to  his  friend  Cleraenti,  in 
language  which  shows  his  respect  and  admiration 
for  that  great  master.  He  w;us  likewise  a  great 
contributor  to  tlie  "  Vocal  Harmony,"  published 
by  Clementi  &  Co.  That  splendid  work  contains 
fifteen  or  sixteen  glees,  which  were  purpo.sely 
composed  for  it  by  him.  To  thi-sc  publications 
may  be  added  single  glees,  .songs,  Jlc.  Horsley 
occasionally  emjiloyed  himseb'  in  writing  for  the 
piano-foite,  chicfiy,  however,  with  a  view  to  *he 
improvement  of  the  younger  da.ss  of  students. 
His  works  for  that  instrument  consist  of  "  A  Set 
of  Easy  Lessons,  containing  Familiar  Airs." 
"  Six  Sonatinas  for  the  I'sc  of  his  Pupils,  with 
the  leading  fingering  carefully  marked."  "Tlirce 
Waltzes  for  Two  Performers."  "  Three  Sonatas, 
composed  for  the  Hon.  Miss  Ponsonby."  "Son- 
atas, Nos.  1  aiul  '!."  'ITjese  were  intended  as  jwrt 
of  a  series,  to  he  pulilished  from  time  to  time. 
He  has  also  printeil  "  An  Explanation  of  the  Ma- 
jor and  Minor  Scali>s,"  accompanied  with  exer- 
cises calculated  to  improve  the  hand. 

HOUSTK;.  caul  (;01TL0B,  a  (Jerman 
Lutheran  clergyman  at  Hucheburg,  is  celebrated 
as  a  scientific  amateur  of  sacred  music,  and  hai 
written  many  works  ou  that  subject  since  thl 
year  170J.  Sec  Ijripz.  Miu.  Xrit.  Irom  179S  t« 
1802. 

IKJUZIZKY.  Private  secretM-rto  I'rincc  Hen- 
ry of  Prussia,  at  Uheiiisberg,  Irom  the  year  17H# 


439 


HOS 


EXCYCLOP-EDIA    OF    MUSIC. 


HOY 


io  170o.  lie  coiujiosccl  fourteen  French  operas 
md  otlier  vocal  music,  a'l  of  which  liavc  remained 
in  miinuscri|it,  except  some  of  hLs  airs  which  were 
publislied  by  J.  A.  Niclas,  in  a  collection  entitled 
"  Choix  d' Airs  de  pltuieurs  Opdras,  arrangis  pour 
le  CUtc."     1790. 

HOSANXA.  (L.)  Part  of  the  Sanctus,  iu  the 
mass. 

IIOSl'INIAX,  RUDOLPH,  a  Swiss  theolo- 
gian, (lieu  at  Zurich  in  162').  lie  wrote  a  work 
entitled  "  Oe  templis,  i.  e.  de  orir/ine,  prngressu,  usii 
et  ttbitsu  tcmplvrum  rcrumque  omnium  ad  Umpla pcr- 
tinetUiam." 

HOSTIE,  a  clarinetist  in  the  band  of  the  Duke 
of  Montmorency  in  Paris,  in  17SS,  ))ublished  six 
duo-s  and  a  concerto  for  his  instrument,  with  ac- 
companiments. 

IIOITETEURE,  called  "n^e  Roman,"  from 
bein^  born  in  that  city,  was  chamber  musician 
to  the  Kin!5  of  France,  at  Paris,  iu  1710,  and 
considered  the  best  flutist  of  his  time,  and  a  good 
comiwser  for  his  instrument.  Among  his  works 
are,  "  Princip'-.s  df  li  Flute  /ranersiire,  de  la  Flute 
d  Bee,  ctdu  llautbois."  This  bo.k  was  published 
at  Paris,  about  the  year  1707,  and  republished  at 
Amsterdam  in  1708-1710,  and  in  the  Dutch  lan- 
gua<;e  in  1728.  2.  "  L'Art  de  priluder,"  Paris, 
1722. 

HOWARD,  SAMUEL,  doctor  of  music,  wa.s 
educated  in  the  Chapel  Royal,  London,  and  was 
not  more  esteemed  for  his  musical  talents  than 
beloved  for  his  private  virtues,  being  ever  ready 
to  relieve  distress,  to  anticipate  the  demands  of 
friendship,  and  to  prevent  the  nece  ;sities  of  his 
acquaintance.  He  was  organist  of  the  churches 
of  St.  Clement  Danes  and  St.  liride.  Ills  ballads 
were  long  the  delight  of  natural  and  inexperi- 
enced lovers  of  music,  and  had  at  least  the  merit 
of  neatne  -s  and  facility  to  recommend  them.  He 
prefeiTcd  so  much  the  style  of  music  of  his  own 
country  to  that  of  any  other,  that  nothing  could 
persuade  him  out  of  a  belief  that  it  had  not,  up 
to  his  time,  been  excelled.  He  died  iu  1782,  and 
was  succeeded  in  his  situations  of  organist  of  St. 
Clement's  by  Thomas  Smart,  and  of  St.  Rride's 
by  Tliomas  Potter,  the  son  of  the  flute  maker  of 
that  name. 

HOWELI,,  TIIOM.VS,  was  horn  at  Bristol  in 
1783.  His  father  was  a  celebrated  periormcr  on 
the  flute,  and  was  the  first  pei-son  who  opened  a 
regular  establishment  for  the  sale  of  instruments 
and  music  at  liristol.  At  the  age  of  fourteen, 
young  Howell  was  apprenticed  to  his  father,  and 
being  naturally  fond  of  music,  practised  it  for  its 
own  sake,  when  liis  othei  various  occupations 
Mould  permit.  He  had  some  mitsters,  such  as 
t?  ey  were;  but  in  reality  received  more  sohd  in- 
formation on  the  science  from  a  few  casual  inter- 
views with  Dr.  Pushy  than  from  all  the  regular 
lessons  he  took  from  others.  E  irly  in  life  he  was 
emplove  I  as  a  teacher,  and  remarking  what  he 
considered  the  desultory  manner  in  which  the 
various  books  of  instruction  were  written,  and 
•jeing  also  desirous  of  rendering  himself  useful  in 
nis  profession,  he  frequently  took  occasion  to 
wTite  down  deiinitions  and  examples  calculated 
to  elucidate  and  remove  dilliculties  as  they  arose 
Bi  the  miudj  of  his  pupils.     Iu  many  cases  he 


[  had  the  mortification  to  be  questioned  by  tht 
I  ])arent8  of  his  scholars,  who,  unfortunately  foi 
I  the  teacher,  were,  in  these  iiLstances,  ignorant  of 
the  science  of  music.  "  Is  there  nothing  printed, 
Mr.  Howell,  that  would  supply  the  information 
you  are  taking  so  much  pains  to  write  f  if  so, 
■would  it  not  be  better  to  let  my  daughter  have  it, 
a.s  writing  down  occupies  a  considerable  portion 
of  the  time  allotted  for  your  lesson  r "  His  feel- 
ings were  not  a  httle  wounded  on  such  occasions, 
till  at  length  he  determined  on  publishing  what 
he  considered  an  improved  mode  of  instruction. 
He  first  applied  the  work  to  his  eldest  daiighter's 
instruction,  whose  comprehensive  mind  indicated 
itself  at  so  early  a  period  of  life,  that  he  was  in- 
duced to  commence  teaching  her  the  rudiments 
of  music  at  the  age  of  four  years ;  which  he  so 
conducted  as  to  cause  it  to  be  amusing  to  her 
rather  than  an  irksome  task.  One  of  the  plans  he 
invented  for  this  purpose  was  the  "  Musical 
Game,"  since  published,  for  teaching  the  degrees 
in  the  treble  and  bass  clefs,  and  this  he  found  to 
answer  his  most  sanguine  expectations.  As  the 
child's  astonishing  abilities  expanded,  and  called 
for  new  matter  for  study,  he  continued  writing 
and  composing  for  her,  which  caused  his  work  to 
proceed  with  regularity,  and  was  a  strong  excite- ' 
ment  for  him  to  persevere  in  his  undertaking. 
His  instructions  were  repaid  by  a  most  extraordi- 
nary progress  :  at  the  age  of  eight  years,  the  child 
could  play  almost  any  thing  that  was  put  before 
her.  When  she  was  between  fourteen  and  fif- 
teen, she  was  at  a  party,  where  being  requested 
to  play,  and  not  having  provided  any  music  for 
the  occasion,  a  concerto  was  presented  to  her  with 
which  she  was  totally  unacc^uainted  ;  there  being 
several  amateurs  jiresent,  the  accompaniments 
were  played,  and  the  piano  part  executed  by  the 
child  to  the  astonishment  of  the  auditors.  Her 
extemporary  performances  also  exhibited  a  rich- 
ness of  fancy  combined  with  a  refined  taste  and 
judgment  that  seemed  far  beyond  the  powers  of 
one  so  young.  In  addition  to  her  musical  abili- 
ties, lier  mind  was  higlily  cultivated  and  her 
manners  unobtrusive;  she  was  fond  of  philo 
sophicrtl  pursuits,  and  possessed  of  the  highest 
sense  of  honor  and  integrity.  In  the  course  of 
one  fatal  week's  illness,  from  typhas  fever,  the 
unhapi)y  father  was  bereaved  of  this  inestimable 
treasure.     She  was  born  in  1807,  and  died  in  1822. 

HOYLAN,  JOHX,  the  son  of  a  respectable 
manufacturer  of  cutlery,  in  the  town  of  Sheffield, 
in  Yorkshire,  was  born  in  1783,  and  early  in  life 
evincing  a  taste  for  music,  he  was  placed  under 
the  tuition  of  William  Mather,  the  organist  there, 
whom  he  succeeded,  in  1808,  as  organist  of  St. 
James's  (Uiurch,  which  situation  he  held  till  1819, 
when  he  was  induced,  from  pressing  solicitations, 
to  lemove  to  Louth,  in  Lincohishire,  a  teacher  of 
music  being  much  wanted  in  the  schools  of  that 
neighborhood.  A  short  time  after  hi*  settling 
there,  the  organist's  situation  became  vacant  by 
the  death  of  Hill,  when,  after  a  comjctinon  with 
three  other  candidates,  it  was  decided  in  lloylan's 
favor,  and  he  was  accordingly  chosen  to  fill  the 
situation.  He  is  the  author  of  several  anthems 
and  pieces  of  sacred  music,  amongst  which  is  th« 
very  popular  tune  to  "  Merrick's  Version  of  thi 
Hundred  and  Fiftieth  Psalm,  with  api)ropriata 
Interludes."  Amongst  his  piano-forte  works  are, 
"TheHighknd  Fhng  Rondo,"  "  Tluee  Waluet 
440 


HOY 


ENCYCLOPAEDIA    OF    MUSIC. 


HUM 


*nd  Polonaise,"  "  Les  F.nfans  de  linniswick. 
Quadrilles,"  "Andante  and  Polncca,"  "Think 
not  Ilcscntracnt  Lingers,"  sons,  "  If  thou  hadi^t 
e'er  Strayed,"  "Tlie  Land  o'  the  Leal,"  kc. 

IIOYLE,  JOIIX,  professor  of  music  in  I,on- 
don,  died  in  17!)".  lie  was  author  of  a  work 
entitled  "A  Complete  Dictionary  of  Music,  con- 
tainin<;  a  full  and  clear  Exjjlanntion,  divcstetl  of 
Technical  Phrases,  of  all  the  AVords  and  'I'emis, 
English,  Italian,  &c.,  made  use  of  in  that  science, 
speculative,  practical,  and  historical." 

IIUBATSCIIEK.  A  German  composer  of  op- 
erettas, at  Uotha,  about  the  year  17'Jl. 

IIUBEU.  PAN'CUAC'E,  a  violinist  and  ballet- 
master  to  the  Court  at  Vienna  in  1772,  published 
at  Paris  "Six  Duos  for  Vn.,  and  T."  Op.  1,  and 
8ubse<iuently,  at  Lyons,  "  Four  Quatuors  for  Fl., 
v.,  T.,  and  Bass."  Dr.  Ilurney,  in  his  travels, 
speaks  highly  of  the  compositions  of  Ilubcr. 

HUBERT,  or  properly  UBERTL  ANTOXIO, 
a  sopranist  at  the  ojicra  at  Berlin,  was  bom  at 
Verona  about  the  year  1097.  lie  was  much 
admired  in  his  adnj^ios,  and  was  a  pupil  of  the 
school  of  Porpora,  for  which  reason  he  was  called, 
in  Prussia,  Porporino.     lie  died  in  178.3. 

UUDEMANX,  LUDWIG  FRIEDRICU,  doc- 
tor of  laws  at  Ilambiu'g,  in  1732,  was  an  excel- 
lent theoretical  and  practical  musician,  and  also 
a  poet.  In  a  published  volume  of  liLs  poems,  is 
a  prefatory  essay  on  the  advantages  of  the  opera 
above  tragedy  and  comedy. 

HUDSON,  ROBERT,  bachelor  of  music,  and 
born  in  1732,  was  during  many  years  senior  mem- 
ber of  his  majesty's  chapel  royal  and  of  St.  Paul's 
cathedral.  He  was  admitted  vicar-choral  of  St. 
I'aul's  in  17.56,  and  a  gentleman  of  the  chai)el 
royal  in  17-58.  Hudson  was  almoner  of  St.  Paul's, 
and  master  of  the  choristers  from  1773  till  1703. 
He  was  also  music  master  of  Christ's  Hospital, 
and  composed  many  hymns  for  that  institution. 
In  his  younu;er  days,  he  sang  at  Ranelagh  and 
Mary-le-hone  Gardens.  He  died  in  the  year 
1815.  His  remains  were  interred  in  St.  Paul's 
Cathedral. 

IIUEBER,  "\VEXDELINU.S,  organist  and 
composer  at  Vienna,  published  there,  in  16.50, 
"  Cantiones  sacra,  1,  2,  et  trium  Vocum  cam  Basso 
ad  Organnm." 

HUEBSCH,  JOII ANN  GEORG  GOTTHELF, 
a  teacher  of  mathematics  in  Germany  about  the 
middle  of  the  last  century,  published,  mostlv  be- 
tween the  years  1761  and  1767,  many  critical 
works  on  composition,  the  manufacture  of  instru- 
ments, and  various  curious  musical  questions. 
He  died  in  1773,  in  the  eightieth  year  of  his  age. 

HUGO,  a  priest  at  Nieutlingen,in  Suabia,  died 
\bout  the  year  1332,  and  left  a  manuscript  enti- 
Jed  "  Florcs  Miisinr  omnis  Caiilns  Grefiorinni," 
which  wos  published  at  Straaburg  by  John  Prj-ss, 
n  1488. 

HUGOLIXrS,  VIXCEXZO,  chapel-master  of 
the  Vatican  at  Rome,  was  boni  nt  IVrugio.  He 
■  p]iears  to  have  been  one  of  the  best  church  com 
posers  of  the  seventeenth  century 
works  are,  "  Dc  Musica. 


.Vmong  his 
^Qiiatro  ilotetti   I'on- 


56 


!  certini."  "  ^fotetti  e  Salmi  <)  due  e  tro  rhnri." 
"  Due  Madrigali  h  6  voci."  "  Messe  e  Motflli  d  due 
e  tre  chori."     And  "  iktlmi  a  due  e  ire  chori.'- 

HUGOT,  A.,  flutist  at  the  comic  opera  at 
Paris,  and  jjrofcssor  of  his  instrument  at  the  ccsi- 
servatory,  was  an  excellent  performer.  In  an  ex- 
cess of  brain  fever,  in  the  year  1803,  he  wounde<I 
himself  several  times  with  a  knife,  and  threw  him- 
Kclf  out  of  a  window  of  the  fourth  story  of  a  house 
into  the  street.  He  was  at  the  time  forty-two  years 
of  age.  There  was  another  flutist  at  Paris  aboxit  the 
same  time,  called  the  elder  Hugot,  but  the  jirin- 
cipal  published  works  are  by  A.  Ilugot.  Among 
them  are  the  following  :  "  ilithodede  Fluti' :  "  thw 
work  was  written  jointly  by  Hugot  aiul  AVunder- 
lick,  and  was  adopted  by  the  conservatory.  "  Six 
Duos  Coiicert.  pour  2  Ft."  Op.  1,  1798.  "  Six  Duos 
Concert.,  jmur  2  Fl."  Op.  2.  "  ^"I'j;  Duos  Concert., 
pour  2  Ft."  Op.  3.  "  Sir  .4irs  varies,  jxiur  Ft.  nvec 
B."  "  T/iree  Trios  h  2  Fl.  et  B."  Op.  6.  "  Three 
Trios  fl  2  Fl.  et  B."  Oj).  7.  "  Six  Sonat.  jmur  Fl. 
et  B.  Op.  8.  "  Six  Duos  Concert,  pour  2  Ft."  Op. 
9.  .'Vnd  "  Quntre  Concertos,  pour  la  Fl.,  Xos.  1,  2, 
3,  4,"  1797  to  1802. 

HULLMAXDEL,  NICHOLAS  JOSEPH, 
nephew  of  the  celebrated  Rodolphe,  was  a  very 
eminent  pianist.  He  formerly  resided  at  Paris, 
which  capital  he  was  obliged  to  fly  in  the  French 
Revolution,  on  account  of  his  political  opinions. 
He  then  settled  in  London,  where  he  continued 
till  his  death,  which  took  place  in  1823,  at  the 
age  of  seventy-two.  Among  his  works  are 
"  Douze  Trios  de  Piano,"  Ops.  1  and  2.  (Paris, 
1780.)  "  ITiree  Sonatas  for  P.  F.  with  Acct.  for 
V."  Op.  3.  (London.)  "  Three  Sonatas  for  P.  F. 
with  Acct.  for  V."  Op.  4.  "  Three  Sonatas  for 
P.  F.  with  Acct.  for  V."  Op.  5.  (London. 1  "  SLx 
Sonatas."  Op.  6.  "  Three  Sonatas,  with  V.  Ob." 
Op.  S.  And  ".Sonata  V.  Ob."  Op.  10.  Hull- 
mandel  wrote  also  the  article  Claricin  in  the  En- 
cyclnpidie  Mithodi/jue.  The  celebrate<l  Greatorcx 
says  of  him,  "  lie  is  the  first  comix)ser  who  sc 
united  the  parts  of  his  sonatas,  as  to  prevent  theii 
servile  repetition;  an  interme<liate  passage  in 
them  frctjucntly  connects  the  two  parts  into  one." 

HUMANE  MUSIC.  Tlie  designation  by  which 
the  ancients  distinguished  vocal  music,  both  from 
instrumental  music  and  the  music  of  the  spheres. 

HUME,  TOBI.VS,  a  soldier  by  profession,  hut 
an  excellent  performer  on  the  %-iol  da  garaba, 
published  in  1607,  and  dedicate<l  to  Anne,  the 
queen  of  James  I.,  a  collection  of  songs  entitled 
"  Captain  Hume's  poeticall  Musicke,  principally 
made  for  two  Ba.sse- viols,  yet  so  con.strue<l  that  it 
may  be  plaieil  eight  several  waies  upon  sundrie 
Instrviments,  with  much  facilitie." 

HUMMEL,  JOH.VNX  NEPOMUK.  the  creat 
composer  and  pianist,  was  born  nt  Prp^liuri;  on 
the  llth  of  Xo%-cmber,  1778,  where  his  tnther 
was  mu-ic  master  in  the  military  school  of  'Wnrt- 
berij.  .\t  the  age  of  four  he  learnc<l  to  iday  tha 
violin,  but  without  evincing  a  decided  bins  for 
music.  The  next  year  he  began  to  take  lesoona 
in  sineing  and  on  the  piano  ;  from  that  time  hiM 

i  faculties  were  rapidly  developed  :  in  a  single  yew 
he  Bcqnirefl  remarkable  skill  for  a  child.  .\t  tliif 
period,  his  father  removed  with  him  to  Vienna, 

I  and  became  chrj'-if  -rchtstrc  in  S«-bikane<ler'§  Ui*> 

tl 


H  U  M 


EXCYCLOPyEDIA    OF    MUSIC. 


11  r  M 


«tre,  when  tlic  little  Hummel,  scarcely  seven 
years  old,  attracted  the  attention  of  Mozart  and 
the  other  distinpiiislied  artists.  Mozart,  in  spite 
of  his  reii\i;;nanc'c  to  f^ivin;;  lessons,  offered  to 
take  charj,'e  of  tlic  boy's  musical  education,  pro- 
vided he  would  live  with  him,  and  be  always  near 
him.  Of  cour-ic  the  i)roposition  was  fjratefully 
accepted.  With  such  a  master,  the  boy  made 
prodi-iious  ])roj;ress  in  two  years.  At  nine,  he 
excited  the  admiration  of  all  who  heard  him. 
His  father  then  thought  to  turn  his  precocious  tal- 
ent to  account,  and  tliey  travelled  together  through 
Germany,  Denmark,  and  Scotland.  His  first  pub- 
lic appearance  was  in  a  concert  at  Dresden,  1787  ; 
next  he  played  before  the  court  at  Cassel.  At 
Edinburgh  the  child  jnanist  created  great  enthu- 
siasm ;  there  he  published  his  first  work,  a  theme 
with  variations,  dedicated  to  the  Queen  of  Eng- 
land. After  spending  the  years  1791  and  1792 
in  London,  he  visited  Holland,  and  returned  to 
Vienna  after  six  years'  absence.  He  was  then 
fifteoi  yc;irs  old,  and  his  execution  could  alreadv 
be  considered  the  most  con-cct  and  brilliant  of 
the  German  school ;  meanwhile  his  studies  be- 
came more  serious  than  before.  His  father,  who 
•was  excessively  severe,  exacted  incessant  labor 
from  him  ;  and  when  he  had  become  a  man  and 
famous  artist,  he  was  still  subject  to  his  will.  At 
Vienna  he  studied  harmony,  accompaniment,  and 
counterpoint,  with  Albrechtsberger,  and  formed  a 
friendship  with  Salieri,  who  gave  him  useful 
hints  about  singing  and  the  dramatic  style.  In 
180.3  he  entered  the  service  of  Prince  Esterhazy, 
and  composed  his  first  mass,  which  won  the  ap- 
probation of  Haydn.  About  the  same  time,  he 
wrote  ballets  and  operas  for  the  theatres  of  A'ienna, 
which  were  favorablj-  received.  Hummel  was 
now  twenty-eight  years  old :  his  works,  especially 
his  instrumental  music,  and  his  fine  talent  for 
execution,  had  rendered  him  famous  in  Germany ; 
but  liis  name  was  absolutely  unknown  in  France, 
■until  the  year  180(),  when  Cherubini  carried  home 
from  Vienna  his  grand  fantasia  in  E  flat,  (Op.  18,) 
which  was  executed  at  the  conciitrs  of  the  Con- 
servatory that  same  year,  and,  although  only  un- 
derstood by  artists,  it  so  raised  his  reputation  m 
Pans  that  all  the  pianists  sought  his  works.  In 
1811  Hummel  left  the  service  of  Prince  Ester- 
hazy,  and  until  ISIG  had  no  other  emploj-ment 
than  that  of  professor  of  the  piano,  at  Vienna. 
Then  for  four  years  he  held  the  place  of  chapel- 
master  to  the  King  of  Wurtemburg,  and  then  en- 
tered the  service  of  the  (Jrand  Duke  of  Weimar,  in 
the  same  capacity.  Two  years  afterwards  he  ob- 
tained leave  of  absence  to  make  a  pedestrian  tour 


performance.  After  a  journey  to  PoLmd,  ha 
jjassed  the  remainder  of  his  days  jieacefuUv 
at  Weimar.  He  died  on  the  17th  of  October, 
1837,  at  the  ape  of  fifty-nine.  Hummel  was 
ecjually  distinguished  as  a  performer,  (on  the 
piano,)  an  improvisator,  and  a  comjjoser.  In 
execution,  continuing  the  mixed  school  of  Mo- 
zart, improved  by  the  regular  principles  ol 
mechanism  which  he  learned  of  Clementi  during 
his  two  years  in  London,  he  became  himself  the 
founder  of  a  new  German  school,  in  which  manv 
celebrated  artists  have  been  fonned.  The  epoch 
of  Hummel  among  the  German  pianists  was  a 
real  epoch  of  progress  and  of  transformation. 
Greater  difficulties  have  been  conquered,  greater 
power  and  severity  of  tone  have  been  produced  in 
piano  plaj-ing  since  his  time;  but  no  one  has 
gone  beyond  liim  in  purity,  regularity,  and  cor- 
rectness of  execution,  in  raciness  of  touch,  in 
coloring  and  expression.  HLs  execution  was  less 
the  result  of  a  desire  to  display  prodigious  skill, 
than  the  attempt  to  express  a  thought  continu- 
ally musical.  This  tho\ight,  always  complete, 
manifested  itself  under  his  hands  with  all  the 
advantages  of  grace,  delicacy,  depth,  and  expres- 
sion. 

In  his  improvisations,  Hummel  had  such  power 
of  fixing  and  giving  regular  form  to  his  fugitive 
ideas  and  inspirations,  that  he  seemed  to  be  exe- 
cuting premeditated  compositions.  And  yet  there 
was  nothing  cold  or  mechanical  about  it  ;  the 
ideas  were  so  felicitous,  the  manner  so  charming, 
the  details  so  elegant,  that  his  audience  were  lost 
in  admiration. 

Humrael's  very  remarkable  productions,  esi)e- 
cially  in  the  s|)here  of  instrumental  composition, 
have  placed  him  in  the  first  rank  of  distinguished 
composers  of  the  nineteenth  century ;  doubtless, 
his  fame  would  have  been  still  "jreater,  had  he  not 
been  the  contemporary  of  Beethoven.  The  gen- 
eral opinion  has  hardly  estimated  his  be.".t  works 
highly  enough,  liis  great  scptuor  in  D  minor, 
(Op.  74  ;)  his  quintet  for  piano,  (Op.  87  ;)  his  con- 
certs in  A  minor,  (Op.  8), )  in  11  minor,  (Op.  89,) 
in  E  major,  (Op.  110,)  and  in  A  Hat,  (Op.  113  ;) 
some  of  his  trios  for  jjiano,  violin,  and  violoncello ; 
and  the  grand  sonata  for  piano  with  lour  hands, 
(Op.  9'i,)  are  works  o!  a  finished  beauty,  where 
all  the  quaUties  of  the  art  of  writing  are  united 
with  noble  or  ■with  elegant  and  graceful  thought^s. 
But  these  qualities,  beautiful  and  estimable  aa 
they  are,  cannot  compe;e  against  those  outbursts 
of  genius,  those  original  and  overpowering  con- 
ceptions of  Beethoven.  A  fine  composition  oi 
Hummel  leaves  in  the  mind  the  idea  of  perfec- 


in  Russia.     St.  Petersburg  and  Moscow  gave  him  I  tion  ;    but   the  pleasure   which  it   causes   never 

amounts  to  frenzy.  Had  Beethoven  come  a  quar- 
ter of  a  century  later,  he  would  have  left  to  Hum- 
mel the  undisputed  glory  of  being  the  first  instru- 
mental composer  of  his  age.  In  tie  dramatic 
stvle  and  in  church  music.  Hummel  also  holds  a 
high  rank,  though  his  works  in  these  dcpartmcnta 
arc  not  marked  by  any  very  distinctive  quality. 

The  works  of  this  celebrated  artist  may  be 
classed  as  follows  :  — 

I.  Dramafic  Music.  —  1.  "  Le  Viccn-de  d'Amore," 
opera  buffa  in  two  acts.  2.  "  MalhiUlc  de  Guise," 
opera  in  three  acts.  3.  *'  Das  Haits  ist  zu  verkau- 
fell,"  in  one  act.  4.  "  Die  RUckfahrt  dcs  Kaisers," 
in  one  act.  6.  "  Eloge  de  I'Ainitii,"  cantata  witb 
choruses.  (5.  "  Diana  cd  Eiidimione,"  an  Italiat 
cantata  with  orchestra.     7.  Uiline  et  Paris,"  bal 


tlic  most  brilliant  reception.  In  1823  he  went 
through  Holland  and  Belgium,  and  finally  to 
Paris,  where  his  success  was  worthy  of  his  talent. 
His  improvisations  on  the  piano  excited  the  live- 
liest admiration.  Returning  to  Weimar,  he  did 
not  leave  that  place  until  1827,  when  he  heard 
of  the  approaching  end  of  Beethoven,  between 
•whom  and  himself  there  had  been  some  un])leas- 
BUt  ditlercnces.  He  hastened  to  the  bedside  of 
the  dying  artist,  and  co\ild  not  repress  his  tears; 
Beethoven  reached  out  his  hand  to  him,  they 
embraced,  and  all  M'as  forgotten.  Two  years 
afterwards  Hummel  again  visited  Paris  and  Lon- 
don ;  but  his  playing  did  not  produce  the  same 
eensntion  as  before ;  pianists  noticed  the  approach 
of  a';e  and  a  certain  timiditv  of  execution  in  his 


442 


HUM 


ENCYCLOPAEDIA    OF    MUSIC. 


nui 


let.  8.  "  Sappho  de  Mytiliiie"  ditto.  9.  "  Le  Ta- 
bleau par/ant,"  ditto.  10.  "L'Aiiiwatt  Maiji/jue," 
pantomime,  with  singing  and  dances.  11.  "  Le 
Combat  Miiiji'/tu,"  ditto. 

II.  Church  Music.  —  1.  Mass  for  4  voices,  with 
orchestra  and  or^an,  in  IJ  flat,  (Op.  77.)  2.  Second 
Ma,ss,  in  1)  fiat,  (Oj).  80.)  3.  Third  Mass,  in  I), 
(Op.  111.)  4.  Gradual,  {Quod/uod  in  orbc,)  for  4 
voices,  orchestra  and  organ,  (Op.  88.)  5.  Offer- 
tory, (Alma  Viryo,)  for  soprano  solo,  chorus,  or- 
chestra, and  organ,  (Ojiera  89.) 

III.  luslrumeiUal  Music.  —  1.  Overture  for  grand 
orcliestra,  in  U  fiat,  (Op.  101.)  2.  Tliree  string 
quartets,  (Op.  30.)  3  aud  4.  Grand  .Serenade, 
for  piano,  violin,  guitar,  clarinet,  and  bassoon, 
Nos.  I.  and  II.  (Op.  63  and  fi(i.)  5.  Grand  Sep- 
tuor,  ill  I)  minor,  for  piano,  dute,  oboe,  honi,  alto, 
%'iolomollo,  and  double  bass,  (Op.  74.)  G.  Grand 
(iuintet,  iu  E  flat  minor,  for  piano,  violin,  alto, 
violoncello,  and  double  bass,  (Op.  87.)  7.  Grand 
Military  .Septuor,  in  C,  for  piano,  flute,  violin, 
clarinet,  trumpet,  and  double  ba.ss,  (Op.  114.)  8. 
Symphony  Concertante,  for  piano  aud  violin,  (Op. 
17.)  !).  Concerto  for  piano,  iu  C,  (Op.  34.)  10. 
Easy  Concerto  for  piano,  in  G,  (Op.  73.)  11.  'Iliird 
Concerto  in  A  minor,  (Op.  85.)  12.  Fourth  Con- 
certo, in  B  minor,  (Op.  89.)  13.  "  Les  Adieux," 
Filth  Concerto  in  E  major,  (Op.  110.)  14.  Si-xth 
Concerto  in  A  Hat,  (Op.  113.)  1.5.  Ihilliant  kon- 
dos  for  piano  and  orchestra,  (Op.  .56,  9S,  and  117.) 
1<).  Tht/m-3  Variia  for  piano  and  orchestra,  (Op. 
97,  11.3.)  17.  "  Le  Cor  enchanti  d' Ob^.ron"  ^xwnA 
fantik-ia  for  piano  and  orchestra,  in  E  major, 
(Op.  llf>.)  18.  Trios  for  piano,  violin,  and  vio- 
loncello, (Op.  12,  22,  3.5,  C.5,  8.3,  9.3,  96.)  19.  So- 
nata.s  for  piano  and  violin,  (Op.  5,  19,  23,  28,  37, 
.50,  64,  104.)  20.  Sonata.s  for  piano  with  4  hands, 
(Op.  43,  92,  99.)  21.  Sonatas  for  piano  alone, 
(Op.  1.3,  20,  36,  81,  106.)  22.  Detached  pieces 
for  piano  solo,  \\z.:  3  Fugues,  (Op.  7;)  Ilondos, 
(Op.  11,  19,  107,  109;)  fantasias,  (Op.  18,  123, 
124  ;)  Etudes  and  Caprices,  (Op.  49,  67,  10-5,  12.5;) 
Variation.s,  (Op.  1,  2,  8,  9,  40,  57,  118,  119,  &c.) 
23.  Complete  Method,  theoretic  and  practical,  for 
the  piauo. 

(TTie  above  is  taken  from  Fctis's  "  Bi-jpraphie 
Unicerselle  de*  Mitaicietu.") 

IirXOARIAX  MUSIC.  About  the  ninth 
century,  the  Hungarians  left  Asia  to  settle  in 
Europe,  when  they  conquered  the  country  that 
hears  their  name.  Like  all  the  Asiatics,'  they 
were  attached  to  mu.iic,  and  at  first,  doubtless, 
used  only  Asiatic  instruments  ;  these  were  nearlv 
all  wind  instruments,  and  con.«isted  of  the  trum- 
pet, the  flute,  the  cymbal,  and  several  others. 
Till  the  time  of  Mathias  Corvin  it  was  in  a  state 
of  mediocrity  ;  he  incited  the  Hungarians  to  vie 
with  other  nations  in  sciences  and  arts,  of  which 
he  himself  was  particularly  fond.  I'lider  I,adislas 
and  Louis  II.,  music  was  cultivated  with  great 
care ;  their  national  songs,  however,  were  the  only 
vocal  music  they  po.s.sessed  till  the  time  of  Ste- 
phen, King  of  Hungary,  when  the  ecilesinntical 
chant  appears  to  have  been  introduccl.  In  a 
diploma  of  Hela  III.,  A.  1).  1192,  it  api)enrs  that 
prince  sent  an  envoy  to  Paris  to  be  instructed  in 
melody  ;  perhaps  induced  to  do  so  by  his  second 
wife,  Slargaret,  who  was  daughter  of  Iy>uis  VII. 
of  France. 


HUNT,  KARL,  chamber  musician  and  vio- 


linist to  the  court  of  Saxony,  wa«  bom  at  Dresden 
iu  1766.  Among  other  works,  ho  has  publisheil 
the  following  :  "  Si.xteen  Variations  for  the  piano- 
forte, on  the  pastoral  air  Come  la  liosa  ;  "  "  T«  elv« 
Variations  on  J'ace,  mio  caro  sposo,"  1792; 
"  Andante  con  12  I'arial."  1793  ;  and  "  Grande^ 
Sonates  tirics  (fun  Quintetto  de  Mozart." 

HUNTEX,  FRANZ,  the  celebrate<l  i)ian-- 
forto  teacher  and  com])o.ser,  is  the  second  of  the 
three  sons  (all  musically  distinguished)  of  a 
teacher  of  music  at  Coblent/,  where  he  was  bom 
in  1793.  His  instruction  l)ooks  and  exercises  for 
the  piano  have  been  much  used  in  this  country. 
He  has  composml  and  published  over  200  piece* 
for  his  instrument. 

HUNTER,  MRS.  JOHN,  wife  of  the  celebrated 
surgeon  of  that  name,  was  a  lady  endowed  with 
a  most  refined  t;tste,  both  in  music  and  poetry. 
She  wrote  the  words  of  the  celebrated  canzonets, 
set  to  music  by  Haydn  ;  also  composed  many 
very  pleasing  airs,  which  she  sang  herself  iu  a 
captivating  style. 

HUNTING  SONG.  A  melody  set  to  words 
written  in  praise  of  the  chiuse.     See  All.^  C.\ccia. 

HUl'FELD,  BERNHARD,  was  born  at  Ca-ssel, 
in  1717.  He  was  a  violiu  pupil  of  Agrell.  Iu 
1734,  he  went  to  Vienna,  and  some  years  after- 
wards to  Italy,  where  he  studied  composition 
under  Domenico  Ferrari,  Trauquillini,  and  Barba. 
He  published  much  music  for  the  violiu. 

HURDYGURDY.  A  well-known  instrument, 
the  tones  of  which  are  i)roduced  by  the  frictiou 
of  a  wheel,  and  regulated  by  the  actions  of  the 
fingers. 

HURK.\,  FiaEDRICH  FRANZ,  chamber 
musician  to  the  King  of  Prussia,  was  bom  in 
Bohemia,  in  1762.  He  received  his  first  instruc- 
tions in  singing  at  Prague,  under  Biaggio,  where 
he  was  al.so  attached  to  the  choir  of  one  of  the 
churches.  On  the  change  of  his  voice  to  a  tenor, 
he  came  to  Leipsic,  and  alter  studying  further 
under  Bandini.  appeared  on  the  theatrical  Ixiard.s, 
from  which  period  he  was  considered  one  of  the 
best  German  theatrical  and  coiu-ert  singers  for 
many  years.  He  comjiosed  and  published,  between 
the  years  17S9  and  1802,  several  collections  of 
German  songs,  some  of  which  were  extremely 
popular.     He  died  at  Berlin,  in  1805. 

HURLEBUSCH,  CONRAD  FRIEDRICH, 
chajiel-master  to  the  King  of  Sweden,  and  after- 
wards organist  of  tlie  old  church  in  .Vmsterdam, 
was  Ijorn  at  Brunswick,  towards  the  close  of  the 
seventeenth  century.  He  travelled  from  the  year 
1715  to  1721,  through  {Jermany  and  Italy,  and  in 
1723  went  to  Stockholm,  where  he  had  been  i>rom- 
Lse<l  the  situation  of  organist,  but  was  dir>ap- 
pointed,  and  in  consetjuence,  shortly  afterwards, 
returned  to  his  native  country,  whore,  after  rt?- 
fusing  several  similar  offers  of  a]>pointment,  he  at 
length  dcterminetl  on  .Vmsterdam,  in  which  city 
he  residetl  till  his  death.  He  published  m<ich  vo- 
cal and  instrumental  music,  but  surcharged  with 
notes,  and  in  bad  tiste. 

HUTCHINSON,  DR.,  published  several  beau- 
tiful gleeo,  about  the  year  1772,  under  the  a«- 
Bumo«l  name  of  Ireland.  Amongst  them  ar^ 
"  How  sleep  the  brare,"  three  voices  ;  "  Return 


413 


HUX 


ENCYCLOPAEDIA    OF    MUSIC. 


HYP 


my  lovely  maid,"  four  voices ;  "  To  love  and 
wine,"  three  voices ;  "  Jolly  Bacchus,"  three 
voices;  and  "  Where  weeping  yews,"  four  voices. 

IIUXTABLE,  ANTHONY,  was  an  eminent 
musician  and  an  excellent  violinist.  In  tlie  early 
part  of  his  lii'c,  he  was  one  of  the  first  viohns  at 
the  opera,  principal  concerts  in  London,  and  at 
the  celebrated  commemorations  of  Handel  at 
Westminster  Abbey  and  the  Pantheon.  When 
he  retired  from  London,  he  settled  near  South 
Molton,  in  Devonshire,  as  a  processor  of  the  violin 
and  piano.  lie  led  all  the  public  (  oncerts  in  the 
neighborhood.     He  died  in  1818. 

HUXTABLE,  CHUISTOl'IIER,  sou  of  the 
precedin;;,  in  early  childhood  bej^an  the  piano- 
forte and  violin,  under  his  father's  tuition,  and 
performed  in  public  when  very  young.  He  fin- 
ished his  musical  studies  in  London,  under  the 
first  masters,  and  performed  at  the  iiublic  concerts 
during  his  stay  there.  He  was  organist  of  Barn- 
staple, in  Devonshire,  and  professor  of  the  piano-^ 
forte  and  violin.  He  also  succeeded  Im  father  as 
leader  to  the  public  concerts  in  his  neighbor- 
hood. 

HUXTABLE,  WILLIAM,  brother  of  the  pre- 
ceding, professor  of  the  piano-forte  and  harp  at 
Barnstaple,  shared  the  same  musical  education  as 
his  brother.  The  latter  instrument  he  studied 
under  the  celebrated  P.  Meyer.  He  was  also  one 
of  the  first  violin  performers  at  the  public  con- 
certs in  his  ucigliborhood. 

HYAGNIS,  a  native  of  Celaenic,  the  capital  of 
Phrygia,  and  contemporary  with  Erechtheus,  who 
instituted  the  Panathenajan  games  at  Athens,  1.506 
years  before  Christ,  was  the  inventor  of  the  flute 
and  Phrygian  mode,  as  well  as  of  the  names  or 
airs  that  were  sung  to  the  mother  of  the  gods,  to 
Bacchus,  to  Pan,  and  to  some  other  divinities  and 
heroes  of  that  country.  Plutarch  and  Nonnus 
both  tell  us  that  he  was  the  father  of  Marsyas  ; 
and  Athena;us,  from  Aristoxenus  and  Apuleius, 
ascribes  to  him  not  only  the  invention  of  the 
siitffle  flute,  but  of  the  double. 

HY'DE.  A  celebrated  English  performer  on  the 
trumpet. 

HYDRAULICA,  or  WATER  ORGAN.  An 
organ  actuated  by  water,  and  the  invention  of 
which  Ls  of  much  higher  antiquity  than  that  of 
the  pneumatic  or  wind  organ.  Little  is  known 
concerning  the  particular  construction  or  powers 
of  this  curious  instrument.  It  is,  however,  as- 
serted, by  some  authors,  to  have  produced  its 
sounds  by  tlie  compression  of  water  on  a  large 
vessel  filled  with  air,  by  which  ])ressure,  the  air 
was  forced  from  the  ves.sel  into  the  tibiic,  or  i)ipes. 
This  is  undoubtedly  the  organ  said  by  Atlienicns 
to  have  been  invented  by  Ctesibius,  and  which 
is  alluded  to  by  Plutarch  in  his  Life  of  Phocion. 
This  instrument  Hedylus,  in  his  elegies,  mentions 
under  the  title  of  Ktras :  and  from  him  we  learn 
that  it  was  cajjable  of  great  variety  and  discrijni- 
nation  of  liarmony.  Claudian  also  speaks  of  its 
iniiuiiierrr  roce-i,  or  numberless  tones,  and  gives 
other  indications  of  its  great  and  versatile 
powers. 

The  art  of  constructing  hydraulic  organs  was 
known  no  longer  than  while  the  Roman  era])ire 
la.sted.  The  u-se  of  them  ceased  in  the  time  of 
L'B.ssiodorus  :  and  the  barbarians,  who  succeeded 
bi  Italy,  labored  in  vwn  to  recover  the  art. 

444 


IIYMEE.  A  song  of  Uie  milters,  so  called  by 
the  ancient  Greeks. 

HYMEXyEA.  A  marriage  song  tised  by  tha 
ancient  Greeks,  otherwii>e  called  epUhalamium. 

HYMN.  Anciently,  a  song  in  honor  of  th« 
gods,  or  of  heroes.  Orpheus  and  Linus  have 
been  considered  as  the  first  authors  of  this  species 
of  composition  ;  a  ])rovin(C  in  which  Pindar  is 
supposed  to  have  made  the  earliest  trials  of  his 
genius.  The  hymns,  or  divine  odes,  of  the  ancient 
Greeks,  generally  consisted  of  three  couplets ; 
the  strophe,  antistroph.e,  and  epode.  But  Mcniinder, 
the  rhetorician,  enumerates  no  less  than  eight  dif- 
ferent species  of  hJ^nns.  The  hymn  appears  to 
be  amongst  the  most  ancient  of  all  poetical  com- 
positions, and  was  originally  thought  to  be  dic- 
tated by  the  gods  themselves,  or,  at  least,  by 
men  truly  inspired.  St.  Hilary  is  said  to  have 
first  composed  hj-mns  for  the  service  of  the 
church,  in  which  he  was  followed  bj'  St.  Ambrose 
and  Prudcntiiis,  the  latter  of  whom  is  the  sup- 
posed author  of  those  contained  in  the  Romish 
breviary.  A  hymn,  at  present,  taking  the  word 
in  its  general  acceptation,  is  a  short,  religious, 
lyric  poem,  written  either  for  the  regular  use  of  a 
chapel  or  conventicle,  or  for  the  temporary  aid  of 
some  parochial  charity  school ;  in  which  latter 
case,  it  is  sung  at  church,  before,  or  after,  an  oc- 
casional sermon,  by  the  children  for  whose  bene- 
fit it  is  intended. 

H  VMXOLOGY.    The  art  of  composinc  hvtnnt. 

HYMN  OF  BATTLE.  A  tnwf  nf  supplication  consUntlr  uanl 
hv  the  ancients  previous  t<>  eii«iu:eraent.  Tims  Xenopliuii,  in  Ilia 
Hccount  of  tlie  first  Iraltlc  fouglit  1)V  the  GncVs  in  favor  of  Cyras, 
tells  UR  that  the  (ifecian  and  Tcrsian  onnies  were  not  more  than  four 
or  five  hundred  paces  distant  from  each  other,  when  the  former  be- 
gan t.i  sini:  the  Ilvnni  of  Battle. 

UYMNOLOGfST.    A  writer  or  composer  of  hymns. 

HYPATE.  or  PRIXCIPAL.  The  epithet  ap- 
j)lied  by  the  ancient  Greeks  to  the  lowest  tetra- 
chord,  and  also  to  the  lowest  sound  of  the  two 
lowest  tetrachords. 

HYPATE  BAREIA  GRAVIS.  (Gr  )  Tlie  name  (riven  to  that 
tone  in  the  ancient  music  which  wiut  pnxluceU  by  tight  ninlh?  of  the 
whole  strin;r.  It  was  one  note  higher  thaii  />rt>jtfa#/*/*«HO»nt-»io<,  and 
equivalent  to  our  B  natural  on  the  second  line  in  the  baj»». 

liYPATE  DiA  TONUS.  (Gr.)  One  of  the  naniea  bv  which  the 
ancients  distini^'uisliefl  the  third  nound  of  the  first  tetracnurd.  which 
answered  to  our  D  natural  uu  the  thinl  line  va  the  boss.    See  LicilA- 

KOS    HVPATOV. 

HYPATE-IIYPATON.  or  PRINCIPAL  OF  PRINCIPALS. 
(Gr.)  The  lowest  chonl  of  the  lowest  tctrachord  ol  the  Greeks. 
This  chi>nl,  or  Mfund,  answered  to  our  B  natural  on  tlie  second  line 
in  the  hiiii*<. 

11 YPATE-MESOX.  or  the  PRINCIPAL  OF  THE  MEAN  TET- 
RACHOI^D.  (Gr.)  The  name  givt-n  hv  the  Gri^^cks  to  that  sound 
which  was  I  art.  or  hichest.  of  the  ttrrt  letrachonl.  and  the  flr»t,or  hiw* 
est,  of  tiie  second  tetrachord.  It  was  l)ecau«e  tht-se  tetraehords  had 
one  sound  eorntnon  to  lK>th.  that  they  wt-re  called  conynntf;  4s,  In- 
deed, were  other*  under  the  same  circumstances.  This  hypnte-ine- 
lon  was  equivalent  to  our  E  natural  on  the  third  space  in  the  bass. 

HYPATOtDES.  (Gr.)  The  ccneral  name  given  by  the  Gneki 
to  their  fleep  or  bass  iniunds.  to  di*tincuish  them  from  the  mooiVfri^ 
or  miildle  Sounds,  and  the  fwrfoiV/c*.  or  hich  sounds.  Bacchius  calls 
them  j«/.ij*ni  qravisfimi.  The  nie/os,  or  melody  of  llie  ancient  tragedy, 
was  also  called  by  this  name. 

IIYPER.  (Gr.)  Above,  lliis  word,  in  cou- 
jnnotion  with  the  name  of  any  mode,  or  interval, 
signifies  that  it  is  higher  than  w^hen  ^^•ithout  it; 
a*i,  Hijper-Lydian,  above  the  Lydian. 

HYPER- -EOLIAN.  (Gr.)  The  name  given  by  the  ancients  to 
their  penultimn  uhkIp  upward,  the  fundamental,  or  tonic,  of  which 
wus  a  fourth  alwive  that  of  the  .Eolian.  This  mode  had  il»  lowest 
note  c<»rrespondent  to  our  B  flat  ab«»ve  the  fifth  line  in  the  basL 
Like  the  Hupcr-Lt/tfian,  it  was  less  ancient  than  the  other  modes. 

HYPERUOL.tAN,or  SUPREME.  (Gr.)  The  epithet  pivcn  by 
the  anrients  to  iheir  tlfth  tetmrhonl.  because  its  sounds  were  more 
acute  than  those  of  the  other  four.  This  tetrachord  wai  added  to  the 
scale  lontr  nft*-r  Its  original  formation. 

HYPER-DlAZEIXlS.  (Gr.)  The  name  given  bv  the  andenl 
Greeks  to  that  .Injunction  of  two  tetrachords  in  which  t;»cy  wereacp- 
anit<-d  l»v  the  in(«*rval  of  an  octave. 

IIYPflR-DOUlAN.  or  MIXO-LYDIAN.  (Gr.)  That  mrvle  of  th« 
ancient*,  the  fundanuntal  of  which  was  a  fourth  ulw.vi'  the  Dorian, 
■ind  which  was  thr  mne  with  our  (J  natural  nii  tlie  Loirth  "pace  In 
(he  bass  The  invention  of  tliis  mode  is,  by  lumc  writers,  attribut4.-d 
to  Pythuclydca. 


HYP 


EXCYCLOP-^DIA    OF   MUSIC. 


RYf 


HYPKRIASTIAN.  or  !IYI»EU-IOMAN.  (Gr.)  The  gcnpral 
name  oi  on  aticU-nt  nio<le,  calU-tl,  aI»o.  by  annit',  the  iharji  nthn- 
tjf ' lUiu,  nti*l  which  hud  iU  funduincntal  fuurth  above  that  of  thv  Io< 
nian.  ItH  lowent  note  wst  Uiv  tuine  with  our  G  iharp  un  the  fuurth 
ipart*  in  Ihi-  ham. 

IIVPKK-ION'IAN.  (Gr)  Odo  of  the  ancient  modea.  Sc«  llT- 
rEK-lA»riA:(. 

JIYPKK-LVDIAN.  <Gr.)  The  name nf  the  hitrhcat ancient  mode. 
tnil  the  fundnmvntiil  of  which  wii4  a  fourth  ah<ivc  ihit  nf  th*-  Lvillnn. 
Like  the  hy|HT-vlr>»liiu».  it  wni  km  ancient  than  tht  nihrr  iin««le«. 
The  lowi'st  iound  woj  equivalent  to  our  li  natural  above  the  tlfth 
line  ill  tin*  \m»». 

IIYrKK-MIXO-LYDIAN.  (Gr.)  One  of  the  ancient  Greek 
nvxh-^.t'ille*!  bv  Knclld  the/iv/>^r./'Art/»^'(m.  See  HTrKR-I*niEr<ii  \?(. 

HYI'KU-lMfUYOlAN.frllYPKK-MIXOI-YDIAN.  (Gm  The 
higlM-at  of  the  thirti-en  in'wlvt  of  Arivtoxeniii ;  foriniiikf  the  itiupason. 
Or  oc'jvo,  with  the  hyi)cr-I)<man,or  lowcit  nn^le.  The  derjwt  •itiiml 
of  the  hvner-Phryuian  iiiodv  wa*  the  aunie  with  our  A  natural  nn  the 
Bfth  lin*' in  the  buag. 

HYPtROCIIE.  A  word  med  by  aoclent  author*,  to  ii^ify  the 
dlflercnue  tM:tween  the  enharmonic  and  chromatic  divM-*. 

HYPO.  (Gr.)  Uolnw.  The  word  prefixed  to 
the  unrae  of  any  nncicut  mode,  or  interval,  and 
which  expresses  it  to  be  lower  than  when  without 
it ;  as  llypo-Dorian,  below  the  Dorian. 


IIYP<)-/EOLIAN,or«ccordlni[toEucll.l,rLATnYPOI,YDIAN. 

waj  nn  iippcltatinn  in  lh«-' aiicifnt  inu<ic,  fhvt-n  to  that  mixlc  which 
ha<l  Iti  luniUmvnUil  ■  fuurth  bvlnw  that  uf  the  .-Kolian.  Ilj  lownt 
note  corrv^punditl  with  our  C  uatural  od  the  tecond  tpace  in  th« 
bua. 

lITroCRITIC.  <0r.)  The  enithet  anpUrd  bv  the  anclenU  to 
the  art  'if  frraticulatlon,  which  had  a  conalderable  ihare  ia  their  put>- 
Uc  vi>cal  porfnrmance*. 

Iiyi'i>-UIAZti:XIS.  (Or.)  The  appellaUon  glren  br  the  an- 
dentii  ti'  the  interral  of  a  flfth,  found  between  two  tetrmchord*  i«p- 
anited  di«junctiTflv.  or  bv  the  inttrpoeiUon  of  a  thinl  trtnichonl. 

lIYri>-I)ORIAS'.  TKo  low.it  o^thc  aiici.nl  Gn-vk  in™li..  Thil 
motle.  which  waj  aometini.-f  enlletl  tiie  l^xman  nioiU,  had  Ita  fun- 
lUiiieatal  a  fourth  balow  that  of  Um  iMctan,  and  ii  iaki  to  hmrt  bwn 

44^ 


\XS.  (Gr.)    One  uf  Utc  ancient  modca.    S«e  llrpo* 


rth 

tinet 

■^»  tha 
-.tlie 

i  olo- 
iocrml 
astha 


iile  added 


inrcnted  br  rtillnzenea.  Ita  loweat  note  cnnfMiponded  with  our  A 
natural  In  the  flnl  »\nct  in  the  baai:  and  thrrffdre  wa«  the  Mnie  with 
thv  vnt*t4tit^iitnftmrnt»0.  The  hvp<>-l>«riau  and  llie  hyp(*-rhr>fiau 
niixfe*  were  ai<tini|triate4l  to  declantation. 
IIYlH>-lASTI.O" 

IIYPO-ION'IAN.  (Gr.>  The  terond  of  the  ancient  mode*,and 
which  had  it«  lowtntor  fundamental  suuml  a  fourth  tM-|itw  that <«f  the 
Imiian.     Furlid  ralti  thltm«Nte  ihc  ft fft'0-litMhtn,%tf\  flat  hyp<>-Phry- 

f'ian.  Iti  lowest  note  curc«|»unded  with  our  U  flat  on  the  ircund  Unt 
u  the  bast. 

II  Vro-LYDIAN.    (Gr.)    The  name  girm  by  the  anrienti  to  th« 
fifth  of  their  UKMiet.     The  fundamental  of  tliif  m<fde  was  a  fourth 
bvlnw  the  I.ydian.     IIt  Kuctid  we  learn  that  th<  rr  w.  r 
hypo-Lydtan  nnMlrs.  t^ir  hiKhrr  and  lowrr,  thr  1     ' 
rame  at  thut  of    tlie  hypfr-.K«>liiin.     The  hyt 
Invention  of  which  wos'iiitnbtitfd  by  som«'  u)  I' 
phon,  and  t>y  others  ti>  Danmu  the  Athenimn.  u  \- 
siincs,  and  to  aubhme  and  sacn'd  [WKtr}'.     Its  l.>\».,t« 
■anie  w  ith  our  C  sha''p  en  the  st-conil  spare  In  the  hass. 

IIYrO-MIXO-I.VDlA.V.     (Gr.)      fhe   nnme  nf  the 
by  (iuido  to  the  tnodes  of  the  ancient  Greek*.     This  lOfxIc  fomis.  In 
n*aliiy,  the   plntral  of  the   mix'^Lydian :   and   ita  fuudmnental,  or 
tonic.  corrrsiMtiiil-  »  ith  that  of  the  l>t>rian. 

IIYPOrilRVGlAN*.  (Gr.)  A  mode  in  the  ancient  mu«lc  who»« 
fundumental  was  a  fuurth  lower  than  tliat  of  th*-  Hirvfrlan,  from 
which  it  wuB  dtrivrd.  It  is  said  b*  have  been  invculed  by  Damon, 
the  pupil  of  S^KTates. 

HYIHV-PKOSLAMBANOMENOS.  (Gr.)  The  name  pven  to  ft 
choni  said  to  have  been  added  by  Guidu  to  thr  onri<itt  <ti-slr.  and 
which  is  a  tune  lower  than  the  friwliun/AVunnmof,  i>r  lowest  sound  cif 
the  Gn-eks.  The  author  of  this  choni  adontnt  t!ir  ffaniiii'i.  f>r  third 
letter  of  the  Greek  alphatnrt,  for  its  sign  ;  whence  it  is  now  called  O 
(wamut.    ;*<•*  GavI'T. 

IIYFOKCIIKMKS.  (From  the  Greek.)  A  certain  canticle,  or 
•onir.  used  by  the  ancienu  in  their  miliUry  dances  and  feasts  of  tha 
fods.  It  was  sun jT  during  the  dance,  to  the  sound  of  tlutesand  citha- 
rma,  Tlie  first  song  of  the  kind  la  said  to  have  been  composed  by 
Thalates  i»f  Crete. 

HYP(>-SYNAPIIE.  (Or.)  A  term  applied  by  the  ancients  to  the 
disjunction  of  two  tetrachords,  by  the  interposition  of  a  third.  con« 
Joint  wiih  both.  The  hmnob^oui  or  corresponding  aountfi  of  tht 
two  tetrachords,  thus  diajninei-l,  hare  flT«  wboto  lociM  or  A  minoi 
aerantli  ot  iDtnTttl  b«twe«D  them. 


ENCYCLOPEDIA    OF    MUSIC. 


IMP 


I. 


IAMBICS.  Certain  songs,  or  satires,  which 
arc  supposed  to  have  given  birth  to  the  ancient 
comedy.  In  the  ancient  music  there  were  two 
kinds  of  Iambic  verses,  one  of  which  was  simply 
recited  to  the  sound  of  instruments,  and  the 
other  )ung. 

IKEX,  COXRAD,  doctor  of  theology  at  Bre- 
CDCn,  died  in  17.5.3.  lie  i)ul)lished,  in  1745,  a  dis- 
iertation  "  De  TubU  Uebixorum  ar'jenleis." 

IL.     (I.)     The  article  the. 

ILGEN,  KARL  DAVID,  a  German  professor 
of  theology,  was  bom  in  Thuringia  in  17G8.  He 
published  at  Leipsic,  in  1788,  "  Chants  Gnecoriim 
tragicus  qualis  fuerit,  et  quare  Vsus  ejus  hodie  revo- 
cari  nequeat." 

IL  PASSO  TEMPO.  (I.)  The  appellation,  or 
title,  sometimes  given  to  a  collection  of  light, 
familiar,  and  amusing  pieces. 

IL  PONTICELLO.  (I.)  The  Utile  bridge. 
An  appellation  given  by  the  Italians  to  that  pre- 
cise part  of  the  voice  where  the  natural  tone 
forms  a  juncture  with  the  fahctfo,  i.  e.,  where  one 
runs  into  the  other.  The  close  and  imperceptible 
union  of  the  natural  with  the  feigned  voice  is 
one  of  the  principal  rcquLsites  in  good  singing, 
and  the  acquirement  of  which  cannot  be  too 
sedulously  attejided  to  by  the  vocal  practitioner. 

IMBAULT,  J.  J.,  a  violinist  at  Paris,  was  bom 
in  17.53.  He  was  a  pupU  of  Gavinies  from  the 
age  of  ten,  and  at  seventeen  years  old  made  his 
dibiit,  as  a  pubUc  pcrlormer,  in  the  Paris  concerts. 
Imbault  is  celebrated  as  the  editor  of  excellent 
editions  of  many  classical  works  in  m\isic  ;  among 
which  are  the  treatise  on  fugue  and  counterpoint 
of  Marpurg,  the  instructions  for  the  organ  by 
Joseph  Martini,  the  methods  for  the  violoncello 
of  Tillicre,  Breval,  and  L.  Duport,  a  superb  edi- 
tion ol  the  quartets  of  Haydn,  &c. 

DIITATIOX.  The  technical  term  for  a  stud- 
ied rescml)lanco  of  melody  between  the  several 
passages  of  the  harmonical  parts  of  a  composi- 
tion ;  a  likeness  in  wliich  only  the  motion,  or  the 
general  ligure  formed  by  the  notes,  Is  imitated, 
■withoxit  )ircscr\'ing  tlie  exactness  in  the  corre- 
sponding intervals,  by  the  rigorous  rules  of  fugue 
and  canon. 

IMITATR'E.  A  term  applicable  to  that  mu- 
sic wliich  is  composed  in  imitation  of  the  effects 
of  some  of  the  operations  of  nature,  art,  or  hu- 
nan  passion  ;  as  the  rolling  of  thunder,  swift- 
ness o;  lightning,  agitation  of  the  sea,  gurgling 
of  streams,  roaring  of  beasts,  warbling  of  birds, 
clashing  of  swords,  explosion  of  cannon  ;  and 
the  tones  of  the  passions  :  as  sorrow,  love,  jeal- 
ousy, hatred,  revenge,  gayety,  joy,  exultation. 
Music,  when  thus  employed,  exerts  some  of  its 
Bublimest  energies ;  transports  us  to  the  very 
iceues  it  describes,  or  kindles  the  feeling  whose 


expressioiLs  it  copies.  By  the  truth  of  its  resem- 
blance, it  paints  to  our  imagination  whatever  th« 
genius  of  the  composer  conceives  ;  and  wliile  it 
submits  to  its  imitation  the  most  striking  and  in- 
teresting circumstances  of  nature,  touches  the 
heart,  and  assert*  its  empire  over  our  sensations. 

IMMLER,  a  violoncellist  and  singer  at  Co- 
bourg,  in  the  latter  half  ot  tlie  last  century.  He 
composed  several  sonatas,  and  some  church  mu- 
sic, amongst  which  is  a  "  7e  Dctim,"  the  words 
by  Klopstock. 

IMMYNS.  JOHX,  the  founder  of  the  Madri- 
gal Society  in  London,  in  1741,  was  a  celebrated 
musical  amateur.     He  died  in  1764. 

BIPERFECT.  A  term  applied  to  those  chords 
which  are  incomplete,  or  which  do  not  include 
all  their  accessory  sounds;  also  to  those  com- 
pound intervals  which  do  not  contain  theii'  com- 
plement of  simple  sounds  ;  as  the  false  or  imper- 
fect aith. 

I>frERFECT.  Ix"**  than  perfect  in  respect  tnintenraliandchordj. 

IMPERFECT  CADEXCE.  Thii,  which  ia  tenned.  Iiv  Himcau, 
the  i>T€'jttiar  rn./cnc^,  consists  of  the  tonic,  followed  by  thedoniiDUlt 
witiiout  itfl  added  seventh,  and  ia  the  perfect  cadence  reversed. 


InC 

msjor. 

In  A 

minor. 

\J 

1 

r            /J 

1 

9, 

1     ■* 

-•^ 

■     ^ 

^9l 

*J 

<-' 

^ 

\^'' 


IMPERFECT  close:.  Butler  terms  theaacient  thick  single  bar 
the  i'H]tert'fct  rln^. 

IMPERFECT  CONCORDS.  Third*  and  sixths  are  called  tm/«r^ 
ftrt,  tiecaiiso  they  ore  liable  to  clianee  frcmi  major  to  minor,  or  th« 
Contrary',  stilt  remaining  consonant. 

IMPETUOSO,  or  CON  IMPETO. 

impetuosity. 

IMPOXEXTE.     (I.)     Imposingly,  haughtily. 


(I.)   AVith 


(F.)      An    extemporaneous 


IMPROMPTU, 
production. 

IMPRESSIXG  MUSICI.\XS.  In  14.54,  in 
the  reign  of  Henry  VI.,  it  was  so  difficult  to  pro- 
ciuc  musicians,  that  the  government  found  it 
necessary  to  impress  thom,  as  in  later  times  they 
impressed  seamen.  Henry  VIII.  gave  j^ower  to 
officers  to  impress  children  who  had  goo^l  voices, 
for  the  choirs  of  several  caU.edrals.  In  l.JoO, 
Edward  VI.  commissioned  Philip  Van  Wilder  to 
t!ike,  in  any  places  within  England,  to  the  king's 
use,  such  and  as  many  singing  clnldrcii,  or  chor- 
isters, as  he  or  his  deputy  shall  think  good.  The 
(lueen  Elizabeth,  authorized  Thoraa.^  Gyles,  tc 
take  up  such  apt  and  meet  children  as  are  most 
fit  to  be  instructed  and  framed  in  the  ait  and  sci- 
ence of  music  and  singing,  as  may  be  had  ani 
found  out  within  any  place  of  England  or  Wales 
to  be  by  him  educated  and  trained  for  service  ix 
the  cathedral  church  of  St  Paul. 
4G 


IMP 


ENCYCLOPEDIA    OF    MUSIC. 


INF 


IMPRESARIO.  A  tcnn  applied  by  the  Ital- 
^ns  to  the  mannger,  or  conductor,  of  operas  or 
concerts. 

IMPROVISARE.  (I.)  To  compose  and  sing 
extempore,  a  practice  once  very  common  with  the 
poet  musicians  of  Italy. 

IM]'ROVIS.\TORI.  The  name  given  by  the 
Italians  to  those  poets,  or  poet  musicians,  who 
are  f^iftcd  with  the  power  of  reciting  or  singing 
extempore  verses,  a  jjractice  at  one  time  very 
penerail  in  Italy  ;  anil  to  his  abilities  in  which, 
Metastasio  owed  his  education  and  good  fortune. 
In  1S24,  three  i>rofessors  of  this  extraordinary 
power  were  exhibiting  at  the  same  time,  viz., 
Pistrasio,  in  London ;  f>.  (Jracci,  at  Paris ;  and 
Signora  Taddi,  at  Naples.  The  latter  of  these,  it 
is  said,  could  not  only  adopt  as  subjects  what- 
ever stories  or  incidents  were  suggested  bv  her 
auditors,  but  would  declare  her  ideas  in  antj  metre 
that  they  prescribed,  and  apply  to  her  language 
a  melody,  the  time  or  measure  of  which  should 
be  dictated  at  the  moment.  A  Mr.  (Charles  Slow- 
man,  brother  to  the  comedian,  in  October,  1814, 
announced  himself  in  possession  of  this  extra- 
ordinary gift. 

IN  ALT.  (I.)  A  passage,  or  note,  is  said  to  be 
in  alt  when  situated  above  F  on  the  tifth  line  in  the 
treble  ;  as  that  passage  is  in  alt,  or  it  begins  on 
A,  B,  or  C,  in  aJt. 

IN  ALTISSIMO,  or  IN  ALTISS.  (I.)  A  term 
apjdicd  to  any  i)assage,  or  note,  situated  above  F 
in  alt,  or  the  F  above  the  third  ledger  line  in  the 
treble. 

INCIDENTAL.  An  epithet  applied  to  those 
airs,  ducts,  trios,  choruses,  &c.,  the  subjects  of 
which  rise  out  of,  or  have  some  relation  to,  the 
business  of  the  drama  in  which  they  are  intro- 
duced. 

INCLEDON,  CHARLES.  This  eminent  vo- 
cal performer  was  a  native  of  Cornwall,  in  which 
county  his  father  is  said  to  have  been  a  re8j)ect- 
able  physician.  At  the  age  of  eight  years,  he 
was  article<l  to  the  celebrated  Jackson,  of  Exeter, 
a  m.-ister  fully  capable  of  cultivating  the  talents 
of  his  pupil.  Young  Incledon  made  a  rapid  prog- 
ress, and  his  tine  voice  and  scientific  acquire- 
ments soon  rendered  him  the  favorite  of  all  the 
lovers  and  practiccrs  of  music  in  the  \-icinity  of 
Exeter.  lie,  however,  was  so  averse  to  the  re- 
straint he  was  under  at  the  cathedral,  that,  after 
remaining  with  Jackson  six  or  seven  years,  he 
lett  Exeter,  and,  unknown  to  his  friends,  he  en- 
tered, in  the  year  177'.>,  as  a  sailor,  on  board  the 
Fonnidable.  He  sailed  to  the  West  Indies,  and 
continued  in  the  navy  for  four  years,  during 
which  time  ho  was  in  several  engagcmcnf.s.  His 
vocal  abilities  gaine<l  him  the  notice  of  manv  dis- 
tinguished oiKcers,  among  whom  were  Aclrairnl 
IIer»-ey,  I.ord  Mulgnive,  and  Admiral  Pigot;  the 
former  of  whom  having  ascertained  from  him  how- 
he  had  been  brought  up,  they  all  advise<l  him  to 
attempt  the  stage,  and  luniished  him  with  letters 
of  recommendation  to  Colman  ;  but  the  manager 
was  blind  to  his  merits,  and  the  letters  were,  of 
course,  useless.  Incledon,  nevertheless,  deter- 
mined to  persist  in  his  stage  pursuits,  and  he 
consequently  about  178:5,  joinetl  CoUins's  cil- 
pany  at  Sou?  jampton.    Alter  having  playod  with 


this  company  for  twelve  months,  he  was  invited 
to  Path.  At  Bath,  however,  it  was  some  time  l)c- 
fore  he  attained  his  full  popularity.  It  was  to  the 
friendship  of  Rauz/ini  tliat  he  was  indebted  for 
being  brought  forward  in  a  manner  which  he  de- 
served. His  talents  were  also  cultivated  by  Rauz- 
zini  witli  the  utmost  care.  It  was  in  October, 
17!)0,  that  Incledon  made  his  first  appearance  on 
a  London  stage,  in  the  character  of  Deimot,  in 
the  "  Poor  Soldier,"  at  Covcnt  Garden  Theatre. 
Though  deriving  little  from  the  helps  of  science, 
or  from  the  patronage  of  scientific  men,  with  tho 
excei)tion  only  of  the  short  in-truction  he  re- 
ceived from  Rjiuzzini,  and  with  scarcely  any  other 
guide  than  nature,  or  other  aid  than  voice,  car, 
confidence,  and  an  infelt  delight  in  the  j.ractice 
of  singing,  the  name  of  Incledon  soon  spread  it- 
self among  the  great  body  of  the  i)ub!ic.  His  vo- 
cal endowments  were  certainly  considerable ;  he 
had  a  voice  of  uncommon  power,  bjth  in  the 
natural  and  falsetto.  The  former  wius  from  A  to 
(i,  a  compass  of  about  fourteen  notes;  tlu'  latter 
he  could  u.sc  from  D  to  E,  or  F,  or  about  ten 
notes.  His  natural  voice  was  full  and  o])en,  nei- 
ther jmrtaking  of  the  reed  nor  the  string,  and  sent 
forth  without  the  smsUlest  artifice  ;  and  such  was 
it-  ductility,  that  when  he  sang  pianis^imn,  it  re- 
tained its  original  quality.  His  falsetto  was  rich, 
sweet,  and  brihiant,  but  totally  unlike  the  other. 
He  took  it  without  preparation,  according  to  cir- 
ciuustanccs,  either  aboiit  I),  E,  or  F;  or,  ascending 
an  octave,  which  was  his  most  frequent  custom, 
he  could  use  it  with  facility,  and  execute  in  it  or- 
naments of  a  certain  cla.s3  with  volubility  and 
sweetness.  His  shake  was  good,  and  his  intona- 
tion much  more  correct  than  is  common  to  sing- 
ers so  imperfectly  educated.  IILs  pronunciation 
of  words,  however,  was  coarse,  thick,  and  vulgar. 
His  forte  was  ballad,  and  ballad  not  of  the  modem 
cast  of  whining  or  want  of  sentiment,  but  the  ori- 
ginal, manly,  energetic  strain  of  <in  earlier  and 
better  age  of  English  poesy  and  English  song 
writing,  such  as  "  Black-eyed  Susan,"  and  "  'Hie 
Storm,"  the  bold  and  cheering  hunting  song,  or 
the  love  song  of  Shield,  breathing  the  chaste,  sim- 
ple grace  of  genuine  EngU.sh  melody. 

INCOMPOSITE.  A  term  nppUe<l  to  those  in- 
tervals which  are  simply  constituted,  and  in  the 
calculation  of  which  we  take  no  notice  of  the  in- 
termediaries, but  only  consider  the  term-;. 

INCONSON.INCE.  ITie  effect  resulting  from 
two  dLsagreeing  sounds.     A  dLscordance. 

INDEX.     A  direct     See  that  word. 

INFANTAS,  FERDINAND  DE  LAS,  a  com- 
poser of  the  sixteenth  century,  was  a  jiriest  at 
Cordova,  in  Spain.  .Several  of  his  sa'recl  compo- 
sitions were  p<»V)lLshetl  at  Venice,  bctw  een  the 
years  1.570  and  1-58.3. 

INFINITE.  An  epithet  given  to  those  canons 
which  arc  so  constructe<l  that  th.cir  ends  lead  to 
their  l>eginnings,  and  the  performance  of  which 
may  be  incessantly  rej)cate<l.  Hence,  they  are 
called  pcriKliuil  fugiui. 

INFL.VTILE.  .\n  epithet  proper  to  ^vind  in- 
struments, as  a  hautboy  or  flute. 

INFLECTION.     Th«t  change  and  modulation 


447 


INF 


ENCYCLOP/EDIA    OF   MUSIC. 


INS 


of  the  tones  of  the  voice  by  wliich  it  accommo- 
dates itself  to  the  various  accents  and  expressions 
necessary  to  a  just  performance. 

INFLUENCE  OF  MUSIC  ON  ANIMALS. 
Dojjs,  snys  a  French  wTitcr,  are  affected  in  a  very 
lively  manner  by  music  ;  but  it  is  difHcult  to  de- 
teriuine  the  nature  of  the  impressions  whicli  they 
receive  irom  it.  Many  naturalists  believe  that  its 
effect  is  disagreeable ;  an  opinion  which  Ls  strong- 
ly supported  by  the  fact  that  dogs,  if  left  at 
liberty,  take  to  flight,  ^vith  howk,  as  soon  as  the 
music  reaches  their  ears.  It  has  even  been  no- 
ticed that  those  dogs  which  are  insensible  to  ordi- 
nary noises,  and  which  the  e.xplosion  of  a  cannon 
■would  not  startle,  will  novertl'.eless  shudder,  and 
give  utterance  to  involuntary  groans,  on  hear- 
ing an  instrument  of  music.  I)r.  Mead  affirms 
that  a  dog  died  of  the  painful  sensations  excited 
by  music,  which  he  had  been  compelled  to  hear 
for  a  considerable  time,  and  which  caused  him  to 
utter  jjiercing  cries.  Examjjlcs  arc  given  of  many 
other  animals,  and  likewise  of  owls,  killed  in  a 
similar  manner.  Cats,  also,  mew  loudly  on  bear- 
ing the  sound  of  musical  instruments  ;  but  they 
appear  to  be  more  seldom  and  less  painfully 
affected  than  dogs.  It  is  well  kijown,  on  the  other 
hand,  that  birds,  and  especially  the  canary  bird, 
testify  the  liveliest  pleasure  wlien  airs  are  played 
to  them.  They  sometimes  ajjproach  the  instru- 
ment, and  remain  immovable  so  long  as  the 
sounds  continue,  and  then  clap  their  A\ings,  as 
we  should  our  hands,  in  testimony  of  their  ap- 
probation of  the  performance.  The  horse,  also, 
is  extremely  sensible  to  music.  The  trumpet, 
and  all  kinds  of  copper  and  brazen  instruments, 
apijcar  most  to  his  liking.  Martial  airs  animate 
and  incite  his  ardor  ;  his  mane  bristles  ;  his  eyes 
sparkle ;  he  snuffs  and  snorts  with  his  nostrils, 
pricks  up  his  ears,  and  beats  time,  as  it  were, 
with  his  feet.  In  equestrian  performances,  horses 
dance  with  perfect  accuracy,  in  cadence  to  the 
sound  of  instruments.  Some  wild  animals  are 
likewise  susceptible  to  the  influence  of  musical 
tones,  llie  hunters  in  the  Tyrol,  and  in  certain 
parts  of  Germany,  affirm  that  they  are  acquainted 
with  a  method  of  enticing  stags  by  singing,  and 
female  deer  bj-  plaj-ing  upon  the  flute  Beavers 
and  rats  are  also  said  to  possess  a  musical  taste ; 
and  eight  of  the  latter  animals  have  been  seen  to 
dance  the  rope,  at  a  fair  in  France.  Neither  are 
reptiles  nor  insects  destitute  of  a  musical  ear. 
The  lizard  displays  tokens  of  being  singularly 
fond  of  harmony.  The  instant  that  he  hears  vo- 
cal or  instrumental  music,  his  movements  display 
the  most  agreeable  emotions.  He  funis  over,  lying 
now  on  hLs  back,  now  on  his  belly,  now  on  his  side, 
as  if  to  expose  all  parts  of  his  body  to  the  action  of 
the  sonorous  fluid,  which  he  finds  so  deUghtful. 
He  does  not,  however,  bestow  his  approbation  on 
all  sorts  of  music,  but  is  very  refined  in  his  taste. 
Soft  voices  and  tender  and  plaintive  airs  are  his 
favorites ;  but  hoarse  singing  and  noisy  instru- 
ments disgust  him.  An  account  is  given,  in  a 
book  of  travels,  of  the  taming  of  rattlesnakes,  in 
Guiana,  by  playing  tunes  on  a  flageolet,  or  whis- 
tling so  as  to  resemble  that  instrument.  M.  de 
Chateaubriand,  in  his  travebi  in  Upjier  Canada, 
positively  affirms  that  he  saw  a  furious  rattle- 
snake, which  had  penetrated  into  his  encamp- 
ment, lay  aside  his  rage  on  hearing  the  music  of  a 
flute,  and  that  the  serpent  followed  the  musician  I  trigonium,  simmicium,  epandoran,  &c. ;  and  now 

448 


to  a  considerable  distance.  Among  insects,  the  spi- 
der shows  the  greatest  sensibility  to  music.  Imme- 
diately on  hearing  the  sound  of  instruments,  she 
descends  rapidly  along  her  thread,  and  approach- 
es the  quarter  whence  it  proceeds  ;  there  she  re- 
mains immovable  for  whole  hours,  if  the  music 
continue  so  long.  Prisoners,  during  long  confine- 
ments, have  tamed  spiders  in  this  manner,  and 
converted  them  into  companions.  One  of  the 
most  remarkable  instances  of  the  effect  of  music 
on  animals  occurred  at  the  lloyal  Menagerie  in 
Paris,  where  a  concert  was  given  about  thirty 
years  ago,  and  two  elephants  were  among  the 
number  of  the  auditors.  The  orchestra  being 
placed  out  of  their  sight,  they  could  not  discover 
the  source  of  the  harmony.  The  first  sensation 
was  surprise ;  at  one  moment  i  hey  gazed  earn«Mt- 
ly  at  the  spectators ;  the  next  they  ran  to  caress 
their  keeper,  and  appeared  to  inquire  of  him 
what  these  strange  noises  meant.  liut  i)ercei%-ing 
that  nothing  was  amiss,  they  finally  gave  them- 
selves up  to  the  lively  impressions  which  the 
music  communicfjted.  Each  new  tune  seemed  to 
produce  a  change  of  feeling,  and  caused  their 
gestures  and  their  cries  to  assume  an  e.xpression 
in  accordance  with  it.  But  it  was  still  more  re- 
markable, that  when  a  piece  of  music,  the  cor- 
rect performance  of  which  had  vividly  excited 
their  emotions,  was  incorrectly  played,  they  re- 
mained cold  and  unmoved.  They  must  necessa- 
rily have  possessed,  therefore,  if  not  a  discern- 
ment, at  least  a  perception  of  combined  sounds, 
and  a  distinct  sensation  resulting  from  them. 

IN  FUGUE.  An  expression  applied  to  any 
composition  constructed  on  a  given  subject ;  but 
particularly  to  the  accompaniments  of  an  aria 
fiiffata. 

INGANNO.  (I.)  TliLs  word,  which  signifies 
adeception,  is  applied  to  that  manceuvre  in  which, 
after  a  due  and  full  preparation  for  a  cadence,  the 
ear  is  disappointed  by  the  introduction  of  a  pause, 
or  mark  of  silence,  instead  of  the  expected _/f;io^. 

INGEGNERI,  MARCO  ANTONIO,  a  cele- 
brated  composer  of  the  sixteenth  century,  was 
chapel-master  of  the  cathedral  at  Cremona,  and 
publLshed  several  works  of  sacred  music  and 
madrigals  at  Venice,  previous  to  the  year  1592. 

INNOCENTE.  (I.)  A  term  given  to  those 
compositions,  and  that  manner  of  performance,  of 
which  the  chief  feature  is  an  aitless,  unstudied 
simidicity.  It  implies  a  simple,  artless  manner  of 
performing  a  strain,  without  any  marked  features 
of  expression. 

IN  PALCO.  (I.)  On  a  stage.  An  •expres- 
sion alluding  to  a  stage  performance.  Ornlorios 
were  originally  performed  in  Italy  on  a  stage 
erected  in  the  church  ;  that  is,  in  patco. 


(I.)     Perturbed,  uneasy,  with 


INQUIETO. 
disquietude. 

INSTRUMENT.  A  musical  instrument  is  any 
sonorous  body,  artificially  constructed  for  the  pro- 
duction of  musical  sound.  We  may  dinde  them 
into  three  kinds  or  classes  —  wind  instruinents, 
stringed  instruments,  and  instruments  of  percus- 
sion. Of  the  stringed  instruments  among  the 
ancients,  the  most  kno^vn  are  the  hTC,  psalterium, 


iNS 


ENCYCLOPAEDIA    OF    MUSIC. 


1X8 


in  use,  such  as  the  piano-forte,  violin,  violoncello, 
iouble  bass,  harp,  Kuitar,  kc.  'llie  ])riiicipRl 
wind  instruments  of  tlie  ancients  were  the  tibia, 
fistula,  tuba,  cornu,  and  lituus ;  and  those  now  in 
common  use  are  the  tlutc,  cliirinet,  bassoon,  the 
variety  of  brass  instruments,  and  the  orf^an,  iVe. 
n>ose  of  percussion  were  tl>e  tympanum,  cymba- 
lum,  itc,  similar  in  ettect  to  our  drums,  cymbals, 
&c.  The  diti'erence  between  the  musical  instru- 
ments of  our  time  and  those  of  a  former  ajje  is  an 
interesting  subject  of  inquiry.  The  Uible  men- 
tions the  timbrel,  the  ram's  horn,  the  reed,  the 
haqi,  silver  trumpets,  aiul  other  cpuiUy  rude  in- 
ventions. From  later  clav;ical  writers  we  learn 
the  existence  of  tlie  i)ipo  and  tabor,  the  lyre,  the 
lute,  and  others.  In  tlie  records  of  a  much  more 
advanced  period,  we  find  mention  of  the  harpsi- 
chord, whence  we  have  obtained  our  j>rcsent  tol- 
erably jierfect  piano-forte.  'Vhe  gradations  from 
the  instrumental  knowlixlge  mentioned  in  the 
Hible  down  to  the  astonishing  state  of  improve- 
ment to  which  the  art  of  manufacturing  musi- 
cal instruments  lias  arrived,  has  been  slow,  but 
steady.  It  is  possible  that  our  posterity  will  look 
back  upon  our  piano-fortes,  our  violins,  violon- 
cellos, double  basses,  cornets,  sax  horns,  trom- 
bones, bassoons,  oboes,  clarinets,  Hageolets,  flutes, 
harps.Frcnch  bonis,  serpents,  ophideides,  guitars, 
tenors  and  kettle  drums,  with  as  much  contempt 
as  that  with  wliich  we  now  view  the  instruments 
of  antiiinity.  Perhaps  even  our  organ,  which  is 
an  ancient  invention,  will  not  escajie  the  critical 
censure  of  a  coming  age.  We  believe  that  much 
remains  yet  to  be  known  in  the  manufacture  of 
m\isical  instruments.  The  lyre,  in  the  time  of 
Plato,  must  have  t)een  an  instrument  of  surpass- 
ins;  sweetness.  He  mentions  it  as  dangerous,  its 
tendency  was  so  powerful  to  relax  the  mind  from 
tlu>  ])\irsuit.s  of  study  or  business.  In  the  time  of 
Anacreon,  it  had  reached  forty  strings,  and  con- 
Be<iuently  possessed  still  greater  power.  Ptolemy 
describes  instruments  of  great  power  and  sweet- 
ness of  the  flute  kind,  which  are  unknown  to  the 
moderns.  The  violin  or  fiddle  was  known  among 
the  Romans,  and  it  is  jirobable  that  the  modems 
have  not  improved  it  in  any  material  jioint.  There 
were  numerous  kinds  of  the  flute  known  among 
the  ancients,  many  of  them  in  a  state  of  perfec- 
tion etiiuil  to  the  modem.  Tertullian  mentions 
an  organ  invented  by  Archimedes,  which  must 
have  certainly  been  fully  equal  to  the  modern 
organ.  He  speaks  of  it  as  composed  of  a  great 
"  number  of  pieces,  each  consisting  of  so  many 
diflcrcnt  parts,  connected  together  by  such  a 
quantity  of  joints,  and  containing  such  a  variety 
of  pipes  for  the  imitation  of  voices,  conveyed  in 
such  a  multitude  of  sounds,  modulated  into  such 
a  diversity  of  tunes  —  and  yet,  aU  taken  together 
constitute  but  one  single  instrument."  Many  in- 
Btruments  no  longer  existing  are  mentioned  in 
the  Scriptures.  And  it  may  be  remembered  that 
wherever  we  find  music,  even  in  its  rudest  state, 
there  also  we  find  instruments ;  and  consequent- 
ly there  can  be  little  doubt  that  vocal  and  instru- 
mental music  are  nearly  or  quite  coeval  Instru- 
ments serve  as  a  pleasing  accompaniment,  and  in 
all  ages  they  have  aflbrded  exquisite  pleasure  to 
the  great  family  of  man,  whether  exhibited  in  the 
sterile  harmony  of  the  Pandean  pipe,  or  the  over- 
whelming chorus  of  the  magnificent  organ. 

On   an  obelisk  at  Rome,  erectetl  by  Sesostris, 
bur  hundred  years  before  the  Trojan  war,  there 


is  represented  a  musical  instrument  of  two 
strings,  with  a  nei-k  to  it,  wliich  miidi  resembles 
one  which  was  in  common  use  in  the  kingdom 
of  Naples  in  the  seventtH'uth  century.  Father 
Montfoucon  says,  that  in  examining  nearly  five 
hundred  ancient  instruments,  he  never  met  with 
one  in  which  tliere  was  any  contrivance  for 
shortening  the  strings  during  the  time  of  per- 
fornnince,  as  by  a  neck  or  finger  bnurd.  Tlio 
single  flute  was  invented  in  Egypt.  Moses  men- 
tions the  timbrel  and  the  trumpet.  The  first  in- 
struments used  by  the  early  Christians  in  w  ir- 
ship  were  the  cithara,  the  lyre,  and  the  psaltery 
witli  ten  strings.  Organs  were  used  about  A.  I). 
;if')l,  and  about  A.  I).  ,51 1,  organs  blown  by  hand 
bellows  were  in  common  use.  The  organ  was  intro- 
duced into  Rome  in  the  seventh  century,  and  into 
France  in  T-'J.) ;  the  first  upright  harpsichord  was 
made  by  Shudi,  about  the  year  1770;  the  first 
horizontal  grand  piano-forte  was  made  by  Bac- 
chus, in  1777;  the  first  organized  piano-forte 
was  made  at  the  manutactory  of  Longman  and 
Broderip,  now  dementi,  ('ol)ard,  \:  Co.  ;  the  first 
upright  grand  jiiano-forte  was  nia<le  liy  Robert 
.Stoddard,  in  1780;  and  the  fir-t  cabinet  piano- 
forte was  made  by  Southwell,  in  1790. 

It  is  wonderful  to  note  the  changes  which  have 
in  time  been  made  in  instruments,  as  well  as  to 
obser\-e  their  U])s  and  downs  in  the  scale  of  fash- 
ion. In  KiOO  the  violin  was  hardly  known  in 
Kngland,  an<l  where  known  it  was  considered  n 
vulgar  instrument ;  but  vioLs  of  six  strings,  fret- 
ted like  the  guitar,  were  admitted  into  chamber 
concerts.  In  1.5:iO,  at  a  mask  given  by  Cardinal 
Wolsey,  at  his  palace  at  Whitehall,  Henry  VIII. 
was  entertained  with  a  concert  of  drums  and 
fifes.  (Jvieen  Elizabeth  used  to  be  regaled,  while 
at  her  dinner,  with  a  band  of  twelve  trumpets, 
two  kettle  drums,  with  fifes,  cornets,  and  side 
drums.  Tlie  lute,  fashionable  for  two  hundred 
years,  is  now  obsolete,  and  even  its  shajje,  and 
its  musical  sounds  and  capacity,  are  hardly 
known. 

IXSTRUMEXTS,  AND  THEIR  USE  IN  AN 

ORCHESTRA.  It  is  indLspensable  that  who- 
ever composes  for  an  orchestra  should  be  perfect- 
ly acquainted  with  the  compa.ss  and  powers  of 
the  instruments  for  which  he  is  about  to  write. 
This  species  of  information  cannot,  however,  be 
obtained  from  books  alone ;  it  must  be  sought 
for  in  the  orchestra  It-elf,  and  can  be  fully  ac- 
quired only  by  often  consulting  the  performers 
themselves ;  in  fact,  this  knowedge  is  the  result 
of  labor  and  experience.  We  will  give  some 
general  rules  in  regard  to  orchestral  instruments, 
and  indicate  the  compass  and  manner  of  using 
each. 


The  «tr<ng<^  instm- 
menu  »rp  the  Vbilia, 
Trnnr,Vin|onccllo,ail4 
Duuble-Bau. 


Thr  rompan  of  the 
Violin  ext«o<l<  from 


th«n    , 


^       Inrludln^  all  the  In- 
—       tennrtliAf  wmlinnn 


But,  In  nrrbntral 
mufir,  which  in  In- 
tenilr<l  to  l«  playxl 
at  right,  paiwagr*  m1- 
dom    a«r«Dd    hl(tan 


Wh«n  two  in>lnimrntJi  of  •  »ort  ar»  nnploTnl 
in  the  oirhrMra.  a«  l.«  Ibo  cajw  wItt  Ibc  riolln*, 
the  note*  for  the  m^^m.!  In«trampiit  nre  alwajri 
writirn  lower  lh«n  tho^  for  the  nr"t.  uiilew  ttmm 
(wirtirular  mwon  obllg**  til  lo  leeUt*  froB  ttik 
rul.- 


57 


449 


INS 


EXCYCLOPyEDlA    OF    MUSIC. 


INS 


The  mm  pas."  of 
ttic  Tenor  or  Alio 
•itsnds  from 


Incladin^   all  the  interme- 

I  diate  semilonea. 

In  Hilos  nnJ  coDcertos  for 

J  this    instrument,    the    pit«- 

fage»  KOnirtinu'S  run  a»  high 

•*• 

to  — 


^^\ 


—        The  compass  of  the  Tiolonrello,  ^,  — 

II  In  tutti  pnsnages  for  the  orchestra,  zJr 

J  extends  from  _ri3ZI3" 

^^ 

but,  In  the  occasional  solos  given  to  this  instrument,  passages 
niav  ascend  three  or  four  notes  higher.  All  the  intcnncdl;ite 
semitones  are  of  course  included.  In  writing  for  an  orches- 
tra, when  the  Woloncellos  arc  to  play  without  the  double 
basses,  we  must  indicate  this  circumstance  by  the  words 
VtoloncftU  Soli,  or  VintnnrfUi.  When  the  double  basses  are 
again  to  join  the  violoncellos,  we  must  insert  the  terms  Tutti 
or  Baisi. 

The  Double-B.i«s  is  mounted  with  three  strings,  which  are 
tuned  as  follows  :  — 

ThiH  Strinf;.  Srcood  String.  Firet  StrioE. 


§i===^^: 


to 


Its   com  pass  ^I  ^^ 
extends  from  ^  ._-. 

S_ 


with  all  the  intermediate  semi- 
tones ;  but  it  must  be  obscrrcd, 
that  the  notes  which  this  instru- 
ment produces  are  in  reality  an 
octave  lower  in  pitch  than  the 
notation  here  represents  them.  The  double-b.i.»s  is  a  very 
important  instrument  In  the  orchestra.  It  generally  plays 
out  of  the  same  book  or  part  as  the  violoncello.  This  may 
always  be  done  when  the  violoncello  part  is  simple,  and  does 
not  cont.iin  rapid  pas.<agc.",  but  when  it  contains  difficult 
passages  or  scales  in  unusual  keys,  the  double  bags  can  no 
longer  keep  j^nci;  with  tlie  violoncello,*and  it  becomes  neces- 
sary to  simplify  the  pa.^sages  so  as  to  suit  it.  In  all  such 
cases,  authors,  for  their  own  interest,  should  not  neglect  to 
write  a  distinct  part  for  the  double  biu<s,  as  simple  as  possible. 
The  wind  instruments  used  in  the  orchestra  to  ^^ 

are  the  Flute,  the  Hautboy,  (or  Oboe,)  Clari-  

net,  Bassoon,  Horns,  Trumpets,  Kettle-drums, 
Trombones,  Bafset  llorns,  &c. 

The  compass  of  the  Flnte  extends  from 

Including  all  the  intermediate  semitones.     The  highest  notes 
of  the  onbestra  are  given  to  this  instrument. 

^•^  including  all  the  intermediate 
semitones,  except  C 
sharp. which  requires 
that  tlie  instniment 
should  have  a  key  for 
this  express  purpose. 

Including  all   the  interme- 
diate semitones  ;  but  in  or- 
—        chestral  music,  the  passages 
seldom  run  above 


The  compass  - 
of  the  Hautboy  y',,— — 
extends  from     \\^- 


I 


The  compass 
of  the  Clarin 
extends  from 


"^^1^ 


i 


are  very  soft ;  they  are  often  used 
in  arpeggios.  aif^^ 


Those  included 
between 


■IT  more  sonorous  and  brilliant ;  above  this  compass  they 
cannot  lie  subilncd  without  gn^at  difflcolty. 

There  are  three  kinds  of  clarinets  used  in  the  orchestra.  A, 
B  flat,  and  t'.  Those  in  (^  execute  the  notes  just  as  they  are 
written  ;  th«tse  in  B  flat  play  them  a  major  second  lower, and 
tho»*e  in  A,  a  minor  third  lower  than  they  are  written.  Some 
keys,  even  among  (hose  in  common  use,  would  lie  imperfect  or 
Inipnvticable  on  the  C  clarinet ;  such  keys  for  example  as 
have  more  than  two  sharps  or  Hats  for  their  signature. 
Iheref're  the  C  is  used  for  the  keys  of  (',  O,  and  F  majcr, 
and  their  relative  minors.  A.  K.  and  D.  The  U  Hat  clarinet 
Ihr  the  keys  of  I!  Hut.  E  flat,  A  Hat  major,  and  their  rvla'ive 
ndnors,  O.  ('.  K.  The  A  clarinet  f.ir  the  keys  of  A.  D.  and  E 
Biajor,  nnci  tlipir  relative  minors  F  sharp.  It  n:it.  and  ('  sharp. 
It  will  be  nntiied  that  the  B  Hat  clarinet  diniiiMshes  the 
Bunlier  of  n.ils  in  the  signature,  and  that  of  A  the  number 
'  shartM. 


loS* 


The  compass 
of  the  Bassoon 
extends  from 


m 


including  all  the  ^ • 

—     iutermedia'e    se-  '^— 

mitones,  except 


should  not  be  used  : 


The  two  following  nnte<, 
however,  ore  very  ^d,  and 

When  the  I>a.«soon  ascends  very  high,  the 
notes  are  generally  written  in  the  tenor  clef 

.      This  instrument  serves  as  a  bass  lo  the  wind 

—  i__    Instmnients,  and  frequentlj  doubles  the  bass 
»•*  "^  ■'     ol  the  orchestra. 


i^ 


\&.  "^ 


The  notes  which  lie  be- 
tween 


The  compass 
of  the  Octave 
Flute  extends 
from 


fortes  of  the  full  orchestra  ;  they  can  therefore  only  be  em- 
ployed in  soln  passages.  The  octave  flute  always  plays  the 
notes  an  octave  higher  than  they  are  written. 

The  following  arc  the  notes  used  in  orchestral  mosic  for 
the  Horn. 


m 


-^»—^ 


7SZ 


Horn   parts  are  always   written  in  C ;  but  by  means  ot 
crooks  they  may  be  suited  to  any  key. 
The  above  notes  are  executed  by  the  instrument : 

1.  An  octave  lower  than  written  when  the  horns  are  In  C 

2.  A  seventh  lower D 

3.  A  major  sixth  lower E  flat 

4    A  minor  sixth  lower Enat. 

a.  A  perfect  6fth  lower F 

6.  A  fourth  lower O 

7.  A  minor  third  lower A 

8.  A  major  second  lower the  Acute  B  flat 

9.  A  major  ninth Grave  B  flat 

The  first 
should 
scend  below 


rst  horn  Q  "i 
not  de-  /L  H3 
;low        ff^ 1 


nor  the  second  asceiid 
higher  than 


m 


^^'hen  the  following  notes, 


^^^gj^re^preceded  "yfe^j^ 


they  may  be  u^d  with  effect 
larly,  the  notes 


though  weak,  may  (vcasionally  be  used  as  notes  of  passage. 

In  solos,  many  other  notes  are  given  to  the  horn  ;  but,  as 
they  are  produced  artificially,  their  sound  is  dull  and  imper- 
fect, and  therefore  unfit  for  the  orchestra.  As  the  horn  Ls  an 
instrument  of  a  deep  pitch,  it  may  sometimes  execute  the 
ba-ss  of  the  harmony.  Frequently,  the  first  horn  plays  in 
one  key  and  the  second  in  another.  This  is  done  in  order  to 
obtain  the  pri'ater  number  of  optn  or  natural  notes.  For  ex- 
ample, in  D  minor,  we  may  use  one  horn  in  P  and  the  other 
in  F.  Four  horns  are  sometimes  used  in  large  oirhestnis, 
two  in  the  original  key,  and  two  in  that  of  its  dominant,  &c. 

The  following  are  the  notes  used  in  writing  for  the  orches. 
tra  for  the  Trumpet : 

^      g     g- 


i 


-^»- 


'J'    -  ^  ^ 

The  trumpets  frequently  double  the  horn?  in  the  octave 
above,  when  'hey  are  useil  to  strcngrnen  the  mass  of  the 
orchestra.  Trumpet  parts  are  always  written  in  <;,  and,  like 
the  horns,  adapted  to  other  keys  by  means  of  crooks.  The 
trumpets  in  P  execute  the  above  scale  of  notes  a  major  second 
higher  than  they  are  written  :  those  in  E^  a  minor  third 
higher,  &c.  Trumpets  are  piercing  instruments  and  must 
be  used  but  seldom.  Mke  the  tromlKines  and  drunus.  they 
are  uswl  only  in  the  farlis  of  the  entire  orrbi  stra.  to  enhance 
the  ellect  and  vary  the  mn-s.«<s.  Tnimjets  with  keys  or 
slides  are  able  to  supply  most  of  the  intermediate  notes,  at 
least,  in  solo  pns.sigi>s. 

The  Kettle-Krums  have  only  two  notes  of  the  key  in  wliiot 


4An 


INS 


ENCYCLOPAEDIA    OF    MUSIC. 


INS 


they  »re  tune<l.  the  tonic  ami  doininnnt ;  but  tliry  nmy  ho 
traiiKposeil  In  dillercnt  keys,  a»  0,  D,  E  tint,  E  UKlural,  K,  U, 
A,  U  tint,  iiC. 

In  C,  In  D,  &c.  or,    In  F,  In  O,     &c. 


i: 


2r 


Composem  Indk-ate  thi<  key  at  the  commencement  of  each 

fitece,  hut  always  write  the  part  for  theilrums  ««  if  they  were 
n  0.  The  two  notes  of  the  kettle-Jrunu  may  be  usej  as 
essential  notes  of  the  harmony.  The  Jrunis  may  ociasionally 
be  used  in  the  pianos  as  v.ell  as  in  the  fortes.  They  often 
execute  the  base  in  the  harmony,  particularly  In  jwdal  pim- 


Thc  roll  of  the  drum  U  indicated  by  Ir-' 
Italian    term  Iremoln :   but, 


"  or  by  the 


when  it  is  only  of  short  du-  C\\ 

ration,  it  is  indicated  by  ^^fiSlt 

Three  K>rts  of  Trombones  are  used  in  the  orchestra — the 
bass,  the  tenor,  and  the  alto  trombone  Their  compass  I.'*  as 
tjllows : 


Tvoor  Tramboa^ 


AJto  TromboD*. 


f^^ 


^^^ 


W- 


^!5^ 


This  instrument  produces  a  prent  effect  when  properly 
Introiluced  It  is  particularly  useful  in  slrenEthening  the 
biL«s*'S  in  the  Kteat  masses.  The  trombones  play  In  every 
key  without  transposition  ;  hence  they  are  written  «ith  .sharps 
or  Hats  at  the  siicnature,  like  the  violoncellos,  bLssoous,  and 
tenor".  Trombones  are  .seldom  treated  a-s  solo  In5fniment.«  ; 
yet,  when  they  are  joined  to  the  horns  and  trump^'ts,  they  are 
adapted  to  convey  ideas  of  a  mournful  character— an  eifect 
peculLar  to  bra.ss  instruments. 

The  BiMct  H.im,  (Corno  dl  Bassetto,  Ilnlinii — Cor  Anglais, 
F'fnr>i,)  is  but  seldnni  used  in  the  Knplish  orchestra  It* 
tone  is  very  sweet,  and,  in  s*ilo  pa.s.'tnpes,  ic  Is  capable  of  pro- 
ducing very  striking  etTects  ;  It  n's*-T!ibles  a  hautl»oy  of  a  larce 
size,  a  little  bent  at  the  tap.  Its  real  couip,iss  comprires  the 
Dotes  contained  between 


"t^^-z: 


Kscept 

the  note  ^^ 


which  is  deficient. 


As  the  person  who  plays  the  hautboy  generally  takes  this 

Instnunent,  the  p,vt  for  it  is  usually  written  a  iinh  higher 
than  its  real  pitch,  thus : 

?tatM  M  wTlu«B.  ITolM  MIB«]l7  pro4n«d. 


mmmmm^mm 


Two  basset  horns  are  sometimes  used  instea.l  of  two  clari- 
nets or  two  haut)>oys ;  but  this  Is  only  iu  compositions  of  a 
tranquil  ami  religious  cbankcter. 

IX.^TRCMENT?  PECUU.\R  TO  MILITAKY  MUSIC. 

Military  mn«ic,  very  unlike  chamber  or  orchestral  ma«lc, 
receives  a  particular  character  from  the  u.«e  of  snnie  instru- 
ments peculiar  to  itself  Some  of  these  have  only  a  single 
no^e,  others  a  compass  with  which  It  is  nertssary  that  a  com- 
poser shoitld  lie  ac'iuainte>l.  The.«e  instruments  may  lie  di- 
vided inro  two  rl;i.sws  :  the  first  class  compn-henls  such  as  in 
this  species  of  music  are  ad>le.|  to  iho*e  already  descritieil  as 
belonging  to  the  orchestra.  These  are  the  str^nll  _flut^%  in  E 
flat  and  F,  ,<:c.,  sm.iU  clarine's  in  E  Hat  or  K,  and  l\>t  $tr- 
li*nt.  The  second  cla.'=s  comprehends  those  nnUy  Irsiniments 
whos,»  pitch  does  not  enter  into  harmonic  cnmbinafions,  and 
which  are  employed  to  lncre.a.«e  the  effect  and  mark  with 
energy  the  bar  and  its  rhythmical  sul"liTi«lons.  These  in- 
struments are  the  ihan^tf^  the  cywVi/j,  the  ^fat  tfruw^  the 
Inm'ifit/rin^,  and  the  ftcnt.  aTurki-h  Insimment  with  bells 
or  jingles.  The  notation  of  these  latter  instrument*  is  u 
IbUnwa : 

1.     Grtat  or  Douhle  Drum. 


2.     Turkith  nt$rent. 


\^[^m 


4.  Drum. 


CjfmbaU. 


i^^i 


*'^fH 


These  and  the  other  Instruments  peculiar  to  military  inuslo 
are  only  suffentble  In  the  open  air  ;  they  ought  to  l>c  Ijanlshed 
frt)m  every  enclosed  |diice  consecnitcil  to  music. 

finall  Flulf  in  K  ftiil.  The  pilch  (^f  this  instrument  la  ■ 
semitone  higher  than  that  of  the  o<-tA\e  llute.  The  compaM 
of  this  species  of  flute  is  as  follows : 


— \f  >gi  --|  but  the  part 
^I^IUlJ  iu  I),  a  nintli 
^'— •^|-^ — -^  are  actually 


j      b  >g[ [  but  the  part  for  this  instrument  is  writtco 

'~-    ■      '  • '•■  "   -  ninth   lower  than  the  notes  which 

played. 

Smnlt  Ftutt  in  F.    The  compass  of  this  instrument  ex 
tends  from 

10 .2L  Sn,  >1>4. 


^m 


I  but  like  the  preceding  species  of  flute,  >J) 
music  for  it  is  written  in  D,  a  minor  tenth 
lower  than  the  notes  indicated. 


In  English  military  music,  other  flutes,  a  minor  third,  or  a 
pcrfi-ci  fiiurtli  above  the  pilch  of  the  concert  fl'Jfe,  are  also 
usi'd  ;  in  all  cases  however  the  parts  for  these  instruments 
are  written  in  D,  or  at  least  such  as  if  they  were  to  t>e  pUyed 
on  the  concert  flute. 

Small  Clarinrt  in  F.  The  pitch  is  a  ptrfeet  fourth  abovs 
the  ordinary  clarinet  in  C.     Its  compass  extends  from 


i 


Parts  for  this  instniment  are  written  in  0 
when  the  composition  is  in  F  ;  It  therefor* 
transposes  the  notes  indicated  a  fourth  high- 
er than  they  are  written. 


■*■ 

Smail  Clarinet  in  E  flnl      Its  pitch  Is  a  minor  third  abova 
that  of  the  ordinary  C  clarinet.     Its  compa>s  extends  from 


It  plays  In  C  when  the  piece  Is  in  E  flat,  and 
H  therefore  transposes  the  notes  indicated  a 
minor  third  higher  than  they  are  wrii:«D. 


K^ 


\J-   — — 

Sfrprnt.    In  the  hands  of  a  good  player  its  compass  ex- 
tends from      _ 


i    In. I 


e  the  bassoon,  no  tninsposltif>n  Is  used ; 
lat  is,  the  notes  are  placed  such  as  '.bey 
indicated. 


yrr 


The  stringed  Instnimenis  or  orchestral  quartet  often  playi 
without  being  associated  with  the  wind  Instruments.  But, 
by  adding  one  or  more  of  them  lo  the  quartet,  there  tesullsa 
numlter  of  combinations  which  deserve  to  be  iinllcated,  In 
order  lo  show  the  gn-af  n-sources  which  an  orchestra  offer*  to 
a  composer.  Any  single  wind  instrument,  as  a  Flute,  Bas- 
soon, Ac  may  lii-  ad'leil  to  the  orchestral  quartet.  Then,  U 
It  be  lntro<luced  merely  to  diversify  Iheeflnlsof  theslrln|(rd 
iiisiniments  by  its  dilterent  quality  of  tone,  it  may  slinpl< 
double  one  or  other  of  the  parts  <  f  the  quartet,  either  in  tb  • 
onlson,  or  the  octave  almvi  or  below,  as  may  best  suit  IK 
diapoMiD. 


451 


INS 


ENCYCLOP-'EDIA    OF    MUSIC. 


INS 


WISD  ISHTRCMENT. 


OECIIESTBAL  QUARTET. 


No.  5.    Wind  Inn't.    Solo. 


^^^m^^ 


Tn  like  manner  the  wind  instrument  might  huTc  doubled 
the  second  violin  or  the  tenor.  Wut,  if  the  solo  instrument 
I*  intended  to  attract  the  attention  of  tlie  hearer  more  par- 
ticularlv,  we  must  ai^sipn  to  it  a  solo  passii^e  more  or  less  ex- 
tended ;■  and  the  stringed  instruments*  must  then  serve  it_a.s  an 
accompaniment.  This  accompaniment  will  form  with  it  a 
duet,  trio,  quartet,  or  even  quintet,  according  to  the  number 
of  distinct  parts  which  we  employ. 

Examples.  tmxpt 

No.  1.  Wind  Instrument.  DUET. 


All  the  stringed  Inst's  in  unisons  and  octayes. 


■jr— "/v 


^w^^^ 


m 


|§je.^ 


^£t^ 


No.  6.     Bassoon  Solo,— Fonning  also  a  correct  Bass  to  th« 
harmony  above  it. 


^^ 


I 
1&2 


Banc*. 


INS 


ENCYCLOr.EDIA    OF    MUSIC. 


INS 


rio.  8.    (CoDtioued.; 


i^fcrpS 


Similarly,  two,  throe,  or  even  four  winj  iii!>trunipntji  may 
ije  couibinej  lis  solo  iu.itrumuutH.  In  this  ciise  tlicy  ulintild 
^wtvys  form  correct  hannony  ttinont^tlieniw.'lvi-s,  iiuiependent 
of  the  lu'couipjinyinj^  tiuartef.  This  reninrk  is*  initHirttint,  as 
It  equally  applies  to  two  or  three  i«olo  voices,  or  even  several 
stringed  iiistrumenCii :  each  claM  should  at  all  limen  form 
correct  boruioDy  independent  of  the  others. 


No.  1. 


EXAHPLU. 
Two  Wind  Instrument*. 


\^F,-i^mm^ 


Three  parta  of  the  oreheatral  quartet. 


Ko.2, 


I  li  '  '  J-^*  J     I     I 


^^^r^:^ 


r^^ 


Or,  as  la  often  prefeniblf,  by  dnubUog  the  duo  lo  the  octmTe. 


^^I^E 


iL^-'-^^A 


r^^ 


^Y 


^e^m^^^^ 


3i 


Oonseeutive  octaves  U'tw«.n  a  prinelpal  melo<ly  and  any  ci 
the  arconipanyinK  partji,  except  the  hnss,  are  allowiHl  when 
the  quartet  is  coniplele,  hut  not  oth<n>lfe.  The  melody  Is 
sonierimes  douhled  in  the  octave  by  one  of  the  iiccniiipanyifiK 
parts,  alN>Te  or  Ndnw,  acconllni;  a*  the  wind  instrument  Is 
grave  or  acute.  The  vlnlonrello  is  often  treated  as  a  solo  in- 
mruiiient,  in  whii  h  caMi  the  other  violnnerllon  and  duubl* 
baiwes  execute  the  urchestnil  l>as«  ;  or,  as  is  niofe  fr<-<|uently 
done,  nil  the  violoncellos  concur  In  pla>  inir  the  >nnie  part  A 
single  voice  may  be  accompnnii.,!  in  tju-  same  ninniier  as  a 
solo  instrument.  Ilanuooy  in  four  parts  should  lie  treate<l 
with  much  ^i^lpliclly  when  it  accompanies  a  pndominaiit 
melody:  but  this  simplicity  drx-s  net  exclude  varieiy.  The 
priuci|>al  wind  instruments  in  the  onhestrn  are  the  two  flutes, 
two  hautboys,  two  clariiteTs.  tw»»  hortis,  and  two  bsi-ssoons  ;  in 
all,  ten  wind  instrumentji,  which,  when  plaUnK  together,  hive 
sufflcieut  power  to  eoun'erlmlunce  thirty  stritiged  instru- 
lueut/i  or  mure.     These  ten  wind  instruments  extend  from 

~    hence  the  positions  of  the  harmony  n* 

f\      —-executed    by    wind   instruments   are   ex- 

(^*— -C treuiely  various.     For,  while  the  stringed 

Z:^' fi^  Instninients  generally  play  but  four  dif- 

ferent  notes  at  once,   the   wind    inslru- 
mentji  may  execute  as  many  as  ten. 


::r-if 


(^ 


KX.^MPLE. 


Some  harmonic  phrases  will  not  adndt  of  the  parts  being 
inverted  at  plea.«ure,  bec,TU-e  there  would  result  succe^sifins 
of  hidden  wuives  and  fifths.  In  this  i  ase,  in  doubling  or 
tripling  the  parts,  we  must  not  place  the  upper  part  tielow 
the  under  one  The  following  phrase  will  serve  to  exemplify 
the  manner  in  which  we  mu>t  proceed  in  such  a  case. 


In  the  alKive  plinise  the  two  nppi-r  par's  will  not  admit  of 
inversion  with  resjXM*i  lo  one  another;  we  must  rherefr>redou. 
ble  the  parts,  as  shown  in  the  following  example  : 


^ 


-^z- 


-*—«>- 


±-x 


J^^^^T^^ 


4.S.1 


(MS 


ENCYCLOPEDIA    OF    MUSIC. 


INT 


IN'STIU'MENTAL  MUSIC.  An  expression  I  tion,  introduced  between  the  acts  of  any  drama, 
used  in  opi^sition  to  that  of  vocni  music,  and  ap-  or  between  the  play  and  afterpiece.  Litcrludcs 
..i:-j  A-  :_  .1  c      ■    ..  ^.      HM..     were  fonnerly  of  more  frequent  use  than  at  pros- 


plied  to  music  composed  for  iintrumenta.  Tlie 
term  instmntnttal  is  particularly  api)lied  to  the 
greater  compositions,  in  which  tlie  human  voice 
has  no  part.  The  first  instrument  invented 
was  jirobably  the  pipe  or  straight  flute.  An  idle 
phephcrd  might  very  naturally,  from  accident,  or 
in  imitation  of  the  effects  of  the  wind,  blow 
through  a  sim])le  reed,  and  thus  invent  the  pipe, 
from  which  the  flute  would  readily  originate. 
The  pipe  is,  in  fact,  found  among  many  savages. 
Tlie  invention  of  stringed  instruments,  as  they 
are  mere  artificial,  is  of  later  origin.  The  instru- 
mental mu-ic  of  the  Urcoks  was  confined  to  a 
few  instruments,  among  which  the  flute,  the  cith- 
ara,  and  the  sackbut,  though  not  precisely  like 
those  instruments  among  the  moderns,  were  the 
most  important.  The  violin  was  invented  ui  tlie 
middle  ages,  and  soon  became  the  principal  in- 
Btrumeut,  taking  place  above  the  flute,  though  the 
latter  is  of  much  more  ancient  origin,  because  the 
playing  on  a  stringed  instrument  is  les>  fatiguing, 
and  the  tone  of  the  violin  is  more  distinct  from 
the  human  voice,  and  therefore  better  fitted  to 
be  used  with  it ;  besides,  the  instrument  permits 
much  more  perfect  execution.  Until  the  middle 
of  the  last  century,  the  Italian  composers  used 
no  other  instruments  in  their  great  pieces  than 
violins  and  bass  viols ;  at  that  time,  however, 
tliey  began  to  use  the  hautboy  and  the  horn ; 
but  the  flute  has  never  been  much  esteemed  in 
Italy,  particularly  in  music  e.\clusively  instru- 
mental. These  were  the  only  wind  instruments 
in  Italy,  used  in  instrumental  music,  until  about 
the  end  of  the  last  century ;  and  even  to  this 
day,  the  Italians  use  wind  instruments  much  less 
than  the  Germans,  and  particularly  the  French. 
Since  Mozart,  every  instrument  has  been  used 
which  appeared  adapted  to  answer  a  particular 
purpose.  Tnis  is  the  cause  of  the  fewness  of  the 
notes  in  the  Italian,  and  of  their  great  number 
in  Genuan,  and  their  excess  in  the  modern 
French  scores.  In  general,  symphonies  and  over- 
tures, solos,  duets,  terzettos,  quartettos,  quin- 
tettos,  &c.,  sonatas,  fantasias,  concerts  for  single 
instruments,  dances,  marches,  &c.,  belong  to  iu- 
Btrumental  music. 

IX.SrKUMENT.\TION.  The  art  of  distribut- 
ing the  harmony  among  the  difl'ercnt  instru- 
ments of  an  orchestra  or  band. 

INSTRUMENTAL  PERFORMER.  A.  pcr- 
f')mier  on  any  musical  instrument. 

INTAVOLARE,  or  INTAVOLATURA. 
These,  in  Italy,  are  general  terms  for  the  nota- 
•:'>n  of  music,  whether  by  letters,  figures,  or  any 
other  signs. 

INTENTIO.  (L.)  The  word  intcntio  was 
used  in  the  ancient  music  to  denote  the  passage 
of  the  voice  from  grave  to  acute. 

INTERRUPTED.  A  term  api)lied  by  theo- 
rists to  those  closes,  or  cadences,  in  which  the 
bass,  instead  of  falling  or  rising  from  the  fifth  to 
the  key  note,  passes  to  some  other,  and  interrupts 
the  full  close,  or  final  cadence. 

INTERLOai'IUM.  (L.)  The  terra  applied  to 
Ihc  introductory  excess  of  words,  or  syllables, 
which,  in  chanting,  precede  the  bar  of  the  second 
{>art  of  the  verse. 

INTERLUDE.    A  short  musical  represcnta- 


eiit.  A  song,  or  dance  at  least,  by  way  of  inter- 
lude, was  generally  given  after  every  act  of  a 
tragedy  or  comedy. 

The  interlude  is  not  an  invention  of  the 
moderns ;  the  ancients  were  acquainted  with 
certain  short  pieces,  loosely  connected,  which 
served  to  make  an  easy  transition  trom  one  play 
to  another,  and  to  occupy  the  interval  between 
the  two.  At  ])resent  the  term  interlude,  and  inter- 
nuzx),  is  applied  principally  to  small  comic  operas, 
written  for  one,  or  at  most  two  jjcrsous,  but  not 
connected,  in  any  way,  either  with  the  play  which 
precedes  or  that  which  follows.  According  to 
Arteaga,  modern  interludes  were  at  first  madri- 
gals, which  were  sung  between  the  acts  by  sever- 
al voices,  and  were  connected  with  the  play.  One 
of  the  oldest  and  most  beautiful  Ls  II  cximbattimen- 
io  d'AiwIline  col  Serpenie,  by  Bardi.  But  these 
madrigals  soon  lost  their  primitive  form,  and  rep- 
resented some  action. 

Interludes  at  this  day  are  short  sentences  of 
organ  music,  of  four,  eight,  or  twelve  or  more 
measures'  length,  as  the  performer  may  fancy, 
played  between  two  verses  of  a  hymn.  In  thb 
performance  of  sacred  music  the  interlude  should 
express,  as  far  as  possible,  the  feelings  excited  by 
the  last  verse  sung,  and  should  be  so  given  as  to 
prepare  the  mind  for  the  verse  next  to  be  per- 
formed. 

INTERMEDIATE.  A  term  applied  to  those 
sharps  and  flats  which  do  not  form  any  part  of 
the  original  key  of  a  composition,  and  which  are 
also  called  accidentals.     See  Accidental. 

INTERMEZZI.  (I.)  The  name  given  by  the 
Italians  to  interludes,  or  detached  dances,  intro- 
duced between  the  acts  of  an  opera. 

INTERRUZIONE.  (I.)  An  mterruption ;  as, 
seiiza  intcrnizio/ie,  play  ou  ■without  interruption. 

INTERVAL.  'ITie  ditference,  in  point  of  grav- 
ity or  acuteness,  between  any  two  sounds.  Tak- 
ing tl'.e  word  in  its  more  general  sense,  we  must 
allow,  that  the  possible  iutrrvals  of  sound  are 
infinite ;  but  we  only  speak  of  those  iuteiTals 
which  exist  between  the  dift'crent  tones  of  any 
established  system.  The  ancients  divided  the  in- 
tervals into  simple,  or  incompositc,  which  they 
call  diastems,  and  composite  ijitervals,  which 
they  call  systems.  The  least  of  all  the  intervals 
in  the  Greek  music  was,  according  to  Bacchius, 
the  enharmonic  diesis,  or  fourth  of  a  tone ;  but 
our  scale  does  not  notice  so  small  a  division,  since 
all  o\ir  tones  concur  in  consonances,  to  which  or- 
der only  one  of  the  three  ancient  genera,  viz.,  the 
diatonic,  was  accommodated.  Modem  musicians 
consider  the  semi/one  as  a  simi)le  interval,  and 
only  caU  those  composite  which  consist  of  two  or 
more  semitones  :  thus,  from  B  to  C  is  a  semitone, 
or  simple  interval,  but  trom  C  to  I)  is  two  half 
tones,  or  a  compound  internal.  We  usually  name 
fourteen  intervals  in  music,  viz.,  — 


CabDa, 

MlDOI 

SmoiuI. 

S~£d4. 

MlTK« 

nirf. 

Major 
TUM. 

...  ^ 

P«rft<» 

Fcortb. 

Fuunb. 

rirm. 

riMi, 

Him 
SUth. 

Bitih. 

MtBor 
fttteotb. 

Sereoih, 

Ooun. 

r\'     A 

-P 

*-|. — » 

•? 

,^ 

■->'   m 

"fS 

^ 

.  a 

454 


INT 


ENCYCLOPAEDIA    OF   MUSlu 


IRI 


Strictly  speaking,  there  are  but  12  inton'nls; 
because  tlie  uuwou  cannot  properly  be  called  an 
interval,  tlion(;h  it  is  considered  as  such  when 
employed  in  harmony  ;  and  the  sharp  I'oiirth  and 
the  flat  tilth,  though  necessarily  distinguished  in 
harmony,  are  K^nerally  struck  on  instruments 
with  the  same  keys,  and  make  but  one  interval. 
We  might  make  intervals,  thus  :  prime,  or  unison, 
minor  second,  major  second,  supertluous  second, 
diminished  third,  minor  third,  major  third,  per- 
fect fourth,  diminished  fourth,  supertluous  fourth, 
perfect  tilth,  diminished  tifth,  superfluous  Hfth, 
minor  sLxth,  major  sixth,  superfluous  sixth,  ma- 
'or  seventh,  minor  seventh,  diminished  seventh, 
I>ctave.  In  music  written  hy  the  best  ma-sters, 
lounds  seldom  occur  whicli  bear  any  other  rela- 
tions with  each  other  than  will  form  the-e  inter- 
vals. The  student  who  becomes  acquainted  with 
these  intervals  will  be  ready  to  comprehend  with 
readiness,  the  relative  distances  of  any  given 
sounds. 

INTONATION'.  A  word  relating  both  to  the 
consonance  and  to  the  strength  or  weakness  of 
sounds.  Intonation  not  only  includes  the  art  of 
tuning,  but  the  giving  to  the  tones  of  the  voice, 
or  instrument,  that  occasional  impulse,  swell,  and 
decrease,  on  which,  in  a  gieat  measure,  all  cxi)res- 
sion  depen<ls.  A  good  intonation  is  one  of  the 
first  qualirications  in  the  higher  walks  of  execu- 
tion. One  great  reason  why  false  intonation  so 
generally  jirevails,  is  the  want  of  proper  attention 
to  tuning  the  voice.  The  following  positions  of 
the  voice  are  re((uisite  to  good  intonation  :  tirst, 
place  the  voice  at  the  back  part  of  the  throat,  as 
is  done  in  pronouncing  the  word  all;  a  second 
position  may  be  produced  by  means  of  the  vowel 
a  as  pronounced  in  the  word  art ;  and  a  third, 
upon  the  diphthong  <•«,  as  pronounced  in  the  word 
earth.  These  several  positions  wiU  give  that 
sweetness  and  fulness  of  tone  which  constitutes 
what  the  Italians  call  a  "  i-3(«  di  pvllo,"  and  will 
bring  the  vocal  organs  into  that  position  most 
proper  for  acquiring  a  correct  and  rapid  execution. 
In  church  music,  tho<e  antiphonie-i  are  called  in- 
tonations, which  are  first  sung  by  the  priest,  and 
then  responded  by  the  choir  or  the  congregation  ; 
also  the  short  sentence,  mostly  taken  from  the 
Bible,  which  the  minister  sings  before  the  collect, 
and  which  is  responded  by  the  choir  or  commu- 
nity ;  such  as  the  Gloria,  "The  Lord  be  with 
you,"  vtc. 

INTRADA.  The  old  Italian  name  for  an 
overtiue  or  prelude. 

INTItODUCTION.  Th.at  movement  in  a  com- 
position the  design  of  which  is  to  bespeak  the  at- 
tention, and  prepare  the  ear,  for  the  movements 
that  are  to  follow.  So  much  of  the  effect  of  a 
whole  piece  often  ilepcnds  on  the  proper  cast  or 
style  of  the  introduction,  that  a  judicious  com- 
poser is  very  solicitious  to  avail  himself  of  its  ad- 
rautagc,  and  always  writes  it  with  an  eye  to  the 
contour,  or  great  outline  of  the  piece. 

INTKODfTTOKIO.    (11.1     Inlnvlurlion.     See  IHTIinnrCTIox. 

ISTKOl'l  I'lDllV.  A  lirm  |iro|«  r  !•>  (hoar  moviinrnU  iiitro- 
Jucnl  by  co'n]v.«tr«  mcn-Iv  <u  pr,-piirt»tivi-«  of  whal  )■  li,  follow  [  u 
■Iw  (o  «ny  .>  mphoiiy  which  il".«  n..|  forn,  ■  ron-llturnl  imrt  of  the 
oratorio,  op,  m.  or  •cn'nata,  nK.  or  i.,  !•.•  i..  -f  .rmnl.  but  which  it  tcin. 
porallr  xtoptnt,  •■•  Icinil  It  plccr. 

IXTRt)lVrs.    Thtvo,Ml  Mtofthc  Roml«h»<TTlcci 

Ml  i1rnonilnitrft,bccau«4*  it  r  '  V  m' rntmrw^  of  thr  ttiictt*. 

•t  ii  tacccoloil  hy  certain  li<ioi>.  t.i.M.i  iht  •r<;>iri>liu.  8»c  Uwt 
»opi. 

INVERSION.  Inversion  is  n  changefl  posi- 
tion, eitlicr  of  a  subject  or  of  a  chord,     llie  in- 


version of  a  subject  is  produced  by  giving  it  a 
higher  or  lower  situation  among  the  several  parts 
of  a  score,  sometimes  making  it  the  bass,  at  othcj 
times  tlie  tenor,  counter  tenor,  or  the  treble.  'I'hf 
inversion  of  a  chord  is  that  changed  jiosition  of 
its  component  parts,  with  respect  to  its  funda- 
mental bass,  by  which,  though  the  harmony  re- 
main the  same,  the  order  of  the  intervals  is  varied, 
and  the  compound  assumes  another  name,  'lliid 
inversion  is  sometimes  elfectod  by  simi)ly  chan- 
ging the  ba.HS ;  as  in  the  cliord  of  the  seventh,  If 
tlie  fundamental  bass  be  shifted  to  its  third,  the 
harmony  is  no  longer  called  the  chord  of  the 
Seventh,  but  that  of  thojifth  and  sixth. 

INVKHTKI).  A  trrni  appHcahlu  to  certola  ptMitioni  of  an}  rub- 
Jcct  or  chunl.     Sfi-  Is  vtkaio.x. 

lO  BACCTIK.  A  burden  u.sed  in  the  lyric 
poetry  of  the  Romans. 

IONIAN.  (Or.)  The  appellation  given  to 
that  ancient  mode  which,  reckoning  from  gi-ave 
to  acute,  was  the  second  of  the  five  middle  modes. 
Its  lowest  sound  corresponds  with  our  E  flat,  on 
the  third  space  in  the  ba.ss. 

lO  TRIUMPIIE.  A  burden  used  by  the  Ro- 
mans in  their  lyric  poetry. 

Il'KKKN,  JOSUA  VAN.  A  Dutch  clergyman, 
who  died  at  liatavia  in  1780.  He  wrote  the  fol- 
lowing works  on  musical  subjects :  "  Von  den 
Wivhstl'iaangpn  der  Iliidrn  und  Juden,"  1774. 
"  Kirkclyke  Ilislorie  van  liet  Psalm-Gczanyder  Chris- 
ieiwn,  van  dc  dagvu  dcr  AposttU-ii  tot  op  oiucn/eyeni- 
voordiijen  tyd,  en  inznndcrheid  van  oiize  tele  verbe- 
terde  Nedi-rtuitsche  Psatmbrryminge  u>t  echte  stiik- 
ken  samengibracht,"  first  vol.  Amsterdam,  1777. 
The  second  volume  of  the  same  work  was  pub- 
lished at  -Vmstcrdara,  in  1773. 

IR.VTE.     (I.)     Angrily. 

lUlSlI  IIAIU".  Thl«  initniinrnlhail  a|m'al<Tniiinbi<rof«tr)n« 
thiiu  tljf  lyr,'.  yet  for  many  ncc*  it  wusonly  u^eil  for  plnyinc  a  niniple 
iiu'IimIv,  or  a  «uij;ti>  part:  nor  liml  itj  primeval  players  any  idea  uf 
pluyin,<  in  ptirtu,  or  of  countcriMiint. 

IRISH  MUSIC.  In  its  infant  state  poetry  has 
been  seldom  separated  from  music,  and  it  is  jirob- 
able  that  most  of  the  stanza.s  cited  by  the  annal- 
ists were  meant  originally  to  be  associated  with 
song.  Of  some  of  the  juvenile  works  of  .St.  Co- 
lurabianus,  we  are  told  that  they  were  "  worthy 
of  being  sung,"  and  a  scene  brought  vividly,  in 
a  ft^  ■  words,  before  our  eyes,  by  the  Irish  biog- 
rapher of  Columbia,  reiiresents  the  holy  man  sit- 
ting, along  with  his  brethren,  upon  the  banks  of 
the  beautii'ul  Lake  Kce,  while  among  them  was 
a  poet  skilled,  we  are  told,  in  modulating  song  oi 
verse  "after  the  manner  of  his  art."  ITiat  it 
was  to  the  accompaniment  of  a  strange  instru- 
ment, called  the  cruir,  they  performed  tliese  songs 
or  chants,  ajipears  to  be  the  most  general  opinion. 
In  some  distichs  on  the  death  of  Columbia,  j)re- 
scrved  in  the  annals  of  the  four  masters,  we  find 
mention  of  this  kind  of  harj),  in  lather  a  touch- 
ing imssage  :  "  Like  a  song  of  the  emit  without 
joy,  is  the  sound  that  follows  our  master  to  the 
tomb  ;  "  and  its  common  u.se  in  the  eighth  cen- 
tury, as  an  accompaniment  to  the  voice,  may  be 
imjilied  from  Rede's  account  of  the  religious  poet 
C'eadmon,  who,  in  order  to  avoid  taking  a  part  in 
the  light  songs  of  society,  always  rose,  a.H  he  tcUi 
us,  from  the  table  when  the  harp  was  sent  round, 
and  it  came  to  his  tvirn  to  sing  and  play.  The 
Italians,  who  are  known  to  have  been  in  posses- 
sion of  the  harp  iMjInro  the  time  of  Dante,  arc, 
by  a  h-anied  musician  of  their  own  country,  Gal- 
5i5 


RI 


ENCYCLOPiEDIA    OF    MUSIC. 


ISC 


ilei,  said  to  have  dcrivcil  it  from  Ireland ;  the  in-  ' 
Ktruraont,    accordiii;;    to    his    account,   being    no 
other  tlinn  a  cithara  with  iArtny»strin<;s,  and  hav- 
inj»,  at  the  time  when  he  wrote,  loiu'  octaves  and 
a  tone  in  compass. 

IIow  little  music,  though  so  powerful  in  its 
intlucnce  on  the  IceliiigH,  either  springs  ttom  or  is 
dependent  upon  intellect,  appears  from  the  fact 
that  some  of  the  most  exquisite  effusions  of  this 
art  have  had  their  origin  among  the  simplest  and 
most  uncultivated  people;  nor  can  all  that  taste 
and  science  bring  alierwards  to  the  task  do  more, 
in  general,  than  diversify,  by  new  combinations, 
those  first  wild  strains  of  gayety  or  passion  into 
which  nature  had  infused  her  original  inspira- 
tion, lu  Greece  the  sweetness  of  the  ancient 
music  had  already  been  lost,  when  all  the  other 
arts  were  but  on  their  way  to  jierfection.  And 
from  the  account  given  by  (jiraldus  Cambricnsis 
of  the  Irish  haq)ers  of  the  twelltli  century,  it 
may  be  inferred  that  the  melodies  of  the  country, 
at  the  earlier  i)eriod  of  which  we  are  speaking, 
were,  in  some  degree,  like  the  first  music  of  the 
infant  age  of  Greece,  and  partook  of  the  fresh- 
ness of  that  morning  of  mind  and  hope  which 
was  then  awakening  around  them. 

With  respect  to  the  structure  of  the  ancient 
Irish  harp,  there  docs  not  appear  to  have  been 
any  thing  accurately  ascertained  ;  but,  from  that 
rctentiveness  of  all  belonging  to  the  past  which 
we  have  shown  to  have  characterized  this  peo- 
ple, it  appears  most  probable  that  their  favorite 
instrument  was  kept  sacredly  unaltered,  and  re- 
mained the  same,  perhaps,  in  later  times,  when 
it  charmed  the  ears  of  English  poets  and  phi- 
losophers, as  when  it  had  been  modulated  by  the 
bard  Cronan,  in  the  sixth  century,  upon  the  banks 
of  the  Lake  Kce. 

It  would  appear  that  the  church  music,  likewise, 
of  the  Irish,  enjoyed  no  inconsiderable  repute  in 
the  seventh  century,  as  we  find  Gertrude,  the 
daughter  of  the  potent  Maire  de  Palais,  Pepin, 
sending  to  Ireland  for  persons  qualified  to  in- 
struct the  nuns  of  the  Abbey  of  Nivelle  in  psal- 
mody; and  the  great  monastery  of  Bangor,  or  Ben- 
choir,  near  Carvickfergus,  is  supposed  by  Ware  to 
have  derived  its  name  from  the  White  Choir 
which  belonged  to  it.  A  certain  set  of  antiqua- 
riaas,  whose  favorite  object  is  to  prove  that  the 
Irish  church  was  in  no  resj)ect  connected  with 
Home,  have  imagined  some  mode,  through  the 
medium  of  Asiatic  missionaries,  by  which  her 
chant  or  psalmody  might  have  been  derived  from 
the  Greeks.  But  their  whole  hypothesis  is  shown 
to  be  a  train  of  mere  gratuitous  assumption ;  and 
It  is  little  doubted  that  before  the  introduction  of 
the  Latin  or  (Jregorian  chant,  by  8t.  Malachy, 
which  took  i)lace  in  the  twelfth  century,  the 
style  of  music  followed  t»y  the  Irish,  in  their 
church  service,  was  that  which  had  been  intro- 
duced by  St.  I'atrick  and  his  companions  Irom 
Gaul. 

IRISH  TT*NFS.  Tunrf  poniliftr  to  Ihr  HihpmlBnd,  and  io  far 
•imilar  lo  tlunf  of  ihc  ScnUh  n»  to  imrMko  of  Ihi'lr  wildnini  «nil  ir- 
neularilr.  Uitwcn  the  Scotch  ami  Irinh  mil. «licl  there  i»,  hnw- 
•Ter,  II  «l'rikiii((  distinction.  Tho  dulcet  nieUowne«f  of  the  former 
Mldom  chumct.rij..  (he  latter. 

IKL.\M>.VIS.  or  lULANDAISE.  (F.)  An  air  or  dance  tune  In 
the  Irph  ■tylc. 

IKKEL.VTIVE.  A  term  assigned  to  any  two 
chords  which  do  not  contain  some  sound  com- 
mon to  both. 

lUUE.SOLUTO.     (I.)    Irresolute,   hesitating- 
y,  dubiously. 


lUUIG,  SEB.VSTIAN,  a  German  musician, 
published  at  Paris,  in  17.50,  twelve  sonatas  for  the 
harpsichord,  in  the  style  of  Albertini. 

ISA.\C,  IIEIXUICII,  chapel-master  to  tht 
Emperor  Maximilian  I.,  was  a  jjupil  of  Josquin, 
and  born  in  the  year  1440.  In  147.5,  he  held  the 
situation  of  chajjcl-master  at  the  church  of  San 
Giovanni  at  Florence,  where  lie  set  to  music  for 
three  voices  the  songs  of  "  L/trcnzn  de'  Medici" 
and  also  composed  some  sacred  music.  He  prob- 
ably entered  the  emperor's  service  soon  after  his 
accession  to  the  throne  in  1493. 

ISHAM,  JOHN',  was  the  deputy  of  Dr  Croft 
for  several  years.  He  died  in  1726,  having  met 
with  very  little  encouragement  in  his  musical 
studies,  though  he  wrote  sundry  valuable  com- 
positions for  the  use  of  the  church.  The  words 
of  two  anthems  composed  by  him,  namely, 
"  Unto  thee,  O  Lord,"  and  "  O  sing  unto  the 
Lord  a  new  song,"  are  in  the  collection  made  by 
Dr.  Croft,  and  published  in  1712.  Isham  joined 
with  William  Morlcy  in  the  publication  of  a  col- 
lection of  songs  composed  by  them  both. 

ISINARDL  PAOLO,  a  celebrated  poet  and 
comjMser,  born  at  Ferrara,  flourished  there  in  the 
second  half  of  the  sixteenth  century.  He  was  a 
pupil  of  Monara.  He  composed  a  great  number 
of  sonnets  and  madrigals,  as  also  sacred  music. 

ISMENIAS,  a  pupil  of  Antigenes,  was  a  cel- 
ebrated musician  of  ITiebes,  who,  according  to 
Lucian,  gave  three  talents,  or  £.581  5  s.  for  a 
flute,  at  Corinth.  The  extravagance,  however, 
of  this  popular  musician,  was  even  more  conspic- 
uous than  his  professional  abilities.  He  is  re- 
corded, by  Pliny,  as  a  prodigal  i)urchaser  of  jewels, 
which  he  displayed  with  great  vanity ;  and  was 
once  very  angry  that  an  emerald  had  been  bought 
at  Cyprus  for  less  than  he  thought  the  value  of 
it,  though  purchased  by  himself,  and  said  to  the 
person  whom  he  had  employed  on  this  occasion, 
"  You  have  done  your  business  like  a  fool,  and 
disgraced  the  gem."  Plutarch  also  relates  the  fol- 
lowing story  of  him  ;  being  sent  for  to  accompa- 
ny a  sacrifice,  and  having  played  some  time 
without  the  apjiearance  of  any  good  omen  in  the 
victim,  hLs  employer  became  impatient,  and, 
snatchmg  the  flute  out  of  his  hand,  began  play- 
ing in  a  very  ridiculous  manner  himself,  for  which 
he  was  reprimanded  by  the  company  ;  but  the 
happy  omen  soon  appearing,  "  There,"  said  he, 
"  to  play  acceptably  to  the  gods,  is  their  own 
gift."  Ismenias  answered,  with  a  smile,  "  ^^^lile 
I  jdayed,  the  gods  were  so  delighted,  that  they 
deferred  the  omen,  in  order  to  hear  me  the  longer  ; 
but  they  were  glad  to  get  rid  of  your  noise  upon 
any  terms." 

ISO,  a  French  musician,  brought  out  at  the 
academy  of  music,  in  1759,  the  two  following 
operas,  "  J'hetuse,"  and  "  Zimide." 

ISOLA,  GAETAXO,  a  Genoese  composer, 
wrote  in  the  year  1791,  for  the  theatre  at  Turin, 
the  serious  opera  "  La  Contjuista  del  I'ello  tfOro." 

ISOU.  llie  name  by  which  the  fjrst  note  ot 
every  chant  was  formerly  designated,  and  which 
note  was  significative  of  the  key,  or  tone  of  the 
melody. 

ISOUARD,  NICOLO,  was  born  at  Malta  ix 
1775,  where  his  family  held  an  honorable  rank. 


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His  father  did  uot  intend  him  for  a  musician,  but 
he  could  not  resist  his  natural  inclination  for  the 
art.  His  leisure  moments  were  devoted  to  tlie 
study  of  music  ■  and,  on  his  being  placed  at  Na- 
ples, in  a  bank?r's  bouse,  he  particularly  applied 
himself  to  m  isic,  and  finished  his  studies  in 
counterpoint  in  that  city  under  Sala.  lie  also 
obtained  instruction  from  Uugliclmi  in  dramatic 
composition.  He  finally  totally  abandoned  com- 
merce, and  gave  at  Florence  bis  first  opera, 
"  L' Aviso  ai  maritati,"  the  success  of  which  still 
further  confirmed  him  in  his  resolution,  and 
thenceforward  lie  assumed  the  name  of  Nicolo, 
in  consideration  of  his  father.  After  having  com- 
posed for  the  different  theatres  of  Italy  and  Malta, 
he  established  himself  at  Paris,  where,  amongst 
seventeen  operas,  both  comic  and  serious,  which 
e.ictended  his  reputation,  he  composed  "  La  C'cii- 
liriUon,"  in  1813,  the  success  of  which  was  un- 
rivalled. Nicolo  played  on  the  organ,  harmonica, 
and  several  other  instruments,  with  superior  abil- 
ity. He  died  in  the  midst  of  his  career,  leaving 
"  La  Lampe  Mercei/L-us'-,"  an  unfinished  opera, 
which  was  performed  after  his  death  at  the  Koyal 
Academy  of  Music.  The  following  list  comprises 
his  principal  works  :  "  llibi,"  a  cantata.  Operas 
performed  in  Italy  :  "  L'Aciso  ai  nuiritatt ;"  "Ar- 
taserse  ;  "  "  Rinatdn  d'Asli ;  "  "  II  Darbiere  di  Hici- 
gtia  ;  "  "  L' Improvisata  in  Campagna  ;  "  "  II  Ton- 
neliere ;"  "  I  due  arari  ;"  "  Giiu-vra  di  SfOzia  ;  " 
"  II  Barone  d^ Albackiara."  Operas  performed  in 
France:  "  Le  Tonnelier,"  1801;  "  L' Impromptu 
de  Campagne ;"  "  La  Femme  avare,"  1802;  "  Li'-i 
Conjidences,"  1803;  "  Le  Midtcin  Turc;"  L' In- 
trigue aux  Fcii£tres  ; "  "  La  Ruse  inutile,"  1805  ; 
"  Idala  ;  "  "  La  Prise  de  I'assaii,"  1806  ;  "  Les 
Reiuiezvout  Bourgeois;"  "  Les  Crianciera,"  1807; 
"  Un  Jour  d.  Paris  ;  "  "  Cimnrosa,"  1808  ;  "L' In- 
trigue au  Sirail,"  1809  ;  "  Cendril/on,"  1810;  "La 
File  au  ViUage,"  1811;  also  part  of  "  Le  Baiser 
et  la  Quittance  ;  "  "  Le  petit  Page ;  "  "  Flaminius, 
la  Victims  des  Arts." 

ISTESSO,  or  I/ISTE.SSO.  (I.)  The  same; 
as,  far  t'istfsso,  do  the  same  thing  ;  cantar  Vislesso, 
sing  the  same  thing,  or  in  the  same  manner;  is- 
tesso  talore  ma  un  poco  piu  lento,  the  same  time, 
but  rather  slower. 

ITALIAN  MUSIC.  Tl.e  style  of  music  now 
prevalent  in  Italy  is  characterized  by  the  predom- 
inance of  melody  and  song,  to  the  neglect  of  har- 
mony, and  is  distinguished  from  the  old  Italian 
music.  In  Italy  we  first  find  the  proper  choral 
song,  the  foundation  of  modem  church  music, 
which  was  at  first  sung  in  uni.son,  chiefly  in  mel- 
odies derived  from  tlie  old  Greco-Uoraan  miLsic, 
and  adapted  to  Christian  hymns  and  psalms.  It 
seems  to  have  had  it.s  origin  when  Bishop  Am- 
brosius,  in  the  fourth  century,  introduced  into 
the  western  church  songs  and  hj-mns  adapted  to 
the  four  authentic  modes  of  the  tireeks.  In  the 
thirteenth  century,  the  invention  of  music  in 
measure  was  spread  in  Italy,  dependent  upon 
which  was  that  of  counterpoint  and  figured  music. 
Instruments  were  multiplied  and  improved  in  the 
fourteenth  and  fifteenth  centuries.  In  the  sLi- 
teeuth  ceuturj-  we  di.scover  distinguished  com- 
posers and  musicians.  In  the  seventeenth  century 


we  meet  with  the  first  profane  music.  Tlie  first 
oj)era  was  performed  at  Venice,  1621,  at  first  with 
unuccom|>anied  recitatives  and  choruses  in  uni- 
son ;  it  spread  so  quickly,  that  the  com])oscTs  of 
spectacles  were  soon  unable  to  supply  the  demands 
of  the  people,  and  from  forty  to  fifty  new  operas 
appeared  yearly  in  Italy.  It  is  evident  that  Ital- 
ian music  advancetl,  by  rajiid  strides,  far  before 
that  of  the  rc-st  of  Europe  ;  and  this  accounts  for 
the  predominance  of  Italian  tenas  in  musical  lan- 
guage, nie  Italian  school  is  yet  uiie<iualled  iu 
whatever  depends  upon  the  mere  improvement 
of  the  voice;  but  the  slavish  imitation  of  their 
manner  leads  to  affectation ;  therefore  the  Ger- 
man singers  employ  it  no  farther  than  they  can 
without  losing  the  spirit  and  poetical  e.vpression 
which  the  German  song  aims  at. 

Music  owes  much  to  Italy.  Here  was  the  birth- 
place and  cradle  of  harmony.  Guido  Aretino, 
who  originated  countcrppint,  Palestrina  and  Sc&t- 
latti,  who  jmsued  it  to  a  pomt  which  has  sc;ircely 
been  exceeded  since,  (except  in  the  matter  of  sv-m- 
phony,)  were  natives  of  that  country.  But  it  is 
iu  melody  that  Italy  stands  preeminent.  Hers  are 
no  cramped  and  rheumatic  airs,  hobbling  along 
like  .some  of  those  generated  in  our  northern 
climes,  bearing  upon  them  e%-ident  marks  of  the 
patching  and  propping  hand  of  the  composer. 
'ITiey  glide  along,  smooth,  elastic,  life-like,  full  of 
feeling  and  passion.  There  is  not  that  depth  of 
thouglit  in  them  that  there  is  in  the  mu>ic  of 
Germany  ;  but  they  are  ever  graceful  and  touch- 
ing, and  easy  to  be  understood.  This  Ls  the 
general  character  of  the  airs  of  Jomelli,  I'ergolesi, 
Cherubini,  and  especially  of  the  modem  Kossiui, 
who,  though  decidetUy  inferior  in  science  to  many 
of  his  brethren,  has  perhaps  enjoyed  a  gi'.ater 
amount  of  popularity  than  any  other,  and  that 
mainly  on  account  of  his  delightful  melocies. 
Rossini  is  now  au  old  man  ;  and  the  modern  mu 
sic  of  Italy,  with  the  exception  of  hLs  composi- 
tions, has  dwindled  into  nothing  but  airs,  and 
those  of  a  very  shallow  and  trifling  character. 

ri'ALIENNE.  (F.;  As,  i  rilalienne,  in  the 
Italian  style. 

ITA  MISS  A  EST.  (L.)  The  termination  of 
the  mass,  sung  by  the  priest  to  Gregorian  music. 

IVES,  SIMON,  was  a  lay  vicar  in  the  cathe- 
dral of  St.  Paul's,  till  driven  from  thence  by  the 
usurpation,  when  he  became  a  singing  master. 
He  and  Henry  I^rfiws  were  made  choice  of  to  com- 
pose the  airs,  lessons,  and  songs  of  the  mas<jue, 
performed,  by  order  of  the  four  inns  of  court,  be- 
fore King  Charles  I.  and  hLs  queen,  at  White 
Hall,  on  Candlemas  night,  1633.  Many  catches 
and  rounds  of  Ives's  are  to  be  found  in  "Hilton's 
Collection,"  and  in  Plaj-ford's  "  Musical  Compan- 
ion ;  "  as  are  also  some  songs,  among  the  airs  and 
dialogues  published  in  his  time.  He  dietl  in  the 
parish  of  Christchurch,  London,  in  1662. 

IZ  A  AK,  HENRY.  Author  of  a  ma.«*  found  ir 
the  library  at  Brussels,  in  1812,  entitled  I)t  Am- 
sum/ilinne  Beatrr  Mari<r  Virgini*.  He  was  chia 
musician  to  the  Emperor  Maximilian  I.,  about 
U30. 


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EXCYCLOPuEDIA    Of    MUSIC. 


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J. 


iCKET,  or  JACQUET.     See  Berchem. 

JACCIIIXI,  GIUSEPPE.  A  celebrated  vio- 
loncelliiit  at  Bologna,  about  the  year  1700. 

JACK.  In  the  harpsichord,  the  quill  in  the 
hammer  which  strikes  the  strings  is  called  Jack. 

JACKSON,  JAMES.  A  celebrated  singer  at 
Trinity  College,  Cambridge,  England,  ill  the  mid- 
dle of  the  last  century. 

JACKSON,  SAMUEL.  Organist  at  St.  Bar- 
tholomew's Church  in  New  York,  published  a 
"  Te  Dcuih"  iu  Eb  in  1851. 

JACKSON,  \VILLIAM,  an  eminent  musical 
compo.ser  and  a  man  of  letters,  was  born  iu  1730 
at  Exeter.  He  was  placed  as  a  pupil  to  Travers, 
organist  of  the  cathedral.  In  1748,  he  removed  to 
London,  and  passed  two  years  under  the  tuition 
of  John  Travers,  organist  to  the  King's  Chapel, 
and  an  eminent  song  composer.  He  then  re- 
turned to  his  native  place,  where  he  settled  for 
hfe,  as  a  teacher,  performer,  and  composer  of  mu- 
sic. His  talents  in  musical  composition  were  first 
made  known  in  1775,  and  it  is  by  his  vocal  com- 
])Ositions  that  he  has  acquired  the  greatest  repu- 
tation. In  1782,  he  published  "Tliirty  Letters 
on  various  Subjects,"  two  volumes  small  octavo. 
This  miscellany  contains  many  striking  reflections 
upon  men,  manners,  and  opinions,  sometimes 
singular  and  paradoxical,  but  generally  lively  and 
instructive.  An  attempt  to  revive  the  exploded 
doctrine  of  equivocal  generation,  and  another  to 
retrieve  the  poetical  reputation  of  Quarles,  are 
those  in  which  the  ingenious  writer  deviates  from 
the  common  judgment.  These  letters  were  well 
received,  and  were  republished  in  a  third  edition, 
with  additions  and  corrections,  in  1795.  Besides 
being  the  author  of  other  literary  works,  Jackson 
published  in  1791  a  pamphlet  entitled  "Obser- 
vations on  the  Present  State  of  Music  iu  London." 
This  book  was  thought  to  betray  some  prejutlice 
against  the  modern  masters,  and  undue  preference 
of  those  under  whom  the  ^Titer's  musical  taste 
was  lormcd,  intermixed,  however,  with  valuable 
and  judicious  observations.  To  his  other  tastes, 
Jackson  added  that  lor  painting,  in  which  art  he 
was  no  mean  proficient.  He  employed  his  pencil 
chiefly  in  landscape,  and  by  hLs  study  of  strong 
hnd  partial  lights,  produced  striking  effects.  Jack- 
son was  a  member  of  a  very  respectable  literary 
society,  instituted  at  Exeter  in  1792,  which  pub- 
lished au  octavo  volume  of  their  joint  contribu- 
,ions  in  179(>.  He  was  extremely  well  qualified 
for  conversation,  by  extensive  information,  a  turn 
for  ])leasantry,  and  a  communicative  and  social 
disposition.  He  enjoyed  a  very  select  acquaint- 
ance, and  was  greatly  respected  by  the  principal 
persons  in  his  neighborhood.  He  died  of  an 
asthmatic  complaint  in  1803. 

JACKSON,  WILLIAM,  the  gi.'"ted  composer 
of  "The  DcUverance  of  Israel  from  Babylon," 
tnd  other  musical  works  of  great  merit,  was,  until 

leccnt  period,  a  resident  at   Mashum,  a  small 


and  secluded  village  in  Y'orkshire.  From  earl^ 
youth  Mr.  Jackson  has  evinced  an  ardent  dispo- 
sition for  the  study  and  practice  ot  music;  and, 
unlike  many  of  the  groat  contrajjuntists  of  the 
last  century,  has,  aided  with  a  moderate  degree 
of  what  may  be  called  musical  science,  produced 
compositions  which  rank  high  as  specimens  of 
true  musical  e.vpression.  It  was  the  custom  of 
Mozart,  when  speaking  of  the  difference  of  mere 
science  as  compared  with  a  true  feeling  for  the 
e.xpressive  and  imaginative  in  musical  art,  to  refer 
to  two  of  the  greatest  contrapuntists  of  a  by-gono 
age,  as  never  having  produced,  in  all  their  lives, 
a  single  melody  worth  hearing.  So  much  for 
mere  science.  Nature,  however,  has  taught  the 
composer,  who  is  the  subject  of  the  present  no- 
tice, 

•*  To  snatch  a  grace  iMjyond  the  roach  of  art," 

which  will  assuredly  be  the  most  certain  means 
of  conveying  down  his  name  to  posterity.  Mr. 
Jackson,  while  residing  in  Masham,  carried  on  a 
business  there  totally  unconnected  with  music, 
being,  in  fact,  rather  an  ardent  amateur  in  than 
a  professc<r  of  that  art,  and  fulfilling  the  duties  of 
organist  at  the  village  church.  In  the  autumn  of 
the  year  1852,  we  believe,  Mr.  Jackson  removed 
to  Bradford,  in  Y'oikshire,  at  which  place  ho 
opened  an  establisliment  as  a  musical  repository, 
and  is  at  the  present  time,  we  understand,  devot- 
ing the  whole  of  his  attention  to  his  favorite  pur- 
suit of  music,  and  also  giving  instructions  in  tlie 
art.  He  is  the  author  of  several  elementary 
works  on  music ;  amongst  others,  an  excellent 
manual  on  the  art  of  singing.  Mr.  Jackson  Ls 
also  the  composer  of  several  glees  and  anthems, 
most  of  which  have  become  very  popular ;  we 
may  mention  the  beautiful  glee  composed  by  him, 
entitled  "The  Sisters  of  the  Sea."  It  is  about 
three  years  since  "  The  Deliverance  of  Israel  from 
Babylon"  was  first  j)ul)lLshed ;  and  since  that 
period  the  composer  has  given  to  the  world  an- 
other oratorio,  called  "Isaiah,"  a  work  of  great 
merit,  and  which  has  been  performed  at  Liver- 
pool, where  it  was  received  with  every  demon- 
stration of  applause. 

JACOB,  a  pupil  of  Gavinics,  was  a  violinist 
in  the  orchestra  of  the  Grand  Opera  at  Paris.  In 
17 1) 9,  he  published  a  "  Nouvclle  Mi t hade  de  Ma- 
si  jue."     He  died  at  Paris  about  the  year  1770. 

JACOB,  GUNTHER.  A  Benedictine  tno)ik 
and  composer,  at  Prague,  at  the  beginning  of  the 
eighteenth  century.  He  published  much  church 
music. 

J.VCOB,  BENJAMIN,  w.as  born  in  London 
in  the  year  1778.  He  evinced  a  love  for  music  at 
a  verv  early  period  of  lite,  and  was  tavtght  the 
first  rudiments  of  the  science  by  his  father,  who, 
being  a  tolerable  amateur  performer  on  the  violin, 
instructed  his  son  on  that  instrument;  by  which 
means  he  gained  such  a  knowledge  of  the  rela- 
tions of  musical  sounds  as  to  be  able  to  name 


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»ny  note  he  heard.  AVhcu  seven  years  old  he  ]  Jiafcly  tlie  fugues  of  Sebastian  IJacli  and  Ilnndel, 
was  instructed  in  sin^inj;  by  an  ingenious  cliorus  with  many  of  his  overtures,  airs,  and  choruses, 
singer,  named  Robert  Willoughby,  by  whom  he  Aliout  three  tliousand  persons  of  the  highest  re- 
was  introduced  as  a  singing  boy  into  the  choir  '  itpectability,  also  many  in  the  tirst  rank  of  proles*- 
of  Portland  Chapel,  then  in  a  fiourishing  state,  it  ors  and  amateurs,  were  present,  and,  as  n  i)roof 
being  comi)osed  of  the  best  chorus  smgcrs  of  that  of  the  interest  excited,  continued  to  sit,  with  the 
day.  I5ut  hanuony  was  his  delight,  single  sounds  greatest  attention,  through  a  four  hours'  perform- 
not  satisfying  his  ear ;  he  therefore,  at  the  age  of '  anco  on  the  organ  only.  Wo  aio  informed  that 
eight,    began  to   ])ractise    the  harpsichord,  (the     Jacob  considers  himself  under  considerable  obli- 


piano-forto  being  then  in  its  infancy,)  hut  at  fii'st 
without  any  particular  instructor.  After  some 
time,  he  was,  however,  \i\it  under  the  tuition  of 
Mr.  Shrubsolo,  then  organist  of  Spatields  Chupcl, 
•ud,  subsequently,  for  a  short  period,  under  the 
tuition  of  Miitthew  Cooke,  organist  of  IUoom.-,bury 
Church  ;  but  he  was  principally  advanced  in  the 
science  by  hLs  own  oliservation,  study,  attention, 
and  perseverance,  making  whatever  he  heard  or 
saw  in  music  a  lesson.  In  thLs  manner  he  may 
be  said  to  have  been  under  obligations  to  every 
musician  he  fell  in  company  with.  At  ten  years 
of  age  he  was  appointed  organist  of  Salem  Chapel, 
near  Soho  Scjuare,  in  which  situation  he  contin- 
ued little  more  than  a  year.  Between  the  age  of 
eleven  and  twelve  he  was  invited  to  Carlisle  Chap- 
el, Kennington  Lane,  some  years  afterwards  oc- 
cupied by  'lliomas  Adams,  until  his  election  to 
Deptford.  In  the  yciir  1790,  when  Haydn  was 
in  London,  Jacob,  then  aged  twelve,  had  the 
honor  of  tuning  the  great  composer's  piano-forte ; 
and  as  a  proof  of  a  correct  eiu-  in  tem])erament, 
llaydn  was  so  well  satisfied  as  to  desire  Jacob 
might  tune  for  him  again,  which  he  did  repeat- 
eiUy.  The  next  organist's  situation  he  was  ap- 
poiutctl  to  was  at  Bentinck  Chapel,  Lisson  Cireen, 
a  chapel  of  ejise  to  St.  Mary-le-bone.  Here  he 
continued  from  the  latter  end  of  1790  until  1794  ; 
in  December  of  which  year  he  was  invited  by 
the  llev.  liowland  Hill  to  succeeil  Immyns  as 
organist  of  Surrey  Chapel,  iu  which  situation  he 
continued. 

In  the  year  179G  he  began  to  study  harmony 
under  Dr.  Arnold,  from  whose  fricnd.^hip  he  de- 
rived much  of  his  early  success  in  the  i>rofes>ion  ; 
he  was  alsi-)  proposed  by  the  doctor  as  a  member 
of  the  Uoyal  Society  of  Musicians,  and  was  elected 
in  1799.  It  may  hero  lie  noted,  that  so  early  as 
the  age  of  eleven,  Jacob  was  fre<iueiitly  engaged 
to  take  the  organ,  when  anthems  and  choruses 
were  to  be  sung  in  places  of  worship  for  charita- 
ble purposes.  M  this  time  he  could  play  readi- 
ly from  Uu-  full  scores  of  Handel,  which  he  pre- 
ferred to  any  arrangement  in  accompanying.  He 
was  one  of  the  treble  boys  at  the  musical  festivals 
in  We-tminster  .VHiey,  in  1790-1791.  In  thia 
office,  ^^'iUilUU  Russel,  who  afterwards  became  a 
celebrated  pcrfonner  on  the  organ,  and  organist 
of  the  Foundling,  wa-",  as  on  other  occasions,  for 
sevonl  years,  his  constant  companion  :  both  were 
pupils  of  >hrnbsole,  and  about  the  same  age.  In 
the  spring  of  1800,  Jacob  conducted  a  series  of 
oratorios,  under  the  direction  of  Bartleman,  in 
Cross  Street,  Hattou  Garden  For  several  years 
he  presideil  at  the  organ,  at  the  annual  concert 
for  the  Choral  Fund,  while  Dr.  Arnold  conducted 
at  tlie  piano,  and  Bartheleraon  led  the  band.  In 
ll>e  year  ISOS  he  set  on  loo;  an  organ  exhibition 
at  Surrey  Chapel,  consisting  of  a  selection  of  airs 
chonises,  and  fugues,  from  various  authors,  per- 
formed pnbUcly  on  the  organ,  without  any  vocal 
accompaniment.  In  1809  he  and  .Samuel  Wes- 
ley united  in  an  organ  performance,  plaj-ing  alter- 


gations  to  S.  Wesley  for  his  friendship,  through 
which  he  became  nc({uaintcd  with  the  xvorks  of 
the  immortal  Sebanfian  Bach,  and  received  some 
of  the  most  useful  hints  and  instructions  in  his 
profession.  In  1811,  1S12,  and  ISlt,  thc.e  per- 
forinai\ces  were  rejieated,  when  Dr.  Crotch  played 
alternately  with  Jacob,  and  the  intere-.t  and  at- 
tendance was  as  marked  and  nuniero\is  lus  on  the 
preceding  occasion.  In  1809,  Jacob  opened  the 
organ  at  St.  Swithin's,  London,  built  by  (>ray. 
On  Easter  day,  1810,  he  opened  an  or^an  at  Cam- 
den Chapel,  Camberwcll,  built  by  Klliot.  In  1814, 
he  was  chosen  umpire  in  the  selection  of  an  organ- 
ist at  .St.  I'aul's,  Dcptford.  Thonnis  .Vdams  was 
then  cho-icn,  after  hearing  nineteen  candidates. 
In  1815  he  was  joint  umpire  with  Attwood  and 
Williams  lor  the  choice  of  an  organist  at  Lambeth. 
From  among  thirteen  candidates,  Warren  was 
chosen.  In  181.5  he  opened  the  organ  at  Christ- 
church,  Birmingham,  built  by  Elliot,  and  gave 
two  organ  performances  there,  for  which  he  wa.4 
specially  engaged  from  London  upon  very  liberal 
terms.  In  April,  1818,  he  was  made  umpire  at 
Crijiplegate  Church,  where  there  were  thirteen 
candidates  for  the  place  of  organist.  Miss  M. 
Ilorth  was  chosen.  In  1818,  at  the  Lent  orato- 
rios, at  Covent  Garden  Theatre,  Jacob  conduct- 
ed at  the  organ  and  i)iano-forte.  Ho  iierformed 
a  concerto  on  the  organ  nearly  every  niglit  :  the 
season  was  remarkably  successful.  In  October, 
1818,  he  was  elected  an  a.ssociate  of  the  Philhar- 
monic Society.  In  May,  1819,  he  recommended 
Mr.  Murdie  to  the  Philanthropic  Chajiel  :  upon 
the  death  of  Williams  he  was  chosen  by  the  ves- 
try. In  1819  he  also  recommended  J.  Turle  to 
ChrLstchurch,  Surrey,  who  was  elected  by  the 
parish.  In  18'21,  he  was  a|)])lied  to  to  nominate 
an  organist  to  Clapham  Church,  when  he  recom- 
mended Blackburn,  who  was  chosen  unanimous- 
ly. In  the  same  year  he  also  conducted  a  con- 
cert at  Hanover  Sqiiare,  for  the  bencllt  of  Mr. 
Hyde.  He  was  likewise  appointed  umpire  at  St. 
Bride's,  Fleet  .Street,  when  there  were  twenty- 
four  candidates  for  the  organist's  situation ;  six 
were  selected,  and  Mather  chosen  from  them,  by 
the  committee  of  the  vestry.  In  December,  182.3, 
Jacob  was  elected  one  of  the  court  of  assistants 
of  the  Uoyal  Society  of  Musicians.  He  fur- 
ther conducted  annually,  for  several  years,  a  con- 
cert at  Surrey  Chapel,  for  the  benefit  of  the  alms- 
hou.ses  belonging  to  that  place,  performing  the 
parts  of  the  band  on  the  organ,  c.\ce])ting  the 
double  tlrums  of  Mr.  Jenkin.son,  and  trumjiet  of 
Mr.  Haq)ur :  the  produce  of  thLs  concert  was 
about  £200  annually,  the  place  being  ahvayt 
crowded. 

His  very  extensive  engagements  as  a  t<<acher 
prevented  Jacob's  attention  tieing  much  turned  to 
composition  ;  he  has,  however,  produceil  the  tol- 
lowing  works  :  "  A  ."second  Volume  of  Tunes,  for 
the  U.se  of  Surrey  Chapel,"  partly  composed, 
partly  selected,  and  wholly  arrangeil  by  B.  Jacob ; 
"  Dr.  Watts's  Divine  and  Moral  Songs  as  Solo% 


459 


fAC 


ENCYCLOPAEDIA    OF    MUSIC. 


JAE 


Dnets  and  Trios,"  composed  by  Jacob;  "A 
jleo  for  two  Trebles  niid  IJnss,  '  Stay,  O,  stay, 
Ihou  lovely  shade,'  "  dedicated  to  Dr.  Arnold  ; 
"  A  Glee  for  Alto,  Tenor,  and  lJa<s,  '  Sure  not  to 
life's  short  span  confined  ; '  "  "  A  Canzonet,  '  Ma- 
ternal Tenderness;'"  "National  Psalmody,"  a 
?ollectiou  of  tunes,  with  approi)riate  symphonies, 
tor  the  use  of  the  church  of  England,  for  every 
Sunday  throughout  the  year,  harmonized,  ar- 
rnnsjcd,  adapted,  and  many  of  the  tunes  composed 
by  Jacob,  'lliis  has  become,  by  the  very  exten- 
sive ])atronage  of  the  bishops,  clergy,  and  parish 
officers,  a  standard  work  for  jjsalmody.  The  above 
are  the  oidy  works  which  Jacob  has  jirinted  :  he 
had  several  other  pieces  in  manuscript,  also  an 
"  Analytical  and  Analogical  Treatise  on  Thor- 
cugh  Bass  and  the  Principles  of  Uarmony." 

JACOni,  CONRAD,  a  director  of  music  at 
Dessau,  died  there  in  1811.  There  are  published 
some  instrumental  works  of  his  composition. 

JACOB!,  MICHAEL.  A  singer  at  Luneburg. 
He  performed  also  on  the  violin,  lute,  and  flute. 
His  publications,  consisting  chiefly  of  sacred  mu- 
sic, bear  date  from  1661  to  1663. 

JACOBI,  SAMUEL  FRANZ.  Conductor  and 
organist  at  the  Palace  Chtuch  in  Wittenburg  in 
1730. 

JACOniTUS,  PETRUS  AMICUS,  published 
at  Venice,  in  1589,  "  Moteiii  a  i,  5,  e  6  voci," 
Op.  1. 

JACOPONUS,  a  monk,  who  Uved  probably 
in  the  fourteenth  century,  is  the  author  of  the 
text  and  first  melodj-  to  the  "  Stabat  Mater  doloro- 
$n,"  which  has  since  become  so  celebrated  by 
the  compositions  of  Palestrina,  Pergolese,  Haydn, 
and  Rossini. 

J  AD  IN,  JEAN,  a  violinist,  published  at 
Brussels,  from  1777  to  1782,  five  operas  of  instru- 
mental music,  consisting  of  symphonies,  quatu- 
ors,  and  trios  for  the  violin. 

JADIN,  HYACINTHE,  son  of  the  preceding, 
was  a  celebrated  pianist  at  Paris,  and  a  professor 
of  his  instrument  at  the  Conservatory.  He  pub- 
lished much  vocal  and  instrumental  music  be- 
tween 1789  and  1799.  He  died  about  the  vear 
1800. 

JADIX,  LOUIS,  brother  of  the  preceding,  was 
very  eminent  at  Paris  as  a  pianist  and  coraiMscr, 
and  was  also  a  professor  of  his  instrument  at  the 
Conservatory.  He  wrote  the  music  of  several 
comic  operas,  and  also  composed  many  romances 
and  much  instrumental  music  between  the  years 
1796  and  1810.  Among  his  operas  are  "  L'llcti- 
reujc  Stratan^mi;"  in  two  acts  ;  "  Ac  Porfvail,"  in 
two  acts,  1790;  "  Mahnmct  II.,"  in  three  acts, 
1803  ;  the  above  were  j)erforraed  at  the  Acade- 
my of  Music  ;  "  Le  Mariane  dc  l<i  ]'irille,"  in  one 
act,  1790;  "Candas,"  in  three  act.s,  1798;  "Jean 
Bart  i  "  "  liiise  coiitre  liii.ie  ;  "  "  Pnrcoinignac  ;  " 
"  Le  iraiid  Pfre,"  in  one  act,  180.5  ;  and  "  La  Pnr- 
tif  de  Cniiipar/iu;"  in  two  acts,  1810.  The  last 
seven  were  performed  at  the  TheAtre  Feydeau. 

JAECJER-CHOR,     (G.)     Hunting  chorus. 

JAEUKR,  JOH.VNN,  a  violoncellist  to  the 
Margrave  of  Anspnch,  was  born  in  17  t.5.     In  his 


youth  he  was  ui  the  service  of  the  court  of  Hol- 
land, as  perfonner  on  the  hautboy  and  horn. 
From  thence  he  went  to  Wurtemburg,  wherq 
through  tlic  instructions  of  Jomelli,  Decler,  and 
Seenian,  he  arrived  at  a  high  degree  of  eminence. 
In  the  year  1802,  he  retired  to  Breslau  on  a  pen- 
sion from  the  margrave. 

JAEGER,  JOIIAN.X  ZACHARIAS  L.,  son 
of  the  preceding,  and  born  at  Anspach  in  1777, 
was  only  eleven  years  of  age  when  he  was  named 
chamber  musician  and  violoncellLst  in  the  chapel 
of  the  Margrave  of  Anspach.  When  scarcely 
nine  years  old,  he  could  perform  solos  on  the  vio- 
loncello with  admirable  rapidity,  precL^ion,  and 
firmness.  In  1787,  his  father  went  with  him 
to  Berlin,  when  the  Queen  of  Prussia  was  so  de- 
lighted with  the  boy's  performance,  that  she 
wished  to  engage  him  for  her  chapel ;  and  on  the 
father's  e.'ipressing  a  desire  that  his  son  should 
remain  with  him  at  Anspach,  the  queen  settled 
a  pension  on  the  child  of  about  twenty  pounds  a 
year,  which  was  much  increased  by  a  gift  from 
the  margrave  on  his  return  to  .\nspach. 

JAELL,  ALFRED,  was  born  the  5th  of  March, 
1830,  at  Trieste,  where  his  father  had  removed, 
after  a  long  residence  in  Vienna,  where  he  had 
been  distinguished  as  a  violinist  and  leader  of  an 
orchestra.  At  Trieste  he  established  a  school  for 
music,  under  the  jiatronage  of  the  government. 
Ole  Bull  happened  to  pass  a  few  months  in  this 
city.  The  little  Jaell,  who  had  scarcely  left  his 
cradle,  heard  him  jilay,  and  his  delight  was  such 
that  he  begged  for  a  violin  with  the  same  eager- 
ness and  impatience  that  other  children  would 
have  asked  for  a  plaything.  The  instrument  was 
given  to  him,  and  at  three  year's  old  he  executed 
the  most  astonLshmg  and  difficult  feats,  auer  the 
manner  of  the  Norwegian  violinist.  Soon  after, 
his  father  commenced  his  musical  education,  and 
at  six  years  old  he  played  perfectly  the  concertos 
of  Rode,  Beriot,  and  Mayseder.  l"he  young  Jaell 
fell  dangero\isly  ill ;  his  convalescence  was  long 
and  tedious,  and  he  was  forbidden  by  lus  ])hysi- 
cians  to  ])ursue  the  study  of  the  violin.  To  di- 
vert himself,  the  child  begged  to  be  placed  at 
the  piano.  His  wish  being  gratified,  he  amused 
himself  by  playing  upon  it  for  hours  together, 
without  advice  and  without  a  master.  His  pro- 
gress was  so  rapid,  that  in  a  journey  to  Klagen- 
furth,  where  he  went  to  rcCstablisli  his  health, 
he  executed  upon  the  piano  a  piece  of  Assmayer, 
with  orchestral  accompaniment,  in  a  concert  given 
by  his  father.  In  1813,  at  the  age  of  twelve,  he 
visited  Italy,  and  performed  at  Venice,  at  the 
Theatre  San  Benedetto,  between  the  acts.  A 
concert  was  given  at  the  same  theatre,  the  pro- 
ceeds of  which  he  shared  equally  with  the  man- 
ager. He  there  played  the  Faniaisie  sur  M>ise  of 
Thalberg,  the  lierjntta  of  Liszt,  and  a  study  of 
Dohler.  At  Milan,  and  afterwards  at  Vienna, 
(where  the  celebrated  Czeniy  expressed  the  great- 
est interest  in  him,)  Alfred  Jaell  excited  the  same 
suqirise  and  admiration  as  at  Venice,  and  created 
a  perfect  tiiror  wherever  he  stopped  in  his  tout 
through  (iermany.  In  Januarv-,  1847,  he  went 
to  Paris,  strongly  recommended  by  Liszt,  and 
was  found  to  possess  talents  far  beyond  his  years, 
and  to  be  lus  extraordinary  as  Liszt  himself  at  the 
same  age.  His  playing  was  full  of  fire,  elegance, 
expression,  and  genius.  At  the  concert  of  the 
Gazette  MtaioaJe  for  January,  1817,  he  performed 


480 


I 


J  AE 


ENCYCLOPAEDIA    OF    MUSIC. 


JAM 


Thalberg's  FantaLsie  upon  "  Dan  Juan  ;  "  n  study 
of  diaries  Mayer's ;  the  caprice  of  Willmcrs, 
"  PoiH/Hi  ili  FfsUi,"  with  the  sell'-poHsession,  the 
calm  and  lire,  whicli  distintcuish  tlie  true  artL-it. 
The  skill  and  genius  shown  in  the  liead,  eye,  car- 
riajie,  and  Knj;ers  of  tliLi  hoy  were  truly  extraor- 
dinary. In  March  of  the  same  year,  he  gave 
thiee  cone9rts  with  Kruger  and  Oshonie,  in  the 
rooms  of  Li-ard,  where  it  was  remarked  hy  the 
critics  that  he  jwssessed  the  rare  and  ditficult 
power  of  singing  upon  his  ])iano.  At  these  con- 
certs he  jdayed  the  Fantaisie  of  Thalberg  upon 
themes  from  Massaniello,  and  gave,  in  a  charming 
manner,  the  studies  of  Woltf  and  Doliler,  "  La 
Chas'<e"  of  Heller,  and  the  "Dance  of  the 
Sylphs,"  of  Rosenheim.  At  Hrussels,  he  gave  a 
2oncert  in  July,  1817,  at  which  he  played  no  less 
than  nine  pieces.  Here,  as  every  where  else,  liLs 
prodigious  mechanism  elicited  unbounded  ap- 
pla.ise.  In  December  he  jjerfonned  at  the  first 
winter  concerts  of  the  Philharmonic  Society  of 
Brussels,  wliere  he  was  crowned  by  universal  ac- 
clamation. 

After  Jaell  had  given  a  series  of  concerts  and 
classical  soirees  bi  Bru.s>els,  he  went  to  Antwerj), 
where  he  also  gave  concerts  entirely  without 
other  assistance,  and  in  the  last  ])erformance  was 
greeted  with  houquet.s  and  wreaths  from  the  en- 
thusiastic audience.  Thence  he  returned  to  Hol- 
land, where,  during  the  first  period  of  the  French 
revolution,  he  gave  successful  concerts.  He  then 
left  for  Frankfort  on  the  Maine,  and  during  the 
Reieh.itdifs  period,  also  gave  concerts  both  in  the 
city  and  surrounding  places.  Thence  he  started 
for  Antwerp,  with  the  intention  ot  embarking  for 
America ;  but  the  sudden  and  serious  illness  of 
his  father  prevented  this,  and  returning  to  Brus- 
sels, he  gave  a  series  of  concerts  there,  and  in 
other  cities  of  Belgium,  in  which  he  was  assisted 
by  the  celebrated  violinist  H  Leonard.  During 
the  summer  Jaell  gave  several  concerts  for  the 
poor  in  Brussels,  and  the  president  of  the  Phil- 
harmonic Society  unexpectedly  presented  him, 
at  one  of  these  concerts,  with  a  very  handsome 
medal.  On  the  Ist  of  September,  1819,  Jaell  lost 
his  father  in  Brussels  ;  he  then  passed  some  time 
in  Ostend,  to  recover  from  this  severe  atHiction, 
but  in  December  went  thence  to  Brus,«cls, 
giving  another  concert,  and  thence  to  Paris. 
Here,  on  the  .5th  of  May,  he  gave  a  grand  con- 
cert in  ^rard's  Saloon,  in  which  he  was  assist- 
ed by  the  principal  singers  of  the  Italian  and 
Great  Ojxra,  as  also  by  the  violoncellist  Demunck, 
anil  by  his  friend  (iottschalk,  with  whom  he 
played  a  piece  for  two  pianos.  Jaell  was  recalled 
after  every  piece,  and  had  to  repeat  several :  it 
may  be  mentioned,  that  the  pieces  which  met 
with  the  greatest  success  were  Thalljerg's  "  !-tiim- 
me  roil  Poriiri,"  Jacll's  "  Caprice  uber  Ijomharilie  " 
and  his  "  Xnctiime,"  a  "  SUilifitni;"  hy  llavina, 
and  also  "  Le  Ihmanier,"  (a  negro  dance,)  b)- 
Ciotts(  halk.  Jaell  played  attcrwards  at  a  grand 
court  concert  at  the  Elysee,  tor  Louis  Napoleon. 
After  many  subsetjuent  performances  in  Paris,  he 
went  to  London,  ai\d  thence  to  Brussels,  where 
he  performed  several  times  in  company  with  De- 
munck, with  whom  he  also  gave  concerts  in  Os- 
tend, liand,  Mons,  and  other  cities  of  Belgium. 
Itence  he  went  to  Aix-la-Chapelle,  xvhere  he 
performed  several  times  alone,  and  also  in  com- 
pany with  Miska  Hauser,  the  violinist,  so  well 
known  in  this  country.    He  then  lett  for  Vienna, 


in  which  city,  as  also  in  Oratz  and  Triwte,  h« 
gave  public  pcrfonnances.  A  writer  in  a  Vicmna 
journal  (a  city,  by  tlie  way,  of  distinguinlied  i)iaii- 
ists  —  in  fact,  the  ])iano  sr/iiiol  of  Kurojie)  thus 
writes  alwut  one  of  Jaoll's  performancet  :  "  In 
the  concerto  by  Mendelssohn,  Jaell  showed  a 
truly  towering  talent.  I  have  only  a  single  wish 
—  cither  to  hear  this  concerto  again  from  Jaell,  or 
never  to  hear  it  by  another.  I  have  twice  heard 
Liszt,  and  am  free  to  say  that  he  did  not  car- 
ry me  away,  as  did  Jaell.  What  must  we  con- 
clude from  this  —  what,  at  least,  do  /  conclude  ? 
As  far  as  comparisons  may  avail,  that  Jaell  is  one 
of  the  greatest  pianists  now  living."  lliis  is  cer- 
tainly j)roof  that  Jaell  is  as  much  at  homo  in  clas- 
sic as  in  modern  music.  'Iliencc  ne  went  to 
Presburg,  and  gave  several  concerts  for  liimself, 
and  several  for  the  jmor  of  the  city  ;  he  then  left 
for  Peith  and  Olen,  in  which  cities  he  gave  con- 
certs in  the  public  theatres,  'llie  Hungarian  la- 
dies were  so  enthusiastic  about  Jaell,  that  on  one 
occasion,  when  a  string  of  his  piano  broke,  they 
possessed  themselves  of  the  pieces,  and  had  them 
wrought  into  brooches  and  bracelets,  as  sovivenirs 
of  the  artist  !  llie  following,  however,  ajiiiearcd 
in  a  Pesth  journal  :  "  In  conse<iuenee  of  Jaell's 
])erforming  a  Hungarian  march,  he  was  ordered 
by  the  authorities  to  leave  the  city  in  twenty- 
four  hours,  and  was  not  even  allowed  to  give  a 
concert  which  had  already  been  announced."  It 
may  be  adde<l,  that  Jaell  received  peniiistion  from 
the  authorities  to  play  this  march,  but  as  the  en- 
thusiasm was  unexpectedly  great,  the  police  told 
him  coolly,  that  had  he  not  asked  permission  he 
would  have  been  imprisoned  —  as  it  was,  he  must 
immediately  disappear  from  the  place.  He  left, 
but  in  a  city  not  far  distant,  gave  several  charitable 
concerts  for  the  Hungarian  poor.  Jaell  then  went 
to  ^'enice  and  Trieste,  where  he  gave  two  fare- 
well concerts.  \  Venice  critic  wrote  of  his  per- 
formance, "Jaell  is  difficult  to  reach,  but  impos- 
sible to  surpass."  .(Vltcr  passing  some  weeks  en 
famiUe  in  Trieste,  he  went  through  Vienna,  Leip- 
sic,  Antwerp,  and  Ix)ndon  to  I^iverpool,  where 
he  embarked  by  steamer  for  the  United  States. 

JAIIX,  AVGU.ST  WILHELM  FRIEDIIICH, 
bom  at  Amstadt  in  the  year  178",  was  considered 
an  excellent  pianist,  and  also  a  good  perlormer 
on  the  violin,  violoncello,  flute,  and  hautboy. 
He  published,  in  ISOl,  "■  Musikaliacher  Uhnnen- 
tlraii-1  he-itfh-'n'l  in  Mflrxchen,  Meniielien,  Anijhiaen, 
i(C.,/hr  dm  Ktarier."  He  printed  idso  at  Ix>ipsic, 
in  1783,  "Six  Sonatas  for  the  Harj)sichord." 

J.VILT.VOE.  This  is  the  name  of  the  onlj 
musical  instrument  of  Tartary.  It  consists  of  a 
box  of  fir,  about  four  feet  long  and  three  inches 
broad,  the  upper  part  of  which  is  open,  over 
which  six  wire  strings  are  stretched.  Ills  played 
on  %vith  both  hands,  but  chiefly  with  the  left ; 
and  produces  both  treble  and  bass.  To  tunc  this 
instrument  the  Tartars  place  a  bridge  under  each 
of  the  strings,  and  then  shift  its  place  till  the 
necessary  pitch  is  obtained.  Their  melodies  are 
similar  to  those  of  the  Kalmuclu;  and  eo  m 
their  dances. 

J.VLEME.  Tlie  song  of  lamentation ;  so  called 
by  the  ancient  Greeks. 

J.VMES  I.  On  the  accession  of  Jame*  I.  to 
the  throne  of  England,  the  polite  arts  did  not 
make   any  very  rapid  progreaa,  though  Hiuio,  in 


461 


fAM 


ENCYCLOPEDIA    OF    MUSIC. 


JAP 


the  time  of  hb*  iinfortunntc  mother,  no  doubt  in- 
troduced much  improvement  in  the  nntional  mu- 
sic of  Scotland  ;  yt-t  wo  lind  Jiimes  neither  from 
birth  nor  cducntioii  taking  much  pleasure  in 
muhic.  Enrly,  however,  in  his  rci;;n,  the  gentle- 
men belonging  to  the  Chnpei  lioyiil  obtained  un 
incrensc  ot  ten  pounds  to  their  annual  stipend, 
80  that  the  king  showed  himself  desirous  of  en- 
couraging the  sons  of  hanuony.  Hut  anthems, 
masques,  madrigals,  songs,  and  catches  seemed 
to  comprise  the  whole  of  the  vocal  music  at 
that  time,  either  for  the  church,  the  stage,  or  the 
private  conceit,  to  which  may  be  added  instru- 
mental j)roductions  styled  fuitcies,  corai)osed 
chiefly  for  lutes  and  viols ;  they  were  very  in- 
iii])id,  and  me  lovers  of  good  music  can  never  feel 
J}eir  loss. 

We  are  told  by  Kiccobini  that  James  I.,  on  his 
coming  to  the  throne  in  1603,  granted  a  Ucense 
to  a  company  of  players,  in  which  interludes  ore 
included ;  but  an  interlude  then  was  only  an- 
ither  word  for  a  Jilay.  Masques  were  not  men- 
tioned in  the  patent ;  they  were  performed  in  the 
Louses  of  the  nobility  on  very  festive  occasions, 
the  machinery  and  decorations  being  too  expen- 
sive for  the  theatres.  Indeed,  the  characters  were 
generaUj-  represented  by  the  first  personages  in 
the  kingdom  ;  when  at  court,  the  king,  the  queen, 
and  princesses  of  the  blood  often  jierfonned  in 
them.  He  gave  an  act  of  incorporation  to  the 
musicians  of  London.  It  appears,  however,  not 
to  have  had  a  good  effect,  as  it  has  ever  been  lield 
in  derision  by  the  best  musicians  of  that  city. 

JAMES,  JOIIX.  An  organist  and  composer 
for  his  instrument  in  London.  He  died  about 
the  year  1745.  The  style  of  his  compositions  was 
dignitied  and  scientific,  but  only  three  of  his  vo- 
cal pieces  were  published. 

JAX,  M.  DAVID.  A  Dutch  composer  at  the 
beginning  of  the  seventeenth  century.  He  set  the 
one  hundred  and  fifty  psalms  of  David  to  raiusic 
for  4,  5,  6,  7,  and  8  voices,  which  he  publLshed  at 
Amsterdam  in  the  year  1600. 

JAXI,  JOHAXX,  a  composer  and  court- 
organist  at  Aurisch,  in  Germany,  died  in  1728. 

JAXIEVICS.     See  Yaxiewicz. 

JAXITSCH,  AXTOX.  A  ^-iolinist  and  com- 
poser for  his  instrument  belonging  to  the  orches- 
tra of  the  theatre  at  Hanover,  in  the  latter  years 
of  the  seventeenth  century. 

JAXITSCH,  JOHAXX  OOTTLIEB,  chamber 
musician  and  ])erlorracr  on  thedouhle  ba.ss  to  the 
court  of  l'ru,s.sia,  was  born  at  Schweidnitz,  in  Si- 
lesia, in  1703.  He  composed  ten  works,  can- 
tatas, sercnatas,  and  funeral  music,  during  tlie 
period  of  his  residence  at  the  University  of  Frank- 
fort on  the  Oder.  He  ^^TOfe  also  several  qiui- 
tuors  in  the  style  of  Graun,  which  were  printed 
at  Berlin  about  the  year  1760.  Among  hLs  other 
compositions  are  a  "  Te  Deiini,"  and  music  (ui  the 
occasion  of  the  coronation  of  the  King  of  Swe- 
den. 

JAXXEQUIN,      CLEMENT,    a     celebrated 


Licre  des  Chatuona,  conienant  la  Battaile  A  guatre  d« 
Clenumt  Jannequin,  avec  la  cinquiesme  I'nrtie  (U 
I'liilippe  I'erdelot,  si  placet,  et  deux  C/iatses  du 
Liccrc  a  quatre  Parties  et  Ic  ChaiU  des  Oi/seaux  d 
trois,"  Antwerp,  1.545.  One  of  Jannequin'8 
pieces  was  a  description  of  a  battle  which  was 
fought  between  the  French  and  Swiss  armies  in 
15 1.),  and  la.sted  two  days.  There  are  in  it  several 
movercentj<,  in  which  the  noise  and  confusion  of 
a  battle  are  described,  together  with  the  sound 
of  puns,  trumpets,  fifes,  and  drums.  He  also 
wrote  music  in  imitation  of  birds,  which  was  ear- 
lier than  it  wa-s  attempted  in  England. 

JAXSEX,  HEXUY,    born    at  the  Hague  in 

1741,  translated  into  French,  from  the  English 
and  German,  numerous  works  on  the  arts,  among 
which  is  one  from  the  writings  of  Engel,  entitled 
"  Siir  la  I'einture  en  Musiyue,"  UerUn,  1780. 

JAXSOX,  J.  B.  A.  J.,  bom  at  Valenciennes  in 

1742,  was  a  violoncello  pupil  of  Berthaut.  He 
fii-st  perfonned  at  the  concert  spirituel  in  1766.  In 
the  following  year  he  accompanied  the  hereditary 
Prince  of  Brunswick  to  Italy,  where  his  talents 
were  highly  e.iteemed.  He  returned  to  Paris  in 
1789,  and  was  nominated  a  professor  of  the  Con- 
servatory in  1795.  He  published  several  trios, 
quatuors,  sonatas,  and  concertos  for  hLs  instru- 
ment.    He  died  in  1803. 

JAXSOX,  L.  A.  J.,  brother  of  the  preceding, 
was  also  a  violoncellist  of  great  eminence.  He 
was  admitted  in  the  orchestra  of  the  Academy  of 
Music,  at  Paris,  in  1789,  which  situation  he  still 
held  in  1800.  He  also  published  much  music  for 
his  instrument. 

JAX  US,  JOHAXX,  published  at  Bremen, 
after  the  decease  of  Luder  Knop,  in  \'W1,  the 
"  Swan  Song  "  of  this  latter  composer,  together 
with  some  allemandes  and  courantes. 

JAXUS,  MAllTIX,  was  considered  one  of  the 
best  composers  of  simple  melodies  of  the  age  in 
which  he  lived.     He  died  about  the  year  1660. 

JAPAXESE  MUSIC.  In  Japan  the  people 
have  a  kind  of  music,  which  Is  not  very  hannoni- 
ous.  They  have  but  few  musical  instruments ; 
and  that  most  used  among  them,  and  which  they 
are  most  taken  with,  is  a  kind  of  lute,  the  belly 
of  which  Is  above  a  foot  square,  with  a  long  and 
narrow  neck,  being  made  only  for  four  strings, 
which  are  usually  of  silk,  and  struck  with  a  i)eg 
of  ivory  about  the  size  of  a  man's  finger.  They 
sing  to  it,  but  the  Japanese  voice  is  as  unharmo- 
nious  as  the  sound  of  the  instrument. 

JAIUJOX,  or  JAll.  A  term  apphed  to  the 
effect  resulting  from  the  union  of  two  or  more 
sounds  mutually  at  variance.  The  sum  of  a  con- 
fused multitude  of  different  sounds,  whose  undu- 
lations being  inconcinnous  and  contrary,  discon- 
cert and  distract  the  sense. 

JAUXOWICK,  or  GIORXOVICKI,  GIO- 
VAXXI  MAXE,  born  at  Palermo  in  1745, was  the 
favorite  violin  pupil  of  the  celebrated  LuUi,  and 
first  performed  in  ptiblic  at  the  Concert  Sjiirituel^ 
in  Paris,  choosing  for  his  dihul  the  sixth  concerto 


French  composer,  flourished  about  the  year  1510    j  by  his  master.     It  is  said  that  he  was  not  at  first 


Amongst  his  works  arc  "  Vinrit-ijnalrc  Chanxou.^  a 
fiiafre  VnLr,"  Paris,  1533;  "Chansons,"  Paris, 
1637 ;  "  Canzoni  Francrsi  d  4  loci,"  Venice, 
lfi38;  "  Inrentiont  Musicales  pour  qruUre  et  cinq 
Yoiz,"    Pari)   and    Lyons,  L644  ;     "  Le   dixiesnu 


successful,  but  nothing  could  disconcert  him,  and 
he  soon  al'tcrwards  played  his  own  first  concerto 
in  la  major,  in  which  he  obtained  the  greatest 
applause.  During  ten  years,  the  style  of  Jamo- 
wick  was  in  fashion  at  Paris.     Correctness,  purity 


462 


JAS 


ENCVCLOPJEDIA    OF    MUSIC. 


JEN 


of  tone,  and  elefjanoo  chnrncterized  this  skilful 
violinist ;  but  he  was  deficient  in  vigor  of  tone  and 
sensibility,  his  staccato  had  little  brilliancy,  and, 
above  all,  his  graces  wanted  science  and  dexteri- 
ty. Thus  the  celebrated  Lamotte,  a  (icrinan 
violinist,  who  possessed  the  qualities  which  Jar- 
nowick  wanted,  shared  equally  with  him  the  ap- 
jilause  of  the  jnihlic.  Circumstances  having 
obliged  Jarnowick  to  (juit  France  about  the  year 
17S0,  his  situation  was  filled  by  Viotti,  whose 
eminent  talonts  soon  caused  his  predecessor  to  be 
forgotten.  Jarnowick  next  proceeded  to  I'russia, 
where,  in  178J,  he  was  engaged  as  first  violin 
in  the  Royal  Chapel  of  Potsdam.  In  170'-',  we 
find  him  in  London,  where  he  played  at  all  the 
great  concerts  till  the  year  179G,  when  the  well- 
knowni  dispute  took  place  between  him  and  J.  B. 
Cramer,  which  terminated  in  the  loss  of  Jarno- 
wiek's  popularity  in  that  country.  He  next  pro- 
ceeded to  Hamburg,  where  he  resided  several 
years,  and  then  returned  to  Berlin,  which,  after 
a  short  residence,  he  again  quitted  for  St.  Peters- 
burg. In  that  city  he  died  of  apoplexy,  in  the 
year  1804.  The  following  anecdotes  arc  related 
of  this  singular  character.  On  his  journey  to 
Lyons,  he  once  announced  a  concert  at  six  francs 
a  ticket,  when,  no  company  arriving,  he  resolved 
to  be  revenged  on  the  avarice  of  the  Lyoncse,  and 
postponed  the  performance  to  the  following  even- 
ing, changing  the  price  of  the  tickets  to  three 
francs.  A  crowded  audience  was  the  conse- 
quence ;  but  at  the  moment  the  concert  was 
about  to  commence,  they  were  given  to  under- 
stand that  Jarnowick  had  suddenly  taken  i)ost- 
horses  and  quitted  the  town.  Another  time, 
being  in  the  music  shop  of  Bailloux,  Jarnowick 
accidentally  broke  a  pane  of  glass.  "  Those  who 
break  windows  must  pay  for  them,"  said  Bail- 
leux.  "  Bight,"  replied  the  other;  "  how  much 
is  it  ■ "  "'lliirty  sous."  "There's  a  three  franc 
piece."  "  But  I  have  no  small  change."  "  Never 
mind  that,"  replied  Jarnowick,  "  we  are  now 
quits,"  and  immediately  dashed  his  cane  through 
B  second  square.  He  often  (luarrdled  with  the 
Chevalier  de  St.  (.ieorges,  who  was  a  good  vio- 
linist, but  more  celebrated  swordsman.  One  day, 
in  the  heat  of  their  dispute,  Jarnowick  boxed  the 
ears  of  St.  tieorges,  who  contented  himself  with 
coolly  obsen'ing  to  a  third  party  who  was  pres- 
ent, "  Saimc  trop  son  talent  pour  me  baUre  avec  lui ;  " 
I  admire  his  tnlents  too  much  to  fight  him. 

JASPER.  A  composer  of  some  sonata.s  for 
the  pip.no-forte  and  violin,  published  at  Mentz 
between  the  years  1794  and  1797. 

JASSOU,  JOA.  AND.  Author  of  a  work  en- 
titled "  Dc  Cantoribiis  Ecclrs.  Vet.  et  Novi  Testa- 
nienti,"  published  at  Ilchustadt  in  1708. 

JAST,  F.,  a  dramatic  composer  at  Vienna, 
brought  out  several  operettas  and  ballets  in  that 
city  about  the  year  1790. 

JAY,  DR.  JOHN,  was  sent  to  the  continent  in 
eaily  life,  after  having  received  the  first  rudi- 
ments of  a  musical  education  under  John  Hind- 
marsh,  who  at  that  time  was  one  of  the  first  vio- 
Un  jilaycrs  of  the  age ;  and  secondly,  under 
Francis  Phillip?,  whose  great  talents  as  a  per- 
former on  several  instruments,  and  as  a  composer, 
are  well  remembered.  In  the  year  1800,  Dr.  Jay 
•cttled  in  London,  and  after  the  midsummer  va- 


cation, in  the  samt  year,  was  engaged  by  Mrs, 
Cannon,  of  Little  Chelsea,  as  resident  instructor 
in  mu..ic  of  the  young  ladies  at  her  seminary.  In 
the  year  1809,  he  received  a  bachelor's  degree  in 
music  from  the  University  of  Oxford,  and  at  the 
installation  of  his  royal  highness  the  Duke  of 
Gloucester,  he  was  honored  with  a  doctor's  de- 
gree from  his  royal  highne.s's  own  hands.  ^Ve 
should  further  observe,  that  Dr.  Jay  was  an  hon- 
orary member  of  the  Uoyal  Academy  of  Music, 
where  his  eldest  daughter  was  a  student,  and  a 
fine  performer  on  the  harp.  She  received  a 
medal  from  the  hands  of  Prince  Leopold.  Dr. 
Jay's  second  daughter  was  also  a  fine  piano-fortfl 
performer. 

List  of  Dr.  Jay's  principal  works :  "  Air  by 
Fontaine,  with  Introduction  and  Variations;" 
"  Hungarian  Duet  for  two  Performers  on  the 
I'iano-torte  ; "  "  Di  tanti  palpiti,"  duct  for  two 
performers  on  the  piano-forte ;  "  Portuguese 
Air;"  "  lluee  Sonatas;"  "Grand  Overture," 
&c.,  &c. 

JEEP,  JOIIANN,  a  composer  in  the  early  part 
of  the  seventeenth  century,  was  born  in  the 
Duchy  of  Brunswick.  He  published  "  Gei.ftlicht 
l's(tlin<.'n  nnd  Kirchen  Gcstlng  D.  M.  Lut/urs  und 
aitderer  frommen  Christen  niit  4  Siinmcn  de/n  CKo' 
ral  nach  componirt  (lurch,"  &c.,  Nuremberg,  1607; 
"  ^tudenten  GOrtleins,  Krster  Tlwil ;  Instiijer  Lied- 
leiii  init  3,  4,  und  5  Stimmen,  zii  sintjen  und  zu 
spielen,"  Nuremberg,  1(507,  1614,  and  1617. 

JELICH,  VINCENTIUS,  a  countrapuntist 
of  the  seventeenth  century,  published  at  Stras- 
burg  the  Jollowing  three  works  :  "  I'armiisia  mi- 
litia Concertuum  \,  '2,  3,  et  4  coctim,"  IG'23  ;  "  Ari- 
on  Primus,"  1628.  This  work  contains  twenty-one 
liatin  motets  lor  one,  two,  three,  and  four  voices. 
And  lastly,  "  Arion  Sicandics,"  1028,  containing 
psalms  for  vespers,  arranged  for  four  voices. 

JELIOTTE,  PIERRE,  a  celebrated  counter- 
tenor singer,  born  at  Beam.  He  performed  at 
the  Academy  of  Music  in  Paris,  in  1752,  and  re- 
tired with  a  pension  in  175.).  He  brought  out  at 
Versailles,  on  occasion  of  the  marriage  ot  the 
daui)hin,  father  ot  Louis  XVI.,  in  174.i,  a  ballet 
entitled  "  Zelisea,"  which  had  great  success.  La 
Borde  states,  that  Jeliotte  composed  a  great  num- 
ber of  delightiul  songs.  He  died  in  a  state  of 
great  poverty,  subseciuently  to  the  year  1730. 

JENKINS,  JOHN,  a  native  of  Maidstore,  in 
Kent,  and  born  in  the  year  1592,  was  a  celcbrat*>l 
composer  of  music  for  viols  in  the  reigns  ol 
Chailes  I.  and  U.  His  compositions  are  chiefly 
fanta.sias  in  five  and  six  parts,  several  of  which 
have  been  greatly  admired.  He  was  also  the 
author  of  many  single  songs,  of  which  there  aie 
some  specimens  in  Smiths  "  .Ui(.si<n  Antiqua  ;  " 
and  he  set  to  music  some  part  of  a  poem,  written 
by  Edward  Benlowcs,  and  entitled  "  Theophila, 
or  Love's  Sacrifice  "  He  also  comjMisetl  ••  Twelve 
Sonatas  lor  two  Violins  and  a  Bass,  with  a 
Thorough  Bass  for  the  Organ,"  which  were 
printed  in  London,  about  the  year  lijtiO,  and  re- 
printed at  Amsterdam,  in  1664.  These  were  the 
first  compositions  of  the  kind  tliat  had  been  pub- 
lished in  England. 

John  Jenkins  was  the  author  of  the  foUcwini; 
Round,  which  has  long  outlived  liim. 


4G2 


JEN 


ENCYCLOPEDIA    OF    MUSIC. 


JOM 


To    laogh,  and  quaff,  luid  drink  good  iher  - 17. 


During  the  time  of  Cromwell,  Jenkins  left 
London,  and  passed  his  time  with  such  families 
as  were  loud  of  music,  who  were  ^lad  to  have 
him  with  them,  aiul  most  of  whom  kept  a  cham- 
ber specially  for  him,  called  Jenkins's  chamber. 
Most  of  his  early  and  lively  works  are  lost  — 
those  remaining  were  composed  while  he  lived 
in  country  families.  The  following  epitaph  was 
written  soon  after  liis  death. 

"John  JoTikinf,  though  you've  cnwfcd  the  ferry, 
Wf  yet  dt»  «iiig  your  rounil.  so  merry, 
We'n?  Rliirt  we  Itnow  you,  Jenkinii,  very, 
We'r«  Kind  you  were  poo<I-he«rted,  deary, 
That  vou  could  take  lift-'i  ill*  •<►  cheery. 
And  Jle  in  peace,  when  old  and  weary. 

lie  died  in  the  year  1G78,  at  the  great  age  of 
eighty-six  years,  and  has  been  spoken  of  by  sev- 
eral musical  writers  in  terms  of  great  respect. 
Wood  says  of  him,  "  that  he  was  a  little  man  with 
a  great  soul." 

JENSEN,  W.  G.  M.,  published  at  Konigs- 
berg,  in  1800,  "  15  Deutsche  LUder  mit  BeglcUung 
del  Klavicr." 

JEROME  BE  MORAVIE.  A  musical  writer, 
about  the  year  I'ifiO.  He  resided  during  some 
time  at  Paris,  at  the  Convent  of  Saint  Jacques, 
■where  he  wrote  a  treatise  "  De  Musica." 

JESTER,  a  native  of  Berlin,  composed,  about 
the  year  1799,  an  operetta  called  "  Ver  iVumleri- 
gel." 

JE"\\Tr,  RANDOLPH.  An  EngUsh  musi- 
cian, and  pupil  of  Orlando  Gibbons.  He  was,  at 
first,  organist  in  Dublin,  which  city  he  quit- 
ted for  England,  in  1639,  having  obtained  the 
situation  of  organist  at  Wijichester,  where  he 
died. 

JEWS  HARP,  or  TROMP  DE  BEARN.  The 
form,  size,  and  character  of  this  insiguiticant  in- 
strument are  well  known.  It  is  held  between 
the  teeth,  which  gives  a  sound  by  the  motion  of 
a  sjiring  of  iron,  which,  being  struck  by  the  hand, 
plays  against  the  breath.  Contemptible  as  thus 
little  instrument  may  seem  to  those  who  are  ac- 
quainted with  sujierior  instruments,  it  is  the  only 
one  practised  by  the  ingenious  and  simple  in- 
habitants of  St.  Kikla,  and  fo:ms  the  constant 
accompaniment  to  the  perforainnce  of  their  lyric 
poetry.  It  would  seem  to  take  its  name  from  the 
nation  of  the  Jews,  and  it  is  vulgarly  believed  to 
be  one  of  their  instruments  of  music.  But,  upon 
inquiry,  you  will  not  find  any  such  instrument 
as  this  described  by  the  authors  that  treat  of 
Jewish  music.  Except  with  the  people  of  St. 
Kilda,  it  is  a  mere  boy's  plaything,  and  incapa- 
ble, of  itself,  of  being  joined  cither  with  a  voice 
or  any  other  instrument;  and  we  conceive  the 
present  orthograi)hy  to  be  a  corrui)tion  of  the 
French  jeu  tromjH-,  a  trum])  to  play  with.  And 
in  the  liclgic  or  l/ovt  Dutch,  trom  whence  come 


many  of  our  toys,  a  frump  is  a  rattle  for  children. 
Sometimes  they  will  call  it  a  Jcirs  harp ,-  and  an- 
other name  given  it  is  Jaws  harp,  because  the 
place  where  it  is  played  upon  is  between  the 
jaws. 

JIG.  A  light,  brisk  movement,  generally  con- 
sisting of  six  quavers  in  a  bar. 

JINGLES.  Those  pieces  of  tin,  or  other 
metal,  which  are  placed  round  a  tambourine. 

JOANELLI  BERGAMENSIS  DEGARDI- 
NO,  I'ETRUS,  a  contrapuntLst  of  the  sixteenth 
century,  published  at  Venice,  iu  1.5fi8,  "  Thesau- 
rus Musicus,  for  four,  live,  six,  and  eight  voices." 

JOANNES  DAMASCENUS.  A  celebrated 
church  composer  in  the  first  half  of  the  eighth 
century.  He  died  in  700.  He  resided  chiefly  at 
a  convent  in  Jerusalem. 

JOANNES,  PADUANUS,  published  at  Ve- 
rona, in  1578,  a  work  entitled  "  ItislUutiones  Mu- 
sieee." 

JOANNES,  SALESBERIENSIS,  a  native  of 
Salisbury,  in  England,  in  1110,  wa.s  a  doctor  of 
divuiity  of  the  University  of  ParLs,  and  appointed 
Bi.shop  of  Chartres,  in  France,  in  1176,  where  hef 
died  in  1182.  Ho  wTote  a  work  entitled  "  Poly- 
craticum,"  the  first  book  and  sixth  chapter  of 
wliich  treats  "  de  musica  et  iiistrumenlis,  el  modis,  et 
fructu  eorum." 

JOCULATOR.  One  of  the  appcUations  for- 
merly given  to  &  Jongleur. 

JOECHER,  CIIRI.STIAN  GOTTLIEB.  Pro- 
fessor of  history  at  I..eipsic.  He  published,  for 
his  degree  in  medicine,  a  treatise  "  De  Viribus 
Musices  in  Corpore  humano."  He  also  compiled 
the  principal  part  of  the  "  Alljemeincs  Gekhrten 
LextkoH,"  Leipsic,  1750  and  1751,  4  vols. 

JOHNSON,  HENRY  PHILIP,  chapel-master 
and  chamber  musician  to  the  King  of  .Sweden,  at 
Stockholm,  composed  for  the  theatre  of  that  city 
the  operas  o{"Eglc;"  1774,  and  "  Seplun  mid  Am- 
phitrite,"  1175.  He  wrote  also  a  work  on  the  or- 
gan, tS:c. 

JOHNSON,  ROBERT,  an  ecclesiastic  and  a 
learned  musician,  was  one  of  the  first  of  the  Eng- 
lish church  composers  who  disposed  their  parts 
with  intelligence  and  design.  In  \vriting  upon 
a  plain  song,  (moving  in  slow  notes  of  equal 
lenijth,)  which  was  so  much  practised  in  these 
times,  he  discovers  considerable  art  and  ingenu- 
ity, as  also  in  the  manner  of  treating  subjects  of 
fugue  and  imitation. 

JOLLY.  An  EnglLsh  composer  of  glees.  Two 
of  his  compositions  were  much  admired  at  the 
British  concerts. 

JOLY.  A  French  musician,  published,  at 
Paris,  in  1786,  "  Six  Duos  jxiur  ''iolan." 

JOMELLI,  NICOLO.  Bom  at  Avcrsa,  near 
Naples,  in  1714.  His  tasle  for  music  man- 
il'ested  itself  at  a  very  early  age,  and  he  first 
studied  his  art  at  Aversa,  under  the  canon  Mu- 
zillo.  His  parents  then  sent  him  to  a  Con.^erva- 
tory  at  Naples,  to  corai)lefc  his  musical  education 
under  Leo.     But  it  was  trom  Leo  that  he  learned* 


464 


OM 


encyclop.i:dia  of  music. 


JOM 


ta  he  himself  expressed  it,  the  sublime  of  music. 
About  the  year  17.S(),  Leo  henril  a  fiiutntn  of  Jo- 
melli's  pertornied  nt  the  bouse  of  his  puijil,  Sii;- 
nora  Barbapiccola,  and,  trans])orted  with  pleas- 
ure, he  exclaimed,  "  Sii/itora,  noii  pa.i.ii'rd  molto, 
e  questo  ijioraiie  sarCi  In  stiipoie  e  I'ammimzione  rii 
tutta  l'Eiii-^>a."  This  prediction  was  shortly  re- 
alized. Joinelli  was  only  twenty-three  years  of 
age  when  he  comjioscd  his  ftrst  opera,  "  I,'  I'rmre 
Amoroso,"  which  was  performed  in  the  now  thea- 
tre at  Naples.  Vinci  and  Leo  had  alone,  till  this 
period,  given,  by  their  compositions,  an  idea  of 
such  melodious  music.  In  173S  lie  gave  "  Oilo- 
urtlo,"  at  the  Tlieatre  Fiorcntini  in  Naples.  The 
deliglit  and  enthusia-m  excited  by  these  operas 
were  unexiimi)led.  He  was  engaged  at  Rome  in 
1710,  and  it  was  here  that  he  saw  his  growing 
reputation  greatly  increased  by  the  apjirobation 
of  the  Romans.  He  composed,  at  Rome,  "  Rici- 
tnero  "  and  "  Astianalte,"  wliich  operas  were  so 
esteemed  by  the  public,  that  when  their  author 
talked  ot Huitting  Rome  to  proceed  to  the  other 
cities  of  Italy,  they  would  not  allow  him  to  de- 
part, and  it  was  with  difficulty  that  he  was 
enabled  to  proceed  to  Bologna,  where  he  arrived 
in  1741,  and  gave  "  F.zio."  Jomelli  was  desirous 
of  possessing  the  friendship  of  the  Padre  Mar- 
tini. A  short  time  after  his  arrival  in  this  city 
he  visited  thnt  master,  witho.ut  making  himself 
known  to  him,  and  begged  to  be  admitted 
amongst  the  number  of  his  pupils.  Martini  gave 
him  the  subject  ol  a  fugue,  and  seeing  that  he 
filled  it  up  excellently,  he  said  to  him,  "  Who  are 
you?  you  are  joking  with  me;  it  is  I  who  must 
learn  of  you."  "  I  am  Jomelli ;  I  am  the  com- 
poser who  is  to  write  the  opera  for  the  theatre  of 
this  city;  I  implore  your  protection."  The  con- 
trapuntist replied,  "It  is  very  fortunate  the 
theatre  possesses  so  philosophical  a  musician ; 
out  I  compassionate  your  situation  h\  the  midst 
of  a  company  of  such  ignorant  corrupters  of 
music."  Jomelli  afterwards  avowed  that  ho 
had  learned  much  from  this  illustrious  master. 
He  addetl,  that  if  the  Padre  Marti)ii  was  defi- 
cient in  genius,  art  had  supplied  him  with  that 
which  was  denied  by  nature.  Jomelli  remained 
at  Bologna  till  XliCu  when  he  returned  to  Rome, 
and  composed  "  Didoiie,"  which  had  even  greater 
success  than  "  Ricimero."  The  Romans  declared 
they  had  never  heard  more  beautiful  airs,  accom- 
paniments better  adapted  to  the  words,  richer  or 
purer  hiirmony,  or  a  more  correct  and  elegant 
style,  which  was  majestic  without  inflation,  grand 
without  inequality,  and  always  lull  of  sentiment 
and  melody.  These  praises,  which  were  in  ever}' 
mouth,  and  repeated  by  all  the  journalists  of  the 
day,  reached  Naples,  and  the  countrymen  of  Jo- 
melli signified  their  desire  that  he  sliould  retiim, 
and  allow  them,  in  their  turn,  the  pleasure  of 
applauding  his  works.  He  instantly  acceded  to 
their  request,  and  composed  his  opera  of  "  Ew 
mene,"  which  l\ad  prodigious  success.  Venice 
had  not  yet  seen  the  new  composer,  whose  fame 
was  spreatl  throughout  Italy;  and  Jomelli  felt  thnt 
the  suffrage  of  the  Venetians  was  necessary  to  till 
the  measure  of  his  rci>utation.  He  therefore,  in 
compliance  with  their  wishes,  proceeded  to  Ven- 
ice, where  his  opera  of  "  Mmpe"  caused  such 
delight,  that  the  government  appointed  him  m.is- 
tcr  of  the  Conservatory  for  Girls.  Here  he  com- 
posed a  "  I.audafe"  for  two  choirs  of  eight  voices, 
vhich  excited  the  greatest  admiration.  In  1718 
69  4 


Jomelli  returiu'il  to  Naples,  and  gave  "  Ezio." 
Recalled  to  Rome  in  the  following  year,  he  com- 
j)osed  "  Artasri-sn,"  some  iiitcniiczzi,  and  the  orato- 
rio of  "  fAi  I'nuaione,"  at  the  re(iuest  of  hLs  patron. 
Cardinal  York. 

Jomelli  liad  by  this  time  obtained  in  Italy  all 
the  laurels  she  could  bestow  ;  in  171!),  therefore, 
he  repaired  to  Vienna,  to  display  his  genius  in  a 
court  wliero  Mctastasio  wius  tlie  poet.  Jomelli 
imagined  that  il'  he  had  plea.sed  at  Naples,  whose 
school  abounds  in  great  masters,  at  Rome,  where 
taste  is  so  refined,  and  at  Venice,  where  had  ex- 
isted the  greatest  abilities  which  can  honor  har- 
mony, he  should  succeed  in  obtaining  the  same 
advantages  at  Vienna,  and,  above  all,  in  meriting 
the  friendshi])  of  Metastasio,  and  becoming  his 
composer.  He  was  not  deceived.  On  his  arriv- 
ing in  that  capital,  he  gave  "  Achille  iii  Sciro," 
which  was  equally  well  rcceivetl  by  the  court  and 
the  city.  From  this  moment,  the  most  sincere 
and  lasting  friendship  was  concluded  between 
the  greatest  IjTic  poet  and  the  greatest  musician 
of  Italy.  Metastasio  felt  at  once,  that  Jomelli 
was  the  composer  best  adapted  to  set  his  verses. 
After  remaining  nearly  two  years  at  the  court  of 
Vienna,  which  was  rendered  particularly  brilliant 
by  the  presence  of  Maria  Theresa,  equally  cele- 
brated as  a  sovereign  and  for  her  love  of  the  arts, 
and  who  presented  Jomelli  with  a  diamond  ring, 
he  returned  to  Rome,  where,  on  the  vacancy  of 
the  place  of  chapel-master  of  the  church  of  St. 
Peter,  he  was  elected  to  that  office,  and  from  the 
year  1750  until  1753  composed  much  sacred  mu- 
sic for  his  choir.  He,  at  the  same  time,  com- 
posed the  opera  of  "  IJigmiia,"  in  1751,  and  "  Tn- 
hsIrU  "  and  "  Attilio  Rcf/olo,"  in  1752.  In  1753,  he 
was  engaged  to  furnish  several  courts  witli  operas, 
in  all  ten  in  number  ;  amongst  which  are  dis- 
tinguished "  Semiramicic,"  "  B<yazctte,"  "  I'o/- 
gcso,"  and  "  Demelrio." 

The  reputation  of  this  composer  extended  on 
every  side ;  his  abilities  had  never  appeared  so 
brilliant  as  on  his  third  stay  at  Rome.  He  was 
now  again  engaged  in  Germany,  and  that  coun- 
try and  Italy  appear  to  have  emulously  disputed 
his  compositions.  The  Duke  of  Wnrtemburg,  one 
of  the  greatest  musical  connoisseurs  of  his  day, 
being  anxious  to  possess,  as  chapel-master,  him 
who  had  during  two  years  enchanted  Austria, 
made  very  liberal  offers  to  Jomelli,  who  accepted 
them,  and  during  the  fifteen  years  that  he  resided 
at  that  court,  he  composed  his  finest  operas.  AVe 
have  yet  only  spoken  of  his  dnimatic  music.  Gift- 
ed with  a  brilliant  and  varied  imagination,  and 
the  most  profound  sensibility,  he  could  not  fail 
to  delight  equally  in  sacred  music.  He  was  nat- 
urally excited  to  attempt  this  style  in  Rome, 
where  it  is  especially  cultivated  and  rewarded, 
and  where  his  public  situation  called  for  sacred 
composition.  On  his  third  residence  in  this  city, 
he  composed  about  thirty  works,  and,  among -t 
others,  n/ii/mn  for  the  feast  of  the  apostles,  which 
is  still  s\mg  every  year  on  the  festivals  of  St.  Pe- 
ter and  St.  Paul  ;  and  these  compo.sitions,  in 
whicli  the  touching  is  united  to  the  sublime,  and 
the  pathetic  tenderness  of  religion  to  its  imposing 

:  majesty,  were  the  essays  of  an  ine.\hau.--tible 
mind,  tlint  now  for  the  first  time  signali/cd  ila 
superiority  i]\  this  style. 

In  1768  Jomelli  returned  to  his  bolove<l  native 
country,  after  a  long  absence,  not  foreseeing  • 
disgrace  which  whs  de^ttined  to  imbittor  the  rwt 

r,r, 


ION 


ENCYCLOPEDIA    OF    MUSIC. 


JOf 


of  his  hitherto  happy  life,  and  which  he  hud  nev- 
er before  uiulerf^one.  On  hw  arrival  at  Naples, 
he  composed  "  Armidn,"  for  the  theatre  of  San 
Curios,  which  waa  enthusiastically  applauded,  lu 
1770,  he  wrote  "  Drmofoonte ;  "  this  unfortunate- 
ly gave  less  pleo-sure;  and  hoping  to  be  more 
successful,  he  gave,  in  1773,  "  Ifiijenia,"  which 
was  ill  sung,  and  failed.  Jomclli  was  so  affected 
by  this  mislortunc,  that  he  had  a  paralytic  stroke. 
Immediately  on  his  recovery,  he  composed  a 
beautiful  cantata  on  the  birthday  of  a  prince  of 
Naples.  Tliis  w:ls  soon  followed  by  his  last  and 
greatest  work,  the  sublime  "  Miserere,"  for  two 
voices ;  for  which  hLs  friend,  the  poet  Mattei, 
WTOte  Italian  words,  and  wliich  is  sung  wherever 
good  music  is  known  and  cultivated. 

Jomclli  died  at  Naples  in  the  year  1774.  His 
obsequies  were  publicly  celebrated  by  all  the 
musicians  of  that  city.  A  moss  for  two  choirs 
was  performed,  expressly  composed  for  the  occa- 
sion by  Sabbatini.  The  following  classed  list 
comprises  the  principal  works  for  the  church  and 
theatre  of  this  eminent  musician.  For  the  church  : 
"  A  Dixit,  4  voc. ;  "  "  The  Psalm,  In  convertendo,  2 
voc-  ;  "  "  I  liesponsori  of  Passion  Week,  4  voc. ;  " 
"  A  Dixit,  8  voc. ;  "  "  A  Miserere ;  "  "  A  Conjitebor, 
3  voc.;"  "A  Laudate,  8  voc.;"  "A  Gradual/;,  4 
voc. ;"  "  The  Hymn,  Urbs  Jerusalem,  4  voc. ;  "  "  A 
Beatus  I'lV,  4  voc. ;  "  "  A  Miserere,  4  voc. ;  "  "  A 
Conjitebor,  4  roc. ;  "  "  A  Regnutn  mutidi,  4  voc. ;  " 
"A  Tie  Deum,  4  voc.;"  "  J'eni  sponsa  Christi,  a 
canto  solo  on  ripieni,  4  voc.  ;  "  "  Victima  paschali,  4 
voc. ; "  "  Credidi  propter  quod,  4  voc. ; "  "  Conjirma 
hoc,  Deiis,  OJfcrtorio ;  "  "  Graduate,  3  roc.,  for  the 
Festival  of  the  Virgin  Mary ;  "  "  Discerne  ccmsam 
meant,  Gradiiale,  4  voc.;"  "  Doniine  Detis  in  sim- 
plicitate,  Offertorio  ;  "  "Justus  xU  pal  ma  Jiorebit ;  " 
"  Offertorio,  witli  Hallelujah  Chorus,  4  voc.  ; " 
"  Betulia  liberata.  Oratorio;  "  "  Oratorio  dclla  Pas- 
lione  ;  "  "  Lamentationes  Jeremice ;  "  "  Benedictus 
Dominus  Deus  Israel;"  "Missa;"  "  Motet  to  a  4 
voci  pi-r  la  domenica  della  Palma ;  "  "  Sequcntia 
Paschalis  ;  "  "  Qui  tollis ;  "  "  //  Salmo  50  d  2  voci, 
con  Strom. ;  "  "  Sospiri  penitenti  &  2  Soprani  e  piu 
Stromenti,  comj>ostx}  poco  iiianzi  la  sua  morte ;  "  "  Mis- 
erere a  4  voci ;"  "  Confirma  d  4  voci ;"  "  Requiem  ;  " 
another  "  Miserere ;  "  "  Magnificat ;  "  "  Miserere,  o 
Salnto  60  di  Davidde ;  "  "  Offertorio,  In  partitura 
et  parti  scpar  ; "  "  V'eni  Sancte  Spiritus,  4  roc." 
For  the  theatre:  "L'Errore  Amoroso,"  1737; 
"  Odoardo,"  1738;  "  Rccimero,  1740;  "Astianatte," 
1740  ;  "  Ezio,"  1741  ;  "  La  Didone,"  174fi;  "  Ku- 
mene,"  1746;  "  Artasersc,"  1749;  "  Ac/iilk  in  Sci- 
-o,"  1749;  "  Didone,"  17 iO  ;••  I firfenia,"  1751; 
TaJestri,"  1752;  "  Attllio  Ke^/oh,"  '\7o2;  "  Semi- 
-amide,"  1753;  "  Bajazctte,"  1753;  "  Vohgcso," 
1763  ;  "  Dimetrio,"  1753  ;  "  Pclope  ;  "  "  Enea  net 
Lazio  ;  "  "  //  Itepastore  ;  "  "Alessoudro  nelV  Indie  ;  " 
*Xlttetti  .-  "  "  La  CUmenzadi  Tito  ,■  "  "  Demofonnte," 
1772;  "L'Olimpiade  ;"  "  IlFitmte;"  '' L' Isola 
iisabitata  ;  "  "  Endimione  ;  "  "  L'Asite  di  Amore  ;  " 
"  La  Pastorella  iUustre;"  "La  Schiava  liberata;" 
"II  Cacciator  dcliiso  ;"  "  II  Matrintunio  per  conoorso," 
tnd  "  Armida,"  1768. 

JON.'VS,  C.VHL,   a   celebrated   compo.scr   and 


young  Jonas,  and  sent  him  to  the  University  of 
Halle,  from  which  town,  in  1793,  he  published  bis 
Op.  1,  entitled  "  Ariette  pour  te  P.  F.,  avec  quinze 
Variat.  comp.  et  dediie  a  S.  M.  le  R.  de  Prusse,  pat 
Ch.  Jonas,"  which  compot^ition  was  highly  spoken 
of  by  the  German  critics. 

JONES,  EDWARD,  published,  about  the  yeai 
1785,  a  work  entitled  "  Musical  and  Poetical  Rel- 
ics of  the  Welsh  Bards,  preserved  by  Tradition  and 
authentic  Manuscripts,  never  before  published." 
(See  Monthly  Ueview,  January,  ns*!.)  A  second 
volume  of  this  work  appeared  in  1789,  and  an  im- 
proved edition  of  the  second  volume  in  1802,  un- 
der the  title,  "'Ilie  Bardic  Museum  of  primitive 
British  Literature,  and  other  admirable  Rarities  ; 
forming  the  second  Volume  of  the  Musical,  Poet- 
ical, and  Historical  Relics  of  the  Wel>-h  Bards  and 
Druids,  drawn  from  authentic  Documents  of  re- 
mote Antiquity." 

JONES,  ROBERT,  seems  to  have  been  a  vo- 
luminous composer.  Two  of  the  works  published 
by  him  are,  "  A  Musical  Dreame,  or  the  Fourth 
Book  of  Ayres ;  the  first  part  for  the  Lute,  two 
Voices,  and  the  Viol  da  Gamba;  the  second  part 
is  for  the  Lute,  the  Viol,  and  four  Voices  to  sing  ; 
the  third  part  is  for  one  Voice  alone  to  the  Lute, 
the  Basse  Viol,  or  to  both  il  you  please,  whereof  two 
are  Italian  Ajtcs,"  printed  in  1609;  and  "The 
Muses  Gardin  for  DeUghts,  or  the  Fifth  Book  of 
Ayres  onely  for  the  Lute,  the  Basse  Viol,  and  the 
Voice."  Two  songs  by  this  composer,  "  My  love 
bound  me  with  a  kLss,"  and  "  Farewell,  dear 
love,"  are  to  be  found  in  Smith's  Musica  Antigua. 

JONES,  REV.  W.,  of  Nayland,  in  Suffolk,  an 
English  musical  amateur,  who  published,  about 
the  year  1784,  "A  Treatise  on  the  Art  of  Music, 
as  a  Course  of  Lectures,  preparatory  to  the  Prac- 
tice of  Thorough  Bass  and  Musical  Composition." 
(See  Monthly  Review  for  1786.)  It  was  con- 
sidered a  work  of  some  outhority. 

JONGLEURS.  A  general  name  assigned  to 
those  itinerant  musicians,  who,  durins  the  twelfth 
and  thirteenth  centuries,  wandered  fiom  province 
to  province  in  France,  singing  and  pcrfonning  on 
the  ^•iol,  flute,  and  other  instruments,  at  the 
coiuts  of  kings,  princes,  &c.,  who  rewarded  them 
with  clothes,  horses,  anus,  and  money.  One  ol 
the  earliest  employments  of  the  jonnleun  was  to 
attend  and  perform  for  those  troubadours  or 
bards,  who,  for  want  of  voice  or  musical  knowl- 
edge, were  unable  to  sing  their  own  works. 

JORTIN,  DR.  JOHN,  vicar  of  Kensington, 
was  born  in  London  in  lii'JS.  He  pubhshed  "  A 
Letter  concerning  the  Music  of  the  Ancients." 
He  died  in  1770. 

JOSEPH,  GEORG,  a  musician  in  the  service 
of  the  Bishop  of  Breslau  in  1690,  published  some 
sacred  compositions  in  that  city. 

JOSQUIN  DES  PRES,  or  DEPRES,  is  enu- 
merated by  Guicoiardini  among  the  mu.sicians  of 
the  Flemish  school.  He  may  justly  be  called  the 
lather  of  modern  harmony,  and  the  inventor  of 
almost  every  ingenious  contexture  ol  its  compo- 
nent parts,  neaily  a  hundred  years  before  the 
pianist,  born  probably  at  Berlin  in  17^0,  was  so  j  time  of  Palcstrina,  Orlando  di  La»o,  Tallis,  oi 
fortunate  as  to  be  patronized  in  his  youth  by  the  ;  Bird,  the  great  musical  luminaries  o;  thesLxtitnth 


Princess  Amelia  of  I'russia,  who  procured  him  in- 
(tructions  on  t'  e  piano  and  in  composition  from 
the  celebrated  Fasch.  -Vftcr  the  death  of  his  pa- 
tronens,  the  King  of  Prussia  interested  lumsell  lor 


century,  whose  names  and  works  are  still  held  in 
the  highest  reverence  by  all  true  judges  of  the 
genuine  style  of  choral  compositions.  Adami,  in 
his  historical  list  of  the  singers  in  the  popes  chap 


466 


JOS 


ENCYCLOPEDIA    OF    MUSIC. 


303 


el,  mentions  Josquin  as  one  of  the  greatest  cul- 
tivators and  supporters  of  church  music.  lie  calls 
liim  iiomo  insigne  per  I'  inventioiie.  After  quittinj^ 
Italy,  he  was  appointed  chapel-master  to  Louis 
XJI.  of  France,  who  reigned  from  1498  to  1515, 
and  it  is  scarcely  probable  that  such  an  honor 
should  have  been  confciTed  upon  hira  till  he  had 
attained  great  eminence  in  his  profession.  lie 
must  have  acquired  the  public  favor,  cither  by 
his  ■«  orks  or  performance,  before  he  could  be  no- 
ticed by  a  sovereign ;  and  it  has  been  well  ob- 
served, that  it  is  as  difficult  for  a  prince  to  get  a 
man  of  merit,  as  it  Ls  for  a  man  of  merit  to  ap- 
proach a  prince.  It  ajipears  that  Jos(i\iin  was  an 
ecclesiastic  ;  for  it  is  related  that  when  he  was 
first  admitted  into  the  service  of  Louis,  he  had 
been  I'tomLsod  a  benefice  by  his  majesty  ;  but  this 
t-.\cellent  prince,  contrary  to  his  usual  custom,  (for 
he  was  in  general  both  just  and  liberal,)  forgot  the 
promise  he  had  made  to  his  maestro  di  capella ; 
when  Josquin,  aiter  suffering  great  inconvenience 
from  the  shortness  of  the  king's  memory,  ven- 
tured, by  a  singular  expedient,  to  remind  him 
publicly  of  his  promise,  without  giving  oflence ; 
for  being  commanded  to  compose  a  motet  for  the 
Chapel  Royal,  lie  chose  part  of  the  119th  jjsalm, 
"  Memor  esto  verbi  tut  serco  ttto ;  "  "  O,  think  of 
thy  servant  as  concerning  thy  word  ;  "  which  he 
set  in  so  exquisite  and  supplicating  a  manner, 
that  it  was  univereally  admired,  particularly  by 
the  king,  who  was  not  only  channcd  with  the 
music,  but  felt  the  force  of  the  words  so  effectu- 
ally, that  he  soon  after  grauted  his  petition  by 
conferring  on  him  the  promised  preferment ;  for 
which  act  of  justice  and  munificence,  Josquin, 
with  etjual  felicity,  composed,  as  a  hymn  of  grat- 
itude, another  part  of  the  same  psalm,  "  lioniti- 
tem  fcristi  cum  servo  tuo,  Domine ;"  "O  Lord, 
thou  hnst  dealt  graciously  with  thy  servant." 

Josquin  seems  to  have  possessed  a  certain  vein 
of  wit  and  humor,  in  addition  to  a  musical 
genius,  of  which  Glaieanus  has  given  his  readers 
severiU  instances,  besides  those  just  related. 

In  consequence  of  the  procrastination  of  the 
performance  of  Louis  XII. 's  promise  relative  to 
the  benefice,  Josquin  applied  to  a  nobleman  in 
high  favor  at  court,  to  use  his  interest  in  his  he- 
half ;  who,  encouraging  his  hopes  with  protesta- 
tions of  /eal  for  his  serN-ice,  constantly  ended  with 
saying,  "  I  shall  take  care  of  this  business  :  M  me 
alone;"  laiise  faire  moi,  (laissez  moi  faire;)  when 
at  length  Josquin,  tired  of  this  vain'  and  fruitless 
assurance,  turned  it  into  solmizalion,  and  com- 
posed an  entire  mass  on  these  syllables  of  the 
hcxachords,  la,  sol,  fa,  re,  mi ;  which  ma.ss  is 
among  Josquin's  productions  in  the  British  Mu- 
seuii.,  and  is  an  admirable  corajiosition. 

The  following  circumstance,  which  likewise 
happened  during  Josquin's  residence  at  the  court 
of  France,  has  been  recorded  both  by  (jlarcanus 
snd  Mersennus.  These  WTiters  inform  us,  that 
LouLs,  though  music  afforded  him  great  pleasure, 
had  so  weak  and  inflexible  a  voice,  tliat  he  never 
was  nblt  to  sing  a  tune,  and  defied  his  marstro  di 


of  these  two  parts,  and,  beginning  with  the  fon-j 
note,  after  some  jiractice  his  royal  scholar  was  en- 
abled to  continue  it,  as  a  drone  to  the  cano)i,  in 
sjiite  of  nature,  who  liad  never  intended  him  for  a 
singer. 

Among  musicians,  Josquin  was  the  giant  of  hia 
age,  and  seems  to  have  acquired  a  universal  do- 
minion over  the  attections  and  passions  of  the 
musical  world.  Indeed,  his  compositions  were 
as  well  known  and  as  much  practised  tlirough- 
out  Lurope,  at  the  beginning  of  the  sixteenth 
century,  as  Handel's  were  in  England.  In  the 
music  book  of  I'rijice  Henry,  afterwards  Henry 
VIII.,  which  is  preserved  in  the  I'epys  collection 
at  Cambridge,  there  are  severiU  of  his  composi- 
tions ;  and  we  are  told  that  .'Vune  Uoleyne,  during 
her  residence  in  France,  had  collected  anil  learned 
a  great  number  of  tliem.  In  a  very  beautiful 
manuscript  in  the  Britisli  Museum,  consisting  of 
French  songs  of  the  filleenth  century,  in  three 
and  four  paits,  there  ai-c  likewise  many  of  Jos- 
quin's compositions.  It  is,  perhaps,  sufficient  to 
observe,  without  enumerating  the  mere  names  of 
this  great  musician's  professional  contemporaries, 
either  on  tlie  eontiuent  or  in  England,  that  they 
were  every  way  inferior  to  him  in  talent,  and  that 
Josquin's  fame  has  chiefly  been  acquired  by  his 
masses,  and  still  more  excellent  motets  ;  a  large 
collection  of  which,  perhaps  the  most  valuable 
now  extant,  is  preserved  in  the  British  Museum. 

JOST,  a  musician  at  Vienna,  composed,  about 
the  year  1780,  two  operettas  called  the  "  Stealer 
of  jipplcs,"  and  the  "  Barber  of  Benzing,"  to- 
gether with  several  ballets. 

JOUBERT,  organist  of  the  cathedral  at  Nantes 
in  17S8,  brought  out  in  1776,  at  the  Concert  Spiri- 
tuel  in  Paris,  a  French  oratorio  of  hi^i  composition, 
entitled  "  La  liiii/icle  Jerusalem,  ou  le  Triomphe  dit 
Chrisiianisme."  He  likewise  composed  for  th6 
theatre  of  Xantes,  in  1778,  the  opera  called  "  La 
Force  de  l"  Habitude." 

JOUBERT,  a  violinist,  and  one  of  the  best  pu- 
pils of  Lulli  tiourished  at  Paris  about  the  yeai 
1690. 

JOUSSE,  J.,  a  musician  resident  ui  London, born 
in  France  about  1760,  published  an  introduction 
to  the  art  oi  aolj'ain;/  and  simjimj,  which  wa.s  con- 
sidered a  useful  work.  He  translated  the  princi- 
ples of  accompaniment,  or  thorough  bass,  ol 
Albrechtsberger,  and  also  published  "  Ilanuonic 
Cards,"  to  teach  the  chords,  and  "  Areana  Mu- 
sica,"  being  a  eclectiou  of  curious  aud  iuterestiug 
musical  problems. 


JOVANELLI.     Sec  Giovanelli. 

JOZZI,  GIUSEPPE,  an  Italian  sopranist,  wai 
in  London  in  1710,  and  performed  in  (iluck'« 
opera  Lt  C'liduta  dci  tli'janti.  He  had  little  pow- 
ers of  voice,  and  is  more  reraemlwred  for  his  im- 
pudoncc  in  foisting  on  the  London  public  eight 
Tapella  to  compose  a  piece  of  music  in  which  it  I  sonatas  of  Alberti  as  his  own  compositions.  He 
was  possible  for  him  to  bear  a  ]>art.  However,  even  went  so  far  as  to  have  them  ongravo>l  with 
the  musician  accepted  the  challenge,  and  com-  |  his  name,  and  sold  at  the  price  of  one  g\iinen. 
posed  a  canon  for  two  voices,  to  which  he  added  .  Very  shortly  atU<rwurds,  an  English  gentleman 
two  other  parts,  one  of  which  had  nothing  more  brouj;ht  these  sonatas  with  him  from  Ifulv  in  th« 
to  do  than  to  sustain  a  single  sound,  and  the  handwriting  of  Alberti,  and  gave  them  over  t« 
other  only  the  key  note  and  its  fifth,  to  be  sung  <  Walsh,  the  publisher,  who  printed  them  in  a  si) 
klternately.     Josquin  gave  his  majesty  the  choice     shilling  book.     Jotti  soon  at^er  Uiis  quitted  £ng- 

4fi7 


•UB 


ENCYCLOPAEDIA   OF   MUSIC. 


JUL 


l«nd,  nnd  pcttled  as  a  singing  master  at  Amster. 
(liitn,  whore  he  again  jiutilishetl  eight  sonatas, 
whii-h  wvTO  most  probably  the  above  mentioned 
of  Alberti. 

JURAIx  a  descendant  of  Cain,  and  a  son  of 
Laracch,  played  on  musical  instruments  before 
the  <lelugc,  and  tau;;ht  others  to  play  on  the  harp 
and  organ,  lie  is  called  the  father  of  such  as 
handle  the  harp  (kinnor)  and  organ.  Thw  is  the 
earliest  mention  made  of  musical  instruments  in 
tlie  Bible. 

JUBE.  The  name  of  a  kind  of  hymn  sung  by 
the  Greeks,  and  after  them  by  the  Romans,  at 
harvest  time,  in  honor  of  Ceres  and  Bacchus,  to 
propitiate  the  favor  of  those  deities. 

JUBILEE.  According  to  Masius  and  other 
ancient  writers,  thus  word  is  derived  from  Jubal, 
the  supposed  inventor  of  musical  instruments ; 
whence,  say  they,  the  words  jobel,  and  jubilee, 
signified,  with  the  Hebrews,  the  year  of  deliver- 
ance and  remission,  because  proclaimed  with  the 
sound  of  one  of  those  instruments,  which  origi- 
nally consisted  only  of  the  horn  of  a  ram.  The 
Christians,  in  imitation  of  the  Jews,  have  likewise 
established  jubilees.  They  commenced  in  the 
time  of  Pope  Boniface  VIIL,  in  the  year  1.300, 
of  which  festivals  the  performance  of  sacred  mu- 
sic forms  a  considerable  part. 

JUDELIUS,  JOANNES,  a  German  musician, 
published  at  Erfurt,  in  162.5,  a  work  called  "  En- 
comium Gamico-harmonicum. 

JUDICE,  CESAR  DE.  A  composer  of  madri- 
gals and  motets,  published  at  Messina  and  Paler- 
mo, between  the  years  1628  and  1666.  He  was  a 
native  of  Sicily. 

JULIEN,  N.,  published  at  Paris  in  1780,  under 
the  name  of  Julien  Caini,  a  collection  of  comic 
opera  songs  for  two  violoncellos. 

JULIEN,  PAUL,  was  bom  in  France,  at  the 
town  of  Crest,  in  the  department  of  La  Drome, 
in  the  year  1811.  His  grandfather  was  a  poor 
shepherd  residing  near  the  little  village  of  Laraothe 
but  having  a  talent  for  mechanical  invention,  he 
removed  to  the  mantifacturing  town  of  Vienne, 
where  he  became  first  a  workman  in  a  cloth  fac- 
tory, and  afterwards  the  master  of  a  small  estab- 
lishment of  his  own.  The  father  of  Paul  was 
bred  to  the  same  business,  an  I  followed  it  for 
several  years  in  the  capacity  of  joiinieyman.  Pre- 
vented from  enjoying  educational  advantages  by 
the  narrow  circumstances  of  his  father,  he  was 
accustomed  to  say,  that  if  it  should  please  Provi- 
dence to  bestow  a  cliild  upon  him,  and  that  child 
should  possess  a  H]iark  of  genius,  "  he  would 
make  a  man  of  him."  In  d\ie  time  Providence 
did  so  ])lea.se — the  child  manifested  su))erior 
talent,  and  the  father  has  striven  to  keep  his 
word. 

At  the  age  of  five  years,  the  boy  began  to  dis- 
play the  usual  signs  of  a  quick  ear  for  nntsic. 
The  father,  who  was  a  tolerable  player  upon  the 
clarinet  and  violin,  belonged  to  an  amateur  baud, 
and  lrc(iuently  took  his  little  son  with  iiim  to  re- 
liearsal.  There  the  boy  was  observed  to  beat 
time,  and  to  show  a  remarkable  understanding 
■nd  enjoyment  of  the  music.  He  sang  ballads 
in  a  pleasing  manner,  and  in  a  very  short  time 


acquired  much  skill  in  playing  upon  a  little  hunt- 
ing horn,  which  hLs  father  had  given  him  as  a 
toy.  He  took  delight  in  collecting  the  children 
of  the  neighborhood,  and  making  them  march  t» 
lively  airs  which  he,  at  the  head  of  the  troop, 
played  upon  hLs  horn.  HLs  father  laid  thest 
things  to  heart,  and  conceived  the  idea  of  giving 
the  boy  regular  lessons  upon  the  violin,  the 
clarinet  beiu'.;,  as  yet,  beyond  the  little  fellow's 
strength.  But  how  to  procure  an  instrument 
suited  to  the  short  arm  and  tiny  fingers  of  the 
child  ■  There  was  none  such  in  the  town,  nor 
could  M.  Julien's  purse  have  afforded  the  money 
to  buy  it.  if  there  had  been.  In  this  exigency, 
the  father  had  recourse  to  au  old  fiddler  of  tlie 
neighorhood,  of  whom  he  borrowed  an  instru- 
ment of  the  usual  size,  which,  by  ingenious  alter- 
ations, he  managed  so  to  reduce  that  iiLs  son 
could  use  it.  This  difficulty  overcome,  the  les- 
sons were  begun,  and  all  the  leisure  moments 
of  day  and  evening  were  zealously  spent  upon 
them.  The  child  was  all  eagerness  to  learn, 
the  father  as  eager  to  teach,  and  the  boy's  prog- 
ress was,  consequently,  rapid  beyond  belief. 
The  incessant  practising,  however,  was  by  no 
means  agreeable  to  the  neighbors  ;  and  little  Paul 
was  once  excessively  frightened  when  one  of 
them  threatened  to  break  hLs  ^-iolin  over  his 
head  —  not  that  he  feared  for  hLs  head,  but  foi 
hLs  instrument,  which  seemed  literally  to  be 
dearer  to  him  than  life.  At  length,  the  owncx 
of  the  violin  came  to  claim  liLs  property,  ^^^len 
he  saw  the  liberties  which  the  enthusiastic  father 
had  taken  with  it,  he  was  disposed  to  be  very  in- 
dignant ;  but  M.  Julien,  with  genuine  French 
adroitness,  summoned  the  boy,  and  told  him  to 
play  Weber's  beautiful  "  Dream,"  which  he  ex- 
ecuted with  such  unexpected  and  e.xtraordinary 
expression,  precision,  and  spirit,  that  the  old 
man's  anger  was  changed  at  once  into  affection- 
ate admiration.  At  this  time  I'aul  was  in  his 
sixth  year. 

M.  Julien  now  became  anxious  to  procure  for 
his  son  better  instruction  than  he  could  impart 
himself.  For  this  purpose,  against  the  vehement 
remonstrances  of  his  friends,  he  took  the  boy  to 
Marseilles,  confident  that  he  should  find  some 
professor  willing  to  a.ssist,  without  charge,  the 
development  of  so  promising  a  genius.  Disap- 
pointment followed  his  repeated  applications ;  he 
was  unable  to  procure  emplo>nnent,  and  he  soon 
found  himself,  in  that  populous  city,  without 
friends,  and  without  a  sou  in  his  purse.  Ago- 
nized to  see  his  little  son  shivering  with  cold  and 
))iuched  with  hunger,  he  went,  as  alast  resort,  to 
the  proprietor  of  a  Uurge  cafi  near  by,  and  ob- 
tained permission  to  bring  tlie  boy  in  the  evenin  ; 
to  ]>lay  to  the  company.  The  anxious  father  run 
back  to  his  lodgings,  and  spent  the  re;it  of  the 
day  in  heiring  Paul  rehearse,  over  and  over  again, 
the  ))ieces  he  was  to  perform  at  the  cafi.  In  tlie 
evening  they  fouiid  a  large  comjiany  assembled, 
and  among  the  rest  several  mu.sicians  of  emi- 
nence. The  young  artist  took  his  position,  and 
be^jan  to  play.  Every  eye  was  fi.xed  upon  hia 
])ale,  engaging  countenance,  and  every  ear  wfj 
soon  a.stonished  and  charmed  at  the  power,  cor- 
rectness, and  sweetness  of  his  playing.  At  the 
conclusion  of  the  piece  he  was  overwhelmed  with 
applause.  The  musicians  gathered  round,  and 
congratulated  l)oth  father  and  son  with  the  enthu- 
siasm which   is  so    natural  to   Frenchmen   an  J 


463 


JUL 


ENCYCLOPEDIA    OF    MUSIC. 


I  L 


artists.  Late  in  the  evening  the  father  and  son 
returned  to  their  humble  resideuce  with  their 
pockets  and  their  hearts  overflowing. 

Paul  now  found  instructors,  and  occasional  op- 
portunities for  the  display  of  his  talents  in  pub- 
lic. He  played  at  grand  concerts  in  many  of  the 
large  towns  in  the  south  of  France,  and  always 
•with  marked  success,  llut  his  father,  determined 
to  give  him  every  possible  advantage  for  im- 
provement, was  not  satisfied  till  he  had  procured 
him  admission  to  the  Conservatoire  yutional  at 
Paris.  He  remained  a  memberof  that  uncfiuallcd 
establishment  for  some  years,  during  which  the 
father  maintained  an  arduous  struggle  with  cir- 
cumstances in  procuring  the  means  of  subsist- 
ence ;  until,  in  July,  1850,  the  boy  gained  the 
first  prize  against  seventeen  competitors.  He 
had  then  attained  the  age  of  nine  years  and  a 
half,  and  the  instrument  upon  which  he  had 
played  at  the  final  examination  was  one  of  the 
commonest  quality,  having  cost  but  twelve  francs. 
Paid  now  appeared  frequently  at  concerts  in  Paris 
and  London,  where  his  playing  excited  unbound- 
ed astonishment  and  applause.  "  We  were  sit- 
ting," wrote  a  noted  musical  critic  of  Paris,  "  be- 
side some  artists  who  play  the  same  instrument, 
and  who  play  it  with  distinction.  In  their  as- 
tonishment, in  theii'  stupor,  in  their  gestures,  in 
tlieir  every  attitude,  we  read  but  this  one  sen- 
tence :  '  There  remains  for  us  only  to  break  our  vio- 
lins' " 

The  career  of  Paul  Julien  in  this  country  is 
sufficiently  well  known.  'ITiey  who  have  heard 
him  perform  at  the  concerts  of  Madame  Sontag 
will  agree  with  us  that  he  is  tlic  most  remarkable 
of  the  juvenile  wonders  that  has  visited  our  shores. 
His  playing  is  not  merely  wonderful  as  a  display  of 
juvenile  talent,  but  possesses a;«  intrinsic  merit.  If 
a  man  were  to  play  as  he  does,  it  would  make  hLs 
reputation  as  an  accomplished  violinist.  Paul 
Julien's  devotion  to  his  art  and  his  instrument  is 
as  ardent  to-day  as  it  was  when  he  received  his 
early  lessons  in  his  father's  cottage  at  Crest.  He 
practises  daily  from  tour  to  seven  hours,  and  his 
improvement,  from  month  to  month,  is  distinctly 
observable. 

JULIEN,  PIERRE,  a  musician  of  the  sixteenth 
century,  bom  at  Ciurpcntras,  in  France,  publishetl, 
in  1750,  "  Le  erai  Chemin  pour  apprendre  i  ehanter 
toiite  Sorie  de  Maaiqiie." 

JUIJEN,  G.,  an  organist  at  Chartres,  in  France, 
towards  the  end  of  the  seventeenth  century,  pub- 
lished in  Paris  a  book  of  organ  music. 

J  ULLIEN,  M.  There  are  few  men  in  the  mu- 
sical world  who  have  been  more  constantly  be- 
finj  the  English  public  the  piust  tiltecn  years,  in 
tne  several  capacities  of  composer,  impresario,  and 
directeur,  than  >L  JuUien.  While  the  works  of 
writers  of  loftier  pretensions  and  more  sound- 
ing names  are  i)crmitte<l  to  fall  into  corapara- 
tive  neglect,  those  of  >L  JuUien  have  grown 
familiiu'  to  the  popular  car,  and  become  what 
we  may  not  inconsistently  terra  "  household 
sounds." 

His  father,  Antonio  JuUien,  was  band  roa.ster 
of  the  Cent  Saisses  in  the  revolution  of  17S!),  and 
his  regiment  being  massacred  at  the  Ix»ivre,  he 
emigrated  to  Ronve,  where,  attaching  himself  to 
the  body  guard  of  the  pope,  ho  lorme<l  an  alliance 
•  ith  an  Italian  lady  of  some  distinction.      Some 


time  after  the  union  the  twain  determined  on  i-- 
visiting  France,  and  while  on  the  journey,  in  tl.o 
French  Alps,  on  tlie  2.'id  of  Ajjril,  1812,  at  a 
chakt,  near  Sisteron,  JuUien  wa.s  born.  The  in- 
tervention of  circumstances  altered  the  original 
intention  of  proceeding  to  France,  and  the  little 
family  remained  at  Sisteron  amid  the  wild  soli- 
tudes of  the  Alps.  Here  Antonio  taught  sing- 
ing, and  his  little  son,  with  an  intuitive  genius 
for  music,  it  is  said,  learned  the  various  solfeg- 
gios from  casually  overhearing  them  several  times, 
so  as  to  be  able  to  repeat  them  with  a.stonishing 
l)recision  and  fluency.  His  father,  surprised  and 
delighted  at  this  wonderful  j)ower  of  accjuire- 
ment,  cultivated  his  infant  voice,  taught  him  a 
number  of  pleasing  French  and  Italian  songs, 
and  gave  concerts  in  the  most  important  towns 
of  the  south  of  France,  where  the  chUd  was  re- 
garded, in  all  the  fondness  of  public  enthusiasm, 
as  le  petit  phcmimeiie. 

At  the  age  of  five,  doubtless  from  the  too  pre- 
mature e.xercLse  of  a  delicate  organ,  he  lost  his 
voice,  and  returning  to  his  mountain  home  he 
devoted  himself  arduously  to  the  study  of  the 
violin,  on  which  instrument  he  disjdayed  so  much 
skiU  as  to  induce  hLs  father  to  project  a  series  of 
concerts  in  the  principal  Italian  cities,  where  ho 
met  with  universal  favor.  On  one  occasion,  after 
performing  the  difficult  variations  of  Rode  at  the 
Teutro  Hcale  at  Turin,  he  was  lifted  from  the  stage 
into  the  queen's  bo.x  by  command,  to  receive  the 
regal  marks  of  graxitication  and  delight.  ThLs 
incident  brought  him  into  great  favor  with  the 
court,  and  for  a  whole  season  he  was  the  caressed 
of  the  Sardinian  noblesse. 

While  sojourning  for  professional  purposes  at 
MarseiUcs,  his  father  met  the  Admiral  de  Rigny, 
then  commander  ot  the  squadron  of  the  Levant, 
who  induced  him  to  abandon  his  musical  pur- 
suits, and  enter  the  service.  'Hiis  strange  muta- 
tion in  their  affairs  of  life  led  to  father  and  son 
remaining  in  the  French  navy  for  three  years, 
both  being  present  at  the  battle  of  Navarino,  in 
1827.  Returning  to  France  at  the  end  of  this 
time,  young  JuUien,  inspired  with  a  feeling  of 
heroism,  enlisted  as  a  soldier,  and  for  ^i\  months 
bore  the  drudgery  of  a  musket  in  the  54th  regi- 
ment of  infantry.  Rut  this  dull  routine  of  strin- 
gent discipline  was  Ul  adapted  to  the  temper  and 
restless  genius  of  our  hero.  His  regiment  being 
ordered  to  Itriancon  on  the  Piedmonteso  frontier, 
he  deserted  lor  the  purjwse  of  visiting  his  mother, 
then  living  at  Turin,  whom  he  had  not  seen  foi 
several  years.  Returning  to  the  (juarters  at  night 
in  a  deep  snow,  he  scaled  the  waUs  of  the  ram- 
parts, and  seeking  the  colonel  in  ccmniand,  sued 
for  clemency  at  his  haiuls.  The  officer,  who,  it 
seems,  was  a  benevolent  man,  heard  his  story, 
and,  touched  by  the  filial  love  of  the  young 
soldier,  immediately  interce<led,  and  thus  save<l 
him  Irom  the  fate  of  ignoiuiny  and  death.  His 
father  shortly  aiter  this  occurrence  purchased  his 
discharge,  and  with  the  secret  love  of  the  musical 
ort  burning  in  his  soul,  he  set  out  on  foot,  and 
walked  to  Paris,  detcnuincd,  if  i)os.sihle,  to  enter 
the  Conserraliiire.  A  firm  will  ond  indomitable 
energy  overcame  every  obstacle,  and  in  hss  than 
si.\  months  after  Ids  arrival  he  wa,H  entered  iw  at, 
ill  re  in  that  institution,  under  the  illustrioiu 
Chenihini,  who  particularly  direrte<l  the  atten- 
tion of  his  pmtr'ip  to  the  study  of  8acre<l  muMC. 
The  tuition   of  such  a  ma.stcr  was  cal(.ulau:d  tt 


4C9 


JUL 


EXCYCLOP-EDIA    OF    MUSIC. 


JUS 


rnuxe  all  the  natural  Rcuius  of  the  asiiiriug  youth, 
and  his  ]<roHc-icncy  attracted  general  attention. 
He  was  al-io  fortunate  euou^;h  at  tliLs  time  to  en- 
joy tl>e  fricndsliip  of  Uo:i.siiii,  who  bonetitod  him 
ny  various  acts  of  i>rofe>Hioiial  kindness,  and  in- 
deed gave  him  a  course  of  lesions  in  countcr- 
])oint.  The  reverence  and  di^;uity  that  Clicrubi- 
ni  associated  with  his  art  i<  well  known  ;  and  it 
is  said  tlmt  M.  JuUion's  first  publication  of  a 
raUr  cost  him  tlie  interest  and  friendship- of  that 
dLstiuj^uished  master. 

On  retiring  from  the  Conservatoire,  M.  Jullien 
received  the  imjwrtant  a])pointment  of  dirccteur 
of  the  concerts  at  the  Cluimps  ICIi/sde.i,  and  the 
balls  of  the  Academic  Royak'.  In  this  position 
he  was  brought  prorainendy  l)efore  the  public  of 
the  French  capital,  and  a  well-earned  popularity 
induced  him  to  lease  the  hotel  of  the  Duke  of 
I'adua,  which  he  converted  into  a  grand  sulle  for 
balls  and  concerts  that  long  wore  the  rage  of 
I'arLs.  So  successful  was  his  initial  introduction 
of  the  Italian  Casino  into  France,  that  several 
managers  of  the  loading  theatres  formed  a  clique 
to  sul)vcrt  the  efforts  of  the  devoted  entrej>ie- 
twur,  the  end  of  which  was,  that  the  year  1839 
drove  him  to  England.  lie  commenced  his  ex- 
cellent promenade  concerts  at  Drury  Lane  Tlica- 
tre  at  the  same  period,  and  from  that  time  to  the 
present  his  brilliant  festivals  have  created,  not 
only  in  London,  but  throughout  the  United 
Kingdom,  the  most  enthusiastic  feelings  of  in- 
terest among  all  classes.  With  a  laudable  desire 
to  establish,  in  London,  an  English  opera,  M. 
Jullien  organized  in  1817  a  troupe  of  artistes  of 
celebrity,  and  produced  a  series  of  works  in  a 
style  of  splendor  unprecedented  in  the  annaLs  of 
the  English  lyric  stage.  But  this  effort,  like 
many  others  of  a  similar  nature,  was  ill  re- 
quited ;  and  at  the  end  of  the  season  the  mana- 
ger found  himself  loser  of  an  enormous  sum,  the 
lesults  of  at  least  ten  years  of  active  professional 
labor. 

It  was  during  this  time  that  M.  Jullien  intro- 
duced to  the  English  public  in  opera  Mr.  Sims 
Kcevcs,  whose  fine  tenor  voice  had  attracted  his 
attention  in  Italy.  M.  Jullien  has  distinguished 
himself  as  quite  a  musical  cicerone,  having  from 
time  to  time  brought  forward  Pcrsiani,  Dorus 
Vivas  Anna  Tliillon,  and  Jetty  Treffz^  To  his 
taste  and  enterprise  the  lovers  of  music  are  also 
indebted  for  the  pleasure  they  have  experienced 
in  hearing  I'Lscheck,  Vivier,  Kwnig,  Bottesini, 
Ciofh,  Wuille,  and  the  brothers  Mollinhauer ;  all 
of  whom  have  appeared  in  England  under  hLs 
management.  At  various  periods  the  names  of 
Vicnxtcmps,  Ernst,  Sivori,  Sainton,  and  artistes 
of  similar  position,  have  likewise  graced  his  pro- 
grammes. 

M.  JuUien's  most  ambitious  work  was  the  opera 
"  I'ieiro  II  Grande,"  produced  in  IHo:!,  at  Covent 
(jardcn,  in  which  Taniberlik  so  distinguished 
himself.  Its  introduction  was  characterized  by 
a  magnificence  and  splendor  of  ensemble  rarely 
witnessed  even  at  the  first  opera  house  of  the 
metropolis. 

To  enumerate  hi.s  smaller  works  —  his  "  waif- 
lets  and  c-strays"  of  music  —  would  be  like 
counting  the  leaves  of  the  forest  They  have 
been  taken  info  c\i^tody  by  the  world,  and  not  to 
find  a  bind  fHe  "  Ju'.licn  "  in  any  civilized  coun- 
trj-  would  indeed  be  a  species  of  musical  mar- 
vel. 


It  was  a  saying  of  Goethe,  that  we  should  do 
our  utmost  to  encourage  the  beautiful,  for  the 
useful  encouraged  itself.  ThLs  sentiment  M.  Jul- 
lien seems  to  have  incorporated  in  his  professional 
policy,  never  losing  sight,  amid  the  vivacity  of 
his  ad  captaiidum  levities,  of  the  sterling  and  beau- 
tiful compositions  of  the  great  masters.  In  thi* 
respect  he  may  be  said  to  liave  educated  the  pub- 
lic at  large,  familiarizing,  by  degrees,  the  general 
car  with  a  class  of  music  that  fonuerly  was  con- 
fined to  the  sympathies  and  appreciation  of  the 
select  few.  'ITiis  poi)ularLzation  of  the  works  of 
such  authors  as  Bectlioven,  Mozart,  and  Mendels- 
sohn is  an  achievement  in  itself'  worthy  of  con- 
ferring honor  on  M.  Jullien,  who  undeniably  has 
had  the  public  ta^te  to  a  considerable  extent  un- 
der liis  direction.  He  hxs  been  in  a  position  to 
apjieal  to  the  e:u-s  of  thousands  of  the  masses, 
and  a  glance  at  his  programmes  from  year  to  year 
will  serve  to  show  how  admii"ably  he  has  sus- 
tained that  position. 

JUMILHAC,  LE  PERE  DE,  a  Benedictine 
monk,  published  in  Paris,  in  167.3,  "  La  Scieticc  et 
la  I'ralirjiic  du  Plainchant." 

JUXGE,  JOACHIM,  a  doctor  of  philosophy  at 
Hamburg,  died  in  16.57.  Among  his  published 
«  orks  is  one  entitled  "  Harmonica  Theoretica."     • 

JUXGHAUTZ,  J.  A.,  organist  at  Amstadt,  was 
bom  in  174.5.  He  was  known  in  Germany  by 
some  good  compositions  for  the  harpsichord. 

JUXIUS,  ADRIAXUS,  a  doctor  in  medicine, 
born  in  Holland  in  1.512,  published  a  work,  one 
of  the  chapters  of  which  treats  of  "  Musica  Instru- 
tneiUa  eojue  spectantia." 

JUXKER,  KARL  LUDWnG,  a  celebrated 
amateur  musician  in  the  north  of  Germany,  died 
in  1797.  He  published  many  works  on  music  be- 
tween the  years  1776  and  17S().  Two  concertos 
for  the  harjjsichord,  and  some  other  small  works 
for  the  s;»me  instrument,  composed  by  Junker, 
have  also  been  publLshed. 

JUSDORF,  J.  C,  a  flutist  at  Gottingen,  has 
published  several  operas  of  music  for  his  instru- 
ment, at  Offenbach,  since  the  year  1799. 

JUST,  J.  A.,  a  musician  at  the  Hague,  bom 
about  the  year  1750,  was  a  pupil  of  Kemberger. 
He  was  considered  one  of  the  best  performers  of 
his  time  on  the  harpsichord.  He  published  at 
Amsterdam,  the  Hague,  and  Berlin,  much  music 
for  his  instrument ;  besides  which  he  comjjosed 
the  music  of  the  operas,  "  Le  Marchnnd  de  Smyr- 
tie."  and  "  Le  I'afle  :  "  also  "  A  Cantata  for  MTiit- 
suntide,  for  fifteen  Voices." 

JL'ST.  An  epithet  applied  to  all  consonant  in- 
tervals, and  to  those  voices,  strings  and  pipes, 
which  give  those  uitervaLs  with  truth  and  exacti- 
tude. 

jrSTIX  MARTYR  was  at  first  a  philosopher 
of  the  sect  of  Plato.  In  the  year  133  he  embraced 
the  Christian  re'.ipion,  and  died  a  martiiT  durini; 
the  persecutions  of  Antoninus,  in  163,  or,  accord- 
ing to  other  historians,  in  166.  HLs  works,  which 
were  published  at  Paris  in  1636  and  1742,  con- 
tain many  excellent  remarks  on  the  church  mu8i\ 
used  in  his  time. 


470 


;us 


ENCYCLOPAEDIA    OF    MUSIC. 


JU& 


JUSTINIANUS,  LEOXARDUS,  a  Venetian 
nobleman,  lived  about  the  year  1428.  He  was 
celebrated  as  a  scholar,  and  also  as  a  musical 
composer.  He  wrote  a  great  number  of  amatory 
songs,  which  had  such  success,  that,  notwith 
standing  every  effort  of  the  clergy,  all  Italy  w  pj 
inundated  with  them.  In  reparation  for  his  li- 
centiousness,  he  subsequently  wrote  as  great  a 


<7 


number  of  vocal  pieces  in  honor  of  the  holy  virgin 
and  saints. 

JUSTIXIAN,  I.,  called  "  the  Great,"  a  Greek 
emperor  in  the  sixth  century,  Ls  celebrated  for  hi- 
body  of  laws.  He  was  an  excellent  musician,  and 
in  the  Greek  church  they  still  sing  a  troparias  or 
hymn  on  the  divinity  of  Jesus  I  'hrist  of  hia  com 
position.  Ue  died  in  566. 
\ 


KAA 


EXCYCLOP.EDIA    OF    MUSIC. 


EAI 


K, 


K.\A,  FRAXZ  IGX.  (.'hapel-master  at  the 
fathedrnl  of  Cologne,  iii  17s:i.  He  i)ul)lL<hed  at 
the  llague  six  operas  of  iustrumciital  music. 

K-\£BERLE.  A  celebrated  performer  on  the 
hautboy,  at  Beuthen  on  the  Oder,  about  the  year 
1740.  "lie  composed  some  music  for  his  instru- 
ment. 

KAEMPFER,  JOSEPH,  a  celebrated  perform- 
er on  the  double  bass,  resided  in  London  for  some 
years,  after  1783.  He  was  by  birth  an  Hungarian, 
and  originally  an  otficer  of  the  Austrian  anny. 
Being  in  garrison  in  Croatia,  with  little  to  do,  the 
idea  Jirst  struck  him  to  render  himselt  celebrated 
as  a  musician.  With  this  intent,  he  chose  the 
double  bass,  conceiving  that  on  that  instrument  he 
would  have  fewer  rivals  than  on  any  other. 
\Vithout  any  master,  his  genius  and  taste  were 
his  only  guides.  Alter  a  certain  time,  conceiving 
that  he  had  attained  sufficient  power  to  be  heard 
in  public,  he  went  to  Vienna,  where  he  was  re- 
ceived shortly  afterwards  in  the  chapel  of  Prince 
Esterhazy,  then  under  the  conduct  of  the  immor- 
tal Haydii.  By  perseverance  in  practice,  Kaemp- 
fer  could  at  length  execute  on  his  double  bass, 
(which  he  used  to  call  his  Goliath)  not  oiUy  the 
most  difficult  violin  passages,  but  also  used  the 
upper  tones  of  his  instrument  with  such  delicacy 
that  they  resembled  those  of  the  harmonica.  In 
the  year  1770,  being  desirous  of  travelling  through 
Germanv,  and  tinding  the  size  of  his  double  bass 
very  inconvenient,  Kaempfer  had  one  constructed, 
which,  by  means  of  twenty-sL\  screws,  he  could 
take  to  pieces  or  put  together  with  facility.  He 
extended  his  travels  on  the  continent  as  far  as  St. 
Petersburg,  from  whence  he  sailed  for  England. 
He  was  considered  there  as  a  fine  solo  player,  and 
was  constantly  engaged  at  the  principal  concerts. 

KAESERMANX,  XICOLAS.  a  professor  of 
music  at  Beme,  published  at  Augsburg,  in  1797, 
"  Trots  Soitaf.  pour  le  Clav.  atcc  I'.,"  Op.  1.  He 
afterwards  published  at  Berne,  in  1804,  "  Geliert'i 
geisU.  Oden  und  LkcU-r,  mit  ganz  neiien  Slelodien 
fur  3  6m  4  Singstim  nen,  tiebst  einer  Klavierparthie 
u.td  GeneraUxuse." 

KAESTXER.  ABRAHAM  GOTTHELF,  doc- 
tor of  philosophy,  was  born  at  Lcipsic  in  1719. 
He  translated  from  the  English  language  a  trea- 
tise on  ancient  and  modern  music,  with  their  ap- 
plication to  the  cure  of  disease,  wTitten  by  Dr. 
BrocVlesby.     Kacstner  died  in  the  year  1800. 

KAFFKA,  JOSEPH,  a  celebrated  violinist,  bom 
in  Bohemia,  had  been,  in  the  ye.ar  17.S8,  during 
forty-five  yeurs,  in  the  ser\-ice  of  the  Prince  of 
Tour  and  tiisLs,  at  Regeusburg. 

KAFFK.V,  WILHELM,  eldest  son  of  the  pre- 
ce<ling,  was  an  excellent  violinist,  in  the  service 
of  the  same  prince  as  his  father.  He  has  also 
composed  some  masses,  and  music  for  his  instru- 
ment. 


KAFFKA,  JOHAXX  CHRISTIAX,  second 
son  of  Joseph  Kaffka,  was  bom  at  Rcixensburg 
in  17.59,  and  studied  music  under  the  celebrated 
Riepel.  He  was  first  in  the  service  of  his  prince 
as  ^-ioiinist,  and  in  1778  made  his  d.'.biU  as  a  sing- 
er at  the  theatre  at  Breslau,  from  whence  he 
proceeded  to  St.  Petersburg,  and  lastly  jierformed, 
in  1802,  at  the  court  theatre  at  Dessau.  He  has 
composed  much  vocal  and  instrumental  music, 
both  sacred  and  profane. 

KAHL,  GOTTHARD  AVILHELM,  was,  in 
1796,  a  student  of  music  at  Halle,  and  ])ublished, 
at  Leipsic,  in  that  year,  "  6  Kieiiie  So:iaten  fUrt 
Kktcier."  He  died  in  1824,  with  the  reputation 
of  a  distingtiished  organist. 

K.USER,  PATER  JI.STRID,  a  monk  in  Sua- 
bia,  about  the  year  1750,  was  celebrated  as  a 
church  composer. 

KAISER,  P.  L.,  a  musician  at  Winteithur,  in 
Switzerland,  was  bom  at  Frankfort  on  the  Maine, 
in  1736.  In  1784  he  made  a  second  journey  to 
Italy,  having  resided  there  previously  during 
several  years.  He  was  considered  an  excellent 
performer  on  the  harpsichord,  and  his  composi- 
tions are  in  the  style  of  Gluck,  who,  it  is  said,  he 
chose  for  his  model.  He  published  several  col- 
lections of  German  songs,  also  some  music  for 
his  instrument,  between  the  years  1775  and  1790. 

KAISERLY  KRIKUHR,  an  Armenian  singer, 
publLshed  at  Constantinople,  in  1794,  a  work  on 
Armenian  church  music,  also  a  second  book  of 
the  same  description,  in  1803. 

K.VLCHER,  JOHAXX  XEPOMUK.  court  or- 
ganist at  Munich,  was  a  celebrated  peri'ormer  and 
composer.  Among  his  printed  works  are  "15 
Lieder  beym  K/acier,"  Munich,  1800. 

KALKBREXXER,  CHRISTIAX.  A  Prussian 
Jew,  born  in  1755,  at  Munden,  in  (iermany.  He 
was  a  pupil  of  Emmanuel  Bach,  when  he  so  dis- 
tinguished himself  as  to  be  received  at  a  very 
early  age  in  the  chapel  of  the  Elector  of  Hesse 
Cassel.  He  soon  afterwards  quitted  that  town 
for  Berlin,  where,  attached  to  the  suite  of  Prince 
Henry,  brother  of  Frederic  the  Great,  he  com- 
posed for  the  prince's  theatre  the  following  operas  : 
"  La  IVure  de  Mattibar,"  "  Democrittu,"  and  "  La 
Fiinme  et  k  Stcret."  In  1796  he  travelled  to 
various  parts  of  Germany  and  Italy,  and  finally 
settled  at  Paris,  where  he  was  api)oinic(l  singing 
master  to  the  Academy  of  Music.  For  this  thea- 
tre he  produced  the  opera  of  "  Olympi',"  but  it 
was  unsuccessful ;  and  had  written  another  op- 
era, "  (Etwne,"  which  was  just  about  to  be  per- 
formed, when  he  died,  in  1806.  Kalkbrenner 
published  at  Paris,  in  1802,  the  first  volume  of  a 
•'  Ilistoire  de  la  Miisigiie."  He  had  previously 
written  several  didactic  works  on  music  ;  he  also 
published  many  pieces  for  the  piano- forte.  Kalk- 
brenner's  history  is  considered  high  authority  is 


473 


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ENCYCLOPEDIA    OF    MUSIC. 


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what  relates  to  Hebrew  and  the  ancient  Greek 
music. 

KALKBREXXER,  FRIEDKICII,  son  of  the 
preceding,  was  bom  at  Cassel  in  1784.  He  was 
considered  as  one  of  the  best  piano  pupils  of  the 
celebrated  Adam,  and  in  composition  was  a  pupil 
of  Catel.  In  the  year  1802  he  gained  two  prizes 
at  the  Conservatory  at  Paris,  the  one  for  compo- 
sition, and  the  other  for  Ms  performance  on  the 
piano,  which  prizes  were  presented  to  him  by 
Chaptal,  the  minister  of  the  interior.  Kalkbren- 
ner's  style  of  playing  was  peculiar,  but  his  com- 
mand of  the  piano  was  prodigious.  He  composed 
voluminously  for  his  instrument,  both  in  England 
(where  he  resided  several  years  as  a  teacher) 
and  in  Paris  and  Vienna.  Much  of  his  music 
evuices  a  fine  taste  and  rich  fertility  of  invention. 
Among  his  more  favorite  piano-forte  pieces,  pub- 
lished in  England,  are,  "  Essais  sur  diffiretites  Ca- 
ractires  pour  le  Piaito-forte."  "  Taleo,  oti  la  Chasse 
au  Renard,  Rondo."  "  Sonata,  for  the  left  hand," 
(obligato.)  "  Variations  sur  la  Biondina  in  Gon- 
doletla."  "Operatic  Airs,  Xo.  1."  "La  Solitu- 
dine.  Rondo."  "  Polacca  Rondo."  "  Grand  dra- 
matic Sonata."  "  Duo  for  the  Piano-forte  and 
Violin,"  Op.  49.  "  Pastoral  Rondo,"  Op.  29. 
"  Eleventh  Fantasia,  with  We're  a'  noddin." 
"Grand  Concerto."  "Military  Rondo,"  Op.  62. 
"  Rondo,  with  Bishop's  Duet  of  Maid  Marian," 
Op.  65.  "  Twelfth  Fantasia,  with  Auld  lang 
syne,"  Op.  62.  "Grand  AValtz,  with  Flute  Ac- 
companiment," Op.  63.  "  Rondo  Villafjeois"  Op. 
67.  "  Gage  d'Aniitic,  Grand  Rondo,"  Op.  66. 
Vocal  pieces  :  "  Three  Songs."  "  Tre  Canznnette 
Ualiane"  and  "  Hail,  George  the  Fourth."  These 
are  almost  the  only  vocal  compositions  of  their 
author.  The  Italian  canzonets  are  said  to  be 
simply  elegant.  One  of  the  English  songs,  "  The 
knell  of  the  brave,"  has  a  good  dramatic  effect, 
but  much  the  most  original  of  the  three  is 
"  Woman."  Friedrich  Kalkbrenner  died  at  Paris, 
in  1849,  of  cholera,  just  as  he  had  completed  a 
new  musical  work,  which  had  engaged  him  for 
some  time  pre\'ious. 

KALLEXBACH,  G.  E.  G.,  an  organist  at 
Magdeburg,  published  many  vocal  pieces  at  th« 
above  town  and  Halle,  between  the  vears  1787 
and  1800. 

KALI.RVODA,  JOIIAXX  WEXZEL,  a  dis- 
tinguished instrumental  composer,  was  born  at 
Prague  in  the  year  1300.  He  entered  the  Con- 
servatory there  at  the  age  of  ten,  and  during  si.x 
years  rcceive<l  a  complete  musical  education.  At 
the  age  of  si.Kteen  he  entered  the  orchestra  of 
the  Prague  theatre  as  violinist,  where  he  remained 
until  his  twenty-second  year.  Meanwhile  his  tal- 
ent had  been  remarked  by  the  Prince  of  Fursten- 
burg,  who  made  him  his  chapel-master,  at  his 
residence  in  Donauschingen,  where  he  remained 
many  years,  devoting  himself  to  the  improve- 
ment of  his  orchestra,  and  to  the  composition  of 
orchestral  music.  He  Ls  particularly  distinguishetl 
for  his  sjTuphonics,  the  first  of  which  (Op.  7.) 
was  produced  at  Leipsic  in  1826  with  great  idat. 

K AMBRA,  R.  A  composer  of  vocal  and  instru- 
mental music,  resident  in  London,  in  the  latter 
part  of  the  la.st  century.  He  publLshed  some 
original  Chinese  songs,  with  an  accompaniment 
for  the  piano-forte,  also  some  sonatas  and  other 
music  for  the  piano-forte. 


KAMMEL,  AXTOX,  a  violinist  in  the  king't 
band,  was  bom  in  Bohemia.  He  was  a  pupil  of 
Tartini.  He  performed  for  some  time  at  Prague, 
where  he  was  especially  celebrated  for  hLs  adagio 
pla\-ing.  From  thence  he  proceeded  to  Ix)ndon, 
where  he  married  a  woman  of  some  fortune.  He 
died  about  the  year  1788.  His  compositions  con- 
sisted chiefly  of  violin  music,  and  some  masses. 

KAXXE,  FRIEDRICH  AUGUST,  bom  in 
1778,  near  Leipsic,  was  of  the  legal  profession, 
but,  since  the  year  1802,  has  made  himself 
known  as  a  composer.  His  works  are  chiefly  vo- 
cal and  dramatic.  In  1807  he  went  to  Vienna, 
where  he  produced  two  successful  operas  "  Or- 
pheu-s,"  and  "Fernando  and  Miranda."  Ir.  1809 
he  was  so  highly  esteemed  in  the  musical  profes- 
sion as  to  be  appointed  chef-d'orchestre  to  the  op- 
era in  Presburg,  with  a  salary  of  fii'teen  hundred 
guelders.     He  died  in  1833. 

KAXXEXGIESSER,  J.  J.  Chamber  mu-sician 
to  the  court  of  Prussia.  He  published  some  vo- 
cal and  instrumental  music  at  Berlin,  between  the 
years  1783  and  1800.  He  was  considered  the 
best  music  master  of  his  time  in  Berlin. 

KAPP,  J.  C.\RL,  a  Prussian  organist,  pub- 
lished, at  Brunswick,  nine  works  of  piano-forte 
music,  up  to  the  year  1798-  He  was  a  pupil  of 
Hassler  and  Weimar. 

KAPSBERGER,  JOHAX^*  HTEROXYilUS, 
a  German  of  noble  family,  was  well  known,  not 
only  for  the  variety  of  his  compositions,  but  also 
for  hLs  great  skill  and  e.xecution  on  almost  all  in- 
struments, particularly  on  the  theorbo  lute,  an 
instrument  invented  by  a  Xeapolitan  musician, 
whose  name  Is  not  now  known.  Kapsherger 
rendered  essential  assistance  to  Kircher,  in  the 
compilation  of  his  "  Musurgia."  A  mean  jealousy 
of  the  reputation  of  Palestrina  induced  him,  in 
conjunction  with  some  others,  to  make  several 
nefarious  attempts  to  destroy  the  popularity  of 
that  great  musician.  The  conspiracy  failed,  and 
the  contrivers  of  it  reaped  for  their  trouble  only 
odium  and  disgrace.  Many  of  the  compositions 
of  Kapsbcrger  are  for  the  lute.  He  wrote  some 
ma-sses,  litanies,  motets,  and  other  pieces  for  the 
church,  and  a  considerable  portion  of  vo<al  music 
for  the  theatre,  and  for  public  solemnities.  He 
published,  at  Rome,  a  work  entitled  "  Coro  Musi- 
cale  in  yupliis  D.  D.  Thaddei  Barberini  et  Anna 
Columiuf." 

KARASEK,  or  KARAUSCHEK,  a  Bohemian 
violinist,  died  in  1789.  He  composed  some  in- 
strumental mxisic,  among  which  are  concertos  for 
the  bassoon  and  violoncello,  and  symphonies. 
On  the  latter  named  instrument  he  was  an  excel- 
lent performer. 

KARELIN",  SILA  DEMEN•TIE^^T^SC^,  by 
birth  a  Russian,  was,  in  the  year  1796,  the  direct- 
or of  the  mnsique  de  chasse  of  some  nobleman  at 
St.  Petersburg.  He  was  considered  the  finest 
performer  in  Russia  on  the  eor  de  chnsse,  and  hi* 
instrument  is  said  to  have  cost,  at  Moscow,  eight 
hundred  rubles. 

KARR,  HENRI,  an  excellent  pianist,  residert 
at  Paris,  was  bom  at  Deux-Ponts,Jn  17S4.  Hi 
has  published  some  mu-sic  for  his  instniment. 

KARSTEN.    A  good  tenor  singn  at  the  op<»n 


60 


473 


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ENCYCLOP.EDIA    OF    MUSIC. 


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•t  Stockholm,  by  birth  a  Swede.  lie  was  in  Lon- 
don in  the  year  1792,  and  sang  with  much  ap- 
pUiue  in  variouH  parties  of  the  nobility. 

KAl'EU,  FEKDIXAXD,  a  musician  at  Vien- 
na, published  there  much  dramatic  and  instru- 
mental music,  between  the  years  1794  and  1809. 
Uo  is  said  to  have  been  an  excellent  pianist. 

KAUFMAXX,  C.\UL,  an  orRanLst  at  Bcrhn, 
born  there  in  17Gr>,  was  a  pupil  of  Fasch  in  com- 
position, and  of  Kohu  on  the  violin,  lie  pub- 
lished some  instrumental  music  about  the  year 
1790.  llis  compositions  are  chiefly  for  the  piano 
and  organ,  on  which  instruments  he  was  an  ex- 
cellent performer.     He  died  at  Berlin,  in  1808. 

KAUFMANN,  JOIIANX.  A  violoncellist  at 
Stuttgard,  born  in  17G0. 

KAUFMANN,  MADAME,  wife  of  the  preced- 
ing, was  a  celebrated  smger  at  Stuttgard,  in  the 
8er>'ice  of  the  court. 

KAUTH,  MADAME.  An  amateur  composer 
of  music  for  the  piano-forte.  A  concerto  of  her 
composition  was  played  by  Hiunmel  at  a  concert 
in  Berlin,  in  1792. 

KAYSER,  ELIZABETH.  Not  less  celebrated 
for  her  beauty  and  fecundity  than  for  her  talents 
as  a  singer.  At  the  age  of  fifteen,  she  sang  with 
great  success  at  the  ojjcra  in  Dresden.  She  after- 
wards was  married  to  a  tenor  singer  of  the  same 
theatre,  and  became  the  mother  of  twenty-three 
children,  having,  four  times,  twins.  From  Dres- 
den she  went  to  Stockholm,  where  her  charms 
were  still  such  as  to  captivate  Frederic,  King  of 
Sweden,  (from  1720  to  17-51,)  whose  mistress  she 
became,  and  by  whom  she  had  her  twenty-fourth 
child.  It  was  to  Madame  Kayser  that  the  king 
owed  the  preservation  of  his  life,  in  the  fire  at  the 
Opera  House  in  Stockholm.  Already  the  ma- 
chinery at  the  end  of  the  stage  was  in  flames, 
without  the  audience  knowing  of  it,  when  Mad- 
ame Kayser,  obser\ing  the  fire  to  spread,  had 
Bufficient  presence  of  mind  to  approach  the  royal 
box  without  interrupting  her  singing  and  action. 
At  first  she  made  signs  to  the  king,  who  did  not 
understnnd  her ;  she  then,  seizing  a  favorable 
moment,  said  to  him  in  a  low  voice,  "  Leave  the 
theatre,  sire;  it  is  on  fire."  The  king  instantly 
quitted  the  house  ;  when,  after  giving  him  time 
to  escape  the  crowd,  she  vociferated  fire  '.  and 
gaining  her  box,  threw  herself  and  royal  son, 
who  was  then  about  four  years  old,  out  of  a 
^viIKlow,  wliich  not  being  very  high  from  the 
ground,  she  escaped  without  injury. 

KEEBLE,  JOHN,  organist  of  St.  George's. 
Hanover  S(|URre,  trom  17o9  to  1787,  was  a  pupil 
of  Dr.  I'epusch.  He  published  in  1781  a  work 
entitled  "  The  Theory  of  Harmonics." 

KEENEUS.  Tlie  name  of  the  Irish  singing 
mourners.  The  Irish  have  always  l)ecn  remark- 
able for  their  funeral  lamentations,  and  once 
were  celebrated  for  their  musical  art,  as  exercised 
in  their  last  snd  othces  to  their  departed  friends, 
f  ormcrlv  these  duties  were  i)crformed  by  dressing 
the  body  of  the  deceased  in  grave  clothes,  orna- 
menting it  whh  flowers,  and  placing  it  on  a  bier; 
■when,  the  relations  and  krmer.i  ranging  themselves 
in  two  ilivisioivs,  one  at  the  head  and  two  at  the 


feet  of  the  corpse,  the  chief  bard  of  the  head 
chorus,  softly  accompanied  by  the  harp,  sung  tin 
first  stanza  of  the  Caoiiiart,  or  funeral  song ;  thi.s 
being  ended,  the  foot  scmichorus  began  the  lam- 
entation, or  Ullaloo,  in  which  they  were  answered 
by  the  head  semichorus,  and  then  both  united  in 
one  general  chorus.  After  thLs,  tlie  chief  bard  of 
the  foot  scmichorus  began  the  second  Gol.  or 
lamentation,  in  which  he  was  answered  by  that 
of  the  head ;  and  then,  a,s  before,  both  united  in 
the  general  and  full  chorus.  Thus,  alternately, 
were  the  song  and  choruses  solemnly  performed 
during  the  night.  But  whatever  merit  or  decorum 
there  might  formerly  be  in  these  vocal  obsequies 
of  the  Irish,  they  have,  at  present,  little  to  boast, 
either  of  melody,  harmony,  or  dignity.  The 
keeners  now  generally  consist  of  a  motley  multi- 
tude of  men,  women,  and  children,  and  the 
Caoitian  is  degenerated  into  a  wild  and  hideous 
howl. 

KEEPER,  JOHN,  of  HarthaU,  an  English 
church  composer,  published,  in  1.574,  "  Select 
Psalms,  in  four  parts." 

KEHL,  JOHANN  B.,  a  singer  and  organist, 
was  born  at  Cobourg.  He  published  several 
sonatas  for  the  harpsichord,  S:c.,  at  Nuremberg, 
about  the  year  1770|  and  left  two  oratorios  iA 
manuscript. 

KEIFERERUS,  CHRISTI.VNUS,  a  monk  and 
church  composer,  published  some  sacred  music 
at  Augsburg  and  Ingolstadt,  in  the  year  1612  and 
1618. 

REISER,  REINHARD,  was  born  at  Leipsic 
in  1673.  His  first  master  in  counterpoint  was  his 
father ;  and  early  in  life  he  was  entered  at  the 
university  of  hLs  native  towni,  where  he  much 
distinguished  himself  in  his  general  studies,  whilst 
at  the  same  time  he  greatly  improved  in  the 
science  of  music  by  a  close  attention  to  the  best 
productions  of  Italy,  ilia  first  attempt  at  com- 
position was  the  pastoral  of  "  hmtne,"  which  he 
wrote  for  the  court  at  Wolfcnbdttel  just  after  he 
quitted  the  university ;  it  was  received  with  the 
greatest  approbation.  His  second  opera,  "  Basii- 
iiis,"  proved  not  less  successful.  Shortly  after 
this  he  went  to  Hamburg,  where  the  opera  was 
in  great  perfection,  the  celebrated  Hasse  being  a 
tenor  singer  on  that  stage  at  the  time.  Here  he 
reproduced  his  "  liasilius  "  and  "  Jsmfne,"  both  of 
which  were  received  with  enthusiasm.  He  also 
brought  out  the  opera  of  "  Jmius,"  which  was 
equally  successful.  Gifted  with  first-rate  talents, 
Kciser  now  found  himself  obliged  to  oj)i)ose  their 
whole  force  to  misfortunes  which  threatened 
him.  He  had  become  director  of  the  Opera  House 
at  Hamburg,  and  the  specidation  was  just  on  the 
point  of  failing,  when  he  saved  the  concern  from 
ruin,  by  writing  and  bringing  out  no  less  than 
eight  operas  in  one  year.  Every  one  of  them  suc- 
ceeded, and  their  receipts  relea-'.ed  tlie  theatre 
from  all  pecuniary  difhculties.  .Soon  after  this 
time,  Keiser  married  a  woman  of  property,  and 
commenced,  in  conjunction  with  the  learned  Mat- 
theson,  giving  public  concerts  at  Copenhagen, 
where  he  was  honored  with  the  nomination  of 
chapel-master  to  the  kirg.  On  his  return  to  Ham- 
burg, he  brought  out  "  C'lVrr,"  the  hist  and  most 
beautiful  of  his  operas.  This  was  first  performed 
in  1734,  and  was  the  one  hundred  and  eighteenth 


474 


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ENCYCLOPAEDIA    OF   MUSIC. 


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whicli  this  indefatiijable  artist  hail  produced. 
Keiscr  is  considered  the  father  of  Geriuau  melo- 
dy. Exclusive  of  his  dramatic  works,  he  com- 
posed divertimenti,  sereuate,  and  cantatas.  Fancy 
and  orii^inality  were  the  cliaracterLstics  of  all  his 
productions.  In  fact,  the  vigor  of  a  fertile  im- 
Bsrination,  corrected  by  study  and  experience,  is 
discernible  in  all  the  effusions  of  the  inexhaus- 
tible Keiser.  He  died  in  1739.  It  is  to  be  re- 
gretted that  hardly  any  of  Keiser's  works  are  now 
to  be  procured,  thouijh  a  new  edition  of  some 
few  of  them  was  talked  of  in  Hamburg  about  the 
year  IS  10. 

KEITH.  ROBERT  WILLIAM,  wa.s  bom  in 
1 787,  at  Stepney.  He  is  the  eldest  sou  of  Cor- 
nelius Keith,  organist  of  St.  Peter's  Church, 
Cornhill,  and  Danish  Cliapel,  Welldosc  Square. 
R.  W.  Keith  received  the  early  part  of  his  musical 
education  from  his  grandfather,  William  Keith, 
organist  of  Westham  Church,  Essex,  alter  whose 
decease  he  was  under  several  masters  for  the  or- 
gan, piano-forte,  and  violin.  His  instructors  on 
the  latter  instrument  were  Barthelemon  and  Diet- 
tenhoH'er,  under  whom,  to  complete  his  musical 
e<lucation,  he  also  studied  hanuony  and  com- 
position, llie  theoretical  works  written  by  Keith 
are  instruction  books  for  the  violin,  Gennan  tlute, 
and  piano-forte;  also  a  work  entitled  a  "  Musiail 
I'adf  Mccum,"  in  two  volumes,  8vo..  written  in  a 
catechetical  form,  which  commences  with  the 
first  principles  of  music,  and  gradually  passes  on 
through  the  whole  of  the  science,  including  com- 
position, &c. 

KELLER,  GODFREY,  was  a  celebrated  Eng- 
lish master  of  the  harjiLschord,  about  the  Iwgin- 
ning  of  the  eighteenth  century.  He  published 
several  sonatas,  in  five  parts,  for  flutes,  hautboys, 
&c. ;  also  a  work  entitled  "  A  complete-  Method 
for  attaining  to  play  a  Thorough  Bass  upon  either 
Organ,  Harpsichord,  or  Theorbo  Lute." 

KELLER,  CARL.  A  German  composer  of  flute 
music  at  Vienna,  boni  in  1774.  Among  his  works 
are  "  \'ar.  pour  Flute,  avec  Ace.  de  Piano,"  Vienna  ; 
*'  Faiilaisie,  acec  Ace.  dt  Piano,"  Op.  6,  Vienna  ; 
"  Pul/nurri,  acec  Ace.  de  deux  I'.,  T.,  el  B.,  .Src." 
Op.  4;  "  Ur.  Polnitoiae  en  lie  avec  Ace.  d'Oreh." 
Op.   1.5. 

KELLER,  H.  M.,  n  German  organist,  died  in 
1710.     Ho  wrote  some  mu-sic  for  his  instrument. 

KELLXER,  DAVID,  a  misician  at  Hamburg, 
published  there,  in  iTA'l,  "  Treulicher  Vntcrricht 
im  O'r/KTfl/An.M,"  which,  in  170G,  had  arrived  at  its 
eighth  edition.  It  was  conttidered  an  excellent 
manual  of  thoroiigh  basx. 

KKI.LNER,  JOHANN  PETER,  cantor  and  or- 
ganist M  (ir;\fenro(lo,  in  Thuringia,  was  born  there 
in  170.).  He  composed  much,  including  fugues, 
preludes,  suites,  passions,  and  other  forms  of 
church  music. 

KKLLNER,  JOHAN'X  CHRISTOPHE,  son 
of  the  jircccding,  was  an  organist  at  ('a-ssel,  and 
bom  in  17i?5.  He  learned  music  of  his  father, 
and  subsequently  at  Gotha,  under  the  celebrated 
Benda.  He  had  published,  up  to  the  year  17S.i, 
tit'teeu  operas  of  harpsichord  music,  together  with 
Bome  pieces  for  the  organ.  He  also  wrote  several 
passions  and  cantatas  for  the  church,  besides  one 
•peii,  "  Die  Schadenfreude,"  which  was  printed  in 


1782.  He  also  published,  in  1788,  a  work  oa 
thorough  bass.  In  1795,  he  wa.s  residing  at  Man- 
heim,  as  court  musician  ;  from  which  time  till 
1800,  many  more  of  his  works  were  published 
there,  both  vocal  and  instrumental. 

KELLXER,  ERXEST  AUGILSTUS,  was  born 
at  Windsor  in  1792.  His  father  was  a  native  of 
Saxe-Weimar,  and  one  of  the  private  band  ol 
musicians  in  the  service  of  her  majesty,  (Jueen 
Charlotte.  At  about  two  years  of  age  he  began 
to  teach  the  piano-forte  to  his  son  ;  who,  at  five 
years  old,  i)layed  one  of  Handel's  concertos  on 
the  organ,  before  the  royal  family  at  Windsor. 
Soon  alter  this,  young  Kellner  began  to  study 
singing  under  .Sir  W.  Parsons,  by  command  of 
his  majesty.  -Vt  eight  years  of  age,  he  sang  in 
public ;  and  from  that  period  until  his  voice 
changed,  sang  at  the  Ancient  Concerts,  oratorios, 
&c.,  &e.,  with  Mara,  Banti,  Billington,  and  Gra-s- 
sini,  with  great  success.  When  his  voice  broke, 
he  went  into  the  navy,  and  served  as  a  midship- 
man for  about  tliree  years,  when  he  returned  to 
London,  and  again  commenced  diligently  to 
prosecute  his  musical  studies.  In  April,  1815, 
he  married,  and  the  same  year  went  to  Italy, 
where  he  applied  himself  with  great  zeal  to  thi 
art  of  singing,  under  the  celebrated  masters  Por- 
re,  Nozarri,  and  Crescentini.  After  leaving  Italy, 
where  he  received  distinguished  marks  of  favor 
from  the  royal  families  of  Najiles  and  Tuscany,  he 
visited  Switzerland  and  Germany  ;  here  he  alsc 
had  the  honor  of  receiving  Haltering  marks  of 
approbation  and  favor  from  many  of  the  courts, 
particularly  Bavaria,  Saxe-Weimar,  Baden,  &e. 
He  returned  to  England  in  1820.  His  compo- 
sitions are  chiefly  manuscript,  and  consequently 
only  known  within  the  circle  of  his  friends.  He 
has,  however,  written  some  masses  and  offertories, 
which  have  been  sung  at  the  Bavarian  Chapel. 

KELLY,  MICHAEL,  a  native  of  Dublin,  waa 
bom  in  17()4.  His  father,  Michael  Kelly,  was  au 
eminent  wine  merchant  in  that  city,  and  foi 
several  years  master  of  the  ceremonies  at  the 
Castle.  At  a  very  early  period,  Michael  disjjlayed 
a  passion  for  music  ;  and  as  his  father  was  en- 
abled to  procure  the  best  masters  for  him,  before 
he  had  reached  his  eleventh  year  he  could  per- 
form some  of  the  most  difficult  sonatas  then  in 
fashion,  on  the  piano-forte.  Rau/zini,  when  en- 
gaged to  sing  at  the  Rotunda  in  Dublin,  gave 
him  some  lessons  in  singing,  and  persuaded  his 
father  to  send  him  to  Xaplcs,  as  the  only  ])laco 
where  his  musical  propensity  would  receive 
proper  cultivation.  At  the  age  of  sixteen,  he  waa 
accordingly  sent  there,  with  strong  recommenda- 
tions from  several  persons  of  conse<iucn(e  in  Ire- 
land, to  Sir  William  Hamilton,  the  then  I'ritish 
minister  at  the  court  of  Xaples.  .Sir  William  took 
him  under  his  fostering  care,  and  he  was  ]>laccd 
in  theconservatorio  of  La  Madonna  della  Loretto, 
where,  tor  some  time,  he  reccive<l  instruction  from 
the  celebrated  composer  Fenaroli.  Sir  William 
Hamilton  also  did  Kelly  the  honor  of  introdu- 
cing him  to  tlie  King  and  (Jueen  of  Xaples,  who 
particularly  noticed  the  young  Irishman.  Having 
had  the  good  fortune  to  meet  Aprile,  the  first 
singing  roaster  of  his  day,  that  great  artist,  being 
then  under  an  engogement  to  go  to  Palermo, 
offered  to  take  Kelly  with  him,  and  to  give  hira 
gratuitous  instruction  while  there.    This  proposal 


47.^^ 


KEL 


EX  CYCLOP. ED  I A  OF  MUSIC. 


£EI 


TTftH,  of  course,  gratefully  accepted,  and  he  re- 
ceived Aprile's  valuable  tuition  until  the  end  of 
hit*  enKa);oracnt  at  the  theatre.  Ajirile's  kind- 
ness, however,  did  not  terminate  there,  for  he 
sent  Kelly  to  Ix;<;horn,  with  the  stron;;  recoiti- 
mciulation  of  beinR  his  favorite  ptijiil.  From 
Lc(;horn.  youuR  Michael  was  enj{a^ed  at  the 
Ttatro  Xiitiro  at  Florence,  as  fir>t  tenor  sinper. 
Tie  then  vi-iiled  Venice,  and  several  of  the  prin- 
cipal thciitre-*  in  Italy,  in  which  he  performed 
with  distinnuishod  success.  He  was  next  cn- 
jtaged  at  the  court  of  Vienna,  where  he  was  much 
noticed  by  the  Emperor  Joseph  II.  He  had  like- 
wise tlie  Rood  fortune  to  be  the  most  intimate 
friend  of  Mozart,  and  was  one  of  the  original  per- 
formers in  his  "  .\<>:;e  <li  Fii/ar-),"  the  part  of 
B:>silio  having  been  written  for  him. 

Having  obtained  a  year's  leave  of  absence  from 
the  emjjeror.  for  the  puq)ose  of  visiting  his  fa- 
ther, (at  the  end  of  which  time  he  was  to  go  back 
to  Vienna,  where  he  was  in  such  favor  that  he 
might  have  ended  his  days  hajipily, )  he  returned 
to  England  by  the  same  opjjortunity  as  Signora 
Storace.  In  April,  1787,  Kelly  made  his  ftr^t 
apjjearance  in  Drury  Lane  Theatre,  in  the  char- 
acter of  Lionel,  in  the  oi)era  of  "  Lionel  and 
Clarissa."  Here  he  remained  as  first  singer  until 
he  retired  from  the  stage.  He  wa.s  also  for  sev- 
eral ye  u  8  musical  director  of  th  it  theatre.  Kelly 
Bang  at  the  king's  Ancient  Concerts  at  Westmin- 
ster .Vbbey,  and  at  all  the  principal  music  meet- 
ings and  theatres  in  Great  Britain.  He  was,  be- 
sides, for  several  years,  principal  tenor  singer  at 
the  Italian  Ojiera  in  the  Hajnnarket,  where  he 
was  stage  manager. 

ITio  death  of  his  dear  and  lamented  friend, 
Stephen  Storace,  in  the  year  1797,  first  induced 
Kelly  to  become  a  composer,  since  which  time 
he  wTote  and  selected  the  following  sbcty  pieces 
for  the  different  theatres,  by  which  it  will  ajipear 
that  no  English  composer  has  ever  contributed 
more  largely  to  the  public  stock  of  amusement. 
It  may  be  necessary  to  add  that,  in  addition  to 
the  following  listj  Kelly  has  composed  a  great 
number  of  Italian  and  English  songs,  duets,  trios, 
&c.,  Kc,  which  retain  their  popularity:  "A 
Friend  in  Need,"  1797;  "  Chimnev  Comer," 
1797;  "Castle  Spectre,"  1797;  "Last  of  the 
Family,"  1797;  "Blue  Be;u-d."  1798;  "Captive 
of  Sjiielbcrg,"  the  comic  music,  the  serious  being 
bv  Dus^ek,  1798;  "  Aurelio  and  Mirando,"  1798; 
"Feudal  Times,"  1799;  "  Pizarro,"  1799;  "Of 
Age  to-morrow,"  1800;  "  De  Montford,"  1800; 
"Kcmorse,"  1801;  "Gypsy  Prince,"  1801; 
"  Adclmorn,"  1801  ;  "  .Vlgomah,"  1802  ;  "House 
tc  be  sold,"  1802;  "  Uriania,"  1302;  "  Hero  of 
the  North,"  1803;  "Marriage  Promise,"  180.3; 
"  Love  laughs  at  Locksmiths,"  180-1  ;  "  Cinde- 
rella," 1801;  "Counterfeit's,"  1801;  "  Deaf  and 
Dumb,"  1801;  "Hunter  of  the  Alps,"  1804; 
"Land  we  live  in,"  1801  ;  "Honeymoon,"  ISOo  ; 
"  Youth,  Love,  and  Folly,"  180.5 ;  "  Prior  Claim," 
1805  ;  "  Fortv  Thieves,"  180G  ;  "  We  Hy  by  Night," 
ISOG;  "KovalOak,"  180(5;  "  Adrian'anil  Orilla," 
180G  ;  "  Adelgitha,"  1807  ;  "  Town  and  Country," 
1807;  "Times  a  telltale,"  1807;  "Young  Hus- 
sar," 1807  ;  "  Wood  Demon,"  1807  ;  "  Something 
to  do,"  1808  ;  "  Jew  of  Mogador,"  1808  ;  "  Afri- 
cans," 1808;  "  Venoni,"  1S08  ;  "Foundling  of 
the  Forest,"  1809;  "Fall  of  the  Taranto," 
1809;  "Britain's  Jubilee,"  1809;  "  Gusfa- 
vuj    Vasa,"     1810;      "  Ilumpo,"     1312;     "Ab- 


sent Apothecary,"  1813;  "Polly,"  1813;  "  Rua< 
sian,"  1813;  "  Nourjahad,"  '  1813 ;  "Peas- 
ant Bov,"  1814;  "Unknown  Guest,"  1816; 
"Bride  of  Abvdos,"  1818;  "  Abudah,"  1819; 
"Grand  Ballet,'"  1819.  Kelly  died  in  182.5.  H« 
has  left  a  most  entertaining  account  of  his  own 
musical  career,  in  a  book  published  in  Ix>ndon 
in  1814,  in  two  vols.  8 vo.,  called  "  Mu.sical  Bi- 
ograjjhy  of  Michael  Kelly." 

KELWAY,  THOMAS.    There  are  few  church 

composers  of  who>e  personal  history  so  little  ia 
known,  and  yet  whose  works  are  in  such  constant 
use  in  English  cathedrals,  as  those  of  Thomas 
Kclway,  organist  of  Chichester  in  the  early  part 
of  the  last  century.  Of  Kelway's  early  lii'e  noth- 
ing certain  Ls  known  ;  he  was  probably  a  native 
of  Cliichester,  and  brought  up  in  the  choir  of  that 
cathedral.  That  he  was  a  pupil  of  John  Weldon, 
who  also  was  bom  and  bred  in  that  ancient  city, 
is  rendered  highly  probable,  not  only  by  tradition- 
ary evidence,  but  by  the  style  of  his  comiwsitions, 
which  bear  traces  of  a  mind  schooled  under  that 
sweet  and  elegant  composer.  Thomas  Kelway 
succeeded  John  Heading  as  organist  of  Chichester 
Cathedral  in  17i<;,  and  held  the  situation  twenty- 
three  ye  irs,till  his  death  in  1749, which  is  supposed 
to  have  hajipened  in  the  prime  of  life.  He  was  suc- 
ceeded in  his  office  by  John  Capel.  Kelway's' 
grave  stone,  after  having  been  lost  sight  of  for 
nearly  a  century,  was  a  lew  years  since  accident- 
ally discovered ;  it  was  found  to  be  broken  and 
much  defaced,  but  has  quite  lately  been  restored, 
and  set  up  in  the  south  aisle  of  the  cathedral, 
nie  inscrijjtion  is  as  follows  :  "  In  memory  of 
Thomas  Kelway,  organist  of  this  cathedral  23 
years,  who  died  May  ye  21st,  1749.  My  hoix-  is  in 
my  Saviour  Jesus  Christ."  The  inscription  hav- 
ing become  almost  illegible,  has  iust  been  recut, 
which  gave  occiusion  to  the  following  pleasing 
sonnet,  by  Mr.  Crocker,  a  well-known  verger  of 
the  cathedral :  — 

••  Kclwny  !  thv  nipmory.  fre»h  u  Temal  diT, 

In  mnnv  fl  h<*art'ii  ninut  iccret.  hnlic«t  cvi], 

Whi-re  l^vc  <if  nncn-il  Ri>ng  delieliU  to  dwolL 
I.irrn  —  ind  tliall  livi>  while  Miiric  hi>Kl«  her  •«••]?. 
Within  thene  hallowed  walls,  wliprr,  day  hy  day. 

Vt-nr  aftiT  y€.ar,  hf  |ilii-d  the  wnndnm'*  a'rt 

Which  bid*  the  fpiril  fruni  it«  pri*in  alilrt. 
And  fcMir  a  while  to  happier  reahnt  awav. 

IIi«  Ktniina  full  oft  utill  fill  ujxjn  the  e.ir 
Of  tTioBe  who  trend  yon  ai«le :  while  at  their  feet 

IliA  name  and  reconi  of  hi*  how  appear. 
Peace  to  hif  a»het  —  he  hiB  gluinlwr*  awt'et. 

Till  tliat  clail  ni«>rTi  when  he  shall  wake  to  heir 

Th*  angelic  choir  in  nightlets  Hcaren't  bright  spherQ.** 

Kelway's  style  of  composition,  though  not  per- 
haps the  highest,  is  pleasing  and  original,  and 
perfectly  free  from  plagiarism.  In  the  library  of 
Chichester  Cathednil  is  a  MS.  volume  containing 
scores  of  nearly  all  his  compositions,  jirobably 
collected  and  arranged  by  himself.  The  follow- 
ing list  of  them  may  not  be  unacceptable  :  — 

SERVICES. 

1.  A  Morning  and  P^vening  Service,  full,  in  F 
major;  2.  A  Morning  Ser^nce  in  E**  major;  3.  A 
Morning  Service  in  C  ;  4.  An  Evening  Service  in 
A  major ;  .5.  An  Evening  Service  in  A  minor, 
printed  in  Dr.  Marshall's  volume  of  .Services  ; 
Ci.  An  Evening  Service  in  B  minor ;  jirinted  in 
Dr.  llimbault's  volume  of  Services,  and  also  hy 
Dr.  Marshall ;  7.  An  Evening  Seri-icc  in  O 
minor,  for  Sir  F.  Ouselcy's,  Bart.,  volume  >f 
Services. 

ANTHEMS. 

1.  O  prai.se  the  Lord,  all  ye  heathen.  Full,  4 
voices.    2.  Not  unto  us,  0  Lord.     Full.    3.  Unt« 


47G 


KEL 


EXCYCLOPiEDIA    OF   MUSIC. 


KEP 


Thee,  O  Lord.  Full,  with  verse.  Both  these  An- 
tlicms  (Nos.  2  and  3)  are  printed  in  a  vohinie  of 
Anthems,  edited  by  Sir  W.  II.  Cojje,  Hurt.  4. 
Sin^  we  merrily.  Full.  5.  ^ins  unto  God.  (i. 
l"hy  way,  O  God.  Verse.  7.  Ine  mighty  God. 
Solo,  bass,  with  chorus,  8.  lUessed  be  the  Lord 
God.  Full.  9.  Let  the  words  of  my  mouth. 
Full,  with  verse. 

KEIAVAY.  JOSEPH,  younger  brotlier  of 
niomas,  was  a  great  musician  and  an  excellent 
organ  ]>layer.  lie  was  music  master  to  the  then 
royal  taraily,  and  succeeded  John  Weldon  as 
organist  of  St.  Martins-iu-the- Fields,  in  1714.  He 
vas  a  ])U])il  of  Gemininni,  and  so  sujjcrior  was  his 
style  of  playing,  that  Handel  is  said  to  have  often 
go)ie  to  the  church  where  ho  performed.  Some 
harp-iichord  sonatas  of  his  composition  were  pub- 
lished. 

KELZ,  MATl'H.,  a  German  musician  in  the 
Beventccnth  century,  published  several  sacred 
works,  and  wrote  a  treatise  on  composition,  in 
the  Latin  language,  between  the  vcars  1626  and 
U169. 

KEMP,  DR.  An  English  musician,  of  much 
talent  as  a  theorist.  He  has  also  composed  some 
very  pleasing  vocal  music.  Among  his  works 
are  "  Musical  Illustrations  of  the  Beauties  of 
Shakspcare."  Songs :  "  A  lover's  eyes  will 
gaze,"  "Doubt  thou  the  .stars  are  fire."  "Fair 
ladies  masked."  "  Lady,  by  yonder  blessed  moon," 
"  Love,  love,"  "  Lover's  eyes,"  "  O  for  my 
beads,"  "  When  I  beheld  thy  blue  eye."  (de- 
menti's Cat.) 

KEXD.\L,  JOHN,  an  English  organist,  pub- 
lished, in  1780,  some  music  for  his  instrument. 

KEXX,  a  perfonner  on  the  horn,  was  engaged, 
in  1798,  in  the  orchestra  of  the  Grand  Opera  at 
Paris,  where  he  also  published  some  music  for 
his  instrument. 

KEXXIS,  ^^^LLIAM  GOMM.\R,  director  of 
the  music  at  the  Church  of  St.  Peter,  at  Louvain, 
about  the  year  1768,  was  considered,  in  1772,  as 
the  tirst  of  all  violinists  in  the  Austrian  Nether- 
lands, principally  in  the  execution  of  difficulties. 
About  that  time  he  published  nine  works,  at 
Paris  and  elsewhere,  of  which  only  the  fourth 
and  ninth  are  known  in  Germany;  they  are  both 
ducts. 

KENT,  JAMES,  was  a  native  of  the  citv  of 
Winchester,  and  born  in  1700.  At  an  early  age 
he  was  admitted  into  the  choir  of  that  cathedral, 
under  the  superintendence  and  tuition  of  Mr. 
Vau-^'han  Richard.son,  the  organist.  After  having 
been  some  time  in  this  situation,  he  became  one 
of  the  children  of  the  Chapel  Royal.  Here,  under 
the  care  of  Dr.  Croft,  he  laid  the  foundation  of 
his  luture  excellence.  He  studiously  observed 
the  style,  and  happily  caught  the  manner,  of  that 
justly  celebrated  composer.  The  tirst  public  sit- 
uation which  Kent  obtained  in  his  profession 
was  that  of  organist  of  the  chapel  of  Trinity  Col- 
lege, Cambridge;  and,  lastly,  in  17:i7.  (if  the 
cathedinl  church  of  the  chapel  of  the  college  at 
Winchester,  in  which  city  he  continued  to  reside 
Until  the  day  of  his  death.  Whilst  he  wa.s  the 
organist  of  Trinity  Chapel,  he  conducted  him- 
•elf    so  much  to  the  safisfaction,   and   was,  in 


other  respects,  in  such  high  esteem  with  the 
members  of  that  college,  that,  when  he  was  pro- 
moted to  his  situation  at  Wini-hc-Uer,  they  pre- 
sented him  with  an  elegant  piece  of  plate,  in 
token  of  their  great  e<tccm  and  regard.  As  i 
com])oser  of  sacred  music,  Kent  followe<l  closely 
the  style  of  Dr.  Croft ;  and  few  pei-sons  have  suc- 
ceeded better  than  he  in  that  due  intermixture  of 
harmony  and  melody  which  renders  this  sjieeiea 
of  music  interesting  both  to  learned  and  unlearned 
auditors.  In  his  com])Ositions,  the  full  sense  and 
meaning  are  generally  given  to  the  words ;  and, 
although  we  sometimes  observe  in  them  what 
may  be  thought  to  border  on  conceit,  yet  their 
merit  is  for  the  most  part  so  conspicuous,  that  we 
readily  overlook  their  defects.  By  any  one  con- 
versant in  church  music,  it  will  ea->ily  be  dis- 
covered tliat  Kent  was  a  pupil  of  Dr.  Croft. 
Indeed,  he  often,  without  hesitation  or  scruple, 
followed  the  ideas  of  this  great  master,  in  hLs 
compositions.  He  once  said  to  that  excellent 
singer,  J.  Xorris,  who  was  attending  the  rehear- 
sal of  a  new  anthem,  "  I  know  your  thoughts  ; 
there  is  the  same  passage  in  Dr.  Croft  ;  hut  could 
I  have  possibly  done  better  than  copy  him  in  thi.s 
place  ?  "  His  talents  M-ere  too  great,  and  his  dis- 
position too  ingenuous,  to  allow  him  to  dispcmble 
that  he  occasionally  availed  himself  of  the  excel- 
lences of  his  favorite  master.  Of  his  own  origi- 
nality he  has  left  ample  proof.  The  subject  of  St. 
John's  chapter  is  not  much  calculated  for  musi- 
cal expression  ;  yet,  induced  chietly  by  his  .sin- 
cerely Christian  principles,  he  set  it  to  music  ;  and 
few  composers  could  have  executed  the  task  so 
well  as  he  has  done.  His  anthems,  "  Ilearkeu 
unto  this,  O  man,"  and  "  ^\'hen  the  Son  of  man," 
are  truly  sublime  compositions  in  the  solemn 
style.  "  Give  the  Lord  the  honor  due  unto  his 
name,"  Ls  equalled  b}-  few  anthems  in  force  and 
dignity.  The  fourth  verse  in  "The  Lord  is  my 
Shepherd,"  as  a  bass  solo,  and  the  sixth  verse,  in 
which  the  two  voices  unite,  produce  a  striking 
and  most  pleasing  effect,  the  one  by  its  majestic 
simplicity,  and  the  other  by  its  pastoral,  yet  ele- 
gant harmony.  Few  anthems  have  obtained 
more  celebrity  than  "  O  I>ord,  our  Governor," 
"  My  song  shall  be  of  mercy,"  and  "  Hear  my 
prayer."  So  modest  and  una.ssuraing  was  this 
excellent  man,  that  it  was  not  until  towards  the 
decline  of  his  life  that  he  could  be  i)revailed 
with  to  give  his  works  to  the  public;  and  he  then 
printed  and  published  a  second  volume,  contain- 
ing a  morning  and  evening  service  and  eight  an- 
thems. S'ime  of  these  have  since  been  printed  sep- 
arately, and  a  few  of  them  have  been  admitted  into 
Page's  "  Ilirmonia  S,icra."  Kent  was  remarkably 
mild  in  his  disposition,  amiable  in  his  manners, 
and  exemplary  in  his  conduct ;  and,  as  an  organ- 
ist, was  conscientiously  diligent  in  performing  all 
the  duties  of  hLs  situation.  His  pcrfonnanco  on 
the  organ  was  solemn  and  expressive ;  and  he 
was  reputed  by  some  competent  judges  to  have 
been  one  of  the  best  players  of  Dr.  Croft's  music 
in  the  kingdom.  Kent  died  at  Winchester,  deep- 
ly regretted  by  all  who  had  the  happiness  of  his 
acquaintance,  in  the  year  1776,  having  rc-iidcd  in 
that  city,  in  the  character  of  orgaimt  and  com- 
poser, for  nearly  forty  yc.irs. 

KEPLER,  JOH.VXX,  a  great  astronomer  and 
mathematician,  was  boni  at  Wicl,  in  the  duchy  of 
Wurtemburg,  in  the  year  1.571,  and  died  in  1630 


477 


KER 


ENCYCLOPAEDIA    OF    MUSIC. 


KEY 


We  hlmll  i)nss  uiiiioticeil  nil  Kepler's  mathemati- 
ral  anil  «stroiiomic;d  works,  and  speak  only  of 
that  entitled  "  Harmonica  Muiuli."  'llic  third 
book  of  this  work  treats  of  the  subject  of  musical 
harmony.  Several  of  the  first  chapters  arc  con- 
fined entirely  to  discussions  relative  to  the  music 
of  the  ancients.  In  the  seventh  chapter  he  treats 
of  the  projjortions  throughout  nil  the  eiijht  usual 
Rounds  of  diapa.son.  He  also  s]x;aks  of  the  modern 
method  of  notation  by  linctj  and  letters  of  the  al- 
jihabct,  and  pives  his  opinion  respecting  the 
origin  of  the  clefs.  It  may,  however,  with  truth 
be  observed,  that  if  Kepler  had  made  no  greater 
discoveries  in  mathematics  than  he  did  in  music, 
it  is  probable  that  his  conceits  might  hnve  re- 
mained, but  his  discoveries  would  all  long  since 
have  been  forgotten.  Kepler  denies  that  the 
ancients  had  any  idea  of  harmony  ;  he  compares 
their  accompaniments  to  their  melodies  to  the 
droning  of  a  bagpipe.  All  the  int'onuation  we 
have  been  able  to  collect  shows  them  to  have  been 
ignorant  of  counterpoint,  and  we  cannot  think 
they  had  much  variety  in  their  performances. 

KEllAXA.  The  name  of  a  wind  instrument 
forming  a  kind  of  long  trumpet,  much  used  by 
the  Persians.  Every  evening,  at  sunset,  and  two 
hours  after  midnight,  they  sound  the  kerana,  to- 
gether with  hautboys,  timbrels,  drums,  and  other 
instiuments. 

KERAXIM.  The  name  given  by  the  Hebrews 
to  the  sacerdotal  trumpets. 

KERAS.  ITie  appellation  applied  by  Hedylus, 
and  other  writers,  to  the  hydraulica,  or  water  or- 
gan of  the  ancients. 

KEREN.  A  horn.  Ram's  horns  were  the  first 
used  by  the  Hebrews.  Afterwards  they  were 
imitated  in  metal,  and  stiU  called  horns. 

KERLE,  JACOB  DE,  canon  of  the  cathedral 
church  of  Cambray,  was  born  at  Ypres,  in  Flan- 
ders. His  compositions,  which  are  chiefiy  for 
the  church,  were  published  in  different  parts  of 
Europe,  from  1.5i52  to  1573.  His  masses  were 
printed  at  Venice  in  1.562.  Their  style  is  dry 
and  uninteresting ;  the  harmony,  however,  is 
good,  and  his  answers  to  the  fugues  are  warrant- 
able. 

KERL,  JOIIAXN  CASPAR,  bom  in  162.5, 
was  a  native  of  .Saxony.  Having,  during  his 
youth,  shown  a  great  taste  for  music,  he  wa.s  sent 
to  Vienna,  and,  at  the  expense  of  the  Archduke 
Leopold,  placed  under  the  tuition  of  Giovanni 
Valentine,  chapel-master  at  the  imperial  court. 
His  patron  afterwards  ordered  him  to  be  sent  to 
Rome,  in  order  to  complete  his  musical  studies 
under  Carissimi.  At  his  return  he  had  a  highly 
odvanfageous  offer  from  the  elector  palatine,  but 
he  refused  it,  and  settled  in  Ravaria,  where  he 
bee  «me  chaix;l-miustcr  to  the  Elector  Fcrdinando 
Marin.  Kerl's  princyinl  work  is  his  "  Modulatio 
orijniiica  super  tno(jiiiJicai,  octo  tonii  ecctesiasticis 
rexpnnilfiis,"  printed  at  Munich  in  1686.  He  is 
justly  esteemed  one  of  the  most  celebrated  organ- 
ists that  tlte  world  ever  produced.  In  a  compe- 
tition that  he  had  with  some  Italian  musicians, 
at  the  court  of  the  Elector  of  Rnvaria,  he  com- 
posed a  i)iece  for  the  organ  so  difficult  that  none 
but  himself  could  execute  it. 

KEROU-JEREL.     JubUee  horn. 


KERPEX,  F.  H.  FREIHERR  VOX,  a  .anon 
of  the  cnthcdmls  of  Mcntz  and  Wurtzburg,  was 
an  excellent  amateur  musician,  and  published 
much  vocal  and  piano-forte  music  between  the 
years  1780  and  1800. 

KERZEL,  or  KERZELLI,  MICHAEL.  A  mu 
sician  at  Menna,  where   he  published,  uj)  to  the 
year  1783,  much  violin   mu.sic.     About  the  year 
1787,  he  went  to  Moscow,  where  he  WTOte  bome 
Rassian  operas. 

KESSEL,  JOHAXX  C.  B.,  a  singer  at  EL-leben, 
was  born  in  1706.  In  the  year  1790,  he  published, 
at  Leipsic,  '*  L'nterrwht  >m  Gctteralbaase  zuin  Gc- 
brauche  fUr  Lehrer  uiut  Lemende,"  an  improved 
edition  of  which  appeared  in  1792. 

KESSLER,  JOHAXX  WILHELM,  an  organist 
at  Heilbronn,  published  at  Stuttgard,  in  1793-94, 
"  WurtembcrijUchM  vierstimmiges  Clioralbtich  ,"  also, 
at  Darmstadt,  in  1796,  "  DiccrtUsemens  Sociatur, 
ou  six  Antjlaises  pour  le  Clacicin  avec  leur  Chori- 
yraphie." 

KETTE,  ALBRECHT,  a  celebrated  organist  of 
the  court  and  cathedral  at  Wurtzburg,  was  born 
in  1726,  and  learned  the  elements  of  mu.sic  from 
his  father.  He  afterwards  became  a  pupil  of  the. 
renowned  organist  Bayer,  at  whose  death,  in 
1719,  he  succeeded  to  his  public  situations.  He 
composed  much  church  music  r.ud  music  for  the 
organ,  and  died  in  the  year  1767. 

KETTLE  DRUM.  A  drum,  the  vellum  head 
of  which  is  spread  over  a  body  of  brass. 

KEYS.  I'he  names  of  the  pieces  of  wood  or 
ivory  in  an  organ,  piano-forte,  or  other  in.stru- 
ment,  which  are  struck  by  the  fingers  in  playing 
the  instrument. 

KEYED  ^^OLIX.  In  1848  there  was  exhib- 
ited in  Xcw  York  a  newly-invented  instrument 
called  the  keyed  violin.  It  is  played  like  the 
parlor  organ,  by  means  of  a  key  board.  There 
are  forty  strings  (five  octaves)  stretched  upon  a 
horizontal  frame,  and  brought  to  the  proper  ten- 
sion by  means  of  the  same  apparatus  as  that  em- 
ployed in  tuning  the  piano-forte.  At  right  angles 
with  these  strings  are  four  horse  hair  imple- 
ments, each  resembling  that  part  of  an  ordinary 
violin  bow  which  comes  in  contact  with  the 
string  ;  these  are  nil  attached  to  and  stretched 
upon  a  frame,  and  by  ingenious  machinery  are 
worked  up  and  down  with  a  steady  motion,  each 
bow  passing  within  a  minute  distance  of  its  cor- 
responding string.  The  motion  of  the  peqien- 
dicular  frame  and  bows  is  caused  by  the  use  of 
the  pedal,  and  the  mu-ic  executed  in  the  same 
manner  as  upon  the  organ  or  piano-forte.  The 
pressure  upon  a  key  causes  a  simultaneous  press- 
ure against  one  of  the  bows,  bringing  it  in 
contact  with  its  neighboring  string,  and  thus  pro- 
ducing a  sound  similar  to  that  made  by  bowing 
and  fiii;zering  upon  the  violin. 

•■Vt  the  snnie  time  was  exhibited  an  instrument 
which  produced  tunes  by  tuning  forks.  The 
sound  of  the  tuning  fork  by  itself  is  feeble  ;  but 
if,  while  vibrating,  it  be  held  over  the  mouth  of 
a  vessel,  to  give  the  vibration  in  unison  with  the 
note  of  the  fork,  the  sound  is  very  much  increased. 
This  fact  has  been  Ion?  known,  but  the  inventof 
has  availed  himself  of  it  i- 1  a  peculiar  manner,  ir 


47S 


KEY 


ENCYCLOP-aSDIA    OF    MUSIC. 


KEY 


the  production  of  this  instrument.  By  means  of 
keys  like  those  of  a  piano-forte,  the  forks  are 
Btruck  with  a  hammer  of  a  peculiar  kind — an 
essential  difference  bcini?  made  in  the  liardness 
of  the  hammer  for  the  high  tones.  l"he  resonance 
of  sound  is  obtained  by  means  of  boxes  of  thin 
wood  immediately  behind  the  tuning  forks.  'Die 
lower  tones  are  produced  by  spiral  wires,  similar 
to  those  used  as  substitiites  for  bells  in  common 
clocks.  Some  of  the  cotes  in  this  instrument  are 
very  sweet,  and  of  considerable  volume.  There 
appear,  however,  some  difficulties  to  be  overcome, 
such  as  the  want  x>{  volume  of  tone  in  extremities 
of  the  scale — limited  range  —  and  the  different 
character  of  sound  from  the  wires  ;  but  which  the 
inventor  believes  to  be  surmountable. 

KEY,  or  KEY-NOTE.  AVith  thcorist-o,  a  cer- 
tain fundamental  note,  or  tone,  to  which  the 
whole  of  a  movement  has  a  certain  relation  or 
oearing,  to  which  all  its  modulations  arc  referred 
and  accommodated,  and  in  which  it  both  com- 
mences and  concludes.  There  are  but  two  species 
of  kei/s ;  one  of  the  major,  and  one  of  the  minor 
mode ;  all  tlic  keys  in  which  we  employ  sharps 
or  flats  being  deduced  from  the  natural  keys  of  C 
major  and  A  minor,  of  which,  indeed,  the  other 
keys  are  only  transpositions.  See  articles 
Majou  and  Minor. 

Every  practitioner  in  the  art  must  have  noticed 
the  various  complexions,  so  to  speak,  by  which 
different  keys  are  characterized.  Each  of  the 
twelve  semitones  in  the  scale  is  capable  of  further 
division  abnost  to  infinity  :  it  is  possible  to  tune 
a  hundred  strings  or  more,  in  regular  ascent  of 
pitch,  between  C  and  C,  so  as  to  be  perceptibly 
different  to  the  ear.  When  all  these  gradations 
of  sound  arc  mingled  together,  we  hear  only  a 
confused  noise ;  when  they  are  made  to  follow 
each  other  at  harmonic  distance,  melody  Ls  pro- 
duced. In  the  tilteenth  century,  music  was  gen- 
erally written  in  the  key  of  F  and  its  relative,  D 
minor.  This  order  of  sounds  was  first  adopted, 
probably,  on  account  of  its  being  the  most  familiar 
to  the  ear,  as  (Jnrdiner,  in  his  "  Music  of  Nature." 
asserts  that  the  blciulcd  impression  of  the  cries  of 
animals,  the  buzzing  of  insects,  the  roar  of  storms, 
the  murmurs  of  brook*,  and  some  of  the  grand- 
est sounds  of  the  natural  world,  is  to  be  referred 
to  this  harmony,  ajid  may  be  denominated  the  key 
of  nature.  As  Mcicncc  improved,  other  notes  were 
taken  as  the  centres  of  systems,  by  which  other 
keys  were  formed  ;  and  we  have  now  not  le-ss 
than  twenty-four  keys,  both  major  and  minor. 
Some  of  thcin  have  been  characterized  by  Gardi- 
ner, in  his  notes  to  the  "  Lives  of  Ilaydn  and 
Mozart." 

"  The  major  of  C  is  bold,  vigorous,  and  com- 
manding, suited  to  the  expression  of  war  and  en- 
terprise ;  aiul  its  relative,  A  minor,  is  plaintive, 
but  not  feeble. 

"  The  major  of  G  is  gay  and  sprightly :  being 
the  medium  key,  it  is  adapted  to  the  greatest 
range  of  subject.s ;  and  its  relative,  E  minor,  is 
persuasive,  soft,  and  tender. 

"The  major  of  1)  is  grand  and  noble  :  having 
life  and  animation,  it  is  suited  to  the  loftiest  pur- 
poses ;  and  it.s  relative,  H  minoj  is  bewailing,  but 
in  too  high  a  tone  to  excite  compassion. 

"The  major  of  A  is  golden,  warm,  and  sunny  ; 
tnd  its  relative,  F  sharp  minor,  is  moxirnfully 
grand. 


"  The  major  of  E  natural  is  bright  and  pellucid, 
adapted  to  the  most  brilliant  subjcctH  :  though 
higher  than  the  major  of  I),  it  is  less  loud,  a.s  it 
stretelies  the  voice  beyond  its  natural  power  ;  and 
its  relative,  C  sharp  minor,  is  seldom  used.  In 
this  key  Ilaydn  has  written  some  of  liLs  mos> 
elegant  thoughts. 

'•  The  major  of  F  is  rich,  mild,  and  contempla- 
tive ;  and  its  relative,  D  minor,  posscsves  similai 
qualities,  more  solemn  and  grand. 

"  The  major  of  11  flat  is  the  least  interesting  of 
the  major  keys ;  it  has  not  sufficient  tire  to  ren- 
der it  majestic  or  grand  ;  and  its  relative,  G  minor, 
b  replete  with  melancholy. 

"  The  major  of  E  flat  is  full,  soft,  and  beautiful : 
it  is  a  key  in  which  all  musicians  delight  :  though 
less  decided  in  its  character  than  some  others,  the 
rcguliuity  of  its  beauty  renders  it  a  universal  fa- 
vorite ;  and  its  relative,  C  minor,  is  complaining, 
and  seldom  used. 

"  The  major  of  A  flat  is  unassuming,  delicate, 
and  tender ;  and  its  relative,  F  minor,  is  jjenitcu- 
tial  and  gloomy. 

"  The  major  of  D  flat  is  awfully  dark.  In  this 
remote  key  Beethoven  has  written  his  sublimest 
thoughts.  He  never  enters  it  but  for  tragic  pur- 
poses." 

We  have  observed,  in  tuning  the  piano-forte, 
the  notes  F  sharp,  C  sharp,  and  G  sharp,  which 
form  the  major  thirds  of  the  keys  in  sharjis,  are 
tuned  shaqjer  than  the  major  tliirds  belonging  to 
the  flat  keys.  Hence  the  evident  brilliancy  of 
the  one,  and  tender,  melancholy  expression  of  the 
other :  and  on  stringed  instruments  it  is  obvious 
the  character  of  the  keys  G,  D,  A,  and  E  must 
be  more  brilliant  than  any  other,  from  the  cir- 
cumstance of  the  open  strings  forming  the  key 
note. 

ITie  keys  are  removed  from  their  nattiral  sit- 
uation upon  the  staff  by  the  aid  of  flats  and 
Bhari)s,  placed  at  the  beginning  of  the  staff.  If 
there  be  one  sharp,  the  keys  are  the  major  of  Q 
and  minor  of  E  natural  ;  if  two,  the  major  of  D 
and  minor  of  B  natural  ;  if  three,  the  major  of  A 
natural  and  minor  of  F  sharp  ;  if  four,  the  major 
of  E  natural  and  minor  of  C  sharp  ;  thus  :  — 


One  fhnrp.     Tvro  sbnrps.  Three  i)bnrp«.    Four  shnrpii. 


s=^ 


If  there  be  one  flat,  the  keys  are  the  major  of  P 
and  minor  ol  I)  natural ;  if  two,  the  major  of  B 
flat  and  minor  of  <i  nattiral ;  if  three,  tlic  major 
of  E  flat  and  minor  of  ('  natural ;  and  if  four,  the 
major  of  A  flat  and  minor  of  F  natural ;  thus :  — 

One  flnt.         Two  flnW.     Three  flnts.      Fnur  flats. 


Speaking  of  the  different  keys,  a  celebrated 
writer  observes,  "  that  in  the  tones  of  woe  we  in- 
variably recognize  the  minor  third  ;  ami  in  those 
of  joy  or  exultation,  the  major  third.  If  four  mi- 
nor thirds  be  combined,  they  form  the  rliord  of 
the  extreme  flat  seventh,  which  excites  in  us  fenr 
and  alarm.  When  the  minor  third  forms  the 
seventh  of  tlic  relative  key,  by  being  coni;iounded 
with  brighter  sounds;  it  loses  much  of  the  melan- 
choly which  before  characterized  if,  and  becomet 
highly  sympathetic.     "Wc  never  fail  to  utter  thii 


479 


KBY 


EXCYCLOP-EDIA    OF    MUSIC. 


KEY 


tone  in  moments  of  the  greatest  interest ;  and  it 
may  be  rejjarded  as  the  moxt  afrectinf»  chord  in 
mu-sic.  It  is  the  business  of  every  com))oscr,  then, 
to  sui)]>ly  the  modulation  by  which  the  passions  j 
may  be  awakened  ;  and  very  much  of  tlie  effect 
produced  will  depend  upon  the  manner  in  which 
this  modulation  is  given.  And  it  should  always 
be  tlic  object  ot  the  vocal  performer  to  copy  the 
manner  in  which  the  instinctive  tones  are  uttered ; 


and  the  power  of  oitlicr  to  move  us  will  be  in 
proportion  to  his  just  conception  of  the  sentiment 
of  his  author,  and  his  skill  in  giving  to  that  sen- 
timent the  tone  which  nature  has  assigned  to  it." 
And  we  are  confident  that  effects  still  more  nov- 
el and  interesting  may  and  will  be  produced,  in 
pro))ortion  as  the  principles  of  music  and  the 
science  of  harmony,  in  the  variety  of  keys,  are 
more  closelv  studied  and  more  correctlv  known. 


MAJOR 


(:gpczTib=Tt 


E^ 


Major  Keys  and  their  relatitb  Minor. 

D  A  E  B  F  ihnrp.        F      B  Hat.    E  Ott. 


£ 


B        F  sharp.    C  sharp.    Q  sharp.        D  sharp. 


DO  U  F  B  fl; 


^■-^^^^: 


In  every  octave,  or  regular  succession  of  eight 
notes,  cither  ascending  or  de;«cending,  there  are 
tive  whole  tones  and  two  semitones  ;  and,  in  their 
natural  order,  the  semitones  are  fixed  between 
three  M\A  fi>ur,  and  scrcn  and  eiiht  of  the  scale ;  or 
between  E  and  F,  and  B  and  C.  For  the  sake  of 
variety,  it  becomes  necessary  to  change  the  ke)*, 
or  tonic,  which  is  done  by  the  aid  of  sharps  and 
flats  ;  and  these,  placed  at  the  beginning  of  a  piece 
of  music,  serve  to  regulate  the  leading  note,  and 
remove  the  semitones  trora  letter  to  letter  into  any 
part  of  the  scale. 

Tlie  following  example  exhibits  the  seven  ma- 
jor tonics  in  sharps,  and  the  seven  relative  minor 
kev8 : — 


rrv"^ r^ —     j-^-^   «  i  ^  ^' r 

K    -^r4-*   — f-^    a-l-^  *?      -1 

3.^ 


rag^^l 


'-i- 


ms' 


» -=> 


m 


In  the  above  example,  the  lower  notes  show 
one  of  the  major  scale,  and  the  upper  notes  one 
of  the  minor  scale. 

Tlie  following  example  exhibits  the  seven  ma- 
jor tones  in  tiats,  with  the  seven  relative  minor 
kevs :  — 


In  the  above  example,  the  upper  notes  show 
one  of  the  major  scale,  and  the  lower  notes  one  of 
the  minor  scale. 

In  speaking  of  the  signatures,  the  pupil  should 
always  name  the  altered  letters,  for  each  and  ev- 
ery transposition.  Tlie  following  table  shows  the 
situation  of  the  tones  and  semitones  in  the  sever- 
al major  keys,  as  well  as  the  effect  which  fiats  and 
ehari)s  have  in  changing  the  tonic  :  — 

Explanation. — First  column,  the  Ictteri ;  second 
column,  natural  scale  ;  third,  Jimt  transpoxilion  in 
iharpa ;  fourth,  leconH  Iransjxuition  ,■  filth,  t/iird 
transposition;  sixth, /onrl/i  transjmtil inn  ;  seventh, 
Ji/t/i    transposition ;     eighth,    sixth    transposition ; 


and   the   ninth,  the  seventh  transposition. 
same  order  to  be  observed  in  flats. 


The 


^r 


--^ 


Transposiixon  by  Sktvps. 


=r=Fs=F^ 


'■^ 


M     V^p^h 


^S=^Srrftrr-it" 


^ 


r 


^ 


-^ 


\ 

"^ 
t 


Transposition  fry  Flats. 


^-^ 


UJ 


-k- 


\^ 


^^ 


-^ 


When  a  partial  transposition  of  the  scale  oc- 
curs, the  melodious  relations  of  the  sounds  art 
changed  ;  and  it  is  necessary  for  the  pupil  to  un- 
derstand this  change,  and  be  governed  by  it.  In 
such  changes  as  usually  occur  in  psalmody, 
namely,  sharping  the  fourth  nnd  fitittinp  the  seventh, 
and  extending  only  for  one  or  two  measures,  it  Ls 
unnecessary  to  change  the  syllables  ;  but  when 
the  change  is  continued  for  several  measures,  the 
solmization  of  the  new  key  should  be  adopted. 
The  change,  if  pos.siblc,  should  be  made  before  the 
note  of  modulation. 

KEY  HO.VKD.  An  instrument  for  dividing 
the  intervals  of  the  octave.  In  order  that  the 
localities  of  all  the  notes  on  an  instrument  may 
be  fully  explained,  we  will  here  expose  the 


480 


KEY 


EXCYCLOr.EDIA    OF    MUSIC. 


KEY 


KEY 


ENCYCLOPEDIA    OF    MUSIC. 


KIA 


It  will  be  seen  by  thin,  that  the  signR  connected  '  ))a8sion  for  music,  consented  eventually  to  bring 


by  the  cun-cd  lines  (  (,  express  the  same  keys,  or 
notes :  tlie  upper  notation  being  used  when  the 
richt  liand  descencLs  so  low  into  the  ba^s,  the 
jiuicr,  when  the  left  hand  ascends  so  high  into 
the  treble.  But  sometimes  each  notation  is  in- 
dilfcrently  used. 

Though  there  is  generally  a  great  deal  of  time 
lost  in  the  outset  in  thLs  art,  owing  to  the  diffi- 
culty of  knowing  the  keys  by  their  notes  or  signs, 
the  following  mnemonic  rule.it  is  hoped,  will  great- 
ly facilitate  the  acquirement,  and  that  too  in  a  very 
short  space  of  time.  Observe,  there  are  alternate 
groups  of  three  white  and  two  black  keys.  'I'he 
xchite  key  between  the  two  black  ones  is  invariably 
D.  Of  course  the  two  white  keys  immediately 
above  D  are  E  and  Y.  Again  :  the  two  white  keys 
between  the  three  black  ones  are  invariably  G  and 
A  ;  and  conseqiicntly  the  two  wliite  ones  imme- 
diately above  (i  and  A  are  U  and  C. 
Example  :  The  Bars  |  I  and  III  uepresent 
THE  Black  Keys.     Jl  ■i£ 


(I 


Pglil 


■^  *■(. 


♦-»     D      •    f       D     •    f 


t 


•»*- 


iiisisi] 


-♦■  0 

nl  ( 


Ab>     UAbeie. 


JiLti 


b  c  a    Abo 


KEYS  OF  AN  ORGAN.  Those  movable, 
projecting  levers  in  the  front  of  an  organ,  so 
placed  as  to  conveniently  receive  the  fingers  of 
the  performer,  and  which,  by  a  connected  move- 
ment with  the  valves,  or  pallets,  admit,  or  ex- 
clude, the  wind  from  the  pipes.  When  a  single 
key  of  an  organ  is  pressed  down,  as  many  sountls 
are  heard  as  all  the  stops  which  are  tl;en  out 
furnish  to  that  key  :  t".  e.,  all  those  pipes  are  heard 
wlvicli  are  permitted  by  those  stops,  and  that  key, 
tD  receive  the  wind. 

KIIISEL.  (JIOVANNI  GIACOMO.  a  contra- 
puntist of  the  Kith  century,  and  probably  a  Ger- 
man, resident  in  Italy,  ])ublished  at  Venice,  in 
159 1,  "  Lihro  I.  rie  Matln;iii/i  el  Moletti  (i  4  c  5  fori." 

KIIYM,  or  KYIIX,  CARL,  an  instrumental 
composer,  published  much  music  at  Augsburg 
and  Vienna  since  the  year  1798. 

KI.VLLM.VUK,  E.,  was  born  at  LynnRet;is,  in 
Norfolk,   in   the   year    1781.     His    father  was    a 
native  of  Sweden,  and  an  officer  in  the  service  of  j 
that  state.     His  mother  was   a   descendant  from  ] 
Mr.  Banks,  of  Yorkshire,  a  cousin  of  Sir  Josejih  j  tions, 


him  up  to  that  i)rofession.  His  grandfather  first 
placed  him,  at  the  age  of  fifteen,  (giWng  a  con- 
siderable premium,)  with  a  German  musician  of 
great  pretension  ;  after  two  years'  residence  with 
whom  (the  only  two  disagreeable  years  of  his  life) 
he  was  removed,  and  from  that  i)eriod  depended 
on  hLs  own  exertions  for  a  livelihood.  Ha^-ing 
by  the  end  of  his  apprenticeship  gained  a  toler- 
able practical  knowledge  of  tlie  piano-forte,  harp, 
and  violin,  he  commenced  professionally  by  teach- 
ing those  instruments  at  a  cheap  rate,  and,  not 
caring  about  personal  fatigue,  succeeded  in  gain- 
ing several  pu]>il6.  He  always,  however,  ap- 
propriated a  portion  of  his  receipts,  to  the  ac- 
quirement of  musical  instruction,  and  became 
successively  a  pupil  of  Barthelemon,  Cobham, 
Spagnnletti,  &c.,  till  at  last  he  found  himself,  to 
his  great  delight,  capable  of  playing  in  an  orches- 
tra, and  became  a  performer,  either  as  deputv  or 
principal,  in  the  oratorios,  concerts,  music  meet- 
ings, and  theatres.  At  the  early  age  of  twenty- 
two,  he  married  a  young  Scotch  woman,  and  at  that 
time,  having  succeeded  in  obtaining  a  very  toler- 
able connection,  gave  up  all  hLs  public  engage- 
ments, and  became  a  piano-forte  master.  Soon 
after  that  period  he  became  intimately  acquainted 
■with  Von  Esch,  and  although  he  (as  himseli 
would  acknowledge)  was  but  an  indifferent  theo- 
rist, yet  to  hLs  taste  and  talents,  and  his  friendly 
hints  and  instructions,  Kiallmark  confesses  him- 
self deei)ly  indebted.  Soon  after  this,  he  ventxired 
to  publish  two  or  three  pieces,  although  almost 
unacquainted  with  the  earliest  rules  in  compo- 
sition. This  success  induced  the  music  sellers  to 
m<ake  fresh  applications  to  him  ;  and,  after  a  short 
time,  he  became  known  as  a  composer.  Kiall- 
mark has  since  had  great  success  as  a  piano-forte 
instructor,  seldom  teaching  less  than  from  nine 
to  twelve  liours  jier  day,  and  for  some  years  has 
had  one  or  two  assistants  constantly  in  his  em- 
ploy. At  the  suggestion  and  desire  of  some  of 
his  connections,  he  was  induced  to  become  a 
party  with  Logicr  at  the  time  of  his  great  success 
in  England  ;  and  although  such  was  the  state  of 
Kiallmark's  engagements  that  he  could  but  sel- 
dom find  time  to  see  Logier,  he  yet  acknowledges 
to  have  derived  great  j)leasure  and  advantage 
from  his  acquaintance,  llie  following  are  amongst 
the  most  favorite  pieces  of  Kiallmark's  compo- 
sition. Piano-forte :  "  Introduction  and  Vari- 
ations to  '  Roy's  Wife.'  "  "  Introduction  to  '  Last 
Rose  of  Summer.'  "  Fantasia,  *'  L' llspirance." 
Fantasia,  "  i'o.?  Amour."  "Fanfare  and  German 
-\ir."  "Second  German  Air."  "Harriot,  Air 
with  Variations."  "  Marian,  Air  with  Variations." 
"  lyi  Revenue,"  divertimento.  "  Dirertimento 
Scossise."  "  Second  DivertiinctUo  ScossUe."  "  Di- 
vertimento Scossi-^e  from  Xadcrmau."  "  Second 
Divertimento  Scossise.  from  Xaderman."  "  Rondo, 
Carnival  de  I'enice."  "  Airs  from  Ros,sijii." 
"  Russian  Air,  with  Variations."  "  Les  Flmrs 
de  Printens,"  six  books.  "Is  there  a  heart, 
Variations."  "  There's  kauld  cail,  Variations." 
"  Cea.se  your  Funning,  Variations."  "  Bower  of 
Eveleen,  Variations."  "  Robin  Adair,  Varia- 
Rest,     weary    traveller.    Variations." 


Banks.  His  parents,  dying  when  he  was  very 
young,  lelt  K.  Kiallmark,  their  only  child,  wit'n- 
out  provision,  when  he  was  kindly  adopted  by 
hLs  maternal  grandfather,  who  spared  no  expense 
In  his  education,  and  finding  that  he  had  a  strong 


Oledonian  Far.tasie."  "  Chant  Militaire." 
"  Young  Love's  Dream."  "  Home,  sweet  Home, 
Variations."  "My  pretty  page,"  rondo.  "Let 
petit-i  Dilassemrns."  "  liomancc.  Variations.'' 
"  Rcsabella,"  &c.,  &c. 


i82 


KIE 


ENCYCLOP-rEDIA    OF    MUSIC. 


KIN 


KIESEIl,  J.  J.,  an  organist  at  Erfurt  about  the 
year  1750,  composed  much  music  lor  his  instru- 
ment. 

KIESEWETTER,  JOHANN  FRIEnRICII, 
first  violin  at  the  Royal  Chapel  of  Anspach,  and 
one  of  the  best  performers  of  the  school  of  Bejida, 
was  bom  at  Coburj;.  He  obtained  his  pubhc 
situation  in  the  year  1754. 

KIESEWEITER,  ClIRISTOPII  GOTT- 
FRIED,  son  of  the  preceding,  was  bom  at  An- 
spach in  1777.  He  was  a  very  celebrated  violinist, 
ana  spent  much  time  in  England  since  the  winter 
of  1821,  when  he  performed  at  the  Philhnnnonic 
Concerts  in  London.  An  eminent  critic  states  of 
Kicsewetter's  talents  as  follows  :  "  His  tirst  per- 
formance at  the  i'liilharraonic  Concert  of  London 
—  perhaps  the  severest  test  to  which  power  can 
be  brought,  because  the  major  part  of  the  audi- 
ence consists  of  professors  or  persons  most  im- 
mediately connected  with  music  —  his  tirst  per- 
formance, we  might  almost  say,  was  greeted  with 
the  very  extravagance  of  approbation  and  ap- 
plause. For  although  his  extraordinary  ability 
deserved  the  most  complete  expression  of  the  de- 
light which  could  not  but  be  felt,  yet  it  was  re- 
marked amongst  the  judicious,  that  tlie  loudest 
plaudits  were  mingled  with  an  expression  of 
pleasure  bordering  on  a  laugh,  a  manner  which 
praise  adopts  when  caxight  by  surprise  at  quaint 
or  unexpected  tums,  rather  than  when  capti- 
vated by  solid  excellences.  By  this  remnrk  we 
would  not  be  thought  to  detract  a  particle  from 
the  abundant  talent  which  we  willingly  admit 
Kiesewetter  to  possess :  his  abilities  are,  in  every 
sense  of  the  word,  aibnirable  indeed  :  we  merely 
wish  to  have  it  understood  that  there  are  i)oints 
of  pecuhar  skill  which,  when  pushed  beyond  cer- 
tain limits,  run  into  defeat,  however  vehemently 
applauded  these  very  exertions  may  be  by  the 
multitude  of  auditors,  who  are  ever  more  stimu- 
lated by  novelty  and  surjirise,  than  by  the  appro- 
priate disposition  of  parts  and  of  tlie  whole,  wiiich 
is  the  result  of  deep  consideration  and  tine  taste. 
Kicsewetter's  command  of  the  instrument  appears 
to  render  him  superior  to  every  possible  ditHculty, 
and  out  of  this  superabundant  power,  perhaps, 
arise  those  temptations  which  almost  necessarily 
lead  to  excess.  For,  although  sobriety  of  ju  Ig- 
ment  rejects  superfluous  execution  as  well  as 
superrtuou-<  ornament,  yet,  when  wanned  with 
exercise,  there  are  few  who  can  resist  the  j)ower 
of  demonstrating  ac<nuremenfs  which  others  have 
not  reached."  Kiesewetter  performed  at  the  spirit- 
ual and  other  concert^,  in  Ix>ndon,  in  the  8ea.son 
of  ISJl.  He  died,  in  a  state  bordering  upon 
misery,  in  1827. 

KIN.  A  Chinese  instrument  possessing  a  body 
of  thin  wood,  car^'cd  Hkc  the  top  of  a  violin,  to 
inarease  resonance  —  with  five  strings  of  silk  of 
(lilfercnt  sizes. 

KINPERM.VNX,  JOIIANX  ERASMUS,  a 
relebmted  organist  at  Nuremberg,  died  in  1655. 
He  composed  many  practical  works,  both  vocal 
uid  instr\iment;d,  the  latter  being  chiefly  for  the 
'>rgan.  His  writings  boir  date  from  the  year 
1640  to  1653. 


KINDERVATER,  JOHANN  HEINRiai.  a 
ficnnan   clergyman,  died   in    1726.      He  wrote 


several  works  on  music  ;   among  others  one  en- 
titled "  I)e  Mtisica  UtteratU  itecvuaiiria." 

KINDSCHER,  L.,  a  singer  at  the  court  church 
at  Dessau,  published  there,  in  1792,  a  collection 
of  twenty-four  songs,  and  at  Leipsic,  in  1801,  a 
similar  collection. 

KING.  A  Chinese  instniment,  consisting  of 
a  frame  of  wood,  with  pendent  stone,  graduated 
through  sLxteen  notes,  and  struck  with  a  ham- 
mer. 

KING,  WILUAM,  organist  of  New  College, 
Oxford,  set  to  music  Cowley's  "  Mi.stress,"  and 
I)ubli.shed  it  with  the  following  title  :  "  I'oems  of 
Mr.  Cowley  and  others,  composed  into  Songs  and 
Ayres.  with  a  Thorough  Itasse  lor  the  ITieorbo, 
Harpsccor,  or  Base  Violl,"  Oxiord,  1688. 

KING,  ROBERT,  bachelor  in  music  of  Cam- 
bridge, in  1696,  was  one  of  the  band  of  William 
and  Mary.  He  composed  various  airs,  printed  in 
the  "  Tiipla  Concordia,"  and  set  to  music  many 
songs,  printed  in  the  "  Theatre  of  Music." 

KING,  CII.VRLES.  educated  in  the  choir  of 
St.  Paul's,  under  Dr.  Blow,  was  at  first  a  super- 
numerary singer  in  that  cathedral  for  the  small 
stipend  of  fourteen  pounds  a  year.  In  the  year 
1701,  he  was  admitted  to  the  degree  of  bachelor 
in  music,  in  the  University  of  O.xford.  King  com- 
posed some  anthems  and  services,  and  thereby 
gave  occasion  to  Dr.  Green  to  say,  and  indeed  he 
was  very  fond  of  saying  it,  as  he  thought  it  was 
a  very  witty  sentiment,  that  "  Mr.  King  was  a 
very  serviceable  man."  As  a  musician,  he  wan 
but  little  esteemed. 

KING,  M.  P.  An  English  composer,  chiefly  of 
vocal  music,  since  the  year  1790.  Among  his 
works  are  —  Operas:  "False  Alarms,"  "Invis- 
ible Girl,"  "Matrimony,"  "One  o'Clock,"  "  Ti- 
mour  the  Tartar,"  "  Eight  songs  and  Cantata," 
Op.  2.  Glees  for  three  voices:  "It  was  the 
nightingale,"  "  Minstrels  three,  lady,  are  we," 
"O,  could  I  flow  like  thee,"  "  O,  whiter  than  the 
swan,"  "  When  shall  we  three  meet  again  ? " 
"  Who  rides  on  that  meteor  of  fire  r  "  Duets  : 
"  What  virtue  prompts,"  "  Vows  are  but  breath," 
"  Do  not  call  it  sin,"  "  Say,  beauteous  ty- 
rant," "  By  tlie  roses  of  the  spring',"  "  Eagle 
Wings,"  "  Hush,  softly."  He  also  published  "A 
general  Trrati.se  on  Nlusic,  particularly  on  Har- 
mony or  Thorough  Ba.«s,  and  its  Application  to 
Composition,  written  on  a  new  Plan,"  &c.  ;  like- 
wise, several  sonatas,  rondos,  &c.,  for  the  piano- 
forte. 

KINOR,  or  KINNOR.  The  appellation  given 
to  the  harp  use<l  by  David  in  the  curing  of  Saul. 
Of  the  fiiiinor,  generally  translated  harp,  there  is 
a  diversity  of  ojiinion  ;  but  the  one  most  general- 
Iv  received  is,  that  by  it  is  meant  the  li/re  or 
harp,  or  any  stringeil  instrument  of  that  charac- 
ter. In  the  Scptuagint  and  the  Vulgate,  kiimor 
is  80  rendered  that  the  name  is  equivalent  to  that 
given  by  the  (ireeks  and  Romans  to  different 
forms  of  lyres,  of  which  there  were  many.  Such 
being  the'  ca.se,  we  think  the  words  kinnor  and 
harj)  svnonvmous.  'Hie  ancient  lyre  or  haqi  waa 
so  small  that  it  wa-s  intended  to  l>e  carrie<l  in  the 
hand,  and  it  was  so  light  that  the  player  usually 
danced  during  his  performance.  Whether  the 
ancients,  particularly  the  Greeks  and  Romani, 


483 


KIR 


EXCYCLOP.'EDIA    OF    MUSIC. 


KIB 


had  harps  like  the  modems,  larRC,  hea\'y,  and 
resting  OH  the  ground  when  j)layed,  is  very  doubt- 
ful ;  lor,  in  almost  every  instance  where  mention 
is  made  of  this  instrument,  it  is  described  as 
being  taken  in  the  hand  when  played.  The 
Egyptians,  however,  had  large  harps,  as  is  evi- 
dent  from  preserved  paintings  and  sculptures. 
Vt'c  have  in  its  proper  place  alluded  to  Jubal  as 
the  inventor  of  the  kinnor  and  organ,  or  rather 
as  the  father  of  such  as  handle  them ;  and  this  is 
the  earliest  mention  made  of  the  use  of  musical 
instrumcnt-s.  Nowhere  in  the  Pentateuch  is  the 
kinnor  again  mentioned ;  but  in  1  Samuel  wo  find 
that  the  prophet  foretold  to  Saul  that  he  should 
meet  a  com])any  of  prophets  "  coming  down  from 
the  high  place,  with  a  psaltery,  a  tabrct,  a  pipe, 
and  a  kinnor."  ITien  it  is  noticed  as  used  by 
private  jjcrsons,  shepherds,  with  a  belief  that  it 
had  a  powerful  influence  over  the  human  pas- 
sions, and  for  that  purpose  David  wjis  employed 
to  play  before  Saul,  as  previously  noticed.  From 
David's  time,  whose  example  as  sultan,  no  doubl, 
recommended  it  to  general  use,  the  kinnor  is  fre- 
quently mentioned.  It  was  one  of  the  leading 
instruments  in  the  orchestra  of  the  tabernacle, 
and  also  in  the  temple  in  the  time  of  Solomon. 
Eusebius,  one  of  the  early  Christian  fathers,  says 
that  David  always  carried  his  lyre  with  him,  to 
soothe  him  in  his  many  afflictions,  and  to  sing 
praises  to  God.  lie  is  said  also  to  have  been  gen- 
erally in  the  tabeniacle  with  his  kinnor  among 
the  prophets,  and  sang  and  played  as  the  inspira- 
tion came  upon  him.  In  1  Kings,  an  intimation 
is  given  of  the  material  of  which  the  harp  was 
composed.  It  says  that  Solomon  made  harps 
(kin/ioreth)  of  the  almug  trees,  and  also  psalteries 
for  the  singing.  It  was  the  harp  which  the  cap- 
tives at  Babylon  "  hung  upon  the  willows  ;  "  and 
so  celebrated  were  the  Hebrews  in  the  use  of  this 
instrument,  that  their  conquerors  bade  them  sing 
their  native  snngs,  accompanied  with  the  harp. 
Among  the  Hebrews  it  was  jilayed  by  females  as 
well  as  males,  and  was  used  at  feasts,  or  on  oc- 
casion of  mournmg,  for  its  tones  might  be  cheer- 
ful or  sad,  as  the  occasion  might  require. 

KIRBYE,  GEORGE.  An  English  musician, 
and  good  madrigalist  at  the  close  of  the  sixteenth 
and  beginning  of  the  seventeenth  century.  In  the 
year  1.597,  he  and  ITiomas  Wcilkes  published 
their  first  books  of  English  madrigals.  Some  of 
his  compositions  are  to  be  found  in  the  "  Triumphs 
of  Oriana." 

KIRCHER,  ATIIAXASirS,  a  native  of  Ful- 
da,  was  born  in  the  year  IfiOl.  At  the  age  of 
eighteen  he  was  admitted  into  the  Society  of  Jes- 
uits, and  after  having  pa.sscd  through  a  regular 
course  cf  study,  became  a  teacher  of  philosophy, 
mathematics,  and  langua;ies,  in  the  Universitv  of 
Wartzburg.  In  the  year  1().'51.  when  the  Swedes, 
under  Gustavus  Adolphus,  entered  (Jermany,  he 
retired  into  France,  and  settled  in  the  Jesuits"  col- 
lege at  Avignon,  where  he  continued  four  years. 
He  was  then  called  to  Rome  to  teach  mathe- 
matics in  the  Roman  college,  and  he  afterwards 
became  prolessor  of  the  Hebrew  language  in  that 
city.  He  died  in  I'lSO,  having  written  and  pub- 
lished ditferent  works  to  the  number  of  twenty- 
two  volumes  in  folio,  eleven  in  quarto,  and  three 
in  octavo.  The  chief  of  Kirchcr's  musical  works 
is  his    "  Miuurcfia   Unictnalit."     This  is  divided 


into  ten  books.  In  the  preface,  the  author  staiei 
that  he  was  aided  in  the  compilation  of  it  by  Ai.- 
tonio  Maria  Abhatini,  chapel-master  of  tl  • 
churches  of  Sta.  Maria  Maggiore,  and  Pietnt, 
Ilcredia?,  in  Rome,  also  by  Kapsberger  and 
Carissimi.  lie  apologizes  for  his  attempting  to 
write  on  the  subject  of  music,  who  was  not  a  pro- 
fessed musician ;  but  he  states,  in  his  defence, 
that  from  his  youth  he  had  assiduously  applied 
himself  to  the  study  of  this  science.  In  the  first 
book  he  treats  of  the  anatomy  of  the  ear,  not  ony 
in  man,  but  in  various  kinds  of  quadrupeds  and 
birds.  From  this  he  jiasses  to  the  consideration 
of  the  voice  in  the  human  race,  and  also  of  the 
vocal  orgajis  in  several  species  of  animals.  In  the 
second  book  he  speaks  of  the  music  of  the  He- 
brews, and  gives  the  forms  of  some  of  their  instru- 
ments. He  then  proceeds  to  the  music  of  the 
Greeks,  and  of  which  he  gives  a  general  and  su- 
perficial account.  The  next  book  enters  deeply 
into  the  doctrine  of  harmonics,  first  explaining 
the  several  kinds  of  proportion,  and  afterwards 
demonstrating  the  ratios  of  intervals.  ITiis  book 
contains  a  system  of  arithmetic,  taken  from  the 
■writings  of  Boethius  and  others,  in  which  are 
contained  rules  for  the  addition,  subtraction, 
multiplication,  and  division  of  intervals  by  means 
of  characters  adapted  to  the  purpose.  The  fouith 
book  is  entirely  on  the  diWsion  of  the  monochord, 
and  the  method  of  finding  the  inter\-als  by  vari- 
ous geometric  and  algebraic  processes.  The  fifth 
book  contains  directions  for  the  composition  of 
music  in  consonance.  In  this  he  explains  the  na- 
ture of  counterpoint,  both  simple  and  figurative, 
and  also  of  fugue,  and  gives  some  general  rules 
for  composition  in  one,  two,  three,  and  more 
parts.  Towards  the  close  of  the  book,  he  speaks 
of  that  spiu-ious  kind  of  fugue,  called  fuga  in 
tiomine,  and  not  only  explains  the  nature  of  canon, 
but  gives  examples  of  canons,  some  of  which  are 
very  wonderful  in  their  contrivance.  He  men- 
tions one,  which  he  says  might  be  sung  by  twelve 
millions  two  hundred  thoiLsand  voices.  In  the 
sixth  book,  he  treats  of  instrumental  music,  and 
of  the  various  instruments  in  use  among  the 
modems.  Nearly  the  whole  of  this  book  is  taken 
from  the  Latin  work  of  Mersennus.  At  the  con- 
clusion he  gives  a  particular  description  of  the 
great  bell  at  Erfurt.  The  seventh  book  contains 
a  comparison  between  the  ancient  and  modern 
music,  with  some  specimens  of  the  ancient  Greek 
musical  characters,  taken  from  Alypius.  This 
book  is  of  a  miscellaneous  nature,  and,  amongst 
other  things,  comprises  a  general  enumeration  of 
the  most  eminent  musicians  of  the  author's  time, 
and  contains  a  great  variety  of  fine  compositions 
selected  from  their  works. 

The  second  volume  begins  >rith  the  eighth  book. 
In  this  is  inserted  tables  of  all  the  possible  combi- 
nations of  numbers,  as  they  relate  to  musical  inter- 
vals ;  as  also  some  minute  investigations  into  the 
various  kinds  of  metre  used  in  poetry,  and  par- 
ticularly (rreck  and  Latin  poetry,  which  are  illus- 
trated by  musical  characters.  In  the  ninth  book 
there  is  a  chapter  "  De  Si/mpai/iid  ct  AntipaihiA 
Sonoriim  Untionr,"  and  an  experiment  here  men- 
tioned is  truly  curious.  Tlie  author  says,  if  five 
glasses  of  the  same  magnitude  arc  filled,  one  with 
aqua  vit;e,  the  second  with  wine,  the. third  with 
acjua  subtills,  the  fourth  with  a  thickish  fluid, 
such  as  sea  water  or  oil,  and  the  fifth  or  middle 
one  with  common  water,  and  a  finger  wetted,  the 


484 


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ENCYCLOPEDIA    OF    MUSIC. 


KIP 


following  effects  will  be  produced  :  the  aqua  vitic 
will  be  much  ajjitated,  the  wine  greatly  Hhakcn, 
the  aqua  subtilLs  less  shaken,  and  the  sea  water 
or  other  fluid  not  moved  at  all.  From  this  ex- 
periment we  may  probably  date  the  invention  of 
musical  yUuiscs.  lie  then  produces  instiinces  of 
the  suqirisinj;  effects  wrou;;ht  by  music,  t)C(^innin<; 
with  thedisi)osition  of  Saul,  as  recorded  in  sacrctl 
writ,  which  he  endeavors  to  account  for  mechan- 
ically ;  and  he  concludes  by  relating  the  whole 
process  for  the  rei)uted  cure  of  the  bite  of  a  taran- 
tula. In  treatinj;  of  echoes,  he  relates  an  inter- 
esting story  from  Cardan,  wliich  we  sliall  give  in 
his  own  words.  "  A  friend  of  mine,  bavina;  set 
out  on  a  journey,  liad  a  river  to  cross,  and  not 
knowing  the  word,  cried  O,  to  which  an  edio 
answered,  O ;  he,  imagining  it  to  be  a  man, 
called  out  in  Italian,  Oitde  dero  jxuiar  t  it  answered 
Paasa ;  and  when  he  asked.  Quit  But  as  the 
waters  formed  a  deep  whirlpool  there,  and  made 
a  great  noise,  he  was  terrified,  and  again  asked, 
Devo  pasHcir  quit  the  echo  returned,  I'asm  '/m'.  He 
repeated  the  same  question  often,  and  still  had 
the  same  answer.  Terrified  witli  the  fear  of  be- 
ing obliged  to  swim,  in  case  he  attempted  to  pass, 
and  it  beijig  a  dark  and  tempestuous  night,  he 
concluded  that  his  rcsi)ondent  was  some  evil  spir- 
it, that  wanted  to  entice  him  into  the  torrent, 
lie  therefore  returned,  and  on  relating  his  story 
to  Cardan,  was  convinced  by  him  that  it  was  no 
demon,  but  only  the  sport  of  nature."  The  author 
next  proceeds  to  the  description  of  such  instru- 
ments as  produce  music  by  the  rotation  of  a 
cylinder;  and  mentions  one,  in  the  form  of  a  star, 
in  the  church  of  a  monastery  of  St.  Fulda,  so  con- 
trived, as,  by  the  motion  of  a  cylinder  round  its 
a.\is,  to  i)roduce  music  from  a  number  of  small 
bells.  He  then  describes  an  instrument  tore.em- 
ble,  in  its  sound,  a  concert  of  viols.  This  was.  in 
fact,  a  harpsichord  with  a  circular  belly,  under 
which  was  a  wheel,  one  sixth  part  of  which  rose 
above  the  belly  ;  the  strings,  which  were  of  the 
intestines  of  animals,  like  those  of  the  harp,  were 
strained  into  contact  with  the  edge  of  this  wheel, 
and  being  rubbed  with  powdered  rosin,  produced 
the  tone  he  sjjcaks  of.  Kircher  mentions,  as  a 
contrivance  of  his  own,  the  .Er(/'Vj;i  /iftrp,  which 
he  describes  at  considerable  length.  But  although 
he  might  have  been  ignorant  of  tlie  fact,  St. 
Dunstan  is  said,  by  Fuller,  to  have  had  one  which 
must  have  been  of  a  nature  very  similar  to  Kir- 
cher"s.  In  tliis  book  it  is  that  he  gives  an  ac- 
count of  the  celebrated  hydraulic  organ  of  Vitru- 
vius,  which  no  one  lias  hitherto  been  able  to 
comprehend.  The  tenth  book  is  on  the  subject 
of  analogical  music,  as  Kircher  hits  termed  it,  and 
the  chief  intention  of  it  is  to  demonstrate  the  har- 
mony of  the  four  elements  and  of  the  planct;\rv 
system.  The  author  endeavors  to  prove  that 
the  principles  of  harmony  are  discoverable  in  the 
proportions  of  our  bodies,  in  the  jiassions  of  the 
mind,  and  even  in  the  seven  sacraments  of  the 
.  hurch  of  Rome.  From  these  he  proceeds  to 
-ho  consideration  of  political  aiul  metaphysical 
narmony  ;  and,  in  conclusion,  to  that  hnrrao'ny,  if 
iny  one  can  understand  what  lie  means  by  it, 
which  subsists  in  the  several  orders  ol  intellectual 
beings,  and  which  is  consummated  in  the  union 
tjetween  God  and  the  univer-e.  In  the  year 
167:<,  Kircher  published  his  "  Phnuurja  Xora,"  a 
work  in  which  he  explains  the  nature,  properties, 
knd  effects  of  sound. 


In  this  work  the  author  gives  a  very  circum- 
stantial  account  of  that  useful  instrument  called 
by  us  the  speaking  trumpet,  the  invention  of 
which  he  claims  an  hLs  own.  Of  the  jiower  of 
this  trumpet,  he  says,  that  with  one  of  fifteen 
palms  in  length,  he  and  some  companions  m»do 
tliciuselves  heard  from  different  stations,  at  the 
distance  of  two,  tluec,  four,  and  five  Italian 
miles. 

To  speak  in  general  terras  of  the  works  of  Kir- 
cher, they  are  chiefly  either  on  subjects  of  the 
most  remote  anti<iuity,  or  on  such  as,  from  their 
nature,  seem  to  elude  all  inquiry  ;  notwithstand- 
ing this,  the  world  Ls  under  great  obligations  to 
liiiu  for  the  "  Miuur(/ia  i'liiferaalis."  In  avail- 
ing himself  of  the  researches  of  other  learned 
men,  and  of  all  the  assistance  that  he  could  jios- 
sibly  derive  from  an  extensive  correspondence, 
and  the  communications  of  persons  eminent  both 
in  the  theory  and  practice  of  music,  he  has 
been  able  to  exhibit  such  a  fund  of  instruction 
and  entertainment,  such  a  variety  of  curious  par- 
ticulars relative  to  the  principles  and  gmduid 
jirogress  of  the  science,  and  such  a  number  of 
curious  anecdotes  respecting  the  professors  of  his 
own  time,  and  the  opinions  entertained  of  their 
works,  that  we  know  not  which  to  admire  most, 
his  ingenuity  or  his  industry.  Notwithstanding 
the  merits  of  Kircher,  his  "  Mtuitryia,"  soon  after 
its  publication,  underwent  most  severe  censures 
from  Meibomius,  a  German  writer  of  consider- 
able celebrity. 

KIRCHHOF,  GOTTFRIED,  an  organist  at 
Halle,  died  in  1746.  He  published,  at  Amster- 
dam, a  work  called  "  L'A,  D,  C,  Maiicai." 

KIRCHHOFF,  a  Saxon  harpist,  was  celebrated 
in  Denmark  and  Russia,  in  the  latter  half  of  the 
last  century.  He  wrote  much  music  for  his  in- 
strument. 

KIRCHNER,  JOIIANN  HEINRICH,  a  singer 
at  Rudolstadt  in  the  year  17iM),  publishe<l,  early 
in  the  present  century,  at  Armstadt,  "  Tin-ore- 
tisch-practiarhcs  llanrUitich  :u  eiiiein  fur  kUiiftige 
Lftiuhchullehrer  tifXfiitjcn  Musikulisthen  L'nterricht," 
and  "  12  Arieiizum  (iebrauch  fur  SingcnOre  in  Par- 
titur,  \tt  uiui  'lie  Samiuiimg." 

KIRKM  AX.  A  composer  of  piano-forte  music, 
resident  in  London  in  the  latter  half  of  the  last 
century.  He  published,  among  other  works, 
"  Duets  for  the  I'iano-forte,"  Op.  o.  "  Fi-fi*  So- 
luit.  d  quatre  Miiin^  ;"  "Three  Sonatas  fcr  the 
Harpsichord,  with  V.,"  Op.  8.  "  Sonata  for  the 
I'iano-forte  ;  "  "  Dnet.s  for  the  Piano-lorte."  He 
aKo  j)ubli>lied  "Eight  Ballad*,"  dedirateil  tothe 
Marchioness  of  Salisbury,  Op.  10;  and  in  con- 
junction with  Keeble,  "  Forty  Interludes,  to  be 
played  between  the  Verses  of  the  I'snlms." 

KIRMAYER.  WOLFGANG,  chamDer  n.um- 
cian  to  a  nobleman  at  Munich,  wa.s  known  hy  his 
composition  of  serenatas,  notturnos,  and  other 
violin  music.     He  died  in  17'.>o. 

KIRMAIR,  FRIEDRICH  JOSEPH.  w,»,  in 
lSfl:i,  Bppointe<l  chamlwr  musician  to  the  Ouke 
of  Snxc-(totha.  He  is  celeOratr<l  as  a  pitnist, 
and  performed  in  public  in  almo-t  all  the  large 
towns  of  the  continent.  In  170.).  he  wt«  ap- 
pointe<l  music  master  tc  the  Queen  of  I^umia, 
His  works  for  the  piano  forte  are  uumcroiu,  and 


4  So 


KIR 


EXCYCLOPiEDIA    OF    MUSIC. 


B.LB 


have  been  chiefly  published  at  Heilin  and  Offen- 
bach. The  following  are  among  his  more  favor- 
ite compositions  :  "  Deux  SoiuU.  pour  Clav.,  V. 
Oblig.,  et  li.,  ad  lib.,  ciinjmaia  <le  dicers  Thinies  et 
Pa3sa(/et  tirda  deCOp^ira  '  La  Ft.  Magiqite,'  arran- 
yies  par  lea  Amatews,"  Op.  9,  OHbnbach.  "  Troia 
Soiiat.  progress,  jnnr  te  Clue,  avec  V.  et  li.,"  Op.  8, 
Oflenbach.  "  Or.  Soiiat.  avcc  Aco.Obli;/.,"  Op.  21, 
Ortenbach.  "  (ir.  Sonat.  avec  V.  Oblig.  et  B.  ad 
lib.,"  Offenbach.  "  tionat.  avec  Ace.  de  V.  et  B.," 
Op.  2.3,  Offenbach.  "  Tioia  Soiiat.  pour  Us  Ama- 
teurs," Op.  12,  Offenbach.  "  Sonal.  avec  un  Toc- 
cata piur  le  Clav.  dans  le  Stile  dc  ClemetUi,"  Op.  17, 
Offenbach. 

KIRXBERGER,  JOHANX  PHILIP,  a  native 
of  Berlin,  was  a  pupil  of  Seba,stian  IJnch,  and 
possessed  f^reat  musical  learnint;.  His  knowl- 
odi;e  of  counterjioint  and  of  all  the  laws  and 
Bubtilties  of  canon  and  fugue  are  indisputable  ; 
but  ir.  hir  compositions  he  is  often  dry  and  crude, 
and  he  appears  to  have  been  perpetually  striving 
at  new  passages  and  effects,  with  which  his  in- 
vention did  not  very"  liberally  supply  him.  He 
died  in  the  year  1783.  His  principal  works  were 
theoretical  and  didactic,  and  are  a-s  follows  :  "  Die 
Kunst  des  reitien  Satzes,  cSrc,"  i.  e.,  the  art  of  pure 
composition  explained  on  certain  principles  and 
by  means  of  examples,  1774-  "  Gruiuhatze  dcs 
(ieneralbasses,  &f .,"  i.  e.,  principles  of  thorough 
bass,  forming  the  first  elements  of  composition, 
1781,  with  many  plates.  "  Gedanken  iibur  die 
verschiedeiien  Lehrarten,  i^c,"  i.  e.,  ideas  on  the  dif- 
ferent methods  of  composition,  1782.  "Anteitung 
zur  Siiig-komposition  mit  Oden  in  verschiedvncn  syl- 
benmasen,"  i.  e.,instructions  for  learning  vocalcom- 
position,  1782.  "  Die  tcahrc7i  Grundftltze  zum  Oe- 
brauch  der  Harmonic,"  i.  e.,  principles  of  harmony, 
&c.,  lll'.i.  This  last  work  is  attributed  to  Kiniber- 
ger  by  KoUmann  and  the  editors  of  the  "  Diet.  Hist, 
des  M-iisicivns,"  but  by  Gcrl)er  it  is  said  to  be 
from  the  pen  of  Schulzen.  The  chief  of  the  mu- 
sical articles  in  the  first  volume  of  Sulzer's 
•'Theory  of  the  Fine  Arts,"  were  also  ^^Titten 
by  Kirnberger.  His  practical  works  are  chiefly 
sacred. 

KIRSTEX,  FRIEDRICH,  an  organist  at 
Dresden,  published,  between  the  years  1770  and 
1797,  several  works  of  piano-forte  music,  also 
"  Lieder  fur  gescllige  uud  einsumc  Freudm  gedichlct 
von  Fr.  Voigt  und  furs  Clavier  yesctzt,"  Hamburg. 

KIRSTEX,  MICHAEL,  organist  at  Breslau, 
died  in  1742.     He  wrote  some  church  music. 

KIT.  The  name  of  a  small  or  pocket  violin, 
used  by  dancing  masters.  Its  length  is  about  six- 
teen inches,  and  that  of  the  bow  about  seventeen. 

KIITEL,  CHRISTOril,  court  organist  and 
composer  at  Dresden,  published  there,  in  16.57, 
twelve  canticles  for  four  voices. 

KITTEL,  JOHAXX  CHRISTIAX,  organist 
at  Erfurt,  was  born  there  in  1732.  He  was  a 
l)upil  of  the  great  .Sebastian  Bach,  and  in  all 
respects  worthy  of  his  master.  He  published 
"6  Sons,  furs  Klavicr,"  1787;  "Der  angehendv 
practische  Organist  odrr  anwcisting  zum  Zucckmttt- 
zigen  gebrauch  dtr  Orgel  bey  Gotteaverehrungen  in 
BeyspielcH,  F.rstf  Abtheilung,"  Erfurt,  1801  ;  "Seucs 
Choralbuch  200  theih  bezijfrrte,  theils  vierstimmig 
atugeict.-te  Chorale,  desglcichen  klcine  vor$pich  ent- 


haltend,"  Altona,  1803  ;  "  Ilymm^  an  das  jahr- 
hundert  vierstimmig,"  Hamburg,  1801  ;  "  Gross* 
Prflludien  fhr  die  Orgel  2d  atitlicilungen,"  Leipsic 
Kittel  died  at  Erfurt,  in  the  year  1809. 

KLACKEL,  STEPHAX,  or  PATEX,  chapel- 
master  at  Prague,  was  born  in  1753.  He  was  an 
excellent  violinist,  and  wa.s  heard  in  most  of  th« 
capitals  of  Europe.     He  died  in  1788. 

KLAXG.     (G.)     Sound. 

KLAXGESCHLECHT.  (G.)  A  genus  of 
sound ;  as.  chromcUitches  klangeac/ilccht,  the  cliro- 
matic  genus. 

KLAPPE.  (G.)  A  key  belonging  to  any 
wind  instrument. 

KLAPPEX  FLUGELHORX.  (G.)  Th« 
keyed  bugle. 

KLAPPTROMPETE.  (G.)  A  keyed  trum- 
pet. 

KLEEBERG,  C.  G.,  an  organist  and  compose! 
at  Gera,  in  Upper  Saxony,  publLshed,  among 
other  works,  "  Trois  Duos  pour  deux  Violons,"  Op. 
1,  1794,  and  "  Tdnze  am  Klavier,"  Op.  6.  H« 
died  in  1811. 

KLEIX,  JACOB,  an  instrumental  composer, 
published  at  Amsterdam,  about  the  year  1750, 
"  Six  Sonatcs  a  Hautbois  et  B.  C."  Op.  1.  "6 
Dergl.,"  Op.  2,  and  "  Six  Sonates  A  tine  B.  de  Fto- 
lon  et  B.  C,"  Op.  3. 

KLEIX.     (G.)     Minor,  in  regard  to  intervals. 

KLEIX,  JOHAXX  JOSEPH,  organist  at 
Eisenach,  published  at  Gera,  in  1783,  a  work  en- 
titled "  Versuch  eines  Lehrbu^-hs,  &:c.,"  i.  e.,  an  essay 
towards  systematic  instruction  in  practical  music. 
In  1785  appeared  his  "  Choralhuch  mit  einem  vor- 
berichte,  &c-,"  i.  e.,  a  choral  book,  with  an  introduc- 
tion relative  to  that  style  of  music  in  the  church 
service.  He  also  published  "  Vorschlage  zur  ver- 
besserung  der  geicOhnlichen  Singsehulen  in  Deiitsch- 
land,"  Leips.Mus.  Zeit.  1799,  Xo.  30.  "Veberdie 
Tonzeichcn,  nebst  vorschlag  einer  khinen  verHnde- 
iimg  in  absichl  der  benenming  der  TOne,"  Leips. 
Mus.  Zeit.  1799,  Xo.  41.  "  Lehrbueh  der  t/itore- 
tischen  Miisik  in  syslemaiisc/ier  ordnung  cntioorfen 
ron  u.  s.  tr.  mit  kupfern,"  Leipsic  and  Gera,  1801. 
The  plates  in  this  work  consist  of  scales  and 
passages  for  most  wind  instruments.  Lastly, 
"  Neues  vollstandigcs  Choralbuch  zum  Gebrauch 
beym  Gottcsdienste,  nebst  einem  kurzen  Vorbcricht 
von  der  Choral  Mus.,"  Rudolstadt,  1802. 

KLEIX,  HEIXRICH,  a  professor  of  music  at 
Presburg,  in  Hungary,  born  in  1756,  was  a  pupil  of 
Kirnberger.  and  an  excellent  pianist.  He  has 
written  many  ma.sses,  besides  other  vocal  and  in- 
strumental music. 

KLEIXE,  AXDREAS,  a  celebrated  organist, 
wius  born  in  Thuringia  in  1650.  He  composed 
some  church  and  dramatic  music,  and  died  at 
Cojienhagen. 

KLEIXHEIXZ,  FRAXZ  XAVER.  A  pianist, 
who  first  resided  at  Vienna,  and  then  at  Pesth,  in 
Hungary.  He  was  considered  in  Germany  as  an 
excellent  composer.  The  following  are  among 
his  principal  compositions  :  "  Trois  Sonates  pour 
le  Clav.  avec  V-  Old.,"  1789.  "  1'ar.  sitr  '  iMci  darem 
la  mano,  ^c.,'  ;>o«r  le  Clav."  "  I'nr.  .lur  '  Ein  Mad- 
chem  Oder  Wcibchen,  isc'  No.  2,"  1797.  "  Doui 
Var.  pour  le  Clav.  sur  '  Chaste  Fille  de  Latone,  ^ 


486 


KLE 


EXCYCLOPyEDIA    OF    MUSIC. 


KLd 


de  Ohick,  Xo.  3."  "  Douze  Var.  pour  le  Clav.," 
Op.  4,  1799.  "  Gr.  Sonaie  pour  le  Clav.,"  Op.  5, 
1800.  "Srmate  pour  le  Clav.,"  Op.  6,  1800. 
"  Sonate  jxjttr  le  Clav.,"  Op.  7,  1801.  "Deux 
Sonates  pour  le  Clav.,  avec  F.,"  Op.  8.  "  Trio 
pour  Clav.,  V.,  ou  (!lar.  et  li.,"  Op.  13.  "  Sonate 
A  qualre  Mains  pour  le  Clav.,^'  Op.  12,  1803. 
"  lieklors  Abschied,  der  lland.ic/iufi,  die  Erwarlumj, 
alle  drey  mil  lieijteitung  der  K/avirrs."  "  Der 
Kampf,  filr  Gesany  mil  Klavierbetjleituni),''  and 
"  Trois  gr.  Sonatea  j)our  P.  /■'.,"  Op.  17,  Leipsic. 

KLEIXKNECIIT.  JOHAXX  WOLFGANG, 
concert  mn.stcr  to  the  Mar<;nive  of  Anspnch,  wsis 
born  at  Uliu  in  171.3.  He  commenced  his  studies 
of  gjTnnnstics  in  that  town,  iind  there  acquired 
the  extensive  nttiiinmcnts  wliicli  ho  afterwiu'iLs 
disphiyed.  His  latlior  instructed  him  in  music, 
and  he  made  such  wonderiul  projjres.s,  that  at 
ei^ht  years  old  he  played  the  violin  before  the 
Duke  of  Wurtembur;;,  and  at  ditt'ercnt  courts, 
■where  he  was  generally  adi  lircd.  Encouraged  by 
his  first  success,  he  resoli-ed  to  devote  him.self 
entirely  to  music.  Chniicc  favored  his  desii;n. 
The  Duke  of  Wurtemburj;  named  him,  in  1773, 
his  chamber  musician,  and  sent  him  in  this  capa- 
city to  his  chapel  at  Stutt^ard,  where  lirecianello, 
one  of  the  first  violinists  of  his  time,  was  then 
chapel-master.  He  was  the  first  model  upon 
which  young  Kleinknecht  attempted  to  fonn 
himself. 

After  the  death  of  the  duke,  he  travelled  to 
diHcrent  courts,  and  obtained  a  situation  as  vio- 
linist at  the  chai)el  of  Eisenach.  Here  the  con- 
sort of  the  Margrave  of  Hayreuth  heard  and  en- 
gaged him  for  a  fete,  to  be  given  on  the  birthday 
of  the  margrave.  'ITie  comforts  he  obser\'cd  at 
this  court,  and  the  favor  showed  him  by  the  ]>rince, 
made  hiiu  forget  Eisenach,  and  ho  accepted  the 
situation  of  concert  master  at  Hayreuth.  About 
this  time  lie  became  ac({uainted  with  liendn,  and 
his  style  ])lea.sed  him  .so  much  that  he  adopted  it. 
His  first  enthu.siasm  beins  evaporated,  he  remem- 
bered the  Duke  of  Eisenach,  who  had  treated 
him  80  kindly,  and  beu'an  to  reproach  himself 
with  ingratitude  for  having  left  his  patron  with- 
out permission.  With  the  design  of  atoning  for 
his  fault,  he  feigned  a  desire  to  visit  again  the 
dificrent  musical  academies,  and  demanded  his 
dismissal.  As  Hoon  a-s  he  obtained  it,  he  went  to 
Ei.senach  to  offer  his  services  to  his  old  master, 
wlio  received  them  with  undiminished  kindness. 
He  employed  the  time  he  remained  there  (till  the 
death  of  the  duke)  in  cultivating  his  talents. 
Jle  was  thou  made  leader  ol  the  excellent  orches- 
tra of  the  tlieatre  of  I)res<len,  for  which  llassc 
composed,  and  tilled  tins  station  witli  the  greatest 
('<■/«/  till  his  death,  which  happened  in  177o.  He 
was  considered  a  very  good  leader. 

KLEINKNECHT."  J.V con  FUIEDKICH.  sec- 
ond son  of  the  i)receding,  was  born  at  Tim  in 
1722.  He  published  many  instrumental  compo- 
sitions, and  was  chapol-mnntcr  to  the  court  of 
.\ns])ach  at  the  time  of  his  death,  which  took 
plncf  there  in  1791. 

KLEM.MK,  JOHANN,  a  Saxon  by  birth,  and  a 
celebrated  organist  and  church  musician,  was 
patronized  for  his  early  proficiency  in  music  by 
Chri.stian  II.,  Elector  of  Saxony.  That  i)rince 
committed  him  to  the  tuition  of  the  ablest  mas- 
ters in  the  court  of  Dresden,  and  he  wa-s  instruct- 
ed and  maintained  at  his  expense  for  nearly  six 


years,  when  the  elector  died.  Fortunattly  for 
Klcmme,  the  succeeding  eleirtor  was  also  a  lover 
of  music  ;  and  observing  his  desire  for  improve- 
ment, he  placed  him  for  furtlier  instruction  under 
Christian  Krbach,  an  organist  and  composer  at 
Augsburg,  with  whom  he  studied  three  years. 
At  the  ex]>Lration  of  this  term  he  returned  to 
Dresden,  and  was  soon  afterwards  appointed  mas- 
ter of  the  electoral  chapel,  and  organist  to  the 
elector. 

The  works  of  Klcmme  are  thirty-six  for  the 
organ,  composed  after  the  manner  of  voluntaries, 
and  published  at  Dresden  in  the  year  1031.  He 
was  likewise  the  author  of  a  set  of  s])iritual  mad- 
rigals, in  the  German  language,  for  four,  five,  and 
six  voices,  and  he  assisted  in  the  publication  of 
the  second  part  of  the  Si/mp/ioni/r  .^icr<e  of  SchOtz. 
Klemme  Is  considered  to  have  been  one  of  the 
most  skiliul  harmonist;!  of  his  time. 

KLENGEL,  A.  A.  A  German  composer,  re- 
siding in  .\u.stria.  In  the  review  of  his  "  G  Nol- 
turiii "  for  the  piano-forte,  the  editor  of  the 
liuarterly  Musical  Journal  speaks  very  highly  of 
Klcngcl,  whose  compositions,  ho  says,  remind 
him  of  Haydn.  (Musical  Review,  vol.  iv.  p.  117.) 
Among  his  works  are,  "  Premier  ('oncert.  en  Si, 
arec  Orch.  ou  dvux  V.  T.  et  IV.,"  Op.  4.  "Air 
Suisse  pour  P.  F.  et  Clav.,"  Op.  30.  "  Divcrlisst- 
meiU,"  Op.  6.  "  Rondo  Militairr,"  Op.  12.  "  La 
Promenoile  sur  Mer  iiit^iTOmpue  par  la  TempCte, 
Souvenir  d' Italie,"  Op.  19.  "  lioiuto  Paitoral," 
Op.  20.  "  Fantaisie  sur  un  Air  disar/ue,"  Op.  22. 
"  Fantaisie  sur  un  Air  Iltissc,"  Op.  2.5.  "Itontk 
sixiime,"  Op.  26.  "  Hondo  huititme,"  Op.  28. 
"  (iuinze  Sonatinea  faciUs  el  progressives."  "  Vari- 
ations d'un  Andante,"  Op.  10.  Variations  (fun 
Thime  tiri  de  Figaro,"  Op.  17. 

KLES,  F.,  a  German  instrumental  composer, 
published  some  violin  concertos  at  Ureslau,  since 
the  year  178t). 

KLETZINSKI,  JOII.VNN,  an  instrumental 
composer  of  some  eminence,  resided  at  Vienna  iu 
the  latter  part  of  the  last  century,  and  published 
there  several  opera.s  of  violin  music. 

KLlN(iENSTEIN,  IlEKNHAKD.  Directorof 
the  music  at  Aug.shurg  in  the  year  li'.OO.  He  pub- 
lished  many  sacretl   compositions  for  the  church. 

KLOCKENBRINti,  FUIEDKICH  ARNOLD, 
secretary  to  a  government  office  at  Hanover,  pub- 
lished there,  in  1787,  a  work  entitled  "  Atuset- 
zun'jen  rcrsrhiedenrn,  .vr.,"  in  which  may  be  found 
the  following  dissertations  :  1st,  On  the  state  of 
music  in  the  countric^s  newly  discovcre<l  in  the 
South  .'seas,  and  especially  on  the  difference  of 
the  system  of  intei  vals  of  those  peojde  from  our 
harmonic  rules.  2dly,  A  letter  on  the  (juostion,  If 
young  persons  in  the  higher  ranks  of  society  ouijht 
to  learn  rau.sic  r  3dly,  The  answer  of  a  lady  to 
the  preceding  letter.  KJockeni)ring  wa.s  a  very 
cclebrate<l  musicid  amateur.     He  died  in  1796. 

KLOEFFLER.  JOHANN  FKIKDRICH,  an 
instrnmentnl  compoM-r.  publisliecl  many  works  for 
the  fiute.  violin,  and  pinno-forte.  He  died  at 
Steiufurt  about  the  year  1792. 

KLOSE.  F.  J.,  a  native  of  I/indon,  studied 
composition  and  the  pinno-forte  under  a  variety 
of  mastent,  among  the  principal  of  whom  wm 
the  celebrated  P'mncesco  Tomi.-h.  Klof40  wsii  ui 
able   instrumental  performer    and  a  mcmbar  of 


487 


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ENCYCLOPAEDIA    OF    MUSIC. 


KNY 


mofit  of  the  orrhestras  in  I»ndoii,  pnrticuliirly  of 
(hf  King's 'llieiitro,  and  Concert  of  Ancient  Music, 
the  whole  of  which,  with  the  exception  of  the 
lust,  he  resigned,  to  devote  himself  exclusively  to 
toachingand  coiujio-ition.  Asa  composer,  he  was 
most  esteemed  for  facile  works.  lie  also  excelled 
in  ballads  of  a  pathetic  and  sentimental  cast,  of 
which  several  have  acijuircd  some  decree  of  celeb- 
rity, as  for  instance,  •'  The  rose  had  been  washed," 
by  Cow])er ;  "My  native  land,  good  ni-^ht,"  by 
Lord  Byron ;  and  "  Canst  thou  bid  my  heart 
forget,"  from  Glcnarvon,  &c.,  S;c.  He  Ls  likewise 
the  author  of  several  ballets  and  detached  pieces, 
which  have  been  jierformed  with  success  at  the 
King's  Theatre  The  catalo^^ue  of  his  works  Ls  too 
extensive  for  insertion  in  this  place,  but  the  fol- 
lowing are,  (in  addition  to  the  above,)  we  believe, 
among  the  most  useail  and  popular  of  his  publi- 
cations :  "  Practical  Hintj  for  acquiring  Thor- 
ough Bass."  '*  Instruction  Book  for  P.  F." 
"  Six  Sonatinas  for  P.  F.  and  Violin."  "  Grand 
Sonata  for  P.  F.,  Fl.,  and  Violo."  "  Fourth 
Divertimento,  with  Henri  (iuatrc,  for  P.  F.  and 
Fl.,  or  Horn."  •'  Preludes  for  P.  F."  "  Selected 
Melodies,  Books  1,  2,  and  3."  "  Selected  Mel- 
odies, Hibernian,  Book  1."  "Selected  Melodies, 
Caledonian,  Book  1."  "  Selected  Melodies,  Cam- 
brian, Book  1."  "Selected  Melodies,  French, 
(Duets,)  Books  1  and  2."  "  Lcs  Dcsgukemens 
Anioureux,  grand  Dallet,  performed  at  the  King's 
'J'heatre,  in  six  numbers."     \  arious  songs,  &c. 

KLUGLIXG.  Orgnnist  of  the  Church  of  St. 
Peter  and  St.  Paul  at  Dantzic,  in  1782.  He  was 
considered  among  the  best  composers  of  his  time 
on  the  organ  and  harpsichord,  iu  the  style  of 
Schobert. 

KN  AFEL,  JOSEPH  LEOPOLD.  A  musician, 
resident  at  Vienna,  known  by  the  following  com- 
positions :  "  Si'pt  Variations  pour  te  C'tav.  sur  te 
Chceur  dcs  Papir/enos,"  Vienna,  1799.  "Six  Vari- 
ations pour  la  Ilarpe,  sur  le  Trio,  '  Pria  ch'  io  l'  im- 
pe'jno,' ''  Vienna,  1799.  Aud  Recufil pour  la  Ilarpe 
a  crochets,  cah.  1,"  1803. 

KNAPTON,  PHILIP,  was  born  at  York  in  the 
vcar  1788.  He  received  his  musical  education 
iinder  Dr.  Hague,  proiessor  of  music  iii  the  Uni- 
versity of  Cambridge,  after  which  he  returned  to 
his  native  city.  He  jjublished  "  l"hrec  Sonatas  for 
the  Piano-forte,"  and  various'othcr  works  for  the 
voice,  the  piano-forte,  and  the  harp,  which  have 
been  favorably  received  by  the  public  :  of  these, 
his  song,  "There  be  none  of  beauty's  daughters," 
and  his  "  Mrs.  Macdonald,"  "  Greek  Air,"  "  Caller 
Herring,"  S:c  ,  for  the  piano-forte,  ore  generally 
known.  He  has  composed  several  overtures  for 
a  full  band,  piano- forte  concertos,  &c. 

KXECHT,  JUSTIN  HEINRICH,  master  of  a 
Lutheran  school,  and  director  of  the  music  at 
Biberach,  in  Suabia,  was  born  therein  17.52.  HLs 
father  wa-s  his  tirst  miustcr  in  music,  who,  however, 
was  not  sutlicicntly  versed  in  the  science  to  do 
more  for  lus  son  than  teach  him  a  few  songs  and 
tunes  on  the  violin.  Cramer,  organist  of  the 
Catholic  church  in  the  same  town,  tirst  taught 
voung  Knccht  the  i)rinci])les  of  composition,  in 
which  he  mailc  such  jjrogrcss  as,  at  the  end  ot  six 
months,  to  render  his  masters  further  services 
unnecessary.  At  the  age  of  twelve  he  made  his 
tiist  public'attcmpt  at  composition  by  an  opera 


entitled  "  Ahelund  Cain."  The  genius  which  h« 
evinced  in  this  work  attracted  the  notice  of  th« 
privy  counsellor  Wicland,  who  felt  the  liveliest 
interest  for  the  young  composer,  and  not  only 
encouraged  him  to  continue  his  studies,  but 
admitted  him  into  hLs  household,  where  he  had 
access  to  the  works  of  the  greatest  masters,  and 
was  also  taught  the  Italian  language.  From  this 
time,  Knecht  familiarized  himself  with  the  sacred, 
dramatic,  and  chamber  music  of  the  most  cele- 
brated composers  of  the  various  countries  of 
Europe,  increasing,  during  the  same  period,  his 
theoretical  knowledge  by  the  perusal  of  the  best 
didactic  works.  He  further  taught  himself  the 
flute,  hautboy,  horn,  and  trumpet ;  but  the  deli- 
cacy of  his  lungs  obhged  hiin  soon  afterwards  to 
renounce  these  instruments.  In  17G8,  he  went 
to  the  collegiate  church  of  Esslingen,  where  he 
continued  the  study  of  music  under  .'schmidt, 
then  chapel-miuster  of  that  church.  Here  the 
lessons  on  the  organ  of  Schmidt,  and  the  perusal 
of  the  scores  of  Bach,  Marpurg,  and  Gravm  served 
to  complete  his  taste,  and  to  develop  those  tal- 
ents for  which  he  afterwards  became  so  eminent. 
After  having  remained  three  years  at  Esslingen,  he 
prepared  to  go  to  the  university,  when  Doll,  di- 
rector of  the  music  iu  hLs  native  town,  resigned  his 
office,  on  account  of  his  advanced  age.  and  young  _ 
Knecht,  then  only  nineteen,  was  unanimously 
chosen  his  successor.  He  since  resided  almost 
continually  at  Biberach,  and  published,  chiefly  at 
Leipsic  and  Munich,  a  great  variety  of  theoretical 
and  practical  works  for  the  organ  and  pbno-forte. 
Among  these  are  the  following :  "  The  Musical 
Portrait  of  Nature,  a  Gr.  Sj-mph."  "  Short  prac- 
tical Piano-forte  School,  consisting  of  E.xercises 
aud  easy  Pieces  in  the  most  usual  Major  and 
Miiior  ^Iodes,  with  marked  Fingers  and  written- 
out  Graces,  four  books."  "  Complete  School  for 
the  Orgar.,  for  Beginners  and  those  farther  ad- 
vanced, iu  three  Parts,  forming  one  thick  Volume 
foUo."  "  Organ  Pieces  for  Beginners  and  Practi- 
tioners, No.  1."  "  New  and  complete  Collection 
of  all  kinds  of  Prelude-,  Finales,  Fantasies,  Ver- 
settes,  Fugettes,  and  Fugues,  for  Beginners  aud 
such  as  are  more  advanced  on  the  Organ  and 
Piano."  "  The  23d  Psalm,  for  four  Voices  and 
Orchestra."  And  "  Miriam  and  Deborah,  from 
the  tenth  Canto  of  Klopstock's  '  Messiah.'  " 

KNELL  The  slow,  periodical  sound  of  a 
single  deep-toned  bell,  rung  at  a  funeral. 

KNOEP,  LUDER,  an  organLst  and  composer 
of  light  instrumentiil  music,  resided  at  Bremen  in 
the  middle  of  the  seventeenth  century. 

KNOOP,  GEORGE,  whose  abilities  as  a  per- 
former on  the  violoncello  were  highly  esteemed 
in  this  country,  died  at  Philadelphia  on  the  25th 
day  of  December,  18-49.  Tlie  orchestr:is  of  the 
theatres  performed  a  dirge  at  his  burial  iii  honor 
of  him. 

KNUPFER,  SEBASTIAN,  a  singer  and  direct- 
or of  the  music  at  Leipsic,  was  born  in  1633.  Some 
of  his  corai)ositions  for  the  church  were  much 
celebrated  in  Germany.     He  died  in  1G76. 

KNYVETT,  CHARLES,  eldest  son  of  Mr. 
Knj'S'ett,  organist  to  hLs  majesty,  an  immediate 
descendant  and  representative  of  Sir  John 
KnjTCtt,  of  the  county  of  Norfolk,  who,  in  th« 


4S8 


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ENCYCLOPEDIA    OF   MUSIC. 


KOL 


reign  of  James  I.,  arrested  Guy  Fuwkes,  and  for 
that  service  was  created  Lord  Knyvett,  Uaron 
F>kriKf»  or  AskriKg.  The  family  is  ancient,  and 
fan  be  traced  to  William  the  Conqueror.  Charles 
Kuyvett  received  tlxe  vocal  department  of  his 
musical  education  under  .Sir  William  Parsons, 
and  studied  the  orj^an  and  piano  under  S.  Webbe. 
lie  was  appointed  organist  to  the  parish  church 
of  St.  Geor-je,  Hanover  hkiuare,  in  1802.  Ho  was 
also  a  director  of  the  Vocal  Concerts  in  Hanover 
Square,  conjointly  with  his  brother,  W.  Kuj-vett, 
and  Messrs.  Greatorcx  and  Bartleman.  He  after- 
wards cn^afjed  as  a  teacher  of  thorough  bass  and 
the  piano-forte,  in  Loudon,  in  which  capacity  he 
was  very  cmiuent. 

KNYYE'rr,  WILLL'VM,  younger  brother  of 
the  preceding,  was  an  eminent  counter  tenor  sing- 
er, equally  admired  for  the  sweetness  of  his  voice 
and  the  high  tinish  and  delicacy  of  his  style  in 
part  singing.  This  gentleman  and  his  brother 
are  among  the  very  few  English  singers  remark- 
able for  correctness  in  the  musical  enunciation  of 
the  words  of  the  English  language.  He  first  com- 
menced orchestral  singing  at  the  Concert  of  An- 
cient Music  about  the  year  179.5,  since  which 
jjeriod  he  has  assisted  in  all  the  most  important 
concerts  and  music  meetings  in  London  and  the 
provincial  towns.  As  a  WTiter  of  glees,  his  pro- 
ductions arc  airy  and  elegant. 

KOBELIUS,  JOHANN  AUGUSTIN,  a  Ger- 
man chapel-master  at  a  town  near  IIoUc,  was 
bom  in  l(i7-t.  He  wrote  several  operas  for  the 
German  theatres  between  1716  and  1729.  He 
died  at  Weissenfels  in  1731. 

KOBRICIIT,  JOHAXN  AXTOX.  Organist  at 
Landsbcrg,  in  ISavoria,  between  the  years  174S 
and  17t)7.  He  published  at  Nuremberg  and 
Augsburg  thirteen  works,  consisting  chieHy  of 
harpsichord  and  organ  music.  ITie  last  of  his  pub- 
lications that  we  have  heard  of  was  dated  in  the 
year  1788. 

KOCH,  AXTOX  ALBRECHT,  chapel-master 
to  the  Prince  of  Bernstadt,  resided  chiefly  at  Bres- 
lau,  and  published  many  operas  and  other  music. 
He  died  at  Ocls  in  1715. 

KOCH,  HEIXRICH  CHRISTOPH,  chamber 
musician  to  the  Prince  of  Schwartzburg  Rudol- 
stadt,  was  born,  1710,  at  Rudolstadt ;  and  in  the 
year  1772  he  was  sent  by  his  prince  to  Weimar, 
to  complete  his  studies  on  the  violin  under  the 
celebrated  (ioepfert,  then  principal  chamber  mu- 
sician at  that  court.  Koch  published,  in  1782,  at 
Rudolstadt,  "  IVrsuch  ciiier  Aiileiliintf  :ur  Miu. 
CompnsUion"  (Krst  volume,)  which  is  considered 
a  work  of  great  merit  and  perspicuity.  Tlie 
second  volume  appeared  in  1787,  and  the  third  in 
1793.  "Journal  dt-r  Tonhtiist,"  first  and  second 
parts,  1795.  "  Tram-rkanlali;"  1790.  "  Hanlale 
bey  der  glitcklicheii  ZitrHckkUitft  der  bei/ilen  Priiuen," 
1790.  "  Die  Stimme  der  Freiule  in  lli/i;ceiu  llaine," 
1790.  And  lastly,  his  most  celebrated  work, 
"  Mu-iikaiUc/ies  Lexicon,  ireU'he%  die  theoretische  und 
practische  Tonkun.tl,  cncijcloptldisch  bearbcitrt,  aile 
aiten  und  ttetien  KUiulirOrtcr  crki/Irt,  und  die  alien 
und  lu'iwn  Iiulrunu-nle  be^chriebeii  enthalt"  Frank- 
fort, 1802. 

KOCH.  JOHAXX  A.  C.  director  of  the  opera 
huifit  at  Potsdam,  in  1774.     He  was  a  good  violin- 


ist and  performer  or.  the  double  bjiss.  He  com- 
posed some  dramatic  music,  and  translated  into 
Genuan  the  French  opera,  "  Le  liiiclteron,"  music 
by  Philidor. 

KOEHLER,  GOTTLIEB  HEIXRICH,  a  mu- 
sician  at  Leipsic,  published,  since  the  year  1789, 
at  the  above  town  and  at  Dresden,  various  light 
instrumental  pieces  for  the  piano-forte,  violini 
flute,  &c. ;  also,  sereral  collections  of  songs. 

KOELLXER,  BERXHARD  ^VILHELM. 
author  of  "  Specim.  Acad,  de  Principiis  llarmonia 
Muaicee,"  I/sndini  Gothorum,  1777. 

KOELLXER,  W.  M.  L.  A  German  composer 
of  vocal  and  instrumental  music  subsequently  to 
the  year  1791. 

KOEXIG.  JOHAXX  M.,  of  EUrich,  in  Prus- 
sia, publLslied,  in  1782,  1783,  and  1784,  somo 
vocal  and  dramatic  music. 

KOEXIGSPERGER,  R.  S.  M.UIIANUS,  a 
Benedictine  monk,  published  at  Augsburg,  be- 
tween the  years  1740  and  17G0,  twenty-two 
works  of  vocal  and  instrumental  music.  Some 
of  these  contain  six  masses,  others  six  litanies. 

KOEXIGSLOW,  JOHAXX  -WTLHELM 
VOX,  organist  at  Lubec,  was  bom  in  Lubec  in 
1745.  He  composed  and  arranged  much  sacred 
music. 

KOERBER,  IGXAZ,  chamber  musician  and 
performer  on  the  horn  to  the  Duke  of  Saxe-Gotha, 
was  bom  at  Mentz  about  the  year  1744,  and  was 
very  celebrated  on  his  instrument.  He  resided 
during  many  years  at  Paris,  where  he  rivalled 
the  celebrated  Punto.  In  1785  he  established  a 
ir.usic  warehouse  at  Gotha.  It  is  said  that  late 
in  life  he  changed  his  instrument  for  the  bas.soon, 
on  which  he  attained  an  equal  degree  of  emi- 
nence. 

KOHAITI,  GERSHOM,  and  MERARI. 
ITiese  three  families,  in  the  time  of  David,  fur- 
nished those  who  took  the  lead  of  the  clioral 
services  ;  and  those  of  Heman,  a  descendant  of 
Kohath,  Asaph  of  Gershom,  and  Ethan,  some- 
times called  Jeduthun,  of  Merari,  were  the  chief 
musicians.  Four  thousand  Levites  were  divided 
into  twenty- four  clas.'ies,  who  chanted  the  in- 
spired songs  employed  in  their  magnificent  and 
impressive  worship,  accompanying  their  voices 
with  various  kiniLs  of  instruments.  Each  of  these 
classes  was  under  the  superintendence  of  a  lead- 
er, and  performed  their  duties  by  turns — each 
class  a  week  at  a  time.  The  whole  were  under 
the  direction  of  Heman,  Asaph,  and  Ethan,  and 
probably,  on  certain  occasions,  were  brought  to- 
gether and  united  in  the  performance.  'ITieir 
knowledge  of  harmony  was  very  small  :  perhaps 
they  knew  nothing  of  the  science  as  at  present 
understood. 

KOLB,  JOH.VXX  BAPTIST,  a  musician  at 
Forth,  near  Xuremberg,  was  born  in  174-1.  He 
was  a  p>ipil  of  Haydn  ai.d  publLshed  nt  Paris, 
about  1782,  six  Woiii  quartets.  Many  of  his 
manu.script  publicaucnf  are  to  bo  found  nt  Ham- 
burg. 

KOLBERER,  C  \  JET  AX.  A  BcnetUctine  monk 


489 


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excyclop-t;dia  of  music. 


K(  Z 


iu  Baviiriii,  and  composer  of  sacred  music  in  the 
early  part  oi  the  last  century. 

KOLLMAN,  AUGUST  FRIEDRICH  CARL, 
organist  of  his  majesty's  German  Chapel,  St. 
James's,  was  born  in  the  year  1750  at  Engelbos- 
tel,  a  village  near  Hanover,  where  his  father  was 
organist  and  schoolmaster.  Though  the  son  was 
intended  for  a  similar  station  in  lifc,  he  improved 
the  opportunity  of  learning  Latin  with  the  son 
of  the  pastor  of  his  village  ;  and  from  the  age  of 
fourteen  he  frequented,  during  two  years,  the 
gj-mnasium  at  Hanover,  in  the  second  chuss.  llie 
succeeding  five  years  he  passed  partly  with  his 
parents  and  i)artly  at  Hanover,  where  he  learned 
music  of  J.  C.  Boettncr,  an  able  organist  in  J.  S. 
Barb's  style.  In  1779  he  was  admitted  into  the 
academy  (impro])erly  called  seminary)  for  intend- 
ed Kclioolmasters  to  the  electorate,  now  kingdom, 
of  Hanover.  Here  he  learned  that  methodical 
and  systematical  manner  of  te;iching,  which  was 
very  advantageous  to  him,  not  only  in  school  in- 
struction, but  also  in  teaching  music,  and  par- 
ticularly in  \mting  his  musical  treatises :  he,  at 
the  same  time,  constantly  heard  or  assisted  Boett- 
ner  on  the  organ  of  the  princii)al  church,  {markt- 
kirchc, ")  also  entirely  officiated  for  him  during  six 
weeks  that  he  was  ill.  At  the  end  of  1781  he 
went  to  Lune,  a  Protestant  establishment  for 
noble  ladies,  stiU  called  a  convent,  near  Lune- 
burg,  whore  he  had  been  appointed  organist  and 
6choohna.stcr,  and  had  the  encouragement  of 
meeting  with  much  approbation.  But  his  majesty 
commanding  that  a  person  should  be  sent  by  the 
Hanoverian  government  to  fill  the  jdace  of  organ- 
ist and  schoolmaster  at  the  Royal  Gennan  Chapel, 
St.  James's,  Kollman  was  fixed  on,  and,  in  con- 
sequence of  his  new  appointment,  went  to  Lon- 
don in  the  autumn  of  1782. 

Here,  though  the  school  took  him  up  part  of 
four  days  every  week,  it  left  him  sufficient  time 
for  attending  to  musical  pursuif.s,  as  his  pubUca- 
tions  will  evince.  Since  the  demise  of  Queen 
Charlotte,  the  school  has  been  altogether  discon- 
tinued. With  respect  to  music,  though  Koll- 
man, in  England,  applied  himself  principally  to 
its  theoretical  department,  he  still  found  some 
time  for  practical  composition  and  giving  instruc- 
tions in  the  science.  His  works  divide  them- 
selves into  three  cla.sses,  namely,  first,  theoretical 
works,  and  other  musical  writings;  secondly, 
theoretico-practical  works,  being  compositions 
with  theoretical  explanations  ;  and  thirdly,  prac- 
tical works  only.  A  distinct  analysis  of  the  con- 
tents of  the  first  class  of  his  works  is  given 
ia  the  "  Quarterly  Musical  RegLster,"  Xo.  1  and 
2.  Tlie  following  is  a  list  of  the  books  :  1.  "  An 
Essay  on  Musical  Harmony,"  folio,  liOndon, 
17'I6.  2.  "A  new  Theory  of  Musical  Harmo- 
ny," folio,  Loudon,  180f>;  and  a  second  im- 
proved edition  of  it  in  1812.  3.  "  An  Essay  on 
Practical  Composition,"  folio,  London.  1799  ;  and 
a  second  improved  edition  of  it  in  1812.  4.  *'  A. 
Second  Practical  Guide  to  Thorough  Bass,"  folio, 
London,  1N07.  N.  B.  Tliis  supersedes  the  fii-st 
guide,  and  is  not  a  second  part  of  it.  .5.  "The 
Quarterly  Musical  Regi.ster,"  Nos.  1  and  2,  oc- 
tavo. 1812.  6.  "Remarks  on  what  Mr.  J.  B. 
Logier  calls  his  new  System  of  Musical  Educa- 
tion," in  the  Miuicalische  Zcitiinqai  I.eipsic,  1821  ; 
and  a  secjuel  to  the  same,  March,  1822.  The 
second  class,   or  theoretico-practical  works,  are, 


1.  "  Twelve  Analyzed  Fugues  for  two  Perfon  i- 
ers,  with  double  Countei-points  in  all  Interva  Is, 
and  Introductory  Explanations,"  0|).  10,  second 
edition,  London,  182:5.  2.  "  The  Melody  of  the 
Hundredth  Psalm,  with  Examples  and  Directions 
for  a  hundred  different  Hannonies,  in  four  Parts," 
Op.  9,  London,  1809.  .'{.  "  An  Introduction  to 
extemporary  Modulation,"  Op.  11,  London,  1820 
4.  "  The  First  Beginning  on  the  I'iano-forte,  ac- 
cording to  an  improved  Method  of  teaching  Be- 
ginners," Op.  5,  London,  179'j.  5.  "An  Ana- 
lyzed Symphony  for  the  Piano-forte,  Viohn,  and 
Bas.s,"  Op.  8,  London,  1789.  6.  "A  Rondo  on 
the  Chord  of  the  diminished  Seventh,"  one  sheet, 
1810.  Of  the  third  cla.ss,  the  principal  work  is, 
"  Concerto  for  the  Piano-forte  and  an  Orchestra, 
with  the  Cadences,  as  jjerformed  in  public  by 
Master  Kollman,"  Op.  8,  1804.    He  died  in  1829'. 

KONINCK,  SERVAAS  DE,  a  Dutch  com- 
poser, died  at  Amsterdam  about  1720.  He  pub- 
lished several  collections  of  songs  and  some  mo- 
tets. 

KOXIZEK,  a  celebrated  violinist  at  Prague, 
flourished  about  the  year  1722.  He  was  the 
master  of  the  renowned  A.  F.  Bcnda. 

KOPPRASCH.  A  German  performer  on  the 
bassoon,  and  composer  lor  liis  instrument,  to- 
wards the  latter  end  of  the  last  century. 

KOSPOTH,  OTTO  CARL  ERDMANN 
FREYHERR  VOX,  chamberlain  to  the  Prussian 
court,  and  canon  at  Magdeburg,  was  one  of  the 
most  distinguished  musical  amateurs  of  Berlin. 
He  published  several  vocal  works  for  the  church 
and  theatre,  also  some  instrumental  music.  His 
comnositions  bear  date  from  the  year  1787  to 
1798. 

KOSSLOWSKY,  J.  Chnpel-master  to  the 
last  King  of  Poland  at  Warsaw.  He  followed 
his  royal  master  into  Prus:«ia,  and  on  his  decease, 
shortly  afterwards,  wTote  the  music  for  his  fune- 
ral. He  subsequently  was  appointed  inspector 
of  the  Imperial  Chapel  at  St.  Petersburg,  and  in 
1804  the  funeral  music  which  he  wrote  for  the 
king  was  performed  by  the  whole  band  of  the  Im- 
perial Chapel  on  the  death  of  Giornovichi.  Ma- 
dame Mara  taking  the  principal  solo  part.  Koss- 
lowsky  also  published  some  songs,  and  collec- 
tions of  Poloiioises. 

KOTZWARA,  FRAXZ.  This  musician  Mas 
born  ui  Prag\ie,  and  went  to  liOndon  about  the 
year  1791,  after  which  he  published  some  songs 
and  instrumental  music. 

KOZELUCH,  LEOPOLD,  was  born  in  Bo- 
hemia in  175.3,  and  resided  during  the  greater 
part  of  his  life  at  Vienna.  He  wrote  a  great 
number  of  concertos,  sonatas,  and  other  pieces 
for  the  piano-forte ;  and  his  works  first  became 
celebrated  in  England  in  the  year  17S5,  by  the 
neat  and  accurate  execution  of  them  by  MUe. 
Paradies,  the  blind  jierfonuor  on  the  harpsichord. 
They  are  in  general  very  cxceOent,  possessing 
solidity,  good  taste,  and  correct  harmony.  Those 
of  his'  sonatas,  with  obligate  accompaniments 
for  a  viohn  and  violoncello,  are  eminent  for  their 
taste,  elegance,  and  propriety,  lor  the  adagios,  and 
the  art  with  which  the  passages  are  varied  to  suit 
the  characters  of  the  several  mstrumeuts.     Th« 


490 


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ENCYCLOPAEDIA    OF   MUSIC. 


KRB 


following  list  contains  Kozcluch'g  principal  works.  |      KRAUSS,  BENEDICT,  a  good  German  com. 
Vocal :  "  Mazel,"  a   French   comic  opera  ;  "  Di-  |  poser  for   the  church   and   theatre,  was   chapel- 


done  Abandowiata,"  a  serious  Italian  opera ; 
"Musi  in  Ei/iUo,"  an  oratorio,  1787;  this  was 
performed  at  Vienna,  for  the  benefit  of  the 
widows  of  musicians,  by  an  orchestra  of  five 
hundred  performers ;  many  aricttcs  for  Italian 
operas  ;  many  choruses  and  ariettes  for  (ierman 
operas  ;  many  cantatas,  among  which  latter 
are,  "  ComplaiiUe  sur  la  Mort  de  Marit-Thirf.se, 
ootir  le  Clavicin,"  1781.  "Joseph  ie  Dienfaileur 
de  I'  lltimaiiiti,  tin  Ext  rail  j)oiir  le  Clav."  "Fine 
Uirtin,  die  die  Hebe,"  recitative  and  air,  1785. 
"  CaiUate  pour  uii  Soprano,  en  Italien,  acec  IV.  et 
le  Clav.,  et  avec  Ace.  de  deitx  Violons,  deux  HatU- 
bois,  deux  Cora,  deux  Violes  et  Basse."  Besides 
these,  there  are  several  collections  of  songs,  with 
an  accompaniment  lor  the  piano-forte;  the  last 
opera  of  which,  entitled  "  Douze  Ariettes  Ital., 
Fran.,  et  AUemandes,  tiries  de  Metastase,"  was  pub- 
lished in  1799.  For  the  piano-forte:  "About 
fitty  Concertos,  with  Accompaniments ;  "  Tro's 
Concertos,  d  tjualre  mains;"  "A  Concerto  for 
two  Piano-fortes;"  eight  or  nine  only  of  these 
concertos  have  been  printed ;  above  "  Sixty 
Sonata-*,"  of  which  more  than  forty  have  been 
printed,  and  among  them  three  &  r/uatre  mains. 
For  other  instruments  :  "  Serenades  for  Wind  In- 
struments and  others  ;  "  Trios  and  (Juatuors  for 
Violin ;  "  "  'Iliirty  Sj-mphonies,"  some  of  which 
have  been  printed  at  Vienna  ;  "  Two  Concertos 
for  the  Clarinet,  and  sLx  Concertos  for  the  Vio- 
loncello." 

KOZELUCII,  JOILVNN  ANTON,  chapel- 
master  at  the  metropolitan  church  at  PraLtuc,  was 
born  in  Bohemia,  in  1738.  He  is  considered  as 
havin<?  been  one  of  the  greatest  masters  of  his 
time,  both  in  his  compositions  for  the  church  and 
theatre.  Among  the  latter,  his  two  operas,  "  iJe- 
mophoon  "  an<l  "  .-Hessandro  in  Indie,"  were  higfdy 
celebrated.  Chladni  speaks  very  highly  of  an 
oratorio  by  J.  A.  Kozeluch,  entitled  "La  Mort 
d'Abel." 

KRACHER,  JOSEPH  MATTHIAS,  an  or- 
ganist ne;»r  Salzburg,  in  Germany,  wa.s  bom  in 
1752.  Previously  to  the  year  1803,  he  had  com- 
posed some  e.\celleut  sacred  music. 

KR.\NZ,  JOHANN  FRIEDRICH.  chamber 
musician  and  violinist,  in  the  service  of  the  Duke 
of  Saxc- Weimar,  was  born  in  that  town  in  175-1. 
He  received  his  musical  education  partly  in  Italy, 
and  in  1S03  was  appointed  chapel-ma-<terat  Stat't- 
gard,  succeeding  in  that  situation  to  Zumsteeg. 
He  has  composed  some  pleasiitg  vocal  music. 

KllAUS,  JOSEPH,  chapel-master  to  the  King 
of  Sweden,  was  at  Mauheira  in  1756.  He  wa-s  a 
pupil  of  the  Abb6  Voglcr.  His  compositions  were 
numerous,  consisting  of  dramatic  and  instru- 
mental music.     He  died  at  Stockholm  in  1792. 

KRAUSE,  CHRISTIAN  GOTTFRIED,  an 
advocate  at  Berlin,  was  born  in  Silesia.  He 
wrote  "  Lettre  sur  la  Dijft'rrnre  enire  la  Mtisique 
Fran);aise  et  Italienue,"  Berlin,  1748  ;  "  De  Ut  IWsie 
de  Ui  Musitiue,"  Berlin,  1782.  This  is  a  highly 
esteemed  work.  He  also  composed  some  vocal 
and  instrumental  music.  Among  the  former  are 
some  sacred  pieces  highlv  esteemed.  He  died  in 
1770. 


master  to  the  Duke  Clemens  of  Bavaria,  and  chef- 
d'orcheslre  of  the  court  theatre  at  Weimar,  in 
1785.  He  wrote  many  works,  among  which, 
however,  only  sLx  violui  quartets  have  been  pub- 
lished. 

I  KREBS,  JOHANN  LEWIS,  court  organist  U 
the  Duke  of  Saxe- Weimar,  at  .\.ltenburg,  was  it 
pupil  of  tlie  great  Sebastian  Bach.  He  died  in 
the  year  1780.  Among  his  compositions  are 
"  Collections  of  ExcrcLses  for  the  Harpsichord  ;  " 
"  Easy  Sonatas  for  the  Harpsichord  and  Flute ;  " 
"Six  Trios  for  the  Flute;  "  "  Six  Sonatas  for  the 
Harpsichord  and  Flute  ;  "  "  A  Magniticat  for  four 
Voices  and  Bass;"  and  "Two  Sauctuscs  for  a 
full  Orchestra." 

KREIBICH,  FRANZ,  a  celebrated  German 
violinist,  flourished  in  Vienna  about  the  year  1700, 
and  comjiosed  some  music  for  his  instrument.  He 
died  in  1797. 

KREITH,  C-VRL,  a  flutist  and  composer  for 
his  instrument  at  Vienna,  died  previously  to  vhe 
year  1787. 

KRESS,  GEORGE  FRIEDRICH,  a  virtuoso 
on  the  violin,  and  a  native  of  Darmstadt,  was, 
about  the  year  1756,  in  the  chapel  of  the  Duke  of 
Mecklenburg,  at  Schwerin.  In  17G1  he  went  to 
Gottingen,  where  he  was  named  concert  master 
to  the  university.  He  died  about  1775.  One 
solo  for  the  violin,  of  his  composition,  wasj)rinted 
at  Nuremberg  in  1764  ;  besides  this,  there  are 
manuscripts  of  his,  consisting  of  six  solos  and  a 
concerto  for  the  violin. 

KREUTZER,  RODOLPH,  bom  at  Versailles 
in  17()7,  was  the  son  of  a  musician  in  the  King  of 
France's  band,  and  verj-  early  in  lii'e  evinced  con- 
siderable talent  for  music.  He  received  lessons 
on  the  violin  from  Ant.  Stamitz,  and,  at  the  age 
of  thirteen,  played  in  pubUc  a  concerto  of  his 
master's  composition,  at  the  Concert  SpiritMl,  with 
great  success.  \\'hen  nineteen  years  old  he  had 
already  composed  two  (p-ands  operas,  which  were 
performed  before  the  whole  court.  He  subse- 
quently travelled  iji  Germany,  Holland,  and  It- 
aly, where  he  was  generally  considered  one  of 
the  first  violinists  in  Europe.  He  then  received 
the  ajipointmcnts  of  first  violin  in  the  chapel  and 
private  music  of  Napoleon,  chef-d'orchcstre  at  the 
Grand  Opera  at  Paris,  and  professor  of  his  instru- 
ment at  the  Conservatory.  Kreutzer  composed 
many  dramatic  pieces,  and  much  violin  music 
Among  his  ])rincipal  works  are  the  following. 
Dramatic  :  "  Jeanne  d'.lrc  a  Orleans,"  1790.  "  Lo- 
doUka,"  1791.  "  I'aul  el  Virginie,"  1791.  "La 
Franc  Breton,"  Op.  com.  1792.  "  CharloUs  el 
Iferter,"  1792.  "  Le  Diserteur  de  la  Montayne  du 
Uamm,"  Op.  com.  "  Le  Siiye  de  Lille,"  Op.  com. 
1793.  "  Armodius  et  Aristoijiton,"  1794.  "  Lt 
Juurnie  de  Marathon,"  1793.  "  Le  Lrndcntain  dt 
la  Bataille  de  Fleurus,"  1795.  "  Le  jirtit  Fage," 
1800.  "  Flaminiiu  A  CorieUo,"  Op.  com.  1801. 
"  Astianax,"  1801.  "  /,«•  Briijnnd,"  Op.  com.  1794. 
"  Imofftne,  mi  la  Gagure  indiscrete."  Cbambcn 
music:  "Sit  duos  pour  1'ioliyn  dialo.j.  pour  d«ut 
v.,"  Op.  2.  "  Troit  Duos  pour  Viol-yn  dialog. pir.t 
deux  y.  Lie.  I,"  Zurich.  "  Trois  Duos  pour  V%.  • 
foil  dialog,  jnur  deux  \'.,"  Op.  6.  "  lUudt  dt  V-  • 
Ion  ou  Caprices.     Rtcueil    1  et  ?,"    1736.     "  Airt 


491 


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ENCYCLOPEDIA    OF    MUSIC. 


KRD 


variis  pour  deux  V.  Liv.  1,"  1798.     "  Sin/Miie  Cun-         KIIIEGK,  a  violoncellist  and  chamber  musiciau 


utt.jiOHr  deux  V.  el  Vc.  princip.  atec  Orch.,"  1795 
••^u:  Qu,U.  pour  deux  V.,  A.,  el  B.,"  Op.  1.  "  Ou- 
verlure  dc  Marathon,  d  fusage  militaire."  "  Oiize 
Coitcerti  A  I',  princip.  avec  gr.  Orc/iest.,  Xo.  1," 
1791.  "  Sgmp/ion.  Cottcert.  pour  deux  I'io/ons prin- 
cip. avec  gr.  Orch.,  exlcutde  par  I'AiUeur  et  liode," 
1800.  "  i>ix  Souo.  Quatuors  pour  deux  V.,  A.,  et 
B.,  dtdiia  a  M.  PUyei,"  Op.  2,  1801.  "  Troia 
Qual.  jHiur  I'.,"  1801.  "  Deuxiime  l'ot}K>urri,  ou 
Air  tar.  pour  J'iohn,  avec  Ace.  de  Violon  et  B." 
"  Sjnate  pour  le  J'.  F.,  avec  W  Obtig.,"  1802. 
"  Methode  de  Vioion,  par  Us  Citoyens  Ballot,  Rode, 
It  Kreutzer,  Membres  au  Coiuervaioire  de  Musigue, 
redigie  par  Baillot,  adoptic  par  le  conservatoire  pour 
tervir,  a  r Etitde  da»3  cci  Etablis.iement,"  1803.  "  Gr. 
Cone.  jMur  Violon,"  0\i.  12.  "  Six  Airs,  Variispour 
deux  \'."  "  Trois  Sonatas  JaciJes  pour  V.  acec  B. 
Let.  A."  "  Dix-huit  nouv.  Caprices  ou  Etudes 
du  V." 

KRIEGEll,  ADAM,  chamber  rau.sician  to  the 
Elector  of  .Saxony  at  Dresden,  and  a  good  poet, 
died  in  1G60.  lie  composed  many  vocal  pieces, 
Bome  of  wliich  were  published  after  his  death. 

KRIEGER,  JOIIAXN  PHILIP,  the  Pon  of  a 
merchant  at  Nurember-;,  was  born  in  the  year 
1649,  and  very  early  in  life  began  the  practice  of 
music.  After  being  under  the  care  of  several 
masters,  he  went  iiito  Holland,  and  from  thence 
into  BajTCuth,  where  he  became  first  chamber 
organist  to  the  margrave,  and  afterwards  chapcl- 
mastcr  in  that  city.  In  1672  he  travelled  into 
Italy  ;  ai.d  at  Rome  he  considerably  improved 
himself  by  the  instructions  of  Abbatini,  and  of 
Pasquini,  the  famous  performer  on  the  harj^si- 
chord.  On  his  return  homeward,  he  continued 
some  time  at  Naples,  and  took  lessons  tronc  Ro- 
vetta,  the  organist  of  the  church  of  St.  Muik,  in 
that  city.  On  his  arrival  at  Vienna,  he  was  im- 
mediately invited  to  play  before  the  emperor, 
who  presented  him  with  a  purse  of  ducats,  a  gold 
medal  and  chain.  He  continued  in  the  service 
of  the  emperor  for  some  years,  retaining,  during 
all  this  time,  his  place  of  chapel-master  at  Bay- 
reuth.  Afterwards,  being  invited  to  Halle,  he 
went  thither,  and  at  length  became  chapel-ma.ster 
to  the  Elector  of  Saxony  at  the  court  of  Weissen- 
fels,  which  function  he  exercised  for  nearly  forty 
years.     He  died  in  1727. 

'Die  works  of  Kriegcr  are  of  various  kinds. 
Itey  consist  of  sonatas  for  the  violin  and  viol  da 
gamba;  of  field  music,  or  overtures  for  trumpets, 
and  other  military  instruments ;  of  Latin  and 
German  psalms  set  to  music  ;  and  songs  in  the 
several  dramatic  entertainments,  composed  by 
him,  entitled  "  Flora,"  "  Cecrops,"  and  "  Procris." 
Several  lessons  for  the  hari)sichord,  by  Krieger, 
are  also  to  be  met  with  in  manuscri])t,  which  ap- 
pear to  be  written  in  a  masterly  style  ;  but  it  is 
nowhere  said  that  he  published  any  compositions 
for  that  instrument. 

KRIEGER,  JOIIANN  GOITHILFF,  son  of 
the  ])reccding,  was  also  chapel  master  at  Weis- 
Dcnfels,  and  born  there  in  1687.  He  was  an 
excfllcut  organist. 

KRIEGER,  JOIIANN,  younger  brother  to 
J.  P.  Krieger,  was  chapel-ma.ster  and  organist  at 
Zittau.  He  was  born  at  Nuremberg  in  l'..5J.  He 
rnmposed  some  light  harpsichord  and  organ  mu- 
■ic.     He  died  suddenly  in  1735. 


to  the  Duke  of  Saxe-Meiningen,  waslwrn  in  1750. 
He  published  several  works  for  hLs  instrument  at 
Offenbach,  between  the  years  1795  and  1798. 

KROIIN,  CASPAR  DANIEL,  organist  of  tw. 
churches  at  Hamburg,  about  the  year  1790,  pub- 
lished there  several  easy  pieces  for  the  piauo- 
forte. 

KROMMER,  FRANZ,  chamber  musician  to  a 
nobleman  at  Vienna,  is  considered  not  only  an 
excellent  violinist,  but  a  very  ingenious  composer 
for  his  instrument.  His  works,  both  printed  and 
manuscript,  are  numerous,  and  consist  of  sj-m- 
phonies,  quintets,  quartets,  trios,  &c.  ITiey  bear 
date  between  the  years  1793  and  1805. 

KRONER,  JOIIANN  VON,  chapel  master  to 
the  Elector  of  Bavaria,  at  Munich,  died  there 
about  the  year  1792. 

KROUSTA.  (Gr.)  A  general  name  applied 
by  the  ancients  to  all  pulsatile  instruments. 

KRUMBHORN,  CASPAR,  was  a  native  of 
Lignitz,  in  Silesia,  and  horn  in  the  year  1542.  Ir 
the  third  year  of  his  age,  he  lost  his  sight  by  the 
small  pox,  and  became  totally  blind.  He  wa.s 
placed  by  his  brother,  who  was  many  years  older" 
than  himself,  under  the  care  of  a  famous  musician, 
of  the  name  of  Knobeln,  by  whom  he  was  taught 
first  to  play  on  the  flute,  then  on  the  violin,  and 
lastly  on  the  harpsichord.  On  each  of  these  in- 
struments he  became  so  excellent,  that  he  excited 
the  admiration  of  all  who  heard  him.  His  fame 
procured  him,  from  Augustus,  the  Elector  of  .Sax- 
ony, an  invitation  to  Dresden.  This  prince  was 
greatly  astonished  that  a  young  man,  dejirived 
of  the  faculty  of  sight,  should  not  only  be  an 
excellent  perlormer  on  various  instrument.*,  but 
likewise  be  deeply  skilled  in  the  art  of  practical 
composition.  He  endeavored,  in  vain,  to  retain 
Krumbhorn  in  his  service;  for,  preferring  his  own 
country  to  all  others,  he  returned  to  Lignitz,  and 
was  appointed  organist  of  the  church  of  St.  Peter 
and  St.  Paul  there.  This  station  he  occupied  for 
fitty-sLx  years,  during  which  time  he  had  fre- 
quently the  direction  of  the  musical  college.  He 
died  in  1621,  and  was  interred  in  the  church 
which  he  so  long  had  served. 

Although  Krurabhoru  is  said  to  have  been  the 
author  of  many  musical  compositions,  it  does  not 
appear  that  any  of  them  were  ever  printed. 

KRUMMIIORN.  (G.)  The  name  of  a  porta- 
ble  wind  instrument  formerly  much  in  use,  the 
formation  and  tone  of  which  resembled  that  of  a 
small  cornet.  Some  writers  suppose  it  to  have 
been  the  same  with  the  cromome  and  not  unlike 
the  bassoon.  Organ  builders  corrupt  this  word 
into  Cremona,  and  ajjply  it  to  one  of  their  cornet 
stops,  erroneously  sujiposing  that  stop  to  have 
originally  derived  the  name  from  its  imitation  of 
the  tone  of  the  Cremona  Wolin. 

KRUMPHOLZ,  J.  B.,  a  celebrated  harjjist,  also 
improver  of  and  composer  for  his  instrument, 
was  born  in  Bohemia,  and  quitted  Germany  foi 
Paris  about  the  year  1775.  Though  a  sound  mu- 
sician, as  his  works  testify,  he  had  the  Gcrmar 
manner  of  playing  the  harp.  About  the  yeal 
1793,  he  raarrietl,  for  his  second  vile.  Mile.  Sleek- 
ier, (^afterwards  the  celebrated  Madame  Krump 


492 


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ENCYCLOPEDIA    OF    MUSIC. 


KUN 


holz,)  who  went  to  London  without  her  husband 
in  1795  or  1796.  A  few  years  Huhseijueiitly, 
Krumpholz  followed  her  to  Enf^land,  endeavor- 
ing to  prevail  on  her  to  return  with  liiiu  to  I'uris  : 
on  her  refusing  to  do  so,  he  quitted  England 
alone,  for  the  latter  capital,  in  an  extremely  un- 
happy state  of  mind,  and  in  a  short  time  ])Ut  a 
period  to  his  existence,  by  leaping  into  the  River 
Seine.  Krumpholz  improved  the  liarj),  with  tlie 
assL-tance  of  Naderman,  senior,  by  extending  it.i 
compass,  and  adding  a  swell  i)edal,  for  wliich  he 
received  the  apjjrobation  of  the  committee  of 
arts  and  sciences  at  I'aris.  He  pubUshed  eighteen 
operas  for  the  harp  ;  the  first  four  of  whicii  con- 
sist of  sonatas,  the  fifth  is  a  duo,  the  sixth  a  con- 
certo, and,  among  the  rest,  the  tenth  consists  of 
airs  with  variations,  and  the  rest  are  sonatas.  He 
also  ])ublished  harp  variations  on  an  andante,  by 
Haydn. 

KIUIMPIIOLZ,  MADAME,  wa.s  bom  at  Metz, 
where  her  father,  a  (ierinan,  was  teacher  of  music. 
She  was  very  celebrated  in  that  country  as  a  hiu-p- 
ist,  and  her  style  of  playing  wa.s  totally  diHcrent 
from  that  of  her  husband,  owing,  as  is  supposed, 
to  her  having  adopted  P.  Meyer's  principles,  which 
were  jniblished  a  few  years  before  the  period  of 
her  celebrity. 

KrCIIARZ,  JOHANN.  in  the  year  1800  chef- 
tfoir/ifsiie  at  the  Italian  opera  at  Prague,  and 
organist  there,  was  a  pupil  of  Sager.  He  has 
composed  several  dramatic  pieces  for  his  theatre, 
also  some  organ  music. 

Kl'dlLER,  JOHANX,  a  celebrated  performer 
on  the  bassoon,  resident  at  Bonn,  about  the  year 
1780.  He  published  at  Purls  eighteen  quatuors 
for  ditt'erent  instruments,  two  symphonies,  a  con- 
certo, and  sLx  duos  for  the  violin.  He  also  WTOte 
the  music  to  an  operetta  called  "  A:akid." 

KUCKEX.  FRIEDRICH  WILHELM,  one 
of  the  best  tferman  song  composers  of  this  cen- 
tury, was  boni  in  Loneburg  in  1810.  He  has 
written  many  popular  songs  and  duets  for  the 
voice,  sonata.s,  &c  ,  for  the  piano,  and  some  operas. 

KUFFNER,  JOHAXN  JACOB  PAUL,  organ- 
ist at  Nuremberg,  was  bom  there  in  1713.  He 
published  some  harpsichord  music.  He  died  in 
1736. 

KUFFNER,  son  of  the  preceding,  was  a  good 
pianLst.  He  resided  several  years  at  Paris,  and 
was  also  in  England.  He  publLshcd  some  music, 
for  his  inctrument. 

KUHL,  LORENZ,  chapel-master  at  Ham- 
burg about  the  year  1770,  composed,  among  other 
works,  an  oratorio  entitled  "  Aa  I'aaaionc  di  Gesu 
Ckristi),"  the  words  by  Metastosio. 

KUHLAU,  FRIEDRICH.  a  good  German 
composer  and  flutist,  was  born  in  1786.  He  un- 
derstood his  instrument  well,  and  evinced  much 
taste  in  composition,  and  but  for  his  untimely 
death  would  have  attained  high  celebrity. 

KUHNAU,  JOHANN,  was  the  son  of  a  fisher- 
man of  Geysinghen,  a  town  near  .\ltenburg,  on 
the  borders  of  Bohemia.  In  the  yeir  1684,  he 
was  appointed  organist  of  the  church  of  St. 
Thomas,  at  Leipsic.     During  his  residence  at  this 


place,  he  wrote  and  jjublished  n  dis.<icrtation  "  Dt 
Juribiu  circa  Mnaicos  Kccltsiuaticoti,"  which  he  after- 
wards defended  against  the  censures  of  his  nd- 
versaries.  In  16S9,  he  published  two  sets  of  les- 
sons for  the  har])sichord  ;  and,  some  years  after- 
wards, two  other  sets ;  the  one  consisting  of 
si.x,  and  the  other  of  seven  lessons.  About  1700, 
he  was  a])]>oiiited  director  of  music  in  the  Uni- 
versity of  I,ci])sic.  In  this  station  he  died,  in 
the  year  177:.',  in  the  sixty-third  year  of  his  age. 

Kuhuau  left  behind  )iim  two  musical  manu- 
scripts in  Latin,  which  have  never  been  pub- 
lished—  "Tracius  de  Moiioc/iordo,  sen  Muaica  AiUi- 
giia  ac  hodierna,"  and  "  DUputcUio  de  Tria<le  liar' 
monico." 

KUHNAU,  JOHANN  CHRISTOPH.  a  king- 
er  and  preceptor  at  the  royal  school  of  Brrlin, 
may  be  reckoned  among  the  most  profound  ec- 
clesiastical contrapuntists  of  Germany,  towards 
the  close  of  the  la-st  century.  His  most  cele- 
brated work  is  "  Vieratimmuje  alle  und  neue  Cho- 
ral(jcs(lngr,  mit  Vrovinzial  Ahwcichumjcn,"  Berlin, 
1786.  Besides  the  above  volume,  he  published 
"  ('horalrorspicle  flir  die  Orgel  und  dai  Kliirier," 
Berlin,  1791,  and  "  Einige  nctie  vieratimmigt 
Choralgesawjc,"  1797.  J.  C.  Kuhuau  died  at 
Berlin  in   1805. 

KUHNEL,  AUGUST,  chapel-master  at  Leip- 
sic in  1682,  published  several  works  for  the  viol 
da  gamba  and  other  instruments. 

KUHNEL,  JOHANN  MICHAEL.  A  viol  da 
gambist  at  Berlin,  and  afterwards  at  Dresden  and 
Hamburg,  in  the  beginning  of  the  last  century. 
He  published  at  Amsterdam  some  works  for  his 
instrument. 

KUMMEL,  BERNHARD  CHRISTOPHE,  a 
German  clergyman,  published  some  vocal  and  in- 
strumental music  at  Leipsic,  between  the  years 
1788  and  1802. 

KUMMEL,  JOHANN  VALENTINE.  An  in- 
strumental composer  at  Hamburg  in  the  early 
part  of  the  last  century. 

KUMMER.  A  performer  on  the  ba.ssoon  at 
Dresden.  In  1799  he  was  much  admired  at 
Leipsic,  where  he  also  published  some  music  for 
his  instrument. 

KUMMER,  FRIEDRICH  AUGUST,  a  dis- 
tinguished violoncellist  and  composer  for  his  in- 
strument, was  born  at  Meinflngen  in  1797.  He 
entered  the  chapel  of  the  King  of  Saxony  in 
1822,  where  he  became  first  violoncellist. 

KUNZ,  THOM.VS  ANTON,  was  bom  in  1759. 
at  Prague,  where  he  has  chiefly  retdded,  and  hoa 
been  coiusidered  an  excellent  ( omposer  and  pian- 
L«t.  He  published  there,  in  17!>1,  a  cnntnta  on- 
titled  ••  Pygmalion  ; "  since  which  time  he  hnj 
published  several  collections  of  songs.  Kun/.  it 
likewise  the  inventor  of  a  sort  of  orunnize<l  piano- 
forte, called  the  Orcftrstrion,  which  ha*  twenty- 
one  stops,  imitating  almost  every  dewription  of 
instrument. 

KUNZE,  C.  IL.  a  profc««or  of   music  and  in- 
strumental composer  at  Ilcilbronn,  publi»ho<l  ii«t- 
cral  pieces  for  the  horn  and  flageolet,  between  U 
years  1793  and  ISOO. 


498 


KUN 


ENCYCLOPAEDIA    OF   MUSIC. 


KYR 


KUXZEX,  JOirANX  TAUL.  organist  at  Lu- 
bec,  was  born  in  Saxony  in  1696.  From  the  age 
of  seven  yearn  he  was  chorister  in  the  church, 
and,  ■within  two  years  from  that  time,  jihiyed  the 
organ  of  the  cathedral  in  the  absence  of  the  reg- 
ular organist.  At  nine  years  of  age,  his  father 
took  him  to  Torgau  and  Freyburg,  where  he  jier- 
fonned  on  the  organ  in  public.  In  1716,  being 
then  twenty  years  of  age,  he  was  sent  to  the  Uni- 
versity of  I.eipsic,  with  only  about  two  shillings 
in  his  pocket.  His  distinguished  talents,  how- 
ever, soon  terminated  his  pecuniary  embarrass- 
ments by  procuring  him  access  to  the  house  of  a 
dLstinguished  family  in  the  town,  who  treated 
him  with  generosity.  As  soon  as  he  became  bet- 
ter kno«ni,  he  was  admitted  to  the  orchestra  of 
the  opera,  till  at  length  the  lessons  which  he  gave 
in  many  of  the  first  houses,  the  concerts  at  which 
he  led,  and  the  situation  of  organist  of  the 
chiircli  of  St.  Nicholas,  which  he  held  during 
the  absence  of  Vetter,  so  spread  his  fame 
through  the  surrounding  country,  that  he  was 
invited  to  settle  in  several  towns.  In  1719, 
he  established  liimself  at  "Wittcmberg,  and 
founded  a  concert  in  that  town,  which  was 
well  attended.  ITiere  also  he  married.  After 
a  residence  of  several  years  at  Wittemberg,  he 
became  acquainted  with  a  person  high  in  a 
government  office,  who  took  him  to  Dresden, 
where  he  was  introduced  to  Schmidt,  Heinichen, 
and  Volumier,  with  the  latter  of  whom  he  formed 
a  strict  friendship.  Here  also  he  perfected  his 
musical  taste,  under  the  directions  of  Christian 
Rau  and  Johann  Kuhnau.  His  friends  also  pro- 
cured him  the  opportunity  of  executing  several 
of  his  compositions  for  the  church,  also  his  over- 
tures and  concertos,  were  so  much  applauded, 
that  the  queen  had  resolved  to  confer  on  him  the 
office  of  chapel-master.  At  this  time,  1723,  the 
offer  of  the  direction  of  the  opera  at  Hamburg 
being  made  to  him,  he  quitted  Dresden  for  that 
town,  where  he  wrote  several  operas,  an  oratorio, 
and  other  music.  In  the  mean  time  his  son,  Karl 
Adolph,  had  attained  the  age  of  eight  years,  and 
his  abilities  were  such  that  his  father  determined, 
in  1728,  to  exhibit  his  powers  in  Holland  and 
England.  In  1732,  J.  P.  Kunzen  accepted  the 
situation  of  organist  at  Lubec,  where  he  re- 
mained tiU  his  death,  which  took  place  in  1781. 

KUXZEX,  KARL  ADOLPH,  according  to 
others  JOIIAXN  ADOLPH,  son  of  the  preced- 
ing, was  boni  at  Wittemberg  in  1720.  The  ex- 
traordinary precocity  of  his  talent  in  hai-psichord 
playing  caused  his  father  to  carry  him  to  Eng- 
land in  1729.  He  remained  long  in  that  country, 
and  continued  to  improve  in  proportion  to  the 
expe.it.Vi  >r.»  raised  by  his  early  talents.  He  pub- 
lished in  1  ludon  a  book  of  lessons,  which.  Dr. 
Burney  says,  required  genius  to  compose  and  hand 
to  execute.  He  finally  succeeded  his  father  as 
organist  at  Lubec.   l"he  whole  of  his  works,  which 


were  numerous,  have  remained  in  manuscript, 
with  the  exception  of  the  sonatas  above  men- 
tioned, and  a  few  pieces  published  in  1787  by 
Cramer,  in  his  "  Flora." 

KUXZEX,  FRIEDWICH  LUDWIG  EMIL, 
chapel-master  to  the  King  of  Denmark  in  the  year 
181.3,  was  bom  at  Lubec  in  1763.  He  studied 
at  Kiel,  in  Holstein,  and  lived  much  in  his  youth 
with  Professor  Cramer.  He  was  in  early  life  re- 
markable for  his  ability  as  a  pianist,  his  readiness 
in  reading  music,  and  his  brilliant  extempora- 
neous performance.  His  first  composition  of 
importance  was  an  opera,  produced  at  Copen- 
hagen in  1790,  and  entitled  "  Holi/er  Danske." 
After  wliich  he  composed  many  other  operas  in 
the  Danish  language,  also  several  oratorios,  with 
other  sacred  music,  besides  many  instrumental 
pieces.  His  works  are  very  highly  considered  in 
the  north  of  Germany. 

KURTZWEIL.  An  instrumental  composer, 
who  probably  resided  at  Vienna.  He  died  before 
the  year  1806. 

KURZ.     (G.)    Short. 

KURZIXGER,  IGX.  FRAXZ  XAV.,  a  court 
musician  at  Mergentlieim,  in  Franconia,  published 
at  Augsburg,  about  the  year  1758,  a  work  enti- 
tled "  David  et  Apollo,  Ute  profanus  Paniassi,  « 
saeer  cccH  utprque  rex  etjubilaris  archiphonascus  chori, 
sice  8  symphonia  solemniores  sed  breves  o  6,  tarn  pro 
ccclesiA  quam  auld  composite,"  Op.  1 ;  also,  "  Ge- 
traiier  uiUerricht  zum  Sinrjen  mit  maniercn,  u/id  die 
Violin  zu  spielen,"  Augsburg,  1763. 

KURZIXGER,  PAUL,  son  of  the  preceding, 
was,  in  1807,  resident  as  a  musician  at  Vienna. 
He  has  written  several  short  dramatic  pieces,  and 
has  also  published  several  collections  of  songs, 
and  some  light  music  for  the  piano-forte.  Kur- 
zinger  was  born  at  Wurtzburg  in  1760. 

KUSSIR.  An  instrument  in  use  among  the 
Arabians,  resembling  the  ancient  lyre. 

KUTTXOHOHSKY,  JOHAXX  XEPOMUK, 
chapcl-ma.ster  and  singer  at  Prague,  died  in  1781. 
Among  his  works  arc  two  masses  and  eight  sjtu- 
phonies. 

KUZZI,  AXTOX  JOSEPH,  a  musician,  resi- 
dent at  St.  Petersburg  in  1796,  was  a  pupil  of 
Dittersdorf.  He  has  pubhshed  sjnnphonies  and 
concertos  for  ahnost  all  instruments,  likewise  sev- 
eral operas,  among  which  we  can  name  "  BelmonI 
und  Komtanze,"  and  many  German  and  Italian 
.songs. 

KYRIE.  The  vocative  of  a  Greek  word  sig- 
nifying Lord.  Ma.sses  and  services  frequently 
begin  with  this  word.  It  is  sometimes  used  aa 
the  designation  of  a  sacred  composition ;  as  when 
we  call  a  mass,  or  service,  opening  with  it,  a  fim 
Kyrie. 


4M 


ENCYCLOPEDIA    OF    MUSIC. 


LAB 


L. 


L.  Left  hand.  Notes  to  be  struck  by  the  left 
nand,  or  foot,  are  sometimes  written  with  an  L. 
over  them. 

LA.  ITie  monosyllable  by  which  Guido  de- 
nominated tlie  last  sound  of  each  of  his  hexa- 
chords.  In  the  natural  hexachord,  it  answers  to 
the  note  A,  and  is  applied  to  that  note  in  sol- 
faing. 

LABADENS,  a  French  muKsician,  published  in 
1797,  "  Nouvclle  MitJiade  pour  apprendre  h  jotter  du 
Violon  et  a.  lire  la  Musiqiie." 

LABARRE,  MICHEL  DE,  a  celebrated  flu- 
tist, died  at  Paris  in  1744.  He  composed  two 
operas,  "  Le  Triomphe  des  Arts,"  and  "  La  Vini- 
tiemie." 

LABARRE,  LOUIS  JULIAN  CASTELS  DE. 
Born  at  Paris  in  1771,  of  a  noble  family  of  Picar- 
dy.  Viotti  was  his  master  for  the  violin.  In 
1791  he  went  to  Naples,  where  he  studied  com- 
position under  Sala,  at  the  Conservatory  of  La 
Piet,'i.  In  1793,  he  returned  to  France,  and  per- 
fected himself  in  the  science  of  music,  under  Me- 
hul.  Alter  having  remained  during  two  years  as 
first  violin  at  the  Theatre  Fran(;aLs,  he  entered 
the  orchestra  of  the  Grand  Opera.  He  has  pub- 
lished several  works  for  his  instrument,  and  some 
romances  ;  has  also  composed  the  music  of  a  petit 
opera,  entitled  "  Les  Epotix  de  seize  Afis." 

LABARRE,  TRILLE,  a  guitarist  at  Paris, 
towards  the  close  of  the  last  century,  published 
several  practical  works,  and  a  method  for  his  in- 
strument. 

L'ABBE,  FILS,  a  French  violinist,  published, 
in  1772,  "  Principes  de  Violon."  He  is  also  known 
by  eight  other  works  for  his  instrument. 

LABLVL.  (From /rtJiHm,  the  ;i>,L.)  Uttered 
chiefly  by  the  aid  of  the  lips.  The  letters  B,  P, 
M,  are  called  hiliiaU,  because  they  can  only  be 
pronounced  by  closing  the  hps ;  and,  when  these 
occur  at  the  beginning  of  a  word,  no  sound  can, 
of  course,  be  emitted  tUl  the  Ups  are  again  opened, 
which  must,  therefore,  be  done  as  quickly  as  pos- 
sible. 

LABIUM.     (L.)     The  lip  of  an  organ  pipe. 

LABLACHE,  LUIGI.  Luigi  Lablache,  the 
famous  singer, who  may  safely  be  called,  from  the 
universal  admiration  which  he  excites,  the  first 
bass  singer  of  our  times,  was  born  at  Naples,  on 
the  6th  December,  1791.  lie  is  the  son  of  the 
merchant  Nicola  Lablache,  from  Marseilles,  who 
left  his  native  country  in  1791,  and  opened  a 
mercantile  estalilishment  in  Naples.  He  married 
there  an  Irish  lady,  by  the  name  of  Franziska 
Bictak,  by  whom  he  had  the  son  who  is  the 
subject  of  this  memoir.  The  father  fell,  in  1799, 
a  victim  of  the  revolution  in  Naples.  Joseph  Na- 
poleon took  an  interest  in   this  early  orphaned 


coimtr\-man  of  his,  and  procured  him  a  place  as 
Jjupil  in  the  Conservatorio  delta  pieta  de'  Tiirchini, 
in  Naples,  since  he  showed  much  talent  and 
inclination  for  music.  Here  Lablache,  then 
twelve  years  old,  studied  vocal  and  instrumental 
music.  At  first,  he  was  rather  negligent  and 
idle  ;  and  only  on  being  threatened  with  dismis- 
sion, he  took  up  his  studies  more  seriously.  His 
musical  talent  was  extraordinary  and  hii;hly  di- 
versified. Thus  he  offered  once,  when  a  fellow- 
pupil,  who  was  to  play  the  double  bass,  suddenly 
fell  sick,  to  take  his  part,  although  he  had  never 
once  touched  the  instrument.  After  practising 
for  three  days,  he  played  the  part  vnth.  complete 
success.  Although  he  was  yet  very  young,  he 
wished  to  devote  himself  in  particular  to  the 
stage,  and  not  solely  to  music,  especially  not  to 
instrumental  music.  Five  times  he  secretly  es- 
caped from  the  Conservatory,  trying  to  find  an 
engagement  in  one  of  the  theatres  of  the  capital. 
His  repeated  attempts  caused  a  royal  law  to  be  is- 
sued, that  any  theatre  director  in  the  whole  king- 
dom, who  shoiild  engage,  without  the  express  per- 
mission of  the  government,  a  pupil  of  the  Conserva- 
tory, should  pay  a  fine  of  2000  ducats,  and  besides 
close  his  theatre  for  a  fortnight.  This  prevented 
all  further  attempts  of  Lablache,  and  he  quietly 
finished  his  course  of  instruction.  On  leaving  the 
Conservatory,  he  was  immediately  engaged  as 
"Buffo  Napolitano"  (comic)  for  the  theatre  San 
Carlinn.  He  was  only  eighteen  years  old  :  yet  five 
months  after,  he  married  the  daughter  of  the  cel- 
brated  actor  Pinotti.  She  procured  him  the  en- 
gagement of  Buffo  Napolitano  at  Messina,  and  soon 
after  as  bass  singer  at  the  theatre  of  Palermo, 
where  he  made  his  dibut  in  Pavesi's  "  Marc  Anto- 
nio." After  a  stay  of  five  j'ears  he  went  to  MUan 
on  an  engagement  at  the  Scala,  where  he  first  ap- 
peared as  Dandini  in  Rossini's  "  Cenerentola,"  and 
where  Mercadante  wrote  his  opera  "  Elisa  c  Clau- 
dia "  for  him.  His  success  was  extraordinary  ;  his 
voice,  his  style  of  performance,  his  action,  in 
short  his  whole  ensemble,  was  generally  and 
highly  admired.  Thus  he  lived  very  happily  for 
seven  seasons  in  !Milan,  and  might  be  there  stUI, 
if  the  desire  of  a  more  general  reputation  had  not 
led  him  to  travel  throxigh  nearly  all  Europe.  He 
went  first  to  Turin,  and  sang  in  the  difficult  part 
of  Uberto  in  Paer's  "A'/uese  "  with  great  applause, 
and  from  there  he  went  in  a  short  time,  as  in  a 
triumphal  tour,  over  all  the  theatres  from  Naples 
to  Venice.  In  1824  he  appeared  in  Vienna,  and 
eiuraptured  the  audiences  in  four  successive  even- 
ii.gs  in  the  different  parts  of  Figaro,  Assur,  Gero- 
nimo  and  Uberto  so  much,  that  a  medal  ws* 
coined  for  him,  which  bore  the  inscription  by  th« 
Marchese  of  Gargallo  :  "  Actione  Roscio,  I  ope  can- 
tu  compnrandu'!,  utraqvc  laurii  conserta  ambobvs  ma- 
jor." Even  Madame  Fodor  and  Rubini,  these  fa- 
vorites of  the  Vienna  public,  had  to  stand  back. 
After  the  congress  of  Laybach,  Lablache  had  an 
audience  at  Vienna  with  Ferdinand  I.,  King  of 
Naples.     He  was  received  by  this  monai'ch  in  th« 


495 


LAB 


EXCYCLOP.IiDIA    OF   MUSIC. 


LAC 


most  flfittering  mnnner,  norainateil  singer  of  the 
KovaI  Chapel,  and  dismissed  with  the  ])roraiKe  of  a 
pension  for  life  for  his  father-in-law.  After  an  ab- 
sence of  ten  years,  he  returned  to  Naplc-s,  but  now 
not  to  the  little  theatre  of  San  Cnrlino,  but  to  the 
vast  one  of  San  Carlo.  He  made  his  dibiit  there 
in  the  part  of  As:-ur,  in  Rossini's  "  S<))iiraini(lf." 
From  tliere  he  went  to  I'arma, where  he  san;^  on  the 
occasion  of  th"  opening  of  the  theatre  in  Itcllini's 
"Zaira;"  from  1830  to  1832,  he  sang  in  Paris 
and  London.  His  formerly  high,  noble,  truly 
beautiful,  and  therefore,  Irora  its  first  appearance, 
impo-ing  figure,  has  in  later  years  lost  much  by 
a  rajjidly  acquired  and  increasing  stoutness  ;  but 
his  voice  and  wonderful  art  are  unimpaired  ;  and 
if,  on  his  first  entrance,  the  audience  can  hardly 
help  laughing  at  his  extraordinary,  stout  figure 
on  the  stage,  this  lasts  only  until  his  charming 
voice  is  heard,  and  until  he  enters  into  action, 
when  their  feelings  immediately  are  changed  to 
high  rapture,  which  regularly  breaks  out  in  en- 
thusiastic applause.  He  is  as  excellent  an  actor 
as  he  is  a  beautiful  singer,  and  as  wonderful  in 
comic  as  in  serious  parts.  His  voice,  among  the 
most  sonorous  ever  heard  on  the  stage,  is  pure, 
full,  powerful,  and  flexible  ;  his  style  of  perform- 
ance truly  artistic,  and  what  we  prize  not  less 
highly,  his  behavior  always  that  of  a  refined  gen- 
tleman. Not  only  his  qualities  as  an  artist  are 
excellent,  but  also  his  private  virtues.  He  is  mod- 
est, frank,  generous,  benevolent,  an  amiable  hus- 
band and  father,  and  thus  a  celebrated  artist  on 
the  stage,  and  a  pleasant,  virtuous  man  in  society. 

LABORDE,  JEAN  BENJAMIN,  born  at  Paris 
in  1734,  was  of  an  opulent  family,  and  received  a 
distinguished  education,  both  in  the  classical 
sciences  and  arts.  He  received  lessons  on  the 
violin  from  the  celebrated  Dauvergne,  and  in  com- 
position from  Rameau.  Ilestined  by  his  finends 
for  the  department  of  public  finance,  he  soon  got 
access  to  the  court,  where,  from  first  valet  de 
chambre  to  Louis  XV.,  he  became  in  a  short  time 
the  confidant  and  favorite  of  that  prince,  whose 
liberality  placed  at  his  disjiosal  large  sums  of 
money,  which  he  soon  dissipated.  Still  he  did 
not  neglect  music,  and  m  the  year  1758  produced 
the  comic  ojera  "  Gilks  Gar<;on  Pcintre,"  which 
•was  well  received,  and  which  he  followed  up  by 
several  successful  dramatic  works.  At  the  death 
of  Louis  XV.,  in  1774,  Laborde  quitted  the  court, 
married,  and  commenced  leading  a  more  steady 
life.  He  reentered  the  company  oi  fcrmicrs-ye- 
niraux  to  which  he  had  belonged  several  years 
preceding,  and  devoted  himself  to  various  stud- 
ies. In  1780  he  published  his  "  Easai  sur  la  Mu- 
lique  Ancienne  et  Modenie,"  4  volumes  in  4to.,  with 
plates  —  a  book,  which,  in  a  literary  point  of  view, 
did  him  little  credit,  as  it  wa.s  got  up  in  haste, 
and  abounds  in  errors  and  contradictions.  He 
afterwards  published  otlier  works  of  no  greater 
merit.  At  length  the  French  revolution  brought 
with  it  ruin  to  Laborde,  who,  as  a  fvrmier-gin^.rat, 
■was  particularly  obnoxious  to  the  revolutionists. 
Ho  was  soon  imprisoned,  and,  in  1794,  suffered 
death  bv  the  guillotine.  As  a  vocal  composer,  La- 
borde was  celebrated  by  several  peculiiurly  pleasing 
romances,  among  others,  "  Voui-tu  ecs  cdteaux  si 
noircirf"  "V amour  me  fait,  belle  brunette,"  and 
•*  Jupiter  unjour  enfurcur." 

LA  CHASSE.  ^F.)  An  expression  applied 
to  a  composition  written  in  the  hunting  style. 


LACHNER,  FRANZ,  Maitrc  de  Chapelle  of 
the  King  of  Bavaria,  was  t)orn  in  1804,  at  Krain, 
a  little  towii  of  that  kingdom,  where  his  father 
was  organist.  From  his  earliest  infancy  he  was 
instructed  in  music,  and  so  rapid  was  his  progress 
that  it  was  soon  necessary  to  think  of  giving  him 
more  skilful  teachers.  He  was  sent  first  to  Nu- 
remberg, and  then  to  Munich,  where  Winter  be- 
came his  master  in  composition.  Winter  dying 
before  Lachner  had  completed  his  gtudir*.,  he  was 
placed  under  the  direction  of  Eisenhofer,  with 
whom  he  completed  his  musical  education.  Al- 
ready his  learning  was  extensive  in  the  theory 
and  practice  of  his  art ;  nevertheless,  believing 
that  much  yet  remained  for  him  to  learn,  he  went 
to  Vienna,  where  he  hoped  to  find  favorable  op- 
portunities for  the  de%'elopment  of  his  talent :  he 
was  not  deceived  in  his  expectations,  for  he  soon 
formed  friendship  with  the  most  distinguished 
artists  of  the  Austrian  capital,  and  especially  with 
the  Abbe  Stadler,  whose  counsels  were  of  much 
service  to  him.  At  this  time  he  read  with  a\-idity 
all  the  best  works  extant  on  the  theory,  practice, 
and  aesthetics  of  his  art;  his  taste  and'  judgment 
were  formed  from  the  best  models  ;  and,  finally, 
to  the  talent  of  a  skilful  executant  on  tlie  organ, 
piano,  and  violin,  he  added  the  merits  of  a  great 
erudition.  Xt  a  trial  for  the  place  of  organist 
of  the  evangelical  church  of  Vier.na,  he  bore 
away  the  palm  among  thirty  competitors  ;  but  he 
did  not  long  retain  the  position,  abandoning  it  in 
the  following  year  for  that  of  director  of  music  at 
the  theatre  of  the  Porte  de  Carinthie.  In  1834 
he  resigned  the  latter  post  for  that  of  Maitre  de 
Chapelle  of  the  ducal  cc  irt  at  Manheim.  He 
received  the  most  brilliant  reception  in  this  city, 
where  he  celebrated  his  arrival  by  the  execution 
of  his  tliird  grand  symphony.  In  1835,  a  prize 
being  offered  at  Vienna  for  the  best  symphony, 
Lachner  composed  one  with  the  title  "  >s»;j/b«io 
Passiouata,  and  handed  it  in  to  the  jury  who  were 
to  decide  on  the  merits  of  the  competitors.  The 
first  prize  was  awarded  to  him ;  M.  Strauss, 
Maitre  de  Chapelle  at  Carlsruhe,  obtained  the 
second.  Lachner  had  no  sooner  completed  his 
symphony  than  he  received  his  appointment  as 
Maitre  de  Chapelle  to  the  King  of  Bavaria,  and 
he  departed  to  Munich,  lea\-ing  to  his  brother 
his  place  of  director  of  music  at  the  court  of 
Manheim. 

Previous  to  Lachner's  establishment  at  Munich, 
the  larger  part  of  his  great  compositions  had 
only  been  heard  in  Vienna,  where  they  enjoyed 
the  highest  consideration.  Among  his  principal 
works  are,  1.  "The  Four  Ages  of  5lan,"  oratorio. 
2.  "Motse,"  idem.  3.  "  First  Symphony  for  Grand 
Orchestra,  in  wii  bemol."  4.  "  Second  do.  in /o." 
5.  "Third  do."  6.  "  Fourth  do.,"  (*«'m/on/a  i^oj- 
sionala,)  which  recei\ed  the  prize  at  Vienna. 
Among  his  lesser  works  are,  1.  "  SonaU  pour  piano 
et  viohiicelle,"  Op.  14,  Vienne,  Mechette.  2. 
"  Grande  Sonate,  pour  piano  a  4  »nii;i.j,"  Op.  2C, 
Vienne,  Leidesdorf.  3.  "  Premier  nocturne  d  4 
maint  sur  des  thimea  fran^aii,"  Op.  12,  Vienne, 
Peunauer.  4.  "  DcuxUme  idem  sur  des  thimei 
d"  Oberon,"  Op.  2.2.  5.  "  I)e3  caprices  et  des  marches 
A  quatre  mains,"  ibid.  6.  "  Deux  grander  Senates 
detachies  pour  piano  seui,"  Op.  25  et  27,  Vienne, 
Pennauer  et  Machetti.  7.  "  Hondcaux  brillanspour 
le  piano  "  Op.  8  et  17,  ibid.  8.  "Introduction  et 
variations  brillantes  sur  un  thtme  original,"  Op.  16| 
ibid.     9.  Des  rcceuib  de  chansons  aUemandes, 


496 


LAC 


ENCYCLCr-EDIA    OF    MUSIC. 


1.AC 


I.ACHNITH    WTON.    Thin  industrious  com-  '  was  the  celebrated  Kreutzer,  for  many  years  lead- 
poser,  horn  in  17;)i!,  was  a  native  of  Prague,  and    er  of  tlie  Grand  Opera  in  tliat  city.     About  th» 
probably  chRn;^cd  his   iirst  residence,  which  was  ' 
in  Zweyt)ruck,   about  the  year   1780.  for  I'aris, 


where,  i"  181-2,  he  enjoyed,  and  justly,  a  very 
nigh  reputUion  as  an  artist.  In  his  youth  he  was 
an  extraordinary  performer  on  the  clarinet.  He 
wa.s  also  considered  a  good  player  on  the  violin 
and  piano-forte.  In  I'aris  he  seems  to  have  de- 
voted himself  entirely  to  the  latter  instrument ; 
and  has  published  in  that  city,  in  conjunction 
with  Adam,  a  didactic  work  on  the  piano-forte, 
which  the  Conservatory  has  given  the  preference 
to,  and  ordere<l  that  the  students  in  that  estab- 
lishment should  be  instructed  from  it.  The  fol- 
lowin;;  is  its  title ;  "  Noavelle  Mithode,  ou  I'rincijMi 


vear  1801,  some  little  time  after  the  coronation 
of  Napoleon  I.,  Lacy  had  the  honor  of  perform- 
ing before  the  emperor  at  the  Tuileries,  and  of 
being  distinguished  by  his  particular  notice.  H« 
was  known  by  the  name  of  I^  petit  litpayiutt. 

His  father  about  thus  time,  having  met  with 
many  pecuniary  losses  in  liis  spci-ulationR  to 
America,  resolved,  from  the  lavorable  reports 
made  to  him  of  liLs  son's  musical  attainments,  to 
devote  him  entirely  to  the  musical  profession ; 
accordingly,  reiiairing  to  Paris,  he  took  Uophino, 
very  much  to  his  regret,  Irom  his  scholastic  pur- 
suits, with  the  intent  of  proceeding  to  England, 
and  there  obtaining   for  him  the  instructions  of 


ffhiirnl  (la  iloi</U  }>our  le  Forte-piano,  suitie  (Cane  \  the  far-famed  ^'iotti.  'l"hey  proccciled  on  their 
collection  compUtle  tie  tota  lea  trails  possibles,  avec  le  jouniey  by  way  of  Holland,  at  the  principal 
doir/ti  en  commenQant  par  Us  plus  aisis,  jusqu'aux  cities  of  which  country  Ijicy  had  numerous  in 
plus  dijfrriles,  terininie  par  un  dictionnairc  de  pas- 
sages aus.ii  doiijtis  et  tiris  (Us  nuteurs  Us  plus  cilibres, 
par  L.  Aitamel  Lac/inith,"  I'aiin,  1798.  His  prac- 
tical works  had,  towards  that  year,  already 
reachetl  their  tiftecnth  number,  of  which  we  can 
only  mention  here,  "  .SV j;  i'iolin  Quartets,"  Op.  7  ; 
•'&' Cone,  pour  h  P.  F.,"  Ops.  9  and  10  ;  "6  Gr. 
Symph.,"  Opa.  U  and  12;  "12  Trios  Cone, 
oour  P.  F.  et  I'.,"  Ops,  U  and  1.5.  There  is, 
nowever,  a  ranch  greater  number  of  sjinphonics, 
overtures,  and  operas,  originally  composed  by 
others,  which  have  been  arranged  for  the  piano- 
forte and  published  by  Lachnith. 


LACHRIMjE.  (From  the  Latin.)  The  name 
formerly  given  in  England  to  the  dolorous  strains 

of  the  Calviuists. 

LACIIUIMOSO.  (I.)  Tearful.  A  word  im- 
ph-ing  that  the  movement  to  which  it  is  prefixed 
is  to  be  performed  in  a  mournful,  pathetic  style. 

LACY,    ROPIIIXO.     This   eminent   violinist 


troductions  to  the  higher  cla.sscs,  and  was  for- 
tunate enough  to  obtain  some  rei)utj.'.i;T.  He 
performed,  likewise,  at  the  then  court  of  Scfiim- 
nulpcnninck,  at  the  Hague,  with  great  success. 
Having  obtained  passports  at  that  ditticult  peri- 
od, he  was  carried  to  England,  and  arrived  in  Lon- 
don at  the  end  of  October,  180.5,  being  then 
ten  years  and  three  months  old.  There  he  woi 
introduced  into  the  first  circles,  his  reception  in 
which  was  greatly  improved  by  the  fortunate 
facility  with  which  he  spoke  the  French,  Italian, 
Spanish,  and  English  languages.  For  more  than 
a  year  and  a  half  after  going  to  England,  hLs 
name  was  not  publicly  known,  his  general  appel- 
lation being  that  of  the  younf/  Sjmniard. 

At  the  musical  parties  of  the  Duke  of  Su«sex 
at  Kensington,  and  of  the  .Vustrian  ambassador 
Count  .Starhreml)erg,  Lacy's  performances  were 
honored  by  the  approbation  of  George  IV.,  then 
Prince  of  Wales,  and  other  members  of  the  royal 
family,  and  his  first  concert  at  the  Hanover 
Square  rooms  was  under  the  patronage  of  their 


was  by  birth  a  Sjmniard ;  but  his  parents,  though     royal  highnesses  the  Prince  of  Wales,  the  Duch 


many  years  established  in  Spain,  were  British. 
His  father  was  in  the  commercial  line,  and  had,  at 
one  period,  acquired  a  very  considerable  fortune. 
Kophino,  his  youngest  son,  among  other  branches 
of  education,  being  in.structed  in  music  from  the 
early  age  of  five  years,  was  fortunate  enough  to 
make  so  rapid  an  advancement,  that,  when  only 
six  years  old,  on  the  arrival  of  a  celebrated  violin- 
ist from  Madrid,  named  Andreossi,  the  child  per- 
formed (as  a  young  amateur)  for  the  first  time  in 
public,  at  his  concert,  one  of  Giomovichi's  con- 
rertos,  and  was  flattered  with  a  general  encore. 
In  order  to  be  seen  by  the  audience,  he  was 
obliged,  during  his  performance,  to  stand  upon  a 
table.  He  was  at  this  time  considered  as  a  little 
prodiytj  in  music,  and  shortly  afterwards  his 
father,  being  called  by  business  to  Madrid,  took 
Uophino  with  him.  During  a  short  residence  in 
that  city,  he  performed  at  court  with  many  en- 
comiums, and  received  the  most  flattering  notice 
from  the  principal  grandees.  About  the  begin- 
ning of  the  year  1802,  he  was  sent  to  college 
ot  Bourdeaux,  in  France,  where  he  remained 
eighteen  months,  and  then  went  to  Paris  to  com- 
plete his  education  at  one  of  the  principal  sem- 
inaries in  that  city,  where  he  made  a  very  cre<lit- 
able  progress  in  the  classics,  taking  precedence 
of  boys  nearly  double  his  age,  and  obtaining 
various  prizes  at  the  ye.arly  public  examinations. 
His  principal  instructor  in  music,  at  this  period, 


ess  of  York,  and  the  Duke  of  Sussex. 

In  May,  1807,  there  was  published  a  well-ex- 
ecuted print  of  Uophino  Lacy,  engraved  by  Car- 
don,  from  a  drawing  by  .Smart,  and  bearing  the 
first  public  announcement  of  his  name,  namely, 
"  Master  M.  M.  J.  li.  Lacij,  the  ceUhrated  young 
Spaniard,  born  in  liilhoa,  July  19,  179.5."  About 
this  period  Uophino  was  taken  to  Dublin,  with 
letters  of  introduction  to  the  then  lord  and  lady 
lieutenant,  the  Duke  and  Duchess  of  Uichmond, 
and  performed  at  Catalani's  first  concert  in  that 
city.  He  was  next  engaged  for  Corri's  concerts 
at  Edinburgh,  receiving  twenty  guineas  per  night. 

About  this  period,  in  obedience  to  his  father'* 
■will,  Uophino  sacrificed  the  musical  for  the  theat- 
rical profession,  and  success  favoring  his  efforts, 
he  long  supported  a  principal  rank  in  the  drama, 
performing  at  the  theatres  royal  Dublin,  E<lin- 
burgh,  Glasgow,  &c.,  the  first  characters  in  gen- 
teel comedy  for  many  seasons,  only  making  use 
of  his  musical  abilities  as  an  attraction  on  his 
benefit  nights,  which  were  generally  very  pro- 
ductive. 

His  return  to  the  musical  profession  did  not 
take  place  till  the  middle  of  the  year  1818,  when 
application  was  made  to  him  to  succeed  Yanie- 
wicz  in  the  dejuirtracnt  of  leader  to  the  Liver- 
pool concerts,  which  arc  always  frequented  bj 
the  best  singers  from  the  Itahan  Opera  Houa^ 
and  the  two  principal  theatres  of  the  metropolis 


63 


497 


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ENCYCLOPAEDIA    OF    MUSIC. 


LAG 


Tlicrc  he  conlimicd  till  tho  end  of  the  year  1820, 
when  he  rcturiic:!  to  Ix)n(lon,  and  was  engaged 
at  the  (^jieia  House,  in  the  season  of  1821,  as 
.eader  ot  the  ballets  ;  but  shortly  after  the  cora- 
nienceiiieiit  of  the  season,  ditiagreeing  with  one 
of  the  directors,  quitted  the  situation  until  the 
icason  of  1824,  when  he  once  more  resumed  his 
place  at  the  head  of  that  orchestra. 

llophino  Lacy'g  work*,  hitherto  published,  are 
mostly  lor  the  ])iano-forte,  or  piano-forte  and 
flute.  The  principal  are,  an  arran-jement  of  four 
of  Hos,sini's  most  celebrated  opera.s,  namely,  "  // 
Twc-)  in  Italia,"  "  L/i  Oazza  Ixitlrti,"  "  Otello," 
and  "  Moai  in  Eqitto."  Three  rondos,  namely, 
one  on  the  carnival  of  Venice,  dedicated  to  the 
right  honorable  I^ady  Emma  Sophia  Edgcumbe  ; 
one  on  a  popular  Irish  air  by  Whittaker  ;  another 
dedicated  to  Mrs.  St.  .\lhan.  "  A  Quintetto,  for 
two  Violins,  Tenor,  Fliifc,  and  Violoncello,  M-ith 
I'iano-forte  Accompaniment,"  dedicated  to  Wil- 
liam Graham,  Esq.,  and  "  Six  I'opular  Songs, 
with  Guitar  Accompaniments." 

LACY.  This  celebrated  English  singer  re- 
ceived the  rudiments  of  his  musical  education  at 
Hath,  under  Rauzzini,  and  subsequently  studied 
in  Italy,  where  he  so  entiiely  mastered  both  the 
language  and  the  style  of  singing  of  the  natives, 
that  he  appeared  to  superior  advantage,  even  by 
the  side  of  the  most  approved  Italians.  From  the 
weak  state  of  his  health,  I.acy  was  induced,  in 
the  year  1818,  together  with  hLs  wLi'e,  to  accept 
an  engagement  at  Calcutta.  Lacy  was  con- 
sidered by  comi)etent  judges  to  be,  without  ques- 
tion, the  most  legitimate  English  bass  singer,  the 
most  accomplished  in  various  styles,  and  alto- 
gether the  most  perfect  and  finished  that  had 
appeared  in  that  country.  He  was  endowed  by 
nature  with  organs  of  great  strength  and  deli- 
cacy ;  his  voice  was  rich  and  full-toned,  particu- 
larly in  the  lower  notes  ;  his  intonation  pcrlect, 
and  his  finish  and  variety  in  graces  remarkable. 
So  considerable  were  his  attainments  thought  by 
the  Italians,  that  he  was  offered  engagements  at 
the  ojjcras  of  both  Florence  and  Milan. 

LACY,  MRS.  BIANCm,  wife  of  the  preced- 
ing,  first  became  known  in  England  as  an  or- 
chestra singer,  in  the  year  1800,  when  she  ap- 
peared at  the  Ancient  Concert,  being  then  Miss 
Jackson.  She  fu>t  married  Francesco  Bianehi, 
the  composer,  who  lived  but  a  short  time  after- 
wards. She  accompanied  her  second  husband 
to  Calcutta.  Mrs.  13.  Lacy  was  celebrated  for 
her  pure  and  chaste  style  of  singing,  fine  in- 
tonation, and,  above  all,  her  beautiful  articula- 
ti-m. 

LADORNER,  S.,  a  musician  in  Paris,  living 
IT  1812,  seems,  with  the  exce;'tion  of  the  initial 
c-  his  Christian  name,  to  be  identical  with  the 
following.  Gerber  finds,  however,  the  name 
fipelt  as  above  in  the  .loiirn.  de  In  Littir.  dc  Fr. 
An.  6,  p.  127,  and  be/ore  the  following  work, 
rom])Oscd  by  him,  "  VVom  (iratuUs  Sonatcs,  arvc  la 
Charge  dc  CavaU-rie,  pour  Clac,"  Op.  4,  Paris, 
1798. 

LADURNER,  N.,  a  Parisian  composer,  has 
written  for  the  theatres  there,  ••  l^s  vieiur  Foiuc," 
tnd  "  Sctizel,  oil  le  Slngislrnt  du  PrupU"  1794. 
lie  has  also  publishe<l  "  Troia  Sonates  pour  U 
Clav.,  v.,  et  IV.,"  Op.  1,  Paris,  1793,  and  '•  Troit 
SotuUct  pour  Ic  Clnr.  avec  Y   "  Op.  6,  1802. 


LAELIUS,  D.  DAN'IEL.  A  professor  of  th« 
lute  in  the  beginning  of  the  seventeenth  century 
He  published  "  Testudo  Spiritualis,"  Frankfort. 
IGIfi,  4to.  This  work  contained  the  "  Lobwatset 
J'sali)i3,"  with  French  melodies  for  the  lute. 

LAETIUS.  JACOUUS,  a  learned  author,  th« 
period  of  whose  birth  is  uncertain,  was  a  native 
of  liouvain.  He  published  a  treatise  under  thi 
title  of  "  Encomium  .ViMi«-«,"_Macstricht. 

L.VFFILARD,  a  French  musician,  published, 
in  1710,  a  very  easy  method  for  the  attainment 
of  singing  at  sight.  In  this  work  we  find  the 
first  idea  of  the  Metronome. 

LA  FINALE.     The  last  figure  of  a  quadriUe. 

LAFOND,  a  good  French  vioUiiist,  and  pupil 
of  the  celebrated  Rode,  made  his  first  appear- 
ance in  public  at  Paris,  in  1800.  He  was  then 
only  fifteen  years  old.  His  excellent  perform- 
ances procured  him  the  greatest  applause. 

LAFOXT,  CII.  PH.,  a  celebrated  French  vio- 
linist, resident  during  many  years  in  Russia,  was 
a  native  of  Paris.  His  fii-st  violin  master  was 
Bertheaume,  (his  uncle,)  and  he  received  lessons 
in  composition  from  Navoigille  the  elder,  and 
Bertoii.  Early  in  life  he  travelled  to  varioui 
courts  of  Europe  with  his  uncle  Bertheaume. 
On  his  return,  Garat  introduced  him  to  the  pub- 
lic, in  1794,  as  a  singer,  in  which  an  he  was  en- 
tirely self-instructed.  He  next  appeared,  with 
great  success,  as  a  violinist,  at  the  o])cra  and  other 
concerts  in  Paris.  He  published  some  concertos 
and  other  music  for  his  instrument.  Lafont  was 
highly  esteemed  in  France  for  his  chantant  and 
graceful  perfonnance  of  the  violin. 

LAFORET,  a  celebrated  French  bass  singer, 
was  a  pupil  of  LuUy.  He  sang  at  the  French 
Grand  Opera  immediately  after  its  establishment, 
and  Lully  composed  several  scenes  for  him. 

LAGARUE,  a  French  musician,  was,  in  1788, 
at  Paris,  as  surinlendant  de  In  miisijiie  of  the 
Count  d'Artois,  also  maitre  de  miaique  of  the  En- 
fans  de  France.  Ue  was  the  composer  of  the  opera 
"  Egle." 

LAGKNER,  D.\NIEL.  Organist  at  Losdorp, 
in  the  beginning  of  the  seventeenth  century.  He 
was  composer  to  Count  Loseni»tein.  and  pub- 
lished Mclorlia  ftDiebrii  6  vociim,"  Vienna,  1601  ; 
"  Sobo'es  Miisicn,"  i.  e.,  "  Cantiones  Sacree  8  vo- 
cum,"  1602.  It  contains  twenty-eight  Latin 
hvrans.  "  Flnrtim  Jesstprmim  scmina  vocibtia  gtia- 
t'lor  per  musicos  wmems  disseminata,  per,  etc.," 
Nuremburg,  1*)07,  and  "  Xeiiwe  teutsch^  Lieder  mit 
4  Stimmcii,"  Nuremburg,  160G,  4to. 

LAGO,  GIOVANNI  DEL,  a  native  of  Venice, 
flourished  towards  the  middle  of  the  sixteenth 
century,  and  wrote  "  Breve  lutrodazzhne  alia  Mit- 
sica  Misiirata,"  Venezia,  1540. 

L.\GR.VN(;E.  jean  LOUIS  de,  member  of 
the  French  Institute,  and  born  at  Turin  in  \73C\ 
wrote  a  dissertation  on  the  j)ropagation  of  sound 
which  ai)pearc<l  in  the  first  volume  of  the  Mi 
moires  de  Turin,  1759. 

LAGRIMOSO.  (I.)  In  a  mournful,  doloroui 
8tvle 


^98 


LAH 


ENCYCLOPEDIA    OF    MUSIC. 


LAM 


LAHARPE,  J.  F.  This  celebrated  French 
iomme  de  kllres,  was  the  author  of  the  "  Lyde,  ou 
Cours  de  Littirature  ancienne  et  moderne,"  torn,  xii., 
Paris,  1801,  p:.  8vo.  In  the  twelfth  volume  of  that 
work,  he  treats  of  every  sort  of  opera,  also  of  Ital- 
ian music.  He  also  examines  the  novelties  in 
modern  French  music,  and,  in  a  supplement,  es- 
pecially considers  the  Memoires  aur  la  Miisit/iie  of 
G retry. 

LAIIOUSSAYE,  PIERRE,  one  of  the  best  pu- 
pils of  Tartini,  was  born  at  Paris  in  17'i.5.  (iiftcd 
witli  a  happy  ori^anization  for  music,  he  instruct- 
ed himself  on  the  violin  in  early  childhood,  and 
at  only  seven  years  of  ago  could  play  several  tunes 
very  agreeably.  Piffet,  (called  le  <irand  iic:,)  a  mu- 
Bician  at  the  (irand  Opera  at  Paris,  fjave  him  his 
first  instructions  in  music,  and  enabled  him,  when 
only  nine  years  old,  to  make  his  dibiU  at  the  t'</)- 
crrt  Spiritiivl.  A  short  time  after  this  he  was  intro- 
duced at  a  mu'iical  i)arty  •jiven  by  the  Count  of 
Senneten-e,  where  he  heard  the  first  violinists 
of  the  afio,  especially  Pagin,  Gavinics,  Puj^nani, 
Ginrdini,  Vanraalder,  and  Doraenico  Ferrari.  Each 
of  these  celebrated  men  played  a  solo,  and  they  all 
remarked  the  enthusiasm  with  which  the  yo\ii>g 
Lahoussaye  attended  to  their  performance.  Fer- 
rari then  gave  the  boy  a  violin,  when  he  not  only 
preluded  in  a  brilliant  style,  but  repeated  from 
memory  several  j)assa{;es  in  a  sonata  of  Tartini, 
that  Pagin  had  just  before  played,  which  plea'^ed 
the  latter  so  much,  that  he  took  the  boy  for  his 
pupil ;  he  also  immediately  procured  him  the 
place  of  chamber  musician  to  the  prince  Count 
of  Clermont.  The  good  fortune  which  Lahous- 
Bayc  was  now  enjoying,  did  not,  however,  prevent 
his  contmuing  to  cherish  a  strong  desire  to  see 
Tartini.  He  therefore  attached  himself  to  tlie 
suite  of  the  Prince  of  Monaco,  and  went  with  liira 
to  Italy,  proceeding  immediately  to  Padua,  to  pay 
his  respects  to  his  favorite  master.  Ho  found  him 
in  the  church,  just  about  to  commence  a  concerto ; 
and  it  would  be  impossible  to  express  the  surprise 
and  admiration  of  the  young  Frenchman,  at  the 
purity,  accuracy,  quality  of  tone,  and  expre  ision 
of  the  great  Tartini.  He  felt  so  humbled  as 
scarcely  to  wish  to  ha:^ard  an  introduction.  He 
did  so,  however,  when  Tartini  received  him  with 
kindness,  and  observing  in  his  performance  the 
manner  of  his  own  school,  took  him  as  a  reg- 
ular pupil.  Lahoiissaye  was  however,  to  his 
great  regret,  soon  recalled  from  Padua,  by  the 
Prince  of  Monaco,  with  whom  he  next  went  to 
Parma,  where  he  much  delighted  the  court.  In 
*his  town  he  received  instructions  in  composition 
from  the  celebrated  Traetta,  and  corajwsed  many 
tJT»  for  ballets,  which  had  the  greatest  success  at 
Parma  and  Venice.  After  this  he  found  means 
to  return  to  Tartini  at  Padua,  and  continued  for  a 
long  time  under  his  tuition,  remaining  in  Italy 
altogether  during  fifteen  years.  He  then,  in  17G9, 
went  with  P.  Guglielmi  to  I^ondon,  where  he  re- 
mained three  years,  and  from  thence  returned  to 
Paris.  He  wius  now  nominated  to  tlie  situation  of 
chff-<forch  ■strc  at  the  Concert  Spirituel,  and  at  the 
Italian  Opera.  In  1789  he  succeeded  Me>trino  as 
tiff  d  orche»tre  of  the  theatre  of  Monsieur,  and 
afterwards  of  the  Feydeau.  At  the  first  establidi- 
mcnt  of  the  Paris  Conservatory  he  was  appointed 
professor  of  the  first  class.  Lahoussave  died  at 
Vuris. 

LAIOI.LE,  FRAXC  DE.   We  meet  with  some 


of  this  composer's  melodies  in  a  collection  of  songi 
of  various  languages,  printed  in  the  N'etherlauda 
between  the  years  1530  and  1510. 

LA  IRE,  M.  DE,  or  DELAIRE,  a  French  art- 
ist, wrote  "  Trniti  d'  Arcoiiipttf/iwuu'iit,"  Paris,  1700. 
He  was  the  first,  after  llousseau  in  his  dictionary, 
who  made  the  French  acquainted  with  the  ri//U 
de  I'octave,  or  the  harmony  upon  the  ascending 
and  descending  scale. 

LAIS,  or  LAY.S,  FRANCOIS.  First  tenor  of  the 
Grand  Opera  in  Paris  in  1708.  He  attracted  the 
universal  applause  of  French  amateurs  by  his 
clear  and  agreeable  voice  and  tasteful  delivery. 
Chapel-master  Reichardt  says,  that  in  expression 
he  excelled  even  the  celebrated  David.  Lais  was 
born  in  1758,  and  was  equally  celebrated  as  a 
church  and  theatrical  singer. 

LAL.VNDE,  MICHAEL  RICHARD  DE,bom 
at  Paris  in  the  year  1()57,  was  the  fifteenth  child 
of  liis  parents,  and  discovering  in  his  infancy  a 
strong  propensity  to  music,  he  was  entered  as  a 
chorister  of  the  ch\irch  of  St.  Germain  I'Auxer- 
rois,  and  was  there  distinguished  for  the  fineness 
of  his  voice.  At  the  age  of  about  sixteen  his  voice 
left  him,  but  before  that  time,  by  diligent  ai)plica- 
tion,  and  frequently  spending  whole  nights  in 
practice,  ho  had  attained  to  great  perfection  on 
various  instruments ;  on  the  violin  in  particular 
he  played  with  great  facility  and  judgment.  He 
enjoyed  in  succession  the  two  offices  of  music 
master  of  the  king's  chamber,  and  that  of  super- 
intendent of  music  in  the  Royal  Chapel.  His 
motets,  which  were  always  performed  before 
Louis  XIV.  and  Louis  XV.  with  great  applause, 
h,ivc  been  collected  and  published  in  two  vol- 
umes in  folio.  The  "  Vnntate,"  the  "  Dixit,"  and 
the  "  Miserere  "  are  principally  admired.  He  died 
at  Versailles  in  1726. 

LALOUETTE,  JEAN  FRANCOIS,  a  pupU  of 
Lvilly,  successively  conducted  the  music  in  the 
churches  of  St.  (Jennain  I'Auxerrois  and  Notre 
Dame.  He  composed  many  motets  for  a  full 
choir,  which  arc  much  admired  ;  but  none  of  hi.s 
compositions  have  been  published,  except  some 
motct.s  for  the  principal  anniversan,-  festivals  for 
one,  two,  and  three  voices,  with  a  thorough  ba.SA. 
He  died  at  Paris  in  1728,  at  the  age  of  seventy- 
ftve. 

L  AM  ARRE,  N.  DE.  a  French  violoncellist,  wax 
a  pupil  of  Henri  Levas.seur  ;  ho  also  took  soine 
lessons  of  the  celebrated  Duport.  Lamarre  waa 
much  admired  in  Paris  about  the  year  1800. 

L'A.ME.  (F. )  Tlie  sound  post  of  a  violin, 
tenor,  &c. 

L.V  M.VUPIN.  I-a  Maupin,  the  successor  of 
La  Rochois,  may  be  noticed  on  account  of  her 
wild  and  lawless  character,  and  the  strangeness 
of  her  adventures.  She  was  born  in  l'>73,  and 
married  at  a  very  early  age,  but  soon  ran  away 
with  a  fencing  master,  from  wliora  she  learned  the 
I  u.se  of  the  small  sword.  After  remaining  for  soma 
time  at  Marseilles,  where  she  narrowly  escaped 
the  punishment  of  being  b\irned  alive  for  setting 
fire  to  a  convent,  she  went  to  Paris,  appeareil  on 
the  opera  stage  at  the  age  of  two  an<l  twenty,  an** 
was  for  a  considerable  time  the  reigning  f.ivorit* 
of  the  day.      Having  on   some  occaaioii    been 


499 


LAM 


ENCYCLOPEDIA    OF    MUSIC. 


LAM 


III 


.  l»yD«fi,  mfln^o;  At  -pmx  <m  anle 
■ttircw  wudted  for  Un  m  Ae  P)«ee  des  Wtoire, 
iwwod  (w  Ids  dra-wng  his  sword  aad  <i^*»rTi»g 
bee;  asd.  on  Itb  icfiKiik<;,  oaed  him  aad  took  his 
«Mek  aad  sa«ff  box.  Xext  dar.  DoMai  ha' 
bauted  m  &«  Open  House  that  be  had 
Uasdf  aganet  ^ee  men  who  had  attesTted  to 
nb  him,  she  told  Oe  whole  atarr.  and  prodaeed 
Us  watdi  and  laaff  bos  m  proof  of  her  baring 
cbMiised  him  as  a  coward.  ThervBard,  aiwrtiw 
aagcr  vt  matK,  was  nearir  ticatad  im  the  tmmr 
mammet,  aad  h*d  bo  other  w^ar  of  ««^r~;  bot 
br  p«fafi[^  be^lag  her  pardon,  after  hiding  him- 
a^  in  ^  Faiaie  BoTal  far  three  weeks.  At  a 
ban  gireaibr  Moaaienx;  die  farolber  of  Loui- XI  v., 
abe  appaated  in  men's  «4ntbw.  and.  harinf  be- 
anred  iaapotiaeBtlj  to  a  lady,  was  caDed  out  br 
Asae  of  ber  friends.  Tiwtf/1  of  aroadin*  the  com- 
bat br  d»coTering  her  sex.  she  drew  her  $word, 
andkiDed  all  the  time;  and  Aen,  recnining  rerr 
eooDr  to  dw  ban  rona.  told  the  eta(7  to  Mouaea^ 


LAMB,  BEXJAMIX.  orsanist  of  Eton  Ccdieae, 
and  taget  of  the  cbapel  of  St.  G^or^  at  'Wlnd- 
aoc  mawpnwrd  soaaT  aatbesis,  ax  the  beginning 
of  tbe  serorteenlk  eentnrr. 

LAMBKBT.  6.  L..  was  born  at  Bererler.  in 
Ymtahke^  in  the  T«ar  1795.  and  leteiied  die  m- 
fimenia  of  his  mnsaeal  edoeatiaai  under  hU  t-^  -'-pt- 
vbo  was  taganist  of  the  minsto;  die  : 
cbuth  ia  ^ux  town.  The  son  was  par - 
wcH  gioanded  in  the  rales  of  hannonT.  ml  in 
playing  npon  the  organ,  and.  at  die  age  of  sixteen, 
was  sent  to  Lowdnn  to  wanplrte  bis  edncatian: 
be  was  fist  plawd  nnder  S.  T.  Lyoai  fartwo  yeaia, 
amdl89dTnnderDE.Ckoteb.  His  cadiest  attempt 
at  coHipasidan  was  made  a  daoct  time  prerioaslT 
to  learing  Lyoa,  wben  be  eomposed  a  trio  for  die 
paBH>-Sorte^  -viofin,  and  rinlnnfribs  and  a  ao^tta 
ftrtfepaano-fiirte;  dke  latter,  in  compliance  with 
iBe  wishes  ok  bis  useBd^  be  puiiDSned.  Ijiuuig 
bis  nrtdifw  nndw  Dr.  Ckoteii,  be  composed  tciual 
fiignes,  otettmiea,  te.  In  1818  be  bad  die  mis- 
to  lose  bis  &tber,  whes,  his  triatiims 
J  him  to  reaade  with  tbfn,  be  applied  Sae 
the  ergaaafs  aitnataon  at  Bereder.  and  obtained 
it.  He  has  atimpoatd  and  pmblidied  ••  A  Dae*  for 
few  PCtCaraMsa  npon  die  Rano-ferte,"  abo  "  Three 
lUos  for  die  Kano-forte;,  \lalin,  and  TiobmceOo,*' 

-  A  Septet  fior  tike  Fiaao-fiarte,  Violia.  Viola,  Tio. 
kmerikt,  two  Horns  and  Doable  Baak' 

LAMBERT,  MICHAEL,  was  bom  in  die  year 
1610  at  ViTosne.  a  email  riHa^  of  Poitoo.  He  is 
eappuaed  to  be  the  first  who  gare  his  eountxr- 
m^  a  jast  notion  of  the  graces  of  Tocal  maae;. 
itis  composttiom^  bovercr,  are  aot  vei^  namer- 
oas,  'Mmii^imm  only  of  some  little  motets  mtuie 
for  letmm  dc  a^a^Arn.  and  a  eoDeetiaa.  watainiag 
tarioaa  ana  .of  oae,  two.  three,  and  f>ar  parts, 
with  a  Ibiaiia^b  bass.    He  died  at  FUm  in  1690. 

T-*^***^*^',  1l  a  eoa^ioser  in  Pans,  from 
whose  works  Plrrel  has  pabGdied,  in  1799,  a 

-  BmJtmm.  SUHit  Plmatmde."  It  is  for  the  roace 
mai  paaao-Sorte.  HisOp.  3.  dedkatedtoMadame 
de  'jcnliB,  speared  in  1803. 


LAMBEBT.  JOHAXX  HEXRT.  AFiencbar- 
*»^«t«—  Hia  treatise,  which  he  read  befiore  the 
Academy  af  Bcrfin  in  1774,  entitled  "  ffniarfti 
Mr  if  Temfirmmt^  m  Mmifme,"  waa  iaafitrd  in 


the  Meaaotcs  of  the  Academy  of  Betlin  of  dki 
same  year.  The  fidlowing  exodknt  treatiam  oa 
aeoasties  of  this  niathematidan  deserre  also  to 
be  named  here :  •*  Otaerrmtimt  nw  fet  Tfaa*  dka 
Artes."  It  is  a  rery  interesting  safaject,  and 
weO  treated  in  the  Mimotra  dr  F  Atmiifmit  ie  Ber- 
lim,  177*.  "  Sta-  le  Sam  de$  Corf*  EimtUfmt,"  ia 
the  Sj€,  Act.  HeUel.  torn.  L  p.  4i.  -  SmrU  Vi- 
«Bsar  du  So*,"  in  the  Mimoirtt  de  F  Inadfiii  dt 
BerU*,  I76S:  and  <^  fwrijaia  JajQaanai  Aeom»- 
tifmt,"  in  the  Mimoirtt  de  tAeadimtie  de  BeriU, 
17t3. 

LAMBERTDO,  GIOVAN'XI  TOMASO.  a 
compcHer.  who  flonzished  in  Venice  about  the 
middle  of  the  sixteenth  century.  He  printed 
there,  in  1-569,  the  seven  penitential  psabns.  fbi 
four  Toiees.  In  the  elector's  library,  at  Monirh. 
are  also  to  be  found  "  ilMdriyaii  m  4  rocs,**  by  him, 
Venice,  1-560. 

LAMBO,  C  organist  of  St.  Nicholas  Church, 
Hamborgh.  published,  in  I754'17o-5,  a  collection 
of  odes,  set  to  music,  which  are  mach  adicired. 

LAMENT ABILE.  LAMENTOSO,  LAMEN- 
TANTX).     (L)     PlaiatiTely. 

LAMETATIONE.  (L)  A  tenn  denoting 
diat  the  moTcment  before  which  it  is  placed  i 
to  be  snng.  or  plared,  in  a  doleful,  mdaneholT 
ftvle. 

LAMENTATIONS.  The  funeral  mosic  of  the 
ancient  Jews  was  called  by  this  name.  At  the 
death  of  any  one,  it  was  not  only  usual  to  em- 
ploy tifaicines,  or  flute  players,  to  petfonn  orer 
the  body  of  the  deceased,  bo:  to  hire  at  least  one 
Toeal  fomale  mourner;  or  lamentatzix.  From  the 
nbfai  Majmnaides,  we  leazn  that  the  husband  was 
ob^ed  to  provide  moainer5*to  we^  over  the 
eorpiseof  his  dewased  wife, and  at  her  funeral; 
or;  at  kaat.  that  this  was  the  establisbed  enstom 
of  die  eoontry.  The  pootest  perscms  amoaig  the 
Tsiaflitrs  be  tdls  as,  engaged  two  flutes  and  one 
female  moamer ;  and  if  the  husband  were  neb, 
die  "f  "■  aad  pomp  of  the  ceremony  were  pro- 
pertkmed  to  bis  wealth  and  dignity. 

LAMENTATRICESw  The  name  given  by  the 
anfient  Hdvews  to  certain  female  ro^  perform- 
ers, who  were  hired  to  chant  over  the  dead,  and 
to  sng  dirges  at  funerals ;  <m  whidi  ofrasiniM 
diey  were  aceompanied  with  flutes. 

LAMENTEVOLE.  By  this  term  the  perform- 
er  understands  that  the  music  before  which  it  is 
placed  is  to  be  executed  in  a  slow  and  mournful 
style. 

LAMENTS.  The  name  given  by  the  Scotch 
to  some  of  their  old,  saioas,  and  uwJanrhnly 
airs. 

T.»\fT\  The  most  cddirated  female  flute 
plaver  in  antiquity  waa  I«mia  ;  her  beauty,  wit, 
and  afailitie;  in  her  peofrannn  made  her  regarded 
M  a  prodigy.  The  bimacs  sbe  received,  which 
ate  recorded  by  sevoal  anthnrm  particulady  by 
Flatareh  and  Athenaens,  are  soi&oent  testimo- 
nies of  her  great  power  over  the  pamitww  of  her 
bearers.  Her  cium  to  admiratinn  from  her  per- 
aoanl  aQorements  does  not  entirdy  depend,  at 
pteaeat,apoa  the  fiddity  of  histOTians;  anee  aa 
exqaiaito  engraving  of  ber  bead,  iqioa  an  ame- 


MO 


LAM 


EXCTCLOPJEDIA   OF  MVSIC. 


LAN 


LAMPADABIUS.    Tht 
of  iketvo  iBJiifl 
ckndiaf  ~ 

Tht 
tobe 

«f  tkrt 
abortt  the  jmv  UM.  nd  i> 
to  kn«  bea  dw  fm  «h0  fDed  tihe  • 

LAMPADirS.  * 
fatbirofdte 


gnvB  tD  I 


ttyit*  viiA  uke  Tol  sad  oBBdsge  di  htf  pnMBS- 
■r*.  is  fMMtwl  m  the  Eae  of  FnaeeTe  eoOee- 

■eiMnts  of  ber  beuttr. 

A»  wkt  was  •  S**"  tisvdkr.  her 
KKMt  hrt  Hint  iwj  cxtSiBv^    Her  fint 
frjMAthem,  the  piece  of  her  birth,  wm 
Sjgjpt,  whiiliw  die  wm  dnwa  bjr the  fii^w  of 
die  ftnte  plercB  of  Aat  eowttiT-.     Her  pecsoM 

MM*  f^rtimmtmrnt^  w— »  »«*  lllMg  — i^ijMl    at   the 

comt of  AlfTCTuu*;  howevo^iB  the fwllin.  be-  \        .«    .  ^  -!*•  ^r  -« 
tw«a  Ptolemy SotereadPeMetiiMfcrthebfaMd    «■«»«»««•««»• 
of  Crproa.  ■bovttfaiee  biiinlied  md  ladiejuu 
h^&MM  tjigja^^  PtiilfiHj  bcngQefiBeten  lo  o 
^agOMBi^  his    Biicfl^  oooMttm^  s 
Cjors  feD  into  die  haads  of  DfUii 
PfaOHfcfa,  ill  his  fifie  of  Anspnaeew 
"thetelehrrted  I— iawas— iwgthr 
trres  *»^^  in  this  Tietoty.    She  hod 
Tersally  edmiied  et  fiat  oa  miiwI  of  her  tol-  \Jtjmiwtifi 
entSk  ior  dw  wos  •  iwderiol  |mi«ii-  oo  &e 
flote:  bat  efleiwMds  her  fat— e  beesae  i»ote 
■iJfMBii  by  AerheiMnof  her peew,  which pw>- 
coed  her  many  admiien  of  gieet  taok."    The 
prioee    vhose   esptire  die   beeaae;  aad  who^ 
thoog^  *   iiioiiwfel  auiMK,  vassnd  to  hax« 

■y  bents  as  dties.  uieiied  so  I  tma,"  Beo^  li39.    Walihcr 
ivLaaua.that,frimaaoTangB  |  of  Am  umiie.  Ikiaa.  UK. 

is  rtiD  ia  the  SSectonl  LOnry  «t  Maaich. 

LAMPASELLL    Aa 
deat  at  Pfens  ia  1S13.    The  I 

dtWi   rii.awr  A 

pamr  k  Pimm  fmtB.'  Puis.  I79iL  (  ~ 
to  whiick  beh»s  afao  an  Ae  I 

hoe:  -Lg  JUUt  tm^ittt  fj 
FM^inO:  amk'LeOimJtki 
IvH^  1799. 


aad  a  eoaqaooi^he 
iBto  a  dove;  daia^t  h 
deciiae.  aad  iMHetziBSto  die  I 
tii  time,  wi 

-     ^r  ia  tli^sliiM.  be  wfciiwl  each  estraor- 
•<-'fiu  mpom  the    llhiaiaai.  that  Aer  { 


■.'yt  jaflarwrr  whidi  ^e  had  exs- 

^ r.  ther  dfdiraMd  a  teHpla  to 

:jeofTea«    " 


I 


'-•i  ccidxated  iai 
mreof  Tfaiae&  Hie 

'  is  said,  aot  ody  ia- 
awasOofot  ^bo 

— ?     —     .:_  :he  haipu 

LA30IERHIRT.  G,  land,  ia  1797.  K!to«aid  I  b^nd  aboatthe 
......  ^  Eraach.  fro^  whcace  he  gavv 

:iQo«ias  riaa|ia!irinas;    -Gr. 
:-\  mme  r^'Op.  h  Ofcahath.     f»>>» 
"a— <._^M>h« a  f—ar»— I'at/iww 

-    :;»8. 

: .  FRAXCOIS;.  fzst  noEa  at  dhe 
^p«l  at  Waaa,  was  boea  ihtu  ia 
^  hna  aaa- 


LAMPE.  JOEDf  FREDEKIC.  ww;  a*  he  al- 
to d?ie  hiMselCaaMe  time  a  atadeac  af 


17:^  < 

ia«fae< 

he  was  cag^eei  br  Bich.  of  Oowcat  Gaidea  The- 

MtieaHaskL    ia  1ZS7. 

votaMC-A  aliM  mmk 


. thrHaiirallfiari 

\t  tbe  age  of  twelve,  hefdayed    hay,  ia  dx  i  olata. paMfefced  by  Wa 
beiove  the    died  ia  Tnadna.  ia  dw  resr  17«r. 

'~  LAMPUGXANI.  GIOV.  BATTISTA.  «f  Hi- 

Ua.  w«^  ia    17m   aad   1744.  ia 
sa^«o<  hi»  operas  ware  pccftnaed 

aotwiiueaiaapaadttTl^caaasMadoB^aM**" 

T'^lr  ■Bili-r»    ■iliiiiini"  sail  iiwii     Hw 


pages  of  ma- 
b   1<7S.  he 


pal  wHxk*  wen  -  A^mm,'  17*4. 
174S.  beades  aoa      ~       ~         ~ 


4o  ;r^Tv*- 

l)r.Bi 

"that  he  wc 

ia  Earope." 

sie  wixkoat 

weak  to  Lk: 

iefat.adce' 

3f  LoidG*: 

Holk^wL 

Hii pablishe-       .  ^-  -le^  -  Ttm»  Cmanitm 

riatmT'Ptni,  i::0:  "SUSoim^im-k    f, 

IjamStm  I  mmd- Ain  tmriiapam-k  rithm,"  

Lamooe  was  a  iisisililih   dgbt  player,  wUch  i  at  naakfoet  c«  dK 
Janowi^  was  owe  dedia«s  to  pat  to  the  toM. 


>  -   ..     ne  -aea  ted  to        LANCE.  LE  CHEVALIER  DB  LA. 
:.ia  17&l.aeedo^thaRT.    ia  1S«2,  at  Vcrdaa.    He  ww.  pmisaa 
yaar  17»a.  aa  odker  ia  tihr  tmrU  ItaMh  , 
r  bat,  dariag  the lalisa.  ^a'imid  both  t^o 

~    laddid  far  saaai 

Ve  WW 
bri 


Ml 


KAN 


EXCYCLOP^DIA    OF    MUSIC. 


LA> 


to  SUasin,  where  Iw  lived  on  the  estate  of  a  no- 
oliMunii,  to  whom  he  gave  instruction  on  the 
piiino-tortc.  lie  publisheir the  following  corapo- 
(iitious:  "  Uomaiici'3  et  aiitrea  ('/laiitcs  de  Zilla," 
I'liriii.  "  Trois  Sim  ilea  pour  le  Clavicin,  avcc  I'io- 
loH,"  Op.  2,  Paris.  '•  Six  Airs  i-ariis  pour  le  Cla- 
cc^iii,"  Op.  3,  Paris.  Op.  4  is  not  known.  "  So- 
vate  briUatUe  pour  le  Ctaricin,"  Op.  .5,  Paris. 
"  Troia  Soiiates  pour  le  Clacecin  et  Violon,"  Op.  6, 
Piiris.  Op.  7  is  not  known.  "  Troit  Sonnies jmur 
le  Clavicin,  avcc  Violon  et  Ihiss,"  Op.  8,  OHcnhach, 
1793.  "  Grand  Co)'certo  jx),ir  le  Cltnictn,"  Op.  9, 
Frankfort,  1794.  "  Trois  Trios  pour  le  Clavicin, 
Vmhn,  ct  liass,"  Op.  10,  Offenbach,  179-5. 
"  /  lainte  de  Vdnus  sur  la  Mort  d' Adonis,  Cantate, 
ni  re  Accompagnemmt  de  Pianoforte,  deux  Violoiis, 
A.,  ct  liass,"  Mentz,  1795.  "  Hecueil  dcs  AUeman- 
dcs,  Atigloises,  Ixc,  pour  le  Clavicin,"  Vienna,  1798. 
"  7V  J»ie,  avcc  douze  Variationa  pour  le  Clavicin," 
1801  "Air  liusxe,  avcc  sept  Vuriations  jK>ur  le 
i'lavt  nn."  "  Quartet  pour  le  Clavecin,  avcc  deux 
yiol</)is  et  Violoncello,"  Op.  13.  "Deux  Grands 
Trios  pour  le  Clavicin,  VioLon,  et  J'iotoiiceUo  ohli- 
galo,"  Op.  2,  Augsburg,  1802.  In  the  year  1783. 
a  violinist,  of  the  name  of  La  Laiice,  was  engaged 
at  the  Theatre  Fran(;ais  in  Paris. 

LANCELOT,  CLAUDE,  a  Uenedietine  monk, 
born  at  Paris  in  Ifilo,  was  master  in  Greek  to  the 
celebrated  Racine.  Amongst  other  works  he 
published  "  Nouvclle  Mithode  pour  npprendre  le 
I'lain-chant,"  Paris,  1668,  and  reprinted  in   1685. 

LAXDI,  STEFFAXO,  a  composer,  Uved,  about 
the  year  1619.  as  niailrc  de  chapclle  to  the  Bishop 
of  Padua;  and  afterwards,  about  1634,  was  at 
Rome,  as  member  of  the  Pope's  Chapel.  We 
possess  information  of  the  followmg  of  his  printed 
works:  "  Madriga/e,"  Venice,  1619;  "La  Mort 
dt  Orfio,"  Venice,  1619  ;  and  "  //  6'.  A/essio,  Dram- 
ma  MuiicaJe,"  Rome,  1634. 

LAXDLER.  (G.)  A  country  dance  or  air  in 
a  rustic  and  popular  style,  generally  in  three 
eight  time. 

LANDMANX,  a  German  musician,  is  known 
since  the  year  1770  by  an  oratorio  of  the  passion 
and  three  quatuors,  in  manuscript,  of  his  com- 
position. 

LAXDKIANO,  CARLO  AXTOXIO,  is' con- 
sidered a  prodigy  as  a  soi)ranist,  by  Picinclli, 
in  his  Afcn.  dn  Lettcrali,  Milan,  p.  106.  His 
greatest  triumph  was  at  the  festivals  celebrated 
on  occasion  of  the  marriage  of  the  Duke  of  Par- 
ma, Odoarilo  Farne-e,  where  he  procured  great 
presents.  He  oljtr.incd,  afterwards,  the  place  of 
organist  at  St.  Raphael's  Church,  and  was  ap- 
pointed, at  the  same  time,  singer  in  the  cathedral 
at  Milan.  He  died  in  the  thirty-third  year  of  his 
age.  The  following  of  his  works  is  printed : 
"  Uotetti  a  voce  sola,"  Milan,  1655. 

LAXETTI.  Tills  Italian  musician  published 
at  Arioterdam,  in  1762,  six  very  agrceal)le  violin 
trios. 

LAXFR.\XCO  DA  TEREXITO  PARMEGl- 
AXO,  GIOVAX.  MARI.\,  a  professor  and  mu- 
sical a'-t'nor,  live!  in  the  beginning  of  the 
sixteenth  otntary,  and  was,  in  the  ojiinion  of  Dr. 
Fork'.'.,  eitliP'  "inger  or  maitre  de  c/ia/Ml/e  in  the 
cathciln*'  ^r  Brescia.     A  work  of  his,  highly  es- 


teemed by  his  contemporaries,  is  entitled  "  .Sci>«. 
tille  di  Music-a,  che  mostrano  a  Icjgcre  il  canto  fernu. 
c  figurnto,  gli  accidenli  delle  note  misurate,  le  propor- 
tioni,  i  tuoni,  il  contrapunlo  e  la  divi-sioiie  del 
monochordo,  con  la  accordatura  da  varii  i?istruntenii, 
delta  quale  nasce  un  modo,  ande  ciascun  per  se  stcssc 
imparare  potra  le  voci  di  la,  sol,  fa,  mi,  re,  ut," 
Brescia,  1533.  This  work  is  so  rare,  that  neither 
Hawkins  nor  Burney,  indeed  not  even  Padre 
^Lirtini,  appear  to  have  seen  a  copy  of  it.  It  is 
only  now  to  be  found  in  Germany,  in  the  ducal 
library  at  (jotha,  where  Dr.  Forkel  saw  it,  and 
has  consequently  been  enabled  to  give  us  not  only 
the  complete  title  of  the  work,  but  also  much 
other  interesting  information  respecting  its 
author. 

LAXG,  E.  G.  B.,  a  harpist  and  painter  at  Xu- 
remberg,  died  there  in  1780,  aged  thii-ty-sLx.  He 
compo.sed  much  music  for  his  instrument. 

LAXGDOX,  RICHARD.  An  English  com- 
poser, in  the  middle  of  the  last  century.  Among 
his  works  are  "  Songs,  two  Books ;  "  "  Canzonets," 
Op.  7  ;  "  DiWne  Harmony,  Book  I."  This  con- 
tains about  sixty  psalms  in  score,  with  a  part  for 
the  bassoon  or  violoncello.  The  second  book  of 
the  same  collection  contains  "  Anthems,  &c.," 
and  "Twelve  Glees." 

LAXGE,  or  LAXGIUS,  IHEROXIMUS 
GEOKGIUS,  was  born  in  Havelburg,  in  the 
duchy  of  Brandenburg,  and  published  "  Cantiones 
Sacra;  4,  5,  6,  et  8  \'oc..  Pars  I.,"  Xuremberg, 
1580,  and  a  second  volume  of  the  same,  Xxxrem- 
berg,  1584.  Both  volumes  are  inscribed  to  the 
council  of  Bretdau,  on  which  occasion  the  author 
mentions  that  an  unforeseen  misfortune  had  com- 
pelled him  to  resign  his  emplo\-meuts.  The  mis- 
fortune he  here  alludes  tc  wa-s  a  paralj-tic  affec- 
tion of  the  hands  and  feet,  wliich  put  an  end  to 
his  life  in  1587. 

LAXGE,  JOHAXX,  flourished  as  a  composer, 
in  Gennany,  about  the  year  1651.  He  set  several 
melodies  in  "Zcsen's  Dichterischen  Liebes  fiam- 
nuni,"  L  e.,  poetical  love  flames. 

LAXGE.  JOH.  CASPAR,  a  vocalist  at  HUdes- 
heim,  in  the  latter  half  of  the  ^eventeenth  cen- 
tury, published  "  Methodus  nova  et  perspiciia  in 
Artein  Mnsicam,"  i.  e.,  "  Rudimental  instructions 
for  act^uiring  the  noble  art  of  music,  with  every 
thing  belonging  to  it,  in  the  easiest  and  surest 
way,  and  within  a  short  time,  according  to  the 
present  manner.  To  which  is  added  an  appendix 
of  the  musical  terms  most  in  use  at  present ;  also, 
forms  for  practice  illustrative  of  the  text,"  Ilildcs- 
heim,  1683.  The  work  is  in  question  and  an- 
swer. 

LAXGE,  JOSEPH,  a  performer  in  the  Nation- 
al Theatre  at  Vienna,  and  dramatic  composer,  not 
without  talents  and  science,  was  born  in  AVurtz- 
burg  in  1752.  He  appeared  on  the  stage  lor  the 
first  time  in  1770,  and  afterwards  married  the 
celebrated  vocalist,  Maria  Antonia  Weber.  He 
wrote,  about  the  year  1796,  the  music  for  the 
opera  "  AdelAcit  von  Pouihicu." 

L.A.XGE,  LOUISE.  wL''e  of  the  preceding,  and 
sister  to  Madame  Morart,  was  born  in  Mauheim. 
She  made  her  d  but  on  the  stage  in  1779,  went 
afterwards  to  Vieiuia,  and  was  engaged  there  at 


602 


LAX 


ENCYCLOPAEDIA    DT    MUSIC. 


LAN 


the  Grand  Opera.  She  afterwards  sanR  at  Schro- 
der's theatre,  in  Hamburg,  from  whence  slic 
went  to  Amsterdam  in  1798.  The  German  critics 
greatly  admired  her. 

L.\NGE,  C.VTIIARINE,  court  singer  and  per- 
former at  Munich,  born  in  Manhcim  in  1774,  was 
a  pupil  of  Miulnme  WendliuK,  of  Mauhoim,  and 
appeared  for  the  first  time  on  the  .stiif^o  in  17D'2. 
(>reat  praise  wn.s  bestowed  on  her  in  Gcrmairj'for 
her  musical  kno\vled;^c,  her  powerful  and  jiuro 
voice  and  tasteful  execution.  In  the  year  17i)3, 
she  weut  to  Italy  with  her  father. 

LANGLE,  IIOXORE  FRAXQOIS  MAUIE, 
o.Tu  at  Monaco  in  1741,  was  sent  to  Xaples,  when 
6-  ttcen  years  of  a2,e,  by  the  Prince  of  Monaco, 
that  he  miijht  be  instructed  in  music.  lie  en- 
tered theC'onscrvatory  of  La  Pieti,  that  he  mij^ht 
study  under  Catfaro,  who  was  considered  the 
most  learned  pujjil  of  the  renowned  Leo.  Here 
Lanj^lc  remained  ci;;ht  years,  till  he  became  prin- 
cipal chai>cl-ma'-ter  of  the  institution.  During; 
this  period,  he  composed  several  mivsses  and  mo- 
tets, which  were  applauded  by  the  tirst  masters 
in  Italy.  In  17()8,  he  went  to  Paris,  and  soon 
distinguished  himself  there,  at  the  spiritual  and 
other  concerts,  for  which  he  composed  several 
lyric  sceniis.  In  the  year  1791,  his  opera  of 
"  Corisaiithe  "  was  first  represented  at  the  Royal 
Academy  of  Music  :  the  success  of  this  piece  led 
him  to  compose  others  of  the  same  description, 
which,  however,  were  not  performed.  Lanijlc 
also  wrote  sevehd  didactic  musical  works  namely, 
"  Trait:  J' Iliinnnnie  et  (te  Mtdulntioii,"  1793  ; 
"  TraiU.  de  la  lin.is  stits  Ic  Chant,"  1797  ;  "  Traiti 
de  la  Fiirjui;"  ISOO;  and  "  Xoiirellt;  Mithode  /mar 
chiffrer  la  Acor.h,"  1801.  Langlc  was  master  to 
the  celebrated  Dalayrac,  who  is  called,  in  France, 
the  second  Gretry  of  the  comic  o;icra.  He  was 
also  a  proi'essor  and  librarian  at  the  Conservatory. 
He  died  at  Paris  in  1807. 

LAXGMAFIUS,  GOITFRIED,  a  composer, 
and  lastly,  chamberlain  and  bass  singer  at  the 
court  of  Eisenach,  was  born  in  Guben,  in  1684. 
He  remained  six  years  at  the  academy  at  Leipsic, 
and  in  1710  was  called  to  Eisenach,  and  appointed 
to  the  above  situati  in,  wliich  he  held  in  1732.  He 
composed  some  music  for  both  the  church  and 
chamber. 

LAXGSHAW,  Sen.  This  insenions  organ- 
ist and  mecl\Bnic  was  engaged  by  the  Earl  of  Bute 
to  set  the  barrels  for  his  celebrated  organ,  and 
continued  in  his  lordsliip's  sole  employ  for 
r.bove  twelve  years.  The  setting  of  these  barrels 
Ls  mentioned  in  the  following  very  flattering 
terms,  in  the  lives  of  Handel  and  Smith  :  '•  He 
[Smith"  wius  engaged  at  this  time  in  arranging 
music  for  some  barrels  belonging  to  a  large  or- 
gan, the  property  of  the  Earl  of  llute.  The  bar- 
rels were  set  by  an  ingenious  artLst,  of  the  name 
of  Langshaw,  in  so  masterly  a  manner,  that  the 
effect  was  equal  to  that  produced  by  the  most 
finished  player." 

Langshaw,  wishing  to  reside  in  the  country  for 
the  benefit  of  his  health,  accepted  the  situation  of 
organLst  at  Lancaster  in  V'l. 

LANGSHAW,  JOHN,  son  of  the  preceding, 
was  born  in   London  in   17013.     He  received  his 


age.  In  liis  sixteenth  year  he  weiit  to  London, 
and  there  studied  under  Charles  Wesley,  from 
whom,  as  also  from  his  brother,  Samuel  Wetley, 
ho  ex])ericnced  the  most  unremitting  kindness. 
To  these  instriictions,  and  to  the  tre'iuent  oppor- 
tunities he  lia  I  of  hearing  the  Wedeys"  ])ortorm- 
ances  in  jirivate,  he  attributes  all  hLs  subsec^ueut 
improvement. 

After   visiting   London   three  times,  he  com- 
menced his  career  a^t  a  teacher  of  music,  and  in 
1798   succeeded  his  father,  as  organist,  at  Lau 
caster. 

His  publications,  which  are  not  numerous,  con- 
sist chiefly  of  "  The  Farewell,"  an  anonymous 
ballad,  much  sung  by  Mr.  Meredith  ;  "  Can  joy 
that  wretclied  bosom  cheer,"  which  is  thought  to 
convey  much  of  the  spirit  and  pathos  of  the 
words  ;  with  several  other  songs,  some  choruses 
from  the  works  of  Handel,  and  the  "Creation" 
of  Haydn,  arranged  lus  duets  ;  also  "  A  Theme, 
with  Variations  for  the  Piano-forte  or  Harp," 
originally  composed  for  the  Countess  of  Dun- 
more. 

LAXCiUEMKNTE,  or  LAX(}UEXDO.  A 
word  implying  that  the  movement  before  which 
it  is  placed  is  to  be  sung,  or  played,  in  a  soft  and 
dolorous  style.  The  term  L\.NOfE.vrE  and  L.vx- 
ociDo,'havea  similar  meaning  —  languishingly,  or 
with  languor. 

LAXIERE,  L.VXIER,  or  LAXEARE,  NI- 
COLA.S,  was  boiu  in  Italy  in  the  year  1.568.  Li 
the  early  part  of  his  life,  however,  he  went  into 
England,  where  he  continued  to  reside  until  the 
time  of  his  death. 

He  was  the  composer  of  a  masque,  performed 
at  Lord  Hay's,  mentioned  in  Ben  Jonson's 
works,  and  also  joint  composer  with  Cojierario  o/ 
another,  performed  on  the  marriage  of  the  Earl 
of  Somerset  with  Lady  Francis  Howard.  Many 
of  his  soi\gs  are  to  be  found  in  different  collec- 
tions published  during  the  reign  of  King  Charles 
I.,  but  they  have,  in  general,  very  little  merit. 
.Smith,  in  his  MmUa  Aitti'jiui,  has  inserted  one  of 
them,  taken  from  the  mascjue  called  "  Luminalia, 
or  the  Festival  of  Light,"  perfonncd  at  court,  on 
the  evening  of  Shrove  Tuesday,  1G37,  in  which 
the  queen  and  her  ladies  were  the  masquers. 

Laniere,  as  well  as  musician.was  a  painter  and 
engraver.  There  is  an  excellent  portrait  of  him, 
painted  bv  himself,  iu  the  music  school  at  Ox- 
ford. 

LAXXOY,  LE  COMTESSE  DE,  was  a  good 
musical  amateur,  and  resided  some  years  in  Ger- 
many. She  pubU.shed  "  Deux  Hix/naiicfs  Fraiii;. 
aoec  Ace.  de  I'iuno-forti;"  Berlin,  1798  ;  "  TVom  .Sj- 
tuitea  ]>our  If  Clar.,  avec  Ace.  d'un  1'i'ihn  et  J'iolan- 
cello,"  Berlin,  1798  ;  •'  Ilomaiicis  Arc.  de  Piano-forte 
ou  de  la  Uiir/ff,"  Part  II. ;  *'  liomances  Ace.  de 
Piano-forte  ou  de  la  llurpe,"  Part  III.,  1801. 

L.VXUSSE,  (fiLs. )  Under  this  name  have  been 
printed  in  Pari.s,  in  1800,  "  Quatre  liomaticei  arec 
Ace.  de  Pitino-fnrte," 

LAXZ,  J.  M.,  a  German  composer,  Lh  known 
by  several  works  for  the  piano  and  for  the  voice, 
naxacXy,  "  Liigenlieder,"  Dresden,  1788;  "  Quatrt 
Soiiates  pour  le  Clar.  (Tune  Exicul.  facUe"  Op.  3 
Brunswick,  179.5;  "  Twenty-one  Variations  upon 


education  chiefly  at  Lane.ister,  but  did  not  devote  I  '(rod    save   the    King,'  for    the  Piano,"    Op.  4; 
much  time  to  music  till  he  wa^j  thirteen  years  of  ,  "Twenty-one   Variations  upon    -God   sare   tbi 

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ENCYCLOPAEDIA    OF   MUSIC. 


LAS 


K  ng,'  for  the  Piano,"  1795;  •' Sonate  d  qualre 
in  ii'/w,"  C)|).  .i  ;  "  Sonate  h  qualre  mains,"  1796  ; 
"  Ei);lit  Variations  for  the  Piano-forte,  upon 
'  Frcut  ettcli  ties  Lebeiu,'  "  Hanover,  179G. 

LANZA,  (ilUSEI'PE,  an  It^ilian  composer, 
published  at  Naples,  in  1792,  "6  Arie  Xoliunie 
con  Accomp.  ili  Chitarra  Francese  e  f.  a  pUicer." 
Lan/.a  re:-ided  during  many  years  in  England, 
and,  for  a  considerable  time,  was  resident  in  the 
family  of  the  Marcjuis  of  Aberconi.  He  published 
in  London  several  s^cts  of  very  pleasing  and  tastc- 
lul  canzonets,  for  one  and  two  voices.  The  fol- 
lowing of  his  works  were  j)rinted  by  Birchall : 
"Six  Trios,"  Op.  13,  and  "Six  Canzonets,  with 
Uecitatives,"  Op.  14. 

LANZA.  GESUALDO,  son  of  the  prececUng, 
resided  in  England  from  an  early  age.  He  was 
considered  an  excellent  singing  master,  and  has 
published  one  of  the  best  works  on  that  art,  tw- 
titlcd  "  The  Elements  of  Singing  familiarly  exem- 
plified," &c.  (See  Quarterly  Musical  Review,  vol. 
i.  p.  351.) 

LA  POULE.  ITie  second  figure  in  a  qua- 
driUe. 

LAPPI,  PIETRO,  an  ecclesiastic  and  composer, 
of  Florence,  flourished  about  the  beginning  of  the 
seventeenth  century,  as  chapel-master  in  the 
church  of  St.  Maria  Gratiarum  of  Brescia.  He 
published  much  church  music,  of  which  we  can 
only  mention  the  following  pieces  :  "  Litanie  delta 
Madoitiia  a  4,  5,  6,  7,  et  8  voci ;  "  "  Salmi  Concer- 
tali  a  5  voci ;  "  "  Mi-sse  a  3,  4,  c  5  Chori,"  Venet. 
1616  ;  these  were  burned  in  1794,  in  the  castle  of 
Copenhagen.  "  ivwrte  Meiodite,  1.  2,  3  —  6  voci  de- 
cantaiidte,  una  cum  Symphoniia  et  B.  ad  Organum," 
Frankfort,  1621  ;  "  Compieta  A  3  e  4  Clutri,"  Op. 
16,  Venice,  1626  ;  "  Rosarium  Musicak,"  Venice, 
1629:  this  la.st  work  contains  a  mass,  psalms. 
Magnificats,  litanies,  and  Te  Deums,  for  two  and 
three  choirs. 

LA  PRIMA  INTENZIONE.  An  expression 
applied  by  the  Italians  to  the  form  of  any  compo- 
sition, as  originally  designed  by  the  composer, 
and  distinguished  from  the  improved  or  altered 
copy. 

LARBA,  GIOV.  LEONARDO,  a  composer  of 
the  sixteenth  century,  published  "  Canzonette  Na- 
politaiie  d  3,"  Venice,  1565. 

LARGAMENTE,  LARGAMENTO.  (I.)  In 
a  full,  free,  broad  style  of  performance. 

LARGE.  A  character,  or  note,  formerly  in 
use,  of  the  greatest  value  or  duration  ;  equal  in 
length  to  two  longs,  four  breves,  eight  semibreves, 
sixteen  minims,  thirty-two  crotchets,  sixty-lour 
quavers,  and  so  on  in  duple  proportion. 

L-VRGHETrO.  A  word  spccifj-ing  a  time 
not  quite  so  slow  as  that  denoted  by  largo,  of 
which  word  it  is  the  diminutive. 

LARGHISSniO.     (I.)     Extremely  slow. 

I>AROO.  (I.)  A  word  by  which  is  to  be 
understood  a  movement  one  degree  quicker  than 
(rave,  and  two  degrees  quicker  than  adagio. 

LAIUGOT.    The  former  name  of  a  flageolet. 


LAROCIIE.  A  French  composer  of  many 
songs  wliich  were  popular  at  the  court  of  Louia 
XIV. 

LAROON,  MARCELLUS,  an  amateur  musi- 
cian at  0.xford,  was  a  skilful  performer  on  the 
violoncello,  and  wrote  several  solos  for  his  instru- 
ment.    He  died  at  Oxford  in  1772. 

LARIVEE,  M.  One  of  the  greatest,  if  not 
the  greatest,  of  French  musical  artists.  From  the 
humble  station  of  a  barber's  boy,  he  attained  the 
nearest  approach  to  the  perfect  standard  of  ex- 
cellence, as  established  by  the  French  critics.  It 
was  his  peculiar  good  fortune  to  attract  the  no- 
tice, and  soon  after  to  receive  the  invaluable  in- 
structions, of  the  celebrated  Gluck,  under  whose 
anxious  care  he  accjuired  "  a  more  impressive 
manner  of  delivering  reciiative "  than  liad  been 
known  to  the  French  before,  and  which  ap- 
proached nearer  than  had  been  conceived  possi- 
ble to  the  genuine  style  of  French  declamation. 
He  is  said  to  have  united  in  a  surprising  degree 
all  the  qualities  of  a  singer  and  actor  ;  hLs  voice 
was  full  and  melodious  ;  his  taL^te  and  judgment 
pure  and  sound.  It  is  said  that  the  best  per- 
formances of  Garcia,  father  of  Malibran,  might, 
perhaps,  in  their  force,  variety,  and  truth,  give 
some  idea  of  Larivee's  excellence. 

LARRH'EE,  HENRI,  bom  at  Lyons  in  li  }i, 
entered  as  a  singer  at  the  Grand  Opera  at  Paris 
in  1755.  He  was  much  admired,  but  sang  with 
rather  a  nas<d  tone ;  which  caused  a  wit  in  the 
parterre  to  remark,  on  hearing  him  for  the  first 
time,  "  I  0(7(1  un  nez  qui  a  une  belle  voix!"  He 
died  in  1802. 

LARUE,  PIERRE  DE,  a  Frenchman  by  birth, 
called  sometimes  PETRUS  PLATENSIS,  was 
chapel-master  at  Antwerp.  He  composed  some 
masses  and  motets  about  the  year  1549. 

LARYNX.  (Gr.)  The  upper  part  of  the 
trachea.  The  larynx  is  composed  of  five  annu- 
lar cartilages,  placed  above  one  another,  and  unit- 
ed by  elastic  ligaments,  or  fibres,  by  which  it  is 
so  dilated  and  contracted,  as  to  be  capable  of  pro- 
ducuig  all  the  various  tones  of  the  voice. 

LASCEL^X,  GUILLAUME,  an  organist  at  Par- 
is, was  born  at  Poksy  in  1740.  He  was  a  pupil 
of  Noblet  for  composition,  and  published  many 
works  for  the  organ  and  haqisichord,  between  the 
years  1768  and  1806. 

I,ASKA,  FRANCIS,  one  of  the  best  organists 
in  Bohemia,  was  born  in  1750,  and  lived,  in 
1788,  at  Mokarzow,  as  an  ex-Benedictine  monk. 
He  died  January  19,  1795,  lea\-ing  in  manuscript 
several  organ  compositions. 

LASSER,  JOHN  BAPTI.ST,  court  and  private 
singer  at  Munich,  was  born  at  Steinkirchen,  in 
Lower  Austria.  About  the  year  1790  he  was 
tenor  singer  and  performer  at  the  theatre  of  Gratz. 
He  has  not  only  given  proofs  of  his  activity  and 
talents  as  an  author  and  composer,  but  has  made 
his  son  a  distinguished  pianist.  The  younger 
La-sser  first  jierfonued  in  jmblic  in  1794,  at  the 
Academy  of  Music  at  Vienna,  where  he  was  great- 
Iv  apiilaiidetl.  Amrng  the  father's  works  are  the 
following  operas:  'Das  wUihende  Ilcvr"' — The 
Mad  Army ;  "  Die  gliukluhc  Maskerade  " — The 
Fortunate    Masquerade ;      "  Der    KajM^Umeister." 


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ENCYCLOPAEDIA    OF    MUSIC. 


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"  Die  Klit(/e  Wiltwe."  "  Die  unnihiye  Nacht  " 
—The  Uoistorous  Niijht.  "  Lti  Manhatule  dc 
Modes" — Tlie  Millinor.  "  Der  Jiiile" — The 
Jew.  "  Die  llu/dii/uiiy  der  Treiie  "  —  Hie  Hom- 
age to  Fidelity.  lie  iilso  wrote  several  masses. 
I'he  following,  however,  in  his  only  work  whicli 
has  become  known  through  the  press :  "  VoUtan- 
dige  Anleitwuj  zur  Siii'jkunU,  soicohl  fUr  den  Sopraii 
lis  auch  fur  den  Alt,"  i.  e.,  "  Complete  Introduc- 
tion to  tho  Vocal  Art,  lor  the  Soprano  as  well  as 
Alto."     Munich,  179S. 

LASSO,  ORLANDO  DI,  or  LASSUS,  also 
ROLAND  DE  LAITRK,  a  native  of  Mons,  in  Ilai- 
nault,  born  in  the  year  \r>10,  was  the  contemporary 
of  Ciprinno  Rorc,  and  much  resembled  him  in 
genius,  abilities,  and  reputation.  Orlando  not 
only  spent  many  years  of  his  life  in  Italy,  but  had 
bis  musical  education  there,  having  been  carried 
thither,  surreptitiously,  when  a  child,  on  account 
of  his  fine  voice.  The  historian  Thuanus,  who 
has  given  Orlando  a  place  among  the  illustrious 
men  of  his  time,  tell.s  us  that  it  was  a  common 
practice  for  young  singers  to  be  forced  away  from 
their  parents,  and  detained  in  the  serN-icc  of 
princes ;  and  that  Orlando  was  carried  to  Milan, 
Naples,  and  Sicily,  by  Ferdinand  (ion/ago.  After- 
wards, when  he  was  grown  up,  and  had  probably 
lost  his  voice,  he  went  to  Rome,  where  he  taught 
music  during  two  years ;  at  the  expiration  of 
which  he  travelled  through  different  parts  of  Italy 
and  France  with  Julius  Ca?sar  Brancaccio,  and  at 
length,  returning  to  Flanders,  resided  many  years 
at  Antwerp,  tUl,  being  invited  by  the  Duke  of 
Bavaria  to  Munich,  he  settled  at  that  court,  and 
married.  lie  had  afterwards  an  invitation,  ac- 
companied with  the  promise  of  great  emoluments, 
firom  Charles  IX.,  King  of  France,  to  take  ujion 
him  the  office  of  ma.ster  and  director  of  his  band, 
an  honor  which  he  accepted,  but  was  stopjjed  on 
the  road  to  Paris  by  the  news  of  that  monarch's 
death.  After  this  event,  he  returned  to  Munich, 
whither  he  was  called  by  William,  the  son  and 
successor  of  his  patron  Albert,  to  the  same  office 
which  he  had  held  under  his  father.  Orlando  con- 
tinued at  this  court  until  his  death.in  the  year  1.59.3, 
at  upwards  of  s^eventy  years  of  age.  His  reputation 
■was  so  great  that  it  was  said  of  him,  "  llic  ille 
Orlandus  Lassum  qui  rccreat  orhem." 

As  he  lived  to  a  considerable  age,  and  never 
seems  to  have  checked  the  fertility  of  his  genius 
by  indolence,  his  compositions  exceed,  in  number, 
even  Ihose  of  Palestrina.  There  is  a  complete 
catalogue  of  them  in  Drauilius,  amounting  to  up- 
wards of  fifty  different  works,  consisting  of  mass- 
es. Magnificats,  passiones,  motets,  and  psalms, 
with  Latin,  Italian,  (jennan,  and  French  songs, 
printed  in  Italy,  Germany,  France,  and  the  Neth- 
erlands. 

To  form  a  comparative  idea  of  the  style  of  the 
two  composers,  Orlando  and  Cipriano,  with  that 
of  Palestrina,  the  specific  difference  seems  to  be 
this :  that  the  two  Nctherlandcrs,  by  having 
spent  the  chief  part  of  their  time  in  the  courts 
of  princes,  had  acqiiired  a  lighter  and  more  sec- 
ular cast  of  melody  than  Palestrina,  who,  resid- 
ing constantly  at  Rome,  and  writing  chiefly  for 
the  church,  had  a  natural  and  characteristic 
p'avity  in  all  his  productions.  Indeed,  the  com- 
positions fi  capetla  of  Cipriano  Rore  and  Orlando 
di  Lasso  arc  much  inferior  to  those  of  Palestrina, 
in  this  particular  ;   for  by  striving  to  be  grave 


I  and  solemn  they  only  become  heavy  and  dull,  and 
what  is  unaffected  dignity  in  the  Roman  Is  little 
better  than  the  strut  of  a  dwarf  upon  stilts  in 
the  Nctherlandcrs.  They  were,  liowcver,  great 
masters  of  harmony,  and  out  of  the  church,  pre- 
pared the  colors,  and  furnished  the  musician's 
l)allette  with  many  new  tints  of  hannony  and 
modidation,  which  were  of  great  use  to  sul)se- 
quent  composers,  particularly  in  dramatic  paint- 
ing. 

In  the  same  collection  of  songs,  ])rinted  in 
15.5.5,  we  have  a  I>atin  ])oem  set  by  Orlando  di 
Lasso  in  the  manner  of  a  matlrigal,  in  which  the 
modulation  is  curious;  but,  though  elaborate  and 
recherchf,,  it  is  pleasing,  and  has  had  many  imita- 
tors. Cipriano  and  Orlando  were  the  first  who 
hazarded  what  are  now  called  chromatic  passages. 
A  statue  has  been  erected  to  the  famous  old  cora- 
l)0>er,  Orlando  di  Lasso,  at  Mons,  his  birth- 
])lace.  Judging  from  the  accounts,  the  ceremo- 
nies on  the  occasion  were  not  very  imposing.  At 
1 1  o'clock.  Lasso's  Mass  :  Or  —  hy  d  ct/up,  which 
he  had  set,  after  the  manner  of  his  time,  to  a 
well-known  theme,  was  perfonued — not  in  the 
cathedral,  nor  in  the  church  of  St.  Nicholas, 
where  Lassus  used  to  sing,  as  choir  boy — but  in 
a  little  obscure  church  of  the  society  which  has 
assumed  the  name  of  Roland  de  lAittre  :  and  per- 
formed, too,  with  many  modem  embellishments, 
and  with  an  organ  accom])animent.  After  the 
mass,  there  was  a  procession  to  the  public  garden, 
where  the  statue  was  consecrated,  and  the  vari- 
ous musical  bodies  of  the  place  were  put  in  re- 
quLsition.  ITie  statue  was  uncovered  amid  the 
thunder  of  artillery,  several  speeches  were  made, 
&c.,  &c.  In  the  expression  of  the  statue  there  is 
something  very  noble.  With  one  hand  Lasso 
touches  the  keys  of  a  portable  organ  ;  the  other 
is  niiscd  to  heaven,  as  if  he  had  just  discovered  a 
new  chord,  'llie  house  where  Orlando  was  bom 
is  no  longer  identified. 

LASSO,  RUDOLPH  VON,  eldest  son  of  the 
precc-<ling,  born  in  Munich,  was  organist  to  Duke 
Ma.ximilian,  of  Bavaria,  and  seems  to  have  met 
with  more  encouragement,  considering  the  num- 
ber of  his  works,  than  his  younger  brother  Fer- 
dinand. We  can  mention  the  following  of  his 
compositions :  "  Cantiones,  4  vocum,"  Munich, 
1G06.  "  Circia  Symphoniacua,"  Augsburg,  16U. 
"  Modi  sncri  ad  convivium  sacnim  a  2,  .3-6  roc," 
Munich,  1614.  "  Viryinalia  Eticharistica,  2,  3-7 
voc,"  1G1.5  :  Walther  supposes  this  to  be  the  fame 
work  as  the  preceding.  "  Alphabctum  Marimium 
triplici  Cantitinum  serie  ad  miillifariam,  'i,  .3,  4  vo- 
cum hnrmoniam,"  Munich,  Ifi'il  :  this  work  con- 
tains fifty-seven  pieces,  and  is  dedicat'  d  to  the 
Bishop  of  P'reysingen.  He  had  also  pre  nably  the 
greatest  share  in  the  labor  and  care  bestowed 
on  collecting  and  arranging  the  Latin  work-,  of 
his  father,  which,  after  hLs  death,  were  ])\ibli>hed 
by  the  two  brothers,  under  the  title  of  •'  Mag- 
num Opus  Musicum  Ortandi  de  Ltuso,  Capeiltr  Ba- 
raric/r  r/uotuiam  Magistri  compledrns  omnes  cant  to- 
»«•.»,  quas  Molelas  rulyo  vocant  tam  antea  eHitat.  quair 
hacUnus  nondum  pubticatas  h  2-12  vac.  a  Ferdi- 
naiuto,  Serenistimi  Barariir  Ducit  Masimiliani  Mu- 
sicnrum  Prtrfecto  et  HiuMpho,  eidrm  Vrincipi  ah  or- 
ganit ;  AtUhoris  Jiliit,  summo  utiuiio  <r)llichim,  »t 
impensis  torundem  typit  mandatum,"  Munich,  1004. 

LASSO,  or  LASSUS,  FERDINAND,  brothw 


64 


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LAT 


of  the  nreopdir.g,  was  principal  chapel-mnster  to 
the  Duku  Mnximilinn,  of  Bavaria,  at  Munich.  In 
the  yc;ir  1.5SS,  he  was  in  the  service  of  Count 
HohernoUorn.  Hy  a  work  which  he  published  in 
1604,  it  would,  however,  appear,  that  he  must, 
before  tliat  year,  liiivc  been  resident  at  Munich  as 
chapel-ma-iter,  in  which  situation  he  probably 
continued  till  his  death.  Besides  the  edition.s  of 
his  fatlicr's  works,  in  which  he  was  enj^nged  in 
1C04,  in  Munich,  conjointly  with  liis  brother  Ru- 
dolph, he  also  published  the  following  works  of 
his  own  :  "  Cantiona  Sacr<e  6  vocitm  cum  lustrum,." 
1688.  "Appiiratim  Mtuicas  8  vociim,  variiis  eas/jtie 
lacras  et  diciids  oJficiU  aptas  complecleiis  odat  coii- 
einnatiis  a  Ferdinniuh  di  Ltuao  Screws,  ilaximiti- 
ani  utriusr/ue  liavarUe  J'rincipis  supremo  Musiccs 
rrtefcctn,"  1622. 

LASUS,  according  to  Suidaa,  was  a  native  of 
Hermione,  a  city  of  Peloponnesu-i,  in  the  king- 
dom of  Argos.  lie  flourished  in  the  fifty-eighth 
Olympiad,  rive  hundred  and  forty-eight  yeiirs  be- 
fore Christ,  and  wiis  the  most  ancient  author 
known  who  had  written  upon  the  theory  of  music. 

Witli  respect  to  the  musical  discoveries  of  La- 
sus,  both  in  theory  and  practice,  all  that  we 
know  of  them  may  be  reduced  to  three  heads. 

1.  Aii-stoxenus,  in  speaking  of  the  nature  of 
sound,  attributes  to  him,  in  common  with  certain 
Epigonians,  a  heterodox  opinion,  tliat  sound  had 
a  latitude.  Meiboraius  Ls  perplexed  by  the  pas- 
sage, but  is  inclined  to  think  it  means  onjy  that, 
in  sustaining  a  note,  the  voice  varied  a  little  up 
and  down,  and  did  not  strictly  keep  to  one  math- 
ematical line  of  tone.  This  explication,  however, 
is  not  satisfactory  ;  for  the  expression  naturally 
leads  to  the  idea  of  a  temperament,  and  seeqis  to 
say,  that  the  intonation  of  the  scale  admitted  of 
some  variety  ;  in  other  words,  that  the  exact  ra- 
tio of  intervals  might  be  departed  from  without 
offending  the  oar.  And  what  is  said  of  Lasus  by 
Plutarch,  in  his  dialogue  on  music,  renders  this 
idea  still  more  probable.  He  is  there  mentioned 
as  a  great  innovator,  who  imitated  the  compass 
and  variety  of  wind  instruraent.s,  as  well  as  Epi- 
gonius,  who  was  the  inventor  of  the  instrument 
of  forty  strings.  Among  the  corruptions  com- 
plained of  in  the  new  music,  the  frequent  and 
licentious  transitions  from  one  mode  and  genius 
to  another,  was  not  the  least.  If,  therefore,  the 
object  of  this  multiplication  of  strings  may  be 
supposed  to  have  been  the  convenience  of  having 
an  instriiraent  ready  tuned  for  all  the  modes,  like 
our  har])sichords,  it  seems  probable  that  both  La- 
eus  and  Epigonius  might  have  been  temperers,  and 
have  accommodatetl  their  doctrine  to  their  prac- 
tice. 

2.  Theon  of  Smyrna  testifies  that  Lasus,  as  well 
as  the  Pythagorean  Hippasus  of  Metapoutus, 
made  vise  of  two  vases  of  the  same  size  and  tone, 
in  order  to  calculate  the  exact  ratio  or  propor- 
tions of  concords.  For,  by  leaving  one  of  the 
vases  empty,  and  filling  the  other  half  full  of 
water,  they  became  octaves  to  each  other ;  and  fill- 
ing one  a  fourth  part  full,  and  the  other  a  third, 
the  percussion  of  the  two  vessels  produced  the  con- 
lords  of  fourth  and  fifth  ;  from  which  process 
resulted  tlio  proportions  of  these  three  concords, 
contained  in  the  numbers  1.  2,  .3,  4. 

3.  Lasus,  according  to  Plutarch,  introduced  a 
dithyrambic  license  or  irregularity  into  musical 
measure,  or  rhythm,  and  upon  his  lyre  imitated 
the  compass  and  variety  of  the  flute. 


L.\TES,  JOHN'  JAMES,  received  his  musical 
instruction  under  the  first  masters  in  Italy,  and 
was  considered  an  excellent  performer  on  the 
violin.  He  led  the  concerts  at  Oxford  with  credi* 
to  himself  and  great  satisfaction  to  his  employ- 
ers, llie  Duke  of  Marlborough  honored  hiir 
with  his  patronage,  and  gave  hima'lucrative  pro- 
fessional situation  at  Blcnheun,  which  he  enjoyed 
to  the  day  of  his  death.  He  was  modest  and  un- 
assuming in  his  manners,  an  affectionate  husband 
and  father,  an  honest  and  sincere  friend,  and 
died  very  much  respected  in  1777.  He  was  the 
author  of  several  violin  solos,  duets,  and  trios. 

LATES,  CHARLES,  bachelor  of  music,  O.ion, 
son  of  the  preceding,  received  a  regular  cathedral 
education,  under  the  late  professor  of  music  to 
the  University  of  Oxford,  Dr.  Philip  Hayes,  and 
the  first  London  masters.  He  was  well  known 
to  be  an  able  extempore  fuguLst  on  the  organ, 
and  a  capital  player  on  the  piano-forte.  In  early 
life  he  published  a  "  Set  of  Sonatas  for  the  piano- 
forte," "  Songs  in  Scores,"  &c.  His  experience 
in  the  science,  and  long  practice  as  a  professor, 
together  with  the  ajjprobation  of  the  public,  fully 
proved  him  to  be  a  sound  musician. 

LATILLA,  GAETANO,  born  at  Naples  about 
1710,  distinguished  himself  by  his  talents,  at  -a 
time  when  the  school  of  Naples  was  most  fertile 
in  great  masters.  A  friend  of  Pergolese  from 
their  tenderest  infancy,  he  did  honor  to  the  ties 
which  bound  him  to  the  Orpheus  of  Ausonia,  by 
the  sincere  attachment  he  showed  to  him,  both 
in  prosperity  and  adversity,  and  he  softened  his 
last  moments  by  the  most  tender  consolation 
and  the  most  lively  grief.  Latilla  was,  moreover, 
the  maternal  uncle  of  Piccini,  and  these  titles  to 
the  consideration  of  the  friends  of  hannony,  did 
not  fail  to  be  increased  by  multiplied  proofs  of 
real  talent. 

On  quitting  the  Conservatory,  he  first  composed 
the  serious  opera  of  "  Orazii,"  and  afterwards, 
"  Mad-ama  Giatia,"  a  comic  opera,  thus  showing 
himself  almost  simultaneously,  equally  great  in 
both  styles.  He  set  the  second  opera  in  conjunction 
with  Oaluppi,  afterwards  kno\vn  under  the  title 
of  Bitratie/lo,  and  the  first  master  of  the  learned 
Lichool  of  that  city.  AVe  shall  say  nothing  of  the 
first  of  these  works,  but  that  it  succeeded,  and 
laid  the  foundation  of  the  reputation  of  its  au- 
thor ;  but  we  may  judge  of  the  success  of  the 
second  from  the  alliance  of  a  good  rising  com- 
poser, of  the  NeapoUtan  school,  with  the'  most 
famous  of  the  old  masters  of  the  rival  school  of 
Venice. 

LatiUa,  satisfied  with  having  succeeded  in  both 
styles,  did  not  change  liis  method  of  composition. 
To  "  Madama  Giana  "  succeeded  "  La  TareiUola  ,•  " 
and  to  "  Orazio,"  "  L' Otympiade,"  "  Demofoonie, 
la  Pastorella ;  "  and  to  "  ilnrope,"  "  />»  Giardiniera 
CoiUessa."  Afterwards,  devoting  himself  exclu- 
sively to  the  comic  opera,  for  which  he  probably 
felt  a  predilection,  ho  composed  "  La  Cimmedia 
in  Comntedia,"  "  Don  Catascione,"  and  "  La  Buo- 
tm  Figliuola,"  a  subject  frequently  employed  by 
other  composers.  These  operas,  performed  io 
the  difTerent  theatres  of  Italy,  were  esteemed  like 
those  of  the  greatest  masters.  On  tlie  whole,  it 
would  even  ai)pear  that  the  comic  style  .was  that 
in  which  Latilla  was  most  distinguished. 

LATOUR,     T.     This   elegant  wiiter  for  the 


606 


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ENCYCLOPEDIA    OF   MUSIC. 


LAI. 


piano-forte,  was  born  in  Pnrw  iu  17GG,  and  in  the 
early  part  of  the  French  revolution  went  to 
Loudon,  wliere  he  earned  a  substantial  reputation 
by  the  composition  ot'  very  numerous  works, 
throu;;hout  which  a  refined  taste  and  lively  mind 
are  always  distinguishable.  He  received  tlio 
appointment'  of  pianist  to  the  Prince  of  Wales, 
afterwards  George  IV.  In  1810  he  established 
himself  in  business  as  a  music  dealer,  under  the 
name  of  Chai)pell  ^t  Co.  In  18.30  he  abandoned 
business,  and  returned  to  Paris,  llaviui;  become, 
in  some  sort  the  GuHutck  of  England,  by  his 
composftions  and  easy  arrangements  for  the 
piano,  he  multiplied  varieties,  potpourris,  and 
fantasias,  whicli  obtained  considerable  vogue,  and 
from  wliich  he  realized  considerable  sums  of 
money. 

LA  THE,  JEAN  DE,  commonly  called  PETIT 
JEAX,  a  composer  of  the  I'ith  century,  published 
"  Motctli  d  5,  C,  e  7  Voc,"  Dusseldorf,'  1566. 

LA  TUENISE.  The  fourth  figure  in  a  qua- 
drille, also  called  pastorale. 

LA  TRORE,  REV.  CIIRISTIAX  IGNATIUS, 
eldest  son  of  the  Rev.  Benjamin  La  Trobe,  for 
many  years  superintendent  of  the  congregations 
of  the  United  Rrethrcn  in  England,  was  born,  in 
1758,  at  Fulneo,  near  Leeds,  in  Yorkshire.  He 
receivetl  his  early  education  at  the  place  of  his 
nativity,  and  went  to  (icrraany  in  1771,  to  prose- 
cute hi.s  studies  at  the  college  of  the  United 
Brethren  at  Xiesky,  in  Upper  Lusatia.  Returning 
iu  17s  1,  he  entered  into  holy  orders  in  the  same 
church,  and  remained  in  London.  He  was  use- 
fully and  honorably  employed  for  nearly  forty 
years,  in  the  sersnce  of  the  church  in  general,  and 
of  its  missions  among  the  heathen  in  particular, 
and  was  enabled,  by  his  public  and  private  con- 
nections, in  various  ways,  to  promote  their  wel- 
fare. He  never  cultivated  music  as  a  profession, 
though,  as  a  science,  from  his  eiu'liot  years  it 
engaged  his  attention.  In  all  his  compositions 
he  has  endeavored  to  bear  in  mind  the  great  and 
important  use  to  which  mu>ic  should  be  applied  ; 
and,  agreeably  to  his  convictions  upon  thLs  sub- 
ject, not  less  than  to  the  received  ideas  concern- 
ing the  clerical  character,  he  has  confined  himself, 
in  vocal  music,  to  sacred  or  devotional  words. 
To  encourage  the  sjime  application  of  this  divine 
art  in  others  has  also  been  one  great  object  of  his 
publications. 

Among  his  earlier  compositions  were  several 
for  instruments  alone.  Besides  concertos  for  sin- 
gle instruments,  accompanied  by  a  full  band,  he 
occasionally  wrote  sonatas  for  the  pi.ano-forte. 
A  set  of  three  sonatas,  having  met  with  the  ap- 
probation of  the  great  Haydn,  was  published 
about  the  time  of  that  master's  second  visit  to 
England  :  the  circumstance  of  their  dedication  to 
him  is  mentioned  by  Haydn  in  a  short  memoir 
of  himself. 

Mr.  La  Trobe's  compositions  for  the  church,  or 
for  private  devotion,  are  by  no  means  few  in  num- 
ber; particularly  when  it  is  considered  that  they 
are  the  production  of  very  irregular  intervals  be- 
tween othcial  engagements,  which  demand  Jio 
ordinary  share  of  time  and  labor.  Tl\ey  consist 
»f  solos,  anthems  for  several  voices,  and  oratorios, 
only  part  of  which  have  been  as  yet  given  to  the 
public.     It  would   be   ditUcult   to   say  on  what 


model  these  compositions  have  been  formed.  Mr. 
La  Trobo  is  certainly  no  copyist,  but  in  general 
displays  a  character  of  his  own.  lILs  taste  waa 
originally  grounded  upon  the  simple  yet  majestic 
modulations,  and  the  rich  harmonies,  which  char- 
acterize the  psalmody  of  the  Lutheran  and  Moravi- 
an churches.  From  these  tlie  transition  was  easy 
to  the  works  of  the  great  masters  of  the  (jennan 
school,  at  the  head  of  whom  may  be  placed  Hasst 
and  Graun  :  the  compositions  of  their  mighty  suc- 
cessors, Haydn  and  Mo/.art,  who  seemed  to  hav* 
carried  that  peculiar  combination  of  natural  and 
scientific  beauty  to  its  height,  led  him  still  further 
into  the  knowledge  and  i)ractico  of  the  ti  uc  ec- 
clesiastical style  of  music.  He  has  been  heard 
fref|uently  to  observe  that  the  '•  Tod  Jcsii  "  ( Death 
of  Jesus)  of  Graun,  and  the  "  Stabiti  Malur  "  of 
Haydn,  first  gave  him  tlic  idea  of  the  powers 
of  vocal  music,  in  the  expression  of  every  feeling 
of  which  a  devotional  mind  is  capable.  His  ac- 
quaintance with  the  foreign  masters,  which  in- 
creased with  the  gradual  acquisition  of  an  exten- 
sive musical  library,  at  length  suggested  the  idea 
of  a  publication,  by  which  Mr.  La  Trobe's  name 
has  become  better  known  than  by  his  original 
compositions,  and  which  has,  according  to  the 
testimony  of  impartial  judges,  contributed  more, 
perhaps,  than  any  other  work,  to  the  introduction 
into  England  of  a  taste  for  tlie  church  muiic  of 
Germany  and  Italy.  "The  Selection  of  Sacred 
Music,"  commenced  in  the  year  ISOG,  extended 
to  five  volumes ;  and  the  approbation  it  almost 
universally  met  with,  wherever  it  became  known, 
may  be  considered  as  no  unfair  test  of  its  merits. 
An  idea  has  been  entertained  by  some  persons 
that  tliifl  work  was  published  in  a  spirit  unfavor- 
able to  the  reputation  of  Handel ;  a.s  if  admiration 
of  the  compositions  which  have  a.isistcd  to  form 
the  taste  of  the  most  musical  nations  of  Europe 
were  inconsistent  with  the  full  enjoyment  of  the 
works  of  that  sublime  composer.  So  far  from 
this  being  correct,  it  may  be  alhrmed,  without 
hazard,  that  few  Englishmen,  even  of  the  most 
rigid  Handelians,  have  viewed  with  more  regret 
and  surprise  tlie  incraising  neglect  which  seeuu 
to  be  the  lot  of  some  of  the  finest  monuments  of 
Handel's  genius. 

I'he  following  is  a  list  of  Mr.  La  Trobe's  pub- 
lished compositions  :  "  Tliree  Sonatas  for  the 
Piano-forte,"  dedicated  to  Iladyn.  'ITie  "  Dies 
Ira;"  a  hjTnn  on  the  last  judgment.  "  The  Dawn 
of  Glory,"  a  hjTun  on  the  bliss  of  the  redeeme<l. 
"  A  Jubilee  Anthem,"  for  tlie  fiftieth  anniversary 
of  the  accession  of  King  (icorge  III.  A  "  Te  Ih-mn," 
as  performed  in  the  cathedral  at  York.  "  Mist- 
rare,"  (Ps.  li.)  Various  anthems  published  in  a 
"  Collection  of  Anthems  in  Use  among  the  Unit- 
ed Brethren."  "  Sbc  Airs,"  the  words  by  Cow- 
per  and  Miss  Hannah  More. 

LAUCHEIi,  JOSEPH  ANTOXY,  .Vim/.w  Di- 
rector  Delin(/<T  ad  Dattuhiiim  plorinaissimir  l)omus 
Austruhtr,  published  the  following  works  :  "  18 
Vesper  Hi/mitfn  mit  i  ijfirOfinl :  Stiii/stimmrii.2  VioLf 
Orgel,  Vioion,  und  2  WaJft/iOrneni,  mit  anirhUng- 
tem  voUstimmiiirn  Te  Di'um  uiirl  I'cni  Sanrtr,  etc.," 
1786.  "  Sacri_ficiiim  Mortuirum,  sen  3  MiiS4t  .So- 
Icnnes,  breres  tamen,  de  Requiem,  orcxuiont  exe^im- 
rum  felicissima  Memoria  Josrphi  II.,  Leopold*  IT., 
Ronutnorum  I mperalorum,  et  Eliscihelfur  Imp/mtri- 
CM,  in  insigni  Ecclesia  ColUgiata  D.  Petri  i/mir-n  riu 
pertolutarum  decatUaUr,  nuncrero  I'/i  luctm  pub 


607 


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ENCYCLOPAEDIA    OF    MUSIC. 


LAV 


tditte  4  vocib.  ordin.  coiuinnenlibus,  2  Violinit,  Alto- 
Viola,  el  Oryano  iieceisariis,  2  Coniil/us  vtro,  2  C'ia- 
rinettu  vvi  Oboia  et  Viuloiie  jmrtim  obliffaiU,  parlim 
non  obUyatin,"  Op.  2,  Speyer,  1792. 

LAUDAMUS.  (L.)  We praUe  thee.  Apart 
of  the  Oiasjs. 

L-:VUI)I,  or  LODI.  The  name  formerly  given 
to  certain  sacred  or  Bpiritual  songs,  of  Italian  in- 
venliou,  distinct  from  the  common  hymns,  and 
composed  in  praise  of  God,  the  Virgin  Miiry,  and 
the  saints  and  martjTs. 

LAUDISTI,  or  LAUDESI.  The  name  appUed 
to  *Jie  members  of  a  society  first  instituted  at 
Florence  so  early  as  the  year  1310,  for  the  per- 
formance of  those  spiritual  songs  called  Laudi. 

LAUDUNO,  NICOLAS  DE.  In  the  Bar- 
berini  library  is  preserved  a  manuscript  ti'eatise 
oa  music  by  this  author. 

LAUDUS,  VICTOKIUS,  chapel-master  in  the 
cathedral  church  at  Messina,  about  the  year  1597, 
■was  born  at  ^Ucar,  in  Sicily.  lie  published  "  II 
Primo  Libra  de  Madrirjali  a  o  Voci,  con  Dialogo  a  8 
Voci,"  Palermo,  1597. 

LAUER,  J.  F.  L.,  published  at  Gotha  •'  Kla- 
vierliedersammlung,"  1786. 

LAUGIER,  the  ABBE  MARC  ANTOINE, 
born  at  Manosque,  in  Provence,  in  1613,  was  a 
Jesuit,  and  preacher  to  the  King  of  France.  He 
pubhshcd  the  first  musical  journal  which  appeared 
in  France,  under  the  title"  SeiUinieiU  (fun  Harmo- 
niphiUi  sur  diffirena  Outrages  de  Musique,"  Lyons, 
1756. 

LAURA,  DOMINICO,  flourished,  according  to 
Cerreto,  as  one  of  the  best  composers  in  Italy, 
about  the  year  1600. 

LAURENBERG,  DR.  PETER,  a  physician 
and  professor  of  poetry  at  Rostock,  died  there  in 
1639.  In  the  title  of  a  fourth  edition  of  the 
"  Mtisomachia,"  of  1642,  he  is  called  its  principal 
contributor.  He  was  also  the  author  of  a  work 
published  by  Sartorius  at  Hamburg,  and  entitled 
"  Bellum  Miisicalc." 

LAURENTI,  LAURENTIUS,  a  chapel-master 
at  Bremen,  died  in  1722.  His  principal  work 
bears  the  title  "  Erangelta  Mehdica."  It  consists 
of  spiritual  songs  and  hymns,  arranged  according 
to  the  different  gospels  for  Sundays  and  holydays, 
and  adapted  to  known  melodies.  Bremen,  1700. 
As  a  musician,  he  seems  to  have  done  little  or 
nothing  in  this  work. 

LAURENTII,  PIETRO  PAOLO,  of  Bologna, 
set  to  music  the  following  three  operius  :  "  Attilio 
Regolo  in  Africa,"  1071  ;  "  /  dipurti  rf*  Ainore  in 
Villa,"  1710;  and  "  Eione  Binyiocenilo,"  1716. 

LAURENTII,  GIROLAMO,  an  ecclesiastic  of 
Bologna,  flourished,  as  one  of  the  first  violin  play- 
ers of  Italy,  about  the  year  1720.  There  have 
been  published  of  his  works  "6  Coiux-rti  h  3  I'., 
A.,   J  v.,  e  Oryano." 

LAUREN'TIO,  M  ARIANUS  DE,  a  priest  and 
canon  in  Sicily,  flourished  as  a  composer,  and  pub- 
Lshed  many  works,  about  the  year  1620.  We  can 
now  only  meet  with  tho  folloAving  :  "  Primo  libra 


di  Madrigali  d.  5  Voci  con  un  dialogo  d  8,"  Venice, 
1602;  and  "Salmi,  Magnijicai,  Falsi  Cardoni  t 
Missa,  a  4  Voci,  am  li.  coiUinuo  per  VOrgano," 
Op.  5,  Palermo,  1024. 

LAURIETIT,  an  Italian  musician,  published 
at  Paris,  in  1780,  "Six  Quatuors  pour  le  Violon," 

LAURUS,  DOMINICU.S,  leader  of  the  orcha«- 
tra  at  Mantua,  was  bom  at  Padua  He  flourished 
about  1550,  and  published  many  works. 

LAUSKA,  FRANZ  IGNAZ,  chamber  musician 
to  the  Elector  Palatine  of  Bavaria,  and  one  ol  the 
best  German  pianists,  travelled  on  the  continent 
during  many  years.  He  remained,  probably,  tho 
whole  of  the  year  1794  in  Hamburg,  whence  his 
fame  first  began  to  spread  over  Germany.  After 
this,  he  gathered  equal  praLscs  at  Copenhagen. 
In  1799  he  went  to  Berlin,  where  he  wTOte  and 
published  a  concerto  for  the  piano.  His  works 
for  that  instrument  are  quite  original,  and  are  as 
follows:  "  Gramle  Soiiute  jxiur  le  Clac^cin,"  Op.  1, 
Hamburg,  1795.  "  Nine  German  Songs,  with 
Variations  for  the  Piano,"  Op.  2,  Hamburg,  1792. 
"  Rondo  pour  le  Clacicin,  pour  les  Dames,"  Op.  4, 
Munich,  1797.  "  Four  Sonatas  for  the  Piano- 
forte," (each  separate,)  as  Op.  4,  Op.  6,  Op.  7,  and 
Op.  8,  Hamburg,  1797.  "  Dcr  Greis  unJ  sein 
Stab.,"  i.  e.,  "The  Old  Man  and  his  Staff","  Kon- 
igsberg,  1797.  "  Eight  Variations  for  the  Piano- 
forte on  Reichardt's  Soug,  '  Ich  kusse  dick,  Schlei- 
er,' "  Munich,  1799.  "Deux  Grandes  Sonates  ]x>ur 
le  Clavicin,"  Ops.  9  and  10,  Hambxirg.  "  Deux 
Petits  Romleaux  pour  Piano-forte,"  Berlin. 

The  following  of  his  works  have  been  pubhshcd 
by  Kuhnel,  of  Leipsic  :  "  .Six  Variations  pour 
Piano-forte."  "  Sonate  pour  Piano-forte,"  Op.  20. 
"  Trois  Petits  Rondeaux  pour  Piano-forte,"  Op.  23. 
"  Grande  Somite  pour  Piano-forte,"  Op.  24.  "  Po- 
lonaise pour  Piano-forte,"  Op.  25.  "  Dix-neuf 
Grandes  Sonates  pour  Piano-forte,"  Op.  26.  "  Ca- 
priccia  pour  Piano-forte,"  Op.  32.  "  Angenehme 
und  nicht  schwere  To/istUcke  mit  applikatur  f.  d. 
Piano-forte,"  i.  e.,  "  Pleasant  and  not  difficult 
Exercises,  with  Applications,  for  the  Piano-forte," 
Op.  33.  About  the  year  1804  he  went  to  Vi- 
enna, to  study  counterpoint  under  the  celebrated 
Albrechtsberger. 

LAUTE.     (G.)    The  lute. 

LAUS  PERENNIS.-  (L.)  The  name  given 
by  pa|)istical  writers  to  the  Perpetual  Psnlnody 
preserved  at  Antioch  by  an  order  of  monks  es- 
tJiblished  there  in  the  early  ages  of  Christianity, 
and  whose  discipline  obliged  them  to  render  it 
perennial,  like  the  vestal  fire  or  perpetual  lamps 
of  antiquity. 

LAUXMIN,  SIGISMUND,  a  Polish  Jesuit, 
from  Samogitia,  was  rector  of  several  colleges, 
and,  lastly,  vice  provincial  of  Lithuania,  in  which 
situation  he  died  in  1670,  in  the  seventy- first  year 
of  his  age,  or,  according  to  others,  in  his  seventy- 
fourth.  He  wrote,  amongst  other  works,  "  Art  et 
Praxis  Musica;,"  Wihia,  1664. 

LAVIGN.V,  VINCENZO.  A  Neapolitan  mu- 
sician, recommended  by  Pacsicllo,  in  1802,  to  the 
directors  of  the  theatre  there,  as  a  composer.  H« 
wrote  in  the  same  year,  for  the  Theatre  della  Sea- 
la,  the  opera  buffa  "  i^  Muta  per  Amorcosiia  L 
Mcdie  >  per  Forza,"  ■which,  obtained  distinguLshed 
success. 


608 


LAV 


ENl-YCLOPiEDIA    OF    MUSIC. 


LAW 


LAVINETTA,  BERXIIAKDUS  DE.  or  LA- 
\lNIIE'rrE,  a  lenrued  monk,  about  the  year 
1.523,  wrote  "  CompeniUoaa  Explicatio  Art  it  Ltilli- 
aiuf,"  in  which  he  treats,  in  nine  chapters,  on  mu- 
Bical  subjects. 

LAVIT,  J.  B.  O.,  formerly  a  pupil  of  the  Ecole 
Polytechnirnte  at  Paris,  pubUshed  there,  in  1808, 
"  Tableau  comparatif  du  Syst^me  Ilarmoniqtie  tie 
Pythagore,  et  dii  Systimedea  Modernea." 

LAVOCAT,  PIEUUE,  a  French  composer, 
flourished  about  1700,  in  Burgundy,  and  U 
known  by  the  following  work :  "  Concert  des 
Uienx  piur  le  Mariage  de  S.  A.  S.  Mgr."  Of  this 
work,  the  text  only,  by  Dere<jueleyne,  has  been 
printed  at  Dijon. 

LAVOI,TA.  or  LA  VOLTE.  A  lively,  an- 
imated tune,  performed  to  an  old  dance,  the  ac- 
tion of  which  consisted  chietly  of  quick  turns 
and  high  leaps. 

LA  WATZ  published  songs  for  the  piano-forte, 
Altona,  1790. 

LA  WES.  WILLLVM.  the  son  of  Thomas 
Lawcs,  a  vicar  choral  of  the  church  of  Salisbury, 
and  a  native  of  that  city,  having  shown  an  early 
propensity  to  music,  was,  at  the  expense  of  Ed- 
ward, Earl  of  Hereford,  placed  under  the  tuition 
of  t'operario.  lie  was  a  member  of  the  choir  of 
Chicliestcr,  and  was  called  from  thence,  in  1602, 
to  the  office  of  gentleman  of  the  Chapel  lloyal ; 
but,  afterwards,  resigning  that  situation  in  favor 
of  Ezckiel  Wood,  he  became  one  of  the  private 
or  chamber  musiciajis  to  King  Charles  I.  Fuller 
says,  that  "  he  was  respected  and  beloved  by  all 
who  cast  any  looks  towards  virtue  and  honor." 
IILs  gratitude  and  loyalty  for  his  master  were 
such,  that  he  took  up  arms  in  his  cause ;  and 
although,  to  exempt  him  from  danger.  Lord  Ger- 
rard  made  him  a  commissary  in  the  royal  army, 
yet  the  activity  of  his  spirit  disdained  this  in- 
tended security,  and  at  the  siege  of  Chester,  in 
1645,  he  lost  his  life.  The  king  is  said  to  have 
been  so  much  affected  at  his  death,  that  he  wore 
particular  mourning  for  him. 

His  compositions  were,  for  the  most  part,  fan- 
tasias for  the  viols  and  the  organ  ;  but  the  chief 
of  his  printed  works  were  "  Choice  Psalms  put 
into  Music  for  three  Voices."  Many  of  his  songs 
are  to  be  met  with  in  the  collections  of  the  day, 
and  several  catches  and  rounds,  and  a  few  of 
his  canons,  are  published  in  "  Hilton's  Collec- 
tion." 

LAWES,  IIENKY,  brother  of  the  preceding, 
was  likewi.se  a  pupil  of  Coperario.  He  wns  a 
luitive  of  ."Salisbury,  and  born  in  the  year  1600. 
In  the  month  of  January,  162-5,  he  was  made  pis- 
teller,  and  in  November  following,  a  gentleman 
of  the  Chapel  Koyal.  After  thus,  he  was  appoint- 
ed clerk  of  the  check,  and  a  gentleman  of  the 
private  music,  to  King  Charles  I. 

He  had  the  credit  of  introducing  the  Italian 
Btyle  of  music  into  England  ;  but  this  rests  upon 
no  better  foundation  tlian  his  having  been  cd\i- 
cate<l  under  Coperario,  and  having  composed  a 
song  on  the  story  of  "Theseus  and  Ariadne,"  in 
which  there  are  some  passages  that  a  superficial 
peruser  might  mistake  for  recitative.  ThLs  song 
IS  published  among  his  "  Ayres  and  Dialogues 
for  one,  two,  and  three  Voices,"  printed  in  Lon- 


don in  1615."?.  In  the  preface  to  this  collection, 
the  author  mentions  his  having  fonnerly  com- 
posed some  airs  to  Italian  and  Spanish  u-ord-H. 
lie  speaks  of  the  Italian.s  as  being  grc^it  masters 
of  music,  but,  at  the  same  time,  that  his  own  na- 
tion had  produced  as  many  able  musiciiu.s  as  any 
in  Europe.  He  censures  the  particularity  of  tha 
age  for  songs  sung  in  a  language  whi'h  flicliear- 
ers  do  not  understand  ;  and,  in  ridicule  of  it, 
speaks  of  a  song  of  his  own  composition,  printed 
at  the  end  of  the  book,  which  was  nothing  more 
than  an  inde.x  of  the  initial  woriLs  of  some  old 
Italian  song  or  madrigal.  He  says  that  this  in- 
dex, which  he  had  set  to  a  varied  air,  and,  when 
read  together,  was  a  strange  medley  of  nonsense, 
jiassed  with  a  great  part  of  the  world  as  an  Ital- 
ian song. 

The  first  composition  in  the  above  collection  is 
"  The  Complaint  of  Ariadne,"  (belore  mentioned,) 
the  music  to  which  is  neither  recitative  nor  air, 
but  in  such  a  medium  between  the  two,  that  a 
name  is  wanting  for  it.  llie  circumstance  which 
contributed  to  recommend  it  to  notice  cannot  now 
be  discovered,  but  the  applauses  that  attended 
the  singing  of  it  almost  exceed  belief. 

Lawes  also  composed  tunes  to  Mr.  Sandys's 
"  Paraphrase  on  the  Psalms,"  published  in  16.38, 
and  afterwards  in  1676.  These  tunes  are  differ- 
ent from  those  composed  jointly  by  the  two 
brothers,  and  published  in  1648.  lliey  are  for 
a  single  voice,  with  a  bass,  and  were  intended  for 
private  devotion. 

Milton's  "  Comus  "  was  originally  set  to  music 
by  Lawes,  and  was  first  represented  on  Michael- 
mas night,  1634,  at  Ludlow  Ca.stle,  in  Shrop.shire, 
for  the  entertainment  of  the  lamily  of  the  Earl 
of  Bridgewater,  and  others  of  the  neigliborhood. 
Lawes  himself  played  in  it  the  character  of  the 
attendant  spirit,  who,  towards  the  middle  of  the 
drama,  appears  to  the  brothers  habited  like  a 
shepherd. 

The  songs  of  Lawes,  to  a  very  great  number, 
are  to  be  found  in  the  collection  entitled  "  Select 
Mu.sical  Ayres  and  Dialogues,"  by  Dr.  Wilson, 
Dr.  Charles  Colman,  Henry  Lawes,  and  Williiun 
Webb,  published  in  16.52;  "Ayres  and  Dia- 
logues," published  by  himself  in  the  year  fol- 
lowing ;  "The  Treasury  of  Music,"  1660;  and 
several  others  printed  about  that  time.  In  these 
are  contained  the  songs  of  Waller,  all,  or  nearly 
oil,  of  which  were  set  to  music  by  Lawes,  and, 
as  an  acknowledgment  of  the  obligation,  that 
poet  has  celebrated  his  skill  in  the  following  lines : 

•*  L*t  thofe  who  onl^  warhlf  long. 
And  g.r^tc  in  thrir  thmatj  ■  long. 
Content  thcmi*'lvci  with  lit,  re,  ml  t 
Let  words  of  •enie  Ik  9Ct  bj  thee."* 

I>awes  continued  in  the  service  of  the  king  no 
longer  than  the  breaking  out  of  the  rebellion. 
From  that  time  he  employed  himself  in  teaching 
ladies  to  sing.  He,  however,  retained  his  [ilace 
in  the  Chapel  Royal,  and  composed  the  coronation 
anthem  for  King  Charles  II.  He  died  in  1662, 
and  was  interreel  in  Westminster  Abbey. 

Were  we  to  judge  of  the  merits  of  Jjiwen,  as  a 
musician,  from  the  numerous  testimonies  of  con- 
temporary writers,  we  should  be  comiielled  tc 
rank  him  amongst  the  first  which  England  haf 
ever  produced ;  but  if  we  examine  his  works,  hit 
title  to  fame  will  not  appear  quite  so  well  grounded^ 
He  was  engaged  in  the  service  of  the  church, 
but  contributed  nothing  towards  the  increase  of 


609 


LAY 


ENCYCLOPAEDIA    OF   MUSIC. 


LEB 


its  store**.  His  talent  lay  chiefly  in  the  compo- 
sition of  songs  lor  a  single  voice,  and  in  the^e 
his  greatest  excellence  consihted  in  the  cor- 
respondence which  he  kept  up  between  the  accent 
of  the  music  and  the  quantity  of  the  verse. 

Dr.  Hurney  says,  tlint  the  greater  part  of  his 
productions  arc  "  languid  and  insipid,  and  equally 
devoid  of  learning  and  genius." 

L.\Y.  (From  the  Anglo-Saxon  word  /«y.)  The 
name  of  an  ancient  elegiac  kind  of  French  lyric 
poetry,  formerly  much  imitated  by  the  English. 
The  lay  is  said  to  have  been  formed  on  the 
model  of  the  trochaic  verses  of  the  Greek  and 
Latin  tragedies.  There  were  two  sorts  of  lays  ; 
tlie  ijreater,  which  consisted  of  twelve  couplets  of 
Yerses  in  different  measures,  and  the  hsser,  com- 
prising sixteen  or  twenty  verses.  'ITie  word  lay 
is  now  generally  applied  to  any  little  melancholy 
bong  or  air,  and  is,  for  the  most  part,  used  in  that 
sense  by  Chaucer,  Spenser,  Milton,  Waller,  Dry- 
den,  and  other  classical  English  poets. 

LAY  CLERK.  A  vocal  officiate  in  a  cathe- 
dral, who  takes  a  part  in  the  services  and  an- 
thems, but  is  not  of  the  priesthood. 

LAYMEN.  Those  vocal  officiates  in  a  cathe- 
dral who  are  not  of  the  priesthood. 

LAYOLLE.  ALEMAN,  organist  at  Lyons, 
about  the  middle  of  the  sixteenth  century,  pub- 
lished "  Chatisoiis  et  Voix-dc-ville  a  quatrc  voix," 
Lyons,  1561. 

L.\YS,  FRANCOIS,  a  singer  of  the  opera  at 
ParLs,  who  had  a  brilliant  reputation,  was  born  in 
1758,  and  was  destined  for  the  ecclesiastical  pro- 
fession, but,  induced  by  the  rare  beauty  of  his 
voice,  abandoned  the  church  for  the  stage.  He 
took  an  active  part  in  the  revolution  of  1789, 
and  travelled  through  the  provinces  as  an  ardent 
missionary  of  the  system  of  terror.  He  was  pro- 
fessor of  singing  in  the  Conservatoire  from  1795 
to  1799,  and  subsequently  first  singer  in  the 
chapel  of  Napoleon  I.  from  1801  to  1815.  He 
died  in  1831,  aged  73. 

LAZZARI,  ALBERTO,  published  at  Venice, 
in  1637,  "  Gloria  di  Venetia,  e  alire  Miisiche  d,  Voce 
sola,"  &c.  Op.  3. 

I^EADER.  A  performer,  who,  in  a  concert, 
takes  the  principal  violin,  receives  the  time  and 
style  of  the  several  movements  from  the  conduct- 
or, and  communicates  them  to  the  rest  of  the 
band.  The  leader,  after  the  conductor,  holds  the 
most  imi)ortant  station  in  the  orchestra.  It  is  to 
him  that  the  other  performers  look  for  direction 
in  the  execution  of  the  music ;  and  it  is  on  his 
Btewliness,  skill,  and  judgment,  and  the  atten- 
tion of  the  band  to  his  motion,  manner,  and  ex- 
pre(«sion,  that  the  concinnity,  truth,  and  effect 
in  a  great  measure  depend. 

I^ADING  NOTE.  The  seventh  note  of  the 
Kca.''  of  any  key,  when  at  the  distance  of  a  sem- 
itone below  the  key  note.  A  leading  note  is  the 
sound  by  which  the  scale  is  known  and  its  tonic 
or  key  note  ascertained.  For  instance,  the  lead- 
ing notes  in  two  flats  are,  As  or  Ft*.  A  natural 
leads  to  B  b  ;  F  sharp  leads  to  G  natural.  In 
minor  keys  the  i*7  is  the  leading  note.  In  major 
keys  tlie  mi  in  the  leading  note.  'IT.e  key  note 
»t  two  tlats  is  cither  Bb  or  G  natural. 

5 


LEAL,  MIGUEL,  a  friar  of  the  Cistercian  or- 
der, and  a  good  composer,  was  born  in  Lisbon, 
and  entered  into  the  order  at  Alcobaca  hi  1646. 
Among  the  works  which  he  has  left  behind,  there 
is  one  particularly  distinguished,  namely,  *'  Miisa 
a  nore  coros."  Leal  became,  at  last,  prior  of  a 
convent  in  Lisbon. 

LE.VNDER,  two  brothers,  performers  on  the 
French  honi,  resided  many  years  in  Ix)ndon,  up 
to  about  1805.  They  were  excellent  virtuosi  on 
their  instrument,  and  were  engaged  in  the  orches- 
tra of  the  King's  Theatre,  and  at  mo;;t  of  the 
public  concerts.  One  of  the  brothers  composed 
a  very  pleasing  duet  for  two  voices,  "  By  thoM 
eyes  whose  sweet  e.xpression." 

I-EAPS.  This  word  is  properly  applicable  to 
any  disjunct  degree ;  but  it  is  generally  used  to 
signify  a  distance  compounded  of  several  inter- 
mediate intervals. 

LEBHAFT.     (G.)     Lively. 

LEBRUN,  LOUIS  SEBASTIAN,  a  French 
dramatic  composer  and  singer,  was  born  at  Paris 
about  the  year  1765.  He  was,  in  childhood,  ad- 
mitted as  a  chorister  at  the  cathedral  of  Notre 
Dame,  in  which  situation  he  remained  twelve 
years.  He  was  there  taught  composition,  and 
the  practice  of  music,  by  the  Abbe  Dugue,  chapel- 
master  of  the  cathedral.  Lebrun  was  next  ap- 
pointed chapel-master  to  the  church  of  !?t.  Ger- 
main I'Auxenois;  after  two  years,  however,  he 
resolved  to  make  his  dihut,  as  a  singer,  at  the 
Royal  Academy  of  Music,  where  he  first  appeared 
in  1787,  in  the  part  of  Poh-nice  in  "CEdipe."  He 
next  came  before  the  public  at  the  Concert  Spiri- 
titel,  in  the  double  capacity  of  composer  and  sing- 
er. His  compositions  for  this  concert  consisted 
in  several  seenas  and  grand  choruses  from  ora- 
torios. In  1790  he  produced  his  first  dramatic 
work  at  the  ThtAtre  Montansier  ;  it  was  entitled 
"  L'Arl  d'aimer  au  Village."  He  next  gave,  at  the 
Theatre  Louvois,  "  Emilif.  et  Mclcour,"  "  I'n  Mo- 
ment d' Ilunwur,"  and  "La  Vrtire  .Am/ricaiiie ;" 
at  the  Thciitre  des  Varii'tes,  "Los  petits  Aneu- 
yks,"  and  "  La  Suite  de  la  Ciivjuantaine  ;  "  at 
the  ThcAtre  Feydeau,  "  Le  ban  Fih,"  "  Plus  de 
Peur  tjue  de  Mai,"  "  L'Astronome,"  "  Le  Ma^on," 
and  "  Marcelline."  After  being  engaged  at  the 
Th6atre  Feydeau  during  several  years,  Lebrun 
reentered  at  the  Grand  Opera,  as  one  of  the  prin- 
cipal singers.  He  was  afterwards  first  tenor 
singer  at  the  Chapel  Royal  of  Napoleon  I.  and 
also  chamber  singer  to  the  emperor.  In  1809 
a  grand  "  Te  Dcum"  of  his  composition  was  ex- 
ecuted at  the  cathedral  of  Notre  Dame,  in  honor 
of  the  victories  of  Wagram  and  Enzerdoff. 

LEBSDEFF,  a  Russian  composer,  went  to  Ixm- 
don  in  1798,  with  a  squailron  from  India.  He 
was  engaged,  at  that  time,  in  writing  a  collection 
of  airs  in  the  style  of  the  music  of  Hindostan  and 
Bengal.  As  he  was  fully  master  of  the  Eastern 
languages,  as  well  as  of  their  musical  expression, 
he  was  much  looked  to  at  the  time  for  the  ex- 
planation of  modern  Oriental  music,  which,  even 

I  yet,  has  not  been  fully  made  known.  The  airs 
are,  in  the  opinion  of  connoisseurs,  very  melodious 

i  and  pathetic,  and  are  a  medium  between  Scottish 
and  Italian  music.  We  have  not  been  able  Jo 
obtain  any  further   information    respecting   thia 

I  musician  or  his  works. 

10 


LEB 


ENCYCLOPAEDIA    OF   MUBIC. 


I. EC 


LEBUGLK,  ABBE,  published  much  music  of 
his  composition  tor  t}ic  harpsichord,  at  I'aris, 
lubsequcntly  to  the  year  1783. 

LKBEUF,  THE  ABB^  JEAN,  was  canon  and 
flub-clianter  of  the  cathedral  of  Auxerre,  where 
he  was  born,  March  6,  1G87.  The  Academy  of 
Inscriptions  and  Belles  Lettres  chose  him,  in  17 10, 
to  fill  the  place  of  Lancelot.  lie  was  the  author 
of  many  treatises  and  works  relating  to  music, 
and  died  in  17U0. 

LECCIO,  SCOZZESE  AGOSTINO  DI.  A 
composer  of  the  sixteenth  century,  of  whose 
■works  there  is  yet  preser\'ed,  in  the  Munich  li- 
brary, '  Canzonette  Xeapolitane  A  3,  4  e  6  I'oci," 
Veuice,  1.570. 

LECI.EIU",  J.  B.,  deputy  for  the  department 
of  the  Maine  ct  Loire,  in  the  Lct;Lslative  Assembly 
at  Paris,  in  17i)().  lie  had  been  a  member  of  the 
Convention,  and  was  obliged  to  leave  Paris  to 
escape  persecution  and  imprisonment.  During 
his  retirement  from  public  business,  he  laid  the 
plan  of  a  fcrent  musical  work,  and  submitteti  it  to 
the  committee  for  public  mstruction  in  France. 
As,  however,  this  body  took  no  notice  of  it,  the 
author  published  it  in  1796,  (improved  and  en- 
larged,") imdcr  the  title  of  '•  Essai  sur  la  Propaga- 
tion de  la  Miisiqiie  en  France,  sa  Conservation,  et  $e3 
liapports  avec  le  Gourernement."  This  treatise  be- 
gins with  a  brief  history  of  music  among  the 
t^hinesc,  E^jT>tians,  Greeks,  and  other  ancient 
nations,  amongst  whom  it  was  considered  as  a 
foundation  of  religion  and  morality.  Then  he 
proceeds  to  the  influence  which  it  has  had  upon 
modem  nations  ;  on  wlvich  subject  he  says  that 
(iluck's  mu.-iic  in  Paris  laid  the  foundation  of  the 
revolution,  a<  the  want  of  church  music  gave  rise 
to  the  civil  war  in  La  Vendoe.  He  endeavors  to 
jTove  the  necessity  of  music  to  the  French  nation, 
amongst  other  arguments,  by  the  conduct  of  cer- 
tain peasants  in  Lower  Poitou,  whose  only  busi- 
ness is  to  sing  incessantly  whilst  the  oxen  are 
drawing  the  plough.  From  this,  he  proceeds 
tunhcr,  and  endeavors  to  prove  that  the  cultiva- 
tion of  the  science  of  music  leads  us  to  the  prac- 
tice of  every  public  and  private  ^•i^tue,  by  means 
of  the  snti^^tactiou  and  calmness  which  it  imparts 
to  the  mind  ;  and  that,  for  this  reason,  all  govern- 
ments ought  particularly  to  take  it  under  their 
observation,  and  to  R.x  its  use  and  abuse  by 
I>ropcr  laws.  He  examines,  further,  how  far  the 
then  existing  openis,  and  other  i)ublic  musical 
performances  in  France,  either  may  tend  to  pro- 
«no;c  or  to  dimiuiah  human  perfectibility. 

LEQON.  (F.)  A  lesson  or  instructive  com- 
nosition  for  some  instruments. 

LE  CHANT  ROYAL.  Certain  verses  sung 
in  chorus  to  the  virgins  and  saints,  by  troops  or 
companies  of  pUgrims  returning  from  the  holy 
sepulchre,  'lliis  practice  was  first  introduced  by 
the  French  in  the  fourteenth  century. 

LEDEUER,  JOSEPH,  an  Augustine  monk,  in 
St.  Michael's  convent  at  Ulra,  and  professor  of 
divinity  there,  was  born  in  Sunhia  in  173.3,  and 
published  the  following  musical  works,  practical 
as  we-l  as  theoretical :  "  AVwe  und  erl-ichterte  art 
tu  Solmisircn,"  Ulm,  1756.  Second  edition  under 
the  title,  "  Xcue  und  erleic/Uerte  art  zul  Solmitirtn, 


nebat  andern  Vortheilen,  die  Sinr/liunst  in  kiirzer  ceit 
zu  erlerrifii,"  Ulm,  17'J6.  A  i^ong :  "  Aiis  den 
froAen  Liebeihiind."  "  6  Mensen,  kur:,  Itir/it  und 
lant/btir,  hnujUiUchlich  ziim  (jchrnuch  dtr  (7iore  nut 
dem  l.ande  und  dtr  Frau<-nkln.itcr  aufienetst," 
.\ugsburg,  1776.  "  Eltrat  aiu  China,"  "operetta, 
Ulm,  1777.  "o  Veaprrn,  sammt  ^andern  Psalmen, 
wele/ie  dat  Jahr  hindurch  vorkommeu,  cincn  beaon- 
dem  Mo'inifiatt,  und  eitun  Stnhat  Muter,  ktirz,  leicht, 
tinybar,"  Ulm,  1780.  "  Miisikaliiirhi-r  I'omUli, 
beatehend  nus  18  Versen,  17  PrcambnUn,  Mrnuet- 
ten.  Trio,  3  Sonaten  und  eiiw  Arie  in  Pnrtitur," 
Augsburg,  1781.  "  Oie  junyen  Rekruten,  tint 
Rumiache  operetta,"  Ulm.  1781.  This  worthy  di- 
vine and  excellent  artist  died  in  1793. 

LEDEKZ,  IWULUS,   a   bookseller   at   Strwi 
burg,   publishe<l   "  Kirc/ienije-iani/hin/),  darinne  die 
fUrnehmalen  und  beaten,  uuch  gebraiirhliclialen  Lie- 
der  und  Geaanye  zu  Jindvn,"  Strasburg,  liUO. 

LEDGER  LINES.  Those  lines  which  are 
added  above  or  beneath  the  five  composing  the 
staff,  for  the  reception  of  such  notes  as  are  too 
high  or  too  low  to  he  j)laoed  upon  or  within  the 
staff.  The  word  legere  being  the  Latin  for  to 
read,  it  follows  that  led'jer  linea  are  to  facilitate  the 
reading  of  the  notes. 

LEDUC,  SIMON,  the  elder,  one  of  the  direct- 
ors of  the  Cuiiccrt  Spirilucl  at  Paris,  was  bom  in 
1748.  He  was  a  %-iolin  pupil  of  (Javinics.  There 
are  known,  of  his  compositions,  two  books  of 
sonatas  for  one  violin,  and  several  concertos  and 
symphonies.  About  a  month  after  the  decease 
of  Leduc,  in  1777,  there  was  a  rehearsal  of  one 
of  his  symphonies  for  the  concert  dea  umnieura. 
In  the  middle  of  the  aclofjio,  the  Chevalier  de 
St.  Georges  was  so  afrecte<l  by  the  expression 
of  the  movement,  joine<l  to  the  recollection  of  the 
death  of  his  friend,  that  ho  let  his  bow  fall,  and 
burst  into  tears. 

LEDUC,  PIERRE,  brother  and  pupU  of  the 
preceding,  was  l)om  in  1755.  He  was  a  ^'iolinist 
at  tlie  spiritual  and  amateur  concerts  nt  Paris, 
and  subscqiient'.y  engaged  in  the  music  trade. 
He  died  in  Holland,  in  1816. 

LEDWICK,  EDWARD,  an  Irish  author,  pub- 

lishetl  "  Antiquities  of  Ireland,"  Dublin  and  I»n- 

don,  1790.     Part  of  this  work  trents  of  the  music 

of  the  ancient  Irish,  as  it  was  cultivated  bv  their 

hards.     The  author  stntcs,  that  the  music  "of  the 

ancient  inhabitants  of  Ireland  consisted  merely  in 

the  nines  of  their  poems  and  songs,  which  t'hpy 

called  phenteath,  or  peit^iujh,  that  is,  relating  in 

music.     They  had  also  some  knowledt;c  of  wind 

instruments,  some  of  which  were  the  goV-trompn, 

or  the  foreign  trum])et.     niis  was  ihe  metal  horn 

which  the   Danes,  Normans,  and  Engli»h  maae 

use  of.     "idly.  The  /ro»i/»a,  which  rcjieniMed  the 

modem  trumpet.     This  was  the  war  i]|.<irument 

of  the  Saxons  (»auls,  and  Nonnrms.     3(lly.   Pi- 

obamaJa,  or  harji.  which,  according  to  our  author, 

is  either  of  Scythian  or  Teutonic  origin.     They 

I  may.  perhaps,  have  earlier  known  the  li  nipan,  or 

I  drum,  and   the  crutalin.     llicir  oldest  ami   most 

celebrated    haqi  players,   about    the   year    1330, 

I  were  O'Carrol   and   Cruise,  who    had    probably 

:  leame<l   from  the  Christian  clerRV  tr  tune  theit 

I  harps  according  to  the  eight  diatoi  ic  notes,  oa 

I  the  principles  of  harmony. 

U 


LEE 


ENCYCLOPEDIA    OF    MUSIC 


LEO 


LEE,  ALEXAXDER,  died,  after  a  long  ill- 
:iess,  at  his  residence  in  Newton  Terrace,  Kcn- 
iiiugtnn,  in  1849.  On  that  very  evening  a 
concert  had  been  organized  for  hLs  benefit  at 
Frampton's  Dancing  Academy,  in  the  York  lload  ; 
but  he  expired  in  the  afternoon.  Alexander  Lee 
■was  the  son  of  Harry  Lee,  a  well-known  boxer  in 
his  day,  whoso  son  had  the  patronage  of  Lord 
Barrymore.  He  was,  at  one  period,  tlie  lessee 
of  Drury  Lane  "nieatre,  in  partnership  with  Cap- 
tain Polhill,  and  had  been  musical  director  of 
the  Olympic  and  Strand  Theatres,  of  Vauxhall 
Gardens,  &C.  He  ■wTote  the  music  for  the  piece 
of  the  Invincibles,  which  had  great  success  with 
iladame  Vcstris  in  the  chief  jiart,  at  Covent 
Garden  Theatre.  To  name  the  ballads  of  the 
late  Alexander  Lee  would  occupy  a  large  space, 
for  a  more  prolific  song  writer  never  existed  ;  and 
many  of  his  compositions  will  perpetuate  the 
name  of  Alexander  Lee  as  a  composer  of  the 
English  school  of  simple  and  unaffected  melody. 

LEEDER,  JOIIANN  WILUELM,  chapel- 
master  at  Hildesheim,  died  in  178o.  He  pub- 
lished, at  Amsterdam,  gome  music  for  'he  flute 
and  violin. 

LEEVES,  REV.  W.,  of  AVrington,  in  Somer- 
setshire, is  the  composer  of  the  still  prevailing 
melody  of  "  Auld  Robin  Grey,"  which  has  been 
erroneously  attributed  to  Lady  Anne  Lindsey.  He 
also  publLshed  a  volume  of  glees,  about  the  year 
1790,  in  conjunction  with  Dr.  Harrington,  of 
Bath,  and  Edmund  Broderip,  the  organLst  of 
WeUs  Cathedral. 

LEFEBURE  DE  \VELEY,  ANTOIXE.  A 
comj)oser  at  Paris.  Among  his  works  may  be 
mentioned  "  Nouoeau  Solfige,"  Venise  et  Paris, 
1780.  It  is  an  easy  method  of  solmization. 
"  Quatre  Sonat-  pour  le  Clav.,"  Op.  2,  Paris. 
"Premiere,  deuxiime,  et  troisitme  Rectteil  (TAirs, 
pour  le  Piaiw-forte,"  Ops.  .3,  4,  5,  Paris.  In  1801 
he  read,  in  a  public  sitting  of  the  National  Insti- 
tute, a  treatise  on  the  effects  of  music  on  the 
nerves. 

LEFEBURE,  J.\COB,  violinist  in  the  chapel 
of  Prince  Henry  of  Prussia,  at  Berlin,  was  born 
in  1723.  He  studied  music  under  Graun  and 
Emmanuel  Bach.  He  composed  much  music  for 
his  instrument. 

LEFEVRE.  Organist  at  the  church  of  St. 
Louis,  in  ParLs,  in  the  year  1760.  He  executed  at 
the  Concert  Spirituel  scYCral  of  his  motets,  of  which 
"Qu<jm  bonus,"  "  Conserva  me,"  and  "  Coronate," 
have  been  engraved. 

LEFE^'RE,  JACQUES.  Chamber  musician  to 
the  King  of  France  in  1613.  He  composed  about 
the  same  time  several  works  for  three,  four,  five, 
and  seven  voices,  of  which  Laborde  has  given 
two  airs  in  his  second  volume. 

LEFEVRE,  XAVIER,  an  excellent  performer 
on  the  clarinet,  and  composer  for  his  instrviment, 
was  born  in  1763.  In  1798  he  was  first  clarinet  at 
the  Grand  Opera  in  Paris.  Ho  published  a  va- 
riety of  music  for  his  instrument,  of  which,  how- 
ever, only  the  following  can  be  mentioned : 
•'  Duos  Concertin.  pour  2  Clav.,"  Ops.  1,  3,  4,  and 
10.  "  Pctits  Lhiot  facil.  Liv.,"  Ops.  A  and  B,  1 
and   2 ;    each  work   contains  six    pieces,    Paris, 


1791  to  1798.  "  Trioi  pmr  deux  Clar.  et  Fagotte," 
Ops.  5  and  9,  each  six  pieces,  Paris,  1793  tc 
1797.  "  Rectteil  de  Marc/tea  et  Pax  redoublis  tuivi 
cCune  Marche  religieuae  de  Oossec,"  Paris,  1793. 
"  Sinfon.  Concert,  d  Clarinette  et  Fagolte,"  Paria. 
"  5  Concert,  a  Clarinette,"  Paris,  from  1793  till 
179.5,  Nos.  1,  2,  3,  4,  5,  each  separate.  The  pu- 
pil who  played  on  the  clarinet  in  1799,  at  the 
National  Institute  of  Paris,  gained  the  prize  with 
No.  5  of  the  foregoing.  "  Milhode  de  Clarinette, 
par  A.  Lefevre,  adoptie  par  le  Consercatnire,"  Paria, 
1803.  It  is  uncertain  whether  the  initial  of  A 
to  the  la-st  work  indicates  another  author  ;  prob- 
ably it  is  only  a  second  Christian  name  of  X.  Le- 
ffcvre. 

LEFFLOTH.  JOH.IXN  MATHIAS.  Organist 
at  Nuremberg.  He  published  many  instrumental 
works,  among  which  are,  "  Sonate  et  Fugue  pour 
le  Clav.,"  Nuremberg.  "  Divertimento  Musicale, 
consistente  in  1  Partita  da  Cembalo,"  Nuremberg 
He  died  in  1733. 

LEGARE,  CLAUDE,  i»ublished  at  Geneva,  in 
1657,  "  Les  Pseaumei  de  David  rtduits  sur  una 
seule  Clef." 

LEGAT  DE  FURCL  ANTOINE,  was  born  at 
Maubeuge.  He  published  "  iyxonda  Solfiges  avee 
basse  Chiffrte,contenant  des  Lecons  dans  tons  let  Genres 
des  duos  et  des  Ariettes,  arec  Ptiroles,"  Paris,  1790. 
He  was  organist  to  the  church  of  St.  Croix  de  la 
Brctonnirre  in  Paris,  and  assisted  Laborde  in 
writing  his  essay  on  music.  He  also  composed 
several  dramatic  pieces. 

LEGATO.  (I.)  A  word  used  in  opposition 
to  staccato,  and  implying  that  the  notes  of  the 
movement  or  passage  to  which  it  is  affixed  are 
to  be  performed  in  a  close,  smooth,  and  gliding 
manner,  each  note  being  held  down  till  the  next 
is  struck ;  also  binding  them  in  that  manner 
which  is  called  sj-ncopation.  (See  Sy.ncopation.) 
A  passage  is  said  to  be  in  legato  style  when  per- 
formed in  a  close,  smooth,  graceful  maimer, 
thus  : 


In  common  psalmody  the  tie  is  considered  un- 
necessary, and  is  generally  omitted,  when  notoe 
are  connected  with  their  blocks,  as  in  the  above 
example. 

LEGATISSBIO.  (I.)  The  superlative  of 
legato.  Most  closely  or  tenaciously  bound.  See 
Leoato. 

LEGEREMENT.  (F.)  A  word  denoting 
that  the  movement  before  which  it  is  placed  is 
to  be  performed  in  a  light  and  gay  style. 

LEGGLIDRO.     (I.)     Brisk,  lively. 

LEGGIERAMENTE.  or  LEGGIERISSIMO. 
Lightly,  gently ;  with  the  utmost  hghtness  and 
facility.  Leggiero,  or  Con  Leggierezza,  has  the 
same  meaning. 

LEGRENZI.  GIOVANNI,   bom   about  1626, 

was  organist  of  the  church  of  Santa  Maria  Mag- 

giore,  in  Bergamo,  afterwards  chapel-master  in  the 

I  church  Delia  Spirito  Santa,  in  Ferrara,  and  in  hia 

12 


T-EO 


encyclopjEdia  of  music. 


LEM 


later  years,  clinpel-raaster  of  the  church  of  St. 
Mark,  at  Venice.  Ills  works  consist  of  moHses, 
motets,  sonata  per  chiena  e  de  camera,  psalms,  lita- 
nies, and  cantatas. 

LEGROS,  JOSEPH.  A  French  musician,  born 
in  1739.  In  1777  he  was  manager  of  the  Concert 
iipiriluel  at  Paris. 

LEIIMANN,   FREDERIC    ADOLPH  VOX, 

rounsellor  of  lef;ntion  at  Dessau,  in  the  year 
1801,  was  previously  in  the  elector's  infantry. 
Althouj^h  but  an  amateur,  he  hac  proved  by  his 
published  works  that  he  had  not  only  made  un- 
usual projjress  in  the  art  of  playins;  the  piano- 
forte, but  also  acciuircd  a  familiarity  with  coun- 
terpoint and  the  rxiles  of  strict  composition.  The 
followini;  of  his  works  have  appciu-ed  in  print  : 
."  GcsttiKje  am  K/acier,  in  Mitsik  geaetzt,"  Dcs.sau, 
1793.  "  Des  Mttitcheiu  Klaije  von  Schiller,  furs 
Klavier  in  Miaik  t/es.,"  1801.  "  Onze  Varial.  pour 
le  piana-fwte,"  Augsburg,  1802.  "Gcsdnrie  am 
Klavier,"  Leipsic,  1802.  "  Klvine  GesOnge,  in 
Klav.,"  Op.  i.  "  i<ix  Marches,  qui  peuvent  exinUer 
aussi  bien  en  entr'actes  a  plein  orch.,  qu'en  harmo- 
ni'e  pour  Cinstr.  d  rent,"  Op.  4.  "  Six  Starches  pour 
k  Piano-forte,"  Op.  4. 

LEIIMKE,  CHRISTINE  \\7LIIELME  CATO- 
ARINE.  wile  of  Christian  Lehmke,  singer  to  the 
Duke  of  Mecklenburg-Sohwerin  at  Lunwigslust, 
was  born  at  Minden,  in  Prussia,  about  the  year 
1774.  She  was  engaged  by  the  duke,  in  179(), 
as  singer,  in  consequence  of  her  great  talents, 
and  afterwards  became  the  great  attraction  of  the 
chapel  there.  The  compass  of  her  voice  was 
very  considerable.  Her  melting  softness  in  the 
adagio,  and  chanuing  style  of  taking  bravura  pas- 
sages, caused  her  to  be  considered  in  Germany  as 
one  of  the  first  singers  of  the  age.  She  was  like- 
wise an  excellent  pianist,  and  possessed  much 
knowledge  of  the  science  of  music.  Her  husband 
was  an  actor,  and  together  with  his  wile  per- 
fonned  the  first  parts  in  every  good  opera  (comic 
and  tragic)  that  was  given  at  the  court  theatre. 

LEllIT.     (G.)     Easy. 

LEJEUNE,  a  Parisian  composer,  has  become 
knowii  by  a  "Recueii  de  Romances  tt  Chansons," 
Op.  1,  published  in  Paris  in  1792. 

LEJEUNE.  CLAUDE,  also  known  as  CLAU- 
DIX,  or  CLAUDIX  UUEUXE,  was  a  celebrated 
musician,  bom  at  Vincennes ;  probably  about  1540. 
He  was  composer  to  King  Henry  IV.  of  France.  He 
enjoyed  a  high  and  perhaps  exaggerated  reputa- 
tion as  R  composer  in  France.  Bumey  considers 
him  a  kaniod  and  laborious  musician  rather  than 
a  man  of  genius,  while  Fctis  thinks  that  the  fact 
is  precisely  the  reverse.  His  Psalms,  in  four  parts 
in  simple  counterpoint,  had  great  success,  and 
many  editions  of  them  have  been  published.  He 
died  probably  about  the  year  1603. 

LEIGHTOX,  SIR  WILLIAM,  knight,  one 
of  the  honorable  band  of  gentleman  pensioners, 
published  in  l(;i4,in  conjunction  with  some  other 
persons,  a  work  entitled  "  TheTcarcsor  Lamenta- 
tions of  a  sorrowful  Soul,  composed  with  musical 
Ayres  and  Songs,  both  for  ^'oices  and  divers  in- 
•truments." 

LEISRIXG,  VOLCKMAR,  was  bom  nt  Grb- 
tadt,  near  Buttstfldt,  in  Thuringia.     He  pursued 


his  studies  at  Jena,  and  about  the  year  1017  wat 
appointed  roct<ir  at  Schkolen,  near  Xaumhurg. 
In  the  year  liilO,  he  became  pastor  at  Xohra, 
near  Weininr  ;  and  lastly,  in  162i>,  pastor  at  Buch- 
farth,  where  he  died  in  Ifi.'t?.  His  ])ractical  work( 
are,  according  to  Walthcr,  "  lirantlied  aua  dem  2fi 
('up.  Sirarh'.i,"  Jena,  100!).  "  Cymhnlum  iJnrid- 
icum  4,  5,  6,  et  8  rocimi,"  Jena,  10 11.  "  Tirda 
Nuptiales,  in  16  latein  und  dru/sc/ien  Iloc'izeilgesan- 
gen  ton  4,  !>,  und  8  Slimmen,"  Erfurt,  1624. 
"  Strenophnniip,  in  21  lutein  und  deutschen  Stt\jahrt 
GesOngen,"   Erfurt,  162S. 

LEM,  PETER,  first  violin  at  the  Royal  Chapei 
in  Copenhagen,  was  born  there  about  the  year 
1753.  He  had  first  a  pension  of  one  hundred 
rix  doUarsi,  and  was  dispensed  with  playing  in 
the  orchestra.  After  the  death  of  the  chamber 
musician  Hnrtmann,  his  pension  was  increased 
to  twenty  dollars,  and  the  title  of  professor  was 
given  to  him.  From  tliat  time  he  played  only 
solos  at  concerts,  and  instructed  tlie  pui)ils,  who 
from  time  to  time  were  appointed  to  the  Royal 
Chapel.  Trneg  mentions  a  "  Rondo  pour  le  Clav." 
in  manuscript,  written  by  this  musician. 

LE  MAIRE.  ThLs  French  musician  was  sing- 
big  master  in  Paris  in  the  year  1660,  and  contrib- 
uted much  to  the  propagation  and  general  adop- 
tion of  the  seventh  note  of  the  octave,  (si.)  His 
son  Charles  was  a  vocal  composer,  as  appoari 
from  the  following  of  his  printed  works  :  "  Lts 
fjtuitre  Saisotus  ou  CaiUatcs,  Lib.  1,"  Paris.  "  1,  2. 
3,  4,  5,  6  Recucil  cfAirsa  chanter,"  Paris. 

LEMIERE,  JE.\X  FREDERIC  AUGUSTE, 
was  born  in  1770.  He  became  a  director  of  the 
Conser\-atory  of  Music  in  Paris,  and  was  a  pupil 
of  Berton.  He  brought  out  at  the  Thcfttre  des 
Amis  des  .Vrts,  "  Les  deux  Orphelins,"  "  Les  deux 
Crispins,"  with  the  poetry,  "  La  Paix  el  C Amour," 
all  three  printed  in  Paris  in  1798  ;  "La  Reprist 
de  Toulon,"  the  overture  of  which,  d  grand  orch., 
was  printed  at  Paris  in  1797,  "  Andros  et  Almone," 
1794,  and  "  Le  Tombeau  de  Mirabeau."  Most  of 
the  above  little  pieces  were  8ucces.sful.  He  also 
published  "  Se/rf  Romanc.  avec  Ace.  de  Clac,"  Op. 
14,  and  "Deitxii'me  Duo  Cone,  pour  Harp  et 
Piano,"  Paris,  1803.     He  died  in  1832. 

LEMLIX,  L.\UREXTIXUS.  A  contrapuntist 
about  the  middle  of  the  sixteenth  century.  Of 
his  works  are  still  to  be  found  some  melodies,  m 
a  collection  of  songs  for  tour  voices,  made  in 
I54S.  and  yet  prcseired  in  the  Zwickau  library. 

LEMO\'XF,  or  MOINE,  JEAX-BAPTLSTE, 
a  French  musician,  was  born  at  Ej-met  Lii  17.il. 
In  his  youth  he  went  to  Germany,  and  studied 
composition  under  the  celebrated  masters  Graun 
and  Kirnbcrger.  Whilst  .nt  Berlin  he  composed 
a  storm  chorus  for  an  old  opera,  "  Toinon  and 
Toinette,"  which  had  the  greatest  success,  so  much 
so,  that  the  Prince  Royal  of  Prussia  gave  him,  as 
a  reward  for  its  compo-.ition,  a  superb  gold  snuff 
box  filled  with  ducats.  He  was  then  nominated 
director  of  the  music  at  the  theatre  of  this  prince, 
and  had  the  honor  of  giving  sevenil  lessons  to 
Frederic  the  Great,  by  whom  he  was  much  es- 
teemed. After  thus  he  produced,  at  Warwwr 
•'  Ia"  linuijuet  He  Colette"  an  opera  in  one  act,  in 
which  Madame  St.  Huherty  performed,  who  af. 
terwards,   by   Ii«moync's  instructiona,  brraute 


&& 


613 


I,  EM 


ENCYCLOPAEDIA    OF    MUSIC. 


LEO 


celebrate;!  nctrcss  niid   singer  at  Taris.     On  his  !  lowing:  "  Trois  Concertos  pour  le  Ciav."  Nos.   1, 


return  to  France,  ho  composed  for  the  Royal  Acad 
eniy  of  Muttic.  "  ICU-cIn;"  an  oj.cra  in  three  acts, 
'783  ;  "  I'hidrc,"  in  three  acts,  1786  ;  "  Nephti," 
in  three  acts,  and  "  I^s  PritcndM,"  in  two  acts, 
1789  i  "  Louis  IX. ,"  in  three  acts,  and  "  Les  I'oin- 
miert  et  h  Moulin,"  in  one  act,  1790.  Subsequent- 
ly to  this,  he  gave,  at  the  Bamc  theatre,  "  MiUiade 
(i  Marathon."  Tlie  above  works  were  all  success- 
ful, especially  "  J'Iddrr,"  "  Srphl^.,"  and  "  Les 
I'ritendus"  '  Lemoyne  was  the  first  composer 
who  had  the  honor  of  being  called  on  the  stage 
by  the  public  at  the  Grand  Opera.  This  took 
place  ou  the  first  representation  of  his  "  Scphli." 
I.eraoyne  also  composed  several  operas  for  the 
ThtAtre  Fcydcau,  namely,  "  FJfrida,"  "/-e  petit 
liatelirr,"  and  "  Le  Mi-risonffe  ojficieuj:.'^  He  was 
the  only  French  composer  of  his  time  whose 
works  succeeded  by  the  side  of  those  of  Gluck, 
I'iccini,  Sacchini,  &c.     lie  died  at  Paris  in  1796. 

LEMOYNE,  G.,  son  of  the  preceding,  was 
born  at  Berlin  in  1772.  He  was  an  excellent 
pianist,  and  composed  much  miLsic  for  his  instru- 
ment, as  also  a  great  number  of  romances,  amongst 
which  is  the  admired  one  "  Le  Tombeau  de 
Mijrthe." 

LENAIN  published  at  ParLs,  in  1766,  a  work 
entitled  "  Dcs  Eldmens  de  Miuuquc." 

LENCLOS,  DE,  chamber  musician  to  Louis 
XIV.,  was  a  guitarLst  and  theorbLst.  He  died  in 
1630.  He  was  the  father  of  the  celebrated  Ninon 
de  Lenclos. 

LENE.  An  old  term  applied  to  a  note  sustained 
in  one  of  the  harmonic  pirts  of  a  composition, 
whilst  the  other  parts  are  in  motion. 

LENTANDO.  (I.)  A  word  indicating  that 
the  notes  over  which  it  is  written  are  to  be 
played,  from  the  first  to  the  last,  with  increasing 
slowness. 

LEXTEMENT.  (F.)  A  word  signifying  that 
the  movement  to  which  it  is  prefixed  Ls  to  be  per- 
formed in  a  slow  time. 

LENTEMENTE.     (I.)     Somewhat  alow. 

LENTO,  or  LENT.  A  term  implying  slowness 
of  time. 

LENTEUR,  or  LENTEZZA.  (I.)  With  a 
ficdatc  and  lingering  movement. 

LENTON,  JOHN,  one  of  the  band  of  King 
AVilliara  and  Queen  Mary,  was  a  professor  of  the 
flute.  He  composed  and  iniblishcd,  in  conjunc- 
tion with  Mr.  ToUit,  a  work  entitled  •'  A  Concert 
of  Masic,  in  three  parts."  Some  catches  of  his 
composition  are  printed  in  the"  Pleasant  Musical 
Companion." 

LENTZ,  H.  fi.,  a  German  composer  and  pro- 
fessor of  the  piano-forte,  seems  to  have  resided 
eome  time  in  London,  between  the  years  1784 
and  1794.  He  then  went  to  Hamburg,  where 
he  styled  hinisilf  a  member  of  the  Society  of  Arts 
and  Sciences  at  Paris,  and  played  two  new  con- 
certos for  the  piimo-forte,  and  symphonies,  which 
compositions  were  distinguished  for  so  much 
genius,  art,  and  ta.ste,  that  tliey  obtained  the  ap- 
probation of  all  connoisseurs.  He  publLshed  va- 
rious pieces,  of  which  w  e  may  mention   the  tol- 


2,  3  ;  "  Neuf  Trias  pour  le  Piano,  awe  V.,"  Op.  5  ; 
"  Neuf  Trios  pour  le  Piano,  avec  V.  et  B.,"  Op.  8  ; 
"  Neuf  Trios  pour  le  Piano,  arec  I'.,"  Op.  9,  Paris ; 
the  last  also  at  Offenbach,  1793  and  1794  ;  "  Airs 
varlispourlcClac,"  No.  70,  Paris,  1792;  "  Thre« 
Trios  for  Piano-forte,"  London,  1795  :  "  6  Deutsche 
lieder"  Hamburg,  179G  ;  •'  Preludes  for  the  Piano- 
forte," London,  about  1794;  "Air  varii,  '  O  ma 
tendre  Musette,'  pour  Piano-forte,"  Leipsic. 

LENZI,  r.\.RLO.  Formerly  chef  d" orchestre  at 
Bergamo.  It  Ls  said  that  he  obtained  no  small 
degree  of  fame  as  an  artist  in  Italy.  He  retired, 
probably  on  account  of  his  old  age,  in  1802. 

LEO,  LEON.VRDO,  born  at  Naples  in  1694, 
was,  after  Durante,  one  of  the  most  laborious, 
brilliant,  and  sublime  composers  of  Italy.  Like" 
Durante,  a  jnipil  of  Alessandro  Scarlatti,  he  did 
not  adopt  all  the  severity  of  the  style  of  the  lat- 
ter in  the  opera,  nor  of  the  former  in  church 
music  ;  he  preserved  all  their  dignity,  which  he 
blended  with  pathos,  his  peculiar  excellence. 
Flexibility  was  the  source  of  the  talent  of  this 
composer;  he  ada;.tcd  his  style  with  equal  suc- 
cess to  the  serious  and  to  the  comic  opera.  He 
was  alike  brilliant  in  each,  and  his  first  opera, 
"  dot,"  in  the  latter  species,  was  received  by  the 
Neapolitans  with  such  applause,  that  it  was  rep- 
resented in  several  of  the  other  Italian  theatres. 
The  subject  of  this  piece  is  a  man  who  has  the 
habit  of  adding  "  that  is  to  say  "  to  every  thing 
he  savs,  and  who,  in  endeavoring  to  be  explicit, 
is  only  the  more  obscure.  His  serious  operas 
were  approved  as  much  as  the  "  Ciit,"  for  their 
expression,  grace,  truth,  and  melody. 

Emulous  of  \  inci  and  Porjjora  in  dramatic 
composition,  Leo  was  equally  desirous  of  rival- 
ling Durante  in  sacred  music ;  and  as  in  the  one 
he  had  been  by  turns  pathetic  and  gay,  scientific 
and  natural,  so  in  the  other  he  was  imposmg  and 
elevated,  grand,  and  at  times  subhme.  Among  -t 
his  compositions  for  the  churcTi,  his  "  Miserere  " 
is  particularly  celebrated  for  its  jirofound  knowl- 
edge of  eounter|)oint,  its  grandeur  and  purity  of 
style,  and  its  natural  and  ingenious  emplo)-ment 
of  modulation  and  imitation  ;  it  has  even  been 
judged  equal  to  that  of  Jomelli.  Leo  invented 
that  species  of  air  called,  by  the  Italians,  arixi 
d'os'inazione,  or  obligate  airs;  his  compositions 
in  tliis  style  are  highly  classical,  particularly  that 
beginning  "  Omhra  diletta  e  cara." 

Leo  was  the  founder  of  a  school  of  singing  in 
Naples,  which  tended  to  increase  the  fame  ol  his 
country  as  a  nursery  for  those  celebrated  singers 
which  have  filled  tlie  Italian  theatres  of  the  dif- 
ferent European  courts.  The  solfeggi  he  com- 
posed for  his  scholars  are  still  eagerly  sought  and 
studied.  Leo  was  in  every  resi)ect  eminently  -ser- 
viceable to  the  progress  of  his  art.  That  which 
Alessandro  Scarlatti  began,  he  continued  ;  that 
which  Porpora  and  Sarra  had  only  indicated,  he 
completed.  Bv  his  a.ssistance,  melody  was  great- 
ly released  from  those  elements  wliieh  destroyed 
its  power  ;  it  was  purified  on  leaving  his  hand  ; 
witho\it  anv  injury  to  expression,  he  gave  it  its 
delightful  lilliaiice"  with  grace  and  truth  ;  his  style 
was  ahvavs  elevated  without  afi'ectation,  expres- 
sive without  extravagance,  and  grand  -without 
Leo  died  at  Naples  in  174o,  aged  fifty 


inflation, 
one. 


514 


LEO 


ENCYCLOP.^DIA    OF    MUSIC. 


LES 


Tlie  following  list  comprises  his  principal 
works.  Sacred  music :  "Santa  Elena,"  oratorio; 
"  La  Morte  d'Ahele,"  oratorio ;  "  Ave  Maria  stel/a," 
"  Miserere  alia  Capella,"  for  eight  voices  ;  "  Ilea 
uos  misifTOs,  Motetta  alia  Cipella  h  5  voci ,  "  "  Missa 
i  2  Sopr.,  A.,  T.,  e  B. ;  "  "  3  Misse  d  5  voci ;  "  "  3 
Dixie  ;  "  "  Te  Deum  H  4  voci ;  "  "  Credo  A  4  voci  ;  " 
"  Ma(jnijical  h  6  foci ;  "  "  Miujuijical  d  4  vac.  con  2 
I',  e  11. ; "  "  Cantata  per  il  ghrioso  S.  Vincenso  Fcr- 
reri,  ossia  Molitto  fi  o  vnc.  con  Strom.;"  "Cantata 
per  il  Miracolo  del  ijlorinso  S.  (Jennaro  tl  a  voc.  e 
grande  orch. ;  "  "  Motetta  Jam  nirrexit  die.'  r/Uirio.m, 
d  5  voc.  ;  "  "  Miserere  nui  A  4  toe.  soli  col  Basso." 
Operas  :  "  Caio  Gracro,"  1720  ;  "  Tamerlano," 
1722;  "  Timocrate,"  1723;  "  Catone  in  i'tira," 
172*);  "  Arffmie,"  1728;  "/-a  Clemmza  di  Tito" 
173.5  ;  "  Siface"  1737  ;  "  ('iro  ricono.iciuto,"  1739  ; 
"Achille  in  .Sc/ro,"  1710  ;  "  Volo'ieso"  1744  ;  "  So- 
fonisba"  1718;  this,  according  to  Dr.  llurupy, 
WHS  Leo's  first  opera  ;  "  Artaserse ;"  Dr.  liunioy 
could  only  rtnd  in  Italy  one  air  from  tliis  opera ; 
"  Arianne  e  Teseo,"  "  Olimpiatle,"  "  De»iof)onle," 
"  Andromacha"  "  Le  Nozze  di  Psiche  con  Amore," 
"  Festo  Teatrale,"  \7:i9;  "La  Ziaijarelln"  inter- 
mezzo, 1731  ;  and  "  //  Cio6,"  opera  bulla.  Other 
vocal  works  :  "  Serenata  }>er  S/m^/na,  2  parte,"  and 
"  Componimento  paitorafe,  2  parte," 

LEOXACCIXI,  bom  at  Modena,  was  reckoned 
by  I'iccini  among  the  principal  Italian  ma.sters 
in  music.  lie  nourished  Irom  the  year  1600  till 
lu.50. 

LEONARDL  GIOVANNI.  A  composer  in 
the  beginning  of  the  sixteenth  century,  some  of 
who>c  works  are  yet  to  be  found  in  a  collection 
of  songs  for  four  voices,  printed  in  l.)4S.  A 
copy  of  this  work  may  be  been  in  the  Zwickau 
library. 

LEONE,  ERASIO,  a  Carmelite  monk,  proba- 
bly at  Turin,  published  "The  Lamentations  of 
Jeremiah  set  to  Music,"  Turin,  1798. 

LEONETTI.  GIOV.    BATTISTA,  an  Italian 

composer  of  the  last  century,  published  "  Litanie 
a  4,  5,  6,  7,  et  8  voci." 

LEONI,  LEO,  chapel-master  of  the  cathedral 
at  Viccnza,  publLshed  "  Sa'mi  a  8  rod  "  Venice, 
IC>2">,  also  some  works  of  motets  and  other  mu- 
sic, early  in  the  seventeenth  century. 

LEONI,  a  Jew,  was  considered,  in  1777,  as  one 
of  the  best  singers  in  England.  He  wa*  engaged 
both  at  concerts  and  at  the  opera.  In  1778  he 
went  to  Dublin.  Bi-fore  tliis  period  he  had  sung 
at  spiagogues  in  Loudon,  where  people  of  the 
first  rank  went  to  hejir  him.  The  Jews,  however, 
afterwards  dismissed  him  from  their  church  ser- 
vice, because  he  had  s»ing  in  "  The  Messiah  "  of 
Handel,  and  at  the  theatres.  The  Jews  of  Berlin 
did  not  evince  the  same  intolerance  in  1781!, 
when  thirteen  persons  of  their  persuasion  sang  in 
"  The  Messiah,"  at  the  church  oi'  St.  Nicholas  in 
that  town. 

LEONINE.  An  epitaph  applied  to  certain 
hymns,  or  verses,  of  which  the  middle  line  rhymes 
with  the  l.ist.  Tliey  are  suppose<l  to  have  derived 
this  appellation  from  Pope  I.co.  their  author, 
in  the  seventh  century,  and  are,  by  some,  thought 
to  have  been  the  first  attempt  at  rhyme.  Others, 
tiowever,  imagine  the  hymn  to  St.  John  the  Bap- 

6 


tist,  writter.  by  Paul  Diaconus,  to  be  rcndcn'd 
memoral)le  not  only  by  Guido's  scale,  but  by 
having  been  the  model  ol  all  other  monkish 
rhjiues  in  Latin,  as  well  as  in  the  modern  lan- 
guages. 

LEOPOLD,  GEO.  AUG.  JULIU.S  born  at 
Leirabach  in  Xlii.'i,  \>nh\i.t\icd  "  (iedanUti  and  Con- 
Jectiiren  :ur  (Jesc/iic/ite  dar  Miiaik,"  Stendal,  1780. 

LEPIN.  Under  this  name  was  published  in 
Paris,  in  1794,  "  Concerto  jHjar  k  Clav.  acec  a*WJ 
v..  A.,  et  U." 

LKPINFl.  A  musician  not  much  kno^^^.,  who 
corajx)sed  the  music  of  "  Aci/s  et  dalathic,"  an  op- 
eretta  which  was  rci)rcsented  in  1787. 

LEPKINCE,  a  French  violinUt,  died  in  1781. 
On  his  voyage  from  Holland  to  St.  Petersburg, 
the  vessel  lie  was  in  was  taken  by  an  English  pri- 
vateer, when  he  continued  to  play  so  cheerfully 
on  his  violin,  that  the  English  made  him  pluy  to 
their  dancing,  and  gave  iiim  back  all  his  prop- 
erty. 

LEPSIS.  A  term  used  in  the  ancient  music 
for  one  of  the  three  branches  of  inehpwia,  and 
by  whiclj  the  comix)ser  discerned  whether  he 
ought  to  place  the  notes  of  his  melody  in  the  low- 
er part  of  the  octave,  called  hijpatoidj-s,  the  upper 
jiart,  called  nctoid<'.i.  or  among  the  middle  sounds, 
called  mesoidcs.     Sec  Mescolments,  and  Usus. 

LE  PANTALON.  The  first  figure  of  a  qua- 
driUe. 

LEROY,  ADRIEN,  an  excellent  lutist  and 
composer,  was  the  first  establisher  of  musical 
printing  in  France,  and  published,  in  1583,  a 
treatise  on  music. 

LEROY,  EUGENE,  a  composer  at  Paris,  pub- 
lished there,  previously  to  the  year  1798,  four 
works  of  sonatas  for  the  piano-forte.  He  died  in 
1816. 

LESCOT,  singer  at  the  Th6i\trc  Italien  in  Par 
is,  in  1788,  was  the  composer  of  thfe  printed  oper- 
etta "  La  S^.greise,"  1789. 

LESGU,  a  French  composer,  lived  in  the  veai 
1678. 

LESSEE,  V.  F.,  a  musician  at  Vienna,  one  of 
the  three  pupils  of  Haydn,  published  there  "  Art- 
etie  jMiir  le  Clac.  arec  I'ar.,"  1797,  and  some  other 
compositions. 

LESSING.  GOTHOLD  EPIIRAIM,  counscUor 
at  Brxinswick-Wolfenbuttel,  and  lilirarian,  was 
bom  at  I'ascwalk,  in  I'omcrnnia,  in  1729.  Tho\igh 
he  never  understood  the  science  of  music,  he,  by 
his  genius  and  learning,  acquired  s>ich  deep  in- 
sight into  what  is  really  beautiful,  that,  even  to 
profes-sional  musicians,  he  could  give  hints  r.nd 
excellent  rules  for  the  u.se  and  application  of  the 
art.  The  proofs  of  this  are  to  bo  found  in  the 
following  ol  his  writings :  "  I'rher  die  lietfeln  der 
Wissenschnftenziim  l'cri/n1l;/rn  brsnndrrs  der  I'ceni' 
iinri  .Mii-iil:  .■  "  this  is  a  small  instructive  poem, 
Berlin,  17.)3-17.i6.  "  (\h<r  dif  Mu^iknlischrn 
Zieischentpifle  h«y  S<-hnH*pirlfn"  1767;  thin  if  in 
his  "  llamh.  Dramaturgif,"  1760.  "  Scriptnrts  Re- 
nun  Briinsriamsium,"  Hanover,  1770,  three  \oi 
Id 


LES 


ENCYCLOPiEDIA    OF    MUSIC. 


lET 


umcA  folio,    niis  is  an  historical  work.    He  died 
In  1781. 

LE.SSOX.  A  word  fonnerly  used  by  com- 
posers, to  sij»nily  those  exercises  for  the  harpsi- 
chord, or  pinno-lorte,  which  are  now  generally 
called  sonatas.  The  lenf^th,  variety,  and  style  of 
ttasoiu  arc  not  regulated  by  any  acknowledged 
rule,  but  entirely  depend  on  the  fancy,  taste,  and 
abilities  of  the  composer,  and  the  class  of  practi- 
tioners for  whose  use  the  pieces  are  designed. 
The  word  lesson  is  also  applied  to  that  instruc- 
tion which  a  master  communicates  to  his  pujjil  at 
each  visit,  or  sitting. 

LESUEUR,  JEAN  FRAXCOIS,  chevalier 
of  the  legion  of  honor,  and  conductor  of  the  Em- 
peror Napoleon's  chamber  music,  was  born  about 
the  year  1760.  He  first  studied  music  at  Amiens, 
where  he  was  educated.  He  was  appointed  in 
early  life  chapel-master  of  several  cathedrals, 
among  others  of  Notre  Dame  at  Paris,  for  which 
he  composed  many  oratorios,  masses,  and  motets. 
The  extraordinary  success  of  these  pieces  at  No- 
tre Dame,  the  Chaijcl  Royal,  and  the  Concerts  Spi- 
rituel,  and  the  favorable  critiques  on  them,  wTitten 
in  the  journals  by  such  men  as  Sncchini,  Piccini, 
Phillidor,  and  Grctry,  placed  Eesueur,  during  the 
space  of  thirty  years,  in  the  very  Krst  rank  of  the 
church  composers  of  Europe.  As  early  as  the 
year  1785,  before  Lesueur  was  twenty  years  of 
age,  Sacchini  said  of  him,  "  I  know  only  two 
chapel-masters  in  Italy  who  can  equal  him." 
Lesueur  not  only  wrote  for  the  church,  but  he 
also  composed  five  operas,  which  are  considered 
in  the  highest  order  of  dramatic  compositions. 
His  first  opera  was  "  La  Caverne,"  in  three  acts, 
represented  at  the  ThtAtre  Feydeau,  in  179.3. 
The  second,  "  Paul  et  Virc/inie,"  in  three  acts,  also 
performed  at  the  Feydeau,  in  1 794.  The  hymn 
to  the  sun  in  this  piece  was  greatly  admired,  and 
has  frequently  been  sung  at  concerts.  Third, 
"  Tiliinafjue,"  in  tlirec  acts,  Theatre  Feydeau,  in 
1796.  Fourth,  "  Les  liardcs,"  five  acts,  performed 
at  the  Royal  Academy  ot  Music,  in  180-1.  French 
critics  have  agreed,  in  speaking  of  this  opera, 
that  the  subhme  is  the  true  characteristic  of  Le- 
Bueur's  music  He  always  writes  with  simplicity, 
but  still  forms  his  taste  on  the  antique.  In  liis 
opera  of  "  Les  Banles,"  he  had  proposed  to  him- 
self to  renew  the  impressions  which  many  of  the 
audience  must  have  felt  on  reading  the  works  of 
Ossian,  and,  in  fact,  the  extraordinary  character 
of  his  melodies  produced  the  eti'ect  he  expected. 
He  has  borrowed  many  of  the  musical  ideas  from 
hLs  sacred  compositi ms.  There  are  two  choruses 
of  bards  in  it,  of  very  different  character,  and  in 
two  different  scenes ;  these  in  a  third  scene  he 
joijis  together  in  one  piece,  so  as  to  form  some 
liighly-wrought  and  striking  eontra.sts.  Fifth, 
"  Lii  Mori  d'Atlam,"  in  three  acts.  Tliis  was  first 
reijrescutcd  at  the  Royal  Academy  of  Music  in 
'809.  The  character  of  the  music  is  said,  by  the 
editor  of  the  French  dictionary  of  musicians,  to 
be  truly  biblical,  simple,  and  sublime.  The  Em- 
peror Napoleon  ajjjiointed  Lesueur  his  chapel- 
master,  on  the  retiirn  of  Paesielln  to  Italy,  accom- 
panying the  order  of  appointment  with  a  gold 
snuff-box,  inscribed  "  L' llinpereur  dcs  Fran<;ais  d 
CAu/eur  dcs  Burdcs."  In  1787,  Lesueur  published 
t  volume  in  8vo.,  entitled  "  Exposi  d'une  Ma-siyiif, 
jnr,  imitatirc,  et  particulif  re  h  chntjite  aohnniti." 
^monghis  other  works.w  e  should  also  name  "  Let- 

6 


ire  en  ripoiise  d  Guitlard  stir  F  Ojiira  de  la  Mart  d'Ad> 
am,  donl  le  tour  de  niise  arrive  your  la  troisiiinefou 
au  TheAtri  des  Artt,  et  sur  plusictirs  points  d'uti- 
iiti  rclatifs  aux  Arts  et  aux  Lettres,"  1802.  The 
subject  of  this  pamphlet  is  the  differences  which 
had  arLsen  between  Lesueur  and  the  then  direct- 
or, or  rather  despot,  of  the  Paris  Conser\'atory, 
Sarette.  In  this  controversy,  another  work  ap- 
jieared,  entitled  "  Miinoire  pour  J.  F.  Lesueur,  con- 
teitaiil  guc/^ues  vues  d' amelioration  el  (fajfermis- 
sement  donl  le  Conservatoire  parait  susceptible,  pat 
C.  P.  Ducauccl,  difcnseur  ojficieux  et  ami  de  Le- 
sueur," 1803.  In  con.sequence  of  this  last  pam- 
phlet. Napoleon  interfered,  and  .Sarette  waa  de- 
prived of  his  situation  in  the  Conservatory,  whilst 
Lesueur  obtained  much  favor  and  reappointment 
to  his  situation  in  the  National  Institute,  of  which 
he  had  been  before  deprived.  It  was  about  this 
period  tliat  he  was  appointed  chapel-master  to  the 
emperor,  as  before  stated. 

LESSUS.  A  word  in  the  twelve  tables  of  the 
Romans,  supposed  by  some  to  mean  a  funeral 
song  ;  but  of  the  real  signification  of  this  word, 
even  Cicero  was  doubtful. 

LETENDART,  N.,  a  piani-st,  born  at  Paris  in 
1770,  was  considered  in  France  as  the  best  pupil 
of  Balbiitre.  He  composed  some  music  for  1^ 
instrument. 

LETTERIO,  MARINO,  an  instrumentalist, 
probably  from  Italy,  acquired  notoriety  in  Paris, 
by  his  "  Six  duos  faciles  et  progress,  pour  deua 
Haitthois,"  Op.  2,  Paris,  1801. 

LETTERS.  The  first  seven  letters  of  the  al- 
phabet, A,  B,  C,  D,  E,  F,  and  G,  are  used  to 
form  the  letters  of  the  scale,  and  are  repeated  in 
every  octave.  These  letters  serve  to  distinguish 
the  notes  ;  they  have  been  used  since  the  time 
of  Gregory  to  determine  the  pitch  of  the  sounds, 
and  are  stationary  upon  the  lines  and  spaces. 

LEUT'HARD,  JOIIANX  DANIEL,  chamber- 
lain to  the  Crown  Prince  of  Rudolstadt,  born  at 
Kerlsberg,  near  Rudolstadt,  in  1706,  was  taught 
the  piano-forte  by  the  celebrated  Vogler,  and,  in 
1727,  the  violin  by  chapel-master  Graff.  After 
this  he  entered,  in  17:50,  as  musician  in  the  ser- 
vice of  the  Duke  of  Weimar.  Here  ho  composed 
several  instrumental  works  for  the  court  band,  till, 
at  length,  he  obtained  the  above-mentioned  sit- 
uation at  Rudolstadt,  in  173.5.  The  following  of 
his  works  have  been  printed  :  "  6  Klaciersoiuiten,' 
Op.  1  ;   "  6  Aricn  itnd  6  Meniietten  fllrs  klavier." 

LEV.VRE  ANTIPHONAM.  An  expression 
used  in  the  old  church  music,  and  signiij-ing  to 
begin,  or  open  the  leading  part  of  an  anthem. 

LEVASSEUR,  PIERRE  FRANQOIS,  called 
Levasseur  the  elder,  was  born  at  Abbeville  in 
1753.  He  was  a  celebrated  violoncellLst,  and,  at 
the  be^iinning  of  the  present  century,  was  still  a 
performer  in  the  orchestra  of  the  Grand  t)pera  at 
Paris,  where  he  died  in  1815. 

LEV.VSSEUR.  JEAN  HENRI,  caUed  Levas- 
seur the  younger,  was  chamber  musician  to  Na- 
poleon, and  first  violoncellist  at  the  Grand  Opera. 
He  was  professor  of  his  instrument  at  the  con- 
servatory in  Paris,  and  composed  much  music  foi 
the  violoncello  and  piano-forte.    lie  died  in  1823 


16 


LEX 


EXCYCLOl'.EDIA    OF    MUSIC. 


1  lU 


L-^VEQUE.  JOIIANX  WILIIELM,  royal 
chapel-master  at  llaiiovtr,  was  born  at  Cologne  in 
1759.  lie  left  his  native  town  when  he  was  only 
three  yeiir-t  old,  and  was  taken  by  hLs  ])arcnts  to 
Paris,  where  he  was  iutendcd  tor  the  learned  pro- 
foiision,  in  order  to  obtain  afterwards  the  preb- 
endary stall  of  his  uncle,  who  lived  there.  -\t 
Paris  he  first  learned  to  play  the  violin  for  his 
amusement.  Hut  the  great  progress  he  made  so 
increased  his  passion  for  music,  that  at  liust  he 
resolved  to  devote  himself  entirely  to  this  science, 
and  quitted  his  father's  house  in  consetiucnce. 
rfis  first  engagement  wius  with  the  reigning 
prince  of  Nassau- Wcilburg.  This  prince,  how- 
ever, was  soon  obliged,  in  consequence  of  the 
French  revolution,  Jo  dismiss  the  mu-ic  in  his 
chapel,  when  L'Eveque  went  to  Switzerland, 
where  he  remained  two  years.  Afterwards,  he 
travelled  tlirough  Austria  and  Hungary,  and  re- 
turned from  thence  to  Passau,  where  the  reigning 
bishop  ap[)oiiited  him  his  chapel-master.  After 
having  tilled  this  st^itiou  for  three  years,  the  sit- 
uation of  chapel-master  in  Hanover  was  otferetl 
him,  which  he  accepted  immediately,  and  re- 
mained there  till  his  death  in  1816.  His  com- 
positions consist  of  solos,  duets,  trios,  concertos, 
and  quartets,  for  the  violin,  &c. 

LEVEHIDGE.  RICHARD,  was  a  bass  singer 
at  the  theatre  in  Lincoln's  Inn  Fields,  where  he 
made  himself  nselul  in  jierforming  such  charac- 
ters as  Pluto,  Faustus,  and  Merlin,  in  the  panto- 
mimical  exhibitions  contrived  by  Mr.  Rich.  He 
had  a  taste  both  for  poeticid  and  musical  com- 
position. The  first  appears  from  several  jovial 
songs  written  by  him,  and  adajUed  to  well- 
known  airs  ;  the  latter  by  the  songs  in  the  play 
of  "  'Ilic  Indian  Princess,"  altered  by  Molteaux, 
which  have  considerable  merit,  and  some  others. 
Ilis  singing  consisted  chiefly  in  strength  and 
comjjass  of  voice,  without  much  grace  or  ele- 
gance. In  1730,  he  thought  his  voice  so  good, 
that  he  offered,  for  a  wager  of  a  hundred  guineas, 
to  sing  a  bass  song  with  any  man  in  England. 

About  the  year  172'),  he  opened  a  coflee  house 
in  Tavistock  Street,  Covent  Ciarden,  and  pub- 
lished a  collection  of  his  songs  in  two  pocket 
volumes,  neatly  engraved.  In  Rowe's  eilition  of 
Shakspeare,  the  music  of  the  second  act  of  Mac- 
beth is  said  to  have  been  set  by  Leveridge  ;  but 
whether  the  editor  has  not  mistiikeu  the  music 
of  Matthew  Lock  for  his,  may  deserve  inqxiirj-. 
His  manners  were  coarse,  hut  the  humor  of  his 
songs  and  conversation  obtained  for  liim  a  wel- 
come at  all  clubs  and  ivoemblics  where  the 
avowed  purpose  of  meeting  was  an  oblivion  of 
care;  and  being  ever  leady  to  aid  in  the  promo- 
tion of  social  mii-th,  he  acquire  I  many  friends, 
from  whose  bounty  he  derived  all  the  comforts 
that,  in  extreme  old  a;;e,  he  was  capable  of  en- 
joying. A  physician  in  the  city  procured  from 
a  number  of  persons  an  annual  contribution, 
which  Lcveridge  continued  to  receive  until  the 
time  of  his  death.  This  took  place  about  the 
year  17J8,  at  the  age  of  nearly  ninety  years. 

L^VESQUE,  a  musician  in  Paris  about  1790, 
published,  conjointly  with  Bf-che,  "  So'fi'ijra  d"  Ita- 
Ue,  arec  Ui  UiUse  chijfrie  par  L/^,  Durante,  Scar- 
latti, Hasse,  I'orpora,  *c.,"   Paris. 

LEVETT,  an  English  composer,  published  the 
bUowing  works  :  "  Introductory  Lossous  on  Sing- 


ing, particularly  Psalmody,  to  which  are  annexed 
several  Psulm  Tunes,  in  four  Parts,  proper  f<  r 
practice."  "New  Year's  Anthem,"  "  II>-mn  fcr 
Easter  Day,"  "  Hymn  for  Christmas  Day,"  an  . 
"  Hymn  for  ^^'hitsunday.'' 

LEVI,  STEFFANO,  formerly  organist  in  the 
church  of  St.  Blasius,  at  Codogno,  in  the  Milanese, 
published  "  Salmi,"  Milauo,  1G17. 

LEVIS,  AXTOXIO.  An  artist,  placed  amonf; 
the  composers  of  the  first  rank  in  the  "  Indice  de 
H/iettac.,"  1791.  He  was  in  1788  at  Xovi,  in  Italy, 
and  the  following  of  his  compositions  had  then 
been  produced  on  the  stage  :  "  La  Cwitadina  in 
Corte,"  opera  butfa,  and  "  Isabella  e  Kodrigo," 
opera  buffa,  1788. 

LEXICOX,  MUSICAL.  A  book  teaching  th« 
signification  of  miLsical  terms ;  a  musical  dic- 
tionary. John  \V.  Moore  published  the  "  Musi- 
cian's Lexicon,  or  Treasury  of  Musical  Knowl- 
edge," at  Bellows  Falls,  Vt.,  1845. 

LIAISOX.  ^F.)  Smoothness  of  connection  ; 
also  a  bind  or  tie. 

LIBRE'ITO.  The  name  given  by  the  Italians 
to  the  book  containing  the  words  of  any  opera. 

LICEXSE.  A  liberty  taken  in  composition, 
or  performance,  by  which  the  master,  with  some 
particular  view,  vitdatps,  for  the  moment,  those 
received  rules  ai\d  regulations  which  form  the 
established  system  of  harmony  and  modulation. 
'I1iis  kind  of  freedom  is,  at  best,  a  hazardous  re- 
source ;  and  the  composer,  or  performer,  who 
ventures  it,  should  possess  as  much  genius  as 
boldness,  and  always  compensate  his  trespass  by 
some  felicitous  and  striking  effect. 

L'HOVER,  .VXTOIXE,  formeriy  a  member 
of  the  French  company  of  performers  to  Prince 
Henry  at  Rheinsberg,  and  afterwards,  from  the 
year  1800,  a  guitarist  in  Hamburg,  pubUshed 
there  "  Sit  Adagios  pour  la  Guitare,  avec  Ace. 
d'un  Violon  oblig'l,"  1797;  '^  Grande  Honate  pour 
fa  Guitare,"  1799;  "Six  Romances  pour  la  Gui- 
tare,"  Op.   14,   1799. 

LIBERATI,  AXTOXIO,  during  his  youth, 
was  a  singer  of  the  imperial  chapel  of  Ferdinand 
m.,  and  afterwards  in  the  pontifical  chapeL 
When  arrived  at  manhood,  he  wits  appointed 
chapel-ma.ster  and  organist  of  the  church  Delia 
Santlssima  Trinitii  de'  Pellegrini  and  also  chapel- 
master  aud  organist  of  the  church  I)i  Santa  Maria 
dell'  Anima  at  Rome.  During  the  time  he  held 
the  latter  situation,  the  place  of  chapel  ranstei 
of  the  metropolitan  church  of  Milan  became 
vacant,  and  Liberati  was  requested  to  give  his 
opinion  of  the  respective  merits  of  five  persons 
who  were  candidates  for  it.  In  consefjucnce  of 
this  retiucst,  he  wrote  a  letter,  dated  the  loth  of 
October,  1684,  which  he  afterwards  published 
under  the  title  of  '•  Lettcra  srrilta  dal  Sig.  Anto- 
nio Liberati,  in  Ui/ftstj  atl  una  del  Sig.  OruUa 
Persapegi."  In  this  he  discusses  the  merits  of 
the  compositions  presented  by  the  candidates  in 
evidence  of  their  abilities,  and  then  trace*  the 
rise  and  progress  of  music,  from  the  time  of  I  y- 
thagoras  downwards,  and  gives  his  opinion  re- 
specting most  of  the  eminent  musicians  who  }  1 1 
lived  both  before  aud  during  lis  own  time.    Th.s 


617 


UlR 


ENCYCLOP-EDIA    OF    MUSIC. 


Lll 


letter  contniiis  raniiy  curious  particulars  of  musi- 
?al  history,  but  is  written  in  such  a  vein  of  gen- 
eral ]iBne;,'yric,  that  it  is  much  more  likely  to 
produce  scei)ticisiu  than  conviction  in  the  minds 
of  modern  readers. 

LIULEK,  JOIIAXN.  Under  this  name  there 
were  published  in  Hamburg,  about  1796,  "Two 
Songs  for  the  I'iano-fortc." 

LK'IIXOWSKI,  COUNT,  an  amateur  at  Vi- 
enna, printed  there,  in  179.S,  "  Scpl  Variations 
jioiir  !<■  I'iiiito-f'irlc  fur  I'  Air  '  Scl  cor  pi  u  non,  Ac'  " 
In  tlie  year  ITOt!  there  was  a  prince  of  this  name 
in  Vienna,  who  was  considered  one  of  the  first 
pianLsts  of  that  city. 

LICHTENSTEIX,  LOUIS,  BAROX  VOX,  of 
J.ahm  and  Hciligersdorl,  formerly  intcndant  of 
the  court  theatre,  and  chamberlain  to  the  Prince 
of  I)c>sau,  obtained  a  hij;h  rank  among  German 
amateurs,  both  as  a  dramatic  poet,  com])oser,  and 
singer.  When  a  student  in  the  University  of 
Gottingen,  he  first  a|)peared  as  a  performer  on 
the  violin,  m  Forkel's  concerts,  which  wore  held 
there.  After  this  time,  he  became  page  to  the 
Elector  of  Hanover,  in  which  capacity  he  wrote 
the  words  of  the  following  operas,  in  17i)o,  at 
Bamberg,  composing  the  music  for  them,  and 
appearing  on  the  stage  in  the  principal  characters. 
About  1798,  he  entered  upon  hLs  rtr»t-named  sit- 
uation at  Dessau,  where  he  not  only  immediately 
enriched  the  orchestra  with  several  able  artists  for 
almost  every  different  instrument,  but  invited  also 
a  select  number  of  the  best  vocal  performers  in 
(jermany,  of  both  sexes.  In  the  mean  time  he  had 
composed  the  opera  "  Balhmendi,"  for  the  opennig 
of  tlie  theatre  on  the  2(ith  December,  1798.  In  his 
following  ojjcra,  "  Die  Xciner/tc  DraiU,"  i.  e  ,  "  The 
Stone  Bride,"  he  and  his  wLi'e  jjerlormed  the  two 
principal  characters,  with  universal  approbation. 
By  his  great  activity.  Von  Eichteu.stein  at  length 
brought  to  such  perfection  the  jmrso/uiU-  of  the 
Dessau  theatre,  and  the  singing  even  of  the  most 
difficult  and  intricate  finales  of  grand  operas, 
that  the  musical  public  of  Leipsic  were  not  a 
little  surprised,  when  he  brought  his  company  to 
their  town,  in  the  beginning  of  the  j-ear  1800. 
Notwithstanding  this  success,  however,  he  re- 
signed his  situation  in  August  ol  the  same  year, 
and  after  having,  for  the  first  time  in  Leipsic,  in- 
troduced his  own  compositions,  in  the  musical 
pieces  '' MitgejUht,"  and  the  oi'cretta  "  JCmIe  t/iit 
aJlei  ffitt,"  i  e,  "  All's  well  that  ends  well,"  he 
went  to  Vienna,  wliere  the  Baron  Von  Braun 
gave  him  the  direction  of  the  court  theatre  and 
its  orchestra,  reserving  only  the  financial  part  of 
the  concern  to  himself.  In  1831,  Von  Lichtenstein 
was  still  in  this  capacity  at  Vienna.  His  most 
known  works  are,  "  Knall  und  Fall"  i.  e.,  "  Crash 
and  Fall,"  an  operetta  in  two  acts,  poetry  and  i 
music,  Bamberg,  179,i.  This  was  first  performed  | 
privately  for  the  nobility,  anil  nficnvards  ])ublicly  I 
for  the  benefit  of  the  hospital  for  sick  servants. 
"  Hat/iiiu'iifii,"  an  opera,  1798.  This  opera  was 
in  the  following  year  entirely  rewritten,  not  only 
all  the  words,  but  also  the  subject  and  contents,  | 
being  entirely  changed,  and  absolutely  nothing  ' 
but  the  name  lelt.  It  gained  greatly  in  ii\terest 
by  the  change.  "  Die  S/iimrnf  H.-aut,"  Dessau, 
1799;  ^'  Mil'it'ftihl,"  a  musical  i)iecc,  the  words 
of  the  songs  by  favorite  poets,  Dessau,  1800  ;  and 
"  Elide  gut  aUen  gut,"   au  operetta,  Dessau,  1800. 

51 


LICIITENTHAL,  PETER,  a  pbjsician  and 
comiX)ser  at  Vienna,  published  "  Der  MusiJuilischt 
Arzt  odcr  Ubhandlung  ron  dem  Einfiusse  der  Musik 
auf  den  KOrper,  ire,"  Vienna,  1807. 

LICINO,  AGO.STINO.  An  Italian  contra- 
puntist of  the  1  nth  century,  of  whose  works  the 
following  are  still  preserved  in  the  elector's  library 
at  Munich,  "  Dint  Croniatici,  Libri  2,"  Vcnet.,  154.5 
and  1546. 

LICKL,  JEAN  GEORGE,  a  musician  at  Vien- 
na, has  composed  much  music,  among  which  the 
following  m-.iy  be  named:  "Der  Xaubi-r/ifiil," 
i.  e.,  "The  Magical  Arrow,"  an  operetta  for  the 
Schikandcr  theatre  at  Vienna,  1792.  This  has 
been  repeatedly  represented.  "  Frois  QtuUuors,a 
2  r.,  .4.,  tl  B.,"  Op.  1,  Offenbach,  1797  ;  "  Train 
Soiiat.  pour  le  Ctac.  acec  V.  et  Jc.,"  Xos.  1,  2,  3  ; 
"  .Sir  Var.  pour  le  Clav.  sur  Gott  erhalie,  Franz,  *c.," 
Vienna,  1798  ;  "  Cassatio  pour  Oboe,  Clariaetto, 
Fug.,  e  Corno,"  Vienna  ;  "12  Var.  p.  il  cemh.  sopra 
Mein  Sleffcl  ist  ja  em,"  Vienna  ;  "  Trois  Qtiat. 
pour  Fi,  v.,  A.,  et  Vc.,"  Op.  5,  Vienna,  1798; 
"  9  Var.  p.  il  ccmb.,"  Vienna  ;  "  Trois  SoiuUes  pour 
le  Piiino-forie,"  Vienna,  1799;  "  Trois  Duos  }tour 
2  FL,"  No.  4,  Vienna,  1799  ;  "  3  Tm-zeUi  a  C'lar., 
Corn.,  e  Fag.,  1  Mst.  beg  Traeg.,"  and  "  Trois  Trios 
pour  V.,A.,et  B.,"  Op.  17,  Augsburg,  1800. 

LIDL,  .\NTOX.  Dr.  Burney  states  him  to 
have  been  an  able  and  tasteful  \'iol  da  gamblst. 
He  also  made  many  improvements  on  an  instru- 
ment called  the  baritono,  which  was  invented 
about  the  year  1700,  and  much  resembled  tho 
viol  da  gamba.  Lidl  was  a  native  of  Vienna. 
He  was  still  living  in  1800,  according  to  Choron. 
Dr.  Bumev,  however,  states  that  he  died  before 
the  year  1789. 

LIEBERT,  chapel-master  to  the  Prince  of 
Tliurn  and  Ta.^is,  at  Regensburg,  in  1796,  was  a 
pupil  of  the  able  Riepel.  He  was  also  a  good 
composer.        ' 

LIEBESKIND,  GEORG  GOTTHILF,  a  cel- 
ebrated flutist,  in  the  service  of  the  Margrave  of 
-\nspach,  was  born  ill  1732.  He  was  the  favorite 
pupil  of  Quartz. 

LIEBESKIND,  JOIIANN  HEINRICH,  a  .son 
of  the  above,  lived,  in  1807,  at  Bamberg,  being  a 
doctor  of  laws  and  chief  justice  to  the  King  of 
Bavaria.  He  is  one  of  those  amateurs,  says  Ger- 
bcr,  of  whom  it  is  to  be  wished  there  were  many 
in  our  science,  who  not  only  seek  for  entertain- 
ment in  music  because  it  gratifies  their  senses, 
but  because  they  can  employ  their  abilities  ibr 
the  benefit  of  the  science.  He  is  equally  familiar 
with  musical  literature,  and  with  the  nature  and 
powers  of  the  flute.  Of  this  he  gave  a  convincing 
proof  in  1807  and  1308,  in  the  Leipsic  Mus.  Zct.. 
in  which  he  published  a  learned,  ingenious,  and 
instructive  treatise  on  the  notes  of  the  flute,  under 
the  title  of  "  Brucbstuke  aus  einem  noch  uiigedriick- 
ten  pliih>sophisch-praktisclien  Versiiche  uber  die  Salur 
und  das  Toiispiel  der  deutschen  FlOte." 

LIEBICH,  GOTFIUED  SIEGMUND,  chapel- 
master  and  private  secrct.iry  to  the  Count  of 
Reiiss-Planischen,  was  born  at  Frankeiiberg,  ii 
Meis-cn,  in  1672.  He  received  a  good  loundatif  a 
in  musical  education  from  his  lather,  who  was  a 
singer  in  the  same  f  l.apel,  atd  went  afterwar  a 
8 


LIG 


EXCYCLOP.EDIA    OP    MUSIC. 


LIN 


to  the  school  iit  liautzen,  anil  from  thence  to  Jena, 
to  study  mcilicinc.  Here,  however,  he  did  not 
remain  more  tlian  a  year,  when  he  procieeded  to 
Dresden,  whore  he  devoted  hirascli'  entirely  to 
music,  in  which  prot'ession  his  beautiful  tenor 
voice  afforded  him  a  {jreat  advantage.  About 
the  year  lii!»;),  he  obtained  the  otKco  of  notary  in 
Sohluetz,  in  Voi^tland,  and  afterwards  the  chapel- 
master's  situation  above  mentioned,  in  which  he 
died  in  1727.  Araon«;  various  other  works,  there 
are  manuscripts  of  his  entitled  "  Einen  Jtilinjainj 
itber  die  Eranijeiien,  fur  1  Siiir/atiiiinie,  2  f'ioliiien, 
2  r.,  et  B.,"  and  "  Einen  dcrgkiehen  Jahryang,  fUr 
4  Sini/atimmtii  mil  verschiedeneii  Iiisirumeiiten." 

LIOATURE.  A  ligature  is  a  band,  or  link, 
by  which  notes  are  connected  or  tied  together. 
At  present  we  only  tie  tlie  tails  of  quavers  and 
notes  of  shorter  duration  ;  but  the  old  masters 
tied,  or  linked,  together  the  heads  of  their  square 
notes. 

LIGHT.  A  word  adjectively  applied  to  any 
thin,  airy  composition  ;  also  to  the  keys  of  an 
orj!;an,  harpsichord,  or  piauo-forte,  when  they 
make  very  little  resistance  to  the  pressure  of  the 
fingers.  Instruments  with  such  keys  are  said  to 
be  of  a  light  touch. 

LIGNE,  PIIINZ  KAllT,  DE.  published  at 
Vienna,  of  his  own  composition,  "  Ricueil  1,  2,  .3, 
de  Six  Airs  Franqois  pour  le  Claeiciii,"  ^'ieuna, 
1791. 

LIGOU,  PIERRE,  an  abb.-,  born  at  Avignon 
in  1749,  was  appointed  organist  at  Alais,  in  I7u9. 
He  composed  several  operettas,  also  some  church 
music,  which  had  much  success. 

LILIEX,  liARONESS  ANTOIXETrE  DE. 
An  amateur  at  Vienna,  whose  compositions  are 
praised  for  their  power;uI  style.  She  published, 
in  1799,  "Unit  Wiriitioiu  pour  le  Piano-forUi  sur 
Lf  Thdme  du  Trio  '  I'riu  ch'  io  f  inipe/no,"  Vienna ; 
"  Sept  I'ariation-s  sur  un  Thrnte  dam  le  Ballet  dC Al- 
titie,"  Op.  2,  Vienna;  and  "  S,uf  \'ariatioiis  pour 
le  Piano-forte,"  Vienim. 

LILIEX.  HAROXESS  JOSEPIIIXE  DE. 
probably  sister  to  the  preceding,  has  publi.shed 
"  l)ix  Variations  pour  le  (.'lac.  aur  une  li  nuance," 
Vienna,  1800,  and  "  I)ix  Variations  pour  le  Clav. 
tur  I' Air  La  Iia.ht.lina,"  Op.  2,  Vienna,  1800. 

LIMMA,  or  llEMXAXT.  An  interval  used  in 
the  ancient  Greek  music,  which  is  less  by  a 
comma  than  a  major  semitone.  When  taken 
from  a  major  tone,  it  leaves  the  apotoine  for  a 
rnmainder. 

LINES.  Those  members  of  a  stave  on  and 
uetween  which  the  notes  are  placed ;  also  those 
horizontal  parallels  which  are  placed  above  or 
bei-.eath  the  stave.  The  invention  of  liiiea  Ls 
generally  attributed  to  (Juido.  At  their  first  in- 
troduction the  spaces  between  them  were  not 
used. 

1  IXC,  or  LIXK,  WEXZEI-,  a  coo perator  with 
Luther  in  the  refonuation,  \mis  l>orn  at  Colditz 
ai  the  year  1  KS:t.  He  was  first  a  monk  of  the 
arder  of  St.  Augustine,  in  the  convent  at  Mcis- 
nisch,  uei\r  Waldheim ;  became,  in  his  twenty- 
eighth  year,  a  preacher ;  and,  lastly,  in  con.se- 
queuce  of  his  thorough  acquaintance  with  the 


Holy  .Scriptures,  profe<sor,  in  1.512.  From  thence 
he  wai,  in  loKS,  a|)pointcd  first  as  friar,  and  after- 
wards, in  1.32.),  at  lirst  Lutheran  minister,  in  the 
hospital  at  Waldheim,  where  he  died  in  lol7. 
Among  his  numerous  writings  is  to  be  men- 
tioned "  Die  letzten  3  I'naliiun  von  Orgiln,  I'aukcn, 
Olocken  und  deryleichen  a'l.iaerlichen  (Jottesdiciut, 
ob  und  wie  Gott  darinnrn  yelobet  wird,  tcrteuUcht 
durch  W.  Link,  zu  AUenburg,"  Zwickau,  1.523. 

LIXI),  JEXXY,  (GOLDSCIIMIDT.)  who 
stands,  by  common  consent,  at  the  head  of  living 
soprano  sin;;ers,  was  born  in  Stockholm  on  the 
8th  of  February,  1820.  Her  father,  we  believe, 
was  an  advocate  of  respectable  character  and 
moderate  circumstances.  She  was  a  lovely  and 
modc:'t  child,  and  from  her  earlieit  days  wa.s  pas- 
sionately fond  of  melody.  One  day,  when  she 
was  five  or  si.x  years  of  age,  a  Swedish  actress 
heard  the  child  singing,  and  wiw  so  surprised  by 
the  marvellous  purity  of  hor  voice,  and  the  tblcnt 
and  native  skill  displayed  by  the  child  in  its 
management,  that  she  siioke  of  it  to  the  Hcrr 
C.'ru'lius,  a  music  master  resident  in  Stockholm. 
He  heard  the  child  sing,  and  instantly  determined 
on  presenting  her  to  the  Count  POcke,  as  a  can- 
didate for  admission  to  the  musical  school  at- 
tached to  tlie  Royal  The.itre,  of  which  he  was  the 
manager.  'Hie  Count  Pocke  at  first  made  some 
difficulties ;  but,  alter  hearing  her  sing,  wa.s  even 
more  astonished  than  llerr  Crirlius  had  been, 
and  consented  to  her  admission.  She  according- 
ly entered  the  Conservatory  at  this  early  age,  and 
waa  placed  under  the  tuition  of  Erasmtis  lierg,  a 
profound  and  skilful  musician.  .Vlter  studying 
under  this  master  for  several  years,  the  public 
were  surprised  one  evening  at  seeing  a  child  np- 
])ear  in  a  caudecHlc,  in  which  she  had  to  sing. 
This  child  wa.s  Jenny  Lind  Such  was  her  suc- 
cess, that  she  became  a  public  favorite,  aiul,  after 
a  short  time,  Ix'gan  to  appear  in  ojiera.  .-Vt  this 
period  of  her  life  every  thing  seemed  to  bid  fair 
for  the  futvire,  and  the  child  lonked  forward  to 
the  day  in  which  she  mi'.;ht  hold  a  high  position 
in  her  art.  This,  however,  was  a  ilrc  im,  which 
Was  destined  to  be  dispelled  by  a  misfortune  to 
which  she  had  not  lioked  forward.  It  was  the 
loss  of  her  voice,  when  she  was  about  fourtotu 
years  of  age.  She  Wius  compelled  to  retire  from 
the  theatre,  and  a;;ain  iiractise  her  art  alone,  and 
in  the  privacy  of  her  own  ai>artnients. 

At  length  her  voice  returned  to  her,  but  it  was 
no  longer  the  voice  wl.ich  she  once  had.  nor  had 
it  yet  acquire<l  the  wonderful  beauty  and  purity 
which  now  marks  it.  She  now  manageti  to  go  to 
Paris,  and  place  her.'-elf  under  the  tui:ion  of  Sig- 
nor  Garcia,  the  father  of  the  famoius  Malibran, 
and  the  ma^-ter  of  so  many  distinguished  vocalists 
of  the  present  day,  who,  however,  at  fir.-t  little 
foreboded  the  future  eminence  which  his  pupil 
was  to  obtain,  greetiu;;  her,  on  Iwing  presented  to 
him,  with  the  discour^iging  remark,  "  Mon  rofiin/, 
Vi>us  tt'arez  plua  df  voix."  And  very  frcjuently 
has  he  said,  "  If  I  jnd  had  more  voice  at  her  dis- 
posal, nothing  could  prevent  her  IxK-oming  the 
greatest  of  modern  singers  ;  but  a.s  it  Lo,  fihc  must 
be  content  with  singing  second  to  many  who  will 
not  have  one  halt  her  nonius." 

Her  voice,  neverthelc».s  (jradually  ntnngth- 
enetl,  and  she  was  at  h<n;;th  summoned  back  Io 
Stockholm.     Here  she  again  entered  the  thcfttr^ 

J  and  speedily  became  a^cia  a  public  favorite  :o 

19 


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ENCYCLOP.EDIA    OF    MUSIC. 


Ll^ 


Sweden.  But  during  her  residence  in  Parw,  she 
had  made  tlie  n('i)uuintnnce  of  Meyerbeer,  the 
celebrated  comi)oser.  Tliis  great  man  had  I'ormed 
a  friendship  lor  Jenny,  and  two  years  later  she 
received  an  invitation  from  him  to  join  the  opera 
at  Ucrlin.  To  this  i-he  consented,  and  soon  after 
re[)aired  to  Hcrlin,  in  1841.  At  first  she  made 
little  impression  uj)on  the  public,  for  her  voice 
had  not  yet  completely  returned  to  her.  One 
evening,  however,  when  she  was  singing  in  lio- 
bert  le  Diable,  she  felt  that  it  had  returned,  and 
inspired  by  the  consciousness,  sang  the  music  of 
Alice  with  such  a  force  and  power,  combined  with 
the  sweetness  to  which  tlie  public  had  become  ac- 
customed, that  slie  eleclrified  thciu,  and  aston- 
ished Meyerbeer,  who  from  that  moment  regarded 
her  as  the  first  of  modern  singers.  Every  thing 
vas  now  changed  for  her.  She  rapidly  i)rogressed 
in  public  estimation,  and  her  reputation  soon 
spread  through  the  whole  of  Germa]iy,  -which  at 
present  Ls,  perhaps,  the  most  musical  nation  in 
continentid  Europe.  Soon  after  this,  a  musical 
festival  was  lield  at  Bonn,  upon  the  Rhine,  and 
the  Queen  of  England,  who  was  then  on  a  visit 
to  his  Prussian  majesty,  attended  it.  Jenny 
Lind  was  engaged  at  the  festival,  and  the  English 
critics  who  attended  it  wrote  back  such  warm 
accounts  of  her  genius,  that  it  was  not  difhcult 
to  foretell  that  she  would  soon  come  to  England. 
Accordingly,  towards  the  end  of  the  year,  M. 
Belinaye  came  to  Berlin,  and  through  the  me- 
dium of  Lord  ^Vcstraoreland,  was  presented  to 
Jenny  Lind,  whom  he  had  the  satisfaction  of  en- 
gaging to  appear,  under  Mr.  I^umley's  manage- 
ment, the  following  season. 

Iler  success  in  England  was  such  as  at  once  to 
rank  her,  in  the  estimation  of  London,  as  the  very 
first  of  modern  singers,  and  this,  too,  at  a  season 
when  Alboni  had  made  her  first  appearance  there, 
and  Viardot  Garcia  had  returned  to  the  English 
stiige  in  all  the  triumph  of  a  continental  reputa- 
tion. From  this  period  her  reputation  has  been 
unchanged. 

Jenny  Lind  sang  in  opera  in  London  for 
several  years,  with  increasing  rojjutation,  and 
realized  from  her  efforts  very  large  sums  of  money'. 
Her  principal  rOlcs  in  opera  were  Alice  in  "  La 
SonnamhuUt,''  "  La  Fille  du  RegiinciU,"  Agatha  in 
"  Der  Freischittz,"  &c.,  &c. 

She  also  sang,  with  wonderful  success,  in  Han- 
del's oratorios,  and  gave  many  concerts  in  Eng- 
land during  the  last  season  in  which  she  sang 
there,  having  withdrawn  entirely  from  the  lyric 
stage.  In  September,  18.50,  she  visited  the  United 
States,  and  gave  upwards  of  a  hundred  concerts, 
in  all  parts  of  the  country,  exciting  every  where 
an  unparalleled  enthusiasm.  Soon  after  the  ter- 
mination of  those  concerts  she  was  married,  in 
Boston,  Mass.,  in  February,  18.52,  to  Mr.  Otto 
(joldschmidt,  of  Hamburg,  a  young  pianist  of 
distinction,  who  had  accompanied  her  during  a 
part  of  her  tour,  and  they  shortly  afterwards  re- 
turned to  Europe.     They  now  reside  in  Dresden. 

Jenny  Lind's  voice  is  a  soprano  of  great  com- 
pass and  i)ower.  Not  less  remarkable  is  its 
sweetness  and  i)erfect  purity  of  tone.  Her  ex- 
ecution is  truly  remarkable,  and,  it  would  seem, 
unequalled.  DifHculties  seem  to  her  to  be  no 
dilHcultios,  and,  in  the  po.ssession  of  her  full 
physical  powers,  she  is  able  to  give  the  most  com- 
plete effect  to  whatever  she  undertakes.  Her 
privatt  character  is  sjotlcss ;  her  geuerou:'  liber- 

620 


ality  almost  prodigal.  The  immense  proceeds  of 
her  American  tour  (where  she  dLipensed  large 
sums  in  charity)  are  devoted  to  the  establish- 
ment  of  a  free  school  system  iu  her  native  coun- 
try. 

>L  Jules  Benedict,  the  conductor  of  Jenny 
Lind's  concerts  in  America,  and  an  excellent 
writer  and  critic  as  well  as  musician,  ascribes 
the  secret  of  her  triumphs  to  the  fact  "  that  the 
great  singer  iruikes  a  conscience  of  lier  art."  We 
traiLslate  what  follows. 

"  The  child,  brought  up  and  fashioned  in  the 
school  of  adversity,  and  finding  in  music  all  the 
consolations  which  a  cruel  destiny  had  refused  to 
her ;  the  young  girl  who,  thanks  to  the  care  of 
her  excellent  masters  and  friends,  Berg  and  Lind- 
blfld,  learned  in  good  season  to  identify  herself 
with  the  masterpieces  of  the  great  composers ; 
and  finally  Jenny  Lind,  at  the  apogee  of  her 
glory,  shunning  the  world  and  society,  and  know- 
ing, loving,  dieamiug  nothing  but  her  art,  had 
certainly  some  powerful  elements  of  success. 

"  It  would  not  be  easy,  in  our  time,  to  meet 
any  caiUatrice  whomsoever,  who  could  play  and 
sing  to  you  from  memory,  from  the  first  note  to 
the  last,  the  Annida  of  Gluck,  the  ChaUau  de 
Montenero  of  Dalayrac,  the  Vestale  of  Spontini, 
the  Deux  Journivs  ol  Cherubini,  the  operas  of 
Mozart,  Weber,  and  Meyerbeer,  the  oratorios  of 
Handel  and  Haydn,  all  the  melodies  of  Mendels- 
sohn, of  Franz  Schubert,  of  .Schumann,  the  Ma- 
zurkas and  EtudiS  of  Chopin,  without  counting 
a  very  extensive  dramatic  repertoire,  comprising 
the  scores  of  Rossini,  Donizetti,  Bellini,  Verdi. 

"  It  would,  perhaps,  be  yet  more  difficult  to 
name  an  artist  who  could  appreciate  and  com- 
prehend these  great  schools,  become  penetrated 
with  their  genius,  preserve  their  local  colors,  and 
appropriate  to  herself  their  styles.  It  would  be 
almost  impossible  to  find  a  iminciennc  who  could 
at  sight  decipher  the  most  difficult  pieces,  retain 
melodies  of  an  irregular  and  unusual  rhythm,  and 
repeat  them,  after  several  days,  as  if  she  had 
created  them  herself.  Mile.  Lind  unites  these 
precious  qualities.  But  this  Ls  not  all.  The 
grand  tiling  —  I  repeat  it  —  is,  that  she  makes  a 
conscience  of  her  art ;  that  in  the  smallest  city  of 
Germany  or  of  America,  she  will  put  the  same 
zeal,  the  same  verve  into  the  execution  of  the 
airs  she  may  have  selected,  or  the  rdUa  she  may 
have  undertaken,  that  she  would  it'  she  were 
making  her  dibut  in  the  StiUe  ]'eiitad nir,  in  her 
majesty's  theatre,  or  in  Tripler  Hall ;  that  she 
never  concerns  herself  about  what  is  said  by 
critics,  friends,  enemies,  or  the  public  in  general, 
but  thinks  of  her  art,  and  of  her  art  only. 

"  Detached  from  what  surrounds  her,  aban- 
doning hei-self  entirely  to  her  inspiration,  she 
impresses  on  the  music  that  she  sings  a  stamp  of 
originality  that  is  irresistible.  With  an  inexo- 
rable rigor  towards  herself,  she  punishes  the 
slightest  imperfection,  which  she  thinks  she  has 
discovered  in  her  execution,  by  a  redoubled, 
tripled  labor.  But  then,  when  by  sufficient  trials 
she  has  enriched  her  re/H-rtnirc  with  a  new  piece; 
when,  in  the  ]ilcnitude  of  her  means,  she  gives 
free  scope  to  the  re-.ources  of  her  genius  so  rich 
and  various,  who  can  remain  cold  and  insensible  ? 
The  sacred  tlame  communicates  itself  to  her  audi- 
ence ;  a  thrill  runs  through  the  seats  ;  a  i)rofound 
emotion  Ls  engraved  upon  all  countenances ;  and 
wlun  at  last  the  solemn  silence  is  replaced  by 


LIN 


ENCYCLOPAEDIA    OF    MUSIC. 


LI» 


universal  acclamations,  when  we  try  to  accoxmt 
for  the  impression  we  have  experienced,  and  ask 
why  we  have  been  seized  with  admiration  and 
•atonishmeut,  the  answer  is,  that  we  have  heard 
an  artUt  who  makes  a  conscience  of  heu 
ART  ! " 

LIXDLEY,  ROBERT,  bom  at  Rothcram,  in 
Yorkshire,  in  the  year  1777,  was  from  early  in- 
fancy extremely  fond  of  music,  so  that  even  at 
the  age  of  four  years  his  father  could  not  please 
him  80  much  as  by  plaj-ing  to  him  on  the  violon- 
cello. Shortly  afterwards  his  father,  who  was 
an  amateur  performer,  commenced  teaching  his 
son  the  violin,  and,  as  soon  as  he  attained  the  age 
of  nine,  also  the  violoncello,  which  instruction  he 
continued  for  the  space  of  seven  years,  when  the 
celebrated  C'crvctto  heard  the  youth  play,  and 
undertook,  in  the  most  friendly  manner,  and 
gratuitously,  to  give  him  lessons.  He  went  to 
England,  and  was  en<;aged  at  the  Brighton  the^ 


qtusdam  veto  nuperrime  concirmat<e  tiec  uapiam  typii 
excusacB  at  nunc  in  unuin  r/ttasi  corpus  rediict<e  stiulia 
et  opera  Friiitriri  Linditeri,"  Noriinl)erga;,  1.390. 
'ITie  works  of  the  following  composers  are  to  be 
found  in  this  last-mentioned  volume :  Marcus 
Anton  Ingignerius,  Bernard  Klingenstein,  Jacob 
Corsini,  Jacobus  Florus,  Orlandits  de  Lasso,  An- 
nibal  Stabilis,  Ant.  Scandelli,  Oratius  Coluraba- 
nus,  Julianus  Cartarius.  "  CurolUiriiun,  xc,"  iK-ing 
the  same  work  continued.  This  contains  fii'ty- 
%\\.  Latin  songs,  amongst  which  are  to  be  found 
some  by  the  following  contrapuntists  :  Constan- 
tius  Porta,  Don  Ferdinand  de  las  Infantas,  Vo- 
centius  Ruffus,  Nicolaus.l'arma,  Jul.  Cx-s.  Uabu- 
tius.  Jacobus  Ant.  CardiUi,  and  Felix  Anerius. 

LIXDPAINTXER,  PETER  JOSEPII.was  bom 
on  the  8th  of  December,  1791,  at  Cobleiitz,  on  tho 
Rhine,  and  in  18.53  was  conductor  of  the  "  New 
Philharmonic  "  concerts  in  London.  His  father, 
Jacob  Lindpaintner,  an  opera  singer,  settled,  with 


atre,  when  George  IV.,  then  Prince  of  Wales,  i  his  family,  in  179.3,  at  Augsburg,  where  he  placed 


honored  him  with  his  commands  to  perform  at 
the  pavilion,  and  expressed  himself"  highly  grati- 
fied with  his  pla>ing.  In  1794,  he  succeeded 
Sperati  as  first  violoncello  at  the  King's  Theatre. 
Liudley  was  almost  universally  considered  as 
second  to  no  violoncellist  in  Europe.  He  com- 
posed several  concertos  and  other  works  for  his 
instrument. 

LIXDLEY,  "WILLIAM,  son  of  the  preceding, 
was  born  in  the  year  1802,  and  commenced  the 
study  of  music  under  the  instruction  of  his  father, 
and  lirst  jjcrformed  on  the  violoncello  in  public,  at 
the  age  of  fifteen,  on  which  occasion  he  was  pre- 
senteil  with  very  flattering  testimonials  from  Sir 
George  Smart  and  other  professors.  The  per- 
formance was  at  the  King's  Theatre,  for  the  bene- 
fit of  the  Musical  Fund,  in  the  year  1817  ;  since 
which  time  W.  Lindley  has  regularly  played  at 
the  Philharmonic,  Ancient,  and  other  concerts, 
and  been  engaged  in  the  orchestra  of  the  King's 
Theatre  since  the  year  1819. 

LIXDXER,  FRIEDRICH,  singer  at  Xurem- 
berg,  was  born  in  Silesia,  and  was  entered  in  his 
youth  as  chorister  in  the  chapel  of  the  Elector 
Augustus,  at  Dresden.  He  was  educated  at  the 
expense  of  the  elector,  and  first  went  to  school 
in  Dresden,  and  aftcrvvards  to  the  university  at 
I^eipeic  ;  on  leaving  which,  he  entered  the  scr\'icc 
of  Count  George  Frederic,  at  Anspach,  in  whose 
employ  he  remained  ten  years,  when  he  received, 
in  1.571,  his  appointment  at  Xuremberg.  He 
published  several  of  his  own  compositions,  as  ap- 
I)ears  from  the  following  list^  "  t'antiones  !>acrtr," 
Nuremberg,  1.38."!;  "2  Vara  Cantionum  Sacra- 
rum,"  Xuremberg,  1,388  ;  "Mu.^rp,  5  vociim,"  Xu- 
remberg, 1.391;  also  works  of  various  other  compo- 
sers, under  the  title  "  Gemma  Miuirali-t,"  vol.  i., 
Nuremberg,  1.388.  'lliis  work  contains  sixty-four 
Italian  madrigals,  by  the  following  among  other 
composci-s  :  Lelio  Bcrtani,  Jean  de  Macquc,  Jaches 
Werth,  Joan.  Mar.  Xanino,  Joan.  Bajitist  Moscog, 


his  son  at  the  (iymnasium,  to  be  educated  for 
the  medical  profession.  The  early  indications 
which  the  boy  gave,  however,  of  a  strong  i>red- 
ilection  for  music,  altered  the  intention  of  his 
parents,  and  Lindjiaintner  became  a  pupil  of  the 
celebrated  composer  Winter,  who  then  resided  at 
Munich.  Some  years  later  he  studied  counter- 
point with  Joseph  Gratz,  who  at  that  time  was 
reputed  one  of  the  most  learned  masters  in  Ger- 
many. Under  such  favorable  circumstances  the 
progress  of  the  young  musician  was  very  rapid, 
and  he  speedily  acquired  !i  knowledge  of  all  the 
secrets  of  his  art.  He  was  encouraged  by  several 
distinguished  persons,  and  among  others  by  the 
Elector  of  Treves,  who  promised  to  supply  him 
with  the  means  of  making  an  artistic  tour  in 
Italy.  The  unexpected  death  of  his  friendly 
patron,  in  1811,  however,  prevented  the  realization 
of  his  plan,  and  he  accepted  the  post  of  music 
director  at  the  opera,  which  had  just  been  opened 
at  Munich.  Although  only  twenty  years  of  age, 
Lindpaintner  performed  the  duties  of  this  oflice 
with  such  success  that  he  rapidly  obtaine<l  fame 
as  a  chefcCorchestre,  and  alter  six  years'  residence 
at  Munich,  he  receive<l  proposals  from  Stuttgart 
to  undertake  the  post  of  Capell-meister  to  his 
majesty  the  King  of  Wurtemburg.  The  terms 
were  so  highly  advantageous  that  Lindpaintner 
did  not  hesitate  to  accept  them.  He  went  to 
Stuttgait  in  1819.  Besides  having  been  chiefly 
instrumental  in  forming  an  orchestra  which  holds 
the  reputation  of  being  one  of  the  most  efficient 
in  Europe,  Lindpaintner  otherwise  employed  hi* 
time  to  good  purpose.  The  largest  number  of  his 
works  for  the  church,  the  theatre,  and  the  con- 
cert room,  were  written  at  Stuttgart,  and  estab- 
lished his  name  as  one  of  the  most  prolific  and 
successful  composers  of  his  country.  The  music 
of  Lindpaintner  has  no  decided  school,  but  may 
be  said  to  mingle  the  characteristics  of  two  of 
the  greatest  modern  ma-sters  —  Weber  and  Si>ohr 
—  with  the  light,  brilliant,  "  ad  captanHum  "  man- 
Franc.  Soriano,  Annibal  Zoilo,  Ginnetto  da  Pal-  |  ner  of  the  French.     ThewKf/oflve  is  of  iUw-lf  hi^'hlT 


estrina,  Alfonso  Ferabosco,  Cipriano  do  Rore, 
Baldassaro  Donato,  and  Huberto  Waclrent.  "Gem- 
na  Musicalii,"  vol.  ii.  1.389.  "  Grmma  Mu-ticalLi," 
rol.  iii.  1.590.  He  has  also  published  "  Corolia- 
rium  Cantionum  Stcrnr.  H,  G,  7,  8,er  plurium  voc.  de 
festis  prtrripitis  anni,  quarum  antca  a  prfrtfantissimit 
WMtne  alaiit  musicis  Italia  teparatim  editte  tunl. 


agreeable,  more  especially  when  combined  with 
such  clear  and  masterly  orchestration  a.«  dUtin- 
guishes  the  overtures  to  "Her  i'ampyr"  and  other 
operas. 

A  list  of  the  vocal  ard  instrumental  composi- 
tions of  Lindpaintner  would  occupy  a  larger  •p«c« 
than  can  be  afforded  in  this  work.     A  speciAot- 


66 


621 


LIN 


EX  CYCLOPAEDIA    OF    MUSIC. 


LIN 


tion,  by  iinmc,  of  some  of  those  wlik-h  are  tlic 
most  hi;;hly  e<tci'iuu(l,  will  ^utfice  to  present  some 
notion  of  their  iiumher  and  variety.  Among 
those  i>re  "  The  Youu^  Man  of  Xacci,"  a  short 
oratorio  :  "  Abraham,"  an  oratorio  in  three  parts ; 
and  "  'ITie  Lord's  Prayer,"  for  solo  voices  and 
chorus;  the  operas  of  the  "  Vampi/r,"  •'  Oenune- 
rinn,"  "  Sui!ianisc/te,"  "  Vesper"  "  Vie  MOchi  lUs 
Liedcs,"  and  "  Uiu/iti,"  thebaUetsof  "  Jokj,"  and 
"  ZciUi,"  and  several  concert  overtures.  Lind- 
paintner  has  written,  in  all,  fifteen  oi)eras  and 
operettas,  fifty  psalms,  and  four  masses.  His  in- 
6t:umental  compositions  are  very  numerous,  in- 
cluding; solos  for  almost  every  instrument,  two 
coucertantes  for  wind  instrument,  twenty  con- 
cert overtures  for  the  orchestra,  besides  entr'iutes 
and  melodramatic  miLsic.  As  a  song  writer  he 
Lis  been  no  less  prolific,  having  composed  no  less 
than  two  hundred  liedcr,  some  of  which  have  ob- 
tained a  wide  popularity  in  (jcnnany.  In  England 
one  of  these  UecUr  (known  under  the  titles  "  With 
Sword  at  re.it  "  and  the  "  Standard  Bearer  ")  was 
made  famous  by  the  singing  of  Ilerr  Pischek, 
who  first  introduced  it  at  one  of  the  concerts  of 
the  Philhai-mouic  Society,  in  ILmover  Square. 

Lindpaintncr,  besides  being  a  member  of  near- 
ly all  the  musical  societies  of  Germany,  is  Chev- 
alier of  the  Order  of  the  Crown  of  Wurtemburg, 
and  niember  of  the  Koyal  Academy  of  Berlin. 
Ills  majesty  the  King  of  Prussia  ])iesented  him 
with  the  large  gold  medal  of  the  Arts  and  Sci- 
ences, and  H.  K.  II.  the  Duke  of  Coburg  with 
that  of  the  Ernestine  Order  of  Merit.  Her  ma- 
jesty the  Queen  of  England,  tlirough  Prince  IIo- 
henlohe,  also  jjresented  him  with  a  golden  medal, 
bearing  her  majesty's  likeness,  as  an  acknowledg- 
ment of  her  majesty's  having  received  the  score 
of  the  oratorio  of  "  Abraham." 

LIXG,  W.,  a  musician  in  London,  about  the 
year  1 790,  published  "  Three  Sonatas  for  the 
Piano- forte,  with  a  Flute  Obligato  to  one  and 
two,  with  a  Violin  Accompaniment,"  Op.  1,  Lon- 
don ;  "  Duets  for  the  German  Flute,"  O-p.  2,  Lon- 
don ;  "  The  Rising  of  the  Lark,  with  Variations 
lor  the  Piano-forte,"  London  ;  "  Grand  March," 
uiscribed  to  the  gentlemen  of  the  London  Koyal 
Association,  Loudon. 

LIXGKE,  GEOUG  FRIEDERICH.  counsel- 
lor of  the  mines  to  the  King  of  Poland  and  Elec- 
tor of  Saxony,  published  at  Leipsic,  in  1779, 
"  Kurze  ilusikkhre,  i\c." 

LIXIE.     (G.)  A  line  of  the  stave. 

LIXIKE,  JOHAXX  OEORG,  a  composer  of 
Tocal  music,  violinist,  and  cxccWcnt  chef  d'orchvs- 
tre,  lenrncd  the  art  of  composition  of  the  celebrat- 
ed Johunn  Theil,  of  Berlin,  and  became  after- 
wards a  member  of  the  Chapel  Royal  in  that  city, 
and  chamber  musician,  where,  on  tlie  occasion  of 
a  public  funeral,  he  was  first  obliged  to  take  the 
place  of  the  maxlre  de  chapillc,  who  happened  to 
be  absent.  In  the  year  1713,  he  was  called  to 
the  court  of  Wei.sscnfels,  in  the  capacity  of 
chapel-miLster,  from  whence  he  went  to  England, 
after  having  obtained  leave  from  the  duke.  In 
England  he  remained  three  years,  and  went  after- 
wards to  llaiuburg,  as  chif  d'onhf.itrf  in  the  opera 
there.  He  wrote  in  that  town  small  pieces  for 
the  theatre  and  .several  concertos.  We  can  men- 
tion the  following  of  liis  compositions  :  "  CuiiMa, 


Lungi  da  me  pensicr,  6;c.  d  Sopr.,  2  V.,  Viola,  « 
Ceinbal,"  manuscript,  in  Breitkopfs  collection  ; 
"  Cantata,  llo  una  pcna  intorno  al  Core,  d.  Sipr.,  2 
r.,  Viola,  e  li.,"  manuscript,  in  Breitkopf  s  col- 
lection ;  "  Can/a/a,  Crudo  Ain-ire,  d  Sopr.  e  Cemb.," 
manuscript,  in  Breitkopf  s  collection. 

LIXLEY,  THOMAS,  a  distinguished  v6cal 
composer,  received  the  rudiments  of  his  musical 
education  from  Thomas  Chillcott.  organist  to  the 
abbey  ch\u-ch  at  Bath  ;  and  it  was  coiupleled  af- 
terwards by  the  celebrated  Venetian,  Paradies,  a 
composer,  whose  twelve  admirable  sonatas  would 
have  alone  immortalized  him,  had  he  written 
nothing  else.  Linley  was  for  many  years  the 
conductor  of  the  oratorios  and  concerts,  then 
regularly  performed  at  Bath,  and  might  with  great 
truth  be  considered  as  having  reitored  the  music 
of  Handel,  and  the  performance  of  it,  to  the  notice 
and  patronage  of  the  public,  as  Garriok  restored 
the  plays  of  Shakspeare.  Through  his  taste  and 
ability  as  a  manager,  assisted  greatly  by  the  ex- 
quisite singing  of  his  two  eldest  daughters,  after- 
wards Mrs.  Sheridan  and  Mrs.  Tickell,  music  was 
cultivated  generally  at  .Bath  and  its  vicinity,  and 
concerts  and  oratorios  were  successfully  performed 
not  only  tlicre,  but  in  the  metropolis,  beyond 
all  former  precedent  since  the  death  of  the  illus- 
trious Handel  himself.  As  a  singing  master  aud 
a  composer,  Linley  possessed  a  taste  and  style 
peculiarly  his  own,  but  still  modelled  on  the 
principles  of  that  pure  English  school,  which, 
however  overshadowed  at  present  by  the  foreign 
structure  that  has  been  opposed  to  it,  can  never 
be  totally  eclipsed  while  there  are  any  feelings  of 
nature  and  good  .scn.se  remaining. 

Linley  left  Bath  to  reside  with  his  family  in 
London,  in  consequence  of  becoming  joint  paten- 
tee with  his  son-in-hiw,  Mr.  Sheridan,  of  Drury 
Lane  Theatre.  Here  he  conducted,  for  many 
years,  the  musical  department,  and  gratified  the 
public,  from  time  to  time,  with  many  beautiful 
operas.  "  The  Duenna "  had  been  previously 
brought  out  at  Covcnt  Garden  Theatre,  aud  was 
the  joint  production  of  Linley  and  his  eldest  son. 
The  operas  and  musical  entertainments  which 
Linley  set  for  Drury  Lane  were  "  The  t'arnivalof 
Venice,"  "  Selima  and  the  Royal  Merchant," 
"  The  Camp,"  "  The  Spanish  Maid,"  "  The  Stran- 
ger at  Home,"  "  Love  in  the  East,"  and  many 
minor  pieces.  They  all,  piuticularly  "  The  Du- 
enna," "  The  Carnival  of  Venice,"  and  "  .SeUma 
and  Azor,"  possess  proofs  of  a  rich  and  cultivated 
fancy,  a  sound  judgment,  and  scientific  construc- 
tion. Among  those  which  may  be  considered  the 
minor  pieces,  the  music  in  the  first  act  of  the 
pantomime  of  "  Robinson  (."rusoe  "  must  not  be 
passed  over  in  silence  ;  it  is  strikingly  original 
and  characteristic.  But  one  of  the  most  delight- 
ful efforts  of  this  charming  comi)oser'8  mind, 
whilst  connected  with  the  theatre,  was  the  har- 
monies and  accompaniments  he  added  to  the 
songs,  Skc,  of  "The  Beggar's  Opera."  Instead  of 
the  treble  only,  and  a  meagre  and  sometimes  in- 
correct bass,  the  piece  is  now  jierformed  with  the 
advantage  of  a  full  orchestra,  wind  instruments 
being  introduced  so  as  to  give  to  many  of  the 
airs  the  most  effective  variety.  It  is  impossible 
to  listen  to  the  songs  of  "  O,  ponder  well," 
"  When  my  hero  in  court,"  and  the  air^  "  Would 
I  might  be  hanged,"  and  not  be  struck  with  th« 
effect  produced  by  the  horns  aud  clarinets,  »c 
522 


LIN 


ENCYCLOPAEDIA    OF    MUSIC. 


LIN 


the  pi/zicato  accoinpauimcut  of  the  striiif;cJ  iii- 
etrumcnts.  Linlev's  six  elegies  were  composed 
at  Hath,  in  the  meridian  of  his  life,  and  it  would 
be  ditlicult  to  place  any  compositions  of  the  Hame 
description  in  competition  with  them,  for  orij;!- 
nality  of  conception,  elc;;ance,  and  tenderness. 
Hurnev,  who,  in  liis  "  History  of  Music,"  has 
classed  Enijlish  masters  rather  too  much  in  the 
lum]),  (indeed,  he  was  no  very  great  admirer  of  his 
native  school,)  has  yet  particularly  distinguLthed 
these,  as  well  as  the  elegies  of  Jackson. 

Mr.  Sheridan's  monody  o)i  tlie  death  of  Gar- 
rick  was  originally  recited  by  Mrs.  Yates,  the 
actress,  at  Drury  Lane  'Hieatre,  in  the  month  of 
March,  1779,  parts  of  it  having  been  previously 
set  to  music  by  Liiiley,  and  inti-oduced  in  songs, 
duets,  and  choruses  at  occasional  p.auses  of  the 
recitation.  The  style  of  these,  though  necessa- 
rily funereal,  is  at  the  same  time  tenderly  melo- 
dious, and  pathetic  in  the  highest  degree.  It  is 
greatly  to  be  regretted  that  this  beautii'ul  compo- 
Bition  was  never  published.  The  twelve  balhids 
were  published  not  long  after  the  untimely  death 
of  his  eldest  son,  and  the  tirst  sweetly-sorrowing 
etrain,  "  I  sing  of  the  days  that  are  gone,"  decid- 
edly rei'ers  to  that  melancholy  event.  These  bal- 
lads are  too  purely,  too  entirely  English  to  prom- 
ise, were  they  republished,  any  great  attraction 
at  the  present  time  ;  but  it  is  impossible  to  name 
any  comjjositions,  on  so  simi)le  a  construction, 
which  unite  so  much  pathos,  spirit,  and  original- 
ity. The  posthumous  works  of  Linley  and  T. 
Linley  were  presented  to  the  public  not  many 
years  after  the  father's  death.  The  two  volumes 
contain  a  rich  vimety  of  songs,  madrigals,  elegies, 
and  cantatas,  which  are  unknown,  and  conse- 
quently neglected,  because  Eiiglisli  music  is  no 
longer  fashionable,  nor  compositions,  indeed,  of 
any  kind  sought  alter,  but  Italian,  or  such  as  arc 
close  imitations  of  the  Italian  and  German  schools. 
ITiere  is,  however,  one  production  of  the  elder 
Linley,  in  this  work,  which  no  variation  of  taste, 
and  no  lapse  of  time,  will  ever  consign  to  obliv- 
ion. This  is  his  madrigal  for  five  voices,  to  Cow- 
ley's beautiful  words, 

-  I.,'t  mp.  cairU'is  «ni1  uii*llonf;htftil  Ivinp, 
lli'iu'  the  soft  winds  BlM>Te  nie  flying." 

The  ui)per  part  is  for  a  soprano  voice,  and  was 
evidently  intended  to  display,  in  their  fullest 
perfection,  the  taste  and  teeling  of  Mrs.  Sheri- 
dan. Tliere  is  nothing  superior,  and  very  few  of 
the  old  madrigals  equal,  to  this  charming  speci- 
men of  vocal  harmony  :  the  almost  impercepti- 
ble change  of  the  time,  which  introduces  a  new 
subject  in  the  upi)er  jiart,  and  which  the  other 
voices  echo  and  reply  to  in  accompaniment,  is  a 
thought  not  more  strikingly  beautiful  than  sin- 
gularly original.  'Hiis  tine  madrigal  is  still  per- 
formed annually  at  the  Ancient  and  other  con- 
certs, as  well  as  at  the  catch  and  glee  clubs,  ond 
seems  to  acquire  strength  by  repetition.  Linley 
died  at  his  residence  in  Sotithnmpton  Street, 
Covent  (iarden,  in  170.5,  and  was  buried  in 
\Vells  Cnthedial,  in  the  same  vault  with  his  be- 
loved daughters,  Mrs.  Sheridan  and  Mrs.  Tickell. 
A  monument  was  soon  after  erected  to  their 
memory,  near  the  spot,  by  William  Linley,  Mr. 
Linley's  youngest  son. 

LINLEY.  TIlt)M.\S,  eldest  son  of  the  preced- 
ing, was  a  highly  gitted  man,  and  an  accom- 
plished mufiiciun,  botii  practical  and  theoretical. 


If  he  was  inferior  to  his  fatl.cr  in  tlie  j)urity  and 
|)athos  of  his  melodies,  lie  was  perlitt|)H  superior 
to  him  in  his  knowledge  of  orchestral  ctrecf,  and 
instrumental  compositions  generally.  He  wm 
bom  at  Hath,  in  the  year  IT.IH,  and  displayed,  at 
a  very  early  age,  extraordinary  powers  on  the 
violin.  When  he  wits  eight  years  old  only,  ha 
performed  a  concerto  on  that  instrument  in  ])ub- 
lic,  and  at  seventeen  compo'-ed  an  anthem  in  fiiU 
score  to  the  words,  "  Let  God  ari-ie,"  which  wtt» 
sung  in  Worcester  Cathcilral  at  the  meeting  of 
the  three  choirs,  on  the  Hth  of  September,  177-'! 
Linley  senior  soon  discovered  the  extraonli- 
nary  genius  and  capacity  of  his  son;  and  with 
the  view  of  instructing  him  for  the  prolession. 

I  sent  him  to  London  to  com])leto  his  theoreticn, 

I  knowledge,  under  the  able  tuition  of  Dr.  Royce, 
thus  laying  the  foundation,  on  which  an  elegant 

I  structure  was  afterwards  to  be  built,  Iroin  the 
studies  of  the  Italian  and  German  masters.  lie 
was  accordingly,  in  due  time,  sent  to  Florence, 
principally  to  make  himself  master  of  his  favorite 
instrument,  under  the  celebrated  Xardini.  ITiis 
distinguished  instructor,  who  had  been  him- 
self a  scholar  of  Tartini's,  proud  of  his  pupil, 
and  desirous  of  his  receiving  every  aid  by  his 
a.s.sociating  with  the  rising  genius  of  the  age,  in- 
troduced him  to  the  great  Mozart,  then  a  youth 
himself,  and  a  wanu  frieniLship  immediately 
commenced  between  them  ;  so  attached,  indeed, 
was  Mozart  to  the  young  Thomasiiio,  ( as  youna 
Linley  was  called,)  discovering  in  him,  as  he  did, 
so  much  of  his  own  tire  and  fancy,  and  so  grate- 
fully was  that  attachment  returned,  that  theii 
separation,  when  they  i>artwl  at  Florence,  was 
attended  with  tears  on  both  sides. 

On  Linley  junior's  return  from  the  continent,  h< 
repaired  to  liath,  to  lead  his  father's  concerts 
and  oratorios,  which  he  did  with  such  precision 
and  animation  as  astonished  and  delighted  every 
hearer.  In  the  masterly  manner  of  liis  perform- 
ance of  the  concertos  of  Handel  and  (Jeminiani, 
no  English  violin  player  had  ever  excelled  him, 
and  in  the  neatness  and  delicacy  of  his  execution 
he  stood  unrivalled.  His  own  solos  and  concer- 
tos, which  he  occasionally  iritrodacctl,  also  gave 
e\-ident  tokens  of  his  continental  studies,  being 
full  of  imagination  and  spirit,  but  re(|uiring  in 
almost  every  bar  the  touch  of  the  finished  master 
to  do  justice  to  their  merit.  The  comic  opera 
of  "  The  Duenna  "  was  brought  out  at  Covent 
Garden  "ITieatre  in  the  year  177''>,  the  mu.sic  to 
which  was  composed  and  selected  by  Linley  sen- 
ior chiefly,  but  1'honias  contributed  some  charm- 
ing picjces  ;  the  spirited  overture  is  his  composi- 
tion, and  the  air  in  D,  of  the  o;;ening  serenade  ; 
the  following  songs  :  "  Could  I  each  fault  remere- 
ber,"  "  Friendship  is  the  bond  of  reason,"  and 
that  very  fine  one,  "  Sharp  is  the  wnc  ;  "  the 
little  duet,  "Turn  thee  round,  I  pray  thee,"  and 
\.i\e  trio  which  concludes  the  first  act.  On  the 
revival  of  "  The  Tempest,"  at  Drury  I  jme  'nicatrc, 
he  introduced  the  chorus  of  spirits  that  raise 
the  storm,  one  of  the  most  cfre<-tive,  ns  well  as 
scientific,  compositions  :  the  brilliant  and  hiyhly 
fanciful  airs,  "  O,  bid  your  faithful  Ariel  fiy," 
and  "  Ere  you  can  say  come  and  go,"  are  so 
completely  in  character,  that  they  could  suit  no 
other  being  but  the  "  dainty  Ariel  "  himself,  and 
are  fairly  entitled  to  stand  W  the  side  of  Purcell 
and  Ame.  Hut  the  most  delightful  production 
of  his  gcnitu  was  an  **  Ode  on  the  A\  itches  and 

23 


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ENCYCLOPAEDIA    OF    MUSIC. 


L]  « 


Fairies  of  Shukspeare,"  written  by  Dr.  Laurence.  I  rived  junt  in  time  to  wee  hLs  venerable  fatlier,  ai  d 
It  was  iierlbrraed  at  Drury  Lane  Theatre  in  1776,  ,  to  close  his  eyes.  William  resumed  his  situatirn 
when  he  led  the  band  himself,  and  hLs  two  sis-  ,  at  Madras  in  the  year  1800,  and  during  a  residence 
ters,  Mary  (afterwards  Mrs.  Tickell)  and  Maria,  I  oi  seven  years  longer  in  India,  discharged,  very 
sustained   the  principal  soprano   part«,   for   Mrs.  |  satisfactorily,  the  duties  of  two  situations  of  etjual 


Sheridan  never  sang  in  public  after  her  marriage. 
In  imitation  of  his  father,  T.  Linley  added 
part.s  for  wind  instruments  to  the  ravjsic  in  "  Mac- 
beth," Dr.  Boyce  having  previously  supplied  the 
other  orchestral  accompaniments.  The  wind  in- 
struments are  made  to  produce  a  very  fine  char- 
acteristic effect,  but  the  parts  were  unfortunately 
destroyed  when  Drury  Lane  Theatre  was  burned 
down.  Besides  the  anthem  previously  mentioned, 
he  some  years  after  composed  a  sacred  oratorio 
in  one  act,  "The  Song  of  Moses,"  which  was 
also  i)erformed  at  Drury  I,ane  Theatre.  It  is 
replete  with  admirable  specimens  of  iugue  and 
choral  harmony,  occasionally  in  the  style  of 
Ilaudcl,  but  interspersed  with  much  of  that  grace 
and  variety  which  he  had  gleaned  from  the  Ital- 
ian masters.  The  greatest  part  of  hLs  miscella- 
neous music,  consisting  of  songs,  elegies,  and  can- 
tatas, will  be  found  in  the  posthumous  works, 
publislied  by  Preston.  Among  these,  the  can- 
tata of  "  Daughter  of  Heaven,  fair  art  thou,"' 
from  Ossian,  and  the  beautiful  madrigals,  "  Hark, 
the  birds,"  and  "  Alinda's  Form,"  are  to  be  par- 
ticularly distinguished.  He  composed  these  foi 
Mrs.  Sheridan,  after  her  marriage. 

LINI-EY,  WILLIAM,  the  youngest  of  Mr. 
Thomas  Linley's  children,  was  sent  at  an  early 
age  to  Harrow  school,  from  whence  he  was  re- 
moved, to  finish  his  classical  education,  to  St. 
Paul's,  in  order  that  he  might  reap  advantage  at 
the  same  time  from  his  father's  instructions  in  his 
favorite  art.  Mr.  Linley's  time,  as  patentee  and 
acting  manager  of  Drury  Lane  Theatre,  was,  how- 
ever, too  much  occupied  to  allow  of  his  bestowing 
any  regular  attention  upon  the  youth,  and  he 
was,  consequently,  placed  with  the  celebrated 
Abel,  under  whom  he  studied  counterpoint  for 
some  time,  receiving  occasional  lessons  from  hLs 
father  in  harpsichord  playing  and  singing.  It 
does  not  appear  that  Mr.  Linley  intended  his  son 
William  for  the  profession,  but  he  had  always  ex- 
pressed hLs  determination  that  as  many  of  his 
numerous  family  as  evinced  any  musical  talent 
should  receive  the  benefit  of  a  musical  education  ; 
and  William  had,  from  a  child,  been  distinguished 
for  the  accuracy  of  his  car,  the  sweetness  of  his 
voice,  and  the  facility  with  which  he  remembered 
and  i>layed  favorite  passages  of  songs  and  lessons. 
But  though  the  young  gentleman  loved  music, 
and  dearly  delighted  to  ramble  over  the  organ  or 
harpsichord  keys,  as  fancy  chose  to  guide  him,  he 
was  no  great  admirer  of  the  plodding  part.  The 
crude  digest  of  double  counterpoint,  canon,  and 
fugue,  under  a  pepjiery  instructor,  (for  Abel,  like 
most  other  German  masters,  was  very  impa- 
tient, and  not  very  clear  in  his  exidanations,)  was 
not  so  much  to  his  taste  as  fre<iuenting  the  Drury 
Lane  orchestra,  to  hear  his  father's,  Arne's,  or 
Dibdin's  cliarming  operas.  About  this  time,  an 
appointment  was  offered  him  by  Charles  Fox ; 
this  was  a  writership  to  Madras,  whither  he  sailed 
accordingly,  in  the  s]>ring  of  1700. 

His  career  in  the  East  India  Company's  service 
•eceived  a  severe  check  in  the  year  1795,  when 
ill  health,  and  every  tendency  to  consumj>tion, 
obliged  him  to  retujii  to  England,  where  he  ar- 


labor  and  responsibility  ;  viz.,  provincial  paymas- 
ter at  Vellore,  and  that  of  sub-treasurer  at  the 
presidency,  Fort  St.  George.  It  was  while 
abroad  that  his  hours  of  leisure  and  relaxation 
were  employed  in  retracing  hLs  musical  studies 
under  liLs  old  master  Abel,  and  perfecting  himself 
in  the  knowledge  of  the  science.  He  had  given 
specimens  of  his  taste  and  fancy,  during  his  visit  to 
England  in  1795,  in  the  production  of  two  comic 
operas,  namely,  "  The  Honey  Moon  "  and  "  Pa- 
vilion," besides  supplying  some  exceedingly  in- 
genious and  characteristic  music  to  a  very  popular 
pantomime,  called  "  The  Magic  Fire."  In  all 
these  pieces  there  were  to  be  discovered  marks  of 
genius,  but  not  to  be  mentioned,  in  point  of 
scientific  construction,  to  what  he  afterwards  pro- 
duced. A  collection  of  fairy  glees,  which  were 
published  in  1797,  possess  imagination  indeed, 
but  are  very  faulty  in  the  vocal  arrangement ;  and 
there  are  disallowed  intervals  in  the  harmonies, 
evidently  the  consequence  of  neglect.  In  the  year 
1809,  Birchall  published  a  set  of  William  Linley's 
songs  of  a  very  superior  order ;  the  melodies  ar? 
elegant  and  original,  and  the  accompaniments, 
though  rather  exuberant,  very  ingenious.  The 
la.st  song  "  Ariel's  Adieu,"  would  be  a  sparkling 
gem  even  among  the  brilliants  in  the  tcitches  and 
fairies  of  his  incomparable  brother.  Two  sets  of 
canzonets,  published  at  different  periods,  are  com- 
posed in  a  similar  style,  and  it  is  unquestionably  a 
style  of  his  own  ;  the  subjects,  if  not  all  striking, 
are  at  least  new.  That  these  songs  and  canzonets 
of  William  Linley's  are  not  more  generally  known, 
only  can  be  attributed  to  the  overwhelming  prefer 
ence  that  Ls  now  given  to  foreign  compositions  of 
every  description.  But  his  chief  musical  under- 
taking was  published  in  the  year  1810,  entitled 
"  Shakspeare's  Dramatic  Songs,  in  two  volumes, 
consisting  of  all  the  Songs,  Duets,  Trios,  and  Cho- 
ruses in  Character,  as  introduced  by  him  in  his  va- 
rious Dramas,  the  Music  partly  new  and  partly  se- 
lected, with  new  S\inphonies  and  Accompani- 
ments for  the  Piano-Forte,  from  the  Works  of  Pur- 
cell,  Fielding,  Drs.  Boyce,  Nares,  Arne,  and  Cooke, 
Messrs.  J.  Smith,  J.  S.  Smith,  Thomas  Linley, 
Jr.,  and  11.  J.  .S.  Stevens.  To  which  are  prefixed 
a  General  Introduction  of  the  Subject,  and  ex- 
planatory Kemarks  to  each  Play." 

The  reader  is  referred,  for  a  very  full  and  enter- 
taining critique  of  this  ingenious  work,  to  the 
European  magazines  of  1816.  It  is  also  re- 
viewed and  much  distinguished  in  the  "  Monthly 
Ile\-iew  "  and  "  Ackcnnau's  Kepository." 

LINLEY,  FRANCIS,  though  bUnd  from  hi« 
birth,  became  an  excellent  performer  on  the  or- 
gan. Nor  were  hLs  abilities  confined  merely  to 
the  science  of  music  ;  he  was  a  charming  com- 
panion, an  acute  rea.soner,  and  well  acquainted 
with  the  works  of  the  most  eminent  authors,  an- 
cient and  modern.  Having  completed  his  musi- 
cal studies  under  Dr.  Miller,  of  Doncaster,  he 
went  to  London,  and  was  the  successful  candi- 
date, among  seventeen  competitors,  for  the  place 
of  organLst  of  Pentonville  chapel,  Clerkenwell. 
He  was  soon  after  married  to  a  blind  lady  of  large 
fortune  ;  but  having  sustained  great  losses  by  tha 


624 


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ENCYCLOPEDIA    OF    MUSIC. 


LIS 


treachery  of  a  frientl,  and  licint;  deserted  by  his 
wile,  he  oumc  to  America,  and  here  his  i)rrloriu- 
ance  and  compositions  soon  brought  him  into 
notice.  lie  returned  to  England  a  short  time 
previous  to  his  death,  which  took  place  in  Lon- 
don in  the  year  1800. 

LINOS.  A  kind  of  rustic  ai'  used  by  the  an- 
cient Greeks,  who  had  also  a  dirge  of  the  same 
name.  Some  say  the  linns  was  of  Egyptian  in- 
vention, while  others  attribute  it-s  origin  to  Linus 
of  Eubua. 

LINUS.  Diodorus  Siculus,  who  b  \exy  diffuse 
:n  his  account  of  Linus,  tells  us,  from  Dionysius 
of  Mitylene,  the  historian,  who  was  contemjwrary 
with  Cicero,  that  Linus  was  the  tirst  among  the 
Gp-'eks  who  invented  verse  and  music,  as  Cad- 
mus tirst  taught  them  the  use  of  letters.  The 
same  writer  likewise  attributes  to  him  an  account 
of  the  exploits  of  the  tirst  Uacchus,  and  a  trea- 
tise upon  Greek  mythology  written  in  I'elasgian 
characters,  wliich  were  also  those  used  by  Or- 
j>hi'us,  and  by  I'ronapides,  the  preceptor  of  Homer. 
Diodorus  says  that  he  addeil  the  string  lichams 
to  the  Mercurian  lyre,  and  gives  to  him  the  in- 
vention of  rhythm  and  melody,  which  Suida-s 
who  regards  him  as  the  most  ancient  of  lyric  po- 
ets, continns.  He  is  said  by  many  ancient  writers 
to  have  had  several  disciples  of  great  renown, 
amnng  whom  were  Ileicules,  lliamj-ris,  and,  ac- 
cording to  some,  Orpheus. 

Hercules,  says  Diodorus,  in  learning  of  Linus 
to  play  upon  the  h-re,  being  extremely  dull  and 
obstinate,  provoked  his  raitster  to  strike  him, 
which  so  enraged  the  young  hero,  that,  instantly 
seizing  the  lyre  of  the  musician,  he  beat  out  his 
brains  with  his  own  instrument. 

LION.S  JEAN  DES,  a  French  diWne,  par- 
ticulnrly  well  acquainted  with  the  religious  cus- 
toms ot  the  middle  ages,  was  born  at  I'ontoLsc  in 
lt)1.5.  He  wrote,  among  other  works,  •'Critique  (fun 
Dxteur  de  Sorbonne  siir  let  deux  Lettrea  de  Messieurt 
Destyona  et  de  Brayelonge  totichaiit  la  Symphonie 
tt  les  Instruments,  qu'on  a  tntlu  introduira  dans 
lour  Eyiise  aux    Lei;ons   de    Tinibres,"   1689. 

LIPAWSKY,  JOSEPH,  a  teacher  of  the  piano- 
forte and  composer,  in  Vienna,  about  the  year 
1790,  had  made  himself  known,  some  years  pre- 
viously, by  his  compositions,  of  which  we  shall 
mention  the  following:  "  Doiice  lariat,  pour  it 
Cemhat,  didiie  d  S.  Mozart,"  Op.  1,  Vienna,  1791. 
"  .\'euj'  I'ars.  pour  le  Clav.  sur  f  Air  '  Eine  Rose 
hold  und  rein,'  "  Vienna,  1798.  "  Dix  Vars.  pour 
le  Clav.,"  Vienna,  1799.  "  3  Klaviersmaten  mit 
Violin."  "  Sent'  Vars.  pour  le  Clav.  sur  V Air  '  Die 
MiU-k  ist  ffcsunder.'  "  "  I'ars.  pour  le  Clav.  sur  le 
Ballet  '  La  Fille  retrouvie,'  "  Vienna.  "  Six  Vars. 
pour  le  Clav.  sur  '  Gott  erhaJte  FraiK,'  "  Op.  4,  Vi- 
enna. "  Huit  Vars.  pour  le  CUir.  sur  un  Danse 
Husse,"  Op.  0.  Vienna.  "  Denize  Vars.  pour  le 
Clav.  sur  Terzf'to  di  Camilla,"  Vienna.  "  \eu/ 
\'ars.  sur  une  Pnlon,  de  f  Op.  '  Lodoiska,' "  1802. 
"  Grande  Sonatf  pour  le  Clav.  avec  I'.,"  Op.  9. 
"  Grande  Stnate  pour  le  Clav.  et  Vc,"  Op.  10. 
"Eine  dergl,"  Op.  11.  "  .s"jx  Polonoiscs  pour 
le  Clav.,"  dp.  13,  1803.  "  Vars.  pour  le  CT-ir.  sur 
r Air  de  Chcnibini,  '  Guide  mes  pas,'  "  Op.  14. 
"  .Vina,  Gedicht  mit  Klavierbeyteil,"  Op.  1.5.  "  Trois 
Romances  ou  Andantes  pour  le  Clac,"  Op.  19. 
"  Onze  Vars.  pour  le  Clav.  sur  V Air  de  Daiayrac, 
•  La  Tour  de   Seualadt,'  "  Op.    20,   Vienna,  1803. 


"  Granite  Sctnate  pathttiq%ie pour  le  P.  F.  mmposie tt 
didiie  h  M.  .Ant.  Satieri,"  Op.  27,  Leipsie. 

LIPPAUINO,  GUILIEI.MO,  a  monk  of  tht 
order  of  St.  Augustino,  and  nn  industrious  com- 
poser of  sacred  music,  was  born  at  Hologna.  Ha 
flourished  in  the  besiinning  of  the  seventeenth 
century,  as  chai)el-raaster  in  the  cathedral  c-hurch 
of  Como.  He  published  the  following  works  : 
"  Madriyali  a  o  Voii,"  Venice,  1(514.  "  MijiSf  ft  ^  e 
9  Voci,  con  TV  Drum  laudamus  ft  8  Voci."  "  Mo- 
tetti,"  Venice,  I(i3i5.  "  S<iin\i  h  8  Vori,"  Venice, 
1637.  "  Coiwrriine  Litanie  de  D.  Virgine  A  1,  2,  e  3 
Voci."     "  Li/anie  a  3-8  I'oci,"  Venice. 

LIPPirS,  JOANNES.  According  to  Von 
Blankenburg,  in  the  appendix  to  Sul/er's  Art  Mu- 
sik,  the  "  Themata  Mu-sira  "  of  Li])])ius,  Jcriit, 
1610,  are  nothing  but  three  musical  disputations 
which  he  held  in  Wittenberg,  in  June  and  Sep- 
tcmlx?r,  1609,  and  on  the  27th  of  October,  1610, 
Lippius  was  a  professor  of  theology  at  Strasburg, 
and  died  in  1612. 

LIQUID.  An  epithet  metaphorically  applied 
to  a  smooth  succession  of  the  sweet  and  mellow 
sounds  of  any  voice  or  wind  instrument ;  also  to 
certain  clear  and  sweet  tones,  separately  consid- 
ered. 

URA  GR.VNDE.     Tlie  Viol  da  Gamba. 

LIROU,  JEAN  FRANCOIS  ESPIC,  CHEV- 
ALIER DE,  an  officer  in  the  French  army,  was 
bom  in  1740.  He  was  an  enthusiastic  amateur 
of  music  and  poetry,  and  produced  in  1784,  at 
the  Royal  Academy  of  Music,  in  conjunction 
with  Piccini,  the  opera  of  "  Diane  et  Endymion," 
which  was  successful.  The  following  year  he 
published,  at  Paris,  hLs  "  Systimc  de  I' Harmonic," 
in  one  volume  8vo.,  a  work  which  is  considered 
as  obscure,  but  founded  on  good  principles.  He 
died  at  Paris  in  1806. 

LISARDO,  GASPARO.  During  the  early 
part  of  the  sixteenth  century  a  violin  was  made 
by  the  famed  Gasjmro  Lisardo,  for  Cardinal  Aldo- 
brandini,  in  his  l>est  style  :  the  head  was  designed 
and  carved  in  the  most  beautiful  manner  by  lien- 
venuto  CeUini,  with  mythic  figures  representing 
the  musical  goddess  and  her  attendants ;  the  fret 
board  and  sounding  board  are  beautifully  inlaid 
in  mosaic  of  ])earl  and  ebony.  This  in.strument 
was  sold  by  the  heirs  of  the  cardinal  to  a  person 
who  carried  it  to  Innspruck,  and  at  the  taking  of 
that  city  by  the  French  army,  in  1800,  it  became 
part  of  the  booty  of  a  dragoon,  by  whom  it  was 
sold  to  afanatico  \ter  la  masica,  in  Vienna,  who 
could  not  be  induced  to  part  with  it,  though  in- 
credible sums  were  offered  lor  it.  Chevalier  Hull 
wished  to  purcha-se  it,  but  was  not  successful, 
though  the  owner  promised  that  il  Hull  would 
give  15  concerts  in  that  city  he  should  have  the 
preemption  of  the  violin  at  his  death.  'H.e  chev- 
alier complied  with  hLs  wishes,  and  the  proprietor, 
dying  soon  after,  beqiicathed  the  instrument  to 
him,  to  whom  it  now  (1813)  belongs.  The  edi- 
tor of  Alexander's  Philadel])hia  Messenger,  who 
had  heard  Uull  upon  this  in.>tmment,  said  in  1843, 
"  The  unearthly,  fairy-like  sounds  he  drew  from 
the  violin,  seemed  to  lull  the  hou.«e  like  a  magic 
8i)ell  —  like  the  soft  tones  from  another  world, 
breaking  upon  earth  at  lost." 

LIST,  a  German  student  in  dirinitr,  announced, 
in  1797,  the  edition  r  f  a  choral  book  for  the  I.u- 


626 


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EXCYCLOPJEDIA    OF   MUSIC. 


1  i-v 


theraii  church  of  Schniiniburg,  possessing  the 
followiiiK  lulvnntaKCs :  1.  The  chords  fully  writ- 
fen.  2.  Inlcrludcs.  3.  About  sixteen  new  melodies 
composed  l>y  himself.  4.  Several  corrections  of 
the  old  melodies.  6.  A  short  introduction  to 
thoro\if;h  biuss,  and  a  short  treatise  on  choral 
playin;;. 

IJSTE,  ANTHONY.  Professor  of  the  piano- 
forte and  composer,  born  nt  Hildesheim  in  1774, 
studied  at  Vienna  under  Mozart  and  Albrechts- 
bcrgcr,  and  was  afterwards  a  teacticr  of  music  in 
the  family  of  the  Count  of  Westphalia.  He  also 
gave  jjrivate  instructions  in  1804,  in  Heidelberg, 
where  he  made  his  lirst  iMbiit  as  an  extraordinary 
comjjoser  for  the  piano-forte,  by  his  two  sonatas 
for  that  instrument,  to  be  found  in  No.  9  of  Na- 
geli's  •'  liijietioire  dcs  Claviciiiistes."  According 
to  the  opinion  of  connoisseurs,  hLs  List  composi- 
tions are  excellent,  as  well  in  regard  to  the  origi- 
nal and  correct  arrangement  as  to  their  attractive 
style. 

LISTENirS,  NICOLAUS,  a  profes.sor  of  music 
in  the  beginning  of  the  sixteenth  century.  His 
small  introductory  work  on  music  has,  in  the 
course  of  fifty  years,  gone  through  seventeen  edi- 
tions, an  almost  unrivalled  Tiumbcr  for  a  musical 
publication,  and  a  proof  of  the  value  which  was 
placed  on  its  merit  and  utihty.  Gerbcr  has  but 
little  information  of  the  comparative  value  of  the 
different  editions  of  this  work.  Notwithstanding 
the  merit  of  Listenius,  the  ungrateful  indifference 
of  his  contemporaries  towards  him  went  so  far, 
that  all  which  is  at  present  known  about  him 
consists  merely  in  this,  that  he  was  a  native  of 
Brandenburg,  (which  he  accidentally  had  men- 
tioned in  hLs  dedication  to  John  George,  hereditary 
prince  to  the  Elector  Joachim  II.  of  Uradenburg.) 
As  soon  as  his  little  work  issued  from  the  press, 
the  booksellers  all  considered  it  as  their  property, 
and  printed  and  reprinted  the  same  as  olten  as  it 
suited  their  interests,  without  taking  any  further 
notice  of  the  author.  They  did  not  even  do  liim 
the  honor,  in  the  later  editions  of  his  work,  to 
reprint  the  well-written  preface  of  Dr.  IJugcn- 
hagen,  which  speaks  highly  of  the  merits  of  the 
author.  "  But,"  says  Gerber,  "  why  should  1 
feel  indignant  at  the  ingratitude  of  the  sixteenth 
century  r  Have  I  not  sufficiently  experienced  the 
ingratitude  of  the  eighteenth  century  towards 
their  most  usetul  and  talented  authors,  even  in 
the  course  of  my  writing  this  dictionary-  I 
Khouhl  advise,  therefore,  every  man  of  merit, 
whenever  he  has  an  opportunity,  to  write  at  least 
gometliing  about  himself,  and  to  speak  well  of 
hiro-iolf  when  necessary,  despising  the  sneers  of 
envy.  If  they  do  not  thus  gain  the  good  will 
and  respect  of  their  contemporaries,  posterity  will 
at  least  not  deny  them  that  boon."  The  first 
edition  ol  I.Lstenius  apjicired  under  the  following 
title  :  "  I'udimeiitd  MusictP  in  r/ratiam  stuiliitsrr 
jiivrntiitis  diltgcHter  conijmrtnla,"  Wittenberg,  1.533 
and  l'>:i7.  A  new  edition  followed,  with  the 
addition  to  the  title  of  "  Ab  aiUore  denuo  recognita, 
niiiUisi/iic  iiovis  reiiulii  el  exemplis  adiltictn,"  Witten- 
berg. \6i'2,  1.544,  and  1.5.54.  It  was  also  printed 
in  Leipsic,  by  Michael  Blum,  1.543,  loiC,  and 
1.533,  also  in  Frankfort  on  the  Oder,  without 
date,  and  in  l$reslau,  1673,  and  lastly,  at  Nurem- 
berg, by  Job.  I'ctreio,  in  1.510,  1548,  15.5.3,  1657, 
1.5SS,  and  1  GOO,  with  the  addition  "  Ac  correctius 
Hunin  anUa  edita."     This  last  is  probably  also  the 


last  edition,  as,  in  the  beginning  of  the  Rcventeenth 
century,  the  subjects  which  it  contained  began 
partly  to  he  useless. 

I/ISTESSO  TEMPO.  A  word  imi)lying  that 
the  movement  before  whirh  it  is  placed  Ls  to  be 
played  in  the  same  time  as  the  previous  move- 
ment. 

LISZT,  FKANZ,  was  born  at  Baeding,  Hun- 
gary, October  22,  1811.  Ho  is  the  son  of  Adam 
Liszt,  an  enthusiastic  amateur,  and  during  his  life 
an  intimate  friend  of  Haydn.  The  father  was  a 
good  i)ianist,  and  played  several  different  instru- 
ments. Franz  received  his  first  lessons  on  the 
piano-forte  from  his  father ;  and  at  the  age  of  nine 
years  he  performed  Kies's  Concerto  in  E  flat,  in 
public.  Soon  after  Franz  was  placed  under  Czemy, 
the  pianist,  at  Vienna,  and  at  the  same  time  re- 
ceived instructions  from  Salieri.  When  he  had 
been  eighteen  months  at  Vienna,  he  gave  a  coticert 
at  which  Beethoven  was  present.  In  1823  he 
visited  Paris  with  the  intention  of  becoming  a 
student  in  the  Conservatory ;  he  carried  letters  of 
recommendation  from  the  highest  sources,  but 
could  not  gain  admittance  hpcaiise /le  ira-t  afireignerf 
In  1824  Franz  vi-iited  London,  where  his  playing 
suqirised  every  body.  In  1825  he  produced,  at 
the  Royal  Academy  of  Music,  an  opera,  "  Don 
f!a>wfie,  ou  le  C/iatrau  (T Armour."  In  1826  h& 
and  his  father  made  a  tour  through  the  Frenot 
provinces,  and  in  the  same  year  he  returned  to 
Paris  to  study  counteriioint  under  Ileicha.  In 
1829  he  returned  to  London,  where  he  was  most 
favorably  received.  HLs  father  dying  in  1830, 
Liszt  became  his  own  master,  and  maintained 
himself  by  teaching.  In  1830,  he  returned  to 
Paris,  and  since  then  has  become  particularly 
celebrated  ns  a  pianist.  He  is  the  owner  of  the 
instrument  played  on  by  Beethoven,  and  in  1853  he 
purchased  the  old  harpsichord  formerly  belonging 
to  Beethoven,  which  was  offered  for  sale  at  Wei- 
mar, where  LLszt  now  resides. 

LIUTO.     (I.)    The  lute. 

LIVERATI,  GIOVANNI,  was  born  in  1772 
at  Bologna,  in  the  pontifical  states.  Giuseppe 
and  Ferdinand  Tibbaldi,  celebrated  composers, 
gave  him  his  first  lessons  in  the  rudijuents  of 
music :  thev  died  when  he  was  abo\it  fourteen 
years  of  age.  He  then  began,  and  continued 
during  the  space  of  thirteen  years,  to  be  a  pupil 
for  the  piano,  organ,  thorough  bass,  and  compo- 
sition of  the  renowned  master  Padre  S.  Mattel, 
successor  io  Padre  Martini,  which  latter  eminent 
musician  was  to  have  been  his  master,  had  he 
lived. 

Finally,  he  took  lessons  of  singing  from  Lorenzo 
GibcUi,  justly  celebrated  for  his  church  music, 
as  his  many  compositions  and  beautiful  fugues 
will  testify,  and  who  was  one  of  the  first  masters 
in  the  renowned  Bolognese  school  of  singing, 
which  has  since  produced  Crescentini,  Babbini, 
Roncagho,  Concialini,  and  many  others.  Having 
perfected  himielf  in  that  school  also.  I.iverati  was 
able  to  take  the  part  of  fir^t  tenor,  with  the  best 
performers  in  the  music  at  the  Italian  churches, 
as  also  in  concerts  and  oratorios,  both  public  and 
private. 

His  country  still  remembers  Mith  delight  the 
success  le  met  with  in  an  oratorio  by  the  Padre 
Mattel,  and  in  anoth.cr  by  Guglielmi,  in  the  parts 
of  Giovanni  and  SL-^aro.     I.iverati  next  refuxed  ■ 


fi2r> 


LIV 


ENCYCLOPEDIA    OF   MUSIC. 


LOG 


pressing  invitation  to  the  Venetian  theatre  from 
the  celebrated  Pacchiarotti,  who  came  as  far  ns 
Bolofjiia  to'  treat  with  liira  ;  lie  likewise  declined 
several  other  Himilur  theatrical  oflers  in  Italy,  and 
went  as  first  tenor  to  Uurcelona  and  Mailrid,  con- 
tiniiin;;,  at  the  same  lime,  Lis  ^tudies  in  composi- 
tion. IJelm'C  he  quitted  Italy,  ho  was  elected  a 
member  of  the  I'liilharmonic  Academy  of  Boloj^na, 
and  of  other  musical  societies.  Some  psalms  were 
the  first  of  his  compositions,  and  were  performed 
at  the  Bolognese  cliurch  of  San  Francesco,  in  the 
year  1789.  In  1790  lie  wrote,  at  Bologna,  hLs 
first  theatrical  piece,  "  II  Diicrliintitto  in  Cam- 
ragna,"  a  little  opera  in  one  act,  which  was 
Bucccssfully  jicrformed  by  his  scholars.  lie  com- 
posed about  the  same  time  a  mass  for  two  voices, 
with  an  orj^an  accompaniment ;  also,  "  ITie  Seven 
Words  of  Jesus  Christ  on  the  Cross,"  for  three 
voices,  with  wind  instruments ;  and,  finally,  "  A 
Grand  l{c(|uicni  Mass." 

lie  next  produced  three  instrumental  quartets, 
by  an  order  of  his  majesty  the  King  of  Prussia, 
obtained  through  the  interest  of  his  father,  Mat- 
teo  I.iverati,  a  distinguished  professor  of  music 
at  that  court,  and  director  of  the  theatre  at  Pots- 
dam. In  consequence  of  these  productions,  Gio- 
vanni I.iverati  was  called  to  the  court  of  Berlin, 
as  successor  to  Carl  Fasch,  the  celebrated  contra- 
puntist and  composer  to  the  above  theatre.  He 
arrived  in  Prus.sia  in  1799,  and  was  .soon  ordered 
to  compose  a  grand  cantata  with  choruses,  but 
had  not  time  for  the  completion  of  it  before  the 
king's  death.  In  ISOO  he  became  composer  to 
the  Italian  theatre  of  Prague,  where,  during  the 
ppaec  of  three  years,  he  brought  out  seveial  .short 
pieces,  airs,  duets,  finales,  &.C.,  for  the  stage ;  also 
a  grand  cnntnta  for  his  highness  Prince  Winski, 
tntitle<l  "  //  Trionft  d' Amorc,"  and  a  grand  ma.ss 
by  order  of  the  same  prince. 

In  ISOt  he  went  to  Trieste,  where  he  produced 
bis  first  complete  opera,  "  //  Mnrs/ro  <li  Mn.iica,"  in 
two  acts.  Encouraged  by  the  success  of  that  work, 
he  immediately  undertook  some  others.  He  had 
before  attempted  that  style  in  his  "  Maestro  Fa- 
natiio,"  an  operetta,  performed  with  great  effect  in 
Vienna  and  Prague,  'llie  year  alter  this,  he 
went  to  Vienna,  where  he  establishe<l  himself, 
and  remained  iourteen  years.  He  was  there  in- 
timate with  the  distinguished  masters  Haydn, 
Beethoven,  Kojieluch,  and  Salicri,  taking  their  in- 
strumental compositions  for  his  models,  particu- 
larly those  of  the  last-named  composer,  to  whom 
he  owed  much  instruction  concerning  the  clear 
pronunciation  of  his  words  in  singing. 

I.iverati  has  composed  the  following  operas  : 
1.  '•  Ihifiil,"  a  gland  opera,  with  twelve  choruses, 
in  two  acts.  2.  "  Kitraa  in  Cartngine,"  with 
choruses,  in  two  nets.  .3.  "  La  I'rova  Geiiera/e," 
in  two  acts.  4.  "  La  Prcsa  fT Egen,"  grand  opera, 
twelve  choruses,  in  two  acts.  ITiese  four  operas 
were  perfonncd  in  the  imperial  and  royal  palaces. 
6.  "  //  Str'.o  l)!.<ipu'at>,"  one  act.  fi.  "  Umunlro  in 
Cordova,"  grand  opera,  choruses,  in  two  iict,s. 
('ITiese  two  ojierns  ordered  by  the  Prince  of  Ijoh- 
cowitz.)  7.  "II  Tempio  dell'  Ktcmith,"  twelve 
choruses,  in  two  nets.  8.  " //  Cmn-ito  degli  Dri," 
in  two  acta.  9.  "II  Trionfo  d'Auscmia,"  with 
choruses,  in  two  acts.  10.  "  Milliadi;"  in  two 
acts.  11.  "  L' Adnrnzii'ni' dei  Vaitlori  e  dei  Mayi  al 
J'nsi-pe,"  a  grand  oratorio,  with  twelve  choruses, 
ordered  by  her  majesty  Maria  'riicrcsa  of  Naples, 
Empress  of  .\ustria,  who  herself  condescended  to 


sing  the  part  of  Maria,  at  its  perlbrmance  befor* 
the  court.  12.  "Grand  Mass,"  ordered  by  his 
liighness  Prince  Esterhazy.  Besidi-s,  No.  2.5,  a 
ciintata  of  one,  two,  and  three  pieces.  Music 
published:  Five  numbers  of  "  I^i  Lyre  d' Orfee," 
a  icriodical  work,  with  airs,  duets,  sestet.s,  and 
quartet.s,  vocal  and  some  instrumental  pieces. 
Two  arias  in  "  (linecra  di  Scopia.''  " Three  Duets," 
dodiciited  to  Covmt  PaUR.  "Three  Terzetti," 
dedicated  to  tie  Countess  Warenleld.  "  lliree 
Ariettas,"  dedicated  to  the  Princess  of  Himski. 
"  Three  AricUas,"  de<licated  to  Count  de  Fries. 
Romances  Fraiii,oi-cs :  "Two  ,\riettas,"  collectcl 
from  many  authors  who  compo'^ed  the  air  "  In 
r/iulta  t'tinbo  ouvini."  Different  pieces  from  David, 
from  which  .Siguors  Mascek  iind  Gelinck  took 
many  pissages  in  composing  their  variationn  "n 
the  piano-forte.  Lastly,  different  piece.,  frou 
"  I^  I'r  ira  (ii-ncriilc." 

In  1814  he  went  to  London  as  a  composer  to 
the  King's  Theatre,  in  which  situation  he  re- 
mained three  years,  and  brought  out  the  follow- 
ing operas  :  1.  "  I  Mvar/f/i,"  grand  opera,  with 
choruses,  &c.,  two  acts.  2.  "  //  Trionfo  di  Ce- 
sar,," with  choruses,  two  acts.  .'{.  "  //  (Jattone  e 
Bajardo,"  grand  opera,  with  choruseM,  two  act«. 
4.  "  (Jli  ainanii  Fanatic!,"  two  acts  :  this  opera 
was  not  perfonned.  .5.  "  //  Trionfo  d'Alhione," 
twelve  choruses,  two  acts,  likewise  not  performed. 
The  following  music  has  also  been  publi^he<l  by 
him  in  London:  " Three  .\rietta8,"  dedicated  to 
Mr.  Dragonctti,  Op.  2.  "  Duet  in  Dnma  Soldata," 
"  Cantata  on  the  Death  of  Princess  Charlotte," 
Op.  3,  ((roulding.)  "Three  small  Ariettas," 
dedicated  to  Miss  Culling  Smith.  Duetto,  "  O 
licta  cam,  "  Op.  .').  .Vir,  "  llcndi  nyli  amplctti 
u.iati,"  composed  for  Mrs.  Salmon,  Op.  .5.  "Three 
Ariettas,"  cledicatcd  t^i  .V:.ioli,  Op  7.  "Kecit.  and 
Duet,"  de<licated  to  Mi-.  Cox,  Op.  8.  "Duct," 
dcdicstad  to  Lady  (iordon.  Op.  9.  "  Tre  Sot- 
liirnit  Terzctti,"  dedicated  to  the  Duke  of  Leedi, 
Op.  10.  "  Tre  Canznnetti,"  dedicated  to  M.s. 
Antrobus,  Op.  U.  "Tre  Diotti,"  dedicate  1  to 
Mrs.  Bellochi,  Op.  12,  (Livcrati. )  "Three  Ari- 
ettas," de<li.'atcd  to  Lady  Fane,  Op.  13.  Ter- 
zetto, "  I'ri  te/ffcie,"  Op.  14.  "  Kecit  and  .\ir," 
Op.  1.5.  "  Tt-rii'tT  in  Ihirid,"  Op.  15.  Polaeca, 
"  Chi  a  roi  o  xtoinin,"  Op.  17.  Grand  duct  in  an 
opera  (Op.  18)  not  yet  published.  "First  Set 
Italian  Duets,"  Op.  19.  "Second  Set  Italian 
Duets,"  Op.  20.  ••Three  Ducts,"  dedicated  to 
his  royal  highnc-s  Prince  of  Snxe-Cobourg,  Op. 
21.  Different  passages  of  the  opera  "/ S, /r<u7i7«." 
Some  passages  from  "  Gat'one  e  hi'jardn''  "  Can- 
tata in  two  parts,"  pcriorrae<l  at  the  hou'c  of  hw 
friend  Signor  Boldi.  Many  other  fugitive  piccra 
written  lor  Madame  Caraporc^e,  Misa  Siejihen*, 
Miss  Paton,  and  other.*. 

LOC.VTELU.  PIFl'RO,  was  bom  at  Bergamo 
in  1690.  In  his  infancy  he  was  sent  to  Rome, 
where  he  took  lessons  on  the  violin  from  CorcUi. 
.Vltcr  having  travclle<l  much,  he  settled  in  Hol- 
land, and  e-stablishe<l  a  public  concert  in  Anwler- 
tlam.  He  dieil  in  17r.4.  Dr.  B\imey  siy^*,  that 
"  I»catelli  had  more  hand.  cn]<rice,  and  lancy  than 
any  violinist  of  his  time."  He  wa,s  a  volumi- 
nous comjKiser  of  concerti,  capricci,  w^nate,  .Vc, 
manv  of  which  were  p\iblisht<l  at  Amslcrdara. 
Uis  Op.  10  ot  sonatas  Ls  considcrwl  hU  master- 
piece, and  has  lecn  greatly  admir«*d. 

LOCCHINL  chapel-maKter  to  the  ConiwrTatorj 


627 


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EXCYCLOPiEDIA    OF    MUSIC. 


LOB 


of  the  Ospediiletto  at  Venice,  wrw  bom  at  Na- 
ples. HIh  opera  seria,  "  Sci/no  in  Carthago"  was 
l)erlormed  at  Padua  in  1770. 

LOtHXER,  JOACHIM,  a  composer  of  the 
sixfconth  century,  published  "  Magnificats,  ton  4 
Stini/nrii,  ilber  die  8  Kirc/ientotic  gcriclUet,"  Nurem- 
borfi,  1.578. 

LOC'HXER,  CARLO,  a  violonceUist  in  the 
orchestra  of  Manlicim,  died  in  consequence  of 
B  H])ittin$;  of  blood,  in  the  year  1795,  just  as  he 
had  begun  to  make  progress  in  composition. 
Rcichardt,  however,  says  in  hLs  "  Almanack,"  that 
he  was  yet  far  from  i)erfection.  He  published, 
in  conjunction  with  J.  A.  Andr6,  "  12  Lieder," 
Oflcnbach,  1792;  also,  of  liis  own  composition, 
"  6  Lieder  \stc  Siimnil.,"  1793.  "  6  Derglcichen,  lie 
Saniml.,"  179.3.  "Lieder  ran  J.  D.  Heck,  Zte  Samm'.," 
1794;  "  Zechlied  von  Ih;.k,"  1794;  "Lieder.  He 
Simml.,"    1795;    also   "  Orphbiu,"  a  melodrame. 

LOCHOX,  a  French  composer  of  the  seven- 
teenth century,  born  at  Tours,  published  some 
Latin  motets. 

LOCHOX,  CHARLES.  A  French  violinist  at 
Paris,  about  the  year  1788.  He  was  bom  at 
Lyons,  in  1760. 

LOCK,  MATPHEW,  was  originally  a  chorLs- 
ter  in  the  cathedral  church  of  E.xeter,  and  8  pu- 
pil of  Edward  Gibbons.  Very  early  in  life  he 
attained  a  considerable  degree  of  eminence  in  his 
profession.  He  was  emploj-ed  to  compo.se  the 
music  for  the  public  entry  of  King  Charles  II., 
and  not  long  afterwards  was  appointed  composer 
in  ordinary  to  that  monarch. 

Dramatic  music  was  that  in  which  he  chiefly 
excelled,  but  there  arc  likewise  extant  many  val- 
uable compositions  for  the  church.  Amongst 
others  is  a  morning  service  composed  lor  the 
Chapel  Koyal,  in  which  the  prayer  alter  each  of 
the  commandments  is  set  in  a  different  way.  This 
was  deemed  by  many  persons  an  inexcusable  in- 
novation, and,  on  the  whole,  was  so  much  cen- 
sured, that  he  was  compelled  to  publish  the 
entire  service  m  score,  with  a  vindication  by  way 
of  preface. 

Lock  appears  to  have  been  a  man  of  an  un- 
pleasant and  quarrelsome  disposition,  and  conse- 
quently he  involved  himself  in  almost  continual 
broils.  About  the  year  1672,  he  was  engaged  in 
B  controversy  with  'lliomas  Salmon,  A.  M.,  of 
Trinity  College,  Oxford,  on  the  subject  of  a  book 
•written  by  him,  and  entitled  "  An  Essay  to  the 
Advancement  of  Music,  by  casting  away  the  Per- 
plexity of  different  Cliffs,  and  uniting  all  sorts 
of  Music  into  one  universal  Character."  Lock 
could  not  refrain  from  attacking  this  work.  Ac- 
cordingly he  published  "  Observations  upon  a 
late  ]5ook,  entitled  an  Essay,  &c.,''  which  lying  im- 
movable u].on  the  booksellers'  shelves,  he  after- 
wards rei)ublished  it  with  a  new  title.  Salmon 
answered  it  in  "  A  Vindication  of  an  Essay  to 
the  Advancement  of  Music  from  Mr.  Lock's  Ob- 
servations "  The  subject  matter  of  this  dis])ute 
is  not  of  sufficient  importance  to  demand  from 
Us  any  detail  of  the  arguments ;  sutlice  it  to  say, 
that,  under  a  studied  affectation  of  wit  and  hu- 
mor, the  pamphlets,  on  both  sides,  are  replete 
■with  the  most  scutrilous  invective  and  abuse. 

The  musical  world  is  indebted  to  Lock  for  the 
first  rules  that  were  ever  publist.ed  in  England 
on   the    subject   of  thorough   bass.      A   collec- 


tion of  the^e  were  inserted  in  a  book  entitled 
"  Mehthesin,"  which  also  contains  some  lessons 
for  the  harpsichord  and  organ,  by  himself  and 
other  masters.  It  is  well  known  that  Ixick 
was  the  composer  of  the  music  to  Shakspeare's 
plays  of  "  Macbeth  "  and  "The  Tempest,"  as 
altered  by  Sir  William  Davenant,  and,  in  con- 
junction with  Draghi,  to  Shadwcll's  opera  of 
"  Psyche."  He  was  also  author  of  a  collection  of 
airs,  published  in  1657,  entitled  "  A  little  Con- 
sort of  'l"hree  Parts,  for  VioLs  and  Violins,"  and 
of  the  music  to  several  songs  printed  in  "  The 
Treasury  of  Music,"  "The 'nieatre  of  Music,"  and 
other  collections.  In  the  latter  there  is  a  dio- 
logue  by  him,  "  When  death  shall  part  us  from 
these  kids,"  which  may  be  ranked  among  the 
best  vocal  compositions  of  the  time. 

LOCKMAXX,  JOHANX,  an  English  poet  of 
the  eighteenth  century,  wrote  "  Some  Reflec- 
tions concerning  Operas,  &c.,  prefixed  to  Rode- 
linda,  a  Musical  Drama,"  1740.  This  essay 
treats  of  the  origin  and  progress  of  operas  in 
general. 

LOCO.  A  word  used  in  opposition  to  Soa  alto, 
and  signifying  that  the  notes  over  which  it  is 
placed  arc  not  to  be  played  an  octave  higher, 
but  just  as  they  are  written. 

LOCRIAX.  The  name  sometimes  given  by 
the  ancient  Greeks  to  the  Hyiierdorian  mode. 

LODER,  the  celebrated  leader,  died  in  London, 
September,  1845,  in  his  fifty-eighth  year.  He  was 
an  excellent  tenor,  as  well  as  violin  player.  He 
has  left  five  sons  and  two  daughters ;  amongst 
the  former  are  E.  J.  Loder,  the  Lyceum  leader, 
and  W.  Loder,  the  leading  violoncello  of  the 
Drury  Lane  Orchestra.  George  Loder,  of  New 
York,  was  a  member  of  the  family. 

LODI,  DEMETRIO,  a  monk,  born  at  Vero- 
na,  flourished  as  a  composer  of  church  and  in- 
strumental music  in  the  beginning  of  the  seven- 
teenth century.  Of  three  of  his  works  for  the 
church,  only  one  is  known,  entitled  "  Canzoni  o 
Sonate  Concertate  per  Chiesa,  A  1,  2,  e  3  voci." 
Another  of  his  sonatas  was  printed  at  Veniee 
in  1623. 

LODI,  GIOV.  LUIGI.  called  STERKEL. 
Tlirough  one  of  his  works  he  became  known  in 
Germany,  in  179S,  as  an  excellent  and  original 
com])oser  for  the  piano-forte.  He  seems,  how- 
ever, to  have  followed  sometimes  too  much  the 
impulse  of  his  enthusiastic  feelings,  according  to 
the  opinion  of  a  reviewer  of  the  "  .Vi«.  Zeit.," 
1799,  p.  28.  His  works,  of  which  the  successive 
order  is  but  incorrectly  known,  were,  up  to  the 
year  1799,  as  follows  :  "  Sonate  pour  le  C/av.,"  Op. 
9,  Augsburg,  1796.  "  Grand  Concer.  pour  le  Clar., 
u  14,"  Op.  10,  Augsburg,  1797.  "  Capriccio  p.  il  P. 
/'.,"  Op.  16,  Leipsic,  1798.  "  Sonate  pour  le 
Onricin,"  Op.  18,  Le'.psic.  1798.  '•  La  Morte  di 
Mozart,  Sin/on.  pour  le  Clar.,"  Op.  27.  Leipsic. 

LOEP.ER.  JOHAXX  ERXST.  town  organist 
at  Weimar  about  the  year  1730.  published  at 
Erfurt.  "  llochzeil-Conzert  von  2  Stimmi-n  und 
General  liass,"  Erfurt.  1732. 
j  LOEFGROEX,  AXTOX.  a  Swede,  was  the 
'  editor  of  an  academical  work,  published  under 
the  title  "l)e  Batso/undamentali,"  Upsal,  1728. 

I      LOEIILEIX.   GEORO  SIMOX,  was  bom  U 


fiOM 


LOE 


ENCYCLOP-EDIA    OF    MUSIC. 


Loa 


Dantzic  in  1727.  Tlie  first  part  of  his  "  Klacier- 
schule,"  1765,  was  reprinted  in  1772;  a^^iiin  in 
!779,  with  improvements  ;  for  the  fourth  time  in 
1781  ;  and  for  the  fifth  time,  revised  and  enlarged 
by  J.  O.  M'itthauer,  in  1797.  His  instructions 
for  the  violin  api)eiired  first  in  1774  ;  a  second 
time  in  1781;  and  a  third  edition,  improved  and 
with  additions,  also  with  twelve  ballet  pieces 
from  the  O]  era  "  Brenno,"  was  published  by  J.  Fr. 
Kcichurdt,  in  1797.  Lochlcin  was  a  chapel- 
master  at  Dantzic,  and  died  there  in  the  year 
1782.  He  served  for  some  time  in  the  Prussian 
anny,  and  at  the  battle  of  Collin  was  left  for 
dead  on  the  field.  The  Austrians,  however,  who 
were  conquerors  in  that  cni,'ai;cmcnt,  discoverin;; 
f  ?me  signs  of  life  in  him,  had  him  taken  to  their 
Jr8])ital ;  from  whence,  a  few  months  afterwards, 
he  returned  to  his  native  country,  where  he 
fcund  all  his  family  in  mourning  for  his  supposed 
death. 

LOEIIXER,  JOIIAXX,  a  favorite  composer 
tnd  organist  at  Xiiremberg,  was  born  there  in 
\C)in.  He  published  several  collections  of  music 
l^etwcen  the  years  1GS2  and  1700. 

LOEILLET,  JEAX  liAPTISTE,  of  Ghent,  a 
famous  master  of  the  Hutc,  and  the  author  of 
four  operns  of  solos  for  that  instrument.  He 
was  also  a  celebrated  performer  on  the  harfisi- 
chord.  He  played  in  the  opera  band,  in  London, 
at  the  same  time  with  C'orbett  and  others.  He 
died  about  the  year  1728,  having,  by  his  industry, 
acquired  a  fortune  of  sixteen  thousand  pounds. 

LOEWE,  FRIEDKICH  AUG.  LEOPOLD. 
Honi  at  Schwedt  in  1777.  He  was  a  celebrated 
performer  on  the  tenor ;  he  also  composed  an 
operetta,  called  "  Die  iiisclder  W-rftlhi-ung,"  which 
was  performed  at  Brunswick  in  1797. 

LOEWE,  J.  HEIXllKH.  an  instrumental 
composer  and  performer  on  the  violin,  tenor,  and 
the  piano-torte,  resident  in  Bremen,  was  bom  at 
Berlin  in  17u6.  He  received  his  education  under 
the  celebrated  concert  master  Haack,  went  after- 
wards into  the  service  of  the  Viscount  Von 
Schwedt,  then  gave  private  instructions  in  Ham- 
burg, and  finally  settled  at  Bremen,  where  the 
jdace  of  chef  (tonhestre  was  offered  to  him  by 
Dr.  SchOlte,  of  the  amateur  concert  of  that 
town.  It  is  said  that  Locwe  wa.s  particularly 
happy  in  catering  into  the  si)irit  of  Haydn's 
quartets.  He  had  written,  before  the  vear"l794, 
'•  I)ic  I'/nners  Tochler  roii  Tnubeuheim,"  for  the 
piano-forto ;  also  several  sonatas  for  the  piano, 
'orte.  and  concertos  for  the  violin  and  ba.ssoon, 
with  several  smaller  operas  of  variations.  Since 
1794,  there  hare  been  printed  of  his  works, 
"  Concert  j/oiir  le  Viohn,"  Op.  1,  Offenbach,  17"J.5. 
"  .3  Oro33e  Sotiatcn  fllr  iliis  I'innnfmi  mit  linjl., 
niter  B.,  mid  eines  J'c  ,"  Op.  2,  Offenbach,  1798. 
"  Concert  pour  le  I'i'iloii,"  Op.  3,  Offenbach,  1798. 

LOEWE,  JOIIAXX  JACOB,  a  musician 
highly  celebrated  in  his  time,  was  born  at  Eise- 
nach. He  was  formed  under  the  auspices  of  the 
first  professors  of  the  art  at  Vienna,  and  after- 
wards in  Italy,  under  several  great  masters.  In 
1660,  he  was  c/u-f  d'nrchestrf  at  the  court  of 
Brunswick,  and,  some  years  later,  at  that  of  the 
Duke  of  Zeitz.  Amongst  his  works  are  the  fol- 
lowing:    "  tiinfonen,  IntratUn,  Gayliardcn,  Arieti, 


Balletlen,  Coiiraitttn,  unil  Snrabanden,  mil  3  oder  5 
IiustinineiUen,"  Bremen,  16.17.  "  12  Seue  geist- 
tic/ie  Coiicerlen  mit  1,2,  3  Stimmen  zit  sittgen  uttd 
2  yiolineu  iiebit  der  (jriindstimine  J'Hr  die  Orgel," 
Wolfenbuttel,  1660.  "  t'anmies,  1,  2,  3,  4  Ai«  8 
Stimmii/,  thrils  fUr  Iiiftruniente  und  theils  fUr  San- 
ger, tlii-iU  teichi  und  tlit-ih  schirt-r,  ll'n-r  M.  Mart 
Kcmjtens  Arieii,"  16(i4,  with  a  dedication  to  hi* 
patron,  Duke  Maurice,  and  a  prefa'-e,  in  which 
he  complains  of  the  great  labor  which  then* 
canons  had  cost  him.  The  worthy  Henry  Schuta 
has  published  a  eulogium  on  this  work,  in 
which  he  calls  its  author,  "  Edler,  rcstrr,  linnrei- 
cher,  insnnilfrs,  und  at.i  nohn  riehfrliebtcr  J'reund ; 
i.  c.,  noble,  faithful,  able,  particular  friend,  and 
beloved  like  a  son,  &c. 

LOEWEXSTEUX,  MATTII.'aPELLES  VON, 

a  musician,  bom  at  Xeustadt,  in  Silesia,  in  1594, 
was,  in  tb.c  beginning  of  KiJ.i,  treasurer  and 
music  director  to  the  Prince  of  Bernstadt ;  after- 
wards, in  1()26,  president  of  the  school  there; 
and,  lastly,  chamberlain  to  the  prince.  After- 
wards he  entered  the  service  ot  the  Emperors 
Ferdinand  II.  and  III.,  when  the  latter  raised 
him  to  the  r.ink  of  a  noble.  Finally,  he  was 
made  counsellor  of  state  to  the  Duke  of  OeLs, 
where  he  died,  in  1648,  after  having  left  proof 
behind  him,  that  a  musical  artist  may  also  ably 
fulfil  other  weighty  occupations  in  life. 

LOFEIER.  JOSEPH  FlUEDRICH,  superin- 
tendent of  the  public  buildings  at  .Salzbach,  was 
born  in  1766.  He  distinguished  himself  as  an 
amateur  by  his  active  study  of  the  piano  and 
the  tenor,  the  latter  being  a  favorite  instrument,, 
which  he  played  with  taste  and  correctness.  He 
also  made  himself  acquainted  with  the  theory 
of  music,  and  has  written  several  si,-raphonics, 
overtures,  some  sacred  music,  and  several  min- 
uets and  dances.  Some  of  his  com])ositions  are 
printed,  among  which  are  "12  Tuna,  in  D,  fUrt 
P.  F.,"  Nuremberg,  1801. 

LOGIEK.  JOHN  BERXIIARD,  is  descended 
from  a  family  of  French  refugees,  who,  like 
many  of  their  unfortunate  countryme:i,  during 
the  reign  of  Louis  XIV.,  were  obliged,  in  conse- 
quence of  religious  persecutions,  to  tty  their 
native  country,  and  seek  an  asylum  in  Gei-many. 
Ilis  ancestors  settled  in  Kaisers  Lantern,  a  town 
in  the  electorate  palatine,  where  his  grandfather 
wat  music  director  and  organist,  and  from  whom 
his  father  received  his  nnisical  education.  The 
latter  played,  as  is  customary  in  (icnnany,  on 
several  instruments,  and  was  esteemed  an  ex- 
cellent organist.  The  violin  was,  however,  l..^ 
principal  instrument,  upon  which  he  wao  a  gieat 
pertbrmer,  in-<omuch  that  the  director  of  Ilesoe- 
Ca-sscl,  in  the  year  1796,  offered  him  the  situation 
of  first  violin  in  his  chapel,  wliich  I'.e  accej)ted. 
In  the  above  town  the  subject  of  this  memoir 
was  bom,  in  the  year  1780.  He  had  one  sL-tcr, 
who  died  at  the  age  of  sixteen,  and  was  an  ex- 
cellent piano-forte  player  for  l-cr  years.  Some 
time  after  the  death  of  the  elector,  considerable 
retrenchments  in  the  expense  of  the  court  were 
proposed  by  his  successor ;  in  this  arrangement 
the  members  of  the  chapel  had  their  choice, 
either  to  have  their  salaries  re<lure<l,  or  to  seek 
for  situations  elsewhere.  Logier's  father  re- 
signed, and,  about  the  same  time,  the  celchmted 
Dr.  Forkel  invited  him  to  Oottiugen,  and  offend 


67 


529 


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ENCYCLOPEDIA    OF    MUSIC. 


LOG 


him  the  situation  of  lender  in  his  concerts,  which 
ne  Bcceptcd,  nml  retained  till  liiH  death.  At  this 
time  younj;  I.opicr  was  in  his  ninth  year,  and 
had  received  I'rora  his  father  the  first  lessons  on 
the  piiino- forte,  nnd  a  few  rules  on  composition. 
His  favorite  instrument,  however,  was  the  flute, 
on  which  ho  made  considerable  progress  under 
the  tuition  of  Weidner,  tl\c  father  of  a  celebrated 
tiute-plnyer,  residing  in  Dublin.  On  this  instru- 
ment, in  his  tc-nlh  year,  he  performed  with  young 
Wcidner  a  double  concerto  in  public.  His  incli- 
nation decidedly  leading  him  to  make  music  hLs 
profession,  he  now  received  instructions  from  a 
person  named  Queakc,  from  which  he  benefited 
but  little.  Shortly  after  this  his  mother  died. 
The  person  ajipoiutcd  as  his  guardian  would  not 
hiar  of  his  becoming  a  professional  musician,  but 
desired  him  to  choose  some  other  occupation. 
Seeing  that  nothing  could  induce  his  guardian  to 
accede  to  his  wishes  on  this  point,  young  Logier 
left  Gottingcn,  and  took  refuge  with  an  uncle  in 
Marburg.  His  guardian  insisted  on  his  being 
sent  back,  which,  however,  was  frustrated  by  the 
following  circumstance.  An  English  gentleman, 
then  on  his  travels,  happening  to  hear  Logier 
play  nt  one  of  the  concerts,  jiroposed  that  he 
should  accompany  him  to  England  :  happy  at 
Buch  nn  opportunity  of  cscjiping  tlie  persecution 
of  his  guardian,  he  instantly  consented,  and  the 
next  day  .set  out  for  England. 

During  two  years  thLs  gentleman  treated  I  ogier 
as  hb  son,  and  the  only  duty  he  rcquiied  from  him 
was  to  play  on  the  flute  and  the  piano-forte,  on 
which  latter  instrument  he  had  him  instructed 
by  Baron  dc  Grifl'e.  At  this  time  the  Marquis 
of  Abeicorn  was  desirous  of  raising  a  band  for 
his  regiment,  then  quartered  in  the  north  of  Ire- 
land, and  Logier  being  tired  of  the  monotonous 
life  which  he  led,  and  desirous  of  enlarging  his 
sphere  of  action,  obtained,  with  much  entreaty, 
his  patron's  consent  to  his  becoming  one  of  its 
members,  and  departed  with  tliree  others  for  Ire- 
land. Here  he  met  in  the  director  of  the  baud 
his  own  countryman,  (Willmnn,  the  father  of 
the  celebrated  clarinet  ])layer  of  that  name  in 
London,)  wliosc  daughter  he  married,  bemg  then 
only  in  his  sixteenth  year.  From  this  period  he 
was  chiefly  engaged  in  instructing  and  composing 
for  military  bands,  and  at  the  same  time  in  giv- 
ing lessons  on  the  jiiano-forte  to  the  inhabitants 
of  the  diti'erent  towns  where  he  occasionally  re- 
sided. It  was  during  this  time  that  the  possibiUty 
suggested  itselt  to  him  of  considerably  facilitating 
the  acquirement  of  music,  both  practically  and 
theoretically,  and  that  he  formed  the  basis  of  the 
system  which  he  afterwards  so  successfully  carried 
intc  effect.  At  the  conclusion  of  the  war,  hLs 
legimcnt  being  disbamled,  he  accepted  the  pro- 
posal of  Loril  Altamont  to  become  organist  of 
the  church  at  Westport,  in  Ireland.  Here  his 
professional  engageiuents  frequently  interfering 
with  his  duty  as  orgnnist,  he  determined  to 
try  if  it  were  not  possible  to  teach  his  daughter,  a 
child  of  seven  years  old,  sulHciontly  to  under- 
take the  duty  of  organist  in  his  absence.  In  this, 
however,  he  found  a  great  obstacle  from  her 
intractability  of  hand,  which  Reeme>l  to  bid  defi- 
ance to  all  his  exertions ;  and  beint;  unavoidably 
60  frequently  from  home,  he  saw  no  probability 
of  Buccccding  in  hLs  object,  unlos  some  means 
could  be  adopted  which  would  comjicl  her,  dur- 
blg  his  abhcucc,  to  retain  a  proper  position  of  the 


hands.  Execution  on  the  piano-forte  being  purely 
mechanical,  he  considered  that  mechanical  as- 
sistance might  be  afforded  to  facilitate  or  remove 
those  difficulties  which  naturally  present  them- 
selves to  every  beginner  on  that  instrument,  and 
this  led  him  to  the  invention  of  the  chiroplast. 
He  now  succeeded  rajiidly  in  liLs  object,  and  in 
six  months  his  daughter  was  enabled  to  perform 
the  duty  of  organist ;  and  in  a  year  afterwards 
she  played  a  sonata  in  public,  on  which  occasion 
T.  Cooke,  of  th.e  Drury  Lane  Theatre,  accom- 
panied her  on  the  violin.  Having  now  resolved 
to  settle  in  Dublin,  and  being  considered  one  of 
the  first  teachers  of  military  bands,  many  were 
sent  to  him  from  various  jiarts  of  tl.e  country  by 
their  colonels  to  be  instructed.  Tins  employ- 
ment was  so  much  more  profitable  than  the  tui- 
tion of  private  pupils  on  the  piano-forte,  that  he 
totally  gave  up  the  latter.  Soon  after  hLs  arrival, 
he  was  employed  by  the  corporation  of  the  city 
of  Dublin  to  compose  an  ode  in  commemoration  of 
the  entrance  of  the  king,  George  III.,  into  the 
fiftieth  year  of  his  reign,  which  was  performed 
before  the  lord  lieutenant,  the  corporation,  and  up- 
wards of  a  thousand  persons.  The  same  year  he 
was  engaged  by  H.  Johnstone,  as  composer  and 
director  of  music  for  his  theatre  in  Peter  Street, 
where  he  remained  till  its  dissolution.  Logifr 
now  determined  no  longer  to  postpone  the  plan 
he  had  formed  of  introducing  his  system  of  mu- 
sical education  to  the  public ;  but  being  deeply 
engaged  in  mercantile  affairs,  which  wotxld  not 
allow  him  to  dedicate  that  attention  to  it  which 
such  an  undertaking  rctiuired,  he  proposed  to 
several  professors,  then  in  Dublin,  that  if  they 
would  teach  on  his  jdan,  ho  would  communicate 
it  to  them  without  any  remuneration.  This  was 
declined.  But  the  j.erson  who  was  the  first  to 
refuse  was  also  the  first  atterwar«is  to  apply  for  it, 
and  to  i)ay  one  hundred  guineas  for  the  com- 
munication. 

Logier,  believing  that  he  had  nothing  to  hope 
from  the  professors  in  the  promulgation  of  his 
system,  set  .seriously  about  introducing  it  himself. 
Every  thi)\g  had  already  been  prej)ared  for  this 
event.  A  petcnt  for  the  chiroplast  had  been  ob- 
tained, and  having  given  the  year  before  (1814) 
two  courses  of  lectures  on  harmony,  a  certain  de- 
gree of  public  attention  was  e.vcited  towards  his 
object.  He  took  a  few  young  children,  who 
had  never  learned  before,  and  three  months  after- 
wards liold  a  public  examination  of  them  ;  the 
result  of  which  was,  that  several  of  the  profess- 
ors in  Dublin  immediately  adojited  the  system, 
and  their  academies  being  soon  tilled  with  pupiLs, 
others  followed  their  exam;)le.  In  the  following 
year  it  made  its  way  into  England  and  Scotland. 
I'roiessors  from  various  jmrt.s  came  to  Dublin  to 
be  initiated  ;  and  academies  were  soon  established 
in  Liverjiool,  Manchester,  Chester,  Glasgow,  Pres- 
ton, &c.,  &c.  In  July,  1816,  Samuel  Webbe,  of 
London,  paid  Logier  a  visit,  in  order  to  form  his 
own  judgment  oi  the  merits  of  his  plan,  which 
he  immediately  ado;  ted,  and  introduced  into  the 
metropolis  of  England.  About  thLs  time  an 
anonymous  pamphlet  aj^peared  in  Edinburgh,  the 
object  of  which  was,  if  possible,  to  put  a  stop  to 
the  progress  of  this  system.  This  pamphlet  be- 
ing industriously  circulated  in  England,  nnd  being 
likely  to  be  prejudicial  to  him  in  the  eye  ol  the 
public  if  allo\\ed  to  go  unrefuted,  Mr.  Logier 
consii'ered  it  advL-able  to  re:,air  to  London,  »ud 


530 


LOG 


ENCYCLOPAEDIA    OF    MUSIC. 


1, 0  0 


in  person  counteract  its  effects.  His  first  object 
«vns  to  invite  the  Philhannonic  Society  to  an  ex- 
amination of  the  jjupils  tnu;;ht  by  AVehbe,  as  also 
of  three  others  from  Dublin,  that  they  mif;ht 
form  an  impartial  judgment  of  the  nature  of  his 
jilan.  This  examination  took  place  on  the  17th 
of  November,  when  he  experienced  very  warm 
opposition.  Notwithstanding  this,  his  system 
continued  its  successful  career.  His  academy 
was  resorted  to  by  the  first  nobility,  antl  it  was 
ado|)ted  by  upwards  of  eighty  professors  in  dif- 
ferent parts  of  the  United  Kingdom.  Among 
these  was  Kalkbrenncr,  at  that  time  member  and 
director  of  the  Philhannonic  Society.  'Hiis  gen- 
tleman and  Webbc  united  with  Logicr  in  con- 
•iiictiiig  his  extensive  academy,  and  the  increase 
of  pu;iil8  soon  obliged  them  to  open  a  second,  and 
many  others  rii]>idly  followed. 

In  1821,  the  rrussian  governrae«t  sent  a  gen- 
tleman from  Herlin  to  London,  to  ascertain  the 
merits  of  the  system,  of  which  much  had  been 
heard,  and  with  a  view  to  its  introduction  info 
the  Prussian  states.  'Die  result  was,  that  in  the 
same  year  I.ogier  received  an  invitation  from  that 
government,  through  his  excellency  liaron  Alten- 
stein,  minister  for  public  education,  to  reside 
some  time  in  Berlin,  and  undertake  in  person  its 
promulgation.  He  was  too  happy  in  such  an 
o))]',ortunity  of  disseminating  his  system  in  a 
countryso  justly  celebrated  for  musical  knowledge 
to  hesiu.',e,  though  the  acceptance  of  the  proposal 
was  attended  with  considerable  difficulty.  On 
the  ITith  of  August,  1822,  he  arrived  in  lierlin, 
and  in  the  same  month  commenced  an  academy. 
Five  months  afterwards,  at  the  desire  of  govern- 
ment, he  held  an  examination  of  the  pupils,  to 
whi:h  were  officially  invited  several  of  the  best 
musicians  in  Berlin,  in  order  to  investigate  the 
plan.  The  result  was,  that  Logicr  received  a  pro- 
posal from  the  minister,  by  order  o)  the  king,  to 
nistruct  twenty  professors,  through  whora  it  was 
to  be  disseminated  through  the  Prussian  do- 
minions, niis  was  accompanied  by  a  pecuniary 
offer,  and  also  of  a  handsome  house  and  academy. 
Logier  now  accepted  the  invitation  to  remain 
tl-.ere  three  years,  being  allowed  three  months  in 
each  year  to  devote  to  his  affiiirs  in  London.  He 
thus  establLshcd  a  national  system  of  musical 
education  throughout  the  Prussian  dominions, 
which  gradually  .spread  in  other  eo\intries. 

The  following  list  comprises  almost  the  whole 
of  Logier's  works  published  in  the  Unitid  King- 
dom :  "  The  first  Companion  to  the  Chiroplast," 
with  a  description  of  that  invention,  and  an  ex- 
planation of  its  use ;  the  rudiments  of  music 
luidthe  art  of  piano-forte  playing  simpliKcd  ;  with 
a  scries  of  progressive  lessons,  adapted  to  the 
capacity  of  the  youngest  pupil.  "  A  Sequel  to 
the  first  Companion,"  being  a  series  of  new  les- 
ions, similarly  constructed  to  those  in  the  tir-t 
book,  but  chiefly  in  the  minor  mode,  and  com- 
pleting the  practical  excmplitication  of  all  the 
clinracters  used  in  musical  notation  ;  with  the 
diatonic  scale-.i  in  all  the  keys,  major  and  minor, 
ascending  and  descending,  for  both  hands ;  also 
the  chromatic  scale,  plain  and  in  octaves.  •'  A 
Sequel  to  the  second  Companion,"  containing 
lessons,  to  be  played  either  in  concert  with  the 
exercises  in  that  book,  or  as  single  lessons,  com- 
pleting the  exemplification  of  the  ditierent  styles 
of  variation  on  a  given  progression  of  harmonics. 
Ihe  above  fotir  works  were  published  at  Cadiz  iu 


the  Spanish  language,  at  Berlin  in  German,  and 
at  I'aris  in  French  ;  and  since  in  London.  "  Ju- 
venile Duets  and  Trios,"  for  two  and  three  i)er- 
formers  on  one  ])iano-forte,  constructed  chiefly  on 
five  notes  for  each  hand,  so  that  the  ehiroplitst 
may  be  used  where  the  pu])il  is  not  sufHciently 
confident  without  it.  "  fixercises  for  the  Hands," 
in  a  t'amiliar  style,  chieti  yon  modulations  through 
all  the  keys,  as  an  intermediate  step  to  those  l)y 
Cramer,  Kalkbrenncr,  Xc,  dedicated  to  Miss 
Ouseley.  "  Military  Duet-s,"  for  two  perfonuer.i 
on  one  piano-forte,  dedicated  to  the  Ladies  Paget, 
(Book  I  )  "  A  second  Set,"  dedicated  to  1mi\\ 
Flora  Hastings,  (Book  II.)  "Logier's  Tlieoret- 
ical  and  Practical  Study  for  the  Piano-forte," 
consisting  of  classical  works,  ancient  and  modern, 
with  inverted  and  fundamental  basses,  fingered. 
"  Xo.  1,  Corelli's  first  Concerto."  "  No.  2,  Corel- 
li's  eighth  Concerto."  "  No.  .3,  Handel's  occa- 
sional Overture."  "  No.  4,  Handel's  overture  to 
Esther."  "  Nos  5  and  fi,  Haydn's  Symphony  in 
D."  "No.  7,  Mozart's  Overture  to  Zauberllote." 
"  No.  8,  Mozart's  Overture  to  Figaro."  "  No.  9, 
dementi's  Sonata  in  D."  "No.  10,  Scarlatti, 
with  the  Cat's  Fugue."  "Nos.  11  and  12,  Beet- 
hoven's Trio  arranged  for  two  Piano-fortJ-s." 
"  Logier's  Practical  Thorough  Bass,"  being 
studies  on  the  works  of  modern  composers  ;  with 
a  separate  figured  bass,  having  a  space  above  tot 
the  addition  of  the  playable  harmonies.  "No.  1, 
Kalkbrenner's  Sonata  in  C,  and  Andante."  "  No. 
2,  ditto,  ditto."  "  A  Trio  in  E,  for  two  Perform- 
ers on  one  Piano-forte,"  with  an  accompaniment 
for  another  piano-forte,  dedicated  to  the  Mar- 
chioness of  Anglesea,  Op.  16.  "A  Second  Trio 
in  A,  arranged  as  the  above,"  dedicated  to  Major 
P.  Hawker,  with  arl  /i6.. accompaniments  for  vio- 
lin and  violoncello.  Op.  17.  "A  Third  Grandt 
Sunaie  n  quotre  mains."  "  Thirty-four  Lessons," 
arranged  as  pleasing  accompaniments  to  Logier's 
tii-st  and  second  Companions,  so  as  to  be  played 
by  another  performer  on  the  same  piano-forte. 
"  A  Concerto  in  E  fiat,"  dedicated  to  the  prince 
regent,  with  a  piano-forte  accompaniment ;  also 
with  accompaniments  for  a  full  band,  if  required, 
Op.  13.  "  An  easy  Sonata,  with  the  Irish  Air, 
'  O,  breathe  not  his  name,'  "  and  "  A  Polacca, 
fingered,"  Op.  10.  "  Sonata  in  B  flat,  and  Hon- 
do on  an  Irish  Air,  with  Accompaniments  for  the 
Flute  and  Violoncello,"  Op.  7.  "  Sonata  in  E 
flat,  with  Accompaniments  ad  lib.  for  the  Flute 
and  Violoncello,"  dedicated  to  J.  B.  Cramer, 
"  Sonata  in  D,  with  '  Blue  Bells  of  Scotlan.l,'  and 
Accompaniment  for  a  Flute,"  Op.  8.  "Intro- 
duction, Fugue,  and  two  Canons,  for  two  Per- 
formers on  one  Piano-forte."  "  Ditto,  and  (irand 
March,  '  dedicated  to  Ijidies  U.  and  A.  Paget, 
(duet.)  "  Strains  of  other  Days,  tive  Numbers, 
as  Kondos  and  Airs  with  Variations ;  "  contjiiu- 
ing  "  No.  1,  O  blame  not  the  Bard,"  and  "The 
Legacy."  "  No.  2.  Gramachree,"  and  "  Eve- 
lecn's  Bower."  "  No.  3,  The  Young  Man's 
Dream,"  and  "  Fly  not  yet."  "No.  4,  ll^iWn- 
dhn3  ('roothivi.nm')i;"  and  "  O,  'tis  sweet  to  think," 
with  an  accompaniment  for  the  dutc.  "  No.  6, 
Savnirna  l>ili.ih,"  "  Heigh-ho,  my  Jockey."  and 
"  Uobin  Adair."  "  Bugle  Andante,  witli  Varia- 
tions." "  English  Military  Air,  with  Variation*." 
"  Spanish  BoUto,  trora  the  ballet  of  '  /Mh  Qhi- 
ckitte.'  "  "  .\dmiral  Bentiow,  EnglLsh  Air,  wkh 
Variations."  "  Believe  inc,  I  never  c»i»  rove," 
song.      "  Ten    favorite   Irish   Melodies   for   twc 


631 


LOG 


EXCYCLOP-'EDIA    OF    MUSIC. 


LOL 


Flutes."  "  Set  of  Pieces,"  Op.  7.  "  Irish  Mel- 
odies," Op.  8.  "  Orii^inal  Piei'es  for  two  keyed 
nu);les  ()bli^;:ito."  '•  Haydn's  Sonatfl,"  Op.  40. 
"  (Jod  snvc  the  Kiii(»,  as  a  Polacca."  "  Sterkel's 
Duet  and  S|)nni.sh  Bolero."  "  Sacred  Music." 
"  Music  in  Miu-heth."  "  Overture  to  Zaubertlote." 
"Countrv  Dunce,  as  (Jiiick  .Steps."  ".Seven 
Italian  Pieces."  "  The  Last  Pattle,"  dedicated 
to  the  Kini;.  "  Military  Sonatas  for  the  Piano- 
forte." "  Hattle  of  Trafalgar."  "  Pattle  of  Vit- 
toria,"  and  "  Surrender  of  I'arLs."  "Ten  favorite 
Irish  Melodies,  for  two  Flutes."  "  Thirteen  Sets 
cf  Military  Pieces,  arranged  for  n  full  Hand." 

Mr.  (jreen,  the  publisher  of  Logier's  works 
connected  with  his  system,  says,  that  previous  to 
1821)  there  had  been  published  of  the  elementary 
A-orks  ui)wards  of  Htty  thousand  copies,  and  of 
the  Chirophist  nearly  sixteen  hundred  had  been 
sold.  He  further  states,  that  about  one  hundred 
professors  have  paid  Losjier  one  hundred  guinciis 
eadi  to  be  initiated  in  his  method. 

I,OGROSCIXO,  NICOLO,  was  born  at  Naples, 
towards  the  end  of  the  seventeenth  century.  Leo, 
in  his  "Chi,"  had  skilfully  arrayed  Euterpe  in  the 
ma.sk  and  buskins  of  Thalia,  but  without  aiming 
at  the  sardonic  grin  of  Aristophanes  Logrosciuo, 
whose  comic  name  appears  to  reveal  his  lacctious 
genius,  endeavored,  on  his  first  entrance  in  his 
musical  career,  to  enrich  the  comic  muse  by  new 
subjects.  He  threw  such  gayety  into  his  compo- 
sitions, selected  such  agreeable  and  burlesque 
subjects,  that  his  fellow-uitizeus,  on  the  first  ap- 
pearance of  his  works,  suriiamed  him  //  Dio  dell' 
Opera  Biijfa,  (the  god  of  the  comic  opera.)  To 
Logrosciuo  is  due  the  merit  of  the  invention  of 
the  finale ;  and  this  single  fact  w  ould  suffice  to 
assign  to  him  an  honorable  place  in  the  history 
of  his  art.  None  of  his  works  are  now  in  exist- 
ence, and  he  is  but  little  known  out  of  his  own 
'  ountry,  as  he  would  only  comjiosc  in  the  Xea- 
■^.olitan  dialect. 

LOIIMAXX  was  organist  at  Osterode  prob- 
aoly  in  the  year  1740.  Gerber  is  in  posse-i>ion  of 
a  concerto  for  the  piano-forle  by  this  master. 

LOUR,  MICHAEL,  singer  at  Dresden,  in  the 
rtrst  part  of  the  seventeenth  century,  was  born  at 
Marienburg,  and  published  "  Xeiie  Teutsc/ie  uiid 
Lateiniache  Kirc/ien-Oesanf/e  tind  Concerten  in  /"'i/- 
tehn  7  uiid  8  stiminigcn  Motetteit,"  Dresden,  1637. 

LOKEXnURG,  JOAXXES  A.  A  contrapun- 
.ist  of  the  si.xtcenth  century,  of  whose  works  there 
are  yet  in  the  library  of  Munich  (Cod.  ol  and  .54) 
two  masses.  He  has  also,  as  Waliher  informs  us, 
puljlished  a  "  Missa  d  .5  voc." 

LOLLI,  or  LOLLY.  AXTOXIO,  a  celebrated 
violinist,  was  born   at  Hergnmo  in   1728.     From  j 
the  year  17()2  to  1773,  he  was  concert  master  to  j 
the  Duke  of  Wurtemburg.     He  afterwards  went 
to  Russia,  where  he  so  excited  the  admiration  of 
the   Empress   Catherine  II.,   that  slie  ordered   a 
violin  bow   to  be   made  for   him,  on  which   she  | 
wrote,  with  her  own  hand,  "  Arcfiel  fair  par  ordre  \ 
Jf   Catherine    If.,  pour  riiu-omparalile   hilJi."      In  ' 
178.5  lie  went  to  England,  and  from  thence  visited 
Spain.      He  then  i)roreeded  to   Paris,  where   he 
performed  at  the  s,)iritual  and  other  concert-s.    In 
1788   he  returned  to   Italy.     He  was  most  cele- 
brated  for  ])l«ying  (juick   movements,  and  being 

5: 


once  requested  to  perform  an  adagio,  positively 
refused,  saying,  "  ./e  luis  de  Beri/ame.  et  lea  hnbi- 
la/u  de  cette  ville  aont  Imp  foas  p-mr  poitvoir  jouer 
I'tular/w."  We  will  now  give  some  further  infor- 
mation, from  Gerber,  respecting  the  unsettled  life 
of  this  musician.  When  he  entered  on  hLs  en- 
gagement at  Stuttgard,  in  17C2,  he  found  Xardini 
there,  who  excelled  him  by  far  in  ability.  He 
thcrciore  requested  the  duke  to  allow  him  a  year's 
leave  of  ab'<ence  to  travel ;  instead  of  which,  he 
retired  to  a  secluded  village,  and  applied  himself 
with  indefatigable  exertions  to  his  instrumeut. 
After  having  been  absent  for  this  periou,  he  re- 
turned from  his  pretended  journey,  and  excited 
such  universal  admiration,  that  Xardini  gave  up 
the  contest  and  returned  to  Italy.  His  engagu- 
ment  at  St.  Petersburg  seems  to  have  taken  place 
between  177.5  and  1778.  After  remaining  then? 
three  years,  he  requested  of  the  empress  a  year's 
leave  of  absence ;  at  the  same  time  he  declared  to 
Von  Dittersdorf,  in  JohannLsbcrg,  that  he  did  not 
wLsh  to  remain  any  longer  in  Russia,  and  that  his 
intention  was  never  to  return  ;  that  through  tho 
friendship  of  a  physician,  (who  had  promised  him 
a  certificate  of  the  weak  state  of  hLs  breath,)  he, 
however,  hoped  to  obtain  an  honorable  discharge 
from  the  empress  ;  that  he  then  would  visit  all 
the  princijjal  towns  in  Europe,  add  the  profits 
which  he  might  thus  make  to  ten  thousand  guil- 
ders which  he  had  already  realized,  and  place 
these  sums  together  in  one  of  the  banks  of  Europe, 
living  afterwards  on  the  interest.  In  1788  A. 
Lolli  was  residing  in  Italy,  and  entitled  himself 
there  concert  master  to  the  Empress  of  Russia. 
In  the  year  1791,  he  went  to  Berlin  with  his  son, 
then  a  child  of  only  ei^ht  years  old,  when  the 
latter  received  from  the  king  a  present  of  one 
hundreJ  friedrichs-d'or  for  his  ready  and  correct 
performance  on  the  violoncello :  the  child  also 
gave  a  concert  in  the  same  year  at  Copenhagen ; 
but  no  mention  is  made  in  any  of  these  places  of 
the  performance  of  the  father.  In  the  year  1734 
both  father  and  son  were  in  Vienna,  where  tho 
former  styled  him.self  first  concert  ma,ster  to  the 
King  of  Xaples  :  only  the  son,  however,  performed 
in  public.  In  the  year  1 796,  Romberg  found  the 
father  in  Xaples,  where  he  jdayed  to  him  ;  but  to 
Romberg's  utter  astonishment,  not  a  trace  was  le.t 
of  those  excellent  performances  which  had  estab- 
lished his  former  fame.  lie  had  then  become  a 
feeble  old  man,  whose  power  and  energy  were  all 
gone. 

That  he  was  once  a  great  artLst  on  the  violin  w 
proved  by  Schultz  in  various  documents  which  he 
sent  to  Gerber.  Lolli  gave  a  striking  insuince  of 
the  command  which  he  had  over  hLs  instrument 
in  tho  pre-ence  of  .Schultz  and  Kirnberger.  His 
bow  happening  to  be  too  short  for  a  long-continued 
note,  he  turned  it,  to  their  great  astonishment,  si 
ably  and  quickly,  that,  with  the  greatest  attention, 
they  were  unable  to  observe  the  slightest  stop  in 
the  sound.  Dittersdorf  mentions  Lolli,  in  his 
biography,  as  a  man  of  prepossessing  ap])earance, 
gentlemanly  in  his  manners,  and  an  agrecnible  and 
social  companion.  He  died,  after  a  Lingering  ill- 
ne.s.s,  in  Sicily,  in  1802.  Respecting  his  works, 
it  is  known  that  he  never  wrote  more  than  the 
theme,  and  then  desired  one  of  his  friends  to  write 
the  bass  or  the  parts  for  the  dilferent  instrument<«. 
Three  collections  of  his  solos  have  l)een"  printed 
by  Hummel,  at  Berlin,  Ops.  1,  2,  and  3.  In  Vienna 
there  havt  also  been  printed  two  scUs  of  six  soloSt 
!2 


LOL 


ENCYCLOPAEDIA    OF   MUSIC. 


LOB 


Ops.  9  and  10.  There  are  aLso  editions  in  Paris 
of  his  "  Ecole  jmur  le  Violon,"  Op.  11,  and  also  in 
Offenbach,  1794.  "12  Var.p.  it  I'c.e  I'.,"  Vienna, 
1801.  These  last  are,  perhaps,  his  son's  compo- 
Bitious. 

LOLIJ,  PlIILIPPO,  son  of  the  preceding, 
performed  on  the  violoncello  at  a  concert  in  lier- 
lin  ;  also  shortly  ulterwards  at  Copenhagen,  and 
in  179-1  in  Vienna.  At  this  last  town  were  printed 
•'  12  Var.  p.  il  I'c.  con  Ace.  del  liasso,"  Op.  2,  1799  ; 
■which  probably  were  from  the  i)eu  of  this  com- 
poser. 

L0MH.\1U)().  (ilUOLAMO,  a  celebrated  con- 
trap\intist,  flourished  in  Sicily  about  the  year 
1600,  and  publislied,  among  other  works,  "  1 
ilisse  died  voci,  col  li  contin." 

LONG.  An  old  character  of  the  greatest  dura- 
tion alter  the  lar(/e ;  equal  in  length  to  two  breves, 
or  four  semibreves,  or  eight  minims,  or  si.xteen 
crotchets,  or  thirty-two  quavers,  and  so  on  in 
duple  proportion. 

LON(;iII,  I.EOPOLDO,  a  Neapolitan  mu- 
Bician,  was  mentioned  among  the  opera  composers 
in  tlie  ludice  pe  Spectac.  Theatr.  of  1790. 

LONG-SPIEL.  Tlic  name  of  an  ancient  Ice- 
landic instrument,  of  a  narrow  and  long  form, 
and  iierfonned  u])on  with  a  bow.  Its  strings,  one 
of  which  is  used  as  a  drone,  are  of  copper,  four 
in  number,  and  the  finger  board  is  furni>hed  with 
three  wooden  frets.  The  general  construction  of 
ii\e  hni-spiel  is  highly  curious ;  and  the  instru- 
mciit  is  so  ancient,  and  at  the  time  of  the  visit  of 
Sir  Joseph  Hanks  and  Dr.  Solander  to  Iceland, 
had  so  far  grown  out  of  use,  that  they  could  only 
find  one  man  cajjablo  of  performing  upon  it.  'llie 
frets  of  this  instrument  jirove  the  reality  and 
anliqxiity  of  music  in  Iceland  —  of  music  strictly 
so  called  ;  for  they  imply  a  scale,  or  scientific  ar- 
rangeracn".  of  intervals. 

LOOS,  JOII.VNN.  Schoolma-ster  and  organist 
at  a  small  town  near  Prague  in  17'>8.  He  wrote 
various  m.vsse-;  and  operas.  He  died  previously 
to  the  year  1788. 

LOOSEMORE,  HENRY.  Bachelor  of  music 
in  Cambridge  in  Ifi-lO,  and  organist,  first  of 
King's  College,  Cardbridge,  and  alterwards  of  the 
cathedral  of  Ext  Ler.  He  composed  some  services 
Rud  anthems. 

LOPEZ,  or  LORO,  EDVARDUS,  also  caUed 
LUPUS.  Benefiiitiritit  and  mai/re  tie  chapelle  in  the 
cathedral  church  at  Lisbon,  in  the  year  1600.  He 
published,  or  left  in  manuscript,  the  following 
■works :  "  Satalitite  noctU  Responsoriu,  4-8  roc." 
"  Missa  ejusdem  nuctU,  8  coc."  "  B.  Mari(B  Virginia 
Antipltontr,  8  cociim."  "  B.  Mari<e  I'irginis  Salce," 
for  eleven  voices  in  three  choirs.  *'  B.  Miiritp  Can- 
tictim  ilwjnijicat,  4  voc,"  Antwerp,  1605.  "CanCi- 
tum  Mngnijicat,  4  coc,"  Antwerp,  1605,  gr.  fol., 
containing  si.xteen  Magnificats,  in  different  tones. 
"  Missre  4,  5,  6,  et  8  coc,"  Antwerp,  1639.  "  Officium 
Defunclorum  em  canto  chdo,"  Lisbon,  1603.  "  Liber 
Processionum,  et  ^ationiim  Ecclesi/f  Oli/ssiponennis 
in  meliorem  formnm  red<tctu3,"  Lisbon,  1607.  "  Dcz 
Psahnof  de  Vesjierai  de  dicersas  J'ozcs."  "  Cinco 
ilissaa  d  4  Li(;oens  de  Defnntos,  e  a  Setpiencia  da 
Uissa  d  4,  6,  8,  9  e  mais  Voxs."  "  Moletes  de 
DeJ'tintos."  "  Duos  Vithancicoi  <u>  iktiUissintiniO  So- 
tramenio." 


Towards  the  end  of  his  life  when  in  liis  ona 
liundred  and  third  year,  he  wits  made  rector  of  tlie 
archiepiscopal  seminary.  Ilis  master  in  music 
was  Manoel  Mendes,  of  Evora,  and  his  countrymen 
speak  in  the  highest  terms  of  his  musical  talents. 

LORD,  JOHN,  Sen.,  was  a  native  of  Wiltsliirc. 
He  went  to  London  and  studied  under  Messrs.  C. 
and  S.  Wesley,  becoming,  at  leniitli,  a  good  organ' 
and  piano- forte  player.  He  always  lu'ld  some 
situation  of  organist  in  the  church  of  England, 
and  has  written  some  piano-forte  music. 

LORD,  JOHN,  Jr.,  a  native  of  London,  and 
the  eldest  son  of  tlie  above,  was  nnide  to  play  the 
piano-forte  l)ef'ore  he  was  six  years  of  age.  He 
studied  with  his  fatlier  and  Mr.  Dance  on  the 
piano-forte,  and  \inder  Dr.  Crotch  in  theory.  He 
was  a  teacher  in  the  highest  circles,  and  was  em- 
ployed as  the  assistant  proies.sor  to  Dr.  Crotch,  in 
the  Royal  Academy  of  Mu.sic,  London;  he  was 
likewise  an  organist.  He  lias  composed  sonatas, 
rondos,  and  duets  for  tlie  pi.ino-forto. 

LORD,  WILLI.VM,  a  native  of  London,  second 
son  of  John  Lord,  Sen.,  was  a  piano-forte  jilayer, 
and  likewise  appeared  in  public  as  a  liarpist,  on 
wliich  occasions  lie  was  well  received.  He  studied 
the  harp  under  Dizi,  and  made  it  his  principal 
instrument. 

LORELLI,  father  and  son,  both  musicians  at 
Naples  in  1791,  composed  music  for  the  ballet 
called   "  Riigijivro  c  Brand<imante." 

LORENTE,  .\NDREAS,  organist  of  the  prin- 
cipal church  at  Alcala,  published,  in  the  year 
1673,  a  work  in  the  Spanish  language,  entitled 
"  El  Porqiu!  de  la  Musica."  The  first  book  con- 
tains the  elements  of  plain  song ;  the  second  treata 
of  consonance  and  the  canttis  mensurahilis ;  the 
third  of  counterpoint ;  and  the  fourth  of  the  com- 
position of  mu>ic. 

Of  this  work  Geminiani  has  been  heard  to  de- 
clare that  it  was  not  to  be  equalled  in  any  of  the 
modern  languages ;  that  it  is  a  musical  institute, 
and  may  be  said  to  contain  all  that  is  ncces.sary 
for  a  practical  composer  to  know.  In  the  course 
of  the  work  are  interspersed  hymns  and  ofKces 
for  the  church,  and  some  motets,  composed  by  the 
author  hiIu^elf  and  others,  which  possess  great 
merit. 

LORENZ,  A.  W.,  professor  at  the  royal  college 
in  Berlin,  in  1798,  was  a  musical  amateur  of  good 
taste,  and  well  acquainted  -with  hannony.  He 
published  "  Eginhard  und  Emma,  eine  BaJUtde  con 
Lniigbein,  durchau-i  in  Mnsik  gesetzl,"  Berlin,  1799. 
He  also  published  "  Ode  an  die  tutchtigalt  von  Rose- 
garteii,"  Berlin,  1798.  "  .S'ijiho  iind  Sel/nar,  eine 
Roinanze  con  Roscgarfen,"  Berlin,  1798.  It  is 
not  certain  whether  the  other  twelve  songs  of 
various  poets,  which  have  been  published  in  1792 
without  a  Christian  name,  are  of  his  composition, 
or  by  J.  F.  Lorenz,  an  organist  at  Halle.  AnA 
lastly,  "  Der  Sieg  der  i'nschuld,  eine  Ballade,  in 
Mus'ik,"  Berlin,  1801. 

LORENZ.\NI,  PAOLO,  a  Roman  by  birth, 
and  a  pupil  of  Oratio  Benevoli,  was  chapel- 
master,  first  in  the  Jesuits'  church  at  Rome,  and 
afterwards  in  the  cathedral  of  Messina,  in  Sicily, 
from  -whence  he  was  invited  by  Louis  XIV.  to 
Paris.  He  composed  and  published  in  that  city 
a'  collection  of  excellent  motets.  He  died  at 
Rome  in  1703. 


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I.OHILNZITI.  UEUNIIAUn.  violinist  in  the 
jrc'hcHtrii  or  tlie  Urand  Opera  iit  I'uris,  publL-hed 
tevcTil  instrumontal  worki*  in  thut  city,  towariLs 
the  end  of  the  last  century.  It  is  dithcult  to 
know  his  precise  works,  owin;;  to  the  had  custom 
of  music  M-llers  in  huppresstin;^  the  Christian 
names  of  authors,  and  there  bein;;  another,  anil 
contemporary,  Antonio  Loreiuiti,  who  published 
works  of  nearly  the  same  description,  in  contest, 
>R  it  were,  with  the  subject  of  this  article.  Ger- 
ber's  list  of  Loren/ili's  works  is  as  follows : 
"  .Vx  Trios  jmir  lUiix  ]'iolon3  it  li  ."  Oji.  'J,  I'aris, 
17.S0.  "  SU  Dims  II  f'lo/oii  et  A.,"  Op.  ;{,  London, 
17112.  "  SU  Trios  a  deux  Viotons  vt  li.,"  Op.  4, 
I'aris.  "Six  Diios  d  lUiu-  \'io/tms,"  Op.  .i,  I'aris. 
"  Sit  Quotuors  Concert,  d  ilvux  I'.,  A.,  ct  11.,"  I'aris. 
■■'  Airs  variis  a  C.  avec  dcujciime  Violoii,"  Paris, 
1798.  "  Premier  Concerto  jMiir  A.,"  I'aris,  1787. 
"  1  rinci/KS,  ou  yoiirelle  Mitlvide  de  Miiiiijiie  pour 
apprei'dre  d  jotu-r  facilemeiit  da  t'iohn,  siiivies  de 
douza  Duos  progressifs,"  I'aris,  1798  aud  1800. 
'•  Six  Duos  a  deux  V.  d'uiie  diJficuUi  progrcssice," 
Paris,  1798. 

LOllEXZO,  DIEGO,  by  birth  a  .Spaniard,  was 
a  celebrated  contrapuntist  in  the  sixteenth  cen- 
tury.    He  lived  chieHy  in  Italy. 

LORENZO.  Under  this  name  were  publLshed, 
in  Germany,  some  Italian  airs  with  accompani- 
ments, about  the  year  1793.  The  author  was  an 
Italian  sopranist. 

LOUTZING,  the  Gennan  composer,  died  in 
his  forty-eighth  year,  at  Berlin,  in  18.)  1.  He  was 
enga;^cd  to  go  to  London  to  superintend  the 
production  of  his  opera,  "  ('zar  u»d  /.immer- 
viniin,"  which  was  performed  on  all  the  stages  of 
(icnnnny  within  six  months  of  its  hrst  appear- 
ance, and  had  one  of  the  greatest  successes  ever 
known.  Besides  that,  he  wrote  "  .Yli  Pacha,  of 
Janina,"  and  various  other  operas,  all  of  which 
were  successful,  being  full  of  flowing  natural 
melodies  and  great  dramatic  effects.  He  also 
composed  a  great  number  of  vaudevilles  and  de- 
tached niorcffiii.r,  particularly  for  Hute  and  ]nano, 
on  which  instruments  he  was  an  excellent  per- 
fonuer. 

L08SIUS,  LUCAS,  during  more  than  fifty 
years  rector  at  Luneburg,  was  born  at  Vacha,  in 
Hesse,  in  1.508.  He  not  only  collected  a  com- 
plete and  correct  Protestant  ])salmody,  such  as 
Luther  lett  it  at  his  death,  but  published  the 
Bame,  which  is  perhaps  tl;o  only  classic  work  of 
the  kind,  joining  to  it  Melauchthon's  eulogium 
of  music  in  general,  and  his  encouragement  to 
>  milar  undertakings,  for  the  improvement  of 
vocal  church  music.  He  also  tried  to  jjromote 
the  amelioration  of  church  singing  in  a  separate 
small  work  He  died  universally  esteemed  in 
1582.  The  titles  of  his  works  are,  "  I'anlinodia, 
hoc  isl,  CaiUica  Stent  reteris  eccUsiir  se/ecta.  (iiio  I 
ordiiie,  et  melodiis  ]>er  totiiia  anni  curriculum  cantari 
usitale  Solent  in  templis  de  Dn),  et  de  ^ftlio  rjus  Jesti 
Chritio,  de  regiut  ipsius,  doctrina,  ri,a,  pnssione,  re- 
turrecti jne,  it  ascensionr,  rt  de  Sfiiritu  Sancto.  Item 
de  Sanctis  et  eorum  in  Christum  fiiie  et  cruet.  Jam 
orimum  ad  ccclesiitnim,  et  scholnrum  usum  diligcntcr 
Toliecia,  et  hrcvihiis  ac  piis  scholii.t  illu.ytrulii,  j>er 
Lucam  IjO.ssium  l.uucl>ur;/rnsrm.  Cum  prirfatiniic 
I'hilippi  Mclanchthnuis,"  Nuremberg,  l.).):i.  'I'Im; 
irst  e<lition   is  in  folio,  and  contains  Melauch- 


thon's preface.  A  second  edition  appeared  Witt 
the  following  alteration  in  the  title  xftcr  the  word 
cruce :  "  Ad  eccUsiarum  et  scholurum  tisum  diligen- 
ter  dim  collect  a,  et  brecibus  ac  piis  srholiis  illustrata. 
\unc  autein  rereiis  arcurata  dili'/enti/t  et  fide  recog- 
nitu,  et  multia  utilibus  ac  piis  citiitioiiibiis  aucta  pet 
Luc.  Ijnsium,  cum  prirfatiine  P.  Melancht/iouis," 
Wittenberg,  1.509,  without  a  table  of  contents  or 
pre;'ace.  Gerber  was  in  posse..sion  of  this  latter 
copy.  It  contains,  in  four  volumes,  four  hun- 
dred and  thirty-eight  songs,  with  their  melodies, 
in  notes,  among  which  there  are  only  four  in  the 
(ierman  language.  All  the  rest  arc  in  Latin. 
The  Krst  song  of  each  festival  Ls  ornamented  with 
a  wood  cut  A  third  edition  of  the  same  ap- 
])eared,  with  only  a  few  alterations  in  the  title. 
His  second  work  is,  "  Erotemnta  Musicce  practicit, 
ex  probatisiimis  hujan  dulcissiince  artis  scriptoribui 
accurate  et  brecitcr  lelecta,  et  exemplis  puerili  insti- 
tuitoni  accommodis  iUustrata,  jam  primum  ad  usum 
scholte.  Lunchurgensu  et  aliarum  puerilium  in 
lucem  edita.  Item  metodice  sex  generum  cannlnum 
usitntiorum  imprimis  suatcs  in  gratiam  puerorum 
selectee  et  iditcf,"  Nuremberg,  1.5G.3.  Then  8 
second  edition,  in  1570,  with  some  alterations 
and  additions  by  the  singer,  ChrLstoff  Pnttorius, 
of  Luneburg.  Furtlier  editions  appeared  in 
1579  and   1590. 

LOTH,  UKBANUS,  a  church  composer  in  the 
beginning  of  the  seventeenth  century,  published 
"  Mu.<iica  Melica,  oder  1,  2,  und  3  stimmige  Fest- 
Conccrien,"  Pa.ssau,  lOlG. 

LOTHERUS,  MELCHIOR,  a  Gennan  com- 
poser in  the  beginning  of  the  sixteenth  century, 
published  "  lics/musoria,"  Leipsic,  1522. 

LOTICHIU.S,  JACOB,  a  German  author, 
probably  belonging  to  the  ancient  Hanau  family 
of  that  name,  w  rote  "  Oralio  de  Mitsica,"  Doi'pati 
Livonorum,  1640. 

LOTIT.  ANTONIO,  a  pupil  of  Legrenzi,  was 
born  in  Venice  about  lGt)5.  He  was  the  master 
of  Marcello,  Galuppi,  and  Prescctti ;  was  or- 
ganist, and  afterwards  chapel-master,  of  .St. 
Mark's  Church,  at  Venice,  and  one  of  the  most 
able  men  in  his  profession.  To  all  the  science 
and  learned  regularity  of  the  old  school  he 
united  grace  and  pathos.  Ilasse  is  said  to  have 
regarded  his  compositions  as  the  most  perlcct  of 
their  kind.  Ills  choral  music  is  at  once  solemn 
and  touching.  Mr.  La  Trobe  has  published  seme 
specimens  of  it  in  his  very  excellent  collet:tion  of 
sacred  music.  Between  the  years  IG98  and  1717, 
he  composed  fifteen  dramas  for  the  Venetian 
theatre.  Ills  cantatas  also  furnished  specimens 
of  recitative  which  do  honor  to  his  professional 
character.  In  the  year  1718,  he  was  opera  com- 
poser to  the  court  of  Dresden,  and  in  1720  re- 
turned to  Venice,  where  he  died  in  1740. 

LO'lTIN,  DENLS,  a  vioUnist  at  Orleans,  wag 
born  there  in  1773.  At  the  age  of  twelve  he 
studied  music  for  his  amusement,  when  he  im- 
proved so  rapidly  that  his  friends  procured  him 
the  best  masters  of  the  neighborhood,  and  took 
him  several  times  to  I'aris,  where  he  received 
lessons  irom  Grasset.  He  is  author  of  the 
following  works  :  "  Mitltode  de  Violon"  "  Troii 
i/raiids  Duos  Concertans."  "  Concerto  dcdii.  d  tor 
ami  Demur."  "  Six  Duos."  "  Trou  grandt 
Duos."     "  Deuxiime    Concerto."     "  Six  Duos  fa- 


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cites."      "  Recueil  de   Waises  pour   dettx  I'.,"  and 
"  Recueil  d' Aira  varies  pour  I'." 

LOUET,  ALEXANDRE,  an  amalcur  nt  Paris 
about  tlie  year  178i),  jjublished  several  oi)cias  of 
chamber  music,  also  the  loUowiiig  operetta,  "  La 
double  C'/ij',  ou  Cuiombine  Commi^naire." 

LOUIS,  I'll.  Under  this  name  is  lound  the 
following  works:  "  Vun  dir  t'iiHicrsctzuug,  den 
Munieren  uttd  dcm  Geistc  des  Vorlrai/s  uiifdem  Kla- 
vivre."  "  Gruiidriss  zvm  Lehrbe/rijf'e  des  Aciom- 
vaf/iiementx,"  (mauusfript)  Vienna,  1799.  This 
work  is  al>iO  conjectured  to  have  been  by  Madame 
Louis,  below. 

LOUIS,  MADAME.  Under  this  name,  which 
is  jirobably  that  of  a  Parisian  amateur,  have  been 
published  "  Six  Soitu/es  pour  le  C/ac.  seul,"  Paris. 
"  liecueil  d'Ariettes  c/toisii,  act-c  Ace.  de  Clav.," 
Paris.     "  Fleur  d'Epine,"  an  operetta. 

LOULIE,  FRANCOIS,  a  French  musician, 
was  the  author  of  an  ingenious  and  useful  book, 
published  in  1G9S,  by  Estieune  Roger,  of  Amster- 
dam, entitled  "  Elimeiis  ou  I'rincipes  de  Mitaique 
mis  daiis  un  nouvel  ordre" 

LOURE.  A  short  composition,  or  dance, 
sometimes  of  three,  and  sometimes  of  four 
erotcliets  in  a  bar ;  of  a  slow  time  and  dignified 
character.  One  of  its  chief  features  is,  its  gen- 
erally having  a  dot  after  the  first  crotchet  of  the 
bar,  in  which  particular  it  resembles  the  cia- 
conne. 

LOUVET,  or  LOUVE.  ALEXANDRE,  a  com- 
poser and  pianist  at  Pm-is,  published  there,  about 
1796,  "Instructions  thiori/ues  et  pratiques  sur  l' ac- 
cord du  Viano-fortc,  ouirwje  qui  a/ipreud  en  trts- 
pr.u  de  tons  au.c  pers'iunes  les  nuiiits  excrries  li  ac- 
corder  parj'aitement  cet  Instrument,"  one  vol.,  Paris, 
1798.  "Amelia,"  an  o[)era,  in  tliree  act--*,  by  this 
author,  was  represented  in  Paris,  for  the  first 
time,  at  the  The.itre  de  I'Opera  Comique.  The 
music  is  deemed  more  scientific  than  agreeable. 
The  rest  of  his  works  are,  "  'J'rois  Somil.  jtour  le 
Clav.  avec  l'.,"  Ops.  1,  2,  .3,  4,  Paris,  from  1794  to 
1796.  "  (iuatre  Sjnat.  pour  le  Clav.  avec  I'.,"  Op. 
.5,  Paris,  1796. 

LOU^liE.  A  term  applied  singly  to  a  well- 
known  French  air,  otherwise  called  L'umiuble 
J'ainqueur,  for  which  Louis  XIV.  had  a  remark- 
able predilection.  This  air  has  since  formed  a 
well-known  dance. 

LOUYS,  MATIRE  JEAN,  a  French  contra- 
puntist of  the  si.xtcenth  century,  of  whose  writ- 
ings there  are  still  preserved,  in  the  Munich 
library,  "  Pseaunws  50  de  David," An\cts,  1555. 

LOVE^SONG.  A  song  the  words  and  melody 
of  which  ai-e  expressive  of  love. 

LOW.  A  word  of  relative  signification,  and 
arbitrarily  applied  to  any  pni,  passwje,  or  note, 
situated  towards  the  bottom  of  the  compass  of 
that  species  of  voice,  or  instrument,  by  which  it 
is  designed  to  be  executed. 


LOYSE.VU,  a  French  composes,  Qourished, 
about  the  year  1079,  as  organist  of  St.  Martin's 
Church  at  Tours. 

LOZEK,  the  elder,  organLst  at  Prague  in  the 
the  year  1800,  is  described  as  an  excellent  musi- 
cal tlieoiist,  organist,  and  teacher.  It  is  also  said 
that  he  is  equally  as  lainiliar  with  Tacitus,  Horace, 
and  Cicero  as  with  Ilaydu  and  Mozart. 

LUni,  MARIANE,  probably  an  amateur,  has 
published,  in  ticnuaiiy,  "  12  LiedtrfUrs  Kl^ivlrr," 
1801,  ajid  "  12  )u-ue  deutsche  Liedi-r  J'Urs  KUivier," 
180.3. 

LUCA,  SEVERO  DE,  a  Roman  composer, 
flourished  in  the  year  1700,  in  which  yeivr  hia 
oratorio,  "  11  Marlirio  di  S.  I'.rusnu),"  was  per- 
formed in  the  church  Delia  Pieta,  at  Rome. 

LUC.VTELLO,  OIOV.  RAITISTA,  belonged, 
according  to  Terreto,  to  the  celebrated  composers 
of  Italy  at  the  end  of  the  sixteenth  century. 
Some  of  his  workn  are  still  to  be  lound  in  the 
Fab.  Coitstantini  Selectte  CaiUionea  excvUeiUiss.  Auc- 
torum,  Rome,  16H. 

LUCCIIESI,  ANDREA.  Ilis  opera 'Mr/cmira  " 
was  represented  at  Venice  in  1775. 

LUCCIIESI,  J.  M.,  made  him.self  known  by 
the  following  pieces  of  instrumental  music : 
"  Trnis  Duos  a  dciix  I'.,"  Op.  1,  Vienna,  1794. 
"  Truis  Duos  d  deux  V.,"  Op.  2,  Augsburg,  1796. 
"  Six  Duos  t  deux  T'.,"  Op.  1,  Basil,  1795.  "Six 
Sonalities  pour  le  CUiv.  dont  trots  avec  J'.,"  Op.  3, 
1796. 

LUCCHINI,  ANTONIO  MARIA,  flourished, 
in  1730,  at  Venice,  as  one  of  the  first  composers 
for  the  theatre  there.  (See  Burney,  vol.  iv.  p.  538  ) 
A  concert  mivster  of  this  name  was  also  celebrat- 
ed at  Milan  about  the  year  1750. 

LUCELBURGER,  or  LUCELBURGIUS,  AN- 
DRE.\.S.  Nothing  more  is  known  of  him  than 
that  he  is  the  author  of  the  "  Musicce  Practica, 
lib.  2,"  Cobourg  and  Jena,  1604. 

LUCINDA,  FRANCESCO,  chapel-master  to 
the  King  of  Sicily,  was  born  in  that  island.  He 
composed,  in  1692,  the  opera  "  ddidaura,"  iot  Xht 
theatre  at  Venice.     See  Burney,  vol.  iv.  p.  79. 

LUCINI,  FRANCESCO.  AValtber  calls  him  a 
bass  singer,  and  mentions  the  following  of  his 
works :  "  Concerti  divcrsi,  4  2,  3,  e  4,  con  Parti- 
tura"  Milan,  1610  ;  and  the  sequel  to  this  work, 
Milan.  1617. 

LUDOVICI,  THOMAS,  a  contrapuntist  of  the 
sixteenth  century,  seems  to  have  roided  in  Italy, 
where  there  has  been  printed  of  hLs  works,  "  4 
Psalmi  priFcipuis  Jestiviiatiius,  8  voc,"  Roire,  1591. 

LUGUBRE.     (I.)     Mournfully,  sadly. 

LUIDERS,  a  good  violinist,  was  first  in  the 
serx-ice  of  Piince  Ferdinand  of  Prussia,  in  Berlin. 
j  He  then  went,  in  1 785,  to   Moscow  ;  and   having 
I  remained  about  five  years  in  that  citv,  continued 
LOW,    EDWARD,   originally   a   chorister  i^l  his  travels    intentUng,  after  his  retilni,  to  have 
Salisbury  Catheilral,  was  organisi  of  Christchurch,  !  fl^^'i'^***^  ^""-"-"^  "'  Moscow.   ,n  a  music  ware 
Oxford,  and  professor  of  music  in  that  university. 


He  died  in  1682. 

He  published,  in  1661,  "Short  Directions  for 
the  I'erformance  of  the  Cathedral  Service." 


house. 

LUIOI.  An  Italian  composer,  of  whose  com- 
position the  opera  l)utfa,  "  L' .AUieti/ntrice  tivact," 
was  represented  at  Dresden  in  1732. 


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LUIJA,  C.  F.,  ail  artiiinn  'ii  Paris,  j)ublibhed,  '  dintely  directed  that  a  ma.ster  should  be  employed 


in  the  year  17'J1,  "  Troia  Soholes  pour  U  V'.,"  Op. 
1,  Paris. 

LUINKi.  'l')ie  name  of  n  species  of  song  much 
used  in  tlic  Hehrido:-,  and  on  the  western  coasts 
of  Scotland,  and  wliic-h  is  ntuerally  sliort  and 
plaintive.  It  is  mostly  sung  by  the  women,  at 
ihcir  diversions,  and  duriiii;  tl'.cir  work. 

LUITCiEllT,  F.  II.,  a  musician  in  Hamburg, 
published  the  following  works:  "12  deutsclui 
l.U'der  am  KUirier  :u  aitii/cn,  in  Miuik  gcscizt,' 
Hamburg,  1797.  "Six  Variat.  aur  I' Air  '  CoiUre 
U'3  chcutrins  o'e  In  vie,'  jmiir  le  I'iiiiw-fortv"  Op.  2, 
Hamburg,  17!»a.  He  edited  also  "the  following 
musical  selection,  which  is  much  admired: 
"  Mitsikaliichc)  Journal,  aiis  den  ncnesten  deutschen 
U'ul  franz.  Ojtcrn  austiczogen  und  J'itrs  Klavier 
tinycrichtct.  Erster  JahrgaiKj,  in  12  Mouatsheften, 
jeder  d  i  Bor/en,"  Hamburg,  1798. 

LUI'ITICH,  JOIIANX,  a  musician  of  the 
Beventcentli  century,  born  in  Pliiueii,  published 
"  VenusglOcklein,  oder  ncue  tcallliche  Oes&nge," 
Jena,  IGIO. 

LUIZ,  FRANCISCO,  a  Portuguese  monk  and 
chapel-master  in  the  cathedral  church  at  Lisbon, 
died  there  in  ir)9;5.  He  was  eminent  both  for 
his  theoretical  knowledge  and  practical  talents  in 
music.  He  lelt  the  following  works  in  manu- 
Bcript :  "  Texto  da  Paixao  de  Domintja  de  Ramos, 
t  de  scsta  feira  mayor,  h  4  Vozcs,"  and  "  PsaJmoa 
t  ViUiancicos  t  dirersaa  I'ozes." 

LULLO,  ANTONIO,  a  musician  and  contem- 
porary of  Zarlino,  flourished  in  looO.  He  wrote 
A  treatise  entitled  "  L' Arte  iufiera  (kilo.  Miisica." 
Zarlino  was  doubtful  whether  this  work  had  ever 
been  printed,  as  all  his  endeavors  to  obtain  a  copy 
of  it  were  in  vain. 

LULLY,  or  LULLI.  JEAN  BAPTISTE,  was 
born  of  obscure  parents  at  Florence,  in  the  year 
1634.  Having,  wliilst  a  child,  sliowed  great  taste 
for  music,  a  Cordelier,  from  no  other  consideration 
than  the  hope  of  his  some  time  becoming  eminent 
in  the  art,  undertook  to  teach  him  the  guitar. 

While  LxiUy  was  under  the  tuition  of  this 
benevolent  ecclesiastic,  a  French  gentleman,  the 
Chevalier  Uui:>e,  then  on  his  travels,  arrived  at 
Florence.  This  person  had  been  reiiucsted  by 
Mile,  de  Montpcnsier,  a  niece  of  Louis  XJV.,  to 
find  out  for  and  bring  her  some  pretty  little  Ital- 
ian boy  as  a  page.  The  countenance  of  Lully 
did  not  answer  to  the  instructions,  but  his  vivaci- 
ty and  ready  wit,  in  addition  to  his  skill  on  an 
instrument  as  much  the  favorite  of  the  French 
88  of  the  ItiiUans.  determined  the  chevalier  to  en- 
gage him  ;  and  then,  about  ten  years  of  age,  he 
waa  sent  to  Paris.  On  his  arrival,  he  was  pre- 
tentcd  to  the  lady  ;  but  his  figure  obtained  for  him 
10  cool  a  reception,  that,  insteid  of  making  him 
her  page,  she  commanded  the  olHeers  of  her 
household  to  enter  his  name  in  their  books  as  her 
under  scullion. 

Neither  tl-.e  disappointment  he  experienced  nor 
the  eruploynicnt  to  which  he  was  destined  affected 
the  spirits  of  I.nlly.  In  t!ic  moments  of  hLs  lei- 
sure from  the  kitchen,  he  u;-ed  to  scrape  upon  a 
wretched  lidille,  which  he  had  contrived  to  pro- 
cure A  person  employed  about  the  court,  hap- 
])ening  one  day  to  hear  him,  iiUoimed  Ihe  princess 


to  teach  him  the  violin ;  and,  in  the  course  of  a 
lew  months,  he  became  so  great  a  proficient,  that 
he  was  elevated  to  the  rank  of  court  musician. 
In  consequence  of  an  unlucky  accident  that  took 
place,  Lully  was  dismissed  from  this  situation ; 
he  alterwards,  however,  found  means  to  get  ad- 
mitted into  the  king's  band  of  violins,  and  applied 
himself  so  closely  to  the  study  of  music,  that  in 
a  little  time  he  began  to  compose.  Some  of  his 
airs  having  been  noticed  by  the  king,  the  author 
was  sent  for,  and  his  jjerlormance  of  them  wa-s 
thought  so  excellent,  that  a  new  band  was  formed, 
called  fcs  peti/s  violons,  and  he  was  plated  at  the 
head  of  it.  I'nder  his  direction  they  soon  passeil 
the  famous  band  of  twenty-four,  till  that  time  so 
much  celebrated  Ihioughout  Europe.  This  was 
about  the  year  1000,  at  which  time  the  favorite 
entertainments  at  the  French  court  were  dramatic 
representations,  called  batUds.  These  consisted 
of  dancing  intenni.xed  with  singing  and  speaking 
in  recitative ;  and  to  many  of  them  Lully  was 
employed  to  compose  the  music. 

An  academy  had  been  established  at  Venice 
for  the  performance  of  operas,  and  Louis  wished  to 
have  one  in  France  that  should  excel  it.  Ac- 
cordingly, in  16fi9,  he  granted  to  the  Abbe  Perrin, 
master  of  the  ceremonies  to  the  Duke  of  Orleans, 
a  privilege  for  the  conducting  of  an  opera  after 
the  model  of  that  at  Venice,  but  to  be  performed 
in  the  French  language. 

Cambert,  the  orgaiust  of  St.  Honore's,  was  en- 
gaged to  compose  to  music ;  but  after  a  little 
while  LiiUy,  who  had  risen  high  in  the  king's 
favor,  contrived  to  get  him  to  be  removed,  and 
himself  to  be  ai>i)ointed  in  his  stead.  Possessing 
now  the  situation  of  composer  and  joint  director 
of  the  opera,  he  not  only  left  his  former  band  and 
instituted  one  of  his  own,  but  formed  t!ie  design 
of  building  a  new  theatre  near  the  Luxemburg 
palace,  which  he  afterwards  accomplLshed.  This 
was  opened  in  November,  1070,  with  a  musical 
entertainment,  consisting  of  a  variety  of  detached 
pieces,  included  under  the  title  of  "  Le  Combat 
de  V Amour  ct  de  Bacchus." 

Lully,  some  time  previous  to  this,  had  been  ap- 
pointed superinteiulent  to  the  king's  private  mu- 
sic, and  had  neglected  almost  entirely  the  prac- 
tice of  the  violin  ;  yet,  whenever  he  could  be 
prevailed  with  to  play,  his  excellence  astonished 
all  who  heiud  him.  For  the  guitar,  though  so  tri- 
fling and  insigniKcant  an  instrument,  he,  through- 
out his  whole  lite,  entertained  the  greatest  parti- 
alit\'. 

In  the  year  108*),  the  king  was  seized  with  an 
indisposition  that  threatened  his  life  ;  but  recov- 
ering from  it,  Lully  wa.s  recjuircd  to  compose  .-» 
"  Tc  Dfum."  Accordingly  he  wrote  one,  which 
was  not  more  rcmarkalile  for  its  excellence  thar 
the  unhajipy  accident  with  which  its  performance 
was  attended.  Nothing  had  been  neglected  in 
the  composition,  nor  in  the  preparations  for  the 
execution  of  it,  and  the  more  to  demonstrate  his 
zeal,  he  himself  beat  the  time.  With  the  cane 
that  he  used  for  this  purpose,  in  the  heat  of  ac- 
tion, (from  the  dilHoilty  of  keeping  the  band  to- 
gether,) he  struck  Ids  foot,  which  caused  such 
considerable  inflammation,  th.at  his  physician  soon 
advised  him  to  have  his  little  toe  taken  off;  and, 
after  a  delay  of  some  days,  his  foot ;  and  at  length 
the  whole  limb.     At  this   dreadful  juncture,  an 


i.e  had  an  excellent  taste  for  music.     She  imme-  '  empiric  offered  to  perform  a  cure  without  ampu- 

636 


LUL 


ENCYCLOPAEDIA    OF    MUSIC. 


LUP 


tition.  Two  thousand  [  ["-toles  were  promised 
him  if  he  should  accomplish  it ;  but  all  his  efforts 
were  in  vain.  LuUy  died  in  lf)87,  and  was  in- 
terred in  the  church  of  the  Disculccat  Augus- 
tines,  at  Parin,  wliere  an  excelleut  monument  has 
been  erected  to  his  memory. 

A  sin<;ular  story  of  a  conversation  between  L»d- 
lyand  his  confessor  in  his  la-^t  illne-is  is  related, 
wliich  shows  the  natural  archness  of  his  dispo- 
tiou,  even  at  so  eritiial  a  moment,  at  the  same 
tiuie  tliat  it  exposes  tlic  weakness  and  folly  of  the 
priest.  Havin;.;  been,  for  many  years,  in  the 
habit  of  conii)Osin^  tor  the  opera,  the  jiiicst,  as  a 
testimony  of  his  sincere  repentance,  and  the  con- 
ditions of  his  absolution,  re(iuired  of  liim  to 
throw  the  last  of  his  compositions  into  the 
tire.  LuUy,  after  some  excuses,  at  lenjjth  aciiui- 
esced,  and  pointini;  to  a  drawer  in  which  the  rou^h 
draft  ot  "  Acliilles  antl  Polixenes  "  was  deposited, 
was  taken  out  and  burned,  and  thocoulessor  went 
away  satislied.  Lully  };row  better  and  was 
thought  out  of  danger,  when  one  of  the  young 
princes  came  to  visit  him.  "  What,  IJaptiste," 
says  he  to  him,  "  have  you  thrown  your  opera 
into  the  tiro  ?  You  were  a  fool  for  thus  giving 
credit  to  a  gloomy  Jansenist,  and  burning  goocl 
music."  "  Hush  !  hush  !  my  lord,"  answered 
Lully,  in  a  whi>per ;  "  I  know  well  what  I  was 
about ;  I  have  another  copy  of  it !  "  Unhappily, 
this  ill-timed  pleasantry  was  followed  by  a  re- 
lapse ;  the  gangrene  increased,  and  the  prospect 
of  inevitable  death  threw  him  into  such  pangs  of 
remorse,  tliat  he  submitted  to  he  laid  on  a  heap 
of  ashes  with  a  cord  round  liis  neck  ;  and  in  this 
situation  he  expressed  a  deep  sense  of  his  late 
transgression.  On  being  replaced  in  his  bed,  he 
became  composed,  and  died  shortly  afterwards. 

At  the  time  when  Lully  was  jilaced  at  the  head 
of  l<s  pctits  ti<)/<iiis,  not  halt  the  musicians  in 
France  were  able  to  play  at  sight.  A  person  was 
esteemed  an  excellent  master  who  could  play 
thorough  bass  on  the  haqisichord  or  the  theorbo 
in  accompaniment  to  a  scholar  ;  and,  with  respect 
to  comjxisition,  nothing  can  be  conceived  more 
inartilicial  than  most  of  the  sonatas  and  airs  for 
violins  at  that  time.  The  treble  part  contained 
the  whole  of  the  melody  ;  the  bass  and  the  tenor 
part.s  were  mere  accompaniments  ;  and  the  whole 
was  a  groris  and  sullen  counterpoint  The  combi- 
nation of  sounds  then  allowed  were  too  few  to 
admit  of  sutKcieut  variety ;  and  the  art  of  pre- 
paring and  resolving  discords  was  a  secret  con- 
tiued  to  few.  Lully  contributed  greatly  to  the 
improvement  of  French  music.  In  his  over- 
tures he  introduced  fugues,  and  was  the  first  who, 
in  the  choruses,  made  use  of  the  side  and  kettle 
drums. 

It  is  somewhat  difficult  to  characterize  his  style. 
It  seems,  however,  to  have  been  completely  ori- 
ginal, and  derived  from  no  other  source  than  the 
copious  fountain  of  his  own  invention. 

His  compositio7is  were  chietly  operas  and  other 
dramatic  entertainments;  these,  thrugh excellent 
in  their  kind,  would  give  but  little  pleasure  at 
the  present  day ;  the  airs  being  short,  formed  of 
regular  measures,  and  too  frefjuentlj'  interrupted 
by  recitatives.  Louis  XIV.  was  fond  of  dancing, 
and  had  not  taste  for  any  music  hut  airs,  in  the 
composition  of  which,  a  stated  i.imber  of  bars 
was  the  chief  rule  to  he  obser\-cd.  Jf  harmony 
Dr  fine  melodj-,  or  of  the  relation  between  poetry 
and  music,  he  seems  to  have  had  uo  conception  ; 


and  these,  of  course,  were  all  so  many  restraints 
upon  LuUy's  talents. 

'Die  merits  of  Lidly  ought  to  be  estimated  Irom 
his  overtures  and  works  ot  n  more  serious  nature 
than  his  operas.  There  arc  extant  several  of  hiii 
motets,  and  some  other  good  compositions  for  the 
church,  though  not  in  print.  His  oi)oras  anil  other 
theatrical  periornumct's,  wliich  were  very  numer- 
ous, liavo  been  nearly  all  put)lislied.  He  composed 
symphonies  for  violins  in  three  parts;  but  tliese 
are  not  to  he  met  with  in  print. 

He  is  said  to  have  btvn  the  inventor  of  tliat 
species  of  composition,  the  overture;  and  more 
particularly  that  spirited  movement,  the  Uirtjo, 
which  is  the  general  introduction  to  the  fugue: 
for,  though  it  nuiy  be  said  that  tlie  symphonies 
or  preludes  of  farissimi,  ("olonna,  and  others,  are 
in  etfe<'t,  overtures,  yet  the  dilference  betwoen 
them  and  tho.>e  of  Lully  is  very  evident ;  the 
former  were  compositions  of  a  mild  and  placid 
kind,  the  latter  are  animated  and  full  of  en- 
ergy. 

LULLY,  LOUIS,  and  LULLY,  JEAN  LOUIS, 
sons  of  the  preceding,  were  also  musicians.  They 
composed,  in  conjunction,  the  music  to  the  opera 
of  "  '/.iphire  ct  Fhre,"  written  by  Michael  du 
lioulhii,  secretary  to  the  Grand  Prior  of  Vcndome, 
and  represented  in  the  Academic  Iloyale  in  1088. 
They  also  set  the  opera  of  "Orplicim,"  MTitten 
by  the  same  person,  and  an  opera  called  "Alcide." 

LUPI,  DIDILR.  A  French  contrapuntist  of 
the  sixteenth  century.  Of  his  works  the  follow- 
ing are  yet  extant  :  "  Chansons  SpirUuc/le)," 
1518.  "  C/uiiiso)is  SpiritiieUea  hquaire,"  Paris,  1.571. 
"I'seuuines  30  de  David  dqiuUre  voic,"  Lyons,  1549. 

LUPI,  LUPUS,  a  Flemish  contrapuntist,  flour- 
ished about  the  year  1550.  He  was  a  composer 
of  great  eminence  among  hLs  contemporaries,  but 
no  entire  work  can  be  pointed  out  of  hLs  compo- 
sition. Many  single  songs  and  motets  br  him 
are  to  be  found  in  collections,  especially  in 
"  Salbliiiyer  Concentiu  4,  5,  6  e<  8  voc."  Augsburg, 
1545. 

LUPPACHINl,  BERXADINO  DEL  VASTO, 
an  Italian  composer,  about  the  }-ear  1550,  pub- 
lished "  Mculriijali  a.  4  voci,"  Venice,  1546,  and 
"  Madriijali  k  5  voci,"  Venice,   1547. 

LUPPIXO.  T.  W.  Organist  of  Ware,  Herts 
At  about  nine  years  old,  Francis  Cramer,  from 
friendship  to  Luppino's  father,  (an  English  artist,) 
took  the  son  as  a  violin  pupil ;  at  the  same  time, 
and  troma  similar  kind  motive,  Frank  Lanza,  a 
son  of  the  singing  master,  commenced  teaching 
him  the  piano-forte.  After  studying  three  years, 
his  parents  then  being  called  to  the  continent, 
F.  Cramer  took  him  entirely  under  his  roof,  and 
introduced  him  as  a  violin  ripieno,  at  the  Vocal 
and  other  concerts.  In  another  three  years  the 
celebrated  J.  B.  Cramer  received  him  into  his 
house  as  a  piano-forte  pupil,  with  whom  he  re- 
mained till  1808.  To  these  gentlemen,  particuh\r- 
ly  to  the  Messrs.  Cramer,  Lu|5pino  expressed  the 
warmest  gratitude,  not  only  for  his  musical  edu- 
cation, but  for  nearly  all  the  good  which  accom- 
panied his  career  in  li;e.  In  1808,  with  the  ad- 
vice  of  his  friends,  Luppino  accejited  a  pro])osal 
to  a.ssi.st  C.  Brid'.;cman  (many  years  established 
in  Hertford)  as  teacher,  tuner,  and  organist.  In 
1812,  an  organ  having  been  erected  in  the  neigh* 


68 


fi37 


LUS 


EXCSCLOP.EDIA   OF   MUSIC. 


Lur 


oorinf;  town  of  \Viirc,  he  nnd  Bridscman  became 
joint  orj^iini^its  of  l)oth  pliu-cs.  In  tlie  following 
year  huppino'K  ninrriiisrc  severed  the  above  con- 
nection ;  after  whioh  time  Luppino  alone  retained 
the  Ware  or;;!ini.st's  dituntion,  and  at  the  a;5C  of 
thirty-one  posse<»cd  a  tolerably  extended  con- 
nection of  teaching.  Ho  has  publLshod  •'  A  Se- 
lection of  I'salms  and  Hymns  for  the  Use  of 
Ware  Church,"  part  of  which  arc  adapted,  and 
part  composed  by  himself. 

I-fSCIXIUS.  properly  NACHTIGALL,  OT- 
TOMAUUS,  a  learned  lienedictine  friar,  born  at 
Strasljurn;,  studied  music  tirst  in  his  nutive  town, 
and  then  at  Vienna,  where  he  first  became  known 
«i>  a  teacher  of  music.  He  was  afterwards  a 
prf«cher  in  St.  Maurice's  Church,  at  Aui^sburg, 
Uid  at  the  sumo  time  lecturer  on  tlie  (Jreek  lan- 
guage in  the  Benedictine  convent  of  St.  Uhich 
and  Afra.  Thence  he  was  cidlcd  to  Basil,  and, 
lastly,  ajrain  to  his  native  place,  as  canon  of  St. 
Stephen's  Church.  According  to  Lo  Long,  he 
died  in  the  year  1.535.  An  estimate  may  be 
formed  of  his  learning,  by  hLs  translation  into 
German  of  the  book  of  I'salms.  from  the  original 
Hebrew  text ;  also  by  his  translations  of  the 
Bym])Osiaka  of  Plutarch,  and  the  orations  of 
Isocrates,  together  with  several  other  learned 
works.  Luscinius  wa.s  early  in  life  a  great  friend 
of  Erasmus,  but  became  afterwards  his  most 
violent  adversary.  He  wa.s  also  concerned  in  the 
controversies  with  the  famous  Ulrich  von  Hutten, 
whom  he  attacked  with  such  powerful  satire, 
that  at  last  Mclanchthon  gave  him  to  understand, 
by  an  epigram,  tliat  his  name  could  not  possibly 
be  Xightingale,  but  that  he  ought  rather  to  be 
called  Vulture.  The  following  works  by  Lus- 
cinius give  him  the  greatest  claim  to  the  admi- 
ration of  posterity  :  "  MiisUce  Iii^titationex,"  15 lo, 
and  "  Mii.suniia,  sett  Praxis  Musi'ca,"  Stra-sburg, 
IS.'M  and  1542.  The  most  interesting  part  of  the 
latter  work  is  the  correct  representation  of  all  the 
instruments  then  in  use.  These,  a.s  well  as  the 
whole  book,  would  have  been  as  good  as  lost  to 
us,  after  a  lapse  of  about  three  hundred  years, 
had  not  Hawkins  toitunately  given  (vol.  ii.  p.  441 
of  his  history )  correct  rejjresentations  of  all  these 
instruments,  to  the  number  of  forty-nine. 

LUSING^VXDO.  (I.)  Soothingly,  persua- 
sively. 

LISITANO,  VIXCEXTINO.  A  musician  at 
Home,  about  tlie  middle  of  the  sixteenth  century. 
His  principal  work  is  entitled  '•  IiUrodiuioiie  fa- 
cilismiia  et  iiocissiina  di  Canto  fermo  e  figurato  con- 
Irapiiiito  aemplice,"  Komc,  1553  ;  Venice,  1558  and 
.5G1. 

LUSTRIXL  ABB  ATE,  flourished  in  1755,  at 
Rome,  as  one  of  the  first  chapel-masters. 

LUTE.  \  stringed  instrument  formerly  much 
in  use  ;  anciently  containing  only  five  rows  of 
strings,  but  to  which  six,  or  more,  were  afterwards 
added.  The  lute  consists  of  four  jMirts,  viz.,  the 
table ;  the  body,  which  has  nine  or  ten  sides  ;  the 
neck,  which  has  as  many  stops,  or  divisions;  and 
the  licad,  or  cross,  in  which  the  screws  for  tuning 
It  are  iii.sertcd.  In  playing  this  instrument,  the 
peril irraer  strikes  the  strings  with  the  fingers  of 
the  right  hand,  and  regiilates  the  sounds  with 
those  of  the  le;t.  The  origin  of  this  instrument 
*  no:  known,  though  generally  believed  to  be  of 
/cry  duly  date.  Indeed,  authors  are  not  agreed  a;* 


to  the  country  to  which  we  are  indebted  for  the 
invention.  Some  give  it  to  (Jermany,  and  derive 
its  name  trom  the  German  word  laute,  while  others 
ascribe  it  to  the  Arabians,  and  trace  its  name  from 
the  Arabic  allatid. 

LUreXIST.  A  performer  on  the  lute.  The 
office  of  lutenLst  to  the  King's  Chapel,  in  the  old 
countries,  was  formerly  an  active  one,  like  that 
of  organist ;  but  since  the  decline  of  the  lute,  has 
become  a  sinecure  place.  Songs  for  a  single 
voice,  with  lute  accomjianimcnt,  were  of  Spanish, 
or  of  Eo-stern  origin.  The  lute,  which  was  a  kind 
of  guitar,  survived  to  the  time  of  Handel.  The 
theorbo  and  arch-lute  were  the  same  instruments 
but  of  eidarged  capacity  and  more  strings.  The 
lutenist  in  trunk  hose,  cap,  and  feather,  and 
"bearded  like  a  pard,"  took  up  a  position  at  the 
crowded  piU-fy,  in  which  lie  evidently  e.xpected 
to  be  the  admired  of  all  observers,  ^\^^ethe^  he 
sang  songs, 

"  Such  u  the  ttarvtd  lorer  lings  to  hii  proud  fiir,** 

is  doubtful.  If  his  music  bore  any  proportion  to 
tho.se  bulbous  and  massive  legs  which  still  attract 
the  eye  in  liis  effigies,  he  must  have  been  a  very 
extraordinary  musician  indeed. 

LUTHER,  DR.  MARTIX.  ThLs  celebrated  re- 
fonner  and  piofessor  was  born  at  I->leben,  .'^axony, 
Xovcmber  10,  1483.  His  "  Eulogiura  on  Music  " 
ho-s  been  published  by  Dr.  Forkel,  in  the  second 
volume  of  his  "  History  of  Music."  Luther  also 
wrote  several  choral  melodies.  Tlie  following  are 
the  titles  of  some  of  those  which  he  either  com- 
posed entirely,  or  corrected  :  these  titles  are  taken 
from  the  "  J'Jlichten  eines  Oryanistcii,"  i.  e.,  "The 
Duties  of  an  Organist,"  by  the  Music  Direct. 
Turk,  p.  42.  1.  "  Wir  glauhen  all  an  einen  Gott, 
i<c."  2.  •' Jesaia  dem  Proj>Jicteti  das."  3.  "  Ein 
feste  Burg  ut  wiser  Gott,  Sic."  4.  "  Erhalt  tins 
Herr  bey  deinem  Wort."  5.  "  Es  tcolt  uiis  Gott 
gnadig  seyn."  6.  "  Ach  Gott  torn  Ilimmel  sich 
darcin"  7.  "  Es  ist  geicUslich  an  der  Zeit."  8. 
"  Dies  sind  die  Keilgen  zehn  Ochot."  0.  "  Xun  bit- 
ten wir  den  heilgen  Gei-st."  10.  "  Gvlobel  scyst  Jii 
Jesti  Christ."  II.  "  yom  Uiinmel  hocJi  da  komm 
ich  her."  12.  "  Komm,  heiliyer  Geist,  Uerre  Gott." 
13.  "Mitten  tcir  im  Leben  sind."  14.  "Gott  der 
Vaier  fcohn  tins  bey."  15.  "  Va'er  unst-r  im  Him- 
melrr.ich."  16.  "  Christ  unser  Ilerr  zum  Jordan." 
The  music  of  some  of  the.se  works  is,  with  much 
probability,  attributed  to  Luther,  especially  of 
the  hynun  called  "  Das  grosse  glauben,"  Xo.  i  ; 
also  of  X'o.  2,  "  Jexnia  dem  Pro/iheten,"  concern- 
ing which  Johann  Walther,  in  his  epistle,  speiiks 
with  particular  praise,  especially  as  to  the  man- 
ner in  which  Luther  has  adapted  the  notes  to 
the  text.  On  the  other  hand,  the  melodies,  Xos. 
7,  y,  9,  10,  11,  12,  13,  14,  were  known  long  before 
Luther.  To  these  ancient  melodies  may  also  be 
added  "  Ein  Kiiuklein  so  Idbclirh,"  "  In  duhi  Juhi- 
lo,"  "  Christ  fiJir  gen  Ilimmel,"  and  "  Erstanden 
ist  tier  hiilie."  Luther  preferred  these  beautiful 
melodies  to  all  the  translations  and  adaptations 
from  the  Latin  church. 

(iorber  is  not  certain  whether  the  old  litany  to 
tJod  and  all  the  saints  (Xo.  14)  was  not  originally 
a  C:atholic  hymn.  AVliat,  however,  Ls  certain  Ls 
that  the  melody  was  known  before  Luther.  Xor 
does  Xo.  15  belong  to  Luther.  It  wa.s -what  is 
called  ill  Germany  a  brrgkrcyen  irei.\,  that  is,  a 
melody  used  in  singing  histories  in  rhyme,  som* 


538 


LUT 


ENCYCLOPEDIA    OF    MUSIC. 


LVD 


.hing  in  the  style  of  the  rornnnces  or  balhids  of 
our  day.  There  were,  liowever,  in  the  fifteenth 
century,  spiritual  as  well  as  worldly  henjkreijcn. 
Thus,  for  instance,  a  certain  Kotenbacher  claims 
the  following  psalms,  from  Luther's  iirst  psalm 
book,  in  his  collection  of  "  Berykreyen,"  printed 
in  lool,  namely,  "  Sie  ist  mir  lieb  die  trcrlhe 
Mayd,"  and  "  lun  neiies  Lied  wir  hcben  an."  Three 
liundred  years  ago  no  difficulty  was  made  in 
introducing  the  melodies  of  profane  songs  in 
churches.  This  plainly  appears  from  Joh. 
Isaack's  melody  to  "  hispntck,  ich  muss  dich  la.i- 
sen,"  "  Inspruck,  I  must  leave  thee,"  which  after- 
wards became  more  known  as  a  hymn,  to  tlie 
words  "  O  welt  i-h  miis-i  dich  Uissen,"  and,  after 
that,  again  became  popular  to  the  profane  words, 
"  Nun  I  uhc-n  aUe  WaUler."  From  the  balletd  of 
Gastoldi,  "  Vivcr  lieto  voylio,"  &c.,  and  ".-1  lieta 
vita  Alitor  cl,''  &c.,  were  also  introduced  into  ihe 
church,  with  the  text,  "  //>  dir  ist  Freiide,"  and 
"  Jesu  icolht  uiis  ireisen,"  i.  e.,  "  In  thee  is  joy," 
and  "  O  Jesus,  wUt  thou  show  me."  llie  mel- 
ody No.  IG,  "  Christ  miser  llerr,"  is  not  Luther's, 
but  composed  by  Wolf  Ileinz,  with  whose  name 
it  was  printed  in  1514.  We  are  also,  perhaps, 
indebted  to  Joh.  Walther  and  Ludwig  Senfl  for 
many  melodies  in  Luther's  collection.  Luther's 
psalm  book  was  at  Hrst  very  small,  and  in  \-'yH 
contained  only  three  sheets,  which  sheets  were 
also  printed  separately.  They  together  contained 
eight  psabns,  but  with  only  three  melodies.  Of 
these  are  yet  sung,  in  Germany,  No  I,  "  Nun 
freut  each  lieber  Chrinten,"  i.  e.,  "  Now,  Christians, 
till  your  hearts  with  joy,"  but  much  altered,  and 
"  Rs  ist  da-s  heil  uns  kommen  her,"  i.  c.,  "  Salvation 
now  is  come  to  us."  The  melody  of  the  eleventh 
psalm,  "  ScUcam  me  fac,"  Hcc,  is  likewise  in  tlie 
tirst  edition  of  Luther,  as  the  psalm  is  yet  found 
in  German  choral  books.  The  songs  in  that  col- 
lection, "  Ach  Gitt  r >n  Iliinmel  sieh,"  i.  e.,  "  O 
God,  from  heaven  look  ;  "  "  Es  sprichi  der  un- 
tceisen  miind  wol,"  i.  e.,  "llie  lips  of  fools  will 
speak  ;  "  and  "  Aus  tirfer  noth  athny  ich  zu  dir," 
i.  e.,  "  I  call  to  thee  in  deep  distre:-s,"  must  be 
sung  to  this  same  melody  of  the  eleventh  psalm. 
Atter  Luther's  tirst  edition,  the  number  of  hymns 
increa.--ed  yeiuly,  because  he  not  only  wrote  thirty 
more  songs  for  the  collection,  but  other  divines 
did  the  same.  The  tirst  edition  of  the  enlarged 
hjTnn  book  was  edited  by  George  lihaw,  Joh. 
Walther,  and  Bapst,  in  Leipsic.  We  shall  now 
mention  some  later  editions  in  the  si.xteenth  cen- 
tury. "  litsanybiich  Christlicher  Psalmen  und  Kir- 
>hen  liedcr  U.  Mart.  Luthvri  und  aiuterer  frommer 
Christen,  allesampt  mil  den  \oten  und  ihren  rechlen 
Mehd<yen,  des.iyleichen  etiiehe  mil  4  Stimmen  kiin.it- 
luha'iyesi.tzt,"  I)resden,  lo'JS.  "  (icysl/iehe  Lieder, 
flit  finer  neaen  eorrede  I).  M.  Luther,"  Nuremberg, 
l.j.JS.  "  Ausserltsene  Psalmen  und  Geistliche  Lie- 
fUr,"  Pommcrn,  l.i>,»3.  "  Teutseh  I'salmen  und 
Gesanyhuch  O.  Lutheri  mit  4  Stiinmi-n  cmi/mnirt, 
und  anjf  den  obtiehen  Choral  grriehtet"  Eislchen, 
1598.  Luther  was  equally  fond  of  tiguriito  des- 
cant, which  he  endeavored  aLso  to  promote  in  the 
jhurch.  This  appe.-irs  from  a  printed  collection 
of  motets,  with  a  preface,  by  him,  wliich  well  de- 
ser^'es  to  bo  made  public  in  some  mvisical  peri- 
odical work.  The  title  is,  "  Sy»u>h  .nitr  jucundte 
4  vociim,  sen  Mcte'tie  H'l,  cum  prrFf'iUume  Mart,  Lu- 
theri,' Wittenberg,  1.5.'?8.  In  the  fourth  year  of 
she  "Leipz.  Mus.  Xeit.,"  jxige  4!)7,  is  to  tie  found  an 
urangcmout  of  Luther's  intere.--ting  thou;Thts  on 


music  and  science  in  general ;  also,  his  remark- 
able letter  to  Ludw.  .SenH,  tianslated  from  the 
Latin  into  Gcnuan.    See  Mu.i.  Zeit.  An.  12,  p.  3.5. 

LUITICIIIUS,  JOIIANN,  a  German  com- 
poser in  the  beginning  of  the  seventeenth  century, 
published  "  Sates  I  eiierei  MitsieaU-i,  viler  uewe 
teulsche  J'olitische  Oesttnye  mit  4  und  5  Stimmen, 
uuch  lastiye  lutraden,  Cfc.  mit  3  Utimmen,"  Leipsic, 
IGIO. 

LUYT'ON,  CAKOLUS.  Court  organist  to  th« 
Emperor  Uudolph  11.  in  IGOO.  He  published 
"  Cantiones  Sacrte  5  voe.,"  Prague,  1G03.  "  Oput 
Miuticum  in  Lamenrationes  lereinite"  Prague,  1G03. 
"  Missa  7  vocum,"  Prague,  1009.  '•  Lib.  1 
Miiisarum,"  Frankfort,  1G21.  "■  Mndriyali  a  5  voix," 
Venice,  1582. 

LUZZASCHI,  or  LUZZASCO.  This  musician 
was  considered  one  of  the  greatest  organists  of 
his  time  in  Italy,  being  second  only  to  Claudio 
Morula  He  belongs  to  the  four  whom  Galilei 
calls  "  miisicieiis  par  excellence."  He  J)ublished, 
among  other  works,  "  Madriyali,"  Naples,  1576, 
which  excited  universal  admiration.  Luzzaschi 
was  a  native  of  Ferrara,  and  concert  master  and 
organist  to  Duke  Aljihonso  II.  He  died  in  his 
sixty-second  year.  His  publication  of  madrigals, 
above  mentioned,  may  still  be  found  in  the  library 
at  Munich. 

LUZZO,  FRANCESCO,  an  Italian  composer 
for  the  churcli,  published  "  Motuiti  Coiwertaii 
a  eoci  2  e  3  eoci,"  Venice,  IGoO. 

LYCHANOIDES.  (Gr.)  The  name  given  by 
the  ancients  to  the  middle  sounds  of  those  which 
Bacchius,  and  other  (ircek  writers,  call  spissi. 

LYCHANOS.  (Gr.)  'Hie  third  strin;;  of  the 
ancient  diajiason,  or  octave.  The  name  given  by 
the  Greeks  to  tlie  third  chord  of  their  two  tirst 
tetrachords. 

LYCHANOS  HYPATON.  (Gr.)  The  name 
given  by  the  ancients  to  the  third  sound  of  the 
tirst  or  lowest  totrachord  in  the  diatonic  genus ; 
so  called  from  its  having  been  played  with  the 
index  or  fore  hnger.  'lliis  sound,  which  answered 
to  our  I)  on  the  third  line  in  the  bass,  was  also 
denominated  hypate  diatonos.     See  that  expression. 

LYCHANOS  MESON.  (Gr.)  'Hie  name  by 
which  the  ancients  distinguished  the  third  sound 
of  the  meson,  or  middle  tetrachord.  This  sound 
corrcspondeil  with  that  of  our  G  on  the  fourth 
space  in  the  bass. 

LYDIAN.  The  epithet  applied  by  the  ancient 
Greeks  to  that  of  their  modes  which  was  placed 
between  the  .Unlian  and  Hyiierdorian.  From  its 
bearing  the  name  of  an  Asiatic  pe<iple,  it  was 
sometimes  called  the  barbarous  mode.  Tlie  char- 
acter of  the  Lydian  mode  is  said  to  have  been 
striking  and  animated,  yet  highly  cipable  of 
pathos  and  softness.  It  was  for  the  buter  quaUty 
that  Plato  banished  it  trom  his  republic.  This  is 
the  mode  by  which  Orpheus  is  fahletl  to  have  at- 
tracted the  very  beasts,  and  Amphion  to  have 
built  the  walls  of  Thebes.  Some  impute  its  in- 
vention to  Amphion,  the  son  ot  Jupiter  and 
Antiope,  others  to  Olympus,  the  disciple  of  Mar- 
syas,  and  others  again  to  Melarapides.  Pindar 
,  mforms  us,  that  it  was  first  uscil  at  the  marriag* 
1  of  Niobe.  Lydian  wa.s  also  the  name  of  au 
instrument  used  by  the  (irccks,  wluch  is  suppo^.! 


539 


LYO 


encyclop.€:dia  of  music. 


LYT 


to  hnvc  been  so  called  from  their  being  indebted 
lor  it  to  their  Ahiatic  neighbors. 

LYON,  SAMUEL  THOMAS,  wns  boni  in  the 
year  17"(i.  IK'  received  instructions  in  the  prnc- 
ticnl  jtart  of  his  i)rol'e8sion  from  his  father,  who 
was  a  very  excellent  perfoiiner  on  various  instru- 
ments, and  especially  eminent  on  the  bassoon.  Li 
the  tlicory  of  music,  lie  wits  a  i)upil  of  the  learned 
And  inj^enious  I'ossin.  When  thirteen  years  of 
aj;e  he  performed  in  public  the  tenor  part  in  an 
obli;;Hto  quartet  of  I'leyel's,  when  the  approba- 
tion he  received  caused  him  to  be  patronized  by 
Attwood,  who  invited  him  to  his  house,  where  at 
that  period  Uridgetower  was  an  inmate,  having 
been  jilace*!  under  Attwood's  care  by  his  majesty. 
At  his  music  ])arties  Lyon  became  familiar  with 
the  works  of  Ilaydn  and  .Mozart,  autiiors  at  that 
feriod  comparatively  but  little  known.  In  the 
year  17!'S,  he  was  unanimously  elected  a  meml)er 
of  the  Royal  Society  of  Musicians,  and  iij  1819, 
elected  as  one  of  the  court  of  assistants  of  per- 
petual governors  of  that  institution. 

When  the  schism  took  place  in  the  Philhar- 
monic Society,  and  two  conceits  were  established, 
Lyon  was  engaged  to  play  the  tenor,  and  made 
his  ilbbitt  in  the  septet  of  lleethoven.  The  applause 
he  received  obtained  him  the  honor  of  being 
selected  by  Weichsel,  Spngnoletti,  Mori,  &c.,  to 
perform  in  (juartets  and  quintets,  in  seven  concerts 
during  that  season.  On  January  2,  1824,  Lyon 
was  unanimously  elected  an  associate  of  the  Phil- 
harmonic Society. 

His  publications  are  exclusively  for  the  piano- 
forte, and  principally  composed  for  the  use  of 
juvenile  ])erformers ;  besides  a  great  number  of 
airs  that  he  has  arranged  as  rondos,  and  adapta- 
tations  of  the  works  of  Handel  and  oLlier  authors. 

LYRA  DOPPIA,  or  DOUBLE  LYRE.  (L) 
The  name  of  an  instrument  not  at  present  known, 
but  supposed  by  some  to  have  been  a  kind  of  viol 
da  gamba. 

LYR  V  MEXDICORUM.  (L.)  The  name  of 
an  ancient  instrument,  the  body  of  which  was 
Ibrmed  something  like  that  of  a  violin.  It  hud 
four  strings,  which  were  distended  from  the  neck 
to  the  lower  part,  and  agitated  in  performance  by 
the  friction  of  a  wheel.  It  owe  I  its  name  to  the 
circumstance  of  its  having  been  the  favorite  in- 
strument of  mendicaiit  friars. 

LYRA-VIOL.  An  instrument  once  much  in 
use ;  so  named  because  it  was  tuned  in  a  manner 
formerly  called  the  harp  icay.  It  was,  in  fonn, 
Bomething  like  the  common  viol,  and  had  six 
strings,  and  seven  frets,  or  stops,  to  which  were 
assigned  seven  letters  of  the  alphabet;  viz.,  1$,  C, 
1),  K,  F,  (i,  H,  the  letter  A  answering  to  the  open 
string  wherever  it  occurs. 

LYR.\-W.\Y.  The  appellation  given  by  the 
ancient  Oreeks  to  one  of  their  two  modes  of  no- 
tation.    See  Notation. 

LYRE.  One  of  the  most  ancient  of  the  stringed 
species  of  instruments,  and  said  to  have  Ih'Cii  in- 
vented by  Mercury,  in  the  year  of  the  world  2000. 
Its  Irame  first  consistetl  of  the  shell  of  a  tortoise; 
but  concerning  the  original  number  of  its  strings, 
there  is  a  variety  of  oi)inions  ;  some  assert  it  to 
have  bec'ii  only  three,  and  that  Mercury  resembled 
those  three  strings  to  as  many  seasons  of  the  year, 
wliieh  were  all  that  the  Greeks  reckoned,  viz., 
•ummer,  u inter,  and  spring;  assigning  the  acute 

510 


string  to  the  first,  the  grace  to  the  second,  and  th« 
vican  to  the  third.  Some,  again,  say  that  it  had 
four  strings,  and  others  that  it  had  seven.  But 
authors  generally  agree  in  ginng  Mercury  th« 
honor  of  its  invention,  and  say  that  the  knowl- 
edge of  the  instrument,  as  formed  by  him,  was 
transmitted  by  Onihcus,  who  taught  the  use  of  it 
to  Thainyris  and  Linus,  the  latter  of  whom  com- 
municated the  art  to  Hercules.  From  Hercules 
it  passed  to  Amphion,  the  celebrated  Theban  ly- 
rist, and  afterwards  to  the  Grecian,  Terpander, 
who  carrie<l  it  to  Egypt,  greatly  improved,  and 
exhibited  it  to  the  Egyptian  priests  as  his  own 
invention. 

With  respect  to  the  form  of  the  ancient  lyre, 
there  is  no  more  ogreement  among  writei-s  than 
about  the  numbei  of  its  strings.  It,  however, 
ajjpears  by  those  found  in  the  hands  of  the  ancient 
statues  of  Apollo,  Orpheus,  and  others,  that,  in 
its  improved  state,  it  consisted  of  a  frame  whose 
sides  were  curvilinear ;  one  fashioned  somewhat 
like  the  letter  S,  and  the  other  like  the  same  letter 
reversed,  meeting  at  the  centre  of  the  base,  and 
inserted  at  the  top  in  the  extremities  of  a  cross 
bar,  to  which  were  liistened  the  upper  ends  of  the 
strings,  distended  to  it  perpendicularly  from  the 
bottom.  In  these  representations  of  the  instru- 
ment there  are  seven  strings,  and  this,  according 
to  Xichomachus,  was  the  number  contained  by 
the  Mercurial!  lyre. 

Lord  Elgin  took  from  a  tomb  at  Athens  an  an- 
cient Igre  in  a  mutilated  state,  and  in  fifty  pieces  ; 
but  the  parts  could  be  so  put  together  as  to  leave 
no  doubt  of  its  figure  and  action.  The  wood  was 
of  cedar,  and  in  size  similar  to  that  held  in  the 
hand  of  Apollo.  Ha\-ing  lain  in  the  earth  about 
three  thousand  years,  it  was  siiqirising  that  the 
woodwork  was  not  all  decayed,  for  the  metallic 
parts  were  completely  dissolved.  Tliis  \xvc  e^^- 
dently  had  eight  strings,  from  the  number  of  little 
rollers  which  turned  upon  the  cross  bar.  On 
each  roller  there  was  a  small  projecting  peg,  upon 
which  the  string  was  loopetl ;  then,  by  tunimg  the 
roller,  it  was  raised  in  pitch,  and  the  mode  of 
fixing  it  was  by  slipping  the  end  of  the  roller, 
which  was  notched,  upon  a  fastened  piece  of  wood 
of  corresponding  shape.  By  a  method  so  clumsy 
it  was  impossible  to  put  the  instrument  into  tune, 
according  to  the  present  notions  of  accuracy ; 
and  we  need  not  be  long  in  determining  that  the 
eai-s  of  the  performers  were  as  rude  as  the  instru- 
ments upon  which  they  played. 

LYRIC.  An  opitliet  apj)licable  to  odes,  hymns, 
songs,  or  whatever  compositions  are  intended  for 
musical  rehearsal.  The  word  is  borrowed  Irmu  the 
lyre,  and  was  originally  couhncd  to  poetry  meant 
to  be  sung  to,  or  accompanied  by,  that  instrument. 

LY'RICHORD.  The  name  formeriy  iivcn  to 
a  vertical  hari>sichord.  ITie  origiu  of  tliis  instru- 
ment may  be  traced  to  Kircher. 

LYRI.ST.  A  performer  on  the  lyre.  In  an- 
cient tJreece,  the  Lesbian  IjTLsts  were  the  most 
celebrated. 

LYRODI.  (Gr.)  Certain  musicians  among 
the  ancients,  who  accompanied  their  own  singing 
with  the  IjTe.  Lyrwli  was  also  an  a])pellation 
given  to  such  as  were  in  the  practice  of  sing- 
ing IjTic  poems  comjwsed  by  others. 

LVITFRSE  The  name  given  by  the  ancient 
Greeks  to  the    '  Song  of  the  Reai)er8." 


ENCYCLOPAEDIA    OF    MUSIC. 


MAC 


M. 


M.,  Mezzo.  Half,  somewhat,  rather.  This 
letter  is  frc(iuontly  used  as  an  abbreviation,  in  con- 
nection with  other  letters  ;  a-s,  M.  F.,  mezzo  forte, 
rather  loud ;  M.  P.,  me;:^  ;j(aHO,  rather  soft;  M. 
\.,  mezzo  voce,  with  hali'  the  usual  voice.  Also 
lor  muHO,  or  main,  the  Italian  and  French  for 
/land :  as,  D.  M.,  destro  mitno,  right  hand  ;  S.  M., 
sini-itfo  mano,  left  hand;  M.  G.,  main  gauche,  left 
hand  ;  M.  D.,  main  droit,  right  hand. 

MA.  (I.)  But,  as,  vivace,  ma  non  troppo 
f/resto,  lively,  btU  not  too  quick  ;  allec/ro,  ma  non 
troppo,  quick,  but  not  too  ruuch  so. 

MA  ASS,  JOHANX  GEBU.ARD  EHREN- 
REICH,  magistrate,  and  (in  1791)  professor  of 
philosophy  at  Halle,  was  born  in  Krottdorf,  near 
Halberstadt,  in  1766.  He  wrote,  besides  several 
other  works,  the  following  :  "  Ueber  die  Instru- 
mental Musik,  (in  der  Xeuen  Bibt.  des  schOn  IVis- 
sensc/i,)  B.  48,"  1792.  "  Zusatz  zu  dcm  Artik  Ac- 
cent, im  Sulzer,  in  Hinsicht  auf  die  Musik,"  i.  e., 
'•  .\ppendLx  to  Sulzer's  article  Accent,  as  relates  to 
Music."  In  the  Xachtray  zu  Sulzer  Theor.  der 
sc/t.  \\'.,  Maass ;  also  a  paper,  under  the  title 
"  Charaktere  der  voniefiinsten  Dichtcr  al/er  Xat.  von 
einer  Geselhch.  v.  Gel.,"  i.  e.,  "  (character  of  the 
principal  Poets  of  all  Nations,  by  a  .Society  of 
learned  Men."  In  this  paper,  he  answers  to  a 
question  proposed,  "  By  what  means  can  the 
oratorical  and  pathetic  accents  be  expressed  in 
music  :  " 

MACARI,  GIACOMO,  a  Roman  dramatic 
composer,  produced  the  following  operas  :  "  Ada- 
'■oaldo  /arioso,"  1727.  "  Aristidt;"  17-io.  "  (>t- 
taviano  trionj'ante  lit  Marco  Antonio,"  1736.  "La 
('ontesslna,"  1713, 

MACCIII,  G.  An  Italian  dramatic  composer, 
resident  at  Venice  about  the  yesir  17.50. 

MACnAL.\TII.  A  kind  of  lute  or  guitar,  used 
by  the  Hebrews. 

M.VCIIUL.  An  in.strument  used  by  the  He- 
brews. This  name  is  suppo.sed,-  by  Kircher  and 
others,  to  have  been  given  to  two  ditfcient  instru- 
ments, one  of  the  stringed,  and  the  other  of  the 
pulsatile  species.  That  of  the  former  sort  had  si.x 
chords,  or  strings.  The  second  was  of  a  circular 
form,  made  of  metal,  and  was  either  hung  round 
with  little  bells,  or  furnished  with  iron  rings,  sus- 
pended on  a  rod,  or  bar,  that  passed  across  the 
circle. 

MACDOXALD,  PHELPS.  This  gentleman 
was  of  Irish  extraction,  and  iindcr  the  name  of 
Phel|)s  was  highly  celebrated  in  IjOndon,  as  an 
amateur  singer  and  vocal  comjioscr.  He  subse- 
quently held  the  situation  of  private  secretary 
to  Lord  Burghersh,  British  arabas.sador  at  Flor- 
ence. His  works  are  principally  in  the  style  of 
Jackson,  of  Exeter,  but  modernized  and  improved 
by  a  due  mixture  of  the  Italian  school  Among 
them  arc  the  following  .•  "  Bring  me  an  urn  of 
work  divine,"  duet.  "  An  age  is  each  hoiir," 
tnnzonet.     '•  From   thy  arms,  my  dear  Fanny," 

0-1 


canzonet.  "  Hither,  gentle  zephjT,"  canzonet. 
"  I  whispered  her  my  last  adieu,"  canzonet. 
"  Not  soft  falling  sliowers,"  canzonet.  "  The 
heart  that  warmed,"  canzonet."  "Though  tliine 
eyes,  my  sweet  girl,"  canzonet.  "  Whene'er  the 
howling  tempest,"  canzonet.  "  WT-en  fancy 
strews,"  canzonet.  "  When  tlie  maid  that  jios- 
sesses,"  canzonet,  "('lose  by  the  N\  cllands," 
duet.  "  Haste,  ye  gales,"  duet.  "  O,  linger  yet," 
duet. 

MACE.  THOM.VS,  bom  in  the  yeai  161.1, 
was  one  of  the  clerks  of  Trinitj'  College,  Cam- 
bridge, and  distinguished,  among  the  writers  on 
music,  by  a  work  entitled  "  Music's  Monument,  or 
a  Remembrancer  of  the  best  practical  Music,  both 
Divine  and  Civil,  that  has  ever  been  known  to  be 
in  the  World  ;  "  published  in  folio  in  1676.  Un- 
der whom  he  was  educated,  or  by  what  means  he 
became  possessed  of  so  much  skill  in  the  science 
of  music  as  to  be  able  to  funiish  matter  for  the 
above  work,  he  has  nowhere  informed  us.  We 
may  collect  from  it  that  he  was  enthusiastically 
fond  of  music,  and  of  a  devout  and  serious  dispo- 
sition, though  cheerful  and  good  humorejji  even 
under  th.e  infirmities  of  age  and  the  pressure  of 
misfortunes.  His  knowledge  of  music  seems  to 
have  been  chieHy  confined  to  the  practice  ol  the 
lute,  (his  iavorite  instrument,)  and  to  so  much  of 
the  principles  of  the  science  as  enabled  him  to 
compose  for  it. 

As  to  the  above  work,  a  singular  vein  of  dry 
humor  runs  through  it,  which  is  far  from  being 
disgusting,  since  it  exhibits  a  lively  portrait  of  a 
good-natured  old  man.  TTie  first  four  chapters 
are  a  eulogium  on  psalmody  and  parochial  mu- 
sic ;  the  tilth  contains  a  recommendation  of  the 
organ  for  that  puqiosc.  The  sLxth  treats  of 
"  how  to  procure  an  organist."  In  the  eleventh 
and  twelfth  chapters  he  treats  of  cathedral  mu- 
sic, and  laments  seriously  its  decline  in  Great 
Britain. 

In  parochial  psalmody  the  author  recommends 
what  he  calls  "  short,  square,  even,  and  uni- 
form ayrcs,"  and  is  "  bold  to  say  that  many  psalm 
tunes  are  so  excellently  good,  that  art  cannot 
mend  them  or  make  them  better."  In  spooking 
of  the  difficulty  of  singing  in  tune,  even  with  a 
good  voice,  he  observes,  that,  "with  an  unskilful, 
inharmonious,  coarse-grained,  harsh  voice,  it  is 
impossible."  "  'Tis  sad  to  hear  what  whining, 
toling,  yelling,  or  screcking,  there  is  in  country 
congregations,  where,  if  there  bo  no  organ  to 
compel  them  to  harmonical  unity,  the  people  seem 
affrighted  or  distracted."  The  liberal  use  of 
compounds  by  the  ingeniotis  Master  Mace  gives 
his  language  a  very  Crrecian  appearance.  The 
second  part  of  the  work  treats  of  the  lute,  and 
professe.H  to  lay  open  all  the  sc<rcts  relating  to 
that  instrument,  which,  till  the  avitlior's  time, 
had  only  been  known  to  the  masters  of  the  sci- 
ence. The  third  part  is  on  the  viol  and  music 
in  general ;  and  in  this  he  censures  the  abuse  of 
music  in  the  disproportionate  number  of  baa* 
1 


MAC 


ENCYCLOP.EDIA    OF    MUSIC. 


MAP 


and  "' Fttiif  MoMten  auf  die  TUrken-Gefahr  gerich- 
lei,"  Erfurt,  159.5. 

M.VCK,  IIEINUICII,  cliapel-mastcr  at  Stutt- 
gard,  and  an  able  composer,  flourished  in  1670. 

MACKENZIE,  J.,  professor  of  rau.sic  at  Bamp- 
ton,  in  Oxfordshire,  is  a  native  of  Exeter,  and 
finished  his  musical  education  in  Ix)ndon  under 
the  celebrated  J.  Field,  pupil  of  dementi.  Mac- 
kenzie was  a  ^ood  pianist,  and  so  smootli  in  his 
method  of  fin^erin;;,  that  he  once  performed  with 
a  wine  glass  ot  water  on  the  back  of  each  hand, 
lie  has  publislicd  some  music  for  hLs  instrument, 
amongst  which  is  "  Variations  on  the  Copenhagen 
Waltz." 

MACQUE,  GIOVANNI  DI,  a  contrapuntist 
and  organist  in  the  ser\'ice  of  the  King  of  Na- 
ples, about  the  middle  of  the  sixteenth  century, 
published  "  Canznnette  alia  Xnfniitana,"  lo-id,  and 
"  Madri'/aletti  a  6  vovi,"  Antwerp,  IfiOO. 

MACROIUCS,  AM15RO.SIUS  AUKELIUS 
TIIEODOSIUS,  a  domestic  of  the  Emperor  Theo- 
dosius,  who  held  liim  in  high  e.steem,  was  a  for- 
eigner, and  flourished  in  the  year  420  before  Christ. 
Among  his  writings  the  following  belongs  to  mu- 
sical literature  :  "  Commentariorum  in  Somnititn 
Sripionis  a  Ciccitnu:  dascriplum,  lib.  2,"  in  which 
he  treats  of  the  music  of  the  spheres,  according.to 
the  Pythagorean  doctrines. 

MADIN,  IIEXKI,  of  an  Irish  family,  was 
born  at  Verdun,  in  France,  in  lii'JS.  hi  1737  he 
Quitted  the  situation  of  chapel-master  to  the  cathe- 
dral at  Tours,  which  he  then  held,  and  was  nom- 
inated chapel-master  to  the  King  of  France.  He 
soon  after  also  succeeded  Campra,  as  master  of  the 
choristers  in  the  Chapel  Koyal  at  Versailles,  in 
which  town  he  died  in  1718.  The  motets  of  Abbe 
Mndin  were  much  esteemed  in  France,  and  were 
sung,  long  after  his  death,  in  the  Chapel  Royal. 
They  have  remained  in  manuscript.  In  1742, 
Madin  published  a  work  entitled  "  Tratti  du  Con- 
tri  point  simpU;"  wliich  is  considered  but  a  mediocre 
performance. 

MADONIS,  GIOVANNI.  An  excellent  vio- 
linist, born  at  Veniie.  Quantz  and  several  other 
writers  speak  very  highly  of  his  talent.  In  1731 
he  was  invited  to  St.  Petersburg,  with  a  salary 
of  one  thousand  rubles,  and  in  1744  was  resident 
there.  Several  concertos  and  sonatas  of  lus  com- 
position were  j)ublished  at  Paris. 

MADRE  DE  DEOS,  ANTONIO  DA,  a  Car- 
melite  friar  of  Lisbon,  studied  music  under  the 
two  celebrate  I  Portuguese  composers,  Duarte 
Lobo  and  Manuel  Cardoso,  and  became  afterwards 
vicar  of  the  choir  of  his  convent  in  Lisbon,  where 
he  died  in  1090.  He  comjxised  several  psalms, 
motets,  responsorift,  and  other  church  mu.sic, 
which  is  pirtly  distributed  among  amateurs,  and 
partly  preserved  in  the  royal  musical  library  at 
Lisbon,  where  they  are  held  in  higli  estimation. 

MAURE  DE  DEOS,  FR.  FILIPPE  DA.  a 
canon  and  composer,  born  in  Lisbon,  flourished 
about  the  year  Ui20.  He  w;im  ch.iniber  musician 
to  King  A'lj)honso  VI.  of  Portugal,  and  teacher 
to  King  John  IV.,  who  became  afterwards  so 
celebrated  in  musical  science.  He  left,  at  hi* 
century,  probably  from  !  death,  several  musical  works  in  manuscript,  which 
Die  Uistorie  torn  Li'itlen  i  are  preserved  in  the  royal  library  at  Lisbon. 
Kind  Sirrbcn  Chriati  mil  6  Siimmcn  cnmjioiiirt,"  I  M.VDRIALE.  The  name  formerly  given  by 
Erfurt  1.593,  i.  e.,  "The  History  of  the  Pa.ssion  the  Italians  to  the  iiUi)mez:i,  or  pieces  perffrmed 
and  Death  of  Christ,  composed  for  live  voices;"     between  the  acts  of  a  play  or  an  opera. 

342 


and  treble  instruments  in  the  concerts  of  his 
time,  in  which  he  says  it  was  not  unusual  to  have 
but  one  small  weak-sounding  bass  viol  to  two  or 
three  scolding  violins,  a.s  he  calls  them  He  gives 
directions  for  procuring  and  maintaining  the  best 
music  imaginable,  and  exhibits  first  the  plan  of  a 
music  room  contrived  by  himself  for  concerts, 
with  galleries  for  auditors,  cajjablc  of  holding  two 
hundred  jiersons.  The  instruments  are  a  tabic 
organ  (an  invention  of  his  own)  and  a  chest  of 
viols,  two  violins,  and  basses  of  strength  sufficient 
"  that  they  may  not  outcry  the  rest  of  the  mu- 
Bic."  To  tlicse  he  adds  two  theorbos,  three  "  full- 
sized  lyra  viols,  lusty  and  smart  speaking ;  be- 
cause that  in  consort  they  often  retort  against  the 
treble,  imitating,  and  often  standing  instead  ol 
that  part,  second  trci)le."  "  And  beijig  thus 
etored,  vou  have  a  ready  entertainment  for  the 
greatest  ])rince  in  the  world."  He  afterwards 
gives  directions  for  playing  the  viol,  with  a  few 
lessons  by  way  of  example ;  and  concludes  with 
a  chapter  on  music  in  general,  which,  however, 
contains  nothiug  more  than  some  reflections  of 
the  author  on  the  mysteries  of  music,  which,  he 
says,  have  a  tendency  td  strengthen  faith,  and  are 
a  security  against  t/ie  sin  of  atheism.  Mace  does 
not  appear  to  have  held  any  considerable  rank 
among  musicians,  nor  is  he  celebrated  either  as  a 
composer  for  or  a  performer  on  the  lute.  His 
book,  however,  proves  him  to  have  been  an  ex- 
cellent judge  of  the  instrument,  and  contains  such 
a  variety  of  direttions  as  to  render  it  a  work  of 
great  utility.  We  find  in  it  many  curious  obser- 
vations on  the  choice  of  stringed  instnxments,  the 
various  kinds  of  wood  of  which  they  are  made, 
the  method  of  preserving  them,  and  the  mode  of 
shoosing  strings. 

MACHACLT,  GUILLAUME  DE.  A  French 
composer,  born  about  the  year  1284.  In  1301 
he  was  in  the  service  of  the  Queen  of  Philippe 
le  Bel,  King  of  France,  till,  in  1307,  he  became 
valet  dc  chtmbre  to  the  prince  himself.  .Some 
time  after  this,  Henry,  King  of  Navarre,  placed 
Machault  as  secretary  to  John  of  Luxemburg, 
King  of  Bohemia,  who  was  killed,  in  1346,  at  the 
battle  of  Crccy.  With  this  prince  Machault  re- 
mained more  "than  thirty  years.  He  was  living 
in  1370,  and  after  that  time  wrote  a  work  entitled 
"The  Siege  of  the  City  of  Alexandria,"  in  which 
he  relates  the  assassination  of  Pierre  de  Lusignan, 
King  of  Jerusalem  and  of  Cyprus,  which  event  did 
not  take  place  till  near  the  end  of  the  year  13()9. 
Amongst  other  music,  Machault  composed  some 
French  and  Latin  motets,  roundelays,  and  bal- 
lads, also  a  mass  for  four  voices,  which  Is  thought 
to  have  been  sung  in  1364,  at  the  coronation  of 
Charles  V.,  King  of  France.  Francois  Perne, 
of  Paris,  has  reproduced  this  mass,  which  is  a 
great  curiosity,  with  a  modern  score. 

MACHICOURT,  PETRI'S  DE.  First  singer 
at  the  church  of  Tours,  in  France,  about  the 
year  155<i.  He  )uiblished  at  I'aris  nineteen 
Bongs  with  music,  and  was  a  composer  much  es- 
teemeil  in  the  age  in  which  he  lived. 

MACHOLDUS,   JOII.VNNES,   a  contrapun- 
tist  of  the  sixteenth 
I'huringia,  iniblished 


MAD 


ENCYCLOPEDIA    OF    MUSIC. 


MAR 


MADRIGAI-,  or  MADRIGALE.  (I.)  An 
elaborate  vocal  composition,  generally  in  five  or 
»ix  parts.  It  was  much  in  fashion  in  Enj;lantl, 
ns  well  as  Italy,  during  the  sixteenth  and  seven- 
teenth centuries,  "llie  principal  characterLstics  of 
the  madrigal  are  its  imitation,  fugue,  and  arti- 
ficial construction,  by  which  it  is  subjected  to 
very  rigorous  laws,  while  it  comprises  a  complex 
and  intricate  assemblage  of  parts. 

To  tindcrstand  the  madrigal  properly,  and 
to  enjoy  its  beauties  completely,  it  is  necessary 
to  consider  the  giio  animo  wliich  lights  up  its 
fires.  It  is  essentially  a  vocal  and  musical  ad- 
dress, either  in  the  way  of  serenade  or  otherwise ; 
the  subject  chiefly  is  love,  and  it  expresses  hopes, 
griefs,  desires,  disappointments,  praises,  &c., 
either  of  women  or  of  long-cherished  abodes. 
The  poetry  is  commonly  terse,  the  expression 
warm,  and  the  tune  of  the  sentiment  simple, 
high-souled,  and  delicate  ;  the  music  abounds  in 
fugucy  and  not  unfrequently  ingenious  specimens 
of  counterpoint,  si/ncopation,  and  inversion  ;  in  short, 
it  is  a  practical  carrying  out  of  the  science  of  har- 
mony in  all  its  relations,  effected  with  delicacy, 
Btriking  witli  novelty,  but  never  offending  by  the 
abrupt  utterance  of  an  unexpected  musical  phrase. 
It  is  a  species  of  music  which  the  vocal  performer 
or  composer  cannot  too  carefully  study,  for  he 
will  see  tl  ercby  more  practical  hints  in  musical 
resolufim  and  harmony  than  by  any  other  set  of 
examples  wliatsoever. 

According  to  Menage,  the  word  madrigal  is 
said  to  be  derived  from  mandra,  "  a  sheepfold," 
and  consequently  it  means  pa.storal  song ;  but 
the  true  etymology  is  yet  doubtful,  for  we  find 
some  deriving  the  word  from  the  Spanish  mnd- 
ruyar,  signilying  "to  rise  in  the  morning,"  and 
applied  as  a  name  for  a  serenade ;  again,  it  is 
ascertained  to  be  a  corruption  of  marteyeiuc,  a 
people  who  excelled  in  a  composition  of  this 
kind  ;  and  Dr.  Bumey  concedes  that  it  is  derived 
from  Alia  Madre,  the  beginning  of  certain  hjTnns 
to  the  Virgin. 

The  madrigal  must  have  been  fully  introducetl 
into  England  in  Shakspeare's  time,  for  we  find 
the  bard  putting  into  the  mouth  of  Sir  Hugh 
Evans,  in  "  The  Merry  Wives  of  Windsor,"  the 
following  portion  of  a  song  well  known  at  that 
period. 

•*  To  nhallow  river*,  to  whoM  fkit* 
Mflodioiin  binU  flins  iimilriauU  / 
There  wc  will  make  our  hc'U  of  ro«Cf 
And  a  thoiisund  vagrant  po»iea." 

These  lines  are  not  Shakspeare's  own,  but  part 
of  a  popular  composition  in  hLs  day,  and  they 
sufficiently  prove  that  madrigals  were  then  in 
considerable  use.  Now,  Shakspeare  wTOfe  hb 
"  Men-y  Wives  of  Windsor"  in  the  year  1596, 
according  to  Chalmers,  but  certainly  not  later 
than  the  year  I'iOl.  We  may  arrive,  therefore, 
pretty  nearly  at  the  period  of  the  incorporation 
of  madrigal  upon  tlie  English  school  of  music. 
There  it  now  remains  in  the  ascendant,  and  to- 
gether with  a  certain  species  of  glee,  catch,  and 
round,  constitutes  a  nationality  of  music  alto- 
gether distinct  from  that  of  any  other  country. 
l"he  glees,  catches,  rounds,  canons,  and  tlie 
hunting,  bacchanalian,  and  martial  songs  of 
England,  are  the  branches  which  have  grown 
from  the  trunk  of  this  school,  and,  connected  ■with 
the  general  consideration  of  music  itself,  may  well 
je  subject  to  analysis. 
Of  the  prevailing  taste  for  the  madrigal  ttyte 


of  composition,  of  which  we  have  spoken,  we 
have  an  additional  ])roof  in  tlie  following  p»R. 
sage  from  the  "Foreign  Qu;irterly  Review:'' 
"  The  opera  buffa,  or  comic  oj)era,  made  its 
appearance  in  I.tD"  ;  it  was  called  'L'Oufipnr- 
ntiso,'  composed  by  I'rasio  Vacchi.  The  music 
of  this  piece  is  printed  in  a  score  of  five  separate 
])arts,  which  are  all  employed  throughout,  e\en 
in  the  juologue  ;  each  scene  is,  therefore,  nothing 
more  than  a  Jiir  ]>itrt  mnilrigal  enaction.  There 
is  no  Holo  or  recitative  throughout  the  whole  per- 
formance, neither  is  there  any  overture  or  part 
for  an  instrument  ol  any  kind." 

In  fact,  according  to  the  authority  just  quoted, 
it  should  appear  that  the  inatlrii/al  is  altogether 
anterior  to  the  opera  as  a  musical  comjiosition, 
for  the  same  writer,  sjicaking  of  the  music  of 
Italy,  says,  "  Tlie  musical  drama  in  this  rountry 
has  flourished  from  a  remote  period.  Siilpitius, 
an  Italian,  speaks  of  it  a.s  an  entertainment 
known  there  as  early  as  the  year  1490;  he  was 
supposed  to  have  invented  it,  but  he  only  revived 
it.  For  a  long  interval,  however,  the  early  op- 
eratic spirit,  in  whatever  form  it  existed,  seemed 
to  have  slnmbered ;  the  principal  Italian  writers 
confining  themselves  to  the  production  of  ora- 
torios, mas.scs,  madrii/als,  and  motets.  ITio 
popes  and  nobles  of  Italy  were  all  patrons  of 
music,  excellent  artists  were  numerous,  yet  the 
opera  did  not  permanently  establish  itself  until 
the  year  10,32,  at  Home.  Bumey  mentions  that 
the  first  seculai  or  musical  drama  performed  was 
'  II  ritorno  di  Anijeliea  nelV  Inilii.'  " 

The  first  publication  of  English  madrigals 
began  in  the  latter  part  of  the  reign  of  Queen 
Ehzabeth,  about  1.590,  and  was  continued  in- 
dustriously throughout  a  great  jiart  of  the  suc- 
ceeding century.  Thomas  Weelkes,  bachelor  of 
mur.ic,  and  a  gentleman  ot  the  chajiel  of  James  I., 
brought  out  a  collection  of  madrigals  tor  four, 
five,  and  six  voices,  in  1.597  ;  and  afterwards  pub- 
lished a  large  number  of  madrigal'^,  apt  for  voices 
and  viols  —  at  once  showing  prolific  powers,  and 
the  favorable  reception  which  compositions  of 
this  kind  received. 

The  following  specimen  of  the  commencement 
of  a  madrigal  by  Arkadclt,  a  disciple  of  Josquin, 
was  ■\<Titten  in  1510.  It  has  still  charms  for  the 
admirers  of  clearness  and  simplicity. 


MADRIGALIST.     A  composer  of  madrigals. 

MAEI.ZEI-,  JOHN.  This  very  ingenious  me- 
chanic was  l)orn  at  Hegensburg  in  1772.  He  re- 
sided, in  liSOO,  in  Vienna,  where  he  constructed 
an  instruraeut,  which,  by  means  of  a  wheel  moved 
by  a  weight,  jierformed  pieces  of  Turki.sh  music, 
a.s  if  played  by  a  band  of  flutes,  pipes,  four  trum- 
pets, cymb.ils,  triangle,  and  double  drum.  A 
double  bellows  furnished  the  wind.  The  sound 
of  the  triinipefs  was  particularly  admired.  It 
was  produced  by  ordinan.-  trumpets  blo^rn  by 
the  machinery,  with  a  power  not  to  be  excelled 
by  any  trumpeter.     Maelzel  sold  thi^  in.strum«&t. 


ii3 


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ENCYCLOPAEDIA    OF    MUSIC. 


MAO 


in  the  year  of  it«  invention,  to  an  Hungarian  no- 
bleman lor  tliri'c  thousand  florins.  iSince  that 
time  he  was  a.'*siduouKly  ongngcd  in  bringing  this 
sort  of  nioc'haiiical  production  to  the  greatest 
possible  perlcition,  and  in  trying  to  increase  tlie 
number  of  instruments  by  two  clarinets,  and,  if 
possible,  also  by  two  stringed  instruments.  Tliis 
second  instrumLUt,  which  lie  called  the  I'an- 
hanuonicon,  was  sold,  as  Oerber  has  been  as- 
sured, for  twenty-five  thousand  dollars,  in  Pari;!. 
Lastly,  he  brought  to  Vienna  a  new-invent- 
ed automaton,  which  raised,  if  jjossible,  still 
greater  admiration  and  satisfaction  than  his  pre- 
ceding inventions.  He  first  gave  in  Munich  a 
concert  to  the  court  with  tliLs  machinery,  and 
afterwards  a  public  one,  with  extraordinary  suc- 
cess. In  the  "  Journal  ties  Modes,"  for  1809,  p. 
251,  Is  found  the  following  description  of  his  au- 
tomaton :  "  From  a  tent  Mr.  Maelzcl  led  out  a 
fine,  manly-looking,  martial  figure,  in  the  unifonn 
of  a  trumpeter  of  the  Austrian  dragoon  regiment 
Albert,  his  trumpet  being  in  his  mouth.  After 
having  jiressed  the  figure  on  the  left  shoulder, 
it  played  not  only  the  Austrian  cavalry  march, 
as  also  all  the  signals  for  the  mana-uvres  of  that 
army,  but  also  a  march  and  an  allegro  by  Weigl, 
■which  was  accompanied  by  tlie  whole  orchestra. 
After  this,  the  dress  of  the  figure  was  completely 
changed  into  that  of  o  French  trumpeter  of  the 
guai'd  ;  it  then  began  to  play  the  French  cavalry 
inarch,  aLso  all  the  signals  of  the  French  cavalry 
manoeuvres,  and  lastly  a  march  ol  Dussek's  and 
an  allegro  of  Pleyel,  accompanied  again  by  the 
full  orchestra.  The  sound  of  this  trumpet  Ls 
pure,  and  more  agreeable  than  even  the  ablest 
mu>ician  could  i)roduce  from  that  instrument, 
because  the  breath  of  a  man  gives  tlie  inside  of 
the  trumjiet  a  moisture  which  is  prejudicial  to 
the  purity  of  the  tone.  Maelzel  publicly  wound 
up  his  ii'.strument  only  twice,  and  this  wa,s  on 
the  left  hip."  Maelzcl  was  also  the  inventor  of 
the  celebrated  automaton  chess  player  ;  likewise 
of  the  metronomes,  for  counting  time  in  music. 
He  died  in  1838.     See  Metboxome 

MAESTOSO.  (I.)  A  word  implying  that 
the  comi)osition,  or  movement,  to  which  it  Ls  pre- 
fixed is  to  be  performed  with  dignity  and  majesty. 

MAESTRO  DEL  CORO.  (I.)  The  master  of 
the  choir. 

MAESTRO  DI  CAPELLA.  (I.)  Master  of 
the  chapel  music  ;  or  master  of  the  band.  In 
general,  the  musician  who  has  the  management 
and  direction  of  a  performance. 

MAFFEI,  GIOV.  CAMILLO,  a  Neapolitan 
philosopher,  born  at  Solofra,  published,  amongst 
other  works,  "  Oiscorsn  Filnsnjico  delta  Voce,  e  del 
Vodo  d"  imjmrarc  di  Cantor,  di  GargaiUo,  raccolto  da 
D.  i'alerio  de  Paolo  di  Linioshuitio,"  Naples,  15fi3. 

MAFFtJLI,  VINCEXZO.  One  of  the  first 
tenor  singers  of  his  time  in  Italy,  whose  person 
and  voice  were  eiiually  agreeable.  He  joined  to 
these  talents  great  strength,  facility,  and  much 
energy  and  feeling,  in  his  dramatic  representations. 
In  the  year  1787  he  sang  in  tlie  theatre  Aliberti 
at  Rome,  where  the  audience  were  filled  with  ad- 
miration, and  called  out  to  him,  "  Mnjfolo .'  Mnjfo- 
lissinio!"  He  sang  also,  in  17H0,  at  Reggio, 
Sienna,  and  Turin  ;  shortly  after  which,  he  was 
invited  to  Vifiinn,  to  perfonn  at  the  great  theatre 
thvrc,  whert  nc  played  the  more  serious  parts  in 


the   ojjcra   buffi.      IIo    seems   to   have  quitted 
Vienna  about  the  )-ear  1794. 

MAGADIS.  Tlie  name  of  an  ancient  Greek 
treble  instrument,  furnished  with  double  strings 
tuned  in  octaves,  like  those  of  a  three-stop  harp- 
sichord. 

MAGADIZING.  A  term  in  the  ancient  Greek 
music,  signifying  a  vocal  performance  in  octaves, 
when  men  and  women,  or  men  and  boys,  joined 
in  the  same  air  ;  so  that  nunjailhing  was  a  kind 
of  antiphonizing.  Tliis  word  is  derived  from 
inaya.1,  the  bridge  of  an  instrument ;  the  sense  of 
which  was  extended  to  an  instrument  with  double 
chords  in  octaves,  and  hence  applied  to  voices  in 
octaves. 

MAGALIIAENS,  FILIPPE  DE,  court  chapel 
master  at  Lisbon,  was  born  at  Azeitam,  a  village 
within  the  patriarchate  of  Lisbon.  Manoel 
Mendes  was  his  master  in  music,  in  whose  school 
he  became  so  well  informed,  that  shortly  after 
his  instructions  were  ended,  he  was  appointed 
court  chapel-raaster.  He  Ls  ranked  among  the 
best  composers  of  his  country,  and  left,  at  his 
death,  the  following  works :  '•  Cantica  Beaiissima 
Virginis,"  Lisbon,  1G36.  "  Misste  i,  o,  et  6  voci- 
bus,"  Lisbon,  1636.  "  CaiUits  Ecclesiaslicua  coin- 
meiulandi  aniinas  corporariue  stpcliendi  dcfutKtorum  ; 
Missa  et  Sfationesjtixla  llilum  sacrosanctie  Romai'ut 
lurlesifi!  Breviarii  MissalUque  lioniani  dementis 
VIII.  et  Vrbani  Vlll  recor/nitionem  ordinata,"  Lis- 
bon, 1014,  also  Antwerp,  1G91.  Resides  these, 
there  are  still  in  the  royal  library  at  Lisbon  a 
considerable  collectiou  of  masses,  motets,  &c.,  by 
this  ma-^ter. 

MAGE,  DU,  organis-t  of  St.  Quentin's  Church, 
at  Paris,  about  the  year  1740,  published  a  collec- 
tion of  music,  in  the  first  ecclfrjiastical  tone,  for 
the  organ. 

MAGERIUS,  STEFFANUS,  a  composer  at  the 
end  of  the  sixteenth  century,  set  to  music 
"  i>cher(zer' s  Symiolum,"  Nuremberg,  15G9  or  1599. 

MAGGHIELS,  JE.\N,  a  French  composer  in 
the  beginning  of  the  seventeenth  century,  pub- 
lished "  C/iaitsoiis  a  i,  6,  el  6  voijr,"  Douay,   IGOO. 

MAGGIORE,  (I.,)  orMAJEUR,  (F.,)  MAJOR. 
Greater,  in  opposition  to  minor,  less,  ui  respect 
to  scales,  intervals,  modes,  &;c. 

MAGGIORE,  FRANCESCO,  a  Neapolitan 
dramatic  composer,  wrote  several  operas  for  dif- 
ferent towns  in  Europe.  He  died  in  Holland 
about  the  year  1780. 

M.\GIIERINI,  GIUSEPPE  MARIA,  a  Mil- 
anese composer,  born  about  the  year  1752,  brought 
out,  in  1770,  an  oratorio  called  "The  Judgment 
of  Solomon."  In  1780,  a  set  of  violin  trios,  by 
Magherini,  were  published  in  London.  Another 
musician  of  this  name  lived  at  Rome  at  the  be- 
ginning of  the  eighteenth  century. 

MAGIELLUS,  DOMINICUS,  o  contrapuntist 
of  the  sixteenth  century,  published  "  iludiigaJi  A 
5  rod,"  Venice,  1567,  and  "  Malrigali  a  5  voci," 
Venice,  1568.  Roth  works  arc  yet  in  the  elector's 
library  at  Munich.     He  was  a  native  of  Valeggic . 

MAGINI,  a  vocal  composer  of  the  good  Italian 
school,  flourished  obout  the  year  1700.  The  fol- 
lowing of  his  solo  cantatas  were  extant  in  manu- 
script :  "  Cantata  :  lo  nan  so,  quamlo  ri  miro,  i 
Sopr.  e  Cemb."     "  Cantata:    \'o  mi  iicgate  amore,  d 


644 


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ENCYCLOr.EDIA    OF    MUSIC. 


MAT 


!^r.  e   Cem'j."     "  Cuntatu  :    Da  cite   viiUIe  il  duo, 
\c.,  fl  Sopr.,  2  I'.,  e  denib." 

MAGIUS,  FUAXCISCUS,  a  Siollinii  composer, 
born  nt  t'nstro  Vetrnno,  published  "  Sacra  Armo- 
lia,  e  Musiculi  Concotti  A  2,  3,  4,  e  5  voci,  con  una 
Mesfa  h  5  conccrtala,"  Milnn,  1670. 

MAGXASCO,  I.ODOVICO  DA  SANTA 
FIOKA,  flourished,  about  15.50,  as  composer  and 
•iiii^er  in  the  ]iapal  chapel.  lie  was  altcrwards 
made  IJishop  of  Assisi. 

MA(i\I,  BENEDETl'O,  an  Italian  composer 
in  the  bci,'inninK  of  the  sovi-ntccntli  century,  pub- 
lished "  .Uo^;/^*."   Venice,   IfilG.     "  Mvsac  ('oncer- 
'ate  a.  8  rod,"  Venice,  1610.     "  Concerti  a  1,  2,  3 
8  t«ci,"  Ops.  1,  2,  and  3,  Venice,  1616. 

MAGXI,  Gir.SEPl'E,  chapel-master  of  the 
cathedral  church  at  Foli;,'no,  was  born  there. 
lie  may  bo  reckoned  among  tlie  {;ood  composers 
oi  his  time,  that  is,  about  the  year  1700.  He 
joraposcd,  amongst  other  works,  "  Dccio  in  Fo- 
•ilfno,"  a  melodrama,  represented  in  the  church  of 
the  above  town  in  1(;97.  He  also  composed  the 
opera  "Teiuzone,"  Milan,  1706. 

MAGNI,  PAOLO.  Chapel-master  at  Milan,  to- 
wards the  end  of  the  seventeenth  century. 

MAGXIFIC.VT.  ( L.)  A  canticle  sung  by  the 
Virgin  in  the  house  of  Zacliariah.  A  part  of  the 
vespers  in  the  Catholic  evening  services. 

MAGXUS,  organist  of  the  church  of  St.  Giles 
in  the  Fields,  in  the  first  half  of  the  last  century, 
was  esteemed  a  great  master  of  harmony,  and 
had  a  style  which  none  could  imitate.  Exces- 
sive study  and  application  brought  on  a  disorder 
in  his  mind,  and  he  died  a  young  man. 

MAGODI.  Certain  itinerant  poet  musicians 
among  the  Greeks,  who  perambulated  the  streets, 
singing  humorous  poems,  or  ballads.  Thev  were 
at  length  employed  in  the  comic  representations 
of  the  stage. 

MAOODIA.  (Gr.)  The  nomc  given  by  the  •nclcnU  to thofe  lyric 
poi'ins  9ung  hy  tht  inaootli. 

MAHAUT,  AXTOIXE,  a  good  composer  and 
flutist,  lived  at  Amsterdam  from  the  year  1740  to 
1760,  when  he  fled  from  his  creditors  to  a  convent 
in  France,  and  about  the  same  time  published  a 
work  entitled  "  SomelJe  mithode  pour  apprendre, 
en  p<m  tic  Um.n,  d  joner  de  la  JlAte  traversi^re,  h 
I'usage  drs  commnK^nn.i  et  dfs  personnel  plus  avan- 
cis."  Some  years  afterwards  a  second  edition  of 
this  work  appeared.  'ITiere  have  further  been 
printed  of  the  works  of  Mahaut  nine  collections  of 
solos,  duos,  concertos,  .tc,  for  the  flute,  also  some 
symphonies,  and  three  collections  of  Dutch, 
French,  and  Italian  ariettes. 

M.VIIOX.  A  celebrated  clarinetist  in  London, 
in  the  latter  half  of  the  Ian*   -ntury. 

MAIir,  STEI'IIAX,  an  able  CJerman  contra- 
puntist about  the  year  15J0.  Of  his  labors  there 
still  exist  some  choral  melodies  in  Hans  AVal- 
ther's  "  Cuitionale."  'ITiere  are  also  some  profane 
■ongs  by  him,  in  a  collection  printed  at  Nurem- 
berg in  \n\\.  Of  these,  a  five  part  song  has  been 
inserted  by  Dr.  Forkel,  in  the  second  volume  of 
hLs  History  of  Music,  p  (;86-691.  The  song  be- 
gins with  the  following  words: — 

"  fs  wolt  cin  i»U  niiin  auf  rlip  niilflchftft  j«n, 
l)t  Ipgl  cr,  fcinc  beat*  Klciilcr  an." 

In  the  Munich  library  are  also  found   "  Officia," 
bj  Main*,  in  manuscript. 


M.VICIIELliECK,  F.  A.,  director  of  the  con. 
certs  at  Freyburg,  published  there,  in  1736  and 
1738,  two  books  of  sonatas  for  the  harpsichord. 

MAIEU,  (;KE(JOKirS.  A  composer,  about 
the  middle  of  the  sixteenth  century,  of  whoso 
productions  Jacob  Fair  has  introduced  several 
l)ieces  in  his  fugues,  published  in  1.^87. 

M.AIER,  J.  F.  B.  G.,  singer  and  organLst  at 
Halle,  in  Suabia,  published  there,  in  1732,  a 
didactic  \vork  called  "  Miiacum  Miuicum,  theoret- 
ico-pnuticitm,  i\c." 

MAIFIELD,  LUDWIG,  published  "  30  Lieder," 
Leipsic,  1793. 

MAILLA,  P.  JOSEPH  AXXA  M.VRIA  DE 
MOUY.VC  1)E,  a  Jesuit,  was,  during  forty-five 
years,  a  missionary  at  Pekin,  in  China,  and  died 
there  in  1748.  He  published  "  Uisloire  giniraU 
de  la  Chine,  on  Annalea  de  cet  Empire,  traduitet  du 
Toiig-Kicn- Kan;/- Moil,  el  pubtiies  par  I'AMjd  Oro- 
sier,"  Paris,  1777.  In  this  work  he  speaks  of  the 
Chinese  practical  music,  and  of  the  musical  books 
of  the  Chinese. 

M-AILLARD,  GILLES,  a  composer  at  Lyons 
towards  the  end  of  the  sixteenth  centurv,  was 
born  at  Terwanen,  in  Flanders.  He  wrote  many 
musical  works,  of  which  only  the  following  haa 
become  known  through  the  medium  of  the  press: 
"  La  Masit/iie,  conleiumt  plti.iiean  Chansons  Fran- 
coises d  quatre,  cinq,  et  six  parties,"  Lvons,   1531. 

MAILLARD,  or  MAGLIARD,  PIERRE,  a 
Jesuit,  born  at  Ypres  in  loS.5,  applied  himself  to 
the  study  of  music,  as  well  as  to  that  of  the  sci- 
ences, for  which  purpose  he  followed  his  master, 
Gregorius  de  la  Hele,  to  Sjjain,  when  the  latter 
was  invited  to  Madrid  as  chapel-ma.ster  to  Kin" 
Philip  II.  He  returned  afterwards  to  Doriiick, 
where  he  had  previously  been  a  singer  in  the 
cathedral  church,  and  was  then  made  a  preben- 
dary, and,  lastly,  rector  at  Ilcrzogciibusch,  where 
he  died  in  1640.  His  treatise  "  De  Tunis  Mnsicis," 
in  French,  must  have  been  printed,  but  is  only 
known  to  Geber  by  the  title,  which  is  as  follows : 
"  Lcs  Tons,  ou  Discours  stir  Ics  Modes  de  Musique, 
et  les  Tons  de  C  Englise,  el  la  Diitinction  cntre  etix," 
Tournay,  1610. 

MAILLERIE,  M.  DE  LA,  a  French  mtisician, 
lived  about  1710.  He  published,  at  -Amsterdam, 
"  Trio  jmur  totites  Series  d'  Instruments,"  and  "  Six 
Sonatas  il  deux  Fl.  e  li.  C." 

M.AIN.  (F.)  The  hand  ;  as,  main  droite,  main 
ffauchc,  or  M.  D.,  M.  G.,  the  right  or  le;t  hand 
in  piano  music. 

MAIXHERGER,  J.  C,  chapel-master  at  Nu- 
remberg, was  born  in  17-iO,  and  died  in  1815. 
He  played  the  piano,  organ,  and  violin,  and  com- 
posed sonatas,  concertos,  and  orchestral  sympho- 
nies. 

M.VINZER,  a  gentleman  distinguished  for  hit 
zeal  and  ])hilanthropic  exertions  in  the  en- 
couragement of  a  poj)ular  taste  for  music,  waa 
born  at  Treves,  in  1801  ;  and  at  a  very  early  ago 
showed  a  desire  to  cultivate  the  art,  in  impartina 
a  knowledge  of  which  he  subse<jucntly  so  greatly 
excelled.  He  was  a  performer  on  several  instru- 
ments, including  violin,  piano,  oboe,  honi,  flute, 
and  bassoon  ;  at  twelve  years  of  ago  he  could 
read  the  most  difficult  music  at  sight*  and  he  had 


69 


M< 


MAI 


ENCYCLOPEDIA    OF    MUSIC. 


MAJ 


also  made  some  very  credifnblo  efforts  in  compo- 
sition. Altrr  ftudyinR  mnthcmntics  and  natural 
science,  at  twenty-one  years  of  a^e  he  became  nn 
enjjineer  ol  mines ;  but,  lindin^  liis  liealth  decline, 
lie  embraced  the  church  as  a  jirofession,  thouf;h 
>lill  uoiitinuin);  to  study  the  "  divine  art."  He 
made,  soon  after,  a  tour  of  (iermany,  and  vLdted 
nearly  all  the  great  mtu^ters  in  musical  science 
—  Kjjcnding  some  time  in  the  family  of  Kinck. 
After  two  years'  absence,  he  returned  to  Treves, 
formed  several  choirs,  and  liecame  the  director  of 
the  musical  d  jpartment  of  the  Normal  School. 
He  afterwards  distinguished  himself  in  Paris,  as 
a  writer  for  the  jiublic  jire-s.  After  quitting 
Paris,  Dr.  Mninz.er  reported  to  England,  and  re- 
sided a  short  time  in  Loudon.  His  cffort-s  have 
been  principally  confined  to  Manchester,  where 
he  ha«  had  many  thousands  of  young  persons 
under  his  immediate  tuition,  and  where  his 
memory  will  long  be  revered  by  both  rich  and 
poor.  His  incessant  labors  produced  a  malady, 
under  which  he  suffered  much,  and  which,  un- 
fortunately, terminated  in  hi;;  demise.  It  was 
under  the  auspices  of  Dr.  Mainzer  that  J.  Alfred 
Novello  commenced  the  London  •'  Mu.\iral  Times," 
t'le  original  title  of  that  paper  having  been 
"  Mainzer's  Musical  Times."  Dr.  Mainzer  died  in 
Manchester,  November,  18.51,  aged  fifty  years. 
He  was  the  author  of  the  jiopular  work,  "  Sing- 
ing for  the  Million,"  and  also  publisheil  a  work 
on  "  Music  and  Education,"  and  a  valuable  "  Mu- 
sical Grammar." 

MAIRAN,  JEAN  JACQUES  DORTOUS  DE, 
permanent  secretary  to  the  Academy  of  Sciences, 
was  born  at  Beziers  in  1G78.  He  published,  iii 
1737,  in  the  Memoirs  of  the  above  academy,  "  Di^- 
cuiirs  sur  la  projxi'jalion  dii  son  dayis  Ua  lUffireiis 
totu  qui  le  moiiijfieiit ; "  also,  in  the  following 
number,  "  Eclaircissemenis  sur  de  DUoours  prici- 
deiU."     He  died  at  Paris  in  1770. 


MAITllE 
master. 


DE   CHAPELLE.     (F.)     Chapel- 


He  afterwards  wrote  the  opera  "  Montezuma," 
which  was  received  with  extraordinary  applause, 
particularly  the  air  "  A  morir  se  mi  condanna," 
which  jiroduced  tears  in  every  spectator.  Hi« 
sublime  and  enrapturing  songs  were  not  sacrificed 
to  instrumental  accompaniment.  Afterwards  he 
went  to  Najjles,  where  he  wrote  several  o|)eras, 
among  which  is  •'  Jjjcrmnestm  ,■  "  but,  strange  to 
say,  in  his  own  country  alone  he  met  with  but 
little  encouragement.  He  died  at  Naples  in  1773, 
under  thirty  years  of  age.  ITie  following  is  a 
list  of  his  principal  works:  "  Arfaiei-.ie,"  open, 
words  by  Metabtasio,  1702.  "  Iptrmnrttra," 
1702.  "  Cufoiie  in  I'lica,"  words  by  Metastasio, 
17G3.  "  Monh'zuma,"  17 r)5.  "  Antiffnno,"  ol  yict- 
astasio,  17G8.  "  Didone  ahbandoniuita,"  of  Met- 
astasio,  170!).  "  Alessandro  neW  Indie,"  aiao  of 
Metasta-sio,  1774.  "  Eumene,"  first  act  only. 
"  IJiyenia  in  Tauride."  Sacred  music  :  "  Saive 
Regina ;  "  this  was  performed  with  great  applause 
at  the  Conci-rl  S/nritiu-l  at  Faris  in  1782.  "Dixit 
I  Dominus  iJomino  nux)." 

MAJf)ll.  An  p;)ithct  applied  to  that  of  the 
two  modern  modes,  in  which  the  third  is  four 
semitones  above  the  tonic,  or  key  note.  Those 
intervals  which  contain  the  greatest  number  of 
semitones  under  the  same  denomination,  are  also 
called  majnr ;  as  a  third,  consisting  of  four  scmr- 
tones,  instead  of  only  three,  is  termed  a  major 
third :  a  si.xth,  containing  nine  semitones,  instead 
of  eight,  is  called  a  nmjor  sixth. 

MAJOR  MODE.  One  of  the  two  modern 
modes ;  that  in  which  the  third  from  the  key 
note  is  major. 

MAJOR-INO,  G.:VETANO.    See  Cafarelli. 


MAJO,  GIUSEPPE  DE.  Rom  at  Naples 
about  the  year  1698.  After  having  studied  in 
one  of  the  Consen'atories  of  Naples,  and  given 
many  successful  proofs  of  his  abilities,  he  was 
appointed  master  of  the  Royal  Chapel,  as  succes- 
sor ol  Durante.  Majo  filled  this  situation  to  the 
satisfiictior.  both  of  the  court  and  public,  who,  on 
occasions  »i  solemnity,  repaired  in  crowds  to  the 
Chapel  Royal.  His  reputation  di(  not  suffer 
from  the  contrast  with  that  of  his  great  predeces- 
sor, and  he  enjoyed  the  aiiplnuse  and  esteem  of 
his  fellow-citizens.  It  api  ears,  however,  that 
Majo  chietty  excelled  as  an  instructor,  as  he  has 
lef',  'Jew  compositions,  and  many  excellent  pupils. 

MAJO,  FRANCESCO,  or  CICCIO  DI,  horn  at 
Naples  about  174.),  was  the  son  of  nn  obscure 
musician.  From  his  youth  he  was  cdiu'ated  for 
the  bar,  and  did  not  begin  to  learn  music  till  he 
was  twenty  years  of  age.  He  then  went  to  Bo- 
logna to  hear  Padre  Martini,  and,  by  the  advice 
of  this  learned  theorist,  together  with  the  study 
of  the  works  of  Joraelli,  which  lie  had  always  be- 
lore  him,  it  was  not  long  before  he  became  known 
as  a  musician.  He  was  first  invited  profession- 
illv  to  Rome,  where  he  wrote  tlie  music  to  the 
ajiera  '•  Ihmojoontc,"  in  which  ceveral  airs,  full  of 
3ie  and  expression,  excited  universal  admiration. 


MAJOR 
TURES :  — 


C  sharp 


SCALES    AND  THEIR    SIGNA- 


D  flitt. 


0  flat. 


Cflat 


ti^m^^^\ 


The  following  exercise,  extended  by  a  tetrn- 
chord  added  at  each  end  alternately,  should  be 
sol-faed  in  everv  kev  which  can  be  iormcd  from  it. 


^^^ 


646 


MAK 


ENCYCLOPEDIA    OF    MUSIC. 


MA  L 


The  following  is  a  table  of  thirteen  keys,  hc^inniug  in  the  key  of  Gb,  and  rising  by  tetrachord* 
,0  the  key  of  F#f.  Each  note,  when  once  altered,  must  be  considered  as  reinainin<;  bo  till  altered 
»<;ain. 


^^ 


Do  re  Jnl  fft  wl  U  tl  (1«  n  ml  il  do    r«  mt  li  tlo  re  iDiii  <lo  Ao 

The  following  ♦able  gives  the  same  notes,  beginning  in  the  key  of  F*f,  and  descer  ling  by  tctrs- 
chords  to  the  key  of  O  b 


Doll  Uaolfft  ml  redo  fh«l  roilo  r*  ml  redo    ftmlrelo  to. 


These  three  tables  are  given  for  reference ;  the  teacher  is  advised  to  begin  with  the  scale  of  C, 
adding  first  one  tetrachord  at  each  end,  then  two,  then  tliree,  and  so  on  till  the  fo«rteen  tetra- 
jhords  are  gone  through. 


MAKOWECZKY,  chamber  musician  to  the 
Prussian  court,  was  born  in  Bohemia ;  he  was  a 
pupil,  on  the  horn,  of  the  celebrated  Punto.  He 
published,  about  the  year  1802,  several  operas  of 
music  for  his  instrument,  at  I.eipsic. 

MALCOLM,  ALEXANDEll,  published  at 
Edinburgh,  in  the  year  1721,  "  A  Treatise  of  Mu- 
sic, s])eculativp,  practical,  and  historical."  This 
work  is  divided  into  fourteen  chapters.  The  first 
chapter  contains  an  account  of  the  object  and 
end  of  music,  and  of  the  nature  of  the  science. 
The  author  begins  by  explaining  the  nature  of 
sound.  He  then  inquires  into  the  various  affec- 
tions of  sounds,  so  lar  as  they  relate  to  music,  of 
which  he  makes  two  divisions  ;  first,  the  knowl- 
edge of  the  materia  mcdica ;  secontUy,  the  ait  of 
composition.  'ITic  second  chapter  treats  ol  tune, 
or  the  relation  of  acuteness  and  gravity  in  sounds. 
The  third  chapter  contains  an  iu<iuiry  into  the 
nature  of  concord  and  discord,  and  is  concluded  I 
with  a  relation  of  some  remarkable  phenomena 
respecting  them.  The  fourtli  chajiter  is  on  tlie  ' 
subject  of  harmonical  arithmetic,  and  contains  an 
explanation  of  the  nature  of  arithmetical,  •jeomct- 
rical,  and  harmonical  proportions,  with  rules  for 
the  addition,  subtraction,  multiplication,  and  di- 
vision of  ratios  and  intervals.  The  fiith  chapter 
contains  the  uses  and  application  of  the  preced- 
ing theory,  explaining  the  nature  of  the  original 
concords,  and  also  of  the  compound  ones.  The 
sixth  chapter  explains  the  geometrical  part  of 
music,  aiKl  tlie  method  of  dividing  right  lines,  so 
that  their  sections  or  parts,  one  with  another,  or 
with  the  whole,  shall  contain  any  given  interval 
of  sounds.  Ilie  seventh  chapter  treat.s  of  har- 
mony, and  explains  the  nature  and  variety  of  it, 
lus  it  dejxsnds  uixin  the  various  combinations  of 
concordijig  sounds.  The  eighth  chapter  treats 
of  concinnous  intervals,  and  the  scale  of  music  ; 
and  in  this  are  shown  the  necessity  and  use  of 
discords,  and  tlcir  original  depeiulence  on  the 
concords.  It  ex]>lains  further  the  use  of  degrees 
in  the  construction  of  the  scale  of  music.  ITie 
ninth  chapter  is  on  the  mode  or  key  in  music, 
»nd  of  the  oftice  of  tlie  scale  of  mu--ic.  '  The  tenth 
.-hapter  treats  of  the  delects  of  instruments,  and 
the  remedy  for  these  in  general,  by  means  of 


shaq)8  and  flats.  This  chapter  is  concluded  by 
a  general  approbation  of  the  semitonic  division, 
and  the  present  i)ractice  of  tuning  the  organ  or 
har])sichord,  corresponding  as  nearly  to  that  a.s 
the  judgment  of  the  ear  will  allow.  As  to  the 
pretences  of  nicer  kinds  of  musicians,  he  demon- 
strates that  they  tend  to  introduce  more  error* 
than  those  under  which  the  present  system  la- 
bors. The  eleventh  chapter  describes  the  method 
and  art  of  writing  music,  and  shows  how  th« 
ditferenccs  in  tune  arc  represented.  Under  this 
head  the  author  exjilains  the  nature  and  use  of 
the  clefs,  and  the  nature  of  transposition.  He 
explains,  also,  the  practice  of  solmization.  Lastly, 
he  enters  into  an  examination  of  Salmon's  i)ro- 
10>al  for  reducing  all  music  to  one  clef,  as  de- 
livered in  his  •'  Essay  to  the  Advancement  0} 
Music,"  of  which  he  approves.  The  twelfth  chap 
ter  is  on  the  time  or  duration  of  sounds  in  music 
The  thirteenth  chapter  contains  the  general  rule 
and  principles  of  harmonic  composition.  Thest 
are  such  as  are  to  be  found  in  almost  every  book 
on  the  subject  of  musical  composition.  The  ac- 
count given,  in  the  fourteenth  chapter,  of  the 
ancient  music,  is,  considering  its  brevity,  very 
entertaining  and  satisfactory.  In  a  short  history 
of  the  improvements  in  music,  which  makes  part 
of  this  last  chapter,  the  author  particularly  notices 
the  reformation  of  the  ancient  scale  of  Guido, 
and  adopts  respecting  it  the  sentiment  of  a  very 
ingenious  man,  who  says  that  it  is  "crux  'enelU)- 
nii/i   in;/enoriiim." 

In  the  comparison  between  ancient  and  modem 
music,  the  author  gives  a  decided  preference  to 
tlie  latter ;  and  on  the  controverted  question, 
whether  the  ancients  were  acquainted  with  mu- 
sic in  consonance  or  not,  he  cites  a  variety  of 
passages  from  Aristotle,  .**eneca,  and  Cassiodoru-S 
to  determine  the  negative. 

Tliis  work  is  replete  with  musical  erudition ; 
and,  extensive  as  the  subject  is,  the  author  haa 
contrived  to  bring  into  consideration  nil  the  es- 
sential parts  of  the  science.  IIi.s  knowledge  of 
mathematics  haa  enabled  him  to  discuss,  with 
great  clearnes-s  and  perspicuity,  the  doctrine  of 
ratios,  and  other  abstract  speculations,  in  the  lan- 
guage of  a  philosopher  and  a  scholar.  In  short, 
it  is  a  work  trom  which  a  student  may  deriTC 


547 


/4AL 


ENCYCLOPEDIA    OF   MuSIC. 


MAL 


gnat  ndvnntncc ;  niid  it  may  be  justly  deemed  '  Garcia  were  to  siiifj  an  oflbrtoriura  composed  by 


one  ot  the  most  vnluiible  trontit-fs  on  the  subject 
ct'  theoretical  and  practical  mu^ic  thHt  is  to  be 
found  in  any  of  the  modern  lan'^uages. 

MALEITI,  JEAN  DK.  A  French  composer  of 
the  bixtecntli  century,  born  at  St.  Mnximin,  in 
I'rovcnce.  He  published  "  Anuiurs  da  Hoiuard  it 
huit  purtits,"   Paris,  1578. 

MAI.IHUAN.  MADAME,  afterwards  MA- 
DAME DE  liEKIOT.  The  following  account  of 
this  great  singer  is  abridged  from  the  Loudon 
"  Mu>ical  World."  Soi)teml)er,  18.36. 

Maria  Felicia  was  the  eldest  daughter  of  Mnn- 
iicl  and  Jooquina  (iarcia.  and  was  born  in  Paris 
in  the  year  1808.  lloth  her  parents  being  Sjtan- 
iards,  she  naturally  acquired  a  knowledge  of  their 
native  language  ;  and  at  the  age  of  eigb.t  years 
being  brought  over  to  England,  where  she  con- 
tinued, without  intermission  we  believe,  for  near- 
ly nine  years,  her  familiarity  with  the  English  lan- 
guage may  be  readily  accounted  for.  Circum- 
Btances  enabled  her  to  attain  to  considerable 
proficiency  in  German  ;  and  as  for  Italian,  the 
language  of  the  land  of  melody,  her  jirofessional 
duties  rendered  its  attainment  a  necessity,  and 
her  constant  intercourse  with  the  pertbrmers  at 
the  King's  Theatre,  together  with  her  almost  mi- 
raculous memory,  an  affair  of  intuition.  To  the 
question  of  a  person  who  had  heard  her  con- 
\'ersing  with  equal  idiomatic  pro]>riety  and  free- 
dom in  several  languages,  "  which  was  really  her 
native  country,"  expressing  at  the  sime  time 
his  admiration  of  her  great  facility,  she  replied, 
"  I  was  bom  at  Paris,  in  the  parish  of  St.  Pierre ; 
my  father,  as  you  know,  was  a  Spaniard  ;  there- 
fore French  and  Spanish  1  learned  as  every  child 
loams  a  language  ;  early  I  came  to  England,  and 
alter  residing  here  some  years,  where  I  studied 
your  language  closely,  I  went  to  the  L'nited 
States ; "  one  of  her  indescribable  looks  accom- 
panied thirf  part  of  her  narrative ;  "  there  my 
English  was  kept  up  —  not,  I  believe,  improved  ; 
the  Italian  Opera  House  ha.s  been  the  cradle  in 
which  I  was  nursed ;  and  German  I  have  ac- 
quired, that  I  might  grasp  and  enjoy  its  musical 
wealth.  That  I  may  speak  it  witli  facility,  and 
every  day,  mj-  servant  is  a  German.  There,  that 
Ls  the  history  of  my  being  so  leiirned." 

Shortly  after  her  going  to  England,  she  was 
placed  for  education  in  the  convent  at  Hammer- 
smith ;  where,  by  the  petting  of  her  tcaclicrs 
and  rider  schoolfellows,  and  her  own  native  vi- 
vacity and  wilfulness  of  character,  (lor  she  always 
contrived  to  have  her  own  way.)  she  ran  the  risk 
of  being  completely  spoiled.  The  rugged  disci- 
pline of  her  father,  however,  who  appears,  by 
report,  to  have  been  the  jicrsonitication  of  a  tor- 
nado, changed  the  fare  of  those  halcyon  days. 
SImi  was  taken  home,  and  her  musical  education 
roramenccd ;  ai\d  astern  time  poor  little  Maria 
Lad  of  it.  A  person,  who  knew  Garcia,  gave  a 
.udicrou.s  description  of  his  behavior  towards  his 


the  patriarch  ;  and  a  fearful  wailing  the  i)oor 
things  made  of  it ;  when  the  father,  Jnaljle  to 
endure  the  noise,  ramped  into  the  arena,  and  bore 
all  before  him  with  his  furious  blare. 

In  the  I/)ndon  opera  season  of  182.5,  a  disap- 
pointment occurring  in  one  of  the  performances, 
on  account  of  the  return  of  Madame  Pasta  to 
Paris,  Garcia  offered  the  services  of  his  daughter ; 
and  she  accordingly  made  her  rUbiit,  on  tlie  7th 
June,  1825,  (being  under  .seventeen  years  of  age,  > 
in  the  part  of  Kosina,  in  "II  liarhUre.  di  Siviglia." 
Although,  as  might  be  expected,  the  performance 
was  marked  with  crudities,  yet,  in  the  mi(Lst  of 
the-^e,  such  signal  indications  of  genius  betrayed 
themselves,  that  many  prognostirated  her  future 
vocal  supremacy.  She  also  appeared  with  great 
success  in  "  //  Crocia-'o  in  Egitto,"  on  its  introduc- 
tion in  England.  Previously  to  her  aitjiearancc 
in  public,  she  had  attracted  much  notice  at  the 
private  concerts  of  his  majesty  (Je<irge  r\'.. 
Prince  Leopold,  the  Dukes  of  Devonshire  and 
Wellington,  the  Marquis  of  Hertford.  Sir  (ieorge 
WaiTcnder,  Lady  Copley,  and  other  distinguished 
patrons  of  music.  In  the  following  autumn,  she 
received  an  engagement  as  one  of  the  principal 
singers  at  the  York  Festival,  where  she  sang, 
among  other  pieces,  and  indifferently,  the  "  Uiui 
voce  poco  fa,"  and  "  Rejoice  greatly,"  in  the  "  Me;5- 
siah  "  The  "  Alma  inritta,"  from  Ilossini's  "  Si- 
gisinondo,"  was  said  to  be  her  best  performance  at 
that  festival.  And,  at  the  close  of  the  season,  she 
went  with  her  father  to  America,  who  had  cm- 
barked  in  the  speculation  of  transplanting  the 
Italian  opera  in  the  new  world.  The  soil  des- 
tined to  receive  the  exotic  was  that  oi  New 
York  ;  and  the  first  piece  represented  was  on  the 
29th  November,  1825  —  the  one  in  which  our 
youthful  heroine  made  her  dibut  in  lyondon. 
This  was  followed  by  "  Tancredi,"  and  "  Otello," 
she  again  playing  the  part  of  De-idemona.  If  re- 
port be  true,  her  father  at  no  time  appears  to  have 
fully  appreciated  her  talents ;  for  he  would,  even 
in  her  latter  years,  when  she  was  spoken  of  in 
terms  of  admiration,  rejoin,  "'ITiereis  a  younger 
sister,  who  is  a  greater  genius  than  she." 

The  young  Maria's  success  in  America  was  ex- 
traordinary. We  perlectly  remember  the  deliri- 
um of  admiration  into  which  the  New  York 
writers  were  thrown,  in  speaking  of  her  fresh 
and  beautiful  voice  —  to  them  miraculous ;  her 
amazing  vivacity,  which  mystified  them ;  and 
her  condescension.  Their  delight,  too,  in  re- 
cording her  Irish  encores,  —  singing  a  second 
air,  when  re<iuired  to  repeat  the  first.  Notwith- 
standing her  popvilarity,  however,  the  speculation 
is  said  to  have  failed,  and  the  family  to  have  Ix-cn 
involved  in  ditKcultio-t.  At  this  juncture,  the 
young  creature,  still  uiuler  age,  was  married  to 
Monsieur  Malibran,  a  merchant  and  banker,  with 
the  rci)ut«tion  of  being  a  rich  man.  The  unio*^ 
was  in  every  respect  a  disastrous  one,  the  least  ol 
which   consisted  in  the  disparity  of  their  ages. 


family.  Upon  one  o<casion,  when  they  were  i  he  being  twenty  years  her  senior  ;  but  in  conse- 
alone,  and  (iarcia  de->ire  1  to  give  his  visitor  an  '  quen.e  of  irregularity  of  conduct  on  his  part, 
idea  of  some  piece  he  ha.l  comp.osed.  he  roared  and  which  she,  with  her  native  energy  and  gcn- 
out  with  the  voice  of  a  bashaw,  or  camel  driver,  erosity,  endeavored  by  professional  exertions  to 
"  A,o  I'ami'/lia  .'  "  and  in  trooi)0<l  wife,  son,  and  repair,  he  became  insolvent,  and  was  finally  im- 
laughter.  The  composition  was  performed,  and  prisoned  for  debt.  At  this  juncture,  she  volun- 
thcy  "vanished  like  hail  stones."  There  are  tarily  resigned,  for  the  Ix-nefit  of  her  h'usbaud's 
others,  also,  who  remember  a  jierf'ormance  at  the  cnxlitors,  all  the  provisional  claims  wKich  hkd 
Catholic  c'lapel  in  Warwick  Street.     The  trilw  of     been  settled  upon  herself,  as  her  marriage  dowry. 

514 


MAL 


ENCYCLOP.CDIA    OF   MUSIC. 


MAI 


ITiis  single  act  of  her  life  Khould  have  rescued 
her  from  the  subsequent  charges  of  being  extor- 
tionate and  grasping.  The  act  itself  being  ful- 
filled in  a  country  essentially  commercial,  pro- 
duced such  a  manifestation  in  her  favor,  that,  at 
any  subse(iuc)\t  period  of  her  life,  had  she  again 
visited  America,  slie  would  have  returned  loaded 
with  wealth.  This  epoch  in  her  li/e,  and  for 
Bome  years  afterwards,  was  marked  with  uncom- 
mon mental  suffering. 

lleing  now  released  from  paternal  domination, 
and  a  separation  having  taken  place  between  her- 
self and  husband,  Madame  Malibrnn  returned  to 
Jlurope,  and  made  her  appearance  in  the  French 
capital,  on  the  8th  May,  18'i7.  Notwithstanding 
the  fame  which  had  jjreceded  her,  she  created  an 
immense  sensation.  She  wjis  thrown  entirely 
upon  her  own  resources,  and  her  energy  and 
ambition  were  commensurate  with  these.  She 
suddeidy  expanded  into  a  first-rate  actress  and 
singer.  A  French  critic,  describing  her  first  ap- 
pesirance  in  "  Scmiramitle,"  at  this  time,  says, 
"  If  Madame  Malibran  mu.st  yield  the  palm  to 
Pasta  in  point  of  acting,  yet  she  possesses  a 
marked  superiority  in  respect  to  song."  In  the 
8,-ime  season,  her  performance  of  Desdemona  cre- 
ated a  strong  sen.sation,  from  it.H  disjilay  of  deep 
feeling  and  fine  acting.  This  wa-s  in  her  niiie- 
t«  .vh  year,  and  when  the  performance  of  Pasta 
was  fresh  in  the  recollections  of  her  audience 
In  February,  1S29,  Mme.  Malibran  and  Mile. 
Sontag  appeared  for  the  first  time  together. 

Her  next  engagement  wits  at  the  London  Italian 
Opera,  where  she  appeared  on  the  21st  March,  in 
the  famous  season  of  1829.  Iler  range  of  charac- 
ters at  that  period  were,  Desdemona,  (the  first 
character  she  performed  in  upon  her  return,) 
Kosiiia,  Semiramido,  Komeo,  Tancredi,  Ninetta, 
and  Zcrlina.  To  the  lust  of  these,  which  she 
perfonned  on  the  2Sth  of  May,  182',),  she  gave  a 
coni])letely  new  reading,  playing  it  with  all  the 
exuberance  of  a  boisterous  rustic.  The  "  exclu- 
eives"  denounced  the  attempt  as  being  vulgar: 
well  may  it  be  said  that  there  is  no  vulgarity  like 
the  squeamishness  of  the  excessively  genteel. 
AVith  the  commonplace,  her  lot  was  the  same  as 
that  of  all  original  and  independent  minds  :  what 
they  cannot  sympathize  with,  they  underrate. 
It  is  sufficient  for  the  fame  of  Madame  de  Beriot, 
that  from  the  moment  she  demonstrated  une- 
quivocal talent,  slie  secured  the  undivided  prefer- 
ence of  all  the  most  eminent  members  of  her 
Erofession  ;  and  to  the  day  of  her  death,  we  be- 
eve  that  she  maintained  this  station  in  their 
esteem  against  all  her  competitors. 

On  the  2.5th  of  April,  in  the  same  8ca.son,  she 
sang  her  first  song  at  the  Ancient  Concerts.  It 
vu-s,  we  believe,  the  "  llo  I'erdito  "  of  Paesiello. 


from  the  "Cenermtola;  "  and,  with  Mademoiselle 
Sontag,  the  "  Ebhen  a  te  f'erisci,"  from  Semira- 
mide.  Tlie  perfonnance  was  descril)e<l,  at  the 
time,  as  being  "  a  high  treat,  and  which  would 
long  be  reraemljered."  In  the  same  mbnth  she 
first  appeared  in  the  character  of  Fidalma,  in  the 
"  Malrimnnin  Sfi/ieto."  She  was  engaged  at  the 
t'hi'sfer  Festival  of  1829,  where,  for  the  first  time, 
shf  took  the  rank  of  prima  rlojiiia,  when  she  sany 
"  O,  had  I  Jubal's  lyre,"  "  Praise  the  Lord,"  ant« 
"  Rejoice  greatly  ;  "  which  pieces,  from  her  not 
yet  having  made  herself  sufficiently  acquainted 
with  the  style  of  Ilandel,  were  pronounced  at 
!  the  time  to  be  unsuccessful  efforts.  In  the  "Dih 
\  jxirlatf  "  of  C'imarosa,  she  is  described  as  exhib- 
j  iting  the  very  triumph  of  profound  and  tou'  hing 
I  expression.  At  the  Glouce.ster  Meeting  in  Sep- 
tember, she  sang  the  "  Omhra  atloraia,"  from 
Zingarclli's  "Romeo,"  with  other  pieces  ;  and  it 
Pirmijigham,  in  the  following  mouth,  she  shoi  e 
forth  in  great  power.  'Die  old  musicians  said 
that  Handel's  "  Holy,  holy  Lord,"  had  never  been 
so  finely  sung  since  the  days  of  Mara.  Who  that 
heard  can  forget  her  last  singing  of  it  r  Here, 
too,  she  sang,  for  the  first  time,  the  "  Son  pin 
di/ori"  of  Mozart,  AVillman  accompanying. 

In  a  month  from  this  time  she  made  her  reap- 
pearance in  Paris,  in  the  part  of  Ninetta  in  "  Iai 
(jrtira  I^idra,"  and  upon  her  entrance  was  re- 
ceived with  deafening  shouts.  "  So  enthusiastic 
was  the  cheering,"  say  the  French  pajjers,  '•  at 
the  commencement  of  the  cavatina  '  iJi  piacer,' 
that  the  lady  was  unable  to  give  that  piece  with 
the  wonted  effect,  her  voice  being  manifestly 
treraidous  from  emotion."  In  the  succeetliug 
January  she  as.sLsted  at  the  benefit  of  Sontag, 
who  selected  for  the  occa.sion  the  first  act  .of 
"  Sitmiramiflf,"  and  the  second  of  "  Taiicrcdi ;  " 
Malibran  taking  the  part  of  the  latter.  At  the 
conclusion  of  the  performance,  crowns  and  bou- 
quets were  abundantly  thrown  upon  the  stage. 

On  the  2Sth  of  April,  1830.  she  reappeared  at 
the  Ancient  Concerts,  (the  seventh  in  succes- 
sion,) when  she  sang  the  "  Onibra  adonita,"  and 
the  duetto  from  Cimarosa's"  Gti  Orazzi,"  "  Srena- 
mi  omni,"  with  Donzelli ;  also  in  the  "  Placido  i  ii 
mar,"  liom  the  "  Idomeneo."  The  '*  llarnvmicon," 
upon  this  occasion,  bounteously  awards  her  the 
praLse  of  being  "  a  p/easiiiy,  unaffected  singer." 
At  the  last  concert  of  that  sca-son  (May  5,  18.30) 
she  sang  the  "Holy,  holy  Lord,"  ".Von  piit  di 
Jim,"  and  the  "  Deh  prcndi,"  frrfra  the  same 
opera,  {"La  CU-meiiza," )  with  Mi.ss  Paton,  now 
Mrs.  Wood.  .\t  the  sixth  Philharmouii^  Con- 
cert (May  17,  1830)  .she  repeated  the  "Son  piii 
dijiori ;  "  and  sang,  with  Mr.  H.  Philliff*,  "  Btlt 
imrtpo,"  from  the  "  Sfmiramide," 

On  the  13th  of  March,  1830,  she  played  "  Fi- 


A  contemporary  critic — no  frieiid,  for  he  lost  no  '  dalmn,"  for  two  or  three  nights,  upon  the  ecle- 


opportiu\ity,  at  any  time,  of  depreciating  her 
merits  —  says  of  her  performance  on  this  oci'asion, 
'•  To  great  llexibility  of  voice  she  adds  a  delicacy 
of  expression  we  have  seldom  heard  e<iualled, 
and  her  lower  tones  are  as  soft  and  mclo<iious  as 
•hd  upper  notes  of  her  voice ;  nor  is  there  any 
'^parent  effort  or  strain  in  producing  that  articu- 
la  ion  by  which  every  one  of  them  is  distinctly 
neard 
fi'chiij 


hrated  first  a])pearance  of  Lablache  in  London, 
anil  we  per.ectly  remember,  in  the  trio  "  l^i 
J'tu-cio  (i/i  iiichiiw,"  the  clfect  she  produced  upon 
the  whole  house,  by  her  descending  run  of  the 
double  octave. 

On   the  29th   of  April   she  Bppeare<l,  for   the 
first   time,    in    the     character    of     .Viigelina,    in 


liossini's  "  C^nerctitoli,"  but  with  no  remarkable 
When  to  these  perfections  we  add  great     success, 
we  think  we  have  said  enough."     Her         At  the  ninth  Ancient  Concert,  in  the  season  of 


first  performance  at  the  Philharmonic  Concert  1830,  (May  12,)  Mme.  Malibran  intrmluced  th« 
w lis,  we  believe,  on  the  8th  June,  1829,  the  last  of  son.,  " //  c-iro  bt-n,"  from  Sacchini's  ••  Pmeo." 
Uukt  sea-son,  when  she  sang,  "  \acgui  at  affann-t,"     The  objection  made  to  her  perfcmanc*  of  thi( 

549 


Mi  L 


ENCYCLOPiEDIA    OF    MUSIC. 


MAI 


air,   vhich  dcranntls  much  expression  and  niani-  i  four  hundred  or  five  hundred  pei  eeut.     I-et  ut 
tentttion    of"   feeling,   was    that  (the  encumbered     bear  in  mind  the  gains  of  a  retail  drugjjist,  when 


it  with  florid  ornament  In  the  same  month, 
"  (;/•'  (>rnz;i  e  Curiaczt  "  (Ciraarosn)  was  revived  ; 
«nd  our  lieroine  ai>])C;ired,  we  believe,  for  the  fin<t 
lime,  in  Ornz/.ia.  The  jierfonnance  was  distin- 
puishe<l  by  the  urnndcst  efforts,  both  in  singiu!;; 
and  Bctin;?,  particularly  in  tlie  last  scene,  when 
she  denounces  her  brother  for  bavins;  slain  her 
lover.  Few  persons,  who  witnessed  the  coun- 
tenance and  attitude  of  that  extraordinary  woman 
upon  the  occasion,  rrm  forf;et  it. 

At  the  Worcester  Festival,  which  took  place 
on  the  llfh,  l.'ith,  and  I'lth  of  September,  and  the 
Norwich,  on  the  21st,  22d,  2:5d,  and  2lth  of  the 
same  month,  we  find  her  still  engai^ed,  but  not 
producing  with  effect  any  piece  of  novelty,  if  we 
evoept  the  duet  "  Vamic,"  from  Mcrcadante's 
"  Anrlroiiim,"  and  which  she,  with  Mme.  .'stock- 
hauscn,  sang  very  admirably.  At  the  Liverpool 
Festival,  in  October  the  .5th,  Gth,  7th,  and  8th, 
she  jierformed,  among  other  jticces,  the  "  (jratias 
aifimii.1  "  with  AVilliniiu  ;  the  "  O  salutaris  "  of 
Cherubini,  which  was  magnificently  sung  ;  and, 
M-ith  Mrs.  Knj'v'ett,  MarccUo's  p.sahu,  "  Qual  an- 
neUiiite."  The  last  time  she  sang  this  duet  wa.s  at 
Manchester,  with  her  young  favorite,  Clara  Xovel- 
lo,  when  the  audience  could  scarcely  be  restrained, 
by  the  sacredness  of  the  place  in  which  it  was 
performed,  from  an  open  demonstration  of  ap- 
plause. 

After  the  conclusion  of  the  three  festivals 
this  year,  for  which  she  received  nine  h\indred 
guinca-s.  Madam  Malibran  returned  to  Pari-^,  and 
again  met  with  a  wonderful  reception  in  the  part 
of  Desdemona.  A  foreign  critic,  upon  this  oc- 
ciieion,  says,  "  It  is  evident  that  he  r  voice  ac- 
quires power  by  exercise.  She  is  often  betrayed 
into  faults  by  the  consciousness  of  this  power  ; 
but  the  ardor  of  her  mind,  her  bold  insj)irations 
and  ever-active  intelligence,  cause  them  to  be 
overlooked.  Faults  of  this  kind  are  offensive 
only  to  severe  taste,  and  qualities  like  these  awake 
our  sympathy,  and  j)owerfully  move  us :  now, 
emotion  is  the  grand  end  and  object  of  the  arts. 
AVe  said  that  her  voice  acquires  power ;  it  does 
KO  ;  but  does  she  act  wisely  in  forcing  it  to  fulfil 
the  double  function  of  soprano  and  contralto  r 
'ITie  variety  of  effects  she  is  enabled  to  produce, 
by  the  adroit  manaiiemcnt  of  so  great  a  compass 
of  voice,  is  astonishing  ;  but  it  may  be  safely  pre- 
dicted tliat  the  day  is  not  far  distant  when  she 
will  be  obliged  to  restrirt  herself  to  the  lower 
range  of  her  voice.  IJut  it,  like  a  rich  spend- 
thritt,  she  will  be   lavish  of  treasures   wliich  it 


we  com])lain  of  the  overreaching  of  singers,  with 
their  Heeling  and  precarious  capital. 

Shortly  alter  her  appearance  this  season  in  the 
French  capital,  her  husband  (Malibran)  suddenly 
pounced  upon  her,  having  "  scented  from  afar  his 
quarry  "  of  her  louis  d'ors  and  guineas,  and  pro- 
posed to  divide  profits,  which  terms  Madame 
Malibran  refused  to  comply  with,  and  justly  :  he 
had  deceived  her,  and  she  was  in  no  respect  in- 
debted to  him,  having  waived  her  right  in  the 
pro])erty  settled  upon  her,  for  the  benefit  of  lis 
creditors.  Upon  her  performajice  iu  the  part 
of  Zerlina,  at  this  time,  the  French  critic  says, 
"  Since  last  year  she  has  entirely  changed  her 
manner  of  representing  this  character;  paying 
due  respect  to  the  delicious  airs  of  Mozart,  she 
now  introduced  but  very  few  ornaments,  and 
those  were  in  the  best  taste." 

In  Sei)lember,  1831,  the  opera  season  again 
commenced  in  ParLs.  In  the  intermediate  period 
Madam  Malibran  appears  to  have  remained  in 
seclusion ;  at  all  events  we  have  discovered  no 
traces  of  her  "  whereabouts."  Hut  in  December, 
18.31,  we  find  her  again  upon  the  Parisian  theatre, 
having  succeeded  Pasta.  "La  Gazza  L<ntra" 
was  the  opera  selected  for  the  occasion,  hx  the 
first  act,  the  accounts  say  that  she  lost  her  self- 
posse.'sion,  owing  to  the  extravagant  greeting 
with  which  she  was  received.  In  the  second  act 
she  recovered  herself,  and  sang  the  duet,  with 
Ilubini,  in  the  very  finest  style.  "The  two  sing- 
ers," says  the  critic,  "  vied  with  each  other,  until 
it  appeared  as  ii'  talent,  feeling,  and  enthusiasm 
coultl  go  no  farther."  Immediately  after  this 
effort  she  was  comi)elled  by  indisposition  to 
witlidraw  for  some  time  from  the  stage.  In  the 
autumn  of  1832,  we  find  her  concluding  an  en- 
gagement with  the  manager  of  the  theatre  at 
Bologna,  where  she  was  to  perform  eighteen 
nights  for  the  sum  of  £1440!  And  in  August, 
or  September,  she  made  her  appearance  in  the 
'•  Tfiitio  deIJa  I'olle,"  at  Home,  in  the  character  of 
Desdemona.  Iler  engagement  at  Bologna  com- 
menced on  the  13th  of  October,  with  "  La  Gazza 
Liidra ; "  and,  after  performing  the  eighteen 
nights,  she  proceetled  to  Naples,  where  her  career 
Wius  one  continued  and  splen:lid  triumph.  At 
first  the  cognoscenti  of  Naples  were  inclined  to 
question  the  justice  of  the  unbounded  praises  that 
had  been  lavLshed  upon  the  astonishing  song- 
stress, and  to  receive  her  with  sawj  froid,  and 
weigh  her  pretensions  with  all  the  coolne.ss  of 
determined  critics  ;  but  she  no  sooner  opened  her 


were  wise  to  husband  for  the  future,  there  is  no  I  mouth  than  all  this  was  instantly  converted  into 
reason  why  we  should  not  profit  by  a  prodigality  '  an  enthusiasm  of  applause  and  admiration,  to 
whifli  later  she  alone  may  have  cause  to  regret."  i  wliich  the  oldest  frciuentcrs  of  the  opera  remem- 
This  was  in  December,  1S30  :  for  more  than  five  '  her  no  parallel.  For  seventeen  nights  the  theatre 
years  subsequently  she  continued  making  these  was  crowded  at  double  prices,  notwithstanding 
enormous  demands  upon  her  "stock  in  trade."  I  the  subscribers'  privileges  were  on  most  of  these 
and  we  all  can  te:.tify  how  little  it  had  diminished  j  occasions  suspended,  and  although  "  OlcUo,"  "La 
in  extent,  or  depreciated  in  value;  nevei thelevs,  j  Ceiu-rentnla,"  "La  Gazza  Lndra,"  and  pieces  of 
such  had  been  her  exertions  lor  the  last  three  years  that  description,  were  the  only  ones  offered  to  a 
of  her  lile,  that  she  did  not  hesitate  to  con. ess  public  long  since  tii-ed  even  of  the  beauties  of 
orivately  her  conviction  that  the  organ  could  not  '  llossini,  and  proverbial  for  its  love  of  novelty, 
•ctain  its  compass  and  brilliancy  lor  two  years  But  her  grand  triumph  of  all  was  on  the  night 
onger  ;  hence  the  excuse  for  the  demand  of  what     when  she  took  her  leave  of  the  Neapolitan  audi- 


*ere  deemed  exorliitant  terms  at  the  theatre->, 
festivals,  &c.  We  hear  much  of  the  graspin.; 
natuie  of  musicians  ;  while  every  day,  lor  articles 
jf  necessity,  the  retail  dealers  make  a  profit  of 


encc  in  the  character  of  Ninetta :  nothing  can 
be  imagined  sujierior  to  the  spectacle  ;itforded  by 
the  immense  theatre  of  San  Carlo,  crowded  to  the 
very  ceiling,  and  ringing  with  acclamations  and 


6d0 


MA  I. 


J.NCYCLOP.EDIA    OF    MUSIC. 


MA. 


upplause.  Six  tiine<,  alter  tlic  full  of  the  curtain, 
WHS  she  calleil  forward  to  roi-eive  tlie  reiterated 
applauses  and  ndioux  of  an  audience  which 
seemed  unable  to  hear  the  idea  of  a  final  separa- 
tion from  its  new  idol,  who  Jiad  only  strength 
and  Kpirit-  lett  to  kiss  her  hand  to  the  assembled 
multitude,  and  indicate  by  praccl'ul  and  exi)res- 
sive  gestures  the  decree  to  wliich  she  was  over- 
powered by  fatisiue  and  emotion.  The  scene  did 
not  even  end  within  the  walls  of  the  theatre  ;  a 
crowd  of  the  most  enthusiastic  rushed  from  all 
parts  of  tl'.e  house  to  the  stage  door,  and  as  soon 
ns  the  lady's  sedan  came  out,  escorted  it,  with 
loud  acclamations,  to  the  I'alaz/o  llarbajn,  and 
renewed  their  salutations  as  the  charming;  song- 
stress ascended  the  steps.  Nothing  can  prove 
more  decidedly  the  strong  impression  Madame 
Malibran  made  upon  tlie  Neapolitans  than  the 
fact  that  the  next  opera  which  was  j)crformeJ 
was  received  with  the  most  mortifying  coolness, 
though  tlie  opera  itself,  Donizetti's  "  E-^iile  rli 
Roma,"  was  a  standing;  favorite  in  Naples,  and 
its  various  revivals  for  ten  preceding  years  had 
till  then  been  successful ;  although  l.ablache 
made  his  first  appearance  in  it  on  his  return  to 
his  native  city,  and  Ronzi  de  Hegnis,  whose  voice, 
action,  and  style  had  all  improved  considerably 
during  a  long  retreat  from  the  stage,  performed 
the  principal  female  character. 

On  the'  1st  of  May,  1833,  Madame  Malibran 
made  her  dibut  at  Drury  Lane  in  an  English  ver- 
sion of  "  La  Snnnamhula,"  and  drew  the  town  in 
admiring  crowds,  "  tickling  the  eai-s  of  the  ground- 
lings "  with  the  most  provokingly  admirable 
roulades.  Shortly  after,  she  undertook  the  part 
of  Count  Bellino  in  the  "  De^nl's  IJridge,"  hut,  as 
might  have  been  anticipated,  totally  failed.  It 
was  performed  but  twice.  On  the  "i'id  of  the 
same  month,  she  sang  the  "Ih'h  par/ate  "  of  Cima- 
roso  at  the  Ancient  Concerts ;  also  the  "  Xon 
piu  di  Jiori,"  from  "  La  Vlemenzn."  In  the  latter 
air,  the  Harmnninm,  alter  nibbling  at  her  "  unre- 
strained confidence  in  her  own  opinion,"  says 
very  honestly,  "  The  declamatory  [lart  of  this 
was  superb,  though  a  little  hurried  ;  and  the  im- 
mense compass  of  her  voice  gave  an  effert  to  the 
air  that,  we  are  almost  inclined  to  say,  has  never 
been  equalled."  This  air  she  repeated  at  the 
subsequent  Philharmonic,  (June  10;)  and  on  the 
4th  she  made  the  most  strenuous  exertions  to 
carry  through  a  mu--ioal  afterpiece  called  "  The 
Students  of  Jena,  or  The  Family  Conc'ert,"  the 
music  by  that  learned  musician  and  amiable  man, 
M.  Chclard,  who  was  the  conductor  of  the  Ger- 
man company.  During  the  last  week  but  one  of 
tl  is  month,  she  wa.s  engaged  to  sing  at  the  Ox- 
ford concerts ;  hut  being  taken  ill,  and  led  into 
the  orchestra  by  Mr.  Nicks,  to  convince  the  audi- 
ence that  >he  was  really  so,  many  of  them,  it  ap- 
pears, "  were  not  sparing  of  their  exclamations 
against  her  when  they  left  the  hall."  In  the  last 
week  of  the  same  month,  we  find  her  engaged  at 
the  Cambridge  concerts,  where  she  repeated, 
among  others,  the  great  compositions  so  otten  re- 
corded, viz.,  the  "  Deh  parltttf,"  and  "  Son  piit  di 
Jiori."  In  the  early  part  of  July  she  went  for  a 
night  or  two  to  the  King's  'I'heatre,  performing  in 
the  opera  of  "  Cenerentola."  Her  last  appearance 
in  England  this  season  —  so  far,  at  least,  as  we 
have  been  able  to  ascertain  —  was  at  the  Worces- 
ter Festival,  wliich  took  place  on  the  2lth,  2.5th, 
26th,  and  27th  September.     From  this  period  till 


I  the  ISth  of  March  following,  wc  lose  all  traces  of 
the  course  she  pursued  ;  when  at  Uoiiie  we  find 
her  giving  a  concert  for  the  benefit  of  a  family  in 
extreme  indigence,  and  for  whom  slie  realized 
the  sum  of  six  hundred  pieces  of  gold.  Shortly 
after,  this  extraordinary  woman  made  a  second 
a])pearance  in  Na])les,  where  she  performed  for 
forty  nights  —  the  tcnus  of  her  engagement  being 
£3200,  with  two  benefits  and  a  half.  Hut  her 
triumi)h,  in  this  respect,  occurred  at  Milan,  where 
she  ap])eared  on  the  .ith  of  May,  in  I'.ellini's 
"  \orma"  with  an  unprecedented  success,  lor 
twelve  performances  ;  and  immediately  after  con- 
cluded an  engagement  with  the  manager  of  t'  e 
"  Tealrn  d<lla  Srnla"  Duke  VLsconti,  at  £18,010 
for  one  hundred  and  eighty-five  perfonuanccs ; 
viz  ,  seventy-five  in  the  autumn  and  carniv.il 
seasons  of  1830-5  ;  seventy-five  in  the  same 
seasons  of  183G-7  ;  and  thirty-five  in  the  autumn 
of  1837.  These  were  the  highest  terms  ever 
offered  to  a  theatrical  i)crtormor  since  the  days 
of  lu.xurious  Homo.  Here,  and  at  this  time,  it 
was  that  Madame  Malibran  received  the  distin- 
guished compliment  of  having  a  medal  struck  in 
honor  of  her,  executed  by  the  celebrated  sculptor 
Valerio  Nesti.  Around  the  head  is  the  inscrip- 
tion, "  Maria  Felicitas  Garcia  Malibran  ;  "  on  the 
reverse,  "  Per  universale  cotisenan  proclamnta  mira- 
bi/e  nel  Azione  c  ncl  Canto  ;   Milann,  MDCCcxxxrv." 

The  resemblance  to  the  original  is  said  to  be 
striking.  The  "  Teatrn  San  Carlo,"  at  Naples, 
next  received  her,  where  she  sang  a  duet  with 
her  sister-in-law,  Ruiz  Garcia,  in  a  new  opera  by 
Pacini,  "  Irene,  on.sia  CAssedio  di  Messina,"  and  in 
Persiani's  new  o;)era,  "  Inez  de  Ca.itro."  On  thLs 
occasion,  the  foreign  journalist  says,  "  she  ex- 
celled herself; ''  adding,  "  Never  did  singer  in  this 
place  excite  such  an  effect." 

Having  concluded  one  series  of  her  stipulated 
performances  at  Milan,  in  the  early  part  of  1835, 
which  was  in  the  character  of  "  yorma,"  and 
having  been  called  for  by  the  audience  eighteen 
times  during  the  progress  of  the  representation, 
wc  find  her  on  the  following  20th  of  May,  1835^ 
at  the  Ancient  Concerts,  (the  sixth  of  the  season,) 
singing  the  "  Qaal  annclatUe,"  with  her  sister-in- 
law,  and  the  old  favorite,  "  Son  j>ln  di  Jiori.' 
The  "  Musical  Library,"  in  remarking  upon  th« 
general  performance,  and  the  latter  song  in  par- 
ticular, says,  with  a  generous  enthusiasm,  "  The 
recitative  and  air  tr  un  '  7'iVo '  she  really  makes 
her  own.  We  can  conceive  nothing  finer  than 
such  music,  so  sung,  and  so  accompanied."  It  is 
needless  to  repeat  that  Willman,  as  usual,  sec- 
onded her  upon  the  occasion.  On  the  18th  of 
the  same  month  slie  reapj)eared  for  the  season  at 
Drury  Lane,  in  "  La  S>nnambHla."  At  the  eighth 
Ancient  Concert  (June  3)  the  pieces  allotted  to 
her  were  the  "  O  sulntaris  "  of  Cherubini,  and  the 
"  Cite  faro  acnza  ICiiridice,"  from  Gluck's  "  Orfcn." 
The  critic  just  (iuote<l  observes  \\\iQn  this  ov.t- 
sion,  that  "  Madame  Malibran  is  indebted  to  Lcid 
Rurghersh  for  the  two  ])ieces  allotted  to  her  :  the 
fine  aria  of  Cherubini  exhibited  all  the  best  qual- 
ities of  her  voice,  and  the  scena  from  Gluck'n 
"  Orfro"  disi)layed  her  passionate  style  of  singing 
to  the  utmost  advantage."  If  the  critic  mean, 
by  the  term  "  indebted,"  that  Lord  Rurghersh 
introduced  Madame  Malibran  to  Cherubini's  mo- 
tet, he  is  in  error ;  for  she  sang  it  years  t)efore,  ut 
the  Rirminghain  Festival,  and  by  the  recommen- 
dation of  Vincent  Novello,  who  tirtft  made  bei 
■51 


alAL 


ENCYCLOPEDIA    OF    MUSIC. 


MAL 


acquainted  with  that  very  beautiful  composition. 
She  tl'.t'ii  sniij!  it  with  noble  exprcsKioii. 

On  the  l/)th  of  July,  at  Si-^nor  lU-iiedict's  con- 
cert. Mttdnmo  Miilibriin  and  Mile.  (iiLti  san;;  for  the 
Krst  time  together  (ilk  we  believe)  in  public.  The 
duet  selected  was  "  ICofx-n  n  tefcriace,"  by  Ilosxiui. 
The  spirit  of  rivalry  between  the  reifininf;  favor- 
ites was  as  };enerous  as  it  was  strenuous ;  and 
all  agreed  that  that  particular  composition  had 
never  been  so  admirably  ))erforraed.  The  stay 
of  Madame  Malibran  in  this  country,  during  the 
season  of  183o,  was  comjiaratively  short.  The 
report  went,  and  we  believe  correctly,  that  she 
suddenly  made  her  appearance  here  for  the  prin- 
cipal, if  not  sole  purI)o^e  of  f^ivin;;  eclat  to  her 
sister-in-law's  concert,  in  whose  welfare  she  took 
an  ardent  interest ;  and  before  the  commence- 
ment of  the  provincial  festivals,  she  had  returned 
to  the  continent  to  fulfil  her  several  engagements. 
While  she  was  at  Milan  the  news  arrived  of  the 
death  of  Bellini,  the  composer.  Being  touched 
with  sympathy  at  the  ])reraature  loss  of  that  clever 
musician  and  very  amiable  man,  her  enthusiastic 
nature  was  excited,  and  she  set  on  foot  a  sub- 
Bcription  for  the  purjjose  of  raising  a  tribute  to 
his  memory.  By  her  exertions,  the  donations 
swelled  to  a  considerable  amount ;  at  the  head  of 
which  ajiiieared  her  own  name  for  twenty  pounds. 
Bellini  died  on  the  23d  of  September.  (Jn  the 
very  day  of  the  same  month,  in  the  following 
year,  Madame  de  Beriot  herself  left  us.  Both 
were,  we  hear,  nearly  of  an  age. 

From  the  1 1th  of  November,  on  which  day  she 
dssistcd  at  a  concert  in  Milan,  when  the  room 
.vas  crammed  to  suffocation,  we  lose  all  record  of 
her  till  the  month  of  March,  183r),  when,  having 
moved  the  courts  in  Paris,  and  obtained  a  legal 
divorce  from  M.  Midibnui,  she  solemnized  the 
marriage  ceremony  with  Mons.  De  Beriot.  They 
had  previously  lived  together  as  husband  and 
wife,  from  the'  year  1829  or  1830.  The  Queen 
of  the  French  complimented  Madame  De  Beriot 
upon  this  occasion,  by  presenting  her  a  costly 
agraffe,  embellished  with  pe.irls. 

On  the  2d  of  May  following,  she  commenced 
her  last  engagement  at  Drury  Lane.  0)i  the  9th 
of  May,  at  the  sixth  Philharmonic,  and  on  the 
llth  and  ISth,  at  the  tilth  and  sLxth  Ancient 
Concerts,  we  find  her  repeating  the  old  favorites 
from  Cimarosa's  "  S<icriti:in  d' Abramo,"  and  the 
"  Ckmeiiza  di  Tito,"  "  Dth  parlatc,"  and  "  Son 
pin  di  Ji'ori."  Ilcr  exertions,  during  this  concert 
season,  were  so  e.tcessivc  as  to  keep  the  witnesses 
of  them  in  continual  astoni-hmcnt.  While  the 
rehearsals  of  "  The  Maid  of  Artois  "  were  going 
on  from  day  to  day  —  and  Madame  De  Beriot's 
rehearsals  were  not  so  many  hours  of  sauntering 
indifference  —  she  would,  immediately  after  they 
•were  finished,  dart  away  to  one  or  two  concerts, 
and,  perha;)s,  conclude  by  singiui;  at  an  evening 
partv.  The  same  course  was  pursued  during  her 
performances  of  that  ardiious  character ;  •  and, 
unless  we  are  mistaken,  she  sang  at  one  of  the 
Philharmon.c  Concerts,  after  having  wrought 
wonders,  both  bodily  and  mentally,  at  Drury 
Lane.  Weil  might  Lablache  s.»y,  "  .s>m  exprii  cH 
trap  fart  pour  sni  petit  corps."  She  had,  indeed, 
"  a  little  body  with  a  mighty  heart  ;  "  and  both 
roust  have  given  wav  much   earlier,  had  she  not 


•The"  Mnid  of  .*rt«iU' 
to  Um  arui  May,  '8J6 


wu  perftinnvd,  fur  'J>e  flnt  lime, 


possessed  the  valuable  faculty  of  being  able  sud- 
denly to  unbend  and  apply  her  mind  to  the  most 
cheerful  and  even  childlike  amusements.  She 
was  an  intrepid  horsewoman,  an  elegant  dancer, 
a  pleasant  caricaturist,  a  humorous  comjOTunder 
ot  charades  and  riddles ;  and,  upon  the  slightest 
indication,  she  would  put  aside  the  triHe  which 
appeared  to  absorb  her  whole  attention,  and  en- 
gage with  a  tine  enthusia.sm  iu  discussing  the 
genius  of  Danie  or  .Shakspeare,  Kaphael  or 
Michael  .\ngelo.  No  really  ffreat  singer  was  ever 
indifferent  to  the  charms  of  poetry  and  fine  art. 
At  the  close  of  the  theatrical  season  of  183fi, 
Madame  Malibran  withdrew  to  her  estate  near 
Brussels ;  and  in  the  month  of  September  re- 
turned to  conclude  her  engagement  at  the  Man- 
chester and  Liveri)Ool  festivals.  The  particulars 
of  this  last  act  of  the  eventl'ul  drama  of  her  li.e 
are  fresh  in  the  world's  memories.!  She  died  at 
Manchester,  England,  September  23,  1836. 

^L\.L1MB.\.  A  curious  musical  instrument 
used  by  the  incas  before  the  conquest  of  South 
America.  It  is  formed  of  slats  of  wood,  from 
ten  to  fifteen  inches  in  length,  which  vary  in 
breadth  and  in  thickness,  lliey  are  laid  parallel 
upon  two  bamboo  canes  wra])ped  with  plantain 
leaves,  to  which  they  are  fa.stened  with  cords  run 
through  double  holes  in  the  centre  of  the  slats- 
'lliere  are  twenty-one  of  these  slats  in  the  instru- 
ment, and  the  tones  embrace  three  complete  oc- 
taves. The  instrument  Ls  a  very  rude  contrivance, 
jet  when  the  slats  are  struck  by  a  small  ball  of 
rubber,  attached  to  supple  handles  or  rods,  they 
emit  beautiful  and  delicate  sounds.  The  tones  are 
regulated  by  the  length  of  the  slat-s,  the  shorter 
ones  yielding  the  sharper  sounds.  The  instru- 
ment is  tuned  by  sticking  wa.x  upon  the  ends  of 
the  slats,  which  sharpens  the  notes.  The  native* 
attain  great  proficiency  upoa  the  maUmba  ;  two 
generally  play  upon  it  at  once.  They  have  a  con- 
trivance which  swells  the  notes  to  great  loudness  ; 
this  is  done  by  susi.ending  hollow  tubes  of  wood 
immediately  under  each  key,  of  the  same  length 
as  the  slats,  varying  as  they  do  in  size.  The  tubes 
we  closed  at  one  end,  and  suspended  with  the 
other,  or  open  end,  ne.\t  the  slats.  Near  the  bot- 
tom a  hole  is  bored  in  the  tube  and  a  thin  piece 
of  gut  is  spread  over  it,  and  made  fast  with  was. 
They  have  the  same  effect  as  a  sounding  board  ; 
and  so  jiowcrful  is  the  assistance  of  these  tubes, 
that  the  maiimlxi  is  heard  a  great  distance.  It  is 
still  much  u.sed  by  the  Mexican  Indians,  at  Sus- 
conu.sco,  on  the  Pacific. 

MALINCOLIA,  or  MALIN'CONIA.  (I.)  Mel- 
ancholy. 

MALVEZZI,  CIIRISTOFORO.  Chapel-mas- 
ter at  the  court  of  the  Medicis,  iu  the  nnddlc  of 
the  sixteenth  century. 

MALZAT,  JOIIANN  MICHAEL.  In  Traeg'a 
"  Musical  Catalogue."  Vienna,  1799,  a  number  of 
manuscript  w  orks  by  this  composer  are  mentioned, 
which  are  mostly  written  for  the  EngUsh  horn, 
(obligato)  or  for  the  hautboy.  They  consist  of 
"  'SCoiizertirende  Sinf'on  ;  "  "  2  CoiizerttfUr  Hoboe  ;  " 
"  2  Dergl.fUr  das  Eiit)!.  Horn  ,  "  "  2  Uergl.  fiir  den 
Fat/ott  ;"  "  1  Dergl.  fUrs  I'iolonceUo ;"  "Septette 
fUrs   Engl.    Horn;"  "3    Sestetti  ftlr  Hoboe/'   "4 


t  Thry  have  lH<en  recorded  in  No*.  39,  30,  and  31,  of  tbi 
'  Musical  World." 


652 


MAN 


ENCYCLOPAEDIA    OF   MUSIC. 


MAN 


Quintetti,  theils  fllr  Ilobii  xtnd  theih  fVr  Flote ;  " 
"11  Quartetli,  in  welchijn  cUis  Ilauptiiistrunuml  bald 
Flote,  bald  Iloboe,  ein  Engl.  Horn  oder  Fagott  ist  ;" 
and  "  2  Doppelhmzcrte  J'ilr  Iloboe  und  Fagott." 

MAN.  The  universal  disposition  of  hurann 
beings,  from  tlic  cradle  to  the  death  bed,  to  ex- 
press their  icelings  in  measured  cadences  of  sound 
and  action,  proves  that  our  bodies  arc  constructed 
on  musical  principles,  and  tliat  the  harmonious 
working  of  their  machinery  depends  on  the 
movements  of  the  several  parts  being  timed  to 
each  other ;  and  that  the  destruction  of  health, 
as  regards  both  body  and  mind,  may  be  well 
described  as  hcing  out  of  tune.  Our  intellectual 
and  i.iornl  vigor  would  be  better  sustained  if  we 
more  practically  studied  the  propriety  of  keeping 
the  soul  in  harmony,  by  regulating  the  move- 
ments of  the  body  ;  for  we  should  thus  see  and 
feel  that  every  uifection  which  is  not  connected 
with  social  enjojnnent  is  also  destructive  of  indi- 
vidual comfort,  and  that  whatever  tends  to  har-  j 
mouize  also  tends  to  promote  happiness  and 
health.  There  b  every  probability  that  a  general 
improvement  in  our  taste  for  music  would  really 
improve  our  morals.  We  should  indeed  be  more 
apt  to  detect  discords,  but  then  we  should  also 
be  more  ready  to  avoid  their  causes,  and  should 
not  fail  to  perceive  that  those  feelings  which  ad- 
mit not  of  chcerl'ul,  cha>te,  and  melodious  ex- 
pression, are  at  war  with  both  soul  and  body. 
A  wholesome  musical  education  is,  perhaps,  a 
necessary  part  of  high  religious  cultivation  ;  and 
it  will  be  far  more  valuable  to  children  than  the  < 
catcchistic  familiarity  with  great  truths,  whicli,  i 
being  committed  to  memory  a-s  a  ta^k,  are,  alas  ! 
too  apt,  forever  alter,  to  be  a-ssociated  with  dark 
ideas,  instead  of  directing  the  soul  to  the  Maker 
of  illumluatcd  worlds. 

MANCANDO.  (I.)  A  word  impMng  that 
the  passage  over  which  it  is  written  is  to  be  sung 
or  played  with  a  decreasuig  sound.     See  Dimix- 

OENDO. 

MANCHE.    (F.)    The  neck  of  a  vioUn. 

MANCIIICOUIIT,  PIERRE,  a  native  of  Be- 
thune,  and  director  of  the  music  in  the  cathetlral 
church  of  I)ornick,  who  ttourLshed  about  the 
year  1580,  was  a  composer  of  songs  and  motetK. 
From  his  compositions  that  are  yet  extant,  he 
seems  to  have  been  not  only  a  dry  but  a  clumsy 
c<  ntrapuntist. 

M.VNCIN'ELLI,  DOM.,  an  Italian  composer, 
published  much  flute  music  in  Paris,  London, 
and  Berlin,  about  the  year  177.5. 

MAXCINI,  OIOV.  BAITISTA.  one  of  the 
most  celebrated  pupils  of  Bernachi,  published  at 
Vienna,  in  1771,  a  work  entitled  "  I'enxieri  e  ri- 
(kasioni  praliche  stipra  il  canto  figiirato."  This 
book  has  been  translated  into  French  twice,  in 
one  volume,  octavo,  and  is  considered  to  be  a 
publication  eminently  classical.  Mancini  died  at 
Vienna  in  1800,  in  the  eighty-fourth  year  of  his 
age.  In  the  latter  part  of  his  life,  he  retired  on 
a  pension,  as  sniging  master  to  the  court. 

M.\NCIXI,  FRANCESCO,  a  pupil  of  Leonar- 
do Vinci,  was  born  at  Naples  in  ir>91.  If  not 
the  heir  of  his  master's  talents,  he  inherited  at 
least  his  manners  and  principles.  He  first  studied 
hia  ait  in  the  Conservatory  of  Loretto,  of  which 


he  became  one  of  the  directors,  on  the  completion 
of  his  studies.     He  excelled  as  much  in  com))0«i- 

I  tion  a.s  in  tuition.  The  numerous  and  excellent 
scholars,  and  the  works  he  has  producetl,  arc  so 

I  many  proofs  of  his  merit.  Arnongst  his  operas, 
both  in  the  serious  and  comic  style,  "  //  Cni-aliere 
litetone,"  and  "  Maurizio,"  are  the  most  distin- 
guished. The  genius  of  Mancini  was  c<pially 
adapted  to  both  styles.  Brilliant,  gay,  light,  and 
agreeable,  full  of  truth  and  expression,  he  de- 
lighted in  the  comic  opera  ;  noble,  elevated,  grave, 
and  even  sublime,  he  charmed  in  the  serious. 
The  character  of  his  melody,  in  both  species,  was 
always  ai)propriate ;  and  this  projjriety  reigned 
alike  in  his  airs  and  in  his  accompaniments.  Ho 
composed  but  little ;  but  the  works  which  remain 
to  us  ate  marked  by  taste  and  delicacy,  grace  and 
truth.  lie  continued  the  labors  of  his  predeces- 
sors, with  the  view  of  making  the  school  of  Na- 
ples the  greatest  in  Italy.  Iliissc  regarded  Maai- 
cini  among  the  best  masters  of  the  art. 

MANDINI,  PAOLO,  a  singer  at  Venice  in 
1787,  was  at  Paris  in  1790,  where  he  peribrmcd  at 
the  Opera  Bufia  with  great  success.  Ilis  wile  was 
also  an  excellent  singer. 

MANDOLINE,  (F.),    or  MANDOLINO.    A 

Spanish  instrument  of  the  \'iolii\  sj)ecies,  the  ror- 
datura  of  which  consists  of  four  strings,  and  \\\\.h. 
frets  hke  a  guitar ;  it  is  tuned  like  the  violin. 

MANDURA.  l"he  name  of  a  lesser  kind  of 
lute.     See  Ia'te. 

MANELLI,  FRANCESCO,  of  Tivoli,  composed 
the  music  of  the  first  opera  that  was  given  at 
Venice  in  16.37;  its  title  wsis  "Andromeda." 
In  1638  he  gave  there  "  La  Moj/a  fulmimita." 
The  novelty  of  the  singing,  which  replaced  the 
declamation  till  then  in  use  at  Venice,  had  so 
great  an  effect,  that  the  Venetians  immediately 
began  to  build  proper  theatres  for  these  perform- 
ances. Manelli  afterwards  composed  for  thiun 
several  other  operas. 

MANELLI,  CARLO,  a  viohnist  at  Rome, 
bom  at  Pistoja,  publishetl  there,  in  1C82,  a  work 
of  sonatas  fur  lus  instrument. 

MANELLI,  PIETRO.  An  Italian  comic  sing- 
er, towards  the  middle  of  the  eighteenth  century. 
His  perfonnances  at  Paris,  in  the  buffo  style  of 
his  country,  are  .said  to  have  prepared  the  French 
for  a  better  style  of  comic  music  than  they  had 
previously  practised. 

MANENTI,  GIOV.  PIETRO,  is  ranked  b.T 
Ccrrcto,  in  IGOl,  among  the  most  eminent  musi- 
cians. 

MANFREDI,  LUDOMCO.  A  minorifc.  and 
composer  of  church  music,  in  the  seventeenth 
century.  Of  his  works  have  been  printed  "  .1/a- 
tftti,"  Venice,  1638,  and  "  Concerti  i  .5  loci,  Libra 
1,  2,  3,  4." 

MANFREDI.  FILIPPO,  bom  at  Lucca,  was  a 
pupil  of  Tartini.  He  publishetl  at  Paris,  in  1768, 
"Six  Silta  ponr  f'ioton,"  Op.   1. 

>L\NFREDI,  MUTIO.  an  Italian  composer 
calle<l  II  Fornio  AcojUinin^,  lived  in  tlie  beginning 
of  the  seventeenth  century.  There  have  been 
printed  of  his  works,  "  Muirigaii,"  Venice,  1006. 

MANFREDINL   VINCENZO,  chapel-mastar 


70 


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to  the  court  of  Ru.'f  ia,  wm  born  at  Holo;;na,  and 
studied  coiupositioii  under  Pcrti  and  Fioroni.  In 
1766  lic  went  to  Russia,  and  in  17t>9  returned 
from  that  country,  having  nnia'^Hcd  a  considera- 
ble fortune.  In  IT'o  he  publLshod  a  didactic 
work,  of  no  (;reat  merit,  under  the  title  of  "  Re- 
yole  Armoiiic/ic."  The  re>t  of  hw  compositions 
consist  of  sonatas  for  the  harpsichord  and  violin, 
operas  and  motets,  liordly  any  of  which  are 
known  out  of  Russia. 

MANCiEAX.  A  French  violinist  at  the  Con- 
cert Sjiiritiul  at  Paris,  in  I7oO  He  published, 
about  the  same  time,  several  works  of  solos, 
duos,  and  trios  for  hLs  instrument. 

MAXGONI,  AXTOXIO.  A  composer  of  the 
•eveuteenth  century,  born  at  Caravaggio,  pub- 
lished "  Mitsa  e  Sulmi,"  Milan,  1623. 

M.-VXICIIORD.  One  of  the  names  of  a  stringed 
u.strument  somewhat  resembling  a  spinet. 

MAXIC'O.  (I.")  The  neck  of  an  instrument  of 
the  violin  or  guitar  species. 

MAXIERK,  EXUPERE  DE  LA,  a  professor 
of  tlie  harj)  and  piano-forte  at  Paris,  published 
there,  in  1786,  "  Sixi^me  Reciieil  des  Airs  var.  pour 
la  Harpe,"  "  Stptiinie  Rec.  ditto,"  and  "  Premier 
Rec.  de  huit  Prilud^s,  troiz  Cluiiis.  et  Rom.  Ace.  de 
Harpe,  Parol,  et  Mm.  dii  tn£»ie,"  Op.  9,  1785. 

MAXIXI,  an  Italian  di-amatic  composer, 
WTOte  about  1733  in  Rome,  for  the  theatre  there. 

MAXKELL,  a  German  musician,  has  made 
himselt'  known  by  the  following  instrumental 
music  :  "  Serenata  a  deiue  C'larinett,,  deux  Cors,  et 
deux  Bassons,"  1799.  "  Sixj>etites  Piicestrisfacil. 
pour  dvux  Clar.,  deux  Curs,  uii  Basson,  et  wi  FL," 
1799.  "  Divert,  a  deux  Clar.,  deux  Cors,  et  deux 
Fag.  Part.  I.,"  Hamburg,  1800. 

MAXX,  JOILYXX  CHRISTOPH.  A  profess- 
or of  the  harpsichord  at  Vienna,  about  the  year 
176C.  He  wrote  much  music  for  his  instru- 
ment. 

MAXXI,  GEXAllO.  A  Neapolitan  musician, 
and  nephew  of  D.  Sarro.  In  1751  he  gave,  at 
Venice,  the  opera  "  I.a  Didonc  abbandoniiata,"  of 
Metastasio;  and  in  1753,  "  NiVoc,"  of  the  same 
poet.  Ue  retired  from  public  life  about  the  year 
1780. 

MAXXI,  DOMIXICUS  MARIA.  A  learned 
writer  at  F'lorencc,  in  the  beginning  of  the 
eighteenth  century.  He  publLshed  "  De  Floren- 
tinis  Iiiveutis  Commeiitariiis,"  Ferrarn,  1731,  in 
■which  he  speaks  of  the  part  which  Florence  has 
taken  in  the  invention  of  the  opera. 

M.VXO.  (I.)  The  hand.  Mmu)  dritta,  the 
right  hand  ;  mono  sinistra,  the  left  hand. 

M.VXOIR.  GUILLAUME  DU,  a  celebrated 
violinist  in  the  service  of  Louis  XIII.,  was  nom- 
inated by  the  king,  in  1630,  after  the  death  of  ttie 
violinist  Constantino,  roi  des  rioUt'is,  maiire  des 
•ninitriers,  i.  e.,  king  of  the  violins,  and  master 
if  the  minstrels.  He  i)ul)lishpd  "  /.e  Manage  de 
la  Miin'/ue  et  de  la  Uaiisi,"  Paris,  1601. 

MAXS.A.RO,  DOM.  DELLO.  A  composer  of 
the  sixteenth  century,  many  of  whose  works 
have  been  published  in  the  "De  Anti (uisprimo  libra 
i  2  \'oci  de  dinrsi  Autori  di  Jkiri,"  \  euice,  1585. 


MANUAL.     (G.)     The  key  board. 

MAXU  DUCTOR.  'Hie  name  given  by  th« 
ancients  to  the  othciatc  whose  jirovince  it  was  tc 
beat  the  time  with  liis  hand,  at  public  perform- 
ances. 

MAXZIA,  LUIGI  DE.  A  musician  and  com- 
poser at  Dusseldorf,  about  the  year  1650. 

MAXZOLI,  GIOVAXXI.  was  born  at  Flor- 
ence about  the  year  1725.  Having  aUained  much 
celebrity  in  Italy  as  a  singer,  he  was  engaged  by 
Farinclli,  in  1753,  for  the  opera  at  Madrid,  where 
he  obtained  a  salary  of  one  thousand  six  hundred 
ducats.  In  1764  he  went  to  England,  and  Dr. 
Buriiey  thus  describes  his  dtbu/ :  "  The  expec-  ' 
tations  which  the  great  reputation  of  this  per- 
former had  excited  were  so  great,  that  at  the 
opening  of  the  theatre  in  Xovember,  with  the  pas- 
ticcio of  <  Ezlo,'  it  was  with  great  difficulty  I  ob- 
tained a  place,  alter  waiting  two  hours  at  the 
door.  Manzoli's  voice  wa-s  the  most  jjowerful  and 
voluminous  soprano  that  had  been  heard  on  the 
English  stage  since  the  time  of  Farinclli ;  and  his 
manner  of  singing  was  grand,  and  full  of  dignity. 
In  this  first  opera,  he  had  three  songs,  composed 
by  Pescelli,  in  three  different  styles,  all  of  which 
he  executed  admirably.  The  lovers  of  music  in 
London  were  more  unanimous  in  approving  h^s 
voice  and  talents  than  tboiiC  of  any  other  singer 
within  my  memory. 

"  The  applau.se  was  hearty,  unequivocal,  and 
free  from  all  suspicion  of  artificial  zeal :  it  was  a 
universal  thunder  of  acclamation.  His  voice 
alone  was  commanding,  from  native  strength  and 
sweetness ;  for  it  seems  as  if  subsequent  singers 
had  possessed  more  art  and  feeling  ;  and  as  to  ex- 
ecution, he  had  none.  He  was,  however,  a  good 
actor,  though  unwieldy  in  figure,  and  not  well 
made;  neither  was  he  young  when  he  arrived  iu 
London  ;  yet  the  sensations  he  excited  seem  to 
have  been  more  irresistible  and  universal  than  I 
have  ever  been  witness  to  in  any  theatre."  Mau- 
zoli  had  for  hLs  benefit  "  //  Re  Pastore,"  an  opera, 
of  which  the  music  was  chiefly  by  Giardini,  and 
with  the  exception  of  the  songs  composed  for 
Miinzoli,  had  been  performed  in  1755.  The  pub- 
lic, however,  were  more  delighted  with  this  great 
singer's  performance  in  "EzUi,"  than  in  any  other 
opera  that  was  brought  on  the  stage  during  his 
residence  in  England,  which  was  only  one  sea.son, 
at  the  end  of  which  he  returned  to  Italy,  and  was 
succeeded  by  Elisi,  who  went  to  London,  for  the 
second  time,  in  the  autumn  of  1756.  His  last 
public  appearance  was  at  Florence  in  1778. 

M^VR.V,  MADAME,  was  born  at  Cassel  in 
1749.  Her  maiden  name  was  GEKTRIDE  ELIZ- 
AHETH  SCHMAELING,  and  it  is  stated,  on  the 
authority  of  a  foreign  correspondent  of  Dr  Bur- 
ney,  that  her  early  years  were  devoted  to  the 
study  of  the  violin,  which,  as  a  child,  she  played 
in  England,  but  quitted  that  in.strument,  and  be- 
came a  singer,  by  the  adWce  of  the  English  ladies, 
who  dislike. 1  a  "  female  fiddler."  It  may,  there- 
fore, have  happened  that  to  this  ])rej»idice  we 
owe  the  delight  experienced  fiom  the  various  ex- 
cellences of  one  of  the  most  sublime  singers  the 
world  ever  saw.  Nor  was  the  objection  of  the 
English  ladies  the  only  prejudice  which  she  had  to 
encounter  ;  for,  on  her  arrival  at  IJerlin,  at  the 
ago  of  twenty-four,  Frederic  the  Great,  King  of 
Prussia,  who  affected  as  high  a  skill  iu  music  u 


554 


MAR 


ENCYCLOPAEDIA    OF   MUSIC. 


Bf  All 


in  war,  could  scarcely  be  prcvniled  upon  to  hear 
her,  Ills  msijesty  declaring  that  he  should  as  soon 
expect  pleasure  from  the  neighing  of  hLs  horse  as 
from  a  (jcnuan  singer.  One  song,  however,  coii- 
vince<l  him  of  her  ability,  which  he  immodiatcly 
put  to  tlie  severest  trial,  by  selecting  the  most 
difficult  airs  in  his  collection,  and  which  Mi^s 
Schmaeling  executed  at  sight,  as  perfectly  as  if 
Bhe  had  practised  each  of  these  compositions  nil 
her  lii'e.  Her  earliest  singing  master  was  an  old 
man  of  the  name  of  Paradisi,  and  at  fourteen  she 
sang  before  the  Queen  of  England  with  the  great- 
est success.  From  17G7  to  178:!,  she  passed 
through  Germany  and  Switzerland ;  she  visited 
N'lplci  at  a  ])eriod  subsequent  to  her  appearance 
ill  England.  Although  it  is  related  that  Madame 
Mara's  first  impressions  led  her  to  soi\gs  of  agility, 
yet  her  intonation  was  fixed  by  the  incessant 
practice  of  plain  :iotes.  AVe  know,  from  her  own 
assurance,  that  to  confirm  the  true  foundation  of 
all  good  singing,  by  the  purest  enunciation,  and 
the  most  jirecise  intonation  of  the  scale,  wa.s  the 
study  of  her  life,  and  the  part  of  her  voicing  U|)on 
which  she  most  valued  herself.  Dr.  Arnold  told 
the  writer  of  this  article,  that  he  had,  by  way  of 
experiment,  seen  ilara  dance,  and  assume  the 
most  violent  gesticulations,  while  going  up  and 
down  the  scale  ;  yet  such  was  her  power  of  chest, 
that  the  tone  was  as  undisturbed  and  free  as  if 
ehe  had  stood  in  the  customary  quiet  position  of 
the  orchestra. 

The  Italians  say,  that  "  of  the  hundred  requi- 
sites to  make  a  singer,  he  who  has  a  fine  voice 
has  ninety-nine."  Madame  Mara  had  certainly 
the  ninety-nine  in  one.  Her  voice  was  in  com- 
])ass  from  G  to  E  in  altissimo,  and  all  its  notes 
were  alike  even  and  strong ;  but  if  we  may  be 
permitted  to  supply  the  hundredth,  she  had  that 
also  in  a  superemincnt  degree,  in  the  grandest 
and  most  sublime  conception.  At  the  early  age 
of  twenty-tour,  when  she  was  at  Hcrlin,  in  the 
immaturity  of  her  judgment  and  her  voice,  the 
best  critic -i  admitted  her  to  have  exceeded  Cuz- 
eoni,  Faustina,  and  indeed  all  those  who  had  pre- 
ceded her.  One  who  had  heard  lUUington  and 
Catalaui,  .said,  "  We  still  be'.ieve,  that,  in  majes- 
ty and  truth  of  expression,  (that  term  compre- 
hending the  most  exalted  gifts  and  re<iuisites  of 
Tocal  science,)  Mara  retains  her  su[)criority. 
From  her  we  deduce  all  that  has  been  learned 
concerning  the  great  style  of  singing.  The  mem- 
ory of  her  performance  of  Handel's  sublime 
work,  '  I  know  that  my  Uedcemer  liveth,"  is  im- 
mortalized, together  with  the  air  itself.  Often 
as  we  have  since  heard  it,  wo  have  never  wit- 
nessed even  an  approach  to  the  simple  majesty  of 
Mara  :  it  is  to  this  air  alone  that  she  owes  her 
highest  preilminence ;  and  they  who,  not  having 
heard  her,  would  picture  to  themselves  a  just 
portraiture  oi  her  performance,  must  image  a 
singer  who  is  fully  etiual  to  the  trutwt  expression 
of  the  insi)ired  words  and  the  scarcely  less  in- 
spired music  of  the  loftiest  of  all  possiblo  eompo- 
•ition.s." 

Hut  Mara  was  the  child  of  .sensibility  :  every 
thing  she  did  was  directed  to  the  heart ;  her 
tone,  in  iisdf  pure,  sweet,  rich,  and  powerful, 
took  all  its  various  colorings  from  the  pa.^sion  of 
the  Words  ;  and  she  was  not  less  true  to  nature 
aid  feeling  in  "The  soldier  tired,"  and  in  the 
m  )re  ox(iuLsite  "Hope  told  a  flattering  tale," 
tb  uk   in  "  I    know   that  my    Uwleemcr   liveth." 


Iler  tone,  perhaps,  was  neither  so  swoef  nor  s 
clear  as  Uillington's,  nor  so  rich  and  powerful  ai 
C'atalani's  ;  but  it  was  the  most  touching  language 
of  the  .soul.  It  was  on  the  mastery  of  the  fecling» 
of  her  audience  that  Mara  set  her  claims  to  fame. 
She  left  surprise  to  others,  ami  was  wisely  con- 
tent with  an  apparently,  but  not  really,  hum- 
bler style ;  aiul  she  thus  choso  the  part  of 
genuine  greatness. 

Hie  elocution  of  Mara  mu.st  be  taken  rather  as 
universal  than  as  national ;  for  althou'^h  she 
jiassed  some  time  in  En'^lai\<l  when  a  child,  and 
retained  some  knowledge  of  the  language,  her 
pronunciation  was  continually  marred  by  a  foreign 
accent,  and  those  mutilations  of  English  words 
which  are  inseparable  from  the  constant  u.se  of 
foreign  languages  during  a  long  residence  abroad. 
Notwithstanding  this  drawback,  the  impression 
she  made,  even  upon  uneducated  ])ersons,  always 
extremely  alive  to  the  ridiculous  effects  of  mis- 
pronunciation, and  upon  the  unskilled  in  music, 
was  irresistible.  The  Kre,  dignity,  and  tendcrntus 
of  her  vocal  appeal  could  never  be  misunder- 
stood ;  it  spoke  the  language  of  all  nations,  for  it 
spoke  to  the  feelings  of  the  human  heart. 

Her  acquaintance  with  the  science  of  music 
was  considerable,  and  her  facility  in  reading 
notes  astonishing.  The  anecdote  related  above 
will  ])rove  how  completely  all  music  was  alike 
easy  to  her  comprehension.  l'erhai)s  she  Ls  in- 
debted to  her  fiddle  for  a  faculty  at  that  time 
not  very  common.  We  have  observed  that  all 
players  on  stringed  instruments  enjoy  the  power 
of  reading  and  writing  music  beyond  most  oth- 
ers; they  derive  it  from  the  apjirehension  of  the 
coming  note,  or  distance,  which  must  necessarily 
reside  in  the  mind,  and  direct  the  linger  to  its  for- 
mation. The  two  branches  of  art  are  thus  ac- 
quired by  the  violinist  in  conjunction ;  and  to 
her  knowledge  of  the  violin  we  attrilnite  Madame 
Mara's  early  superiority  in  reading  ditficult  i>as- 
sages.  Mara's  execution  was  certainly  very 
great ;  and  though  it  differs  materially  from  the 
agility  of  a  later  period,  it  may  be  con>idered  as 
more  true,  neat,  and  legitimate,  inasmuch  as  it 
was  less  quaint  and  extravagant,  and  deviated 
less  from  the  main  purpose  of  vocal  art  —  e.\- 
pression.  Mrs.  Billington,  with  a  modesty  be- 
coming her  great  ac(iuirements,  voluntarily  de- 
clared, that  she  considered  Mara's  execution  to 
be  superior  to  her  own  in  genuine  effect,  though 
not  in  extent,  compass,  rapidity,  and  compli- 
cation. Mara's  divisions  always  seemed  to  con- 
vey a  meaning ;  they  were  vocal,  not  instrument- 
al ;  they  had  light  and  shade,  and  variety  of 
tone  ;  they  relaxed  from  or  increased  upon  the 
time,  according  to  the  sentiment  of  which  thry 
always  ajipearcd  to  ))arfake  ;  these  attribut<>s 
were  always  remarkable  in  l'.<-r  open,  true,  and 
litpiid  shake,  which  was  certainly  full  of  ex- 
pression. Neither  in  ornaments,  learned  and 
graceful  as  they  were,  nor  in  her  cadences,  did 
she  over  lo.se  sight  of  the  appropriate  chnracteriH- 
tics  of  the  sense  of  melody,  .^hc  was,  by  txirns,  ma- 
jestic, tender,  patlu'tic,  and  elegant  ;  but  the  one  oi 
the  other,  ni>t  a  note  was  breathed  in  vain.  She 
justly  held  every  species  ol  ornamental  execution 
to  be  subordinate  to  the  grand  end  of  uniting  the 
etFects  of  sound  sei\se  in  their  operations  upon  the 
:  feelings  of  her  hearem.  True  to  this  principle, 
if  any  one  commended  the  agility  of  a  singer 
Mara  would  a.sk,  "  Can  she  sing  six  plain  notes  r  '■' 


660 


UAR 


ENCYCLOPEDIA    OF   MUSIC. 


MAR 


Muiluinc  Mftrn,  in  her  day,  was  placed  at  the 
for"  BUiumit  of  her  profession,  because,  in  majesty 
and  simplicity,  in  t;race,  tenderness,  and  pathos, 
In  t  ic  loftiest  attributes  of  art,  in  tlic  elements 
of  '.be  p;reat  style,  she  far  transcended  all  her 
con  petitors  in  the  list  of  fame.  She  gave  to  Han- 
del's corajjositions  tlieir  natural  grandeur  and 
effect,  wliich  Ls,  in  our  minds,  the  very  highest 
decree  of  praise  that  we  can  bestow.  Handel  is 
heavy  say  t!ie  musical  fashion  mongers  of  the 
day.  Milton  v.ould  be  heavy  beyond  endurance 
ironi  the  mouth  of  a  reader  of  talents  even  above 
mediocrity.  The  fact  is,  that  to  wield  such  arms 
demands  the  strength  of  giants.  Mara  possessed 
this  Ilciivcn-giftcd  strength.  It  was  in  the  per- 
formance of  Handel,  that  her  Hiier  mind  fixed  its 
expres-.ion,  and  called  to  its  aid  all  the  powers 
cf  her  voice,  and  all  the  acquisitions  of  her 
Bciencc. 

Madame  Mara  left  England  iu  1802,  with  pow- 
ers astonishingly  preserved,  considering  her  long 
professional  labors.  Her  last  performance  was 
on  tlie  3d  of  June  in  that  year,  when  Mi's.  I5il- 
lington  sang  a  duet  with  her,  a  test  of  power 
from  w'hich  she  came  off  with  undiminished  repu- 
tation. Since  that  period,  Mara  resided  princi- 
pally in  Russia,  and  at  the  conHagration  of 
Moscow  suffered  severely  in  her  property.  To- 
wards the  close  of  the  year  1819,  or  the  beginning 
of  1820,  she  returned  to  London,  and  determined 
on  presenting  herself  once  more  to  the  judg- 
ment of  the  English  public,  who  had  reverenced 
her  name  so  highly  and  so  long.  She,  conse- 
quently, had  a  concert  at  the  Opera  House  ;  but 
her  powers  were  so  diminished  that  it  proved 
unsuccessful.  She  died  iu  Livonia,  in  1833,  at 
the  age  of  eighty-four. 

MARA,  IGNAZ,  was  bom  at  Teutschbrod, 
in  Bohemia,  where  he  also  received  his  first  mu- 
sical education.  He  was  chamber  violoncellist 
to  the  King  of  Prussia,  about  the  year  1755.  He 
died  in  1783. 

MARA,  JOHAXX,  son  of  the  preceding,  and 
husband  of  the  celebrated  Madame  Mara,  was 
born  at  Berlin  in  1744.  In  the  French  Dictionary 
of  Musicians,  his  death  was  stated  to  have  taken 
place  in  1780  ;  but  Gerber  says  that  the  account 
of  his  death  in  that  year  was  what  the  Germans 
call  sltli)  neicn,  and  that  he  was,  in  1799,  still 
living  near  Berlin,  in  very  low  circumstances. 
Gerber  adds,  that  he  was  never  a  very  talented 
violoncellist,  and  that  much  of  the  praise  formerly 
lavished  on  him  was  exaggeration.  "Still,"  adds 
Gerber,  "  when  I  became  acquainted  with  him  in 
1801,  in  Sondcrshausen,  he  still  played  an  adagio 
of  his  own  composition  so  well,  that  no  orchestra 
need  have  been  ashamed  of  him  ;  and  when,  in 
his  allegro,  he  missed  now  and  then  a  note,  it 
was  not  so  much  the  fault  of  his  hand,  as  of  his 
instrument,  which  was  a  bad  one.  He  conduct- 
ed himself,  during  his  stay  here,  like  a  sedate, 
•well-informed,  gentlemanly  man  ;  nor  did  he  ever 
show  the  least  symptoms  of  that  inclination  to 
intemiicrance,  which  has  been  the  bane  of  his 
life.  He  was,  however,  in  very  great  distress, 
notwithstanding  his  noble-minded  wiic  furnished  : 
him,  from  time  to  time,  with  considerable  sums 
of  money,  .\bout  this  time,"  continues  (fcrber, 
"ho  went  to  Holland,  where  he  indulge<l  to 
•uch  a  degree  his  fatal  inclination  to  drunkcn- 
rr»8,  that,  after  having  lost  every  feeling  of  pro- 

65 


priety,  he  was  seen  day  and  night  in  the  low- 
est pothouses,  playing  the  fiddle  for  sailors  to 
dance ;  till  at  last  death  overtook  him  in  the 
summer  of  1808,  and  delivered  him  from  his 
wretched  existence,  at  Schiedam,  near  Rotter- 
dam. Such  was  the  melancholy  end  of  a  man 
possessed  of  talent,  great  knowledge  of  mankind, 
and  formed  by  nature  to  have  been  an  oruument  ■ 
to  society. 

MARA,  CAJETAX,  uncle  to  the  preceding, 
was  a  composer  and  excellent  organist.  He  was  , 
a  monk  of  the  order  of  St.  Augustine,  and 
chapel-master  to  St.  Wenzel's  Church,  in  the 
Xewstadt,  at  Prague.  He  wa.s  born  iu  1719,  and 
after  havuig  gone  through  his  course  of  philos- 
ophy, &e.,  entered,  in  1739,  the  order  in  which, 
after  a  few  years,  he  became  a  priest.  In  the 
mean  time,  he  was  not  idle  as  a  musician,  having 
previously  been  appointed  chapel-master  to  the 
cluirch  of  his  order  in  his  native  city ;  thirteen 
years  after  which,  he  was  called  to  Prague  in  the 
same  capacity,  in  St.  Wenzel's  Church.  Here  he 
was  unremitting  in  the  study  of  the  scores  of  the 
great  masters,  of  which  he  copied  no  less  than 
three  hundred  masses  with  his  own  hand  ;  at  the 
same  time,  he  fonued  a  great  many  pupiLs  in 
thorough  bass,  and  comjMsed  some  music  for  the 
church  and  chamber.  Ignaz  Mara  wa-s  not  a  lit- 
tle active  iu  adding  to  his  brother's  collection  of 
music.  Thus  this  indefatigable  man  spent  his 
time  during  nineteen  years,  till  the  Augustine 
Convent  at  Prague  was  dissolved,  and  he  was 
compelled  to  return  to  his  birthplace,  where  he 
was  found,  in  1788,  by  the  worthy  philosopher 
Dlabac/.,  lame  from  an  apoplectic  stroke.  Dlabacz 
received  the  above  particulars  of  his  U.e  from  his 
own  lips  ;  whilst  he  added  to  him,  that  he  greatly 
bewailed  the  sudden  loss  of  his  faculties  to  such 
an  extent,  as  it  deprived  him  of  the  power  of 
pouring  fourth  Ids  praises  to  his  Creator  on  the 
organ. 

MARAIS,  MARIA.  Bom  at  Paris  in  1656  : 
he  made  so  rapid  a  progress  in  the  art  of  playing 
on  the  viol,  that  Salute  Colombe,  hLs  master,  at 
the  end  of  six  months,  would  give  him  no  fur- 
ther instructions.  He  carried  the  art  of  playing 
on  this  instrument  to  the  highest  pitch  of  per- 
fection, and  was  appointed  one  of  the  chamber 
musicians  to  the  king.  He  composed  several 
pieces  for  the  viol,  and  sundry  operas.  His  works 
bear  the  marks  of  a  fertile  genius,  united  to  an 
exquisite  tiuste  and  judgment.  This  celebrated 
musician  died  in  1718. 

M  ARASTONI,  ANTOXIO.  An  Italian  organ- 
ist  and  composer  at  lllasi,  iu  the  beginning  of  the 
seventeenth  century.  He  published  "  Motetti," 
Venice,  1625. 

M.VRBECK,  JOHN,  was  organist  to  the 
chapel  of  St.  George,  at  Windsor,  and  a  person 
to  whom  church  music  is  under  great  obUgation. 
It  is  a  common  but  mistaken  opinion  that  'I'allis 
was  the  first  composer  of  the  cathedral  seri-ice  of 
tlie  church  of  England  :  Marbeek  certainly  pre- 
ceded him  iu  this  labor  ;  and  in  the  original  mu- 
sical notes  to  the  pren'.s,  the  suffrages  and  re- 
8])onses  were  undoubtedly  of  his  comjiosition 
His  "  Te  Di'um  "  is  in.sertcd  in  the  first  volume  of 
Smith's  "  Miisica  Antiqua."  The  history  of  Mar- 
beck,  which  has  entitled  him  to  a  place  in  the  Mar- 
tvrologv  of  the  zealous  and  laborious  Johc  Fox,  if 


MAR 


ENCYCLOPEDIA    OF   MUSIC. 


MAF 


as  follows.     About  the  yenr  1.544,  a  miniber  of  |  opinions,  he  indulged  them  in  serict  till  the  death 


persons  livin*;  at  M'ind.sor,  who  favored  the  re- 
formiition,  had  formed  themselves  into  a  society. 
Araoiif;  them  were  Anthony  Person,  a  ])riest, 
Robert  Testwood,  a  sinfjins;  man  in  the  choir  of 
Windsor,  John  Mnrbeck,  and  Henry  Fulraer  On 
intimation  bein;;  jjivcn  that  tliesc  jjcrsons  held 
fmiuent  and  improper  meetings,  the  IJi^hop  of 
Winchester  procured  a  commission  from  the  kinp; 
to  search  the  susjiectcd  houses,  and  the  above- 
mentioned  four  persons  were  apprehended,  and 
their  books  and  papers  seized.  Amons;  other 
fhinps,  there  were  found  some  papers  of  notes  on 
the  liible,  and  an  English  concordance,  in  the 
handwriting  of  Marbeck.  I'jion  his  examination 
before  the  commissioners  of  the  statute  of  the  six 
articles,  he  p;ave  the  following  account  of  himself. 
He  suid,  respecting;  the  notes,  that  as  he  was  in 
the  habit  of  reading  much,  in  order  to  understand 
the  t^criptures,  it  was  his  ])ractice,  whenever  he 
met  with  any  explanation  of  an  abstruse  or  dif- 
ficult passage,  to  extract  it  into  his  note  book, 
and  there  place  under  it  the  name  of  the  author. 
As  to  the  concordance,  he  told  them,  that  being 
a  poor  man,  and  not  able  to  buy  a  copy  of  the 
English  Uible,  then  lately  published  by  Matthew, 
he  had  set  about  transcribing  one,  and  had  pro- 
ceeded us  far  as  the  book  of  Joshua,  when  an 
acquaintance  of  the  name  of  Turner,  knowing  his 
industry,  suggested  to  him  also  the  ])lan  of  wTit- 
ing  a  concordance,  and  for  this  pur])ose  supplied 
him  with  a  Latin  concordance  and  an  English 
Hible.  He  said,  in  conclusion,  that  by  the  assist- 
ance of  these,  as  his  papers  would  show,  he  had 
been  able  to  proceed  in  his  work  as  far  as  the  let- 
ter L.  The  story  seemed  altogether  so  strange 
that  the  commissioners  scarcely  knew  how  to 
credit  it.  Marbeck,  however,  desired  that  they 
would  so  far  indulge  him  as  to  take  any  words 
under  the  letter  M,  and  give  him  his  concordance 
and  Hible,  and  he  would  endeavor  to  convince 
them  of  its  truth.  In  a  single  day  he  filled  three 
sheets  of  paper  with  the  continuation  of  his  work, 
and  had  got  as  far  as  the  words  given  him  would 
allow.  His  ingenuity  and  industry  were  much 
applauded  even  by  his  enemies,  and  Dr.  Oking, 
one  of  the  commissioners  who  examined  him, 
said,  that  he  "  seemed  to  have  been  much  better 
employed  than  some  of  his  accusers."  Neither 
his  ingenuity  nor  his  industri-,  however,  could 
prevent  his  being  brought  to  trial  for  heresy,  along 
with  his  a.ssociates.  I'erson  and  Fulmer  were  in- 
dicted for  irreverent  expressions  concerning  the 
ma.ss  ;  and  the  charge  brought  against  Marbeck 
was  for  cojiying,  with  his  own  hand,  an  epistle 
of  Calvin  against  it.  They  were  all  found  guilty, 
and  condemned  to  be  burned ;  and  the  sentence 
was  executed  on  all  except  Marbeck  the  day  after 
the  trial.  Three  of  the  witnesses  on  thi.s  trial 
were,  however,  afterwards  accused  and  convicted 
)f  perjury.  Marbeck,  being  a  man  of  harmless 
disposition,  was  afterwards  given  up  to  the  Itishop 
of  Winchester,  who,  from  liLs  persecutor,  became 
his  jiatron.  The  Catholics  held  out  to  him  many 
temptations,  but  he  steadily  refused  to  betray  any 
of  the  persons  with  whom  his  party  had  been 
eonrcnied  ;  and  at  last,  through  tlie  intercession 
of  Sir  Humphrey  Foster,  one  of  the  commission- 
ers, he  obtained  the  king's  free  pardon.  Having 
thus  escaped  martyrdom,  he  applied  himself  to 
the  study  of  his  profession  ;  and  not  having  been 
required  to  make  any  public  recantation  of  his 


ot  Henry  VIIL,  when  ho  found  himself  at  liberty 
to  make  an  oi)ei\  i)rofc»sion  of  his  faith  ;  and  ac- 
cordingly he  finished,  ai\d  in  MOO  published,  bin 
concordance.  He  wrote  also,  amongst  other  things, 
"The  Livi>s  of  Holy  Saints,  l'ro|)hets,  Patriarchs, 
and  others,"  published  in  1.371  ;  "  A  Hook  of 
Notes  and  Commonplaces,  with  their  Exposi- 
tions, collected  and  gathered  together  out  of  the 
Works  of  divers  singular  Writers;"  and  "The 
Ripping  up  of  the  Pope's  Fardels."  The  musi- 
cal service  eompo.sed  by  Marbeck  wa.s  formed 
on  the  model  of  the  Romish  ritual,  and  first  pub- 
lished in  ([uarto,  in  the  year  1.3,50,  with  this  title  • 
"  A  lioke  of  Common  Praier,  noted."  The 
Ix)rd'8  prayer,  the  creed,  and  such  other  ports  at 
were  proper  to  be  read,  are  written  so  as  tr,  be 
sung  in  a  certain  key  or  pitch,  in  a  kind  of  reci- 
tative. To  the  other  parts  are  given  melodies  of 
a  grave  and  solemn  construction,  and  nearly  03 
restrained  as  those  of  the  old  (iregorian  chant. 
These  have  each  an  harraonical  relation  with  the 
whole,  the  dominant  of  each  being  iu  unison 
with  the  key  note  in  which  the  whole  is  to  be 
sung. 

MARCATO.    (I.)    This  term  is  expressed  by 
a  dot  put  over  the  head  of  a  note,  tlius  :  — 


implying  that  the  note  should  be  struck  short,  or 
S]x>tted  in  a  more  light  and  tender  manner ;  aim- 
ing at  neatness  rather  than  a  sharj)  brevity.  This 
effect  Ls  produced  upon  the  violin  by  letting  the 
bow  rebound  from  note  to  note,  including  many 
in  the  same  bow.  I'his  species  of  execution, 
when  applied  to  the  voice  in  quick  and  lofty  pas- 
sages, is  one  of  its  greatest  beautie.%.  To  achieve 
this,  a  peculiar  conformation  of  the  vocal  organs 
is  necessary ;  contracting  the  upper  part  of  the 
throat  to  the  vowel  tone  of  e.\,  as  in  the  word 
earth,  striking  every  note  acpamtehj,  with  a  del- 
icate distinctness,  and  in  the  same  breath. 

MARCELLO,  ALESS.\NDRO,  elder  brother 
to  Benedetto,  was  of  a  noble  family  in  A'enice. 
He  was  educated  according  to  his  distinguished 
station  in  life,  and  was  well  grounded  in  the  arta 
and  sciences.  Among  the  latter,  he  particularly 
studied  mathematics,  philosophy,  and  music,  lie 
resided  constantly  at  Venice,  where  he  held  a 
weekly  musical  meeting,  at  which  his  own  com- 
positions we;c  almost  exclusively  perlormed. 
'I'hese  meetings  were  open  to  every  distin- 
guished stranger.  The  following  of  his  works 
were  printed,  but  all  under  his  assumed  name, 
Eterio  Stinlalico  :  "  Cnutate  da  C'amprn  d  I'oct 
sola,"  Venice,  171.5.  "  6  Concerii  d  due  Fl.  trac.  o 
y.  principaii,  due  W  ripieni,  I'iota,  6  IV.  Obliy.,  e 
CcniAnto,"  Augsburg,  1738.  "  La  Cetera,  Coueerii 
di  Eler.  Siiiifalico,  Academico  Arcade,  Parte  Prima, 
Oboe  1,  d  Trareraiere  col  V.  principale,  publicati  da 
Gio.  t'hristiauo  Lcojxild,"  Augsburg,  1738. 

MARCELLO,  HENEDETTO,  a  noble  Venetian, 
was  l)orn  in  IGSO.  Hi-i  father,  Agoslino  Mar- 
eello,  was  a,  semitor  of  Venice;  his  mother,  Pao- 
lina,  was  of  the  honorable  family  of  Capello. 
The  male  Issue  of  these  two  persons  were  Ales- 
sandro,  a  son  next  to  him,  whose  Christian  noma 


£57 


MAR 


ENCYCLOPEDIA    OF    MUSIC. 


MAR 


la  unknown,  nnd  tlie  nbovc-mentioned  Benedetto 
Mnrcelln :    Alossnndro    addicted    himself  to   tlie 
iitudjr   of  nnturnl    philosophy   and    the    mathe- 
maticnl   sciences,  ns   also  to  niU!<ic,  to  which  he 
attninril  to  (^rent  proficiency;  hw  youn;;cr  hrothor, 
Henc<U'tto,  hnd  been  well  instructe<l  in  classiral 
literal nrc,   and  having    Rone    throu(;h   a  regular 
courxe  of  education  under  proper  masters,  was 
committed  to  the  tuition  of  his  elder  brother,  and 
hy  him  taken  into   his   house  with  a  view  to  his 
further  improvement  in  philosophy  and  the  liberal 
arts.     Alessandro  Marcello  dwelt  at  Venice ;  he 
had  a  musical  academy  in  his  house,  held  regu- 
larly on  a  certain  day   in  every  week,  in  which 
were  frernicntly  performed  his  own  compositions. 
Being  a  man  of  rank,  and  eminent  for  his  great 
endowments,    his    house    was   the   resort   of  all 
itrangcrs  who  came  to   visit  the  city.     It  once 
happened    that  the  princes  of  Brunswick  were 
there,  who,  being  invited  to  a  musical  perform- 
ance in  the  academy  above  mentioned,  took  par- 
ticular  notice  of  Benedetto,    at  that  time  very 
voung,  and,  among  other  questions,  asked  him, 
in  the  hearing  of  his  brother,  what  were  the  stud- 
ies that  most  engaged  his  attention.      "  O,"  said 
his  brother,  •'  he  is  a  very  usefxil  little  fellow  to 
me,  for   he   fetches  my   books   and  papers,   the 
fittest  emi)loyment  for  such  a  one  as  he  is."    The 
boy  was  nettled  at  this  answer,  which  reflected 
as  much  upon  his  supposed  want  of  genius  as 
his  youth  ;  he  therefore  resolved  to  apjily  himself 
to  music  and  poetry  ;  which  his  brother  seeing, 
committed  him  to  the  care  of  Francesco  Gasparini, 
to  be  instrjicled  in   the  principles  of  music  ;    for 
poetry  he  had  other  assistances,  and  at    length 
became  a  great  proficient   in  both  arts.     In  the 
year  1710,  the  birth  of  the  first  son  of  the  Em- 
peror Charles  VI.  was  celebrated  at  Vienna  with 
great  magnificence ;    and  upon  this  occasion   a 
Bcrenata,  comj)osed  by  Benedetto  Marcello,  was 
performed  there  with  great  ap[)lause.     Two  can- 
tatTus  of  his,  the  one   entitled  "//   Timoteo,"  the 
other  "  La  Cnsaaixlra,"  are  also  much  esteemed. 
Marcello,  alter  this,  composed  a  mass,  which  was 
highly  celebrated,  and  was  performed  for  the  first 
time  in  the  church  of  Santa  Maria  della  C'elcstina, 
on  occasion    of  Donna   Alessandro   Maria   Mar- 
cello, his  brothers  daughter,  taking  the  veil   in 
that   minastery.     He   also  set    to  music   "The 
Lamentations  of  Jeremiah,"  the  "  Miserere,"  and 
the  "  Salve."      These,  with   many  other  sacred 
com])Ositi()r.8,  he  gave  to  the  clergy  of  the  church 
of  Santa  Suphia,  and  was  at  the  pains  of  instruct- 
ing them  in  the   manner  in  which  they  were  to 
be  pcrfonned.     For  many  years  Marcello  was  a 
constant  n. ember  of  a  musical  academy  held  at 
the  house  of  Agostino   Coletti,   organist  of  the 
church  of  the  Holy  Apostles,  in  which  ho  always 
gat  at  the   harjisichord,    and    by    his  authority, 
which  evcrj-  one  acquie;;ced  in,  dire;-ted  and  regu- 
lated  the  whole  performance.     In  the  year  1724 
were  brought  out  the   first  four  volumes  of  the 
••  Parajihrase  of  the  Psalms,   by   Giustiniani,   in 
Italian,  set    to   music    for   one,    two,    and   three 
voices,  by  lienedetto  Marcello;  "  and  in  the  two 
■ubseipien'  years  foiir  more,  including  the  whole 
first  fifty  of  the  psalms. 

In  the  year  K'Jfl,  this  great  work  was  com- 
pleted by  the  publication  of  four  volumes  more, 
containing  a  paraphrase  of  the  second  twenty-five 
psahuit ;  ai.d,  as  an  evidence  of  the  author's  skill 
In  that  kii  d  of  composition,  and  wliich  some  of 


'  the  most  eminent  musicians  have  endeavored  to 
excel,  namely,  canon,  he  has  at  the  end  of  the 
last  volume,  given  one  of  a  verj'  elaborate  coatex- 
turo. 

Mattheson,  of  Hamburg,  in  a    letter  to    Mar- 
cello, prefi.xed  to  the  sixth  volume,  says  that  the 
music  to  some  of  the  psalm.*  had  been  ada])ted  to 
words   in   the   (Jermau  language,  and   had  been 
performed  with  great  applause  in  the  cathedral 
of  that  city.     And  we  are  further  told,  that  for 
the  satisfactior.  of  hearing  these  compositions,  the 
Ilussians  had  made  a  translation  of  the  Italian 
paraphra.se  into  their  own  hiniiuage,   associating 
it  to  the  original    music  of  Marcello,    and  that 
some  sheets  ot  the  work  had  been  transmitted  to 
the  a<ithor  in  his  lifetime.     At  Home,  the^e  com- 
positions were  held  in  the  highest  estimation  bv 
all  who  professed  either  to  understand  or  love 
music.     At  the  palace  of  Cardinal  Ottoboni  was 
a  musical  academy,    held  on  Monday  in  every 
week,  in  which  Corelli  performed  ;  at  this  musi- 
cal assembly  one  of  the  psalms  of  Marcello  made 
constantly  a  part  of  the  entertainment ;  and  for 
the  puqiose  of  performing  there,  tlie  author  com- 
posed   to   them    instrumental  parts.     When  the 
news  of  Marcello's  death  arrived  at   Home,  his 
eminence,  as  a  public  testimony  of  affection  for 
his  memory,  ordered  that,  on  a   day  appointed 
for  the  usual  a.ssembly,  there  should  be  a  solemn 
musical  perfonnance.     The  room  was  hung  with 
black,  and  the  performers  and  all  present  were  in 
deep  mourning ;    Father  Santo  Canal,  a  Jesuit, 
made  the  oration ;  and  the  most  eminent  of  the 
learned  of  that  time  rehearsed  their  respective 
compositions  upon  the  occasion,  in  various  lan- 
guages, in  the  presence  of  the  many  considerable 
personages  there  assembled.     Nor  has   England 
been  wanting  in  respect  for  the  abilities  of  this 
great  man.      Charles  A\-ison,  organist  in  New- 
castle, had  celebrated  this  work  in  an  "  Essay  on 
Musical  Ex])ression,"  and  had  given  out  propo- 
sals for  publishing,  by  subscription,  an  edition  of 
it,  revised  by  himself;  but  it  seems  that  the  exe- 
cution of  this  design  devolved  on  anotlier  person, 
John  Garth,  of  Durliam,  who  was   at  tl;e  pains 
of  adapting  to  the   music   of  Marcello,  suitable 
words  from  the  English  prose  translation  of  the 
psalms,  with  a  Wcw  to  their  being  per;'ormed  as 
anthems  in  cathedrals ;  and  with  the  assistance 
of  a  numerous  subscription,  the  work  was  com- 
pleted in  eight  folio  volumes.     Marcello  was  for 
many  years  a  judge  in  the  council  of  forty  ;  from 
thence  he  was  removed  to  t!ie  charge  of  provedi- 
tor  of  Pola,  in    Istria.     Afterwards   he  was  ap- 
pointed to  the  office  of  chamberlain  or  treasurer 
of  the  city  of  Brescia.     He  died  at  Brescia  in  the 
year  1739,  and  was  buried  in  the  church  of  the 
fathers.    Minor    Observants    of    St.    Joseph    of 
Brescia,  with  a  degree  of  funeral  pomp  suitable 
to  his  rank. 

MARCESSO,  BARTOLOMEO,  an  Italian 
composer,  publLshed  motcta  for  two  and  three 
voices,  under  the  title  of  "  Sacra  Cfro"n,"  Venice, 

16.56. 

MARCH.  A  military  air,  played  by  inflatile 
and  pulsatile  instruments,  to  regulate  the  steps 
and  to  animate  the  minds  of  soldiers  The  march, 
however,  has  long  been  adapted  to  every  spec:es 
of  musical  instrument,  and  some  of  the  most 
celebrated  compositions  of  the  greatest  masten 
are  in  this  stvle  ;  as  the  "  March  of  the  Priests  " 


6.58 


MAR 


ENCYCLOPEDIA    OF    MUSIC. 


M  A  U 


iu  Moznrt's  "  Zatiberflate,"  the  "  Peasant's  March  " 
in  Weber's  "  Dir  Freischntz,"  and,  above  all,  Heet- 
hovcii's  "  Funeral  Marches."  A  march  should 
be  always  comiiosed  in  common  time,  with  an  odd 
crotchet  or  (imivcr  at  the  beginning.  It  is  usually 
quick  for  ordinary  marching,  and  slow  lor  grand 
occasions;  but  no  general  rules  can  be  laid  down 
for  its  composition. 

MARCHAL,  or  MARECHAL,  P.  A.  Proba- 
bly a  German,  resident  at  Paris.  In  1795,  he  began 
to  publish  tlicre  a  "  Manazin  tie  Miuiit/iie,"  from 
which  the  following  pieces  were  published,  by 
Irabault,  between  1796  and  1797.  "  Set/adil/a  rh 
i'Opira  (le  la  t'osa  rara,  avcc  Var.  pour  P.  /■'.,"  Op. 
9.  "  Six  Rondos  pour  le  Clav.  avcc  Ace.  de  Fl.  ou 
Violon,"  Op.  10.  "  Marlborough  en  Var.  pour  P. 
P.,"  Op.  11.  "  Sonaie  favorite  arrangde  pour  P. 
F.  et  Violon,"  Op.  12.  "  Duo  Concertant  pour  le  P. 
F.  et  Violon,"  Op.  13. 

MARCHAL,  FRANCOIS,  master  of  the  band 
of  the  thirteenth  regiment  of  French  light  infan- 
try, published,  at  Leipsic,  "  Marche  funibre,  exec. 
d  I'occasion  de  Ccnterr.  du  Giniral  Macon,  pour  P. 
F.,"  and  "  I'as  redoublis  Fran(;ais  et  IValses,  jx)ur 
P.  F." 

MARCIIAXD,  JEAN  LOUIS,  was  a  native 
of  Lyons,  and  an  organist  of  some  church  in  that 
city,  ^\^len  very  young,  he  went  to  Paris,  and 
strolling,  as  by  accident,  into  the  chapel  of  the 
college  of  St.  Louis  le  Grand,  a  few  minutes  be- 
fore service  was  to  begin,  he  obtained  permission 
to  play  the  organ  ;  and  so  well  did  he  acquit 
himself,  that  the  Jesuits,  taking  pains  to  find  him 
out,  retained  him  amongst  them,  and  provided 
him  with  every  retiuisite  to  perfect  him  in  his  art. 
He  died  at  I'aris  in  173'2,  aged  sixty-three,  and 
left,  of  his  composition,  two  books  of  lessons  for 
the  harpsichord,  which  are  greatly  admired. 

MARCIIAXD,  II.,  pianist  to  the  Prince  of 
Thuru  and  Taxis,  was  born  at  Mentz  in  17(i9. 
He  was  a  pupil  of  Mozart  and  Winter,  and  gave 
a  concert  in  179S,  at  Hamburg,  where  he  was 
ranked  among  the  most  tast-?ful  and  brilliant  per- 
formers. He  is  probably  the  author  of  the  fol- 
lowing printed  pieces  :  "  Dix  I'nria/.  pour  le  Clav. 
rur  un  Thfmc de  Haydn,"  Op.  1,  Munich,  1800 ;  and 
"  Marche  des  Mnrseillois,  variie  pour  le  Clav.,"  Op. 
2,  Munich,  1802. 

MARCIIE.     (F.)     In  harmony,  a  symmetrical 

sequence  of  chords. 

MARCHES!,  caUcd  also  MARCHESINI,  LU- 
IGI,  a  celebrated  Italian  sopranist,  was  born  at 
Milan  about  the  year  175.5.  His  first  dt'-b^a  on 
the  stage  was  at  Home,  in  1774,  in  a  female  char- 
acter, the  usual  introduction  of  a  j'oung  and 
promising  singer,  with  a  soprano  voice  and  ele- 
j;ant  person.  In  1775  he  performed  the  second 
man's  part  at  Milan  with  Pacchicrotti,  and  at 
Venice  with  Millico ;  but  the  same  year  he  was 
advanced  to  the  principal  character  at  Treviso. 
In  177(>  and  1777,  he  sung  as  first  man  at  .Munich 
and  Padua;  and  iu  1778  at  the  great  theatre  of 
San  Carlo,  at  Naples,  which  is  the  post  of  honor 
of  an  opera  singer.  There  he  continued  two 
ieasons  ;  and  he  since  perfonne<l  with  increasing 
celebrity  at  Pisa,  (ienoa,  Florence,  Milan,  Rome, 
St.  Petersburg,  Vienna,  and  Turin.  The  first 
opera  in  which  he  appeared  on  the  English  stage 
was  the  "  Uiulio  i>abi>u)"  of  Sarti,  in   1783.     Tlie 


elegant  and  beautiful  music  of  this  drama  did  not 
obtain  the  ai)plause  which  it  deserved,  and  hatl 
already  received  in  other  i)arts  of  Europe.  Mar- 
chesi's  style  of  singing  was  not  only  cleg-int  and 
refined  to  an  uncommon  degree,  but  tre  [uently 
grand  and  dignified,  jjarticuliu'ly  in  his  recitatives 
and  occasional  low  notes.  His  variety  of  embellish- 
ments, and  facility  of  running  extempore  divisions, 
were  at  that  time  considered  truly  marvellous. 
Many  of  his  graces  were  new,  elegant,  and  of  his 
own  invention  ;  and  he  must  have  studied  with 
intense  apijlication  to  execute  the  divisions  and 
running  .shakes  from  the  bottom  of  his  compaM 
to  the  top,  even  in  a  rapid  series  of  semitones  or 
half  notes.  Independently  of  his  vocal  powers, 
his  performance  on  the  stage  was  extremely  em- 
bellished by  the  beauty  of  hLs  ])erson  and  the 
grace  and  propriety  of  his  gestures.  "  We  ex- 
pected an  exquisite  singer,"  says  Dr.  liurney, 
"  and  were  agreeably  surprised  by  a  fine  actor." 
In  1790  Marchesi  returned  to  Italv.  He  died  at 
Milan,  in  1829. 

MARCHESI,  TOMMASO,  one  of  the  most 
distinguished  teachers  in  the  Bolognese  school 
of  singing,  and  one  of  the  cleverest  of  the  most 
recent  Italian  church  composers,  was  bom  in 
1776  at  Lisbon.  In  1836  he  was  maestro  di  capelia 
over  not  less  than  thirty-two  churches  in  Bolo- 
gna. From  an  eccentric  peculiarity  ho  would 
never  offer  any  of  his  compositions  to  be  printed. 

MARCHETTO,  of  Padua,  the  celebrated  com- 
mentator of  Franco,  and  the  first  author  who 
treated  exten.sivcly  of  the  chromatic  and  enhar- 
monic genera,  left  two  works,  first,  "  Lmidarium 
in  Arte  Mu-iirrf  pUin/t ;  incfioatum  C'cfentP,  pirfcctum 
VcronfP,"  1274.  and  "  Potwrium  in  Artf  Miisica 
mcnsurai(r;"  dedicated  to  Robert,  King  oi  Naples 
about  the  year  1783.  Those  are  the  most  ancien' 
treatises  that  make  mention  of  shaqis,  chromatii 
counterpoint,  and  discords.  Several  of  the  har- 
monic combinations  proposed  by  Marchetto  art 
still  in  use ;  others  again  have  been  rejected. 

MARCIA,  (I.,)  or  MARCHE,  (F.)     \  march 

MARCOLINI,  MARIETIA,  began  to  be  dU- 
tinguLshed  a*  a  singer  about  1805.  liossini  com- 
posed several  songs  for  her  to  sing  in  IS  11  and 
1812. 

MARCOU,  PIERRE,  formerly  chamber  mu- 
sician to  the  King  of  France,  was,  in  179S,  one  of 
the  first  violinists  in  the  orchestra  of  the  Theatre 
Lyriquc,  at  Paris.  He  published  "  Ktenuiu  thio- 
ri'/ucs  ft  prati'iiie-i  de  Musi'iue,"  London  aud  Paris, 
1781.     He  died  in  1820. 

MARCrOUI,  ADAMO,  boni  at  Arezzo,  w/n 
chapel-master  to  the  cathedral  of  Pisa.  He  dif  d 
at  Montenero  in  1808. 

MARCUS.  JOACHIM,  a  German  contrapun- 
tist of  the  fifteenth  century,  jjublished  "  .Sfi<T<» 
Cantjonrs,  5,  6,  7.  S,  9,  et  pluriiim  rocum,"  .Stcttiu, 
and  a  second  edition.  Leipsic,  li'iOS. 

MARD,  TOUSSAINT  RAYMOND  IE  .SI., 
was  born  in  Paris  in  1682,  and  died  there  iu  1767. 
nie  original  title  of  his  tre.itise  is  "  Ilejlexi  ms  sur 
r Opera,"  Haag,  1741,  and  Ls  found  in  hLs  "  Hi- 
Jlexions  sur  la  I'nfsie  en  i/i'ni'raJ,"  a  work  which 
wa.s  republished  at  Amsterdam  in  1740. 

MARENZIO,  I.UCA.  Tliis  ingenious,  ele- 
gant, and,  in  hU  line,  unrivallcil  com|>oser,  was 
bom  at  Coccaglia,  in  the  diocese  of  Brescift,  io 


659 


UAR 


ENCYCLOP-liDIA    OF   MUSIC. 


MAR 


the  Mirlv  part  of  the   nixtecnth   century,      llis  i  countcq)oint  under  Patre  Martini,  at  Bologna. 


iiaturnl  inclination  leading  him  very  early  to  the 
coraiiosition  of  niadrif;als,  like  Ium  contemporary 
Palestrina,  he  obtained  an  ackno\vlcd;5cd  superi- 
ority over  all  his  predecessors ;  and  the  number, 
aluo,  of  his  publications  is  prodigious.  Xiiie  books 
of  hi*  madri^aU  for  five  voices  were  printed  at 
Veni.'c  between  the  years  1.5S7  and  KiOl.  Be- 
sides these,  he  composed  six  books  of  madrij^als 
in  six  parts ;  madrij^als  for  three  voices  ;  another 
set  for  live  ;  and  another  for  six  voices,  different 
from  all  the  former ;  canzonets  for  the  lute,  "  Mo- 
Utli  a  4,"  and  "  Sacrat  Cautiones  .5,  6,  ac  7  f'ocibiis 
Modulamlaji."  All  these  works  were  printed  at 
Venice,  and  afterwards  at  Antwerp,  and  many  of 
them  in  London  to  English  words.  (See".Vi(- 
iicti  Tran.salpina,"  two  books  ;  and  "  A  Collection 
of  Italian  Madrigals,  with  English  Words,"  pub- 
lished in  1589,  by  Thomas  Watson.)  In  the 
madrigal  style,  Luca  Marenzio  was  called,  by  hLs 
countrymen,  "//  piu  dola:  Cif/uo."  lie  was  some 
time  chapel-master  to  Cardinal  Luigi  d'Este ; 
and,  according  to  Adami  and  others,  was  caressed 
and  patronized  by  many  princes  and  eminent  per- 
sonages, particularly  by  the  King  of  Poland. 
Upon  his  return  to  Rome  after  quitting  Poland, 
he  was  admitted  into  the  Pope's  Chapel  ;  and 
dying  in  that  city  in  l.iOD,  he  was  buried  in  the 
church  of  St.  Lorenzo,  in  Lucina.  Peacham 
(see  "Complete  (lentleraan,"  p.  101,  edition  of 
16.34)  speaks  of  his  delicious  aire  and  sweet  inven- 
tion ill  madrigals,  and  says  that  "  he  excelled  all 
Others  whatsoever,  having  published  more  sets 
than  any  author  else,  and  without  an  Hi  sing ;  " 
adding  that  his  first,  second,  and  third  parts  of 
ITiyrsis,  "  Veggo  dolce  il  mio  ben,"  kc,  are  songs 
"  the  Muses  themselves  might  not  have  been 
ashamed  to  have  composed."  To  this  we  may 
readily  subscribe,  and  will  not  dispute  his  stature, 
or  the  color  of  his  hair,  when  he  further  tells  us 
"  that  he  was  a  little  black  man  ;  "  but  when  he 
asserts  "  he  was  organist  of  the  Pope's  Chapel  at 
llome  a  good  while,  where  there  never  was  an 
organ,"  we  can  no  longer  credit  his  report ;  nor 
is  it  likely,  however  great  the  musical  merit  of 
this  little  black  man  may  have  been,  that  the 
niece  of  any  reigning  pope  could  have  been  sent 
for  to  Poland,  as  Peacham  tells  us,  with  so  little 
ceremony,  in  the  character  of  lutenist  and  singer, 
in  order  to  gratify  the  curiosity  of  his  Polish 
majesty,  and  the  affection  of  Luca  Marenzio.  In 
short,  the  whole  account  Ls  compiled  from  hearsay 
evidence,  and  abounds  in  absurdities,  and  is  so 
much  the  more  incredible,  as  no  other  musical 
writers,  eager  as  they  were  to  record  every  me- 
morial tlicy  could  procure  concerning  this  cele- 
brated musician,  have  ventured  to  relate  these 
strange  circumstances.  There  are  no  madrigals 
so  agreeable  to  the  car,  or  amusing  to  the  eye,  as 
those  of  this  ingenious  and  fertile  compo.ser.  Tlie 
subjects  of  fugue,  imitation,  and  attack  are  traits 
of  elegant  and  pleasing  melody  ;  which,  though 
they  seem  selected  with  the  utmost  care,  for  the 
sake  of  the  words  they  are  to  express,  yet  so  art- 
ful are  the  texture  and  disposition  of  the  part.s, 
that  the  general  harmony  and  effect  of  the  whole 
are  as  complete  and  unembarrassed  as  if  he  had 
been  writing  in  plain  counterpoint,  without  poe- 
try or  contrivance. 

M.VRESCALCHI,  LUIOI,  a  composer  and  pro- 
piietor  of  a  music  warehouse  at  Naples,  studied 


His  principal  works  are  as  follows  :  "  Melcagro," 
a  ballet,  Florence,  1780.  "/  Disertori  felici," 
opera,  Phicenza,  1784.  "Andromeda  e  Perteo," 
opera  seria,  Rome,  1784.  "  Le  liicoluziont  del 
Seraglio,"  haXlet,  Naples,  1788;  and  "  Giulietta  e 
linmeo,"  ballet,  Rome.  17S9.  'Hie  authors  of  the 
French  "  Dictionary  of  Musicians"  state  that  the 
Op.  7  of  the  engraved  works  of  Bocchcrini,  con- 
sisting of  trios  for  two  violins  and  violoncello,  is 
really  the  work  of  Marescalchi,  and  nothing  but 
a  trading  trick. 

M.\RE.SCH,  J.  A.,  born  in  Bohemia  in  1709, 
was  the  inventor  of  the  hunting  music  performed 
on  horns,  which  has  been  brought  to  fuch  per- 
fection in  Ru.ssia.  ITiese  horns  are  all  of  differ- 
ent lengths  and  curvature,  but  each  of  them  is 
meant  to  produce  only  a  single  tone.  To  execute 
the  most  simple  piece  of  harmony,  or  even  a  mel- 
ody, at  lea-st  twenty  musicians  are  nece.<.«ary ;  but 
the  execution  is  not  complete  without  forty  per- 
formers, and  often  many  more  are  employed. 
Each  of  them  has  only  to  think  of  his  single  tone, 
and  to  blow  it  in  precise  time,  and  with  a  force 
and  shading  proper  to  give  effect  to  the  passage. 
ThLs  music  more  resembles  the  sound  of  a  large 
organ  than  any  other  instrument.  In  a  calm  and 
fine  night,  it  has  often  been  distinctly  heard  »t 
above  four  English  miles  distance.  It  has,  when 
far  off,  an  effect  analogous  to  that  which  is  pro- 
duced by  the  sound  of  the  harmonica  when  near. 
He  died' at  St  Petersburg,  in  1794. 

MARET,  IIUGUES.  Probably  a  member  of 
the  society  of  belles  lettres  at  Dijon,  read  to  the 
society,  and  afterwards  printed,  "  Ehge  Historique 
de  M.   Rameau,"  17G7. 

M.VRGRAFF,  ANDREAS,  singer  in  the 
school  at  Schwandorff,  in  the  sixteenth  centun,-, 
and  boni  at  Eger,  in  Bohemia,  published  the 
128th  psalm,  for  five  voices. 

MARIA,  D.  JOAO  DE  ST.,  a  Portuguese 
priest  of  the  order  of  St.  -■V.ugustine,  and  chapel- 
master  of  St.  Vinccntp,  in  Lisbon,  was  born  at 
Terona,  in  the  province  of  Transtagana,  and  died 
at  Grijo,  in  the  convent  of  St.  Salvador,  in  1654. 
He  left  "  Tres  Livros  de  Contraponto,"  inscribed  to 
King  John  IV.  They  are  still  to  be  found  in  tlie 
royal  library  at  Lisbon. 

MAIUANI,  GIOV.  BATT.,  composed  at  Viter- 
bo,  in  16.59,  a  beautiful  opera  entitled  "  Amor  vuol 
GiovetUii." 

MARIN,  FABRICE,  a  French  composer  of  the 
sixteenth  century,  set  to  music  for  four  voices 
some  poetry  of  Ronsard,  Baif,  Jamin,  and  Des- 
portcs,  which  was  pubUshed  at  Paris  in  1578. 

MARIN,  GUILLAUME  MARCEL  DE,  bom 
in  (ruadaloupe  in  the  year  I7.'i7,  was  of  the  family 
of  the  Marini,  some  of  whom  were  doges  of  the 
republic  of  (lenoa.  M.  de  Marin  went  to  Paris 
at  about  twelve  years  of  age,  and  studied  at  the 
college  of  Ivouis  le  Grand.  NNTicn  fourteen  years 
old,  he  embraced  the  profession  of  arms,  and  at 
fifteen  devoted  himself  to  the  study  of  mathe- 
matics and  music.  He  then  undertook,  without 
a  master,  the  study  of  the  violin,  learned  composi- 
tion of  liameau,  and  at  length  placed  himself  un- 
der Gavinies,  as  a  finishing  master  for  tlie  violin. 
He  composed  a  "  Stabat  Mater,"  which  was  pub- 
lished. 


nna 


MAR 


EXCYCLOP.-EDIA    OF    MUSIC. 


MAR 


MARIX.  MARIE  MARTIN  MARTKI..  VIS- 
COMTE  I)E,  son  of  the  piecedin^,  wiis  born  at 
St.  Jean  cle  Luz,  near  liayonne,  in  17*59.  Ho 
learned  music  of  his  father  from  the  early  age  of 
four,  and  at  seven  comi)osed  a  sonata  for  the 
piano.  Xiirdini  gave  him  lessons  on  the  violin, 
*nd  stated  him  to  be  his  best  pupil.  lie  also 
FiuJiod  the  harp  under  Ilosbrukcr,  but  after  aliout 
thirty  lessons,  the  puj)!!,  aiiparently  feeling;  an  im- 
l)ulse  to  improve  upon  the  style  of  his  master, 
desisted  from  receiving  further  instructions,  and 
continued  his  practice  on  that  instrument  entirely 
unaided.  M.  de  Marin  might  have  had  rivals  in 
his  violin  plajnng  ;  but  it  is  gencrnlly  acknowl- 
edged that  he  was  soon  without  an  equal  on  the 
harp.  In  1783  he  was  received  and  crowned  by 
the  musical  academicians  at  Rome.  He  there 
extemporized  on  the  harp,  and  followed  u])  sub- 
jects for  tugue,  which  were  given  to  him,  in  a  man- 
ner till  tlien  quite  unknown  on  that  instrument. 
He  played  on  the  harp  at  tirst  sight,  from  the 
scores  of  .Seb.  Uach's  fugucjs,  and  from  those  of 
Jomelli,  and  achieved  on  the  harp  what  could 
scarcely  be  done  by  another  on  the  ])iano-forte. 
Such  an  impression  did  his  performance  at  the 
academy  at  Rome  make  on  his  audience,  that  the 
celebrated  Corinna,  who  was  present,  rehearsed 
e.vtemporary  verses  in  his  honor. 

On  his  return  from  Italy,  l)e  Marin,  then  only 
iiftet;n  years  of  age,  commenced  his  military  edu- 
cation at  the  cavalry  school  at  Versailles.  He 
quitted  it  nt  seventeen,  as  captain  of  dragoons, 
obtaining  at  the  same  time  leave  of  absence  to 
continue  his  travels  ;  iu  tlie  course  of  which  the 
French  revolution  closed  the  doors  of  his  country 
against  him,  and  he  was  placed  on  the  list  of  em- 
igrants. He  then  procee<.led  to  England,  where 
his  performance  on  the  harp  was  universally  ad- 
mire>l. 

M.  de  Marin  has  composed  much  music,  chiefly 
for  the  harp,  which  has  been  published  in  Paris 
and  London.  Several  of  his  compositions  were 
Bo  much  esteemed  by  dementi,  that  he  arranged 
them  for  the  piano-torte.  We  know  not  the  e.\- 
act  period  of  M.  de  Marin's  return  to  France, 
since  which  time,  however,  he  has  been  no  more 
heard  on  his  instrument,  but  as  an  amateur. 

MARINELLI,  P.  GIUEIO  CESARE,  ,ln  monte 
Cicardo  Stri'i/a,  lived  in  the  latter  half  of  the 
seventeenth  century,  and  wrote  "  I'lVt  mlla  dclla 
I'oce  Corale,  ocvero  Ofservuzioni  del  Canto  fermo," 
Pologna,  lt>71.  Buononcini,  p.  11,  c.  21,  of  his 
"  Miisico  J'ratt.,"  says,  that  in  the  third  and  fourth 
volumes  of  this  work  are  to  be  found  much  in- 
formation respecting  the  canto  Jc-niut. 

MARINELLI,  GAETANO,  a  dramatic  com- 
poser from  Naples,  was,  about  the  year  1790,  in 
the  Elector  of  Bavaria's  service  at  >Iunicli.  Sev- 
eral of  his  airs  iu  manuscript  are  well  known  to 
amateurs.  He  composed  "  IJtre  Hii\iU,  ossit  il 
Uatrimonio  inaspcHatD,"  opera  butfa.  Rome,  1784, 
and  "  Gli  U-xellatori,"  opera  buffa,  Florence,  1785. 

MERIXI,  ALESSANDRO,  Catimticiu  Lale- 
ranetisis  and  composer,  flourished  at  Venice  about 
the  year  l.).5d,  where  he  published  several  works. 
Of  these  we  can  only  mention  "  Vesper  Psalms, 
for  four  voices,"  Venice,  1.587,  and  "  Mottcti  it  6 
voci,"  Venice,  1588. 

MARINI,  BIAGIO,  church  and  chamber 
somposcr,  and  also  violinist,  born  at  llrescia,  was 


tirst  chapel-master  in  the  cathedral  church  of 
Jirescia.  He  alter  wards  went  to  (iermany,  and 
held  the  same  employment  iu  l(i'21,  in  thesorvice 
of  the  Count  Palatine,  who  granted  him  the  title 
of  chevalier.  The  period  of  his  return  to  his 
native  country  is  not  known.  All  fliat  we  know, 
trom  the  Cozzainto  Libruria  lireacianri,  is,  that  ha 
died  in  UWiO  at  Padua.  Co/zando  also  mentions 
the  following  works  :  "  Arip,  Madriiiali,  e  C'orrenli 
«  1,  2.  e  .3  rod,"  Venice,  1(520  ;  "  Sa/mi  a  4  voci.' 
"  Miisiche  da  Camera,  il  2,  3,  e  4  vnci ;  "  "  MUereri 
d  2,  3,  e  4  voci  con  V.  ;  "  "  Compoaitioni  varie.  Mad- 
rii/ali  d  3,  4,  5,  tf  7  voci  con  V. ;  "  "  Ma<liiijali  Sin- 
fonie  d  2,  3.  e  4."  "  Arie  d  1,  2,  3  ;  Miuicht  d  1. 
2,  3,  4,  e  o,  lib.  4,  5,  7  ;  "  and  ".V>/io<,,  Canzoiiu, 
Piiswmezzi,  JJn/M/i,  Citrrenli,  GagHarde,  IlitorneUi 
it  1,  2.  3,  4,  5,  e  6." 

MAKINL  CARLO  ANTONIO,  a  violinist  and 
composer  for  his  instrument  in  tlie  church  of  St. 
Maria  Maggiore,  at  llergamo,  was  born  there,  and 
flourislicd  in  the  latter  end  of  the  seventeenth 
century.  Ho  published  eight  works,  of  which 
we  can  mention  the  following:  "  12  Sonaie,"  Op. 
3  ;  "  liailetti  A  la  Francese  il  3,"  Op.  6,  Venice, 
1699  ;  "  12  Sonn/e,"  Op.  6  ;  "12  Soiiate  A  2  I., 
Vc,  e  Cont.,"  Op.  7  ;  and  "12  iSonate  d  V.  solo  i 
Cant.,"  Op.  8. 

MARINI.  GIOSEFFO,  chapel-master  at  Por- 
denone,  in  the  Venetian  states,  in  the  beginning 
of  the  seventeenth  century,  published  "  Madri- 
gali,"  Venice,  1G18. 

MARINI, .      A  celebrated   Italian 

haaito  now  on  the  stage,  and  generally  held  to  be 
second  only  to  Lablache.  He  has  sung  in  all  the 
principal  cities  of  Europe,  and  recently  visited 
the  United  Stales  and  Havana. 

MARINIS,  GIOVANNI  DE.  A  composer  of 
the  sixteenth  century,  of  whoso  works  mention 
is  made  in  "  l)n  Antiqtd^  /'rimo  Lib.  a  2  i-oci  de  din. 
Autori  di  liari,"  Venice,  1585. 

MARINI.  GIOV.  BATTIST.,  a  Neapolitan 
chevalier  and  celebrated  poet,  born  in  1569, 
;resided  some  time  at  Rome,  afterwards  at  Tuiin 
and  Paris,  and  again  in  Rome.  He  died  at  Naples 
in  1625.  Amongst  other  works,  he  wrote  "  Dicerie 
Sacre  tre."  Turin,  1618  and  1620.  The  title  of 
the  second  piece  is  "  La  Musica  sopra  le  Sette  Parols 
dette  da  Chris  to  in  Croce." 

MARIO.  "  Motetti  d.l  Dottor  Mario  libri  6," 
Venice,  1640.  Under  this  title,  a  printed  work 
was  found  in  the  musical  archives  at  Copenhagen. 
It  was  destroyed  by  the  tire  there  in  !7Q4. 

MARIO  ITELLUS,  FULVIUS,  a  Icurned  ivriter 
in  the  beginning  of  the  seventet^nth  century,  born 
at  Perugia,  published  "  Xeopadia,"  Rome,  1624. 
This  is  an  introduction  to  the  sciences,  and  to 
music  among  the  rest. 

MAUIO'lTINI,  chamber  singer  to  the  I'lector 
at  Dresden,  published  there  "  12  Lieder,"  words 
by  Blumaucr,  for  the  piano,  Dresden,  1790.  A 
specimen  of  this  work  is  to  he  found  in  the  four- 
teenth music  page  of  the  Miuic.  C irreiinndmz, 
1790.  There  are  also  known  by  thus  author  "8 
Daettini  p.  2  Sopr." 

MAR1SS.\L.  ANTONIUS,  Baccalaureut  Jurit 
Pontijicii  in  the  beginning  of  the  seventeenth 
century,  wa.s  born  at  Douay.  He  published 
"Flore*  melodici,"  Douay,  1611. 


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MAKON'I,  GIOV.,  clinpel-master  of  the  cathe- 
dral church  at  Loili,  where  he  was  considered,  in 
\rt'20,  as  un  industrious  composer,  was  born  at 
Ferrara.  He  wrote  a  number  of  motets  and 
madrigals 

MAUOITA,  ERASMUS,  Jesuit,  and  rector  of 
CoUet/.  ytcncntii,  wus,  at  the  same  time,  an  able 
musician  and  composer,  in  the  first  half  of  the 
seventeenth  century.  He  was  born  at  Randazzo, 
a  town  in  Switzerland,  and  was  made  a  Jesuit  in 
ir)12,  by  which  means  he  obtained  the  above  situ- 
ation. He  died  at  Palermo  in  Kill.  His  published 
works  are,  "  C'anttui  pii  mwiich  modtdis  expreasi," 
and  "  Aminta,"  a  pastoral,  the  words  by  Torquato 
Tasso. 

MARPALU,  DE.  a  French  philosojiher  of  the 
seventeenth  century.  His  name  is  found  to  the 
following  two  treatises :  "  Traitis  de  V  Origiiie  de 
r Harmonic,  et  de  ceux  qui  Vont  inventi'.e,  de  »on  usage 
etdeses  effets." 

MARPURG,  FRIEDERICH  WILHELM. 
The  following  account  of  this  celebrated  musi- 
cian was  published  by  Gerber,  in  the  year  1814  : 
"  Marpurg,  too,  is  gone,  this  venerable  veteran 
amongst  the  literati  of  music  !  ^^'hat  tragic 
scenes  have  been  presented  to  the  Muses  during 
the  last  ten  years  of  the  eighteenth  century  !  Not 
one  of  these  years  has  passed  by  without  leaving 
the  Muses  in  mourning.  The  unhappy  effects  of 
war  on  many  of  the  chapels  of  the  German  princes 
I  shall  here  pass  over,  especially  as  I  have,  in  my 
'  History  of  Music  for  the  Year  1701,"  (see  Annalen 
TeuUchtunds  des  I.  179-4,)  found,  alas!  but  too 
much  of  such  matter  to  render  it  requisite  again 
to  touch  on  the  same  subject.  Death,  then,  has 
within  this  period  snatched  away  from  us  our  first 
professor  in  musical  science,  our  Maqiurg  !  and 
just  at  a  time  when  he  spontaneously,  with  a 
■warm  love  for  the  arts,  and  with  an  experience  of 
more  than  fifty  year.s,  had  begun  to  write  in  his 
own  manner,  that  is,  rudimentally,  fully,  and  with 
excellent  arrangement,  his  '  History  of  the  Organ," 
a  work  well  worthy  the  wish  that  he  might  have 
livetl  to  complete  it,  and  an  undertaking  to  which 
I  might  myself  have  possibly  contributed  some- 
thing. It  was  in  November,  179.'),  when  I  passed 
five  weeks  at  Berlin,  that  I  was  received  in  Mar- 
purg's  ho\isc  almost  daily,  with  the  most  friendly 
and  hospitable  attention.  He  then  still  showed 
the  lively,  jovial,  and  witty  temper  oi  youth  ;  was 
corpulent,  ate  and  drank  well,  and  enjoyed  ]ier;ect 
health.  Only  once,  and  just  as  he  had  returned 
from  his  lottery  business,  I  found  him  reserved 
and  dejected.  '  My  friend,'  paid  he,  '  we  have 
had  an  unlucky  day ;  we  have  lost  much."  AVith 
the  exception  ot  tiiis  Kin!,'le  instance,  I  found  him 
evsry  day  more  cheerful.  When  he  had  company 
be  W.-.s  the  soul  of  it,  and  by  ourselves  our  usual 
subject  of  conversation  was  ancient  and  modern 
lausic,  dead  and  living  artists.  Many  delightful 
hours  have  1  pas.sed  with  him  in  this  manner.  In 
one  of  those,  he  made  me  acquainteti  with  the 
•whole  history  of  his  life ;  but  unfortunately  the 
satisfaction  which  the  enjoyment  of  his  society 
procured  me,  as  well  as  the  many  agreeable  diver- 
sions and  new  subjects  which  presented  themselves 
tomeatevery  moment,  in  the  lx'aiit;ful  and  hospi- 
table city  of  iierlin,  allowed  me  so  little  time,  that 
I  could  neither  store  these  jiarticulant  in  my 
mvmorv,  nor  write  them  down.     All  that  1  can 


recollect  is,  that  he  was  born  at  Seehausen,  in 
Prussia,  in  1718 ;  that  after  his  return  from  Paris, 
where  he  resided  many  months,  he  acted  for  some 
time  as  secretary  to  a  minister  at  Berlin  ;  that  he 
afterwards  resided  some  time  in  Hamburg,  after 
which  he  w.-is  presented  with  the  direction  of  the 
lotteries  at  Berlin.  I  found,  on  the  long  table  ir  • 
his  study,  a  qtiantity  of  books  dispersed  about, 
and  some  detached  leaves  of  music :  from  these  I 
concluded  that  he  still  thought  much  of  and 
wrote  music.  I  once  requested  him  not  to  leave 
his  pen  inactive,  but  to  take  it  up  again  for  the 
benefit  of  musical  literature.  '  Perhaps,'  said  he, 
'  I  shall  soon  be  able  to  publish  another  volume 
of  "Legends."'  1  replied  gratefully,  which  he 
seemed  to  observe,  but  never  touched  upon  tl'.e 
subject  again  On  the  day  of  my  dejjirture,  he 
called  his  amiable  daughter,  then  between  fifteen 
and  sixteen  years  old,  to  tl;e  piano,  when  she 
played  a  masterly  grand  sonata,  by  chapel-master 
Schutz,  with  an  expression  and  firmness  which 
denoted  any  thing  rather  than  a  female  hand. 
After  she  liad  withdrawn  from  the  instrument, 
the  worthy  man  brought  the  bound  copy  of  the 
second  volume  of  his  '  Chorals  and  Fugues,"  and 
played  to  me  himself  a  choral  and  part  of  a  fugue, 
with  those  hands  so  long  accastomed  to  labor  for 
the  benefit  of  the  art ;  he  then  wTote  a  few  flat- 
tering lines  under  the  title,  and  presented  me  with 
the  book  as  a  remembrance.  I  parted  from  him 
with  a  heart  greatly  affected,  full  of  love,  esteem, 
and  gratitude,  and  not  long  after  was  informed  by 
my  friends  in  Berlin  how  actively  he  was  engaged 
in  finishing  his  '  History  of  the  Organ,'  which 
was  to  be  published  in  179.5.  What  might  we 
not  have  expected  on  this  subject  from  a  Marpurg, 
if  it  bad  pleased  Providence  to  grant  him  one  year 
more  of  life !  but  I  soon,  alas  !  received  the  melan- 
choly news  that  his  faculties  began  visibly  to 
weaken,  and  that  probably  be  was  laboring  under 
consumption.  His  disease,  whatever  it  was, 
e.\hausted  so  quickly  the  powers  of  lite,  that  he 
died  early  in  179.5. 

"  It  was  probably  by  his  order,"  continues  Ger- 
ber, "  that  Madame  Marpurg,  his  excellent  wile, 
every  way  so  worthy  of  l-.im,  sent  me  the  materials, 
writings,  and  drawings  which  he  had  prepared  Tor 
hi*  work  on  the  organ.  By  this  means  I  am  en- 
abled to  give  the  reader  further  information 
respecting  this  worthy  man's  undertaking.  None 
of  the  parts  belonging  to  the  history  were  left 
in  a  finished  state,  but  in  all  of  them  important 
progress  was  made  by  the  author.  The  treatise 
on  the  hydraulic  instruments  of  the  Greeks  is 
beyond  depute  the  most  learned  part  of  the  work, 
and  at  the  same  time  the  most  advanced.  It  is 
treated  in  a  manner  indicative  of  the  author's  own 
uigenuity  united  to  extraordinary  learning.  In 
his  treatise  on  the  tirst  wind  organs  oi  the  middle 
ages,  I  have  found  several  interesting  remarks, 
and  much  uUbrmation  on  the  history  ol  the  organs 
ot  modern  times.  He  seems  to  have  occupied 
hirasclf  particularly  in  explaining  the  construction 
and  the  notes  of  the  French  organs,  for  which 
purpose  he  appears  to  have  had  recourse  to  thf 
groat  work  of  liedi>.s  de  CelUs. 

The  lollowing  list  contains  the  principal  works 
of  this  celebrated  author.  Theoretical,  "  Dit 
kriti^che  musicits  and-  der  Spree,  i.  c..  The  critical 
musician  of  the  S|)ree,  fifty  numbers  1719,  &c 
"  Die  kiuist  diu  klavicr  :u  spiclen,"  i.  e.,  Tiie  ar* 
of  playing  the  harpsichord,  first  volume  in  1750 


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Bccond  volume,  containing  thorough  bass,  in 
1755.  This  work  wiis  translated  into  French, 
and  the  third  edition  of  the  translation  appeared 
in  17(>0.  "  Anteituii;/  :tim  k/arierspielen."  This 
is  the  second  and  improved  edition  of  the  pre- 
ceding work.  " AbhuiultuiK]  von  der  Fuge"  i.  e. 
Treatise  on  fugue.  Part  I.,  Berlin,  1753,  and 
Part  II,  1754.  A  French  translation  of  it  was 
published  at  Berlin  in  175().  Kollman  states  this 
to  be  the  most  profound  and  masterly  work  of 
the  kind  in  the  German  language.  "  llistorisch 
kritiache  liri/trOge  zur  Aufnahnw  der  Mttsik,"  in  live 
volumes,  ocivo,  published  at  Berlin  between  the 
years  1754  and  1760.  "  Ilandbuch  bey  dem  Genertl- 
biuss,  uiid  der  Composition,"  Berlin,  1755,  1760. 
Kollmiiu  says  this  work  treats  on  harmony  in  a 
nasterly  manner,  but  according  to  Rameau's 
lystem,  concerning  which  it  is  certain,  that  the 
more  harmony  is  explained  by  it,  the  more  per- 
plexing it  becomes.  "  Aiifangsgrunde  der  Iheurc- 
tischen  Musik,"  1757-  "D' Al-embcrl'a  syntematische 
Einleitung,  i<c.,"  translated  from  the  French,  with 
notes,  1758.  "  AnUitung  zur  Singkunst,"  1759. 
"  Kritische  Einleitung,  Ac,"  1756.  "  Kritische  Briefe 
Uber  die  tonknnst,"  Berlin,  1760  and  17()3,  in  two 
volumes,  each  consisting  of  four  parts.  This 
work  is,  according  to  the  compilers  of  the  French 
musical  dictionary,  filled  with  interesting  matter, 
and  contains  many  dissertations  from  the  pens  of 
such  great  masters  as  Agricola,  Kimbergcr,  &c. 
"  Anleitung  zur  Musik  Uberhaupt,  ire.,"  17G3.  "  Nor- 
gen's  Anleitung zuin  Generalbass,  Jfc,"  1760.  "  IVr- 
tuch  Uber  die  niusikaliache  Temperaiur,  Stc,"  Breslau, 
1776.  This  work  demonstrates  different  equal 
and  unequal  temperaments,  by  hannonical  cal- 
culations ;  and  to  it  is  added  an  appendix  on 
Kameau's  and  Kimberger's  fundamental  bass. 
"  Legende  einiger  Mitsik-heiligen,"  Cologne,  1786. 
Practical  works  :  besides  a  vast  number  of  single 
songs,  published  either  in  his  memoirs,  his  letters, 
or  in  the  collections  of  German  songs  he  printed 
between  1756  and  1762,  "Five  Sets  of  Odes." 
.\lso  the  following :  "  RaccoUa  dclle  pin  nuoce 
Cunijxtsizioni  di  ClavicembaJo,  per  I'anno  1756,  and 
liaico/ta  2,  per  Fanno  1757."  "  Klaiierstllcke  fUr 
Anfttnger,  *<■.,"  three  volumes,  Berlin,  1762  :  the 
flVove  is  an  interesting  and  useful  work.  "  Se< 
Sj/i(i<o/)cci7rc'»»^>(i^,"  Nuremberg,  1756.  "  Fug  he 
e  (\ipnci  per  CUivicembalo  e  per  V  Organo,"  Op.  1, 
Berlin,  1777  ;  and  "  Fugeiuammlung,"  1758.  'ITiis 
colicftion  of  fiigues  contains  the  chef  d'lcuvres  of 
Graun,  Kirnbcrger,  &c. 

M.\.RPURG,  JOII.  FRED.,  son  of  the  preced- 
ing, was  born  at  Hamburg  in  1766.  He  wa-s,  in 
IS  14,  chamber  musician  to  the  Duke  of  Mecklen- 
burg, at  Ludwigslust,  and  )iad  previously  been 
first  violin  in  the  orchestra  of  the  German  thea- 
tre at  Berlin,  also  employed  by  the  count  of 
Schwedt.  He  entered  the  service  of  the  Duke 
of  Mecklenburg  in  1790;  still,  however,  in  1791 
he  was  giving  several  concerts  at  Hamburg  ;  soon 
after  which  he  seems  to  have  given  up  solo  play- 
ing, as  his  father,  indeed,  told  Gerber  in  1793. 
Probably  the  occupations  required  for  his  exten- 
sive musical  duties  did  not  allow  him  time  for 
the  cultivation  of  practical  music. 

MARQUE,  AUGUSTE,  a  musician,  and  prob- 
ably a  performer  on  the  piano,  at  Paris,  pub- 
jshed  there,  in  1798,  "  L' Absence,"  a  romance. 
'L'Origine   de   la  troitiime    Grace."     "Six  Airs 


et   Romances  avec  Accompagnement  de  Piano-fortt.'' 
"  L' Amant  trahi,  Itomance,  avec  CUivicin,"  1802. 

MARCiUE,  JOHANXE.S  DK,  a  native  of  thi 
Netherlands,  was  chapel-master  to  the  King  of 
Naples  in  KilO. 

MAIUJUEZ,  ANTONIO  LESBIO,  royal  chap- 
el-master  at  Lisbon,  and  born  there,  was  not  only 
considered  one  of  the  first  contrapuntists  of  hi« 
time,  but  also  by  the  publication  of  several  ora- 
torios, poems  and  other  works,  showed  that  he 
was  possessed  of  extraordinary  knowledge,  not 
in  music  alone,  but  also  in  poetry  and  languages. 
He  obtained,  in  1698,  his  office  of  chajiel-ma-ster, 
in  the  possession  of  which  he  died  in  1709.  Of 
his  compositions  there  has  only  been  printed, 
*■  ]'ithancicos  que  se  cantarad  na  Ingnja  de  S.  Sen- 
hora  de  \azareth  dtu  Religiosas  Descal<;a-i  de  S.  Ber- 
nardo em  as  Maltnas  e  Festa  do  glorioso  S.  Oon^aio," 
Lisbon,  1708.  A  great  number  of  his  other 
works,  as  raa.sses,  magnificats,  misereres,  respon- 
sories,  (all  in  manuscript,)  are  in  the  royal  library 
at  Lisbon,  and  highly  esteemed. 

MAR.SCHALL,  SAMUEL,  born  at  Domick, 
in  Flanders,  in  1557,  was  a  notary  public,  uni- 
versity musician,  and  organist,  at  Basil,  where 
he  was  living  in  1627,  being  then  seventy  years 
of  age.  He  published  "  Der  ganze  Psalter,  H. 
Ambrosii  iMbwasscrs,  mil  4  Stimmen,"  Lcipsic,  1594, 
and  "  Psalmen  Davids,  Kirchengesang  und  Geitt- 
tiche  Lieder  von  Dr.  M.  Luther's  und  anderer  Got- 
tesgelehrten  MUnnern  geslelU,  mil  4  Slimmen,  ver- 
fertiget  durch,  itc-,"  Ba.sil,  1606. 

MARSCHNER,  HEINRICII,  a  dramatic  com- 
poser, was  born  at  Zittau,  on  the  16th  of  August, 
1795.  In  his  earliest  youth  he  displayed  remark- 
able musical  talents,  so  that  he  soon  exhausted 
the  learning  of  the  teachers  to  whom  he  was 
committed.  He  subsequently  entered  the  choir 
of  the  children  of  the  GjTunasium,  then  under 
the  direction  of  the  celebrated  Schneider,  where 
he  attracted  the  attention  of  the  organist  of 
Bautzen,  who  offered  him  a  situation  in  the  choir 
of  his  church;  but  Bcrgt  (the  cantor  at  Bautzen,) 
teaching  him  only  Greek  and  Latin,  instead  of 
harmony,  Marschner  abruptly  returned  to  Zittau, 
and  devoted  himself  to  developing,  without  assist- 
ance, the  taste  for  musical  composition  which  had 
tormented  him  from  early  childhood  ;  here,  in  his 
leisure  hours,  he  wrote  every  thing  that  came 
into  hLs  head  —  songs,  motets,  piano  music ;  he 
attacked  every  thing,  instructing  himself  only  by 
his  own  mistakes.  At  this  time  he  wrote  a  ballet, 
"  Arfi  Fiire  Payaanne."  He  afterwards  found  the 
opportunity  of  going  to  Prague,  where  AVebcr 
directed  the  opera  at  that  time,  (1812.)  His  con- 
dition as  a  Saxon  subject  compelled  him,  at  the 
expiration  of  the  armistice,  to  leave  Prague,  and  he 
departed  to  Leipsic,  placing  himself  under  .Scliicht, 
to  whose  instructions  he  was  much  indebted.  He 
also  here  became  ac<iuainted  with  Beethoven, 
Kozeluch,  and  Klein  of  Presburg.  In  1821  he 
returned  to  Saxony,  and  chose  Dresden  as  hiii 
residence,  and  here  composed  many  of  his  operas, 
which  gained  him  a  high  reputation  ;  and  here 
he  became,  in  company  with  Weber  and  Morlacchi, 
director  of  the  Dresden  ojiera. 

In  1826  he  married  Mile.  Marianne  Wohl- 
bruck,  a  well-known  singer,  and  in  the  same  year, 
on  the  death  of  Weber,  being  unable  to  succeed 
him  as  first  director  of  the  opera  at  Dresden,  he 


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sent  in  his  rosisjimtioii,  nnd  removed  to  Uerlin, 
where  Mnchunc  Marschiier  had  most  brilliant 
»ucc«?s8  on  the  stn^e.  In  1827  they  removed  to 
l<oij)sic,  where,  in  the  next  year,  "  Le  Vampire," 
the  most  colchrnted  of  his  works,  was  produced ; 
and  in  1820  lie  produced  " /-c  Tcmplit-r  et  la 
Juice  ;  "  in  IS.*!!),  "  I^i  Fiaiicir  ilii  luiucoiinier."  In 
this  year  Mnrschner  was  called  to  Hanover  as 
maitre  do  chapclle  to  the  kiiiR ;  and  here  he 
WTote,  "  Le  Chdtean  au  I'ied  <lu  Mont  I'.tiut,"  and 
subsequently,  in  18:{2,   '•  IIan$  Ileilin;/." 

F6tis  says  of  this  composer,  that  "  he  cannot 
lie  denied  the  merit  of  being  one  of  the  successors 
of  AVcbcr  who  have  shown  the  hi};)iest  dramatic 
Bontimeiit  in  his  works.  He  succeeded  not 
alone  in  serious  drama,  and  is  one  of  tlie  very 
small  number  of  (ierman  cora])osers  who,  in 
attempting  the  comic,  do  not  fall  into  the  trivial. 
Hifi  melodies  are  expressive,  but  his  manner  of 
writing  is  negligent,  and  he  often  abuses  the  use 
of  transitions.  Still  the  author  of  the  '  Vampire,' 
the  '  Temptier,'  and  of  '  Uaiu  Heiliiiij,'  will  leave 
110  common  name  in  the  liistory  of  art." 

His  published  works  are,  1st.  "  Der  Ilolzdicb." 
2d.  llie  overture  and  entr'actes  to  the  drama 
"  Le  Prince  rfe  Ilomhotirg."  3d.  Overture  and 
aire  to  the  drama,  "  La  belle  F.lln."  4th.  "  Le 
Vampire."  5th.  "  Le  TempUer  et  la  Juive."  6th. 
"  Das  liraiil  der  Falk)ter."  7th.  "  Hans  Hciliny." 
8th.  "Ten  Collections  of  Songs  for  four  male 
voices."  9th.  "  Twenty  Collections  of  Songs,  Ro- 
mances, nnd  German  and  Italian  Airs  for  a  high 
voice  with  piano  accompaniment."  lOth.  "  Qua- 
tuor  for  piano,  violin,  viola,  and  bass,"  Op.  36, 
I^ipsic.  Ilth.  "Trios  for  P.  V.  and  Cello,  be- 
sides a  great  number  of  Sonatas,  llondeaus,  Fan- 
tasies," &c.,  &c. 

MARSH.  ALPHONSUS,  was  a  gentleman  of 
the  chapel  in  the  reign  of  Charles  II.  \'arious 
songs  of  his  composition,  as  also  of  a  son  of  his, 
having  both  his  names,  are  extant  in  the  "  Treas- 
ury of  Music,"  and  other  collections  of  that  time. 

M.VR.S5I,  an  English  divine,  who  died  a  bishop 
in  1713,  wrote  a  "  DLscourse  on  Acousticks." 
(See  Hawkins,  vol.  iv.  p.  413.) 

MARSH,  J.,  ESQ.  This  celebrated  amateur 
was  born  at  Dorking,  in  Surrey,  in  17o2,  being 
the  eldest  son  of  Captain  H.  Marsh,  of  the  royal 
navy,  who,  in  17-58,  removed  with  his  family  to 
(ireenwich,  on  being  apjiointed  to  command  one 
of  the  royal  yachts  at  I)c])tford.  At  tliis  time 
the  attachment  of  young  Marh.h  to  musical  sounds 
began  ;  he  being  so  fascinated  with  the  organ  in 
the  hospital  chapel,  then  played  by  Lu])ton  Relic, 
that  it  was  not  without  some  degree  of  force  he 
could  be  removed  from  the  pew  whilst  the  last 
voluntary  was  playing,  to  which  he  was  after- 
wards only  reconcilecl  by  being  reminded,  thiit 
by  not  staying  till  it  was  tinishcd,  he  should 
hear  it  all  the  way  he  went  down  stairs.  That 
he  had  in  innate  musical  ear,  may  be  evinced 
by  the  following  circumstance.  Having  been 
sent,  when  in  his  eighth  year,  to  (Jrccnwich 
Academv,  he  then  went  with  the  other  boys  to 
the  parish  church,  where,  besides  the  organ,  his 
attention  was  invited  to  the  bells,  of  which  he  had 
heard  there  were  eight.  It  being,  however,  the 
custom,  as  soon  as  the  chiming  to  church  had 
;e«ised,  to  raise  the  liItU-  bell,  and  to  begin  tolling 
the  largest  when  the  minister  entered  the  church, 
^y  comparing  the  two  sounds  of  these  together, 


'  lie  perceived  they  excteded  the  octave,  and,  in 
fact,  fonned  the  interval  of  a  tenth  —  not  that  he 
had   then   ever    heard   or   was   aware   of   there 

I  being  any  such  terms.  On  liLs  mentioning  kis 
discovery,  that  the  peal  consisted  of  ten  bells,  to 
some  of  the  boys,  it  wtts  ijuite  unintelligible  tc 
any  of  them  how  he  could  possibly  ascertain  tliis 
without  hearing  them  all  together  and  counting 
them.  The  fact,  however,  turned  out  to  be  just 
as  he  had  inferred.  In  the  summer  of  1761.  his 
father  being  despatched  in  the  Catharine  yacht  to 
Hclvoetsluys,  to  bring  back  the  Dutch  ambassa- 
dor, he  took  hLs  son  with  him,  wliere,  in  a  trip  to 
Amsterdam,  they  were  gratified  with  hearing  the 
famous  organ  at  Haerlem,  which  made  an  impres- 
sion on  the  boy  never  to  be  eradicated.  As  a 
few  of  the  boys  at  his  school  learned  to  scrape  a 
little  on  the  violin.  Marsh  was  now  doirous  of 
following  their  example ;  but  his  father,  foresee- 
ing that  it  would  be  ajit  to  divert  his  attention 
from  hLs  other  studies,  wisely  determined  on  not 
letting  him  learn  till  he  had  left  school.  He 
however,  whilst  there,  from  the  simple  inspection 
o)  a  ballad,  set  to  music,  that  came  in  his  way, 
discovered  the  method  of  musical  notation,  and 
wrote  a  song  he  then  occasionall)-  sang,  ir.  sim- 
ilar notes,  which  his  father,  who  played  a  little 
on  the  flute,  told  him  was  accurately  written, 
exce])t  that,  not  then  knowing  any  thing  of  the 
time  table,  he  had  made  the  notes  all  crotchets. 

Having  left  school  at  the  end  of  the  year  17G6, 
hLs  father,  who  then  resided  at  Gosport,  consented 
to  his  learning,  not  indeed  on  the  organ,  which 
he  would  have  preferred,  but  on  the  ^-iolin,  as  being 
a  portable  instrument,  and  with  which  he  could 
accompany  his  sLster,  then  learning  on  the  piano- 
forte. Having  practised  this  for  a  year,  under 
the  tuition  of  Wafer,  the  orgaiiLst,  he  accompa- 
nied his  master  to  a  weekly  practice  of  amateurs 
and  others,  where  he  began  taking  a  ripieno  part 
at  sight,  which  he  soon  also  did  at  the  concerts  at 
Portsmouth.  Hearing  there  the  popular  concer- 
tos of  the  ancient  school,  and  the  then  modern 
symphonie:-:  of  -\bel.  Bach,  &c.,  he  now  began  at- 
tempting to  compose  pieces  in  b->th  styles,  and 
showed  them  to  his  master,  wlien  he  gave  him  a 
few  hints  as  to  the  avoidance  of  consecutive 
fifths  and  eighths,  which,  with  a  year  and  a  hallos 
tuition  on  the  violin,  was  all  the  musical  learn- 
ing of  any  kind  he  ever  had,  being  sent,  in  Au- 
gust, 176S,  to  liomsey,  to  be  articled  for  five  years 
to  a  solicitor  there,  where  he  was  much  dLscon- 
ccrtcd  at  finding  no  organ  in  the  church,  and,  of 
course,  no  orgaiiLst.  lieing  now  the  chief  musi- 
cian of  the  place,  the  only  method  he  had  of  ob- 
taining any  further  im;>rovement,  during  five 
years,  was  by  occasionally  attending  and  perform- 
ing at  the  concert  at  Winchc;*ter,  and  the  then 
annual  oratorios  there.  In  the  year  1772,  hia 
father,  then  a  captain  in  (Jrecnwich  Hospital, 
died;  and,  in  1774,  the  subject  of  our  memoir 
married  the  dauiihter  of  Dr.  Hrown,  a  jihysiciiiu 
of  Salisbury,  who  had  then  retired  to  liomsey  ; 
within  two  yeai-s  alter  which,  they  all  removed  to 
Salisbury,  wl-.ere  tlie  fortnight  subscrijition  con- 
ceits were  under  the  direction  of  Mr.  Harris, 
(known  by  the  name  of  Henne*  Harris,)  and 
were  reckoned  the  best   musical  performances  of 

the  kind  in  the  kingdom.  There  being  several 
amateur  performers  in  the  orchestra,  Sir.  Marsh 
was  immediately  appointed  to  a  respecta'  le  sta- 
tion in  it,  and  had  thus  an  opport  anity  of  ira 


564 


MAR 


ENCYCLOPEDIA    OF   MUSIC. 


MAI 


proving  himgelf  on  the  violin  and  tenor,  and  had 
■  few  manuscript  symphonies  he  had  tlicn  com- 
posed, so  well  executed,  as  to  induce  him  to  con- 
tinue that  style  cf  composition.  He  also,  by  pri- 
vate practice  of  an  evening,  and  sometimes  on 
one  of  the  church  organs,  acquired  such  a  profi- 
ciency on  the  latter,  as  to  be  able  occasionally  to 
officiate  for  the  organist  at  the  churches  of  St. 
I'homas  and  St.  Edmund  ;  but  finding  the  printed 
voluntaries  he  met  with  to  be  too  dilHcult,  and  few 
of  them  to  his  taste  in  other  respects,  he  began 
composing  a  series  of  short  voluutarie-i,  some  of 
•which  he  selected  for  his  first  set  of  voluntaries 
for  young  practitioners  on  the  organ,  publishe<l  in 
1791.  On  the  death  of  Tewksbury,  the  leader 
of  the  concerts  in  1780,  Mr.  Marsh  was  recjuested 
by  Mr.  Harris  and  the  princii)al  amateurs  to  take 
his  place,  which  he  continued  to  hold  whilst  he 
remained  at  Salisbury. 

In  August,  1781,  by  the  death  of  Mr.  AVinches- 
tcr,  a  tenant  for  life,  Mr.  Marsh  became  possessed 
of  a  landed  estate  in  East  Kent.  He  therefore, 
soon  alterwards,  cjuitted  the  dry  and  husky  study 
of  the  law,  to  which  he  was  never  much  attached, 
and,  in  1783,  removed  with  his  wife  and  four  chil- 


ganist  of  the  cathedral,  an  he  used  to  do  at 
Canterbury.  For  the  last  eight  or  ton  yearn 
of  his  lile,  his  principal  and  almost  only  jiublio 
musical  performance  was,  taking  the  morning 
duty  at  St.  John's  free  chapel  for  Mr.  Kennett, 
who,  being  organist  also  of  the  cathedral,  could 
only  do  the  chapel  evening  duty  himself.  IIcoc- 
casioiially  took  a  violin  or  tenor  at  |)rivate  mu- 
sical parties,  the  practice  on  which  instrumentK 
he  continued  princi])ally  for  the  sake  of  joining 
in  a  domestic  evening  trio  with  his  eldest  son, 
a  solicitor  of  Chichester,  who  also  practised  on 
the  violin  and  tenor  with  Am  eldest  son,  who 
played  on  the  violoncello.  Having  mentioned 
this  domestic  trio,  it  may,  in  conclusion,  be  no- 
ticed, that  once,  when  his  brother  William  (also 
a  musical  araaleur  and  i)erfonuer  on  the  violin 
and  flute)  was  staying  with  him  at  Chichester,  a 
quintetto,  composed  by  Mr.  Marsh,  for  two  vio- 
lins, flute,  tenor,  and  bass,  was  jjertonned  at  the 
subscription  concert,  by  himself,  brother,  and 
three  sons,  the  comjioser  and  five  performers  be- 
ing thus  all  of  the  same  name.  It  must  not,  how- 
ever, be  supposed  that,  great  as  was  bis  attach- 
ment to  it,  music  was  Mr.   Marsh's   only  pursuit 


dxen  to  his  mansion  house   of  Ncthersole,   near     after   he  q\iitted  the  practice  of  the  law,  as  he 


Barhiun  Downs,  which  he  immediately  furnished 
with  a  large  organ,  placing  it  between  th'-  en- 
trance hall  and  the  dining  parlor,  with  a  front  to 
each,  and  j)layable  in  both  rooms.  In  the  fol- 
lowing winter  the  subscription  concert  at  Can- 


subsequently  became  much  attached  to  the  sci- 
ence of  astronomy,  being  the  author  of  the  "  As- 
trarium  improved,  and  Vertical  Planefariums," 
published  by  Messrs.  Cary,  London  ;  and,  as  a 
matter  of  dvitv  more  than  inclination,  he  was  in- 


terbury  was  put  under  his  direction,  which  he  led  duced  to  acquire  some  knowledge  of  military  tac- 
all  the  time  he  remained  there,  and  it  was  at-  tics,  having,  in  180.3.  been  appointed  first  cap- 
tended  by  the  princiial  families  in  the  neighbor-  '  tain  of  a  battalion  of  volunteers  at  Chichester, 
hood.  Finding  it,  however,  necessary  to  keep  up  whence  he  was  afterwards  promoted  to  the  ma- 
A  larger  establishment  at  Nethersole  than  he  could    jority. 

conveniently  attbrd  with  his  increasing  family,  j  The  following,  among  other  music,  was  com- 
he,  alter  remaining  three  years,  determined  on  i  posed  by  Mr.  Marsh.  For  instruments,  published 
disposing  of  that  house,  and  bought  a  large  one, 
with  a  lo;ty  and  suitable  room  in  it  for  his  organ, 
and  a  good'  garden,  of  Mr.  Hayley,  at  Chichester, 
for  the  sake  of  being  in  the  neighborhood  of 
Portsea,  where  his  sister,  then  maiTied,  was  set- 
tled ;  but,  as  the  house  would  not  be  untenanted 
till  Michaelmas,  17S(),  and  some  repairs  and  al- 
terations would  then  be  wajUing  in  it,  he  took 
one  of  the  prebendal  houses  at  Canterbury  for  a 
year,  from  the  preceding  Lady-day,  where  he  now 
touud  himseli  able  to  otticiate  occasionally  for 
tiie  organist  at  the  cathedral.  He  had  before 
composed  an  anthem  from  the  one  hundred  and 
tiftieth  psalm,  with  8ymi)honies,  to  show  o.*f  the 
stops  ol  the  new  organ  erected  there  by  Ureen, 
u»  1781  ;  and,  whilst  resident  at  Canterbury,  he 


composed  a  verse  service,  which,  at  the  n^iuest  of  'I'horough  Has 
of  the  dean,  was  performed  at  ArchbLshop  Moore's 
primary  visitation,  in  178(i,  also  two  other  an- 
thems— a  style  of  comiK):-ition  he  would  probably, 
have  cultivated  more  tl\an  any  other,  had  he  al- 
terwards met  with  the  same  encouragement  that 
lie  dill  on  the  above  occasions. 

In  .Vpril,  1787,  he  removed  to  Chichester,  the 
subscription  concert  in  which  town  he  managed 
•and  led  more  than  a  quarter  of  a  century,  and 
•where,  having  a  very  res[.ectable  amateur  and 
professional  band  at  his  command,  be  continued 
his  career  of  composing  overture^  in  the  ancient, 
and  symphonies  in  the  modern  style,  one  ol  which, 
under  the  signatuie  of  J.  M.,  was  generally  put 
into  tlie  concert  bill.  He  also  composed  sev- 
eral glees,  nnotaer  service,  some  more  an- 
whefus,    and    occa»io:.ally   othciatcd   for   ti.e    or- 


works  :  "  Plight  Symphonies,  in  several  Parts;" 
"  One  Symphony  for  two  Orchestras;"  ""ITiree 
FiuHles  in  several  Parts ;  "  "  One  Quartetto  in 
imitation  of  Haydn's  first  Set;"  "Three  Over- 
tures in  five  Parts,  for  private  musical  Parties." 
Organ  music  :  "An  Overture  and  Six  Piece!";" 
"  Five  Sets  of  Voluntaries  for  young  Practition- 
ers ;  "  "  Four  Duets."  Military  music:  "Over- 
ture and  Ten  Pieces  for  Military  Hands."  Vocal 
music  :  "  Eleven  Songs  ;  "  "  Fourteen  (ilees." 
Sacred  music  :  "  Nine  Anthems ;  "  "  Si.xtcen 
Psalm  Tunes  and  Hymns;"  "Twenty-four 
Chants ;  "  "  Walter  Scott's  Hymn  for  the  Dead ; " 
"  Hymn  of  Hcnediction  to  the  Hible  Society;" 
(Hayley.)  "Ten  Sacred  Melodies,  and  S'ew 
Zealander's  Welcome."  Treatises  :  "  Uudiments 
Thorough   Hass    Cate- 


chism ;  "  "  Hints  to  young  Composers ;  "  "  Essay 
on  Harmonics  ;  "  "  Sixteen  Movements  from  dit- 
Icrent  Composers  in  Score  for  the  use  of  Musical 
Students;"  " Tables  of  Transposition  and  Con- 
sonant Inter\'als  ;  "  "  Instructions  and  Progres- 
sive Lessons  for  the  Testor." 

MARSHALL.  JAMES,  was  born  at  Olting,  in 
Huckinghamshire,  in  the  year  1770.  He  first 
took  up  music,  e;irly  in  life,  merely  as  an  amuse- 
ment, his  instruments  being  the  violin  and  violon- 
cello, till  evincing  a  talent  for  the  art,  his  triends 
advised  him  to  make  it  bus  profession,  lie  was 
accordingly  place<l  under  a  master  at  Oxford, 
with  whom  he  studied  the  vio'.m,  vii)loncclli), 
piano-forte,  and  organ.  After  this,  through  Uit 
kind  patronage  of  the  Earl   of   Dartmoutli,   ht 


665 


MAK 


EXCYCLOP.EDlA    OF    MUSIC. 


MAR 


was  sent  to  London,  Biid  ])lnced  with  John  Ash-  |  trial.  Marsyas  was  again  vanquished  ;  and  Apollo 
ley,  assistant  fondiictor  at  the  Wt'>tniinstcr  Abbey     inflaiueil  by  the  violence  ol' the   dispute.    Hayed 


raeetin;;s.  In  addition  to  the  before-named  in- 
htrunients,  Marshall  ])raetiscd  the  do'.i1)|c  bass  and 
tenor.  After  some  little  time,  throui;!!  Ashley's 
kindness,  he  f^nt  an  enga};oinent  to  i)lay  the 
double  bass  at  the  al)bey  meeting,  in  the  year 
17!tO;  also  nt  several  of  the  ))rovin(iul  meetings, 
amoi\g  which  was  that  at  Worcester,  upon  the 
king's  recovery,  when  his  majesty  was  |)rcsent. 
.^Uter  which  time  Marshall  regularly  attended  the 
meetings  of  the  three  choirs,  namely,  (jlouccster, 
Hereford,  and  Worcester. 

Alter  a  residence  in  London  of  about  a  year, 
Marshall  went  to  Northampton,  where  he  was 
laarricd.  He  then  commenced  teaching  music, 
and  continued  in  that  place  three  years  and  a 
half.  From  thence  he  moved  to  liugby,  being 
appointed  organist  of  the  church  in  that  town. 
Ilere  he  remained  eight  years  and  a  half,  when, 
in  the  year  l.SOl,  the  situation  of  organist  to  St. 
Marj*"s  Church,  Warwick,  becoming  vacant,  Mar- 
Bhall  was  proposed  as  a  candidate,  and  was 
elected.  In  the  April  following,  he  with  his  fam- 
ily went  to  reside  at  Warwick. 

MAU.SHALL,  FKEDEUIC,  eldest  son  of  the 
preceding,  wius  for  some  years  assistant  to  his 
lather.  His  instruments  were  the  organ  and 
piano-forte.  In  the  year  1821,  a  new  organ  was 
erected  in  the  chapel  at  Rugby  school,  when  F. 
Marshall  was  appointed  organist.  He  has  com- 
posed some  music  for  the  piano-forte,  also  hjnnns 
and  songs  ;  "  Preludes  in  various  keys  for  the 
Piano-forte;  "  "Festival  Hymns,"  as  sung  at  St. 
Nidiolas  C'h\irch,  Warwick;  "Duke  Domiim," 
arranged  with  variations  for  the  piano-torte ; 
"Britain  with  unatt'ected  grief;"  "Hymn  on  the 
Death  of  his  lato  Majesty ;  "  Song,  "  Can  a  rosy 
lip;"  "Harmonious  lilaeksraith,"  arranged  for 
the  harp,  piano-forte,  Hute,  and  violoncello ; 
"  Hondo,"  in  an  easy  style,  for  the  piano-forte. 

MAU.SOLO,  PIF/rUO  M-VUIA,  Ls  mentioned 
by  Corctto,  in  1(500,  as  one  of  the  first  musicians 
of  Italy.     He  lived  at  Ferrara. 

MAUSYAS,  a  player  on  the  flute,  was  still 
more  unfortunate  than  either  Pan  or  hLs  admirer 
Miilius.  Having  engaged  in  a  musical  dispute 
with  Apollo,  he  chose  the  peoj)le  of  Nysa  for 
judges.  Apollo  played  at  first  a  simple  air  upon 
his  instrument ;  but  Marsyas,  taking  up  his  pipe, 
struck  the  audience  so  much  by  the  novelty  of  its 
tone,  an4  the  art  of  his  performance,  that  he 
Kecmcd  to  be  heard  with  more  pleasure  than  his 
rival.  Having  agreed  upon  a  second  trial  of  skill, 
it  is  said  that  the  i)crforraance  of  Apollo,  by  ac- 
companying the  lyre  with  his  voice,  wius  allowed 
greatly  to  excel  that  of  Marsyas  upon  the  flute 
alone.  Marsyas,  with  indignation,  protested 
against  the  decision  of  his  judges,  urging  that  he 
had  not  been  fairly  vanquished  accoriling  to  the 
rulos  stii)uliited,  because  the  dispute  was  concern- 
ing tlic  e.vcellenco  of  their  several  instruments, 
not  their  voices,  and  that  it  was  wholly  unjust  to 
emjiloy  two  arts  against  one. 


him  alive  for  his  presumption.  Marsyas  was  ol 
Cehenie,  a  town  in  Phrygia,  and  son  of  Hyagnis, 
who  flourished,  according  to  the  O.xford  marbles, 
1.500  years  iK'fore  Jesus  Christ. 

Plato  tells  us  that  we  are  indebted  to  Marsyas 
and  ()lym])us  for  wind  music;  and  to  these  two 
musicians  is  likewise  attributed  the  invention  of 
the  Phrygian  and  Lydian  measure.  Marsyas  is 
also  said  by  some  to  have  been  the  inventor  of 
the  double  flute,  though  others  give  it  to  his 
father,  Hyagnis. 

MAIITELLATO.  (I.)  Well  articulated,  smartly 
detached. 

MARTELLL  chapel-ma*ter.  in  1790,  at  Muu- 
ster,  set  to  music  "  Die  Reisendcn  nach  PoUaiid," 
"  Der  Tempet  iter  Dankbarkeit,"  and  "  Dcr  KOuig 
Robe." 

MAUTENXE,  EDMUND,  a  celebrated  Bene- 
dictine monk,  born  in  16.34,  published  at  Paris, 
in  1719,  "  Tiaiti  de  I'atu-ienne  Dhcipliiie  de  t' ICfflUe 
dans  III  CiUbration  de  I' OJficc  Divitt."  'l"here  are 
some  interesting  details  in  this  work  respecting 
church  music.     Martenne  died  at  Paris  in  1739. 

MARTIAL  MUSIC.  Music  adapted  for  wai 
and  warlike  occasions.  An  expression  applied  to 
marches,  troojjs,  military  dirges,  songs  of  tri- 
umph, and  all  compositions,  vocal  or  instru- 
mental, calculated  to  stimulate  to  battle,  excite 
commiseration  for  the  fallen,  or  celebrate  heroic 
deeds. 

MARTIAL  PIECE.  An  instrumental  com- 
position, the  stylo  of  which  is  warlike. 

MARTIAL  SONG.  A  song,  the  subject  and 
style  of  which  are  warlike. 

MARTIN,  the  younger,  a  French  composer, 
who  published  several  c/uduidis,  flourished  in 
1678,  as  a  performer  on  the  hai-psichord,  viol  da 
gamba,  and  violin. 

MARTIN,  a  musician  at  Paris  about  the  year 
1750.  His  symphonies,  which  were  published  in 
that  city,  were  much  admired,  as  were  also  some 
of  his  motets,  which  were  sung  at  the  Coiuvrt 
Spiritiul. 

MARTIN,  NICOLAS,  a  composer,  born  at 
Morienne,  in  Savoy,  com])ose<l  several  hymns  on 
the  birth  of  Christ,  both  in  French  and  the  .Savoy 
dialect,  and  published  them  under  the  title  of 
"  J'aloyes,"  Lyons,  1566. 

MARTIN,  CLAUDE,  born  at  Autun,  in  Bur- 
gundy, ])ublished,  about  the  year  1550,  two  works 
entitled  "  IiutUution  Musicale,"  and  "  Elimetu  dt 
Mu-sii/ue." 

MARTIN.  JONATHAN,  organist  of  St. 
Oeorge's,  Hanover  Stjuare,  in  1736.  He  com- 
posed the  song  in  Tamerlane,  "  To  thee,  O  gentle 
sleep."     He  died  of  consumpsion  at  an  early  age. 

MARTIN,  VINCENZO,  called  also  SPA- 
GNL'OLO,    Russian    imperial     counsellor,    cfief 


AjKiUo  denied  that   he  had  taken   any   unfair     r/'o;f/ic.«//-e,  and  composer  to  the  Russian  theatre  at 


advanta:,'e  of  his  antagonist,  siiu-e  .Marsyas  had  em- 
ployed both  his  mouth  and  fingers  in  performing 
upon  his  instrument ;  so  that  if  he  was  denio<l 
the  use  of  his  mouth,  he  would  be  still  more  dis- 
qualllicd  for  the  contention.  The  judges  ap- 
proved o    Apollo's  rca-ioning,  and  ordered  a  third 


St.  Petersburg,  had  rendered  himself,  as  early  ai 
the  year  1782,  celebrated  in  Italy  by  the  comi)o- 
sition  of  .several  ojwras  a)ul  ballets.  He  went 
afterwards  to  Vienna,  wliere,  in  1785,  ho  wrote 
his  "  //  JIarhrrn  di  biion  con;"  which  was  particu- 
larly esteemed  by  connoisseurs,  though  his  "  Cosa 


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Rara,"  1786,  and  "  Arbore  di  Diana,"  1787,  more 
generally  jjleased.  In  1788  he  proceeded  to  St. 
Petersburg,  where  he  was  immediately  appoint- 
ed chef  (Corchestre  and  composer  in  the  Russian 
opera  :  he  gave  at  the  same  time  instructions  in 
music.  In  1798  the  emperor  made  him  counsel- 
lor. Of  his  printed  and  manuscript  works,  we 
can  mention  the  follo\vinj»  :  "  Una  i'oaa  Hara," 
Vienna;  "■  L'Arbore  di  Diana,"  Vienna,  1787; 
"  Gti  Sposi  in  Contrasto,"  Vienna,  179-1  ;  "  // 
Sorjiio  Cantata  d  3  voci,"  1793  ;  "  12  Ariette  Itatiane 
OT«  Accom.  di  Cemb.,  o  Arfid,  o  ('hilarra,"  Vienna  ; 
"12  Canoni  per  Cembalo,"  Vicnua ;  "  La  Dura 
festeggiante,  J'rologo  serio,"  Turin,  1783;  "  L'Ac- 
corta  Cameriera,"  op.  butfa,  Turin,  1783:  "  Im 
capricciosa  corrella,"  translated  into  German  iu 
1800. 

M.\RTIX,  N.,  an  excellent  tenor  singer  at  the 
Ihcatre  Feydcau  at  Paris,  was  bom  there  about 
the  year  1770.  In  1788,  lie  made  his  d':but  at  the 
Theatre  de  Monsieur  in  the  cluiracter  of  the  Mar- 
quis Tulipnno,  with  unparalleled  success.  Dur- 
ing two  years,  this  perfonuance,  with  the  delight- 
ful airs  Martin  sang,  attracted  all  ranks  of  society 
in  Paris.  His  songs  "  Je  crogais  ma  belle,"  '•  I'au- 
vre  d'atonrs,"  "  Je  lejnre  d  toule  la  tcrre,"  &c.,  will 
very  long  be  remembered.  Martin  was  the  first 
singer  who  establislied  nt  Paris  the  Italian  style 
of  singing  to  French  words.  The  other  ojieras  in 
which  Martin  has  principally  shone  are,  "  L'Oncle 
el  te  \'ak-t,"  "  Les  Conjidences,"  "  Vne  Fotie," 
"  Guliitan,"  "  L' Habit  da  Chevalier  de  Grnmmont," 
"  Kotilouf"  "  La  Rase  inutile,"  "  I'icaros  el  Diego," 
"  L' Irato,"  "  Jadis  et  Aajourd'  hai,"  and  "  Maiaon 
A  cendre." 

Martin  was  perfoiming  at  Paris  in  the  year 
1822,  where  he  continued  attracting  crowded 
audiences  to  the  Fcydeau.  His  siuging  also  at 
the  Chapel  Royal  in  theTuileries  was  still  greatly 
admired.  We  should  add,  that  he  is  known  as 
a  composer  by  several  collections  of  romances, 
and  by  a  comic  opera,  "  Let  Oiaeaux  d«  Mer,"  per- 
formed in  1796. 

MARTINELLI,  V'lXCEXZO,  doctor  of  laws, 
resided  some  years  in  London,  about  1750.  He 
afterwards  wcut  to  Paris,  where,  in  17<>2,  he  in- 
serted .several  articles  iu  the  patriotic  writings  of 
the  day.  ITie  toUowing  original  works  are  his  : 
"Letters  Familiare  e  Critiche,"  London,  1758; 
among  which  are  Letter  27,  "  Al  Miladg  Xeicdi- 
gate  a  Arburg,  invitandola  a  venire  a  Londra  per 
veder  V  Opera  del  Siroe  ;"  28,  "  AlJa  Sgra.  Conierx, 
lopra  la  di  lei  Appticazione  al  Suono  delta  Cetra  ;  " 
20,  "  Sopra  una  CommUsione  data  uW  Autore  toc- 
caiUe  t  Oj>era  ;"  31,  "  Sypra  it  non  avere  C  Au- 
tore ancor  publicata  la  lua  Istoria  della  Musica ; " 
f>6,  "  Sopra  la  Ragione  del  Canto,  e  sua  Compoaiz- 
zione ; "  56,  "  Delia  Ragione  del  Stiono,"  and 
"  Lettreaur  la  Musique  Italietnie,"  Paris,  1762. 

MARTINELLI,  N.,  an  Italian  singer  at  Paris, 
in  1801,  excelled  in  the  buffo  style. 

MARTINEZ.  JOHN.  A  Spanish  priest  and 
chapel- master  of  the  cathedral  at  Seville,  lived 
about  the  year  1558.  He  left  a  work  entitled 
"  Arte  de  Canto  Llano  ptiesta  g  reducida  nuebame-nte 
en  su  enlera  perfeccion  segun  la  practica,"  L  e.,  The 
art  of  i)lain  song  brought  to  entire  perfection, 
according  to  practical  rules,  &c. 

MARTINEZ,  MLLE.  M.UUANE,  or,  accord- 
ing to  otlicrs,  ELIZABETH,  was  born  at  Vienna, 


1  about  the  year  1750,  in  the  same  house  whicl 
was  then  inhabited  by  the  celebrated  Mctastasio, 
who  was  an   old  friend  of  her  father.     She  was 

j  educated  under  the  eyes  of  this  great  poet,  who, 
on  the  death  of  her  father,  adopted  lier,  and, 
among  otlier  accom])lishments,  taught  her  music. 
Dr.  Burney,  when  at  Vienna  in  1772,  heard  her 
sing  and  perform  on  the  piano  several  of  her 
own  com',>ositions,  and  states  that  he  cannot  find 
word.s  to  express  the  energetic  yet  tender  style  of 
her  singing.  Metastasio  always  called  her  his 
St.  Cecilia.  Bvirney  further  says  that  she  had  a 
profound  knowledge  of  counterpoint,  and  cites, 
among  other  sacred  works  of  her  composition,  a 
"  Miserere  "  for  four  voices,  and  several  Italian 
psalms,  translated  by  Metastasio,  and  arranged 
for  four  and  eight  voices  and  instruments.  Iu 
1773  she  was  elected  a  member  of  the  Philhar- 
monic .Society  at  Bologna.  The  Abbe  (ierbert 
states  that  lie  possessed  a  mass,  of  her  compo- 
sition, written  in  the  genuine  church  style. 

MARTINL  GIUSEPPE  SAN,  wa.s  a  native 
of  Milan.  He  was  a  performer  on  the  haut- 
boy, an  instrument  invented  by  the  French,  and 
of  small  account,  till  by  his  exquisite  perform- 
ance, and  a  tone  which  he  had  the  art  of  giving 
it,  he  brought  it  into  reputation.  Martini  went 
to  England  in  the  year  1723,  and  was  favored  by 
Buononcini,  Greene,  and  others  of  that  party,  as 
also  by  Frederic,  Prince  of  Wales,  who  was  his 
great  patron.  Wlien  Greene  went  to  Cambridge 
to  take  his  degree,  .Martini  attended  him,  and  per- 
formed in  the  exercise  for  it,  and  had  there  a 
concert  for  his  benefit,  which  produced  him  a 
considerable  sura.  He  was  an  admirable  com- 
poser; and  for  instrumental  mu.sic  may,  without 
injury  to  either,  be  classed  with  Corelli  and  Ge- 
miniani.  His  tirst  compositions  were  sonatas  for 
two  dutes,  and  others  for  Genuan  flutas :  these 
are  scarcely  known,  but  the  gre^itness  of  his  tal- 
ents is  manifested  in  six  concertos  and  twelve 
sonatas,  published  by  himself.  Tlie  first  of  the.se 
works  wa.s  published  in  the  year  1738,  when 
the  concertos  of  Geminiani  and  Corelli,  and 
the  overtures  of  Handel,  were  become  so  famil- 
iar, there  being  scarcely  any  concert  iu  which  the 
compositions  of  tliese  two  masters  did  not  make 
considerable  part  of  the  evening's  entertainment ; 
and  with  respect  to  those  of  Corelli,  this  had 
been  the  case  for  almost  thirty  years.  Martini 
had  therefore  a  ground  to  hope  that  the  charm 
of  novelty  would  recommend  these  his  composi- 
tions to  the  public  lavor  ;  but  he  was  disappointed 
in  the  exi)ectations  he  had  formed  of  the  imme- 
diate sale  of  the  whole  impression  of  his  booW, 
and,  in  an  evil  hour,  destroyed  not  only  a  gnnt 
number  of  the  copies,  but  al.so  the  plates  from 
which  they  were  wrought.  The  work  being  ren- 
dered scarce,  Johnson,  of  Cheapside,  was  tempt- 
ed to  republish  it ;  and  it  wius  so  well  received, 
that  the  author  soon  found  reason  to  repent  hi^ 
rashness,  and  was  encouraged  to  prepare  for  the 
prcs!»  eight  overtures,  and  six  grand  overtures 
for  violins,  &c.,  but  just  as  he  had  completed  it 
he  died  :  however,  it  was  published  by  Johnson 
after  his  decea.se,  with  an  advertisement  in  the 
title  page,  that  the  work  was  engraved  for  the 
author  in  his  lifetime,  and  was  by  him  intended 
to  be  published  by  subscription.  The  overtures 
in  this  collection  are  called  "  <)/>era  Dicima,"  and 
the   concertos,    Op.    11.     Walsh   aLio   publiahad 

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eight  overture"*,  in  eight  part),  and  six  f^rand 
concertos  lor  violin'*,  &c.,  by  Martini,  which, 
notwillistandinK  they  are  a  postliuraous  publi- 
catior,  carry  with  them  undoubted  evidence  of 
their  tjcnuineness. 

Tlie  nieritrt  ol  Martini,  as  a  composer  of  music 
iu  many  parts,  were  unqucHtiouably  very  great. 
lie  had  a  I'ertile  invention,  and  gave  into  a  style 
of  modulation  less  restrained  by  rule  than  that 
of  his  i)rodece.-iBors,  and  by  consetiuencc,  afford- 
ing greater  scope  for  his  fancy.  Those  who  as- 
cribe his  deviation  from  known  and  established 
rules  to  tlie  want  of  musical  erudition  are  gross- 
ly mistaken :  he  was  thoroughly  skilled  iu  the 
princi))lea  of  harmony  ;  and  his  singularities  can 
therefore  only  be  ascribed  to  that  boldne-is  and 
self-possession  which  are  ever  the  concomitants 
of  genius;  and  in  most  of  the  licenses  he  has 
taken,  it  may  be  observed,  that  he  is  in  a  great 
icet-iurc  warranted  by  the  jirecepts,  and  indeed 
by  the  example,  of  (icminiaui. 

He  performed  on  the  hautboy  in  the  opera  till 
the  time  that  IJuononcini  left  it ;  alter  that  he 
played  at  the  Castle  concert,  and  occasionally  at 
others;  but  being  ])atTou  zed  by  Frederic,  Prince 
of  Wales,  he  was  at  length  receired  into  his  fam- 
ily, upon  the  footing  of  a  domestic,  and  api)oint- 
ed  master  or  director  of  the  chamber  music  to 
his  royal  highness.  In  the  course  of  this  em- 
ployment he  composed  a  great  number  of  sona- 
tas for  the  practice  of  the  chamber  ;  and,  upon 
the  birth  of  the  Princess  of  IJrunswick,  set  to 
music  a  drama  written  on  the  occasion  of  that 
event.  He  also  composed  a  musical  solemnity, 
which  was  publicly  performed  at  the  chapel  of 
the  Bavarian  minister.  In  the  honorable  and 
easy  station  above  mentioned.  Martini  continued 
till  about  the  yc.ir  1710,  when  he  died. 

As  a  performer  on  the  hautboy,  Martini  waa  un- 
doubtedly the  greatest  that  the  world  had  ever 
known.  Before  his  time  the  tone  of  the  instru- 
ment was  rank,  and,  in  the  hands  of  the  ablest 
proficients,  harsli  and  grating  to  the  ear  ;  by  great 
btudy  and  application,  and  by  some  peculiar 
management  of  the  reed,  he  contrived  to  produce 
such  a  tone  a-s  approached  the  nearest  of  all  in- 
strumental tones  to  that  of  the  human  voice. 

MAUTINI,  B.VITIST.\  SAX,  of  Milan,  was 
brother  to  the  celebrated  player  on  the  hautboy 
already  mentioned,  whose  periormance  and  com- 
positions were  so  long  and  justly  admired  iii 
London. 

The  violin  does  not  appear  to  have  been  his 
chief  instrument,  yet  he  produced  for  it  an  .>1- 
most  incredible  number  of  spirited  and  agreeable 
compositions.  About  the  year  1770,  he  was  iu 
such  repute  as  to  be  chapel-master  to  more  than 
lialf  the  diurchcs  in  Milan.  For  these  he  fur- 
nished masses  upon  all  great  and  solemn  oc- 
casions. 

M-YUnXI.  CIIRISTOPHKU,  a  Dutchman, 
lived  in  the  middle  ol  the  seventeenth  century, 
and  wrote  "  lltintlbuok  tan  den  tcaren  Lo«ji  der 
Tooiieii,"  Amsterdam,  1041. 

MAUTINI,  PADRE  OIAMBAITISTA,  a 
«ki  ful  com])oser  and  very  erudite  musician,  was 
Iwju  at  Bologna  in  I70i).  .\fter  the  ])criod  of 
his  youtli,  he  entered  the  order  of  St.  Francis  ; 
we  do  not  know  whether  he  had  engaged  in  it 
wh  !n  liis  taste  lor  eruditior  and  his  love  for  an- 
tiq  lity  led  him  to  undertake  the  travels  wliich 


he  extended  to  Asia.  It  was  not  tiJ  tiis  return 
that  he  entirely  devoted  himself  to  music  ;  he 
Btudicii  under  several  masters,  amougst  whom  he 
himself  mentions  the  celebrated  Ant.  I'erti.  Hi« 
progress  in  composition  was  so  rapid,  that  in  172.3, 
when  but  seventeen  years  of  age,  he  was  ap- 
pointed chapel-master  to  a  convent  of  his  order 
at  Bologna,  which  situation  he  filled  till  Ills  death, 
lie  exercised  tlie  functions  of  professor  iu  the 
same  art,  and  his  school,  the  most  learned  iu  ex- 
istence in  Italy  during  hLs  life,  has  produced  a 
considerably  larger  number  of  great  composers 
than  any  other,  while  artists  enjoyin.:  a  high 
reputation,  and  crowned  with  the  most  brilliaut 
success,  have  considered  it  both  an  hon  ir  and  a 
duty  to  take  liis  advice,  and  to  attend  to  his  in- 
structions :  amongst  these  was  the  celebrated  Jo- 
melli. 

To  the  talent  of  forming  good  schoLirs  P.  Mar- 
tini united  that  of  a  composer.  He  has  written 
a  large  quantity  of  highly  esteemed  church  mu- 
sic, but  his  most  celebrated  compositior.s  are  some 
duets  in  the  style  ol  Kicercari,  and  some  canons 
lor  the  harpsichord  or  organ,  which  aie  excessively 
difficult.  Notwithstanding  a  degree  of  coldness, 
his  works  please  by  the  purity,  learning,  and 
good  taste  which  characterize  them. 

But  Martini's  principal  titles  to  reputation  are 
his  treatises  on  the  different  parts  of  music. 
Amongst  his  works  there  are  two  which  deserve 
particular  attention,  namely,  his  "  Sar/yh  Fonda- 
nientale  I'ratico  di  Cuntrapunto,"  or  "  Essay  ou 
Counterpoint,"  and  hLs  "  History  of  Mu.sic." 

The  first  of  the-ie  consists  iu  two  collections 
of  models,  the  one  of  counteri)oint  upon  plain 
chant,  the  other  ol  fugues,  for  from  two  to  eight 
voices.  In  the  first  collection,  the  Pere  Martini 
takes  a  survey  of  the  eight  sounds  generally  ad- 
mitted into  plain  chants ;  he  gives  an  e.xample  of 
counterpoint,  properly  so  called,  upon  each  of 
them,  most  freiiuently  taken  from  Const.  Porta, 
and  several  examjjles  of  plain  chant  fugated, 
taken  from  Palestriiri.  These  exampl.-s  are  ac- 
companied by  explanatory  notes,  the  whole  pre- 
ceded by  a  summary  composition  of  the  rules 
of  counterpoint.  The  second  collection  is  an 
abridged  treatise  on  the  rules  of  fugue  and  canon, 
followed  by  pieces  of  fugue  in  the  madrigal  style, 
sacred  and  j)rofane,  rising  from  two  to  ei^ht  voices, 
with  and  without  a  continued  ba:-s,  accompanied 
by  notes.  The  most  praiseworthy  part  of  these 
collections  Ls,  without  doubt,  his  choice  of  exam- 
ples, drawn  from  the  best  masters,  and  which 
convey  a  knowledge  of  their  .several  styles  of  com- 
position ;  this  excepted,  the  work,  in  the  present 
state  of  things,  po.ssesses  but  a  very  moderate  util- 
ity. In  fact,  with  respect  to  the  countei  point  or 
plain  chant,  the  examples  by  P.  Martini  arc  writ- 
ten upon  a  system  which  Ls  no  longer  felt  in  these 
days,  and  which  consequently  cannot  be  treated 
with  success :  as  to  the  fugated  pieces,  they  are 
more  like  preludes  than  luguc.s,  properly  so 
called ;  a  great  number  are  written  upon  the 
principles  ol  the  preceding,  and  are  theroiore  use- 
los-s.  With  regard  to  the  text  accompanying 
these  models,  it  cannot  be  denied  that  the  intro- 
ductions are  too  much  abridge<l,  and  consequently 
useless  to  the  pupils  who  do  not  understand  them, 
and  also  to  the  masters  who  know  more  than 
they  include.  With  relation  to  the  notes-placed 
below  the  examples,  in  spite  of  some  very  inter- 
esting particulars,  it  must  be  owned  that  thej 


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are  in  pcneral  too  simple,  since  they  include  no 
more  than  what  is  already  known  by  those  who 
undertake  to  read  them,  and  merely  present  them 
with  remarks  which  they  themselves  are  able  to 
make.  As  the  digressions  indulged  in  by  the 
commentator  deserve  reproach,  they  contain 
nothing  to  excuse  their  length  ;  and  therefore  we 
luust  conclude  the  grca'c-t  merit  of  1'.  Martini, 
in  this  work,  is,  that  of  having  proved  that  he 
perfectly  understood  Italian  antiquity,  that  is  to 
Bay,  the  excellent  school  of  the  sixteenth  and 
seventeenth  centur>-,  while,  by  the  jjood  ta.ste  he 
had  displayed  in  the  choice  of  the  chef-<twiivrea 
of  this  epoch,  he  was  able  to  induce  the  reader 
to  appreciate  it. 

I'.  Martini's  "  History  of  Music  "  deser\-es  a 
similar  mLxture  of  prai>e  and  censure.  The  work 
attests  immense  reading  and  prodigious  erudition  ; 
it  is  a  continuation  of  anecdotes,  written  with 
purity,  and  somewhat  interesting,  but  it  has  nei- 
ther end  nor  \Aai\,  nor  the  least  shade  of  judg- 
ment or  criticism.  lie  intended  to  comprise  it  in 
five  volumes,  but  thus  continued,  it  would  have 
ext(  nded  to  at  least  twenty- five  or  thirty. 

With  the  view  of  pursuing  his  labors,  P.  Mar- 
tini had  amassed  an  enormous  quantity  of  mate- 
rials. The  libraries  of  Italy  had  enriched  him 
with  valuable  manuscripts  His  friend  Botrigari 
had  left  him  his  great  musical  library,  which 
contained  many  rare  works.  The  generosity  of 
the  famous  Fariuelli  furnished  him  with  consid- 
erable funds,  and  enabled  bim  to  procure  all  im- 
aginable materials.  These  united  sources  formed 
a  library  of  seventeen  thousand  volumes,  three 
hundred  of  which  were  manuscripts.  ITiey  oc- 
cupied four  rooms ;  the  first  contained  the  man- 
uscripts, in  the  second  and  third  were  placed  the 
printed  books,  and  in  the  fourth  the  musical 
vorks,  nearly  all  manuscript. 

The  sweetness,  simjilicity,  and  modesty  which 
formed  the  character  of  Martini,  liis  eagerness  to 
communicate  to  all  who  desired  it  the  treasures 
of  science  and  of  erudition  he  possessed,  have 
conciliated  universal  esteem  and  veneration.  'ITie 
great  Frederic,  to  whom  he  sent,  in  1702,  his 
"History  of  Music,"  answered  him  with  a  letter 
written  with  his  own  hand,  accompanied  by  a 
snutt'box,  and  his  portrait,  enriched  with  dia- 
monds. All  those  whom  the  love  of  the  arts  con- 
ducted into  Italy,  visited  him  in  passing  Hologna, 
and  quitted  him  with  sentiments  of  admiration 
and  gratitude.  He  was  attacked,  in  1774,  with 
the  dropsy  in  the  chewt,  according  to  Dr.  Humev, 


studies.  In  17.5S  he  went  to  the  University  of 
Friburg.  in  Brisgau,  where  he  studied  philosophy, 
and  acted  as  organist  to  the  Franciscans.  HaT 
ing  at  this  time  decided  on  the  musical  profession 
he  resolved  to  travel,  and  xinccrfain  where  he 
should  first  go,  it  is  said  that  he  took  it  in  hit 
head  to  mount  to  the  top  of  his  hou--e,  which  wa* 
situated  between  the  town  gate  leading  to  Fnmce 
and  that  to  Italy,  and  to  throw  a  feather  in  the 
air,  with  a  determination  of  following  the  di- 
rection in  which  it  should  be  blowni.  .\s  it  flew 
towards  the  French  gate,  he  followed  that  route, 
and  arrived  in  France  in  1700.  He  first  stojiped 
at  Nancy,  where  his  talent  for  music,  together 
with  the  frankness  of  his  character,  procured 
him  numerous  friends.  Here  he  perfected  him- 
self in  his  art,  and  had  an  opportunity  of  exam- 
ining, step  by  step,  the  construction  of  a  new  or- 
gan with  fifty  stops  for  the  cathedral  ut  Nancy.  It 
was  this  which  gave  him  the  idea  of  his  work 
entitled  "  Emie  d'Or/ue,"  which  was  published  at 
I'aris  in  1804.  In  1764  he  arrived  at  Paris,  and 
the  day  after  he  was  recjuested  by  some  acquaint- 
ance to  comjjose  a  march  for  one  of  the  regi- 
ments of  Swiss  guards.  He  did  so  the  same 
evening,  and  the  following  morning  it  was  taken 
to  the  Duke  of  Choiseul,  who  had  fixed  that  day 
to  give  a  prize  for  the  best  new  march.  The  duke 
was  so  pleased  with  it  when  played  on  parade, 
that  he  remitted  to  Martiiti  a  rouleau  of  twenty- 
five  louis.  Such  was  his  ilibiU  at  Paris.  He 
next  made  himself  known  by  some  trios  and 
quatuors  for  the  violin,  and  by  several  sonata? 
and  concertos  for  the  piano-forte,  which  ho 
caused  to  be  published.  He  then  was  charged 
with  the  composition  of  a  grand  ma-^s  ;  this  he 
himself  considered  as  one  of  his  best  works,  and 
it  «as  performed  at  Vienna  for  many  years  after- 
wards on  a  particular  annual  festival.  He  soon 
after  this  became  director  of  the  chamber  music 
of  the  Prince  of  C'ondo,  Irom  whose  ser\'ice  he 
passed  to  that  of  the  Count  d'ArtoLs,  with  whom 
he  remained  tiU  the  commencement  of  the  revo- 
lution. In  the  sixth  year  of  the  French  republic, 
the  directory  norainatwl  him  one  ol  the  five  in- 
s])ectors  of  instruction  at  the  Conservatory  ;  but 
neither  his  bileiit  nor  that  of  Grttry  and  Mon- 
signy  being  longer  h  Cordre  du  jour  with  the 
republicans,  they  were  all  three  di.smis.sed. 

Martini  is  one  of  the  musicians  who  have  most 
contributed  to  the  improvement  of  military  music 
in  France.  He  is  aLso  the  first  musician  who, 
instead  of  the  single  line  of  figured   bass  which 


who  about  that  time  dLsccriicd  in  him  symptoms     was  formerly  placed  under  songs,  introduce<l 
of  that  disease,  and  he  died  August  3,  1784. 

MARTINI,  MARTIN,  a  Franciscan  friar  and 
church  composer  in  the  beginning  of  the 
eighteenth  century,  i)ublishcd  "  72  ein  und  ztrey- 
itimmiye  Arien  aiif  a/le  Feite  in  Jahr,  mil  2  Jn- 
Mtrum.,  und  Gen.  Itiias,"  Augsburg  ;  "Vieratimmiije 
^'espem  de  B.  V.  Maria  et  Saiu:tis  Aposlalis,"  Augs- 
burg ;  " Litaneijen  und  Saite  Regina,  mil  2  D-  und 
Gen.  Bass,"  Augsburg,  1717. 

MARTINI.  GIOVANNI  P.  E.,  was  bom  in 
1741  at  Freystatt,  a  small  town  in  the  Upper 
Palatinate.  He  sudied  early  in  lile  music  and 
the  Ijjtin  language,  and  at  the  age  of  ten  had 
made  such  progress  in  the  lormer,  that  he  was 
appointed  organist  to  the  seminary  of  the  town 
of  Neuburg,  on  the  Danube,  where  he  continued 
Cor  the  imthor  space  of  ax  years  his  accustomed 


separate  piano-forte  accompaniment  with  dis- 
persed chords  —  an  improvement  which  has  been 
since  imitated  throughout  Europe.  'I'he  works 
of  O.  P.  E.  Martini,  up  to  the  }'ear  1811,  were  ae 
follows :  — 

Dramatic  :  "  L' Amoureux  de  Quinze  Ans,"  1771 ; 

"  Lii  Remlez-roiu  nocturne,"  one  act  ;  "  Le  h'n  mier 

cru  tourd,"    1772;    "La   Btitai/Je   d'lrry,   on   Hen- 

I  ri  /r  ,"  in  three  acts,  1774  ;  "  Le   J'oitt  tupjtoit," 

I  in  three  acts  ;  "  [^  Dmit  du   Seiyncur,"  in  three 

I  acts,    17.S3;    "L'Amant    Sylplie ;"    "Sappho,"    iv 

I  three  acts,  1794  ;   "  Annette  et  Lubin  ;  "  "  Zimeo," 

'  a  grand  opera,  in  three  acts;  "  Siphie,  oule  Trem- 

I  blentfiit  de    Terre  de    Mctsinr."  in  three  acts  ;   "  /x 

I'artie  de  Camjni;/ne,"  in  three  at<s.     Romances. 

&C. :    *'  .^I'x    lieeuril*    ff  Airs,    Runuineea,   Cftataon* 

acee    Accompayiiement    de     Forti-piano"       Sacred 

music  :   "  N'.c  I'seaumei  d  deux  ruu  arte  Aoaom 


72 


569 


MAR 


ENCYCLOPEDIA    OF    MUSIC. 


MAB 


paoiifnu-iit  de  r  Orifite  ou  (lit  Forti-piaiio  ;"  "  Mesie  |       MAUTOUELLI,    ANTONIO,  a  composer  of 


toll  nil-  lie  A  prand  orc/ustrc  et  a  t/raiuU  c/iamrt ;  "  "  Te 
Jhtiiii  a  (fraiut  orcheUre  H  d  ijratuU  chwiim ;"  "  Mesae 
Jfj  M-yrli,  h  ffianJ  orchestre  el  a  t/ramU  chatirs  ;" 
"  La  (aiita/e  (t  Araih  tntie  h  voix  tett]<;  avcc  Accom- 
pagiirntrnt  A  (/rand  orcheatre,  on  avec  le  aenl  A(xx>m- 
pa(/iii  iiieiit  da  Furli-piano  ;"  "  Domiiie  Sa/vitm,  d 
^iia/rc  voix,  aana  orcheatre ;  "  "  (Jraiui  ('untate, 
comjmsie  poitr  le  Marin ;ie  de  S.  M.  f  ICmprrenr,  d 
voix  acute,  avec  Accompapnemcnl  de  Forti -piano,  ou 
d  qtui're  roix  ridtantea,  avec  chontra  et  grand  or- 
cheatre." Martiui  also  published,  in  1790,  "L<i 
Milupde  moderne ;"  and,  iu  1804,  his  "  F^tle 
d'Ori/iie."  This  work  Ls  divided  into  three  parts, 
and  is  of  high  authority- 

MARTINI,  called  PEU  D'ARGENT.  Under 
this  name  there  were,  in  the  royal  archives  at 
Copenhagen,  five  books  of  "  Sarrce  Cantiones," 
Llusscldorf,  15.35.     They  were  destroyed  by  lire. 

MARTINO,  ORAT.  DI,  a  composer  of  the 
Bi.xtctiith  century,  of  whose  productions  some- 
thing may  be  found  in  the  "  De  Antiqwi  I'rimo  Li- 
bro  a  1  \'oci  de  diversi  Auiori  di  Bari,"  Venice,  1585. 

MARTINS,  FRANCISCO,  chapel-master  at 
Elvas,  in  Portugal,  was  born  at  Evora,  where, 
when  yet  a  boy,  in  1629,  he  was  placed  in  a  mu- 
sical seminary.  He  made  such  excellent  progress 
in  m\i<ic,  that  he  soon  excelled  his  teachers,  and 
obtained  the  situation  above  mentioned.  The 
work-  which  he  has  left  consist  of  ma.sses,  psalms, 
hymns,  responsories,  and  motets,  and  are  highly 
estoemed.  Machado  mentions  a  musical  contest 
•with  the  chapel-master  Reraigio.  at  Badajos,  as 
a  proof  of  the  distinguished  musical  abilities  of 
Martins. 


MARTIUS,    JACOB    FR., 


the  sixteenth  century,  of  extraordinary  talents 
whose  madrigals,  notwithstanding  tbey  were 
composed  early  in  hLs  youth,  were  superior  to  all 
that  were  considered  beautUul  in  his  time.  For 
this  reitson  a  high  value  wils  ])laced  on  them  both 
in  Francte  and  Italy.  Martorelli  was  born  at. 
Pndua  in  1.331.  He  went,  when  very  young,  to 
Itimiiii,  where  he  was  generally  esteemed  as  an 
instructor  in  music.  He  died  iu  1556,  at  the 
early  age  of  twenty-five. 

MARTORE'lTA,  GIAN  DOMINICO.  A  con- 
trapuntist of  the  sixteenth  century,  of  whose  pro- 
ductions there  still  exist,  in  the  Munich  library, 
"  Madrigali  a  4  voci,"  Venice. 

MARTVN,  BEND  ALL.  Secretary  to  the  board 
of  excise  in  London,  about  the  year  1710.  He 
played,  as  amateur,  not  only  on  the  violin,  but 
wrote  also  "  Fourteen  Sonatas  "  for  that  instru- 
ment, which  were  printed  fifteen  years  after  his 
death,     (See  Hawkins,  vol.  v.  p.  126.) 

MARVILLE,  VIGNEUL  DE,  called  alsc 
NATALIS  ARG0NENSI8,  an  advocate  at  Paris 
towards  the  end  of  the  seventeenth  centurj', 
became  alterwards  a  monk  in  the  convent  of 
Gaillon,  at  Rouen,  where  he  received  the  nanus 
Boiiaventura,  and  died  in  1705.  Besides  several 
learned  works  on  church  music,  he  also  publisher 
"  Milange  d' Histoirc  et  de  Liltirature,"  wherein 
much  mention  is  made  of  music. 


principal  church  of  Erlangen,  and  bom  there  in 
1760,  was  one  of  the  few  able  admirers  of  the  art, 
who  spontaneously  offered  themselves  for  the 
arraiii;ement  and  completion  of  the  old  edition 
of  the  German  "  Lexicon  of  Musicians,"  by  the 
communication  of  hLs  wTitten  observations.  The 
activity  of  Maitius  for  the  benefit,  as  well  of 
church  music  a.'«  of  amateurs,  will  clearly  a])pear 
from  the  following  catalogue  of  his  printed  works  : 
"  Saminlung  termischier  Klavierstitcke  later,  'later 
Jahri,"  Nuremberg,  1782;  i.e..  Collections  of 
mi.xed  pieces  for  the  piano,  first  and  second  year. 
How  far  these  works  have  been  continued  is  not 
known.  "  Der  Klacierauazng  der  Oper.  die  drey 
POchter  von  Deaaides,"  Nuremberg,  1782 ;  and 
*'  Tasche.nhitch  der  Mnaik,  -t  Stiicke,"  Nuremberg, 
1786.  This  Taachenbuch,  or  Almanac,  contains, 
on  a  plan  well  calculated  for  the  entertainment 
of  amateurs,  not  only  small  pieces  for  the  piano 
by  favorite  composers  and  by  the  editor  himself, 
but  iilso  short  Viiographical  sketches,  amongst 
others,   of  Handel   and  (iraun;  likewise  several 


M-\RX,  ADOLPH  BERNHARD,  doctor  and 

professor  of  music,  was  born  at  Halle  the  27th  ol 

November,  1799.     He  received  instruction  in  the 

elements  of   music   and  on  the  piano,  and   was 

organist    of   the  |  taught  harmony  by  Turk  ;  but   in   hLs  youth  he 


cultivated  the  art  only  imperfectly,  beuig  obliged 
to  give  himseU'  to  the  study  of  jurL^prudence. 
Having  completed  his  course  at  the  university, 
he  obtained  an  appointment  on  the  tribunal  at 
Halle,  which,  however,  he  soon  abandoned  for 
one  more  important  in  the  college  at  Naumburg. 
But  the  strong  desire  of  abandoning  himself  en- 
tirely to  the  study  of  music  decided  liim  to  re- 
move to  Berlin,  where  for  several  years,  contend- 
ing successfully  against  many  obstacles,  he  pur- 
sued his  musical  studies.  Li  1823  Schlesinger 
committed  to  his  charge  the  editorship  of  the 
Bcr/iiu-r  Allgenwine  Musik-Zeitung,  and  the  suc- 
cessful manner  in  which  he  conducted  it  for  seven 
years  made  him  advantageously  known,  and  was 
the  cause  of  his  receiving,  in  1830,  the  appointment 
of  director  of  music  in  the  university  at  lierlin. 
He  subsequently  received  the  diploma  of  doctor 
in  music  trom  the  L'nivcrsity  of  Marburg,  and 
his  published  works  justify  his  title  to  this  honor. 
Among  the  productions  of  Marx  are  the  fol- 
lowing:    1st.  "Die  Kuiiat  des  Gesangca,  t ht-oret isch- 


mu^ical   enigmas.      "  Kinigc  Sinfonien  von  I'leyd    prakliach,"  Berlin,  1826,  4to.,  357  pp.     This  work 


filra  K/arier  atiagcaef:t,  mil  lieglcit.  einer  Violin  und 
iinca  Violonc,"  Speier ;  "  Snmmlung  roii  Heli- 
yintit'ictOngcn  Chorcn  und  Dncttcn,  ata  Texte  zu 
Kirchcnmusiken,"  Erlangen,  1792  ;  "  C/iOre  und 
tieralimmige  AricnfUr  hinaac  Singatimmen  mit  untcr- 
niisr/i'en  ChorOlcn,"  and  "  Liedcr."  The  appendix 
to  tliis  la,st  work  contains  some  of  Kloi)sfock"s 
ode-i,  a  Magniticat,  Te  Deums  by  several  authors, 
Nieniyer's  Lazarus,  and  an  Luster  hymn  by  Seller. 
In  tlie  preface  Martins  rejects  the  u>e  of  the  re- 
citative in  the  Prote>tant  church  service. 


IS  in  three  divLsions :  the  first  containing  the 
principles  of  music ;  the  second  treating  of  the 
theory  of  the  voice  and  its  formation  ;  the  third 
being  made  up  of  detached  observations  on  the 
application  of  the  art  of  singing  to  different  styles 
of  music.  2d.  "  i'cber  MaJcrci  in  Tonkunat.  Ein 
Maigrttaa  an  die  Kunat- Phi/oaopfien,"  Berlin,  1828, 
67  pp.,  8vo.  3d.  "  Die  Lehre  von  der  musikalis(Jien 
Komjmaition,  praktiach-thcorct iach,  zum  aetbst-unter' 
richt,"  2  vols.,  Leipsit,  1838.  4th.  ''  AUgemeitu 
Muaikkhre.    Ein  UulftbuchfUr  Lehrer  und  LemeiuL 


670 


MAn 


ENCYCLOPAEDIA    OF   MUSIC. 


MAS 


in  jedcm  WeUe  mtisikalUcher  Vntenreisuny,"  I/cip- 
sic,  18-J9.  5th.  *' Berliner  allgeineine  mujiikalUche 
Zeitunij,"  18'^3-1828.  Gth.  "  Uebc-r  Me  Geltung 
Hdndelscher  solo-ijeatlnge  fUr  uiuere  Zeit.  Ein  Sach- 
Iragziir  Kutistdes  Gesan/fes,"  lierlin,  1829,  -tto.  7th. 
"Betrachtnng  ucber  (ten  htutiticn  Zastand  (U-r  Deiitsih- 
en  Oper,"  &c.  Marx  also  wrote  several  article-i  in 
the  "  Uuiversnl  Lexicoji  of  Music,"  published  by 
Schilling  ;  among  them  those  on  Uach,  Hcetho- 
von,  (Jluck,  Fasch,  (iri'try,  Haydn,  and  Handel. 
He  is  also  known  lus  a  composer  by  several  musi- 
cal dramas,  symphonies,  &c.,  and  by  his  oratorio 
"  Saint  John  the  IJaptist,"  which  was  performed  in 
18.'J;j.     He  is  still  living. 

M.VUZIALE.    (I.)    In  a  martial  style. 

MASCARA,  or  MASCHEUA,  FIOUEXZO, 
ui  excellent  organist,  who  flourished  nearly  forty 
years,  in  the  last  half  of  the  sixteenth  century, 
at  Urcsiia.  Most  cities  in  Italy  were  desirous  to 
hear  him.  He  was  also  a  good  violinist,  and  the 
first  who  composed  for  the  organ  "  Caiizoni  Fran- 
ccse."  In  Johann  Woltzen's  "  Tabulaturte  Miisia'S 
Organise,"  1617,  are  still  to  be  found  "  10  Caiizoni 
Fraiuese,"  by  this  composer,  but  under  the  name 
yiaschcra. 

MASCHARADA.  A  term  applied  by  the 
Italians  to  music  composed  for  the  gestures  of 
mimics,  buffoons,  and  grotesque  characters. 

MASCIIEK,  PAUL,  composer  and  pianist 
at  Vienna,  in  17i)f),  played  also  the  harmonica,  and 
was  a  zealous  cultivator  of  his  art.  Besides  sev- 
eral good  motets  and  quartettos  by  him,  which 
have  become  known  in  manuscript,  the  following 
have  been  printed  :  "  Six  I  etits  Rondos  J'acil.  et 
agriahl.  pour  le  P.  F.  d  Vuaage  dcs  Commen- 
;aits,"  1798.  "  Das  allgemeine  Wiener  Aii/gebot, 
tine  charakteristische  Sonnle,  filrs  Fortepiano  mil 
Begl.  eincr  Violine  und  eines  Violoticells,"  Vienna, 
1798.  "  12  Landersche  filrs  Klav.,"  Vienna,  1798. 
"  Sammlung  atler  StUcke,  tcilc/ie  bey  Gelegenheit  cU-s 
Wiener  Aiifgebots  erschienen  sind  fUr  2  B.oder'l  FL, 
Vienna,  1800. 

MASCIIEK,  VIXCEXZO,  i)rohably  brother  of 
the  preceding,  resided  at  Hcrlin  in  1788.  In  179G 
he  was  appointed  chai)el-master  of  St.  Xicholas 
Church  at  Prague.  He  was  well  grounded  in 
music  and  on  the  j)iano-forte  by  Franz  Duschek, 
and  afterwards  studied  counterpoint  under  Seger. 
He  was  one  of  the  improvers  of  the  harmonica, 
which  he  played  in  a  masterly  manner.  .\s  a 
teacher  he  possessed  the  particular  gift  of  com- 
municating his  knowledge  to  others  with  facility, 
by  which  means  he  succecdetl  in  raising  a  consid- 
erable number  of  excellent  pupil*.  We  can  only 
mention  the  following  of  his  printed  comjwsi- 
tions  :  "  2-5  Lied<-r  J'Hr  Kinder  von  Spit-lmann.  Mil 
F.  biischck  gemfin-icfut/tlich  geseizf,"  1792.  "  ]Jie 
Spiiiii:lrilter,  Opcrette  von  Kotzebue,"  1795.  "  BOU- 
mcns  DankgefUhl,  eine  KaiUale  von  Maissner," 
Prague,  1796.  "  Concei-tino  ponr  te  Ctav.  h  4 
mains,  2  Clar.,  2  Fl.,  2  C,  et  2  B.,"  Leipsic,  1802. 
"  Sonate  pour  le  Clac.  fi  4  mains"  Leipsic,  1802. 
■'  Grande  Sonale  pour  P.  F.  avec  V.  in  Es"  There 
we  also  to  be  found  of  his  composition,  at  Traeg's, 
in  Vienna,  •*  1  Klavierkonzert  itus  Ki,  mil  starker 
BeyU-tlung"  and  "  2  Concertini  fUr  10  his  1 1  llogen 
und  hiasinttrnnientc."  It  cannot  be  ascertnined, 
however,  whether  the  eight  alwve-mentioned 
Drchestral  sjtnphonies,  and  a  concerto  for  three 
harpsichords,  two  horns,   and  two  ba.ssoons,  are 

571 


I  this  author's  productions,  or  whether  they  be 
long  to  the  preceding  article.     Vincenzo  likowist 
j  composed,  in  1800,  "  Hginne  an  die  Gottheil,"  i.  » 
I  A  Hymn  to  the  Deity. 

M.\.SCIIEK,  MADAME,  wife  of  the  preceding 
and  performer  on  the  liarmonica,  travelled  to 
Denmark,  and  obtained  much  celebrity  on  her  in- 
strument. .She  was  also,  in  the  summer  of  1791, 
with  her  husband,  at  Karlsbad,  where  they  jmb- 
lidy  perfonned  duets  on  the  harmonica  and  piano- 
forte. 

MASCrrn.  MICHELE.  a  Neapolitan  violin- 
ist, wa.s  attaclied  to  the  household  of  the  regent 
Duke  of  Urlcans.     He  died  at  Paris  about  the 

year  1750. 

MASI,  GIUOLAMO.  was  born  at  Rome  in  the 
year  1768.     He  was  instructed  in  music  by  his 
father,  a  pupil  of  the  famous  Durante,  and  a  distin- 
guished harpsichord  player  of  hLs  time.     .\t  eigh- 
teen years  of  age  young  Masi  was  chosen  piano- 
forte ma.stcr  to  the  Duchess  Braschi,  niece  of  the 
reigning  pope.     At  twenty-one,   his  father  (who 
was  director  and  composer  of  the  Royal   Spanish 
,  Church  of  Rome)  being  struck  blind,  the  son  suc- 
j  Deeded  him,  and  during  four  years  that  he  sensed 
!  the  church,  composed  a  great  quantity  of  sacred 
music,  besides  two   operas  for  the  theatres.     He 
ne.xt  went  to  Naples,  where,  his  piano- forte  play- 
ing procuring  him  a  number  of  friends,  he  was 
!  prevailed  on  to  settle.     Amongst  other  music,  he 
I  composed  there  a    cantata    that   was  jxTfonned 
with  great   success.     On   the  preparation    of  the 
,  French  to  invade  Italy,  Masi  set  otf  for  England, 
I  in  company  with    Sir  John   Legard,  with  whom 
I  he  resided,  teaching  the    piano-forte.      He   has 
1  published  a  great  number  of   ro\idos  and  varia- 
i  tions  in  a  popular  style.     ITie  productions  that 
\  have  most  distinguished  him  are  "  A  Set  of  Can- 
zonets, the  Words  selected  from  Po])e's  Eloisa;" 
I  "  A  Set   of   Preludes,"    published    bj-  Monzani ; 
I  and  "  A  Toccata."     Masi  has.  besides,  contracted 
I  into  septets  and   quintets  many  symphonies  of 
I  Beethoven,  Mozart,  Romberg,  Wocld,  Jtc. 

1      M.YSI,  GIOVANNI,  a  chapel-master  at  Rome 

j  in  1 79.3,  is  mentioned  in  the  "  Indice  de  Sjx-tlacoti " 

of  Milan,  for  178.3,  as  an  opera  composer.     Among 

his  other  works,    he    brought    out   at    Rome  an 

opera  butfa,  entitled  "  Lo  Sposalizio  per  punt iglio." 

MASI,   P.,    chapel-ma.ster  at   the  church  of 

the  Holy  Apostles,  and  singer  in  the   pontifical 

'  chapel  at  Rome,  left  many  compositions  lor  the 

church,  chamber,  and  theatre.     lie  died  in  1772. 

MASK.  A.  utensil  called  by  the  Italians  ;vr- 
sona,  from  the  verb  personare,  to  sound  through  ; 
and  which  was  used  by  the  ancient  Roman  ac- 
j  tors  and  singers.  It  wa.s  generally  formed  with 
I  a  wide  mouth,  in  the  shape  of  a  shell,  for  tha 
'  purpose  of  augmenting  the  power  of  the  voice. 
I  upon  the  principle  of  the  speaking  trumpet. 

I      MASON,  WILLIAM,  a  clergyman  at  York. 

I  also  king's   cha])lain,  was   one   of    the   classical 

I  poets  and   musical  authors  of  England.     He  waj 

I  born  at  Hull  in  1726,  where  his  lather  wa«  vicnr 

At  his  native  town  he  rcceive<l  his  tirst  instruc- 

'  tions    in  the  sciences,  studied   afterwnriU  at  St 

John's  College,  Cambridge,  and  obtained,  througb 

the  interest  of  the  Earl  of  Holdemeits,  the  otiice  of 

king's  cbapl  iu,  the  living  of  .\ston,  also  a  can 


MAS 


encyclop-€;dia  of  music. 


MA8 


onry  in  York  Cathedral.  Hi*  last-named  office 
piive  occasion  to  the  following  very  instructive 
work,  an  iiltoutive  perusal  of  which  was  Htrongly 
recomnuMided  by  Dr.  Hurncy  to  all  composers  of 
tncred  music  :  "  lis'fay  on  Church  Music,  together 
with  a  copious  Collection  ol  those  Portions  of 
the  I'snlnis  of  David.  Uil)le,  and  Liturgy,  which 
have  lu'cii  set  to  Mu'^ic.  and  sung  as  .Vntheras  in 
the  Cathedral  and  Collegiate  Churches  of  Kng- 
land  :  published  for  the  Use  of  the  Church  at 
York.  To  which  Ls  prefixed  a  Critical  and  His- 
torical Essay  on  Cathedral  Music,"  York,  17H2. 
Mason  enjoyed  excellent  bodily  healtli,  presum- 
ing on  which  he  neglected  a  slight  wound  on  his 
foot,  when  a  sudden  inflammation  took  place,  and 
after  forty-eight  hours'  illness,  he  died  at  Aston, 
ii;  1707,  in  the  beventy-second  year  of  his  age. 

MASQUE.  A  musical  drama,  chiefly  consisting 
of  singing,  machinery,  and  dancing.  Mascjues, 
which  jircoeded  the  regular  or  legitimate  drama, 
re(iuired  such  splendid  and  expensive  decorations, 
that  they  were  necessarily,  at  first,  conrtned  to 
the  palaces  of  princes,  and  the  mansions  of  the 
nobility.  Those  of  Ben  Jonson,  Beaumont  and 
Fletcher,  Sir  William  Davenant,  Milton,  and 
others,  originally  appeared  in  that  manner  ;  and 
Beem,  indeed,  to  have  been  written  for  particular 
occasions. 

MASUAKITH.\.  A  pneumatic  instrument 
used  by  tlie  ancient  Hebrews,  composed  of  pipes 
of  various  dimensions,  fitted  into  a  wooden  che^t 
open  at  the  top,  and  stopped  at  the  bottom  with 
wood  covered  with  a  skin.  ^Vi^ld  was  conveyed 
to  it  from  the  lips  by  means  of  a  tube  fixed  to 
cue  end  of  the  chest ;  the  pipes  were  of  lengths 
musically  proportioned  to  each  other,  and  the 
melody  was  regulated  at  pleasure,  by  stopping 
and  unstopping,  with  the  fingers,  the  apertures 
at  the  upjjcr  extremity. 

MAS.S,  MUSICAL.  The  musical  service  of  the 
Komish  church.  The  mass  consists  of  several 
movements,  as  the  Credo,  the  Gloria,  &c. 

MASSAINUS,  or  MASSANIO,  TIRUllTIUS, 
an  .Vugustine  friar,  and  very  industrious  church 
composer,  lived  in  l.5<,)2  at  Prague,  and  belonged 
to  the  court  of  the  Emperor  Rudolph  IL  lie 
was  born  at  Cremona,  resided  for  some  years  at 
Placenza,  became  afterwards  chapel-master  in 
the  church  of  St.  Maria  del  Popolo,  at  liome, 
after  which  he  went  to  Prague.  Of  his  numer- 
ous works,  amounting  to  upwards  of  thirty,  we 
can,  with  the  aLisistance  of  Draudius,  only  men- 
tion the  following  :  "Cuiicentna  6  voc.  in  uiiicersos 
J'salmos  in  I\speri3  omnium  Fcntorum  jx-rtitum  an- 
num frcijuciitntos,  cum  (ribus  Mcujnijicnt,  (juontm 
vUimum  9  vocum  mnduUUione  copuUitur,"  Yenice, 
1676.  *'  Sar-ri  modulorum  cotuxntus,  yiii  fi,  10,  ct 
12  vocihus,  in  duo3  Iresce  C/ioros  coulcscentes  <t>«- 
cini  posiniU,"  Venice,  1567.  "  Missa  5  el  6  vocum." 
"  Roratc  casli  5  voc."  "  \uncium  vnbis,  6  voc." 
"  Omius  gentes,  6  voc,  Li>>er  1,"  Venice,  1578. 
"  Cant  ion.  Sacra,  5  voc.,"  Venice,  15S0.  "Sacra- 
rum  Cantionum,  7  vocibiu,  Lib<-r  1,"  Venice,  1607. 
Arisius,  in  his  "  Cremon  Literal.,"  p.  454,  from 
which  the  preceding  jjarticulars  respecting  Mas- 
■ainus  are  taken,  adds,  that  ho  himself  possesses 
the  following  of  his  works  :  "  //  Quartn  Lihro  de 
XIaHriiali  a  6  coci,"  Venice',  1594  ;  "  Musica  su/ter 
Threnoi  Jcremitt  Prop/ietrr,  5  vocibta."  Venice, 
1599.     J  side:)  these,  there  were  also  several  pieces 


'  by   him  in  the    "  Si/mphonia    Angelica,"  edited  at 
I  Amurgos,  in  1585,  by  Hubert  Vaelrand.    The  fol- 
lowing works  by  him  are  in  the  Munich  library 
!  MadriffoJi  a  4  voci,"  Venice,  1569,  "Muteltid  Set  t 
voci,"  Venice,  1576,  and  "  Missa,  8  voci,"  Venice, 
1600. 

MASSART,  J.  N.  A  French  violoncellist  and 
composer  for  his  instrument,  about  the  year  1768. 

.MASSE.  A  celebrated  chapel-master  in  the 
service  of  Louis  XV.  of  France. 

M.VSSEXTIUS,  DOMIXICU.S,  a  composer, 
flourished  in  1632  at  Rome,  where,  according  to 
AUatius,  he  published  the  following  works  :  "  Mo- 
tvlli  d  ]'oce  sola,  "  "  Mofetti  a  dtw,  epiii  voci,"  "  .Sai- 
rni  d  otto  voci,"  and  "  Canz.inetti  a  una,  c  piu  voci." 

MASSEXUS,  PETRUS,  chapel-master  to 
Charles  V.,  at  Brussels,  wa.s  born  at  (ihent,  and 
flourished  about  the  middle  of  the  fifteenth  cen- 
tury. He  published  "  Declaration's  unUionis  do- 
minirir  et  saliUcUionis  anyelictp,"  Brussels,  1559. 
Finck  mentions  liim  as  one  of  the  best  composers 
of  his  time. 

MASSI.  FRANCESCO  MARIA,  a  Minorite, 
flouiLshed  about  1696  as  chapel -ma.ster  and  com- 
poser in  Itiily.  He  set  to  music  the  "  J'ccca/or 
pcntlti  al  liiambini)  Giesn  tteUa  notte  di  Salale," 
Perugia,  1696,  of  the  Count  Nicolo  Monte  Mel- 
lini,  and  dedicated  it  to  the  Acadcmici  Oscuri  of 
Lucca. 

MAS.SM.VXX.  ALEXANDER,  organist  in 
Kneiphoff,  near  Konigsberg,  in  Prussia,  published 
at  Amsterdam,  in  1720,  "  Suite  pour  te  Clavd- 
ciii." 

MASSON',  C.  Chapel-master  of  the  cathetlral 
church  at  Chalons,  in  Champagne,  and  of  the 
Jesuits'  Church  of  St.  Louis,  in  the  beginning 
of  the  eighteenth  century,  published  "  Traiti  des 
Rigtcf  lie  Composition  ile  la  Musitjue,  jvir  leifiicl  on 
nj>i>rend  h  faire  facilement  un  Chant  surdvs  J'aroles, 
n  composer  a  deux,  a  trois,  et  d  quntre  parties,  SfC,  et 
d  chijfrer  la  Basse  Contiinw,  suirant  Vusage  des 
meitleurs  Autcurs.  Oucraffe  tris-utile  d  ceux  qui 
■jouent  de  V  Orgue,  du  Clavecin,  el  du  Thiorbe," 
Paris,  1705.  A  fourth  edition,  revised  and  cor- 
rfc<'ted  at  the  expense  of  Estienne  Roger,  was 
published  at  Amsterdam  under  the  title  "  Nou- 
renu  Traiti,  fe."  An  etlition  of  this  work  is  said 
to  have  been  printed  in  1757,  at  Hamburg. 

MASTER  OF  HIS  M.UESTYS  BAND  OF 
MUSIC.  A  musician  whose  department  it  is  tt 
direct  the  king  of  England's  band,  and  :  set  the 
birthday  and  new  year's  odes,  as  also  th;  minuets 
for  the  royal  balls. 

MASTER  OF  SONG.  TTie  name  given,  in 
remote  times,  to  the  person  appointed  to  teach  the 
children  of  tlie  Chapel  Royal  to  sing,  and  to  per- 
form the  organ. 

MASTER-SINGERS.  A  class  of  poets  who 
flourished  in  Germany  during  the  fifteenth  and 
part  of  the  sixtcjenth  century.  They  were 
confined  to  a  fe>»  imperial  towns,  and  their  chief 
scat  was  the  city  of  Nuremberg.  They  were  gen- 
erally of  burgher  extrnction,  and  formed  regular 
corporations,  into  whi.^h  proficients  were  admitted 
bv  the  ordinary  course  of  apprenticeship.  'ITieil 
poetry   (generally  confined  to  devotional  or  scrip 


MAS 


EXCYCLOP.'EDIA    OF    MUSIC. 


MAI 


mral  pieces,  legendary  tales,  with  some  admix-  I  published  "A  Book  of  Psalms  and  Ihinns,"  i» 


ture  of  satire  and  of  amatory  lyrics)  wa-s  sub- 
jected to  a  peculiar  and  jjedantic  code  of  laws, 
bo'h  composition  and  versification  ;  and  a  board 
of  judges,  styled  merAer,  assembled  to  hear  the 
poems  recited,  and  ntark  the  faults  which  might 
be  committed  in  either  particular ;  he  who  had 
the  fewest  faults  received  the  prize.  Hans  Sachs, 
the  famous  cobbler  of  Xurenilierg,  was  a  mem- 
ber of  those  societies,  although  his  genius  was 
of  too  independent  a  character  to  submit  to  tlie 
trammels  of  their  poetical  regulations. 


MASURES,  LOUIS  DES;  A  Flemish  contra- 
puntist of  the  sixteenth  ceutury.  Of  his  works 
the  following  is  yet  in  the  electorate  library  at 
Munich  :  "  Canti'iuen  d  i  part.,"  Lyons,  1.064. 

MATAUSCIIEK,  an  abbe,  probably  resident  nt 
Vienna.  Of  his  compositions  there  were  pub- 
lished in  that  town,  in  ISO-J,  "  Dt-ux  Iloncteaiix  pour 
le  Cltiv.,"  Nos.  1  and  2,  and  "  Quatorze  Varia- 
tions pour  la  Fliiti\  avfc  Ace,"  Op.  H. 

MATHER,  SAMUEL,  organist  at  Sheffield, 
was  the  youngest  son  of  Mr.  Slather,  organist  of 
St.  Paul's  Church,  Sheffield,  to  which  situation 
he  was  appointed  in  1788.  His  son  Samuel  was 
elected  organist  of  St.  James's  Church,  .Sheffield, 
in  1799,  and  his  eldest  son,  John  Mather,  (or- 
ganist and  professor  of  music  in  Edinburgh,)  was 
appointed  organist  of  the  parish  church  of  .Shef- 
field soon  after;  so  that  the  father  and  his  two 
sons,  at  that  jieriod,  held  all  the  organists'  situa- 
tions in  the  three  churches  at  Sheffield.  His 
father  dying  in  1808,  S.  Mather  was  in  a  few  days 
after  unanimously  elected  to  till  St.  Paul's 
Church.  In  the  year  180.),  he  was  appointed 
master  of  the  military  band,  attached  to  the 
Sheffield  regiment  of  volunteers,  which  situation 
he  long  continued  to  hold,  together  with  a  lieu- 
tenants  commission.  In  the  year  180(),  Mather, 
in  conjun'tion  with  his  brother  and  J.  Foster, 
Esq.,  of  High  Green,  began  the  Yorkshire  Ama- 
teur Concerts  at  Sheffield.  In  the  following  year, 
they  were  held  at  Leeds,  and  the  next  at  York, 
Bnd  have  been  continued  since  that  time,  trienni- 
ally,  at  those  places,  with  increasing  i)leasure  to 
the  lovers  of  music.  In  the  year  1814,  he  estab- 
lished the  Yorkshire  Choral  Concert,  of  which  he 
was  the  sole  mana'.;er  for  the  first  four  years,  hav- 
ing obtained  the  names  of  the  noblemen  and  gen- 
tlemen in  the  county  to  support  it,  by  an  annual 
subscription  of  one  guinea  each,  and  having  an 
excellent  band  of  vocal  and  instrumental  per- 
formers. Here  he  brought  forward  every  month 
B  per.'ormance,  which  was  always  numerously  at- 
tended. "The  Messiah,"  "Judas,"  "Samson," 
"  Israel  in  Egypt,"  "The  Creation,"  "  .Vthalia," 
"Jephtha,"  "  Acis  and  Galatea,"  "Alexander's 
Feast,"  with  various  selections  from  the  best 
composers,  followed  in  succession.  Nearly  the 
same  plan  has  since  been  adopted  in  Edinburgh, 
where  his  brother  hius  liccn  one  of  the  principal 
managers.  In  the  year  1813,  Yaniewitz  and 
Mather  first  brought  the  inimitable  Catalani  be- 
fore the  Sheffield  audience  for  three  days'  jwr- 
formance,  of  which  Mather  had  the  entire  man- 
agement. In  September,  1S'_'2,  he  was  electeil 
grand  organist  to  the  provincial  lodge  of  freema- 
sons for  the  West  Riding  of  the  county  of  York. 
His  publications  are  not  very  numerous ;  but 
•everid  of  them  have  been  well  received.    He  ha.s 


number  about  two  hundred,  com])osed  and 
adaptei  to  words  selected  by  his  grace  the  I^ord 
Archbishoi)  of  York,  for  the  service  of  the  church 
of  En^iland,  and  for  the  use  of  i)rivate  families  ; 
also  a  number  of  songs,  duets,  trios,  choruses, 
Tc  Deum,  &c. 

M.VTINATA.      (I.)      A   lover's    matins,     oi 
morning  sons. 


M.VTIXS.  TTie  name  of  the  first  morning  ser- 
vice in  the  Romish  church  ;  a  ser\'ice  chiotly  con- 
sisting of  singing. 

MA'ITA.  FR.  JOAO  DA,  a  composer,  born  at 
Lisbon  in  1710,  studiod  divinity  at  Coimbra.  He 
died  in  1738,  in  his  twenty-fo\irth  year,  leaving 
some  motets  and  mass&s  of  his  composition. 

MAITEI,  SAVERIO,  an  advocate  at  Naples, 
published  at  Padua,  in  1780,  a  work  in  eight  vol- 
umes, entitled  "  Dissrrfazioni  pn/iniiiniri  ulla  tra- 
dttzione  de  salmi."  He  also  published,  in  178.1, 
"  EUxji-s  "  of  Metastasio  and  of  JomcUi,  who  were 
both  his  intimate  friends.  He  died  at  Naples  in 
1802. 

MAlTHAl,  HEINRICH  AUGUST,  a  com- 
poser and  solo  violinist  at  Leijjsic,  was  born  at 
Dresden  in  1781.  He  devoted  himself  to  music 
from  inclination,  and  from  his  infancy;  it  is  not 
surprisins;.  therefore,  that  he  soon  made  himself 
master  of  several  instruments.  Among  the.;e,  he 
considered  the  violin  as  his  principal,  and  made 
such  progress  on  it,  that  when,  in  1801,  on  a 
journey  to  Leipsic,  he  made  his  first  public  ap- 
pearance at  a  concert,  he  was  immediately  ad- 
mitted as  a  member  of  the  orchestra.  It  reflects 
no  less  honor  on  his  tiilents  as  an  artist  than  on 
his  general  character,  that  shortly  after  this  en- 
gagement, a  society  of  musical  amateurs  at  Ix-ip- 
sic,  in  1804,  provided  liim  with  a  sufficient  cap- 
ital to  undertake  a  journey  to  ParLs,  for  the  pur- 
pose of  perfecting  himself  on  his  instrument  un- 
der the  great  violinist,  Kre\itzer.  He  so  \\  ell  ful- 
filled this  praiseworthy  intention,  that,  after  a 
stay  of  eighteen  months  in  Paris,  having  returned 
to  Leipsic,  he  was,  at  his  first  public  reappearance 
there,  received  with  universal  enthusiasm  for  hi.« 
increased  abilities  and  e.xcellcnce  in  the  art.  Af- 
ter his  return  from  Paris,  he  was  also  very  suc- 
cessful in  several  attempts  at  the  composition  of 
ariettes,  variations,  duets,  and  concertos  for  the 
violin,  of  which  the  following  have  been  printed  : 
"  SecA*  dciitsche  Arietten,  mit  Bcr/leit.  Hes  J'iaiiof. 
Oder  der  Guitarre"  Leipsic,  1807  ;  "  Cone,  ptiii 
Vinlon,  in  E,"  Op.  2,  Leipsic,  1808.  "  Thrc* 
Duos  roncert.  pour  2  I'.,"  Op.  3,  I^eipsic,  1810  ;  and 
"  Qiiatiior  brillant,  pour  2  C,  .4.,  Vc."  Op.  6, 
Leipsic.  That  he  was,  in  1814.  one  of  the  best 
performers  on  the  violin  in  Germany,  Gerber  tes- 
tifies from  his  own  experience. 

MArniEES,  JOHANN  WILHELM,  bom  at 
Rerlin,  was  concert  master  to  Prince  Henry  of 
Prussia  at  Rheinsbcrg.  He  was  a  very  solid  and 
able  violinist  of  the  school  of  IJenda,  and  partic- 
ularly distinguished  by  his  fine  and  full  tone. 

MA'ITHEES,  CARL  LUDWIG  Youneet 
brother  of  the  preceding.  He  was  chnmbfr  mu- 
sician anil  performer  on  the  hautt>oy  to  the  Mar- 
grave of  Brandcnburg-Schwedt.  After  the  deatk. 
of  the  margrave,  his  whole  band  having  been  dis- 
charged without  any  pension,  Matthees  in  de- 
673 


MAT 


ENCYCLOPAEDIA    OF   MUSIC. 


MAI 


•pair,  laid  Kside  the  hautboy,  and  established  a  i 
powder  and  spirit  manufactory  at  Schwedt,  but 
with  sucli  bud  success,  that,  after  ten  years  K])eut 
in  labor  and  care,  lie  was  obliged,  in  1799,  to 
leave  Schwedt  clandestinely,  having  first  taken 
his  hautboy  out  of  a  dirty  corner,  and  put  it  in 
his  greatcoat  pocket  as  his  sole  future  hope.  In 
"  Httch's  Vielerley  "  are  to  be  found  two  solos  for 
the  hautboy  by  this  musician.  He  was  consid- 
ered a  ])erformer  inferior  only  to  Bcsozzi,  FLschcr, 
and  Lebrun. 

MAITHEIS.  NICOLA,  an  Italian  violinist, 
went  to  England  about  the  latter  end  of  Charles 
II. 's  reign.  He  was  an  excellent  musician,  and 
performed  wonderfully  on  the  violin.  His  man- 
ner was  singular ;  but  he  excelled,  in  one  respect, 
all  that  had  t^eeu  heard  in  England  before :  his 
areata,  oi  manner  of  bowing,  his  shakes,  divisions, 
and,  indeed,  his  whole  style  of  performance,  was 
surprising,  and  every  stroke  of  his  bow  was  a 
mouthful.  All  that  he  played  was  of  his  own 
composition,  which  manifested  him  to  be  a  very 
exquisite  harmonist,  and  of  a  boundless  fancy 
and  invention. 

AVhen  he  lirst  went  to  England  he  was  very 
poor,  but  not  so  poor  as  proud ;  which  prevented 
his  being  heard,  or  making  useful  acquaintance 
for  a  long  time,  except  among  a  few  merchants 
in  the  city,  who  patronized  him  ;  and  setting  a 
high  value  on  his  condescension,  he  made  them 
indemnify  him  for  the  want  of  more  general 
favor. 

By  degrees,  however,  he  was  more  noticed,  and 
was  induced  to  perform  at  court.  But  his  de- 
meanor did  not  please,  and  he  was  thought  capri- 
cious and  troublesome,  as  he  took  offence  if  any 
one  whispered  while  he  played,  which  was  a 
kind  of  attention  that  had  not  been  much  in 
fashion  at  the  English  court.  It  was  said  that 
the  Duke  of  Kichmond  would  have  settled  a 
pension  upon  him,  though  he  wLshed  him  to 
change  his  manner  of  playing,  and  that  one  of 
his  pages  should  show  him  a  better.  Mattheis, 
fur  the  sake  of  the  jest,  condescended  to  take 
lessons  of  the  page,  but  learned  so  fast,  that  he 
soon  outran  him  in  his  own  way.  But  he  con- 
tinued so  outrageous  in  hLs  demands,  particularly 
for  his  solos,  that  few  would  comply  with  them, 
and  he  remained  in  narrow  circumstances  and 
obscurity  for  a  long  time. 

Nor  would  his  superior  talents  ever  have  con- 
tributed to  better  his  fortune,  had  it  not  been  for 
the  zeal  and  friendly  offices  of  two  or  three 
dilettanti,  his  admirers.  These  were  Dr.  Wal- 
grave,  a  prodigy  on  the  arch-lute,  Sir  Roger 
L'Estrange,  an  expert  violinist,  and  Mr.  Bridg- 
man,  the  under  secretary,  who  accompanied  well 
on  the  har|)sichord.  These  gentlemen,  becoming 
acquainted  with  him,  and  courting  him  in  his 
own  way,  had  an  opportunity  of  describing  to 
him  the  temper  of  the  English,  who,  it  humored, 
would  be  liberal,  but  if  unciWlly  treated,  would 
be  s\ilky,  and  despise  him  and  his  talents ;  assur- 
ing him  that,  by  a  little  complaisance,  he  would 
neither  want  employment  nor  money. 

By  advice  so  reasonable,  they  at  length  brought 
him  into  such  good  temper,  that  he  became  gen- 
erally esteemed  and  sought  after ;  and  having 
many  scholars,  though  on  moderate  terms,  his 
purse  tilled  apace,  which  confirmed  his  conver- 
loon. 


After  this  he  discovere<l  a  way  of  acquiring 
money  which  was  then  perfectly  new.  For  ob- 
serving how  much  his  scholars  admired  the  les- 
sons he  composed  for  them,  which  were  all  duos, 
and  that  most  musical  gentlemen  who  heard 
them  wished  to  have  copies  of  them,  he  was  at 
the  expense  of  having  them  neatly  engraved  on 
copper])lates,  in  oblong  octavo,  which  was  the 
beginning  of  engraving  miLsic  in  England  ;  and 
these  he  presented,  well  bound,  to  lovers  of  the  art 
and  admirers  of  his  talents,  for  which  he  often 
received  three,  four,  and  five  guineas.  And  so 
great  were  his  encouragement  and  profits  in  thin 
species  of  traffic,  that  he  printed  four  books  of 
"  •■Vyrcs  for  the  Violin,"  in  the  same  form  and 
size. 

He  printed  lessons  likewise  for  the  guitar,  of 
which  instrument  he  was  a  consummate  master, 
and  had  so  mtich  force  upon  it  as  to  be  able  to 
contend  with  the  harpsichord,  in  concert. 

Another  book  of  his  writing  was  designed  to 
teach  composition,  air,  and  thorough  bass.  Of 
this  work,  though  it  was  printed,  but  few  copies 
are  to  be  met  with.  His  full  pieces,  concertos, 
and  solos  were  never  published,  and  are  very 
scarce,  if  at  all  to  be  found. 

The  two  first  of  the  lour  books  mentioned  above, 
of  which  many  copies  were  dispersed,  consist  of 
jireludes,  allemandes,  sarabands,  courants,  gigues, 
divisions  on  grounds  and  double  compositions 
fitted  to  all  hands  and  capacities.  The  timd  book 
is  entitled  "  Ayres  for  the  Violin,  to  wit :  Pre- 
ludes, Fugues,  Allemandes,  Sarabands,  Courants, 
Gigues,  Fancies,  Divisions,  and  likewise  other 
Passages,  Introductions,  and  Fugues  for  single 
and  double  Stops ;  with  Divisions  somewhat  more 
artificial,  for  the  Improvement  of  the  Hand  upon 
the  Bass  Viol  or  Harpsichord."  The  fourth  book 
is  called  "  Other  .Vyres  and  Pieces  for  the  Violin, 
Bass  Viol,  and  Harpsichord,  somewhat  more  dif- 
ficult and  artificial  than  the  former ;  composed 
for  the  Practice  and  Service  of  greater  Masters 
upon  those  Instruments." 

Mr.  North  observes  that  while  the  lovers  of 
music  were  acciuaiuted  with  his  manner  of  play- 
ing from  his  own  books,  which  often  happened 
in  large  assemblies,  no  one  pretended  to  do  the 
like  ;  for  none  could  command  that  fulness,  grace, 
and  truth  of  which  he  was  ma.ster.  So  that,  in 
his  own  time,  hLs  compositions  were  thought  im- 
practicable from  their  difficulty  ;  and  since,  as 
they  were  never  thrown  into  the  shops,  they  have 
been  but  little  known.  At  present,  when  the  in- 
strument is  so  much  advanced,  no  one  could  have 
the  least  idea  of  these  pieces  haWng  ever  been 
difficult,  who  was  not  a  witness  of  his  own  man- 
ner of  playing  them.  Indeed,  his  books,  well 
studied,  are  a  sufficient  rudiment  of  artful  com- 
position. 

Another  observation  of  this  speculative  dilet- 
tante is  that,  in  a  numerous  assembly,  when  Mat- 
theis alone  was  to  entertain  the  company,  having 
his  friends  Walgravc,  L'Estrange,  and  Bridgman 
about  him,  and  flaming  with  good  humor  and 
enthusiasm,  he  would  seize  on  the  attention  of  the 
whole  audience  with  such  force  and  variety  as  to 
prevent  even  a  whisper  for  more  than  an  hour 
together,  however  crowded  the  room. 

After  thLs,  it  is  easy  to  imagine  that  his  repu- 
tation and  abilities  would  enable  him  to  accumu- 
late wealth,  or  to  live  in  splendor ;  he  chose  th« 
latter,  took  a  great  house,  and  indulging  appetite 


674 


MAT 


ENCYCLOPEDIA   OF  MUSIC. 


MATS 


lived  80  luxuriously  that  he  brought  on  diseases, 
tnd  soon  put  an  end  to  his  existence. 

MA'ITIIEIS,  MATTEIS,  or  MATUYS,  NICO- 
LA, son  of  the  preceding,  was  also  a  violinist 
and  composer  for  his  instrument.  He  received, 
from  the  very  cradle,  instructions  from  his  fatlier 
on  the  violin,  and  made  such  progress,  that  he  was 
afterwards  invited  to  the  Imperial  Chapel  at  Vi- 
enna, where,  amongst  twenty-three  violinists,  he 
obtained  the  first  place.  ThLs  situation  he  held 
as  late  as  17'i7,  according  to  Walther.  He  re- 
turned afterwards  to  England,  where,  in  1737, 
Dr.  Burney  became  ac(|uainted  with  him  at 
Shrewsbury,  and  received  instructions  from  him 
in  the  double  capacity  of  music  and  French  mas- 
t£T.  Matthcis  remained  in  that  town  till  his 
deatn,  which  took  place  in  1749.  Dr.  llumey 
says,  that  Mattheis  executed  the  solos  of  Corelli 
with  inimitable  simplicity  and  grace.  Walther 
mentions  of  his  works,  '*  Arie  Cantabile  A  V.  snio, 
e  Vc.  o  B.  continuo,"  Ops.  1,  2,  3,  4,  5,  Amster- 
dam. Quanz  states,  that  Mattheis  also  made  a 
new  arrangement  of  Corelli's  solos. 

MATTHESON,  JOHANN,  a  native  of  Ham- 
burg, was  bom  in  1681.  In  the  seventh  year 
of  his  age,  he  was  placed  by  his  parents  under 
the  care  of  different  masters,  and  instructed  by 
them  in  the  rudiments  of  learning  and  the  prin- 
ciples of  music,  iu  which  science  he  improved  so 
fast,  that  at  the  age  of  nine  he  was  able  to  sing, 
to  the  organ  at  Hamburg,  compositions  of  his  own. 
At  the  age  of  eighteen,  he  composed  an  o])era, 
and  performed  the  principal  part.  In  1703,  an 
otter  was  made  him  of  the  place  of  organist  of 
the  church  nt  Lubec  ;  but  not  liking  the  condi- 
tions of  the  appointment,  which  was,  that  he 
should  submit  to  the  yoke  of  marriage  with  a 
young  woman  whom  the  magistrates  had  chosen 
for  him,  he  thought  proper  to  decline  it.  In 
1704,  he  visited  Holland,  and  was  invitwl  to  ac- 
cept the  place  of  organist  at  Haerlem,  witli  a  sal- 
ary of  fifteen  hundred  tlorins  a  year ;  but  he  de- 
cliaied  it,  choosing  to  return  to  his  own  country, 
where  he  became  secreti\ry  to  Sir  Cyril  Wych,  resi- 
dent at  Hamburg  for  the  English  court.  In  this 
station  he  made  himself  master  of  the  EnglLsh  lan- 
guage, and,  without  abandoning  the  study  of  mu- 
sic, took  \ip  a  resolution  to  quit  the  opera  stage,  on 
which  he  had  been  a  singer  for  fifteen  years.  In 
1709,  he  miirrie.l  Catharine,  a  daughter  of  Mr. 
Jennings,  a  clergyman,  nearly  related  to  Admiral 
Sir  Jolm  Jennings. 

In  the  cour>e  of  his  craploj-mcnt  as  secretary 
to  the  resident,  he  was  truste<l  with  several  im- 
portant negotiations,  ami  made  frequent  journeys 
to  I  tipsic,  llremen,  and  dirt'erent  parts  of  Saxony, 
from  which  he  reaped  considerable  advantages. 
Upon  the  death  of  Sir  Cyril  Wych,  in  the  year 
1712,  the  care  of  the  English  affairs  in  the  circle 
of  Lower  .Saxony  devolved  on  Mattheson,  and  he 
occupictl  the  otHce  of  rcsideitt  till  the  son  of  the 
former  minister  was  appointed  to  it.  I'jion  the 
accession  of  King  tieorge  1.  to  the  crown  of  Eng- 
land, he  composed  a  memorable  sercnata  ;  and  in 
the  year  171.J  obtained  the  rt'version  of  the  office 
of  chapel-master  in  the  cathedral  of  Hamburg, 
with  certain  other  appointments  prefixeil  to  it. 
During  all  this  time  he  continued  his  station  of 
•eoretary  to  the  British  resident ;  and  upon  many 
occasions   of  his  absence,  he   discharged  in  his 

6 


own  proper  person  the  functions  of  the  minister. 
Amidst  that  multiplicity  of  business  which  neces- 
sarily sprang  from  such  a  situation,  Mattheson 
found  means  to  prosecute  his  musical  studies;  he 
composed  music  for  the  church  and  for  the  the- 
atre, and  was  ever  present  at  the  performance  of 
it :  he  i)ractised  the  harpsichord  at  his  own  ajjart- 
raents  iiK'e8.santly,  and  on  that  instrument,  if  not 
on  the  organ,  was  unquestionably  one  of  the  rtrtt 
performers  of  hLs  time.  He  wrote  and  translated 
books  to  an  incre<lible  number,  and  tliLs  without 
an  exclusive  attachment  to  any  particular  ob- 
ject ;  and  the  versatility  of  his  icmjjcr  cannot  be 
more  strongly  marked  than  by  observing,  that  hi 
composed  church  music  and  operas,  wrote  trea- 
tises on  music  and  on  the  longitude.  HLs  writ- 
ings in  general  abound  with  intelligence,  commu  ■ 
nicated  in  a  desultory  manner,  and  are  an  evi  • 
dence  that  the  author  possessed  more  lenmir;.^ 
than  judgment. 

Mattheson  was  well  acquainted  with  Han- 
del. Before  the  latter  went  to  settle  iu  Ei.gland, 
they  were  in  some  degree  rivals,  and  solicited 
with  e<iual  ardor  the  favor  of  the  public.  Matthe- 
son relates,  that  he  had  often  vie<l  with  him  on  the 
organ,  both  at  Hamburg  and  Lubec.  Thf  terms 
upon  which  these  two  great  men  lived  when  they 
were  together,  must  appear  very  strange.  Han- 
del approved  so  highly  of  the  compositions  of 
Mattheson,  particularly  his  les.sons,  that  lie  u.scd 
to  play  tl'.em  for  hLs  private  amu.semcnt  ;  and 
Mattheson  had  so  great  a  regard  for  Handel,  that 
he  at  one  time  entertained  thoughts  of  writing  hU 
life ;  yet  these  two  men  were  in  one  moment  of 
their  lives  at  so  great  enmity,  that  eich  had  the 
other  op])osed  to  the  point  of  his  sword  ;  iu  short, 
upon  a  (lispiUe  about  the  seat  of  the  harl)^•ichord 
at  the  performance  of  one  of  Matthoou's  o])era.s, 
they  fought  a  duel  in  the  market-place  ot  Ham 
burg,  which  a  mere  accident  prevented  horn  be- 
ing mortal  to  one  or  both  of  them.  Mat;hcso» 
died  at  Hamburg  in  the  year  17(34. 

MA'ITHIUS,  MAUKUS,  a  monk  at  Florence 
Hourished,  in  l.)89,  as  orgaiiL^t  and  comju-i-icr,  at 
ter  having  given,  in  l^.sl,  when  yet  very  young, 
"  ihutriijnit  A  4  coci,"  Venice. 

MAITIIO,  member  of  the  Chapel  Royal  at 
Paris,  composed  the  music  to  the  opera  "  Arion," 
1715. 

NLVITIOLI,  ANDUE.V,  chapel-master  to  the 
Duke  of  Mantvia,  and  to  the  Acadeinin  dello 
S|)irito  Santo,  at  Fcrrara,  in  the  middle  of  the 
seventeenth  century,  enjoyetl  a  great  degree  of 
esteem  and  encounigement  Irom  his  contempo- 
raries. We  can  mention  the  following  of  his 
works:  "  Mitia  e  Silmi,"  Venice,  li563.  "La 
l\ilma  (f  A  more,"  opera,  Fcrrara,  lliiO.  "  H  Rntto 
Hi  C'e/alo,"  Fcrrara,  lli.51.  "  KulhrfAmori,"  Fer- 
rara,  Ki.il.  "  I^i  DiHone,"  Fcrrara,  ir).5''i.  " // 
J'rrseo,"  Fcrrara,  lifio.  "  (Hi  \for:i  del  dcaiderio," 
Fcrrara,  IGGO. 

MArriOLI,  (JAJiriANO.  chapcl-master  to 
the  Elect  >r  of  Cologne,  at  Bonn,  about  tlie  year 
1783,  was  born  at  Venice  in  17o0.  He  was  a 
violin  pupil  of  Morigi.  He  composed  Fevera] 
symphonies,  masses,  \c. 

MAUCOrUT.  LOUIS  CHAULE.S,  a  mu-siciM 
at  the  court  of  Brunswick,  published  .-lorae  briot 
for  the  violin  at   Offcntwch,  in  1784  ;  aUw  "  Com 


MAU 


ENCYCLOP.EDIA    OF    MUSIC. 


MAV 


<urtop.il  v.,"  Op.  2,  DarmstRtU,  1793  ;  "  Conenrto, 
p,  il  v.,"  Op.  3,  Brunswick,  1796 ;  and  "  HoHotap. 
il  V.  toh  c.  B.,"  Op.  4,  Hrunawick,  1797. 

M.VUGARS,  a  French  ecclesiastic,  published 
At  I'nris,  in  1672,  "  Traitis  dirers  tl" lli.il'iirr.  He  Mo- 
rale, i-t  cT  l\lojiieiice  ;"  in  whicli  is  also  a  discouifie 
on  the  music  of  Italy.  The  editions  of  the 
"  Traitis  diceri,"iii  which  this  latter  discourse  ap- 
pears,  were  not  published  by  the  author,  but  by 
St.  Ussans,  at  Paris,  in  1G72.  Mauj^ars  was  not 
only  an  able  amateur  and  author,  but  at  the  same 
time  so  celebrated  a  violoncellist,  that  the  King 
of  Sjiain  and  several  other  princes  wished  to  hear 
him. 

MAULGRED,  or  MAUI.GR.^US,  PIERRE, 
a  composer  in  the  bejinnin";  of  the  seventeenth 
century,  (probably  in  the  Netherlands,)  published 
"  Ckansows  lloneslea  diet  o  Part.,'"  Antwerp,  and 
"  Cantiones  Sacra>,i,  5,ei  8  I'oc."  Antwerp,  1604. 

MAURICEAU,  JEAX,  in  1853,  published 
**  Some  Account  of  the  Mysterious  Music  of  the 
Bay  of  West  Pascagoula."  There  are  several 
legends  touching  these  mysterious  sounds.  One 
of  them  relates  to  the  e.\tinction  of  the  Pasca- 
goula  tribe  of  Indians,  the  remnant  of  which, 
many  years  ago,  it  is  said,  deliberately  entered 
the  waters  of  the  bay  and  drowned  themselves, 
to  escape  capture  and  torture,  when  attacked  by 
a  neighboring  formidable  tribe.  There  is  another 
legend,  as  well  authenticated  as  traditionary  his- 
tory can  well  be,  to  the  effect  that,  about  one 
hundred  years  ago,  three  families  of  Spaniards 
who  had  provoked  the  resentment  of  the  Indians 
were  beset  by  the  savages,  and,  to  avoid  mas- 
sacre and  pollution,  marched  into  the  bay  and 
were  drowned  —  men,  women,  and  children. 
Tradition  adds  that  the  Spaniards  went  down  to 
the  waters,  following  a  drum  and  pipe,  and  sing- 
ing, as  enthusiasts  are  said  to  do  when  about  to 
commit  self-immolation.  The  inhabitants  in  the 
neighborhood  believe  that  the  sounds  which 
sweep  with  mournful  cadence  over  the  bay  are 
uttered  by  the  spirits  of  the  hapless  families ;  nor 
will  any  remonstrance  against  the  supposition 
abate  their  terror  when  the  wailing  is  heard. 
Mauriceau  thus  explains  the  music  of  the  water 
spirits :  — 

"  During  several  of  my  voyages  on  the  Span- 
ish main,  in  the  neighborhood  of  Baragua  and 
San  Juan  de  Nicheragua,  from  the  nature  of 
the  coast  we  were  compelled  to  anchor  at  a  con- 
siderable distance  from  the  shore;  and  every 
evening,  from  dark  to  late  at  night,  our  ears  were 
delighted  with  .£olian  music,  that  could  be  heard 
beneath  the  counter  of  our  schooner.  At  first  I 
thought  it  was  the  sea  breeze  sweeping  through 
the  strings  of  my  violin,  the  bridge  cf  which  I 
had  inadvertently  left  standing  ;  but,  after  exam- 
ination, I  found  it  was  not  so.  I  then  placed  my 
ear  on  the  rail  of  the  vessel,  when  I  was  contin- 
ually cliarmed  with  the  most  heavenly  strains 
that  ever  fell  upon  my  ear.  They  did  not  sound 
as  close  to  us,  but  were  sweet,  mellow,  and  aerial, 
likethesoft  breathing  of  a  thousand  lutes  touched 
by  the  fingers  of  the  deep-sea  nymphs  at  an  im- 
mense distance. 

•'  .\lthough  I  have  considerable  •  music  in  my 
soul,'  one  night  I  became  tired,  and  determined 
to  fish.  My  luck  in  half  an  hour  wa.s  astonish- 
inH ;  I  had  half  filled  ray  bucket  with  the  finest 


white  catfish  I  ever  saw ;  and  it  being  late,  and 
the  cook  asleep,  and  the  moon  shining,  I  filled 
my  bucket  with  water  and  took  fish  and  all  into 
my  cabin  for  the  night. 

"  I  had  not  yet  fallen  asleep  when  the  same 
sweet  notes  fell  upon  my  ear ;  and,  petting  up, 
what  was  my  surprise  to  find  my  '  catfish '  dis- 
coursing sweet  sounds  to  the  sides  of  my  bucket." 

Music,  like  every  thing  else,  is  now  passinf; 
from  the  few  into  the  many.  The  art  of  print- 
ing has  laid  before  the  multitude  the  written  wis- 
dom of  ages,  once  locked  up  in  the  elaborate  man- 
uscripts of  the  cloister.  Engraving  and  daguer- 
reotype spread  the  productions  of  the  pencil  before 
the  whole  people.  Music  is  taught  in  our  com- 
mon schools,  and  the  cheap  accordeon  brings  its 
delights  to  the  humblest  class  of  citizens.  All 
these  things  are  full  of  prophecy.  Slowly,  to 
the  measured  sound  of  the  spirit's  music,  there 
goes  round  the  world  the  golden  band  of  brother- 
hood ;  slowly,  slowly  the  earth  comes  to  its  place 
and  makes  a  chord  with  heaven. 

Sing  on,  thou  truehearted,  and  be  not  discour- 
aged !  If  a  harp  be  in  perfect  tune,  and  a  flute, 
or  other  instrument  of  music,  be  near  it,  in  per- 
fect tune  also,  thou  canst  not  play  on  ..ne  with- 
out wakening  an  answer  from  the  other. 

MAURICE,  landgrave  of  Hesse-Cassel,  bora 
May  2.5,  1572,  is  said  to  have  compo.sed  eight  or 
ten  sets  of  motets,  and  other  pieces  of  solemn 
music,  for  the  use  of  his  own  chajjcl,  the  organ 
of  which,  on  the  great  festivals,  he  frequently 
played  himself.  lie  completed  and  published  a 
work,  bes;un  by  Valentine  Guckins,  entitled 
"  Opera  metrici  sacri  .^^anctorxm,  Dominicalium  et 
Ferarium."     He  died  March  15,  1632. 

MAURO  D'ALAY,  or  MAURINI,  an  instru- 
mental composer,  published,  in  1710,  "12  Con- 
ccrti  d  V.  piiiicip.,  2  I'.,  A.,  I'c,  e  Cembalo,"  Op. 
1,  .Amsterdam. 

MAURUS,  a  monk,  belonging  to  the  convent 
St.  Martini  de  ScalLs,  born  at  Palermo,  flourished 
as  a  composer  in  the  si.xtecnth  century.  He 
published  "  Cantiones  Sacra;"  Venice,  1590,  for 
voices  and  instruments. 

MAVIUS,  CHARLES,  JR.,  musical  profess- 
or at  Leicester,  wa.s  born  at  Bedford  in  the  year 
1800.  His  father  (a  professor  of  music,  residing  at 
Kettering,  in  Northamptonshire)  was  a  German, 
and  went  to  Eni^hind  at  the  period  of  the  French 
revolution.  Though  born  at  Bedford,  the  first  ten 
years  of  the  life  of  the  subject  of  this  memoir  were 
spent  at  \Vindsor,  where,  at  an  early  period,  con- 
siderable natural  talent  lor  music  was  discov- 
ered in  him  ;  in  conse  luence  of  which,  when 
about  si.x  years  old,  his  father  commenced  giv- 
ing him  in>truction  upon  the  violin.  After  pay- 
ing some  attention  to  this  instruraent,  he  be- 
came an.vious  to  attempt  the  piano-forte ;  and 
accordingly,  when  little  more  than  seven  years 
of  age,  he  began  the  study  of  that  instrument, 
under  the  daily  attention  of  his  father,  and  made 
very  considerable  progress,  both  in  the  practical 
and'  theoretical  branches  of  the  science,  insomuch 
that,  in  his  twcll'th  year,  he  was  appointed  or- 
ganist to  the  church  at  Kettering. 

.\t  the  age  of  fourteen  he  commenced  ths 
study  of  composition,  and  subsequently  received 
lessons  under  some  of  the  most  eminent  profess- 


iSTA 


MAX 


ENCYCLOPAEDIA    OF    MUSIC. 


XI A , 


ors  in  London  ;  viz.,  M.  P.  King,  on  theory  and 
•ingini;,  Griffin  on  practical  piano-forte  play- 
ing, itc.  About  this  period  (18U,)  Mavius 
wrote  an  introduction  and  rondo,  which  was 
act  published  till  18 IG.  This  was  well  re- 
ceived, and  favorably  spoken  of  by  the  musi- 
cal reviewers,  (see  "  Monthly  Magazine,"  Sep- 
tember, 1S17  or  1818.)  who  were  entirely  un- 
acquainted with  the  age  of  the  author.  Several 
other  pul)lication8  by  him  have  appeared.  Ma- 
vius  resided  at  Leicester  in  1820,  where  he  had 
considerable  practice  as  a  teacher.  ITie  principal 
compositions  he  has  published  arc,  "  La  Prome- 
nade," an  air  with  variations,  dedicated  to  MLss 
Simpson  ;  "  La  ReconnaisHance,"  an  air  with  vari- 
ations, and  tiute  accomiianiment,  dedicated  to 
Miss  Stop  ford ;  and  "  A  Thema  for  the  Piano- 
forte," dedicated  to  Miss  Mary  and  Miss  Lavinia 
Eyles,  (Preston.) 

MAXIMA.  The  longest  note  formerly  used 
in  music,  being  equal  to  two  longs,  four  breves, 
eight  semibrevcs,  S:c.     See  the  word  L.mige. 

MAXWELL,  FRANC.  KELLY,  doctor  of 
divuiity,  and  chaplain  of  the  Asylum,  died  in 
1782.  He  published  "  Essay  upon  Tune,  being 
an  Attempt  to  free  the  Scale  of  Music  and  the 
Tune  of  Instruments  from  Imperfection,"  with 
■ixteen  plates,  Etlinburgh,  1781. 

MAY'ER,  a  vocal  composer,  was,  in  1790, 
director  of  the  music  of  the  Bohemian  Dramatic 
Society.  In  1795  he  was  at  Cologne,  and  be- 
longed to  one  of  the  choirs  of  the  church.  In 
the  Gotha  "  Theatrical  Calendar,"  the  following 
of  his  compositions  are  mentioned  :  "Das  Irrlicht," 
"Die  Ltiftkugvl,"  "Marlborough,"  and  "Die 
Becker."     The  last  three  are  ballets. 

MAYER,  G.  A  contrapuntist  of  the  sixteenth 
century,  of  whose  works  are  printed  "  3  C'aiUiones 
Devotee,"  1577. 

MAY'ER,  J.  P.,  a  musical  amateur,  published 
in  1802,  at  Carlsruhe,  "  12  Lieder" 

MAYER,  SIMON,  a  very  pleasing  dramatic 
composer,  was  born  at  Mendorf,  in  Uavaria,  June 
14,  1763.  He  has,  since  1798,  resided  alternately 
in  Italy  and  Gennany.  but  chietly  in  Italy,  where 
he  has  written  much  for  the  theatre,  with  great 
success.  In  1802,  he  was  appointed  chapel-mas- 
ter, in  the  place  of  Carlo  I.cnzi,  in  the  church  of 
Maria  .Maggiore,  at  Bergamo.  He  obtained  much 
honor  by  this  appointment,  a  great  number  of 
competitors  being  opposed  to  him.  In  less  than 
a  year,  however,  he  was  again  in  Vienna,  where 
he  represented  his  "  R/uivocn."  Of  hLs  composi- 
tions we  can  mention  the  following  :  "Sisera," 
oratorio,  1795.  "  .^r^<if,"  opera  seria,  1793.  "  Un 
I'azzore  fa  Centn,"  opera  buffa,  1798.  "Lodoiica," 
opera  seria,  Vienna  and  Drwden,  1798.  "/ 
Misteri  Eleiaini,"  drama,  1802.  "  diiu-rra,"  opera 
seria,  1802.  "  Der  Ktii/kranifr,"  operetta,  1802. 
"  L'  K</uir  im,"  opera  butfa,  Vienna,  1802.  "  Her- 
cole  in  LiUia,"  V'ienna,  1803.  "  Alomo  e  Cora," 
opera,  Vienna.  "/>««  flur7.»cAn/i,"  operetta  M:;y- 
er  has  been  ranked,  by  the  French  critics  as  a 
dramatic  composer,  nearly  equal  to  cither  Mozart 
or  Rossini.     He  excelled  principally  in  harmony. 

MAYERBEER.  A  pupU  of  the  abbe  Vogler, 
and  composer  of  a  successful  opera  called  "Ho- 
miUa  e  Ctstanza,"  performed  at  Munich   in  1823. 

lLA.YERHOFElt,    M.    A    musician,    probably 


resident  at  Vienna,  of  whose  works  Traeg  men- 
tions in  his  Catalogue  for  1799,  besides  two  col- 
lections of  dances,  a  "  S;3letto,  A  2  ^V.,  2  V.,  A., 
e  basse,"  in  manuscript. 

M.VYNARD,  JOHN,  a  i)erforraer  on  and  com- 
poser for  the  lute,  wa-s  the  author  of  "  The  Twelve 
Wonders  of  the  World,  set  and  composed  for 
the  VioU  de  Garaba,  the  Lute,  and  the  Voyce,  to 
sing  the  Verse,  all  throe  jointly  and  none  several  ; 
al.so  Lessons  for  the  Lute  and  Hiusse  Violl,  to  play 
alone:  with  some  Lessons  to  play  lyra-wayes 
alone,  or,  if  you  will,  to  fill  up  the  I'art-s  with  an- 
other Violl  set  lute-way,"  published  in  folio  in  the 
year  Kill.  These  twelve  wonders  are  so  many 
songs,  exhibiting  the  characters  of  a  courtier,  di- 
vine, soldier,  lawyer,  physician,  merchant,  coun- 
try gentleman,  bachelor,  married  man,  widow, 
and  maid. 

MAYNI,  JOHANNES.  A  contrapuntist  of  the 
sLxteenth  century,  of  whose  works  have  been 
printed  "  Canliones  Sacrir,  3  i<oc.,"  Munich,  1567. 

MAYR,  JOH.  SIMON,  pubUshed  "Lieder 
beijm  Klacier  zii  singen,"  Regensburg,  1786. 

MAYSEDER,  JOSEPH.  A  German  violinist 
of  the  highest  order,  also  an  original  composer, 
of  acknowledged  merit  in  a  certain  line.  He 
acquired  a  considerable  share  of  pojjularity  in  a 
comparatively  short  time.  He  settled  at  Vienna, 
and  was  spoken  of  as  a  performer  that  had  no 
rival  in  his  own  particular  style.  Among  his 
works  are  the  following :  Concertos,  ••  First 
Violin  Concerto,  (Odeon,  No.  5,)"  Op.  22. 
"  Second  ditto."  "  Third  ditto,"  Oj).  28.  Quin- 
tuors :  "First  Polonai.se,"  Op.  10.  "Second 
Polonaise,"  Op.  11.  "Third  Polonai.se,"  Op.  12. 
"Fourth  Polonaise,"  Op.  17.  "  Variations,"  Op. 
18.  "  Variations  in  F,"  Op.  25.  "  New  Varia- 
tions in  F,"  Op.  33.  Quatuors  :  "  (Juatuor  for 
two  Viok,  Ten.,  and  Violoncello,"  Op.  3,  No.  1. 
"  Quatuor  for  two  Viols,  Ten.,  and  Violoncello," 
No.  2.  "  Quatuor  for  two  VioLs,  Ten.,  and  Vio- 
loncello," No.  3.  "  Fourth  Brilliant  Quatuor," 
Op.  8.  "Filth  Quatuor  in  D,"  Op.  9.  "Sixth 
Quatuor  in  D,"  dedicated  to  Mr.  Neuling.  "  Va 
nations  to  a  Greek  Theme,  for  a  Violin  Solo,  with 
-■Vcc.  of  second  V.,  T.,  and  Violoncello."  "  Varia- 
tions for  ditto,"  Op.  15.  Trios  :  "  Air  in  E,  varied 
for  v.,  with  Ace.  of  Ten.  and  Violoncello." 
Duets  :  "  First  Duet,"  Op.  30.  "  Second  Duet," 
Op.  31.  "Third  Duet,"  Op.  32.  Solos:  "Six 
Studies,"  Op.  29,  (Wessel's  Cut.) 

MAZAS,  JACQUES  FERIOL,  a  violin  pupU 
of  Baillot,  gained  the  accessit  for  the  violin,  ad- 
judged by  the  Paris  Conservatory  in  1801. 

MAZI,  LUKil.  .\  composer  of  the  seventeenth 
century  at  the  court  of  Ferrara.  He  composed 
madrigals  and  psalm.s.  • 

MAZZAFERRATA,  GIOV.  BATFISTA. 
Chapel-master  at  the  .\cademia  dcUa  Morto,  in 
Ferrara.  He  flourished  in  the  latter  half  of  th« 
Bcventeenth  century.  Of  several  works  written  bj 
him  we  can  mention  the  following:  "  Canlaie  dr 
Camera  h  toce  sola,"  Bologna,  1677  :  "  Salmi  Con- 
crrlati  h  Z  e  i    loci  con   I'.,"  Op.  5,  Venice,  1084 

M.VZZANTL  FERDINANDO,  a  celebrated 
I  composer,  violinist,  and  singer,  rosidetl,  in  1770, 
j  at  Rome.  Dr.  Buniey  speaks  highly  of  his  lal- 
I  ent.     He  composed  dramatic,  Mcred,  and  Tiolic 


73 


677 


MAZ 


ENCYCLOPEDIA    OF   MUSIC. 


MAZ 


MAZZINGIII,  JOSEPH,  bom  in  London,  was 
descended  from  the  ancient  CorHican  family  of 
the  Chevalier  Tcdice  Maz/inf;hi,  who.  in  the  year 
l';97,  was  attached,  in  a  diplomatic  situation,  to 
the  court  of  Najdes.  Other  branches  of  the  same 
family  settled  at  Florence,  Pisa,  and  Leghorn. 

Toraaso  Maz/.inghi,  father  of  Joseph,  appears,  in 
the  year  1765,  to  have  been  establi.shed  in  Lon- 
don, as  a  merchant.  lie  married  Madame  Fred- 
erick, sister  to  Madame  Cassandra  Wynne,  the 
wfe  of  Thomas  Wynne,  Esq.,  a  ptentleraan  of 
considerable  landed  property  in  South  Wales. 
Tills  latter  lady,  whose  rare  musical  talents  as 
an  amateur,  were  highly  appreciated  at  the  court 
of  Versailles,  and  partic\ilarly  so  by  Queen  Marie 
Antoinette,  as  also  by  the  celebrated  Handel, 
early  discovered  in  her  infant  nepliew  eWdcnt 
proof  of  a  musical  disposition,  as  did  also  his  father, 
who  was  an  eminent  performer  on  the  violin ; 
and,  in  consequence,  he  was  placed  under  the 
celebrated  John  Christian  Bach,  who,  at  that 
period,  was  music  master  to  Queen  Charlotte. 
ITie  progress  of  the  young  tyro  was  such,  that, 
on  the  demise  of  his  father,  being  then  but  ten 
years  of  age,  he  was  appointed  organist  at  the 
Portuguese  chapel,  and  subsequently  received 
instructions  from  three  celebrated  composers,  (at 
the  time  in  England,)  Bertolini,  Sacchini,  and 
Anfossi.  At  the  age  of  nineteen  he  obtained  the 
distinguished  situation  of  composer  and  director 
of  music  at  the  King's  ITicatre,  which  situation 
he  held  for  several  years,  and  during  that  period 
brought  out  the  Italian  opera  entitled  "  II  Tesoro," 
and  introduced  in  various  other  operas,  songs, 
duets,  trios,  &c.,  &c. ;  aU  of  which  were  sung  by 
Signor  Pacchierotti,  Marchesi,  Madame  ^Iara, 
Mrs.  Billington,  &c.,  &c.  He  likewise  composed 
several  opera  ballets,  amongst  which  his 
"  V Amour  ft  Pysche  "  was  much  noticed.  After 
remaining- for  several  seasons  at  the  Opera  House, 
we  find  he  composed  several  English  operas  for  the 
theatres  royal  Drury  Lane  and  Covent  Garden. 
His  other  instrumental  works  are  very  numerous. 
He  likewise  was  appointed  music  master  to 
Queen  Caroline  when  Princess  of  Wales. 

The  original  subscription  Sunday  concerts, 
which  were  held  alternately  for  several  seasons  at 
the  houses  of  the  principal  nobility,  were  entirely 
under  his  direction  ;  lor  which  he  not  only  com- 
posed various  vocal  and  instrumental  pieces 
of  music,  but  likewise  performed  on  the  piano- 
forte. 

Independently  of  being  for  many  years  so 
much  occupied  as  a  composer,  he  continued  an 
extensive  practice  as  a  teacher  of  the  piano-forte, 
and  his  works  testify,  by  the  dLstinguished  names 
to  his  dedications,  that  his  pupils  had  been 
chietiy  among  the  principal  nobility.  We  can- 
.Dot  conclude  without  mentioning  that  when  the 
Opera  House  was  consumed  by  fire,  in  June, 
1789,  the  favorite  ojjcra  by  Paesiello,  entitled 
"  La  Lncanda,"  had  but  recently  been  performed, 
the  entire  score  ot"  which,  as  likewLse  the  whole 
of  the  musical  library,  was  destroyed  by  that 
melancholy  catastrojihc.  The  performances  were 
afterwards  continued  at  the  httle  theatre  in  the 
Haj-market,  and  subsequently  at  Covent  Garden 
Theatre;  but  this  favorite  opera  being  burned,  it 
was  rendcp''d  almost  impossible  to  perform  it 
igain  without  sending  to  tlic  composer,  who  was 
then  in  Xajiles  ;  but  Slazzinghi  undertook  to  re- 
produce, by  memory,  the  whole  of  the  instrumen- 


tal accompaniment ;  and  he  so  far  succeeded,  that, 
with  very  few  exceptions,  they  were  considered 
to  be  almost  the  same,  certainly  so  in  effect,  aa 
the  original. 

MAZZOCCHL  DOMEXICO,  one  of  the  old 
masters  of  the  Koman  school,  contributed  much 
to  the  improvement  of  the  style  of  music  preva- 
lent in  his  time.  Dr.  Burney  praises  in  particu- 
lar his  madrigals,  (1638.)  Kircher  also  speaks 
highly  of  these  madrigals,  (vol.  i.  p.  660  of  his 
"  AliuiHrffia,")  but  particularly  of  one  of  his  pa- 
thetic recitatives,  which  he  calls  "  Thranen  der 
Maria  Magdalcna,"  i.  e.,  the  Tears  of  Mary 
Magdalen.  ITiis  is  printed  in  Dr.  Bumey'g 
history,  vol.  iv.  p.  96.  Of  his  published  works 
we  can  enumerate  the  foUowng :  "  Catena 
d'Adoiie,"  Venice,  1626;  "II  Martirio  de  SatUi 
Abundio  prete,  Ahhiiiidanzio  Diacono,  ilarziano,  t 
Giovanni  suo  fiytittolo,  Drainma,"  Rome,  1631  ; 
"  Madritjali,"  Rome,  1638;  and  "  Dialoghi  e  Son- 
wtti,"  Rome,  1638. 

MAZZOCCHI,  VIRGILIO,  was  chapel-master 
at  St.  Peter's  Church,  in  Rome,  in  1636,  and  pro- 
fessor at  the  college  for  the  education  of  the  vocal- 
ists of  the  papal  chapel.  Bontempi,  who  was  a 
pupil  of  his,  gives,  in  the  second  volume  of  his 
hLstory,  a  particular  description  of  tlus  school, 
which  leaves  no  slight  impression  on  the  mind 
of  its  useful  arrangements.  It  is  as  follows  : 
"  One  hour  in  the  morning  was  set  apart  for  ex- 
ercLses  on  difficult  passages ;  another  for  the 
practice  of  the  sliake  ;  another  for  singing  before 
a  mirror,  in  the  presence  of  the  master,  in  order  to 
acquire  a  good  position  of  the  mouth,  and  pleas- 
ing attitudes  in  singing.  In  the  afternoon,  a 
short  time  was  devoted  to  the  study  of  the  theory 
of  music ;  then,  an  hour  was  emi)loyed  to  put 
counterpoint  to  a  canto  fermo ;  and  in  another, 
again,  the  master  explained  verbally  the  rules  of 
counterpoint,  whilst  the  pupils  put  them  in  prac- 
tice by  writing.  In  a  third  hour,  reading  was 
practised.  The  rest  of  the  day  was  spent  in  prac- 
tice on  the  har[)sichord,  or  in  the  composition  of 
a  psalm,  motet,  or  canzonet,  according  to  the 
capacity  of  the  pupil.  On  the  days  that  the 
pupils  were  allowed  to  go  out,  they  used  to  pass 
through  the  tower  gate,  called  Angelica,  near  the 
Monte  Mario,  where  there  is  an  echo  ;  there  they 
used  to  sing,  whilst  the  echo  returned  their  errors 
to  their  own  hearing.  At  other  times  they  went 
to  church,  either  to  hear  the  music  or  to  take  a 
part  in  the  performance ;  after  which,  on  their 
return  to  the  college,  they  were  to  acquaint  their 
master  with  the  obsen-ations  they  had  made." 
Delia  Valle  makes  mention,  aLso,  (1640,)  of  a 
young  Mazzoechi,  who,  a  short  time  before,  had 
published  in  the  Roman  college  motets  for  six 
choirs,  with  great  art,  ihid  afterwards,  for  St. 
Peter's  Church,  a  mass  for  from  twelve  to  sLxtecn 
choirs,  of  which  one  choir  was  placed  on  the  very 
top  of  the  cupola  to  act  as  an  echo.  This,  it  is 
said,  produced  a  most  admirable  effect.  Probably, 
by  the  younger  Mazzoechi,  Delia  Valle  meant 
Virgilio. 

MAZZOLEXL  GIACOMO,  a  Roman  profess- 
or of  music,  gave  with  much  success  at  Rome, 
in  1694,  the  opera  entitled  "La  Costanza  in  Amor 
vinre  P Inoanno," 

MAZZOXI,  ALFOXSO,  chapel-raaster  in  the 
cathedral  church  of  the  Holy  Ghost,  at  Ferrara, 
published  some  motets  at  Veuice  in  1640. 


*7,8 


UEC 


ENCYCLOPEDIA    OF    MUSIC. 


MEG 


MECHANISM      OF     ACCOMPANIMENT. 

The  talent  of  an  accompanist  consists  in  render- 
ing by  his  piano  the  intentions  of  the  composer 
as  exactly  as  that  admits  of  being  done.  U>it 
the  dithculties  of  fingering,  the  want  of  variety 
in  the  tones  of  the  piano,  a  defect  wliich  docs 
not  exist  in  the  orchestra,  and  the  impossibility 
of  pointing  ont  to  the  hearer  the  various  crossings 
of  the  parts  —  all  these  things  often  oblige  us  to 
change  certain  passages  of  accompaniment,  in 
order  to  substitute  others  more  easy  of  execution, 
but  still  analogous  in  their  nature. 

The  study  of  accompaniment  should  commence 
with  the  scores  of  the  works  of  Cimarosa,  Paisi- 
ello,  Guglielmi,  and  their  immediate  successors ; 
for  their  style,  though  brilliant,  is  easy  and  clear, 
riiese  works  have  the  advantage  of  habituating 
th-'  i»  '.ompanist  to  exactness,  without  calling 
upon  him  for  much  effort.  The  following  frag- 
ment will  show  with  how  much  facility  one  may 
accompany  a  piece  written  like  the  celebrated 
finale  in  "  La  ScHjfiara,"  an  opera  by  Paisiello. 
No.  1.  Mo'Jerato. 
Tiolinl. 


Oboe. 


Voce. 


^^^^^^l3l 


■V-' 

MIe  ragcizo  foro-rlt«, 


f»Torite, 


tuTO-ritO. 


£v^. 


Bafso. 


P^^P^-^ 


4?T 


*-' 


&c. 
"\\'hoever  is  endowed  with  the  lea.st  intelligence 
will  see,  at  the  tirst  glance  over  this  score,  that 
the  violins  and  hautboys  must  be  played  by  the 
right  hand  a«  far  as  the  third  bar,  where  the 
second  violin  part  passes  to  the  left  hand.  The 
Horns  also  belong  to  the  left  hand,  so  that  the 
passage  will  be  executed  thus  without  difficulty. 
No.  2. 


{^^^^ 


No  composition  of  this  school  and  period  wUl 
offer  more  dithculties,  either  with  respect  to  ar- 
rangement or  to  fingering. 


Some  accompanists,  abusing  the  liberty  con- 
ceded to  them  of  arranging  the  accompauimeni 
in  the  manner  most  convenient  as  to  cxecvuion 
and  to  their  instrument,  change  the  character  of 
the  traits,  either  from  want  of  taste  or  from  mere 
indolence.  Reducing,  for  exam])lo,  every  variety 
of  arpeggio  to  one  hackneyed  species,  they  give  tc 
the  music  an  aspect  of  monotony  and  Niilgarity 
which  destroys  its  chann.  The  j)as»age,  for  e.x- 
araple,  is  often  accompanied  as  in  No.  3,  p.  6S0. 

If  we  are  at  all  endowed  with  a  musical  organ- 
ization, we  cannot  but  be  strvick  with  the  want  of 
taste  manifested  by  such  an  arrangement.  Doubt- 
less it  would  be  too  difhcult  to  accompany  it  as  it 
is  written,  that  is,  to  retain  the  second  violin  part 
in  its  precise  fonn ;  but  the  left  hand  may  surely 
execute  a  jiassage  analogous  to  it,  as  in  example 
No.  4,  p.  580. 

If,  however,  the  desiyn  in  the  second  violin 
part  were  continued  throughout  the  entire  piece, 
and  i)articularly  if  much  modulation  were  in- 
troduced, the  above  system  of  accompaniment 
would  offer  great  dilliculties,  and  compel  the  left 
hand  to  skip  about ;  in  this  ca.se,  it  would  be 
better  to  abandon  the  passage  contained  in  the 
first  violin,  and  to  execute  the  second  -violin  part 
as  in  No.  o,  p.  .-580. 

Parts  for  the  violin,  the  tenor,  or  the  bass  often 
contain  repeated  notes  in  quick  movement,  the 
execution  of  which  on  the  piano  would  be  both 
difficult  and  ineffective.  ITiese  repeated  notes 
appear  under  different  forms,  and  admit  of  being 
played  on  the  piano  in  several  different  ways.  In 
recitatives  and  other  places,  these  kinds  of  tre- 
molos arc  disposed  as  in  No.  6,  p.  581. 

They  may  be  arranged  by  the  accompanist  in 
several  ways,  the  choice  among  which  depends 
upon  his  taste  or  caprice. 

Among  the  examples  which  I  shall  give  of 
these  arrangements,  the  first  is  best  suited  to  rec- 
itative ;  the  rest  belong  rather  to  measured  ac- 
companiment. 

Sometimes  the  repeated  notes  are  grouped  in 
twos,  as  in  e.xaraple  No.  7,  p.  581. 

If  the  movement  be  quick,  the  accompanist 
{  must  simplify  the  doubled  notes,  as  in  No.  8,  p. 
581. 

But  if  the  movement  is  moderate,  he  must  em- 
ploy ar]>eggios,  as  in  example  No.  9,  p.  581. 

When  the  tremilo  is  given  to  the  accompanying 
part.s  with  a  melody  in  another  part,  it  must  b« 
played  with  the  left  hand,  while  the  right  exe- 
cutes the  melody. 

As  the  natu-«  of  the  piano  will  not  allow  ui 
to  i)rolong  the  sounds  &t  will,  as  on  stringed  or 
wind  instruments,  we  can  ctwily  imagine  that 
long  notes,  such  as  we  sometimes  meet  with  in 
scores,  would  produce  a  very  poor  effect,  particu- 
larly in  slow  movements,  if  the  accompanist  were 
merely  to  execute  what  was  wTitten.  We  must, 
therefore,  arrange  these  kinds  of  accompanimenJ* 
BO  as  to  mark  the  different  times  of  the  bar.  Af 
to  the  form  of  the  arrangement  to  be  adopted,  we 
must,  as  far  as  possible,  imitate  the  air  of  tran- 
quillity which  the  composer  intended  in  his  ac- 
companiment, and  only  multiply  the  notes  so  fax 
as  is  necessary  to  avoid  drowsiness  and  ennuL 

To  translate  the  accompaniment  on  the  pianc 
with  the  re-iuisite  calmness,  there  Ls  no  othar 
way  than  to  take  the  harmony  and  arrange  it  a* 
in  example  No.  10,  p.  581. 

Each  musical  or  marked  stage  of  rultiratioi 


679 


MEC 


ENCYCLOPEDIA    OF    MUSIC. 


MEC 


has  its  peculiar  physiognomy,  with  which  the  ac- 
companist should  he  aciiuaintcd.  These  epochs 
may  be  redured  to  the  following  principal  di- 
vijiioius :  — 

1.  The  style  of  counterpoint,  without  any  writ- 
ten accompaniment,  culled  the  style  of  "  Palcs- 
trina." 

2.  Music,  accompanied  by  a  figured  bass,  ex- 
tending from  CarLssimi  to  Durante. 

3 .  The  music  of  the  eighteenth  century,  divided 
into  the  Italian,  German,  and  French  schools. 

4.  The  music  from  tlie  time  of  Ilaydn  and 
Mozart  to  the  present  day,  in  which  the  differ- 
ences of  schools  or  styles  are  imperceptibly  amal- 
gamated. 

The  art  of  the  accompanist  consists  in  knowing 
exactly  the  peculiarities  of  each  of  these  epochs, 
BO  that  he  may  not  introduce  any  thing  incon- 
gruous in  his  accompaniments.  This  is  particu- 
larly important  in  miisic  accompanied  only  by  a 
figured  bass. 

The  slow  movements  of  the  ancient  schools  are 
not  to  be  played  so  slow  as  those  of  Rossini  or 
Heethoven,  &c. ;  while,  on  the  contrary,  the  rjuick 
movements  must  be  played  with  much  less  rapid- 
ity than  those  of  the  present  day. 

In  accompanying  the  music  of  Palestrina  and 
authors  of  that  school,  we  must  play  the  four 
parts  simply  as  they  are  ^^Titten,  without  adding 
any  other  notes  by  way  of  filling  up  the  harmony. 

To  accompany  the  cantatas,  duets,  or  trios  of 
Carissimi,  Durante,  &c.,  the  accompanist  must 
follow  the  different  voices  with  his  eye  ;  playing 
them,  as  they  stand,  as  nearly  as  possible  wlierever 
any  imitations  occur,  and  merely  filling  up  the 
harmony  in  three  parts  only,  when  that  is  not 
the  case. 

The  recitative  of  the  compositions  of  this  period 
ifi  accompanied  only  by  a  figured  bass,  like  the 
Italian  comic  operas.  ITie  accompanist  must  play 
the  harmony  indicated  by  the  figures  without  re- 
No.  3.        Moderate. 


Violino 
Imo. 


gard  to  regularity  of  measure,  attending  only  to 
the  declamation  of  the  singer.  At  the  beginning 
of  the  recitative,  and  wherever  modulations  occur, 
he  must  arpeggio  the  chords  which  indicate  the 
key.  These  arpeggios  should  rather  precede  the 
singer,  for  the  purpose  of  facilitating  his  intona- 
tion. 

In  accompanied  recitative,  the  intermediate  ri- 
tornelli  are  ])layed  in  strict  measure,  and  the  ac- 
companist follows  the  singer  in  the  other  portion! 
of  it. 

The  music  of  Paisiello,  Cimarosa,  and  others  of 
that  school,  offer  but  few  difficulties  to  the  ac- 
companist,  as  the  instrumental  parts  are  few  and 
simjjle,  though  brilliant  and  effective. 

Mlien  we  arrive  at  Mozart  we  are  completely 
in  the  domain  of  music  for  effect.  lie  first 
assigned  to  the  wind  instruments  the  important 
part  which  tliey  now  enjoy  in  the  orchestra.  The 
effects  which  he  draws  from  them  are  magical ; 
they  demand  from  the  accompanist  great  sagacity 
and  experience  in  transferring  them  to  the  piano 
in  a  manner  analogous  to  the  idea  of  the  com- 
poser. "Don  Juan,"  "Figaro,"  and  the  "Magic 
Flute,"  are  works  which,  in  this  point  of  view, 
cannot  be  too  much  studied. 

When  the  student  has  mastered  the  works  of 
Mozart,  he  may  proceed  to  the  still  more  elabo- 
rate scores  of  Cherubini,  Spontini,  Kossini,  and  hia 
imitators,  &c  ,  &c. 

The  obligation  of  discerning  the  intention  of 
his  author,  of  imagining  the  means  of  rendering 
them  on  the  piano,  and  of  expressing  in  his  per- 
formance what  he  feels,  should  not  give  to  his 
accompaniment  the  appearance  of  labor.  He  has 
other  duties  to  fulfil  —  that  of  guiding  the  sing- 
ers, keeping  them  in  time,  assisting  their  intona- 
tion ;  things  which  he  could  not  accomplish  if 
liis  presence  of  mind  were  disturbed.  To  be  calm 
and  vigorous  at  the  same  time,  is  the  problem 
which  he  must  resolve. 


Violino 
2do. 


Tote. 


Bum. 


^^^m 


^E 


:=^=S 


^ 


S^ 


:^#= 


-'' — >i^ 


J^^^^^^^^ 


Ca-ro  og-get  -  -  to    del    niio  »  -  -  -  nio  -  -  re      non  te  -  -  me  -  te       &  -  te^—        ro  -  -  n-. 


m^c^rTrr-^^ 


9=^-g=f=iE^[^^ 


No.  4.         Moderato. 


No.  5. 


1^ 1-^ --l__jj :l=^n^tzl^^ '      -^ 


l^[^^^V//gr"^ 


&c.  Piano.  &r. 


580 


MEC 


ENCYCLOP.EDIA    OF    MUSIC. 


MEC 


No  fl 


SpTt-f-rj§ 


W 


No.  7.       AtUpo 


W^^ 


sad — ^ 


Ac. 


No.  9. 


^t^jE^Jl^0~:lL^ 


No.  10. 


&c. 


a-j^?^  J^^i^^J^I^^ 


&r. 


No.  12.    AUrgTO. 


Piano. 


J^^^lgjUEi 


(i^iig 


No  13.     Moderato. 


No.  14.     CaKtabiU. 


Clar.  in  Btf    pp     \    u*  TfMt  cuf  •■  um  rtanfa  u**. 


rt         I  I      »_        ..n  (  To  U  r*aJ  •  aUth  Uw»r.  «r  ly 

CornI  In  Q»     ;>;>        {    b^m  .r  lu  iu«  ci«r 


^^^ 


w 


Voce. 


ijf 


fe^i^l^ 


Banl.  jtp 


let  -  ta  tm  -  magint     del  mio  coD4orl«. 


Jltei 


:f^; 


g 


No.  16.     Can(aii<<. 


*^  VA  •  let  -  tm  im  -  maulDn      del  mIo  con-«ortc 


Dl  •  let  -  ta  im  -  nutjine      del  mlo  con-«ortc. 


^^pp@fip 


'^^i  J I  FTtrr  p; 


No.  16. 


M 


e^ 


r^^ 


J5- 


^^«^ 


a; 


Cwf  Ml  IS      41        M  ■    •    4m  L*«rte4*  U      bat*. 


^ 


5^ 


Us 


"^ 


CM4urf«a>     il 


S    6  R    6  8 


PUno. 


581 


MAZ 


ENCYCLOPEDIA    OF    MUSIC. 


MEE 


MAZOUUKE,  or  MAZURKA.  A  Polish 
r.Btion8l  (lance,  in  3  tinie,  witli  a  peculiar  rhyth- 
mic construction,  somewhat  like  that  of  the  po- 
lacca. 

MAZZOXI,  AXTOXIO,  second  chapel-master 
of  the  Cathedral  at  Hologna,  and  dramatic  com- 
poser, was  bom  in  that  town  al)out  the  year 
17'i5.  lie  composed  there,  in  1770,  in  his  ca- 
jmcity  of  member  of  the  Philharmonic  Society,  a 
Mas^nificat,  consisting  entirely  of  choruses.  Maz- 
zoni  studied  counterpoint  in  his  youth  under  the 
(^"hapel-master  Perdiera,  and  subsequently  trav- 
elled, during  several  years,  to  Naples,  Madrid, 
and  as  far  as  St.  Petersburg.  In  1756  he  brought 
o\it  at  Parma  the  comic  ojiera,  "  /  Viaggiatori 
'■iilicoli,"  words  by  Goldoni.  This  piece  was  em- 
inently successful. 

MAZZONI,  GIOVANNI,  chapel-master  of  the 
Cathedral  of  Lodi,  flourished  about  the  year  1600 
»s  one  of  the  first  contrapuntists. 

MAZZUCHELLI,  an  Italian  musician  at  Paris, 
published  there  "  Recucil  des  plus  agriables  Ariettes 
ties  Operas  arrang.  pour  deux  Mandolines,  liec.  1  et 
2,"  Paris,  1792;  "  Recueil  d" Ariettes  dea  Opdras 
luiitveaux,  avec  Ace.  do  Guitare,  Rec.  1,  2,  et  3," 
I'arLs,  1793. 

MEAN.  An  epithet  formerly  applied  to  the 
tenor  or  middle  parts  of  any  composition,  as  be- 
ing the  mean  between  the  treble  and  bass  ex- 
tremes. Hence  the  C  clef,  in  wliich  those  mid- 
dle parts  always  are,  or  should  be  written,  was 
called  the  mean  clef. 

ME-AN  CLEF.     The  tenor  clef.     See  Mean. 

MEASURE.  That  division  of  the  time  by 
which  the  air  and  motion  of  music  are  regulated. 
Some  imagine  the  measure  of  music  to  be  of  mod- 
ern invention.  But  the  ancients  not  only  prac- 
tised the  division  of  time,  but  formed  it  upon 
rules  very  severe,  and  founded  on  principles  un- 
known to  musicians  of  the  present  day. 

MECIIEL,  a  French  composer  at  the  begin- 
ning of  the  eighteenth  century,  published  "  7 
BUcher  Sonaten  fUr  die  l^ioline,"  1729. 

MECm,  GIOV.  DATTISTA,  organist  at  Bo- 
logna, published  at  Venice,  in  1611,  "  Moietti  d 
6,  3,  7,  8  voc." 

MECHTLER,  F.,  probably  a  German  harpist 
«t  Paris,  published  there,  about  the  year  1794, 
"  Petits  Airs  connus,  variis  pour  la  Ilarpe." 

MECK,  JOSEPH,  a  violinist,  belonged,  in 
1730,  to  the  chapel  in  Mentz.  He  published  "  13 
Comcrti  per  il  T.  (i  5  e  6  Strom.,"  Amsterdam. 
Besides  these,  several  of  his  concertos  and  solos 
in  manuscript  were  known  at  that  time. 

MEDER,  JOHANN  VALENTIN,  a  celebrated 
cl.a;)el-miuster  at  Dantzic,  was  bom  In  16.50.  He 
com])osed  many  operas  and  cantatas  and  much 
church  music  ;  but  only  one  of  his  works  was 
published,  namely,  "  Capricci  i  2  VioUni  col  Baa- 
to,"  1698. 

MEDER,  JOHANN  G.ABRIEL,  son  of  a  school- 
master  in  Gotha,  published  "  Sinfonie  pour  t'  Or- 
theatre,"  Op.  4,  Berlin ;  "  6  Marches  jx>ur  2  Clar., 
2  Cors,  et  Fag.,"  Berlin,  1795  ;  "  L'lUuaion  du 
Priiitems,  Sonnte  pour  le  Clav.,  acec  l'.  et  I'c,"  Op. 
9,  Berlin,  1797;  "  Principea  de  Musique  jmur  le 
Chant,  avcc  12   SJ/egea  ct  D.  coiU.,"  Berlin,  1800. 


There  was  also  a  manuscript  opera  in  his  name  it 
Breitkopf 's,  in  Lcipsic. 

MEDERITSCH,  or  MEDRITSCH,  JOHAN-\ 
called  GALLUS,  was,  in  1794,  engaged  as  con- 
ductor  of  the  orchestra  at  the  theatre  at  Ofen,  ir 
Hungary.  He  seems  to  have  resided  there  only 
a  short  time  ;  for  in  1796  he  was  at  Vienna,  where 
he  wrote  the  first  act  of  his  "  Pyramidcn  von  liahy- 
lon."  Of  his  operettas  and  other  works,  all  of 
which  met  with  a  favorable  reception  at  Vienna, 
we  can  mention  the  following  :  "  Der  Seefahrcr," 
operetta  ;  "  Die  Rekruten,"  operetta,  1794  ;  "  Dei 
letzte  Rauach,"  operetta,  in  two  acts ;  "  Malcbeth, 
mii  Geaang ;"  "  Chor  der  Banditen,  d  4  voci ;  " 
"  Chor  der  Tempelherm,  a  4  voci,  2  FL,  2  Clar., 
Fag.,  2  Tromboni,  et  Organi ;  "  the  first  act  of 
"  Pyramidcn  von  Babylon,"  being  the  second  pai1 
to  the  "  Zatiberflate ;  "  also  the  second  act  of 
Winter's  composition,  arranged  for  the  piano- 
forte, Vienna,  Offenbach,  and  Leipsic,  1798. 
This  piece  was  performed  for  the  first  time 
at  Schikaneder's  Theatre  at  Vienna,  in  1797. 
The  following  instrumental  music  is  also  his  : 
"  2  tk>n.  pour  le  Clav.,  Nos.  1  et  2,"  Vienna,  1791  ; 
"2  Quintetli  pour  le  Clav.,  Ft.,  J'.,  A.,  e  Vc"  Vi- 
enna, 1792  ;  "  24  Vars.  auf  den  Barentanz,  fIXrs 
Klav.,"  Vienna,  1792  ;  "  3  Son.  pour  le  Clav.,  avec 
v.,"  Vienna,  1797;  "6  Vara,  pour  le  Clav.,"  Vi- 
enna, 1797  ;  "  6  Vara,  aur  le  Thime  de  F Introduc- 
tion de  I'  Overture  de  /'  Opira,  Babylon's  Pyramidcn,' ' 
Vienna,  1798  ;  "  9  Vara,  aur  I' Air :  Ein  gutes  Kind," 
Vienna,  1798  ;  "  3  Sons,  dialog,  pour  le  Clav.  et  V., 
Liv.  1,"  Op.  1,  Vienna,  1799;  "4  Concerti  a  Cem- 
balo," (manuscript;)  "4  Son.  i  4  mani,"  (manu- 
script ;)  "  6  leichte  Klavier  Sonaten,"  (manuscript ;) 
"3  Trioa  pour  2  Violons  et  Vc,"  Op.  12,  Vienna, 
1800  ;  "  3  Caprices  facil.  pour  le  Clav.,  avec  V.  obi.," 
Vienna,  1802.  Gerber  also  saw  the  following 
church  compositions  by  this  master :  "  Stabat 
Mater,  d  4  voci  con  StromeiUi,"  (manuscript;) 
"  Misia  solennis  in  D,  ii  i  voci  cone,  con  Strontenti," 
(manuscript;)  and  "  Missa  in  C,  Kyrie,  e  Gloria." 

MEDESSIMO.  (I.)  The  same  ;  as,  medessimo 
tempo,  in  the  same  time. 

MEDIANT,  or  MEDIANl^E.  (F.)  The  ap- 
pellation given  to  the  third  above  the  key  note, 
because  it  divides  the  inter\-al  between  the  tonic 
and  the  dominant  into  two  intervals  called  thirds. 
When  the  lower  of  these  thirds  is  minor  and  the 
upper  major,  the  key  is  miiwr ;  and  when  the 
lower  third  is  major  and  the  upper  minor,  the 
key  is  major. 

MEDITATIO.  (L.)  A  word  formerly  used  to 
signify  the  middle  of  a  chant,  or  the  sound  which 
terminates  the  first  part  of  the  verse  in  the  Psalms. 
The  colon,  constantly  placed  in  the  middle  of  each 
verse,  in  the  Psalms,  expresses  this  pause,  or  me- 
ditaiio,  and  is  placed  there  for  the  use  of  those 
who  chant  the  Psalms  in  the  cathedral  ser4ce. 

MEDIUS  HARMONIOUS.  (L.)  ITie  tnird,  or 
middle  note  of  the  fundamental  common  chord. 

MEDLEY.  That  part  of  the  ancient  melopoeia 
which  consisted  of  the  proper  intermixture  of  the 
modes  and  genera,  called  by  the  Greeks  agogt. 
With  the  moderns,  a  medley  is  a  humorous,  hotch- 
potch a.ssemblage  of  the  detached  parts  or  pas- 
sages of  ditferent  well-known  songs,  toarrangeq 
that  tlie  latter  words  of  the  sentence,  or  line,  of 
one  song  connects  with  the  beginning  of  another 


682 


MEG 


ENCYCLOPEDIA    OF    MUSIC. 


MEI 


MEGELIN.  HEINRICH.    Violoncellist  in  the  I 
chapel  of  the  Elector  of  Saxony,  at  Dresden,  sub- 


"  Chant  des  Victoires,"  "  llymne  de  Guerre,"  179l}  : 
"  Aui/iute  ('ompaijiie  du  .Save."  &c.,   hymn,  1797  ' 


gequently  to  the  year  1771.     lie  was  an  excellent  i  "  Le  Pout  de  Lodi,  hummnife  au  Vain'jtteur  de  flla- 


perfonner,  and  composed  much  music  for  his  in- 
strument. 

MEHKSCHEIDT.  A  German  musician  resi- 
dent  at  Paris.  His  work,  under  tlio  following 
title,  met  with  a  good  recei>tion  :  "  Tahle  raiaunnie 
des  I'rincipis  de  Mttaiijue it  de  r Harmonie ;  contenant 
ce  qui  eat  le  plus  eaaentiel  a  observer  dans  la  Musiqua 


tie,"    1798;   •'HymneaUt  I'aix,"  179S. 

Instrumental  music  :  "  Oavrrt.  du  jeuiu  Henrt 
pour  I'.  F.  ;  "  "  Trois  Son.  pour  le  ('lac.  avec  V.  ojt 
1,  Lii'.  2,"  1701  ;  "  Trois  Son.  jmur  le  Clav.  V.  ae 
lib,"  1788  ;  with  various  other  overtures,  sym- 
phonics,  sonatas,  &c. 

Mchul  also  jiublished  two  reports,  which  h< 
read  at  the  Institute :  the  one  on  the  future  stata 


pour  ceux   r/ui   reulent  trarailler  a  la  C'omi>osition,  i     ,  .     .     „  ,         ,  ,      ,   ,  ^   , 

J     /•  i  A  k  of  music  in  rriince,  tlic  other  on  tlie  labors  of  tht 

arrangie  (tune  maniire  atste  jxntr  que  chuque  mu- 


licien  puisse  voir  (fun  soul  coup-d'wil  rout  ce  qu'il 
petit  et  doit  /aire  coiu-ernant  V  Uarnwnie."  I'aris, 
1780. 

MEHUL.  ETIENNE  HENRI,  member  of  the 
Ir.stitute,  also  one  of  the  three  inspectors  of  in- 
struction, and  professor  of  composition,  at  the 
Paris  Coiisin-atory,  was  bom  at  Givet,  June  24, 
1763,  and  was  the  son  of  a  cook.  At  ten  years 
of  age,  he  had  improved  so  much  in  orfjan  play- 
ing, under  the  tuition  of  the  blind  organist  of  hLs 
native  town,  tliat  he  was  nominated  organist  of 
the  Rt'colcts,  and  at  twelve  was  chosen  adjunct 
to  the  organist  of  the  celebrated  abbey  of  Valle- 
dieu.  It  was  in  this  abbey  that  he  learned  com- 
l)Osition  under  a  very  able  Cierman  contrapuntist, 
named  Hanser.  Mchul  first  went  to  Paris  when 
sixteen  years  of  age,  and  took  lessons  on  the 
piano  of  Edelman.  At  eighteen,  he  was  present- 
ed to  Gluck,  who  initiated  him  in  the  philosoph- 
ical and  poetical  departinent-s  of  the  musical 
art.  About  the  same  time,  he  set  to  music  a 
sacred  ode  of  J.  B.  Rousseau,  which  wa.s  sung  with 
success  at  the  ('oncert  Spiriiurl.  Under  the  direc- 
tion of  Gluck,  Mchul  next  composed  three  operas, 
solely  lor  improvement  in  his  art.  These  were 
"  La  Psi/cht,"  words  by  Voiscnon  ;  " L' .inacrion," 
of  Gentil  Bernard ;  and  "  Lausus  et  Lydie,"  of 
Valadier.  .A.t  the  age  of  twenty,  he  presented  to 
the  Royal  Academy  of  Music  an  opera  in  four 
acts,  "  Cora  et  Alouzo,"  which,  however,  was  not 
performed  till  six  years  afterwards.  Fatigued 
and  restless  at  this  long  delay,  he  composed 
another  opera,  "  Eup/irosint,"  which  was  per- 
formed a  year  before  "  Cora  et  Alonzo."  His  third 
work  was  "  Stratonice,"  and  the  fourth,  ".Idrien." 
The  following  methodical  list  contains  the  prin- 
cipal compositions  of  this  celebrated  musician. 

For  the  Royal  -\cademy  of  Music  :  "  Cora  et 
Alonzo,"  1791  ;  "Uoratius  Codes,"  1793  ;  "Adrien," 
179.3;  "  Le  Jugement  de  Paris,"  179.3;  "La  Dan- 
tomanie,"  1800;  "  Persie  et  Andromide,"  1810; 
And  "  Amphion,"  1811. 

For  the  Opera  Comique  :  "  Euphrosine,"  1790; 
"  Strai<mice,"  1792  ;  "  Lejeune  sage  et  le  vieaxfou," 
1 7^3;  "  Phwsine  et  Mehd-tre,"  1794;  "La  Ca- 
veme,"  1795;  "  Doria,"  1799;  "  Lc  jeune  Henri," 
1799;  "  Ariodant,"  1799;  "Dion,"  1800;  "Epi- 
cure," 1800,  \\-ith  Cherubini ;  "  L'Irato,"  1801 ; 
"  Vne  Folie"  1802 ;  "  U-  Trisor  supposi,"  1802  ; 
"Joanna,"  1802;  "L'lleureux  malgri  lui,"  1802; 
"  liilina"  1803;  "  Le  ISniser  et  la  Quittance," 
1803,  with  Kreutzer,  Boieldieu,  and  N'icolo ; 
"  Ut/tal,"  1S06  ;  "  Gabrielle  dlUtries,"  1806  ;  "Us 
deux  Avewile*  de  Toli'de,"  1806  ;  "  Joseph,"  1807  ; 
and  "  ValeiUini  de  Milan,"  1811. 

For  the  Thcfttre  Fran^ais  :  the  choruses  in  the 
tragedy  of  "  Timolion." 

National  music  :  "  Ihjmne  patriotique,  a  Tuaag» 
des  Files  KationcUes,"  1795  ;  "  Chant  du  Dipart," 


pupils  of  the  Conserviitory,  wlio  are  pensioners  at 
the  Academy  drs  licaux  Arts  at  Rome.  Mthul 
was  a  director  of  the  Conservatory  and  professor 
of  composition  in  the  year  1810.  Died  October 
13,  1817,  aged  tilty-threc. 

MEI,  OR.VZIO,  chapel-master  and  organist  of 
the  cathedral  churcli  of  Pisa,  was  a  pupil  of  the 
celebrated  Clari,  and  died  at  I.cghorn  in  1''9.^. 
His  "  Siahnt  Muter"  is  so  excellent  that  the  late 
Chapel-master  Kraus,  when  at  I>eghorn,  declared 
it  to  be  a  iiiasteri)iccc,  and  had  it  copied. 

MEIBO.M,  HEINRICH,  the  elder,  first  pub- 
lished  an  improved  edition  of  Luther's  hymn 
book,  in  1525. 

MEIBOMIUS,  MARCUS,  a  well-known  phi- 
lologist  and  critic,  was  a  native  of  Tonningen,  in 
Holstein.  When  advanced  in  years  he  settled  at 
Stockholm,  and  became  a  favorite  of  Christina, 
Queen  of  Sweden.  Having  searched  deeply  intc 
the  writings  of  the  Greeks,  he  contracted  an  en- 
thusiastic partiality  for  the  music  of  the  ancients, 
and  not  only  entertained  an  o))iuion  of  its  superi- 
ority over  that  of  the  moderns,  but  also  that  he 
was  able  to  restore  and  introduce  it  into  practice. 
ITie  queen,  who,  from  frequent  conversations  with 
him,  had  been  induced  to  entertain  the  same  sen- 
timents on  the  subject  as  himself,  was  prevailed 
on  to  listen  to  a  proposal  that  he  made.  This 
was,  to  exhibit  a  musical  performance  that  should 
be  strictly  conformable  to  the  practice  of  the  an- 
cients ;  and,  to  crown  all,  he,  who  hod  but  a  bad 
voice,  and  never  iji  his  youth  had  been  taught 
the  exercise  of  it,  engaged  to  sing  the  principal 
parts.  Instruments  of  various  kinds  were  pre- 
pared under  the  direction  of  Meibomius,  at  the 
expense  of  the  queen,  and  a  public  notice  waj? 
given  of  a  musical  exhibition  that  should  astonish 
the  world,  and  enchant  all  who  should  be  happy 
enough  to  be  ])rcseiit.  On  the  appointed  day 
Meibomius  apjxjared,  and,  beginning  to  sing,  was 
heard  for  a  short  time  with  patience,  but  his  per- 
formance and  that  of  his  assLstiints  soon  became 
past  enduring  ;  neither  the  chromatic  nor  the  en- 
harmonic genus  was  suited  to  the  cars  of  hi* 
illiterate  audience,  and  the  Lydinn  mode  had  losi 
its  power  ;  in  short,  his  hearer^,  unable  to  resist 
the  impulses  of  nature,  at  length  expressed  theii 
opinions  of  the  performance  by  a  general  and  long- 
continued  burst  of  laughter. 

Whatever  might  be  the  feelings  of  the  people 
Meibomius  was  but  little  disposed  to  sympathixf 
with  them.  Their  mirth  was  his  disgrace,  an(' 
he  felt  it  but  too  sensibly.  Seeing  in  the  gallery 
M.  Bourdclot,  the  younger,  a  physician,  and  hi* 
rival  in  the  (jueen's  favor,  he  imputed  the  be 
havior  of  the  people  to  some  insinuations  of  th^ 
person.  Ho  therefore  immediately  ran  up  to  him, 
and  struck  him  a  violent  blow  on  the  neck.     T* 


683 


MEI 


encyclop.«:dia  of  music. 


MEL 


avoid  the  conswjuences  of  tliis  rashness,  he  quit- 
ted the  I'ity  before  he  coukl  be  called  to  account 
Jor  it,  and  took  up  his  residence  at  Copenhaj^cii. 
In  this  iiliicc  he  was  well  received,  and  became  a 
professor  at  Sora,  a  college  in  Denmark  for  the 
instruction  of  tlie  nobility.  Here  he  was  honored 
with  the  title  of  coun-ellor  to  the  kinj;,  and  was 
soon  afterwards  called  to  Elsiueur,  and  advanced 
to  the  dignity  of  president  of  the  board  of  mari- 
time taxes  or  customs  ;  but,  nej^lecting  his  em- 
ployment, he  was  dismissed  from  his  office,  and 
he  soon  afterwards  (juittod  Denmark.  lie  now 
nettled  at  Amsterdam,  and  became  professor  of 
history  in  the  colle;je  there  ;  but.  on  refusing  to 
give  private  instruction  to  tlie  son  of  a  burgo- 
master, ullcf;ing,  as  his  excuse,  that  he  was  not 
accustomed  to  instruct  boys,  he  was  dismissed 
from  that  station.  On  this  he  quitted  Amster- 
Jam,  and  visited  France  and  Eni;lai\d  ;  but  after- 
wards returning,  he  died  at  Amsterdam  about 
the  year  1710. 

The  great  work  of  Mcibomius  was  his  edition 
of  the  seven  Greek  musical  writers,  Aristoxenus, 
Euchd,  Nichoraachus,  Alypius,  Gaudentius,  Bac- 
chius,  and  ArLstides  Quintilianus.  This  was 
published  at  Amsterdam  in  the  year  16.52,  and 
contains  a  general  preface  to  the  whole,  and  also 
B  particular  preface  to  each  of  the  treatises  as  they 
occur,  and  a  Latin  translation  of  the  Greek  text, 
with  copious  notes,  tending  to  reconcile  various 
readings,  and  to  explain  the  meaning  of  the 
several  authors. 

To  this  edition  Meibomius  has  added  a  treatise, 
"  De  Miisica,"  of  Martianus  Felix  Capella  ;  that 
is  to  say,  the  ninth  book  of  the  work  of  that 
author,  '■  De  yupliia  ]'hitolo^/i<e  Merciirii,"  which 
contains  a  kind  of  abridgment  of  Aristides  Quiu- 
tiUauus. 

Notwithstanding  all  the  industry  and  abilities 
of  Meibomius,  his  manner  of  introducing  the 
Greek  authors  is  e.xtremely  reprehensible.  His 
general  preface  abounds  with  invectives  against  all 
who  presumed  to  think  less  highly  of  the  ancient 
music  than  himself,  especially  airainst  Kircher. 
His  abuse  of  the  "  Musurgia"  of  Kircher  is,  in  a 
great  measure,  directed  against  its  style  and  the 
want  of  accuracy  in  the  language  ;  yet,  in  spite 
of  all  his  efforts  to  injure  its  reputation  with  the 
world,  it  will  ever  be  considered  as  an  original 
work  that  contains  much  inlbrmation  and  much 
Bcientitic  disquisition.  Merscnnus,  who  possessed 
more  musical  erudition  than  any  man  of  his  time, 
has  not  escajjcd  his  censure.  Indeed,  little  less 
than  such  behavior,  to  those  who  differed  from 
his  opinion,  could  be  expected  from  a  man  so 
bigoted  as  Meibomius  appears  to  have  been, 
and  whose  irascible  disposition  seems  often  to 
nave  led  him  beyond  the  bounds  of  decency. 

MEISSONIEU.  ANTOINE,  born  at  MarseiUes 
ii.  17S.3,  was  professor  of  an  instrument  he  calls 
the  lyre-guitar,  and  has  published  much  music 
for  it. 

MEISTER.  MICHAEL,  a  singer  at  Halle,  in 
Saxony,  in  the  beginning  of  the  seventeenth  cen- 
tury, collected  light  music  by  several  composers, 
ami  piiblished  it,  under  the  title  "  Crepundia 
Mtuica,"  1021. 

MEI.STUE,  or  MAISTUE,  NLV1TIIL\S  DE,  a 
Flemish  contrajjuntist,  born  in  the  be:;inning  of 
llie  sixtccntfi  century,  was  chosen  by  the  Elector 


Maurice,  of  Saxony,  in  the  place  of  Johann  NVal- 
ther,  after  the  latter's  decease ;  and  although  ha 
did  not  arrive  at  Dresden  before  155.3,  (after  the 
death  of  the  elector,)  his  successor,  Augustus, 
confirmed  MeLstre  in  his  appointment.  He  pub- 
lished at  Dresden  "  Miujiiijical  8  Tonorum,"  Dres- 
den, 1557;  "  Moleiti  a  5  voc.  Lib.  1,"  Dresden, 
1570  ;  "  Officium  de  yativitate  et  Asceiiaiime  ChrUti 
a  5  voc,"  Dresden,  1574  ;  "  Deutsche  iiiid  laiei- 
nhc/ie  Lieder  von  .3  Slimmen,"  Dresden,  1577.  In 
foreign  countries  he  was  called  merely  Matthias, 
under  which  name  a  work  appeared,  printed  at 
Dresden,  under  the  following  title,  "  La  Bataylia 
Taliana  composta  da  M.  Mntt/iias,  Fiaiiwrn/o,  Maes- 
tro di  Capella  del  Domo  di  Milano,  con  alcune  I'. 
piacivole,"  Venice,  1552  ;  by  which  it  seems  that 
he  had  previously  been  chapel-master  at  Milan. 
Of  hLs  works  there  are,  in  the  Munich  library, 
"CatechesU  3  voc.  composUa,"  Norib.,  1563;  "Geist- 
liche  und  loellliche  GeMnge  rnit  4  und  5  .'<timinen," 
Wittcnburg,  1566  ;  and  "  OJficia  dierum  quadrages- 
imalium,"  &.C. 

MEL,  RINALDO  DEL.  a  Flemish  contrapun- 
tist, flourished  in  1538.  He  Ls  said  by  Hawkins 
to  have  been  master  of  the  celebrated  Palestrina. 
We  can  mention  the  following  of  his  works  : 
"  Cantioiies  Sacra;  5,  6-12  voc.  tiebst  einer  Litania 
de  B.  M.  V.  a  5  voc,"  Antwerpt,  1589,  and,  in  th« 
Munich  library,  "  Madrigali  d  6  voc,"  Anvers, 
1588. 

MELANGE.  (F.)  A  composition  founded 
on  several  favorite  airs  ;  a  medley. 

MELANI,  ALESSANDKO.  A  dramatic  com- 
poser at  Rome  towards  the  end  of  the  seven- 
teenth century. 

MELANI,  ANTONIO.  Chamber  musician  to 
an  Austrian  archduke  at  Inspruck,  in  1659.  He 
published  some  violin  music. 

MELGAZ,  or  MELGAQO,  DIOGO  DIAS,  a 
Portuguese  church  composer,  born  at  Cuba  in 
1638,  became  chapel-master  at  Evora,  where  he 
died  in  1700.  He  left  a  number  of  church  com- 
pesitious,  among  which  are  particularly  distin- 
guished the  following  works  in  two  books,  writ- 
ten on  imperial  paper,  and  detlicated  to  the 
Archbishop  of  Evora,  D.  F.  Lulz  da  Salva,  in  the 
year  1694  :  "  Motete-i  da  Qaaresma,"  "  Missa  filial 
a  4,"'  "  M>tete  de  Dcfuntos,  d  4,"  and  "  Gloria,  laiis 
et  honor,  d  8  vo:es."  The  rest  of  his  works  consist 
of  ma.sses,  lamentations,  misereres,  psalms,  respon* 
sorie-i,  hymns,  &c. 

MELLSS.\,  MATTEO,  flourished  as  organist 
and  composer,  in  the  Jesuits'  Church  at  Goritz, 
in  Friaul,  about  the  middle  of  the  seventeenth 
century.  He  published  "  Hatini  Conccrtati  i  2,  3, 
4,  e  5  fori,"  Venice,  1652. 

MELODIES  OF  IRELAND.  In  1852  a  so- 
ciety was  formed  in  Dublin  for  the  preservation 
and  publication  of  the  "  Melodies  of  Ireland." 
The  collectors  appointed  for  the  purpose,  in  a  very 
short  time  gatiiered  many  hundred  pieces  of  the 
national  music,  both  vocal  and  instrumeutaL 
The  society  was  to  exist  five  years. 

MELODIOUS.  A  term  applied  to  any  pleas- 
ing succession  of  sounds  given  in  time  and  meis- 
ure  ;  also  to  the  tones  of  clear  and  meliifluoua 
voices. 

MELODIST.  A  composer  or  singer  of  nulo 
dies. 


684 


MEL 


ENCYCLOPEDIA    OF    MUSIC. 


MEL 


MELOI  )IZE.     To  melodize    ia  to  form  such  I  ety  of  lines.     It  should  be  m  much  as  possible  > 


a  Bucccskion  of  sounds  as,  by  its  duo  execu- 
tion, shall  produce  a  consiHtent  and  agreeable 
effect. 

MELODRAM.V,  or  MEI.ODRAME.  A 
modem  species  of  drama,  in  which  the  powers 
of  instrumental  music  are  employed  to  elucidate 
the  action  and  heighten  the  passion  of  the  j)iccc. 
The  first  essay  in  this  kind  of  composition  was 
successfully  made  in  Paris,  soon  after  the  revolu- 
tion ;  and  subsequently,  in  London,  in  a  piece 
called  "A  Tale  of  Mystery,"  the  music  of  which 
was  furnished  by  Dr.  'Hiomas  Busby. 

MELODY.  MELODIA,  (I.)  MELODIE. 
(F.)  A  succession  of  sirajile  sounds  so  regulated 
as  to  produce  a  pleasing  effect  upon  the  ear  ;  dis- 
tinguished from  hiirinonij  by  not  necessarily  in- 
cluding a  combination  of  parts.  Among  the 
records  of  the  sixteenth  and  seventeenth  centu- 
ries, we  tind  scarcely  any  thing  that  will  bear  the 
name  of  melody.  Even  tlie  best-regulated  strains 
are  constructed  with  so  little  reference  to  har- 
mony, that  the  inter\-als  seem  to  follow  one  an- 
other more  by  chance  than  by  design.  Every 
one  knows  that  music  fonue<l  a  part  of  the  sacred 
worship  of  the  Jews  and  (Jentiles  ;  and  it  proba- 
bly shared  the  fate  of  the  other  arts.  The  ar- 
rangement of  it  on  scientific  principles  may  be 
said,  with  more  propriety,  to  have  been  received 
than  invented  by  moderns.  Dr.  Burncy  has  tried 
to  jirove  that  the  Greeks  were  acquainted  with 
melody  only. 

Melody,  according  to  a  learned  mtisical  his- 
torian, is  a  series  of  sounds  more  fixed  and  gen- 
erally more  lengthened  than  those  of  common 
speech,  arranged  with  grace,  and  of  proportional)le 
lengths,  such  as  the  mind  can  easily  measure 
and  the  voice  express. 

Melody  is  the  current  of  musical  ideas,  the 
rhythmical  flowing  of  symmetrical,  related  forms, 
which  speak,  in  a  language  peculiar  to  them- 
selves, to  the  imagination.  Sometimes  these  idea.s 
are  so  expressed  that  they  stand  out  in  clear  light    such  productions  over  the  public  mind  is  invari- 


composition  in  itself.  It  may  be  remarked  tlial 
such  a  complete  figure  will  never  vinite  and  make 
part  ot  a  group  ;  as,  on  the  other  hand,  no  tigur* 
of  a  W(ll-con(lucf  cd  group  will  stand  by  itself." 

These  i)rinciplcs,  ap])lied  to  music,  will  furnish 
us  with  n  comiilcte  definition  of  melody.  A 
strongly-marked  mtisical  figure  will  no  more  ad- 
mit of  great  variety  in  the  accompanying  iiarts, 
redundancy  of  accessory  ideas,  or  contra])untal 
develoj)ment,  than  will  the  single  figure  in  a 
drawing  of  complicated  grou))ing,  or  undue  ]irom- 
inence  of  the  component  ])arts.  The  i)nnciples 
of  fine  melody  arc  as  fixed  and  immutable  aa 
those  which  regulate  the  mazy  convolutions  of 
counterpoint  and  fugue,  or  the  progressions  and 
modulations  of  harmony.  It  is  not  to  be  pro- 
duced by  chance.  It  is  the  result  of  knowledge, 
as  dLstinguished  from  mere  intuition.  Its  fun- 
damental laws  are  rhythmical  symmetry,  a  )iatural 
succession  of  inter\'als  and  tonal  consistency. 
Harsh  and  extreme  dLstances  are  as  contrary  to 
its  nature  as  is  a  vague  and  diiform  style  of 
rhythm.  The  excellent  precepts  transmitted  to 
us  from  the  ancient  contrapuntists,  for  the  carriage 
of  voices,  form  the  basis  of  our  laws  respecting 
the  production  of  pure  melody.  Diatonic  inter- 
vals should  ever  be  preferred  to  chromatic,  mo- 
notony avoided,  and  "  variety  in  unity  "  never  lost 
sight  of 

The  principle  laid  down  by  Sir  Joshua  Rey- 
nolds, that  the  single  figure  should  form  a  com- 
position in  itself,  means,  when  applied  to  music, 
that  a  weIl-constructe<l  melody  should,  even 
without  the  accompanying  parts,  be  gratifying 
and  satisfactory  to  the  ear.  If  this  condition  be 
fulfilled,  its  general  popularity  will  be  inevitable. 
General  popularity,  however,  must  be  understood 
to  convey  a  much  more  extended  meaning  than  a 
mere  barrel-organ  circulation.  The  indiscrimi- 
nate zeal  with  which  the  unlettered  crowd  occa- 
sionally adopts  a  vulgar  tune,  cannot  be  admitted 
as  a  proof  of  its  excellence.     The  ascendency  of 


ill  one  thread,  and  need  no  coloring  to  make  them 
wholly  apparent.  Iliey  then  form  airs,  which 
may  be  sung  by  single  voices,  or  played  upon  in- 
struments that  make  only  one  sound  at  a  time. 
This  Ls  what  is  ordinarily  meant  by  melody,  and 
Ls  the  kind  of  it  most  easily  understood.  Musical 
ideas  may  be  expressed  in  one  thread  in  such  a 
manner  as  to  render  an  accompaniment  of  other 
sounds  necessary  to  set  them  off,  and  bring  out 
their  full  mcamng  ;  and  thLs  makes  a  second  kind 
of  melody. 

It'  we  consider  with  attention  the  melody  of 
any  tune,  we  shall  soon  discover  that  in  music, 
as  in  discourse,  certain  points  of  repose  are  abso- 
lutely necessary  to  reniler  an  nir  pleasing  and 
intelligible  to  the  car.  These  points  of  repose  are 
not,  however,  all  equally  important ;  by  the  most 
satisfactory  and  obvious  of  them,  the  melody  Ls 
resolved  into  periods,  or  complete  and  independ- 
ent sentences  ;  and  by  those  which  are  less  con- 
clusive, into  members  of  sentences,  more  or  less 
complete. 

Melody,  properly  understood,  answers  to  the 
single-figure  principle  in  the  sister  art,  in  regard 
to  which  Sir  Joshua  Reynolds  has  left  us  the  fol- 
lowing precepts  :  •■  When  the  picture  consists  of 
B  single  figure  only,  that  figure  must  be  con- 
trasted in  its  limbs  and  drapery  with  a  great  vari- 


ably of  short  duration,  and  generally  to  be  as- 
cribed to  local  inrtuence,  or  their  popular  associ- 
ation with  some  passing  event,  and  alicayn  to  the 
absence  of  something  better.  The  truly  popular 
airs  are  those  which  have  stood  the  test  of  ages ; 
the  compositions  of  those  inspired  writers,  who, 
like  all  true  poets,  are  the  exponents  of  those 
eternal  ideas  of  the  true  and  beautiful  implanted 
in  the  human  breast,  and  who,  as  they  tell  of 
things  already  known  and  felt  by  all,  though 
never  so  well  expressed,  have  but  to  speak  to  be 
understood.  The  true  poet,  whether  of  words, 
tones,  or  colors,  is  an  oracle  in  which  the  undy- 
ing spirit  of  truth  finds  a  voice.  It  is  fir  him 
alone  to  "  strike  the  electric  chain  with  whiih  we 
are  darkly  bound,"  causing  it  to  vibrato  through 
all  time. 

An  idea  prevails  that  the  national  airs  of  various 
countries  arc  evidences  that  melody  is  the  ntf- 
spring  rather  of  nature  than  art ;  but  to  e^tnb- 
ILsh  this  theory  it  will  Ihj  nwessarv  to  prove  that 
uncouth  distances  and  rhythmical  ileformity  are 
as  as^reeable  as  the  oppo.Hite  qualities ;  that  ii  ile- 
fective  scale  is  ecjual  to  a  i>erfe«'t  one ;  that  mo- 
notony and  mannerism  are  b.h  admirable  a.-  variety 
in  unity  ;  in  «hort,  that  melodies  compose  1  hy  i 
barbarous  an<l  ignorant  i>eople  are  as  excellent  M 
those  invented  by  the  great  «i-riter».    lltt  mart 


585 


hbl 


ENCYCLOPEDIA    OF    MUSIC. 


MEN 


rabid  admirer  of  those  intorefltiuf;  old  ncquaint- 
ance!4  \vill,  we  oi)ine,  scnrct'ly  go  so  far.  Far  be 
it  from  us  to  evince  niiy  lack  of  reverence  for  an- 
tique, time-honored  melodies.  Tliey  are  intwincd 
■Nvith  our  earliest  recollections  ;  they  surprised  us 
into  admiration,  before  the  reij^u  of  judgment 
commenced  ;  they  are  associated  in  our  minds 
■with  thoughts  of  home  and  dreams  of  happiness  ; 
eome  of  our  best  poets  have  wedded  to  them  their 
worthiest  inspirations ;  they  are  endeared  by  a 
thousand  ties  to  our  memory ;  and  we  cannot 
listen  unmoved  to 

**  Th<*  mplwly  of  youthful  dayi 
Which  steals  the  truinbliiif;  tear  of  apcechlcM*  praise. " 

These,  however,  are  adventitious  circumstances, 
to  which  wo  have  alluded  merelj'  because  we  feel 
convinced  that  they  have  very  much  influenced 
the  public  mind.  I'eoplu  love  to  hear  that  which 
reminds  them  of  the  time  when  "  pale  pain  "  was 
unknown  to  them  ;  hence  the  erroneous  conclu- 
sions they  arrive  at. 

One  peculiarity  of  melody  is,  that  it  more  easily 
takes  the  stamp  of  indi\-iduality  than  the  more 
complex  branches  of  the  art ;  and  we  shall  hazard 
the  reproach  of  having  made  a  trite  observ-ation 
when  wo  remark  that  the  native  airs  of  various 
countries  are  impressed  with  the  general  features 
of  the  national  mind  and  character.  The  con- 
ception of  melody,  owing  to  the  singleness  of  its 
nature,  is  more  immediate,  and  emanates  more 
directly  from  the  feelings  and  emotions,  than  the 
complexities  of  harmony  and  counterpoint,  which 
demand  more  consideration  and  calm  reflection. 
The  mind,  always  subject  to  local  and  physical 
influences,  takes  its  color  from  surrounding  ob- 
jects ;  and  its  first  musical  impulse,  which  is  mel- 
ody, becomes  naturally  imbued  with  the  circum- 
ambient spirit  of  the  time  and  place.  Hence  the 
distinct  character  of  national  melodies.  We  must, 
however,  warn  the  true  student  against  giving 
undue  importance  to  tliis  fact,  and  urge  him  not 
to  consider,  because  he  may  be  an  Englishman, 
that  he  is  bound  to  imitate  English  composers. 
Let  him  rather  reflect  that  great  works  are  of  no 
country,  but  are  as  universal  as  the  immutable 
principles  upon  which  they  are  constructed,  and 
that  it  Is  better  to  strive  to  be  great  in  art  than 
merely  national. 

MELOPLASTE.  M.  Galen  invented,  in  1819, 
a  new  instrument,  with  this  name,  for  teaching 
music.  His  method  consisted  in  making  the 
pupil  sing  from  a  staff,  without  either  clefs  or 
notes,  according  to  the  movements  of  a  portable 
rod  called  the  meloplaste. 

MELOPCEIA.  (G.)  A  term  in  the  ancient 
music,  signifying  the  art  or  rules  of  compo- 
sition in  melody.  Aristides  Quintilian  divides 
the  mchpcca  into  three  kinds :  the  hijimtoides,  so 
tailed  from  the  gravity  of  the  sounds  to  which  it 
Was  confined ;  the  mesaides,  consisting  of  the 
jiiiddlc  sounds ;  and  the  tietoiden,  formed  of  the 
•cute  sounds.  These  were  again  divisible  into 
other  kinds  or  dmtinctions ;  as  the  erotic  or  amor- 
ous, the  comic,  and  the  encomiastic ;  also  into 
the  m/staltie,  or  mournfid,  tender,  and  affecting 
strain ;  the  diiutaJiic,  or  noble,  bold,  and  exhila- 
rating air  ;  and  the  riic/ui-s/ir,  wliich  was  between 
the>e,  and  calculated  to  calm  and  assuage  the 
passions. 

MELONE.    ANXIBAL.     A   learno.l   contra- 


puntist at  Bologna,  about  the  year  1560.  Ht 
published  a  work  entitled  "  Desiderio  di  AUema- 
no,  Benel/i,"  (the  name  being  an  anagram  of  his 
own.)  It  is  a  work  very  useful,  as  respects  the 
musical  history  of  his  time. 

MELOS.  (G.)  A  term  applied  by  the  an- 
cients to  the  sweetness  of  any  melody,  or  to 
that  quality  or  character  by  which  a  melody  was 
rendered  agreeable. 

MELVIO,  FRANCESCO  MARIA,  chef  d'or- 
chestre  at  Castello,  in  Italy,  about  1648.  Repub- 
lished "  GaUUea,"  Venice,  1C48,  and  "  Cant iotut 
Sacra,  2-5  roc,"  Venice,  1G50. 

MEN.  (I.)  The  abbreviation  of  nteno,  less  ; 
as  men  allegro,  less  quick  ;  men  presto,  less  rapid. 

MENDELSSOHN,  BARTIIOLDY  FELIX, 
was  the  son  of  a  rich  merchant  and  banker,  at 
Hamburg,  and  was  born  in  that  city  on  the  3d 
of  February,  1809  Besides  being  thus  favorably 
placed.  FelLx  Mendelssohn  entered  upon  the 
breathing  world  encircled  with  the  areola  of  an- 
cestral renown.  He  was  the  grandson  of  Moses 
Mendelssohn,  a  hght  of  philosophy  and  science, 
as  well  as  one  of  the  most  brilliant  exponents  of 
Jewish  literature,  whose  name,  moreover,  is  con- 
nected with  music  by  more  than  one  aesthetic^l 
disquisition  in  the  course  of  his  profound  and 
varied  works ;  among  which,  if  we  recollect,  is  to 
be  found  a  treatise  on  "  equal  temperament." 

The  early  development  of  the  musical  faculty 
in  the  young  FelLx  Mendelssohn  forces  him  into 
a  comparison  with  the  precocious  Mozart ;  but 
his  more  fortunate  position  saved  him  from  the 
many  evils  resulting  fiom  the  premature  drudgery 
of  public  display. 

His  earliest  musical  instructor  was  the  natural 
guardian  of  his  infancy  —  his  mother ;  and  on 
his  father  removing  to  Berlin,  wlien  Felix  was 
but  four  years  old,  the  child  was  placed  under 
the  musical  tuition  of  another  lady,  Madame 
Bigot,  to  whose  enlightened  and  affectionate  care 
Mendelssohn  was  always  proud  to  own  his  obli- 
gation. At  this  period,  he  was  frequently  accom- 
panied by  the  witcheries  of  Baillot's  violin.  In 
tracing  the  progress  of  his  perfect  and  well-con- 
ducted musical  education,  due  weight  should  be 
allowed  to  these  favoring  circumstances,  from 
which  the  future  composer,  no  doubt,  derived 
much  of  the  faultless  expression,  the  tendernesa, 
and  the  playful  gayety  with  which  liis  woiks 
overflow. 

At  the  age  of  eight  years  he  was  esteemed 
amongst  his  friends  a  minute  prodigy  —  and  not 
without  reason.  He  could  then  play  at  sight  the 
most  intricate  scores  of  Bach,  and,  wthout  pre- 
meditation. transiKisc  Cramer's  exercises  into  all 
sorts  of  keys.  He  also  evinced  a  wonderful  fac- 
ulty in  extemporizing  upon  a  given  theme.  At 
this  period,  ho  was  put  under  the  care  of  the 
severe  and  methodical  Zelter,  the  contrapuntist, 
wliile  his  practice  on  the  piano  v.-as  directed  by 
the  romantic  Louis  Berger,  whoso  enthusiastic 
nature  set  its  stamp  upon  the  susceptible  heart  of 
the  incipient  musician. 

Zelter  was  not  the  man  to  give  ready  way  to 
fervid  impressions  ;  yet  the  extent  to  which  "  hit 
glorious  boy,"  as  he  called  him,  had  wound  him- 
self round  his  rigid  affections,  is  manifest  fron: 
the  eagerness  with  which  the  profofisor  desired  t« 
introduce  his  pupil  to  the  "  great  man"  of  Gei. 


58G 


MEN 


ENCYCLOPAEDIA    OF    MUSIC. 


MEM 


many,  Goethe.  When  Sir  "Walter  Scott,  in  hLs 
latter  days,  met  Goethe,  the  eyes  of  Eurojie  were 
fixed  with  intense  interest  on  their  interview. 
But  here  we  hove  to  tell  of  the  mighty  German 
genius  permitting  the  introduction  of  a  child  of 
twelve  years.  Zcltcr,  writing  to  Goethe,  in  18'2l, 
tells  him,  "  I  desire  to  show  your  face  to  my 
favorite  pupil  before  I  die."  Upon  the  circle 
which  surrounded  Goethe  as  its  centre,  the  young 
musician  made  a  prolound  impression,  winning, 
at  the  same  time,  the  affection  of  all,  by  his  boy- 
ish openness,  mingled  with  those  little  expiUiilti-ie» 
which  belonged  to  the  pupil  of  Madame  Bigot, 
and  the  spoiled  child  of  his  mamma.  It  was  on 
one  of  these  occasions  that  lie  stopped  in  the 
midfct  of  the  performance  of  a  fugue  of  Bach. 
His  quick  and  delicate  ear  was  offended  by  an  in- 
formality in  the  score.  He  insisted  that  there 
were  consecutive  fifths.  Ilummel  was  i)resent, 
and  was  lost  in  astonishment  ujion  discovering 
that  the  passage  actually  contained  "  covered 
fifths,"  which  had  hitherto  escaped  detection. 
Hummel's  wonderful  performance  on  the  piano- 
forte made  a  deep  impression  upon  young  Men- 
delssohn, BO  much  so,  that  he  burst  into  tears 
when  once  asked  to  play  after  him. 

Felix  had  composed  several  works  for  the 
piano  ;  but  it  was  not  till  in  1824  that  he  appeared 
as  a  writer  before  the  public.  In  that  year  were 
published  two  quartets  for  violin,  tenor,  -i-iolon- 
cello,  and  piano,  (Op.  1,)  the  young  author  being 
then  not  tii'teen  years  old.  These  were  followed 
by  a  grand  duo  in  F  minor,  for  piano  and  violin ; 
a  quartet  in  B  minor ;  and  several  other  works ; 
among  others,  the  oi>era  named  "  Die  Uochzeit 
des  Caiiuuhos."  The  last-named  opera,  in  tliree 
acts,  was  performed  in  Berlin,  but  without  any 
remai"kable  manifestation  of  public  approval. 

Before  his  fatlier  would  allow  him  to  devote 
himself'  to  music  as  his  profession,  he  took  him 
to  Paris  to  consult  the  then  aged  Cherubini. 
The  ordeal  proposed  by  that  consummate  musician 
to  test  the  proficiency  of  the  aspirant  was  the 
composition  of  a  "  Kyrie  "  for  chorus  and  full  or- 
chestra, which  was  accomj)lished  to  the  perfect 
eatisfaction  of  the  renowned  judge.  This  decis- 
ion it  was  which  gave  to  the  world  its  future 
Mendelssohn.  Animated  by  this  encouragement, 
he  resumed  his  studies  under  his  former  esteemed 
mastfrs,  and  successively  produced  the  works 
from  Op.  5  to  Op.  12  ;  besides  several  quartets, 
and  an  octet.  About  this  period  he  made  the 
acquaintance  of  Mottchelcs ;  and  as  early  as  1827 
was  performed  in  public  that  charming  produc- 
tion of  his  i)cn  —  "  The  Midsummer  Night's 
Dream,"  ( Der  Sommernachtstraum.* ) 

But  it  wa^s  in  England  that  hw  most  brilliant 
Bucces^es  were  to  be  won,  and  in  the  hearts  of 
Englishmen  that  his  talent  wa.s  to  bo  lastingly 
enshrined.  Through  the  mediation  of  Ignace 
Mosclieles,  the  banded  artists  of  the  I'lulharmon- 
ic  Society  e.xtended  to  the  talented  stranger  the 
right  hand  of  friendship;  and  in  the  year  1829 
Mendelssohn  was  in  London,  and  at  once  under- 
stood and  cordially  respondetl  to  that  applausive 
sj-mpathy  which  the  jierlormance  of  his  works,  by 
the  rbilharmonic  .Society,  evoked,  and  which 
I'orever  bound  him  to  that  hospitable  soil.    The 


Thii  miiif  mean  the  orfTturr.  which  he  cnmpo«ed  In  l^tiX.  at 
I  i^  of  rixtrrn.    The  other  |M>rtion«  of  thai  mime  were  produced 


BMDf  fcAn  Uur. 


splendor  of  his  recejition  in  England  ga\  e  him  an 
extemporaneous  fame  throughout  Eur<  pe.  In 
IS.'il  we  find  him  at  liomc,  where  the  "  Wnlpur- 
ijisnacht"  of  hu  ejirly  friend  (ioethe  (iccupieil 
his  eminently  artistic  pen.  There  also  he  pieced 
together  the  inspiratioiLS  whidi  he  had  previou.sly 
conceived  amongst  the  basaltic  cavcnis  of  the 
Western  Lslcs  of  Scotland,  and  the  romantic 
"  Hall  of  Fingal  "  was  the  result.  Tliis  over- 
ture was  performed  in  London,  in  1832.  Wlule 
at  Home,  also,  he  struck  into  a  new  line  of  com- 
position, altogether  his  own,  in  those  matchless 
"  Lieder  ohne  H'orte,"  which  prove,  beyond  de- 
nial, that  music  has  its  poetry,  as  well  as  poetry 
its  music.  His  agreeable  exterior.  Ids  cultivated 
intelligence,  and  the  independence  of  his  po- 
sition, made  him  every  where  rcceivetl  with  dis- 
tinction. And  on  his  second  ^-isit  to  I^ndon,  in 
1832,  he  found  himself  quite  identified  with  the 
artistic  monde  of  that  capital. 

In  the  me-an  time  he  had  travelled,  in  the  com- 
bined quality  of  tourist  and  musician,  through 
Scotland,  France,  Germany,  and  Italy  ;  and  after 
four  years'  imi)roving  and  ennobling  al»cnce,  he 
retunjed  to  Berlin  ;  but  not  to  make  that  home 
of  his  boyhood  his  exclusive  residence.  "  In 
1834,"  says  M.  Fetis,  "  I  found  him  again  at 
Ai.\-la-Chapelle,  whither  he  had  betaken  himself 
on  the  occasion  of  the  Musical  Fete  of  the  Pen- 
tecost. He  was  then  twcntj'-five  years  of  age; 
his  former  youthful  timidity  had  given  place  to 
the  assurance  of  the  acknowledged  artist,  and 
even  to  a  certain  air  of  hauteur."  Until  183G,  he 
continued  to  direct  the  fetes  at  Dusweldorf  and 
Cologne,  and  then  retired,  in  consc<iuence  of  his 
finding  it  impossible  to  keep  in  accordance  with 
the  artists  and  amateurs  of  Dusseldorf",  where  he 
resided.  During  this  year,  he  spent  a  considerable 
time  at  Frankfort ;  and  while  there  he  married. 

I'hroughout  the  period  of  his  celebrity,  he  was 
not  only  distinguished  for  his  compositions,  but 
universally  run  after  as  a  performer.  Language 
■was  exhausted  of  its  tropes  and  figures  in  the 
fruitless  attempt  to  describe  his  unsurj)aKsed  ex- 
cellence as  a  pianist ;  and  the  churches  were  in- 
vaded by  crowcLs,  who  thronged  the  aisles  when 
he  was  e.xpectcd  to  play  on  the  organ.  In  a  word, 
the  only  thing  he  could  not  do  on  the  organ  waa 
to  "  play  the  congregation  out."  The  more  ef- 
fectively he  playetl,  the  more  fixetl  the  congrega- 
tion remained  —  the  more  artistically  persuasive 
his  intimation  to  depart,  the  more  determine<l 
were  they  not  to  go  ;  and  an  instance  is  on  rectird, 
how  once,  at  St.  Paul's  Cathedral,  the  vergers, 
impatient  to  clear  the  church  and  get  their  sup- 
per, managed  to  give  an  effectual  blow  to  the 
energj-  of  the  performer  by  surreptitiously  stop- 
ping the  bellows. 

It  was,  possibly,  his  transcendent  skill  as  an 
executant  that  led  to  the  notion,  a)>out  this  time 
generally  received,  that  MendcLvsohn  was  defi- 
cient in  genius —  the  jKMwession  of  the  lower  fac- 
ulty being  taken  as  a  negation  of  the  higher.  It 
b  posoible,  moreover,  that  the  strict  and  formal 
dicipline  of  the  erudite  Zeltcr  had  swuthevl  the 
infant  mind  of  his  pupil  in  bands  of  rigid  form, 
which  retarded  its  development  ;  yet,  perhaps, 
only  to  render  its  maturity  more  Ivautilul  and 
perfect.  However  this  may  be,  Mendelssohn 
was  spoken  of  as  a  distinguishe<l  talent,  rathci 
tlian  as  possessing  a  name  likely  to  rauk  with 
Becthoreu,   Haydn,   and  Mozart.      In  rcieieucc 


687 


MEN 


ENCYCLOPEDIA    OF   MUSIC. 


ME11 


to  this  opinion,  M.  Fetiii  has  the  following  re- 
marks :  — 

"The  childhood  of  M.  Mendelssohn  gave  birth 
to  tlic  hope  that  we  should  see  anotlier  great  lou- 
eiician  in  Gcnuaiiy ;  his  earliest  works  gave  in- 
dication of  more  talent  than  it  Is  usual  to  find  in 
youth,  but  did  not  seem  to  realize  the  qualities 
of  genius  wliich  were  supposed  to  be  in  him. 
There  were,  however,  even  in  1830,  tendencies  to 
originality  in  his  j)roductions,  jjarticularly  in  the 
overture  of  the  "  Midsummer  Night's  Dream," 
which  I  heard  at  Paris ;  but  it  was  easy  to  see 
that  tl  ey  were  rather  the  fruits  of  research  and 
labor  than  of  inspiration.  Since  then  the  ar- 
tist lias  been  continually  growing ;  and  his 
manner  has  developed  every  day  more  individu- 
al qualities.  His  concerto  in  Ci  minor  for  the 
jiano-forte,  his  octet,  and,  above  all,  his  ora- 
torio of  '  St.  Paul,"  are  works  de  graiide  porlie. 
Aiaong  his  most  beautilul  compositions  are  also 
mentioned  the  cantata  which  he  wrote  for  the 
anniversary  fete  of  Albert  Durer;  another  com- 

i)osed  for  the  f6te  given  by  M.  .\lexandre  de 
luinboldt  to  the  naturalists  assembled  at  IJerlin  ; 
and  also  his  •  Walpurgis  Night,'  on  the  poem  of 
Goethe ;  also  a  sjTnphouy  for  the  fete  of  the 
reformation,  wliich  has  been  performed  at  many 
of  the  great  musical  reunions.  M.  Mendelssohn 
shows  at  once  fecundity  and  much  ease  in  the 
composition  of  his  works.  The  '  St.  Paul ' 
seems  to  me  to  be  that  which  affords  most  hope 
for  hLs  aceiiir.  In  that  piece  he  has  found  means 
to  unite  the  classical  qualities  of  the  best  masters 
of  the  German  school  with  a  certain  boldness  of 
good  augury.  In  fine,  this  young  artist  (M. 
Mendelssohn  has  not  reached  his  thirty-first  year) 
is  incontestably,  up  to  this  day,  the  musician 
who  affords  most  hope  to  Germany,  and  com- 
prises in  himself  the  future  school  of  that  coun- 
try. Tident  does  not  always  manifest  itself  in 
the  same  way ;  and  but  few  examples  are  known 
of  that  vigor  of  invention  which  burst  forth  with 
Rossini  at  the  age  of  twenty ;  with  others,  and  even 
with  the  impetuous  Beethoven,  originality  was  the 
force  of  meditation.  The  same  phenomenon  ap- 
peared in  the  talent  of  Gluck." 

The  prophetic  spirit,  gleaming  through  these 
judicious  criticisms,  was  amply  accredited  by 
Mendelssohn's  8ub8e<iuent  career,  unhappily  but 
too  brief.  In  1846  he  completed,  and,  on  the 
26th  of  August,  himself  conducted,  at  the  Hir- 
mingliam  Festival,  the  oratorio  of  "  Elijah  ;  "  the 
recei)tion  of  which  left  his  warmest  admirers 
nothing  to  desire. 

But  it  was  in  the  decrees  of  that  unsearchable 
Providence  which  often  only  shows  us  the  highly 
gifted, 

" To  mock  our  fond  punuita. 

And  tvflcb  our  humbled  hope*  tliat  life  ii  Tain," 

that  this  star,  the  cynosure  of  all  obsen-ers, 
should  stooj)  to  the  horizon  before  it  had  reached 
its  culminating  point.  During  his  last  vi-it  to 
England,  the  keen  eye  of  anxious  friendship 
miglit  trace  the  secret  ravages  which  the  ethereal 
spirit  within  had  made  upon  his  delicately  or- 
ganized frame,  lie  was  for  the  most  jiart  invis- 
ible to  the  innumerable  friendly  inquirers  wliom 
his  celebrity  brought  about  him,  at  No.  4  IIo- 
bart  I'lace,  luiton  8<iuare,  where  he  had  fixed  his 
temporary  residence.  So  numerous,  indeed,  were 
the  calls  made  upon  him,  that  his  old  and  faith- 
ful serrar.t,  in  answer  to  an  inquiry,  exclaimed. 


"  Ach  !  me  almost  run  down  —  derc  be  so  man] 
visitors." 

The  honors  which  wcrt  accumulated  upon 
him  were  oppressive  to  the  constant  sense  of  fa- 
tigue which  possessed  him.  To  a  young  friend, 
who  begged  him  to  play  after  the  triumphant 
conclusion  of  the  Birmingham  Festival,  he  replied 
mournfully  —  even  with  tears  —  in  expressive,  but 
imperfect  English,  that  he  could  not  play  — 
"  write  and  practise  too  much,"  he  continued, 
"  no  strength  —  cannot  play ;  and  placing  his  at- 
tenuated band  upon  his  pale  forehead,  exclaim- 
ing, "  O,  my  head !  my  head  !  "  he  looked  up 
to  heaven,  whither  he  was  fast  hastening.  The 
abiding  shadow  of  the  unseen  world  was  settling 
upon  him. 

In  1837  he  had  accepted  the  post  of  director 
of  the  concerts  at  Leipsic.  In  this  city  he  con- 
tinued to  reside  till  his  death,  which  happened 
on  the  6th  of  November,  1847. 

Thus,  at  the  age  of  thirty-eight,  died  this  great 
and  accomplished  man.  In  the  early  period  of 
his  decease,  Mendelssohn  strikingly  resembles 
Mozart,  who  died  in  his  thirty-sixth  year.  Of 
Mozart  it  cannot  be  said  that  he  died  premature- 
ly. Ilis  faculty  was  developed  with  amazing 
rapidity  ;  and,  from  the  very  early  age  at  which 
he  began  to  hold  a  place  in  public  estimation,  his , 
artistic  life  was  by  no  means  short.  Although  a 
painful  a[>prehension  to  the  contrary  embittered 
his  last  days,  yet  he  lived  long  enough  for  fame. 
Not  so  with  Mendelssohn.  However  extended 
his  mortal  span  might  have  been,  his  fine  talent 
would  have  continued,  in  all  probability,  to  un- 
fold and  discover  fresh  beauties  as  long  as  his  nat- 
ural faculties  were  perfect.  He  died  in  the  period 
of  full  promise,  withered  in  the  spring  time  of  his 
genius. 

MEN  FORTE.     (I.)     Less  loud. 

MENDES,  MANOEL,  a  Portuguese  author 
and  comjioser,  born  at  Evora,  was  first  chapel- 
master  at  Portalegre,  and  afterwards  in  his  native 
place,  where  he  died  in  160.5.  His  knowledge  as 
a  musician,  by  which  he  formed  several  eminent 
composers,  and  his  practical  works,  have  given 
him  a  distinguished  place  among  the  artists  of 
his  country.  Among  other  works  preserved  in 
the  royal  musical  library  at  Lisbon,  he  has  left, 
in  manuscript,  "  Arte  do  Canto  Chao,"  "  Mi.isa  A  4 
e  .5  ci)zes,"  and  "  Mayiiijicas  (i  4  e  5  vozes,"  "  Variot 
Moletes  a  diverscu  vozcs," 

MENEDEMUS,  a  musician  of  ancient  Greece^ 
was,  according  to  Plutarch,  a  pupil  of  Aristotla 

MENEGHINL  GIULIO.  chapel-master  at 
Padua,  in  1770,  succeeded  in  that  office  his  cele- 
brated ma.ster  Tartini,  in  honor  of  whom  he  com- 
posed a  funeral  service. 

MENEHOU,  MICHAEL  DE.  master  of  the 
choristers  in  the  church  of  St.  Mauri  at  Paris,  in 
the  sixteenth  century,  published  "  Instnictiun  det 
Priceptes,  ou  Fondemcns  de  Mtisique  taiU  pleiiie  gut 
Jiyurie,"  I'aris,  1571. 

MEXE.STRAUDIE,  or  MINSTRELSY.  (F.^ 
Tlic  general  name  under  which  the  successors  of 
Pliilip  Augustus,  of  France,  recalled  and  estab- 
lished those  minstrels  of  Paris  who  had  formed 
themselves  into  a  company,  but  whom,  on  ac 
count  of  their  irregularity  and  licentiousness  of 
conduct,  that  prince  had  banished  from  the  king 
dom  in  the  first  year  of  his  reign.     The  tutixM- 


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ENCYCLOP.^DIA    OF    MUSIC. 


MEK 


traudie  had  a  chief  appointed  over  them,  called 
Jhc  king  of  the  minstrels. 

MEXESTUIEK,  CLAUDE  FRAXgOIS,  a 
French  Jesuit,  wrote,  in  1G81,  a  treatise,  "  Dcs 
Reprdseiitalions  en  Miisique,  anciennca  at  inodernea." 
In  this  book,  among  a  great  variety  of  curious 
particulars,  is  contained  n  brief  inquiry  into  the 
music  of  the  Hebrews.  'ITie  author  states  that 
dramatic  music  was  first  introduced  into  France 
by  the  pilgrims,  who,  returning  from  the  holy  land 
Bt  the  time  of  the  crusades,  formed  themselves 
into  parties,  and  e.xhiluted  spectacles  of  devotion, 
accompanied  with  music  and  songs  Tlicre  are 
likewise  many  curious  accounts  of  public  amuse- 
ments,  and  of  dramatic  and  musical  representa- 
tions, in  several  of  the  courts  of  Europe. 

In  the  year  1682,  Menestrier  published  "  Des 
Dalktu  uiwUimes  et  moderiteSy  seloit  lea  lliglei  du 
TliiAtre."     He  died  in  the  year  1705. 

MENGOLI,  riEDKO,  was  a  native  of  Hologna. 
and  born  about  the  year  1626.  In  the  early  part 
of  his  life,  he  read  public  lectures  on  music  in 
several  of  the  schools  of  Bologna,  for  the  purpose 
chiefly  of  explainijig  the  doctrines  of  Zarlino  and 
(jalileo. 

He  published  there,  in  the  year  1670,  a  treatise 
entitled  "  Speciilationi  di  Mitsica."  In  that  part 
of  the  work  which  he  denominates  the  natural 
history  of  music,  he  treats  of  the  anatomy  of 
the  ear,  of  its  capability  of  receiving  sounds,  and 
of  the  j)ower  of  the  air  in  conveying  them.  He 
then  speaks  of  the  combination  of  sounds,  in 
which  he  lays  down  some  new  principles,  that 
are,  in  fact,  the  chief  foundation  of  the  whole 
work.  After  this  he  explains,  at  considerable 
length,  the  nature  of  the  musical  ijitei^'als,  show- 
ing between  what  numbers  the  species  of  each 
interval  are  most  perfect.  Ho  treats  of  the 
chords;  then  of  singing  and  modulations  of  tunc. 
The  latter  he  distinguishes  from  singing  in  gen- 
eral, by  obser\-ing  that  modidation  is  a  .'succes- 
sion of  sounds  so  strongly  imjiressed  upon  the 
senses,  that  we  are  not  able  to  repeat  them.  The 
author  next  discourses  fully  on  the  subjects  of 
consonance  and  harmonical  proportions,  and  also 
on  the  passions  of  the  soul,  endeavoring  to  show 
how  they  are  concerned  in  and  affected  by  music. 
Towards  the  conclusion  he  gives  a  table  of  the 
several  musical  chords  that  are  suited  to  the  differ- 
ent affections. 

Some  of  the  speculations  contained  in  this 
work  arc  specious  and  ingenious  ;  but  the  philos- 
ophy of  sound  has  been  so  much  more  scientif- 
ically and  clearly  treated  since  the  time  of  its 
publication,  that  the  dithculty  of  obtaining  the 
book,  which  is  now  become  scarce,  is  no  great 
impediment  to  the  advancement  of  music. 

MEN'GOZZI,  BERNARDO,  bom  at  Florence 
in  1758,  was  a  singer  of  taste  and  a  good  com- 
poser. He  brought  out  several  operas  at  the 
Thtiltre  Montansicr  at  Paris,  which  had  great 
success.  ITiese  were  "  Les  deiix  J'i.tirj,"  "  laahtUe 
de  Salishiiri/,"  "  Pourceaugnac,"  "  Lea  Ilahitana  de 
Vatu-liiae,"  and  "  Bninet  et  Caroline."  Placed  at 
the  head  of  one  of  the  classes  of  the  Conservatory, 
Mengoz/i  formed  many  excellent  singers ;  amongst 
■whom  may  be  named  Baptiste,  of  the  Thciltre 
Feydeau.  For  this  latter  theatre,  Mengozzi  has 
only  written  two  opera,s,  "  L'lte  Faute  par  Anuntr," 
ruid  "  La  Dame  toilie,"  the  music  of  both  of  which 


was  considered  novel  and  brilliant.     He  died  at 
Paris  in  the  year  1800. 

MEXO  VIVO.     (I  )     With  less  spirit. 

MEX  PIANO.     (I.)     Less  soft. 

MENUET.     (F.)     A  minuet. 

MENTE.  JOHANN  FRIEDRICH,  was  boni 
at  Uotenburg  on  the  Oder,  in  169S.  He  received 
his  earliest  instructions  in  music  from  his  father, 
(Samuel  Mente, )  who  was  a  celebrated  organist. 
He  then  went  to  Frankfort  on  the  Oder,  where  he 
studied  during  three  years  under  Simon,  musician 
to  the  university.  In  1718  he  visitixl  l)res<len 
and  Lcipsie,  and  thence  proceeded  to  (ilaucha, 
where  he  took  les,sons  in  countcr])oint  from 
Meischner.  In  1727  he  was  nominatetl  organist 
at  Liegnitz,  in  Silesia.  Mente  published  much 
church  and  chamber  music,  and  in  his  biograi)hy, 
written  by  himself,  he  states,  that  he  had  taught 
music  to  five  princes,  more  than  twenty  counts, 
three  countesses,  nine  barons,  three  baronesses, 
and  above  twenty  others  of  the  nobility.  He 
died  about  the  year  1760. 

MENZEL.  A  violinist  in  the  Imperial  Chapel 
at  Vienna  in  1796. 


MER.VNGE.  A  composer  at  Paris,  of  whose 
works  has  been  printed  "  Fr6digilde,  ou  U  Dimnn 
familier,  Drame  d  gr.  ipeelacle,"  Paris,  1799. 


MERCADANTE,  SAVEIUO.  This  dramatic 
composer,  who  is  considered  inferior  only  to  Ros- 
sini, Paer,  and  perhaps  Gencrali,  was  born  in  Na- 
ples in  1798.  He  studied  music  under  Zingnrclli, 
in  the  Coiuervatorio  San  Sehastiano.  In  the  begin- 
ning, he  devoted  him.self  to  instrumental  music 
for  the  space  of  si.x  years,  during  which  time  he 
composed  several  overtures,  some  ballet  music, 
military  airs,  &c.  It  was  at  the  earnest  recom- 
mendation of  ZingarcUi,  that  he  at  last  turned 
his  attention  to  vocal  composition.  Incited  by 
such  high  encouragement,  he  produced  first,  in 
1818,  a  grand  cant.-ita,  entitled  "/,' t^iiVjn*  delU 
IMU  Arte,"  for  the  Teatro  Fondo,  which  met  with 
a  very  favorable  reception.  After  this  he  obtained 
an  engagement  at  the  Teatro  San  Carlo,  when  his 
first  opera,  entitled  "L" Apoteoti  (V F.rcnir"  obtained 
considerable  applause,  and  was  said  to  augur 
well  of  bis  future  success  as  a  composer.  It  was 
on  the  first  representation  of  this  opera  that  the 
young  composer  was  called  for  by  the  public  at 
the  conclusion  of  a  terzetto,  which  was  enthusi- 
astically encored.  In  the  same  year,  1819,  he 
composed  for  the  Teatro  Nuovo  the  opera  huffa 
"  Vitdenza  e  ('(»lan:a,"  which  also  met  with 
a  very  flattering  reception.  In  1820,  another 
opera  was  given  by  him  in  San  Carlo,  entitled 
"  Anacrennte  in  Samo."  After  this  ho  went  to 
Rome,  and  composed  for  the  Teatro  Valle  an  opera 
buffa,  called  "  //  Geloso  rarreduto,"  and  in  the 
carnival  of  1821,  the  opera  scria,  "  Sc4pinne  in 
CartagiiM,"  for  the  Teatro  .Vrijentino.  In  the 
same  year  he  produced,  in  Bolocna,  the  op*Ta 
seria  "  Maria  Sluarf,"  m>  also  the  opera  called 
"  Eliaa  e  Claudia,"  for  the  same  theatre.  In  the 
carnival  of  1822,  he  compose<l  the  opera  seria 
'  Andronico,"  for  the  Teatro  Fenice  at  Venice. 

MERCADIER,  M.,  of  Belesta,  published  at 
Paris,  in  1776,  "  Soureau  Syatlmt  de  Muti^v4 
thioriqu*  ti  pratiijut,"  one  rolome,  octaro. 


689 


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ENCYCLOPiEDIA    OF    MUSIC. 


MER 


MEUCin,  an  Italinn  nuitarLst,  flourished  about 
the  year  17'J0.  lie  resided  for  several  years  at 
Paris,  and  in  1777  published  a  small  tract  enti- 
tled "  Guide  des  Ecotiers  de  (juitare."  He  also 
edited  an  annual,  "  lieciteil  d'Ariettes,  Preludes  et 
autres  J'iircs  lii/dres,"  for  his  instrument. 

MEKCIER,  a  French  musician  at  Paris.  Among 
his  i)ublished  works  is,  "  Mithode  pour  apprendre 
a  lire  stir  toutes  les  Clefs,"  Paris,  1788. 

MERCY,  LEWIS,  an  EnRlishraan  by  birth, 
though  the  descendant  of  a  French  family,  was  a 
celebrated  performer  on  the  ttute-;i-bec,  or  Eng- 
lish flute,  and  an  excellent  composer  for  that  in- 
strument. He  published  six  solos,  with  a  preface 
containing  a  brief  history  of  the  scale,  and  of 
Ouido's  reformation  of  it,  taken  from  a  French 
work  of  .Sebastian  de  Brossard.  Soon  afterwards 
ai)pcared  his  Opera  .Secunda,  containing  six  more 
solos  for  the  same  instrument. 

Mercy  lived  at  a  time  when  this  flute  was  be- 
coming unfashionable,  and  when  the  German 
flute  was  beginning  to  get  into  favor.  In  conse- 
quence of  this,  he  formed  (in  conjunction  with 
the  younger  Stanesby,  the  wind  instrument  ma- 
ker) the  scheme  of  a  new  system,  intending  to 
make  the  flute-a-bcc  a  concert  instrument,  with- 
out an  actual  transposition,  by  changing  the  de- 
nomination of  the  lower  note  from  F  to  C.  By 
this  contrivance,  a  flute  of  the  fifth  size  was 
precisely  an  octave  above  the  other  treble  instru- 
ments. He  published  twelve  solos,  the  first  six 
of  which  were  written  for  the  traverse  flute, 
violin,  or  English  flute,  according  to  the  new 
plan,  accompanied  by  a  preface  in  recommen- 
dation of  it,  in  which  he  asserts  that  his  system 
was  in  truth  the  ancient  system  of  the  flute.  In 
this  preface  he  also  makes  a  comparison  between 
the  flute-ii-bec  and  the  German  flute,  and  asserts 
not  only  that  the  former  is  always  best  in  tune, 
but  that,  in  many  other  respects,  it  deser^-ed  to 
have  the  jireference.  All  the  endeavors  of  Stan- 
esby and  Mercy  to  restore  their  favorite  instru- 
ment, seem,  however,  to  have  proved  unavailing. 
Mercy's  solos  for  the  flute  are  usually  ranked 
among  the  best  compositions  for  that  instrument 
that  are  extant. 

MEREAUX,  NICOLAS  JEAX,  was  born  at 
Paris  in  174.5.  He  studied  music  under  diflerent 
Itahan  and  French  masters,  and  when  still  very 
young  displayed  distinguished  talents  on  the 
organ,  so  much  so  a.s  to  attract  the  attention  of 
the  celebrated  organists  Calviere,  Daquin,  and 
Couperin.  He  composed  several  motets  and 
oratorios,  amongst  which  latter,  his  "  Esther,"  for 
three  voices,  is  much  admired.  His  first  pub- 
lished work  was  "  Aline,  Heine  de  Golconde,"  a 
cantata,  1767.  He  brought  out  three  operas  for 
the  Thciitro  Italien,  namely,  "  Le  Rvtour  de  la 
Tendresne,"  1780;  "  La  Ressource  Comitjue,"  1782; 
*nd  "  Lauret/e,"  1782.  For  the  Royal  Academy 
of  Music  he  composed  "Alexandre  aux  Indes," 
178.5;  "(Edipe,"  1791;  and  "  Jocaste,"  1791. 
Mereaux  died  in  1797. 

MEREDITH,  "WILLIAM,  died  at  Oxford  in 
1637.  He  was  organist  to  New  College  Chapel. 
Be  is  called,  on  his  epitaph,  ri'r  facilitate  sua 
fritissimtis. 

MERK,  DANIEL,  was  a  singer  at  Augsburg, 
kbout   the   year  1692,  but  not  otherwise  distin- 


guished than  by  the  following  work,  which  is 
mentioned  iu  Von  .Stetten's  "  HLstory  of  the 
Arts,"  "  Anweirung  zur  Instrumentalmusik,"  Augs- 
burg, 1695.     He  died   in  the  year  1713. 

JIERKEN,  S.,  a  musician  at  Paris,  probably  a 
Gennan,  published  there  "  Six  Romances,  avee 
Ace.  de  Piano,"  1798. 

MERMET,  BOLLIOUD  DE,  published,  in 
1746,  his  treatise  De  la  Corruption  du  GoAt  dana 
la  Miisique  Frangoise  ; "  "  Eh,  bon  Dicu,"  says  La 
Bordeaus,  "qu'eiit-il  dit,  s'il  cut  icrit  de  notre 
terns !  " 

MERSENNE,  MARTIN,  or,  as  his  name  is 
written  in  Latin,  MARTINUS  MERSEXNUS, 
was  born  in  1.588  at  Oyse,  in  the  province  of 
Elaine.  His  first  instructions  were  received  in 
the  college  of  Fli'^che.  On  quitting  that  semi- 
nary, he  studied  divinity  for  some  time  in  the 
college  of  Sorbonne.  He  afterwards  entered 
himself  amongst,  and  in  1611  received  his  habit 
of,  the  Minims.  He  applied  himself  diligently  to 
the  study  of  the  Hebrew  language,  and  was  ap- 
pointed a  teacher  of  philosophy  and  theology  in 
the  convent  of  Nivers.  This  station  he  held  till 
the  year  1619,  when,  in  order  to  prosecute  his 
studies,  and  enjoy  the  conversation  of  the  learned, ' 
he  returned  to  Paris.  During  his  abode  at  La 
F16che,  he  contracted  a  friendship  with  Des 
Cartes.  The  residence  of  Mersennus  at  Paris  did 
not  prevent  his  making  several  journeys  into 
foreign  countries.  He  ^•isited  Holland,  and 
went  four  times  into  Italy.  During  the  hot 
weather  of  July,  164S,  having  been  upon  a  visit 
to  Des  Cartes,  he  returned  to  hLs  convent  exces- 
sively heated,  and,-  in  order  to  allay  his  thirst, 
drank  some  cold  water.  I'he  consequence  of 
this  was,  his  being  seized  with  an  illness  which 
produced  an  abscess  in  his  right  side.  The 
physicians,  supposing  his  disorder  a  pleurisy,  bled 
him  several  times  to  no  purpose.  At  length 
they  determined  to  open  his  side.  The  operation 
was  begun,  but  he  e.xpired  under  it  in  1648.  He 
had  directed  that,  if  the  operation  should  not 
succeed,  they  shov.ld  open  his  body.  This  they 
did,  and  found  that  they  had  made  the  incision 
two  inches  below  the  abscess. 

Mersennus  was  a  man  of  great  learning  and 
deep  research.  He  had  also  a  correct  and  ju- 
dicious ear,  and  was  a  passionate  admirer  of 
music.  These  gave  a  direction  to  his  pursuits, 
and  were  productive  of  numerous  exj'eriments 
and  calculations,  tending  to  demonstrate  the 
principles  of  harmony,  and  to  prove  that  they 
had  their  foundation  in  nature,  and  in  the  origi- 
nal constitution  of  the  universe. 

In  the  year  1636,  Mersennus  published  at  Paris, 
in  a  large  folio  volume,  a  work  entitled  "  Har- 
monic UnivcrscUe,"  in  which  he  treats  of  the  nature 
and  properties  of  sound,  of  instruments  of  various 
kinds,  of  consonances  and  dissonances,  of  com- 
position, of  the  human  voice,  of  the  practice  of 
singing,  and  a  variety  of  other  particulars  on  the 
subject  of  music. 

The  doctrines  delivered  by  Mersennus  lue 
founded  on  a  variety  of  well-tried  ex]ieriments, 
and  his  reasoning  upon  these  is  generally"  very 
close  and  satisfactory. 

MERTEL,  or  MERTOL,  ELIAS,  a  performer 
on  the  lute,  flourished  in  the  beginning  of  tha 


690 


MER 


ENCYCLOPEDIA    OF    MUSIC. 


ME8 


seventeenth  century  at  Strasburg.     He  published 
**  Hortxu  iluaicalis,"  &c.,  Straeburg,  1615. 

MERULA,  TARQUINIO.  A  celebrated  church 
composer  and  madrigaUst  at  Venice,  between  the 
fears  1028  and  1610.  His  secular  compositions 
are  almost  all  so  tinctured  with  caprice  and  buf- 
foonerj",  as  to  render  them  more  singular  and 
original  than  those  of  any  of  his  contemporaries. 
He  published,  among  many  other  singular  pro- 
ductions, a  sort  of  lullaby,  with  a  bass,  consisting 
only  of  the  upper  A  and  B  flat.  He  also  com- 
posed a  fugue,  representing  some  schoolboys  re- 
citing before  their  master  the  Latin  pronoun  qiii, 
qiue,  qiKxl,  which  they  had  not  well  learned.  The 
confusion,  the  peqdexity,  the  barbarisms  of  the 
scholars,  mingled  with  the  exclamations  of  their 
enragetl  master,  who  exercises  the  ferule  among 
them,  had  the  happiest  effect. 

MERULO,  CLArDIO,  organist  to  the  Duke 
of  Parma,  and  bom  at  C'orreggio,  published  some 
organ  and  church  music  at  Venice,  between  the 
years  157S  and  1601. 

MES.^NGEAU.  A  celebrated  lutist  at  Paris, 
in  the  reign  of  Louis  XIII.,  (that  is,  about  1620.) 
Gautier,  his  friend  and  pupil,  wrote  on  Mesan- 
geau's  death  a  very  beautiful  piece  of  music  for 
the  lute,  and  named  it  Le  Tombeau  de  Mesangeau." 

MESCOLOMEXTO,  orMISTIO.  A  term  used 
by  the  ancient  Greeks,  signifying  that  branch  of 
the  metopccia,  which  gave  the  rules  for  so  ar- 
ranging the  sounds  of  melody,  that  the  voice,  or 
instrument,  might  be  kept  within  a  certain  com- 
pass ;  and  that  the  three  genera  might  be  so  dis- 
posed, that  the  air  should  never  move  out  of  the 
system  in  wliieh  it  began,  unless  with  some  par- 
ticular design. 

MESE.  A  term  applied  by  the  ancient  Greeks 
to  the  sound  that  completetl  their  second  tetra- 
ehord,  and  which  was  the  centre  of  their  whole 
system.  The  mese  was  an  octave  above  the  pros- 
la  mbanomenos,  or  lowest  sound,  and  answered  in 
some  respects  to  the  key  note  in  modern  music. 
It  was  also  the  name  given  to  the  central  string 
of  the  IjTe. 

MESOCIIORL  (Gr.  pL)  Certain  musicians 
among  the  ancients,  who  presided  at  public  per- 
formances, and  by  beating  a  desk  in  a  regular 
manner  with  their  feet,  directed  the  time  of  the 
music.  That  they  might  be  the  better  heard, 
they  wore  wooden  clogs,  called  crupczia. 

MESOIDES.  (Gr.)  The  name  by  which  the 
ancients  distinguished  a  kind  of  melojxria,  the 
sounds  of  which  were  chiefly  confine<l  to  the  mid- 
dle chords ;  which  chords  wore  also  called  the 
meaoidea  of  the  mesis,  or  tetrachord  meson. 

MESOL.\BE.  (Gr.)  An  instrument  of  the 
ancients,  the  use  of  which  was  to  halve  an  inter- 
val. The  honor  of  its  invention  is,  by  some 
writers,  given  to  Archytas,  by  others  to  Era- 
tosthenes. 

MESOMEDES,  a  renowned  musician  of  ancient 
Greece,  lived  at  Rome  in  the  reign  of  An- 
toninus, (about  the  year  U.i  after  C'hriit,)  and 
was  the  tirst  who  gave  rules  to  the  perfonneni  on 


the  lute.  Nevertheless,  the  emperor  withdre\» 
his  salary,  saying  to  him,  "  It  was  shameful  that 
people  should  receive  benefits  from  the  republic 
who  were  of  no  use  to  it."  With  all  deference 
to  his  majesty'.s  opinion,  says  Gerber,  our  rulers 
now  know  hotter.  I'erhaim  this  conduct  was  a 
low  revenge  of  Antoninus  towards  his  jiretleces- 
sor  Adrianus,  whoso  manumissus  and  favorite 
Mesomedcs  had  been. 

MESONYCTICON.     (Gr.)     A   term    appUed 
by  the  Christian   fathers  to  their  midnight  ser- 


MESOX.  The  genitive  plural  of  ot^sm,  the 
middle.  A  tenn  apjilied  by  the  ancient  Greeks 
to  the  second  of  their  tetrachords,  (reckoning 
from  the  gravest, )  because  it  is  placed  between  the 
first  and  third  tetrachords,  i.  e.,  the  hypalon  and 
»\f)xemmenon. 

MESOPYCXI.  (Or.)  A  term  in  the  ancient 
music,  signifying  the  second  sound  in  each  tetra- 
chord.    Tlie  mesopycni  were  five  in  number. 

MESAULICI.  (Gr.)  Inter -pipings.  Hi  e  name 
applied  by  the  ancients,  as  supposed  by  Mei- 
bomius,  to  the  inner  acts,  or  pieces  performed  be- 
tween the  divisions  of  their  drama. 

MESSE.  (I.)  A  mass,  or  Catholic  musical 
service. 

MESSA  DI  VOCE.  An  expression  applied  by 
the  Italians  to  a  swell  of  the  voi<y;  upon  a  hold- 
ing note. 

MES.se  COXCERT ATI.  (I.'  '-iasscs  in  whicl 
the  recitation  is  intermixed  wit!    choruses. 

MESSE  DI  CAPELLA.  ;  -n  expression  ap- 
plied  by  the  Italians  to  ma  ./<Ki  sung  by  theii 
grand  chorus.  In  these  c«  /^positions  various 
lugues,  double  counterpoints,  and  other  elaborate 
constructions  are  always  reqi/ired. 

MESSIAH.  Handel's  "  M.rssiali"  was  first  per- 
formed at  the  Music  Hall  in  Fshaniblo  Street, Dub- 
lin, on  Monday,  the  12th  of  April,  1712.  Xotice  of 
this  performance  was  given  in  the  Dublin  Jour- 
nal, (Faulkner's,)  March  2.'?,  1742,  as  follows: 
"  For  Relief  of  the  Prisoners  in  the  several  Gaols, 
and  for  the  Supjiort  of  Mercer's  Hospital  in  Ste- 
phen's Street,  and  of  the  Charitable  Infirmary  on 
the  Inn's  Uuay,  on  Monday,  the  12th  of  April, 
will  be  perfonnod  at  the  Miisick  Hall  in  FLsham— 
ble  Street,  Mr.  Handel's  now  Grand  Oratorio 
called  the  Mrsxin/i,  in  which  the  (Jentlemen  of 
the  Choirs  of  both  ("atho<lrals  will  assist,  with 
some  Concertos  on  the  Organ,  by  Mr.  Handel. 
Tickets  to  bo  had  at  the  Musiik  Hall,  and  at  Mr. 
Ne.-d's  in  Clirist  Churchyard,  at  half  a  Guinea 
each.  X.  B.  Xo  Person  wiU  be  admitted  to  the 
Rehearsal  without  a  liohearsnl  Ticket,  which 
will  be  given  crratis  with  the  Ticket  for  the  Per- 
formance when  paid  for."  lliis  wa.s  tlie  first 
occasion  in  which  the  words  "  Handel's  Oratorio 
the  Messiah"  ever  appeared  in  print,  or  met  the 
public  eye.  'ITie  composition  of  the  Messiah  wa.H 
conclude<l  on  the  12lh  of  September,  1711,  and 
some  writers  have  as-sertod  that  it  was  performeil 
in  London  ;  but  as  Handel  loft  I<ondon  on  the 
4th  of  November,  and  «s  none  of  the  Ix>ndo& 
pepers  of  that  date  contain  any  notice  of  it*  per 


591 


MES 


EXCYCLOP^DIA    OF   MUSIC. 


MEl 


formaiice  there,  it  is  probable  that  it  wa«  brought  r  for  their  son,  thev  consented.     He  bean  with 


out  first  at  Dublin,  as  here  stated.  The  Messiah 
■was  performed  in  Kin)j;'s  Chapel,  Boston,  in 
1796  ;  and  the  Messiah  and  the  Creation  were 
first  performed  by  the  Handel  and  Haydn  So- 
ciety, Uoston,  in  1817. 

MESSING.  FRED.  JACOB,  called  the  mad 
Jiddier,  was  for  some  time  a  member  of  the  or- 
chestra in  Covent  (inrden  Theatre.  He  called 
nimself  Handel's  son,  whose  monument  he  visit- 
ed daily,  went  with  his  head  shaved,  and  dressed 
in  black,  with  a  star.  He  died  in  London  in 
1797,  at  the  age  of  forty-three.  His  children 
were  educated  at  the  expense  of  the  Musical 
Fund.  During  his  insanity  he  fretiuently  played 
Handel's  music  in  places  of  public  resort. 

MESTO,  or  MESTOSO.  (I.)  A  term  sig- 
nificative  of  a  pathetic  and  melancholy  style  of 
performance. 

MESTRIXO,  NICOLO,  born  at  Mestri  in  17.50, 
■was  of  low  origin,  and  studied  music  with  little 
assistance  from  masters.  When  thirty-two  years 
of  age,  he  first  went  to  Paris,  where  he  made  his 
dibul  at  the  Concert  Spiritual  in  1786.  The  grace- 
ful composition  of  his  concerto,  and  sweet  ex- 
pression in  his  style  of  playing,  were  at  once 
highly  applauded.  Mestrino  had  a  great  talent 
for  extempore  playing.  In  1789,  he  was  nom- 
inated chef  d'orc/icstre  of  the  Th6atre  Monsieur ; 
but  he  did  not  enjoy  this  office  long,  the  abuse 
of  pleasure  shortening  his  days.  He  died  at 
Paris  in  1790,  aged  forty-nine.  Twelve  of  his 
concertos  were  published  at  Paris  in  his  life- 
time, and  since  his  decease  a  collection  has  been 
republished  of  twelve  solos,  taken  from  his  con- 
certos, with  an  accompaniment  for  the  violon- 
cello. 

MESURE.     (F.)     The  bar  or  measure. 

MET-\.LLO,  a  church  composer,  lived  in  the 
middle  of  the  seventeenth  century,  as  the  fol- 
lowing of  liis  printed  works  proves :  "  Motetto 
Hanctus  Dominus,  iSfc,  a  4  Soprano,  A.  in  Canone, 
B.  1  in  Cunone,  e  B.  2." 

METASTASIO.  Bom  at  Rome  in  1698.  He 
was  distinguished,  at  the  early  age  of  ten  years, 
by  his  talents  as  an  improvisatorc.  A  rich  law- 
yer, named  Gravina,  who  amused  himself  with 
writing  bad  tragedies,  was  walking  near  the 
Campus  Martins  one  summer's  evening,  in  com- 
pany with  the  Abbe  Lorenzini,  when  they  heard, 
at  no  great  distance,  a  sweet  and  powerful  voice, 
modulating  verses  with  the  greatest  fluency  to 
the  measure  of  the  canto  iinproviso.  On  ap- 
proaching the  shop  of  Trapassi,  whence  the  grate- 
ful melody  proceeded,  they  were  surprised  to  see 
a  lovely  boy  pouring  forth  elegant  verses  on 
the  persons  and  objects  which  suiTounded  him  ; 
and  their  admiration  was  increased  by  the  grace- 
ful compliments  which  he  took  an  opportunity 
of  addressing  to  them.sclves.  When  the  youth- 
ful poet  had  concluded,  Gravina  called  him  to 
liim,  and,  with  many  cnconiums  and  care.s.scs, 
offered  him  a  ])iece  of  money,  which  tlie  boy 
politely  declined.  He  then  inquired  into  hia 
situation  and  emploj'ment,  and  being  struck 
with  the  intelligence  of  his  rc|)lics,  proposed  to 
hilt  parentis  to  educate  him  hs  IiIk  own  child. 
Convinced  of  the  sincerity  of  the  offer,  and  flat- 
cered  by  the  brilliant  prospects  wliich  it  opened 


changing  his  name  from  Trapassi  to  Metostasio, 
for  (he  Une  of  Greek.  He  adoi)ted  him,  gave  him 
a  careful,  and  as  it  hap|)ened,  an  excellent,  edu- 
cation, and  finally  left  him  a  part  of  hLs  prop- 
erty. MetastHsio  was  twenty-si.x  j-ears  old 
when  his  first  opera,  the  "  Didone,"  was  per- 
formed at  Naples,  in  1721.  In  the  comjiosition 
of  it  he  M-as  guided  by  the  advice  of  the  fair 
Marianna  Romanina,  who  executed  the  part  of 
Dido  in  a  superior  style,  because  she  passionately 
loved  the  poet.  This  attachment  appears  to 
have  been  durable.  Metastasio  was  an  intimate 
friend  of  Marianna's  husband,  and  lived  many 
years  in  the  family,  recreating  himself  with  fine 
music,  and  studying  unremittingly  the  Greek 
poets.  In  1729,  the  Emperor  Charles  VI.,  that 
great  and  grave  musician,  who,  in  his  youth, 
had  played  so  miserable  a  part  in  Spain,  pro- 
posed to  him  to  be  the  poet  of  the  opera  at 
Vienna.  He  hesitated  a  little,  but  at  length 
accepted  the  offer.  He  never  afterwards  left 
that  city,  where  he  lived  to  an  extreme  old  age, 
in  the  midst  of  dignified  voluptuousness,  with 
no  other  occupation  than  that  of  expressing,  in 
beautiful  verses,  the  fine  sentiments  by  whicti  he 
was  animated.  Dr.  Burney,  who  saw  him  in 
his  seventy- second  year,  thought  him,  evep 
then,  the  gayest  and  handsomest  man  of  his 
time.  He  always  declined  accepting  any  titles 
or  honors,  and  lived  happy  in  retirement.  No 
tender  sentiment  was  wanting  to  his  sensibility. 
This  great  and  happy  man  died  in  1782,  having 
been  ar;quainted,  in  the  course  of  his  long  career, 
with  all  the  eminent  musicians  who  have  de- 
lighted the  world. 

METHFESSEL,  FRIEDRICH,  (the  elder.)  A 
theologian,  and  at  the  same  time  a  vocal  com- 
poser of  talent  and  feeling.  He  was  born  at 
Stadtilm  in  1771.  His  father,  who  was  himself 
a  singer,  soon  observed  his  son's  warm  attach- 
ment to  music,  and  developed  his  talents  by  fre- 
quent and  diligent  practice.  This  had  so  quick 
and  powerful  an  effect,  that  the  boy,  who  was 
destined  for  the  church,  employing  all  his  spare 
time  from  the  study  of  languages  and  sciences  in 
cultivating  music,  soon  distinguished  hunself  as 
an  able  performer  on  tlie  piano-forte  and  ^-iolin, 
whilst  at  the  siune  time  he  became  an  excellent 
tenor  singer.  Through  this  rare  musical  talent, 
united  to  his  constant  hilarity,  wit,  and  humor, 
it  became  an  easy  matter  with  liim  to  establish  a 
circle  of  friends  in  his  school  at  the  university, 
aud  in  all  his  subsequent  situations  of  life,  and  by 
this  circle  he  was  both  loved  and  esteemed.  In 
1796,  having  completed  his  theological  studies,  he 
found  himself  compelled  to  undertake  the  situa- 
tion of  a  private  tutor.  His  restless  spirit,  as  well 
as  the  feeling  of  not  being  in  his  sphere,  drove  him, 
in  tlxis  fatiguingly  uniform  employment,  from 
place  to  place,  without  his  ever  bemg  contented 
and  happy.  Thus  he  lived  like  a  true  minstrel, 
traversing  from  one  German  town  to  another ; 
still,  wherever  destiny  led  hiiu,  his  muse  was 
ever  his  dearest  and  most  diligent  conductress. 
This  is  proved  by  the  collections  of  songs  which 
he  published  from  the  year  1798 ;  some  of  them 
are  dated  from  nearly  every  place  at  which  ho 
temporarily  resided.  The  critics  praised  his 
songs  on  account  of  their  interesting  melod'-s, 
aud  the  public    also  found   pleasure   in   them. 


692 


MET 


ENCYCLOP.EDIA    OF    MUSIC. 


MET 


Lastly,  he  undertook  the  composition  of  the 
opera  "  Dr.  Faiutus,"  but  fouhl  not,  through  tlio 
visible  decline  of  his  strcnfith,  finish  it.  Just 
before  his  death,  however,  he  published  a  suc- 
cessful sketch  of  it.  If  lie  could  have  entirely 
devoted  himself  to  music,  F.  Methlessel  miglit 
certainly  have  reached  a  hifjli  degree  of  per- 
fection. He  died  of  consami)tion  in  his  native 
town,  in  1807,  in  the  thirty-eighth  year  of  his 
age.  Of  his  works  we  can  mention  the  follow- 
ing: "12  Ktavifrliedrr,"  Offenbadi,  1798.  "12 
Licder  mit  Begl.  der  Guitarre,"  Leipsic.  "  Des 
Sangers  Liebe,  ein  kleiner  Homan  in  Liedern  vott 
Itochliss  mit  Guitarre,"  Op.  12,  Leipsic.  "  Kleine 
BiUaden  u.  Liedcr,  mit  Guitarre,  tiebat  einem  ko- 
mischen  Anhange,"  Leipsic.  "  12  Dreystimmige 
Lieckr  bei/m  Ktaviere,"  lludolstadt,  1800.  "  3 
Gesange  aiis  der  Oper  Faust  fur  K/av.,"  Kudol- 
stadt,  1801.  "  12  Lieder  mit  Klavier  oder  Gui- 
tarre," Bonn,  1803.  "  Kleine  Romanzen  und  Lieder, 
m.  Guit." 

METHFESSEL,  ALBERT  GOTTLIEB, 
younger  brother  of  the  preceding,  singer  to  the 
court  at  Rudolstadt,  and  composer  of  several 
songs  and  some  music  for  the  piano,  was  born  at 
8tadtilm,  in  Schwartzburg,  in  1786.  He  applied 
himself  early  to  music  under  the  direction  of 
his  father,  so  much  so  that,  in  his  twelfth  year, 
he  wrote  two  church  pieces,  which  his  father 
executed.  In  his  fifteenth  year  he  went  to  the 
academy  at  Rudolstadt,  rimained  three  years  as 
prefect  of  the  choir  there,  and  wrote  for  it  sev- 
eral motets  and  cantatas.  At  length,  in  1807, 
he  went  to  I>eipsic,  from  whence  the  Princess  of 
Rudolstadt  sent  him  to  Dresden  for  further  im- 
provement. Here,  through  his  dL^tinguished 
talents,  he  made  himself  so  many  friends,  that 
when  he  gave  a  farewell  concert,  in  1810,  pre- 
viously to  commencing  his  employment  of  singer 
at  Rudolstadt,  his  loss  was  much  bewailed  by 
the  public.  A.  Mcthfessel  was  a  very  feeling 
and  excellent  tenor  singer.  He  extemporized 
well  on  the  piano,  to  which  he  occa.sionaUy 
united  his  voice.  He  also  accompanied  himself 
beautifully  on  the  guitar.  "  The  musical  world," 
nays  Gerber,  writing  in  1812,  "may  expect  very 
much  from  this  able  young  man.  I  WTite  this 
with  the  greater  confidence,  because  I  have  en^ 
joyed  the  pleasure  of  hearing  him  publicly,  as 
well  as  in  private  circles."  The  following  list 
contains  his  principal  works  up  to  the  year  180D  : 
"  Liedcr  mil  liegleit,  dea  Ktaviers."  "  Grande  Sona'e 
a  i  mainn."  "  Sonatiue  Hi  mains."  "  Six  I'ar.  sur 
un  7V»'nic,"  Leipsic.  "  Scf.t  \'ar.$urle  Men.  de C Op. 
Don  Gi'ivanni  de  Mozart,"  Op. -9,  I^iptic.  "  6  Son. 
facil.  pour  le  P.  F.,  Op.  13,  Lit.  1  et  2,"  Leipsic. 
"  Schitsucht  von  Schiller."  "  Arminia,  von  Tiedge 
bt-ym  Ktov."  "  Gestlnge,  6  dreystimmige,  mit  will- 
kilMicher  liegl.  des  I'.  F.,"  Op.  11.  "Journal 
fUr  die  Guitarre,  \s.  und  'Is.  Hrft"  I^cipsic. 
"  Grand  Duo  pour  2  Guit.,"  Op.  26.  "  Der  Trou- 
badour und  5  Gedichte,  mit  P.  F.  oder  Guit,"  Op. 
27,  Leipsic. 

METIIODE.  (F.)  A  treadse  or  book  of  instruc- 
tions. 

METKE,  A.  F.,  chapcl-maater  to  the  Duke 
of  Brunswick-Oels  at  t)el»,  in  the  year  1708,  waa 
»  good  violoncellist,  and  composed  for  the  theatre 
in  thit  town  the  operetta  "  Der  Ttu/el  ein  llydrau- 


likus,"    1790.     He  also   published    "2   Prohge," 
1798,  and   "3  Concert,  pour  le  I'c, "   Op.  3,  1803 

METRE.  That  ]iart  of  the  ancient  music 
wliich  consulted  the  mea-sure  of  the  verses.  Se« 
Metiuc. 

METRIC.  An  epithet  applied  by  the  ancient 
Greeks  to  that  part  of  tlieir  music  which  had  lot 
its  object  the  letters,  syllables,  feet,  and  verses  of 
the  poem.  The  metric  differed  from  the  rhyth- 
mic in  that  the  former  was  only  used  in  the  form 
of  the  verses,  while  the  second  was  confined  to 
the  feet  of  whicli  they  were  composed. 

METRONOME.  Invented  by  John  Maelzel, 
musical  mechanician  of  the  Emperor  of  Austria, 
'llie  metronome  consists  of  a  portable  little  obe- 
lisk or  pyramid,  scarcely  a  foot  high,  so  decorated 
on  the  outside  as  to  form  a  very  pretty  piece  of 
furniture,  and  containing  within  a  simple  me- 
chanical apparatus,  with  a  scale  resembling  that 
of  a  thenuometer.  According  to  the  number  on 
this  scale  to  which  the  index  Ls  set,  the  audible 
beats  produced  will  be  found  to  embrace  the 
whole  gradation  of  musical  time,  from  the  slowest 
to  the  quickest.  The  scale  of  the  metronome  is 
not  borrowed  from  the  measures  of  length  pecu- 
liar to  any  one  country,  but  Ls  founded  on  the 
division  of  time  into  minutes.  The  minute  being 
thus,  a.s  it  were,  the  element  of  the  metronomic 
scale,  its  divisions  are  thereby  rendered  intelligi- 
ble and  applicable  in  every  country.  A  univer 
sal  standard  measure  for  musical  time  is  thuii 
obtained,  and  its  correctness  may  be  proved  at  all 
times  by  comjiarison  with  a  stop  watch.  At  the 
top  of  the  obelisk  is  a  small  lid,  with  a  hinge  to 
its  back.  On  lifting  this  lid,  the  upper  part  of 
the  front  of  the  obelisk  is  pushed  forward  with  a 
spring,  so  as  to  permit  of  its  being  taken  out  and 
put  aside  ;  and  at  the  same  time  the  steel  pendu- 
lum, together  with  the  scale  behind  it,  will  like- 
wise fly  forward  into  a  perpendicular  direction, 
and  a  small  key  be  found  under  the  upjier  lid. 
This  key  fits  a  hole  contrived  about  the  middle 
of  one  of  the  sides  of  the  obelisk,  and  with  it  the 
clockwork  is  wound  up,  and  the  pendulum  made 
to  move.  \u  motion  may  be  stopped  at  pleasure 
by  a  small  bra.ss  bolt  fixed  to  the  top. 

Maelzel's  metronome  determines  the  movement 
of  a  piece  of  music  with  a  degree  of  precision 
which  no  word  or  combination  of  words,  how- 
ever well  chosen,  can  pretend  to  do.  We  will 
give  an  example  or  two  in  illustration  of  \XJs 
wav  of  indicating  the  de;;ree  of  movement. 

r  =  132  implies  that  when  the  movable  nut 
is  set  to  132  on  the  graduate<l  scale,  the  pendu- 
lum will  vibrate  once  to  each  crotchet  in  the  bar. 

Similarly,  f^  =  80  implies  that  the  measurt 
note  in  each  bar  is  a  minim,  and  that  when  th« 
nut  is  set  to  80,  the  pendulum  will  vibrato  onc« 
to  each  minim. 

Within  the  last  few  years,  a  small  hell  has  been 
added  to  the  best  kind  of  metronomes,  which  can 
be  made  to  strike  at  the  commenremcnt  of  each 
bar,  by  drawing  a  short  rectangular  hrnss  rod  in- 
serted into  one  of  the  sides  of  the  machine.  Ont 
of  the  faces  of  this  rod  is  gmduntcd  by  lines 
drawn  across  it,  and  insrrit>cd  with  the  figures  2, 
3,  4,  6.  In  order,  therefore,  to  cause  the  bell  to 
strike  correctly,  the  rod  must  b«  set  according  tc 


76 


693 


MET 


ENCYCLOPAEDIA    OF    MUSIC. 


MEY 


the  number  of  times  that  the  measure  note  occurs 
in  each  bar. 

Persons  who  do  not  possess  Maelzel's  metro- 
nome may  readily  ascertain  the  corresponding 
lime,  by  forming  a  pendulum  of  a  length  of 
thread,  with  a  Iciulcn  bullet  at  the  end  of  it.  The 
measure  is  to  be  taken  from  the  i)oint  of  suspen- 
lion  to  the  centre  of  the  bullet.  The  time  occu- 
pied in  the  swinging  of  the  bullet  from  one  side 
to  the  other,  which  is  called  "one  vibration,"  is 
that  intended  to  be  shown.  It  would,  perhaps, 
be  well,  when  it  is  required  to  act  with  a  low 
metronomic  number,  —  for  which,  it  would  ap- 
pear, an  inconvenient  length  of  thread  must  be 
used,  —  to  look  for  ilouhle  such  number,  take  the 
length  of  thread  standing  against  it,  and  reckon 
the  time  of  two  vibrations  instead  of  one.  This 
plan  of  proceeding  will  render  it  unnecessary  to 
use  thread  longer  tlinn  twenty  inches.  The  plan  is 
not  new,  as  several  of  Dr.  Crotch's  pieces  are  so 
marked ;  but  it  will  probably  be  so  to  many  read- 
ers, and  the  scale  is  useful. 


Metronome. 

Thread. 

Metronome. 

Threnrt. 

No. 

Inches  lone. 

No. 

Inches  long 

42    .       . 

.       .      -»  3-4 

96     . 

.        .      14  1-4 

44     . 

.      7i  S-% 

100     .       . 

.        .      14 

44    .        . 

.        .      08  1-2 

104      .        . 

.        .      13 

48    .        . 

.        .      61 

108     .        . 

.        .      12 

SO    .        . 

.        .      46  1-4 

112     .        . 

.       ,      11  1-4 

42    .       . 

.        .      42 

116     .        . 

.      10  1-2 

44    .       . 

48  1-4 

120     . 

9  3-4 

M    . 

.        .      44  7-8 

12S     .        . 

.        .       8  7-8 

48    .       . 

.        .      41  S-4 

1.12     .        . 

.        .       8 

eo  .     . 

.      39  1-8 

!.•»     .       . 

.        .       7  3-8 

«  .     .. 

•        .      34  1-2 

144      .        . 

0  .3-4 

6C    .       . 

.        .      32  1-4 

142      . 

.        .        8  1-8 

€9    .       . 

.      23  1-2 

100     .        . 

.        .        4  1-2 

72    .       . 

.        .      27  1-8 

ll»     .        . 

.        .        4 

76    . 

.        .      243-8 

irs    .     . 

.       .       4  1-2 

80    .       . 

.       .      22 

184      .        . 

.        .        4  1-8 

84    . 

.       .      19  7-8 

192     . 

.1  7-8 

88    .        . 

,       .      IK  1-8 

200     . 

.        .        3  1-2 

93    .       . 

.       .      16  4-8 

A  Patent  Portable  Metronome,  invented  in  1850, 
has  come  into  use,  which  is  a  very  complete  and 
perfect  instrument  for  measuring  time  in  music. 
It  is  the  size  and  form  of  a  small  watch,  and  may 
be  carried  in  the  waistcoat  pocket,  being  similar 
to  a  si)ring  measuring  tape,  on  one  side  of  which 
are  marked  the  nvimbers  of  vibrations  in  one 
minute,  (as  in  Maelzel's  metronome,)  and  on  the 
other  the  Italian  musical  terms  in  general  use. 
From  its  moderate  price,  small  dimenisions,  and 
practical  usefulness,  it  is  adapted  for  all  classes 
of  musicians  and  singers. 

METRICAL.  That  music  is  metrical  the  phrases 
of  which  are  directly,  or  alternately,  regular  and 
equal  in  their  temporal  lengths. 

METRUM.  (G.)Tlie  measure  or  Ume. 

METRU.  A  singing-master  at  Paris  about  the 
year  1676.  The  Abb6  de  la  Louette  says,  that 
this  musician  either  invented  the  seventh  syllable, 
w",  or  brought  it  into  use  in  solmization.  Laborde 
tnakes  him  a  celebrated  chapel-master,  about 
1620  ;  perhaps  they  were  two  persons,  father  and 
ton. 

METZELIAS,  mEROXYMUS,  was  a  singer 
ftt  Stade,  obout  the  middle  of  the  seventeenth 
century,  and  also  at  Ilmenau,  in  Thuringia.  He 
was  born  in  the  principality  of  .Schwartzburg. 
His  principal  publicotion  is,  "  Compendium  Mu- 
ticet,  lam  choraiis  quam  JiguralU,  certU  quibiisdam 
jhfi-rvaiionibus,  Usque  rariorihia  einmalum,  in  stu- 
iioam  iurmtutis,  pr<rprimi»  Atfu-n/ri  Starien-iis,  scH 
it  plerorumque  omnium  Artcm  hanc  chnrjentem 
Bique  tinnientem  titientium  et  amant'um,  gratiam  et 
konorem  luci pubhca  adstiiulum,"  Hamburg,  1660. 


Tlie  work  is  in  question  and  answer,  and  io  two 
languages,  German  and  Latin. 

METZGER,  MAG.  AMBROSHJ!?,  bom  at 
Nuremberg  in  160.3,  was  rector  of  the  college  of 
St.  Egidia  there  in  1  .32.  He  was  a  good  musi- 
cian and  composer,  as  he  under-mentioned  works 
evince.  Of  these,  he  ,)ublished  the  jisalms  in  an 
advanced  age.  and  with  his  sight  impaired. 
Wagenseil,  in  his  "  Traklate  von  Shislertangem,  " 
mentions  several  melodies  with  the  name  of 
Metzger,  which  probably  the  "  Meistcisangcr  "  had 
taken  out  ol  his  "  Flowerets  of  Vetuis.  "  and  put 
words  to.  His  works  are  '•  VenxK-hlumlein,  \ster 
Theil,  tieuer  lustiyer,  wnhlicher  Liedlein  mit  4  Stim- 
men  componirt,"  Nuremberg,  1611.  "  Derselben 
2ter  Theil  mit  5  Stimmen,"  Nuremberg,  1612. 
"  Der  Psalter  Davids,  in  die  ffehranc/ilichiten 
KirchentHne  gebraeht  und  mit  100  netien  Melodien 
geziert,"  Nuremberg,  16.30. 

METZGER,  F.,  Jr.,  probably  son  of  the 
preceding,  was  also  a  flutLst  and  member  of  the 
electoral  chapel  at  Munich  ;  at  the  same  time  he 
appears  to  have  been  a  clever  composer  for  the 
piano-forte.  Some  of  his  works  have  been  repub- 
lished at  Paris,  Offenbach,  and  other  places. 
There  seem  to  have  been  two  composers  of  this 
name  living  in  1810.  In  the  "  Cahndrier  Musical 
Univers."  of  1787,  only  one  F.  Metzger  is  mentione'd 
as  a  living  piano-torte  composer  at  Paris.  There 
is  no  doubt  that  this  is  again  a  different  person 
from  the  two  Metzgers  of  Munich,  tlie  more  so  as 
the  name  of  the  flutist  Ls  Charles.  The  Parisian 
Metzger  published  "Prihtdes  pour  k  Forti-piano, 
dans  tnus  les  tons  usitis  majeurs  et  minettrs,  dicisit 
progressivement  en  deux  parlies,  composes  par  F. 
Metzger,  CEuvr.  16,"  Paris,  1800,  and,  "Le  Badeatt, 
ou  la  premiire  Entrevue  des  Empereurs  S'apoleon  et 
Alexandre,  Pitce  kistor.,  pour  le  P.  F." 

METZGER,  GEORG,  flutist  to  the  Bavarian 
court,  died  at  Munich  in  1794. 

MEUXIER.  A  violinist  of  this  name  is  found, 
in  1798,  in  the  orchestra  of  the  Grand  Opera  at 
Paris.  He  was  probably  a  composer  of  some 
violin  quartets  published  under  the  same  name 
at  Paris,  about  the  year  1783. 

MEURSIUS,  JOANNES,  royal  historiographer 
and  professor  of  politics  and  history  at  Sora,  was 
bom  at  Losdun,  near  the  Hague,  in  1.579.  He 
was  tutor  to  the  Duke  of  Berneveld's  sons  during 
ten  years,  and  visited  with  them  the  principal 
courts  and  libraries  of  Europe.  He  received  the 
degree  of  doctor  of  laws  at  Orli-ans.  On  his 
return  from  his  travels  he  became  professor  of 
history  and  of  the  Greek  language  ;  after  which 
he  was  invited  by  the  King  of  Denmark,  Christian 
IV.,  to  the  above-mentioned  situation  at  Sora, 
where  he  died  in  1639  or  1641  of  the  stone.  His 
writings  which  relate  to  music  are  as  follows  : 
"Aristoxeni  Elementa  Ilarmonira,  GrrPce,"  Leyden, 
1616.  "  Sicomachi  Enchiridion  Harmonices,  Gr<tce," 
Leyden,  1616.  "Alypii  hogoge  Musica,  Gr(Pce," 
Leyden,  1616.  "  Orchestra,  sine  de  Snltationibia 
Veterum,"  Leyden,  1618,  "Porphyrii  Philotophi 
opera  omnia,  Gripce." 

MEYERHEER.  Tliis  celebrated  composer  wb« 
born  at  Berlin,  the  .5th  September,  1794.  Hi« 
father,  John  Beer,  a  rich  landholder,  had  sever* 
children,  one  of  whom  afterwards  became  a  dr»- 
matic  poet  of  much  merit,  and  the  author  of  a 


694 


MEY 


ENCICLOP^DIA    OF    MUSIC. 


MEY 


telebratccl  tragedy  entitled  "The  Pariah."  His 
orother,  Jacques  Meyerbeer,  aLso  gave  early  indi- 
aations  of  that  dramatic  gcniuH  which,  united 
with  his  musical  talent,  made  him  one  of  the 
most  effective  composers  of  the  day.  He  enjoyed, 
through  his  father's  affection  and  foresight,  the 
advantages  of  an  extensive  and  liberal  educa- 
tion, and  soon  became  rcmai-kable  above  all  for  )iLs 
musical  taste.  At  seven  years  of  age  he  already 
perfonned  on  the  piano  at  public  concerts ;  but 
it  was  not  until  he  had  reached  the  age  of  fifteen 
that  he  commenced  his  deeper  and  more  scien- 
titic  musical  studies.  He  was  fortunate  in  his 
choice  of  a  master.  The  Abbf  Vogler,  who  was 
one  of  the  greatest  theorists,  and  certaiidy  the 
first  organist  in  Germany,  had  opened  a  school, 
wiiich  was  numerously  attended,  and  amongst 
the  fellow-pupils  of  Meyerbeer  were  young  men 
whose  names  are  never  spoken  of  but  with  the 
deepest  admiration ;  such  as  Weber,  Winter, 
Kneoht,  Kitter,  Uaensbacher,  Jtc,  and  the  first  of 
these  was  Meyerbeer's  bosom  triend.  With  such 
worthy  subjects  for  emulation,  it  is  not  wonder- 
ful that  the  young  musician's  genius  daily  ex- 
panded. At  eighteen  years  of  age  he  produced 
his  first  opera,  "La  t'i'le  de  Jephti."  In  this 
production  all  the  ancient  scholastic  rules  were 
strictly  observed.  It  obtained  a  fair  portion  of 
success,  and  the  Abbe  Vogler,  in  his  enthusiasm, 
signed  the  brevet  of  a  maestro  for  the  young  com- 
poser, adding  his  blessing,  and  giving  up  his 
tutelage. 

At  Vienna,  Meyerbeer  appeared  as  a  pianist ; 
he  acquired,  however,  such  a  reputation,  that  he 
was  intrusted  with  the  composition  of  an  opera 
for  the  court,  entitled  "  ITie  Two  Caliphs."  This, 
however,  was  a  complete  failure.  Italian  music 
was  at  that  period  in  the  highest  vogue,  and  Salieri, 
the  author,  a  great  friend  of  young  Meyerlx-er, 
advised  his  tnivelling  in  Italy,  to  acquire  a  style 
of  composition  more  in  unison  with  the  prevail- 
ing taste.  Once  arrived  there,  the  ItJilian  music 
fiiscinated  his  imagination.  Delighted  with  the 
Bweet  and  flowing  melodies  antl  varied  manner 
of  Rossini's  "  Tancredi,"  he  immediately  adopted 
this  style,  and  wrote  an  opera  lor  the  famous 
I'isaroni,  entitled,  "  liomiltia  e  C'jalanza,"  which 
he  brought  out  in  Padua,  IS  17,  and  which  was 
very  successful.  In  1819  he  wTote  the  music 
for  Metastasio's  "  Semiramitte  Ricoitosciu^a,"  and 
brought  it  out  at  the  Grand  'I'heatre  of  Turin  ; 
the  same  year,  at  Venice,  he  produced  "  Emma 
di  lieaburffo;  "  and  both  were  extremely  well  re- 
ceived. In  18'21  Meyerbeer,  not  unmindful  of 
his  native  city,  and  anxious  to  redeem  his  fume, 
wrote,  in  the  Italian  style,  "  La  I'orte  de  liraitde- 
bcur^',"  to  be  performed  at  Berlin  ;  but  ho  could 
not  succeed  in  getting  it  pro<luced  there.  He 
was  more  fortunate  in  his"  Emma  di  Heshunjo  :" 
it  was  translated,  and  perfonned  at  all  the  Ger- 
man theatres,  in  spite  of  the  violent  opposition 
af  that  school  of  composers  to  which  he  had  a 
short  time  before  belonged.  Even  Weber  de- 
plored the  change  of  stylo  of  his  friend,  and, 
while  "  Kmma "  was  performed  at  the  Italian 
Opera  House,  brought  forth  again  "  The  Two 
Caliphs  "  at  the  German  Theatre,  hoping  to  throw 
the  balance  in  favor  of  Meyerlieer's  earliest  pro- 
duction. Meanwhile  this  composer  produced 
another  opera,  •'  Slarghcrtta  (fAnjou,"  at  the  Scala 
at  Milan  ;  and  in  this,  Lcvasseur,  a  distinguished 
artist  of  the  Grand   Opera  at   Pahs,    made   his 


dibiti.  "  L'Eaule  di  Grannta  "  followe<l ;  the  first 
act  was  hissed,  on  the  first  performance,  by  a 
cabal  forme<l  against  the  com])oser;  a  fine  duet 
between  Lablache  and  Pisaroni,  however,  car- 
ried the  audience  by  storm,  and  on  the  sub.se- 
quent  nights  its  success  was  undoubted.  On* 
of  Meyerbeer's  best  coinpo-itions,  "  //  Crminta  in 
lUjilto,"  sustained  by  the  united  talent  of  Madame 
Meric-I.alande,  Velluti,  and  Crivelli,  obtained 
a  more  brilliant  succetis  than  any  of  his  preced- 
ing works,  and  the  composer  was  crowned  by 
the  audience.  This  opera,  after  making  the  tour 
of  the  Italian  theatres  was  performed  at  Paris, 
whither  Meyerbeer  himself,  at  the  invitation  of 
M.  de  la  Rochefoucauld,  repaire<l. 

Meyerbeer  married  in  1S27,  but  the  death  cf 
his  two  children  threw  a  gloom  over  this  part  cf 
his  life ;  he  passetl  two  years  in  retirement,  and 
it  was,  doubtless,  during  this  time  that  he  brought 
forth  those  compositions  of  a  more  serious  cast, 
which  have  so  higlUy  distinguished  him  as  a 
composer  of  sacred  music.  Amongst  them  we 
may  remark  the  •' Stiibal  Mater,"  "  Misfnre," 
"  Te  Ovum,"  and  an  oratorio,  entitled  "  Dieu  et 
la  Sature."  Rut  tlie  effect  of  all  these  composi- 
tions was  oidy  a  shadowing  forth  of  the  bril- 
liant success  of  "  Robert  te  Diable,"  brought  out 
in  Paris  in  1831.  This  splendid  mu.sic  did  more 
towards  raising  the  reputation  of  the  composer 
than  all  his  previous  works.  Admirably  adapted 
lor  popularity  by  its  stirring  melodies,  and,  above 
all,  its  strongly-marked  contrasts  and  dramatic  ef- 
fects, it  seized  immediate  hold  of  the  Imagination. 
Repetition  and  study  were  not  needed  to  ad- 
vance its  claims,  for  it  addressed  itself  to  the  sight, 
to  the  fancy,  and  the  heart  as  much  as  to  the  ear, 
and  though  a  marvel  of  science  and  labor,  it  had 
every  quality  for  attracting  the  vulgar  mind. 

The  composition  of  the  "  Huguenots,"  brought 
out  five  years  later,  must  have  been  a  work  of 
considerable  ditticulty,  fir  an  enormous  reputa- 
tion was  to  be  sustained  in  a  production  of  the 
same  calibre  and  pretensions.  "The  success  of  the 
"  Hufjueiuita "  did  not,  perhaps,  equal  that  of 
"  Rttbert  le  Diable,"  but  it  was  felt  and  understood 
as  a  work  of  genius.  Ills  "  Prophite "  main- 
tained the  reputation  of  those  two  operas,  and 
all  three  are  reigning  favorites  on  the  French  and 
English  operatic  stage. 

Certainly  the  best  operas  of  Meyerbeer  are 
those  he  had  written  for  the  French  stage.  In 
his  native  country  he  was  unfortunate :  having 
returned  there  after  a  great  lapse  of  years,  his 
most  ambitious  production  was  the  "  Camp  of 
Silesia,"  of  which  so  many  different  opinions 
have  been  given.  But  it  Is  beyond  a  doubt  that 
this  opera  is  inferior  in  genius  to  the  great  pro- 
ductions we  have  mentioned  ;  and  this  is  testified 
by  the  unfret}uency  of  its  performance  at  Bcrhn ; 
the  reason  given  by  the  King  of  Prussia  —  that  of 
wishing  to  reserve  it  for  state  occasions  alone  —  ap- 
pearing to  l)e  merely  as  a  feint  to  conceal  the  com- 
parative failure  of  a  composer  so  highly  esteeme*! 

Meyerbeer,  tliough  enormously  rich,  lives  in  I 
most  unpretending  style,  and  is  not  very  partial  t« 
society.  He  carries  his  love  for  his  art  to  an  ex- 
traordinary decree.  In  other  things,  he  is  quiet 
and  simple  in  his  manners,  but  posscssos  a  fund  of 
good  sense  and  general  information.  He  it 
small  of  stature,  his  hair  U  black,  and  his  fac« 
bears  the  X.y\>e  of  las  Hebrew  origin. 

Much  of    the   peculiarity   of    this   compoMr 


695 


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ENCYCLOPAEDIA    OF   MUSIC. 


MET 


production!"  may  be  explained  by  refprrins  to  the 
hi.story  of  his  lilc,  his  early  studies,  and  jjredi- 
lections.  In  his  works  may  be  trftce<l  the  deep 
Hcience  and  thorouj^h  musical  knowledge  which 
he  acquired  in  the  outset  of  his  career  —  the  seu- 
timentil  Rweetness  of  the  Italian  school,  and  the 
profusion  of  embroidery,  the  employment  of 
dramatic  effects,  characteristic  of  the  musical 
taste  of  the  French  nation,  amongst  whom  he 
produced  his  later  compositions.  At  the  head  of 
his  style  of  musical  art,  he  may  be  said  to  have 
founded  the  school  to  which  he  belongs.  But 
greatly  as  the  productions  of  this  composer  must 
be  admired,  his  followers,  not  possessing  his  gen- 
ius, will,  it  is  to  be  feared,  rather  injure  than 
forward  the  advancement  of  pure  musical  taste. 
The  peculiarities  of  his  style,  indeed,  are  such  as 
will  i)e  readily  resorted  to,  for  reasons  far  differ- 
ent from  those  by  which  he  was  actuated  ;  for  in 
finding  the  possibility  of  substituting  noLse  for 
melody,  and  startling  contrast  and  effect  for  truly 
scientific  combinations,  many  a  composer,  who 
would  otherwise  have  lived  unsung,  may  be  in- 
duced to  offer  his  meagre  and  trashy  productions 
to  the  world. 

MEYER,  JOACHIM,  was  a  doctor  of  laws  and 
])rofcssor  in  the  university  of  Gottingen,  where, 
in  168fi,  he  was  also  appointed  professor  of  music 
and  cantor  tiguralis.  He  held  these  places  for 
about  ten  years,  when,  retaining  only  the  title  of 
professor  of  music,  he  relinquished  the  practice 
of  it,  and  gave  public  lectures  on  history  and 
law.  He  afterwards  became  rector  of  the  college, 
but  at  the  end  of  three  years  quitted  that  honor- 
able station,  on  account  of  his  age  and  infirmi- 
ties, when,  as  a  reward  for  his  merit,  he  was  still 
permitted  to  enjoy  all  his  salaries,  with  the 
addition  of  a  pension. 

In  the  year  1726,  he  published  a  tract,  entitled 
"  Unvorgreifliche  Gedanken  tiber  die  Xculiche 
eingerissetu:  Thtalralische  Kirchen- Music,"  in  which 
he  severely  censures  many  of  his  contemporaries, 
who,  by  the  levity  of  their  compositions,  had 
confounded  the  ecclesiastic  with  the  theatrical 
style. 

MEYER,  JOHANN  FRIEDMCH,  bass  singer 
and  composer  in  the  chapel  at  Anspach,  in  1730, 
was  born  about  the  year  1704  :  he  was  pupil  of 
the  chapel-master  Bumler.  He  was  also,  for  some 
time,  in  Italy,  and  obtained,  on  his  return,  the 
above-named  sit>iation.  He  was  not  only  a  good 
harpsichord  player,  but  also  understood  composi- 
tion well. 

MEYER,  JOHAXX  HEINRICH  CHRIS- 
TIAN', lieutenant  in  the  Hanoverian  regiment  of 
SaxcGotha,  was  born  at  Hanover  in  1741.  He 
i«7:i*e,  besides  other  works,  " Brief  nber  litisslami," 
Gottmgen,  1779,  in  wWch  he  treats  much  on 
music.     He  died  in  1783. 

MEYER,  PHIL..  Sen.,  was  born  at  Strasburg, 
in  Alsatia,  in  the  year  17.37.  At  an  early  age  he 
was  sent  to  the  college,  destined  to  study  divinity 
for  the  Protestant  church  establishment ;  there 
he  soon  joined  more  students,  who,  from  a 
pretUlection  to  music,  were  accepted  to  assist  in 
the  vocal  department  of  the  church  service,  and, 
by  degrees,  was  more  successful  than  others  in 
getting  instructions  on  the  organ  from  the  organ- 
iKt  He  thus  acquired  the  foundation  of  his 
musical  knowledge  of  the  German  school,  and 


cultivated  it  as  much  as  opportunity  was  allowed 
him,  consistent  with  college  duties,  till  abou 
twenty  years  of  age,  when,  meeting  by  acciderl 
with  an  old  German  harp  without  pedals,  he 
took  so  much  pleasure  in  playing  on  it,  as  tc 
confirm  his  strong  musical  inclination  so  decided- 
ly, that  he  left  college  with  a  restdution  to  devote 
himself  to  the  musical  profession,  and  for  that 
purpose  went  to  Paris,  as  the  seat  of  the  arts. 
He  there  met  with  early  encouragement,  but 
found  the  harp  very  little  known,  and  very 
incomplete  :  the  occasional  semitones  were  then 
produced  by  means  of  hooks  turned  wit!  the 
left  hand,  which  operation,  during  the  conl-na- 
ance  of  performance,  rendered  the  resources  of 
modulation  extremely  conftned.  Meyer  now 
applied  himself,  with  the  assistance  of  an  instru- 
ment maker,  to  improve  the  harp.  Two  and  three 
pedals  were  at  first  added,  and  after  progressive 
additions,  Naderman,  father  to  the  esteemed 
professor  of  that  name  at  Paris,  brought  the  seven 
pedals  to  perfection.  By  this  time  the  harp  was 
very  much  cultivated  at  Paris ;  several  other 
makers  succeeded,  and  Meyer  published  the  first 
principles  of  the  instrument,  entitled  "Mdt/iode  de 
la  Harpe,"  which  was  long  esteemed  by  the  first 
professors  as  a  sure  guide  to  that  instrument. 
Some  sonatas  also  established  his  claim  as  a 
composer.  About  this  time  he  took  the  oppor- 
tunity of  studying  with  Muthel,  an  esteemed 
pupil  of  S.  Bach's,  who  visited  Paris  on  a  musical 
tour.  He  then  went  to  Strasburg,  married,  and 
returned  to  Paris,  where,  after  a  few  years,  he 
was  tempted  by  an  English  family  to  visit  Lon- 
don. He  there  found  the  pedal  harp  hardly 
known  ;  and  soon  met  with  so  much  encourage- 
ment among  the  first  nobility,  that  he  made 
London  his  principal  abode  for  several  jears,  till, 
(while  on  a  visit  to  Strasburg,)  the  American  war 
breaking  out,  he  was  induced  to  remain  in  France, 
and  again  to  go  to  Paris.  Finding,  however, 
that  during  his  absence  Krumpholz  and  several 
other  professors  had  taken  possession  of  the  field 
of  his  former  exertions,  and  lieing  encouraged  by 
his  professional  friends  to  write  for  the  opera,  he 
then  followed  his  favorite  propensity  for  compo- 
sition by  .setting  to  music  a  poem  of  one  act,  by 
Mr.  Pitra,  entitled  "ApoUcn  ct  Daphne."  Tlds 
first  attempt  succeeded  sufficiently  to  procure 
hlra,  from  his  style,  the  appellation  of  Young 
Ghick,  and  an  introduction  to  Voltaire,  for  the 
purpose  of  composing  the  music  to  a  serious 
opera,  entitled  "  Samson."  This  was  to  decide 
his  fame,  but  unfortunately,  when  on  the  point 
of  its  being  finished,  Voltaire  died  ;  in  consequence 
of  which,  the  offence  which  that  writer  had  givoi 
to  the  clergy  manifested  itself  against  the  per- 
formance of  this  opera,  on  account  of  the  subject 
being  taken  from  Scripture,  and  it  was  interdicted. 
This  proved  so  serious  a  check  to  P.  Meyer's 
musical  ambition,  that  he  resolved  to  return  to 
London  with  his  family  about  the  year  1784. 
Here  also  he  found  his  princijial  former  connec- 
tions provided  with  other  masters ;  and  as  he  had 
neglected  a  talent,  which,  at  the  best  of  times, 
through  his  insurmountable  timidity,  proved 
ungrateful  to  him,  he  gave  up  all  pretensions  as 
a  performer,  and  trusting  entirely  to  the  reputa- 
tion of  his  works,  always  met  with  distinguished 
patronage  as  a  teacher,  until  his  two  sonS  followed 
his  steps.  He  died  in  1819,  aged  82.  P.  Mcyei 
was  a  stanch  enthusiast  of  the  German  school 


596 


MEY 


ENCYCLOPAEDIA    OF    MUSIC. 


>   IC 


aiid  in  hLs  compositions,  which  particularly  claim 
originality,  he  obstinately  avoided  the  florid 
changes  of  the  modern  style  and  tiisto,  and  the 
continued  esteem  of  his  music  at  the  present  time 
IB  a  fair  test  of  their  intrinsic  value.  His  prin- 
cipal works  arc  "  .Sir  CanzDiiettaa,  with  AccODipani- 
tnent  of  t^k  small  Harp,"  the  words  chosen  by  Mr. 
Fox.  In  this  set,  "Thy  fatal  shafts"  was  very 
popular  for  some  time.  A  set  of  sonatas,  entitled 
'■' Origiiial  Soiuxtas."  "Ditto,"  dedicated  to  the 
Countess  of  Oxford.  "  Ditto,"  dedicated  to  Lady 
Whitbread.  "  La  Chasse."  "Tico  Urand  Stmala-i, 
with  Accompaniment,"  dedicated  to  Miss  Staples. 
"A  Collection  of  Ilymm  for  Harp  and  Piano-forte," 
dedicated  to  Princess  Charlotte.  Several  fugues, 
which  are,  perhaps,  the  only  music  of  that 
description  published  for  the  harp.  "  Ttco  Duets," 
dedicated  to  Mrs.  Walker.  &c. 

MEYER,  P.,  Jr.,  son  of  the  preceding,  wa«  an 
excellent  harpist  in  the  style  of  Madame 
Krumpholz.  He  has  published  some  music  for 
his  instrument. 

MEYER,  FRIEDRICH  CHARLES,  young- 
er  brother  of  the  preceding,  was  also  a  professor 
ct  the  harp,  and  has  published  some  very  pleas- 
ing sonatas  for  that  instrument. 

MEZZA  13RA\"URA.  An  expression  used  by 
the  Italians  to  signify  an  air  of  moderate  passion 
and  execution. 

MEZZA  VOCE.  (I.)  An  expression  signi- 
fying that  the  movement  before  which  it  is  writ- 
ten is  to  be  sung,  or  played,  with  a  moderate 
strength  of  tone,  and  in  a  delicate,  pleasing 
manner. 

MEZZO.  (I.)  Half,  middle,  mean.  This 
word  is  generally  u.^ed  in  conjunction  with  some 
other  ;  as,  mezzo  forte,  moderately  loud  ;  mezzo 
piano,  rather  soft.  \Vhen  WTitten  alone,  and  ap- 
plied to  the  grand  piano-forte,  it  denotes  that  the 
pedal  is  to  be  used,  avoiding  one  of  the  sets  of 
strings. 

MEZZO  CAR.\TTERE.  (I.)  An  expression 
applied  to  airs  of  a  moderate  cast  in  point  of  exe- 
cution. To  excel  in  the  mczz(j  varatlere,  it  is  ne- 
cessary to  have  a  tolerable  acquaintance  with 
the  cantabile  and  the  bravura  styles ;  to  be  able 
to  swell  and  diminish  a  note,  and  to  run  ea.sy 
divisions  with  neatness  and  precision. 

MEZZO  SOPRANO.  {I.)  ITie  middle  species 
of  the   female   voice.      Below   the    soprano   or 

treble. 

MEZZO  SOPR-VNO  CLEF.  The  name  given 
to  the  C  clef  when  placed  on  the  second  line  of  the 
staff,  in  order  to  accommodate  the  mezzo  soprano 
voice,  which  is  a  treble  voice  of  a  moderate  or 
somewhat  low  scale. 

MI.  The  syllable  applied  by  Guido  to  the 
third  note  of  his  hexachords.  In  the  natural  hex- 
acliord  it  is  expressed  by  the  letter  E,  and  is  the 
third  note  of  the  major  scale. 

Ml  CONTRA  KA.  (L.)  Trrmi  •nplird  by  •ncltnt  thrnriitu  In 
ffil  liiUr  reUtioiif  b.-twrt'n  the  n*»lrt  of  onr  rhorft  ■»  mmmreU  »ilh 
tie  notv*  of  Uiat  which  immctlutely  pircrdetl  or  fullowrd  iL 

MICHAEL,  S.VMVEL,  ori;anist.  abovit  the 
7ear  1«);)0,  in  St.  Nicolas  Church,  at  Leipwic,  was 
x>rn  at  Dresden.  Of  hi.'*  works  are  known 
'  Psalmodia   Reyia,   oder  austrletne   SprUche    au.i 


den  25  Psalmen  Dacids,  mil  2,  3,  4  und  5  Stimi  en, 
beydes  voraliter  und  auch  instrumentaliter  zu  ge- 
brauchen,"  Loipsic,  1032 ;  and  '*  J'aduanen  snd 
Ualiiarden,"  &c. 

MICHAELIS,  CHRLSTIAN  FRIEDIUCH, 
son  of  a  physician  at  Lcipsic,  professor  of  {Jii- 
losophy,  and,  in  the  year  1801,  private  tutor  to  a 
nobleman  near  Potsdam,  was  bon>  at  Ix'ipsic  in 
1770.  He  received  liis  general  musical  education 
under  AVcidenhammer,  DurgraUllcr,  and  Goer- 
ner,  learning  the  violin  of  Koke.  MichaeUs  has 
given  lectures  on  mu.sic  in  Ixipsic ;  he  has  also 
published  many  scientilic  works  relative  to  music, 
and  some  instrumental  compositions. 

MICHAULT,  or  MICHAUD,  a  French  violin- 
ist, published,  in  1780,  his  Op.  2,  comprising  six 
duos  for  the  violin.  Another  mu.sician  of  the 
same  name  distinguished  himself  on  the  horn 
about  the  year  1788. 

MICHEL,  YOST,  a  celebrated  performer  on 
the  clarinet,  die<l  at  Paris  in  178G.  He  wrote 
many  operas  for  his  instrument,  amongst  which 
can  be  named,  "  Quatorze  Concerti  pour  la  Clari- 
nette  ;"  "  (:inquante-r/ua(re  Duos  pour  deux  C'lari- 
nettes,"  Ops.  1,  2,  3,  4,  5,  6,  7,  8,  9 ;  "  Petits  Airs 
varits  pour  deux  Clar. ;  "  all  printed  at  Paris.  In 
1801  a  selection  from  the  compositions  of  this 
master  were  published  under  the  title  "  Doaze 
Grands  Solos,  ou  Etudes  pour  la  Clarinetle,  choisis 
dans  les  Ouvrayes  du  ciltbre  Michel,  pour  servir  d 
ceux  qui  veulent  parvenir  toules  les  diJfictUtis  de  eel 
instrument,"  Paris. 

MICHEL,  FRANZ  LOUIS.  A  flutist,  in  the 
year  1774,  in  the  Imperial  Chapel  at  .St.  Peters- 
burg. He  belonged,  also,  in  17S8.  to  the  chapel 
of  Count  Potemkin  at  Henda,  previously  to  which 
he  was  second  to  his  elder  brothers  in  the  chai)el 
at  Cassel. 

MICHEL,  GEORGE,  the  youngest  of  the 
celebrated  musical  family  of  this  name,  from 
Cassel,  was  born  in  177.5.  He  was  considered  by 
Gerber  as  one  of  the  tirst  flutists  he  ever  heard. 
He  was  invested  with  the  title  and  rank  of  cap- 
tain of  the  Imperial  Chapel  at  St.  Petersburg. 
G.  Michel  was  in  London  about  the  same  time 
that  Havdn  resided  there.  In  the  ye.ir  ISOO,  he 
undertook  a  s«!Cond  journey  from  .St.  Petersburg 
to  Ix)ndon,  in  the  course  of  which  Gerber  became 
acquainted  with  him  at  .Sondcrshausen.  His 
flute  was  one  of  the  most  costly  descrii)tion,  of 
ebony,  mounted  with  ivory,  and  furnished  with 
eight  silver  keys  ;  it  was  made  in  London,  after 
the  style  of  Tacet-s  and  the  elder  Florio.  It  had 
a  compa.ss  from  C  up  to  the  highest  notes  of  the 
third  octave,  with  which,  as  occasion  rojuircil, 
he  could  produce  the  effect  of  a  trumpet,  or  the 
soft  tone  of  the  harmonica.  G.  Michel's  pert'orra- 
ance  was  greatly  admireil  in  England. 

MICHEL,  VIRGIL,  violonceUist  in  the  EUo- 
toral  Chapel  at  .Munich,  about  the  year  17^8, 
composed  for  the  theatre  of  that  place,  a  serio'.u 
German  o^iora,  entitled  "  Marcio  CoriuUino,"  17(6. 

MK'HEI.ET,  F.  G.,  a  musician  at  FrnnecVjr 
in  Frie<land,  was  hrttn  in  1730.  He  publLnh-d 
much  hnrjihichord  music  at  .-Vmstcrdam,  ab<  % 
the  year  17i)0. 

MICHELI,  or  MICHIELL  DOM.  ROMANO 
chapel-master  oi    the  cathedral  church   Ut  C'<m 


fi97 


MIC 


ENCYCLOPEDIA    OF   MUSIC. 


Mil 


eordia,  at  Rome,  was  born  in  that  city.  He  ■was 
•  pupil  of  Soriano,  and  flourished  in  the  first 
half  of  the  seventeenth  centurj',  as  one  of  the 
most  accomplished  canonists.  The  best  proof  of 
this  is  given  in  his  '<  Miuica  vaga  et  artificiosa," 
the  complete  contents  of  which  have  been  com- 
municated by  Hurney,  in  the  third  volume  of 
his  history,  p.  ."j'iO.  This  work,  likewise  contains 
a  copious  preface,  in  which  the  author  relates  the 
history  of  his  musical  li!e,  and  the  names  of  all 
the  great  men  from  whom  he  derived  advantage 
in  his  science.  As  these  names  include  the  first 
contrapuntists  and  canonists  of  Italy  at  that 
]>  riod,  they  well  merit  a  place  here.  Micheli 
1  .'lates  as  follows  :  At  Venice  he  made  acquaint- 
ance with  Gio.  Gabriclli,  Gio.  Croce,  and  other 
celebrated  men.  At  Naples,  where  he  resided 
with  the  Prince  of  Venosa,  he  became  acquainted 
with  Scipione  Stella,  Gio.  Battista  Paulo,  Muzio 
Effrera,  and  Pomponio  Nenna :  at  the  same  time 
Partolomeo  Koi  was  chapel-ma.ster,  and  Gio. 
Maque  organist  to  the  vice  queen.  Rocco  Rodio, 
Scipione  Cerreto,  Giustin-auo  Corcella,  and 
Domenico  Moiitella  flourished  also  at  that  time 
as  profound  musicians.  In  Ferrara,  he  was  ac- 
quainted with  Luzzasco  Luzzasci,  Fierone  Fioron, 
Gio.  Mazziiio,  the  chapel-master  of  the  Dome  at 
Lodi ;  also  withPietro  Morsolo,  and  other  learned 
artists.  At  Milan,  where  he  resided  a  year,  he 
found  D.  Fulgentio  Valesi  Parnegiano  very  ob- 
servant iu  the  composition  of  canons,  also 
Gugliclmo  Arnone  and  Cesare  Borgo,  at  that 
time  organist,s  to  the  metropolitan  church.  At 
Rome,  he  became  acquainted  with  the  Spanish 
musician  Seba.stinn  Raval.  When  Raval  went 
to  Rome,  says  Micheli,  as  he  had  not  yet  met  with 
his  equal  iu  Italy,  he  considered  himself  to  be 
the  first  master  in  the  world,  and  therefore  chal- 
lenged Francesco  Soriano  and  Gio.  Maria  Xanino 
to  a  comjietition  of  knowledge  in  the  science. 
Hut  he  was  overcome  in  the  first  attemjjt ;  so  that 
Raval  was  afterwards  compelled  to  acknowledge 
Soriano  and  Nanino  to  be  great  maestri.  Micheli 
enriched  canonical  music  with  various  new  inven- 
tions, and  brought  it  to  the  highest  perfection,  as 
his  works  fully  prove ;  from  amongst  which  the 
following  may  be  named  :  "  Miisica  vaija  et  artiji- 
cio.ia,  continenle  Motetticon  obliijhi,  e  Canoiti  diversi, 
tanto  per  quelli,  che  si  dilvttano  scntire  varie  curi- 
ositii,  quanta  per  quelli,  qtie  vorrantio  professare 
d' intcndere  diversi  sttulii  delJa  Miisica,"  Venice, 
1615  ;  "  Coinpictaa  6  vocr,"  Venice,  1616;  "  Kaiton 
filr  9  Chore  mit  36  Slimmcn  ;  "  "  Motetto  in  Canone, 
'  Amo  Christum,  ifc.,'  d  3  vuci,  2  Sopr.  e  Basso,  con 
Continiio ;  "  "  Motetto  in  2  Canoni  infiniti,  '  iiancte 
Chenibi'te,  ice.,'  i  4  Soprani;"  "Motetto,  '  Vcni, 
tponsa  ^hristi,  *rc.,'  n  5  voci,  fi^prano  con  Pobligo 
Sopr.  A.,  Ten.,  B.,  ed  Orgaiio ;  "  "  Motetto,  '  O  quam 
pulcher,  ire.,'  a  5  voci,  3  Sopr.  A.  Ten. ; "  "  M.idri- 
(jnli  r)  6  voci,"  Venice,  1567  ;  "  Madrigali  a  5  voci," 
Venice,   1581. 

MICHELI,  HEXEDE1TO,  of  Rome,  composed 
and  brought  out  at  Venice,  in  17Ki,  the  oi)era  of 
"  Zenobia,"  the  words  by  Mctaslasio. 

MICHL.  JOSEPH.  A  dramatic  and  church 
composer  at  Prague,  about  the  year  1760. 

MIGNAUX,  or  DEMIGXAUX,  a  musician 
at  Paris,  published,  in  1774  and  1775,  much 
music  lor  the  harpsichord,  harp,  and  violin. 

MIXjNOX,  JE  ax,  chapel-master  in  the  church 


of  Xotre  Dame,  at  Paris,  about  the  year  1679 
■wTote  several  motets,  which  at  that  time  were  con 
sidered  exquisite. 

MIGXOT,  DE  LA  A'OYE,  a  French  geome- 
trician,  wrote,  about  the  middle  of  the  seventeenth 
century,  "  Traiti  de  la  Musiqite,  jMitr  apprendre  d 
composer  a  ptusieurs  parties,"  Paiis,'  1659.  A 
second  and  enlarged  edition,  with  a  fourth  vol- 
ume, was  published  at  the  same  place  in  1666. 

MIKSCH,  a  singer  at  Dresden,  about  the  yeai 
1799,  published  the  rondo  "  Endlich  hab  ich  sit 
fiefunden,  am  Klavier  zu  sinrjen,"  i.  e.,  At  last  1 
have  found  it,  &c.,  published  at  Lcipsic,  by 
Breltkopf,  in  1797. 

MILAX,  DOX  LUD0^^CL^S,  a  Spanish  no- 
bleman and  musical  amateur  at  Valencia,  in  the 
first  half  of  the  sixteenth  century,  published  "  Ei 
Maestro,  o  Musica  de  Viguela  de  Mano,"  Venice, 
1534. 

MILAXI,  FRANCESCO,  a  composer  of  the 
seventeenth  century,  published  "  Litanie  e  Motittt 
a  8  voci  con  B.  C." 

MILAXOLLO,  TERESA  and  MARL\. 
These  two  wonderful  sister  violinists  were  bom 
in  Milan.  An  interesting  anecdote  has  been  told 
in  relation  to  the  circumstances  which  first. in- 
duced Teresa  MilanoUo  to  study  the  violin. 
When  attending  a  musical  mass  at  Savigliano,  in 
Piedmont,  (her  native  country,)  being  at  that 
time  about  four  years  old,  she  was  much  struck 
by  a  solo  on  the  violin.  No  sooner  was  the  ser- 
vice over  than  she  expressed  to  her  lather  her 
desire  to  learn  this  instrument.  Her  father  ex- 
plained to  her  that  the  piano  and  harp  were  more 
suitable  to  a  female  ;  when  she  exclaimed,  "  O, 
it  is  the  violin  that  I  love  !  "  This  extraordinary 
predilection  induced  her  father  to  engage  a  mas- 
ter, under  whose  instruction  she  made  great  prog- 
ress ;  and  at  the  age  of  six  she  gave  a  concert 
in  her  own  country.  She  then  gave  concerts  at 
Marseilles,  Paris,  and  in  Holland,  wth  immense 
success,  and  went  to  London  when  scarcely  eight 
years  old.  .\.t  Lille,  where  a  medal  was  struck 
to  her  honor,  her  sister  Maria,  then  aged  six  years, 
was  heard  for  the  first  time.  They  played  to- 
gether in  the  north  of  France,  and  at  Paris,  and 
visited  Germany  and  ])art  of  Italy.  In  Germany 
they  gave  two  hundred  and  fifty  concerts.  After 
their  arrival  in  London,  both  were  elected  hon- 
orary members  of  the  Beethoven  Quartet  Society ; 
a  distinction  only  conferred  upon  foreign  per- 
formers on  the  violin  of  first-rate  talent.  The 
younger  sister  died  in  Paris  in  1848,  at  the  age 
of  si.xteen.  Teresa  was  still  giving  concerts  in 
Germany,  Hungary,  Switzerland,  &c.,  with  great 
success,  in  1853. 

MILAXTA,  GIO.  FRANCESCO,  a  composer 
of  the  seventeenth  century,  published  "  Missa, 
Salmi,  e  Motetti  con  Sinfouic,  a  1,  2,  3,  4,  5,  e  8 
voci  concert.,"  Op.  1. 

MILAXUZIO,  CARLO,  a  monk  of  Santa  Xa- 
toglia,  W.1S  originiilly,  about  1628,  organist  of 
St.  Slelfano's,  at  Venice,  but  afterwards  became 
chapel-master  of  St.  Euphemia's,  at  Verona.  He 
proved  himself  an  industrious  church  composer, 
as  the  following,  among  his  works,  will  evince  . 
"  Arnu>nia  ."sicra  h  5  voci,  con  Messa  e  Canzoni," 
Venice,  1622.  •'  Litanie  delia  Madonna,  A  4-S 
voci."     "  Compieia  ConcerUita  con  le  Antifone  e  Lita 


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Hie,  d  1,  2,  3,  e  4  voci."  "  BalleUi,  Saliarelli,  e  Cor- 
reritine  alia  Francese  d  1  V.  Lib.  I."  "  Ariose  I'a- 
^Atfzje,"  Venice,  1628.  "  Messe  A  3,  7.  «  11  voci, 
con  ItutrofHcnli,"  Venice,  1629.  "  (.'oncerto  Sacra 
di  Salmi  d  2  e  3  voci,  con  B.  Lib.  1."  "  Salmi,  d  2 
voci,  con  B."  "  Concerto  Sacro  di  Salmi  it  'i  e  Z 
voci,  con  2  f.  Lib.  2."  "  Horlas  Sacer  deliciarum 
$eu  Moletti,  Litaniie  et  Misaa,  1,  2,  el  3  vociim." 

MII.CITMAYEU,  JOII.  PETER.  In  his  Inst 
works  he  names  himself  court  musiciiin  to  the 
Elector  of  Bavarin,  and  professor  of  tlie  hnrp.  He 
lived  at  Dresden  in  1799.  He  apijcars  to  have 
been  born  about  the  year  1750,  as  in  1797  he  de- 
clares he  had  been  giving  in»>tructioaa  twenty 
years  on  the  harpsichord. 

MILES,  MRS.,  formerly  MISS  GUEST.  This 
celebrated  professor  of  the  piano-forte  watt  a  native 
of  Bath.  She  began  her  musical  career  at  the 
age  of  five  years  and  a  half,  with  progressive 
talent  and  success.  At  the  age  of  fourteen  she 
visited  London  to  take  her  tinishing  instruction 
from  that  liighly-gifted  master,  John  Christian 
Bach.  The  talent  ot  this  lady  was  universally 
acknowleilged  and  confirmed  by  the  approbation 
of  their  majesties,  to  whom  she  was  introduced  at 
an  early  period,  and  suhseciuently  attended  the 
princesses  regularly  at  Weymouth.  In  the  year 
1806,  Mrs.  Miles  was  honored  with  the  high  and 
dattering  anpotntment  of  instructress  to  her  royal 
nighness  Princess  Charlotte,  in  consequence  of 
wliioh  she  removed  from  Bath.  I'he  publications 
of  this  lady  are  not  numerous,  but  her  sonatas, 
dedicated  to  her  illustrious  scholar,  have  been 
handsomely  reviewed  in  the  journals  of  the 
time.  Her  mauuscri|)t  concertos,  which  she 
reserved  for  her  owni  performance  exclusively  at 
the  Bath  concerts,  under  the  direction  of  Rauz- 
zini,  have  given  proof  of  genius  in  composition. 

MILHEYRO.  ANTONIO,  a  Portuguese  com- 
poser, born  in  Braja,  tlourished  in  the  beginning 
of  the  seventeenth  century,  lie  was  first  chapel- 
master  to  the  cathedial  church  at  C'oimbra,  and 
alterwards  at  Lisbon,  but  at  length  became  canon. 
He  published  the  following  works  :  "  Rifuale  Ho- 
tiMnum,  Pmili  V.  ju.uu  edit  urn,  siibjuncta  Mitsa  pro 
dej'itnctis  a  se  miuicis  hmhi/Tm  adaptata  cantuque  ad 
ijeneraUm  rtgni  consiielwiinein  reilacto,"  Coimbra, 
1618.  The  rest  of  his  musical  works  are  partly 
to  be  found  in  the  library  of  Francisco  de  Valla- 
d  ilid,  and  partly  in  the  royal  musical  library  at 
Uiibon. 

MILITARY  MUSIC.  The  origin  of  military 
music  takes  us  back  to  the  most  remote  anti({uity. 
Every  nation  in  ancient  times  had  its  peculiar 
iustruracnis  of  music,  and  its  national  .songs. 
These  songs  invariably  refer  to  the  splendid  vic- 
tories gained,  memorable  battles  fought,  cele- 
brated sieges  carried  on,  or  the  eminent  services 
of  some  individual  hero.  The  name  of  the  sol- 
dier and  the  otKcer  who  effected  a  deed  of  renown, 
stood  in  glory's  celebration  beside  that  of  the 
general  who  commanded.  With  the  .Spartans, 
the  song  of  Castor  was  the  signal  for  combat ; 
the  Romans  took  cities  to  the  sound  of  the  trum- 
pet and  t!ie  horn  ;  the  Egyptians,  Arabians,  and 
ancient  Ciermans  combat(><l  to  the  noi.se  of  drums, 
the  sound  of  the  flute,  the  cymbal,  and  the  clari- 
on. The  Greeks  borrowed  the  four  principal 
tones  of  their  music  from  'Jie  Phrygians  and 
Lydians.    The  tirst  of  these  tones  or  notes  was 


very  grave ;  it  was  that  which  waa  used  in  wai 
and  in  all  public  ceremonies.  In  the  ancient 
times,  and  among  ditt'erent  people,  each  instru- 
ment had  its  peculiar  destination  or  intention. 
The  Chinese,  in  their  war  music,  employed  bclLi 
and  triangles.  With  tlie  Romans,  the  cornet 
called  the  time  of  decampment ;  the  bwjU  an- 
nounced tlie  coming  of  the  general;  the  trumpet 
indicated  the  asemliling  of  the  troops ;  and  the 
horn  the  signal  of  retreat.  It  was  to  the  noLso 
of  the^.e  instruments  combined,  discordant,  shrill, 
deafening,  that  they  threw  themselves  into  the 
ranks  of  the  enemy.  Among  the  Egyptians 
bells,  in  conjunction  with  timbrcl.s,  s  rved  to 
form  a  species  of  military  harmony.  The  Hebrew 
soldiery  employed  tlie  horn,  the  trumjiet,  the 
timbrel,  the  tijinpanum,  and  the  sackbut,  an  i)i- 
strument  somewhat  resembling  the  trombone. 
ITie  music  attached  to  the  Roman  legions  had 
made  much  progress  at  the  time  of  the  conquest 
of  the  Gauls ;  but  to  date  from  this  ejwch,  we 
find  it  becoming  more  and  more  feeble.  The  sol- 
diery of  France  received  and  ])reservcd  the  clarion 
and  trumpet  of  Ciesar's  armies  ;  but  the  custom 
of  making  use  of  music  wsis  insensibly  lost.  At 
the  commencement  of  the  middle  ages,  the  in- 
struments handed  down  and  jjrcservcd  were  u.se- 
ful  merely  in  rallying  the  soldiers,  calling  them 
to  battle,  and  making  them  endure  with  gayety 
the  fatigues  of  a  march.  At  this  time  the  method 
of  the  Romans  had  entirely  di.sa]>i)eared.  About 
this  ])eiiod  the  French  minstrels  began  occasion- 
ally to  accompany  the  troops  to  battle.  Their 
instruments  were  the  rebvc,  a  little  thi'ce-stringed 
violin,  bagpipe,  and  Jtntv,  or  ]npe.  About  the 
year  1330,  they  began  to  use  the  clarion,  an  in- 
strument derived  from  the  Moors,  who  transmit- 
ted it  into  Portugal  from  Africa.  The  cornet, 
another  war  instrument  of  the  ancient.s,  made  its 
reappearance  about  the  same  time.  It  was  about 
this  time,  also,  that  the  adventurous  Italian  bands 
recovered  the  usage  of  military  music,  which 
soon  expanded  itself  among  the  other  nations  of 
Euroi'.c.  To  the  drums  and  trumpets  they  joined 
the  flute,  fife,  and  pandean  pipe.  The  drum  was 
played  with  a  single  stick.  At  the  end  of  the 
fifteenth  century  they  began  using  regular  band.s 
of  music  in  the  army.  The  bagpipe,  invented  in 
the  thirteenth  century,  and  the  violin,  were  add- 
ed about  the  commencement  of  the  sixteenth. 
The  invention  of  this  first  instrument  belongs  to 
the  .\lps  or  Piedmontcse  inhabitants.  In  l.i3o 
the  Swiss  introduced  into  France  the  fife,  which 
served  to  accomjjany  the  diuius,  and  the  usaije 
of  which  Ls  preserved  t'>  thLs  day  among  the  ar- 
mies of  many  nations.  In  the  seventeenth  cen- 
tury we  meet  with  the  hautboy,  an  instrument  of 
(icrmau  origin,  given  to  the  dragoons  and  mu.s- 
keteers  of  the  guard.  We  are  indebted  to  the 
Hungarians,  and  through  them  to  the  eastern 
nations,  for  the  kettledrum,  the  brusmn,  the  true 
jliUe  ;  for  the  tambturinr,  to  the  Italians ;  the 
modern  horn,  to  the  Hanoverians  ;  for  the  cymhaU 
and  big  drum,  to  the  Turks.  The  adoption  of 
these  la.st  two  instruments  and  the  kcttle<lrums, 
gave  the  name  of  Turkish  music  to  our  military 
music.  The  combination  ot  their  instruments 
«-ith  the  cavalry  trumiK-t  constituto<l,  nt  the  l>c- 
ginning  of  the  eighteenth  century,  the  entire  mu- 
sical scheme  of  our  irnops.  Then  each  battalion, 
each  com|<any,  had  its  particular  and  distinctix 
music,    i'he  drum,  the  fife,  the  horn,  the  b**- 


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ENCYCLOPEDIA    OF    MUSIC. 


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"  KUivieratuzuy  aiu  tkm  Rusakenoffizur,"  DrM- 
deii ;  "  Vierstimniiye  Gesaiu/e,"  "  Secht  Kanont," 
and  "  6  Dreystimmiije  GeaOmje." 

MILLER,  called  KRASINSKY,  father  of  Ma- 
dameGardel,  the  celebrated  dancer  at  the  opera  at 
Paris,  arranged,  and  in  part  composed,  the  music 
of  the  two  ballets  of  "  Tilinuujue  "  and  "Psyche." 


»oon,  the  bij;  drum,  the  cymbals,  belonged  par-  | 
ticularly  to  the  infantry  ;  the  trum])et,  the  haut- 
boy, the  bagpipe,  the  kettledrum,  to  the  cavalry. 
The  bassoon,  the  hautboy,  the  horn,  and  the 
trumpet  were  indifferently  employed  by  cither 
troops. 

An  ordinance  in  France,  of  the  19th  of  April, 

17i')<i,  appointed  a  bund  of  music  to  each   rogi-  :  tt„   „i,^   „,  ui-  i,  j    •      <-       "  '     i 

I    ','  1     r    11  .1      ■     .  *      ■''c   also  published   in   Gennany  some   popular 

ment.     It  was  composed  of  all  the  instruments  j  j^^^j^.  ^^^\^^  jj^j^^  •'  ■    f  f 

MILLER,  M.  Of  this  musician,  the  following 
work  was  announced  in  Traeg's  Musical  Cata- 
logue for  1799,  from  which  it  appears  he  was  a 
composer  at  Vienna:  "Ofcrlorium  a  4  rod,  2  I'., 
2  CUir.,  Tymp.,   Viola  concert.,  con  Organo." 

MILLEVILE,  ALESSAXDRO,  bom  at  Fer- 
rara,  was  an  excellent  organist.  About  the  yenr 
1629  he  was  chapel  master  to  the  Duomo  at  Vol- 
terra.  He  served,  in  his  youth,  as  organist  to 
several  princes,  and,  lastly,  to  the  Duke  of  Fer- 
rara,  where,  about  1622,  he  was  chapel-master, 
and  from  thence  removed  to  his  situation  at  Vol- 
terra.  He  died  at  Ferrara,  in  his  sixty-eighth 
year.  Besides  various  operas,  written  by  him  in 
the  infancy  of  that  art,  he  composed  the  follow- 
ing printed  works :  "  Messe  e  Salmi  o  3  voci." 
"  Concern  A  1,  2,  3,  e  4  voci.  Lib.  1."  "  Motetti,  <1 
2,  3.  4,  5,  e  6  voci.  Lib.  o."  "  Mazzo  di  Hamionici 
Fiori,  i  2  e  3  voci.  Lib.  6."  "  Motetti  d  2,  3,  e  4 
voci.  Lib.  7."  "  NoveUi  Fiori,  d  2,  3,  e  4  voci." 
" Litanie  de  B.  V.  i  3  voci."  "  Gemme  Sacre,"  Ven- 
ice, 1C22.  "  Motetti,"  Venice,  1629.  "  MadrigaU 
a.  5  voci,"  Venice,  1675. 

MILLICO,  GIUSEPPE,  a  sopranist,  and  cham- 
ber  musician  to  the  King  of  Naples,  in  1790,  was 
born  in  that  town,  about  the  year  1730.  He  was 
considered  one  of  the  best  singers  of  his  time,  and 
was  remarkable  for  the  dignity  and  sensibility  of 
his  style.  So  highly  was  his  method  approved 
by  Gluck,  that  when  that  celebrated  musician 
resided  at  Vienna,  in  1772,  he  selected  Millico  to 
teach  his  niece  the  art  of  singing,  who  profited 
so  much  by  her  master's  instructions,  as  soon  to 
become  an  object  of  admiration  in  that  city,  for 
her  vocal  powers  and  taste.  From  Vienna,  Mil- 
lico went  to  London,  in  1772,  and  after  some 
cabal  his  singing  was  highly  approved  in  Eng- 
land.    He  subsequently  returned  to  Naples. 

MILRITZ,  HEINRICH  VON,  a  German 
writer,  about  the  year  1.536,  was  descended  from 
a  noble  family,  and  was  in  the  suite  of  the 
Margrave  Albrecht,  of  Prussia,  in  1519.  He  went 
also  a  journey  with  him  through  ditferent  parts 
of  Germany,  and  formed  acquaintance  with 
Luther,  from  which  circumstance  he  imbibed  a 
taste  for  the  Protestant  religion,  in  which  he 
afterwards  received  more  accurate  instruction 
from  Paul  Sperat. 

After  the  altered  government  of  the  countrA", 
he  continued  in  the  service  of  the  duke,  and 
succeeded,  in  the  years  1533  and  loSii,  to  th** 
situation  of  chief  ofKcer  at  Barton. 

Of  his  works,  there  Ls  a  manuscript  in  folio,  in 
the  court  library  at  Konigsberg,  in  Prussia,  which 
contains  one  hundred  and  sixteen  of  his  spiritual 
hymns  for  fast  days.  Passion  week,  &c.  At  the 
beginning  of  each  hymn  the  music  Ls  placed.  In 
the  prefatory  epistle  and  dedication  to  the  cuk", 
as  a  connoisseur  and  amateur,  he  says,  thi :.  in 
thctse  hymns,  he  wished  to  express  his  grat  ijd« 
to  God  for  the  experience  he  has  received  c    th« 


which  just  then  belonged  to  the  companies  or 
sections  of  the  corps,  llie  clarinet,  invented 
in  the  commencement  of  the  last  century,  the 
eighteenth,  by  an  inhabitant  of  Nuremberg,  was 
not  received  into  the  military  baud  of  France  be- 
fore the  year  1755.  The  st-rpent,  invented  in  1590, 
the  triangk;  which  was  the  cymbal  of  the  mid- 
dle ages,  and  the  trombone  entered  successively 
into  the  different  corps  of  the  army.  But  it  is 
only  since  1792  that  military  music  has  been 
truly  develojMjd.  Tlie  recent  introduction  of 
many  improvements  has  made  a  revolution  in 
military  harmony,  by  augmenting  the  resources 
and  adding  power  of  effect  to  our  brass  instru- 
ments. The  utility  of  military  music  has  been  a 
frequent  theme  of  discussion.  We  may  refer  to 
its  employment  by  the  Greeks  and  Romans ; 
more  recent  examples  will  serve  to  prove  its  im- 
portance. Who  does  not  know  the  prodigious 
effect  of  a  national  air  played  by  a  military  band 
previous  to  or  pending  an  engagement?  The  | 
very  coward  is  fired  into  enthusiasm  by  the  dul- 
cet strains  of  some  homely  or  national  melody. 
There  is  no  feeling  implanted  in  man's  nature, 
and  which  so  veritably  deserves  the  name  of  in- 
stinct, as  a  love  of  music.  To  the  soldier,  es-  ' 
pecially  in  time  of  war,  it  is  grateful  beyond 
measure.  On  his  weary  march  it  takes  from  his 
fatigue  ;  in  distant  climes  it  snatches  him  back 
to  his  home ;  and  in  the  hour  of  battle  it  incites 
him  to  courage  and  ambition.  In  point  of  utility, 
music  is  one  of  the  most  beneficial  addenda  to  i 
military  improvement. 

MILLER,  DR.  EDWARD,  was  for  fifty  years  ' 
organist  at  Doncaster.  He  composed  new  tunes  [ 
for  the  Psalms  of  David,  which  were  patronized 
by  the  king  and  a  list  of  near  five  thousand  sub- 
scribers. His  principal  work,  however,  was  "  The 
Elements  of  Tliorough  Bass  iind  Composition,"  a 
book  highly  esteemed.  Dr.  Miller  played  the 
flute  in  Handel's  first  oratorios.  He  died  at  Don- 
caster,  in  1807,  aged  seventy-si.x. 

MILLER,  JULIUS,  born  at  Dresden  in  1782. 
discovered,  at  an  early  age,  an  ardent  inclination 
to  music,  and  made  such  rapid  progress  in  sing- 
ing, that,  in  1790,  he  was  heard  with  great  ap- 
plause at  the  coronation  of  the  Emperor  Leopold, 
in  Prague.  In  the  year  1799,  he  appeared  as 
Tamino,  for  the  first  time,  at  the  theatre  in  Am- 
■terdam.  His  voice  had  an  uncommon  compass, 
•o  that  ho  could  undertake  bass  as  well  as  tenor 
parts.  .Vftcr  this  he  was  first  tenor  singer  to  the 
•econd  Joseph  Society,  and  likewise  at  the  great 
concerts  at  Leipsic,  where  he  acquitted  himself 
with  mucli  satisfaction.  Of  his  compositions, 
which  are  distinguished  for  a„'reeable  melody 
and  tasteful  instrumental  accompaniments,  the 
lollowing  will  convey  some  idea :  "  Der  Frey- 
britf,"  "  Die  Vcrwandhiuijen,"  "  Der  Rosakenojfi- 
lier,"  "Julie  oder  ihr  lilumentnpf,"  "Michel  uiid 
Uannchen ;  "    all   operettas.     He   also   published 

Faooritgcaange  aus  den  VerwatuUungcn,"  Breslau  ; 


600 


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encyclop.«;dia  of  music. 


MIN 


truths  of  the  evniiKeliciil  relijjion,  and  to  the  duke, 
who  has  been  a  ble.s.scd  iiiritruiueut  therein  ;  but 
Degs  to  be  forf^iven,  if  the  verses  are  not,  in 
all  respects,  worthy  of  his  theme. 

MILTON,  JOHN,  the  father  of  the  great  epic 
poet  of  England,  was  a  native  of  Milton,  near 
Halton  and  Thame,  in  Oxfordshire.  He  was 
educated  for  the  law,  and  i)raetised  as  a  scrivener 
in  Hread  Street,  London  ;  but  he  acquired  consid- 
erable celebrity  as  a  musical  composer.  Among 
the  psalm  tunes  published  by  Itavenscroft,  in 
1633,  there  are  many  with  the  name  John  Milton 
to  them.  One  of  these,  called  the  York  tuiie,  is 
well  known  at  tliis  day  in  almost  every  parish 
church.  In  the  •'  Tritunpha  nf  Oriana,"  there  is  a 
madrigal  of  his  comnosition  for  five  voices ;  and 
in  the  collection  entitle,! "  T/ic  Tears  or  Lamenta- 
tions of  a  sorrowful  Souk,"  composed  by  various 
authors,  and  published  by  Sir  William  Leighton, 
Knt.,  one  of  the  gentlemen  pensioners,  in  I6I4, 
there  are  several  of  his  songs  for  live  voices.  It 
is  said,  in  Phillips'  life  of  his  son,  that  Milton 
composed  a  fugue,  "In  nomine,"  of  no  fewer  than 
forty  parts,  for  which  he  was  rewarded  by  a  Polish 
prince,  to  whom  he  presented  it,  with  a  gold  medal 
and  chain. 

John  Milton's  father,  as  a  musician,  must  have 
been  somewhat  celebrated  in  his  own  time,  and 
his  family  was  noted  for  genius,  yet  their  history 
may  be  mapped  out  in  a  few  lines.  The  Catholic 
grandfather  disinherits  his  son  for  changing  his 
religion ;  the  son,  with  his  taste  for  music  and 
literature,  finds  many  friends,  and  makes  a  fortune 
as  a  scrivener  ;  and  his  son,  in  due  time,  comes 
out  like  his  father.  The  decline  of  the  patrician 
family  of  Milton,  one  of  whose  remote  ancestors 
liad  forfeited  an  estate  in  the  wars  of  the  Roses, 
Ls  a  subject  at  once  painful  and  ludicrous.  John- 
son relates  that  Mrs.  Foster,  the  poet's  grand- 
daughter, "  kept  a  petty  grocer's  or  chandler's 
shop,  first  at  Ilalloway  and  afterwards  in  Cock 
Lane,  near  Shoreditch  Church."  She  did  not 
know  what  a  bi-nrft  at  the  theatre  meant ;  but 
understood  it  better  when  the  profits  of  the 
represent'ition  of  •■  Coinus,"  £  1 30,  were  paid  to  her 
bv  Dr.  Newton.     She  and  her  husband  died  at 


MINACCIOSO.     (L)     In  a  threatening  style. 

MINAONGIIINIM.  A  pulsatile  instrument 
used  by  the  Hebrews,  consisting  of  a  s<iuare  table 
of  wooil  furnished  with  a  handle  :  over  this  table 
was  stretdied  an  iron  chain,  and  a  hempen 
cord,  which,  passe<l  through  balls  of  wood  or 
bra.ss,  and  striking  against  the  table  when  t)i« 
instrument  was  put  in  motion,  produced  a  sound 
both  dciu-  and  pleasing,  ua  well  as  audible,  at  • 
great  distance. 

MINELI.I,  O.  n.,  an  Italian  counter  tenor 
singer,  native  of  liologna,  and  of  the  school  of  the 
celebrated  Pistocchi,  sang  very  successfully  at 
Kome,  about  the  year  1715. 

MINERVA.  PAULUS,  a  learned  Dominican, 
who  is  mentioned  by  Jocher  as  having  been, 
besides  his  proficiency  in  other  sciences,  an 
excellent  musician,  flouri.shcd  in  1.JS2  at  Milan, 
as  chancellor  of  the  holy  olHce.  He  died,  after 
he  had  published  many  learned  works,  at  Naples, 
in   161.5. 

MINEUR. 
and  intervals. 

MINGOTTI,  CATARIN.\.  This  celebrated 
singer  was  bom  at  Naples,  about  the  year  17'26. 
Iler  parents  were  of  German  origin.  Her  father, 
an  officer  in  the  service  of  Austria,  having 
received  orders  to  go  to  Gratz,  in  Silesia,  took 
his  daughter  with  him,  before  she  was  a  year 
old.  At  his  death,  a  few  years  afterwards,  her 
uncle  placed  her  in  the  convent  of  the  Ursulines. 
Here  the  music  which  she  heard  in  the  church 
made  such  an  impression  on  her,  that,  with  tears 
in  her  eyes,  she  begged  the  abbess  to  give  her 
some  lessons,  that  she  might  be  able  to  join  in 
the  choir  ;  this  was  accordingly  done.  When 
she  attained  her  fourteenth  year,  her  uncle,  who 
had  intended  her  to  take  the  veil,  died ;  in  con- 
sequence of  which  she  returned  to  her  mother 
and  two  sisters.  Shortly  after,  she  married  M. 
Mingotti,  a  Venetian,  very  much  older  than 
herself,  and  who  was  manager  of  the  o])era  at 
Dresden.  On  her  arrival  at  that  town,  she  made 
a  great  sensation.     Porpora,   who   was    then    in 


(F.)    Minor,  in  speakmg  of  keys 


Islington,  illustrating,  in  Hamlet's  phrase.  "  the  |  the  service  of  the  court,  recommended  her,  with- 


noble  dust  of  Alexander  stojjping  a  bung  hole. 
Such  is  usually  the  way  in  which  public  ser\-ices 
and  desert  arc  repaid  to  a  man's  descendants. 

MIMES.  A  kind  of  vocal,  mimic  actors,  for- 
merly very  numerous  in  France,  and  much 
encouraged  in  Italy,  England,  and  other  countries 
of  Europe. 

MIMNERMT'S.  About  the  beginning  of  the 
sixth  century  before  the  Christian  era,  Miraner- 
mus,  according  to  Plutarch,  had  rendered  himself 
remarkable  by  playing  upon  the  flute  a  nome 
called  "  Cradias,"  which,  Ilesychius  tells  us,  was 
an  air  for  that  instrument,  usually  performe<l  at 
Athens  during  the  march  or  procession  of  the 
victims  of  expiation.  Mimnermus  was  a  lyric 
|)oet,  and  conseciucntlv  a  musician,  of  Smyrna, 
contemporary  with  Solon.  .\theniPus  gives  to 
him  the  invention  of  ])ontameter  verse.  His 
elegies,  of  which  only  a  few  fragments  arc  pre- 
served, were  so  mvu'h  adniire<l  in  antiquity, 
that  Horace  preferred  them  to  those  of  Callima- 
rhua. 


out  delay,  as  a  young  singer  of  great  promise, 
and  soon  procured  her  an  engagement  at  the 
theatre.  "The  celebrated  Faustina  and  Hasse 
were  also  at  this  time  in  the  royal  ser\-ice  at  Dres- 
den, but  shortly  after  hearing  Mingotti  siu'.;,  they 
left  that  city  for  Italy,  being  envious,  as  was  said 
by  some,  of  the  favor  with  which  Mingotti  was 
received.  After  remaining  a  short  time  at  Dres- 
den, the  fame  of  Mingotti's  singing  reached  Na- 
ples, and  .she  was  invited  to  sing  there  at  tha 
Grand  Opera.  She  accordingly  went  to  Italy,  hav- 
ing ])reviously  applied  herself  so  closely  to  the 
study  of  the  Italian  language,  that  when  slie  ap- 
peareil  at  Naples  for  the  first  time,  in  the  diame- 
ter of  Arislea,  in  the  "  Olimpiade"  of  <ralu;i])i,  she 
surprised  the  Italians,  as  much  by  the  purity  of 
her  pronunciation,  as  by  her  melodious  voice,  and 
expressive  and  natural  manner  of  acting.  ITiLi 
first  (U.hnt  having  decidcfl  the  superiority  of  hei 
talents,  she  receive*!  jiroposals  on  all  sideti  for 
theatrical  engagements,  at  a  high  salary ;  sh« 
had,  however,  the  delicacy  to  refuse  thetn  all, 
being  still  in  the  service  of  the  court  at  Dresden, 
where  her  salary  had  been    'lonsidcrablj  raised 


'6 


601 


MIX 


ENCYCLOPEDIA    OF    MUSIC. 


MIN 


On  her  return  to  Dresden  from  Italy,  she  re- 
I)eatcil  Iier  clmracter  in  the  "OUmpiude  "  with  pro- 
digious success.  Hasse,  who  was  just  then  en- 
gaged in  the  composition  of  his  "  D.'mofooiUe," 
(having  also  returned  to  Dresden  on  receiving 
the  apjiointment  of  chni)el-master,')  now  offered 
to  compose  expressly  lor  Min'^otti  the  adagio 
*'  Sc  tiitti  i  mah  miei,"  with  only  a  pizzicato  violin 
accora])animcnt.  This,  it  was  said,  he  did  that 
any  faults  she  committed  in  singing  it  might  be 
more  clearly  heard.  Although  she  was  much 
pleatied  with  the  air  on  first  trying  it,  she  soon 
perceived  the  snare  that  was  laid  for  her  ;  which 
only  redouble;!  her  zeal  and  cautiou,  so  that  she 
sang  it  tlie  first  night  of  performance  in  so  ex- 
quisite and  correct  a  manner  as  to  force  all  her 
antagonists,  and  even  Faustina  herself,  to  silence. 
In  1751  she  again  quitted  Dresden  for  Spain, 
and  sang  there  wth  (jizzieUo,  under  the  direc- 
tion of  the  celebrated  Farinelli.  'llie  latter  was 
BO  strict  with  her  during  her  engagement,  that  he 
not  only  would  not  permit  her  singing  any  where 
but  at  the  court  theatre,  but  even  forbade  her 
practising  iu  a  room  which  looked  towards  the 
street.  After  a  residence  of  two  years  in  Spain, 
where,  amongst  many  other  presents,  she  received 
from  the  queen  a  very  valualtle  diamond  necklace, 
she  proceeded  to  Paris,  and  thence  to  London, 
where  she  arrived  in  1754.  "  Ipermtiestra,"  an 
opera  composed  by  Hasse  and  Lampugnani,  was 
the  drama  in  which  she  made  her  first  appearance 
before  a  British  audience,  with  great  success  ; 
though  Dr.  Burney  says  the  audience  never  fully 
felt  her  jiowers  of  expression,  till  she,  some  time 
afterwards,  introduced,  in  "  Demofoonte,"  Hasse's 
adagio  of  "  i>e  tutti  i  mali  tniei,"  which  was  in  the 
highest  degree  pathetic.  "  Uer  style  of  singing," 
continues  Dr.  Burney,  "  was  always  grand,  and 
such  as  discovered  her  to  be  a  perfect  mistress 
of  her  art.  She  was  a  most  judicious  and 
complete  actress,  extending  her  intelligence  to 
the  poetry  and  every  part  of  the  drama ;  yet 
her  greatest  admirers  acknowledged  that  her 
voice  and  manner  would  have  been  still  more 
irresistible  if  she  had  possessed  a  little  more  fe- 
male grace  and  softness.  The  performance  in 
men's  parts,  however,  obviated  every  objection 
that  her  greatest  enemy  could  make  to  her  abili- 
ties, either  as  an  actress  or  singer."  In  1758 
Mingotti  quitted  England,  and  afterwards  sang 
at  most  of  the  princijjal  cities  of  Italy.  She  did 
not,  however,  cease  to  consider  Dresden  as  her 
home  as  long  as  the  King  (Augustus)  lived.  After 
his  death,  which  took  place  in  I7f)3,  she  estab- 
lished herself  at  Munich,  where  she  enjoyed  the 
general  esteem  of  both  the  x)urt  and  town.  In 
1772  she  had  still  preserved  much  of  the  beauty  | 
of  her  voice  ;  and  at  this  time  she  cc  "Id  converse  ] 
on  music  with  as  much  science  and  judgment  as 
the  most  eminent  of  the  chapel-masters.  JK-r  i 
conversation  was  animated,  and  she  spoke  in  I 
such  perfection  the  French,  Italian,  and  German, 
that  it  was  difficult  to  distinguish  which  was  her 
native  language.  She  also  knew  enough  of  English  i 
and  Spanish  to  support  a  conversation  ;  nor  was  I 
she  ignorant  of  Latin.  We  are  not  acquainted 
with  the  period  or  place  of  her  decease. 

MIXGUET,  PABLO.  A  Spanish  musician 
at  Madrid,  in  the  last  half  of  the  eighteenth  cen- 
tury, published  there  "  (iua<iernilh  nueco,  que  en 
ocho  Lamina3  Jiiuu  demucstian  y  explican  el  Arte  de 


la  Muaica,  con  (odos  sus  rudimmUoa  para  saf^er  tol' 
fear,  modular,  tratuporUir ,  y  otras  curiosiaades  mm 
utiles.  Se  hallara  en  su  casa,  /rente  la  Carcel  dt 
corte,  encima  de  la  Botiea ;  y  en  la  libreria  de  Ma- 
nuel Martin,  calJe  de  la  Crux.  Su  precio  es  6  reaJea." 
Forkel  supposes  this  work  must  have  been  printed 
about  the  year  1774. 

MIXIM.  A  character,  or  note,  equal  in  dura- 
tion  to  a  sixteenth  part  of  a  large,  one  eighth  of 
a  long,  one  fourth  of  a  breve,  and  one  half  of  a 
scmibreve. 

MIXISCALCHL  GULIELMO,  a  composer 
in  the  beginning  of  the  seventeenth  century, 
published  "  Miserere  m<ji,  Deus,  it  3  voci,"  ani 
"Arte,"  Venice,  1627. 

MIXXESIXGERS  were  love  singers.  The 
Troubadours  were  minstrels,  more  peculiar  to  It- 
aly, Spain,  and  the  south  of  Europe,  whQe  the 
Minnesingers  were  confined  to  Germany,  and  dif- 
fered from  their  contemporaries,  the  Troubadours, 
in  some  essential  particulars.  These  minstrels 
appeared  in  Germany  as  early  as  the  year  1100, 
and  flourished  about  two  centuries.  They  were 
held  in  so  high  estimation,  that  even  emperors 
sometimes  belonged  to  their  number.  The  Trou- 
badours always  used  the  same  metre,  while  the 
Miunesijigers  employed  a  most  charming  variety, 
which,  of  course,  obliged  them  to  use  an  almost 
endless  variety  of  tunes  and  melodies.  The  former 
dwelt  much  upon  the .  pathetic  and  mournful, 
while  the  latter  always  breathed  the  spirit  of 
cheerfulness.  The  former  were  more  cold  and 
intellectual,  whUe  the  latter  always  aimed  to 
touch  the  heart,  and  rarely  failed  to  do  it.  It 
■was  the  custom  of  these  bards  to  travel  about 
from  place  to  place,  like  the  bards  and  songsters 
in  the  early  ages  of  Greece,  or  the  minstrels  of 
the  early  Saxons,  and  the  Scots,  who  often  united 
the  harp  and  the  IjTe  with  the  musical  tones  of 
the  voice.  In  the  early  part  of  the  fourteenth 
centurj',  the  Minnesingers  became  e.xtinct.  A 
book  of  their  poetry  was  collected  in  the  four- 
teenth century,  which  contained  the  best  poems 
of  the  most  celebrated,  some  of  which  would  dc 
honor  to  any  age. 

MIXXIM.  (H.)  The  strings  of  an  instrtiment. 

MIXOJA,  AMBROGIO,  chapel-master  and 
honorary  member  of  the  Conservatory  at  Milan, 
was  born  in  1752.  He  studied  music  at  Xaplej 
under  Xicolo  Sala,  and,  on  returning  to  his  coun- 
try, succeeded  Lampugnani  as  first  pianist  at  the 
Theatre  Delia  Scala,  at  Milan.  It  was  about  this 
time  that  he  composed  some  operas  of  instru- 
mental music,  amongst  which  were  six  quartets, 
entitled  "  /  Divertimenti  delta  Campajna."  He 
also  brought  out  two  serious  operas,  the  one  for 
the  Theatre  Delia  Scala,  and  the  other  for  the 
TL*ntre  Argentina,  at  Rome,  in  which  town  he 
was  sta^•^ne  for  a  short  period.  On  his  returnins 
agai'-.  ^o  Milan,  he  was  nominated  chapel-mastet 
to  the  holy  brotherhood  Delia  Scala;  upon 
which  he  devoted  his  talents  almost  entirely  tc 
church  m»xsic.  Shortly  alter  this  time,  however, 
he  composed  a  march  and  a  funeral  symphony,  in 
honor  of  General  lloche,  and  obtained  from  Gen- 
eral Bonaparte  the  prize  of  a  gold  medal,  value 
one  hundred  sequins,  which  he  had  offtred  fof 
the  best  composition  on  that  occasion.  He  then 
■wTOte  two  masses  des    norts,  vhxch  are  presarred 


602 


UIN 


ENCYCLOPEDIA    OF   MUSIC. 


MIS 


amongst  tlie  archives  of  the  government  at  Mi- 
lan. At  the  epoch  of  the  coronation  of  Napo- 
leon, as  Kill!;  of  Italy,  Minoja  composed  a  "  l>»i 
('reat'ir,"  and  a  "Te  Deum,"  which  were  performed 
in  the  cntlicdrnl  at  Milan  by  nn  orclie-tra  of  two 
hundred  and  Kfty  musicians.  Finally,  on  the 
occasion  of  tlie  marriage  of  the  Viceroy  of  Italy, 
(Prince  EuRcne,)  he  composed  a  cantata  for  the 
Teatro  Delia  Scula. 

MINOR,  or  MINORE.  (I.)  Less  in  regard  to 
intervals  ;  minor  as  to  notes  and  keys.  The  only 
form  of  the  minor  scale  which  is  recognized  in 
the  strict  rules  of  harmony  is,  — 


f^x^ 


i3E 


±: 


t=± 


-Pf^ 


& 


This  U  the  lamv  ascending  and  deMending. 

Minor  Scalks  and  their  Sio.vatures. 


A  sharp,  (relatire 
minor  sf  C  sharp.) 


D  sharp, 
(of  F  sharp.) 


G  sharp, 
(of  B.) 


M^-^^^M — T^M — I 


C  sharp,  (of  E.) 


Fsharp,  (of  A.) 

-#3 

.yrik 


B,  (ofD.) 


^m 


lE,  (of  0) 


A,  (of  C.) 


D,  (of  F.) 


^^ 


G,  (of  B  aat.)  C,  (of  E  flat.)         F.  (of  A  fiat.) 


-^ 


Z^- 


^ 


±i 


Bflat,  (of  Dflat.)     E  fiat,  (of  0  fiat.)    A  flat,  (of  C  flat.) 


^UNOR  CANONS.  Those  clergymen  of  a 
cathedral,  or  chapel,  who  occa.sionally  assist  in 
the  performance  of  the  service  and  anthem. 

MINOR  MODE.  That  of  the  only  two  modes 
recognized  in  modem  mu-sic  in  which  the  third 
degree  of  the  scale  from  the  tonic  forms  the  in- 
terval of  a  minor  third. 

MINORET.  GUILLAUME,  was  one  of  the 
four  masters  of,  or  composers  to,  the  chapel  of 
Louis  XJV.  He  composed  many  motets,  which, 
though  greatly  admired,  have  never  yet  been 
printed. 

MlNOZZI,  MARCELLO.  chapel-ma.ster  to 
the  Daomo  at  Carpi,  published,  in  the  tirst  half 
of  th  •  seventeenth  century,  "  Salmi,  Sinfonie  e 
LitanLf  o  3,  4,  e  5  roci,  con  V.,"  Venice,  1638. 

MINSTRELS.  Certain  poet-rau.sicians  of 
former  times,  whose  profession  it  was  to  wander 
about  the  cou.itries  they  inhabited,  singing  pane- 
gyrical songs  and  verses  on  their  occasional  bene- 
factors, accompanying  theraselvas  on  the  har]i, 
violin,  or  some  other  instrument.  .V  minstrel  is  a 
professed  musician,  or  singer.  Elisha,  of  old, 
had  one  to  soothe  his  troubled  mind. 

MINSTRELSY.  The  art,  or  profession,  of  a 
min.strel. 

MINUET.     A  movement  of  three  crotchets  or 


three  quavers  in  a  bar,  of  a  slow  and  Rrnceful 
motion,  and  always  beginning  with  the  bcatina 
note.  This  is  the  dancing  minuet,  and  in  said  to 
have  been  invented  at  I'oitoii ;  but  there  are  other 
minuets,  of  a  time  somewhat  quicker,  and  which 
were  I'ormorly  much  u.sed  as  concluding  move- 
ments of  overture:^,  sonatas,  &c. 

MINUEITO.  (I.)  A  minuet ;  a  slow  dano« 
in  triple  time. 

MION,  music  master  to  the  royal  family  of 
France,  brought  out  the  following  operas  at  thf 
Royal  Academy  of  Music  in  Paris  :  "  Nititis," 
1741;  "L'Anni'e  i/alante,  il  la  (Jour,"  1747;  and 
"  L' Annie  galante,  d  Paris,"  1748. 

MIRECKI  (pronounced  Mirctzky)  was  a 
member  of  the  Consers-atory  at  Paris ;  he  has 
compo.sed  some  excellent  music,  wa.s  a  distin- 
guished performer  on  the  piano-forte,  and  every 
way  considered  as  a  rising  genius.  lie  was  by 
birth  a  Pole,  and  when  apparently  not  more  than 
twenty-six  or  twenty-seven  years  old,  produced 
works  that  would  have  done  credit  to  a  long  and 
studious  life.  His  edition  of  the  whole  of  Mar- 
cello's  celebrated  psalms  Ls  beautii'ully  arranged, 
vnX\i  an  appropriate  accompaniment  for  the  piano- 
forte. In  this  work  he  received  some  assistance 
from  Cherubini.  In  the  latter  part  of  1823,  he 
published  an  etlition  of  Clari's  duetti  e  terzetti 
with  a  similar  accompaniment.  These  composi- 
tions were  originally  published  in  1730,  and  are 
distinguished  by  grandeur  of  subject  and  elegance 
in  their  melodic  phra.ses.  ITie  original  plates, 
engraved  on  copper,  were  deposited  in  the  Teatrc 
San  Carlo,  at  Naples,  and  destroyed  in  the  con- 
flagration of  that  edifice.  It  is  to  the  talent  and 
perseverance  of  the  young  and  sjiirited  Mirccki, 
backed  by  an  enterprising  publisher,  Carli,  of 
Paris,  that  the  musical  world  is  indebted  lor  th« 
above  invaluable  treasure,  which  would  other- 
wise, probably,  have  been  buried  in  oblivion. 
.Mirecki,  in  hb  piano-forte  playing,  exhibits  all 
the  tact  of  genius,  and  is  highly  celebrated  as  an 
extemporary  performer. 

MISERERE.  (L.)  Have  mercy.  A  hymn  (tf 
supplication,  so  calletl  because  the  word  miserere 
is  the  first  in  the  Latin  transcript  of  that  hymn. 

mSEROCCA.  BASTIANO,  chapel-mastct 
and  organist  to  the  collegiate  church  of  St.  Paul 
at  Massa,  in  the  beginning  of  the  seventeenth 
century,  was  boni  in  li;ivenna.  He  puhlishwl  at 
Venice,  in  the  years  1609  and  1611,  several  masses, 
vespers,  and  motets. 

MISHROKITHA.  The  Chaldean  name  for 
the  flute  and  the  pipe. 

MISLIWECZEK,  JOSEPH,  cnlled  in  Italv  IL 
BOEMO,  or  VENATORINI.  He  was  the' son 
of  a  miller  at  a  village  near  Prague,  where  he 
was  born  in  1737,  with  a  twin  brother,  who  so 
strongly  resembled  him  that  their  parents  could 
scarcely  distinguish  the  two  infants.  Joseph  re- 
ceived a  good  education  at  his  village  school, 
and  probably  there  received  \\\n  first  ledcons  in 
music.  After  the  death  of  his  father,  he  went 
to  Prague,  to  obtain  f\irthcr  instructions  in  his 
favorite  art  from  the  celebrated  organist  Segert ; 
aud  he  then  api)lied  him.sclfto  the  study  of  coun« 
terpoint  with  so  much  succot,*  that  he  shortly 
afterwards  composed  six  »ym])honies,  that  wei 
much   applauded,   and  which    ho   called    •*  Jar»- 


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uary,  February,  March,"  kc.  Encouraged  by  this 
first  success,  he  proceeded  to  Venice,  and  placed 
himself  under  I'escetti.  From  thence  he  went  to 
Parma,  where  he  com|)osed  his  first  opera,  which 
pleased  so  much  that  he  was  invited  to  Naples. 
Here  the  opera  of  "  lieUrofonte,"  which  he  pro- 
duced on  the  kind's  birthday,  rendered  him  so 
celebrated,  that,  within  the  next  ten  years,  he 
brought  out  nine  more  operas  in  that  city. 
Amongst  these  the  "  Otimpiade,"  1778,  was  a  great 
favorite,  principally  on  account  of  the  ariette, 
"  ^Je  cerca,  se  dice,"  &c.,  which  was  universally 
considered  as  a  chef  d' ocuvre.  Not  long  after  the 
representation  of  "  Bclkrofontc,"  he  revisited  Ven- 
ice, where  he  was  loaded  with  honors.  He  met 
with  an  equally  flattering  reception  at  Pavia,  and 
in  1777,  or  according  to  others,  177.'5,  at  Munich. 
In  1780  his  fortune  began  to  change.  In  this 
j-ear  he  gave,  at  Milan,  his  opera  "  Armida," 
which  was  quite  unsuccessful ;  he  also  failed  in 
an  opera  at  Rome.  He  died  in  wretched  circum- 
stances, in  1781,  or  according  to  others,  1782. 

MISS  A.  (L.)  A  mass.  The  mass  usually 
consists  of  five  principal  movements  —  the  Kyrie, 
Gloria,  Credo,  Sunctus,  and  Agnus  Dei. 


(I.)      In    measured  or  strict 


MISURATO. 
time. 

MIT.  (G.)  With  ;  as,  mit  Begleitung,  with  an 
accompaniment. 

MIITORD,  JOHN,  an  English  author,  pub- 
lished "  Essay  on  the  Harmony  of  Language, 
&c.,"  London,  1774. 

MITSCHA,   or    MICRA,    FRANZ    ADAM. 

Secretary  to  the  governor  at  Gratz,  in  Steyer- 
mark.  Nothing  is  recorded  of  him  in  print,  yet 
too  much  is  known  not  to  give  him  a  place  here. 
We  have,  of  his  composition,  the  opera  "  Adrast 
und  Isidore,"  1790;  "  Vl  Stark-besetzte  Sinfonien  ;" 
"11  Notturni  fUr  7  xind  mehrere  Instrumente  ;  "  "  6 
Violinquartetten ;  "  "  1  Terzetto  d  2  V.  e  Vc.  ;  "  and 
several  part  songs  for  eight  voices :  the  greater 
number  were  at  Traeg's  in  Vienna,  in  manu- 
script. 

MITZLER  VON  KOLOF,  LORENZ  CHRIS- 
TOPH,  born  at  Vettelsheim  in  1711,  was  educat- 
ed at  the  g\Tnnnsium  at  Anspach.  He  learned 
the  principles  of  music  from  infancy,  also  sing- 
ing from  Ehrman,  and  the  violin  from  Carby.  In 
17.31  he  went  to  the  university  at  Leipsic,  where 
he  studied  theology  and  the  sciences  in  general, 
till  at  length,  in  171)3,  he  gave  public  lectures  at 
Leipsic,  on  matherantics,  philosophy,  and  music. 
It  was  the  perusal  of  the  writings  of  Mattheson, 
and  the  frequenting  of  the  Leipsic  concerts,  but 
principally  the  conversation  of  the  great  Bach, 
that  foi-med  the  taste  of  Mitzler,  and  made  him 
60on  desirous  of  elevating  his  favorite  art  to  the 
dignity  of  a  mathematical  science.  To  this  effect 
he  published,  in  1736,  a  dissertation  entitled 
"  Qund  Musica  Scietitia  sit."  In  1738,  he  es- 
tablished, with  the  assistance  of  Count  Lucche- 
lini,  and  Chapel-master  Bcimler,  a  corresponding 
lociety  for  the  sciences  connected  with  music  ; 
of  this  society  he  was  named  secretary.  Its  prin- 
cipal object  was  the  improvement  of  the  theory 
of  music.  Mctzler  afterwards  went  to  Poland, 
as  teacher  of  the  mathematics  in  a  nobleman's 
fiunily,  and  finally  settled  at  Warsaw,  where  the 


King  of  Poland  granted  him  letters  of  nobility 
He  died  in  1778.  His  principal  works  are  as 
follows.  Theoretical :  "  Dissertatio  qiwd  Musica 
Scientia  sit  et  pars  eruditionis  philosophical,"  Leip- 
sic, 1734  ;  "  Lusus  ingenii  de  prcpscnti  bello  augus- 
tiss.  atque  invictiss.  imperatoris  Caroti  VI.  cum 
fmderatis  hostibus,  ope  tinorum  musicoritm  illus- 
trato,"  Wittenberg,  1753 ;  "  Musikalische  Biblio- 
thek,"  &c. ;  i.  e.,  Musical  Library,  or  extract 
Notices  and  impartial  Analyses  of  Books  and 
Writings  on  Music,  three  volumes,  Leipsic, 
1738  to  1754;  "Die  Anfaugsijrllmle  der  Getieral- 
bassc,  nach  Malhematischer  Lehrart  abgehandeU." 
&c.,  i.  e.,  The  Elements  of  Thorough  Bass 
treated  according  to  Mathematical  Rules,  and 
explained  by  means  of  a  Machine  invented  for 
the  purpose.  Leipsic,  1739;  "  Musikalischer 
Staarstecher,"  Sec,  i.  e.,  The  Oculist  in  Music, 
who  amicably  discovers  the  faults  of  reasonable 
Musicians,  and  ridicules  the  follies  of  soi-dLsant 
Composers,  1740;  and  lastly,  "J.  J.  Fax's  Gra- 
dus  ad  Parna^ssum,"  translated  from  the  Latin 
into  German,  with  notes,  Leipsic,  1742.  Practi- 
cal works :  these  consist  of  "  Three  Collections 
of  Moral  Odes,  with  Harpsichord  Accompani- 
ment," Leipsic,  1740,  &c. ;  and  "  Four  Cantatas 
for  the  Flute,"  &c.,  Leipsic. 

MIXO-LYDIAN.  (Gr.)  The  name  of  one 
of  the  modes  in  the  ancient  music ;  called,  also, 
Hyper-Dorian.  The  Mixo-Lydian  mode  was  the 
most  acute  of  the  seven  to  which  Ptolemy  re- 
duced the  Greek  music. 

MOBILE.    The  name  eiven  by  the  Ureeks  to  the  two  middle 

chords  of  each  tetrachordi  because  they  varied  with  tlie  genera. 
while  the  two  extreme  chords,  which  were  called  staUe,  nevei 
clianged  their  tone,  or  pitch. 

MOCIGANGA.  (Sp.)  A  musical  interlude 
much  used  in  Spain,  and  of  the  same  species 
with  the  entremes  ;  the  only  difference  between 
them  being,  that  the  mocigatiga  is  more  fully 
furnished  with  music  and  dancing. 

MOCKING  BIRD.  The  power  of  imitation 
of  these  birds  has  not  certainly  been  overrated. 
When  in  the  right  humor  they  will  imitate  all 
sorts  of  sounds,  even  to  the  crowing  of  a  cock. 
If  they  do  not  succeed  well  the  first  time,  they 
will  repeat  the  effort,  always  gaining  in  correct- 
ness, untU.  they  master  the  subject  —  sometimes 
with  exact  truth,  sometimes  failing  to  render  the 
notes  perfectly. 

But  it  is  as  composers,  not  as  imitators,  that  the 
mocking  birds  most  command  our  admiration. 
There  appears  to  be  no  end  to  their  powers  of 
combination.  There  is  a  variety  and  strange 
contrast  in  their  song,  that  would  be  sought  for 
in  vain  in  any  of  the  sounds  presented  for  their 
imitation.  Sometimes  they  will  begin  low  down 
on  the  scale,  working  up  the  gamut,  stojiprng 
here  and  there  to  throw  off  ad  libitum  varia- 
tions, then  starting  again,  always  ascending  and 
repeating  the  same  process.  Sometimes  they 
begin  at  the  top  of  their  scale,  and  descend 
in  a  like  manner.  At  one  moment  they  will 
touch  a  note,  repeat  it  several  times  with  a  great- 
er or  less  degree  of  emphasis,  and  then  they  will 
flat  or  sharp  the  same  note  after  the  same  man- 
ner. It  would  require  the  pen  of  a  good  musi- 
cal composer  to  trace  out  in  a  faithful  description 
all  the  phases  of  their  song.  We  have  often 
followed  out  forty  or  fifty  different  arrangements. 
Within  this  limit,  (that  of  our  memory,)  w« 
could   pronounce  with  certainty  that  the  saiiM 


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gong  had  not  been  repeated.  We  are  persuaded 
that  there  is  scarcel)-  any  limit  to  their  combina- 
tions. Tlie  lark,  doubtless,  surpasses  them  in 
the  gushing  joyousness  of  his  note  —  the  thrush, 
nightingale,  and  perhaps  other  birds,  in  liquid 
sweetness.  But  in  the  variety  and  combination 
of  notes,  in  compass  and  flexibility,  and  in  the 
marvellous  facility  of  execution,  the  mocking 
bird  bears  away  the  palm.  Nature  furnishes  in 
the  feathered  tribes  voices  of  all  descriptions, 
that 

'  Worble  their  wood  notM  wild," 

and,  by  way  of  an  excusable  simile,  they  may  be 
resembled  in  their  peculiar  characters  to  those  of 
certain  prima  do7inas.  The  mocking  bird,  like 
the  matchless  Catalan!,  unites  all  styles  with  a 
compass  that  comprehends  every  note,  from  the 
purest  soprano  down  to  the  deepest  contralto. 
The  bird  is  aptly  named,  and  its  voice  is  wisely 
adjusted  to  its  task.  With  sweetness  alone,  it 
would  be  unable  to  render  its  great  variety  of 
intonations. 

The  American  mocking  bird  is  the  prince  of 
all  song  birds,  being  altogether  unrivalled  in  the 
extent  and  variety  of  his  vocal  powers;  and, 
besides  the  fulness  and  melody  of  his  original 
notes,  he  has  the  faculty  of  imitating  the  notes 
of  all  other  birds,  from  the  humming  bird  to  the 
eagle.  Pennant  states  tliat  he  heard  a  caged  one 
imitate  the  mewing  of  a  cat,  and  the  creaking  of 
a  sign  in  high  winds.  Ban-ington  says,  his  pipe 
comes  nearest  to  the  nightingale  of  any  bird  he 
ever  heard.  The  description,  however,  given  by 
Wilson,  in  his  own  inimitable  manner,  as  far 
excels  Pennant  and  Barrington  as  the  bird  ex- 
cels his  fellow-songsters.  Wilson  tells  us  that 
the  ease,  elegance,  and  rapidity  ol  his  movements, 
the  animation  of  his  eye,  and  the  intelligence  he 
displays  in  listening  and  laying  up  lessons,  mark 
the  peculiarity  of  his  genius.  His  voice  is  full, 
strong,  and  musical,  and  capable  of  almost  every 
modulation,  from  the  clear,  mellow  tones  of  the 
wood  thrush  to  the  savage  scream  of  the  bald 
eagle.  In  measure  and  accents  he  faithfully  fol- 
lows his  originals,  whOe  in  strength  and  sweet- 
ness of  expression  he  greatly  improves  upon 
them.  In  his  native  woods  upon  a  dewy  morn- 
ing, his  song  rises  above  every  competitor ;  for 
the  otheis  appear  merely  as  inferior  accompani- 
ments. His  own  notes  are  bold  and  full,  and 
varied  seemingly  beyond  all  limits.  They  con- 
sist of  short  expressions  of  two,  three,  or  at 
most  five  or  six  syllables,  generally  uttered  with 
great  emphasis  and  rapidity,  and  continued,  with 
undiminished  ardor,  for  half  an  hour  or  an  hour 
at  a  time. 

While  singing,  he  expands  his  tail,  glistening 
with  white,  keeping  time  to  his  own  music  ;  and 
the  buoyant  gayety  of  his  action  is  no  less  lasci- 
nating  than  his  song.  He  sweeps  round  with 
enthusiastic  ecstasy ;  he  mounts  and  descends, 
as  his  song  swells  or  dies  away ;  he  bounds 
aloft,  as  Bartram  ob8er\'es,  with  the  celerity  of 
an  arrow,  as  if  to  recover  or  recall  his  very  soul, 
expired  in  the  last  elevated  strain.  A  bystander 
might  suppose  that  the  whole  feathered  tribe 
had  assembled  together  on  a  trial  of  skill,  —  each 
Btriving  to  produce  his  utmost  eftbrt,  —  so  perfect 
are  his  imitations.  He  often  deceives  the  sports- 
man, and  even  birds  themselves  are  sometimes 
imposed    upon    by   this   admirable   mimic.     In 


confinement,  he  loses  little  of  the  power  or  ener- 
gy  of  his  song.  He  whistles  for  the  dog ;  Cuesai 
8tai-ts  up,  wags  his  tail,  and  runs  to  meet  hia 
master.  He  cries  like  a  hurt  chicken,  and  the 
hen  hurries  about,  with  feathers  on  end,  to  pro- 
tect her  injured  brood.  He  repeats  the  tune 
taught  him,  though  it  be  of  considerable  length, 
with  perfect  accuracy.  He  runs  over  the  notes  , 
of  the  canary,  and  of  the  red  bird,  with  such 
superior  execution  and  eflect  that  the  mortified 
songsters  confess  his  triumph  by  their  immediate 
silence.  His  fondness  for  variety,  some  suppose, 
injures  his  song.  His  imitations  of  the  brown 
thrush  are  often  interrupted  by  the  crowing  of 
cocks ;  and  his  exquisite  warblings  after  the 
blue  bird  are  mingled  with  the  screaming  of 
swallows,  or  the  cackling  of  hens. 

During  moonlight,  both  in  the  wild  and  tame 
state,  he  sings  the  whole  night  long.  The  hunt- 
ers, in  tlieir  nocturnal  excursions,  know  that  the 
moon  is  rising,  the  instant  they  hear  his  delight- 
ful solo.  Alter  Shakspeare,  Barrington  attrib- 
utes, in  part,  the  exciuisiteness  of  the  nightin- 
gale's song  to  tlie  silence  of  the  night ;  but  if  so, 
wliat  are  we  to  thmk  of  the  bird,  which,  in  the 
open  glare  of  day,  overpowers  and  often  silences 
all  competition  ?  The  natural  notes  of  the 
Amoiican  mocking  bird  partake  of  a  character 
similar  to  those  of  the  brown  thrush ;  but  they 
are  more  sweet,  more  expressive,  more  various, 
and  uttered  with  greater  rapidity. 

MODE.  A  particular  system,  or  constitution 
of  sounds,  by  which  the  octave  is  divided  into 
certain  intervals,  according  to  the  genus.  The 
doctrine  of  the  ancients  respecting  modes  ia 
rendered  somewhat  obscure  by  the  difference 
among  their  authors  as  to  the  definitions,  divis- 
ions, and  names  of  their  modes.  Some  place 
the  specific  variations  of  tones,  or  modes,  in  the 
manner  of  division,  or  order  of  the  concinnous 
parts ;  and  others  merely  in  the  dirterent  teusiou 
of  the  whole ;  i.  e.,  as  the  whole  series  of  notes 
are  more  acute,  or  grave,  or,  as  they  stand  high- 
er, or  lower,  in  the  great  scale  of  sounds.  While 
the  ancient  music  was  confined  within  the  nar- 
row bounds  of  the  tetrachord,  the  heptachord, 
and  the  octachord,  there  were  only  three  modea 
admitted,  whose  fundamentals  were  one  tone 
distant  Irom  each  other.  The  gravest  of  these 
was  called  the  Dorian  ;  the  Phrygian  was  in  the 
middle,  and  the  acutest  was  the  Lydian.  In  di- 
viding each  of  these  tones  into  two  intervals, 
place  was  given  to  two  other  modes,  the  Ionian 
and  the  yEolian  ;  the  first  of  which  was  inserted 
between  the  Dorian  and  the  Phrygian,  and  tue 
second  between  the  Phrygian  and  the  Lydian. 
The  system  being,  at  length,  extended  both  up- 
ward and  downward,  new  modes  were  estab- 
lished, taking  their  denomination  from  the  five 
first,  by  joining  the  preposition  hi/per  (upon  or 
above)  for  those  added  at  the  acute  extremity, 
and  the  preposition  hypo  (under)  for  those  be- 
low :  thus  the  Lydian  mode  was  followed  by 
the  Hyper- Dorian,  the  Hyper- Ionian,  the  Hyper- 
Phrygian,  the  Hyper-^'Lolian,  and  the  Hyper- 
Lydian,  in  ascending ;  and  the  Dorian  mode 
was  succeeded  by  the  Hypo-Lydian,  Hypo- 
uilolian,  Hypo-Phrygian,  Hypo-Ionian,  and  the 
Hypo- Dorian,  in  descending.  The  moderns, 
however,  only  reckon  two  modes;  the  majta 
and  the  minor.    The  major  mode  is  that  divisica 


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ENCYCLOPAEDIA    OF    MUSIC. 


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of  the  octave  by  which  the  intervals  between 
the  third  and  fourth,  and  seventh  and  eifjhth, 
become  half  tones,  and  all  the  other  intervals 
whole  tones.  The  minor  mode  is  that  division 
by  wliich  the  intcr\-al8  between  the  second  and 
third,  imd  Kfth  and  sixth,  become  half  tones, 
and  all  the  others  whole  tones.  Another 
.distinction  also  exists  between  the  major 
and  minor  modes :  the  major  mode  is  the 
same  both  ascending  and  descending  ;  but  the 
minor  mode,  in  ascending,  sharpens  the  sixth 
and  s'eventh,  tliereby  removing  the  half  tone 
from  between  the  fifth  and  sixth  to  the  seventh 
and  eighth.  Mnde  in  ancient  mu.sic  was  equiva- 
lent to  n  key  in  the  modern.  Anterior  to  I'tolemy, 
modes  were  placed,  by  all  musical  men,  at  the 
distance  of  half  a  tone  from  each  other  —  and 
miraculous  powers  have  been  attributed  to 
the  modes  in  ancient  music ;  this  seems  difficult 
for  us  to  believe,  when  it  was  the  mere  transpo- 
sition of  the  scale  to  a  different  pitch ;  for  now 
a  change  of  key,  without  a  change  of  time,  can 
neither  much  elevate  nor  depress  the  spirits. 

ITie  arrangements  of  the  diatonic  scales  for- 
merly used  under  the  titles  of  Greek  modes,  and 
ecclesiastical,  or  church  tones,  are  not  employed 
in  modern  music.  Many  of  the  ancient  modes 
were  denominated  from  the  different  people  who 
invented  or  adopted  tbem ;  and  the  most  impor- 
tant, together  with  some  of  their  characteristics, 
will  bo  found  in  this  Encyclopaedia  under  the 
different  alphabetical  heads.  The  aticient  Greek 
modes  were  the  Dorian,  Phrygian,  Lydian, 
Hyper-Dorian,  and  Ilypo-Doriau ;  the  atUhen- 
tic  modes  were  the  Dorian,  Phrygian,  and  Lyd- 
ian ;  the  ploffoi  modes  were  the  Dorian,  Phry- 
gian, Lydian,  and  Heptachord.  See  Scalks, 
Keys,  and  Signatures. 

MODERATO.  (L)  A  word  used  adjective- 
ly,  to  signify  a  time  of  a  moderate  degree  of 
quickness. 

MODERATO  ASSAI  CON  MOLTO  SENTI- 
MENTO.  (I.)  A  very  moderate  degree  of 
movement,  with  much  feeling. 

MODERN  MUSIC.  An  expression  applied 
to  music  composed  witliin  the  last  lialf  century. 

MODESTO.     (I.)     Modestly,  quietly. 

MODIFICATION.  A  term  applied  to  the 
temperament  of  the  sounds  of  those  instruments 
whose  tones  are  fixed,  which  gives  a  greater  de- 
gree of  perfection  to  one  key  than  another,  and 
produces  between  them  a  characteristic  differ- 
ence ;  as  in  organs,  piano-fortes,  and  the  like. 

MODULATION.  The  art  of  conducting  har- 
mony, in  composition,  or  extemporary  perform- 
ance, through  those  keys  and  modes  which  have 
a  due  relation  to  the  fundamental  or  original 
key.  Though  every  piece,  as  is  well  known,  has 
its  principid  or  governing  key,  yet,  for  the  sake 
of  contrast  and  rehef,  it  is  not  only  allowable, 
but  ne;cssnry,  to  pass  from  key  to  key,  and  from 
mode  to  mode ;  to  a.ssurae  different  sharixi  or 
flat«,  and  lead  us  through  those  transitions  of 
tone  and  harmony  wliich  delight  the  ear  and 
interest  the  feelings.  But  though,  in  grand 
comi>ositions,  there  is  no  quality  of  greater  im- 
portance than  that  of  a  masterly  modulation,  it 
u  not  easy  to  lay  down  rules  for  its  accomplish- 
ment.    Sometimes  a  gradual  and  almost  insen> 


Bible  evolution  of  hiumony  is  requisite  to  the 
composer's  object;  at  other  times,  a  be  Id  and 
sudden  change  can  alone  produce  the  nrcessary 
effect.  Modulation,  technically  speaking,  denotes 
a  transition  from  one  key  to  another ;  but,  used 
generally,  applies  to  the  art  of  arranging  melody 
and  harmony  with  or  without  quitting  the  ori 
ginal  diatonic. 

In  Modulation,  a  change,  or  passage  from  one 
key  to  another,  may  be  effected  by  passing  at 
once  to  a  new  tonic  or  dominant ;  or,  as  is  more 
satisfactory  and  usual,  by  first  introducing  some 
chord  characteristic  of  the  key  into  which  we 
desire  to  pass ;  that  is,  some  chord  which  con- 
tains the  leading  note  and  subdominant  of  the 
new  scale.  The  chords  employed  for  this  pur- 
pose are  chiefly  the  dominant  seventh,  the  seventh 
on  the  leading  note  in  major,  the  diminishca 
seventh,  or  the  inversions  of  these  three  chords; 
and,  lastly,  the  superfluous  sixth.  The  natural 
resolution  of  all  these  chords  is  either  into  the 
common  chord  of  the  tonic  or  the  dominant, 
direct  or  inverted.  All  modulations  may  be  dis- 
tributed into  three  classes  :  natural,  abrupt,  and 
enharmonic.  We  shall  treat  of  each  class  in  a 
separate  section. 

In  Natural  Modulation  we  only  pass  from  any 
given  key  to  another,  which  is  closely  related  to  , 
it ;  that  is,  to  one  of  which  the  signature  differs 
by  not  more  than  one  sharp  or  flat,  more  or  less. 
Thus,  if  the  original  key  is  major,  then  its  related 
keys  are,  — 

First.  The  major  of  its  dominant  and  sub- 
dominant  ; 

Second.     Its  own  relative  minor  ;  and 

Third.  The  relative  minors  of  its  dominant 
and  subdominant. 

Thus  the  keys  related  to  C  major  are  G  and  P 
major,  and  A,  E,  and  D  minor. 

But  if  the  original  key  is  minor,  then  its  re- 
lated keys  are,  — 

First.  The  minor  of  its  dominant  and  sub- 
dominant  ; 

Second.     Its  own  relative  major ; 

Third:  The  relative  major  of  its  dominant  and 
subdominant. 

Thus  the  keys  related  to  A  minor  are  E  and 
D  minor,  and  C,  G,  and  F  major. 

We  may  modulate  from  a  given  key  into  any 
related  key,  by  only  one  intermediate  characteristic 
chord.     Examples  : 

MoDtTLATlONS    FROM    C    TO    ITS    RELATED    KeYS. 


No.  1,  to  G. 


No.  2,  to  p. 


606 


MOD 


ENCYCLOPEDIA    OF    MUSIC. 


MOD 


No.  6,  to  E  minor. 


(9^— J^ 


At  -X-,  a  chord  of  the  sixth  is  placed  on  C,  in 
order  to  introduce  a  note  in  common  with  the 
next  chord.  This  materially  softens  the  tran- 
lition  from  one  chord  to  another. 

M3D"LATnXS     FROM     A    MlNOIl      TO     ITS      RELATED 

Keys. 


No.  6,  to  E  minor. 


No.  7,  to  D  minor. 


5  89 

The  modulations  at  Nos.  1,  2,  4,  5,  8,  are  ef- 
fected by  the  dominant  seventh  and  inversions ; 
those  at  Xo.<.  3  and  t>,  by  the  diminished  seventh 
and  inversions  ;  that  at  No.  7,  by  the  superfluous 
BLXth  ;  that  at  No.  9,  by  the  diminished  seventh 
on  the  sharpened  fourth  of  the  new  scale  ;  and 
that  at  No.  10,  by  the  first  inversion  of  the  im- 
perfect common  chord. 

By  modulatinp;  step  by  step  in  the  manner  e.x- 
plained  above,  we  are  enabled  to  connect  the  most 
distant  keys. 

AbrTTPT   MoDtTLATION. 

By  abrupt  modulation  is  to  be  understood  all 
Budden  modulations  into  keys  which  are  not 
closely  related  to  the  oritjinal  key. 

This  is  done  in  various  ways  ;  as, 

1.  By  abruptly  chanj^uf;  the  mode  of  the  key 
which  we  are  in  from  major  to  minor,  or  from 
minor  to  major.     Kxaraplc  : 

Mnjor  to  minor.  Minor  to  m^jor. 


g^^ 
^^^ 


When  this  chanfje  h.-is  been  made,  we  may 
either  remain  in  the  key  thus  altered,  or  modu- 
late from  it  according  to  it«  new  relations.  Ex- 
ample : 

C  major  to  E  flat. 


Mode  cuangetl. 


^ 


2.  By  changing  the  mode  or  species  of  the 
consonant  chord  erai)loye<l  to  resolve  some  char- 
acterLstic  harmony.     £.\amplo : 


C  major  to  A  miijor. 


s 


3      «5  ;      il 


3.  By  employing  a  succession  of  twi  or  more 
characteristic  chords  belonging  to  differ  nt  keys. 
Example : 

C  to  F  sharp  major. 


^^m^M 


4.  The  following  abrupt  modulnti  ms,  effected 
by  consonant  chords  only,  arc  orci^innaUy  met 
with  :  — 


C  to  A  flat. 


C  tc  F  minor 


i:Ei].fin^i^ 


N<    2. 


C  to  D  flat 


C  to  B  flat  m»y  t  or  minor. 

ssz 


«07 


MOD 


ENCYCLOPEDIA    OF    MUSIC. 


MOD 


At  Xo.  1  there  is  to  be  understood  nii  ellipsis 
of  the  key  of  C  minor.  At  Nos.  2  and  3,  the 
mitjor  common  chord  of  C  is  supposed  to  be  a 
dominnnt  Imrmony  ;  and  at  No.  4,  the  same  sup- 
position is  made  with  rcjjard  to  the  chord  of  F. 

6.  Many  abrvijit  modulations  are  ertected  by 
changing  the  (juantity  or  magnitude-  of  one  or 
more  of  the  intervals  of  which  a  dissonant  chord 
is  composed,  and  tlien  resolving  it  according  to 
the  new  iunctions  which  it  has  acquired  by  this 
alteration.     Example : 

C  (o  E  flat. 


:S= 


^s: 


^^i 


=^= 


-47=^ 


It^ 


f7  — 

C  to  A  flat  minor. 


6.  A  pause  over  a  note,  or  a  rest,  or  a  single 
note  several  times  repeated,  a  passage  in  unison, 
or  a  scries  of  chromatic  notes,  will  often  suffice 
to  connect  very  distant  keys.     E.xample : 


Pause. 


PaMage  in  untaons. 


^^^^ 


t»^ 


-9=^ 


rn^^E^^^ 


^^i^ 


'JS^ZZ 


ENHARMONIC   MODULATION. 

Enharmonic  modulations  are  effected  by  alter- 
ing the  notation  of  one  or  more  intervals  belonging 
to  some  charncteristic  cfuird,  and,  by  this  means, 
changing  the  key  and  the  harmony  into  which 
it  would  naturally  have  resolved.  The  chords 
which  admit  of  these  alterations  are,  first,  the 
diminished  seventh  and  its  inversions ;  and, 
secondly,  the  dominant  seventh  not  inverted,  and 
the  chord  of  the  sui)crtluous  sbcth  and  perfect 
fifth. 


Any  chord  of  the  diminished  seventh  may  be 
changed  into  a  chord  of  the  .,  „.  or  %  by  mere- 

0     0  Z 

ly  altering  the  notation  of  one  or  more  of  its  in- 
tervals, without,  in  reality,  changing  the  sounds 
of  which  the  original  chord  was  composed.  Ex- 
ample : 


Original  chord.     Root  A  sharp.     Root  FX-     R«)'  E  natural. 


The  first  of  the  above  chords  naturally  belongs 
to  the  key  of  D  ;  the  second  to  B  ;  the  third  t" 
G  «*  ;  and  the  fourth  to  F ;  and  it  is  upon  the 
common  chords  of  these  keys,  either  major, 
minor,  or  their  inversions,  that  they  resolve.  As 
they  all  consist  of  the  very  same  sounds,  we  may, 
for  the  puri)ose  of  modulating,  substitute  any 
one  of  these  for  any  other,  and  thus  obtAin  so 
many  abrupt  modulations  from  the  key  of  D 
Examples  : 


Original  progression. 


D  to  B. 


D  toF. 


i^ 


:2s 


as: 


I 


tr 


g 


As  the  diminished  seventh  belongs  equally  to 
the  major  as  to  the  minor  mode,  the  last  chords 
in  the  preceding  examples  might  have  been  ma- 
jor. 

As  any  diminished  seventh  may  be  written  in 
four  difierent  ways,  eacli  representing  a  distinct 
chord  of  the  seventh,  and  leading  to  a  different 
key,  and  as  there  are  but  twelve  semitones  in  the 

I  octave,  it  is  evident  that  there  are  but  Ij-  or  three 
chords  of  the  diminished  seventh,  consisting  of  es- 
sentially different  sounds.  Now,  wo  may  proceed 
from  anv  given  tonic  or  dominant  to  any  one  of 
these  three  sevenths ;  and  as  each  of  them,  by 
mere  changes  of  notation,  leads  into  four  different 
keys,  it  is  e^^ident  that,  by  a  proper  choice  of  only 
one  intermediate  chord,  we  may  modulate  from 
the  given  tonic  to  any  other :  lor  this  purpose, 
it  is  only  necessary  to  introduce  that  seventh,  (\ 
its  inversions,  which  contains  the  leading  note  of 

.  the  scale  into  which  we  desire  to  puss. 


608 


MOD 


EXCYCLOP.EDIA    OF    MUSIC. 


MIX 


Let,  for  example,  A  be  the  original  key ; 
then,  by  taking  the  diminished 
seventh,  we  are  at  onoe  enabled 
to  modulate  into  the  keys  of  C, 
Eb,  Gb,  or  F**,  to  which  keys  the  notes  oi"  the 
above  chord  are  leading  notes,  either  directly  or 
by  a  mere  change  in  the  notation. 

Similarly,  by  taking,  after  the  chord  of  A,  the 
u^  diminished  seventh,  we  may  di- 

'-V  i        11  rectly   modulate   into   the  keys 


Jl  rectlv   modulate    into 
rjJBb,'Db,or  C**,  E,  and  O. 


Lastly,  by  taking  the  diminished  seventh, 

ij        n  we  may  proceed   to  any  of  the 


keysB,  D,  F,  Ab.or  G*f. 


We  shall  conclude  with  one  or  two  examples 
of  the  application  of  these  principles. 


C  to  £  flat  minor. 


A  to  0  minor. 


Another  si>eoios  of  enharmonic  modulation  is 
obtained  by  changing  the  dominant  seventh  into 
the  superfluous  sixth,  or  the  suporlluous  sLxth 
into  the  dominant  seventh.     Example  : 

I>enUDUI  Tlh.  Sup«r4uiMU  Stb. 

iJJL^JsJ 

As  these  two  chords  consist  of  the  very  same 
sounds,  one  may  lie  substituted  for  the  other,  and 
by  this  meant  very  distant  keys  may  be  connected 
with  each  other.     Example : 


Oto  D. 


Enhturnonle  chmog*  expnswd. 


■^=^^^£tfeEH- 

9-^-^^ — N=tt= 

BtoO. 


83 


"rF 


EnliannnDic  chaagr  implied. 


jfe^'i^^^i^a^^ 


Many  beautiful  examples  of  enharmonic  modu- 
lation may  be  seen  in  "  Albrechtsbcrger's  The- 
oretical Works  "  Example*  illustrative  of  the 
theory  of  modulation  may  also  be  seen  in  "  Dach's 
Scales  and  Modulations,"  and  "  Albrechtsbcrger's 
Table  of  Modulations;  "  also  in  an  original  and 
ingenious  essay  on  the  detenninatioa  of  the  key 
in  music,  by  W.  Forde. 

There  is  no  branch  of  musical  science  more 
necessary  to  a  composer  than  modulation.  It 
may  be  said  to  be  "  the  key  which  opens  to  the 
admiring  ear  all  the  trersures  of  harmony."  As 
melody  signifies  a  progression  of  single  sounds, 
so  in  the  science  of  harmony  docs  modulation 
signify  a  progression  of  chords,  or  mixeil  sound*. 
To  conduct  the  harmony  with  ea.-i0  and  grace  is 
a  distinguishing  quality  in  a  first-rate  composer. 
ANTien  we  modulate  upon  ai»  orgiin  or  piano-fort', 
in  passing  from  one  chord  to  another,  it  may  be 
laid  down  as  a  general  rule,  that  one  of  the 
fingers  should  remain  upon  that  key  which  Ls  to 
form  a  part  of  the  succeeding  chord.  This  gives 
a  smoothness  to  the  trai\sitions  rcndilv  perceived 
by  the  ear.  For  bold  and  sud.lcn  cifeots,  these 
connecting  "links  of  harmony"  arc  dispensed 
with,  and  the  changes  are  produced  by  dashing 
into  chords  at  distances  more  remote. 

As  there  are  twelve  semitones  within  the  oc- 
tave, and  any  one  of  tliese  may  he  taken  as  the 
basis  of ;.  key,  and  as  every  key  may  be  formed  to 
be  either  major  or  minor,  there  are  consequently 
not  less  than  twcnty-fo\ir  keys  into  which,  in 
moduhitin;;,  we  may  occasionally  move.  Twelve 
of  tliese  transitions  are  adroitly  performed  by  the 
agency  of  the  diminished  seventh. 

'llie  laws  by  which  wc  j)ass  from  one  accord  to 
another  form  the  rules  of  counterpoint,  or  the  art 
of  setting  note  against  note ;  the  principal  of 
which  is,  that  when  music  is  WTitten  in  parts,  no 
two  ]iarts  are  to  move  in  the  same  direction,  at 
the  distance  of  a  llfth,  producing  omecutice  Jiftfu, 
the  effect  of  which  is  intolerable  to  the  ear.  This 
may  Ik;  tried  upon  the  piano-forte,  by  striking 
them  in  succession.  An  offence  of  lass  magni- 
tude are  con.secutive  octaves,  which,  if  intro- 
duced without  the  design  of  strengthening  a  part, 
are  quite  unpardonable.  Ficcini  compares  modu- 
lation to  the  turning  off  from  a  road  on  which  we 
arc  travelling.  The  ear  is  willing  to  follow  us  —  it 
even  wishes  to  find  a  guide  in  us  —  but  it  expects 
that,  when  we  have  brought  it  to  a  halt,  it  should 
find  something  to  repose  upon  as  a  recompense  for 
the  journey.  If  you  disregard  this  reasonable 
demand,  and  yet  expect  that  the  ear  sliould  con- 
tinue with  you,  ere  long  you  will  find  }'our- 
self  disappointed ;  it  will  leave  you  running  on 
by  yourself,  and  all  your  efforts  to  call  it  back 
again  will  be  in  vain.  To  devise  a  mc.ody  ac- 
cording to  a  natural  order  and  unaffected  plan  of 
modulation,  never  to  deviate  but  for  a  purpose, 
and  to  return  to  it  with  ease,  are  difficulties  iu 
the  art.  To  abandon,  on  the  other  hand,  a  key 
which  has  scarcely  been  propounded  ;  to  wander 
at  random,  without  reason  or  object,  from  one 
key  to  another ;  to  skip  to  and  Iro,  merely  to 
leave  a  place  in  which  you  are  incapable  of  main- 
taining a  footing ;  in  short,  to  modulate  for  the 
sake  of  modulation,  —  betrays  an  ignorance  of 
the  art,  and  a  poverty  of  invention. 


MIXED  CADENCE.     A  name  formerly  ftp* 


609 


MIX 


ENCYCLOPEDIA    OF    MUSIC. 


MOL 


plied  to  a  cadence  on  the  dominant  when  preced- 
ed by  the  liarmonj'  o>'  the  subdominant. 

MIXTURE.  Ar  organ  stop  of  a  shrill  and 
piercing  quality,  consisting  of  several  ranks  of 
pipes. 

MODERNE,  JACQUES,  a  composer  to  the 
Church  of  Notre  Dame  do  Confort  at  Lyons,  in 
the  seventeenth  century,  published  several  works, 
of  which,  however,  Gesner,  in  his  ''■Partition. 
Univers.,"  lib.  2,  tit.  7,  gives  only  the  following  : 
"  Chansoiis  d  4  Parties,"  and  "  Morteiti,  5  et  6  voc, 
lib.  3." 

MOELLER,  JOH.  GOTTFR.  This  musician 
announced  himself  at  Leipsic,  in  1797,  with  the 
title  of  Stutlio.ivs  theologi(B  et  mn!.ices,  as  compo- 
ser of  a  double  sonata  for  the  piano-forte,  about 
to  be  published.  Whether  this  really  appeared 
is  not  known ;  but  afterwards  the  following 
works  were  published  by  him:  "12  I'ar.  pour  le 
Clav.,"  1797;  "16  Var.  pourle  Clav.,"  1798;  and 
"4  Waltzerund  2  Eaylischc,"  1798.  We  find  his 
Christian  name  frequently  printed  J.  C.  Whether 
this  is  an  error  of  the  press,  or  whether  the 
name  is  to  be  written  J.  C.  Moeller,  we  have  no 
certain  account.  He  was,  in  the  year  1800,  resi- 
dent at  Leipsic,  as  professor  of  the  piano.  He 
was  a  pupil  of  the  lamous  Kittel,  of  Erfurt.  In 
the  year  1805  appeared  his  "  Fantaisie  et  Fugue 
pourle  Piano-forte,"  Op.  4,  Leipsic. 

MOESER,  CARL,  violinist  in  the  royal  Prus- 
sian chapel  at  Berlin,  where  he  was  born  about 
the  year  1774,  was  universally  allowed  to  pos- 
sess the  most  distinguished  talents.  The  readi- 
ness with  which  he  read  d  Here  ouvert,  as  also  the 
cleamefs  with  which  he  executed  at  first  sight, 
•were  truly  astonishing.  When  only  in  his  sixth 
year,  he  attracted  notice  at  Berlin  by  his  perform- 
ance on  the  violin.  His  first  teacher  was  Bot- 
ticher,  who  in  a  short  time  brought  him  so  for- 
ward, that  ho  was  able  to  join  in  the  most  difficult 
violin  concertos  of  Giornowich,  Haack,  &c.  He 
then  became  first  violinist  in  the  chapel  of  the 
Margrave  of  Schwedt.  Afterwards,  however,  on 
the  death  of  the  above  nobleman,  when  his  chap- 
el was  closed,  the  king  patronized  the  young 
artist,  supported  him,  and  procured  him  in- 
struction from  concert  master  Haack,  who  then 
cultivated  his  talents  to  their  subsequent  ex- 
traordinary perfection.  In  1792  he  was  still 
without  any  musical  appointment,  and  practised 
the  science  only  as  an  amateur,  holding  a  situation 
in  the  civil  department  of  government.  Soon 
after  that  time,  however,  we  find  him  belonging 
to  the  Royal  Chapel ;  and  in  1797,  he  was  travel- 
ling with  tlie  title  of  maitre  de  chapelle. 

MOITO,  GIOV.  BAITIST.,  a  composer,  flour- 
ished about  the  year  1600.  Of  his  works  ha^^e 
oeen  printed  "  Mudrijali  d  6  voci,"  Antwerp, 
1600. 

MOLENDA,  WENZEL,  a  delightful  violin- 
ist and  composer  for  his  instrument,  born  at  Pi- 
eek,  in  Bohemia,  lived  at  first,  for  six  years,  at 
Bohmisch-Krumau,  as  musician  in  the  Minorite 
church  there.  He  then  went  to  Linz,  to  study 
philosophy  ;  but  soon  after  proceeded  to  Vienna. 
There  he  continued  but  a  short  time,  and  went 
to  Hungar)-,  where  lie  was  in  the  service  of  a 
prince,  as  violinist.  This  situation  he  resigned, 
in  order  to  visit  Paiis,  where,  by  his  ready  and 


pleasing  mode  of  execution,  he  became  greatly 
admired.  At  length  he  left  France,  and  appears, 
about  the  year  1788,  to  have  resided  at  Mentz^ 
where  he  possessed  an  elegant  hou^e.  He  vrroU 
many  concertos  and  other  music  for  his  instru- 
ment, of  which,  however,  it  is  probable  that  none 
has  been  printed. 

MOLING,  LUDO^nCO,  chef  iTorchestre  at  thi 
theatre  at  Turin,  in  180.3,  published  "  Airs  variit 
pour  le  Guitare  aocc  Ace.  de  Viokm,"  Paris,  1803. 
He  was  a  pupil  of  Pugnani,  and  composed  much 
other  instrumental  music ;  he  has  also  published 
at  Paris  several  sets  of  Italian  ariettes. 

MOLIQUE,  BERNHARD,  a  \-iolin  player, 
was  born  at  Nuremberg,  October  7,  1803.  His 
father,  who  was  the  chapel-master  of  the  town, 
gave  him  his  first  instructions  in  music,  and 
taught  him  the  management  of  nearly  all  the 
most  accessible  instruments.  But  Bemhard 
evinced,  at  a  very  early  age,  a  decided  preference 
for  the  violin,  not  only  by  devoting,  with  eager- 
ness, a  great  portion  of  his  time  to  the  study  of 
it,  but  especially  by  the  delicacy  and  sweetness 
with  which  he  handled  the  instrument  —  the 
more  remarkable,  as  it  was  far  beyond  the  age  of 
the  precocious  boy.  Connoisseurs  already  recog- 
nized in  him  a  virtuoso,  even  before  he  had  made 
any  considerable  progress  in  practical  skill ;  an3 
his  father,  consequently,  spared  nothing  that  could 
contribute  to  develop  and  jiromote  his  talent.  He 
confined  his  practice  principally  to  the  violin, 
and  the  facile  child  followed  with  delight  the 
parental  lessons.  At  the  age  of  fourteen,  how- 
ever, his  talent,  knowledge,  and  capabilities 
transcended  the  powers  of  instruction  possessed 
by  the  happy  iather,  who,  in  1816.  sent  him  for 
further  accomplishment  to  Munich,  where  the 
King  of  Bavaria,  having  been  informed  of  the 
promising  talents  of  the  youth,  appointed  the 
first  violinist  of  the  royal  chapel,  Pietro  Novelli, 
to  be  young  Molique's  future  instructor.  After 
two  years'  application  he  left  this  school  for  Vi- 
enna, where  he  was  immediately  engaged  in  the 
orchestra  of  the  Theater  an  der  ^yien.  In  1820 
he  returned  to  Municli,  and  was  appointed  to  the 
office  of  his  instructor,  Novelli.  Up  to  this  time 
he  had  often  played  in  public,  with  the  greatest 
success;  but  it  was  in  1822  that  he  first  under- 
took a  veritable  artistic  tour  through  Leipsic, 
Dresden,  Berlin,  Hanover,  &c.  Although  he 
had  not  yet  succeeded  in  fully  accomplishing 
the  object  which  every  artist  has  in  view,  in  gain- 
ing to  himself  the  reputation  which  is  his  due, 
owing  to  the  lustrous  fame  of  Spohr,  which 
eclipsed  every  rising  genius,  still  the  tour  was 
powerfully  infiuential  upon  his  future  artistic 
development.  In  September,  1826,  he  was  ap- 
pointed music  director  at  Stuttgardt,  where  he 
long  was  the  pride  of  the  Stuttgardt  orchestra. 
Molique,  in  the  course  of  his  visits  to  Paris,  Vi- 
enna, London,  and  St.  Petersburg,  obtained  a 
European  reputation,  which  his  great  qualities 
fully  justify.  He  is  a  sterling,  thorough  artist, 
whose  true  and  earnest  nature  despises,  from  the 
depths  of  his  soul,  those  modern  whims  and 
meretricious  ornaments,  and  all  tl'.at  vharlatanerit 
with  which  most  virtuosi  of  tlie  present  day  en- 
rapture the  public.  His  playing,  rounded  into 
the  classical  form  of  art,  swerves  not  from  its  aim 
to  search  for  fancifully  invented  beauties,  or  to 
wander  through  brilliant  passages,  but  rather  t« 


610 


MOL 


exc"yclop.i:dia  of  music. 


MOM 


put  the  richly  omamented  principal  part  in  an 
aarmonic  combination,  in  the  necessary  organ- 
ical  connection  with  the  accompanj-ing  instru- 
ments. His  violin  concertos,  therefore,  are  not 
to  be  considered,  like  those  of  the  modern  virtu- 
osi, as  mere  solos,  but  are  to  be  compared  to  com- 
pletely written  symphonies,  in  which  his  instru- 
ment shines  forth  as  the  poetical  completion  of 
the  entire  musical  structure.  It  requires,  then, 
\n  abundance  of  power,  and  an  immense  facility, 
to  appreciate  the  position,  so  as  to  keep  the  prin- 
cipal part  in  a  constant  intimate  alternation  with 
the  orchestra ;  now  imperceptibly  rising  to  a 
powerful  energy,  then  again  yielding  to  the  op- 
posing forces,  and  anon  striking  forth  with  the 
decision  of  the  master  hand.  Never  does  he 
separate  himself  from  this  harmonically  combined 
system,  never  allow  himself  to  indulge  in  artifi- 
cial bravura  passages,  but  yields  himself  to  the 
inexorable  law  by  which  the  whole  is  held  to- 
gether, the  uppermost  link  of  the  harmonic  chain 
being  his  o\«i  artistically  embellished  solo  part. 
WTien  he  has  the  bow  in  his  hand,  he  is  a  musical 
totality  ;  hence  the  extraordinary  ease  of  his  ex- 
terior bearing,  which  is  the  index  of  a  total  in- 
tellectual absorption  in  his  art.  From  the  early 
plenitude  of  his  native  resources,  Molique  has 
risen,  by  successive  developments,  to  the  height 
of  artistical  perfection,  which  has  secured  him 
the  laurel  amongst  all  the  living  violinists.  To 
hear  him  play  an  adagio  is  the  most  perfect  treat. 
There  is  no  feigning  of  feeling,  no  exaggeration, 
no  affectation ;  it  is  the  pure  fire  of  an  artistic 
inspiration ;  no  confusion  of  sentiments,  but  sim- 
ple, self-conscious  tr\ith.  Add  to  this  his  effective 
execution,  his  magnificent,  full,  and  solid  tone, 
in  all  its  regions  of  the  highest  purity,  its  soft 
and  harmonious  fulness,  combined  with  a  marvel- 
lous rapidity.  As  a  composer  for  his  instrument, 
he  is  distinguished  by  a  solid  greatness  of  manner, 
modelled  upon  the  style  of  Haydn,  Bach,  Mozart, 
Beethoven,  and  Spohr,  and  evidencing  the  pur- 
est taste  and  the  most  extended  knowledge,  united 
with  an  eminent  talent  apparently  created  for 
the  beauties  and  charms  of  harmony.  These  re- 
marks are  equally  applicable  also  to  his  other 
compositions,  his  string  quartets,  piano-forte  so- 
natas, si.-mphonies,  and  above  all,  his  mass.  .\s 
conductor  of  the  orchestra,  he  combines,  with  the 
most  refined  ear,  calm  self-possession  and  an  en- 
ergetic precision.  As  a  master,  he  is  full  of 
merit  ;  and  pupils,  whose  names  are  of  great 
celebrity,  and  of  whom  he  may  well  be  as  proud 
as  they  are  worthy  of  him,  contribute  to  augment 
the  fame  of  the  excellent  master.  Molique  is 
evidently  one  of  those  happy  beings  whom 
Providence  has  endowed  with  an  indescribable 
richness. 

MOLITOR,  INGENTIN,  a  Franciscan  monk, 
and  organist  to  the  convent  at  Botzen,  in  T}to1, 
born  at  Habach,  flourished  us  a  composer  in  the 
second  half  of  the  seventeenth  century.  He  pub- 
lished "  6  Kanzonen  fUr  2  C,  1  TVo/*-,  1  Viola  da 
Gamba,  und  B  ,"  and  "  19  Motetti,  a  2  Soprani,  2 
v.,  e  B.,"  Augsburg,  1663. 


Minor    in    relation   to    modes 
moll,  \  minor ;  H  moli,  B   mi- 


MOLL.  (G.) 
Mid  kcj-s  ;  as,  A 
nor,  &c. 

MOLLE.    (F.)  Soft  or  sweet.    A  relative  term 
nsed   to   signify  a  flat  sound;  that  is,  a  sound 


which  is  half  a  tone  lower  than  the  sound  with 
which  it  is  compared ;  as,  B  flat,  or  B  molle,  is  a 
semitone  beneath  B  natural,  or  B  durum.  Thi« 
term,  as  its  sense  intimates,  is  applied  to  the  flat 
sounds,  on  account  of  their  supposed  softness  or 
sweetness,  in  comparison  with  the  effect  of  the 
natural  and  sharp  tones. 

MOLLENHAUER,  FRIEDRICH,  HEIN- 
RICH,  and  EDUARD,  brothers,  distinguished 
virtuosos,  who  have  given  concerts  in  Germany, 
were  born  in  Erfurt,  the  first  in  1818.  the  second 
in  1828,  and  the  third  in  18.30.  Friedrich  and 
Eduard  are  violinists,  and  played  in  New  York, 
in  18.53,  in  Jullien's  conceits.  The  other  brother 
is  a  violoncellist. 

:M0LTNER,  BALTHASAR,  composer  and 
member  of  the  college  at  Schleusingen,  in  th« 
beginning  of  the  seventeenth  century,  published 
"  iloiette  fur  6  S/immen,  auf  dem  Tod  der  Fr.  Lat- 
termaimin  zu  Eisjield  ;  "  i.  e.,  Motet  for  six  voicei 
on  the  Death  of  Fr.  Lattermannin  at  Eisfield,  Co- 
bourg,  1614. 

MOLTO.  (I.)  Very,  or  much.  A  word  used; 
in  conjunction  with  some  other,  by  way  of  aug- 
mentation ;  as,  Molto  allegro,  very  quick  ;  Moltc 
adagio,  very  slow. 

MOMBELLI,  DOMENICO.  Chapel-mastei 
Reichardt,  who,  in  1790,  undertook  a  journey  tc 
Italy  for  the  express  purpose  of  becoming  ac- 
quainted with  the  powers  of  the  different  tenor 
and  alto  singers,  gives  the  following  very  flatter- 
ing description  of  Mombelli :  "  He  pleased  me 
above  all  others.  He  has  a  very  agreeable  and 
clear  voice,  particularly  in  the  deeper  tones,  and 
sings  with  much  feeling  and  expression.  His 
appearance  and  action  are  prepossessing  and  ex- 
pressive." In  the  winter  of  1790  to  1791,  he 
sang  at  the  theatre  at  Leghorn  and  Padua.  He 
is  known  as  a  composer  by  the  following  little 
works :  "  6  Ariette  Italiaiw  von  Ace.  di  Cemb.  o 
Arpa,"  Vienna,  1791  ;  "8  Ariette  Ital.  con  Ace.  di 
Cemb.,"  Op.  2,  Vienna,  1794  ;  "  6  Duettini  per  2 
Soprani,  con  Ace.  di  Cemb.,"  Op.  3,  Vienna,  1795. 

MOMIGNY,  JEROME  JOSEPH,  DE,  was  of 
Belgian  origin,  and  was  bom  at  Phillippeville 
in  1776.  His  father,  who  had  graduated  at  the 
University  of  Louvain,  and  had  studied  music  at 
the  court  of  Brussels,  taught  him  the  alphabet 
and  the  gamut  at  the  same  time.  His  father's 
fortune  being  impaired,  he  was  sent  to  St.  Omar's, 
where  he  had  an  uncle  by  the  mother's  side,  who 
took  the  charge  of  his  education.  His  progress 
in  music  was  so  rapid,  that,  when  only  nine 
years  old,  he  extemporized.  -\.t  twelve  he  was 
the  organist  of  two  parishes  of  St.  Omar.  Sum- 
moned to  the  royal  abbey  of  St.  Colombo,  he 
there  acquired  a  taste  for  retirement,  study,  and 
philosophy.  It  was  in  the  groves  that  surrounded 
this  religious  asyhim  that  he  first  composed,  and 
gave  himself  up  to  reading.  Unhappily  he 
wanted  models.  He  sought  them  at  Paris.  M. 
de  Monteynard,  one  of  the  ministers  of  Louis 
XVI.,  beiiig  a-sked  by  his  sister,  the  Abbess  of 
St.  Pierre  de  Lyons,  to  send  her  an  organist,  sent 
Momigny.  In  1793  he  became  secretary  of  his 
section,  and  was  appointed  municipal  officer  at 
the  time  when  the  citizens  of  Lyons  were  striv- 
ing  to  shake  off"  the  yoke  of  the  reign  of  terroi 
Outlawed  for  having  been  unwilling  to  betrmj 


611 


MOM 


ENCYCLOPEDIA    OF    MUSIC. 


MOW 


the  confidence  of  his  fellow-citizens,  he  took 
refuRe  in  Switzerland,  alter  havinj^  wandered, 
without  a  home,  through  the  south  of  France. 
He  returned  to  Lyons,  and  afterwards  established 
himself  at  I'aris,  in  1800.  He  had  composed  at 
Ia'ohs  twelve  sonatas  for  the  piano. forte,  at  I'aris 
two  quartetH  for  two  violins,  tenor,  and  ba-ss,  so- 
natas for  the  piano,  a  trio,  formin<;  his  twenty- 
Becond  work,  forty  romances,  and  two  Ojieras,  "  Le 
Baron  ile  Feh/ieim,"  the  words  by  the  Prince  of 
Schakowt-koy,  and  "  />a  Nouvclle  I^aitiir'-,"  of 
which  he  wrote  the  words  and  the  music.  He  also 
pjiblLshed,  for  the  use  of  the  family  of  Napoleon, 
solfeggi,  with  nn  accompaniment  for  the  piano- 
forte, and  in  1802  his  first  lessons  for  that  in- 
Btrument  appeared.  Momigny.  independently  of 
his  musical  abilities,  was  a  very  learned  man, 
and  has  particularly  distinguished  himself  by 
the  publication  of  a  work  in  three  volumes 
8vo.,  entitled  "  Coura  compkt  (f  Ilarmonie  et  de 
Composition  d'aprds  tine  Thiorie  twuvelle  et  ginirale 
de  la  Musiqite  bas^.s  stir  des  Principes  inconteslailes, 
puisis  dans  la  Nature,  ice."  ThLs  book  may  be 
considered  as  containing  a  new  theory  of  music, 
though  the  whole  idea  of  it  is  not  original, 
being  founded  partly  on  the  system  of  IJallicre, 
which  was  expanded  by  Jamard,  and  partly  on 
8ome  of  the  views  of  the  Abb6  Feytou,  which 
appear  in  the  article  "  Chromnti'/ue,"  in  the  "  En- 
cijclopidie  Mithr)diqite."  According  to  the  theory 
of  Momigny,  the  generator  produces  the  fol- 
lowing intervals  :  G,  b,  d,  g,  b,  d,  f,  a,  c,  c,  which 
the  author  calls  "I'unir/ue  I'jpi"  of  the  musical 
system,  and  compares  the  seven  musical  notes,  a, 
b,  c,  d,  e,  f,  g,  proceeding  from  the  generating 
string,  to  the  phenomena  of  the  decomposition  of 
light,  discovered  by  Newton  by  means  of  aprLsm. 
Momigny  has  distinguished  himself  also  by  a 
most  remarkably  well  arranged  edition  of  l)u- 
rante's  six  duets,  the  subjects  of  which  were  taken 
from  Scarlatti's  cantatas.  These  duets  are  sung 
at  all  the  miuservatoires  on  the  continent,  and  are 
renowned  for  the  beauty  of  their  melodies  and 
harmonic  treatment.  Momigny,  invited  by  the 
conductors  of  the  Encyclopidie  Milhodlqne,  has 
a  further  title  to  respect,  by  having  ably  com- 
pleted the  musical  part  of  that  work,  which  was 
left  unfinished  by  the  horrors  of  the  revolution, 
and  the  consequent  unfortunate  sacrifice  of  some 
of  ita  most  able  original  authors. 

MONAULOS.  (Gr.)  A  kind  of  single  flute, 
of  higher  antiquity  than  even  the  lyre,  and  said, 
by  some  writers,  to  have  been  invented  in  Egypt. 
The  Egyptians  called  it  I'hotinx.  or  crooked  flute  : 
its  shajjc  was  crooked,  and  sometliing  like  that  of 
a  bull's  horn. 

MONDODONO,  or  MONDONDONO,  GE- 
liOLAMO  DA,  a  jiriest  and  composer  in  Italy, 
tiourishcd  about  the  year  IfifiO,  and  published, 
among  other  works,  "  Missa,  Sahni,  e  Falsi  Bor- 
ioni  A  5  voci,"  1G.5;5,  and  "  S<ilmi,"  Venice,  I6()3. 

MONDOXVII.LE,  JE \N  JOSEPH  C,  DE. 
boni  at  Narbonne  in  171o.  After  visiting  the 
Netherlands,  where  several  motets  of  his  com- 
]>osition  were  much  admired,  he  went  to  Paris  in 
17.'J7,  and  procured  three  of  his  motets  to  Ihj 
sung  at  the  Concert  Spirituel,  when  it  was  consid- 
ered that  they  were  nearly  unrivalled.  He  was 
then  nppointe<l  chamber  musician  to  the  king, 
and  soon  afterwards  publLshetl  some  music  for 
the  harpsichord  and  violin,  and  some  concertos 


for  the  organ.  He  ne.xt  produced  an  unsuccess- 
ful opera;  but,  in  1749,  gave  another  opera,  " Ia. 
Camaval  du  lanuisse,"  which  had  thirty-five  rep- 
resentations. In  175.3  he  finished  the  poem,  and 
put  music  to  the  Abb6  de  la  Marre's  incompleta 
opera  of  "Titan  et  Aurore ;"  this  was  highly 
successful.  In  the  following  year  apjieared  hie 
"  Alcimadure,"  of  which  he  wrote  both  the  po- 
etry and  music.  His  last  dramatic  works  were 
"  Les  Files  de  Paphos,"  in  1758,  and  an  act  oi 
•'  Psyche,"  in  1702.  On  the  death  of  Iloyer,  in 
1755,  Mondonville  obtained  the  direction  of  the 
Concert  Spiritnel.  It  was  during  the  seven  yearn 
that  he  held  this  situation,  that,  on  the  model 
of  the  oratorios  of  Italy,  he  brought  out  "  Let 
Israelites  d  la  Montat/ne  d'Oreb,"  "  I.,es  Titai^,'' 
and  "  Les  Fureurs  de  Saul."  llie  last  hours  of 
his  lil'e  were  occupied  in  translating  the  "  Themis- 
tocles  "  of  Metastasio,  which  he  wished  to  set  to 
music.     He  died  in  1772. 

MONDONVILLE,  LE  JEUNE,  son  of  the  pre- 
ceding, and  a  good  violinist  and  performer  on  the 
hautboy,  was  born  at  Paris  about  the  year  1740. 
He  published  some  sonatas  and  other  music  for 
the  violin.     He  died  about  the  year  1807. 

MONET.V,  GIUSEPPE.  A  musical  amateur 
at  Florence.  He  competed  with  the  dramatic 
composers  of  hLs  time,  by  several  pieces  which 
were  performed  at  the  principal  theatres  in  Italy. 
The  following  of  them  may  be  mentioned :  "  II 
Capitano  Tenafflia,"  opera  buffa,  1784  ;  "  La  Mtita 
per  A  more"  opera  bufla,  1785;  "Amor  vuol  Gio- 
ventu,"  interm.  1780;  "  L' Eqtiivoco  del  Nostra" 
1786  ;  "  /  due  Tutori"  opera  buffa,  1791. 

MONFERINA.  (I.)  'llie  name  of  an  Italian 
dance  tune,  of  a  very  lively  cast,  in  six  eight 
time. 

MONFERRATO.     See  Moxtferrato. 

MONGEZ,  a  French  savant  at  Paris,  pre- 
sented to  the  National  Institute,  in  the  year  1800, 
"  Minuiire  sur  les  Harangues  rapportics  par  les 
Ilistoriens,  et  sur  les  Mayens  gu'on  croil  avoir  6ti 
employes  par  les  Anciens  pour  auymenler  les  EffeU 
de  la  Voix  dans  les  Thidtrej." 

MONIGLIA,  or  MONEGLIA,  GIOV.  AN- 
DREA. A  composer  of  Florence,  known  by  the 
two  following  works :  on  the  first  the  name  is 
printed  "  Moneglia,"  and  on  the  second  "  Moni- 
glia."  He  flourished  in  the  second  half  of  the 
seventeenth  century,  and  appears  to  have  resided 
in  Germany,  where  both  works  were  ]niblLshe<l. 
" //  TVwo,"  drama,  Dresden,  16G7,  and  "  Drama 
Musicdie  Giocasta,"  Dusseldorf,  KSOti. 

MONX,  MArni.  GIOV.  A  very  industrious 
and  fertile  vocal  and  instrumental  composer, 
probably  resident  at  Vienna  about  the  year  1795. 
Geibcr  cannot  impart  to  the  reader  any  further 
information  of  this  musician  than  what  is  to  be 
found  in  Traeg's  "  Catalogue,"  Vienna,  1799,  and 
this  consists  only  in  a  dry  mercantile  list  of  hia 
works,  all  in  manuscript.  To  increase  the  ob- 
scurity, there  Ls  another  G.  T.  H.  Monn  intro- 
duced, whose  name  stands  in  the  "  Catalogue  "  at 
the  head  of  six  sonatas.  Whether  several  of  the 
following  works,  which  are  without  Christiau 
names,  belong  to  the  last-mentioned  Monn,  Ger- 
ber  cannot  decide.  Most  of  the  following,  how- 
ever, are  signed  by  Matthia-s  :  "  Ei>^e  Anweisung 
zum  Gcncraldass,"  in  manuscript.     Sacred  music 


612 


MON 


ENCYCLOPEDIA    OF   MUSIC. 


MON 


1.  "  ^ratorium  Ueilsame  VnterreduiKjen ."  2. 
**  Oraloriiim."  3.  "  5  liitten."  4.  "  Hc({uiem  a  4 
tcci,  2  v.,  con  Org."  6.  "  Musa  Grot,  d  4  voci  e 
4  Str."  6.  "  Miaaa  A  4  voci,  con  12  Strom.," 
"  Chorus  ex  hortulanis,  S:c."  Violin  music  :  1.  "  6 
fi'.n/on.  fiir  voile  Orcheater."  2.  "  2  Concerte,  eini 
J'Ur  V.  und  eina  ftlrs  Vc."  3.  "  18  Sinfonien  /If 
2  v.,  A.,  und  B."  4.  "  15  Divi-rtimeiUna  a  2  I'., 
A.,e  B."  5.  "4  Trioa  d.  2  Viole  e  B."  6.  "3 
Partit.  d  FL,  V.,  e  B."  7.  "  2  Trios  A  Fl.,  Viola, 
e  B."  8.  "  Sonata  i  V.  aolo  con  B."  9.  "  12 
ilinueti  h  7  und  10  Stimmen."  10.  "  Muaicn  Tur- 
cheae  A  \0."  Ilnqjsichord  music  :  1.  "  12  Concerti 
per  it  Cemb.  con  Ace."  2.  "  30  Divertimenti  j)i-r  it 
Cemb.  aolo."  3.  "  6  Son.  p.  il  Cimb.  aolo."  The- 
atrical music  :  "  Diana  e  Amore,"  opera. 

MONOCIIORD.  An  ancient  instrument,  or 
macliine  so  called,  because  it  is  fumLshed  with 
only  one  strin;;.  Its  use  is,  to  raea.'iurc  and 
adjust  the  ratios  of  the  intervals,  which  it  eflccts 
by  means  of  movable  bridjjes,  calculated  to  di- 
vide the  chord  at  the  pleasure  of  the  speculatist. 
The  monnchord  appears  to  have  been  in  con>tant 
use  with  the  ancients,  as  the  only  means  of  fonn- 
in^  the  ear  to  the  accurate  perception,  and  tlie 
voice  to  the  true  intonation,  of  those  minute  and 
ditficult  intervals  which  were  then  practised  in 
melody. 

MOXODIE.  (F.)  A  composition  for  a  sin- 
gle voice.  ITie  term  originally  applied  to  church 
Bolo?>. 

MONOLOGUE.  A  poem,  song,  or  scene, 
written  and  composed  for  a  single  performer. 

MOXOTOXOrS.  An  epithet  applied  to  any 
instrument  which  produces  but  one  tone,  or  note  ; 
as  the  drum,  the  tambourine,  &c. 

MONRO,  GEORGE.  An  English  organist, 
lie  played  the  harpsichord  at  Goodman's  Fields 
Theatre,  from  the  time  when  it  was  opene<l,  in 
1729,  till  his  death,  which  happened  a  year  or 
two  afterwards.  Monro  had  a  hapjiy  talent  in 
composing  song  tunes,  of  which  many  were 
greatly  admired.  Several  of  them  were  printed 
in  the  "  Musical  Miscellany,"  an  elegant  collection 
of  songs,  with  the  music,  in  six  volumes,  printed 
and  published  by  Watts  in  the  year  1781. 

MONRO,  HENRY.  Professor  of  music  at 
Newcastle  upon  Tync.  His  father  was  a  musician 
in  Lincoln,  who,  discovering  the  great  delight  '. 
his  son  took  in  music,  at  a  very  early  age  placed 
him  in  the  cathedral  church  of  that  city  as  a 
chorister.  .Vfter  the  breaking  of  his  voice  Monro 
loft  the  choir,  and  became  a  pupil  of  John  James 
Ashley,  of  Hclgrnve  Place,  Pimlico,  by  whom  he 
was  taught  tlic  principle  of  music,  and  the  prac-  ' 
tice  of  the  piimo-forte  and  organ  ;  he  also,  during  ' 
his  residence  in  London,  received  lessons  from 
other  celebrated  masters,  namely,  Dussek.  I)it- 
tcnhofter,  and  D.  Corri.  In  the  year  179')  ho  left 
London  to  commence  his  musical  career  at  New- 
castle upon  Tyne,  and  was  appointed  organist  of 
St.  Andrew's  Church  there,  in  the  same  year ;  he 
continued  to  reside  in  that  town,  and  was  con- 
sidered by  competent  judges  as  a  very  able  musi- 
cian and  brilli.int  juanist.  His  works  are  not 
numerous  ;  among  them  are,  "  A  Sonata  tor  the 
Piano-forte  and  Violin,"  dedicated  to  Miss  Bell, 
Op.  2  ;  "  An  .\ir  a'nd  Rondo,"  dc<licated  to  Miss 
/ones  ;  al.so  other  rondos  and  songs.  Monro  was 
Oacle  to  Mr8.  BcdforJ,  who  received   in.-<truction 


from  him  on  the  piano- forte,  i)edal  liarp,  and 
singing,  before  she  was  articled  to  Bishop  tin 
compo.ser,  to  (jualily  her  as  a  public  singer. 

MON.SKiNV,  PIERRE  .VLE.\.AN1)RE,  who 
has  been  culle  I  the  French  Saccliini,  was  born 
in  1729,  in  the  province  of  .Vrtois.  He  went, 
when  very  young,  to  Paris,  where  Iiis  parents, 
destining  him  for  Knance  business,  got  him  a 
situation,  at  the  age  of  nineteen,  in  the  chamljei 
of  accounts  of  the  clergy  of  France.  Like  La 
Fontaine,  who,  on  hearing  an  ode  of  Malherbe, 
felt  his  genius  for  poetry  aroused  within  him,  so 
Monsigny,  at  a  representation  of  the  "  .'servant 
Mistress  "  of  Pergolesi,  felt  his  talent  for  music 
hrst  disclose  it.self;  for  soon  after  this  time  he 
began  seriously  to  study  composition  under  Gi- 
annotti,  when,  after  five  months'  lessons,  his 
master  told  him  that  he  could  be  of  no  further 
use.  NVhat  was  the  astonishment  of  Giannotti, 
when,  upon  this,  young  Monsigny  showed  him 
the  opera  of  "  l^a  Are.iuc  Iniliicreta,"  which  he 
had  composed  without  saying  any  thing  to 
his  master.  The  professor  then  begged  him 
to  leave  this  work  for  his  examination  ;  and  after 
looking  through  it  with  care,  ond  Hnding  even 
the  errors  in  composition  to  besjK'ak  genius, 
begged  of  the  author  to  give  him  the  opera, 
adding,  that  it  would  one  day  prove  the  foun- 
dation of  his  fortune  and  reputation.  Monsigny 
would  not  consent  to  this,  and  three  years  after- 
wards (in  1759)  he  brought  out  "  Lvs  Areux 
Indiacreta,"  in  one  act,  at  the  Thi&Ire  de  la  Foire. 
It  was  successful.  Accordingly,  in  17i>0,  he  pro- 
duced, at  the  same  theatre,  "  Le  Maitre  en  Droit," 
and  "  Le  C'tuti  dupi."  Sedaine,  being  present  at 
the  representation  of  the  latter  opera,  was  so  as- 
tonished at  the  effect  of  the  duo  between  the 
cadi  and  the  dyer,  that  he  exclaimed,  "  Viola  nwn 
homme !  "  and  the  same  evening  introduced  him- 
self to  Monsigny.  The  plea-ing  ojjcra  "  On  n* 
a' arise  jamais  detoiil,"  given  by  Mon-<igny  in  17()1, 
completed  a  mu-.ical  revolution  at  the  Tin  At  re  dt 
la  /■'oiVe,which,  from  that  time,  took  the  name  of 
('omidie  Jlalienne.  He  next  wrote,  in  conjunction 
with  Sedaine,  the  following  M-orks,  all  of  which 
were  brilliantly  successful :  '•  Le  Roi  et  le  Fcrmier," 
in  three  acts,  17fi2  :  "  ilwe  et  Colas,"  in  one  act, 
17fi4  ;  '*  Aline,  Rcine  de  Oolconde,"  in  three  acts, 
176t) ;  "  L' hie  Stmnanle,  in  three  acts,  1768  ;  "  Le 
Diserteur,"  in  three  acts,  1709;  "  Le  Faitcon,"  in 
one  act,  1772;  Filis,  ou  r Enfant  truuri,"  in 
three  acts,  1777  :  he  also  gave,  with  Favard,  in 
1775,  "  Iai  belle  .^ra^ne,"  in  four  acts.  Monsigny 
was  director  of  the  Conservatory,  and  pensioneii 
as  comj>oser  of  the  Feydeau,  in  the  year  1H02. 
We  know  not  the  exact  jicriod  of  his  decease. 

MONTANARI,  ANTONIO,  a  celebrated 
violinist  and  ])upil  of  t^orcUi  at  Rome,  flourished, 
according  to  Sir  J.  Hawkins,  at  Rome,  in  1700. 
Dr.  Buriiey  .says  of  Montanari,  that  he  died  broken 
hearted,  when  Bini,  in  1730,  came  to  Rome,  and 
there  excelled,  on  the  violin,  all  living  musicians, 
among  whom  Montanari  was  previously  con- 
sidered the  tirst  violinist.  It  cannot  be  ascer- 
tained, however,  whether  this  anecdote  relates  te 
Antonio  or  to  Francisco  Montanari,  or  whclhel 
he  is  improperly  calleil  .Vntonio  by  Hawkins,  oi 
lastly,  whether  there  lived  only  one  violinist  ol 
the  name  of  Franci.sco  Montanari ;  the  latt«t 
however,  is  the  most  probable,  becaujta  hia  work 
and  his  i>ortra>t  arc  in  existence. 


613 


MON 


excyclop.t:dia  of  music. 


MOC 


MOXTAXOS,  or  MONTANXKS,  FUAXCIS- 
CO.  Portionarius,  in  a  church  at  Valladolid,  in 
Spain,  in  1000,  jjublLshcd  "Arte  de  Musica  thro- 
rua  1/  }iractca,"  1592;  "Arte  de  Canto  JJano" 
Salamanca,  liilO. 

MONTAXr.     (F.)     Ascending. 

MOXTAUIX,  a  fertile  composer  of  French 
popular  songs,  probably  resided  at  I'ariw  about 
the  year  1710.  Of  Iuh  numerous  compositions, 
home  airs  in  Lulli's  style  are  inserted  in  the 
Riciiiil  d' Ain  a^.rieiix  ct  h  lioire  pour  I' annie  1710. 

MONTE.  rillLIP  DE,  a  native  of  Mons,  in 
Ilainault,  born  ii\  the  year  lo'il,  was  master  of 
the  chapel  to  tlie  Emjjcror  Ma.ximilian  II.  ;  he 
was  also  a  canon  and  treasurer  of  the  cathedral 
church  of  Cambray.  liesiiles  several  masses, 
this  writer  composed  four  books  of  madrigals. 

MOXTECLAIK,  MICHAEL,  was  born  in  the 
year  l(iG6,  at  Andelot,  a  town  of  IJassigny,  about 
ten  miles  from  Chaumont.  He  was  originally  a 
teacher  of  music  in  Paris,  but  was  afterwards 
taken  into  the  Itoyal  Academy.  Monteclair  Ls 
said  to  have  been  the  first  i)erson  who  introduced 
the  violone  or  double  bass  into  the  orchestra  of 
the  opera.  He  died  near  St.  Denis,  in  the  year 
1737.  There  are  extant  of  his  works  "  MUhode 
pour  apprendre  la  Musique,"  "  Principes  poitr  Ic 
Violon,"  "  Trios  de  Violona,"  cantatas,  motets,  and 
one  messe  de  requiem.  He  composed  the  music 
to  an  entertainment  entitled  "  Dcs  Files  deT Eli," 
and  to  the  celebrated  opera  of  "  Jeptltc,"  \vritten 
by  Pellegrini,  and  represented  at  Paris  in  the 
year  173"2. 

MOXTELLA,  DOMEXICO,  a  learned  mu- 
sician, flourished  at  Xaples  about  the  year  1.500. 

MOXTEM.WOR,  GREGORIUS,  a  celebrat- 
ed musician  in  the  chapel  of  King  Philip  II.  of 
Spain,  at  Madrid,  died  in  1560,  and  left  several 
works.  He  was  born  at  Montemor,  not  tar  from 
Coirabra,  in  Portugal,  and  died  in  the  flower  of 
his  youth. 

MONTESARDO,  GIROLAMO,  a  composer 
in  the  first  half  of  the  seventeenth  century,  pub- 
lished, about  1653,  "  Messa,  ikiimi  e  Litanie  d  4 
vuci." 

MOXTEVERDE.  CLAUDIO,  of  Cremona, 
chapel-master  of  the  church  of  St.  Mark  at  Ven- 
ice, was  a  celebrated  composer  of  motets  and 
madrigals,  who  flourished  about  the  beginning 
of  the  seventeenth  century.  He  was  also  well 
known  for  his  skill  in  recitative,  a  style  of 
which,  indeed,  he  may  be  said  to  have  been  one 
of  the  inventors  ;  at  least  there  are  no  examples 
of  recitative  extant  more  ancient  than  those  in 
his  opera  of  "  Orfeo."  There  are  several  of  his 
madrigals  inserted  in  the  collections  published 
by  Pietro  Phalesio  and  others,  about  the  year 
ItiOO.  He  was  tlie  first  who  >ised  double  discords, 
Buch  as  a  fl,  and  T^^  as  well  as  the  fiat  fifth  and 
the  seventh  unprepiurd.  In  his  secular  pro- 
ductions, by  quitting  ecclesiastical  modulation, 
he  determined  the  key  of  each  movement, 
smoothed  and  phrased  the  melody,  and  made  all 
his  parts  sing  in  a  more  iintural  and  flowing 
manner  than  had  been  done  by  any  of  his  pred- 
ecessors. In  his  fiith  and  last  book  of  madri- 
gals, almost  every  Hi)ecies  of  discord  and  modu- 
lation is  hazarded,  tor  the  use  of  which  the  bold- 
e«t  coraiiosers  ol  modern  times  have  been  often  | 
thought  licentious.  1 

61 


MOXTFERRATC,  XATAL,  sub-chapel-mas- 
ter at  St.  Mark's  Church  in  Venice,  flourLshcd  in 
1660.  We  can  mention  the  following  of  hi« 
works  :  "  Salmi  concertati  d  5,  6,  e  8  voci,  con  T'.," 
1650;  "  Motetfi,"  Venice,  1655;  "  Motciti  concer; 
tad,"  Venice,  1660  ;  "  Motctti  li  voce  sola,"  Venice, 
1666  ;  "  Mot'.tti  d  voce  sola,"  Xcmce,  1G73.  Bur- 
ney  observes  that  he  was  the  first  who  used  th« 
da  cajto,  which,  about  1680,  became  common. 

MOXTGERAULT,  MADAME,  a  female  mu- 
sical amateur  at  Paris,  published  there,  previously 
to  the  year  1796,  "  Troi^  Senates  pour  k  Clac.  seul." 
'ITiis  lady  is  said  to  have  been  possessed  of  exten- 
sive musical  knowledge.  She  was  appointed  aa- 
sifitant  professor  at  the  Conservatory  m  Paris. 

MOXTI,  GAETAXO,  a  composer,  bom  at 
Xaples,  was  reckoned  among  the  dramatic  com- 
posers of  Italy,  between  the  years  1783  and  1791. 
Some  of  his  works  are  "  Lo  StudeiUe,"  opera  buifa, 
Xaples,  1784  ;  "  Le  Donne  vcndicate"  opera  buifa, 
Palermo,  1784;  "  Lm  CoiUadina  accorta,"  opera 
buft'a,  Dresden,  1782. 

MOXTICELLI,  AXGELO  MARIA,  of  MUan. 
born  about  the  year  1715.  sang  in  Xaples,  in 
1746,  with  Mingotti ;  he  altei  wards  went  to  Lon- 
don. Monticelli  died  at  Dresden  about  the  year 
1764. 

MOXTVALLOX.  DE,  published  at  Paris,  in 
1742,  a  work  entitled  "  Nouveau  Systime  de  Mu- 
sique sur  les  intervaUes  des  tons  et  sur  Us  proportions 
des  accords,  oil  fon  examine  Us  systimes  proposes  par 
divers  auteurs." 

MOXZA,  ALBERTO.  A  celebrated  singer, 
about  the  year  1700. 

MOXZA,  CARLO,  chevalier  and  chapel-mas- 
ter at  the  theatre  of  La  Scala  at  Milan,  was  a 
native  of  that  town,  and  occupied  the  above  situ- 
ation about  the  year  1766.  He  was  then  in  high 
repute,  as  one  of  the  best  composers  for  the 
church  and  the  opera.  He  produced  in  the  above 
year  his  opera  of  "  Tcmistock."  Dr.  Burney  heard 
one  of  Monza's  masses  in  the  church  of  Santa 
Maria,  and  found  it  a  fine  composition  and  full 
of  genius.  He  wrote  some  other  operas,  and  also 
some  music  for  the  harpsichord. 

MOXZAXI.  This  eminent  performer  on  the 
flute  was  born  in  Italy,  but  resided  many  years 
in  England,  in  the  early  part  of  this  century.  He 
was  formerly  first  flute  at  the  King's  Theatre,  and 
performed  at  most  of  the  principal  concerts  and 
music  meetings ;  after  which  time  he  was  largely 
engaged  in  the  music  trade,  and  in  the  manufac- 
turing of  flutes. 

MOORE,  THOMAS,  ESQ.  'lliis  celebrated 
poet  and  musical  amateur  was  a  native  of  Ire- 
laud.  .Vfter  having  been  under  the  tuition  of 
Mr.  Whyte,  a  man  of  taste  and  talent,  he  com- 
pleted his  education  at  Trinity  College,  Dublir 
Ilis  cla-ssieal  studies  being  finished,  he  went  to 
London,  entered  himsell'  of  the  Temple,  with  a 
view  to  make  the  law  his  profession,  and  was 
called  to  the  bar.  In  those  moments  when  he 
was  not  occupied  with  the  dry  lechnicaUties,  tha 
trifling  quibbles,  and  the  endless  prosing  of  legal 
writers,  he  amused  himself  with  translating  tho 
Odes  of  Anacreon  ;  these  he  published,  with  co- 
piovis  notes,  in  l.SOO.  This  version,  one  of  th  i 
most  elegant  that  has  ever  appeared,  met  with  bO 


MOO 


EXCYCLOPJEDIA    OF    MUSIC. 


MOB 


favorable  a  reception  from  all  who  possessed  a 
classical  and  i)OCticnl  taste,  that  he  seeiux  to  have 
beeti  induced  to  abandon  the  law,  and  devote 
hiraself  to  literature.  In  1801  he  <;ave  to  the 
press  a  volume  of  poems,  under  the  assumed 
name  of  Tliomas  Little,  which  went  throuf^h 
thirteen  or  fourteen  editions.  In  180;J  he  pub- 
lished "  A  candid  Appeal  to  public  Conhdence, 
or  Considerations  on  the  actual  and  imaginary 
Dangers  of  the  present  Crisis."  About  this  time 
l.e  went  to  the  Hermuda  Islands,  of  which, 
through  the  interest  of  Lord  Miura,  he  was  ai>- 
pointed  rey;i^trar  ;  and  he  also  vi--itcd  the  United 
Slates.  Of  the  American  character  he  lormcd  a 
very  unfavorable  opinion,  and  that  oi)iniou  he  did 
not  hesitate  to  express  freely  in  a  volume  which 
came  out  upon  his  return  to  England,  in  1806. 
This  volume  bore  the  title  of  "  Epistles,  Odes,  and 
other  Poems."  In  ISOS  he  sent  to  the  press 
"  Corruption  and  Intolerance,"  two  poems,  with 
r.rtes,  addressed  to  an  EngUshman  by  an  Irish- 
man ;  and  in  1809,  "The  .Sceptic,"  a  philosophi- 
cal satire.  These  works,  of  which  the  first  is 
pungently  satirical,  are  little  known  ;  bul  they 
are  worthy  of  their  author.  They  were  succeetl- 
ed,  in  1810.  by  "  A  Letter  to  the  Homan  Catholics 
of  Dublin."  His  next  production.  "  Intercepted 
Letters,  or  the  Two-penny  Post-bag,"  by  Thomas 
Brown,  the  younger,  181'2,  was  eagerly  perused, 
and  fourteen  editions  of  it  were  printed.  It  lashes 
severely  one  elevated  personage,  and  several  of  the 
most  eminent  of  the  Tory  party.  In  sparkling 
wit,  keen  sarcasm,  and  humorous  pleasantry,  it  is 
rivalled  only  by  another  volume,  entitled  "  'Ilie 
Fudge  Family  in  Paris,"  which  issued  from  the 
press  in  1818,  and  the  hero  of  which  is  a  poet, 
who  has  apostatized  from  the  principles  of  liber- 
ty, and  become  the  virulent  supporter  of  court 
measures.  In  ISl.'J  the  fame  of  .Mr.  Moore  was 
increased  by  the  appearance  of  his  e.xquisite  songs 
to  Sir  John  Stevenson's  collection  of  Irish  melodies. 
Some  of  the>e  songs  are  among  the  tinest  speci- 
mens of  poetry,  and  the  morality  of  the  whole  of 
them  is  unexceptionable.  They  have  since  been 
collected  into  one  volume.  In  181'J  he  published 
a  series  of  sacred  songs,  duets,  and  trios,  the  mu- 
sic to  which  was  composed  and  selected  by  him- 
self and  Sir  John  Stevenson.  This  series  forms, 
in  every  respect,  a  suitable  companion  to  the 
Irish  melodies.  In  the  following  year,  1817,  came 
torth  his  great  work,  on  which  he  was  known  to 
have  been  long  engaged,  and  which  the  reading 
world  had  awaited  with  eager  expectation.  On 
this  occa.sion,  all  the  hopes  which  had  been  ex- 
cited were  fully  realized.  Ity  the  publication  of 
"  Lalla  Uookh,"  he  placed  beyond  the  possibility 
of  dispute  his  claim  to  be  ranked  among  the  first 
of  British  poets.  "  Thou:;lits  that  breathe  and 
words  that  burn,"  would  not  be  an  unapplicable 
motto  for  this  Oriental  romance,  which  unites  the 
purest  and  softest  tenderness  with  the  loltiest  dig- 
nity, and  glows  in  every  jMige  with  all  the  ferror 
of  poetry.  For  this  poem  he  is  said  to  have  re- 
ceived the  sum  of  three  thousand  guineas.  .Vfter 
this  Mr.  Moore  published  his  poem  of  "  The  Loves 
of  the  Angels,"  and  also  a  small  spiiited  work 
entitled  "  Memoirs  of  Captain  Hock."  We  have 
also  omitted  to  mention  that  he  corapleteil  Mur- 
phy's untinishcd  translation  of  Sallust,  also  edited 
an  edition  of  the  works  of  Brinsley  Sheridan, 
and  published  a  biography  of  biin.  Moore  died 
in  lSo2. 


MOO  REHEAT),  JOHN,  was  well  known  a» 
tlie  composer  of  several  English  operas,  which 
have  attained  great  i)opularity.  He  was  an  Irish- 
man by  birth,  and  received  his  first  instructiooi 
in  music  in  that  counti-y.  For  several  years  of 
the  early  i)art  of  his  li:e  he  was  employed  as  a 
performer  in  the  orche>tras  of  ditferent  provincial 
theatres,  where,  as  far  as  so  confined  a  sphere 
would  admit  of,  he  obtained  considerable  celeb- 
rity. In  1798,  a  situation  in  the  orchestra  of 
Covent  UiU-den  Theatre  having  been  offered  to 
him,  he  was  induced  to  accept  it,  in  the  hope 
that  he  might  thus  have  an  opportunity  of  ad- 
vancing himself  into  the  liigher  departments  of 
his  profession.  This  opportunity  was,  not  long 
afterwards,  afforded  him  by  an  engagement  with 
the  managers  to  compose  the  music  to  tlie  pan- 
tomime of  "The  Volcano,  or  the  Rival  Ilarlo- 
quins,"  and  to  the  entertainment  of  "The  Naval 
I'illar."  'I'hose  were  so  well  received  by  the  pub- 
lic, that,  in  1801,  he  was  employed,  conjointly 
with  Davy,  in  the  ballet  pantomime  of  "I'erotue," 
which  had  an  almost  unprecedented  degree  of 
success.  In  1802  he  com])osed  the  overture  and 
other  music  in  the  pantomime  of  "  ILule<iuin'8 
Habeas,"  and  was  likewise  engaged  in  the  opera  of 
"The  Cabinet,"  with  Messrs.  Uoevo,  Davy,  Corn, 
and  Braham.     Moorehead  died  in  the  year  1801. 

MORALES,  CHRISroPHER,  the  earliest 
Si»iuish  musician  of  any  eminence  whose  name  we 
have  l)oen  able  to  meet  with,  wa.s  a  native  of  Seville. 
He  held  the  situation  of  a  singer  in  the  Pontifical 
Chapel,  under  Paul  III.,  about  the  year  1544, 
and  was  the  author  of  two  collections  of  mas.ses, 
the  one  for  five,  and  the  other  for  four  voices,  and 
also  of  a  well-known  Magnificat.  Mention  has 
al.so  been  made  of  a  fine  motet  by  him,  "  Lnmcn- 
tabalur  Jacob,"  which  for  many  years  continued 
to  be  sung  in  the  Pope's  Chapel  on  the  fourth 
Sunday  in  Lent.  Morales  likewi-e  comimsed  the 
"  Litmentations  of  Jeremiah,"  for  four,  five,  and 
six  voices.  These  works  have  been  printed  ;  and 
a  "  Glorin  Patri,"  composed  by  him,  is  preserved 
in  Kircher's  "  Musun/ia."  As  a  si>ccimeu  of  hia 
Ci>mj)Ositions,  one  of  the  madrigals,  "  Hitti  mi  c 
at,"  taken  from  his  fourth  book,  published  at 
Venice  in  15 H,  is  inserted  in  Smith's  "  .l/iuica 
Aniii/iui."  ITie  style  of  Morales,  though  leamc  1 
for  the  time  in  which  he  wrote,  is  somewhat  dry, 
and  the  harmony,  by  his  fretjucnt  use  of  unac- 
companied fourths  and  ninths,  is  uncouth  and 
insipid. 

MORAUZ.VTIONS.  The  name  given  to  cer- 
tain old  Si-otch  puritanical  songs. 

MORAND,  PIERRE.  Under  this  name  waa 
published,  at  Paris,  "  Juatijicatian  lie  la  Slutiq'it 
t'rani;oise,"  kc,  1751. 

MOR.VNDI,  PIETRO,  an  Italian  composer, 
belongwl,  in  1783,  to  the  orchestra  of  the  theatre 
of  Sijiigaglia.  He  was  born  in  that  town,  and 
was  living  in  1701.  He  com|)0:.ed  "  Uli  Vturpa- 
tori  df Uui,"  opera  buffa,  1791. 

MORARI,  ANTOINE.  \  contnipunti!.t  of 
the  si.xteenth  century.  .-Vmong  the  motets  pub- 
lishe<i  by  I,cchner,  in  1575,  are  many  by  Morari. 

MOR.VTO,  JOA.  VAZ  B.XRRADAS  MUITO 
FAME,  a  crlebratefl  Portuguese  professor  and 
composer,  bom  in  Portugal  in  ir.89,  left  at  hi4 
decease   the   following  works,  partly  in   manu- 


615 


MOR 


ENCYCLOPEDIA    OF    MUSIC. 


MOR 


Bcript,  partly  ])riiitcd  :  "  Preceitos  Eccleiiaaticoi  do 
Cati'o  Firmn,  fmni  betufico  e  iizo  commun  tie  todot," 
1^19  on,  17;J't  ;  "  IJominyas  ila  Madre  de  Deos,  e  ex- 
trciio  ijtiitidian  >  reveltido  pela  menma  Senhora," 
LLibon,  17;i3  ;  "  Ftorea  Musicaes  wlhidas  no  jardim 
da  millvtr  Iica6  de  ratios  authores.  Arte  practica  de 
Canio  ed  Or<jao.  Iiidice  de  Cantoria  para  princi- 
piaiUet  com  hum  breve  resumo  dat  regras  main  priif 
cipae*  do  Canto  ('h(i6,  e  regimen  do  Cora  eo  uzo 
Romana  pnra  os  Subchanlrei  e  Organistas,"  Lisbon, 
1735  ;  "  Fl/>rea  Mitsicaes  colhidas  tu)  Jardim  da  ynit- 
hor  licad  de  varios  authores.  Arte  practica  de  Canto 
de  Orgad.  Indicc  de  ceremonia  para  priiicipiantes 
com  hum  breve  resumo  das  regraa  mais  priiicipaes  de 
accompaiiliar  om  instrumentos  as  vozes,  e  o  conheci- 
menlo  dos  tons  assiyn  tiaturacs,  como  ncideiitaes," 
Lisbon,  1738;  "  Brece  resumo  de  Canio  Chad  com 
as  regras  mais  principacs,  e  a  forma,  que  dcve  guar- 
dar  0  Director  do  Cora  para  o  sitstnntar  Jirme  na 
ctrda  chamada  ('oral,  e  o  organi-sta  quando  o  a  com- 
panha,"  Lisbon,  1738  ;  and  "Brece  resumo  do  Can- 
to Chad  dedicada  a  Magestade  de  D.  Joa6  V.,"  1739. 

MORAVIAN  CUSTO>L  The  Moravians  have 
a  custom,  which,  we  believe,  is  peculiar  to  them, 
of  performing  a  certain  kind  of  music  for  the 
dead,  or  solemnizing  the  departure  of  the  soul 
into  eternity.  This  music  is  pertonned  on  four 
brass  horns,  in  harmony,  upon  a  platform,  or  open 
apartment,  high  up  in  the  steeple  of  their  church, 
which  generally  has  a  commanding  elevation 
above  the  suiTounding  buildings.  Just  as  the 
glowing  rays  of  day  are  dissolving  in  the  sky,  the 
soft,  dirge  like  choral  floats  on  the  evening  air, 
tilling  it  with  solemn  sweetness.  It  seems  as  a 
voice  from  the  unknown  world,  summoning  the 
B])irit  of  the  di.ad  to  its  eternal  home.  The  sacred 
harmony  penetrates  and  hallows  every  bosom. 
It  speaks  directly  to  the  heart ;  nor  does  it  grow 
tame  by  repetition.  Who  will  attirra  that  such  a 
custom  does  not  soften,  humanize,  and  retine 
the  heart  ?  It  must  powerfully  draw  the  minds 
of  those  within  its  iuttuence  to  reflect  upon  the 
great  change  which  awaits  all  tiesh,  and  to  pre- 
pare and  to  familial  ize  the  soul  with  death,  and 
■with  thoughts  concerning  its  future  and  everlast- 
ing abode. 

MORAWETZ,  GIOVAN.  A  musician,  resi- 
dent, about  tlie  year  17Ji),  at  Vienna.  Of  his 
works  the  following  weie  in  Traeg  s  "  Catalogue," 
Vienna,  17^9:  "3  SinJ'urnie  a  11  e  12  Stronieiiti." 
"  Concertino  d  9  Slrom."  "  8  Xotturni,  i  Fl. 
d'Anujrc,  Fl.  true,  2  F/o/<?,  2  Corni,  e  V."  "  Sestet- 
to,  a  2  V ,  Ob.,  Fl.,  A.,  e  Vc."  "  Ilarmonie-Par- 
tien  d  8."  He  was  in  1809  at  Pesth,  in  Hungary, 
as  chef-d'orchcstre  of  the  theatre  there. 

MORCE.'VU.  (F.)  Apiece  or  musical  com- 
position of  any  kind. 

MORDENTE,  sometimes  written  MOR- 
DANTE.  (1.)  This  consists  of  tliree  successive 
tones,  the  middle  of  which  is  the  tone  over  which 
the  sign  Ls  placed,  and  sometimes  begins  with  the 
upper,  sometimes  with  the  lower  note.  l.,atterly, 
composers  have  begun  to  show  by  the  sign  tlie 
I>articular  movement  which  is  intended  to  be  a\>- 
]ilied;  that  sign,  therelore,  which  has  the  first 
hook  or  notch  bent  downwards,  thus,  "^r,  shows 
that  the  double  turn  is  to  begin  with  the  lower 
note  ;  that  bent  the  contrary  way,  shows  that  it 
U  to  begin  with  the  >ipi)er  note.  \i  the  mordcnte 
does  not  stand  over,  but  after  the  note,  to  serve 


as  a  link  to  connect  with  the  following  notes, 
then  the  jjrincipal  note  is  again  added  as  a  fourth 
note,  and  executed  only  just  before  entering  on 
the  following  tone.  If  the  mordente  is  placed 
over  a  dot,  then  the  fourth  note  stands  in  place 
of  the  dot.  The  mordente  is  always  to  be  played 
rapidly,  whether  in  quick  or  slow  time,  and  very 
distinct,  and  perfectly  e(iual  in  its  third  and  fourth 
notes,  both  as  regards  (juickness  and  power.  The 
mordente  is  a  species  of  trill  or  shake.  Its  def- 
inition varies,  however,  with  different  master?, 
in  different  passages.  Dr.  Arnold  gives  the  fol- 
lowing example :  — 


The  Italians  use  it  differently  in  the  same  pas- 
sage. 

Wrilttn.  Played. 

y^«^ .— #^» 


MOREAU,  JEAN  BAPTISTE,  a  musician, 
born  at  Angers,  in  1G56,  was  led  by  the  conscious- 
ness of  his  musical  talents  to  try  his  fortune  a» 
Paris.  Having  succeeded  in  a  bold  attempt  to 
get  unperceived  into  the  closet  of  madame  the 
dauphiness,  Victoire  de  Raviere,  who  was  fond 
of  music,  he  had  the  assurance  to  pull  her  by  the 
sleeve,  and  ask  permission  to  sing  a  little  air  of 
his  own  composing.  The  dauphiness,  laughing 
at  the  singularity  of  the  incident,  allowed  him  to 
do  so.  He  sang  without  being  disconcerted,  and 
the  princess  was  pleased.  The  story  came  to  the 
ears  of  the  king,  and  he  desired  to  see  him.  Mo- 
reau  was  introduced  to  his  majesty  in  the  apart- 
ment of  Madame  Maintenon,  and  sang  several 
airs,  with  which  the  king  was  so  much  delighted 
that  he  ordered  him  to  compose  a  musical  enter- 
tainment, which  was  performed  at  Marli  two 
months  alterwards,  and  applauded  by  the  whole 
court.  He  was  also  engaged  to  compose  the 
interludes  for  the  tragedies  of  "  Esther,"  "Atha- 
lie,"  "  Jonathas."  and  several  other  pieces  for 
the  house  of  St.  C)t.  He  died  at  Paris  in 
1731.  His  chief  excellence  consisted  in  giving 
the  full  force  of  exi)ression  to  all  kinds  of  words, 
and  also  to  subjects.  The  poet  Lainez,  with 
whom  he  was  intimate,  furnished  him  with  sever- 
al songs  and  little  cantatas,  which  he  set  to  mu- 
sic, but  none  of  them  have  been  published. 

MOREAU,  JEAN  ANDRE,  bom  at  Paris  in 
17(>8,  was  the  son  of  the  celebrated  surgeon  of 
that  name.  Having  in  early  age  lost  his  father, 
and  announcing  a  decided  talent  for  music,  hia 
mother  determined,  by  the  instigation  of  her 
(riends,  to  bring  up  her  son  to  the  musical  pro- 
fession. He  was  accordingly  sent,  in  1774,  as  a 
chorister  of  the  cathedral  at  Amiens,  where  h« 
studied  under  Dominiijue  Leuder,  who  was  then 
considered  one  of  the  fii-st  chapel-masters  of 
France.  At  eighteen  years  of  age,  he  obtained 
the  situation  of  chapel-ma-ster  of  the  collegiate 
church  of  Uethune,  and  two  years  afterwards 
obtained  the  same  situation  at  Peronne.  He  ha* 
published  much  vocal  and  instrumental  music. 

MOREL,  a  J'rench  composer  in  172(1,  published 


616 


MOR 


ENCYCLOPAEDIA    OF    MUSIC. 


MOR 


"  Lei  ThiiiUertes,"  a  work  contiiining  a  collection 
of  cantatas,  and  a  "  'J'e  Ucum  Utiidamus."  In  t)ic 
"  Recueil  d' Airs  sirieux  et  d  boire  pour  Tan  1710," 
Paris,  are  also  inserted  several  of  his  airs. 

MOREL,  a  canon  at  Montpclier  in  1740,  pub- 
lished "  \ouvelle  Thiorie  physique  de  la  Voix," 
Paris,  174G. 

MORELLI,  GIUSEPPE,  an  Italian  singer  at 
Cassel,  -was,  in  his  eighteenth  year,  court  singer 
at  Lisbon,  where  he  witnessed  the  dreadful  earth- 
quake. .\ccording  to  his  own  assurance,  his  hair 
turned  at  once  quite  gray  in  eonse<iuence  of  his 
fright.  In  ISOiJ,  he  was  living  in  the  small  IIcs- 
Bian  town  of  Spangenberg,  and  was  then  iu  hLs 
seventieth  year. 

MOREXDO.  (I.)  A  term  indicating  a  style 
of  performance  in  which  the  tones  of  the  voice, 
or  instruments,  are  to  be  gradually  softened,  or 
made  to  die  away. 

MORI,  PIETRO.  chapel-master  in  the  colle- 
giate church  of  St.  ticniiniano,  in  Tuscany, 
flourished  about  the  middle  of  the  seventeenth 
century.  In  I'arstorffer's  Cat.  are  found  the  fol- 
lowing of  his  works  :  "  Sutmi  h  5  voci,"  Venice, 
1647  ;  Misse  d  4  e  6  voci,"  Venice,  1651 ;  "  Salmi 
i  4  voci ; "  and  "  Compicta  e  Litania  il  4  voci." 

MORI.  This  celebrated  violinist,  who  was 
born  in  England,  wa.s  one  of  the  most  shining 
ornaments  of  the  great  school  of  Viotti.  His 
natural  intellectual  endowments  were  strong,  and 
at  the  same  time  delicate.  X  lively  temperament, 
keen  sense  of,  and  just  reliance  on  his  powers, 
and  last,  not  lea.st,  an  ardent  love  of  his  art,  and 
an  unrela.\ing  enthusiasm,  whetted  by  a  desire  to 
reach  and  maintain,  and,  indeed,  to  be  satisfied 
only  with,  tlic  highest  rank  —  all  these  quaUtics, 
backed  by  industry  and  perseverance,  are  the 
attributes  and  characteristics  of  his  mind.  He 
brought  to  the  technical  part  of  his  profession 
also  great  requisites.  His  attitude  had  the  grace 
of  manly  contidenco  ;  his  bow-arm  was  bold,  free, 
and  commanding  ;  and  he  produced  an  eminently 
firm,  full,  and  impressive  tone.  His  execution 
was  marked  alike  by  abundant  force  and  fire,  by 
extraordinary  precision  an<l  prodigious  facility. 
Mori  Ls  well  known  to  be  one  of  the  principal 
orchestral  leaders.  He  has  led  at  the  oratorios, 
the  great  proWncial  meetings,  and  occasionally 
at  the  Philharmonic  concerts.  He  has  published 
but  few  of  his  compositions,  though  several  of  his 
concertos,  played  in  public  by  himself,  are  con- 
sidered to  have  great  merit. 

MORIGI.  AXtiELO,  of  Rimini,  first  violinist 
of  the  theatre  at  Parma,  died  there  about  the 
year  1790.  He  wa.«t  a  pupil  of  Tartini,  and  mas- 
tor  of  B.  Asioli.  He  published  much  music  for 
the  violin. 

MORISCO.     (L)     In  the  Moorish  style. 

MORLACCIII,  FRANCESCO,  was  born  in 
Perugia  in  1784.  In  hLs  seventh  year  he  began 
the  violin  ;  at  twelve,  solfalng  and  the  piano-forte, 
under  Caruso.  Without  any  previous  study  of 
counterpoint,  he  compose<l  songs,  sonatas,  masses, 
and  even  a  little  oratorio ;  at  fifteen  he  studied 
thorough  bass;  and  at  eighteen  counterpoint, 
under  Zuigarelli,  at  Loretto.  At  twenty  he  went 
tlirough  a  regular  course  of  all  the  different 
ipecies  of  composition,  but  particularly  of  church 
78  < 


music,  under  Padre  Mattel,  of  liologna ;  and,  at 
the  same  time,  studied  the  clarinet,  to  acquire  a 
familial  acquaintance  with  the  dilferent  charac- 
ters of  these  instruments.  In  ISOiJ,  after  a  regu- 
lar probation,  he  was  admitted  a  member  of  the 
Philharmonic  Academy  at  Uologna.  About  tliu 
period  he  composed,  on  various  occasions,  tliree 
hymns,  a  Patcr-noster,  a  Te  Dtum,  at  differ- 
ent theatres.  His  cantata  in  praise  of  music  was 
given   in  the  Lyceum  of  Itologna.     In  the  year 

1807,  he  composed  his  first  intermezzo,  "  //  I'oeta 
in  Campartna,"  for  the  Florentine  'Hicatre  Locom- 
mere  ;  afterwards  hLs  first  opera  buffa,  "  //  lii- 
tralto,"  for  the  Philharmonic  Theatre  at  Verona. 
In  addition  to  these,  he  coniposeJ  the  thirty-third 
canto  of  Dante's  "  Inferno,"  various  pitves  of 
church  music,  and  a  >fiserere  in  si.\teen  parts  :  in 

1808,  "//  Corntdiiio,"  and  "Ore'ti;"  tor  the  theatre 
of  Panna ;  "  Enone  e  Paridc,"  a  serious  opera,  for 
Leghorn ;  the  greater  part  of  which  was  com- 
posed on  board  a  man-of-war  that  la}"  off  the 
port,  in  order  to  escape  from  the  altercations  of 
the  singers ;  and  a  mass  and  vespers  for  the 
Church  of  St.  Ciecilia,  in  Parma  :  in  1809,  "  Ri- 
nal<io  cCAste,"  an  intermezzo,  lor  Parma;  "La 
Principessa  per  ripiego,"  an  opera  buffa,  for  Rome ; 
•'  II  Simoncino,"  an  intermezzo,  for  the  same  city  ; 
"  Le  Aveniure  (Cuna  Giornata,"  a  drama  for  ^Ii- 
lan ;  "  Saffo,"  a  Ij-ric  scene,  composed  for  the 
Donna  Marcolini ;  and  a  concerto  of  considerable 
length  :  in  1810,  Le  Danaidc,"  a  serious  opera, 
for  Rome,  lliat  year  he  composed  his  first  mass 
for  the  Royal  Chapel  of  Saxony,  to  which  he 
was  appointed  as  composer  :  in  1811,  "  liaoul  di 
Crequi,"  an  opera  for  the  Royal  Theatre  at  Dres- 
den :  in  18 12,  the  oratorio  of  "La  Passione,"  for  the 
same  city:  in  181.3,  "  La  Capricciosa  pentita,"  an 
opera  buffa,  for  the  same;  in  1814,  " //  Uurbiere 
di  Siii(/lia,"  an  opera,  for  the  same  ;  in  18 IG,  "La 
Villanella    rapila    di    I'irna,"    an    opera    for    the 

theatre  of  Piluitz :  iu  1817,  "  Isacco,"  an  ora- 
torio, with  rhythmical  declamation,  instead  of 
recitative,  for  Dresden  ;  afterwards  "  Laodicea," 
a  serious  opera,  for  the  theatre  of  San  Carlos  at 
Naples,  and  "  Gianni  di  Pariyi,"  for  the  Scala  at 
Milan  :  in  1818,  the  "  Camicn  Secularc"  of  Hor- 
aie,  composed  on  occasion  of  the  jubilee  for  the 
King  of  Saxony:  in  1821,  "Z-<i  Mortc  d'Ahele," 
an  oratorio,  for  the  Royal  Chapel  of  Dresden, 
also  composed  with  rhythmical  declamation  ;  af- 
terwards "  Donna  Aurora,"  an  opera  buffa,  for  the 
Scala  iu  Milan  :  in  1822,  he  composed  the  serious 
opera  of  "  Tobaldo  e  Isoliiui,"  for  the  Theatre  Fe- 
nice,  in  Venice.  Besides  these  numerous  compo- 
sitions, he  has  also  producwl,  lor  the  Royal  Chaj^el 
of  Saxony,  six  masses,  thirty-three  psalms,  twel%"e 
antiphonies,  ten  offertories,  and  a  Miserere  in 
three  parts.  In  addition  to  these,  he  is  the  au- 
thor of  twenty  cantatas,  which  were  performed 
on  various  occasions,  six  sonatas  for  the  organ, 
six  ariettes,  with  piano-forte  accompaniments, 
six  songs,  and  six  anacreontics. 

MORLEY.  THOM-\S.  a  pupU  of  Bird, 
bachelor  of  music,  and  one  of  the  gentlemen  of 
(Juccn  Elizabeth's  chai>cl,  acipiire  1  more  celeb- 
rity by  his  treatise  entitle<l  "  .V  plainc  and  cn.sie 
^Introduction  to  Practical  Musickc,"  than  by  l.ii 
performance  or  comjiositions,  though  eminent 
for  both.  As  a  practical  musician,  iu  comparing 
Morley's  productions  with  those  of  his  prede- 
cessors, wc  cannot  acquit  him  of  the  charge  oi 
17 


MOR 


FNCYCLOP^DIA    OF   MUSIC. 


MOR 


plagiari-m.  Ilis  melodies,  however,  are  rather 
more  Howing  and  i)olihljcd  thau  those  of  the  old 
authors,  on  whose  property  liis  memory,  perhaps 
imperceptibly,  hud  lasteued;  but,  besides  these, 
it  is  evident  that  he  sometimes  condescended  to 
use  the  same  materiahi  as  his  contemporaries, 
and  to  interweave  the  favorite  passa^'es  of  the 
times  into  his  works,  of  which  the  following  is  a 
chronological  list :  "  Canzonets,  or  little  short 
Songs,  for  tliree  voices,"  1593;  "Madrigals  for 
four  voices,"  1594;  "Ballets,  or  Fa-las,  for  five 
voices,"  1595;  "  Madrigals  for  five  voices,"  1595; 
"  Canzonets,  or  short  Airs,  for  five  and  six 
voices,"  1595.  Of  the  I'oUowing  publications 
he  was  little  more  than  the  editor  :  "  Madrigals 
for  five  voices,  collected  out  of  the  best  Italian 
Authors,"  1598 ;  "  The  Triumphs  of  Oriana,  to 
five  and  six  voices,  composed  by  divers  several 
Authors.  Xewly  published  by  'ITiomas  Morley, 
Bachelor  of  Musicke,  and  Gentleman  of  her 
Majesty's  honourable  Chapell.  1601."  These 
madrigals,  in  number  twenty-four,  of  which  the 
music  of  the  thirteenth  and  twenty-fourth  was 
composed  by  Moiley,  were  written,  set,  and  pub- 
lished m  honor  of  Queen  Elizabeth,  wlio  is 
figured  under  the  name  of  Oriana.  The  com- 
posers of  the  rest  were  Daniel  Norcome,  Mi- 
chael Este,  John  Mundy,  bachelor  of  music, 
Ellis  Gibbons,  John  Benct,  John  Hilton,  bache- 
lor of  music,  George  Marson,  bachelor  of  music, 
Richard  Carlton,  John  Holmes,  Ricliard  Nichol- 
son, Thomas  Tomkins,  Michael  Cavendish,  Wil- 
liam Cobbold,  John  Farmer,  John  WUby, 
Thomas  Hunt,  bachelor  of  music,  Thomas 
Weilkes,  John  Milton,  father  of  the  poet, 
George  Kirbye,  Robert  Jones,  John  Lesley,  and 
Edward  Johnson,  bachelor  of  music. 

As  Italy  gave  the  ton  to  the  rest  of  Europe, 
and  particularly  to  England,  in  all  the  tine  arts, 
during  the  reign  of  Elizabeth,  it  Ls  probable  that 
the  idea  of  employing  all  the  best  composers  in 
the  kingdom  to  set  the  songs  in  the  "Triumphs 
of  Oriana,"  in  honor  of  the  queen,  had  been 
suggested  to  Morley  and  his  patron  the  Earl  of 
Nottingham  by  Padre  Giovenale,  afterwards 
Bishop  of  Saluzzo,  who  employed  thirty-seven 
of  the  most  renowned  Italian  composers  to  set 
canzonetti  and  madrigals  in  honor  of  the  Virgin 
Mary,  under  the  following  title :  "  Tempio  Ar- 
moiiico  delta  bealiasima  I'irgine  nostra  tiignora, 
fabbiicaioli  per  opera  del  Reverendo  P.  Giovetiale, 
A.  P-  delta  Conyregatione  dell'  Oratorio,"  stam- 
pata  in  Roma,  da  Xicolo  Muteo,  1599,  in  quarto. 

It  does  not  appear  that  any  of  Morley's 
church  music  was  printed  during  his  lite.  Dr. 
Tudway,  however,  has  inserted  several  of  his 
valuable  choral  compositions  in  the  collection 
made  lor  Lord  llarley  in  1715,  among  which  are 
his  "  Funeral  or  Dirge  Anthems,  as  performed  at 
Westmijister  Abbey  at  royal  and  noble  Funer- 
als," and  printed  by  Dr.  IJoyce,  in  his  first  vol- 
ume of  "  Cathedral  Services,"  and  an  evening 
verse  service,  in  five  parts,  in  D  minor,  which 
has  never  been  printed.  There  are  likewise  five 
different  sets  of  lessons,  composed  by  Morley  tor 
the  virginal,  in  (iueen  Elizabeth's  music  book. 
Tlie  burial  service  set  by  Morley,  which  is  sup- 
posed to  be  the  first  that  was  composed  alter  the 
refonuation,  continues  to  be  used  in  Westmin- 
ster Abbey  on  great  and  solemn  occasions.  This 
•ervicc  was  admirably  iierfonued  in  the  year 
17G0,  by  the  united  ch  lirs  of  Westminster,  St. 


Paul's,  and  the  Chapel  Royal,  at  the  funeral  of 
George  II.  Nothing  can  be  more  happily  adapt- 
ed to  so  awful  an  occasion  than  this  music,  in  ■ 
minor  key,  and  chieHy  in  simple  counterpoint, 
but  with  a  grave  and  now  uncommon  modula- 
tion, which  adds  to  the  grandeur  of  the  generfd 
effect.  I'he  few  short  points  of  fugue  and  imi- 
tation introduced  in  this  composition  are  such 
as  were  not  common  when  the  service  was  pro- 
duced, nor  have  any  of  them  been  since  debased 
by  vulgar  use.  For  the  pecuhar  beauties  of  thii 
work,  the  reader  is  referred  to  "Dr.  Boyce'i 
Collection  of  Cathedral  Music,"  in  which'  the 
whole  service  is  admirably  printed.  Morley  ii 
supposed  to  have  died  about  the  year  1604. 

MORMORANDO.  (L)  With  a  gentle,  mur- 
muring  sound. 

MORNABLE,  ANTOIXE  DE.  A  French 
contrapuntist  of  the  sixteenth  century,  of  whose 
works  there  are  stiU  extant,  in  the  Munich 
library,  "  MotetUs  Muskaks,"  Paris. 

MORXDTGTON,  the  Earl  of;  father  tc 
the  Duke  of  Wellington,  furnLshes  an  instance 
of  earlier  attention  to  musical  instruments  than 
was  evim;ed  even  by  Dr.  Crotch.  The  following 
account  is  from  the  pen  of  Daines  Barrington  :  — • 

"  Lord  Mornington's  father  played  well  (for  a 
gentleman)  on  the  violin,  which  always  delight- 
ed the  child,  whilst  in  his  nurse's  arms,  and 
long  before  he  could  speak.  X'or  did  this  pro- 
ceed merely  from  a  love,  common  to  other  chil- 
dren, of  a  sprightly  noise,  as  may  appear  by  the 
following  anecdote.  Dubourg,  who  was  fifty 
years  ago  a  distinguished  violinist,  hapjjened  to 
be  at  the  family  seat;  but  the  child  would  not 
permit  him  to  take  the  violin  Irom  his  father  till 
his  little  hands  were  held ;  after  having  heard 
Dubourg,  however,  the  case  was  altered,  and 
there  was  then  much  more  difficulty  to  persuade 
him  to  let  Dubourg  give  the  instrument  back  to 
his  father.  X'or  would  the  infant  ever  after- 
wards permit  the  father  to  play,  whilst  Dubourg 
was  in  the  house.  At  the  same  period  he  beat 
time  to  all  measures  of  music,  however  difficul% 
nor  was  it  possible  to  force  him  to  do  other- 
wise, the  most  rapid  changes  producing  as  rapid 
an  alteration  in  the  child's  hands.  Though 
passionately  fond  of  music,  from  indolence  he 
never  attempted  to  play  on  any  instrument  till 
he  was  nine  years  old.  At  that  time,  an  old 
portrait  painter  came  to  the  family  seat,  who 
was  a  very  indifferent  performer  on  the  violin, 
but  persuaded  the  child  that  if  he  tried  to  play 
on  that  in.strumeut,  he  would  soon  be  able  to 
bear  a  part  in  a  concert.  With  this  inducement, 
he  soon  learned  the  two  old  catches  of  the 
•  Christchurch  Bells,'  and  '  Sing  one,  two, 
three,  come  follow  me ; '  after  which  his  father 
and  the  painter  accompanying  him  with  the 
two  other  parts,  he  experienced  the  pleasing 
effects  of  a  harmony  to  wliich  he  himsell"  con- 
tributed. Soon  after  this  he  was  able  to  play 
the  second  violin  in  Corelli's  sonatas,  which  gave 
him  a  steadiness  in  time  that  never  deserted  him. 
For  the  next  musical  stage,  he  commenced  com- 
poser, from  emulation  of  the  api)lause  given  tc  a 
country  dance  made  by  a  neighboring  clergy- 
man. He  accordingly  set  to  work,  and  by  pliy« 
ing  the   treble  on  the  violin,  •*  hilst   he  sang  4 


618 


MOR 


ENCYCLOPAEDIA    OF    MUSIC. 


MOS 


bass  to  it,  he  formed  a  minuet,  the  bass  of  which 
ne  wrote  in  the  treble  clof,  (having  only  played 
in  this  clef  on  the  violin,)  and  was  very  protuse 
of  his  filths  and  octaves,  being  totally  ignorant 
of  the  estabhshed  rules  of  composition.  This 
minuet  was  followed  by  a  duet  on  two  French 
horns,  whilst  the  piece  concluded  by  an  andante 
movement;  thus  consisting  of  three  parts,  all  of 
which,  being  tacked  together,  he  styled  a  ser- 
enata.  At  this  time  he  had  never  heard  any 
music,  but  from  his  father,  his  sisters,  and  the 
old  painter.  lie  adhered  to  the  violin  till  ho 
yr,\a  fourteen,  but  had  idways  a  strong  inclina- 
tion to  the  harpsichord,  from  which  his  sisters 
drove  him  constantly,  saj-ing  that  he  spoiled  the 
instrument ;  notwithstanding  which  he  some- 
times stole  intervals  of  practice. 

"  About  this  time  his  father  declared  his  in- 
tention of  having  an  organ  for  his  chapel,  telling 
his  son  that  he  should  have  been  the  organist, 
had  he  been  able  to  play  on  the  instrument.  On 
this  the  sou  undertook  to  be  ready  as  soon  as 
the  organ  could  be  tiuishcd ;  -wliich  being  ac- 
complished in  less  than  a  year  and  a  half,  ho  sat 
down  at  the  maker's,  played  an  extempore 
fugue,  to  the  astonisliment  of  the  father,  as  well 
as  others,  who  did  not  conceive  that  he  could 
have  executed  a  single  bar  of  any  tune.  It  is 
well  known  that  this  mstrument  is  more  likely 
to  form  a  composer  than  any  other;  and  his 
lordship,  in  process  of  time,  both  read  and 
studied  music,  whilst  he  at  the  same  time  com- 
mitted his  ideas  to  writing.  As  he  had,  how- 
ever, never  received  the  least  instruction  in  this 
abstruse  though  pleasing  science,  he  wished  to 
consult  both  Kosengrave  and  Ueminiani,  who, 
on  examining  his  compositions,  told  him  they 
could  not  be  of  the  least  service  to  him,  as  he 
had  himself  investigated  all  the  established 
rules,  with  their  proper  exceptions.  Though 
simple  melodies  commonly  please  most  in  the 
earlier  stages  of  life,  he  had  always  a  strong  pred- 
ilection for  church  music  and  full  harmony,  as 
also  for  the  minor  third,  in  which,  lor  that  rea- 
son, he  made  his  first  composition.  In  process 
of  time  his  lordship  was  so  distinguished  for  his 
musical  abihties,  that  the  university  of  Dublin 
conferred  upon  him  the  degree  of  doctor  and 
protessor  of  music." 

The  following  are  among  the  more  admired 
vocal  compo.>itions  of  the  Earl  of  Momington : 
"  Hero  in  cool  grot,"  glee,  i  voc. ;  "  When  for 
the  world's  repose,"  glee,  4  voc. ;  an  excellent 
copy  of  this  glee,  with  separate  piano-forte  ac- 
companiment, is  given  in  the  Vocal  Anthology. 
"  'Twas  you,  sir,"  catch,  3  voc. ;  "  Uently  hear 
me,  charming  maid,"  glee,  3  voc;  "Come,  fair- 
est nymph,"  glee,  3  voc.;  and  "By  Greenwood 
tree,"  glee,  4  voc. 


MORTAIU),  ANTONIO,  a  Franciscan  friar 
and  organist  in  the  cathedral  churches  of  Ossa- 
ro  and  Novara,  was  born  at  IJresciu.  lie  nour- 
ished as  a  composer  about  the  year  IHOO,  and 
died  in  a  Franciscan  convent  ii>  10 11),  after  hav- 
ing published  several  works.  Coz/.ando  had 
seen  tlie  following  of  them,  which  he  mentions  in 
his  "  Librar.  liresco,"  p.  'Ki".  "  Fiainmelle  A  morose 
a  3  voci,"  Venice,  1599  ;  "  Mcssf,  Salmi,  Mayni- 
Jicnl,  CaiUMHi  da  suntmre,  e  Falsi  Boriioni,  o  13  voci, 
coil  la  I'artitura,"  Milan,  1010;  "  Cnnzoni  A  4  voci. 
Lib.  1  e  2,"  Venice,  IG'23  ;  and  "  Litanie  i  4  voci, 
con  B.  coiit.,"  Venice,  IC'23. 

MOUTELLAKI,  MICHELE,  a  pupil  of 
Nic.  I'iccini,  was  a  celebrated  Italian  composer, 
born  at  Palermo  in  17.50.  He  brouglit  out  the 
following  operas  at  Rome,  Milan,  Venice,  and 
Modena,  which  were  eminently  successful :  "  Le 
Astuzzie  Ainorose,"  1775  ;  "  Ezio,"  of  Metastasio  ; 
"  D.  Uualterio  Civelta,"  1776;  "  Aniiijono,"  1778; 
"II  liaron  di  Lmijo  Nero,"  1778;  "  Alfsandro 
tieW  Indie,"  1778;  "  Troja  distrutta,"  1780;  and 
"  Didone  abbaiuljnala,"  1780.  Dr.  Ihirney  also 
speaks  of  the  "  Armida "  of  MortcUari,  which 
he  heard  in  178G,  at  the  King's  Theatre,  when 
Moitcllari  was  in  London.  The  doctor  says, 
"  The  taste  of  this  composer  is  of  the  most  re- 
fined and  exquisite  kind.  Though  of  the  Nea- 
politan school,  his  compositions  arc,  however, 
less  bold,  nervous,  and  spirited,  than  elegant, 
graceful,  and  pleasing  licing  a  Palermitan  by 
bu-th,  his  strains  may  be  rather  called  Sicilian 
than  NeapoUtan." 

MOSCA,  N.,  an  Italian  composer,  wius  pianist 
at  the  Opera  Bulfa  at  Paris,  before  Spontini  held 
that  situation.  Besides  some  vocal  pieces  which 
he  has  added  to  several  operas  j>erformed  at  that 
theatre,  he  brought  out,  in  1805,  "  La  Oinovria 
di  Scozia,"  and  in  1800,  "  La  \'iiidctta  Fcmiuina." 
N.  Mosca  is  brother  to  the  Neapolitan  composer 
of  the  same  name. 

MOSCA,  LUIGI.  It  Ls  doubtful  whether  this 
composer  is  not  the  same  person  racntioneil  in 
the  preceiling  article,  since,  though  the  authors 
of  the  French  "  Dictionary  of  Musicians  "  give  to 
the  other  the  initial  N.,  (icrber  has  giver,  the  pi- 
anist at  the  Opera  ButTa  in  Pi\ris  under  the  Chris- 
tian name  of  Luifii.  At  all  events  the  Nc;ipoli- 
tan  composer  is  a  musician  of  considerable  emi- 
nence, and  has  especially  made  liim-clf  known 
by  the  following  operas  :  "  L'  Amove  per  Ini/a»no," 
opera  butfa,  1803;  this  was  highly  successful  at 
Naples;  " //  Ritnrno  inasjtetUilu," 'Sa.\t\c9.,  1808; 
"  L' Impoatura,"  Naples,  1801;  /  Predeiitenti  de- 
lusi ;  "  this  opera  is  also  highly  spoken  of. 

MOSCIIELES,  IGNAZ.  This  celebrated  pi- 
anist and  composer  was  born  at  Prague,  in  the 
year  1794.  He  studied  composition  under  Al- 
brechtiberger,  and  the  piano  under  Strcichcr, 
and  first  appeared  in  public  at  Vienna,  about  the 
age  of  fifteen.  After  rcraaiuing  in  that  city  about 
ten  years,  he  commenced  his  tnivels,  passing 
traces  of  it  are  found  carher  than  the  times  of  I  through  Holland  to  Paris,  and  from  thence  to 
Henry  VIII. ;  ani  it  is  more  probable  that  it  was  London,  where  he  arrived  in  1821,  making  his  fW*uY 
borrowed  either  from  the  Frencli  or  the  Flem-  '  at  the  Philharmonic  Concerts  of  that  year.  The 
ings.  In  the  morris  dance  bells  were  fixo<l  to  'Quarterly  Musical  Review  makes  the  following 
the  Icet  of  the  performer,  and  the  great  art  con-  obicrA-ations  on  the  first  appearance  of  Mo- 
usted  in  so  moving  the  tcet  as  to  produce  some-  schelcs.  "Some  of  Moschcles'  com])ositions  hbd 
jiing  like  concord  irora  the  various  bells.  I  been  known  in  England,  and  had  prepared  th< 

619 


MORRIS,  or  .MORRICE  DANCE.  A  pecu- 
liar kind  of  dance  practised  in  the  middle  ogeo. 
It  is  supposed  to  have  been  first  introduced  into 
England  from  Spain  by  Edward  HI.,  when  John 
of  Gaunt  returned  from  that  countrv  ;  but  tew 


MOS 


ENCYCLOPEDIA    OF   MUSIC. 


MO 


critical  class  of  musicians  at  least,  together  -with 
his  fame,  for  liis  reception,  which,  both  privately 
amon-^st  the  eminent  of  the  profeasion,  and  pub- 
licly when  he  entered  the  orchestra  of  tlie  Phil- 
harmonic, was  marked  with  the  most  decided 
tokens  of  res]:cct,  distinction,  and  aiiplause ;  the 
most  exi)reisive  of  which,  perhajjs,  was  the  si- 
lence, unbroken  even  bv  a  breath,  that  waited  up- 
on his  perl'onnance.  lie  played  a  concerto  of  his 
own  compo-iiion ;  during  the  perlormance  of 
which  the  audience  seized  every  opportunity  of 
manifesting  the  delight  they  felt  by  repeated  bra- 
vos,  and  by  every  other  means  which  could  con- 
vey tl;e  di-tinguLshed  approbation  to  which  they 
felt  Moscl  elcs  to  be  justly  entitled.  Moschelos' 
command  of  the  instrument  was  truly  astonish- 
ing, whether  considered  in  relation  to  force,  deli- 
cacy, or  rapidity.  ,\8  Catalan!  in  vocal  art 
bursts  through  all  the  fetters  commonly  imposed, 
60  Moschelcs  appears  to  disdain,  because  he  is 
thoroughly  acquainted  witli,  technical  rules.  His 
wrist,  his  hand,  and  the  joints  of  liis  tinkers,  ex- 
hibit a  variety  of  position  and  a  pliability  truly 
wonderful ;  yet  so  nicely  does  he  control  his 
touch,  that  when,  from  the  elevation  of  his  hand, 
the  spectator  might  expect  its  descent  in  thun- 
der, as  it  were,  the  ear  is  never  shocked  by  the 
slightest  harshness ;  there  is,  too,  a  spring  and 
elasticity  in  his  fingers,  when  apjjlied  to  quick 
arpeggio  passages,  that  bring  out  the  most 
brilliant  tone,  while  in  those  touching  movements 
that  constitute  generally  what  Ls  termed  ex- 
pression, his  manner  is  not  less  affecting.  But 
the  most  extraordinary  part  of  Moscheles'  playing 
is  perhaps  tlie  velocity  and  certainty  with  wliich 
he  passes  from  one  distant  interval  to  anoth- 
er. His  thumbs  seem  to  act  as  intermediate 
points,  from  which  his  fingers  are  directed  almost 
to  the  remote  parts  of  the  instrument,  over  which 
thev  fly  with  a  rapidity  wholly  inconceivable  ;  yet 
the  uniformity  of  touch  and  tone  are  so  strictlj' 
preserved,  that  an  imjierfect  note  is  never,  and  an 
unfinished  note  seldom,  heard.  Every  great 
player  has  his  forte  ;  and  in  this  species  of  exe- 
cution Moschelcs  is  unrivalled.  We  think,  too, 
that  in  genuine  force  he  has  never  been  equalled. 
Concerning  his  expression,  Mr.  J.  Cramer,  we 
are  told,  publicly  paid  him  the  highest  com- 
pliments ;  yet  we  know  persons  of  great  judg- 
ment who  estimate  his  powers  in  this  branch  of 
art  at  a  lower  rate.  But  we  are  disposed  to 
think  this  arises  rather  from  the  great  superiority 
of  his  other  claims  to  prec.'mineuce,  from  a  com- 
parison of  the  one  part  with  the  otlier,  than 
from  any  positive  falling  off.  In  such  a  man  the 
very  grandeur  of  one  faculty  is  sometimes  the 
cause  of  the  disjmragement  of  another.  As  a 
whole,  however,  Moschelcs  is  univci-sally  allowed 
the  supremacy,  and  it  is  also  as  universally  ad- 
mitted, that  his  talents  are  accompanied  by  a  most 
engaging  modesty." 

Uis  brilliant  and  elegant  improvisation,  too,  was 
the  theme  of  general  admiration.  lib  com])o- 
eitions  uj)  to  that  time,  both  his  bravura  and  bis 
concerted  pieces,  indicated  a  noble  tendency.  In 
London  Moschelcs  had  acquired  an  established 
position,  and  it  was  not  until  IS.'.'J  that  he  re- 
visited iiis  country.  There  he  appeared  in  Mu- 
nich and  Vienna,  and  in  the  following  year,  on 
his  way  back  to  London,  in  Dresden,  Leipsic, 
Berlin,  Hamburg,  and  Paris.  In  Vienna  he  had 
to  compete  at  once  w  ith  Kalkbrenner.     A  great- 


I  er  depth,  and  individuality,  and  grandeur,  waa 
recognized  in  hLs  music,  and  liis  plaj-ing,  (even  in 

I  his  touch,)  than  in  the  smooth  and  polished 
manner  of  his  rival,  which  often  leaned  to  senti- 
mentality. But  Moschelcs  was  of  too  deep  and 
earnest  a  nature  to  remain  a  mere  virtuoso ;  at 
the  very  height  of  his  prosperity  in  that  charac- 
ter, he  returned,  with  real  partiality,  to  the  inter- 
preting of  the  lesser  dilficulties  of  the  works  of 
Mozart  and  Beethoven.  As  professor  in  the 
Royal  Academy  of  Music  in  London,  he  was  long 
employed  in  the  tuition  of  the  most  advanced 
scholars ;  he  also  distinguished  himself  as  an  as- 
sociate director  of  the  famous  Philliarmonic  Con- 
certs, and  by  his  series  of  historical  classic  smrdet, 
in  which  he  performed  specimens  of  the  piano- 
forte works  of  Beethoven,  Mozart,  Bach,  and 
other  writers,  in  chronological  succession.  By 
this  means  he  created  quite  a  Bach  enthusia.sm 
in  1836.  To  hLs  connection  with  the  Philhar- 
monic Society  we  owe  his  symphony  and  his 
overture  to  Schiller's  "  Maid  of  Orleans,"  which 
was  produced  there  in  18.3.5.  .\t  present,  Mo- 
schelcs is  professor  at  the  Conservatory  in  Leip- 
sic, where  he  has  the  finest  field  for  the  exercise 
of  his  sound  influence  in  art. 

Among  others,  the  following  of  Moschelcs' 
works  are  found  in  AVessel's  Catalogue :  "  Grand  _ 
Sextuor,  for  Piano-forte,  Violin,  Tenor,  Two ' 
Horns,  and  Violoncello,"  Op.  35 ;  "  Variations  to 
a  National  .\ustrian  Air,  with  Accompaniment 
of  Two  Violins,  Tenor,  Violoncello,  and  Contra 
Bass,  ad  lib.,"  Op.  42 ;  "  Grand  Bondeau  Bril- 
liant, with  Accompaniment  of  Two  Violins, 
Tenor,  Violoncello,  and  Contra  Bass,"  Op.  4.5 ; 
"  Concert  de  SocUti,  with  .-Vccompanimcnt  of  small 
Orchestra,  or  with  Accompaniment  of  the  String 
Instruments  only,"  dedicated  to  the  Count  d' Apo- 
ny  ;  "  Fantaisie  and  Variations  to  the  favorite 
Air,  '  Au  (lair  de  la  lime,'  with  Accompaniment 
of  Orchestra,  or  as  Quintet,"  Op.  .50.  Quintettos  : 
"  Grand  Variations,  with  two  Violins,  Tenor,  and 
Violoncello,"  Op.  32  ;  "  Fantaisie  and  Varia- 
tions to  the  favorite  Air,  '  Au  cUiir  de  la  lane,' 
with  two  Violins,  Tenor,  and  Violoncello,  or  with 
Orchestra,"  Op.  .50.  Quatuors  :  "  Fantaisie,  Va- 
riations, and  Finale  to  a  Bohemian  Air,  for 
Piano-forte,  Violin,  Clarinet,  and  Violoncello 
Concertante,"  Op.  4G.  Trios  :  "  Introduction  and 
Variations  in  C,  Concertante,"  dedicated  to  Mr. 
llau.  For  two  piano-fortes  :  "  Grand  Duet  Con- 
certante." Marches  and  waltzes  for  piano-fortes  : 
"Three  Heroic  Marches,"  Op.  31 ;  ".Six  Waltzes 
with  Trios,"  dedicated  to  the  Countess  dcWallis; 
and  "  Marc/ie  TriomphnU;  and  two  Trios."  Ron- 
dos, sonatas,  ,S;c.  :  "  Brilliant  Rondo  in  A,"  Op. 
30 ;  and  "  Grand  Sonata  in  E  flat."  dedicated 
to  the  .'Vrehduke  Rudolph,  of  .Austria ;  "  (jrand 
Caprice  and  Potpourri,  with  Violin  or  Violon- 
cello Concertante,"  dedicated  to  J.  Bcrger,  Op. 
37  ;  "  French  Rondo  Conceitante,  lor  Pinno-forte 
and  Violin  ;  "  "  Grand  Sonata  Concertante  in 
A,"  dedicated  to  C.  Keller,  Op.  44  ;  "  Duet  Con- 
certante, in  B  flat,  with  Violoncello  or  Bassoon," 
Op.  34 ;  "  Grand  Caprice  for  Piano-forte  and 
Violoncello,  or  Violin  Concertante."  Solos  • 
"Fantaisie  Ilirnijue,"  dedicated  to  A.  Salieri, 
"Brilliant  Rondo  in  D,"  Op.  14;  "Three  Ron- 
dos," Op.  18;  "Sonata  in  D,"  Op.  22;  "Span- 
ish Rondo  in  G  ;  "  "  Parody  on  Rossini's  Cava 
tiiia  '  Di  tanti  patpili ' ;  "  "  Divertissement,"  Op 
28  ;  "  Fantaisie  in  the  Italian  Style,  with  a  Gran^ 


620 


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EXCYCLOP.EDIA   OF  MUSIC. 


MOa 


Rondo,"  No.  2,  of  the  Muaie  Muiicale ;  "  Grnnd 
Kouata,"  dedicated  to  IJeethoven,  Op.  41 ;  "  So- 
uate  Mitancolique,"  Op.  49  ;   "  Fantaisie,"  Op.  50. 

MOS.SI,  GIOVANNI,  a  violinist  and  composer 
for  his  instrument,  was  a  |)upil  of  the  celebrated 
Corelli,  and  flourished  at  Rome  about  the  year 
1720,  about  which  time  he  published  the  follow- 
ing works  :  "  Sonale  h  y.  solo  e  Cont.,"  Op.  1  ; 
••  8  Coiicerti  <i  .3  e  5  Stromenli,"  Op.  2  ;  "  Voncerti 
u  4  r.,  A.,  e  B."  Op.  3  ;  "  12  Concerti  (i  3  f  8  I'., 
Vc,  e  Conf.,"  Op.  4;  "  Sonate  it  V.  solo  e  I'c," 
Op.  6,  Amsterdam. 

MOSSO.  An  Italian  participle,  which  means 
moved ;  as,  piu  mosso,  with  more  movement,  quick- 
er ;   rrwiio  mosso,  slower. 

MO.STO,  HEUNAUDINO.  A  contrapuntist 
of  the  sixteenth  century,  of  whose  works  there  is 
in  the  Munich  library,  and  printed,  "  \Uulrigali  it 
5  Voci,"  Antweq),  1588. 

MOSTO,  GIOV.  U.VTTISTA,  chapel-master 
of  the  Episcopal  church  in  Padua,  tiourished  in 
the  fourteenth  century.  We  can  mention  of  his 
works  "  Madrigali  ct  6  I'oci,"  Venice,  1584. 

MOSTR.V.     (I.)     An  inde.t,  or  direct. 

MOTELLO.  DOMENICO,  a  learned  musician, 
was  living  at  Naples  in  the  year  1000. 

MOTIVO.  (I.)  Tlie  leading  subject,  or  char- 
acteristic and  predominant  passage,  of  an  air. 

MOTO,  or  CON  MOTO.  (I.)  Literally,  trifh 
mocemiiif.  ThLs  phrase  indicates  a  somewhat 
increu>C(l  rate  of  movement :  thus  andante  con 
molo  mc:tns  a  little  faster  than  andante,  or  an 
andante  movoMient,  that  must  not  bo  allowed  to 
drag. 

MOTO  CONTRARIO.  (I.)  An  expression 
indicative  of  that  progression  of  the  different  har- 
monic jiarts  of  a  composition,  by  which  they  move 
in  opposite  directions. 

MOTET,  or  MOTETTO.  (I.)  The  name  for- 
merly given  to  certain  elaborate  vocal  compo- 
sitions, consisting  of  several  parts,  and  the  subjects 
of  which  were  generally  sacred.  The  Latin  psalms 
and  hymns  of  the  Romi.sh  church  are  frc<juently 
calletl  ninlfts.  Mutelns  is  usefl  also  to  signify  a 
motet.  The  term  motet  may  bo  ajiplied  to  any 
sacred  composition  of  a  certain  extent,  which 
does  not  come  under  the  character  of  a  mass  or 
anthem.  It  is  often  used  to  describe  sacre.l  com- 
jKJsition  when  intended  for  festival  or  secular  oc- 
casions. 

MOTTA,  D.  ARTEMIO,  a  composer  of  instru- 
mental music,  born  at  Parma,  flourished  about 
1710,  and  published  "  10  Concerti  d  2  V.,  A., 
Tenore  Viola,  e  B.  C,"  Op.  Ij  Amsterdam. 

MOTTEGLVNDO.     (I.)     Jei>ringly,  jocosely. 

MOTUS.  (L.)  Movement ;  a.s,  mr>/iM  a>n/rari- 
u-t,  contrary  movement  ;  motu*  obliquua,  oblique 
movement ;  motiu  rectus,  similar  movement. 

MOUCIIE  and  MOUCIIY.  Roth  names  be- 
long probably  to  one  musician  at  Paris,  who  pub- 
lished "  Trois  S)naies  jioiir  U  Clav  ,"  Op.  1,  Paris, 
1796,  and  '<  Le  Flageolet  d,' Amour,  avec  Ace.  de  P. 
F.,"  Paris,  1798. 

MOULET,  JOSEPH  AGRICOLE,  professor 
of  the  hvp   at  Paris,  was  bom  at  Arignon  in 


nOG.     He  has  published  much  music  for  his  in- 
strument, and  several  romances. 

MOUR.\,  PEDRO  ALVARES  DE.  A  canon 
and  comj)OKer  of  the  sixteenth  century,  born  at 
Lisbon.  lie  resided  at  C'oimbra,  whence  he  pub- 
lished "  l.ivro  de  Motettes  6  4,  5,  fi,  c  7  Vozes," 
Rome,  15i>4.  His  "  Licro  de  Missas  a  dirersat 
Vo:es,"  manuscript,  is  yet  in  the  royal  musical 
library  at  Lisbon. 

MOTRET.  A  French  dramatic  composer. 
He  died  near  Paris  in  1738. 

MOITIIPIECE.  A  little  silver  or  brass  ap- 
pendage, inserted  at  the  end  of  the  tube  of  a 
French  horn,  or  trumpet,  to  receive  the  jiressure 
of  the  lips  in  ])erformHnce. 

MOl'TOX,  JE.W,  master  and  conductor  ot 
the  choir  in  the  chapel  of  Francis  I.,  was  a  pupil 
of  Josfjuin  de  Pres.  If  we  were  allowed  to  credit 
the  testimony  of  liis  contemporaries,  he  was  one 
of  the  most  celcl>riite(l  musicians  of  the  age  in 
which  he  live<l.  "  I!ut  notwithstundiiig  the  rap- 
ture," says  Dr.  Huniey,  "with  which  his  masses 
have  been  sjioken  of,  they  appear  greiitly  inferior 
in  melody,  rhytlim,  and  design,  to  those  of  Jos- 
quin,  De  la  l{ue,  and  Fcvin.  His  motets,  how- 
ever, if  not  more  nervous  and  elaborate  than 
those  of  his  contemporaries,  arc  more  smooth  and 
polished." 

MOUVIUS,  CASPAR,  sub-rector  in  the  school 
at  Stralsund  about  the  middle  of  the  seventeenth 
century,  was  also  a  composer,  and  ])ublished 
"  Triiimpftiis  Miisiciis  .'<piritualis,"  Rostock,  1040  ; 
«'  Cithara  Dnvidica,"  and  "  Ui/mnodia  Sarra." 
Schacht  rankf  him  among  the  distinguished  com- 
posers of  his  time. 

MOVEMENT.  The  name  given  to  any  singU 
strain,  or  to  any  part  of  a  composition  compre- 
hended under  the  same  measure,  or  time.  When 
an  overture,  concerto,  song,  or  any  other  piece 
changes  its  time  and  measure,  either  from  one 
species  to  another,  as  from  common  time  to  triple, 
or  vice  versa,  —  or  in  the  same  species,  as  from 
triple  time  adagio,  to  triple  time  allegro,  or 
the  contrary,  —  it  Is  then  said  to  change  its 
movement ;  so  that  every  composition  consists  of 
as  many  movements  as  there  arc  positive  changes 
in  the  time  or  measure. 

MOVIMENTO.     (L)     Time,  movement. 

MOXLEY,  for  thirty  years  organist  of  the  par- 
ish church  of  St.  Paul's,  Covent  Garden.  England, 
and  a  thoroughly  etlucated  musician,  and  per- 
former of  first-rate  ability,  died  at  his  residence 
in  London,  December,  1852. 

MOZART,  LEOPOLD,  the  father,  was  the  son 
of  a  bookbinder  at  Augsburg.  He  studied  music 
at  Salzburg,  was  entered  as  a  chorister  in  the 
chapel  there  in  1743,  and  in  1702  obtained  the 
situation  of  second  chapel-master.  He  was  living 
in  1785,  in  which  year  he  visited  his  son  in  Vienna 
for  the  last  time.  'ITils  is  the  latest  iniormatioH 
that  we  have  of  him.  Of  his  works  the  following 
descire  to  be  mentioned  :  "  f)rr  I'toliiisrhiUr,  2tt 
und  vermehrte  AujUigr,"  Augsburg,  1770;  "  Bastier 
und  Bastienne,"  operetta;  "  Iji  Cantairice  ed  i 
Poeta,  IiUermezzo  d  2  Prrsonne ; "  and  "  Muiika- 
litcfit  SchUttcnfafirt,  arrangirt  fur  P.  F.,"  Leipaio. 

MOZART,     JOHANN      CHRYSOSTOMU8 


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ENCYCLOPAEDIA    OF    MUSIC. 


M02 


VOLFGAXG  OOri'LIEB,  was  born  at  Salz- 
burp,  on  the  27th  of  Janviary,  1756.  Ilis  father 
having  in  an  unusual  mnnncr  influenced  the  des- 
tiny of  hirt  son,  and  botti  unfolded  and  modiKed 
hLs  geniu-:,  we  think  it  necesisary,  in  the  first 
place,  to  give  a  short  account  of  his  career.  Leo- 
pold Mozart  was  the  son  of  a  bookbinder  at  Augs- 
burg ;  ho  studii:d  at  Sal/burg,  and,  in  17ii2,  was 
admitted  as  oi.o  of  the  musicians  of  the  Prince- 
Archbishop  of  Salzburg,  and  was  also  nominated 
sub-director  of  the  chajjcl  of  that  jirince.  'I'he 
duties  of  liLs  station  leaving  him  much  leisure,  he 
gave  lessons  on  the  violin  and  in  musical  com- 
position ;  he  also  published  an  instruction  book 
for  the  violin,  which  met  wtli  great  success.  He 
married  .\nna  Maria  I'ertl ;  and  it  has  been  re- 
marked by  many  as  a  singular  circumstance,  that 
this  couple,  who  gave  birth  to  an  artist  so  hap- 
pily endowed  with  the  genius  of  harmony,  were 
universally  remarked  in  Salzburg  on  account  of 
tlieir  extreme  beauty.  Of  seven  childi-en,  the 
fruits  of  this  union,  two  only  gur\'ived,  a  girl, 
named  Mary  Anne,  and  a  son,  the  subject  of  our 
present  memoir. 

This  son  had  scarcely  attained  the  age  of  three 
years  when  his  father  began  to  instruct  his  sister, 
then  about  seven  years  of  age,  on  the  harpsichord. 
From  that  period  young  Mozart  began  to  display 
his  astonishing  abilities  for  music.  His  greatest 
delight  was  to  endeavor  to  find  out  thirds  on  the 
harpsichord,  and  nothing  could  equal  his  pleas- 
ure when  he  discovered  that  harmonious  concord. 
Arrived  at  the  age  of  four,  he  had  learned,  almost 
voluntarily,  to  play  several  minuets  and  other 
pieces  of  music  on  the  harpsichord.  To  learn  a 
minuet  he  required  rather  more  than  half  an 
hour,  and  scarcely  double  that  time  for  a  much 
longer  piece  ;  after  which  he  would  perform  them 
with  the  greatest  accuracy,  and  perlcctly  in  time. 
And  at  the  age  of  tive  years,  so  rapid  was  his 
progress  that  he  already  composed  some  trilling 
pieces  of  music,  which  he  performed  to  his  father, 
who  carefully  preserved  them,  to  encourage  his 
rising  talent.  Previous  to  this  period,  and  ere 
the  little  Mozart  had  discovered  any  predilection 
for  music,  liis  greatest  delight  was  in  the  games 
which  usually  interest  children  of  that  age,  and 
for  them  he  would  even  sacrifice  his  meals.  He 
ever  displayed  proofs  of  the  greatest  sen.sibility  and 
affection,  and  would  frequently  ask,  perhaps  ten 
times  a  day,  of  those  around  him,  "  Do  you  love 
me  very  much  r"  and  when  in  joke  they  would  1 
reply  no,  tears  would  immediately  escape  from 
liis  eyes.  As  soon  as  he  had  the  slightest  notion 
of  music,  his  love  for  the  gambols  of  his  age  en- 
tirely vanished ;  and,  for  any  amusement  to  please 
him,  it  became  necessary,  in  some  way,  to  intro- 
duce music  with  it.  A  friend  of  his  parents  fre- 
quently amused  himself  by  playing  with  this 
intelligent  cldJd  ;  sometimes  by  conveying  toys 
in  procession  from  one  room  to  the  other,  whilst 
he,  who  had  nothing  to  carry,  sang  a  march  or 
played  it  on  the  violin. 

During  a  few  months  Mozart  attached  him- 
Belf,  with  great  avidity,  to  the  ordinary  studies  of 
youth,  ami  during  that  period  even  sacrificed  to 
them  his  love  for  music.  Whilst  learning  arith- 
metic, the  tables,  chairs,  walls,  and  even  the 
floors,  wcie  scrawled  with  figures.  The  energy 
of  his  mind  enabled  )iim  easily  to  fix  his  attention 
on  any  new  object  that  presented  itself.  Music, 
however,  sron  became  again  his  favorite  pursuit; 


and  his  taste  for  it  soon  gained  such  an  ascend 
ency  over  him,  that  he  gave  himself  up,  -ivithou 
reserve,  to  the  occupation  nature  had  appar- 
ently prescribed  for  him.  His  progress  nevet 
slackened.  Mozart,  the  father,  upon  returning 
one  day  from  church  with  a  friend,  found  his  son 
occupied  in  ^^Titing.  "  Wliat  are  you  about  there, 
my  dear  ■ "  he  demanded.  "  I  am  comjiosing  a 
concerto  for  the  harpsichord  ;  I  have  almost  lin- 
Lshed  the  first  part."  "  Let  us  see  this  scrawl." 
"  No,  if  you  please,  I  have  not  yet  finished  it." 
His  father,  however,  took  tlie  jiaper,  and  .showed 
it  to  his  friend  ;  it  was  a  perfect  scrawl  of  notes, 
hardly  legible  from  the  blots  of  ink.  I'he  twc 
friends  began  to  laugh  heartily  at  this  scribbling  ; 
but  Mozart,  the  father,  ha\-ing  considered  it  at- 
tentively, "  iSee,  my  friend,"  said  he,  "  how  ex- 
actly it  Ls  composed  by  rule ;  'tis  a  pity  we  cannot 
make  out  something  of  this  piece ;  but  it  is  toe 
difficult ;  nobody  could  play  it."  "  It  is  a  con- 
certo," replied  the  young  Mozart,  "and  should 
be  well  studied  before  being  performed.  See, 
this  is  the  way  you  should  begin."  He  then 
commenced  playing  it ;  but  only  succeeded  in  the 
performance  sufficiently  to  discover  hLs  idea.  In- 
deed, the  composition  was  a  multitude  of  notes 
placed  exactly  according  to  rule,  but  which  pre- 
sented such  amazing  difficulties,  that  the  most . 
able  musician  would  have  found  it  impossible  to 
execute  them. 

When  he  had  attained  the  age  of  six  years,  all 
Mozart's  family,  consisting  of  his  father,  mother, 
sLster,  and  himself,  removetl  to  Municli.  Here 
the  elector  heard  the  two  children  perform,  who 
received  unbounded  applause.  In  the  autumn 
of  this  year,  (1702,)  the  two  young  virtuosos 
were  presented  at  the  imperial  court-  The  fa- 
mous Wagenseil  happened  to  be  in  Munich. 
Young  Mozart,  who  already  preferred  the  appro- 
bation of  a  good  master  to  that  of  any  other, 
begged  the  emperor  to  allow  Wagenseil  to  be 
present  at  his  performance.  "  Send  for  him," 
said  the  child ;  "  he  understands  the  thing." 
Francis  I.  desired  Wagenseil  might  be  called,  and 
resigned  to  him  his  place  at  the  harpsichord. 
"  Sir,"  said  the  young  virtuoso,  then  six  years 
old,  "  I  am  going  to  play  one  of  your  concertos ; 
you  must  turn  over  the  leaves  for  me." 

One  day  performing  again  at  court,  the  Em- 
peror Francis  I.  said  in  joke  to  the  young  per- 
former, "  It  is  not  very  difficult  to  play  with 
all  the  fingers  ;  but  to  play  with  one  finger,  and 
with  the  notes  hid,  would  indeed  excite  admi- 
ration." Without  the  least  appearance  of  sur- 
prise at  this  strange  j.roposal,  the  child  im- 
mediately began  to  play  with  one  tinker,  and 
with  all  the  precision  and  neatness  imaginable. 
He  then  begged  to  have  a  veil,  that  he  might 
hide  the  notes  of  the  instrument  ;  and  thus  he 
continued  to  play  equally  as  well  as  if  he  had 
long  been  accustomed  to  this  style  of  perform- 
ance. 

Hitherto  our  young  musician  had  merely  per- 
formetl  on  the  harpsichord ;  but  l.is  great  genius 
outstripjjed  all  instruction.  He  had  brought 
with  him  from  Vienna  to  Salzburg  a  small  violin, 
and  lie  was  in  the  habit  of  amusing  himself  with 
this  instrument.  Wenzl,  an  able  violinist,  pre- 
sented himself  one  day  to  Mozart,  the  father,  to 
ask  his  opinion  of  six  trios  he  had  just  composed. 
It  was  agreed  that  they  should  be  tried,  and  that 
Mozart,  the  father,  shotild  play  the  bass,  Wcnrf 


622 


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ENCYCLOPEDIA    OF    MUSIC. 


MOZ 


the  first  violin,  and  Schachtner,  trumpeter  to 
the  Archbishop  of  Salzburg,  who  happened  to 
b«  with  Mo/art  at  that  moment,  the  second  ;  but 
the  young  Mozart  entreated  so  earnestly  to  be 
permitted  to  take  this  last  part,  that  his  father,' 
though  at  first  much  offended  by  his  importu- 
nity, at  the  intercession  of  Schachtner,  at  length 
consented  to  let  him  perform  on  his  little  violin, 
*sg'8tcd  by  his  friend  Schnchtnor.  The  father  had 
never  before  hoard  his  son's  jx^rformance  on  this 
instrument;  but  his  admiration  was  scarcely  ex- 
ceeded by  his  astonishment,  when  Schachtner, 
laying  aside  his  violin,  declared  he  was  entirely 
useless.  The  child  executed  with  equal  success 
til  the  sLx  trios. 

Each  succeeding  day  discovered  fresh  proofs 
of  the  talents  of  this  extraordinary  cliild.  He 
could  distinguish  and  point  out  the  slightest 
variation  of  sound  ;  and  every  false,  or  even 
harsh  tone,  not  softened  by  some  harmony,  was 
torture  to  him.  Thus  during  his  infancy,  and 
till  he  had  attained  the  age  of  ten  years,  he  had 
an  in\-incihle  horror  at  the  sound  of  a  trumpet, 
when  not  used  in  concert  with  other  instruments  ; 
when  any  one  showed  him  a  trumpet, it  made  nearly 
the  same  impression  upon  him  that  a  jjistol  would 
on  other  children  if  turned  towards  them  in  joke. 
His  father  imagined  he  might  cure  this  dislike 
by  sounding  a  trumpet  in  his  presence,  and  tried 
the  experiment,  notwithstanding  the  entreaties 
of  the  young  Mozart  that  ho  would  spare  him 
this  torment ;  but  at  the  first  blast  he  became 
quite  pale,  fell  on  the  floor,  and  convulsions 
would  to  all  appearance  have  ensued,  had  he  not 
immediately  ceased  to  play.  Since  his  first  trial 
on  the  violin,  he  frequently  made  use  of  that  of 
Schachtner,  which  he  admired  much  for  the  soft- 
ness of  its  tone.  One  day  Schachtner  came  to  visit 
Mozart,  the  father,  and  found  young  Wolfgang 
perlorming  on  his  own  little  violin.  "  What  is 
your  violin  about  "r"  was  the  Hrst  remark  of  the 
child  to  Schachtner,  and  he  then  continued  to 
play  some  trifling  airs.  At  length,  having  reflect- 
ed some  moments,  he  said  to  Schachtner,  "  Why 
did  not  you  leave  me  your  violin  tuned  to  the 
same  pitch  as  it  was  the  last  time  I  used  it  ?  It 
ia  half  a  (junrter  of  a  tone  lower  than  this  one 
of  mine."  Tliey  at  first  laughed  at  this  extreme 
exactness  ;  but  Mozart,  the  father,  who  had  fre- 
quently occasion  to  observe  his  son's  singular 
memory  for  retaining  sounds,  desired  Schacht- 
ner's  violin  might  be  brought,  and  to  the  aston- 
ishment of  all  present,  it  actually  proved  to  be 
half  a  quarter  of  a  tone  below  that  of  the  child's. 
Tliough  this  wonderful  boy  could  not  fail  to 
obscn-e  the  a.'^tonislimcnt  and  atlmiration  which 
his  talent;!  excited,  he  became  neither  forward 
nor  vain ;  a  man  in  talent,  he  e^-er  remained  in 
all  other  res])ects  the  sweetest  tempered  and 
most  submissive  of  children.  He  never  appeared 
the  least  out  of  humor  with  the  commands  of  his 
parents,  of  whatever  nature  they  might  be. 
Even  when  he  had  practised  music  nearly  the 
whole  day,  he  would  continue  to  do  so  without 
the  slightest  impatience,  if  such  were  his  father's 
wishes.  He  understood  and  complied  with  their 
most  trivial  signs,  and  would  not  even  accept  a 
sugarplum  without  the  previous  permission  of 
his  parents. 

In  July,  ITfiS,  when  Mozart  had  just  attained 
his  seventh  year,  his  whole  family  left  Germany. 
The  fame  of  the  young  musician  had  then  spread 


through  Euro])e.  He  had  already  excited  thi 
greatest  admiration  at  Munich,  and  successively 
at  all  the  electoral  courts.  In  the  month  of  No- 
vember he  arrivoil  in  I'aris,  and  was  introduced 
to  play  the  organ  at  Versailles,  in  the  King'ft 
Chapel,  and  in  the  presence  of  the  whole  court. 
His  success  in  France,  as  well  as  that  of  his  sLs- 
ter,  almost  amounted  to  enthusiasm.  A  portrait 
of  his  father,  standing  between  himself  and  sLs- 
ter,  was  engraved  after  a  design  of  (,'armontel.  It 
was  at  I'aris  that  Mozart,  then  seven  years  of 
age,  composed  and  published  his  two  first  works. 
They  were  extremely  good;  but,  it  is  uni\.«rsally 
allowed,  were  retouched  by  his  father.  In  1764 
he  left  Paris  for  England,  wlicre  he  was  received 
with  equal  a])probiition,  both  at  court  and  in  the 
city.  The  two  children  then  began  to  perform 
concertos,  written  in  dialogue,  on  separate  harpsi- 
chords. Some  of  the  most  difficult  ]iicce»  of 
Bach,  Handel,  and  other  masters,  were  also  pre- 
sented to  the  young  Mozart,  who  perfonned  them 
all  at  first  sight  with  the  greatest  possible  accu- 
racy, and  in  the  strictest  time.  One  day,  in  the 
])rcHence  of  the  king,  he  executed,  from  o  written 
bass  alone,  a  piece  which  formed  the  most  en- 
chanting harmony.  At  another  time  ('liri.stian 
Bach,  music  master  to  the  queen,  took  the  little 
Mozart  on  his  knees,  and  played  a  few  bars.  Mo- 
zart then  continued  the  air,  and  they  thus  per- 
formed an  entire  sonata  with  such  precision,  that 
those  who  were  present  imagined  it  was  played 
by  the  same  person.  (For  further  interesting 
particulars  of  Mozart's  perl'ormances  in  Englan(C 
see  the  Hon.  Dnines  Barrington's  Miscellanies, 
and  the  I'hilosoph.  Trausac.) 

During  liis  residence  in  England,  that  is  to 
say,  at  the  age  of  eight  years,  he  composed  six 
sonatas,  which  lie  dedicated  to  the  queen,  and 
printed  in  London. 

He  returned  to  France  in  17G.5,  and  in  passing 
through  that  couiitry  he  performed  on  the  organ 
at  most  of  the  churches  and  monasteries,  and 
from  thence  continued  his  journey  into  Holland, 
and  at  the  Hague  composed  a  spnphony  for  a 
full  orchestra,  on  occasion  of  the  instaUation  of 
the  Prince  of  Orange.  Here  the  two  children 
had  a  serious  illness,  which  nearly  prove<l  fatal  to 
them  both. 

The  Mozart  family  then  returned  to  Paris  for 
two  months,  after  which  they  bent  their  steps 
towards  their  native  country.  Soon  after  their 
return  to  Munich,  the  elcttor  proposed  to  the 
young  .Mozart  a  musical  theme  to  develop.  He 
immediately  obeyed,  in  presence  of  the  elector, 
and,  without  the  assistance  of  any  in-itrument, 
wrote  out  the  mu.nc,  and  afterwards  pirformed 
it,  to  the  great  admiration  of  the  court  and  all 
present. 

Having  returned  to  Salzburg  towards  the  close 
of  the  year  IT'i'i,  Wolfgang  abandoned  himself 
with  renewed  ardor  to  the  study  of  composition, 
Emmanuel  Bach,  Hasse,  and  Handel  being  his 
guides  and  models,  though  he  by  no  means  neg- 
lected the  .study  of  the  ancient  Italian  nuLsters. 

In  1768,  the  children  performed  at  Vienna  in 
presence  of  the  Emperor  Joseph  II.,  who  or- 
dered young  Mozart  to  compose  the  rausie  to 
the  opera  buffa  entitle<l  "  l^  t'iiua  Srmpiite." 
It  was  approved  both  by  Hasse  antl  .Metasti  sio, 
but  was  never  perfonne<l.  At  this  time  it  not 
unfrequently  occurred,  that  at  the  houses  of  the 
chapcl-mastcrs  Bono  and  Uass«,  Mcta-stasio,  xha 


«123 


HOZ 


ENCYCLOPAEDIA    OF   MUSIC. 


MOZ 


Duke  of  IJragnnzo,  the  Prince  de  Kaunitz,  &c., 
the  lather  would  beg  that  an  Italian  or  any 
other  melody  might  be  given  to  hLs  son,  when 
Wolt'gang  would  immediately  subjoin  all  the 
instrumental  parts  in  presence  ot  the  whole 
assembly. 

At  the  consecration  of  the  church  belonging 
to  the  Or])hans'  House,  he  composed  the  music 
of  the  mass,  and  of  a  motet,  and  though  then 
only  twelve  years  of  age,  conducted  this  musi- 
cal solemnity  in  presence  of  ail  the  imperial 
court. 

In  December,  1769,  he  went  with  his  father 
into  Italy,  having  some  months  previously  to 
his  depiirturc  been  nominated  concert  master  to 
the  Archbishop  of  Salzburg.  It  may  easily  be 
conceived  that  our  young  virtuoso  was  received 
in  the  most  flattering  manner  in  a  country  where 
music  and  the  arts  are  so  highly  cultivated. 

lie  first  exhibited  his  talents  at  Milan,  princi- 
pally at  the  house  of  Count  Firmian,  governor 
general.  Xor  was  he  permitted  to  leave  Milan 
till  alter  he  had  engaged  to  return  and  compose 
the  first  opera  tor  the  carnival  of  1771.  At 
Bologna,  the  celebrated  P.  Martini  and  other 
musical  directors  were  transported  with  delight 
and  admiration  on  hearing  the  boy  execute  the 
most  difficult  fugues  on  the  harpsichord  without 
hesitation,  and  with  the  greatest  possible  pre- 
cision. 

lie  likewise  excited  equal  admiration  at  Flor- 
ence, in  which  city  he  became  acquainted  with 
Thomas  Linley,  who  was  then  about  his  own 
age.  Linley  was  a  pupil  of  Martini,  the  cele- 
brated violinist,  and  performed  on  that  instru- 
ment with  equal  grace  and  skill.  The  friend- 
ehip  of  these  two  boys  soon  became  excessive. 
The  day  of  their  separation  Linley  gave  his 
friend  ilozart  a  copy  of  verses  which  he  had  re- 
quested of  the  celebrated  Corinna  on  that  occa- 
eion  ;  he  accompanied  the  carriage  of  Wolfgang 
to  the  gate  of  the  town,  where  tliey  parted,  both 
bathed  in  tears.  He  arrived  at  liome  in  the 
Passion  week,  and  on  the  Wednesday  evening 
went  with  his  father  to  the  Sistine  Uhapel  to 
hear  the  celebrated  Miserere;  a  composition 
of  which  it  had  been  prohibited  either  to  give 
or  take  a  copy,  on  pain  of  excommunication. 
Aware  of  this  prohibition,  the  boy  listened  so 
attentively,  that  on  his  return  home  he  noted 
down  the  whole  piece.  On  Uood  Friday  the 
same  MUererc  was  again  executed.  Mozart  was 
again  present,  and,  during  tlie  performance, 
held  his  musical  manuscript  in  his  hat,  by 
■which  means  he  was  enabled  to  make  the  neces- 
sary corrections.  Tliis  anecdote  created  a  great 
sensation  in  Home.  Soon  afterwards,  Wolfgang 
was  retjuested  to  sing  tliis  Miaircre  at  a  concert, 
accompanying  himself  on  the  harpsichord.  The 
first  soprano,  (CrLstofori,)  who  had  sung  it  at 
the  chapel,  was  present,  and  acknowledged  with 
surprise,  that  Mozart's  copy  was  both  complete 
and  correct.  'Ilie  difficulty  of  this  undertaking 
was  much  greater  than  may  be  imagined.  But 
we  beg  to  be  allowed  to  digress  a  little  here,  for 
the  purpose  of  introducing  some  details  con- 
ceniiug  the  Sistine  Chapel  and  this  remarkable 
Mitvrere. 

There  are  generally  thirty-two  voices  em- 
ployed in  this  chapel,  without  any  kind  of  in- 
strument, not  even  an  organ,  to  sustain  them. 
This  establishment  had  attained  its  highest  de- 


gree of  perfection  towards  the  commencement 
of  the  eighteenth  century ;  since  which  time, 
owing  to  the  salaries  of  its  singers  having  re- 
mained nominally  the  same,  and  therefore  being 
in  fact  greatly  diminished,  whilst  the  opera  has 
continued  to  flourish  more  and  more,  and  the 
salaries  of  good  theatrical  singers  have  risen  to 
an  amount  formerly  unknown,  the  Sistine  Chap- 
el has  gradually  lost  its  best  performers. 

The  Miserere,  which  is  sung  twice  during  the 
Passion  week,  and  jjroduces  such  an  effect  on 
strangers,  was  composed  over  two  hundred 
years  ago,  by  Gregorio  AUegri,  one  of  .the  de- 
scendants of  Antonio  AUegri,  well  known  by 
the  name  of  Correggio.  When  the  Mi,Krere  be- 
gins, the  pope  and  cardinals  prostrate  them- 
selves on  their  knees.  The  Last  Judgment  by 
Michael  Angclo,  painted  above  the  altar  of  the 
chapel,  is  then  discovered  brilliantly  illumined 
by  tapers.  As  the  service  advances,  these  tapers 
are  gradually  extinguished.  The  forms  of  so 
many  miserable  creatures,  painted  with  such 
terrible  energy  by  Michael  Angclo,  now  become 
more  and  more  imposing,  from  being  scarcely 
perceptible  by  the  pale  li.:;ht  of  the  remaining 
tapers.  When  the  Miserere  is  just  about  to  con- 
clude, the  chapel-master,  who  beats  time,  in- 
sensibly gets  slower,  the  singers  diminish  the_ 
strength  of  their  voices,  the  harmony  vanishes 
by  degrees,  and  the  sinner,  confounded  before 
the  majesty  of  his  God,  and  prostrate  before  his 
throne,  appears  to  await  in  silence  the  voice 
which  is  to  pronounce  his  doom.  This  piece 
owes  its  sublimity  more  to  the  manner  in  which 
it  is  sung,  and  the  place  in  which  it  is  executed, 
than  to  any  individual  merit  of  its  own.  It  was 
composed  with  the  intention  of  being  sung  in  a 
peculiar  manner,  so  as  to  produce  the  most  sub- 
lime effect,  and  which  it  would  have  been  im- 
possible to  express  by  precision  of  notes.  The 
singing  is  certainly,  within  the  chapel,  of  the 
most  aflFecting  character.  The  same  melody  is 
repeated  to  every  verse  in  the  psalm ;  but  this 
music,  though  precisely  the  same  taken  en  masse, 
is  not  so  in  the  detail.  Thus  it  is  easily  under- 
stood, but  yet  never  becomes  tedious.  It  is  the 
custom  at  the  Sistine  Chapel  to  accelerate  or  re- 
tard the  time  on  certain  notes,  to  swell  or  dimin- 
ish the  voices  according  to  the  sense  of  the 
words,  and  even  to  sing  some  of  the  verses 
quicker  than  others.  The  following  anecdote 
will  prove  the  extreme  difficulty  of  young  Mo- 
zart's undertaking,  in  singing  the  Miserere.  It 
is  related,  that  the  Emperor  Leopold  I.,  who  was 
a  great  amateur  in  music,  and  likewise  a  good 
composer,  sent  an  ambassador,  requesting  the 
pope  to  allow  him  to  have  a  copy  of  the  Miserere 
of  Allegri,  that  he  might  use  it  in  the  Imperial 
Chapel  at  Vienna.  This  was  accorded.  The 
chapel-master  of  the  Sistine  desired  that  a  copy 
might  be  taken,  which  was  immediately  sent  to 
the  emperor,  who  had  at  that  time  the  best 
singers  of  the  age.  Notwithstanding  all  their 
talents,  the  Miserere  of  .\llegri  produced  no 
other  effect  at  the  court  of  Vienna  than  that  of 
being  considered  as  a  most  ordinary  and  dull 
chant.  The  emperor  and  all  his  court  imagined 
that  the  chapel-master  of  the  pope,  wishing  to 
keep  the  Miserere  exclusively  in  the  Sistine 
Chapel,  had  eluJed  the  order  of  his  master,  and 
sent  him  some  common  and  vulgar  composition. 
The  emperor  immediately  sent  cT  a  courier  to 


624 


MOZ 


EXCYCLOP.EDIA    OF    MUSIC. 


MOZ 


the  po]De,  to  complain  of  this  want  of  respect. 
The  pope  was  so  iiuli^naiit  at  thin  disobedience 
of  the  chapel-master,  that  he  immediately  dis- 
missed  hiia  from  the  situation  he  held,  without 
even  permittius  him  to  vindicate  liis  conduct 


ridafe,"  and  was  performed  twenty-six  times  in 
succexsion.  During;  the  |iori')d  whicli  clapsod  be- 
tween the<e  two  rc])re-icntntions,  he  first  iiuitted 
Milan,  to  jia-is  the  few  last  days  of  the  carnival  al 
Venice  ;    and   at  Verona,  which  he  only   passed 


The  poor  man  prevailed,  however,  on  one  of  the  I  throuj^h,  they  pre:iented  him  with  a  patent,  a» 


cardinals  to  undertake  to  plead  his  cause,  and 
explain,  that  the  peculiar  manner  of  executing 
tliis  Misirere  could  not  be  expressed  by  notes, 
nor  could  any  one  sing  it  till  after  repeated  les- 
sons from  the  chajjcl  eingers,  who  possessed  the 
tradition.  Ilis  holiness,  who  did  not  under- 
stand music  in  the  least,  could  hardly  comprehend 
how  the  same  notes  could  produce  a  different 
effect  at  Vienna  and  at  Kome.  He,  however, 
jiermitted  the  poor  chapel-ma.ster  to  write  his 
own  defence,  to  send  to  Vienna,  and  in  time  he 
was  received  again  into  favor. 

It  was  the  remembrance  of  this  well-known 
anecdote  that  occasioned  such  surprise  among 
the  Romans,  when  they  heard  a  child  sing  this 
Miserere  perfectly  in  '."  /  true  style,  after  only 
two  lessons ;  and  notLin^  indeetl  is  more  ditK- 
cult  than  to  excite  the  astonishment  of  the 
Romans,  as  all  merit  diminishes  greatly  on  en- 
tering this  celebrated  town,  where  all  the  tine 
arts,  in  the  highest  perfection,  are  constantly 
displayed. 

It  is,  perhaps,  the  great  success  Mozart  met 
with  in  singing  this  Miserere,  or  the  effect  that 
it  produced  on  his  ownx  mind,  that  inclined  him 
ever  after  to  a  solemn  style  of  music,  particularly 
to  that  of  Handel  and  of  the  tender  Boccherini. 

From  Rome  the  Mozarts  continued  their  jour- 
ney to  Xaples,  where,  performing  on  the  piano 
one  day  at  the  Cunservaturio  delta  I'ieli,  the  audi- 
ence suddenly  took  it  into  their  heads  that  a  ring 
which  he  wore  on  his  finger  contained  a  charm  ; 
and  at  length,  to  pacify  their  doubts,  he  was 
obliged  to  take  off  the  ring.  The  effect  on  this 
superstitious  people  may  be  imagined,  when, 
having  parted  with  the  talisman,  Mozart's  music 
continued  to  be  equally  imposing.  Wolfgang 
gave  a  grand  concert  at  Count  Kaunitz's,  ambas- 
sador from  the  emperor,  and  then  returned  to 
Rome.  The  pope,  who  had  wished  much  to  see 
him,  now  created  him  knight  of  the  golden  spur. 
In  repassing  through  Bologna,  he  received  a  still 
more  flattering  distinction.  After  the  requisite 
proofs  of  his  talent,  which  he  afforded  to  all  with 
unusual  promptitude,  he  was  named,  by  universal 
consent,  a  member  of  the  Philharmonic  -Academy. 
An  anthem  for  four  voices  was  then  given  him  to 
compose,  act  jrding  to  the  idea  formed  of  hi.s 
talents :  as  Wcts  customary  on  such  occasions,  he 
was  shut  into  a  room  alone,  where  he  concluded 
nis  task  in  half  an  hour.  His  previous  engage- 
ment now  recalled  him  to  Milan  ;  otherwise  he 
would  have  obtained  what  was  then  considered 
the  greatest  honor  to  musicians  that  could  be 
oonferred  in  Italy,  namely,  that  of  composing  the 
drst  opera  seria  for  the  theatre  at  Rome. 

On  the  J'ith  December,  1770,  two  months  after 
hLs  arrival  at  Milan,  having  at  that  time  not  quite 
accomplished  his  fifteenth  year,  he  produced  his 
"  MUhridtitf,"  a  serious  opera,  which  had  a  run 
of  twenty  representatioi  i.  To  judge  of  its  suc- 
cess, it  will  be  sufficient  to  state  that  the  mana- 
ecr  immediately  made  a  written  engagement  with 
him  for  the  composition  of  the  first  opera  for  the 
year  1773.  This  opera  was  called  "  Lurio  Silla," 
which  wan  equally  successful  with  that  of  ".\tith- 


member  of  the  Philharmonic  Society  of  that  town. 
He  also  composed,  in  1771.  at  Milan,  ".Ijca/jio  I'ri 
Alba;"  and,  in  177'2,  at  .Salzburg,  " //  Siii/no  dt 
Scipioiir,"  for  the  election  of  the  new  Archbishop 
of  Salzburg.  Being  invited  subsefjuently  to  Vi- 
enna, Munich,  and  Salzburg,  he  composeil,  among 
other  works,  "  /.n  Finta  (Hardiniem,"  opera  buffa. 
two  grand  miusses  for  the  chapel  of  the  Klectorof 
Bavaria,  and  one  for  the  .\rchduke  Ferdinan-i  at 
Salzburg ;  and,  on  the  occasion  of  the  Archduke 
Maximilian  remaining  for  a  few  days  at  Salzburg, 
the  cantata  "  //  He  I'attore."  This  was  in  177.5. 
He  had  now,  it  may  be  said,  attained  the  highest 
perfection  of  his  art,  as  his  fame  had  spread  from 
one  end  of  Europe  to  the  other ;  and  tliough  only 
nineteen  years  of  age,  he  could  now  make  choice 
of  any  capital  in  Europe  to  establish  himself.  HLi 
father  conceiving  that  Paris  would  be  most  suit- 
able for  him,  in  1777  he  commenced  his  second 
journey  into  France,  accompanied  by  his  mother. 
Here  he  had  the  misfortune  to  lose  her,  which 
rendered  his  residence  in  Paris  insupportable ; 
added  likewise  to  the  state  of  vocal  music  in  that 
ca])ital,  wliich  did  not  suit  his  taste,  and  thus 
obliged  him  to  comjx)«e  entirely  for  instruments. 
Having,  therefore,  produced  a  symphony  at  the 
Spiritual  Concerts,  and  a  few  other  instrumental 
pieces,  he  returned  to  hLs  father  at  the  commence- 
ment of  the  year  1779. 

He  next  composed  the  opera  of  "  Idomeneo,' 
under  the  most  favorable  auspices,  having  been 
called  to  Vienna  by  the  commands  of  his  sover- 
eign, the  iVrchbishop  of  Salzburg.  AVhilst  there, 
the  Elector  of  Bavaria  requested  an  opera  for  the 
theatre  of  Munich.  Mozart  was  then  five  and 
twenty,  and  being  deeply  in  love  «-ith  a  young 
lady  to  whom  he  was  afterwards  united,  love  and 
ambition  combined  to  exalt  his  genius  to  the 
highest  degree,  and  he  produced  this  opera  of 
"  Idomeneo,"  which  he  always  consiflered  as 
among  his  best,  and  from  which  he  even  bor- 
rowed many  ideas  for  subsequent  composition. 

From  Munich,  Mozart  went  to  Vienna,  where 
he  entered  the  ser^•ice  of  the  emperor,  to  whom 
he  remained  att.iched  the  rest  of  his  life ;  and, 
though  he  was  but  indifferently  treated,  persisted 
in  refusing  many  more  advantageous  offers  which 
were  made  to  him  on  the  part  oi  other  sovereigns, 
and  particularly  by  the  King  of  Prussia. 

The  folliwing  anecdote  will  prove  the  truth  of 
this  assertion.  In  one  of  his  journeys  to  Berlin, 
the  king,  Frederic  William  H  ,  otferetl  him  thrc« 
thousand  crowns  per  annum  if  he  would  remain 
at  hi"  court,  and  superintend  his  orchestra.  Mo- 
zart only  re,ilied,  "  Ouixht  I  to  quit  my  good  em- 
peror?" notwithstanding,  at  this  porio  I,  he  had 
no  fixed  sal.-iry  at  Vienna.  One  of  hui  frienils  re- 
proaching him  with  the  imprudence  and  toUjr  of 
not  accei)ting  the  advantageous  proposition  of  the 
King  of  Prussia,  "  I  like  to  live  at  Vienna,"  re- 
plied Mozart ;  "  the  emperor  is  fond  oi  me,  and  I 
don't  value  money." 

Some  vexatious  oocurrencca  at  court  excited 
him,  however,  to  demand  hLs  dLsmUsal  of  Joseph; 
but  one  word  from  the  prince,  who  really  loT«d 
his  composer,  and  more  larticulairlf  hi«  moM^ 


62o 


MOZ 


ENCYCLOPEDIA    OF    MUSIC. 


MOZ 


made  liim  iii-Jtmitly  change  his  mind.  He  was 
not  sufficiently  cunning  to  take  advantage  of  this 
Cavorable  opportunity  to  demand  a  Kxcd  salary  ; 
but  the  ciu])Cror  at  length  de<Mded  tliLs  himself. 
Unfortunately,  however,  he  consulted  some  en- 
emies of  Mozart  as  to  what  would  be  right  to  give 
him,  and  they  j)rop'ised  the  small  sum  of  eight 
Jlundrcd  florins.  This  was  never  augmented. 
He  received  it  as  chamber  com])o«cr,  but  in  that 
capacity  ho  never  did  any  thing.  At  one  time  he 
was  legally  asked,  in  consequence  of  one  of  those 
general  orders  of  government  so  frequent  at  Vi- 
enna, what  jicnsion  ho  received  frnm  the  court. 
He  wrote  back  word  in  a  sealed  note,  " Too 
much  for  what  I  have  done  ;  too  little  for  what  I 
might  have  done." 

"  L' Enlvemeitt  du  Serai!"  was  performed  in 
1782.  Joseph  II.  remarked  to  Mozart,  "It  is  too 
grand  for  our  ears ;  there  are  a  prodigious  quan- 
tity of  notes."  "  That  is  precisely  the  thing," 
replied  the  young  artist.  It  was  during  the  com- 
position of  this  opera  that  he  married  Constance 
Weber,  a  musical  amateur  of  the  first  merit.  He 
had  two  chil<lren  by  this  raamage. 

It  was  Josejdi  II.  who  des'red  Mozart  to  set  to 
music  the  "  Marriage  of  Figaro,"  a  piece  then 
much  in  vogue  at  all  the  theatres.  He  obeyed, 
and  this  opera  was  performed  at  Prague  the  whole 
of  the  winter  of  1787.  Mozart  went  that  winter 
himself  to  Prague,  and  there  composed  for  the 
Bohemians  his  opera  of  "  Dun  Giovanni,"  which 
met  with  still  more  brilliant  success  than  even  the 
"  Marriage  of  Figaro."  The  Kr-t  reprcsentato:;8 
of  "  Don  Giocaniti"  were  not  very  well  received  at 
Vienna.  Its  merits  were  one  day  discussed  at  a 
large  assembly,  where  most  of  the  counoLsseurs  of 
the  capital  were  a.ssembled,  and  amongst  others, 
Haydu  ;  Mozart  not  being  himself  jjresent.  Every 
body  agreed  in  considering  it  a  work  of  great 
merit,  brilliancy,  and  richness  of  imagination ; 
but  each  found  something  to  blame.  All  had 
given  their  opinion,  with  the  exception  of  Haydn. 
At  length  tliey  begged  he  would  do  so  likewise. 
"  I  am  not  cajjable  of  judging  in  this  dispute," 
he  replied  with  his  usual  modesty  ;  "  all  that  I 
know  is,  that  Mozart  is  certainly  the  greatest 
composer  now  in  existence."  Mozart  acted  at  all 
times  with  the  same  generosity  towards  Haydn. 
A  composer  of  Vienna  of  some  merit,  but  who 
could  not  in  any  way  ]ierceive  or  appreciate  the 
beauties  of  Haydn,  enjoyed  a  8;'iteful  pleasure 
in  discovering  every  trirting  incorrectness  which 
crept  into  the  compositions  of  that  great  master. 
He  perpetually  came  to  Mozart,  with  the  greatest 
glee,  to  dis])lay  any  symphony  or  quatuor  of 
Haydn,  in  which,  after  having  put  it  into  score, 
he  had  discovered  some  little  negligence  of  style. 
Mozart  always  endnavoretl  to  change  the  subject 
of  conversation  ;  his  patience  at  length  being  to- 
tally exhausted,  ".Sir,"  he  replied  one  day  in 
rather  an  abruj)t  manner,  "  if  you  and  I  were 
melted  down  together,  we  should  not  even  then 
make  one  Hayd'i."  Mo/.avt  al-^o  dedicated  a  work 
of  quatuors  to  Haydn,  which  may  be  looked  upon 
aa  the  bett  he  ever  produced  in  tliis  style.  He 
observed  that  this  dedication  was  due  to  him,  as 
it  was  from  Haydn  he  first  learned  this  spe.ies 
of  composition. 

Tlie  deatli  of  this  groat  genius  took  place  on 
the  .Oth  of  December,  1792,  when  he  had  not  at- 
tained liis  thirty-sixth  year.  Indefatigable  to  the 
Wat,  he  produced  iu  the  conclud'.ug  few  months  of 


his  life,  his  three  chefs- d'cauvre,  "Die  ZauberflOte," 
or  '•  Magic  Flute,"  "  CLmenza  di  Tiio"  and  a 
"  Kequiciit"  which  lie  had  scarcely  time  to  finish. 

It  was  during  the  composition  of  the  first  of 
these  operas  that  he  began  to  be  subject  to  faint- 
ing fits.  He  was  particularly  partial  to  his  opera 
of  "  'ITie  Magic  Flute,"  though  he  was  not  very 
fond  of  some  paiticular  morceanx  iu  it,  which 
had  been  the  most  admired  by  the  public.  The 
state  of  debility  in  which  he  was,  precluded  the 
])ossihility  of  his  leading  the  orchestra  more  than 
the  nine  or  ten  first  re,)resentations.  When  he 
was  no  longer  able  to  attend  the  theatre,  he 
would  place  hLs  watch  by  his  side,  and  appeared 
to  follow  the  orchestra  in  idea  :  "  There  is  the 
first  act  over,"  he  would  say;  "now  they  are 
singing  such  or  such  an  air,"  &c. ;  and  then  a  fit 
of  melancholy  would  seize  him,  and  he  fancied 
that  he  should  not  long  enjoy  life. 

A  singular  incident  accelerated  the  effect  of 
this  fatal  presentiment,  and  sis  tliLs  incident  was 
the  occasion  of  his  composing  his  famous  "  Re- 
quiem," one  of  his  chvfa-d'mirre,  we  shall  enter 
into  minute  details  concerning  it. 

One  day  when  Mozart  was  plunged  into  a  pro- 
found revery,  he  heard  a  cai-riage  stop  at  his 
door.  A  stranger  was  announced,  who  begged 
to  speak  to  him ;  a  middle-aged  man,  well  dressed,- 
and  of  a  noble  and  imposing  appe.arance.  was  then 
shown  in.  "  I  am  comjnissioned,  sir,"  said  he,  ad- 
dressing Mozart,  "  by  a  person  of  rank,  to  call  on 
you."  "  'Who  is  that  person  r  "  interrupted  Mo- 
zart. "  He  does  not  choose  to  be  known,"  replied 
the  stranger.  "  Very  well ;  what  docs  lie  wish  ■ " 
"  He  has  just  lost  a  friend  who  was  very  dear 
to  him,  and  whose  memory  lie  must  eternally 
cherish  ;  and  intending  to  celebrate  her  death  by 
a  solemn  service  every  year,  wishes  you  to  com- 
pose a  Rcqxiiem  for  the  occasion."  Mozart  was 
much  struck  at  the  grave  manner  and  tone  of 
voice  in  which  this  address  was  pronounced,  and 
with  the  mystery  which  appeared  to  envelop  this 
adventure.  He  promised  to  compo-e  the  /?«•- 
giiiem.  The  unknown  continued :  "  Exert  all 
your  genius  in  this  work;  you  will  labor  for  a 
connoisseur  in  music."  ".So  much  the  better." 
"How  long  will  you  require  to  do  it?"  "A 
month."  "  Very  weil ;  I  will  return  in  a  month. 
How  much  will  you  charge  for  the  work  ?  "  "A 
hundred  ducats."  The  unknown  counted  them 
immediately  on  the  table,  and  disappeared. 

Mozart  remained  plunged  for  some  moments  in 
profound  reflection  ;  then  suddenly  demanded  a 
pen,  ink,  and  pajier,  and,  notwithstanding  the  re- 
monstrances of  his  wife,  began  to  wTitc.  This 
rage  for  composing  continued  several  days ;  he 
wrote  almost  the  whole  day  and  night,  with  in- 
creasing ardor  as  he  advanced ;  but  his  health, 
already  feeble,  could  not  long  suppo  t  this  en- 
thusiasm, and  one  morning  he  fell  senseless  on 
the  floor,  which  obli,'ed  him  for  a  time  to  suspend 
his  labors.  Two  or  tliree  days  after,  Ids  wife  en- 
deavoring to  divert  his  attention  from  the  melan- 
choly ideas  which  posses:-.ed  it,  he  replied  quick- 
ly, "  I  am  pci-suaded  that  I  am  composing  this 
ki-quiein  for  myself;  it  will  do  for  my  suneral  ser- 
vice." Nothing  could  dis;  el  this  idea  from  h'.s 
mind. 

As  he  continued  his  work,  he  felt  his  strength 
diminishing  from  day  to  day,  whilst  his  score 
advanced  slowly.  The  month  he  had  requested 
having  exiiired,  the  stranger  one  day  suddenly 


626 


*IOZ 


ENC\CI.OP.EDIA    OF    MUSIC. 


MOZ 


reappcn-cd.  "I  have  found  it  imiwssible,"  Kuid  I  systems  followed  u))  with  much  dexterity,  Imt  in 
Mozart,  "to  keep  ray  word."  "  It  is  of  no  con-  I  which  the  most  profound  science  is  never  de- 
gJHluonce,"  replied  the  stranger.  "  How  m\i(h  !  structive  of  uriice  ;  his  works  are  also  remarkable 
raore  time  do  you  require?"  "  A  month.  The  lor  a  new  and  ingenious  arrangiiuciit  of  the 
work  has  become  more  interesting  tluui  I  iin-  j  orcliestra  and  wind  instruments.  Lastly,  he  had 
agincd,  and  I  have  extended  it  to  a  much  greater  an  extraordinary  talent  for  introducing  into  his  ac- 
length  than  I  had  at  first  intended."     "In  that     companiment»therichnessof»ym])hony combined 


case  it  is  right  to  augment  the  [jrioe;  here  arc 
fifty  ducats  more."  "  Sir,"  said  .Mozart,  raore 
astonished  than  ever,  "who  are  you,  then  r " 
"  That  has  nothing  to  do  with  the  sut)ject  ;  I  shall 
return  within  the  raonth."  Mozart  immediately 
called  one  of  his  servants,  and  desired  him  to  fol- 
low this  extraordinary  man,  and  find  out  who  ho 
was ;  bvit  the  awkward  serv-ant  returned,  saying 
ho  could  not  trace  his  stejis. 

Poor  Moziirt  now  took  it  into  his  head  that  the 
unknown  was  not  a  being  of  this  world,  and  that 


with  unrivalled  ex])ro'isii)n,  energy,  and  fancy. 
A  genius  so  brilliant  could  not  tail  to  excite 
the  most  lively  enthuiiasm.  Numbers  of  servile 
imitators  endeavored  to  follow  his  footsteps;  but, 
as  is  generally  the  ca.se,  tho  beauties  of  the  model 
degenerated  into  errors  in  their  hands.  They 
have  only  succeeded  in  patching  up  lieavy  and 
common  designs  with  endless  trouble  and  pedan- 
tic affectation.  They  have,  it  is  true,  like  Mo- 
zart, loaded  their  full  pieces  with  the  whole  mass 
of  in.struments,  but  they  have  been  unable  to  ])ro- 


hc  had  been  sent  to  warn  him  of  his  approaching  ducc  any  great  effect ;  and  the  vocal  parts,  e'juaU 
end.  IIeapi)lied  with  greater  diligence  than  ever 
to  his  Iter/itifDi,  which  he  looked  ujjon  as  the  most 
lasting  monument  of  his  genius.  During  this  la- 
bor, he  frequently  fell  into  alarming  fainting  Kts. 
At  longtli  the  work  was  finished  before  the  month 
was  quite  e.xpircd.  The  unknown  returned  at 
the  stated  time,  and  claimed  the  Requiem.  Mo- 
tart  wa.i  no  more! 


ly  dull  and  insignificant,  are  lost  in  the  noise  of 
the  orchestra.  They  have  forgotten  that  two 
things  aro  essentially  reciuisite  to  form  a  good 
composer — innate  genius,  and  a  style,  resulting 
from  well-directed  study.  (iifted  with  every 
natural  talent,  Mozart  and  Ciluck  studied  the 
best  ItJilian  masters  in  the  very  bosom  of  that 
country,  and  on  tho  Italian   language  which  in- 


The  day  of  his  death  he  desired  the  Requiem    8])ired  them  thoy  composed  their  principal  cheff 
might  he  brought  to  him.     "  Was  I  not  right,"     d'cniwre. 


he  said,  "  when  I  assured  you  I  was  composing 
this  Requiem  for  myself  f"  and  tears  escaped  from 
his  eyes.  It  was  his  last  farewell  to  his  art :  his 
widow  preserved  the  score 

"  Idomcneo"  and 
vorite  operas.  He  did  not  like  to  speak  of  his 
own  works,  and  if  he  did,  it  was  in  as  few  words 
as  possible.  With  regard  to  "  Don  Giovanni,"  he 
said  one  day,  "  That  opera  was  not  composed  for 
the  public  of  Vienna  ;  it  suited  better  the  audi 


Mozart  ha.s  been  accused  of  interesting  himself 
in  his  own  music  alone,  and  of  being  ac<iuainted 
with  no  other  compositions.  There  is  a  little  ex- 
aggeration in  this  reproach.  His  whole  life  was 
Dnn  Giovanni"  were  his  fa-  \  thoroughly  occupied  either  in  composing  or 
travelling,  so  that  he  had  little  time  to  attend  to 
the  compositions  of  others ;  but  he  approved  with 
the  greatest  candor  every  thing  that  was  really 
good  ;  he  was  the  enemy  only  of  mediocrity  in 
talent.     He  did  justice  to  the  most  simple  music, 


ence  at  Prague  ;  but  to  say  the  truth,  I  composed    its  long  as  there  were  some  traits  of  originality  or 


it  solely  for  myself  and  friends." 

When  an  idea  struck  him,  nothing  could  divert 
him  from  his  occupation.  He  would  compose  in 
the  midst  of  his  friends,  and  passed  whole  nights 
in  the  study  of  his  art.  Sometimes  he  only  just 
finished  a  piece  in  time  for  its  execution ;  this 
occurred  in  the  case  of  his  overture  to  "  //v/j  Gi.)- 
vanni,"  which  he  composed  the  night  preceding 
the  first  representation,  and  after  the  last  general 
rehearsal  of  the  opera  had  taken  place.  Some 
people  have  imagined  they  have  perceived  in  this 
overture  the  passages  where  Mozart  was  over- 
come by  sleep,  and  those  where  he  suddenly 
awoke. 

Mozart  judged  his  own  works  with  severity. 
One  day,  when  performing  one  of  the  most  ad- 
mired airs  of  the  "  ICnlerement  du  Serai/,"  "That 
is  good  in  n  room,"  he  observe<l ;  "  but  for  the 
theatre  it  is  too  insignificant.  When  composing 
it  I  felt  much  delight  in  it,  and  thought  nothing 
too  long." 

No  musician  ever  embraced  tho  art  so  cxten- 
nively.  He  excelled  in  all  styles,  from  the  sym- 
phony to  the  dance  ;  from  operas  to  the  most 
simple  ballads.  As  a  virtuoso,  Mozart  was  one 
of  the  first  pianists  in  Kuropc.  He  played  with 
tho  most  rapid  execution,  and  his  left  hand  was 
particularly  correct  and  excellent. 

Hut  his  most  brilliant  and  solid  glorv  is  founded 


genius  in  it. 

Extreme  disinterestedness  united  with  benevo- 
lence, was  the  principal  trait  in  the  character 
of  this  great  man  ;  he  gave  without  discrimi- 
nation, and  expended  his  money  without  any 
prudence. 

M\isic  sellers,  managers,  and  other  avaricioua 
people,  greatly  abused  hLs  known  cUsinterested- 
ness.  For  this  reason  few  of  his  comjxjsifions 
for  the  piano  were  of  tho  slightest  profit  to  himself. 
Ho  wrote  them  generally  out  of  good  nature  for 
his  friends,  who  expres,sed  a  wish  to  ijosscs  some 
piece  from  his  hand  for  their  owni  ]>articular  use ; 
in  such  cases,  he  was  obliged  to  conform  to  the 
degree  of  talent  whicli  each  person  possessed, 
which  acco\ints  for  the  many  compositions  for 
the  harpsichord  that  appear  so  little  worthy  of 
him.  Artaria,  a  music  seller  at  Vienna,  and 
some  others  in  his  line,  found  means  to  procure 
copies  of  thee  pieces,  and  publi^heil  them  with- 
out the  perrai«sion  of  the  author,  and  without 
offering  any  remuneration. 

One  day  the  manager  of  a  theatre  whose  nfliiir* 
were  in  a  very  desperate  state,  presenteil  him.Hclf 
to  Mozart,  stating  his  embarm.<t«mcntt>,  and  add- 
ing, "  You  are  the  only  man  in  the  world  who 
can  relieve  me  from  inv  ditHcultici."  "  I  «  "  ;-e- 
plied  Mozart  ;  "  how  so  r "  "  lly  composing  for 
me  an  opera  entirely  adapted  to  the  taste  ol  tho<)« 


upon  his  tiilents  as  a  composer.  His  compositiiins  j  who  froiucnt  my  theatre;  it  may  to  n  certaio 
we  principally  admired  for  the  amazing  fertility  i  degree,  be  a  work  Imth  to  please  connoiwieurt 
»f  the  idcott,  the  clear  and  happy  designs,  and  i  and  to  your  own  glory ;  but  abor«  ail,  rcmembw 

627 


L 


uoz 


ENCYCLOPEDIA    OF    MUSIC. 


MOZ 


it  is  to  please  a  class  of  people  who  do  not  un- 
flerstniid  fine  music.  I  will  take  care  to  let  you 
have  the  poem  directly,  and  that  the  scenery 
shall  he  heautitul ;  in  a  word,  let  it  be  entirely 
conformable  to  the  present  taste."  Mozart,  soft- 
ened by  the  entreaties  of  the  poor  man,  promised 
to  undertake  the  matter.  "  How  much  do  you 
B.sk  for  this  r "  replied  the  raanaj^er.  "  Why,  you 
have  nothin;;  to  give,"  said  Mozart;  "listen, 
however  ;  we  can  arrange  it  in  the  way  that  your 
mind  may  be  at  ea,se,  and  that  I  may  not  entirely 
lose  the  fruits  of  my  time  and  trouble.  I  will 
give  the  score  to  you  alone  ;  you  may  pay  me 
wliat  you  choose,  but  on  this  e.\pross  condition, 
that  you  upon  no  account  let  any  one  have  a 
copy  ;  if  the  opera  gets  about,  I  will  sell  it  to 
some  other  manager."  The  director,  charmed 
with  the  generosity  of  Mozart,  exhausted  him- 
self in  promises.  Mozart  immediately  set  about 
the  music,  and  composed  it  exactly  in  the  style 
directed.  The  opera  came  out,  t)ie  theatre  was 
filled,  and  its  beauties  were  e.xtolled  throughout 
Germany ;  some  weeks  after,  it  appeared  at  five 
or  six  different  theatres,  but  without  any  one 
having  received  their  copies  with  the  cognizance 
of  the  distressed  manager.  Mozart  was  very 
prompt  in  acquiring  new  habits  The  health  of 
his  wife  was  very  precarious ;  he  was  passion- 
ately fond  of  her ;  and  in  a  long  illness  she 
had,  he  always  advanced  to  meet  those  who 
came  to  see  her,  with  his  finger  to  his  lips,  as  a 
sign  they  should  not  make  a  noise.  His  wife 
got  well,  but  long  after  he  always  met  his  friends 
when  they  came  to  see  him  with  his  finger  to  his 
mouth,  and  speaking  in  a  whisjier. 

During  her  illness  he  would  sometimes  ride 
out  very  early  alone,  but  always,  before  going, 
left  a  small  note  for  his  wife  by  her  bedside,  in 
the  fonn  of  a  prescription  from  a  physician. 
The  following  is  a  copy  of  one  of  them :  "  Good 
day,  my  dear  love ;  I  hope  you  have  slept  well, 
and  that  nothing  has  disturbed  you ;  be  careful 
you  do  not  take  cold,  and  that  you  do  not  hurt 
your.self  in  stooping ;  do  not  vex  yotirself  with 
the  servants ;  avoid  all  uneasiness  till  my  return  ; 
take  great  care  of  yoiuself ;  I  shall  be  home  at 
nine  o'clock." 

Constance  Weber  was  an  excellent  companion 
for  Mozart,  and  frequently  gave  him  very  pru- 
dent advice.  Mozart's  income  was  considerable  ; 
but  owing  to  his  love  of  jileasure,  and  the  em- 
barrassment of  his  domestic  affairs,  he  left  his 
family  but  the  glory  of  his  name,  and  the  pro- 
tection of  the  public  of  Vienna.  After  his  death 
the  inhabitants  of  Vienna  testified  their  gratitude 
for  the  pleasures  he  had  afforded  them  by  their 
kindness  to  hLs  family. 

In  the  latter  years  of  Mozart's  life,  his  health, 
which  had  always  been  delicate,  rapidly  declined. 
Like  all  jjcoplc  of  strong  imagination,  he  was 
ever  anticipating  future  evil,  and  the  idea  that  he 
should  live  but  a  short  time  continually  haunted 
his  mind ;  at  those  periods,  he  would  labor  with 
»uch  energy,  rajiidity,  and  force  of  attention,  that 
he  Imjucntly  became  totally  indiifcrent  to  all 
that  did  not  concern  his  art.  Kvery  body  per- 
ceived he  was  ruining  his  health  by  this  exces-ive 
»fi\dy.  Ili.s  wile  and  Iricnds  did  all  they  could 
to  draw  off  his  attention  ;  and  for  their  gratifi- 
cation he  would  frecpiently  accompany  thont  in 
their  walks  and  visits,  and  would  quietly  allow 
himself  to  be  conducted  any  where  by  them  ;  but 


I  his  mind  was  always  wandering.  He  seldon 
overcame  this  habitual  and  silent  melancholy,  but 

j  when  the  idea  of  his  approaching  dissolution 
awakened  him  to  new  terrors.  HLs  wife,  dis- 
tracted with  fear  at  his  singular  habits,  endeav- 
ored to  draw  around  him  all  those  friends  in 
whose  society  he  most  delighted,  and  took  cars 

j  they  should  arrive  about  the  time  when,  after 
many  hours  of  labor,  he  naturally  rccjuired  rec- 
reation and  repose.  These  visits  pleased  him, 
but  never  made  him  desist  from  pursuing  his 
studies ;  they  talked,  they  endeavored  to  engage 
him  in  conversation,  but  all  to  no  puqiose ;  and 
if  they  actually  addressed  him,  he  would  make 
some  reply  totally  unconnected  with  the  subject 
or  else  answering  in  monosyllables,  and  w^'ild 
immediately  continue  to  write. 

Mozart  labored  under  a  weak  state  of  hea.th 
during  his  whole  life ;  he  was  thin  and  pale,  and 
though  the  sh:ipe  of  his  face  wa.s  singular,  hw 
physiognomy  had  no  striking  character  in  it  but 
that  of  extreme  irritability.  His  countenance 
varied  every  instant,  but  indicated  nothing  fur- 
ther than  the  pain  or  pleasure  of  the  moment. 
He  had  a  habit  which  is  generally  supposed  to  de- 
note stujjidity  ;  namely,  perpetual  motion  of  the 
body,  and  was  continually  either  twirling  his 
hands  or  striking  his  feet  upon  the  grounjl. 
I'here  was  no  other  peculiarity  in  his  habits,  fur- 
ther than  his  passionate  fondness  for  billiards. 
He  had  a  billiard  table  at  his  own  house,  on 
which  he  played  every  day,  sometimes  even 
alone.  HLs  hands  were  so  decidedly  formed  for 
the  harpsichord,  that  he  was  extremely  unskilful 
at  any  thing  else.  At  dinner  his  wife  almost 
always  carved  his  food  ;  and  if  he  happened  to  be 
obliged  to  do  so  himself,  he  performed  it  with  the 
greatest  difiiculty  and  awkwardness. 

This  same  man,  who,  as  an  artist,  had  at- 
tained tlie  highest  degree  of  excellence  from  his 
earliest  youth,  ever  remained  a  child  in  all  the 
other  relations  of  life.  He  had  no  self-command ; 
order  in  liLs  domestic  affairs,  a  right  employment 
of  his  money,  temperance,  or  a  reasonable  choice 
in  his  pleasures,  were  not  amongst  the  virtues  he 
practised  ;  indeed,  he  was  ever  led  astray  by  the 
pleasures  of  the  moment.  His  mind  was  con- 
stantly absorbed  in  a  mass  of  ideas  which  ren- 
dered him  totally  incapable  of  reflection  on  what 
we  call  serious  subjects,  so  that,  during  his 
whole  life,  he  was  in  want  of  a  guide  to  direct 
him  in  the  passing  business  of  the  day.  His 
father  was  fully  sensible  of  his  weakness,  which 
made  him  request  his  wife  to  accompany  their 
son  in  liis  journey  to  Paris  in  1777,  his  o^vit  en- 
gagements at  Salzburg  precluding  the  possibility 
of  his  absence  from  that  town.  With  all  these 
eccentricities,  Mozart  became  a  being  of  a  superi- 
or order,  directly  he  placed  himself  before  the 
piano.  His  soul  then  rose  above  all  the  weak- 
nesses of  his  nature,  and  his  whole  attention 
scemej  rapt  in  the  sole  object  for  which  he 
was  born,  the  harmuny  of  sounds.  The  fullest  or- 
cliestra  did  not  prevent  his  observing  the  slightest 
false  note,  and  he  would  point  out  with  the  most 
astonishing  precision  the  exact  instrument  on 
which  the  error  had  been  committed.  Mozart, 
when  he  went  to  Berlin,  did  not  arrive  there  till 
late  in  the  evening.  He  had  scarcely  stepped  from 
the  carriage,  when  lie  asked  the  waiter  of  the 
inn  wliat  opera  was  to  be  j)erformed  that  night. 
" L Enlevement  dii  Scrail,"  was  the  answer.    ""Tha* 


628 


laiz 


ENCYCLOP-EDIA    OF    MUSIC. 


MO^ 


is  ielightful,"  be  hastily  n  plied,  and  immediately 
WIS  on  his  road  to  the  theatre.  He  placed  him- 
self at  the  entrance  of  the  pit,  to  hear  without 
being  seen  ;  but  he  soon  found  himself  close  to 
the  orchestra,  at  one  moment  praising  the  per- 
formance of  paiticular  airs,  and  at  another  ox- 
claiming  against  the  manner  in  which  certain 
parts  were  performed.  The  director  had  allowed 
himself  slightly  to  vary  one  of  the  airs :  when 
they  came  to  it,  Mozart,  unable  any  longer  to 
contain  himself,  in  n  loud  voice  corrected  the 
orchestra,  and  told  them  the  manner  in  which 
they  should  play  the  movement.     All  eyes  were 


imi)etuosity  of  which  he  was  capable.  Still  no 
attention  was  paid.  Ho  then  began  to  remon- 
strate with  his  audience  in  rather  an  abrupt  man- 
ner, though  still  continuing  to  play  :  fortunately 
his  rebukes  were  in  Italian  ;  therefore  few  |)eopla 
understood  him.  Silence,  however,  was  again  iu 
a  degree  restored.  When  his  anger  was  a  littlfl 
appeased,  he  could  not  help  laughing  him-elf  at 
hLs  own  iuipetuositv  :  lie  then  tried  a  more  jiopu- 
lar  style,  and  concluded  by  playing  a  well-known 
air,  uiKin  which  he  extemporized  variations,  and 
enraptured  the  whole  assembly.  Mozart  soon 
after  this  left  the  room,  having  previously  invited 


fixed  on  the  man  in  a  greatcoat  who  occasioned  (  the  nuister  of  the  house  and   a   lew  other  select 


such  confusion.  Some  persons  immediately  rec- 
ognized Mozart,  and  in  a  minute  the  mvisicians 
and  actors  learned  that  he  was  amongst  the  spec- 
tators. Several  of  the  performers,  amongst  others 
a  very  good  singer,  were  so  much  struck  with 
this  information,  that  they  refused  to  appear  on 
the  stage.  The  director  complained  to  Mozart 
of  the  dilemma  iu  which  ho  found  himself  placed  : 
the  great  composer  instantly  repaired  behind  the 
scenes,  and  succcetleil,  by  the  praises  he  bestowed 
on  the  general  performance,  in  making  them  con- 
tinue the  opera. 

Music  was,  in  fine,  the  great  occupatiou  of  Mo- 
zart's life,  and  at  the  same  time  his  mo»t  pleiusing 
recreation.     From  his  earliest  infancy,  jiersuiusion 


connoisseurs  to  join  him  at  the  inn,  where  he 
kept  them  to  supper ;  and  upon  their  begging 
him  again  to  perform,  he  immediately  complied, 
becoming  once  more  so  rapt  in  his  subject  thai 
he  forgot  himself  till  midnight. 

The  following  anecdote  is  also  related  of  Mo- 
zart. An  old  tuner  having  put  some  strings  to' 
Mozart's  harpsichord.  "  My  good  friend,"  said 
Mozart,  "  how  much  do  I  owe  you  ■  I  leave  thia 
place  to-morrow."  The  poor  man,  regarding  him 
rather  as  a  god  than  a  human  being,  re^ilied,  to- 
tally disconcerted,  humbled,  and  stammering, 
"Imperial  majesty  ....  Monsieur  le  Maitre  d« 
Chapelle  de  sa  majcstc  iraperialc  ....  I  can 
not  ....  It  is  true  I  have  fre(}uently  been  here 


was  never  necessary  to  place  him  at  the  piano,  i  .  .  .   .  Well,  give  me  a  crown."     "  A   crown  !  " 


On  the  contrary,  it  re(iuired  care  to  prevent  him 
from  over-fatiguing  himself  and  injuring  his 
health.  Ho  had  always  a  miuked  predilection 
for  performing  at  night.  When  he  placed  him- 
eelf  at  the  harpsichord  at  nine  o'clock,  he  never 
([uitted  it  till  midnight ;  and  indeed,  at  times,  he 
was  almost  obliged  to  be  forced  from  the  instru- 
ment, or  he  would  have  continued  preluding  and 
trilling  away  the  whole  night.  In  the  usual  rou- 
tine of  life,  he  was  the  mildest  of  human  beings, 
but  the  least  noLse  during  music  would  cause  in 
him  the  most  violent  indignation.  He  was  far 
above  that  aH'ected  and  misplacetl  modesty  which 
re<iuires  so  many  prolessors  of  the  art  to  be  con- 
tinually solicited  before  they  will  gratify  the 
audience.  Freijuently  some  of  the  great  lords  of 
Vienna  reproached  him  for  performing  indiffer- 
ently to  all  who  requested  him.  An  amate\ir  of 
that  city,  hearing  that  Mozart  was  to  pass  through 
on  one  of  his  expeditions,  engaged  him  to  pass 
an  evening  at  his  house,  and,  on  his  accepting 
the  invitation,  ivssembled  a  numerous  society,  that 
they  might  have  the  satisfaction  of  hearing  his 
wonderful  performance.  Mozart  arrived,  said  lit- 
tle, and  soon  placed  himscll"  at  the  piano.  Think- 
ing that  he  was  surrounded  by  connoisseurs,  he 
ciimmenccd,  in  slow  time,  to  execute  some  mu- 
sic replete  with  the  soltcst  hiirraony,  wishing 
to  prej'.ire  his  auditors  for  the  development  of  the 
piece  he  intended  to  perform.  The  society  found 
this  very  dull.  Soon  his  air  became  more  lively ; 
this  they  thought  rather  pretty.  He  now  changed 
the  character  of  the  music  into  a  studied,  solemn, 
elevated,  and  striking  stvlc  of  harmonv,  and  at 


said  Mo/.art ;  "  a  good  fellow  like  yourself  dcr-crvesi 
more  than  a  crown,"  and  he  gave  him  several 
ducats.  The  good  man  retired,  repeating  still, 
with  a  very  low  bow,  "  Ah  !  imjierial   majesty  !  " 

It  is  well  known  that  the  Haron  Van  Swietcn, 
a  great  Iriend  of  Haydn's,  said  "  that  if  Mozart 
had  lived,  ho  would  have  ])lucked  from  Haydn 
the  sceptre  of  instrumental  music."  In  the  opera 
buffa,  however,  he  wanted  gayety,  and  in  this  re- 
spect he  was  inferior  to  Galuppi,  Guglielmi,  and 
Sarti. 

I'orpora,  Durante,  Leo,  and  Alexander  Scar- 
latti were  amongst  his  most  favorite  composers  ; 
but  he  esteemed  Handel  more  than  any  of  thera. 
He  knew  by  heart  most  of  the  works  of  this  great 
master.  "  Of  all  of  us,"  he  would  say,  "  Handel 
understands  best  how  to  produce  a  grand  effect ; 
when  he  chooses  it,  he  can  strike  like  a  thunder- 
bolt." Of  Jomelli  he  said,  '•  Tliat  artLst  has  6oms 
points  in  which  he  shines,  and  will  ever  shine ; 
but  he  should  not  have  left  those  points  to  en- 
deavor to  compose  in  the  ancient  church  style." 
He  did  not  admire  Vincenzo  Martini,  whose 
"  Coaa  rara"  was  then  meeting  with  great  ap 
plause.  "  I'here  are  a  few  pretty  things,"  he 
would  say,  "  in  it,  but  twenty  years  hcuce  no 
one  will  listen  to  them." 

With  regard  to  Mozart's  opera  of  "  Fir/aro,"  the 
first  reflection  that  occurs  Ls,  that  the  musician, 
governed  by  his  natural  sensibility,  has  change<i 
into  real  ])assion  the  trilling  incidents  which,  in 
Ueauroarchais,  amused  the  amiable  inhabitants  of 
the  castle  of  Aquas  Frescivs.  It  is,  however,  a  chtf- 
(Ctcuore  of  tenderness  and  melancholv,  and  al>so- 


the  same  time  far  more  dilHcult;  some  ladies  in  lutely  exempt  from  all  importunate  mixture  of 
the  assembly  began  to  think  it  decidedly  tire-  majesty  and  tragedy :  no  piece  in  tlie  world  can 
some,  and  whispered  to  each  other  a  few  satirical     be  compared  to  the  "  Snzz<'  de  Fiiaro." 


words ;  soon  half  the  company  began  to  Uiik. 
T\\c  master  of  the  house  was  on  thorns,  and  at 
.enirth  Mozart  discovered  the  impression  his  mu- 
jic  made  on  the  audience.  He,  however,  did  not 
quit  his  tirst  idea,  but  developed  it  with  all  the 


629 


As  to  the  opera  of"  Idmneiieo,"  it  may  be  safely 
afKnned  to  be  unrivalled,  as  well  araong-t  hii 
own  operas  as  amongst  those  of  the  tinest  com- 
posers. For  the  "  Flaiito  Mnijirn,"  it  should  b* 
seen,  to  form  a  correct  idea  of  its  beauties.     It  ap- 


MUF 


ENCYCLOPAEDIA    OF    MUSIC. 


MUt 


pears  to  be  the  sportive  effort  of  a  tender  imagi- 
nation, sikI  does  honor  to  Morart's  gieit  talents. 

T}ie  ttii-romnntic  imagination  ol  Mozart  ap- 
jiearii  at  its  zenith  in  "  b:>n  Jiiun,"  this  faithful 
delineation  of  so  many  interesting  situations, 
and  all  of  which  are  wonderfully  portrayed  by 
the  rich  talents  of  the  composer.  He  has  tri- 
umphed most  completely  in  the  discordant  gran- 
deur of  the  music,  u\  the  terrible  reply  of  the 
btatue ;  it  conveys  to  the  ear  a  horror  equal  to 
that  of  Shakspeare"s  most  terrific  passages. 
IIh-  fear  of  Leporello,  when  he  decides  not  to 
epeak  to  th<  cvimmander,  is  ilisplayed  in  a  truly 
comic  style  —  a  circumstance  unusual  in  Mozart's 
music.  When  "Don  Juan"  first  a])])eared  at 
Kome  it  did  not  fully  succeed ;  the  music  per- 
haps was  too  difficult  for  the  orchestra. 

The  piece  of  "  Cusi  fun  tntle"  would  have 
fl(  urished  better  in  the  hands  of  Cimarosa.  Mo- 
zart never  succeeded  when  the  trirtings  of  love 
were  to  be  depicted,  that  passion  having  been 
■with  him,  throughout  his  li;e,  either  a  blessing 
or  mbfortune.  lie  succeeded  therefore  best  in 
those  characters  where  tenderness  was  to  be  de- 
veloped, and  not  at  all  in  such  parts  as  the  hu- 
morous old  naval  captain.  It  must  be  owned 
that,  in  the  course  of  this  piece,  he  has  fiequent- 
ly  taken  shelter  in  his  sublime  harmony,  as,  lor 
instance,  in  the  trio  '•  TtUte  fan  cusi." 

MUFFATl',  GEORG,  was  an  eminent  or- 
ganist, composer,  and  fuguist,  and  one  of  the 
great  harmonists  of  Germany  at  the  latter  end 
of  the  seventeenth  century.  Alter  having  been 
for  some  time  organist  of  the  cathedral  church 
of  Strasburg,  he  went  to  Vienna,  Home,  and 
Paris.  At  the  latter  place  he  continued  six 
years,  during  which  time  he  made  himself,  in  a 
particular  manner,  acquainted  with  Lulli's  style 
of  composition.  Jn  1G90,  he  published  his 
"  Ajijmratiiii  Musico-Oryaiiistus,"  a  work  consist- 
ing of  twelve  toccate,  which  he  performed  at 
Augsburg  on  the  day  that  the  consort  of  the 
Emperor  Leopold  was  crowned  empress,  and  his 
son  Joseph  King  of  the  Kouiaus. 

MUFFAIT,  GOTTLIEB,  son  of  the  pre- 
ceding, was  organist  to  the  court  of  the  Em- 
peror Charles  ^'I.  He  was  a  pupil  of  Joseph 
Fux.  He  published  "  Com;x>iiimenti  Musuali  per 
il  Cembalo;"  besides  which  there  are  still  in 
manuscript,  "  6  Klavicr-l'artien  und  8  I'artien 
Tol■cctt■>^  ytnU  Vuij-.n." 

MUHLE,  XICOLAUS,  by  birth  a  Silesian, 
was  born  ibout  the  year  1750.  He  was  in  early 
life  engaged  in  the  orchestras  of  the  theatres  at 
Dantzic  and  Konigsbcrg.  By  long  perseverance 
in  practice  he  at  length  made  himself  so  well 
qualined  for  the  situation  of  chej  d'orcluslrc,  to 
which  he  was  appointed,  that  no  mistake  in  time 
or  l^tlsc  note  ever  escaped  him.  His  composi- 
tions certainly  evince  talent,  but  IrcMjucntly  also 
haste  and  negligence.  We  can  mention  the  tol- 
lowing  of  them:  "Die  Wiidiliibe,"  operetta; 
"Das  Opfer  di-r  Trent;"  interlude;  "  Mit  dent 
Uluckeiuiihlaij  ZicOlf,"  operetta;  "Die  Sinyachule," 
operetta,  1792;  "  Di-r  Ercmit  von  ForinenUra," 
operetta,  1793. 

MUHLiLVXX  lived  iu  IGOO,  at  which  time 
be  publi.«hed  "  Mnsiea  AnlimcUiniholica,"  Leil)sic. 
I'lus  was  perhaps  the  same  musician  who  died 


iu   1613  at  Leipsic,  as  professor  of  dirinity  and 
archdeacon  of  the  church  of  St.  Nicholas. 

MCHLING,  AUG.,  born  in  1780  at  Ra- 
guhne,  received  his  musical  education  in  St. 
Thomas's  school  at  Leipsic  under  Hiller  and  A. 
E.  Mailer.  He  distinguished  himseLi'  under  the 
former  as  an  excellent  soprano  singer,  as  also 
afterwards  by  his  talents  in  composition,  both 
for  the  voice  and  orchestra ;  at  the  same  time  ha 
was  an  able  ]]ianLst  and  violinist.  In  the  latter 
capacity  he  appeared  at  the  concerts  in  Leipsic, 
where  he  gave  great  satisfaction.  In  1809,  he 
was  invested  with  the  offices  of  professor  of 
vocal  music  and  director  of  the  Gi/mnoaium  and 
TOcfUerschule  at  Nordhausen,  wheie  he  was  at 
the  same  time  organist.  The  following  of  his 
compositions  have  been  pubhshed :  "  iiec/is  Lie- 
dt-r  mit  Bejl.  des  P.  /■'.,  Ues  \\."  Leipsic. 
"  ^mmlunj  zicei/  und  dreystimmiger  Gcsange  fUr 
uxibliche  Stimmen  mit  loillkuhrl.  Begleitung  des 
Kutviers,"  Nordhausen,  1812.  He  also  composed 
overtures,  symphonies,  and  an  oratorio  called 
"  Die  Lbidensjeicr  Jesu." 

MULLER,  ANDREAS,  city  musician  at 
Frankfort  on  the  ^lauie,  in  1600,  was  born  iu 
Hammelburg.  He  published  "  Teutsche  Balielen 
und  Canzonetlen  zn  singen  und  auf  Instrumenten 
zu  brauchen,  mil  4  Utimmen"  Frankfort,  1600. 
"  Teutsche  wetlliche  Cauzonetten  zu  singen  und  auf 
Instrumenten  zu  brauchen,  mit  i  bis  ii  !!itimtnen," 
Frankfort,  1603.  "  \euwe  C'anzonetten  mit  3  i^«»i- 
fnen,  hiebecor  ton  den  Italis  componirt,  utid  mit 
Teutscher  Spravh  unterlegl"  Frauktbrt,  1608. 

MULLER.  AUGUST  EBERH.IRD,  singer 
iu  St.  Thomas's  school,  and  chapel-master  of 
both  the  principal  churches  of  Leipsic,  was  cel- 
ebrated as  a  composer,  organist,  pianist,  and 
flutist.  He  was  born  at  Northeim,  in  Hanover, 
in  1707,  where  his  father,  Mathias  Muller,  was 
then  organist ;  but  the  latter  subsequently  went 
to  Kinteln  in  the  same  capacity,  by  which  means 
his  son  was  sepai-ated  from  his  birthplace  at  the 
most  tender  age.  At  Rinteln  he  received  his 
first  instruction  iu  music,  and  made  such  consid- 
erable progress,  that  by  the  age  of  eight  he  had 
]  appeared  iu  public  in  several  townis.  In  1785 
he  leu  school  lor  the  University  of  Leipsic,  and 
proposed  to  study  the  law,  but  went  in  the  fol- 
lowing year  to  Gottingen.  Here  he  was  admit- 
ted a  member  of  some  amateur  concerts,  and 
also  played  his  first  public  concerto  on  the  flute. 
Having  tailed  in  obtaining  the  place  of  organist 
at  the  university,  which  had  been  always  occu- 
pied by  a  student,  he  was  compelled  to  leave 
that  town  very  soon,  for  want  of  supi)ort,  and 
returned  to  liis  parents.  He  did  not,  however, 
stay  very  long  with  them,  for,  in  order  to  hear 
and  learn  all  within  his  power,  he  undertook 
several  short  musical  journeys.  In  Brunswick 
he  was  so  lortuuate  as  to  find  protection  from  a 
relation,  and  remained  there  lor  several  years. 
At  last,  in  1789,  he  went  to  Magdeburg,  where 
he  not  only  obtained  the  permanent  situation  of 
organist  in  the  Church  of  St.  Ulrica,  but  also 
was  married.  His  talents  were  here  so  \\  ell  appre- 
ciated, that,  in  1792,  the  direction  of  the  grant 
city  concerts  was  oH'ered  to  him,  and  also  that  o' 
a  private  concert,  whose  members  were  chiofl, 
noblemen.  Both  the.>e  othces  he  tUed  tc  the 
utmost  satisfaction  of  the  proprietors.     He  wu 


G30 


MUL 


EXCYCLOP^DIA    OF    MUSIC. 


MUL 


not,  howcvpr.  so  completely  eni;ap;e(l  as  to  be  un- 
able to  uiKbntnke  short  tours  from  time  to  time  ; 
the  most  protluctive  of  which  to  him,  in  point  of 
improvcmrnt,  was  that  wliich  he  mailo  to  llerlin 
in  I79'2,  wlieie  he  remained  a  whole  winter,  and 
not  only  formed  an  acquaintance  with  Marpur;;, 
Fasch,  Keichardt,  and  other  celebrated  men,  but 
by  his  able,  expressive,  and  sweet  style  of  per- 
formance on  the  piano-forte,  his  uncommon 
abilities  on  the  tlute,  and  hi-<  powerful  and  har- 
monious performance  on  the  organ,  he  created 
a  univer-al  sensation.  At  the  same  time  ap- 
peared, partly  in  Herlin,  partly  in  Ort'cnbach,  his 
first  comi)ositions  for  the  piano-forte,  after  which 
he  continued  to  publish  seveial  other  works. 

This  unexpected  and  brilliant  dinnuemcnl,  as 
compo.ser  and  virtuoso  on  various  instruments, 
pi,<nably  save  occasion  to  Milller's  being  invited 
to  the  situation  of  organist  of  St.  Nicholas's  Church 
at  Leipsic.  It  was  in  this  town  that  his  various 
talents  seemed  to  find  full  scope,  as  the  grand 
concerts  trained  unanimously  in  the  public  opinion 
by  his  apjiearancc  and  that  of  his  wife;  his  exe- 
cution of  Mozart's  piano-forte  concertos,  and  also 
his  excellent  performance  on  the  ttute,  were  great- 
ly admired.  Nor  was  the  public  ungrateful 
towards  him  for  his  exertions  ;  for  when  chapel- 
master  Hiller  wanted  official  help,  in  1800,  on 
account  of  his  advanced  age,  Mllllcr  was  unani- 
mously appointed  his  substitute.  IIow  happj'  this 
choice  proved  may  be  ascertained  by  the  uncom- 
monly flourishing  state  of  church  music  in  Leip- 
sic in  USO'2.  Milller  indeed  not  only  preserved 
the  good  arrangements  which  his  predecessors 
had  made,  but  added  many  others  to  them.  lie 
was  no  less  active  at  the  same  time  as  a  composer, 
notwithstanding  his  numerous  occupations,  which 
is  provetl  by  the  following  catalogue  of  bis 
works  :  — 

Uudimental :  "  Anleitiinr/  :u>n  genaiwn  und  rich- 
tiifen  Vorlra'je  der  Mozart'schen  Klavierkonzcrle  in 
Absicht tichtiijer  AppUl.atur,"  Lepisic,  1797  ;  "tVfte-r 
die  FlOle  und  Ftotenspiel ;  "  "  Ktiivier  oder  Forte- 
pianoschiile,  oder  Antreisiinff  zur  richtigen  SpicUtrt," 
Jena,  ISOo  ;  "  KlKim-a  Elementarbttch  fur  Klavier- 
tpieler,"  Leipsic  ;  "  Inslruktire  L'ehuiiy:ithcke  (  Pities 
instructicis)  fur  das  I'.  F.  far  die  erst  n  Anfnntjer, 
\tei,  lies  u.  Ztes  Supplement  zum  Elemeutarbtuli," 
Leipsic;  and  "T<thelU-n  fur  FlOlen  mil  1  und  mil  4 
KUipiien,"  Leipsic.  Vocal :  "  11  Grosse  Kirchen- 
Kantaten,"  manuscript ;  "  1  (Jeleijenheitskautate, 
hlo.ss  mit  8  DlasiitslruinenUn  bcyleitet,"  manuscript ; 
"  Mehrcre  Motetten,"  manuscript;  "6  Deutsche 
Lieder  mil  Kliir.,"  Hamburg,  1796  ;  "6  Denjl.  'lie 
Sammluni},"  I^iCipsic  ;  '•  I'eniis  und  Amor  oder  die 
Reitze  der  Lielie,  in  2  Liedrrn  mit  Klav.,"  Leipsic  ; 
"Trinklitd  mit  Klar.  odrraiuh  bias- Inst.,"  Lcipeic  ; 
and  "  Der  Sachsen  Freude,  nls  Friedricft  Au/fitst 
die  KOniiii/strUrde  annnhm,"  Leipsic.  Organ  aiid 
piano-forte  :  "  Concerto  pour  le  Clac,"  Op.  1,  Ber- 
lin. 1793  ;  "  Trois  Sona/es  pour  le  Clar.,"  Op.  3, 
Offenbach,  1793;  "  Caprice  pour  le  Clac,"  Op.  4, 
OHenbach,  1793;  "  Trois  Sonnies  pour  le  Clav  ," 
Op.  5,  OHenbach,  1794  ;  "  3  Dergl."  Op.  7,  Leip- 
sic, 1795  ;  "  Andante  arec  9  Variat.  pour  le  Clac," 
Op.  8,  Leipsic,  179.3;  "  lluit  1'ar.  pour  le  Clav.sur 
'  Freut  euch  dcs  Lebens,'  "  Op.  9,  llaraburg,  179*5  ; 
'  Trois  Sonates  pour  le  Clav.,"  Op.  14,  Leipsic  ; 
'  Marche  de  liuonajMirle,  arec  I'ar.  pour  le  Clac," 
Dp.  15,  Leip,ic,  1798;  "Trois  Sonates  pour  le 
Ciit.,"  Op.  16  ;  "  Grande  Sonate  pour  le  Clac  acec 
V   *t   Vc,"  Op.  17,  Leipsic,   1793  ;  "  Trois   Sona- 


tiiies  prngretsires  pour  le  Clac,"  Op.  IS,  Leipsic, 
1798;  "Six  Var.  jtour  le  Clav.,"  0\t.  Vi,  Leipsic, 
1798  ;  "  Saniinlung  von  OrgelslHcken,  entltallend  \'l 
leichle  und  6  schwrre  Sitze,  \ster  Ifefl,"  Leipsic, 
1797  ;  and  "  Cone  jmur  le  Clac  in  Fs.,"  Op.  21, 
Leipsic,  1800.  Flute:  "Deux  Concertos  jmur  la 
Fliite,"  Ops.  (i  and  7,  llerlin,  1795  ;  "  Concert,  pour 
la  F/iite,"  O]).  10,  (Jtfenbach ;  "  Trois  Duos  />our  2 
Fliilcs."  Op.  11,  Hamburg;  "3  Dirgl.,"  Op.  13, 
Leipsic,  1797  ;  "  Grand  Concert,  pour  la  Flute,  Cf). 
16,  in  /),"  Leipsic,  179S  ;  "  Journal  jmur  la  Fliite, 
cunten.  plus.  Piftvs  d'une  dijficulti  progress.  Cah. 
1,  2,  3,  4,"  Ilamliurg,  1799  ;  "  Concert,  pour  la 
Flute,  in  E  min."  Op.  19,  Lei])sic  ;  "  Concert,  pour 
la  Fliite,  in  D  dur.,"  Op.  20,  Leipsic ;  "  Ein  FtO- 
tenkonzert  im  slrcngen  Siyl,  noch  in  Msl.  ;  "  anil 
"  Theme  ffiv.  de  Mozart  varii  pour  Flute, avec  Fliite 
ou  1'iohn,"  Leipsic. 

He  has  also  published,  for  various  instruments, 
"  Grand  Sonu/e  pour  I'.  /■'.,"  Op.  2'),  Leipsic.  'D'.is 
sonata  has  had  tb.o  peculiar  fate  of  l)oing  in  raanv 
places  coi)ied  with  Mozart's  name,  and  is  still 
considered  by  many  as  belonging  to  that  author. 
"  Grand  Cone,  jmiir  Fl.,  Oe.  27,  in  (',"  Lcii)8ic  ; 
"  Trois  Duos  Cone,  pour  2  Fl.,  Oe.  28,"  Leipsic  ; 
"  Six  Gran'ls  Caprices  pour  P.  F.,  Oc.  29,  Liv.  1  et 
2,"  Leipsic  ;  "  Grand  Cone,  pour  Fl.,  Oe.  30, «'/»  G," 
Leipsic ;  "  Trois  Grands  Caprices  pour  P.  F.,  0» 
31,"  Leipsic;  "  Thime  de  .Mozart,  '  Ein  Madchen 
oder  Weibchen,'  varii  pour  P.  F.,  Oe.  32,"  Leipsic  ; 
"  W .Izer  in  12  DurtOncit,  vorzUglic/i  fiir  den  i'nter- 
richl,  mil  Ap/dikalur  33  IT.,"  Leipsic ;  "  Truis 
Grands  Caprices  pour  P.  F.,  Oc.  34,  Lie  4,"  I>eip- 
sic  ;  "  Fantasia  p.  P.  F.  jx^r  servire  d'  Introduzione 
a  un  Tenia  di  .Mozart,  con  I'ariaz.,"  Op.  35,  Leip- 
sic. After  having,  in  1807  and  1809,  had  the 
honor  of  giving  lessons  on  the  piano-ibrte  to  the 
hereditary  Princess  of  .Saxe- Weimar,  for  wiiich 
especial  i)uri)ose  he  wrote  in  the  i^ame  year  his 
great  capriccios  for  the  piano-forte,  printed  at 
Leipsic,  he  was  appointed  chapel-master  to  that 
court,  under  the  most  honorable  and  advanta- 
geous conditions.     ThLs  situation  he  held  in  1810. 

MDLLEU.  mad.,  wife  of  the  preceding,  and 
the  great  ornament  of  the  Leipsic  concerts,  was 
distinguished  as  a  very  able  pianist. 

MtTLLEll,  CAUL.  Ch,f.,ronhestre  at  the 
German  theatre  in  Amsterdam.  .\  friend  of  Oer- 
ber's  knew  Milller  in  that  city  in  ISOl,  when  ho 
was  yet  a  young  man,  but  an  able  violinist.  He 
had  then  only  written  the  solo  parts  to  two  con- 
certos for  the  violin,  and  two  works  of  variatiou^. 

MtTLLEU,  CARL  W..  court  musician  to  the 
Duke  of  Urunswick,  published,  "  Ariette  A  ,  Op. 
Les  none  .\rcatl.  arcc  12  Var.  p.  le  Clar,"  No.  1, 
Brunswick;  "  .\ndante  avec  Var.  p.  le  Clav,"  Ber- 
lin, 1795;  "  Ariel te  arec  10  I'ar.  p.  le  Clac,  da 
Cosa  rara,"  Op.  6,  Berlin,  1800  :  "  10  I'ar.  pour 
le  Clav.  sur  \un  bcui  die  Flur,,"  &p.,  1800 ;  "9  I'ar. 
pour  le  Clav.  sur  Sch.on  eiUtfriih  der  Arkeismann," 
1802  ;  "  3  Sonates  faciles  pour  P.  /■'.,"  (Jp.  7,  Leip- 
sic ;  •'  3  Polonaises  pour  J'.  /■'.,"  Op.  18,  leipsic  ; 
and  "  3  Sonaies  faciles  pour  J'.  F.,"  Op.  19,  Leipsic. 

MCLLER,  CII.  p.,  publiahod  "  Lieder  auf  alU 
Sonn.  und  Festage  dcs  llrrrn,  zum  Gottesdiensl  in  der 
liOmish- KatKilischrn  Kirchr  flir  die  Orgd  und  2 
Singstimmen,"  i.  e..  Songs  for  the  .Service  of  all 
the  8unilays  and  Holydays  of  the  Lord  Ln  th« 
Roman  Catholic  Church,  for  the  Orgaix  aud  tni 
Voices,   Ijind...!iut,  1793. 


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ENCYCLOPEDIA    OF    MUSIC. 


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MLLLER,  F.  A.     Probably  a  Uerlin  musician.  '  mentioned  situation,  in  the  enjoyment  of  which 


Of  his  workH  were  ijublishetl,  between  1796  and 
1800,  "  lirunnenlUd  mil  2  Melodien,"  "3  S-matiiie 
p.  U  P.  F.  o  Arpa,  ace.  da  2  Corni  e  I'.,"  "3  Soiia- 
tiiies  pour  la  Il.irpe  on  P.  F.,"  and  "Sonate  et  Rondo 
en  Caprice  pour  Ic  Clac,"  1800. 

MCLLER,  HEINUICH,  doctor  and  professor 
of  theolofiy,  also  pastor  and  superintendent  at 
Rostock,  was  born  at  Lubec  m  l')31.  He  held 
from  l(io3  his  different  clerical  situations  at  Ros- 
tock, where  he  died  in  KiTo.  lie  published 
"  Geistliche  Schu-Musil;,"  10.59  and  lOfiS,  in 
which  he  introduces  several  observations  respect- 
ing church  sinking. 

XltJlJ.ER,  JOIIAN'X,  composer  and  organist 
to  the  Elector  of  Saxony,  and  born  at  Dresden, 
was  a  pupil  of  Pcrandi.  He  flourished  about  the 
year  1640,  and  died  towards  1670.  The  follow- 
in;?  works  are  ascribed  to  him  :  "  Neioe  Teutsche 
M>tcUen  mit  5  und  8  Stimmen  componirt,"  Darm- 
stadt, 1611,  and  •' Jubileum  Sionis,"  Jena,  1649. 

MULLER,  JOHAXX.  of  Ferudorf.  probably  a 
singer,  published  "  Kur:e  und  leichte  AntccU'ung 
zum  Singen  der  Chorahnehdien,"  &c.,  i.  e.,  A  short 
and  easy  Introduction  to  the  sing'ng  of  Choral 
Melodies,  written  for  his  Pupils,  Frankfort,  1793. 

MtLLER,  JOIIANX  CHRISTIAN,  a  mu- 
sician, resident  at  Leipsic,  was  born  at  Langen- 
Sohland,  near  Bautzen.  He  belonged  to  the 
academies  at  Bautzen,  Zittau,  and  Lauban,  at 
which  latter  place  he  did  much  good,  in  the 
capacity  of  prefect  to  the  choristers.  He  went 
afterwards,  in  1778,  to  Leipsic,  and  was  appointed 
violinist  to  the  concert  and  theatre  there,  through 
the  interest  of  cha])el-master  Ililler.  He  died  at 
Leipsic  in  1796,  in  the  flower  of  his  age.  Besides 
his  "  Self-Instruction  Book  for  the  Harmonica," 
he  published  "  Schi/Ur's  Od/f  an  die  Fremlc  in  Mii- 
sik,"  Leipsic,  1786,  and  "Wildungen's  Jtlgerlieder," 
Leipsic,  1790. 

MCLLER,  JOHANN  CONRAD.  Professor 
of  the  piano-forte  at  Frankfort  on  the  Maine, 
about  the  year  1800.  He  published  "  12  Walzer 
furs  Klac,"  Offenbach,  1800,  and  "  Gesdnge  am 
Klav.  nebst  einem  Anhange  von  8  Walzerny"  Neu- 
Btrelitz,  1802. 

MCLLER,  JOIIANN  DANIEL,  concert  mas- 
ter at  Frankfort,  published  "  VolUtaudiges  Ilessen- 
hamittisches  Clioralbuch,"  Frankfort,  17.54. 

MULLER.  JOHANN  IMMANUEL,  singer, 
organist,  and  composer  at  Kerslebcn,  near  Erfurt, 
was  born  in  1774,  at  Schloss-Vip])ach,  near  Er- 
furt. He  received  from  his  father  his  first  n>- 
ftructJons  on  the  violin,  and  began  his  studies 
on  the  piano  about  the  same  time,  under  the 
schoolmaster  of  his  native  village.  Soon  after- 
wards his  godfather,  the  curate  of  the  village, 
undertook  his  further  instruction,  and  brought 
him  so  forward  on  the  organ,  when  only  in  his 
ninth  year,  that  he  was  heard  with  pleasure  in 
one  of  the  neighboring  churches.  Upon  this  his 
father  sent  him,  in  1785,  to  Erfurt,  where  he  was 
received  in  the  choir,  and  at  the  same  time  cn- 

i'oved  the  instruction  of  cha])el-ma»ter  Weimar  : 
le  next  continued  to  study  the  piano  and  organ 
under  the  directions  of  Kluge,  and  also  studied 
thorough  bass  and  composition  under  Kittel.  lu 
17''.5  he  obtained  the  situation  of  organist  in  the 
H«glcr  chur'jh  at  Ei-furt,  but  was  afterwards  in- 
rited  by  tl-.t  community  at  Kerslebcn  to  his  first- 


he  still  continued  in  1799.  The  following  of  hia 
corajjositions  have  become  known :  "  Sinfonie  in 
£v,  (i  16,"  in  manuscript,  and  "4  Deutsche  Mis- 
ten,"  also  in  manuscript. 

MULLER.  JOHANN  MICHEL,  was  organist 
'  to  the  gymnasium  at  Hanau.  Of  hLs  works  we 
can  mention  "  12  Sonate  a  Ilautbois  concert.  2  HaiU- 
bois  ou  Violons,  Taille,  Fagot  el  B.  C,"  Amsterdam, 
I  1730;  "  Xeuaufgcsetztes  J'oUsfttndigcs  Psalm  unj 
Choralbucfi,"  &c.,  i.  e..  New,  complete,  and  new- 
ly arranged  Psalm  and  Choral  Book,  in  which  are 
set  to  Music,  with  new  Melodies,  not  only  the 
one  hundred  and  fifty  Psalms  of  Da^-id,  but  also 
two  sets  of  Evangelical  Church  Ilj-mus,  and  other 
Sacred  Music. 

MULLER,  JOHANN  NICOL,  was,  in  17o8, 
actuarius  at  Wurenbach.  Adlung  mentions  the 
following  of  his  compositions  :  "  llarmonische  Kir- 
chenhist  atis  12  Arien,  12  Prdludien,  tind  12  Leich- 
ten  Fugen  vor  die  Orgel  und  Clavier.,"  Nuremberg. 

MC^LLER,  JOSEPH,  a  cop>-ist  in  the  imperial 
royal  library  at  Vienna,  in  1796,  was,  at  that 
time,  considered  among  the  best  artLsts  on  the 
harmonica 

MtJLLER,  WENZEL,  was,  in  1791,  chef  dtor- 
chustre  at  the  theatre  Marinelli,  in  I^eopoldstadt,  at  • 
Vienna.  He  was  commonly  called,  at  Vienna, 
the  people's  composer,  on  account  of  his  talent  for 
introducing  in  his  operas,  in  a  clever  and  easy 
:nanner,  the  themes  of  national  melodies  and 
dances.  This  is  not  to  be  ascribed  to  poverty  of 
imagination,  but  to  his  paying  homage  to  the 
taste  of  the  public,  and  to  his  attending  to  the 
burlesque  and  low  comic  words  which  he  is 
obliged  to  set  to  music.  Samples  of  this  style, 
jjeculiarly  his  own,  are  found  in  his  "  Sonntags- 
kinde"  and  in  the  ■*  Fesle  der  Braminen,"  That 
it  is  not  only  the  inhabitants  of  Vienna  who  find 
pleasure  in  this  species  of  lively  potpourri  and 
dancing  music,  is  e\'inced  by  the  numerous 
audiences  which  were  attracted  to  all  the  thea- 
tres in  Germany,  where  Mflller's  operettas  were 
performed ;  so  that,  with  justice,  he  may  be 
ranked  with  Von  Dittersdorf,  at  the  head  of  the 
most  popular  German  composers  of  his  age. 
Perhaps  it  is  also  to  be  ascribed  to  the  familiar 
style  of  his  compositions,  that,  in  little  more  than 
si.\  years,  he  was  able  to  compose  the  music  to 
twenty-nine  operettas,  all  written  for  Marinelli's 
theatre.  They  have  been  printed  in  various 
forms,  throughout  the  whole  of  Germany. 

MtjLLER.  The  four  brothers,  celebrated  for 
their  admirable  string  quartet  playing  ;  said  ;o 
be  the  most  perfect  ever  known.  They  ai'e  the 
sons  of  Hcinrich  Friedrich  MuUer,  court  mu.sician 
to  the  Duke  of  Brunswick,  and  composti  of  many 
excellent  songs.  He  died  at  Brunswitk,  at  an 
advanced  age,  in  1818.  All  lour  brothers  were 
most  thorouiihly  educated  in  masic,  and  each 
has  become  a  brilliant  virtuoso.  Caul  FuiEmucH, 
the  eldest,  was  born  at  Brunswick,  on  the  11th 
of  November,  1797.  In  the  quartet  with  his 
brothers  he  takes  the  first  violin.  The  tenor  is 
admirably  held  by  the  second  brother,  Theodob 
Heinuich  GfSTAv,  who  was  born  on  the  3d  of 
December,  1800.  The  violoncello  is  played,  and 
in  a  masterly  manner,  by  the  third  brother, 
Aroi-ST  Theodou,  born  August  27,  1803;  and 
the  second  violin  by  the  youngest,  Fuanz  Fkb- 


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ENCYCLOPAEDIA    OF    MUSIC. 


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OTNAND  Geoiio,  boHi  Julv  29,  1809.  The  quartet 
of  the  brothers  MoUer  is  famous  throughout 
Europe;  they  have  given  the  musical  workl  a 
new  conception  of  this  class  of  instrumental  per- 
formances, so  that  all  other  quartet  playing,  when 
compared  to  theirs,  seems  but  an  incomplete  at- 
tempt. 

MUNCHAUSEN.  BARON  ADOLPH  VON, 
chamberlain  at  the  court  of  Prince  Uenry  of 
Prussia  about  the  year  1793,  was  a  very  accom- 
plished musical  amateur.  lie  not  only  excelled 
on  the  piano  and  harmonica,  but  also  published 
the  following  works  of  his  composition,  which  do 
credit  to  his  talents :  "  Troi»  ifin/on.  pour  F  Or- 
cheat.,"  Op.  1  ;  "  Deux  is>iuU.  h  quatre  Stains  p.  le 
Ciav.,"  Op.  2,  Piu-is,  1793;  "  Sonai.  d  quatre 
Maim  pour  k  Clav."  Oj).  2,  1793  ;  "Uiu  Sonat.  A 
qiuUre  Maiin  pour  le  Clav.,"  Op.  3,  1793;  "  Dix 
Airs,  avec  Ace.  de  Clav.,"  Op.  4,  Berlin,  1793  ; 
"  Deux  Sill/on.  did.  h  S.  M.  le  lioi  de  Prtase,"  Op. 
o,  1790;  "  Trois  Dims  pour  V.  et  A.,"  Op.  8,  Ber- 
lin, 1797  ;  and  "  Si„fi>n.  Piriod.,"  Mentz,  1800. 

MUNDANE  MUSIC.  The  music  of  the 
spheres. 

MUNDY,  JOHN,  was  organist,  firnt  of  Eton 
College,  and  afterwards  of  the  free  chajiel  of 
Windsor,  in  the  reign  of  (iueen  Elizabeth.  In 
the  year  1580),  at  the  same  time  with  Bull,  he 
was  admitted  to  the  degree  of  bachelor  of  music 
at  Oxford,  and,  about  forty  years  afterwards,  to 
that  of  doctor.  lie  died  in'lG30.  Mundy  was 
an  able  performer  on  the  organ  and  virginal,  as 
is  manifested  by  several  of  his  compositions  for 
those  instruments,  preserved  in  Queeu  Elizabeth's 
virginal  book  ;  and  among  the  rest,  by  a  fan- 
tasia, by  which  he  endeavors  to  convey  an  idea 
of  fair  weather,  lightning,  thunder,  calm  weather, 
and  a  fair  day.  In  this  attempt  he  has  failed  ; 
it  was  not  for  want  of  hand,  as  the  passages 
are  such  as  seem  to  imply  great  command  of  the 
instrument.  He  composed  several  madrigals  for 
five  voices,  which  wereprinfe<l  in  the  "  Triumphs 
of  Oriana."  He  was  likewise  author  of  a  work, 
published  in  1.594,  entitled  "  Songs  and  Psalmes, 
composed  into  three,  four,  and  Hve  Parts,  for  tlie 
use  and  delight  of  all  such  as  eitlier  love  or  learne 
Musicke."  "  Some  of  these,"  says  Dr.  Burney, 
"  are  considerably  above  mediocrity  in  harmony 
and  design.  Indceil,  I  think  I  can  discover  more 
air  in  some  of  his  moveraent-s  than  is  to  be  found 
in  those  of  any  of  his  contemporary  musicians  of 
the  second  class." 

MUNDY,  WILLIAM,  was  a  composer  of 
several  church  serv'ices  and  anthems,  the  words 
of  whidi  are  to  be  seen  in  Clittbrd's  "  Collection 
of  Divine  Services  and  Anthems,  usually  sung  in 
Catliedrals  "  He  was  the  son  of  John  Mundy, 
though  a  composer  so  early  as  the  year  1591. 
According  to  Wood,  he  wiu*  not  a  graduate  of 
either  of  the  universities.  HL)  name  appeared  to 
geveral  of  the  anthems  in  Barnard's  collection  ; 
but  it  has  been  placed  by  mistake  to  one,  as  Dr. 
Alrich  has  taken  the  pains  to  detect,  "  O  Uod, 
the  Maker  of  all  things,"  which  is,  in  fact,  the 
composition  of  King  Henry  VIII. 

MUNTZBEROER,  J.,  a  violoncellist,  resident 
at  Paris,  has  made  himself  known  by  the  follow- 
ing published  works :  "  Premier  Corwerto  a  Vc. 
Princip.,"  Ike,  Paris,  ISOO  ;  "Trois  i>oiuit.  pour 
Vc.  et  IS.,"  Op.  2  ;  "  Trois  Duos  pour  deux  Vc," 


Op.  5  ;  "  3  Dergl,"  Op.  6,  1802  ;  "  Second  Concert, 
pour  Vc.,"  Op.  34, 1803;  "  Gr.  Trio  p.  Vc,  VinUm, 
et  B.  uml  Gr.  isonate  p.  le  Vc.  et  B.,"  Op.  38,  Paris, 
1804. 

MUSvEUS,  according  to  Plato  and  Diodorug 
Siculus,  was  an  Athenian,  the  son  of  Or])heu8, 
and  chief  of  the  Eleusinian  mysteries,  instituted 
i«  Greece  in  honor  of  Ceres ;  or,  accoriling  to 
others,  he  was  only  the  disciple  of  Oq)heus  ;  hut 
from  the  great  resemblance  which  there  was  be- 
tween his  character  and  talents  and  those  of  his 
master,  by  giving  a  stronger  outline  to  the  figure, 
he  was  called  his  son,  as  tliosc  were  styled  the 
children  of  Apollo  wlio  cultivated  the  arts  of 
which  he  was  the  titular  god.  Musa;us  is  al- 
lowed to  have  been  one  of  tlio  first  i)oets  who 
versified  the  oracles.  He  Ls  placed  in  the  Arun- 
delian  marbles,  ejioch  fifteen,  one  thousand  four 
hundred  and  twenty-six  years  before  Christ,  at 
which  time  his  hymns  are  there  said  to  have  been 
received  in  the  celebration  of  the  Eleusinian  mys- 
teries. 

MUSARS.  Tlie  name  given  to  certain  itiner- 
ant musicians  who  perfonned  on  the  musette,  and 
were  formerly  very  numerous  in  most  countries 
in  Europe. 

MUSARD,  FRANCOIS  HENRI,  a  cele- 
brated composer  of  dance  music,  has  been  styled 
the  French  Strauss  and  Lanner.  He  lives  at 
Paris,  where  he  has  a  large  orchestra  of  his  own, 
with  which  he  gives  "  promenade  concerts," 
being  the  predecessor  of  Jullien  in  that  kind  of 
business.  He  also  receives  mcredibly  large  sums 
for  playing  at  balls. 

MUS.  BAC.  (L.)  The  abbreviation  of  AarA- 
elor  in  music.  (See  that  term.)  At  Oxford,  the 
applicant  for  this  degree  must  compose  a  ])iece 
lor  voices  in  five  parts  at  least,  with  instrument- 
al accompaniments  for  a  small  band.  Tiie  pro- 
fessor's fee  for  examining  tlie  composition  i*  one 
guinea;  and  to  insure  tliat  the  composition  is 
really  the  production  of  the  candidate  for  the 
bachelor's  degree,  a  certificate,  sigue<l  by  three 
or  more  persons  of  repute,  Ls  required,  that  the 
candidate  has  studied  both  the  theory  and  prac- 
tice of  music  for  a  period  of  at  least  seven  years. 
At  Cambridge,  for  the  doctor's  degree,  the  com- 
position must  be  for  eight  voices,  or  in  eight 
parts,  with  accompaniment  for  an  orchestra. 

MUSCHIETTI.  A  sopranist  at  the  grand 
Italian  opera  in  Berlin,  in  the  years  1792 
and  1793.  Having  rendered  himself  suspected 
of  French  revolutionary  intentions,  he  suddeidy 
received  his  dismissal,  so  that  be  was  obliged  to 
leave  Berlin  in  1793;  but  he  received  from  the 
royal  clemency  his  salary  up  to  the  end  of  his 
engagement. 

MUS.  DOC. 
tor  in  music. 


(L.)     ITie  abbreviation  of  doc- 


MUSE.  (L.  musa.)  The  name  originally 
given  to  the  muzzle  or  tube  of  the  bagpipe. 

MUSETTE.  The  name  of  an  air  generally 
written  in  common  time,  and  the  character  ol 
which  Ls  always  soft  and  sweet.  From  the  style 
of  this  air,  dances  were  formerly  invented  of  • 
similar  cast,  and  which  were  also  called  mueeUet, 
Musette  was  also  the  name  formerlj  giren  to  • 


80 


633 


MUS 


ENCYCLOPAEDIA    OF    MUSIC. 


MUfe 


small  kind  of  bagpipe  much  used  in  most 
countries  of  Europe,  the  performers  on  which 
were  called  musars.     See  Mlijaus. 

MUSIC.  One  of  the  seven  liberal  arts.  A 
science  which  teaches  the  properties,  depend- 
ences, iind  relations  of  melodious  sounds ;  or  the 
art  of  producing  harmony  and  melody  by  the  ! 
due  combination  and  arrangement  of  those 
sounds.  This  science,  wlien  employed  in  search- 
ing the  principles  of  this  combination  and  suc- 
cession, and  the  causes  of  the  pleasure  we  re- 
ceive irom  them,  becomes  very  profound,  and 
demands  much  padonce,  sagacity,  and  depth  of 
thinking.  It  is  generally  supposed  that  the 
word  >n'isic  is  derived  from  ynusa,  because  it  is 
believed  that  the  invention  of  this  art  is  to  be 
attributed  to  the  Muses ;  but  Diodorus  derives 
it  from  an  Egyptian  name,  intimating  that  music 
was  first  established  as  a  science  in  Egyjjt,  alter 
the  deluge,  and  that  the  first  idea  ot  musical 
sound  was  received  from  that  produced  by  the 
reeds  growing  on  the  banks  of  the  Nile,  by  the 
wind  blowing  into  them.  Others  again  imagine 
that  the  tirst  ideas  of  music  were  received  from 
the  warbling  of  birds.  However  this  may  really 
have  been,  it  appears  at  least  equally  rational 
to  attribute  its  origin  to  mankind,  since  musical 
intonation,  in  the  ijifaucy  of  language,  must 
often  liave  been  the  natural  result  of  passionate 
feeling ;  and  since,  also,  we  find,  that  wherever 
there  is  speech,  there  is  song.  Of  all  arts, 
music  is  the  most  natural  to  man ;  and  it  is  fair 
to  infer  that  each  nation,  even  at  an  early  period 
of  its  history,  must  have  possessed  it  to  a  certain 
extent,  differing  oidy  tiora  that  of  other  lands,  ac- 
cording to  climate  and  other  circumstances.  Man 
is  an  instrument  of  music  ;  his  every  thought  is 
e.xpressed  by  tones.  Fear,  anger,  joy,  desire, 
have  each  a  pecuhar  tone,  underetood  by  all 
human  beings,  and  comprehended  by  the  brute. 
Man  exercises  this  power  in  the  various  avoca- 
tions of  lite;  he  uses  it  to  heighten  a  certain 
feeling  of  e.xcitement,  or  to  allay  the  fury  of  his 
antagonist,  lietore  the  introduction  of  letters 
music  was ;  indeed,  it  came  forth  from  chaos 
with  the  spirit  of  God,  and  moved  upon  the  face 
of  the  waters  ;  the  very  motion  of  the  earth,  while 
it  was  "  without  form  and  void,"  wa-s  musical ; 
and  as  darkness  rested  upon  it,  the  voice  of  Je- 
hovah broke  the  awlul  stillness,  and  made  the 
earth  musical  with  created  light.  -Vll  nature 
then,  as  now  and  forever,  wa;5  full  of  music. 
There  is  music  in  the  hum  of  the  industrious 
bee,  as  it  wantons  from  Howor  to  flower  —  music 
so  sweet  «nd  harmonious,  that  it  seems,  as  it 
were,  the  lullaby  to  the  thousand  meaner  insects 
whose  couches  are  made  among  the  roses  over 
which  the  bee  rules  with  unbounded  sway. 
There  is  music  in  the  grove  —  strains  of  sweetest 
melody  from  a  thousand  tuneful  throats.  There 
is  music  in  the  breeze  at  eventide,  as  it  passes, 
(Eolian-like,  over  the  face  of  the  earth  —  in  the 
bud  roar  of  the  storm,  as  it  swells  up  an<l  min- 
gles with  the  louder  notes  of  the  sky  breathed 
forth  in  thunder  — in  the  ocean's  moan  —  fearful 
music.  It  comes  upon  the  -soul  like  a  ripple  of 
evil  on  the  lake  of  mind,  stirring  up  fear  which, 
while  it  fri'^hts  and  appalls,  subdues  and  con- 
quers. Tlie  music  of  the  mighty  deej)  is  the 
mysterious  workings  of  Deity;  like  the  harp 
touchetl  by  fairy  lingers,  we  listen  and   gaze  on 


the  mighty  instrument,  breathing  its  wild  mel- 
ody, while  no  vLsible  hand  calls  it  forth. 

There  is  music  in  the  gentle  stream,  as  it 
meanders,  murmuring,  along  through  wood  and 
wild.  There  is  music  in  the  mountain  torrent, 
as  it  rushes  down  the  steep ;  harsh  and  unhar- 
monious  as  it  is,  there  are  inducements  to  lingei 
near  and  revel  in  its  sounds,  and  as  they  dit 
away,  and  melt,  as  it  were,  in  the  distance, 
leave  a  delicious  feeling  on  the  soul,  which  ac- 
companies the  recollection  to  render  it  even 
more  pleasing.  There  is  music  in  the  air  !  myr- 
iads of  unseen  minstrels  tune  their  varied  in- 
struments, and  fill  all  space  with  heavenly 
sounds.  liomance,  in  its  wildest  dreams,  never 
conceived  any  thing  half  so  mysterious  as  this  — 
the  reality  surpasses  the  imagery.  The  tongue 
cannot  e.xpress  the  music  of  the  air  —  man  is 
lost  in  the  bare  contcmj)lation  of  it.  Who  can 
write  the  language  of  Deity  r  who  paint  his 
glory  ?  who  criticize  his  poetry  ?  Earth  his 
music-stand  I  the  elements  and  their  creatures 
his  instruments  ! 

The  word  music  was  not  always  confined  to 
the  very  limited  signification  which  it  now  pos- 
sesses. It  originally  embraced  the  entire  circle 
of  sciences,  as  well  as  elegant  arts,  comprehend- 
ing every  thing  which  was  poetically  considerea  , 
to  emanate  from  the  influente  of  the  Nine 
Muses,  and  ranging  from  the  language  and  ac- 
complishments of  Parnassus,  through  all  the 
varieties  and  departments  of  Hellenic  learning. 
The  ancient  writers  on  this  science  differ  greatly 
as  to  its  object  and  extent.  In  general,  they 
gave  it  a  much  wider  latitude  than  it  lias  since 
obtained.  Under  the  name  of  music  the  an- 
cients comprehended  the  me'.odious  union  of 
voices  and  instruments,  as  we  do,  and  they  also 
included  the  dance,  the  arts  of  gesture,  poetry, 
and  all  sciences.  Hermes  defines  music  to  be 
the  general  knowledge  of  order ;  which  was  also 
the  doctrine  of  Plato,  who  taught  that  every 
thing  in  the  universe  was  music. 

Music,  however,  properly  so  called,  only  con- 
cerns the  due  regulation  and  proportion  of 
sounds  ;  and  is  divided  into  two  parts  —  the  the- 
oretical and  the  practical.  Theoretical  music 
comj^rehends  the  knowledge  of  harmony  and 
modulation ;  and  the  laws  of  that  successive 
arrangement  of  sounds  by  which  air,  or  melody, 
is  produced.  Practical  music  is  the  art  of  bring- 
ing this  knowledge,  and  those  laws,  into  opera- 
tion, by  actually  disposing  of  the  souiuls,  both  in 
combination  and  succession,  so  as  to  produce  the 
desired  efiect ;  and  this  is  the  art  of  composition  ; 
but  practical  music  may,  in  fact,  be  said  to  ex- 
tend still  farther,  and  to  include,  not  only  the 
production  of  melodious  and  harmonious  com- 
position, but  also  its  jjeriormance ;  and  to  such  a 
facility  in  e.xecution,  and  nicety  of  expression, 
has  this  department  of  practical  music  arrived 
at  the  present  day,  that  its  professors,  speaking 
in  the  aggregate,  hold  a  respectable  rank  in  the 
general  list  of  artists,  and  are  higldy,  as  well  as 
deservedly,  esteemed  by  all  lovers  and  jjatrons  of 
musical  taste  and  ingenuity.  At  the  present 
day  we  usually  speak  of  music  with  reference  to 
its  mechanical  character,  in  which  sense  it  con- 
sists of  melody,  or  the  proper  succession  ol 
single  sounds,  and  harmony,  or  the  projier  com- 
bination of  simultaneous  sounds. 

The  frst  iustrumcyts  of  music  wera  of  thi 


634 


MUS 


ENCYCLOP-EDIA    OF    MUSIC. 


MU 


•tringed  order,  undoubtedly,  nnd  such  are  spo- 
ken of  before  the  deluge.  About  550  years 
alter  the  deluge,  or  ISOO  before  Christ,  both 
vocal  and  instrumental  music  are  spoken  of  as 
things  in  common  use.  It  is  not  denied  that 
the  earlier  attempts  at  song  were  so  limited  in 
design  and  so  feeble  in  imagination  as  to  excuse 
the  application  in  our  time  of  the  term  b.irbaioiis 
to  the  music  of  the  days  of  Moses  and  Miriam, 
and  even  to  the  sounds  which  accompanied  the 
inspired  language  of  the  poet  king.  Music  was 
then  in  its  infancy.  The  rude  instruments 
which  Tubal  Cain  invented,  and  which  in  after 
ages  were  improved,  but  still  left  rude,  were 
circumscribed  in  their  compiuis,  and  harsh  in 
their  tunes,  although  reason  teaches  that  they 
must  have  been  what  Ls  technically  termed  true 
m  their  mechanical  fonuation.  According  to 
the  compass  of  these  rough  productions,  the 
multitude  restrained  their  compositions.  In- 
struments were  considered  necessary  to  give 
effect  to  song;  but  as  these  auxiliaries  could  not 
express  all  the  sounds  of  which  the  voice  was 
capable,  it  was  thought  reiiuLsite  that  the  voice 
should  be  made  subservient  to  the  instruments. 
The  more  extensive  compass  of  the  voice  e.xcited 
admiration,  and  stimulated  the  desire  for  imita- 
tion. ITius  the  voice  was  the  means  of  im- 
proving the  mechanical  expression  of  sound ; 
and  as  instrumental  mechanism  progressed,  the 
human  voice  became  liberated  from  the  restric- 
tions wluch  former  ignoi^ance  had  imposed  upon 
it,  and  a  freer  course  was  afforded  to  its  capa- 
bilities in  obedience  to  the  eccentricities  of  the 
imagination. 

Every  nation  has  always  had,  as  it  now  has, 
its  own  peculiar  and  distinctive  style  of  express- 
ing emotion  through  the  agency  of  the  voice. 
IJiubarous  as  the  first  developments  of  musical 
ability  may  have  been,  they  nevertheless  ex- 
pressed the  peculiar  and  characteristic  feeling  of 
the  people  who  employed  them.  With  one  na- 
tion the  style  was  melancholy,  with  another 
pensive,  with  another  light,  and  with  a  fourth 
lively.  Some  delighted  to  denote  their  ideas  in 
the  junction  of  lengthened  and  monotonous 
sounds,  expressive  of  grief;  others  in  short 
changing  accents  of  carelessness  or  indifference ; 
and  others  in  the  deep,  measured  sounds  of  mar- 
tial  melody.  These  distinctions  still  exist  in  so 
marked  a  degree  among  different  people  as  to 
entitle  them  to  the  appellation  of  national  mu- 
sical characteristics. 

The  first  traces  of  mu-sic  are  to  be  found  in 
hgypt,  where  musical  instruments  capable  of 
much  variety  and  expression  existed  at  a  time 
when  other  nations  were  in  an  unci\nli/,ed  state. 
A  positive  proof  of  this  is  drawn  from  the  figure 
of  an  instrument  represented  on  an  obelisk, 
erected  by  Sesostris,  at  Ilcliopolis.  This  instru- 
ment, by  means  of  its  neck,  was  capable,  with 


which  first  conceived  the  possibility  of  recording 
his  thoughts  on  and  in  a  few  parallel  line-<,  by 
means  of  dots  and  scratches,  was  one  who  will 
have  as  great  fame  as  Cadmus. 

Tfie  following  paragra])hs  are  from  an  address 
by  .S.  Jcnnlson,  Jr.,  which  appeared  in  Dwight's 
"  Journal  of  Music,"  vol.  i.  for  1S52  :  — 

"  lie  who  inve.-itigafes  the  liistory  of  music 
cannot  fail  to  be  struck  with  the  fact  that  it  is, 
or  at  least  hits  hitherto  been,  an  eminently  pro- 
gressive art,  and  that  its  greatest  develojjments 
have  been  of  comparatively  very  recent  date.  That 
which  wc  now  denominate  music  is  the  result  of 
the  successive  labors  of  several  genciations.  Every 
]>eriod  of  ten  years  introduces  some  forms  or  tunes 
of  melody  peculiar  to  itself,  and  which  generally 
grow  out  of  date  before  that  period  expire  i.  Suf- 
ficient, however,  has  been  to  each  generation,  and 
to  each  i)eo])le,  its  own  music,  liowover  rude  the 
same  may  be  deemed  by  us.  livery  individual 
becomes  conscious,  from  time  to  time,  of  progress 
made  in  the  capacity  to  appreciate  music.  Do 
we  not,  perhaps,  each  remember  a  time  wlien  the 
various  means  which  science  employs  to  give  a 
zest  to  the  combinations  of  harmony,  when  sus- 
pensions, syncopations,  and  unresolved  disso- 
nances were  an  abomination,  were  what  the 
Italians  were  wont  to  call  scelerala  —  accursed  — 
to  the,  as  yet,  uncultivated  ear? 

"  As  the  indiWdual,  so  the  world  has  passed 
through  many  rude,  unfashioned  days;  an  1  the 
history  of  music,  while  it  abounds  with  examples 
of  wholly  or  partially  barbarous  practices  and 
modes  of  composition  and  execution,  in  which 
men  have  at  some  time  found  satisfaction  and 
taken  delight,  is  not  deficient  in  anecdotes  cor- 
roborating the  suggestions  of  each  one's  experi- 
ence, that,  to  the  untrained  ear,  the  sweetest  har- 
mony, whose  touches  now  (to  reverse  the  exqui- 
site words  of  Lorenzo)  become  soft  stillness  and 
the  night,  may  be  intolerable  jargon.  I'hc  terror 
and  affright  with  which  the  fierce  Algcrine  re- 
coiled, when  he  beheld  pointed  at  him  the  awful 
bell  of  a  huge  bass  horn  in  the  hands  of  the 
French  musician  whom  he  was  on  the  point  of 
running  through  with  his  lance,  may  serve  to 
symbolize,  though  somewhat  extravagantly,  the 
8hu<ider  and  dislike  (and  it  is  a  curious  jwycho- 
logical  fact)  which  the  Arab  is  said  to  have  ex- 
perienced upon  listening  to  the  rich  and  copioua 
harmonies  of  one  of  the  Frcncli  regimental  bands 
which  accompanied  Napoleon's  expedition  into 
Eg>Tt. 

"  Until  five  hundred  years  ago,  no  compositions 
for  four  parts  had  ever  appearetl.  Countcq)oint 
did  not  e.xist.  The  makers  of  melody,  the  tmu- 
vires,  or  finders,  were  a  distinct  cla.ss  from  the 
harmonists,  llie  barbarism  of  successive  tiftha 
was  of  frequent  occurrence. 

"  In  another  century,  counterpoint  having 
arisen,  harmony   has  made   surprising  progress. 


only  two  strings,  if  tuned  fourths,  of  furnishing  '  In  that   period  was  invented  the  canon,  the  first 


that  series  of  sounds  called  by  the  ancients  a 
heptachord ;  and  if  tuned  fifths,  of  pr.iducing 
in  octave.  Now,  as  Moses  was  skilled  in  all  the 
earning  of  the  Egyptians,  it  is  probable  that 
Jie  Israelites,  who  interwove  music  in  all  thoir 
leligious  ceremonies,  borrowed  much  from  that 


form  of  the  round  and  fugue;  and  rcsta  were 
first  introduced,  particularly  in  the  tenor,  which 
was  so  called  from  its  holding,  or  sustaining,  the 
melodv ;  female  or  soprano  voice  being  then 
wholly  uuknown. 

The  invention  of  printing  music  with  mo%-a- 


people.  Transferring  mere  sound  from  the  mind  ble  types  did  not  occur  until  the  beginninx  of  the 
to  paper,  without  the  assistance  of  any  interme-  |  succeeding,  the  sixteenth  century.  In  thUperioi 
diate  articulation,  is  a  wonder  only  eifualled  by  arose  those  celebrated  discussions  and  cuntrovei- 
the  act  of  writing    wordj.     The    master   mind    sies   concerning   the   fundamental  principlits  of 

63o 


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ENCYCLOPyEDIA    OF    MUSIC. 


MTJ8 


music.  T)iHi)utc8  ran  high  about  the  duitonic 
divLxioii  of  the  scale,  and  the  mat)icinatical  rela- 
tions of  houiuls  were  widely  explored.  '  Every 
mathcnmticiiui,'  says  M.  FetLt,  'thought  himself' 
boni  to  be  a  musician.'  The  happy  result  of  all 
this  ^va^^  the  discovery,  by  Znrlino,  of  lemjH'ra- 
minl,  the  proper  method  of  tuning  the  clavichord. 
Towards  the  clo>c  of  that  century,  music  was 
written  to  1)C  sung  by  o-;  many  even  as  nine  choirs 
at  once.  In  the  mean  time,  melody  was  lost  sight 
of.  No  attention  was  jjuid  to  the  sense  of  words ; 
every  thing  was  wTitten  in  fugue  ;  and  the  ab- 
surdity and  jiedantry  which  prevailed  in  the 
schola>tic  disputations  were  scarcely  less  con- 
spicuous in  the  composer  s  counteri)oint. 

"Uctween  looO  and  IGOO,  instruments  were 
first  introduced  into  the  church  to  play  the  pait 
sung  by  the  voice.  Just  before  the  close  of  that 
centviry,  in  lf)[)i,  occurred  that  memorable  event 
wliich  infused  into  music  a  new  life,  when  was 
brought  upon  the  stage  the  precursor  of  the  long 
line  of  musical  drama,  'The  Death  of  Eurydice  ! ' 

"  About  this  period,  too,  creeps  in  the  '  auda- 
cious innovation,'  as  it  was  esteemed,  '  of  tlie  use 
of  the  aeiisible  iwte,'  so  called.  Monteverde  dares 
to  jdace  together  the  fourth,  fifth,  and  seventh  ;  a 
collocation  which  leads  the  mind  to  the  ensuing 
chord,  and  which  at  once  gave  rise  to  genuine 
and  regular  modulation.  The  distinction  be- 
tween the  major  and  minor  modes  was  then  also 
marked  out. 

"  Arriving  at  the  commencement  of  the  seven- 
teenth century,  we  find  music  beginning  to  ac- 
quiie  more  lightness  and  buoyancy,  and  new 
combinations  and  varieties  of  measure  produced. 
Then  it  was  that  the  Neapolitan  school  became 
celebrated  under  Leo,  Durante,  Porpora,  Scar- 
latti, by  whom  and  their  successors  were  origi- 
nated nearly  all  the  ordinary  forms  of  music,  airs 
with  variations,  rondcaux,  the  aria  with  chorus, 
scenas,  trios,  quartets,  and  finales.  It  was  not 
until  this  so  late  period  that  thorough  or  con- 
tinued bass,  signifying  a  bass  running  throuijhout 
the  music,  bcgi'n  to  be  used,  becoming  the  pecu- 
liar labor  of  the  organist's  left  hand.  At  this 
period,  we  should  not  omit  to  mention,  were  pro- 
duced those  difficult  organ  compositions  which, 
even  now,  challenge  the  skill  of  the  most  expert 
performers  on  that  instrument.  Down  to  this 
period,  the  gamut,  notwithstanding  Monteverde's 
discovery,  was  still  limited  to  six  notes.  No 
writer  treated  of  the  gamut  of  seven  notes  until 
one  Lambert,  in  1G80. 

"  At  the  doi-e  of  the  seventeenth  and  begin- 
ning of  the  eighteenth  centuries,  oratorios  had 
begun  to  acquiie  importance  ;  and  about  the  same 
time,  Cia.sparini,  the  predecessor  of  Scarlatti,  Cor- 
dicelli,  and  Clementi,  first  formed  the  principles 
of  fingering  the  harpsichord. 

"  Towards  the  middle  of  the  last  century,  the 
trio  and  quartet  have  received  great  improve- 
ment, and  the  symphony  takes  its  origin :  at  first 
composed  for  four  violin  parts,  viola,  and  ba.ss ; 
afterwards  extended  to  admit  the  wind  instru- 
meiit-H,  and  now  brought  to  the  highest  perfection 
by  the  successive  labors  of  Martini,  Haydn,  Mo- 
zart, and  IJeethoven,  who  arc  thought  by  some 
to  have  occupied  the  ground  so  completely  as  to 
render  it  not  merely  hazardous,  but  presump- 
tuous, for  any  to  attempt  to  follow  them  into 
IhLs,  their  peculiiu:  territory  ;  a  criticism,  how- 
nrer,  of  which,  vast  as  their  works  are,  another 


fifty   years  may,   perhaps,  have   derclo^*^  th« 
mistake. 

"  Only  a  hundretl  years  have  elapsed,  since,  u 
France,  a  hitherto  unregarded  country,  the  Italian 
composers,  Leo  and  Durante,  found  admirers. 
The  struggle  of  their  successor,  LuUi,  with  th^ 
old  French  composer  Kameau,  which  ended  in 
the  Italian  being  compelled  to  quit  the  field,  was 
followed  by  the  entire  reform  of  the  grand  opera 
by  Ciluck;  the  hLstory  of  whose  yet  more  ^^olcnt 
struggles  for  superiority  with  Piccini,  forms  one 
of  the  most  cmious  chapters  in  the  annals  of  the 
art. 

••In  speaking  of  music  we  are  constantly  re- 
minded that  we  can  say  but  little  of  American 
music,  for  hitherto  we  have  had  no  music.  It 
shall  not  ever  be  so,  however  !  I  cannot  and  will 
not  beheve  but  that,  from  beneath  this  thrift,  this 
utiUtariani-sm,  thus  cunning,  there  will  yet  force 
its  way  to  the  light  this  flower,  —  Art,  in  all  its  va- 
rieties ;  that  Germany,  and  Franc*,  and  Italy,  all 
resjdendent  as  she  is,  shall  not  be  forever  monop- 
olists of  all  that  is  glorious  and  divine,  and 
America  be  repellent  forever  :  I  cannot  bring  my- 
self to  believe  that  a  laud  so  fruitful  of  statesmen, 
orators,  and  men  of  science,  and  no  longer  de- 
ficient in  historian,  poet,  painter,  and  sculptor, 
shall  be  forever  destitute  of  the  great  musician. 
Only  he  will  not  derive  his  insi)iration  and  nur-  • 
ture  from  the  unmeaning  publications  of  which 
our  day  and  our  country  are  so  prolific ;  with 
which  the  love  of  pecuniary  profit,  or  the  desire 
to  gratify  a  fleeting  fashion,  have  inundated  us. 

"  America  can  already  boast  of  her  manufac- 
turers of  instruments,  if  not  of  her  instrumental 
performers  ;  and  it  withm  the  past  fifty  years  no 
fundamentally  now  modes  of  producing  sound 
have  been  dLscovered,  there  have  appeared  such 
multitudes  of  new  combinations  of  the  old,  in  a 
variety  of  instruments,  for  which  names  must  be 
obtained,  that  the  inventors  have  been  put  to  all 
imaginable  shifts  to  find  suitable  appellatives. 

"  ^^'hat  numberless  compounds  ol  classic  words 
that  could  be  pressed  uito  the  ser\-ice  of  music  ! 
AVith  Melodeon,  Harmonica,  and  Seraphina,  all 
are  familiar.  But  how  shall  one  venture  to  enu- 
merate Harmonium,  Orchestrwn,  Cclestiiia,  Bartt- 
chordou,  Euphon,  Plectro-euphon,  and  Poli/pUctron, 
JEdophone,  Concertina,  Ghjcibaritono,  Eiimelia, 
JEol-hannonica,  Eoline,  and  Eolodinn ;  Aerophone, 
Tirpodion,  Kalipthongon,  and  the  like,  which  by 
no  means  comjilete  the  list  of  those  produced 
within,  or  nearly  within,  the  half  century  r 

"\\liat  may  be  the  final  result  of  the  tendency 
to  combine  the  properties  of  various  instruments, 
a  tendency  more  familiarly  illustrated  in  the  '  at- 
tachments'," BO  called,  to  the  piano-forte,  acolian, 
dolce  campana.  v*ic.,  we  cannot  pretend  to  fore- 
see. Questionable  as  the  success  of  these  ex- 
periments may  still  be  deemed,  it  is  probable  that, 
after  the  prejudices  which  usually  attend  .pon 
the  introduction  of  novelties  are  laid  aside,  large 
additions  to  the  resources  of  harmony  may  be 
event ually  acknowledged." 

MUSIC,  AERI.\L.  Music  supposed  to  be  pro- 
duced by  aerial  beings,  or  by  the  power  of  en- 
chantment. 

MUSIC  MASTER.  A  musician  who  teaches 
the  principles  of  the  harmonic  science,  or  the  art 
of  musical  ])erformance. 

MUSIC  ROOM.    A  room  appropriated  to,  and 


G36 


MUS 


ENCYCLOPEDIA    OF    MUSIC. 


MUf! 


resen'ed  for,  the  rehearsa.  and  performance  of 
music. 

MUSICA  MENSURABILIS.  (L.)  Measured 
music.     Music  in  parts  of  dissimilar  motion. 

MUSICAL  CONVENTIONS.  These  annual 
patheiings  of  choristers  and  mu-sic  teachers,  of 
late  so  common  in  New  Kn<;land  and  other  parts 
of  the  United  States,  originated  in  New  Hamp- 
shire. In  1829,  the  idea  of  holdin;.;  musical 
conventions  was  suijsested  to  the  members  of 
the  New  Hampshire  Central  Musical  .Society,  at 
Goffstown,  and  the  first  was  appointed  to  he  hold- 
en  lit  Concord  in  September.  It  was  a  two  days 
nierting,  and  wius  conducted  by  Henry  Eaton 
Moore.  In  1830  a  similar  meetinR  wa.s  held  at 
Pembroke,  closins;  with  a  concert;  and  in  1831 
the  third  musical  convention  was  held  at  Oott's- 
town.  Iliese  were  all  under  the  lead  of  Mr. 
Moore.  Soon  after  a  three  days'  convention  was 
railed  and  holden  at  Haverhill.  In  183()  a  con- 
vention was  hohlcn  in  llostou,  by  the  lioston 
Academy  of  Music,  under  the  direction  of 
Messrs.  Lowell  Mason  and  Oeorge  James  Webb. 
The  first  class  aH'orded  such  encouras^ement  as 
to  lead  to  the  appointment  of  another  the  follow- 
in;:  year,  which  was  attended  by  a  much  lari.;er 
number  of  teachers.  This  cliuss  gave  increiising 
proof  of  the  utility  of  the  plan,  and  led  to  the 
appointment  of  a  third.  The  attendance  at  the 
third  cla.ss  was  so  much  increased,  that  a  fourth 
was  ai)i)ointed,  and  the  thing  began  to  a-ssume 
the  appearance  of  an  annual  festival,  which  was 
looked  for  with  increasing  interest.  After  a  few- 
years  the  interest  thus  awiikened  gave  rise  to 
other  convention",  held  at  the  same  time,  and  in 
the  same  city,  under  other  auspices.  The  nriiji- 
nal  clas.s,  however,  suffering  neither  in  numbers 
nor  interest  on  account  of  the  other  conventions, 
annually  increased,  and  the  fourteenth  annual 
meeting  of  the  regular  American  Convention 
and  Teachers'  Class,  held  by  Messrs.  Miuson  and 
Webb,  at  Boston,  in  October,  1840,  was  more 
numerously  attended  than  any  of  its  predeces- 
sors, more  than  one  thousand  persons  being  in 
attendance. 

In  August,  1847,  the  first  convention  of  composers 
and  tetu-hers  was  held  at  Leipsie.  It  had  its  rise  in 
the  mind  of  Franz  Brendel,  editor  of  a  musical 
pajxjr  tlrere,  who  tried  to  bring  about  a  meeting 
of  music  teachers,  for  discussion  and  action  with 
respei't  to  various  abuses  of  the  day.  Through 
hLs  exertions  a  committee  was  formed,  and  an 
invitation  was  extende<l,  not  only  to  teachers, 
but  to  comj^osers,  organists,  and  strong  friends 
of  the  cause.  In  conieiiuence  of  this  call,  about 
one  hundred  and  twenty  persons,  either  profess- 
ors in  music  seminaries,  music  direi-tors,  organ- 
ist.*, members  ot  orchestra-s,  teachers  of  sinL;ing, 
piano,  &c.,  or  amateurs  of  high  standing,  came 
together,  among  whom  were  Moscheles,  Fr. 
Schneider,  and  many  others  of  the  tirst  rank  in 
their  country  and  the  world.  'ITius  originated 
teachers'  conventions. 

MUSIC.\L  DICTIONARY.  A  book  con- 
taining explanations  of  musical  temi.s,  and  words 
relating  to  music,  arranged  in  alphabetical  or- 
der. 

MUSICA  FICTA.  or  MUSICA  COLORATA. 
(L.)     I'he  name  given  by  Francinua  and  other 


musical  writers  to  the  first  deviations  from  the 
old  ecclesiastical  modes ;  which  were  so  rigidly 
confined  to  the  diatonic  scale  as  to  admit  of  no 
other  semitones  than  those  from  E  to  F,  A  to  B 
fiat,  and  B  natural  to  C.  These  three  semitone* 
continued  to  be  so  scrupulously  adhered  to,  that 
it  was  not  till  the  beginning  of  the  cighti'cnth 
century  that  musica  ficta,  or  music  in  the  trans- 
posed kryi,  as  they  are  still  frequently  called,  re- 
ceived a  general  adoption. 

MUSICAL  GLASSES.  Drinking  gla.«scs  so 
tuned  in  regard  to  each  other,  that  a  wet  finger 
being  passed  round  their  brims,  they  produce 
the  notes  of  the  diatonic  scale,  and  lu-e  capable 
of  yielding  the  successive  sounds  of  regular 
tunes  or  melodies.  See  articles  Glassks,  Ml'si- 
c.\l;   and  Fu.^nklin,  Benj.vmin. 

MUSICAL  SCIENCE.  Musical  knowledge; 
an  acquaintance  with  the  laws  of  harmouical 
relations. 

MUSICAL  .SOUNDS.  It  is  a  curious  fact  in 
the  history  of  sound,  that  the  loudest  noises 
always  perish  on  the  spot  where  they  are  pro- 
duced, whereas  musical  notes  will  be  heard  at  a 
great  distance.  Thus,  if  we  approach  within  a 
mile  or  two  of  a  town  or  village  in  which  a  fair 
is  held,  we  may  hear  very  faintly  the  clamor  of 
the  multitude,  but  more  distinctly  the  drums 
and  other  musical  instruments  which  are  played 
for  their  amusement.  If  a  Cremona  violin,  a 
real  Amati,  be  played  by  the  side  of  a  common 
fiddle,  the  latter  will  .sound  much  the  louder  of  the 
two;  but  the  sweet,  brilliant  tone  of  the  Amati 
will  bo  heard  at  a  distance  the  other  cannot 
reach.  Dr.  Young,  on  the  authority  of  Dcrham, 
states  that  at  (iil)raltar  the  human  voice  may  bo 
heard  at  the  distance  of  ten  mil<!s.  It  is  a  well- 
known  fact  that  the  human  voice  can  be  heard 
at  a  greater  distance  than  that  of  any  other 
animal.  Thus,  when  the  cottager  in  the  woods, 
or  in  the  open  plain,  wishes  to  call  her  husband, 
who  is  working  at  a  distance,  she  does  not  shout, 
but  pitches  her  voice  to  a  mu.sical  key,  and  by 
that  means  reaches  the  ear.  The  roar  of  the 
largest  lion  could  not  penetrate  so  far.  "This 
proj)erty  of  music  in  the  human  voice,"  says  the 
author,  "  Ls  strikingly  showni  in  the  cathedrals 
abroad.  Here  the  ma.'vs  is  performed  entirely 
by  musical  sound*',  and  becomes  audible  to  every 
devotee,  however  placed  in  the  remotest  part  of 
the  church ;  whereas,  if  the  sound  had  been 
read,  it  would  not  have  travelled  beyond  the  pre- 
cincts of  the  choir."  Those  orators  who  are 
heard  in  large  assemblies  most  distinctly,  and  at 
the  greatest  distance,  are  those  who,  by  moulding 
the  voice,  can  render  it  more  musical.  Loud 
speakers  are  seldom  heard  to  advantage. 

Burke's  voice  is  said  to  have  been  a  lofty  cry, 
which  tended  as  much  as  the  formality  of  hia 
discourse,  in  the  House  of  Commons,  to  send 
the  members  to  their  dinner.  Chatham's  lowest 
whLspcr  was  distmctly  heard.  His  middle  tones 
were  sweet,  rich,  and  beautifully  varie<l,  says  a 
writer  describing  the  orator :  "  when  he  raided 
his  voice  to  a  high  pitch,  the  house  was  filled 
and  the  effect  was  awful,  except  when  he  wLshed 
to  cheer  or  animate  —  and  then  he  had  spirit- 
stirring  notes,  which  were  perfectly  irresistible." 
The  terrible,  however,  was  hLs  pecuUar  power. 
Then  the  house  sank   before  him  :    still   he  wm 


637 


IIU8 


ENCYCLOPEDIA    OF    MUSIC. 


MYL 


dignified,  and  wonderful  as  was  his  eloquence,  it 
was  atfeiulrd  with  this  important  effect,  that  it 
possessed  every  one  with  the  conviction  that 
there  was  something  in  him  that  was  finer  than 
hLs  words ;  that  the  man  was  greater  than  the 
orator. 

MUSICAL  FESTR'ALS.  Within  a  few  years, 
or  since  1810,  nuisical  festivals  have  spread  over 
the  world.  In  the  year  1783  a  great  musical 
jubilee  was  celebrated  in  London,  in  commemo- 
ration of  the  illu-trious  Handel.  The  number 
of  instrumental  performers  who  assisted  on  the 
occasion  was  greater  than  had  ever  been  known 
on  a  similar  occasion,  the  whole  number  of  per- 
formers being  six  hundred  and  seven,  viz. :  — 
106  Violins,  18  Double  Basses, 

28  Violas,  12  Trumpets, 

20  Oboes,  12  Horns, 

6  Flutes,  6  Trombones, 

28  Violoncellos,  4  Drums, 

28  Bassoons,  68  Cantos,  T 

1  Double  Bassoon,         60  Altos,     I  chorus. 

2  Seri)ents,  100  lenors,  j 

102  Basses.  J 

Total,  607 

The  grandeur  and  sublunity  of  the  music,  it 
is  said,  was  never  before  equalled  in  Great 
Britain.  The  example  of  England  was  early 
followed,  first  by  Switzerland,  next  by  Germany 
in  1804,  and  again,  after  an  interval  of  six  years, 
on  a  larger  scale,  in  1810.  The  wars  of  Napo- 
leon put  an  end  to  them  on  the  continent  until 
the  year  1816;  at  which  time  in  Hamburg  the 
custom  was  revived,  rapidly  becoming  general 
throughout  Germany,  where  the  festivals  were 
held  often  under  the  auspices  of  the  celebrated 
academies,  as  the  St.  Thomas  School,  the  sem- 
inary of  Bach.  One  of  these  great  gatherings 
was  held  at  the  Hague  in  1834,  in  1836  at  Am- 
sterdam. The  first  in  Italy  took  place  at  Ber- 
gamo in  1835;  in  France  at  Strasburg  in  1831) ; 
in  Russia  in  the  same  year  at  Riga.  Those  of 
England  have  been  perhaps  most  conspicuous, 
where  the  cities  of  York,  Birmingham,  Man- 
chester, Worcester,  &c.,  have  frequently  wit- 
nessed immense  concourses  of  the  lovers  of 
thousand- voiced  hai-mony.  ITie  Germans  of 
New  York,  Philadelphia,  and  Baltimore,  do- not 
suffer  to  die  in  this  country,  and  in  our  day,  the 
recollection  of  the  riunions  of  the  "  Lieder- 
kranze,"  "  Licclerbunde,"  and  other  "  Musiknlische 
GeselUchafie"  of  the  fatherland. 

MUSICIAN.  One  who  understands  the  sci- 
ence of  music,  or  who  sings,  or  performs  some 
instrument,  according  to  the  rules  of  art.  llicre 
are  three  kinds  of  musicians :  the  speculatirc 
musiciun,  or  mvisical  author,  strictly  so  called, 
who  contemplates,  and  writes  on  the  laws  of 
sound  and  harmony ;  the  practical  theorist,  or 
composer,  who  produces  music  written  agreeably 
to  those  laws ;  and  the  performer,  who,  with  his 
voice,  or  instrument,  executes  the  music  when 
WTitten.  Distinct  as  are  these  provinces,  they 
are,  sometimes,  all  embraced  by  the  same  indi- 
vidual, and  with  a  success  which  evinces  the 
affinity  between  speculative  knowledge,  practical 
invention,  ajid  vocal  or  manual  execution. 

MUSIC  OF  THE  SPHERES.     Tliat  harmony 


supposed  by  the  ancients  to  result  from  the  or» 
derly  motion  of  the  heavenly  bodies. 

MUSIGNY,  MADAME  DE,  a  pupU  of  thi 
celebrated  Krumpholz  on  the  harp,  lived  aboni 
the  year  1788,  at  Paris,  and  published  there,  "  fi 
Romances  d Estelle,  avcc  Ace.  de  Harpe  ott  Piano," 
ParLs. 

MU.SSINI,  NICOLO,  a  tenor  singer,  violir.isi, 
guitarist,  and  vocal  and  instrumental  composer, 
was  born  in  Italy,  lie  was  in  England  about 
the  year  1792,  after  which  he  proceeded  to  Han- 
over, and  finally,  we  believe,  settled  at  Berlin, 
where  he  was  appointed  tenor  singer  at  the 
Grand  Opera.     His  wife  was  also  a  good  singer. 

MUSURGUS.  (L )  The  Greeks  called  ev- 
ery musician,  whether  singer,  player,  or  com- 
poser, musurgos. 

MLTATION.  A  term  in  the  ancient  Greek 
music,  the  definitions  of  which,  as  given  by  Bac- 
chius,  Aristides,  Quintilian,  and  Martianus,  are 
somewhat  obscure ;  but  from  which,  however, 
we  may  collect,  that  the  mutations  of  the 
Greeks  were  reducible  to  five  principal  kmds: 
First,  a  mutation,  in  the  genus  ;  as  when  the  air 
passed  from  the  diatonic  to  the  chromatic,  or  to 
the  enharmonic,  and  reciprocally.  Secondly,  in  , 
the  system  ;  as  when  the  modulation  united  two 
disjoint  tetrachords,  or  separated  two  conjoint. 
Thirdly,  in  the  mode ;  as  in  passing  from  the 
Dorian  to  the  Plirygian,  or  to  the  Lydian,  &c., 
and  reciprocally.  Fourthly,  in  the  rhylhn^ul ;  vt 
in  passmg  from  quick  to  slow,  or  from  one  meas- 
ure to  another.  Filtlily,  and  lastly,  in  the  melo- 
pteia ;  as  in  breaking  tirom  a  solemn,  serious,  or 
magnilicent  strain,  into  a  lively,  gay,  and  ani- 
mating air. 

MUTE.  A  little  utensil  made  of  brass,  box, 
or  ivory,  and  so  fonned  that  it  can  be  fixed  in  an 
erect  position  on  the  bridge  of  a  violin,  the  tone 
of  which  it  so  deadens,  or  softens,  that  it  cau 
scarcely  be  heard  in  an  adjoining  room.  Mutes, 
in  language,  are  opposed  to  vocal  or  vowel 
sounds.  They  have  no  vocal  tone,  and  their 
office  is  merely  to  act  as  stops  or  joints  in  the 
structure  of  language;  similar  to  the  tongue  in 
rtute  playing,  marking  and  dividing  the  notes. 
Thev  consLst  of  the  following  letters :  C,  F,  H, 
R,  (i,  P,  S,  T,  Th,  and  Sh,  and  the  double  raxite 
X.  The  Scotch  have  another  mute,  ch,  execut- 
ed by  forcing  the  breath  through  a  narrow 
chink,  formed  by  the  root  of  the  tongue  and  *he 
back  part  of  the  palate. 

MYLIUS,  ANDREAS,  a  celebrated  .singer  at 
Schwerin,  flourished  there  in  the  beginning  of 
the  sixteenth  century.  His  brother  Nicol  My- 
lius,  died  in  16.53  at  Meissen. 

MYLIUS,  WOLFGANG  MICHAEL,  chapel- 
master  to  the  Duke  of  Saxe-Gotlia,  owed  his 
musical  attainments  to  the  rudimcntal  instruc- 
tion of  Christoph  Bernhardi.  About  the  year 
1700,  he  was  invited  to  the  situation  of  singer  at 
Richberg.  He  died  in  1712,  or  1713,  at  Gotha, 
and  left,  for  those  times,  a  very  good  musical 
school  book,  entitled  "  RtulimetUa  Mitsices ;  "  thi 
date  of  it  is  168-5. 


MYSLI^^'ECZEK,     JOSEPH. 

WECZEK. 


See     Mi8U 


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N. 


NACAIHE.  A  kind  of  brazen  drum  formerly 
much  used  in  France  and  Italy.  It  is  called,  by 
the  Italians,  nacaia  and  nacarre,  to  imply  the 
castanets,  or  hollow  shells,  sometimes  used  in 
accompanying  dances. 

NACIIDKUCK.     (G.)     Emphasis,  accent. 

NACIISPIEL.  (G.)  A  postludo,  or  piece 
played  alter  some  other. 

NACIITENHOEFER,  GASPARD  FRIED- 
RICH,  born  at  Halle  in  1024,  was  graduated 
d  ictor  nt  Lt'i]).Hic  in  1()47,  and  was  alterwards  sub- 
ccnsnr  at  C'oburg,  where  he  died  in  1080.  lie 
was  the  author  and  composer  of  many  German 
Protestant  canticles. 

N.\CllS'n'ER\VANDTE  TONE.  (O.)  Near- 
est relative  keys. 

NAI)ERM.\N,  F.  J.  A  celebrated  harpist,  and 
composer  tor  his  instrument,  born  at  Paris  in  the 
year  1779.  He  has  published  many  sonatas, 
duos,  concertos,  and  capricci  for  the  harp. 
Amongst  these  we  can  name  "  Fantaisie,"  Op.  52, 
Paris;  "  Fantaisip,"  Op.  5.5,  Paris;  "  FatitaLiie," 
Op.  58,  Paris ;  •'  Duets  for  Haq)  and  Piano,"  Op. 
41,  Paris;  "Trio  for  Haq),  Horn,  and  Violoncel- 
lo, or  Violin,  or  Tenor,  or  as  a  Duet  for  Piano- 
lortc  and  Harp ; "  "Three  Duets  for  Harp  and 
Piano,"  Op.  51  ;  and  "Trio  for  Three  Harps,  or 
Two  Hari:8  and  Piano,"  Op.  67. 

N.\DERMAN,  HENRI,  brother  to  the  preced- 
i;i!j,  was  also  a  performer  on  the  harp.  He 
published  at  Paris,  in  the  year  1807,  the  air  "  II 
eat  (rop  turd,"  with  variations  for  the  harp. 

NAGEL,  JOHANN.  Clerk  at  the  cathedral, 
and  fourtlx  master  at  the  gjTnnasium  at  Halle. 
Horn  in  1759.  He  entered  on  the  above  offices  in 
178:i,  and  in  1790  edited,  at  Halle,  a  periodical 
work  entitled  "  Mtisikalische  Monatschrift.  Eistis 
(^(laWrt/,"  Halle,  1790.  One  page -of  the  single 
sheet  forming  this  periodical  contained  easy  and 
familiar  instructions  for  playing  the  piano-forte, 
and  the  remaining  three  pages  were  tilled  up  with 
light  and  plea.sant  tune;;  for  that  instrument. 
The  instructions  were  from  his  own  pen ;  but 
having  bccn,atliicted,  during  the  publication,  with 
a  severe  and  tedious  illness,  pvhich  at  length  ter- 
minated in  his  death  in  1791,)  the  publisher  so 
altered  the  plan  of  the  work,  that,  instead  of 
giving  the  instructions,  as  before,  in  single  sheets, 
lie  printed  them  separate,  with  the  author's  name, 
under  the  title  of  "  Kin:e  Ainoeituw/  zwn  Klarier- 
spieieii,  J'tir  Lclircr  umi  Lerneude,"  Halle,  1791. 

NAGELI,  HANS  GEORG,  a  composer  and 
music  publislier  at  Zurich,  was  by  birth  a 
Swiss.  He  opened,  in  1792,  a  music  ware- 
house and  musical  library  in  the  above  town, 
but  the  war  that  soon  followed  ruined  his  busi- 
ness ;  which,  however,  he  recommenced  about 
the  year  1800,  wlicn  he  began  to  publLsh,  in 
parts,  a  choice  collection  of  the  music  of  Se- 
batitian  liach,  Handel,  Frescobaldi,  and  other 
classical  masters.     In  1803  he  also  embarked  in 


the  periodical  publication  of  another  work,  und« 
the  title  of  "  Repertoire  (les  CUiciciniatei,"  which 
contained  the  choicest  productions  of  science  foi 
the  hari)sichord,  chiefly  in  the  Clom3nti  school. 
Of  this  jjublication  three  numbers,  consisting  of 
from  ten  to  twelve  folio  sheets  each,  ap])cared  the 
.same  year.  He  tirst  gave  dementi's  .solos,  nnd 
then  commenced  on  tho^e  by  his  successois,  C'ra- 
mcr,  Dussek,  Steibelt,  Beethoven,  Asioli,  Ilaack, 
Reicha,  WeLsBe,  and  others.  "  Whether,"  iayj 
Gerber,  "  Nageli  be  the  man  from  whom  the  pub- 
lic may  expect  such  a  selection,  in  these  two  im- 
portant and  dilBcult  branches  of  the  >.iience,  as 
will  completely  answer  the  purpose,  is  a  <iuestion 
best  to  be  decided  by  an  article  of  his  in  the  tifth 
year  of  the  Leipsic  '  Musical  Gazette,'  where  he 
inserted  (pp.  225  and  205)  a  profound  critique, 
headed  '  Kssay  to  form  Rules  for  musical  lie- 
viewers.'  "  Notwithstanding  the  decided  predi- 
lection he  therein  evinces  for  the  solemn  and 
elaborate,  his  popular  muse,  or  happy  talent  for 
ballad  composition,  is  otherwise  well  known. 
Lideed,  who  can  doubt  it  that  recollects  hLs  "Lite 
let  us  cherish,"  so  much  sung,  played,  and  d>mced 
all  over  (iermany.  How  ha|)py  must  such  s  com- 
poser leel,  could  he  enjoy,  through  the  remi.inder 
of  his  lite,  but  a  thousandth  part  of  the  ha  mlcs.s 
pleasure  he  has  ditfused  by  thLs  one  song  amongst 
hLs  fellow-creatures  !  Of  his  compositions  wo 
can  name  "  Life  let  us  cherish,"  a  convivi  il  song, 
with  accompaniments  of  harp  and  harjisichord, 
Zurich,  1794;  "  Songs,  with  Accompaniments  on 
the  Piano-forte,  First  Collection,"  Zurich,  1795  ; 
"  Second  Collection,"  Zurich,  1795  ;  "  'Diird  Col- 
lection," Zurich,  1793  ;  "  Tviitonia,"  consisting  of 
roundelays  and  choruses,  in  sL\  nurabc-s  folio, 
Zurich,  ISOS,  arranged  for  the  piano-lorte,  and 
the  vocal  parts  printed  separately.  "  In  t!ie  com- 
position ol  tliese  lively  and  pleasmg  roundelays," 
continued  Gerber,  "  science,  taste,  and  fancy  are 
so  joined  to  familiar  harmony,  a.s  to  prove  the 
most  charitable  boon  that  could  be  bestowed  on 
suffering  Germany.  O  that  there  were  but  in 
every  town  three  or  four  amateurs  of  both  sexes 
sutiiciently  clever  to  execute  them  correctly  I 
How  many  a  happy  hoxir,  how  many  a  delightful 
evening,  would  thus  be  passed  I  and  trom  how 
many  a  gloomy  thought  would  the  singers  re- 
lieve both  themselves  and  surrounding  friends  I  " 
"Twelve  Toccatas  for  the  Haq)sichord,  "  Zurich, 

i  1807.     N.1,;eli's  songs  have  been  tnmslated,  and 

I  made  widely  popul.ir  in  France,  It^ily,  England, 
Sweden,  and   llenmark,  indeed  wherevjr  Euro- 

1  pean  culture  hius  penetrated.  Many  of  tliem 
have  been  introduced,  by  Mr.  I/)well  M:..son,  into 
the  school  song  books  in  New  England      Nageli 

'  founded  a  great  singing  school  in  Ziirirh,  which 
spread  the  blessing  ot  a  richer  rausicNl  culture 
throughout  Switzerland.  Alter  this  he  wrote 
several  vocal  schools  tor  all  .sorts  of  choirs,  and 
in  1812,  an  elementary  work  ou  singing  on  the 
Pcstaloz/.ian  system.  He  was  one  ol  the  prin- 
cipal founders  of  the  Swiss  mu.sicad  league  oi 
uni  m,  which  set  the  tirst  example  ob  the  coati- 


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NA.fl 


nent  of  grout   musical    festivals.      lie  died   at 
Zurich  on  the  26th  of  December,  1836. 

NAIN'VILLE.  A  French  singer  of  eminence 
at  the  Comic  Opera  iii  Paris,  between  the  years 
1768  and  1790. 

NAKED.  A  term  significantly  applied,  by 
modern  theorists,  to  foiirf/u,  Jifths,  and  other 
chords,  when  unaccompanied. 

NAKOKUS.  The  name  of  an  instrument 
much  used  by  the  Egyptians  in  their  Coptic 
churches,  and  in  their  religious  processions,  and 
consisting  of  two  brass  plates  suspended  by 
strings,  and  struck  together,  by  way  of  beating 
time. 

NALDI,  SEBASTIAXO,  a  celebrated  Italian 
buffo  singer,  performed  during  many  seasons  at 
the  King's  Theatre,  in  the  early  part  of  the 
eighteenth  century.  He  was  considered  the  bc>t 
bujfo  raricn/o  that  ever  appeared  in  Loudon.  His 
most  celebrated  character  was  the  Fanatico  in  the 
opera  of  "  II  Fanatico  per  la  Miisica."  He  quitted 
England  for  Paris  about  the  year  1819;  shortly 
after  which  he  met  with  his  death  in  that  me- 
tropolis, by  the  bursting  in  his  chamber  of  a  por- 
table steam  apparatus  for  cooking. 

NALDI,  MLLE.,  daughter  to  the  preceding, 
was  an  excellent  singer,  and  was  engaged,  in  the 
seasons  of  1822  and  1823,  at  the  Italian  opera  at 
Paris. 

NALDIXO,  SANTL  a  Roman  monk,  was  a 
singer  in  the  Pontifical  Chapel  there,  about  the 
year  1617.  He  published  many  motets.  His 
death  took  place  in  1666. 

NANIXI,  GIOVANNI  MARIA,  a  fellow-stu- 
dent, under  Rinaldo  del  Mell,  with  Palestrina, 
was  a  native  of  Vallevano,  and,  in  1.577,  was  ap- 
pointed a  tenor  singer  in  the  Pontifical  Chapel, 
where  many  of  his  compositions  were  preserved. 
He  afterwards  became  chapel-master  of  the 
Church  of  St.  Maria  Maggiore,  in  which  office  he 
probably  succeeded  Palestrina.  There  are  extant 
some  fine  madrigals  of  his  composition,  and  two 
manuscript  treatises  of  music ;  the  one  entitled 
"  CciUociiifiuanta  Sette  Contrapunti  e  Canoni  a  2,  3, 
4,  6,  6,  7,8,  11  toci  sopra  del  Canto  Fermo  intito- 
lato  la  Btiae  di  Costanzo  Fcsta;"  and  the  other, 
"  Trattato  di  Contrapunto  con  la  Regola  per  far 
Contrapitnto."  This  latter  treatise  is  the  joint 
work  of  G.  M.  Nanini  and  his  younger  brother, 
Bernardino.     He  died  in  1607. 

NANIXI,  BERNARDINO,  a  younger  brother 
of  the  jjreccding,  was  distinguished  as  a  sur- 
prising genius,  and  as  having  improved  the  prac- 
tice of  music  by  the  introduction  of  a  new  and 
original  style.  ITiere  is,  however,  nothing  ex- 
tant of  his  composition,  except  a  work,  printed 
it  Rome  in  1620,  entitled  "  Salmi  d  4  voci  per  le 
Domeniche,  Soleiinita  delta  Madonna  et  Apostoli  con 
ifet  Mayuijicat,  ttno  diet  altro  a  8  voci.'' 

NAXXIXL  LIVIA.  called  LA  POLACCHI- 
NA.  A  very  celebrated  singer  about  the  year 
1700,  in  the  service  of  the  court  of  Mantua. 

NAX'NO.  An  ancient  Greek  flutist  and  poet, 
especially  known  by  the  poem  that  Mimnermus 
wrote  in  his  honor,  B.  C.  600. 

NANTEUNI,  ORATIO,  was  born  at  Milan, 
where  he  held  for  many  years,  towards  the  close 


of  the  sixtooith  century,  the  office  of  leader  of 
the  band  at  the  Church  of  St.  Colso.  Picinelli. 
in  his  "Ateneodei  Litferati  Milan':si,"  savs,  "  Milan 
may  be  proud  of  having  produced,  amongst  its 
curiosities  and  objects  of  admiration  in  music, 
Oratio  N'anterni.  His  compositions  are  charac- 
terized by  great  depth  of  science.  His  music  was 
said  to  be  meat  and  drink  to  those  who  heard  it, 
(pasceva  gli  uditore. )  He  played,  also,  with  infinite 
sweetness,  so  that  there  was  not  one  who  did  not 
join  in  his  praise."  Moringa,  in  his  "  Xohitld  di 
Mifano,"  1.595.  also  calls  him  a  delicate  and  in- 
telligent musician,  and  highly  spoken  of.  He 
published  several  of  his  works.  Some  particular 
specimens  occur  in  "  Burgameno  Parnassus  Muii- 
CU3  Ferdinand.  1,  2,  3,  4,  e  5  toe,"  Venice,  1615. 

NAPOLEON.  ARTHUR,  is  a  native  of  Opor- 
to, in  which  city  he  was  born  on  the  6th  of  Sep- 
tember, 1844.  He  is  the  second  of  a  family  of 
six  children,  and  in  1851  lost  a  younger  sister,  who 
was  almost  hLs  equal  in  musical  talent.  At  the 
age  of  three  years  he  evinced  a  strong  passion  for 
music.  His  father  taught  him  his  notes,  the 
treble  and  bass  clefs  ;  and  he  rapidly  imbibed  the 
rudiments  of  the  art.  Before  he  had  reached 
the  age  of  five  years  he  had  appeared  in  public  at 
the  Philharmonic  Society  of  Oporto.  At  the  age 
of  six  years  his  father  took  him  to  Lisbon,  where 
he  played  before  the  court ;  soon  after  which  hb 
was  made  an  honorary  member  of  tlie  Philhar- 
monic Societies  of  Lisbon  and  Oporto.  In  1852 
he  was  taken  to  Paris,  where  he  played  before  the 
court,  and  was  honored  with  the  notice  of  their 
imperial  majesties ;  and  the  little  Arthur's  suc- 
cess is  recorded  in  the  most  eulogistic  terms,  by 
Hector  Berlioz,  in  the  "Journal  (fcs  DibaU."  Ar- 
thur Napoleon  is  of  a  slight,  slender  frame;  but 
he  has  a  fine,  intelligent  countenance.  His  taste 
and  facility  in  musical  composition  are  highly 
promising  of  future  excellence.  At  his  piano  he 
is  a  maestro  —  away  from  it,  a  playful,  happy 
child.  He  possesses  great  animol  spirits,  but  can 
easily  be  brought  to  concentrate  his  ideas  on  any 
given  subject.  He  will  amuse  himself  for  hours, 
when  left  alone,  in  composing  imaginary  operas, 
with  chairs  and  sofa  pillows  lor  his  company,  and 
himself  the  conductor  and  orchestra.  He  doas 
not  study,  he  only  plays  at  music.  It  has  been 
said,  by  a  French  critic,  that  "  he  must  have 
brought  from  heaven  the  secrets  of  musical  sci- 
ence, for  he  has  not  lived  long  enough  to  learn 
them."  In  truth,  no  teaching  could  gi\'e  the 
taste,  feeling,  and  expression  which  he  imparts 
to  Thalberg,  Prudent,  Herz,  and  a  crowd  of  other 
composers,  who  may  come  under  the  magic  touch 
of  his  little  fingers.  His  execution  is  natural  and 
artistic.  The  instrument  obeys  him.  He  passes 
over  the  most  difficult  pas.sages  gracefully,  and 
he  interprets  the  great  masters  not  only  with  un- 
erring precision,  but  with  wonderful  richness  of 
tone,  charm  of  expression,  and  w.^rmth  of  senti- 
ment. 

NARDINI,  PIETRO,  first  ■violinist  to  the 
Grand  Duke  of  Tuscany,  at  Florence,  was  bom 
St  Leghorn  in  1725.  He  was  considered  as  the 
best  pupil  of  the  great  Tartini,  with  whom  he 
long  resided  at  Padua.  In  1762  he  was  engaged, 
together  with  several  other  distinguished  mu- 
sicians, in  the  service  of  the  Duke  of  Wurtcm- 
burg,  ond  the  following  year  rendered  himself 
very  conspicuous   among   his  colleagues  by  hii 


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superior  performance  at  the  birthday  concert  of 
the  duke,  his  master.  In  17(17  the  duke's  cliapel 
establishment  was  considerably  reduced,  when 
Nardini  returned  to  Leghorn  ;  and  it  is  from  this 
period  he  composed  most  of  his  works.  In  17*i!) 
he  went  to  Padua,  to  revisit  Tartini,  whom  he 
attended  in  his  hist  illness  with  affection  truly 
filial.  On  his  return  to  Leghorn,  the  generous 
offers  of  the  Grand  Duke  of  Tuscany  determined 
him  to  quit  tliat  town  and  enter  the  duke's  ser- 
vice. Shortly  after  this,  the  emperor,  Joseph  II., 
was  travelling  in  Italy,  and  Nardini  had  the 
honor  of  several  times  performing  before  him  ; 
when  the  king  testified  his  satisfaction  by  pre- 
senting the  musician  with  a  richly-cnaraelled  gold 
snutl'box.  In  178:i  the  President  Dupaty  was  in 
Italy,  anil  in  the  twenty-ninth  letter  of  his  pub- 
lished tour  he  thus  speaks  of  the  talents  of  Nar- 
dini :  "  CV  violon  est  una  voix  ou  en  a  une.  II  a 
toiichi  les  Jibres  de  mon  orcille  qxti  n'avaient  jamais 
friini.  Avec  quelle  tinuili  Xanlini  divUe  Cair! 
arec  que/lc  adri-sse  il  eiprime  le  son  de  toiites  lus 
cordes  de  son  instrument !  avec  quel  art,  en  un  mot, 
il  travaille  et  ipurc  U'  son!" 

jN'ardini  especially  shone  in  the  performance  of 
adagios ;  and  it  is  said  that,  on  hearing  him  with- 
out seeing  the  performer,  the  magic  of  his  bow 
was  such  that  it  sounded  to  the  hearer  rather  like 
a  human  voice  than  a  violin.  I'he  style  of  his 
sonatas  is  ably  sustained,  the  ideas  are  clear,  the 
motive  well  treated,  and  the  expression  natural, 
though  of  a  serious  cast,  as  was  the  character 
of  tlie  composer.  (See  the  "  Essay  on  Musical 
Taste,"  by  J.  B.  Rangoni,  Leghorn,  1790.)  Nar- 
dini died  at  Florence  in  1790;  according  to 
others,  in  1793.  Among  his  works  we  can  men- 
tion "  Six  Concertos  for  the  Violin,"  Op.  L,  Am- 
sterdam ;  "  Six  Solos  for  the  Violin,"  Op.  2  ;  "  Sue 
Trios  for  the  Flute,"  London  ;  "  Si.\  Solos  for 
the  Violin,"  London;  "  Si.x  Quatuors  for  the  Vio- 
lin," Florence,  178'i  ;  and  "Six  Duos." 

NARES,  JAMES,  doctor  of  music  in  England, 
was  the  brother  of  Sir  James  Nares,  knight,  one 
of  the  justices  of  the  court  of  common  pleas. 
For  some  time  he  was  organist  of  the  cathedral 
church  of  York,  where  he  composed  several  ser- 
vices and  anthems.  From  hence,  on  the  death 
of  Travers,  in  1758,  he  was  promoted  to  the  situ- 
ation of  organist  and  composer  to  the  Chapel 
Royal,  and  succeeded  Bcniiud  Gates  as  the  mas- 
tor  of  the  children  there.  'ITie  latter  of  these  sit- 
uations he  resigned  about  two  years  previously 
to  his  death.  The  compositions  of  Dr.  Nares 
were  not  numerous,  and  were  principally  tor  the 
church.  Two  of  his  anthems,  "  Heboid  how  good 
and  joyful,"  and  "  O  Lord  my  God,"  are  inserted 
in  the  second  volume  of  Stevens's  "  .Sacred  Mu- 
sic." Dr.  Nares  was  a  studious  and  sound  mu- 
sician, and  his  writings  show  him  to  have  been 
endowed  with  a  very  considerable  share  both  of 
genius  and  learning  in  his  profession.  He  died 
in  1783.  As  organist  of  the  Chapel  Royal,  he 
was  succeeded  by  Dr.  Arnold,  and  as  master  of 
the  children,  by  Dr.  Aj-rton. 

NARYSCHKIN,  SEMEN  KIRILOWICZ, 
master  of  the  hunting  to  the  Emperor  of  Russia 
from  the  year  1 7o  1 ,  first  conceivc<l  the  idea  of  the 
hunting  music  in  Russia,  which  he  put  in  execu- 
tion with  the  assistance  of  Maresch. 

NASAL  TONE.     That  tone  which  is  produced 
81  64 


when  the  voice  issues,  in  too  great  a  degree,  from 
the  cavities  of  the  nose.  In  singing,  this  tone,  o» 
twanij,  must  be  avoided,  as  the  voii-e  is  deterio 
rated  by  passing  through  the  nostrils. 

NASARD,  or  NASUTUS.  A  wind  instru 
raent  formerly  in  use,  so  called  on  account  of  itl 
thick,  reedy,  or  nasal  tone,  llie  French  applj 
this  term  to  an  anti'iuated  organ  sto;),  which  was 
tuned  a  twelfth  above  the  diapasons. 

NASCDIBENI,  STEFFANO,  leader  of  the 
church  at  St.  Barbara,  at  Mantua,  flourished  at 
the  beginning  of  the  seventeenth  century.  Of 
his  printed  works  we  can  mention  "  Concerti  Ec- 
clesiaslici  12  vac,"  Venice,  1610;  and  "  Motetti  5 
et  6  voc,"  Venice,  1616. 

NASCO,  GIOVANNI,  an  Italian  composer  of 
the  sixteenth  century,  published  "  Lamentationes 
Jeremiad,"  and  a  "  Passion,"  and  "  Benedictiu  d  4 
voci,"  Venice,  15fi.5.  'I'here  are  stiU  "  Canzoni  e 
Madriijali  d  6  voci,"  Venice,  1.562.  of  his  compo- 
sition, extant  in  the  library  at  Munich. 

NASELLI,  DOM.  DIEGO,  a  pupil  of  Perez. 
composed  several  operas  for  the  theatres  in  Italy ; 
not  wLshing,  however,  as  he  belonged  to  the  no- 
ble house  of  Arragon,  to  be  considered  the  com- 
poser of  these  works,  he  a.s.sumed  the  name  of 
Egedio  Lasnel,  which  is  the  anagram  of  his  right 
name.  Of  these  operas  we  can  only  mention 
"  Attilio  liegolo,"  given  at  Palermo  in  1748,  and 
"  Demetrio,"  represented  at  Naples,  •"  1749. 

NASI,  violinist,  and  composer  for  nis  instru- 
ment, flourished  about  the  year  1770,  as  leader 
at  the  theatre  Di  Florentine  at  Naples.  Dr.  Bur- 
ney  heard  him  the  same  year  play  some  beautiful 
trios  of  hLs  own  composition. 

NASOLINI,  SEBASTIANO.  a  native  of 
Venice,  was  boni  about  the  year  1717.  In  1790 
he  was  in  London,  and  brought  out  the  operas 
of  "  Andromaca,"  "  La  Morle  di  Clcopnfra,"  "  .Ve- 
rope,"  and  "  Mitridate."  The  following  year  he 
went  to  Vienna,  and  produced  at  the  theatre 
there  his  "  Teseo."  It  would  seem  that  his 
works  met  with  more  encouragement  in  Ger- 
many than  in  England,  and  several  of  hLs  songs 
became  populivr  at  Vienna.  He,  nevertheless, 
made  but  a  short  stay  in  that  city ;  for  in  the 
Indice  de  Spettac.  Teatr,  of  Milan  for  the  same 
year,  he  is  mentioned  as  again  composing  for  the 
theatres  at  Trieste  and  Padua.  About  the  year 
1800,  being  engaged  to  write  for  the  carnival  of 
Venice,  instead  of  attending  to  composition,  he 
gave  himself  up  .so  entirely  to  deliauchery,  that 
he  became  its  victim,  and  died  bc;'orc  the  com- 
pletion of  his  engagement.  Of  his  works  wo 
can  further  enumerate  "  La  XititJi,"  op.  ser., 
Trieste,  1788;  "  Semiramide,"  Padua,  1791; 
"  L' ErcoU  al  Termodonte,  ossia  Ipjnlita  Rcgina 
dtUe  Amazoni,"  Trieste,  1791;  "Eugenia,"  Dres- 
den, 1794;  "//  Trionfo  di  C/Win," "  Venice ;  "/J 
Torio  Imaginario,"  op.  buffa,  Venice,  ISOO;  and 
"  L'  IncatUesimo  senza  magia,"  op.  buffa,  Venice, 
1800. 

NATHAN,  ISAAC,  was  bom  at  Canterbury 
in  the  year  1792,  and  being  intended  by  his  par. 
ents  for  the  Hebrew  church,  was,  at  the  age  of 
thirteen,  placetl  at  Cambridge,  under  the  care  of 
Mr.  Lyon,  the  Hebrew  teacher  to  the  university, 
where  he  made  considerable  progress  in  that 
1 


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ENCYCLOPEDIA    OF    MUSIC. 


NAT 


InnjjURRe,  ns  also  in  the  Germnn  and  Chaldean. 
It  was  only  as  a  relaxation  from  his  severer  stud- 
ies that  he  was  permitted  to  learn  the  violin  —  a 
circumstance  which  led  to  an  early  display  of 
his  innate  love  for  music,  and  eventually  brought 
about  an  entire  change  in  the  views  of  his  par- 
ents. His  frankness  of  disposition  and  sweet- 
ness of  voice  made  him  a  favorite  with  his  mas- 
ters and  schoolfellows ;  and  so  encouraged  was 
he  bj"  the  praises  he  received,  and  the  pleasure 
he  felt  in  the  cultivation  of  his  taste  for  the 
science,  that  crotchets  and  quavers  usurped  their 
dominion  over  his  then  more  lei,'itimate  pursuits, 
and  lost  in  the  pleasing  mazes  of  harmony,  all 
his  pocket  money  was  laid  out  in  the  purchase 
of  music  paper,  on  which  he  felt  anxious  to  try 
his  talent  at  composition.  Ignorant  of  the  the- 
ory, hLs  effusions  of  fancy  were  unintelligible  to 
all  but  himself;  and  it  was  not  a  little  singular 
to  see  him  playing  from  a  group  of  notes,  with- 
out any  guide  as  to  time,  &c.,  but  such  as  his 
own  ingenuity  had  furnished  him  with. 

On  his  return  home,  his  passion  for  music  was 
60  apparent  that  his  relations  determmed  on 
articling  him  to  Dominico  Corri,  whose  name 
inspired  him  with  such  awe,  that  his  natural 
diffidence  for  a  short  time  operated  against  his 
pursuits.  His  timidity,  however,  wore  off,  and 
the  embarrassments  of  Corri,  which  kept  him 
sometimes  long  without  a  lesson,  acted  as  au 
additional  stimulus  to  his  own  exertions.  In 
the  attic  of  his  father's  house  was  an  old  harpsi- 
chord, considered  as  useless ;  and  this  the  young 
student  made  the  seat  of  his  indefatigable  ef- 
forts. At  this  instrument  did  he  regularly  place 
himself  by  four  o'clock  in  the  morning,  and  so 
intent  was  he  on  application  that  no  inducement 
would  temjjt  him  from  it,  his  provisions  often 
remaining  untouched  the  wliole  day.  Eight 
months  after  liis  apprenticeship  commenced  with 
Corri,  he  composed  his  first  song,  called  "  Infant 
I.ove, '  which  was  quickly  followed  by  "  O,  come, 
Maria,"  and  "The  Illiterate  Boy."  His  next 
production  was  "  The  Sorrows  of  Absence ;  " 
from  which  a  trifling  dispute  arose  between  him 
and  his  master,  that,  more  tlian  any  other  cir- 
cumstance, tended  to  confirm  him  in  his  p\u- 
suits.  Corri  had  pointed  out  a  passage  in  the 
last-named  song  which  he  considered  a  breacli 
of  theory,  and  was  so  severe  on  his  pupil,  that 
young  Nathan  was  roused  to  a  pitch  of  confi- 
dence which  made  him  contend  for  the  accuracy 
of  the  passage  objected  to ;  a  little  argument 
followed,  and  the  pupil  having  brought  to  the 
recollection  of  his  master  certain  allowances 
granted  to  genius  which  he  had  overlooked,  he 


poetry  of  Lord  iJyron  presenting  a  field  best  cal- 
culated for  the  display  of  his  genius,  his  ac- 
quaiutance  with  his  lordship's  works  brought 
with  it  the  commencement  of  his  acknowledged 
merit  as  a  musician.  His  first  selection  from 
Lord  BjTon  was  those  beautiful  lines  from  the 
"Bride  of  Aliydos,"  beginning  "  TliLs  rose  to 
calm  my  brother's  cares,"  which  in  a  few  hours 
was  composed  and  placed  in  the  hands  of  the 
engraver.  He  has  since  publisheti,  from  the 
same  poem,  "  Think  not  thou'rt  what  thou  ap- 
pearest,"  "Ah,  were  I  severed  from  thy  side," 
and  "Bound  where  thou  wilt,  my  barb."  His 
song  from  the  Giaour,  "  Yes,  love  indeed  is  light 
from  heaven,"  is  one  of  his  happiest  efforts  ;  and 
the  "  Fair  Ilaide,"  "  My  life,  I  love  you,"  with  a 
variety  of  other  selections  iiom  his  lordship's 
poetry,  are  works  of  merit.  Shortly  after  his 
composition  of  "  Night  wanes  "  appeared,  Nathan 
was  introduced  to  Lord  Byron,  and  ever  after  ex- 
perienced proofs  of  his  condescending  kindness. 
To  dwell  on  the  merit  of  the  Hebrew  melodies 
is  unnecessary,  as  their  excellence  has  been  so 
universally  acknowledged. 

A  circumstance  connected  with  the  composi- 
tion of  these  melodies  deserves  mention.  Na- 
than was  so  totally  absorbed  in  the  poetry  which 
relates  to  the  raising  of  Samuel  by  the  witch  oi 
Endor,  that,  in  setting  it  to  music  at  the  house- 
of  Mr.  Basil  Montague,  (the  chancellor  counsel- 
lor,) the  son  of  this  gentleman,  on  wishing  Na- 
than good  night,  said,  "  I  really  think  it  better 
to  depart,  Nathan ;  for  you  look  so  wild,  that  I 
sliould  soon  imagine  you  Samuel  himself."  That 
the  subject  had  entirely  chained  his  mind  to  a 
corresponding  feeling,  appeared  the  next  morn- 
ing, when  Nathan  was  seized  with  an  alarming 
abejration  of  memorj',  which  continued  several 
hours.  The  subject  forms  a  glee,  and  must  be 
heard  to  be  properly  appreciated.  His  first  the- 
atrical composition  was  for  Kean,  "  Scarce  had 
the  purple  gleam  of  day,"  which  met  with  en- 
thusiastic applause. 

Had  Nathan  been  as  great  in  worldly  as  in 
musical  science,  he  must  have  enjoyed  an  early 
and  abundant  harvest ;  this,  however,  was  not 
the  case  ;  for  naturally  benevolent,  the  treachery 
of  others  involved  him  in  embarrassments  from 
which  he  found  it  difficult  to  extricate  himselfl 
He  was  at  length  compelled  to  be  absent  from 
London,  and  during  a  temporary  sojournment 
in  the  west  of  England  and  Wales,  made  every 
exertion,  though  tmsuccessfuUy,  to  retrieve  the 
losses  he  had  sustained.  On  his  return  to  Lon- 
don, however,  his  creditors  beset  him,  and  hint- 
ing that  he  ought  to  make  his  vowc  available  to 


came  off  victorious  —  a  triumph  which  has  often  [  their  demands,  he,  solely  to  convince  them  of  hLs 
be<!n  mentioned  by  Nathan  as  having  mainly  j  integrity,  consented  to  make  a  public  trial ;  at 
contributed  to  the  success  of  liis  future  exertions.  I  the  s;ime  time,  with  a  feeling  which  redounded 
From  time  to  time  he  produced  compositions  '  to  liis  honor,  offering  to  secure  them  a  claim  on 
wliich  would  have  done  credit  to  more  estab-  I  the  fruits  of  his  industry  should  he  be  successful, 
lished  authors ;  and  as  "  music  is  the  food  of  He  appeared  at  Covent  Oardeu  as  Henry  Bir- 
love,"  it  is  not  very  singular  that  he  should  at  |  tram,  in  "  Guy  Mannering,"  and,  in  the  unac- 


an  early  age  have  felt  a  passion  so  general  in  its 
attack  on  mortals.  He  married  a  young  lady  of 
highly  respectable  connections,  and  wliose  liter- 
ary talent  has  sent  into  the  world  works  of  no 
inconsiderable  merit. 

Possessing  the  natural  feeling  for  music  which 
■we  have  described,  it  was  not  extraordinary 
that  his  compositions  should  keep  pace  in  beauty 
with  the  subjects  for  which  he  wrote  j  and  the 


companied  duet,  elicited  enthusiastic  applause : 
but  when  accompanied  by  the  band,  his  want  ot 
sufficient  power  totally  de])rived  hira  of  the  ad- 
vantage which  his  acknowledged  science  would 
other\vise  have  given  him,  and  a  failure  was  the 
consequence.  Though  nothing  would  be  more 
illiberal  and  ignorant  than  to  re<iuire  professom 
of  music  to  abide  a  similar  trial  of  tlieir  vocal 
capabilities,  yet,   as  tliis  circumstance  has  b«en 


642 


NAT 


ENCYCLOPAEDIA    OF    MUSIC 


N  A  1 


sometimes  unjusth'  urged  against  the  vocal  tal- 
ent of  Nathan,  we  subjoin  part  of  a  private 
letter  (with  which  we  have  been  favored)  from 
that  gentleman  to  a  friend,  in  which  he  adverts 
to  his  appearance.  "  Of  all  risings  and  fallings 
in  life,"  says  Nathan,  "the  falling  of  the  pocket 
is  the  most  annoying,  owing  to  certain  little  ac- 
companiments in  the  form  of  angry  creditors, 
who  set  a  man  thinking.  Of  two  evils,  accord- 
ing to  custom,  I  chose  the  least,  not  considering 
'  durance  vUe,"  under  the  best  auspices,  as  a  bed 
cf  roses,  more  particularly  when  upwards  of 
t^o  hundred  miles  from  those  whose  tender  age 
and  necessities  reiiuired  my  exertions;  and  as 
desperate  cases  require  desperate  remedies,  I 
deemed  it  prudent  to  purchase  my  liberty,  by 
convincing  those  who  had  claims  on  my  per- 
sonal property,  that  I  really  did  not  possess  a 
stentorian  power  of  lungs  sufficient  to  till  Co- 
vent  Garden  Theatre.  As  a  proof  tliat  vanity  had 
no  hand  in  the  business,  I  sent  .Mr.  Harris  a 
critique  from  Canterbury,  (where  I  h<ul  tried  the 
character  proposed  for  mc,j  not  the  most  flatter- 
ing to  my  feeble  voice. 

"  For  the  Adouis-likc  state  of  my  appearance 
1  cannot,  in  honest  truth,  say  much  ;  but  I  query, 
with  a  plaster  on  his  breast,  and  an  unhealed 
blister  on  his  back,  whether  even  the  Ajmlto 
Beh-idere  (to  whom,  I  beg  it  to  be  understood,  I 
bear  not  the  slightest  resemblance)  would  have 
looked  so  attractive  as  in  a  whole  skin.  Dressed 
and  patched  for  the  occasion  by  my  much  es- 
teemed medical  friend,  Mr.  Hare,  of  Argyle 
Sti-eet,  I  dared  my  fate,  and  while  I  strutted  'my 
hour  on  the  stage,"  —  pardon  me  for  most  pro- 
fanely altering  the  text  of  Skakspeare,  —  '  the 
curs  snarled  at  me  as  I  walked  along.'  Let  me 
disclaim  any  allusion  to  those  whose  condem- 
nation proceeded  from  an  honest  expression  of 
opinion  ;  ignorant  as  they  were  of  the  disadvan- 
tages under  which  I  labored,  I  could  but  antici- 
pate their  sentence.  I  allude  only  to  such  who, 
to  serve  party  or  private  purposes,  came  with  a 
premeditated  design  to  crush  me." 

TTie  popular  music  in  "  Sweethearts  and 
Wives,"  by  Nathan,  though  composed  at  a  few 
hours'  notice,  powerfully  exhibits  the  versatility 
of  his  talent :  "  Billy  Lackaday's  Lament,"  "  Why 
are  you  wandering,"  "The  Secret,"  and  "I'll 
not  be  a  maiden  forsaken,"  are  productions  that 
must  establish  hLs  talent  as  a  theatrical  composer ; 
indeed,  the  latter  song  is  so  original,  and  the  eon- 
nectiou  of  the  poetry  and  music  so  intimate,  that 
it  would  alone  be  sufficient  to  stamp  his  repu- 
tation. In  his  orchestral  arranijcments  he  is 
equally  happy,  and  his  accompaniments  possess  a 
ricliness  of  hiinuony  that  reach  beyond  the  ear 
of  the  auditor. I 

As  a  singing  master,  Nathan  had  few  superi- 
ors; for,  while  his  voice  afforded  an  example  of 
science  in  a  high  degree  of  cultivation,  his  "  Es- 
say on  the  History  and'Tlieory  of  Music,  and  on 
the  (Jualitics,  Capabilities,  and  Management  of 
the  Human  Voice,"  evinces  a  research  and  com- 
prehensive knowledge  of  that  subject.  The  work 
here  alluded  to  Ls  dedicated  to  the  king,  and  is 
valuable  to  the  musical  student. 

N.\TIONAL  MUSIC.  The  Russians  and 
Danej  are  rich  in  the  posinession  of  an  original 
and  most  touching  national  music ;  Scotland, 
Ireland,  and  Wales  are  alike  &vored  with  the 


most  ex<iuisito  native  melodies,  probably,  in  the 
world.  France,  though  more  barren  in  the  wealth 
of  sweet  sounds,  has  a  few  tine  old  airs  that  re- 
deem her  from  the  charge  of  utter  sterility 
Austria,  IJohemia,  and  Switzerland,  each  claim  i 
thou.sand  beautiful  and  characteristic  mountain 
songs.  Italy  is  the  very  palace  of  music ;  (jer- 
many  its  temple.  Spain  resounds  with  wild  and 
martial  strains  ;  and  the  thick  groves  of  Portugal, 
with  native  music  of  a  softer  and  sadder  kind. 
.Ml  the  nations  of  Europe,  probably  those  of  all 
the  world,  possess  some  kiud  of  national  music, 
and  arc  blessed  by  Heaven  with  some  measure 
of  perception  as  to  the  loveliness  of  barmouioui 
sounds. 

It  is  a  generally  received  opinion,  that  most 
countries  have  a  music  of  their  own,  the  charac- 
ter of  which  may  be  called  national.  I'robably 
this  is  true  as  it  regards  the  music  of  instrumentJ", 
but  not  with  that  which  emanates  from  the  voice. 
The  strains  of  the  Irish  and  Welsh  may  be  re- 
ferred to  the  harp  ;  the  dance  tunes  of  Spain,  to 
the  guitar ;  the  mountain  airs  of  the  Svs-iss,  to 
the  hunting  horn  ;  and  the  mu.sic  of  the  Turks, 
to  the  rhythmical  clangor  of  the  ancient  Greeks. 
The  primitive  tones  of  the  human  voice  are 
much  the  same  in  all  countries,  and  Scotland, 
perhaps,  is  the  only  district  in  the  world  that  re- 
tains an  artless  melody.  T'he  Scotch,  not  having 
mingled  with  the  musicians  of  the  continent, 
have  prcser\-ed  the  ancient  character  of  their 
music  more  entire  than  any  other  country :  the 
])athetic  effect  of  it  may  be  ascribed  to  the  use  of 
the  minor  key,  the  only  key  known  to  the  Greekn 
and  Romans,  from  whom  these  primitive  airs 
have  no  doubt  descended.  On  the  introduction 
of  accompaniment,  the  voice  surrendered  its  pre- 
dilection for  the  minor  key  ;  and  the  major,  so 
natural  to  the  joyous  instruments,  disputed  its 
ascendency.  Melody,  however,  has  been  much 
improved  by  the  alternate  use  of  these  keys,  and 
none  more  so  than  that  of  the  Scotch. 

It  has  boon  often  said  that  we  have  no  national 
music.  We  cannot  deny  the  assertion.  While 
we  have  severed  ourselves  from  all  foreign  author- 
ity in  government,  and  it  is  our  well  considered 
and  established  policy  to  reject  all  foreign  alli- 
ances, should  we  not  be  ever  aiming  to  obtain  a 
distinct  nationality  •  Should  we  not,  whenever 
we  can,  decline  being  tributaries  to  a  foreign 
power  ?  Music  Ls  one  of  the  most  distinguishing 
badges  of  nationality.  But  we  must  confess  that 
we  have  no  national  music.  It  is,  then,  a  con- 
sideration of  great  importance  that  the  growth  of 
a  national  music,  if  we  arc  ever  to  have  it,  is  un- 
doubtedly to  be  fostered  and  promoteil  chietly  by 
amateurs.  Their  tirst  step  in  the  accoinplLsh- 
ment  of  this  great  work  should  be  the  ditfu^ion 
of  musical  taste  among  the  people ;  and  this  is 
to  be  done  not  by  e.xhibiting  to  them  brilliant 
models  of  performances.  The  great  pcrlormerx 
on  instruments,  and  the  great  singers  who  have 
visited  us  from  Europe,  have  done  little  or  noth- 
ing for  the  formation  of  a  popular  t.iste.  They 
may  have  rai.se<l  the  standard  of  criticUm  among 
the  more  wealthy  and  educated  classes ;  but  even 
if  it  be  confes.sed  that  they  have  imjiroved  the 
general  taste,  they  have  done  nothing  towardi 
establishing  a  di.stinctive  national  music  in  oui 
country;  nay,  rather  have  put  back  this  great 
object  by  tilling  our  ears  and  our  imaginationt 
with  the  bcautilul  productions  of  •  modern  school 


t3 


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ENCYCLOPiEDIA    OF    MUSIC. 


NAt 


The  only  v  ay  in  which  there  is  the  least  hope  of 
inspiring;  a  true  taste  for  music  amongst  us,  is  to 
instruct  the  people  to  make  performers  of  our 
poorest  children.  To  use  the  striking  figure  of  a 
writer  upon  this  subject,  we  might  as  well  hope 
to  raise  fruit  by  tearing  a  branch  from  the  tree 
and  fixing  it  in  the  ground,  as  to  create  a  popu- 
lar taste  for  music  by  importing  artists  to  give 
concerts  or  perform  operas  ;  the  good  seed  must 
be  planted  before  the  tree  can  grow  ;  tlie  people 
must  grow  up  musical,  and  time  and  practice  are 
requisite  for  the  work.  It  is  said  that  we  arc 
naturally  an  unmusical  people.  This  we  do  not 
believe.  The  mass  of  the  people  are  only  unmu- 
sical because  they  want  instruction.  We  are 
convinced  that  beucath  the  noisy,  dusty,  rattling 
shell  of  Yankee  life,  with  all  its  hurry  and  all  its 
money  getting,  there  is  a  sense  of  art,  which  will 
one  day  be  displayed  with  a  keenness  and  insa- 
tiable desire,  that  will  rival  the  energies  of  the 
gifted  nations  in  the  south  of  Europe.  A  people 
BO  intensely  charmed  by  eloquence,  so  passionate 
in  their  longing  for  speeches  and  orations,  as  we 
have  already  showed  ourselves  to  be,  cannot  be 
insensible  to  the  power  of  music,  when  it  shall 
once  have  penetrated  to  the  bouI. 

NATURAL.  A  word  of  various  significations, 
sometimes  applied  to  those  airs  and  modulations 
of  harmony  which  move  by  smooth  and  easy 
transitions,  digressing  but  little,  or  gradually, 
from  the  original  key ;  sometimes  to  the  two 
keys,  C  major  and  A  minor,  because  they  do  not 
require  either  sharp  or  flat  in  the  formation  of 
their  proper  intervals.  This  word  is  also  used  to 
signify  that  music,  or  those  musical  sounds,  pro- 
duced by  natural  organs,  as  the  human  voice  or 
the  throats  of  birds,  in  contradistinction  to  arti- 
ficial music,  or  that  performed  on  instruments. 
Natural  is  likewise  the  name  of  a  certain  charac- 
ter used  to  contradict  some  sharp  or  flat  pre- 
viously expressed  or  understood ;  to  restore  a 
note  made  flat  or  sharp  to  its  primitive  sound, 
thus  :  — 


P=^^^ 


The  natural,  although  a  very  ancient  character, 
vfaR  not  used  by  Morloy,  Simpson,  or  Playford. 
They  always  employed  the  Jlat  to  take  away  the 
sharp,  and  the  sharp  to  tJike  away  ihc  fat,  in  the 
same  manner  as  we  now  use  the  iintural.  Hence 
are  found,  in  old  music,  the  sharp  before  15,  and 
the  flat  before  F;  not,  as  now,  to  repro-^ent  U 
sharp  and  F  flat,  but  merely  to  take  away  a  pre- 
ceding flat  or  sharp.  The  natural,  although  evi- 
dently an  accidental  character,  and  a  more  general 
expression  for  the  two  others,  the  sharp  and  the 
flat,  is  sometimes  placed  essentially  at  the  begin- 
ning of  a  strain,  when  a  former  part  of  the  same 
movement  has  had  a  sharp  or  flat  in  its  signature. 
According  to  it.s  power,  therefore,  of  raising  or 
lowering  any  note  of  the  scjile,  the  luitural  must 
be  a'wuvB  considered  as  representing  a  sharp  or 
a  flat.  In  Ilander  s  song  of  "  Pious  Orgies,"  (Ju- 
das Maccabicus,  No.  1,)  the  natural  is  frequently 
employed,  and,  in  one  particular  measure,  sharp- 
ens the  treble  and  flattens  the  bass. 

NATURAL  HARMONY.  The  harmony  of 
lh«  triad,  or  common  chord.     An  expression  used 


in  contradistinction  to  discordant  commixture. 
See  AuTiFiciAL  Harmony. 

NATURAL  KEY.  That  key  which  has 
neither  a  flat  nor  a  sharp  for  its  signature,  is  said 
to  be  the  luitural  key,  as  the  key  of  C. 

NATURAL    MODULATION.     Such   modu- 
lations as  proceed  from  the  principal  key  of 
composition    into    only    the    relative    keys,    ai( 
termed  luUural. 

NAUMANN.  JOHANN  GOITLIEB,  master 
of  the  Electoral  Chapel  at  Dresden,  and  one  of 
the  first  composers  in  Germany,  was  born  in 
1741,  in  a  small  village  near  Dresden,  of  very 
poor  parents,  and  was  carried  to  Italy  by  a  Swe- 
dish virtuoso,  who  discovered  and  wished  to  en- 
courage his  talents  for  music.  He  had  to  struggle 
a  long  time  with  bad  fortune,  but  his  ardor  was 
never  relaxed,  .\fter  seven  years'  study,  during 
which  he  formed  himself  under  the  great  Tartini 
at  Padua,  under  Martini  at  Bologna,  and  in  the 
Neapolitan  school,  he  returned  to  Germany,  when 
the  King  of  Prussia  appointed  him  master  of  one 
of  his  chapels.  He  afterwards  made  two  journeys 
to  Italy,  where  he  composed  several  operas,  which 
had  the  mo.st  distinguished  success  in  all  the 
theati  es  of  that  country.  The  different  courts  of 
the  north  endeavored  to  attract  him  by  the  most 
brilliant  and  flattering  offers  ;  but  he  always  pre- 
ferred a  residence  in  his  own  country,  where  ha 
spent  every  summer  in  his  native  village,  on  the 
banks  of  the  Elbe.  For  some  time  before  his 
death  he  had  devoted  himself  almost  exclusively 
to  sacred  music,  and  he  has  left  some  very  valu- 
able compositions  of  that  kind  in  the  archives  of 
the  chapel  at  Dresden.  In  the  year  1801  he  died 
of  apoplexy,  with  which  he  was  struck  whila 
walking  in  the  electoral  park. 

We  cannot  refrain  from  adding  to  the  foregoing 
account  of  the  celebrated  Naumann,  the  following 
article,  extracted  from  Gerber  :  "  Naumann  did 
not  get  quite  so  readily  to  Italy  as  has  been  usu- 
ally said ;  on  the  contrary,  he  had  preriously  to 
undergo  at  Hamburg,  where  he  arrived  in  1757, 
many  trials  of  his  patience,  through  the  conduct 
of  his  master.  Von  Weestrom,  a  Swedish  ama- 
teur, who  had  become  very  tjTannical  and  par- 
simonious towards  him.  Indeed,  little  time  was 
left  him  for  studying  the  science  of  music,  and, 
except  now  and  then  playing  on  the  tenor,  he 
was  obliged  to  submit  to  the  meanest  and  most 
painful  oflices.  In  this  condition  he  spect  ten 
weeks  at  Hamburg ;  during  a  part  of  which 
Weestrom  had  a  severe  and  dangerous  illness, 
and  also,  it  is  believed,  sustained  a  considerable 
reduction  in  his  finances.  Nevertheless,  they  set 
out  in  the  spring  of  17o8  on  their  journey  to 
Italy ;  no  small  i)art  of  which  the  phor  and  patient 
Naumann  had  to  perform  on  foot,  through  rain 
and  snow,  indifferently  clothed,  and  with  very 
meagre  diet.  At  Venice,-and  afterwards  at  Pad- 
ua, to  which  latter  town  his  master  went  to 
pursue  his  studios  under  Tartini,  Naumann  had 
even  to  earn  his  daily  subsistence  by  WTiting  mu 
sic  ;  and  he  declares  that  he  had  copied,  in  sis 
or  seven  months,  besides  an  immense  number  of 
minor  ])ieces,  xipwards  of  seventy  concerii,  all  of 
whicli  \'on  Wee.5trom  sold  for  his  own  benefi) 
He  was  indeed  reduced  so  low  as  even  to  I 
obliged  to  cook  for  his  master,  ^\'hat  still,  how- 
ever, most  grieved  the  unfortunate  youth  yrat. 


644 


rJAU 


ENCYCLOr.EDiA    OF    MUSIC. 


NAL 


that  he  now  had  not  s  moment  to  sparo  for  piac- 
tising  his  favorite  Bcience,  much  less  was  there  a 
chance  of  his  obtaining  regular  instruction  from 
a  professor.  One  day,  however,  having  to  carry, 
as  usual,  the  violins  ot  Messrs.  Eyselt,  Ilunt,  and 
his  master,  to  Tartiui's,  he  mustered  up  courage 
to  petition  the  professor  to  be  allowed  the  favor 
of  now  and  then  staying  at  the  door  of  the  room, 
when  his  master  or  one  of  his  countrymen  were 
receiving  instruction,  so  that  he  might  just  catch 
a  little  information  at  a  distance.  Tartini,  who 
was  of  the  kindest  disposition,  pleased  with  the 
humility  of  the  request,  immediately  ottered  to 
receive  him  as  a  regular  pupil.  Accordin>rly  he 
now  enjoyed  the  benedt  of  attending,  twice  a 
■week,  a  gratuitous  course  of  instruction  from  this 
great  master ;  at  one  lesson  accompanying  Eyselt, 
and  at  another  Hunt.  He  had,  moreover,  the 
good  fortune  of  jjiissing,  about  this  time,  from  the 
jervice  of  liis  despotic  master  to  that  of  Hunt, 
who  was  of  a  very  opposite  character.  Having 
thus  spent  three  years  and  two  months  at  Padua, 
and  having  acquired,  besides  a  great  proficiency 
on  the  vioUn,  no  ordinary  skill  on  the  harpsi- 
chord, he  was  introtlueed  to  Mr.  Pitscher,  who 
was  travelling  through  Itiily  at  the  expense  of 
Prince  Henry,  and  who,  failing  in  his  design  of 
obtaining  instruclion  from  Tartini.  applied  to  take 
lessons  of  Naumann,  then  considered  his  best 
pupil,  and  also  made  him  the  ott'er  of  accompany- 
ing him,  free  of  cxiiense,  on  his  tour  through 
Italy.  This  was  too  delightful  a  proposid  not  to 
be  accepted  by  Xaumann  with  alacrity.  Tartini 
himself,  indeed,  unwilling  as  he  was  to  part  with 
his  favorite,  deemed  his  removal  almost  indispen- 
sable to  his  becoming  great  in  his  iirofession.  Ac- 
cordingly he  left  Padua  with  Sir.  Pitscher  in 
17l)l,  proceeded  to  Rome,  and  thence,  in  a  few 
weeks,  to  Naples ;  the  charms  of  which  city,  to- 
gether with  the  delightful  climate,  and,  above  all, 
the  splendid  theatres,  detained  them  six  months. 
It  seems  that  Naumann  there  devoted  himself 
exclusively  to  theatrical  composition,  and  tried 
his  strength  in  that  style  on  several  detached 
pieces  of  Metastasio's  poetry,  which  he  meant  for 
the  stage.  At  length  they  quitted  Naples,  spent 
tlie  Easter  holidays  at  Rome,  and  then  proceeded 
to  Eologiia,  where,  on  presenting  Tartiui's  letters 
of  recommendation,  Naumann  was  immediately 
admitted  by  the  celebrated  Padre  Martini  to  his 
academy,  on  the  footing  of  an  old  acquaintance, 
and  failed  not  to  dip  freely  in  the  treasures  which 
he  discovered  in  this  master's  library.  Mean- 
whUe  the  time  allowed  to  Pitscher  for  his  resi- 
dence in  Italy  had  expired ;  but,  as  war  still  con- 
tinued to  rage  throughout  Saxony,  Naumann 
thought  best  to  let  Pitscher  return  alone  to  Ger- 
many, remaining  himself  at  Venice  until  a  more 
auspicious  period.  In  that  city  he  soon  got  a 
sulKiient  number  of  pupils  to  supersede  all  cares 
al>out  his  immediate  wants ;  and,  indeed,  before 
two  months  had  elapsed,  hLs  greatest  wish,  up  to 
that  ]eriod,  was  accomplishe<l  by  his  being  en- 
gaged to  compose  an  opera  butfa  for  the  Theatre 
of  St.  Samuel.  Though  no  longer  than  a  month 
was  allowed  him  to  finish  this  opera,  it  still  met 
with  universal  applause,  and  tor  at  least  twenty 
night.s  never  failed  to  attract  an  overflowing  audi- 
ence to  both  i)it  and  boxes.  On  account  of  the 
shortness  of  the  inter^•ening  time,  he  undertook 
for  the  next  carnival  only  part  of  an  opera,  which, 
kowever,  was  not  less  successful ;  the  act  which 


he  composed  being  universally  preferred  t.>  t"..« 
remainder,  set  by  two  other  ma.^tcrs."  (Th* 
titles  of  those  two  pieces  are  not  kimwu  to  Ger- 
ber.) 

"  Having  now  resided  eighteen  months  at  Vcn 
ice,  and,  in  all,  seven  years  in  Italy,  the  treaty  of 
Huhcrtsburg  at  length  restored  peace  and  tran- 
<iuillity  to  his  native  country.  His  insuperable 
longing  for  home  then  increasing  every  day,  a 
thought  occurred  to  him  of  sending  his  purents 
the  scorc  of  one  of  his  operas,  as  a  specimen  of 
his  abilities,  and  recjucsting  them  to  get  the  work 
shown  to  persons  about  the  court.  To  effect  this, 
his  mother  went  to  Dresden,  and  was  so  fortunate 
as  to  be  enabled  to  place  the  manuscript  in  the 
hands  of  the  dowager  electress,  Marie  Antoinette. 
This  princess,  wlio  was  an  excellent  musician, 
immediately  looked  into  the  score,  in  the  presence 
of  Naumann's  mother,  and  dismissed  her  with 
the  remark,  that  she  must  be  allowed  to  doubt 
whether  the  music  she  saw  was  really  the  com- 
position of  the  young  man,  but  that  she  would 
inquire  into  the  subject.  She  then  wrote  to 
several  of  the  profcs:iors  of  Italy,  and  receiving 
answers  from  them  unanimously  filled  with  eulo- 
giums  on  the  talent  of  young  Nauiuann,  she  gave 
him  a  nomination  in  her  chaiiel,  accompanying 
it  with  a  sutticient  pecuniary  remittance  for  his 
journey  to  Dresden.  Naumann  did  not  lose  a 
day  in  quitting  Italy,  and  arrived  at  Dresden  in 
ITii'i.  He  then  directly  wrote  a  mass,  and  per- 
formed it  himself  before  the  electress  mother ; 
upon  which  he  was  immediately  raised  to  the 
rank  of  composer  of  sacred  music  to  the  elector, 
with  an  apiiointment  of  two  hundred  and  twenty 
dollars,  and  hLs  leave  for  a  second  journey  to 
Italy  to  fulfil  his  remaining  engagements  there ; 
and  was  not  only  accompanied  by  the  diploma 
of  composer  to  the  elector,  but  also  the  two  young 
students,  Schuster  and  Seydelmann,  were  con- 
signed to  his  sujjerintondence  while  abroad.  He 
now  again  visited  the  greatest  part  of  Italy  with 
his  companions,  making  the  longest  stay  at  Na 
pies.  Being  then  engaged  to  compose  the  opii.i 
of  '  Achiitv  in  Siro,'  lor  Palermo,  an  opportunity 
was  att'orded  him  of  seeing  Sicily.  From  thence 
they  proceeded,  by  the  way  of  Naples,  Rome,  S:c., 
to  Venice,  where,  being  occupied  with  the  opera  of 
'  AUs.vtndro  '  for  the  theatre,  he  unexpectedly  re- 
ceived the  commands  of  his  court  to  return  to 
Dresden,  for  the  purpose  of  setting  to  music  the 
opera  of  '  La  Ckmeiiza  di  Tito,'  for  the  elector'i 
nuptials.  This  was  the  only  opera  which  he 
composed  for  the  grand  theatre  there.  In  1772 
he  undertook  a  third  jouniey  to  Italy,  at  his  own 
expense.  He  then  composed  there,  in  eighteen 
months,  the  operas  '  iyilinutnn'),'  •  Le  Xozze  diilur- 
baie,'  and  '  L' ho/a  dUnhilata,'  for  Venice,  and  tha 
'Ariiiid.!,'  for  Padua,  with  such  success  that  more 
of  his  works  were  bespoken  from  all  parts  of  Italy. 
Soon  after  his  return  to  Saxony,  the  situation  of 
chapel-master  of  Berlin  was  oft'cred  him  by  Fred- 
eric the  Great,  on  lavorable  terras;  but  Nau- 
mann remained  faithful  to  his  sovereign,  although 
at  a  much  inferior  salary.  This  sacrifice  at  th« 
shrine  ot  ]>atriotism,  perhaps,  contributed  tn  hii 
being,  shortly  afterwards,  appointe<l  clmpd-miis. 
ter  by  his  own  court,  with  a  salary  of  one  thou, 
sand  two  hundred  dollars  per  annum.  It  was  in 
the  Course  of  his  third  journey  to  Italy  tl  al 
Naumsnn  wrcte  the  opera  of  •  Amphion,'  lor  the 
(elebri.tc  a  of  the  birthday  of  the  King  of  Sv  »• 


648 


N  AU 


ENCYCLOPEDIA    OF    MUSIC. 


SAV 


den.  Tliis  piece  hnd  the  greatest  success,  and 
was  the  occasion  of  his  beinf;  invited  at'torwards 
to  Stockholm,  where,  in  1780,  the  new  theatre 
was  oi)ened  with  his  opora  of  '  Cnni,'  when  he 
himself  presided  nt  the  orchestra.  After  this  per- 
formance tl:c  Kin;5  of  Sweden  testiKed  his  satis- 
faction in  the  most  i;racious  terms,  and  presented 
the  composer  with  a  medal,  worth  Hfty  ducats, 
togetlier  with  his  portrait  and  that  of  the  queen. 
ITiese  favors  were  exclusive  of  the  pecuniary  re- 
muneration which  had  been  agreed  on  for  his 
labor.  In  the  following  year  he  composed,  for 
the  same  theatre,  the  oi)era  of  '  Git-itavus  Va-ia,' 
which  was  also  successful.  In  17S5  he  was 
charged  with  the  composition  of  a  new  Danish 
(ipera,  '  Orpheus,'  for  the  theatre  at  Copenhagen. 
How  honorably  he  acquitted  himself  of  this  com- 
mission. Professor  Cramer  has  given  the  musical 
public  an  opportunity  of  judging,  by  arranging 
and  publishing  that  opera  for  the  piano-forte, 
with  a  German  translation.  This  piece  had  such 
success  at  Copenhagen,  that  the  Danish  court 
offered  him  the  jjlace  of  royal  chapel-master, 
upon  very  flattering  conditions,  and  with  a  bril- 
liant salary.  These  tokens  of  esteem  and  admi- 
ration from  the  Kings  of  Sweden  and  Denmark, 
though  great,  were,  however,  of  no  consideration 
with.  Naumann,  when  compared  with  the  many 
instances  of  royal  regard  he  experienced  from 
William  II.  That  prince  was  indeed  ranked 
amongst  the  consummate  judges  of  music ;  and 
it  is  difficult  to  say  whether  his  predilection  for 
Xaumaun's  chaste  and  exquisite  muse  did  not 
as  much  honor  his  own  taste  as  it  redounded  to 
the  composer's  glory.  In  1789  Naumann  wrote, 
at  Berlin,  the  first  act  of  his  '  Midie,'  the  com- 
position of  which  fell  to  him  by  lot.  This  was  to 
have  beeu  performed  at  the  carnival,  but  was  not 
ready  in  time.  Having,  in  1793,  composed  the 
second  act,  he  went  again  to  Berlin,  at  the  king's 
request,  on  purpose  to  bring  this  opera  out  on  his 
majesty's  birthday,  when  he  received  a  royal 
gratuity  of  two  thousand  dollars.  It  was  then 
that  the  king  also  committed  to  him  the  perfecting 
of  the  rising  talents  of  ilimmel  and  Miss  Schmalz  ; 
and  it  is  well  known  how  well  he  acquitted 
himself  of  this  task.  Having  declined  many  in- 
vitations and  orders  from  Paris,  he,  in  179.5,  re- 
introduced his  two  pupils  to  the  King  of  Prussia ; 
and  on  that  occasion  they  performed  before  his 
majesty  at  Potsdam,  besides  other  works  of  their 
master,  the  oratorio  of  '  Davidde  in  Tcrebinto,' 
WTitteu  in  1794  for  Dresden.  So  higlily  was  the 
monarch  pleased  both  with  the  composition  and 
the  skill  of  the  two  pupils,  that  he  presented 
Naumann  with  a  snuff-box  richly  set  with  bril- 
liants, and  decorated  with  the  royal  cipher.  In  the 
spring  of  1797,  he  again  received  a  most  gracious 
royal  invitation  to  go  to  Berlin,  and  hear  his 
])ui)ils  sing  at  the  nuptial  fttes ;  one  thousand 
dollars  for  travelling  e.xpenses,  and  a  snuff-box, 
carried  by  tlie  late  King  Frederic  II.,  were  adjoined 
to  this  request,  to  render  it  the  more  acceptable. 
It  was  then,"  continues  Gerber,  "that  I,  too,  had 
the  pleasure  of  witnessing  the  triumph  enjoyed 
bv  Naumann,  when  his  pupil  Ilimmel  made  his 
first  appearance  before  the  courts  of  Berlin  and 
Cassel,  presiding  at  the  piano-forte  in  his  *  Henii- 
ramidi','  in  his  grand  cantata,  and  in  his  two  can- 
tatas, '  The  Hessian  Sons  '  and  '  The  Pru.ssian 
Daughters,'  and  when  Miss  .Schmalz  contributed 
BO  much,  by  her  exquisite  singing,  to  give  ad- 

C4G 


ditional  force  to  the  above  masterpieces.  I  waj 
present,  also,  when  Fasch's  excellent  Conserva- 
torio  held  an  extraordinary  sitting  in  honor  ol 
Naumann,  to  entertain  him  with  the  one  hun 
dred  and  eleventh  psalm  in  Latin,  for  four  voices 
which  he  had  sent  them  the  year  before,  tc 
which  were  added  some  divinely  beautiful  lines 
from  Fasch's  celebrated  '  Miserere '  for  sixteen 
voices. 

"  Many  a  festive  scene  had  Naumann  now  em- 
bellished at  Berlin  with  his  talents  ;  nor  was  he 
less  zealous  in  his  devotions  to  the  science  at 
Dresden,  though  his  career  was  there  more  pri- 
vate and  regular.  At  length  the  Dresden  pub- 
lic, too,  appeared  determined  to  honor  this  skilful 
artist  in  a  distinguished  manner ;  and  hLs  com- 
position of  Klopstock's  '  Lord's  Prayer,'  then 
just  finished,  afforded  them  an  excellent  oppor- 
tunity. According  to  an  account  from  Dresdei. 
of  this  masterpiece,  (iu  the  first  year  of  the 
Leipsic  '  Musical  Gazette,'  p.  883,)  a  single  hour, 
favored  by  the  Muses,  was  sufficient  for  Nau- 
mann to  mature  the  plan  of  it.  To  finish  it, 
however,  took  him,  with  the  utmost  industry, 
no  less  than  a  year  and  a  quarter.  The  score 
from  which  he  himself  led  at  the  performance 
was  the  third  revision.  Baron  Rackuitz  caused 
an  orchestra  to  be  erected  for  the  purpose  in  the 
new  town  church,  where  eightv  singers  and  one 
hundred  instrumentaUsts  performed  the  '  Lord's 
Prayer '  and  the  one  hundred  and  third  psalm, 
on  the  21st  of  June  in  the  afternoon,  and  a  sec- 
ond time  on  the  2 1st  of  October  in  the  evening, 
the  church  then  being  illuminated  with  great 
effect,  and  the  audience  a  crowded  one.  The 
Psalmist's  text  was  wrapped  in  soft  solos,  whilst 
the  prayer,  on  the  contrary,  was  given  in  full 
choruses.  On  this  occasion  there  was  published  a 
poem  of  twelve  pages  octavo,  entitled  '  On  Nau- 
mann's  Oratorio,  performed  on  the  21st  of  June, 
1799,  in  the  Church  of  the  New  Town,  for  the 
Benefit  of  the  Surt'erers  by  the  Floods,  and  on 
the  21st  of  October  for  the  Benefit  of  tlie  City 
Infirmary,'  Dresden,  1799,  in  which  the  poet  ex- 
presses his  feelings  on  hearing  this  masterpiece. 
'The  first  performance  produced  one  thousand 
dollars,  after  all  charges  were  deducted.  Finally, 
his  last  opera,  'Aci  e  Gakiiea,'  was  performed  at 
Dresden  in  1801,  with  unqualified  applause. 
Already,  while  he  was  composing  it,  there  was  a 
report  that  w  ith  this  piece  he  intended  to  take 
leave  of  the  theatre.  Alas  !  this  was  too  true  I 
inasmuch  as,  shortly  after  this  composition,  he 
took  leave  of  society  altogether :  however,  with 
the  exception  of  some  defect  in  his  hearing,  he 
found  himself  yet  tolerably  well.  With  what 
cheerfulness  he  must  then  have  contemplated  his 
past  life  !  How  he  must  have  blessed  his  ultimate 
late,  on  the  retrospect  of  the  first  four  hopeless 
and  sorrowful  years  of  his  journeyings  in  Germany 
and  Italy !  He  now  not  only  lelt  hiraself  re- 
spected as  a  professional  man,  but  beloved  in  his 
own  circle  as  a  husband  and  father.  Indeed,  it 
ought  to  have  been  mentioned  before,  that  dur- 
ing his  residence  at  Copenhagen,  in  the  year 
1792,  he  married  the  daughter  of  the  late  Dan- 
ish Admiral  Grodbshilling,  a  lady  wlio,  at  first 
sight,  inspired  all  beholders  with  esteem  and 
att'ection.  He  likewise  built  himself  at  Blase- 
witz,  his  native  village,  a  pleasant  country  .house, 
where  he  could  devote  himself  undisturbed  to 
the  Muses. 


NAU 


ENCYCLOPAEDIA    OF   MUSIC. 


N  AL 


"He  was  just  about,  it  is  snid,  to  buy  many 
young  trees  lor  this  liis  Tiisculauu/n,  ami,  with 
that  object  in  view,  was  strolling  quite  by  him- 
»ell',  on  the  21st  of  October,  towards  evening, 
through  some  extensive  grounds,  when  he  was 
seized  in  a  retired  spot  with  an  aiioplectic  fit. 
Stunned  and  speechless,  he  was  just  able  to 
crawl  a  tew  ]iaces  sidewisc ;  but  there  he  re- 
mained lying,  benumbed  and  senseless,  in  very 
raw  night  air ;  those  who  passed  by,  taking  him 
to  be  some  person  overcome  with  liciuor,  and  his 
wile's  messengers  having  searched  the  town  lor 
him  in  vain.  At  length  he  was  found  in  the 
morning,  in  that  situation,  by  some  huntsmen  ; 
they  took  him  immediately  to  the  nearest  house, 
where  all  possible  means  were  used  to  save  him, 
but  without  success ;  he  continued  senseless 
until  four  o'clock  iu  the  morning  of  the  '23d  of 
October,  when  he  expired.  After  his  funeral, 
the  grand  chamberlain,  Von  llachnitz,  caused  his 
death  to  be  commemorated  in  the  Stessian  Ilall, 
by  the  performance  of  several  of  his  compo- 
eitions  by  the  electoral  band,  in  lull  mourning, 
led  by  tlic  chapel-master,  Schuster.  On  that 
occasion  Naumnnn's  name,  in  conspicuous  char- 
acters, surmounted  by  a  lyre  within  a  wreath  of 
laurels,  a^ipeared  over  the  orchestra,  llis  pupil 
Miss  Schmalz  embellished  the  whole  by  the 
execution  of  her  solos.  Subsequently,  also,  the 
concert  of  amateurs  paid  a  tribute  to  his  mem- 
ory, in  ISOi,  by  an  epicedium,  prepared  for  the 
occasion,  to  wliich  a  young  artist  and  pupil  of 
the  deceased,  named  Berner,  from  Berlin,  com- 
posed the  music.  The  music  director,  Tag,  of 
Hohenstein,  also  had  a  dirge,  with  accompani- 
ment on  the  piano,  luiutcd  in  honor  of  the  de- 
ceased. 

"Thus  died  Naumann,  in  his  sixtieth  year; 
prematurely  indeed  for  his  family,  and  no  less  so 
lor  tlie  science  of  music,  but,  as  regarded  him- 
self, iu  unalloyed  prosperity,  without  having 
missed  any  of  the  comlbrts  of  life,  and  without 
feeling  the  approach  of  his  dissolution ;  in  one 
word,  surprised  by  death  in  the  very  lap  of  fe- 
licity. In  writing  this  dictionary,"  concludes 
Gerber,  '•  my  task  has  not  very  otten  been  cheered 
by  being  able  to  finish,  as  I  do  here,  the  biogra- 
phy of  an  eminent  professor  with  a  result  ade- 
quate to  his  merits  and  devotion  to  the  pleasure 
and  happiness  of  his  feUow-creatures  !  A  very 
transient  retrospect  of  our  departed  musical  fa- 
vorites will  but  too  well  con'oborate  this  melan- 
choly remark.  ^Vhat  a  splendid  career  Handel 
ran  through  for  about  fifteen  years !  but  how 
was  his  horizon  overcast  towards  the  close  of  his 
life !  and  the  great  Hesse,  was  he  more  fortunate, 
wandering  in  his  old  age  about  Vienna  and 
through  Italy  ?  Graun,  gentle  Graun,  perhaps, 
breathed  his  last  more  placidly  on  his  well- 
earned  laurels ;  but  whoever  recollects,  from  the 
life  of  Fasch,  how  the  gentlemen  of  the  lioyal 
Prussian  Chapel  were  obliged,  during  the  seven 
years'  war,  to  subsist  many  years  without  salary, 
will  find  his  situation  in  his  latter  days  to  have 
been  any  thing  but  enviable.  The  extreme 
])Overty  and  distress  amidst  which  Dittersdorf 
and  I'iccini  also  awaited  their  dissolution,  are 
but  too  notorious.  Such  a  melancholy  fate 
could  not  indeed  befall  the  frugal  Sebastian 
Bach,  w'lo  never  asph'ed  at  a  splendid  fortune ; 
but  then  fate  visited  him,  in  his  old  age,  with 
blindness.     Jomelli   died,  by  all  accounts,  of  a 


broken  heart  at  the  ingratitude  of  the  publia 
Similar  disheartening  feelings  seem  also  to  have 
driven  the  unfortunate  but  able  George  Uenda 
to  a  seclusion  from  all  human  intercourse ;  and 
to  say  all  in  all,  what  was  the  far-rej  owned 
Mozart's  fate  r " 

\Vc  now  subjoin  a  catalogue  of  the  principal 
works  of  this  eminent  composer.  For  the 
church  :  "  La  Pussione  cli  Giesti  Crista,"  oratorio, 
words  by  Metastasio,  Padua  ;  "  Isacco  fijiira  del 
Roclemtore,"  of  Mctastasio,  Padua  and  Dresden  ; 
"  Giiuicppe  riconosciatn,"  of  Metastasio,  Padua  and 
Dresden;  "  Zeit  mid  Eioiykeif,"  Padua  and  Meck- 
lenburg-Schwerin  ;  "  Sinta  Elena,"  of  Metastasio, 
Padua  and  Dresden  ;  "  Jo.seph  recognized  by  his 
Brethren,"  of  Metastasio,  Paris ;  "  Unsere  BrU- 
der,"  Paris  and  Mecklenburg- Schwerin  ;  "  li 
FiijUo  Prodii/o,"  Paris  and  Dresden;  a  second 
composition  of  the  "  J'asshite  di  Viisu  CrUto," 
Dresden;  " 'J'e  /Jchhi,"  Dresden ;  "2d  Psalm," 
manuscript;  "9Gth  Psalm,"  printed;  "103d 
Psalm,"  printed,  "  U  1th  Psalm,"  in  Latin,  for  four 
voices;  "  Davidde  in  TenbiiUo,"  oratorio,  Dresden, 
1794  ;  "  Canto  de  I'cUeffrini  dcW  htejso,"  oratorio; 
"  Ar;giustatos  j)cr  Arpa  o  Cembalo,"  1798;  "  Klop- 
stock's  Lord's  Prayer,"  1799  ;  "  Messa  isoleniie,"  op. 
posthume,  Vienna,  180-)  ;  "  Ojf'crtoriuin  ikiienne, 
Laada  Sion  Salcaturem,  ir  Circuincis.  Domini,"  op. 
posthume,  Vienna,  1804  "  3d  Psahn,  fori  voc," 
Vienna,  1804;  "Tweu  r-seveu  Masses,"  written 
since  the  year  1706,  ch  yliy  for  the  Royal  Chapel 
at  Dresden  :  these  are  all  in  manuscript:  "  ISe- 
tulia  Liberuta,"  oratorio,  manuscript;  "  £a  Morte 
d'Abelle,"  oratorio,  manuscript;  "The  9.3th 
Psalm,  with  a  .Sa/idiw,  &:c.,  in  double  chorus," 
and  "The  149th  Psalm;"  these  iwo  last  were 
composed  for  tlie  Brethren  at  Hcrrunut.  For 
the  theatre,  the  following  operas :  "  Achille  in 
Sciro,"  Palermo,  1768;  "La  CU-mcnza  di  Tito," 
Dresden  ;  "  Le  Sozze  disturbate,"  comic  op.,  Ven- 
ice ;  "  ho/a  disabitata,"  \emce,  1773;  " //  iioli- 
mano,"  Venice;  "  Ijiermncslra,"  Venice;  "II  IV- 
lano  geloso,"  comic  opera,  Dresden;  "L'lpoon- 
driaco,"  comic  opera,  Dresden ;  "  Elisa,"  opera 
ser.-com.,  Dresden  ;  "  Osiride,"  op.  ser. ;  "  Tutto 
per  Amore,"  0Y>.  ser.-com.  Dresden  ;  "  Amphion," 
Stockholm;  "Cora,"  "  Gustacus  I'asa,"  "La 
Reygia  d' Imeneo,"  Dresden;  "  OrJ'eo,"  Copen- 
hagen; "  Midi-e,"  Berlin,  1788;  "  Prolesilao," 
1793;  " V Andromeda,"  "La  Dama  Soldato,"  op- 
era buffa,  Dresden,  1791 ;  iu  this  opera  is  the 
song  of  "  Vino  cccchio,"  so  well  known  in  Lon- 
don ;  "Amore  yiuatijicalo,"  opera  bulla,  Dresden, 
1792;  "  Aci  e  Galatea,  ossia  i  Ciclopi  amandi," 
Dresden,  1801.  For  the  chamber ;  vocal:  "  Ecco 
quel  fiero  istante,"  a  canzonet,  for  soprano  and 
violin,  1778;  "Freemasons'  Songs,"  Leipsic, 
1778  ;  "  Airs  from  Kobert  and  Caliiste,"  written 
for  Mme.  Ilclniuth ;  "  A  Collection  of  thirty-sL\ 
German,  French,  and  Italian  Songs,  with  Ac- 
companiment for  the  Piano-forte ;  "  "  Dii 
Lehrstundc,''  of  Klopstock,  1786;  "Six  Italian 
Ariettes,  with  Accompanime:it  for  the  Piano- 
forte," 1790;  "Six  French  Ariettcs,"  1790; 
"Ode  on  May.  the  Words  by  Clodius,"  Berlin; 
"  Elegy,  by  llartmann,  '  An  die  Volker,  von  \Vie- 
singer,' "  Dresden,  1794;  "  Blumenstrquss  J'Ur  Li- 
na,"  Leipsic,  1794;  "12  von  Eiiiens  gcMiichen 
Liedem  Seym  Klavier ; "  "  Stx  Airs,  acec  Accom- 
pagnement  du  Piano-forte  par  -U.  le  Comte  de  liar' 
tig;"  "Die  Ideale  ran  Srhiiler,"  Dresden,  1796. 
"  AirM    Frani^is    pour    Piano-fete    et    Guilott " 


647 


NAU 


ENCYCLOPEDIA    OF    MUSIC. 


Hamburg,  1797;  "25  ncuc  Licdei-  verschicdencn 
Inhalia  vun  lUr  Fran  ron  lleck,"  Dresden,  1799; 
and  "  Cantathiii  an  die  Toiikutmt."  Instrumental : 
"Six  Quntuors  for  Piano-forte,  Flute,  Violin, 
Bnd  Bass,"  Op.  i,  Berlin;  "  Six  Trios  for  the 
Har])si<'hord  and  Violin,"  Op.  2,  Berlin;  "Two 
Sj-Tuijhonies  for  a  full  Orchestra,  from  the  Operas 
of  Cora  1111(1  Klisa,"  Op.  3  ;  "  Six  Sonatas  for  the 
Harmonica  or  Piano-forte,"  178f);  "Ditto,  Sec- 
ond Part,"  Dresden,  1792;  "Overture  to  Mdie, 
for  the  Piano-forte  and  Violin  ;  "  "  Concerto  for 
the  llaqisichord,  in  B,"  Darmstadt,  1794  ; 
"  Three  Sonatas  for  the  Harpsichord,  with  Violiu 
and  Bass,"  Paris;  "  >ix  Duns  fiiciUs  pour  2  V.,  d 
I'uMoge  de  Commen^ant*,"  Leipsic. 

NAUSS,  JOIIANX  X.  Or-anist  at  Augsburg 
about  the  middle  of  the  eif^liteenth  century. 
He  published,  in  17.51,  a  work  on  thorough- 
bass; he  also  published  two  volumes  of  preludes, 
fugues,  airs,  and  pastorals,  under  the  title  of 
"  Die  apielende  Muse,"  and  afterwards  five  vol- 
umes of  short  pieces  for  the  harpsichord.  The 
whole  were  printed  at  Augsburg. 

NAUZE,  LOUIS  DE  LA,  member  of  the 
Academy  of  Inscriptions  and  Belles-lettres,  insert- 
ed in  the  thirteenth  volume  of  the  memoirs  of 
that  society  a  dissertation  on  the  songs  of 
Ancient  Greece. 

NAVARA,  FRANCESCO,  of  Rome,  flourished 
towards  the  end  of  the  seventeenth  century. 
lu  Ui96,  he  brought  out  at  Venice,  the  opera 
"  Basilio  lie  d' OrietUe." 

NAV ARR A,  ■ST:NCEXZ0,  a  priest  at  Palermo, 
iu  Sicily,  was  born  there  in  IfiOG.  He  published, 
in  1702,  a  work  entitled  "  Brecis  et  accurata  totius 
Miiiicte  Xotitia."  He  also  wrote  a  book  called 
"  Le  Tavole  d«Ua  feyi/e  numcrica,  ed  armoiiica,  nelle 
quali  si  discoluno  gli  arcaiii  piii  reconditi  del  niimero 
e  delta  musica."  ITiis  work  was  about  to  be  pub- 
lished when  the  author's  house  was  consumed 
by  fire,  iu  1710. 

NAVARRO.  FRA^-CESCO,  a  monk  at  .\lvaro, 
in  Old  Castile,  about  the  year  lfi20,  wrote  a  work 
entitled  "  Manuale  ad  usuni  chori  jitxta  rilum  fra- 
trum  minoruin,"  and  another  called  "  Dc  oral,  et 
por.  canon." 

NAVOIGILLE,  GUILLAUME,  a  French  mu- 
sician, was,  in  the  year  1798,  first  violin  at  the 
Pantomime  Xationale  at  Paris.  He  published 
some  quartets  for  the  violin,  and  also  wrote  the 
music  of  the  following  pieces  for  his  own  thea- 
tre :  "  L'l  Naissance  de  la  Pantomime,"  Paris,  1798, 
Lud  "  L'  Iliroiiie  Suisse,  ou  Amour  et  Courage," 
Paris,  1798.  There  was  also  a  musician  of  this 
name  at  Paris,  probably  a  son  of  the  preceding. 

N.\ZZARI,  a  pupil  of  Carmanati,  and  violin- 
ist at  Venice  in  1770,  was  then  considered  as  one 
of  the  first  solo  players  in  Italy. 

NEAXDER,  ALEXIU.S,  director  of  the  music 
at  the  Church  of  St  Kilian,  at  Wurtzburg,  in  the 
year  I'JOO,  published  "  M.,l,lti  a  4,  .5,  ')-24  voci," 
first,  second,  and  third  parts,  Frankfort  on  the 
Maine,  lGOo-1606. 

NEANES.  One  of  the  eight  barbarous  terms 
iumkI  by  the  modern  Greeks  in  their  ecclesiastical 
feiiuic.     The  iutouatious  of   the    eight    church 


NBA 

modes   are   sung   to   this  and   the   other  eevea 
words. 

NE.\POLITAX  SIXTH.  A  chord  of  thi 
sixth,  in  which  both  the  third  and  sixth  are  minor. 
This  chord  is  situated  on  the  fourth  of  the 
ascending  scale;  thus  in  the  key  of  A  minor, 
the  Xeapolitan  Sixth  will  be 


KEATE,  CHARLES,  was  born  in  London  in 
the  year  1784.  His  early  indications  oi  a  ca- 
pacity and  taste  for  music  were  noticed  by  some 
friends  of  his  family,  wlio  strongly  advised  his 
being  brought  up  to  the  musical  i)rofession.  He 
was  under  great  obligations  to  these  friends,  but 
particularly  to  WLlliiun  Shaq),  for  directing  his 
musical  studies,  and  superintending  his  steady 
practice  on  the  piano-forte,  until  the  period  when 
he  formed  a  very  intimate  acquaintance  with 
John  Field,  who  had  then  just  begun  to  distin- 
guish himself  as  a  piano-forte  perlbrmer.  Neate 
received  the  benefit  of  his  friend's  instructions, 
and  had  also  the  advantage  of  hearing  hLs  incom- 
parable performances,  until  Field's  departure  for 
St.  Petersburg.  Neate  and  his  friend  Field,  being 
both  great  admiiers  of  the  \-ioloncello,  wero_ 
kindly  instructed  ou  that  instrument  by  their' 
mutual  friend,  W.  Sharp.  His  first  public  per- 
formance was  at  the  oratorios  under  the  Ashleys, 
who  had  invited  him  the  previous  season  to  hear 
Dussek,  and  also  granted  him  the  privilege  of 
turning  over  the  leaves  tor  him.  ITie  great  per- 
formances of  this  celebrated  master  animated 
Neate,  then  a  boy,  with  an  mcreased  zeal  for  his 
art,  and  with  the  ambition  of  occupying  a 
similar  post  of  honor  beibre  the  public,  when 
Dussek  should  quit  England.  Just  at  that  period 
Neate  was  indeed  selected  to  supply  the  vacancy, 
and  continued  to  fill  that  department  for  several 
successive  years.  He  was  one  of  the  first  members 
of  the  Philharmonic  Concerts,  and  was  chosen  a 
director  for  the  second  season  ;  to  which  situa- 
tion he  was  reelected,  year  after  year,  Avith  the 
exception  of  the  two  years  that  he  was  on  the 
continent.  Being  a  very  ardent  admirer  of  Beet- 
hoven's music,  he  had  fully  determined  to  be- 
come personally  acquainted  with  that  great  artist, 
should  circum.>tani,es  ever  afford  him  an  oppor- 
tunity of  so  doing ;  accordingly,  as  soon  as  the 
peace  was  proclaimed,  he  gave  up  a  very  consid- 
erable connection,  in  order  to  visit  Vienna.  So 
gratified  was  he  with  the  reception  he  met  with 
in  that  capital,  that  he  was  induced  to  remain 
eight  months  :  duriuL;  the  whole  of  which  time 
he  enjoyed  Beethoven's  friendship  and  profes- 
sional advice.  He  also  pas.sed  five  mouths  at 
Munich,  when  he  studied  composition  under 
Winter.  He  also  took  a  few  lessons  in  composi- 
tion of  Woelrt,  who  strongly  counsellei  him  to 
publish,  and  selected  from  among  his  miinuscripts 
a  sonata,  which  he  desired  should  be  inscribed  to 
liim  ;  accordingly  Neate  published  hLs  Op.  1  in 
the  year  1808.  He  did  not  then  continue  to 
publish,  as  he  felt  that  the  time  devoted  to  keep- 
ing up  his  practice  on  the  jiiano-forte,  added  to 
those  hours  he  was  engaged  in  teaching,  and  hit 
occasional  violoncello  playing,  left  him  far  too 
little  leisure  to  admit  of  a  hope  that  he  would 
arrive   at  that  eminence,  as  a  composer,  whi  ik 


^ii 


NEB 


ENCYCLOPEDIA    OF   MUSIC. 


uec 


would  satisfy  his  ambition;  he  therefore  made 
up  his  mind  to  be  no  composer,  rather  than  one 
under  such  uniiivorable  circumstances.  But  on 
hearing  it  insinuated  that  the  reason  assigned  for 
his  not  continuing  to  publish  was,  that  he  did 
not  compose  his  Oj).  1,  he  was  again  induced  to 
take  up  his  pen  and  intrude  himself  upon  the 
public  as  an  author,  which,  but  for  these  un- 
founded suspicions,  lie  would  certainly  not  have 
contemplated,  lie  ])ublishcd  his  Op.  2  in  the 
year  1822,  and  has  since  that  time  continued  to 
compose  and  publish. 

NEBEL,  or  NEBEL  NASSOR.  (II.)  'llio 
came  given  by  the  ancient  Jews  to  their  ten- 
stringed  harp ;  as  that  of  which  David  speaks 
in  the  Psalms.  This  instrument  was  used  when 
Jehoshapluit  obtained  his  groat  victory  over  the 
Moabites.  It  perhai)S  obtained  its  name  from  its 
resemblance  to  a  bottle  or  tlagon ;  it  is  first 
mentioned  in  the  I'salms  of  David,  and  the  in- 
vention of  it  is  ascribed  to  the  Phccuicians.  It 
■was  called  a  ten-stringed  instrument.  Josephus 
says  that  it  had  twelve  sounds,  (or  strings,)  and 
was  struck  or  played  upon  by  the  fingers.  Ile- 
sychius  says  it  wa«  "  a  hiu^h-sounding  instru- 
meut ;  "  but  others  highly  commend  it.  Bochart 
says,  "Not  know  the  imb/af  then  thou  know- 
est  nothing  that  is  good."  Ovid  says  that  in 
playing  it  was  turned  about  with  both  the  hands 
—  a  circumstance  which  will  be  fully  explained 
by  the  following  short  account  of  the  nuxlern 
psaltery.  It  is  in  the  form  of  a  triangle,  trun- 
cated at  top,  strung  with  thirteen  wire  chords 
Bet  to  unison  or  octave,  and  mounted  in  two 
bridges  on  the  two  sides.  It  is  struck,  not  with 
the  fingers,  as  of  old,  but  with  a  plectrum,  or 
Uttle  iron  rod,  and  sometimes  with  a  crooked 
Slick. 


(G.  pi.)      Accessory 


NEBENGEDANKEN. 
und  subordinate  ideas. 

NECELLLNI,  DOM.  MARCO,  chapel-master 
to  the  Duke  of  Parma  about  the  year  1670,  was 
in  high  repute  as  a  composer. 

NEEFE,  CHRISTIAN  GOTTLOB,  chapel- 
master  and  court  organist  to  the  Elector  of  Co- 
logne, at  Bonn,  was  bom  in  174S  at  a  village  in 
Saxony.  lie  first  studied  the  law  at  Lcipsic,  and 
at  the  same  time  received  instructions  in  music 
from  chapel-master  llillcr,  under  whom  he  made 
such  progress,  that  he  at  length  decided  on  fol- 
lowing the  musical  ]  rofession,  for  which  an 
opportunity  presented  itself,  by  some  of  his  com- 
positions for  the  German  comic  opera  at  Leipsic 
oeing  ])erf<rmed  and  so  much  applauded,  that 
the  situation  of  conductor  of  the  orchestra  at 
one  of  the  theatres  of  that  town  was  soon  after 
oB'cred  to  him.  -Vlter  holding  this  place  several 
years,  he  accepted  the  otiices  of  court  organist 
a*.  Bonn,  and  conductor  of  the  orchestra  at  the 
TTieatre  Grossman  in  that  town.  In  178.5,  the 
old  Elector  of  Bonn,  who  hatl  always  paid  the 
theatrical  company  out  of  his  privy  purse,  died ; 
in  consetiuence  of  which  Neefe  lost  his  .".alary, 
and  was  obliged  to  supi)ly  by  other  means  this 
diminution  of  income.  He  therefore  quitted  the 
theatre  altogether,  and  commenced  business  a.s 
private  teacher  of  music ;  in  which  occupation 
he  soon  met  with  a  wide  scope  amongst  the  first 
families  at  Bonn.  He  now  appcaretl  for  some 
years  to  be  tolerably  well  ofi",  when  the  new  elect- 


or again  established  a  court  theatre,  at  which 
Neefe  regained  his  former  situation  of  conductor, 
and  his  wife  hcr»,  as  an  actress.  This  ohligctl  liira 
to  give  up  teaching,  und  again  devote  all  hii 
time  and  exertions  to  the  tlieatrc.  Meanwhile 
the  French  war  broke  out.  The  enemy  ap- 
prooched  nearer  every  day,  the  theatre  was  shut 
U]),  and  his  salary  lost  a  second  time.  Alxiut 
this  time  he  took  his  eldest  daughter  to  Am- 
sterdam, as  a  singer  in  Ilunnius's  company, 
there  being  no  prospect  left  for  her  at  Bonn  ;  and 
he  himself  wished  to  have  accepted  a  temporary 
engagement  with  that  company  as  leader,  could 
he  have  obtained  the  necessary  leave  from  the 
elector.  However,  he  was  obliged  by  the  court 
to  remain  at  Bonn,  to  see  it  occupied  by  the 
French,  who  first  appointed  him  a  magistrate, 
and  afterwards,  on  hLs  rc^juest,  actuary,  in  which 
capacity  he,  at  least,  received  coin  inste-.id  of  jia- 
per  money.  Yet  this  resource,  too,  lasted  but 
a  little  while,  for  himself,  administration  and 
all,  were  cashiered  at  a  moment's  notice.  The 
disbanding  of  Ilunnius's  company,  about  this 
time,  compelled  his  daughter  to  quit  Amsterdam 
and  engage  with  Bessau,  of  the  Dessau  court 
theatre,  who,  having  lost  the  leader  of  his  band 
in  179(i,  gladly  accepted  the  offer  of  Neefe's 
services  in  this  situation.  He  accordingly  set 
off  with  hLs  family  for  Lcipsic,  where  he  obtained 
a  regular  discharge  from  the  elector,  who  hap- 
penetl  at  the  time  to  be  there,  and  proceeded  to 
join  the  company  at  Dessau.  There  he  had 
just  begun  to  look  for  the  enjoyment  of  better 
times,  having  been  appointed  in  1797,  besides 
chef  tt'orchesire  at  the  theatre,  conductor  in  the 
prince's  chapel  at  the  court,  when  a  cough  of  a 
few  days'  duration  suddenly  put  an  end  to  his 
life  in  1798.  Of  his  works  we  can  mention 
"  Musical  Intelligence  from  Munster  and  from 
Bonn,"  (in  the  thirty-eighth  number  of  the 
Berlin  Musical  Gazette.)  This  aiticle,  as  well  as 
that  in  Cramer's  Magazine,  may  ser\-e  the  con- 
tributors to  periodical  publications  as  models  in 
musical  criticism.  "  Thirteen  Variations  of  Una 
Frtlhsinck  tchmefkt  viel  besser,  itc,  (Breakfast 
tastes  better,  &c.,)  for  the  Harpsichord,"  Bonn, 
179.3;  "Six  Variations  of  the  March  in  the 
Zauberflate,  for  the  Harpsichord,"  Bonn,  179.3; 
" FaiUfuia  per  U  Cembalo,"  Bonn,  1798;  "Alle- 
gories and  Visions  of  Herder  harmonized," 
Leipsic,  1798.  This  was  his  la-st  composition. 
Amongst  the  operas  which  he  arTani;cd  for  the 
harpsichord,  there  are,  besides  several  of  Mo- 
zart's, the  "Two  Anthonys,"  and  "  Klcmentin." 

NECK.  Tliat  part  of  a  violin,  guitar.  &c., 
extending  from  the  head  to  the  body,  and  on 
which  the  finger-board  Ls  fixed. 

NEtilNOTH.  A  word  fixed  at  the  head  of 
certain  of  the  psalms,  and  supposed  to  announce 
the  particular  tune  to  which  they  were  to  b< 
sung.  Answering  to  the  modem  i/uiini  out. 
See  that  expression.  Neginoth  w;is  also  th» 
name  given  to  ancient  stringed  instruments. 

NEGRI,  GIUSEPPE,  musician  in  ordinary  t: 
the  Elector  of  Cologne,  at  the  beginning  of  tic 
seventeenth  century,  was  born  at  Verona.  H« 
published  "  Mailriyali  e  Arte,"  Venice,  1622. 

NE(iIU,  MARCO  ANTONIO,  a  compowr. 
born  at  Verona,  a\«o  flourished  abv->i-t  the  begin* 


649 


NEO 


EXCYCLOP.^DIA    OF   MUSIC. 


NEl 


ning  of  the  Bevcntceiith  century,  and  published 
"Salmi  a  7  voci,"  Venice,  1613. 

NEGia,  MAUIA  CATARII^A.  An  Italian 
■in(;er,  born  at  Bologna.  She  sang  at  the  opera 
iu  London,  under  the  direction  of  Handel. 

NEfilll,  DOM.  FRANCESCO,  an  ecclesiastic 
and  pupil  of  Antonio  Lotti  at  Venice,  about  the 
year  1740,  was  eminent  in  his  time  as  a  per- 
former on  the  harpsichord  and  violin.  At  his 
death  he  Icl't  several  motct-i,  cantatas,  and  in- 
strumental pieces  of  his  composition. 

NEHILOTH.     Ancient  wind  instruments. 

NEHULICII,  JOHAXX  PETER  TIIEODOIl, 
professor  of  the  harpsichord  at  Moscow,  in  1798, 
was  born  at  Erfurt  in  1770.  Endowed  with  a 
fle.xible  tenor,  he  manifested,  at  a  very  early  age, 
an  extraordinary  genius  for  music,  ou  account  of 
which  he  was,  as  he  went  to  the  grammar  school 
in  the  above  town,  at  the  same  time  placed  un- 
der the  direction  of  the  music  director  Weimar. 
That  gentleman  soon  advanced  him  so  lar  in 
singing,  that  already,  at  the  age  of  eleven,  he 
handed  liim  over  to  Chajtel-master  Uach  at  Ham- 
burg, as  a  treble  singer.  It  was  there  that  he 
formed  himself,  in  the  strictest  sense  of  the 
word,  on  the  harpsichord ;  for,  after  an  interval 
of  twenty  years,  his  manner,  even  in  his  own 
compositions,  still  partook  remarkably  of  the 
Bach  school.  However,  both  he  and  his  master 
were  but  too  soon  disappointed  by  the  loss  of 
his  treble  voice,  when  he  was  obliged  to  return 
to  Erfiut.  He  then  took  pains,  by  a  social  in- 
tercourse with  the  two  eminent  organists,  Kittel 
and  Haesler,  to  extend  the  solid  information  he 
had  already  acquiied,  whilst  at  the  same  time 
he  began  to  feel  the  necessity  of  a  more  compe- 
tent knowledge  of  several  instruments.  His 
great  love  for  the  science  suggested  to  him,  in- 
deed, the  shortest,  but  at  the  same  time  the 
roughest  and  most  laborious  way  of  acquiring 
this  additional  knowledge,  namely,  to  article 
himself  for  live  years  to  the  town  musician  of 
Gottingen.  It  truly  required  all  the  enthusiasm 
Mrith  which  Nehrlich  was  inspired,  to  persevere 
iu  the  science  under  such  depressing  circum- 
stances. Yet  he  not  only  persevered,  but  also 
Hvailed  himself  of  every  leisure  moment  to 
•study  and  practise  in  his  garret  the  most  ab- 
struse rules  of  counterpoint.  "  As  an  admirable 
proof  of  this,"  says  Gerber,  "  I  have  now  before 
me  a  printed  Gottingen  concert  bill  of  the  26th 
of  January,  1793,  which  mentions  a  concerto  lor 
the  harpsichord  of  Xehrlich's  composing,  to  be 
executed  by  himself;  and  in  a  note  of  Dr.  For- 
kel's  he  says,  among  other  things  very  much  to 
the  purpose,  and  in  Nehrlich's  praise,  '  Here  the 
composer  lias  not  only  developed  the  wliole 
range  of  his  ideas,  out  of  the  theme  chosen  for 
each  division,  without  the  least  falling  off  either 
of  melody  or  modulation,  but  like  a  true  musi- 
cal desperado  he  even  ovcrleajis  these  bouiula- 
ries,  by  retaining  the  same  theme  through  all 
the  three  divisions  of  his  concerto,  still  modil'y- 
iug  it,  with  peculiar  scientitic  dexterity,  and  in  a 
most  interesting  manner  —  a  feat  of  skill  which 
probably  many  esteemed  composers  would  tind 
it  ditHiult  to  imitate;*  tlie  more  so,  as  it  aji- 
pears  that,  on  this  occiusion,  the  tliemc  was  not 
Mlecteil  by  himself,  but  given  liiiu,  at  his  par- 


ticular request,  by  Dr.  Forkel.  If  this  attempt 
should  savor  a  little  of  school  pedantry,  let  it  b« 
remembered,  it  is  by  a  professor  who  has  to  re- 
proach himself  with  such  subtilties  only  in  hi* 
youth ;  though,  if  such  a  one  possess  genius, 
the  public  need  not  fear  any  thing  that  is  dull 
from  him."  After  Nehrlich  had  faithfully 
served  his  apprenticeship  at  Gottingen,  he  got 
by  Haesler's  recommendation,  the  situation  d 
music  master  in  a  gentleman's  family  at  Dorpa^ 
in  Esthonia :  here,  being  comfortably  settled,  hi 
followed  his  scientific  pursuits  with  great  spirit, 
writing,  chiefly  for  practice,  a  number  of  varia- 
tions on  Russian  and  French  songs,  some  of 
which  he  occasionally  sent  for  revisal  to  his 
friend  Haesler,  who  was  then  at  St.  Petersburg. 
Thence  arose  the  circumstance  of  one  set  of 
these  pieces  being  most  unexpectedly  returned 
to  him  in  print.  It  was  liis  "Airs  Russes  var. 
pour  le  Clav.,"  Op.  1,  which  had  been  published 
by  Gerstenberg,  at  St.  Petersburg,  according  to 
the  directions  of  Haesler.  In  this  way  his  ixiend 
certainly  afforded  him  an  agreeable  surprise, 
though,  had  it  been  in  his  power,  he  would  have 
made  the  work  undergo  many  alterations  and 
improvements  previous  to  publication.  This 
first  essay  was,  hoM-cver,  well  received ;  so  much 
so,  indeed,  that  the  publisher  desired  the  author 
to  send  him  more  pieces  of  a  similar  kind,- 
which  he  accordingly  did.  Some  years  after 
this,  Nehrlich  yielded  to  Haesler's  request,  and 
joined  him  at  Moscow,  in  which  city  he  soon 
got  a  sufficiency  of  teacliing  in  the  first  famihes. 
Of  his  even  then  greatly  accumulated  stock  of 
manuscripts,  only  the  followin->  were  in  print  in 
1798:  "Airs  Bitsses,"  Op.  1,  Petersburg,  1795; 
"Airs  Ritsses  acec  Vars.  pour  Ic  Clav.,"  Op.  2; 
"  FaiUaisie  el  Chanson  Russe  avec  Var.  pour  le 
Clav.,"  Op.  3,  Moscow;  ^' Six  Le<;oiis  pour  U 
Clav.,"  Op.  4,  Moscow ;  •<  Twenty-four  short 
Preludes  in  all  sharp  and  flat  Keys,"  Op.  5, 
1798;  "  Fantaisie  et  Chanson  Russe  avec  Var.," 
Op.  6,  St.  Petersburg,  1802  ;  and  '•  Twenty-five 
Sj.iritual  Odes  and  Hj-mns  from  Gellert,  with 
Accompaniments  for  Piano-forte,"  Op.  7,  Leip- 
sic  ;  "  Variations  to  the  Air  '  Hie  Katze  tasst  dot 
Hansen  nicht ;'  "  "Variations  to  the  Air  'God 
save  the  King.'  " 

NEIDHARDT,  JOHANN  GEORG,  was  bon» 
at  Bernstadt,  in  Silesia,  and  resided,  in  1706,  at 
Jena,  as  a  student  of  divinity.  It  was  at  that 
period  that  he  first  made  himself  known  as  an 
author  of  music.  He  subsequently  became 
chapel-master  at  Konigsberg.  His  principal 
works  are  entitled,  "  The  best  and  easiest  Tem- 
perature of  the  Monochord,"  Jena,  1706  ;  "  lec- 
tio Canonis  Armoiiici,"  Konigsberg,  1724 ;  and 
"  The  seven  Penitential  Psalms." 

NEILSON,  LAURENCE  CORNELIUS,  was 
born  in  London,  and  at  the  age  of  seven  accom- 
panied his  father  and  mother  to  the  West  Indies, 
where  he  buried  the  former,  who  was  born  at 
Copenhagen,  and  with  the  latter  retiirned  to  his 
native  land,  after  the  family  had  suffered  severe 
lo.sses  in  a  turtle  fishery  concern.  His  musical 
career  began  in  1785.  Valentuie  Nicolai  (whose 
piano-forte  music  previously,  and  at  that  day, 
was  much  esteemed)  was  the  only  master  he 
ever  studied  under ;  after  which  he  attended  pro- 
fessional schools  and  private  families  in  Netting, 
ham  and  Derby,  and  was  organist  for  two  yean 


650 


NEK 


ENCYCLOPAEDIA    OF    MUSIC. 


NETJ 


at  Dudley,  in  Worcestershire.  That  situBtion  not 
answering  his  wishes,  he  left  at  the  earnest 
entreaty  of  friends,  and  returned  to  Nottingham 
During  his  residence  there  he  weekly  visited 
Derby,  and,  for  twelve  years,  the  celebrated  sem- 
inary conducted  by  the  Misses  Parker,  at  Ash- 
bourne ;  when,  on  the  death  of  Samuel  Bower, 
(a  worthy  man  and  eminent  musician,)  organist 
of  Chesterfield,  he  succeeded  to  his  engagements 
in  that  town  and  neighborhood  ;  but,  through 
the  interested  motives  of  Mr.  IJower's  daughter, 
was  dejirived  of  the  organ,  although  her  father 
hsd  niiide  her  a  liberal  settlement,  accompanied 
by  a  command,  "that  she  should  have  nothing 
to  do  with  the  organ  or  teaching,  as  it  woidd  be 
an  object  of  consideration  to  his  successor."  lie 
dying  in  1808,  Noilson  gave  up  the  former  place, 
and,  though  greatly  disappointed,  continued  at 
Chesterfield.  One  of  Neilson's  sons  was  a  pupil 
at  the  Uoyal  Academy  of  Music,  Hanover 
Square,  being  one  of  the  ten  elected  on  the  com- 
mencement of  that  establishment ;  which,  from 
the  assistance  of  most  able  masters,  together 
with  the  excellent  order  and  regularity  with 
which  it  was  attended  hud  conducted,  gave  rea- 
son for  a  favorable  anticipation  of  its  results. 
The  following  publications  are  by  L.  C.  Neilson  : 
"  Three  Sonatas  for  the  Piano-forte,"  dedicated 


ti,"  Op.  1.     Ills  second  opera  con-sistod  of  sona- 
tas for  from  three  to  twelve  voices. 

NEUI,  SAN  FILIPPO  DI,  an  ecclesiastic,  foun- 
dor  of  the  order  of  the  Oratory  at  Rome,  was  born 
at  Florence  in  \n\n,  and  died  at  Homo  in  l.V.).). 
In  his  chapel  he  first  introduced  a  more  artificial 
kind  of  music  than  the  plain  canto  fermn,  or  choral, 
which  had  been  cu.stomary  in  the  mass.  Thi» 
wa.s  called,  alter  the  chapel  and  order  of  its 
founder,  oralorium  ;  and  so  San  Filippo  Neri  has 
been  commonly,  though  improperly,  ccftisidered 
the  inventor  of  that  form  of  sacred  musical 
drama  called  uratario. 

NKRUDA,  JOir.VNN  OEOIIG.  Chamber 
musician  and  violinist  in  the  chapel  at  Dresden, 
where  he  was  employed  more  than  thirty  years, 
lie  was  an  excellent  performer  and  a  good  com- 
poser. Of  his  numerous  compositions  there 
have  onlv  been  printed  "  SLx  Trios  for  the 
Violin,"  1703. 

NEKUDA,  JOHANN  ClIRYSOSTOMUS, 
brother  to  the  preceding,  was  born  in  Rohemia, 
in  170-').  lie  was  an  excellent  violinist,  and  first 
resided  in  Prague,  but  afterwards  retired  to  a 
monastery,  where  he  died  in  HG.'?. 

NERVIUS,  LEONARDUS.  a  Capuchin  monk 


to  Miss  Emes,   (Pre.ston.)      "A    Sonata    for   the    and  composer,   Hourished  in  the  beginning  of  the 


Piano-forte,"  dedicated  to  Mrs.  Smith,  (Preston.) 
"  Twelve  Divertimentos  for  the  Piano-forte," 
(Preston.)  "Three  Original  Duets,  Flutf;«," 
(Preston)  "Three  Set.s,  twelve  each,  from 
favorite  Airs,  ditto,"  (Preston.)  "  .Six  Numbers 
Flutist's  Journal,"  (Preston.)  Song,  "  VrHicn 
fortune  reigns,"  sung  by  Mrs.  Harrison,  (Pres- 
ton.) "Several  single  Pieces  and  Songs,"  (Pres- 
ton.) "  -V  Set  of  Marches,  Waltzes,  and  Dances, 
for  the  Harp  or  Piano-forte,"  dedicated  to  Mrs. 
Musters,  (Cleracnti.)  "  Twelve  Duets  for  Flutes," 
arranged  from  several  airs,  (Clemcnti.)  "  A  Book 
of  Psalms  and  Hymns,"  selected,  composed,  and 
dedicated  to  the  Reverend  G.  Bosley,  (Gould- 
ing.)  "Single  Pieces  and  Songs,"  (Goulding.) 
Song,  "  What  has  art  with  love  to  do  :  "  sung  by 

Mrs.  lliff,  (Relfie.)     "  O,  give  thanks,"  part  of  the  ,     _ _ _ 

107th  p.sahn,  composed  as  a  duet  and  also  as  a    •"•'roi'h"!  V'e  <■';»«'?'"  mon  icuie  louni  of  uio  third  teuichord, 

,*.'',  ,  ,      when  conjoint  with  the  fecund. 

tno.   lor  voices ;    marches,    rondos,    songs,    and 


seventeenth  century,  and  published  at  Antwerp 
"Ten  Masses  for  4,  o,  6,  and  7  voices,"  IGIO, 
and  "  Caniionet  Sacra;"  for  eight  voices,  IG'J.'}. 

NESER,  JOHANN.  Bom  at  Wiesbach,  in 
Gennany,  1.570.  He  published  in  1619  a  work 
for  the  music  schools  of  his  country,  entitled 
"  llymni  Sticri." 

NETE.  The  name  given  by  the  ancient  Greeks 
to  the  fourth,  or  most  acute  chord,  of  each  of  the 
three  tetrachords  which  followed  the  first  two,  or 
the  deepest  two. 

NF.TE  DIEZKfGMENON.  In  the  ancient  munlc,  Oie  fln«l  or 
highe.t  Mxind  of  the  fourth  tetrachord.  and  the  flrat  or  irr«Trst  of 
the  f.lih. 

XETK  IIVPERBOI.AEON.  The  iMt  Mundof  the  A./j^-r'o/ncoii, 
or  tiiffheit  Iflmchurd,  and  of  the  great  •Jttera.  or  diajirmm,  of  tha 
Greek*. 

-VETE  SVNEMMEXON.    The  name  bv  which  the  anrlenU  dU> 


glees,  out  of  print,  (Preston.) 

NEKEB,  or  CHALIL,  which  has  been  con.sid- 
ered  to  be  pipes  by  most  translators,  is  supposed 
to  have  been  the  Hute  and  hautboy. 

NEL.   (I.)    In  the. 

NEl-VI,  GIUSEPPE  MARIA,  of  Bologna, 
published  in  172.3,  conjointly  with  Caroli,  the 
^QU^ic  of  the  drama  "  Amor  nato  tra  C  omhre,"  also, 
tlie  lollowing  year,  the  opera  of  "  L'  Odio  Redi- 
rico." 

NENNA,  POMPONIO,  an  Italian  contrapun- 
tist at  the  beginning  of  the  seventeenth  centunr-, 
rendered  himself  celebrated  by  his  madrigals. 
Padre  .Martini,  in  the  second  volume  of  his  his- 
tory, cites  the  works  of  Nenna,  of  whose  mad- 
rigals for  five  voices,  eight  books  were  published 
between  the  years  1(>09  and  IG.'U. 

NERI,  or  NEGRI,  MASSIMILIANO,  flour- 
ished as  organist  and  composer  to  the  Church  of 
St.  Mark,  at  Venice,  about  the  year  1671.  He 
published,  in  that  city,  "  Sonate  e  Caruoni  H  4 
t^romaUi  da  Chicin  c  di  Camera  con  alcune  corren- 


NETII,  JOHANN  MARTIN,  organist  in  Hol- 
Btein,  was  born  there  in  168.3.  He  was  pupil  of  a 
celebrated  organist  named  Kosenbusch.  to  whose 
situation  he  afterwiu-ds  succeeded.  He  died  in 
17.36. 

NET0IDE9.  The  nam*  liven  by  the  anelenU  to  Uie  aouDda 
forming  the  higher  portion  of  their  icale,  or  fritem. 

NEUBAUER,  FRANZ  CHIilSTI.vN,  concert 
ma.ster  to  the  Princess  of  Schaumburg,  at  Bflcke- 
burg.  .Some  fragments  of  the  short  and  unset- 
tled life  of  this  professor  are  all  that  can  be  met 
with.  He  was  a  Bohemian,  and  low  Imrn,  but 
had  the  good  fortune,  early  in  life,  to  tall  into  the 
hands  of  a  worthy  master  of  a  grammar  school, 
who  discovered  hLs  talent.s,  and  knew  how  to  culti- 
vate them  ;  so  much  so,  that,  when  he  left  the 
seminary  for  Prague,  he  possesstxl,  besicles  hi* 
particular  skill  in  music,  a  tolerable  taculty  of 
expressing  him.«elf  in  the  Latin  tongue.  He  got 
from  thence  to  Vienna,  where  he  8.s»iduously 
strove  to  perfect  hira.self  as  a  composer,  by  moan* 
of  his  acquaintance  with  Haydn,  Mozart,  and 
Wranitzky.  When  still  a  youth,  he  entcre<l  the 
lists  as  a   com{M>scr,  and  did  bo  with  such  caa* 


6ol 


NEU 


ENCYCLOPEDIA    OF    MUSIC. 


NEL 


and  facility,  tlint  he  would  frequently  sit  do«Ti 
at  his  (le^k  in  the  public  parlor  of  the  inn  where 
he  hii|)|ieaed  to  lod^e,  and  write  away,  amidst  the 
deafeniuj;  noise  of  a  numerous  company.  When 
not  quite  tliirty,  he  entered,  in  17!)0,  into  tlie 
Princf  of  Weilburfj's  service,  as  chapel-master; 
but  when  that  chapel  was  broken  up,  on  account 
of  the  French  revolutionary  war,  he  emiijratcd  to 
Mlndcn,  in  Prussia,  where  he  staid  till  he  f^ot 
acquainted  with  the  Princess  of  Schaumburg, 
who  uol  only  gave  him  a  gracious  reception  at 
BQckeburg,  but  also  granted  him  leave  to  per- 
form his  compositions  in  the  chniiel  there.  Bach, 
who  was  then  stUl  at  the  head  of  the  chapel. 
Boon  perceived  how  greatly  superior  the  lively 
youth  was  to  himself  in  the  management  of 
instrumental  composition,  although  his  fre;[uent 
violation  of  the  rules  of  the  science  did  not 
escape  the  old  professor's  observation.  Of 
course,  the  old  man,  seeing  himself  thrown  into 
the  background,  with  all  his  good  nature,  covild 
not  refrain  from  some  confidential  censure  of 
Neubauer's  composition.  Neubauer  soon  heard 
of  this,  and  as  all  liis  fortune  depended  on  his 
maintaining  his  credit  with  the  public  as  a  com- 
j)oser,  his  feelings  were  naturally  much  hurt  at 
Bach's  criticism.  Ilis  giving  vent,  however,  to 
his  feelings  in  violent  invectives,  and  by  chal- 
lenging the  old  man  to  a  duel  about  a  question 
of  crotchets  and  quavers,  only  shows  his  low 
education. 

On  Bach's  death,  Neubauer  got  in  full  pos- 
session of  his  place,  and  was  appointed  by  the 
prince-is  conductor  of  her  concerts.  He  then 
married  a  young  lady  of  Bockeburg  :  but  he  had 
scarcely  enjoyed  this  happiness  six  months,  when 
he,  too,  was  carried  off  to  the  grave.  His  death 
took  j)lace  in  1795.  Most  probably  he  accelerated 
it  by  the  intemperate  use  of  strong  liquors  ;  for 
as  he  was  wont,  when  in  the  neighborhood  of 
the  Rhine,  to  excite  his  imagination  with  the 
juice  of  the  grape,  the  want  of  it  afterwards 
compelled  him  to  have  recourse,  for  that  pur- 
j)Ose,  to  brandy.  Neubauer  was  interred  by  the 
side  of  his  rival.  It  is  impossible  to  deny 
genius,  fire,  and  invention  to  his  works.  But  as 
to  the  opinion  maintained  by  some,  that  his 
greatest  forte  lay  in  his  symphonies,  they  whose 
ears  have  been  regaled  with  Iladyn's  sublime 
masterpieces,  will  hardly  subscribe  this  eulo- 
gium,  since  Neubauer's  symplionics,  compared  to 
Havdn's,  ajipear  more  to  be  written  in  the  quar- 
tetto  and  divertimento  style,  and  may  be  called 
rather  jjretty  than  beautiful.  In  vain  we  seek 
in  them  that  matchless,  sublime,  unabating 
effect  which  captivates  the  hearer  in  Haydn. 
Neubauer's  style  of  symphony  rather  p.artakes 
of  the  trifling  and  the  playful.  Probably  he  suc- 
ceeded better  in  quartets,  and  other  sonatn-like 
compositions.  Those  of  his  works  which  are 
held  in  the  greatest  estimation  are,  "  Ln  lia- 
tailU,"  his  principal  sj-mphony ;  the  great  effect 
of  which,  however,  must  be  attribute<l  to  every 
thing  rather  than  the  correctness  of  its  composi- 
tion. Ilis  "  (,'antata  on  the  Taking  of  Mayence," 
to  which,  notwithstanding  his  incompetent 
knowledge  of  the  language,  he  wrote  German 
words,  and  that  in  so  superior  a  manner,  that  no 
poet  could  venture  to  alter  any  of  them.  His 
"  Hai-mony  for  Wind  Instruments  only,  ac- 
:x)mpanied  by  a  Violin  and  a  Ba.ss,"  in  which 
til  the  intricacies  of  wind  iustrumeuts,  calculated 


for  the  utmost  effect,  are  intended  to  be  concen- 
trated in  one  piece.  His  remaining  works  con- 
sist of  symphonies  for  orchestra,  violin  quar- 
tets, duos  and  trios  for  violins  and  flutes,  con- 
certos for  violin  and  for  flute,  sonatas,  songs, 
cantatas,  &c. 

NEUBAUER,  JOHANN.  Of  this  composer, 
residing  at  Vienna,  the  following  manuscript 
works  are  mentioned  in  Traeg's  Catalogue,  Vi- 
enna, 1 709  :  "  Concerto  d  2  C'Uir.  Priiicipali  con 
Ace.,"  "  II  Sottanw  d  Fl.  T/av.,  Fl.  d"  Ai/tore,  2 
Viole,  2  Cor.,  e  Vc,"  and  "  Duetto  a.  Corno  e  Viola.'' 

NEUKOMM,  SIGLSMUND,  bom  at  Salzburg, 
in  1778,  commenced  his  musical  education  when 
six  years  of  age.  His  flrst  master  was  an  excellent 
orgmist  in  Salzburg,  named  Weissaner,  who, 
having  to  attend  to  several  churches,  soou  em- 
ployed his  pupil  as  an  occasional  substitute.  At 
the  age  of  fifteen,  Neukomm  was  nominated  organ- 
ist to  the  University  of  Salzburg,  where  he  also 
studied  the  sciences,  &c.,  his  education  being 
carefully  attended  to  by  his  father,  who  was  a 
writing  master  in  the  university.  His  mother 
being  related  to  the  wife  of  Michael  Haydn,  this 
professor,  with  a  kindness  characteristic  of  his 
disposition,  offered  to  give  Neukomm  lessons  in 
compo>ition  without  accepting  any  remuneration 
from  hLs  pupil  beyond  his  occasional  assistance' 
in  the  performance  of  his  duties  as  court  organ- 
ist. At  the  age  of  eighteen  he  was  engaged  at 
the  court  theatre  as  chorus  master  of  the  opera ; 
and  it  was  only  during  his  fulfilment  of  this 
occupation  that  he  took  the  resolution  to  devote 
himself  exclusively  to  music.  In  1798  he  quit- 
ted Salzburg,  and  went  to  Vienna,  where  the 
celebrated  Joseph  Haydn  received  him  as  a  pupil, 
on  the  recommendation  of  his  brother  Michael.  He 
profited  by  this  inestimable  good  fortune  during 
seven  years,  always  endeavoring  in  some  degree 
to  merit  the  kindness  of  his  master,  who  treated 
him  Uke  a  son.  In  180.5,  he  undertook  a  jour- 
ney to  St.  Petersburg,  where  he  was  soon 
engaged  as  chapel-master  and  conductor  of  the 
orchestra  at  the  German  theatre.  X  serious 
illness,  however,  obliged  him  to  leave  Russia. 

In  1807  he  became  a  member  of  the  Academy 
of  Music  at  Stockholm,  and,  in  1808,  of  the  Phil- 
harmonic Society  at  St.  Petersburg.  During  his 
residence  in  the  latter  city  and  in  Moscow,  he 
brought  out  many  works  of  his  own  compo>ition 
with  great  acceptance  ;  but  it  was  not  until  1808 
that  he  was  induced,  by  the  advice  of  the  con- 
noisseurs, and  especially  of  hLs  master,  Joseph 
Haydn,  to  publish  any  thing.  In  1809  he  went  to 
Paris,  where  he  became  intimate  with  men  like 
Cherubini,  Cin-try,  and  C'uvier,  and  lived  entirely 
devoted  to  the  arts  and  sciences.  His  patroness 
and  motherly  ft-iend,  the  Princess  of  Lorraine- 
Vaudemont,  had  introduced  him  to  Prince  Tal- 
leyrand, who  soon  after  not  only  gave  him  an 
apartment  in  his  hotel  and  a  place  at  his  table, 
but  treated  him,  in  all  respects,  as  a  member  of 
his  own  family.  In  18  U  he  accompanied  this 
prince  to  the  congress  at  Vienna,  where,  at  the 
funeral  ceremonies  in  memory  of  Louis  XVI.,  his 
vocal  requiem  was  performed  by  a  choir  of  three 
hundred  singers,  in  the  St.  Stephen's  Church, 
before  all  the  emperors  and  kings.  In  1815  he 
was  named  Chevalier  of  the  Legion  of  Honor,  and 
ennobled  by  Lotus  XVIII.,  and,  after  the  con- 
gress was  over,  returned  with  Talleyrand  to  Paris 

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ENCYCLOPAEDIA    OF   MUSIC. 


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In  1816  he  accompanied  the  Duke  of  Luxem- 
bour};,  who  went  out  as  envoy  extraordinary  to 
Kio  Janeiro.  There  he  was  warmly  received  by 
the  dircctin<5  minister,  Count  da  IJarca,  and  pre- 
sented to  the  kin<;,  who  settled  on  him  a  rich 
pension,  which  Neukomm,  on  the  breaking  out  of 
the  revolution  in  IS'Jl,  voluntarily  renounced, 
and  followed  the  kin;^  to  Lisbon,  where  ho  was 
made  knisjht  of  several  orders.  In  October  of  the 
same  year  he  returned  to  I'aris,  and  resumed  his 
residence  with  Prince  Talleyrand.  In  l.S2()  ho 
spent  eij;ht  months  in  travelliii}?  through  Italy, 
and  a'j;ain  returned  to  Paris.  In  1827  he  made  a 
tour  through  Belgium  and  Holland,  and,  in  1829, 
tluough  England  and  Scotland,  where  he  was  most 
warmly  received  by  Sir  Walter  Scott  and  other 
dL-^tinguished  men.  llcturning  to  Paris,  he  accom- 
panied Prince  Talleyrand,  in  18.'i(),  on  his  emba.ssy 
to  Kngliind ;  and  there  he,  for  the  most  part,  since 
remaineil,  Knding  an  agreeable  and  honorable 
sphere  of  action.  He  usually  spent  the  unem- 
jjloyed  autumn  and  winter  months  in  visiting  his 
friends  upon  the  continent.  In  lS:i2  he  went  to 
Uerlin,  where  one  of  his  oratorios,  "  The  Law  of 
the  Old  Covenant,"  and  several  others  of  his  com- 
positions, were  jierformed  ;  from  there  he  visited 
his  friends  in  Leipsic  and  Dresden,  and  returned 
to  London.  In  1833-4  he  made  a  second  journey 
to  Italy.  The  winter  of  1834-5  he  pa-sscd  in 
Southern  France,  and  made  an  excursion  from 
Toulon  to  Algiers,  to  Bona,  (the  ancient  Hip- 
pona  where  St.  Augustine  resided  as  bishop,) 
and  to  Bttgia,  on  the  north-west  coast  of  AMca, 
whence  he  returned,  by  way  of  Paris,  to  London. 
In  the  year  183t)  he  had  resolved  to  visit  .America, 
and  pass  about  a  year  here.  lie  had  already 
taken  a  berth  in  a  Liverpool  packet,  when  an 
attack  of  fever  compelled  him  to  renounce  the 
project.  In  Manchester,  where  he  lived  in  an 
amiable  and  very  frienilly  family,  he  soon  re- 
covered liis  full  health  and  strength.  His  active 
nature  would  not  rest ;  he  made  a  journey  to  tlie 
southern  part  of  (iermany,  and  then  to  Frankfort 
on  the  Maine,  where  he  remained  several  weeks. 
Then  he  travelled  through  Darmstadt,  Heidel- 
berg, Manheim,  Carlsruhe,  &c.,  to  Paris,  to  his  old 
friend  TallejTand.  In  1847  ho  was  again  in 
England.  In  spite  of  .so  much  travelling  and 
various  experience  of  life,  Neukomm  composed 
an  inrre.lible  number  of  works.  Since  his  twen- 
ty-fifth  year  he  has  kept  a  thematic  catalogue  of 
his  works,  which  contains  the  titles  and  themes, 
or  first  notes,  of  five  hundred  and  twentv-four 
vocal  compositions,  (among  which  are  si.xtv-scven 
psalms  in  various  languages,)  and  two  hundred 
and  nineteen  instrumental  works ;  in  all,  seven 
hundred  and  forty-three  works ;  and  yet  he  com- 
posed many  others  which,  in  his  travels,  he  for- 
got to  set  down.  He  is  chietly  known,  in  this 
country,  by  his  popular  dramatic  oratorio  of 
"  David,"  and  by  some  of  the  songs  which  he 
has  composed  to  words  by  Barry  Cornwall. 

NEUM.E.  A  term  applied,  by  the  old  mu- 
sicians, to  (iicisioiis  upon  a  single  vowel  at  the 
end  of  a  psalm  or  anthem,  as  a  recapitulation  of 
the  whole  melody.  Sir  Henry  Spelman,  how- 
ever, says  that  the  name  nrumrr  was  synonjTnous 
R-ith  the  noun  note,  and  that  it  simply  implies  an 
aggregation  of  as  many  sounds  as  may  be  con- 
veniently uttered  in  one  single  respiration. 

NEUMARCK,   GEORGES,   secretary  of   the 


archives,  librarian,  &c.,  at  Weimar,  was  born  at 
Muhlhausen  in  1021.     He  waA  a  member  of  the 

Frtu-htbrinijrtulen  Geselhc/inft,  (Productive  Socie- 
ty.) He  published  a  didactic  work  on  compo- 
sition, and  also  composed  some  songs.  He  i-  liko- 
wLse  said  to  have  written  the  psalm,  "ll'ir  nur 
den  liiber  dott,"  S;c.     He  die<l  at  Weimar  in  lOSl. 

NEUSCHL,  or  NEYSCHEL,  JOIIANX,  court 
musician  to  the  Kmperor  Maximilian  II.,  was  a 
celebrated  performer  on  the  trumpet,  so  much 
so  that  the  emi)eror  ordered  .Vlbert  Durer,  the 
painter,  to  introduce  liis  i)ortr«it  in  the  picture 
he  was  about  to  paint  of  a  trium])hid  entry  of  the 
emjjcror. 

NEU.«lZ,  HEINRICH  GEOUG,  born  at  Elbin 
Gerorda  in  l'!.)4,  was  an  ecclesiastic.  It  was  not 
till  the  fiftieth  year  of  his  age  that  he  began  to 
study  music,  and  then  only  with  a  design  of  or- 
namenting the  simple  psalmody  used  in  divine 
sen-ice  with  occasional  discords  and  chromatic 
intervals.  He  first  took  lessons  in  composition 
from  the  singer  Bokemcyer,  at  Wolfenbultd  ;  and 
what  is  remarkable,  he  received  these  instructions 
only  by  means  of  a  correspondence  carried  on  be- 
tween himself  and  his  master.  Having  made 
some  i)rogress,  he  arranged  many  psalms  for  four 
voices,  and  sent  them  to  Bokcmeyer  for  correc- 
tion. On  their  being  returned,  he  introduced 
them  in  his  church,  when  they  proved  so  effective 
as  to  render  the  singing  of  his  congregation  much 
more  attractive  than  that  of  the  surrounding 
churches.  He  next  hazarded,  in  1712,  the  com- 
position of  a  piece  of  music  on  the  maniage  of  a 
nobleman,  in  which  he  sang  himself  This  was 
also  successful.  He  wrote,  also,  the  following 
works  :  "  Of  the  Use  and  Abu.se  of  Music,"  1691  ; 
"  Miisica  Paraliolica,"  a  tract;  and  "  \  TreatLse 
on  Music."  'Die  two  latter  were  left  in  mimu- 
script  at  his  death. 

NEVEU,  JOSEPH,  BARON  DE.  A  pupil 
and  friend  of  N.  Piccini,  who  dieil.  as  Ls  well 
known,  in  indigent  circumstances,  and  on  wliose 
grave,  at  Passy,  Neveu  caused  a  monument  of 
black  marble  to  be  erected  in  1800.  Professional 
mu.sician,  as  the  French  dictionary  calls  him,  ho 
was  none,  but  what  Ginguenii  terms  un  nmnteur 
inxtruit.  lliis  mistake  is  the  more  excusable,  as 
there  was,  about  the  same  time,  (178S,)  another 
Neveu,  pianist  to  the  Count  d'Artois,  at  Paris, 
who  is  most  likely  the  author  of  the  works  jmb- 
lished  in  that  name.  Whether  this  be  the  same 
Neveu  who  was  appointed,  in  1792,  profe-wor  of 
the  belles  Uttres  at  the  Lycie  de.i  Arts  at  Paris,  and 
who  there  gave  public  lectures  on  drawing,  jiaint- 
ing,  sculpture,  engraving,  miLsic,  dancing,  and  the 
drama,  is  again  doubtful.  Gerber  rather  thinks 
that  this  last  profes.sor  was  the  above-named 
Baron  de  Neveu,  the  amateur.  The  following 
works  may  be  met  with  in  the  name  of  Neveu  : 
"  TVoM  Potpourris  d'Airs  conniis  jioitr  te  Clav.," 
Paris,  1788,  and  "  ArUtte  tar.  jmur  k  V.  F." 
Augsburg,  1799. 

NEWBOLD.  An  able  profes,sor  of  the  violin, 
resident  at  Manchester.  He  performed  at  the 
York  Festival  in  1823. 

NE^^"I■ON,  JOHN,  doctor  of  divinily,  and 
rector  of  Uoss,  in  Herefordshire,  a  person  of  great 
learning  and  skill  in  the  mathematics,  was  the 
author  of  the  "  English  Academy,  or  a  brief  In- 
troduction to  the  seven  Liberal  Arta,"  in  whict 


6£3 


^  EW 


ENCYCLOPEDIA    OF    MUSIC. 


NIC 


music,  as  one  of  them,  is  largely  treated  of.     It 
was  publLshcil  in  octavo,  in  the  year  16G7. 

XR\y  TUEMONT  TEMPLE.  The  old  Tre- 
lunnt  'reiu]>li>,  Uoston,  was  burned  down  on  the 
nif;ht  of  .Nlarch  .'il,  18.52;  and  immediately  prep- 
arations wtTO  made  for  building  a  new  one.  The 
new  Teini)le  is  immense ;  it  covers  an  area  of 
ninety  four  feet  front  by  one  hundred  and  thirty- 
six  feet  deep,  and  is  seventv-five  foct  high  in 
front.  The  walls  are  of  ample  thickness  and 
strength,  varying  in  thickness  from  thirty-six 
inches  to  t-ixteeu  inches,  and,  in  accordance  with 
the  most  approved  method  of  building,  hollow. 
This  insures  greater  proportional  strength,  dry 
inside  walls,  a  saving  in  furring  and  lathing  — 
by  admitting  of  plastering  upon  the  bricks  —  and 
greater  resonance  and  adaptation  to  music  in  the 
walls  of  the  large  halls.  ITiis  method  obviates, 
also,  to  a  very  considerable  extent,  all  danger  of 
fire  spreading,  as  it  often  does,  and  did  to  tlin  de- 
struction of  the  old  Temple,  between  the  plaster- 
ing and  the  wall.  AVherever  in  this  new  building 
it  has  been  found  necessary  to  use  furring  and 
plastering,  layers  of  brick  have  been  placed  to 
cut  off  all  chance  of  fire  spreading  between  the 
plastering  from  one  story  to  another.  The  floors, 
too,  have  a  thick  coating  of  mortar  between  the 
under  and  upper  courses  of  boards,  as  a  protec- 
tion ag.ninst  the  spread  of  fire,  and  to  prevent  the 
transmission  of  sound.  The  main  Hall  is  one 
hundred  and  twenty-four  feet  long,  seventy- 
two  wide,  and  fifty  feet  high.  Back  of  the  stage, 
in  a  recess,  is  the  organ,  one  of  the  largest  ever 
built  in  the  United  States,  placed  there  by  the 
builders,  Messrs.  Hook. 

NEYDIXG,  a  musician  at  Erfurt,  was  bom  in 
1722.  He  was  a  good  violinist  and  harpist,  and 
left  many  vocal  and  instrumental  compositions  in 
manuscript.     He  died  in  1788. 

NICAISE,  ABBE  CLAUDE,  a  native  of  Dijon, 
who  died  in  1702.  ■wrote  "  Disseriatio  de  Vetenim 
Musica."     It  was  not  printed. 

NICETIUS,  or  NICETAS,  ST.  Dr.  Forkel 
observes,  in  the  second  volume  of  his  history,  p. 
197,  that  this  Nicetius  is  said  to  be  the  real  author 
of  the  hymn  "  Te  Deum  laiidamus,"  commonly 
ascribed  to  Ambrosius. 

NICHELMANN,  CHRISTOPH,  chamber  mu- 
sician and  professor  of  the  harpsichord  to  the 
King  of  Prussia,  was  bom  at  Treuenbriezen  in 
1717.  His  first  masters  were  Bubel,  Schweinitz, 
and  I.ippe.  In  1730  his  father  sent  him  to  .St. 
Thoma.s's  school  at  Lcipsic,  where  he  continued 
the  study  of  music  under  the  great  Seba.stian 
Bach,  then  director  in  that  school.  The  eldest 
son  of  Bach  was  at  the  same  time  his  princiijal 
teacher  on  the  harpsichord,  and  directed  his  first 
essays  in  composition.  Being  desirous,  three 
years  after  this,  to  familiarize  himself  with  tl.e 
dramatic  style  of  music,  bj'  hearing  the  compo- 
sitions of  the  best  writers  for  the  theatre,  and  not 
being  able  to  satisfy  this  desire  at  Leipsic,  whore 
there  w.as  not  then  any  opera,  he  resolved  on  a 
journey  to  Hamburg,  in  which  one  of  his  school- 
fellows, by  the  name  of  Boehmen,  agreed  to  ac- 
company liim.  Though  the  opera  of  this  city 
was  on  its  dccbne,  it  was  still  supported  by  the 
chapel-masters  Keiscr,  Telemann,  and  Mattheson, 
and  several  distinguished  singers  were  attached 
to  it.     At  Hamburg,  Nichclmann  became  ii  ti- 


mately  acquainted  with  Keiser,  who,  with  th« 
other  two  chapel-masters  above  mentioned,  gavf 
him  all  the  information  he  reijuired  on  the  sub- 
ject of  dramatic  music,  till  the  year  1738,  when, 
after  a  short  visit  to  his  native  jdace,  he  proceeded 
to  Berlin.  The  organization  of  the  Chapel  Itoyal 
at  Berlin,  and  the  establishment  of  the  opera  in 
1740,  furnished  him  with  a  new  opportunity  of 
increasing  his  musical  knowledge.  He  also,  at 
this  time,  profited  by  the  lessons  of  (iuantz  in 
counteqjoint,  and  Graun  in  vocal  composition. 
It  was  now  that  he  wrote  his  sonatas  for  the 
harpsichord,  which  were  afterwards  published  in 
two  volumes.  The  death  of  hLs  father  havin:; 
deprived  him  of  the  pecuniary  assistance  which 
he  had  previously  obtained  from  home,  obliged 
him  to  turn  his  mind  seriously  to  his  establish- 
ment in  lite.  Tlie  appointments  at  tlie  Royal 
Chapel  in  Berlin  being  all  filled  up,  he  decided 
on  a  journey  to  England  and  France.  Scarcely, 
however,  had  he  reached  Hamburg,  when  he  re- 
ceived orders  from  the  King  of  Prussia  to  return 
to  Berlin,  and  the  promise  of  a  place  in  the 
chapel.  Having  immediately  obeyed  this  man- 
date, he  was  nominated  second  performer  on  the 
harpsichord  in  the  Chapel  Royal.  Amongst  the 
compositions  which  he  wrote  during  the  time  he 
filled  this  situation,  we  can  mention  only  the 
pastoral,  of  which  the  king  himself  composed  the 
symphony  and  two  ariettes,  dividing  the  compo- 
sition of  the  remaining  ariettes  between  Nichel- 
maun  and  Quantz.  In  1749  he  wTOte  his  work 
"  Die  Me/odie."  This  was  published  at  the  time 
of  the  controversy  respecting  the  comparative 
merit  of  French  and  Italian  music,  and  called 
lorth  several  virulent  replies,  which,  in  their  turn, 
were  again  answered.  In  17oG  Xichclmann  ob- 
tained his  discharge  from  the  Chapel  Royal, 
which  he  had  soUcited  from  the  king,  and  aftei 
that  period  resided  privately  at  Berlin  till  his 
death,  which  took  place  in  I'CA. 

NICHOLSON',  RICHARD,  organist  of  Mag- 
dalen Church,  Oxford,  was  admitted  to  the  degree 
of  music  in  that  university  in  159.5.  He  was  the 
first  professor  of  music  at  Oxford  under  Dr.  Hey- 
ther's  endowment,  and  was  the  composer  of  manv 
madrigals.     He  died  in  the  year  1639. 

NICHOLSON,  CHARLES.  The  father  ol 
this  eminent  flutist,  who  died  1737,  was  also  an 
admirable  performer  on  that  instrument,  and 
dedicated  much  time  to  its  improvement.  In 
this  he  was  eminently  successful ;  and,  at  his 
death,  left  his  son  in  possession  of  a  knowledge 
of  the  principles  on  which  he  proceeded,  and  a 
genius  highly  capable  of  carrying  those  principles 
into  execution.  The  rich,  mellow,  and  finely- 
graduated  quality  of  tone  whicli  he  produced 
throughout  the  whole  compass  of  the  instrument, 
sufficiently  e%-inces  the  success  which  ha<  attend- 
ed his  exertions.  Nothing  could  more  clearly 
show  the  mastery  this  artist  obtained  over  the 
grand  impediments  of  the  instrument  than  hispcr- 
formance,in  1822, at  Covent  Garden  Theatre,  where 
he  executed  an  adagio  without  the  accompani- 
ment of  a  single  instrument ;  and  such  was  his 
complete  success,  that  an  encore  was  d<»  nanded 
by  the  whole  house  with  acclamation.  In  pa- 
thetic movements,  indeed,  he  had  no  rival.  Nich- 
olson has  published  numerous  works  for  his  in- 
strument, amongst  which  are  "Preceptive  Les* 
sons  for  the  Flute ; "  "A  Volum"  o'"  Studies,  oon- 


654 


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NIC 


listing  of  Passages  selected  from  the  Works  of 
the  most  eminent  Flute  Composers,  and  thrown 
into  the  form  of  Preludes,  with  occasional  Fin- 
gerings, and  a  Set  of  original  Exercises ; "  '•  Twelve 
select  Melodies,  with  Variations  for  the  Flute  and 
Piano-forte,"  in  conjunction  with  Burrowes ;  "  O 
(hlce  concento,  with  \'ariations  tor  Flute  and 
Piano-forte,"  also  with  Burrowes;  "Four  Vol- 
umes of  Flute  Beauties,  consisting  of  forty-eight 
Numbers;  "  "Twelve  select  Airs,  with  Variations 
as  Flute  Solos,  with  P.  F.  Accompaniment;" 
"  Le  Bouquet,  or  Flowers  of  Melody  ;  "  "Potpourri 
for  Flute  wid  P.  F.,  introducing '  Life  let  us  cher- 
ish,' '  Auld  Robin  Gray,'  and  favorite  (Juadrillc, 
'  La  Matilda,'  as  a  Rondo  ;  "  "  Six  Fantiuiias  ;  " 
"Mai/se(ler's  Polonaise,  for  Flute  and  P.  F.,"  and 
"Introduction  and  six  Variations  to  'The  Fall  of 
Paris,'  with  an  ad  libitum  for  the  P.  F." 

NICLAS,  J.  A.  This  musician,  who  was  born 
in  Suabia,  published  "Choix  d'Airs  de  phtsieurs 
Operas,"  Lcipsic,  1790.  One  half  of  the  French 
opera  songs  arranged  in  this  work  for  the  harpsi- 
chord, and  sixteen  in  number,  are  of  the  private 
secretary  Ilorinzky's  composition.  The  remain- 
der are  by  Pacsicllo,  Salomon,  Gretry,  and  Gluck. 
Amongst  them  is  also  a  chanson  by  Madame  Au- 
rora, iirst  singer  at  Rheinsburg.  The  publisher 
of  this  collection  was  at  that  time  musician  in 
ordinary  to  Prince  Henry  of  Prussia  at  Rlieins- 
burg. 

NICOLAI,  DAVID  TRAUGOTT,  court  or- 
ganist of  St.  Peter's  Church  at  Gorlitz,  was  born  in 
that  town  in  1733.  He  was  one  of  the  most  cel- 
ebrated performers  on  the  organ  in  Germany,  in 
the  latter  half  of  the  last  century,  especially  as  an 
extempore  player,  and  owed  his  great  proticiency 
chietiy  to  the  instructions  of  his  father,  B.  T.  Nic- 
olai,  who  was  aKo  celebrated  on  the  same  instru- 
ment. At  the  early  age  of  nine,  young  Nicolai 
was  able  to  perform  with  icUit  Sebastian  Bach's 
most  dithcult  compositions.  His  skill  in  mechan- 
ics was  also  so  great,  and  especially  his  knowl- 
edge of  organ  building,  that  he  was  sent  for  j 
liom  all  jiarts  of  the  surrounding  country  to  [ 
inspect  newly- buUt  or  repaired  organs.  The  love 
of  his  native  place,  and  above  all  his  great  at-  ; 
tachmeut  to  his  organ,  rendered  all  calls  to  more  ! 
lucrative  situations  fruitless.  As  a  reward  for 
this  attauhment  and  loyalty,  he  obtained  of  the 
court,  in  17.'<o,  the  appointment  of  electoral  court 
organist,  and  of  the  town  of  Gorlitz  an  annual 
increase  of  salary  of  twenty-tive  dollars  for  life. 
His  activity  never  relaxed  until  his  death,  at  the 
age  of  sixty-eight.  His  son  Carl  Samuel  Trau- 
gott,  bachelor  of  law,  was  permitted,  in  179.5,  to 
act  as  his  adjunct;  so  that  the  third  generation 
of  that  celebrated  family  of  organists  was,  in  181'2, 
serving  the  same  organ. 

NICOLAI,  DR.  ERNEST  ANTON,  a  doctor 
of  medicine  and  philosophy,  bom  at  Sonders- 
hausen  in  17'J'2,  publi.shed,  in  17J.5,  a  disserta- 
tion entitled  "  The  Union  of  Music  and  Medicine." 
He  died  at  Jena,  in  1802. 

NICOL.VI,  FIUEDIUCU,  a  bookseUer  at  Ber- 
lin, was  born  in  that  town  in  1733.  He  WTOte  a 
tour,  in  which  he  made  many  observations  on 
music,  proving  himself  to  possess  an  extensive 
knowledge  of  the  art.  The  account  which  ho 
gives  of  the  state  of  music  at  Vienna  about  the 
year  1770,  but  especially  hiB  remarks  on  Gluck, 


still  deserve  to  be  read.  There  are  also  in  hi* 
work  some  interesting  anecdotes  of  the  llerlii 
musicians.  In  1799,  Nicolai  was  elected  a  mem- 
ber of  the  Royal  Academy  of  Sciences  at  Berlin. 
This  author,  says  Gerber,  evinced  clearly  by  a 
jest,  that  he  minht  also  have  been  a  comjwser  ; 
the  proof  of  whidi  is  found  in  two  small  para- 
))hlets  of  bnlliids,  which  he  published  under  the  fol- 
lowing quaint  title,  in  obsolete  German  :  •'  A  nica 
little  Almanack,  lull  of  i)retty,  genuine,  and  pleas- 
ant Ballads,  merry  Carols,  and  plaintive  Dittie^l 
of  Murders,  chanted  by  Gabriel  Oddtisli,  whilom 
Ballad  Singer  at  Dessau,  and  edited  by  Daniel 
Cleverly,  Shoemaker,  at  Ritznueck  on  the  Elbe, 
1st  year,"  Berlin  and  Stettin,  publishc<l  by 
Friedrich  Nicolai,  1777.  "Second  Vciir,  ditto," 
177S.  The  following  tunes,  and  droll  enough 
they  are,  Nicolai  composed  himself.  In  tlie  first 
year  of  the  above  work,  the  song*  numbered  IG, 
18,  21,  22,  23,  and  23,  also  the  chimney  sweep- 
er's song,  No.  29,  which  is  one  of  the  best  in  tin- 
collection;  and  in  the  second  year,  Nos.  16,  17, 
29,  30,  and  31.  The  remainder  arc  partly  old 
tunec,  adapted  to  these  songs,  and  partly  the 
compositions  of  Chapel-master  Reichardt.  "  To 
observe  Nicolai  at  his  own  house,"  continues 
Gerber,  "  where  you  meet  every  where  with 
traces  as  well  of  the  owner's  refined  ta>te  as  of 
his  opulence,  is  exceedingly  gratifying.  On  one 
side  you  pass  through  a  concert  room  into  Ms 
study,  the  walls  of  which  are  covered  with  por- 
traits of  all  the  celebrated  authors,  amo  igst 
which  those  of  lirst-rate  composers  are  not  oiait- 
ted.  On  the  other  hand,  you  behold  a  piano, 
and  opposite  to  that  a  museum  of  engravings  in 
huge  portfolios,  comprising  also  a  collection  of 
portraits  of  eminent  musicians,  not  very  nuiuer- 
ous  indeed,  but  no  less  interesting  on  that  ac- 
count. Tlie  most  valuable  object,  however,  to  be 
met  with  there,  is  himself:  his  excellent  judg- 
ment, and  agreeable  conversation  concernii  g  the 
sciences  in  general,  scientitic  men,  nud  their 
works,  which  one  may  look  for  in  vain  aoiongst 
a  thousand  professors,  appears  to  him  quite 
natural.  Greatly  as  hLs  writings  abound  with 
useful  m.ttter  on  those  subjects,  it  is  in  conversa- 
tion only  that  his  vast  erudition,  and  nice  dis- 
crimination in  every  art  and  science,  can  be  duly 
appreciated.  The  nobility,  and  even  princes,  are 
entertained  at  his  hospitable  l>oard  ;  when  they 
are  sure  to  find,  besides  the  profusion  of  luxuries 
they  are  used  to,  something  much  more  rare, 
namely,  a  society  more  remarkable  for  the  ci.paci- 
ty  of  their  brains  than  for  that  of  their  -tomachs. 
F.  Nicolai,  moreover,  enjoye<l  the  gratitication  of 
seeing  his  youngest  daughter  make  such  prog- 
ress in  singing,  that,  in  1797,  when  al>out  fi^f- 
teen  years  old,  she  ranked  amongst  the  most  dis- 
tinguished members  of  Fasch's  excellent  Conser- 
vatory." "ITiis  superior  man  dietl  at  Berlin  in 
1811,  age<l  seventy-eight. 

N1C0L.\I.  JOHANN  GEORO.  or-ani.st  at 
Rudolstadt,  publi.-.hed  some  organ  and  ohurcL 
music.     He  died  there  in  1790. 

NICOLAI,  JOSEPH  (K)ITFRIED,  son  of 
the  prece<Ung,  was  born  at  Rudolstadt.  Ha 
studied  divinity  at  the  University  of  Jena  in  1794, 
and  returned  in  1797  to  his  native  place.  Being 
a  clever  performer  on  the  harpsichonl.  and  a  great 
amateur  of  fugue*,  ho  removed  to  OtTenbach  oi 
the    Maine,   where   he   resided,    about    1799,    a# 


6££ 


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ENCYCLOPAEDIA    OF    MUSIC. 


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teacher  of  the  haqisichord,  and  published  the 
\inder-mentioned  works  for  that  instrument.  At 
length  lie  engaged,  towards  1802,  as  tutor  to  the 
family  of  Mr.  Von  Stockum,  privy  councilor  to 
the  King  of  Prussia,  at  Nuremberg,  where  he 
performed  at  a  concert,  in  the  same  year,  a  grand 
concerto  of  Dussek"s,  and  a  sonata  and  fantasia 
of  his  own  composition,  on  the  piano-forte.  Ilis 
published  works  are  "  Sonate  pour  le  Clav.  avec 
v.,"  Op.  1,  Offenbach,  1797,  and  "  Trois  donates 
pour  le  Clav.  avec  oblig.,"  Op.  2,  Offenbach,  1799. 

NICOLAI,  JOHANN  MARTIN,  brother  of 
Johann  Gcorg  Nicolai,  was  chamber  musician  at 
Meiningen  about  the  year  1756.  He  published 
at  Nuremberg  a  work  entitled  "  Exercises  for  the 
Harpsichord." 

NICOLAI,  JOHANN  GOTTLIEB,  son  of  the 
preceding,  was  director  of  the  concerts  and  or- 
ganist at  Zwoll.  He  composed  the  operetta 
called  "  Der  Geburtstag  ;  "  also  several  other  oper- 
ettas and  practical  works  for  the  harpsicliord  and 
other  instruments.  In  the  year  1799  he  adver- 
tised at  Zwoll  '<  Six  additional  Sonatas  for  the 
P.  F.,  with  Accompaniment  of  a  Violin  and  Bass," 
Op.  12.  He  died  at  Zwoll  in  the  beginning  of 
1801.  Amongst  his  earlier  productions  the  fol- 
lowing deserve  to  be  noticed  :  "  A,  B,  C,  pour  le 
Clav.,"  ninety  pages,  and  "  Vingt-qtuitre  So/iates 
pour  le  Clav.  sur  les  Tons  de  la  Musii/ue,  Secomle 
Partie,"  seventy-sLx  pages,  both  for  the  use  of 
students. 

NICOLAI,  JOHANN  MICHEL,  musician  to 
the  court  and  composer  at  Stuttgard,  flourished 
in  the  seventeeiith  century,  and  published  the 
following  works :  "  Spiritual  Harmonies  for  three 
Voices  and  two  Violins,"  Frankfort,  1669 ; 
•'Twelve  Sonatas  for  two  Violins  and  Viol  da 
Gamba  or  Bassoon,"  Augsburg ;  "  24  Capricci  d 
4  r.  e  B.  C,"  Augsburg,  1675  ;  and  "A  Third 
Volume  ditto,"  1682. 

NICOLAI,  or  NICOLAY,  VALENTINE.    A 

popular  composer  for  the  piano-forte,  who  resid- 
ed many  years  at  Paris.  His  writings  were  once 
in  great  request.  "  This,  however,"  observes  Dr. 
Burney,  "maj-  probably  have  been  more  owing 
to  the  sprightliness  and  pleasantry  of  his  style, 
than  to  the  depth  or  orthodoxy  of  his  knowledge. 
Nearly  all  his  works,  but  particularly  his  thiid 
opera  of  sonatas  for  the  piano-forte,  the  first  sona- 
ta of  wliich  was  for  many  years  taught  in  almost 
every  school  in  the  kingdom,  had  a  very  exten- 
sive sale.  His  piano-forte  duets  are  considered 
to  rank  amongst  the  best  of  his  works.  In  some 
of  these  he  has  displayed  a  very  considerable 
shai'e  of  good  taste,  ingenuitj',  and  fancy."  He 
died  about  the  year  1799. 

NICOLE'ITI,  FILIPPO,  an  ecclesiastic  and 
composer  at  Ferrara,  flourished  at  Rome  in  1620, 
as  chapel-master.  He  jiublished  many  madrigals 
and  sacred  compositions. 

NICOLINI,  GIUSEPPE,  an  Italian  dramatic 
composer,  produced  in  1800,  for  the  theatre  at 
Milan,  the  opera  butta  "  /  Baccanali  di  Roma," 
which  has  been  successful  in  many  to'mis  in 
Italy.  He  has  also  wTitten  several  other  pleasing 
operas. 

NICOLINI,  FRANCESCO.  Born  at  Venice 
about  the  middle  of  the  seventeenth  century. 
He  wrote  the  words  and  music  of  the  operas  "Ar- 


ffia,"  "  Genserkn,"  "  Eraclio,"  and  "  Penelope  " 
the  success  of  which  was  the  recompense  of  his 
double  talent. 

NICOLINI  DI  NAPOLI,  or  NICOLINI 
GRIMALDI.  A  fine  contralto  singer  and  ex- 
cellent actor.  He  went  to  England  in  the  year 
1708,  having  been  previously  celebrated  in  Italy 
for  about  ten  years.  Sir  Richard  Steele,  in  No. 
115  of  the  "Tatler,"  speaks  highly  of  Nicolini's 
acting  ;  and  so  much  was  liis  performance  thought 
of,  that  the  opera  prices  were  raised  on  his  arri- 
val, he  being  considered  the  first  truly  great 
Italian  singer  who  had  performed  in  England. 
He  sang  in  Handel's  first  opera  of  "  Riaaldo." 
In  the  year  1712  he  left  England  for  Italy,  as  it 
was  supposed,  not  to  return.  In  1715,  however, 
he  was  again  in  England,  and  sang  in  "  Rinaklo," 
when  the  opera  had  as  great  a  run  as  at  its  first 
representation.  Quanz,  in  his  biography,  says 
that  he  met  with  Nicolini  at  Venice,  in  1726, 
when  his  singing  was  on  the  decline.  We  do 
not  know  the  period  of  his  death. 

NIEDT,  FRIEDRICH  ERIIARDT.  A  mu- 
sical theorist  and  composer,  who  lived  about  the 
beginning  of  the  last  century.  The  accounts  of 
liim  are  but  meagre  and  contradictory.  For  in- 
stance, Walther  insists  he  was  born  in  Thuringia, 
and  Dr.  Forkel  at  Jena ;  neither  of  them,  howr 
ever,  is  able  to  state  the  precise  year  of  his  birth ; 
while  Mattheson,  who  might  liave  learned  it  of 
Niedt  himsell',  having  had  so  much  concern  with 
his  works,  refers,  in  his  "  EhrenpfoHe,"  (Trium- 
phal Arch,)  toWalther's  "  Lexicon."  However, 
from  all  this  the  following  may  be  elicited.  About 
the  year  1700,  Niedt  practised  as  notary  at  Jena, 
but  went  soon  after  to  Copenhagen,  where  his 
compositions  gained  the  applause  of  the  court ; 
partly  for  which  reason,  and  partly  on  account  of 
his  unguarded  conversation,  he  was  frequently 
exposed  to  the  shafts  of  envy,  until  he  died, 
towards  1717.  Of  his  numerous,  and  some  of 
them  truly  grand,  compositions  for  the  court 
of  Copenhagen,  nothing  further  has  transpired. 
The  publication  of  the  following  works  he  pro- 
moted himself :  "  Musical  Guide,  or  Methodical 
Instructions,  by  means  of  which  a  Tjto  in  the 
noble  Science  of  Music  may  so  perfect  himself  in 
a  short  time,  as  to  be  able  not  only  readily  to 
play  Thorough  Bass,  after  a  few  plain  rules,  but 
likewise  be  able  to  compose  various  pieces,  and 
be  what  is  called  a  respectable  Organist  and 
^Musician."  Volume  the  first  treats  of  thorough 
bass,  and  sight  plapng  of  the  same,  Hamburg, 
1700.  "  Guide  to  "Variations,  or  a  Method  of 
varving  the  Thorough  Bass  and  the  Numbers 
placed  on  the  Notes,  so  as  to  form  pleasing  Vari- 
ations, and  to  convert  with  ease  a  Thorough 
Bass  Prelude  into  Ciacons,  Allemandes,  Cou- 
rantes,  Sarabandes,  Minuets,  Jigs,  &c.,  with  other 
useful  Instructions,"  second  volume,  Hamburg, 
1706.  "  A  second  improved  Edition  of  the  same 
Work,  with  Notes,  and  a  Supi)lement  of  upwards 
of  sixty  Pieces  for  the  Organ,  by  Matthe.son," 
Hamburg,  1721.  "  Musical  Guide,"  the  third  and 
last  volume :  this  treats  of  counterpoint,  fugues, 
motets,  choruses,  recitatives,  and  cavatiuaa. 
"  Opus  Posthumit/n ; "  to  this  is  added  plain  ar- 
gtunents,  on  which  the  right  use  of  music,  both 
in  churches  and  elsewhere,  is  founded  :.  it  was 
edited  by  Mattheson,  Hamburg,  1 7 1 7 .  This  third 
volume  the  author  did  not  complete,  nor  did  he 


666 


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EXCYCLOP.'EDIA    OF    MUSIC. 


NOB 


intend  it,  acccrding  to  his  plan,  to  be  the  last 
volume  of  the  work.  "  Musical  A,  H,  C,  for  the 
Use  of  Students  and  Teachers,"  Hamburg,  1708. 
"  The  German  Frenchman,  consisting  of  six  Suites 
of  Airs,  namely,  for  three  Hautboys  or  Violins, 
and  a  Bassoon  or  Violin,  composed  for  the 
Amusement  and  Pastime  of  intelligent  Lovers  of 
the  noble  Science  of  Music,"  Copenhagen,  1708. 

NIEDT,  NICOL,  clerk  in  a  government  office, 
and  town  otganist  at  Sondershausen,  about  the 
end  of  the  seventeenth  century,  may  be  ranked 
among  the  able  sacred  composers  of  that  time. 
He  died  in  1700.  Mattheson  tells  us,  p.  112  of 
the  "  Ehn-njiforte,"  that  his  church  music  was  in 
request  as  tar  an  SOesia,  but,  on  the  other  hand, 
informs  us  that  he  was  so  poor,  that,  according 
to  a  note  in  the  Sondershausen  church  register, 
there  was  not  enough  money,  after  his  death,  to 
defray  the  expenses  of  his  funeral.  As  he  left 
neither  wife  nor  child,  and  probably  came  to 
Sondershausen  a  stranger,  his  name  has  been 
long  forgotten  there.  His  work,  perhaps  the 
only  good  musical  one  ever  printed  there,  bears 
the  title  of  "  Musical  Relaxation  for  Sundays 
and  grand  Festivals,  composed  for  five  Voices 
and  five  Instruments,"  Sondershausen,  1G98. 
This  course  contains  a  scriptural  text  for  every 
Suuday  and  festival  of  the  church,  composed  as  a 
concerto,  followed  by  an  air  for  two  sopranos  and 
a  bass,  and  concluded  by  a  chorus. 

NIEL,  a  composer  at  Paris,  brought  out  at  the 
Academy  of  Music,  in  1736  and  1737,  the  two 
operas  of  "  Les  Voyaijes  de  V Amour,"  and  "  Les 
Itomans."  This  latter  opera  has  been  reset  by 
Cambini,  and  was  perfomiod  in  1776.  Niel  also 
brought  out,  in  17-44,  "  L'Ecote  dea  Amaju." 

NIELD.  A  celebrated  tenor  singer  at  the  prin- 
cipal concerts  and  music  meetings  in  Eit^land, 
since  the  commencement  of  the  present  century, 
and  a  very  able  professor  of  singing.  He  was  long 
one  of  the  greatest  vocij  ornaments  of  the  Chapel 
Royal  in  St.  James.  Niikl  was  generally  consid- 
ered as  one  of  the  most  chaste  and  correct  sing- 
ers of  that  peculiar  style  of  English  national 
music  called  glees. 

NIEMEYER,  AUGUST  HERMANN.  Pro- 
fessor of  theology  at  Halle,  and  born  there  in 
1752.  He  wrote  the  words  of  several  religious 
dramas,  which  were  set  to  music  by  RoUe.  His 
"Thoughts  on  Religion.  Poetry,  and  Music"  are 
to  be  found  at  the  beginning  of  his  drama  en- 
titled "  Abraham,"  which  appeared  at  Leipsic  in 
1777. 

NIEMEZECK,  C.  T.  By  birth  a  Bohemian, 
professor  of  the  harp,  and  musician  in  ordinary 
to  the  Emperor  of  Russia.  When  on  his  travels, 
he  played  at  several  concerts  at  Berlin,  with  ap- 
plause ;  since  which  time  his  sphere  of  action  re- 
mains unknown.  Not  so  the  following  works 
by  him  :  "  Thema,  avec  8  var.  pour  la  Ilarpe,"  Op. 
1,  Leipsic,  1795;  "Thema,  avec  7  var.  pour  la 
Harpe,"  Op.  2,  Leipsic,  1795;  "  ihiiate  poitr  la 
Harpe,"  0;i.  3,  Leipsic,  1795  ;  and  "  Soiwte  pour 
2  Ilarpes,"  Op.  i,  Leipsic,  1795.  In  1803  he 
again  performed  at  Leipsic. 

NIESER,  A  good  German  tenor  singer.  He 
performed  at  Frankfort  in  the  year  1823.  His 
graceful  manner  and  general  appearance  were  said 


to  bo  particularly  adapted  to  the  performance  of 
Italian  music. 

NIKEEF,  a  native  of  Russia,  distinguished 
himself,  about  1801,  in  his  country,  (where  all 
tlie  psalms  and  choruses  are  sung  without  instru- 
mental accompaniments,)  as  a  superior  composer 
of  church  music. 

NINETEENTH.  An  interval  consisting  of  two 
octaves  and  a  fifth  ;  the  replicate  of  the  twelfth. 

NINTH.  An  inter\'al  containing  an  octave  and 
a  tone.  Also,  the  name  given  to  the  chord  con- 
sisting of  the  common  chord  with  the  eighth  od- 
vanced  one  note. 

NINI,  GIOV.  BATT.  An  excellent  singer  at 
Urbiiio,  about  the  year  1700. 

NISLE,  JOHANN  FRIEDRICH,  born  about 
the  year  1780,  was  on  his  travels  in  1805,  and 
devoted  himself  entirely  to  composition,  having 
no  ambition  to  shine  as  a  performer,  although  he 
was  an  excellent  hornist,  and  his  compositions 
evince  him  to  have  been  no  less  at  home  on  the 
harpsichord.  The  first  little  work  by  which  he 
appeared  before  the  j)ublic  was  entitled  "  Songs 
at  the  Piano-forte,"  Leipsic,  1798.  These  have 
since  been  followed  up  by  several  other  works 
for  the  piano  and  for  the  French  horn.  In  1809, 
Nisle,  with  one  of  his  brothers,  also  a  musician, 
resided  at  Veret,  in  Hungary. 

NITSCH,  PETER,  a  composer  of  the  sixteenth 
century,  published  "  Gcnuan  Hymns  for  Morn- 
ing and  Evening,  likewise  to  bo  sung  before  and 
alter  Meals,"  Leipsic,  164ii,  and  "  German  and 
Latin  Hymns  for  four  Voices,"  Leipsic,  1573. 

NITSCH,  IGNAZ,  organist  at  Vienna  in  1795, 
must  be  ranked  amongst  the  able  sacred  compo- 
sers ;  witness  several  of  his  choral  masses  and 
vespers. 

NIVERS,  GABRIEL,  was  one  of  the  four  or- 
ganists of  the  chapel  of  Louis  XIV.,  and  also  or- 
ganist of  the  Church  of  St.  Sulpicc,  at  Paris.  He 
published,  in  1683,  a  tract,  entitle.!  "  DUseriation 
siir  le  Chant  Griyoricn,"  written  for  the  purpose 
of  restoring  the  canttu  Greijorianus  to  its  primitive 
purity.  This  work  had  si  much  influence,  that 
the  Antiphonary  of  the  French  church  was  re- 
published according  to  his  corrections,  at  the  cy- 
press command  of  the  king.  At  tlie  end  of  the 
dissertation  are  contained  the  forms  of  the  offices, 
with  the  musical  notes  adjusted  to  rules  laid 
down  by  the  author.  These  arc  followed  by  a 
short  treati.se  on  the  mode  of  singing  according 
to  the  eight  tones  of  the  ca)Uu3  Oregorianus,  and 
the  book  is  concluded  with  some  select  church 
services.  The  author  appears  to  have  been  well 
skilled  in  ecclesiastical  history,  and  the  above 
work  contains  one  of  the  best  histories  of  chui-ch 
music  that  is  extant.  In  the  year  1697,  Nivers 
published,  at  Amsterdam,  "  Traiti  de  la  Composi- 
tion de  Muiique ;'  and  the  two  following  works 
have  been  ascribed  to  him  :  "  Le  premier  Litre  de* 
Motets,"  and  "  Le  premier  Livre  des  I'iices  <t  Or- 
ffue-" 

NOBLET.  A  professor  of  the  harpsichord  and 
organ,  and  member  of  the  orchestra  of  the  opera 
at  Paris,  between  the  years  1750  and  1760. 
There  arc  of  bis  composition  a  Te  Dcum,  several 
cantatas,  and  other  vocal  pieces,  as  well  for  the 


«>3 


657 


Ni'C 


ENCYCLOPAEDIA    OF    MUSIC. 


NON 


church  as  chamber ;  a'.so  some  harpsichord  music, 
which  latter  he  publiHhed  in  1756. 

XOCETTI,  FLAMINIO.  A  celebrated  Italian 
contrapuntist  of  the  sixteenth  century,  of  whom 
Cerrt'to  in  his  treatise,  written  in  IfiOO,  speaks 
hi::hly,  calling  hira,  however,  N'ucetus.  He prob- 
noly  published  several  works,  though  his  "Misse 
a  8  IOC."  is  the  only  one  known. 

NOCIIEZ.  A  pupil  of  the  celebrated  violoncel- 
lists Cervetto  and  Abaco.  After  having  travelled 
in  several  foreign  countries,  and  especially  in  Italy, 
he  returned  to  France,  was  engaged  at  the  comic 
opera,  then  at  the  grand  opera,  and  at  length,  in 
1703,  was  nominated  chamber  musician  to  the 
king.  It  is  Nochez  who  compiled  the  article 
Violoncello,  which  is  found  in  the  second  book 
of  Laborde's  essay.  lie  died  about  the  year  1800, 
havuig  been  jircviously  pensioned,  after  a  service 
of  more  than  fifty  j'ears  in  the  opera  orchestra. 

NODARI,  UIOV.  PAOLO,  an  Italian  con- 
trapuntist of  the  sixteenth  century,  is  ranked  by 
Cerreto,  in  the  same  honorable  manner  as  the 
preceding  Nocetti,  amongst  the  most  celebrated 
professors  of  his  time. 

NOELLI,  GEORG,  chamber  musician,  and 
professor  of  a  musical  instrument  called  the  Pan- 
taleon,  to  the  Duke  of  Mecklenburg-Schwerin, 
about  the  year  1780,  was  nearly  the  sole  person 
who  arrived  at  eminence  on  that  instrument, 
having  been  taught  it  by  the  inventor,  the  cele- 
brated Pantaleon  Hebenstreit.  Noelli  tirst  studied 
counterpoint  under  Geminiani,  and  then  at  Dres- 
den, during  six  years,  under  Ilasse,  and  at 
Bologna  under  Padre  Martini.  He  travelled 
tlirough  nearly  all  Europe,  and  was  in  London 
at  the  time  that  Handel  was  there.  He  was  in- 
timately acquainted  with  Emmanuel  Bach,  and 
some  of  his  compositions  are  said  much  to  resemble 
the  style  of  that  great  master.  He  died  at  Ludwigs- 
lust  in  1789.  None  of  his  compositions  have 
been  printed  ;  but  several  of  his  symphonies,  also 
some  quatuors  and  trios  for  violin  and  flute, 
were  left  in  manuscript  in  the  music  warehouse 
of  Westphal,  at  Hamburg. 

NOELS.  Certain  canticles,  or  songs  of  joy, 
formerly  sung  at  Christmas,  in  the  country 
churches  in  France.  The  name  is  derived  from 
the  Latin  word  tmtalU,  and  alludes  to  the  nativ- 
ity. 

NOFERE,  GIOV.  BATTISTA,  an  Italian  vio- 
linist, published,  subsequent Iv  to  the  year  17(J3, 
as  well  at  Amsterdam  as  at  Berlin  and  in  Lon- 
don, fourteen  operas,  consisting  of  trios,  duos, 
and  solos  for  the  violin,  and  solos  for  the  guitar. 

NOINVILLE.  BERNARD  DE,  published  at 
I'aris,  in  1719,  L'llistoire  du  Thidire  de  I' Opera" 
in  one  volume  octavo.  This  work  went  through 
two  other  editions  in  17-33  and  1757. 

NOIRE.  (F)  A  crotchet.  Calle<l /wire,  from  its 
black  head;  the  crotchet  being  originally  tlie 
minim  with  ita  head  filled  up.     See  Ckotchet. 

NOLA,  GIOV.  DOM.  D.\.  A  contrapuntist  of 
the  sixteentli  century,  of  whose  works  the  follow- 
ing were  preserved  in  the  elector's  library  at 
Munich  :  "  Canzoni  VilUinesrhe  d  3  voci,"  Venice, 
1545,  and  "  \'iHatielle  alia  yajxlilana  A  3  e  4  voci," 
Venice,  1750. 


NOMES.  (G.)  Certain  airs  ui  the  ancient 
masic  sung  to  Cybelc,  the  mother  of  the  gods, 
to  Bacchus,  to  Pan,  and  other  divinities.  The 
name  of  iiomc  was  also  given  to  every  air,  the 
composition  of  which  was  regulated  by  certain 
determined  and  inviolable  rules.  There  were 
two  part  nomes,  which  were  sung  in  two  modes ; 
also  nomes  in  three  parts,  sung  in  three  modes, 
viz.,  the  Doric,  Phryginn,  and  Lydian. 

NOMENCLATURES  In  English,  it  requires 
123  syllables  to  pronounce  the  12  sounds,  as  ap- 
plied "to  As*,  Bb,  C^,  Dbb,  &c.  In  German, 
the  same  number  of  syllables  is  required.  In 
French,  143  syllables  are  necessary,  and  in  Ital- 
ian, only  3()  syllables  are  used. 

NOMION.  The  appellation  by  which  the 
Greeks  distinguished  a  kind  of  love  song. 

NOMODICTAL  (L.)  The  appellation  givea 
by  the  ancient  Romans  to  the  umpires  at  theit 
sacred  games  and  musical  contests. 

NON.  An  Italian  negative,  generally  joined 
with  the  word  troppi,  very,  or  much ;  as,  non 
ti-oppo  allegro,  not  too  quick,  not  very  quick. 

NON,  ABBE  DE  ST.,  a  celebrated  French 
man  of  letters,  was  bom  in  1728.  He  was  ori- 
ginally a  member  of  the  parhament  of  Paris ; 
which  place,  however,  his  ardent  love  of  the 
arts  and  sciences,  as  well  as  of  liberty  and  inde- 
pendence, induced  him  to  sell,  and  to  travel  with 
the  money  he  received  for  it  to  Italy,  where  he 
occupied  himself  for  some  years,  not  only  in 
studying,  but  also  in  drawing,  jointly  with  the 
two  painters  Iragonard  and  Robert,  every  object 
that  came  in  their  wa^'  which  concerned  the  arts 
of  antiquity.  At  length  he  returned  to  Paris, 
and  there,  assisted  by  several  literati,  published, 
partly  by  subscription,  and  partly  at  his  own 
and  brother's  expense,  the  under-mentioned 
splendid  work.  He  died  at  Paris  in  1791.  The 
work  alluded  to  bears  the  title  of  "  Voyage  Pil- 
toresqne  dc  Xap/es  et  de  Sidle  "  A  copious 
abridgment  of  it  was  published  at  Gotha,  and 
entitled  "  Naples  and  Sicily,  an  Abridgment  of 
the  expensive  Work  called  Voyaie  Pittorcstjite, 
&c."  The  second  volume  followed  in  1790. 
This  contains,  amongst  other  thing*,  notices  of 
the  most  celebrated  Neapolitan  poets  and  com- 
posers ;  and  what  renders  it  the  more  valuable 
to  the  lovers  of  music  Is.  that  the  biographies  of 
the  musicians  are  derived  from  the  celebrated 
Nic.  Piccini.  They  refer  to  Pergolese,  Jomelli, 
Majo,  Duni,  Porpora,  Vinci,  both  Scarlattis, 
Leo,  Durante,  and  FarineUi. 

NONETTO.  (I.)  A  composition  in  nine 
parts. 

NON  MOLTO.     (I.)    Not  much. 

NON  NOBIS  DOMINE.  In  1848,  R.  Schu- 
mann published  a  letter  in  which  he. cast  a  doubt 
on  the  authorship  of  the  canon,  "  Son  Sobit 
Domiiie,"  from  the  fact  of  having  found  a  copy 
in  Breitkopfs  old  edition  of  Mozart's  works, 
purporting  to  be  his  composition.  In  Boyce's 
"  Cathedral  Music."  the  old  edition,  there  is  a  short 
biography  of  Byrde,  in  which  mention  is  made 
of  this  composition.  The  writer  says,  "  Byrde'i 
celebrated  •  .V.>;i  Sohis  Domine  '  will,  in  particu- 
lar, remain  a  perpetual  monument  to  his  mem- 
orv."     This  shows  it  tT  have  been  written  pr»- 


fViS 


NON 


ENCYCLOPAEDIA    OF    MUSIC. 


NOF 


vious  to  1768.  In  Burgh's  "  Anecdotes  of  Music  " 
is  this  passage:  "The  celebrated  canon,  '  Xon 
Nobis  Dumuie,'  wbh  without  doubt  written  by 
GUI'  countryman  Bird."  John  I'lirry,  in  a  letter 
dated  December  19,  1848,  says,  "Tliat  Mozart  did 
not  w  rite  it  is  made  maiiiiest  by  Hilton  haviiij,' 
inscribed  it,  in  a  printed  collection,  with  the 
name  of  W .  Byrd  affixed  to  it,  as  far  back  as 
lGo2,  above  a  century  before  Mozart  was  born. 
But  whether  Byrd  was  the  author  has  never 
been  satisfactorily  proved,  alt)iou<^li  it  has  been 
attributed  to  him  for  nearly  two  centuries. 
Some  writers  have  named  Palestrina  as  tlie  com- 
poser ;  but  it  is  universally  admitted  in  England 
to  be  the  undoubted  composition  of  Byrd.  See 
Biiiu,  William. 

NONOT.  JOSEPH  WAAST  AUBERT.  was 
born  at  Arras  about  the  year  17oo.  He  was 
scarcely  six  years  of  age  when  he  lieard,  lor  the 
first  time,  a  regular  orchestra  at  the  college  of 
tliat  town  ;  and  is  said  to  have  ex[)erienced  so 
much  pleasure  on  the  occasion,  that,  from  that 
monii  nt,  his  taste  for  the  art  became  so  apparent, 
that  liis  father  was  unwilling  to  oppose  his  incli- 
nations. His  sister  at  this  time  took  lessons  on 
the  liarpsichord  ;  when  the  child  used  to  place 
liimseLt  near,  and  would  repeat  manv  of  the 
passages  that  had  been  played,  after  the  master 
had  leit  the  room.  Some  time  after  this,  at  the 
fCte  of  his  parish,  he  begged  of  the  organi-t, 
who  was  an  old  miui  aged  eighty-four,  to  let  him 
play  the  offertory  in  the  church.  The  old  organ- 
ist laughed  at  his  request,  but  good  humoredly 
granted  liira  permission,  when  he  immediately 
sat  down  and  extemporized  a  movement  of  his 
own  composition.  The  congregation  were  aston- 
ished, and  could  not  compreliend  the  renovation 
of  talent,  as  they  supposed,  in  their  o'.d  i.erformer. 
Tl'.e  boy,  having  tinislied  ilie  movement,  (luietly 
left  the  organ  loft.  Soon  iifterwurds,  his  father 
having  a  party,  much  was  said  on  tl-.e  subject  of 
the  organ  performance  at  the  piust  J'tte,  when 
young  Xonot  ran  to  the  harpsichord,  and  repeat- 
ed the  whole  piece,  with  considerable  improve- 
ments. Even  this,  however,  could  not  bring  his 
father  to  decide  on  letting  the  boy  have  a  mas- 
ter ;  but  he  soon  took  him  to  Paris  on  a  visit  to 
a  friend,  who  happened  to  be  very  intimate  with 
Leclerc,  a  celebtated  organist  in  that  city.  This 
friend  took  young  Nonot  to  the  church  of  St. 
Germain  dcs  Pres,  to  hear  Leclerc,  when  tlie  boy 
again  asked  tl:e  favor  of  being  allowed  to  play, 
and  so  astonished  Leclerc  as  to  lead  him  to 
doubt  the  possibility  of  the  music  being  com- 
posed extemporaneously.  He  was  soon,  how- 
ever, convinced  of  this  fact,  by  giving  the  child 
a  theme,  which  he  followed  with  etjual  skill. 
His  enttiusiasm  was  then  such,  that,  seizing  the 
child  in  his  arms,  he  exclaimed,  "  Ta  resUras  d 
I'aris .'  "  luid  soon  prevailed  on  the  father,  by  liis 
earnest  entreaties,  to  leave  his  son  with  liiin  to 
be  educf'ed  lor  the  musical  profession.  He 
afterwards  became  very  eminent,  and  composed 
much  instrumental  music,  which  was  highly 
esteemed  by  Christian  Bach  and  other  able 
judges.  He  was  remarkable  also  for  his  ability 
in  playing  irom  a  choral  score ;  and  even  Piccini, 
i<aechini,  Vogel,  and  Salicri  were  anxious  to 
prociure  his  perlormnnce  of  their  scores,  by 
hearing  wliich  ihey  gained  a  p.eriect  idea  ol  the 
effect  of  il'.eir  works.     Nonot  emigrated  iu  the 


beginning  of  the  French  revolution,  and  was  foi 
some  time  iu  England. 

NON  TANTO.  (L)  An  expression  of  mod- 
eration  ;  as,  utieijro  uou  tanto,  not  too  quick. 

XONUPLA.  (L.)  The  appellation  proper  to  8 
quick  species  of  time,  consisting  of  nine  crotch- 
ets, or  nine  quavers  in  a  bur,  and  the  beating  of 
which  is  performed  by  two  falls,  and  one  eleva- 
tion of  the  hand.' 

NOORT,  SYBKAXI)  VAX.  organist  of  tho 
old  church  at  Amsterdam,  about  tlie  year  1700, 
was  one  of  the  best  performers  of  his  time  on 
that  instrument.  He  published  an  instrumentul 
work  called  "  M6/anf/e  Italicn." 

NOPITSCH.  CHKISTOPH  FRIEDRICH 
WILHELNL  a  musician  at  Xordlingen,  was  born 
near  Nuremberg  in  17o8.  He  excelled  on  the 
organ,  and  was  also  a  good  performer  on  several 
otUer  instruments.  Siebenfels,  of  Xureraberg, 
was  his  first  master  for  tlie  organ,  and  he  studied 
composition  under  Riepel.  of  Itatisbon,  and 
Beck,  of  Passau.  He  published  "  I'ersuch  eines 
Ele-iniTitarbucIt^  tter  iimykuiist,"  Nuremberg,  1784; 
also  some  "  Songs  with  the  Poetry  of  Berger, 
Ramler,  and  StoUberg,"  Dessau,  1784,  and  sev- 
eral sonatas  lor  the  harpsichord.  In  1787  he 
wrote  a  grand  oratorio  at  Nuremberg.  In  1800 
he  procured  his  above-mentioned  situation  at 
Nordlingen. 

NORDWALL,  ANDREAS  O.,  a  Swedish 
writer  on  acoustics,  wrote  "  Dissertatio  de  Oono 
siniplici  directo,"  Upsal,  1779. 

NORMAN,  JOHN.  An  English  contrapuntist, 
of  whose  composition  some  masses  were  in  tlie 
music  school  at  Oxford.  He  Hourislied  about 
1490. 

NORIUS,  CHARLES,  bachelor  of  music, 
was  originally  educated  as  a  chorister  in  the  ca- 
thedral church  of  Salisbury.  In  this  situation 
his  abilities  attracted  the  notice  of  the  celebrated 
author  of  "  Hermes,  '  who,  for  the  purpose  of 
inU'oducing  him  into  public  notice,  wrote  a  little 
aiterpiece  in  tlie  style  of  a  pastoral  opera,  the 
songs  of  which  were  adapted  to  several  of  the 
most  favorite  Italian  airs  of  the  time.  Norris's 
voice  was  at  this  time  a  soprano.  He  was  not 
received  with  so  much  applause  as  tliere  hud 
been  reason  to  exj.ect.  Having  thus  failed  in 
his  wish  to  fix  him  on  the  stage,  Mr.  Harris  rec- 
ommended that  he  should  confine  himself  tc 
private  concerts,  oratorios,  and  provincial  music 
meetings  ;  and,  in  tlus  intention,  advLsed  him  tc 
settle  at  0.\iord,  where  he  received  all  the  en- 
couragement which  so  distinguished  a  friend, 
and  his  own  merit,  gave  him  reason  to  e.xpect. 
Norris  was  soon  alterwards  admitted  to  tlie  de- 
gree of  bachelor  ot  music  in  that  university,  and 
elected  organist  of  St.  John's  College.  In  this 
situation  he  had  many  )iupiLs  amongst  ttie  stu- 
dents, and  was  a  lavorite  singer  at  tlie  weekly 
concerts  iu  the  music  room.  In  tlic  oratorioH 
perioriued  in  London,  he  was  also,  for  many 
years,  a  principal  tenor  singer.  In  curly  life  he 
liad  the  misiortune  to  entertain  an  attachment 
lor  a  lady  distinguished  for  her  jcrsonal  attrac- 
tieus  and  great  musical  acijuiremcnts,  who  wua 
afterwards  married  lo  anotlicr  gentleman.  Tht 
ill  success  of  bin  suit,  it  is  said,  drove  him  ta 


669 


NOIl 


ENCYCLOPEDIA   OF   MUSIC. 


NOT 


CO  vivial  oonsnlntions,  in  which  he  indulf^  to 
n  t  surcc  thftt  not  only  impaired  his  health,  but 
after  a  while  injured  his  voice,  and  wast  greatly 
detrimental  to  his  fortune.  lie  was  an  excel- 
lent mu>iciaii,  and  a  skilful  performer  on  several 
instruments.  The  principal  of  his  compositions 
consist  of  n  few  concertos  and  gome  };lecs.  For 
Bome  years  jireviously  to  his  decease,  Norris's 
health  had  been  gradually  breaking  up,  and  at 
the  abbey  commemoration  in  the  year  1789,  he 
was  injudiciously  brought  forward  to  produce 
those  feelings  of  rapture  which  in  his  better  days 
he  had  inspired.  Such,  however,  was  his  feeble 
Ktato,  that  he  could  not  even  hold  the  book  from 
which  he  sang.  Ilis  whole  frame  was  agitated 
by  a  nervous  tremor,  and  that  voice  which  had 
formerly  been  heard  with  rapture  now  excited 
the  deepest  emotions  of  pity.  After  this  he  en- 
gaged himself  at  the  music  meetings  at  Birming- 
ham, where  his  exertions  proved  fatal,  a-s  he  ex- 
pired at  Imley  Hall,  near  Stourbridge,  in  Worces- 
tershire, the  seat  of  Lord  Dudley  and  Ward,  ten 
days  after  the  meeting,  namely,  on  the  5th  of 
September,  1790,  at  the  age  of  about  fifty  years. 

NORTH,  FRANCIS,  lord  chief  justice  of 
the  Court  of  Common  Pleas,  and  afterwards 
lord  chamberlain,  about  the  end  of  the  seven- 
teenth century,  ranked  with  the  most  discrim- 
inating musical  amateurs  of  England.  He  not 
only  played  well  on  both  the  lyra  viol  and  bass 
viol,  but  also  sang  better  at  sight  than  many  pro- 
fessors of  hLs  time.  He  also  attempted  the  com- 
position of  several  sonatas  for  two  and  three  parts, 
and  amongst  others  arranged  Guariiii's  can/.onet, 
"  ('or  niio  del,"  &c.,  as  a  fugue  for  three  voiee.<. 
At  length  he  published,  but  anonymously,  "  A 
Philosophical  Essay  on  Music,"  in  which  are 
introduced  many  sensible  remarks,  for  those  times, 
on  the  generation  of  sound,  which  caused  the 
book  to  be  soon  out  of  print.  The  lyra  viol 
mentioned  above  was  nothing  but  a  viol  da 
gamba,  but  with  more,  and  more  difficultly  tuned, 
strings  than  the  six  which  commonly  belonged 
to  the  former  instrument.  ITie  music  for  it  was 
written  in  notes  like  lute  music. 

NORTH,  ROGER,  of  Rougham,  in  Norfolk, 
and  brother  of  the  preceding  nobleman,  was  born 
in  16.50,  and  was  one  of  the  most  remarkable 
contributors  to  musical  history,  inasmuch  as  he 
left  behind  him,  in  his  own  handwriting,  "  Me- 
moirs of  Music;"  which  manuscript  contains 
accounts  of  all  the  celebrated  British  amateurs 
and  composers  from  10.50  to  1G80.  When  Haw- 
kins and  llurney  were  writing  their  works.  Dr. 
Montague  North,  canon  of  Windsor,  had  the  i 
above  manuscript,  and  allowed  these  authors  the  | 
\ise  of  it.  Roger  North  was  also  a  practical 
musician,  both  in  singing  and  on  the  organ  ;  for 
which  purpose  he  had  one  built  at  his  seat  in 
Norfolk,  by  old  Schmidt,  which  is  said  to  have 
surpassed  in  quality  all  the  other  instruments 
made  by  that  celebrated  nieclianic.  Amidst  his 
musical  pursuits,  this  gentleman  arrived  at  the 
age  of  ninety,  and  died  in  \~'.i\. 

NOSCEMUENI,  STEFFANO,  born  in  Lom- 
bardy,  towards  the  end  of  the  sixteenth  century, 
was  a  composer  who  exclusively  devoted  his  tal- 
ents to  church  music.  He  was  chapel-master  of 
ttie  ducal  church  at  Mantua,  and  composed  "  Con- 


certi  Ecclesia-itici,"  for  twelve  voices,  and  "Motetti," 
for  tive  and  six  voices. 

NOTA.  (I.)  A  note;  as,  ;io/a  6((ona,  a  strong 
or  accented  note  ;  tiota  cambiata,  a  changed  or  ir- 
regular transient  note ;  nota  cattica,  a  weak  or 
unaccented  note  ;  nota  caratteristica,  a  characteris- 
tic or  leading  note. 

NOTATION.  The  manner  of  expressing,  or 
representing  by  characters,  all  the  different  sounds 
used  in  music.  The  ancient  notation  was  verv 
diHcrent  from  that  of  the  moderns.  The  Greeks 
employed  for  this  purpose  the  letters  of  their  al- 
phabet, sometimes  placing  them  erect,  and  some- 
times inverting,  mutilating,  and  compounding 
them  in  various  manners,  so  as  to  represent  bv 
them  all  the  different  tones  or  chords  used  in  theii 
system.  13y  a  treatise  of  Alypius,  professedly 
written  to  explain  the  Greek  characters,  we  tiiiil 
that  they  amounted  to  no  less  a  number  than 
one  thousand  two  hundred  and  forty.  These, 
however,  were  afterwards  rejected  by  the  Latins, 
who  introduced  letters  from  their  own  alphabet, 
A,  li,  C,  D,  E,  F,  G,  H,  I,  K,  L,  M,  N.  O,  P, 
(fifteen  in  number,)  by  which  they  expressed  the 
sounds  contained  in  the  bisdiapasou.  For  the 
great  improvement  upon  this  notation,  which  at 
lengtli  took  place,  and  which  is,  in  part,  adopted 
at  the  present  day,  we  are  indebted  to  St.  Gregory, 
the  first  pope  of  that  name,  who,  reflecting  that, 
in  the  bisdiapason,  the  sounds  after  Lichauoa 
Meson,  or  the  middle  tone,  were  hut  a  repetition 
of  those  which  preceded,  and  that  every  septe- 
nary in  progression  was  precisely  the  same,  re- 
duced the  number  of  letters  to  seven,  viz..  A,  li, 
C,  D,  E,  F,  G  :  but  to  distinguish  the  second  sep- 
tenary from  the  first,  the  second  was  denoted  by 
the  small,  and  not  the  capital,  Roman  letters  ; 
and  when  it  became  necessary  to  extend  the  sys- 
tem farther,  the  small  letters  were  doubled,  thus, 
aa,  bb,  cc,  dd,  ee,  ff,  gg.  The  staff,  consisting  of 
a  variable  number  of  parallel  lines,  the  applica- 
tion of  which  some  attribute  to  Guido,  was  after- 
wards introduced  ;  and  this  was  again  meant  tc 
be  improved  upon  by  the  adoption  of  small  points, 
commas,  accents,  and  certain  little  oblique  strokes, 
occasionally  interspersed  in  the  staff,  while  alsc 
two  colors,  yellow  and  red,  were  used  ;  a  vel- 
low  line  signifying  the  letter,  or  note,  C,  and  a 
red  line  denoting  that  of  F.  Two  methods  of 
notation  were  long  after  employed  for  the  viol  and 
other  stringed  instruments,  which  were  distin- 
guished by  the  terms  lyra  way  and  gamut  way. 
with  this  exception,  that  the  literal  yiotntion  foi 
the  lute  was  constantly  called  the  tablature;  con- 
cerning which,  and  the  notation  by  letters  iji 
general,  it  may  be  observed  that  they  are  a  very 
inartificial  practice,  as  was  also  the  old  method 
of  notation  tor  the  flute  and  flageolet  by  dots. 

NOTE  OF  PROLATION.  A  note,  the  origi- 
nal  and  nominal  duration  of  which  is  extended 
by  the  addition  of  a  dot  or  hold. 

NOTENPLAN.     (G.)    The  st^ifT. 

NOTES.  Characters  which,  by  their  various 
forms  and  situations  on  the  staves,  indicate  the 
duration,  as  well  as  the  gravity  and  acuteness,  of 
the  several  sounds  of  a  composition.  There  arc 
six  principal  notes  used  in  music  ;  the  semibreve^ 
minim,  crotchet,  quaver,  semiquaver,  and  demi- 


660 


NOT 


ENCYCLOPAEDIA    OF    MUSIC. 


NO! 


eemiquaver.     lliey  are  distinguished  by  their  dif- 
ferent forms  and  characters,  thus  :  — 
kmibrare.    Minim.    Crotchet    Quaver.    8«miqu>.   Drmiaemiq. 


1 


IS- 


mm 


It  is  highly  necessary  that  the  learner  under- 
stand perlectly  tlie  time  and  character  of  each 
note.     (See  tables  under  Division  of  Time.) 

It  will  bo  seen  tliat  one  seinibreve  is  c<iual  to 
two  minims,  or  four  crotchet^,  or  eight  quavers, 
or  sLxteeu  semiquavers,  or  thirty-two  demiserai- 
quavers.  One  minim  is  equal  to  two  crotchets, 
or  four  quavers,  or  eii^ht  semiquiivers,  or  sixteen 
demiscmiquavers.  One  crotchet  is  e<iUHl  to  two 
quavers,  or  four  semiquavers,  or  eight  deraisemi- 
quavers.  One  quaver  is  equal  to  two  semiqua- 
vers, or  four  demiscmiquavers.  One  semiquaver 
is  equal  to  two  demiscmiquavers. 

To  the  above  may  be  added  the  ancient  breve, 
■which  is  twice  as  long  as  the  semibreve,  and  the 


modern  ihmiijuaver,  which  is  half  as  long  a«  the 
dcmisemiquaver ;  thus:  — 


BrcTC. 


Dcmlquiiven. 


All  musical  ideas  are  expressed  by  means  of 
lutles  on  a  sinjf;  that  is,  live  ecjuidistant  horizon- 
t)il  lines,  on  or  between  which  tlie  notes  are 
placed.  'IHie  gamut  is  a  table  whereon  these 
notes  are  placed  ;  and  their  relative  situations  as 
to  acuteness  or  gravity  of  tone  arc  ascertained  by 
ctffs.  The  names  of  tlie  notes,  which  were  si.\  in 
numlier,  are  tU,  re,  mi,  fa,  sol,  Ui,  the  lowest  of 
these  being  the  gamma  of  the  scale.  Modern 
musicians  have  used  as  e<iuivalents  the  first  seven 
letters  of  the  alphabet.  The  arrangement  in 
question  is  exhilnted  in  the  diagram  following,  t 
note  having  been  added  by  the  moderns  to  com- 
plete the  octave. 


Tnbie,orhighert 

r  E 

D 
C 
B 
A 

O 

■  F 
E 
D 

C 

B 

:° 

F 

E 
l> 
C 
B 
A 

n  ■    ' 

la 
ml 
la 
ml 
re 
ut 

la 

Ml 

fa 

Bmi 

re 

ut 

U 

•ol 

h 
ml 
n 

at 

la' 
•ol 

fa 

lami 

ra 

ut 

la 

•ol 

fa 
ml 
re 

nt 

la 
•ol 
la 
ml 

!• 
Ut 

ru 

=  mi 
I* 

¥ 

at 

J 

Tteor,  or  mean. 

iul- 

;      ; 

9-= 

Bam,  or  lowest 

Gamma. 

I 


*J         0     A 


7o^- 


»^sz 


i  •  p 


Ui 


U     A     B    C     D     B     r 

5    r  ?  5    »    m  w 


-r 


?^3Z 


^^^ 


A    B     0    D     B     r 


8    3   3 
3         ~ 


r   3    ^  ?■ 


From  the  foregoing  diagram  it  will  be  seen  that 
the  bass  clef,  also  called  the  F  fa  ut  clef,  on  what- 
ever Unes  placed,  makes  the  notes  on  the  line  be- 
tween the  dots^^j^  F  or  fa  ut,  whence  reck- 
oning Ls  made  upwards  or  downwards  ;  tliat  the 
tenor,  or  C  sol  fa  ut  clef  makes  all  the  notes 
on  the  lino  between  the  cross  or  horizontal  bars 
ff^Jfg-  C  or  sol  fa  ut ;  and  that  the  treble,  or  G 
tol  re  ut  clef  makes  all  the  notes  on  the  line  round 


•which  the  charaofor  turns 


-O- 


G  <uA  re  ut ; 


and  it  i«  to  oe  observed  that  those  several  clefs 
may  he  put  on  any  lines  of  the  staff  notes,  which 
th»!ri  take  the  names  F,  C,  or  G,  as  the  case  may 
be  ;  thus  :  — 


2i^ 


tt3K 


m^^^m 


One  of  the  most  important  ends  to  be  gainc<l 
by  the  use  of  these  clefs  is  the  avoidance  of  notes 
running  off  the  stalT,  which  they  otherwise  would 
do,  and  what  are  called  leyer  lines  would  be 
wauted ;  tliua :  — 


g 


\\Tiere  the  Icgcr  lines  are  those  upon  which 
the  notes  out  of  the  staff  are  placed,  the  lines 
of  the  staff  are  reckoned  upwards  ;  thus,  the  low- 
est line  is  '•alle<l  the  hrst,  the  lowest  but  one  the 
second,  and  so  on.  When  the  F  clef  is  placed 
on  the  third  line,  it  is  called  the  ban/tone  clef; 
when  on  the  fourth,  the  bass  clef.  When  the  C 
clef  is  placed  on  the  first  line,  it  fokes  the  name 
of  soprano  clef;  when  on  the  second,  tlie  inezi/i 
topraiio ;  when  on  the  third,  the  alto  or  counter 
/rtiorclef;  nnd  when  on  the  fourth,  the  ffiinrcM. 
In  keyed  instruments,  the  C  nearest  the  middle 
of  the  instrument  is  the  note  of  tlic  tenor  or  C 
clef;  the  (J  above  it  to  the  right  is  the  treble  oi 
G  clef ;  and  the  F  below,  to  the  left,  is  the  F  ot 
bass  clef  note.  When  to  the  seven  primary  notor 
another  is  added  above,  the  arrangement  is  cnlle^ 
an  octave ;   thus  :  — 


6G1 


NOT 


ENCYCLOPAEDIA    OF    MUSIC. 


N0\ 


g= 


i^j 


After  wl'.ieh,  if  more  be  added,  either  upwards 
or  dowinvanbi,  it  will  he  but  a  return  to  Miiuilar 
notes  either  more  acute  or  more  f;rnve  in  ])itch  ; 
that  is,  an  octave  above  or  below  tlicm  respec- 
tively. This,  which  is  called  the  scale,  has  be- 
tween its  notes  seven  intervals,  of  which  those 
between  c  and  d,  d  and  e,  i  and  g,  g  and  a,  and  a 
and  b,  are  equal,  and  are  called  loiies,  or  whole 
tones ;  while  tliose  between  e  and  f  and  b  and  c 
are  semitones.  Nature  has  implanted  in  the  ear 
dissatisfaction  from  any  other  position  of  these 
semitones  in  the  scale  of  the  octave  :  this  is  cer- 
tain, and  the  most  uneducated  whistler  could  not 
avoid  it  without  exertion.  The  scale  is  also  di- 
vided into  two  tetrac/wi-fU,  from  c  to  f  and  from  g 
to  c ;  each  of  tliese  consists  of  two  tones  and  a 
semitone.  There  is  not  a  strict  mathematical 
ecjuality  between  these  fourths,  but  for  our  pur- 
pose here  —  and  the  difference,  indeed,  is  imper- 
cejjtible,  except  to  the  finest  ear  —  that  equality 
may  be  assumed.  As  all  melody  or  air,  which  is 
an  artful  succession  of  tones,  depends  on  a  right 
perception  of  the  places  of  the  semitones,  the 
above  preliminaries  must  be  well  understood  by 
the  student. 

NOTE  SENSIBLE.  (F.)  The  leading  note  of 
the  scale,  or  that  note  of  the  scale  which  is 
situated  a  semitone  below  the  key  note.  The 
seventh  of  the  scale. 

NOTGEH,  or  NOTKER,  BALBULUS.  Tliis 
musician,  with  Katper  and  Tutillou,  who  studied 
at  St.  Gall,  under  Marcell  and  Ison,  applied 
himself  particularly  to  the  liberal  arts  and  sci- 
ences. They  formed  a  small  literary  society, 
making  music  a  princii)al  subject  of  their  lucu- 
brations. Specimens  of  Notker's  composition, 
of  about  the  year  8o0,  are  still  existing,  as  we 
learn  from  F.  Nicolai  in  his  travels,  where  he 
tells  us  that  he  had  found,  in  the  library  of  the 
al)bey  of  St.  Emmcran,  at  llatisbon,  a  manuscript 
collection  of  hymns  of  Notger's,  with  the  melo- 
dies noted.  Padre  Coelistcn,  who  had  deciphered 
one  of  those  hymns,  assured  Nicolai  that  it  is 
lor  four  voices,  but  of  a  very  singidar  melody, 
consisting  of  a  progression  of  fourths  and  fifths. 
Nofger  died  in  912. 

NOTIIUS.  An  epithet  applied  by  the  ancient 
Greeks  to  the  Hyper- yEolian  and  Hyper-Phry- 
gian modes. 

NOITUUXO.  (I.)  An  appellation  arbitrarily 
applied  to  certain  instrumental  or  vocal  pieces 
supposed  to  be  ])articularly  calculated  for  evening 
recreation,  Irom  their  elegance  and  lightness  of 
character. 

NOUGARET,  PIERRE  J.  B.,  a  French 
man  of  letters,  born  in  Rochclle,  in  1742,  ))ub- 
lished  "  l)c  r Art  du  TlvUltrc,  oh  il  est  parU  des 
liffireiui  Genrc.t  d'  Spvclnclen  et  de  la  Musii/iie 
adoptis  an  ThitUre,"  torn.  i.  Paris,  1769.  In  the 
second  volume  of  this  work  is  a  "  Ilistoiro  I'hi- 
li>.i(>/)hiqu«  de  la  Miisi'/iw,  el  dis  Ubserva/ioim  sur  U'S 
iiff'irem  Oinre.i  reciis  au  ThiAtre."  ITierc  is 
tlko  a  dissertation  on  the  opera  seria. 

NOVACK,  JOII  ANN,  chapel-master  at  Prague 


in  1756,  wa,s  celebrated  for  his  sacred  composi- 
tions. 

NOVATL  GIOV.  CARLO,  of  Plaoenza.  wa« 
celebrated  as  a  singer  about  the  year  1710. 

NOVEL,  or  NOVELLI,  FELICE,  of  Venice. 
A  celebrated  singer  towards  the  end  of  the  eigh- 
teenth century. 

NOVELLO,  VINCENT\  This  very  able  or- 
ganist and  composer  was  of  an  Italian  family, 
but  was  born  in  London  in  17S1.  He  held,  in 
182o.  the  situation  of  organist  to  the  chapel  of 
the  Portuguese  embassy,  in  South  Street,  Park 
Lane,  where  his  masterly  performance  on  his 
instrument  was  a  subject  of  curiosity  and  admi- 
ration to  all  admirers  of  sacred  music.  In  1811 
he  published  a  "  Selection  of  iSacred  Music,"  in 
two  volumes.  In  this  work  he  displayed  so 
much  judgment,  taste,  learning,  and  industry,  as 
to  fix  the  attention  of  the  musical  public,  with 
great  interest,  on  Ms  subsequent  productions. 
His  second  publication  was  "  A  Collection  of 
Motets  for  the  Offertory,  and  other  Pieces,  prin- 
cipally adapted  for  the  Morning  Service,"  in 
twelve  books,  sold  separately.  In  this  collec- 
tion are  several  compositions  by  the  selector 
himself,  in  speaking  of  which  an  eminent  modern 
critic  observes,  "The  general  characteristics  of 
Novello's  style  appear  to  us  to  be  suavity,  ele- 
gance, and  bold  and  varied  modulation.  His 
melodies  do  not  rise  into  extraordinary  felicity  or 
originality,  yet  they  are  ever  flowing  and  agree- 
able, mixing  much  of  the  sober  dignity  of  the 
church  style  with  a  lighter  manner,  that  gives 
relief  while  it  assorts  well  with  the  graver  foun- 
dation and  more  solid  materials  of  the  work.  We 
should  be  induced  to  hazard  an  opinion,  that 
Ilaydn  is  a  favorite  with  Novello,  and  that  he 
often  finds  himself  dra-.vn  by  an  irresistible 
impulse  to  the  study,  and  to  au  indirect  imita- 
tion of  Haydn's  writings.  Our  notion  is  formed 
from  that  leading  and  general  assimilation  which 
attracts  men  of  common  feelings  by  a  common 
sympathy,  of  which  we  not  only  imagine  we 
perceive  considerable  traits  in  the  motets  of 
Novello,  but  that  they  prevail  in  other  things 
we  have  seen  from  his  hand.  It  would,  indeed, 
be  matter  of  surprise  it'  he  had  escaped  the 
universal  fascination.  We  must  do  Novello  the 
justice  to  say.  that  we  consider  him  to  be  of  the 
school  of  Ilaydn ;  for  we  do  not  find  a  single 
passage  that  leads  us  to  think  of  Haydn  other- 
wise, than  through  the  resemblaiice  which,  only 
by  a  large  and  broad  acceptation,  impels  us  to 
the  princijile  that  they  hold  in  common,  namely, 
sweet,  flowing,  and  ornate  melody,  supporte  I  and 
diversified  by  frequent  and  often  ciu-ious  and 
unexpected  changes  in  the  harmony.  Novello, 
then,  is  Haydn's  scholar,  not  a  plagiarist  or  direct 
imitator."  His  next  publications  were,  "  Twelve 
easy  Ma.sses  for  small  Choirs,"  three  volumes ; 
"  Gregorian  Hymns  for  the  Evening  Ser\-ice," 
twelve  books,  sold  separately.  The  only  portions 
of  the  Gregorian  Chant  now  generally  retained 
in  the  morning  service,  are  the  parts  sung  by  thf 
])ricst  at  the  altar,  and  the  responsories.  Thesp 
Novello  ha,s  endeavored  to  preserve  as  long  aa 
j)ossible,  by  arranging  them  for  six  voices,  and 
giving  them  the  rich  and  harmonious  effect  re- 
quired by  the  admirers  of  the  modern  schocL 
He  has  published  them  among  his  motets. 
G62 


NOV 


EXCYCLOP-^DIA    OF    MUSIC. 


NUM 


In  the  evening  service,  the  chants  for  the 
psalms  and  the  Gregorian  hymns  have  stood 
their  ground  against  all  attempts  to  supersede 
•hem.  How  long  this  may  be  the  ca-se,  it  is  not 
easy  to  calculate ;  but  Novello  lias  done  all  in 
nis  power,  ii.  the  last-named  work,  to  j)rcserve 
them  for  the  admirers  of  these  old  melodies,  by 
forming  them  into  a  coropleto  collection.  That  he 
does  this  in  a  most  masterly  style  the  slightest  in- 
spection will  convince  the  musician.  Novello  has 
eJited  eighteen  books  of  "  Mozart's  Masses,"  and 
eighteen  books  of  "  Haydn's  Musses,"  both  works 
with  very  judicious  accompaniments,  for  the 
organ  or  piano-forte.  He  has  also  written 
various  original  songs,  canzonets,  &c. 

NOVI,  FRANCESCO,  born  at  the  commence- 
ment of  tl'.e  eighteenth  century,  was  remarkable 
both  as  a  composer  and  a  poet,  and  set  his  own 
verses  to  music.  On  cpiittiiig  the  conservatory, 
his  work-i  were  sutticiently  well  received  by  his 
fellow-citizens  ;  but  being  unable  to  struggle  with 
the  reputation  of  the  existing  composers,  he  quit- 
ted Naples  for  Milan,  and  gave  his  ojjera  "  Giulio 
Cesare,"  which  succeedod  as  well  as  he  could 
desire.  From  Milan  he  went  to  Pavia,  where  he 
wrote  "  Puinpco,"  and  which,  being  performed 
before  a  le^s  severe  auilience  than  that  of  Milan, 
met  with  a  still  more  gratifying  reception.  Novi 
composed  several  other  operas  in  tlie  serious 
style. 

NOVITIATE.    A  beginner. 

NOZEMANN,  JACOB,  was  bom  at  Hamburg 
in  169.3,  and  in  \1H  was  celebrated  in  his  native 
town  as  a  violinist.  He  afterwards  was  appoint- 
ed to  the  situation  of  organist  of  the  licmon- 
strants'  Church,  at  Amsterdam,  where  he  died  in 
1745.  He  publislied  a  collection  of  music  for  the 
liarpsichord,  entitled  "  La  hcUa  Tecieaca,  oikr  24 
J'atloriliei,  Mu.irlten,  und  Puyianeii ;"  also  some 
Bolos  for  the  violin. 

NOZZARI,  N  ,  a  tenor  singer,  bom  at  Ber- 
gamo about  the  year  1775,  was  a  pupil  of  the 
celebrated  David.  He  sang  at  the  Opera  Uutfa, 
at  Paris,  between  the  years  1802  and  1807,  and 
in  1813  was  performing  at  Vienna. 

NUCCI,  GIU.SEPPE,  an  Italian  professor, 
was,  in  1770,  employed  as  composer  of  ballets  at 
the  Grand  Theatre  at  Turin,  where  he  brought 
out  the  following  pieces  ot  his  composition : 
"  Anfjelica  e  Wilton,"  "  /  diie  Ciicciatori,  e  la  Ven- 
ditrice  di  Lalte"  *'  L' Americana  in  Etiropa,"  "  Or- 
feo  cd  Eiiridice,"  and  "  (jli  >s-hiari  Turchi,"  all 
performed  for  the  lirst  time  on  the  Turin  stage  in 
1791. 

NUCIITEU.  JOHANN  PHILIP,  a  musician 
at  Erbach,  in  .Suabia,  was  bom  at  Augsburg.  He 
published  at  Ulm,  in  1()95,  a  work  entitled 
"  Ociim  paschale  jiovum,"  containing  "  ilitate 
dnminicaliis  A  4  Voci  concert,,  ct  4  Instrum.  concert," 

NUCIUS,  JOHANN,  born  at  Gorlitz,  wrote 
one  of  the  best  and  most  important  works  of  his 
age,  (the  beginning  of  the  seventeenth  century.) 
It  seems  that  Dr.  Forkel  was  in  possession  of  a 
copy  The  title  of  it  is  "  Mu.uces  Poetic<T,  sivfi  de 
Compo-iilinne  Cantus  Prtrceptiones  absolulitaim<r, 
nunc  primiim  in  lucem  editc,"  Ncisse,  161.3.  A 
tabic  of  the  contents  of  its  nine  chapters  is  found 
in  Forkel's  "  Literature." 


NUDEU.A,  .\D.\LBERT,  violinist  in  th* 
cathedral  at  Pnigue,  about  the  year  170(i,  mar 
not  only  be  nuial)ered  amongst  the  able  ])layeri 
on  his  instrument,  but  was  also  the  composer  oi 
several  successful  instrumental  pieces  ;  among 
which  the  following  has  been  engraved  :  "  Andan- 
tiin)  arec  htiit  Variitlioni  pour  la  C'titrinelfeet  Fayottf, 
avec  Accimp.  de  d-iix  I'i^hini,  dfntx  Cjri  el  J'.," 
Op.  1,  Gotha  and  Petersburg,  17'JG. 

NUMERAL  NOTATION  was  first  introduced 
by  Rousseau  ;  in  the  year  1742  he  presented  his 
])roject  to  the  Paiisiun  .Vcademy  of  Sciences.  He 
substituted  for  the  eight  notes  the  lirst  eight 
numerals,  and  for  such  other  characters  as  repre 
sent  pauses,  time,  &c.,  he  used  points,  ciphers, 
&c.  I'his  system,  said  he,  coinjirises  impoitant 
advantages,  far  sujierior  to  any  that  have  gone 
before.  Music  will  be  twice,  yes,  thrice  as 
easy  to  learn  ;  and  this  because,  1st,  it  will  con- 
tain much  fewer  characters;  2d,  liecausc  these 
characters  will  be  simpler ;  3d,  because  thei-iC 
characters  will  indicate  at  once  the  intervals,  and 
further  hard  study,  as  by  the  old  system,  will  be 
spared  ;  4th,  because  the  characters  are  always 
the  same,  and  the  confusion  of  clefs  is  reme- 
died ;  5th,  because  the  time,  pauses,  ice,  are  in- 
dicated by  much  simpler  and  more  universal 
signs ;  0th,  because  the  dilHculty  of  the  various 
keys  is  avoided.  Further,  also,  music  Ls  more 
conveniently  and  easily  written  —  it  occupies  les,s 
■pace  —  every  kind  of  paper,  and  the  materials 
of  every  printing  otHce  are  available  —  music  will 
become  much  cheaper,  &c.,  &c. 

There  are  many  considerations  which  militate 
directly  against  the  substitution  of  figures  for 
notes  :  of  these  we  will  now  name  but  a  few. 

1st.  Figures  arc  not  ideal  characters  ;  they  have 
nothing  poetically  symbolical  about  them  ;  noth- 
ing artLstic  ;  they  belong  altogether  to  prose  ; 
they  do  not  by  a  visible  rising  and  falling  of  the 
melody  animate  one  to  singing,  but  only  call  to 
a  calculation  of  the  distance  of  tones.  Now, 
every  correct  and  ielicitous  rei)roduciion  in 
musical  art  prcsujjposes  a  spiritual  mastery  and 
ovcrsiijht  of  what  is  to  be  performed,  which  m 
communicated  with  lightning  rapidity  to  the  or- 
gans of  execution.  Hence  it  comes  that  children 
(in  our  every-day  experience)  who  have  learned 
well  a  melody  by  figures,  as  soon  as  a  text  i* 
added,  find  it  impossible  to  sing  without  renewing 
again  their  practice. 

2d.  Numerals  are  a  superficial  medium  of  in- 
struction, because  that  acquaintance  with  the 
distinctive  peculiarities  of  different  keys,  so  im- 
portant and  indispensable  in  vocal  culture,  can- 
not be  attained. 

3d.  Iniusmuch  as  numerals  are  only  partially 
applicable,  no  free  and  unimpeded  progress  in 
art  is,  by  numerals,  possible. 

4th.  The  old  church  modes  cannot  at  all  he 
presented  by  numerals.  The  minor  scale,  also, 
which  underlies  the  national  music  of  every 
people,  can  only  with  the  greatest  difficulty  be 
managed.  For  those  numeralisLs,  who  base  the 
fundamentnl  tone  of  the  minor  scale  on  1,  con- 
found their  own  system,  and  those  who  base  it 
upon  (>,  annihilate  the  minor  scale. 

5th.  Numerals,  according  to  the  candid  con- 
fession of  their  most  enthusiastic  ndvocatc«,  are 
entirely  useless  in  instrumental  maoic.  'Ilien'- 
fore,  scholars  who  are  taught  by  numerals,  ar» 


663 


SUM 


ENCYCLOPEDIA    OF    MUSIC. 


NUC 


rnlirely  cut  off  from  general  musical  culture.  Can 
this  be  excused,  and  can  such  Buperficialily  be 
reconciled  with  a  thorough  system  of  school 
education  ? 

6th.  The  nuraeralists  are  not  agreed  among 
themselves  as  to  a  system  of  fixtures ;  and  cannot 
become  agreed,  because  the  right  system  has  not 
yet  been  discovered,  (as  it  jjrobably  never  will 
be,)  and  because,  naturally  enough,  no  one  of 
them  likes  to  exchange  the  impcrlections  of  his 
own  system,  to  wliich  he  has  become  accustomed, 
for  the  defects  of  another  system  to  which  he 
is  not  accustomed. 

7th.  Vocal  music  is  regularly  taught  in  many 
( ountries  in  the  public  schools.  lUit  what  can  re- 
sult from  all  the  quiurrelling,  which,  by  this  numer- 
al question,  has  been  associated  with  this  task  r 
For,  in  consequence  of  the  Irequent  change  of 
teachers,  now  a  numcralist  of  this  method,  and 
now  a  numeralist  of  another  method,  then  again 
a  jiO<e-ist,  together  drive  the  unfortunate  scholars 
into  the  utmost  perplexity  and  despair. 

But,  in  conclusion,  let  us  hear  what  the  admi- 
rable pedagogue,  Diestcrweg,  says  about  numer- 
als :  — 

"  Notes  are  every  where  preferable  to  numerals. 
Without  enumerating  here  all  the  arguments 
which  have  been  brought  forward  for  andl  against 
numerals,  I  will  only  give  the  following  state- 
ment. Children  of  more  than  ordinary  capacity, 
some  of  whom  are  to  be  found  in  every  school, 
sing  with  equal  ease  from  notes  and  from  figures. 
Quite  different  is  the  case  with  others  of  less 
talent,  for  whom  notes  (whatever  may  be  said  to 


the  contrary)  have  very  great  advantages ;  par- 
ticularly when,  instead  of  mere  vocal  exercises, 
genuine  songs,  with  a  variety  of  intervals  and 
rhythm,  are  put  before  them.  Indeed,  in  all  casec 
notes  are  much  preferable  to  numerals.  For  s« 
long  as  a  jjupil  has  not  the  power  to  imagine  a 
tone  in  connection  with  every  written  ch«iacter 
of  a  melody,  so  that  he  knows  exactly  how  the 
music  will  sound,  numerals  express  nothing  a, 
all  to  him ;  he  loses  himself  in  an  indefinite 
guessing.  Notes,  on  the  other  hand,  otter  yet 
one  additional  as.sistaace  to  him  ;  they  picture  to 
him  the  relations  of  tone;  he  has  only  to  open 
his  eyes,  and  he  immediately  recognizes  the  out- 
lines of  a  melody.  And  what  an  assistance  such 
a  pictorial  presentation  of  a  melody  renders  to 
one  endeavoring  to  retain  the  same  I  As  soon 
as  the  eye  has  scanned  the  various  groups  of 
notes,  the  musical  memory  immediately  associates 
with  them  the  tones  appertaining ;  and  a  single 
glance  at  these  groups  is  often  alone  necessary  to 
recall  entire  strains  which  had  escaped  the  memory. 
"  Numerals,  on  the  other  hand,  afford  no  such 
assistance.  One  row  of  figures  looks  like  another ; 
and  the  scholar  must  over  and  over  again  spell 
along  from  figure  to  figure,  and  tediously  delva 
out  every  individual  tone  before  he  can  deter- 
mine what  it  is  these  figures  have  to  say  to  him. 
Therefore  —  no  ndmebals  I  "  —  From  the  Germar. 

of  C.   KOCUER. 

NUNNIA.     The  name  given  by  the  Greek*  U 
a  song  peculiar  to  the  nurses. 

NUOVO.    (I.)    New. 


<64 


o 


EXCYCLOrJEDlA    OF    MUSIC. 


s;CT 


0. 


O.  Tit  IS  capital  letter,  forming  a  circle  or 
double  C,  was  used  by  the  ancients  as  the  sij^n 
of  triple  time,  from  the  idea  that  the  ternary  or 
number  thne,  bcinf;  the  most  perfect  of  all  num- 
bers, would  be  be^t  expressed  by  a  circle,  the 
most  j)crl'cct  of  all  ti^ure-t.  The  imperfect  or 
common  time  was  dcsif^iiated  by  a  C,  or  semicir- 
cle. —  O,  (before  a  vowel  od.)  is  also  used  by  the 
Italians  for  or,  asjtaalo  o  violino,  ilute  or  violin. 

OBERMAYER,  JOSEPH,  an  excellent  violin- 
ist, flourished  towards  tlie  cud  of  the  eighteenth 
century.  He  was  a  native  of  Hohemia,  and  pupil 
of  tlie  celebrated  Kammcl.  When  the  latter  left 
ISohcmia,  Obcnuayer's  master.  Count  Vincenz 
Waldstein,  sent  him  for  further  accomplishment 
to  Italy,  where  he  liad  an  opportunity  of  receiv- 
ing instruction  from  the  great  Tartini.  Here  he 
completely  acquired  that  nuvster's  style  of  playing 
the  adagio  ;  without,  however,  losing  his  own  pe- 
culiar si)irit  in  the  allegro.  On  his  return,  he 
resumed  his  former  situation  of  valet  de  chambre 
to  the  count;  though  by  no  means  to  the  preju- 
dice of  his  art,  a-s,  by  often  accompanying  his 
master  on  his  travi  Is,  he  had  the  more  opportu- 
nity of  forming  the  actiuaintancc  of  first-rate 
professors.  The  most  flourishing  period  of  his 
playing  was  about  the  year  1788  ;  alter  which  ho 
reJnijuished  both  his  situation  with  the  count 
Mi-1  musical  scieu'.e,  betaking  himsell",  in  1800,  to 
farming,  to  the  no  small  regret  of  the  musical 
amateurs  of  Prague. 

OBERNDORFFER.  D.WID.  A  composer, 
about  the  middle  of  the  seventeenth  century. 
He  printed  of  his  works,  " Alk'irezza  Miisica/e," 
or  select  paduanas,  galliards,  intrades,  canzonet- 
tas,  ricercatas,  Jtc,  with  four,  live,  and  sLx  parts, 
applicable  to  all  instruments. 

OBIZZI,  DOMENICO,  an  Italian  composer, 
flourished  at  the  beginning  of  the  seventeenth 
century,  and  published  "  Miuirigali  Coiiccrtali," 
Venice,  IG'27. 

OHLIOATO.  (I.)  Required.  This  term  is  used 
in  speaking  of  those  voices  or  instruments  which 
are  indispensable  to  the  just  performance  of  a 
piece.  An  instrument  may  be  obtigato  through- 
out a  piece,  when  it  Ls  called  a  cottcerto  for  such 
an  instrument ;  or  an  instrument  may  become 
now  and  then  Miijalo,  when  these  passages  are 
culled  obli'iato  or  aoti)  pa.ssages.  All  instruments 
can  be  used  obligato,  except,  perhaps,  the  double 
bass.  This  is  excepted  partly  because  solo  play- 
ers are  verv  rare  on  this  instrument,  partly  be- 
cause the  solo  voice  would  be  too  dcej)  for  being 
duly  supportetl  by  other  instruments  ;  it  is  there- 
fore used  more  properly  for  the  basis  of  harmony. 
ITiere  are  some  musicians,  however,  who  play 
solos  on  the  double  bass.  Obliijain,  as  generally 
used,  has  reference  to  those  au.xiliary  p,irts  or 
accompaniments  which  cannot  properly  be  omit- 
ted. 

OBUQUE   MOTION.     That    motion  of  the 


parts  ai  a  composition  in  which  one  voice  o 
instrument  repeats  the  same  note,  while  another, 
by  ascending  or  descending,  reccdcw  from  or  ap- 
proaches it. 

OBOE,  (I.),  or  HAUTBOIS,  (  F.)  'Hie  hautboy. 
(See  that  term.)  The  ancient  nameof  theo6)('  was 
tcai/f/hl,  and  in  this  form  the  vhne  was  in  use  aa 
far  back  as  the  reign  of  Edward  III.  It  is  only 
since  the  beginning  of  the  eighteenth  century  that 
the  present  Italian  form  of  this  word  came  into 
general  use.  Previous  to  that  iicriod  the  French 
name  haiUbois  was  universally  current.  This  in- 
strument no  longer  retains  the  eminence  it  once 
enjoyed  as  ihctuitU  bois,  or  hii/h  lood,  in  the  baud, 
having  yielded  to  the  flute  and  piccolo. 

OBOIST,  or  HAUTBOYIST.  A  performer 
or  professor  of  the  oboe  or  hautboy. 

OCCA,  VITTORIA  DALE',  a  female  virtuoso 
on  the  violin,  from  Bologna,  gave  a  concert  at 
Milan  in  the  year  1788,  when  she  played  two 
concertos  on  the  N-iolin  with  great  applause. 

OCCHA,  ALBERTO  D.VLL',  a  composer  at 
Ferrara,  lived  probably  in  the  sixteenth  century, 
and  is  said  to  have  wTitten  and  published  many 
madrigals,  &c. 

OCII,  ANDRE,  published  at  Paris,  in  1769, 
"  Set  Sinfonie  a  tri,  2  f'ioliiie  e  Basso,"  Op.  1. 

OCIIERN.\.L,  T.  L.,  published  at  Ix-ipsic, 
about  the  year  1780,  "Twenty-four  Canticles 
for  three  Voices." 

OCIISENKUN,  SEBASTIAN,  lutist  at  the 
court  of  Othon  Henry,  elector  palatine,  in  1.558. 
He  published  some  music  for  that  instrument, 
and  was  considered  one  of  the  best  performers  on 
it  of  his  time,     lie  died  in  1574. 

OCKENHEIM,  or  OKENHEI.M,  JOHN,  as  he 
is  called  by  some  writers,  was  a  native  of  the 
Low  Countries,  and  the  master  of  Josquin  de 
Prez.  Ho  flourished  between  the  years  1410  and 
14G0.  Glareanus  speaks  of  a  composition  by 
Ockcnheim  for  six  voices,  which,  he  asserts,  was 
much  admired  for  its  contrivance  ;  he  does  not, 
however,  state  in  what  the  parts  cousLste<l,  nor 
how  they  were  disposed.  It  was  in  the  compo- 
sition of  fugue  that  this  writer  Ls  said  to  have 
chiefly  excclle<l.  .\  canon,  four  in  two,  by  him, 
beginning  "  Smrtiis  Doinitiiis  Deus  S<ibaot/i,"  is 
inscrtetl  in  Smith's  "  Miuica  Antiqua." 

OCTACHORD.  An  instrument  or  system 
comprising  eight  sounds  or  seven  degrees.  The 
octachord  or  lyre  of  Pythagoras  com|)rchended 
the  two  disjunct  tetrachords  expressed  bv  tha 
letters  E,  F,  (i.  A,  B,  C,  D,  E. 

OCT.VVE,  or  8r(i.  An  interval  contninini{ 
seven  dcgreeo,  or  twelve  semitones,  and  which  is 
the  tirst  of  the  consonance*  in  the  onler  of  gen- 
eration. Th^;  most  «iraple  perception  that  we  ra« 
have  of  two  sounds,  is  that  of  uuLsons,  which. 


84 


665 


OCT 


ENCYCLOPEDIA    OF   MUSIC. 


ODB 


raoultiiif;  from  equal  vibrntioiis,  arc  as  one  to  one. 
The  next  to  this  in  ^uu))Uc•ity  is  the  octave,  wliich 
is  in  double  computation,  as  one  to  two.  The 
harmonic.H  of  these  sounds  have  a  perfect  agree- 
ment, which  (lisliu;»uishes  them  from  any  other 
interval,  and  contributes  to  give  them  that  unis- 
onous ctiiM't  wliicli  induces  the  common  car  to 
confound  them,  and  take  them  indifferently  one 
for  the  other.  This  interval  is  called  an  octave ; 
because,  moving  diatonically  from  one  terra  to 
the  other,  we  produce  eight  diHcicnt  sounds. 
The  uclace  comprehends  all  the  primitive  and 
original  sounds;  so  that  having  established  a 
system  or  series  of  sounds,  in  the  extent  of  an 
octave,  we  can  only  jjrolong  that  series  by  repeat- 
ing the  same  order  in  a  second  octave,  and  again 
in  a  thiid,  and  so  on,  in  all  which  we  shall  not 
tind  any  sound  that  is  not  the  replicate  of  some 
lound  in  the  adjoining  octave. 

The  complete  and  rigorous  system  of  the  octave 
requires  three  major  tones,  two  minor,  and  two 
major  semitones.  The  tempered  system  is  of 
five  equal  tones,  and  two  semitones,  forming  to- 
gether seven  diatonic  degrees. 

The  upper  octave,  that  is,  the  one  which  is  eight 
notes  above  the  fundamental,  is  obtained  when  the 
string  which  sounds  it  is  only  hall'  a.s  long,  and 
the  lower  octave  when  the  string  is  twice  as  long, 
as  that  of  the  fundamental.  The  stiing  which 
sounds  the  ujiper  octave  in  each  makes  two  vi- 
brations, while  the  string  of  the  fundamental 
makes  one;  therefore,  on  the  eighth  diatonic 
string  the  tone  of  the  first,  or  lowest,  recurs.  The 
ninth  string  repeats  the  second  tone,  called  the 
tecond,  the  tenth  string  the  third  tone,  or  the 
t/iird,  i<<i.  The  number  of  upper  and  lower  oc- 
taves, or  the  manner  in  which  several  octaves  of 
different  heights  are  to  be  chiedy  distinguished, 
is  not  absolutely  determined,  on  account  of  the 
continually  increasing  compass  of  instruments. 
The  octave,  considered  as  an  inter\-al,  has,  of  all 
intervals,  the  least  harmonic  effect.  On  this  ac- 
count, composers,  when  there  is  only  one  princi- 
pal voice,  forbid  rising  to  the  octave  except  at 
the  beginning  or  close.  But  a  succession  of  oc- 
taves following  each  other,  when  a  melody  is  to 
be  raised  in  that  luanner,  has  a  very  good  effect. 
Palse  or  disallowed  octaves  arc,  in  musical  com- 
positions for  many  voices,  progressions  of  two 
voices  in  e.xact  movement  by  octaves,  which  of- 
fend the  ear.  The  reason  why  such  progressions 
Dy  octaves  are  disallowed  in  a  musical  piece  for 
many  voices  is  evident,  because,  when  two  voices 

Eroceed  by  octaves,  no  difference  can  be  perceived 
etwecn  these  two ;  and,  for  e.\ample,  a  piece  for 
four  voices  becomes  one  for  two.  There  arc  aL-o 
those  which  are  cidlcd  covered  octaves ;  that  is, 
luch  as  become  for  the  first  time  distinguishable 
when  the  interval  of  the  two  voices,  proceeding 
in  an  exact  movement  by  octaves,  is  tilled  up 
wi'.h  unimj)ort«nt  notes.  Of  the  compositions 
for  two  voices,  or  in  the  two  upper  i)arts  of  com- 
position for  three  or  four  voices,  those  alone  are 
free  Irom  fault  in  which  the  upper  i)art  rises  or 
falls  a  second,  but  the  fundamental  a  fourth  or 
fifth.  The  use  of  the  others  is  only  allowed  un- 
der the  middle  part,  or  between  an  upper  and  a 
middle  part.  Octave,  in  an  organ,  signifies  the 
open  lluto  stop,  which  is  one  or  two  octaves 
higher  than  tlie  principal.  The  odavc  in  our 
muvical  scale  must  be  jierfect ;  but  the  other  in- 
.ervals  raav  be  tuned  somcwhot  higher  or  lower 


than  their  true  pitch.  All  tones  without  the 
limit  of  the  octave  are  only  repetitions,  in  an 
augmented  or  diminished  degree  of  the  tonee 
contained  in  the  compass  of  the  octave.  For  thia 
reason  we  call  the  octave  the  whole  extent  of  tht 
tones  ol  the  diatonic  system. 

OCTAVE  FLUTE,  or  FLAUTIXO.  A  flute, 
the  notes  of  which  ^ange  an  octave  higiier  than 
those  of  the  German  flute. 

OCTAVE  STAFP"'.  A  system  of  nutation,  in- 
vented by  Mr. Adams,  of  New  Jersey,  which 

consists  of  three  groups  of  lines  combined,  com- 
prising just  three  octaves  of  ordinary  vocal  music  ; 
that  is,  from  low  G  in  the  bass  to  high  (j  iu 
the  treble ;  and  when  a  higher  range  Ls  required, 
introducing  leger  lines,  as  in  the  notation.  The 
inventor  thus  describes  its  advantages  :  "  It  shows 
to  the  eye  at  once  the  exact  interval  between  any 
two  notes,  while  the  present  notation  is  indefinite 
in  this  particular  ;  for  two  notes,  without  chan- 
ging their  position  on  the  staff,  may  denote  an  in- 
terval of  a  large  third  or  a  small  third,  and  »o  on 
in  all  intervals.  In  the  present  notation,  if  a 
note  Btaud  on  the  first  line  of  the  staff,  it  may 
signify  the  tone  G,  or  G  sharp,  or  G  flat ;  or  it 
may  signify  neither  of  these.  To  determine  this 
last  point,  the  reader  must  refer  to  the  clef  at  the 
beginning  of  the  staff,  and  when  this  Ls  settled,  to* 
determine  the  other  point,  he  must  refer  to  the 
signature.  Further,  if  you  wish  to  find  this 
same  letter  denoting  a  tone  one  or  two  octaves 
higher,  you  will  not  find  it  on  the  same  line  of 
another  staff,  but  must  look  elsewhere  for  it. 
Now,  does  any  person  fail  to  see  that  here  is  a 
complex  and  confused,  and  not  a  simple  mode 
of  notation,  and  that  the  leanicr  of  it  Is  subjected 
to  great  loss  of  time  and  jjains  r  I  do  not  speak 
of  the  artist  or  the  author,  for  he  has  passed 
through  these  dilHculties,  and  does  not  think  of 
them.  But  all  will  admit  that  if  we  could  get 
rid  of  the  flats  and  shiurps,  it  would  be  an  im- 
mense gain.  The  octave  staff  dispenses  entirely 
with  flats  and  sharps,  and  gives  to  each  tune  its 
own  place,  where  no  other  can  ever  stand,  and 
this,  too,  without  introducing  any  new  mark  or 
character  whatever." 

OCTAVINA.  ITie  name  of  an  old  stringed 
instrument  resembling  a  spinet,  comprehending 
about  three  octaves  in  compass,  and  tuned  an 
octave  higher  than  the  spinet  and  harpsichord. 

OCTUOR.     A  piece  in  eight  parts. 

ODE.  A  Greek  word  signifying  an  air  or 
song.  I'he  ode  is  of  ancient  invention,  and  con- 
sists of  unequal  verses,  distinguLshed  into  stan- 
zas or  strophes.  The  odes  of  the  ancient  (jrecks 
preser\-ed  a  regular  return  of  the  same  kind  of 
verse,  and  a  similar  quantity  of  syllables  in  the 
corresponding  parts  of  the  verses  —  a  uniformity 
not  observed  by  modern  poets,  and  wliich,  to 
use  the  words  of  a  learned  writer,  "  makes  every 
stanza  a  different  song." 

The  ancient  odes  were  generally  in  honor  of 
the  gods,  as  are  many  of  those  of  Pindar  and 
Horace.  Originally,  the  ado  had  but  one  stanza 
or  strophe ;  but  it  was  afterwards  divided  intc 
three  parts  —  strophe,  antLstrophe,  and  epode. 
This  kind  of  lyric  poetry,  as  now  written  and 
generally  set  to  music,  forms  an  exalted  speciea 
of  song,  and  seems  to  rank  between  the  sublime 


666 


ODTi. 


ENCYCLOPEDIA    OF   MUSIC. 


OBS 


BoleraiHty  dI"  the  oratorio  and  the  florid  delicacy 
if  the  serious  opera. 

ODEOX,  or  ODEUM.  The  name  siven  by 
the  Greeks  to  the  hall  or  editice  iii  which  they 
rehearhcd  their  music  previous  to  iia  iniblic  per- 
lormauce.  Ecclesiastical  writers  sometimes  call 
also  the  choir  of  a  church  the  odeum.  History 
informs  us  that  "  the  Odean  or  Miiaical  Thentre, 
wliicli  had  a  j^reat  number  of  seats  and  columns 
in  it,  and  whose  roof  fjrew  narrower  by  de;;recs, 
and  terminated  in  a  i)oiiit,"  was  instituted  by 
Pericles,  and  built  alter  the  manner  of  Xer.xes' 
tent.  He  proposed  a  decree,  by  which  it  was  or- 
dained that  musical  f;anies  should  be  celebrated  ; 
and,  having  been  appointed  ,iuil;;e  and  distribu- 
tor of  i)ri/es,  "  he  rejjulated  tlie  manner  in  which 
musicians  should  play  on  the  tlute  and  lyre,  as 
well  as  sing."  This  Odeon,  built  at  Athens  by 
Pericles,  was  afterwards  used  for  pojiular  meet- 
ings ami  the  holdinj;  of  courts.  The  first  Odeon 
built  at  Home  was  built  in  the  time  of  the 
emperois.  Domiiian  erected  one,  and  Trajan 
another.  The  name  Odeon  was  ^iven  to  one  of 
the  theatres  in  Paris,  rebuilt  after  having  been 
destroyed  by  tire  in  1818. 

ODICUM.  The  name  <;iven  by  the  ancient 
Greeks  to  that  part  of  practiciJ  music  which  con- 
cerned vocal  performance.  Of  this  they  had 
three  kinds  —  that  sung  by  a  single  voice,  that 
performed  by  a  number  of  voices  in  unison,  and 
that  sung  in  octaves. 

ODOAUDI.  STEFFANO,  a  celebrated  singer 
of  Florence,  tlouiishe<l  about  the  year  1700. 

ODOXTIUS,  MAITHEW.  a  composer  at  the 
beginning  of  the  seventeenth  century,  published 
"  Miiiicdlischea  Hosi-iir/itrtleiii  newer  teutscher  irc'l- 
liihei-  LitdUiin  auf  i  Sdmmen,"  Frankfort,  1G0.5. 

ODOUX,  an  ecclesiastic  and  musician  at  No- 
yon,  wrote  a  work  entitled  "  Mithnie  nouvelle 
pour  appren  Ire  ftwilcment  le  Plaiiichan',  actc  queltjues 
ExempU's  d'Uijinnes  et  des  l'ro.ifs,"  &c.,  a  second 
edition  of  which  appeared  in  1775. 

OEDEMAX,  JOXAS,  a  Swedish  author,  pub- 
lished,  in  174.3,  "  Dissertntio  ILatorica  de  Miisicd 
Sicrd  geiier'itim,  et  Eccksue  GothiciB  speciatim." 

OEDEU,  JOII.VXX  LOUIS,  counsellor  of 
fina:u.'C  to  the  Duke  of  Brunswick,  died  there  in 
1776.  lie  wrote,  among  other  works,  "  De  yOn-a- 
tmiie  Chordarum,"  Brunswick,  1746. 

OEIILER.  JACOB  FKIEDRICH.  pupU  of 
the  Abb,'  Vogler,  for  the  harpsichord  and  compo- 
sition, was  born  at  KannsUtdt,  near  Stuttgard. 
In  1784  he  resided  at  Paris,  where  he  published 
"  7Vj'v  Siiiatei  /x>ur  le  C'lav.,"  Op.  1.  Ho  aLso 
composed  a  cantata  for  the  birthday  of  the  Duke 
of  Wurteinberg. 

OELUICIIS,  JOTIAXN  C.  C,  doctor  of  laws, 
kc,  was  born  at  Berlin  in  1722,  and  was  cele- 
brated in  Germany  by  his  numerous  works  on 
diplomacy,  literature,  and  jurisprudence.  In  his 
youth  he  liad  proposed  writing  a  general  history 
of  music,  and  had  already  collected  numerous 
and  curious  works  for  that  purjxise,  when  his  in- 
tention was  frustrated  by  other  occupations,  and 
ill  that  resulted  was  a  tract  entitled  "An  Ilistor- 
'cal  Notice  respecting  the  Academical  Honors  in 
Music,  both  of  Universities  and  Musical  .Soci- 
eties," Berlin,  1752.     lie  died  at  Berlin  in  1798. 


OEL.SCIILEGEL.  JOIIAXN  LOHELIUS. 
studied  first  at  Mariuschein,  where  he  was  ap- 
pointed organist  by  the  Jesuits.  He  subsetjuently 
removed  to  Prague,  where  he  obtained  the  situa- 
tions of  organist  at  the  Dominican  and  the  Mal- 
tese churches.  At  length  he  entered,  in  the  year 
1747,  into  tlie  order  of  Preinonstrants,  where  the 
direction  of  the  figuratc  chvircli  music  was  as- 
signed to  him,  in  the  year  175o.  This  situation, 
which  he  tilled  to  his  death,  contributed  to  ani- 
mate his  industry  in  the  science.  It  induced  him 
to  take  a  new  series  of  lessons  —  first  of  Sehling, 
in  music  in  general,  and  then  of  J.  1".  llalx'r- 
mann,  in  counterpoint.  He  continued  to  study 
in  this  manner  during  several  years  with  indefat- 
igable a|)j>lication,  until  lie  had  written  a  num- 
ber of  musical  j)ieces,  several  of  which  were  re- 
ceived with  applause  by  the  court  of  Dretden. 
Not  satisfied  with  this  ajiplication  of  his  talents, 
he  now  aspired  to  learn  the  art  of  organ  building. 
What  induced  him  to  this  arduous  and  laborious 
undertaking,  was  the  wretched  state  of  tiie  colle- 
giate organ,  though  it  had  been  constructed  no 
farther  back  than  1741).  Be  this  as  it  may,  with- 
out having  any  teacher,  but,  ])erhaps,  a  book  to 
refer  to  occasionally,  he  persevered  in  his  labor 
for  nearly  thirteen  years,  and  actually  accom- 
plished hLs  design  of  building  an  organ,  .\mongst 
its  tones  was  piurticularly  dt^tinguisiied  a  bugle 
horn,  which  came  as  near  to  the  original  iustru. 
ment  as  possible.  Nothing  was,  indeed,  wanting 
to  his  organ  but  a  vox  humana  stop,  which  he 
had  also  intended  to  execute,  when  he  was  af- 
flicted by  a  protracted  illnass,  which  brought  on 
an  induration  of  the  liver  and  jaundice,  and  fin- 
ished his  meritorious  and  active  career  in  1788, 
in  the  sixty-third  year  of  his  age.  He  left  an 
unprinted  work  on  organ  building,  and  also 
"  2  Salve  lieijina  d  4  voci,  con  Ort/ano,"  1781)  and 
1787,  which  are  highly  valued  lor  accuracy  of 
composition. 

OESTERLEIN,  GOTTFRIED  CHRLSTOPH, 
a  celebrated  lutist,  was  a  pupil  of  Weiss.  He 
flourished  about  the  middle  of  the  last  century. 

OESTERREKH,  GEORG.  chapel- ma.ster  to 
the  Duke  of  Schleswig-Holstein-Gottorp.  He 
was  born  at  Magdeburg  in  1664,  where  he  went 
to  the  free  school,  and  enjoyed  the  benefit  of 
SchefHer's  instruction  in  singing.  In  his  four- 
teenth year  he  was  removed  to  St.  Thomas's 
school  at  Lcipsic,  where  he  made,  in  a  short  time, 
under  the  guidance  of  the  celebrated  Joh.  Schel- 
le,  such  rapid  progress  in  sight  singing,  that  he 
would  turn  any  given  piece  of  music  upside 
down,  and  sing  it  with  the  greatest  fluency.  Thie 
procured  him,  in  1680,  an  invitation  to  Hamburg, 
as  tenor  singer  at  the  senate  cha;)el  there  ;  his 
acceptance  of  which  was  accelerated  by  the 
plague,  which  then  began  to  show  it-elf  at  Leip- 
sic,  where  they  would  not  have  parted  with  him, 
previou.sly,  on  any  account.  His  agreeable  tenor 
voice  was  the  cause  of  hLs  meeting  at  Hambxirg 
with  a  very  kind  reception,  and  of  his  receiving 
frequent  presents  from  the  opulent  merchant* 
'  there.  At  the  same  time  he  attended  at  the 
■  Johannium,  till  he  removed  to  the  University  of 
I.eipsic,  from  whence  he  was  subsecjucntly  again 
invited  to  Hamburg.  This  last  time  he  remained 
only  three  years  there  ;  and  although  he  waj 
invited  to  fill  the  vacant  prei-entorship  in  hii 
I  native  citv,  he   declined   it    on   account   of  hii 


667 


OES 


ENCYCLOPAEDIA    OF    MUSIC. 


OLB 


youth,  niul  bcf,'iin  to  attend  more  to  instrumental 
music.  Tliis  new  study,  however,  wn-s  interrupt- 
ed hy  the  uncx;)ected  anival  ol"  Chapel-iuaster 
Theile,  wlio,  by  the  desire  ot  hiw  i)rincc,  jirevailed 
upon  Ocsterreich  to  join,  in  1GS(),  the  Duke  of 
WoU'eiibuttcl's  chapol,  where  he  was  soon  after 
appointc  I  pai^e  to  the  duke.  It  wa.s  whilst  he 
was  at  Wollenbutfel  that  the  principal  period  of 
liis  musical  lame  wa.s  ti.ied.  Here  he  not  only 
enjoyed,  as  the  chapel-master's  inmate,  his  con- 
stant ze:ilous  instruction  in  comjjosition,  but  also 
the  friend-.hip  and  a.ssistance  of  the  two  excellent 
caslrali  sin^cr.s,  Giuliano  (jiuliani,  from  Venice, 
and  Vinccntino  Antonini,  from  Rome,  who  both 
(klforded  him  daily  opportunity  of  improving  in 
his  siny;inj;.  This  period,  so  auspicious  for  his 
talents,  histed  till  the  year  1690,  when  he  twice 
declined  offers  of  the  situation  of  chapel-master 
at  Ilolstcin-Oottorp ;  hut  ou  their  being  made  a 
third  time,  accompanied  with  a  letter  to  his 
pri/ice  for  his  consent,  he  was  at  length  obliged  to 
obey  the  call.  The  Gottorp  chapel  now  improved 
visibly  under  his  superintendence,  particularly 
as  it  received,  from  time  to  time,  no  small  acces- 
sion of  able  artists  from  those  of  Dresden  and 
WoLfenbuttel.  Though  the  chapel  was  reduced 
in  number  on  the  death  of  his  master,  yet  he  re- 
mained there  till  his  new  master  also  fell  in  a 
battle  in  Poland,  in  1702,  where  he  commanded 
the  Swedish  army.  The  hereditary  prince  being 
now  only  two  years  old,  the  chapel  choir,  with 
the  e.vceptiou  of  himself",  was  entirely  dismissed ; 
by  wliich  means  finding  hiiaself  absolutely  de- 
prived of  opportunity  to  practise  his  art,  he 
solicited  leave  to  reside  at  Brunswick,  till  his 
services  should  again  be  wanted.  This  he  ob- 
tained ;  but  when,  in  the  sequel,  war  and  pesti- 
lence began  to  rage  in  Schleswig,  and  his  salary 
continued  in  arreiu',  he  was  compelled  to  engage 
himself  member  of  the  choir  and  precentor  at 
the  Palau  church  at  Wolfenbuttel,  where  he  had, 
at  the  same  time,  several  young  female  singers 
given  him  to  teach,  and  had  commonly  to  othci- 
ate  for  the  chapel-master  in  his  absence.  Though, 
in  1719,  he  was  reinstated  by  the  young  Duke  of 
Holstein  in  his  former  rank  of  chapel-master,  it 
does  not  appear  that  he  left  Wolfenbuttel  again, 
as  he  died  in  that  town  in  1735. 

OESTEUREICIIER,  GEORG,  precentor  of 
Windshcim,  was  born  in  1576.  His  musical  tal- 
ents rendered  him  a  favorite  with  the  Margrave 
of  Anspach,  who  well  provided  for  him.  In 
1621,  he  accepted  the  place  of  precentor  at 
Windsheim,  where  he  remained  till  his  death,  in 
1633.  He  published  a  book  of  hymns  under  the 
title  '■  Oesterreicker' s  Cantor- BUcMein,"  Koten- 
burg,  161.5. 

(ETTIXGEU.  JRIEDRICH  CHRISTOPII, 
counsellor  to  the  Diikeof  Wurteraberg,  and  abbot 
of  a  convent,  was  born  in  1702.  He  wrote  a 
work  entitled  "  'V\\o  Philosophy  of  Euler  and 
Frick,  as  it  respects  Music,"  Neuwied,  1761. 

(EUVRE.  (F. ;  in  Latin  opus,  in  Italian 
opera,  a  work.)  (ienerally  used  in  numbering  a 
composer's  published  works,  in  the  order  of  time  ; 
as,  tCHcrc  ftrcmk-r,  the  first  work,  (oeuv.  1,  or  op.l.) 

OFFEiiTORIUM,  (L.i  OFFERTORK),  (I.) 
OFFEUTOIRE,  (F.)  The  of^rtormm,  or  o/<r- 
tory,  is  the  anthem  sung  while  the  jieople  are 
making  their  offering.     Some  writers   assort  that 

6( 


anciently  the  njferlonj  consisted  of  an  entin 
psalm  ;  others  say  that  the  singers,  watching  the 
pope,  or  presiding  priest,  took  from  liim  the  sign 
tor  concluding  their  vociferation.  It  is  one  of 
the  chief  parts  of  the  mass. 

OFFICIUM.  (L.)  The  mass  or  Catholic 
serWce.  OJfkiam  dcfuiictorum,  the  mass  for  th« 
dead.  Officium  diurnum,  the  hora,  which  is  siing 
at  stated  hours  in  the  day.  Oficium  dieinum, 
high  mass.  Ojficium  mattilinum,  early  morning 
ma.ss.      Ojficium    ttncttinuim,  the   hora  at  night. 


Ojjicium  vespertinum,  vespers. 

OGGEDA,  CHRISTOPII  D',  a  .Spanish  mu- 
sician, was  celebrated  in  Italy,  where  he  resided 
in  the  sixteenth  century. 

OGIXSKI,  hctman  of  Lithuania,  was  a  very 
!  celebrated  amateur  performer  on  the  clarinet.   In 
1764  he  was  at  St.  Petersburg,  where  he  perfonned 
I  in   musical    parties  the  most   difficult  solos    on 
1  his  instrument :  he  was  also  a  good  violinist  and 
I  pianist,  and  wrote  the  article  Uarpe,  in   the  first 
I  French  Encyclopsedia.      A  remarkable  circum- 
I  stance  in  the  life  of  this  illustrious  amateur  is, 
tliat  it  was  he  who  conceived  the  idea  of  an  ora- 
torio on  the  subject  of  the  creation,  and  commu- 
nicated the  same  to  Haydn.     Oginski  died  at  St. 
Petersburg,  about  the  year  1789. 

OGIXSKI,  COUXT  MICHAEL  CLEOPHAS, 
probably  son  of  the  preceding,  born  in  1765,  was  a 
good  pianist  and  violinist.  He  compo.sed  some  very 
beautiful  Polonaises  for  the  piano-forte,  and  some 
romances.  A  part  of  these  works  were  puljlished 
at  St.  Petersburg  in  1807  and  1809,  and  others  at 
Paris  in  1811.     He  died  at  Florence  in  1835. 

OHLHORST,  JOH.\XN  CHRISTIAN,  bom 
at  Brunswick  in  1753,  was,  after  the  year  1775, 
an  actor  in  a  theatrical  company  at  Mecklenburg. 
He  composed  the  music  of  the  German  operas 
"  Adelstan  and  Rosetta,"  "  The  Anniversary," 
iiid  "  The  Gypsies." 

OIINE.  (G.)  Without;  tis,  ohne  Degkitungen, 
without  accompaniments. 

OKEXHEIM.    See  Ockenheim. 

OLBAC,  LE  BARON  D',  residing,  about  the 
year  1750,  at  Paris,  wrote  the  following  pam- 
phlets on  the  occasion  of  the  then  prevailing  con- 
troversy respecting  the  opera :  "  Lettre  A  uns 
Dame  d'un  certain  Aijc  snr  F Etal  present  dc  f  Op^.ra," 
Paris,  1752,  and  without  prefi.\ing  his  name, 
"  Arr€t  rendu  d  f  Amphithidtre  de  f  Opira,  sur  l» 
Plainte  au  Milieu  du  Parterre,  interccnanl  dans  la 
Guerre  des  deux  Coins." 

OLBER.S,  J.  H,  organist  at  Stade,  published 
"Eighteen  easy  Preludes  for  the  Organ  or  P.  F.," 
j  Op.  1,  Hamburg,  1799.  He  also  advertised,  in 
the  same  year,  "  A  Collection  of  Piano-forte  Mu- 
sic by  different  composers,  among  others.  Bach, 
Clcmenti,  Ferrari, Gyrowctz,  Grill,  Haydn,  Ilaigh, 
Hoffmeister,  Mezger,  Mozart,  Pleyel,  &c."  Four 
numbers  of  this  work  had  appeared  up  to  the 
year  1800. 

OLEARIU.S,  JOIIANN  GOTTFREID,  arch, 
de.icon,  &c.,  at  .\jmstadt,  was  born  there  in  1668 
He  published  at  Jena,  in  1707,  a  work  entitled 
"  Ecangelischer  Liederachatz,"  in  four  volumes.  Il 
this  book  is  to  be  found  some  interesting  infonna- 


OLE 


EXCYCLOPiEDIA    OF   MUSIC. 


OLE 


tion  respoPting  Luther  and  other  old   composers  |  fniitnstin  ;»enius!iii(lntrongiiidi\idunlity,  npjiarent 

in  nil  the  ways  and  inoveineiits  of  the  iiiim,  riitlier 
than  ill  that  sort  o(  muNioiniiHhip  nliicli  is  nioHt 
esteemed  anion;'  musicians  and  lovers  of  wlwit  is 


of  hymns  for  the  Protestant  chureh, 

OLE  PULL,  PORNE>LVN'X.  the  celebrated 
violinist,  was  born  in  Bor>;en,  Norway,  in  1810, 
and  spent  a.  portion  of  his  youth  in  the  moun- 
tains of  liis  country,  where  lie  learned  the  wild 
mountain  music,  and  during  the  war  between 
Norway  and  Sweden,  became  familiar  with  gue- 
rilla warfar(\  His  uncle,  who  was  then  the  only 
editor  in  liergen,  was  a  great  musical  amateur, 
and  soon  discovered  Ole  Pull's  musical  talent. 
After  studying  at  the  academy  at  Pergen,  he 
was  sent  to  the  University  of  Christiana,  where 
he  received  a  classical  education,  and  prejiared 
liimself  for  the  legal  profession.  His  mvisical  tal- 
ent was  already  wide-spread  at  the  uiiiver.-ity, 
and,  being  persuaded  to  play  at  a  charitable  con- 
?»rt,  on  one  occasion,  he  made  his  lirst  d>but  be- 
loie  a  public  audience,  and  was  triumphant. 
l'"or  this,  his  professors  set  him  back  in  his  exam- 
ination, and  just  before  his  second  turn  came  to 
graduate,  the  leader  of  an  orchestra  and  man- 
ager of  a  theatre,  who  was  very  ill,  sent  for  t)le 
Pull,  and  told  him  that  if  he  could  not  procure 
him  to  lead  the  orchestra  the  coming  night,  he  wa.s 
a  ruined  man.  The  appeal  was  not  in  vain  ;  his 
sympathy  and  enthusiasm  carried  him  away  ;  he 
left  the  university  to  lead  the  orchestra,  and 
never  returned.  His  father  was  a  celebrated 
cherai-t,  and  a  pupil  of  the  distinguished  Professor 
Troiusdoiif.  He  has  also  a  brother,  a  celebrated 
chemist,  who  graduated  at  Pcri^en,  and  a  younger 
brother  who  graduated  with  distinguished  hon- 
ors at  the  Polytechnic  School  at  Hanover,  Ger- 
many, receiving  the  highest  diploma  over  eight 
hundred  students. 

Pe.ore  he  was  twenty,  he  quitted  his  home  for 
Paris,  where  he  became  very  poor.  While  thus 
situated,  he  lost  his  trunk,  his  violin,  his  all.  This 
was  more  than  the  young  enthusiast  could  bear; 
and  after  wandering  for  three  days  in  the  streets 
of  Paris,  a  prey  to  want  and  despair,  he  threw  him- 
self into  the  Seine  !  He  was  rescued  and  adopted 
by  a  mother  who  had  just  lost  her  only  son  by 
the  cholera.  Tlius  he  was  again  enabled  to  grat- 
ify his  devotion  to  music,  and  his  performances 
now  beginning  to  attract  attention,  he  was  hand- 
somely rewarded.  At  his  tirst  public  concert  he 
gained  twelve  hundred  francs.  Ole  Bull  par- 
ticipated in  the  revolution  in  Paris,  in  June, 
18'i2,  and  was  badly  wounded.  From  there,  he 
travelled  through  France,  Italy,  Switzerland, 
and  England,  and  in  1839  he  went  to  Germany, 
since  which  time  he  ha.s  acquired  considerable 
fame  as  well  as  money  in  this  country.  He  had, 
when  in  New  York,  in  1844,  two  violins  of  great 
value.  The  one  on  which  he  plays  most  fre- 
quently has  a  beautiful,  clear,  brilliant,  and  sil- 
very tone.  The  maker's  label  on  the  inner  side 
Ls  as  follows :  — 

"  Joseph  Gv\RSt.mv9  fecii,       t 
Cmnotuf,  Anno  174'2.  L  H.  S." 

The  other,  it  is  said,  which  is  more  -sonorou.'t, 

Serhaps,  is  the  ^andi^vork  of  Ga.spar  da  Salo  in 
irescia,  and  is  beautifully  enriched  with  ara- 
besques, carved  by  the  famous  Penvcnuto  Cel- 
lini, who  was  bom  in  Florence  in"  1500,  and  died 
in  ld70. 

Since  the  death  of  the  irrird  Paganini,  Ole  Pull 
has  by  many  been  esteemed  without  a  rival  in 
Europe.     His  power,  however,  is   that  of  wild. 


classical  in  art.  The  magnetism  of  the  man,  the 
romantic  imagination,  and  impatient  air  of  gen- 
ius displayed  in  his  loose,  and  fragra£iit;iry,  and 
fantastic  compositions,  (which  are  mostly  of  the 
brilliant  rirluomi  order,  calculated  for  iJfWt,  and 
by  classical  musicians,  therefore,  hardly  esteemed 
compositions,)  his  romantic  history,  also,  and  his 
noble,  strong,  and  healthful  phijnu/iic,  giving  him 
the  air  of  a  true  heroic  son  of  Nature  and  the 
North,  insured  for  some  time  the  greatest  enthu- 
siasm at  his  concerts  wherever  he  went ;  though 
he  always  j)a.ssed  for  an  exceptional  artist  —  a  sort 
of  musical  meteor,  rather  than  a  li.ved  star,  in  the 
musical  centres  of  Germany.  The  excitement 
which  he  created  iji  l844-4.i  in  this  country  is 
fresh  in  the  general  remembrance;  though  the 
8])ell  of  such  brilliant  virtuoiihj  was  manifestly 
growing  weaker  when  lie  returned  to  Euroix:  in 
184.5.  Of  this  seven  years'  absence  bc'ore  his  re- 
turn to  America,  we  find  the  following  sketch  in 
the  New  York  "  Musical  Times,"  May  2'.),  18.32  :-  - 
"  Ole  Pull  went  to  Paris,  gave  concerts  there, 
went  through  the  northern  provinces,  and  gave 
concerts  in  Lyons,  Payonne,  Pourdeau.x,  and 
Marseilles,  thence  to  Algiers,  to  study  military 
tactics  as  applied  to  mountain  warfare  ;  accom- 
panied his  friend  General  Yusuf  in  an  important 
expedition  in  the  mountains  of  Africa  against  the 
Kabylles  ;  back  to  the  south  of  France;  thence  to 
Spain  ;  gave  concerts  in  Madrid  at  the  celebration 
of  the  double  marriage  of  Isabella  IL  with  Fran- 
cisco de  Assiz,  and  Donna  Femniida  with  the  Uuke 
of  Montpensicr ;  comi)Osed  '  La  I  'i-rhciw,  rle  San 
Juan  ;  '  was  offered  a  general's  commission  by 
the  queen,  but  declined  the  honor ;  received 
from  the  ((uecii  a  verbena  flower,  formed  of  dia- 
monds and  other  precious  stones;  went  to  the 
Island  of  Majorca,  and  gave  concerts  in  France 
until  interrupted  by  the  revolution  of  February, 
1848 ;  collected  the  Norwegians  in  Paris,  and 
addressed  Lamartineat  his  head-quarters,  (Lam- 
artiiie's  reply  is  found  in  his  '  Tr.iis  Mnis  He  Pou- 
vnir  ; ')  was  present  at  the  revolution  in  Holland  ; 
gave  concerts  at  Amsterdam,  and  returned  to 
Paris,  and  was  present  at  the  June  revolution  ; 
made  improvement,  after  many  years'  experiments, 
in  stringed  instruments ;  manufactured  contra- 
bassi  of  four  strings,  going  down  to  C,  two  notes 
below  the  ordinary  corapa.ss,  and  increa.scd  their 
strength  of  tone  and  facility  for  execution  ;  made 
violoncellos,  tenors,  and  violins  on  new  principles ; 
(he  has,  by  the  way,  a  s])lendid  collection  of 
curious  instruments  of  all  ages  on  his  own  Island 
of  Amine,  in  the  south  of  Norway  ;)  built  a  thea- 
tre in  Pergen  ;  brought  dancers  (peasants)  from 
the  interior  to  rei)resent  national  dances  ;  brought 
an  old  Norwegian  violinist  to  Pergen  to  give  con- 
certs, named  .\ndu.s.son,  who  jilaycd  an  in.stru- 
raent  of  peculiar  and  beautiful  workmanship, 
having  eight  strings,  and  who  was  remarkable 
for  rapid  execution  and  warm  feeling  ;  e-tab- 
ILshed  schools  of  art,  and  formed  clulis  of  artist* 
for  the  purpose  of  raising  the  standard  of  native 
art,  which  was  nearly  destroyed  by  the  monop- 
oly (by  the  Danes)  ol  all  ]ilaces  under  the  gov- 
ernment. The  Danes  performed  dram.Ts  in  th« 
Danish  language;  but  Pull  prociirp<l  dramM 
written  by  a  Norwegian  poet  name<l  Ilcnrik  Wer- 


669 


ni.B 


BXC  TCXOP.XOIA   OF   MrSIC 


OH 


te  Ac  Oksi^~    TW  hum 
br  J.  A.  HiDai    Olcv 

CMJFAygR  P.  GIOT^  n  Ita^ 

,  ■%■■!  Ae  Tov  1«Ml    He  aficmdb 

!  ke  dind.  CMiowa  ■iiNe 

,  ii  a  yun  vMBfes  «f  wTBUi,  paafaaa^  moncs.  &£, 

ii  aa«  «f  «i0C&  «e  ytcittnii  ia  Ae  Bojal  Ibsi- 


c:» 


Ol-T 


EXCTCLOP^DIA   OF   MUSIC. 


OX9 


bcreahrarsl 
of  Oel 


plBTedvidi  tb* 


OX8LOW,  GEORGE.    Tte 
iif  IliM  iiiwiiiMi.  ■fciiiliriil  w  Vimmi*,] 
1843.1 


a^wfeeadK 


e  2  riirfun,  em  «m  no^dXa  «  riiaJEMKaw."  BologM, 
1674.  sad  ••  CarttrmtQ  n^*."  Veakc^  1681. 

OLTOLIXA  pubGdied  at  AartmliM.  abiMt 
the  ;«ar  1780,  tfaiee  Bjwplwiw  aad  dme  q«aU 
ootB  fisr  the  Tkdin. 

OLTMPrS.    There  were  two  grat 
in  mntiqiriiT  of  this  mm^and  boA  eefeht^     ^  drf^  esrilrfbr 
periiomters  on  the  flute.    Oneof  ftemflpmahed     ™  •"^^^  r'^T".'^. 
beteethelV.^  W.IV  «d  Ae odM»w»«ijla«-  j  ^.^^^  «di«-c«  had  begn  t»  rdUk 
ponrr  wTth  Midas,  who  dsed  ox  haadred  aad  ,  ;       ,„^i;„^ ^  .  f  .4.  ahiT t*-T  in  i  alki 

"^^^T^r*"**'!!^^^^    ""if^Zy     Mfiidflwrfiaw«»fallrderetoi»«d.  — Ihei 

a  scholar  of  MaiFras,  and  a  MTsiaii:  the  seeiMd.     ^    .       ^^  -     _.,.,.  1,-7.,  -»„,,  «.. 

J-      »    !•  -j"  .^  -  J      -«       [  UBci0w  was  IB  Steal  leqaeH  aiBOBe  owi 

aeeovduig to  Suidas,  was  a  Fhrrgiaii.  aadanmor  j         ,     ,      ^^  ^j^^  ■aanaeiii  f  It  h 

to  die  fiist  OlTmpiH.    But  die  lort  Mpoitat    ^ri„a-     y  ■  -     , _ZL  i1-l^  jm.  A* 

■.iitifwu,  vhicn  the  dwriple  at  Jusjaa  aaade  to  i 
the  mvacal  knowledge  of  Ua  tiie,  was  the  n»-  ) 
Tentkmof  theadUriwicjtJiM.     Plato  aad  Axis-  ( 
totIe,aswen  asFlntaidwedebnteUaaiHiealar  I 
wdl  as  poeacal  talents,  and  tdl  «s  dM>  eoae  of 
hieaaawereatJDsiihnarhigiBtliiii  liaaii  TMigif 
ohIt  can  insnxe  pextenanee  to  mncie.    The  ain 
of  Olrmpos  used  in  the  teaqile  of  wvisliip  dnr- 
ixif  the  fiaie  of  Plntareh.  were  not  nioae  anrifa  I 
than  the  chants  oe  emito  fermo  to  eoMe  of  the 
hrmns  o€  the  P^""**  cfaKreh ;  and  the  ■cio£es  ; 
now  son*  to  many  of  the  hrmns  and  paahas  of  [ 
the  Lnthenns  and  Cahriniets  are  nirh  aa  wae 
applied  to  them  at  the  thneof  Ae  irfiawalhrn. 
Plaio  savs,  the  miiiae  of  OtrnqMs  was  ia  e  par- 
ttcnlar  aaaxmer.  adapted  to  aSeet  aad  aaiwalr  &e 
hcarets ;  Azistatle,  that  it  swdled  the  aoni  with 
enthnsiasm ;  aad  Ptntaidi.  diat  k 
ampBcitT  and  effifft.  eiui    oiha   lai 
known.    AccoidiB*  to  this  tnogta^ho^  he  was 
antbor  of  thecnndesoa^  whiA  caased  Alexan- 
der to  seize  his  arms,  whea  it  was  petftcaedto 

him  br  Antigeaides.    To  hia  maaeal  aiilities  he  |  ^--^^j  anintet  -  bam. 
jained  those  of  poetrr;  and. atjtm Jiag  to  Soidas  !  ^^toMwd  of  fcW 
and  JoL  PoQnx.  he  ceanpoeed  d^pMS  aad  other  pawa 

;  laintrre  son^  which  were  song  to  die  soaad  of 
the  finte ;  and  the  melodies  of  these  poeaks  were 
eomnch  cddnatedin  antiquity  iar  their  frt'**^*' 
and  pfadntxre  cast,  diat  Anstophaae^  ia  ti»e  be- 
ginningof  lus  comedy  caDed  'The  ir»igfcf,'  i^tae 
he  introduces  the  two  geaenls,  Demosdwaes  aad 
Nicies,  traresded  into  Talets,  and  i  imniliiaiaj,  of 
their  master,  makes  them  say,  **  Let  as  weep  aad 
wail  like  two  flutes  fareathiag  naae  air  of  (Hnn- 
pns."  nutardi  asoibea  to  hi 
03-  airs  that  aie  ftequendy  mm  nliimi  d  hy  anrirar 
writers:  $uch  as  d:e  lUaerra.  Ae  Harmatiaa. 
Cofule  or  Cbaiiot  air.  and  the  Spoadeaa  or  liba- 
tion air 


tisto  of  the  past  half 

-Hewasbo»aatClefBrt.iaAePaydeDimf. 

in  JuIt.  irst.    His  faths  was  a  meml-er  of  the 

Usmothera] 

ThM  he 

thoaghhe* 
~  Daseic 
&e  violaaeeife,  it 
aftc 
of  MehaTs 
to'Stiatoaiee'  cxeitBd  ia  fa»  that  deare  of  try- 
ing to  exeRKe  creative  pouct  ww^h  was  oalv  to 
beaDared  br  his  iV  n^iaj,  Us  Efe  to  the  stady 
aad  pendartiim  of  mnsie.  UnEte 
who 
wtth  coaiplete  wuafcs,— i 
to  undertake  maaaeal 

Oidow,  we  aie  aesared  by  X.  FetK^  dm  1 
ap  aad  tailed 


™& 


'gave  oat 


St  Lai  M  iLiifal  a*  wefl 
fcr  &e  ctmrnher      A 
aad  three  operas,  i-att  oae  of 

is  partiraluly  rtiikia^)    '^VA'jtaUt  dr  ia  H 

•i>  Cb^Mrtnvl' aad  •  I«  Aw  dr  Cmhu*  aae  the  4 

other  auiks  by 

bcfioee  tte  wudd-    So 


OMXES.  ^L.^  AH.  or  an  together.  A  «wd 
nmftimes  n^«d  in  the  old  music,  instead  of  ti^tL 

OXPEGGIASE.  or  OXDEGGIABE  LA 
MaNO.  ^L)  An  eiLfjffiHiua  ajgnifjing  that 
the  hand,  when  raised  in  *>— «™c  t>**k  is  to  be 
waTed  in  the  air,  by  way  of  ■»»»**»{;  tibe  laot  part 
of  the  measure. 


••The  large  mass  of  < 
fi^wifc^H   |iy  OncaO'w.  wiA 

It  is  thBitiuj.ily 

"**"g     ^*»i**M  ■!■■■■  ily 

interesting  withaat 
oecaaoaal  vigor; — i 
in  straetare^  —  aot  alnujii,  iti 
laiied  by  hag 
thoaoasUy  wcU  I 

the  pfatyen^  bom.  &e  cIumjk.*  of  \ 
ica^aess  in  dialnij.aa.  reply,  aad  i 
it  demaad&    During  later  years  —  as  freqaaady 
tetthoa^tei 


OXDEGGIAMENTO.  (L^  \in&  a  wariag. 
tremulous  motton  of  the  souad ;  as  also,  oa  the 
violin.  tOMT,  &C..,  a  dJw  sAaia. 


oaly  I 
This  may  hante  ilnar  its  part  ia 
J  the  seal  aad  sympathy  of  his  admjims  — 
tcaoa^  lemaias  £roaa  his  pea  to  be 

.  to  be  letamed  upi'ia,  to  be  povxiaed 

OXGLETR.     The   naaae  iiamnlj    givea  to  \  patakea  of  with  phaiaii,  sa  kag  m  mmm 
performers  on  the  hrre,  cithara.  haip^  lute,  aad  '  boaoid  br  its  pn-iant  lawx  aad  as  those  ' 
guitar;  supposed  to  be  dagvadftoua the  Fi each     cnjor  it  mma  their  peeccat eaaams ef  ( 
word  orv-V,   •  Md;  becaKC  &oee   iasarnmeata     It  would  be  at,  ii  tan  as  to  n^  out  any  of  d« 

•71 


OPE 


EXCYCLOP.EDIA    Of    MUSIC. 


OPE 


■well-known  quintets  which  have  won  for  Ons- 
low a  European  celebrity,  or  to  do  more  than 
inention  his  j)iano-forte  sextuor,  his  piano-l'ortc 
duets  in  F  major  and  E  minor,  liis  piano-forte 
trio  in  (j  major  (a  singularly  sweet  and  gracious 
upecimen  of  his  style,)  his  i)iano-lorte  tonaias, 
with  violin,  (in  (J  minor  and  E  major,)  and  with 
violoncello,  (in  F  major  and  <i  minor.)  The 
above  are  all  classical  works,  having  a  beauty,  an 
intricacy,  and  an  expressiveness  totally  their  own, 
appealing  to  the  thoughtful,  as  opposed  to  the 
Bcnsunl  musicians,  happily  conceived  and  care- 
fully finished. 

"  The  habits  of  Onslow's  life  were  gentle  and 
retired,  tending  to  encourage  self-occupation. 
He  resided  principally  in  hLs  native  Auvergne, 
travelled  little,  we  believe,  save  to  Paris,  wliere 
he  succeeded  to  Clierubini's  membership  of  the 
Acadimie  des  Jieanx  Arts,  and  mixed  in  the  con- 
cerns of  the  world  of  music  only  sparingly  and 
occasionally.  The  kindness  of  his  nature  took 
the  form  of  an  over-graciousncss  of  manner, 
which  made  intercourse  with  him  fatiguing  to  all 
Buch  as  prefer  discriminating  judgment,  and  fresh, 
if  irregular,  sallies  of  humor,  to  compliment,  be  it 
ever  so  courtly,  or  a])proval,  be  it  ever  so  sincere. 
His  health  had  been  for  some  time  declining,  but 
his  death,  at  the  close  of  a  walk,  was  sudden.  It 
is  pre>umed  that  it  may  be  followed  by  some 
votive  honors  in  the  country  to  which  by  right 
of  citi/cnship,  and  more  by  the  manner  of  his  art, 
he  may  be  said  most  closely  to  belong." 

OPEN.  An  epithet  applied  to  the  string  of 
R  violin,  guitar,  &c.,  when  not  compressed  with 
the  finger;  that  is,  when,  without  compression, 
it  produces  the  very  note  to  which  it  is  tuned. 
The  note  so  produced  is  called  an  open  note. 

OPEN  HARMONY.  Harmony  of  which  the 
notes  are  separated  by  wide  intervals. 

ONTRASCHECK,  JOHANN,  first  chapel- 
ma.ster  to  the  Elector  of  Mentz,  was  born  in  Bo- 
hemia.    He  died  in  1742. 

OPERA.  (I.)  A  work.  The  word  opera  is 
applied  in  its  literal  sense,  by  the  Italians  and 
other  nations  in  imitation  of  them,  to  any  musical 
work,  and  is  u-ed  by  composers  in  conjunction 
with  the  ordinary  numbers,  to  di.stinguish  their 
diflcrent  publications  ;  as.  Opera  prima,  first  work  ; 
Opera  seconila,  second  work,  &c. 

OPER.V.  A  musical  drama,  consisting  of  airs, 
recitatives,  choruses,  &c.,  enriched  with  magnifi- 
cent scenery,  machinery,  and  other  decorations, 
and  representing  some  passionate  action. 

Kesiccting  tlie  origin  of  the  o/>era,  writers  are 
much  divided.  Some  say  that  we  owe  its  inven- 
tion to  the  Venetians,  from  whom  it  passed  to  the 
French,  and  afterward.s  from  France  to  England. 
Father  Mcna.stricr  informs  us  that  it  sprang  out 
of  the  remains  of  the  dramatic  music  fonnerly 
used  in  the  church,  and  that  the  Italians  first 
brought  it  upon  the  stage  about  the  year  1180. 
liut,  notwithstanding  these  as.sertions,  it  is  much 
insisted  on  tluit  the  opera  was  invented  by  Otta- 
vio  Rinuccini,  a  native  of  Florence,  about  the 
year  KiOO  —  an  oi)inion  strongly  countenanced  by 
the  author's  dedication  of  his  "Eundice  "  to  Mary 
dc  MedicLs,  consort  of  Henry  the  Fourth  of 
France,  in  which  ho  says  he  had  written  it 
'  merely  to  make   ■»  trial  of  the  power  of  vocal 


I  music  in  that  fcrrm."  The  structure  of  the  oper- 
atic drama  was,  however,  very  dUferent,  at  that 
early  period,  from  the  representation  which  now 
bears  the  same  denomination.  No  accompani- 
ment of  a  whole  orchestra  was  then  re'^uired. 
The  airs  performed  by  the  several  singers  were 
sustained  by  instruments  of  various  kinds,  as- 
signed to  each  character  respectively  in  the  dra- 
matia  pcraourr,  the  names  of  wliich  we  find  placed 
against  those  of  the  characters  in  the  printed 
co])ies  ;  and  the  whole  was  much  less  regular  and 
dramatic  than  at  present.  At  the  beginning  of 
the  seventeenth  century  an  opera  was  established 
at  Venice,  upon  the  model  of  which  one  was  also 
instituted  at  Paris,  about  the  year  1G60.  Soon 
after  this  time,  a  taste  for  this  species  of  drama 
appeared  in  London,  and  old  plays  were  wrought 
into  the  form  of  operas,  and  repre.'-ented  at  the 
theatre  in  Lincoln's  Inn  Fields.  Of  the.^e,  a 
piece  called  "Arsinoe,"  compiled  and  composed 
by  Claytons,  was  the  first.  Addison  tells  us 
that  it  was  excellent,  and  met  with  great  success; 
but  from  Ualliard,  a  much  more  competent  judge 
than  that  writer,  we  learn  that  it  was  a  very  in- 
different, nay,  execrable  jjroduction.  Other  im- 
perfect imitations  of  the  Italian  opera  took  place 
from  time  to  time,  in  all  which  the  words  were 
English,  though  the  music  was  Italian.  At 
length,  a  regular  Italian  opera  was  established  at 
the  theatre  in  the  Haymarket,  under  the  denom- 
ination of  the  Royal  Academy  of  Music,  which, 
after  a  continuance  of  nine  years,  broke  up.  The 
opera  was,  however,  afterwards  resumed,  and  has 
maintained  itself  as  an  elegant  and  fascinating 
species  of  entertainment  to  all  the  lovers  of  ex- 
quisite music  and  fine  dancing.  And  the  Eng- 
lish opera,  which  owes  its  existence  to  that  of  the 
Italians,  has  long  proved  an  attractive  vehicle  of 
humor  and  sentiment,  and  sers'ed  to  display  to 
great  advantage  the  talents  of  the  best  composers 
and  vocal  performers. 

During  the  year  1.594,  three  young  Florentine 
nobles,  united  by  similarity  of  taste  and  customs, 
and  by  a  love  of  poetry  and  music,  formed  the 
idea  of  reviving  the  musical  declamation  of  Greek 
tragedy.  They  employed  the  jjoet  Rinuccini  to 
write  a  drama  founded  on  the  fable  of  Daphne ; 
and  that  drama  was  set  to  music  by  Peri,  the 
most  celebrated  composer  of  that  time.  TTie  com- 
position was  privately  repretented  in  the  Palazzo 
Borsi.  llie  singers  were  the  author  and  his 
friends,  and  the  orchestra  ol  this  first  opera  was 
composed  of  only  four  instruments  —  a  harpsi- 
chord, a  harp,  a  violin,  and  a  flute.  No  one 
thought  of  airs  or  recitative,  if  so  it  could  be 
called  ;  it  was  a  species  of  measured  intonation, 
which  by  us  would  be  considered  insufferably 
languid  and  monotonous.  It  is  a  pleasure  to 
ob.scrve  this  embryo  of  the  opera,  and  to  com- 
pare it  with  the  chefs  d'wucre  of  Mozart,  of  Cima- 
rosa,  of  Rossini,  and  others,  executed  by  such 
voices  and  orchestras  as  we  hear  in  the  present 
day  ;  but  even  so  suffocating  a  harmony  as  that 
of  the  former  nevertheless  produced  at  that  time 
an  extraordinary  sensation.  Four  years  alter 
was  represented,  on  the  theatre  of  Florence,  the 
first  musical  opera,  entitled  "  F.uridicc,"  on  the 
occasion  of  the  marriage  of  Maria  de'  Medici. 
The  introduction,  at  that  time,  of  the  anacreontic 
"Cantate,"  and  of  a  chorus  at  the  end  of  every  act, 
produced  the  first  imperfect  outlines  of  the  airs 
and  chorusea  of  modern  opera.     Monteverde,  i 


C72 


OPE 


ENCYCLOP-'EDIA    OF    MUSIC. 


OUA 


•nusician  of  Creiaonn,  brought  the  rctitative  to 
perfection.  lie  brouj^ht  out  the  "  Aria^ia,"  music 
of  Iliuuccini,  ff>r  tlie  court  of  Mtmtua  ;  aud  in 
the  opera  of  "  Jason,"  by  Cavalli  and  Cicognini, 
at  Venice,  1649,  are  found  the  first  airs  eorre- 
8;)onding  in  sense  and  spirit  with  the  dialogue. 
The  first  regular  serious  opera  executed  at  Naples 
was  in  l')4'>,  under  the  title  of  "Amor  iion  ha 
legge ; "  and  tlie  music  was  composed  by  several 
masters  whose  names  are  now  unknown.  During 
half  of  the  last  century,  the  opera  not  only  did 
not  improve,  but  even  degenerated.  It  became 
in  Italy  what  it  was  in  France  a  century  earlier 
—  a  grand  sjiectaclc  offered  to  the  eyes,  in  which 
poetry  and  mu-iic  were  the  last  things  considered, 
wliilst  the  scenery,  the  mechanism,  and  the  pan- 
comime  were  in  the  greatest  retjuest.  Then  the 
money  now  lavished  on  the  singers  was  thrown 
away  upon  the  painter  aud  the  machinist,  and 
hence  tlie  reason  that  Goldoni,  a  long  time  after, 
says  of  o].era  at  Paris,  "  It  was  the  paradise  of 
the  eyes,  and  tlie  hell  of  the  ears." 

In  Italy,  opera  has  been  the  leading  theatrical 
entertainment  for  a  long  series  of  years.  Its 
l)leasures  are  shared  as  well  by  the  peasant  'as 
the  aristocrat ;  it  is  the  evening  resort,  the  gen- 
eral topic  ;  her  poets  have  funiished  its  libretti; 
the  highest  musical  genius  of  the  country  is  en- 


gaged in  its  composition,  painters  of  acknowl- 
elged  eminence  in  its  decoration  ;  the  noble  does 
not  shrink  from  the  office  of  director,  and  gov- 
ernment lends  its  patronage  aud  pecuniary  aid  iu 
its  support. 

For  further  account  of  opera,  see  article  Hib- 
TOKY  OP  Music. 

OPER.\  BUFF.V.  (I.)  Comic  opera.  A 
title  applied  to  intermezzi,  musical  interludes,  and 
burlettas. 

OPERA  SEMI-SERIA.  (I.)  A  semi-seriooa 
opera. 

OPERA  SERIA.  (I.)  A  serious  or  tragio 
opera. 

OPERETTA.  (I.)  The  diminutive  of  opera. 
A  little  opera. 

OPIIICLEIDE.  A  brass  instrument  intro- 
duced about  1840,  and  little  known  in  this  country 
previous  to  that  time.  It  has  a  loud  tone  and 
deep  pitch,  and  is  much  used  in  military  music. 
It  is  the  largest  brass  instrument  in  use,  and 
forms  the  bass  to  instruments  of  the  trumpet 
species.  Its  compass  is  from  double  B  b  to  A  b 
above  the  line  in  the  bass  clef,  being  three  oc- 
taves. 


Scale  for  tue  Bb  Ophicleibe. 


^«i:-.^>'-^ 


^^^ 


i^^=^ 


grfrT  i  I   — — 


T^rt 


1 

i  xS 

i 


11111 

Z       X 


111111      1 


1     I     1      1      1     1 

XX  X 

i 


1  1  1 

3 


1111111 

3      2    3  3 

X  XX 

S  I 


1      I 

3 


1    1 
1  3 


4      4  4 

S      3 


NoT«.  -  Th«  flifurtf  1, 3,  3, 4,  IK  th«  ilngtn,  find  x  th«  thumb. 


OPUS.     (L.)     "Work.     See  CEUATIE. 

ORATORIO.  A  species  of  musical  drama, 
consisting  of  airs,  recitatives,  duets,  trios,  chorus- 
es, &c.  Originally  an  imitation  of  the  serious 
opera  ;  but  the  subject  of  which  is  generally  taken 
from  scriptural  story,  and  can  only  be  treate<l  by 
music  of  the  sublimcst  character.  The  oratorio, 
which  derives  its  name  from  the  Italian  verb 
orare,  to  pray,  was  originally  an  improvement 
npon  those  Latidi  Siiri  ua'i,  or  sacred  songs  and 
dialogues,  which  were  sung  by  the  priests,  itc, 
in  the  oratonj,  or  place  of  prayer.  San  Filip])0 
Xeri,  a  Florentine,  is  supposed  to  have  first  in- 
troduced this  species  of  musical  drama,  about  the 
year  lo8.5,  or  at  least  those  vocal  dialogues  from 
which  it  had  its  immediate  birth.  Oratorios,  how- 
ever, truly  so  tcrraetl,  were  not  produced  till  to- 
wards the  middle  of  the  seventeenth  century. 
The  perxins  at  first  were  sometimes  ideal,  some- 
times parabolical,  and  sometimes,  as  at  present, 
taken  from  sacred  history  :  but  this  species  of 
drama  soon  assumed  a  more  regular  form,  and 
oratorios  became  great  favorites  in  Italy,  where 
they  were  consOmtly  performed  in  I^ent.  and 
have  since  given  birth  to  some  of  the  noblest  and 
most  elaborate  compositions  of  the  really  great 


masters  of  that  and  other  countries.  The  first 
oratorios  performed  in  England  were  those  per- 
formed by  Handel,  with  the  excellence  of  which 
all  are  well  acquainted.  Since  the  great  master 
many  others  have  tried  their  powers,  and  soma 
with  success  in  this  higher  walk  of  composition  ; 
yet  from  the  year  1771,  no  new  work,  of  much 
merit,  of  the  kind,  appeared  in  England  till  the 
spring  of  1799.  when  the  "  Prophecy,"  a  sacred 
oratorio,  composed  by  Dr.  Bu.shy,  was  iiorlbrmed 
for  the  first  time,  at  the  Theatre  Royal,  Haj-market 

The  first  oratorio  of  which  we  have  an  account 
was  entitled  "  Iiii/>preseHt<x:ioite  Hi  Anima,  e  rit 
Co'po"  It  was  composed  by  Erailio  del  Cava- 
li ere,  and  was  performed  and  printed  at  Rome  In 
1600.  It  was  represented  in  action  on  a  stage, 
in  the  church  of  I.a  Vallicella,  with  scenes,  dec- 
orations, and  chorus,  d  CantiijU',  and  analogous 
dances,  as  appears  both  from  the  e<litor's  dcilica- 
tion  to  Cardinal  Aldobrnndini,  and  from  the  com- 
poser's instruction  for  the  performance. 

Erailio  del  Cavaliero,  as  well  as  the  rest  of  th« 
early  composers  of  dramatic  music,  ima<;incd  tha' 
he  had  recovered,  in  his  recitaiitr,  that  style  of 
music  which  the  ancient  flrecks  and  Roman* 
used  in  their  theatres.  And  a  sincer  of  such 
music   is  rc<iuired   by  Cavaliero   to   have  a  fin* 


«o 


673 


DUA 


ENCYCLOPEDIA    OF    MUSIC. 


ORG 


)  A  double  Ijtc,  perhaps  a 


voice,  perfectly  in  tune,  and  free  from  all  defects 
in  his  delivery  ;  tof^ether  with  a  pathetic  expres- 
sion, the  power  of  swelling  and  diminishing  the 
tones,  and  nu  equal  respect  for  the  composer  and 
poet,  in  singing  plain,  and  being  particularly 
attentive  to  the  articulation  and  expression  of  the 
words. 

It  is  recommended  to  place  the  instruments  of 
accompaniment  behind  the  scenes,  which,  in  the 
first  oratorio,  were  the  following  :  — 

Cna  lira  doppia,  .     .    i         •   ,    ,  u 

"  )      viol  da  gamba. 

Vn  clavicembalo,  .     .       A  harpsichord. 

Un  chitaroiie,  ...       A  large  or  double  guitar. 

Duijtauti,  o  vera  dui      ')  ^  a    » 

T.-,    ■    ,,•       A-  }  1"'0  common  liutes. 

J  ion  ail  antiai,  .     .    ) 

The  oratorio  partakes,  to  a  certain  extent,  of 
the  dramatic  form,  though  its  subjects  have  been 
principally  confined  to  the  sacred.  The  popu- 
larity of  the  oratorio,  the  rendering  it  more  fa- 
miliar of  late  years,  through  the  means  of  large 
societies  in  the  cities,  has  led  the  people  on  in 
the  right  direction,  and  called  forth  a  more  vigor- 
ous exercise  of  the  ideal  faculty ;  the  impassioned 
recitative,  the  melody  in  which  sentiment  finds 
an  utterance,  and  the  descriptive  chorus,  have  all 
had  their  ]}articular  influence,  affording  sketches 
of  pictorial  beauty  which  each  listener  fills  up 
with  his  own  coloring.  We  are  quite  sure  that 
in  this  musical  country  the  oratorio  has  been 
the  most  important  source  of  musical  education, 
whether  we  consider  it  as  a  practical  teacher  to 
the  student,  or  as  a  refining  influence  upon  the 
auditor.  Undertaken  by  men  of  taste  and  judg- 
ment —  not  as  a  pecuniary  object,  but  from  that 
innate  love  of  art  which  so  thoroughly  imbues 
the  mind  of  some  lew,  to  the  advantage  of  the 
many  —  the  performance  of  the  oratorio  has  been 
brought  to  a  jierfoctiou  of  which  we  may  be  proud. 

Like  all  other  tastes,  the  love  of  music  may  be 
nourished  from  the  smallest  germ  into  large  and 
vigorous  life  :  the  habit  of  attending  to  its  beau- 
ties, and  the  desire  of  appreciating  them,  lead  to 
a  conviction  of  its  truth  ;  whilst  its  effect  ujjon 
the  mind  is  to  elevate  and  refine,  perhaps  beyond 
all  other  sensuous  enjoyment.  If  you  doubt,  go 
listen  to  the  •'  Creation,"  or  any  other  sublime  ora- 
torio, and  mark  the  potency  of  many  impassioned 
scenes  upon  a  jieople  who,  as  yet,  are  but  in  the 
first  chapter  of  what  may  become  to  them  a  noble 
volume.  Listen  to  the  heavenly  sounds,  and 
acknowledge  that  it  is  in  moments  like  these  that 
the  heart  expands  in  its  sympathies,  stretches 
out  the  hand  to  the  weiik,  whis,)ers  encourage- 
ment to  the  depressed,  and  applauds  the  strong  ; 
that  men  grow  gentler  and  better,  determine 
upon  goodness,  and  build  up  hopeful  resolves.  It 
is  in  moments  like  these  that  they  catch  glimpses 
of  pure  taste  and  brilliant  fancy,  and  make  for 
themselves  a  world  of  beauty ;  and  the  dream 
becomes  a  rest  and  solace  alter  the  hard  buH'et-s, 
and  anxious  cares,  and  gloomy  realities  of  daily 
life.  It  is  in  looking  at  art  with  such  feelings  that 
wo  desire  to  see  it  encouriigcd  in  the  mi;lst  of  a 
population  whose  labors,  in  spite  of  their  noble 
tendencies,  arc  apt,  without  recreation,  to  lower 
the  tone  of  the  mind  ;  and  because  wo  are  anx- 
ious that  every  attemi)t  should  be  in  a  right  di- 
rection —  emiinate  from  the  Ik'sI  feelings  ;  not  a 
mockery  of  art,  but  a  true  worship. 

OltAFFI,  PIETRO  M.UICELLINO,  an  If.l- 


ian  poet  and  composer,  flourished  about  the  year 
1650,  and  published  "  Concerti  Sacri,  1,  2,  3,  4,  ei 
5  vocum,"  Venice,  1640,  and  ♦'  Miisic/tt  per  congre- 
gationi  altro  luor/o  di  /lonesta  ricreatione,  h  2,  3,  4, 
e  6  roa." 

ORCHESTRA.  This  name  was  applied  by 
the  ancient  Greeks  to  a  certain  circular  part  of 
the  theatre  where  the  dances  were  performed. 
At  Rome,  the  orchestra  was  separated  from  the 
parts  occupied  by  the  performers,  and  furnlsl  ed 
with  seats  appropriated  to  the  senators,  magi'v 
trates,  vestals,  and  other  persons  of  distinctior. 
At  present,  we  understand  by  the  word  orchestra 
that  enclosed  part  of  the  theatre  between  the  au- 
dience and  the  curtiin,  in  which  the  instrument- 
al performers  sit.  We,  however,  sometimes  trans- 
fer the  word  from  the  place  to  the  performers 
themselves  :  as  when  we  say,  "  That  theatre  has 
a  well-appointed  or  powerful  orchestra." 

The  term  orchestra,  however,  is  now  peculiarly 
applied  to  a  body  of  instrumental  jierformers,  in 
which  the  violin  family  predominates.  The  fol- 
lowing description  of  the  composition  of  a  grand 
orchestra  is  from  a  valuable  article  in  Putnam's 
Magazine  for  October,  1853. 

"  The  smallest  number  of  a  grand  orchestra  is 
sixty,  and  then  the  hall  wherein  they  play  should 
not  be  very  large.  Eighty  and  u;)wards,  how, 
ever,  are  necessary  to  the  greatest  oti'ects. 

"  The  centre  of  the  orchesti-a,  that  arouud  which 
all  the  rest  revolves,  is  the  stringed  instruments  ; 
that  is,  the  violins,  violas,  violoncellos,  and  double 
basses.  The  harmonies  and  effectsof  these  stringed 
instruments  find  their  original  model  in  the 
treatment  of  four  solo  stringed  instruments,  two 
violins,  a  viola,  and  a  violoncello,  ;jiving  perfect 
harmony,  and  building  up  the  scho,-)!  of  quartet 
music.  All  the  notes  that  are  found  in  the  or- 
chestra, and  a  few  more,  can  be  counted  in  the 
piano-forte  of  seven  octaves. 

"  Sound,  in  music,  is  caused  by  equal  vibra- 
tions. The  lowest  note  of  the  grand  organ  gives 
thirty-two  vibrations  in  each  second  of  time. 
Eight  notes,  or  an  octave  above  tliat,  gives  the 
lowest  bass  note  of  a  seven  octave  piano-forte. 
A  string  of  just  half  the  proportions  of  this  lowest 
note  will  give  twice  its  vibrations,  which  are 
sixty-four  to  the  second,  that  is  to  >ay,  one  hun- 
dred and  twenty-eight.  Another  string  of  half 
the  proportions  of  this  gives  another  octave  above, 
marked  by  double  the  last  number  of  vibrations, 
or  two  hundred  and  fifty-six.  So  going  on  halv- 
ing the  proportions  of  the  strings,  we  get  double 
the  vibrations,  thus :  64,  128,  256, -5 12,  1024,2048. 
4096,  8192.  These  mathematical  projwrtions  are 
conformable  to  the  claims  of  mu>ic  as  a  science. 
Tubes  measured  in  the  same  proportion  produce 
the  same  results  of  grave,  medium,  and  acute  oc- 
taves. So,  too,  the  pipe  of  the  human  voice. 
The  larger  the  string,  or  tube,  the  graver  or 
deeper  the  sound,  and  the  reverse  Hence  the 
deep  voice  of  man,  corapareJ  with  the  high  tones 
of  woman,  or  the  piping  treble  of  childhood. 
Sexual  ditferenee-i  in  voice  are  ba>ed  on  octaves. 
These  octaves  dirter  in  pitch,  but  they  are  syro- 
pathetic  unisons  —  an  identity  with  a  difference, 
if  the  paradox  may  be  allowed.  Tl-.e  masculine 
voice,  singing  a  mte  or  air,  gives  it  actually  a» 
octave  below  the  feminine  voice.  The  differences 
in  the  pitch  of  instruments  are  simply  imitations 
of  the  pitch  of  the  human  voice,  and  the  valu" 


674 


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ENCYCLOPEDIA    OF    MUSIC. 


ORC 


of  an  instrument  is  its  resemblance  to  the  expres- 
sion of  the  voice.  Hence  the  superiority  of  the 
violin  family  of  instruments.  Without  instru- 
ments, however,  the  grand  mathematical  truths 
of  music  could  never  have  been  discovered,  nor 
,he  world  know  that  a  science  as  wide  as  that 
V,  Well  calculates  an  eclipse,  or  draws  a  parallax, 
lies  in  the  tremblings  of  a  violin  strin;;. 

"  The  instruments  of  the  Creator,  the  different 
voices,  the  bass,  baritone,  tenor  for  the  miuscu- 
line,  and  the  contralto,  mezzo-soprano,  and  so- 
prano for  the  feminine,  are  the  originals,  then,  of 
the  orchestra.  The  orchestral  instruments,  how- 
ever, are  more  copious  in  mere  notes,  while  so 
much  inferior  in  tone  to  the  voice. 

"  When  a  composer  wishes  to  write  for  the  or- 
chestra, he  tnk«-s  music  paper  with  a  large  num- 
ber of  musical  staves,  or  groups  of  five  parallel 
lines  on  them.  He  divides  the  musical  measures, 
each  one  of  eijual  time,  by  drawing  down  lijics 
at  right  angles  to  the  five  line  staves.  'Hiis  is 
called  scorin/ ;  hence  the  term  sojre  or  full 
tcore.  The  various  instruments  occupy  ditter- 
eiit  staves,  which  sometimes  are  as  many  as 
thirty  or  forty  on  a  page ;  and  the  labor  of  the 
composer,  therefore,  in  writing  out  the  notes  of 
each  part  may  be  taken  as  much  more  arduous 
than  the  work  of  the  literary  man.  As  for  the 
power  to  combine  all  the  sounds  of  the  instru- 
ments in  his  mind's  ear,  and  know  beforehand 
how  each  one  will  come  forth  sepanitily  and  to- 
gether —  that  is  a  gift,  and  can  never  be  taught. 
ITie  best  mode  of  grouping  the  instruments  is  as 
follows  :  first  wooden  wind  instruments  —  then 
brass  —  then  pulsatile  —  then  stringed.  Ix't  the 
reader  imagine  the  following  list  of  instruments 
written  on  a  sheet  of  music  paper,  each  one  fol- 
lowed by  its  notes,  and  the  whole  divided,  as 
described  above,  by  vertical  lines,  marking  the 
measure,  and  he  will  have  the  score,  from  which 
the  leader  is  enabled  to  tell  what  each  man  in 
the  orchestra  is  doing,  and  how  he  is  to  he  di- 
rected. 

"  Small  or  ortave  flute ;  grand  flute ;  haut- 
boys ;  clarinets  ;  bassoons ;  trumpets,  horns ; 
trombones ;  tubas  ;  kettle  drums  ;  bass  drum  ; 
violins  ;  violas  ;  violoncellos  ;  double  ba-sses. 

"  When  a  composer  has  written  out  his  score, 
it  is  the  business  of  the  copyist  to  extract  each 
separate  part  from  the  mass,  so  that  the  flute 
player  shall  only  have  his  part  on  his  desk,  the 
hautboy  player  only  his  part,  and  so  on.  This 
often  re<iuire8  much  skill,  and  good  copyists  are 
rare. 

'•  The  human  voice  is  much  more  generally 
under  than  over  two  octaves,  while  the  range  of 
instruments  is  more  than  that,  as  will  appear  by 
the  following  :  'ITie  lowest  G  on  a  seven  octave 
piano-forte,  or  the  fifth  note  from  the  last,  is  the 
lowest  note  of  the  double  bass.  In  the  orche>tra 
seldom  over  two  octaves  are  used  for  the  double 
bas«.  I'he  pitch  of  the  violoncello  Is  one  octave 
above  the  double  bass ;  but  as  it  has  four  strings, 
or  one  string  more  than  the  double  bass,  it  rciilly 
begins  on  C,  four  note*  above  the  lowest  note  of 
the  double  bass.  It  can  play  three  octaves  and 
upwards.  The  viola  is  precisely  one  octave  in 
pitch  above  the  violoncello,  «jid  gives  from  C 
three  octaves  and  upwards.  The  violins  are  a 
fifth  above  the  viola,  and  give  from  G  three 
octaves  and  upwards.  The  octave  flute  is  one 
ctave  higher  tlmn  the  grand  flute,  which  begins 


on  C,  four  notes  above  the  lowest  note  of  th« 
violin,  and  gives  three  octaves  above.  The  haut- 
boy gives  two  octaves  and  a  half,  beginning  on 
the  same  C.  The  clarinets  be^in  six  notes 
lower  than  the  hautboys,  and  go  over  three  oc- 
taves. ITie  bas.soons  have  the  same  pitch  as  the 
violoncello.  The  trumpet  begins  generally  ou 
the  G  of  the  violin,  and  gives  about  two  octaves. 
The  horns  are  an  octave  below  the  trumpet.  The 
trombones  are  three — alto,  tenor,  and  bass;  an- 
swering to  the  contralto,  tenor,  and  bass  voice, 
but  with  greater  compa.ss.  The  tubas  or  Sax 
horns  answer  in  pitch  to  other  brass  instnnnent..<. 
There  are  some  other  instruments,  such  as  the 
English  horn,  which  is  a  larger  hautboy.  There 
is  also  a  bass  clarinet,  and  a  double  ba-ss  bas- 
soon. The  tympani,  or  kettle  drums,  are  tuned 
to  the  first  and  tifth  of  the  scale,  being  the  inter- 
vals most  in  demand.  For  example,  in  the  scale 
of  C  —  namely,  C,  I).  E,  F,  G,  A.  B  —  the  kettle 
drums  would  be  { ',  G  :  in  the  scale  of  G  —  naraelv, 
G,  A,  B,  C.  D,  E.  F—  they  would  be  G,  I) ;  and 
so  with  other  scales.  The  wind  instruments  can 
give  but  one  note  at  a  time ;  but  the  violin  can 
give  two  notes,  and  three  or  four  if  the  bow  be 
drawn  suddenly  across  the  string,  when  the  ra- 
pidity of  the  sequence  of  the  notes  stands  in  the 
place  of  a  simultaneous  expression.  It  is  usual 
in  an  orchestra  to  have  but  two  tlutes,  two  haut- 
boys, two  clarinets,  two  bivssoons,  two  trumpets, 
four  horns  two  or  three  trombones,  one  pair  of 
drums  :  but  the  stringed  instruments  to  this  pro- 
portion may  be  forty  violins,  twenty  violas,  thirty 
violoncellos  and  double  basses  ;  these  more  or 
less.  -\11  classical  music,  which  means  music  of 
a  certain  age  and  rank,  is  so  written  for  the  or- 
chestra since  the  time  of  Haydn's  later  works, 
except  that  in  them  but  two  horns  are  written, 
and  the  trombone?*  seldom.  Tlie  ability  of  per- 
formers to  do  more  and  better  things  on  their 
instruments,  h.-us  greatly  increased  during  this 
century.  In  Handel's  time  orchestration  was 
miserably  poor :  his  scores,  as  such,  have  but 
feeble  interest.  Haydn  advanced  it  immensely. 
Rossini  added  to  its  powers.  The  solo  perform- 
ances of  instruments  in  overtures  was  never  really 
brilliant  up  to  Rossini's  courageous  innovation. 
There  is,  for  example,  no  prominent  solo  -vriting 
in  "  Don  Giovanni,"  by  Mozart;  it  is  smo.>th  and 
elegant  generalization.  Rossini  was  th  ?  first  to 
write  for  four  horns  in  an  overture  ;  the  effect  i* 
surpassing  when  we  use  the  improved  instru- 
ments, with  valves  giving  all  the  hall  tones.  The 
violin  school  was  vastly  roused  by  Paganini  ;  and 
the  piano-innoviitions  of  Thalbcrg  and  I.iszt  are 
copies  of  the  immense  graspings  and  combi- 
nations of  the  great  Italian's  genius.  Beethoven 
introduced  new  effects  for  the  violoncello,  giving 
it  a  singing  or  pa-ssionate  cantabilc  expicssion. 
Clarinets  were  not  introduced  into  EnglLsh  or- 
chestras till  about  1780.  Flutes  have  been  much 
improved,  and,  indeed,  excepting  violms,  it  would 
be  im]mssible  to  name  an  instrument  that  has  not 
been  regenerated  within  a  few  years.  As  cities 
grow  in  size,  and  players  incrca.se  in  number,  it 
will  be  possible  to  break  in  upon  the  old  conven- 
tionalisms of  the  orchestra  more  and  more.  For 
certain  effects  there  might  be  twenty  tlutes,  thirty 
trumpets,  forty  clarinets.  Sec.  Military  bands 
have  been  improved  prodigiously  of  late  years. 
Besides  cornets,  tubas,  &c.,  there  is  t"ie  im- 
provement of  numbers  ;  many  of  the  Austrian 
5 


ORC 


ENCYCLOP.TIDIA    OF    MUSIC. 


ORG 


military  hnnds  now  number  eis;hty  to  one  hun- 
dred players.  We  ont-e  heitrd  all  the  l)iinds  of 
Paris  jilay  together,  nl  fresco,  amounting  to  1800 
jjerformers.  The  hands  in  thLs  country  arc  yet 
too  small,  though  their  irajirovemeiit  under  Dod- 
worth  and  Noll  has  quite  ciiualled  our  progress 
in  other  things. 

"  The  orchestra,  however,  having  stringed  and 
bowed  instruments,  possesses  the  great  point 
of  expression.  The  reader,  ha\'ing  followed  us 
through  our  analysis,  may  judge  of  the  skill  and 
talent  required  to  direct  such  a  va.st  body  of  mu- 
sicians, so  that  they  shall  speak  to  the  life  the 
thoughts  of  the  composer,  observing  the  nicest 
points  of  intonation,  and  the  most  flexible  require- 
ments of  musical  coloring;  that  they  shall  at 
one  moment  be  like  an  infant's  breathing,  and 
the  next  like  a  tropical  storm  ;  at  one  moment 
like  the  sigh  of  love,  at  the  next  like  the  crash  of 
armed  hosts ;  or  that  they  shall,  as  the  ocean 
tempest,  begin  from  a  cloud  no  bigger  than  a 
man's  hand,  and,  little  by  little,  augmer^*  -u  in- 
tensity, —  crescendo  poco  d  poco,  —  until  the7  boil 
over  in  lyrical  wrath  —  strike,  foam,  and  thunder 
aloft  imtil  the  concave  rings  and  the  ground  shake-i; 
or,  that  during  whole  hours  they  shall  follow  all 
the  caprices,  whims,  and  zigzag  of  the  singer  on 
the  stage  ;  seconding  every  word,  never  too  loud 
or  too  feeble,  but  always  lieges  to  musical  order 
and  law.  So  to  direct  them  requires  the  skill  of 
a  JuUien.  To  appreciate  such  an  orchestra,  as 
the  colossal  exponent  of  passion  and  emotion,  of 
the  art  of  wordless  eloquence  and  celestial  purity, 
will  be  one  of  the  noblest  efforts  in  the  big  steps 
of  popular  progress.  Understood  rightly,  it  will 
widen  the  range  of  our  objects  of  praise  both  in 
men  and  things." 

A  complete  orchestra  consists  of  a  large  num- 
ber of  instruments,  and  is,  of  course,  only  suited 
to  large  localities,  as  theatres,  music  halls,  con- 
cert rooms,  &c.  M.  Fetis,  of  Paris,  gives  the  fol- 
lowing proportions  for  an  orchestra  and  chorus 
of  three  hundred  and  fifty-six  performers. 


First  violins. 
Second  do., 
Violas, 
Violoncellos, 


Double  basses,  20 


Flutes, 
Oboes, 
Clarinets, 
Bassoons, 
Horns, 
Trumpets, 
Trombones, 
Bugles, 
Serpents, 
Drums  and  ) 
cymbals,  J 


Vocal. 
Soprani, 
Altos, 
Tenor, 
Boss, 


Principals,  8 


178 


13.1  43 

with  an  organ  of  first  rate  power. 

The  full  and  complete  effort  of  a  number  of 
voices  and  instruments  conjoined  depends  upon 
the  first  proportions  in  which  they  are  brought 
together  in  the  orchestra.  Often  the  materials 
are  collected  promiscuously  ;  and  too  many  of 
one  kind,  or  too  few  of  another,  destroy  the  bal- 
ance of  sound  which  is  ne<-essary  to  a  grand  effect. 
The  great  defect  in  most  orchestras  proceeds  from 
that  part,  which  is  the  most  essential,  being  com- 
monly the  weakest.  This,  no  doubt,  arises  from 
the  greater  difficulty  in  procuring  these  per- 
formers ;  and  the  usual  method  of  making  up 
the  number  bv  materials  more  easily  obtained, 
only  adds  to  the  evil,  instead  of  diminishing  it. 


We  often  find  a  lack  of  sufficient  power  and 
ability  in  the  first  violins  and  violoncellos,  whil* 
we  are  overpowered  by  the  wind  instruments. 
In  the  voices,  we  lament  the  weakness  of  the 
soprani,  which  are  borne  down  by  the  tenors.  To 
injure  the  well  going  of  the  chorus,  the  vocal 
leaders  should  be  placed  in  the  rear  of  their  parts, 
in  which  place  they  will  be  better  heard  :  and  as  it 
of^en  happens  that  the  most  experienced  musicians 
have  the  weakest  voices,  it  is  best  to  couple  them 
with  the  strongest  :  these,  correctly  led,  will  con- 
tribute much  to  keep  the  part  firm  and  steady. 
It  Ls  important  that  this  arrangement  be  made  a 
condition  with  the  leaders,  as  they  invariably 
think  themselves  entitled  to  a  more  conspicuous 
place,  and  press  forward  to  get  into  the  front ; 
whereas  the  place  of  honor,  as  in  the  legioiu 
of  Bonaparte,  is  in  the  rear.  He  always  placed 
his  rawest  troops  in  front,  and  hLs  veterans  behind. 

ORCHESTR.VL.  An  epithet  given  to.  any 
composition  intended  for,  or  any  performance  by, 
an  appointed  or  regular  band. 

OUCHE.STRIOX.  A  beautiful  and  grand  in- 
strument, said  to  possess  the  combined  power  and 
variety  of  a  full  orchestra.  The  first  one  was 
built  in  the  forest  of  Schwartzvald,  by  the  well- 
known  artist  M.  Blessing,  of  great  musical  celeb- 
rity. A  similar  instrument  was  exhibited  4t 
Philadelphia,  m  1850,  by  a  German,  who  said  it 
was  a  new  invention  of  his.  His  orcliestrion  was 
capable  of  producing  the  tones  of  a  variety  of  in- 
struments, either  as  solos  or  in  full  concert.  The 
compass  is  very  extensive,  and  we  have  horns, 
violins,  violoncellos,  oboes,  flutes,  bassoons,  and 
all  the  component  parts  of  a  full  orchestra,  with 
the  swells  and  diminuendos.  It  does  not  occupy 
nine  cubic  feet  of  space. 

ORDINARIO.  (I.)  Usual.  An  epithet  ap- 
plicable to  time ;  as,  tempo  orditiario,  in  the  usual 
time. 

ORDOGNEZ,  PIETRO.  A  Spanish  musician, 
celebrated  in  Italy  in  the  sixteenth  century. 

ORDOXITZ,  or  ORDONXEZ,  CARL  VON, 
violinist  in  the  Imperial  Chapel  at  Vienna,  after 
the  year  17fi6.  About  1780,  he  published  at  Ly- 
ons "  Six  Qiintiiors  pour  le  violon,  Op.  1."  Many 
more  of  his  instrumental  compositions  are  known 
in  manuscript.  They  are  principally  sympho- 
nies. He  is  also  the  author  of  the  German  opera 
entitled  "  For  once  the  Husband  is  Master." 

ORGAN.  A  wind  instrument  blown  by  bel- 
lows, and  containing  numerous  pipes  of  various 
kinds  and  dimensions,  and  of  multifarious  tones 
and  powers.  Of  all  musical  instruments,  this  is 
the  most  jiroper  for  the  sacred  purpose  to  whiuh 
it  is  most  generally  applied  in  all  countries  wher- 
ever it  has  been  introduced.  Its  structure  is  lofty, 
elegant,  and  majestic  ;  and  its  solemnity,  grandeur, 
and  rich  volume  of  tone  have  justly  obtained  it 
an  acknowledged  preeminence  over  every  other 
instrument. 

An  organ,  when  complete,  is  of  threefold  con- 
struction, and  furnishe:!  with  three  sets  of  keys: 
one  for  what  is  called  the  great  organ,  and  which 
is  the  middle  set ;  a  second  (or  lower  set)  for  the 
choir  organ;  and  a  third  (or  upper  set)  for  the 
swell.  In  the  great  organ,  the  chief  "stops  ar» 
the  two  diapnont,  the  principal,  the  '.w?''-i,  th« 


676 


ORG 


ENCYCLOP-EDIA    OF    MUSIC. 


OR(J 


fifteenth,  the  sesquialtra,  the  mixture,  (or  furni- 
ture,) the  trumpet,  the  clarion,  and  the  comet. 
The  choir  orj^au  usually  contuiiis  the  stoj)  diapa- 
son, the  dulc'iana,  the  principal,  the  tlute,  the 
twelfth,  the  bassoon,  and  the  vox  hunuuia.  Tlie 
Hwell  comprises  the  two  diapasons,  the  principal, 
the  hautboy,  trumpet,  and  cornet.  Beside-;  the 
complete  or^an,  there  are  other  organs  of  lesser 
sizes,  and  more  limited  powers,  adapted  to  church, 
( hapel,  and  chamber  use.  There  is  also  the  bar- 
rel or  hand  organ,  consisting  of  a  movable  turn- 
ing cylinder  called  a  barrel,  on  which,  by  means 
of  wires,  pins,  and  staples,  are  set  the  tunes  it  is 
intended  to  perform.  The-ie  pins  and  staples,  by 
the  revolution  of  the  barrel,  act  upon  the  keys 
within,  and  give  admission  to  the  wind  from  the 
b3llows  to  the  pipes.  The  barrel  organ  is  gen- 
erally portable,  and  so  contrived  that  the  same 
action  of  the  hand  which  turns  the  barrel,  sup- 
plies the  wind,  by  giving  motion  to  the  bellows. 

The  invention  of  the  organ,  which  is  attributed 
to  the  Greeks,  is  very  ancient.  From  a  passage 
in  C'assiodorus,  who  lived  about  .528  years  after 
Christ,  we  learn,  in  his  time,  that  it  was  an  instru- 
ment of  tlie  highest  estimation  for  a  wliile.  It, 
hv)wever,  appears  that  the  use  of  it  afterwards 
declined. 

It  has  been  a  subject  of  frequent  debate,  at 
what  time  organs  were  first  introduced  into  the 
church.  Some  writers  say,  that  they  were  first 
applied  to  sacred  use  in  the  time  of  Po|)e  Vita- 
liau,  about  the  year  670 ;  others,  that  they  were 
not  employed  in  the  churcli  till  the  ninth  century. 
A  learned  author  has,  however,  shown  that  neither 
of  these  dates  can  be  just ;  and  Thomas  A(iuinas 
e.xprossly  says,  that  in  his  time  (about  the  year 
1250)  the  church  did  not  use  musical  instru- 
ments ;  and  Itingliam  athrms,  that  Marinus  Saun- 
tus,  who  lived  about  the  year  1290,  first  intro- 
duced the  use  ot  them  into  churches.  Ihit  if  we 
may  credit  the  testimony  of  Gervas,  the  monk  of 
Canterbury,  who  fiourlshed  at  tlie  beginning  of 
the  thirteenth  century,  organs  were  introduced 
moie  than  one  hundred  years  before  his  time. 
Hedc,  who  died  in  735,  says  nothing  of  the  use 
of  organs,  or  other  musical  instruments,  in  our 
churches  or  convents,  though  he  minutely  de- 
scribes the  manner  in  which  the  ijsalms  and 
hymns  were  sung  ;  yet  Mabillon  and  Muratori 
inform  us,  that  oiyofiv,  during  the  tenth  century, 
became  common  in  Italy  and  Germanv,  and  in 
England,  and  that  about  the  same  time  they 
had  admission  into  the  convents  tliroughout 
Europe. 

OIUI.VX,  IILSTORY  OF.  Of  all  musical  in- 
struments, the  organ  is  the  large-it,  the  most 
complicated,  the  most  harmonious,  and  the  most 
capable  ot  producijig  an  almost  endlijss  variety 
of  combinations  and  ctfects.  It  may  be  called 
the  king  of  instruments,  as  it  imitates  and  in- 
cludes them  all.  Hence  a  place  has  been  uni- 
versally assigned  to  it  in  our  churches,  as  being, 
from  its  unquestionable  superiority,  the  instru- 
ment most  suitable  to  the  majesty  of  divine  wor- 
ship. A  large  and  powerful  organ  in  the  hands 
of  a  master,  in  one  of  his  best  moments  of  musi- 
cal inspiration,  is  inlerior  to  no  source  of  the 
(ublime  in  absorbing  the  imagination.  'Die  rush 
and  concourse  of  sound  has  been  not  inaptly 
corajiared  to  the  full  and  even  volume  of  a 
nighty  river,  tiowing  onwards,  wave  alter  wave, 

67 


occasionally  dashing  against  some  rock,  till, 
sweeping  with  momentJirily  increasing  vehemence 
to  the  brow  of  a  jirecipice,  it  rushes  down,  a 
wide-spreading  and  overwhelming  fiood. 

Notwithstanding  much  laborious  research,  the 
origin  of  the  organ  is  still  enveloped  in  obscurity. 
Some  of  the  instruments  so  called  were  acted 
upon  by  the  force  of  water,  whilst  to  others  the 
application  of  bellows  is  mentioned.  The  only 
difference  between  them,  however,  was  in  the 
mode  of  introducing  the  air  into  the  pipes ;  and 
their  common  origin  may,  probably,  be  referred 
to  the  ancient  syrinx  or  I'an's  pipe,  made  of 
reeds. 

It  must  soon  have  been  observed  that  there 
were  other  means  of  producing  sounds  from  a 
pipe  than  by  the  mouth  ;  also  that  the  air  might 
be  confined  in  dose  cavities,  and  afterwards 
emitted  at  pleasure  by  means  of  openings  of  dif- 
ferent dimensions.  This  was  a|)plied  to  united 
pipes  like  the  syrinx,  or  to  a  simple  flute  ;  and 
subsequently  a  species  of  bagpipe  was  invented. 
By  pursuing  this  course,  they  could  not  fail  to 
arrive  at  an  instrument  strongly  resembling  our 
organ.  Instead  of  a  leatliern  bag,  tliey  used  a 
wooden  case  to  enclo--e  the  wind;  above  thii 
they  placed  the  pipe,  the  opening  of  which  was 
closed  by  suckers,  which  could  be  ojieiied  or 
shut  at  will,  in  order  to  produce  the  embouchure 
of  any  one  pipe.  The  descriptions  left  by  authors 
of  difi'ereiit  ancient  musical  instruments,  together 
with  their  representations  on  several  monuments, 
prove  that  the  ancients  were  occupied  at  dirt'er- 
ent  periods  with  these  experiments.  For  some 
time  they  were  constantly  emjiloyed  in  seeking 
the  best  means  of  introducing  oir  into  the  pipes. 
They  employed  the  fall  of  water,  pumi)s,  steam, 
and  bellows  of  different  kinds.  In  these  experi- 
ments, water  was  most  frequently  the  cause  of 
the  motion  by  which  the  wind  was  introduced. 
They  at  last  stopped  at  wind  bellows,  set  in  mo- 
tion either  by  water  or  human  strength.  The  appli- 
cation of  tliese  various  means  has  distinguished 
two  kinds  of  organ.  That  moved  by  water  was 
culled  hydrauiic ;  that  by  wind,  pneitiiuUic ;  al- 
though there  was  no  real  difference  in  the  prin- 
ciple. It  is  only  by  means  of  air  that  the  pijies 
can  produce  a  sound.  Although  the  earliest  de- 
scriptions apjiear  to  belong  to  the  hydraiUicou,  of 
which  Ctesibus,  of  Alexandria,  is  said  to  have 
been  the  discoverer,  about  the  year  220,  yet  it 
seems  natural  to  suppose  that  the  piuiuiiuuic  or- 
gan was  the  prior  invention;  and  its  anti(iuity 
seems  confirmed  by  the  discovery  of  a  monument 
at  iioine.mentioned  by  Mersenne,  in  his  "Hitriiumie 
VniturirlU"  of  which  an  engraving  is  given  in  Sir 
John  Hawkins's  "  History  oi  Music,"  vol.  i.  p.  4o;i. 
The  earliest  account  of  any  instrument  of  the 
kind  occurs  in  Vitruvius,  book  10,  who  fiourished 
above  a  century  before  the  Cliristian  era.  llij 
wa.s  an  liyiiraulimn.  Hut  the  most  ancient  notioj 
taken  ot  an  instrument  to  wiiich  bellows  were 
adapted,  is  to  bo  found  in  the  "  .Vnthology,"  lib.  i. 
cap.  8(),  which  was  first  <|Ui>ted  by  l)u  Cange,  in 
his  *'  (Jhtst<iriiiin  me<li<f  ct  injim/r  L<iliiiiJtUu,"  oi 
the  word  orijaitiim.  It  is  the  description  of  an 
organ  (in  an  epigram,  A.  D.  3(50)  said  to  h«v« 
been  in  the  pos.ses.<<ion  of  Julian  the  Apostate 
who  lived  in  the  fourth  century.  I)u  Cange  cou 
clude<l  that  it  was  not  an  hydraulic  instrumeu^ 
but  that  it  very  much  re^'iubled  the  moderi 
pneumatic  or^an.     llic  description  CoMiudor- 


ORG 


EXCY(?LOP^DIA    OF    MUSIC. 


ORG 


has  given  of  an  organ,  in  his  explanation  of  the 
1.50th  Psalm,  is  more  ttiiplicable  to  a  Kniall  hy- 
drnulicou  than  to  our  modern  instruments. 

The  barbarism  wliich  s])read  amonfjst  the  peo- 
ple of  Europe  after  the  time  of  Cassiodorus,  was 
not  only  destructive  to  the  arts  and  sciences,  but 
also  to  many  of  the  works  of  art ;  and  it  seems  that 
the  or^an,  such  as  it  then  was,  shared  the  same 
late.  St.  Jerome  mentions  one  which  had  twelve 
pairs  of  bellows,  and  tifteen  pipes,  and  was  heard 
at  the  distance  of  a  mile,  and  another  at  Jerusa- 
lem, which  was  heard  at  the  Mount  of  Olives. 

The  date  of  the  introduction  of  the  organ  into 
the  churches  of  Western  Europe  is  uncertain. 
The  use  of  musical  instruments  therein  is  unques- 
tion!il)ly  Hs  old  as  the  time  of  St.  Ambrose,  if  not 
of  Justin  Martyr,  two  centuries  before  ;  but  Pope 
Vitalian  is  generally  allowed  to  have  been  the 
first  who  introduced  the  organ  into  the  service  of 
the  Catholic  church,  about  the  year  G70.  The 
first  organ  we  hear  of  in  France  was  of  Greek 
construction,  and  sent  thither  in  7o7,  as  a  pres- 
ent to  King  Pepin,  father  of  Charlemagne,  by 
the  Emperor  Constantine  Copronymus.  This 
fact  is  rendered  more  worthy  of  credence  by  the 
assertion  of  Walter  Odiugton,  of  Evesham,  a  mu- 
sical writer  of  the  thirteenth  century,  who,  in  his 
tract,  "  De  Sptculatione  Masica;,"  says  that,  "  Aniio 
Domini  757,  venit  Organum  primo  in  Frunciam 
missuin  a  jmtissinio  Rege  Gracorum  Pipiiio  Im- 
peratore."  During  the  reign  of  Charlemagne, 
organs  are  mentioned  as  having  been  brought 
from  Greece  into  the  western  parts  of  Eurojje. 
Walafred  Strabo  gives  a  description  of  an  organ 
which  existed  in  the  ninth  century  in  a  church 
at  Aix-la-ChapeUe.  Tlie  softness  of  its  tone  he 
asserts  to  have  caused  the  death  of  a  female. 
This  was  one  built  by  the  artists  of  Charlemagne, 
in  812,  on  the  Greek  model,  which  the  learned 
Henedictine,  Don  Bedos  de  Celles,  in  his  "  L'Art 
(la  Facleur  il' Orgues,"  fol.  1766,  thinks  was  the 
tirst  that  was  furnished  with  bellows,  and  in 
which  water  was  not  employed.  It  is  the  opin- 
ion of  Mabillon  ("  De  Carole  Magna,"  cap.  10,)  that 
tliis  instrument  contributed  greatly  to  the  per- 
fecting the  (iregorian  chant  in  France,  as  it  is 
certain  that  the  use  of  the  organ  passed  from  the 
King's  t;hapel,  where  that  had  been  placed  which 
came  from  Constantinopli-,  to  different  churches 
of  the  kingdom,  before  it  was  common  in  Italy. 
England,  or  Germany.  However,  the  reception 
of  this  kind  of  instrument  into  the  churches  of 
Verona,  during  the  same  reign,  is  recorded  in 
some  charters  mentioned  by  Ughelli.  After  the 
time  of  Charlemagne,  the  org-an  is  first  mentioned 
by  Eginhard,  in  S26,  in  the  annals  of  Louis  le 
Dcbonnaire.  An  organ  was  built  for  that  em - 
j>eror  by  Georgius,  a  Venetian  presbyter,  at  Aix- 
la-ChapeUe,  which,  says  Don  Bedos  de  Celles, 
was  an  hydraulicon.  Georgius  is  supposed  to 
have  been  the  father  of  organ-building  in  Ger- 
many, from  whence  we  soon  hear  of  artists  in 
that  line  being  sent  into  other  countries. 

In  the  latter  i)art  of  the  ninth  century,  the 
Germans  po>sessed  organs,  and  were  able  to  play 
on  them,  /arlino,  in  his  "  Supptementi  Mii-si- 
calc,"  book  viii.  p.  ?90,  says  that  some  authors 
imagine  the  pneumatic  organ  to  have  been  first 
used  in  Greece  ;  that  it  passed  from  thence  into 
Hungary,  afterwards  into  Germany,  and  subse- 
quently to  Bavaria. 

Elleg,  Bishop  of  Wiuchester,  procured  an  or- 


gan for  his  cathedral,  in  9.51,  which  was  the 
largest  then  known,  having  twentA'-six  pairs  of 
bellows,  renuiring  seventy  men  to  f.ll  it  with 
wind.  It  had  ten  keys,  with  Ibrty  pipes  to  each 
key.  Oswald,  Archbishop  of  York,  placed  an 
organ  in  the  church  at  Ramsey,  with  pipes  of 
brass,  and  which  cost  thirty  pounds,  lliere  was 
also  one  at  Canterbury  Cathedral  previous  to  the 
year  1174. 

Notwithstanding  these  early  attempts,  the  or- 
gan long  remained  rude  in  its  construction  ;  the 
keys  were  from  four  to  five,  and  even  six  inches 
broad ;  the  pipes  were  of  brass,  and  the  compass 
did  not  exceed  two  octaves  in  the  twelfth  cen- 
tury, about  which  time  half  notes  appear  to 
have  been  introduced  at  Venice.  At  Venice,  the 
important  addition  of  pedals  was  first  made  by 
Bernhard,  a  German,  to  whose  countrymen  we 
owe  most  of  the  other  improvements  in  bellows, 
stops,  &c.  Several  elaborate  works,  in  French 
and  German,  on  the  subject  are  extant,  which  are 
scarcely  known  even  by  name  in  this  country. 
Some  idea  may  be  formed  of  the  importance  of 
having  a  fine  organ  from  the  following  fact  re- 
lated by  Andrew  WerkmeLster,  in  his  "  Organum 
Gru)iiiige/ise  Redivivum,"  1701-5:  "The  magis- 
trates of  Groningen  contracted  with  David  Beck 
of  Ilalberstiidt,  to  construct  an  organ  in  the  Cas- 
tle Church  of  that  city.  In  the  year  1592,  arti- 
cles were  drawn  up  between  the  magistrates  and" 
the  organ  builder,  in  which  it  was  agreed  by  the 
former,  that,  for  an  instrument,  the  contents  of 
which  were  minutely  described,  a  certain  stijm- 
lated  sura  should  be  paid  to  the  latter  upon  its 
completion,  provided  it  was  ai)proved,  after  trial 
and  examination,  by  such  organists  as  they  should 
nominate  for  that  purpose."  This  instrument, 
in  its  construction,  employed  the  builder  four 
years  ;  and  in  1596,  the  most  eminent  organ- 
ists in  Germany  being  invited,  the  name.i  of  all 
those  who  signed  the  certificate  of  approbation 
amounted  to  fifty-three  in  number,  the  whole 
of  which  may  be  found  iu  the  above-mentioned 
work. 

Of  the  organs  in  England,  we  find  scarcely 
any  particulars  from  the  reformation  to  the 
reign  of  Charles  the  Fii-st.  Camden  mentions 
one  at  Wrexham,  and  Fuller,  misquoting  it, 
describes  its  pipes  as  being  made  of  gold.  This 
shared  the  fate  of  organs  in  1641.  The  old  York 
organ  (since  burned,)  was  the  only  one  that  es- 
caped the  destruction  of  those  times,  owing,  no 
doubt,  to  the  protecting  care  of  Lord  Faii-lax,  a 
man  who  was  fond  of  music  and  antiquities,  and 
who  preserved  the  painted  windows  of  that  ca- 
thedral from  the  general  destruction.  Yet  Crom- 
well himself  was  jiartial  to  the  organ,  and  caused 
the  one  at  Magdalen  College,  Oxford,  to  be  re- 
moved to  Hampton  Court.  It  was  restored 
afterwards  to  the  college,  where  it  remained  till 
about  1700.  In  1660,  only  four  organ  buildera 
were  to  be  found  in  the  whole  kingdom  of  Great 
Britain — Preston,  of  York,  Loosemore,  of  Exeter ; 
Thamar,  of  Peterborough,  and  Ralph  Dallans. 
This  led  to  the  introduction  of  foreign  artists  — 
Iternar^l  Schmidt  and  his  two  nephews,  the  elder 
Harris  and  his  son  Renatus  Harris.  To  tliese, 
succeeded  Schreider,  Smith's  son-in-law,  who 
built  the  organ  at  St.  Martin's  in  the  Fields, 
which  was  a  present  from  George  the  First,  who 
was  elected  churchwarden  —  Bridge,  Byfield, 
Jordan,  Swarbrook,  Parker,  Cranz,  Snetzlcr,  £ug- 


678 


OUG 


ENCYCLOP-EDIA    OF    MUSIC. 


ORO 


land,  Avery,  Green,  Davies,  Blythe,  Nicholls, 
Gray,  Sen.,  Hill,  Sen.,  Eilliot,  Beviugton,  Sen., 
Bixhop,  Hill,  Gray,  Beviiigton,  Uobson,  Liiicobi, 
kc,  &c. 

The  following  list  of  artiitts  who  have  written 
DU  the  gemral  con.struction  of  the  or^un,  it-s  luech- 
uiisra,  &c.,  to  some  readers  may  be  found  uiieful. 

Cams,  or  (,'iius,  Solomon  de,  1615,   1616,    1620. 

Fomer,  Christian,  1084. 

Deeiulin^;,  Ernst  Ludwig,  —  Beachreibung  de3 
Orfielbaiies,  .Vc,  1692. 

Uendeler,  Joh.  Phil., — Organopoia — Orgel-Dau- 
Kumt,  173!). 

UernouUe,  Daniel,  1762. 

Bedos  de  Colles,  Don  Jean  Francois,  —  L'Arl  du 
Ftwtcur  (rori/iics,  Paris,  lol,  1761!,  1778. 

Adlung,  Jacob,  —  Miuica  Mechanica  Organoedi, 
4to.,  176S. 

Sorge,  George  Andreas,  — Der  in  der  Rechen,  &c  , 
1773. 

Halle,  Joh.  Sara.,  —  Die  Kunst  dei  Orgelbaues, 
1779. 

Ueber  Herrn  Abt  Vogler's  Simplifications,  &c., 
—  Mia.  /.fitting,  vols.  iv.  v.  vi. 

Schlirabach,  G.  C.  Fi'.,  —  Ceber  die  Structur,  &c., 
1801-25. 

Ferroni.  Pietro,  —  Menufria  sulf  u»o  delta  Logis- 
tica,  1801-7. 

Vogler,  Cieorge  Joseph,  —  Erkltrung  der  Buck- 
tlabcn,  180 'i. 

Vogler,  George  Joseph,  —  Vtrgkichungsplan,  &c  , 
1807. 

Wolfram,  Joh.  Christian,  — Ankitung  zxtr  KeniU- 
tiias,  181-). 

Schneider,  Wilhelm,  —  Lehrbtich,  das  Orgelioerk 
kvnnrn.lScc.,  182.3. 

W'ilke,  Friedrich,  —  Article  in  Mus.  Zeitung, 
vol.  xxvi. 

Bo ttner,  Joseph,  —  Anieeiaiing,  iciejeder  Organ- 
ill,  &c..  1827. 

Keichmoister,  J.  C,  —  Die  Orgel  in  einein,  &c., 
1828. 

Reichmeister.  J.  C,  —  Vnentbehrlich«i  Hulfibuch 
beim  Oriie!'>iii,  1832. 

MilUer,  Wilh.  Adolph,  —  Die    Orgel,  &c.,  1830. 

Topfer,  Uottlob,— Die  Orgell>au-kiintl,  1833. 

Topfer,  liottlob.,  —  Enter  Sachtrag  zwr  Orgel- 
\iiiu-kunit,  1834. 

Werkmeister,  .\ndreas,  —  Organum  Grwiingense 
n-dificuiit,  1704—). 

Biermann,  Joh.  Hermann,  — Organographia,  &c, 
1738. 

Ludwisj,  Joh.  Adam  Jacob,  —  Gedanken  uber  die 
griissen  Ot-i;--tii,  1761. 

Ludwig,  Joh.  Adam  Jacob,  —  TraiUat,  &c.,  &c., 
1764. 

Hess,  Joachin,  —  Di^positionen  der  merkicaar-' 
digste  Kerk-OrgeUn,  1774. 

Tauscher,  J.  G.,  —  Vcrsuch  einer  AnUiiang,  Sic, 
1778. 

Knock,  Nicol.  Amoldi,  —  Ditposilionen  der 
nierkwaarilijfle  Kerk-Orgelen,  1788. 

Trost,  Joh.  Caspar,  —  AuafUhrliche  Betchrei- 
iung,  &c.,  1677. 

Werkmeistcr,  Andreas,  —  Orgelprobe,  &c.,  1781, 
*98. 

Carutius,  Caspar  Ernst,  —  Examen  Organ*  pneu- 
uiatici,  oiU'r  Orgelprobe,  1683. 

Preus,  George,  —  Grundregeln  von  der  Structur, 
kc,  1722. 

Fabricius,  Werner,  —  UnterricfU,  wie  man  ein 
neu  Orgeitrcrk,  1756. 


ZiUig,  J.  H., — VoUkommene  Orgelprobt,  179&, 
1804. 

The  following  is  a  list  of  foreign  works  on  the 
history  of  the  organ. 

Havinga,  Gerhardus,  —  Oorspong  en  Foortgang 
der  Orgeleii,   1727. 

Mittag,  Joh.  Gottfr.,  —  IlistoriscJie  Abhundlung, 
&c.,  175(). 

Schmerbauch,Gott.  Heinr., —  De  Organis,  1770. 

Sponsel,  Joh.  Ulrich, — Orgelhiitorie,  1771. 

Dlabacz,  G.  J., —  Eticas  i-o/i  ileii  Kirchettorgein. 

VoUbeding,  J.  C,  —  Kurzge/iueie  (Jeschichte  der 
Orgel,  1793. 

Giovio  Giam  ,  —  Del  nuovo  Orgaiio,  1808. 

Buhler,  Franz, — Etwaa  tiber  Alitsik,  Orgel,  SiC, 
181.5. 

Michaelis,  Chris.  Fried.,  —  Zur  Geichichte  A' 
Orgel,  1825. 

Antony,  Joseph,  —  GeschictUliche  DarsUUung, 
&c.,  1832'. 

Many  other  excellent  works  have  been  wTittcn 
on  the  organ,  the  titles  of  which  may  be  tound 
in  Dr.  Forkel's  Allgemeine  Litrrntur  der  Miuik, 
Leipsic,  1792,  8vo.  ;  Lichtcnthal's  Diziomirii  e 
liibliogrnfiti  delta  .Vim/cu,  Milan,  1826,  4  vols,  in 
8vo.  ;  and  in  Carl  Ferdinand  Becker's  .Si/dienia- 
tisch-Chrinntofjinche  Darst<l/ung  der  .Musikaltsc/ien 
Liieraiur,  Leipsic,  1836,  in  4to. 

On  looking  at  a  larsje  church  organ,  the  first 
thing  which  strikes  the  eye  Ls  the  iimc,  decorated 
with  its  various  ornaments,  as  carving,  gilding, 
Jtc,  and  with  a  number  ot  larue  gilt  metal  jjipcs, 
symmetrically  arranged,  which  till  up  its  exterior 
openings. 

Within  the  case  we  directly  see  a  principal 
piece  or  member  called  the  sound  board,  upon 
which  are  placed  the  ranks  of  /)//)r.»  which  form 
the  strips.  This  ])iecc,  with  its  appurtenances,  re- 
ceives the  wind  from  the  belloics,  and  distributes 
it  to  each  pijw  at  the  ])leasure  of  the  organist. 
ITic  most  remarkable  parts  of  it  are  the  \rinn 
chest,  the  groofrs,  and  the  \liders.  The  tcind  chest 
is  the  reservoir  into  which  the  wind  passes  from 
the  bellows  ;  it  contains  ih^  pallets  or  valves,  with 
their  springs,  &c.  The  grnoces  are  canals  for  the 
wind,  the  near  ends  of  which  lie  over  the  wind 
chest,  and  are  finuly  closed  by  the  pallets.  ITiere 
are  as  many  pallets  as  gro  )ves.  The  sliders  aie 
movable  slips  of  wood  or  rules  running  the 
length  of  the  sound  board,  which  serve  to  admit 
or  exclude  the  wind  from  the  pipes  by  means  of 
draw  stops,  which  are  placed  on  each  side  of  the 
rows  of  keys  and  music  desk,  in  front  of  the  or- 
gan. These  draw  stops  communicate  their  move- 
ments to  IruniifU,  which  transmit  It  to  the  levers, 
and  these  again  to  the  sliders,  to  which  they  are 
fastened. 

It  is  thus  that  the  organist  opens  and  clo.scs  the 
stops.  When  he  wishes  to  play  on  the  instru- 
ment, he  draws  the  stops  which  he  intends  to  U!»e, 
by  pulling  out  the  draio  slips  belonging  to  the 
proper  sliders ;  he  then  with  his  fingers  prt«ses 
down  the  keys,  which  open  the  pallets  by  means 
of  a  complex  piece  ol  mechanism,  .serving  to  com- 
municate the  action  of  the  keys  to  the  lallets, 
and  which  Ls  technically  called  the  mnrrntent  ; 
the  wind  then  enters  into  the  grooves  which  are 
now  opened,  and  causes  those  ]iipes  or  stops  to 
speak,  of  which  the  sliders  arc  drawn.  As  the 
organist  lifts  up  his  lin.;crs,  the  ]iallots  rise  by 
means  of  a  sp*^ii^  placed  underuouib  each,  cIom 


679 


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ENCYCLOPEDIA    OF  MUSIC. 


ORQ 


ihe  grooves  as  before,  and  the  key  rises  at  the 
laiue  time. 

Uetiidcs  tlic  i)rin<'i|)ftl  or  great  organ,  as  it  Ls 
termed,  there  is  generally  another  smaller  one 
placed  within  the  same  case,  which  has  it«  own 
sound  hoard  and  wind  chest,  row  of  keys,  and 
stops.  This  is  called  the  (7i'<«V  or'/fiH.  Formerly, 
the  choir  organ  wa"*,  in  appearance  at  least,  de- 
tached from  the  j)rincipal  or  great  organ,  and 
l)laced  in  front  of  it ;  this  is  still  the  case  in  the 
organs  at  Westminster  Abbey  and  .St.  Paul's,  &c. 

A  third  organ,  still  smaller  than  the  choir  or- 
gan, having  its  own  sound  board,  row  of  keys, 
and  stops,  is  also  placed  in  some  remote  part 
within  the  same  ca.'-e.  This  additional  organ  is 
called  the  sire/l.  Its  ])ipe.s  arc  placed  within  a 
box,  closed  on  all  sides,  so  that  the  tone  is 
Bcarccly  audible,  till,  by  the  pressure  of  the  foot 
on  a  pedal,  a  sliding  shutter,  or  Venetian  shades, 
or  doors  in  front  are  gradually  ojjcned  ;  the 
sounds  then  become  louder  and  louder  by  degrees, 
as  if  advancing  from  a  distance ;  as  the  foot  al- 
lows the  pedal  to  rise,  the  box  again  closes,  and 
the  tone  gradually  diminislies. 

As  the  organist  with  his  hands  alone  could  not 
produce  all  the  eflect  of  which  the  instrument  is 
callable,  another  set  of  keys,  called  the  pedaU,  is 
])laced  within  reach  of  his  feet ;  these  keys,  when 
they  have  pipes  exclusively  appropriated  to  them, 
have  their  own  sound  board,  wind  chest,  &c.,  or 
at  least  their  own  pallets,  and  are  termed  the  pedal 
organ. 

At  the  bottom  of  the  organ  is  placed  the  bel- 
lows, which  are  kept  in  constant  action  by  an  or- 
gan blower  while  the  organist  Ls  playing.  The 
bellows  supply  the  wind  chests  with  all  the  wind 
expended  in  causing  the  pipes  to  speak.  In  old 
or';ans,  the  bellows  (of  which  there  were  from 
two  to  twelve  or  fourteen  pair,  according  to  the 
size  of  the  instrument)  were  generally  placed 
outside  the  case. 

The  bellows  supply  the  wind  by  which  the  pipes 
are  enabled  to  speak.  They  require  a  good  deal  of 
room,  for  which  reason  they  ai'e  generally  placed 
at  the  bottom  of  the  organ,  and  the  wind  is  con- 
ducted from  them  to  the  wind  chest  by  means 
of  tubes  called  the  tciiid  trunks. 

The  bellows  consist  of  two  wooden  boards  or 
leaves,  which  are  so  connected  at  the  sides  by 
ribs  of  wood,  lying  in  folds,  and  fastened  together 
at  the  edges  with  leather,  that  they  admit  of  be- 
ing opened  and  closed  with  regard  to  one  another. 
The  under  leaf  is  fastened  so  as  to  be  immova- 
ble ;  to  the  upper  or  movable  leaf  is  affixed  a 
U-rer  or  hanrl'e,  which,  on  being  pressed  down, 
opens  the  bellows  and  sucks  in  the  air ;  the 
movable  leaf  then  gradually  returns  to  its  ori-  i 
ginal  position  by  the  downward  ])ressure  of  sev- 
eral treif/h,'s  ])laced  on  the  top  of  it,  and  iu  80  do-  I 
ing  forces  the  wind  through  the  trunk  into  the 
wind  chest.  i 

In  the  under  leaf  of  the  bellows  is  inserted  a 
valve,  which,  as  the  handle  descends,  opens  in- 
wardly to  admit  the  air,  but  which  immediately  i 
closes  again,  so  that  the  wind  shall  not  escape. 

Large  organs  have  generally  several  pairs  of  ' 
bellows,  or  one  very  largo  one  supjjUed  by  sev- 
■•ral  smaller  ones,  called  feeders.  \ 

The  sound  board  is  a  box  extending  nearly  the  ; 
whole  width  of  the  organ,  lather  shallow,  but  of 
considerable  breadth,  divided  by  partitions  into 
U  mauy  compartmeuts  or  channels,  called  grooves. 


a.s  til  ere  are  keys,  on  the  row  of  keys  to  which  it 
belongs  :  these  grooves  are  of  various  breadths, 
according  to  the  size  of  the  pipes.  Each  groove 
at  the  end  which  lies  over  the  wind  chest  has  an 
tt])erture  opening  into  it,  which  is  kept  closed  by 
a  large  valve  called  a  pa/Lt.  The  grooves  run 
the  entire  breadth  of  the  sound  board,  and  serve 
as  so  many  partial  wind  clicsts  ;  one  tor  each  key. 

The  pallets  are  connected  with  the  keys  by 
trackers,  or  thin  slips  of  wood,  ha\-ing  ■«  ire  hooks, 
and  in  some  cases  wire  screws,  at  their  ends  ;  and 
by  movable  levers  called  rolltirs,  so  that  by  press- 
ing down  the  keys  they  may  be  opened  at  will. 

In  the  boards  which  close  in  the  tops  of  the 
grooves  are  bored  as  many  holes  over  each  groove 
as  there  arc  slops  placed  on  the  sound  board  :  this 
is  called  the  under  board.  Parallel  to  and  direct- 
ly over  the  wnrf*/-  6  >ari/ is  situated  the  «/»/jrfr  board, 
which  is  ])erforated  with  holes  to  correspond  with 
those  in  the  under  board  ;  in  these  holes  the  feet 
of  the  pipes  are  placed. 

Between  the  up])er  and  under  boards  are  situ- 
ated the  sliders.  These  are  movable  slips  of  wood 
perforated  with  holes  exactly  corresponding  to 
those  in  the  under  board  over  the  grooves,  and 
also  to  those  in  the  upper  board  ;  and  which,  on 
being  moved  backwards  or  forwards,  either  open 
or  close  at  once  all  the  holes  belonging  to  the 
pipes  of  any  one  stop  Hence  there  are  as  many 
sliders  as  there  are  stops  in  tlie  organ 

If  a  stop  be  drawn,  the  holes  in  the  slider  ex- 
actly correspond  with  those  in  the  grooves  and 
those  in  the  upper  board,  so  that  on  pressing  down 
a  key  the  wind  can  enter  into  a  pipe  and  cause  it 
to  sjieak. 

The  i)allets  belonging  to  the  groores,  being 
jilaced  in  the  wind  chest,  are  kept  closely  pressed 
against  the  bottom  of  the  grooves  by  means  of 
springs,  and  are  attached  to  the  sound  board  by 
a  leathern  hinge. 

When  the  pallets  are  closed,  the  wind  is  ex- 
cluded from  the  grooves  ;  and  when  opened,  by 
pressing  down  the  keys,  the  wind  rushes  in  from 
the  wind  chest. 

The  icind  chest  is  a  long  rectangular  box,  con- 
nected with  the  wind  trunk,  by  which  it  is  filled 
with  wind.  The  wind  chest  is  formed  under  the 
forepart  of  the  sound  board,  and  is  of  the  same 
length,  but  deeper,  though  not  so  broad.  It  is 
the  reservoir  into  which  the  wind  passes  from  the 
wind  trunk. 

The  pallets  wliich  close  the  bottom  of  the 
grooves  open  into  the  wind  chest. 

The  movement  is  a  complex  piece  of  machinery, 
consisting  of  a  system  of  levers  with  their  ap- 
pendages, called  trackers,  rollers,  roller  board,  &c., 
which  serves  to  transmit  the  action  of  the  keys 
to  the  wind  chest,  pallets,  and  sound  board. 

'Hie  tracker  is  a  thin  strip  or  stick  of  some 
light  wood,  varying  in  length  from  one  to  eight 
or  ten  feet.  At  each  end  of  the  tracker  is  inserted 
a  hook  made  of  wire.  Trackers  have  also  wire 
screws  at  their  ends,  and,  by  leather  buttons,  can 
be  lengthened  or  shortened  at  i)lca,sure. 

The  rollers  are  stout  wooden  or  iron  rods ;  the 
former  are  generally  of  an  hexagonal  or  octagon- 
al form  ;  the  latter  round.  The  rollers  lie  hori- 
zontally over  the  keys,  and  extend  from  each  key 
to  the  groove  belonging  to  it.  At  each  end  of 
the  roller  is  inserted  a  wire,  which,  being  let  into 
a  stud,  serves  as  an  axis  upon  which  it  partinlly 
revolves.     Xear  to  each  extremitv  of  the  roller. 


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encyclop-«:dia  of  music. 


ORO 


and  projecting  from  it,  is  fastened  a  small  piece 
of  iron,  perforutod  with  nu  eye,  called  its  arm  ;  in 
each  of  those  arms  is  inserted  one  of  the  hooks 
belonging  to  a  tracker. 

One  arm  of  the  roller  lies  directly  over  the  key 
to  which  it  belongs;  the  other  end  directly  un- 
der the  groove  and  pallet  which  it  serves  to 
govern. 

The  roller  hoard  is  a  largo,  irregularly-shaped 
board,  plarcd  perpcndiculnrly  over  the  keys,  of 
the  same  length  as  the  sound  board,  and  having 
attached  to  it  as  many  rollers  as  there  are  keys 
in  the  set  to  whicli  it  belongs.  There  is  a  roller 
board  to  each  set  of  keys. 

The  hook  at  one  end  of  a  tracker  is  attached 
perpendicularly  to  the  middle  of  one  of  the  keys  ; 
the  hook  at  its  oilier  end  lays  hold  of  that  arm 
of  the  roller  which  stands  directly  over  the  key. 
^Vhen  we  press  a  key  down,  the  roller  partially 
revolves  on  its  axis,  and  in  so  doing  draws  down 
the  second  tracker  attached  to  the  arm  at  its 
other  extremity.  'ITiis  second  tracker,  by  means 
of  its  hook  and  a  wire  passing  through  the  wind 
chest,  opens  the  pallet,  and  thus  admits  the  wind 
into  the  groove  belonging  to  that  particular  key. 

The  movement  above  explained  is  the  simplest 
and  most  usual,  especially  in  foreign  organs ; 
more  com))lex  arrangements  are  often  met  with, 
but  they  coincide  with  the  above  in  all  their  es- 
sential parts. 

In  England,  for  example,  a  lever  called  a  back 
fall  is  connected  with  each  key  :  this  lever,  like 
the  key  itself,  moves  on  a  centre ;  but  when  the 
key  is  pifessed  down  by  the  player,  a  small  pin  of 
wood  or  wire  attached  to  it,  called  a  sticker,  throws 
up  the  near  end  of  the  back  tall ;  the  far  end  of 
•vhich,  as  it  deL.ceuds,  puUs  down  the  first  track- 
er, causing  the  roller  to  revolve,  and  thus,  by 
means  of  the  second  tracker,  opens  the  pallet  as 
before. 

Large  organs  have  three  rows  of  keys  ;  the 
middle  row  for  the  great  organ,  the  bottom  row 
for  the  choir  organ,  and  a  third  row  at  the  top  for 
the  swell.  lu  >ome  ot  the  hirje  organs  on  the  con- 
tinent, there  are  four  rows  of  keys  or  manuals. 

Two  of  these  rows  of  keys  may  generally  be  so 
connected  by  means  of  a  draw  stop,  called  the 
copula  or  coupler,  that  they  may  be  both  played  at 
the  same  time.  In  old  org:ins  the  copula  gener- 
ally connects  the  choir  organ  with  the  great  or- 
gan ;  but  tlie  organs  built  in  the  present  day  con- 
nect the  swell  with  the  great  organ  :  this  is  con- 
sidered a  great  improvement  on  the  old  arrange- 
ment. Occasionally  also  all  the  three  rows  of 
keys  may  be  connected  ;  in  all  casis,  however, 
the  keys  of  the  great  organ  are  those  which  are 
to  be  played  upon.  Organs  in  which  the  pedal 
pipes  are  de. ached  from  the  keys  have  a  copula 
for  the  pedals,  which  connects  them  with  cither 
the  great  organ,  choir  organ,  or  both. 

Tlie  peilaU  are  a  set  of  keys  lying  under  and 
played  upon  by  the  feet  of  the  organist.  The 
arrangement  a'i  thote  keys  is  similar  to  that  of  the 
other  rows  ot  keys ;  except  that  the  peilals  com- 
prise the  two  low  er  nciavcs,  or  an  octave  and  a 
half,  and  contain  only  ba-s  notes. 

The  stops  belonging  to  the  pedals  have  their 
3wn  wind  chest ;  this  lies  at  the  bottom  of  the 
organ.  'ITic  pedal  pipes  can  only  be  made  to 
?t)eak  by  pressing  down  the  pedals ;  never  by 
means  of  the  keys.  For,  even  when  there  is  a 
copula  connecting  the  keys  and  pedals,  it  is  only 


tlie  set  of  keys  that  is  connet-ted  to  the  pednU  and 
made  to  speak  with  them,  and  never  the  rcTiT-e. 

Few  of  the  old  organs  have  any  pedal  jiij^es  ; 
the  pedals  merely  serve  to  pull  down  the  lower 
keys  of  the  great  organ,  and  thus  to  sujjply  the 
place  of  a  third  hand.  In  the  large  organ'*,  the 
pedals  have  from  eight  to  ten  or  twelve  stops  ex- 
clusively appropriated  to  them  ;  some  rct-d-stops, 
some  flue  stops. 

A  stop  consists  of  a  row  or  rank  of  jjipes  formed 
upon  one  uniform  model,  and  generally  placed 
on  the  same  slider. 

Among  organ  stops,  some  are  only  treble  stops, 
and  some  only  ba.ss  stops  :  hence  some  stops  have 
only  two  or  three  octaves  in  compass ;  while  others 
extend  throughout  the  entire  compass  of  the  in- 
strument. 

The  pipes  belonging  to  one  stop  generally  stand 
in  the  same  row  or  series,  though  sometimes,  for 
the  sake  of  sj-mmetry,  or  from  want  of  mom,  an 
exception  to  this  arrangement  is  permitted. 

The  stops  are  divided  into  Jlae  slops  and  reed 
stops. 

In  another  point  of  view,  they  are  also  di\-ided 
into  fotinrlation  stops,  mtiiation  stops,  and  oom^ 
pound  or  furniture  stops. 

A  foundation  stop  is  a  stop  of  which  the  pipes 
every  where  give  such  notes  only  as  we  arc  pre- 
pared to  e.xpect  from  the  keys  that  we  touch,  or 
at  least  the  octaves  above  or  below  those  notes. 
Thus  the  diapasons,  trumpet,  &c.,  are  foundation 
stops,  in  the  strictest  sense ;  the  principal,  fifteenth, 
clarion,  doub'e  diapason,  &c.,  are  also  foundation 
stops,  since  they  arc  octaves  to  those  before  men- 
tioned. 

Mutation  stops  are  those  which  a.s  to  pitch 
do  not  correspond  with  the  keys  that  we  touch. 
They  are  the  twelfth,  tierce,  and  their  octaves. 

Compound  stops  consist  of  an  assemblage  of 
several  pipes,  three,  four,  five,  or  more  to  each 
key  of  the  instrument,  idl  speaking  at  the  same 
time.  Among  compound  slops  are  the  se.-quial- 
tera,  mixture,  comet,  Jtc. 

Compound  stops  are  tuned  in  octaves,  thirds, 
and  fifths  to  the  foundation  stops. 

Draw  stopi  are  situatetl  in  the  front  of  the  or- 
gan, by  the  sides  of  the  rows  of  keys.  On  the 
knobs  at  the  end  of  the  draw  stops,  or  occasion- 
ally underneath  or  above  them,  Ls  written  to  what 
stop  each  draw  stop  belongs.  The  draw  stoi>s 
are  connected  with  a  movable  lerer,  by  means  of 
which  the  sliders  are  put  into  motion.  If  we 
draw  out  a  knob,  the  lever  revolves  and  draws 
back  the  slider,  so  tliat  the  holes  which  are  bored 
throvigh  it  exactly  coincide  with  those  in  the 
sound  board  and  in  the  upper  board  \ipon  which 
the  pipes  are  place<l  ;  and.  con.sequently,  in  play- 
ing, the  pipes  of  this  stop  are  enablcl  to  speak. 
If  we  again  push  in  the  draw  stop,  these  holes 
are  once  more  closed. 

Organ  i>ipe9  may  be  distributed  into  flue  pii>e« 
and  re«l  pipes.  They  are  made  cither  of  lurtal 
or  of  woo<l.  'I'he  form  of  the  metal  j>ipos  is  either 
thot  of  a  cylinder  or  of  a  cone,  direct  or  inverte<l. 
The  form  of  the  wooden  pipes  is  generally  that 
of  a  rectangular  prism,  though  ocrasionally  they 
are  al.so  pyramidal ;  these  being  the  forms  moat 
ea.sily  constructed  aud  most  advnntngeou.s  a.s  to 
tone. 

Pipes  are  eithe*  iltogether  o;»fii  at  top.  or  they 
are  siopjted  totally  or  partially ;  the  wooden  pipei 
in  the  lormer  case  by  means  of  a  stopper,  and 


86 


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ENCYCLOPAEDIA    OF    MUSIC. 


ORG 


the  metHi  iiijies  by  a  cnp.  Rome  of  the  stopped 
pipes  have  r  small  tube  pasjiing  throufjh  the  cen- 
Ire  ol'  the  cap  or  .stopper  —  thLs  is  called  a  chim- 
iie.V ;  these,  ol"  course,  are  only  jiartially  stopped. 

The  hndij  of  a  metal  pipe  of  this  descrii)tiou  is 
generally  a  cylinder,  having  a  small  portion  to- 
wards its  lower  end  flattened  a  little  inwardly  so 
as  to  produce  a  straight  edge  :  the  part  thus 
pressed  in  does  not  extend  quite  to  the  bottom 
of  the  body  of  the  pipe,  it  having  a  small  ))ortion 
cut  off.  The  edge  thus  formed  Ls  termed  the  up- 
per lip. 

The  foot  is  a  tube  of  a  conical  fonn,  ha\'ing  a 
straight  edge  formed  in  the  same  manner  as  that 
in  the  body  of  the  pipe  ;  this  is  termed  the  un- 
der lip. 

The  top  of  the  foot  is  closed  at  its  broad  end 
by  a  circular  metal  plate  called  the  langward,  a 
segment  of  which  is  cut  away  so  as  to  produce  a 
straight  edge  parallel  to  that  of  the  under  lip, 
and  leaving  a  narrow  fissure  or  fiue  between 
them,  directly  underneath  the  straight  edge  of 
the  upper  lip. 

The  body  and  foot  are  soldered  together  with 
the  lips  exactly  opposite  to  one  another ;  and  the 
aperture  which  is  caused  by  the  up])er  lip  not 
exactly  extending  to  the  bottom  of  the  body  of 
the  pipe,  together  with  the  fissure  already  de- 
scribed, constitutes  the  mouth  of  the  pipe. 

nie  mouth  of  a  wooden  pipe  is  constructed  on 
the  same  principle  ;  it  also  having  an  upper  and 
aii  under  lip,  a  langward,  and  a  narrow  fissure  to 
admit  the  wind  into  the  body  of  the  pipe  in  the 
direction  of  the  upi)er  lip. 

Keed  i)ipes  are  generally  made  of  metal ;  the 
body  of  the  pipe  is  either  of  a  conic  or  cylindri- 
cal form. 

The  mouthpiece  of  a  reed  pipe  consists  of  a 
vietal  block,  a  reed,  a  toiique,  and  a  crooked  wire  ; 
all  of  which  go  into  a  hollow  conical  foot  called 
the  socket.  The  body  of  the  pipe  is  soldered  to 
the  mouthpiece. 

The  h/ock  is  a  cylindrical  piece  of  metal,  having 
a  ring  at  the  top  to  prevent  it  from  sinking  too 
far  into  the  socket. 

The  redd  is  a  small  tube,  of  which  a  portion  is 
cut  away  lengthwLse  ;  it  passes  through  the  cen- 
tre of  the  block,  and  is  fastened  to  it. 

The  tonr/iw  is  a  thin,  elastic  slip  of  metal,  which 
is  somewhat  bent,  and  which  is  applied  so  as 
nearly  to  close  that  part  of  the  reed  which  is  cut 
away.  It  is  fixed  in  the  block  by  means  of  a 
wooden  wedge. 

l"he  icire  passes  through  the  block  on  the  side 
of  the  tongue ;  the  lower  part  of  this  wire  is 
turned  up  and  bent  so  as  to  press  horizontally 
Rgainst  the  tongue.  The  upper  part  of  the  wire 
is  a  little  crooked,  to  receive  the  tuning  knile, 
which  ii  used  cither  to  raise  or  depress  it ;  this 
lengthens  or  shortens  the  tongue,  and  by  this 
means  riattens  or  sharpens  the  pitch  of  the  pipe. 

T)ie  i)eculiar  tone  of  reed  i)ipcs  arises  from  the 
tongue  ;  for  the  wind,  rushing  through  the  open- 
big  between  the  tongue  and  the  reed,  causes  the 
tongue  to  vibrate  ;  the  quicker  these  vibrations, 
the  more  acute  the  pitch  of  the  i)ipe.  To  save 
exi>ense,  large  reed  pipes  are  sometimes  made  of 
wood. 

The  various  qualities  of  tone  in  the  different 
raed  stops  depend  chiefly  on  the  shape  of  the 
pip«s. 

'Vhe  wii  d,  passing   through   the  foot  of  the 


pipe  and  through  the  narrow  fissure  already  de- 
scribed, impinges  against  the  narrow  edge  of  the 
upper  lip,  and  causes  it  to  vibrate.  These  vibra- 
tions are  directly  communicated  to  the  column 
of  air  within  the  body  of  the  pipe,  and  thus 
cause  it  to  speak. 

The  pitch  of  organ  pipes  depends  almost  alto- 
gether on  their  lengths,  very  little  upon  their 
forms  or  their  diameters,  except  in  very  large 
pipes ;  the  latter  circumstance,  however,  greatly 
influences  the  qualities  of  tone. 

The  length  of  the  jnpcs  belonging  to  any  par- 
ticular stop  is  generally  governed  by  the  length 
of  that  which  is  necessary  to  produce  the  note 


This  note  was  formerly  the  lowest  note  on  the 
organ,  and  it  is  still  retained  as  a  sort  of  standard. 

An  open  pipe  necessary  to  produce  the  above 
note  must  be  eight  feet  long  in  its  body,  as  the 
length  of  the  foot  has  no  influence  whatever  on 
its  pitch. 

A  stopped  pipe  producing  the  same  note  will 
only  require  to  be  four  feet  in  length,  as  the  vi- 
brating column  of  air  .strikes  against  the  cap  at 
the  top,  and  is  reflected  back  again  to  the  mouth, 
before  the  pipe  can  speak  ;  hence  the  air  passes' 
through  twice  the  distance  it  would  have  to  go 
in  an  open  pipe  of  the  same  length,  and  the  pipe 
therefore  sounds  an  octave  lower  than  it  would 
if  not  stopped. 

The  principal  stops  may  be  described  as  fol- 
lows :  — 

1.  Open  Diapason,  ^open  unLson.t  —  This  is  one 
of  the  principal  stops,  and  Ls  the  foundation  and 
most  essential  stop  in  the  organ. 

It  is  called  open  from  its  pipes  being  open  at 
the  top  ;  the  pipes  are  made  of  metal,  the  lower 
ones  frequently  of  wood,  and,  in  large  organs, 
they  are  generally  placed  in  front. 

2.  Slopped  Diapason,  (stopped  unison.)  —  The 
pipes  of  this  stop  are  generally  made  of  wood, 
and  stopped  at  their  tops  by  square  plugs ; 
though  sometimes  the  pipes  in  the  treble  are 
made  of  metal.  The  two  diapasons  are  the  foun- 
dation of  the  organ. 

.3.  Principal.  —  'ITiis  stop  is  tujied  an  octave 
higher  than  the  diapasons.  It  is  composed  of 
open  metal  pipes. 

4.  Twelfth. — Tliis  is  an  open  set  of  pipes,  a 
twelfth  above  the  unison  diapasons,  and  runs 
throughout  the  instrument.  It  is  sometimes 
combined  in  the  sesguiaJtera,  and  not  a  separate 
stop. 

5.  Fifteenth.  —  ThLs  stop  consists  of  open  met- 
al pipes.  It  is  tuned  an  octave  above  the  prin- 
cipal, and  is  therefore  two  octaves  above  the  dia- 
pasons. It  covers  tlio  twelfth,  which  should  not 
be  drawn  without  the  fifteenth. 

6.  Sesquialtcra.  —  A  compound  stop  of  three 
or  more  ranks  of  small  ojjen  metal  pipes,  which 
are  tuned  in  thirds,  fifths,  and  eighths,  to  the 
foundation  stops  ;  so  that  every  key,  when 
pressed,  produces  a  common  chord.  The  inter- 
vals which  the  jiipes  form  with  the  diapasons  are 
the  seventeenth,  nineteenth,  and  twenty-second. 
Towards  the  top  of  the  instrument  the  pipes  be- 
come so  extremely  shrill  that  it  is  usual  to  make 
several  breaks  or  repetitions  in  the  series,  by  ea- 


682 


ORO 


ENCYCLOr.^DIA    OF    MCSIC. 


ORG 


plowing  pipes  similar  to  those  used  in  the  octaves 
below,  and  thus  transposing  the  notes  an  octave 
lower. 

7.  Mixiurp.  — This  is  a  compound  stop,  con- 
gistin;;  of  three,  four,  five,  or  six  ranks  of  small 
metal  pipes,  tuned  in  tliirds,  fifths,  and  eighths, 
to  the  foundation  stops.  Its  tone  is  shriller  than 
that  of  the  6cs<iiiialtcra. 

8.  Cornet.  — This  is  also  a  compound  stop,  con- 
slstin;^  of  three  or  more  ranks  of  open  metal 
pipes,  tuned  in  thirds,  fifths,  and  eighths,  to  the 
foundation  stops.  It  is  only  a  half  stop,  as  it 
seldom  or  never  runs  below  middle  C.  Its  tones 
are  loud  and  rather  harsh  ;  for  which  reason  it  is 
n  )t  generally  used  in  modern  organs,  as,  for  all 
useful  purposes,  the  sesquialtera  supplies  its 
place.  In  some  organs  the  cornet  is  nothing 
more  than  the  treble  of  the  ses<iuialtera. 

9.  Larii/ot  (or  octave  twelfth)  is  a  stop  consist- 
ing of  open  pipes,  tuned  a  twelfth  above  the  prin- 
cipal. It  is  one  of  the  mutation  stops,  running 
throughout  the  instrument. 

10.  Xazard.  —  llie  French  name  for  the  twelfth. 
See  Twelfth. 

1 1 .  Tierce.  —  An  open  metal  stop,  tuned  a  ma- 
jor third  above  the  fifteenth.  It  is  seldom  used 
except  in  large  organs,  as  its  place  is  supplied  by 
the  compound  stops. 

12.  FurnitKre. — An  open  set  of  very  small 
metal  pipes,  tuned  three  octaves  above  the  dia- 
pasons. It:<  tones  are  very  shrill,  and  it  is  only 
used  in  the  very  lull  organ. 

1.3.  Trumpet.  —  This  Ls  a  very  powerful  reed 
stop,  voiced  in  imitation  of  the  instrument  of  that 
name.  It  is  in  unison  with  the  diapasons ;  and 
it  renders  the  chorus  or  full  organ  more  com- 
plete and  brilliant,  as  it  strengthens  the  fun- 
damental sounds,  and  diminishes  tlie  ])redunii- 
naui'c  of  the  se.-Kiuialtcra,  mixture,  furniture,  cur- 
net,  X;c.  The  pipe  of  the  trumpet  consists  of  a 
conical  tube,  fixed  in  a  metnl  block,  in  which 
also  are  the  tongue,  reed,  and  wire.  This  stop, 
like  all  other  reed  stops,  is  tuned  by  the  eleva- 
tion or  depression  of  the  wire. 

H.  CLtrion  is  also  a  reed  stop,  and  Ls  tuned  an 
octave  higher  than  the  trumpet.  It  is  only  used 
in  the  full  organ. 

The  following  seven  stops  properly  come  un- 
der the  tenn  so'o  slops,  and  may  be  drawn  alone, 
or  with  one  of  the  diapasons. 

15.  DuJciatm,  (or  Salciouai.)  —  This  Ls  an  open 
diapason  set  of  pipes  on  a  smaller  scale,  but 
voiced  much  softer  and  sweeter.  A  good  dulci- 
ana  is  a  great  addition  to  an  organ,  (especially 
those  that  have  only  two  rows  of  keys,)  as  it 
may  be  used  iji  place  of  one  of  the  choir  diapa- 
sons. 

l(i.  Flute.  —  ITie  pipes  of  this  stop  are  gener- 
ally made  of  wood,  and  open,  though  fonnerly 
they  were  made  of  metal,  and  stopped.  This 
stop  is  tuned  in  uni.son  with  the  principal ;  but 
it  is  much  softer  and  sweeter  in  tone. 

17.  Hautboy.  —  A  fancy  reed  stop,  the  tone  of 
which  is  in  imitation  of  the  ol>oc.  The  tubes  are 
narrow  and  somewhat  conical,  spreading  out  at 


clarinet.      This  is  a  half  stop  from 


the  top. 


It  seldom  extends  below    (c\) 


v^ 


and. 


18.    Claribel.  —  A  stop  of  modem   invention, 
of  •  very  pleasing  qtiality  of  tone,  not  unlike  the 


in  general,  is  accompanied  with  the  stoj)  diapason 
bass.  Organ  builders  sometimes  combine  them 
both  in  one,  under  the  name  stop  diapas'm. 

19.  Vriiinorne,  (commonly,  but  impro])erly 
called  creinoiM,)  from  kruiu  Aim,  or  crooked  horn 
is  a  reed  stop,  ot  a  pleasing  quality  of  tone.  Thil 
stop  is  very  useful  for  solo  passages  in  the  rai.gc 
of  the  tenor. 

20.  I'ojc  huinana,  (human  voice.)  —  A  reed 
stop,  in  unison  with  the  dia|)asons,  the  tones  of 
which  are  supposed  to  resemble  the  human  voice. 
Its  tubes  are  cylindrical,  with  this  difference,  that 
blocks  are  jjlaced  within  tlie  tubes,  and  the  sound 
issues  through  holes  bored  in  these  blocks,  which 
occasion  their  peculiarity  of  tone.  The  largest 
pipes  of  the  vox  humuiui  are  not  above  twelve  or 
fourteen  inches. 

21.  Bassoon,  (fagotto.)  —  A  reed  stop,  tuned  in 
uni.son  with  tlie  diapasons,  the  pipes  of  which, 
like  the  htintbiy,  arc  of  a  conical  form.  This  is 
only  a  half  stop,  and  seldom  extending   above 

The  two  following  stops  belong  to  the 
pedal  organ. 


w 


22.  Double  Diapason.  —  An  open  set  of  metal 
or  wood  pipes,  tuned  an  octave  liclow  the  diapa- 
sons. It  is  the  princijjal  stop,  in  general,  to  the 
pedals  ;  and  sometimes  it  is  connected  with  the 
keys  of  the  organ. 

2.3.  Double  Trumpet  (trombone)  is  the  most 
powerful  stop  in  the  organ.  The  ])ipe-<  of  this 
rei'd  sto](  are  of  the  same  length  a.s  the  double 
diapason,  to  which  it  is  tuned  in  unison.  This 
stop  is  only  used  in  the  jiedal  organ. 

Other  stops  have  been  added,  by  different 
builders,  in  imitation  of  the  large  tierman  and 
other  organs,  a-s  the  Posaunc,  Hourdon,  Tenoroon 
Diapason,  Doublette,  C'orno  Trombone,  Conio 
t'larion.  Claribel  Flute,  Oboe  Flute,  (not  a  reed,) 
Wald  Flute,  Suabe  Flute,  Echo  Dulciana  t'omet. 
Flageolet,  Piccolo,  (iuint  or  Double  Twelfth, 
Decima  and  Duodccima,  (from  the  Frankfort, 
Seville,  and  other  great  organs,)  Super  Octave, 
Cymballe,  Contra  .Shawm,  Tenoroon  Shawm, 
Unison  Grand  Posaune,  Super  Clarion,  Psaltery, 
AVald  Krum  Horn,  Dulcnun,  Cdcstina,  Contra 
Serpent,  Corno  di  Bassetto,  Hoiubarde,  Ojjhicleidc, 
Cornctto,  Sub  Bass,  Tenoroon  Trumpet,  Swiss 
Cromonie  Flute,  liohr  Flute,  Uegal,  or  Violin 
Reed,  Glockenspiel,  Gems-honi,  Contra  Boui- 
don.  Contra  Fagotto,  Echo  Piccolo,  Kcha  Dul- 
ciana Comet,  (a  stop  of  five  ranks  of  pipes,)  Clar- 
ion Fifteenth,  Clarinet  and  Chalanicau,  Cro- 
mome  Flute,  Clarion  Possaune.  Contra  Posaune, 
Carillons,  Echo  Trumpet,  Tenth,  or  Double 
Tierce,  &c.,  which  have  been  added  to  give  weight, 
power,  and  brilliancy  to  very  large  organs.  Many 
of  the  stops  are,  as  may  be  j)erceive<i,  fancy  solo 
stops,  in  imitation  of  the  various  instruments  they 
are  name<l  alter. 

As  there  are  a  number  of  unison  stops,  as  well 
as  compound  stops,  such  as  the  twelfth,  sesqui- 
altera, mixture,  &c.,  sounding  thirds,  fifths,  and 
eighths,  together,  the  latter-mentioned  stops  must 
never  be  drawn  alone,  but  should  be  added  to  the 
diapasons,  &e.,  which  are  the  body  of  the  orgm<  ; 
and  she  did  be  covered  by  the  principal,  whick  ij 


6S3 


JRO 


ENOYCLOP-^DIA    OF    MUSIC. 


ORG 


an  octave  iibove  the  diapa80ii8,  and  the  iifteeuth, 
two  octaves  above  the  same. 

Tlje  oiieii  or  stopped  diapason  may  either  be 
drawn  i^iiifjly  or  together ;  so  may  the  dulciana 
be  drawn  by  itself,  or  with  the  others ;  but  we 
will  consider  each  organ  separately. 

Great    On/an.  —  In  drawing    the    stops,    take 
them  in  the  following  order  :  — 
Stops. 

1.  Open  diapason. 

2.  Stojjped     do. 

3.  Principal. 

4.  Twelfth,      )      'ITie  twelfth   must   not   be 
o.    Fifteenth.    J  drawn  without  the  fifteenth. 

6.  Sesquialtera. 

7.  Mi.tturc. 

8.  Trumpet,  &c. 

The  trumpet  covers  the  sesquialtera  and  mi.\ture  ; 
but  if  there  is  no  trumpet,  only  the  sesquialtera, 
or  mi.xture,  should  be  drawn. 

If  tlje  organ  is  very  large,  all  other  stops  be- 
sides those  above  mentioned  should  only  be 
drawn  in  addition. 

If,  as  is  sometimes  the  cf.se  in  large  organs, 
there  are  duplicates  of  the  stops,  numbered  1,  2, 
and  .3,  they  may  be  drawTi  with  the  compound 
and  mutation  stops  ;  this  will  enrich  the  effect 
of  the  whole  chorus  of  stops,  and  cover,  or  at 
least  qualilj',  the  shrillness  of  the  more  acute 
stops. 

•The  pedals  may  be  used  to  strengthen  the  bass 
in  all  loud  passages,  and  particularly  in  long 
holding  notes. 

Slow  movements  for  the  two  diapasons  only, 
of  a  grave  and  solemn  character,  are  often  met 
with  in  voluntaries.  They  generally  consist  of 
full  harmonies,  gliding  gently  into  one  another, 
and  having  frequent  suspensions  in  one  or  more 
of  the  parts. 

TTie  trumpet  and  clarion  should  be  reserved 
for  passages  of  a  strikmg  character  and  of  short 
duration  ;  as  the  stietto,  or  node  of  a  fugue. 

The  stops  of  the  choir  organ  arc  more  delicate- 
ly voiced,  and  constructed  on  a  smaller  scale, 
than  those  in  the  great  organ.  For  this  reason, 
it  is  used  to  accompany  solos,  duets,  trios,  &c., 
for  voices,  and  to  play  the  piano  passages  in  cho- 
ruses and  organ  pieces. 

The  fnncij  stops,  or  at  least  some  of  them,  are 
usually  placed  in  the  choir  organ. 

A  choir  organ  generally  contains  the  following 
itops :  — 

Stops. 

1.  Open  diapason. 

2.  Stopped  diapason. 

3.  Dulciana. 

4.  Principal. 

5.  Twellth. 
(;.    Fifteenth. 

7.  Flute. 

8.  Cromome. 

The  flute  and  cromome,  being  solo  stops,  may 
be  drawn  alone. 

The  dulciana  is  also  soraetimes  used  alone  a«  a 
»olo  stop. 

The  swell,  from  its  admitting  of  a  perfect  cra- 
ceiiiln  and  iliminiteiido,  is  particularly  adapted  for 
ornamental  solo  ])layLng,  and  for  accompanying 
Bolo  voices. 

llie  itceli  organ  usually  contains  the  following 
stops:  — 


Stops. 

1.  Open  diapason. 

2.  Stopped  diapason. 

3.  Principal. 

4.  Hautboy. 
6.    Cromorne. 
6.    Trumpet. 

The  trumpet  is  also  treated  as  a  fancy  or  solo 
stop,  and,  like  all  fancy  stops,  drawn  with  the 
diapason  only.  In  trumpet  pieces,  whicli  are 
often  met  with  in  the  older  voluntaries,  it  is  used 
as  an  echo  to  the  trumpet  on  the  great  organ. 

ITie  style  of  the  passages  given  to  the  fancv 
stops  must  be  that  of  the  instruments  which  they 
are  intended  to  imitate. 

As  the  swell  does  not  extend  throughout  the 
entire  compass  of  the  instrument,  the  ba.sses  to 
the  above  combmatious  must  generally  be  played 
on  the  choir  organ. 

In  using  the  swell,  the  crescendo  and  dimina- 
enclo  should  be  as  gradual  as  possible. 

The  organ  is  distinguished  from  every  other 
keyed  instrument  by  its  pedals.  With  their  as- 
sistance, the  feet  perform  the  office  of  an  addition- 
al hand,  and  the  hands  are  thereby  at  liberty  to 
introduce  other  parts,  either  to  reinforce  the  har- 
mony, or  to  vary  the  designs  in  the  melody. 
Hence  we  often  meet  with  organ  compositions 
for  four,  five,  or  even  more  parts.  The  organist 
should  therefore  endeavor  to  make  himself  as 
dexterous  in  the  use  of  his  feet  as  of  his  hands. 

In  the  following  examples,  we  shall  suppose 


the  pedals  extend  two  octaves  from 


mm 


as  is  now  generally  the  case  in  modern  organs. 
Although,  in  general,  the  compass  of  the  pedals 
is  as  stated  above,  yet  the  ordinary  compass  is 


only  from  -*^  one  octave  and  a  half. 


To  use  the  pedals  properly,  that  is,  so  as  at 
once  to  connect  the  sounds,  and  yet  attain  the 
necessary  degree  of  execution,  we  must  as  often 
as  possible  employ  the  two  feet  alternately,  as  in 
the  following  examples  :  — 

LBLRLBLRLic.  LRLRLRL        B 


§1 


=n 


J=*ri 


^ 


^^'hen  several  notes  follow  one  another  diatoni- 
cally,  it  becomes  necessary  to  pa.ss  one  of  the  feet 
over  or  under  the  other.  In  the  notes  of  the 
lower  octave,  it  will  be  best,  in  ascending,  to  pass 
the  left  foot  tmder  the  right,  and  ovi-r  it  in  the 
second  octave.  The  contrary  takes  place  in  de- 
scending for  the  right  foot. 

In  the  following  examples,  the  line  placed  un- 
der the  letters  indicates  that  we  must  pass  one 
foot  under  the  other ;  a  similar  line  drawn  over 
the  letters  indicates  that  one  foot  must  pass  over 
the  other. 


LRLRLRLR 


LBLR    LR    LR 


m^ 


^ 


:3=^ 


:±±: 


*^^^?^^ 


G84 


ORG 


ENCYCLOPEDIA    OF    MUSIC. 


ORO 


In  ascending  scales  we  cannot  always  beKii\ 
with  the  left  loot,  nor  in  descending  scales  with 
the  right ;  as  the  following  examples  will  demon- 
■tntte :  — 

LRLR         LRLR  L  R 


if^^Eg^g^^'^^gp^EE^ 


R  L   R  L 


RLRL         RLRL 


%^^=^^=^^S^^ 


We  cannot  always  avoid  using  the  same  foot 
twice  in  succession. 

L      RRLRL        RLRL     L 


The  foot  may  sometimes  be  changed  on  a  long 
note  without  strikini;  it  again. 

L   R  L       KL  R   L  R 


^^ 


There  is  another  method  of  using  the  pedals, 
■^hich  consists  in  altenintcly  employing  the  toe 
and  the  heel  of  the  same  toot.  In  this  case,  only 
the  left  foot  is  used  for  the  lower  octave,  and 
the  right  loot  for  the  upper  octave. 

In  the  following  examples,  T  signifies  the  toe, 
H  the  heel. 


LEFT   FOOT. 


RIGHT   FOOT. 


-f— (- 


t*± 


:i^z± 


-,_(•: 


:pt 


3= 


n   T   II   T   II   T    H   T  T  II  T  n    T  H  T    H 

This  mode  is,  perhaps,  less  convenient  than  the 
other  in  a  diatonic  succession  of  notes  ;  but  it  has 
its  advantages  in  chromatic  passages.     Example : 


LEFT   FOOT.    RIGHT  FOOT. 


5=1 


Jj^> 


H  T  H  T  11  H       T  H      T  H     T      H     T 

Rules  cannot  well  be  given  for  solo  plaj-ing  on 
the  organ,  as  much  depends  on  the  caprice  of  the 
perlbnuer. 

What  relates  to  the  drawing  of  the  stops, 
singly  and  in  succession,  we  have  already  ex- 
phiincd.  To  acquire  a  knowledge  of  the  style 
most  Bj)i>ropriate  to  the  various  fancy  stops,  the 
student  must  have  recourse  to  modem  volun- 
taric-i  tor  the  organ,  which  contain  one  or  more 
movements  expressly  calculated  to  display  the 
power  and  variety  of  the  instrument. 

We  shall  merely  insert  one  or  two  less  obvious 
combinations,  which  will  be  found  useful  in  solo 
playing. 

(ireat  organ.  Open  or  stopped  diapason,  or  to- 
gether, for  the  right  hand. 

Sirell.  I'lain  and  simple  chords  in  the  left 
hand. 

I'edah.  To  play  the  bass  by  coupling  the  pedal 
keys  of  the  great  organ. 

ITiis  will  be  found  a  very  pleasing  combina- 


tion for  slow  airs  and  sacred  melodies.  The  fol- 
lowing combination  will  also  serx'e  for  the  same 
puqiose  :  — 

C/ioir  nriian.  Stopped  diapason  and  principal 
in  the  right  hand  for  the  melody  ;  aicell  aud perLils 
as  before  for  the  harmony  and  bass. 

Another  very  elfeotive  combination  is  obtained 
by  coupling  the  full  svell  with  the  diapasons  of 
the  great  organ. 

In  accompanying  voices  on  the  organ,  tutti 
passages,  if  hurl,  must  be  accomi)nnie<l  on  the 
great  organ  ;  as  many  stops  being  drawn  as  the 
number  of  voices  and  the  character  of  the  musio 
may  reijuire. 

Tutti  passages,  if  soft,  must  be  otv.  nipRnie>l  on 
the  choir  organ  ;  generally  speaking,  with  the 
diapasons  and  principal. 

So/i  passages  must  be  accompanied  on  the  choir 
organ  with  the  dulciana,  or  dulciana  aud  stop 
diapason. 

Occasionally,  also,  we  may  employ  for  this  pur- 
pose the  swell  with  the  two  diajjasons  for  the 
right  hand,  and  the  choir  organ,  as  bc;"orc,  for  the 
left ;  particularly  if  there  are  occasional  obligato 
passages  of  accompaniment  of  a  light  and  elegant 
character. 

One  of  the  chief  purposes  to  which  the  organ 
is  applietl  in  the  Protestant  service,  is  the  accom- 
paniment of  the  psalms.  The  melodies  to  which 
the  psalms  are  sung  are  of  the  simplest  and  mo.st 
natural  description,  as  such  only  arc  adapted  to 
be  sung  by  a  congregation,  or  any  considerable 
part  of  them. 

The  practice  of  singing  psalms  in  divine  wor- 
ship may  be  traced  back  to  the  times  of  Moses, 
David,  and  Solomon. 

The  earliest  Christians  introduced  psalms  and 
hjTnns  in  their  worship,  particularly  in  the  Ea.st- 
ern  and  Greek  churches.  A  canticle  by  St.  Am- 
brose, Archbishop  of  Milan,  is  still  extant.  This 
is  the  well-known  "  Te  Deum,"  still  in  use  in  the 
Catholic  church. 

In  the  western  churches,  Pope  Gregory  the 
Great,  (who  instituted  the  Gregorian  Chant,)  and, 
in  later  times,  Luther,  Calvin,  and  otliers,  con- 
tributed largely  in  various  ways  to  the  improve- 
ment and  general  dilfusion  of  this  kind  of  sing- 
ing. 

The  Germans  have  bestowed  much  pains  on 
the  improvement  of  psalm  singing  ;  and  also  on 
the  divers  ways  in  which  those  melodies  may  be 
accompanied  on  the  organ.  Many  extensive  col- 
lections of  psalm  tunes,  harmonized  by  some  of 
their  greatest  composers,  have  been  published 
under  the  name  of  "  Chorale." 

As  these  several  ways  of  accompanying  such 
melodies  admit  of  being  applied  to  our  own  psalm 
tunes,  wc  shall  explain  and  exemplify  them. 

T/ie  ordinary  mantier  in  four  parts.  —  In  this, 
which  is  the  usual  mode  of  accom])animcnt,  the 
right  hand  plays  three  out  of  the  four  parts,  the 
melody  being  always  the  upper  part,  while  the 
left  hand  merely  strikes  a  plain  ba.ss. 

Example. 


(§^|jUg|.^|^ 


6  6 


685 


ORG 


ENCYCLOPiEDIA    OF   MUSIC. 


ORG 


ITiLs  way  is  not  so  well  adapted  to  the  nature 
of  the  human  voice,  because  the  upper  parts  are 
too  hiffh,  too  close  o  one  another,  and  generally 
too  remote  from  the  bass. 

In  four  parts  iriVA  dispersed  luirmony.  —  Tliia, 
which  is  t)ie  more  modern  and  preferable  man- 
ner, was  first  introduced  by  Sebastian  Bach ;  it 
Ls  much  better  adapted  to  the  different  species  of 
voices.  Two  parts  are  generally  played  in  the 
ri^ht  hand,  vi/..,  the  treble  and  the  contralto, 
w?iile  the  left  hand  plays  the  tenor  and  bass  parts. 
or  the  tenor  only  ;  the  bass  part  being  played  on 
the  pedals. 

Example. 


I 


We  have  no  means  (says  the  Rev.  Mr.  La- 
trobe)  of  ascertaining  the  exact  period  when 
pure  instrumental  music  was  permitted  to  form 
a  part  of  divine  service.  The  primary  use  of  the 
organ  was  undoubtedly  to  accompany  and  sus- 
tain the  vocal  chant.  When,  however,  it  had 
advanced  towards  its  present  state  of  perfection, 
it  was  emjiloycd  by  the  Uomish  priests  to  till  up 
the  intervals  between  the  services  of  the  mass, 
which  were  generally  sung,  and  thus  enable  the 
choir  to  recruit  its  powers.  For  the  same  reason, 
it  might  have  been  similarly  used  in  the  Protes- 
tant churches,  and  retained,  when  found  to  con- 
duce to  the  higher  oliject  of  general  edification, 
even  when  the  discontinuance  of  chanting  seemed 
to  dispense  with  the  necessity.  The  original 
character  of  the  voluntary  wovild  appear  to  have 
been  purely  vocal ;  as,  between  the  Rei'orraatiou 
and  Restoration  there  was  little,  if  any,  that 
could  serve  as  an  archetype  lor  instrumental 
church  music,  except  such  as  was  intended  for 
the  voice.  The  fugue  is  the  best  species  of  music 
an  organist  can  employ,  provided  his  subject  be 
lofty  and  sublime,  which  it  can  only  be  by  de- 
viating from  every  thing  that  is  trivial,  secular, 
or  common.  To  compose  a  spirited  and  regular 
extemporaneous  fugue,  is  no  trivial  excellence; 
and  as  it  is  noccssarilr  a  difficult  and  intricate 


species  of  instrumental  music,  no  one  cai  com- 
plain if  he  meets  with  correct  and  effective  per- 
formance. Happily,  the  musical  world  is  en- 
riched with  many  masterly  fugues,  composed 
expressly  for  the  organ ;  and  no  player  need 
deprecate  the  charge  of  unskilfulness  who  \\»n 
modesty  sufficient  to  prefer  the  works  of  Ilandel, 
Graun,  Uach,  Albrechtsbcrgcr,  and  others,  to  his 
own  extemporaneous  effusions. 

The  times  usually  set  apart  for  thLs  species  of 
composition  are  three :  at  the  commencement 
of  the  service ;  before  the  first  lesson  ;  and  after 
the  final  benediction. 

It  is  customary  for  the  organist  to  begin  the 
opening  voluntary  as  soon  as  the  minister  enters 
the  church,  and  pursue  his  subject  during  the 
short  interval  of  time  that  elapses  before  he  ap- 
pears in  the  desk.  This  introductory  voluntary 
is  supposed  to  have  a  character  of  its  own.  It 
sh9uld  be  in  a  grave  and  solemn  style,  abounding 
in  full,  close-wrought  hai-mony,  and  inspiring  a 
feeling  of  reverential  awe.  The  kind  of  i)iece« 
best  suited  for  this  purpose  are  short  diapason 
pieces  on  the  full  or  choir  organ,  abounding  in 
suspensions,  &c.,  and  should  be,  except  those 
used  in  penitential  time,  in  the  major  mode. 

The  middle  voluntary,  before  the  first  lesson, 
usually  consLsts  of  pieces  lasting  about  eight  or 
ten  minutes  in  performance,  in  which  fancy  stops' 
are  sometimes  used,  played  on  the  swell  or  choir 
organ,  and  consisting  of  some  devotional  subject, 
selected  from  the  vocal  works  of  Handel,  Haydn, 
Mozart,  Beethoven,  &c.,  or  pieces  expressly  com- 
posed for  that  portion  of  the  service. 

The  concluding  or  out-voluntary  is  that  in 
which  the  organist  generally  shows  off  the  full 
power  and  effects  of  the  instrument  he  jjresides 
over.  The  pieces  best  suited  for  this  occasion  are 
those  expressly  composed  tor  the  organ,  consist- 
ing generally  of  an  introduction  and  fugue, 
wherein  the  pedals  may  be  emjiloyed.  'ITie  mas- 
terly fugues  of  Handel,  Sebiistian  Bach,  Graun, 
Albrechtsberger,  Eberlein,  Rinck,  Hesse,  and 
others,  leave  nothing  to  be  desired  in  that  class 
of  writing,  further  than  an  effective  pertormance. 
In  this  the  organist  should  consider  he  must  use 
all  his  powei-s,  and  consider  that  it  is  no  child's 
play  that  he  is  about  to  perform.  Nothing  can 
be  better  than  a  fine  performance  of  one  of 
Handel's  fugues  on  a  large  and  powerful  organ  : 
the  deep  tones  swell  and  increase  in  power  ;  tne 
volumes  of  sound  that  roll  throughout  the  church, 
reechoed  by  the  arched  roof,  now  and  then 
seeming  to  die  away,  then  increasing  to  that  ex- 
tent that  every  pipe  seems  employed,  produce 
that  feeling  of  awe,  that  sense  of  holiness,  which 
all  that  have  a  soul  for  music  must  leel,  wliile 
listening  to  the  voluntary. 

The  organ  (ogeb,)  is  frequently  mentioneil 
in  the  Old  Testament,  and  its  invention  is  as- 
cribed to  Jubal,  in  Genesis  iv.  21,  but  it  cannot 
have  been  like  our  modern  organs.  I'rom  Eze- 
kiel  xxxiii.  .31,  it  seems  rather  to  have  been  a 
kind  of  flute,  at  first  composed  of  one  or  two,  but 
afterwards  of  about  seven  pipes,  made  of  reeds 
of  unequal  length  and  thickness,  which  were 
joined  together.  It  corresponds  most  nearly  to 
the  pipe  of  Pan  which  wa^  used  among  the  Greeks, 
consisting  of  several  pipes  of  unequal  thickness 
and  length  joined  together,  which  gave  aii  har- 
monious sound  when  they  were  blown  into  by 
moving  them  successively  under  the  lowci  lip. 


686 


I 


DRG 


ENCYCLOPEDIA    OF   MUSIC. 


ORG 


ORCfAX  BUILPINO.  The  propress  of  our 
tountrymen  in  or);;iu  lniil<linj»  lias  been  every 
way  pntisfni'tory  and  Haltering,  and  would  seem 
to  liave  quite  exceeded  the  expectations  formerly 
entcrtuined  by  many  of  the  old  professional  men. 
So  far  as  rej^nrds  the  mere  mechanical  construc- 
tion of  the  organ,  doubtless  it  is  a  trade  which 
may  be  taught  and  Icnrncd,  like  that  of  the  car- 
penter, the  cabinet  maker,  or  the  machinist. 
But  the  mechanical  construction  of  his  instru- 
ment, whatever  may  be  its  dirticultiea,  is  but  a 
port  of  the  work  of  the  true  organ  builder.  He 
must  have  genius  and  skill  to  invent  and  devise 
such  plans,  propoitions,  and  cumbinations,  for 
his  various  stops  and  pipes,  and  a  caiiacity  so  to 
voice  and  tune  them,  that  the  greatest  possible 
musical  effect  may  be  produced  from  his  instru- 
ment. Hence  organ  building  has  been  very 
properly  cousidereil  a  liberal  art,  inasmuch  as  it 
demands,  in  the  words  of  an  intelligent  musical 
writer,  "  original  genius  and  cultivated  taste, 
united  with  knowle^lge,  practice,  and  experience, 
and  a  musical  ear  delicately  sensible  to  the  per- 
fection of  tone  and  tune." 

M'illiam  M.  Goodrich  is  admitted,  on  all  hands, 
to  have  been  the  tirst  American  organ  builder 
worthy  of  the  name,  although  there  were  several 
persons  in  New  England  who  carried  on  the 
business  before  his  time.  The  tirst  organ  built 
in  .\mcrica  was  built  by  Edward  Bromtield,  Jr., 
iu  Boston,  in  17-15.  In  17o2  Mr.  ITiomas  John- 
ston built  an  organ  for  Christ  Church,  Boston. 
l"he  first  foreign  organ  ever  put  up  in  Boston  is 
presumed  to  have  beeu  the  one  erected  in  King's 
Chapel  in  the  year  1714.  The  Me.ssrs.  Hook 
have  now  in  their  possession  a  remnant  of  one 
of  Johnston's  instruments,  formerly  in  the  Epis- 
copal church  at  Salem.  On  the  front,  or  uame 
board,  there  is  an  inscription  in  (ierraan  text, 
execute*!  in  ivory,  as  follows :  "  lliomas  John- 
ston leeit,  Boston,  Nov.  Anglorum,  17-34."  It 
was  a  small  organ,  with  one  bank  of  keys  and 
six  stops.  Johnston  died  about  17()8,  and  was 
succeeded  by  Dr.  Josiah  Lcavitt,  in  early  life  a 
practising  physician.  Dr.  Leavitt  was  engaged 
in  the  business  for  a  number  of  years.  After 
him  came  Mr.  Henry  Pratt,  of  Winchester,  New 
Hampshire,  who  died  in  1849.  Mr.  Pratt  had 
built  about  twenty-three  small  church  organs 
and  some  nineteen  chamber  organs,  when  Mr. 
(ioodrieh  made  his  appearance.  This  talented 
artist  was  born  in  Templeton,  Mass.,  in  1777  ; 
went  to  Boston  about  the  year  171)9,  and  con- 
tinued in  business  there  up  to  the  time  of  his 
death,  in  1833.  It  was  Mr.  Goodrich  who  gave 
a  character  to  the  art  of  organ  building  in  this 
country,  and  constructed  such  instruments  as 
rendered  importations  from  Europe  (to  any  e.x- 
tent )  unnecessary.  ITic  writer  of  a  very  inter- 
esting memoir  of  Mr.  (ioodrieh,  and  of  the  prog- 
ress of  the  art  in  New  England,  says,  — 

"  Persons  remarkable  for  ingenuity  or  enter- 
prise, who  originate  useful  inventions  and  im- 
provements, or  who  introduce  and  establish  new 
branches  of  business  and  of  the  mechanic  arts, 
may  be  ranked  among  our  most  useful  citizens. 
I'hey  contribute,  in  an  eminent  degree,  to  the 
public  prosperity,  and  to  the  rapid  advance  of 
the  nation  not  only  in  wealth  and  power,  but  in 
those  attributes  which  command  influence  and 
respect  among  the  nationy  of  Europe.  To  thia 
class  of  citizens  m_v  iustly  be  rclcrred  Mr.  Wil- 


liam M.  Goodrich.  He  was  well  atid  extensively 
known  as  an  ingenious,  self-taught  mechanic, 
and  particularly  a.s  an  excellent  organ  builder. 
His  instruments  arc  to  be  found  in  churches  in 
every  part  of  the  Union,  and  even  tar  beyond  its 
limits.  Mr.  (Joodrich  was  curious  and  incjuisi- 
tive,  not  only  iu  mechanics,  but  in  other  branches 
of  knowlediie ;  and  he  studied  and  investigated 
whatever  interested  him  with  great  ])er-everanco 
and  attention.  He  had  originally  a  tine  musical 
ear.  In  early  life  he  improved  this  faculty,  both 
by  study  and  j  ractice,  and  he  was  ever  after- 
wards extremely  fond  of  music.  This  union  of 
the  mechanical  and  the  musical  tnstc  and  faculty 
naturally  led  him,  when  the  o])])ortunity  offered, 
to  undertake  the  construction  of  organs.  It  was 
the  united  love  of  the.-e  arts  which  cunstantly 
urged  him  on,  made  him  overcome  every  diffi- 
culty, and  rai.sed  him  to  that  height  of  excellene<« 
which  he  finally  attained." 

Mr.  (ioodrieh  built  his  first  church  organ  in 
Boston  for  Bishoj)  Chevereu.x,  of  tlie  Catholic 
Church,  in  l.SO.).  ITiis  instrument  he,  in  1822, 
removed,  and  in  its  place  set  up  a  ranch  larger 
and  better  one.  "  Soon  after  commencing  busi- 
ness," says  the  writer  of  the  memoir  alluded  to, 
"  he  was  employed  to  clean,  repair,  and  put  in 
tune,  two  or  three  excellent  English  organs,  then 
in  Boston,  and  afterwards  others  in  other  places. 
From  the  opjiortunities  which  making  those 
repairs  afforded  him  he  derived  great  and  im- 
portant advantages.  His  previous  scales  and 
plans,  being  mostly  contrived  by  himself,  were 
necessarily  imperfect  and  incomplete.  He  ha  1 
now  the  power  of  improving  them.  He  care- 
fully inspected  the  work  of  the  best  of  these 
foreign  organs,  ob.sen'ed  the  contrivance  and  ar- 
rangement of  tl>e  several  parts,  and  took  the 
dimensions  and  proportions  of  the  pipes  and 
other  portions  of  the  interior.  All,  or  most  of 
these,  he  introduced,  at  various  times,  into  his 
own  organs  ;  and,  after  due  trial,  ado;itetl  such 
as  he  deemed  the  best  tor  his  own  future  use." 

"  It  is  highly  cretlitable,"  "i-'ont.nues  tlie  writer, 
"  to  Mr.  Goodrich  and  his  pujuLs,  that  during 
the  whole  period  of  his  beng  in  busine-is,  (from 
1805  to  1833,1  and  notwith.st^mding  tbe  violent 
prejudice  which  existed,  for  a  long  time,  against 
American  mantifactures,  and  in  favor  of  every 
thing  that  was  English,  only  three  church  organs 
were  imported  into  Boston  from  abroad.  Two 
of  these,  by  Fruin,  of  Loudon,  are  said  not  to  be 
remarkable  for  excellence.  The  third,  built  by 
Elliot,  01  London,  for  the  Old  South  Church,  in 
1822,  is  considered  to  be  a  very  superior  instil- 
ment. It  cost  the  society  seven  thousand  one 
hundred  and  twenty-eight  dollars." 

Soon  after  Mr.  William  M.  (Joodrich  com- 
menced business  in  Boston,  hLs  brother  Ebcnei^er 
went  into  hi-t  manufactory  to  learn  the  business 
in  Boston,  finally  set  up  on  his  own  account, 
and  built  quite  a  number  of  instniments,  mostly 
of  small  size.  About  the  year  1807,  Mr  niomas 
Appleton,  who  had  serve<l  a  regular  apprentice- 
ship with  a  cabinet  maker,  cntere<l  into  th« 
employment  of  Mr.  W.  M.  (ioodrieh,  and  con- 
tinued with  him  several  years.  Mr.  Appleton 
then  formed  a  connection  in  basiness  with  a  Mr. 
Babcock,  a  piano-forte  maker,  and  t«n  ]>er»ons 
by  the  name  ot  Hayt  —  under  the  name  of  Ila^-ta, 
Babcock,  ,Sc  Appleton.  l"hey  took  a  building  in 
Milk  Street,   Boston,  and  commenced  manufsc- 


M7 


ORO 


ENCYCLOPAEDIA    OF    MUSIC. 


ORO 


turing  orgniis  and  piano-fortes.  In  the  course 
o!'  a  year,  Mr.  Goodrich  was  induced  to  join  the 
cuablishnicnt,  and  attend  to  tlie  voicing  and 
tuning  of  the  instruments  —  the  most  delicate 
iind  difficult  part  of  organ  building,  and  a  part 
for  wliich  tlic  greatest  amount  of  mere  mechani- 
cal skill  will  always  be  found  insufficient  if  it  be 
not  coupled  with  original  genius  and  taste. 

The  Milk  .Street  firm,  after  \indergoing  various 
changes,  w.is  finally,  in  1820,  dissolved.  Mr. 
Applcton  took  a  building  in  another  situation, 
and  continued  the  business  on  his  own  account. 
The  first  three  organs  he  built  were  voiced  and 
tuned  by  Ebenezer  Goodrich.  One  of  these 
was  afterwards  re-voiced  and  tuned  by  Corri,  an 
Englislimnn,  who  came  over  with  the  Old  South 
Ch\irch  organ.  Corri  was  employed  by  Mr. 
Appleton,  in  voicing  and  tuning,  for  several  years, 
(ind  was  probably  one  of  the  most  talented  men 
he  ever  had  with  him.  Mr.  Appleton  has  built, 
since  he  first  went  into  the  business,  a  large 
number  of  organs,  many  of  them,  undoubtedly, 
very  good  instruments.  He  afterwards,  we  be- 
lieve, formed  a  connection  with  a  young  builder 
by  the  name  of  Warren,  under  the  firm  of  Apple- 
ton  &  Warren.  Mr.  Warren  afterwards  com- 
menced business  for  himself  at  Montreal,  Canada 
East. 

About  the  year  18.31,  the  art  of  organ  building 
in  America  began  to  receive  a  new  impulse. 
Messrs.  E.  &  G.  G.  Hook  commenced  business  in 
Boston  about  this  time,  and  they  had  previously 
carried  on  the  business  in  Salem,  where  they 
had  already  built  for  various  persons  nineteen 
organs.  The  elder  Hook  was,  at  the  age  of  six- 
teen, an  apprentice  to  the  celebrated  W.  M. 
Goodrich,  many  of  the  peculiar  qualities  of  whose 
mind  he  seems  to  possess  in  an  eminent  degree 
—  such  as  great  inquisitiveness  and  ingenuity  in 
mechanics,  united  with  a  constant  disposition  to 
introduce  new  features  in  his  method  of  con- 
struction, and  to  seize  upon  all  foreign  improve- 
ments deemed  to  be  of  any  value. 

William  Xutting,  .Jr.,  formerly  of  Randolph, 
Vt.,  in  18.5:$,  opened  a  large  organ  establishment 
at  Bellows  Falls,  Vt.  He  had  previously  built  a 
numi  er  of  organs,  which  have  been  considered 
as  good  as  any  built  in  the  country. 

There  were,  in  1853,  in  Boston  and  its  imme- 
diate vicinity,  four  extensive  organ  factories, 
viz. :  Appleton's  at  Reading,  Stevens's  at  East 
Cambridge,  Simmons's  (Mr.  William  B.  Simmons 
was  for  many  years  in  the  employ  of  Mr.  Apple- 
ton,  before  commencing  manufacturing  on  his 
own  account)  on  Causeway  Street,  and  Hook's 
on  I.cverctt  .Street.  John  Mackay  was  connecled 
with  Mr.  Appleton  in  1810.  In  1812,  on  account 
of  the  embargo  whicli  existed  during  the  war,  a 
portion  of  the  material,  (^tin,  zinc,  and  ivory,) 
used  by  organ  builders,  became  so  scarce  that  it 
could  not  be  obtained,  except  at  an  almost  ruin- 
ous e.\pense ;  consequently,  this  branch  of  manu- 
facttires  experienced  a  temporary  decline. 

ORGAN"  BELLOWS.  A  well-known  pneu- 
matic machine  attached  to  an  organ,  and  the 
office  of  which  Ls,  to  supply  the  pipes  with  wind. 
The  general  fault  in  the  bellows  of  organs  is 
their  want  of  capacity,  which  renders  it  laborious 
to  the  b.'oircr  to  keep  the  c/w-it  full,  and  subjects 
the  instrument  to  continual  exhaustion,  when 
performed  on  in  full  chords. 


ORGAN  BUILDER.  An  artir-t  whose  profes- 
sion is  to  construct,  and  to  tune  and  repair 
organs.  An  organ  bitiMfi;  l)esides  possessing  a 
nice,  accurate,  and  cultivated  ear,  and  a  sound 
judgment  in  the  vibratory  qualities  of  wood  and 
metiil,  ought  to  be  acquainted  with  pneumatics, 
generally  versed  in  practical  mechanics,  and  so 
far  informed  in  plain  counterpoint,  and  the  sim- 
ple elements  of  musical  composition,  as,  in  some 
degree,  to  be  capable  of  trying  the  difficult  stops 
and  combinations  of  his  own  instruments,  and 
of  deciding  for  himself  on  their  effects  in  per- 
formance. 

ORGANARII.  Ancient  organists,  who  per- 
formed on  the  hydraulic  organ  ;  said  to  have  been 
so  called  from  the  word  or-jamun,  applied  to  a  cer- 
tain part  of  that  instrument. 

ORG.\.NIC.  The  epithet  applied  by  the  an- 
cients to  that  part  of  practical  music  which  con- 
cerned instrumental  performance.  The  organic 
comprehended  three  kinds  of  instruments,  viz., 
wind  instruments,  as  the  trumpet,  horn,  flute, 
&c.  ;  stringed  instruments,  as  the  lute,  lyre,  &c.  ; 
and  pulsatile  instruments,  or  those  which  are  per- 
formed on  by  beating,  as  the  drum,  &c. 

ORGANLSTIC.  An  epithet  applied  to  music 
composed  for  the  organ. 

ORGANIZARE.  (L.)  To  organize,  to  sing 
in  parts. 

ORGANIZED  PIANO-FORTE.  An  instru- 
ment  consisting  of  an  organ  and  piano-forte,  so 
conjoined  that  the  same  set  of  keys  serve  for 
both,  or  for  either  singly,  at  the  pleasure  of  the 
performer. 

ORGANIZED  LYRE.  M.  Adolphus  Ledhuy 
was  the  inventor  of  this  instrument.  By  a  very  sim- 
ple mechanism  he  has  so  perfected  the  guitar  lyre 
as  to  render  the  sounds  of  his  new  instrument  sus- 
ceptible of  several  different  tones  or  stops,  by 
which  the  performer  may  imitate  several  instru- 
ments, such  as  the  lyre,  the  piano-forte,  the  harp, 
&c.,  the  instrument  being  fingered  as  the  guitar 
IjTe.  It  has  fifteen  strings,  embracing  four  com- 
plete octaves,  separated  into  three  distinct  divis- 
ions, bass,  tenor,  and  treble.  It  has  a  row  of 
keys  which  include  the  extent  of  three  octaves, 
to  imitate  the  piano-forte ;  and  it  has  two  necks, 
each  with  six  strings  which  are  fingered  as  the 
guitar  IjTe. 

ORG-A-NIZING.     Singing  in  parts. 

ORGAN  LOFT.  The  name  given  to  the 
space  between  the  front  of  a  church  organ  and 
the  curtains  or  case  which  conceals  the  lower 
part  of  the  instrument.  Tlie  area  occupied  by 
the  organist. 

ORGAN  MUSIC.  Concertos,  voluntaries,  ser- 
vices, anthems,  chants,  psabns,  hj-mns,  and  what- 
ever is  cither  expressly  composed  for  the  organ, 
or  the  performance  of  which  requires  the  accom- 
paniment of  that  instrument. 

ORGANO.  (I.)  The  word  organo  is  found 
in  the  scores  of  oratorio  choruses,  instrumental 
anthems,  &c.,  at  the  beginning  of  th.-it  staff  de- 
signed for  the  organ,  and  the  execution  of  the 
thorough  bass. 

ORGANO,  PERINUS,  an  excellent  performer 
on  the  lute,  born  at  Florence  in  1470,  died,  as 
early  as  1500,  at  Rome,  where  a  monument  hs* 


688 


OR.  J 


ENCYCI.OP.liDl  V    OF    MUSIC. 


OHI 


been  erected  to  his  memory,  iu  the  church  Ara 
Ca-li. 

ORGAXON.  A  double  or  manifold  i)ii)o. 
The  shepherd's  pipe  is  at  this  dny  called  a  mouth 
organ,  and  so  is  the  Pandean  pipe. 

ORGAXO  PICCOLO.  (I.)  A  smaU  or 
chamber  organ.     See  Okoax. 

OROANORUM  INTAIJULATUR.E.  (L.) 
The  general  name  formerly  given  to  voluntaries, 
preludes,  and  all  compositions  for  the  organ. 

ORGAN  PIPES.  The  stiuarc  and  cylindrical 
tubes  in  an  organ,  from  which  proceed  the  various 
sounds  of  that  noble  and  complicated  instrument. 
The  s(iuare  pipes  are  always  made  of  wood,  the 
round  ones  of  metnl,  consisting  of  a  compound  of 
lead  and  gniin  tin. 

ORGAN  STOP.  An  expression  applied  to 
any  collection  of  pipes  coming  under  one  general 
name ;  as  when  we  say,  "  the  dulciana  sti>p  is 
sweet,  the  trumpet  stop  is  powerful,"  &c. 

ORGANUM,  The  art  of  descant,  or  double 
pinging.  An  old  mode  of  singing  in  two  parts, 
generally  in  thirds,  and  first  suggested  by  the  or- 
gan, from  the  facility  that  instrument  affords  of 
sounding  two  or  more  notes  at  once.  This  word 
was  also  applied  by  the  ancients  to  a  brazen  ves- 
sel which  formed  a  principal  part  in  the  hydraulic 
organ,  out  of  which  the  air,  pressed  by  the  incum- 
bent water,  was  forced  into  the  tibi;v,  or  pipes. 

OR(iAN  POINT.  A  succession  of  chords,  in 
gome  of  which  the  harmony  of  tlie  fifth  is  taken 
iinprepared  on  the  bass  as  a  holding  note,  whether 
preceded  by  the  tonic  or  by  tlie  hannony  of  the 
fourth  of  the  key. 

ORGELGEHAUSE, 
organ. 


(G.)    ITie    case  of   an 


A  school  or  method 


ORGEL  SCHULE,  (G.) 
for  the  organ. 

ORGEL  STCCKE,  (G.)     Pieces  for  the  organ. 

ORGITANO,  professor  of  the  harpsichord  at 
Naples,  was  celebrated  as  a  performer  in  1770. 
He  published,  in  London,  a  book  of  sonatas  for 
the  harpsichord. 

ORGITANO,  a  Neapolitan  by  birth,  died  at  an 
early  age.     He  left  some  works  evincing  talent. 
It  is  probably  this  Orgitano  who   composed   the  j  ^^ 
opera    bulla  entitled  "  IJ Infenno  a  dartr,"  which  ' 
was  performed  at   the  Theatre  Fiorcntini    at  Na- 
j)los,  in  1804,  with  great  applause. 

ORGO.^INI,  HENRY,  a  musician  at  the  be- 
ginning of  the  seventeenth  century.  He  pub- 
lished "  Xiiie  Si/iffi-kiiiiaf,"  JL«ipsic,  1603,  in  Ger- 
man and  Latin. 

ORIA.  (JIOV.  BATTIST.V.  A  very  cele- 
brated singer  in  ItJily  about  the  year  1670. 

ORIENTAL  MUSIC.  Tlie  music  of  the  an- 
cient Egyptians  has  survived  by  tradition,  as  has 
also  their  language  —  many  of  the  words  and 
phrases  which  are  carved  in    the  phonetic  hicro- 


at  the  idea  of  musical  notes  being  represented  on 
paper.  Thov  are  ignorant,  and  their  profession 
is  held  in  much  di-.credit.  The  use  of  music  is 
forbidden  by  the  Korai\,  although,  as  if  in  defi- 
ance of  its  own  precept,  the  Koran  itself  ut 
chantKd.  The  history  of  Arabian  music  ha^ 
its  marvels  and  its  miracles,  like  that  of  all  an- 
cient nations.  Cidebrated  musicians  vihit,  i/iooy- 
uito,  at  the  court  of  sultans  and  caliphs  :  they 
take  a  lute,  excite  at  will  all  the  juisnions  in  the 
soul  of  those  who  hear  them,  jjlungo  them  into 
slec]),  disappear  as  mysteriously  ils  they  came, 
and  are  only  recogni/.ed  after  their  departure  by 
their  name,  which  they  have  written  on  the  han- 
dle of  their  instrument.  Such  is  the  enthusia-sni 
of  the  nations  of  the  Ea*t  for  music,  that,  to  give 
an  idea  of  its  power,  they  have  all  had  recourse 
to  fiction  —  yet  the  jjrofession  of  musician  is  con- 
sidered infamous  amongst  the  Aral)s.  Eminent 
musicians  have  seized  with  avidity  every  opportu- 
nity of  endeavoring  to  make  themselves  prac- 
tically and  experimentally  accjuaiiitcd  with  the 
insurmountable  dithculties  of  the  E  istern  music, 
and  have  labored,  with  not  much  success,  to  rep- 
resent it  by  the  intervals  of  our  scale.  The  sin- 
gularity of  this  music  consists  principally  in  this, 
that  each  note  is  divided  into  three  parts  :  that 
Ls  the  progression  is  by  intervals  e^ual  each  to 
altout  one  third  of  a  diatonic  interval  in  our 
scale,  so  that  the  octave  contains  eighteen  notes 
instead  of  thirteen.  The  r\inning  up  their  scale 
has  no  other  effect  upon  a  Western  ear  than  that 
of  a  slide  of  the  voice,  or  such  an  effect  as  is  pro- 
duced by  sliding  the  finger  along  a  %-iolin  string. 
M.  Fctis  speaks  of  the  music  of  the  Arabs  as 
(after  the  Itiilian  system)  the  most  singular,  the 
least  rational,  which  exists  in  respect  to  the  for- 
mation of  the  musical  scale  and  the  tonality.  A 
French  musician,  he  continues,  discovered  that 
the  disagreeable  sensation  which  he  experienced 
from  the  song  of  an  .\rab  proceeded  from  this 
catise,  namely,  that  t'le  di^-ision  of  the  scale  of 
sounds  had  no  analogy  with  that  to  which  he  was 
accustomed.  TTiis  scale,  so  singular  and  eccentrij 
to  us,  so  natural  (o  the  ear  of  the  inhabitants  of  a 
great  part  of  Africa  and  Asia,  is  divided  into  thirds 
of  tones,  in  such  manner,  that,  instead  of  contain- 
ing thirteen  sounds  in  the  extent  of  an  octave, 
it  admits  eighteen.  In  the  notation  of  the  scale, 
M.  Villotcau  has  tried  to  represent  the  position 
of   the   notes  by  broken   flats  and    sliarps  ;    but 

ese  signs,  or  any  which  he  might  have  made 
use  of,  would  not  have  enabled  him  to  make  us 
understand  the  true  intonation  of  these  notes, 
distant  from  each  other  by  third  parts  of  a  tone ; 
for  these  intonations  do  not  fall  under  our  musi- 
cal sense.  The  succijssion,  in  the  melody,  of 
these  little  intervals  produces,  at  the  first  hcaiing, 
no  other  effect  on  the  ear  than  that  of  a  slidin  ; 
of  the  voice ;  the  multiplied  ornaments,  the  fre- 
quent trills,  and  the  little  (rem'ii  nvn-t  of  the 
throat  of  the  singers  joined  to  the  snufHing  of 
which  they  make  continual  use,  complete  a  mu- 
sic made  to  lacerate   our  ear  and  to  charm  theirf 

It  is  certain  that  they  have  no  id'^a  of  harmon>. 
"I   knew,   in   Paris,"'   says   .NL  F^tis,   "  an  •\ral" 


glyphics  still  lx;ing  heard   in  the  mouths  of  the     who  was  pasnionately   fond  of   the   MarseillaiM>, 


Copts,  and  even  borrowed  by  their  Arab  con- 
([iierors.  Hebrew  mvisic  could  have  no  other 
source  than  from  the  mu^ic  of  I^gyjit.  The  pres- 
ent practitioners  of  music  in  the  East  have  no 
musical  uotalion,  and  even  cxprc^-s  astonishment 


and  often  asked  nie  to  j'lay  that  air  for  him  on 
the  i)iano  ;  but  when  I  attempte<l  to  play  it  with 
its  harmony,  he  stop|>ed  my  left  hand,  and  sairl, 
'  No.  not  that  air  ;  only  the  other.'  .My  lia«»  wa« 
to  \\\*  ear  a  second  air,  which  prevented  liia  hear. 


87 


csa 


OKI 


ENCYCLOPEDIA    OF    MUSIC. 


ORL 


ins;  the  MRrscilliiLse.  Such  is  the  effect  of  edu- 
cation on  the  orf^nne." 

The  ])riiici|)iil  instrument  in  use  among  these 
Oriental  mur^iciaii.s  is  tlie  kaiumn,  described  as  a 
Hort  of  dulcimer.  The  performer  sits  upon  his 
haunches,  and  holds  the  instrument  in  his  lap; 
or,  when  he  walks  in  a  procession,  it  is  sustained 
by  a  string  round  his  neck,  like  a  Turkey  mer- 
r  haul's  box  of  rhubarb.  Mr.  Lane  gives  the  di- 
mensions of  one  rather  larger  than  ordinary,  as 
follows  :  the  greatest  length,  thirty-nine  inches 
and  three  tiuarters  ;  the  breadth,  sixteen  inches  ; 
the  depth,  two  inches  and  one  tenth.  The  face 
and  back  of  this  instrument  were  of  a  fine  kind 
of  deal,  the  sides  of  beech.  The  pegs  were  of 
poplar  wood,  inserted  in  a  wrest-board  of  beech, 
the  bridge  of  tine  deal.  The  strings  were  of  lamb's 
gut,  three  to  each  note;  and  the  instrument  em- 
braced twenty-four  notes.  To  the  jdayer  of  the 
S)Tiau  kanonn  the  piano-forte  would  be  an  abso- 
lute object  of  wonder. 

The  .\rab  scale  is  thus  represented ;  the  fourth 
and  fifth  being  apparently  true,  and  the  second 
and  sixth  rather  flatter,  the  third  and  seventh 
rather  sharper  than  our  notes  will  show  :  — 

ARAB     SCALE. 


To  this  we  may  add  a  native  Syrian  melody. 

IKKI  BELDOL.  Sijrian  melodii. 


•«_•*«• 


To  continue  our  examples,  we  give  the  "  Call  to 
Prayer,"  as  it  is  heard  from  the  minarets  of  the 
mosques  at  Aleppo.  This,  we  believe,  was  first 
brought  to  Europe  by  Captain  Sir  Byam  Martin. 


THE  "CAM-  TO  PRAYER." 
-fT\-r 1 iTs^ 


As  vmd  at  AUppo. 


U  •  la-1  -  lah    Mo  •  ham-med  nu  -  -  -  aoal  Al  -  Uh ! 


ORIGIN  OF  MUSIC.  With  respect  to  the 
origin  of  music,  we  need  seek  for  no  other  cause 
than  the  natural  constitution  of  man.  He  is  so 
formed  as  to  receive  a  mechanical  delight  from 
the  jicrception  of  sweet  and  melodious  sounds, 
whether  heard  in  conjunction  or  in  succession. 
The  causes  of  this  pleasure  admit  of  a  philosoph- 
ical analvsis.  The  laws  of  concord  and  discord, 
of  harmony  and  melody,  are  founded  in  the  nat- 
ural constitution  of  man ;  and  the  same  thing 
may  he  said  of  rhj-thm,  pr  the  proportional  dura- 
tion of  length  of  musical  sounds,  compared  with 
each  otlicr;  for  in  this  also  (here  is  a  natural  re- 
lation or  a  principle  of  comparison  deducible  from 
.be  fixed  and  determinate  laws  of  order  and  pro- 


portion. Man,  therefore,  may  be  said  to  seek  is 
naturally  for  the  gratification  of  music  as  for  food 
to  allay  his  hunger,  or  for  drink  to  (juench  his 
thirst ;  it  is  the  natural  delight  and  pleasure  of 
the  ear ;  and  it  has  a  striking  superiority  over  all 
the  pleasures  of  sense,  in  this  respect,  that  it  can 
hardly  be  indulged  in  to  excess,  or  carried  so  far 
as  to  jade  and  impair  the  power  of  sensibility. 
Man,  being  thus  predisposed  to  take  delight  in 
musical  sounds,  would  embrace  the  first  hint  that 
might  suggest  any  method  of  producing  them  ar- 
tificially. The  whistling  of  the  wind  through  a 
hollow  reed  might  suggest  the  idea  of  a  flute  or 
pipe,  which  appears  to  have  been  an  instrumen 
of  music  of  great  antiquity.  The  honn  of  ani- 
mals, when  blown  into,  produce  a  j)owerful  sound, 
and  have  been  employed  by  all  savage  nations 
as  instruments  for  martial  or  some  other  music. 
The  ancient  trumpet  was  nothin;;  but  an  imita- 
tion of  these  horns  in  metal,  and  seems  to  have 
been  invented  in  the  very  earliest  ages.  The  o)iIy 
instruments  of  music  spoken  of  in  ."sorijiture  as  in 
use  during  the  patriarchal  ages,  were  the  pipe  or 
flute,  the  trumpet,  and  a  kind  of  kettle  drum, 
called  tympanum,  the  outside  of  which  was  of 
copper,  of  an  oblong  figure,  and  it  was  covered 
with  skin  only  at  one  end,  and  beat  either  with 
sticks  or  with  the  hand.  Stringed  instrumentf 
seem  to  have  been  a  much  later  invention.  It  if* 
not  improbable  that  vocal  music,  or  some  kind  of 
singing,  was  of  still  greater  antiquity  than  instru- 
mental. This  is  so  natural  to  man,  that  it  is  prac 
tised  every  where,  even  among  the  most  rude  and 
barbarous  nations  ;  but  if  a  model  were  wanting 
to  suggest  the  art,  it  is  provided  by  nature  in  the 
sweetness  and  variety  of  the  singing  of  birds ; 
which  might  have  prompted  men  to  try  the  melo- 
dy of  their  voices,  as  they  are  so  much  inclined 
to  imitation.  The  inherent  laws  ot  concord  and 
discord  would  direct  them  to  those  inflections  and 
modulations  of  the  voice  which  alone  are  capable 
of  affording  pleasure  to  the  ear.  XnA  thus  the 
various  scales  or  modes  of  musical  intonption 
would  be  practicall}'  made  known  long  before 
their  essential  principles  and  laws  were  subjected 
to  investigation. 

ORISCUS.  The  name  of  one  of  the  ten  notes 
used  in  the  middle  ages. 

ORISICHIO.  A  celebrated  church  composer 
at  Rome,  about  the  middle  of  the  last  century. 
Grctry,  who  was  acquainted  with  him,  states 
that  he  was  very  exact  in  his  composition,  and 
that  his  music  was  characterized  l)y  great  truth 
and  expression.  Gretry  laugh.s,  however,  at  the 
solemn  countenance  and  consequential  air  he 
usetl  to  assume  when  performing  any  of  his  own 
works. 

ORISTAXEUS,  JULIUS,  organist  of  the  Chap- 
el Royal  at  Palermo,  was  born  at  Trepano,  in  Si- 
cily. He  flourished  as  a  composer  about  the 
year  1600,  and  published,  among  others,  the  fol- 
lowing works  :  •'  Mndriyali  h  o  voci,"  Venice, 
1.588,  and  "  Rrsponsoria  yativitatis  it  F.piphanirr 
Domini,  4  toe.,"  Palermo,  160'J. 

ORLANDI,  S.VXTI,  an  Italian  composer  of 
the  beginning  of  the  seventeenth  century,  pub- 
lished "  Madriyali  a  6  voc  ,"  Venice,  1607. 

ORLAXDI,  pupil  of  Paer,  composed  the  mt  - 
sic  of  the   opera   buffa    "  I'odesta   di   Ctuoggia 


690 


OKL 


ENCYCLOPEDIA    OF   MUSIC. 


OR8 


wluch  was  performed  with  success  nt  Paris,  in 
1806. 

OKLANDIXI,  GIUS.  MAR.,  was  an  able  and 
famous  Hologiicso  writer,  who  furnislied  the  the- 
'\tre  at  Venice  with  many  operas.  His  composi- 
tions seem  more  dramatic  and  elegant  than  those 
of  any  composer  of  the  Italian  school  anterior  to 
Ilasse  and  Vinti.  He  is  said  to  have  been  i)ar- 
ticularly  liappy  in  the  composition  of  intermezzi, 
a  gay  kind  of  music,  which  was  little  understood 
by  any  other  master  till  the  time  of  I'ergolese. 

His  hymns  in  three  parts  are  paj-ticularly  nat- 
ural and  casj  for  psalm  singers,  and  other  per- 
sons not  very  deeply  skilled  in  the  knowledge  of 
music.  He  wrote  also  cantici  or  catches,  and 
continued  b)  flourish  from  1710  to  1745. 

ORLANDO.  FERDINANDO,  a  dramatic 
composer  at  Milan,  born  in  Italy  in  17S0,  was 
e  pupil  of  Ciraarosa,  whose  manner  he  suc- 
cessfully imitated.  The  tirst  of  the  following 
operas  was  also  the  first  work  which  lie  j)resentcd 
to  the  public.  He  wrote  it  for  the  Milan  theatre, 
wliere  it  was  performed  with  great  applause,  and 
showed  the  admirable  genius  and  profound 
knowledge  of  the  science  which  Orlando  already 
manifested  in  his  twenty-second  year.  The  title 
of  it  is  "  //  I'odesta  ili  Chioggia,"  opera  butta, 
acted  in  1801  at  Milan.  Tlie  following  year  he 
again  brought  out  an  opera,  the  second  act  of 
which  did  not  please,  and  was  therefore  obliged 
to  be  recast,  both  by  the  poet  and  composer. 

ORNAMENT  AND  GRACES  IN  SINGING. 
It  is  an  extremely  false  taste  to  overload  every 
performance  with  a  profusion  of  ornament. 
\Vhcn  a  piece  has  intrinsic  merit,  or  when  a 
singer  has  a  fine  voice,  ornament,  if  profuse,  ha.s 
more  chance  to  injure  it  than  add  to  its  effect.  It 
is  not  to  he  denied,  however,  that  ornament, 
when  judiciously  placed,  is  indispensable  to  a 
singer,  and  will  require  great  care  and  practice 
in  the  actiuisition.  All  good  comjioscrs  write 
such  ornaments  and  graces  as  are  allowable  in 
pinging  their  music ;  they  do  not  leave  room  for 
a  single  appoggiatura  ;  and  no  singer  ought  ever 
to  attempt  a  grace  that  is  not  set  down  for  him, 
or  which  is  not  pointed  out  for  him  by  a  judicious 
master,  nie  violation  ot  this  rule,  if  it  procure, 
by  chance,  a  momentary  applause  trom  a  mixed 
audience,  will  never  insure  a  lasting  reputation, 
nor  lead  to  establish  first-rate  excellence  in  sim- 
ple execution. 

ORNEMEXS.  (F.)  Graces  ;  as  the  appoggia- 
tura, turn,  shako,  &c. 

ORNiniOPARCUS.  Dr.  Forkel  not  only 
(.lasses  this  writer  amongst  the  profoundly  musi- 
cal, but  also  among  the  witty  authors  of  his  age. 
Ho  published  at  I^ipsic,  in  l.il7,  a  work  entitled 
"  MniictP  actirrt  micrologiu,  librU  quatiior  digestiis, 
omiiihiu  miuicir  atudio^i^  non  tarn  utilis  t/iuim  iie- 
tfs3.irin3."  It  is  the  first  book  on  music  that  was 
printed  in  Germany,  and  went  through  several 
editions.  It  was  translated  into  English  by  I)ow- 
la:«l,  in  1609. 

OROLOGIO,  ALESS.VNDRE.  A  musician 
«nd  composer  in  the  service  of  the  Emperor  of  Ger- 
many, at  Vienna,  in  the  beginning  of  the  seven- 
teenth century.  There  were  published  by  him 
"  Caiizonciti  a  Ire  voc.,"  book  i.,  Venice,  loHO,  and 
book  ii.,  Venice,   \odi  ;  "  IntraUcn,"  for  fire  and 


six  voices,  Helmstadt,  1597 ;  and  "  MoMti," 
Venice,  1627.  In  the  last  publication  lie  ii 
called  llorologiiu. 

ORPII.VRION.  An  instrument  formerly  in 
use,  resembling,  and  by  some  identified  with,  the 
bass  viol. 

ORPHEUS.  It  is  the  opinion  of  some  emi- 
nent philologists  of  latter  times,  that  there  never 
■was  any  such  per>on  as  Orpheus,  except  in  fairy- 
land ;  and  that  his  whole  history  was  nothing  but 
a  mere  romantic  allegory,  utterly  devoid  of  truth 
and  reality.  Hut  there  is  nothing  alleged  for  this 
opinion  from  anti<niity,  except  the  one  passage 
of  Cicero  concerning  Aristotle,  who  seems  to 
have  meant  no  more  than  this,  that  there 
was  no  such  poet  as  Orpheus  anterior  to  Ho- 
mer, or  that  the  verses  vulgarly  called  Orphical 
were  not  written  by  Orpheus.  However,  if  it 
should  be  granted  that  Aristotle  had  denied  the 
existence  of  such  a  man,  there  seems  to  be  no 
reason  why  his  single  testimony  should  prepon- 
derate against  the  universal  consent  of  all  anti- 
quity;  which  agrees,  that  Orpheus  was  the  son 
of  (Eager,  by  birth  a  Thracian,  the  latlier  or  chief 
founder  of  the  mythological  and  allegorical  theol- 
ogy amongst  the  Greeks,  and  of  all  their  most 
sacred  religious  rites  and  mysteries ;  who  is  com- 
monly supposed  to  have  lived  before  the  Trojan 
war,  that  is,  in  the  time  of  the  Israelitish  judge>, 
or,  at  least,  to  have  been  senior  both  to  Hesiod 
and  Homer,  and  to  have  died  a  violent  death, 
most  affirming  that  he  was  torn  in  pieces  by  wo- 
men ;  for  which  reason,  in  the  vision  of  Herus 
I'amphylius,  in  Plato,  Orpheus's  soul,  passing  into 
another  body,  is  said  to  have  chosen  that  of  a 
swan,  a  reputed  musical  animal,  on  account  of 
the  great  hatred  he  had  conceived  for  all  women, 
from  the  death  which  they  had  inflicted  on  him. 
And  the  historic  truth  of  Orpheus  was  not  only 
acknowledged  by  Plato,  but  also  by  Isocrates, 
who  lived  before  Aristotle,  in  his  oration  in  jiraise 
of  Uusiris,  and  confirmed  by  the  grave  historian 
Diodorus  Siculus,  who  says,  that  Orpheus  dili- 
gently api>lied  hiinselt  to  literature,  and  when  lie 
liad  learned  the  mythological  part  of  theology, 
travelled  into  Egypt,  where  he  soon  became  the 
greate;-.t  profi.'ient,  among  the  Greeks,  in  the  mys- 
teries of  religion,  theology,  and  poetry.  Ncithei 
was  this  history  o!  Orpheus  contradicted  by  Origeii, 
when  so  justly  provoked  by  I'elsus,  who  had  i)ri'- 
ferred  him  to  our  Savior ;  and,  according  to  I^uidas, 
Orpheus  the  Tliracian  was  the  first  inventor  of 
the  religious  mysteries  of  the  Greeks,  and  that 
religion  was  thciicc  called  ThreikfUi,  as  it  was  a 
Thracian  invention.  On  account  of  the  great 
anti(|uity  of  Orpheus,  there  have  been  numbeileM 
fables  intermingled  with  his  history ;  yet  ihert 
apjicars  no  ro^ison  that  wo  should  disbelieve  thi 
existence  of  such  a  man. 

OUSANI,  D.  FRANCESCO,  pupil  of  I'adr* 
Martini,  church  composer,  and  member  of  th« 
Philhannonic  Society  ut  Hologna,  was  eminent 
in  Itiily  about  the  year  1770. 

ORSINI,  GAETANO.  An  excellent  coun- 
ter tenor  singer  in  the  servire  of  the  emperor  at 
Vienna,  where  he  died  in  1 7  to,  at  a  very  advanced 
age.  Ho  wa.s  principal  saiger  in  the  opera  CVm- 
Umza  e  t'orteczit,  which  was  )  erlormcd  in  the 
I  open  air,  at  I'rague,  in  17J3.  Francis  Benda,  in 
the  mciuoirs  of  Orsiui's  lii'e,  says  that  he  drew 


691 


ORS 


ENCYCLOP-^DlA    OF    MUSIC. 


on 


teaJB  from  hi*  audience,  by  his  pathetic  manner 
ol' hinging  in  the  above  opera. 

OHSLER,  or  OllSCIILER,  JOIIANN 
(lEORG,  born  in  Silesia,  was  violinist  in  the 
Imperial  Cha])el  at  Vienna,  in  17(>(;.  He  had 
pievioiisly  held  the  situation  of  chapel-master  to 
the  Prince  of  Lichtenstcin  till,  the  death  of  that 
nobleman.  lie  left  numerous  works  in  manu- 
hcript,  consisting  of  violin  masic  and  composi- 
tions for  the  church. 

ORSI.ER,  JOSEPH.  A  musician  at  Vienna, 
and  probably  son  of  the  preceding.  Under  this 
name  the  following  instrumental  works  in  man- 
uscript are  found  in  Traeg's  Catalogue,  Vienna, 
1799  :  "  Sill/on.  n  8  ;  "  "2  Qiuirtelti  aV.,  Vc,  Vio- 
la obi.,  eD.;"  "7  Sinfon.  Ai  :  2  V.,e  Vc. ;"  "  2  Ter- 
zetti  a  Viola,  Vc,  e  B.,  e  a  2  Vc.  e  li. ;  "  and  "  4 
Sonate  A  Vc.  e  li."  It  would  seem  by  the  above 
music,  the  composer  was  a  violoncellist.  There 
were,  in  fact,  in  179r),  two  Orslers  (father  and 
Bon)  violoncellists,  in  the  orchestra  of  the  na- 
tional theatre  at  Vienna. 

ORTIIIAN.  The  epithet  applied  by  the  an- 
cients to  a  dactylic  nome,  or  song,  said  to  be  in- 
vented by  the  Phrygian  Oh-mpus.  Herodotus 
tells  us  that  it  was  the  Orthian  uome  that  Arian 
sang  when  thrown  into  the  sea. 

ORTIIL\N  MODE.  (Gr.)  The  Orthian 
mode,  like  the  Harmatian,  was  a  mode  of  time  ; 
two  down  and  four  up.  Plutarch  says  that  it 
consisted  of  loud  and  rapid  notes,  and  was  used 
to  inflame  the  courage  of  soldiers,  previous  to 
battle.  It  is  spoken  of  in  the  same  manner  by 
Homer,  in  the  seventh  book  of  his  Iliad,  as  also 
by  his  commentator,  Eustathius.  Some  cojifound 
the  Ortliian  m  ith  the  Harmatian  mode. 

ORTING,  BENJAMIN,  director  of  the  music 
at  the  Church  of  St.  Anne,  at  Augsburg,  was 
born  in  that  town  in  1717.  lie  was  a  pupil  of 
Seyiert.  His  compositions  consist  of  many  can- 
ticles, motets,  cantatas,  &c.,  none  of  which  have 
been  published. 

OR  riZ.  or  DE  ORTO,  DIEGO,  of  Toledo,  a 
celebrated  contrapuntist  towards  the  middle  of 
the  sixteenth  century,  published,  at  Venice, 
"  Hymni,  Magnificat,  Halve,  Salmi,  l^c,  d.  4  J'oc," 
1.56.5.  The  following  work  has  also  been  at- 
tributed to  him  :  "  PU  prima  libra,  nel  qtial  si  tratla 
delle  ghse  .lopra  le  caden:e,  ed  attre  sorte  di  punti," 
Rome,  15.53.  Glarcanus,  in  his  Dodecacliordon, 
eulogizes  one  of  the  compositions  of  Ortiz. 

ORTOLAXI,  SIGNORA.  This  female  singer 
was  a  pupil  of  Galuppi,  and  flourished  at  Venice 
about  the  year  1770. 

OSRORNE,  G.  A.,  a  distinguished  pianist  and 
composer,  whose  duets  for  i)iano  and  violin, 
which  he  composed  with  De  Jicriot,  are  favorite 
concert  pieces. 

OSCUI.ATI,  GIUI.IO.  An  Italian  composer, 
who  flourished  towards  the  end  of  the  sixteenth 
century.  Bonometti  has  preserved  some  of  this 
master  s  motets,  by  publishing  them  in  the  I'ar- 
nasstm  Musictis  Ferdinandaiis,  in  1615. 

O  SI  A.  (I.)  Sometimes  written  assia.  Or 
else ;  as,  o  sia  piii  facile,  or  else  in  this  more  easy 
manner. 

OSIO,  FEODATO.     A  lawyer  at  MUan,  born 


there  towards  the  end  of  the  sixteenth  century 
He  was  first  known  as  a  writer  of  novels,  but  af- 
terwards made  law  and  music  his  principal  pur- 
suits. He  left,  at  his  death,  the  following  works  : 
"  L' Armonia  del  nudo  parlarc,  overo  la  Mu-tica  ra- 
ff ione  dclla  voce  continua,  neUa  quale  a  forza  dt 
Arilhmetiche  e  di  Miisie/te  Speculazioni  si  poni/ono 
alia  prava  le  regole  lino  al  presenta  stabilile  darjC 
osservatori  del  numero  delta  prosa  e  del  verso,"  Mi- 
lan, 1637,  and  "  Sylva Tiovartim  opinioiium,"  Frank- 
fort, 1669,  part  of  which  treats  of  music. 

OSSERVANZA.  (I.)  A  word  implying  that 
the  movement  at  the  beginning  of  which  it  is 
written  is  to  be  performed  with  scruoulous  ex- 
actness, without  adding  to  or  diminishing  any  of 
the  passages  or  parts. 

OSSI,  GIOVANNI,  a  celebrated  singer,  was, 
in  1725,  in  the  service  of  Prince  Borghe^e. 

OSSO^VSKY,  STANISLAUS  D',  an  amateur 
musician  at  Vienna,  has  been  known,  since  1792, 
through  his  compositions,  which  consist  of  the 
following  printed  works  :  "  Douze  Variat.  pour  le 
Violon  et  B.,"  1792  ;  "  Der  Walzer  Augiatin,  mit  d 
VertlnderungeJi  f.  Klav.,"  Vienna,  1797;  and  "  12 
Meuuettrn  f.  Klavier,"  1798.  lie  was  no  longer 
living  in  1807. 

OSTI.  A  singer  at  the  theatres  in  Rome  about 
the  year  1736.  He  rendered  himself  principally 
celebrated  by  the  performance  of  female  charac- 
ters. 

OSTIANO,  VINCENZO.  A  contrapuntist 
of  the  sixteenth  century,  of  whose  compositions 
there  is  still  found,  amongst  the  printed  works  in 
the  library  at  Munich,  "  Camonette  Neapolitane  d 
3  Voci,"  Venice,  1579. 

OSTINATO.  (I.)  Persevered  in,  adhered  to, 
continued  in  despite  of  circumstances. 

OSWALD,  HEINRICH  SIGISMUND,  privy 
counsellor  to  the  King  of  Prussia  in  the  yeai 
1790,  was  previously  celebrated  as  an  amateui 
musician.  He  published  some  collections  of 
songs,  a  trio  for  the  harpsichord  and  violins,  and 
two  cantatas  for  the  harpsichord.  In  1802  h€ 
was  still  living  at  Breslau. 

OT.  There  were  published,  under  this  name, 
at  Mentz,  in  1795  and  1796,  "  6  Canzomtti  Ittil.  c. 
Cemb.,"  Op.  5,  and  "  6  Canzoiietti  Ital.  c.  Cemb.," 
Op.  6. 

OTMAIER.  GASPARD.  This  German  com- 
poser was  born  in  the  year  1515,  and  published 
"  WeltUche  Lieder,"  Nuremberg,  1551. 

OITANI,  BERNARDO,  born  at  Turin  about 
the  year  1748,  was  chapel-master  of  the  cathedral 
of  that  town,  and  member  of  the  Pliilharmouic 
Sotiety  of  Bologna.  He  studied  counterpoint 
under  Padre  Martini ;  and  at  the  time  of  the 
public  e.\amination  of  composers  at  Bologna,  in 
1770,  he  produced  a  "  LaudtUe  piu-ri,"  which,  ac- 
cordin.g  to  Dr.  Burney,  was  full  of  spirituality. 
In  1772  he  brought  out,  at  Munich,  an  opera  eu- 
title<l  "  L'Amore  scnza  mnlizia."  Another,  caUed 
•'  II  Mnesfro,"  was  performed  at  various  theatres 
in  Germany  about  the  year  1790.  Two  other  of 
liis  works  are  "  L' Erminio,"  op.  ser.,  Cremonai 
1784,  and  "  Amnfmnc,"  op.  ser.,  Turin,  1784.  Hia 
brother,  Cajetano  Ottani,  was  an  excellent  tenoi 
singer,  resident  at  Turin  in  1770,  and  •^•as  alao 
known  as  a  good  landscape  painter. 


(;92 


OTl 


ENCYCLOPAEDIA    OF    MUSIC. 


O  VE 


OTTAVA,  or  8va.  (I.)  An  octave,  or  iu- 
jerval  of  seven  diatonic  degrees.  This  word  is 
generally  joined  with  alto  or  bassa  ;  the  first  sig- 
nifies that  the  passage  to  which  it  is  applied  must 
ae  played  an  octave  higher  than  it  is  written  ;  the 
second  that  it  must  be  played  an  octave  lower. 

OTTAVINA.     (I.)      A  little  or  higher  octave. 

OTTETTO.  (I.)  A  composition  in  eight 
parts. 

OTTO,  CARL,  a  vocal  composer  in  Germany 
'\bo\it  the  year  \Ti<^^  published  about  that  year,  at 
Goslar,  in  Lower  Saxony,  "  A  Collection  of  good 
Songs  for  the  Harpsichord,"  and  "  An  Ode  on 
Bope." 

OTTO,  ERNST  JULroS,  born  in  1804,  at 
Konigstein,  organist  at  the  cathedral  in  Dresden, 
is  a  distinguished  church  composer.  The  per- 
formances of  church  music,  under  his  direction, 
are  much  sought.  He  first  came  into  notice 
through  a  song  of  his,  which  was  crowned  by  the 
Musiki:erein  at  Manheim. 

OTTO,  FRANZ,  organist  at  Glatz,  in  Silesia, 
published,  at  Breslau,  "  Neues  volhta ndujes  Cko- 
ralbach,"  &c.,  1784,  and  "  6  volLtdndiye  K'avier- 
SonatcH,"  Breslau,  1798. 

OTTO,  GEORG,  chapel-master  of  the  Land- 
grave of  Hesse-Cassel,  was  born  at  Torgau  in 
1550.  He  resided,  in  1564,  as  a  student  of  sing- 
ing, at  the  school  there,  and  was,  in  1750,  pro- 
moted to  the  precentorship  at  Salza,  whence  tlie 
celebrated  musical  connoi  seur,  the  Landgrave 
Moritz,  invited  him,  in  1585,  to  Cassel,  as  his 
chai^el-master.  Walther  has  collected  the  fol- 
lowing titles  of  his  works:  "  Litroitiis  totius  Aiini, 
5  voc,"  Erfurt,  1574  ;  "  Die  ttutschen  Gcsanye  Lu- 
theri  auf  die  vornehmsten  Fesie,  mil  5  und  6  Stim- 
meii  pcsetzt,"  Cassel,  1588  ;  and  "  Opus  mus.  nov." 
A  second  edition  of  the  last-named  work  ap- 
peared at  Erfurt  in  1618.  An  edition  of  the  sec- 
ond of  the  above  works  was  printed  at  Erfurt, 
and  still  exists  in  the  library  at  Munich.  His 
complete  printed  works  are  preserved  in  the  mu- 
seum at  Cassel. 

OTTO,  J.  F.  Under  this  name  were  published 
at  Leipsic,  about  the  year  1800,  "  6  Klaviersolos." 

OTTO,  VALERIUS.  A  celebrated  organist 
and  composer,  of  whose  origin  nothing  further 
is  known  than  that  the  city  of  Leipsic  placed 
him,  in  1592,  as  student  of  singing  at  the  Gate 
School.  There  he  became  such  an  accomplished 
musician,  that,  fifteen  years  afterwards,  he  was 
appointed  organist  of  the  Lutheran  church  in  the 
old  town  at  Prague.  He  further  styles  himself 
in  his  last  works,  dated  1612,  court  instrument- 
alist to  the  Prince  of  Lichtenberg.  Of  his  print- 
ed works  we  can  name  "  Miusa  Jessaea  quinque 
vofibiis  ad  octonos  modos  expressa,"  Leipsic,  1609, 
and  "  Neue  Paduanen,  Galliardcn,  Intraden,  und 
Courauten,  nncit  enylisclier  und  franzOsischer  Art, 
niit  5  Stinimen  componirt  und  i}i  Druck  gcjeben, 
dutch,"  &c.,  Leipsic,  1611. 

OTTO,  STEP.,  of  Freyberg,  in  Misnia,  wrote 
two  works  on  music,  about  the  j'ears  1632   and 
1648.     Mattheson  says  that  they  treat  ably  and 
profoundly  on  the  science,  for  the  time  in  which  [ 
they  were  written.  I 

OTTUPLA.      (I.)      An   expression   implying  [ 


common  time,  or  a  measure  of  four  times,  marked 
with  a  C,  or  semicircle,  placed  at  the  beginning 
of  the  staif  of  the  movement.  Such  a  movement 
is  said  to  be  in  otlupla  time. 

OTl'USL  O'lTAVIO.  Und<'x  this  academical 
name  Monteverde,  or  one  of  his  partisans,  ad- 
dressed a  letter  to  Artusi,  in  which  he  supported 
some  propositions  in  opposition  to  the  practice  of 
that  master.  He  pretended  that  the  seventh  of 
the  dominant  is  more  pleasing  to  the  ear  than 
the  octave ;  that  the  fourth  may  be  resolved  by 
rising  to  the  fifth,  the  third  to  the  fourth,  and 
the  fifth  to  the  major  or  minor  sixth.  Artusi 
strongly  combatted  these  opinions. 

OUVRARD,  RENE,  a  French  canon  ana 
chapel-master,  born  at  Chinon,  in  Touraine,  died 
in  1694.  He  left,  at  his  death,  a  work,  probably 
in  manuscript,  entitled  "  Ilistoria  Musices  cipi/d 
Hebraos,  Grcpcos,  et  Romanos,"  The  Abbe  Cuiui- 
caise,  who  died  in  1702,  says  of  this  work  that  it 
brings  the  history  of  music  down  to  the  seven- 
teenth century,  and  contains  the  solution  of  many 
interesting  and  curious  questions.  He  also  states 
that  the  author  had  much  contributed,  by  his 
preceding  works,  to  the  advancement  of  painting 
as  well  as  of  music. 

OVERBECK,  CHRISTIAN  ADOLPH,  a  Ger- 
man writer  and  doctor  of  laws  at  Lubec,  was  born 
in  that  town.  He  published,  in  1781,  "Songs 
and  Canticles,  with  an  Accompaniment  for  the 
Harpsichord."  He  was  also  the  author  of  a  Ger- 
man parody  of  the  tkilve  Rcgina  of  Pergolese, 
which  he  published  at  Hamburg  in  1785,  with  an 
accompaniment  for  the  harpsichord. 

OVERBECK,  JOHANN  DANIEL,  a  relation, 
perhaps  father,  of  the  preceding,  was  born  at 
Rethem,  in  Lower  Saxony,  in  1715,  and  was  rec- 
tor of  the  gymnasium  at  Lubec.  Amongst  nu- 
merous other  writings,  he  published  several  pam- 
phlets on  the  subject  of  music,  two  of  which  were 
entitled  "  An  Answer  to  the  Letter  of  the  Singer 
Ruetz,  as  it  respects  the  Opinions  of  Batteux," 
1754,  and  "The  Life  of  Gaspard  Ruetz,"  Lubec 
1755. 

OVEREND,  MARMADUKE,  an  English  au 
thor  and  musician,  published  in  London,  in  1783 
a  work  entitled  "  On  the  Science  of  Music." 

OVERTURE,  OUVERTURE,  (F.)  OVER- 
TURA,  (I.)  The  introductory  symphoiiy  to 
an  oratorio,  opera,  &c.,  and  generally  consisting 
of  three  or  four  different  movements.  The  over- 
ture is  chiefly  distinguished  from  the  sonata  by 
consisting  of  less  artificial  melody,  bolder  masses 
of  harmony,  and  stronger  lights  and  shades.  It.s 
movements,  in  works  of  the  modern  school,  gen- 
erally contain  snatches  of  the  more  prominent 
and  leading  airs  in  the  opera,  and  introduce  the 
audience  to  a  general  notion  of  the  emotions 
which  it  is  the  desire  of  the  author  to  excite. 
The  Germans  have  composed  overtures  for  poeti- 
cal works,  as  Beethoven's  Overture  to  Gothe's 
"  Egmont."  Overtures  are  often  played  independ- 
ently of  the  work  for  which  they  were  written, 
as  at  the  beginning  of  concerts  ;  but  their  high- 
est office  is  to  convey  to  the  intelligent  lover  of 
music  the  whole  character  of  the  following  piece. 
The  latter  mode  of  composing  overtures  was  first 
conceived  by  the  French  ;  and  such  is  the  char- 
acter of  the  overtures  of  their  great  composers, 


69? 


OXI 


EXCYCLOP.EDIA    OF    MUSIC. 


OZl 


ppJticularly  Chcnibiiii.  Carl  Maria  von  We- 
l)er,  in  the  overture  to  the  "  Frriirhutz "  and 
"  ObtTDii,"  has  observed  this  rule,  which  did  not 
exist  when  Mozart  coin))oscd  his  admirnblo  ovcr- 
turcH  to  "  Fiijaro"  and  "  Him  Juitn,"  in  which  the 
)(cneriil  dinructer  ot  the  (ollowing  piece  is  given. 
In  the  oldest  overtures  the  fugue  was  the  chief 
part,  preceded  by  a  slow  movement  in  four-four 
time,  not  too  much  prolonged,  and  closing  in  the 
dominant.  The  gnive  was  often  repeated  after 
the  fugue.  Most  of  the  overtures  of  Handel's 
oratorios  have  this  form.  Another  fonn  consists 
of  an  alleitri),  an  andante,  and  again  an  alltgro,  or 
jn-Mto.  The  most  usual  form,  at  jiresent,  is  a 
brilliant  and  paMsiouate  allegro,  preceded  by  a 
short,  solemn  pas.sage.  Gluek  was  the  first  who 
used  this  form. 

OXIPYCNI.  The  name  given  by  the  ancient 
Greeks  to  high  sounds  in  general,  but  more  par- 
ticularly to  the  highest  of  any  three  notes  that 
are  to  one  another  as  C  natural  to  C  sharp,  and 
C  sharp  to  D  natural.  The  lowest  were  called 
the  baripycni,  and  those  in  the  middle  mesopi/cui. 


OZl,  FRANCOIS,  bom  at  Montpellier,  about 


the  year  1 750,  was  a  celebrated  performer  on  the 
bassoon. 

OZl,  ETIEXNE,  probably  a  Bon  of  the  pre 
ceding,  was  born  at  Nismes,  in  Languedoc,  in 
1754.  He  was  professor  of  the  bassoon  at  the 
Conservatory  in  Paris,  and  also  first  bassoon  at 
the  Academy  of  Music.  He  published  "  Mdthode 
de  lin.ison,  aiissi  pricieuse  pour  les  Mai  Ires  gue  pour 
lea  Eltcta,  aoec  dca  Airs  et  Duos  faciles,"  Paris, 
1787  ;  "  Mithode  nouvelle  et  ralionnie  pour  le  Bas- 
soii,"  second  edition,  Paris,  1800  ;  "  Sept  Concert. 
jMur  Basson,  avec  Ace.  de  Or.  Orc/i.,"  Ops.  3,  4,  fi, 
9,  11,  Paris,  to  1801  —  the  above  were  published 
separately  ;  "  Trois  Sinfon.  cone,  d  (-'tar.  et  Far;.," 
Ops.  6,  7,  10,  Paris,  to  1797;  "  Viu'/t-ijiuiire  Du- 
os a  deux  Bassons,"  Paris,  to  1798;  "Pel.  Airs 
exinnus  var.  pour  deux  Vc,"  Liv.  1,  2,  Paris,  1793 
and  1794  ;  "  Six  Duos  pour  deux  Tc,"  Paris,  1800. 
Ozi's  instruction  book  for  the  bassoon  was  con- 
sidered by  far  the  best  and  most  complete  which 
had  appeared. 

OZl,  MARIE  JOSEPH,  probably  a  son  of  the 
preceding,  was  adjudged  the  jirize  at  Paris,  in 
1 799,  given  to  the  best  young  artist  on  the  piano- 
forte by  the  minister  of  the  interior.  He  wai 
then  only  twelve  years  of  age. 


694 


ENCYCLOr.'EDIA    OF    MUSIC. 


PAC 


P. 


/  This  letter,  by  abbreviation,  sif^nifies  piaiui, 
Hif" ,  denoting  that  the  force  of  the  voice  or  instru- 
uent  is  to  he  (Hmiiiishcd.  P  P.  means  juii  piano, 
»r  more  so.t;  and  P  P  P.,  as  soft  as  possible. 

PACFIS,  orPACE.KIClIAUDUS,  Dean  of 
'U.  Paul's  in  liondon,  iind  a  musical  author,  was 
\  favorite  of  Kin'^  Ilcnry  VIII.,  who  employed  him 
in  several  impovtaut  services.  Cardinal  Wolsey 
rtas  at  leiiiith  the  means  of  his  losing;  his  sover- 
rign's  coiitidencc,  which  art'ccted  him  so  much 
'l.at  he  bciiime  insane.  He  died  in  1.5M2,  beinj^ 
•\bout  fifty,  tho\ij;h,  nceordin<;  to  Hayle,  only  forty 
years  ohl.  He  left,  besides  other  works,  one  cn- 
'itled  "  De  Hestitiitioiie  Muficcs." 

I'ACCHIAROITI,  G.VSPAUO,  was  born  in 
*hc  Uoman  states,  in  17t4.  He  he^an  his  rausi- 
tal  career  in  1770,  at  Palermo,  in  Sicily.  In  1772 
he  was  tlie  principal  singer  in  the  theatre  San 
'Jurlo  at  Niiples,  with  De  Araicis.  For  the  five 
foUowins;  years  he  sang  at  the  i>rovincial  towns 
'u  Italy,  iind  in  177S  went  to  England.  Dr. 
rlurney  says,  that  "  the  natural  tone  of  Pacchi- 
arotti's  voice  was  so  interesting,  sweet,  and  pa- 
thetic, that  when  he  had  a  long  note,  or  iiteian  di 
•ote,  he  (the  doctor)  never  wished  him  to  change 
.'t,  or  to  do  any  thing  but  swell,  diminish,  or  )>ro-  [ 
Ving  it,  in  whatever  way  he  plea.sed."  A  great 
»oiupass  of  voice  downwards,  with  an  ascent  to 
13  fiat,  and  ^omct>mes  to  C  in  alt.,  with  an  un- 
loundetl  lancy,  and  the  power  not  only  ol  exe- 
•;uting  the  most  refined  and  dilKcult  passages  of 
ither  singers,  btit  likewise  of  inventing  new  em- 
bellishment.-', which  had  never  then  l)cen  on  pa- 
per, made  him,  during  his  long  residence  in  Eng- 
land, a  new  singer  every  time  he  was  heaid.  To 
sum  up  his  merits,  it  may  be  said  that  his  voice 
was  naturally  most  sweet  and  touching  ;  that  he 
had  a  fine  shako  and  e.Kciuisitc  taste,  great  fancy,  ; 
and  a  divine  expression  in  iiathctic  songs.  In  ' 
the  summer  of  1779,  Pacchiarotti  left  England  i 
for  Italy,  but  returned  in  17H(),  and  continued 
princii)al  >ingcr  at  the  opera  till  the  commemo- 
ration of  H'Uidel  in  1784  He  then  again  went  to 
Italy,  and  atterwards  lived  in  retirement  at  Padua. 
Tlie  following  ane.'dotc  is  related  of  Pacchiarotti. 
The  "  Ar:ax<ries  "  of  Metastasio  was  performed  in  I 
one  of  the  first  theatres  of  Rome,  with  the  music 
of  Hertoni.  Pacchiarotti  executed  the  |>art  of  .\r-  ; 
bace-..  During  the  third  reprcentation,  at  the  fa- 
mous judgment  scene,  in  which  the  author  had  i 
])laced  a  short  symphony  after  the  words  "  Epftur  • 
mini  iiuio  title,"  the  beauty  of  the  situation,  the  ' 
music,  and  the  e.xpression  of  the  singer,  had  so 
enraptured  the  musicians,  that  Pacchiarotti  per- 
ceived, alter  he  had  uttered  these  words,  the  or- 
cliestra  did  not  pro^-ecd  with  the  symphony. 
Displeased,  he  turned  angrily  to  the  leader,  ex- 
claiming, "  What  are  you  about  r  "  The  leader, 
as  if  awaking  from  a  trance,  8obbe<l  out  with 
great  simplicity,  "  We  are  crj'ing."  In  fact,  not 
cne  of    the  performers  had  thought  of  the  sym 


PACCHIOXI,  DON  ANTONIO,  of  Modena. 
was  born  in  IG.VI.  Ho  was  a  pupil  of  Ercoleo 
and  of  (iiov.  Mar.  liuononcini.  After  having 
profoundly  stmlied  the  works  of  Pales'.rina,  ho 
became  highly  celebrated  in  the  science  of  coun- 
terpoint, liesidcs  the  composition  of  much 
church  music,  an  opera  by  him  is  knowii,  which 
was  performed  at  Ntodena  in  l'i.i2,  entitled  "  L<t 
(jran  M(Uilt/<i."     He  died  in  17.iS. 

PACCIO'ITI,  EUANCESCO.  An  Italian  pro- 
fessor. The  Milan  Indicc  de  S/irtlac.  'I'catr.  names 
him  as  an  opera  composer  between  the  years  1788 
and  1791. 

PACE,  ANTONIO.     Cerreto  names  him,   in 
IfiOO,  amongst  the  then  celebrated  Italian  eon- 
I  trapuntists.     Walthor   ha.H  also    named    a  PUtio 
\  Pace  as  a  celebrated  prolessor. 

P.VCE,  (ilOV.  IJ.VlTI.^l'A.  A  contrapuntist 
in  Italy,  of  the  sixteenth  century.  Some  of  bin 
comi)Ositions  are  to  be  found  in  De  Aiiti'/iii.i,  Lih. 
1,  d  2  voci,  de  difpmi  Aiitori  de  liari,  Venice,  1.58.5. 

PACK,  VINCENT.  A  contrapuntist  in  the  lat- 
ter half  of  the  sixteenth  century. 

PACEI.LI,  ASl'iaLIO.chai)el-masterf.t  War- 
saw, was  born  in  1.570  at  Vawciano,  in  Italy.  He 
was  at  first  director  of  music  in  the  (jennan  col- 
lege at  Rome,  but  received  an  invitation  Irom  King 
•SigLsinund  111.  of  Poland  to  War.suw,  as  roval 
ehai)el-miister  ;  which  otHce  he  filled,  with  great 
credit  to  himself,  for  upwards  of  tweutv  vears, 
and  died  there  iu  1<)2.'!,  aged  fifty-tluee.  He  whs 
buried  in  the  Church  of  St.  John  the  liaptist, 
where  the  king  caused  a  monument  to  be  erected 
to  him  with  a  very  honorable  inscrii)tion,  from 
which  the  above  particulars  are  chietly  derived. 
Of  his  printed  works  we  can  enumerate  "  Canti- 
0)us  Sacnr,  o,  C>,  8-10  bU  20  coc,"  Frankfort, 
1  f)04  ;  "  I'aalmi  et  MoMti,  8  coc  ,"  Franktort,  li>07  ; 
"  CaiUhiies  Sacra,  .5,  G,  7-20  roc,"  Frankfort, 
1708;  "  I'sahiti,  Moletti,  el  Mat/iii/icaf,  4  r.x.," 
Frankfort ;  •'  Miulri'jali  a  4  voci.  Lib.  I,"  Frank- 
fort; and  "  Madriya/i  A  6  voci,  Lih.  2,"  Frankfort. 
Some  of  Pacelli's  pieces  are  also  to  bo  founil 
amongst  t'abio  t'uataittini,  Scleclie  Caiitiuites  excti'  ' 
leiiti-isim.  Alitor. 

P.VCELLI,  ANTONIO,  a  Venetian  composer, 
is  especially  known  by  a  cantata  (.Imor  tiifrnte 
published  in  172:),  and  by  the  music  of  the  drama 
"  //  t'liUii  Kiiiii,"  performed  at  Venice  in  I'iOS. 

PACHEI.BKI..  JOIIANN.  a  celebrated  organ- 
ist and  composer,  was  born  at  Nuremtierg  in  tho 
year  lr.,5.i.  Discovering  in  hLs  youth  a  strong  in- 
clination for  science,  he  was  proviilcd  bv  his  par- 
ents with  the  able-t  instructors  that  could  he  pro- 
cured. He  studied  for  some  time  at  .Vltdorf,  but 
finding  him.self  straitened  in  circumstances,  ho 
removetl  to  the  (iymnasium  Poeticum  in  RatU- 
bon.  Here  he  continuetl  throe  years,  prosecuting 
his  studies,  jiarticulorly  in  music,  with  no  much 
dilii;enco,  that   the   fame  of   his   proticiencv  was 


phony,  and  all  ha<l  their  eyes,  suffused  with  tears,     spread  throvighout  all  tiemiany.  On  hi.s  quitting 
tlxed  on  tiie  singer.      He  died  at  Padua  in  1821.     liatisbon,  he  went  to  Vienna,  and  become  depuii 


695 


PAC 


ENCYCLOPAEDIA    OF    MUSIC. 


PAC 


to  the  orgniiist  of  St.  .Ste;)hcji'8  Church  in  that 
•^ity.  Tliis  Hitualioii,  thou<;h  attended  witli  little 
jirotit,  he  found  very  agreeable,  a.s  it  procured  him 
the  friendship  and  acquaintance  of  Kcrl,  at  that 
time  chapel-imi.ster  at  Vienna.  In  Ui7o,  I'achel- 
tiel  was  sent  for  to  Eisenach,  and  was  there  pre- 
feiTed  to  the  dij;:nlty  of  co\irt  orj^niiist.  liiree 
years  afterwards  he  removed  to  Ivrlurt,  where  his 
alnlitics  caused  liim  to  be  eminently  distinguished. 
In  K)itO,  he  was  invited  to  Stuttgard,  but  that 
city  beinj;  threatened  with  inva>ion  by  the  French, 
he<iuitted  it,  and  settled  at  Gotha.  Not  lon^;  af- 
ter this,  on  the  death  of  Wecher,  he  succeeded  to 
his  ])lace  as  orf^anist  of  Nuremberg,  in  which  he 
(ontinued  till  his  own  death,  about  the  year  1706. 

Pachelbel  is  celebrated  as  one  of  the  most  ex- 
cellent of  those  German  organists  of  whom  Kerl 
is  accounted  the  father.  He  studied  the  grand 
and  full  styles,  which  he  labored  much  to  im- 
prove. 

The  works  of  Pachelbel,  that  are  known,  are 
very  lew,  being  only  four  funeral  hymns,  com- 
l)0sed  at  Erfurt  during  the  time  that  a  violent 
pestilence  raged  there ;  seven  sonatai)  for  two 
violins  and  a  bass;  an.l  airs,  with  variations, 
printed  at  Nuremberg. 

PACHELI5EL,  WILIIELM  IIIERONYMUS, 
pon  of  the  preceding,  was  born  at  Erfurt,  about 
the  year  108.5.  Ilis  father  taught  him  the  harp- 
sichord and  composition  ;  by  means  of  which  in- 
struction, he  acquired  sulHcicnt  skill  to  fill  with 
credit  the  situation  of  organist  at  Wohrd,  near 
Nuremberg.  In  ITOfi  he  was  nominated  organ- 
ist of  St.  James's  Church  at  Nuremberg.  His 
published  works  are  "  Musical  .■Amusements,  con- 
sisting of  a  Prelude,  Fugue,  and  Fantasia,  for  the 
Organ  or  Harpsichord,"  Nuremberg,  1725,  and 
"Fugue  in  F  for  the  Harpsichord,"  Nuremberg, 
1725. 

PACHNER,  EUGEN,  an  excellent  violinist, 
born,  in  1747,  at  Melnik,  in  Bohemia,  resided 
last,  as  ex-Kencdictine  monk,  with  his  friends  at 
Zdi/,  where  he  died  in  1790. 

PACHYMERE,  GEORG.  Born  in  1242,  in  a 
town  of  the  Ottoman  states.  Having  studied 
theology  and  the  sciences  during  many  years,  he 
entered  on  the  ecclesiastical  functions.  Among 
numerous  other  interesting  works,  he  wrote  "  De 
Jlarmoiiicfi  H  Mti-sicfi,"  and  "  De  qiuUuor  KcientiU 
Mnt/icnia/icii,  ArithimticA,  Mtisicd,  Geoinetrid,  el 
Astro  no  III  id." 

PACINI,  ANDREA.  A  celebrated  Italian  so- 
prano singer  at  Venice  about  the  year  1725. 

P.\CINI,  ANNA,  a  celebrated  Italian  singer, 
performed  at  Hanover  between  the  years  1783 
and  178().     Her  voice  was  a  fine  counter  tenor. 

PACINI,  LUIGI,  a  good  buffo  singer,  was 
born  at  Rome  in  177(5.  His  voice,  at  first  a  tenor, 
gradually  became  bass.  He  was  a  lavorite  at  Mi- 
lan, where  he  sang  often  in  the  theatre,  between 
the  years  1801  and  1819.  Ilis  last  ap|  earance 
was  in  the  autumn  of  1819,  in  the  theatre  of  I.a 
Scala.  In  the  latter  part  of  his  lile  he  was  teach- 
er ol  singing  in  the  Conservatory  at  Viareggio, 
where  h(^  died  in  1837.  He  was  tlie  brother  of 
Anna. 

PACINI,  (i.  A  Neapolitan  composer,  born 
■bout  the  year  1774.  He  studied  composition  at 
the  Con-ervatory  of  I.a  Piet.i.  In  1805  he  was 
tt  Paris,  and  brought  out,  at  tlie  The  itre  Feydeau 


the  opera  "  IsaJieUc  et  Gertrude;  "  and  in  1808.  at 
the  same  theatre,  "  Amour  et  mainaiac  T/'le,"  in 
three  acts.  Pacini  wan  one  of  the  editors,  with 
Plangini,  of  the  "  Journal  ties  Troubadours  pour  U 
Chant,"  publLshed  periodically  at  Paris. 

PACINI,  GIOVANNI,  the  celebrated  opera 
composer,  son  of  Luigi,  known  in  Italy  as  T acini 
di  lioma,  was  born  in  ."Syracuse,  in  1 795,  but  was 
sent  to  Rome  for  his  musical  education  aX  a  vcrv 
early  age.  From  there  he  went  to  Rologn.1, 
where  he  received  lessons  in  singing  from  Mar- 
chesi,  and  in  harmony  and  counterpoint  from 
Mattel.  Before  completing  these  lessons  he  went 
to  Venice,  and  had  some  instruction  from  the 
old  mM:stro  di  capilUi,  at  St.  Marks,  Furlanetto. 
Destined  by  his  parents  for  a  place  in  some 
chapel,  he  began  with  writing  church  music. 
But  his  taste  soon  led  him  to  the  theatre,  where 
he  composed,  at  the  age  of  eighteen,  a  little 
opera,  called  "  Annetta  e  Lucindo"  which  was  fa- 
vorably received  at  Venice.  In  1815  he  wrote  a 
farce  for  Pisa,  and  in  the  same  year,  his  "  liosina," 
for  Florence.  In  1817  he  wrote  four  operas  for 
a  small  theatre  in  Milan.  From  Milan  he  went 
to  Venice,  where  he  wrote  "  L' Ingenua,"  and 
returned  to  Milan  in  the  carnival  of  1818,  to  give 
his  "  Adelaide  e  Comiiujid."  This  opera,  con- 
sidered one  of  his  best  productions,  was  followed 
by  "  U  Barone  di  Dohheim"  at  La  Scala.  To 
these  works  succeeded,  in  the  principal  Italian 
cities,  "  L' Ambizione  Diiusa"  "  Gli  Sjionsali  de 
Sil/i,"  "  II  Faleyname  di  Livonia,"  "  Ser  Marcan- 
tonio,"  "  La  Sposa  fedele,"  "  La  Sc/iiava  di  Bag- 
dad," "  La  Gioventii  d' Enrico  V.,"  "  La  Vestale," 
"  L' Eroe  Scozzese,"  "  La  Sacerdotezza  d'  Irminsul," 
"  Atala,"  "  IsabfUa  ed  Enrico,"  and  many  other 
works.  In  1824  he  made  his  debut  at  Naples, 
by  "  Alesxandro  tielle  Indie."  Here  he  married  a 
young  Neapolitan  lady,  and  lived  in  retirement 
for  about  a  year.  In  the  summer  of  1825  his 
"  Ainazilia"  was  produced  at  the  San  Carlos; 
and  on  the  1 9th  of  November  following,  for  the 
festival  of  the  queen,  his  "L'VUimo  Gvirno  di 
Poinpeia,"  a  serious  opera,  reckoned  among  his 
best  works.  In  1826  his  "  S'iobc,"  written  for 
Pasta,  was  brought  out,  at  fir.st  with  doubtful 
success,  but  afterwards  with  general  acceptance. 
For  some  time  after  this,  Pacini  lived  in  a  hired 
house  at  Portici,  near  Naj)les,  having  already 
written,  at  the  age  of  hardly  thirty,  about  thirty 
operas,  several  masses,  cantatas,  and  some  insti'u- 
mental  music.  But  this  activity  did  not  con- 
tinue. Between  1826  and  the  summer  of  1828, 
M.  Fctis  knows  of  no  work  of  Pacini's,  except 
"  /  Crociati  in  Tohmaide,"  which  was  successfully 
performed  at  Trieste.  In  December  of  1828  he 
went  to  Turin,  to  bring  out,  at  carnival,  "  Gli 
AraS  nelle  Gallic."  one  of  his  best  works.  'I'his 
was  succeeded,  in  1829  and  1830,  by  "  ilargherita 
d'Anjou,"  "  Cesare  in  Egitto,"  and  "  Gianni  di 
Ciilais."  In  this  last  year  his"  Giovanna  d'Arco" 
failed  at  La  Scala,  although  sung  by  Ru- 
bini,  Tamburini,  and  Mme.  Lalande.  .Since  that 
time  Pacini  has  not  been  much  before  the  world, 
although  an  opera  of  his,  called  "  ■'<<iJfo,"  has 
even  enjoyed  popularity  in  the  theatres  of  New 
York  and  Boston.  Fetis  gives  him  credit  for 
melody,  facility  of  style,  and  good  understand- 
ing of  stage  effect  ;  but  adds,  that,  being  an.  imi- 
tator of  Rossini,  he  shared  the  fate  of  his  model, 
i  so  prematurely  abandoned  by  the  Italians. 


C96 


PAD 


ENCYCLOPiEDIA    OF    MUSIC. 


PAO 


PADUAXA.  SKiNOlLV.  a  singer,  eUucnted 
•t  the  Conservatory  Dellc  Meiulicnntc,  at  Venice. 
In  1768  she  was  considered  to  possess  the  finest 
voice  of  any  feiuale  in  Italy. 

P.EAN.  .\  honi;  of  victory,  sunj^  by  the  an- 
fient  Ort-eks  in  honor  of  tlio  j^ods,  but  chietly  of 
Mars  and  Apollo.  Also  the  name  of  a  certain 
foot  in  i)oetry,  iiro])er  to  the  jxran.  (iuintilian 
derives  the  word  from  the  ])roi)cr  name  of  J'trnn, 
a  j)hysician  to  whom  he  attributes  the  invention 
of  this  s]  eiies  of  hymn  ;  but  I'lutnrch  j;ives  the 
hoi\or  of  its  orijjin  to  Thaletas. 

rAKU,  FKUniN.VNDO.  This  eminent  dra- 
minic  composer  was  born  at  I'arma,  in  1771. 
After  luivin;^  studied  in  the  seminary  of  that 
town,  he  devoted  himself  to  composition  under 
(ihiretti,  a  Neapolitan,  and  adjunct  of  the  cele- 
brated ."sala  at  the  Conservatory  of  La  Piet.'i.  At 
the  Hfje  ol  ten,  I'aOr  went  to  Venice,  and  not  long 
afterwards  w  rote  an  op',"ra  there,  "  Circe,"  which 
Mas  successtul.  From  Venice  he  proceetletl  to 
I'adun,  Milan,  Florence,  Naples,  Uorae,  Bologna, 
iVc.  At  lcn;;tli  tl\e  Duke  ot  I'arma,  who  was  his 
godfather,  bestowed  on  him  a  pension,  giving  him 
permission  to  travel  to  Vienna,  for  the  purixise 
of  composing  some  works  in  that  city.  On  the 
death  of  Naumann,  in  1801,  I'ai'r  was  invitetl  to 
Dresden,  with  the  appointment  of  chapel-master 
for  life.  His  patron,  the  Duke  of  Panua,  dying 
about  this  period,  gave  I'aur  the  op(X)rtunity  ot 
accepting  the  otfer  of  the  Elector  of  Saxony  ;  and 
lie  accordingly,  soon  after,  arrived  at  Dresden, 
where  he  composed  several  operas,  each  of  which 
met  with  brilliant  success.  After  the  battle  of 
Jena,  Napoleon,  bein^  at  Dresden,  desired  that 
I'aOr,  together  with  his  wife,  who  was  an  excel- 
lent singer,  should  l)e  engaged  in  his  suite.  They 
accordingly  followed  the  emjieror  to  Posen  and 
Warsaw,  where  they  gave  several  concerts,  at 
which  Napoleon  wtis  present,  who  alterwards  ob- 
tained their  regular  discharge  from  the  Saxon 
court,  and  engaged  Pai'r  for  the  court  of  France  ; 
upon  which  he  proceeded  to  Ptuis,  where  he  sub- 
sequently continued  to  reside.  The  situations 
which  he  held  under  Napoleon  were,  conduct- 
or of  the  chamber  music  and  composer  to  the 
emperor.  PaCr  was  a  member  of  the  Academy 
of  the  Fine  .Vrts  at  Naples,  and  of  those  at  Bologna 
and  Venice,  lie  had  composed,  up  to  the  year 
ISll,  thirty  operas,  exclusive  of  overtures,  sona- 
tas, cantatas,  ariettes,  and  other  light  composi- 
tions. The  operas  w  hich  he  brought  out  in  Italy, 
with  great  success,  are,  "  Ciree,"  "  La  Locaiuia  de 
Vayabomlt,"  "  Oto  fa  tiitto,"  "  LaodUva,"  "  Cin- 
iia,"  "  Ai/nesr,"  "  L' IiitriffO  amoroso,"  "II  I'riit- 
cipe  di  I'araiUo,"  "  Idoineneo"  "IdiuSordi,"  "La 
Testii  riacaltUita,"  "La  GrueltLt,"  Sec.  Those  com- 
posed at  Vienna  are,  "  CamiUa,"  "  //  Moiio 
vifo,"  "  (Uitccra  dojli  Atnu'i-i,"  and  "  Achille." 
llis  works  for  the  Austrian  court  consist  in 
cantatas  lor  tlie  Empress  Thercim,  with  whom 
lie  had  the  honor  of  singing  them.  They  are 
entitled  "  Haifo  ed  ArUulmi,"  "  L<t  CoHrentuiont 
amtonica,"  "  //  TrUmJo  deUa  Chieia  Cailolica," 
md  "  //  S.  Sepolen>."  At  Dresilcn  he  cntnposed 
the  following  operas  :  "  I  J'iu>r'  tucili,"  and  "  Le- 
unura  ,"  and  at  Prague,  "  Suffimi ;  "  tlie  success 
of  which  was  the  more   flattering  to  PaiT,  as  it 


his  operas,  "  //  Priitcipe  di  Turanto,"  "  L<t  Camtl- 
la,"  and  "  La  (iiuMa,"  had  been  submitted  to  the 
Parisian  public,  and  well  receiveil.  While  re- 
siding in  France  he  composed  the  following 
ojjcras  :  "  .Vhhih  PompiUo,"  "  /  liactilnti,"  "  l)i- 
dime,"  "  I^  Miiilre  de  l'h<ii>elle,"  a  French  opeia, 
and  the  cantatas  "  F.loita  e  Abelardo,"  •'  Safo," 
and  "  L'liase  e  l'ciieloj>e."  PaOr  died  at  Paris  in 
1839. 

PAftH,  MME.  KICCAUDI,  wife  of  ths 
jireceding,  was  born  at  Parma.  She  was  con- 
sidered an  excellent  sinjjer  at  Dresden,  mid  ac- 
companied her  husband  to  Paris,  after  which 
time  she  principally  resided  with  her  fam>lv  in 
Italy. 

PAtiANEI.I.I,  Oil's.  ANT.,  conductor  of 
the  chamber  music  of  the  King  of  Spain,  was 
born  at  Padua.  In  17.')'!,  he  was  at  .\ui;sburg, 
and  pianist  in  the  orchestra  at  the  tlieatre  there. 
Several  of  his  operas  arc  known,  also  some  in- 
strumental music,  and  a  part  of  the  odes  of 
Horace  set  to  music. 

P.VtJ.VNINI,  NICOLO,  was  born  in  (ienoa, 
in  February,  178i.  His  father,  Antonio,  was  by 
pro.'ession  a  packer,  of  Portofranco,  and  being  a 
lover  of  music,  and  having  early  j)crccived  the 
line  disposition  of  his  son  for  this  art,  placed  him 
while  a  child  to  learn  the  violin.  But  Antonio 
being  most  of  his  time  in  the  house,  where  he 
established  a  species  of  lottery  to  jirocure  small 
gains,  the  edvication  of  Nicolo  was  severe,  as  he 
was  obliged  to  attend  to  these  matters  and  also 
to  his  violin.  At  the  age  of  eight  years,  his  moth- 
er, Teresa  Bocciardo,  dreamed  that  an  angel 
came  to  her,  and  revealed  to  her  that  her  son 
woidd  be  a  great  performer.  At  this  age,  in  fact, 
he  composeil,  under  the  direction  of  his  father,  a 
sonata  of  so  dilKcult  a  nature  that  none  but  him- 
self could  execute  it.  At  this  time  he  went  three 
ti'ues  a  week  to  perfonn  in  one  of  the  chxirches, 
and  the  next  year,  at  the  age  of  nine,  was  brought 
forward  for  the  tirst  time  at  the  theatre,  on  which 
occasion  he  executetl  some  variations  of  his  own 
composition  on  the  republican  French  air  L'l  Car- 
wiu/iioU,  lieing  for  the  benefit  of  the  celebrated 
soprano  Marchesi. 

He  now  took  thirty  les.sons,  in  six  months"  tui- 
tion, under  the  direction  of  Costa,  the  most  skilful 
master  of  the  violin  at  Oenoa,  alter  whioh  his 
father  took  him  to  Panna,  to  place  him  under 
Uolla.  'Iliis  latter  being  sick,  his  wife  reiitiestcd 
the  son  and  father  to  remain  in  a  room  near  that 
where  her  husband  was  contined  to  his  bed. 
Young  Nicolo,  seeing  a  violin  and  new  concerto 
lying  on  the  table,  played  off  the  jiiece  at  sight 
in  so  beautiful  a  manner  that  Uolla  would  not 
believe  it  was  jierformetl  by  a  child  until  he  saw 
him  do  it  witli  his  own  eyes.  He  then  told  the 
young  Pagauini  he  could  teach  him  nothini;,  and 
recommended  him  to  go  to  PaCr,  wlio  wa^  then 
director  of  the  Conservatory  of  Parma,  and  who 
contidcd  hira  to  the  care  of  Giretti,  master  of 
the  chapel,  who  gave  him  three  l»>~.sons  a  week 
in  counterpoint  for  six  months.  Pauiinini  then 
composed  in  the  way  of  study,  and  without  the 
instrument,  twenty-four  pieces  lur  four  hands. 
PaOr  then  took  so  deep  an  intere-t  in  him,  that 
he  gave  two  lessons  of  instruction  a  day.     Alter 


Ras  in  this  city  that  Mozart  composed  his  chef'»  \  lour  months  of  that  exercise,  V.iCi  bvggrtl  ol  him 
i'acurii;  "  Ihii  Jiiait,"  "  t'ii/aro,"  and  •'  Cl^meiiza  di     m  duetto,  which   the  pupil  coiuposetl  with  onlir* 
7\t(."    Before  PaOr's  tirst  lurival  at  Paris,  three  of  I  salislaction  to  the  iiiiuiter. 
88  697 


'AO 


ENCYCLOPAEDIA    OF   MUSIC 


PAa 


rKsBiiini  afterwards  visited,  with  bis  lather,     nini  proposed  to  give  him  the  income,  which  he 


the  priiui'pal  cities  of  Northern  Italy,  where  he 
pave  conctrts  with  great  applause.  At  fourteen 
he  finally  escaped  from  the  severe  tutelage  of  his 
father,  luid  went  with  his  brother  to  Lucca,  where 
he  gave  ii  concert  with  great  success.  In  tact,  he 
created  ;i  profound  sensation.  He  then  travelled 
from  city  to  city,  his  own  raatiter,  and  was  all  the 
rage.  He  also  exercised  himself  on  the  guitar, 
which  he  played  with  rare  perfection,  though  he 
deemed  it  an  inferior  instrument.  "  I  do  not 
like  the  guitar,"  he  said,  "  but  I  esteem  it  as  a 
conductor  of  thoughts.  I  take  it  sometimes  to 
])Ut  my  imagination  in  exercise,  or  to  smooth 
down  for  me  some  difficulty  that  I  cannot  e.xe- 
cute  on  the  violin."  In  his  twenty-first  year  he 
accepted  of  a  permanent  situation  at  the  court 
of  Lucca,  where  he  was  retained  a  long  time  by 
a  love  artair.  It  was  at  that  epoch  he  commenced 
his  celebiated  performance  on  the  large  chord.  At 
Lucca,  besides  directing  the  orchestra  every  time 
tlie  royal  family  came  to  the  opera,  he  played 
three  times  a  week  at  court,  and  every  fifteen 
days  composed  a  grand  concerto  for  the  royal 
circle,  at  which  was  often  present  the  reigning 
princess,  Eliza  Racciocchi,  the  beloved  sister  of 
Napoleon.  "  She  never  staid,"  says  Pagantni, 
"  to  the  end  of  my  concerto  ;  for  when  I  came  to 
the  harmonic  sounds,  she  found  her  nervous  sys- 
tem too  strongly  excited  by  them.  Fortunately 
for  rae,  there  was  another  amiable  lady,  who  was 
not  so  much  affected,  and  who  never  quitted  the 
circle.  Her  passion  for  music  made  her  pay 
Eome  attention,  and  I  thought  that  she  would 
not  always  be  insensible  to  the  admiration  which 
I  had  for  her  beauty.  I  promised,  one  day,  to 
surprise  her  in  the  succeeding  concert  with  a  so- 
nata which  would  have  reference  to  our  attach- 
ment. At  the  same  time  I  announced  to  the 
court  a  comic  novelty  or  love  scene.  Curiosity 
wa.s  keenly  excited  when  I  presented  myself  with 
my  violin,  deprived  of  the  two  middle  chords,  so 
that  I  had  only  the  G  and  E.  The  first  was  to 
personate  the  lady,  the  second  the  man.  It  com- 
menced with  a  species  of  dialogue,  which  was 
intended  to  represent  the  caprices  of  an  amorous 
friendship,  or  the  little  passions  and  reconcilia- 
tions. The  chords  now  gave  out  moans,  sighs, 
and  groans,  now  sported,  laughed,  or  broke  forth 
into  the  most  drunken  madness.  The  reconcili- 
ation terminated  with  a  coda  brillante.  The  com- 
position pleased  ;  the  person  for  whom  I  had 
written  it  recompensed  me  with  a  sweet  smUe, 
and  the  Princess  Eli/.a  said  to  me,  '  Since  you 
have  done  so  fine  a  thing  on  two  chords,  can  you 
make  us  hear  something  marvellous  on  onef 
Smiliiii;  at  the  remark,  I  proiuLsed  to  do  so,  and 
after  some  weeks,  on  the  day  of  St.  Napoleon, 
I  executed  on  the  chord  C  a  sonata,  which  I  enti- 
tled Sajiolmne.  It  had  an  eftect  so  captivating, 
that  a  cantata  of  Cimarosa,  which  was  executed 
the  same  evening,  obtained  scarcely  the  same  ap- 
plause. This  led  me  to  pi-acti-e  on  one  chord 
only."  I'aganini  then  informs  us  that  hLs  pas- 
Bion  for  travelling  and  being  independent  seized 
him  anew  ;  his  gains  amounted  already  to  twen- 
ty thousand  francs,  and  he  proi)osed  to  give  a 
portion  to  his  parent.s  before  leaving  them.  His 
father  was  not  satisfied,  and  threatened  to  kill 
him  if  he  did  not  give  up  the  whole,  which  he 
thought  but  a  poor  compensation  for  the  sacri- 
ficew  l.e  had  made  in  educating  his  sou.     I'aga- 


acceptcd  ;  and  the  son  went  for  that  purpose  to 
hypothecate  the  whole  by  a  legal  process.  After 
his  death,  says  he,  "  I  took  care  of  my  mother  — 
to  me  a  sweet  duty."  He  lent  to  his  sister  the 
sura  of  five  thousand  francs,  which  she  soon  dis- 
sipated. The  second  sister,  tlirough  the  inter- 
cession of  her  mother,  obtained  also  a  considera- 
ble sum,  which  her  husband  soon  squandered  in 
gambling.  The  life  of  Paganini  presented  then 
nothing  remarkable  until  the  year  1813,  when  he 
api)eared  at  Milan,  where,  for  two  or  three  years, 
his  concerts  caused  an  immense  sen.sation.  His 
variations  called  "The  Witches"  excited  the 
most  vivid  enthusiasm  ;  and  while  director  of  the 
Philharmonic  Society  of  Milan,  he  contended 
successfully  with  the  violinist  Lafont.  In  18 IG 
he  gave  concerts  at  Venice,  where  he  met  with 
the  Germati  violinist  Spolu-,  whom  he  considered 
the  first  cantaiUe  violinist. 

In  1817  Paganini  was  at  Verona  ;  in  1818  at 
Turin  and  Piacenza ;  in  1819  at  Rome,  Florence, 
and  Naples;  in  1821  at  Rome;  in  1822  at  Milan. 

In  the  carnival  of  1827,  at  Rome,  Pope  Leo 
XII.  decorated  him  with  the  grand  order  of  the 
Golden  Spur.  He  was  then  forty-three  years  of 
age,  and  had  not  been  out  of  Italy.  At  Vienna 
the  emperor  gave  him  an  honorary  title,  and  the 
city  decreed  to  him  a  medal.  His  travels  through . 
Germany  were  a  triumphal  march.  The  King 
of  Prussia  named  him  master  of  the  chapel. 
England  and  France  confirmed  his  unexampled 
success.  The  naturally  delicate  constitution  of 
Paganini  had  been  rendered  more  feeble  by  ex- 
cessive labor,  and  the  privations  he  endured 
while  a  child,  and  his  extreme  enthu-^iasm  for 
his  art.  He  was  attacked  while  he  was  a  child 
with  an  affection  of  the  chest.  He  was  severely 
afflicted  also  with  some  complaint  of  his  eyes, 
and  underwent  an  operation  which  nearly  lost 
him  the  left  eye.  Besides  which,  by  his  own 
confes-sions,  he  indulged  while  young  in  every 
kind  of  excess.  He  had  to  struggle  against  much 
ojiposition,  and  many  times  lost  the  entire  pro- 
ceeds of  his  concerts.  A  favorite  saying  of  his 
was,  "  One  must  suffer  much  to  make  others  feel," 
which  was  confirmed  every  time  he  played  the  ada- 
(jin  movement.  In  reference  to  the  extraordina- 
ry and  un])recedented  mastery  he  obtained  over 
the  violin,  hLs  friend  Schottky  affirmed  that  Pag- 
anini possessed  a  musical  secret,  by  means  of 
which  a  pupil,  in  three  years,  would  acquire  a 
conception  of  the  capacities  of  the  instrument. 
Paganini  himself  declared  it  to  be  a  fact  that  he 
possessed  this  secret,  and  that  Gaetano  Ciandalli, 
of  Naples,  was  the  only  person  acquainted  with 
it.  "  After  long  and  severe  studies,  and  the  or- 
dinary methods,  Gaetano,"  says  Paganini,  "  ar- 
rived only  to  a  mediocre  perlection  on  the  violon- 
cello. I  professed  much  friendship  for  him,  and 
gave  him  my  discovery.  In  three  days  he  was 
another  person.  The  sounds  which  he  drew 
from  the  instrument,  and  his  movement  of  the 
bow,  were  much  better  than  before."  Paganini 
promised  that  he  would  one  day  completely  ini- 
tiate the  public  into  tins  mystery.  The  biograph- 
ical sketch  from  which  we  have  taken  these  inter- 
esting details  thinks  tliis  mystery  may  perhaps 
be  explained.  He  was  accustomed  to  play  his 
pieces  in  a  way  and  often  in  a  tone  written  so 
high  that  no  orchestra  could  accompany  him. 
This  circumf  jince  explains  in  part  the  strange 


693 


PAG 


ENCYCLOPEDIA    OF   MUSIC. 


PAl 


by  professor  Schottky,  of  PrB(»uc  —  "  Pa/janinC. 
Leben  und  Treiben,"  Prague,  1830. 

I'AGENDAIIM,  J.\C()H,  singer  at  I.vihec. 
was  born  in  KUfi.  He  jjronounfed  a  celebrated 
oration  on  music  at  the  time  of  his  ))cinf;  appoint- 
ed to  the  above  situation.  He  died  in  1701.  A 
work  of  his  was  published  at  Lubcc,  entitled 
*'  CaiUioiiei  Sacrce." 

P.\GIX,  born  in  1730,  travello<l  into  Italy 
from  France  for  the  e.\i)re-i(i  jnirposc  of  receiving 
lessons  from  Tartini.  He  had  scarcely  at;aine<.l 
the  a^e  of  twenty,  when  he  returned  to  ParU, 
and  fre<iuently  performed  at  tha  C.y^cri  S;''riliiel, 
with  the  greatest  success  :  but  as  he  would  jier- 
fonn  no  music  but  that  of  Tartini,  the  French 
musicians  oi>poscd  him  ;  and  the  ironical  ap- 
plauses that  he  received  at  one  of  the  above  con- 
certs decided  him  not  to  appear  nt  any  more  of 
them.  He  was  then  engaR«l  in  the  suite  of  the 
Count  of  Clermont.  In  1770,  Dr.  llurney  heard 
him  in  a  private  party,  and  admired  the  exjires- 
sion  and  lightness  of  his  execution.  He  pub- 
lished sbc  souiitas  for  the  violin,  Paris,  1748. 

PAGXUZZI,  P.  GIU.SEPl'E  LORENZO, 
organist  at  the  convent  of  the  holy  mount  Dell' 
Alvernia,  in  the  Florentine  states,  and  member 
of  the  Academia  Filarmonica  at  Bologna,  was 
born  at  Fabrino  in  1738,  and  died  at  his  convent 
in  1802,  where  he  had  devoted  thirty  years  to  the 
science  of  music  ;  maintaining,  both  a*  a  theoreti- 
cal and  practical  professor,  but  chiefly  as  an  or- 
ganist, a  distinguished  rank  amongst  the  first 
artists  of  Italy. 

PAISIDLE.  A  celebriited  flutist  and  composer 
for  that  instrument  in  England,  towards  the  end 
of  the  seventeenth  century.  He  i)ublished  "  Mu- 
sick  performed  before  her  Majesty  and  the  new 
King  of  ypain,  three  Overtiires." 

PAISIIJLE,  N.,  A  celebrated  vioHnist  at  t' e 
Concert  Spiriliiel  at  Paris,  and  musician  to  t^e 
Duchess  of  liourbon  Conti,  was  born  in  that  city  in 
1745.  He  was  one  of  the  best  pu])ils  of  (iavir.ics, 
who,  charme<l  with  his  talent,  assisted  him  in  ob- 
taining the  preceding  situations.  Early  in  lilehi 
travelled  through  a  part  of  France,  the  Low 
Countries,  Ucrmany,  and  as  far  as  Petersburg 
obtaining  every  wheie  success  as  an  artist.  At 
Petersburg,  however,  when  he  wished  his  play- 
ing to  become  known  to  the  empi€h<s,  Lolli,  who 
was  then  in  the  service  of  that  court,  prevented 
him  by  his  intrigues  from  being  heard  by  the 
empress.  He  then  gave  two  public  concerts 
which  producing  him  a  sum  insutKcient  for  his 
maintenance,  induced  him  to  en'.;age  in  the  ser- 
vice of  a  Russian  count,  with  whom  he  went   to 

,  .  ,    .^  ..  »     t-         VI  1  T.-  Mo-scow.     He  did  not  loni;  continue  in  this  ofticc, 

■which  It  went  to  her  children.     Jus   vouncest     v»         -.i.  _.        11,1.1 

-        ^|:^^_     but  again  tned  two  concerts,  which   had  worso 

success  than  those  at  St.  Petersburg;      At  length. 


quality  of  'his  sounds  compared  with  those  of 
the  orchestral  violins.  Many  artists,  during  his 
concerts,  exhibited  a  curiosity  to  examine  his  vi- 
olin, and  pronounced  it  untuned  or  tuned  after 
his  own  jjoculiar  system.  It  is  therefore  probable 
that  Paganini  lound  a  combination  in  the  man- 
ner of  according  the  instrument  which  diminishes 
the  difficulty  of  fingering. 

In  England  his  weird  and  mystical  appenmnce 
gave  ri^c  to  manv  niarvcllous  and  absurd  -  o  ies 
about  him,  wliiih  had  extensive  currency,  until 
they  were  fully  refuted  by  his  o«  n  explanations. 
Returning  through  France  to  Italy,  he  purchased 
in  1834, at  Panua.the  villa  (iajona,  and  in  Novem- 
ber of  that  year  gave  at  Panna  a  concert  for  the 
poor,  (a  thing  he  ol'ten  did,)  and  again  set  out 
upon  a  concert  tour  in  Italy. 

As  a  composer  Paganini  stands  very  high.  His 
works  arc  rich  in  invention,  genial,  and  show  a 
mastery  of  the  scientific  part  of  the  art.  Ho 
frequently  indulges  in  grotesque  turns,  which 
seem  quite  in  harmony  with  his  eccentric  na- 
ture. No  violin  virtuo.so  has  surpas.sed  him  as  a 
compo.ser.  Ihit  one  must  not  consider  every  com- 
l)osition  which  bears  the  name  of  Paganini,  as  ac- 
tually his.  In  the  autumn  of  18."o  he  gave  no- 
tice in  the  Milan  newspapers,  that  all  the  compo- 
sitions published  in  other  countries,  particularly 
in  Leipsic,  were  apocryphal ;  since  up  to  that  time 
he  had  had  nothing  printed  except  twenty-four 
cajfpricci  for  the  violin,  six  sonata.s  for  violin  and 
guitar,  andsi.x  quartets  for  violin,  viola,  guitar,  and 
violoncello  ;  but  that  very  soon  all  his  works  were 
to  be  )iublished.  Already  since  183.5  a  nervous 
disorder  had  obliged  him  to  refrain  almost  from 
playing  ;  but  in  the  autumn  of  1839  he  became  a 
confirmed  invalid,  and  so  weak  that  he  could 
scarcely  hold  his  instrument.  Recoverins;  a  little, 
he  went  to  Marseilles,  where  he  found  benefit  in 
change  of  air.  He  went  back  to  Paris,  and  from 
there  to  Italy,  where  his  illness  so  increased,  that 
he  succumbed  to  it  entirely  on  the  27th  of  May, 
1840,  at  Nizza.  His  body  was  embalmed  and  de- 
posited on  his  estate,  villa  Gnjona,  church  burial 
having  been  refused  him,  because  he  had  allowed 
no  priest  to  visit  him  during  his  sickness. 

The  world  is  full  of  anecdotes  of  Paganini, 
which  we  need  not  here  recall.  That  he  was  not 
altogether  so  avaricious  as  has  been  often  said, 
appears  in  the  fact  that  after  hearing  asjnuphony 
of  Berlioz,  then  an  obscure  and  poor  young  art- 
ist, he  sent  him  twenty  thousand  trancs,  with  the 
most  kind  and  flattering  expressions.  According 
to  the  Jouriuil  dea  Debats,  the  property  which  he 
left  behind  him  amounted  to  one  million  seven 
hundred  thousand  francs,  mostly  in  real  estate. 
His  oldest  sister  received  the  income  of  scv«ntv- 
five   thousnnd  francs    durin;j  her  lifetime,  after 


sister  had  the  income  in  the  same  way  of  tlity 
thousnnd  francs.  To  an  unknown  lady  in  Lucca 
he  left  an  annuity  of  six  thousand  francs  ;  and 
to  the  mother  of  his  son,  a  singer  who  once  trav- 
elled with  him,  an  annuity  of  twelve  hundred 
francs.     All  the  rest  went  to  his  son  Achilles. 

For  e.xplanations  of  Paganini's  peculiar  style 
and  method,  the  reader  is  referred  to  the  article 
in  Fftis"  " liioffraphie  I'liirerstlh- ;  "  also  to  "  Notice 
fur  lo  cllibre  vioUnitste  Xicolo  /'(ujanini,  par  M.  J. 
Imberi  dt  la  Phaliquc,"  Paris,  E.  Uuyot.  His  life 
and  adventures  too  are  given  at  great  length,  in 
au  octavo  volume  of  lour  hundred  and  ten  pages. 


in  1781,  driven  to  distraction  by  his  ml-fortunes 
and  hara.ssed  wth  debts  which  he  had  no  means 
of  satisfying  but  by  the  sale  of  his  very  valuable 
violin,  h«  formed  the  fatal  resolution  to  ter- 
minnte  his  cxUtcnce,  and  accordingly  blew  out 
his  brains,  leaving  a  letter,  tenderly  takii.g  fare- 
'  well  of  his  Iriend.s,  and  desiring  them  to  pay  hid 
'  debts  by  the  sale  of  his  violin.  He  publisbeit 
several  operas  of  music  for  his  instrument. 

PAISIELLO,   GIOVANNI,   son   of  Fran^oii 
and  of  Grazazio  Fogiale,  was  born  at  Tareuto  ia 


693 


PAI 


ENCYCLOP-CDIA   OF  MUSIC. 


PAj 


the  year  1741.  His  father  was  a  veterinary  sur- 
geon, ]'articularly  distinguished  in  his  art ;  and 
the  reputation  he  had  aciiuired,  not  only  in  the 
province  oC  Lucca,  but  in  the  whole  kinRdora, 
procured  him  the  honor  of  heing  employed  by 
the  Kini^  of  Nnijles,  Charles  III ,  during  the  war 
of  Velletri.  His  father  determined,  as  soon  as 
his  son  had  attained  his  fillh  year,  that  he  should 
Rtudy  till  he  was  thiiteen,  with  the  Jesuits,  who 
had  a  college  at  Tarento ;  and  as  it  was  the  cus- 
tom of  these  fathers  to  have  the  service  to  the 
virgin  s\ing  in  all  their  festivals,  they  remarked, 
when  their  young  pupil  sang  the  hours  of  mat- 
ii  »,  that  he  had  a  fine  contralto  voice  and  an 
excellent  ear.  UiJon  this  observation,  the  Cheva- 
lier D.  (iirolamo  Carducci,  of  the  same  city,  and 
who  superintended  the  music  tor  the  holy  week 
in  the  church  of  the  Capuchins,  endeavored  to 
make  young  Paisiello  sing  some  jiieces  from 
memory.  Tlie  boy,  who  was  then  under  thirteen 
years  of  age,  acquitted  himself  in  such  a  manner, 
that  it  might  have  been  imagined  he  had  studied 
music  for  a  length  of  time.  Tfiis  was  in  March, 
1754.  The  Clievalier  Carducci,  perceiving  the 
promising  genius  of  Paisiello,  advised  his  fa- 
ther to  send  him  to  Naples,  in  order  that  he 
might  study  music,  and,  for  this  purpose,  instant- 
ly to  place  him  with  some  good  chapel-master ; 
but  his  parents  would  not  consent  to  this,  for, 
being  their  only  son,  they  could  not  resolve  to 
part  with  him.  The  reiterated  entreaties  of  the 
chevalier  began  at  la.st  to  prevail,  and  they  prom- 
ised to  give  an  answer,  after  haWng  reflected 
more  ipaturely.  In  short,  alter  some  time  had 
elapsed,  they  determined  on  sending  him  to  Na- 
ples ;  his  departure  was  fixed  for  the  month  of 
May  following,  and  in  the  mean  time  he  employed 
all  his  time  in  learning  the  Hr.st  elements  of  mu- 
sic, under  an  ecclesiastic,  a  secular  priest,  named 
Carlo  Resta,  of  Tarento,  an  excellent  tenor,  who 
played  very  well  on  the  arch-lute,  an  instrument 
which  Paisiello  made  use  of  during  the  two  or 
three  months  allotted  to  him  for  acquiring  the 
first  instructions.  He  afterwards  set  out  for  Na- 
ples with  his  father,  and  m  June,  1754,  was  re- 
ceived mto  the  conservatorio  of  St.  Onofrio, 
where  he  had  the  hai)piness  of  finding,  as  a  mas- 
ter, the  celebrated  Durante.  It  wa.s  under  him 
that  he  studied,  and  at  the  end  of  five  years 
became  first  master  among  the  pupils  of  the 
conservatorio.  During  the  next  four  years  he 
corapo.sc'd  there  some  ma.sses,  psalms,  motets,  ora- 
torios, and  a  comic  interlude,  which  was  per- 
formed in  the  same  institution.  This  interlude 
procured  him  the  advantage  of  being  employed 
to  compose,  in  1763,  an  opera  for  the  theatre  at 
Bologna. 

Here  begins  the  first  epoch  of  his  works. 

At  the  theatre  of  tlie  Marsigli,  at  Bologna,  ap- 
peared "  1^(1  I'upiUa,"  "  /  Fiancesi  bril/anti,"  "  // 
Hondo  a  liorerscio ;"  at  Modena,  "La  Madama 
Umnri.sia ;"  at  Parma,  "  Le  Virtuose  Ridicolc," 
"II  Sa'/iio  d'Abaiio;"  at  Venice,  "  It  Ciar/oiw," 
"  Le  I'cscatrice  i"  nt  Home,  "II  Marchese  Ttill- 
(laiio ; "  at  Naples,  "  La  Vidn-a  di  M  Gcnio," 
"  V linbmi]lio  drt/a  Vajastc,"  "  L'  Idolo  I'imsr,"  (it 
was  for  this  work  that  the  court  of  Naples  began 
the  custom  of  having  comic  operas  performed  in 
the  little  theatre  of  the  court,)  "  Lucui  I'npirio," 
"  II  Furbo  mal  acorlo,"  "  L'  O/inipia,"  and  "  I'e- 
fc>(M,"  a  cantata  for  the  marriage  of  Ferdinand 
IV.  with  Maria  Caroline  of  Austria ;  at  Venice, 


"  U Innocente  Fortunato ;  "  at  Milan,  "  Siimano 
nclMogoUe ;"  at  Naples,  ^^  L' Arabo  Curteie"  "La 
Luna  habitata,"  "La  Contcsa  dci  Numi;"  at 
Itome,  "La  Semiramide,"  "  II  Montezuma  ;  "  at 
Naples,  "  Le  Dardane,"  "  II  Tamburro  Notttirno  ;" 
at  Venice,  the  same  work,  with  changes  and  aug- 
mentations  ;  at  Milan,  "  L'Amlromeda."  He  also 
composed  in  this  city  twelve  quartets,  for  two 
violins,  tenor,  and  har])sichord,  for  the  Arch- 
duchess Beatrice  of  Este,  wife  of  Ferdinand  of 
Austria,  Duke  of  Milan.  At  Turin,  "  Annihnle 
in  Italia"  "  I  Filosnfi"  "  U  Giocalore  ;  "  at  Na- 
ples, "  La  Somigliitnza  dei  Kumi,"  "  L'A.shizie 
Amoroae,"  a  ma.ss  for  the  dead,  for  two  choirs, 
for  the  funeral  of  the  prince  royal  D.  Gcnnaro 
di  Borbone  ;  "  Gli  Scherzi  d'Amore  e  di  Fortuna," 
"  Don  Chisciotte  della  Mangia,"  "  La  Finta  Maga," 
"  V  Osteria  di  Mere  Chiaro  ;"  at  Modena,  "  Ales- 
sandro  neIC  Indie  ;  "  at  Naples,  "  //  Duello  Comi- 
I  CO,"  "  Don  Anchise  Cantpanone"  "II  Mondo  della 
'  Luna;"  at  Venice,  "  L<i  Frescaiana,"  "  I^  Dit- 
cnrdia  Fortunata"  "  II  Denwfonnte."  At  this  time 
he  was  engaged  for  the  King's  Theatre  in  London, 
but  an  invitation  from  the  court  of  Russia  caused 
him  to  break  his  engagement.  At  Naples,  "  /.Sb- 
crati  Imaginari  ;  "  at  Florence,  "  II  Gran  Cid," 
"  II  Finlo  Principe ;  "  at  Rome,  "  Le  Due  Con- 
tesse,"  "  La  Disfatta  di  Durio."  It  was  in  thLs  opera 
that  an  air  in  two  movements  was  composed  fof 
the  first  time,  "  Menlre  ti  lascio  o  figlia"  sung  by 
the  tenor  Anzani,  and  which  has  since  served  as 
a  model  to  all  composers.  At  Naples,  "  Dal  Fin- 
to  il  Vero."  It  was  at  the  time  when  this  opera 
appeared,  that  the  court  of  Naples  went,  for  the 
first  time,  to  the  comic  theatre.  In  tliis  same 
year,  that  is  to  say,  on  the  2Sth  of  July,  1766, 
Paisiello  departed  for  Russia,  and  entered  the  ser- 
\\CG  of  Catharine  II.,  with  an  appointment  of 
four  thousand  rubles.  As  music  master  to  the 
grand  duchess,  he  had  the  further  sum  of  nine 
hundred  rubles ;  and  his  country  house,  which 
was  allowed  him  during  five  or  six  months  in  the 
year,  procured  him  two  thousand  rubles.  With 
these  and  some  otlier  advantages,  he  had  an  an- 
nual income  of  nine  thousand  rubles. 

Second  Epoch.  —  Paisiello  remained  in  Russia 
nine  years,  during  which  time  he  composed  "  La 
Serca  Pailrona,"  "  II  Matrimonio  Inaspetlnto"  "II 
Barbieredi  Siviglia,"  "  I  Filosa/i  Imaginari,"  "La 
Finta  Amante,"  (this  opera  was  composed  for 
Catharine's  journey  to  Mohilow,  in  Poland,  where 
she  had  an  interview  with  Joseph  II.,)  "  II  Mon- 
do della  Luna,"  in  one  act,  "  La  Sitteti,"  "  Lucin- 
da  ed  Armidoro,"  "  Alcide  al  liivio,"  "  Achille  in 
Sciro,"  a  cantata  for  Prince  Potemkin, -and  an 
interlude  lor  Prince  Orloff. 

During  his  residence  in  Russia,  he  composed 
for  his  pupil,  the  Grand  Duchess  Maria  Fede- 
rowna,  wite  of  the  Grand  Duke  I'aul  1  etrowitz, 
afterwards  empress,  several  sonatas  and  pieces 
for  the  piano,  making  two  volumes.  He  also  ar- 
ranged a  collection  of  rules  for  the  accompani- 
ment of  a  score  on  the  piano-forte.  This  small 
treatise  was  printed  in  Russil^  and  on  this  occa- 
sion the  empress  jiresented  him  with  an  annual 
pension  of  nine  hundred  rubles.  At  Warsaw 
he  compo.sed  the  oratorio  of  "  La  I'assione,"  set 
to  Metasta-sio's  words,  for  King  Poniatowski. 

T/iird  Epoch.  —  At  Vieinia  he  wrote  for  the 
Em])eror  Joseph  II.  the  ojiera  of  "//  lie  Tctidoro," 
and  twelve  concerted  symphonies.  From  thenc« 
he  returned  to   Naples.     On  his  arrival  in  thi( 


700 


PAT 


EXCYCLOP.EDIA    OF    MUSIC. 


PAl 


»ity,  Ferdinand  IV.  took  him  into  his  service, 
Ui  quality  of  master  of  the  chapel,  with  a  salary 
of  twelve  hundred  ducats.  He  then  directly 
composed  his  opera  "  Antigono ;"  at  Kome, 
"  U Amore  Iitgenioso,"  "  La  Molinara  ;  "  at  Na- 
ples, "La  Grotta  di  Trofonio,"  "  Le  Gare  Gette- 
roae,"  "  L' Olijmpiade,"  "It  J'irro."  This  work 
was  tlie  first,  of  the  serious  kind,  in  which  intro- 
ductions and  finales  were  era])loyed.  It  also  con- 
tains a  scene  where  the  i)rincipal  j)erson,  execut- 
ing a  monologue,  is  surprised  by  soldiers,  who 
arrive  to  the  sound  of  a  military  march,  and 
which  agrees  with  the  song  of  the  actor  ;  a  scene 
which  has  since  served  as  a  model  to  many  com- 
posers. 

At  this  time  Paisiello  received  from  the  King 
of  Prussia  (William)  an  invitation  to  Herlin, 
but  wliich  he  could  not  accept,  being  in  the  ser- 
vice of  the  King  of  Naples,  Ferdinand  IV.,  of 
Lourbon. 

A  short  time  after,  he  gave,  at  Najdes,  "  /  Zin- 
i/ari  in  t'icra,"  and  composed  for  the  obsequies 
of  (jcneral  Iloche  a  funeral  sjinphony,  which 
procured  him  a  recompense  from  General  Bona- 
parte. He  afterwards  gave  "  La  I'hcdra,"  with 
bomc  analogous  ballets,  "  Le  Varie  Gelosie,"  and 
"  Catoiie  ill  L'tica." 

He  was  now  invited  to  take  a  new  engagement 
in  Hussiii ;  but  the  motives  which  had  induced 
him  to  refuse  the  offers  of  the  King  of  Prussia  pre- 
vented hira  from  accepting  those  of  the  court  of 
llussia.  The  King  of  Naples  commanded  him  to 
set  to  music  "  Xina,  o  la  Pmzza  u'  Amore,"  for 
the  little  country  theatre  of  the  Bclvidere.  This 
opera  was  afterwards  performed  at  the  Florentine 
theatre,  with  the  addition  of  the  quartet. 

"  (ihiiione  Luciiia "  was  composed  for  the 
churching  of  the  Queen  of  Naples,  Caroline  of 
Austria.  In  this  cantata,  an  air,  intermixed  with 
choruses  was  used  for  the  first  time,  and  which 
lias  been  since  iiuitatcd  -by  other  composers.  It 
was  followed  by  "  La  Zenobia  di  J'almira.''  Being 
invited  to  Loudon,  where  it  wa.s  impossible  for 
him  to  go,  he  sent  to  the  theatre  of  that  city  the 
opera  of  "  /xj  Locnnda,"  which  was  afterwards 
perfonued  at  Naples,  under  the  title  of  "  //  Fa- 
natico  m  Berlina,"  with  the  addition  of  a  quintet. 
He  then  composed  a  grand  "  7V  Deiim,"  for  the 
return  of  the  King  and  tiueen  of  Naples  from 
Ijermauy  :  a  cantata,  "  Dafne  ed  Alcen,"  for  the 
academy  dei  Cavalieri ;  a  cantata,  "  Le  lictour  de 
Persif,"  for  the  academy  rf»-,t  Amis ;  "  V Klfrida," 
and  "■L' Elvira;"  at  Venice,  "  I  Uiuochi  (t  Agri- 
yeitlo;"  at  Naples,  "La  iHdane,"  "  L'Jnganito 
t'elicc,"  and  "  L'Aiidrnnuua." 

The  French  revolution  having  extended  to 
Naples  in  178;),  the  government  assumed  the  re- 
publican firm  Tlie  court  al)andonii  g  Naples 
and  returning  into  Sicily,  the  rulers  of  the  state 
named  Paisiello  composer  to  the  nation.  But 
the  Bourbon  lamily,  being  reOstabli.shed,  made  it 
a  crime  in  him  to  have  accepted  this  emi)loyraent, 
and  tor  some  time  his  appointmcnt.s  were  sus- 
j)ende(l.  At  last,  after  two  years  had  elapsed,  he 
was  re-Iorcd  to  his  situation.  He  was  afterwards 
demanded  at  Paris  by  the  First  Consul  of  Franco, 
Napoleon  Bonaparte;  when  Ferdinand,  King  of 
Naples,  gave  him  a  de>patch,  with  an  order  to  go 
'o  Paris,  and  place  himself  at  the  disposal  of  the 
iin.t  consul.  Alquier,  the  minister  of  France, 
rmident  at  Naples,  jiressed  him  on  this  occasion 
tn  declaro  his  intention.^  respecting  the  fees  and 


the  treatment  he  desired.  Paisiello  rejilied.  thai 
the  honor  of  serving  the  first  consul  be  considered 
as  a  Buthcient  recompense.  On  arriving  at  Paris, 
he  was  ])rovided  with  a  funiishcd  ni>artraent,  and 
one  of  the  court  carriages  ;  he  was  assi-jned  a 
salary  of  twelve  thousand  francs,  and  a  present 
of  eighteen  thousand  francs  for  the  expenses  of 
his  stay,  besides  those  of  his  journey.  He  was 
ort'crcd  at  Paris  several  employments  ;  siuh  as 
those  of  director  of  the  Imperial  Academy  and 
of  the  Conservatorio  ;  he  refused  them  all,  and 
contented  himself  with  that  of  director  of  the 
chapel,  which  he  filled  with  excellent  artists. 
He  composed  for  this  chapel  sixteen  8acre<l  ser- 
vices, consisting  of  masses,  motets,  jirayers,  \c., 
and  besides  these  he  set  the  opera  of  '•  I'rosrr- 
pine,"  for  the  Academy  of  Music,  and  a  "  Grand 
Mas.i"  for  two  choirs,  a  "  Te  Deum,"  and  prayers 
for  the  coronation  of  the  emperor.  Finding  that 
the  climate  of  Paris  did  not  agree  with  his  wife, 
he  quitted  that  city,  after  residing  in  it  two  years 
and  a  half,  and  returned  to  Italy  ;  he  still,  how- 
ever, continued  to  send  every  year  to  Napoleon 
a  sacred  composition  for  the  anniversary  of  his 
birth,  the  l.ith  of  August.  A  year  after  his  de- 
])arture,  the  emjieror  proposed  to  him  to  retvirn 
to  Paris,  but  the  bad  state  of  his  health  prevented 
hira  from  accepting  the  invitation.  The  Bourbon 
family  being  obliged  to  quit  Naples,  King  Joseph 
Napoleon  confirmed  to  hira  the  place  of  master 
of  the  chapel,  of  composer  and  director  of  the 
music  of  his  chamber  and  of  his  chapel,  with  an 
appointment  of  one  thousand  eight  hunilred 
ducats.  He  ^^TOte  for  this  chapel  twenty-four 
services,  consisting  of  masses,  raotets,  and  pray- 
ers. At  the  same  tirae.  Napoleon  sent  him  the 
cross  of  the  legion  of  honor,  which  Joseph  him- 
self presented  to  him,  with  an  additional  pen- 
sion of  one  thousand  francs.  Subsequently  to 
this  period,  he  composed  the  opera  "  Dei  I'iitago- 
rici,"  which  might  serve  as  a  model  both  to  poets 
and  musicians,  and  procured  him  the  decoration 
of  the  order  of  the  Two  Sicilies  from  the  king ; 
he  was  also  named  a  raeraber  of  the  Royal  Society 
of  Naples,  and  president  of  the  musical  direction 
of  the  royal  Conservatorio.  King  Josepli  having 
gone  to  Spain,  Murat,  who  succeeded  him,  con- 
firmed Paisiello  in  all  his  employments.  At  the 
period  of  the  emperor's  marriage  with  her  im- 
perial and  royal  highness  the  Arcliduchess  of 
Au.stria,  Paisiello  thought  it  his  duty  to  present 
her  majesty  with  a  sacred  composition  ;  and  in 
token  of  her  thanks,  the  empress  sent  him  a 
present  of  four  thousand  francs,  accomimnie'l 
with  a  letter  addressed  to  him,  from  the  grand 
marshal  of  the  palace,  containing  the  acknowl- 
edgments of  her  majesty. 

Besides  the  otHecs  already  spoken  of,  Paisiello 
was  chaix-l-master  of  the  cathedral  of  Naples,  for 
which  he  composed  several  scr\'ices  nlla  I'a'e-stri- 
na  i  he  was  also  chapel-master  to  the  municipal- 
ity.    He  likewise  compose<l  for  different  religioui 
houses,  now  dcstroywl,  a  great  number  of  offices  ; 
such  as  three  ma.sses  (or  two  choirs,  two  mavca 
1  for    five   voices,  alia  I'aleslrina,  with  an   accom- 
!  paniment    for   the  violoncello  and   tenor,  and  a 
C/iri.ftiu  ;  and  besides  these,  three  cantatas  for  a 
single  voice,   for   amateurs ;    four    notturno*   for 
,  two  voices ;    six    concertos    for   the    piano-forte, 
I  written  expressly  for  the  infiaita.  Princess  of  Par- 
ma, afterwards  (jucen   }f  Spain,  wife  of  Charles 
1  IV. 


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excyclop.i:dia  of  music. 


PAL 


Paisiello  is  tlie  first  who  introduced  the  viola 
into  the  comic  opera  at  Xa])lcH.  lie  was  also  the 
first  who  hrouf!;ht  into  the  theatres  and  the 
churches  of  that  city  the  use  of  concerted  bas- 
foons  and  chirinett*. 

It  was  Paisicllo  who  had  the  merit  of  being 
the  means  of  effecting  the  removal  of  the  prohi- 
bition on  the  audience  from  applauding  com- 
posers and  singers  in  the  theatre  of  San  Carlos  ; 
the  king  set  the  example  of  the  change  by  ap- 
plauding an  air  sung  by  Carlo  Kuina,  in  the 
ojiera  of   "  I'apiriiis." 

Paisicllo  (now  chevalier)  was  named  a  member 
Df  many  learned  societies  ;  such  as  of  the  Xapo- 
.eon  Academy  of  Lucca,  the  Italian  Academy,  then 
litting  at  Leghorn,  and  the  Society  of  the  Chil- 
Iren  of  -\pollo,  at  Paris ;  and  on  the  30th  of 
Jeccmber,  1809,  he  was  elected  an  associate  of 
.he  institute  of  France.  He  died  in  Naples,  in  the 
jear  1816,  aged  seventy-six.  That  city  rendered 
him  funeral  honors,  in  causing  to  be  executed  a 
mass  for  the  dead,  found  among  his  papers.  The 
Bame  evening  his  "  Xina"  was  performed  at  the 
opera,  when  the  King  of  Naples  and  the  whole 
court  attended. 

Among  the  numerous  works  of  which  we  have 
given  the  list,  there  are  many  which  have  had 
general  success,  and  which  have  been  often  per- 
formed in  the  principal  theatres  of  Europe.  The 
following  are  among  the  most  favorite  of  his 
comic  ojjeras  :  "La  Frescaiana,"  "  Le  Due  Coii- 
tesse,"  "  II  Re  Tcodoro,"  "II  Darbiere  di  Siviylia," 
"  II  Furbo  tnaf  accorto,"  "  D.  Anchise  Campanone," 
"  La  Mnclista  raii<iiratrice,"  "  /  Zingari  in  Fiera," 
"  Dal  Finto  it  Voro,"  "  L' Iiiijanno  Felice,"  "  L'Ara- 
bo  Corlexe,"  "  L'Aiiior  coiitrastato,"  "II  Tamburro 
Nottiinio,"  "  La  Pazza  per  Amove,"  "  L' InnoceiUe 
Fo'funata,"  "  II  Matriinonio  Iiuvipettato,"  "LaServa 
I'adrona,"  "  I  Fihsofi  Imagiiiari,"  "  Le  Gare  (Je- 
iierose,"  and  "  La  (ji-olta  di  Trofonio."  Among 
the  serious  operas  :  "  La  Diifatta  di  Dario," 
"  L' Elfrida,"  "  II  I'irro,"  "  La  Sitteti,"  "  L'An- 
tijoiio,"  "  Liiciiida  ed  Armidoro,"  "  L'  Ohjmpiade." 
"  II Demetrio,"  •'  L' Aiidromaco,"  "  La  Fedra,"  "Ca- 
tone  ill  L'tica,"  and  "  /  Giuochi  d' Agrigeiito." 
Among  the  works  for  the  church  :  "  La  I'aisi- 
one,"  the  mass  lor  two  choirs,  the  "  Te  Dcum," 
the  motets  and  funeral  symphonies. 

To  complete  the  account  of  Paisiello,  some 
remarks  on  the  nature  of  his  talents,  and  on 
those  qualities  which  characterized  him,  are 
merely  necessary.  To  do  this  in  few  words,  they 
are  fertility  of  invention  ;  an  extraordinary  and 
happy  facility  of  finding  subjects  full  both  of  na- 
ture and  originality ;  a  talent  unique  in  develop- 
ing them  by  the  resources  of  melody,  and  em- 
bellishing them  by  iiiteresting  details ;  an  ar- 
ruigement  always  full  of  fancy  and  learning ; 
and  a  ta.ste.  grace,  and  freshness  of  melody  by 
which  he  has  far  surpassed  most  other  composers, 
and  hss  been  a  model  to  tho.se  who  have  labored 
afier  him.  His  composition,  always  very  simple, 
and  Uive-ted  of  all  affectation  of  learning,  is  not 
only  extremely  correct,  but  exceedingly  elegant, 
and  his  accompaniments,  always  very  clear,  are 
at  the  same  time  brilliant  and  full  of  effect. 
AViih  regard  to  exj  ression,  although  simplicity 
seems  to  be  his  principal  and  ruling  character- 
istic, it  is  not  less  true  that  he  knew  perfectly 
l.ow  to  introduce  variety,  to  seize  on  the  differ- 
ent methods  of  producing  effect,  and  to  pass  from 
tlic  comic,  from  the   simple,  and   unaffected,  to 


the  pathetic,  the  majestic,  and  even  the  terrible, 
without  losing  that  grace  and  elegance  from 
which  it  appears  impossible  for  him  to  depart. 
Such  are  the  qualities  which  have  obtained  Pai- 
siello the  suffrages  of  all,  both  those  of  the  pub- 
lic and  of  amateurs,  as  well  as  tho>e  of  the 
learned  and  of  masters.  No  composer's  works 
could  at  any  time  have  been  more  universally  ad- 
mired, sought,  applauded,  and  sung  in  all  the 
nations  of  Europe,  nor  have  better  deserved  the 
di.stinguished  reception  they  every  where  met. 
No  individual  could  have  more  enjoyed  such 
universal  success  ;  for,  placed  at  the  same  time 
among  the  most  delightful  authors  and  among 
the  finest  cla.ssics,  he  personally  received  the 
homage  of  his  age.  assuring  to  himself  at  the  same 
time  those  of  posterity. 

PAITA,  GIOVANNL  a  Genoese  by  birth, 
was  a  celebrated  tenor  singer  at  Venice  in  1720. 
Quanz  si)eaks  of  him  as  singing  an  adagio  in 
the  greatest  possible  perfection.  He  wa*  always 
called  the  king  of  tenors.  He  was  like\nse  an  ex- 
cellent performer  on  the  harpsichord,  and  estab- 
lished a  school  for  singing  in  his  native  city, 
which  afterwards  became  highly  celebrated. 

PAIX,  JACOB,  of  Augsburg,  wa.*  organist  at 
Lauingen,  where  he  published,  in  1.589,  a  trea- 
tise "  On  the  Utility  of  Music  in  Churches,' 
Schools,  and  private  Families."  The  following 
practical  works  are  also  by  him  :  "  A  Guide  to 
the  Organ,"  1583  ;  "  A  Selection  of  Fugues  by 
different  Compose!*,  for  three,  four,  and  more 
Voices ; "'  and  some  masses,  fugues,  I'^c,  Lau- 
ingen, 1.588. 

PALADINI,  GIUSEPPE,  of  Milan,  was 
chapel-master  in  that  city,  and  composed  several 
oratorios,  which  were  performed  there  between 
the  years  1728  and  1743. 

PALANCIA,  called-  also  TO^LVSO  GO- 
MEZ. A  celebrated  Spanish  composer,  resident  in 
Italy  towards  the  close  of  the  sixteenth  century. 

PALAVICINO,  BENEDEITO.  a  native  of 
Cremona,  and  a  celebrated  musical  composer, 
was  chapel-master  to  the  Duke  of  Mantua  about 
the  year  1600. 

His  works  consist  chiefly  of  madrigals  for  five 
and  six  voices,  and  are  in  general  good.  They 
contain,  however,  no  great  variety  of  style,  mel- 
ody, harmony,  or  modulation. 

PALAZZOTTI,  GIUSEPPE,  also  called 
TAGLIAVIA,  a  Sicilian  priest,  doctor  of  di- 
vinity and  archdeacon  of  Cephaleda,  was  like- 
wise a  fertile  composer,  and  flourished  about  the 
year  164.5.  Mongitor,  "Bibl.  Sicul.,"  p.  39.5.  assures 
us  that  Palazzotti  published  nine  practical  musi- 
cal works,  of  which,  however,  we  can  only  name 
"  Madrigali  Concertati  ft  3  roc.,"  Op.  9,  Naples, 
1632. 

PALESTRINA,  GIOVAN.  PIETRO  ALOI- 
SIO  DA.  A  celebrated  Italian  composer.  His 
birth  has  been  fixed,  with  some  degree  of  cer- 
tainty, in  the  year  1.524,  at  Palcstrina.  the  Pro'- 
nesle  of  the  ancients.  Italy  being  divided  into 
many  independent  states,  each  of  which  has  a 
distinct  and  separate  honor  to  maintain,  the  na- 
tives are  not  only  very  careful  in  settling  a.  spot 
where  a  man  of  genius  was  bom,  but  of  record- 
ing the  place  where  he  was  educated,  wth  th« 
name  of  his  master ;  and  as  the  painters  of  Italy 


702 


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ENCYCLOP.^JDIA    OF   MUSIC. 


PAt 


are  appropriated  to  difTcrent  schools,  so  are  the 
musicians,  and  a  composer  or  performer  of  great 
ftbilities  is  seldom  mentioiiod  without  his  coun- 
try ;  by  which  it  is  known  that  he  is  of  the  Uo- 
man,  Venetian,  Neapolitan,  Lombard,  or  Uo- 
loi^nese  school,  each  of  which  has  some  pecu- 
liar characteristic  that  enables  one  intelligent 
musician  of  Italy  immediately  to  discover  the 
school  of  another  by  his  works  or  pcrforninnce. 
To  the>e  distinctions  the  natives  of  other  coun- 
tries so  little  attend,  that,  when  it  is  known  that 
a  musician  comes  ii-om  Italy,  no  further  inciuiry 
is  made.  From  this  ancient  custom  of  naming 
tte  master  with  the  scholar  and  his  country,  all 
Iho  writers  of  Italy,  who  have  given  any  account 
of  Palestrina,  have  thought  it  necessary  to  say, 
that  he  was  a  scholar  of  Guadio  Mell,  Fiaminiio, 
n  Fleming ;  by  whom  they  have  been  generally 
understood  to  mean  ("hiude  (loudimel,  a  native 
ot  Franchc  Comte,  and  a  Huguenot,  who  was  one 
of  the  first  t'lat  sot  the  translation  of  the  Psalms, 
by  Clement  Marot  and  Theodore  Be/a,  to  music, 
and  who  wiis  murdered  at  Lyons  in  1572,  on  the 
fatal  day  of  the  massacre  of  I'aris. 

In  some  miscellaneous  p\iblications  during  our 
author's  younger  time,  before  his  fame  was  es- 
tablished, we  tind  him  frequently  called  "  (Jianetto 
da  I'alestriiiii."  He  had  this  title  in  the  "  Seomdo 
Li'/ro  (kUe  Muse,"  a  set  of  madrigals  so  called,  that 
was  printed  at  Venice,  1.5.5!) ;  and  in  another  set, 
under  tlie  title  of  "Amoro^i  aniori  ai  dioersi  eccel- 
teiti  Mtuici,"  as  well  as  in  the  second  book  of 
Cipriano's  madrigals,  printed  likewise  at  Venice, 
1.571,  in  four  parts,  where  there  is  a  "  Canzon  di 
Gmtte'to,  sopra  di  Pace  non  trovo,  con  14  Statize," 
published  about  the  same  time. 

The  few  circumstances  and  outlines  of  Pales- 
t.  ina's  li.e  that  have  been  preserved  from  obliv- 
ion, and  seem  the  most  indisputable,  are,  that 
he  was  born  in  the  year  1.524  ;  that  having  dis- 
tinguishel  himself  as  a  compo:-er,  about  1.5.'i5,  he 
was  admitted  into  the  Pope's  Chapel  at  Rome  ; 
in  15  12,  at  the  age  of  thirty-three,  he  was  elect- 
ed chapel-master  of  Santa  Maria  Maggiore,  in 
llie  same  city,  as,  upon  the  death  of  Giovanni 
Animuccia,  in  1571,  he  was  honored  with  a  simi- 
Lir  appointment  at  St.  Peter's  ;  and  lastly,  having 
brought  choral  harmony  to  a  degree  of  perfection 
that  has  never  since  been  exceeded,  he  died  in 
the  year  \o'.H,  at  the  age  of  seventy. 

'I'he  following  account  of  his  death  and  burial 
was  entered  in  the  register  of  the  Pontifical 
Chapel  by  Ippolito  Gamboce,  I'untatore,  who  at 
that  time  had  the  care  of  the  records  :  — 

"  February  2,  15.)i.  This  morning  died  the 
most  exce'.lent  musician,  Signor  Giovanni  Pal- 
estrina, our  dear  companion,  and  maestro  di  ca- 
j-e'la  of  St.  Peter's  Church,  whither  his  funeral 
was  attended,  not  only  by  all  the  musicians  of 
Home,  but  by  an  intinitc  concourse  of  people,  when 
'  LiVra  nip,  Domine,'  was  sung  by  the  whole  col- 
lege." To  this  account  Adami  adds  that  of  Tor- 
rigio,  who  says,  "  In  St.  Peter's  Church,  near  the 
altar  of  St.  Simon  and  St.  Jude,  was  interred,  in 
consequence  of  his  extraordinary  abilities,  Pier- 
.uigi  da  Palestrina,  the  great  musical  composer, 
and  maestro  di  capella  of  this  church.  His  funer- 
al was  attended  by  all  the  musicians  of  Koiue, 
and  '  Libera  me,  Oomiiie,'  as  composed  by  hiiu- 
self,  in  five  parts,  was  sung  by  three  choirs. 
Upij  I  his  cittin  was  tliis  inscription  :  '  Joaiuu* 
I'eti  a  Aloysiu)  Pr<mcstinus  Mitsicce  I'rinceja."' 


It  would  be  cndle:i8  to  transcribe  all  the  eulo- 
giums  that  have  been  bestowed  nyion  Palestrina 
by  musical  writers.  Very  honorable  mention 
has  been  made  of  the  great  contrapunti«t,  during 
his  lil'etime,  by  (iiovanni  Guidctto,  chaplain  to 
Pope  (jregory  XIII.,  who,  being  ajjpoiiited  to 
collate,  correct,  and  regulate  the  choir  service  of 
St.  Peter's  Church,  15S2,  says  that  he  was  un- 
willing to  dejjend  solely  on  his  own  jud.;mcnt  in 
this  undcnaking,  and  therefore  liad  a;ii)lied  to 
that  prince  of  musicians,  (iiovanni  Pierluigi  da 
I'alestrina,  to  suj)erintend  and  correct  the  wh'^lo 
work  —  an  office  which  he  was  so  obliging  as  to 
undertake;  "and  if,"  says  he,  "  the  compilation 
be  found  to  have  any  merit,  it  must  be  chiefly 
ascribed  to  his  kind  assisUmce." 

Some  ju<lgmcnt  may  be  fonneil,  says  the 
learned  author  of  the  '•  E-.say  on  Counterpoint," 
of  the  great  veneration  in  which  he  was  held  by 
the  professors  of  his  own  time,  from  a  collection 
of  psalms,  in  five  parts,  that  was  i>ublished  in 
1592,  and  dedicated  to  Palestrina  by  fourteen  of 
the  greatest  ma.stcrs  of  Italy  at  that  time  ;  among 
these  were  Pietro  Pontio  and  Costan/.o  Porta. 

"In  the  year  1581  lie  dedicated  a  work  to  th« 
po;;e,  Gregory  XIII.,  which,  by  the  originality  of 
treating  the  subject,  and  by  its  depth  of  concep- 
tion, elicited  approbation  far  exceeding  that  of 
any  of  his  pierious  works.  This  work  consists 
of  twenty-nine  motets  from  the  '  ."^ong  of  Solo- 
mon '  The  dedication  contains  a  short  synopsis 
of  the  life  and  intentions  of  the  artist.  In  former 
years,  he  says,  he  threw  away  his  song*,  povma 
of  unholy,  idolatrous  love,  and  he  felt  repentant 
and  ashamed  of  it.  For  this  reason  he  turned  Vi 
the  cultivation  of  sacred  mu.sic,  sang  the  praUe 
of  Christ  and  hLs  virgin  mother,  and  finally  se- 
lected the  '  Song  of  Solomon,'  a  poem  singing 
Christ's  holy  love  to  his  bride,  the  s.iul.  This 
caused  him  to  give  a  more  lively,  inspired  charac- 
ter to  his  music,  in  order  to  reach  tlie  glowing 
tenderness  pervading  the  whole  poem.  The 
truth  of  this  assertion,  as  those  alHrra  who  know 
the  composition,  he  has  proved  throughout  the 
whole  work.  The  agony  into  which  he  was 
jilunged  by  the  loss  of  his  wife  here  di.--olvod  it- 
self into  pure,  holy  longing,  and  joyous  hope  of 
reunion :  the  bitterness  of  his  former  thoughts 
on  death  is  now  changed  to  serene  earnest- 
ness." 

nie  following  catalogue  comprises  the  princi- 
pal works  of  this  renowned  master  :  "  Miut  ii  4, 
5,  e  6  tJfH-/,  Li6.  1,"  Korac,  1554;  ".V/<i«  i  4--6 
toci.  Lib.  2,"  Home,  15p7  ;  "  Mi.tse  il  4-'>  coci.  Lib. 
3, '  Home,  1570;  "  Misse,  Lib.  4,"  Venice,  153.J; 
"  Misse,  Lib.  5,"  Rome,  1590  ;  "  Mi*st,  Lib  S, ' 
Venice,  1596  ;  "  ilisse,  Lib.  ',"  1594  ;  "  .l/u*e, 
Lib.  8,"  1594  ;  "  Misse,  Lib.  9,"  and  "  .Vi»«,  Lib. 
11,"  Venice,  1600;  "  Mi.tse,  Lib.  12,"  ».-iihout 
date;  "Misse,  d  t  coci,"  Milan,  I'UO;  "  .ttUlii  n 
5,  6,  7,  e  8  roti,"  Rome  aiul  Venice,  15  i'J,  loftS, 
1589,  159f!,  and  l<iOl  ;  "  Liber  1,  .Ujteit.r„m,  5,  6, 
et  7  voc.,"  Venice,  1579;  "Liber  2,  M i''tt irum," 
Venice,  1579 ;  "  Liber  3,  Motrtmrum,"  Venice, 
1586 ;  "  Liber  4,  Motctturum,"  Vcniie,  1594 ; 
"  Motetta  Festoitim  totius  Anni  vum  Cnmmuni  Smc- 
lorum,  4  vocib..  Lib.  1,"  Venice,  1574  ;  "  Offrrturti 
d  5  c  6  roc..  Lib.  1  e  2,"  Homo,  1593  ;  "  Magni- 
Jicat  veto  Tononim,"  Venice  ;  "  Lamenlnttrnie*  Je- 
remiir,  cum  4  coo.,"  Venice,  15S5  ;  "  l^m'iittttioni, 
h  4  voci,"  liome,  1583  ;  "  Lameittationi,  it  5  rod  " 
"  Cantioius  Sacnr,  4   voc.,  pro  Ftttit  ('Mias  Ann*   tt 


703 


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ENCYCLOPiEDIA    OF   MUSIC. 


PAM 


omnium  Sanctor.  Editio  iUrata,"  Antwerp,  1G13  ; 
'•  lli/miii  totiut  Anni,  A  6  voc,"  Rome,  1689; 
"  llymiii  d  5  voc,"  Venice,  1598  ;  "  Lib.  1  de 
Madripa/i  d  5  voci,"  Venice,  1593  ;  "  Srcondo  Li- 
bra delle  Muse,"  Venice,  1595  ;  and  "  Madrigali 
Spiritiiali,  Lib.  1  e  2,"  Rome  and  Venice,  1594. 
Many  of  Pnlpstrinn's  works  arc  fortunately  to  be 
met  with  in  selections  made  by  other  authors. 
The  following  are  titles  of  the  works  in  which 
some  of  Palestrina's  pieces  may  be  found :  "  Mu- 
lica  Transalpina,"  &.C.,  London,  1588  :  "  Fab. 
Coiis/an/ini  sclecta  CaiUioitcs,"  kc,  Rome,  1G14; 
"  Fiori/et/iiini  Sacrarum  Cantiomim"  &c.,  Ant- 
werp, 1609;  "  Pool ueci  Arte  pralica  di  ('oiUrnpiin- 
to,"  &c.  ;  "  Eximcno  dfW  Oriffine  e  de/k  liei/o/c 
delta  Muaica,  coUn  Sloria  del  suo  Pro'/resso,  Deca- 
den:a,  e  Riwiovazione"  Rome,  1774.  In  this 
book  is  found  Palestrina's  mass  of  Pope  Marcel- 
lus,  and  a  "Kyrie."  Sir  J.  Hawkins's  "  History  of 
Music."  In  vol.  iii.  p.  175,  is  Palestrina's  motet, 
"  Sicut  cervM,  d  4  ;  "  and  at  pane  185,  of  the  same 
volume,  is  the  spiritual  madrigal,  "  Cech  (loitill. 
a  5."  Dr.  Burney's  "  IILstory  of  Music."  In  vol. 
iii.  p.  170,  is  a  "  Canon  d.  3,"  by  Palestrina;  and 
at  p.  191,  a  motet  by  the  same  master,  •'  Exa/tabo 
te  Dom.  a  5."  Kircher's  "  Miuurgia."  In  vol.  i. 
lib.  7,  cap.  5,  is  a  "  Crucijixus  ''  by  Palestrina. 
Lastly,  there  are  three  pieces  by  this  composer  in 
the  work  entitled  "  Musica  Sacr^,  qua  cantatnr 
quotaniiis  per  hebdoinadam  sanctam  Jioina  in  sacilh 
pontijicio.'' 

PALIONE,  GIUSEPPE,  was  born  at  Rome  in 
1781,  and  commenced  his  musical  studies  iu 
1792,  under  the  direction  of  Fontemaggi  and 
Fcnaroli.  He  has  composed  the  following  works  : 
*•  Three  Airs  and  a  Quartet  in  l.odoiska,  Opera 
of  Caiuso  ;  "  "  Im  Finta  Amante,"  opera.  Naples ; 
"  Le  Due  liivali,"  "  La  I'edoca  asluta,"  and  "  La 
Villanella  rapita  ;  "  the  three  last  operas  at  Rome. 
Lcsides  these,  many  of  his  vocal  and  instrument- 
al works  have  been  i)ublished,  chiefly  at  Paris, 
■where  he  died  in  1819. 

PALLADIUS,  DAVID,  a  contrapuntist  of 
Naples,  flourished  about  the  year  1600.  The  fol- 
lowing of  liis  works  were  printed  :  "  Cantiones 
Nuptiales,  4,  5,  6,  et  7  voc."  Wittenberg,  1590, 
and  "  Nenea  Lied,"  Magdeburg,  1590. 

PALLAVICIXL  VINCEXZO,  chapel-raa.ster 
at  a  Conservatory  in  Venice,  flourished  about  the 
middle  of  the  eighteenth  century,  when  his  com- 
positions of  almost  every  kind  were  in  high  re- 
pute. 

PALL.WICIXO,  BENEDETTO.  See  Pal.*.- 
ncixo. 

PALLAVICIXO,  CARLO,  of  Brescia.  A  cel- 
ebrated dramatic  composer  of  the  Venetian  school. 
He  was  invited  to  the  court  of  Saxony,  where  he 
enjoyed  a  high  reputation.  The  following  operas 
■were  successfully  produced  by  him  in  Italy  : 
"  Aureliaiio  Dcmitrio,"  1666;  "  Jl  Tiraiuio  umiiiato 
tfAmore,  oiero  il  Meraspc,"  1667;  "  IJioc/e:iano," 
1674  ;  "  E,iea  in  Italia,"  1675  ;  "  Galeno,"  167G  ; 
"  //  yespasiano,"  1678  ;  "  11  Ncronc,"  1679  ;  '•  Mea. 
lalina,"  1H80  ;  "  Uiissiano,  overo  il  Mayr/ior  impos- 
tibile,"  1682;  "Carlo  Ri  d' Italia;"  "II  lid 
Infante,"  1683 ;  "  Licinio  Imperatore,"  1684 ; 
"  Rerinuvo  Ri  de'  Vandali  ;  "  *'  .Massimo  Piipieno," 
1685;  "  Penctoppe  la  Casta;"  "  Iai  Didone  de- 
Uraiite,"    1686;    "Amor    inamorato;"     "L'Ama- 


zone  Corsara;"  "  FJmiro  Re  di  Corinto,"  1687; 
and   "  La  Gerusalennne  Libcrata,"  1088. 

PALLOTTA,  MATT.  A  composer  of  sacred 
music,  probably  in  the  first  half  of  the  eighteenth 
century.  He  was  a  native  of  Palermo,  in  Sicily. 
Amongst  his  works  are  "  C'Kntiouuin  lienedictus 
ad  latutcs  in  solemnihus  matulinis  hebdomada  sanctte 
a  4  voc.,"  and  "  Ben^dictus  quiiUi  modi,  B  mol- 
tati." 

PALMA.  A  Neapolitan  composer  of  some 
symphonies  performed  at  the  Concert  Spirituel,  in 
Paris,  in  1752.  He  was  a  pupil  of  the  profound 
Sala,  and  immediately  on  the  completion  of  his 
musical  education,  he  wrote  several  thetrical 
pieces  at  X'aples,  and  in  the  rest  of  Italy,  all  of 
which  were  successful  from  their  gay  and  pi<)uant 
style.  He  was  an  excellent  pianist  and  tenor 
singer. 

PALM.\,  SILVESTRO  DLa  composer,  bom  at 
Xaplesabout  1751,  was  a  pupil  of  Paisiello,  as  also 
of  Sala.  He  composed  some  of  the  airs  in  "  Le 
I'ane  Gelosie,"  an  opera,  written  in  1791  for  Xa- 
plcs.  His  first  entire  opera  was  "  La  I'ictra  Sim- 
palica,"  opera  buffa,  acted  in  1797  at  Vienna, 
and  apparently  with  applause,  since  it  has  been 
arranged  there  for  eight  wind  instrument's.  Pal- 
ma  settled  permanently  at  Xaples  about  the  year 
1804.  He  has  since  been  only  distinguished  by 
an  operetta,  entitled  "  La  .'^posa  contrastata." 

P.A.LSA,  JOHAX'X,  a  very  celebrated  per- 
former on  the  horn,  in  the  service  of  the  King  of 
Prussia,  at  Berlin,  was  born  at  Jermeritz,  in  Bo- 
hemia, in  1754.  In  1770  he  performed  with  his 
colleague  Torrschmidts  at  the  Concert  Spiriiuel  at 
Paris,  in  which  they  both  remained  till  1783, 
when  they  travelled  into  Germany,  and  were  en- 
gaged by  the  Landgrave  of  Hesse  Cassel  at  a  high 
salary.  In  1785  they  went  to  England,  where 
they  were  much  admired.  The  following  year 
they  returned  to  Cassel.  The  editors  of  the 
French  Dictionary  of  Musicians  say,  that  it  would 
be  impossible  to  give  an  idea  of  the  beauty  and 
purity  of  the  cantabile  of  Palsa,  or  the  vivacity, 
quickness,  and  skill  of  Turrschmidts.  Accompa- 
nied by  the  orchestra  of  the  theatre  at  Cassel, 
they  performed  on  their  silver  horns  (manufac- 
tured at  Paris,  and  each  valued  at  one  hundred 
louisd'ors)  two  concertos  in  E  major ;  and,  in 
the  rondos,  passed  to  the  keys  of  E  minor  and  G 
major  with  as  much  facility  as  performers  on  the 
piano-forte.  On  the  death  of  the  landgrave  they 
proceeded  to  Berlin,  where  they  were  engaged  by 
the  court,  and  where  Palsa  died  in  1792,  in  the 
thirty- eighth  year  of  his  age.  In  the  name  of 
Torrschmidts  there  were  published,  at  Paris, 
"  Duos  d   2  Cors  de  Chasse,"  Ojjs.  1  and  2. 

PALSCH.VU.  A  German  professor  of  the 
haqisichord,  resident  at  St.  Petersburg  for  raanj' 
years  up  to  1800,  when  he  was  in  the  full  enjoy- 
ment of  a  well-earned  fame  in  that  city.  Dr. 
Burney  speaks  of  a  child  of  this  name,  who  was 
celebrated  on  the  harpsichord  in  the  year  1750. 
Probably  it  was  the  subject  of  this  article. 

PAMIGER,  or  PAMIXGER,  LEONARD,  a 

contrapuntist  of  the  sixteenth  century,  resident 
at  Passau,  was  a  very  learned  man  and  intimuto 
friend  of  Luther.     According  to  an  epitaph  writ- 


704 


PAM 


ENCYCLOP.EDIA    OF    MUSIC. 


PAN 


ten  hv  his  son,  hii;  death  took  place  in  l.iOS.  His 
Bon  also  editt'd  the  following  of  his  lather's 
works  :  "  I'rtmu.i  Tomus  Ecclesiaat iconmi  CaiUio- 
uum,  t,  o,  et  plurium  rocum,  1  Adv.  nir/id-  ad  I'lui- 
tiottem  Domini  et  Siluatori^  iioslri  J.  C."  Noriinb., 
lo73  ;  "  Tonuui  2,"  Xorimb.  1573  ;  "  Tomus  3," 
Norimb.,  157G  ;  and"  Tomus  l,"  Norirab.,    1580. 

PAMIGER,  or  PAMIX(JEK,  MAG.  SOPIIO- 
NIAS,  son  of  the  preceding,  and  editor  of  his 
works,  was  ultimately  ])rivate  teacher  at  the  Car- 
thusian convent  in  Nuremberg.  lie  was  horn  in 
152n,  and  studied  at  Wittenberg,  where  he  had 
letters  of  recommendation  from  his  fatlier  to  Dr. 
I/Uther  and  Molauchthon.  Afterwards  he  was 
driven  as  a  schoolman,  on  accoxmt  of  his  adher- 
ence to  Luther's  doctrine,  from  one  place  to  an- 
other. It  was  at  Oottingen  that  he  resided  long- 
est, having  been  invited  there,  in  15(18,  as  rector, 
and  also  as  inspector  of  tlie  choir.  At  la.st  he 
rc'^igne  I  all  his  situations,  and  removed,  in  1575, 
to  Nuremberg,  where  he  made  it  his  business  to 
procure  purchasers  and  patrons  lor  his  father's 
works,  of  which  he  himself  superintended  the 
edition.  He  then  opened  a  private  school  in  that 
town,  and  died  in  1()03.  Among-t  his  numerous 
works  we  can  mention  "  F.pitaphia  I^onh.  Pa- 
miiujrri,  Aschaniinsis,  viri  piitnte,  erudilione  et  vir- 
tiite  pnrstantisslmi,  musici  clarissimi,  isc,  a  Soph. 
PumiiKjiTO  et  quibusdam  reverendis,  clariss.  piis  ac 
eriiditii  viris  scriptti,"  Katisb.  1568. 

PAMPANI,  -'VNTONIO  GAETANO,  of  the 
Roman  states,  was,  during  twenty  years,  master 
of  the  Conservatory  of  the  08;)edaletto  at  Venice. 
He  wrote  the  following  operas  :  '•  AnngiUa,"  1735  ; 
"  Artasiise  Loitfiimnnn,"  1737;  "  Cnduta  d'Amti- 
lio,"  174G;  "La  Clemenza  di  Tito,"  1748;  "  Ar- 
taserte,"  1750;  " //  Vencesino,"  1752;  "  Astianat- 
tr."  1755  ;  "  Demn/ooiite,"  1764  ;  "  Dcmetrio,"  1768. 
Of  all  the  above  operas,  "  Demofoonte"  was  the 
most  successful.  Pampani  also  composed  much 
church  music.  Ilis  style  is  said  to  have  been 
noisy,  and  unworthy  of  the  head  of  an  Italian 
Bchool. 

PAN.  So  called  because  he  exhilarated  the 
minds  of  all  the  gods  with  the  music  of  his  pipe, 
which  he  invented,  and  by  the  harmony  of  the 
cithern,  upon  which  he  played  skilfully  as  soon 
tL»  he  wa.s  born.  ITic  nymphs  dance  to  the  mu- 
sic of  the  pipe  ;  which  instrument  Pan  first  in- 
vented thus  :  a  nymph  whom  he  was  pursuing 
prayed  the  Naiades,  the  nj-mphs  of  the  water,  to 
change  her  into  a  bundle  of  reeds,  just  as  Pan 
was  laying  hold  of  her,  who  therelbre  caught  the 
reeds  in  his  hands,  instead  of  her.  The  winds 
moving  these  reeds  backward  and  forward,  occa- 
sioned mournlul  but  musical  s<i\inds,  which  Pan 
perceiving,  he  cut  them  down,  and  made  of  them 
recden  pipes. 

"  llf  riihi  1  hii  ilehi  thf  Hny  nrAt  rrlum 
In  »or.  nmall  iicU-*.  liitp  onr  (hut  •irmrd  to  moani  t 
Th«  iirw.  tint  pIfBiKnl  nnt«-«  Ihr  tixU  turpritr  i 
Yvt  tht<  ihatl  makr  ui  fnrnita  Mt  liul,  he  cric*  t 
(*o  he  thia  pipe  of  f,-*(l«  unrqual  fraiTU^I 
Wilhvai.  and  Syrinx,  fmm  hii  niialre.a,  ■amrd." 

Lucretius  ascribes  the  invention  of  these  pipes 
not  to  I'an,  but  to  some  countryman,  who  had 
observed,  on  another  occasion,  the  whiittling  of 
the  wind  through  reeds. 

"  And  whllf  ion  fTrnlng  (air*  bifw  o'n  th»  plilna. 

Anil     ahonb     (Km     .^..nrllna    K»-.l-       .k._     . -L..L- 


«iiu  wniir  ioii  rrrning  (air*  nirw  o>r  thr  plilna. 
And  ahook  iht  loundlnii  irrda,  ihrr  Uii«hl  Ihr  avalnt  i 
And  Ihu*  lh«  piix  w*i  framrd,  and  lunrful  r»«d." 

89 


PANARMONION.  (Gr.)  A  wind  insti  iment 
used  by  the  .nncient  Greeks,  which,  as  far  as  w» 
are  able  to  collect  from  Plato,  and  the  Commen- 
taries of  Prochis  on  that  illustrious  author,  con- 
sisted of  an  assemblage  of  i)i|)e«,  and  resembled 
in  some  degree  the  modern  organ.  It  is  particu- 
larly worthy  ot  notice,  that  every  hole  of  these 
pipes,  or  imitations  of  pipis,  as  Proclus  expressly 
calls  them,  was  capable  of  emitting  three  ditferent 
sounds,  and  in  some  circumstances  more  than 
three.  It  follows  that  they  must  have  been  of  a 
construction  utterly  unknown  to  modern  instru- 
ment makers,  as  it  was  to  those  of  the  time  of 
the  learned  commentator,  who  flourished  in  the 
fifth  century. 

PANDEAN.  An  epithet  formed  from  the 
name  of  I'an,  and  ap))lied  to  any  music  adapted 
for  pcrfoi-manco  bv  the  h'istulte  I'anis,  or  Pipes 
of  Pan. 

PANDEAN  PIPES.  A  wind  instrument  of  the 
greatest  antiijuity,  made  of  reeds,  fastened  to- 
gether, and  tuned  to  each  other  ;  said  to  have 
been  invented  by  Pan,  the  god  of  mountains, 
woods,  and  shepherds,  and  the  son  of  Mercury. 
He  is  represented  as  a  monster,  with  horns  on  his 
head,  and  the  legs  and  feet  of  a  goat.  These 
several  pipes  are  bound  together  side  by  side,  and 
made  to  sound  as  many  notes  as  there  arc  jiipes. 

PANDECT,  MUSICAL.  A  treatise  that  com- 
prehends the  whole  of  the  harmonic  science. 

PANDORA.  An  ancient  stringed  instrument 
resembling  a  lute,  and  the  strings  of  which  are 
of  brass.  Its  frets  are  of  copper,  like  those  ot 
the  cistrum  ;  its  back  is  like  that  of  a  guitar ; 
and  the  rims  of  its  table,  like  those  of  its  ribs, 
are  cut  into  semicircles.  The  I'nndorn  was  bor- 
rowed by  the  Spaniards  from  the  Moors. 

PANE,  DOMENICO  DEL.  sopranist  of  the 
pontifical  chapel  at  Rome,  was  a  composer  whose 
works  are  remarkable  for  their  elevated  style. 
He  first  entered  on  his  office  in  the  chapel  in  1654. 
Amongst  the  works  which  he  published  Ls  one 
entitled  "  Missep  delC  Abbate  del  Pane  a  tre,  a 
quattro,  cinque,  sei,  e  Otto  voci,"  Rome,  1687.  This 
is  a  collection  of  masses  in  the  style  of  Pales- 
trina. 

PANECK,  JOHANN.  The  theatrical  al- 
manacs call  him  chapel-master.  Previously  to 
1791,  the  operetta  "  Die  ChriMliche  Judcnhraut," 
composed  by  him,  was  performed  in  many  Ger- 
man theatres.  It  seems,  however,  that  the  critics 
could  not  agree  on  the  merits  of  this  work,  since 
it  was  in  many  places  hi.s.scd  and  hooted ;  for 
instance,  at  lircraen,  it  was,  in  17'.m;,  pronounced 
to  be  tra.sh,  whilst  at  Vienna  they  could  not 
perform  it  often  enough,  both  at  the  I.*opold- 
stadt  and  at  the  Carintliian  Gate  ttieatrcs. 

PANTALON.  (F.)  One  of  the  moTcmenta  of 
the  quadrille. 

PANTOMIME.  (From  the  Greek.)  A  spe- 
cies  of  musical  enterUiinment,  so  called  becauM 
it  is  (i// mimic.  There  i.s  no  scenic  exhibition,  th« 
music  ol  which  rc<iuires  a  greater  ^'ariety  and 
liveliness  of  fancy  than  that  of  the  /Muiiomime. 
The  scene  may  l>e  perjietually  i  hancinK,  the  btu»- 
tle  and  business  sustaine<l,  an<l  the  agility  of  the 
motley   hero   fully   employeil ;    yet   how  insipid 


706 


PAX 


ENCYCLOPEDIA   OF  MUSIC. 


PAR 


will  he  the  effect,  if  the  music  bo  not  equally 
B^^ile  and  diversified,  the  imagination  of  the  com- 
poser 08  active  as  the  movements  of  the  machi- 
nist !  if  he  do  not,  in  every  instance,  every  mi- 
nutia,  nccoraraodatc  liimscif  to  the  varyinf;  spec- 
tai'lo.  impart  lite  to  the  action,  and,  working  at  the 
unconscious  hearts  of  the  spectators,  give  a  mo- 
mentary reality  to  the  delusion  !  To  do  this  is 
the  business  ot  the  musician  ;  and  the  reader,  by 
rettectinj;  on  tlie  ditticulty  of  the  task,  will  know 
how  to  appreciate  good  pantomimic  music. 

PANSEKON.  AUGUSTE  MATHIEU,  -was 
born  in  Paris,  in  170o.  He  received  his  first  in- 
struction from  his  father,  himself  a  music  teacher. 
Afterwards  he  entered  the  Conservatoire,  where 
in  the  years  180C,  1808,  1811,  and  1812,  he  won 
several  prizes  for  solfeggio,  violoncello,  and  com- 
position. In  1813,  having  received  the  grand 
j»rize  for  composition,  he  made  the  Italian  tour. 
In  181.5,  he  produced  his  first  French  mass  at 
Rome  ;  after  which  he  travelled  through  Russia 
and  Germany,  and  received  lessons  from  Winter 
and  Salieri.  In  1818  a  "  Rci/uicm."  and  a  "  De 
Prnfundis,"  by  him  were  performed  in  Vienna. 
After  a  short  stay  with  Prince  Esterhazy  he  went 
back  to  Paris,  where  his  first  opera,  "  La  GrilJe 
(lu  Pare,"  was  brought  out  in  1819.  The  poor 
success  of  a  second  opera  deterred  him  from 
the  theatre,  and  he  sought  a  quiet  subsistence  by 
composing  romances  and  giving  private  lessons. 
It  was  Panscron  who  gave  to  the  romance  its  pe- 
culiar form  and  character,  and  he  wa-s  the  first 
who  accompanied  it  with  different  instruments. 
He  published  more  than  two  hundred  romances, 
some  of  which  were  reprinted  in  Germany,  Italy, 
and  England.  His  excellent  "  Method  of  Vocali- 
zation," jiublished  in  1839,  led  to  his  appoint- 
ment as  teacher  of  singing  in  the  Conservatoire. 

PANZAU,  P.  OCTAVIAN,  dean  of  the  Con- 
vent of  the  Holy  Cross  at  Augsburg,  was  of  a 
good  family  in  that  town,  but  studied  music,  and 
became  organist  about  the  year  1760.  One  of  his 
works  was  published  at  Augsburg  under  the  title 
"  Octonium  Ecclesiasticum  Organicum." 

PAOLIXI,  AURELIO,  an  instrumental  com- 
poser, flourished  about  the  year  1710,  in  which 
year  he  published  a  work  at  Amsterdam,  entitled 
"  Soiiate  d  tre." 

PAOLO,  AGOSTINO.     See  Aoostini. 

PAOLUCCI,  PADRE  GIUSEPPE,  pupil  of 
Padre  Martini  at  Bologna,  published  a  didactic 
work  in  two  volumes  in  folio,  entitled  •'  Arte 
vratica  rfi  Contrapunto  diin>n\trnla  con  Esentpi  di 
rari  Autori  t  con  O.iservaziotii,"  Venice,  176.5.  In 
Ihis  book  are  to  be  found  specimens  of  the  c/te/s 
faiirre  of  the  following  great  masters  :  Orlando 
Lasso,  Perti,  Clari,  Palestrina,  Caldara,  Marccllo, 
Bernabei,  Vittoria,  Colonna,  Porta,  Asola,  Fu,\, 
Buon  )ncini,  Gonclla,  Pacchioni,  Handel,  Turini, 
AgoMini,  Morales,  and  Zarlini.  This  was  con- 
lidered   a  work  of  high  merit. 

PAPA,  TARQUIXIO.  A  contrapuntist  of 
the  sixteenth  century.  Some  pieces  of  his  com- 
position are  found  in  '■  Antufuis,  Lihro  1,  h  '2  voci, 
it  dw.  Aulnri  di  Dart,"  Venice,  158.5. 

PAPA,  CLEMENS  NON.     See  Clemens. 

PAPAVOIXE.  A  French  violinist  in  the  or- 
■  ■>8tr8  of  the  Thf-fltre  Ambigu  Comique  at  Par- 


is, and  afterwards  chef  d'orchestre  of  the  theatre 
at  Marseilles.  He  brought  out  at  the  Thfcdtre 
Italien  at  Paris,  in  1760,  an  operetta  entitled 
"  Bnrbacole,  ou  ie  Manuscrit  vol!:." 

PAPE,  ERXEST  FERDIXAND,  director  of 
the  music  at  the  Royal  Gj-mnasium,  and  at  the 
Cathedral  of  Arosen,  in  Sweden,  about  the  year 
1727,  is  regarded  as  the  author  of  the  "  Specimen 
Academicum  de  Triade  Harmonica,"  attributed  to 
Westenbladh. 

PAPPO,  FRANCESCO,  a  professor  of  phi- 
losophy and  divinity,  also  preacher  at  Milan  in 
the  year  1000,  had  acquired  so  much  valuable 
knowledge  in  music  and  compo.sition,  that  he 
wrote,  in  his  leisure  hours,  several  musical  works, 
which  met  with  approbation  even  at  Rome.  Of 
these  were  printed  "  Moletti  h  -let  n  4  rod,"  Milan, 
1608,  and  •'  Partita  delle  Canzoni,  a  2  e  4  voci,' 
Milan,  1608. 

PARA.  (Or.)  A  conjunctive  word,  signify- 
ing near  ;  as,  parameae,  near  the  middle  chord  or 
string. 

PARABOSCO,  GIROLAMO,  was  organist  of 
St.  Mark's  Church  at  Venice,  and,  according  to 
Crescimbeni,  a  most  admirable  performer.  Sev- 
eral  of  his  motets  and  madrigals  are  inserted  in 
the  collection  that  was  published  about  the  mid- 
dle of  the  sixteenth  century;  some  of  which  Dr.  ' 
Bumey  took  the  trouble  to  score,  but  found  in 
them  no  subject,  and  but  little  desi^'n  or  contri- 
vance. And,  if  his  literary  abilitie-  did  not  im- 
pose on  the  writers  who  speak  of  his  musical 
productions,  his  character  as  a  composer  must 
have  been  established  on  works  superior  to  these, 
which  are  mere  remplism'/e.  The  compositions 
of  the  two  Xetherlanders,  Jachet  Berohera  and  Ar- 
chadelt,  are  infinitely  superior  to  those  of  Para- 
bosco.     Parabosco  died  at  Venice  in  1.587. 

PARADIAZEUXIS.  (Gr.)  The  name  given 
by  the  ancients  to  an  interval  between  two  tetra- 
chords  consisting  of  one  tone.  The  disjunction 
of  the  tctrachord  synemmcnon  and  the  tetra- 
chord  diazeugmenon  was  of  this  description. 

PARADIES,  M.\RIA  THERESA,  bom  at 
Vienna  in  1759,  became  blind  at  the  age  of  five 
years,  evincing  at  the  same  time  such  a  dispo- 
sition for  the  arts  and  sciences,  that,  notwith- 
standing her  privation  of  sight,  she  soon  became 
capable  of  playing  the  harpsichord,  (on  which 
she  could  perform  from  memory  the  most  diffi- 
cult fugues  and  concertos  of  Bach,  Handel,  Jtc.,) 
also  to  sing,  compose,  speak  several  languages, 
perform  the  usual  operations  of  arithmetic,  un- 
derstand geography,  dance.  &c.  About  the  year 
1780  she  commenced  travelling,  with  her  motJier, 
to  the  principal  capitals  of  Euro])p,  and  every 
where  excited  etpial  interest  and  admiration. 
The  Empress  Maria  Theresa,  before  whom  she 
had  performed  when  only  eleven  years,  gave  her 
a  pension  of  two  hundred  and  fifty  fiorins,  which 
she  lost  at  the  death  of  that  princtss.  About  the 
year  1790  she  was  in  London,  when  the  cele- 
brated Pitt  heard  her,  and,  according  to  the 
authors  of  the  French  "  Dictionary  of  Musicians," 
was  affected  even  to  tears.  Mrny  of  her  com- 
positions for  the  harpsichord,  and  more  than  one 
operetta  by  her,  have  been  publLshed. 

PARADIES,  PIETR.  DOM.,  a  celebrated  com- 
poser, was  born  at  Venice.     Ho  was  a  pupil  of 


706 


PAR 


ENCYCLOPEDIA    OF    MUSIC. 


PAU 


Porpora  lie  went  to  England  towards  the 
close  of  the  year  1746,  and  produced,  in  January, 
1747,  the  opera  of  "  rhoJ'ton,"  of  the  music  of 
which  Dr.  lluniey  thus  speaks :  "  In  examin- 
ing the   airs  of  this  opera,  the  first  seems  very 


in  1482,  at  Hologna.  Von  Murr  communicated 
to  Gcrber  the  following  remarks  on  this  musician  ■. 
"The  title  of  his  work,  which  is  very  soju-ce, 
is  "  Tractatus  tie  ^[u.uca,"  Salamanca,  no  year 
named.     Dr.  Forkol,  in  his  "  Literature,"  p.  'i?'!, 


common  and  ill-phrased;  nor  is  there  much  eslro  speaks  of  two  editions  of  the  above  work,  Ho- 
or  grace  in  any  of  his  songs  that  I  have  seen,  noniie.  14S'2  :  but  these  do  not  now  exist.  Nicol 
Indeed,  he  scenis  to  have  had  no  great  experience  liurtius,  or  Hursio,  a  professor  of  the  classics  at 
s-i  an  opera  composer,  and  during  his  residence  in  Parma,  and  who  was  also  a  yoct,  published  at 
England  he  acijuired  more  reputation  by  the  les-  Hologna,  in  14S7,  in  opposition  to  the  opinions  of 
sons  ho  published  for  the  harpsichord,  and  the  Pareja,  a  work  entitled  "  .\fiuiees  Opiisciilum  cum 
scholars  he  made  for  that  instrument,  on  which  (left-nsione  (laidonia  Arctini  aitcersus  qiifmiam  Uit- 
he    was    an   admirable  master,  than   by  his  vocal     panitni  V)-ritati%  pr<rvaricaiorem,  cum  Fii.  el   Snfin 

Mus."  On  this,  Giov.  Spadai-io,  a  pupil  of  Pa- 
reja, and  who  was  a  [)rofcssor  at  HologTui  in  14HJ, 
most  strenuously  defended  his  master  against 
IJursio.     Dr.  liurnev  observes  of  this  Pareja,  that 


composition."  Previously  to  his  visit  to  Eng- 
land, Paradies  had  comjioscd,  at  Venice,  "  .4/<"<- 
uiiulro  in  renin,"  and  "  Drcreto  del  h'ato,"  both 
operas ;  also,  a  cantata  entitled  "  I^  Muse  in 
Cnra,"  written  for  the  Conservatory  of  the  Men-  he  was  originally  a  professor  of  music  at  Toledo, 
dicanti.  Most  decidedly,  however,  his  greatest  and  not  at  Salamanca,  and  that  he  was  the  first 
■work  was  his  twelve  harpsichord  sonatas,  which  ,  w-ho  maintained,  though  not  without  opposition 
must  ever  charm  the  connoisseur  of  taste.  Para- 
dies  WHS   the  master  of  Thomas   Linlev,  and   his 


sonatas  formed  part  of  the  early  study  of  the  cel- 
ebrated Clementi. 

PARADIN,  (;UILL.\UME,  Dean  of  Beaujeu 
about  the  year  1.5,Sl,  was  born  at  Cui^eaux,  in 
Burgundy.  He  published,  among  many  other 
works,  "  Traili  ties  Chwurs,"  Beaujeu,  1.56G. 

PARA  IIYPATE.  (Or.)  The  next  sound  aboTc  the  graveit,  of 
tht  luwfit  of  the  aiicicnl  diapason,  or  octoYe. 

PARALLEL  MOTIOX.  That  motion  in  which 
two  or  more  jiarts  move  in  the  same  direction,  as- 
cending or  descending. 

PARAMKSE.  (Or.)  The  name  applied  hy  the  aneienH  to  the 
•eeoml  mnnil  of  th,-  »ccond  octave.  lx-eft»i«e  nVxl  in  dejfree  to  the 
niid'lle  sonnd  of  thi'ir  ffreat  i»v»t*'m.  or  dia^nnn.  The  |«aniinfic 
iorr,»|v..n.li-.l  win,  our  1)  nlKive  the  nfth  Mm-  in  the  h«««. 

P.\R.\.\KTK.  ((ir.)  Tiie  niit  >ouncl  to  the  wle,  or  moat  acute 
tone  of  tlie  am-icnl  diapnaon,  or  fn'tiive. 

PAKANKTE  1)1  AZKUOMENDN.  (Or.)  The  name  hv  which 
the  nncicnta  di'^tintfuivhed  the  third  ttring  of  the  fourth  tetrachord. 
the  lone  of  which  wui  cquiTalent  to  our  1)  tinder  thi-  firat  line  iu  the 
ljel>le  clif. 

PaRANETKIIVPERBOL.T.ON.  (Or.)  The  name  given  hv  the 
mncienti  to  the  pt-nnltiiim  of  the  auprf-nu*.  or  tlfth  tetmcTiord,  "Thia 
foniol  corre»tMtnd<d  with  our  tretde  clef  note  on  the  Acconil  line. 

PARAXETE  SV.VEMMENON.  (Or.)  Tlie  appellation  hv  which 
the  ancient^  di^tinnuishrd  the  penultiina,  or  luat  aoumi  hut  one,  of 
tlu'  third  titrnchord.  Thia  nound  corroaptu.di-d  with  our  C  on  the 
flrat  leirer  line  above,  in  the  haaa. 

PARAPllOMA.  ((5r.)  A  word  which,  with  the  anclenU,  waa. 
in  ai.ine  dcirrce,  aynnnymous  with  hartnony.  The  paniphonta  waa 
that  coiiHonjince  reaulting  from  aouiida  really  different,  aa  the  tilth 
and  the  fourth,  (the  only  harmony  admittefl 'in  the  Oreek  innair.) 
hot  which  excluded  the  uniaon,  called  hnmnf,lioHy,  and  the  ocUve, 
C4illed  trnfit'hnnii. 

PARAPHO.NOI.  (Or.)  Certain  comhinntioni  in  the  ancient  mu- 
alc,  which  were  neither  cnnconii  nor  diKorda,  but  between  both. 
Tlie  loodrm*  have  no  «ound«  thai  come  under  this  predicament 

P.\R.\TRIPEMATA.  The  name  given  by  the  ancienta  to  the 
aide  aperlima  of  their  (lutea. 

PARAHVPATE  MESON.  (Or.)  Neil  the  middle.  Thename 
anphed  hy  the  ancients  to  the  second  sound  of  their  s<-cond  letrm- 
rhoid.  beciiuse  it  was  next  in  decree  to  that  sound  which  formed  Uic 
meaun.  or  middle  sound,  of  the  two  flrst  tetrachords. 

PAILVVICIM,  MADAME,  pupil  of  Viotti, 
was  a  distingtiishcd  jicrformer  on  the  violin. 
Shewa,s  perfonuir.g  at  I'aris  about  the  year  179.5, 
and  ajrain  as  lute  as  1820  in  Munich. 

PAREDES,  PEDRO  SANCIIES  DE,  a  Por- 
tuguese, was  an  excellent  classical  schol.ar,  com- 
poser, and  organist.  He  died  at  Lisbon  In  16.3.5. 
Be.^des  a  Latin  grammar  which  he  published  for 
the  use  of  his  countrymen,  he  wrote  the  loUow- 
ing  works  (in  manuscript)  which  concern  music, 
namely,  '•  I^mcn(ii(;oens  da  Semana  Santa  da  ta- 
nas Vozes,"  and  "  Vilhancicos  para  (i  \ou/e  de 
tCatoL"  Tlic.se  compositions  are  still  deposited 
in  the  church  of  Obidos,  where  the  author  held 
»  benetice. 

PAREJ.V,  BARTOLOMEO  RAMO  DA.  A 
professor  of  mtisic  in  Salamanca,  and  afterwards. 


the  necessity  of  a  musical  tem;>eraraeiit. 

P.\RE.\TI,  FR.VNCE.SCO  P  M.,  a  composer 
and  singing  master,  resident  at  Paris  from  the 
year  1790.  wo-s  born  at  Naples  in  17'i4.  He  was 
a  pupil  of  the  Conservatory  of  La  Piet.i,  and 
studied  coi)nteq)oint  under  Nicolo  .Sala,  (iiacomo 
Trajetta,  and  Tiirantina.  He  brought  out  in 
ItJily  the  following  operas,  which  were  all  suc- 
cessful, especially  at  Rome:  "La  Vendcmia," 
"  II  Matrimonio  per  Fanatiamo,"  "  I  Viar/(/i'itori 
Felici."  'ITie  above  three  were  comic  operas,  and 
the  following  four  serious:  "  AiUii/one,"  "II  He 
Paitore,"  "  La  Xifeli,"  and  "  L' Artaserse."  When 
Parcnti  first  arrived  at  Paris,  several  of  his  songs 
were  inserted  in  "  Le^  Pitiriiui  de  la  Med/w," 
perfonned  at  the  Thtati'e  Feydeau  ;  for  which 
theatre  he  also  composed  "  Les  deax  Portraits," 
ill  two  acts,  1792,  "  I^s  Souliers  mordoris,"  179.3, 
"  L'  Horn  me  ou  le  Malheur,"  in  one  act,  and  a  few 
other  piices  de  circonstance.  In  1802  he  was  con- 
ductor in  the  orchestra  of  the  opera  buffa  at 
Paris.  In  1799  he  published  a  work  entitled 
"  Recueil  d'llymnrs  phihsophiques,  ciciijiies,  ct  nio- 
raujc,  augments  de  la  ttote  en  plein  chant  d'tipria  la 
miuii/ue  des  meil/eurs  auieurs,  pour  faciUtrr,  sur- 
toul  dans  les  campa;/nes,  la  cilMbration  des  fetes  ri- 
publicaines."  He  also  composed  many  majwes, 
motets,  and  other  pieces  of  church  music,  alia 
Palestrina. 

P.\RF.\IT.  (F.)  Perfect,  in  respect  to  inter- 
vals or  chords. 

PARIS,  NICOLAUS,  a  distinguished  singer 
at  the  Chapel  Royal  in  Naples,  and  afterwards, 
about  the  year  1710.  in  the  serN'ice  of  the  Prince 
of  Anspach. 

PARIS,  GUILL.VL^IE  ALEXIS,  a  celebrated 
conductor  of  the  orchestra  at  the  French  theatre 
in  St.  Petersburg,  was  bom  in  17.jr>.  He  accept- 
ed the  above  situation  in  1799,  which  he  filled 
with  great  credit. 

PARISI,  NICODEMO,  a  composer  of  the 
seventeenth  century,  published  "  Missr  c  Salmi  h 
o  loci." 

PARKE,  JOHN,  bom  about  the  end  of  the 
year  174.5,  studied  under  Simpson,  the  best  per- 
former on  the  hautlioy  at  that  time,  and,  for  the 
theory  of  music,  under  Banmgartcn.  He  made 
such  progress  in  both  branches,  particularly  in 
the  former,  that  he  was,  in  1776,  engaged  h» 
Smith  and  Stanley,  the  successors  of  Handel,  tc 


707 


PAR 


ENCYCLOPAEDIA    OF    MUSIC. 


PAB 


jilay  the  jirircijml  liamlwy  part  at  the  oratorios 
iluriii-;  Lent,  which  perlorniaiiccs  tlieir  majesties 
then  honored  every  ni^ht  with  their  presence. 
Here  he  );ave  universal  Kntislaction ;  and  trom 
tliat  time  his  reputation  daily  increasinj^,  he  was 
en;;a^i(l  at  Uuncla^h,  at  whicli  jjlace  there  was  a 
band  of  the  best  pertonuers  in  the  profession. 
This  entertainment  bein;;  but  three  nights  in  the 
week,  he  jjhiyed  at  Mary-le-bone  Gardens  the 
other  three,  wliile  they  were  under  the  direction 
of  I'into,  tlie  famous  performer  on  tlie  violin, 
who  engaged  all  the  best  artists  at  the  opera,  and 
then  made  Mary-le-bone  Gardens  the  grand  re- 
sort of  all  the  amateurs  and  lovers  of  music, 
who  could  there  hear  the  best  music  played  by 
the  best  performers  of  that  day.  In  1768,  he 
was  engaged  to  play  the  principal  hautboy  at  the 
opera.  In  1769,  Fischer,  the  celebrated  hautboy- 
ist  from  Dresden,  went  to  England,  and  was  al- 
lowed by  all  to  be  the  most  able  performer  on 
that  instrument  that  had  been  heard,  and  Parke 
most  cheerfully  subscribed  to  the  general  opinion. 
Fischer  only  played  his  concerto  at  a  concert,  not 
being  accustomed  to  play  in  an  orchestra,  and 
the  j)roprietors  of  Vauxhall  Gardens  engaged 
him  to  play  a  concerto  every  night,  at  a  very  lib- 
eral salary,  which  he  did  for  two  seasons,  aiid 
then  resigned.  Parke  was  engaged  to  succeed 
him,  and  did  so  with  the  universal  applause  of 
the  public  for  a  great  number  of  years.  The 
entertainment  at  that  place  was,  at  the  period 
we  are  speaking  of,  a  regular  concert  only,  by  the 
best  singers  and  instrumental  performers.  In 
the  same  year  that  J.  Parke  succeeded  Fischer  at 
Vauxhall,  they  were  in  great  want  of  a  good  per- 
former on  the  hautboy  at  Drury  Lane  Theatre, 
(iarrick  then  offered  Parke  such  terms  as  to  sal- 
ary, together  with  indulgences  to  attend  concerts, 
as  he  thought  very  much  to  his  interest  to  ac- 
cep't ;  by  which  he  also  won  Garrick's  friendshij), 
and  they  ever  after  lived  on  the  most  intimate 
and  friendly  terms,  he  frequently  inviting  him  to 
his  house  at  Hampton,  &e.  Some  short  time 
after  this,  his  talent  and  respectability  procured 
for  liim  the  patronage  of  the  Duke  of  Cumber- 
land, the  universal  patron  of  music.  J.  Parke 
had  not  only  the  high  honor  of  his  patronage, 
but  of  his  esteem  ;  the  duke  sometimes  calling 
on  him  in  the  morning  in  the  most  friendly  way, 
and  occasionally  ordering  his  band  to  have  some 
music  in  a  morning  at  Parke's  house ;  on  which 
occasions  his  royal  highness  always  played  the 
tenor.  Besides  this,  the  duke  had  music  gener- 
ally three  mornings  in  the  week,  either  at  Cum- 
berland House  or  at  Windsor  Lodge,  where 
Parke  tre(niently  staid  for  a  short  time.  To  the 
duke's  patronage  Parke  also  owed  the  honor  of 
being  musician  in  ordinary  to  the  king.  It  was 
at  one  of  the  concerts  of  Queen  Charlotte,  at 
lUickinghara  House,  in  the  autumn  of  1783,  that 
ho  was  so  fortunate  as  to  be  introduced  to 
the  then  Prince  of  Wales,  who,  being  pleased 
with  his  performance,  did  him  the  honor  to 
desire  his  presence  at  Carlton  House  on  the 
following  ;.l^ht;  he  accordingly  attended,  with 
(iiardini,  Schroeter,  and  Crosdill,  who  were  his 
royal  highness's  chamber  band.  Parke  was  then 
put  on  a  salary  of  one  hundred  jjounds  a  year, 
and  attached  to  the  Carlton  House  band.  He 
was  in  great  repute  at  this  time,  having  to  ))er- 
forra  at  the  Professional  Concert,  the  Ancient 
Concert,  which  their  majesties  honored  with  their 


presence  every  night,  besides  a  great  number  oi 
private  ones ;  he  likewise  was  engaged  at  all  tht 
music  meetings  in  the  country,  namely,  at 
Gloucester,  Worcester,  Hereford,  Liverpool,  Man- 
chester, Uirmingham,  Chester,  Oxford,  Cam- 
bridge, .Vorwich  ;  and,  in  fact,  wherever  there  was 
a  gri,'at  provincial  meeting  Le  was  engaged  at  it, 
for  the  space  of  near  forty  years.  Having  been 
long  in  the  receipt  of  a  good  income,  and  living 
prudently,  though  respectably,  Parke  at  length 
thought  it  better  to  retire  from  business  while  in 
the  full  possession  of  his  powers,  his  instrument 
requiring  more  application  than  a  m-r  it  his 
time  of  life  (near  seventy  years  of  age)  could 
agreeably  bestow.  Parke  composed  many  con- 
certos for  his  own  performances,  but  could  never 
be  prevailed  on  to  publish  any  of  them.  Ht 
died  at  London,  in  1829. 

PAHKE.  mSS,  afterwards  MRS.  BEAllD- 
MORE,  was  the  eldest  daughter  of  the  preceding,- 
and  among  the  first  orchestral  singers  and  most 
celebrated  pianists.  She  was  instructed  both  in 
singing  and  playing  solely  by  her  father.  She 
died  at  an  early  age,  in  the  year  18'22,  her  hus- 
band surviving  her  only  four  months.  Mrs. 
Beardmore  published  several  sets  of  sonatas,  be- 
sides detached  pieces  and  some  son'^s. 

PARKE,    WILLIAM    THONL\S,    the    cele- 
brated   performer    on  the  hautboy,  was  bom  in 
the    yeir    1762,    and  nt   eight   years    old    began 
to     study    music     under     his      elder     brother, 
John     I'arke.     His    first    instruments    were    the 
German    flute  and  hautboy,  after  which  he  re- 
ceived    instructions     on    the     piano-forte     from 
Dance  and  Dr.  Charles  Burney,  and  subsequent- 
ly studied  harmony  under  that  profound  theorist 
C.  F.  Baumgarten.     During  the  first  six  years  he 
made  so  rapid   a    progress,  that,  at  the  age  of 
fourteen,  he  was  regularly  engaged  in  the  orches- 
tras of  Vauxhall  and   Drury  Lane  Theatre.     It 
was  at  this  time  (1776)  that  Garrick  retired,  and 
disposed  of  his  theatre  to  .Sheridan,  and  his  fa- 
ther-in-law, Mr.  Linley.     The  instrument  Parke 
played,  in  both  these  situations,  was  the  tenore; 
but,  during  the  eight  years  he  remained  in  Dru- 
j  ry  Lane  Theatre,  his  practice  on  the  hautboy,  his 
I  favorite   instrument,   was  so  unceasing,  that  he 
devoted  many  of  those  hours  which  are  usually 
I  passed  in  sleep  to  the  cultivation  of  it.     In  the 
I  year  1781,  he  removed  to  Covent  Garden  Theatre, 
'  and  was  placed  in  the  situation  of  first  hautboy, 
I  throxigh  the  recommendation  of  Shir'd.   vho  was 
I  then  composer  to  that  theatre,  and  \\  ho  jeing  an 
admirer   of  W.    Parke's    talent,    wrote   obligato 
jiarts    for    him    in    all    the    operas   he  produced. 
I  About   two   years  after  this,  upon  Fischer   (the 
father  of  the  hautboy,  as  he  was  justly  termed", 
going  abroad,  Parke  was  engaged  to  succeed  hi.-n 
at   the  Ladies'  Concert ;  and  shortly  after,  when 
the  Professional  Concert  was  in  its  zenith,  he  was 
i-  invited  to  become  a  member,  where  he  disjilayed 
I  his    abilities    as    a    solo    performer,    under    the 
'  auspices  of  the  Duke  of  Cumberland,  and   was 
honored  with  the  warmest  patronage  of  his  royal 
highness    fill    his    death.     He  was  also  honored 
with  the  favor  of   George   IV.,  when   Prince  of 
I  Wales,  wbo  commanded  his  attendance  at  all  his 
music  parties ;  ui)on  which  occasions  Parke  had 
the  happiness  to  experience  the  most  publia  ap- 
probation of  his  royal  master,  who  condescended 
to  permit  his  dedicating  a  concerto  to  him,  coni* 
OS 


PAR 


ENCYCLOPAEDIA    OF    MUSIC. 


PAU 


posed  for  and  perlonned  at  the  Professional  Con- 
cert. In  the  year  1800,  W.  Parke  was  solicited 
to  become  the  juineipul  hautboy,  and  to  perform 
concertos  at  Vauxhall  (Jardens;  which  he  ac- 
cepted, and  remained  in  that  situation  till  the 
new  proprietors  dispensed  with  the  hue  concert 
band  which  had  for  many  years  delij^hted  the 
public,  and  substituted  a  military  one  in  its  stead. 
W.  Parke,  as  a  composer,  acquired  con.-iderable 
reputation.  He  was  employed  as  such  for  sev- 
eral seasons  at  Vauxhall.  and  during  that  period 
experienced  the  most  flattering  success.  Among 
the  numerous  songs,  glees,  Jtc,  there  produced 
by  him,  "The  Romp,"  "The  Day  of  Fashion," 
"'l"he  Triple  Courtship,"  and  "The  Canary 
Bird,"  were  well  known,  as  well  as  many  others, 
which  we  have  not  space  to  enumerate.  He  is 
also  author  of  many  instrumental  pieces,  some  of 
which  were  written  for  the  theatre,  jiarticuLirly 
the  overtures  to  "  Netley  Abbey"  (witli  some  of 
the  songs  in  the  piece)  and  "Lock  and  Key," 
both  of  which  have  been  ])opular.  In  speaking 
of  his  ])erfonnance  on  the  hautboy,  so  well  known, 
we  will  only  observ-e,  that  his  tone  was  remark- 
ably sweet,  his  execution  rai)id  and  articuhite, 
his  shakes  brilliant,  his  cantabiles  and  cadences 
varied  and  fanciful,  and  that  his  judicious  style 
of  playing  adagio  movements  evinced  the  great- 
est feeling  and  expression.  We  must  not  avoid 
mentioning  that  W.  Parke,  by  his  industry  and 
genius,  added  to  the  compass  of  the  hautboy,  as 
he  played  up  to  G  in  alt,  which  was  a  third 
higlier  than  the  usual  extent  of  the  instrument, 
E  natural  having  been  the  highest  note.  W. 
Parke  was  a  member  of  the  Royal  .Society  of 
JIusicians,  and  was  elected  one  of  the  court  of 
assistants,  or  governor  for  lite. 

PARKER,  MAITHEW,  Archbishop  of  Can- 
terbury, and  court  chaplain  to  Queen  Elizabeth, 
was  born  at  Norwich  in  1504.  lie  was  so  good  a 
musician,  that  he  composed  the  music  to  Queen 
ElizalHJth's  Liturgy.  He  also  translated  the 
Psalms  ;  in  which  work  he  introduced  some  in- 
genious remaiks  on  the  church  tones.  He  died 
ill  1675. 

PARI.ANTE.  (I.)  Literally,  speakiuo,  lalkin/j. 
Accented,  as  if  with  words,  in  a  declamatory  style. 
Parlaiuto  has  the  same  meaning. 

P.\RMA,  XICOLO,  a  contrapuntist  of  the 
sixteenth  century,  bom  at  Mantun,  published 
"  CaiitioncJi  Sacrtr,  5,  6-10  cocum,"   Venice,   1.580. 

PAROCIII.VL  DUTY,  l-he  signification  of 
this  expression  includes  the  organ  .iccompani- 
mcnt  ot  a  congregation  singing  in  the  Psalms,  and 
the  perfornumce  of  voluntaries. 

PARODI.  TERESA,  a  native  of  Genoa,  was 
born  on  the  'JTth  of  August,  1827,  of  re- 
spectable parcnt.H.  Her  father  wa.s  a  retired  and 
pensioned  emp/oi/i  of  the  Sardinian  government. 
She  gave  early  evidence  of  musical  t.dents, 
which  drew  upon  her  the  notice  of  manv  lov- 
ers of  art  among  the  first  families  ot  Genoa, 
through  whose  i)atronage  she  enjoyed  the  ber-t 
means  of  instruction  which  wealth  and  taste 
could  command.  At  twelve  years  ol  age  she 
was  placed  by  her  parents  in  the  Musical  Insti- 
tute of  Genoa,  under  Maestro  felli,  from  wnich 
she  was  removed  to  the  tuition  of  a  pn lessor  of 
sclebrity  in  the  same  city,  Mbestro   De^fola.     In 


1844  she  was  taken  to  Milan  to  study  under  Fe- 
lice Ronconi.  In  the  cajiital  of  Lombardy  she 
hapjiened  to  be  heard  at  a  private  concert  by  the 
husband  of  Pasta,  who  was  so  struck  by  the  re- 
semblance of  her  vocal  gilts  to  those  of  his  re- 
nowned consort,  that  he  liurried  back  to  his  villa 
at  Como,  to  tell  Pa.sta  that  he  had  asard  a  young 
singer  in  whom  her  voice  and  drinvatic  Hi)irit  were 
renewed.  Pasta  repaired  to  Milan,  and  bci  amo 
at  once  so  impressed  with  t\»  young  Teresa  that 
she  immediately  endeavored  to  persuade  Madame 
Parodi  to  consent  to  place  her  under  her  care. 
This  wa.s  too  advantageous  an  otter  to  be  declined, 
and  Teresa  became  the  pu])il  and  adopted  daughter 
of  Pasta.  Ronconi  bitterly  complained  of  being 
deprived  of  his  |)upil,  from  whose  success  he 
reasonably  expected  to  derive  an  increase  of  fame, 
and  liLs  entreaties  prevailed  upon  Pasta  to  remain 
with  Parodi  for  some  time  in  Milan,  imparting 
her  lessons  at  the  same  time  with  the  professor. 
'ITience  she  withdrew  with  her  to  t'orao,  where 
Parodi  remained  a  year  without  returning  to 
Milan. 

Pasta  devoted  herself  to  her  pujiil  con  anion; 
recalling  in  the  young  Teresa's  voice  and  form  hex 
own  blooming  youth,  when  she  reigned  the  undis- 
puted queen  of  song  in  Europe.  The  first  tests  tc 
which  I'arodi's  voice  was  subjected,  satisfied  hei 
experienced  instructress  of  her  striking  adajjted- 
uesi  to  the  delivery  of  tho.se  great  ett'ects  whicii 
had  made  her  own  name  so  famous,  and  she  at 
once  avowed  her  conviction  that  her  pupil  must 
succeed  in  her  chosen  career  —  an  a.ssurance 
which  added  new  incentives  to  the  ardor  of  thi 
young  Genoese,  ambitious,  not  more  tor  her  own 
fame  than  for  a  position  which  would  enable  h<'r 
to  benefit  her  aged  j.arents  and  dependent  si.sters. 

It  was  anticipated  that  a  systematic  course  of 
thorough  study  for  two  years  might  prepare  the 
young  singer  for  a  dibut,  and,  in  this  estiinale 
of  the  time  requisite,  the  more  than  ordinary 
development  of  tlie  singer  was  allowed  to  liave 
much  weight.  How  wondcrtul,  then,  must  be 
considered  her  juogre^s,  when,  at  the  close  of 
twelve  months.  Pasta  cmbraretl  her  pu])il,  and 
addressed  her  in  these  words  :  "  My  child,  God 
ha«  endowed  you  with  a  noble  voice  !  I  have 
done  for  you  all  that  I  can  do,  or  that  you  now 
need.  You  are  ready  to  a])])ear  bdore  the  world  ! 
Go,  ray  child,  and  my  blessing  go  with  you.  I 
shall  live  to  behold  you  the  first  singer  of  Eu- 
rope !  " 

The  Fieza  di  Berpamo,  one  of  those  united 
festivals  ot  commcrrc  and  music  so  peculiar  to 
Italy,  presented  to  Parodi  the  first  opportunity 
of  a  dibut,  and  Pivsta,  in  dismissing  her  pupil. 
conferred  upon  her  all  the  ornaments  she  liad 
woni  when  enacting  the  queens  of  lyrical  tra- 
gedy ;  the  tiara,  zone,  and  girdle  ol  Nledea  ;  the 
crown,  the  mantle,  and  golden  sickle  of  Norma  ; 
and  thus  armed  and  encouraged,  the  young 
trenoese,  to  fulfil  her  destiny,  entered  at  ouce 
upon  the  grand  opera. 

She  a[>pcaiid  tor  the  first  time  at  the  Tcatm 
Hiccanii,  in  liergamo,  in  184o,  in  Doni/.etti'it 
opera  "  (irmmn  di  I'enjy."  From  Ikrjjamo  she 
went  to  Verona,  Her  success  in  l>oth  w«h  im- 
mense. .\ud  the  young  rtr.buianle  touud  herself 
at  ome  the  idol  of  the  Italian  public.  t )11eni 
of  engagements  reache<l  her  trom  all  quarters,  and 
her  difficulty  wis  to  choose  f'om  among  thcio. 
She  dc«'ide<l  to  accept  an  invitation  extended  b\ 


709 


TAR 


EXCYCLOP.^DIA    OF    SIUSIC. 


PAR 


the  cnthusin-tic  iiibnbitants  of  S|)ez/.in,  to  dedi- 
I'Hte  hy  her  ()ri's<.'noe  a  new  and  bcautil'ul  (Jpera 
House,  whicli  had  just  been  built  in  that  city. 
"  Eriiani  "  was  tlie  iiicco,  and  her  rc])resentation 
n(  the  heroine  was  a  tr'.amph  in  every  scene.  It 
estabhshed  lier  tarar 

The  next  year  saw  Parodi  in  "  La  Semiramide  " 
and  "  yonna,"  both  of  which  roles  she  enacted 
lit  Palermo.  Afterwards  she  performed  in  Flor- 
ence and  Ilonic.  It  was  left,  however,  for  her  to 
excite  tlie  warm-hearted  Sicilians  to  a  sort  of 
njusical  Irenzy,  when,  in  the  very  midst  of  the 
revolution,  and  nmon;;  the  wildest  scenes  of  civil 
war,  she  sanj^,  in  a  new  opera  by  Coppola,  called 
"  //  Fiiiiinllo,"  at  the  fjreat  theatre  of  Palermo. 
So  much,  indeed,  did  the  people  there  delight  in 
her,  that  they  made  every  concession  to  prevent 
her  leavinj;  ;  and  there  she  lingered  until  the  in- 
surrection broke  out,  and  she  was  obliged  to  take 
rttuge  with  the  French  consul  and  other  ofHcial 
l)ersonages,  for  twenty-two  days,  on  board  a  Sar- 
dinian ship,  a  witness  to  the  continual  scenes  of 
conflict,  carnage,  and  destruction  around  her. 

The  tirst  apjjcarancc  of  Parodi  in  London  whs 
under  the  ausi)ices  of  the  gi'eat  impresario,  Lum- 
ley,  who  engaged  her  in  the  midst  of  the  furore 
created  by  Jenny  Lind.  Parodi  appeared  succes- 
sively in  "  La  Favorita,"  "  Liunrezia  Buri/ia," 
"  Don  Giovanni,"  "  Le  Nozze  di  Figaro."  "  II  Ma- 
trimonio"  and  in  "Norma,"  and  "Semiramide" 
The  triumph  of  the  young  girl  of  twenty-two 
was  as  complete  as  her  friend  Pasta  could  have 
desired. 

Parodi's  London  dibut  was  in  the  season  of 
1849.  In  the  spring  of  1850  she  again  appeared 
at  Her  Majesty's  Theatre.  She  sang  in  the  prin- 
cipal cities  of  the  United  States,  in  18-5 1-18-52. 
In  the  winter  of  1853-18.54,  Parodi  was  engaged 
at  the  Grand  Opera  in  Paris. 

PARRAX,  AXTOINE,  a  Jesuit,  died  at  Pour- 
ges  in  1650,  published  at  Paris,  in  1636  and  1646, 
a  work  entitled  "  Traili  de  Musique,  contenant  les 
J'ria'ptes  de  la  ComjMsition." 

PARRY,  JOHN,  was  bom  at  Denbigh,  in 
North  Wales,  in  the  year  1776.  He  gave  very 
early  proofs  of  his  genius  for  music  by  making  a 
hfe  of  a  jiiece  of  cane,  and  without  the  least  tui- 
tion, learning  to  play  all  the  popular  airs  of  the 
day.  A  dancing  master  who  resided  near  him 
taught  him  the  notes,  and  their  value  in  time, 
&C. ;  he  also  gave  him  a  few  lessons  on  the  clari- 
net, so  as  to  enable  him  to  accompany  the  church 
singers  in  common  psalm  tunes.  In  1793  the 
Denbigh  militia  were  embodied,  and  young  I'arry 
was  pci-saaded  to  join  the  cori>s  for  the  eight  and 
twenty  days  which  it  was  to  be  trained  in  the 
county  ;  but  previously  to  the  assembling  of  the 
regiment,  the  colonel  received  a  route  from  the 
war  ottice  to  march  his  men  to  Whitehaven,  in 
Cumberland.  The  6th  of  June  was  the  day 
tixei  lor  the  corps  to  assemble  at  Denbigh,  and 
on  the  tcnfti  it  maiehed  off,  and  remained  absent 
from  the  principality  for  ten  years.  A  (ierman 
wfui  master  of  the  band,  under  whom  Parry  was 
placed  tor  general  musical  instructions  ;  but  his 
ma.stcr,  being  fonder  of  paying  court  to  Bacchus 
than  to  Apollo,  sadly  neglected  hira,  although  he 
gave  him  many  striking  proofs  of  his  intimacy 
with  thorough  bass.  In  two  years'  time.  Parry 
was  ab  e  to  lead  the  band,  and  in  17!)7  was  made 
master  of  it  —  a  situation  which  he  held  for  ten 

710 


years,  when  he  left  the  Royal  Denbigh,  and 
married  into  a  respectable  family  of  Plymouth. 
During  the  period  that  Parry  was  in  the  army, 
he  made  himself  thoroughly  ac([uainted  with 
every  wind  instrument,  so  that  he  could  take 
any  part,  in  case  of  emergency  ;  he  also  culti- 
vated singing,  and  studied  the  harp,  piano,  and 
violin  ;  but  his  principal  instrument  was  the 
clarinet,  on  which  he  used  to  perform  concertos. 
A  circumstance  peculiar  to  liimself  ought  not  to 
be  omitted.  He  used  to  play  at  the  mess  dinners 
on  two  of  Bainbridge's  patent  octave  flageolets, 
and  at  a  concert  given  by  him  and  the  master  of 
the  Duke  of  York's  band  at  Rochester,  he  actual- 
ly jjerformed  on  three  flageolets,  which  were 
fixed  in  a  stand  contrived  for  the  purpose.  This 
feat  sounded  afar,  and  he  was  requested  to  oblig-e 
a  friend  by  exhibiting  at  Covent  Garden  Theatr*  ; 
this  he  consented  to  do,  and  he  made  his  dibiU 
for  the  benefit  of  Mrs.  T.  Dibdin,  in  1805.  He 
performed  the  duet  of  "  All's  well"  on  two,  and 
"  Viva  Tutte,"  in  distinct  parts,  on  three  instru- 
ments. In  1807,  he  went  to  reside  in  London, 
when  the  double  flageolet  was  becoming  so  very 
fashionable  among  ladies,  that  he  had  as  much 
teaching  as  he  could  attend  to. 

Having  composed  several  popular  songs,  &c., 
he  was  invited,  in  1809,  to  write  for  Vauxhall 
Gardens.  In  1814  he  wrote  a  farce  for  his 
friend  Lovegrove's  benefit,  called  "  Fair  Cheat- 
ing," which  was  performed  three  times  at  Drury 
Lane  Theatre.  The  plot,  dialogue,  incidents,  as 
well  as  the  music,  were  from  his  pen.  While 
this  force  was  in  rehearsal,  he  formed  an  intimacy 
with  Arnold,  the  then  manager,  and  T.  Dibdin, 
the  prompter,  who  requested  him  to  compose 
the  music  of  that  never-to-be-forgotten  broad 
extravaganza,  called  "  Harlequin  Hoax,"  which 
was  performed  with  un|)recedented  succe.ss  at 
the  English  Opera  House.  In  1816  he  com- 
posed the  music  of  "  Oberon's  Oath,"  a  grand 
spectacle  by  Thompson,  author  of  the  "  Stranger," 
which  was  performed  at  Drury  Lane.  The  fol- 
lowing year  he  wrote  a  musical  farce,  called 
"High  Notions,  or  a  Trip  to  Exmouth,"  which 
was  performed  with  the  greatest  success  at  Drury 
Lane  for  two  and  twenty  nights.  In  1818  he 
brought  out  a  musical  sketch  at  Covent  (Jardeu 
Theatre,  called  "  Helpless  Animals ; "  and  in 
1821,  a  very  successful  piece  at  the  Lyceum, 
called  "Two  Wives,  or  a  Hint  to  Husbands," 
which  was  performed  for  twenty-five  successive 
nights.  To  write  a  dramatic  piece  is  in  itself  no 
easy  task  ;  but  to  accomplish  this,  also  to  wTite 
the  poetry  for  songs,  compose  the  music,  arran- 
ging the  same  for  a  full  orchestra,  and  afterwards 
for  the  piano-forte,  falls  to  the  lot  of  but  lew  in- 
dividuals. Besides  these  dramatic  compositions, 
Parry  has,  in  conjunction  with  others,  furnished 
parts  of  operas,  &c.  He  adapted  the  whole  of  the 
music  in  the  opera  of  "  Ivanhoe,"  as  performed 
at  Covent  Garden  Theatre,  and  he  wrote  songs, 
duets,  Jtc  ,  for  Messrs.  Braham,  Sinclair,  Phillips, 
Incledon,  Pyne,  Munden,  llarley,  C.  Taylor, 
Knight,  T.  Cooke,  Mrs.  Dickons,  >Irs.  Mountain, 
Mrs.  Bland,  Miss  Stephens,  Mi?»s  Povcy,  Miss  Cu- 
bitt,  and  a  number  of  very  successful  ballads  lor 
Collyer. 

On  the  emancipation  of  Holland  from  the  yoke 
of  France,  a  grand  file  was  given  at  tne  Citj  of 
London  Tavern  to  the  Prince  of  Orange.  Parry 
was  requested  by  the  stewards  of  the  day  to 


PAR 


EXCYCLOP.EDIA    OF    MUSIC. 


PAR 


write  an  npj)roi)iiato  son's;,  which  he  did,  with  an 
uiultr-.t«iidiiii;  tliat  ('.  rnylorwas  to  have  sung  it. 
But  Uraluim,  having  been  invited  totlic  diiincr,was 
requested  to  sing  the  song,  whicli  he  did  in  the 
most  masterly  manner,  nltliough  lie  neither  saw 
h  note  nor  a  word  of  it  till  he  entered  the  room. 
Brahnm  a!-o  sang  •'  Arthur  the  llrave,"  written 
by  Parry  in  comjiliment  to  the  glorious  victories 
oi'  the  Duke  ol  Wellington,  who  condescended 
to  send  t!.e  author  a  very  gratifying  letter  of 
tlianks.  I'arry  also  wrote  an  appropriate  song 
called  "  England  and  her  brave  Allies,"  which 
was  sung  at  the  grand  festival  given  to  the  Ein- 
peior  of  Russia,  King  of  Prussia,  vVc,  vVc,  at 
(iuildhall,  in  1814.  In  1S09  Parry  adapted  Eng- 
lish word-i  to  a  selection  of  Welsli  melodies  for 
which  the  Cambrian  Society  presented  him  with 
a  silver  medal.  Ho  published  two  volumes  of 
ancient  Itritish  airs,  with  beautiful  poetry,  writ- 
ten chierty  on  hLstorical  subjects,  by  Mrs.  Hem- 
ans,  of  St.  .Vsaph.  He  also  conducted  the  "  £V«- 
tcdilfod,"  or  congress  of  bards,  at  Wrexham,  in 
1820,  and  at  Hrecon  in  18'2'2  ;  on  each  occasion 
he  was  presented  with  a  handsome  piece  of  ]>late. 
The  meetings  of  the  Welsh  bards  and  minstrels, 
held  in  London,  were  entirely  under  his  direc- 
tion, as  re^'istrar  of  music  to  the  Itoyal  Cambrian 
Institution.  At  a  Gmaidil,  or  meeting  of  Welsh 
Oards,  in  18-'l,  a  bardic  degree  was  conferred  on 
Mr.  Parry,  wlio  was  denominated  Bardd  Alotp, 
jr  prolessor  of  music,  and  master  of  song.  He 
wrote  an  historical  e-say  on  the  harp,  from  the 
earliest  period,  which  was  jiublished  in  the 
Transactions  of  the  Hoyal  Cambrian  Institution. 
Having  ^aid  so  much  in  detail  of  Parry's  general 
alent,  something  might  be  expected  relative  to 
lis  abilities  as  a  composer ;  on  that  head  we  will 
|uote  his  own  words,  written  in  a  scries  of  let- 
ters to  a  I'ricad. 

"  When  I  went  to  London  I  found  that  I  had 
almost  every  thing  to  learn  ;  I  aocordinglv  ap- 
plied mysoli"  seriously  to  study,  with  a  view  of 
turning  my  work  out  of  hand  withoxit  many 
glaring  faults.  I  confined  myself  to  vocal  com- 
positions, diierty  ballads,  and  ea,sy  i)ieccs  for  the 
harp  and  puino-forte,  also  duets  for  flutes  and 
other  wind  instruments ;  and  never  attempt  note 
to  soar  above  my  sphere,  well  knowing  that  there 
are  many  musicians  in  the  higher  walk  of  the 
science  much  more  able  to  produce  erudite  com- 
positions than  myself.  I  understand  the  genus 
of  every  instrument  tised  in  an  orchestra  ;  hence 
the  rare  instances  of  the  ncccasity  of  a  second  re- 
hearval  oi  any  of  my  compositions.  I  score  with 
uncommon  facility  and,  I  trust,  tolerably  correct ; 
I  know  the  power  of  the  various  instruments, 
and  I  endeavor  to  ascertain  the  ability  of  the  dif- 
ferent jierforraers,  and  write  accordingly.  I  do 
my  utmo^t  to  walk  peaceably  through  life,  in 
friendship  with  all  my  brethren,  interfering  with 
no  one,  and,  I  trust,  bearing  the  ill  will  of  no 
man." 

Parry  has  published  upwards  of  three  hundred 
compositions  and  arrangements,  and  several  dra- 
matic pieces.  The  following  are  among  his  more 
favorite  publications,  .\rranged  and  adapted : 
"  Two  Volumes  of  Welsh  Melodies,  with  Eng- 
lish words  ;  "  "Two  Volumes  of  Scottish  Melo- 
dies ;  "  •'  Two  Volumes  of  Catches  and  Glees  ;  " 
"Two  Volumes  of  Minstrel  Songs  for  the  Flute;  " 
"  One  ditto,  called  the  Corydou  ;  "  •'  One  ditto 
ditto,  the  Sapphoniau,  for  the  Violin  ; "  "  The 

71 


Opera  of  Ivanhoe  for  the  Voice  and  P.  F." 
Original  compor-iiions  :  "  High  Notions,"  a  farce 
in  two  acts;  "Two  Wives,"  a  farce  in  one  act. 
"  Helpletis  Aninnils,"  a  farce  in  one  act ;  "  Fair 
Cheating."  a  tarce  in  two  acts,  written  and  cora- 
])0sed  by  Parry;  "  Ilarlcijuin  Hoa.x,"  two  acts. 
A  number  of  ducts  and  glees  ;  also  the  following 
songs:  "The  Peasant  Boy;"  "The  Minstrel 
Boy  ;  "  "  Ap  Shfitkin  ;  "  "  Ix)ve'8  a  Tyrant ;  " 
"Sweet  Home;"  "Little  Mary  of  the  Dee;" 
"  The  voice  of  her  I  love  ;  "  "  Beauty  in  Tears ;  " 
"  Orange  lloven  ;  "  "  Arthur  the  Brave  ;  "  "  Eng- 
land and  her  brave  Allies  ;  "  "  Farewell,  my 
charming  maiil ;  "  "Take  a  bumj)er  and  try;" 
"  Adieu  to  the  Cottage ;  "  "  The  Sailor's  Home ;  " 
"  National  lilunilei>  ;  "  "  Fly,  Hy  away  ;  "  "I 
never  will  dcci'ive  thee  ;  "  "  O,  bring  me  a  bowl ;  " 
"Poor  Dicky;"  "Mister  (ioose  ;  "  ".Still  I'll 
think  of  thee  ;  "  "  The  Banner  of  Battle ; "  "  The 
maid  I  love  so  well;"  "Titste  pleasure  while 
you  may  ;  "  "  As  down  the  vale  ot  life  I  glide  ;  " 
"The  Urotto ;  "  "The  bust  word;"  "Take  a 
hint ;  "  "  Woman's  smile  ;  "  "  Donald  is  now  no 
more  ;  "  "I  dinna  care  to  tell ;  "  "  .Smile  again, 
ray  bonnie  lassie  ;  "  and  a  vast  number  of  others. 
Several  jjieces  for  the  liarp,  twelve  familiar  ron- 
dos for  the  piano-lorte,  also  popular  airs  with 
variations  for  the  piano-forte,  and  a  numl)er  of 
detached  i)icces.  .V  long  list  of  music  for  the 
doulile  and  single  flageolet,  llute,  violin,  &c.,  i>tc. ; 
also  books  of  instruction  for  several  ii\strunients, 
and  many  volumes  of  military  music,  jiarticularly 
"  Two  .Sets  of  Welsh  -Virs,"  and  the  .'Eolian  har- 
monies, consisting  of  selections  from  the  worku 
of  eminent  authors,  arranged  for  wind  instru- 
ments. 

PARSONS.  ROBERT,  was  organist  of  West- 
minster .\bbey.  He  was  a  gentleman  of  the 
Chapel  Royal  in  the  reign  of  Queen  Elizabeth, 
and  was  drowned  at  Newark  upon  Trent,  in 
\oCi9.  Many  of  his  compositions  are  e.xtant  in 
manuscript,  and  some  of  them  have  been  spoken 
ol  in  terms  of  high  commendation. 

PAHSON.S,  SIR  WILLIAM,  doctor  of  music, 
was,  from  a  very  early  i)eriod  of  his  life,  instruct- 
ed in  the  science  ol  music.  He  attained  the  lirst 
rudiments  of  his  protessional  knowledge  in  West- 
minster Abbey,  under  the  tuition  of  Dr.  Cooke. 
Arduous  in  the  pursuit  of  hLs  scientirtc  research- 
es, he.  in  the  year  17()8,  travelled  to  Italy  to  com- 
plete his  mu.sical  education.  We  have  not  learned 
the  exact  time  of  his  return  to  England,  but  find 
that,  on  the  death  of  Stanley,  an  event  which 
hajjpened  in  tiie  year  1786,  Parsons  was  ap]>oint- 
ed  master  and  conductor  of  his  majesty's  band  of 
musicians.  In  the  year  1790  he  received  from 
the  University  of  O.xford  the  degree  of  doctor  of 
music.  He  next  went  to  Dublin,  during  the  ad- 
ministration of  Earl  Camden,  in  the  year  179.», 
when  that  nobleman  conferred  ui)on  him  the 
honor  of  knighthood.  In  the  year  I7'.1'i  he  wb< 
appointed  by  the  queen  to  instruct  the  princts.ses 
in  music.  In  the  same  year  his  name  was  in- 
serted in  the  commi■^sion  of  tlie  j>eace  for  the 
county  of  Middlesex  ;  in  consequence  of  which 
he  sat  for  several  years  at  the  public  ofHcc,  Bow 
Street. 

PARTE.  (I.)  A  part  in  vocal  or  instru- 
mental  muiiic. 

PARTE  C-YNTANTE.    (L)    The  aioging  ol 
vocal  part. 
I 


I'  A  U 


EXCYCLOP.EDI.V    OF    IvIUSIC. 


PAS 


I'AIiTIK.  (F.)  A  piirt.  I'arlic  du  vio/oii,  a 
rioliii  jiiirt. 

PAU  I'HEXIA.  (Gr.)  Sougs  by  a  chorus  of 
vir};iiis  at  iestiviils. 

PAUTITURA.  (I.)  The  entire  draught  of 
»  composition  in  parts.  I'artition,  partitur,  par- 
tizioiw,  are  all  of  the  same  meaning  as  purlUura. 

PARII.MEXTI.  (I.)  Exercises  on  thorough 
bass ;  figured  basses  for  the  practice  of  har- 
mony. 

PARTS.  The  names  of  the  melodies  of  any 
harmonic  composition,  tlie  performance  of  which, 
in  union,  forms  its  harmony.  Four  is  the  fewest 
number  oi purls  with  which  the  chords  necessary 
to  elaborate  harmony  can  be  completely  tilled. 
.\t  the  tirst  introduction  of  counterpoint,  there 
were  only  two  parts,  one  of  which  was  called 
tenor,  and  the  other  descant.  At  length  a  third 
was  added,  called  triplum,  and  afterwards  a 
fourth,  called  quadruplum.  'Phere  are  instru- 
mental parts,  as  orr/aii  part,  violin  part,  vitiloit-cello 
part,  &c.  ;  and  the  paper,  or  book,  on  which  is 
separately  written  the  particular  melody  appro- 
priated to  any  single  j)erformer,  or  set  of  per- 
formers of  the  same  melody,  is  called  a  part.  In 
concert,  every  performer,  except  the  composer, 
or  conductor,  who  generally  uses  the  score,  sings 
or  plays  from  his  single  part. 

PARYI'ATE  IIYPATON.  (Gr.)  .Xfrt  tlir  princi,>al.  Thp  .p- 
p<>llaliuii  u|>plicd  by  the  ancii.ntA  to  the  second  note  uf  their  lowest 
tetrachortl.  lieeaiisc  it  followed  the  first,  or  ;*r»fici7.a?.  Thii  note  cor- 
retiKjnded  with  our  C  on  the  second  spuce  in  the  bass. 

PARTEXIO,  GIOVAXXI  DOMEXICO,  was 
master  of  the  Conservatory  of  the  Mendicanti  at 
Venice,  and  born  at  the  commencement  of  the 
seventeenth  century.  The  music  of  his  follow- 
ing operas  was  much  esteemed :  "  Genserico," 
16()9  ;  "La  Costaiiza  Trionfante,"  167,3;  "  Dio- 
nisio,"  1681  ;  and  "  Flavio  Cuiiiberto,"  1682. 

PAS.  (F.)  A  dance  ;  as,  pas  seul,  pas  de  deux, 
a  dance  by  one  or  by  two  performers ;  pas  re- 
doubli,  a  quick  step. 

PASCALE,  FRAXCESCO.  a  nobleman  and 
amateur  musician,  born  at  Casentini,  in  Italy, 
lived  in  the  seventeenth  century.  He  published 
"  Madrii/ali  a  5  voci,"  Venice,  1615.  Mcrsenne,  in 
his  "  Harmon.,"  lib.  8,  p.  179,  says  of  one  Pasca- 
lius,  "  Insigais  niathematicus  vera;  praxeos  theorl- 
am,  et  infinites  proponoduni  dissonanliis  tUendi  modos 
poUicetur."  Judging  from  the  dates,  he  probably 
meant  the  subject  of  this  article. 

PASI,  AXTOXIO,  a  celebrated  sopranist,  born 
at  Bologna  about  the  year  1710,  was  a  pupil  of 
Pistocchi  He  was  an  excellent  singer  of  an  ada- 
gio, according  to  the  testimony  of  Quanz,  who 
heard  him  at  Parma  in  1726. 

PASIXO,  DOX  STEFFAXO,  an  Italian  com- 
poser, resided,  in  1G80,  at  Conato,  and  published 
many  works,  amongst  which  we  can  name  the  fol- 
lowing :  "  Misse  d  2,  3,  e  4  voci ;  "  "Motetti  Concertati 
a  2.  3,  c  4  voci,  con  V.  se  piace,  e  Salmi  d  5  voci ; " 
and  "12  Sonatc  d  2,  3,  e  4  Stromenti,  de  quali  una 
t  cornpn.sta  in  Canoiw,  et  tin  altra  ad  imitattone  di 
rersi  che  sogliono  fare  diversi  animali  brutti,"  Op. 
8,  Venice,  1679. 

PASQUALI.  NICOLO,  an  Italian  violinist 
and  cora])oser,  was  tirst  known,  about  the  year 
)74.'i,  in  London,  wliere  he  then  resided.  He  af- 
terwards  settled   at   Ediuburgh,   and  continued 


there,  as  a  teacher,  to  the  period  of  his  death, 
which  took  place  in  1757.  He  published  "  Art 
of  Thorough  Ba.ss  made  easy,  containing  Practi(^ 
Rules  for  finding  and  applying  its  various  Choros 
with  facility,  with  a  Variety  of  Examjjles,  show- 
ing the  manner  of  accompanying,  with  elegance. 
Concertos,  Solos,  Songs,  Recitative,  &c.,"  London  ; 
"  Art  of  fingering  the  Harpsichord,  illustrated 
with  numerous  E.xamples,  exprcs.sly  calculated 
for  those  who  wish  to  obtain  a  complete  Knowl- 
edge of  that  necessary  Art,"  London;  "Twelve 
Overtures  for  a  Full  Band ;  "  "  Quartettos  for  two 
Violins,  &c.,"  sets  1  and  2;  and  "  Songs." 

PASQUALIXI,  MARC  AXTOXIO,  a  rele- 
brated  soprano  singer  at  Rome,  was  engaged,  in 
1630,  in  the  Papal  Chapel,  but  quitted  it  again 
about  the  year  1643  ;  after  which  time,  till  towards 
1670,  he  was  reckoned,  as  Doni  and  Quadrio 
affirm,  one  of  the  first  and  most  favorite  opera 
singers.  To  these  merits  he  united  also  a  talent 
for  composition  ;  proofs  of  which  are  to  be  found 
in  several  collections  of  vocal  music  made  in  his 
time.  Dr.  Burney  possessed  one  of  these  collec- 
tions made  by  Salvator  Rosa,  iu  which  a  song  of 
Pasqualini  occurs. 

PASQUALIXO.     See  Bini. 

PASQUIXI,  or  PASQUIXO,  ERCOLE,  a  cel- 
ebrated organist  of  St.  Peter's,  at  Rome,  was 
born  at  Ferrara.  He  flourished  about  the  year 
1620. 

PASQUIXI,  BERXARDO,son  of  the  preced- 
ing, was  chapel-master  and  organist  to  the 
Church  of  St.  John  of  the  Lateran,  at  Rome, 
where  he  was  born  in  1640.  He  flourished  at 
Rome  about  the  same  time  with  Corelli,  and  was 
esteemed  the  most  celebrated  amongst  the  dra- 
matic composers  of  his  time ;  which  may  be  easily 
concluded  from  the  Theatre  de  Capranica  being 
opened  in  1679  with  his  compositions,  as  also  from 
his  having  been  employed  in  composing  the  dra- 
ma which  Rome  caused  to  be  acted  in  1686,  in 
compliment  to  Queen  Cliristina  of  Sweden.  Be- 
sides these  proofs  of  his  celebrity,  some  of  the 
greatest  masters  are  counted  among  his  pupils ; 
for  instance,  Uasparini  in  1672,  and,  subsequent- 
ly, Durante.  Mattheson  extols  the  excellent  con- 
dition of  the  opera  at  Rome  ui  1690,  particularly 
in  respect  to  the  orchestra,  where  Pasquini  pre- 
sided at  the  harpsichord,  Corelli  played  the  vio- 
lin, and  Gaetani  the  lute.  Of  his  works  Haw- 
kins and  Burney  only  notice  the  two  following : 
"  Dov'  i  Amore  a  I'ieta,"  an  opera,  performed  at 
Rome  at  the  inauguration  of  the  Theatre  de  Ca- 
pranica, and  "  An  Allegorical  Drama,  in  honor 
of  Queen  Christina  of  Sweden,"  1686. 

PASSACAGLIO.  (I.)  A  kind  of  chacone. 
but  somewhat  graver,  and  more  delicate.  See 
Passacaille. 

PASSACAILLE.  (F.)  A  kind  of  chscone,  of 
a  tender  and  slow  motion.  It  is  generally  writ- 
ten in  three  crotchets,  and  begins  with  tlie  third. 
There  are,  however,  pnssacaiUes  in  common  time, 
beginning  with  the  full  bar,  though  they  are  very 
rare.     See  Chacone. 

PASSAGE.  Any  phrase,  or  short  portion  of 
an  air,  or  other  composition.  Every  member  of  a 
strain,  or  movement,  is  a  passage. 

PASSAGGIO.     (I.)     A   succession  of  soundf 


713 


PAS 


ENCYCLOPAEDIA    OF    MUSIC. 


PAS 


forming  a  member,  or  phrase,  iu  a  composition. 
See  Passage. 

PASSAMEZZO.  (I.)  A  slow  dance,  little  dif- 
"ering  from  the  notion  of  walking.  A  movement 
of  the  body  partaking  of  the  air  of  walking,  and 
ihe  grace  of  gliding  motions.  ThLs  wa.s  un  e.ichil- 
Brating  tune.  Sir  John  Falstaff  had  this  music 
in  his  mind,  when  he  sent  for  Sneak,  the  musi- 
cian, to  entertain  his  company  after  dinner. 

PASSARINI,  FRANCESCO,  a  native  of  Bo- 
ogna,  was  a  chapel-master  in  that  city.  He  pub- 
lished the  following  -works  :  "  halmi  Concertati  a 
3,  4,  5,  e  6  voci,  parte  coit  vio/ini,  et  parte  aeiiza ;  con 
Litanie  della  li.  V.  a  cinque  voci  cm  due  Violini," 
Op.  1,  1071;  and  "  Compieta  concertata  da  voci, 
con  Violini  Obligati,"  1672.  Some  Ktjrie  of  his 
composition  are  also  to  be  found. 

PASSEPIED.  (F.)  A  movement  written  in 
three  crotchets,  or  three  quavers,  in  a  bar ;  much 
resembling  a  minuet,  but  of  a  somewhat  more 
lively  character. 

PASSE'lTO.  GIORDANO,  chapel-master  at 
the  Padua  cathedral  in  the  sixteenth  century, 
publi-shed  "  Madrigali,"  Venice. 

PASSING  CHORDS.  Chords  in  any  piece, 
■whose  harmonies  are  too  transient  for  their  con- 
struction to  be  cognizable.     See  Transient. 

PASSING  NOTES,  in  hannony.  Those  notes 
m  a  composition  which  do  not  represent  the 
sounds  of  the  cliord,  or  harmony,  but  which  are 
only  introduced  for  the  purpose  of  ornamenting 
and  enriching  the  generiU  effect.  If  these  happen 
on  the  weak  part  of  a  measure,  they  are  termed 
discords  of  regular  trans  id  in  ;  if  on  the  strong 
parts,  discnrdu  of  irregular  traiuition.  The  latter 
are  properly  a;/j>o;/giatura3,  which  in  the  perform- 
ance nie  dwelt  upon  ;  the  former,  after  notes,  which 
are  pa--8ed  over  slightly. 

PASSING  NOTES,  in  melody,  are  notes  intro- 
duced between  two  others,  for  the  purpose  of 
iot'teiiing  a  distance,  or  melodizing  a  passage, 
and  which  notes  are  not  calculated  in  the  har- 
mony. 

PASSING  SHAKE.  A  short  trill,  made  en 
pwuani,  in  flowing  passages  of  quavers  or  serai- 
quavers,  without  breaking  the  tune,  or  interrupt- 
ing the  natund  course  of  the  melody. 

PASSIOXATO,  or  CON  PASSIONE.  (I.) 
Impassioned,  with  pathos. 

PASSIONE.  (I.)  The  pas.«ion,  or  seven  last 
words  of  our  Savior,  set  to  music. 

PASSION  MUSIC.  The  music  composed  in 
Italy,  and  other  Roman  Catholic  cotintries,  ex- 
pressly for  Piv-sion  week. 

P.\SSIONES.  (L.)  Compositions  intended 
'or  Passion  week. 

PASTA,  GIOVANNI,  poet,  composer,  and  ul- 
timately master  of  the  band  in  an  Italian  rcj^- 
ment,  was  born  at  Milan  in  1604.  He  wiig  also 
for  some  years  organist  of  the  Church  of  St.  Ales- 
snndro,  at  Bergamo,  then  became  a  canon  of  St, 
Maria  Falrorina,  and  then  again  joined  the  army 
in  his  firmer  capacity.  He  died  in  16  i6.  -\raong 
tis  works  is  "  Dii$  Sorell'-,  .Uimkyi  et  I'ltesia  mnccr- 
Me  in  Arie  Muaicali,  Parte  1  e  2,"  Venice. 

90  713 


PA.STA,  GIUDITT'A.  IliiH  distinguished 
singer  was  born  at  .Milan  in  17i)9,  and  made  her 
first  appearance  on  any  stage  at  the  King's  Theatre, 
in  1817.  She  was  then  only  iu  her  eighteenth 
year ;  and  though  she  could  not,  at  so  early  au 
age,  and  without  any  musical  ex])erience,  com- 
jiete  with  the  two  admirable  female  singers,  Fo- 
dor  and  Caraporese,  wlio  perfonued  in  tlie  same 
season,  yet  she  showe<l,  most  distinctly,  the  jios- 
session  of  a  talent  that  wanted  only  a  little  time 
and  culture,  and  a  fair  opportunity  for  displaying 
itself.  She  left  England  at  the  close  of  the  .sea- 
son, and  retired  to  Italy,  where  she  devoted  the 
whole  of  her  time  to  study  and  to  the  hearing  of 
the  best  performers,  but  without  the  interferenco 
of  any  roaster. 

In  1822  she  returned  to  the  stage,  and  chose 
Paris  as  the  place  of  her  second  dibut,  where  she 
immediately  produced  a  great  sensation,  and  rose 
in  popularity,  not  only  with  the  French,  but  with 
all  the  foreign  visitors  at  that  capital.  Here,  it 
is  said,  a  noble  marquis,  connected  with  the  man- 
agement of  the  King's  Theatre,  heard  her,  and  took 
immediate  steps  for  carrying  her  to  London  ;  in 
conse<iuence  of  which  she  reappeare<l  iu  London 
on  Saturday,  the  24th  of  March,  1824,  in  the  char- 
acter of  Desdemona,  in  Rossini's  "  Ot<-llo." 

Madame  Pasta's  voice  was  a  mezzo  soprano  ;  iU 
compass  was  extensive.and,  though  not  strong,had 
quite  power  enough,  except  in  concerted  pieces, 
in  which  she  could  not  contend  successfully 
against  the  combined  sounds  of  the  other  singers, 
and  the  thunder  of  orchestra.  Her  tones  were 
rich  and  sweet,  except  when  she  forced  them  ; 
and  though  devoid  of  that  clearness  and  vibra- 
tion which  the  real  soprano  —  Madame  Ronzi,  for 
instance  —  possessed,  yet  they  were  well  suited  to 
her  style  of  singing,  and  to  the  characters  which 
she  undertook.  Her  intonation  was  unimpeach- 
able. Her  style  was  pure,  and  totally  divested  of 
all  spurious  tinery.  As  an  actreji-;,  Madame 
Pasta  was  not  less  worthy  of  distinction  ;  her  ex- 
pression and  gesture  were  in  excellent  keeping 
with  her  singing ;  all  three  were  the  offspring  of 
deep  feeling  and  corrett  judi^ment.  In  figure  she 
was  rather  below  the  middle  size,  but  exceetl- 
ingly  well  proportioned.  Her  first  appearance  in 
England  was  in  male  attire,  and  her  torm  was 
then  greatly  admired.  'llie  principal  operas  in 
which  Madame  Pasta  appeared  iu  Italy  and  France 
were  "  Utello,"  "  Medea,"  "  Camiila,"  "  yina," 
"  Romeo  e  Uiuletta,"  "  Taiuredi,"  and  "  La  Hosa 
Bi<inca,  e  Hosa  Itosta."  Afterxvards  her  Norma 
was  very  celebrated.  In  lS-53  Madame  Pasta  was 
living  in  elegant  retirement  at  her  villa  on  the 
Lake  of  Como. 

PASTERWITZ,  P.\TER  GEOUG  VON, 
professor  of  philosophy,  and  director  of  the  mu- 
sic in  the  Abbey  of  the  Bene<liclines  at  Krcms- 
munster,  in  Upper  Austria,  was  born  in  1730. 
After  vUiting  Italy,  he  brought  out,  in  (icrmany 
two  oratorios,  entitled  "  Giuseppe  riconunsdulo," 
the  words  by  Metastaaio,  and  "  Sainton,"  which 
were  per:orraed  in  the  yeant  177*>  and  1777,  with 
prodigious  success.  He  nl.so  publUhe«l  "  8  Fughe 
sec-mtio  t'Ordine  dei  T:ni  F^clesiastiri  perl  '  Urgano 
o  Clarice mhttlo,"  Vienna,  1792;  "8  Fitghe  ttcondo 
fA,  B,  C  di  ifiui<->i  prr  r  Organo  o  Car.,"  Op.  2, 
Vienna,  1702  ;  "  S  Am<7*»  pa-  tOrgatm,"  Ac.,  Op. 
3t  Vienna,  1702  ;  and  n  mnon,  "  7>  quuqui*  amnt, 
A  4  roci."      In  upcaking  of  his  fugues,   Oethar 


PAS 


EXCYCLOP.IilDIA    OF    MUSIC. 


PAU 


iiiys,  "  This  erudite  musical  professor  has  afford-  | 
ed  a  coiiviiicinij  proof  that  the  true  Ncicncc  of 
counterpoint  and  fusuc  \va.s  not  lost  in  Germany  | 
at  the  close  of  the  eighteenth  century  ;  for  in  hw 
works  nre  found  fuf^ucs  on  single  and  double 
themes,  all  treated,  arransed,  and  analyzed  in  a 
masterly,  and,  at  the  same  time,  duent  manner." 

PASTICCIO.  (I.)  An  opera,  the  music  of  i 
which  is  not  the  uniform  production  of  one  mas- 
ter, but  selected  from  a  variety  of  composers. 
This  sjiccics  of  dramatic  music,  in  which  the 
■words  arc  written  to  the  melodies,  instead  of  the 
melodic^  beinj;  composed  to  the  words,  has  long 
been  adopted,  both  in  Italy  and  En;^land ;  but 
rarely  witli  that  consistency  and  force  of  effect 
derived  from  the  original  efforts  of  one  composer 
of  genius  and  feeling. 

PASTOR.\L.  A  musical  drama,  the  person- 
ages and  scenei'y  of  which  are  chiefly  rural. 
This  species  of  the  drama,  which  formed  one  of 
the  earliest  attempt*  in  rausicid  representation, 
and  the  projjcr  characteristics  of  which  are  sweet- 
ness and  simplicity,  has  in  all  ages  been  heard 
with  delight,  and  has  given  exercise  to  the  finest 
poetical  and  mu-sical  talents  of  the  civilized  na- 
tions of  Europe.  A  pastoral  is  also  any  lyrical 
production,  the  subject  of  which  is  taken  from 
rural  life;  and  the  Italians  give  the  same  name 
to  an  instrumental  composition  written  in  the 
pastoral  style. 

PATETICO.     (I.)     Pathetic. 


PASTOllAL    MUSIC, 
which  is  rustic  or  rural. 


Music  the   style   of 


PA.STOUALE.  (I.)  An  epithet  applied  to 
Boft  rural  movements,  generally  written  in  twelve 
quavers,  and  moving  by  alternate  crotchets  and 
quavers,  like  the  Sici/iaiio. 

PATHETIQUE.     (F.)    Pathetic. 

PATOX,  MISS.     See  Wood,  Mus. 

PATRASSI,  MICHEL,  a  distinguished  alto 
Binger,  was,  in  1782,  manager  of  an  Italian  com- 
pany of  actors  at  Brunswick. 

PATRICIO,  FRANCESCO,  professor  of  phi- 
losophy and  Bishop  of  Gaeta,  was  born  at  Clissti, 
in  Dalmatia,  in  1.529.  He  published  a  work  en- 
titled "  Del/a  I'oetica,"  Ferrara,  15S6,  part  of  which 
treats  of  the  music  of  ancient  Greece.  He  died 
in  1597. 

PATRICK,  NATHAX.  An  English  church 
composer,  at  the  commencement  of  the  last  cen- 
tury. Dr.  Boyce,  in  his  "  Cathedral  Music," 
quotes  some  of  his  compositions. 

PATZELT,  JOHAXX.  A  German  violinist 
and  composer,  both  for  his  instrument  and  the 
piano-forte.  He  was  a  Bohemian  by  birth,  was 
first  in  the  imperial  artillery,  but  bought  his  dis- 
charge, and  travelled  to  seek  his  fortune  by  his 
instrument  in  17>S8.  He  is  said  to  have  played 
in  a  most  masterly  manner.  Traeg  (juotes  in  his 
"Catalogue,"  Vienna,  1799,  the  following  raanu- 
Bcript  compositions  by  Patzelt :  "  Concerto  d  I'c. 
princip.  c.  8  Strom.,"  and  "  2  donate  i  I'c.  e  D." 

PAUKE,  pi.  PAUKEX.  (G.)  The  kettle 
drum. 

PAUL,  P.  DUTREIH,   bom   at   Lyons,  was 


the  son  of  Jean  Baptiste  Dutreih,  a  physician  in 
that  town.  He  rei-'cived  a  good  education,  but 
afterwards  could  not  resist  his  inclination  for  a 
theatrical  life.  After  performing  as  an  amateur 
in  his  native  town,  he  went  to  Rouen,  and,  under 
the  name  of  Paul,  was  engaged,  during  two 
years,  in  the  Opera  Comique  there ;  he  was  thes 
invited  to  Paris,  where,  in  1804,  he  made  hLs  M- 
hut  at  the  Theatre  Feydeau,  in  the  part  of  Azor. 
He  since  became  one  of  the  most  favorite  acton 
and  singers  of  that  theatre. 

PAUL.\TI,  AXUREA,  an  eminent  composer, 
produced  at  Venice,  in  1713,  the  opera  "  /  Vert 
Ainici,"  which  was  again  revived  there  in  1723. 

PAULL  P.  ARCHAXGELO,  a  Carmelite, 
born  at  Florence,  published  at  Rome,  in  1699, 
"  Directurium  Chor.,"  &c. 

PAULI,  G.  ALBERT,  wrote  a  Latin  treatise 
in  favor  of  vocal  and  instrumental  church  music, 
which  was  printed  in  1719.     He  died  in  1745. 

PAULI,  JOHAXX  ADAM  FRIEDRICH. 
precentor  at  Graitz,  in  Voigtland,  left,  at  his  de- 
cea.«e,  two  annual  courses  of  church  music  of 
his  own  composition,  comprising  several  corona- 
tion anthems,  dirges,  and  psalms,  for  a  full  or- 
chestra. He  also  left  several  more  volumes  of 
annual  .services  by  Hasse,  Graun,  Telemann,  Ho- 
milius,  Geo.  Benda,  AVoLf,  Doles,  Reichardt,  Tag, 
Krebs,  &c. 

P.\ULIX',  a  French  composer  about  the  year 
1700,  published  a  collection  of  his  own  motets. 

PAULO,  GIOVAXNI  BATTISTA,  an  emi- 
nent  Italian  contrapuntist,  flourished  at  Xaples 
about  the  year  17(30. 

PAULSEX,  CARL  FRIEDRICH  FERDI- 
XAXD,  organist  of  .St.  Mary's  Church  at  Flens- 
burg,  was  born  in  17G.3.  He  entered  the  above 
situation  in  the  year  1781,  and  seems  to  have 
subsequently  applied  himself  to  the  composition 
and  publication  of  vocal  melodies.  The  follow- 
ing are  the  titles  of  some  of  his  printed  works  : 
"  K/avier  und  SiiigatUcke,"  Flensburg,  1794  ;  "  Lie- 
der  mil  Melodien,  Ite  Sanniil.,"  Flensburg  and 
Hamburg,  1797  ;  and  "  Dersclben,  2te  Sammi,," 
Flensburg  and  Hamburg,  1798. 

PAUSA,    (I.)    A  rest. 

PAUSCH,  EUGEXIUS.  Bom  in  1758.  A 
Cistercian  monk,  and  church  composer  at  the 
convent  of  Walderbach.  Of  his  works,  he  print- 
ed "  6  Kurze  doch  solenne  ^fessen,  7  Motetten,  und  I 
Requiem,  mit  4  getcOhrilichen  Siitgstimmeii,  2  /'.,  2 
Waldhorn,  Orgel,  und  li.,"  Augsburg,  1790  ;  "  Te 
Dcum  solenne  d  4  roc-,  ordinar.,  2  V.,  2  Hobois  obi., 
2  Cornibus  non  obi.,  2  Clar.,  et  Timp.  obi.,  Organo 
ct  Violone,"  1791. 

PAUSE.  This  character  is  now  generally 
called  a  hold,  and  shows  that  the  note,  measure, 
or  rest  under  which  it  is  placed,  may  be  pro- 
longed at  the  ])lcasure  of  the  performer.  Tlie 
character  used  for  the  pause  is  a  curve  line  with 
a  dot,  thus  :  — 


u 


:3Pe: 


W 


f  P  \  ^ 


■t-f 


^?=E 


m 


714 


The  more  ancient  paute  is,  lik*   the  Md,  ■ 


'AU 


ENCYCLOPAEDIA    OF   MUSIC. 


FED 


iiark,  or  cLariicter,  consisting  of  a  curve  drawn 
Dver  a  dot,  and  sif^nilying  that  the  note,  or  the 
n-a/,  over  which  it  is  placed,  is  to  be  prolonged 
beyond  the  regular  time.  The  exact  length  of 
the  pause  is  not  dictated  by  any  stated  rule,  hut 
left  to  the  judgment,  taste,  and  feeling  of  the 
jjerformer,  wlio  sometimes  is  licensed  by  the 
words  (1(1  lihituin  to  introduce  whatever  extem- 
pore embellishments  his  imagination  may  sug- 
gest. 

PAUSE  GKNERAI.E.  (F.)  A  pause  for  all 
the  instruments,  singers,  &c. 

PAUWELS,  J.,  composer  for  the  theatre  at 
Hi-ussels,  was  born  there  in  1771.  His  father 
was  a  musician,  and  the  son  evinced  an  early 
talent  for  music,  in  which  he  made  rapid  prog- 
ress, being  considered,  when  a  boy,  an  excellent 
violinist.  At  the  age  of  eighteen  he  went  to 
Paris,  where  he  soon  procured  an  engagement  in 
the  orchestra  ot  the  Thciitre  Feydeau.  After  a 
residence  of  three  years  in  Paris,  he  returned  to 
liis  native  city,  when  his  playing,  which  had 
been  highly  improved  under  the  be«t  masters  in 
France,  excited  the  admiration  of  his  country- 
men, lie  was  appointed  Hr.-t  violin  in  the  or- 
chestra of  the  IJrussels  theatre,  and  subsefjuently 
conductor.  From  that  time  he  devoted  many 
of  his  leisure  hours  to  composition,  and  brought 
out  much  music  for  his  instrument,  as  well  as 
for  the  horn,  the  flute,  and  the  piano-forte;  also 
several  songs,  sung  at  the  Brussels  Concert,  of 
which  l:e  was  the  founder,  and  three  ojx;ras  for 
the  Brussels  theatre,  "Iai  Maisonnette  dans  le  Hois," 
"  L'Aut'  tir  mnliirtt  liii,"  and  "  Leonlinc  et  Fonrosc." 
The  last  opera,  which  is  in  four  acts,  is  con^ideretl 
his  c/ief-iCnuire ;  the  other  two  were  likewise  suc- 
cesslul.     Pauwcls  died  in  his  thirty-third  yeai. 

PAVAN,  or  PAVANE.  A  grave,  stately 
dance,  which  took  its  name  from  pavo,  a  peacock. 
It  WHS  danced  by  princes  in  their  mantles,  and 
by  ladies  in  gowns  « ith  long  trains,  whose  mo- 
tion resembled  tliat  of  a  peacock's  tail.  It  was 
followed  by  a  lighter  kind  of  air,  called  a  yal- 
liiird.  The  modern  minuet  is  derived  trom  the 
I)avan.  Sir  John  Hawkins  says,  "  The  method 
of  dancing  it  was  anciently  by  gentlemeu  dressed 
with  a  cap  and  sword,  by  those  of  the  long  robe 
in  their  gowns,  by  princes  in  their  mantles,  and 
by  ladies  in  gowns  with  long  trains,  the  motion 
whereof  in  the  dance  rctiembled  that  of  a  pea- 
cock's tail."  This  dance  was  invented  by  the 
•Spaniards.  Every  paean  has  its  galliard,  a  lighter 
kind  of  air,  made  out  of  the  former. 

PAXTOX,  WILLIAM  and  STEPHEN.  'ITiere 
were  two  brothers  of  this  name,  one  of  whom 
was  celebrated  as  a  violoncello  perfonner,  and 
dietl  jirevionsly  to  the  year  1718,  and  the  other 
rnnkcd  high  as  a  composer  of  glees.  Probably 
the  following  works  may  be  deemed  of  their 
united  composition.  Instrumental :  "  Six  Duets 
for  Vc,"  Op.  1  ;  "  Eight  Duets  for  V.  and  Vc.," 
Op.  2;  "  Solos  for  V'.,"  Op.  3  ;  "  Four  Solos  tor 
v.,  and  two  Solos  for  Vc,"  Op.  4  ;  "Twelve  easy 
Lessons  for  Vc,  in  which  are  introduced  several 
favorite  airs,"  Op.  G  ;  "  Six  easy  Solos  for  theVc," 
Op.  8.  Vocal :  "  Collection  of  two  Songs,  Glees, 
»nd  two  Catches,"  Op.  7 ;  "  Glees,"  Op.  5. 
Amongst  the  most  favorite  part  songs  by  the  Pax- 
tons,  we  may  name  "  Go,  Damon,  go  ;  Amarillis 
bids  adieu,"  four  voices ;  "  Blest   power,"  four 


voices  ;  "  How  sweet,  how  fresh,"  four  voices 
"  Uound  the  hapless  Andre's  urn  ;  "  "  \Vher« 
grass  and  ttowers,"  four  voices  ;  and  "  Breathe 
solt,  ye  winds,"  four  voice*.  'ITie  eighth  and 
ninth  masses  in  Samuel  Webbc's  collection  are 
also  by  one  of  the  Paxtons. 

PEALS.  I'he  name  given  by  ringers  to  the 
several  settled  successions  of  sounds  produced  by 
bells  ;  melodies  composed  for  bells. 

PEAlt.SON,  or  PIER.SON,  M.MITIN.  wm 
master  of  the  choristers  at  St.  Paul's.  He  took 
his  degree  of  bachelor  of  music  in  the  year  1()1.3, 
and  about  sixteen  years  afterwards  published  a 
work  with  the  following  singular  title :  "  Mot- 
tects,  or  grave  Chamber  Musi(|ue,  containing 
Songs  of  Five  Parts,  of  several  Sorts,  some  ful, 
and  some  Verse  and  Chorus,  hut  all  tit  for  the 
Voyces  and  Vials,  with  an  Organ  Part ;  which, 
for  want  of  (Jrgans,  may  be  performed  on  Vir- 
genals.  Base  Lute,  Bandora,  or  IrLsh  Har|)e. 
Also  a  Mourning  Song  of  Sixc  Parts,  for  the 
Death  of  the  late  Kight  Honoiuable  Sir  F.  Grevil, 
Knight."  He  died  about  the  latter  end  of  the 
year  1»>.50. 

PECCI,  TOMASO,  of  a  noble  family  at  Sien- 
na, published  there,  about  the  year  IfiOO,  several 
operas  of  madrigals,  which  were  much  admired, 
and  of  which  he  had  written  both  the  words  and 
music. 

PECCI,  DESIDERIO,  a  composer  in  Italy  about 
the  beginning  of  the  seventeenth  century,  called 
//  Ohiiibizzosn,  (the  deep  one,)  published  of  his 
works  "  Le  Musuhe  sopra  tAdone,"  Venice,  1619. 

PEL).,  or  PEDAL.  The  wooden  rest  for  the 
foot  under  a  piano-forte,  by  the  use  of  which  the 
dam])ers  arc  raised  from  the  strings,  thus  allow- 
ing them  their  full  vibration. 

PEDALS.  The  judicious  and  tasteful  em- 
ployment of  the  pcdids  is  productive  of  the  best 
effects.  Care  should  be  taken  not  to  use  them 
too  frequently,  or  prolong  their  iuHuence  when 
the  harmony  of  a  phrase  or  passage  happens  to 
change. 

In  all  well- written  piano-forte  mu.sic,  the  swU 
pedal,  or  that  which  raises  the  dampers  from 
the  strings,  allowing  their  vibration  to  continue, 
is  indicated  by  the  abbreviation  prd.,  or  the 
sign  ^  and  its  relinquishment  by  the  mark  or 
asterisk  ^.  When  the  soft  pedal  Ls  used,  which 
is  placed  under  the  left  foot  in  grand  piano- 
fortes, upright  ditto  of  all  kinds,  and  grand 
squares,  it  shifts  the  action  so  as  to  strike  only 
one  string;  the  clavier,  or  key-board,  also  is 
moved  a  little  to  the  right.  The  sudden  use  of 
this  pe<lal  should  be  avoided,  and  indcotl  it  ought 
never  to  be  touched  except  when  it  Ls  expressly 

I  set  down  in  the  works  of  the  most  judicious  and 
tasteful  ma.ster9.  The  combined  action  of  the 
two  pedals  is  sometimes  productive  of  the  most 
pleaving  effects  ;  but  the  young  student  is  advised 
to  trust  more  to  his  Hngers  than  his  feet,  more  to 
the  delicacy,  force,  and  variety  of  hi.*  manual 
touch  than  to  the  jumbling  intluenco  of  the  ped- 
als,  which  they  will  rao«t  a.ssuredly  povsvas  if 
not  treated  with  the  greatest  skill.     Many  pian- 

'  ists  of  the  first  order  never  resort  to  them  at  all 
for  their  elfect* ;  but  this  is  going  to  extremes, 
for  a  judicious  use  of  them  will  impart  a  grace 

16 


PED 


ENCYCLOPEDIA    OF    MUSIC. 


PEX 


and   smoothness,    particularly   in   cantabile  pas- 
«ages,  which  cannot  be  obtained  otherwise. 

PEDAL  NOTE.  A  holding  note,  during 
which  the  hnrmony  formed  by  the  other  parta  of 
tlie  composition  is  allowed  to  proceed  independ- 
ently. 

A  pedal  passage  can  only  take  place  on  a 
tonic  or  dominant.  It  generally  occurs  in  the 
principal  key  of  the  piece,  thouf;h  a  pedal  pas- 
snj^e  may  also  be  introduced  in  any  relative  key. 
nie  part  which  is  immediately  above  the  pedal 
note  must  be  considered  as  the  real  bass,  and  the 
harmony  must  be  treated  regularly  with  regard 
to  that  part,  as  the  pedal  note  must  be  considered 
as  merely  accident;il.  'l"he  best  pedal  passages 
are  those  in  which  the  bass  note  ire  (uently  be- 
comes an  essential  note.  All  regular  progression 
of  chords,  sequences,  &c.,  belonging  to  the  same 
scale,  may  occur  upon  a  pedal  note ;  and  even 
transient  modulations,  notes  of  embellishment, 
&c.,  may  be  introduced,  as  sequences  of  7  6  on  a 
dominant  jiedal.  The  chords  fonned  by  placing 
the  dominant  seventh,  diminished  seventh,  or 
seventh  of  a  leading  note  on  the  tonic,  or  the 
dominant  treated  as  a  temporary  key  note,  are,  by 
some  authors,  called  pedal  harmonies,  from  their 
frequent  occurrence  in  such  passages. 

In  instrumental  music  the  harmony  upon  a 
pedal  note  may  be  executed  by  the  two  masses 
in  two  different  manners.  First,  the  stringed  in- 
struments may  play  the  pedal  note  in  unison,  and 
the  wind  instruments  execute  the  hannony  above 
it.  Secondly,  the  pedal  note  maj'  be  given  to  the 
grave  instruments  of  both  masses  in  unison,  and 
the  harmony  to  the  acute  instruments  in  both 
masses  in  the  octave. 


No.  1. 


Flutes. 


I 


esamfles. 
Pedal  os  tbe  Dominaitt. 


UarmoDv  in  4  paru,  executed  by  the  wind  insCS.    &c. 
Uautboys. 


Clarinet*. 


i 


^^^'^ 


♦^-^ 


=^ 


^ 


Banoons. 


&c. 


•»■     m     ^ 


"^^ 


\  >_,'    I 1- 


a^ 


I    &c 


Stringed  lD8t<.  in  uniaon  executing  the  Pedal. 


No.  2. 


DouiNAM  Pedal  fob  20  Ik8Tbumen« 


*y     The  1 


I 


:«sr 


:t 


•!»■ 


m 


The  Flutea  an  octave  liigher. 


kc. 


■  - — o — a —  ■ 


Bassoons 


M^     &c. 


gS^^ 


'■^  A. 


:ts:z:s^-: 


^ 


Uoms  &  Trombones. 


i&c. 


a^- 


Kettle 
drums. 


T^sr. 


I — a_ 


i 


Th«M  Io»trua)(DU  ar«  added  to  .trrosihrD  Uic  P«dftl. 
u  double  b«Mei  ftiooe  would  b«  inaufficiecl  to  cite  It 
with  effect. 


&C. 


Double  basses.  &c. 

PED  ALE,  or  PED.  (I.)  An  epithet  applied 
to  a  tixed  or  stationary  bass,  during  which  the 
superior  parts  evolve  through  various  harmonies, 
independent  of  the  pedal  note. 

PEDALI.  (I.)  The  pedals  in  piano  or  organ 
music. 

PEDAL  KEYS.  That  set  of  keys  belonging 
to  an  organ  which  are  played  on  by  the  feet. 

PEDRILLO  flourLshed  at  Naples  about  1700, 
as  one  of  the  first  Italian  violinists. 

PEGADO,  BENTO  NUNES,  a  Portuguese 
chapel-master  at  Evora,  was  one  of  the  celebrated 
pupils  of  Antonio  Pinheiro,  and  flourished  about 
the  year  1600.  The  following  of  his  works  ar« 
still  preserved  in  the  Royal  Library  at  Lisbon : 
"  I'arce  Domitie,  a  7  Vozts,  Motite  para  a  Qitarii- 
ma;"  "  Hei  mihi  Domine,  d  6  1'ozes,  Rexpon.sorio 
de  Defuntot ;  "  "  Hi  sunt  qui  cum  tnulieribus,  Motet« 
do$  Sanios  Innocentes ;"  and  "Ad  le  suspiramus, 
Motete  a  A'.  SenJiora." 

PEGRINS.  BENETON  DE  MORANGE  DE, 
a  French  writer  about  the  middle  of  the  eigh- 
teenth century,  inserted  in  the  "  Mcrciire  da 
/■Vonce"  (1740)  an  article  entitled  "Dissertation 
de  I'Origine  ct  de  VUlitti  des  Chansons,  particu- 
liiremenl  des  Vaudeviiles." 

PEKEL,  B.VRTII.,  vice  chapel-master  to  the 
Chapel  Royal  of  the  King  of  Poland  in  164.3,  in- 
serted in  the  "  Cribnun  Musicum,"  of  Marco  Scao- 


t-EL 


ENCYCLOPAEDIA    OF    MUSIC. 


PET 


jhi,  a  chef- (F ecu r re  of  his  composition,  in  which 
three  canons  can  bo  sung  at  the  same  time. 

PELI,  FRANCESCO,  an  Italian  singer  about 
,he  year  1720,  estnblishiHl  a  singing  school  at 
Moclena,  which  ntterwards  became  very  cele- 
Dratcd.  lie  brought  out  at  Munich,  in  I7''i7,  an 
opera  entitleil  "  La  C'ostanza  in  Trionjo." 

PELLATIS.  PADRE  AXGELO,  organist  at 
Treviso,  published  at  Venice,  in  1667,  "  Compen- 
dia per  i/iipare  le  Uiyole  dul  CaiUo  Ferino." 

PELLEGRINI.  VINCENZO,  canon  at  Pesaro, 
in  the  pa])al  states,  and  ultimately  chajiel-master 
of  the  metropolitan  church  at  Milan,  published 
several  of  his  works,  amongst  which  are  to  be 
noticed  "  Miiaarum,  Lib.  1,"  Venice,  1604  ;  "  Con- 
cert i  d  1,  2,  3,  4,  5,  e  6  voci,  con  una  Missa  A  6 
voci;  "  and  "  Motetti,"  Venice,  1619.  In  the  '•  Ber- 
gaineno  Parnassus  J/imic.  Ferdin,,"  Venice,  1615, 
some  of  his  works  also  occur. 

PELLEOUIXI.  VALKRIO,  a  singer  in  the 
service  of  the  King  of  Spain,  flourished  about  the 
year  1700. 

PELLEGRINI,  FERDINAND,  a  mxisician  at 
Naples,  published  several  works,  the  tirst  of  which 
appeared  at  Paris  in  1754,  and  contains  several 
sonatas  for  the  harpsichord,  with  a  letter  on  the 
rondo.  In  1768  he  brought  out  his  ninth  opera 
at  Paris.  It  consists  of  six  concertos  for  the 
harpsichord. 

PELLEGRINI,  PIETRO,  was,  in  1770,  chap- 
el-master of  the  Jesuits'  Church  at  Brescia.  He 
was  celebrated  as  a  performer  on  the  harpsichord. 
Amongst  his  works  is  an  opera  entitled  "Cirene." 

PELLI  flourished  as  chapel-master  at  Rome  in 
the  latter  part  of  the  last  century,  and  publishetl 
some  musical  works  of  taste.  See  Leveque's 
"  Tableau  de  Rome,"  1792. 

PELLIO,  GIOVAN'NI.  A  composer  of  the 
si.xteenth  century.  Of  his  works  we  can  men- 
tion only  "  Canzoni  Spirituali  a  5  voci.  Lib.  2," 
Venice,  1597,  and  "  Canzoni  Spirituali  d  6  voci," 
Venice,  1584.  These  may  still  be  found  in  the 
library  at  Munich. 

PENNA,  LORENZO,  of  Bologna,  a  Carmelite 
monk,  and  a  professor  of  music,  was  the  author 
of  a  work  entitled  "  Alhori  ilusicali,"  printed  at 
Bologna  in  1672.  ITiis  he  divided  into  three 
parts.  The  tirst  treats  of  the  elements  of  the 
canto  fiyurati) ;  the  second  of  counterpoint ;  and 
the  third  of  thorough  ba-»s,  or  the  art  of  accom- 
paniment. In  thi.-i,  which  Ls  one  of  the  best 
Italian  works  on  the  subject,  the  scale  of  Guido, 
with  the  use  of  the  syllables  and  clefs,  and  the 
nature  of  the  mutations,  are  explained  in  a  very 
concise,  intelligible  manner,  as  are  also  the  char- 
acters employed  in  the  cau/iu  menturabilis.  Of  his 
^ule^  of  counterpoint  little  can  be  said,  further 
than  that  they  are  perfectly  consistent  with  tlie 
laws  of  harmony. 

The  third  part  of  the  work  is  taken  from  the 
writings  of  Luzzaschi,  Morula,  Frescobaldi.  and 
other  celebrated  Italian  organists.  A  continua- 
tion of  the  "  Alhori  .Miuicali  "  was  published  at 
Venice  in  the  year  1678.  In  16S9  Penna  pub- 
lished at  Modena  a  "  Directorio  del  Canto  Fermo." 

PENNA,    FRANCESCO,   of    Bologna,   pub- 


lished a  treatise  on  music  at  .\ntweq)  in  1633. 
Dr.  Burney  quotes  this  work  in  his  Travels,  vol 
i.  p.  39 ;  but,  as  he  had  not  himself  seen  it,  ft 
may  probably  belong  to  the  preceding  article. 

PENNA,  L.  A  professor  of  music,  and  proba- 
bly of  the  piano-forte,  at  Paris,  (^f  his  pub- 
lishetl works  mav  be  noticed,  "  Trois  Soiuitcs  pnur 
le  Clav.  arec  K.,'  Op.  2,  Paris,  1791,  and  "  Ho- 
mancta  pour  I'iatto-forte,"  Paris,  1787. 

PENTACHORD.  (Or.)  Thli  word,  wltti  llie  inHrnU.  •nmi^ 
tlinrf  ■iniiiflffl  an  Initrumrnt  cnntnining  flTcatrhifr*.  Btid  •oinrtiinrt 
an  onlrr.  or  •v«l.-in.  of  rtrr  iounfl*. 

PENT.\TO.NO.\.  (Ur.)  The  namr  of  Ouit  Inlrrral  In  tht  an. 
dent  muiic  which  w»j  thr  lamr  with  our  luprrfluoui  aixth,  ronai't- 
Ing  of  Tour  tonri.  ■  major  •ctnitoiii*.  and  a  minor  i  hrncr  it  ri:cvirc« 
the  name  of  jttntatiinum,  or  A  W  lunel^ 

PEPUSCII,  JOHN  CHRISTOPHER,  one  of 
the  greatest  theoretical  miisici.ans  of  modem 
times,  was  born  at  Berlin  about  the  year  1667. 
His  father,  a  minister  of  a  Protestant  congrega- 
tion iu  that  city,  discovering  in  his  son  an  early 
propensity  to  music,  employed  at  the  same  time 
two  diflerent  masters  to  instruct  him,  the  one  in 
the  theory,  and  the  other  in  the  practice. 

At  the  age  of  fourteen  he  was  sent  to  court, 
and  by  accompanying  one  of  the  ladies  who  sang 
before  the  queen,  so  recommended  himself,  that 
he  was  immediately  appointed  to  teach  the 
prince  on  the  harpsichord,  and  on  that  day  gave 
him  a  lesson. 

Pepusch  quitted  Berlin,  and  on  going  to  Eng- 
land about  the  year  1700,  was  retained  as  a  per- 
former at  Drury  Lane.  It  is  probable  that  he 
assisted  in  adapting  the  operas  for  the  stage  that 
were  performed  there. 

The  abilities  of  Pepusch,  as  a  practical  com- 
poser, were  not  likely  to  become  a  source  of 
wealth  to  him ;  his  music  was  correct,  but  it 
wanted  variety  of  modulation ;  besides  which, 
Handel  had  got  possession  of  the  public  ear,  and 
the  whole  kingdom  were  forming  their  taste  of 
harmony  and  melody  by  the  standard  of  his 
compositions.  Pepusch,  who  soon  became  sen- 
sible of  this,  wisely  betook  himself  to  another 
course,  and  became  a  teacher  of  mu.sic.  In  the 
year  1713,  at  the  same  time  with  Croft,  Pepusch 
was  admitted  to  the  degree  of  doctor  in  music  in 
the  University  of  O.xXord,  and  continued  to  pros- 
ecute his  studies  with  great  assiduity.  About 
the  year  1722,  Signora  Margarita  de  I'Epine 
having  quitted  the  stage  with  a  large  sum  of 
money.  Dr.  Pepusch  married  her.  The  fortune 
which  Margarita  had  acquired  was  estimated  at 
ten  thousand  pounds,  and  the  possession  thereof 
enabled  the  doctor  to  live  in  a  style  of  elegance, 
to  which,  till  his  marriage,  he  had  been  a  stran- 
ger. This  change  in  his  circumstances  was  nn 
interruption  to  his  studies  ;  he  loveil  music,  and 
he  pursued  the  knowledge  of  it  with  ardor.  He, 
at  the  instance  of  Gay  and  Rich,  undertook  to 
compose,  or  rather  correct,  the  music  to  the 
"Beggar's  Opera."  Every  one  is  aware  that  the 
music  to  this  drama  consists  solely  of  Imllad 
tunes  and  country  dances;  it  was  nevertheless 
necessary  to  settle  the  airs  for  performance,  and 
also  to  compose  basses  to  such  as  npi-de.1  them, 
lliis  Pepu-sch  did,  prefixing  to  the  opera  an  over- 
ture, which  was  printed  in  the  tirst,  and  has  l*cii 
continued  in  every  succee<ling  cililion  of  ths 
work.  About  the  year  1740,  I'epusch's  wift 
die<l,  and  he,  having  before  lost  hi.*  son,  an  only 
child,    had  carcely  any  source   of  delight  Uft, 


717 


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other  than  the  prosecution  of  hii  studiet,  and 
lenchin};  a  few  favorite  pupils,  who  attended  him 
at  his  aparuuouts.  Here  he  drew  u])  that  ac- 
count ol  the  nncient  peiiern,  which  was  read  be- 
fore the  Royal  Society,  and  is  publisheil  in  the 
Philosophical  Transactions  for  the  months  of 
October,  Xovember,  and  December,  in  the  year 
1746  ;  and  soon  after  the  publication  he  was  elect- 
ed a  fellow  of  the  Royal  Society,  lie  died  in 
the  year  L752. 

PER.     (I.)     For,  or  by. 

PERA,  GIROLAMO,  of  Venice,  an  excellent 
church  composer,  died  in  1770.  Joseph  Schus- 
ter, chapel-master  to  the  King  of  Sardinia,  was 
a  pupil  of  Girolamo  Pera. 

PP:RAXDI,  MARCO  GIOSEFFO,  chapel- 
master  to  the  Elector  of  Saxony,  was  born  at 
Rome.  The  celebrated  Christoph  Bernhard 
brought  him,  in  1640,  from  Rome  to  Dresden, 
where  he  honorably  filled  the  above  office,  joint- 
ly with  four  more  chapel  tr.asters,  namely,  Ileinr. 
SchUtz,  Albrici,  IJontempi,  and  the  above-named 
Bernhard,  until  about  the  year  1670.  As  a  com- 
poser he  was  particularly  distinguished  for  his 
energetic  expression  of  the  passions ;  for  which 
reason  Mattheson  calls  him  the  celebrated  affeck- 
ten-zwitit/er  (passion  subduer.) 

PER  BISCANTIIM.  (L.)  An  ouprMilofs  by  which  the  old  ec- 
cICBiuHtical  musicinns  EigniUcd  the  cuiniwtllloll  and  pcrrormance  of 
music  in  twu  imrls. 

PERCACCIO,  GIOVANNI,  chapel-master 
and  organist  ut  Breno,  published  "12  S)nate  da 
Caiiu:ia  d  tre,"  Op.  1,  1698. 

PERCY,  JOHN,  an  eminent  English  ballad 
composer  at  tlie  latter  end  of  the  last  century. 
Amongst  other  songs  he  published  "  I  know  a 
bank,"  "Soft  as  yon  silver  ray,"  "  Sweet  smells 
the  brier,"  "  Song  of  a  Spirit,"  and  the  very  cel- 
ebrated ballad  of  "  Wapping  Old  Stairs." 

PERCUSSIONAL.  An  epithet  applied  to  in- 
Btruraents  that  are  struck ;  as  a  drum,  tabor, 
gong,  or  bell.  I'ercussinn  is  the  actual  striking 
of  a  note  or  chord,  the  touch  on  the  piano- 
forte, &c. 

PERDENDOSI,  or  PERDENDO,  or  PERD. 
An  Italian  participle,  signilying  that  the  passage 
over  wh.ich  it  is  written  is  to  be  performed  in  a 
time  gradually  decreasing  to  tlie  last  note,  and 
with  a  tone  insensibly  sinking  on  the  eai'  till 
entirely  lo»t. 

PERDIGAL,  a  celebrated  musician  in  the 
reign  of  l/ouis  XIV.,  composed  many  songs  that 
were  in  fashion  at  the  court  of  that  monarch. 

PFJiEGO,  CAMILLO,  a  good  poet  and  musi- 
cian, was  an  ecclesiastic  of  exemplary  character 
nt  Milan.  During  thirty-tive  years  he  was  en- 
gaged in  the  office  of  church  singing  master;  not 
only  teaching  the  young  scholars  in  the  seminary, 
but  also  the  Milan  clergy,  the  Ambrosian  canto 
t'cnitf).  A  proof  of  his  competence  for  this  task 
tvas  given,  many  years  alter  his  death,  by  the 
Cardinal  Feder.  Borromeo,  who  caused  the  com- 
pendium to  be  printed  which  Perego  had  used 
in  his  instructions.  It  is  entitled  "  liepola  del 
i^  into  Fcrmo  Ambriaiatio,"  Milan,  1622.  The  au- 
thor himself  published,  during  his  lifetime, 
icveral  musical  works,  amongst  which  is  "  Ma- 
driyali  a  4  coci,"  Venive,  1.3Jo. 


PEREIRA,  DOMINGOS  MINES,  a  Portu- 
guese monk  and  i)reacher,  born  at  Lisbon,  was 
also  chapel-master  to  the  cathedral  there,  and 
was  highly  celebrated  for  hLs  musical  acquire- 
ments. He  died  in  1729.  Amongst  numerous 
musical  works  left  by  him  in  manuscript,  the 
following  can  be  named  :  "  Hesjx>nsorios  da  Se- 
mana  aanta  a  8  T'o2e.»,"  "  Respoiisorios  de  Officio  dos 
Defantoi  a  8  I'ozea,"  "  Li<;oens  de  De/toUos  a  4 
Voz.,"  "  Conjitebor  d  8  Voz.,"  '•  Laiidale, ptieri ,  Dom- 
inuni,  a  8  Voz.,"  "  Latulaie  Dominutn,  omnes  ffenlcs, 
di  I'oz.,"  and  "  I'ilhaticicos  e  Moteles  a  4,  6,  e  8 
Voz." 

PEREIRA,  MARCOS  SCARES,  royal  chapel- 
master  at  Lisbon,  died  in  IG.i.'j.  Many  of  his 
works  for  the  church  are  to  be  found  in  the  Roy- 
al Musical  Library  at  Lisbon. 

PEREIRA,  ANTONIO,  a  Portuguese  regular 
ecclesiastic,  born  at  Macao,  in  the  bishopric  of 
Guarder,  in  the  year  172o,  became  rector  of  the 
Conventual  School,  and  published,  besides  school 
books,  much  music  for  the  church.  His  works 
were,  however,  all  destroyed  by  fire  in  17.55. 

PEREIRA,  TOMA.SI,  a  Jesuit  and  Portu- 
guese mL-isionary,  enjoyed  great  power  at  the 
court  of  the  Emperor  of  China,  between  the 
years  1680  and  1692.  He  was  appointed  ambas- 
sador from  Portugal,  and  in  that  quality  con- 
cluded a  peace  with  the  Chinese,  re^eri'ing  a 
right  of  free  exercise  of  the  Christian  religion 
throughout  the  whole  Chinese  empire.  It  is 
said  that  it  was  princijmlly  through  his  profound 
knowledge  in  music,  that  he  became  so  great  a 
favorite  with  the  Chinese  court. 

PEREZ,  DAVID,  of  Spanish  extraction,  was 
bom  at  Naples  in  1711.  lie  owed  his  musical 
education  to  Antonio  Gallo  and  Francesco  Man- 
cini.  His  progress  in  composition  was  rapid,  and 
he  discovered  an  uncommon  genius.  On  leaving 
the  Conservatory,  he  did  not  observe  the  usual 
custom  of  travelling  throughout  Italy,  but  re- 
paired to  Sicily,  where  he  tilled  the  functions  of 
chapel-master  in  the  Cathedral  of  Palermo.  The 
Sicilians  are  not  less  sensible  to  melody  than  the 
Italians  ;  perhaps  they  are  more  so.  It  is  certain 
that  their  ear,  their  tact,  and  their  musical  taste 
are  as  much  practised  as  those  of  the  Neapoli- 
tans ;  for  all  the  operas  composed  at  Naples  are 
performed  in  their  theatres.  Perez  composed  his 
first  operas  for  the  theatre  at  Palermo  from  1741 
to  1748.  They  were  greatly  esteemed  by  the  Si- 
cilians, who  admired  his  learning  no  less  than  the 
spirit  and  fascination  of  his  style.  While  in 
Sicily,  this  composer  obtained  great  reputation. 
He  returned  to  Naples,  and  soon  after  his  arrival 
gave  his  opera  of  "  La  Ckmenza  di  Tito,"  at  the 
theatre  of  San  Carlos.  Thus  work  had  as  much 
success  at  Naples  as  his  preceding  compositions 
experienced  in  Sicily.  l"he  I'ellow-citizens  of  Pe- 
rez acknowledged  in  his  style  that  of  the  great 
'  masters  of  their  school.  His  reputation  in- 
creased ;  and  he  was  invited  to  Rome  by  t)io 
manager  of  the  great  theatre,  where  he  imme- 
diately became  very  celebrated. 
j  His  first  work  was  the  ojiera  of  "  Semiramide ;  " 
that  of  "  Farnace "  soon  followed,  and  the  Ro- 
mans confirmed  by  their  plaudits  the  approbation 
[  of  his  countrymen.  From  Rome  he  proceeded  to 
'  the  other  Italian  cities,  and  successively  composed 
!  "  Didrtie  abbandonata,"  "  Xenohia,"  and  "  Ales- 
'  sandro  ncW  Jndie  "  which  sustained  a  comparison 
18 


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with  the  operas  of  the  best  mnsters  of  the  mort 
felebrated  schools  of  Itiily.  Whilst  most  of  the 
Italian  cities  (lisputed  the  possession  of  Perez, 
Joseph,  King  of  Portugal,  invited  hira,  in  17o2, 
to  Libbon,  as  his  chapel-master ;  and  the  suf- 
frages of  the  Portuguese  were  added  to  those  of 
the  Italians,  when  they  heard  "  Demnfoonte,"  the 
o;'era  in  which  the  nvUhor  first  discovered  to 
them  his  talent  and  his  style. 

Uizzicllo  was  the  inincipnl  soprano,  and  Kaaf, 
the  tenor,  two  very  celebrated  singers.  In  17.5.5, 
on  the  occasion  of  the  (jueen's  birthday,  Perez  com- 
posed a  march  in  the  manege,  to  the  grand  i)as 
of  a  beautiful  horse.  On  this  occasion  the  King 
of  Portugal  assembled  the  following  great  sing- 
ers :  Elisi,  Manzoli,  Caffarclli,  (Jizziello,  Veroli, 
I'abbi,  Luciaiii,  Raaf,  Rnina,  and  (iuadagni.  'ITie 
compositions  of  Perez  had  therefore  every  ad- 
vantage execution  could  bestow.  Ilis  operas 
"  L>emf<cio  "  and  "  S.>liinano"  enjoye<l  the  high- 
est repute  in  Portugal.  Perez  was  stimulated  to 
exertion  in  their  composition  by  their  alternate 
performance  with  the  '•  Voliyesa"  and  "  Enea  iiel 
Lazio  "  of  Joraelli.  The  former  were  esteemed 
for  the  learned  constniction  of  the  instrumental 
part-s,  the  latter  for  their  graceful  and  expressive 
melody. 

The  compo^iitions  of  Perez  bear  the  stamp  of 
genius,  strength,  and  science ;  but  perhaps  they 
were  deficient  in  grace.  Dr.  Burney  is,  however, 
of  a  different  opinion.  He  says,  "  It  appears,  on 
examining  his  scores,  that  this  master  had  not, 
like  Jomelli.  much  exercised  his  pen  in  the  cora- 
po'-ition  of  fugues  or  learned  counterpoint  for  the 
church.  'n»cre  is,  however,  an  original  grace 
and  elegance  in  all  his  productions." 

Perez  died  in  tlie  sen-ice  of  King  Joseph,  aged 
sixty-seven,  after  living  twenty-seven  years  in 
Portugal,  much  admired,  beloved,  and  respected. 
A  dirge  of  his  own  composition  was  performed 
by  the  best  musicians  iu  Lisbon.  Like  Handel, 
lie  wa-i  blind  during  the  latter  years  of  his  life ; 
and  when  laboring  under  this  calamity,  and  con- 
fined to  his  bed,  frequently  dictated,  without  an 
instrument,  compositions  in  parts.  He  sang 
with  great  taste,  particularly  cantabile  and  pa- 
thetic nirs.  The  following  is  a  more  regular  list 
of  his  principal  works  for  the  theatres,  besides 
which  he  left  much  church  music  of  almost  un- 
rivalle<l  beauty,  some  delightful  specimens  of 
which  may  be  found  in  Novello's  collection  of 
motets.  Operas :  "  Ckmenza  Hi  Tito,"  Naples, 
1749;  "  Sfiiiirninide,"  liome,  1750;  "  Farnacc," 
Rome,  1750;  "  Merope,"  1750;  "La  Didoiie  ab- 
b.tii'ijnata,"  1751;  "  Zenohia,'^  1751;  "  Demetrio," 
1751;  "  Alfssaitdro  tielC  Indie,"  1751;  "  Peino- 
fooiUf,"  Lisbon,  1758;  "  .ALs-tamlro  nelT  Indie," 
rccomposed,  Lisbon,  1 755  ;  "  Solimann,"  Lisbon, 
1755;  "  Ipcrmnestra,"  Lisbon,  1755;  and  "  Ezio." 

PERFECT.  A  word  variously  understood  by 
musicians.  When  conjoined  with  the  term  chord, 
it  implies  a  concord  which  comprehends  all  the 
consonances.  When  applied  to  ratieticr,  it  sig- 
nifies that  close  in  which  the  dominant,  or  fifth, 
falls  to  the  final  or  key-note.  A  prrfert  consi- 
nnnce  is  a  just  and  determined  interval,  as  the  oc- 
iave,  fifth,  or  fourth  ;  and  with  the  old  masters, 
pri/oct  till)-,  or  measure,  was  that  which  con- 
fisted  of  a  ternary  numlicr,  and  which  was  per- 
fect, in  contradistinction  to  the  imperfect,  or 
binary  measure. 


PERFECT  C.\DEN'CE.  Tliis  consists  of  the 
dominant  harmony,  followed  by  that  of  the  tonic  ; 
thus :  — 

l.s  C  Major.  Is  A  Mixoh. 


i 


^ 


l^iiS 


''g-' 


« 


1 


m 


The  first  or  leading  harmony  is  always  major. 

PERFECT  CONCORDS,  or  CONSONANCES. 
Certain  intervals  are  so  called  ;  they  are  the  uni- 
son, octave,  fifth,  and  fourth.  Such  intervals,  if 
altered  by  a  **,  b,  or  >=,  lose  their  consonant 
character. 

PERFECT  INSTRUMENTS.  It  may  be  eaid 
with  much  reason  that  the  only  perfect  instru- 
ment,s  now  in  use  are  the  violin,  the  violoncello, 
the  double  bass,  the  tenor,  and  one  or  two  others. 
On  these,  any  tone  of  which  their  compa-ss  is 
capable  can  be  produced  in  every  po-sible  va 
ricty  of  execution. 

liie  piano-forte,  delightful  a.s  are  it-"  powers, 
cannot  produce  a  gliding  sound  from  one  note  to 
the  other ;  neither  can  it  prolong  a  note  for  any 
length  of  time  without  losing  at  its  termination 
the  vigor  with  which  it  produced  the  tone  at  its 
commencement.  In  addition  to  these  disadvan- 
tjiges  it  lalwrs  under  another,  which  is  comraou 
to  all  iriiid  instruments.  It  can  ])roduce  full 
tones,  diatonic  semitones,  and  chromatic  semi- 
tones, but  it  cannot  yield  an  enharmonic  tone. 
On  the  piano-forte,  on  the  harp,  and  on  all  wind 
instruments,  ( with  the  exception  of  th.e  organ  in 
the  Temple  Church,  London,)  O  fiat  is  F  sharp  ; 
-V  flat  is  O  sharp ;  E  sharp  is  F  natural :  B  sharp 
is  C  natural ;  E  fiat  is  D  sharp ;  and  so  on.  The 
difference  is  so  nicely  arranged  as  svarcely  to 
strike  the  finest  ear;  but  it  is  undoubtedly  an 
obstacle  in  the  way  of  perfection  which  will  most 
probably  be  overcome  by  and  by.  The  organ  in 
the  Temple  Church,  in  I/mdon,  which  we  have 
made  an  exception  to  the  above  complaint,  is  a 
I  curious  specimen.  The  black  notes  are  split,  in 
order  to  provide  for  the  production  of  enharmonic 
tones,  and  the  effect  on  a  nice  car  is  very  agiecable. 
As  the  majority  of  organs  are  not  made  on  the 
last-named  principle,  they  must  be  cln^-ed  among 
the  imperfect  instruments.  At  the  same  time,  it 
is  believed  that  general  opinion  unites  in  ascrib- 
ing to  the  organ  the  first  place  amoni:  instru- 
ments. It  is  capable  of  prolonging  sounds,  of 
producing  multiplied  chords,  ol  mod  ilating  and 
swelling  its  tones  at  the  option  of  the  j^erformcr. 
of  Rupj)ressing  or  expanding  its  volume,  and,  in  a 
j  word,  of  doing  every  thing  which  any  other  in- 
strument can  perform,  except  of  gliding  from  one 
note  to  another.  (.See  Ei'hakmo.mc  Oioivn.; 
1  PERFORMER.  A  practical  vocal  or  instru- 
mental musician. 

PERGOLESE,   or    PER(H)LF,S1,  (HOVAN- 

NI  B.VrriST.V,  WIS  born  at  Jc-<i,  in  1710.     His 

friends  discovering,  very  early  in  his  ini'nncT,  thai 

he  had  a  disposition  for  musir,  place  1  him  in  the 

Conscrvatorio  at  Naples,  calle<l  />•!  l'or,r,  i>i  t;ieiu 

I  CnVo,  which  has  been  since  suppressc<l.    (iaetann 

I  Ureco,  of  whom  the  Italians  still  spfwk  with  rer- 

I  ercnce  as  a  contni;iunti«t,  then  pre«idtcl  ot«t  that 


PBB 


ENCYCLOPAEDIA    OF   MUSIC. 


PE 


celebrated  Rchool.  Tliis  judicious  master,  soon 
perceiving  traits  of  uiiusuhI  genius  in  his  youni; 
pupil,  took  particular  pleasure  in  facilitating  his 
studies,  and  iu  communicating  to  him  all  the 
mysteries  of  his  art.  The  |)rogress  of  the  young 
musician  was  proportioned  to  the  uncommon  ad- 
vantages of  nature  and  art  with  which  he  was 
favored  ;  and  at  a  time  when  others  had  scarcely 
learned  tho  gamut,  he  i)roduccd  specimens  of 
ability  which  would  have  done  honor  to  tlie  first 
masters  of  Naples.  At  the  age  of  fourteen  he 
began  to  i)crceive  that  taste  and  melody  were 
sacrificed  to  the  pedantry  of  learned  counter- 
point ;  and  after  vanquishing  the  necessary  diffi- 
culty in  the  study  of  harmony,  fugue,  and  scien- 
tific texture  of  the  parts,  he  entreated  his  friends 
to  take  him  home,  that  he  might  indulge  his  own 
fancies,  and  write  some  music  that  was  most 
agreeable  to  his  natural  perceptions  and  feelings. 
'I'he  instant  he  quitted  the  Conservatorio,  he  to- 
tally changed  his  style,  and  adopted  that  of  Vinci ; 
from  whom  he  received  lessons  in  vocal  corajjosi- 
tion,  and  also  frfim  Hasse,  who  was  then  in  high 
favor.  Though  he  so  late  entered  in  the  course 
which  they  were  pursuing  %vith  such  rapidity,  he 
soon  came  up  with  them,  and  taking  the  lead, 
attained  the  point  to  which  their  views  were  di- 
rected, before  cither.  With  equal  simplicity  and 
clearness,  he  surpassed  them  both  in  graceful  and 
interesting  melody.  His  countrymen,  however, 
were  the  last  to  discover  or  allow  his  superiority  ; 
and  his  first  opera,  performed  at  the  second  the- 
atre in  Naples,  called  Dei  Fiorenlini,  met  with 
but  little  success.  The  Prince  of  Stegliano,  how- 
ever, first  equerry  to  the  King  of  Naples,  dis- 
covering great  abilities  in  young  Pergolese,  took 
him  under  his  protection  ;  and  from  the  year  17;50 
to  17.3i,  by  his  influence,  procured  emoloyment  for 
him  at  the  Tcatro  Nuovn.  During  this  period  his 
productions  were  chiefly  of  the  comic  kind,  and, 
■with  the  exception  of  the  "  Serca  Padrona."  in 
the  Neapolitan  dialect,  which  is  unintelligible  to 
the  re.-it  of  Italy.  It  was  not  till  the  year  17.3o 
that  an  account  of  his  merit  penetrated  even  as 
far  as  Rome,  and  inclined  the  directors  of  the 
operas  there  to  engage  him  to  compose  for  the 
Tordinone  Theatre  in  that  city.  Pergolese,  am- 
bitious of  writing  for  a  better  theatre,  as  well  as 
for  better  j>erformcrs  than  those  for  whom  he  had 
been  hitherto  employed,  and  hapj)y  in  having  the 
exquisite  poetry  of  Metastasio's  "  Olimpiailc "  to 
set,  instead  of  the  Neapolitan  jargon,  went  to 
work  with  the  zeal  and  enthusiasm  of  a  man  of 
genius,  animated  by  hope,  and  glowing  with  an 
ardent  passion  for  his  art.  The  Romans,  how- 
ever, by  some  unaccountable  fatality,  received 
his  opera  with  coldness  ;  and  the  composer  being 
a  young  man  but  little  known,  they  seemed  to 
require  to  be  told  by  others  that  his  music  was 
excellent,  and  would  soon,  by  the  admiration  of 
all  Europe,  make  them  ashamed  of  their  injustice 
and  want  of  ta.ste.  To  complete  poor  Pergolcse's 
mortification  at  the  ill  reception  of  his  opera, 
"  Scroiir,"  composed  by  Duni,  the  next  that  was 
brought  o\it  on  that  stage,  had  very  great  suc- 
cess. Duni,  a  good  musician,  and  a  man  of  can- 
dor, though  greatly  inferior  in  genius  to  Pergo- 
lese, is  said  to  have  been  a.shamed  of  the  treat- 
ment which  he  received ;  and  with  an  honest 
indignation  declared,  that  he  wtvs  out  of  all  pa- 
tience with  the  Roman  public,  ffreitelico  contra  il 
ouhlico  lljmano  I    He  even  tried,  during  the  short 


life  of  Pergolese's  opera,  to  make  a  party  in  its 
favor  among  the  professors,  who  were  captivated 
with  the  beauty  of  the  music  :  but  their  efforts 
were  vain ;  the  time  was  not  arrived  when  judg- 
ment and  feeling  were  tj  unite  in  its  favor. 

Pergolese  returned  It  Naples  with  the  small 
crop  of  laurels  which  had  been  bestowed  on  him 
by  professors  and  persons  of  taste,  who  in  every 
country  compose  but  a  very  incnnsiderahle  part  of 
an  audience.  He  was,  indeed,  extremely  mortified 
at  the  fate  of  hLs  opera,  and  not  much  disposed  to 
resume  the  pen,  till  the  Duke  of  Matelon,  a  Nea- 
politan nobleman,  engaged  him  to  compose  a 
ma-ss  and  vespers  for  the  festival  of  a  saint,  which 
was  about  to  be  celebrated  at  Rome  with  the 
greatest  magnificence.  Though  Pergolese  had  but 
too  much  caase  to  be  dissatisfied  with  the  Roman 
decree;-.,  he  could  not  decline  the  duke';;  proposi- 
tion ;  and  it  was  on  this  occasion  that  ho  com- 
posed the  mass,  "  Dixit,"  and  •'  Laudate,"  which 
have  since  been  so  often  performed  and  transcribed 
by  the  curious.  They  were  heard  tor  the  first  tima 
in  the  Chiirch  of  San  Lorenzo,  with  general  rap- 
ture; and  if  any  thing  could  console  a  man  of  gen- 
ius for  such  unworthy  treatment  as  he  had  late- 
ly experienced  at  Rome,  it  must  have  been  such 
hearty  and  unequivocal  approbation  as  he  now  re- 
ceived in  the  same  city.  His  health,  however,  dai- 
ly and  visibly  declined.  His  friencLs  had  perceived, 
by  his  frequent  spitting  of  blood,  for  four  or  five 
years  l;efore  this  period,that  be  was  likely  to  be  cut 
otf  in  his  prime ;  and  his  malady  was  still  increased 
by  his  la.st  journey  to  Rome.  His  first  patron, 
the  Prince  of  Stegliano.  who  had  never  with- 
drawn his  protection,  advised  him  to  tiike  a  small 
house  at  Torre  del  (ireco,  near  Naples,  by  the  sea- 
side, almost  at  the  foot  of  Mount  Vesuvius.  It  is 
imagined  by  the  Neapolitans,  that  persons  afflict- 
ed with  consumption  are  either  speedily  cured  or 
killed  in  this  situation. 

During  his  last  sickness,  Pergolese  composed 
his  celebrated  cantata  of  "  Orfeo  ed  Enridice," 
like  Purcell,  who,  under  similar  circumstances, 
produced  "  From  rosy  bowers,"  retaining  his  fac- 
ulties in  full  vigor  to  the  last  moment  of  his  ex- 
istence, and,  to  complete  the  jiarallel,  cut  off  like- 
wise in  the  prime  of  life.  At  Torre  del  Greco, 
he  also  composed  his  "  Stabat  Mater,"  whence  Iio 
u.sed  occasionally  to  go  to  Najjles,  to  have  them 
tried.  Tlie  "  Silve  lieyinn,"  which  is  printed  in 
England,  was  the  la.st  of  hLs  productions ;  and  he 
died  very  soon  after  it  was  finished,  in  17.36.  The 
instant  his  death  was  known,  all  Italy  manifest- 
ed an  eager  desire  to  hear  and  possess  his  pro- 
ductions, not  excepting  his  first  and  most  trivial 
farces  and  intermezzi :  not  only  lovers  of  elegant 
music,  and  curious  collectors  elsewhere,  but  even 
the  Nea])nlitans  themselves,  who  had  heard  them 
with  indifference  during  his  lifetime,  were  now 
equally  solicitous  to  do  justice  to  the  works  of 
their  deceased  countrjinan.  Rome,  now  sensible 
of  her  (ormcr  injustice,  as  an  amende  hnnorablf, 
revived  his  opera  of  "  Olimpiade  ;"  a  mark  of  re- 
spect which  had  never  been  before  conferred  on 
any  composer  of  the  eighteenth  century.  It  was 
now  brought  out  with  the  utmost  magnificence, 
and  that  indifference  with  whicli  it  had  been  heard 
but  two  years  before  was  now  converted  into 
rajiture.  Pergolese's  first  and  principal  instrument 
was  the  violin,  which  was  urged  agaii-.st  him  by 
envious  rivals,  as  a  proof  that  he  w.as  unable  te 
compose  for  voice."*.      If  this  objection  were  ever 


720 


TER 


ENCYCLOP.EDIA    OF    Ml'Sll". 


1  ER 


In  force  with  rensonnble  and  cniuUil  judges,  it  rau8t 
hiive  been  much  pnteebled,  not  only  by  the  suc- 
cess of  l*eri;oleso  in  vociil  compositions,  hut  nlso 
Dy  Saochini,  whose  iirincipal  study  nnd  i)riietico, 
luring;  youth,  wiis  likewise  bestowed  on  the  vio- 
'in.  There  iloes  not  appear  to  be  iiny  foundation 
for  the  report  tluit  the  premature  death  of  Por- 
»o1psc  was  occasioned  by  poi<on.  The  disease  of 
which  he  dieil  was  a  consumption  ;  and,  as  envv 
was  said  to  have  stimulated  his  rivals  to  so  base  an 
expedient  to  reuuive  him,  it  has  been  well  observwl, 
that  the  success  of  I'ergolese's  productions,  dur- 
ing his  lifetime,  was  never  sutKciently  brilliant  to 
remler  hiiu  an  object  of  envy  to  his  brethren,  so 
A*  to  make  it  necessnry  to  desj)atch  him  by  unfair 
means. 

PHKI,  GIACOMO,  or  JACOPO.  a  native  of 
Florence,  says  Battista  Doni,  finurished  about 
the  bejjinninj?  of  the  seventeenth  century,  and 
was  a  pupil  of  Cliristopher  Malvez/.i.  He  was 
not  only  a  v;ood  composer,  but  a  famous  singer, 
and  performer  on  keyed  instruments.  He  set  the 
principal  part  of  the  music  to  a  serious  opera,  en- 
titled "  hUtiiJiie,"  the  words  of  which  were  writ- 
ten by  lUnucci,  for  the  royal  nuptials  of  Mary  of 
Medicis  with  Heurv  IV.  of  France,  in  the  year 
1(!00. 

I'KRIEI.ESIS.  A  tf rm  formerly  uwd  In  church  mufic,  ilfrnlfy- 
InK  the  Itilcriv'^itioii  ttt' one  or  more  nolcf  In  Ihp  intoniition,  tu  In- 
dicat«  tti«appnMCliot  thtjCftafr,  and  appriMlhc  choir  that  Ihey  wtr» 
Ut  taktf  u|)  Uttf  thv-inv. 

PEUILLO,  SAI-VAPORE.a  Xcapohtan.bom 
in  1731,  was  a  pupil  of  Durante  at  the  same  time 
as  Nic.  Piccini.  After  complelin;{  his  m\isical 
e  lucation,  he  resided  at  Venice.  He  was  a  natu- 
ral and  B;;reoable  dramatic  composer,  and  suc- 
ceeded especially  in  comedy.  Amongst  his  ope- 
ras arc  the  following:  "Berenice,"  I'oO;  "La 
Buo»a  Fiyliilo,"  175!)  ,-  "  /  Vingpiatori  liidicoti," 
17t)I;  "La  Ikmiui  Giramlola,"  I7t)3;  "  La  Finta 
Stmpluv,"  1764  ;  "  La  I'illtijt/iatiira  lii  Xteatrr,"  1769; 
"  /  TVs  ra'/.iionrfi,"  and  "II  Demetrio,"  1776. 

PERILLO,  FRANCESCO,  a  Neapolitan  dra- 
matic composer,  is  enumerated  as  such  in  the 
Milan  Indict  ,lo'  Sptfa<:  Tcatr.  for  1783. 

PERINI,  GIACOMO.  An  Italian  dramatic 
composer  at  Milan  in  1671. 

PERIOO.  A  musical  sentence  composed  of 
several  members.  The  period  of  the  ancient 
Greeks  consisted  of  three  couplets  :  \.\ie  strophe,  the 
antUlrophe,  and  the  epoiU. 

PERIODEXnAU.      (0.)      Periodology.    the 

construction  of  periods,  or  composition. 

PERMON,  a  harpist  at  Piuis  in  the  year 
1794,  was  a  pupil  of  Krumpholtz,  and  published 
"  Duo  /will-  (/.  ujc  lliirjv.i,  d<»U  la  seconde  peut  s'ejci- 
xutcr  siir  le  P.  F.,  avec  Ace.  dt  Violon  et  B." 

PERNE,  FRANCOIS  L..  bom  at  Paris  in 
1772,  was  a  puiil  of  the  Abbe  d'llaudimont. 
Perne  was  a  professor  of  harmony,  member  of  the 
Royal  Academy  of  Music,  and  performer  on  the 
double  bass  in  the  chamber  band  of  Napoleon. 
He  composed  some  church  music,  amongst  which 


PEUO'ITI.  GIOVANNI  DOMENICO,  an  lul- 
ian  comixiser,  born  at  Vercelli,  resided,  in  178'.*, 
at  Rome,  and  wrote  there  his  second  serious 
opera,  entitled  "  .•Ii/imiViw."  His  Hrst  was  called 
"  Zcmira  t  HuiuUtrte,"  and  wns  performed  at  Ales- 
sandria in  1787. 

PEROITI.  AUGUSTINO,  royal  chapel-master 
of  I^t.  Mark  at  Venice,  and  member  of  the  Phil- 
hanuonic  Academy  at  llologna,  wrote,  in  1811, 
"A  Dissertation  on  the  State  of  Music  in  Italy," 
which  was  crowned  by  the  academy  of  belki-Uitrea 
at  Venice.  Some  highly  interesting  e.xtracts  from 
this  work  may  be  found  in  the  tirst  volume  of 
the  "  Uarmonicon,"  p.  137,  &c. 

PERPETrAL  PSALMODY.     See  Psalmodt 

Isi.A.NU,  and  I.ai's  Peuk.nms. 

PERRY.  FREDERIC  CLEMENT,  was  horn 
at  Cambridge,  England,  and  received  his  musical 
etlucation  from  his  father  till  the  oge  of  twelve 
years,  when  he  was  j)laced  under  the  care  of  Am- 
brose, organist  of  Chelmsford,  with  whom  he  con- 
tinucil  a  year  and  a  half.  At  the  age  of  si.xti;en 
he  settled  at  Stortford,  for  the  jiiirjiose  of  attend- 
ing some  j)Ui)ils  for  his  father,  when  he  was  ap- 
I  pointed  organi-it  of  the  church  there,  which  situa- 
tion he  held  for  about  live  years.  In  the  year  1823, 
Perry  quitted  that  town  to  reside  at  Rclchamp 
Walter,  near  Sudbury,  in  Suffolk,  at  which  village 
he  hod  l>e!'ore  passeil  several  years  of  his  youth, 
and  at  which  place  he  remained.  His  |)rineipal 
instrximents  were  the  organ  and  jiiano-forte ;  for 
the  latter  of  which  he  eomi)ose(l  and  arranged 
some  plea-sing  music,  esjwcially  the  three  airs, 
"  Scots  wha  hae,"  "  Ah,  jH-rditna,"  and  "  My  love 
is  like  the  red  rose." 

PERRY,  GEORGE,  a  very  ingenious  musi- 
cian, and  leader  of  the  band  at  the  Norwich 
Theatre.  In  the  year  1S17.  an  oratorio  of  his 
composition  wits  performed  in  London,  entitled 
"  Elijah  and  the  Priests  of  liaal,"  and  was  al- 
lowed to  be  a  work  of  talent.  He  has  also  pub- 
lished a  recitative  and  air,  entitled  "The  high- 
bom  soul ;  "  this  song  is  for  U  bass  voice,  and  has 
been  much  admired. 

PFJI.SIANI,  MADAME,  one  of  the  most  cel- 
ebrated operatic  singers  of  this  century,  is  the 
daughter  of  the  famous  tenor  Tacchinardi.  She 
was  born  about  the  year  1800.  She  hos  been  di->- 
tinguished  for  the  almost  unrivalled  flexibility  of 
her  high  soprano  voice,  and  for  her  graceful  ex- 
ecution of  the  most  Horid  ItaUan  music.  In  the 
winter  of  lSo2  she  was  engaged  in  the  opera  at 
St.  Petersburg. 

PERSUIS,  L'OISEAU  DE,  bom  at  Aviffnon, 
was,  in  1811,  chef  d'orch,$fre  at  the  Academy  of 
Music,  and  in  Napoleon's  chapel  at  Paris. 
About  the  year  1780  he  produced  at  the  Cotictrt 
Spiriti4el  several  motct-s  of  his  own  composition, 
and  an  oratorio  entitled  "  l^  I'attape  de  la  Uri 
Rotuje,"  all  of  which  had  great  success.  In  1807 
he  brought  out  at  the  Academy  of  Music,  in 
conjunction  with  Ixssueur,  "  l^  Triom/the  de  Tra- 


is  a  mass   for  a  full  orchestra,   perlormed  at  the  I  jaa,"  and  at  the    ThiAtre  Feydmu,   "  Fanny  Uor 

na,"  in  three  acts,  17'.t9;  "A*  Fruit  D^/indu,"  in 
one  act,  1800;  "Mtrctl,"  in  one  act,  1801;  "La 
Suit   de    Grenade,"    1792;    and    " /'Aonor  it   ^Lf 


Church  of  St.  Gervais  at  Paris,  being  the  fir»t 
mass  that  was  heard  tliero  after  the  troubles  of 
the  revolution,  i'crne  wa*  also  a  profound  theo- 
rist in  muaic. 


91 


731 


PER 


ENCYCLOl'-EDIA    OF    MUSIC. 


PET 


I'ERTI,  (JIACOMO  AXTOMO,  born  at  Bo- 
logna in  1056,  was  one  of  the  greatest  professors 
of  the  ancient  school  ol  music  in  that  city.  His 
:;ompositions  for  the  church  are  considered  as 
classical.  He  was  first  in  the  service  of  the 
princes  of  Tuscany,  and  from  thence  was  invited 
by  the  Irajwrial  Court  to  Vienna,  in  which  city 
he  resided  nearly  the  whole  of  his  life  He 
formed  many  eminent  pupils,  at  the  head  of 
whom  may  be  jilaced  the  celebrated  Padre  Mar- 
tini. According  to  Quadrio,  Perti  was  living  at 
Bologna  in  1744,  when  he  must  have  nearly  at- 
tained his  ninetieth  year.  His  pupil  Padre  Mar- 
tini published,  in  his  "  Safjyio  di  Conlrapunto," 
seven  chefs-d'oeuvre  in  sacred  composition  by  his 
master  Perti ;  and  Paolucci,  Padre  Martini's 
pupil,  also  published  four  sacred  i)iece8  by  Perti, 
in  his  "  Arte  Praiica  di  CotUraputUo."  Dr.  Bur- 
ney  was  in  possession  of  a  scientific  mass  for 
eight  voices,  by  this  composer ;  and  among  the 
manuscripts  at  Traeg's,  in  Vienna,  is  a  piece  by 
Perti,  entitled  "  Adoramtm  d  4  voci  da  Cantarsi 
net  Tempo  deW  Elevazione  il  Venerdi  Santo."  The 
following  list  contains  his  principal  operas 
and  two  of  his  oratorios  :  "  Atide,"  1679  ;  "  Mar- 
zio  Coriolano,"  1683  ;  "  F/avio,"  1686  ;  "  Rosaura," 
1689;  "  L' l7icoroiia:ione  di  Dario,"  1689;  "L'ln- 
ganno  acnrpoto  per  Veiuktta,"  1691;  "  Brentio  in 
Efeso,"  1690;  "  Furio  CamiUo,"  1692;  "  Nerone 
fatto  Cesare,"  1693;  "II  lie  Infante,"  1604;  "  La- 
odicea  e  Berenice,"  1695;  "  Apollo  Geloso,"  1798; 
"  Le  Premier  Acte  d" Ariovisto,"  1699;  "II  J'en- 
cetlao,"  1708;  '•  Lucio  Vero,"  1717;  "  Gieau  al 
Sepolcro,"  oratorio;  and  "  Morte  di  Giesti,"  ora- 
torio, 1718. 

PERVIN,  JEAN.  Author  of  "  Chansons  a 
gnatre,  cinq,  six,  lept,  et  huit  Parties,"  Lyons, 
1578. 

PESAXTE.  (I.)  With  importance  and  weight, 
impressively. 

PESCETTI,  GIOVANNI  BATTISTA.  A  cel- 
ebrated Venetian  composer  and  pupil  of  Lotti. 
Immediately  on  the  completion  of  his  education, 
he  composed  a  grand  mass  at  Venice,  at  the 
beauty  of  which  Hasse,  who  was  present,  was 
much  surprised.  "  Nature,"  said  Hasse,  "  has 
shortened  for  him  the  road  to  his  art."  About 
the  year  1737,  he  went  to  London,  where  he  re- 
sided two  or  three  years.  There  his  opera  of 
"  Dcmetrio  "  was  performed  at  the  King's  Theatre, 
and  had  a  run  against  Handel's  opera  of  "  Gius- 
tina,"  which  was  brought  out  at  the  same  time 
at  Covent  Garden.  He  also  produced  in  Eng- 
land a  screnata  called  "  Diana  ed  Endimione," 
which  was  sung  at  the  King's  Theatre  in  1739. 
He  in  the  same  year  published  "  9  Senate  per  il 
Cembalo."  Among  his  other  operas  we  can 
name  "II  Prototipo,"  17'26;  "La  Cantatrice," 
1727;  "Dorinda,"  1729;  "/  Tre  Difensori  delta 
Patria  ;"  "  Alessandro  neW  Indie,"  1739;  "  Tullo 
Ostilio,"  1740;  and  ".Brio,"  1747. 

PESCH,  C.  A.,  concert  master  to  the  Duke  of 
Brunswick  in  1760,  gave  his  prince  instruction 
Dn  the  violin.  In  1767  he  followed  the  duke  to 
London,  where  he  published  "  Three  Sets  of 
Trios  for  the  Violin,"  Op.  1,  2,  3.  He  also  pub- 
jshed,  at  Offenbach  and  Lcipsic,  some  music  for 
nis  instrument.     He  died  at  Brunswick  in  1793. 

PESENTI,  BENEDEITO,  is  named  by  Cer- 


reto,  in  1000,  as  one  of  the  best  contrapuntisf 
of  that  period. 

PESENTI,  MARTINO.  an  instrumental  com- 
poser,  was  born  at  Venice  in  1640.  He  wm 
blind  from  birth.  Many  of  bis  works  were  pub- 
lished, amongst  which  we  can  name  "  Capricci 
Slraiaganti,"  Venice,  1647;  "  Misse  d.  3  Voci," 
Venice,  1647;  "  Motctti  a  3  Voci,"  Venice,  1647; 
and  "  Correnii  alia  Francese,  Balletti,  Gagliarde, 
Passemezzi,  parte  Cromatici,  e  parte  Enarmonici,  a 
1,  2,  e  3  Strom.  Lib.  1-4,"  Venice,  1C47. 

PESTALOZZIAN  SYSTEM.  This  system  of 
teaching  music  is  now  considered,  by  amateurs 
as  well  as  instructors,  as  incomparably  the  best 
system  extant.  It  presents  to  the  student  a  most 
perfect  and  beautiful  analysis  and  synthetical 
arrangement  of  the  elements  of  music,  calling 
his  attention  to  one  character  after  another,  just 
as  fast  as  his  progress  demands  it,  and  no  faster. 
It  flings  away  most  of  the  technical  encum- 
brances which  have  so  puzzled  young  beginners, 
and  makes  the  whole  subject  so  simple  that  a 
child  sLx  years  old  can  understand  it.  It  is 
called  the  Pcstalozzian  system,  because  it  is  the 
indttctive  mode  of  instruction,  and  because  it  was 
prepared  by,  and  first  applied  to,  music  under 
the  patronage  and  direction  of  a  wealthy  Swiss 
gentleman  by  the  name  of  Pestalozzi.  Professor 
Mason,  of  Boston,  claims  to  have  introduced  it 
into  this  country  —  he  having  had  it  translated 
from  the  German  of  Kubler.  This  method  of 
teaching  was  adopted  by  the  Boston  Academy  of 
Music,  and  it  has  since  been  introduced  into 
common  schools  very  e.\tensively. 

PESTEL,  JOHANN  ERNEST,  a  celebrated 
court  organist  at  Altenburg,  was  born  in  1659. 
He  was  a  pupil  of  the  great  organist  Johann 
Ernest  Witte,  and  afterwards  of  the  younger 
Weckmann.  On  the  completion  of  his  studies 
he  was  appointed  organist  at  Weida,  in  Voigt- 
land,  from  whence  he  passed  to  the  same  situa- 
tion at  Altenburg;  finally,  in  the  year  1687. 
being  appointed  court  organist.  He  was  living 
in  1740.  He  composed  much  music  for  the 
organ,  and  many  sacred  pieces,  none  of  which, 
however,  were  printed. 

PETERSEN,  P.,  a  flutist  at  Hamburg,  was 
considered,  towards  the  close  of  the  last  century, 
second  only  to  Dulon  on  his  instrument.  He 
composed  much  music  for  the  llute,  some  of 
which  may  be  found  in  Plant's  "  Erato  and  Eu- 
terpe," Hamburg,  1790.  Petersen  also,  after 
much  j.atient  investigation  and  a  variety  of 
trials,  was  so  successful  as  to  invent  a  piece  of 
mechanism  for  the  improvement  of  the  flute, 
which,  from  its  effect  and  simplicity,  is  equally 
valuable  and  praiseworthy.  It  is  a  small  lever, 
one  inch  in  length,  which  can  ea-ily  be  moved 
by  the  thumb  of  the  left  hand.  By  means  ol 
this,  the  pitch  of  the  flute  is  in  an  instant  raised 
or  depressed  the  eighth  of  a  tone,  and,  while 
playing,  the  crescendo  and  decresccndo  are  main- 
tained perfectly  pure.  With  the  assistance  of  a 
small  fine-wormed  screw,  which,  from  its  effect, 
is  called  the  pitrh-scnic,  the  flute  may  be  tuned 
with  very  little  trouble,  and  without  disturbing 
the  effect  of  the  lever.  The  who'.e  arrangement 
is  in  the  highest  degree  simple,  and,  with,  respect 
to  its  construction  and  duration,  i.s  far  preferabU 
to  the  kcv.     M.  Petersen  adds,  that  the  knobs  m 


722 


PET 


ENCYCLOPAEDIA    OF    MUSIC. 


PET 


I)rojectioTis  which  are  necessary  to  receive  the 
metal  and  pins  of  the  keys,  are  injurious  to  the 
tone  of  the  flute ;  that  the  pins  will  necessarily 
give,  in  course  of  time  and  friction ;  and  that 
the  stoppers,  being  thus  disarranged,  will  yield 
the  tone  with  less  purity.  In  his  tiute,  the  two 
lower  pieces  are  united  into  one ;  the  middle 
piece  has  but  a  very  trifling  projection,  and  is 
not  to  be  separated  from  the  mechanism  above 
de.'Cribed^  which  is  affixed  to  both  parts.  Next 
comes  the  headpiece,  which  is  free  from  all 
metal,  and  only  tour  inches  in  length,  on  which 
is  the  mouthhole.  This  is  affixed  to  it  in  the 
fame  manner  as  the  mouthpiece  of  a  clarinet. 
Uy  means  of  these  improvements,  M.  Petersen's 
flute  attained  a  degree  of  perfection  unknown  in 
this  instrument  before. 

PETIT,  MLLE.  A  remarkable  little  pianiste, 
who  arrived  in  this  country  in  1851,  accompa- 
nied by  her  father,  M.  Petit,  the  composer  and 
clarinetist.  This  diminutive  phenomenon,  who 
is  eleven  years  of  age,  is  a  protigie  of  the  royal 
family  ot  Holland,  and  has  repeatedly  per- 
formed before  them  some  of  the  most  difficult 
music  written  for  the  piano.  She  sits  down  to 
the  instrument  with  all  the  aplomb  of  a  full- 
grown  artist,  and  her  little  fingers  sweep  over  the 
keys  with  a  skill  and  precision  that  seem  like 
magic.  Iler  style  is  brilliant,  rapid,  thorough, 
clean,  and  correct. 

PETIT,  ADUIEX,  called  also  COCUCUS,  a 
musician  of  the  sixteenth  century,  and  pupil  of 
Josquiu  Depris,  published  in  loo2,  at  Nuremberg, 
a  musical  work,  in  which  he  treats,  first,  on  the 
manner  of  singing  with  taste ;  secondly,  on  the 
rules  of  counter])oint ;  and  thirdly,  on  compo- 
sition. 

PETIT  CHCEUR.  (F.)  The  little  choir. 
A  sacred  composition  in  three  parts  is  said  to  be 
d  petit  chccur. 

PETIT,  N.,  a  clarinet  pupil  of  Charles  Duver- 
noy,  performed  with  great  success  on  that  in- 
strument, in  the  concert  of  the  pupils  of  the 
Conservatory  at  Paris,  in  the  year  1802. 

PETITE  MESURE  A  DEUX  TEMPS.  (F.) 
Two  crotchet  time,  marked  2. 

PETRI,  GEORG  GOTTFRIED,  singer  and 
conductor  of  the  music  at  Gorlitz,  was  bom  in 
171.1.  He  published  in  I7ti.5  a  dLsscrtation,  in 
Latin,  to  prove  that  the  conjunction  of  musical 
with  other  studies  is  not  only  useful,  but  necea- 
tary  to  scholars.  He  also  published  the  following 
practical  works  :  "  Cantatas  for  all  the  (iospels 
of  Sundays  and  Holidays,"  1757;  "Musical 
Amusements,"  in  two  volumes,  17t)l  and  17fi2  ; 
and  •'  The  three  Men  in  the  Furnace,"  a  musical 
drama,  1765.     He  died  at  Gorlitz  in  1795. 

PETRI,  JOHANN  S.VMUEI-,  singer  and  pro- 
fessor at  the  gj-ranasium  at  Kaudissin,  was  bom 
at  Sorau  in  1738.  He  published  in  X'"^!  "  .■In- 
Icitung  zur  prattisfArn  .\l113ik,"  (Introduction  to 
practical  Music)  In  1772  he  was  nominated  to 
1  is  place  of  singer.  His  work,  it  is  said,  might 
«cr>-o  as  n  model  of  the  didactic  style.  It  treats, 
first,  of  music  in  general ;  secondly,  of  thorough- 
bass ;  thirdly,  of  the  organ ;  fourthly,  of  the 
harpsichord  ajid  other  keyed  instruments  ;  fifth- 
ly, of  the  violin  and  *.«nor  ;  nxthly,  of  the  riolon- 


I  cello  and  double  bass  ;  and  seventhly,  of  the 
flute. 

PETRIDES,  (the  two  brothers.)  Joseph  was 
bom  in  the  year  1755,  and  his  brother  Peter  in 
1766,  at  Prague.  Their  father  was  a  respectable 
organist,  and  the  sons  verj'  early  followed  th« 
same  profession.  Joseph,  however,  when  in  col- 
lege at  Klosterbruk,  in  Moravia,  had  not  an  op- 
portunity of  priuti-iing  the  organ,  but  was  obliged 
to  learn  nearly  all  other  instruments,  jwrticularly 
the  French  horn.  As  there  was  music  in  the 
church  every  day,  he  of  course  soon  made  prog- 
ress on  that  instrument,  so  that  he  could,  in  a 
few  years,  play  tolerably  well  the  concertos  of 
Punto.  His  brother  Peter,  at  that  time  in  Prague, 
having  taken  a  fancy  to  the  same  instrument, 
Joseph,  when  he  returned  to  Pn\gue,  studied, 
with  his  brother,  the  double  concertos  composed 
for  Balzar  and  Thirsmid  by  Ito.sctti.  and  they 
soon  began  to  perform  in  public;  after  which, 
being  encouraged  by  success,  they  travelle<l,  and 
gave  public  concerts  in  most  of  the  principal 
towns  of  Germany.  In  the  year  1791,  at  Vienna, 
they  had  a  profitable  public  concert  at  the  nation- 
al theatre.  Soon  after,  they  had  the  honor  to 
play  before  the  imperial  family.  After  this  suc- 
cess, they  felt  the  curiosity,  or  perha]>8  vanity,  to 
visit  Italy,  particularly  as  they  had  good  recom- 
mendations for  Venice,  Florence,  liome,  and  to 
the  Queen  of  Naples.  In  1793,  when  at  Naples, 
and  the  day  already  fixed  to  play  before  the 
court,  the  fatal  news  arrived,  that  the  King  of 
France  was  guillotined  I  The  queen,  on  this, 
sent  the  Petrides  a  present  of  twenty-tour  ounces, 
and  retreatetl  to  Casserta.  Soon  after  this,  under 
the  patronage  of  Count  Esterha;ry,  Austrian  am- 
ba8.--ador,  of  the  Chevalier  and  Lady  Hamilton, 
&c.,  Jtc,  the  Petrides  had  a  public  and  successful 
concert  at  the  theatre  Dei  Fiorentini,  under  the 
direction  of  that  kind  and  great  composer,  Cima- 
rosa.  In  a  few  weeks  they  set  out  for  Rome, 
with  many  letters  of  recommendation.  There 
they  played  before  several  of  the  cardinals,  re- 
ceiving many  benedictions,  but  no  monev,  except 

I  from     Cardinal    Herzan,    Austrian    ambassador, 

I  Duke  Ceri,  and  Prince  Giustiniani. 

j      At  the  basilic  of  St.  Peter,  they  had  the  honor 

;  to  kiss  pubUcly  the  feet  of  his  holinei^s  Pius 
VI.,  and  had  the  papal  benediction  for  it.  Hut 
this  benediction  seems  to  have  availed  them 
little;  for  within  two  days  after  that  epoch,  Jo- 
seph was  attacked  with  a  dangerous  putrid  fever, 
and  hLs  brother  with  the  same,  the  day  after.  It 
was  in  the  month  of  July,  when  the  heat  was 
excessive,  and  the  danger  was  consetjuently  im- 
minent ;  bleeding,  plastering,  &c.,  See,  were  con- 
tinued, till  poor  Joseph  was  reduced  to  a  skeleton. 
At  length,  after  seven  weeks,  they  began  to  l)e  a 
little  better,  and  as  they  intended  to  go  from 
Rome  to  Florence,  they  resolved,  for  the  pur|)Ohe 
of  avoiding  the  expenses  of  a  land  journey,  to  go 
from  Civita  Vecchia  by  sea,  j)articularly  abo  as 
the  physician  recommended  it  to  them  for  the 
benefit  of  the  air.  They  accordingly  embarked 
at  Civita  Ve<-chia  for  Leghorn,  when,  in  the  fol- 
lowing night,  so  violent  a  storm  came  on  that  the 
tiiij)  and  all  on  Ixmrd  were  considered  as  lost,  and 
before  daylight  they  were  wre,ke<l  on  the  coast 
of  Kiombino.  Men  and  women  were  all  obl'ged 
to  throw  themnclvcs  in  the  water  ;  when  the  |«>or 
but  charitable  sailors,  swimming  to  their  relief 

23 


PET 


ENCYCLOP.^DIA    OF    MUSIC. 


FED 


carried  them  hnlf  dead  to  the  shore.  The  trunk 
of  the  I'etrides,  with  their  clothes,  mu>iic,  their 
boxes  with  iiiMtrumeiit*,  all  their  little  property, 
was  under  wiiter.  With  threat  diliiculty,  how- 
ever, they  recovered  the  next  day  some  of  their 
thinfjs,  but  all  either  dama^^ed  or  completely 
ruined.  The  poor  Pctrides,  in  bad  health,  and 
under  these  sad  circumstances,  were  reduced  to 
the  last  extremity  :  they  could  not  understand 
how  it  was  possible,  that,  after  so  many  benedic- 
tions as  they  had  received  at  Rome,  so  many  dis- 
asters should  immediately  befall  them  ;  but  80  it 
wa.s  !  At  last  they  got  to  Leghorn  by  land  ;  but 
Joseph,  from  so  much  suffering,  was  again  worse, 
and  obliged  to  keep  his  bed  during  six  weeks. 
At  last  he  recovered  so  far  that  they  could  at- 
tempt a  public  concert,  which  succeeded  tolerably 
well.  From  Leghorn  they  set  out  for  Geneva, 
where,  after  another  successful  concert,  they  em- 
barked for  .Spain,  but  again,  in  the(iulf  of  Lyon, 
encountered  a  terrible  hurricane,  which  drove 
them  to  the  little  Sardinian  island  of  St.  Peter, 
where,  after  two  months'  delay,  the  ship  was 
repaired,  and  they  embarked  again,  and  landed 
iu  1794  in  Barcelona.  Here  they  also  engaged  at 
the  Italian  opera,  and  produced  some  songs  ol 
their  own  composition  with  horns  obligato,  which 
had  a  good  effect,  and  procured  them  two  very 
profitable  benefits  at  the  same  theatre.  In  this 
city  they  met  M.  Sor,  who,  then  only  fourteen 
years  old,  had  composed  an  Italian  opera,  called 
"  Calipso,"  which  surjirised  and  pleased  every 
body  in  that  place.  There  being  now  war  nearly 
throughout  all  Europe,  the  brothers  resolved  to 
rest  for  some  time  in  the  delightful  climate  of 
Spain  ;  but  after  the  peace  of  Campo  Formio  be- 
tween France  and  Austria,  they  dotennined  to 
travel  in  Fiance.  There  they  gave  concerts  in 
nearly  all  the  principal  towns.  At  Paris  they 
played  twice  at  the  amateur  concerts,  and  twice 
at  the  Theatre  Louvois  between  the  acts.  Soon 
after,  war  between  Austria  and  France  being 
again  declared,  they  were  obliged  to  return  a 
uecoud  time  to  Spain.  In  the  year  1799  they  were 
at  Madrid,  and  were  engaged  for  eight  oratorios, 
to  play  every  night  a  concerto  or  solo  at  these 
performances  :  their  echo  concertante  had  great 
success.  The)'  were  also  invited  to  different  pri- 
vate conceits,  and  at  last  were  commanded  to  play 
before  their  Catholic  majesties  Carlos  IV.  and  the 
Queen  of  Spain.  As  the  king  was  one  of  the 
best  tempered  of  men,  and  a  passionate  amateur 
of  music,  he  took  himself  the  part  of  primo  vio- 
lino,  and  led  with  M.  Vaccary  (well  known  in 
London )  tho  music  of  Petrides.  At  the  end  of 
the  concert,  tlie  chamberlain  of  the  kiug  handed 
the  brothers  a  present  of  9000  reales,  or  7oO  pe- 
zos  duros,  all  in  gold.  -V  few  days  after,  they 
were  recalled  a  second  time  to  play  before  the 
royal  family,  and  received  two  gold  watches,  one 
set  in  pearls,  another  with  small  diamonds,  also 
gold  chains  to  both.  Besides  these  gifts,  the 
(jueen  was  so  benevolent  a-s  to  present  them  with 
u  letter  of  recommendation  for  the  Princess  of 
Brazil,  afterwards  Queen  of  Portugal.  Soon  after 
they  left  Madrid  for  Lisbon,  where  they  were  ad- 
vantageously engaged  at  the  Italian  opera  ;  tiiey 
also  were  engaged  to  play  between  the  acts, 
BOmetimos  a  concerto,  at  other  times  a  solo  or 
ooncertantr  con  ecco,  lor  which  they  received  at  the 
•ame  theatre  two  very  productive  benefits.  For- 
tunately for  '■.he   Petrides,  it  hapijcned   that,  just 


at  that  epoch,  his  royal  highness.  Prince  Augus- 
tus of  England,  afterwards  Duke  of  Sussc  x,  was 
at  Lisbon,  who  heard  the  brothers  play  o  )ligato 
at  the  theatre,  and  soon  after  sent  for  thera  to  his 
palace,  where  they  had  the  honor  to  play  fre- 
quently before  his  royal  highness.  The  prince 
wa-s  then  so  kind  as  to  give  them  four  letters  if 
recommendation  for  the  royal  family  of  England; 
and  when  the  Petrides,  after  some  months,  went 
to  London  in  1 802,  these  letters  were  of  the  great- 
est advantage  to  them,  and  directly  procured  them 
many  engagements.  Their  first  Mbut  at  London, 
was  for  the  benefit  of  Salomon,  at  Willis's  rooms, 
where  they  played,  in  the  first  act,  a  double  con- 
certo, and  in  the  second  an  echo  concertantf, 
which  was  universally  applauded  and  encored. 
Three  days  after  they  were  offered  the  engage- 
ment of  the  Italian  opera,  which  they  accepted 
for  the  subsequent  season.  They  had  soon  many 
private  concerts,  and  shortly  after  the  principal 
engagements,  as  hornists,  at  London  and  in  the 
country.  Thus,  after  a  wandering  and  eventful 
life  of  fifteen  years  over  the  greatest  part  of  Ger- 
many, all  Italy,  Sicily,  Malta,  France,  .Spain,  and 
Portugal,  the  Petrides  settled  in  London  ;  and 
they  declared  that  they  soon  found  England  to 
be  the  best,  the  most  generous,  and  most  hospita- 
ble country  under  heaven. 

PETRINI,  chamber  musician  and  harpist  jof 
the  Chapel  lioyal  at  BerUn,  died  in  tliat  city  in 
17.50. 

PETRIXI.  FRANZ,  son  of  the  preceding,  and 
born  at  Berlin  about  the  year  1744,  was  consid- 
ered a  more  able  performer  on  the  harp  than  his 
father.  In  1765  he  was  at  the  court  of  Mecklen- 
burg-Schwerin,  and  from  thence  went  to  Paris, 
where  he  died  in  1819.  He  published  many 
works  for  his  instrument,  as  also  "  Syatime  de 
I'Harmonic,"  Paris,  1796. 

PETRIXO,  JACQUES.  An  Italian  contrapun- 
tist of  the  sixteenth  century.  Among  his  works 
is  one  entitled  "  Jac.  Petrino  Jiibilo  di  S.  Bernardo, 
con  alcuiie  Canzonctte  Spirittiaii  a  Z  et  i  voci," 
Parma,  1.589.  This  work  is  still  in  the  Royal 
Library  at  Munich. 

PETROBELLI,  FR.INCESCO,  chapel-master 
of  the  cathedral  church  at  Padua,  published 
"  Motelti,"  Venice,  16.57  ;  "  Salmi  Dominicali  A 
8  voci,"  Op.  19,  Venice,  1686  ;  and  "  Psalmi  breves, 
8  vocibtts,"  Op.  17,  Venice,  1686. 

PETRUCCI,  AXGELO,  an  Italian  composer, 
brought  out  at  Mantua,  in  1766,  the  opera  of 
"  La  .XMeti." 

PETSCIIKE,  ADOLPH  FRIEDRICH,  was, 
in  the  year  179.5,  a  theological  candidate  a"d 
director  of  the  Royal  Saxon  Institution  for  the 
Deaf  and  Dumb,  in  which  city  he  was  bom  in 
17.59,  and  where  he  published  the  two  following 
musical  works:  "  Anhany  zu  Mcerbacl>-i  Ctavicr- 
schule,"  1784,  and  "  Vemich  eiiivs  Cnli-rricfUs  zum 
CtacierspUleii,"  178-5.    He  died  in  Leipsic  in  1822. 

PETTtlA.  (Or.)  The  la»t  of  the  three  p»n«  Into  which  the 
mcloiHtia  of  the  ancient<  WM  •uMividetl.  According  to  Ariitidee 
QuiuliliiK.  it  WM  the  irt  of  ucrrtunlns  the  •nuiidi  which  ought,  oi 
oufiht  not,  to  Ih?  u»ed  j  th<»tc  which  should  be  mere  or  IcM  frvquenlly 
introduced,  and  those  witli  which  the  strain  ought  to  conclude. 

PETrO.  { I.)  The  chest ;  as,  roce  di  petto,  tht 
chest  voice. 


PEU.     (F.)     A  little. 


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ENCYCLOPEDIA    OF    MUSIC. 


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PEVERNAGE,  ANDREAS,  chapel-master  of 
Bt.  Mary's  Church  at  Antwerp,  was  considered 
one  of  the  best  composers  of  his  time.  lie  died 
in  that  city  in  1589.  Amongst  his  numerous 
works  we  can  name  "  C/iaiisoits  A  5  part.,"  .\nt- 
werp,  lo-t7  ;  "  Vantinnen  Sac-r.  (i,  7,  et  8  voc,"  .Ant- 
werp, 1578  ;  "  Chansons  >pirilue/les  a  5  part.,  Liv. 
1  et  2,"  Antwerp,  158!)  and  1590;  "■  ChaiiMmi 
Spirit,  d  5  part.,  Liv  3  et  4,"  Antwerp,  1590  and 
1591  ;  "  Minsa  5.  6,  et  7  voc.  ;  "  .Misste,  under  the 
title  "  Laiulei  Vtspertiiue  Maria,  Hymni  Vt-ncrahilii 
Surtiment.,  llymni  nive  ('antioiies  Xataliti<e,  4,  5,  it 
0  voc,"  Antwerp,  1G04  ;  "  ILtrmonia  Vdcstis," 
Aniweip,  1583.  This  work  contains  compo- 
sitions lor  four,  five,  six,  and  eight  voices,  col- 
lected by  Pevernnge;  and  "  Hurmonia  Ceksti.i," 
part  ii.,  Antwerp,  11)0(5.  It  will  be  seen  that 
several  of  the  foregoing  works  were  published 
after  the  death  of  Pevernage. 

PEZ,  JOIIANX  CIIKISTOPII,  born  at  Mu- 
nich, was  court  and  chamber  musician  there,  and 
afterwards  chapel-master  at  Cologne  and  Stutt- 
gard,  in  which  latter  town  he  died  in  1716.  He 
published  much  sacred  and  instrumental  music. 

PEZELII'S,  or  KEZEL,  JOAXXKS.  A  cel- 
ebrated Ciermiui  musician  towiuds  the  clo.>e  of 
the  seventeenth  century,  lie  published  many 
musical  works  in  the  Latin  lauguage,  between 
the  years  1074  and  1(!S6. 

PEZOLD,  CHRISTI.\X,  professor  of  the  har])- 
sichord  at  the  Chapel  Hoyal,  and  organist  of  the 
I.uthiTvn  Church  at  Dresden,  was,  in  the  opinion 
of  Matthcson,  a  skilful  performer,  and  one  of  the 
most  agreeable  composers  of  his  time,  (iraun, 
who  was  his  pujiil,  fully  confirms  this  testimony. 
Some  persons  afhnu  that  he  was  living  in  1739, 
whilst  by  others  it  is  said  that  his  death  took 
place  in  173'!. 

PEZZAXA,  an  Italian  musician,  was  consid- 
ered eminent  in  his  own  countrv  about  the  year 
ISOO. 

I'EZZE.  (I.)  Fragments,  select  detached 
pieces  of  music. 

PFAFF,  MAKTIX.  Master  of  the  band  of  a 
(ierman  infantry  regiment  in  garrison  at  Frey- 
burg  in  1795.  lie  composed  the  music  of  the 
folliwing  operettas:  "Die  Li/raittcn,"  and  "Die 
KoiiiOdianteit  ton  Uuirlewitach." 

PFAFFKXZELI.ER,  F.  B.,  a  composer  at  Mu- 
nii-li,  pul)lished  "  DeuUrfi^  Lieder,"  Ingolstadt, 
1797,  and  "  .Vi'i«"  Lieder,  zireytcr  Theil,"  Augsburg 
r.nd  .Munich,  1799. 

rFEFFIXtJEll,  PII.  J.  This  musician  was 
born  at  Strasburg.  Having,  from  his  infancy, 
evinced  a  strong  disposition  for  music,  his  first 
steps  in  thav  nrt  were  directed  by  Ph.  J.  Schmidt, 
under  whom  he  made  rapid  progress  on  the 
piano  and  in  counterpoint.  In  the  year  1790  he 
was  nominated,  by  the  senate  of  Strasburg,  chap- 
el-master of  their  city,  and  dire  tor  of  the  ratisic 
at  the  I'fiiiple  Xruf.  .\t  this  ])eriod  he  formed  an 
acquaintance  vntU  Plcyel,  who  was  then  chaj>el- 
mast-r  ot  the  cathedral,  and  in  the  following  year 
lie  accompanied  Plcyel  to  London,  where  he  re- 
mained six  months.  It  was  in  that  metropolis 
th'it  he  had  the  ojiportuiiify  of  becoming  known 
to  the  i:nmortal  Haydn  :  there,  also,  he  accjuired 
k  tiv.tc  for  the  study  of  Handel,  being  charmed 
with  the  oratorios  of  that  great  master,  as  per- 


I  formed  in  London.  Pfeffinger  publishe  i  about 
eighteen  works,  some  for  the  piano-fcrld  and 
others  vocal.  He  also  composed  for  tho  Itoya. 
Academy  of  Music,  in  I'aris,  the  opera  of  '•  Xairt," 

[  words  by  Volt<iire.     He  died  in  Paris  in  1821. 

I  PFEIFFER,  FH.VXZ  AXTOX,  a  ce  cbrate  1 
])erformer  on  the  bassoon,  was  born  in  (icrinany 
in  1750.  He  was  chamber  musician  to  the  l)uk« 
of  Mecklenburg.  He  coniposed  much  music  for 
his  instrument,  none  of  which,  however,  was  pub- 
lished.    He  died  in  1792. 

PFEIFFER,  JOHAXX,  chnpel-master  to  th» 
Margrave  Frederic,  of  Urandcnburg-Culmbf  "h, 
was  born  at  Xuremberg  in  l(i97.  He  was  avioiu. 
pupil  of  Fischer,  and  composed  much  mu.sie  for 
the  violin  and  harpsichord.     He  died  in  1701. 

PFEIFFER,  J.  M.  A  composer  of  some  vocal 
and  instrumental  music  published  in  England 
and  at  Manhcim  in  the  latter  part  of  the  la>t  cen- 
tury. Among  his  works  are  "  Si.\  English  and 
Six  Italian  .\riettcs,"  first  book,  London,  1789; 
"  SLx  English  and  Six  Italian  Ariettes,"  second 
book,  London,  1789  ;  •'  Sonnte  il  4  iiutius.  It  y  a  da 
la  malice  dedans,"  Manheim  ;  "  11  Miu'siro  k  Sr>- 
lare  d  4  «».,"  Manheim;  "Three  Pieces  and  One 
Concerto  for  the  Harpsichord,  with  Fl.  and  Vc,  " 
London,  1789;  and  '■'  Douze  petita  Piices  caractir. 
pour  le  Clav." 

PFEIFFER,  TOUI.VS  FRIEDRICH.  profess- 
or of  music  at  Dusseldorf,  was  born  near  NVei- 
mar,  and  was  for  many  years  an  actor  in  that 
town.  In  1789  he  brought  out,  of  his  own  com- 
position, at  a  private  theatre  in  Leipsic,  a  musi- 
cal interlude,  entitled  "  Die  Frcudcn  tier  Itediichen." 
Previously  to  the  year  1801,  several  of  his  works 
for  the  piano-forte,  and  a  cantata,  had  been  pub- 
lished. 

PFEILSTUKER.  F.  Under  this  name  were 
published  at  Augsburg,  in  1800,  "  12  Lieder  mit 
licyleit.  des  Klav." 

PFEILSTUCKER,  X.,  a  professor  of  the  clari- 
net, probably  resident  at  Paris,  published  thers, 
in  1802,  "  Concert,  pour  Cluriiuille  princip." 

PHILHARMOXIC  SOCIETY.  A  rausic.i. 
subscription  society  in  London,  of  long  and  re- 
spectable standing.  It  consists  of  directors,  as- 
sociates, conductors,  and  regularly  engaged  per- 
formers ;  and,  in  the  oratorios,  openis,  glc<'s, 
ducts,  songs,  overtures,  concertos,  preludes,  stud- 
ies, SiC,  which  form  its  6iYi«  of  fare,  gives  the 
finest  specimens  of  vocal  and  instrumental  exe- 
cution. Philharmonic  Societies  also  exist  ill 
many  of  the  principal  cities  in  Europe  and  Amer- 
ica.    Their  music  is  principally  orchestral. 

PHILH.VUMOXIC  H.VLL.at  Liverpool,  built 
in  1840.  In  its  general  architectural  plan,  it  re- 
sembles the  hall  at  llirmingham,  but  ditlers  in 
being  divided  at  the  sides  into  shallow  compart- 
ments or  recesses,  somewhat  resembling  the  boxes 
of  a  theatre.  Within  the  podi\im,  or  main  body 
of  the  house,  the  length  is  one  hundred  and  six 
feet ;  the  width  is  sixty-four  feet,  and  the  height 
sixty-five  feet.  It  has  a  flat  ceiling,  with  deoji 
panels,  and  a  coving  ;  it  is  lightcil,  at  evening, 
by  a  series  of  gas  juts  place<l  on  the  top  of  thi 
cornice,  some  Ktty  .eef  al>ove  the  level  of  thetloor 
It  will  seat  two  thou-  and  two  hundred  i><T*oiiii 


Via 


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ENCYCLOPEDIA    OF    MUSIC. 


PH. 


PIIILIDOIl.  MICHEL  DANICAX.  bom  in 
[)nuphiiiy,  was  musiciuii  to  Louis  XIII.  HLs 
real  naiuc  was  Daiiican,  and  it  is  said  that  the 
king  first  occasioned  HLs  being  called  Philidor, 
because  he  had  heard  a  celebrated  player  on  the 
hautboy  of  that  name,  and,  on  hearing  Danican 
pertbrin  on  the  same  instrument,  exclaimed,"  J'ui 
troiici  un  second  Philidor." 

PHILinOR.  FRANCOIS  AXDRK  DAM- 
CAN,  great-grandson  of  the  ])reccding,  was  bom 
at  Dreux  in  I72G,  and  entered  as  page  in  the 
band  of  the  King  of  France,  then  under  the  di- 
rection of  the  chapel-master.  Campra.  lie  de- 
voted himself  from  very  early  life  to  the  study  of 
cora])osition,  in  which  he  made  a  rapid  i)rogress. 
In  ITM,  being  then  only  eleven  years  of  age,  he 
composed  his  first  motet,  with  full  choruses, 
which  had  such  success  that  the  king  compU- 
raented  him  after  its  performance.  Having  at 
the  usual  age  quitted  the  situation  of  page,  he 
settled  at  Paris,  where  he  supported  himself  by 
teaching  and  copying  music,  and  every  year  went 
to  Versailles  to  have  a  new  motet  of  his  composi- 
tion pcrfoi-med  there.  The  extreme  partiality  of 
Philidor  for  the  game  of  chess,  and  the  reputation 
which  he  had  acquired  in  playing  it,  at  length  in- 
duced him  to  travel,  and  in  174.5  he  left  Paris  for 
Holland,  England,  Germany,  &c.  Ilismusical  taste 
was  much  improved  by  his  travels ;  in  the  course 
of  which  he  had  often  the  opportunity  of  hear- 
ing the  works  of  the  first  masters  both  of  Italy 
and  Germany.  In  170.3  he  was  in  England,  and 
put  his  knowledge  of  the  English  language  and 
musical  taste  to  the  proof,  by  setting  to  music 
Dryden's  Ode  to  St.  Cecilia.  SVe  believe  this  was 
never  either  printed  or  publicly  performed,  though 
it  is  said  to  have  been  submitted  to  Handel,  who 
found  the  choruses  well  worked  up,  though  the 
work  was  in  other  respects  not  without  faults. 
Philidor  had,  however,  turned  his  mind,  whilst 
in  England,  more  to  chess  than  music,  and  in 
1749  i)ublishcd  there  his  analysis  of  that  game. 
On  his  return  to  France  in  1754,  he  again  betook 
himself  to  musical  studies ;  and  a  motet  by  him, 
entitled  "  Lauda  JerwiaUm,"  was  sung  at  Ver- 
sailles before  the  queen  of  Louis  XV.,  who  con- 
sidered it  to  be  much  in  the  Italian  style,  which 
she  did  not  like,  and  therefore  refused  Philidor 
the  appointment  of  chapel- master,  which  he  had 
hoped  to  obtain.  He  next  turned  his  mind  to 
dramatic  comi)Osition,  and  the  first  entire  piece 
that  he  produced  was  entitled  "  Blaise  le  Savetier." 
It  was  performed  with  the  greatest  success  at  the 
laj  of  St.  Laurent  in  17.59;  and  it  is  from  this 
epoch  that  his  musical  reputation  commenced. 
He  may  be  regarded  as  one  of  the  founders,  with 
Duni  and  Monsigny,  of  the  modern  French  comic 
•pcra.  The  most  successlul  of  hLs  dramatic 
works  for  the  Opera  Comique  are,  "  Le  Soldat 
Maijicien,"  1760;  "  Le  ilardchal,"  1761;  this  had 
more  than  one  hundred  re])rcscntations  ;  "  San- 
cfio  I'aiifa,"  1762;  "/.a  Bucheron,"  1763;  "  Le 
Sorcier,"  1764;  "  Tom  Jones,"  17t)5;  and  "  Lta 
t'emmes  vengies,"  1775.  His  other  productions 
for  the  same  theatre  are,  "  X6lime  et  Milide  ;" 
"  I^e  Quipro'juo  ;  "  "La  Xouvelle  ICcole  des  Femmes ;  " 
"  L' Amilii  au  ViUai/e  ;  "  "  I^e  Bon  Fits  ;  "  "L'llui- 
trc  et  Its  I'laideurs  ;  "  "  Le  Jardinier  de  Sidon  ;  " 
"  Le  Jardinier  aujypoai  ;  "  and  "  Le  Jardinier  et  son 
Seigneur."  He  also  composed  for  the  Koyal 
Academy  of  Music  '•  BcUsaire,"  opera  in  three 


acts  ;  "  Thimistocle ; "  "  Persie  ; "  in  this  opera  a 
song  by  Medusa,  "  Tai  perdu  la  beaiiti  qui  m* 
renilait  si  vaine,"  is  considered  as  a  chef-d'oeuvre 
of  harmony ;  lastly,  "  Ernelinde."  We  should 
add,  that  Philidor  likewise  set  to  music  the  "  Car- 
man seculare ; "  he  finished  this  composition  in 
London  in  1779,  and  it  is  considered  his  best 
work.  He  died  in  London  in  179.5,  generally  be- 
loved for  his  evenness  of  temper,  his  probity, 
and  his  extreme  disinterestedness. 

PHILIPPI,  GASPARO.  A  celebrated  church 
composer  about  the  year  1600. 

PHILIPPUS  DE  MONTE,  so  called  from 
Mons,  the  place  of  his  birth,  a  learned  musician 
in  the  sixteenth  century,  was  born  in  1.522. 
Many  mas.ses,  motet-s,  madrigals,  &c.,  were  pub- 
lished in  his  name.  Next  to  Orlando  La.sso, 
who  was  also  a  native  of  Mons,  Philippus  is  the 
most  celebrated  of  the  musicians  of  the  Flemish 
school. 

PHILLIPS,  PETER,  an  English  composer, 
■who  resided  chiefly  on  the  continent,  being  for 
some  time  organist  of  the  collegiate  church  of  St. 
Vincent,  at  Soignies,  in  Germany,  and  afterwards 
engaged  in  the  service  of  Albert,  Archduke  of 
Austria.  Dr.  Bui-ney  says,  that  "  the  first  regu- 
lar fugue  for  the  organ,  upon  one  subject,  which 
he  had  ever  met  with,  was  composed  by  Peter 
Phillips,  about  the  end  of  the  sixteenth  century." 
It  is  inserted  in  the  ■v'irginal  book  of  Queen  Eliz- 
abeth, which  contains  eighteen  or  twenty  of  his 
compositions. 

PHILLIS,  M.,  a  professor  of  the  guitar  at 
Paris,  published  "  Etude  lunivelle  pour  la  Guiiare 
ou  Lyre,  dans  let  tons  les  plus  usitis  majeurs  et 
mineurs,  oil  I'on  dimoiUre  les  difficultis,  les  agr^metis, 
et  Us  positions  du  demaiwhemont,  compost  par  Phil- 
lis,"  Paris,  1799,  and  "  Six  Romances  twuv.  avec 
Ace.  de  Ouitare,"  Paris,  1301. 

PIIIL(ELIA.    A  kind  of  hymn  lung  by  the  ancient  Orrifki  in 

honor  ol  Ajiollo. 

PHILO>IL"SICAL.  An  epithet  applied  to  any  conntrr.  city, 
town,  or  tfu^ietv,  wliich  love0,  cultivatci,  and  encoura/.«9  the  inusi^iu 
art. 

PHILOMATHES,  "\\T:NCESLAUS,  bora  in 
Bohemia,  flourished  at  the  beginning  of  the  six- 
teenth century.  His  principal  works  are  "  Mu.iica 
plana"  Vienna,  1512,  and  Strasburg,  1543  ;  "■Li- 
ber Miisicorum  quartus  de  regimine  xUriusque  catUus, 
et  modo  canlandi"  Leipsic,  1518  ;  "  Compendium 
Musices,"  Wittenberg,  1534  ;  and  "  Wencest.  Phi- 
loinathis,  de  nova  Domo,  ilusicorum  Libri  4,  eoni- 
pendioso  carmine  lucubraii,"  Strasburg,  1543. 

PHILOXENUS.  This  celebrated  poet  nnd 
musician  was  a  native  of  Cythera,  and  author  of 
a  great  number  of  IjTic  poems,  which  are  en- 
tirely lost.  His  mnovations  in  music  are  stigma- 
tized by  Plutarch  and  the  comic  i)oets  of  h« 
own  time.  He  was  so  great  an  epicure,  that  he 
is  soid  to  have  wished  for  a  throat  as  long  as  that 
of  a  crane,  and  all  ])alate,  in  order  to  prolong 
the  relish  of  the  delicious  morsels  he  swallowed. 
He  wa.s,  however,  as  much  celebrated  for  his  jests 
as  his  gluttony.  Being  served  with  a  small  fish, 
at  the  table  of  Dionysius  of  Syracuse,  and  seeing 
an  enormous  turbot  placed  before  the  tyrant,  he 
put  the  head  of  the  little  fish  close  to  his  mouth, 
and  pretended  to  whisper  to  it ;  then  placed  it 
close  to  his  ear,  as  if  to  receive  the  answer  more 
distinctly.     Upon  being  asked  by  Dionysius  foi 


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ENCYCLOPJ£DIA    OF    MUSIC. 


PI  A 


an  explanation  of  this  mummery,  he  said,  "  I  am 
writing  a  ])oem,  sir,  upon  Galataea,  one  of  the 
Nereids,  and  as  I  want  information  concerning 
several  particulars  relative  to  her  father  Nereus 
and  the  watery  element,  which  are  quite  out  of 
my  ken,  I  was  in  hopes  of  obtaining  some  satis- 
faction from  this  fish ;  but  he  tells  me  that  he  is 
too  young  nnd  ignorant  to  be  able  to  satisfy  my 
curiosity,  and  refers  me  to  tliat  grown  gentleman 
before  your  majesty,  who  is  much  better  ac- 
quainted with  aquatic  affairs."  The  tyrant  un- 
derstood him,  and  had  tlie  complaisance  to  send 
the  turbot.  But  though,  from  this  instance,  he 
appears  to  have  been  high  in  favor  with  Dionys- 
ius,  he  atterwards  proved  so  awkward  a  courtier, 
that  he  preferred  the  labor  of  caiTving  stones 
from  a  quiirry  to  the  disgust  of  praising  the  bad 
verses  of  his  patron. 

PHINOT,  or  FINOT.  DOMINIQUE,  a  com- 
poser of  sacred  and  profane  vocal  music,  chiefly 
published  at  Venice  and  Lyons,  between  the 
years  1547  and  loG4. 

l*MONASC(ts.  (Gr.)  The  nmne  given  by  the  ancienU  to  one 
wIki  tiititflit  ttie  nitnntremfiit  of  the  Toice. 

I'ilONlCS.     The  art  of  treating;  aiiil  iMmbining  miutcal  *oun(U. 

I'llDKIIKIA  (tir  )  A  oerlniii  liaiulagi- uieil  hy  the  ancieut  vo- 
cil  iK-rfoninTit.     C«llc<l  also  a  rii/.i.*#m>#i.     See  that  wonl. 

I'HOKMINX.  ((jr.)  A  atrin^ed  Itistrunient  itfreiniite  antiquity, 
•inutai  I"  tile  eithajm,  or  lyr«,  but  f  uppo»ed  to  have  been  or  luperior 
tone  unci  (inwvr. 

PIIOTINX.  lOr.)  The  name  (rfTen  by  the  nndenti  to  their  crooked 
flute.  lt«  «htt|>e  Mas  that  of  a  bull's  hitrn.ai  may  be  »een  in  many 
genu,  niediil«,  antl  remain!  of  nnrient  •culiiture.  The  ancient 
Egyptian*  also  hud  a  dutc  to  which  tliey  gave  tike  aame  name. 

PHR.\SE.  Any  regular  and  symmetrical 
course  of  notes  which  commence  and  complete 
the  intended  expression. 

PHRASES  MANQUEES.  (F.)  Certain  im- 
perfect and  unsymraetrical  passages,  or  phrases, 
sometimes  introduced  by  injudicious  comiwsers, 
by  which  the  melody  is  maimed,  and  the  expres- 
sion destioyed  or  weakened. 

PHRYGIAN.  An  epithet  applied  by  the  an- 
cients to  that  of  their  modes  which  held  a  middle 
place  between  the  Lydian  and  Doric,  so  called 
because  supposed  to  have  been  invented  by  the 
Phrygian  Marsyas.  The  Phrygian  mode  was  one 
of  the  most  ancient  in  the  Greek  music.  Its 
character  waa  bold,  impetuous,  and  vehement  to 
a  degree  perfectly  terrific.  In  this  mode  the 
trumpets  and  other  military  instruments  were 
used.  The  lowest  note  in  tliis  mode  corresponded 
with  our  E  natural,  on  the  third  space  in  the 
bass. 

PIIRYXIS,  of  Mitylcne,  was  the  first  who,  at 
the  Panathenaean  games,  obtained  the  pri/e  on 
the  cithar:i,  about  four  hundred  and  fifty-seven 
years  be.'ore  Christ.  According  to  Suida.s,  he 
was  originally  King  Hiero's  cook  ;  but  this  prince, 
chancing  to  hear  him  play  on  the  flute,  placed 
him  under  the  instructions  of  Aristoclides,  a  de- 
scendant of  Ter{)andcr.  Phryiiis  may  be  re- 
garded as  one  of  the  first  innovators  upon  the 
cithara,  in  antiquity.  lie  is  said  to  have  plaved 
in  a  delicate  and  effeminate  style,  which  the 
comic  poets  Ari^tophanes  and  Pherecrates  ridi- 
culed upon  the  stage. 

PIACERE.  (I.)  Will,  pleasure  ;  as,  o /.ia«r«. 
at  the  pleasure  of  the  performer. 

PIACEVOLE.     (I)     In  a  pleasing  style. 

PIANGENDO.     (I.)     Plaintively. 


PIANGEVOLMENTE.  (I.)  .\  terra  imply, 
ing  that  the  movement  to  which  it  is  prefixed, 
or  the  passage  over  which  it  is  written,  is  to  bo 
perfonued  iu  a  soft,  doleful,  and  complaining 
style. 

PIANISSIMO,  or  PIANISS,  or  P  P.  (I.; 
Very  soft.     The  superlative  of  piano. 

PIANIST.  One  who  plays  on  the  piano- 
forte ;  a  professor  of  that  in-strument. 

PIANO,  or  PIA.,  or  P.  (I.)  Soft.  A  word 
used  adverbially  iu  opposition  to  J'orle,  loud  or 
strong. 

PIANO  A  QUEUE.  (F.)  A  grand  pianc 
forte. 

PIANO  CAIUIE.    (F.)    A  square  piano-forte. 

PIANO-PIANO,  or  PIU  PIANO.  (,I.)  More 
soft,  or  very  soft. 

PIANO-FORTE.  (I.)  A  well-known  stringed 
and  keyed  instrument,  of  German  origin ;  so 
called  from  its  equal  command  both  of  softness 
and  strength.  The  cliief  beauty  of  this  instru- 
ment, and  which,  indeed,  constitutes  its  principal 
advantage  over  the  harpsichord,  is  its  capacity  of 
obeying  the  touch,  so  as  to  enable  the  perfonner 
to  vary  and  accommodate  the  expression  to  all 
those  delicacies,  energies,  and  striking  lights  and 
shades  which  so  greatly  characterize  the  more 
refined  compositions  of  the  present  day.  The 
piano-forte,  though  of  recent  invention,  has 
received  both  in  Europe  and  thLs  country  many 
useful  and  invaluable  improvements  ;  and  in  that 
state  in  which  it  assumes  the  name  of  grand 
piano-forte,  and  ia  furnished  with  its  additional 
keys,  is  not  only  qualified  to  give  brilliancy  of 
effect  to  sonatas,  concertos,  and  all  pieces  of  ex- 
traordinary execution,  but  forms  an  expressive 
accompaniment  to  the  voice,  and  is  one  of  the 
noblest  and  most  elegant  instrumeutj  in  the  whole 
compass  of  musical  practice. 

The  piano-forte,  above  all  other  instruments,  i.s 
best  calculated  to  form  a  musician ;  it  is  the  epito- 
me of  an  orchestra  —  an  abridgment  —  a  miiituni 
in  parro,  which  can  enable  the  performer  not  only 
to  conceive,  but  express,  all  possible  harmonious 
combinations  by  himself,  indcjicndent  of  theaid  of 
others  ;  the  degree  of  his  surces.s,  of  course,  being 
in  proportion  to  his  capabilities  of  developing 
the  almost  inexhaustible  powers  of  the  instru- 
ment. Even  if  he  be  not  able  to  render  them 
adequate  vindication,  he  can  arrive  at  a  better 
notion  of  harmony  or  counteq)oint  by  tlie  help  of 
the  piano-forte,  and  in  less  time  too,  than  is  pos- 
sible through  the  means  of  any  single- voiceil  in- 
strument. TTie  piano-forte  has  fieen  the  means 
of  developing  the  sublimest  ideas  of  the  coin- 
poser,  and  the  delicacy  of  its  touch  ha-s  enabled 
him  to  give  the  lighte-it  shades  a.s  well  as  the 
boldest  strokes  of  musical  expression.  It  is,  of 
all  instruiuents  prec-ininenlly  the  best  for  the 
accompaniment  of  the  voice ;  and  no  performer, 
however  skilful,  can  so  well  sujiport  the  singer  as 
he  who  is  able  to  vent  his  fecling-s  in  the  power  of 
song.  If  the  piano-tnrte  cannot  show  itself  to  ad- 
vant:\ge  amidst  a  crowd  of  instruments,  it  play*  in 
part  well  in  private.  On  what  instrument  ran 
we  find  the  icore  or  pirtiiinn  of  a  composition  in 
all  its  /iiianau,  its  delicate  shados  of  moaning.  ( in 
con.Htructiou  as  well  as  expression,)  so  well  in 


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terpretcd  together,  ns  on  the  piano-forte,  when  it 
is  under  the  mnpjioal  finders  of  a  Ilcusclt  or  a 
Chopin,  or  is  awakened  into  ahnost  conscious 
musical  existence  at  the  Promethean  touch  of  a 
Liszt !  \Vho  tliat  ever  heard  this  last-mentioned 
mar\'el  sitig  Schubert's  Serenade,  or  itutrumeiU 
Rossini's  mnj^nificeut  overture  to  "  GuiUaume 
Till"  on  the  piano-forte,  was  not  enraptured  to 
the  hit,'hest  enthusiasm  which  the  musical  art 
can  awaken  in  a  sensitive  mind  r  No  hautboy 
or  ror  Aiif/lai.i  ever  expressed  the  "  Ranz  desVaches" 
in  that  delicious  overture,  withmort  soul-breath- 
ing tenderness  or  soshnulo  <  And  yet  we  are  told  by 
some  that  the  piano-forte  Ls  incapable  of  sentiment, 
because  neither  the  glissade  nor  the  Irill  (close 
shake)  of  the  violin  tribe  of  instruments  can  be 
ett'ected  upon  it.  AVith  resiject  to  these  latter 
cajjabilitics,  when  used  (as  generally  they  are)  to 
excess,  they  produce  a  disa<j;rceable  effect,  usqiie 
ad  nauseam ;  while  on  the  other  hand,  the  piano- 
forte jjossesses  enough  power  to  express  the 
most  delicate  legato  or  crescendo  passages,  when 
under  the  treatment  of  hands  that  "  be  cunning 
in  their  art;"  and  as  to  power  or  strength  of 
sound,  we  surely  do  not  wish  the  scale,  or  por- 
tions of  the  scale,  of  a  single  instrument,  to  resem- 
ble those  great  guns  in  a  fortification  at  Gronin- 
gcn,  which  (according  to  Strada)  had  the  names 
»',  re,  mi,  fa,  sol,  la,  from  the  sounds  uttered  by 
them  in  their  explosion  I 

The  organ  is  certainly  the  noblest  instrument 
for  majesty  of  soiind,  which,  in  a  large-scaled 
structure,  may  be  combined  and  varied  with  in- 
finities of  registers  and  qualities,  at  the  pleiisure 
of  nn  ingenious  performer ;  but  with  regard  to 
sentiment,  it  admits  no  more  than  appertains  to 
strongly-opposed  contrasts  oi forte  and  piano.  It 
is  true  some  beautiful  effects  can  be  produced  by 
the  use  of  the  swcdl,  but  still  the  touch  has  no 
power  to  communicate  sentiment  to  an  individual 
tone,  the  crescendo  and  diminuendo  being  too 
slow  in  their  operation  to  obey  the  sudden  dic- 
tates of  an  enthusiastic  musician.  Yet  be  it  not 
supposed  for  a  moment  that  this  mighty  construc- 
tion of  musical  ingenuity  —  this  congregation 
of  giant  reeds,  so  associated  with  the  "  capacious 
mouth  "  of  the  Polyphemus  Handel,  has  been 
s!)oken  of  irreverently  here.  Forbid  it.  Music  ! 
The  pedal  of  a  great  organ  is  the  voice  of  sub- 
limity. 

The  harp  (the  poet's  musical  idol)  only  pre- 
sents to  the  ear  a  pizzicato  tone,  similar  to  the 
strings  of  the  vioHn,  &c.,  when  jiinched  by  the 
fingers  instead  of  sounded  by  the  bow.  It  is  also 
an  instrument  more  indcl)ted  to  romantic  associa- 
tion than  to  any  intrinsic  power  of  expression, 
although  we  read  of  most  extraordinary  effects 
having  been  produced  by  it,  and  its  relation,  the 
lyre.  It  Ls  an  elegant  and  graceful  instrument  ; 
but  its  sentiment,  like  that  of  lip-oratory,  never 
reaches  the  heart.  The  harp  is  a  thing  rather 
to  be  read  about,  more  to  be  idealized  than  en- 
joyed on  its  own  jjcculiar  jiretensions.  One  of 
llie  greatest  di-advantage-;  of  the  harp  (and  all 
instruiucnls  of  the  same  description,  such  as  the 
guitar,  mandoline,  vtc.)  is,  that  it  cannot  remain 
in  tunc,  from  tlie  circumstance  of  the  strings  re- 
([uiring  to  be  pulled,  in  order  to  produce  tone, 
which  renders  it  flat.  When  a  performer  upon 
the  violin,  viola,  or  violoncello  is  tuning  his  in- 
iitrument,  should  he  have  drawn  uj)  one  of  the 
itriiigs  too  bhorp,  a  slight  pull  with  the  Angers,  in 


the  manner  the  harp  is  played,  is  often  found 
sutKcient  to  slacken  it  enough  to  render  it  per- 
fectly in  tune  ;  thus,  if  merely  pulling  a  string  on 
a  violin  once  or  twice  will  alter  the  pitch,  it  neces- 
sarily follows,  that  the  same  thing  being  Constant- 
ly done  upon  the  harp  must  render  that  instru- 
ment out  of  tune. 

The  guitar  is  capable,  in  a  small  space,  of  the 
most  heart-touching  expression;  but  then  its  tone 
is  not  fit  to  be  heard  from  afar,  even  in  a  theatre 
or  concert  room  :  besides,  its  style  of  harmony 
(in  the  best  of  hands)  is  not  comme  il  faut,  or 
perfectly  according  to  severe  counterpoint ;  nor, 
strange  as  the  assertion  may  seem,  can  it  admit 
of  alteration  without  injuring  the  genius  of  the  in- 
strument. ThLs  is  plain  from  a  comparison  of 
Huerta's  performance  with  that  of  the  accom- 
plished and  scicntihc  Sor. 

Now,  the  piano- forte  (be  it  always  understood, 
in  the  hands  of  a  great  master)  has  advantages 
over  every  other  instrument,  too,  which  will  be 
enumerated  here.  lu  the  first  place,  none  possesses 
the  extensive  range,  the  depth  of  ba.-s  combined 
with  height  of  treble,  which  belong  to  it,  and  en- 
able it  to  represent  so  effectually  the  extremes  of 
a  grand  orchestra.  In  the  next  place,  a  greater 
number  of  notes  can  be  simultaneously  produced 
upon  it  than  upon  any  other  instrument,  the 
organ  excepted,  but  with  the  advantage  of  per- 
spicuous velocity  over  the  capability  of  the  lat-" 
ter.  A  curious  illustration  of  this  fact  may  be 
afforded  by  the  foUowiug  anecdote  :  "  Mr. 
Scarborough,  organist  of  Spalding,  betted  that  he 
would  strike  one  million  of  notes  on  the  piano  in  the 
sjiace  of  twelve  hours  !  This  singular  wager  was 
decided  on  the  4th  of  June,  1828.  Mr.  S.  took  a 
compass  of  three  octaves,  ascending  and  descend- 
ing the  different  scales,  and  struck 

109,296  notes  in  the  1st  hour. 

12.5.928  ...     2d     " 

121,176  .      .      .     3d     " 

121,176  .      .      .4th    " 

125,136  ...     5th    " 

125,136  ...     6th    " 

127,512  ...     7th    " 

127,512  ...     8th    " 

47,520  ...     20  minutes. 

Making  1,030,392  notes  in  eight  hours  and  twenty 
minutes,  which,  with  the  periods  of  rest,  amount- 
ed to  eleven  hours  and  forty-five  minute? ! " 
Thirdly,  better  music  has  been  written  for  the 
piano-forte  expresnlij  than  for  any  other  instrument 
whatever,  —  witness  the  works  of  Beethoven 
alone ;  and  fourthly,  it  is  not  only  the  best  accom- 
paniment to  vocal  music,  in  the  absence  of  an 
orchestra,  but  allows  the  performer  upon  it  to 
sing  a  part  or  a  solo  with  more  freedom  and  ease 
than  either  organ,  harp,  or  guitar.  Lastly,  it  is 
the  most  general  instrument  in  use,  and  need 
not  be  hawked  about,  with  the  player,  but  is  sure 
to  be  found  in  the  drawing  rooms  of  the  rich,  the 
elegant,  and  the  art-devoted,  in  all  classes  of 
society. 

The  origin  of  the  piano-forte  is  traceable  to 
an  instrument  called  psalterion,  or  tympanum, 
(known  even  yet  by  the  familiar  nariiC  of  dulci- 

'  mer, )  which  was  a  box,  across  which  brass  and 
steel  wires  were  extended  between  iron  juns,  and 
attuned  so  that  a  perlett  gamut  was  obtained. 
Ttie  performer  hcM  in  each  hand  a  little  woodei 
rod  or  hammer,  with  which  he  struck  the  strings 

28 


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ENCYCLOPEDIA    OF   MUSIC. 


PIA 


with  a  degree  of  velocity  and  neatness  according 
to  his  proficiency  in  the  art. 

According  to  Mr.  Ltine,  the  Egyptians  have 
an  instruTnent  in  common  use,  closely  allied  to 
the  dulcimer,  which  they  call  kdiwon.  It  is 
probably  the  first  instrument  of  the  same  class, 
and  may  owe  its  origin  to  the  Greeks,  lliat 
supposition  is  favored  by  its  name  being  derived 
from  the  word  xuuj',  and  has  the  same  signifi- 
cation, that  is,  "rule,"  "law,"  "custom." 

The  clavichord  was  au  improvement  on  the 
psalterion,  by  the  addition  of  a  chuier,  or  key- 
board, by  means  of  which  Httle  plates  of  copper, 
moved  by  the  digital  action  on  the  keys,  caused 
the  strings  to  vibrate. 

The  clavicitherium  little  differed  from  the 
firegoing  in  its  mechanical  construction  ;  but  its 
strings  were  of  gut,  acted  upon  by  soft  leather 
hammers  put  into  motion  by  the  keys. 

The  virginal,  consecrated  by  many  productions 
of  the  English  I'likNtrina,  the  immortal  Wilhara 
Byrde,  by  Dr.  John  Hull,  and  several  other 
worthies  of  by-gone  days,  was  a  keyed  instru- 
ment, consisting  of  metal  strings,  vibrated  by 
quills,  or  other  mecba,  affixed  to  the  end  of  the 
lever  or  key.  Some  suppose  that  this  tinkling 
machine  was  invented  in  England  about  the  time 
of  Elizabeth,  and  was  so  named  in  compliment 
to  that 

••  Fair  Toatal,  IhroDctl  by  the  west  I  " 

who,  it  is  said,  was  remarkably  fond  of  it,  and, 
moreover,  was  a  great  and  skilful  performer 
upon  it.  Hut  the  former  part  of  this  statement, 
regarding  the  date  of  its  invention,  has  been  de- 
nied by  M.  Fctis,  who  assei-ts  that  it  e.xisted  be- 
fore Elizabeth's  time,  in  1530,  and  bore  the  same 
name. 

The  hari)8ichord,  according  to  the  same  writer, 
was  also  in  existence  before  that  period.  This 
instrument,  similar  in  shape  to  the  modern 
grand  piano,  had  two  key  boards,  which  could 
be  used  separately  or  together ;  in  the  latter  case, 
the  upper  or  superior  key  board  yielding,  at  one 
touch,  a  sound  attuned  to  the  octave  of  the 
lower.  The  ac  ion  coiisi>ted  of  a  key,  and  what 
was  called  a  jack,  which  was  a  jiiece  of  pear  tree, 
■w.th  a  small  movable  tongue  of  holly,  through 
which  a  cutting  of  crow-quill  was  passed,  to 
touch  the  string  when  the  jack  was  in  action. 
He  it  remembered,  that  this  was  the  instrument 
on  which  were  developed  some  of  the  finest  in- 
spirntions  of  Handel,  Haydn,  Mozart,  Scarlatti, 
the  Hachs,  dementi,  iVc. ;  and  for  that  circum- 
etan -e  it  is  entitled  to  some  veneration,  although 
its  tone  has  been  wittily  but  .-.everely  comparetl 
to  "a  kind  of  scratch  with  a  sound  at  the  end 
of  it." 

The  spinet,  which  was  nothing  more  than  a 
square  harpsichord,  was  constnicte.l  upon  similar 
principles.  TTicro  \\  as,  however,  a  pecuhar  kind, 
which  was  called  sordino,  on  account  of  the  com- 
parative softness  of  its  tone. 

The  clavichord,  harpsichord,  and  spinet  con- 
tinued to  be  used  till  towards  t)ie  end  of  the  last 
century.  Hut  the  tone  of  tlie;.c  several  instru- 
ments f  eing  one  and  all  more  or  less  harsh  and 
disagreeable,  induced  many  ingenious  men  to 
experiment  in  the  hope  of  improving  it  :  ac- 
cordingly we  find,  as  related  by  some,  that  a 
manuiacturer  in  Tariii,  named  Marius,  pre>cn:ed 
to  the  inspection  ot  the  AcaJcmie  (tea  \u-iice4  of 

92  729  • 


that  city  some  specimens  of  hari)sichord8,  in 
which  he  substituted  small  hammers  in  the  ]>lace 
of  quills,  &c.  Shortly  afterwards,  Chri.stofcro,  a 
Florentine,  advanced  this  discovery  so  much, 
that  his  instrument  (the  first  called  piano)  raaj 
be  said  to  have  been  the  model  on  which  all  sub- 
sequent imiirovcment  was  based.  Others  assert 
that  it  was  the  invention  of  a  (jerman  mecliiinic, 
named  Viator,  about  a  ceittury  ago,  who,  from 
some  cause  or  other,  failed  in  realizing  hi»  project. 
Again,  wo  are  told  that  it  was  the  discovery  of 
a  musician  of  the  name  of  Schroder ;  and  la.stly, 
that  we  owe  it  to  Chri.stofoli,  a  harpsichord 
maker  of  Padua.  He  this  as  it  may,  it  appeiirs 
that  the  new  modifications  received  no  decided 
public  approbation  till  about  the  year  1700. 
when  a  manufacturer  in  London,  named  /tumpf, 
commenced  such  a  successful  c;ireer  in  the  con- 
struction of  them,  with  additional  improvements, 
that  he  realized  in  a  short  time  a  considerable 
fortune,  with  which  he  was  enal)led  to  retire. 

Such  was  the  incontestable  superiority  of  the 
English  piano-fortes  at  this  period,  that  the  con- 
tinent continued  to  be  supplied  with  them  for  a 
considerable  time.  At  length,  Herr  Silberniann, 
in  Germany,  commenced  a  successful  rivalry, 
which,  in  the  year  1776,  was  much  encroached 
upon  by  the  pretensions  of  MM.  Krard,  (brothers,) 
of  Paris,  who  were  the  first  to  construct  pianos 
on  the  improved  plan  in  France.  Still  the  Eng- 
lish, for  some  time,  enjoyed  an  almost  exclusive 
fame  for  this  manufacture.  The  piano-fortes  of 
Ztumpf,  Kirkman,  Longman  and  Broderip, 
Uroadwood,  Stodart,  Tomkison,  Clcmcnti  and 
Co.,  Rolfe,  Astor,  and  a  host  of  others,  con- 
tinued to  be  sought  for  all  over  the  world,  scarce- 
ly a  year  passing  without  some  important  ad- 
dition or  imi'rovement  being  made  in  them.  The 
grand  pianos  of  £rard  (Paris  and  London)  have 
long  been  e-stecmed  unsurpassed.  Also  Pleyel, 
Pape,  Herz,  and  other  makers  in  Paris  are  much 
celebrated.  Excellent  pianos  arc  manufactured 
in  Vienna  and  other  parts  of  (icrmany. 

Tlie  upright  piano-forte  was  doubtless  taken 
from  the  upright  harpsichord,  and  was  the  inven- 
tion of  an  Englishman  of  the  name  of  Hancock, 
a  musical  instrument  maker,  resident  in  some 
part  of  NVe;<tminster.  He  was  a  man  of  much 
ingenuity,  and  jiroduced  several  varieties  in 
keyed  instruments ;  amongst  which  we  hnd  the 
organized  piano-forte,  the  portable  grand  piano- 
forte, and  an  instrument,  also  a  piano-for:c,  in 
the  shape  of  a  spinet  (This  was  the  origin  of 
the  square  piano.)  The  portable  grand,  in  its 
day,  was  a  euci  c^sful  and  desirable  instrument ; 
but  has  long  since  been  superseded  by  others  of 
the  kind,  called  kit-grands,  boudoir-granls, 
pocket-grands,  and  semi-grands. 

The  next  novelty  was  the  invention  of  John 
Isaac  Hawkins,  who  constructed  an  ujirigiit  in 
strument,  with  a  detached  sound  board,  in  an 
iron  frame ;  and  the  whole  wa.s  so  arranged  as  to 
be  able  to  meet  the  atmosphere  with  compensat- 
ing powers.  In  the  bass,  it  bad  spiral  or  helical 
strings,  by  which  lengtli  was  gained ;  and,  in 
the  treble,  three  octaves  of  et^ual  tension  were 
accomplLshed  by  a  uuilorm  size  of  wire.  It 
was  patented,  but  did  not  take  with  the  public 
sufHciently  to  come  into  notice. 

Following  Hawkins,  came  'NVilliom  Southwell, 
an  Irishman,  wlio  patentc  I  an  improvement  in 
upright   piano-;ortc>,   and  gave  it  the  name  of 


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the  cabmet  piano-forte.  The  name  still  remains 
in  use. 

The  uiii(|uc  i)iiino-foite  was  intro<luce<l  by 
MciiHr8.  Wilkinson  and  Wornum,  and  was  the 
invention  and  patent  of  the  latter  gentleman. 
ITiis  instrument  mot  the  taste  of  the  day  for  in- 
struments of  little  altitude ;  it  did  not  stand 
hij;her  than  three  feet  three  inches,  and  the 
strings  were  all  placed  diagonally  towards  the 
floor;  the  action  was  simple  and  effective,  but  it 
did  not  content  the  mind  of  its  most  ingenious 
inventor,  and  in  a  short  time  gave  way  to  a  new 
proof  of  his  mechanical  and  philosophical  genius, 
in  the  ])roduction  of  the  piccolo  i)iano-forte, 
which  he  (Mr.  Wornum)  patented,  and  which  be- 
came, perhaps,  the  most  popular  piano  in  the  four 
quarters  of  the  world.  Its  action  is  equally  ap- 
plicable to  both  upright  and  horizontal  instru- 
ments, and,  for  delicacy  of  tone  and  promptness 
of  touch,  it  has  not  yet  been  surpassed. 

ITie  perseverance  of  Mr.  Wornum's  mechan- 
ical genius  at  length  succeeded  in  producing  a 
down-striking  action,  which  is  by  far  the  most 
ingenious  of  modern  improvements  in  the  piano- 
forte, inasmuch  as  both  tone  and  touch  are  won- 
derfully improved  by  it  —  a  result  exactly  the 
reverse  of  the  foreign  application  of  the  same 
action. 

Mr.  Mott's  sostinente  was  an  application  of  a 
cylinder  and  silk  loops  to  an  upright  piano-forte. 
The  loops  were  attached  to  the  strings,  and  the 
cylinder,  which  was  moved  by  the  foot,  as  it 
were,  h  itced  them,  and  produced  tones  somewhat 
similar  to  those  of  the  seraphine. 

Mr.  Kirkinan's  octave  string  was  applied  as 
tlie  third  string  of  a  grand  piano,  tuned  an 
octave  higher  in  pitch  than  the  other  two,  and 
was  somewhat  in  eti'ect  like  two  diapasons  and  a 
principal  in  an  organ.  It  pleased  for  a  time,  but 
is  now  tliought  of  no  more. 

Messrs.  Cramer,  Addison,  and  Beale  produced 
a  piano-forte  totally  formed  of  iron ;  and  con- 
sidering that  metal  is  not  so  sonorous  as  wood, 
the  tone  is  amazingly  full  and  mellow. 

At  Piuris  a  Monsieur  Montal  produced  a  piano- 
forte which  in  a  great  measure  supplies  a  quality 
that  has  long  been  a  desideratum,  and  the  want 
of  which  has  allowed  other  instruments  to  a.ssert 
a  superiority  that  hencefortli  must  be  ceded.  It 
consisted  in  a  new  mechanism,  which  the  in- 
ventor called  "  michiiii'jtte  a  rcpit iioii  expressive," 
because  by  it  the  touch  was  so  far  improved  as  to 
allow  the  performer  to  reiterate  the  tone  at 
l)leasure  without  raising  the  fingers  from  the 
keys.  .Some  marvellous  men,  like  Liszt,  in  the 
absence  of  this  mechanism,  contrive!  to  produce 
the  so.^tenuto  and  tremolo  without  appairently  re- 
peating their  touch;  but  the  ingenuity  of  M. 
Montal  enables  the  less  practised  performer  to 
produce  such  a  desirable  ertect. 

Piano-fortes  of  the  very  best  quality  are  now 
manulactured  among  us,  and  sucli  is  the  perfec- 
tion of  modern  manufacture,  that  even  the  inex- 
perienced arc  sure  to  find,  at  all  respectable 
hou.scs,  instruments  in  every  quality  worthy  of 
the  first  I'crformer  in  the  world. 

Hut  now  for  a  few  words  in  the  shape  of  advice 
to  those  who  would  select  a  piano-forte.  The 
tone  or  timbre  of  this  instrument  depends  almost 
wholly  upon  the  seasoning  of  the  wood  ;  partic- 
ularly in  that  part  of  it  called  the  sound  board, 
•  hich  should  consist  of  the  finest  deal  or  pine. 


similar  to  that  used  in  the  upper  side  of  a  violin. 
The  case,  too,  or  cabinet  maker  s  ])ortion  of  the 
construction,  has  some  influence  upon  the  quality 
of  its  voice ;  and  the  mechanical  part  should 
never  be  made  or  formed  of  green  wood.  There- 
fore it  is  always  better  to  purcha.se  an  instru- 
ment from  those  factories  whose  means  enable 
them  to  exjjose  their  materials  to  heat  and  cold, 
in  fact  to  all  vicissitudes  of  season,  for  years  to- 
gether. It  is  most  unportant  that  the  wood 
forming  the  block  upon  which  the  wires  are 
strung  should  be  thoroughly  seasoned,  as  it  is 
termed ;  for  if  untempered  timber  be  used,  the 
instrument  will  not  only  not  remain  in  tune,  but 
the  quahty  of  the  tone  will  be  greatly  injured. 
A  poor  man  may  be  a  good  artisan,  but  he  can- 
not produce  in  every  respect  a  good  or  durable 
piano-forte.  Moreover,  the  shape  or  form  of  the 
instrument  has  something  to  do  with  its  musical 
quahty.  To  those  who  wish  to  purchase  a  piano- 
forte merely  as  a  handsome  piece  of  furniture,  it 
were  well  to  recommend  the  various  modifica- 
tions of  upright  constructions,  in  handsome  cases 
of  mahogany,  rose,  or  zebra  wood ;  but  to  the 
musician,  amateur,  or  artist,  it  would  be  better 
to  advise  the  choice  of  a  good  square  or  grand 
piano  —  they  have  better  tone,  are  more  durable, 
and  their  action  is  less  liable  to  be  out  of  order. 

For  many  years  after  the  settlement  of  this 
country,  our  pianos  were  imported  from  Europe  ; 
but  the  humidity  of  the  atmosphere,  durmg  the 
passage  across  the  ocean,  was  found  to  open  the 
joints,  or  crack  the  wood,  rust  the  wires,  and 
loosen  the  keys,  and  greatly  to  injure,  if  not,  in 
some  instances,  entirely  destroy  the  tone  of  the 
instrument.  This,  among  other  causes,  led  to  the 
construction  of  piano-fortes  in  America.  At 
first,  deficient  in  taste  and  skill,  our  artists  were 
not  very  successful.  But  they  had  ingenuity  and 
perseverance ;  and  experience  soon  gave  them 
the  rest.  They  at  length  introduced  several  im- 
portant improvements  in  the  manufacture,  and 
now  make  the  article  to  a  great  e.xtent,  while  the 
demand  for  their  work  is  increasing  tliroughout 
the  Union. 

For  excellence  of  material,  simplicity  of  style, 
elegance  of  finish,  and  faithfuhiess  of  workman- 
ship, and  above  all  for  volume  and  variety,  mel 
low  sweetness,  brilliancy,  and  p(  rmanency  of  tone, 
the  American  pianos  now  cliallenge  competition 
ixom  all  quarters  of  the  world.  In  a  word,  so  high 
stands  the  reputation  of  the  artists  of  Boston, 
New  York,  Albany,  Philadelphia,  and  other  cities 
and  places  of  the  United  .States,  in  this  business, 
that,  as  is  well  known,  a  second-hand  piano-forte 
from  the  hands  of  any  of  them  will  often  com- 
mand as  much  money  at  auction  as  can  be  ob- 
tained for  a  new  ghttering  instrument  just  im- 
ported from  London. 

PIANO-FORTE  SCHOOL.  An  extensive 
and  complete  method  for  the  piano-forte. 

PIANO-FOUTE  SCORE.     A  score  in  which 
the    orchestral  accompaniments   are  compressed 
j  into  a  piano-forte  part. 

'  PIANO-VIOLINO.  Colonel  A.  S.  Wood,  of 
Buchanan,  Va.,  invented,  in  1837,  a  new  and  curi- 
ous instrument.    It  is  a  common  piano  of  the  usual 

I  construction,  and  played  in  the  usual  manner.  A 
pedal,  touched  by  the  foot  of  the  performer,  turni 
a  flying  wheel,  which  regulates  the  movementi 

30 


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excyclop.5:dia  of  music. 


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of  the  machinery.  As  each  particular  key  of  the 
piano  is  touch«Jd,  a  corresponding  key  within 
the  box  of  machinery  is  acted  on,  and  brings 
down  on  the  proper  string  one  of  the  four  bows, 
(which  are  constantly  moving  on  grooves,)  and  at 
the  same  time  passes  on  the  string  a  fmger,  thus 
forming  a  perfect  note,  in  every  respect,  to  the 
note  ot  the  piano. 

PL\.NO.  SEMPRE  STACCATO  E  MARCA- 
TO  IL  HASSO.  Soft,  with  the  bass  always  well 
marked  and  detached. 

PIANTAXIDA,  GIOVANNI,  a  celebrated 
violinist  at  liolognn,  was  born  at  Florence  in 
170.).  In  17:U  he  went  to  Petersburg,  with  a 
company  of  Italian  performers,  and  met  with 
the  greatest  success  in  that  city.  lie  returned  to 
Italy  about  four  years  afterwards.  Dr.  liurney, 
who  heivrd  him  when  at  the  advanced  age  of 
bi.\ty,  still  considered  him  the  best  violinist  in 
Italy,  notwithstanding  an  awkward  and  embar- 
rassed air  which  he  had  in  playing.  Ilis  wife 
was  an  excellent  singer,  who  accompanied  him 
to  St.  Petersburg.  Six  of  his  trios  for  the  violin, 
and  si.\  concertos,  were  published  at  Amsterdam. 

PI.\XTAN1DA,  ABBE,  a  pupU  of  Fioroni,  has 
composed  much  church  music.  He  resided  at 
Milan  in  1812. 

PL\.1TI.     (I.)    The  cymbals. 

PIAZZA,  GIOVANNI  BAmSTA.  An  in- 
strumental composer,  who  flourished  in  Italy 
about  the  year  1650. 

PIB-CORN.  or  HORNPIPE.  The  name 
given  by  the  Welsh  to  a  wind  instrument,  con- 
sisting of  a  wooden  pipe  with  holes  at  the  sides, 
and  a  horn  at  each  end,  the  one  to  collect  the 
wind  blown  into  it  by  the  mouth,  and  the 
other  to  convey  the  sound,  as  modulated  by  the 
performer.  This  instrument  is  so  common  in 
Wales,  that  the  shepherds'  boys  amuse  them- 
selves with  it  while  tending  their  flocks. 

PIC,  GIOVANNI,  the  celebrated  Prince  of 
Mirandola  and  of  Concordia,  was  born  in  14G.3. 
To  extensive  information  in  the  sciences  he  joined 
profound  knowledge  of  the  art  of  composi- 
tion, and  of  music  in  general.  His  compositions 
wore  much  sought  alter  in  the  age  in  which  lie 
lived.  lie  died  at  Florence,  in  149-4,  aged  thirty- 
one. 

PICCHI,  GIOVANNI  MARIA,  organist  of 
the  Casa  Grande  at  Venice,  published  there,  in 
l')25,  "  CaHzoiii  (la  Sonar." 

I'lCClIIE'lTATO.  (I.)  Struck,  intonated 
with  velieiiience. 

PICC'INELM,  called  also  LA  FRANCESI- 
N.V,  was  hrst  female  singer  at  the  Milan  opera  in 
1770. 

PK'CINI.  NICOLA,  was  bom  in  1728,  at  Bari, 
in  the  kingdom  of  Naples,  and  may  be  ranked 
amongst  the  most  fertile  and  original  composers 
that  the  Neapolitan  school  ha-s  over  produced. 
His  lather  designed  him  for  the  church  ;  but  an  in- 
Wncihle  pa.ssion  for  music  fni>tratc<:l  this  inten- 
tion. He  practised  lor  .some  time  in  secret,  and  wa.s, 
oy  Bci  i  lent,  discovered  to  have  made  consider- 
able jirogvess  in  the  art,  before  hi.s  father  could 
be  prevailed  with  to  let  him  have  a  master.  In 
1742  he  was  placed  in  the  Conservatory  of  San 


Onofrio,  under  the  direction  of  Leo,  and  after 
his  death,  under  Durante.  Piccini  spent  twelve 
years  in  study  before  he  left  the  Conservatory  ;  he 
then  began  his  professional  career  at  the  Floren- 
tine Theatre  in  Naples,  with  a  comic  opera,  en- 
titled "  Ac  Donne  Dispettoae."  In  17.58  he  was 
invited  to  Rome,  wheie  he  comjiosed  ",-1/cj- 
sandro  neW  Iiulie."  'ITiis  opera,  besides  sev- 
eral airs  which  are  truly  excellent,  contains  one 
of  the  tinest  overtures  that  ever  was  composed. 
Two  years  afterwards,  his  comic  opera  of  "  hi 
Bttona  Figliaola  "  had  a  success  that  no  previous 
drama  could  boast  of.  It  was  no  smmer  heard  at 
Rome  than  copies  were  multiplied,  and  there 
was  no  musical  theatre  in  Europe  where  this 
burlettti  was  not  fre<iuently  performed,  in  some 
language  or  other,  during  many  years.  His  ser- 
rious  opera,  the  "  Olimpiade,"  perfonued  in  the 
following  winter,  was  equally  successful ;  and 
for  fifteen  years  Piccini  was  considered  the  first 
musical  composer  in  Rome.  Anfossi  was  at  last 
unfairly  preferred  to  him  ;  and,  in  consequence, 
he  left  Rome  in  disgust,  and  returned  to  5saples. 

From  the  latter  city  he  was  invited  to  France, 
and  in  December,  1776,  arrived  at  Paris.  Pre- 
viously to  this  time,  as  Sacchini  had  informed 
Dr.  Burney,  he  had  composed  at  least  three 
hundred  operas ;  of  which,  in  one  uistance,  thir- 
teen had  been  produced  in  the  short  space  of 
seven  months.  When  Piccini  arrived  in  France, 
he  knew  not  a  word  of  the  French  language ; 
but  Marmontel  undertook  to  be  his  instructor, 
llie  latter  engaged  to  make,  in  si.x  operas  of 
Quinault,  the  changes  which  were  requisite,  in 
order  th.at  they  might  be  set  to  modern  music. 
For  some  time,  he  passed  every  morning  with 
Piccini,  explained  a  scene  to  him,  taught  him  to 
repeal  it,  marked,  by  convenient  signs,  the  quan- 
tity of  each  word  and  syllable,  and  then  left 
Piccini  to  work  by  himself.  His  task  was  to  set  to 
music  what  he  had  learned,  .ind  on  the  following 
morning  he  sang  it  to  Marmontel.  If,  which 
seldom  happened,  there  was  any  incorrectness  in 
regard  to  the  exjircssion  or  quantity  of  the  lan- 
guage, on  that  they  imme.liately  went  to  woik 
together,  in  order  to  perfect  it.  This  kind  of 
labor  they  continued  steadily  to  pursue  for  almost 
twelve  months. 

Before  Piccini  had  completed  his  first  work  in 
France,  he  found  himself  opposed  by  a  most  for- 
midable rival  in  Gluck,  who  about  this  time 
etfected  a  great  revolution  in  French  music.  He 
had  introduced  into  it  the  forms  of  recitative  and 
song  from  the  Italian  school,  whilst  from  the 
German  school  he  had  brought  gran>leur  and 
strength  of  harmony.  A  musical  war  wivs  excit- 
ed, which,  for  a  while,  divided  and  exasperated 
all  Paris.  Whilst  this  war  was  nt  its  height, 
Berton,  the  director  of  the  opera,  made  an  at- 
tempt to  put  an  end  to  it  by  reconciling  the  two 
chiefs.  He  gave  a  s|)lcndid  8upi>er,  at  which 
Piccini  and  (iluck,  alter  crabraring  each  other, 
aat  down  together,  and  conversed  with  the  greatest 
cordiality  during  the  whole  evening.  They  parted 
good  friends ;  but  the  war  went  on  with  as  much 
fury  between  their  respective  partisans  a.-*  l>el'or«. 

The  opera  of '•  KiJ<inH"  wa.*  the  first  which  was 
produced  by  Piccini  at  Paris  ;  it  was  fnUowod  by 
"  Ali/$  "  and  by  "  Iphmmia  in  Taiirit  ,  "  t)  c  whoi« 
of  which  were  receive<l  with  general  admi  ntion  by 
all  except  those  who  were  devott-d  to  th(  mum  of 
his  opponent. 


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^V^len,  in  tlie  year  1781,  Sacchini  went  to 
Paris,  an  opera  was  retiuired  from  each  of  these 
masters,  lor  the  entertainment  of  that  year  at  Fon- 
tainehleau.  Piccini  chose  the  story  oi  " Ditlon,"  and 
Sacchini  that  of  "  Chimlne."  Sacchini  was  first 
ready,  and  his  piece  was  put  in  rehearsal  without 
delay.  Kvery  prejudice  was  in  its  favor :  the  or- 
chestra, the  actors,  and  the  managers  of  the  opera, 
with  one  accord,  extolled  him  to  the  skies. 
When  the  poetry  of  "  Didon  "  was  finished,  Piccini 
went  to  the  country  residence  of  Marmontel,  who 
wrote  it,  and  continued  there  for  seventeen  days, 
till  he  liad  invented  the  whole  of  the  music.  In  six 
weeks  it  was  completely  ready  for  performance  ; 
and  such  wa.s  the  success  of  this  charming  piece 
as  to  eclipse  all  rivalry. 

Piccini  possessed  an  astonishing  versatility  of 
genius.  Whilst  "  Didun,"  at  the  Opera  House,  ex- 
cited the  most  powerful  emotions  of  sympathy 
and  grief,  liis  other  operas  of  "  The  pretended 
Lord,"  and  "  Sleeper  awakened,"  gave  birth  to 
emotions  that  were  perfectly  opposite. 

A  singing  school  was,  about  this  time,  estab- 
lished at  Paris,  of  which  Piccini  was  appointed 
the  principal  master.  He  also  proposed  to  estab- 
lish an  annual  concert ;  but  in  this  he  was  unsuc- 
cessful. 

At  the  breaking  out  of  the  French  revolution, 
Piccini,  having  lost  his  pensions,  returned  to 
Naples.  The  Neapolitr.n  muiistcr  had  the  cruel- 
ty, however,  to  forbid  him  from  ajipearing  in 
public  ;  in  consequence  of  which  he  remained 
almost  constantly  shut  up  in  his  chamber,  in 
solitude  and  indigence.  During  this  time  he 
amused  himself  by  setting  to  music  several  of  the 
Italian  psalms  of  Saverio  Mattei. 

In  the  year  1799  he  returned  to  Paris,  where 
he  solicited  from  Bonaparte  the  renewal  of  his 
pensions.  He  was  graciously  received,  and  mu- 
nificently recompensed  by  composing  a  march 
for  the  consular  guard,  at  the  express  command 
of  the  first  consul.  Not  long  afterwards,  he  was 
appointed  to  an  inspector's  place  in  the  natioTial 
conservatory  of  music.  This  situation  he  con- 
tinued to  liold  till  the  time  of  his  death  which 
took  place  in  1801,  at  the  age  of  seventy-two 
vears. 

PICCINI,  LUDOVICO,  son  of  the  preceding, 
was  born  at  Naples  about  the  year  176.5,  and  re- 
ceived his  musical  education  from  his  father.  In 
1784,  he  brought  out,  at  the  Opera  Comique  at 
Paris,  "  l^s  Ainours  tie  Chenibin;"  and  ui  1788, 
at  the  ThcAtre  de  Heaujolais,  "  Lai  Suite  des  C/ias- 
seiirs  et  la  Jjiititrc"  In  1791  he  returned,  with 
his  father,  to  Naples,  and  composed  in  that  city 
two  comic  operas,  "  Gli  Accidenti  InaspeUati,"  and 
•'  La  Serca  Onorata."  -\t  Venice,  he  produced, 
in  1793,  "L'Amante  Statua;"  at  Genoa,  "  II 
Matrimnnio  pir  Hai/yiro ; "  at  Florence,  "  La 
Kotte  I inbi-orjUata  ;  "  and  again  at  Naples,  a  can- 
tata entitled  "  Ero  e  Leaiidro,"  which  lie  composed 
for  Mrs.  Pillington.  In  1796  he  was  engaged 
as  chapel-ma.ster  by  the  court  of  Sweden,  and 
passed  six  years  at  Stockholm,  where,  among 
other  music,  he  wrote  a  comic  opera  calletl  "  The 
Sleep  Walker."  lie  returned  to  Paris  in  1802, 
R  year  after  the  lamented  death  of  his  father. 
He  then  produced  at  the  Optra  Comique  "  Le 
SiffisM  "  o!  Marmontel,  in  three  act*! ;  L'Ainfe  et 
la  Ciidctie,"  and  "  U Avis  aitx  Jaloiix."  He  also 
composed,  for  the  Royal  Academy  of  Music, 
"  Hippomiiie  et  Atalanle,"  a  piece  in  one  act. 


PICCINI,  ALEXANDRE,  grandson  of  Nico'.i 
Piccini.  was  born  at  Paris  about  the  year  1780. 
He  was  a  member  of  the  choir  of  N'apoleon'i 
Chapel  Royal,  and  was  a  i)rofessor  of  the  jia no- 
forte.  He  studied  composition  under  Lesueur.  The 
following  is  a  list  of  his  principal  dramatic  works. 
At  the  Thdiitre  de  la  Montansicr,  "  /.c  Tenne  du 
Voyuije,"  "La  Forleresse,"  "  L' Entre  Sol,"  "  Gilie* 
en  deuil,"  "Let  Deux  Voisiiis"  "  Lui-mfmc ;"  at 
the  Theatre  des  Jeunes  ArtLstes,  •'  Ark-guin  au 
Villaije,"  "  La  Pension  des  Jeunes  Dciiu-isellrs," 
"  Arlequin  bon  Ami,"  "  Le  Pavilion;"  at  the 
Thc&tre  Saint  Martin,  "  Romulus,"  "  liobinson 
Crusoe,"  and  other  melodramas ;  at  the  Theitre 
Fcydeau,  "  v4bi»  au  Public,"  and  " //j  soiU  chti 
eux,"  operas  of  M.  Desangiers. 

PICCIOLI.  GLVCOMO  ANTONIO,  an  ec- 
clesia.stic  and  learned  contrapuntist,  towards  the 
end  of  the  sixteenth  century,  was  a  pupil  of  the 
renowned  Constantio  Porta,  and  published  many 
works,  chiefly  at  Venice  and  Milan,  between  the 
years  1580  and  1600. 

PICCOLO.  (I.)  Little  ;  as,  violino  piccolo,  a 
small  violin. 

PICCn'ONO,  PADRE  ANGELO  DA,  an  ec- 
clesiastic, published  at  Venice,  in  1.547,  a  musical 
work  called  "  Fior  Anr/elico  di  Mwiica."  It  is  a 
book  which,  however  difficult  to  find  at  present, 
is,  from  its  dulness  and  pedantry,  still  more  diffi- 
cult to  read. 

PICERLL  SILVERIO,  an  ecclesiastic,  pub- 
lished at  Naples,  in  1631,  "  Specchio  Prima  et  Se- 
condo  di  Musica." 

PICIIL,  WENZEL.  A  celebrated  violinist  and 
composer,  born  in  Bohemia  in  1743.  He  studied 
the  violin  first  under  Von  Dittersdorf,  and 
afterwards  under  Nardini.  In  1791  he  was  at 
Milan,  in  the  service  of  the  Archduke  Ferdinand 
as  composer  of  music.  In  1797,  on  the  French 
taking  possession  of  Milan,  he  followed  hLs  noble 
master  to  Vienna,  where  he  died  in  180.5.  Among 
his  numerous  works  we  can  name  the  following  : 
"  100  I'arinzioni  per  il  V.  suUa  scala  del  B.  fermo," 
Naples,  1787;  "  Exercice  de  Violon,  ou  100  Variaz, 
p.  le  Viohn  seul ;  "  "6  Duos  p.  Violon  et  A.,"  Op. 
18,  Offenbach,  1794  ;  "  3  Dms  p.  2  Vc,"  Op.  16, 
Paris,  1793;  "3  Quat.  a  CUxv.,  V.,  A.,  et  B.," 
Paris,  1793  ;  "  1  Sinfonie,"  Op.  17,  Berlin;  "Six 
Sonat  p.  V.  et  B.,"  Op.  20,  Parts  I.  and  II.,  Bruns- 
wick, 1796  ;  "  12  Caprices  p.  Violon  seul,"  Op.  21, 
Brunort-ick,  1796;  "3  Sonat.  p.  le  Clav.,  Fl.,  et 
B.,"  Op.  26.  Vienna.  1796;  "3  Quint,  d  2  V.,  2 
A.,  et  B.,"  Op.  30,  Offenbach.  1797  ;  "  3  Duos  p. 
2  v.,"  Op.  34,  Offenbach,  1798  ;  "  3  Duos  cone.  p. 
2  v.,"  Op.  48,  Vienna,  1800;  "6  Fupues,  avec  un 
Prelude  fugui  p.  un  Violon,"  Op.  3.5,  Leipsic  ;  "6 
Ariette  a  Voce  Sola  con  Cemb.,"  Op.  42,  Vienna; 
"  12  Variaz.  di  V.c.  altro  V.,"  Op.  44,  1801. 

PIECES.     A  name  of  general  import,  and  ap- 
plicable to  all  kinds  of  compositions  ;  as,  pieces  for 
'  a  full  band,  pieces  for  the  organ,  pieces  for  the 
piano-foite,  &c. 

PIEDS.  (F.)  The  feet ;  as,  aiec  Irs  piedt, 
with  the  feet,  in  organ  playing. 

PIETOSO.    (I.)    With  pity,  compassionately. 

PIELTAIN,   DIEUDONNE   PASCAI„  born 


732 


PIE 


EXCYCLOP^EDIA    OF    MUSIC. 


PIN 


»t  Liege  in  1754,  was  one  of  the  best  violin  pupils 
of  Jarnowick.  After  having  pcrlbrmed  for  six 
leasons  at  the  Coitart  Spiriluel,  he  went  to  Lon- 
don, and  remained  there  above  nine  years.  He 
ultimately  settled  in  his  native  town.  He  pub- 
lished many  concertos  for  his  instrument.  He 
died  in  1833. 

I'lELTAIX,  the  younger,  was  a  celebrated  per- 
former on  the  horn,  and  a  pupil  of  Punto.  He 
accompanied  his  elder  brother  to  England. 

PIEXO.  (I.)  Full.  A  word  often  substi- 
tuted tor  tutti  or  gro3si,  and  sometimes  for  choro  ; 
as,  piriio  c/ioro,  a  full  chorus.  It  is  sometimes 
employed  in  a  vehement  or  energetic  sense ;  as, 
vifvi'  spirito. 

I'lER.SOX,  H.  H.  Professor  of  music  in  the 
University  of  Edinburgh,  and  known  by  the  name 
of  Mansfeldt,  under  which  cognomen  he  has  pub- 
lished various  compositions.  Although  the  son 
of  a  high  dignitary  of  the  church,  an  enthusiasm 
for  the  art  led  him  in  very  early,  life  to  study  mu- 
sic 88  a  profession.  Mr.  I'ierson  was  elected  in 
1849  to  the  professorship  at  Edinburgh,  but  re- 
signed ultimately  because  he  was  not  permitted 
to  liave  his  written  lectures  read  by  any  person 
but  himself,  and  a  nen-ous  detect  in  speech  pre- 
vented his  undertaking  that  duty.  He  has  writ- 
ten an  oratorio,  "Jerusalem,"  which,  with  some 
others  of  his  productions,  has  been  received  with 
much  public  favor. 

PIETAGKUA,  CARLO  LUIGI.  an  esteemed 
Florentine  composer,  brought  out  at  Venice  the 
operas  "//  I'aalor  Fido,"  1721,  and  "  Itomolo  e 
Ttuio,"  1722. 

PIETAGRUA,  GASPARO,  an  ecclesiastic  at 
Milan,  flourished  as  a  composer  about  the  year 
1620.  Of  his  compositions  there  were  printed 
"  Concert i  e  Ctinzoni  Franre^i  ad  1,  2,  3,  e  4,  ixm 
Messe  da  IVco  e  da  Morti,  Magnificat,  Fal.ii  Bordoni, 
Litanie  liella  Madonna  e  dei  Santi,"  Milan,  1629  ; 
"  Cajizoiiette  a  tre,"  Milan,  1629  ;  "  Moletti  d  voce 
tola,"  Milan,  1629  ;  and  "  Messa  e  Salmi  alia  Ro- 
mana  per  cantarti  alii  i^esperi  di  tutto  I'anno  con 
iuoi  Marinijicat,  le  quattro  Antifone,  et  otto  Falti 
Bordoni  h  4  voci.  Lib.  6." 

PIFFERO.     A  little  flute,  or  fife. 

PIFFET,  called  LE  (fRAXD  XEZ.  A  violin- 
ist in  the  opera  orchestra  at  Paris,  about  the  year 
17o0.  He  corapo.sed  some  cantatas,  and  was  con- 
sidered one  of  the  best  solo  players  of  his  time. 

PIGGOT,  FRAXCI.S.  Bachelor  in  music  of 
tlie  University  of  Cambridge  in  1698,  and  first 
organist  of  the  Temple  Church.  He  succeeded 
Purcell  as  one  of  the  organists  of  the  Chapel  lioy- 
al.  An  anthem  of  his,  "  I  was  glad,"  is  e.xtant  in 
many  cathedrals. 

PIGXATTA.  PIETRO  ROMULO,  of  Rome, 
was  an  eminent  dramatic  compo-ser.  Amongst 
his  works  are  the  following  operas :  '•  ('ostanza 
ri»io»  il  Destino,"  1695  ;  <•  Almiro  Re  di  Coriuto;  " 
"  Siffismnndo  Prima,"  1696;  "L'Inyanno  senza 
Danno,"  1697;  "Paolo  Emilio,"  1699";  "11  Vanto 
d'Amore,"  1700;  and  "  Oroute  in  Egitlo,"  1705. 


PILKIXGTOX,  FRAXCIS.  An  English  mu- 
sician  of  the  sixteenth  century,  and  lutist  to  the 
cathedral  at  Chester.  He  took  his  de:;ree  of 
bachelor  of  music  at  O.vford  in  1.505.  I'ilking- 
ton  was  one  of  the  authors  of  a  collection  of  airs 
and  songs  for  the  lute  and  viol  da  gamba,  pub- 
lished in  London,  in  a  folio  volume,  in  1005. 

PIMEXTEL,  PEDRO,  a  celebrated  performer 
on  the  organ  at  Lisbon,  died  in  1599,  and  left  the 
lollowing  published  work :  "  Livro  de  C'ifra  de 
varias  ubraa  para  ae  langerem  na  Oryaf)." 

PIXA  E  MEXDOQA,  LEONIZ  DE,  a  Portu- 
guese nobleman,  wrote,  in  1050,  a  book  entitled 
"  Varioa  Opusculoa  pertencentea  A  'I'ltenrica  da  Mu- 
lica." 

PINDAR.  Bom  at  Thebes,  in  Baotia,  ibout 
five  hundred  and  twenty  j'cars  before  Christ.  He 
received  his  first  musical  instructions  from  liis 
father,  who  was  a  flute  player  by  profession ; 
after  which,  according  to  .Suidas,  he  was  placed 
under  Myrtis,  a  lady  of  distinguished  abilities  in 
lyric  poetry.  It  was  during  this  period  that  he 
became  acquainted  with  the  poete.ss  Corinna,  who 
was  likewise  a  student  under  Myrtis.  Plutarch 
tells  us  that  Pindar  profited  from  the  lessons 
which  Corinna,  more  advanced  in  her  studies, 
gave  liim  at  this  school.  It  is  very  natural  to 
suppose  that  the  first  poetical  eifusions  of  a 
genius  so  full  of  fire  and  imagination  as  that  of 
Pindar  would  be  wild  and  lu.xuriant ;  and  Lu- 
cian  has  preserved  six  verses,  said  to  have  been 
the  exordium  of  his  first  e.ssay,  in  which  he 
crowded  almost  all  the  subjects  for  song  which 
ancient  history  and  mytholojry  then  hirnished. 
Upon  communicating  this  attempt  to  Corinna, 
she  told  him,  smiling,  that  he  should  sow  with 
the  hand,  and  not  empty  his  whole  sack  at  once. 
Pindar,  however,  soon  quitted  the  leading  strings 
of  these  ladies,  hb  poetical  nurses,  and  became 
the  disciple  of  Simonides,  now  arrived  at  extreme 
old  age  ;  after  which  he  soon  surpassed  all  his 
masters,  and  acquired  great  reputation  over  all 
Greece ;  hut,  like  a  true  prophet,  waj-  less  hon- 
ored in  his  own  country  than  elsewhere  ;  for  at 
TTiebes  he  was  frequently  jironounced  to  he  van- 
quished, in  the  musical  and  poetical  contests,  by 
candidates  of  inferior  merit. 

There  is  no  great  poet  or  mu.«ician  in  anticjuity 
whose  moral  character  has  been  less  censured 
than  that  of  Pii\dar.  Plutarch  has  preserved  a 
single  verse  of  his  "  F.picedium,"  or  dirge,  that 
was  sung  at  his  funeral,  which,  short  and  simple 
as  it  Is,  implies  great  praise  :  "  Thit  man  teas  pleat- 
ing to  atrangera,  and  dear  to  hia  feVow-citizena.  ' 
His  works  abound  with  precepts  of  the  purest 
morality,  and  it  does  not  appear  that  he  ever  tra- 
duced even  his  enemies ;  comfortii\g  hirasell  for 
their  malignity  by  a  maxim  which  he  inserted 
in  his  first  Pythic,  and  which  afterwanls  became 
prorerbial,  •'  That  it  ia  better  to  be  tnried  than 
pitied." 

Pausanias  says  that  the  character  of  poet  was 
truly  consecrated  in  the  person  of  Pindar  by 
the  god  of  verse  himself,  who  was  plensc<l,  bv  an 
express  oracle,  to  order  the  inhabitants  of  Del- 


phos  to  set  apart,  for  Pindar,  one  half  of  the  first 

PILLAGO,  CARLO,  of  Rovigo,  was  organist     fr<iit    offerings  brought  by  the   religious  to  hi« 

to  the  Church  of  St.  Mark,  at  Venice,  and  a  very    shrine,  and  to  allow  him  a  conspicuous  place  ia 

tminent  performer  on  his  instrument.     He  pub-  |  his  temple ;  where,  in  an  iron  chair,  he  used  to 

bhed  '•  Sacii  Conccrti  a  roce  tola,"  Venice,  1642.  |  sit  and  sing  his  hymns  in   honor  of  that  god. 

733 


PIN 


ENCYCLOPEDIA    OF    MUSIC. 


PIG 


rhis  chair  was  rcmaininf;  in  the  time  of  Pausa- 
ttiaa,  8evcral  centuries  after,  and  shown  to  him  as 
\  relic  not  unworthy  of  the  sanctity  and  mag- 
■nificence  of  that  place. 

A  bard  who  sang  like  Pindar  would  be  heard 
with  the  same  rapture  in  a  pagan  temple  as  a 
Farinelli  in  an  Italian  church  ;  and,  as  both  would 
draw  together  crowded  congregations,  both 
would  be  equally  caressed  and  encouraged  by 
the  priests. 

But  though  Pindar's  muse  was  pensioned  at 
Pelphos,  and  well  paid  by  princes  and  potentates 
elsewhere,  she  seems,  however,  sometimes  to  have 
sung  the  spontaneous  strains  of  pure  friendship. 
Of  this  kind  were,  probably,  the  verses  bestowed 
upon  the  musician  Mida-s,  of  Agrigentum,  in  Si- 
cily, who  had  twice  obtained  the  palm  of  victory 
by  his  performance  on  the  flute  at  the  Pythic 
games.  It  is  in  his  twelfth  Pythic  ode  that  Pin- 
dar celebrates  the  victory  of  Midas  over  all  Greece, 
upon  that  instrument  which  Minerva  herself  had 
invented. 

Fabricius  tells  us  that  Pindar  lived  to  the  age 
of  ninety ;  and  according  to  the  chronology  of 
Dr.  Blair,  he  died  four  hundred  and  thirty- five 
years  before  Christ,  aged  eighty-six.  His  fellow- 
citizens  erected  a  monument  to  him,  in  the  Hip- 
podrome at  Thebes,  which  was  still  subsisting  in 
the  time  of  Pausanias ;  and  his  renown  was  so 
great  after  his  death,  that  his  posterity  derived 
very  considerable  honors  and  privileges  from  it. 
When  Alexander  the  Great  attacked  the  city  of 
Thebes,  he  gave  e.xpre^s  orders  for  the  soldiers  to 
spare  the  house  and  family  of  Pindar.  The  La- 
cedaemonians had  done  the  same  before  this 
period  ;  for  when  they  ravaged  Boeotia,  and  burned 
the  capital,  the  following  words  were  written 
upon  the  door  of  the  poet :  "  Forbear  to  burn  this 
house;  it  was  the  dwelUng  of  Pindar."  Respect 
for  the  memory  of  this  great  poet  continued  so 
long,  that,  even  in  Plutarch's  time,  the  best  part 
of  the  sacred  victim,  at  the  Theoxenian  festival, 
■was  approj)riated  to  his  descendants. 

PIXELLI  DE  GERARDIS,  GIOVANNI 
BATI'ISTA.  Born  at  Genoa  in  154.3,  of  a  noble 
family.  In  1581  he  succeeded  Scandelli  as 
chapel-master  to  the  Elector  of  Saxony,  at  Dres- 
den, but  was  soon  obliged,  from  misconduct, 
to  vacate  his  place,  when  he  quitted  Dresden 
for  Prague,  in  which  city  he  died.  His  pub- 
lished works  are,  "6  Misse  Ai  Voci,"  Dresden, 
158'2  ;  "  Deutsche  Magnijicat  Uberdie  8  KirchentOite," 
Dresden,  1583;  "  Mculrigali,"  Dresden,  1584; 
"  Cantiones,  8,  10,  et  15  Voc,"  Dresden,  1584; 
"  Xeiie  kurziceilige  DetUicht  Lieder  mit  5  Stimmen, 
6ec.,"  Dresden,  1584;  "Lib.  1  dei  Neapolitaiie  d  5 
Voci,"  Dresden,  1585;  and  "18  Mttsetlcn  fur  5 
Siimnicn,"  Prague,   1588. 

PINELLI,  GIOVANNI  VINCENZO,  a  learned 
ItaUan,  who  resided  at  Padua,  was  born  at  Naples 
in  15:{5.  He  was  an  excellent  musician,  and  a 
pupil  of  Philippus  de  Monte.  He  died  in'lGOl 
or  1602. 

PINHEIRO.  ANTONIO,  chapel-master  of  the 
cathedral  nt  Evora,  in  Portugal,  was  born  in  'he 
province  of  Alentejo,  and  studied  music  under 
his  eminent  countryman,  Francesco  Guerreiro. 
He  died  in  lfil7.  A  very  clever  "  Magnificat,"  of 
his  composition,  is  in  the  Royal  Library  at  Lis- 
boi. 


PINTO,  THOMAS.  This  exceU*  nt  performer 
on  the  violin  was  bom  in  England,  of  Italian 
parents.  When  a  boy  he  was  a  miraculous  player 
on  his  instrument,  and,  long  before  he  was  of 
age,  was  employed  as  the  leader  of  large  bandi 
in  concerts.  At  this  time,  however,  he  was  very 
idle,  inclining  more  to  the  fine  gentleman  than  the 
musical  student,  kept  a  horse,  wa.s  always  in  boota 
in  a  morning,  with  a  switch  in  his  hand  instead 
of  a  fiddlestick;  till  the  arrival  of  Giardini,  whose 
superiority  to  all  the  performers  he  had  ever 
heard,  inclined  him  to  think  it  necessary  to  prac 
tise,  which  he  did,  for  some  time,  with  great  dih 
gence.  With  a  very  jKiwerful  hand,  and  an  as- 
tonishingly quick  eye,  he  was,  in  general,  so 
careless  a  player,  that  he  performed  the  most 
difficult  music  a^  sight,  better  than  ever  after,  for 
he  was  then  obliged  to  look  at  the  notes  with  some 
care  and  attention ;  but  afterwards,  trusting  to 
his  memory,  he  frequently  committed  mistake-*, 
and  missed  the  expression  of  passages,  which,  if 
he  had  thought  worth  looking  at,  he  would  have 
executed  with  certainty.  After  leadin:^  at  the 
opera,  whenever  Giardini  laid  down  the  trun- 
cheon, he  was  engaged  as  first  violin  at  Drury 
Lane  Theatre,  where  he  led  for  manj'  years. 
After  the  death  of  his  first  wife,  Sybilla,  a  Ger- 
man singer,  he  married  the  celebrated  Mi-^s  Brent, 
and  settled  in  Ireland,  where  he  died  in  the  vear 
1773. 

PINl'O,  G.  F.,  grandson  of  the  preceding,  was 
a  remarkable  instance  of  premature  musical  gen- 
ius. He  studied  the  violin  under  Salomon,  and, 
at  fifteen  years  of  age,  had  arrived  at  such  per- 
fection on  that  instrument,  that  he  could  lead 
an  orchestra,  in  the  performance  of  the  sympho- 
nies of  Haydn,  nearly  as  well  as  his  master. 
Neither  had  he  confined  his  studies  to  the  above 
instrument,  as  he  was  almost  equally  great  on 
the  piano-forte  as  on  the  violin,  and  was  well 
versed  in  counterpoint,  which  he  evinced,  at  about 
the  age  of  seventeen,  by  several  vocal  publications, 
of  great  merit  and  originality.  This  extraor- 
dinary genius  became  a  martjT  to  dissipation 
about  the  year  1808,  and  before  he  had  completed 
his  twenty-first  year.  Amongst  his  jjublished 
works  we  can  mention  the  following  songs  :  "  A 
shepherd  loved  a  nymph  so  fair,"  "  From  thee, 
Eliza,  I  must  go,"  "  It  was  a  winter's  evening," 
"  Little  warbler,"  "  Nature,  sweet  mistress,"  and 
"  The  smiling  plains."  (Harm.  Inst.  Cat.)  There 
is  also  a  minuetto  by  Pinto,  in  a  forcible  and 
pleasing  style  of  composition,  in  No.  14  of  the 
"  Harmonicon." 

PINTO,  MRS.,  better  known  as  MISS  BRENT, 
was  the  wife  of  Thomas  Pinto.  She  was  a  cele- 
brated singer,  and  a  pupil  of  Dr.  Arne,  who 
wTote  expressly  for  her  the  part  of  Maudane,  in 
"  Artaxerxet.  ' 

PIO.  ANTONIO,  chapel-master  at  Ravenna, 
was  a  native  of  that  city.  He  is  numbered 
amongst  the  dramatic  composers  of  Italy,  be- 
tween the  years  1783  and  1791.  One  of  hit 
operas  was  entitled  "  Xettuiw  ed  Egle,"  op.  ser. 
Venice,  1783. 

PIONNIER,  JEAN.  Chapel-master  at  Loretto, 
in  the  middle  of  the  sixteenth  century.  Amoiuet 
his  printed  works  we  can  name  "  Motetti  d  5  I'oc, 
Lib.  2,"  Venice,  15G4. 


734 


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ENCYCLOPEDIA    OF    MUSIC. 


PIS 


PIOZZI.  A  cowposer  of  thi8  name  published 
•t  Manheira,  about  the  year  1780,  two  operas  of 
quatuors,  for  the  har]]sichord,  two  violins,  and  bass. 

PIPE.  Any  tube  formed  of  a  reed,  or  of  wood, 
metal,  iic,  and  which,  being  inflated  at  one  end, 
produces  a  musical  sound,  acute  or  grave,  soft  or 
loud,  according  to  the  material,  and  its  form  and 
dimensions.  The  pipe,  which  originally  was  no 
more  than  a  simple  oiitcn  straw,  formed  one  of 
the  first  instruments  by  which  melodious  sound:) 
■were  attempted. 

PIPE,  or  ABUB,  sometimes  means  Jiute  or 
hautboy.  The  Jews,  in  their  Gemara,  give  us  the 
following  account  of  it.  "Our  rabbins,"  say 
they,  "  have  delivered  that  there  was  an  abub  or 
fipe  in  the  sanctuary.  It  was  smooth,  thin,  made 
of  reed,  and  so  old  as  the  days  of  Moses.  The 
king  commanded,  and  they  gilded  it  with  gold, 
but  it  was  not  so  sweet  as  before  ;  they  took  off 
the  gilding,  and  the  sound  was  as  sweet  as 
ever." 

PIPER.  A  performer  on  a  pipe.  Pipers 
were  formerly  one  of  the  class  of  itinerant  musi- 
cians, and  performetl  on  a  variety  of  wind  in- 
struments, as  the  bag])ipe,  musette,  courtant,  &c. 

PIPES  OF  PAX,  or  MOUTH  ORGAN.  A 
wind  instrument  consisting  of  a  range  of  pipes 
bound  together  side  by  side,  and  gradually  less- 
ening, with  respect  to  each  other,  in  length  and 
diameter.  The  longest  pipe  is  about  six  inches, 
and  the  shortest  about  two  inches  in  length.  In 
performance  it  is  held  in  the  hand,  and  the  pipes 
are  blown  into  by  the  mouth  at  the  upper  ends. 
Some  inform  us  that  Miirsyas,  others  that  Sile- 
nus,  was  the  first  that  joined  pipes  of  different 
lengths  together  with  wax  ;  but  Virgil  attributes 
the  invention  to  Pan. 

PIQUE.  (F.)  ITie  dash  or  dot  used  to  indicate 
that  certain  notes  are  to  bo  played  itaccato  or  de- 
tached. 

PIRIJNGER,  JOSEPH,  chamber  musician  to 
the  court,  and  violiuLst  at  Vienna,  published  at 
Paris,  in  1786,  "  Six  Qiuituori  pour  Violons,  Viole,  et 
Basse,"  and  "  Six  Symphonies  d  huii."  He  has 
since  brought  before  the  public,  at  Vienna,  "  Di- 
vertissement pour  deux  f'iolons,''  "12  leichte  Duos 
filr  Anfanr/rr  auf'l  Violinen"  Vienna,  and  "  A>m« 
violiiachn'ie,"  Vienna,  1800.  This  is  a  modernized 
edition  of  the  VioUnschiUe  of  Leopold  Mozart. 
He  has  left  in  manuscript  eighteen  trios  for  two 
violins  and  bass. 

PISARI,  PASCALO,  singer  in  the  Pontifical 
Chapel  at  Rome,  and  a  celebrated  contrapuntist, 
re>ided  in  that  city  in  the  year  1770.  Dr.  Bar- 
ney heard,  at  Rome,  a  very  learned  mass  by  this 
master,  for  sixteen  voices. 

PISAROXL  BENEDETTA  ROSAMOXDA, 
was  born  at  Piacen/a  in  17'.>3.  After  learn- 
ing music  under  the  direction  of  an  obscure 
master  of  her  native  city,  she  took  lessons  in 
singing  of  the  famous  Marchesi,  who  taught 
her  the  principles  of  the  beaudtul  school  of  the 
eighteenth  century.  ^V^len  she  made  her  dt.but. 
It  the  age  of  eighteen,  in  the  roles  of  the  (iri- 
^da  and  the  Camilla  of  PaOr,  Mme.  PLsaroni  had  a 
high  soprano  voice.  ..\fter  a  severe  illueos,  which 
■he  had  towards  the  year  181.1.  she  lost  several 
notes  in  the  upper  register,  while  the  low  tones 


acquired  a  powerful  and  unexpected  sonorous- 
ness. Then  she  found  herself  obliged  to  sing  the 
jiarts  written  for  the  contralto,  and  became  one 
of  the  greatest  singers  of  her  time. 

PISEXDEL,  JOIIANN  OEORG,  boni  at 
Carlsburg,  in  Franconia,  in  1087,  was  entered,  at 
nine  years  of  age,  as  a  chorister  in  the  (•hai)cl  of 
the  Margrave  of  Anspach,  under  PLstncchi  and 
Corelli;  from  the  latter  of  whom  he  lenrnetl  the 
violin,  and  made  such  progress,  that,  at  fifteen 
years  of  age,  he  was  nominated  violini-t  of  the 
chapel.  In  1700  he  went  to  Leipsic  to  attend 
some  of  the  lectures  ii\  that  university.  In  171'i 
he  was  engaged  for  the  chapel  of  the  King  of 
Poland,  and  was  subsequently  attached  to  the 
suite  of  the  hereditary  Prince  of  .Srtxony,  whom 
he  accompanied  into  France  and  Italy.  Finally, 
after  the  death  of  Volumier  in  17.50,  PL-ondel  was 
made  concert  master  at  Dresden,  and.  in  1731, 
was  nominated  chef  d' orchiitre  of  the  theatre 
there,  to  which  the  celebrated  Ha-vse  was  com- 
poser. These  situations  he  held,  with  the  great- 
est credit,  till  his  death,  which  took  place  in 
175.5. 

PISTICCI,  ATANASIO,  a  monk  and  church 
composer,  flourished  in  the  early  part  of  the 
seventeenth  century.  Amongst  other  works  he 
published  "  Mote/ti,"  Venice,  1633  ;  "  Moirlti  d  i 
e  3  I'oci,"  book  iii.  ;  and  "  Salmi  d  4  loci." 

PISTOCCHI,  FR.  AX-T.  This  musician,  con- 
sidered by  the  Italians  to  be  the  father  of  the 
modem  school  of  singing,  was  bom  at  Bologna 
about  the  year  1660.  He  first  devoted  hLs  talents 
to  the  stage  ;  but  meeting  with  little  success,  on 
account  of  his  disagreeable  pergonal  appearance, 
and  the  want  of  power  in  his  voice,  he  quitted 
that  pursuit,  and  cntcre<l  into  holy  orders.  Being 
an  excellent  contrapuntist,  he  was  afterwards  in- 
vited to  Anspach  as  chapel-master  to  the  mar- 
grave, but  did  not  long  continue  in  that  situation, 
as,  in  the  year  1700,  he  had  returned  trom  Ger- 
many to  Bologna,  where  he  opened  a  school  fox 
singing,  of  which  several  of  the  principal  vocal 
artists  of  the  following  age  became  pupils ; 
amongst  these  we  may  name  Antonio  Bernacchi, 
Antonio  Pasi,  J.  B.  MineDi,  Ant.  Pio.  Fabri,  and 
Bartolino.  Dr.  Burney  says  that  "  Pistocchi  had 
a  very  fine  soprano  voice,  which  he  lost  by  a  dis- 
solute life,  together  with  a  fortune  which  he  had 
acquired  by  the  exercise  of  it.  Ir.  this  distress 
he  was  re<luce<l  to  the  necessity  of  becoming  a 
copyist,  in  which  employment,  by  hL«  attention 
and  assiduity,  he  arrived  at  such  a  degree  of  skill 
in  music  as  to  be  able  himself  to  compose.  lu 
the  course  of  a  few  years,  he  discovered  that  hLi 
voice  was  returning,  and,  having  experienced 
great  misery  whilst  he  was  deprived  ol  that  fac- 
ulty, he  practised  incessantly,  till  it  .settl<?d  into 
a  tine  contralto.  NVith  this  valuable  acquisition 
he  determined  to  travel,  and  accordingly  visited 
most  of  the  courts  of  Europe.  The  encournge- 
mcut  he  met  with,  and  the  offer  of  the  employ- 
ment of  chapcl-mnster  to  the  Margrave  of  .\n- 
sphch,  with  a  handsome  stipend,  induced  him  to 
settle  at  that  court,  where,  in  the  pos.ses»ion  of  a 
newly-acquirctl  lortune,  he  continued  m  my  yeara^ 
At  length  he  returne<l  to  Italy,  and  retired  to  a 
convent,  in  which  he  died." 

It  will  be  observed  that  Dr.  Burner's  account 
of  this  musician  doe*  not  well  accord  with  the 


73A 


PIS 


ENCYCLOPEDIA    OF    MUSIC. 


PLA 


opening  account  of  liira,  translated  from  the 
Fr«:ich  "  Dictionary  of  Musicians."  It  is  probable 
that  Dr.  llurney's  account  is  the  correct  one,  in 
wlint  relates  to  tlie  failure  and  recovery  of  the 
voice  of  I'istocchi,  thou);h  it  ecrms  u)iaccount- 
ablc  that  he  has  not  alluded  to  his  celebrated 
school  of  sin;;in<!;.  Among  Pistocchi's  works  are 
the  following;  operas  :  "  \<l^■ci3^,"  Ansjjach,  1697  ; 
"  I^anitro,"  K79  ;  " //  Gir,:llo,"  1681;  "It  Mar- 
tirin  <U  S.  Adriano,"  Venice,  1699  ;  and  "  Le  Rite 
di  Demncrito,"  Vienna,  1700.  He  abo  published 
some  sacred  music,  cantatas,  &e.  Pistocchi  died 
at  Holo;|na  in  17'-*0. 

PISTOUIXI,  AXTOXIO.  A  dramatic  com- 
poser of  Florence,  celebrated  for  his  comic  operas 
»nd  interlude;,,  about  the  year  1730. 

PITCH.  The  acuteness  or  gravity  of  any  par- 
ticular sound,  or  of  the  tuning  of  any  instrument. 
Any  sound  less  acute  than  gome  other  sound  is 
said  to  be  of  a  lower  pitch  than  that  other  sound  ; 
and  rice  vers  A.  The  opera  pitch  is  tuned  above 
most  others,  and  is  therefore  said  to  be  higher 
than  the  common  concert  pitch. 

PITCH  PIPE.  An  instrument  used  by  vocal 
practitioners  to  ascertain  the  pitch  of  the  key  in 
which  they  are  about  to  sing.  It  is  blown  at  one 
end,  like  a  common  flute,  and  being  shortened  or 
lengthened  by  a  graduated  scale,  is  capable  of  pro- 
ducin'j,  with  mechanical  exactness,  all  the  semi- 
'onic  degrees  within  its  compass. 

PITICCHIO,  FRAXCESCO,  chapel-master  at 
Palermo,  resided  some  years  in  Germany  (chiefly 
at  I'.runswick  and  Dresden)  with  a  company  of 
Italian  singers.  In  178-1  he  brought  out,  at  Dres- 
den, an  opera  entitled  "  Gli  Amanfi  alia  I'rova." 
He  next  produce!  "II  Bertotdo,"  op.  buffa,  Vi- 
enna, 1787,  and  "  La  Didorie  abbaiidouafa,"  op. 
seria,  Dresden,  1788.  He  also  published  several 
sets  of  Italian  canzonets,  and  six  quintets  for 
violuis,  &c. 

PITOXI,  OITAVIO,  born  in  1657,  was  chap- 
el-master at  St.  Peter's,  and  conductor  of  the 
music  in  the  German  college  at  Rome.  He  wrote 
much  sacred  music,  and,  according  to  Abbe  Ger- 
ber,  made  some  approaches  towards  the  modem 
school.     He  died  at  Rome  in  1743. 

I'iriERLIX,  FRIEDRICH  ADOLPH,  was, 
in  179i!,  conductor  in  the  orchestra  of  a  theatre 
at  Magileburg.  He  published  some  vocal  and  in- 
strumental music,  principally  dramatic,  amongst 
which  is  an  opera  called  "  The  Gypsies."  He 
died  in  1804. 

PIU.  (I )  A  word  of  augmentation  ;  as,  piu 
presto,  quicker;  piu  piano,  more  soft;  piu  forte, 
louder. 

PIVA.     A  hautboy,  or  comet. 

PIV.\,  GRECiORK),  an  Italian  vocal  com- 
poser, flourished  about  the  year  1700, 

PIXIS,  F.  W.,  senior.  Organist  of  the  re- 
formed church  at  Manheim  since  the  year  1770. 
He  published  "  Eight  short  and  easy  Preludes 
for  the  (^rgan  or  Piano-forte,  Part  I.,"  Man- 
heim, 1791;  "Eight  ditto.  Part  II.,"  Manheim, 
1792  ;  and  "  Two  Sonatinas  for  the  Piano-forte," 
Manheim,  1792. 

PIXJS,  FRIEDRICH  WlhllELM,  eldest  son 
»f  llie  preceding,  was  bom  ut  Manheim  in  1786. 


lie  was,  from  the  age  of  thirteen,  highly  cele- 
brated for  his  performance  on  the  violin,  in  the 
style  of  Franzl  and  Viotti,  and  accompanied  his 
father  in  a  musical  tour  through  Germany  ;  in 
the  principal  cities  of  which  country  he  wm 
heard,  as  a  child,  with  entliusiasm,  especially  at 
Berlin,  in  the  year  1800. 

PIXIS,  JOHAXX  PETER,  younger  brother 
of  the  preceding,  was  born  at  Manheim  in  1788. 
He  was  a  celebrated  pianist  from  the  age  of  twelve 
years,  having  received  liis  principal  instructions 
on  that  instrument  from  hLs  father.  In  1809  he 
settled  at  Munich,  and  afterwards  at  Vienna.  lu 
1825  he  became  fixed  at  Paris,  where  he  was  con- 
sidered one  of  the  best  piano  professors  of  the 
day.  There  he  adopted  an  orphan  girl,  by  the 
name  of  Francilla  Pixis,  to  whose  musical  edu- 
cation he  devoted  himself  almost  exclusively,  and 
made  of  her  a  distinguished  singer.  In  1833  he 
travelled  with  her  in  Germany,  where  she  sang 
with  much  success.  Xot  succeeding  in  Paris, 
they  went  to  Italy,  where  she  sang,  at  Xaples,  in 
"  -^ffo,"  an  opera  wTitten  for  her  by  Pacini  in 
1840.  More  than  one  hundred  and  fifty  works 
have  been  published  under  the  name  of  J.  P. 
Pixis,  including  a  symphony,  quintets,  quartets, 
trios,  sonatas,  concertos,  &c.,  for  piano,  with 
strings,  and  many  smaller  pieces. 

PIZZ.VITI,  an  Italian  abbot,  has  published  the' 
following  works  :  •'  La  Scienza  dc  Saoni,  e  deW 
Armonia ;  dirctta  specialmente  a  render  rapione  de' 
Fcnomeni,  ed  a  coiioscer  la  natura  e  le  leygi  delia  me- 
desiina,  ed  a  giovare  alia  pratica  del  Contrapunto  ; 
dicisa  in  5  parti,"  Venice,  1782,  and  "  Tavola  degli 
Esempi  appartenenli  alia  Scienza  de'  Suoni  e  deW 
Arinonia." 

PIZZICATO,  or  PIZZ.  (I.)  An  expression 
particularly  applicable  to  violin  music,  and  im- 
plying that  the  movement,  or  the  passage  over 
which  it  is  written,  is  to  be  performed  by  the 
fingers  instead  of  the  bow. 

PLA,  PLAS,  or  PLATS.  There  were  two 
brothers  of  one  of  the  above  names,  .Spaniards  by 
birth,  who  were  very  celebrated  performers  on 
the  hautboy.  About  the  year  1752  they  were  at 
Paris,  from  whence  they  proceeded  to  Germany, 
and,  in  1761,  were  engaged  in  the  chapel  of  the 
Duke  of  Wurtemburg  ;  in  the  first  year  of  which 
engagement  one  of  the  brothers  died.  Some  of 
their  music  for  the  hautboy  and  flute  was  pub> 
lished. 

PLACIDAMENTE.  (I.)  "With  placidity, 
quietly. 

PLAGAL.  An  epithet  used  in  opposition  to 
authentic,  and  applied  to  the  oct;ive  when  arith- 
metically divided.  When  a  melody  is  so  con- 
structed as  to  lie  between  the  two  extremes  of  an 
octave,  making  iiajinal  on  one  of  those  extremes, 
the  mode  is  said  to  be  authentic ;  but  if  the  Jinal 
be  on  the  dominant,  the  mode  is  called  phigal. 
These  distinctions  have,  however,  long  since 
ceased  to  be  noticed,  and  now  are  or.ly  known  in 
the  old  music  of  the  church. 

PLAGAL  CADEXCE.  A  form  of  final  ca- 
dence in  which  the  harmony  of  the  key  note  was 
preceded  by  that  of  the  subdominant. 

PLAGl.VRIST,  MUSICAL.  A  composer  who 
purloins  or  borrows  from  the  productions  of 
others. 


726 


PL  A 


EXCYCLOP.EDIA    OF    MUSIC. 


ri.^ 


PLAIN  SOXG.  Tl'.e  nam<»  given  to  the  old 
ecclesiastical  chant,  when  in  iUi  most  simple 
state,  and  without  those  harmonic  appendages 
with  whirh  it  has  long  since  been  enriched  by 
cultivated  science. 

PLAIN  CHANT.     See  Plain  Sono. 

PLAINTIVO.    (I.)    Expressively,  plaintively. 

PLANELLI,  knight  of  the  order  of  Jerusn- 
feni,  at  Naples,  published  there,  in  1772,  an  ex- 
cellent work  entitled  "  DeW  Opera  in  Mtuica." 

PLAN TADE,  N.,  a  French  composer,  and  pu- 
pil of  Langle,  was  born  at  Pontoise.  He  was  for 
several  years  chapel-master  to  the  King  of  Hol- 
land, and  afterwards  returned  to  Paris.  Among 
his  numerous  works  are  the  following  :  "  Ru- 
maiiceji,  w.  Ace.  de  Clac,  Cahier  1,  2,  3,  4,"  Paris, 
179G;  "  Trois  Duos  pour  le  ChaiU,  avec  Ace.  (it 
Ilarpe  on  Ctat."  Op.  8,  Paris,  1796  ;  "  Recueil  de 
Romances  et  Chaitaont,  avec  Ace.  de  Clar.,"  Op.  6, 
Paris,  1790  ;  "  Le  Jatoux  malffri  lui,"  operetta, 
Paris,  1703  ;  "  Les  deiu  iitcura,"  Paris,  1791  ;  "  Le3 
Sou/iers  modiris,"  Paris,  1793 ;  "  Palma,  ou  le 
Voyage  en  Grice,"  Paris,  1799;  "  Romaijnesi," 
Paris,  17'.I9  ;  "Au  pliu  brave  la  plus  belle,"  Paris, 
1799;  "  Zoi,  Ou  la  pauvre  Petite,"  opera,  in  one 
act;  "  Rtcueil  de  Romances  avec  Clac.,''  Op.  13, 
Paris,  1802  ;  and  "  Esther,"  op.  ser.  of  Kacine, 
Paris,  1803. 

PLAQUES.  (F.)  Struck  at  once,  in  speak- 
ing of  chords. 

PLARR,  GOTTLIEB  IMMANUEL.  A  mu- 
sical amateur,  born  at  Dresden  in  1748.  He 
published  "  Six  Quadril'.es  pour  le  Clav.,"  Dresden, 
1791;  "  Kleine  KUivierstUcke  in  Musik  gesetzt," 
)resden,  1792;  "  .Sij;  Polonoises  pour  le  Clac," 
Dresden,  1793  ;  and  "  Srchs  Polonoisen  fUrs  Kla- 
vier,"  Dresden,  1795. 

PLASMA.  (Gr.)  A  term  used  by  the  an- 
cientji ;  sometimes  to  signity  a  florid,  and  at 
other  times  a  soft  and  delicate  modulation  of 
the  voice. 

PLATANIA,  IGNAZIO.  A  dramatic  com- 
poser at  Rome,  between  the  years  1783  and  1791. 
ITiis  Ls  probably  the  Platania  mentioned  in  the 
French  "  Dictionary  of  Musicians." 

PLATEL,  N.,  a  French  violoncellist  in  the 
latter  years  of  the  la,st  century.  He  published 
some  music  for  his  instrument. 

PL.\TES.  Quadrilateral  sheets  of  copper,  or 
pewter,  on  which  music  is  stamped,  or  engraved, 
in  order  to  be  prijite.l. 

PL.VfNER,  .\UGUSTIN.  a  composer  at  the 
t>eginnin^  oi  the  seventeenth  century,  published, 
among  other  works,  "  Miss<e  i  8  roc.,'  Nurem- 
berg, 1G23. 

PLATONE,  LUIGI.  a  Neapolitan  dramatic 
composer,  is  known  by  the  following  works : 
"  Amor  »)«  ha  riguardi,"  opera  bulfa,  Naples, 
1787 ;  "  Le  Convul^i-mi,"  opera  buifa,  Naples, 
1787  ;  and  "  //  M.Urinumio  per  mtrpnia,"  op«n 
butfa,  Rome,  1788. 

PLATFI,  GIOVANNI,  of  Venice,  an  excel- 
lent iicrformcr  on  the  violin  and  hautboy,  was 
ohamoer  musician  to  the  Uishop  of  Wurt/burg 
about  the  year  17»0.  Ho  published  at  Nurem- 
berg, about  1746,  two  works,  of  six  sonatas  each. 


for  the  harpsichord,  also  six  concertos  for  the 
same  instrument,  six  solos,  &c.  His  wife  was 
principal  singer  at  the  chapel  of  Wurtzburg. 

PLAWENN,  or  PLAUEN,  LEOPOLD,  a 
henedictine  monk  at  Zwitallen,  published  the 
following  works :  "  .'<acr<e  mjnipha  duplicium 
aquarum  in  dei  et  dicorum  lamles  a  3,  4,  5,  et  6 
vocibus  et  itutrumentis  animattr,"  Lispruck,  1659. 
ITie  third  volume  appeared  at  Kcrapten  in  1672, 
and  contains  "  .MLisa  4  J'estica,  et  quatuor  etc- 
quiatee  cceterce  una  cum  choro  vocali  ad  placitun 
The  fourth  volume,  comprising  canticles  for 
three,  four,  live,  and  six  voices,  with  instrument-i, 
appeared  at  Ulm  in  1679. 

PLAYERS  ON  HIGH  AND  LOW  IN.STRU- 
MENTS.  A  title  assumed  by  the  French  min- 
strels of  the  fourteenth  century,  when  the  laws 
of  counterpoint  were  forming,  and  began  to  give 
exercise  to  bass  and  treble  instruments  in  con- 
cert—  a  denomination  which  was  afterwards 
confirmed  by  a  charter  in  the  year  1401,  granted 
them  by  Charles  VI. 

PLAYFORD,  JOHN,  born  in  the  year  1613. 
was  by  trade  a  music  seller,  in  London.  In  the 
year  166o  he  published  "  An  Introduction  to  the 
Skill  of  Music,"  which  appears  to  have  been  in 
a  great  measure  extracted  from  Morley's  '•  Intro- 
duction," liutler's  "  Principles  of  Music,"  and 
other  works  on  the  subject.  It  is  divided  into  three 
books ;  the  tirst  containing  the  principles  of 
musif,  with  directions  for  singing ;  the  second, 
instructions  for  the  bass,  treble,  and  tenor  viol, 
and  also  for  the  treble  vioUn,  with  lessons  to 
each  ;  the  third,  the  art  of  descant,  or  of  com- 
posing mu.sic  in  parts.  This  work,  which  is 
written  in  a  plain  and  familiar  style,  succeeded 
so  well,  that,  before  the  year  1684,  it  had  passed 
into  ten  editions.  Of  these,  the  last  Ls  fuller 
than  any  of  the  former,  and  is  also  much  more 
correct.  In  the  prelace  there  are  many  curious 
and  interesting  particulars  relative  to  mu.sic  and 
musical  professors.  PlayforJ  appears  to  have 
possessed  the  friendship  ol  most  of  the  eminent 
musicians  of  his  time,  and,  in  consequence,  was 
the  pubUsher  of  a  great  number  of  musical 
works,  between  the  years  IGoO  and  168j.  He 
was  a  good  judge  of  music,  and  was  very  indus- 
trious in  his  trade,  contributing  not  a  little  to 
the  improvement  of  the  art  of  printing  music 
from  tlie  letter  press  types,  by  the  u.se  of  what 
he,  in  some  of  liis  publications,  calls  the  iicic- 
tied  note.  It  must  be  here  remarked,  that  the 
musical  works  formerly  in  use  in  England  were 
printed  Irom  metal  tyjies ;  tlie  notes  were  distinct 
trom  each  other,  and  the  quavers  and  semi- 
quavers were  signified  only  by  single  or  doul)le 
tails,  without  any  connection  whatever.  Mat- 
thew Lock,  in  his  "  Milothisia,  '  printed  in  1673, 
from  copper  plates,  joined  them  together ;  and 
from  hence  it  is  supposed  that  I'layturd  took  the 
hint,  and  transferred  the  same  improvement  to 
letter  press  types.  His  skill  in  mu.sic  was  not  so 
great  as  to  entitle  him  to  the  apj^llatiou  ot  a 
master.  Ho  knew  nothing  of  the  theory  of  the 
•cicnce,  but  was  well  versed  in  the  ]>ractice,  and 
understood  the  rules  of  composition  well  enougli 
to  write  good  hannony.  Of  this  ho  ha»  given 
proof  in  a  great  numl)cr  of  songs  in  two,  thr«e, 
and  four  ports,  printed  in  the  ■■  Musical  Com- 
panion," and  also  in  his  "  Psalnts  and  Uymn*,'' 


93 


737 


PLA 


ENCYCLOPEDIA    OF    MUSIC. 


P.  B 


in  four  parts,  nnd  in  the  collection  entitled 
"  The  whole  Hook  of  PHalms,  with  the  usual 
Hymns  and  Spiritual  Songs,  composed  in  three 
I'arts."  I'lavlord  lived  to  the  age  of  eighty,  and 
died,  as  is  generally  supposed,  about  the  year 
t'JO.'J.  lie  was  succeeded  in  his  business  by  his 
Bon  Henry,  who,  in  1701,  published  what  he 
called  the  second  book  of  the  "  Pleasant  Musical 
('ompai.ion,  being  a  choice  Collection  of  Catches 
for  three  and  four  Voices ;  publislied  chicHy  for 
the  Encouragement  of  Musical  Societies,  which 
will  speedily  bo  set  up  in  all  the  Towns  and 
Cities  in  England."  The  design  of  this  work 
was  to  give  to  the  public  a  scheme  for  instituting 
musical  clubs  in  different  places,  with  certain 
rules  mentioned  in  the  preface,  and  to  afford 
them  also  a  useful  collection  of  music.  It  seems 
to  have  had  some  success  in  promoting  the  prac- 
tice of  catch  singing  in  Ix)ndon  and  Oxford ;  but 
it  does  not  appear  to  have  had  that  extensive 
influence  which  the  compiler  expected.  It  is 
conjectured  that  Henry  Playford  surt-ived  his 
father  but  a  very  few  years  ;  for  we  meet  with  no 
publication  by  him  subsequent  to  the  year  1710. 

PLAYHOUSE  TUXES.  The  general  name 
by  which,  in  the  seventeenth  century,  all  melo- 
dies first  introduced  to  the  public  by  the  theatres 
were  designated.  Of  these,  for  a  long  time, 
the  principal  in  Great  Britain  was  that  of  "  Gen- 
ius of  England." 

PLECTRUM.  (L.)  The  quill  formerly  used, 
instead  of  the  ends  of  the  fingers,  in  agitating  the 
strings  of  various  instruments. 

PLEIXJEU.     (F.)    Full  organ. 

PLEIGXIERE,  M.  DE  LA,  a  French  musi- 
cian, published,  about  the  year  1783,  a  work 
entitled  "  Milhode  pour  exicutcr  les  Variations 
d' Ilanjwnie  acec  Us  Clavecins  ordinaires,  sans  6ter 
les  Mains  de  dessus  le  Clavier." 

PLEYEL,  IGXAZ,  was  bom  near  Vienna,  in 
1757,  and  was  until  the  age  of  twenty  a  favorite 
pupil  of  riaydn.  In  1777  he  was  appointed 
chapel  master  to  the  Count  Erdody,  but  his  eager- 
ness to  vitiit  Italy  did  not  allow  him  to  remain 
long  in  that  position ;  the  count  at  first  opposed, 
but  furnished  him  the  means,  and  he  set  out  for 
Naples.  He  had  already  composed  his  first  set 
of  quatuors,  wliich  were  admired  for  their  grace- 
ful melody  and  individuality  of  manner.  Hut, 
strangely  enough,  Haydn  had  taught  him  nothing 
about  the  laws  of  rhythm.  Arrived  in  Italy, 
Pleyel  became  acquainted  with  all  the  distin- 
guished artists  there  from  that  time  forward. 
Clmarosa,  Guglielmi,  Piiisiello  became  his  friends  ; 
And  his  taste  was  fonned  by  hearing  singers  like 
Marche-si  at  Milan,  Guadagui  at  I'adua,  the  Ga- 
brielli,  Pacchiarotti,  and  many  others.  He  heard 
and  admired  Xardini,  Pugnaui,  and  many  more 
who  were  the  glory  of  Italy.  Although  his 
talent  led  him  to  instrumental  music,  yet  he  had 
a  desire  to  try  his  powers  upon  the  stage,  and  he 
eomi)Osed  for  the  grand  theatre  at  Xaples  the 
o^ta,  "  IJijenia,"  wliich  was  successlul.  Keturn- 
ing  to  (iermany  in  17H1,  Pleyel  remained  there  a 
short  time,  and  then  made  a  shorter  journey  to 
Italy.  In  17iS.'J  he  became  adjunct  chapel-master 
•with  the  old  Uiclitcr  to  the  Cathedral  of  Stras- 
burg.  Here  he  wa.s  obliged  to  write  music  for 
he  church ;    he   com^  o  eJ   acrcral    inas-^cs   and 

7. 


motets,  which  were  liked,  but  unfortunately  were 
consumed  in  a  conflagration.  The  ten  years  from 
1783  to  1793  were  the  period  in  wl.ich  Pleyel 
composed  most  of  his  works.  His  violin  quartets 
and  piano-forte  sonatas  had  an  almost  unex- 
ampled popularity.  Editions  were  multiplied 
in  infinitum,  and  copies  scattered  most  profusely 
throughout  Vienna,  Berlin,  I>eipsic,  Paris,  Lon- 
don, and  Holland.  About  the  year  1795  Pleyel'a 
fame  eclipsed  that  of  all  the  other  musicians, 
and  no  other  music  was  in  demand.  He  had 
composed  symphonies,  too,  which  had  hardly 
enough  grandeur  for  tliat  form,  but  were  distin- 
guished tor  agreeable  melodies,  clearness,  and  fa- 
cility of  execution.  Towards  the  ejid  of  1791, 
he  was  engaged,  by  the  directors  of  the  Profes- 
sional Concert  in  London,  to  write  some  sympho- 
nies ;  thb  was  to  offset  the  rival  enterprise  of 
Salomon,  who  had  performed,  with  great  success, 
twelve  symphonies  composed  for  him  by  Haydn. 
Pleyel  accordingly  went  to  London.  The  first 
concert  was  given  on  the  13th  of  February,  1792. 
ITie  success  of  Pleyel's  mvisic  was  prodigious. 
He  surpassed  himself',  and  showed  himself  wor- 
thy to  contend  with  his  illustrious  master.  ITie 
symphonies  were  three  in  number.  Unfortu- 
nately, the  Professional  Concert  was  dissolved  a 
few  years  after,  its  library  dispersed,  and  the 
sjTnphonies  lost  forever.  With  the  proceeds  of 
his  London  engagement  (£200)  and  some  other 
savings  he  was  able  to  buy  an  estate  near  Stras- 
burg,  where  he  succeeded  Richter  as  first  chapel- 
master  of  the  cathedral ;  but  the  revolution 
threw  him  out  of  this  emplojTnent,  and  he  re- 
tired to  his  estate.  Even  there  he  was  not  un- 
disturbed. His  place  was  classed  as  aristocratic ; 
seven  times  he  was  denounced  in  the  year  1793, 
and  he  only  escaped  death  by  flight.  Returning 
to  see  his  family,  he  was  arrested  m  the  middle 
of  the  night,  and  conducted  before  the  luunicipal 
officers  of  Strasburg.  Interrogated  about  his 
opinions,  he  declared  himself  a  citizen  ;  but  they 
required,  in  proof  of  his  sincerity,  that  he  should 
write  the  music  to  a  sort  of  drama  for  the  anni- 
versary of  the  10th  of  August.  He  was  allowed 
to  do  it  in  his  own  house,  under  guard  of  two 
gensdarmes  and  the  poet  (a  Septentdriseur)  who 
had  written  the  text,  and  gave  him  iivstructions. 
After  an  uninterrupted  toil  of  seven  days  and 
nights,  the  work  was  finished,  and  the  author  re- 
turned to  Strasburg  to  .direct  the  execution.  In 
it  he  had  employed  seven  bells  on  the  seven 
tones  of  the  gamut.  These  bells  had  been  taken 
from  various  churches  and  hung  in  the  cupola  of 
the  cathedral.  The  first  sound  whicii  they  ut- 
tered, and  which  was  a  j)erfect  chord,  produced 
such  an  extraordinary  effect,  that  Pleyel  fainted. 
The  inhabitants  of  Strasburg  have  preserved  th<» 
memory  of  this  fine  work,  and  the  score  is  still 
preser\-ed  in  the  family  of  the  composer.  Dis- 
gusted by  this  e.\.porience  of  provincial  life, 
Pleyel  sold  his  property  and  removed  with  his 
family  to  Paris  in  179.3.  The  continually  grow- 
ing success  of  his  music  suggested  to  him  the 
idea  of  becoming  his  own  publLsher.  and  securing 
to  himself  the  profits  made  upc>u  it  by  the  music 
dealers.  He  established  a  music  store,  to  which 
he  alterwards  added  the  manufacture  of  pianos. 
These  establisliments  prospered,  but  the  care 
which  they  re<iuired  iuscusibly  turned  Pleyel  off 
from  composition,  so  that  long  belore  his'  death 
he  ceased   to  write.     At  the  n  .ost,  he  produced 


PLE 


ENCYCLOPEDIA    OF    MUSIC. 


POl 


twelve  quntuors,  which  were  never  published, 
Dut  which  Dussek,  Onslow,  and  others  pro- 
nounced superior  to  hLs  earlier  ones. 

Alter  a  career  so  laborious,  Pleyel  retired  at 
last  to  an  estate  tar  from  Paris,  and  f^ave  him- 
self up  to  his  af;ricultural  tastes,  lie  wa«  living 
hapj))'  when  the  revolution  of  July  troubled  his 
old  a^e  with  feiirs  about  his  property.  His 
health  was  already  feeble  ;  his  maladies  increased, 
and  after  three  months  of  continual  suffering  he 
died,  on  the  11th  of  November,  18.U,  at  the  age 
of  seventy-four  years.  He  had  married  in  1788, 
and  had  several  children,  the  most  of  whora 
died  young. 

The  principa  works  of  Pleyel  are,  I.  Svm- 
nio.NiKS  Koii  Grand  Orchestra,  to  tht  number 
of  twenty-nine.  II.  Septets,  Sextets,  and 
Quintets.  1.  Septuor  for  two  violins,  alto,  vio- 
loncello, contrabasso,  and  two  horns.  2.  Sextuor 
for  two  violins,  two  altos,  violoncello,  and  contra- 
hiiMso,  Op.  37.  3.  Five  books  of  (luintets  for  two 
violins,  two  altos,  and  'cello.  All  the  other  com- 
positions in  this  form,  bearing  the  name  of 
Pleyel,  were  only  arrangements  of  his  other 
works.  III.  Quartets.  1.  Op.  1,  2,  3,  4,  5,  6, 
and  7,  containing  45  quartets  for  two  violins, 
alto,  and  'cello.  2.  Six  quatuors  for  tiute,  violin, 
alto,  and  bass.  Op.  56.  IV.  Trios.  Op.  11, 
trios  for  violin,  alto,  and  bass.  Also  three  books 
of  trios  for  two  violins  and  'cello.  V.  Con- 
certos. 1.  For  vioUn,  Nos.  1  and  2.  2.  For 
violoncello,  Nos.  1,  2,  3,  and  4.  3.  Symphonie 
Concertanle,  for  violin  and  alto,  Op.  35.  4.  For 
two  violins,  Op.  57.  5.  For  violin,  alto,  and  bass. 
Op.  50.  6.  For  two  violins,  alto,  'cello,  flute, 
hautboy,  and  bassoon.  7.  For  flute,  hautboy, 
horn,  and  bassoon.  8.  For  piano  and  violin, 
Nos.  1  and  2.  VI.  Duos.  1.  Six  books  for 
two  viohns.  2.  For  violin  and  'cello.  Op.  12. 
3.  For  violin  and  alto,  Op.  30.  VII.  Piano 
Music.  1.  Concertos  for  piano,  Nos.  I  and  2. 
2.  Sonatas  for  piano,  violin,  and  bass.  Op.  14, 
(books  1  and  2,)  Op.  15,  Op.  16,  (books  1  and  2,) 
Op.  23,  24,  29.  3.  Grand  Sonatas,  Op.  31,  32, 
33,  34.  4.  Six  Sonates  prot/ressives  for  piano  and 
violin,  Op.  27.  5.  Six  do..  Op.  28.  In  the 
multitude  of  works  ascribed  to  Pleyel  it  is  dith- 
cuit  to  distinguish  those  which  are  original  from 
those  which  arc  arrangements  or  extracts  from 
his  other  works. 

PI.EYEL,  CAMILLE,  oldest  son  of  the  pre- 
.eding,  wa.s  born  at  Strasburg  in  1792.  He  has 
.evoted  himself  wholly  to  the  manufacture   of 

ianos,  having  associated  himself  for  that  pur- 
pose with  Kaikbrenner  in   1824.     He  is  also  an 

xcellent  pianist  and  composer,  and  has  written 
quartets,  trios,  sonata.s,  &c. 

PLEVE1-,  MARIE  CAMILLE,  was  bom  in 
Paris  about  the  year  1810.  Madame  Pleyel  is  one 
of  the  most  distinguLshed  female  pianists  in  Eu- 
rope, and  by  her  beauty  and  intellectual  gifts  has 
long  been  an  ornament  of  the  most  retined  Pa- 
risian circles.  Since  1847  she  has  been  a  teacher 
In  the  Conserv-atoire  at  Brussels. 

PLOrVIEll,  P.  J.  Professor  of  the  guitar  at 
Paris  about  the  year  1807- 


PLUS.    (F.)    More;  as,  p/tu  nnim^,  with  great 
vc  animation. 


the  Greek,  and  given  to  wind  instruments  in  gen- 
eral, in  distinguishing  them  from  those  of  the 
stringed  or  pulsatile  species.  Also  applieil  to  the 
modern  organ,  in  contradistinction  to  the  epithet 
hijdratilic,  proper  to  the  ancient  organ,  because  that 
instrument  was  actuated  by  the  compression  of 
water. 

POCIIEITINO,  POCHETTO.  (I.)  A  lit- 
tle ;  as,  ritard.  uii  pochftiiiio,  play  somewhat  slower. 

POCO.  (I.)  Little.  A  term  of  diminution ; 
as  poco  largo,  rather  slow ;  jmco  piano,  a  little  8oft ; 
poco  pill  lento,  a  little  slower ;  pocupiu  allegro,  a  lit- 
tle quicker. 

POCO  A  POCO.  (I.)  Ily  little  and  little, 
gradually ;  as,  poco  a  poco  crescendo,  louder  and 
louder  by  degrees  ;  poco  a  poco  diminuendo,  softer 
and  softer  by  degrees. 

PODBIELSKI,     CHRISTIAN    WILHELM, 

organist  at  Konigsberg,  studied  in  the  university 
of  that  town,  receiving  at  the  same  time  musical 
instruction  from  his  father,  till  he  became  a  very 
eminent  performer  on  the  organ  and  haqjsichord, 
for  which  instruments  he  wrote  much  esteemed 
music.     He  died  suddenly  at  Konigsberg  in  1792. 

PODIO,  GUGL.  DI,  an  Italian  priest  and  di- 
dactic writer  on  harmony,  published,  in  1495,  a 
work  entitled  "  Ars  Miisicorum,  sive  CommciUa- 
ritim  Facultatis  Musica."' 

PODIUS,  FRANCISCUS,  a  celebrated  SicU- 
ian  composer,  published  "Ricercati,  Lib.  1,"  Pa- 
lermo, 1604. 

POESSINGER,  FRANZ  ALEXANDER,  a 
violinist  at  Vienna,  published  there  much  music 
for  his  instrument,  between  the  years  1792  and 
1803. 

POET  MUSICIANS.  A  compound  appeUa- 
tion  applied  by  musical  wTiters  to  the  bards  and 
lyrists  of  former  times,  who  generally  blended  in 
their  profession  the  arts  of  poetry  and  music, 
singing  their  rhapsodies  to  melodies  of  their  own 
composing. 

POETIC.  A  term  applied  by  the  ancients  to 
the  art  of  accommodating  melody  to  verse. 

POGGI,  TERESINA.  A  distinguished  singer 
of  Bologna  in  the  latter  part  of  the  last  century. 

POGGIATO.    (I.)    Dwelt  upon,  impressive. 

POHL,  WILHELM.  A  doctor  of  medicine, 
and  celebrated  amateur  composer  of  instrument- 
al music.  He  resided  at  Vienna,  where  he  died 
about  the  year  1807. 

POHLK.  DA  VID.  Chapel-master  at  HaUe  and 
at  Merscburg,  about  the  end  of  the  seventeenth 
century.  He  published  at  Halle,  in  1665,  "  Tht 
Spiritual  Odes  of  Ileydenreich,"  which  were  per- 
formed in  the  ducal  chapel  there. 

POINT  DORGUE.  (F.)  A  pause;  also  a 
pedal  passage. 

POINTEE.  (F.)  Dotted,  in  speaking  of  the 
duration  of  notes. 


POI  A  POI  TUITE  LE  CORDE.  (I.)  AU 
I  the  strings,  one  after  another.  An  expre»%ion 
I  used  in  playing  the  grand  piano-forte. 

PNEU^L\.TIC.      An   epithet    borrowed  from  I      POINT. 

739 


This  word,  as  conjoined  with  ot  ten 


POK 


ENCYCLOP.^DIA    OF   MUSIC. 


POL 


has  various  Rijjnifications.  The  different  uses  to 
which  ])oiiits  were  tormcrl)'  applied  render  the 
pcruHol  of  old  compositions  extremely  difficult 
and  perplexing.  In  those  works  we  meet  with 
the  point  of  ])crfec-tion,  point  of  au(;mentation, 
point  of  division,  and  point  of  alteration.  The 
point  of  ])crIcction  was  added  to  those  notes 
which  were  denoted  by  tlie  modal  signs  to  be 
perfect,  or  equal  to  three  notes  of  the  same  value, 
out  wliich  were  rendered  imperfect  by  position. 
The  point  of  augmentation  is  tliat  in  modern  use, 
which  the  old  masters  used  only  in  common  or 
imperfect  time.  The  point  of  division,  or  imper- 
fection, was  placed  between  two  shorter  notes 
that  followed,  and  were  succeeded  by  two  longer 
in  perfect  modes,  to  render  both  the  long  notes 
imperfect.  The  point  of  alteration,  or  of  dupli- 
CBtton,  was  placed  before  two  shorter  notes  pre- 
ceding a  longer,  in  order  to  double  the  length  of 
the  second  short  note.  In  modern  music,  the 
point,  taken  as  an  increased  power  of  the  note,  is 
always  equal  to  the  half  of  the  note  to  which  it 
appertains.     See  the  article  Dot. 

POKORXY,  GOmiARD,  chapel-master  of 
St.  Peter's  Church,  in  Brdnn,  was  born  in  Bohe- 
mia in  17.33,  and  was  one  of  the  best  orgp.r.ists 
and  violinists  of  his  age.  He  wrote  much  church 
music,  none  of  which,  however,  has  been  pub- 
lished.    He  died  at  BrQnn  in  1802. 

POKORNY,  a  celebrated  female  perfntmer 
on  the  horn,  ])erformed  at  the  Concert  Spiruuel  in 
Paris,  about  the  year  1780. 

POLACCA.  A  Polish  movement  of  three 
crotchets  in  a  bar,  chiefly  characterized  by  its  em- 
phasis being  laid  on  the  fifth  quaver  of  the  bar. 

POLAXI,  GIROLAMO,  a  Venetian  composer, 
brought  out  the  following  operas  with  success  : 
"  Prassilcle  in  Gnido,"  1700  ;  "  La  Vendetta  diaar- 
mata  daW  Amore,"  1704  ;  "  Creso  tolto  alle  Fiamme," 
1705  ;  "  Rosilda ; "  "  Vindice  la  Pazzia  delta  Ven- 
detta," 1707  ;  "  La  Virtu  trionfanle  di  Amorc," 
1704  ;  "  La  Virtii  trionfanle  di  Amore  vendica- 
tivo,"  "  II  Cieco  Getoso,"  1708  ;  "  lierengario  Ri 
d: Italia,"  1710;  emd  "  Chi  la/d,  raspctta,"  1717. 

POLANI,  a  good  violinist,  and  pupil  of  Tarti- 
ni,  resided  at  Rome  about  the  year  1785,  and  was 
the  master  of  M.  P.  Baillot. 

POLAROLO,  CARLO  FRANCESCO,  chapel- 
master  of  St.  Mark's  Church  at  Venice,  was  born 
at  Brescia  in  lf).53.  He  was  one  of  the  most  pro- 
lific authors  of  his  age,  and  is  said  to  have  been 
the  first  embellisher  of  theatrical  instrumental 
music.     He  died  in  1723. 

POLAROLO,  AXTOXIO,  son  of  the  preced- 
ing, was  also  chapel-master  of  St.  Mark's  Church 
at  Venice,  and  well  sustained  his  father's  celebri- 
ty. He  produced  the  following  operas  :  "  .,4m- 
teo,"  1700;  "  Griselda,"  1701;  "  Demetrio  e  Tolo- 
meo  ;"  "  Leusippo  e  Teone,"  1702  ;  "  Lucio  Papi- 
rio  Dittatore  ;  "  "  PlatUiUa,"  1721 ;  and  "  Cnsroe," 
1723. 

POLETTI.  A  dramatic  composer  of  Ferrara  in 
the  latter  part  of  the  last  century. 

POLI,  AGOSTIXO,  chapel-master  to  the 
Duke  of  \\''urtemburg  at  Stuttgard,  about  the 
year  1700  ;  also  a  conductor  of  the  orchestra  of 
the  Italian  opera  in  that  town.     He  composed 


some  church  and  dramatic  music,  and  was  mastet 
to  several  pupils  who  afterwards  became  eminent. 

POLIDORI,  ORTEXSIO,  a  prolific  church 
composer,  born  at  Camcrino,  flourished  about  the 
middle  of  the  seventeenth  century.  Amongst 
his  works  are  "  Mcsae  a  5  et  8  voci  con  Ripieni  et  2 
I'.,"  "Salmi  concertaii  d  3  e  5  voci.  Lib.  2,  con 
Stromenti;"  "Salmi  H  2  Cori,  parte  concertati  e 
parte  pieni,  Lihro  2  ; "  "  Motctti  d  voce  sola  et  li 
duoi,"  Op.  13,  Venice,  1637  ;  and  "  Salmi  comer- 
tati,"   Venice,  1641. 

POLIDORI.  An  Italian  composer  of  this  name 
published  at  Paris,  in  1780,  "  Six  Trios  pout  I'ic- 
Ion,"  Op.  1. 

POLIPH.\XT.  (From  the  Greek.)  An  in- 
strument strung  with  wire,  and  somewhat  resem- 
bling the  lute.  In  the  time  of  Elizabeth,  the  jc- 
iphant  was  much  in  fashion,  and,  as  supposed,  a 
great  favorite  with  that  sovereign. 

POLITIAXO,  AXGELO,  canon  of  the  ca- 
thedral at  Florence,  and  professor  of  the  Greek 
and  Latin  languages  in  that  city,  was  born  in 
'luscany  in  1454.  His  writings  contain  many 
things  interesting  to  musicians,  and  he  was  him- 
self an  excellent  lutist,  singer,  and  composer. 
His  passion  for  music  was  such,  that  he  gave  di- 
rections to  be  permitted  to  hear  it  in  the  last  mo- 
ments of  his  life.  It  is  said  that,  being  deeply' 
enamoured  of  a  lady  of  distinction,  probably  of 
the  house  of  Mcdicis,  and  not  being  able  to  ren- 
der her  favorable  to  his  suit,  by  either  entreaties 
or  presents,  he  was  so  much  affected  as  to  bring 
on  a  violent  fever,  during  the  ravings  of  which 
he  was  seized  with  an  anxiety  to  set  to  music 
some  verses  expressive  of  the  force  of  his  affec- 
tion. For  this  purpose  he  rushed  from  his  bed, 
and,  seizing  his  lute,  sang  the  desired  poetry  with 
such  sensibility,  that  the  impression  it  made  on 
him  was  the  immediate  cause  of  his  death. 
Amongst  his  practical  works  was  a  drama,  pro- 
duced in  1475,  entitled  "  Orfoo." 

POLKA.  This  dance,  which  is  equally  po)iu- 
lar  in  Bohemia,  Hungary,  Sweden,  Xorway,  &c., 
"  is,  says  Miss  Bremer,  "  highly  chai'acteristic  ; 
it  paints  the  northern  inhabitants'  highest  joy  in 
life  ;  it  is  the  lierscrkcr  gladness  in  the  dance. 
Supported  upon  the  arm  of  the  woman,  the  man 
throws  himself  high  in  the  air ;  then  catches  her 
in  his  arms,  and  swings  round  with  her  in  wild 
circles ;  then  they  separate,  then  they  unite  ag.iin, 
and  whirl  again  round,  as  it  were  in  superabun- 
dance of  life  and  delight.  The  measure  is  deter- 
mined, bold,  and  full  of  life.  It  is  a  dance  in- 
toxication, in  which  people  for  the  moment  release 
themselves  from  every  care,  every  burden,  "id 
oppression  of  existence." 

POLLEDRO,  GIACOMO  BAITISTA,  an 
eminent  violinLst  and  composer  for  his  instn- 
raent,  is  a  native  of  Turin,  bom  in  1776.  He 
was  very  celebrated  in  Germany  in  the  year  1812, 
about  which  time  he  was  heard  in  most  of  the 
principal  cities  of  that  country.  He  published 
at  Leipsic  "3  Cone-  pour  V.,"  Ops.  6,  7,  10;  "3 
Var.  pour  V.,  Stc,"  Ops.  3,  5,  8;  and  "3  Trios 
pour  2  V.  et  B.,'  Ops.  2,  4,  and  9. 

POLLIXl,  FRAXCESCO.  A  pianist  and  com- 
poser from  Milan,  who  resided  in  1803  at  Paris. 

POLOXOISE.    A  movement  of  three  crotchew 


r40 


POL 


ENCYCLOPEDIA    OF   MUSIC. 


port 


in  a  bai,  and  of  the  singularity  of  character  of  i  PONZIO,  PIETRO,  of  Parma,  published,  in 
having  every  rhythmical  caesura,  not  on  the  ftrst,  I  1583,  a  musical  book  entitled  "  Dialor/hi  della 
but  last  crotcliet  of  the  bar.  The  I'olonoiae  is  Mu-iica."  It  is  a  work  of  value  for  the  lime  in 
generally  written  in  two  strains,  and  its  movement,  i  which  it  was  written,     lie  also,  according  to  Dr. 


though  majestic,  is  smooth  and  duent. 

POLTORATZKY,  M.  F.  Imperial  chapel- 
master  at  Petersburg  in  1768.  His  choir  was 
composed  of  fifty-four  singers. 

POLYCErllALE.  A  kind  of  air  in  Ihf  •ncicnl  Grotk  mutic 
ptTlormed  by  flutes,  in  honor  of  Apollo.  Thii  iix-cifi  of  nomr ,  or 
molody,  was,  nccordinff  to  some  authors,  invented  by  the  second 
IMirvetHn  Olvinpus ;  and  accordins  t4i  otiiers  bv  Cmles.  his  diseiple. 

I'Ol.VMN'ASTIC.  The  epithet  l>y  whieh  'the  ancients  distin- 
ffuished  ei^rtiiin  flutes,  inventeil,  as  some  authors  assert,  by  a  woman 
named  Polymneste:  but  accordiog  to  other*,  by  Polymnciltu,  son 
of  Colophunittu  Melca. 


Bumey,  printed,  in  1588,  his  "  Itu'iiinutnu'iUi  di 
Mwiica ; "  probably,  however,  tlie  two  above- 
mentioned  works  are  the  same,  but  with  different 
titles  Amongst  his  practical  publications  ure 
"  I'salmi  l'i»jM.ritrum  toliu.n  Anni  i  vociiiii,"  Ven- 
ice, 1578  ;  "  Lib,  1,  Misaitriiin,  4  roc,"  "Lib.  '2, 
MUsaruin,  4  v<>c.,"  Venice,  1585  ;  "  6  Miase  a  8 
cdci,"  Venice,  15'J0  ;  and  "  Mm/niJUatt,  lies  uiul 
'Ilea  liuch." 

PONZIO,  (rlUSEPPE,  a  Neapolitan  dramatic 
composer,  brought  out  at  Venice,  in  17i>f),  th( 
serious  opera  entitled  "  Artaserse."  According  to 
the  Milan  "  lurlire  He  S/iettac.  Teatr."  ioT  17'J1, 
Ponzio  was  then  still  livint;. 


POLYMNESTRS,  of  Colophon,  in  Ionia,  was 
a  composer  for  the  Hute,  as  well  as  an  improver 
of  the  lyre;  and  it  appears  to  have  been  no  un- 
common accomplishment  for  those  ancieut  musi- 
cians to  perform  equally  well  upon  both  those 
instruments.  Polymuestes  is  said  to  have  in- 
vented the  hyper- Lydian  mode.  This  mode 
being  half  a  tone  below  the  Dorian,  which  was 
the  lowest  of  the  five  original  modes,  was,  per- 
haps, the  first  extension  of  the  scales,  down- 
wards, as  the  mi.xo-Lydian  was  u])ward3,     Plu- 

tarch,  who  assigns  to  him  tliis  invention,  says,  ,  „„^„^^  Ambasciatore  ai  Miux'loai: 
that  he  relaxed  and  tightened  the  strings  more  , 
than  had  been  done  belbre ;  that  is,  altered  their  |  PORPORA,  NICOLO.  The  celebrated  pupil 
tension  by  new  tunings,  rt'la.xing  them  for  his  ;  of  Alessahdro  Scarlatti,  born  at  Naples  in  lt)87. 
new  mode ;  and  on  the  contrary,  when  he  played  ,  He  was  placed,  at  an  early  age,  under  his  t;reat 


PORDEXONE,  MARC.  ANTONKJ.  A  com- 
poser of  the  sixteenth  century.  One  of  his  works 
is  entitled  "  Mailrigali  d  5  voci.  Lib.  1  e  2,"  Venice, 
1567. 

PORFIRI,  DOM.  PIETRO,  a  good  Venetian 
I  composer,  towards  the  close  of  the  seventeenth 
!  century,  brought  out,  in  1687,  the  opera  of  "  Ze- 


in  the  old  modes,  tightening  them  again. 

POLYODIA.  (Gr.)  A  tenn  applied  by  the 
Greeks  to  any  conjunction  or  combination  of 
sounds,  whether  rude  or  dissonant,  unisonous  or 
ill  octaves. 


(Gr.)      A  combination  of 


POLYPHONIA. 
many  sounds. 

POLYPHONIC.  (Gr.)  An  epithet  applica- 
ble to  all  compositions  consisting  of  a  plurality 
of  parts,  but  generally  confined  to  instrumental 
music,  as  concertos,  overtures,  accompanied  so- 
natas, &c. 

POLYPLECTRUM.  A  kind  of  ancient  spin- 
ct,  said  to  have  been  invented  by  Ouido ;  so 
called  from  its  strings  being  agitated  by  a  r.  um- 
ber of  quills. 

POLYTHONOUM.  (L.)  An  instrument 
used  hy  the  ancients,  and  so  named  from  its  con- 
taining many  strings.  Its  tone  was  soft  and  ef- 
feiuinatc,  'ind  its  scale  between  those  of  the  lyre 
H'.id  the  saiubuciu 

POMPOSO.  (I.)  A  word  implying  that  the 
movement  to  which  it  is  prefixetl  is  to  be  per- 
formed in  a  grand  and  dignified  style. 

PONCINI.  Cbapcl-master  and  church  com- 
poser at  Parma  in  1770. 

PONCTUATION  MUSIC  ALE.  (F.)  Mu- 
sical punctuation  or  phrasing. 

PONDEROSO.     (I  )     AViightily,  heavUy. 

PONTICELLO.  (1.)  llie  bridge,  in  speak- 
ing of  the  violin,  guitar,  &c. 

PONTE,  AD.VM  DE.  A  composer  of  the  six- 
teenth century.  Several  of  his  motets  may  be 
touiid  in  the  tirst  book  of  the  "  The-faurus  Musi- 
tut,"  Venice,  1586. 


master,  and,  by  his  rapid  progress,  provcil  him- 
self worthy  of  the  care  and  lessons  of  such  an  in- 
structor. He  le;t  the  Conservatory  rich  in  all  the 
principles  and  gifts  of  the  school.  After  the  ex- 
ample of  his  master,  he  commenced  by  travelling, 
and  gave  "  .4/(a;ic  e  Ti-.ieo,"  his  first  opera,  at  Vi- 
enna, in  1717,  with  such  success  that  it  was  j)er- 
forracd  in  the  theatre  at  Venice  in  17"27,  and  in 
London  in  17;)4.  Previously  to  this,  however, 
he  was  living  at  Vienna,  in  the  reign  of  C'harlcs 
VI.,  poor  and  unemployed.  His  music  did  not 
plea>e  the  imperial  connoisseur,  as  being  too  full 
of  Irilla  and  mordcnti.  IIa.sse  wrote  an  oratorio 
for  the  cmi)eror,  who  asked  him  for  a  second. 
He  entreated  his  majesty  to  let  Porjjora  execute 
it.  The  emperor  af  first  refused,  saying  that  he 
did  not  like  that  capering  style ;  but  touched 
with  llasse's  generosity,  he  at  length  complied 
with  his  request.  Porpora,  having  reoeivtxl  a 
hint  Irom  his  friend,  did  not  introduce  a  single 
trill  in  the  whole  oratorio.  The  emperor,  sur- 
prised, continually  repeated,  durin.^  the  rehearsal, 
"  'Tis  quite  a  different  man  ;  here  are  no  trills  I  " 
But  when  they  came  to  the  fugtie,  which  con- 
cluded the  sacred  composition,  he  observed  that 
the  theme  commcnce<l  with  four  trilled  notes. 
It  is  well  known  that,  in  fugues,  the  subject 
passes  from  one  part  to  another,  hut  does  not 
change.  When  the  emperor,  who  was  privilege*! 
never  to  hiugh,  heard  in  the  full  height  ot  the 
fugue  this  deluge  of  trills,  which  seem  like  the 
music  of  some  enraged  pnralytirg,  he  could  no 
longer  maintain  his  gravity,  and  laui;he<l,  |>cr- 
haps  for  the  first  time  in  his  lile.  In  France,  the 
land  of  pleasantry,  this  might  have  ap|>oarfd  mis- 
placed ;  but  at  Vi"nna  it  was  the  commenceraent 
of  Porpora's  fortune.  'ITie  suffrages  of  one  of  the 
first  courts  of  Germany,  and  tho-e  of  a  public 
enthusiastically  devoted  to  music,  at  len;;th  en- 
couraged Porpora  to  fre^h  and  greater  effort*. 
His  first  work  was  acknowledged  to  possess  lorco 


741 


pon 


ENCYCLOPEDIA    OF    MUSIC. 


pot 


originality,  dejith,  and  that  inspiration  which 
incessantly  invents  and  creates,  but  which  is 
not  always  accompanied  by  iierfcction.  In  172G 
he  gave  his  opera  of  "  Si/are,"  at  Venice ;  but, 
less  fortunate  than  at  Vienna,  his  success  was 
conle<-ted  by  those  rivah'ies  which,  when  not 
continual  and  inflexible,  arc  useful  rather  than 
prejudicial  to  genius,  but  when  they  assume  the 
hateful  garl)  of  envy,  retard,  if  not  destroy,  its 
jjrogrcss.  Leonardo  Vinci,  a  classical  corajjoser, 
was  at  Venice  at  the  siime  time  with  Porpora, 
and  rcjiresented  his  opera  of  "  Ciro  "  at  another 
theatre,  which,  either  from  its  greater  merit,  or 
from  the  superiority  afforded  by  a  more  dram- 
atic subject,  met  with  better  success  than  that 
of  Porpora ;  but  the  latter  did  not  consider 
himself  de.catcd.  llis  ardor  increased,  and,  by  a 
succession  of  operas  given  in  the  same  city,  the 
Venetians  were  enabled  to  appreciate  his  talents 
as  they  deserved.  lie,  in  his  turn,  obtained  that 
applause  which  had  been  before  granted  to  Le- 
onardo Vinci.  Satisfied  with  this  triumph,  Por- 
pora left  Venice  for  Dresden,  wliere  his  growing 
reputation  had  preceded  him,  and  where  he  was 
engaged  by  the  elector  as  chapel-master  and 
singing  master  to  the  electoral  Princess  Marie 
Antoinette.  Dresden  was  the  Na])les  of  Ger- 
many, as  far  as  regards  music ;  Porpora  was 
therefore  excited  to  make  a  brilliant^display  of 
his  abilities,  which  was  particularly  necessary,  as 
Hasse.  the  Saxon,  menaced  him  with  even  a  more 
formidable  rivalry  than  he  had  experienced  from 
Vinci  at  Venice.  He  exerted  all  his  courage,  and 
wrote  several  operas,  which  were  represented, 
and  saw  his  efforts  and  hLs  works  crowned  by  the 
applause  of  the  court  and  the  public,  notwith- 
standing the  reputation  and  the  presence  of  his 
rival.  lie  even  obtained  a  second  victory,  not 
less  flattering  than  the  first.  He  presented  to 
the  public  liis  pupil,  the  young  and  beautiful 
Mingotti,  who  became  one  of  the  greatest  singers 
in  Europe.  He  opposed  her,  with  success,  to 
Faustina,  the  celebrated  wife  of  Hasse,  who  had 
long  been  unrivalled  in  Germany,  Italy,  and  Eng- 
land. 

In  1773  Porpora  was  engaged  by  the  English 
nobility  to  compose  for  and  direct  an  Italian  op- 
era they  had  established  in  opposition  to  Handel. 
His  efforts  were  neither  unworthy  of  hi«  courage 
nor  abilities ;  but  he  could  not  resist  the  force  of 
public  opinion,  and  although  assisted  by  the 
great  Farinclli,  his  o])eras  were  heard  with  an 
indifference  which  almost  amounted  to  contempt. 
Porpora  therefore  quitted  England,  and  returned 
to  Italy  ;  but  such  was  his  disappointment  at  the 
reception  he  had  experienced,  that  he  ceased  to 
compose.  He  was  for  some  time  principal  master 
•t  the  Incuiabili  Conservatory  at  Venice.  He 
retired  late  in  life  to  Naples,  where  he  died  in 
great  poverty  in  17<")7,  at  the  age  of  eighty.  This 
misfortune  arose  more  from  the  generosity  of  his 
disposition  than  from  any  imprudence. 

Porpora  was  particularly  distinguished  as  a 
singing  master.  Farinelli,  Mingotti.  Catfarelli, 
and  many  other  theatrical  singers  were  his  pu- 
pils. Their  celebrity  sufficiently  attests  the  ex- 
cellence of  his  instructions.  He  was  also  an  ad- 
mirable performer  on  the  harp.sichord.  As  a  com- 
j)oser,  he  was  considered  as  a  model  of  style  in  re- 
citative. He  e.M'cllcLl,  also,  in  the  canfabilo,  and 
his  cantatas  have  been  always  highly  esteemed. 
Dr.  Burney  remarks,  that  "  perhaps  the  art  is  more 


indebted  to  Porpora  for  having  polished  and  re- 
fined recitative  and  measured  air,  than  for  en- 
riching it  by  the  fertility  of  his  invention."  He 
is  said  to  have  composed  fifty  operas,  besides 
sacred  music.  The  theory  of  sounds  was  also 
known  to  him  ;  and,  proceeding  from  effects  to 
their  causes,  he  analyzed  his  art  as  a  musician 
and  as  a  philosopher.  He  was  called,  by  his  fel- 
low-citizens, the  Patriarch  of  Harmony. 

Porjjora  has  been  represented  as  a  man  of  wit 
and  repanee.  Passing  one  day  through  an  ab- 
bey in  Germany,  the  monks  requested  him  to 
assist  at  the  office,  in  order  to  hear  their  organist 
whose  talents  they  greatly  extolled.  'Die  office 
finished,  "  Well,  what  think  you  of  our  organ- 
ist: "  said  the  prior.  "Why,"  replied  Porpora, 
"he  Ls  a  clever  man."  "And  likewise,"  inter- 
rupted the  prior,  "  a  good  and  charitable  man, 
and  his  simplicity  is  really  evangelical."  "  O, 
as  for  his  simplicity,"  replied  Porpora,  "  I  per- 
ceived that ;  for  his  left  hand  knoweth  not  what 
his  right  hand  doeth." 

PORUECTUS.  (L.)  The  name  of  one  of 
the  ten  notes  used  in  the  middle  ages. 

PORRO,  N.,  a  composer  and  editor  of  music 
at  Pans,  published  a  periodical  work  entitled 
"  Journal  de  Guitare,"  and  much  separate  music 
for  the  same  instrument,  between  the  years  178^ 
and  1799. 

PORSILE,  GIUSEPPE,  of  Naples,  the  son  of 
Carlo  Porsile,  who  composed  tb.c  opera  of  "  A'e- 
roiie"  for  that  city  in  1686,  appears  to  have  been 
in  the  service  of  the  emperor  at  Vienna,  in  1720. 
Between  that  period  and  173.5,  he  composed  sev- 
eral dramas  for  the  theatres  of  Italy.  His  favor, 
however,  was  permanent  at  Vienna,  as  he  was 
employed  there,  in  1733,  to  set  the  oratorio  of 
"  Giuseppe  riconosciiUo,"  by  Metastasio,  which 
Hasse  publicly  declared  to  be  the  finest  music  he 
ever  heard.  Some  of  his  other  operas  are  "  Si- 
sara,"  1719;  "  Meride  e  SeUnutUe,"  1721;  "  Ro- 
boaiuo  e  Geroboamo,"  and  "  Spartaco,"  1726. 

PORTA,  COSTANZO,  a  Franciscan  friar,  and 
a  native  of  Cremona,  is  highly  celebrated  among 
the  musicians  of  the  sixteeenth  century.  He 
was  a  pupil  of  Willaert,  and  fellow-student  with 
Zarlino.  In  the  early  part  of  liis  life  he  was 
chapel-master  at  Padua  ;  afterwards  of  the  cathe- 
dral church  of  Osimo,  a  small  city  on  the  river 
Musone,  near  Ancona,  then  at  Ravenna,  and 
lastly  at  Loretto,  where  he  died  in  the  year  1691. 
He  left  behind  him  motets  for  five  voices,  printed 
at  Venice  in  1.346,  and  otlier  works  of  the  same 
kind,  printed  also  there  in  1566  and  1.580.  These 
are  all  excellent  and  elaborate  compositions. 

PORTA,  ERCOLE,  a  Bolognese  composer  of 
the  seventeenth  century,  published,  at  Venice,  a 
work  entitled  "  Lusinghe  d'  Aniore  e  Canzomtti  a 
3  voci." 

PORTA,  FRANCESCO  DELLA.  a  celebrated 
organist  and  composer,  and  chapel-master  of  St. 
Antonio's  Church  at  Milan,  was  a  pupil  of  G.  B. 
Ripalta.  He  died  in  1666.  Amongst  his  works 
are  "  Iticercate  d  4  voci,"  Milan,  and  "  MoMli, 
Lib.  1  e  2,"  Venice. 

PORTA,  GIOVANNI,  a  learned  Venetian 
composer  in  the  early  part  of  the  last  century, 
was  at  first  chapel-master  to  Cardinal  Ottoloni, 


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ENCYCLOPEDIA    OF    MUSIC. 


POS 


and  subsequently  entered  the  service  of  the  court 
oi  Bavariii,  in  which  country  he  died  about  the 
year  1740.  He  com])osed  several  operas,  also 
some  church  and  instrumental  music.  G.  Porta 
was  one  of  the  most  able  masters  of  his  time, 
uniting  learning  with  invention  and  tire. 

POKTA,  UERARDO,  pupil  of  Mngrini.  who 
was  of  the  school  of  I,eo,  was  bom  at  Rome 
about  the  year  17G0.  He  was  at  first  chapel- 
master  and  c/iif  d'oi-cheslre  at  Tivoli,  where  he 
composed  several  operas,  some  oratorios,  and  in- 
strumental music.  In  1788  he  went  to  Paris, 
where  he  brought  out  the  following  among  other 
works.  For  the  theatre  :  "  Le  Diable  A  guatre," 
1788;  "  Patjamin,  ou  le  Culendrier  des  VieiUarils," 
1792;  '•  Laitre/teait  Vil/ai/e,"  1792;  and  "La  Ri- 
union  du  10  Aout,"  1794.  Instrumental:  "  TroU 
Trios  d  troia  Fl.,"  Op.  1,  Paris,  1793,  and  "  TroU 
Trios  d  trois  Ft.,"  Op.  2,  Paris,  1798. 

PORTAFERRARI,  DOM.  CARLO  ANTO- 
NIO, of  Hologna,  published  at  Modcna,  in  1732, 
"  Regole  pi-r  Cnmo  Fermo  Kcclesiaatico," 

PORTAMENTO.  A  term  applied  by  the 
Italians  to  the  manner  or  habit  of  sustaining  and 
conducting  the  voice.  A  singer  who  is  easy,  yet 
firm  and  steady  in  the  e.\ecution  of  his  passages, 
is  said  to  have  a  good  poriamento.  The  word  is 
sometimes  used  in  the  same  sense  as  legato.  It 
Ls  a  ghding  of  the  voice,  and  is  u^ed  only  in  slow 
movements  to  connect  tu>>  notes  separated  by  an 
interval.  It  consists  in  gliding  the  voice  quickly 
and  continuously  from  the  former  of  the  two 
notes  to  the  latter,  and  by  this  means  antici- 
pating it  in  regard  to  intonation. 

Examples. 
Adaoio.  —=^^- 


As  written. 


At  auDg. 


i 


If  the  portamento  is  applied  to  an  ascending 
interval  we  must  gradually  pass  from  a  soft  to  a 
loud  degree  of  tone,  with  a  smooth  and  gentle 
impulse  of  the  throat ;  and  the  contrary  if  the  in- 
terval descends.  'I'he  portamento  or  glide  is  one 
of  the  greatest  beauties  in  singing,  if  applied  with 
moderatiou  p.r.d  propriety  ;  but  wo  must  carefully 
avoid  a  slow,  heavy,  and  dragging  manner  of 
sliding  the  voice  up  and  dowii,  so  as  to  give  it 
the  appe.irance  of  stopping,  with  affectation,  on 
each  intermediate  point  of  the  inter\-al  through 
which  it  has  to  pass.  This  must  be  more  partic- 
ularly observed  in  descending  intervals  ;  as  other- 
wise the  effect  produced  will  be  either  that  of  a 
heavy  groan  or  a  long  yawn. 

PORTE  I)E  VOIX.     (F.)     An  appoggiatuni. 

PORTEE.  (F.)  I'he  staff  on  which  the  notes 
are  written. 

PORTER,  WALTER,  was  a  gentleman  of  the 
Chapel  Royal  of  Charles  I.,  and  master  of  the 
choristers  at  Westminster.  He  was  patronised 
by  Sir  Edward  Sj^ncer,  and  was  killed  in  the 
rebellion.  His  works  are,  "  Airs  and  Madrigals 
for  two,    three,    four,   and   five  Voices,    with   a 


Thorough  Pass  for  the  Organ  or  Theorbo  Lute, 
the  Italian  Way,"  printed  in  1039  ;  "  Hymns  and 
Motets  lor  two  Voices,"  in  1().37;  and  "The 
Psahus  of  Geortre  Sandys,  set  to  Music  for  two 
Voices,  with  a  Thorough  Bass  for  the  Organ," 
printed  about  the  year  1()70. 

PORTINARIO,  FRANCESCO,  an  eminent 
contrapuntist,  flourished  at  Padua  about  the 
middle  of  the  sixteenth  century.  Amongst  his 
works  we  can  name  "  11  Terzo  l.ihro  di  Mudri'jali, 
d.  0  e  6  vuci,  con  tre  Dialoyhi  d  6,  el  una  a  Otto," 
Venice,  l.i57. 

PORTMANN,  JOHANN  GOTTLIEB,  bom 
near  Dresden,  in  the  year  1739,  was  a  singer  io 
the  court  cliajel  at  Darmstadt.  He  published 
several  didactic  works  on  sin^;ing  and  music  in 
general,  also  a  collection  of  psahus.  He  died  in 
1798. 

PORTO,  PEDRO  DE,  chapel-master  at  Se- 
ville in  the  year  1600,  was  born  in  Portugal.  A 
motet  of  his  composition,  commencing  with  the 
words,  "  C'lamabiU  autem  Jesus,"  is  considered  by 
his  countrymen  as  one  of  the  very  best  works  of 
its  kind. 

PORTt).  An  Italian  bass  singer,  engaged  at 
the  King's  Tlieatre,  London,  in  the  season  of 
1824. 

PORTOGALLO,  MARCO  ANTONIO.  A  cel- 
ebrated dramatic  composer,  formerly  in  the  ser- 
vice of  the  Portuguese  court  at  Lisbon.  The 
following  are  amongst  the  operas  composed  by 
him:  "II  Molinaro,"  op.  butfa,  Breslau,  1792; 
"  La  Somii/liaiiza,  ossia  i  Gnhbi,"  Dresden,  1793  ; 
this  piece  was  performed  at  Vienna  in  1794,  under 
the  title  of  "  Le  Conftisioni  delia  S>mi>ilia>iza ; " 
"  Lo  Spazza  Cammino,"  op.  buffa,  Dresden,  1794  ; 
•'  La  IVrfoco  Raogiratri'.«,"  op.  butfa,  Dresden, 
179o  ;  "  La  Donna  di  Genio  f'oltiMe,"  op.  butfa, 
Dresden,  179S;  "  Le  Donne  Cainbmte,"  au  inter- 
lude, Dresden,  1799;  this  opera  was  given  in 
Gennany  under  the  name  "  Drr  TcuJ'el  ist  los  ;  " 
"  Xon  irritar  le  Donne,"  op.  butfa,  1801;  "  Ar- 
geiiide  e  Serse  ;  "  "  Fernando  in  Mexico  ,  "  and  "  //O 
Mirie  di  Mitridaie." 

POSATO.     {I.)     Quietly,  steadily. 

POSAUNE.     (G.)     The  trombone. 

POSCENTIO,  PEREGRINO,  an  Italian  com- 
poser, published,  in  ItjoO,  "  Canzoni  d  2,  3,  e  4 
S:romenti." 

POSEMENT.    (F.)    A  very  slow  time  ;  adagio. 

POSITION.  (F.)  A  position  or  shift  on  thp 
violin,  or  any  otlier  iiistrument. 

POSITION  OF  THE  MOUTH,  in  singing. 
Bernacchi  says,  "Without  a  jjroper  jjosition  of  the 
mouth,  it  is  impossible  to  produce  a  i;ood  tone.  The 
under  jaw  must  fall  from  the  upper  so  l,ir  that 
one  can  see  the  tongue.  The  under  jaw  and  the 
li[>8  must  not  twist  to  the  rii;ht  or  left,  but  fall 
perjientlicularly.  The  lips  must  not  be  brought 
into  a  round  form,  or  placed  in  an  ui\natural  po- 
sition, but  must  be  opened  easily  and  witliout 
constraint.  Tht  tongue  must  be  level,  and  lie 
•o  that  its  tip  just  touches  the  under  teeth  ;  it 
should  not  stand  up  or  roll  itself  into  a  hall ; 
the  tongue  is  an  unruly  mrmlier,  and  will  not 
always  take  the  proper  ponition  without  force.  It 
may  therefore  be  pushed  down  by  means  of  a  sticit 
cut  in  the  right  shape,  or  by  the  handle  of  a  silvei 
43 


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ENCYCLOPEDIA    OF    MUSIC. 


por 


•poon.  Tins  must  be  persevered  in  until  all 
traces  of  the  eWl  habit  have  disappeared.  The 
lips  must  not  be  totally  withdrawn  from  the 
teeth,  else  a  shrill,  di>iagreeable  sound  will  fol- 
low ;  the  proper  position  of  tlie  mouth  must  be 
taken  Ixiforc  commencing  a  tone ;  the  contrary  will 
rause  a  sort  of  howl.  The  position  of  the  mouth 
must  not  be  changed  during  the  emission  of  a  tone. 
In  repetition  of  the  same  word,  the  position  of  the 
mouth  must  not  be  altered,  else  the  same  vowel 
will  have  ditferent  pronunciations." 

POSITIF.  (F.)  POSITIV.  (G)  The  choir 
«)rgan. 

POSITIVE.  An  appellation  formerly  given 
to  the  little  organ  placed  in  front  of  the  full  or 
great  organ. 

POSSIBILE.  (I.)  Po.ssible;  as,  .7 /.m/orte 
ooasibile,  as  loud  as  possible. 

POSSIX,  JOHN  SAMUEL  CHARLES,  bom 
in  1755,  wa.s  a  native  of  Berlin,  and  held  some 
tigh  musical  appointments  at  the  Pru-ssian  court. 


He  went  to  England  in  1792.  Possin  was  a  man 
of  very  singular  habits,  and  never  would  put  his 
name  to  any  of  his  works.  He  adapted  foi 
Salomon  the  twelve  symplionies  which  Haydn 
composed  expressly  for  that  gentleman,  and 
M'hich  are  admirably  done ;  indeed  they  were  the 
first  adaptation  of  orchestra  music  worthy  of 
notice.  He  also  added  a  thorough  bass  accom- 
paniment to  them.  Possin  suffered  under  a  long 
and  painful  disorder,  that  enfeebled  his  powers 
for  several  of  the  latter  years  of  his  life,  and  finally 
terminated  Ms  existence  in  1822.  He  died  worth 
upwards  of  ten  thousand  pounds,  and  leit  a  will, 
some  parts  of  which  were  as  curious  as  the  gen- 
eral tenor  of  his  life.  He  devised  to  Mr.  Saust 
all  his  manxiscript  music,  ( mostly  vocal, )  desiring 
that  it  might  not  be  published.  Po.ssin  was  pro- 
nounced, by  Haydn,  to  have  been  one  of  the 
best  musical  theorists  of  his  day. 

POST  HORX.  (G.)  A  sort  of  bugle;  also 
a  movement  suited  to  and  imitating  the  notes 
of  such  an  instrument. 


Post  Horn,  Scale  in  Bb. 


.^^iA± 


1     0 

1 

A 

B      C 
0 

D 

E 

F 

0 

0 

A 

B 

C 
0 

D 

E 

0 

P       G   1 

0 

1 

1        1 

I 

1 

1 

1 

1 

1       1 

2 

2 

2 

2 

2 

2 

2 

1 

2 

33 

3 

8 

83 

3 

3 

3 

3 

1 

3 

B|     C 

D    1 

0 

0     1 

ll      1 
1 

1 

E 

.   -  -  ,  ,  ....         0 

1st  Talre, ....  1 

id  valve, 2 

(d  valTv, 8 

The  above  U  also  the  scale  for  the  poin  h»m  in  D  b  and  C. 

POST  POSITIOX.  The  putting  a  discord  i  recei)tion  of  his  compositions  determined  him  to 
upon  the  accented  part  of  a  bar,  followed  make  a  pecuniary  sacrifice,  and  travel  for  a  year 
by  a  concord  on  the  next  unaccented  part,  but  or  two  to  Germany  and  Italy.  At  Vienna  he 
not  prepared  and  resolved  according  to  the  rules  ,  renewed  his  studies  in  counterpouit  and  corapo- 
for  discords.  sition    under    Forstcr,    Beethoven    being  kind 

'  enough  to  peruse  and  correct  his  wortis  during 

POTTER,  CIPRIAXI,  born  in  London  in  the  his  stay  at  Vienna.  After  having  visited  the 
year  1792,  began  to  learn  the  piano-forte  at  the  principal  towns  in  Germany,  he  made  a  tour  in 
age  of  seven,  under  his  father,  who    was  a  re-     Italy    for   the   purjiose   of  becoming  acquainted 


spectable  professor  and  teacher  of  that  instru- 
ment. AVhilst  speaking  of  his  family,  we  may 
observe  that  his  grandlather  was  the  inventor  of 
the  patent  German  fiute ;  his  grandfather  on  the 
mother's  side  was  a  German  professor  of  the 
bassoon,  and  was  first  bassoon  at  the  o])era,  the 
celebrated  Holmes  having  been  his  pupil.  At 
an  early  period  Cipriani  Potter  showed  a  dispo- 
sition for  composition,  and  commenced  learning 
counterpoint  under  Attwood,  from  whom  he  re- 
ceived the  greatest  attention  and  gratuitous  in- 
struction for  some  time :  he  then  continued  his 
theoretical  studies  under  Dr.  Calcott  and  Dr. 
Crotch.  On  the  arrival  of  Woclfl  in  England, 
he  received  instructions  in  composition  in  a  gen- 
eral manner  from  him,  during  the  term  of  five 
years.  At  the  age  of  fourteen  C.  Potter  wrote 
violin  quartets,  symphonies,  and  piano-forte  so- 
natas. He  already  showed  a  preference  for  Beet- 
hoven's music,  which,  however,  was  rather 
■idiculed  by  the  proiession,  on  the  presumption 
lliat  he  was  too  young  to  appreciate  its  ijceuliar 
merit.  His  first  performance  in  public  was  at  the 
Philliarmonic,  when  he  played  a  sestet  of  his 
own  composition,  and  met  with  more  encourage- 
ment ns  a  performer  than  as  a  composer ;  the 
same  season  an  overture  of  his  was  jjerfonued, 
%vhich  was   but   tolerably  received.      Tiiis  cold 


with  the  pure  Italian  style.  On  his  return  to 
England,  the  remarks  on  his  compositions  were, 
by  some,  that  he  was  a  servile  imitator  of  Beet- 
hoven, by  others,  that  he  sacrificed  too  much  for 
originality ;  in  short,  not  being  acknowledged 
sufficiently  as  a  writer,  he  did  not  venture  upon 
performing  his  own  music,  and  at  the  Philhar- 
monic and  other  concerts  played  several  of  Mo- 
zart's and  Beethoven's  concertos  with  great  suc- 
cess ;  though  his  zeal  for  composition  was  not 
quite  destroyed,  as  he  generally  i)roduced  each 
season  a  sj-mphony  for  the  Philharmonic  trials. 
It  is  remarkable  that  C.  Potter's  works  have 
been  highly  spoken  of  in  the  MusHalitcAe  Zci- 
tiiiuj,  published  at  Leipsic,  and  other  German 
publications,  when  in  London  they  were  not  no- 
ticed by  critics,  at  other  times  mentioned  with 
cold  approbation,  and  in  one  instance  abused. 
The  following  Ls  a  list  of  his  principal  works. 
Unpublished :  Violin  Quartets,  .'Symphonies, 
Octaves,  Sonatas,  Concertante.s,  &c.  Published  : 
"  Sonata  in  C,"  London;  "  Sonata  in  E  minor," 
I^ipsic  ;  "  Sonata  in  I)  m.ijor,"  Leipsic  ;  "  Duet 
for  two  Pianos,"  Vienna  ;  "  Fantasia  and  March," 
Vienna ;  "  Rhenish  Song,  with  Variations," 
Bonn;  "Toccatta  in  G,"  London;  "Second 
Toccatta  in  B  fia^"  Leipsic ;  "  Rondeiiu  in  C," 
London ;  "  Fin  ch'  han,  with  Variations,"    I  on- 


744 


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ENCYCLOPEDIA    OF   MUSIC. 


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don ;  "  Placidith  Andante,"  London  ;  "  Rondeau 
in  F,"  Leipsic. 

POTTIIOF,  a  celebrated  Dutch  organist,  was 
born  in  Amsterdam  in  1726.  He  lost  his  night 
from  the  small-pox  ut  the  age  of  seven.  Dr.  Bar- 
ney heard  him  perlonn  in  1772,  when  he  played, 
amongst  other  music,  two  fugues  of  great  diHicul- 
ty  ;  and  thougli  e:ieh  key  of  his  organ  required 
a  weight  equal  to  two  pounds  to  press  it  down, 
he  went  through  the  piece  with  as  much  skill, 
and  apparent  lightness  of  finger,  as  if  he  had 
been  playing  on  the  harpsichord. 

POTl'IER.  MATTHIAS,  an  ecclesiastic  and 
composer  at  Antweri),  is  named  on  one  of  his 
works,  Ilaliie  Mu.si<:(ts  II.  D.  MuHh.  Poltiei;  Cathe- 
dralis  Ecrlcsice  R.  M.  Antcerpiensis  Phonascus.  He 
published  "  Ftorea  selpctisnimarum  Missarum,  4, 
6,  et  6  Vocum,"  Antwerp,  1500,  and  "  Miasee  7, 
8  Voc,"  Antwerp,  IGIO. 

POTPOURRI.  (F.)  A  medley.  A  capric- 
cio  or  fanta»ia,  in  which  various  melodies  and 
fragments  of  musical  pieces  are  stning  together 
and  oddly  contrasted. 

POUILLAN,  MLLE.,  an  excellent  performer 
on  the  harpsichord  at  I'aris,  published  there,  in 
1783,  "  Troia  Sonatea  pour  Clavicin,  acec  V.  et 
Vc,"  Op.  1. 

POUL.\IN.  Organist  of  St.  Leu  at  Paris,  about 
the  yeor  1750. 

POULE.  (F.)  One  of  the  movements  of  the 
quadrille. 

POUR  LA  PREMIERE  FOIS.  (F.)  A  phrase 
sometimes  written  at  the  end  of  a  strain,  to  signi- 
fy that  the  passage  over  which  it  is  placed  is  to 
be  omitted  in  the  repetition  of  that  strain. 

POUSAM,  FR.  MANOEL,  a  Portuguese  Au- 
gustine monk  and  composer,  was  chapel-master 
of  a  convent  in  Lisbon,  where  he  died  in  168.3. 
He  composed,  amongst  other  music,  "  Liber  Pua- 
aionitm  et  eonim,  qiM  a  D )minica  Pa/marum  uaque 
ad  Sabbatum  S<inctum  cunlari  tolent,"  Lisbon, 
1576  ;  "  Miaaa  De/unctorum  a  8  Voc. ; "  and  "  I'»7- 
hancicoa  e  Motet ea." 

POUSSE,  (F.)  In  violin  or  violoncello  mu- 
sic this  term  is  used  to  indicate  an  up- bow. 

POUTEAU,  N.  An  orgainst  at  Paris.  He 
studied  composition  under  Bordier,  and  the  organ 
under  Forqueray.  He  composed  some  instru- 
mental music  for  the  violin  and  piano,  and  in  1777 
set  to  music  one  act  of  the  opera  "Alain  et  Ro- 
lette," which  was  successful  at  the  Thidtre  de 
r  Opera. 

POVEY,  MISS.  A  good  singer  in  the  early 
part  of  this  century  at  Drury  Lane  ITieatre.  Her 
voice  was  rich,  pare,  and  brilliant.  She  was  also 
principal  singer  at  the  Catholic  chapel  in  Moor- 
fields. 

POWELL,  THOMAS,  was  bom  in  London 
in  the  year  1776,  and  begun  music  at  a  very  early 
age.  After  studying  practically  and  theoretical- 
ly for  some  yeiu^,  he  became  member  of  the  Royal 
Society  of  Musicians.  He  still,  however,  con- 
tinued to  persevere  in  his  professional  studies, 
ptu-ticularly  composition  and  the  violoncello,  tak- 
ijig  up  occasionally  the  piano-forte,  haqi,  or  violin, 
as  a  relief  to  the  firmer  instrument  In  the  year 
1811    he   married;    come   time   after  which   he 


went  to  Dublin,  where  he  taught  in  some  of  the 
first  families.  The  Duke  of  Leinster  was  a  pu])il 
of  his,  as  was  also  a  son  of  Lord  Leitrim.  lie 
composed  many  pieces  of  music  in  difiercnt 
styles  ;  one  of  which  wa,s  an  introduction  and 
fugue  for  the  organ,  that  was  performed  at  Chri.st- 
church  and  St.  I'atrick's  Cathedral,  as  also  al 
the  castle  chapel.  On  its  ])erformance  at  th< 
cathedral,  the  Bishop  of  Kildare  was  so  )>lea6ed, 
that  he  expressed  a  wish  to  have  it  entered  in  the 
choir,  wliich  was  accordingly  done.  Powell  was 
also  requested  by  the  lord  lieutenant  to  perform 
at  some  of  the  concerts  at  the  castle.  He  also 
played  several  times  in  public  at  the  Rotunda. 
Powell  played  his  first  concerto  on  the  vio.oncft.- 
lo  to  the  English  public,  at  a  concert  in  the  Hiy- 
market  Theatre,  for  the  benefit  of  the  Choral 
Fund  ;  the  concerto  was  hLs  own  composition, 
and  was  received  with  great  appl.nn^e.  After 
that  period  he  was  indefatigable  in  practi.sini;  his 
favorite  instrument,  and  his  style  of  playing  be- 
came to  be  very  like  that  of  the  celebrated  B. 
Romberg.  We  have  further  been  given  to  un- 
derstand, that  Powell,  though  he  has  never  sung 
in  public  since  his  manhood,  had  a  fine  bass 
voice,  the  compass  of  which  was  very  extraordi- 
nary, as  he  could  with  ease  sustain  the  double  B 
flat,  and  also  take  the  upper  F,  in  the  ba.ss  clef, 
being  a  compass  (in  his  natural  voice)  of  two  oc- 
taves and  a  filth,  besides  which  he  had  five  notes 
higher,  (with  the  falsetto,)  touching  the  D  fiat,  on 
the  fourth  line  of  the  treble  clef,  making  in  the 
whole  a  comjjass  of  three  octaves  and  a  tliird. 
We  are  tild  that  when  he  discovereil  the  extraor- 
dinary compass  of  his  voice,  he  exercised  it  reg- 
ularly for  some  years,  and  that  he  brought  it  to 
a  very  great  degree  of  strength  and  flexibility, 
having  also  a  perfect  shake,  (seldom  met  with  in  a 
bass  voice.)  which  he  could  sustain  for  some  time. 
He  had  also  the  i)Owcr  of  sinsjing  ra;  id  jjassjiges 
with  as  much  ea.se  and  flexibility  as  a  tenor.  The 
fiiUowing  singular  anecdote  happened  to  Powell, 
wliilst  pa.ssing  a  week  at  Glasgow.  Walking  in 
a  field  near  that  town,  he  met  with  some  colliers 
working  at  a  coalpit,  when,  his  curiosity  l>eing 
e.xcited  by  the  ba.skets  ascending  and  descending, 
sometimes  with  coals,  and  at  others  with  men, 
he  felt  a  w-ish  to  make  an  arrangement  with  the 
master  for  his  own  descent  to  the  regions  Ix'low  ; 
but  the  conversation  concerning  this  intended 
trip  was  soon  put  an  end  to,  his  attention  being 
arrested  by  four  distinct  sounds,  which  continued 
in  regular  time  and  tune,  and  were  produced  by 
the  crane  which  was  then  working  by  .•.team 
From  the  peculiar  circumstance  by  which  these 
sounds  were  produced,  and  a  cert;iin  pleasing 
effect  in  them,  Powell  was  desirous  to  comi'osc  a 
piece  of  music  founded  on  these  same  note^,  and 
accordingly  did  write  an  overture  for  a  lull  or- 
chestra, in  eighteen  different  parts,  commencing 
with  the  four  notes  in  question,  thus  :  — 


the  allegro  and  the  whole  of  the  piece  he'mn  af- 
terwards htrouijly  marked  with  them,  in  the  dif- 
ferent degrees  of  counterpoint,  and  various  other 
effects.  The  two  la-st  pa.s.v»ges  in  the  slow  move- 
ment of  this  piece  are  said  to  be  characterLHtio, 
the  ascending  and  descending  scales  to(;ethei 
conveying  to  the  mind  an  ides  of  the  ba.->ketl 


91 


746 


POW 


ENCYCLOP.EDIA    OF    MUSIC. 


PRA 


Mccndiiig  ftiid  descending  at  the  same  time  in  the 
coalpit.  The  allc(i;ro  be^jins  with  the  four  notea 
above  written.  The  foramencement  ol  the  over- 
ture (which  is  very  (slow)  has  also  the  same  notes, 
only  that  the  E  Ls  made  flat  instead  of  natural, 
which  produces  the  minor  key.  This  composi- 
tion is  one  of  the  best  of  the  author,  and  is  a 
Btrikiii;,'  ])roof  that  the  greatest  powers  of  the 
i-umrtn  mir.d  are  frequently  produced  from  causes 
apparently  most  trivial  and  purely  accidental. 
ITiere  is  another  musical  anecdote  of  Powell, 
which  shows  his  readiness  and  power  as  a  violon- 
cellist. Tliere  was  a  concert  at  the  Haymarket 
Thi'Stre,  to  which  he  went  in  the  bo.\es  with  a 
paity  of  friends,  arrivin;.;  half  an  hour  before  the 
commencement.  After  his  party  were  seated,  he 
left  them  for  a  short  time  to  sec  what  was  going 
forward  on  the  stage ;  and  had  scarcely  entered 
behind  tlie  scenes,  when  a  gentleman  (who,  we 
believe,  was  one  of  the  committee  for  the  con- 
cert, and  to  whom  he  was  known)  addressed  him, 
and  Siiid  they  were  in  great  distress,  as  Lindley, 
who  was  to  perform,  had  only  just  informed 
them,  that,  in  consequence  of  a  bad  finger,  he 
could  not  attend ;  he  then  requested  Powell  to 
take  Lindley's  part,  which  would  essentially  serve 
the  interests  of  the  concert.  It  was  near  seven 
o'clock.  Powell  was  at  a  loss  to  know  how  to 
decide,  as  of  course  he  had  not  his  violoncello 
with  him,  and  had  two  miles  to  go  for  it :  wish- 
ing, however,  to  render  every  assistance  in  his 
power,  he  consentel.  There  beuig  no  time  to  be 
lost,  he  immediately  sent  for  a  coach,  (forgetting 
at  the  moment  his  friends  in  the  box,)  and  pro- 
ceeded home  for  his  instrument ;  where  seizing 
it  for  a  lew  minutes  to  e.\ercise  his  fingers  a  little, 
he  returned  to  the  theatre  just  in  time  for  the 
piece.  On  his  entrance  in  the  orchestra,  his 
friends,  who  were  quite  ignorant  of  the  circum- 
stance, and  displeased  at  his  long  absence,  did  not 
at  first  recognize  him,  and  there  were  different 
opinions  e.^pressed  as  to  who  it  could  be,  until 
he  began  to  play.  After  the  piece,  in  which  he 
had  to  take  au  obligato  part,  had  commenced 
some  little  time,  Powell's  solo  began,  and  he  had 
several  rounds  of  applause. 

On  leaving  Dublin,  Powell  visited  Edinburgh, 
where  he  met  with  great  professional  success. 
He  has  composed  several  pieces  for  the  violon- 
cello, as  also  for  the  piano-forte.  The  following 
list  comprises  his  best  compositions,  both  pub- 
lished and  manuscript.  For  the  violoncello,  not 
published :  "  Fitteeu  Concertos,"  fantasia.  Op. 
21;  •' Kinloch,  with  Introduction  and  Varia- 
tions ;  "  "  Potpourri,  Introduction  and  Itondo," 
Op.  22  ;  "  Rousseau's  Dream,  with  Introduction," 
Op.  2)  ;  "  Capriccio,"  Op.  24  ;  "  Introduction  and 
Polaccrt,"  Op.  25.  Pul)lished  for  the  violoncello  : 
"  Three  Duets  for  Violin  and  Violoncello,"  Op. 
1  ;  "  Three  Duets  for  two  Violoncellos,"  Op.  2  ; 
"  Three  Duets  for  two  Violoncellos  ;  "  "  A  Grand 
Duet  for  Violin  and  Violoncello."  For  the  vio- 
lin, not  published  :  "  A  Duet  for  the  Violin  and 
Violoncello;"  "Blue  Hell,  with  Variations;" 
"  A  Concerto  ;  "  "  Three  Ducts  ;  "  "Three  Trios 
Concertaiiti  for  two  Violins  and  Violoncello ;  " 
"  A  CJuartet,  '  Hope  told,'  with  Variations,"  (pub- 
li.shed. )  For  the  piano-forte,  not  published  :  "  -\ 
Grand  Trio,  with  an  Ac.'om])animent  for  a  Violin 
»nd  a  Violoncello  Obligato  ;  "  "  Introduction  and 
Fug\ie  lor  the  Organ,"  as  performed  at  Christ 
Chiuch  and  St.  Patrick's  Cathedral,  &c. ;  "  Li-  ' 


troduction  and  Fugue  for  the  Organ;"  "Over- 
ture  for  a  full  Orchestra  ;  "  "  Overture  for  a  full 
Orchestra,"  as  performed  at  Vauxhall  Gardens  ; 
"  Grand  Overture,"  as  composed  from  the  foiu 
notes  given  in  the  above  anecdote ;  "  A  Polacca, 
with  Introduction."  For  the  piano-forte,  pub- 
lished :  "  Sonata,  with  Violin  Accompaniment," 
Op.  1 ;  "  .Sonata,  with  Violin  and  Violoncello  Ac- 
comijaniment,"  Op.  2  ;  "  A  Set  of  Grand  Sonatas, 
with  Violoncello  Accompaniment,  (obligato,)"  Op. 
4  ;  "  Grand  March  and  llondo,"  as  performed  by 
the  military  band  at  Vauxhall  Gardens ;  "  La 
Campanella,  a  Rondo  ;  "  "  1*  Troubadour  du 
Tage,  with  Variations."  For  the  harp,  published : 
"  A  Duet  for  Harp  and  Piano-forte  ;  "  "A  Duet 
for  Harp  and  Piano-forte  ;  "  "  Haydn's  Surjmse, 
with  Variations  lor  the  Harp  or  Piano-forte," 
1809  ;  "  Kinloch,  with  Variations ;  "  and  some 
vocal  pieces. 

POZZ.A.BOXELLO,  FRANCESCO,  of  a  noble 
Italian  family,  wrote  a  work  entitled  "  Dithyram- 
bus  puUu  Cythara  tnodulaiiis."  He  died  at  Home 
in  1623,  in  the  flower  of  his  age. 

POZZI,  an  Italian  musician,  who  resided  sev- 
eral years  at  St.  Petersburg,  published,  amongst 
other  works,  "  Qiuituor  p.  Fl.,  V.,  A.,  et  I>.,"  Op. 
1,  Petersburg,  1795  ;  "  I'oltmoisc  a  grand  Orch.," 
Petersburg,  1796;  "  ArUttes  hat."  Op.  3,  Peters-, 
burg,  1797  ;  and  "  6  ArietUs  Itaiienncs,"  Op.  4, 
Petersburg,  1797. 

PR-A.CHT,  AUGUST  WILHELM,  a  musician, 
resident  at  Konigsberg  in  1793,  i)ubliiihed  "  LU- 
der  zum  Siiiffen  beym  Klaviere,"  Zerbst,  1796;  "6 
K!eine  Klavier-Sonateii  fur  Licbfuthcr,  \sler  Theil," 
Zerbst,  1797  ;  and  "  Sonate  pour  le  Clav.  acec  I' Ace 
d-uH  V.  ObL  et  Vc."  Berlin,  1798. 

PRACTICE.  Performance  for  the  purpo.'se  of 
improvement ;  that  active  e.\ertion  of  the  pupil, 
without  which  the  greatest  genius,  aided  by  the 
ablest  instruction,  cannot  insure  future  excel- 
lence. 

PRACTICE  OF  THE  SCALE.  Of  all  ex- 
ercises  in  singing,  that  of  the  scale  is  the  most 
necessary  and  the  most  difficult.  By  it,  when 
well  directed,  we  form,  develop,  and  strengthen 
the  voice.  By  this  exercise,  also,  we  are  enabled 
to  remedy,  or  at  least  to  palliate,  any  natural  de- 
fects in  the  voice,  or  in  the  organs  by  which  it  is 
formed.  In  practice,  let  the  singer  stand  in  an 
ujiright,  natural,  and  dignified  attitude,  without 
any  effort  or  stiffness.  Let  him  keep  his  head 
upright,  but  without  bending  it  back  ;  for.  if  the 
muscles  of  the  throat  are  too  much  extended, 
they  cannot  act  with  freedom.  Tlie  mouth  must 
assume  the  same  position  as  in  smiling,  and  be 
kept  sufficiently  open,  so  as,  without  any  subse- 
quent alteration,  to  pronounce  the  vowel  to 
which  the  notes  of  the  scale  are  to  be  sung.  This 
position  is  very  favorable  to  clearness  of  articu- 
lation, and  to  the  obtaining  of  a  full  and  round 
quality  of  tone.  If  the  mouth  be  opened  too 
wide,  the  voice  becomes  hollow  and  scpulchraL 
Indeed,  guttural,  dental,  and  nasal  qualities  of 
tone  depend,  in  a  great  measure,  upi  n  the  mouth 
being  opened  too  much  or  too  little.  I'he 
student  must  take  care  that,  it  opening  his 
mouth  in  the  manner  described,  his  counte- 
nance does  not  assume  any  unpleasant  expression. 
Ho  must  also  avoid  making  any  grimaces  with 


r46 


PR  A 


ENCYCLOPEDIA    OF    MUSIC. 


PH^ 


those  features  of  the  face  which  are  capable  of 
movement.  Occasional  practice  before  a  looking 
glass  will  be  found  very  useful  to  correct  bad 
habits  of  this  kind.  The  tongue  must  lie  behind 
the  bottom  teeth,  without,  however,  pressing 
against  them.  Before  the  emission  of  a  sound, 
and  while  the  student  disposes  his  mouth  in  the 
manner  indicated,  —  a  position  which  must  remain 
unchani^c'd  throughout  'ho  whole  duration  of  the 
note,  —  he  must  take  breith  copiously  and  with 
promptitude.  The  scale,  both  ascending  and  de- 
scending, must  be  practised  on  the  vowel  .V,  ])ro- 
nouncod  as  in  the  tkotiI  fat/ier ;  that  is,  with  the 
Italian  pronunciation.  After  a  while,  the  scale 
may  be  practised  upon  the  same  vowel,  pro- 
I  ounced  as  in  the  words  ma!e,  female,  &c.  As 
soon  as  the  student  has  taken  breath,  he  must 
attack  the  noie  he  ijitends  to  sing  firmly,  and 
not  as  if  it  were  jireceded  or  followed  by  an  ap- 
poggiatura.  On  its  first  emission  the  sound  must 
be  very  soft ;  it  must  then  be  made  to  increase 
gradually  in  intensity  of  tone,  till  it  becomes  as 
hull  as  the  voice  will  conveniently  allow;  the 
tone  must  then  be  gradually  diminished  to  the 
end  of  the  note,  where  it  must  seem  to  die  away 
insensibly.  All  this  must  be  managed  without 
any  movement  of  cither  the  mouth  or  tongue,  or 
the  smallest  jerk  or  concussion  of  the  chest.  This 
manner  of  sustaining  a  note  Ls  called,  by  the 
Italians,  the  mes.ta  di  vice,  or  putting  forth  of  the 
voice.  It  must  have  a  beginning,  a  middle,  and 
an  end.  The  mesta  ili  voce  must  be  practised  on 
every  note  of  the  scale  within  the  compass  of  the 
voice,  taking  breath  between  each  note.  'Yhe  forte 
should  tail  exactly  in  the  middle  of  the  duration 
of  each  sound.  In  this  manner  let  the  student 
daily  sing  two  or  three  notes  in  the  ascending 
■calc,  and  as  many  in  the  descending  scale,  and 
he  will  soon  ascertain  the  natural  compass  of  his 
Voice,  equalize  it  as  to  power  and  quality  of  tone, 
and  ti\  the  limits  within  which  he  will  be  able 
to  execute  a  melody  without  effort  or  fatigue. 
This  practice  must  be  conducted  with  modera- 
tion, so  as  not  to  injure  the  chest.  The  practice 
of  swelling  and  diminishing  a  long  note  in  the 
same  breath  is  absolutely  neic-sary  to  acquire  ex- 
prcsMon  and  the  power  of  giving  the  true  accent 
to  mu^ical  sentences.  The  mcssa  di  voce  is  gener- 
ally indxated  by  this  character  <>,  placed  over 
any  long  note.  The  scale  may  also  be  practised 
with  the  voice  sustaining  each  note  in  the  same 
degree  of  forte  or  piano  throughout,  carefully 
avoiding  any  unsteadiness  or  tremulous  and  un- 
dulating movement  in  the  tone ;  or  each  note 
may  begin  forte,  and  diminish  gradually  m  quaji- 
tity  of  tone  to  the  end ;  this  is  generally  indi- 
cated by  the  character  >  :  or,  again,  each  note 
may  begin  piano,  and  be  swelled  gradually  to  the 
end  ;  tlus  Ls  indicated  by  <.  The  scale  may  be 
practised  with  the  notes  detached  by  separate 
emiftsions  of  the  breath,  or  smoothly  connected  m 
one  continuous  emission  of  it.  In  practising  the 
scales  do  not  attempt  any  notes  higher  than  the 
voice  can  conveniently  reach  ;  nothing  is  so  like- 
.y  to  spoil  the  voice  as  forcing  it  beyond  its  natu- 
ra.  limits.  Nor  must  we  too  far  try  the  breath 
during  the  exercises,  as  it  Ls  only  by  degrees  that 
we  can  accustom  ourselves  to  sing  notes  of  very 
long  duration. 

PR-^DIIEU,    LOUIS    BAllTIIELEMI,  pro- 
fessor of  the  piano-forte  at  the  Conservatory  in 


Paris,  was  born  in  that  city  in  1781.  He  run  fre- 
quently termed  the  Cramer  of  Paris,  and  was 
equally  celebrated  as  a  pianist  and  composer.  He 
was  teacher  to  some  of  the  royal  family  of  France, 
and  was  in  what  may  be  termed  the  zenith  of 
fashion.  -\8  a  ]dayer  he  was  especially  distin- 
guished by  a  vigorous  and  spirited  style  of  exe- 
cution. Pradlier  commenced  hLs  studies  in  music 
at  the  age  of  ei;;ht  years,  at  first  under  the  direc- 
tion ol' his  uncle  Lelivre,  and  subse<|uently  under 
(iobert,  a  i)rofeisor  of  the  Koyal  .School,  to  which 
he  was  attaclied  as  a  pupil.  This  school  having 
been  sui)i)re8sed  at  the  ejmch  of  the  rrvolutiim, 
Madame  de  Montgeroult,  directed  by  the  govern- 
ment to  form  two  ])iano  pupils,  chose  I'radlier 
for  one,  and  gave  him  instructions  during  two 
years  and  a  half.  The  Conservatory  being  then 
established,  Pradher  was  elected  a  pupil  of  it,  un- 
der his  first  ma.ster,Gobert, and  in  the  two  first  pub- 
lic exhibitions  of  the  pupils  obtained  the  timt  and 
second  prizes  for  piano-forte  playing.  He  studied 
harmony  under  Berton  ;  but  in  the  middle  of  his 
course  quitted  the  Conscirntory,  and  married 
Mile.  Philidor,  daughter  of  the  celebratetl  com- 
poser of  that  name.  About  a  year  alter  this,  a 
professorship  becoming  vacant  at  the  Conserva- 
tory, by  the  death  of  Hyacinthe  Jadin,  Pradher 
obtained  the  situation,  after  a  comjietition  with 
several  candidatesi,  on  which  occasion  he  per- 
formed, at  first  sight,  some  'uanuscript  fugues  of 
extreme  ditHculty,  and  whicli  had  been  comjOTsed 
expressly  for  this  competition.  He  has  since 
formed  many  excellent  pupi's,  some  of  whom 
have  gained  the  first  and  second  prizes  ;  the  prin- 
cipal of  these,  up  to  the  year  1811,  were  Mes- 
dames  Pamont,  Herse,  and  lijivel,  and  Messieurs 
Chancourtin,  Dubois,  McLsemberg,  and  I.jimbert. 
Pradher  has  publLshed  a  considerable  number  of 
musical  works,  consisting,  up  to  t'se  year  1811, 
of  thirteen  collections  of  romances,  and  a  great 
number  of  detached  pieces  of  the  same  kind, 
many  of  which  had  brilliant  success  ;  such  as, 
for  instance,  "  Le  Bouton  de  Hose,"  and  "  Le  Vrin- 
terns  ;  "  also  several  vocal  rondos  ;  "  Two  Piano- 
forte .*»onatas,"  dedicated  to  Herton  ;  "  >  Cirand 
Sonata,"  dedicated  to  Mehul ;  "  Two  Pvti.our- 
ris ;  ■'  "  A  Romlo  aUa  Polacca ;  "  "  Fantasia  on  the 

Air  '  Du  point  de  jour  i A  Fanta,sia  on  an  Air 

of  Lambert ;  "  "  A  Variation  for  the  Piaiio-forto 
on  the  Uoraance  of  Helena  ;  "  and  "  -V  Piano-forte 
Concerto."  He  had  composed,  up  to  the  same 
period,  for  the  nu-atre  Feydeau,  three  operas, 
namely,  "  La  Folie  MiuicaU;"  "  Le  C/iecalier  d' Jn- 
duatrie,"  and  '^  Jeune  el  Vieille." 

PR.ESCLE.      (L.)       Females   hired    by    tl« 
ancients  to  sing  over  the  dead  at  funerals. 

PRALL-TUILLEK.       A    passing    shake,   of 
passing  notes  ;  as,  — 


m 


r-ir- 


*"  tr     tr    tr    tr    tr    tr    tr 

PR.ETOUIUS,  MICHAEU  a  native  of  Creiu- 
berg,  a  city  on  the  River  Wcna.  in  Thuringio,  be- 
longing to  the  Duke  of  Saxe-Kisenach,  wi-s  horn 
in  the  year  1.571.  Ha\-ing  made  great  proiiciency 
in  music,  he  wa«  appointed  by  Henry  Juliua, 
Duke  of  Brunswick,  chapcl-ma.ster  and  chamber 
organist  of  his  court,  and  also  private  M^^ttMrj 


747 


VB.JE 


ENClCLOP^DIA    OF   MUSIC. 


PRE 


,0  his  consort  Elizabeth.  Ueiiig  an  ecclesiastic 
by  jirofoision,  he  al'tcrwards  became  prior  of  the 
BeiiC'.Uotiiic  monastery  of  Uinghelm,  in  the  bish- 
0])rie  of  Ilildesheim.  He  was  also,  but  in  what 
)-nrt  of  his  life  it  is  not  known,  chapel-master  to 
the  Klcctor  at  Dresden.  He  died  at  Wolfen- 
buftel  on  the  day  of  his  nativity,  lO'il,  having 
just  completed  his  Kftieth  year.  The  musical 
compositions  of  I'netorius  are  numerous,  and 
consist  of  motets,  masses,  hymns,  and  other 
cliurch  offices.  He  wrote  also  a  treatise,  intended 
to  consist  of  four  volumes  in  quarto;  but  only 
three  were  printed,  entitled  "  Si/iita;rma  Musicum." 
This  work  contains  a  history  of  the  progress  of 
fccclesiastical  music,  from  the  period  of  its  origin 
to  his  own  time. 

PR.ETOIIIUS,  GODESCALCUS,  or  AR- 
ID IAS,  professor  of  philosophy  at  Wittenberg, 
was  born  in  1.528.  He  is  said  to  have  perfectly 
mastered  fourteen  different  languages.  At  the 
time  he  was  rector  of  the  school  at  Magdeburg, 
he  formed  an  intimate  acquaintance  with  the 
musician  Martin  Agricola,  and  being  very  partial 
to  the  science  of  music,  undertook,  conjointly 
with  Agricola,  to  publish  a  work  on  singing. 
Agricola,  however,  dying  before  the  work  was 
completed,  Pnctorius  tinished  and  publL-hed  it 
alone,  under  the  title  "  Melodia  Scholastics  sub 
Jlorarum  Intcrcaliis  DecaiUanda,  (tc.  In  usum 
tchola  Maydebergensis."  Pnctorius  died  in  1573, 
and  an  edition  ol  the  above  work,  probably  the 
Bccond,  is  dated  Magdeburg,  1584. 

PK.ETORIUS,  or  SCHULTZ,  HIERONY- 
MUS,  a  celebrated  organist  and  composer  at  Ham- 
burg, was  born  in  that  city  in  1560.  His  father 
gave  him  his  first  lessons  in  music,  which  he  sub- 
Bcquently  studied  at  Cologne,  and  with  such  zeal 
that  he  was  nominated,  in  1580,  chorister  to  the 
town  of  Erfurt.  He  died  in  1629,  having  suc- 
ceeded his  father,  in  1582,  in  the  first-mentioned 
situation.  Among  his  works  are  a  "  Te  Dcum  " 
for  sixteen  voices ;  the  "  Canticles  of  Luther 
and  others,  with  many  original  Melodies ; ' ' 
•'  C(ni/i<>iiei  S<ici(F,"  consisting  of  Latin  hymns  for 
from  five  to  eight  voices,  and  for  all  the  prin- 
cipal festivals  of  the  year,  Hamburg,  1599 ; 
"  Muffiiijicat,  8  Vocum,"  Hamburg,  1602;  "Six 
Masses,"  for  li-om  five  to  eight  voices,  Hamburg, 
1616;  "  Canti'jniim  Sttcrarutn,  5  ad  20  yocuiii. 
Lib.  i,"  Hamburg,  1618  ;  "  Opits  Mttsicum  \ovum 
et  I'erfcctum,  5  Tomis  concinnatum,"  Frankfort, 
1623. 

PR.'ETORIUS,  MAGISTER  JOHAXX,  born 
in  1034,  WHS  rector  of  the  gymnasium  at  Halle, 
whore  he  died  in  1705.  By  his  erudition,  as  well 
as  liis  musical  compositions,  he  attained  great 
celebrity.  In  1681,  he  produced  at  Halle  an 
oratorio  of  his  composition,  entitled  "  David,"' 
which  was  much  apjilaudcd. 

PRAXDIXl,  GIOVANNI  BATTISTA,  an 
instrumental  compo.ser  in  Italy,  in  the  beginning 
of  the  eighteenth  century,  published  at  Venice, 
Ul  1715,  "  Sfmate  per  Camera  d  tre,"  Op.  1. 

PR.VIT,  ALESSIO,  chapel-master  to  the 
ilector  |)nlatine,  and  a  very  agreeable  and  gen- 
•srnlly  esteemed  composer,  was  born  at  Ferrara  in 
17^57.  In  17i>7  he  went  to  Paris,  and  composed 
.here  an  ojjcra  for  the  TIddtre  de  I'  Opera  Comii/ue, 
entitled    "  L' lUvIe  de  la  Jcunesse."     From   I'aris 


he  proceeded  to  St.  Petersburg,  where  he  wa« 
eminently  successful,  and  at  length  returned  to 
his  native  country,  where  he  composed  at  Flor- 
ence his  opera  of  "  Ifiyenid,"  which  was  greatly 
admired.  It  is  even  said  that,  after  its  first 
representation,  the  archduke  purchased  the 
work,  and  withdrew  it  from  public  perfonnance, 
that  he  might  have  the  pleasure  of  being  its  sole 
possessor.  Others  of  his  operas  are  "  Armirlc 
Abbandonnata,"  Munich,  1785;  "La  Seniiramide, 
ossia  la  Vendetta  di  yino,"  a  melodrama,  Florence, 
1785;  "  Olimpia,"  Naples,  1786;  and  "  iJeoio- 
foonte,"  Venice,  1787.  He  also  composed  much 
chamber  music  for  the  harpsichord,  harp,  flute, 
&c.,  and  several  collections  of  Italian  and  French 
canzonets.     He  died  at  Ferrara  in  1788. 

PRATTICO.  (I  )  The  appeUation  given  by 
the  Italians  to  a  practical  musician,  who  per- 
forms, but  does  not  study  the  science  or  theory 
of  composition. 

PRA'IT,  JOHN,  a  native  of  Cambridge,  and 
son  of  Jonas  Pratt,  a  music  seller  and  teacher  of 
several  instruments,  was  at  the  age  of  eight 
years  admitted  a  chorister  in  the  choir  of  King's 
College,  and  continued  as  such  till  his  voice 
broke,  when  he  became  a  pupil  of  Dr.  Randal, 
(who  was  then  the  organist,)  and  for  whom  he 
officiated  as  deputy,  until  the  time  of  the  doc- 
tor's death,  which  happened  iu  the  month  of 
March,  1799.  He  was  then  appouited,  by  Dr. 
Sumner,  provost  of  King's  College,  organist  to 
that  society,  and,  on  the  21st  of  September  fol- 
lowing, was  appointed,  by  the  vice  chancellor, 
organist  to  the  university,  and,  in  the  year  1813, 
succeeded  Paris,  as  organist  to  St.  Peter's  College. 
The  only  work  of  importance  which  he  pub- 
lished is  a  selection  of  ancient  and  modern 
psalm  tunes  and  hj-mns,  in  one  volume,  entitled 
"  I'salinodia  Caiitabrii/ieiisis."  He  has  composed 
several  services  and  anthems,  which  are  fre<iueut- 
ly  performed  at  the  chapel  in  Cambridge. 

PRECENTOR.  (L.)  The  appeUation  given 
formerly  to  the  master  of  the  choir. 

PRECIPITATO.     (I.)     In  a  hurried  manner. 

PRECISIONE.     (I.)     Precision,  exactiti  de. 

PREDIERI,  LUCA  ANTONIO,  of  Bologna, 
after  having  resided  many  years  in  the  service  of 
the  court  at  Vienna,  died  in  his  own  country. 
He  is  said  to  have  joined  much  imagination  in 
his  works  to  great  truth  and  expression.  Charles 
VI.  had  a  particular  esteem  for  this  composer. 
The  following  are  some  of  his  dramatic  i)roduc- 
tions :  "La  GriseUUi,"  1711;  "  Astarto,"  1715; 
"  Lucio  Papirio,"  1715;  " //  TrumJ'o  di  Sjlimano," 
1719;  "  Mcrope,"  1719;  "  ScipU/ite  il  Grande," 
1731;  "Zoc,"  1736;  "II  Sicrijizio  d'Abramn," 
1738  ;  and  "  haaco  Figura  del  Redenlore,"  1740. 

PREGHIERA.     (I.)     Prayer. 

PREINDL,  JOSEPH,  boni  in  1758,  ana  chap- 
el-master  at  Vienna  in    1793,   published    much 
\  music  for  the  harpsichord,  besiaes  masses,  grad- 
uals,  offertories,  &c. 

PRELLEUR,  PIERRE.  A  French  composer, 
who  resided  in  London.  In  1728  he  w\.s  elected 
organist  at  St.  Alban's  ;  about  the  san  e  time  he 
was  employed  in  the  orcliestra  of  Ihe  theatre  in 
Goodman's  Fielib,  for  which  hous<  hi  composed 
48 


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ENCYCLOP.EDIA    OF    MUSIC. 


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lome  ballets  and    interludes,    which  -were   very  I  is   to   be   performed  in  a  very  quick,  though  not 


(F.)     First;   as,  premiere  fois, 


luccessful.  In  1731  he  published  a  work  enti- 
tled "The  Modern  Music  Master,  itc."  It  con- 
tains instructions  for  singing,  as  also  for  playing 
most  of  the  instruments  then  in  use. 

PRELOQUIUM.  (L.)  The  term  applied  to 
hat  introductory  excess  of  words,  or  syllables, 
A-hich  i)recede3  the  first  bar  of  a  chant. 

PRELUDE,  PRELUDIO,  (I.)  PREI.UDIUM; 
(L.)  A  short  introductory  composition,  or  ex- 
tempore perfonnance,  to  prepare  the  ear  for  the 
succeeding  movements. 

PREMIERE, 
first  time. 

PRENITZ,  CASPAR,  by  birth  a  Bavarian, 
nubhshed  at  Ratisbon,  in  1690,  a  collection  of 
Latin  psalms  tor  voices  and  instruments.  lie 
was  the  master  of  Pachelbel. 

PREPARATION.  That  disposition  of  the 
harmony  by  which  discords  are  lawfully  intro- 
duced. This  preparation  chiefly  consists  in  em- 
ploying a  harmony,  one  of  whose  notes  will 
form  the  discordant  note  of  the  prepared  com- 
bination. 

PREPARED  SHAKE.  A  shake  with  two  or 
more  introductory  notes. 

PRESCIMONIUS,  NICOLAUS  JOSEPHUS, 
doctor  of  laws,  and  advocate  at  Palermo  in  1708, 
was  born  at  Francavilla,  in  Sicih-,  in  lUGO.  He 
was  tlie  composer  of  no  less  than  fourteen  ora- 
torios, of  most  of  which  he  probably  wrote  both 
the  words  and  music.  The  following  are  the 
titles  of  these  works  :  "  La  Gara  de  Fiiimi,  Sere-  \ 
nata  n  5  I'oc/,"  Palermo,  1693;  "La  Xascita  di 
Saiisoite  anniinziata  daW  Aiujelo ;  Figura  delta  Sa-  \ 
eralissinia  Annunzitazione  del  Verba;  Dialugo  d.  5 
Voci,"  Messina,  10i)4;  •' L' Onnijjotcnza  glorijicata  ' 
da  tre  fanciiUli  nella  Fornace  di  liabilonia  ;  Dialogo 
do  I'uci  per  la  sai-ra  Ceita  del  RedetUore,"  Naples,  ' 
1695;  "  //  Trioiifo  dvgli  Dei;  Serenata  d.  4  foci,  ' 
due  Chori,  e  60  Stromenti,"  Messina,  1695  ;  "  Gli 
Angeli  Salmiati  per  la  Concezione  di  Maria;  Dia- 
logo d  5  I'oci,"  Rome,  1696  ;  "  //  Fuoco  Panegi- 
riata  del  Creatore  luiUa  Fornace  di  Babilonia ;  Dia- 
loyo  d  0  Voci,"  Palermo;  "La  Nolle  Felice; 
Serenata  A  6  Voci,"  Palermo,  1700;  "  La  Crisi 
\'ilale  del  Moudo  languente  >iel  Sudor  di  Sangue  del 
Redeiitore  in  Getsenuini ;  Oratorio  d  3  Voci,"  Mes- 
sina, 1701;  "  I  Miracoli  della  I'rovidenza  ;  Ora- 
torio a  5  Voci,"  Palermo,  1703;  II  Tripiulio  delle 
XiiiJ'e  ni'lla  piaggiti  di  Mare  Dolce  ;  Senerata  d  3 
I'oci,  c  piu  Nromcnti,"  Palermo,  1704;  " //  6'jm- 
dizio  tli  Salomone  nella  Contesa  delle  due  Madri ; 
Sacro  Trattenimeiito  artnonica,"  Palermo,  1705; 
■•'  La  Figlia  unigenita  di  Gefte,  aacrijicata  a  Dio 
dal  Padre;  Dialogo  d  6  Voci,"  Palermo,  1705; 
"La  Virlii  in  Gara;  Trattenimento  armonico  d4 
P'oci,"  Palermo,  1706 ;  and  "  II  Latte  di  laele, 
Figura  dell'  Eucharialia  tacroaanta,  e  dell'  immacu- 
Uita  Puritd  di  Maria  Virgine ;  Oratorio  d  6  Voei,  » 
piu  Stromenti,"  Palermo,  1700. 

PRESTEZZA.  (L)  Rapidity,  quickness ;  as, 
con pnntezza,  with  rapidity. 

PRESTISSIMO,  or  PRE.STISS.  (I.)  The 
•uperlative  of  preato.  A  word  denoting  the 
tnost   rapid  time. 

PRESTO.  (I.)  A  word  implying  that  the 
noTcment  at  the  begiuuing  of  which  it  is  placed 


the  (luickest,  time. 

PRP:TI.  ALFONSO,  published  his  first  book 
of  madrigals  at  Venice,  in  1687. 

PREU.  FRIEDRICIL  .Musician  at  lx;ipsic  in 
1781.  He  had  much  talent,  but  was  unfortu- 
nate, which  determined  his  friends  to  print,  in 
1781  and  1785,  for  his  benefit,  by  subscriijtion, 
two  volumes  of  his  songs.  Besides  these,  he 
composed  the  following  works :  "  Ailraite"  a 
German  opera;  "The  Wildfire,"  ditto;  "Bella 
and  Fernando,  or  the  Satyr,"  ditto,  1791  ;  and 
"  ITie  Milliner,"  operetta. 

PREUSS,  CARL,  court  musician  at  Hanover, 
published  at  Cassel,  in  1778,  "  'Hirec  (Juatuors  for 
the  Harpsichord,  two  Violins,  and  Violoncello, 
Part  I.  ;  "  and,  in  1783,  a  volume  of  "  Odes  and 
Songs." 

PREVO.ST,  EUGENE,  bom  in  Paris,  in  1806, 
and  pupil  of  Lesueur,  has  composed  a  number  of 
popular  pieces  for  the  Opera  Comiquc. 

PREVOST,  GUILLAUME.  Contrapuntist  of 
the  sixteenth  century.  Lechner,  in  his  "  Motetta 
Sairtr,"  has  preserved  many  pieces  of  this  master's 
composition. 

PREYSING,  HEINRICH  BALTHASAR, 
chamber  musician  at  Gotha,  has  been  known  in 
Germany,  since  the  year  1780,  by  several  com- 
positions for  the  violoncello.  He  died  at  (!otha 
in  1802,  leaving  two  sons,  both  eminent  perfonn- 
ers  on  bow  instruments. 

PRIMA  DONNA.  (I.)  The  principal  fe- 
male singer  in  the  Italian  opera. 

PRIMAVERA,  GIOVANNI  LEONARDO, 
called  Deir  Arpa,  from  his  eminence  on  the  harp, 
flourbhed  at  Naples  in  the  middle  of  the  sixteenth 
century.  He  was  also  a  poet  and  composer. 
Amongst  his  works  are  "  Madrigali  (i  5  e  6  I'oci," 
Venice,  1565  ;  "  Canzonette  Neapolitane  h  3  Voci, 
Lib.  1,  2,  e  3,"  Venice,  1570;  and  "Madrigali  A 
6  Voci,"  Venice,  1573. 

PRIMA  VISTA.     (L)    At  first  sight. 

PRIMA  VOLTA.     (I.)     First  time. 

PRIMITIVE  CHORD.  ITiat  chord,  the  low- 
est note  of  which  is  of  the  same  literal  denomi- 
nation as  the  fundamental  bass  of  the  harmony. 
The  chord,  taken  in  any  other  way,  as  when  its 
lowest  note  is  the  third  or  the  fifth  of  the  funda- 
mental bass,  is  called  a  derivative. 

PRIMO.  (I.)  First;  as,  primo  violono,  first 
violin  ;  primo  flatUo,  first  flute. 

PRIMO  BUFFO.  (I.)  First  comic  actor  and 
singer. 

PRIMO  MUSICO.  (I.)    Principal  male  singer. 

PRIMO  TEMPO,  or  PRIM.  TEMP.  (I.)  In 
the  original  time.  An  expression  urckI  after  a 
retardation  or  acceleration  of  the  time,  to  signify 
that  the_/frj<  motion  of  the  measure  is  resumed. 

PRINCIPAL.  A  word  used  adjectively  to 
signify  the  leader  of  a  band  ;  as  the  principaJ  vio- 
lin. Also  applied  substantively  to  a  certain  stop 
in  the  organ.     Scje  Stop. 

PRINCIPALMENTE.     (I.)     Principally. 

PRINO,  JACOB,  JOSEPH,  and  LS.V.\C. 
There  were  three  brothers  of  this  name,  who  were 
eminent  as  professors  and  vocal  corapowors  in 
England.      Joseph    Pring    was  organist   of    th* 


749 


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ENCYCLOPEDIA    OF   MUSIC. 


PUl 


satliedtal  nt  Bangor,  and  lAaac  settled  at  Oxford, 
us  prolessor  and  organist  of  New  College  there, 
whilst  Jacob  Pring  resided  principally  in  Ixindon 
till  hi<  death,  which  took  place  in  1799.  Jacob 
Pring  was  one  of  the  first  founders,  with  Dr.  Cal- 
rott,  .Samuel  Webbe,  Mr.  Horslcy,  &c.,  of  the  so- 
ciety called  Conceiitores  Sodales. 

PRIXTZ,  WOLFCJAXG  CASPAR,  was  bom 

at  Waldthurn,  a  small  city  in  the  Upper  Palatinate, 
in  the  year  1041.  His  father  was  a  magistrate, 
«nd  a  receiver  of  the  public  revenues  there,  till, 
on  account  of  his  religion,  he  (juitted  his  station, 
and  removed  to  Vohenstraus,  a  small  town  in  the 
territory  of  Farstenburg.  Young  Print/.,  dis- 
lovering  a  taste  for  music,  was  instructed  in  the 
princi])les  of  composition,  and  the  practice  of  the 
har])sichord,  violin,  and  other  instruments.  He 
■n-as  admitted  a  student  in  the  university  at  Alt- 
dorff,  where  he  continued,  three  years ;  and  from 
thence  he  was  taken  into  the  service  of  Count 
Promnitz,  at  Dresden,  as  director  of  his  music 
and  court  organist.  With  this  nobleman  he  trav- 
elled through  Silesia,  Moravia,  and  Austria.  On 
the  decease  of  the  count,  Printz  was  invited  to 
the  office  of  chanter  in  the  church  of  a  town 
named  Triebel,  where  he  married  ;  but,  after  a 
year's  continuance  in  that  employment,  being 
called  to  the  same  office  in  the  church  at  Sorau, 
in  Upper  Saxony,  he  entered  upon  it  in  the  year 
160.5.  Some  years  afterwards  he  was  appointed 
to  the  direction  of  the  choir  in  the  same  church ; 
and,  a'i  it  is  supposed,  continued  in  that  station 
until  the  time  of  his  death,  which  took  place  in 
the  year  1717. 

Ilis  works  are  numerous.  Among  them  there 
is  a  history  of  vocal  and  instrumental  music, 
which  was  published  at  Dresden,  in  the  year 
1090,  with  the  title  of  "  Historische  Bcschreibung 
der  edden  Sing  uiid  Klingkwist."  I'his  is  WTitten 
in  chronological  order,  and  the  author  begins  it 
with  an  account  of  the  invention  of  the  harp  by 
Jubal.  He  has  delineated  the  Hebrew  instru- 
ments chiefly  from  the  authority  of  Joannes 
Schutterus,  the  author  of  "  Collectanea  Philolo- 
tfica."  The  Grecian  and  Hebrew  music  are 
treated  at  some  length,  aud  the  history  is  con- 
tinued through  all  the  later  writers  to  his  own 
time,  concluding  with  an  account  of  himself  and 
his  i-tudies.  He  dates  the  invention  of  music  in 
consonance  from  the  year  940,  and  ascribes  it  to 
St.  Dunstan,  who,  he  says,  composed  songs,  in 
'liffcreut  parts,  for  bass,  tenor,  descant,  and  va- 
cant, or  alt.  He  asserts,  however,  that  St.  Dun- 
fctan  proceeded  no  farther  in  it  than  to  the  con- 
U.ipiintus  simplex,  and  that  it  was  not  till  some 
years  after  its  invention  that  the  practice  of  sing- 
ing in  consonance  became  general.  Printz  ap- 
pears to  have  been  an  able  man  in  his  profession, 
tnd  to  have  bestowed  great  pains  on  the  compo- 
lition  ot  his  work,  the  brevity  of  which  Ls  its  only 
fault.  Another  work  by  him  has  been  mentioned, 
"  Dc  Inalrtinuiiitis  in  Mo  Orbe  Musicia,"  wluch  is 
Baid  to  have  been  written  only  a  short  time  be- 
fore hLs  death. 

PUIOLI.  GIOVANNI,  chapel-master  to  the 
Empiror  Ferdinand  II.  at  Vienna,  at  the  begin- 
ning of  the  seventeenth  century,  published, 
among  many  other  works,  "  I'ars  I,  Concenluiini 
Sacronim,"  Venice,  1618;  "  Mit3e  A  8  e  9  roc," 

*enice,   1624;    and  " Delicie    Muiicaii,"  Vienna, 

625. 


PROBE,  (G.)  PROVA,  (I.)    A  rehearsal 

PROCII,  IIEINRICH,  bom  in  1809,  at  Vi. 
enna,  first  became  distinguished  as  a  ^'iolinist 
He  was  afterwards  chapel-master  in  Vienna,  and 
is  well  known  by  his  songs  with  instrumental 
accompaniments,  such  as  piano,  violoncello,  and 
horn.  He  has  also  written  masses,  overtures, 
violin  quartets,  &c. 

PROCKSCH,  GASPARD.  A  good  German 
clarinetist,  and  composer  for  his  instrument. 
Some  of  his  music  was  published  at  Paris  about 
the  year  1779. 

PRODUCTION  OF  SOUND.  It  has  been 
proved  beyond  all  manner  of  doubt  that  sound  is 
produced  by  certain  undulations  of  the  air,  (and 
is  not,  as  was  supposed  by  ancient  philosophers, 
a  thing  that  would  be,  if  no  hearing  animal 
existed;)  but  how  these  undulations  produce 
sound,  is,  and  ever  musj;  be,  a  matter  of  doubt. 
Some  have  thought  the  drum  of  the  ear  so 
peculiarly  constructed,  that,  after  recei'N-ing  the 
impulse  from  the  motions  in  the  air,  it  would 
cause  undulations  still  to  pass  on  within,  until 
they  should  arrive  at  the  brain,  and  thus  give  the 
sensation  of  sound.  l"he  ca\-ity  intervening  be- 
tween the  external  air  and  the  inner  chamber  ap- 
peared to  these  anatomists  to  have  no  other  use 
than  to  allow  a  free  motion  to  the  little  piston 
that  is  employed  to  agitate  the  air  within  the 
labyrinth,  and,  as  the  piston  condenses  on  a  very 
small  surface,  consequently  the  agitations  iHat 
are  very  gentle  when  received,  being  rendered 
more  dense  by  this  process,  have  greater  effect 
when  they  reach  the  powers  of  perception.  The 
gravity  or  acuteness  of  a  sound  is  as  to  the  quan- 
tity of  air  displaced,  the  force  with  which  the 
string  is  moved  signif  j-ing  very  little.  The  degrees 
of  acuteness  are  according  to  the  specific  den- 
sity of  the  substance  which  emits  the  sound.  The 
strength  of  a  tone  is  as  the  moment  of  the  par- 
ticles of  air ;  the  moment  of  these  particles  is  as 
their  velocity,  and  the  velocity  of  these  particles 
is  as  the  velocity  of  the  string  which  sets  them  in 
motion.  In  a  still  night  the  voices  of  workmen 
at  the  distillery  at  Battersea  may  be  heard  at 
Westminster  Bridge,  a  distance  of  three  miles. 
The  watchword  at  Portsmouth,  it  is  said,  can  be 
heard  at  Ryde,  in  the  Isle  of  Wight,  a  distance 
of  four  or  five  miles.  The  echo  in  Woodstock 
Park  is  repeated  seventeen  times  by  day  and 
twenty  by  night.  The  artillery  at  the  siege  of 
Genoa  by  the  French  was  heard  at  Leghorn,  a 
distance  of  ninety  miles.  The  firing  at  the  battle 
of  Waterloo  was  heard  at  Dover,  at  a  distance,  in 
a  direct  line,  of  one  hundred  and  forty  miles,  of 
which  one  hundred  and  ten  were  over  land,  and 
the  remainder  over  water. 

PROFESSORSHIP,  MUSIC.\L.  That  staUon 
in  a  university  which  entitles  the  professor  to 
confer  musical  degrees,  give  public  lectures  on 
the  harmonic  science,  and  compose  for,  and  con- 
duct, all  musical  performances  ordained  by,  or 
connected  with,  the  academical  regulations.  The 
professorship  was  instituted  at  Oxl'ord  at  the  be- 
ginning of  the  seventeenth  century,  by  Dr.  Wil- 
liam Ilcyther,  under  the  title  of  a  music  lecture-  In 
order  to  promote  the  practice  of  which  he  himself 
was  a  graduate,  the  learned  founder  presented  to 
the  University  Music  School  a  harpsicoi^  a  chMt 
60 


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of  viols,  and  a  variety  of  manuscript  and  printed 
music. 

PROGRAMME.  A  list  of  pieces  to  be  per- 
fonned  in  a  concert,  oratorio,  opera,  &c. 

PROGRESSION  signifies  a  succession  of  tri- 
ads, or  perfect  chords,  which  are  confined  to  the 
tonic.  Although  a  change  of  any  note  implies 
partial  modulation,  yet  in  all  cases  where  the  new 
tonic  remains  undei'ided  by  the  omission  of  the 
leading  note,  tlie  original  tonic  continues  a  pre- 
dominant sound,  and  the  term  progression  is  re- 
tained. 

PROGRESSIVE.  An  epithet  properly  ap- 
plied to  lessons  expressly  composed  for  the  pur- 
pose of  practical  improvement,  and  that  are  so 
sonstructcd  in  point  of  increasing  execution  as  to 
lead  the  practitioner,  by  insensible  degrees,  to 
those  dilficultics  which  he  could  not  well  en- 
counter without  such  preparatory  exercises.  In 
music,  as  in  all  the  arts  and  sciences,  the  path  to 
improvement  has  been  greatly  smoothed,  and 
the  labor  of  the  tutor  much  abridged,  by  those 
simple  introductory  precepts  and  practical  exam- 
ples wliich  som'!  of  the  first  professors  have 
deigned  to  furnish  ;  and  excellence  has,  in  con- 
sequence, been  more  generally  attained  than  in 
former  ages,  when  the  early  advances  of  the  juve- 
nile pupil  were  less  consulted  by  the  learned  and 
ingenious. 

PROGRESSIVE  NOTES.  Those  notes  which 
succeed  each  other,  either  in  ascent  or  descent, 
by  those  degrees,  the  settled  order  of  which  con- 
stitutes the  key  of  the  composition,  or  of  the 
movement,  or  the  passage  in  which  they  take 
I  lace. 

PROLAllON.  A  method,  used  in  the  old 
music,  lor  determining  the  power  of  semibreves 
and  minims.  The  maik  of  prolation  was  placed 
alter  the  clef,  and  sometimes  after  the  sign  of  the 
mode,  by  a  circle,  or  semicircle,  punctuated  or 
unpunctuated,  according  to  the  foUo'wing  rules  : 
the  prolation  was  divided  into  perfect  and  imper- 
fect, and  each  of  these  into  major  or  minor,  in  the 
same  manner  as  the  mode.  The  perfect  prolation 
was  for  tl.e  ternary  measure,  and  was  marked  by 
a  point  in  a  circle  when  m<yor,  and  by  a  point  in 
a  semicircle  when  minor. 

PRONOMUS.  An  ancient  Theban  musician. 
He  was  the  inventor  of  a  flute,  upon  which  he 
could  play  in  three  ditferent  modes.  Before  his 
time  there  was  a  particular  flute  for  every  mode 
or  key  ;  and  so  out  of  tune  are  the  generality  of 
modern  flutes,  it  were  almost  to  be  wished  that  the 
custom  had  still  continued.  ITie  words  and  music 
of  a  hymn,  composed  by  I'ronomus  for  the  inhab- 
itants of  Chalcis  when  they  went  to  Delos,  were 
existing  in  the  time  of  Pausanias,  as  was  like- 
wise the  tomb  of  this  musician,  erected  by  the 
citizens  of  Thebes,  near  that  of  Epamiuondas. 

PROPHET.  The  name  given,  in  remote 
times,  to  bards  and  rhapsodists.  It  is  in  thLs 
sense  that  we  sometimes  underst&nd  the  word 
prophet  in  the  Old  Testament ;  as  when  "  Saul 
met  a  company  of  prophet*  with  a  psaltery,  tabrtt, 
and  harp." 

PROPORTION.  The  ratio  which  two  terms 
bear  to  each  other  upon  comparing  them,  as 
Iwo  numbers,  two  lines,  two  sounds,  iic. 


PROS.^%.  Certain  hjTnns  used  in  the  Romish 
church,  called  kX^^o  arquentia.  'llicy  are  in  rhyme, 
but  derive  their  names  of  pros<r,  or  prons,  from 
their  deficiency  in  measure  and  quantity.  Sc« 
Seqcentia. 

PROSCOKDA.  (Or.)  An  Inrtninientil  tnil  T»Hril  •i-djmp«nl- 
mrnt  to  !hr  ■ncicnt  ntcm)  mutir.  tnTrnted,  ■•  we  tr«ni  from  Plu- 
tnrrh.  hv  llie  (inclin  iniiilclan  Crrxuti  brfore  whow  llnw.  the  M- 
compunlnicnt  wa*  In  iinl»*>n,  or  nntr  for  nitte, 

rRDSl.AMIlANOMEXOS.  The  n«rne  ylren  hy  the  inrlent 
Grreki  In  lh<-  lowf.t  noli  In  Ihilr  jvntom,  nnrt  which  w«»  i  qulTiliM.I 
t.i  i.iir  A  on  Ilif  llr«l  iliore  In  the  hntt.  Thil  linlr.  w<ii  i-nhnl  ;.ro»- 
ItimfumtifiH-nnt,  hiTauae.  N-lnff  ■uhjr.iijed  to  Ihe  lowetl  trtrii.liMril  f-.r 
the  purpoee  of  riirni^ihlnir  lite  oclnTe  lo  the  inrwtt.  or  im.\u[v  chord, 
it  w««  a  kinfl  of  miitrmumrrftr*/  ■oitnd. 

PROSOliI  \.  (Cir  )  A  Mcred  »ong.  Of  hymn,  lung  hT  Ihe  «n- 
cientf  In  honor  of  thi-  god*. 

PROSODIAC.  An  rpi:hel  hr  which  the  indent  Creeki  die- 
tincutffhMl  a  ■i>'-clee  of  nnmf,  or  air,  eunfi  In  honor  of  MArti  and  Iht 
Inrcniion  of  which  wu  altrihuted  to  Ulympui. 

PROSODY.  A  term,  partly  grammali<-ftl  and 
partly  musical,  relating  to  the  accent  and  metri- 
cal quantity  of  syllables,  in  lyrical  com])osition. 
A  just  prosody  is  so  indispensable  to  genuine  mel- 
ody, that  a  respectable  Italian  author  has  defined 
it  the  (;uid<-  of  sony.  lliat  prosody  formed  an 
important  part  of  the  ancient  music  Ls  indeed 
evident,  as  well  from  the  oriijin  of  the  word  as 
from  numerous  passages  in  the  Greek  and  Rninan 
classics.  Prosody  was  also  a  kind  of  nnme  per- 
formed by  flutes,  and  peculiar  to  the  cantics 
which  were  sung  by  the  Greeks  at  the  entrance 
of  sacrifices.  Plutarch  attributes  the  invention 
oi  prosodies  to  Clonas,  of  Tegiea. 

PROTA,  GIUSEPPE,  bom  at  Naples  in  1699, 
was  distinguished  both  as  a  teacher  and  com- 
poser. Prota  first  studied  in  the  Conser\-atory 
Dei  Poveri  di  Giesu  Cristo,  and  afterwards  in 
that  of  l>a  Piet;\,  under  Alessandro  Scarlatti ;  but 
from  the  rank  of  a  pupil  he  soon  rose  to  that  of  a 
master,  and  was  named  director  of  the  latter  of 
these  establishments.  Prota  is  amongst  the  last 
of  those  whose  time  was  chiefly  absorbed  by  in- 
struction. We  know  of  none  of  hLs  compo  •itions  ; 
but  as  his  reputation  Ls  somewhat  extended,  it  is 
probable  that  it  is  due  both  to  his  labors  as  a  com- 
poser and  a  professor.  His  style  is  said  to  have 
been  full  of  truth  and  expression. 

PROTESIS.  The  name  jiTen  by  the  ancient  Oreeka  to  a  certain 
pau.i-  in  their  innlic 

PRO  roPSALTES.  The  naine  of  that  of  the  two  prinripal  ling- 
er* in  the  patriarchal  church  of  Constantinople,  who  is  stationed 
on  the  right  eido  of  the  choir. 

PROVEDI,  FRANCESCO.  Author  of  an 
Italian  treati>e  entitled  "  Paragone  delUi  Musica 
Aniica  e  delln  Modcnui."  I'his  is  to  be  found  in 
the  first  volume  of  the  "  Rnrcolla  d'OpusaiU  Scien- 
tijici  e  FiU:loyici,"  Venice,  1754. 

PRUDENT,  EMILE,  bom  in  1820,  lives  in 
Paris.  He  is  a  distinguished  pianist  of  the  schorl 
of  'llialberg,  in  whose  footsteps  he  also  follows  aa 
a  composer. 

PRUDENTIUS,  BERTRANDUS,  a  monk  ot 
Poitou,  left,  at  his  decease,  a  manuscript  poem 
entitled  "  L'FJnrie  He  la  Miui<iue."  It  is  still  in 
the  Royal  Library  at  Paris. 

PRUME,  FRANCOIS,  bom  at  Stavclot,  in 
Belgium,  in  1816,  was  an  excellent  violinUt  \ud 
composer  for  his  instrument.  After  mnny  con- 
cert tours,  he  settled  down  as  teacher  in  the  C  »n- 
•ervatory  at  Liege,  where  he  died  in  1319. 

PS.\LM,  in  general,  a  song  ;  in  a  narrow  »e  »c, 
a  sacred  song,  (from  the  Greek.)  I'taJm  i*  used 
particularly  to  denote  the  sacred  sorp  which  an 


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contninod  in  the  collection  of  religious  lyric 
poems  in  the  Old  Testament.  They  are  mostly 
of  the  time  of  David,  or  of  a  later  period,  one 
only,  perhaps,  (the  90th,  the  Psalm  of  Moses,) 
being  of  more  ancient  date. 

PSALMIST,  or  PSALMOGRAPniST.  A 
composer,  writer,  or  sincier  of  psalms,  hjinns,  or 
divine  songs.  An  appellation  exclusively  applied 
by  divines  to  David,  king  of  Israel,  the  sup- 
posed author  of  the  Hook  of  Psalms  in  the  Old 
Testament. 

PSALMISTS.  (L.)  Certain  canonical  singers 
in  the  primitive  church,  who  were  not  considered 
as  laymen,  but  amalgamated  with  the  ordinary 
clergy. 

PSALMODY.*  Among  the  various  inven- 
tions noticed  in  the  early  annals  of  the  Bible,  as 
ministering  to  the  comforts  and  necessities  of 
mankind,  music  is  the  only  one,  the  chief  object 
of  which  was  to  animate  the  affections  and  de- 
light and  refine  the  senses. 

From  that  time  the  inspired  authors  of  holy 
■writ  —  lawgivers,  prophets,  evangelists,  and  apos- 
tles —  the  poets  and  philosophers  of  the  ancient 
heathen  world,  and  writers  innumeral)le,  both 
sacred  and  profane,  of  more  modern  times,  have 
united  in  recorameiuliiig  the  cultivation  of  music 
as  a  means  of  soothing  the  evil  passions,  so.'"tcning 
the  manners,  improving  the  mind,  and  contribut- 
ing to  devotion. 

From  the  time  of  Moses  it  was  constantly  em- 
ployed in  religious  and  civil  festivals,  in  public 
and  private  rejoicings,  and  on  occasions  of  grief 
and  mourning.  Femalc>  as  well  as  males  bore  a 
part  in  such  jierfonnances,  legislators  and  proph- 
ets were  the  national  bards,  and  judges  and 
kings  condescended  to  handle  the  harp  and  the 
lyre  in  the  service  of  their  God. 

An  instance  of  the  happy  and  elevating  effect 
of  music,  employed  in  this  manner,  is  recorded 
in  Kxodus ;  when,  at  the  glorious  triumph  of  the 
Lord  over  his  enemies  in  the  Red  Sea,  "  Miriam 
the  prophetess  took  a  timbrel  in  lier  hand,  and 
all  the  women  went  out  after  her,"  and  the 
praises  of  the  Deliverer  of  Israel  were  celebrated 
in  the  presence  of  the  assembled  camp.  The 
company  of  singers  whom  David  employed  in 
the  i)r<linary  worship  of  God,  together  with  his 
own  skill  in  sacred  music,  are  expressly  record- 
ed in  the  Holy  Scriptures  ;  as  well  as  the  "  men 
singers,  and  women  singers,  and  the  musical 
instruments  of  all  sorts  "  which  were  provided 
for  public  worship  by  his  son,  the  wise  king 
Solomon.  Music,  indeed,  was  in  general  use 
among  the  Hebrews  from  the  time  of  their  quit- 
ting Egypt  till  they  cesised  to  be  a  nation.  And 
thougli  we  are  ignorant  of  what  sort  it  was,  and 
know  not  whether  it  were  regarded  as  a  study  for 
the  young  in  the  schools  of  the  prophets,  or  an 
acquirement  of  more  advanced  life,  yet  this  at 
least  is  certain,  that  it  must  have  had  a  powerful 
influence  over  the  mind,  and  that  the  jiractice  of 
the  art  was  not  limited  or  confined  to  a  few. 

AVith  regard  to  the  testimony  of  heathens  in 
favor  of  music,  it  is  needless  to  treat  of  the  in- 


•  rnd*r  the  heart  rsAlMonr  will  be  found  many  ikctchei  of  In- 
dlviduAlp  who  hare  been  comitoai-ra  and  teachen  uf  paalinody  and 
•tnfinf  in  tbit  country,  fnmi  It*  flrat  vrttli'ment.  tfown  to  ISVI. 
Tnrae  valuable  hiftorical  memoranda  will  b«  tound  chronologically 
tnvngcd. 


flucnce  which  it  exercised  in  the  early  and  fabu- 
lous ages  of  Greece.  It  may  suffice  to  mention 
that  in  the  more  advanced  period  of  the  history 
of  that  nation,  melody  and  i)octic  song,  the  two 
great  divisions  under  which  all  their  music  was 
classed,  constituted  a  material  part  of  national 
education,  and  were  made  the  grand  medium  for 
instilling  the  most  ira])ortaiit  precepts  into  the 
minds  of  youth.  Gymnastic  exercises  were  re- 
sorted to  for  the  improvement  of  the  body,  and 
music  was  regarded  as  the  appropriate  recreation 
and  discipline  for  the  mind,  among  that  cultivat- 
ed heathen  peo]»le.  Their  children  were  taught 
the  Utc,  and  their  tender  memories  were  stored 
with  the  songs  of  their  most  famous  poets  ;  and 
gentleness  and  modesty,  orderly  demeanor  and 
elegance  of  manners,  were  expected  as  the  fruiis 
of  this  kind  of  instruction.  Hence  musical 
exercises  became  the  business  of  the  statesman, 
the  warrior,  and  the  bard ;  besides  being  used 
by  the  heathen  prie«ts  as  an  important  aux- 
iliary in  the  celebration  of  their  rrligious  rites. 
Philosophers  of  every  class  considered  this  art 
to  be  worthy  of  their  especial  notice ;  and  it 
is  remarkable  that  Plato  and  Aristotle,  who  dis- 
agreed so  widely  in  other  maxims  of  politics, 
held  but  this  one  opinion  with  regard  to  music, 
that  it  was  the  most  efficacious  instrument  for 
humanizing  the  public  character,  and  providing 
for  the  virtuous  education  of  the  state. 

Little  can  be  said  in  favor  of  the  music  of  the 
Romans  as  compared  with  that  of  the  Greeks. 
In  the  earliest  period  of  the  history  of  this  peo- 
ple, we  find  that  it  was  rude  and  coarse  in  its 
character,  and  chiefly  used  for  the  purposes  of 
religion  and  of  war.  At  a  later  &zc,  with  other 
arts  and  sciences,  their  poetry  and  music  were 
imi^roved  by  their  intercourse  with  their  more 
refined  neighbors,  the  Etruscans ;  and  subse- 
quently still  more  so  after  the  examples  afford- 
ed them  by  their  vanquished  foes,  the  Greeks, 
whose  customs  they  readily  adopted  whenever 
they  found  them  superior  to  their  own.  But 
the  manners  of  the  Roman  peojile  had  then 
become  degenerate  and  corrupt,  and  it  was  not, 
therefore,  to  be  expected,  when  they  availed 
themselves  of  the  refinements  of  their  v&nquished 
neighbors,  that  the  musical  art,  perverted  from 
the  important  ends  of  religion,  morals,  and  poli- 
cy, to  a  mere  object  of  luxury  and  gratification, 
should,  as  in  ancient  Greece,  be  employed  to 
instil  into  the  minds  of  youth  the  precepts  of 
morality  and  virtue.  We  hear  little,  therefore, 
of  its  being  so  employed  in  any  period  of  ancient 
Rome. 

On  referring  to  the  testimony  of  sacred  wri- 
ters, we  find  that  the  custom  of  the  Jews  in  chant- 
ing psalms  and  hymns  was  at  once  adopted,  and 
consecrated  to  the  highest  uses,  by  our  Lord  and 
his  disciples.  All  authorities  agree,  that  sacrM 
songs  formed  a  part  of  the  devotions  of  the  early 
Christians  ;  but  the  precise  nature  of  their  mode 
of  chanting  or  singing  is  not  known.  It  may 
reasonably  be  conjectured,  however,  that  part  of 
the  sacred  music  of  the  apostles  and  their  im- 
mediate successors,  in  Palestine  and  the  adjacent 
countries,  was  formed  on  the  model  of  that  u.sed 
by  the  Hebrews,  particularly  in  chanting  the 
P.salms ;  though,  where  pat;anism  prevailed,  it  ia 
not  unlikely  that  an  admixture  of  the  mu.sic  of 
the  heathen  temples  may  have  been  introduced 

According  to  the  account  given  by  Eusebiua 


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of  the  consecration  of  churches  in  the  time  of  the 
Emperor  Constantine  the  (ireat,  it  is  probable 
that  it  was  not  until  tlic  fourth  century  that 
music  formed  a  regular  part  of  the  olHi-es  of  the 
Christian  church.  At  tirst  the  laity  were  wont 
to  join  in  a  very  rude  and  inartiticial  manner  ; 
wherefore  it  was  exprest-ly  ordained  by  the  coun- 
lil  of  Laodicea,  in  the  fourth  century,  that  none 
but  the  canons  or  singing  men  should  presume 
'o  sing  in  the  church.  Henceforward,  musical 
icieucc  became  confined  in  a  great  measure  to 
Kclesiaatics,  and  was  regarded  as  the  peculiar 
business  of  monks  and  priests. 

St.  Basil,  !St.  Ambrose,  St.  Jerome,  and  St. 
L'hrysostom,  early  and  celebrated  fathers  of  the 
"hurch,  are  all  to  be  numbered  among  the  pro- 
■noters  of  sacred  music  of  the  more  elevated  and 
'icher  kind.  At  Antioch,  where  the  first  and  last 
if  the-e  holy  men  were  brou;;ht  up,  the  anti- 
ohonal  method  of  singing  the  Psalms,  i.  e.,  the 
Hinging  of  the  verses  alternately  by  the  choir,  was 
irst  introduccil ;  and  this  practice,  being  brought 
r)y  St.  .Vinbrose  to  Milan,  became  generally 
adopted  tliro\ighout  Christendom,  under  the 
aame  of  the  Ambrosian  chant. 

Further  improvements  were  made  in  the  man- 
agement of  the  sacred  orchestra  by  Po|)e  Greg- 
ory I.  —  a  man  not  more  remarkable  for  his  vir- 
:ues  than  for  his  general  learning  and  profound 
skill  in  the  science  of  music,  lie  invented  the 
simple  nutation  by  the  seven  first  letters  of  the 
Roman  alphabet,  (from  whence  are  derived  the 
names  of  the  notes  now  in  u.se,)  and  thereby 
superseded  the  more  complicated  system  of  the 
(ircck  church,  which  previously  prevailed.  He 
increased  the  number  of  tones,  from  tour  (or  the 
U Irachoril)  to  eight,  (or  the  ottave,)  and  intro- 
duced into  the  church  a  new  and  improved  spe- 
cies of  chant,  or  plain  song,  which  hence  acquired 
the  name  of  the  Gregorian  chant.  (See  that 
term.)  To  promote  and  secure  these  objects,  he 
estiiblished  a  school  for  sini;ing,  and  not  only 
endowed  it  with  ample  revenues,  but  superin- 
tended in  person  the  instruction  of  the  young 
pupils;  and  such  was  i;s  success  that  it  tiour- 
ishe<l  for  three  hundred  years  after  his  death. 
By  these  and  other  proofs  of  the  interest  he  took 
in  the  art,  considerable  advancement  was  made 
in  this  delightful  part  of  devotional  service. 

The  science  of  music,  at  this  age,  being  con- 
fined to  the  ecclesiastics,  it  was  the  custom  of 
the  English  clergy  to  travel  to  Rome  for  their 
improvement  in  it,  and  masters  from  that  city 
visited  England.  But  at  length  a  school  for  in- 
struction in  ecclesiastical  music  was  established 
by  St.  Au-tin  at  Canterbury,  by  which  greater 
facilities  were  afforded  for  the  general  cultivation 
of  the  ait.  Many  of  the  sovereigns  of  Europe 
concurred  in  encouraging  the  pious  and  edifying 
practice  ;  and  nt  the  latter  end  of  the  ninth  cen- 
tury Alfred  the  Great,  himself  an  excellent  musi- 
cian, founded  a  protes-sorship  for  the  purpose  at 
Oxford.  By  these  and  various  other  arrange- 
ments of  a  similar  description,  the  art  of  music 
was  recommended  to  public  notice,  and  formed 
an  important  branch  of  the  education  of  all 
learned  persons. 

Such  was  the  condition  and  progress  of  musical 
•cience  previous  to  the  dawn  of  the  reformation. 
Its  effect,  in  connection  with  the  otfices  of  religion, 
was  grand  and  imposing.  But  the  leaders  oi  the 
rcforniation  differed  materially  in  their  opinions 
95  7 


of  the  manner  in  which  the  art  was  to  be  ren- 
dered most  e.fcctivo  for  the  purposes  they  had  in 
view.  The  bold  and  uncompromising  scheme  oi 
reformation  jiursued  by  Luther  was  modified,  in 
re.«pect  to  church  music,  by  his  own  skill  and 
proficiency  in  the  art.  (See  Llthkk  )  Brought 
up  from  childhood  with  a  correct  and  cultivated 
taste  for  hannony,  it  had  constituted  a  delightful 
recreation  for  him  i)i  early  days ;  and  he  had 
formed  a  high  opinion  of  it*  moral  inlluenco  on 
the  human  heart.  "  Music  he  called  a  half  dis- 
cipline and  schoolmistress,  to  make  the  j/eople 
gentler,  milder,  more  moral,  and  wiser."  With 
whatever  sjiirit  and  success  he  attacked  the  cor- 
rupt doctrines  of  the  Uomish  church,  he  de- 
clared that  "  he  never  meant  to  abolish  all  exter- 
nal forms  of  worship,  but  to  purge  that  which 
had  hitherto  been  used,  and  to  show  what  was 
the  true  Christian  way."  Ilcncc  he  made  it  his 
business  to  adapt  a  religious  service  in  German 
to  the  ancient  and  splendid  music  of  the  Uoman 
mass,  and  to  introduce  a  variety  of  hymns  and 
psalms  into  the  church,  some  of  the  best  of  the 
tunes  to  which  were  composed  (as  is  thought) 
by  himself. 

Zwingle,  another  of  the  leading  reformers,  ex- 
hibited a  fondness  for  music  scarcely  less  ardent 
than  that  of  Luther.  "  In  the  midst  of  labors 
the  most  incessant,"  says  his  biographer,  "he 

I  never  ceased  to  cultivate  his  talent  for  music,  ol 
which  he  had  acquired  the  elements  in  his  infun- 

!  cy.  This  art  then  formed  an  essential  part  of  the 
instruction  communicated  to  young  men  intend- 
ed for  the  ecdcsia-stical  profession  ;  and  Zwingle 
regarded  it  as  a  means  calculated  not  only  to 
give  repo.se  to  the  mind  after  fatiguing  occupa- 
tions, and  communicate   to  it  fresh  jiowcr  and 

I  energy,  but  to  soften  down  and  correct  a  tem]<er 

i  partaking  of  too  much  ardor  or  austerity.     Ha 

I  therefore  particularly  recommended  music  to 
young  persons  destined  to  a  laborious  and  seden- 
tar)-  liie." 

,  The  gloomy  views  of  the  Genevan  reformer, 
Calvin,  led  him  to  pursue  a  course  very  differ- 

'  ent  from  that  of  Luther,  and  to  mark  his  hostil- 

!  ity  to  the  pretensions  of  Home  by  an  entire  rejec- 

1  tion  of  all  the  u.^ages  of  her  church.  Not  a 
mu.sical  instrument  was  suffered  within  the  walls 

I  of  Geneva  tor  more  than  a  century  after  the 
reformation ;    and  music,  except   his  own  plain 

'  metrical  jjsalmody,  was  proscribed  wherever  the 
doctrines  of  Calvin  were  received. 

j  In  England,  as  in  Germany,  the  object  of  the 
reformers  was  to  purity  religion  from  whatever 
was  corrupt,  and  retain  all  that  was  good  ;  and 
hero,  therefore,  choral  music  was  preserved,  at 
least  in  cathedrals  and  collegiate  church&s.  llie 
intluence  of  the  royal  family  was  considerable  in 
effecting  its  preservation.  Henry  Vill.,  having 
been  educated  with  some  distant  view  to  an 
ecclesiastical  life,  was  naturally  led,  in  his  early 
days,  to  the  cultivation  of  mu-.ic  ;  in  which,  both 
by  talent  and  ac(iuirement,  he  was  admirably 
skilled.  Hence  it  was  his  deli^'ht,  as  it  was  tli* 
of  his  minister  Wolsey,  and  several  of  the  nobil- 
ity, to  have  the  choral  .>.cr>-icc  jin-servetl  in  itf 
most  solemn  fonu  ;  the  schools  lor  music  con- 
nected with  all  cathedrals  were  relaine*! ;  and  by 
a  report  published  and  sanctioned  wiih  regard  to 
the  state  of  ecclesiastical  affairs,  it  appears  that 
choral  music  %vas  ordered  to  be  earned  on,  "  re- 
duced, nevertheless,  to  that  state  of  purity  and 

■33 


PSA 


ENCYCLOPAEDIA    OF    MUSIC. 


¥SA 


liinplioify  from  which  it  had  deviatod."  In  the 
micpcedins  reigns,  Edward  VI.,  Mary,  and  Eliza- 
beth M-ero  nil  practical  musician's,  and  cherished 
ft  great  fondness  for  the  art.  The  latter  qneen, 
esi)ecially,  with  the  help  of  Archbishop  Parker,  a 
man  preeminently  skilled  in  music,  was  enabled 
to  effect  considerable  improvements  in  this  part 
of  the  divine  service.  But  the  progress  of  sacred 
melody  was  soon  interrupted  by  the  effects  of  the 
usurpation,  and  the  sullen  character  of  those 
unhappy  time*.  Music  was  not  only  banished 
from  the  church,  but  in  a  great  degree  also  from 
private  families.  Ry  an  ordinance  made  in  the 
year  1014,  organs  in  churches  and  chapels  were 
ordered  to  be  taken  down  ;  and  the  fury  of  the 
populace  was  not  less  conspicuous  in  the  demoli- 
tion of  these  instruments,  than  in  the  imjiious 
xeal  with  which  they  disfigured  and  destroyed 
whatever  else  had  been  used  in  the  sers-ice  of 
God. 

On  the  restoration  of  Charles  11.,  and  the 
return  of  the  clergy  to  the  station  and  property 
of  which  they  had  been  despoiled,  the  next  meas- 
ure, after  the  establishment  of  the  liturgy,  was 
the  revival  of  sacred  melody,  and  the  choral 
service  of  the  church.  Tliis  work  was  attended 
with  peculiar  difficulty,  in  consequence  of  the 
dispersion  of  all  persons  who  had  previously  been 
engaged  in  this  service.  And  when,  at  length, 
the  instruments  of  music  were  replaced,  few  per- 
sons could  be  found  who  were  capable  of  leading 
and  sustaining  the  parts  of  the  pious  song.  The 
two  universities,  particularly  that  of  Oxford, 
used  most  diligent  endeavors  to  meet  these  wants. 
Books  of  instruction  were  written,  and  services 
and  anthems  composed,  to  supply  the  place  of 
those  which  were  lost  ;  able  persons  were  ap- 
pointed to  teach  and  conduct  the  choir ;  and  by 
the  help  of  the  musical  taste  and  science  of  the 
sovereign,  and  the  direct  encouragement  given 
by  him  to  the  work,  this  portion  of  the  service  of 
God  was  ultimately  established. 

It  has  already  been  remarked  that  the  custom 
of  singing  the  praises  of  God,  after  the  manner 
of  psalms,  was  expressly  sanctioned  and  practised 
by  our  Lord  himself;  and  there  is  no  reason  to 
suppose  that  this  devotional  exercise  was  ever 
wholly  superseded  by  choral  harmony  ;  although 
the  notices  of  history  may  be  more  numerous  and 
express  upon  that  department  of  Christian  wor- 
ship. Certain  it  is,  that  the  reformers  were  well 
aware  of  the  power  of  psalmody,  as  well  as  that 
of  the  higher  and  more  cultivated  kind  of  church 
music.  Singular  instances,  indeed,  are  on  record 
of  the  zeal  and  devotion  with  which  the  earlioist 
martyrs  of  that  age  delivered  themselves  up  to 
cruelties  and  death,  singing  psalms  and  the 
praises  of  God.  The  disciples  of  Wickliffe  in 
England,  during  the  fourteenth  century,  and 
those  of  John  IIuss  and  Jerome  of  Prague  in  the 
fifteenth,  were  celebrated  psalm  singers:  and  Lu- 
ther eagerly  availed  him.-elf  of  this  kind  of  mel- 
ody for  carrying  forward  those  purposes,  which 
have  already  been  described.  He  employed  some 
persons  to  versify  the  psalms  and  h\-mns  in  tlie 
German  lani,'uage,  and  others  to  set  them  to  mu- 
sic ;  rendering  the  rao.st  valuable  assistance  him- 
self in  both  these  undertjikings.  His  own  modest 
and  simple  account  of  this  proceeding  we  read 
in  the  following  words  :  "  I,  and  some  others,  to 
give  a  beginning,  and  set  the  example  to  such  as 
■re  more  capable,  have  collected  some  spiritual 


songs,  to  further  and  bring  int(  use  the  sacred 
gospel."  And  s])eaking  of  the  tunes,  he  adds, 
"  They  are  arranged  for  four  voices,  for  no  othej 
reason  than  that  I  am  anxious  that  young  people, 
who  should  and  micst  be  educated  in  music  and 
other  good  arts,  should  have  wherewitU  to  get  rid 
of  their  lasciviousness  and  carnal  songs,  and  instead 
of  them,  learn  something  salutary,  and  receive 
what  is  good  with  pleasure,  as  to  youth  is  meet." 

About  this  time  a  Frenchman,  named  Clement 
Marot,  completed  a  version,  in  his  native  language, 
of  about  fifty  psalms;  and,  after  his  death,  the 
remainder  of  the  work  was  supplied  by  Theodore 
Beza,  his  friend.  This  version  was  rccived  with 
the  greatest  approbation,  and  led  to  some  further 
and  very  successful  measures  on  the  part  of  Cal- 
A-in  to  render  psalm  singing  acceptable  to  the 
people.  From  an  act  of  devotion  appropriate  to 
the  church,  the  use  of  singing  was  now  carried 
into  the  camp  and  the  field  of  war ;  and  in  the 
frequent  acts  of  resistance  made  by  Protestants 
against  their  persecutors,  a  devotional  psalm, 
shouted  forth  with  energy  by  four  or  five  thou- 
sand men  in  array,  served  as  the  signal  for  battle. 
An  example  of  a  similar  kind  may  be  found  in 
the  one  hundred  and  forty-ninth  Psalm,  which 
is  thought  to  be  an  ode  sung  when  Da^-id's  army 
was  marching  out  to  war  against  the  devoted 
nations. 

For  the  most  part,  however,  the  plainest  melo- 
dy, and  the  most  monotonous,  was  found  in  the 
Genevan  church.  In  other  parts  of  Switzerland, 
and  in  France  and  Flanders,  a  style  more  harmo- 
nious, with  the  tunes  arranged  for  several  voices, 
and  generally  accompanied  by  musical  instru- 
ments, was  approved  and  introduced  into  the 
churches. 

That  the  singing  of  psalms  generally  prevailed 
at  the  earliest  periods  of  the  reformation  is  cer- 
tain ;  though  the  practice  was  not  expressly 
countenanced  by  public  authority  till  the  year 
1.548.  Under  the  sanction  of  a  license  granted  at 
that  time,  several  persons  attempted  to  render  the 
psalms  into  English  verse,  and  the  musical  taste 
of  Archbishop  Parker,  together  with  the  influ- 
ence he  possessed,  was  of  the  greatest  value  in 
forwarding  this  pious  work.  An  entire  version 
of  the  Psalms  was  not,  however,  published  till 
1562,  when  it  appeared  for  the  first  time  as  an  ap- 
pendage to  the  Book  of  Common  Prayer.  ITii* 
is  the  well-known  version  of  Stenihold  and  Hop- 
kins, wliich  is  more  valuable  as  a  close  transla- 
tion from  the  original  Hebrew,  than  on  account 
of  any  merit  in  the  versification,  even  making  am- 
ple allowances  for  the  state  of  English  poetry  at  the 
period  when  it  was  composed.  The  tunes  of  this 
edition,  comprising  the  mere  melody,  were  chiefly 
taken  from  the  books  of  the  I^itherans  and  Cal- 
vinists ;  and  it  is  highly  gratifying  to  the  pro- 
moters of  popular  psalmody  to  know,  that  one 
principal  object  proposed  by  this  undertaking 
was  to  supply  the  common  people  with  a  set  ot 
songs  calculated  at  once  to  occupy  their  leisure, 
to  reform  their  manners,  and  to  elevate  their  de- 
votional feelings.  The  title  page  of  this  work 
(as  it  is  still  published  with  the  Book  of  Com- 
mon Prayer)  declares  that  it  was  "  set  forth 
and  allowed  to  be  sung  in  all  churches  of  th» 
people  together,"  —  "  and  moreover  in  private 
houses  for  their  godly  solace  and  comfort,  laying 
apart  all  ungodly  songs  and  ballads  which-  tend 
only  to  the  nourishment  of  vice  and  the  :omipt- 


754 


PSA 


ENCYCLOPEDIA    OF   MUSIC. 


PSA 


ing  of  youth."  Further  attempts  were  iifter- 
wards  made  towards  the  perfection  of  this  work, 
the  express  object  of  which  was  to  render  ])sal- 
mody  a  popular  exercise,  and  enable  "  the  unskil- 
ful, by  small  practice,  to  attain  to  sinj;  that  part 
(of  the  harmony)  which  is  fittest  for  their  voice." 
Many  other  publications  on  this  subject  answered 
the  design  with  which  they  were  written  ;  and, 
amonj^st  the  rest  appeared  the  celebrated  work 
by  Thomius  llavenscroft,  13.  M.,  containing  a  mel- 
ody for  every  one  of  the  one  hundred  and  fifty 
psalms.  Several  of  these  compositions  are  still 
in  use,  and  form  the  most  popular  tunes  for  con- 
gregational worshi])  at  the  present  day  ;  such  as 
Windsor,  St.  David's,  Canterbury,  York,  Hoches- 
ter,  and  many  others.  It  may  be  interesting  also 
to  remember,  that  John  Milton,  the  father  of 
t'i'.e  celebrated  poet,  was  among  the  number  of 
those  who  assisted  RaTenscroft  in  this  important 
work. 

The  p«alm  books  of  this  period  were  commonly 
ju-ei'aced  by  instructions  in  the  theory  and  prac- 
tice of  vocal  music  ;  but  it  does  not  appear  that 
any  other  more  particular  or  erticacious  plan  was 
adopted  for  introducing  the  art  into  common  no- 
tice, either  among  the  young  or  old  ;  and  indeed, 
at  that  period,  the  education  of  the  people  had 
been  so  little  attended  to,  that  it  is  probable  the 
instructions  in  music  prefi.xed  to  the  psalm  books 
were  intelligible  to  very  few  persons,  except  the 
clergyman  of  the  parish  and  the  clerk.  The  lat- 
ter person,  it  is  to  be  remembered,  in  that  age, 
was  of  a  sujjerior  cla.ss  to  his  successors.  lie  was 
literally  a  clerk,  (clericiis,)  an  assistant  to  the  cler- 
gyman in  the  ministerial  duties  of  his  office.  As 
an  ecdesia-stic,  his  education  was  suitable  to  the 
nature  of  that  calling  ;  and  a  knowledge  of  mu- 
sic would,  as  we  have  seen,  necessarily  form  part 
of  it.  Henry  III.  granted  a  charter  of  incoqiora- 
tion  to  these  persons,  which  was  confirmed  by 
several  succeeding  kings  ;  and  they  a|)pear  to 
have  attracted  to  their  fraternity  people  of  the 
first  quality,  lovers  of  music,  and  such  as  de- 
Ughted  in  singing  ;  and  the  occupation  was  in 
high  esteem  with  those  who  had  a  taste  for  this 
gjicred  work.  TTius  far,  then,  there  were  facilities 
of  an  unusual  kind  for  promoting  the  cultivation 


Thus  parochial  psalmody  degenerated.  It  i« 
said,  indeed,  that  the  accidental  settlement  of 
people  from  Flanders,  for  the  jjurposes  of  tni  Ic,  in 
Gloucestershire,  Somersetshire,  and  Wiltshire, 
has  preserved  a  somewhat  better  state  of  harmony 
in  the  congregations  of  tho.se  districts,  and  that 
other  causes  have  operated  in  the  same  favorable 
manner  in  Birmingham  and  its  vicinity ;  and  it 
is  certain  that  the  jjcople  of  Lancashire  are  such 
proficients  in  the  art  of  singing,  as  to  supply  the 
choru.ses  of  the  most  celebrated  concerts  of  the 
metropolis,  and  other  parts  of  the  kingdom,  with 
valuable  assistance.  It  may,  therefore,  be  inferred 
that  the  spirit  of  psalmody  has  not  departed, 
though  it  is  obvious  that  efforts  of  more  than  a 
common  kind  are  neces.si\ry  to  raise  and  establish 
the  art  in  that  degree  of  excellence  which  the 
service  of  God  reiiuires  and  demands. 

Tliose  who  are  conversant  with  the  history  of 
church  music  in  this  country  will  not  need  to  be 
told  that  great  changes  have  taken  place  in  this 
department  of  music  during  the  la.st  half  century, 
or  even  quarter  of  a  century.  These  changes  re- 
spect not  only  the  manner  of  conducting  thin 
branch  of  public  worship,  but  the  character  of 
the  music  employed,  and  the  intelligence  of  the 
people  in  regard  to  the  act  of  singing. 

As  a  nation  is  musically  educated,  so  in  the 
same  ratio  shall  we  find  its  intellectual  develop- 
ment. The  savage  celebrates  his  exploits  by 
vocal  entertainments,  and  makes  night,  as  well 
as  day,  hideous  with  sounds  more  inharmonious 
than  the  growl  of  the  bear,  or  the  yell  of  the 
hyena.  Ascend  a  step,  and  these  rough  accents 
are  modulated  to  greater  euphony.  Here,  in- 
struments of  wood  are  rudely  manufactured  by 
the  ingenuity  of  unlettered  men,  while  another 
pace,  and  the  mine  yields  its  treasures  to  human 
cunning,  to  be  wrought  into  fantastic  shapes, 
and  adorned  with  curious  devices.  l/ook  where 
we  will,  wherever  we  find  a  highly  mu.sical 
people,  the  arts  are  cultivated,  intellect  stretches 
its  gigantic  arms  into  the  misty  regions  of  dis- 
covery, and  the  kindly  courtesies  and  charities 
of  life  cluster  around  the  domestic  hearth.  Ger- 
many has  for  ages  been  the  favored  land  of  music. 
In   no  part   of  the  world  are   its  charms  more 


of  sacred  song.  But  in  a  short  time,  the  same  \  highly  appreciated,  or  more  closely  studied,  "as 
cause  which  had  interrupted  the  choral  service  ' 
of  the  cathedral  entirely  disturbed  the  progress  of 
this  lower  and  more  popular  branch  ol  ma-ic. 
AftiT  the  turbulwit  period  which  followed  the 
days  of  King  Charles  I.,  the  office  of  clerk  was 
never  held  in  the  high  esteem  it  had  obtained  be- 
fore ;  and  with  the  reputation  of  this  office  the 
art  it.sclf  lost  ground.  To  this  cause,  in  a  great 
measure,  may  be  traced  the  inharmonious  and 
"-ontemptible  minstreLsy  which  has  been  found  in 
English  churches  in  more  modern  days.  The  vil- 
lage musicians,  unable  to  enjoy  the  beautiful  sim- 
plicity, and  produce  the  happy  efieot  contem- 
plated by  Uavcnscroft  and  his  assistants,  proceeded 
in  an  opposite  direction,  adopting  altogether  a 
diH'erent  plan,  and  attempting  far  more  than  their 
imper:ect  skill  could  possibly  enable  them  to 
licrform.  Fugues  and  other  elaborate  pieces  of 
music  were  introduced  by  such  musicians  before 
the  village  congregation  ;  entirely  uusuited  to  the 
place,  even  if  they  were  well  jierformed,  but, 
in  tlie  hands  of  such  ignorant,  self-taught  prac- 
titioners, calculated  only  to  deaden  piety  and 
azcite  contempt. 


exemplified  in  the  stirring  melodies  of  her 
mountains,  or  the  rich  harmonics  of  her  acade- 
mies. To  her  composers  are  we  more  indebteil 
than  to  those  of  any  other  country,  Italy  not 
e.xcepted,  for  combinations  of  sound  that  portray 
with  fidelity  every  modification  of  emotion.  The 
gentle  feelings  of  humanity  are  breathcil  forth 
with  witching  softness,  whilst  the  harsher  pas- 
sions find  in  more  startling  and  broken  cadences 
o  fitting  representation  of  their  overwhelming 
force."  Mirth  is  made  to  speak  in  lighter  meas- 
ures, and  grief  in  more  tender  strains  than  else- 
where. And  Germany  has  also  been  the  birth- 
place of  genius  and  the  home  of  art.  The 
leanie<l  from  all  parts  of  Christendom  have 
crowded  within  her  bonlers,  and  young  men 
have  crossed  many  seas  to  gather  the  instruction 
of  her  academies.  It  could  scarcely  have  bci'n 
otherwise.  A  nation  which  had  cultivated  its 
perceptions,  awakened  its  imagination,  and  re- 
fined its  ta.ste  by  listening  to  the  wondcrf\il  crea- 
tions of  Handel,  Haydn,  .Mozart,  and  Beethoven, 
whose  melodies  come  upon  the  ear  through  wild 
and  gloomy  mosses  of  sound,  like  gleams  of  tus- 


756 


PSA 


ENCYCLOPAEDIA    OF   MUSIC. 


PSA 


shine  from  an   April  sky,  must  of  necessity  be  I  church,  which  not  only   kept   alive  the  enthu 
prc-mincnt  in  the  world  of  literature  and  art.  siasm  of  the   relormers,   but   formed   a  rallyinj 

Mur.ic  aids  a  people  to  procure  its  freedom,  and  point  for  his  followers.  The  ancient  airs  which 
to  maintain  it  when  established.  No  song  in  Luther  supplied,  some  of  them,  were  originally 
favor  of  tyranny  ever  became  popular  with  the     licentious  songs.     The  hundredth  psalm,  WTitten 


mass,  but  the  spirited  remonstrance,  the  keen 
rebuke,  or  word  of  warning  Ls  cejioed  and  re- 
echoed from  the  centre  to  the  circumference  of 
an  enslaved  kingdom.  Who  shall  say  that 
Athens  was  not  in  part  indebted  for  the  contin- 
uance of  her  institutions  to  her  tine  banqueting 
pong  in  praise  of  llarmodius  and  Aristogiton  ■ 
Wales  could  not  be  robbed  of  her  ancient  usages, 
her  traditions,  and  her  laws,  without  the  de- 
struction of  her  bards.  The  name  of  Tell.  "  em- 
balmed in  music,"  has  aided  more  than  a  thou- 
sand swords  to  bar  the  valleys  of  .Switzerland 
ogainst  the  invader;  and  the  heart  of  (iermany 
throbs  at  the  name  of  Korner  with  unspoken 
hopes,  which  shall  find  a  noble,  though  it  may 
be  a  terrible  fulfilment. 

The  composition  and  performance  if  psalmody 
appears  to  have  been  practised  and  encouraged 
in  Oermany,  France,  and  the  Low  Countries, 
long  before  it  was  introduced  into  England.  A 
large  proportion  of  the  old  melodies  now  sung 
in  the  English  parochial  churches  were  com- 
posed and  arranged,  or  set,  by  German  musicians, 
and  it  seems  highly  probable,  from  all  that  can 
be  collected  on  the  subject,  that  the  practice  of 
psalmody  had  its  origin  in  Germany.  It  does 
not,  however,  appear  that  even  in  that  country  it 
at  first  gained  admission  into  public  worship, 
but  that  it  was  a  long  time  confined  to  family 
devotion,  especially  among  the  reformers.  The 
first  psalmody  was  sung  from  manuscript  copies ; 
then  it  was  engraved  on  ]  dates,  and  impress-ions 
thus  obtained,  which  rendered  it  much  more 
easy  for  people  to  get  copies  of  such  tunes  as 
■were  popular.  ITie  first  mttsic  printed  of  wliich 
we  have  any  account  was  a  set  of  masses,  in 
1503.  These  were  composed  by  Josquin,  in  the 
time  of  Sextus  IV.,  and  were  printed  from  en- 
graved plates  by  one  Petruccio,  who  in  1.51.3 
obtained  a  patent  for  priutuig  f^rative  soiiy,  and 
pieces  for  the  organ.  Previous  to  this  time  there 
had  been  printed  a  book  upon  the  subject  of 
music,  called  a  "Musical  Dictionary,"  which 
■was  probably  the  first  musical  publication  print- 
ed; it  was  by  John  Tinctor,  in  1474.  There 
were  only  a  few  books  printed,  even  from  en- 
graved plates,  previous  to  tlie  year  1600.  Durins; 
the    long    and 


long  before  the  time  of  Luther,  was  a  love  ditty. 
The  queen  of  Henry  II.  sang  her  favorite  pealm, 
"  liebuke  me  not  in  thy  indignation,"  to  a  fash- 
ionable jig;  and  Anthony,  King  of  Navarre, 
sang,  ".Stand  up,  O  Lord,  to  revenge  my  quar- 
rel," to  the  air  of  a  dance  of  I'oitou.  lliis  in- 
lectious  Irenzy  of  psalm  singing  at  length  reached 
England,  and  Sternhold,  an  enthusiast  in  the  ref- 
ormation, being  much  offended  at  the  lascivioua 
ballads  which  prevailed  among  the  courtiers, 
with  a  laudable  design  to  check  these  indecencies, 
provided  the  courtiers  with  his  psalms,  "  think- 
ing thereby,"  says  Anthony  Wood,  "that  they 
would  sing  them  instead  of  the  sonnets ;  but 
they  did  not."  The  Puritans,  however,  after- 
wards nearly  destroyed  these  germs  of  melody, 
assigning  as  a  reason,  that  music  should  be  so 
simplified  as  to  suit  all  persons,  and  that  all 
Voices  may  join.  We  subjoin  a  specimen  of  the 
Puritanical  music. 


The  Puritans  of  England  were  not  ashamed  to 
confess  their  light  esteem  for  music.  l"he  tone  of 
their  modest  request  to  parliament  is  extremely 
odd  and  amusing.  They  prayed  "  that  all  ca- 
thedral churches  may  be  put  down,  where  the 
sers'ice  of  GoJ  is  most  grievously  abused  by 
piping  with  organs,  singing,  ringing,  and  trowling 
of  jisalms  from  one  side  of  the  choir  to  the 
other,  with  the  squeaking  of  chanting  choris- 
ters." Fanaticism  led  many  to  think  music  an 
unchristian  recreation,  and  that  no  singing,  but 
the  singing  of  David's  psalms,  was  to  be  tolerat- 
ed in  a  church  that  pretended  to  be  forming 
itself  into  the  most  perfect  model  of  primitive 
sanctity.  These  malcontents  in  church  music,  it 
is  well  known,  succeeded  in  putting  a  stop  to  it 
for  several  years.  In  the  grand  rebellion,  the 
organ  of  Magdalen  College,  in  Oxford,  was  tak- 
en down  ;  but  Cromwell,  who  was  fond  of  organ 


music,    ordered   it    to  be   carej[ully  conveyed   to 
disastrous    period    emphatically  |  Hampton  Court,  where  it  was  placed  in  the  great 


termed  "the  dark  ages,"    when  ignorance  and  I  gallery;  and  one  of  his  favorite  amusements  was 
superstition  generally  prevailed   in  the  west  of  i  to    be  entertained  with   this   instrument   in    his 


Europe,  the  singing  of  the  praises  of  God  was  a 
part  of  divine  worship  from  which  tlie  people 
were  debarred.  Not  only  were  the  words  which 
■«vcre  actually  sung  composed  in  a  language  un- 
known to  the  great  mass  of  the  people ;  but  the 
music  was  so  complex  that  no  one  uneducated 
could  bear  a  part  in  it ;  to  sing,  then,  one  must 
have  studied  music  scientifically.  But  at  the 
reformation  from  the  unscriptural  and  anti- 
scriptural  errors  and  practices  of  Popery,  in  the 
sixteenth  century,  the  sin<;ing  of  psalms  and 
hymns  was  revived,  and  revindicated  to  the  com- 
mon people,  among  the  means  of  grace  of 
which  Christendom  had  been  long  dei)rived  by 
Papal  tyranny  and  usurpation. 

Slartin    Luther,    about   the    year    1.517,  intro- 
iuced  metrical  psalmody  into  the  service  of  the 


leisure  hours.  It  remained  there  till  the  restor.i- 
tion,  when  it  was  returned  to  its  original  own- 
ers. 

The  earliest  known  attempt  at  rendering  the 
Psalms  into  English  verse,  for  the  purpose  of 
being  sung,  is  that  of  the  venerable  confessor  of 
the  gospel,  Myles  Covcrdale.  Bishop  of  Exeter, 
during  the  reign  of  King  Edward  VI. ;  whose 
"  Goostly  Psalmes  and  Spirituall  Songes, 
drawcn  out  of  the  Holy  Scriptures,"  were 
published  in  1.5.38.  This  collection  was  known 
as  "  Bishop  Coverdale's  Version  of  certain 
I'salms ;  "  and  these  were  sung  in  private  and 
in  public.  Luther,  who  was  a  good  musician, 
is  known  to  have  regularly  practised  psalmody, 
with  his  friends,  every  evening  after  supper; 
and  he  has  aUo  had  the  credit  of  composing  tht 


756 


PSA 


ENCYCLOPAEDIA    OF    MUSIC. 


PSA 


excellent  melody  of  the  hundredth  psnlni,  or  Old 
Hundred  ;  but  modern  inquiry  renders  it  certain 
that  he  only  hiirraonizcd  it,  and  adiii>ted  sacred 
words  to  it,  as  lie  did  to  many  other  eimilar  airs, 
which  were  jjopuiar  in  his  lime. 

An  Eni;lish  version  of  the  Psalms  of  David 
was  male  soon  after  that  made  in  France,  by 
Thom:i8  Stcrnhold,  {;room  of  the  robes  to  Henry 
Vin.,  and  John  Hojikins,  a  scliooliuasler,  assi-t- 
ed  by  William  Whittynf;ham,  an  Kni^lisli  divine 
of  considerable  learnin^i.  S.cmhold  and  Hop- 
kins's version  of  nineteen  psalms  was  ])rintcd  by 
Edward  Whit  Uurche,  in  1549,  and  was  entitled 
"Certaync  Psa.mes  chosen  out  of  the  Psalter  of 
David,  and  drawcn  into  English  Metro  by  Thom- 
as Sternhold,  Urome  of  yo  Kyniies  Slajestics 
lioobes."  A  second  edition,  containini;  thirty- 
seven  "  Psalraes  of  David,  drawen  into  English 
Metre  by  Thomas  Sternhold,"  with  "seven  addi- 
tional Psalraes,  translated  by  John  Hopkins," 
was  "  imjirinted  at  London,  by  Edward  Whit- 
churche,  anno  Domini  lo.il,"  in  l(imo.  >Soon 
alter  the  publication  of  this  version,  vocal  |i8almo- 
dy  was  introduced  into  the  church  of  England, 
either  by  permission  or  by  tacit  connivance ; 
since  the  accurate  ecclesiastical  historian  Strype 
states  that  in  the  month  of  September,  1.J59, 
"  be^an  the  new  morninp;  prayer  at  St.  Antho- 
lin's,  London,  the  bell  be;;iuning  to  ring  at  live ; 
when  a  psalm  was  sung  after  the  Geneva  fashion, 
all  the  conj;re;;ation,  men,  women,  and  boys, 
singin;'  together  "  Several  musical  manuals 
now  soon  appeared,  for  the  purpose  of  facili- 
tiUing  the  practice  of  vocal  psalmody  in  England  ; 
among  the  authors  and  publishers  of  which,  no 
one  was  more  assiduous  than  John  Playford, 
whose  "  Introduction  to  the  Skill  of  Musick,  or 
I'salms  and  Hymns,  in  four  piirts,  on  the  Com- 
mon Tunes,"  and  other  publications  of  a  similar 
nature,  entitle  him  to  he  con>idere<l,  in  some  re- 
spects, as  one  of  the  fathers  of  metrical  psal- 
mody. 

Windsor  Tune  appe  «re<l  in  Raveiiscroft's  book, 
and  also  in  the  collection  of  Ainsworth,  1612.  It 
was  there  written  as  follows  :  — 


Je-bo-T«h,  wbo  sUall  ao-jour-ucr  in  th>  pa-Til-ion  S>c« : 


^-^^^-^^S; 


U'lio  nball  li  dnell-vr  bv,  witb-iu  tby  uiiuint  ofsaoc-ti-tie ! 

Ainsworth's  Psalms  were  brought  to  this  coun- 
try by  the  Puritans,  and  used  by  them  until   the 
introduction  of  jirinting  and  the   publication  of 
the   Hay  Psalm  Hook.     .\s  early  as  l.i'.tO,  Henry 
Ainsworth  was  a  distin:;uished  leader  among  the 
iJrownists.     He   was    a    native  of   England,  and 
probably  retired  to  Holland  in  l.jil't —  the  period 
of  the  general  banishment  ot  the  UrownLsts.     He 
lived  at  Amsterdam,  where   he   was  porter  to  a 
bookseller.     He  died  in  1622,  and.  as  some  sup- 
posed, from  violence.     His  version  of  the  Psalms  I 
•cems  to  have  been  prep«re«l  and  pviblisbe<l  alwut 
.he  year  1612.    The  tnnes  in  .Vinsworth's  Collcc-  ' 
tion  consist  only  ot  a  melody,  and  that  of  a  char-  I 
acter  not  reranrkably  agreeible   to  modern  ears  ;  i 
though,  doubtless,  to  the  Pxiritans  they  afforded  | 
hiiih  gratification.     'ITie  poeiry  Bt\d  music   were  l 
alike  akin  to  jargon,  and  yet  were  the  only  words  I 

75 


and  tunti  used  for  many  years  after  the  settle- 
ment of  Plymouth.  Mr.  Walter,  of  Koxbury,  ir, 
1720,  commenced  the  refonuation  in  psalmody 
by  his  first  book.  It  is  probable  tluit  our  ancient 
psalmody  came  from  Home.  It  scpuis  the  most 
natural  thing  in  the  worhl  that  the  Hussite,  and 
others  of  the  continental  dissenters  from  the  Cath- 
olic church,  should  have  carried  with  them  into 
the  wilds  and  mountain  fastnesse.i  to  which  they 
were  driven,  strains  and  reminisct'iiccs  of  the 
cathedral  music  which  had  been  familiar  to  them 
from  their  earliest  yo\ith.  'ITie  abundance  of 
minors,  the  uncouth  cadences,  the  odd  and  pecu- 
liar chanijes  in  the  scales,  written  and  sung  with- 
out accidentals  as  they  were  —  these  and  other 
])ecidiaritit>s  seem  common  to  both ;  and  arrange- 
ments of  Ainsworth's  melodies  would  j)robnbly 
have  much  the  same  effect  as  do  the  arrange- 
ments of  the  (iregorian  chant,  when  the  .latter 
has  the  old  form  i)reservcd. 

Until  about  1812,  the  reading  of  our  teachers 
was  confined,  at  best,  to  a  few  such  books  as 
those  published  by  Holyoke,  and  .Swan,  and 
Jenks,  and  Harmon  ;  and  the  style  of  perform- 
ance was  formed  by  copying  that  of  some  favor- 
ite teacher  who  had  preccde<l  them,  and  they 
were  conseijuently  satisfied  with  very  oi<linary 
compositions,  and  with  a  still  more  ordinary,  and 
perhaps  altogether  defective,  style  of  execution. 
The  compositions  of  Hillings,  Swan,  Kimball, 
Holyoke,  and  others  of  the  old  school  of  psalmo- 
dy, were  truly  native  :  they  ha<l  little  opportu- 
nity of  becoming  familiar  with  books  —  even 
such  as  then  existed  —  upon  the  science.  Some 
of  their  compositions,  however,  an<l  some  of  In- 
gallfl.  Heed,  Holden,  and  other  old  Americans, 
will  be  sung  and  admired  so  Ion?  as  music  shall 
exist  on  earth.  That  in  the  early  pviblications 
there  was  much  "  frivolous  and  anti-devotional 
music,"  we  do  not  wish  to  deny  —  but  such  was 
the  prevailing  ta«tc  until  the  appearance  of  the 
"  Village  Harmony,"  "  Hridgewater  Collection," 
"  Harmonia  Sacra,"  and  other  similar  books, 
when  a  reformation  commenced. 

"  Until  very  recently  America  ha.s  been,  as  it 
were,  destitute  of  music.  Discarding  all  the  lit- 
tle charms  and  graces  which  aild  so  much  to  the 
amenities  of  life,  the  settlers  of  this  country  ban- 
ished, as  one  of  the  relics  of  Popery,  all  which 
might  truly  be  denominated  music.  Shunning 
the  organ  because  of  its  apparent  identity  with 
the  service  ot  the  Uoraan  church,  they  ex|)atri- 
ated  with  it  the  immortal  works  ol  Mozart  ani 
a  host  of  others,  whose  only  crime  consisted  in 
having  w  ritten  their  works  for  that  church.  .\n/ 
thing  —  even  to  "  Yankee  Doodle"  in  long  metre, 
which  can  be  seen  by  any  possessor  of  a  certain 
old  psalm  book  published  the  last  century  —  was 
pre  erable,  and  accounted  more  sacred,  than  the 
sublime  strains  of  Kossini  or  Moz.irt.  Tht  more 
exe<-rable  it  wa.s,  the  more  acceptable  to  the  rigid 
Puritan,  until  it  really  seemed  that  religion  and 
refinement  were  entirely  incompatible  the  one 
with  the  other.  Hut  this  morbid  delusion  could 
not  last  forever.  The  human  mind  is  noce>sari- 
ly  progressive,  and,  with  the  advance  of  othci 
departments  of  art  in  .Vraerica,  music  has  also 
progressed.  Now,  if  music  lo  elevating  in  its 
nature,  the  higher  the  style  of  music  the  more 
impressive  it.s  efleot  upon  the  character.  The 
same  framoof  mind  induces  pleasure  in  listeninii 
to  the  Te  Deum  as  in  lintening  to  Old   Hundred. 


PSA 


ENCYCLOPEDIA    OF    MUSIC. 


PSa 


Not  timt  nil  cnn  nt  once  or  to  a  similar  extent 
enjoy  the  inimterpieocs  of  art." 

In  1()20,  on.  the  «th  day  of  December,  the  Pil- 
prim  Fitthers  worshipped  (iod  with  prayer  and 
the  shrfini/  of  p.ia/iti.s,  near  Plymouth,  Massnehu- 
(ictts,  where,  soon  alter,  lliey  landed  on  the  rock 
now  snored  to  their  memory.  December  9,  1G20, 
was  the  first  Cliristian  Sabbath  in  New  Enj^land. 
The  Mayflower  liad  cros.sed  the  ocean,  it  had 
reached  the  bleak  shores  of  the  new  world  on  Sat- 
urday ;  the  Lord's  day  wa,s  approachinsr  —  a  day 
which  the  l'il;;rims  rc<»nrded  as  holy  ;  and  on  this 
day  they  devoutly  raised  the  /frit  son;/  of  praise  and 
thanksgiving  ever  sung  on  this  continent.  Psal- 
mody wa.s  first  introduced  in  the  ret'onucd  religion 
by  the  dissenters,  and  was  more  used  by  tliem  than 
by  the  established  church.  But  their  great  aver- 
sion to  every  thing  resembling  poetry  caused  them 
to  abandon  every  kind  of  what  was  then  called 
'•  curious  si>i(/inf/,"  and  they  did  not  then  know 
the  use  of  musical  instruments.  The  history  of 
psalmody,  psalm  singing,  and  psalm  writing, 
forms  a  portion,  and  by  no  means  an  unimpor- 
tant portion,  of  the  history  of  the  reformation. 
The  metrical  psalms  of  Sternhold  were  first  in- 
troduced by  the  Puritans.  Metrical  psalmody 
was  also  adopted  by  Calvin  ;  austere  as  he  was, 
he  introduced  sinqing  of  psalms,  in  opposition  to 
reading  them.  lie  expelled  pictures  from  the 
church,  mutilated  the  statues,  and  dashed  the 
painted  glass  in  pieces ;  but  the  congregation 
were  allowed  to  iing. 

The  Pilgrims,  when  they  came  to  this  country, 
brought  with  them,  from  the  mother  country, 
the  style  of  singing  prevalent  there  when  they 
left,  and  the  book  they  used  was  "  Ainsworth's 
Psalms,"  which  was  published  at  Amsterdam,  in 
1612.  In  tlje  preface  to  this  versification,  Mr. 
Aiusworth  says,  "  Tunes  for  the  psalms,  I  find 
not  any  set  of  God :  therefore,  all  people  may 
use  the  most  grave,  decent,  and  coinlbrtable 
manner  of  singing  that  they  know."  Ainsworth's 
ver>ion  was  the  first  used  in  this  country,  and 
was  used  by  the  first  church,  at  Plymouth,  and 
by  all  the  congregations  in  the  New  England 
colonies,  until  1640.  The  book  had  this  title: 
"  The  Book  of  Psalms  :  Englished  both  in  Prose 
and  Metre.  With  annotations  opening  the  words 
and  sentences,  by  conl'erence  with  other  Scrip- 
tures. By  Henry  Ainsworth.  Bee  yee  filled  with 
the  Spirit ;  speaking  to  yourselves  in  Psalms,  and 
Hymns,  and  Spiritual  Songs :  singing  and  mak- 
ing melodic  in  your  hearts  to  the  Lord."  A 
copy  of  this  version  is  preserved  in  the  Massa- 
chusetts Historical  Society.  The  Psalms  were 
Englished  in  prose  on  the  left  side  of  the  page, 
and  the  nietre  on  the  right  hand  side. 

The  United  States  of  America,  especially  those 
which  are  oommonly  tenned  the  New  Enghmd 
States,  were  colonized  principally  by  non-con- 
formists, and  used,  with  Ainsworth,  the  version 
of  Sternhold  and  Hopkins  to  some  extent.  To 
tliis  kind  of  music  they  became  strongly  attached, 
and  until  the  day  of  Billings  they  adhered  to 
this  style  of  music.  It  was  such  a:«  fitted  the 
men  and  the  time ;  and  now  there  is  to  the 
sged,  and  some  of  their  descendants,  more  pathos, 
more  heart-thrilling  e.Kjjression,  in  some  of  the 
aid  |)salm  tunes,  feelingly  displayed,  than  in  a 
whole  batch  of  modernisms.  The  strains  go 
home,  and  the  "  fountain  of  the  great  deep  is 
sroken  up'  — tlie  great  dcoji  of  unfathomable 


feeling  that  lies  far,  far  below  the  surface  of  the 
world-hardened  heart ;  and  as  the  unwonted, 
yet  unchecked  tear  starts  in  the  eye,  the  soft- 
ened spirit  yields  to  their  influence,  and  shakes 
off  the  load  of  earthly  care,  rising,  purified  and 
spiritualized,  into  a  clearer  atmosphere  Strange, 
inexplicable  associations  brood  over  the  mind 
"  like  the  far-off  dream  of  paradise,"  mingling 
their  chaste  melancholy  with  musings  of  still, 
subdued,  more  cheerful  character.  How  many 
glad  hearts  in  the  olden  time  have  rejoiced  in 
these  songs  of  praise  —  how  many  sorrowful 
ones  sighed  out  their  complaints  in  those  plain- 
tive notes  that  steal  sadly,  yet  sweetly  on  the 
ear  —  hearts  that,  now  cold  in  death,  are  laid  to 
rest  around  that  sacred  urn,  within  those  walls 
they  had  so  often  swelled  with  emotion ! 

In  16.32  an  attem))t  was  made  in  Scotland  to 
supersede  the  old  English  version  of  the  Psalms, 
which  had  been  in  use  since  1.564,  by  that  of 
King  James  I.  But  while  the  Scottish  divines 
withstood  the  introduction  of  the  king's  version, 
they  appear  at  the  same  time  to  have  taken 
measures  for  obtaining  a  version  of  which  they 
could  entirely  approve. 

In  England,  the  old  version  was  used  until 
1696,  when  there  appeared  the  "  New  Version  " 
of  the  Psalms.  The  old  version  of  the  Psalms 
fell  gradually  into  disuse  after  the  publication  of  , 
"  A  New  Version  of  the  Psalms  of  David,  fitted 
to  the  Tunes  used  in  Churches.  By  Nahum  Tate 
and  Nicholas  Brady.  London,  1696,"  iuduodeci- 
m*.  It  was  preceded  by  a  specimen,  "  printed 
for  the  Company  of  Stationers,"  in  1695,  also  in 
duodecimo,  and  entitled  "  An  Essay  of  a  New 
Version  of  the  Psalms  of  David,  consisting  of  the 
first  Twenty  ;  fitted  to  the  Tunes  used  in  Chun  li- 
es." This  new  version  was  introducd  to  the 
public  under  the  sanction  of  an  order  in  privy 
council,  by  King  William  lU.,  dated  December 
3,  1696. 

The  "  New  Version  "  of  Tate  and  Bradv  is 
now  used  in  most  of  the  churches  in  England 
and  in  Ireland,  as  well  as  in  the  chapels  of  the 
Episcopal  communion  in  Scotland,  and  in  the 
British  colonies.  It  has  also  been  adopted  by 
the  Protestant  Episcopal  church  in  the  United 
States  of  America. 

Nicholas  Brady  versified  some  of  the  psalms 
in  1692,  and  in  the  same  year  wrote  an  Ode  for 
the  Feast  of  St.  Cecilia,  which  was  set  to  music 
by  Purcell.  This  ode  was  performed  in  London, 
by  the  Purcell  Club,  November  22,  18-52. 

In  1636,  a  committee  of  ministers  of  the  Con- 
gregational or  Independent  churches  was  appoint- 
ed, who,  in  1640,  completed  from  the  Hebrew  a 
metrical  version  of  the  Psalms,  which  was  subse- 
quently referred  for  improvement  to  the  Uev. 
Henry  Dunster,  principalof  Harvard  College,  Mas- 
sachusetts, who  was  aided,  as  to  the  poetry,  by 
Mr.  Richard  Lyon,  an  English  gentleman,  at  that 
time  resident  in  Harvard  College.  Between  the 
years  175.5  and  17o7,  this  translation  received 
a  very  careful  revision  from  the  Uev.  Thomas 
Prmce,  M.  .\.,  rector  of  the  South  Church,  Bos- 
ton ;  whose  revised  edition  was  published  in  Oc- 
tober, 1758,  and  was  introduced  into  the  South 
Church  on  the  Sunday  after  his  funeral. 

The  early  settlers  of  America  were  religious 
men  ;  they  were  men  of  high  intellectual  attain- 
ments —  leaning,  it  is  true,  to  the  useful,  rathei 
than  the  ornamental  literature ;  b  it  that  conuec- 


753 


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tion  which  must  subsi'^t  between  all  sciences, 
that  "  commune  vinculum,"  led  them  in  a  con- 
siderable degree  to  the  latter.  We  must  consid- 
er their  iiinuiremonts,  not  in  rcliition  to  the  pres- 
ent models  of  literiiture,  but  in  relation  to  the 
times  m  which  ihev  lived.  Many  ol  them  were 
distinguished  lor  their  talents,  and  held  in  high 
repute.  Their  first  attempts  in  the  de|>artment 
Ot  bell«s  lettres  were  undoubtedly  rude,  when 
eompare<l  with  the  eontemporancous  productions 
of  the  oUl  world  ;  but  they  are  worthy  of  atten- 
tion, because  they  so  exhibit  the  spirit  of  the 
age,  and  for  their  influence  on  all  succeeding 
■writers  —  an  iuUuencc  which  has  not  yet  entire- 
ly cea.sed.  Independent  of  any  intrinsic  merit, 
they  are  valuable,  because  they  are  relics  of  men 
in  whom  we  unavoidably  feel  a  great  interest, 
and  who  are  constantly,  in  some  form  or  other, 
presented  to  our  notice.  As  might  be  c.\pected, 
their  earliest  i)roductions  in  poetry  were  religious 
songs,  hymns,  psalms,  iVc.  The  first  on  record 
(.as  quoted  by  a  distinguished  critic,  Mr.  Kettel) 
■was  a  ps:ilm,  extracted  from  the  "  Bay  Psalm 
Hook."     We  adjoin  a  specimen. 

"  TliP  rivor*  on  of  Bahvlon, 

then-,  where  we  ilij  wt  tlnwne, 
Yvft.evoii  (hfu  wi-e  iiiouruHl  «'h«n 

wc  r^'tucinb -'eil  Ston. 
Our  hnrp.  wr  <lifl  hang  it  amiil, 

uiHMi  the  willow  trve, 
Bi-rauve  there  thev  Uiat  tit  awof 

led  in  captivity. 

ITie  Puritans  of  New  England  and  the  Mora- 
vians of  Pennsylvania,  ahuost  without  e.Kception, 
were  accu--toiueil  to  iiave  singing  at  their  family 
devotions,  in  which  all  the  members  of  the  fami- 
ly soon  learned  to  take  a  part.  So  with  the 
Scotch  Covenanters  ;  they  were  called  a  "  psalm- 
singiug  generation,"  in  tact,  because  all,  old  and 
young,  were  accustomed  to  sing. 

In  1640  "The  Xew  England  Version,  or  the  Bay 
IVsalm  Book,"  was  first  published  in  this  coun- 
try, at  Cambridge,  Massachusetts  ;  being  the  first 
book  of  any  note  printed  in  the  Colonies.  This 
book  continued  to  be  used  until  about  IGlti, 
when  a  new  edition,  with  some  important  altera- 
tions, was  published. 

In  1647  Uev.  John  Cotton  published  his  cele- 
brated treatise  on  singing,  in  which  the  duti/  of 
singing,  the  manner  and  iniUler,  were  fully  dis- 
cussed. Music  was  taught  among  the  natives,  in 
this  country,  by  Mr.  Eliot,  as  early  as  ItjOO  ;  and 
in  l(JS7,  Dr.  Mather  says,  "A  whole  congre- 
gation of  Indians  praise  Uod  with  singing,  and 
tome  of  them  arc  excellent  singers." 

In  16'.>0  the  publication  of  music  from  en- 
graved plate^i,  made  in  this  country,  commenced  ; 
and  it  is  generally  supposed  tliat  a  collection  of 
psalm  tunes,  ii\  two  aitd  three  parts,  was,  during 
this  year,  en.;raved  and  published  ;  but  wo  have 
not  been  able  to  obtain  certain  knowledge  of  this 
tact.  There  are  to  be  found,  in  some  of  the  old 
libraries,  versions  of  the  psalms,  with  tunes 
"  pricked  with  pen  and  ink,"  or,  as  we  would  now 
say,  copied  upon  blank  leaves  inscr(c<l  for  that 
purpose  at  the  end  ot  the  books  ;  and  such  we 
are  mclined  to  l)elieve  must  have  been  the  books 
of  U'ii)0.  From  this  period  to  1800  ■nvc  find  a 
number  of  musical  works  were  published  in  the 
colonies,  some  of  wliich  were  very  small  works, 
and  partly  elementary.  TTiey  were  all  undoubt- 
•<lly  considered  valuable  in  their  day,  and  many 
of  them  are  very  gooil  specimens  of  art,  and  eic- 
cuted,  mechanically,  very  well. 


In  1691  an  association  of  Xew  England  min- 
isters of  the  gospel  compiled,  had  pulilLshed, 
and  introduced  into  some  of  the  churches,  a 
book  entitled  "The  Bay  Psalm  Book."  Thw 
WHS  an  improved  edition  of  the  book  publisheJ 
at  Cambridge,  in  liJfi);  but  as  the  Pilgrim  Father* 
brought  with  them  Ainsworth's  version,  anil  were 
unwilling  to  change  any  thing  they  had  on-.-e 
adopted,  the  new  book  of  lO'Jl  was  not  much 
used  until  169.3,  when  it  was  very  generally 
adopted.  .About  this  time  also  ap;ieared  in  this 
country  a  reprint  of  the  version  of  the  Psalms 
by  Sternhold  and  IIo))kins,  which  had  been  pub- 
lished in  London  as  early  as  l."i49,  but  not  much 
Used  here  until  1693,  when  it  was  first  repub- 
lished at  Cambridge,  Massachusett-s.  Sternhold 
was  one  of  the  fathers  ol  metrical  psalmody  ;  and 
was  in  his  time  considered  as  an  excellent  poet. 
The  name  of  Hopkins  bccnine  associated  with 
Sternhold,  because  he  assisted  in  verbifying  many 
of  the  psalms ;  their  names  were  thus  united,  as 
were  the  names  of  Billings  and  Iloldcn  iu  thii 
country. 

In  1710  Rev.  John  Tufts,  of  Xcwbury,  "the 
great  seaport  t)wn,"  published  an  engraved  mu- 
sic book,  containing  twenty-eiglit  tunes,  entitled 
"  A  very  plain  and  easy  Introduction  to  the  Art 
of  .Singing  Psalm  Tunes ;  with  the  Cantus  or 
Trebles  of  twenty- eight  Psalms,  contrived  in  such 
a  manner,  as  that  the  Learner  may  attain  the  Skill 
of  singing  them,  with  the  greatest  Ease  and  Speed 
imaginable." 

Mr.  Tults,  instead  of  writing  tlie  notes  of  his 
tunes  upon  the  stuff,  as  we  now  write  them,  rep- 
resented the  notes  by  the  initial  letters  of  the  syl- 
lables —  thus  making  it  eajiv  to  call  the  notes  by 
name,  but  rather  dillicult  to  know  the  length  of 
the  notes  —  though  by  F  ■with  two  dots  (F  :)  the 
pupil  understood  the  lonijest  note,  a  breve;  by 
(F  .)  with  one  dot,  the  ne.\t  or  half  breve;  and 
plain  F  represented  a  minim ;  tlie  black  notes 
were  represented  by  the  small  /  |)rinted  in  the 
same  way.  Notes  ■written  iu  his  style  would  ap- 
pear thus :  — 


-»>- 


;^ii 


And  we  ihoulil  nuw  writs  th«m  thas : 


In  1712  Rev.  John  Tufts,  "by  the  great  desire 
of  his  many  Iricnds  and  the  concurrence  of  many 
divines,"  was  induce<l  to  Lssue  a  second  and  more 
correct  edition  ot  his  book.  This  edition  w«u«  en- 
titled "  An  Litroduction  to  tlie  .Singing  of  Psalic 
Tunes  in  a  plain  and  e.isy  Method.  With  a  Col- 
lection ot  Tunes  in  Three  Parts,  all  nwtly  en- 
graven in  Copper  Plates."  Tlicre  were  several 
editions  of  this  work  published,  and  it  was  more 
or  less  used  until  17'21. 

In  .Vugust,  171.3,  an  organ  ■ivas  introduced  into 
Boston,  in  New  England.  It  was  presented  to 
the  Queen's  Chapel,  by  'nioinas  Brattle,  Esq.  ; 
but  so  great  were  the  public  jircjudico.  then  ex- 
isting, that  this  organ  remained  si  icn  >noiU/u  in 
the  porch  of  the  church  Iwlorc  it  wa.s  unpacked. 
At  length,  however,  in  1714,  it  was  put  up,  and 
wa-i  regularly  used  in  that  church  ^  which,  after 
the  reign  of  Uueen  .Vnne  took  the  name  of  tha 
King's  Chapel)  until   1756,  when  it  was  sold  to 


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ENCYCLOP.IIDIA    OF    MUSIC. 


PS4 


St.  Paul's  Church,  Xewburyport.  It  was  used 
there  cii^hty  yonrs,  niid  in  183G  was  sold,  nnd  put 
up  at  St.  John's  Church,  in  Portsmouth,  New 
Jlampsliire.  The  oriKiiml  pipes  and  wind-chest 
remain  in  pcrlect  order  to  this  day ;  nnd  this  aged 
orj;an,  tlie  first  introduced  into  New  England, 
'in<l  probably  the  first  erected  in  the  colonies,  bids 
fair  to  last  another  century. 

In  174.5  Mr.  E  Iward  Bromficld,  of  Boston, 
Massachusetts,  aged  twenty-two,  being  then  well 
hkillcd  in  music,  did  with  his  own  bauds  make 
and  complete  a  most  excellent  organ,  with  two 
banks  of  keys  and  several  hundred  jjipes.  ITiis 
instrument  was  equal  to  any  that  had  come  over 
from  Eii^liind.  lie  was  a  lioston  boy,  born  in 
172.3,  and  died  August,  174(5,  before  he  had  quite 
finished  all  the  pipes  he  intended  to  put  in  his 
excellent  organ. 

In  17 IS  Dr.  Cotton  Mather  published  at  Bos- 
ton, Massachusetts,  "  I'snllvriiim  Americaniim ; 
the  Book  of  Psalms  in  a  Translation  exactly  con- 
formed unto  the  Original ;  but  all  in  Blank  Verse, 
fitted  unto  the  Tunes  commonly  used  in  our 
Churches.  Which  pure  ortering  is  accompanied 
with  illustrations  digging  for  hidden  treasures  in 
it ;  and  rules  to  emjiloy  it  according  to  the  glo- 
rious and  various  intentions  of  it.  Whereto  are 
added  some  portions  of  the  sacred  .Scriptures,  to 

enrich  the  Cantional.     Boston,   in   N.  E 

1718."    12mo. 

In  this  singular  publication,  (which  is  a  close 
translation  from  the  Hebrew,)  Dr.  Mather  has 
not  only  disregarded  the  modern  practice  of 
breaking  the  lines,  whether  rhymed  or  not,  but 
he  has  "run  out"  (to  use  a  printer's  phrase)  the 
whole  matter  :  so  that  while  each  psalm  looks 
exactly  like  prose,  and  may  he  read  as  such,  it  is  in 
fact  modulated,  so  that  it  may  be  sung  asljTic  verse. 

The  following  extract  from  the  twenty-third 
Psalm  will  enable  the  reader  to  form  some  idea 
of  this  e.xtraordinary  translation  of  the  Book  of 
Psalms. 

"PSALM  xxm. 

A      PSALM      OF      DAVID. 

1.  My  Shepherd  is  th'  ETERN'AL  God,  ||  I 
shall  not  be  in  [anyj  want : 

2.  In  pastures  of  a  tender  grass  ||  He  [ever] 
makes  lue  to  lie  down  :  ||  To  waters  of  tranquil- 
lities II  lie  gently  carries  me  [along.] 

3.  My  feeble  and  my  wandring  Soul  ||  He 
[kindly]  does  fetch  back  again  ;  ||  in  the  plain 
paths  of  righteousness  ||  He  does  lead  [and 
guide]  me  along  ;  ||  Because  of  the  regard  He 
has  II  [ever]  unto  His  glorious  Name."  || 

Of  the  state  of  psalmody  among  the  Puritans 
at  the  close  of  the  sixteenth  century,  and  in  the 
lormer  part  of  the  seventeenth  century,  we  have 
no  certain  information.  Various  metrical  transla- 
tions, indeed,  were  published  by  private  indi- 
viduals. 

But  the  greatest  improvement  of  psalmody 
among  dissenters  (nnd  indeed  of  all  modern 
psalmody)  was  effected  by  the  publication,  in  the 
year  1707,  of  Dr.  Watts's  Hymns,  nnd  in  1719  of 
iiis  "  I'salms  of  David  imitated  in  the  Language 
of  the  New  Testament,  and  applied  to  the  Chris- 
tian State  and  Worship."  Tlie  best  compositions 
of  Watts,  nnd  of  his  friend,  the  learned  and  pious 
Dr.  Doddridge,  (whose  hymns  were  published 
»:ter  his  decea-se  in  1751,)  are  found  in  every  se- 
.cctiou  ot  psalms  and  hymns,  wbich  have  been 


published  within  the  last  sixty  years,  whetha 
for  the  iLse  of  the  church  of  England  or  of  dis- 
senters from  her  communion.  In  the  course  of 
the  present  century  many  exquisite  pieces  of  sa- 
cred and  devotional  poetry  have  ^een  composed 
by  dissenters,  which  are  deservedly  found  in  va- 
rious collections  and  selections  printed  for  use  in 
public  worship. 

All  the  great  bodies  of  dissenters  now  have  de- 
nominational hymn  books,  containing  the  best 
versions,  or  imitations,  of  the  Psalms  of  David 
together  with  hjTnns  selected  from  our  mo»t 
eminent  devotional  poets. 

In  1721,  Rev.  Thomas  Walter,  of  Roxburr, 
Massachusetts,  published  "  The  Grounds  and 
Rules  of  Musick  Explained  :  or  an  Introduction  to 
the  Art  of  Singing  by  Note  :  Fitted  to  the  Meanest 
Capacities.  Let  every  thing  that  hath  breath  praise 
the  Lord."  This  book  became  very  j)o.puiar  in 
Massachusetts  and  throughout  the  New  England 
colonies.  It  went  through  several  editions,  the 
last  of  which  contained  twenty-four  tunes,  in 
three  parts,  can/tts,  medius,  and  bassu.i,  and  was 
published  in  1764.  The  tunes  in  Walter's  collec- 
tion were,  some  of  them,  taken  from  Ainswoith's 
Psalm^i,  and  some  of  them  from  Ravenscioft's  col- 
lection ;  and  as  these  tunes  were  in  parts,  choirs 
were  soon  selected  in  most  of  the  churches  to 
sing  them  ;  though  all  who  could  sing  were  per- 
mitted and  requested  to  assist  in  this  part  of 
worship.  In  the  author's  preface,  he  says,  "  My 
Rules  will  be  Serviceable  upon  a  tbreeiold  Ac- 
count. Firsf,  They  will  instruct  us  in  the  right 
and  true  Singing  of  the  Tunes  that  are  already  in 
Use  in  our  Churches ;  which  when  they  first 
came  out  of  the  Hands  of  the  Composers  of 
them,  were  Sung  according  to  the  Rules  of  the 
Sc-alc  of  Mxsick,  but  are  now  miserably  tortured; 
and  twisted,  and  quavered,  in  some  Churches, 
into  all  horrid  Medly  of  confused  and  disorderly 
Noises.  Our  Tunes  are,  for  want  of  a  Standard 
to  appeal  to  in  all  our  Singinjp,  left  to  the  Mercy 
of  every  unskilful  Tliroat  to  chop  and  alter,  twist 
and  change,  according  to  their  infinitely  divers 
and  no  le.ss  odd  Humour  and  Fancies.  Yea,  I 
have  myself  heard  (for  instance)  Oxford  Tune 
sung  ia  Three  Churches  (which  I  purposely  for- 
bear to  mention)  with  as  much  Difference  as  there 
can  ])ossibly  be  between  l'<jrk  and  Oxford,  or  any 
two  other  different  Tunes.  Therefore  any  man 
that  pleads  with  me  for  what  they  call  the  014 
ITai/,  I  can  confute  him  only  by  making  this  De- 
mand, W/iat  is  the  Old  Way?  which  1  am  sure 
they  cannot  tell.  For,  one  Town  says  their's  is 
the' true  0!d  ll'oy,  another  Town  thinks  the  same 
of  their's,  and  so  does  a  third  of  their  Way  of 
Tuning  it. 

"  Again,  It  will  serve  for  the  Introi'.uction  of 
!  more  Tunes  into  the  Divine  Service.  For  at 
i  present  we  are  confined  to  ei//U  or  leu  Tunes,  and 
]  in  some  congregations  to  little  more  than  half  that 
!  Number,  which  being  so  often  sung  over,  are  too 
I  apt,  if  not  to  create  a  Distaste,  yet  mightily  to 
lessen  the  Relish  of  them. 

"  One  more  advantage  is  this,  That  by  the  just 
and  Cfiual  Timing  of  the  Notes,  our  Singing  will 
1  be  reduc'd  to  an  exact  Length,  so  as  not  tc 
fatigue  the  Singer  with  a  I'rotraction  of  tht 
Notes  beyond  the  Compass  of  a  Man's  Breath, 
nnd  the 'Power  of  his  Spirit;  A  Fault  yerj 
frequent  in  the  CouiUry,  where  I  myself  hav« 
twice  in  one  Note  paused  to  take   Breath.     Ana 

60 


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ENCYCLOPEDIA    OF   MUSIC. 


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then  the  even,  unnfFocted,  and  smooth  sounding 
the  Notes,  and  the  Omission  of  those  unnatural 
Qiiavtrin/s  and  'J'ltrtiiii'/s  will  serve  to  prevent  all 
that  Discord  anil  leii;:;thy  Tediousness  which  is  so 
much  e  Fault  in  our  .Sinp;ing  of  Psnlms  ;  For 
much  time  is  taken  up  in  shaking  out  these  Tunes 
and  Quavers  ;  and  besides,  no  two  Men  in  the 
Congregation  quaver  alike,  or  together  !  " 

In  17-7  Kev.  John  Uainard,  who  had  received 
musical  instruction  before  lie  came  to  this  coun- 
try, and  who  practised  and  taught  music  after  he 
came  to  reside  and  preach  in  Marblehead,  Mas- 
Bachusetts,  published  a  "  Book  of  Psalms,  together 
with  fifty  tunes  to  sing  them,  neatly  engraven  on 
copper-plates."  lie  introduced  a  number  of  new 
tunes  :  but  the  price  of  his  book  was  so  great  as 
to  prevent  its  general  sale,  and  the  music  was  not 
o-insidered  so  good  as  some  of  the  old  and  popu- 
lar pieces  of  the  day. 

In  1729  was  published  in  London,  and  very 
soon  introduced  into  this  country,  "  The  Whole 
Book  of  Psalms,  in  'I'hree  Parts,  by  John  Play- 
ford."  This  book  was  much  used  in  England 
and  here  for  many  years.  In  his  introduction, 
Mr.  Playford  says,  "  'ITie  praising  of  (Jod  by 
P.salms  and  Ilpnns,  as  it  seems  a  ])art  of  Natural 
Keligiou,  owned  and  used  by  all  Mankind  ;  so  we 
find  the  practice  of  it  very  early  in  the  Church 
of  God.  There  can  be  no  just  cause  to  doubt,  but 
that  it  was  at  least  contemporary  with  Instru- 
mentiU  Music,  a  thing  as  ancient  as  the  time  of 
-Vdam,  invented  by  Jubal."  In  explanation  of 
the  gamut  or  scale  of  music,  he  says,  "  First,  in 
the  tirst  column  you  have  ye  several  Notes  us'd  in 
Musick.  Begin  yn  at  Uainut,  and  read  ym  up- 
wards, &  yn  down  aijain,  &  so  backward  and  for- 
ward till  you  have  learned  them  by  heart ;  then 
observe  what  syllables  each  proper  name  points 
to  in  ye  second  column,  for  by  these  single  syl- 
lables you  are  to  sing  —  ye  names  in  the  tirst 
Column  being  only  to  give  Denomination  to  ye 
several  lines  and  spaces  in  ye  Gamut."  The  book 
contains  30S  pages,  IJmo.,  and  is  well  printed. 

In  17o5  niorans  Bailey  republished  a  portion 
of  an  English  work,  by  William  Tansur,  at  New- 
bury, Massachusetts,  entitled  "  A  Complete  Mel- 
ody, in  Three  Parts,"  which  had  a  great  sale, 
though  it  contained  only  about  one  third  of  the 
mu>ic  in  Tansur's  English  ."Ringing  Book,  com- 
prising a  portion  of  the  Psalms  with  new  mel- 
o  lies.  William  Tansur  wrote  "St.  Martin's,"  as 
early  as  \':io. 

In  17i>l  James  Lyons,  A.  M.,  published  at 
Philadelphia,  Pennsylvania,  a  new  book  of  music, 
entitled  "  I'rania,  or  a  choice  collection  of  I'salm 
Tunes,  Anthems,  and  Hymns,  from  the  most  ap- 
proved authors  ;  with  some  tunes  entirely  new, 
in  two,  three  and  four  parts  :  the  whole  peculiar- 
ly a<laptcd  to  the  u^e  of  churches  and  private 
families.  To  which  are  prefaced  the' plaii\est  and 
most  necessiiry  Uu!es  of  Psalmody.  Price  l.i 
shilling-*."  This  was  the  largest  and  most  general 
collection  of  music  that  had  as  yet  been  pub- 
lished in  this  country  ;  it  was  well  cxecuti-d, 
and  the  expense  of  getting  it  up  was  so  great 
as  to  dteply  involve  in  debt  the  author,  and 
to  bankrupt  the  publisher.  There  was  some 
very  good  original  music  in  this  collection.  It 
contained  21ti  page-i.  In  ITS.i  Mr.  Lyons  pub- 
lished another  small  book  of  Lessons  for  the  Ura- 
nian  Society,  Philadelphia.  This  was  an  ele- 
mentary work,  designcvi  to  promote  a  knowledge 
06  7 


of  the  science,  and  contained  little  besides  th« 
rules  and  some  introductory  lessons  in  voca' 
music,  which  tlie  society  constantly  jiractised. 
In  1703  was  published  in  Philadelphia  i 
pamphlet  in  which  the  author  anticipates  tht 
"  Complete  Introduction  of  the  Organ  into  all 
places  of  Public  Worship."  The  title  of  this  ii 
as  follows :  "  The  Lawfulness,  Excellency,  and 
-Vdvantages  of  Instrumental  Musick  in  tfte  Pub- 
lick  Worship  of  (iod,  I'rg'd  and  P^nforc'd,  from 
Scrijjturc,  and  the  Examjile  of  the  far  iircater 
part  of  Christians  in  all  ages.  Addressed  to  All 
(particularly  the  Prrsbi/liriaiis  and  liapthts)  who 
have  hitherto  been  taught  to  look  upon  the  Use 
of  Instrumental  Musick  in  the  Worship  of  God 
as  Unlawful.     By  a  Presbj-terian. 

*Mu«ick  ha*  cliBrmi  to  nooth  the  SarRvf  nrcaHt, 
To  toaeD  liocks.  and  twDiJ  the  knutu-d  Oak.* 

CoSORITI." 

In  1764  Josiah  Flagg,  Esq.,  of  Boston,  Massa- 
chusetts, published  a  collection  of  music  con- 
taining one  hundred  and  sixteen  tunes,  neatly 
engraved  and  verj-  well  printed.  ITiis  work  wa« 
not  near  as  large  as  the  book  of  Mr.  Lyons,  but 
it  sold  to  a  much  greater  extent.  Its  title  was, 
"  A  Collection  of  the  best  Psalm  Tunes,  in  two, 
three,  and  four  Parts,  from  the  most  ajjproved 
Authors  ;  fitted  to  all  Measures,  and  approved  of 
by  the  best  Masters  in  Boston,  New  England  ;  to 
which  are  added  some  Ilymus  and  Anthems  : 
the  greater  part  of  them  never  before  printed  in 
America." 

In  17C4  Daniel  Bailey,  of  Newbury,  Massa- 
chusetts, and  John  W.  Oilman,  of  Exeter,  New 
Hampshire,  published  "  .\  New  and  Complete 
Introduction  to  the  Grounds  and  Kules  of  Mu- 
sic, in  two  Parts."  'Ilie  plates  were  engraved  by 
Oilman,  of  Exeter,  and  the  printing  done  by 
Bailey,  of  Newbury.  The  first  part  of  this  work 
was  devoted  to  elementary  subjects,  and  the 
second  part  contained  about  thirty  tunes  and  an- 
thems. 

In  1 7(50  Tliomas  Bailey,  of  Newbury,  Massachu- 
setts, republished  a  part  of  William  Tansur's 
Second  Book  of  English  Psalmody,  and  calleil  it 
"  Universal  Harmony."  He  also  selected  largely 
from  a  work  just  published  in  London,  entitled 
"  P.salmodia  Evangelica,"  by  niomas  Williams, 
which  containe<l  music  arranged  in  three  ]>art3 
and  figured  for  the  organ.  Thus  originated  the 
name,  "  Williams  and  Tansur's  Collection  of 
Church  Music."  It  is  stated  in  the  History  of 
Newburyport  that  William  Tansur  jjublished 
there,  in  17(i9,  a  singing  book  entitled  "The 
American  Harmony  ;  "  but  we  have  never  been 
able  to  find  any  copy  of  the  work,  and  think  it 
must  have  been  a  mistake.  Tansur  wrote  "  St. 
Thoma-s  "  in  1768. 

September  5,  1772.  Jacob  Bailey  Moore  was 
born  at  tieorgetown,  on  the  Kennehoi-,  Maine. 
His  ancestors  were  of  Scotland,  and  emigrate<l  to 
this  country  soon  after  it  was  settle<l.  H»'  studied 
medicine,  and  settle<l  in  Andovcr,  New  Hamp- 
shire, in  179'',  and  practised  his  professi.in  with 
great  success  until  1812.  when  he  re»'civevl  the 
appointment  of  surgc<in°s  mate  in  tlic  llth  regi- 
ment of  Unite<l  States  infantry.  He  continued 
in  the  service  until  I)eceml>er  of  that  year,  wher 
he  returne<l  to  his  family  much  indispose<l,  »ni 
died  of  a  lung  complaint  on  the  lOtb  of  Jiinuary. 
181.3.  From  his  youth  he  had  cultivated  mu»ic 
and  eomi>osvd  many  excellent  pieces.     Some  o( 


61 


PSA 


EXCYCLOP.EDIA   OF   MUSIC. 


PSA 


his  earliest  tunes  were  published  in  "The  Colum- 
bian ltei>ository,"  by  Samuel  Ilolyoke.  He  was 
an  excellent  musician,  and  also  had  a  taste  for 
poetry,  and  wrote  much  for  the  papers  of  his 
day. 

In  177-t  John  Stickney,  teacher  of  music,  pub- 
lished at  Xewburyi)ort,  Massachusetts,  "  The 
Gentlemen  and  Ladies'  Musical  Companion,"  a 
small,  but  in  its  time  a  very  valuable  collection 
of  psalms  and  anthoms,  together  with  explana- 
tory rules  for  learning  to  sing  ;  the  whole  cor- 
rected and  rendered  plain  by  the  author.  Jolm 
Stickney  was  born  in  Stoughton,  Massachusetts, 
in  174'2  ;  and  while  a  butcher  boy  he  learned  the 
new  style  of  music,  near  Boston,  of  one  Dunbar  ; 
went  to  Hatfield,  and  there  taught  the  muc  mujiic 
to  all  such  as  desired  to  learn  it,  and  afterwards 
taught  in  all  the  principal  towns  in  that  region, 
lut  not  without  much  opposition  from  those  who 
preferred  the  old  stylo,  or  that  of  the  Pilgrims. 
For  many  years  the  wife  of  Mr.  Stickney  taught 
rausic  with  him,  she  being  a  very  excellent  sing- 
er, and  having  a  powerful  voice ;  she  travelled 
■with  him  from  place  to  place,  and  was  an  excel- 
lent assistant.  They  finally  settled  at  South 
Hadley,  and  continued  to  teach  until  John  was 
eixty-five  years  old.  Mr.  Stickney  died  in  1826. 
His  book  was  printed  by  Daniel  Bailey,  of  Xew- 
buryport,  who  printed  many  of  the  early  collec- 
tions. The  music  was  engraved,  and  is  like  other 
specimens  of  that  time. 

In  1778  Elias  Maun  published  "The  North 
Hampton  Collection  of  Church  Music."  Mr. 
Mann  was  born  in  WejTnouth,  Massachusetts,  in 
17-iO,  and  early  removed  to  Northampton,  where 
he  died.  May  12,  1825,  aged  seventy-five.  In 
1807  Mr.  Mann  published,  at  Boston,  "  ITie  Mas- 
sachusetts Collection  of  Sacred  Harmony,"  con- 
taining a  plain  and  concise  introduction  to  the 
grounds  of  music ;  also  a  large  number  of  psalm 
tunes,  selected  from  the  most  approved  and  emi- 
nent authors ;  adapted  to  the  different  metres 
and  keys  generally  used  in  churches ;  together 
with  a  number  of  select  pieces  and  anthems,  suit- 
able for  various  occasions ;  comprising  200  pa^es. 
John  Cobb,  of  Northampton,  born  in  Abington, 
Massachusetts,  May  23,  1785,  assisted  Mr.  Mann 
in  publishing  this  collection  ;  and  Cephas  Cobb, 
born  July  31,  1788,  brother  of  John,  also  assisted 
in  making  the  compilation.  The  Cobbs  are  now 
(1853 1  both  living,  the  former  at  Northampton 
and  the  latter  at  Abington,  and  were  both  teach- 
ers of  music. 

In  1780  Andrew  Law,  of  Newark,  New  Jer- 
sey, commenced  publishing  music.  He  was  then 
somewhat  celebrated  as  a  teacher  of  vocal  and 
instrvimental  music.  In  1782  he  published  "A 
Collection  of  the  best  and  most  approved  Tunes 
and  Anthems"  then  known  to  exist.  A  sec- 
ond volume  was  afterwards  pubhshed,  contain- 
ing (U  pagos,  engraved,  called  "  The  Christian 
Harmony."  In  his  preface  to  this  work,  Mr. 
Law  says,  "  The  art  of  singing  will  consist  of 
three  leading  parts ;  the  Musical  Primer,  the 
Christian  Harmony,  and  the  Mu?ical  Magazine. 
The  second  part,  or  the  Christian  Harmony,  will 
be  further  divided  into  two  volumes,  and  the 
third  i)art,  or  Magazine,  into  a  course  of  ntun- 
bcrs.  It  is  to  comprise  the  elements  or  rules  of 
the  science,  together  with  a  regular  gradation  of 
Ihe  best  saOred  music,  from  the  plainest  tunes  up 
•0  the  nicest  airs  and  antherii:i."     Wo  have  been 


told  that  Mr.  Law  published  a  singing  book,  en- 
titled "  Sacred  Hj-mns,"  as  early  as  1779,  but  we 
have  never  seen  the  book.  In  1786  he  published 
at  Baltimore,  Maryland,  an  "  Orii/inal  Collection 
of  Music,"  and  in  1792  he  published  the  fourtl 
edition  of  a  work  entitled  "The  Rudimenti 
of  Musick,"  70  pages,  engraved.  The  copy  be- 
fore us  was  owned  by  Timothy  Swan,  author  of 
"  Poland,"  and  presented  by  him  to  the  Harvard 
Musical  Association.  "  The  Musical  Magazine," 
by  Mr.  Law,  was  the  first  musical  periodical  ever 
published  in  this  country.  Some  years  after  the 
discontinuance  of  his  Magazine,  Mr.  Law  ijivent- 
ed  a  new  system  of  notation.  He  furnished,  in 
this  system,  seven  new  musical  characters  or 
notes,  situated  between  the  single  bars,  which 
divide  the  time  in  the  same  manner  as  if  they 
were  on  the  spaces  and  the  lines.  One  of  his 
notes  was  of  a  square  figure,  one  of  a  diamond, 
and  one  of  a  quarter  diamond.  Each  kind  was 
varied  by  strokes,  and  made  breves,  semibreves, 
minims  and  crotchets,  quavers  and  semiquavers, 
in  the  same  manner  as  the  notes  now  in  use. 
Mr.  Law  said  there  were  but  seven  souiuls  in  na- 
ture, and  these  seven  sounds  constitute  the  mu- 
sical scale ;  they  require  only  seven  characters  to 
represent  them.  Each  of  Ids  characters  is  ap- 
plied to  one  of  these  seven  sounds,  and  thus  each 
sound  has  its  peculiar  character.  His  system 
met  with  some  favor,  and  many  persons  adopted' 
it,  and  professed  to  derive  great  -dvantages  from 
it.  As  late  as  1820  Mr.  Law  resided  in  Newark, 
and  from  thence  wTote  letters  for  publication, 
recommending  his  system  of  notation. 

In  1782  Joel  Barlow,  an  American  statesman 
and  poet,  published  a  corrected  and  enlarged 
edition  of  Dr.Watts's  version  of  the  Psalms,  and 
a  collection  of  hymns,  with  the  recommendation 
of  the  General  Association  of  the  Congregation- 
alist  Ministers  of  Connecticut,  at  whose  request 
the  work  had  been  undertaken. 

In  1783  Oliver  Bronson  (sometimes  spelled 
Brunson  and  Brownson)  published  a  book  en- 
titled "  Select  Tunes  and  Anthems."  It  con- 
tained the  rules  of  music,  and  some  very  beautiful 
original  pieces.  Mr.  Bronson  wrote  "  Jubilee," 
"  Invitation,"  "  Virginia,"  and  some  other  pieces, 
which  are  still  found  in  the  books  of  1800. 

In  1784  ITiomas  Hastings,  of  Litchfield  coun- 
ty,  Connecticut,  was   born.     He   is   now  (1853) 
probably  one  of  the  oldest  living  American  cora- 
pos'^rs.      In   1796  he  removed  to  Clinton.  New 
York,  and  soon  after  published  a  small  collection 
of  music  for  the  Handel  and  Buruey  Society  of 
Oneida    county.      This    collection   was    several 
years  after  very  much  enlarged,  and  published 
under  the  title  "of  "  The  Springfield  Collection," 
and  became  a  very  popular  work.     In   1822  Mr. 
Hastings   published   one   of  the  most   valuable 
books  on  the  subject  of  music  which  had  ever 
appeared  in  this  country,  entitled  •'  -\  DLsserta- 
l  tion    on    Musical  Taste."     This   was    printed  at 
!  Albany,  New  York,  and  was  an  octavo  volume 
of    228    pages.     The   work   was   well    received 
by   the   musical   public    at   the    time,  and   will 
be   referred   to   as   authority   upou   that   subject 
J  when  its  author  shall  have  cea.-<ed  to  exi.st.     This 
I  dissertation  gave  Mr.  Hastings  a  name  and  fame 
[  among  those  who  were  attempting  to  raise  tht 
I  standard  of  musical  taste.     We  next  find  him  en- 
gaged  as  editor  of  a  religious  newspaiier,  pub- 
'  lished  at  Utica,  New  York,  entitled  "The  Weet- 
62 


PSA 


ENCYCLOPEDIA    OF    MUSIC. 


PSA 


Tn  Recorder ;  "  and  in  the  columns  of  this  paper 
n-ill  be  I'ound  many  very  able  articles  in  favor 
of  sacred  music  as  distinguLshed  from  secular. 
Since  1S31  Mr.  II.  has  been  more  or  less  engaged 
in  teaching  and  lecturing  u|)on  the  subject  of 
sacred  music,  and  has  assisted  in  the  publication 
of  "  .Si:iritual  fSongs,"  " 'ITie  Christian  Psalmist," 
"The  Manhattan  Collection,"  "The  Sacred 
LjTC,"  "The  I'siilmodist,"  "The  Chonilist,"  and 
"  The  Mendelssohn  Collection ;  "  all  of  which 
books  were  of  a  high  character,  and  all  of  wliich 
sold  extensively.  Mr.  IIa.stings  has  composed 
many  beautiful  luTun  tunes,  and  has  written  very 
many  poems  and  devotional  hymns,  which  have 
•  t'ained  a  wide  circulation  both  in  this  country 
Bud  in  Europe.  He  now  resides  in  Xcw  York 
city. 

In  1786  Isaiah  Thoma.s,  of  Worcester,  Massa- 
chusetts, procured  from  Europe  a  font  of  music 
type,  the  first  brought  to  this  country  ;  and  he 
was  the  first  printer  in  America  who  used  mova- 
ble music  type.  It  will  be  noticed  in  the  books 
printed  by  Mr.  Thomas  alter  thi.i,  that  he  says, 
"printed  typographically,"  &c.  The  oldest  book 
thus  printed  is  "The  Worcester  Collection." 

In  tlie  edition  of  the  American  Indian  (or  Mo- 
hawk )  version  of  "  The  Book  of  Common  Prayer," 
iirinted  at  London,  in  1787,  at  the  expen.se  of  the 
Iritish  government,  for  the  use  of  the  Christian 
Indian  tribes,  the  following  portions  of  the  Psalms 
are  translated  into  the  Mohawk  language,  viz., 
the  twenty-third,  sixty-seventh,  hundredth,  hun- 
dred and  seventeenth,  and  the  hundred  and  thirty- 
fourth  psalms,  with  "  Gloria  I'atri,"  the  hymn 
"  \'eni  Creator,"  and  two  hymns  on  baptism  and 
the  Lord's  supper;  and,  in  1839,  "A  Collection 
of  Psalms  and  Hymns  for  the  use  of  the  six  In- 
dian Nations,"  was  printed  at  Hamilton,  in  the 
diocese  of  Toronto,  "  at  the  expense  of  the  New 
England  Coqioration,"  as  the  society  for  sup- 
porting mis.sions  to  those  nations  is  now  termed, 
it  contains  the  psalms  just  enumerated  in  Eng- 
lish and  Mohawk,  and  eighty-one  hymns  ;  sixty- 
eight  of  which  are  in  Mohawk  and  English,  and 
consist  of  those  mo.st  generally  approved  in  this 
country.  'ITie  remaining  thirteen  hymns  are  in 
Mohawk  only.  Among  them  is  Bishop  Ken's 
admirable  "  Evening  Hymn,"  rendered  into  Mo- 
hawk verse,  in  words  of  one  syllable,  which  the 
devoted  clerical  missionary  to  the  Mohawks,  the 
llev.  Abraham  Nells,  in  1844,  informed  the  writer 
of  tl.e  present  article  is  sung  to  Tallis's  well- 
known  tunc,  to  which  the  Mohawk  verse  is  emi- 
nently adapted. 

In  178S  .Simeon  Jocelyn,  of  New  Haven,  Con- 
necticut, published  a  collection  entitletl  "  Chor- 
ister's Companion,"  and  in  1793  he  published  a 
Bupploment.  His  first  book  contained  some  very 
good  pieces  of  music  ;  but,  as  his  name  was  not 
attached  to  them,  we  are  not  certain  they  were 
of  his  composition,  though  they  were  supi>o.sed  to 
be  his.  This  .same  yejir  a  book,  called  "  The  Fed- 
»ral  Harmony,"  was  printed  at  Boston. 

In  1789  .Vbrahani  Wood,  of  Northborough, 
Massachusetts,  publi.shed  a  small  collection  of 
Driginal  psalmody,  to  which  he  gave  the  title 
"  Divine  Songs."  The  book  containe<l  only  36 
Dages,  but  it  wa,s  well  received  by  the  public,  as 
De  intimates  in  a  second  edition,  published  in 
1790. 

In  1793  Oliver  Holden,  a  resident  of  Charles- 
town,  Massachusetts,  and  a  carpenter  and  joiner 


by  trade,  published  his  first  book  of  sacred 
music,  arranged  in  three  and  lour  ])arts,  thi 
music  being  much  of  it  original,  entitled  "  Th* 
American  Harmony."  Ho  then  commenced 
teaching  music,  and  opened  a  store  for  the  sale 
of  music  and  other  books.  Soon  alter  he  pub- 
li.shed another  book,  in  two  volumes,  called 
"  Union  Harmony,  or  an  Universal  ('ollc;-tion  of 
Sacred  Music."  In  1 79 ')  he  associated  himself  with 
Hans  Uram  and  Samuel  Holyoke,  and  they  pub- 
lished "The  Ma.ssachusotts  Compiler."  In  1797, 
Mr.  Holden  published  "  The  Worcester  Collection 
of  Sacred  Harmony,"  which  he  altered,  revised, 
and  corrected,  adding  an  appendix  containing  a 
number  of  new  psalm  tunes,  and  .some  other 
new  pieces  of  music.  This  was  the  sixth  edi- 
tion of  the  work,  and  consisted  of  l.jfi  pages ; 
it  was  printed  upon  movable  types  by  Isaiah 
Thomas,  of  Worcester,  Massachusetts,  who  in 
1786  procured  the  type  in  Europe.  Mr.  Holden 
was  a  conscientiou.sly  religious  and  amiable  man, 
as  any  one  might  judge  from  the  style  of  his 
compositions.  He  wius  the  author  of  many  very 
excellent  tunes.  His  "  Confidence,"  to  the  wordi 
"  Now  can  my  soul  in  God  rejoice ;  "  "  Paradise," 
"  Now  to  the  shining  realms  above,"  and  liis  '•  Cor- 
onation," "  All  hail  the  jjower  of  Jesus'  name," 
will  live  for  generations  yet  to  sing  and  admire. 
Holden  was  from  his  youth  pa.ssionately  fond  of 
music  ;  and  though  in  the  latter  years  of  hia 
life  he  ceased  to  instruct  and  to  compose,  he  re- 
tained his  love  for  the  art  to  his  death,  which 
took  place  at  Charlestown,  in  1831.  Up  to  the 
time  in  which  Mr.  Holden  ceased  publLshiug 
music,  there  had  been  no  American  author 
whose  productions  had  been  so  well  received  and 
80  generally  admired. 

In  1793  David  Belknap,  of  Framingham,  Mas- 
sachusett.s,  published  "  The  Harmonist's  Com 
paniou." 

In  1793  Daniel  Reed,  of  New  Haven,  Connec- 
ticut, published  "  The  Columbian  Harmony." 
He  was  the  author  of  "  Greenwicli."  "Itusjiia," 
"  iSherbourne,"  "  Newjmrt,"  and  "Windham," 
a  tune  which  has  been  sung  for  half  a  century, 
and  will  jjrobably  continue  to  he  sung  longet 
than  any  other  piece  of  music  that  ha-s  ever  yet 
been  composed  on  this  side  the  .Vtlantic.  Bil- 
lings, Holden,  and  Reed  inventetl  many  plea.sing 
melodies,  and  although  their  harmonies  have  in 
progress  of  time  cea.setl  to  satisly  the  prevailing 
musical  taste,  yet  many  of  their  melnlies  cannot 
yet  be  sparetl,  and  their  names  appear  in  very 
many  ot  our  numerous  collections  of  churi'h 
p.salmody.  The  pitch-pipe  originally  Ixdonginif 
to  Daniel  Reed  was  used  to  tet  tht  pi  ch  at  a 
Concert  of  .Vncicnt  Harmony,  given  May,  1S.53. 
at  New  Haven,  Connecticut.  The  mu.sic  vna 
well  executed,  but  the  interest  it  exciteil  d^ 
pendeil  chiefiy  upon  the  old  a-ssooiations  it 
brought  to  mind  ;  (or  the  comixisitions  that  were 
sung  are  in  themselves  impcrleet,  and  although 
they  were  inspired  by  religious  feeling,  they 
seem  to  have  been  corapotiod  in  accordance  writh 
no  science  or  system  of  rules,  but  to  have  been 
made  to  contorm  merely  with  the  demand-s  of  an 

I  uncultivated  ear ;  and  consoiuently  much  harsh- 

j  ness  is  o!ten  manilest,  which  grates  upon  th« 
feelings  of  those  accustome<l  to  more  ]>olUhcd 
productions.  Not  that  the  tunes  arc  desutut« 
of  merit,  for  there  are  in  them  many  tine  mclo- 

I  dies ;  but  each  part  has  it»  own  melody,  and  u 

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these,  although  good  in  thcmsolves,  sometimes 
fail  to  harmoiii/x-  with  each  other,  the  general 
effect  of  the  tune  is  in   such  cases  inferior. 

In  179.')  Ilnng  Gram  published,  at  Botiton,  a 
Bmall  collection  of  music. 

In  1793  Jacob  French,  of  Stoughton,  Mas- 
Rachusetts,  published  "The  Psalraodist's  Com- 
panion." 

In  1793  Joseph  Stone  and  Abraham  Wood, 
together,  ])ublished  their  "  Columbian  Harmony." 
This  bene  the  same  name  as  one  published  by 
Daniel  Uccd. 

In  17y3  Jacob  Kimball,  of  Topsfield,  Massa- 
chusetts, published  "  The  Rural  Harmony,"  most- 
ly original,  or,  if  not  original,  consistin;^  of  tunes 
never  before  published  in  this  country.  It  was 
intended  for  the  use  of  schools  and  musical  so- 
cieties. 

In  1791  Samuel  Belcher,  Esq.,  published  "The 
Harmony  of  Maine." 

In  1791  Amos  Bull,  of  Hartford,  Connecticut, 
published  "  The  Repository."  He  wrote  "Mid- 
dletown." 

In  1794,  November  24,  Edward  W.  Hooker 
was  born  at  (ioshen,  Connecticut.  At  the  age 
of  twelve  years  he  commenced  the  study  of  music, 
under  E.  Iloberts,  who  was  the  first  teacher 
iu  that  state  who  ventured  to  advocate  a  change 
of  the  light  fugue  style  of  music  for  the  more 
BoUd  and  scientific  class  of  compositions.  The 
llev.  Dr.  Hooker  has  published  several  very 
interesting  and  important  tracts  upon  the  subject 
of  music,  also  essays,  lectures,  and  addresses; 
his  aim  having  always  been  to  take  up  practical 
topics  in  the  art,  and  more  particularly  to  direct 
attention  to  the  subject  of  sacred  music.  In 
1840  Dr.  Hooker  presented  an  able  report  ou 
the  subject  of  church  music  to  the  General  Con- 
vention of  Ministers  in  Vermont,  which  was  at- 
tacked by  a  writer  in  Boston,  through  the  col- 
umns of  the  Xeto  Eityland  Puritan  ;  and  this  led  to 
a  series  of  articles  e.xposing  the  impositions  of 
compilers  of  music,  who  had  made  alterations 
in  every  new  edition  of  their  music  books,  ren- 
dering previous  editions  useless.  This  contro- 
versy attracted  much  attention  at  the  time.  Dr. 
Hooker  has  done  good  service  to  the  cause  of 
music,  and  although  he  has  never  made  it  a  pro- 
fession, possesses  a  fine  musical  library,  and  his 
•'  Plea  for  Sacred  Music"  will  long  outlive  its 
author. 

In  1795  Hans  Gram,  Samuel  Holyoke,  and 
Oliver  Holden  published  "  The  Massachusetts 
Compiler."  In  their  preface,  which  bears  date 
February,  179.5,  they  say,  "Many  American 
votaries  of  sacred  music  have  long  since  expressed 
their  wishes  for  a  compendium  of  the  genuine 
principle**  of  that  science.  These  circumstances 
induced  us  to  associate  and  prepare  this  publi- 
cation." The  work  is  well  printed,  and  contains 
the  theoretical  and  practical  elements  of  music, 
together  with  a  musical  dictionary,  occupying 
36  quarto  pages,  to  which  are  added  11  pages  of 
original  and  selected  music. 

In  this  year  Samuel  Babcock,  of  Watertown, 
Ma.swichu.sctts,  published  an  original  collection 
of  church  music,  called  "The  Middlesex  Col- 
lection." Amos  Albee  also  published  an  edition 
of  "The  Norfolk  Collection;"  and  Benjamin 
Dearborn  i)ublished  "The  Vocal  Instructor." 

In  1797  Daniel  Belknap,  a  teacher  of  music, 
then  living  in  Framingham,  Massachusetts,  pub- 


lished a  small  collection  entitled  "  The  Harmon 
ist's  Companion." 

In  1797  the  Uev.  Timothy  D wight,  D.  D..  ar 
eminent  poet  and  divine,  (president  of  YaU 
College.  Connecticut,)  was  re'juested  by  the 
General  Assembly  of  Ministers  in  that  state  to  re- 
vise the  whole  of  Dr.  Watts's  version,  or  rather 
imitation  of  the  Psalms,  and  "  to  versify  the 
psalms  omitted  by  Watts."  The  task  was  under- 
taken accordinglv ;  and  the  whole  was  published 
in  1800. 

Many  of  the  leading  denominations  in  the 
United  States  of  America  (as  the  Liitherans,  the 
Methodist  Episcopal  church,  &c.)  have  theii 
own  separate  i)salm  and  hjinn  books.  The  best 
and  most  copious  of  all  the  collections  which  the 
writer  has  seen  was  published  (it  is  believed  for 
the  use  of  the  Congregationalists)  by  Messrs. 
Lowell  Mason  and  David  Green,  at  Boston, 
Massachusetts,  in  1832,  in  octavo.  It  is  entitled 
"  Church  Psalmody  ;  a  collection  of  Psalms  and 
HjTnns,  adapted  to  public  worship." 

In  1798  Dr.  Amos  Pillsbury,  of  Charleston, 
South  Carolina,  published  "The  United  States 
Sacred  Harmony."  This  was  a  compilation  of 
many  of  the  most  popular  tunes  of  the  day,  by 
various  authors,  and  contained  so  great  a  variety, 
that  it  met  with  a  ready  sale,  and  went  through 
several  editions. 

In  August,  1798,  William  Little,  and  William 
.Smith,  of  Philadelphia,  Pennsylvania,  published 
"  The  Easy  Instructor,  or  a  New  Method  of 
teaching  Sacred  Harmony.  Containing  the  Ru- 
diments of  Music  on  an  improved  Plan,  wherein 
the  naming  and  timing  of  the  notes  are  familiar- 
ized to  the  weakest  capacity.  With  a  choice  Col- 
lection of  Psalm  Tunes  and  Anthems  from  the 
most  celebrated  Authors,  with  a  number  com- 
posed in  Europe  and  America,  entirely  new ; 
suited  to  all  the  Metres  sung  in  the  different 
Churches  in  the  United  States.  Published  for 
the  Use  of  Singing  Societies  in  general,  but  more 
particularly  for  those  who  have  not  the  Advan- 
tage of  an  Instructor."  This  was  an  engraved 
book,  and  some  of  the  later  editions  were  printed 
at  Albany,  New  York,  by  the  proprietors  of  the 
copyright,  Webster  and  Skinner.  It  contained  104 
tunes.  The  authors  in  their  advertisement  say, 
"  As  the  introduction  of  the  four  singing  sylla- 
bles, by  characters,  showing  at  sight  the  name  of 
the  notes,  may,  perhaps,  be  considered  as  subject- 
ing those  who  are  taught  in  this  manner  to  difK- 
culty  in  understanding  other  books,  without  this 
assistance,  the  authors  would  just  observe,  tha*, 
if  pupils  are  made  acquainted  with  the  princi- 
ples here  laid  down,  the  objection  will  be  found, 
bv  experience,  more  specious  than  solid.  To 
this  it  might  be  added,  that  in  the  old  way,  'Jiere 

!  are  not  less  than  seven  different  ways  of  apply- 
ing the  four  singing  syllables  to  the  lines  and 
spaces,  which  is  attended  with  great  dithculty. 
But  this  dithculty  is  entirely  removed  upon  the 
present  plan  ;  and  we  know  of  no  objection  to 
this  plan,  unless  that  it  is  not  iu  use  ;  which 
objection  is  no  objection  at  all  ;  or,  at  least, 
cannot  be  decisive,  as  this  would  give  cuirency 
to  the  entire  rejection  and  exclusion  of  all  im- 
provements whatever."      A   committee  was  ap- 

'  pointed  by  the  Uranian  Society  of  Philadel- 
phia to  e.xamine  this  book,  consisting  of  Edwarr 
Stammers  and  Richard  T.  Leech,  who  reprrtec" 

'  that   "  it    contains   a   well-digested    system   of 


764 


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ENCYCLOPAEDIA    OF    MUSIC. 


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principles  and  rules,  and  a  judicious  collection  i  seen  liy  thi»  author.  It  wns  printed  at  Xortli- 
of  tunes  :  and  from  the  imiiroveiuent  of  hiivinj;  |  aiupton,  Massachusetts,  by  Andrew  \\ri;;ht,  and 
only  four   sigi.itiennt   characters,    indicating,    at     contained    104    pages.      Mr.    Suan    presented    n 


eight,  the  names  of  the  notes,  and  a  sliding 
rule  for  timing  the  same,  this  hook  is  consid- 
ered easier  to  be  learned  than  any  we  have  seen. 
M'ere  it  possible  to  acquire  tlie  sound  of  the 
eight  notes  but  by  imitation,  they  verily  believe 
they  might  be  obtained  by  the  help  of  tjiis  book, 
even    without   an    instructor."      The   work   was 


cojjy  of  this  book  to  the  Harvard  Mi  sical  Asso 
ciation,  October  lifi,  18 U.  He  was  the  atithoi 
of  '•  China,"  to  the  words  "  Why  should  w» 
mourn  departing  friends;"  and  •' I'owi'al,"  tc 
the  words,  "  Sure  there's  u  righteous  (Jod  !  " 
"  Poland,"  to  the  words  "  (iod  of  my  life,  look 
gently  down,"  and  a  number  ot  other  ]iic.es  of 


published  by  subscription,  and  before  it  was  pub-     sacred   music,   which  were   received    with  great 


lishcd  the  cditcrs  had  obtained  more  than  three 
thousand  subscribers.  The  notes  used  were  four, 
—  round,  square,  diamond,  and  triangle,  and 
were  applied  to  the  staff  thus  :  — 


\\'holv  notel. 


Quarter. 


Eif!ht)i. 


t=^ 


znz 


:^-t: 


-Ki^^'iiiivn 


Sol,  I.aw,  Mc,  Fow. 

He  wrote  "  Caldwell  "  and  "  Middlebury,"  and 
his  brother,  X.  Little,  wrote  "  Carolina,"  "  Frank- 
lin," and  "  Meditation."  There  does  not  appear 
in  the  book  any  piece  written  I)y  'Willinm  Smith, 
though  he  assisted  in  making  the  selections. 

In  1799  J.  Benjamin,  of  Northampton,  Massa- 
chusetts, published  a  collection  of  music,  enti- 
tled '•  llurmonia  Civleslis."  In  this  work  most 
of  the  tunes  were  figured  for  the  har])sichord  and 
organ,  both  which  instruments  were  then  begin- 
ning to  attract  attention  in  this  country.  The 
music,  most  of  it,  was  from  English  books  which 
were  not  known  in  the  states,  and  being  of  a 
dirt'ercnt  style  from  the  pieces  in  other  publica- 
tions, the  book  was  much  admired  by  such  as 
could  api)reciate  the  new  music. 

In  1799,  July  25,  Emory  Perry  was  born  at 
Ilolliston,  Massachu.-etts.  He  was  chosen  cAor- 
ister  when  seventeen  ye;irs  old,  and  received 
thirty  dollars  a  year  for  his  services.  When  nine- 
teen, he  moved  to  Milford,  and  had  a  salary  of 
one  hundred  dollars  per  annum.  When  twenty- 
two,  he  went  to  Worcester  for  a  salary  of  three 
hundred  dollars,  where  he  has  ever  since  resid- 
ed.   Mr.  I'errv  hos  taught  at  least  three  hundred 


schools,  averaging  seventy-five  scholars  each 
He  uses  the  violin  in  his  schools  and  in  church 
He  possesses  a  very  remarkable  voice,  having  a  1  it   general   apjjrobation 


favor  throughout  the  country  at  the  time,  and 
which  have  outlived  the  com])0ser.  Swan's  mu- 
sic was  truly  original  and  devotional,  and  his 
tunes  have  so  long  held  a  jdace  in  successive 
music  books,  that  they  have  seemed  to  belong  to 
an  age  gone  by.  After  publishing  his  book.  Mr. 
iS.  went  into  Vermont,  and  afterwards  settled  at 
Northfield,  Massachusetts,  where  he  died,  in 
1842,  aged  eighty-two  years,  bclovetl  and  respect- 
ed by  all  who  knew  him. 

In  1804  William  Cooper  published,  at  Boston, 
Massachusetts,  '•  Beauties  of  Church  Music  ;  and 
the  Sure  Guide  to  the  Art  of  Singing,"  contain- 
ing 200  pages.  In  this  publication  Mr.  Cooper 
was  assisted  by  Jonathan  Huntington,  who  was 
afterwards  well  known  as  a  teacher  of  music  at 
Northampton,  and  in  that  vicinity 

In  1805  Cushing  and  Appleton,  of  Salem,  Massa- 
chusetts, published  "The  Salem  Collection,"  124 
pages,  liie  music  for  this  book  was  selected  by 
a  committee  of  the  church  of  Rev.  Dr.  Prince. 
This  committee  selected  about  seventy  tunes, 
which  they  stated  would  be  sufficient  for  any 
congregation ;  but  the  publishers  added  some 
other  tunes  of  their  own  selection  or  composi- 
tion. In  the  preface,  the  committee  mention 
"  The  Massachusetts  Compiler,"  by  Gram,  Iloly- 
okc,  and  Ilolden,  1795,  as  one  of  the  best  existing 
publications. 

In  1805  Jeremiah  Ingalls  published,  at  E.xeter, 
New  Hampshire,  '•  The  Christian  Harmony,  or 
Songsters'  Companion,"  a  book  containing  200 
pages.  Mr.  Ingalls  was  a  resident  of  Newbury, 
Vermont.  He  makes  no  apology,  in  the  brief 
preface  to  his  book,  for  introducing  a  new  publi- 
cation, but  with  diffidence  submits  it  to  the  pub- 
lic, with  the  hope  that  its  merits  may  secure  tor 
Mr.    Ingalls    did    not 


range  of  compa.ss  such  as  Ls  seldom  met  with.  |  make  money  by  the  sale  of  his  book,  but  was 
In  his  best  days  he  could  sing  from  CC,  second  under  the  necessity  of  working  at  hLs  trade,  that 
leger  line  below  the  bass  statl',  to  C,  second  line  of  a  cooper,  by  day,  and  used  to  teach  siuijing 
above,  in  the  tenor,  being  a  range  of  three  schools  evenings.  He  played  the  violoncello  in 
octaves,  of  such  uniform  ((uality  of  tone  that  it  his  schools,  and  sometimes  other  instruments, 
was  impos.siblc  to  notice  any  change.  His  power  '  He  had  a  very  good  tenor  voice,  and  usually 
cf  tone  through  tliis  whole  compass  was  very  sang  the  air.  He  removed  to  Ilochester,  Vcr- 
great,  and  the  quality  from  middle  C  up  was  mont,  from  Newbury,  and  from  thence  to  Han- 
sweet  and  rich.  His  lower  tones,  though  strong  cock,  where  ho  died,  about  1828,  very  poor,  but 
and    rich,  were,  perhaps,  something  too  reedy,     respectetl. 


He  ha>  sung,  with  eiiually  good  effect,  the  songs 
of  Kaphael  and  Uriel  in  the  "  Creation,"  and 
one  would  hardly  know  which  to  admire  most, 
his  tenor  or  his  ba.ss. 


In  180.)  Stephen  Jenks,  of  New  Canaan,  Con- 
necticut, published  "The  Delights  ot  Ilnrrauny, 
or  Norfolk  Compiler  :  Being  a  new  collc.tion  of 
Psalm  Tunes,  Hymns,  and  Anthems  ;  with  a  va- 


in 1  MOO  a  citizen  of  Massachusetts  published,  riety  of  sot  pieces,  from  the  most  approve<l  Amer- 
at  Boston,  an  original  collection  of  "  Sacre<l  ican  and  European  authors.  likewise  the  neccn- 
Dirges,  Hymns,  and  Anthems,"  containing  28  sary  rules  of  P.salmody  made  easy.  Tlie  whole  [mr- 
pages,  quarto.  Printed  by  Isaiah  lliomas  and  ticularly  designed  for  the  ilsc  of  Singing  .S:hiK>U 
E.  T.  Andrews.  ,  and  Musical  Societies  in  the  United  .StatcH. 

In  17t>0  Timothy  Swan,  of  Suffield,  Connecti- 
cut, was  bom.  In  1801,  while  he  resided  at 
Suffield,  he  published  "'ITie  New  England  Har- 
aony,"    the  only  collection   that  we  have  ever 


*  Th«  iloffvn  wfnt  brfort  with  Jnj,  on  iDttmincato  Ihvy  pta^tdi 
Thedanitcif  tiitti  Uicir  (imbrtl*.  Ihvn,  in  b««ulj  w«r«  •rrm>nl.*  ** 

TTiis    book    contained    90    pages,    was    pub 
lished  by  subscription,  and  w  %%  printed  for  U> 


7M 


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EXCYCLOPiEDIA    OF    MUSIC. 


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KUthor  by  H.  Mann  and  Co.,  at  Dedham,  Mrwsa- 
chusettfl.  In  his  preface,  Mr.  Jenks  says,  "  That 
a  tribute  of  praise  is  due  to  the  jrrcat  Author  of 
nature,  every  rational  being  will  readily  grant ; 
and  divine  songs  seem  to  have  been  given  us  to 
express  those  sentiments  of  devotion  and  rever- 
ence which  become  every  Christian.  The  royal 
Psalmist  David,  whom  we  imitate,  (though  but 
faintly,  for  want  of  a  heart  like  his,  he  being  a 
man  after  God's  own  heart, )was  seldom  met  with- 
out a  jtsalm  in  his  mouth,  or  nn  instrument  in 
his  hand.  Hence  all  must  allow  music  to  be  the 
gift  of  (jod,  as  a  true  representation  of  the  sweet 
concert  and  harmony  which  his  infinite  wisdom 
hath  made  in  his  first  creation,  and  it  is  given  to 
us  as  a  temporal  blessing,  for  his  service  and  our 
recreation.  Nothing  so  much  elevates  the  mind 
and  raises  the  devout  affection*,  calms  the  swell- 
ing passions,  calls  home  the  wandering  thoughts, 
and  prepares  the  heart  for  the  worship  of  God, 
as  the  singing  of  psalms.  It  fills  the  mind  with 
solemnity,  and  raises  us,  as  it  were,  above  the 
things  of  this  world."  The  author  returns  his 
thanks  to  the  subscribers  for  his  book,  and  says 
that  "  their  liberality  so  far  exceeds  his  expecta- 
tions, he  is  determined  to  put  the  work  to  sub- 
scribers at  eighty-eight  cents  a  copy,  although 
the  conditions  were  one  cent  a  page."  Of  the 
music  in  this  book,  twenty-six  pieces  were  com- 
posed by  Mr.  Jenks,  and  the  selections  were 
printed  verbatim  from  the  original  copies  of  the 
American  composers. 

In  1800  Abijah  Forbush,  of  Shelburne  Falls, 
Massachusetts,  pubUshed  "The  Psalmodist's  As- 
sistant," containing  108  pages  of  original  psalm 
and  hymn  tunes,  together  with  a  number  of 
favorite  pieces  from  different  authors.  The  book 
was  published  at  Boston.  In  1842  Mr.  Forbush 
completed  a  new  collection  of  sacred  music, 
mostly  original,  which  he  designed  for  publica- 
tion. Many  of  the  compositions  were  truly  beau- 
tiful ;  but  "  modern  authors  "  had  so  completely 
monopolized  the  psalmody  market,  that  Mr. 
Forbush  could  not  find  a  publisher  in  town  or 
country  willing  to  undertake  the  publication. 

In  1809  Joel  Harmon,  Jr.,  published  at  North- 
ampton, Massachusetts,  "  The  Columbian  Sacred 
Minstrel,"  being  an  original  composition  of  airs, 
consisting  of  three,  four,  five,  and  six  parts,  con- 
tinuing 80  pages.  Mr.  Harmon  was  a  resident 
of  I'awlet,  Vermont,  and  one  of  the  reformers 
who  wished  to  discountenance  fuguing  music. 
In  his  prelaee  he  says,  "  It  is  with  pleasure  that 
the  autlior  discovers  t\\»X  ftujuing  music  is  gener- 
ally disapproved  of,  by  almost  every  person  of 
correct  taste.  The  confusion  introduced  by  the 
parts  falling  in,  one  after  the  other,  each  at  the 
same  time  conveying  a  separate  idea,  renders  the 
periormance  a  perfect  jargon  of  words."  This 
book  was  published  by  sub.scription.  This  same 
year,  Siuuuel  Holyoke,  A.  M.,  publishe<l  at  Exe- 
ter, New  Ham]>shire,  "  'ITie  Columbian  Ueposi- 
lory  oi  Sailed  Harmony,"  containing  i''!  pages 
quarto  —  the  largest  collection  ever  published  in 
tlie  United  .States. 

In  1812  Urown,  Mitchell,  and  Holt  published 
at  Boston,  .Masnachusetts,  "  Templi  Carmina,  or 
Songs  of  the  Temple;  '  afterwards  called  "Bridge- 
water  Collection,"  360  pages ;  and  one  of  the 
must  ])opuhir  collections  of  church  music  ever 
publisi.ed  in  this  country. 

lu    1812   John  Cole,  of  Baltimore,  Maryland, 


published  "  The  Minstrel,"  a  collection  of  cele« 
brated  songs,  set  to  music.  Tliis  was  a  12mo 
of  31()  pages,  and  contained  a  great  variety  of 
English,  .Scotch,  and  Irish  popular  airs. 

George  W.  Lucas  was  born  April  12,  1800 
in  Glatitenbury,  Hartford  County,  Connecticut, 
commenced  teaching  church  music  at  the  age  of 
sixteen,  in  Suffield  and  Enfield,  Connecticut,  and 
has  ever  since  been  constantly  and  extensively 
engaged  in  that  business.  He  early  received  a 
thorough  English  education,  and  afterwards  a 
classical  education  at  the  Seminary  in  Bloom- 
field,  New  Jersey.  He  studied  music,  as  a  pri- 
vate pupil,  under  Thomas  Hastings,  at  Albany, 
New  York,  two  years.  Mr.  Lucas  has  taught 
and  lectured  on  music  in  most  of  the  principal 
cities  and  towns  in  the  United  States  and  the 
two  Canadas ;  has  written  much  on  the  subject 
of  music  for  the  public  press,  and  several  of  his 
public  lectures  have  been  published.  He  has 
composed  and  published  music  on  sheets,  and 
his  '•  Ordination  Anthem  "  was  published  in  the 
Boston  Collection  of  Anthems.  He  was  elected 
honorary  member  of  the  Boston  Handel  and 
Haydn  .Society,  in  1828,  and  to  the  same  honor 
by  the  .Sacred  Music  Society  of  Montreal,  in 
Canada  East,  in  1842  ;  was  president  of  the  Na- 
tional Musical  Convention  at  Boston,  in  1843. 
Mr.  Lucas  has  taught  more  than  fifty  thousand 
juvenile  and  adult  singers  in  classes  of  from  fifty 
to  five  hundred  members  —  has  delivered  over 
one  thousand  public  lectures  ;  has  fitted  and  con- 
ducted the  music  on  more  than  one  thousand 
public  occa.sions  of  unusual  interest,  and  was 
never  unsuccessful.  Mr.  Lucas  resided  in  North- 
ampton, Ma.ssachusetts,  from  1820  to  183.5  ;  dur- 
ing which  time  he  taught  in  Canada  at  three  dif- 
ferent times,  and  went  to  Charleston,  South  Caro- 
lina, in  the  autumn  of  183.5.  In  1837  he  removed 
to  Troy,  New  York,  where  he  remained  until  1844, 
when  he  commenced  travelling  in  the  Western 
States,  teaching  and  lecturing.  He  has  kept  a 
private  journal  of  his  travels,  obscrt'ations,  &c., 
which  is  a  curiosity.  Some  of  his  music  was 
published  in  Taylor's  "  Golden  I>yre,"  and  he  is 
now  preparing  an  original  collection  for  publica- 
tion. He  returned  to  Northampton  in  the  win- 
ter of  18.52-3. 

In  1813  Da^-id  Pool  and  Josiah  Holbrook 
published  at  Providence,  Rhode  Island,  "  The 
American  and  European  Hannony  ;  or  Abington 
Collection  of  .Sacre(l  Music."  Mr.  Holbrook  was 
a  native  of  Abington,  and  was  a  teacher  of  music 
there,  where  he  died.  Mr.  Pool  also  lived  in 
Abington.  lliere  was  a  teacher  there  about  the 
time  in  which  Holbrook  flourished,  named  Bar- 
tholomew Brown,  who  had  acquired  considera- 
ble reputation. 

In  1813  appeared  " 'ITie  Village  Hannony ;  or 
Youth's  Assistant  to  Sacred  Musick.  Consist- 
ing of  Psalm  Tunes  and  Occasional  Pieces,  select- 
ed from  the  works  ol  the  most  eminent  compo- 
sers, to  which  is  prefixed  a  concise  introduction  to 
I'salmody."  Exeter,  New  Hampshire,  October, 
18 U).  Published  by  Charles  Norris  and  Co.,  Pro- 
prietors. The  first  edition  of  this  book  was  pub- 
lished in  1813,  at  Exeter,  and  it  went  through 
some  seventeen  editions.  In  the  thirteenth  edi- 
tion, the  proprietors  say,  "  Many  of  the  light 
and  frivolous  pieces  of  former  editions  have  been 
expunged,  to  make  way  for  such  as  are  more 
solemn   and   interesting,   and   butcr  adapted  tfl 


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the  sanctuary  of  tbe  Most  High."  The  book 
contains  350  pages.  In  the  "  Oencrnl  Observa- 
tions," the  editor  says,  "  ^Vhen  a  tune  is  well 
learnt  by  note,  it  may  be  sung  in  words.  Pro- 
nounce every  word  as  distinctly  as  possible. 
Never  sing  through  the  Nose,  for  that  will  spoil 
♦lie  voice,  make  the  musick  disagreeable,  and 
have  a  disgusting  effect  upon  the  hearer." 

In  181G  Timothy  Flint  published,  at  Cincin- 
nati, Ohio,  "Tlie  Columbian  Harmonist."  This 
L*  a  small  book,  with  only  one  staff  printed  on  a 
page,  and  containing  201  pages. 

In  1818  Kev.  Samuel  Willard,  of  Greenfield, 
Massachusetts,  published  "  The  Deerfield  Collec- 
tion of  Sacred  Music."  Tliis  was  a  small  col- 
lection of  such  pieces  of  music  as  were  then 
popular  in  New  Knuland.  The  author  assumes 
it  as  a  fundamental  jjriiiciple  that  the  design  of 
sacred  vocal  music  is  to  express  sentiment  and 
to  excite  corresponding  feelings  ;  and  therefore 
concludes  that  tlie  words  ought,  by  all  means, 
to  receive  a  distinct  and  expressive  utterance. 
Among  other  things,  he  tells  his  readers  "  not  to 
prolong  the  vowel.s,  and  directs  them  to  suspend 
the  time  of  a  movement  and  shorten  the  notes, 
wherever  a  pause  would  be  require<l  in  good 
reading."  He  also  intimates  that  "  three  varieties 
of  time  can  be  made  to  answer  all  the  purposes 
of  nine." 

In  1819  E.  Goodale  published,  at  Hallowell, 
Maine,  "  The  Hallowell  Collection  of  Sacred  Mu- 
sic," 21C  pages. 

In  1819  Kev.  Jonathan  M.  "VVainwright,  A.  M., 
of  Hartford,  Connecticut,  published  "  Chants, 
adapted  to  the  Hymns  in  the  Morning  and  Even- 
ing Sen-ice  of  the  Protestant  Episcopal  Church." 
In  his  prelace  he  says,  "  Metrical  music  is  but  a 
modern  invention,  and  adds  nothing  to  true  de- 
votion, and  the  worship  of  God.  The  conceit 
of  versifying  the  PsjiLns,  thoui;h  it  seems  in  some 
degree  to  unite  the  I'cculiar  advantages  of  the  an- 
tl'.em  and  chant,  in  no  'ess  degree  excludes  the 
excellences  and  etfects  of  both ;  and  owes  its 
success  not  so  much  to  its  propriety  and  fitness 
for  the  holy  .sanctuar}-,  as  to  its  gratif  j-ing  the 
natural  propensity  of  mankind  to  be  pleased  with 
rhymes  and  metre." 

In  1820  Samuel  Dyer,  of  Baltimore,  Marj-land, 
published  "  A  New  Selection  of  Sacred  Music," 
containing  211  pieces  of  music. 

In  1820  K.  Uiley,  of  New  York,  publLohed 
"Vocal  Melodies."  This  was  a  collection  of 
foreigT>  airs,  adapted  to  American  words,  and 
arranged  for  the  piano-forte  ;  the  music  was  en- 
graved, and  publishe<l  in  numbers  of  eight  pages, 
quarto,  at  twenty-five  cents  per  number,  and  the 
work  consisted  of  twelve  numbers. 

In  1820  A.  P.  Heiiirjch,  of  Kentucky,  author 
of  "'ITie  I)nwnin<;  of  Music,"  published  "The 
Western  Minitrel,"  a  selection  of  songs  and  airs 
for  the  voice  and  piano-forte.  In  his  preface  he 
says,  "  If  I  should  be  able  by  this  effort  to  cre- 
ate but  one  single  Star  in  the  West,  no  one  would 
be  ever  more  proud  than  myself  to  be  called  an 
Amrrican  musician." 

In  1820  tlic  Boston  Handel  and  Uaydn  Society 
publi-shed  a  collection  of  music — "  Choru.xes." 
llie  work  wa-s  commenced  by  subscription,  and 
published  in  numbers,  at  .31^  cents  each.  This 
society  was  institutcnl  in  1815,  and  incorporate*! 
in  1816.  Its  presidents  have  b«en,  to  18.53.  ITiomaa 
S.   Webb,   Bcnjaaiin   Holt,    Amasa    Winchester, 


Robert  Kogerson,  Lowell  Mason,  Samuel  Rich- 
ardson,  Charles  W.  lyivett,  Bartholomew  Brown, 
Cliarles  Zeuncr,  Increase  .S.  Withiugton,  (ieorge 
J.  Webb,  James  ('lark,  Jonas  Chickering,  Charles 
C.  Perkins,  Silas  Meriam. 

Since  1820  musical  publicationa  have  hecomi 
numerous;  in  fact  the  making  of  sin<;ini;  books 
has  become  a  trade.  As  a  matter  of  liistory, 
however,  we  will  give  a  concise  .statement  of  the 
date  of  publication,  the  authors'  names,  res. 
idence,  and  the  titles  of  the  books  publislied. 

In  1822  appeared  " 'I'he  Handel  and  Haydn 
Society  Collection  of  Sacred  Music,"  by  Ia>\t- 
ell  Mason,  a  native  of  New  England,  born  Jan- 
nary  8,  1792.  In  1820,  Mr.  Mason  was  a  clerk 
in  a  banking  institution  at  Savannah,  Geor- 
gia. He  had  from  childhood  a  great  love  anj 
talent  for  music,  and  all  his  leisure  time  was 
devoted  to  its  .study.  While  at  Savanimh,  he 
manifested  a  greater  partiality  for  the  notes  of 
the  musical  scale  than  for  promissory  notes,  and 
a  fondness  for  the  calculation  of  rhytlimics  rather 
than  for  the  computation  of  interest  tabic-  ;  con- 
seiiuently,  he  turned  his  leisure  from  the  dull 
monotony  of  the  bank  leger,  to  the  soul  inspir- 
ing pages  of  the  music  book.  At  Savannah  he 
compiled  his  first  collection  of  church  music. 
Ht  labored  long  and  constantly,  and  at  last  hia 
book  was  made. 

When  he  had  finished  it,  he  obtained  leave  of 
absence  from  the  bank  for  a  short  time,  and 
straightway  bent  his  steps  to  Philadelphia.  He 
went  to  the  book  publishers,  and  offered  to  give 
the  copyright  to  any  house  in  the  city  that  would 
publish  it,  and  give  liim  a  few  copies  for  his  own 
use.  But  they  would  not  touch  it.  It  was  too 
hazardous  an  entcrjirise,  in  their  estimation,  lor 
wise  men  to  undertake 

t)ur  young  editor  then  went  to  Boston,  and 
made  the  same  proposal  to  the  publLshcrs  of  that 
city.  But  the  shrewd  Yankee  booksellers  laughed 
at  him.  Yankee  forecast  and  prudence  were  not 
to  be  thrown  off  their  balance  so  easily. 

Fiiuling  that  every  body  looked  askance  at  his 
book,  the  young  man  put  his  manuscript  omtchets 
and  quavers  into  his  pocket,  and  was  about  re- 
turning to  Savannah,  when  he  met  a  gentleman 
of  considerable  musical  intelligence,  wlio  desired 
to  examine  hLs  work.  The  gentleman  cxprcs.sed 
great  satisfaction  with  it,  and  asked  the  young 
man  what  he  was  going  to  do  with  it. 

"  Take  it  home  with  me,"  was  the  reply. 

The  gei\tleman  aske<l  pcrnus.Hiou  to  show  the 
manuscript  to  the  board  of  managers  of  the  "  Bos- 
ton Handel  and  Haydn  Soi-icty,"  of  which  he 
was  a  member.  It  was  j;ranteil.  The  ro-ult  wras, 
that  said  society  offered  to  take  the  book  and 
puhli«h  it,  and  give  the  young  eiUtor  a  certain 
copyri„'ht  interest  in  it.  Tfie  offer  wius  i<romptly 
and  gladly  accepted,  and  the  work  was  pu\)llshed 
in  the  year  1822,  as  the  "  Boston  Hamlel  and 
Haydn  .Society  Collection  of  fhurch  MiL-.ic."  It 
became  immensely  popular,  and  ran  through 
some  sixteen  or  seventeen  Inrije  editions. 

The  great  success  which  attcndcil  the  publica- 
tion of  this  book  dccidetl  the  «  hole  future  course 
of  l/owell  Ma.-on,  the  younti  editor.  He  re- 
tume<l  to  the  bank  in  Savannah,  but  not  there 
to  stay.  The  Bostonians  were  determined  that 
he  should  fake  up  his  a)>oile  with  them  Ac- 
cordingly, during  the  year  1820.  we  ftiid  him  lec- 
turing on  church  mu.sic   in  different  churches  is 


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Boston.  One  of  these  lectures  was  published, 
and  wns  extensively  circulated.  It  was  widely 
and  fiivorably  noticed  by  the  press,  and  tlius  its 
sontiraeiits  of  rolorra  were  disseminated  all  over 
ths  land. 

Thus  commenced  the  musical  career  of  one  of 
the  most  reranrkiible  men  of  the  age.  Mr.  Ma- 
son is  not  wliat  we  call  a  genius.  Had  he  been  a 
musical  genius,  he  jirobiihly  never  would  and 
never  could  have  accomplished  what  he  has  done. 
But  he  had  just  that  rare  conformation  of  facul- 
ties which  qualified  him  eminently  for  a. great 
enterprise.  His  voice  was  not  naturally  a  good 
one,  and  he  never  attempted  to  make  any  thing 
great  out  of  it.  He  never  aimed  to  become  a 
C'aflarelli,  a  Braham,  Salvi,  or  any  other  star  of 
vocal  renown.  Psalmody,  in  all  its  relations  and 
interests,  formed  the  subject  matter  of  his  first 
thoughts  and  most  earnest  study.  And  the 
character  of  his  mind  qualified  him  in  an  eminent 
degree  for  taking  a  comprehensive  view,  not 
only  of  this,  but  of  all  subjects  which  came  be- 
fore him.  He  saw  ciuickly  what  needed  to  be 
done,  and  his  Herculean  e.\ecutive  powers  were 
not  long  in  setting  a  system  of  means  in  operation, 
which  have  WTOught  a  wonderful  improvement 
in  music. 

One  of  his  earliest  and  most  favorite  schemes 
was  to  get  music  introduced  into  the  Boston 
schools  as  a  popular  branch  of  education.  He 
worked  long  and  hard,  and  finally  had  the  satis- 
faction of  witnessing  the  complete  success  of  his 
undertaking.  He  had  enlisted  many  of  the  most 
prominent  and  influential  gentlemen  in  the  city 
in  the  enterprise,  and,  through  their  agency  the 
city  government  was  induced  to  make  an  ajipro- 
priation  of  funds  sufficient  to  put  a  good  teacher 
of  music  into  every  one  of  the  public  schools. 
The  higher  schools  had  already  introduced  vocal 
music ;  so  that  now  it  might  be  said  that  music 
was  actually  taught  in  all  the  schools  in  Boston. 
Closely  connected  with  this  movement  was 
another  of  equal  importance,  which  is  traceable 
to  the  action  of  the  "  Boston  Academy  of  Music," 
which  had  its  origin  in  the  plans  of  musical  im- 
provement set  on  foot  by  Mr.  Mason. 

But  another  and  most  important  plan  for  the 
spread  of  correct  musical  knowledge  throughout 
the  country,  which  was  proposed  by  the  "  Boston 
Academy  of  Music,"  was  the  formation  of  a  class 
for  those  teachers  of  music  who  det-ired  to  be- 
come acquainted  with  the  system  of  instruction 
laid  down  in  the  "  Boston  Academy's  Manual," 
a  work  prepared  by  Mr.  Mason,  on  the  Pestaloz- 
zian  or  inductive  method  ol  teaching.  In  the 
year  1834,  twelve  gentlemen  —  all  teachers  of 
music  —  assembled  in  Boston,  and  for  ten  days 
listened  to  lectures  on  teaching  from  the  profess- 
ors in  the  Academy  —  Messrs.  Lowell  Mason 
and  Cieorge  James  Webb.  These  twelve  gentle- 
men were  so  much  gratified  with  this  course  of 
lectures,  and  especially  with  the  method  of  teach- 
ing introduced,  that  they  strongly  recommended 
a  repetition  of  the  course  the  next  year.  Ac- 
cordingly, in  the  month  of  August,  183.5,  a  sim- 
ilar class  was  organized,  and  the  number  of  gen- 
tlemen teachers  in  attendance  was  increased  to 
nineteen.  The  interest  taken  in  these  exercises 
was  go  great  that  it  led  to  the  permanent  estab- 
liiihmcnt  of  an  annual  "Teachers'  Class." 

The  progress  and  growth  of  this  "  Teachers' 
(Hass"  and  "  Musical  Convention  "  have  been  un- 


paralleled. In  1834  it  numbered  twelve  persons; 
in  18.50  it  numbered  one  thousand  two  hundred 
and  fifty  !  l"he  number  of  those  who  actually 
took  part  in  the  singing  exercises,  concerts,  &c., 
was  about  one  thousand.  These  were  divided 
into  four  distinct  choirs,  of  about  two  hundred 
and  fifty  singers  each,  and  arranged  all  arouud 
the  spacious  gallery  of  the  Tremonl  Temple,  fill- 
ing it  to  its  utmost  capacity. 

Mr.  Mason  has  been  the  principal  editor  of 
quite  a  number  of  musical  works ;  some  for  ju- 
venile singers,  and  others  for  adult  vocal  music 
classes.  But  his  largest  works  are  books  of 
church  music. 

The  books  of  psalmody  of  which  Mr.  Mason 
has  been  the  principal  editor,*  are  eight  in  num- 
ber, viz.,  "  The  Boston  Handel  and  Haydn  So- 
ciety Collection,"  "The  Choir,"  "The  Boston 
Academy's  Collection,"  "The  Modern  Psalmist," 
the  "Carmina  Sacra"  — which  has  unquestionably 
been  the  most  popular  tune-book  ever  made.  — 
"  The  Psaltery,"  "  The  National  PsalmLst,"  and 
last,  the  "  Cantica  Laudis,  or  the  American  Book 
of  Church  Music."  Each  of  these  works  has  a 
distinct  character,  and  an  individuality  of  design 
which  show  a  versatility  of  talent  and  a  compre- 
hensiveness of  mind  which  do  great  credit  to  Mr. 
M.  as  an  American  musician. 

It  must  be  apparent  that  Mr.  M.  did  not  mis- 
take his  calling  when  he  closed  the  bank  leget 
and  opened  the  singing  book.  He  has  been  the 
instrument  of  an  amount  of  good  to  his  country 
which  cannot  be  overrated.  Nor  have  his  direct 
personal  labor  and  enterprise  in  musical  matters 
been  the  whole  amount  of  his  contribution  to  the 
cause  of  music  in  this  country.  He  has  reared  a 
son,  —  William  Mason,  now  pursuing  his  musi- 
cal studies  in  Germany,  under  the  greatest  mas- 
ters, —  who  is  spoken  of  by  the  best  musicians  as 
a  young  man  of  wonderful  promise. 

Let  no  one  infer  that  we  are  blind  to  the  im- 
portant services  rendered  to  the  cause  of  psal- 
mody in  this  country  by  others.  The  name  of 
Thomas  Hastings  is  enshrined  in  the  affections 
of  all  who  love  sacred  music,  sweet  and  spiritual 
poetry,  or  amiablcuess  and  true  moral  excellence. 
And  he  has  done  great  service  to  the  cause  of  de- 
votional song,  both  by  his  pen  and  by  his  public 
lectures.  He  has  filled  a  niche  in  the  great  en- 
terprise which,  perhaps,  no  other  man  could  fill 
so  well.  And  his  labors  are  worthy  of  distinct 
and  grateful  mention.  He  began  to  exert  an  in- 
fluence even  prior  to  the  commencement  of  Mr. 
Mason's  career  ;  but  not  possessing  the  requisite 
business  qualifications  for  managing  a  great 
enterprise,  his  life  has  been  spent  in  a  more 
qmet  and  retired  way.  But  he  will  not  lose  his 
reward. 

In  18 '2  2  Warriner  and  Hastings,  Utica,  New 
York,  published  "  Musica  Sacra."  T.  M.  Baker, 
Charlestown,  Massachusetts,  published  the  "  Mu- 
sical Cabinet,''  a  selection  of  popular  songs,  with 
piano-forte  accompaniment ;    2o'i  pages  8vo. 

In  1823  N.  D.  Gould,  Boston,  Massachusette, 
published  "  The  Social  Hannony,"  152  pages 
quarto. 

In    1826   John  Wyeth,  Hirrisburg,   Penus) 


•  Mr.  GeoiTre  J«m«  W^bh,  ■ffenUcmtn  of  flne  iccomplitiiineii.. 
■  nd  •  Ihnrouffh  muaical  sclioUr,  tioa  been  ataocinted  with  Mr.  Mavoii 
in  the  colnpilntion  of  levenil  wurki,  though  we  b4'liove  the  bookt  o' 
chtirrh  miitir  hive  l>ern  chieflr  edilcd  by  Mr.  M.,  aud  Xht  bookj  (t 
•ecuUr  music  cliicfly  hy  Mr.  W. 


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ranin,    publishe.l    "Wyctb's    Repository,"    144 
pages. 

In  1827  John  Cole,  Baltimore,  Maryland,  pub- 
lished "The  Seraph,"  two  hundred  and  thirty 
pieces  of  music  ;  also,  "  Beauties  of  l'.»alrandy," 
ninety  jiieces  of  music.     Of  tliis  latter  work  he 

f)ublished  thi-ee  editions.  AUen  I).  C'ardcu  ))ub- 
ished  "  Missouri  Harmony."  S.  Dyer  published 
"  New  York  Collection  of  Church  Music,"  and 
"  Philadelphia  Collection  of  Church  Music." 

In  1828  the  Stoughton  (Massachusetts)  Musical 
Society  published  "  Stoughton  Collection."  Kev. 
J.  M.  Wainwright,  New  York,  published  "  Music 
of  the  Church,"  292  pages.  A  new  edition  was 
published  in  18o2,  and  much  improved  ;  calcu- 
lated for  use  in  the  Episcopal  churches ;  23 1 
pages.  The  book  contains,  also,  general  direc- 
tions lor  the  performance  of  sacred  music,  psal- 
mody, anthems,  singing,  and  chanting.  The 
harmonies  of  all  the  tunes  in  this  collection  were 
carefully  corrected  by  (Jeorge  F.  Bristow,  organist 
of  St.  John's,  New  York. 

In  182.)  E.  Ives,  Jr.,  and  D.  Dutton,  Jr.,  Hart- 
ford, Connecticut,  jmblished  "  American  Psal- 
mody, or  the  Hartford  Collection,"  368  pages. 
Lowell  Mason,  lioston,  Massachusetts,  published 
"ITie  Modern  Psalmist." 

In  1830  Samuel  Belcher,  of  Hallowell,  Maine, 
published  "Hannonv  of  Music." 

In  1831  William  B'.  Snyder  and  W.  L.  Chapell 
published  "  Western  Lyre."  New  York  Com- 
mittee published  "Methodist  Harmonist,"  250 
pages. 

In  1832  N.  D.  Gould,  Boston,  Massachusetts, 
piiblished  "  National  Cliurch  Harmony."  Low- 
ell Mason,  Boston,  Massachusetts,  published 
"  LjTa  Sacra,"  386  pages. 

E.  Jones,  New  York,  published  "  Melodies  of 
the  Church."  James  W.  Palmer,  Cij'.cinnati, 
Ohio,  published  "  Western  Harmonious  Com- 
panion." Barrett  and  Coleman,  Nashua,  New 
Hampshire,  published  "  Christian  Psalmody." 

In  1833  Lowell  Ma-son,  Boston,  Massachusetts, 
published  "The  Choir."  Henry  E.  Moore,  Con- 
cord, New  Hampshire,  published  "  The  New 
Hampshire  Collection  of  Church  Music,"  352 
pages.  Mr.  Moore  was  an  excellent  musician, 
and  a  composer  of  some  note.  He  was  the 
son  of  Dr.  Jacob  B.  Moore,  and  was  l)om  in 
Andover,  New  Hampshire,  July  21,  1803.  He 
established  "  The  Grafton  Journal,"  at  Plym- 
outh, New  Hampshire,  in  1824,  which  jmper 
he  conducted  with  ability  for  a  few  years  ;  but 
music  reigned  mistress  in  his  soul,  and  he  re- 
turned to  Concord,  New  Hampshire,  where  he 
ro.itinued  to  tcoch  music  until  1838,  when  he 
went  to  East  Cambridge,  and  continued  to  teach 
in  that  vicinity  until  his  death,  which  took  place 
t)ctober  23,  1811,  his  age  t>eiiig  thirty-eight.  A 
few  moments  l>e;ore  his  death  he  commenced 
tinging  "  Old  Hundred,"  always  a  favorite  tune 
of  his,  to  the  words,  "  Be  thou,  O  (jod,  e.xaltcd 
high,"  and  as  the  lost  note  soundeil,  almost  in 
the  same  instant  he  died.  He  published  a  "  Mu- 
sical Catechism,"  "  The  Merrimack  Collection 
of  Instrumental  Music,"  "  Tlie  National  Choir,  a 
Collection  of  Anthems,"  "The  Northern  Harji," 
and  a  few  weeks  ])revious  to  his  death  he 
commenced  the  publication  of  "  ITie  Boston 
Eoliad,"  a  weekly  pojwr  devoted  to  the  subject 
of  music 

In  1834  Robert  Willis,  Lexington,  Kentucky. 
97  7 


published  "  Lexington  Cabinet."  Henry  Eaton 
Moore,  Concord,  New  Hampshire,  published 
"Tlie  National  Choir,  a  Collection  of  Anthems." 
T.  B.  Mason  i)ublished  "  Ohio  Sacred  Harp." 

In  183.)  Lowell  Mason,  Boston,  Massachu.setts, 
published  "  Boston  Academy's  Collection,"  300 
I)ages.  This  work  was  published,  with  alter- 
ations, yearly,  until  1850.  The  Boston  .Academj 
of  Music  (see  that  article)  w-as  instituted  and  in- 
corporated in  1833.  Its  presidents,  to  1853,  hav« 
been  Bradford  Sumner,  William  W.  Stone,  Jacol 
Abbott,  Samuel  A.  Eliot. 

In  1830  liev.  Thomas  Whittemore,  Boston, 
Massachusetts,  i)ublished  "  Songs  of  Zion."  W. 
Nash,  Ohio,  published  "  Sacred  Harmci  j  '  T 
B.  Miuson  published  "  Ohio  Sacred  Harp,"  im- 
proved. Thomas  Hastings,  New  York,  published 
"  Manhattan  Collection."  D.  Coindand  pubUshed 
"  Billings  .ind  Ilolden  Society's  Collection." 

In  1837  Webb  and  Moson,  Boston,  Mas.sachu- 
setts,  publislied  "  The  Odeon,  a  Collection  of 
Secular  Melodies,"  301  pages. 

In  1838  Henry  E.  Moore,  Concord,  New  Hamp- 
shire, published  "  Northern  Harj),"  304  pages. 
Mason  and  Webb,  Boston,  published  "  The  Bos- 
ton Glee  Book,"  264  pages.  Kev.  Dr.  Wain- 
wright.  New  York,  published  "  Psalmodia  Evan- 
gelica." 

In  1839  George  Kingsley,  New  York,  published 
"Sacred  Choir."  Charles  Zeuner,  Boston,  Ma-t- 
sachusetts.  published  "  American  Ilarp,"  400 
pages.  'Hiis  is  one  of  the  collections  of  music, 
which,  however  familiar  it  becomes,  however 
much  it  may  be  sung,  is  ever  fresh  and  new. 
The  wealth  of  melody  and  magnificent  harmony 
lavished  upon  "  The  -Vmerican  Harp  "  is  suthcient 
to  set  up  a  hundred  common  tune  manufactu- 
rers. Mr.  Zeuner's  oratorio,  "  Feast  of  Taber- 
nacles," was  well  worthy  of  celebrity,  though, 
after  a  few  performances  in  Boston,  it  was  with- 
drawn, we  fear  forever,  to  make  room  for  other 
compositions.  The  first  edition  of  this  work  was 
pubhshcd  in  1832,  at  which  time  Mr.  Zeuner  re- 
sided in  Boston,  and  wa.s  organist  ot  Park  Street 
Church,  and  president  of  the  Musical  Professional 
Society,  and  organist  for  the  Handel  and  Haydn 
Society.  In  "  'I'he  American  Harp,"  every  piece 
of  music  (except  Jice  tunes,  one  of  which  was 
Old  Hundred)  was  composed  by  Mr.  Zeuner,  and 
was  emphatically  original.  David  I'aine,  Port- 
land, Maine,  published  "  Portland  Sacred  Music 
Society's  Collection."  Lowell  Mason,  Boston, 
Ma-ssachusetts,  published  "  Modern  I'salmist," 
352  pages.  Benjamin  Sweet.ser,  Jr.,  Portland, 
Maine,  published  "Cumberland  Collection." 

In  1810  was  published  "  .\ncient  Harmony 
Revived."  N.  D.  Gould,  Boston,  Ma.«s«c)\u- 
set's,  published  "  Sacred  Minstrel."  Joseph 
Muenscher,  (iambia,  Ohio,  publishetl  "  Church 
Choir,"  432  pages.  George  James  Webb,  Boston, 
Massachusetts,  published  "  Miis,saohusctts  Col- 
lection." Thomas  Comer,  Boston,  Massachusctt*, 
published  "  Boston  Musical  Institute's  Collection 
of  Church  Music."  This  was  publi.Hhcd  under 
the  direction  of  a  committee,  consisting  of  E.  W. 
Champncy,  \^  Marshall,  and  W.  II.  Oakes.  Z-'i'l 
pages. 

In  1841  John  W.  Moore,  Bellows  Falls,  Ver- 
mont, published  "  ."sncreil  Minstrel."  in  monthly 
numbers.  I^owell  Mn.»on,  Boston,  Ma.».Hachu.scttai, 
published  "  Carmina  .Sicra,  or  Bo-.ton  CoUee- 
tion ; "  published  yearly,  with  alteration*,  tiiJ 
69 


PSA 


excyclop.i:dia  of  music. 


PSA 


1849 ;  362  pages.  Rev.  l^omiw  ^^^littcrao^!. 
Boston,  MnNKiichu^cttii,  published  "  Gospel  llar- 
moiiist."  ;i.')0  pages. 

In  1842  Uaicer  and  Woodbury,  Boston,  Massa- 
chusetts, published  '•  Boston  >iusical  Education 
Society's  Collection."  George  Kingsley,  New 
York,  published  "  Social  Choir,"  three  volumes, 
(lOO  pages.  Mr.  King'iley  was  born  in  North- 
am]>ton,  Massachusetts,  July  7,  1811,  and  he 
now  ( 1S.)3)  resides  there  in  the  house  formerly 
occupied  by  his  grandfather.  The  Kingsley  fam- 
ily are  all  musical.  \V.  II.  Day,  Boston,  Mas- 
sachusetts, published  "  David's  Harp,"  17G  pages 
and  216  tunes.  Mr.  Day  is  a  practical  musician 
and  an  evperienced  teacher.  John  W.  Moore, 
Bellows  Falls,  Vermont,  published  "World  of 
Music,"  scmi-nionthlv,  8  pages  quarto. 

In  1844  J.  II.  C.  Standbridge  and  W.  II.  W. 
Darlcy,  Philadelphia,  Pennsylvania,  published 
*•  Canttis  Ecclesiir."  N.  D.  Gould,  Boston,  Mas- 
sachu.setts,  published  "  Companion  for  the  Psalm- 
ist ;  containing  original  Music  for  Hymns  of  pe- 
culiar Character  and  Metre ;  and  to  most  of  which 
no  Tunes  arc  to  be  found  in  existing  Publica- 
tions." 

In  184.5  "The  Boston  Academy's  Collection  of 
Choruses,"  26.3  pages  quarto,  was  issued.  'ITiom- 
as  Hastings  and  William  B.  Bradbury,  New  York, 
pubUshed  "The  Psalmodist."  Charles Jarvis, Phil- 
adelphia, Pennsylvania,  published  "  Collection  of 
Chants,"  GO  pages.  Mr.  Wilmot  Marsh  printed 
metrical  versions  of  some  ecclesiastical  hymns, 
and  of  the  twenty-third,  hundredth,  and  hun- 
dred and  twenty-third  Psalms,  in  pp.  .5-10  of 
"  Biblical  Versions  of  Devout  Hymns,"  ^London, 
184.5,  8vo.,)  which  were  executed  in  the  thir- 
teenth and  fourteenth  centuries.  The«e  versions 
do  not  appear  to  have  been  made  with  the  design 
of  being  sung ;  but  they  are  valuable  as  being 
specimens  of  the  English  language  in  those  cen- 
turies. 

In  1846  Lowell  Mason,  Boston,  Massachusetts, 
published  "  The  Psaltery,"  3.52  pages.  J.  Cole, 
Baltimore,  Maryland,  published  "  The  .Seraph." 
A  N.  and  J.  Johnson,  Jr.,  published  "  The  Mu- 
sical Gazette,"  semi- weekly,  8  pages  quarto.  E. 
Ives,  New  York,  published  "  NIozart  Collec- 
tion." T.  Bissel,  Boston,  Massachusetts,  pub- 
lished "  Sacred  Harmony."  George  Hood,  Bos- 
ton, Massachusetts,  published  "  History  of  Music 
in  New  England,"  2.52  pages,  12mo.  This  was 
the  first  and  only  work  published  in  this  country 
containing  any  thing  like  a  connected  history  of 
Psalmody  from  the  landing  of  the  Pilgrims.  The 
work  also  contains  some  interesting  sketches  of 
reformers  and  early  psalmists. 

In  1847  John  B.  Aiken,  Philadelphia,  Penn- 
sylvania, published  "  Juvenile  Minstrel,  a  New 
System  of  Musical  Notation,  with  a  choice 
Collection  of  Moral  and  Sacred  Songs,"  long 
12mo.,  half  bound.  Bradbury  and  Ha-tings, 
New  York,  published  "  llie  New  York  Choral- 
ist."  Leonard  and  Fillmore,  Louisville,  Ken- 
tucky, published  "The  Christian  Psalmist,"  383 
pages.  Bilker  and  Woodbury,  Boston,  Massa- 
chusetts, published  "The  Choral,  a  Collection  of 
Church  Music,  adapted  to  the  Worship  of  all 
Denominations,"  320  pages.  John  B.  Aiken, 
Phila'lcli.hia,  published  "  The  Christian  Minstrel, 
New  Notation,  with  a  Collection  of  Psalm  Tunes, 
Ajithems,  au>l  Chants." 

In   1847  E.  Ives,  of  New  York  city,  published 


I  a  series  of  music  books,  intended  as  educational 
consisting  of,  1.  "Musical  \,  B.  C,"  pp.  128,  If 
mo. ;  2  "  Music  Spelling  Book,"  pp.  192,  8mo. 
3.  "Musical  Reader,"  pp.  160,  4to.  He  alsc 
published,  about  the  same  time,  "  The  Mozart 
Collection,"  320  pages,  8vo. ;  "  ITie  Beetho- 
ven Collection,"  pp.  192,  4to. ;  "  I'le  Musical 
Wreath,"  4to. ;  and  "The  American  Psalmody," 
8vo.  The  first  three  works  of  Mr.  Ive<  were  de- 
signed expressly  to  teach  the  reading  of  music  at 
sight,  and  to  form  a  correct  rau.sical  taste.  In 
his  system  he  makes  do,  re,  mi,  fa,  &c.,  station- 
ary on  the  staff,  and  considers  the  u^e  of  these 
syllables,  thus,  preferable  to  that  of  transposing 
them  along  with  the  changes  of  the  key,  or  dia- 
tonic scale.  He  says  the  transposition  of  the  names 
do,  re,  mi,  &c.,  never  was  practised  in  Germany. 
Neither  the  system  of  Pestalozzi,  nor  any  other 
book  or  books  of  German  origin,  ever  contained 
the  plan  of  solfaing  by  transposition,  nor  any 
thing  like  or  equivalent  to  the  same,  in  any  shape 
or  form  whatever.  Mr.  Ives  also  asserts  that  the 
so  calkd  Pestalozzian  system,  adopted  extensively 
in  this  country  previous  to  1847,  was  compiled 
from  the  method  adoi)ted  at  the  Fellenberg 
school,  at  Hoffwill,  and  was  brousht  thence  to 
this  country  by  William  C.  Woodbridge.  This 
Hoffwill  system  was  never  adopted  by  the  mu- 
sicians of  Germany,  but  was  repudiated  by  thf 
professor  at  the  Fellenberg  school,  when  Mr. 
Woodbridge  was  there. 

In  1848  Asa  Fitz,  Bo.ston,  Ma.ssachusetts,  pub- 
lished  "  Congregational  Singer."  V.  C.  Taylor, 
Hartford,  Connecticut,  published  "  Sacred  Min- 
strel." Charles  Zeuner,  Boston,  Massachusetts, 
published  "  The  Ancient  Lyre,"  334  pages. 
Prof.  C.  D.  Cleveland,  Philadelphia,  Pennsyl- 
vania, published  "  Hymns  for  .Schools,  and  Tunes 
suited  to  the  Metres  of  the  Ilj-rons." 

In  1848  William  Houscr,  of  Spicre's  Turn  Out 
Jefferson  county,  Georgia,  published,  at  Phila- 
delphia, Pennsylvania,  "  The  Hespeiiun  Harp,  a 
Collection  of  Psalm  and  Hymn  Tunes.  Odes,  An- 
thems, Sunday  School,  Infant,  Revival,  Temper- 
ance, Patriotic,  and  Moral  Pieces."  The  book 
consists  of  576  pages,  and  the  author  says  he  had 
diligently  labored  for  twelve  years  in  preparing 
the  work  for  publication.  The  plan  of  embracing 
Sunday  school,  infant,  revival,  and  other  pieces 
in  the  same  volume  with  church  music,  is  a  neio 
one,  if  not  a  good  one.  Mr.  Houscr  (his  name 
is  one  of  German  origin,  the  original  spelling 
being  Hauser,  and  the  pronunciation  How'-zer, 
though  he  signs  his  name  Hou.^er^  introduces 
one  other  peculiar  feature  in  his  book,  that  is, 
the  shape  of  the  heads  of  his  notes.  He  says, 
"  The  French  sing  ut,  re,  mi,  fa,  sol,  la,  se ;  the 
Italians,  do,  ray,  mi,  fa,  sol,  la,  si ;  and  the  Eng- 
lish, fa,  sol,  la,  mi.  But  the  presci.t  race  of 
teachers,  American  and  English,  are  aping  the 
Italians  in  the  use  of  do,  ray,  me,  &c.  ;  and  some 
of  them  gravely  assert  that  the  seven  musi  -al 
sounds  cannot  be  expressed  without  using  seven 
distinct  syllables,  as  do,  ray,  S;c.  But  if  this  doc- 
trine is  true,  all  song  and  hymn  singing  must  be 
incorrect,  for  our  poets  have  been  so  tar  behind 
this  age  of  light,  or  so  stupid  in  the  lull  blaze  of 
it,  as  not  to  have  woven  these  almighty  syllables 
into  their  songs.  Now,  I  contend  that  the  four 
old  syllables,  mi,  fa,  sol,  la  (pronounced  me,  faw, 
sole,  law)  uTC  fiiUj/  adequate  to  the  expression  of 
every  musical  sound  in  the  scale ;  and  that  fwtt 


770 


e^x 


ENCYCLOPEDIA    OF    MUSIC. 


PSA 


ihiipes,  the  glorious  patent  notes  of  William  Smith 
»ud  William  Little,  are  just  the  thing."  The 
notes  he  uses  iu  his  book  are 


E5 


as 


X 


|l   I '  \'^i\  '  ^■ 


nripp. 


^ 


Faw 


Sole 


Law 


Me 


In  18 1'  A.  N.  Johnson,  Boston,  Massachusetts, 
publishe.;  "  The  Choir  Chorus  liook  ;  a  collection 
if  choruses  from  distinguished  composers,  ndapt- 
e  1  to  Kn^lisli  words,  and  arranged  with  pnrticu- 
Ihr  rei'erenco  to  choir  practice,  and  lor  the  use  of 
mu-iival  societies."  The  work  contained  284 
l.n:,es. 

In  IS'ID  Day  and  Bcals,  Boston,  Massachu- 
setts, i)ublished  "  One  Lined  Psalmist."  Joseph 
Bird,  Watertown,  Massachusetts,  published 
"  Ijlcanings  from  the  History  of  Music,"  291 
pK|;es  I'imo.  Bradbury  and  Hastings,  New 
York,  published  "  Mcndclssohi\  Collection,"  400 
pai^cs.  Johnson,  Osgood,  and  Hill,  Boston, 
Massachusetts,  published  "  Bay  State  Collection." 
L(  onard  Marshall,  Boston,  >Ias<achusetts,  pub- 
lished "The  Anti(iuarian,"  312  pages.  Mason 
and  Webb,  Boston,  Massachusetts,  published 
"  National  Psalmist,"  352  pages.  The  publish- 
ers ot  the  Psalmist,  in  order  that  congregational 
singing  might  be  promoted,  made  a  selection  of 
a  certain  number  of  the  most  common  tunes 
from  ti'.e  work,  and  had  them  printed  in  a  small 
and  cheap  volume  for  the  use  of  the  congrega- 
tions where  the  "  Psalmist "  was  used  by  the 
choir.  ITiis  little  work  they  called  "The  Con^re- 
j;ational  Tune  Book."  Tuckcrman,  Bancroft, 
and  Oliver,  Boston,  Massachusetts,  published 
"National  Lyre,"  IGO  pages.  ,S.  Parkman 
Tuckerman  had  previously  published  a  collec- 
tion ot  chants  and  other  pieces  for  church  ser- 
vice. In  1851  Mr.  T.  received  the  degree  of 
loctor  in  music,  from  the  Archbishop  of  Canter- 
bury; and  in  1852,  during  a  residence  at  Itonie, 
lie  was  created  a  master  of  sacred  music  in  the 
Academy  o;'  St.  Cecilia.  He  returned  to  Boston, 
Ma.ss;ichusetts,  in  Jvine,  ISo'i,  having  spent  tlie 
hist  four  years  in  Europe.  Several  anthems  ot 
Dr.  Tuckenuan's  composition  have  been  i)u")- 
lislied  in  England,  and  some  of  them  are  now  in 
use  in  the  cathedrals.  While  absent  he  collected 
a   large   and    valuable   librarv   of   music. 

In  18»'J  Kcv.  D.  H.  Man.sBeld,  Boston,  Mas- 
fnchiisetts,  published  "The  American  Vocalist." 
a  selection  of  tunes,  nnthems,  sentences,  and 
nymns,  old  and  new.  In  his  preface,  Mr.  Mans- 
held  says,  his  design  in  adding  another  to  the 
numerous  musical  publications  now  in  use  is.  to 
preserve  in  a  single  volume  the  most  valuable 
music  now  in  existence ;  much  of  which  has 
been  crowded  from  our  churches  by  the  soulless 
»nd  unmeaning  harmony  ot  the  [resent  day. 
An  evidence  ot  the  inleriority  ot  modern  music 
is  its  short  lite.  With  very  few  exceptions*,  the 
ten  thousand  tunes  composed  within  the  last 
twenty  years  are  dead  and  gone.  Old  Windham 
a:id  China  have  acted  as  pall  bearers  lor  half  a 
century.  The  old  composers  were  probably 
belter  acquainted  both  with  God  and  man  ;  they 
had  studied  human  nature  as  well  as  scientific 
theories.  Many  of  them  were  holy  men,  and 
ihcir  music,  composed  among  the  hills  and  lorests 

77 


'  of  Puritanic  New  England,  in  hut  an  embodi- 
ment of  pious  devotion.  S[)eaking  of  the  minoi 
scale,  the  author  says,  "'llie  uncertainty  of  it* 
structure,  together  with  the  comparative  difti- 
culty  of  its  execution  or  j)erforraancc,  has  creafe-I 
an  aversion  to  the  study  of  the  minor  scale, 
though  by  far  the  sweelest  and  most  effective 
music  is  found  in  it."  The  book  eontaina  3  ;C 
pages,  and  many  of  the  pieces  are  selected  from 
Billings,  Holden,  Maxim,  Edson,  Ilolyoke,  Ucnil, 
Kimball,  Morgan,  Wood,  Swan,  und  other  old 
writers. 

In  18.30,  B.  F.  Baker  and  L.  II.  Southard. 
Boston,  Massachusetts,  published  "  Haydn  Col- 
lection," 352  pages.  This  collection  contain.'* 
about  290  pieces  of  music.  Lowell  .Ma.son,  Bos- 
ton, Ma.ssachusetts,  published  "  Cantica  Laudi.s,'" 
384  pages.  Lowell  Mason  and  I.  B.  Woodbury, 
New  York,  published  "  .Musical  Review  an  1 
Choral  Advocate,"  monthly.  Lowell  Mason, 
Boston,  Miussachusetts,  published  "  New  Car- 
mina  Sacra."  An  improved  book  with  this  title 
cainc  out  in  1853,  professing  to  embody,  in  one 
volume,  the  best  tunes  in  the  former  various 
publications  of  Mr.  Mason ;  it  al.so  has  some 
new  music  in  an  appendix,  and  a  selection  of 
the  best  tunes  of  Charles  Zeuner.  V.  C.  Taylor, 
Hart.brd,  Connecticut,  published  "  (ioldcn 
Lyre."  Mr.  Taylor  is  an  organist,  residing  at 
Hartford.  180  of  the  tunes  in  his  ccllection 
are  of  his  own  composition;  25  of  .''l  anthems 
are  his,  and  18  of  the  25  chants.  About  50  old 
standard  tunes  make  the  balance  of  his  book. 
In  184',)  he  publi.shed  a  collection  entitled  ".Sa- 
cred Minstrel."  The  only  objection  we  have 
heiu-d  made  to  this  collection  is,  that  the  initials 
of  the  author  of  the  work  appear  over  too  manv 
of  the  pieces.  The  author  says,  however,  that 
this  objeition  can  be  best  answered  by  inviting 
a  thorough  familiarity  with  the  contents  of  the 
book  ;  for  as  he  thinks  it  the  result  of  a  tirst  im- 
pression only,  he  feels  coiilident  it  will  almost 
invariably  disappear  felore  this  test,  and  leave 
the  conviction  on  the  mind,  that  in  reality  no 
book  of  the  kind  is  less  liable  to  the  charge  of 
sameness  and  monotony.  Richard  S.  Willis, 
New  York,  published  "  C'huroh  Chorals."  I.  B. 
Woodbury,  New  York,  published  "The  Dulci- 
mer," or  the  New  York  Collection  of  Sacreil 
Music,"  352  pages. 

In  1850  Edward  Hamilton  published  "  Song* 
of  Sacred  Praise,  or  the  American  Collection  of 
Churcli  Music,"  328  pages,  containing  a  number 
of  his  own  compositions.  Mr.  Huinilton  was 
born  in  Worcester,  Massachusetts,  January  f', 
1S12.  He  is  a  son  of  Sewall  Hamilton,  a  singer, 
teacher,  and  leader  of  a  choir.  The  family  were 
all  musical,  back  to  the  great-grandiathcr,  who 
used  to  "  line"  the  hymn  and  sing  it.  Edwanl's 
graudfuther,  Asa  Hamilton,  was  a  titer  in  the  rev- 
olutionary war.  pla\ed  the  (lute  in  the  old  style, 
and  simg  "  a  gloriou'^  bass."  His  father  had  a  good 
tenor  voice,  played  the  Hute  and  violoncello  in  the 
manner  ot  35  years  ago.  Edward  has  a  boKS 
voice,  with  a  compa.ss  ol  chest  tones  from  DI)  t.> 
E  alwve  the  F  clef.  He  has  performe<l  the  part 
of  (ioliath,  and  the  High  Priot,  in  the  oratorio 
of  ••  David,"  at  the  Boston  Handel  and  Haydn 
Society's  concerts,  anil  the  part  ol  Saul  rei'ented- 
ly  in  other  place*.  He  al.»o  sang  the  lending  ham 
in  tlie  oratorio  of  "Judas  Maccaba<us,"  at  B^ioton 
in  the  winter  of  1853,  throe  times-  Uis  Toios 
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EXCTCLOP-EDIA    OF  MUSIC. 


PVG 


tnd  bound  tog^her,  with  or  without  the  rones 
to  which  ther  are  genenllj  sting  in  dirine 
serrice. 

PSALTERY,  or  PSALTERIOX.  A  stringed 
instrument  much  used  br  the  ancient  Hebrews 
and  by  them  called  \tiei.  We  know  but  liole 
•f  the  ancient  torm  of  this  instrument,  but  hare 
reason  to  conclude,  that  its  construction  resem- 
bled that  of  our  harp.  The  pealcerr  now  in 
oee  is  a  flat  in>truinent,  in  the  ibrm  of  a  cnf  «- 
ainm.  or  a  triangle  truncated  at  top.  It  is  strung 
with  thirteen  wire  chords,  mounted  on  two 
bridges,  and  tuned  in  unbons.  It  is  pedonncd 
with  a  plectrum,  or  quill,  whence  it  it  osaally 
ranked  amouj;  the  inatmments  of  perc: 


Bfam,"  -  Lm  Cmedm  A  £vm»  /T.."  and  •  jUijfb 
e  Clarm."  Hm  mwc  of  Poecita  cootaiaa  mjaay 
beaatiea.  and  seen*  to  be  extnordiBarilT  ever- 
looked.  Poecita  abo  wrote,  in  ISOi,  aa  opera 
ba&  for  Idea,  atfiikd  "  A  rkatf^tew"  It  wat 
titmyikulj  mmetmahiL 

PrERTNT.  GirUO  CKSARE.  a  good  waster 

of  the  Roman  tchool,  rompc«ed  as  oeaftane 
there  in  lodi. 

PUESDEXA,  FRA>"CESCO.  eooit  chapd- 
mantTT  in  Sictlr,  faroaght  oat  at  Veaicc^  t«  \*9i, 
an  opeia  entitled  •*  CdJdmmrm." 


PSALTRLE.  Certain  fiemale  singers  em- 
plored  bv  the  ancient  Greeks  and  Bomaiw,  to 
perform  at  their  feasts  and  banquets,  alter  the 
Asiatic  manner. 

PTOLEMY.  This  great  astronomer  and  mu- 
sician se«ms  the  most  learned,  close,  and  philo- 
sophical writer  upon  the  subject  of  music  amopg 
tlM  jrounger  Greeks.  Ue  appears  to  hare  been 
mote  a  free  agent,  and  a  more  bold  and  original 
thinker  on  the  subject,  than  most  of  his  prede- 
cesisors ;  iudeevi,  he  was  not  insensible  of  hts  own 
force  and  superiority,  for  he  treats  all  former 
musical  writers  and  their  systems  with  little 
ceiemony.  Some  parts  of  his  disputes  and  dor- 
tzines  are  now  become  unintelligible,  —  notwith- 
standing all  the  pains  that  the  learned  English- 
man, Dr.  Wallis,  bestowed  on  him  one  hun- 
dred years  a^^o.  —  ^.articuLtriy  his  third  book, 
which  forms  a  very  striking  contrast  wish  the 
scientido  >olidity  and  prevision  o:  the  two  first. 
The  iii>tant  he  ^ts  his  tioot  within  his  beiored 
cirvle.  the  macio  of  it  tranafotuts  him  at  once 
from  a  phil  >:>ophcr  to  a  dc^aid.  He  passes  sud- 
denly from  acciira'e  reasouiii^  and  dcmou>(r)ition 
to  dreams,  aiuUogieSs  and  all  the  &tuci:ul  resem- 
blances of  the  Pythagorean  and  Platonic  schools ; 
discovers  music  in  the  human  »oul  and  the  c«ie«^ 
tial  motions;  compares  the  raiionaL  iraseible, 
and  coucupL-ceut  parts  of  the  soul  to  the  eighth, 
firth,  and  tourth ;  makes  the  sciences  and  the 
virtues,  some  diatonic,  $ome  chromatic,  and 
<,Mue  cuharmouic  :  turns  the  lo^ilac  into  a  lyre, 
ui.ikiiig  the  equinoctial  the  key  note  ot  the  Dori- 
au  luoile.  $ends  the  mixo-Lyiliau  to  Greenland, 
and  the  hy]--er-I>ariar.  to  the  Hottentots- 

He  stenxs  to  have  been  poissessed  with  a£  un- 
bou;.  ■  ■  '  :•'  :V>r  coustructiug  new  scales,  and 
cv^rr  of  former  times.     He  gives  us 

no  It. '  -  :  :'.t  diifereut  forms  of  the  diatonic 

scale.  liiriT  ot  which  >»e:e  his  own;  the  other 
li\  e  went  under  the  naines  of  more  ancient  musi- 
cians of  griat  reno»  n  —  sui  h  as  Arvhytas  of 
Tarentum,  .VriNtoxenus,  ErativsthcaeN  and  Didy- 
n;v.s.  Most  of  the>e  sciles  ^ecm  but  to  ditier  in 
>".c:  ^'inity,  acvorvliug  to  our  present  ixleas  of  har- 
(uony  and  temperameut.  Indeed  there  is  only 
oue  of  them  which  modem  eiirs  could  suffer. 

PrCCrr.V.  VINCENZO,  an  eminent  Italian 
dram&tic  conipoc^er,  was  bom  at  Rome  in  IT'S, 
resided  some  rears  in  England  during  the  latter 
part  of  the  last  century,  and  compo*d  several 
operas,  the  most  }X)pular  ot"  which  was  entitled 
**  La  VittaJf."  l"he  titles  of  some  of  his  other 
operas  were  "  B'«iicfj,"  **  .<ri»A.n>i'«<»<.«,"  •*  La  Gr^ 
iMrru  dt  .S-acM,"  "  L*  tn  S^ant,"  "  I  I'tiitf^iatan 


j  PUGXAXI.  GAET.KXO,  a  ccMrated  xiohn- 
'  kt  to  the  King  of  Sardinia,  was  bom  at  Turia  bi 
172'.  From  his  childhood  be  let cited  iifescntc- 
tkws  in  mifeiic  of  G.  Battiata  Sows  bis  eoan- 
trynaa.  and  omo  of  tbo  beat  papAs  of  CorcOL 
In  17a4  Pugnam  went  to  Paris  wbcre  be  per- 
formed at  the  Otmttrt  Sj^iritimi,  aad  where,  at  that 
time,  J.  Stamitz,  Gavinies  and  Pagin  were  at 
the  renith  of  their  £une.  Alter  a  short  stay  in 
France,  Pugnani  proceeded  to  the  other  capteia 
of  Europe,  and  xenaiBcd  a  loag  time  in  Ea^^aad. 
It  was  there  that  be  coaapoeed  sane  of  bis  pna- 
'  cipal  violin  mosac  Aboat  tbexear  ITTt.  beie- 
tiutned  to  Italy.  Some  earioas  aawdotea  ai% 
related  of  Pugnani,  amongst  which  are  tbe  fol- 
lowing. In  his  earir  youth,  bat  wbcn  alraadr 
i  much  advanced  oa  the  violin,  be  went  to  Padaa, 
\  to  see  Tartini.  and  consah  him  oa  bis  playiag : 
before  he  eammcBCod,  begjiag  Tartiai  to  give 
him  hb  treeopiaioik  SeaRchr  bad  be  begnaa 
sonata,  when  TaniBi  caaritt  bold  ot  bis  am,  aad 
said.  "You  are  too  bigb.**  He  tbea  recom- 
menced, and  coming  to  ue  same  passage^  Taitiat 
again  stopped  him.  saying.  **  You  are  too  low.** 
On  this  he  quietly  laid  down  his  violin,  aad  ea- 
ticated  that  great  master  to  gire  bim  aoBe  les- 
•OBS.  He  remained,  ia  tact,  far  some  awtba  at 
Padua  for  that  paipose^  stadyinc  aadcr  THtiaTs 
directioneu  Po^iuuii  was  one  oar  at  a  Fimcb 
house  of  enterlammeot.  callad  tbe  DUieia,  where 
Voltaire  recited  sooM  poetry,  to  which  the  vio- 
linist listened  with  tbe  aiost  liveiy  inMreet.  Ma- 
dame Deuis  tbea  bagged  Pagaani  to  perform  oa 
the  violin  ;  be  aecordiaglj  eoamatcu,  bat  irri- 
tated at  beariag  Vohaue  still  speak  load  aad 
iittefiupt  bis  peifotaiaBcek  be  exetaiaied.  at  tbe 
same  tiaie  loAing  up  bis  vi'dia.  •*  Jf .  4r  I'etewe 
_^iuK  trit-hmm  its  wrs,  mtai*  pmrnt  a  Im  mmaifmt,  ii 
n'f  mtrmd  pms  tt  ^imUr"  He  was  oac«  pcitocvi- 
ing  a  concerto  in  a  very  numetooa  company,  aad 
had  come  to  an  oi^  M*tmm  paasage,  wbea  he  wa» 
so  k«t  in  attention  to  his  ptayia^  that,  tbint  iag 
himse^'  alone,  he  walked  aboat  ibe  wbole  room 
till  be  had  hnt>hed  bi*  very  bcaatifal  cadeace^ 
Pugnani  founded  a  violin  school  at  Turin,  in  the 
same  way  as  Corelli  had  doae  at  Rome,  and  Tar- 
tini at  Padua.  From  his  ^cho^xl  issued  many  of 
the  hrst  vioIinis&>  ol  the  Utter  tar:  ot  the  last 
century;  amon:rst  others  ^'  "'lai,  Oiivie- 

;  ri.  .S£c.     It  has  b*«n  reiua-  v  e  papib  vf 

Pugnani  were  particular; v  .-.^ _u  the  direc- 
tion of  an  orchestra.  This,  indeed,  waa  the  pcia- 
cipal  talent  ot'  their  maater,  which  be  had  tba 
art  of  transmitting  to  others  "  He  comm»aded 
the  orch«e4ra,"  says  Raagoni.  **  like  a  general  ia 
the  midst  of  liis  soldiers  :  bis  bow  was  tbe  staff 
Hi  authority,  to  tbe  moveoaeats  of  which  evtrj 
oae  paid  the  sKMt  axac    attentioo.     By  a  i ' 

7J 


PU1£ 


ENCYCLOP-EDIA    OP   MUSIC. 


PD1» 


»troke  with  it  on  the  desk  he  aniinntcd  the  whole 
orchestni,  hnstenin^  or  retardins;  the  time  at  his 
I)le(wiire.  'I'o  the  siiifjers,  also,  he  had  the  habit 
of  cx;il;iiiiiii!;  the  slightest  shades  of  distinction 
in  their  ]mn»  ;  and,  in  tine,  kejit  the  vocal  and 
instrumental  i  crforniers  in  i)prfcct  union."  I'u- 
fjnani  i)uhlish<'d  in  London,  Amsterdam,  and  Par- 
is, thirtifii  oi)eras  of  instrumental  music,  amongst 
whicli  are  tlie  followini; :  "Six  Violin  'IVios," 
Op.  1,  London,  17()."i  ;  "  .Six  Violin  Trios,"  Op.  2, 
London,  17'1'i;  "  Six  Violin  (iuartets,"  Op.  o, 
London,  1703;  "Six  Overtures,"  Op.  4,  London, 
17fi3  ;  "Six  Violin  Solos,"  Op.  7.  London,  17(>3  ; 
"Six  Overtures,"  Op.  8,  London,  1703;  and 
"Three  (Quintets,"  London,  17()3.  lie  also  pub- 
lished, in  1770.  some  trios  with  an  accompani- 
ment for  the  violin  and  bass,  forming  his  Op.  C. 
His  princii)al  dramatic  works  are  the  following, 
)nost  of  \\  hich  were  composed  tor  the  opera  at 
Turin  during  the  time  he  conducted  the  orches- 
tra thci»:  "  Issca,  per  le  Xozzc  lUUa  Contessa  di 
Provetisa  '  1771;  "Tamos  KouU-kan,"  1772; 
"  L' Aurora,  jter  le  Nozze  di  S.  A.  R.  il  Principe 
di  Piemonte,"  1775;  "  Achille  in  >kiro,"  178.i; 
"  Demofooiite,"  1788;  "  Demetrio  b.  Bodi,  per  le 
Nnzzc  di  S.  A.  li.  il  Duca  d'Aosta,"  1789.  The 
whole  of  tho-e  works  were  successful  at  most  of 
the  theatres  in  Italy.  Pugnani  died  at  Turin  in 
1798,  and  J.  B.  Cartier  has  written  his  eulogium 
in  these  few  words :  "  lie  was  the  master  of 
V"iotti." 

PUIIL,  W.  A  German  composer,  who  resided 
at  Milan  towards  the  end  of  the  last  century. 
He  published,  in  1784,  at  Berlin  and  Amsterdam, 
"  Six  Sjnuphonics,"  Op.  1  ;  "  Six  Quartets,"  Op. 
2  ;  "Three  Concertos  for  V.,"  Op.  3  ;  "  Six  Duos 
for  v.,"  Op.  4  ;  and  "  Si.x  Quintets  for  V.," 
Op.  5. 

PUHLEIl,  JOIIANX,  of  Schwandorf,  in  Ba- 
varia, was  at  tirst  chapel-master  to  the  Emperor 
Ferdinand  1.,  and  afterwards  master  of  the  chor- 
isters in  the  cathedral  at  llatisbon.  lie  published 
at  Munich,  in  1.5.S2,  a  selection  from  the  works  of 
Orlando  di  Lasso. 

PL'JOLAS.  There  were  two  musicians  of  this 
name  (father  and  son)  at  Paris,  in  1790.  They 
published  the  lollowing  works  :  "  Iluit  Marches 
d  V  Usage  Militaire ;"  "Six  Trios  h  I'.,  A.,  li., 
Liv.  1  et  1,"  Op.  3,  1792  ;  "  Six  Trios  a  2  V.  el  li," 
Op.  4 ;  "  Six  Duos  d  2  Ft.,"  Op.  6,  Offenbach, 
1793  ;  "  Six  Qmit.  d  /•'/.,  V.,  A.,  el  B.,  Liv.  1  et  2," 
Op.  8,  Paris,  1796;  "Premier  Concert  &  Violon 
principal  avcc  Ace.,"  ParLs,  1797  ;  and  "  >'!>  Duos, 
p.  2  Ft.,"  Op.  9,  1801. 

PULITI,  or  HE  PULITIS,  GABRIELE,  a 
FrancLscan  monk,  and  organist  at  th.e  cathedral 
church  of  C'ai'o  d'lstria,  published  at  Venice,  in 
1618,  "  Salmi  v  l.itanie  delta  Madonna  d  5  voci," 

PULSATILE.      An  epithet   applied  to  those 
instiunicitts  which  are  struck  in  performance,  as  [ 
the  drum,  tumbourine,  &c.  | 

PULSATILE  ACCOMPANIMENT.     An  ac- 
companiment consisting  of  regular  and   monoto-  j 
nous   repetitions   of  the  chords,   and   which    is  : 
particularly  adapted  to  display  the  jjowcrs  ol  the  , 
»ingcr,  either  in  airs  of  expression  or  of  rapidity,  j 

PUNTA.    (I.)     The   point;    as,    Delia  pi<„t<i  I 
dnJ'  -irco,  with  tie  poiut  or  tip  of  the  bow.  | 


PUNTATO.    (I.)    Pointed,  detached 

PUNTO,  JOIIAXN  "VVENZEL.  This  cele- 
brated performer  on  the  horn,  whose  name  was 
pro|iOi  ly  Stich,  was  born  at  Tetschen,  in  Bohemia, 
in  17.3.T.  His  instructor  on  the  horn  was  Ham- 
pel  of  Dresden,  under  whose  care  he  was  placed 
by  the  Count  Von  Thun,  of  whom  Punto  was  by 
birth  a  serf.  From  Dresden  he  returned  to  the 
count's  ser\-ice  at  Prague,  but  wivs  so  ill  used  by 
his  master  as  shortly  after  to  decide  on  privately 
quitting  that  kingdom  ;  which  step  he  put  in 
execution  after  encountering  many  difficulties. 
After  passing  the  frontier,  he  changed  hLs  iian.e 
to  Punto.  He  then  travelled  to  various  courts 
of  Germany,  where  his  powers  on  his  instrument 
occasioned  general  astonLshment  and  admiration. 
He  died  at  Prague  in  1803.  The  following  is  a 
list  of  his  principal  works  :  "  Mithode  prnir  ap- 
prendre  facilement  Ics  EMmens  des premier  et  second 
Cors  aux  Jeiincs  Sieves,  dans  laquelle  sotit  indiguis 
les  Conjis  dc  Langue  et  les  Liaisons  les  plus  ndces- 
saires,  pour  tirer  les  beaux  Sons  de  cet  Instrument, 
composie  par  Hampel,  et perfediontu'e  par  Punto,  son 
Elive,"  Paris,  1798  ;  "  Etudes  pour  le  Cor,"  I'aris, 
1798  ;  "  3  (iuintetti  h  Cor»o  2do.  Ob.  o  Fl.,  V.,  A., 
et  li.,"  Paris,  1798;  "  6  Qunrtetti  a  Corno  2do.,  P., 
A.,  et  li..  Ops.  1,  2,  et  3,"  Paris,  1798;  "  \2  jtetits 
Trios  o  3  Comi,"  Paris,  1798;  "  2i  pet  its  Duos  h 
2  Comi,"  Paris,  1793;  "Ducts  d'Airs  A  2  Cors,", 
Paris,  1793;  "3  Quatttors  furor,  de  I'Auteur  p. 
Fl.,  A.,et  B,"  Op.  18,  Paris,  1796;  "3  Qual. 
favor  p.  Cor,  V.,  A.,  et  B.,"  Paris,  1796  ;  "  Con- 
certo p.  Corno  primo  in  Es,  n  9,  \o.  3,"  Paris, 
1793;  "Cone.  p.  Corno  secondo.  No.  a,"  Paris, 
1797  ;  "Cone.  p.  Corno  2do  in  D,  \o.  6,"  Paris, 
1797  ;  "  Coiic.  p.  Corno  2do.  in  F,  No.  7,"  Paris, 
1798;  "('one.  p.  Corno  princip.  avec  Ace.  d  gr. 
Ore/test.,"  Paris,  1800 ;  "  20  Trios  a  3  Cors," 
I'aris,  1800;  "8  Duos  a  2  Cors,"  ParLs,  1800; 
"  I'tiule  ou  Exercice  Joiimalier,  Ourrage  piriodique 
pour  le  C>r,"  Paris,  1800;  "6  Trios  p.  Fl.,  ou  2 
1'.  ct  B,"  Paris,  1800  ;  "  3  Quint,  p.  Cor,  Fl.,  ou 
Ilaulb.,  I'.,  A.,  et  B.,"  1800  ;  "  3  Duos  p.  Cor  et 
Basson,"  1802;  and  "  Sexluor  p.  Cor,  Clar.,  Bos- 
son,  r..  A.,  et  C.  B.,"  Op.  34,  1802. 

PUPITllE.    (F.)    A  music  desk. 

PUPPO,  JOSEPH.  Bom  at  Lucca  in  1749. 
He  received  his  early  musical  education  in  the 
Conservator)-  of  St.  Onofrio,  at  Naples.  Here 
his  progress  in  the  study  of  composition  was  as 
brilliant  as  rapid  ;  but  his  inclination  still  led 
him  to  devote  his  principal  attention  to  the  vio- 
lin. Alter  quitting  the  Conservatory,  he  visited 
several  cities  of  Italy,  the  south  of  France,  Spain, 
Portugal,  England,  Scotland,  Ireland,  and  at 
length  settled  at  Paris,  where  he  resided  many 
years.  In  1789  he  directed  the  orchestra  of  the 
Theatre  de  Monsieur  there,  in  conjunction  with 
Mestrino  and  Viotti  ;  and  in  1799,  he  was  cAff 
dtorchestre  at  the  Theatre  Franijais.  He  after- 
wards retired  to  Italy,  and  died  at  Naples  in 
1816.  His  publications  are  few,  and  all  inst'tt- 
mental. 

PURCELL,  HENRY,  was  bom  in  London  in 
1668.  His  father,  Henry,  and  uncle,  Thomas 
Purcoll,  were  both  musicians,  and  gentlemen  of 
the  Chapel  lioyal  at  the  restoration.  From  whom 
Henry  received  hLs  ftrst  instructions  in  music 
cannot  be  a.scertained  ;    but  his  father  djing  ia 


tUR 


ENCYCLOPAEDIA    OF   MUSIC. 


PUR 


1664,  when  he  wns  only  six  years  old,  it  is  prob- 
sble  that  he  was  qualiticd  for  a  chorister  by 
Captain  Cook,  who  was  master  of  the  children 
from  the  restoration  till  his  death,  in  lCi72.  As 
Purcell  was  appointed  organist  of  Westminster 
Abbey  at  eighteen  years  of  age,  he  must  have 
learned  the  elements  of  his  art  at  an  early  period 
of  his  lii'e.  He  certainly  was  taught  to  biug  at 
the  King's  Chapel,  and  received  lessons  from  Pel- 
ham  Humphrey,  Cook's  successor,  till  his  voice 
broke — an  accident  which  usually  hapi)cn9  to 
youth  at  sixteen  or  seventeen  years  of  age.  Af- 
ter thi>,  perhaps,  he  had  a  few  lessons  on  com- 
jjosition  ;'rom  Dr.  Blow,  which  were  sufficient  to 
cancel  all  the  instructions  he  had  received  from 
other  masters,  and  to  occasion  the  boast  inscribed 
on  his  tombstone,  that  he  had  been  "  master  to 
thc/iim'iiis  Mr.  Henry  Purcell." 

Nothing  is  more  common  than  this  petty  lar- 
ceny among  musicians.  If  the  first  master  has 
drudged  eight  or  ten  years  with  a  pui)il  of  genius, 
and  it  is  thought  necessary,  in  compliance  with 
fiu^hion  or  caprice,  that  he  should  receive  a  few- 
lessons  from  a  second,  the  persevering  assidu- 
ity of  the  first  and  principal  instructor  is  usually 
forgotten,  while  the  second  arrogates  to  himself 
the  tehole  honor,  both  of  the  talents  and  cultiva- 
tion of  his  new  scholar.  Purcell  is  said  to  have 
profited  so  much  from  his  first  lessons  and  early 
application,  as  to  have  comjjosed,  while  a  singing 
boy  in  the  chapel,  many  of  his  anthems,  which 
have  been  constantly  sung  in  English  cathedrals 
ever  since.  Eighteen  was  a  very  early  age  for 
the  ap_  ointment  of  organist  of  Westminster 
Alibey,  one  of  the  first  cathedrals  in  (ircat  Brit- 
ain for  choral  compo-itions  and  performance. 
It  was  not  likely  he  woiild  stop  here :  the  world 
is  more  [  artial  to  promising  youth  than  to  accom- 
plished age.  At  twenty-four,  in  llKSi,  he  was 
])romoted  to  one  of  the  three  places  of  organist 
of  the  Chajjel  Royal,  on  the  death  of  Edward 
Low,  the  successor  of  Dr.  Christopher  (iibbons 
in  the  same  station.  After  this,  he  produced  so 
many  admirable  compositions  for  the  church  and 
chapel  of  which  he  was  organist,  and  where  he 
was  certain  of  having  them  better  performed 
than  elsewhere,  that  his  fame  soon  extended  to 
the  remotest  parts  of  tlie  kingdom.  From  this 
time,  his  anthems  were  procured  with  eagerness, 
and  lieard  with  pious  rapture,  wherever  they 
could  be  performed ;  nor  was  he  long  suffered  to 
<lcvotr  his  talents  exclusively  to  the  service  of 
the  church.  He  wa-i  very  early  in  life  solicited 
to  compose  for  the  stage  and  chamber ;  in  both 
which  undertakings  he  was  so  decidedly  sup.erior 
to  all  his  predcccs-sors,  that  his  compositions  seem 
to  speak  a  new  and  more  intelligible  language. 
His  songs  contain  whatever  the  ear  could  then 
wish,  or  heart  feel.  In  fact,  no  other  vocal  mu- 
sic was  listened  to  with  plea-sure,  for  nearly 
thirty  years  after  Piircell's  death  ;  when  they 
gave  way  only  to  the  favorite  opera  songs  of 
Handel. 

'I'lie  unlimited  powers  of  this  musician's  genius 
emliraced  every  species  of  composition  that  was 
then  known,  with  ecjual  felicity.  In  writing  for 
the  ch\irch,  whether  he  adhered  to  the  elaborate 
and  learned  style  of  his  great  predecessors,  Tallis, 
Bird,  and  Uibbons,  in  which  no  instriimcnt  is 
employed  but  the  organ,  and  the  several  part-s 
moving  in  fugue,  imitation,  or  plain  counter- 
point ;  or,  on  tlie  contrai-y,  giving  way  to  feeling 


and  imagination,  adopted  the  new  and  more  ex- 
pressive stvle,  of  which  he  was  him:<elf  one  of  the 
princii)al  inventors,  accompanying  the  voice  parti 
with  instruments,  to  enrich  the  hannony,  and 
enforce  the  melody  and  meaning  of  the  w-ords, 
he  manifested  etiual  abilities  and  resources.  Jr. 
compositions  tor  the  theatre,  though  the  coloring 
anil  effects  of  an  orchestra  were  then  but  little 
known,  yet,  as  he  emjjloycd  them  more  than  his 
predecessors,  and  gave  to  the  voice  a  melody 
more  interesting  and  impassioned  than  during 
that  century  had  been  heard  i»  England,  or  evcu 
perhaps,  in  Italy,  he  soon  became  the  delight 
and  darling  of  the  nation.  And  in  the  several 
species  of  chamber  music  which  he  attempted, 
w-hether  sonatas  for  instruments,  or  odes,  canta- 
tas, songs,  ballads,  and  catcher  for  the  voice,  he 
so  far  surjjasscd  whatever  England  liad  produced 
or  imported  beforo,  that  all  otlier  musical  compo- 
sitions seem  to  have  been  instantly  consigned 
to  contempt  and  oblivion. 

Many  of  his  numerous  compositions  for  the 
church,  particularly  those  printed  in  the  second 
and  third  volumes  of  Dr.  Boyce's  collection,  are 
still  rotnincd  in  the  cathedrals,  and  in  the  King's 
Chapel.  Besides  the  whole  service,  with  three 
full  and  six  ver.se  anthems,  in  Dr.  Boyce's  col- 
lection, there  are  nine  verse  and  full  anthems, 
wholly  different,  still  sung  in  the  cathedral  at 
York.  And  in  Dr.  Tudway's  collection  in  the 
British  Museum,  there  are,  besides  a  whole  ser- 
vice in  B  flat,  different  from  that  in  Boyce,  eight 
full  and  verse  anthems  ditl'erent  from  all  the  re>t, 
four  of  which  were  comjjo'ied  for  the  Chapel 
Uoyal  of  Charles  II.,  with  instrumental  accompa- 
niments. And  exclusive  of  these,  and  the  hymns 
printed  in  the  two  books  of  "  Uarmonia  Sucnt," 
in  a  manuscript  be  iiieatlied  to  ClirLstchurch, 
Oxford,  by  Dr.  Aldrich,  there  are  two  motets 
and  a  "  Gloria  I'atri,"  for  four  and  \\\c  voices, 
in  Latin,  with  seven  psalms  and  hymns  for  tlirec 
and  four  voices,  by  this  fertile  and  diligent  com- 
po.ser,  which  have  all  their  i)eculiar  merit,  w-hile 
some  of  them  may,  without  hyperbole,  be  said 
to  reach  the  true  sublime  of  .sacred  mu--ic. 

To  enter  into  a  critical  examination  of  PurccH's 
numerous  compositions  would  exceed  the  limits, 
and  be  foreign  to  the  purpose,  of  this  work  ;  we 
cannot,  however,  avoid  a  tew-  remarks  on  l.is  '*  Te 
Deiim  and  Jubilate."  It  has  bi-en  erroneously 
imagined  that  these  were  originally  comjjosed  for 
the  feast  of  the  sons  of  the  clergy  ;  and  Dr.  Tud- 
way  says  positively,  that  the  "  7'c  Drum  and  Ju- 
bilate" of  Mr.  Henry  Purcell  were  intended  for 
the  opening  of  the  new  Church  of  .St.  Paul,  and 
though  he  did  )iot  live  to  see  it  finished,  they 
were  afterwards  performed  three  several  times, 
when  (Jucen  .Vnne  went  thither  in  sljite.  'I'l.e 
following  title  to  a  printed  copy  in  the  librarv 
of  Christchurch,  Oxford,  incontcstably  confutif 
both  these  opinions  —  "  Te  Deum  and  Jubilate,  foi 
Yoices  and  Instruments,  made  for  St  Cecilia's 
Day,  1604,  by  Henry  Purcell." 

"There  is  in  this  a  grandeur  in  the  movement, 
and  a  richness  in  the  harmony  of  the  choru-,,  ".VU, 
all  the  earth  doth  worship  Thee  ;  "  and  the  di«- 
tribution  of  the  parts  ij\  axending  alter  each 
other  by  the  hanuonic  intervals  of  the  perfect 
chord,  ha-s  a  beautiful  effect.  But  all  the  com- 
posers of  this  hymn  seem  to  have  mistaken  th« 
cry  of  joy  for  that  of  sorrow,  in  setting  "Tol'hee 
all  angels  cry  aloud."     Here  Purcell,  as  well  »m 


euii 


ENCYCLOPEDIA   OF  MUSIC. 


PU 


Handel,  has  changed  his  key  from  'major  to  mi- 
nor :  and  in  modulation,  admirable  in  itself,  has 
given  the  movement  a  patlietic  expression,  which, 
m  readiiif;,  and  considering  the  idea  of  that 
eternal  praise  which  the  heavenly  hosts  offer 
up  to  the  throne  of  God,  it  does  not  seem  to 
require. 

The  cherubim  and  seraphim  singing  in  duo,  and 
the  universal  acclaim  of  Uoli/,  are  certainly  most 
happily  dcsii;ned,  and  ex])ressed  almost  with  the 
encrgv  of  inspiration.  And  in  the  choruses  and 
disposition  of  the  whole  work,  I'urcell  is  still, 
and  ever  will  continue,  admirable  among  English- 
men, a-s  long  a.s  the  present  language  of  this 
hymn  shall  remain  intelliirible. 

"  Also  the  Holy  (ihost  the  Comforter"  is  a  de- 
lightful  fragment  of  harmony  and  melody,  which 
time  can  never  injure;  and  "Thou  art  the  King 
of  Glory,"  in  double  fugue,  is  grand  and  mas- 
terly. "  When  thou  tookest  upon  thee,"  and 
"  When  thou  had>t  overcome  tlie  sharpness  of 
leath,"  have  permanent  beauties  of  melody,  con- 
trivance, and  expression,  that  are  wholly  out  of 
the  reach  of  fashion.  The  whole  movement  of 
"  O  Lord,  save  thy  people,"  in  which  the  sound 
is  truly  an  echo  to  the  sense,  and  likewise  the  ex- 
pression of  the  words,  "  Lift  them  up  forever," 
is  admirable.  The  sujiplication  at  the  words, 
"Have  mercy  upon  us,"  is  truly  pathetic ;  but 
the  short  fugue,  "  Let  me  never  be  confounded," 
though  regular,  might  have  been  written  by  a  man 
of  less  genius  than  I'urccU.  The  opening  of  the 
"  Ju/iilate  "  is  well  calculated  to  display  a  tine  per- 
former, and,  therefore,  the  military  cast  which  is 
given  to  the  whole  air  may  be  proper  ;  it  does  not, 
however,  a])pear  to  us  to  be  exactly  appropriate. 
Yet  I'urcell  and  his  contemporarie-s  in  England 
were  of  a  diH'erent  opinion,  as  it  prevails  too  gen- 
erally in  all  their  works.  "  Be  ye  sure,"  &e.,  if 
sung  with  taste  and  feeling,  will  always  be  good 
music ;  and  -so  will  the  next  movement,  as  long 
as  the  science  of  music  shall  be  held  in  reverence. 
In  the  verse,  "  For  the  Lord  is  gracious,"  Pur- 
cell  had  displayed  his  uncommon  powers  of  e.x- 
pression,  particularly  at  "  His  mercy  is  ever- 
lasting," which  is  exquisite  composition.  The 
"  Glirla  I'alri,  alia  Palestrina,"  but  more  ani- 
mated. perhai)s,  than  any  movement  that  Pales- 
trina was  ever  permitted  to  compose,  abounds 
with  such  science  and  contrivance  as  musicians 
can  alone  pro])erly  appreciate  ;  but  the  general 
effect  of  the  whole  is  so  glorious  and  sublime, 
that  it  cannot  but  charm  into  rapture  the  most 
ignorant,  as  well  as  the  most  scientific  hearer. 

These  admirable  compositions  were  constantly 
perfonucd  at  St.  Paul's  on  the  feast  of  the  sons 
of  the  clergy,  from  the  decease  of  the  author,  in 
lt)95,  till  the  year  1713,  when  Handel's  Te  Deum 
lor  the  peace  of  Utrecht  was  produced  by  com- 
mand of  Queen  .-Vnne ;  from  which  period  till 
1741!,  when  Handel's  second  Te  Deum,  for  the 
battle  of  Dettingen,  was  composed,  they  seem 
to  have  been  alternately  pcrlormed.  Since  that 
time,  Purcell's  "  7'<-  Deum  and  JubiUite"  have  been 
but  seldom  executed,  even  at  the  triennial  meet- 
ings of  the  three  choirs  of  Hereford,  Worcester, 
and  Gloucester.  Handel's  superior  knowledge  and 
use  of  instruments,  and  more  polished  melody, 
adde<l  to  the  novelty  of  his  productions,  took 
such  entire  jxissession  of  the  national  favor,  that 
Purcell's  "  J'e  Deum"  is  now  only  performed  oc- 
casionally, as  on  antique  curiosity. 

776 


This  author's  theatrical  compositions,  if  wf 
recollect  the  number  and  excellence  of  his  pso* 
ductions  for  the  church,  and  the  shortness  of  hi. 
life,  will  surprise  by  their  multiplicity. 

Of  his  detached  and  incidental  songs,  dia- 
logues, and  scenes,  those  whose  merits  are  prom- 
inent  will  be  mentioned  in  speaking  of  the  "  Or- 
pheus Britanniciis,"  or  posthumous  collection  of 
his  miscellaneous  compositions.  But  before  we 
enter  on  an  examination  of  this  work,  it  is  neces- 
sary to  acquaint  the  reader  that  the  chief  part  cf 
his  instrumental  music  for  the  playhouse  is  in- 
cluded in  a  publication  that  appeared  two  years 
after  his  decease,  under  the  title  of  "  X  Collec- 
tion of  Ayres,  composed  for  the  Theatre,  and  on 
other  Occasions,  by  the  late  Mr.  Henry  Purcell. 
London,  printed  for  Frances  Purcell,  Executri.x 
of  the  Author,"  1697.  These  airs  are  in  four 
parts,  for  two  violins,  tenor,  and  bass,  and  con- 
tinued to  be  played  as  overtures  and  act  tunes 
till  they  were  superseded  by  Handel's  hautboy 
concertos,  as  those  were  by  his  overtures  ;  while 
Boyce's  sonatas  and  Arne's  compositions  served 
as  act  tunes.  In  process  of  time,  these  were  sup- 
planted by  Martini's  concertos  and  sonatas ; 
which,  in  their  turn,  were  abandoned  for  the 
symphonies  of  .Stamitz,  Canabich,  Holtzbauer, 
and  other  Germans,  with  those  of  Abel,  Bach, 
and  Giardini;  which,  having  done  their  duty,- 
"  slept  with  their  fathers,"  and  gave  way  to  those 
of  Vanhall,  Pleyel,  and  Boccherini;  which  are 
gradually  sinking  into  insi<;nificance,  being  all 
completely  eclipsed  by  the  stupendous  grandeur 
of  Haydn,  Beethoven,  Mozart,  Cherubini,  and 
some  others,  whose  symphonies  are  the  delight 
and  admiration  of  the  present  day. 

Few  of  Purcell's  single  songs  appear  to  have 
been  printed  during  his  life.  The  collection  of  hi« 
vocal  secular  music,  which  reflects  the  greatest 
honor  on  his  memory,  and  long  rendered  his 
name  dear  to  the  English  nation,  was  published 
by  his  widow  two  years  after  his  decease,  under 
the  title  of  "  Orpheus  Britannicus."  Here  were 
treasured  up  the  songs,  from  which  the  natives 
of  England  received  their  first  great  delight  and 
impression  from  the  vocal  music  of  a  single  voice. 
Before  that  period,  they  had  cultivated  madrigals 
and  songs  in  parts,  with  diligence  and  success ; 
but  in  all  single  songs,  till  those  of  Purcsll  ap- 
peared, the  principal  effects  were  produced  from 
the  words,  and  not  the  melody  ;  for  the  airs,  an- 
tecedent to  Purcell's  time,  were  as  misshapen  as 
if  they  had  been  composed  of  notes  scattered 
about  by  chance,  instead  of  being  cast  in  a  reg- 
ular mould.  Exclusive  admirers  of  modern  sym- 
metry and  elegance  may  call  Purcell's  taste  bar- 
barous ;  yet,  in  defiance  of  superior  cultivation 
and  refinement,  and  of  every  vicissitude  of  fash- 
ion, through  all  his  rudeness  and  barbarism, 
original  genius,  feeling,  and  passion  are,  and  ever 
will  be,  discernible  in  his  works,  by  candid  and 
competent  judges  of  the  art. 

The  following  is  Dr.  Burney's  critique  on  the 
music  in  the  "  Orp/ieus  Bri(annicus." 

••  '  Ye  twice  ten  hundred  Deities  '  opens  with, 
perhaps,  the  best  piece  of  recitative  in  the  Eng- 
lish language.  The  words  are  admirably  ex- 
pressed throughout  this  song  by  modulation  aa 
well  as  melody  ;  and  there  is  a  propriety  in  the 
changes  of  movement,  which  does  as  much,  honoi 
to  Purcell's  judgment  as  the  whole  compositior. 
to   his  genius.    If  ever  it  should  be  said  of « 


l»UR 


ENCYCLOPEDIA    OF   MUSIC. 


run 


wmposer  that  he  had  itevatu;i  son  slide,  Pur- 
•.ell  is  entitled  to  that  pruise.  The  music  in 
King  Arthur '  is  well  known,  and  frequently 
perfomjed  :  in  this  there  are  movements,  par- 
•icularly  in  the  duet,  '  Two  daugliters  of  this 
iged  stream,'  and  '  Fairest  isle,  all  isles  ex- 
lelling,'  which  the  lai)8e  of  time  has  not  injured. 
These  do  not,  perhaps,  contain  a  single  pitssage 
which  the  best  of  modern  composers  would  re- 
lect. 

"  '  From  rosy  bowers  '  is  said  to  have  '  been 
ict  in  his  last  sickness,'  at  which  time  he  seems  to 
bave  realized  the  poetical  fable  of  the  '  Swan,' 
ind  to  have  sung  more  sweetly  as  he  approached 
his  dissolution. 

"The  variety  of  movement,  the  artful,  yet 
pathetic  modulation,  and  above  all,  the  exquisite 
ixpression  of  the  words,  render  it  the  most  art'cct- 
mg  comjjosition  extant,  to  every  Englishman 
who  regards  music,  not  merely  as  an  agreeable 
wrangemeut  and  combination  of  sounds,  but  as 
the  vehicle  of  sentiment  and  the  voice  of  passion. 
To  those  who  understand  the  full  power  of  the 
language,  and  feel  the  force,  spirit,  and  shade  of 
meaning  which  every  word  bears,  according  to  its 
place  in  a  sentence,  may  we  not  venture  to 
repeat,  that  this  unrivalled  composition  will 
have  charms  and  effects,  which,  perhaps,  Purcell's 
music  only  can  produce  ? 

"  *  Where  Myra  sings  '  is  a  duet  that  will  ever  be 
captivating  ;  ot  which  he  has  augmented  the  force 
by  notes  the  most  select  and  expressive  that  the 
musical  scale  can  furnisli. 

•' '  Lost  is  my  quiet '  is  another  duct,  still  in 
its  bloom.  And  '  Celet)rate  this  festival,'  a 
birthday  song  for  Queen  Mary,  is  still  graceful 
and  pleasing,  notwithstanding  its  old-fashioned 
thoughts  and  embellishments. 

"  '  I'll  sail  ujiou  the  Dog  Star'  has  all  the  lire 
of  Handel's  prime.  '  Mad  Bess '  is  a  song  so  cel- 
ebrated, tluit  it  needs  no  panegyric  or  renewal 
of  public  attention,  as  every  captivating  English 
singer  revives  its  memory. 

"  '  Let  t'xsar  and  Urania  live  '  wa.s  a  duet  in  a 
birthday  ode  during  the  reign  of  William  and 
Mary,  which  continued  so  long  in  favor,  that  not 
only  while  these  sovereigns  jointly  wielded  the 
sceptre,  but  even  when  George  II.  had  lost  his 
royal  consort,  and  there  ceiused  to  be  a  Urania 
for  whom  to  otfer  up  prayers.  Dr.  Greene,  and 
after  him  Dr.  lioyce,  used  fretiuently  to  introduce 
it  into  their  own  and  the  laureate's  new  ode*. 
The  latter  part  of  tliis  duet  b  extremely  beau- 
tiful. 

"  '  I  attempt  from  love's  sickness  to  fly  '  is  an 
elegant  little  ballad,  which,  though  long  dead, 
might  easily  be  reanimated  and  brought  into 
fashion  by  the  voice  of  any  favorite  singer,  who 
might  be  disposed  to  try  the  experiment. 

"  The  short  scene  in  '  Hond\ica,'  beginning 
with  the  words,  '  Ilciir,  ye  gods  of  Britain,' 
abounds  in  beauties  of  v.arious  kinds.  The  in- 
troductory sentence  just  cited  has  anticipated  a 
species  ot  dramatic  music  which  has  been  sup- 
posed of  rerenl  invention.  It  Ls  set  in  an  accom- 
panied recitative,  a  ttinft>  ni  aria  ;>arl,tufe. 

"It  is  said  that  (Jueeu  .Mary  having  expressed 
her  entire  approbation  of  the  old  Scotch  tune, 
'  Cold  and  raw,"  I'urcell  made  it  a  peqictual 
bass  to  an  air  in  the  next  birthday  ode,  l'i02,  bo- 
ginning,  '  May  her  blest  example  chase '  —  a 
piece  o.  pleasantry  which  is  likewise  said  to  have 
93  7 


been  occasioned  by  her  majesty  asking  for  this 
tune  after  Mr.  Gostling,  one  of  the  gentlemen  of 
the  Chapel  Royal,  and  the  celebrated  Mrs.  Ara- 
bella Hunt,  with  I'urcell  to  accompany  them  on 
the  harjjsichord,  had  exerted  their  united  talcntt 
to  amuse  so  great  a  personage  with  compositions, 
which  they,  misUikenly,  thought  of  a  superior 
class. 

"  The  pleasing  melody  and  harmony,  and  the 
ingenious  design  and  variety  of  movement  in  the 
duet,  '  I  spy  Celia,'  cannot  but  afford  considera- 
ble entertainment  to  I'urcell's  admirers,  and, 
indeed,  to  the  admirers  of  English  music  in  gen- 
eral. 

"  '  Bonduca,'  of  which  he  set  the  songs  in  the 
last  year  of  his  life,  1095,  and  'The  Prophetess, 
or  History  of  Dioclesian,'  wliich  he  set  entirely 
after  it  was  transformed  into  an  opera  by  Dryden, 
were  both  originally  written  by  Beaumont  and 
Fletcher.  Purcell's  music  for  tlie  hist  was  per- 
formed at  the  Queen's  'Hicatre,  1690,  and  pub- 
lished by  himself,  in  score,  in  1691. 

"  In  this  opera,  the  ballad  air  '  What  shall  I 
do  to  show  how  much  I  love  her  r  '  olter  it  had 
done  its  duty  to  these  words  upwards  of  thirty 
years,  became  the  favorite  tiuie  in  the  '  Beggar's 
Opera,"  from  its  first  performance,  in  1727,  to  the 
present  time,  where  it  is  adapted  to  the  words, 
'  Virgins  are  like  the  fair  tiower  in  its  lustre,' 
&c." 

It  does  not  appear  that  in  Purcell's  time  any 
of  the  works  of  Corelli  had  been  published,  even 
in  Italy ;  and  though,  o  few  years  before  his  death, 
they  might  have  been  brought  to  England  and 
circulated  in  manuscript,  yet  they  were  not  sold 
at  any  of  the  music  shops  till  1710  ;  so  that  Pur- 
cell  had  no  better  Italian  instrumental  music  to 
imitate  than  that  of  Bassani,  Torelli,  and  others 
inferior  to  them.  Yet  arc  his  sonatas  infinitely 
superior  in  fancy,  modulation,  de^ign,  and  con- 
trivance to  every  production  of  that  description 
onterior  to  the  works  of  Corelli. 

In  regard  to  his  models  of  vocal  music,  we  may 
discern  his  obligations  to  Carissimi  in  the  best 
of  his  re<"itatives,  and  to  Lulli  in  the  worst ;  and 
it  is  evident  that  he  admired  Stradclla's  manner 
of  writing,  though  he  scorned  to  pillage  his  pas- 
sages. We  must  not  take  our  leave  of  Purcell's 
vocal  music  without  a  grateful  memorial  of  his 
catches,  rounds,  and  glees,  of  which  the  humor, 
originality,  and  melody  were  so  congenial  with 
the  national  taste,  as  to  render  tliem  almost  the 
sole  productions  of  that  facetious  character,  in 
general  use,  for  nearly  fourscore  years ;  and 
though  the  countenance  and  premiums  since 
bestowed  upon  this  species  of  composition,  unit- 
ed with  the  modern  refinements  in  melody  and 
performance,  have  given  birth  to  many  glees  of 
a  more  elegant,  graceful,  and  ex.ilted  kind,  than 
any  which  I'urcell  produced,  yet  he  seems  hardly 
ever  to  have  been  e<iualle  1  in  the  wit.  pleasantry, 
and  contrivance  of  his  catches. 

In  many  instances,  he  has  8uri>a»so<l  even 
Handel  in  the  expression  of  English  words  and 
national  feeling  ;  and  we  may  fairly  sum  up  his 
merits  as  a  musician  in  a  single  sentence.  Hi» 
beauties  in  composition  were  entirely  liis  own, 
while  his  occasional  barbarisms  may  he  consid- 
ered as  unavoidable  compliances  with  the  faU« 
taste  of  the  age  in  which  he  lived.  'I'he  follow- 
ing epitaph,  written  by  Dryden,  is  placed  on  lb* 
tomb  of  i'urcell :  — 
7 


PUR 


ENCYCLOPAEDIA    OF    MUSIC. 


PUR 


Here  lifi 

Ili-nrv  Purccll,  Oqulre. 

Who  Un  Ihii  life. 

And  ii  (Tom-  to  ttint  bletiied  place 

Wlurt- tmlv  hi*  harmony 

Can  lM-'rj[r»'<-.l.-d. 

Ohilt  I'ltno.  <tie  Ncvimhrii, 

AiiiM)  Ktatii  lUM  -irnio. 

Aniiu  Duiiiini,  H3M. 

PURCELL,  DANIEL.  Brother  to  the  pre- 
ceding;, from  wliom  he  derived  niost  of  that 
little  rc)»ilittiou  which,  as  a  musician,  he  ob- 
tained, lie  was,  for  some  time,  organist  of 
Magdalen  College,  O.Kford,  and  afterwards  of 
St.  Andrew's  Church  in  Holborn.  He  offered 
himself  as  candidate  for  a  prize,  payable  out 
of  a  sum  of  two  hundred  jjounds,  raised  by 
a  party  of  the  nobility,  to  be  given  to  the 
four  best  composers  of  music  to  >Ir.  Congrcve's 
poem,  "  The  Judgment  of  Paris."  Weldon  and 
Ecclcs  obtained  the  two  highest  prizes,  and 
he  is  supposed  to  have  succeeded  in  one  of  the 
others. 

Daniel  PurccU  composed  the  music  to  an  ope- 
ra called  "  Brutus  of  Alba,  or  Augusta's  Tri- 
umph," written  by  (jeorge  Powell,  the  comedi- 
an, and  performed,  in  Ui'J7,  at  the  theatre  in 
Dorset  (jarden  ;  and  to  another,  entitled  "The 
Grove,  or  Love's  Paradise."  The  latter,  which 
was  his  vhcf-dccuvre,  appears  to  have  been  writ- 
ten in  hjouthwick,  in  Hants,  the  seat  of  Philip 
Norton,  Esq.,  where,  during  the  summer  time, 
the  friends  of  that  gentleman  were  treejuently 
entertained  with  dramatic  representations ;  or 
else  the  Grange,  in  the  same  county,  the  resi- 
dence of  his  principal  friend  and  patron.  Antho- 
ny Henley,  Escj  He  was  also  the  composer  of 
many  ol  the  songs  for  ditiercnt  plays,  several  of 
which  aie  inserted  in  "  The  Pills  to  purge  Mel- 
ancholy." These  have  in  general  but  little  to 
recommend  them,  and  their  author  is  at  this  day 
better  known  for  his  puns,  with  which  the  old 
jest  books  abound,  than  for  his  musical  compo- 
sitions. 

PUKKIS,  JOHN,  was  born  in  London  in 
1781.  His  e.xtraordiiiary  genius  for  music  was 
discovered  in  early  infancy,  and  was  considered 
by  his  j)arents  as  a  blessing  of  divine  Providence 
in  compensation  for  the  greatest  calamity  that 
can  bctall  human  na'ure,  and  with  which  this 
child  of  genius  was  visited  ;  it  being  discovered, 
when  he  was  about  twelve  months  old,  that  he 
had  been  totally  blind  of  catara;t  in  both  eyes 
from  his  birth.  It  need  scarcely  be  added,  that 
the  best  advice  from  eminent  oculists  of  that 
day  was  sought  after ;  they,  however,  otl'ered  no 
l\opes  of  relief,  which,  at  the  moment,  was  a 
source  of  inconsolable  grief  to  his  parents.  But 
the  wisdom  of  the  Creator  was  beyond  their  con- 
ception ;  for  no  sooner  was  the  child  possessed 
ot  the  powers  of  speech,  than  his  parents  were 
convinced  of  his  acute  sensibility  to  sounds, 
nothing  affording  him  so  much  amusement  as 
the  jingling  of  a  bunch  of  keys,  or  the  sound  of 
a  drum  or  trumj  et.  At  three  years  of  age,  lie 
could  sing  correctly  several  popular  airs,  and 
his  Kngers  wire  always  in  motion,  like  tho.sc  of  a 
musician.  The>e  early  symptoms  of  genius  were 
carctully  watched  and  cultivated  by  his  anxious 
parents;  and  no  opportunity  was  ever  lost  of 
gratiiying  their  child  of  misfortune  (as  they  con- 
sidejed  him)  with  the  sounds  of  musical  instru- 
ments, under  the  l-.ands  of  accoraplislied  ])layers. 
At  about  six  ycais  of  age,  Lis  iulcilcct  and  ca- 


pacity for  music  were  found  so  strong,  that  it 
was  determined  he  should  bo  placed  under  a 
master  of  ability ;  and  accordingly  a  contract 
was  entered  into  with  Thomas  Gienville,  then 
organist  of  the  Foundling  Hospital,  and  a  blind 
man  also,  but  of  good  abilities,  and  celebrated 
for  his  care  in  the  instruction  of  blind  personn. 
He  taught  the  theoretical  parts  of  music  to  thj 
blind  by  means  of  a  mechanical  table  and  appa- 
ratus invented  by  Mr.  Stanley,  whose  abilities 
have  immortalized  hLs  name.  Here  it  is  but  jus- 
tice to  say,  that  much  merit  was  due  to  Grenville 
for  the  great  attention  he  paid  in  imjinrting  the 
knowledge  of  the  use  of  Stanley's  table  to  his 
infant  pupil  PurkLs,  and  for  the  general  interest 
he  took  in  the  progress  of  his  studies,  which 
were  so  ra])id,  that  at  seven  years  of  age  he  could 
perform  any  overtures  of  Handel  and  others  of  the 
celebrated  old  ma.sters,  on  the  organ,  in  a  sur- 
prising manner  ;  indeed,  so  finished  was  his  style 
of  playing,  that  persons  hearing  the  instrument, 
and  not  seeing  the  performer,  could  not  believe 
that  it  was  a  blind  child  who  produced  such 
effects.  At  this  tender  age,  he  was  in  the  habit 
of  playing  voluntaries  and  other  parts  of  the 
service  at  the  Foundling  Chapel,  Xxt  the  great 
delight  of  his  master  and  the  congregation,  who 
frequently  seated  themselves  in  the  organ  gallerj-, 
for  the  i)urpose  of  being  eye  witnes-es  to  the 
playing  of  young  PurkLs,  who  was  then  general- 
ly known  at  the  chapel  by  the  ap;  ellation  of 
young  Handel.  Caressed  as  he  now  was  by  all 
classes  of  persons,  his  abilities  could  not  but  be 
highly  gratifying  to  his  parents  ;  and  that  calam- 
ity which  they  at  first  considered  a  misfortune, 
would  already  have  been  forgotten,  but  tor  the 
extra  attendance  necessary  in  his  domestic  con- 
cerns. At  nine  years  ot  age,  it  may  be  fairly 
•stated,  that  young  Purkis  had  so  far  accomplished 
himself  in  organ  playing,  as  to  require  little  aid 
of  a  master ;  and  it  was  about  this  period  that 
his  musical  memory  began  to  display  itself  in  so 
extraordinary  a  manner  as  to  leave  no  doubt  of 
his  possessing  very  unusual  talents.  The  Stan- 
ley table  was  now  thrown  aside ;  for,  when  a 
new  piece  of  music  was  to  be  added  to  his  store, 
it  was  only  requisite  for  any  jierson  capable  of 
reading  music  to  take  up  a  book  and  read  over 
the  time  and  characters,  as  rapidly  as  a  newspaper 
would  be  read  over  by  one  person  to  another,  and 
the  comjxisition  became  instantly  transmitted  to 
little  Purkis's  memory,  ready  for  performance  on 
the  instrument,  when  required.  Indeed,  one  of 
his  near  relations  said,  he  had  himself  witnessed 
many  pages  of  newly-pubiished  music  being 
read  by  the  fireside  to  this  extraordinary  genius, 
when  he  did  not  touch  an  instrument  till  the 
following  day,  and  he  could  then  rememlier  the 
whole  of  the  preceding  lecture.  Having,  as 
before  stated,  acquired  the  age  of  nine  years,  he 
was  presented  with  the  vacant  situation  of  organ- 
ist to  Margaret  Chapel,  in  Margaiet  Street,  Cav- 
endish Scjuare,  where  he  received  a  stipend  of 
ten  pounds  per  annum  for  the  duties  of  the 
othce,  which  he  filled  to  the  ample  .satisfaction 
of  liis  emi)loyers  for  a  space  oi  nearly  three 
years,  when  the  situation  of  organist  to  the 
parish  church  of  St.  Olavc,  Southwark,  became 
vacant.  And  here  we  find  young  Purkis  led  by 
his  anxious  father  into  a  contested  election  with 
eleven  adult  candidates  for  this  apj.ointment, 
taking  the  lead  at  a  triiU  of  skill  In  pcrlormancei 


PUR 


ENCYCLOPEDIA    OF    MUSIC. 


PUK 


on  the  church  organ,  ftnil,  after  a  three  day's 
poll,  triumphiintly  placed,  at  the  early  age  of 
twelve,  i)i  the  situation  of  organist  to  that  j)arish, 
by  a  mnjority  of  one  hundred  and  eleven.  He, 
of  course,  relinquished  the  chapel  in  Margaret 
Street  for  the  improved  income  of  thirty  pounds 
per  annum.  On  procuring  this  ai)pointmi'nt,  the 
subject  of  our  memoir  felt  himself  stimulated  to 
bestow  additional  pains  on  every  branch  of  his 
profession  ;  and  ho  has  been  known  to  devote, 
about  that  period,  eight  and  even  ten  hours  a 
day  to  study  and  jjractiie.  He  now  also  at- 
tempted authorship,  and  jiublished  a  "  .Sonata  for 
the  I'iano- forte,"  and  likewise  adapted  the  over- 
ture to  "  Oscar  and  Malvina,"  as  a  duct  for  the 
same  instrument.  As  we  trace  him  tlirough  his 
studies,  we  also  find  that  he  jirogressively  be- 
came master  of  many  different  instruments,  the 
knowledge  of  which  he  acciuired  entirely  by  self- 
application,  lie  has  been  known  to  take  the 
lirst  violin  in  a  quartet,  and  lead  it  in  a  mas- 
terly style ;  he  was  a  good  tenor  [  layer,  and  has 
enjoyed  many  hours  of  harmony  with  the  celc- 
braled  Lindley,  in  playing  ducts  with  him  on 
the  violi>nce;lo,  on  which  instrument  he  was  an 
excellent  performer.  The  harp  also  became  in 
turn  a  favorite,  and  was  an  instrument  on  which 
he  played  nearly  as  well  as  on  the  piano-forte. 
Even  wind  instruments  were  not  neglected  by 
him,  and  he  made  himself  familiar  with  the 
French  horn,  bassoon,  hautboy,  clarinet,  flute, 
flageolet,  and  indeed  almost  every  instrument 
used  in  the  orchestra.  Thus,  from  being  a  con- 
stant attendant  at  all  the  most  popular  concerts, 
his  whole  delight,  it  may  lairly  be  presumed,  was 
derived  from  his  studies ;  and  he  tound  from  his 
scientilic  analysis  of  public  musical  performances 
such  au  inexhaustible  variety  of  entertainment, 
as  to  counterbalance  those  delights  which  hu- 
man nature  presents  to  those  ble.v>ed  with  vision, 
and  to  which  he  was  an  utter  stranger.  His  ear 
was  so  acute,  that,  if  a  whole  orchestra  were  per- 
forming, and  one  instrument  in  the  band  was  a 
quiuter  of  a  tone  too  flat  or  too  sharji,  Purkis 
could  discriminate  tl'.e  error,  and  point  out  the 
identical  instrument  from  which  it  had  arisen.  It 
is  also  worthy  of  remark,  that  when  any  manu- 
script or  new  composition  was  performed  in  his 
presence,  his  memory  was  so  retentive,  that,  on 
tlie  day  tollowinii,  any  person  who  would  a])ply 
pen  to  paper  and  write  according  to  his  dicta- 
tion, would  find  himself  possessed  of  the  sub- 
ject of  the  manuscrijit  composition.  Still  follow- 
ing him  through  his  enterprising  career,  we  next 
find  his  name  in  the  list  of  candidates  for  the 
situation  of  organist  at  many  churches  where 
vac<incies  we;e  dechired.  This  he  did  chiefly  for 
the  sake  of  playing  their  ditfe:ent  organs,  and,  in 
one  or  two  instances,  he  appears  to  have  l>con 
a  lavorite  candidate.  From  his  familiarity  with 
church  organs,  he  was  found  to  have  acquired  a 
very  extensive  knowledge  of  the  mechanism  of 
ti.at  instrument,  and  could,  alter  performing  on 
any  large  organ,  very  accurately  calculate  the 
number  of  pipes  it  contained.  lie  al.so  well 
judged  the  required  powers  of  an  crgaii,  or  what 
torce  of  tone  was  adapted  to  buildings  of  certain 
dimensions  I'urkis  had  now  been  throe  times  an 
unsuccessful  candidate  for  the  situation  of  organ- 
ittt  to  the  honorable  society  of  the  Tcmi)lo,  when, 
notwiths'.Kuding  his  appointment  at  St.  Olave's, 
South wark,  he  accepted  a  deputy  organist's  git- 

77 


nation  at  the  Temple  Church  for  upwards  of 
three  years  ;  and  this  more  from  the  ))leasure  he 
derived  from  playing  on  the  finest  organ  in 
(ireat  llritain  (as  ho  considered  it)  than  for  the 
emolument.  Although  Purkis  had  never  trav- 
elled out  of  his  native  country,  he  had  performed 
on  almost  all  the  popuLir  organs  in  Kngland, 
namely,  at  the  cathedrals  of  Kxcter,  Salisbury, 
and  Winchester,  Bristol,  Itath,  &c. ;  he  had 
therefore  had  good  opi)ortunities  of  judging  of 
tho  comparative  (|ualities  of  that  instrument. 
At  little  more  than  twenty-one  years  of  ago,  wo 
find  l'\irkis  competini;  for  the  situation  of  organ- 
ist to  St.  Clement's,  Danes,  Strand  ;  where,  after 
a  contest  of  several  weeks,  his  abilities  wore  re- 
warded with  success,  and  he  took  his  seat  as 
organist  of  that  church,  not  rclinq\iishing  his 
appointment  at  St.  Olave's,  .Southwark,  until  he 
had  tilled  it  for  many  years  to  tho  entire  satisfac- 
tion of  tho  inhabitants;  in  proof  ot  which,  on 
electing  a  new  organist,  he  was  a])])ointed  umpivo 
in  the  church,  at  a  trial  of  skill  amongst  the  can- 
didates for  the  succession  to  his  olKce. 

We  have  already  remarked  that  Purkis  showed 
some  degree  of  mechanical  knowledge,  and  we 
now  take  the  o])i)ortunity  of  noticing  that,  though 
almost  his  whole  life  had  been  devoted  to  the  jnir- 
suit  of  music,  yet  other  studies  occasionally  occu- 
pied his  mind,  notwithstandnig  his  natural  defect 
precluded  him  from  those  advantages  mankind  in 
general  ac(iuire  from  reading  the  works  of  learned 
authors  on  the  subjects  of  their  studies,  liy  a 
mechanical  invention  he  was  made  aciiuainteil 
with  the  use  of  the  alphabet  and  arithmetical 
figures,  and  thus  became  a  very  good  arithme- 
tician. Uy  a  system  of  his  own,  he  al.so  kept  liLs 
private  accounts  very  correctly,  and  even  a  sort 
of  almanac.  He  evinced,  likewLse,  some  me- 
chanical genius  in  bringing  to  perfection  the 
double  flageolet,  (originally  invented  by  .Scott,) 
for  which  a  patent  was  granted,  i'his  in- 
strument was  first  brought  into  use  by  I'urkis's 
public  iierformance  of  duets  on  it.  In  his  private 
estimation,  it  was,  of  course,  always  considered 
but  as  a  j)leasing  toy.  As  we  have  now  reached 
the  mature  age  of  thus  e.xtraordinary  genius,  we 
shall  pa.s8  over  many  occurrences  to  one  of  the 
most  important  circumstances  in  the  annals  of 
his  life.  Our  readers  are  already  made  aciiuaintcd 
with  the  fact  of  his  total  blindness  from  birth,  and 
may  suppose  that  with  a  mind  so  active  and  well 
stored,  and  with  a  disposition  naturally  cheerful, 
there  would  have  been  an  inditl'erence  on  the  part 
of  Purkis  respecting  his  natural  defect.  On  com- 
ing, however,  to  mature  age,  this  was  found  not  to 
be  the  case.  He  tclt  the  inconvenience  of  constant- 
ly wanting  a  guide,  and  it  was  his  greatest,  his 
only  annoyance  to  reflect  on  the  trouble  he  gave 
to  his  friends.  Here  a  kind  I'rovidence  again 
interpo.sed,  and  indulged  him  so  far  as  to  grant 
him  the  blessing  of  useful  aiglu,  in  the  thirtieth 
year  of  his  age.  We  will  not  i)n.ttume  to  say 
perfect  vision,  as  this  is  not  the  epoch  for  mira- 
cles, but  u.seful  sight,  sulHcient  for  all  the  do- 
mestic purposes  of  his  life,  and  such  as  enabled 
him  to  perambulate  the  bustling  street,*  of  tho 
city  of  London  in  confidence,  without  any  other 
guide  than  a  pair  of  spectacles.  This  im|>ortant 
advantage  was  l)e»towetl  on  him  by  the  hau'ls  of 
a  skilful  oculist  from  Exeter,  alter  .levernl  )j>er- 
ations  on  his  eyes,  the  first  of  which  was  |)er- 
formcd  on  the  'Jth  ot  June,  1810.  On  the  I'Jib 
9 


PUR 


ENCYCLOPEDIA    OF    MUSIC. 


PYF 


of  October  lie  gnve  n  performance  to  a  select 
party  on  the  cathedral  organ,  previous  to  his 
departure  for  London ;  and  it  was  then  that  he 
firnt  took  tlic  ojiportunity  of  surveying  that  mag- 
niiicent  edirtcc,  which  he  could  now  distinctly 
Bee ;  also,  for  the  first  time,  the  pipes  of  the  or- 
gan, of  which  he  before  had  only  enjoyed  the 
sounds.  The  window  of  stained  glass,  the  ad- 
miration of  all  who  vL-^it  this  cathedral,  afforded 
him  particular  sensations  of  delight,  and  he  ex- 
l)ressed  it  to  be  a  harnwny  of  colors.  On  the  20th 
of  October  he  felt  himself  competent  to  bid  fare- 
•woll  to  Exeter  and  his  kind  friends  there,  whose 
attentions  to  him  he  ever  most  gratefully  acknowl- 
edged. From  thence  he  travelled  to  Hath,  without 
any  attendant,  where  he  was  joined  by  his  sister, 
who  was  residing  near  that  city,  and  on  the  2d  of 
November  he  arrived  in  London.  In  the  follow- 
ing spring  he  gave  a  public  concert  in  Hanover 
Square  Kooras,  which  was  well  attended  by  many 
persons  of  rank  and  fashion,  to  witness,  in  i)ar- 
fii'ulnr,  his  performance  on  the  grand  piano-forte, 
harp,  &c. 

Although  the  publications  of  Purkis  are  not 
very  numerous,  yet  what  have  appeared  have  been 
generally  admired  ;  and  it  may  be  presumed  that, 
as  he  on  all  occasions  required  an  amanuensis, 
(from  those  days  having  been  spent  in  darkness 
in  which  mankind  acquire  the  art  of  using  pen 
and  ink,)  his  publications  were  not  voluminous, 
although  some  of  his  manuscript  compositions 
were  truly  sublime. 

We  may  next  record  the  acquaintance  of  Pur- 
kis with  Lord  Kirkwall,  who  was  such  a  devoted 
admirer  of  liis  talent  that  he  gave  him  unlimited 
power  in  directing  the  construction  of  a  very 
costly  chamber  organ,  which  was  built  at  Messrs. 
Flight  and  Kobson's,  in  St.  Martin's  Lane.  It 
was  played  by  machinery  as  well  as  by  the  fin- 
gers, and  was  universally  allowed  to  be  one  of  the 
sweetest  toned  organs  ever  built.  Many  thou- 
sands of  persons  went  to  hear  Purkis  on  this  or- 
gan at  P'light  and  Robson's  rooms  ;  and  it  may 
justly  bo  inferred  that  its  attraction,  with  Pur- 
kis's  performance  on  it,  gave  the  first  idea  to 
those  eminent  builders  of  constructing  the  stupen- 
dous organ  exhibited  in  their  rooms  under  the 
name  of  the  Apollonicon.  Whilst  this  immense 
instrument  was  constructing,  Purkis  devoted 
much  time  at  the  manufactory  in  rendering  such 
assistance  as  was  in  his  power.  On  the  Satur- 
days of  each  week,  he  entertained  from  two  to 
three  hundred  persons  by  a  public  performance 
on  the  Apollonicon.  The  mechanism  of  this  in- 
strument was  so  admirably  constructed,  as  well 
as  every  otlicr  part  of  it,  that,  by  the  aid  of  the 
pedals  for  the  feet,  and  the  extraordinary  span  of 
Purkis' 8  hand,  he  was  enabled  alone  to  produce 
as  much  effect  as  the  fie  performers  whom  the 
Apollonicon  was  originally  intended  to  employ. 
We  must  not  omit  to  notice  that  when  Lord 
Kirkwall  had  placed  his  enchanting  organ  in 
his  mansion,  he  was  honored  by  a  visit  from  his 
maje.^ty,  then  ])rince  regent,  who  was  well  known 
to  be  a  true  lover  of  music,  and  a  just  discrim- 
inator of  musical  talent.  The  prince  was  much 
gratified  l)y  tlie  mechanical  performance  of  the 
organ,  and  Purkis  was  introduced,  who,  in  the 
course  of  the  evening,  played  before  his  majesty 
several  pieces  of  music  by  Handel,  Haydn, 
Mozart,  S:e.  Handel's  "  Te  Ueum  "  especially  was 
given   by  him  in  so  masterly  a  style,  and  with 


such  precision,  that  every  one  present  was  as- 
tonished. 

PUTIN  I,  BARTOLOMEO,  an  exccUent  singer 
about  the  year  1755,  performed,  during  severa' 
years,  at  the  opera  at  Dresden,  and  afterwards  a 
St.  Petersburg. 

PUZZI,  a  celebrated  performer  on  the  French 
horn,  resided  in  England  in  the  early  part  of  this 
centurj'.  His  style  of  playing  was  not  less  beauti- 
ful than  popular ;  indeed,  it  was  nearly  imiiossi- 
ble  to  conceive  any  thing  more  perfect,  whetlier 
the  tone,  the  execution,  or  the  general  expression 
be  considered. 

PYRENE.  A  singer  of  wonderful  powers, 
who  flourished  709  years  before  the  Christian 
era.  Professor  Murchard,  of  Berlin,  gives  the 
following  sketch,  taken  from  ancient  tablets,  dis- 
covered in  an  amphora  of  metal  at  Corinth. 

[  "On  the  third  day  of  the  music  feast  at  EphjTa;, 
there  was   rejjresented    a   tragedy,  after  the  old 

.  manner.  And  when  the  Choragi  had  spoken, 
the  chorus  sang  in  the  Hypomixolydian  mode ; 
and  the  chorus  consisted  of  men,  youths,  boys, 
and  maidens.  But  Pyrene,  the  daughter  of 
Teiresias,  sang  the  Hypopotamon,  wliieh  had 
never  before  been  heard,  since  it  lies  five  tones 
higher  than  the  Hyperbolaion.  And  all  the 
people  clapped  their  hands  aloud,  so  great  was 
the  joy  that  reigned  in  the  hearts  of  all  the  hear- 
ers. But  King  Telestes  ciused  to  be  presented 
to  the  divine  songstress  a  costly  set  of  jewels  as  a 
gift  For  the  like  had  never  before  been  heard." 
"  We  here  become  acquainted,  for  the  first 
time,  with  a  songstress  who  lived  709  years  be- 
fore Clirist.  I  had  imagined  that  I  before  knew 
what  Hypomixolydian  meant,  but  I  now  feel 
convinced  that  I  am  ignorant  about  the  matter ; 
for  it  is  said  that  Pyrene,  the  daughter  of  Teire- 
sias, sang  the  Hypopotamon  (which  signifies 
something  on  the  other  side  of  the  river,  not  to 
be  attended  to,)  which  had  never  before  been 
heard  of.  Now  it  is  supposed  by  the  moderns, 
that  the  Hyperbolaion  of  the  ancients  was  our  A 
above  gamut.  If  this  were  correct,  then  Pyrene 
must  have  sung  to  E  in  alt,  in  which  case  it  is 
not  easy  to  divine  how  this  tone  could  have  created 
such  admiration  in  all  Greece,  as  it  lies  perfectly 
within  the  compass  of  a  female  soprano  voice, 
and  our  soprano  singers  sing  a  full  octave  higher. 
Hence  it  is  much  more  probable  that  the  Hy- 
perbolaion of  the  ancients  was  the  tone  of  B  or 
C  in  alt ;  for  that  the  tone  of  F  in  alt,  or  G  in 
alt,  should  have  caused  such  astonishment  is 
much  more  likely.  Now,  in  Hypolydian  and 
Hj-pomixolydian  modes,  the  Hyperbolaion  does 
not  occur  at  all,  and  yet  Pyrene  sang  in  these 

j  modes,  and,  therefore,  five  times  higher  than  the 
Hyperbolaion !  It  is  particularly  remarkable 
that  I.ASUS  (the  person  who  inscribed  the  tablets) 
should  twice  observe  of  the  Hypojiotamou  that 
it  had  never  been  heard  before.  It  must,  con- 
secjuently.  have  been  extraordinarily  high.  It  ia 
also  stated  that  the  chorus  consisted  of  men, 
youths,  boys,  lAd  maidens;  that  the  chorus 
sang  is  also  mcntionvxl.  Hence,  how  can  it  be 
any  longer  doubted  that  the  ancients,  in  the  time 
of  Lasus,  were  perfectly  acquainted  witli  ths 
varieties  of  the  human  voice,  and  tliat  they  com- 
bined harmoniously  the  bass,  tenor,  treble,'  ant) 
descant  r     For  it  is  in  the  highest  dci^ree  pre  b»- 


rso 


pyR 


ENCYCLOP.EDIA    OF    MUSIC. 


PYT 


ble,  that  the  men  sang  the  bass,  the  youths  the 
tenor,  the  boys  the  treble,  and  the  maidens  the 
lescant.  The  opinion  that,  among  the  ancients, 
female  parts  were  played  by  men,  is,  therefore, 
contradicted,  as  it  is  certain  from  the  above  text 
•.hat,  in  the  chorus  at  least,  there  were  female 
«ingers.  Hut  King  Telestes  caused  to  be  pre- 
tented  to  the  divine  songstress  a  costly  present  ; 
•lence  we  see  that  it  Ls  not  our  ago  alone  that  is 
entitled  to  the  epithet  enthusiastic ;  that  it  is 
lot  with  us  alone  that  singers  are  idolized  ;  the 
mcient  Greeks  also  were  enthusiastic,  and  not 
ess  lavish  of  their  '  divine '  than  we  arc,  since 
iven  on  a  swineherd  they  once  be:^towcd  this 
flowing  epithet." 

PYIIUIIICS.  Ancient  military  dances,  in 
R-hicli  the  dancers  were  armed. 

PYTHAGORAS.  'Hie  invenUon  of  the  har- 
nonical  canon,  or  monochord,  haa  been  ascribed 
X>  him  both  by  ancient  and  modern  writers.  The 
nonochord  wa^  an  instrument  of  •  single  string, 

7«1 


furnished  with  movable  bridges,  and  contrived 
for  the  measuring  and  adjusting  the  ratios  of 
musical  intervals,  by  accurate  divisions.  Aris- 
tides  (Juintilianus  says,  that  this  instrument  wn« 
recommended  by  I'jthagoras  on  his  death  bed, 
as  the  musical  investigator,  the  criterion  of  truth. 
It  appears  to  have  been  in  constant  use  among 
the  ancients,  as  the  only  means  of  fonning  the 
ear  to  the  accurate  perception,  and  the  voice  to 
the  true  intonation,  of  those  minute  and  difficult 
intervals  wliich  were  then  practised  in  melody. 

The  discovery  of  musical  ratios  has  also  Xyer. 
assigned  to  him,  with  the  method  of  determin- 
ing the  gravity  or  acutcness  of  sounds,  by  the 
greater  or  less  degree  of  velocity  in  the  vibrations 
of  strings,  the  addition  of  an  eiglith  i-tiing  to 
the  lyre,  the  harmony  of  the  spheres,  and  the 
Greek  musical  notation.  His  right,  indeed,  to 
some  of  these  discoveries  has  been  disputed  by 
several  authors,  who  have  given  them  to  others 
with  a.s  little  reason,  perhai)s,  as  they  had  been 
before  beotowed  upon  him. 


ENCYCLOPAEDIA    or   MUSIC. 


QUA 


Q. 


Q.  Sometimes  used  m  an  abbreviation  of 
quick  ;  as,  Q.  T.,  quick  time. 

QUADRILLE.  (F.)  A  French  dance,  or 
rather  a  set  of  ftve  consecutive  dance  movements, 
ca  led  "  Ac  J'antalon,"  "  La  Poule,"  "  L'Eli," 
"  La   Trenise,  ou  La  PattoureUe,"  "  La  Finale." 

QUA.DIll(),  FUANXESCO  XA VERIO,  an 
Itnliar  Jesuit,  was  the  author  of  a  work  which 
appeared  at  Bologna  and  Milan  from  1739  to 
17U),  in  four  volumes  quarto,  entitled  "  Delia 
istoria  e  ildUi  Uayioiie  d' Ojni  J'oesia."  In  this 
book  are  to  be  found  many  articles  relating  to 
musical  literature  ;  amongst  others,  remarks  on 
the  musical  merits  of  Guido  Aretinus,  on  the 
cantata,  on  the  opera,  and  on  the  oratorio.  He 
died  in  175G. 

QUADRIPARTITE.  An  epithet  applicable 
to  a  score  in  four  parts. 

QUADRIVIUM.  (L.)  The  collective  name 
under  which,  in  the  ninth  and  tenth  centuries, 
were  comprehended  the  four  sciences,  which  were 
then  considered  as  the  highest  branches  of  philo- 
Bophical  learning  ;  viz.,  music,  arithmetic,  geom- 
etry, and  iistronoiny. 

QUADRUPLE  COUNTERPOINT.  Counter- 
point for  four  voices  or  instruments,  each  of 
which  may  l)e  taken  as  a  bass,  acute,  or  middle 
part.  A  ijuadritpte  coutUcrpoi/U  admits  of  twenty- 
four  dirtercnt  inversions. 

QUADRUPLE  CROCHE.  (F.)  A  semi- 
demi-semiquaver. 

QUADRUl'LO.  (L.)  An  expression  former- 
ly applied  to  vocal  performances  of  the  church 
in  four  parts.  To  sing  in  oryaiw,  triplo,  or  qitad- 
riiplo,  was  to  sing  in  four  distinct  parts  or  melo- 
dies. 

QUAG  LI  A,  GIOVANNI  BATTTSTA.  An 
Italian  musician  of  the  seventeenth  century. 
Amongst  the  "  Motetii  .Sacn  f)  yoce  sola  con  Iiistr.,'' 
])ubli:.hcd  at  Bologna  in  IfiOo,  is  to  be  found  a 
motet  ot  Quaglia's  composition,  "  Quis  splendor, 
gate  tux,"  for  a  soprano  voice  with  instruments. 

QUAGLIATI,  PAOLO,  a  celebrated  contra- 
puntist of  Rome,  rtourished  about  the  year  IGOO. 
lie  was  one  of  the  Hrsl  ma.sters  who  relinquished 
tlie  pedantry  of  canons,  fugues,  and  other  Gothic 
inventions  ;  and,  in  imitation  of  the  ancient 
Greeks,  aspired  only  at  expression,  grace,  and 
propriety.  •'  (iuagliati  was  a  professor  of  the 
harpsichord,  and  an  excellent  chapel-master," 
Bays  Delia  ViiUe,  who  was  his  pupil ;  "  he  intro- 
duced a  new  species  of  mu«ic  into  the  churches 
of  Rome,  not  only  in  compositions  for  a  single 
Toice,  (/noiiodie.)  but  ibr  two,  three,  four,  and 
▼cry  olten  more  voices  in  chorus,  ending  with  a 
numerous  crowd  of  many  choirs,  or  choruses, 
•ir.ging  togeilicr;  specimens  of  which  may  be 
ie^n  ill  many  of  his  motets,  that  have  since  been 
printed.     And  th.e  music  of  my  car^,  or  movable 


stage,  composed  by  the  same  Quagliati,  in  my 
own  room,  chiefly  in  the  manner  he  found  most 
agreeable  to  me,  and  i)erformed  in  masks  through 
the  streets  of  Rome,  during  the  carnival  of  ICOO, 
was  the  first  dramatic  action,  or  representation 
m  music,  that  had  ever  been  heard  in  that  city." 

Here  he  seems  to  have  forgotten  the  perform- 
ance of  Emilio  del  Cavaliere's  oratorio,  "  Dell' 
Anima  e  del  Corpo,"  which  was  exhibited  at 
Rome,  in  action,  on  a  stage  ui  the  church  of 
Santa  M«ria  della  ValliceUa,  in  1600.  Had 
Delia  Valle  said  the  first  secular  dramatic  repre- 
sentation of  this  kind  in  music,  he  would  have 
been  more  correct. 

"  Though  no  more  than  five  voices,  or  fivt- 
instruments,  —  the  exact  number  that  an  ambu- 
lant cart  could  contain,  —  were  employed,  yt  t 
these  afforded  great  variety ;  as,  besides  the  dia- 
logue of  single  voices,  sometimes  two,  or  three, 
and,  at  last,  all  the  five,  sang  together,  which 
had  an  admirable  effect. 

"  The  music  of  this  jiiece,  as  may  be  seen  in  the 
copies  of  it  that  were  afterwards  printed,  though 
dramatic,  was  not  entirely  in  simple  recitative, 
which  would  have  been  tiresome,  but  ornament- 
ed with  beautiful  passages  and  movements  in 
measure,  without  deviating,  however,  from  the 
true  theatrical  style  ;  on  which  account  it  pleased 
extremely,  as  appeared  from  the  prodigious  con- 
course of  i)cople  whom  it  attracted,  and  who,  so 
far  from  being  tired,  heard  it  performed  five  or 
si.x  several  times  ;  some  even  continued  to  follow 
our  cart  to  ten  or  twelve  different  places  where 
it  stopped,  and  never  quitted  us,  as  long  as  we 
remained  in  the  street,  which  was  from  four 
o'clock  in  the  afternoon  till  midnight." 

This  narration  furnishes  a  curious  coincidence 
in  the  history  of  the  stage,  that  the  first  opera, 
or  musical  secular  drama,  performed  in  modern 
Rome,  like  the  first  tragedy  in  ancient  Greece, 
was  exhibited  in  a  cart. 

QUAISAIN,  ADRIEN,  a  French  dramatic 
composer,  born  in  1766,  produced  in  1798,  at 
the  Theatre  des  Amis  des  Arts,  at  Paris,  an  oper- 
etta entitled  "  SiUain  et  Luselte,  ou  la  Veiidange." 
He  died  in  1828,  having  composed  a  great  num- 
ber of  melodramas. 

QUALENBERG,  J.  M.,  court  musician  tc 
the  Elector  I'alatine  of  Bavaria,  was  the  authot 
of  an  essay  entitled  "  ]('ahre  Geschichte  einer  Stci- 
ner  Ceii/e,"  (i.  e..  The  True  History  of  a  Stein 
Violin.)  Ttiis  essay  was  published  in  the  Mas. 
Korrespond.  for  1791.  Qualenberg  died  in  1788. 
This  is  probably  the  same  person  as  the  Michael 
Qualenberg  mentioned,  in  the  French  "  Diction- 
ary of  Musicians,"  as  being  a  clarinetist  at  Man- 
heim,  about  the  year  1788. 

QUANDT,     CHRISTIAN    FRIEDRICH,    • 

doctor   of   medicine  at    Jena,   in    1791,    w:a8   f 

celebrated  musical  amateur.     He  wrote  severa' 

e^ays  on  musical  subjects,  in  the  German  peri* 

82 


QUA 


ENCYCL0r.?5DIA    OF    MUSIC. 


QUA 


odical    publications.       He  died  at    Niesky   in 
1S06. 

QUANTITY,  in  music,  as  well  as  in  prosody, 
does  not  signify  the  number  of  notes,  or  sylln- 
bles,  but  their  relative  duration.  It  is  from  the 
quantity  n.s  much  as  from  the  position  of  the 
notes,  that  the  character,  beauty,  and  expression 
of  every  melody  proceeds.  One  of  the  greatest 
excellences  of  vocal  composition  i.s  that  strict 
union  which  should  ever  subsist  between  the 
words  and  the  music.  The  first  object  of  a  com- 
poser is  to  choose  such  words  as  will  ally  them- 
selves with  his  melody,  both  in  sentiment  and 
quantity.  Much  of  the  beauty  of  a  composition 
depends  upon  this  :  but  even  in  the  tinest  works 
we  discover  innumerable  mistakes  of  this  kind  ; 
nuch  as  joining  little  words  to  long,  and  Ion;; 
words  to  short  sounds.  In  the  Italian,  defects 
of  this  kind  rarely  occur,  so  admirably  is  that 
lanijua^e  adapted  to  the  purposes  of  the  com- 
])oscr ;  iiiul  in  every  attempt  to  render  it  into 
English  we  invariiibly  tind  the  beauty  of  its  e.x- 
pression  impaired. 

QUAXTZ,  or  QUAXZ,  JOIIANN  JOACHIM, 
was  born  near  Hanover  in  1697.  He  was  known 
principally  as  a  flutist  and  composer  for  that 
instrument,  on  which  he  gave  instructions  to 
Frederic  the  (ireat  of  Prussia,  when  prince 
royal.  Previously  to  the  year  1721,  (Juantz  went 
from  Germany  to  Home,  for  the  purpose  of  taking 
lessons  in  counterpoint  of  Gasparini.  He  next 
jirocceded  to  Naples,  in  which  city  he  found  his 
countryman  Iln.-sc,  who  was  studying  under  the 
renowned  Alessandro  Scarlatti,  to  whom  Quantz 
was  viry  desiious  ot  being  introduced  by  IIossc, 
who  readily  a>scntc<l  to  his  wishes  ;  but  upon 
mentioning  the  subject  to  old  Scarlatti,  he  re- 
plied, "  My  son,  you  know  I  hate  wind  instru- 
ments: they  are  never  in  tune."  Ilasse,  how- 
ever, did  not  cciise  importuning  him,  until  he 
liiid  obtained  the  permission  which  Quantz  de- 
sired, 


different  other  letters  by  Quantz,  were  published 
in  Marpurg's  "  IIUtoriach-KritUche  BtytrOi/e," 
Scv.  Practical  :  Many  songs  and  odes  inserted  io 
different  collections  published  at  Berlin.  "  New 
Melodies  to  the  Hymns  of  Professor  Oellert,' 
Kcrlin,  17(>0;  ".Several  Pastoral  Airs."  1717. 
(Joncertos  amounting  to  at  leivst  three  hundred 
in  number.  Nearly  two  hundred  solos  for  th" 
flute,  of  which,  however,  there  are  only  known, 
at  present,  "  Six  Sonatas  for  the  V\.  with  1$  ,"  Op. 

1,  i)res(len,  17-)!*,  and   "  Six  Duos  for  Fl.,"  Op 

2,  llerlin,  17o9.  Two  other  o]:eras  of  solos,  pub. 
lislied  as  his  at  Paris  and  Amsterdam,  are  cer- 
tainly not  of  his  composition.  He  al.so  com])Osed 
many  quatuors  and  trios,  of  which  still  less  Ls 
now  known.  Most  of  his  remaining  works  were 
to  be  foun<l,  a  few  years  -ince,  in  the  music  ware- 
house of  Westphal,  at  Hamburg. 

QU.VRLES,    CHARLES,     Organist  of   Trin- 
ity College,  Cambridge,  in  IfiOS. 

QUARTA.     (I.)     (iUARTE.     (F.)      An    in- 
terval of  a  fourth. 


QUART  DE  SOUPm. 
rest. 


(F.)     A  semiquaver 


QUART  DE  SON'.     (F.)     A  quarter  tone. 

QUARTER  TONE.  An  internal  introduced 
into  the  enharmonic  genus  of  Aristoxenus.  The 
quarter  tone  is  of  two  kinds,  viz.,  the  major  en- 
harmonic, in  the  connection  of  .576  to  62-5,  which 
is  the  complement  of  two  semitones  to  the  major 

!  tone  ;  and  the  enharmonic  minor,  in  the  computa- 
tion of  12.5  to  128,  which  is  the  complement  of  the 
two  same  semitones  minor  with  the  minor  tone. 
This  is  a  small  interval,  which  in  mathematical 
theory  is  found  to  e.\ist  between  D«?  and  Eb, 

j  G*f  and  Ab,  &c. 

QU.\RTElTO.     (I.)     A    quartet,    a   musi.nl 

composition      for    four     instruments,     generally 

stringed  instruments,  in  concert,  (i.  e.  two  violins, 

I  one  viola,  and  one  violoncello;)  also  a  coraposi- 

In    the   year   17.52,  Quantz  published,   in  the  \  tion  for  four  voices,  with  or  without*  nccompani 


mcnt.  In  instrumental  quartettos,  Haydn  o|K-ned 
a  new  path.  Mo/.nrt,  Beethoven,  the  two  Rom- 
ber.;s.  Spohr,  Ries,  Onslow,  Feska,  Mendel.vsohn, 
lollowed.  The  simple  charm  of  harmony  and 
melody  gives  the  chief  effect  to  the  q\iartetto. 
The  quartetto  is  better  the  more  independent  are 
the  tour  voices  ;  the  predominance  of  one  voice 
gives  rise  to  the  solo  quartette.  (2uintett<>s  and 
sestettos,  for  stringed  instrtunents,  are  often 
reckoned  among  the  (|uartetto  music. 

QUARTET,   or  QUARTETTE.     Tlie  EngUsh 
term  for  CJimrtetto,  or  (it  atior,  which  sec. 

(U'ARTIERO.    PIEl'RO    PAOLO.     A    cele- 
brated Italian  composer  of  the  sixteenth  century. 

QUASI.     (I.)     In  the  manner  of.     .As,  quasi 
I  aiuiante,  in  the  manner  of  andante. 

I      QU.VFREMERE    DE   QUINCY    inserted,  in 
I  1789,  in  the  French  journal  entitled   "  l^e   Mri  ■ 


German  and  French  languages,  an  excellent 
"  Treatise  on  the  .\rt  of  playing  the  German 
Flute ;  "  a  work  which  is  not  merely  useful  to 
practitionei-s  on  that  instrument,  but  to  musi- 
cians in  general.  His  advice  to  young  students 
in  music  is  built  upon  good  sense  and  experi- 
ence ;  and,  although  his  own  genius  for  compo- 
sition was  not  original,  he  was  an  accurate  ob- 
server of  the  beauties  and  defects  of  others,  both 
in  com|)o-ition  and  performance.  This  work  was 
afterwards  translated  into  the  Dutch  language, 
and  p>;l)lished  at  Amsterdam  in  1775.  Quantz 
died  at  Potsdam  in  1773,  having  been  in  the  ser- 
vice of  the  court  of  Prussia  till  his  decea.se.  Hie 
king,  who  was  extremely  partial  to  him,  ordered  a 
monument  to  be  erected  to  his  memory.  'ITie 
following  are  the  principal  works  of  (juantz. 
ITieoretical  :  "  Essay  of  a  Method  for  learning  to 
play  the  (iciman  Flute,"  Berlin,  17.52  ;  "  Uses  of 
the  German  Flutc.-i  with  two  Keys,"  1760,  This 
w-ork  is  extremely  interesting,  its  utility  not  being  '  cure,"  a  very  interesting  article,  entitled   ••  De  la 


confined  to  flute  i)layers,  since  it  contains  many 
details  that  should  be  well  understood  by  every 
musician.  "  The  History  of  my  Lite  ;"  ".Vnswer 
to  the  Objections  of  Mons.  Moldenit."  Tliis  Mol- 
denit  was  a  Danish  amateur,  who  had  written 
Against  Quantz's  method  of  using  the  tongue  in 
flute   playing.      The  two  preceding  works,  and 


Xntiire  del    Opiras    ItoiifTmu,  et  He   ri'iiion  dc  la 
Comidit  et  de  la  Miui'/iie  d<ins  <tj  Potmt*." 

QUATUOR.     (L.)     Quartet.     Se«  that  word 

QUAVER.  A  chararter,  or  note,  equal  in 
duration  to  the  eighth  part  of  a  Mmibreve,  th« 
quarter  of  a  minim,  or  one  half  of  a  crotchat. 


76S 


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ENCYCLOPEDIA    OF    MUSIC. 


QUI 


QUEDENFEI-D,  a  German  composer,  pub- 
jshcd  the  following  Morks  at  Dresden  :  "  3  Sonat. 
fnr  Khvier,"  1790,  and  "  Klviitt  KlavierstUcfct," 
1792. 

QUEEUSTRICHE.     (G.)     Leger  lines. 

QUEEN  ELIZ.V15ETII  founded  a  school  of 
counterpoint  when  she  ascended  the  tlirone, 
equal  to  any  in  Europe.  She  reckoned  music 
among  her  most  favorite  amusements,  and  al- 
ways delighted  in  the  performance  of  it.  Hefore 
the  reformation,  as  there  was  but  one  religion, 
so  there  was  but  one  kind  of  ecclesiastical  music, 
which  was  a  ])lain  chant ;  and  this  kind  of  sacred 
music  was  derived,  in  the  middle  ages,  from  the 
church  of  Home.  During  the  long  and  pomp- 
ous reign  of  Elizabeth,  choral  music  became  as 
eminent  in  Englan  I  as  in  any  other  part  of  Eu- 
rope. Elizabeth  was  taught  music  at  a  very  ear- 
ly age,  and  her  voice,  though  shrill,  was  sweet, 
and  she  touched  the  lute  with  taste  and  skill. 

QUEEN  MARY.  During  the  reign  of  Mary, 
ecclesiastical  music  was  transferred  to  Latin  words 
again  ;  previously,  or  till  the  year  1549,  parish 
churches  had  all  used  the  same  kind  of  chant  as 
cathedrals,  with  English  words.  The  gloomy 
princess  herself  was  a  performer  on  the  virginals, 
an  instrument  resembling  the  spinet,  and  also 
on  the  lute.  Queen  Catharine  of  Arragon,  her 
mother,  after  her  separation  from  the  king,  ex- 
horted her  "  to  suffer  cheerfuUy,  keep  her  heart 
clean,"  and  alter  recommending  to  her  the  outward 
duties  of  her  religion,  the  injured  queen  desired 
her  to  recreate  herself  with  her  virginals  and  her 
lute.  Fuller  informs  us  that  on  Mary's  coming 
to  the  crown,  she  caused  a  solemn  dirge  to  be 
chanted  in  Latin,  on  the  day  her  royal  brother's 
body  was  buried  in  Westminster. 

QUEISSEll,  CARL  TRAUGOTT,  born  at 
Dobcn,  in  Germany,  in  1800,  has  had  great  fame 
as  a  trombone  plaver.  He  died  in  Leipsic  in 
1845. 

QUEK,  or  QUECK,  JOHANN  CHRISTIAN, 
a  German  musician,  published  "  Klavier  und 
SimjstUcke,  \ste,  2le,  und  3te  Sammlunff,"  Gottin- 
gen,  1790-1792,  and  "  SoiuUe  pour  U  Clav.," 
Op.  4,  Frankfort,  1798. 

QUERCU,  or  VAN  DER  EYCKEN,  SY- 
MONA,  born  at  Brussels,  flourished  in  the  be- 
ginning of  the  sixteenth  century,  as  a  singer,  at 
Milan.  He  published  at  Vienna  a  work  entitled 
"  Opusculum  Miuiccs  pcrqitam  brevissimum :  de 
Grei/oriaiia  ct  Jigurativa  atqite  contrapuncto  aimplici 
percommudc  tractaiis :  omnibus  canlu  oblectantibus 
utile  ac  iwccsaariiim,"  1509.  The  book  is  dedicat- 
ed to  an  Archduke  of  Austria,  the  dedication 
bearing  date  Milan,  1508. 

QUERH.VMER,  CASPAR,  a  distinguished 
scholar,  musician,  and  poet,  was  burgomaster  at 
Halle,  from  the  year  1534  to  1556.  He  was  a 
realous  partisan  of  the  pope,  and  exerted  hira- 
eelf  in  every  way  to  retain  the  Roman  Catholic 
religion  at  Halle,  publishing  several  works  against 
Luther.  Observing  that  the  princii)les  of  Lu- 
ther partly  became  popular  through  the  use  of 
his  psalms  and  hymns  in  the  German  language, 
Qucrhamer  advised  the  magistrates  of  Halle  to 
publish  also  Catholic  hymns  in  German,  a  col- 
lection of  which  accordingly  appeared  in  1537, 
accompanied  with   their  melodies.     This  collec- 


tion is  usually  attributed  to  Qucrhamer,  though 
it  is  not  known  what  part  he  had  in  the  compo- 
sition of  the  music.     He  died  in  1557. 

QUERIMOXIA.  (L.)  A  spiritual  cantata 
of  a  dolorous  cast ;  in  the  manner  of  the  Lachri- 
mcp.     See  LACUiaM.c 

QUERIXI,  GIULIO  CESARE,  a  monk  and 
chapel-master   of  the  cathedral   church  at   Fo- 
ligno,  in  the   Papal   States,   flourished   towards 
the  end  of  the  seventeenth  century.     He  com 
posed  some  sacred  music. 

QUESNA.  or  QUESDNA,  FRANCESCO.  An 
Italian  composer  towards  the  close  of  the  seven- 
teenth century.  In  1092  he  brought  out,  at 
Venice,  the  opera  of  "  La  Geli'laura." 

QUESTO.     (I.)    This,  or  that. 

QUICK  STEP.  A  species  of  march,  generally 
written  in  two  crotchets  in  a  bar.  So  called  be- 
cause it  forms  an  accompaniment  to  a  brisk 
motion. 

QUIETO.  (I.)  With  calmness,  or  repose; 
quietly. 

QUILISMA.  The  name  of  one  of  the  ten 
notes  used  in  the  middle  ages. 

QUINCY.     See  Quatremere. 

QUINTA,   (I.)   orQUINTE.   (F.)     A  fifth.     " 

QUINT .^  PARS.  (L.)  An  expression  ap- 
plied, by  the  ecclesiastical  musicians  of  the  four- 
teenth century,  to  the  fifth  or  additional  part  of 
the  choral  service.  Though  before  the  close  of 
the  fifteenth  century,  the  harmonic  parts  of  the 
church  compositions  were  greatly  multiplied,  yet 
it  appears  that  the  established  number,  intro- 
duced in  the  Pope's  Chapel,  were  till  that  time 
confined  to  four:  the  cantiui,  or  treble;  alfiu,  or 
counter  tenor ;  the  tenor,  and  the  bass.  There- 
fore, when  an  additional  part  was  employed,  it 
was  called  the  qxdnta  pars ;  and  if  a  sixth  was 
introduced,  it  was  called  sexta  pars. 

QUINTETTO,  or  QUINTET.  (I.)  A  vocal 
or  instrumental  composition  in  five  parts,  ill 
which  each  part  is  obligato,  and  performed  by  a 
single  voice  or  uistrument.  Quintuor  has  the 
same  meaning. 

Ql'INTOIER.  A  tenn  applied  by  the  old  French  irriten  on  mo- 
«ic  to  a  i|>ecies  of  dctcant,  chiefly  consisting  of  flfths ;  ranch  tued 
about  two  huiKlrvil  years  after  the  time  of  Guido.  thouah  of  a  much 
less  retined  and  artful  texture  than  the  counterpoint  of  that  learned 
aud  ingenious  musician. 

QUINTOLE.  (Gr.)  A  musical  figure  of /»« 
notes,  having  the  value  of  four. 

QUIRSFELD,  JOHANN,  archdeacon  at  Per- 
na,  was  born  at  Dresden,  in  1642.  He  published 
at  Perna,  in  1675,  "  Breviarium  Musicum,"  of 
which  several  subsequent  editions  were  printed. 
He  also  wTote  some  other  works  on  music. 

QUI  TOLLIS.  (L.)  A  movement  of  the 
Gloria. 

QUrrSCHREEBER,  GEORG,  a  musical  author 
and  composer,  was  bom  at  Cranichfeld  in  1569 
In  1594  Albert,  Count  of  Schwartzburg.  named 
him  singer  and  schoolmaster  at  Rudolstadt.  In 
1598  he  obtained  a  place  in  the  choir  at  Jena, 
from  whence  he  was  removed,  in  1614,  to  the 
situation  of  minister  at  Haynichen  and.  Hie- 
briz,  and  finally,  in  1638,  to  that  of  minister  at 


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excyclop-t:dia  of  music. 


QUO 


Magclaln,  Ottstcd,  and  Moeina,  where  he  died 
in  1638.  He  published  the  following  works: 
"  Kiir:  MiisikhUchlein  in  Deutschen,  *c.,"  Jena, 
1G07  ;  "  KirchenyesOnge,  Pialineti  Davids,  Ac," 
Jena,  160S  ;  "  i)e  Canemli  Ekgantia,  Prctcepta," 
Jena,  lot'S  ;  "  Tetitsche  Ilarmonie,  drn  iteit  J'salm 
mil  6  Slimmax  compunirt  in  sich  ent/ialtetid,"  Jena, 
1622  ;  and  •'  3  Geistl.  Lieder  mil  4  Stimmen  ge- 
ietzt." 

QUEUE.  (F.)  The  tailpiece  of  a  violin,  vio- 
loncello, tenor,  &c. ;  the  tail  or  stem,  with  its 
hooks  or  blocks,  used  to  indicate  the  duration 
c'  \  note. 

QUOIN'fE,  an  ecclesiastic  and  esteemed 
church  composer,  flourished  about  the  year  1720, 


and  published  many  sacred  musical  wor« 
lit  Amsterdam  about  that  ]>c'riod,  amongst 
wliich  were  "  Canlit/nri  Spiritueh,  Lib.  1,  2,  et  i  : 
"  MiamF,  Litanicr,  M'ltetti,  et  Tunfiiin  Ergo  Siicra- 
nwiUiim,"  Op.  3  ;  this  Ls  for  five  principal  voices, 
and  five  second  voices  ;  "  Missa  brevis,  Muletto, 
Te  Deiim,  et  Litania,"  Op.  5,  for  five  voices  and 
five  instruments;  '•Salmi  concertati  d  1,  2,  3,  4,  e 
5  voci  e  4-5  Siromenti,"  Op.  6  ;  "  Mutelti  a  J'ort 
$ota  a  B.  C,"  Op.  7  ;  and  "  Geiallie/te  OcsOngf, 
verscAiedener  Komponisten  von  1,  2,  3,  4,  und  5  Stim- 
men, ohne  Instrumente,"  Op.  11. 

QUODLIBET.     (L.)    A  musical  pot-pourri 

QUONIAM  TU  SOLUS.     (L.)    Fart  of   r  it 
Gloria,  in  the  mass. 


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ENCYCLOPAEDIA    OF    MUSIC. 


RAP 


R. 


IL,  or  R.  H.,  indicates  the  right  hand  in  piano- 
forte music.  Uccht  (G.)  has  the  same  mean- 
ing. 

RAAB,  ERNST  HEINRICH  OTTO,  was  born 
at  Berlin  in  1750.  His  father,  Leopold  Friedrich 
liaal),  wn,s  n  good  violinist  and  pupil  of  Benda, 
and  instructed  his  son  in  music,  who  afterwards 
procured  the  appointment  of  chamber  musician 
to  the  Emperor  of  Russia. 

RAAF.     See  Raff. 

RAAM.  An  excellent  performer  on  the  haut- 
boy, at  Munich,  in  1803. 

RABOIN,  a  guitarist  at  Paris,  published  there 
two  collections  of  romances,  ariettes,  &c.,  for  his 
instrument  in  1798. 

RABBIA.  (I.)  Rage,  fury.  Con  rabbia,  with 
rage,  furiouslj'. 

RACAXUS,  JOIIANN  BATTISTA,  a  com- 
poser of  the  sixteenth  century,  published  "  Can- 
tioiics  Sacr.  5  voc,"  Venice,  and  "  Misse  a  4  e  5 
voc,"  Venice,  1588. 

RACKNITZ.  JOSEPH  FRIEDRICH,  FREY- 
HERR  VON,  a  Saxon  nobleman,  was  born  at 
Dresden  in  1744.  He  was  an  excellent  amateur 
musician,  and  published  several  operas  of  sona- 
tas and  songs;  also,  "12  Entr'-Actes  composes  et 
arrangis  pour  le  Ctav.,"  1795. 

RADICAL.  Used  in  various  senses.  WTien 
the  basses  of  any  chords  are  the  roots  of  their 
respective  triads,  the  cadence  is  termed  radical. 
There  are  lour  species  of  radical  cadence  —  the 
perfect,  the  imperfect,  the  false,  and  the  mixed. 
The  three  principal  distances  or  sounds,  the  tonic, 
dominant,  and  sub-dominant,  are  the  radical  parts 
of  every  tonic. 

RADICAL  BASS.  Synon3-mous  with  funda- 
mental bass. 

RADICAL  CADENCE.  When  the  basses  of 
both  chords  are  the  roots  of  their  respective 
triads,  the  cadence  is  termetl  radical ;  and  of  these 
radical  cadences  there  are  lour  in  general  use  — 
the  perfect,  imperfect,  false,  and  mixed. 

RADDOLCENDO,  or  RADDOL.  (I.)  From 
the  verb  raMo/cire,  to  soften,  to  sweeten,  to 
mitigate.  An  e.xpression  applied  to  passages 
de5ignel  to  be  performed  in  a  soft,  assuaging 
style. 

RADDOPPIATE  NOTE.  (I.)  Repeated  notes. 

RADDOPPIAMENTO.  (L)  ITie  doubhng 
of  an  interval  either  in  unison  or  octaves.  Jie- 
doublemcnl  (F.)  has  the  same  meaning. 

RADEKER,  JOIIANN,  organist  at  Beverwik, 
near  Haarlem,  was  the  son  of  Hcinrich  lladcker, 
who  was  organist  of  the  great  church  at  Haarlem. 
Both  the  father  and  son  published,  at  Amster- 
dam, several  light  compositions  for  the  haq)si- 


chord.  The  son  also  wrote  a  history  of  the  very 
celebrated  organ  at  Haarlem,  the  work  being 
entitled  "  Korte  beschryving  van  het  beraemde  er 
prachiige  or  gel,  in  de  groote  of  St.  Barooa  kerk  U 
Haarlem,"  Haarlem,  1775. 

RADICCHL  GIUSEPPE,  a  dramatic  compo- 
ser  of  Rome,  brought  out  at  Venice,  in  1778,  the 
opera  "  Medonte." 

RAFF,  ANTON,  a  celebrated  German  singer 
to  the  Elector  of  Bavaria,  was  one  of  the  very 
few  natives  of  that  country  who  have  extended 
tlieir  vocal  fame  beyond  the  confines  of  Germany 
Raff  was  born  near  Bonn,  in  the  year  1714. 
After  receiving  the  rudiments  of  his  education 
in  his  village  school,  he  went  to  the  Jesuits'  col- 
lege at  Cologne,  to  be  qualified  for  the  priest- 
hood of  the  Roman  Catholic  church.  There  he 
remained  till  the  age  of  twenty,  without  giving 
the  least  consideration  to  his  vocal  powers.  He 
then  declined  further  ecclesiastical  studies,  and 
undertook  the  situation  of  private  tutor  in  the 
family  of  a  neiaihboring  nobleman,  where  he  first 
amused  his  leisure  hours  in  practising  by  him- 
self to  sing  by  note,  and  to  compose  some  easy 
airs.  Shortly  after  this  he  received  instructions 
from  one  of  the  court  musicians,  at  Cologne, 
under  whom  he  so  rapidly  improved,  that  the 
nobleman  in  whose  sen-ice  he  was,  took  him,  in 
173G,  for  further  instruction  to  Munich.  He 
here  sang  at  some  public  concerts  with  muc** 
applause,  of  which  Antonio  FerrandLni,  then  di- 
rector of  the  royal  music  in  Munich,  being  in- 
formed, engaged  him  for  the  Italian  opera.  At 
the  close  of  the  season  he  proceeded  to  Italy, 
where  he  became  a  pupil  of  the  celebrated  Ber- 
nacchi.  Towards  the  close  of  the  year  1738, 
on  occasion  of  the  marriage  of  Maria  Theresa, 
at  Florence,  Bernacchi  first  permitted  his  pupil 
to  sing  in  public  in  Italy,  when  he  took  the 
principal  tenor  part  in  the  cantata  performed  on 
that  occasion.  From  this  time  his  performance 
was  so  much  admued,  that  he  was  offered  en- 
gagements at  most  of  the  principal  theatren  in 
Italy,  and  continued  in  high  repute  there  till 
17i'J,  when  he  returned  to  his  native  country. 
He  was  now  engaged  to  sing  at  the  celebration 
of  the  marriage  of  the  Elector  Carl  Theodor,  also 
at  the  coronation  of  the  emperor  at  Frankfort 
In  1749,  after  performing  at  variou^^  Gcrmai. 
courts,  he  appeared  at  Vienna  in  Jomelli's  "  Di- 
done : "  he  next  revisited  Italy,  where  he  re- 
mained till  1752,  and  then  proceeded  to  Lisbon, 
in  which  city  he  had  three  very  profitable  sea- 
sons, and  from  whence  he  was  invited,  in  1755, 
to  Madrid.  Here  he  resided  till  1750,  enjoying 
the  friendship  and  patronage  of  the  lenowned 
Farinclli,  who,  in  the  latter  year,  being  obliged 
to  quit  Spain  on  account  of  the  death  of  the  kin^j, 
was  accomi)anied  by  Raff  to  Naples.  Lastly,  in 
the  year  1770,  he  again  returned  to  his  native 
country,  and  settled  at  Munich,  where  ho  opened 
a  singing  school,  about  lae   year  1779,  uud  from 


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ENCYCLOPEDIA    OF    MUSIC. 


ilAM 


«vhich  many  very  excellent  pupils  afterwards 
ipread  through  Germany.  He  died  at  Munich  in 
1797. 

RAGAZZAXI,  OTTAVIO,  a  Carmelite  monk 
and  composer  of  the  seventeenth  i-ciitury,  was 
born  at  I'orma.  lie  published  madrigala  and 
other  works. 

RAGXONI,  FRANCESCO,  an  Italian  com- 
poser and  didactic  wTiter  on  singing,  flourished 
about  the  year  1G20. 

RAGUE,  Ij.  C,  a  Parisian  musician  and  harp- 
ist, published  many  works  in  the  latter  part  of 
the  last  century,  both  in  Paris  and  London. 
Arconfcst  these  we  can  name  "  Memnrm,"  opera, 
P<ins,  1704  ;  "  L' Amour  Jilial"  Paris,  1780  ;  "  Trois 
Sill/on.,"  Op.  10,  Paris,  1787;  "  .SVjr  Duos  pour 
Violon  el  A.  on  I'c,"  Op.  11,  Paris,  1787;  "  Truis 
Scna/cs  pour  Ilarpe  et  V.,"  Op.  12  ;  "  Trois  SoruttfS 
DOur  Ilarpe  et  V.,"  Op.  1.3  ;  "  Trio  pour  Ilarpe,  I'., 
et  I'c,"  Op.  18,  Paris,  179,3  ;  "  Qnat.  jxiur  Ilarpe, 
v..  A.,  et  B.,"  Op.  19,  Paris,  1790  ;  and  "  Premier 
Concerto  pour  Harpe  avec  Acc.de  F  Orch.,"  Fa-na, 
1796. 

RAGUENET,  FRANCOIS,  a  doctor  of  the 
Sorbonne,  and  superintendent  of  the  household 
of  the  Prince  of  La  Tour  dWuvergiie,  at  Paris, 
was  born  at  Rouen  about  1 G60.  He  wrote  sever- 
al works  on  the  belles  lettres  and  on  music.  lie 
was  found,  in  1722,  dead  in  his  chamber,  with 
his  tliroat  cut.  He  was  then  about  sixty  years 
of  age.  Raguenet  was  probably  the  first  writer 
who  tried  to  open  the  eyes  of  his  countrymen  to 
the  low  state  of  music  in  France ;  this  he  did  in 
his  work  entitled  "  Parallile  dcs  Italieiis  et  des 
franrain,  en  ce  qui  rei/arde  Ui  Musirjue  et  les  Opi- 
ras,"  Paris,  1702. 

RAIMOXDI.  IGXAZIO,  a  celebrated  violin- 
ist, and  a  good  composer  for  his  in->triiment,  was 
a  pupil  of  liarbella.  He  settled  at  Amsterdam 
about  the  year  1760,  where,  and  at  Berlin,  he 
published  several  operas  of  concertos,  sympho- 
nies, and  duos.  About  the  year  1791,  he  quitted 
Holland  for  Paris,  where  he  brought  out  a  com- 
ic opera,  entitled  "  La  Mueile."  Finally,  he 
went  to  London,  where  he  was  considered  an 
excellent  leader  of  an  orchestra  up  to  about  the 
year  1800. 

RALLEXTAXDO,  or  RALLEX.  (I.)  An 
expression  implying  that  the  time  of  the  passage 
over  which  it  is  written  Is  to  be  gradually  de- 
creased ;  also  a  corresponding  decrease  in  the 
quantity  of  tone. 

RAMAZZO'lTI.  DOMITIO,  an  Italian  com- 
j.oscr  of  the  sixteenth  century,  published,  amongst 
other  works,  "  Silmi  I'ea/iert.  e  Maijnijicat,  a  o 
fuci,"  Venice,  l.)67. 

RAMEvr.  JEAX  PHILIPPE,  was  bom  at 
Dijon  in  1(183.  Aiter  having  lehrned  the  rudi- 
ments of  music,  his  taste  tor  the  art  led  him, 
while  young,  to  leave  his  native  country,  and 
wander  about  with  the  performers  of  a  German 
opera.  At  the  age  ct'  eighteen  he  composed  a 
musical  entertainment,  which  was  represented 
at  Avignon,  and  was  received  with  as  much 
applause  as  can  be  thought  due  to  so  puerile  an 
essay.  He  at  length  became  a  candidate  fir  the 
place  of  organist  of  the  Church  of  St.  I'aul  in 
I'aris ;  but  failing  to  obtain  it,  he  had  almost 
letenniued  to  decline  that  branch  of  his  proies- 


sion,  but  was  prevented  by  the  offer  of  the  placn 
of  organist  of  the  cathedral  church  of  Clermont, 
in  Auvergne,  which  he  accepted.  In  this  retire  ■ 
ment  he  studied  with  the  utmost  assiduity  the 
theory  of  his  art.  His  investigations  in  tiio 
course  of  this  pursuit  gave  bii-th  to  his  "  Traiti 
de  I'llarinoiiie,"  printed  at  Paris  in  1722.  and  to 
his  "  Nuui'eau  Siistimo  de  Mwii'/ue  TAeori'/ue," 
printed  at  the  same  place  in  1720.  Hut  the 
work  for  which  Ramcau  is  most  celebrated  is 
his  "  Dimonstration  du  I'riiicijie  de  C llarm'Jiiitt," 
Paris,  1750  ;  in  which,  as  his  countrymen  say, 
he  ha.s  shown  that  the  whole  depends  upon  one 
single  and  clear  principle,  namely,  the  funda- 
mental bass  ;  and  in  this  respect  he  is  by  them 
compared  to  Newton,  who,  by  the  single  jjrinci- 
ple  of  gravitation,  was  able  to  assign  reasons  for 
some  of  the  most  remarkable  piienoinena  in  phys- 
ics :  for  thts  reason  they  scruple  not  to  style  Ra- 
meau  the  Xewton  of  harmony. 

With  such  extraordinary  talents  as  these,  and 
a  style  in  musical  composition  far  surpassing,  in 
the  opinion  of  some,  that  of  the  greatest  among 
French  musicians,  it  had  been  a  national  re- 
proach had  Rameau  been  suffered  to  remain 
organist  of  a  country  cathedral.  He  was  called 
to  Paris,  and  appointed  to  the  management  ol 
the  opera,  in  which  employment  it  was  his  care 
to  procure  the  ablest  performers  of  all  kinds  that 
could  be  found,  and  to  furnish,  from  the  inex- 
haustible stores  of  his  own  invention,  composi- 
tions worthy  of  so  great  a  genius.  His  music 
was  of  an  original  cast,  and  the  performers  com- 
plained at  tirst  that  it  could  not  be  executed  ; 
but  he  asserted  the  contrary,  and  evinced  it 
by  experiment.  liy  practice  he  acquired  a  great 
facility  in  composing,  so  that  he  was  never  at  a 
loss  to  adapt  sounds  to  sentiments.  It  was  a 
saying  of  Quinault,  that  "  the  poet  was  the  mu- 
sician's sers'ant ; "  but  Rameau  would  say, 
"  Qa'on  me  donne  la  Gazette  a'  II jUaiule,  et  je  iu 
mettrai  en  miuirjue."  The  king,  to  reward  his 
e.xtraordinaiy  merit,  conferred  upon  him  the  rib- 
bon of  the  order  of  St.  .Michael,  and  a  little  before 
his  death  raised  him  to  the  rank  of  iiobles.se. 

This  pliilosophical  aiiLst  tiled  at  Paris  in  the 
year  1701.  As  a  theoiLst,  the  character  of  lia- 
meau  stands  very  high  ;  and  as  a  testimcny  to 
his  merit  in  this  particular,  it  id  mentioned  as  a 
fact,  that  Handel  was  ever  u-sed  to  spe.ik  of  him 
in  terras  of  great  respect.  \i  a  musical  compo- 
ser, his  character  remains  to  be  settled  ;  while 
one  set  of  men  celebrate  his  works  for  the  grace 
and  spirit  ot  them,  others  object  to  them,  that 
they  are  either  stitf  and  labored,  or  light  and 
trilling,  even  to  puerility.  He  U  accused  of 
having  pillcred  from  Italy  a  considerable  nuinlK-r 
of  charming  airs,  which,  a  severe  critic  adds, 
were  not  entirely  smothered  by  his  barlmrous 
art.  Tiie  toUt.uing  catalogue  contains  Rameau's 
J)rincipal  works.  Theoretical:  "  Traitc.  ik  •' llar- 
mouie  riduite  h  $eM  I'rincipei  naiureU,"  1722  ; 
"  Soureau  Sijtiinie  de  Mujique  Thiuri</iir,"  1726; 
"  (Jiniration  llarmonique,  ou  Traiti  de  la  MuMitjtu 
Thiorir/ue  et  I'ratique,"  Xo'il  \  "  DiMtrrtatton  tur 
F Accompo'inrment,"  1731  ;  "  Utttrrtation  tur  Is 
l'rinci/>e  de  F llariiiouir,"  1750;  "  \>uceUct  Itfjirj- 
iona  sur  la  Ur.iiunittration  du  I'ruici/t  d»  C ilurmo- 
nit,"  1752  ;  "  Hr/mtue  d  une  Letfre  iS*  J/.  LuJ,r," 
1752  ;  "  Ohsercat uiiu  lur  nntrt  Iiutiitct  pour  Ut 
Munir/ue,"  1751;  "  Erreur$  tur  la  Muti^itt  iiai%4 
t Encifciupidie,"  lioo  ;  "  (Jodi  dt  itutt^tit  I'ratxftm," 


787 


RAM 


EXCYCLOP.EDIA    OF    MUSIC. 


HAN 


17fiO.  Tractical  :  "  Trou  Livrrs  de  Pihces  de 
CUivicin,"  UO'i,  1721,  1726;  "  Hippoli/te  et  Ari- 
cle,"  0])<!ra,  1733;  "  I^s  Imlei  Galnntos,"  h&Wct, 
1735  :  "  Castor  et  I'ol/iiT,"  opera,  1737  ;  "  Lps  Ta- 
Ittu  Lyri'/uea,"  ballet,  1739;  "  Un  Lixre  de  I'ilcen 
de  Clavecin  en  Concerto,"  1740  ;  "  Dardaniii," 
opera,  1713;  "Lea  J'i'te.i  de  I'otymnie,"  ballet, 
174o;-  "  Le  Temple  de  la  Oloire,"  ballet,  1715; 
"  Iais  Interinidea  de  la  Prineesse  de  Navarre,"  com- 
edy, 1745  ;  "  Samson"  opera  ;  "  I'ygmalion," 
1747  ;  "  Les  FUles  de  I' Hymen  el  de  I" Amour," 
ballet,  1748;  "  Zais,"  ballet,  1748;  •' Nais,"  bal- 
let, 1749;  ••  Plalie,"  ballet,  1749;  '•  Zortaitre," 
opera,  1749;  "  Acan/e  et  Ccphise,"  1751;  "La 
(iiiirliinde,"  1751;  "  Anacrion,"  ballet,  1754; 
"  La  Fete  de  Pamilie,"  ballet,  1754 ;  "  Les  Sur- 
prises de  I' Amour,"  1757  ;  "  Les  Sybarites,"  1759  ; 
and  "Les  Paladins,"  17G0. 

RAMIS,  BART.     See  Pakeja. 

RAMLER,  KARL  AVILIIELM,  professor  of 
belles  lettres,  and  director  of  the  national  theatre 
at  Berlin,  in  1787,  was  boru  at  Colberg  in  1725. 
lie  publi^^hed  at  Lcipsic,  in  1758,  a  work  entitled 
"  Introduction  aux  Belles  Lettres  d'aprts  I' Ouvraye 
de  M.  liatleux,  avec  dcs  Augmentations."  Much  is 
said  in  this  work  on  the  subject  of  music.  He 
also  wrote  an  apolojjy  for  the  oi)cra,  which  was 
published  in  the  second  volume  of  Marpurg's 
"  Heytrdije,"  and  a  collection  of  the  opinions  of 
Remond  de  St.  Mard  on  the  same  subject.  Knm- 
ler  is  likewise  known  by  his  epi;;rams,  ode*, 
Bongs,  sacred  and  profane  cantatas,  especially  the 
sublime  one,  the  "  'I'od  Jesu,"  which  he  wrote 
for  Graun's  music,     lie  died  at  Berlin  in  1798. 

RAMOXEDA,  IGXAZIO,  a  Spanish  monk, 
and  conductor  of  the  music  in  the  royal  cloister 
of  St.  Lorenzo,  in  the  Escurial,  published  a  large 
work  on  Catholic  church  music,  under  the  fol- 
lowing title  :  "  Arte  de  Canto-  Llano  en  compendio 
breve,  y  methodo  muy  facil  para  que  los  particulares, 
que  de  ben  sabcrlo,  ndquieran  con  brevedod,  y  poco 
trahajo  la  intelliyencia  y  destreza  conveniente,"  Ma- 
drid, 1778. 

RAMPIXI,  D.  GIACOMO,  of  Padua,  was 
chapel-master  of  the  cathedral  in  that  town,  and 
was  equally  successful  as  composer  of  church 
and  theatrical  music.  Amongst  his  operas  are 
"  Armida  in  Damasco,"  1771  ;  "  Gloria  Trionfanle 
d' A  more,"  1712;  "  Ercole  sul  Termodonte,"  1715; 
and  "  II  Trionfo  detla  Costanza." 

RAMPOLLIXUS.  MATTHIAS,  an  Italian 
composer,  flourished  in  Florence  about  the  year 
1560.  He  set  to  music  almost  the  whole  of  Pe- 
trarch's sonnets,  and  dedicated  them  to  the  Arch- 
duke Cosmo  Medicis. 

RANDLES,  ELIZABETH,  the  lUik  Cambri- 
an prodiyy,  was  born  at  NN'rexhara,  in  Xorth 
Wales,  on  the  1st  of  August,  1800.  Her  father, 
who  was  organist  of  the  church,  was  blind,  and 
had  been  so  from  the  age  of  three  years  :  he  lost 
his  sight  by  the  small-po-ic.  His  parents  placed 
him  under  Parry,  the  celebrated  Welsh  harper, 
who  was  also  blind,  and  he  soon  made  great 
progress,  and  eventually  became  the  best  lyrist 
of  his  day.  Ho  had  several  chddren,  but  none 
of  them  betrayed  any  peculiar  talent  for  music, 
except  the  youngest  daughter,  who,  when  she 
was  but  sixteen  nvmths  old,  would  go  to  the 
piano-forte  and  endeavor  to  pick  out  a  melody ; 


but  no  particular  notice  was  taken  of  this,  until 
one  morning,  when  Mr.  Randies  (beii.g  unwell) 
remained  in  bed  rather  later  than  usual,  and 
heard  some  one  in  the  adjoining  room  play  "Th« 
Blue  Bells  of  Scotland  ;  "  not  very  correctly,  to 
be  sure,  but  distinctly  enough  for  him  to  recog- 
nize the  melody  immediately :  he  called  out, 
thinking  it  was  some  of  his  elder  children,  for 
them  to  desist,  when  he  was  informed  that  it 
was  Bessy  who  was  playing.  She  was  pennitted 
to  proceed,  and  she  actually  performed  the  air, 
by  striking  the  various  keys  by  the  side  of  her 
tiny  hand.  In  a  very  short  period  she  could 
play  several  simple  tunes,  and  so  wonderfully 
quick  was  her  ear,  that  when  her  father  sounded 
any  note  with  his  voice,  she  would  run  to  the 
instrument  and  touch  it :  this  she  did  long  be/ore 
she  could  speak. 

Mr.  Handles  became  of  course  exceedingly 
fond  of  her,  and  regularly  taught  her  the  melo- 
dy of  "  .-Ir  hyd  y  nos,"  or  "The  livelong  night," 
placing  her  left  hand  on  the  key  note.  This 
appeared  to  delight  her,  yet  she  did  not  seem 
satisfied  with  one  note ;  she  endeavored  to  strike 
others,  so  as  to  form  a  proper  ba.ss  to  the  treble  . 
her  father,  seeing  this,  (as  he  used  to  say,")  took 
some  pains  with  her,  and  she  soon  could  play 
this,  and  several  other  little  tunes,  treble  and 
bass,  in  a  very  correct  manner.  Xunn  and_ 
Staunton's  company  of  comedians  was  at  Wrex- 
ham in  the  summer  of  1802.  Staunton,  who  had 
often  heard  the  child  play,  requested  that  bet 
father  would  permit  her  to  perform  an  air  on  the 
stage  for  his  benefit.  Randies  consented,  and 
taught  her  "  The  Downfall  of  Paris,"  for  hei 
dehiU  in  public,  which  took  place  before  she  tras 
ttoo  years  old .'  The  important  night  arrived,  an 
instrument  was  prepared,  and  at  the  end  of  the 
play  the  Liliputian  minstrel  was  led  on  the 
stage  by  a  little  daughter  of  the  manager  :  the 
applause  from  a  crowded  audience  was  commen- 
surate with  the  novelty  of  the  scene.  Randies 
was  sitting  behind  the  scenes,  and  when  he  heard 
the  plaudits  of  the  audience,  cried  out,  while 
tears  trickled  down  his  face,  "  I  never  regretted 
the  loss  of  sight  till  this  moment.  O,  what 
would  I  give  to  see  my  darling  child  I  "  Bessy 
was  placed  at  the  instrument,  with  an  apple  on 
her  right  side,  and  a  cake  on  her  left,  both  of 
which  she  was  to  receive  if  she  j)layed  well.  She 
commenced,  and,  to  the  utter  astonishment  of  all 
present,  performed  the  air  with  the  greatest  cor- 
rectness, particularly  the  running  passages  in  the 
third  part ;  this  she  contrived  to  execute  with 
the  thumb  and  the  side  of  her  right  hand,  for 
her  utmost  stretch  could  not  compass  a  fourth. 

The  i)rogress  that  little  Bess  made  was  truly 
astonishing.      Parry   taught  her  the  notes   ana 
first  rudiments  of  music,  and   she  continued   to 
improve  so   rapidly,  and   to  jierfovm   with   such 
execution,   that  her  patrons  proposed  to  intro- 
duce   her   to   his   majesty    George   III.  and  the 
I  royal  family ;   accordingly,  when  she  was  only 
I  just  turned  of  three  years  and  a  half,  she  was 
brouglu  to  London,  accomiianied  by  her  father 
!  and  eldest  sister.     The  blind  minstrel  and  his 
;  infant  prodigy  were  introduced  to  their  majcs- 
,  ties  and  the  iirincesses,  who  were  highly  dclight- 
'  cd  with  their  performance.     The  king  presented 
'  the  child  with  a  hundred   guineas.     A  circum- 
stance occurred  during  this  visit  which  ougi     to 
■  be  recorded.     The  king  went  to  Randies,   tlta 

88 


RAX 


ENCYCLOP.EDIA    OF    MUSIC. 


HAN 


he  had  played  a  Welsh  air  on  the  harp,  aiicl 
said,  "  Ilah  !  blind,  blind  :  who  taiij^ht  you  to 
play : "  "  Mr.  Parry,  Sir  Wiitkin  William  Wynn's 
liarpcr,  and  please  your  majesty."  "  Ilah  I  why, 
he  was  blind  too.  1  remcniber  him  well ;  ho 
and  liis  son  used  to  perform  Ilaiulel's  choruses 
on  two  Welsh  harps  very  finely  before  me, 
nbovit  thirty  years  ajjo."  lliis  anecdote  will 
nerve  to  corroborate  many  others  which  have 
been  published  of  that  bovcreign's  retentive 
Hiemory. 

Shortly  alter  this  a  public  breakfast  was  given  at 
Ciiniberland  tiardens,  tor  the  benefit  of  Miss  Ran- 
dies :  tickets,  one  guinea  each.  No  less  tlian  five 
hundred  persons  of  the  fiiHt  rank  in  the  kingdom 
attended,  and  the  child's  performance  was  the 
admiration  of  every  one.  The  profits  of  the 
break. a;<t,  together  with  the  various  sums  of 
money  presented  to  MIrs  Randies,  were  vested  in 
the  funds,  in  the  names  of  trustees,  for  her  sole 
neneiit ;  and  in  order  to  accumulate  enough  to 
defray  the  exj  cnses  of  her  education,  it  was  rec- 
ummcnded  that  she  should  perform  at  the  prin- 
cipal provincial  towns  in  the  kingdom,  (^ueen 
Caroline,  then  I'rinccfis  of  Wales,  took  great  in- 
terest in  the  welfare  of  the  little  minstrel;  she 
was  invited  to  pass  a  few  days  at  Blackheath, 
where  she  was  introduced  to  the  Princess  Char- 
lotte, who  soon  became  very  much  attaihed  to 
her.  One  day,  while  amusing  themselves  in 
some  innocent  pastime,  the  Princess  Chailof  e 
said  to  Miss  Randies,  "  Do  you  know  that  my 
grandfather  is  King  of  England,  and  my  father 
is  Prince  of  Wales  r "  "  Well,"  ([uickly  rejilied 
Lessy,  "  and  my  father  is  organist  of  Wre.xhara." 

Having  been  furnished  plentifully  with  letters 
of  recommendation  to  all  parts  of  the  kingdom, 
Mr.  Rnndlcs  and  his  little  prodigy,  accomjianied 
for  a  long  period  by  Mr.  Parry,  made  a  very  ex- 
tensive and  jirofitable  tour.  The  "  Wandering 
Cambrians,"  as  they  were  denominated,  were 
exceedingly  well  rcceivccl  every  where,  anil  were 
invited  to  the  nobility's  mansions  which  were 
contiguous  to  the  towns  where  tliey  gave  con- 
ceits. Their  lerformantes  were  exceedingly  en- 
tertaining and  varied.  Randies  jilayed  the  harp 
cxnuisitely  ;  Eli/a  the  piano-foite  ;  Parry,  alter- 
nately, the  flute,  clarinet,  and  two  and  three 
flageolets.  They  sang  songs,  duets,  and  trios, 
l>.iriioularly  some  harmonized  Welsli  melodies,  in 
a  very  pleasing  manner. 

Miss  itandles  was  improving  daily,  and,  when 
only  six  years  old,  could  play  many  of  Dussek's 
brilliant  sonatas,  also  sing  several  difKcult  duets. 
Her  tasto  and  exi)ression  in  playing  an  adagio 
weie,  in  the  opinion  of  professional  men,  the 
most  cxtraorilinary  feature  in  her  periormance ; 
and  her  sight  reading  was  also  very  wonderful, 
so  much  so,  that,  when  trying  over  new  rousic, 
(that  her  latlicr  might  select  the  best  calculated 
tor  her,)  she  used  to  talk  and  jilay  away  at  the 
same  time.  Her  father  asked  her  one  day, 
•'  How  is  it,  liessy,  that  you  play  that  stronuc 
music,  and  yet  talk  all  the  while  r "  '•  O,  la- 
ther," said  she,  "  I  can  see  half  the  leaf  at 
once." 

Early  in  1808,  she  paid  London  another  visit, 
where  she  was  heartily  welcomeil  by  her  early 
friends,  and  a  concert  was  given  for  her  benefit 
at  the  Hanover  Stpiare  rooms,  under  the  dirc<.'tion 
of  '.he  honorable  John  Spencer.  Madame  Catnlnni, 
Uio    Vaughans,    Knyvitts,    Uiai^chi,    WcichseU. 


Lindley,  Kramer.  Xaldi,  &c.,  S;c.,  gave  their  power- 
ful aid,  giatuitously,  on  the  occasion.  .Sir  (J. 
Smart  conducted  the  performance.  The  room  wa* 
crowded.  As  Parry  was  desirous  of  residing  in 
London,  he  could  not  accompany  Mr.  Randies 
and  his  daughter  any  longer;  consequently  thev 
returned  home,  and  liessy  began  to  leain  the 
harp  ;  her  education  was  also  properly  attended 
to,  and  she  was  invited  to  pass  a  few  weeks  at 
the  houses  of  various  families  of  distinction  al- 
ternately, where,  mixing  with  polished  society, 
she  became  a  very  clever,  accomplished  girl. 
Many  offers  were  made  to  her  lather  by  different 
ladies  of  rank,  to  adopt  her  as  their  own.  The 
Princess  of  Wales,  in  i)articuhir,  was  very  anx- 
ious to  have  her;  but  the  poor  dark  father  would 
not,  m»y,  could  not,  part  with  her ;  she  was  the 
only  solace  of  his  life ;  she  read  to  him,  pii.yeJ 
for  him,  sang  to  him  ;  in  short,  he  could  not  e.\. 
ist  without  her  for  any  length  of  time.  Hei 
performance  on  the  piano-forte,  when  she  wa.-i 
about  fourteen  years  old,  was  quite  masterly ; 
she  also  soon  became  a  proficient  on  the  i)eiial 
harp ;  she  likewi.-.e  played  the  organ  regularly 
at  the  church,  antl  her  extempore  performance 
on  that  noble  instrument,  «  la  Wesley,  was  truly 
astonishing. 

In  hslS  she  paid  Ix)ndon  a  visit,  with  a  view 
of  taking  a  lew  lessons  on  the  harp  from  Di/.i, 
and  on  the  piano  from  Kalkbrenncr,  and  to  see 
(as  she  expressed  herself)  whether  she  could  find 
any  thing  new  in  the  art.  Roth  these  celebrated 
professors  paid  her  talents  the  highest  compli- 
ment; l)i/.i  in  particular,  after  i)lacing  before  her 
nil  the  ditKeult  pieces  ho  could  find,  and  heiu:- 
ing  her  execute  them  with  the  greatest  facility, 
said,  "O,  miss,  1  must  write  expre.sslv  lor  vou,"l 
Hnd." 

About  this  time  she  was  strongly  urged,  by  a 
select  number  of  families  at  Liverjwol,  to  make 
.t.-xt  town  her  residence,  they  engaging  to  Hnd 
her  as  many  pupils  as  she  might  leel  dis]iosed  to 
accept ;  after  many  arguments,  pro  and  con, 
with  the  jioor  father,  who  was  grown  very  ut  r-- 
V0U8  and  feeble,  she  was  at  length  permitted  to 
go,  provided  she  came  over  every  Saturday,  ami 
remained  with  him  until  the  Monday.  This  she 
continued  to  do  for  a  long  time,  though  the  dis- 
tance by  land  and  water  was  nearly  tweuty-fivo 
miles. 

Alter  their  father's  death,  the  daughters  re- 
moved to  Liverpool.  The  only  musical  instruc- 
tions Miss  Ranilles  ever  received  were  from  her 
father  and  I'arry,  with  the  exception  of  a  few 
lessons  from  Latour,  when  she  went  to  I>ondon 
in  180S. 

RAXZ  DES  VACHES.  Airs  of  much  ce- 
lebrity among  the  Swiss,  and  performed  by  their 
young  herilsniea  on  the  bagi)i])e,  while  they 
watch  their  Hocks  on  the  mountains.  There  ore 
many  of  these  airs,  some  of  wiiich  are  great 
favorites  with  the  mountaineers  of  the  .\lp»  ol 
Switzerland,  and  are  a<lBpted  to  be  playeil  upon 
a  kind  of  long  trum]>et  called  the  Alp  horn. 
The  sounds  of  these  times,  as  well  as  the  wordi 
which  are  set  to  them,  ore  cxpre>M«ive  of  the 
scenes  and  business  of  pastoral  liic :  the  hut,  the 
roaring  torrent,  the  l>ellowing  ol  the  cattle,  and 
the  tinkling  of  the  l>clls  which  are  •usjH.'nded 
from    their    nc  ks;    nnd    the  a.s*ociationH    whicii 

I  they  thus  recall  to  tlio  minds  of  the  nativM  wb«ii 

39 


RAP 


ENCYCLOPiEDIA    OF    MUSIC. 


RAU 


Ihey  are  in  foreign  countries,  often  produce  that 
uucon  [uerable  lon^;in^  for  home,  which  is  said 
to  have  been  espei'iiilly  remarked  nmon:;  the 
Siviss  soUliers  in  foreiijn  service.  Rousseau  re- 
lates that  the  Uauz  dcs  Vachu.s  were  so  dear  to 
the  iSwiss  in  flu-  French  ariuios,  that  tlie  bands 
were  forbidden,  under  pain  of  dciitli,  to  play 
ti:em  to  tlie  troops,  as  they  immediately  drew 
tears  from  them,  and  made  those  who  heard  de- 
sert, or  die  of  what  is  called  la  nuiladie  dii  pays  — 
so  ardent  a  de*iro  did  it  excite  in  them  to  return 
to  their  native  country.  Many  of  these  beautiful 
melodies  are  familiar  to  American  ears,  English 
words  having  been  set  to  them,  and  are  among 
our  most  pojjular  songs. 

ItAPIDAMENTE.    (I.)    Rapidly. 

R  API  DO.     (I.)     Rapid. 

UAPPEL.    Birdlike. 

RAOUL,  of  Laon,  flourished  in  the  eleventh 
century.  He  wrote  on  the  eemitone,  which  he 
called  I'aiiiC  dn  cliaiU. 

RA(~>Ui,,  N.  A  celebrated  French  violoncellist, 
published,  in  tiie  latter  part  of  the  last  century, 
an  instruction  bonk  for  his  instrument,  as  also 
Bome  practical  ivorks. 

RAPHAEL,  IGNAZ  WENZEL,  an  amateur 
musician,  resident  at  Vienna,  was  born  at  a  vil- 
lage of  IJohemia  in  17fil.  He  was  an  excellent 
pianist  and  a  very  plea.sing  singer ;  also  composed 
for  the  church,  theatre,  and  cliamber.  He  died 
of  consumption  in  1799,  in  the  thirty-eighth  year 
of  his  age.  Amongst  his  works  are,  for  the 
church,  a  "  Vafur  unier,"  and  "  'J'e  Deiim  lauda- 
tniis  ; "  both  these  compositions  are  considered 
sublime  and  full  of  genius.  For  the  theatre, 
"Das  ]'nilchen  Fest,"  ballet,  1795;  "Pygmalion," 
ballet ;  this  was  considered  enchanting  music  ; 
and  "  Virginia,"  melodrama.  For  the  chamber, 
many  favorite  songs  and  canons,  in  manuscript ; 
"Air^  tar. pour  Ic  Clav.,"  Op.  1,  Ottenbach,  179.5  ; 
"Six  Variatioiui  pour  le  Clav.,"  Vienna,  1796; 
"Two  Marches,"  1797;  "Lied  dcr  Freude  bey 
Aitkunft  des  Erzherzog  Carl  zu  Wien,"  Vienna, 
1799;  and  "  Aufruf  cities  Oesierrcichers,"  Vienna, 
1799. 

RASCH,  JOHANN,  a  church  composer  of 
the  sixteenth  century,  published  the  following 
works  at  Munich :  "  Canliunculte  Paschalcs," 
1.572  ;  "  Cantiones  Ecclcsiast.  de  Sativ.  Chrinti,  4 
roc,"  1572;  "In  Monte  Olivarum,"  \ol2;  and 
"  Sake  liegina,  G  voc.,"  1572. 

RASEL,  or  RASELIUS,  ANDREAS,  chapel- 
roaster  to  the  elector  palatine,  was  born  in  1583. 
He  published  the  following  works :  '•  Ilexac/ior- 
dum,  sice  qutrslioncs  mtisico"  practico',"  A^uiemher^, 
1539  ;  "  Teutschc  Sprtich  auss  Sonidglichen  Evangi- 
lien  durchs  gantze  Jahr  mil  5  S/im.  gesucht,  i:c.," 
Nuremberg,  1594  ;  "  Cantiones  Sacra,  5,  6,  8,  et  9 
roc,"  Nuremberg,  1595  ;  and  "  Reyensburgiscfwr 
Kirchcnmusik,  Ac."  This  last  book  is  a  collection 
of  Protestant  psalms  and  hymns  of  the  time  of 
Luther. 

RASETTI,  AMADEO,  an  Italian  professor  of 
the  harpsichord,  resident  at  Paris,  published 
there,  among  other  works,  "  Six  Sonatin,  p.  Ic  Clav. 
daiis  le  Style  d'ICckard,  llaydn,  Clt-menti,  Cramer, 
Steibelt,  et  .Mozart,  I'art.  I.  et  II.,"  Op.  7,  Paris, 
1792  ;  "  Premier  Iteciieil  de  liomances,  arec  Clav.," 
'  H'.   8,  Paris,  179!;    "  Potjmurri  nrranji  pour  le 


Clav.,  No.  21,"  Op.  9,  Paris.  1795 ;  "  Trois  Sonat 
pour  le  Clav.,  Ko.  1,  Solo,  Xo.  2,  avec  V.  et  B.,  No 
3,  avec  2  I'.,  A.,  el  13  ,"  Op.  10,  Paris,  1796; 
"  Trail  Trios  pour  le  Clav.,  Fl.,  ou  V.,  et  Vc."  Op. 
13,  Paris,  1799  ;  and  "  Six  Qual.  Cone,  pour  2  V., 
A.,  et  IJ.,"  Op.  7,  Paris,  1788. 

UASL  FRANCESCO,  an  Italian  composer, 
published  "  Madrigali,"  Venice,  1613. 

RATHE,  a  celebrated  clarinetist  and  composeT 
for  his  instrument  at  Paris,  in  the  latter  part  of 
the  last  century. 

R.\TIIGEI3iER,  VALENTIN,  a  Bentdictine 
monk  in  Franconia,  and  church  composer,  pub- 
lished numerous  works  between  the  years  1722 
and  17.30. 

RATTI,  B.\RTOLOMEO.  Chapel- ma.ster  at 
Padua,  and  church  composer,  in  the  beginning 
of  the  seventeenth  century. 

R.VUCII,  ANDREAS,  organist  of  a  town 
near  Vienna,  published  several  musical  works, 
amongst  which  are  "  Thymiaterium  Musicale,  Stc," 
Nuremberg,  l'i2o;  "  Concent  us  votivus,"  Vienna, 
1634  ;  "  Moietii,  deutsche  Conccrte  uud  Misse  von 
3  und  4  Stim.  mil  V. ; "  and  "  Currus  triumpha- 
lis  musicus." 

RAULT,  FELIX,  a  celebrated  French  flutist, 
was  born  at  Bourdeaux  in  1736.  The  following, 
among  many  other  of  his  works,  were  published  i 
"  7Voi.s  Duos  pour  deux  Fl.,"  Op.  1,  Paris,  1796: 
"  Trois  Duos  pour  deux  Fl.,"  Op.  2,  Paris,  1796; 
"  Deux  Concert,  pour  Fl.,  Xo.  1,  in  D,  Xo.  2,  in 
G,"  Paris;  "  Six  Duos  facil.  pour  deux  FL,"  Op. 
5,  Offenbach,  1797  :  "  .Six  Duos  pour  Deux  FL." 
Op.  6,  Paris ;  "  Six  Duos  pour  deux  FL,"  Op.  7, 
Paris  ;  "  Six  Duos  Concert,  pour  deux  FL,  Liv.  1 
et  2,"  Op.  8,  Paris,  1798  ;  and  "  .Six  Trins  pour 
deux  Fl.  et  Basson,"  Ops.  25  and  26,  Paris  and 
Offenbach. 

RAUPACH,  CHRISTOPH,  organist  at  Stral- 
sund,  was  a  celebrated  performer  and  composer ; 
he  was  born  in  the  duchy  of  Schleswick  in  1686; 
and  received  his  principal  musical  instruction 
from  his  father,  wlio  was  also  an  organist.  When 
he  had  attained  the  age  of  fourteen  his  father 
died,  and  young  Raupach  then  proceeded  to 
Hamburg,  where  he  continued  his  musical  edu- 
cation under  a  celebrated  organist,  named  Bron- 
ner.  After  passing  two  years  in  this  city,  he 
was  requested  by  hLs  brother  to  return  to  Ros- 
tock, and  to  become  a  candidate  for  the  place  of 
organist  at  Stralsund,  which  was  then  vacant. 
He  did  so,  and  obtained  the  appointment,  being 
then  under  seventeen  years  of  age.  His  success, 
however,  caused  no  relaxation  of  his  studies,  and 
from  that  period  he  composed  much,  and  wrote 
several  theoretical  works  on  music. 

RAU.-iCHELBACH,  JUSTUS  THEODOR, 
organist  at  Bremen,  was  a  pupil  of  Emanuel  Bach. 
He  published  .several  operas  of  piano-forte  music 
at  Leipsic,  subsequently  to  the  year  1789. 

RAUZZINI,  VENANZIO.  This  excellent 
musician  was  born  at  Rome,  in  1747,  and  wag 
dedicated  from  his  infancy  to  the  profession  of 
music.  At  an  early  age  he  had  acquired  consid- 
erable celebrity,  and,  while  a  very  young  man, 
w  as  engaged  as  a  jjrincipal  singer  at  the  opera  in 
^■ienna.  In  the  great  cities  of  (jcrmany,  this 
was  a  very  disiinguLshed  station;  and  hi  some 
of  the  petty  courts,  where  the  business  of  a  prim* 


r9a 


HA.V 


ENCYCLOPAEDIA    OF    MUSIC. 


RAW 


minister  consisted  chiefly  in  arranging  thearause- 
inenlis  of  Lis  master,  the  appointment  of  a  lead- 
ing singer  was  one  of  the  most  important  func- 
tions attaclicd  to  liis  high  office.  From  Vienna, 
Kauz/ini  was  induced  to  proceed  to  Munich, 
and  remained  several  years  in  the  Hcrvice  of  tlie 
Elector  of  IJavaria.  At  this  time  he  was  seen  hy 
Dr.  Burney,  in  whose  musical  tour  he  is  men- 
tioned ill  terms  of  warm  api)robation.  In  1774 
ho  was  enga;^ed  as  one  ot  the  principal  singers 
at  the  oiiera  in  London,  and  carried  with  him  to 
England  the  rijputation  of  being  the  best  per- 
fonuer  on  the  piano-forte  yet  seen,  iind  of  un- 
derstanding com;  osition  better  than  any  public 
finger  who  had  preceded  him.  Af.er  a  short 
reMidence  in  the  metropolis,  he  settled  at  Hath, 
where  he  formed  a  connection  with  La  Motte, 
ts  conductor  of  the  concerts.  The  imprudence 
of  tlie  lat;er  obliged  him  shortly  after  to  with- 
ilraw,  and  Kauz/ini  was  left  singly  in  the  con- 
cern ;  which  he  continued  to  conduct  from  that 
period,  with  the  greatest  credit  to  himself,  and 
most  per.ect  satislaction  on  the  part  of  the  pub- 
lic. In  private  lile,  few  men  were  more  esteemed  ; 
none  more  generally  bcloTed.  A  polished  vivaci- 
ty of  manners,  a  mild  and  cheerful  disposition, 
and  ;.  copious  fund  of  general  and  polite  infor- 
mation, rendered  him  an  attractive  and  agreea- 
ble companion.  Constitutionally  generous  and 
hospitable,  he  delighted  in  society.  His  natural 
gaj-cty  o:'  temper,  the  mode  of  his  education,  and 
an  imiirovidence  common  amongst  his  country- 
men and  those  of  his  profession,  occasionally 
involved  Ixim  in  ditficulties ;  but  his  principal 
embarrassments  were  occa.sioned,  early  in  life,  by 
the  a  Ivan'.ages  which  were  taken  of  his  inexpe- 
rience and  lacility.  As  a  scientific  musician, 
Kauzzini  long  ranked  amongst  the  first  in  Eng- 
land. He  was  the  composer  of  several  operas, 
and  of  a  great  variety  of  detached  pieces  of  ac- 
knowledged merit,  llis  taste  and  abilities  as  a 
teacher  were  unrivalled.  Some  of  the  first  per- 
formers have  ingenuously  avowed  the  benefit 
which  they  derived  from  liis  instruction  and 
advice  ;  and  the  public  will  acknowledge  its 
share  of  the  obligation,  since  Mara,  lUUington, 
Mountain,  llraham,  and  Incledon  may  be  named 
amongst  his  pupils.  Kauzzini  died  at  Kath,  in 
the  year  1810,  aged  si.xty-two.  At  his  funeral, 
ISraham  and  a  select  number  of  his  musical 
friends  were  chief  mourners. 

RAVA,  GAETANO.  A  Neapolitan  dramatic 
composer  in  the  latter  half  of  the  last  century. 

RAVAL,  SEBASTIAN.  A  Spanish  contra- 
puntist, resident  at  liomc  about  the  year  IGOO. 

RAVENSCKOFT,  JOHN.  A  violinist  and 
composer,  chiefly  of  hornpipes.  He  died  in 
London  about  the  year   174t5. 

R.WENSCROrr,  THOMAS,  an  English 
bachelor  of  music,  published  "  A  brief  Dis- 
course of  the  true,  but  neglected,  Use  of  charac- 
terizing the  Degrees  hy  their  I'erfection,  Irapcr- 
•ection,  and  Diminution  in  measurable  Musicke, 
against  the  common  Practise  and  Custome  of 
•.nese  Times,"  London.  Ifill;  also,  "The  whole 
Book  of  Psalraes,  with  the  Ilymnes  Evangelicall, 
and  Songs  Spiriluall,  composed  into  four  I'arts, 
by  sundry  Authors,  to  such  scverall  Tunes  a.* 
nave  beene  and  are  usually  sung  in  England, 
Pf  iland,    Wales,  Germany,  Italy,   France,    and 


the  Netherlands."  London,  1C21.  Tliese  psalm* 
are  all  arranged  for  four  voices.  Ravcnscroft  is. 
however,  now  better  known  as  the  composer  of 
the  popular  glee,  "  We  be  three  poor  mariners." 

K.WEZZOLl,  an  Italian  composer,  flourished 
towards  the  middle  of  the  eighteenth  century 
At  the  age  of  twenty-five,  he  was  nominated 
chapel-master  of  St  Peter's  at  Kome,  alter  a 
contest  with  many  conijietitors  ;  who,  to  revenge 
themselves,  procured  a  female  to  be  introduced 
in  the  Vatican,  where  Uavczzoli  professionally 
resided,  and  where  no  woman  was  allowed  to 
enter.  Ho  was  then  informed  against,  and  im- 
prisoned in  the  Castle  of  St.  .Vngelo.  ITierc,  in 
the  midst  of  his  violent  chagrin,  be  made  the 
words  and  composed  the  music  of  a  duet  expres- 
sive of  his  wretched  situation,  and  wrote  it  on 
the  wall  of  his  prison  with  a  piece  of  charcoal 
\  copy  of  this  composition  was,  according  t5 
the  editors  of  the  French  "  Dictionary  of  Mu- 
sicians," in  the  possession  of  Barni,  the  violon- 
cellist, in  1811.  After  Kavenzoli's  death,  the 
female  who  had  been  placed  in  the  Vatican  con- 
fessed that  he  had  been  made  the  victim  to  the 
jealousy  of  his  rivals. 

RAVVIVANDO.  (I.)  Reviving,  reanimat- 
ing, accelerating  ;  as,  ravvivando  il  tempo,  an- 
imating or  (luickening  the  time. 

RAWLINGS,  THOMAS,  an  Engli.sh  musi- 
cian, was  boni  about  the  year  1703.  He  i)er- 
formed  at  almost  all  Handel's  oratorios,  operas, 
iS:c.,  and  was  a  scholar  of  the  celebrated  Dr.  Pe- 
pusch. 

RAWLINGS,  ROBERT,  son  of  the  preceding, 
and  born  in  174"2,  wa.s,  at  the  early  age  ot  seven- 
teen, appointed  musical  page  to  the  Duke  of 
York,  and  organist  of  Chelsea  College.  He  re- 
ceived hLs  first  musical  tuition  under  hLs  father, 
and  subsc.iucntly  studied  under  an  old  Italian, 
named  Barsanti,  at  that  time  in  En'.;land,  and 
who  \vas  considered  a  very  celebrated  theorist. 
He  travelled  on  the  continent  during  nine 
years  with  his  master,  and  until  his  death ;  on 
which  event  taking  place  abroad,  Kawlings  re- 
turned, and  resumed  his  musical  career,  entering 
the  king's  band,  which  appointment  was  given 
him,  personally,  by  his  majesty  (ieorgc  III.  He 
was  also  elected  one  of  the  uueen"s  private  band. 
He  died  in  the  year  1814. 

R.VWLINGS,  THOMAS  A.,  son  of  the  pre- 
ceding, was  boni  in  177o.  He  received  his  ear- 
liest in.structions  in  music  under  his  father,  who, 
on  his  son's  attaining  the  age  of  about  seven, 
began  to  teach  him  music,  without  bavins,  in 
the  first  instance,  any  idea  of  making  it  the  boy'« 
profession.  When  young  Rawlings,  howev<-:-, 
was  in  his  thirteenth  year,  his  father  e\pres,Hcd  i« 
wish  that  he  should  .study  music  with  a  view  to 
the  profession ;  and  this  arose  from  hi-i  perceiv- 
ing in  the  lad,  about  that  time,  no  common 
genius  for  the  art.  His  i\oxl  anxiety  was  to 
select  one  of  the  first  masters  in  tlie<>ry  for  him  ; 
and  ho  was  doubtful  whether  to  fix  on  Baum- 
garton,  a  man  of  known  celebrity,  or  Dittcnhof- 
er,  also  a  very  eminent  theorist,  but  finally  deter- 
mined upon  the  latter.  Young  Kawlings  then 
continued  to  jirosecutc  his  studies  with  attention 
for  seven  years,  during  which  period  ho  run.- 
posed  some  music  for  the  Profeiwional  ConccrU 


791 


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EXCYCLOP-EDIA    OF    MUSIC. 


KEC 


(hat  was  received  with  distinguished  applause ; 
M  much  so,  that  he  wa«  eren  engaged  by  the 
committee  lor  the  concert  to  compose  a  quartetto 
expresclr  for  their  performances  in  the  following 
Miaaon.  Instrumental  music  not  being  at  that 
time  much  patronized,  Kawlings  discontinued 
,.._;.;.  ..  ..^  performed  on  the  violin  and  nolon- 
'■  Op»era,  Ancient,  Vocal,  and  all  the 
;.■  .'t«.  including  the  City  and  Philhar- 

momc,  aivj  giving  instruction  on  the  piano,  vio- 
lin, and  thorough  baas.  We  should  mention 
that  durins  the  period  he  was  under  Dittenhofer, 
the  celebrated  Haydn  visited  England,  for  Salo- 
mon's concerts,  when  Rawlings  had  the  honor 
of  being  introduced  to  him  by  his  master,  who 
was  on  terms  of  great  intimacy  with  Haydn. 
Kawlings  had  now  several  opportunities  of  wit- 
nessing the  scoiing,  by  Haydn,  of  some  of  his 
celebrated  symphonies.  The  first  piano- forte 
piece  composed  by  Rawlings  was,  we  believe, 
"No.  10  of  the  National  Melodies,"  (published 
by  ChappeU. )  rrhich  met  with  very  great  success ; 
so  much  so  as  to  induce  him  to  continue  writing 
for  the  piano,  .\mong  the  best  of  his  produc- 
tions are  the  following:  "The  Bugle,"  (Flute 
ad  lib.,)  "Spring,"  "  >Iay  Day."  "/.?»  PlaUir* 
rf«  la  Cfuix$e,"  "  Le  Retfntr,"  (Fliite  ad  lib.,)  "  The 
Wreath,"  duet ;  "The Bouquet,"  duet;  "Kelvin 
iJTOy^"  (Flute  ad  lib.) ;  "  Aun/ra  ah  Soryerai ;  " 
"  '^'^/nctrto  di  Camera,  with  Acctx.  for  Flute,  two 
\'.'itt,  Teiior,  atid  ViolonceUo ; "  and  se^-eral 
others  of  minor  consideration. 

RAWLINS,  JOHN,  an  English  clergy-man, 
published,  in  177.3,  a  work  entitled  "  The'Pow- 
er  of  Musick,  and  the  particular  Influence  of 
Church  Musick :  a  Sermon  preached  in  the 
Cathedral  Church  of  Worcester,  at  the  Anniver- 
sary Meeting  of  the  Choin  of  Worcester,  Here- 
ford, and  Gloucester." 

RAYMONT,  a  French  poet  and  composer, 
brought  out  at  the  Theitre  Beaujolois  in  Paris, 
pre^-iou«ly  to  the  year  17S8,  the  following  operet- 
tas, of  which  he  wrote  both  the  words  and  mti-tic, 
with  the  excejjtion  only  of  the  words  of  the  la.st 
Tiamed  :  "  L' Amateur  de  itmique,"  "  L'Amant 
6cho,'  "  Anacrecm,"  "  L'Armoire,"  "  Le  Chetalier 
de  Letiyny,"  and  "  Le  Braconier." 

RA'i'ilUN'DU.S,  VICTORirS,  a  composer  of 
the  sixteenth  centurv,  published  at  Venice,  in 
1.'584,  "  Mute,  3  d  o  Voci,  Uh.  1." 

RE,  BENEDETTO.  An  Italian  contrapunUst, 
about  the  year  1.590.  Bonometti  has  preserved 
»ev<!ral  of  lie's  motets,  in  his  "  Panuus.  Ma*. 
Fn  dinanH  ■" 

RE,  OILSEPPE.  An  Italian  dramatic  com- 
poser, bom  at  VerccllL  His  works  bear  date 
«ince  the  year  1783. 

RE.  The  syllable  applied  by  Ouido  to  the 
second  note  of  his  hexachords.  In  the  natural 
hexachord,  it  is  expressed  by  the  letter  D.  It  is 
the  second  syllable  in  the  diatonic  scale  —  Do, 
JU. 

READ,  RIC1L\RD.  An  English  church  com- 
poser and  bachelor  of  music,  about  the  year 
\b'Jl. 

RE.VDING.  JOHN,  a  pupil  of  Dr.  Blow,  was 
1*7  vir.ar.  and  also  master  of  the  choristers,  in 
the  cathedral  church  oi  Lincoln.  Removing 
from  thence,  be  became  orj^anist  of  the  parish 


church  of  St.  John,  Hackney,  and  afterwards  of 
St.  Dunstan  in  the  West,  and  St.  Mary  Wool- 
noth,  London.  He  published,  towards  the  end 
of  the  seventeenth  century,  a  collection  of  an- 
thems of  his  own  composition. 

1 

1  REBEC.  A  Moorish  word,  signifying  an  in- 
strument with  two  strings,  played  on  «-ith  a  bow 
The  Moors  brought  the  Rebec  into  .Spain  ;  whenc* 
it   passed  into  Italy,  and  after  the  addition  of 

1  a  third  string,  obtained  the  name  ot  Rebecca , 
whence  the  old  English  Rebec,  or  fiddle  with 
three  strings.  For  the  lively,  as  we'.i  as  rural 
character  of  this  in.strument,  we  have  the  testi- 
mony of  Milton  and  other  authors. 

REBEL,  JEAN  FERRY.     A  French  violin- 
ist, and  composer  of  light  music  for  his  instru- 
:  ment,  in  the  early  part  of  the  last  century. 

I  REBEL,  FRANCOIS,  son  of  the  preceding. 
,  bom  at  Paris  in  1701,  was  superintendent  of 
}  the  royal  music,  and  director  of  the  opera  at 
Paris.  In  conjunction  with  his  intimate  friend, 
F.  FranctEur,  he  brought  out  the  following  ope- 
ras at  the  Roval  Academv  of  Music  :  "  Pyrame 
et  ThUbi,"  1726  ;  "  Th'yrtu  et  ZiUe,''  1728  ; 
"  Scanderberg,"  1735;  "  Le  Ballet  de  la  Paix," 
17.38:  "  Le*  AuffuMaltJi,"  prologue,  1744;  "  Ze- 
tindor  et  hmine,"  17-4o  ;  "Let  Oinien  Tutilairet," 
17-51  ;  and  "  Le  Prince  de  Soity,"   1700. 

REBELLO,  JOAO  SOARES,  or  JOAO 
LOURENCO.  A  celebrated  Portuguese  com- 
poser, bom  at  Caminha  in  1603.  When  in  his 
fifteenth  year,  he  entered  the  service  of  the  royal 
hou.se  of  Braganza.  His  compositions  were  re- 
plete with  fire  and  energy.  Rebello  died  near 
Lisbon  in  1661.  Many  of  his  manu-Krript  c-om- 
positions  are  in  the  Royal  Musical  Library  at 
Lisbon  ;  and  amongst  his  public  works  Is  "  Ptal- 
mi  turn  Vetperarum  turn  Corapletorii.  Item  Mn/J- 
nificat,  LnmetUaiionen,  et  ititerere,"  Rome,  16-57. 
This  work  is  in  seventeen  volumes,  large  quarto. 

REBELLO,  MANOEL  a  celebrated  Portu- 
guese composer,  and  chapel-master  at  Evora,  and 
bom  at  .-Vviz,  in  the  province  of  Transtagana, 
flourished  about  the  year  162-5.  Many  of  his 
masses,  motets,  &c.,  are  in  the  Royal  Musical 
Library  at  Lisbon. 

REBER,    NAPOLEON    HENRL   a    distin- 

gulshe<l  French  composer,  was  bom  on  the  Up- 
per Rhine  in  1807.  In  1828  he  went  to  the  Con- 
servatory at  Paris,  and  studied  under  Rcicha, 
Lesueur,  and  others.  .Since  183-5  ReSer  has  dis- 
tinguished himself  by  the  composition  of  sympho- 
nies, quintets,  quartets,  &c. ;  and  more  recently 
by  several  o])eras  for  the  Opera  Comique,  aa  '•  Le 
Suit  de  SOel,"  "  Le  Ptre  GaiUnrd,"  \:c.  In  De- 
cember, 18-53,  he  was  elected  a  rce.iiber  of  die 
French  Academy,  in  the  place  o:  Onslow,  da- 
ceased. 

RECHE.\T.  An  old  term  applied  by  lurte- 
men  to  the  series  of  notes  which  they  wind  on 
the  horn,  to  call  back  the  hound-  Irom  a  false 
scent,  when  they  hare  lost  their  game 

RECHERCHE,  (F.)  Research.  The  name 
formerly  given,  by  the  French,  to  a  certain 
kind  of  cadence,  in  which  the  jcrformer,  by 
some  extemporaneous  prelude,  leidi  the  ear  to 
the  subject  and  style  of  the  p!e<;c  he  is  g6ing  to 


ITic  Italians  call  rechercUes,  or  cadenct*, 


792 


REO 


ENCYCLOPAEDIA    OF   MUSIC. 


REC 


those  arbitrii,  or  points,  introduced  by  the  singer, 
■ccording  to  his  tancy  and  genius,  while  the  ac- 
companiment cea-;c8,  and  from  which  he  returns, 
at  his  pleasure,  to  the  subject  matter  of  the  air. 

RECITAL.  Formerly  the  general  name  for 
sny  perfonuancc  with  a  single  voice,  but  at  pres- 
ent only  ai)plied  to  recitative. 

RECITAXTE,  or  RECIT.\NDO.  (I.)  In  the 
style  of  a  reeitative  ;  or  declamatory. 

RECITATIVE.  \  species  of  musical  recita- 
tion, forrain;;  the  medium  between  nir  and  rhe- 
torical dcchuuntion,  and  in  which  the  comjioscr 
and  performer,  reiei'tinj;  the  rigorous  rules  of 
time  endeavor  to  imitate  the  inflections,  accent, 
and  empha.sis  of  natural  speech.  Recitative  (so 
calle<l  because  its  true  province  lies  in  narration 
ai  1  recital)  was  first  introduced  in  the  year 
16G0,  by  Erailio  del  Cavalierc,  at  Rome;  and 
was  so  powerfully  recommended  by  its  effect  as 
to  be  speedily  adopted  in  other  parts  of  Italy, 
and,  by  degrees,  through  the  rest  of  Europe,  llie 
force  and  beauty  of  this  species  of  composition 
will  ever,  in  a  considerable  degree,  depend  on  the 
character  of  the  language  in  which  it  is  used ;  as 
that  is  more  or  less  accented  and  melodious,  so 
the  more  or  less  natural  and  striking  will  be 
the  etl'ect  of  the  recitative.  The  ancient  Greeks, 
whose  language  itself  was  melody,  recited  all 
their  poetry  in  a  kind  of  recitative ;  and,  from  the 
musical  tones  of  their  syllables,  they  could,  as  it 
were,  sing  in  speaking.  But  all  the  modern  lan- 
guages, not  excepting  even  the  Italian,  are  too  dis- 
tant from  that  musical  sweetness  to  admit  of  that 
melodious  intonation,  and  we  are  conset|Ucntly 
obliged  either  to  sing  or  to  speak  ;  we  cannot,  as 
it  were,  do  both  at  the  same  time.  .\nd  it  is  this 
distinction  which  has  rendered  recitative  or  arti- 
ficial declamation  so  necessary  to  the  modems ; 
the  transition  from  air  to  natural  speech  would, 
in  our  oratorio,  serious  opera,  or  cantata,  be  too 
abrupt,  not  to  offend  and  disgust  the  ear.  There 
is  no  province  of  musical  composition  in  which 
genius  and  science  have  an  ampler  scope  for  their 
fairest  and  fullest  display  than  in  recitative, 
upon  suci  ess  in  which  connoisseurs  more  highly 
reckon,  because  they  know  there  is  none  in  which 
excellence  Ls  more  ditKcuIt  of  attainment.  In 
Italy  it  is  sufficient  to  excel  in  recitative  to  be 
rankoil  with  the  most  illustrious  of  their  com- 
posers ;  and  some  masters  have  been  immortal- 
ized for  their  talents  in  this  species  of  writing. 
Rut  however  highly  we  may,  with  justice,  reckon 
xjpon  the  beauty  and  value  of  good  recitative ; 
though  it  is  nothing  less  than  a  species  of  un- 
measured melody,  highly  impo-ssioned  and  strong- 
ly expressive,  and  forms  a  union  between  the  air 
and  the  words  at  once  gratifying  to  the  ear  and 
consonant  to  the  feeling,  and  always  introduces 
the  song  by  which  it  is  succeedc?d  with  a  height- 
ened and  interesting  effect ;  yet  it  ought,  never- 
theless, to-  be  sparingly  employed,  and  should 
never  continue  longer  at  a  time  than  the  context- 
ure and  business  of  the  scene  absolutely  demand. 
Most  vocal  composers,  from  Emilio  down  to  those 
of  the  present  day,  do  not  appear  to  have  been 
sufficiently  attentive  to  the  necessary  brevity,  nor 
cufficiently  aware  that,  however  beautiful  and 
interesting  recitative  may  be  in  itself  when  duly 
limited,  it  becomes  wearisome  the  moment  it  ex- 
ceeds  a  certain  length  ;   and   by  previously  fa- 

100  ; 


tiguing  the  attention,  not  only  enfeebles  its  own 
intended  effect,  hut  defeats  the  grand  object  of 
advantageously  preparing  the  ear  for  the  ap- 
proaching melody. 

Recitative  is  a  sort  of  artificial  declamation, 
adapted  to  nuisical  notes,  by  which  means  it 
forms  a  kind  of  medium  between  ordinary  reci- 
tation and  measured  air  or  song.  It  is  generally 
met  with  in  Italian  operas,  serious  or  comic; 
in  oratorios,  masses,  and  other  sacred  compo- 
sitions ;  in  serenatAs,  cantatas,  Jtc,  and  other 
])iece8.  consisting  of  several  movements,  in  which 
only  music  is  employe<l.  It  ser\'es  to  connect  the 
dirtcrent  situations,  scenes,  .Vc.,  and  to  narrate 
sentiments  and  events  pa.st,  present,  and  to  como. 
It  is  always  written  in  common  time  of  fo>u 
crotchets  in  a  bar.  The  lengths  of  the  notes,  as 
given  bv  the  composer,  are  merely  ai>proximn- 
tions  ;  they  are  executed  by  the  singer  ab-olutely 
according  to  his  fancy  ;  sometimes  long,  some- 
times short ;  sometimes  in  a  hurried  and  im|)as- 
sioned  style  of  delivery;  sometimes  in  one  that 
is  tranquil  and  sedate,  according  to  the  passioiw 
expressed  by  the  words,  and  to  the  singer's  con- 
ception of  tiiein.  Recitatives  are  not  written  in 
any  fixed  or  permanent  key ;  indeed,  they  gener- 
ally begin  in  one  key  and  conclude  in  another, 
modulating  frequently  and  at  will.  'Die  signa- 
ture is  generally  that  of  C,  though  the  key  in 
which  the  recitative  actually  begins  is  frequently 
influenced  by  that  of  the  preceding  movement ;  as 
is  that  in  which  it  concludes,  by  the  key  of  the 
movement  which  immediately  follows  it.  Tlie 
laws  of  prosody,  as  to  long  and  short  syllables, 
accent,  emphasis,  punctuation,  &c.,  must  always 
be  strictly  attended  to.  In  recitatives,  the  words 
are  never  re])eated,  and  only  one  note  is  -ung  to 
each  syllab'e.  All  grace  notes  and  embellish- 
ments are  of  course  excluded  by  this  rule,  ex- 
cept, in  some  highly  impassioned  situations,  an 
occasional  rapid  flight  of  notes,  or  voliUinn,  may 
be  introduced  to  connect  distant  intervals.  No 
positive  rules  can  be  assigned  for  singing  recita- 
tive. The  singer  must  study  to  ex])rcss  with  en- 
ergy and  propriety  the  imjiassioned  feclin-.rs  con- 
veyed by  the  words.  All  that  the  voice  recitei 
in  any  one  i)hra.se  must  belong  to  a  single  chord. 
He  must  never  recite  on  a  chord  not  heard  pre- 
viously or  indicated  at  the  very  moment  of  the 
change  by  the  accompaniment ;  for,  as  the  voice 
passes  from  one  chord  to  another,  it  is  the  pecu- 
liar province  of  the  accompaniment  to  support 
a)id  assist  it.  A  nimple  or  plain  recitative  is  gen- 
erally written  with  no  other  accompaniment  than 
a  bass  part,  of  which  the  notes  arc  figured,  so  is 
to  indicate  the  chords  upon  which  the  recitative 
is  constructed.  'Hie  hanuony  thus  indicated  is 
generally  played,  on  a  piano-forte,  by  striking  the 
chords,  when  changes  in  them  occur,  (juite  thort 
and  plain,  or  occasionally  also  by  aqieggioing 
them.  In  the  Italian  opera,  oratorios,  and  other 
public  jierformances,  the  violoncellos  al^o  take 
the  chords  in  arjieggio  to  make  them  more  sen- 
sible to  the  singers  and  to  the  audience.  In 
sacred  music,  long  holding  notes,  as  semibrcves 
and  minims,  arc  sometimes  given  to  the  principal 
instruments  of  the  orchestra  ;  these  are  generally 
held  on  from  one  chord  to  another,  when  this  is 
possible  ;  sometimes  quickly  reitcrateil  or  trrmo't 
notes  are  used  in  place  of  holding  notes.  In  al< 
these  cases,  howe^•er,  no  regular  time  or  mensur* 
is  observed  ;  all  depends  on  rules  of  prosody  aod 
03 


Rr:c 


ENCYCLOl'.EDIA   OF  MUSIC. 


■REB 


tlie  fancy  of  tlie  singer,  to  whom  the  orchestra  is  !  REDI,  FUAXCESCO.  A  celebrated  Italiar 
wholly  suhservient.  The  jjhra-ies  of  simple  reci-  singer,  towards  the  end  of  the  seventeenth  coii- 
tativcs  are  often  interrupted  by  short  sympho-  tury.  In  170)  he  established  a  singing  school  al 
nies,  or  rifornelii,  given  to  the  orchestral  or  piano  Florence,  which  afterwards  became  vcrv  cele- 
accoiupaninicnt.  Tlicse  interjected  passages  gen-  !  brated.  Amongst  the  eminent  pupils  of  this 
eraMy  consist  of  fragments  of  measured  air  or  school  was  Vittoria  Tesi. 
melody,  or  of  short  and  striking  descrijitive  pas- 


sages clothed  in  regular  rhythm.  Recitatives  of 
this  sort  are  said  to  be  oh'i;/ id,  or  ucompanied. 
As  soon  as  any  one  of  these  intermediate  frag- 
ments is  concluded,  the  recitative  is  again  written 
in  1  time,  and  declaimed  in  the  same  irim  man- 
ner as  before. 

KECITATRT;  accompanied,     a  recita- 


KEDOWA.  A  slow  and  graceful  dance  in 
triple  time. 

UEED.  The  little  movable  tube  attached  to 
the  mouth  of  a  hautboy,  bassoon,  or  clarinet, 
and  through  which  those  instrumonts  are  blown. 
Also  the  name  given  by  organ  builders  to  a  kind 
of  tonffiie.  consisting  oi'  a  thin,  narrow  )date  of 
brass,  and  which,  being  fixed   to  one  end  of  an 


live  is  said  to  be  accompanied  when,  besides  the     organ  pi|,e,  is  ])ut  iuto'a  vibratory  motion  bv  t'.  e 
ba-3,  there   are  pnrU  for  other    instruments,  as  1  action  of  the  wind,  and  produces  a  itedy  liuvk- 


Ti^.ii'.s,  hautboys,  Hutes,  Jtc.  When  the  recita- 
tive IS  measured,  i.  e.,  performed  to  the  rules  of 
time,  the  accompanists  have  only  to  observe  those 
rules ;  but  when  unmeasured,  as  recitatives  gen- 
erally arc,  the  instrumental  performers  take  for 
the  guide  of  their  time  the  syllabic  i)rogress  of 
the  singer;  for  which  purpose  the  words  as  well 
as  the  notes  of  the  vocal  part  are  written  in  their 


ness  of  tone.     Those  stops  of  an  organ  which  con- 
sist of  pipes  so  furnished  are  culled  reed  slops. 

UEEDV-TOXED.  Said  of  any  voice,  the 
quality  of  which  partakes  somewhat  of  the  toni) 
of  the  reed. 

REEL.  A  lively  Scotch  dance,  generally  \\Tit- 
ten  ill  common  time  of  four  crotcliets   in  a  bar, 


books,  on  separate  staves,  under  the  notes  of  the     but  sometimes  in  jig  time  of  six  quavers. 


accompaniment. 

RECITATIVO  SECCO,  or  PARLAXTE.  (I.) 
Simple  recitative,  or  recitative  unaccompanied. 
See  REciTATn'E. 


(I.) 


RECITATIVO      IXSTROMEXTATO. 
Accompanied  recitative. 

RECLAME.     (F.)     The  song  of  a  bird. 

RECLAMER.  (F.)  To  sing  in  imitation  of 
a  bird. 

RECOMPOSED.  Composed  again  ;  as  MU- 
ton's  "  Masque  of  Comus,"  originally  set  to  mu- 
sic by  Henry  Laws,  was  afterwards  reset,  or  re- 
composed,  by  Dr.  Arne. 

RECORD.  Among  bird  fanciers  this  verb  is 
used  to  signify  the  first  essays  of  a  bird  in  sing- 
ing. Bullfinches,  and  some  other  birds,  are 
taught  to  sing  with  a  kind  of  flageolet,  called  a 
recorder. 

RECORDER.  An  old  wind  instrument  some- 
what resembling  a  flute,  but  of  a  smaller  bore 
and  shriller  tone.  It  is  said  to  have  had  six  holes, 
and  to  have  answeied  to  the  tibia  minor,  or  fla- 
geolet of  Mersennus.  This  instrument  has  been, 
by  some  musical  authors,  confounded  with  the 
flute  ;  and  we  meet  with  old  books  of  instruction 
for  the  flute,  the  directions  of  which  arc  also  pro- 
fessedly given  for  the  recorder. 

RECTE.  (L.)  A  word  signifj-ing  fortcards, 
and  particularly  pertaining  to  the  canon. 

RECTOR  CIIORI.  (L.)  ITie  director  or  reg- 
ulator of  choral  pcrfonnances. 

REDITTA.  (I.)  The  same  as  repeat,  replica, 
rep/icato,  and  reprcsa ;  all  which  signify  that  wc 
ar*!  to  repeat  the  strain,  or  movement,  over  which 
it  IS  written. 

REDFORD,  JOIIX,  organist  and  master  of 
the  choristers  at  .St.  Paul's  Cathedral  in  London, 
about  the  year  1.543,  is  proved  to  have  been  a 
good  contrapunti'it  by  one  of  his  four  part  an 


REDOURLED.  An  epithet  applied  to  any 
simple  interval  carried  into  its  octave ;  as  the 
thirteenth,  composed  of  a  sixth  and  octave,  is  i\ 
redoubled  sixth  ;  and  the  fifteenth,  containing 
two  octaves,  is  a  redoubled  of  tave  To  find  the 
Bimi)le  of  any  redoubled  interval,  wc  must  throw 
out  seven  as  often  as  the  compound  will  admit, 
and  the  remainder  will  be  the  name  of  the  sim- 
ple interval ;  as  seven  thrown  out  from  thirteen 
leaves  the  simple  interval  of  a  sixth,  and  twice 
seven  taken  from  fifteen  leaves  that  of  a  second. 

REDUNDANT  KIND.  An  interval  greater 
than  that  of  the  major  third,  and  fonning  a  pass- 
ing chromatic  to  the  fourth. 

REDDOLEXDO.  (I.)  To  be  performed,  bv 
voice  or  instrument,  in  a  soft  and  pleasing  style. 

REEVE,  WILLIAM,  was  born  in  London  in 
1757.  He  was  not  originally  intended  for  the 
profession  of  music.  Ilis  father  i)laced  him  as  a 
writer  to  a  law  stationer.  He  did  not  long  con- 
tinue in  this  employment,  but  became  a  pupil  of 
Richardson,  organist  of  St.  James's  Church,  West- 
minster, who  instructe<l  him  in  the  principles  of 
music.  After  his  education  was  completed,  he, 
in  1781,  accepted  the  appointment  of  organist  at 
I  Totiiess,  in  Devonshii-e.  In  this  situation  he 
I  continued  about  two  years,  when  he  had  the 
I  offer  of  an  engagement  from  the  Astleys,  to  com- 
pose music  for  the  pantomimes  and  dramatic 
spectacles  exhibited  at  tlieir  theatres.  On  this 
he  returned  to  London,  and  continued  for  several 
years  in  their  employment.  lie  was  also  foi 
some  time  an  actor  at  the  regular  theatres,  and 
in  the  year  1789  is  stated  to  have  performed 
the  Grinder,  in  "  llie  Enraged  Musician,"  at 
the  little  theatre  in  the  Hayiuarket,  with  con- 
siderable a])i)lause.  Wliilst  the  jiantomimc  of 
"  Oscar  and  Malvina  "  was  in  preparation  at  Co- 
vent  Garden  Theatre,  a  disagreement  took  placs 
between  the  managers  and  Mr.  .Shield,  in  conse- 
quence of  which  that  gentleman  was  induced  tc 
send  in  his  re>ignation.  Reeve,  at  that  time  a 
thems,  ))ublished  by  Sir  John  Hawkins  in  the  |  chorus  singer  in  the  same  theatre,  was  requested 
first  voluue  of  his  history.  |  to  complete  the  piece  by  writing  an  overture  and 

7S4 


R£E 


ENCYCLOPEDIA    OF    MUSIC. 


HBO 


■omeof  the  vocal  music.     The  public  were  pleased  f      llEEVKS,  J.  SIMS,  the  tenor,  i«  of  a  musical 


with  his  efforts,  and  from  thin  period  lie  became 
a  successful  dramatic  composer.  About  the  year 
1792  he  was  elected  organist  of  the  Church  of 
St.  Martin,  Ludgatc,  which  situation  he  resigned. 
He  w.is  also  a  joint  proprietor  at  .Sadler's  Wells ; 
and,  by  his  indu-'try  and  abilities,  aci^uired  a  con- 
siderable independence. 

Kccve's  chief  forte  was  in  the  composition  of 
comic  sonp;s,  and  in  these  he  was  eminently  suc- 
cessful. His  pieces  for  the  theatre  are  very 
numrvous,  and  are  principally  as  follows  :  •'  Os- 
car and  Malvina,"  pantomime,  1791  ;  "  Orpheus 
and  J'Uirydice,"  1792  ;  "  Apparition,"  musical 
drama,  1794;  "British  Fortitude,"  musical 
drama,  1794;  "Hercules  and  Omphalc,"  panto- 
ininu",  1794;  "Merry  .Sherwood,"  pantomime, 
179.5;  "Harlequin  and  Oberon,"  ])antomime, 
1796;  "  llantry  13ay,"  musical  interlude,  1797; 
"  Hound  Tower,"  1797  ;  "  Joan  of  Arc,"  histori- 
cal ballet,  1798;  "Embarkation,"  musical  enter- 
tainment, 1799;  "Harlequin  Almanac,"  1801; 
"  faravan,"  musical  romance,  1803  ;  "  The  Dash," 
musical  farce,  1804  ;  "  White  Plume,"  musical 
romance,    1806  ;  "  An   Bratach,"  ISOI  :    in   con- 

i 'unction  with  Mazzinghi,  he  composed  "  Kamah 
Jroog,"  comic  opera,  1798;  "Turnpike  (iate," 
1799;  "Paul  and  Virginia,"  1800.  He  also 
wrote  part  of  the  music  in  the  "  Cabinet,"  1802 ; 
"Thirty  Thousand,"  1804;  "  Kais,"  1808; 
"Tricks  upon  Travellers,"  1810;  and  "  Outside 
Passengers,"  1811.  Reeve  also  published  a  work 
entitled  "'ITie  Juvenile  Preceptor,  or  Entertain- 
ing Instructor;  a  complete  and  concise  Intro- 
duction to  the  Piano-tbrte,  with  twenty-four  Les- 
sons and  four  easy  Duets." 

KEEVE,  COTTON,  is  a  native  of  Norwich, 


family.  He  hiLS  created  the  greatest  sensation  of 
any  tenor  since  the  days  of  Braham.  He  ha* 
three  sisters  and  a  brother,  who  in  18.50  were  in 
the  Uoyal  Academy  of  Music.  lILs  father  wjis  a 
professor  of  music  and  singing  ;  and  from  tin 
paternal  instructions  did  young  Uecves,  wlio  wa< 
born  in  Woolwich  in  1821,  ac<iuire  the  first  rudi  ■ 
ments  of  music.  Like  the  tenor  (Jan  ia  —  the 
father  of  Malibran  and  Pauline  Viardot  —  the 
elder  Keevcs  was  a  severe  taskmaster,  and  the 
child  of  seven  years  had  hard  studies  to  pur- 
sue ;  but  he  was  already  passionately  attached  to 
"sweet  sounds,"  and  up  to  the  age  of  twelve 
remained  at  home  to  continue  the  disciidine. 
While  at  a  grammar  school  for  two  years,  Uecves 
never  neglected  his  musical  studies ;  and  he 
sang  occasionally  at  concerts,  having  a  Ije.iutilul 
soprano  voice.  At  fourteen  he  became  a  pujiil 
of  H.  Calcott  for  harmony  and  counterpoint, 
and  of  John  Cramer  for  the  piano-forte  ;  acquir- 
ing at  the  same  time  some  knowledge  of  the 
oboe,  ba.ssoon,  violoncello,  and  violin,  all  of  which 
instruments  Reeves  played  pretty  well.  His 
passion  for  singing  was  increitscd  by  constant 
visits  to  the  Italian  Opera,  Rubini  being  t!ie 
young  student's  idol.  He  then  took  lessons 
from  Hobbs,  the  tenor,  T.  Cooke,  Salsbury,  and 
others;  and  in  June,  18.39,  made  his  ilibut  as 
first  tenor  at  Newcastle-on-Tyne.  Encouraged 
by  this  reception,  lieevcs  resolved  to  visit  and 
study  in  Italy,  making  Milan  his  head  quarters, 
and  availing  himself  of  the  valuable  instructions 
of  the  celebrated  singing  master,  Ma/zucato, 
the  chief  maestro  di  cauti  at  the  Conscrvatorio. 
It  was  under  his  able  guidance  that  Reeves 
acquired  a  thorough  understaiiding  of  the  for- 
mation  of    voice  and    the    production   of    tone. 


and  the  only  son,  as  also  a  pupil,  of  John  Reeve,  '  Under  the  Maestro  Bajctti,  Reeves's  schoolin^^ 
a  man  who,  during  half  a  century,  was  equally  |  may  be  regarded  to  have  terminated  for  finish  or 
respected  and  known  in  the  counties  of  Norfolk,  '  execution  and  refinement  of  method ;  and  then 
Suffolk,  and  Cambridgeshire  for  his  talent  as  a  i  he  made  his  dibiit  at  La  Scala,  having  been  cn- 
musician  and  composer  of  simple  ai\d  plaintive  I  gaged  for  two  years  by  MerellL 
melodies.  His  grandfather  and  u:reat-grandtathcr  W.  II.  Reeves,  who' has  sung  in  New  York  and 
were  of  the  same  profession.  When  Cotton  Reeve  Boston,  connected  with  the  Bishop  troupe,  is  a 
was  a  boy  his  father  was  unfortunately  uuluccd  1  brother  of   the   above-named  J.   S.  Reeves,  and 


to  embark  his  money  in  trade,  and  in  a  short 
period  lost  ttie  accumulation  of  thirty  years'  pros- 
perity and  industry;  which  circumstance,  added 
to  the  illiberal  treatment  the  son  received  from 
some  gentlemen  of  Norwich,  induced  him  to  go, 
'■unknowing  and  unknown,"  to  London.  On 
his  arrival  there  he  was  engaged  as  a  deputy  at 
Vauxhall  Gardens,  and  in  the  course  of  the 
season  as  a  regular  performer.  At  that  time  ho 
commenced  seriously  studying  the  violin,  and 
took  lessons  of  Salomon  for  two  years.  The  cn- 
suins;  winter  he  was  also  engaged  at  the  Italian 
opera,  where,  in  process  of  time,  he  worked  his 
way  to  the  top  of  the  orchestra,  having  been  for 
several  seasons  principal  second,  and  on  the  death 
of  Weichsell,  senior,  ofhciated  for  his  son  as  lead- 
er ;  his  business  during  this  time  extending   in 


with  good  taste,  chaste  style,  great  compass  of 
voice,  and  a  pleading  person,  takes  a  high  rank 
in  his  profession. 

REFRAIN.  The  burtlcn  of  a  song,  or  retut-n 
to  the  first  part,  as  in  a  rondo. 

REGAL.  The  name  formerly  given  to  a  kind 
of  organ,  very  different  in  its  construction  from 
our  barrel  organs,  but  wliich,  like  them,  was  i>or- 
table. 

REGGIO.  IIOSTE  DA,  an  Italian  contrajmn- 
tist  of  the  sLxtecnth  century,  publishc<l,  amongst 
other  works,  "  Madrignli  e  Motetti  d  3  voci,"  \'en- 
ice,  1562. 

REGGIO,  PIETRO,  a  celebrated  lulist  of  the 


the   first  line   of  concerts,  &c.,  both  public  and     seventeenth  century,  wa.s  a  native  of  Genoa,  and 


private.  He  was  afterwards  leader  at  Vauxhall 
Gardens  and  the  Haymarket  Theatre,  and  in 
1819  was  sent  for  by  Mr  Harris,  and  engagetl  for 
a  term  of  years  as  leader  at  Covcnt  Garden  "ITic- 
atre.  Of  his  compositions  few  have  been  pub- 
lisheil,  and  those  arc  chiefly  confined  to  themes 
written  for  the  use  of  his  pupils  rather  than  tor 
■molumeut  or  public  celebrity. 


in  early  life  belonged  to  the  chapel  of  (juecn 
Christina  of  Swe<len.  After  she  rtnounce<l  her 
government,  Reggio  went  to  England,  and  re- 
sided some  time  at  Oxford,  where  he  published, 
in  1677,  a  small  instruction  book  for  singing. 
He  nl.so  set  to  music  several  of  the  love  Hong-  of 
Cowley.  He  next  estnhlt'hed  himaft^'  in  Loudon, 
'  where  he  dU^\  in  16S5 


79« 


IIFG 


ENCYCLOPAEDIA    OF    MUSIC. 


REl 


KE(;OIO,  SPEUITO  DA.  Named  by  Cer- 
Teto  as  one  of  the  most  celebrated  composers  of 
the  sixteenth  century.  Amongst  his  works  is  to 
be  found,  in  the  Munich  library,  "  Mmlri</aii  d  5 
coci,"  Venice,  1.5G8. 

KECiOIO,  ANTONIO,  published  at  Amster- 
dam, about  the  year  1776,  "Six  Sonatas  for  the 
Ilarjjsichord." 

REG  IN  A  CCELI.  (L.)  A  hymn  to  the 
Virgin. 

REGISTER.  A  term  applied  to  the  compass, 
or  graduated  notes,  of  a  voice.  It  is  also  a  stop 
on  the  organ.  A  series  of  notes  exactly  similar  in 
quality  in  the  voice  or  any  instrument. 

REGLE  DE  E'OCTAVE.  (F.)  Rule  of  the 
octave.  An  ex))rcssion  applied  by  the  old 
writers  on  harmony  to  the  rule  for  accompanying 
the  fight  notes  of  a  key ;  which,  sometimes, 
tlicy  aluo  call   Quadreble  Syghte. 

REGULAR.  Alike  applicable  to  any  clef, 
motion,  phrase,  or  section. 

RECtNARD,  JACOB,  vice  chnpel-master  to 
the  Emperor  Rudolph  II.,  at  Prague,  was 
born  in  Flanders.  He  was  a  very  voluminous 
composer,  chieHy  of  vocal  music  for  the  church. 
His  works  bear  date  from  the  year  1552  to  IGU. 

REGNARD,  FRANCOIS,  an  instrumental 
performer  in  the  orchestra  of  the  cathedral 
church  at  Dornick,  in  1570,  was  born  at  Douay, 
in  Flanders,  and  considered  amongst  the  good 
composers  of  his  time,  lie  set  to  music  much 
of  the  poetry  of  Ronsard,  for  four  and  five  voices. 
He  also  published  "  50  Motetti  a  i  e  o  voci," 
Douay,  1575,  and  "Chansons  died  part.," 
Paris,  1579. 

REGO,  PEDRO  VAZ,  chapel-master  at  Elvas, 
in  Portugal,  was  born  in  U)70.  He  was  consid- 
ered one  of  the  most  scientific  and  industrious 
composers  of  his  time.  He  died  at  Evora  in 
1736. 

REHEARSAL.  The  private  execution  of  any 
music  preparatory  to  its  public  performance. 
Rehearsals,  especially  of  new  music,  are  indis- 
pensably necessary,  not  only  to  ascertain  that  the 
parts  are  correctly  copied,  and  the  performers 
perfect,  but  to  afford  the  composer  an  opportu- 
nity of  explaining  to  the  band  the  spirit  and  de- 
sign of  his  work,  and  of  making  such  alterations 
and  improvements  in  the  composition  as  the  ef- 
fect may  suggest. 

REGOLA.  (I.)  A  rule,  or  formula;  a  pre- 
cejjt. 

REICHA,  JOSEPH,  was  born  in  1746.  He 
■WHS  chapel-master,  about  1787,  to  the  Elector  of 
Cologne  at  lionn.  Amongst  his  works,  which 
are  much  esteemed  in  Germany,  are  ••  6  Duos 
Cone.  p.  r.  et  Ic.,  Liv.  1  et  2,"  Op.  1,  Bonn,  1795  ; 
"  3  Concerts  p.  le  J'c,  Liv.  1,  2,  ct  3,"  Op.  2,  Of- 
fenbach, 1799;  "  Sinfon.  Concert,  p.  2  ]'.,  ou  l'.  et 
Vc.,"  O]).  3,  Bonn,  1795  ;  "2  Concerts  p.  le  Vc.  in 
D  tt  C,"  Paris,  1792  ;  "3  Duos  p.  F.  et  Vc,"  Op. 
4,  1S02;  and  "  Concert,  p.  le  I'c,  Lie.  1,"  Op.  4, 
1S03. 

REICHA,  ANTON,  nephew  of  the  preced- 
ing, was  born  at  Prague  in  1770.  At  a  very  early 
igo  he  quitted  his  native  country,  and  resided 


with  his  uncle  at  Bonn,  where  he  roooived  his 
education.  When  still  a  boy,  he  had  an  irresist- 
ible propensity  for  music,  especially  composition, 
and  was  at  first  obliged  to  gratify  his  desires  in 
this  respect  without  the  knowledge  of  his  unc^. 
It  was  at  the  same  time  with  the  celebrated 
Beethoven,  hb  junior  by  two  years,  and  a  native 
of  Bonn,  that  he  learned  the  elements  of  the  art. 
Diilerent  books,  such  as  those  of  Marpurg,  Kirn- 
berger,  Sulzer,  and  Mattheson,  ser\-ed  them  for 
guides.  The  first  public  attempt  of  Reicha  in 
composition  were  some  Italian  scenas  foi  the 
concerts.  These  had  such  success,  that  no  one 
at  the  court  of  Cologne  would  at  first  credit 
their  being  written  by  a  boy.  When  only  seven- 
teen years  of  age,  he  produced  his  first  sympho- 
ny. In  1794  he  left  Bonn  for  Hamburg,  where 
he  remained  five  years,  applying  himself  without 
intermission  to  the  study  of  his  profession.  He 
then  found  his  Knowledge  of  algebra  of  essen- 
tial service  to  him  in  his  musical  studies.  Whilst 
at  Hamburg,  he  wrote  the  music  of  a  French 
opera,  in  two  acts,  entitled  "  Godefroy  de  Mon/ort,' 
for  which  piece  the  manager  of  the  French  opera 
there  made  him  a  very  handsome  offer,  after 
liearing  its  rehearsal.  He  was,  however,  advised 
to  bring  the  work  out  at  Paris,  and  accordingly 
arrived  there,  in  1799,  making  his  dibui  as  com- 
poser at  the  concert  of  Clery,  by  a  sjnnphony,^ 
which  had  prodigious  success.  In  the  mean 
time,  the  performance  of  his  opera  was  deferred 
from  time  to  time  by  the  differences  between  the 
two  theatres  Favart  and  Feydeau.  They  at 
length  united,  and  Reicha's  composition  was  just 
about  to  appear,  when  he  withdrew  it,  being 
under  the  obligation  of  quitting  Paris  for  Vienna. 
It  is  in  this  city  that  he  lived  in  the  closest 
friendship  with  Haydn,  Albrechtsberger,  Salieri, 
and  Beethoven.  Amongst  the  numerous  works 
which  he  composed  and  published  at  Vienna, 
were  sjTuphonies  and  other  instrumental  pieces, 
oratorios,  a  requiem,  &c.  He  also  brought  out  u 
work  entitled  "  36  Fugues  pour  le  Piano,  pricidii 
d'une  Ode  Dedicatoire  [in  German]  ii  Joseph 
Ilaydii."  These  fugues  had  such  success,  tliat  the 
edition  was  exhausted  within  a  year.  He  was 
then  commanded  by  the  empress,  mother  of 
Maria  Louise  of  France,  who  was  a  distinguished 
musical  amateur,  to  compose  some  scenes  of  an 
opera  scria  in  two  acts,  called  "  Argcne  Regiiut  di 
Oranatta ;  "  when  the  empress  was  so  gratified 
with  tlie  composition,  that  she  desired  him  to 
finish  the  opera,  and  sang  herself,  at  her  private 
concerts,  the  songs  written  for  the  part  of  Ar- 
gene.  It  is  probable  that  Roicha  would  never 
again  have  quitted  Vienna,  but  for  the  various 
iwlitical  events  which  disturbed  the  peace  of  that 
capital  in  the  first  years  of  the  present  century, 
and  rendered  it  an  unfit  residence  for  a  man  de- 
voted to  peaceful  studies.  Be  this  as  it  may,  ho 
returned  to  Paris  in  tlie  ye.ir  1808,  in  which  cap- 
ital he  remained  as  one  of  the  professors  at  the 
Conservatory,  giving  instructions  in,  and  lectures 
on,  composition,  at  that  great  national  establish- 
ment. Reicha  was  a  professed  admirer  and  fol- 
lower of  the  great  Haydn,  whom  he  has  most 
elegantly  apostrophized  in  the  poei  t  prefixed  to 
his  before- mentioned  fugues.  Ilii  merit  as  a 
theorist  has  been  manifested  to  tl  »  world  is  a 
clear  and  comprehensive  treatise  on  melody,  and 
in  a  work  entitled  "  C  mrs  complet  de  Cuinposiiiof 
Musica/e,  ou  Traiii  coinpkt  et  raisonni  d'Uarmom' 


7&IJ 


KEI 


excyclop.i:dia  op  music. 


REI 


pratique,"  replete  with  the  best  rules  of  art,  and 
uivnluable  to  the  musical  student.  His  practical 
skill  has  been  shown  in  a  variety  of  compottitions, 
but  especially  in  some  admirable  quintets,  com- 
posed expressly  for  the  Hute,  clarinet,  cor  .An- 
glais, French  horn,  and  bassoon  ;  these  arc  per- 
formed fre<iucntly  at  L'Ecole  des  Fils  d'Apollon, 
and,  indeed,  on  all  occasions  when  tiist-rafe  \>cx- 
formors  on  the  appropriate  instruments  as>emblo 
together.  No  description,  no  iniiis^ination,  can 
do  justice  to  these  compositions.  'Die  etiect  pro- 
duced by  the  extraordinary  combinations  of  ap- 
parently opposite  toned  instruments,  added  to 
Keicha's  vij^orous  style  of  writing  and  judicious 
nrranijemtnt,  have  rendered  these  quintets  the 
admiration  of  the  musical  world. 

Ueicha  was  of  middle  stature,  and  most  ur- 
bane manners,  his  general  courtesy  greatly  en- 
dearing him  to  strangers,  to  whom  he  was  uni- 
formly obliging.  In  private  life  he  was  cheerful 
and  amiable  ;  his  favorite  amusement  wa«  a  game 
of  tric-irac.  His  rooms  were  decorated  with  a 
prolusion  of  elegant  and  curious  articles,  wliich 
nad  been  presented  to  him  by  numerous  individ- 
uals in  public  and  private  lite,  as  te>timonies  of 
friendship,  and  of  the  respect  and  admiration 
due  to  his  genius  and  perseverance.  In  (jer- 
aiany,  llcicha  was  very  commonly  caUcd  the 
restorer  of  fugue.  He  died  the  28th  of  Mav, 
1836. 

REICn.\.RDT,  JOHAXX  FRIEDRICH,  chap- 
el-master to  three  kings  of  I'russia,  namely, 
Freleric  II.,  Frederic  William  II ,  and  HI., 
manager  of  the  French  and  Ciernian  theatres, 
and  conductor  of  the  orchestra  to  the  King  of 
Westphalia,  a«d  member  of  several  learned  soci- 
eties, was  born  at  Konigsberg,  in  Prussia,  iu 
l"jj.  At  the  age  of  ten,  his  musical  talent  was 
such,  that  he  travelled  to  several  of  the  great 
towns  in  tlie  north  of  Europe,  for  the  purpose  of 
e.\hibitiug  his  performances  on  the  violin  and 
piano  ;  for  the  former  of  which  instruments  he 
was  the  pupil  of  Veichtner,  of  the  school  of 
Benda,  and  lor  the  piano,  of  Reichter.  In  1769, 
and  1770,  Reichardt  studied  at  the  University  of 
Koni^'sberg,  under  the  celebrated  philosojjher 
Kunt,  and  in  the  two  followiiig  years  he  belonged 
to  tlie  Univer>ity  of  Leipsic.  lie  then  travelled 
throuijh  Germany,  and,  on  his  return  to  Prussia, 
was  appointed  to  a  place  under  government. 
Towards  the  close  of  the  year  177o,  alter  the 
death  of  J.  G.  Graun,  Reichardt  was  appointed 
his  successor,  as  royal  chapel-master,  by  Fre<l- 
eric  tlie  Great;  which  appointment  he  is  said 
to  have  owed  to  the  composition  of  an  Italian 
opera  that  he  had  sent  to  the  king,  the  same 
opera  having  also  been  composed  by  the  two 
chapel- masters,  Naumann,  of  Dresden,  and 
Scliwanenberger.  He  now  continued  assiduously 
to  at'end  to  composition  in  the  style  of  Graun 
and  Hassc,  lor  the  Italian  opera  of  Frederic, 
and  estabhshed  at  lierlin  a  spiritual  concert, 
where  the  chcf$-d wm-re  of  Leo,  Majo,  Joraelli, 
Sacchini,  Piccini,  Herton,  &c  ,  were  performed. 
It  is  worthy  of  remark,  that  Reichardt  distribut- 
ed to  the  audience  at  these  concerts  a  book  of 
the  words  to  be  sung,  containing  also  an  histori- 
cal and  critical  sketch  ot  each  composer  who>o 
works  were  to  be  performed  the  same  evening. 
Li  tlie   year  U8J,  he  took   his  first  journey  to 


knowle<lgc,  who  disliked  the  modem  music  of  It- 
aly. In  the  year  17S.i,  he  went  to  Ix)i\don,  where 
his  composition  of  the  "  Pas,sion,"  words  bv  Met- 
astasio,  and  some  Italian  .scenes  by  him,  were  ]  er- 
fonned  at  the  Pantheon  and  Ojiora  t^onccrts. 
From  London  he  ])rocee<led  to  Paris,  where  tl.* 
same  compositions  had  great  success  at  the  Cdh- 
cfrt  S/iiiittiel.  The  Royal  .\cademy  of  Music  tlun 
engaged  him  to  compose  two  oj)rras,  namely, 
"  Taiiifrltin,"  words  by  Morel,  and,  "  I'niUlUe" 
words  by  Beniuin.  In  178t>  he  brought  his  ope- 
ra of  "  Tamcrlan"  to  the  theatre,  entirely  ttn- 
ished,  and  its  rehearsaLs  had  commenced,  when 
Frederic  the  Great  died,  and  Reichardt  was 
obliged  to  return  with  all  po.-sible  e.xpedition  to 
Berlin,  to  con:pose  a  grand  funeral  cantata,  to 
the  words  of  the  Mar<|uis  of  Lucchesini,  and 
which  was  to  be  perfonucd  at  the  interment  of 
the  king.  A  very  brilliant  epoch  for  music  in 
Prussia  commenced  with  the  reign  of  Frederic 
WiHi;im  II.  The  king's  orchestra  was  united  to 
the  excellent  band  of  the  prince  royal,  tlie  whole 
being  placed  under  Reichardt's  direction,  who 
procuied  several  of  the  most  celebrated  pcr;orm- 
ers  from  other  parts  of  Germany,  so  that,  in  a 
short  time,  the  royal  band  at  Berlin  was  decided- 
ly the  finest  in  Europe.  Among  the  jierformers 
iu  it  were  the  two  Duports,  Vachon,  Rittcr, 
Thurschmidt,  PaLsa,  and  Bahr.  The  Italian  op- 
era was  then  the  principal  musical  exhibition  at 
the  court ;  lieichardt  accordingly  compo.sed  the 
operas  "  Andrumcda,"  "  I'rutusiUio,"  "  iirenno," 
and  the  "  OUmpiade."  The  style  of  his  music 
was  new,  as  he  attempted  to  unite  the  scenic  ef- 
fect and  truth  of  declamation  of  Gluck,  with  the 
beauty  and  richness  of  the  Itidian  vocal  school, 
and  the  powerful  orchestral  accompaniments  of 
Germany.  His  ballet  music  was  also  written  so 
as  to  form  concertos  for  the  most  eminent  per- 
formers of  his  orchestra.  He  also  wrote  at  this 
time  several  German  comic  operas  and  melo- 
dramas tor  the  national  theatre.  In  17.10  he  took 
a  second  journey  to  Italy,  with  the  intention  ot 
passing  the  Passion  week  in  Rome,  and  ot  seek- 
ing throughout  Italy,  and  especially  at  Xaples, 
some  eminent  vocal  performers  for  the  Berlin 
0])era.  In  this  journey  he  exjHjiienced  so  much 
fatigue  a.s  to  undermine  his  natundly  robust 
constitution,  and  on  his  return  to  Berlin  he  was 
prevented,  by  the  state  ol  his  health,  from  bring- 
ing out  his  opera  of  "  OUmjitade  "  at  the  appoint- 
ed time.  Hence  arose  such  mistrust  and  mis- 
apprehensions, as  for  the  first  time  caused  him 
such  cha'.;rin  as  to  be  the  occasion  of  his  offer- 
ing the  resignation  of  his  musical  appointments 
The  king,  however,  would  not  accept  of  it ;  but 
as  Reichardt  alleged  that  retirement  was  neces- 
sary for  the  reostablishment  of  his  health,  bis 
majesty  permitted  him  to  i)ass  three  years  at 
his  country  house  on  tlie  frontiers  of  tSuxony, 
continuing  to  him  the  whole  of  Ids  salary  during 
the  time.  The  same  year,  however,  two  royul 
marriages  of  two  princesses  of  Prussia  with  the 
Duke  ot  York  and  Prince  of  Orange,  were  to  be 
celebrated,  when  the  king  sent  tor  Reichardt, 
desiring  him  to  give  on  that  occasion  his  ojiera 
of  "  UUmpttule."  Accordingly  ho  did  so,  and 
afterwards  returned  to  his  retirement.  In  17U.i, 
ho  took  a  third  journey  to  Paris,  and  on  his  re- 
turn published  some  letters  on  liLs  travels  ;  soon 
alter   uhieh   he  was  su'tpcctcd  of  revolutiouar* 


Italy,  hastily,  however,  it  being  without  the  king's  I  principles,  and,  iu   couse4uence,  wa* 

797 


REI 


EXCYCLOP.EDIA    OF    MUhlC. 


REI 


froru  his  situations  by  the  king,  at  the  end  of  his 
three  years'  leave  of  absence.  In  1794  he  went 
to  IIaiubur<;,  where  he  commenced  editing  a 
penodic-iil  journal,  called  "  Franknich,"  (France,) 
which  had  much  Buecess  during  ten  years.  lie 
then  ])urchased  an  estate  in  Ilolstcin.  Just  as 
he  liad  done  so,  however,  he  was  acquitted  of 
the  political  charge  made  against  him  in  Prussia, 
and  indeinuilied  tor  his  losses  by  tlie  situation  of 
director  of  tlie  salt  works  at  Halle,  near  which 
town  was  his  country  house,  and  to  which  he 
immediately  returned.  In  1797,  on  the  death  of 
King  Frederic  William  II.,  llcichardt  was  not 
only  continued  in  his  musical  offices,  but  received 
additional  emi)loymeiit  from  the  king,  as  com- 
poser to  the  Italian  ojjcra  and  national  theatre. 
Ou  occasion  of  the  coronation,  he  jjroduced  the 
German  opera,  "  Die  Gvixlerinsvl,"  (The  Isle  of 
Spirits,)  altered  from  the  Tempest  of  Shakspeare  ; 
and  the  following  year  he  compo>ed  for  the  Ital- 
ian ojjcra  "  Rosamonda,"  which  wa-s  so  successful 
that  tlie  king  made  him  a  present  of  above  two 
hundred  pounds,  and  increased  his  annual  salary 
by  above  one  hundred  pounds.  In  179S*  his 
opera  "  lircnno  "  was  revived,  when  he  again  re- 
ceived from  the  king  the  sum  of  one  hundred 
and  twenty  pounds.  The  following  year  he  set 
to  music  some  odes  of  Frederic  II.,  to  celebrate 
the  birthday  of  that  great  prince,  as  also  the 
jubilee  of  the  Academy  of  Sciences,  reestablished 
by  him.  In  1801  he  composed  Kotzebue's  opera 
of  "The  Enchanted  Castle,"  for  the  opening  of 
the  new  national  theatre,  also  several  grand  in- 
strumental pieces  for  a  chivalric  di-ama,  to  be 
performed  at  the  same  theatre.  These  were  fol- 
lowed by  several  other  German  dramatic  pieces, 
till  the  year  ISO.'i,  when  he  set  out  on  his  fourth 
journey  to  France,  and  was  presented  to  the 
tirst  consul  at  Paris,  by  the  Prussian  minister, 
the  Marquis  of  Lucchesini.  In  IHOli,  when  the 
French  occupied  Halle  and  the  surroundijig 
country,  Keichardt  foUowed  the  court  of  Pru.ssia, 
and  passed  a  whole  year  at  Dantzic,  Konigsberg, 
and  Memel.  Alter  the  peace  of  Tilsit,  when 
the  King  of  Prussia  ceded  the  principality  of 
Halberstadt  and  other  provinces,  the  lung  of 
Westphaua  called  together  all  his  new  subjects 
who  were  possessed  of  property  in  his  acquired 
provinces,  under  a  penalty  ot  the  contiscation  of 
their  estates  for  non-appearance.  The  King  of 
Pru.ssia  at  the  same  time  advised  his  former  sub- 
jects of  those  provinces  to  appear  and  lay  claim 
to  tlieir  jiroperty.  Keichardt,  amongst  others, 
did  so.  His  situation  of  director  of  the  salt 
works  being,  however,  suppressed  by  the  new 
government,  he  addressed  himself  to  the  re- 
gency of  Cassel,  and  obtained  a  promise  of  in- 
demnihcation  for  that  place  by  another  of  equiv- 
alent income.  For  this  purpose  he  presented 
himself  personally  at  Cassel,  and  was  j)roposed 
by  two  counsellors  of  state,  as  a  proper  person  to 
be  appointed  either  sub-prefect  ot  Halle,  or  secre- 
tary general  to  the  prefecture  of  Magdeburg.  The 
King  of  Westphalia  also  oH'ered  him  the  places  of 
manager  of  his  German  and  French  theatres,  and 
conductor  of  his  orchestra.  The  salary  of  tliese 
otKi.es  was  above  three  hundred  and  htty  pounds 
per  annum,  and  he  held  them  during  the  year 
180S  ;  in  the  course  of  which  he  brought  out  a 
grand  divcrtisemcnt,  ou  the  occasion  of  the 
queen's  birthday,  another  ou  the  return  of  the 
king  (com  the  baths,  also  a  French  operetta  en- 


titled "  L'heuretix  Naufrage."  At  the  close  of 
this  year  he  went  to  Vienna,  to  procure  addi- 
tional singers  for  his  court.  On  his  arrival,  the 
directors  of  the  theatre  in  that  city  presented 
him  with  a  beautiful  poem,  called  liradamante, 
written  by  the  celebrated  poet  Colin,  in  the  style 
of  Ariosto  ;  they  invited  him  at  the  same  time 
to  set  these  words  to  music  for  the  Vienna  thea- 
tre. He  accordingly  commenced  ;  but  before  ho 
could  complete  the  opera,  he  was  recalled  by  his 
court,  when  he  entered  into  a  negotiation  with 
the  theatrical  direction  at  Vienna  for  an  hon- 
orable and  lucrative  post,  which  they  offered  him. 
Previously,  however,  to  his  opera  (which  had 
been  rehearsed  with  great  success  in  the  palace 
of  Prince  Lobkowitz,  one  of  the  directors)  being 
performed  at  the  theatre,  and  before  the  nego- 
tiation for  his  new  place  was  terminated,  a  war 
broke  out  between  Austria  and  France,  wlien  he 
was  obliged  again  to  retreat  to  his  country  house 
near  Halle.  Here  he  was  nominated  corre- 
spondent to  various  learned  societies,  especially 
the  Institute  in  Paris.  He  died  in  1814.  The 
following  is  a  list  of  his  works.  Printed  books : 
"  Letters  of  an  attentive  Traveller  respecting 
Music,"  vol.  i.  1775,  vol.  ii.  1776;  "  Letters  ou 
the  Comic  Opera,  and  on  Poetry  for  Music," 
177.0;  "Letters  on  the  Music  of  llerlin,"  1775; 
"  Letters  on  the  Duties  of  an  Orchestral  Musi-  , 
cian,"  177');  '•  Lll'e  of  the  celebrated  Musician 
Enrico  G.  Fiorino,"  1779;  "  Musical  Magazine," 
vol.  i.  1782,  vol.  ii.  1788  and  1791;  "Spirit  of 
the  Musical  Magazine,"  1791;  "The  Youth  of 
Handel,"  1790;  "Letter  to  the  Musical  Public 
resi)ecting  the  two  French  Operas  '  Tamerlan ' 
and  '  Panthce,'  "  1788  ;  *'  Letters  to  Count  Mira- 
beiiu  on  Lavater,"  1786;  "Musical  Gazette." 
1791 ;  "The  Musical  Week,"  1792;  "The  Musi- 
cal Months,"  1793;  "France,"  a  political  jour- 
nal, 1794  to  1803;  "Confidential  Letters,  writ- 
ten during  a  Journey  in  France."  1803  and  1804  ; 
"  Uerlin  5lusical  Gazette,"  3  volumes,  1805  and 
1806;  "Confidential  Letters  on  Vienna,"  1810; 
and  many  small  essays  and  criticisms,  in  differ- 
ent literary  and  musical  journals.  Printed 
music  :  "  Sonatas  for  the  Harpsichord,"  Berlin, 
1771;  "  llaiisc/icn  ttnd  Crete/ten,"  taken  from  the 
French  "  Huse  et  Culas,"  an  operetta,  Riga,  1772  ; 
"  Melange  of  Music  for  the  Piano,  Violin,  and 
Voice,"  Kiga,  1773;  "  Concerto  per  il  L'laci-Cem- 
ba/o,"  Riga,  1773;  "  Concerto ]>er  il  Violino,"  Kiga, 
1773;  "Eleven  Concertos  tor  the  Harpsichord, 
written  lor  the  Use  of  Ladies,"  Amsterdr.m, 
1774  ;  "Italian  and  German  Cantatas  and  Songs, 
written  for  the  Use  of  Ladies,"  Periin,  1775; 
"11  Somite  per  U  CUtvi-Cembalo,"  Berlin,  177(>; 
"(Concerto  per  il  Clavi-Cembalo,"  Leipsic,  1777; 
"Symphony,"  Offenbach,  1777;  "Eleven  Sona- 
tas for  the  Harpsichord,  « ith  a  Violin  Accompa- 
niment," Amsterdam,  1777;  "11  Sonate  per  U 
Clavi-Ctinbalo"  Berlin,  1778  ;  "  Sonata  jier  il 
Viotino  Solo  e  liiisso,"  Berlin,  1778;  '•  Soitate  a 
(lite  Violiiii  e  f'iolonceUo,"  Offenbach,  1778; 
"  Ino,"  duodraraa,  Leipsic,  1779;  "Odes  and 
Songs  by  Klopstock,  Stolberg,  Claudius,  &c.," 
Berlin,  1779;  "  Procris  and  Cephalus,"  duo- 
drama,  Leipsic,  1780;  "Ariadne  at  Naxos,"  can- 
tata of  Gerstenberg,  Leipsic,  1780;  "Songs  by 
(joethc,  Bdrger,  Voss,  and  Sprickmann,"  vol.  ii., 
Berlin,  1780;  "Songs  for  Children,"  from  tho 
library  of  Campe,  Hamburg.  1781;  "Odes  and 
Sonjfs  by  Herder,  Goethe,  and  others,"  voL  iii., 


798 


KEI 


ENCYCLOPAEDIA    OF    MUSIC. 


RE. 


Berlin,  1781;  "  Love  alone  is  happiness,"  opera, 
In  three  acts,  Dessau,  1781  ;  "Songs  for  Ger- 
mans," Dessau,  1781;  "Songs  for  Children," 
vol.  iii.  178(),  vol.  iv.  1791;  "Songs  by  KlesI, 
(Jz,  Hagedorn,"  Grolkau,  1782;  "Two  Sonatas 
for  the  Harpsichord,"  Amsterdam,  1782;  "Three 
Sonatas  for  the  Violin,  Tenor,  and  Violoncello," 
Amsterdam,  1782;  "Songs  by  Gleim  and  Ja- 
cobi,"  Gotha,  178:5 ;  "  Light  Pieces  for  the  Voice 
and  Piano-forte,"  Konigsbcrg,  178.3;  ••  Sonata 
per  Clavi-Cembato,  col  Flauto  Obi.,"  Berlin,  1787; 
"  Cnntiu  Lwjubris  in  Obitiim  Frederici  Maijni," 
Paris,  1787  ;  "  Sii./onia  dell'  Opera  '  AndromctUi,'  " 
BeiJl.  1788;  "  (hertura  deW  Opera  '  Protesilao' 
ver  »;  Cemb.,"  1789;  "  Alaini  Balk  e  Cori  deW 
Opera  '  i'rotciiUto,'  per  il  Cemb.,"  1789;  "Ce- 
cilia," four  volumes,  containing  canticles,  hymns, 
airs,  duetii,  trios,  quartets,  and  choruses  for  the 
church,  17'.>0-1792  ;  "  Cavalma  e  Rondo  dell'  Op- 
era '  Oliinpiade,'  "  Itrunswick,  1792  ;  "  Coro  e  Ballo 
dell"  opera  '  Olimpiade,'  "  Itrunswick,  1792  ;  "  Co- 
ro e  Bal'to  Triomphali  delf  Opera  '  Brenno ;  '  "  and 
"  Ovtrlura  dell'  Opera  '  Brenito.'  "  Manuscripts. 
First,  Italian  operas :  "  Le  Sease  Galtinti,"  opera,  in 
three  acts,  177.5;  "La  Gioja  dopo  il  Duolo,"  a 
theatrical  cantata,  in  two  acts,  1776;  "  Arte- 
muta,"  opera,  in  three  acts,  1773;  "  Aiuiromeda," 
1787;  "  I'rotesiUio,"  1778;  "  OUmpiade,"  1790; 
and  "  Roaamonda."  French  operas  :  "  Tamerlan," 
opera,  in  four  acts,  1785;  "  Panthie,"  opera,  in 
four  acts,  178G  ;  "  L' Ileureux  Naufraffe,"  operetta, 
1808.     German   operas  :    "  The  SVoodman,"  op- 


Feita  Anni  majora  il  A  vel  S  Vocib.,  Concerto ntib., 
et  5  Inatrum."  1088. 

UEIMANX,  MAITHAUS.  doctor  of  laws, 
and  counsellor  to  the  Emperor  Uodolph  II. ,  pub- 
lished the  two  following  musical  works  :  "  Socte* 
Musicee,"  Leipsic,  1598,  and  "  Cilhara  Sacra  I'lal- 
modite  Davidia  ad  uium  tetttuUnii  accommod.,"  Co- 
logne, ltil3. 

REIMAXX,  J.  BALTIIAZAll,  bom  at  Bree- 
lau  in  1702,  was  a  skilful  organist,  and  published 
some  psalm  tunes  of  his  own  composition. 

IlEIN,  JOIIANX  BALTIIAZAll,  musician 
at  Altona,  jjublishwl  there,  in  1755,  a  book  of 
paalms  for  four  voices. 

REIXAGLE.  JOSEPH,  was  bom  at  Ports- 
mouth, England,  in  1762.  'ITie  father  of  this  emi- 
nent professor  was  born  near  Vienna,  and  received 
his  education  at  one  of  the  German  universities. 
He  was  intended  for  the  church,  but  afterwaids 
followed  music  as  a  profession,  and  went  to 
England,  residing  for  some  time  in  Portsmouth, 
where  the  subject  of  this  memoir  was  l>om. 
The  father  at  first  intended  his  son  for  the  navy, 
and  entered  him  as  a  midshipman  at  an  early 
age ;  his  friends,  however,  soon  abandoned  the 
idea  of  a  naval  life  for  the  boy,  and  he  was  re- 
moved to  Edinburgh,  where  he  served  two  years 
as  an  apprentice  to  a  working  jeweller ;  who 
leaving  the  country,  and  not  returning,  it  was 
resolved  that  music  should  be  the  hoy's  profession. 


era,  in  one  act,  1775  ;  "  Claudinc  of  Villa-bella,"  He  was  accordingly  instructed  in  the  French  horn 

by  Goethe,  opera,  in  three  acts,  1788  ;  "  Hercule,"  •"»<!  trumpet  by  his  father,  who,  through  the  in- 

monodrama,    with   choruses,   in   one  act,    1804  ;  tercst  of  the  musical  Lord  Kelly,  held  the  situa- 

and   "  Bradamante,"   opera,    in  four  acts,    1808.  tion  of  household  trumpeter  to  the  king.    Young 

Church  music  :  "  La  Pnsaione  di  Metas/asio,"  1785  ;  Ueinagle  made  great  progress,  and  soon  appeared 

"  Te   Deum,"     for   the    coronation    of    Frederic  i"  public  as  a  concerto  player  on  the  above  in- 

\Villiam  II.,  1786  ;   "  Te  Deum,"   for  the  general  struments.     By  the  advice  of  his  medical  friends. 


peace,  1809  ;  and  several  German  cantatas. 

REICHAllDT,  JULIA,  daughter  of  the  cele- 
brated F.  Benda,  and  wife  of  the  preceding,  was 
born  at  Berlin  in  1752.  She  was  one  of  the  best 
German  singers  of  the  last  century,  and  a  good 
performer  on  the  harpsichord.  She  also  com- 
posed and  published  some  vocal  music,  which 
was  much  admired.     She  died  in  1783. 

KEICHELT,  F.  O.  An  instrumental  composer 
of  Hamburg.     Besides  many  of  his  compositiona 


he,  however,  discontinued  them,  and  directed  his 
attention  to  the  practice  of  the  violoncello,  of 
which  instrument  he  rapidly  acquired  a  knowl- 
edge, through  the  valuable  instructions  of  the 
celebrated  Schetkey,  who  married  his  sister. 
His  younger  brother  and  pupil,  Hugh  Reinagle, 
increasing  in  fame  as  a  violoncellist,  Joseph  re- 
linquishcl  the  study  of  the  violonceUo  for  that 
of  the  violin,  under  Aragoni  and  Pinto,  and  was 
soon  ap])ointed  leader  of  the  concerts  at  the  the- 
atre in  Edinburgh.     His  brother  Hugh  now  died 


known  in  manuscript,  he  published  the  following    in  Lisbon,  where  he  had  gone  for  the  recovery 


controversial  work  :  "  Miuicaliacher  Querstrich 
mitten  durch  dea  Uerm  J.  G.  B.  Vnterricht,  iic," 
Hamburg,  1781;  as  also,  "2  QuadriUen  und  10 
Eni/liache,  J'Ur   9    Inatr.,"    Op.    10,     Brunswick ; 

*  OjKra-Arien  fttr  2  FlOten  arrangirt,"  1797;  "2 
Cotillons  und  12  Anglaiaen,  fnr  5  Inatr.,"  Op.  12; 
"  ParthicfUr  2  Vlarionett.,  2  Hortier,  und  Faij," 
Op.  13  ;  and  "  Direr,  p.  h  P.  F.,  Fl..  V.,  el  Ic," 
Op.   16,  Hamburg,  1798,  in  which  year  he  died. 

REICUERT.  Chamber  musician  to  Count 
Bruhl,  at  Dresden,  about  the  year  1755.  He 
wrote  the  music  of  the  interlude,  "  //  Giuocatort 

*  la  Bacchetona." 

REICHWEIX,  JOIIANN  GEORO,  chapel- 
master  of  the  cathedral  at  Ratisbon,  published 
there  the  following  works  :  "  Delici<t  Sacr<r,  aire 
Uiaait  tres  brecca  (i  -4  rocib.  concert.  2  i'iol.  aH  lib., 
et  i  Bipien  cum  B.  C.  ntc  non  Paalmi.  1 1  ah  unA, 
2,  f ,  et  4  vocib.  cum  et  tine  I'lolin.  ac  Ripienia," 
•a  :    "  iktcra  Thymiamata ;  "  i.  e.,  *•  Offertoria  p»r 


of  his  health ;  when  Joseph,  feeling  a  great 
desire  to  support  the  name  his  brotlier  bad 
so  justly  acquired  as  a  violoncellist,  and  act- 
ing under  the  advice  of  the  celebrate<l  John 
Mahon  and  other  musical  friends,  resumed  the 
study  of  the  violoncello.  He  made  his  appear- 
ance as  concerto  player  at  the  Xew  Musical 
Fund  concert  on  the  same  night  with  J.  Cramer, 
Monzani,  and  Eley.  He  was  announce<l  to  play 
Borghi's  favorite  concerto  in  E  Hat ;  but  Cros- 
dill  having  succce<le<l  so  well  in  the  pcrlonuance 
of  that  piece,  his  friends  wished  him  not  to  piny  it ; 
he  therefore  adoptc<l  one  ot  his  violin  concertoa, 
and  performed  it  in.stead  of  Bor^jhi's.  Tl>e  time 
would  not  allow  the  bills  to  be  altered,  and  the 
audience  receive<l  his  concerto  with  great  ap- 
plause. Borghi,  who  was  present,  was  plrtucd, 
indeed,  to  say,  that  he  was  dattere<l  by  the  mi»- 
take  which  had  taken  place.  .Mirr  the  com- 
memoration of  Handel  in  Westminster  Abbey, 
Rciuagle  went  to  Ireland,  under  the  pal'nnag* 


7M 


RRi 


EXCYCLOP.EDIA    OF    MUSIC. 


Rn* 


of  Lord  Westmoreland,  then  lord-lieutenant. 
Ilere  a  wliimsical  circumstance  happened  wor- 
thy of  narration.  The  late  celebrated  Mr.  Curran 
introduced  himself  to  Ueinasle,  and  invited  him 
to  dine  with  some  musical  friends  at  his  country 
house,  five  miles  from  Dublin.  Reinagle,  anx- 
ious to  embrace  the  opportunity  of  enjoying  that 
great  nianV  society,  most  willingly  assented ; 
upon  wliich  Curran,  being  in  great  haste,  would 
not  permit  our  musician  to  seek  for  any  con- 
veyance, but  requested  him  to  ride  double  on  his 
horse.  In  this  ludicrous  way,  sitting  behind 
Mr.  Curran,  they  reached  his  house,  to  the 
amusement  of  many  friends  they  met  on  the 
road.  Keinaglc  passed  two  years  in  Dublin, 
and  on  his  return  to  London  played  at  Salo- 
mon's concerts,  at  which  Ilaydn  presided.  He 
then  had  the  honor  of  enjoying  Haydn's  inti- 
mate acquaintance  and  friendship,  and  received 
many  serviceable  hints  on  composition  from  that 
great  master.  He  was  selected  as  his  principal 
violoncello  at  many  concerts,  where  he  met  Viot- 
ti,  Salomon,  Clementi,  Schrootcr,  &c.  At  length 
he  was  engaged  to  play  at  the  O.xford  concerts, 
in  which  city  he  was  so  favorably  received,  that 
he  was  advi.sed  by  Lord  Abingdon,  and  other 
musical  amateurs,  to  reside  there.  Iteinagle's 
productions  are,  in  manuscript,  "  Si.^c  Violin  Con- 
certos," "  Si.\  Violoncello  Concertos,"  also  over- 
tures, trios,  duets,  &c.,  for  violins  and  piano- 
forte. Published  :  "  Four  Sets  of  Duets,"  "  Two 
single  Duets,"  "Treati.se  on  the  Violoncello," 
"  Si.\  easy  Duets  for  Violoncello,"  and  "  One 
Set  of  Quartets  for  Two  Violins,  Tenor,  and  Vio- 
loncello." 

liEIXARDS,  W.,  a  flutist,  published,  at  Am- 
sterdam and  Berlin,  many  works  for  his  instru- 
ment, between  the  years  176.5  and  1797. 

REINER,  AMBROSIUS,  chapel-master  to  the 
Archduke  Ferdinand  Charles  of  Austria,  in  the 
year  1 650,  published  "  Moteili  a  2,  3,  e  4  voci,  von 
v..  Lib.  1  ;  "  "  Motetti  n  4,  5,  c  6  voci,  eon  2  V., 
Lib.  2 ; "  "  Motetti  a  8  voci.  Lib.  3,"  Innspruck, 
1648  ;  and  "  .Misse  d  5  voci,  con  3  Stromenti." 

REIXERU.S,  JACOBUS,  a  Benedictine  monk, 
and  director  of  the  music  at  Weingurten,  in 
Suabia,  towards  the  end  of  the  sixteenth  century. 
He  was  a  voluminous  composer.  Amongst  his 
published  works  were  the  following  :  "  Cuntiouet 
6  et  6  vocum,"  Munich,  1.579  ;  "  Vantiones  German- 
icte  i  et  5  vocum,  et  vivce  voci,  et  Musicis  Inslru- 
meiUis  accommodaitr,"  Munich,  1581  ;  "  Psalmi 
ranilciUiates  3  vocibus  coticiiinali,"  Munich,  158G  ; 
•'  Teutsche  und  Laieinische  Lieder  mit  3  ttnd  4  Stiin- 
men,"  Laugingen,  1593  ;  "  Cantiones  ten  Molelte  4 
et  5  vocum,  uebat  einigen  Magnijical,"  Cosnitz, 
1693  ;  "  Moteta  Sacr<p  5  et  6  vocum,"  Cosnitz, 
1695  ;  "  Cantiones  6,  7,  8,  atljunctaque  in  Jine  una 
10  vocum,"  Munich,  1591  ;  "Cantiones  4  vocum," 
Munich,  1600  ;  and  "  Minsce  6  vocum"  Dittengen, 
1604. 

REIXHARD,  a  ^-iolinist,  was,  in  1796,  chef- 
d'orchcUre  of  the  national  theatre  at  Vienna. 

REINIIARD,  ANDREAS.  A  writer  of  some 
Latin  works  on  music,  some  of  which  were  pub- 
lished at  Leipsic  in  the  first  ten  years  ol  the 
seventeenth  ccHtury. 

REINH.MJD,  CHRIST.  WILHELM,  organ- 
ist at  Cassel   in    1806,  was  born    there  in  1770. 


He  is  considered  a  good  ])erformer,  and  has  com« 
posed  some  instrumental  music. 

REINHARDT,  JOHAXN  CIIRISTOPH, 
was,  in  1789,  chamber  musician  to  the  court  at 
Gotha,  where  he  published,  in  1788,  a  voca. 
work  entitled  "  Geiatliche  und  Moralische  Lieder." 

REINHARDT,  ADELHEIDE,  principal  fe- 
male singer  to  the  court  of  Gotha,  was  probably 
the  wile  of  the  preceding. 

REINHARDT,  JOHANN  GEORG.  Suh-nr- 
ganist  to  the  court  at  Vienna,  between  the  \(.^\a 
1721  and  1727.  He  composed  the  following 
works  :  "  Litani(e  de  U.  M.  ('.,  d  4  voci,"  "  I'as- 
torclla  sopra  il  Tema,  '  Indulcejubilo,  Sec.,'  per  t  Or- 
gano,"  and  "  Diversi  Pezzi  per  il  Cembalo,"  1725. 

REINICKE.  LEOPOLD  CARL,  an  eminent 
performer  on  the  bassoon,  was  born  at  Dessau  in 
1774.  He  was  a  pupil  in  composition  of  Chapel- 
master  Naumann,  as  also  of  Reichardt.  In  1807 
he  brought  out,  at  the  Dessau  theatre,  with  suc- 
cess, "  Adelheit  von  Schroffeneck,"  a  grand  opera. 
He  has  also  published  some  instrumental  music. 

REINKE,  JOHANN  ADAM,  born  in  1623, 
was  a  celebrated  German  organist  and  composer, 
who  lived  till  within  a  few  months  of  the  age  of 
a  hundred  years.  In  his  younger  days,  having, 
been  elected  successor  to  the  famous  Schcide- 
mann,  organist  of  St.  Catharine's  Church  in 
Hamburg,  it  is  related  that  a  musician  of  Am- 
sterdam declared,  that  Reinke  must  be  so  pre- 
sumptuous a  man  to  take  Scheidemann's  place, 
that  he  should  like  to  see  him.  This  observa- 
tion having  been  repeated  to  Reinke,  he  sent 
him  one  of  his  compositions,  thus  superscribed  : 
"  This  is  the  portrait  of  the  audacious  youth 
whom  you  wished  to  see."  The  Dutchman 
found  in  the  compo.sition  oo  much  genius  and 
learning,  that  he  immediately  went  to  Hamburg, 
for  the  purpose  of  hearing  him  play  on  the  organ. 
After  this  he  said  he  could  have  kissed  his 
feet,  in  testimony  of  the  veneration  with  which 
his  talents  had  impressed  him.  Reinke  died  at 
Hamburg  in  1722. 

REINMANN,  GEORG  FRIEDRICH,  a  Ger- 
man musician,  published  at  Erfurt,  in  1644,  an 
introduction  to  singing,  under  the  title  of  "  Mu- 
sik  Biichkin." 

I  REINMANN,  JOHANN  HARTMANN,  c:»p. 
el-master  to  the  Duke  of  Saxe-Saalfeld,  wt*  born 
at  Saalfeld  in  1677.  He  studied  competition 
under  the  Chapel-master  Erlebach,  and  after- 
wards published  some  church  music.  He  died 
in  1728,  being  at  the  time  burgomaster  of  his 
native  town. 

I      REINWALD,   L.,    chamber   musician  to  the 

'  court  at   Hildesheim,  in  Saxony,  published  the 

'  following  works  :  "  //  tiinfon.  d  9,"  Op.  1,  Berlin, 

I   1792;    "'1  Sammlungen    von   Qiiadrillcn  uiui  Angl. 

fUrs  Klav.,"  Berlin,   1794;    and  "Die  Friedena- 

feycr :  Hcil  uiis,  Ilcil .'  ein  liundgcsang  beym  Kla- 

vicr,"  Hamburg,  1797. 

I  REISCII,  GEORG,  of  Friburg,  author  of  a 
work  in  twelve  books,  comjirising  a  distinct  trea- 
tise on  each  of  the  liberal  sciences,  in  Latin, 
called  "  Margarita  I'hilosopkica,"  first  published 
in  1503,  in  which  one  of  the  books  is  appropri- 
ated to  music.     Hli  work,  however,  though  fro- 


800 


KEI 


ENCYCLOPAEDIA    OF   MUSIC. 


REL 


quently  cited  by  Italians,  contains  no  instruc- 
tion for  the  practice  of  harmony,  us  the  author, 
though  posterior  to  Gnffurius,  chieHy  follows 
Boethius. 

REISIG,  GOrrLIEB,  music  director  and  rec- 
tor of  the  Latin  school  at  Lichten-stein,  was  born 
in  16G4.  He  had  studied  vocal  and  instrumental 
music,  also  composition,  and,  in  the  year  1731, 
■wrote  a  work  entitled  "  Tri/n/ium  Ili.ilorico-Mu- 
aiciim,"  in  three  parts,  the  first  containing  biog- 
raphies of  Uerinan  musicians,  and  the  others  the 
history  of  (jermnn  organs,  and  other  matter, 
chicHy  relating  to  that  instrument.  This  book 
was  never  published. 

UEISSIGER,  CAUL  GOTTLIEB,  was  bom 
at  Betzig,  near  Wittenberg,  in  1793.  He  had  his 
first  mu-^ical  lessons  of  his  father.  In  1811  he 
■was  admitted  to  the  St.  Thomas  School  in  Leip- 
sic,  where  he  studied  harmony  and  the  piano 
with  Scliicht.  In  ISlj-lii  he  wrote  some  mo- 
tets. In  1H18  he  pursued  a  course  of  tlieology 
at  the  I'niversity  of  Leipsic,  but  without  inter- 
rupting his  musical  labors.  To  music  his  whole 
nature  drew  him,  but  he  was  too  poor  to  aban- 
don the  clerical  profession.  But  his  good  mas- 
ter, Schicht,  obtained  for  him  the  means  of  pass- 
ing three  years  in  Vienna,  where  he  went  in 
1821,  to  continue  his  labors  in  composition. 
There  he  wrote  his  first  opera,  "  Das  liockfu- 
vreiheii,"  which  the  censorship  did  not  allow  to 
be  brought  out,  except  the  overture,  which  gave 
a  favorable  impression  of  the  young  composer's 
talents.  Several  other  overtures  procured  him 
the  entree  to  the  imperial  theatres.  The  Gcnnan 
opera  was  then  well  composed,  and  Reissiger 
had  the  advontage  of  hearing  good  works  per- 
formed by  good  artists.  Before  quitting  Vienna 
he  appeared  with  much  success  in  a  concert  at 
the  court  theatre,  where  he  sang  a  bass  song  of 
Handel  and  executed  a  piano-forte  concerto  of 
his  own.  Antonia  and  Steiner  at  that  time  pub- 
lished several  of  his  compositions.  In  May,  18'22, 
KeLssigcr  left  Vienna  to  continue  his  studies 
under  Winter,  at  Munich,  whore  he  displayed 
most  laudable  activity  in  ort.  A  mass  which  be 
■wTote  there,  and  an  overture  on  a  theme  of  five 
notes  furnished  him  by  Winter,  won  for  him 
that  master's  friendship.  Such  was  the  success 
of  these  works,  that  he  was  engaged  to  compose 
for  the  royal  theatre  the  overture,  entr'-actes, 
and  choru.scs  to  the  tragedy  of  "  Nero,"  which 
were  much  appliiudcd.  He  was  then  called  sud- 
denly to  Leipsic  by  the  death  of  his  friend  and 
teacher,  Schicht.  In  May,  1S2.3.  he  arrived  at 
Berlin,  where  some  noble  families  guarantied 
him  a  subsistence.  Hero  he  wrote  the  Italian 
opera  "  Didnne,"  which  was  performed  at  Dres- 
den. It  was  now  decided  to  send  Kci.Hsiger  to 
Italy  ;  the  King  of  Prussia  granted  aid,  and  the 
minister  commissioned  him  to  collect  information 
in  France  and  Italy  on  the  subject  of  a  conserva- 
tory, which  it  was  proposed  to  institute  at  Ber- 
lin. Ueissigcr  arrived  in  I'aris  in  .Vugust,  1821, 
and  remained  till  February,  182.5.  The  publica- 
tion of  his  works  sufficed  to  cover  his  expenses 
there.  In  his  tour  through  Italy  he  visited 
Turin,  Genoa,  Milan,  Florence,  Bologna,  Home, 
and  Naples.  After  spending  four  weeks  in  this 
latter  city,  he  returned  to  Home,  where  he  made 
the  acquaintance  of  the  .Vblx;  Daini.  In  Octo- 
ber he  returned  to  Berlin,  visiting  by  the  way 


Padua,  Venice,  the  Tyrol,  and  Vienna.  At  Rome 
he  had  written  an  opera  called  "  Ahiwiuichtltz,'' 
the  brilliant  overture  to  which  created  an  enthu- 
siasm at  Dresden  ;  but  the  o])pra  itself  was  never 
performed,  because  the  lit)rctto  bore  too  close  a 
resemblance  to  that  of  the  "  Frei/sc/iUtz."  At  Ber- 
lin Reissiger  was  charged  with  the  framing  of  a 
plan  for  a  Prussian  Conservatory  of  Music,  wliich 
was  approved,  but  never  put  in  execution.  .\t 
the  same  time  he  was  tuade  professor  in  the  Sing- 
Akailemie,  under  the  direction  of  Zelter.  In 
October,  ISiti,  he  was  called  to  the  Hague,  to 
organize  a  conservatory,  which  still  exists.  Re- 
turning to  Berlin  he  received  the  ai)poinlroent 
of  director  of  music  at  Dresden,  in  the  pw.ce  of 
Marschner,  who  had  just  been  called  to  Han- 
over. There  he  had  to  direct  not  only  the 
(jerman  opera,  but  the  Italian  d\iring  the  long 
illness  of  Morlacchi.  In  this  jiosition  he  gave 
such  proofs  of  talent,  that  in  1827  the  King  of 
Saxony  raised  him  to  the  i)lace  of  chapel -ma.ster, 
which  had  been  vacated  by  the  death  of  Weber. 
In  the  same  year  he  wrote  a  solemn  moss,  and 
"  Kc/ivi,"  a  melodrama  in  three  acts.  succe.s8ful 
throughout  Germany.  His  '•  J.ihdUi"  a  roman- 
tic opera,  was  equally  successful  in  Dresden,  in 
1828.  This  was  followed  by  "Die  FchennxUhU." 
■which  enjoyed  public  favor  at  Dresden,  Leipsic, 
Berlin,  Breslau,  Copenhagen,  and  elsewhere. 
"  Tiirandot,"  another  opera,  had  also  great  fame 
in  Germany.  But  the  (iermaii  critics  have  con- 
sidered Rcissiger's  talent  more  remarkable  in 
religious  than  in  dramatic  music.  More  recent- 
ly he  has  cultivated  the  symphony  form  with 
success.  He  has  also  written  overtures,  quin- 
tets, quartets,  sonatas,  &c. 

RELATIVE.  An  epithet  applied  to  those 
chords  and  those  modes,  or  keys,  which,  by  rea- 
son of  tlie  affinity  and  identity  of  some  of  their 
component  sounds,  admit  of  an  easy  and  natural 
transition  from  one  to  the  other.  Thus,  in  the 
chords  of  D  and  G.  the  note  I)  being  common  to 
both,  in  passing  from  one  harmony  to  the  other 
we  have  only  to  change  two  of  the  three  sounds. 
Again,  the  major  mode  of  every  key  being  formed 
of  the  identical  naturals,  sharps,  or  fiats,  proper 
to  the  minor  mode  of  its  third  below,  every  major 
key  is  called  the  re/alive  of  such  minor  key,  and 

I  every  minor  key  the  relative  of  its  third  above, 

i  taken  in  the  major  mode. 

RELATIVE  KEYS.  Keys  which  difTer  only 
by  having  in  their  scales  one  fiat  or  sharp  more 
or  fewer. 

RELATION.  That  connection  which  any 
two  sounds  have  with  one  another,  in  respect 
of  the  interval  which  they  form.  When  the 
interval  is  just,  the  relation  is  just,  and  false 
when  the  interval  is  false ;  that  is,  when  it  is 
either  superfiuous  or  diminished.  Formerly  false 
relations  were  forbidden  ;  but  modern  composers, 
rejecting  the  rigorous  trammels  of  early  contra- 
puntists, have  enlarged  the  bounds  l>oth  of  har- 
mony and  melody,  and  yiven  them  a  Irecdom  to 
which  we  owe  many  beauties  unknown  to  the 
fathers  of  the  musical  science. 

RELFE,  JOHN,  was  bom  in  17r,.1.  Ho  com- 
menced his  musical  studies  under  the  tuition  of 
his  father,  who  was  upwards  of  fifty  yi-.irs  organ- 
ist of  (ireenwicb  Hospital.  .\t  the  age  of  eigh> 
teen,  he  was  article*!  for  two  jcars  to  Keeble, 


101 


801 


REL 


ENCYCLOPAEDIA    OF   MUSIC. 


REM 


organist  of  St.  Ccorge's,  Hanover  Square,  who 
was  then  considered  one  of  the  first  theorists 
ind  origan  periorinors  of  the  day.  To  the  celeb- 
rity of  Keoblc's  name  as  a  master,  and  the  cxten- 
fcive  ])rDressionaI  connections  of  Kelfe  senior,  his 
Bon  was  indebted  for  the  early  encouragement  he 
experienced  as  a  piano-forte  teacher,  which  was 
followed  up  by  full  employment  of  forty  years  in 
that  line  of  i)rofessional  practice.  His  musical 
compositions  have  been  but  few,  and  those  chief- 
ly of  a  theoretical  nature,  commencing  with  a 
"Set  of  .Sonatas,"  dedicated,  by  permission,  to 
the  I'rincessos  Mary  and  Sophia,  a  popular  ballad, 
entitled  '•  Mary's  Dream,"  with  some  others  not 
worthy  of  mention  ;  "The  Princi])les  of  Harmo- 
ny," first  published  in  1798,  in  periodical  num- 
V*rs,  entitled  "  Guida  Armonica,"  and  in  which 
nearly  the  wlio'.e  theoretical  plan  of  Logier,  as 
fur  as  it  is  connected  with  offering  elementary  in- 
structions through  the  medium  of  exercises,  will 
be  found  to  have  been  anticipated  ;  various  single 
pieces,  chiefly  composed  for  the  improvement  of 
professional  and  private  pupils  placed  under  his 
tuition  ;  a  pamphlet  entitled  "  Remarks  on  the 
present  State  of  Musical  Instruction,  with  a  Pro- 
spectus of  a  new  Order  of  Thorough-bass  Desig- 
nation, and  a  demonstrative  View  of  the  defec- 
tive Nature  of  the  customary  Mode  ;  to  which  are 
annexed.  Definitions  of  Twenty  Diagrams  exhib- 
ited in  a  Music  Scroll,"  1819.  His  last  work, 
entitled  "  Lucidus  Ordo,"  was  published  in  1821, 
and  consisted  in  an  attempt  to  divest  the  subject 
of  thorough  bass  and  musical  composition  of  all 
its  intricacies,  and  to  exhibit  the  whole  science 
in  a  lucid  and  simple  form,  capable  of  applica- 
tion to  every  species  of  composition. 

RELIGIOSO.  (I.)  With  religious  feeling ;  in 
a  devotional  manner. 

RELLSTAB,  JOHANN  CARL  FRIEDRICH, 
printer,  and  proprietor  of  a  music  warehouse  at 
Berlin,  was  born  in  that  city  in  1759.  He  was 
first  brought  up  to  the  musical  profession,  and 
studied  under  Agricola  and  Fasch.  He  wrote 
several  musical  works,  amongst  which  are  the 
following  :  "  Essay  on  the  Union  of  Musical 
and  Rhetorical  Declamation,  intended  principal- 
ly for  the  Use  of  Musical  Performers  and  Com- 
posers, with  Examples,"  Berlin,  1786;  "Essay, 
containing  the  Observations  of  a  Traveller  respect- 
ing Church  Music,  Concerts,  &c.,"  Berlin,  1789; 
"  Instructions  for  Amateurs  of  the  Harpsichord, 
to  finger  in  the  Style  of  Bach,"  Berlin,  1790  ; 
"  The  Har|)sicliord  >Iaga7.ine,"  Berlin,  1787.  This 
was  continued  in  the  following  year,  under  the 
title  of  "  Melody  and  Harmony."  It  contains 
several  of  Rellstab's  vocal  and  instrumental  com- 
positions. "  Liedcr  uiui  Gesamje  rersc/iii'dener  Art 
zum  singcn  am  Clavier,  Isler  Tlieil,"  Berlin,  1791; 
"'Iter  I'hvil,"  Berlin,  1791;  "Six  Solfeggi  p.  il 
Cembalo,"  Berlin,  1792;  "Sonata  p.  il  Oryano ;" 
"  12  Marac/ic  f'llrs  Klavier,"  Op.  79  ;  "  Soitafiiie  p. 
Cemb.  C.  Fl.J"  "  Wildheit  und  Hi/,-,  Charakier- 
$tUck  f.  Klavier."  The  following  are  in  manu- 
script :  "  Pygmalion,"  a  cantata  from  Uamler ; 
"The  .Shepherds  at  the  Manger,"  a  cantata  from 
Hamler  ;  lastly,  "  .Seven  Symphonies  and  Over- 
tures." 

RELLSTAB,  HEINRICH  FRIEDRICH  LUD- 
W'lG,  born  at  Berlin  in  1799,  was  destinetl  for 
music  by  his  father,  after  whose  death  he  became 


a  soldier  in  the  war  of  181.5,  and  was  advanced 
to  an  officer.  His  military  duties,  however, 
never  robbed  him  of  his  taste  for  the  arts.  Poe- 
try occupied  him  especially,  and  he  wTote  the 
books  for  operas  and  songs  for  the  Liedertafel, 
which  he  founded,  in  1819,  with  Berger  and 
Klein.  In  1821  he  left  the  military  service,  and 
went  to  Frankfort  on  the  Oder,  where  he  wrote 
his  tragedy  of  "  Charles  the  Bold,"  published  in 
1824.  From  this  time  he  gave  himself  up  to 
literature  and  musical  criticism.  Poems,  little 
histories,  and  romances  by  Rellstab.  have  been 
published  since  182.5.  Among  the  latter  is  a  sa- 
tirical one,  entitled  "  Ili-nriette,  on  la  hille  Caiita- 
tric,"  of  which  Mile.  Sontag  formed  the  subject, 
and  which  gave  great  offence.  Rellstab  has  con- 
tinued to  live  in  Berlin,  where  he  is  yet  distin- 
guished as  a  musical  critic,  (18.54.) 

RELUZZI.  A  musician  at  Prague.  Twelve 
of  his  symphonies  were  known  about  the  year 
1760. 

RELZER,  JOHANN,  chamber  musician  to  the 
Bishop  of  Wurt/.burg,  about  the  year  1740,  was 
a  native  of  Vienna.  He  was  considered  one  of 
the  best  violinists  of  his  time. 

REMBT,  JOHANN  ERNST,  organist  of  the 
principal  church  at  Suhl,  in  Saxony,  was  bom 
there  in  1749.  He  was  an  excellent  performeo 
on  the  organ,  and  a  good  contrapuntist.  In 
1787,  he  published,  at  Leipsic,  "6  Onjfl  Triot," 
which  he  previously  submitted  to  the  inspection 
of  the  renowned  .Sebastian  Bach,  whose  works 
he  had  profoundly  studied.  Amongst  his  other 
published  compositions  are  " 50  Vieis'immige  Fu- 
getten  fUr  die  Orgel  componirt  und  Hrn.  Kapellm. 
Miller  Zugeeignet,"  Leipsic,  1791 ;  "  12  leic/Ue  trio- 
mtlssige  Choralvorspiele,  Ir.  Heft,"  Leipsic,  1797  ; 
and  "  Derselben  2r.  Heft,"  Leipsic,  1797.  At  that 
period  he  h^d  many  other  practical  works  ready 
for  publication. 

REMI,  of  Auxerre,  a  monk  in  the  convent  of 
St.  Germain,  in  the  ninth  century,  was  consid- 
ered one  of  the  most  learned  men  of  his  age.  He 
wrote,  amongst  other  works,  a  "  Commentary  on 
the  treatise  de  MusicA  of  Maitianus  Capella." 

REMORINL  R.\NIERI.  This  singer  is  weU 
known  in  the  modern  musical  ann.ils  of  Italy ; 
in  that  country  he  was  a  performer  of  celebrity 
for  many  years.  He  has  been  attached  to  the 
Italian  opera  at  Lisbon,  and  went  1 1  London  in 
April,  1824,  to  perform  his  engagement  at  the 
King's  Theatre,  where  he  appeared  tor  the  first 
time  in  Rossini's  opera  of  the  "  Turro  in  Italia," 
in  the  character  of  Selim,  a  Turkish  prince. 
He  died  at  Bologna  in  1827.  The  principal 
quality  in  Remorini's  voice  was  strength ;  his 
tones  were  not  only  loud,  but  were  propelled  by 
a  force  that  threw  them  into  every  corner  of  the 
house  at  once.  His  compass  was  not  great.  His 
execution  was  vigorous  and  neat,  and  his  intona- 
tion, the  chief  re-iuLsite  in  a  singer,  perfect.  His 
long  experience  of  tlie  stage  in  a  country  where 
negligent  action  Is  not  overlooked,  also  gave  him 
an  easy  and  correct  manner  of  acting. 

REMPLISSAGE.  (F.)  A  term  applied  tc 
the  florid  or  decorative  flights  and  flourishes  in- 
troduced in  concertos  and  bravura  airs. 

REMPT,  JOHANN  M.VTTIIIAS,  a  German 


802 


REN 


ENCYCLOPAEDIA    OF    MUSIC. 


RES 


composer,  chiefly  of  Protestant  hymns,  died  in 
the  year  1802. 

RENALDI,  GIULIO,  an  Italian  composer  of 
the  sixteenth  century,  was  born  at  Padua.  Of 
his  works  we  can  name  "  Mddriijali  ^  4,  5,  «  6 
voci,  am  dialogi  f>  7  voci,"  Pook  1,  Venice,  1567, 
and  "  Madrigali  h  4  voci.  Lib.  2." 

HEXAUD,  a  French  musician,  was  chapel- 
master  to  the  Empress  of  Russia.  lie  composed 
tlic  music  of  two  comic  operas,  entitled  "  Le 
Ciivii-r,"  and  "  I.e  Maurais  Minai/e." 

RENAUD,  MLLE..  the  elder,  a  celebrated 
singer  at  the  Theatre  Italien,  in  Paris,  between 
the  yenrs  178.5  and  1790.  She  was  remarkable 
for  tlie  case  with  which  she  sang,  and  for  her 
correct  articulation  and  intonation.  Two  of  her 
sisters  also  san;^  at  the  same  theatre,  and  at  the 
Biimc  period.  Tliey  were  called  "  La  coiivie  de 
roasiiinoh." 

REXER,  ADAM,  a  celebrated  contrapuntist, 
resided  at  I.iof,'e  from  1538  to  1555. 

REXVEU.SKMEXT.    (F.)     An  inversion. 

REXVOI.    (F.)     A  rcjicat.     A  name  given  to 

the  character  ^  . 

REX VOISY,  RICHARD,  master  of  the  chor- 
isters  of  the  holy  chapel  in  Dijon,  set  to  music 
the  Psalms  of  David,  for  four  voices,  in  the  six- 
teenth century ;  they  were  published  in  Piuris. 

REPE.VT.  A  character  indicating  that  cer- 
tain measures,  passages,  or  strains,  are  to  be  sung 
or  i)layod  twice  —  thus  : 


U>U«  ■  luj«b  I    Tni—  Um  Utd. 


The  pupil  will  notice  two  kinds,  or  characters 
—  they  both  now  have  the  same  meaning. 
Sometimes  one  is  used,  sometimes  the  other. 
The  repeat  is  also  used  in  d>ubU'  endings.  The 
repeat  serves  instead  of  writing  the  same  thing 
twice  over.  The  sign  of  one  repeat,  in  com- 
mon use,  is  a  double  bar,  with  dots  before  it ; 
or  two  parallel  lines  drawn  perpendicularly  ac.o-s 
the  staff,  with  dots  on  one  or  both  sides  ;  and  it 
sliows  that  the  preceding  strain  is  to  be  repeated  — 
that  is,  if  it  be  near  the  beginning  of  the  i)iece,  all 
hitherto  sung  or  played  is  to  be  repented ;  or  if 
towards  the  end  of  a  piece,  all  from  such  another 
mark.  In  gavots,  we  usually  Hnd  the  re;  eat  at 
about  the  third  part  of  a  juece  —  in  minutes, 
courants,  &c  ,  towards  the  end.  It  is  always  un- 
derstood that  if  there  be  dots  on  each  side  the 
bar,  they  direct  to  a  repetition  both  of  the  preced- 
ing and  the  following  strain  ;  if  there  be  only  dots 
Du  one  side,  then  only  the  strain  on  that  side  is 
to  be  repeated.  A  repeat  was  also  denoted  by  a 
character  set  over  the  place  where  the  repetition 
begins  and  continued  to  the  end  of  the  strain. 
When  the  song  ends  with  a  repetition  of  the  first 
strain,  or  part  of  it,  instead  of  a  repeat,  the 
w  ords  Da  Capo,  that  is,  from  the  beginning,  are 
used. 

The  repct  may  be  always  employed  where  the 
repetition  is  simple  and  exact.  There  are  several 
kind.s  —  one  with  dots  drawn  across  the  staff; 
one  with  dots  on  the  second  and  third  spaces, 


with  a  sign  over  them,  thus  :    ;$: ;  and  tliey  all 
show  what  part  is  to  be  sung  over  again,  thus : 


§iM 


•m^ 


=^m 


REPERCU.SSION.  A  frequent  repetition  of 
the  same  sound.  This  happens  in  the  harmonica 
triad,  the  essential  sounds  of  whose  three  choriU 
are  repeated  oftencr  than  the  others  ;  i.  e.,  the 
Jlnal  and  the  dominant,  which  are  properly  th» 
nperciissions  of  each  mode. 

REPETITIOX.     (F.)     A  rehearsal. 

REPLICA..  (I.)  A  word  implying  a  repeat 
Jiejjlicalo  has  the  same  meaning. 

REPOXSE.  (F.)  The  answer  in  a  fugu^ 
imitation,  or  canon. 

REPRISE.  (F.)  A  pause,  or  suspension.  An 
extempore  grace.     See  CAnENXE. 

RKtiUKXO,  VINCEXZO,  an  abbot,  and  mcm- 
h.erof  the  .Vccademia  Clementina,  was  a  .S|)ani8rd 
by  birth,  but  rc>ided  in  Italy  during  many  years. 
He  published  a  work  entitled  "  Stiggi  di  Hista- 
bilmcnio  dflC  Arte  Arinnnica  de  Greci  e  liomani 
Cantori,"  Parma,  1798. 

REQITIEM.  A  funeral  service  composed  and 
performed  for  the  repose  of  a  dejiartcd  soul. 
lio'/uieni.i  are  very  common  in  Roman  Catholic 
countries,  where  almost  every  one  distinguished 
by  birth,  or  extraordinary  talent,  receives  this 
musical  honor. 

RESAREICAM,  ANTOXIO  DA.  A  Portu- 
guese ecclesiastic  and  composer,  born  at  Lisbon 
in  1(121.  He  left  many  masses  and  other  pieces 
of  sacred  music  of  his  composition,  in  manu- 
script, at  his  death,  which  took  place  in  IGSG. 

RESOLUTIOX.  That  modulation,  or  change 
of  harmony,  by  which  the  unaccording  note  of 
anv  discord  falls  to  one  of  the  concording  notea 
of  the  succeeding  harmony ;  as  when  the  ninth 
is  resolved  into  the  eighth,  the  fourth  into  the 
third,  &c.  Formerly  a  canon  was  said  to  be  rc- 
so/red,  or  written  in  resolution,  wh.cn.  instead  of 
being  corapri-^ed  in  a  single  staff,  all  the  jjarts 
were  given  in  separate  staves ;  i.  e.,  when  each 
part  was  placed  under  the  next  above  it  in  point 
of  scale  or  natural  order. 

RESOXAXCE.  A  prolongation  or  reflection 
of  any  soun'l,  a.s  when  it  is  returned  by  the  air 
enclo>ed  in  the  body  of  a  stringed  instrument,  or 
by  elliptic  and  parabolic  vault*,  or  subterraneous 
caverns. 

RESOUXD,  TO.  A  verb  sometimes  implying 
to  echo,  reflect,  or  turn  back  a  sound,  in  m  hich  sen^e 
it  is  active ;  sometimes  signifying  to  6c  rchied,  tt 
be  rijiccted,  or  turned  back,  and  then  it.s  sense  w 
neuter. 

RESPIR.VTIOX  is  that  peculiar  action  of  the 
lungs  which  is  necessary  to  draw  the  air  into  and 
e.xpel  it  trom  the  chest.  This  action  consists  of 
two  alteniale  movements;  viz.,  inspiration,  ot 
taking  in  the  breath,  and  expiration,  or  the  expul- 
sion of  the  breath.  In  inspiration  the  lungs,  acting 
somewhat  like  a  pair  of  bellows,  dilate,  to  intro- 
duce the  external  air  into  the  chest  ;  in  expira- 


803 


R£S 


EXCYCLOPJtlDIA    OF   MUSIC. 


RETT 


tion  they  contract  for  the  piirpose  of  expelling  it. 
The  air  must  be  drawn  into  the  lungs  copiously 
nnd  with  great  quickness  ;  but  it  should  only  be 
allowed  to  escape  from  the  chest  si  .vly,  gradu- 
ally, and  with  the  utmost  smoothness ;  in  fact, 
the  emission  of  it  cannot  be  husbanded  with  too 
much  economy.  The  air  thus  thrown  into  mo- 
tion by  respiration  is  the  pnncipa!  agent  of  tlie 
vocal  organs.  When  the  sounds  are  ouco  formed 
they  must  be  emitted  freely,  and  by  a  prompt 
im])ulse,  that  they  may  not  become  imperfect  and 
unsteady.  If  the  emission  of  the  voice  be  not 
jierlormed  with  sufficient  (juickness,  the  tone  be- 
comes f/uttttral ;  and  if  the  voice  be  too  much 
forced  towards  the  head,  prior  to  its  emission,  it 
becomes  na^al. 

RESPONSE,  or RESPOXSO.  (I.)  Thename 
of  a  kind  of  anthem  sung  in  the  Roman  church 
after  the  morning  lesson,  and  which  concludes 
in  the  manner  of  a  rondo.  In  a  fugue  the  re- 
$po)ise  is  the  repetition  of  the  given  subject  by  an- 
other part. 

RESTA,  NOEL,  of  Milan,  composed  the  comic 
opera  "  /  tre  Siyisbei  Ridicoli,"  performed  in  1748. 

RESTELLI.  A  good  ItAlian  violinist  at  Bo- 
logna at  the  commencement  of  the  present  cen- 
tury. 

RESTS.  Characters  of  silence,  each  of  which 
denotes  a  cessation  of  sound  equal  in  duration 
to  that  of  the  note  after  which  it  is  named ;  thus, 
a  semibreve  rest  is  equal  in  length  to  a  semibrevo, 
a  minim  rest  equal  in  length  to  a  minim,  a  crotch- 
et rest  equal  in  length  to  a  crotchet,  nnd  so  on 
through  all  the  different  characters  of  notation. 
Hence  it  is  easy  to  conceive  that  in  variously 
combining  these  signs  we  may  at  pleasure  ex- 
press silences  of  any  duration.  For  examples, 
eee  C'hauacteiis. 

RESTORATION.  The  act  of  restoring  a  note 
made  flat  or  sharp  to  its  primitive  sound. 

RETARDANDO.  (I.)  A  retarding  of  the 
movement. 

RETARDATION.  The  carrying  one,  two,  or 
more  notes  of  a  preceding  chord  into  the  suc- 
ceeding combination. 

RETRO.  (L.)  This  adverb  signifies  back- 
varrl,  and  is  applied  to  the  subject  of  a  canon, 
•when  so  constructed  as  to  admit  of  its  being  sung 
in  a  retrograde  direction. 

RETROGRADO.  (I.)  In  retrograde  move- 
ment. 

RETZEL,  ANTON,  chapel-master  to  the  Duke 
of  Holstein,  was  boru  at  Brunswick  about  the 
vear  1724.  He  wa.s  an  eminent  performer  on  the 
bassoon,  and  a  good  contrapuntist.  His  music  is 
in  the  style  of  (irnun  :  some  of  it  was  published 
at  Amsterdam. 

REUFFIUS,  JACOBUS,  a  musician  of  the 
eeventeentli  century,  publi^hed  "  OpeU<B  Musicee," 
Nuremberg,  1643. 

REUSCIIEL,  JOIIANN  GEORG,  singer  at 
Marckersbach,  in  Bohemia,  in  the  middle  of  the 
seventeenth  century,  jjublished  "  Dccas  ilissarum 
i<acrarum  4,  5,  6-18  vocum,"  Freybcrg,  1GG7. 

REUSCIIirS,  JOHANNES,  chancellor  of  the 
Bishop  of  Meissen,  was  an  excellent  musician. 


He  published  at  I.eipsic,  in  1554,  "  Melodien  zu 
des  Geonjii  Fubricii  Laleinischen  Oden,"  of  which 
several  editions  were  published. 

REUSNER,  JACOB,  a  German  composer, 
flourished  about  the  year  1600,  and  published, 
among-^t  other  works,  "  Miasm  6  vocum,"  Dilling- 
en,  1601,  and  "  Miss<s  i  et  5  vocum,  cum  Officio 
U.  M.  v.,"  Dillingen,  1604. 

REUSSNER,  ELIAS,  a  lutist  and  composer 
for  his  instrument  in  Schleswic,  flourished  in 
the  middle  of  the  seventeenth  century,  and  pub- 
lished "  Laiilen-ltist,  aus  Praludien,  Paduvieii, 
Couranfen,  Sarabnnden,  Giffuen,  Gavotten  und  an- 
dern  Piicen,"  Breslau,  1608. 

REUSSNER,  ESAIAS,  son  of  the  preceding, 
was  a  lutist  in  the  service  of  the  Prince  of  I.ieg- 
nitz-Brieg,  and  of  the  Elector  of  Brandenburg. 
He  published,  in  1676,  "  Neue  LautenfrUchte ;" 
also  "Ilundvrt  geistliche  Melodien  Evangel isc/ier  Lied- 
er  auf  die  Laule  gesetzt." 

REUTER,  GEORG,  Sen.,  imperial  chapel- 
master  and  organist  of  St.  Stephen's  Church  at 
Vienna,  was  born  there  in  1660.  He  died  in 
1731. 

REUTER,  CARL,  eldest  son  of  the  preceding. 

was  also  chapel-master  of  St.  Stephen's  Cathedral 
at  Vienna  about  the  year  1740.  Reuter  died  a^ 
Vicuna  in  the  year  1770. 

REY,  JEAN  BAPTISTE,  bom  at  Lauzerte,  in 
the  department  of  the  Tarn  and  Garonne,  in 
France,  in  1734,  was  self-instructed  in  the  art  of 
music,  at  the  Abbey  of  St.  Sernin,  at  Toulouse. 
At  the  age  of  seventeen  he  was  elected  a  mem- 
ber oi  the  orchestra  in  the  cathedral  at  Auch  ; 
three  years  after  which  he  was  attached  to  the 
grand  opera  of  Toulouse,  and  continued  the  ex- 
ercise of  his  art  with  increasing  success  in  various 
towns,  especially  at  Montpellier,  Marseilles,  Bour- 
deaux,  and  Nantes,  till  he  had  attained  liis  forti- 
eth year.  His  fame  had,  by  that  time,  reached 
Paris,  several  motets  of  his  composition  having 
been  j)erformed  at  the  chapel  of  Louis  XV.  In 
1776,  when  at  Nantes,  he  received  a  ktire  de 
cachet,  ordering  him  to  appear  at  Paris,  and  to 
be  attached  to  the  Royal  Academy  of  Music, 
where  he  remained,  till  his  death,  in  the  situation 
of  director  of  the  orchestra.  In  1779  Louis  XVI. 
appointed  him  chamber  musician,  with  a  salary 
of  two  thousand  francs,  and  a  promise  that  he 
should  succeed  to  the  place  of  superintendent  of 
the  royal  music,  and  be  decorated  with  the  conSon 
nnir  —  advantages  which  he  lost,  however,  by  the 
events  of  the  revolution.  During  the  thirty- 
tive  years  that  Rcy  conducted  the  opera  orches- 
tra, he  did  not  cesise  to  contribute  in  sustaining 
the  ])reominence  of  that  estublishraent.  He 
cither  composed  or  revived  several  works  per- 
formed at  the  theatre;  he  completed  the  opera 
of  "  Arvire  and  Evelina,"  of  the  celebrated  Sac- 
chini,  who  was  his  intimate  friend,  and  had  con- 
fided to  him  that  task.  When  Nn])oleon  assumed 
the  imperial  dignity,  he  promoted  Rey  to  the 
situation  of  chif-d'orchcstre  of  the  Chapel  Royal. 
He  died  in  1810,  which  event  is  said  to  have  been 
hastened  by  his  grief  for  the  loss  of  a  daughter, 
in  the  preceding  year,  who  had  considerable  mu- 
sical talent.  Iloy's  brother  was  violoncellist  at 
the  Royal  Academy  of  ^lusic,  and  assisted  J.  B. 
Rey  iu  the  composition  of  the  opera  of  "  Apollor 


804 


REY 


ENCYCLOPAEDIA    OF    MUSIC. 


nil  if 


It  Coronis."     In  an  access  of  delirium,  from  brain 
'ever,  he  cut  his  throat,  in  tlic  year  1811. 

REY,  N.,  an  amateur  at  Paris,  published  there 
the  I'ollowing  work  :  "  S^stime  harmonii/iie,  de- 
veloppi  el  traite  d'aprcs  ks  priucipes  du  ccUbie  Ha- 
mean;  ou  (jrammaire  de  Miuiqxie,  sous  le  litre  de 
Tablalure,  se  rapportanl  au  Dielkmnaire  de  J.  J. 
liotisseati,  pour  strcir  d  V inlellijence  el  &  I'enseiijne- 
tnent  de  tout  I'ensembte  de  hi  mtuigiie,  conti-naitt  in- 
troduction, explanation,  rii/let  de  composition,  diji- 
yiitions,  observations,  principes  pour  les  coinmcni;ans, 
&c.,  acec  thiorie  pour  trouar  el  s'exercer  d  diriger 
toutes  tes  harmonies  et  milodies,"  1798. 

KEYIIEU,  ANDREAS,  doctor  of  philoso- 
phy, and  rcclor  of  the  gymnasium  at  Gotba,  was 
born  in  1001.  He  published  "  ilan/arita  I'hilo- 
lophicu  in  annulo  Synapsis  totius  Philosophic,"  Nu- 
remberg, 1G3G,  and  "  Sjwcimen  Muaicum  pro  Ex- 
ercitio  Ilehraicv  conjuijandi,"  Gotha,  1671. 

KEY-MAN X,  F.  (i.,  ballet  master  to  the  court 
theatre  at  Strclitz,  jiublisbed,  about  the  year  1783, 
the  operetta  "  Der  Uervische."  Much  of  his  in- 
Btrumcutal  music  is  also  to  be  found  in  manu- 
script. 

REYNVAAN,  J.  VEUSCIIUERE,  an  advo- 
cate at  Flushing,  in  Holland,  published  "  Cate- 
chismus  der  Muzyk,"  Amsterdam,  1788,  a  work  of 
merit  ;  also  "  Miuykaal  kunst-tc<x)rdcnboek,  belwl- 
zende  de  cerklaarimjen  ah  mede  het  gebruik  en  de 
kracht  der  kunstwoorden,  die  in  de  iluzyk  voorko- 
mcn,"  Am^sterdam,  179.5.  He  was  also  the  com- 
poser of  "  Six  Harpsichord  Sonatas,  witli  Violin 
Ace,"  published  at  Amsterdam  in  1700. 

KEYS,  GASPARDOS.  chapel-master,  first  at 
Lisbon  and  afterwards  at  Braga,  about  the  year 
1630,  was  a  pupil  of  D.  Lobo,  and  composed 
much  church  music. 

RIIAPSODIE.  (F.)  A  rhapsody,  a  capric- 
cio. 

RHAPSODISTS,  or  RHAPSODL  (Gr.)  Per- 
sons among  the  ancients  whose  prolession  it  was 
to  sing  or  recite  the  verses  of  Homer  and  other 
celebrated  poets.  It  appears  that  particular  forms 
were  observed  in  repeating  the  works  of  the  great 
epic  bard,  and  that  the  rhui)sodi  were  clothed  in 
red  when  they  sang  from  the  Iliad,  and  in  blue 
when  they  chanted  the  Odys.-ey.  They  per- 
formed in  the  theatres,  and  sometimes  contended 
for  prizes,  both  in  recitation  and  in  singing.  Hut 
ancient  authors  seem  to  speak  of  other  rhapsodi 
of  higher  aiitiiiuity  tlian  these ;  persons  who 
wrote  heroic  poems,  or  songs,  in  praise  of  heroes 
a\id  distinguished  men,  and  sang  their  own  com- 
I)usitions  Irom  town  to  town  for  a  subsistence ; 
of  which  profession  Homer  himself  is  said  to 
have  been.  It  is,  however,  liighly  probable  that 
they  were  all  of  the  same  class,  and  that  their 
business  was,  indifferently,  to  sing  or  rehearse 
either  their  own  poems  or  those  of  other  authors. 
It  is  not  a  subject  of  wonder  il,  after  Homer's 
time,  they  chietiy  confined  themselves  to  his  pro- 
ductions, for  which  the  jjcople  had  the  utmost 
veneration  ;  and  it  is  natural  to  suppose  tlint  they 
should  erect  public  stages,  and  dispute  the  prizes 
of  recitation,  in  places  of  general  resort. 

lUIAW,  or  RIIAU,  GEOIUJ,  a  celebrated 
German  musician,  and  improver  of  Protestant 
psalmody,  was  also  a  printer  at  Wittenberg.     He 


was  born  nt  Eisfeld,  in  Franconia,  in  1 188,  and 
at  an  early  age  was  appointed  singer  and  director 
of  music  at  Leipsic ;  in  which  <|ualitios  he  broughl 
out,  at  the  time  of  the  celebrated  thesis  sustained 
between  M.  Luther  and  Eck,  a  miuss  for  twelve 
voices,  which  was  perfbnncd  at  the  comraenco- 
rocnt  of  the  thesis,  and  a  "  'J'e  JJcum,"  to  be  sung 
at  the  conclusion.  After  this  he  settled  in  hia 
printing  business  at  Wittenberg,  and  thence  pro- 
duced, in  l.i38,  a  collection  of  motets  for  four 
voices,  by  different  ma.sters,  under  the  title  of 
"  Select (C  ITarmonicrr,  4  vocum,"  and,  in  1.044,  a 
second  collection,  containing  one  hundred  and 
twenty-three  German  canticles,  for  four  and  five 
voices,  for  the  use  of  schools.  In  1.518  appeared 
the  first  edition  of  his  work  entitled  "  Enchiridimt 
utriusyue  Musica  praclicce  ex  variia  Musia>riim  Li- 
bris  congcslum  ; "  this  went  through  seven  editions 
up  to  the  year  1.5.53.  His  death  took  place  in 
ld48. 

RHEIN,  FR.  A  celebrated  French  flutist  and 
composer  for  his  instrument  at  Vienna.  He  died 
previously  to  the  year  1799. 

RHEINECK,  CIIRISTOPII,  a  pleasing  com- 
poser, excellent  tenor  singer,  and  jjianist,  wan 
born  at  Memmingen  in  1748.  He  learned  the 
elements  of  singing  from  hia  father.  It  was  at 
Lyons  that  he  made  the  greatest  progress  in 
music,  and  in  that  city  he  produced  his  first 
opera,  "  Le  Nouvcuu  Pyymalion,"  whicli  was  not 
only  favorably  received  as  a  novelty,  but  long 
remained  a  stock  piece  at  the  Lyons  theatre. 
Shortly  after  the  appearance  of  this  comi)osition, 
he  was  invited  by  the  minister,  Turgot,  to  settle 
at  Paris,  which  retjuest  was  accompanied  by  ar. 
offer  of  a  ])r<)fitftble  place  under  government. 
He  consented,  first  reiiuesting  to  visit  his  father 
in  Germany,  whom  he  saw  only  a  few  days  be- 
fore he  was  deprived  of  him  by  death.  This 
event  delayed  his  arrival  in  Paris  nearly  a 
month ;  in  which  short  interval  Turgot  had 
been  disjjraced,  and  con.He(iuently  was  incapable 
of  fulfilling  his  i)roraise  to  Rheineck.  Frustrat- 
ed in  his  hopes,  he  <iuitled  Paris,  and  settled  as 
innkeeper  in  his  native  town,  where  he  died 
about  the  year  1796.  The  following  of  his  com- 
positions were  printed  :  "  Ihr  I'odyisang  Jesu," 
an  oratorio,  the  poetry  by  .Stadele,  1778;  "Mel- 
odies to  Schellhorn's  Collection  of  Psalms ; " 
"A  Mass;"  "  Iai  Nouceau  I'yijmnlion,"  comio 
opera,  Lyons ;  "  Le  Fitt  Iteconnaissani,"  comic 
opera.  Lyons  ;  and  "  liinaldo,"  grand  opera,  in 
(jcrmany,  with  St.ldele's  poetry,  Memmingen, 
1779  ;  four  collections  of  songs,  ])rinte(I  subse- 
quently to  the  year  1770,  and  many  songs  and 
piano-forte  pieces,  published  in  the  five  volume* 
of  the  Si)ire  Collection,  .\raongst  his  music  left 
in  manuscript  are  "  Si.x  Harpsichord  Concertos." 

RHEINER,  FELIX.  A  celebrated  performer 
on  the  bassoon  in  the  Royal  Chapel  at  Munich. 
He  died  previously  to  the  year  178.i. 

RHETORICAL  has  various  meanings.  The 
double  bar  shows  tiie  rhetorical  termination  of  a 
strain;  and  the  (Jerranns  divide  accent  into 
grammatical  and  rhetorical,  the  first  ot  wliich 
we  call  accent,  and  the  latter  empluisis. 

RHIEMANN,  or  RIKM.VNN,  J.\COB.  a  eel- 
ebratcd  instninuntnl  coinpuser  hIkhii  the  year 
17'iO,  published  at  Amsterdam   "  Suites  pour  le  B. 


805 


nn  ) 


EXCYCLOP^DIA    OF   MUSIC. 


EIO 


de  Vnle  ct  D.  C,"  Op.  1  ;  '6  Sonate  h  V.  solo  e  B. 
(■'.,"  Op.  2;  niul  "  iiotiate  i  I'.,  Viol  da  gamba  e 
contiiiiio,"  Op.  3. 

RHOMUOII).  (Or.)  A  four-sided  figure 
stnndiiig  on  one  of  its  angles,  and  intimating 
that  the  notes  of  the  passage  over  which  it  is 
placed  are  to  swell  in  sound  as  that  widens,  and 
decre.u-e  as  it  narrows. 

RHYTHMIC.  A  term  applied  to  that  part  of 
the  ancieiU  music  which  tauglit  the  practice  and 
rules  of  movement  and  rhythm. 

KHYTIIMOIHEIA.  (Or.)  That  part  of  the 
sricnce  ot  the  ancient  music  which  prescribed  the 
l.sws  ot  rh)-thm,  or  whatever  appertained  to  the 
rhythmic  art.  The  rhythmopa?ia  had  for  its  object 
the  movement  or  time,  the  measure  of  which  it 
denoted,  together  with  its  divisions,  order,  and 
mi.xturc,  whether  to  move  the  passions  or  to 
calm  them.  It  was  principally  connected  with 
poetry,  because  jjoetry  alone  regulated  the  move- 
ments of  the  ancient  music.  The  rhythmoj)a;ia 
was  divided  into  three  principal  modes,  or  tro- 
phes ;  one  low  and  confined,  another  raised 
and  dignified,  and  a  middle  one,  trancjuil  and 
peaceable. 

RHYTHM.  Tliat  property,  or  quality,  in  the 
melopa-ia  of  the  ancients,  and  melody  of  the 
moderns,  by  wliich  the  cadences  ol  every  kind 
of  movement  are  regulated  and  determined. 
The  rhythmus  of  the  ancient  musicians  was, 
however,  materially  ditfereut  from  that  observed 
by  modern  composers  ;  the  former  was  prescribed 
by  the  long  and  short  syllables  of  the  ))oetry, 
and  had  no  other  variety  than  that  afforded  by 
its  metrical  laws.  The  modern  rhythmus,  on  the 
contrary,  only  requires  the  so  accommodating 
long  and  short  notes  to  the  syllables,  as  to  prop- 
erly separate  the  words,  and  give  due  force  to 
the  accented  syllables.  Vassius  and  other  writ- 
ers on  the  IjTic  poetry  of  the  ancients  attril)ute 
to  their  r/iylh»ius  the  whole  force  ol  their  music. 
Much,  however,  of  the  great  effects  of  which  we 
read  is,  doubtless,  to  be  ascribed  to  the  power 
and  richness  of  their  language,  and  to  their  ju- 
dicious attending  to  the  rendering  the  expression 
so  obvious,  clear,  and  ])ointed,  that  not  a  sylla- 
ble of  the  verse  was  lost  to  the  ear  of  the  au- 
dience. "  Rhythm  is  the  measure  and  outline 
of  motion.  It  is  the  pulse  of  life,  by  which  we 
note  its  moments.  In  music,  it  is  the  periodical 
recurrence  of  accent,  the  measured  beat,  which 
marks  the  character  and  live  expression  of  the 
movement.  Pulsation  seems  a  universal  fact  in 
nature ;  whatsoever  has  ILIe  manifests  it  in  regu- 
lar puLsations,  in  successive  impulses,  or  alter- 
nately advancijig  and  retiring  waves.  It  is  and 
it  is  not ;  we  touch  it  and  we  miss  it ;  it  comes 
und  it  goes ;  it  has  its  climax  and  its  recom- 
mencement, and  that  in  each  little  infinite«iraal 
iustant  of  its  liLstory.  Every  thing,  in  fact,  (to 
use  a  vulgar  plira.sc,)  is  'touch  and  go.' 
Thought  is  a  perpetual  series  of  new  volitions, 
not  an  undivided  How.  Every  influence  jjropeLs 
itself  in  waves.  It  is  so  with  sensation,  so  with 
every  sort  of  contact  into  wliich  our  sen.ses 
come  with  any  thing ;  things  vibrate  to  each 
other,  but  do  not  rest  in  contact.  The  seitse  nf 
touch  is  titillation  of  the  nerves.  The  German 
word  for  what  we  call  the  measure  iu  a  piece  of 
music  is  tukt,  or  touch. 


"  Rhythm  is  the  principle  of  older  in  the 
magic  world  of  tones.  It  gives  to  sound  its 
wavy  outline.  It  derives  melody  from  harmony 
Rhythm  Ls  every  where,  and  lends  a  beautiful 
self-balance  to  the  outgoing  of  every  unimpeded 
energy. 

"  Every  art  has  its  rhythm,  or  something  cor- 
responding. And  this  is  why  music  is  so  conge- 
nial with  every  form  of  beauty,  and  can  so  read- 
ily translate  or  transfuse  the  spirit  of  what  we 
feel  through  any  other  sense  besides  the  ear  ; 
for  rhythm  is  the  law,  or  common  term  uniting 
all  the.se  spheres,  and  distributing  their  ele- 
ments in  correspondence  one  with  another. 

"  '  Rhythmical  feeling  Ls  genius,'  says  Novalis. 
'  Every  man  has  his  individual  rhythm.  All 
method  is  rhythm  ;  have  rhythm  in  your  power, 
and  the  world  is  yours.'  "  —  J.  S.  Dwiyht. 

RIBIBLE.  A  small  viol  with  three  strings. 
The  diminutive  of  Reiiec.     See  that  word. 

RIBBE,  J.  C,  a  Gonnan  musician,  published 
"6  Sonaten  fUra  Klav.  mil  Fl,"  Berlin,  1789,  and 
"  3  Or.  Duos  Concert,  p.  2  FL,"  Berlin,  1798. 

RIBOYIUS,  LAUREXTIUS,  a  singer  in  Ko- 
nigsberg  in  the  first  half  of  the  seventeenth  cen- 
tury, published  there,  in  1638,  "  Enchiridion 
Miisicum,"  a  short  work,  containuig  the  principles 
of  singing. 

RICCATT,  GIORDANO,  an  Italian  count, 
born  at  Trevigi,  was  a  good  mathematician,  and 
wrote  the  following  works  relating  to  music : 
"  Drlk  Corile  ovvero  Fibre  Elastichc,"  Bologna, 
1767  ;  "  Delle  J'ibrazioni  Sonore  dei  CiUiidri,"  Ye- 
rona,  1782;  and  *' Disscrtazione  Jisico-matematica 
delle  Vibrazioni  del  Tambiiro."  The  second  of 
these  works  is  to  be  found  iu  the  first  volume  of 
the  "  Memorie  di  Matcmat.  e  Fisic.  delta  Soc.  Ital. 
Vernn.,"  and  the  third  work  in  the  "  Saggi  Scien- 
tijici  e  Lctterati  dell'  Accad.  di  Padua." 

RICCI,  or  RIZZIO,  DAYID.  a  celebrated 
lutist  and  singer,  born  at  Turin,  about  15-10, 
was  the  son  of  a  i)oor  musician  in  that  city,  who 
instructed  his  son  in  music  and  singing  to  such 
an  e.xtent  that  he  got  an  appointment  at  the 
court  of  Savoy.  At  this  time  the  Duke  of  Savoy 
sent  an  amba-ssador  to  Mary  Queen  of  Scots, 
whom  it  is  well  known  that  Rizzio  accompanied, 
and  afterwards  became  the  unfortunate  favorite 
of  that  unfortunate  cjuecn,  being  stabbed  by  her 
side  in  l.a'ifi.  It  is  a  common  opinion  that  sev- 
eral old  Scotch  songs,  as  "  Cowden  knows," 
"Galashiels,"  "  Gala  NYater,"  "Ettrick  Bank-;," 
"Braes  of  Yarrow,"  "Bush  aboon,"  "Traciuair," 
&c.,  were  composed  by  David  Rizzio  ;  but  this 
mtist  be  an  error,  the  style  of  the  Scotch  music 
being  determined  before  the  reign  of  Mary,  and 
the  l)est  of  these  airs  having  been  traditionally 
traced  to  much  more  distant  periods.  Neither 
ought  it  to  be  imagined  that  a  stranger,  who,  iu 
the  latter  part  of  his  liie,  was  devoted  to  business 
as  Mary's  secretary,  should  acquire  or  invent  a 
style  of  music  so  ditfeient  in  every  respect  from 
that  to  which  he  had  been  accustomed  in  his 
own  country.  Melody  is  so  much  the  character- 
istic of  the  Scotch  airs,  that  it  is  even  doubtful 
whether  they  had  basses  before  the  last  century ; 
whil>t  in  Rizzio's  time,  harmony  was  the  favor- 
ite study  of  the  Italian  composers.  I'alcstrins 
himself  obtained  the  glorious  title  of  the  laihc 


806 


RIC 


ENCYCLOPAEDIA    OF    MUSIC. 


mc 


of  harmony,  and  attnrjlied  himself  exclusively  to 
counterpoint;  and  when  ]{iz/.io  studied  hi.s  art, 
Palestrina's  music  must  have  been  in  the  hifjhest 
favor  in  Itidy.  Besides,  althouy;h  the  style  of 
the  ancient  Scotch  melody  has  been  well  imitat- 
ed by  Oswald  and  other  Scotch  musicians,  no 
f)reigner  has  been  known  to  have  acquired  its 
true  spirit.  Oc-niiniani,  who  was  a  fjreat  admirer 
of  Scotch  airs,  said  that  he  had  destroyed  several 
quires  of  paper  in  endcavorin;;  to  compose  a  sec- 
ond part  to  the  boiiutiful  air,  "The  broom  of 
Cowden  knows."  Tassoni,  aiithor  of  "  La  Ser- 
chia  rapila,"  speaks  of  this  music  as  very  much 
esteemed  by  the  Italians  oi'  his  day,  and  attrib- 
utes its  invention  to  Kin^;  James  of  Scotland  —  an 
opinion  which  ini;,'ht  easily  be  adopted  by  a 
foreigner,  because  all  the  Scotch  kings  of  this 
name,  and  particularly  the  Krst,  third,  fourth, 
and  tifth,  were  versed  in  music  and  poetry. 

The  testimony  of  Tassoni  proves  that  this 
music  is  derived  from  an  earlier  period  than  that 
iti  wnich  Kizzio  existed.  One  must  not,  how- 
ever, adopt  his  opinion  of  the  inventor,  nor 
must  they  be  believed  who  give  the  honor  of 
this  invention  to  the  monks  of  Melrose.  It  is 
more  probable  that  the.ie  delightful  melodies  had 
their  ori,'in  amon^'St  shepherds,  who  really  ex- 
jjerienced  the  sentiments  and  affections  they  so 
well  express. 

Kizzio  may  have  been  one  of  the  first  who 
made  a  collection  of  these  melodies,  or  he  may 
have  executed  them  more  delicately  than  any  of 
tlie  Scotch  musicians  of  the  same  period,  or  he 
may  perhaps  have  corrected  the  extravagance  of 
certain  passages ;  for  one  is  struck  by  the  regu- 
larity of  some  of  these  airs,  whilst  we  are  amused 
by  the  wildne^s  of  others;  and  in  either  case 
the  Scotch  may  be  said  to  owe  him  obligation. 
But  that  this  style  of  pastoral  melody,  so  differ- 
ent from  the  Italian  melody  of  the  same  age, 
and  80  peculiar  in  every  respect,  should  have 
been  established  and  imented  by  him,  appears 
impossible. 

IIICCI,  FUEDEUIC,  the  composer,  died  May. 
1852,  in  the  prime  of  lile  and  talent.  He  was 
stricken  by  apoplexy  in  the  post  carriage  be- 
tween Warsaw  and  St.  Petersburg,  llicci  was 
the  author  of  many  operas,  more  successful  in 
Italy  than  elsewhere.  'ITie  '■' l'ri</io)ii  d' lulin- 
r>uri;o  "  is  the  most  famous  of  his  operas,  among 
which  "  liulUi,"  "Eslell^i,"  and  "Uriscldti,"  are  not 
unknown.  His  "  (Jorrnrlo  if  AUamura  "  failed  in 
Paris,  in  1844.  He  had  recently  produced,  at 
A  enice,  "  /  iliw  Iti/raiti,"  an  opera  of  which  he 
composed  both  wonls  and  music,  and  in  May, 
18.52.  was  summoned  to  Russia,  under  the  es- 
pecial patronage  of  Field  Marshal  Piuskewiti  h, 
and  saw  before  him  the  ]>romiso  of  that  brilliant 
career  which  the  great  wealth  and  cultivation  of 
the  Russian  aristocracy  secure  to  a  few  fortunate 
artists  of  every  kind.  On  the  2d  December  he  i 
wrote,  that  for  the  tirst  time  fortune  smiled 
upon  him.  He  quotes  from  his  own  opera  of 
"  Holla,"  of  which  the  tenor  part  was  written  1 
for  Moriani :  "  A  nameless  stone  shall  cover  my  • 
grave;"  smiles  at  the  thought;  says  that  it 
will  be  his  own  fa\ilt  if  it  is  so.  and  within  •  few 
weeks  reaches  the  scene  of  his  anticipated  tri- 
umphs, a  corpse. 

RICCI,  MICHEL  AN(;EI,0,  an  Italian  con- 
trapuntist,  flourished   early    in   the   seventeenth 

80 


century.  Some  of  his  compositions  may  b« 
found  in  the  "  lieryomeno.  I'lirnas.  Miu.  Fcrdi- 
Hand,  1-5  vocum,"  Venice,  IGlo. 

RICCIO,  AXGELO  M.VRI.V,  doctor  of  theol- 
ogy,  and  professor  of  the  (Jreek  language  at 
Florence,  published  there,  in  174  7,  a  work  enti- 
tled "  JJisiertatioiiea  lluiiirncte,"  in  which  are  the 
three  following  dissertations  relating  to  music  : 
1.  "  Dissert,  de  AvhiUe  cithard  caitente  celeri'jus 
Grtpcorum  Miisicd;"  2.  "An  tuiisicd  curvntiir 
tnorbi ;  "  and  3.  "  Dissrrt.  de  Mnsicd  virili  et  ef- 
Jemiitatd  Griecuriim  lutnniil/istjue  aliis  ad  coynilio- 
iiem  musicte  pcrtiitenlibiis." 

RICCIO,  AXTOXKJ  TEODORO,  a  contra- 
puntist of  the  sixteenth  century,  born  at  Bres- 
cia, was  at  Hrst  chapel-masler  at  Fcrrara.  from 
whence  he  was  invited  to  the  C'liapel  Royal  at 
Vienna,  but  afterwards  left  tluit  court  for  Dres- 
den, where  he  embraced  tl»e  Protestant  religion. 
After  a  lew  years  he  again  removed  to  Konigs- 
berg,  and  lastly  to  Wittenberg,  where  he  died  in 
lo90.  Of  his  published  works  we  can  mention 
"  Lib.  1  de  Madiiijali  A  6  voci,"  Venice,  l.i'')7 ; 
"  Lib.  2  de  .Mudrii/ali  a  6,  7,  8,  e  12  voci,"  Venice, 
1.5G7  ;  "  Canzoni  alia  Xajxilitaiui  d  5  e  6  voci," 
Nuremberg,  1.577;  "  Cantiones  Sticrte,  5,  Ct,  ed  8 
vocum,"  Nuremberg,  1.578  ;  "  Moletti  a  5  ed  S 
voci,"  Frankfort ;  "  Messc,"  Konigsberg,  1.579  ; 
"  Moteltte  i  ct  plur.  cociiin,"  1.580  ;  and,  "  Litroi- 
tii.1,  giii  in  solennitatibua  mi\joriba3  el  pr<rcij)uorum 
Sanctorum  Festis  in  Ecclesia  decantari  talent,'' 
Venice,  1.589. 

RICCIO,  GIOVANNI  BATTISTA,  an  Italian 
composer,  published,  about  the  year  162.5,  "  Di- 
vine Laudi  Musicali  d  1,  2,  3,  e  4  voci,"  and  "  Can- 


i: 


oni  di  Honare  d  1,  2,  3,  e  4  stromenli." 

RICERCARL  (L)  ITie  name  formerly  given 
to  solfeggi  for  the  voice,  as  also  to  original  com- 
positions, or  exercises,  for  instruments.  This 
term,  in  the  early  times  of  counterpoint,  was 
used  instead  of  the  word  fantasia,  wliich  after- 
wards supplied  its  place ;  and  to  this  succeeded 
the  terms  conccnto,  concerto,  sinfonia,  sonata,  S;c. 

RICERCVTA.  (I.)  A  fugue  replete  with 
contrapuntal  artifices. 

RICHARDSON.  VAUGHAN.  A  scholar  of 
Dr.  Blow,  and  organist  of  the  cathedral  of  Win- 
chester. He  published,  m  the  year  170(,  "  A 
Collection  of  Songs  for  one,  two,  and  three  Voices, 
accompanied  with  Instruments."  and  also  com- 
posed several  anthem.s,  which  are  well  known  in 
most  cathedrals. 

RICH.  An  epithet  applie  1  to  those  compo- 
sitions, the  i>arls  of  which  are  elalxnately  and  in- 
geniously combined,  and  which  in  perlormanre 
produce  an  elegance  and  fulness  of  effect. 

RICHEFORT,  or  RICCI.VFORT.  J.,  a  native 
of  the  Netherlands,  is  placed  by  Walther  in  the 
middle  of  the  sixteenth  century  ;  but  he  wa.«  cer- 
tainly a  composer  many  years  l)efore  that  periml, 
as  we  Qnd  his  name  not  oidy  in  the  second  Iwiok 
of  ■•  Malitti  dflla  Corona,"  ])ubliHlipd  nt  FoH..eni- 
brone,  lilO,  and  preserved  in  the  British  Muse- 
um, in  which  collet'lion  he  was  author  of  the 
fourth  motet.  "  yiisremini  mri,"  but  to  a  motet 
in  a  music  book  belonging  to  Henry  VIII.  wheq 
Prince  of  Wales,  au  1    preserved   at   Cambridge. 


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GlarcanuH  says  tliat  "  great  praise  Ls  due  in  our 
times  to  the  vocal  compositions  of  John  Uichc- 
fort."  In  the  Museum  collection  of  French  songs, 
in  four,  five,  and  six  parts,  jjrinted  in  the  Nether- 
lands during  tlie  sixteenth  century,  there  is  one 
by  this  author  for  three  tenors  and  a  bass,  which, 
though  it  would  be  thought  somewhat  monoto- 
nous by  modern  ears,  has  great  merit  for  the  art- 
ful contexture  of  the  parts,  which  are  moving 
throughout  in  close  fugue  and  imitation.  lie 
died  about  the  year  1500. 

lilCIIEll,  ANDRE,  a  musician,  born  at  Paris 
in  1714,  was  a  page  of  the  king's  band,  under 
Lalandc  and  Uernier.  Rome  of  his  motets  were 
pcrfoiTucd  nt  the  Chapel  Koyal,  and,  with  his 
cantatas,  were  published.  Four  of  his  children 
were  musicians,  among'it  whom  the  daughter 
married  the  celebrated  I'hilidor. 

RICIIEK,  LOUIS  AUGUSTIN,  youngest  son 
of  the  preceding,  and  born  at  Versailles  in  1740, 
became  a  page  of  the  king's  band  in  1748,  and 
about  17.)()  sang  at  the  Concert  Spirit uel  with 
p-eat  applause.  On  the  death  of  his  father  he 
became  music  master  to  the  Dukes  of  Chartres 
and  Uourbon  ;  and  in  1779  the  king  granted  him 
the  reversion  of  the  situation  of  music  miister  des 
enfam  de  France,  then  held  by  Lagarde.  Richer 
was  a  professor  of  singing  at  tho  Conservatory, 
and  died  at  Paris  in  1819. 

RICHTER,  CARL  GOTTLIEB,  organist  at 
the  old  church  in  Konigsberg,  was  born  at  Ber- 
lin in  1728.  Yielding  to  the  wishes  of  his  family, 
he  first  studied  surgery  ;  but  his  inclination  for 
music  soon  becoming  irresistible,  he  was  per- 
mitted to  dedicate  his  talents  to  that  art,  and 
took  lessons  of  the  celebrated  Schaffrath.  In 
1754  he  entered  the  service  of  General  the  Count 
of  Truchscss,  at  Custrin,  from  whence  he  \  ro- 
ceeded  to  Konigsberg,  where,  after  a  short  time, 
he  was  appointed  organist  of  the  castle,  and  sub- 
sequently of  the  belore-namcd  church.  Richter 
was  master  of  the  celebrated  Rcichardt.  He  was 
considered  one  of  the  first  German  organists  and 
performers  on  the  harpsichord.  Not  many  of 
his  works  were  published,  probably  on  account 
of  the  delicacy  of  his  health.  Amongst  them  are 
"Six  Trios  for  the  Flute,"  Konigsberg,  1771; 
"Two  Concertos  for  the  Harpsichord,"  Riga, 
177'2 ;  and  "  Nine  Concertos  for  the  Ilarp.si- 
chord,"  Konigsberg,  1774  and  1775.  He  died  in 
1809. 

RICm'ER,  FRANZ  XAVIER,  chapel-roaster 
of  the  cathedral  at  fStrasburg,  was  born  at  llo- 
lisau,  in  Moravia,  in  1709.  In  1760,  he  was 
chamber  musician  at  Manheira,  where  he  com- 
posed seven  operas  of  harpsichord  and  violin  mu- 
sic, each  containing  six  pieces.  These  works  were 
published  at  Paris,  Amsterdam,  and  Nuremberg. 
Many  symphonies  and  masses  of  his  composition 
have  remained  in  mantiscript.  He  died  at  Stras- 
burg  in  1789.  He  also  leit  a  treatise  on  coun- 
terpoint, abridged  from  Fux,  which  has  been 
transloted  into  French  by  C.  Kalkbrenner,  and 
published  at  Paris  in  1804  under  the  following 
title:  "  Fr.  Xav.  Hichter,  Traiti  d' Utirmnnie  et  de 
Composition,  rcni,  corriiji,  auijmeiUi,  et  publU  avec 
93  planches  par  C.  Kaikbrenner." 

RICHTER.  JOHANN  CHRISTOPH,  court 
musician  at  Dresden,  died  about  the  year  1749. 


RICHTER,  JOHANN  SIEGMUND,  organist 
and  composer  at  Nuremberg,  was  born  in  that 
town  in  1657.  He  was  an  excellent  performer 
on  the  harpsichord,  and  good  vocal  composer. 
He  died  in  1719. 

RICHTER,  JOSEPH,  a  musician  at  Vienna, 
published,  amongst  other  works,  the  ibllowing : 
"  3  Quat.  a  2  V.,  A.,  et  B.,"  Op.  1,  Ortenbach, 
1796;  "3  ditto,"  Op.  2,  Offenbach,  1797;  "3 
Duos  pour  2  v.,"  Op.  3,  Offenbach,  1797 ;  "  3 
Trios  pour  Fl.,  V.,  et  Vc,"  Op.  4,  Offenbach,  1798  ; 
"  3  Duos  pour  2  V.,"  Op.  5,  Offenbach,  1798  ;  and 
"  6  Trios  pour  2  V.  et  B.,"  Op.  3,  Paris. 

RICIERL  GIOVANNI  ANTONIO,  a  mu- 
sician of  Vicenza,  was  at  first  a  pupil  of  Freschi, 
of  that  town,  and  afterwards  went  to  Ferrara, 
where  he  continued  his  study  of  vocal  music 
under  J.  B.  Bassani.  He  next  applied  himself  to 
composition,  when  the  sensibility,  grace,  and  vi- 
vacity which  characterized  his  works,  conciliated 
the  favor  of  all  his  hearers.  Being  invited  by  a 
Polish  prince  to  pass  some  time  in  that  country, 
he  remained  in  it  during  six  years,  and  composed 
there  many  pieces,  as  well  for  the  theatre  as  for 
the  church  and  chamber.  On  his  return  to  his 
own  country  he  established  a  music  school  at 
Bologna,  in  which  many  distinguished  artist*) 
were  educated ;  amongst  others  Padre  Martini.  . 
At  the  same  time  he  was  unanimously  admitted 
a  member  of  the  academy  at  Bologna.  He  was 
also  appointed  to  compose  new  music  to  the 
psalms  for  .St.  Peter's  Chapel  at  Rome.  He  died 
at  Bologna  in  1746. 

RICORDANZA.  (I.)  Recollection,  remem- 
brance, reminiscence. 

RICORDI  GIOVANNI,  a  celebrated  musio 
dealer,  and  founder  of  the  "  Gazetta  Musicaie  di 
Milam,"  died  at  Milan,  March  15,  1853.  His 
son,  Tito  Ricordi,  succeeds  him  in  business. 

RIDOITO.  (I.)  \  species  of  entertainment 
consisting  of  singing  and  dancing,  in  the  latter 
of  which  the  whole  company  joius.  The  ridotto 
was  first  introduced  into  England  in  the  year 
1722,  at  the  opera  house  in  the  liayniarket,  and 
was  afterwarcLs  repeated  at  various  places  of  pub- 
lic resort,  with  considerable  success.  liidotto  is 
also  used  by  the  Italians  for  adapted,  arranged; 
and  the  term  frequently  occurs  in  this  sense  in 
titles. 

RIECK,  JOHANN  ERNST,  organist  at  Stras- 
biirg,  published  in  that  town,  in  1658,  a  work  for 
three  and  four  voices,  with  instruments,  and  c:n- 
taining  allemandes,  gigucs,  ballets,  &c. 

RIECK,  chamber  musician  to  Prince  Henry 
of  Prussia,  was  born  at  Berlin  in  17.30.  He  was 
a  celebrated  violini-st,  pianist,  and  composer. 

RIEDEL,  a  clergyman  at  AVeida.  is  known  as 
a  musician  by  the  following  works  :  "  Frennd- 
schaft  und  Licbe,  einee  Samml.  vermischtir  Klavier 
und  Ge-iangstiicke,"  Leipsic,  1798,  and  "  6  iionat. 
facil.  pour  le  Clav.,"  Leipsic,  1798. 

RIEDT,  FRIEDRICH  WILHELM,  chamber 
musician  and  flutist  to  the  King  of  Prassia,  waa 
born  at  Berlin  in  1710.  His  lather  had  a  place 
under  government,  to  which  the  son  afterwards 
succeeded.  Having,  Inwever,  made  himself 
master  of  the  tlutc,  he  was  desirous  of  learning 


808 


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ENCYCLOPEDIA    OF   MUSIC. 


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o  imposition,  and  for  that  purpose  took  lessons  of 
the  celebrated  (Jraun  and  of  Schaffruth.  In  1741 
the  kinf;  nominated  him  chamber  musician,  and 
flutist  to  liis  chapel.  In  17.50  he  was  elected 
director  of  the  Society  of  Musical  Amateurs  at 
the  university,  which  situation  he  lilled  for  many 
years.  He  died  at  Berlin  in  1783.  Amonj^st  his 
works  are  the  following.  Theoretical :  "  P^ssays 
on  the  Intervals  in  Music,  as  respects  their  Num- 
ber, Place,  and  Advantafjes  in  Composition," 
Berlin,  17o3;  "An  Ai)ology  for  the  Essay  on 
Intervals,"  &c.,  published  in  the  "  liiyiraijc  "  of 
Marpur^,  vol.  i.  p.  411 ;  "  Considerations  on  the 
arbitrary  Variations  in  Musical  Ideas  (lurinf;  the 
Performance  of  a  Melody,"  in  the  "  lieytrtKje  "  of 
Marpur;;,  vol.  ii.  p.  9.5  ;  "  Tables  of  all  the  Primi- 
tive Chords,  their  Uses,"  &c.,  '•  Ucijtiaijc,"  vol.  ii. 
p.  387  ;  and  •'  Two  Musical  tjucstions,  namely. 
If  the  perfect  Unison  is  or  is  not  a  real  Interval  ■ 
And  if  augmented  or  diminishctl  Unisons  may 
or  may  not  be  admitted  in  Music  ?  "  "  Uri/trft<ji," 
vol.  iii.  p.  271.  I'ractical:  various  instrumentid 
music,  ciuefly  for  the  flute,  published  at  Paris, 
Lcipsic,  and  Herlin. 

RIEFF,  J.  G.,  secretary  at  Mentz  about  the 
year  17!>7,  is  known  as  a  musician  by  the  follow- 
ing, amongst  other  publications:  "  Volkslieder 
bcym  Klav.,"  Main/,  17l)t3;  "  Lieder  der  Licbe  ztim 
Klai:  'Ite  Samnit ,"  Mainz,  1798 ;  "  U'Urde  der 
Frauen  f.  K'av.,''  Bonn,  1798  ;  "  3  Sonat.  pour  le 
Clar.  avec  V.  obi.,"  Op.  4,  1796 ;  "  SoncUe  h  4 
Mains,"  Op.  6,  OHcnbach,  1796;  "  Soitat.  pour  le 
CUtv.  avec  f'.,"  Op.  8. 

RIEGEL.     See  Rig  el. 

HIEGEH,  GO'lTFUIED,  a  compo.ser  of  oper- 
atic music  and  director  of  the  national  theatre, 
at  Brunn,  was  born  in  Austrian  Silesia  in  1764. 
He  a' so  wrote  masses,  string  quartets,  sonatas  for 
the  piano,  &c.,  iScc. 

RIEGLEK.  FRAXZ  X.WIER,  professor  of 
music  in  the  Royal  School  at  Prosburg,  was  one 
of  the  best  pianists  of  his  time.  He  published 
"  AitUi'uni/  ziim  K  avivr,"  &c.,  Vienna,  1779,  and 
three  practical  works,  each  containing  two  sona- 
tas for  the  harpsichord,  and  published  at  Vi- 
enna. 

RIEL,  JOHANX  FRIEDRICH  HEIXRICH, 
prolessor  ot  singing  at  Konigsberg,  was  born  at 
Potsdam  in  177.5  He  was  a  pupil  in  compo- 
sition of  the  celebrated  Fa»ch,  and  afterwards  es- 
tablished a  singing  school  at  Konigsberg  on  the 
principles  of  that  of  his  master. 

RIE.M.  AVIIJIEI.M  FRIEDRICH,  composer 
and  organi.st  of  the  reformed  church  at  Leipsic, 
and  born  in  1779,  was  a  pupil  of  Hiller.  He  has 
published  the  loUowijig,  among  other  works  :  "  2 
Simmluiii/rit  Gesdn'ie  beym  Ktttviere,"  Ops.  9  and 
17  ;  "1  Quintet,  fur  2  T.,  2  ,4.,  wtd  B.,"  Op.  6  ; 
"  1  Quartet,  JUr  /'.  /■'.,  2  A.,  und  \'c."  Op.  8  ;  "  4 
^nat.,  fur  P.  F.,  und  I'.,"  Ops.  5  and  13;  "7 
Klaviersoto.1,"  Op.  1,  1804  ;  "  Diitn,"  Ops.  2,  3.  4,  7  ; 
"  Capriccii  pour  I'.  F.,"  Op.  10  ;  "6  Hinatines  pour 
P.  F.,"  Op.  11  ;  &c  ,  &c. 

RIEPEL,  JOSEPH,  director  of  the  music  of 
the  I'rince  of  Tour  and  Taxis  at  Ratisbon,  to- 
wards the  middle  of  the  eighteenth  century,  wa.s 
an  able  violinist  and  corai)Oscr.  His  principal 
merit  as  a  musician  consist*,  however,  in  having 
been  the  first  German  writer  who  regularly  ex- 
plained the  subject  of  rhythm,  and  rendered  it 


intelligible  to  students.  Ililler  says  that  Riepel 
was  a  man  who  had  a  jirofound  knowU'd;,'e  of 
the  esscntiiUs  of  composition,  ami  wl>o  sought  to 
separate  from  it  what  is  supcrtluou.s.  His  vicwa 
were  not  bounded  by  the  production  of  dry  rules, 
but  he  especially  attache<l  himself  to  the  familiar 
pxemplilication  of  his  opinions.  Several  of  hia 
didactic  pie<'es  were  published  in  succession, 
though  they  fonn,  in  fact,  but  parts  of  tlie  same 
work.  The  foUowin',;  are  the  titles:  •' Aii/tim/s- 
ijrUnde  zur  miuikaliachen  Sttzkuiut,"  Ratisbon, 
17.54  ;  "  tirUnitriijeln  zur  Tonordnung  int'temein," 
Frankfort  and  Leipsic,  17.5.5  ;  "  (irtlndiiclte  Erkl/l- 
runi/  der  Tonordnuu;/,"  Frankfort  and  Leipsic, 
17.57;  "  Eriautrruny  dfr  beznijlichen  Tonordnung," 
Augsburg,  1765  ;  "  Vnnntbehrliche  Anmvrkungen 
:um  Contra/mnct,"  kc,  Ratisbon,  1768;  and  ••  //or* 
mnni.icfies  Silhenmoiis,  Stc,"  Ratisbon,  1776.  It  is  th0 
latter  work  which  was  ])articularly  recommended 
by  Hiller.  After  the  death  of  Riepel,  which  took 
place  in  1782,  one  of  his  pupils,  the  singer  Schu- 
bart.  of  Ratisbon,  puMislied,  in  1786,  another 
work  of  his  master,  entitled  "  nasac/ifUisrl."  Of 
Riepel's  practical  works,  there  were  only  print- 
ed three  violin  concertos  with  accompaniments, 
which  appeared  in  17.56.  Besides  these  there  are 
known,  in  manuscript,  two  symphonies  and  two 
harpsichord  concertos.  Dr.  liurney,  in  his 
"  Travels,"  cites  a  very  mgenious  composition  by 
Riepel,  in  which  he  imitates  nearly  all  the  sounds 
peculiar  to  war. 

RIES,  FERDIXAXD,  ■wa.«  born  at  the  town 
of  Bonn,  in  Germany,  in  the  year  1784  :  his 
father  was  loader  of  the  orchestra  of  the  Elector 
of  Cologne,  and  his  grandfather  had  been  tirst 
violinist  in  tlie  same  band.  At  five  years  of  age 
he  began  to  display  the  dawning  of  great  musi- 
cal talents,  which  were  encouraged  by  his  father, 
under  whose  auspices  he  commenced  his  lirst 
studies  in  that  art ;  his  subse<iuent  master  was 
Bcrnhard  Romberg,  a  violoncellist  of  the  tirst 
merit,  who  was  at  the  time  a  member  of  the 
court  chapel  of  the  elector.  The  entrance  of  the 
French  army  into  Germany  at  the  time  of  the 
revolution  occasioned  tlie  dispersion  of  the  elec- 
toral orchestra ;  by  which  event  young  Ries  waa 
not  only  disappointed  of  a  situation  in  that  band 
which  he  had  long  been  promised,  but  the  dis- 
turbances which  necessarily  ensuetl  proved  also 
highly  injurious  to  the  affairs  of  the  elder  Rics, 
and  by  preventing  hLs  son  trom  prosecuting  those 
studies  in  which  he  was  so  rapidly  advancing, 
obligixl  him  to  resort  entirely  to  books  for  in- 
struction, particularly  on  the  subject  of  thorovigh 
ba.ss,  to  which  he  especially  devoted  his  atten- 
tion. Previously  to  this  period,  and  when  only 
nine  years  of  age,  the  child  had  comi>o-.ed  a 
minuet,  which  trifle  app&irs  to  have  been  his 
earliest  production  in  the  art.  When  thirteen 
years  old  he  went  to  Arnsberc,  in  Wt...tplialia,  to 
receive  lessons  in  thorough  ba-ss  and  cnmi)osi- 
tion  ;  but  his  master  not  proving  e<iunl  to  the 
development  of  snch  a  genius,  only  taught  him 
the  violin,  and  after  a  residence  of  a  lew  months 
he  returned  to  his  paten. al  roof.  He  now  de- 
voted himselt  with  greater  energy  than  ever  to 
the  cultivation  of  hU  talent ;  and  some  quartet* 
of  the  tirst  masters,  which  he  at  that  time  ar- 
ranged for  the  piano,  having  tirst  put  them  into 
score,  have  sul>se<tuciitly  been  publL»hed,  but 
without  his  name.    In  1801,  an  opportunity  offer- 


102 


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ENCtCLOFiEDIA    OF    MUSIC. 


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Ing  of  RoinR  to  Munich,  he  availed  himself  of  it. 
Here,  bein^  entiioly  left  to  himself,  and  very 
youn;;.  lie  was  exjioscd  to  a  thousand  difHculties 
and  di-itressps,  which,  had  he  not  possessed  an 
unusually  active  and  energetic  mind,  he  would 
undoubtedly  have  sunk  under.  Finding  no  em- 
ployment for  his  talents,  he  next  removed  to 
Viennii,  being  enaliled  to  do  so  merely  by  the 
scanty  savings  of  what  he  had  earned  by  copying 
music.  His  ])rincipal  motive  in  selecting  Vien- 
na as  the  next  theatre  of  his  endeavors  was  the 
expectation  of  the  i)atronage  of  IJeethoven,  who 
had  been  the  early  friend  of  his  father,  and  whose 
works  he  had  particularly  studied.  Arrived  at 
Vicuna,  he  immediately  applied  to  this  great 
master,  who  not  only  received  him  with  peculiar 
kindness,  but  evinced  in  every  ])os,sible  manner 
his  affection  and  regard  for  the  child  of  his  early 
friend.  Having  first  relieved  all  his  pecuniary 
distresse.s,  Beethoven  agreed  to  give  him  every 
instruction,  and  to  advance  his  interests  in  the 
musical  world  to  the  fullest  extent  of  his  power. 
Hies  w.is,  indeed,  the  first  pupil  that  Uecthoven 
publicly  acknowledged  as  such.  .Shortly  after 
his  arrival,  he  was  enabled  e.sscntially  to  assist 
this  kind  friend,  by  revising,  copying,  &c.,  oJ  the 
celebrated  work,  "  The  Mount  of  Olives,"  which 
Beethoven  was  then  engaged  in,  and  in  the  com- 
position of  which  he  was  greatly  ])ressed  for  time. 
There  is  an  anecdote  current  relative  to  the  dihtU 
of  Ries  in  public,  which  we  shall  here  state  in 
some  detail.  He  had  -selected  on  this  occasion, 
for  his  performance,  the  well-known  concerto  of 
Beethoven  in  C  minor,  and  which  at  that  time 
had  not  been  published.  As  a  cadence  ad  lib. 
■was  requisite  to  make  it  complete,  Ries,  distrust- 
ing his  own  abilities,  requested  Beethoven  to 
compose  one  for  him  ;  but  to  this  he  would  in  no 
way  consent,  desiring  Ries  to  compose  one  him- 
self, as  he  was  perfectly  competent  to  the  under- 
taking. In  compliance,  therefore,  with  the  wishes 
of  liis  master,  Ries  set  himself  to  work,  and 
shortly  j)roduced  a  cadence.  Beethoven  was 
much  delighted  with  it,  one  passage  excepted, 
■which  appeared  to  him  too  abstruse  and  complex 
to  be  attempted  as  a  first  performance  in  public. 
Ries,  with  the  praiseworthy  ambition  his  talent 
inspired,  could  not,  however,  be  persuaded  to 
make  any  alteration  in  the  passage  ;  feeling  con- 
vinced in  his  own  mind  that  practice  would  ena- 
ble him  to  overcome  the  ditiiculty,  and  if  so,  that 
the  passage  would,  of  course,  greatly  conduce  to 
his  professional  success.  Beethoven,  still  doubt- 
ful of  the  capability  of  his  pupil  to  execute  the 
cadence,  begged,  a  lew  days  preceding  Ries's 
appearance  in  public,  that  he  would  allow  him 
to  hear  it.  Unfortunately  it  did  not  as  yet  per- 
fectly succeed,  and  Beethoven  now  insisted  more 
strongly  than  before  on  the  rashness  of  the  at- 
tempt. Still  nothing  would  jK-rsuade  the  young 
aspirant  to  lay  aside  all  hopes  ;  his  pride  was 
roused,  and  on  his  return  home  he  set  himself  so 
arduously  to  work,  that  he  at  length  completely 
conquered  the  ditKculty.  He  did  not  mention 
his  success  to  his  master.  The  day  arrived ; 
Uecthoven  stood  by  him  to  turn  over  ;  he  drew 
near  the  fatal  passage,  and,  e.xcrting  all  his  tal- 
ent and  energies,  executed  it  brilliantly,  to  the 
great  and  undi>guised  satisfaction  of  his  mas- 
ter ;  who,  after  having  bestowed  the  warmest 
panegyrics  on  his  ]ierseverance,  candidly  ac- 
knowledged,  that    had    he    not  succeeded,    he 


would  never  have  given  him  any  further  in- 
struction. Beethoven's  lessons  to  Ries,  it  should, 
however,  be  here  remarked,  were  only  on  the 
practice  of  the  art;  he  would  not  give  him  a 
single  lesson  in  thorough  bass  and  composition  ; 
saying,  in  the  fir«t  place,  that  he  did  not  feel 
corapeteilt  to  explain  the  subject,  to  do  which 
reiiuired  a  peculiar  talent,  much  practice  as  well 
as  consideration,  and  that  he  felt,  likewise,  he 
should  be  trespassing  on  the  peculiar  province 
of  Albrechtsbergcr,  who  was  considered  by  every 
musician  the  first  ma.ster  in  that  branch  of  the 
science.  At  this  time  Albrcchtsberger  wa.s  far 
advanced  in  years,  and  it  was  not  without  some 
difficulty  he  was  persuaded  to  receive  l{ies  as  a 
pupil.  He  at  length  agreed  to  commence  his  in- 
struction, at  what  was  considered  a  very  high 
price  at  Vienna,  namely,  a  ducat  a  lesson  ;  and 
as  Ries  at  that  time  possessed  but  twenty-eight 
ducats,  he  was  unable  to  profit  by  his  store  as 
much  as  he  could  have  wished;  still,  hLs  musical 
memory  being  very  remarkable,  he  retained 
enough  of  Albrcchtsberger* s  instructions,  in  the 
twenty-eight  lessons  he  took,  to  be  of  eminent 
use  to  him  in  the  further  prosecution  of  the 
science.  Fated,  a,s  it  were,  to  misfortune,  Ries, 
in  180.5,  again  fell  into  the  hands  of  the  French  ; 
and  his  native  place,  Bonn,  being  at  that  time 
under  their  government,  he,  as  son  of  a  resident 
family,  became  liable  to  be  drawn  as  a  conscript ; 
which  having  happened  to  him,  he  found  it  abso- 
lutely necessary  to  return  home  immediately,  or 
he  might  otherwise  have  exposed  his  relatives  to 
much  danger.  As  he  was  unable,  from  the  move- 
ments of  the  enemy,  to  pursue  his  road  in  a  direct 
line,  he  was  constrained  to  ra:ike  a  considerable 
dAlntir ;  and  thus,  in  the  month  of  December,  at 
which  time  he  was  ordered  to  join  his  regiment, 
and  on  foot,  as  no  conveyance  could  then  be 
procured,  he  commenced  his  melancholy  jour- 
ney from  Vienna  to  Leipsic.  Arrived  at  Cob- 
lentz,  a  singular,  and  we  may  add  lortunate,  cir- 
cumstance saved  him  from  being  added  to  the  list 
of  conscripts.  When  a  child,  he  had  lost  the 
sight  of  one  eye  by  the  sniall-pox,  which  ren- 
dering him  unfit  for  military  service,  he  was  ac- 
cordingly dismissed.  Being  now  at  liberty,  he 
determined  upon  bending  his  steps  towards  Par- 
is ;  but  disasters  still  pursued  him,  and  in  this 
city  he  found  no  .sale  for  any  of  his  compositions, 
though  some  of  what  he  there  offered  for  sale 
have  subse<iuently  been  printed  throughout  all 
Europe,  as  well  as  in  Paris  itself.  He  then  en- 
deavored to  get  puj)ils :  here  he  was  again  un- 
succes.sful  ;  and  his  spirits  beginning  to  fail  under 
this  combination  of  untoward  events,  he  con- 
ceived the  idea  of  abandoning  the  ait,  in  which 
he  seemed  destined  to  meet  misfortunes,  and  to 
which  resolution  a  dislike  for  the  French  music 
greatly  contributed.  He  laid  his  plans  in  this 
respect  before  a  friend,  whom,  having  some  inter- 
est in  government,  he  begged  to  :i|iply  for  some 
employment  for  him.  This  genlleman,  howev- 
er, so  decidedly  condemned  the  idea  of  his  re- 
nouncing the  science  to  ■which  for  so  many  years 
he  had  devoted  himself,  and  in  which  he  had 
already  attained  so  great  a  degree  of  perfection, 
that  he  at  length  persuaded  him  to  try  his  for- 
tune in  the  same  i)rofession  in  Russia  ;  at  the 
same  time  adding,  that  should  he  return  unsuc- 
cessful, he  would  then  promote  his  wishes  tc 
the  utmost  of  his  power.  He  immediately  com- 
10 


RIE 


ENCYCLOPEDIA    OF    MUSIC. 


RIG 


menred  liis  Ion;?  journey,  but  at  Vienna  was 
again  dotnined  by  the  Austrian  army,  who  were 
then  awaiiii.g  tlie  ai)])ro!ich  o(  the  French.  Uy 
them  lie  was  instantly  enlisted  as  a  soldier,  and 
was  sent  to  their  (juarters  to  undergo  the  usual 
disci]iline.  lint  the  rapid  march  of  the  French 
was  such  that  it  was  found  useless  to  continue 
these  operations,  and  the  last  recruit^s  were  there- 
fore dismissed. 

The  following  year  Hies  continued  his  journey 
into  Kus>ia,  where,  for  the  first  time,  he  began  to 
reap  the  fruits  of  his  arduous  exertions  and  con- 
tinued perseverance.  In  his  way  to  that  country 
he  passed  through  and  remained  some  time  in 
the  cities  ■)!  ("a.ssil,  Hamburg,  and  Copenhagen, 
at  eiK-h  of  A-hich  places  he  met  with  uncommon 
applause  and  encouragement.  In  crossing  from 
Sweden  to  Russia,  he  had  again  to  combat  with 
the  disasters  of  fortune ;  the  vessel  was  seized  by 
the  English,  and  the  whole  crew  were  made  pris- 
oners, and  detained  for  a  week  on  a  barren  rock. 
Having  at  length  succeeded  in  reaching  Peters- 
burg, he  was  here  much  delighted  to  meet  his 
fonucr  master,  Bernhard  Romberg,  with  whom 
he  joined  in  making  a  musical  tour  throviuh 
many  of  the  principal  cities  of  Russia,  where  his 
success  e<iualJed  his  most  sanguine  expectations. 
It  had  been  his  intention  to  proceed  to  Mos- 
cow;  but  the  campaign  of  1812  interfering  with 
these  arrangements,  he  decided  upon  going  to 
England,  as  the  only  place  of  security  from  dis- 
turbances which  were  overwhelming  the  conti- 
nent, and  were  thus  continually  thwarting  his 
professional  designs.  Having  on  his  way  stopped 
at  Stockholm,  he  was  nominated  a  member  of 
the  Royal  Swedish  Academy  of  Mu.sic.  Ries  ar- 
rived in  England  in  181.3,  and  was  shortly  after- 
wards admitted  a  member  of  the  Philharmonic 
Society,  through  the  influence  and  kindness  of 
the  late  Mr.  Salomon.  He  subswjuently  married 
there.  His  proiessional  success  in  London  was 
very  great,  and  he  was  considered  not  only  as  a 
l)rolihc,  but  a  scientific  and  pleasing  com])oscr  ; 
though  it  must  be  confessed  his  works  sometimes 
failecl  to  produce  the  delight  which  could  have 
been  desired ;  chietly  from  a  want  of  melody, 
for  which  science  could  not  compensate.  An  at- 
tempt at  too  great  originality  seems  to  have  been 
decidedly  the  rock  which  interrupted  the  progres- 
sive success  of  his  musical  efforts  ;  as  in  strain- 
ing that  p(iint  too  far,  he  overlooked  simplicity, 
which  is  assuredly  an  essential  mark  of  true 
talent.  Ries's  fifth  fantasia  occasioned  some  dLs- 
cussion  in  the  musical  world  ;  as  upon  the  whole 
it  was  not  considered  worthy  the  genius  its 
author  usually  displayed  in  his  comixisilions, 
and  disa))|:ointc<l  many  who  ha^  fonned  greater 
expectations  from  his  previous  productions.  'Hie 
!>Lxth  was  more  apjiroved,  and  upon  the  whole, 
was  considered  a  composition  of  great  merit,  and 
called  forth  much  applause.  His  eighth  was 
both  a  brilliant,  effective,  and  spirited  produc- 
tion. 'With  regard  to  his  fantasia  •'  The  Dream," 
it  is  decidedly  one  of  his  l>e.'t  pieces.  The  music 
is  visionary,  original,  and  plcasini;,  and  excites 
in  the  mind  those  composing  and  delightful  sen- 
sations which  imagination  would  picture  to  itself 
•s  the  effects  of  sleep.  With  regard  to  Ries's 
other  compositions,  they  are  mostly  perfect  spe<i- 
mens  of  the  Cierman  school.  It  has  previously 
been  stated  that  he  was  the  favorite  pupil  of 
Beethoven,   and    conseiniently    his  productions 

8 


savor  much  of  that  profound  science  ^ith  whieV 
his  great  master  was  so  highly  gifted.  His  com 
positions  are  far  more  adapted  to  the  ear  of  » 
connoisseur  than  an  amateur,  being  more  ab^tras* 
than  pleasing  and  at  the  some  time  extreineW 
chromatic.  On  Ries's  first  going  to  England 
some  little  sensation  was  excited  by  the  an- 
nouncement that  a  concerto  in  C  seven  sharps 
minor  would  be  pcrforuied  by  a  pupil  of  Deetlio- 
ven's  from  fJermany.  The  performance,  how- 
ever, went  of!'  well,  and  Ries's  subsefjuent  efforts 
of  the  same  kind  proved  that  this  attem|>t  was 
far  from  being  above  his  capacity.  Indeed,  his 
claims  to  the  applause  and  admiration  of  the 
public,  both  as  a  ))ianist  and  com])o-er,  will 
never  be  denied,  at  least  by  the  lovers  of  genuine 
harmony.  He  gave  a  farewell  concert  in  Lon- 
don, in  May,  1824,  after  which  he  returned  to 
Bonn,  his  native  city,  where  he  quietly  einjdoyed 
himself  in  the  composition  of  some  elaborate 
works.  In  1830  he  removed  to  Frankfort,  and 
brought  out  his  opera  "  La  Fiaiicie  <lii  Urit/and." 
In  1831  he  revisited  England,  to  ])roduce  hw 
fairy  opeia  "  Luka,"  or  the  "  Witch  of  (iellen- 
stein,"  and  to  conduct  the  Dublin  festivals.  .Soon 
after  this  he  travelled  in  Italy,  and  conducted  a 
musical  festival  at  -Vix-la-Chapelle,  in  1834.  In 
183fi  he  spent  some  time  in  Paris,  and  again  in 
London,  where  he  wTote  his  oratorio,  "Tlie  Ado- 
ration of  the  Magi,"  for  the  festival  at  Aix-la- 
Chapelle  in  1837.  He  died  on  the  I3th  of  Janu- 
ary, 1838,  at  the  age  of  fifty-one  years. 

Among  the  compositions  of  Ries  the  most  im- 
portant are,  1.  "Six  Svmphonies  for  Grand  Or- 
chestra," Op.  '23,  80,  90,  no,  112,  148.  2.  Over- 
tures to  Schiller's  "  Don  Curios,"  "  La  Fiiuicic  an 
Briyaixl,"  Schiller's  "  Brnxit  von  y[''ssliie,"  and 
"  Liska."  3.  Quintets,  quartets,  sextets,  scptuors, 
and  an  octet,  for  strings  and  other  instruments. 
4.  Trios  for  piano,  violin,  and  violoncello.  .5.  Du- 
os for  piano  and  violin.  6.  Sonatas  for  pianc 
alone,  and  with  horn,  violoncello,  &c.  7.  -\ 
great  many  rondos,  fantasias,  variations,  &c. 
8.  Songs  for  one  or  more  voices.  Ries  published, 
with  Herr  Wegeler,  of  Bonn,  some  biographical 
notices  of  Beethoven. 

RIFIORIMEXTI.  (I.)  The  name  given  to 
those  decorative  interpolations  suggested  by  the 
taste  of  a  vocal  or  instrumental  pcrfonuer. 

KIG.VDE,  ANDRE  JE.VN.  a  French  compo- 
ser, born  ii\  Provence  about  the  year  1730,  studied 
under  Piecini,  at  the  Conservatory  of  .Santo  Ono- 
frio,  at  Naples.  Amongst  other  dramatic  works, 
he  brought  out  at  ParLs  the  comic  opera  of  "  Z-Via 
et  Liiulor."  He  died  at  Paris  about  the  \e&i 
1800. 

RIG.\DOON.  A  lively  kind  of  dance,  per- 
formed in  fgure  by  a  man  and  woman,  and  the 
tune  of  which  is  always  written  in  triple  time. 
I  The  rigadoon  was  borrowed  originally  from  Prov- 
ence. The  word  is  forme<l  from  the  French 
word  ri'/ation,  signifying  the  same  thing. 

RIG.VTII,  (ilOVANNI  ANTONIO,  an  lulian 
contra])untist  and  voluminous  composer,  aHout 
the  middle  of  the  seventeenth  century,  published 

'  (probably  at  Venice)  the  following,  araongNt 
other  works  :  "  Mrua  e  Salmi  d  3,  5,  •>,  7,  «•  8  roci, 
con  2  I'iolini  de  aUri  Iiulrumenli  h  benrjJafUo  M 
parii  d  S,a  Ca/>eUa  ; "  "  Meun  i  StUmi  i  3  roo,  ce* 
I',  et  4  parii  di  Ripieiti  a  bertrpiacito ,  "  "  Mollli  i 

11 


RIO 


EXCYCLOP.EDIA   OF  MUSIC. 


ma 


2,  3,  e  4  FOCI,  con  alciiiie  CaiUilene  e  liipieni ;  " 
"  Moletli  a  voce  sola.  Lib.  1,  2;  "  and  "  Motelti  d 
2,  3  voci,  con  una  ilessa  breve  d  3  voei." 

RKJEL,  HENRI  JOSEPH,  born  in  1741  at 
AVcrthcim,  in  Frnnconia,  was  a  pupil  of  the  cel- 
ebrated Joraelli.  lie  was  first  sent  into  France 
by  Uiditcr,  as  teacher  of  njusic  to  a  private  pupil, 
alter  the  completion  of  whose  education  he  set- 
tled, in  17r)8,  in  Paris.  His  skill  on  the  harpsi- 
chord soon  procured  him  a  sufficient  number  of 
pupils  ;  at  the  same  time  he  devoted  much  of 
his  leisure  to  composition,  and  j)roduced  several 
operas  of  sonatas,  duos,  quatuors,  and  cveu  sym- 
jihcnics,  which  were  performed  with  success  at 
the  Concert  des  Amateurs.  He  also  composed 
many  operas  of  church  music,  and  brought  out, 
at  the  Concert  Spiriiiul,  the  oratorios  of  "  La  Sor- 
tie d' Efiijftte,"  "  Jephti,"  and  "La  Prise  de  Jeri- 
cho ;  "  likewise  a  "  Salve  Regina."  There  are  also 
several  operas  of  his  composition  for  differcut 
theatres,  namely:  for  the  'rh(>atre  Fcydeau,  "  Le 
S/iretier  ct  le  Financier,"  "  Blanche  ct  ]'ernieille," 
"  L' Automate,"  and  "Rosanie;"  which  latter 
piece  was  afterwards  performed  at  theTh6Atre  de 
Monsieur,  under  the  title  of  "  Azilie  : "  at  the  Thc- 
Stres  de  Beaujolais  and  de  Montansier,  "  Aline  el 
Zanwrin,"  "  Lucas  le  hon  Fermier,"  "  L-s  Amours  du 
Oros  Caillou,"  and  "  Atix  de  Beaucaire"  Finally, 
"Cora  et  Alonzo,"  a  grand  opera,  words  by  Dubois- 
son,  was  requested  from  him  by  the  administra- 
tion of  tlie  opera,  about  the  year  1780  ;  but  it  was 
never  performed.  The  celebrated  Gluck  had  a 
high  opinion  of  the  works  of  Kij;el.  Notwith- 
standing this,  Rigel  could  never  get  his  music 
perlormed  at  the  grand  opera.  He  was  appoint- 
ed, however,  conductor  of  the  music  at  the  Con- 
cert Spirituel  and  Concert  Olympique,  and  profess- 
or of  singing  at  the  Conservatory.  His  compo- 
sitions are  said  to  be  characterized  by  great  purity 
both  of  melody  and  harmonv.  He  died  at  Paris 
in  1799. 

RIGEL,  LOUIS,  eldest  son  of  the  preceding, 
was  born  at  Paris  about  the  year  1769.  He  wa.s 
a  pupil  of  his  father's,  and  became  a  very  good 
pianist  and  excellent  professor.  He  performed 
also  on  the  violin,  and  well  understood  compo- 
sition. L.  lligel  was  the  first  who  arranged  for 
the  piano  the  si.x  grand  symphonies  of  Haydn. 
He  also  arranged  in  the  same  way  some  trios  by 
Plevcl.  He  resided  at  Havre  de  Grace,  where 
he  died  in  1811. 

RIGEL,  HENRI  JEAN,  younger  brother  of 
the  preceding,  was  born  at  Paris  in  1772.  He 
was  a  pupil  of  his  father's  for  the  piano  and  com- 
position, and  from  the  age  of  thirteen  was  nom- 
inated sub-professor  at  the  Ecole  de  Chant,  and 
a  short  time  afterwards  made  his  debut  as  pianist 
and  composer  at  the  Concert  Spirituel,  where  sev- 
eral pieces  of  his  composition  were  performed ; 
amongst  which  were  "  Gidion,"  "  Judith,"  "  Le 
Rclour  de  Tobie,"  and  a  grand  symphony  for  a 
full  orchestra.  Early  in  the  French  revolution, 
lJonai)arte,  then  general,  appointed  lligel  to  go 
with  tlie  expedition  to  Egypt.  On  his  arrival  at 
Cairo  he  was  nominated  member  of  the  Egyptian 
Institute,  and  composed  an  opera  which  was  per- 
formed in  that  city.  On  his  return  to  France 
the  emperor  conferred  on  him  the  situation  of 
pianist  i-i  his  private  band.  Rigel  enjoyed  a 
nigh  reputation  in  France  as  periormer  on  tlie 


piano,  and  was  particularly  celebrated  as  an  ac« 
comi)ani8t.  He  also  composed  much  music  for 
his  instrument,  and  some  vocal  pieces  in  goo^ 
taste. 

RIGHL  FRANCESCO.  Chapel-master  of  the 
Jesuits'  Church  at  Rome,  in  the  middle  of  the 
seventeenth  century.  He  published  much  church 
and  theatrical  music.  Amongst  the  latter  is  the 
opera  of  "  L'lnnocenza  riconoscitUa,"  which  was 
performed  at  Genoa  in  1653. 

RIGIII,  GIUSEPPE  MARIA,  a  composer  of 
the  Bolognese  school,  brought  out  in  1694  tho 
opera  of  "  La  Bernardo,"  being  the  author  both 
of  the  words  and  mUsic. 

RIGHINI,  VINCENZO,  chapel-master  to  the 
King  of  Prussia  at  Berlin,  was  born  at  Bologna 
about  the  year  1756,  where  he  grounded  himself 
in  music  under  the  celebrated  Padre  Martini. 
At  the  conclusion  of  his  musical  education  in 
1776,  he  went  to  Prague,  and  engaged  himself 
as  actor  in  the  Italian  company  of  Bustelli ;  also 
producing  for  that  theatre  several  vocal  compo- 
sitions, and  at  length  even  operas.  After  remain- 
ing three  years  in  Prague  he  proceeded  to  Vi- 
enna, where  a  fine  opening  was  procured  for  his 
talents,  by  his  appointment  to  the  situations  of 
director  and  composer  to  the  Italian  opera  in  that , 
citv ;  at  the  same  time  he  was  fixed  on  by  the 
Emperor  Joseph  II.  as  singing  master  to  the 
Princess  Elizabeth  of  Wurtemburg.  About  the 
year  1788  he  received  an  invitation  from  the  Elec- 
tor of  Mentz  to  settle  in  that  city  as  chapel-ma,ster. 
This  being  more  profitable  to  him  than  remaining 
at  Vienna,  he  accepted  the  off'er,  and,  on  his  ar- 
rival at  Mentz,  ^vrote  much  music  for  the  the- 
atre, also  a  grand  mass.  He  then  received  an 
invitation  from  King  Frederic  William  II.  of 
Prussia  to  set  to  music  the  grand  opera  "  Knea 
nel  Lazio,"  for  the  Berlin  Theatre  Royal.  This 
composition  meeting  the  approval  ol'  the  king, 
he  appointed  him  his  chapel-master,  with  an  in- 
come of  four  thousand  dollars ;  which  situation 
he  held  tdl  the  year  1804,  when,  with  the  per- 
mission of  his  court,  he  revisited  his  native  coun- 
try, and  died  at  Bologna  in  1812.  The  following 
ILst  contains  his  principal  works  :  "  La  Vedoca 
Scaltra,"  opera  buffa,  Prague  ;  "  La  Bottega  del 
CaJ't,"  opera  buH'a,  Prague;  "Don  Giovanni,  os- 
sia  il  Convitato  di  I'ietra,"  opera  buffa,  Prague; 
"  La.  Sorpresa  Amorosa,  Cantata  A  3  voci  ;  "  "  II 
Xatale  d' Apollo,"  Prague;  "  Grosse  Serenade  mit 
vollem  OrcA«i<(,'r,"  Prague ;  "L'Incontro  Inaspei- 
tato,"  opera  buffa,  Vienna,  1785;  "  Le  Deniogor- 
(/one,  ossia  il  Filosofo  confuso,"  opera  buffa,  1 785 ; 
"  Die  Scene  aus  des  Metastasio  Ojier  Antigono  :  Be- 
renice che  fai,"  Mainz  ;  "  Die  Scene  atis  des  Mftoi- 
tasio  Olimpiade,  '  Se  cerca,  se  dice  ;  '  "  "  Armida,  ' 
opera  seria,  Aschaffenberg  ;  "  Alcide  al  Birio,  ' 
opera  seria,  1789  ;  "  Fine  grosse  solcnne  Mi'sse," 
Frankfort;  "  Eiu-a  nel  Lazio,"  opera  seria,  Berlin, 
179.J;  "II  Trioii/o  d' Arianne,"  opera  seria,  Ber- 
lin, 1793  ;  "  Atalanta  e  Meleagro,  Festa  Teatrale  ch« 
introduce  ad  un  BaUo  AUcgorico,"  Berlin,  1797; 
"  .Armida,"  opera  seria,  Berlin,  1799;  "  Tigratte," 
opera  seria,  Berlin,  1799;  "  Gcrusalemme  liberata,' 
opera  seria,  Berlin,  1802;  "  Der  ZauberwaUl  (La 
Selva  iHca/iM^a;,"  Lcipsic;  "  6  Licder  zum  Singen 
brum  Klavier,  tcoruiiter  2  mit  Variationen,"  Man- 
heim,  Offenbach,  and  Hamburg;  "  12  Arietti 
Itai.,"  Mainz,  Altona,  and  Brunswick;  "  12  Art 


812 


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ENCYCLOPEDIA    OF   MUSIC. 


RIO 


tUe  Ital.  Zweyter  T^ciV,"  Berlin,  1799  ;  "12  Ka- 
rakteristische  Tttnze  und  Mitrnche  zitin  Carneval, 
1790,  fUrs  Klav.  ein</erichtet ;  "  "  Serenata  d  'I  Clar  , 
2  Co- ,.,  et  2  Fay.,"  Leipsic,  1797  ;  "  Aria  con  He- 
cit.  a  K.  sob,  ace.  da  2  1'..  A.,  e  B.  ;  "  "  Minerva 
biitfht  die  Slatuen  des  Uo'dalut,"  pniitomimic  (lance  ; 
"  Cantate  avec  Chcnirn  et  lianaci  lUu.ien,  exicul6e  le 
12  Fee,  1801,  a  Berlin,  arraitfi.  pour  te  C'lav.,"  Op. 
5,  IJerlin,  1802  ;  "  Adicux  d' Fsset  h  Elizahelh,  Uo- 
ntaiice  ]X)ur  le  C'lav.,"  Berlin,  1802;  "  Concert,  pour 
Fl.  princip.  avec  2  I".,  2  Ob.,  2  Fa(;.,  2  t'ors.  A.,  et 
/}.,"  Augsburg,  1802;  <■'  Dodici  Arielte,"  Leipsic; 
"  12  Ditetti  con  ace.  di  P.  F.,"  Op.  8,  Berlin.  1802  ; 
"  12  Deutsche  Lieder  mit  Begleit.  des  I'.  F.,"  Op. 
9,  Berlin,  1803  ;  "  Exerciees  pour  se  perjectionner 
dans  t'Art  du  Chant,"  Op.  10,  Leipsic,  1801  ;  "6 
Lieder  mil  Begleit.  des  1'.  F.,  Wtes  W'erk,"  Leip- 
sic, 1804  ;  "  6  Lieder  mit  BegU-it.  des  P.  F.,  VZtes 
^V,rk,"  Leipsic,  1801 ;  "  Sammlung deutsclier  u.  ital. 
''aiieh  franz.)  Gesttnpe,  ( dabcy  sind  auch  Duetten,)  10 
IleJ'tc,"  Leipsic,  1804 ;  "  .Musica  vocak.  Let.  C. 
Sci-na :  Berenice,  che  fai,"  Leipsic,  1804  ;  and 
•'  Ourerture  de  F  ()p.  Tigrafie,  d  4  m.  jmur  P.  F.," 
Leipsic,  1804. 

KIGIIINL  ROSINE  ELEOXORE  E.  H., 
wile  of  the  preceding,  was  born  nt  f>tettin  in 
17i!"  She  was  an  excellent  singer,  and  very 
bea\itit"ul  woman.  She  performed  principally  at 
Berlin,  where  she  died  in  1801. 

lUGOLL.  An  old  kind  of  instrument,  consist- 
in;;  of  several  sticks  placed  by  the  side  of  each 
other,  but  sepnrate.l  by  beads.  It  wa.s  performed 
upon  by  b  ing  struck  with  a  ball  fixed  ujwn  the 
end  of  a  slick. 

lil.MBAULT,  STEPHEN  FRANCIS,  bom  in 
Lon.lon  about  the  year  177.3,  received  his  musical 
education  from  Dittonhofer,  Hook,  and  Po,«8in. 
His  priiujipal  original  works  nre,  "  Three  Grand 
Sonatas  for  the  Piano-forte,  with  Flute  Accom- 
paniment," and  several  sets  of  duets,  all  of  which 
have  been  well  received.  Afterwards  he  almost 
wholly  applied  himself  to  the  adaptation  of  the 
great  works  of  Haydn,  Mozart,  Beethoven,  Ros- 
(•iiii,  I'acr,  Winter,  .tc,  particularly  of  twelve  of 
Mozart's  grand  symphonies,  for  the  piano-forte, 
both  as  ducts  and  single,  with  accompaniments 
for  the  violin,  flute,  and  violoncello.  In  these, 
considering  the  ditticulty  of  giving  the  spirit  of 
an  orchestra  to  so  few  instruments,  he  succeeded 
in  a  very  high  degree.  Mpst  of  these  adaptations 
were  publisned  by  Hod.soll. 

KIMOXTE,  PIETRO,  a  Spanish  composer, 
flourished  about  the  year  1600,  and  published 
"  LamentatiotU'S  Jeremia,  6  voc,"  Antwerp,  1607, 
and  '•  Parnaso  Esp-innot  de  .Madrigaiet  y  ViUancioos 
h  ^,  0,  ij  ^  voz.,"  Antwerp,  1614. 

RINALDO  DA  MONTAGXANA,  a  contra- 
punti>t  of  the  sixteenth  century,  published,  "  // 
Pnnio  Libra  de  Moletlt  a  4  voci,"  Venice,  1.573. 

RIXALDO  DA  CAPUA,  bom  in  the  first 
years  of  the  last  century,  wa-s  a  Xeapolitan  com- 
poser of  great  genius  and  tire,  whose  productions 
have  been  much  admired.  It  ha.s,  however,  been 
said,  and  perhaps  with  truth,  that  his  science 
was  not  equal  to  his  genius ;  for,  being  educated 
OS  a  ddettante,  he  probably  did  not  submit  to  all 
the  drudgery  of  a  dry  study,  which  every  one  in- 
tended lor  the  profession  of  music  must  neces- 
sarily go  through.  Amongst  his  dramatic  works 
are   the  following  :    "  Faniace,"  1739  ;    "  Liberia 

8 


Nociva,"  1744;  "  Ambiziotie    Delttsa,"  1744;    and 
"  La  Comcdia  in  Comedia,"  1744. 

RIXCK,  CHRISTIAN  HEIXRICH,  the  cele- 
brated organist  at  Darmstadt,  was  a  pupil  of  J.  C 
Kittel,  of  Erfurt.  Amongst  his  published  works, 
up  to  the  year  IS  12,  are,  "G  Kurzc  und  I.^iehti 
Orgel-prdhidien,  mit  und  ohne.  Pedal  zit  .'^pielen,'' 
vol.  i.,  179.5;  "  12  Kteine  und  Lcichte  OrgeUtUcke," 
vol.  ii.,  Gotha,  1797;  "Air  Busse,  accc  C)  l^ar.  p. 
le  Clav.,"  Gotha,  1797;  "3  Sonat.  tris-faciles,  p.  It 
P.  F.,  avec  un  I'iolon  <Jbl.,"  Part  I.,  Gotha,  1797; 
"  12  Priludes  j>our  F  Orgue,  Finie  Rectteil,"  Op.  2.5; 
and  "12  OrgetstUcke,  Urn.  I'ierling,  zugeeirtnct,7te 
Samml.,"  Op.  29,  Offenbach,  1812.  Rinck  died 
August  7,  1846. 

Mr.  Lowell  Mason,  in  his  "  Letters  from  Eu- 
rope,"  18.>2,  says  of  him, — 

"  The  organist,  too,  must  be  interested  in 
Darmstadt,  for  here  lived  Kinck,  a  name  better 
known  in  England  and  America  than  any  other 
organ  composer.  He  wa.s  for  many  years  the 
organist  to  the  grand  duke,  and  was  universally 
esteemed  as  a  learned  and  accomplished  musi- 
cian, an  elegant  and  ta.steful  organist,  a  worthy 
citizen,  and  an  excellent  man.     .     .     . 

"  Rinck's  works,  or  many  of  them,  have  been 
republished  in  America,  especially  his  "  Organ 
School,"  and  much  of  his  organ  music.  They 
have  circulated  in  every  pmrt  of  the  land  ;  so  that 
wherever  there  is  an  organist,  Rinck  is  known  in 
his  works,  and  studied.  Whoever  studies  his 
organ  music,  with  a  tolerable  musical  ability, 
cannot  fail  to  form  a  good  style.  We  have  for 
many  years  been  accustomed  to  say,  in  answer  to 
the  question,  '  How  shall  I  acquire  a  good  style 
of  organ  playing,  and  especially  of  voluntary 
playing  ? '  '  Study  Rinck,  for  he  is  a  sure  guide' 
He  is  not  great,  like  Bach,  but  he  is  ever  beautiful 
and  elegant.  It  was  said,  long  ago,  that  one  who 
desired  to  acquire  an  elegant  style  of  writing  the 
English  language  must  spend  his  days  and  nights 
with  Addison  ;  and  it  is  equally  true  that  he  who 
would  accjuire  the  most  tasteful  stylo  of  organ 
playing  must  spend  his  days  and  nights  with 
Rinck.  We  visited  Darmstadt  with  e-pecial  ref- 
erence to  the  library  of  Rinck,  which  we  knew 
was  for  sale.  The  lover  of  music  and  of  its  prog- 
ress amongst  us  will  be  glad  to  know  that  it  is 
already  packed,  and  will  be  on  its  way  to  Ameri- 
ca in  a  lew  days.     .     . 

"  The  library  of  Rinck  contains  the  most  ap- 
proved musical  treatises,  and  popular  works  on 
the  literature  of  music,  that  are  to  be  found  in 
the  German  language,  with  books  of  music,  and 
especially  of  church  music,  in  the  greatist  varie- 
ty, from  the  sixteenth  century  down  to  the  pres- 
ent day." 

RINGERS.  Persons  who  nre  in  the  ha'iit  of 
ringing  church  bells  for  their  amusement.  The 
practice  of  ringing  bells  in  change  is  so  pecxiliar 
to  England  as  to  have  occa-sioned  its  being  called, 
by  foreigners,  the  ringing  island  ;  but  the  anti- 
quity of  it  is  not  ascertained.  There  used  to  l>c, 
in  Ixmdon,  societies  of  ringers. 

RINFORZ.\NDO.     (L)    Se«  Fomaxdo. 

lUOlTE,  P.  J.,  a  comiwser  at  Vienna,  hat 
publishe^l  many  popular  instrumental  works, 
amongst  which  we  can  name  "  Amiuenu-nlt  p.  U 
Beau  .Monde  sur  It  /'.  /".,"  Op.  6,  I.eipsic,  and 
"  Concert  p  la  Fl.  ao  Ace.,"  Op.  22,  I.eip..ic.  18 1 1 
13 


KIP 


EXCYCLOPyEbiA    wf    ML.SIC. 


ROC 


RIl'ALTA.  GIOVANNI  DOMENICO.  a  cel- 
ebrated chnpcl-master  and  organist  near  Milan, 
was  born  in  that  country  in  lo70.  lie  was 
eii^af^ed  in  the  suite  of  Henry  III.  of  France. 
Amongst  his  printed  worka  is  •'  Mess  a  a  5  con 
Vttrtitiira,"   Milan,  1629. 

UIl'IENO.  (I.)  Full.  This  word  is  used 
in  orchestral  compositions  to  distinguish  those 
parts  which  are  only  occasionally  introduced  to 
till  up  and  supply  the  chorus. 

RISOLUTO.  (I.)  A  word  implying  a  firm, 
determined  manner  of  e.xpression. 

RISPOLI,  SALVADORE,  an  Italian  dramatic 
composer,  was  born  at  Naples,  about  the  year 
I'SCi.  Amongst  his  works  are,  "  Ipermnestra," 
opera  seria,  Milan,  1780;  "  Idalide,"  opera  seria, 
Turin,  1780;  and  "  II  Trionfo  di  David,"  opera 
FCria,  Najiles,  1788. 

RI.ST,  JOII.VNN,  a  German  ecclesiastic,  was 
born  near  Hamburg  in  the  j'ear  1607.  He  was 
at  the  same  time  the  patron  of  musicians,  and 
himself  an  excellent  composer.  In  a  work  by 
him,  entitled  "  AprUcns  Untciredung,"  he  treats 
of  ancient  and  modern  music.  He  also  composed 
a  collection  of  German  and  Italian  sacred  songs, 
descriptive  of  the  passion  of  our  Savior.  These 
•were  published  at  Hamburg  in  1655.  Rist  died 
in  1667. 

RISTORI,  GIOVANNI  ALBERTO,  a  cele- 
brated Rolognese  composer,  held,  in  1740,  the 
appointment  of  imperial  chapel-master  at  St. 
Petersburg,  from  whence  he  removed  to  Dresden, 
■where  he  was  vice  chapel-master  and  church 
composer  to  the  Elector  of  Saxony.  In  early  life, 
whilst  in  Italy,  he  composed  the  two  following 
operas  :  "  La  Pace  Trionfante  in  Arcadia,"  1713, 
and  "  Euristeo,"   1714. 

RISVEGLIATO.  (I.)  With  much  anima- 
tion. 

RITENENFE,  RITENUTO.  (I.)  A  keep- 
ing back,  a  decrease  in  the  speed  of  the  move- 
ment. 

RITARDANDO.  (I.)  An  e.ipression  im- 
plying a  slackening  of  the  time. 

RITORNELLO,  or  RITORXEL.  (I.)  A 
term  formerly  much  in  use,  and  applied  to  the 
short  introductory  spnphony  to  an  air;  also 
to  short  instrumental  passages  introduced  be- 
tween the  strains  to  relieve  the  voice  and  im- 
prove the  general  effect,  or  to  the  concluding 
Bvmpliony  aller  the  melody.  It  appears  from 
several  passages  in  the  Greek  authors,  that  these 
ritoriielU,  or  symphonies,  were  introduced  in  the 
ancient  as  well  as  in  the  modern  music.  The 
name  by  which  the  Greeks  distinguished  them 
was  that  of  misaulion,  a  figurative  expression  in 
the  singular  number,  implying  an  entry,  or  pas- 
sage, leading  to  something  else.  Meiboinius, 
speaking  ot  the  mesauliun,  or  symphony,  calls  it 
an  intorpii)ing,  which  clearly  indicates  that  ritor- 
ticl/i,  or  intermediate  synipho)''es,  were  anciently 
In  use. 

RJTSCHEL,  OEORG.  Chamber  musician,  and 
Tiolinist  of  the  Electoral  Chapel  at  Munich  in 
1786.  He  jjublished  at  Paris,  in  1780,  six  iiisfru- 
mcntal  (piintets. 

R11TE1{,  GEORG  WENZEL,  born  at  Man- 
heini,  in  171**,  was  a  celebrated  performer  on  the 


bassoon,  and  publislied,  in  Paris,  several  works 
for  his  instrument.     He  died  at  Berlin  in  1808. 

RI'ITER,  PETER,  concert  master  at  Man- 
hcira  since  the  year  1801,  was  born  about  the 
year  1760.  He  was  a  good  violoncellist,  also  an 
instrumental  and  vocal  composer.  Amongst  his 
compositions  are  the  following  :  "  Der  Krcmit  auf 
Formenlera,"  operetta,  Manheim,  1788;  "Der 
.*<cMr«;iA<//»dfcr,"  operetta,  Manheim,  1790;  "Die 
Weihe,"  mus.  prolog.,  Manheim,  1792;  "  Dielus- 
tiijen  Weiber,"  operetta,  Manheim,  1794;  and 
"  Maria  ton  Monlalhan,"  Operetta,  1801. 

RIVERS  A,  ALROVESCIO.  (I.)  Inverted, 
reverted. 

RIVOGLIAMENTIO.  ( I. )  Changing. 
Tliis  word  is  used  to  signify-  the  changing  the 
notes  of  the  bass,  or  some  other  part,  in  the 
treble,  or  vice  versa.  This  frequently  occurs  in 
double  counterpoint,  where  the  treble  notes  are 
transposed  into  the  bass,  or  those  of  the  ba.ss  into 
the  treble ;  and  that  by  so  artificial  a  mana?u\Te 
that  the  harmony,  though  varied,  is  still  as  cor- 
rect as  in  the  natural  order  of  the  parts. 

RIZZIO.     SeeRicci. 

ROBINEAU,  ABBE  ALEXANDRE,  pub- 
lished at  Paris,  about  the  year  1770,  six  violin 
solos  and  a  concerto  for  the  same  instrument. 
He  was  one  of  the  best  pupils  of  Gavinies. 

ROBINSON,  MRS.  ANASTASIA.  She  was 
descended  from  a  good  family  in  the  county  of 
Leicester  ;  her  father  was  a  portrait  painter,  and 
married  a  woman  of  some  fortune,  by  whom  he 
had  only  this  child.  Mr.  Robinson  had  a  dis- 
order in  his  eyes,  which  terminated  in  tlie  loss  of 
sight,  and  thus  deprived  him  of  the  means  of 
supporting  his  family  by  the  exercise  of  his  pen- 
cil. Yielding  to  his  daughter's  strong  propensity 
to  music,  her  father  placed  her  under  Dr.  Croft, 
Snndoni,  and  an  Italian  singer  called  the  Daron- 
ess.  Anastasia,  though  she  had  a  tine  voice,  nev- 
er became  a  first-rate  singer,  as  her  intonation 
was  sometimes  imperfect ;  she,  however,  sang  at 
the  opera  for  some  years,  till  at  length  her  per- 
sonal charms  and  accomplishments,  and  the  amia- 
bility of  her  character,  won  the  heart  of  the  Earl 
of  Peterborough,  who  privately  married  her,  and 
after  some  time  publicly  owned  her  as  his  wile. 
The  countess  survived  the  earl  about  fifteen  years, 
and  died  in  1750. 

ROBUSCHI,  FERDINANDO.  An  Italian 
composer,  born  at  Colorno,  in  the  duchy  of  Parma, 
August  1.5,  1765.  Amongst  his  dramatic  works 
he  composed  the  following :  "  I'adre  c  Figtio 
Castrini,"  opera  buffa,  17S8;  "Attala,  Re  di  liiui- 
nia,"  opera  seria,  Padua,  1788  ;  "  11  Geloso  Dis- 
perato,"  opera  buffa,  Rome,  1788;  "La  Morte  di 
Cvsiire,"  opera  seria,  1790;  and  "  Chi  sta  ben  non 
si  moca,"  opera  buffa,  Florence,  1787. 

ROCC.V,  ANGELO.  An  Augustine  monk, 
born  in  the  duchy  of  Spoleto,  in  Italy,  in  1545, 
died  in  Rome  in  1620.  In  his  work  entitled 
"  Commcntarius  de  Campanis,"  published  at  Rome 
in  1612,  much  is  to  be  found  respecting  music. 

ROCCIIIGIANO,  GIOVANNI  BATTISTA, 
an  Italian  chapel -master,  bom  at  On'ieto,  flour- 
ished in  the  first  half  of  the  seventeenth  century, 
and  published  some  raasses  and  motets. 

ROCHA,  FRAXCI-)CO  DA.  A  Portuguee* 
14 


ROC 


ENCYCLOPAEDIA    OP   MUSIC. 


ROD 


monk  and  church  composer,  born  at  LLsbon  in 
1640.  He  wrote  numerous  works  for  the  church, 
and  composed  a  mass  at  the  early  age  of  eleven 
years.  He  died  at  his  convent  in  Lisbon,  in 
1720. 

ROCHEFORT,  JEAN  BAPTISTE,  conductor 
of  the  orchestra  at  Cassel,  and  subsequently  vio- 
.oncellLst  at  the  Royal  Academy  of  Music  at 
Paris,  was  born  in  that  city  in  1746.  He  pro- 
duced many  dramatic  works,  both  at  Paris  and 
Cassel,  and  much  instrumental  music. 

ROCHEFORT,  GUILLAUME  DE,  a  mem- 
ber of  the  Academy  ol'  Inscrijitions  at  Paris,  and 
translator  of  the  Iliad  and  Odyssey  of  Homer, 
published  the  following  work  on  the  subject  of 
niiusic  :  "  Memoire  sur  la  Musi(jue  dcs  Atwiens,  oh 
I' 0)1  expose  les  Pi-incipea  dea  Proporiioiu  attthett- 
tiqties,  ditea  de  I'ythagore,  et  de  divera  Si/stSmea  de 
Muaique  chez  les  Greca,  les  Chinoia,  et  les  Efiyptiena, 
avec  un  Paralldle  eiitre  la  Systime  dea  E^ypdens 
el  celui  des  Modernes,"  Paris,  1770. 

ROCK  HAKMONICON.  An  improved  in- 
Btrument,  lately  exhibited  in  Liverpool.  It  is 
composed,  in  the  first  place,  of  a  wooden  frame, 
with  four  horizontal  bars  of  wood  crossir.g  it 
Irora  right  to  left,  on  which  (being  properly 
padded)  are  placed  stones  or  portions  of  certain 
sorts  of  rock,  properly  cut  into  sizes,  &e.,  and 
regularly  arranged  in  musical  order,  like  the 
keys  of  a  piano-forte.  The  performers,  of  whom 
there  are  three,  are  each  provided  with  two 
wooden  hammers  with  which  they  strike  the 
stones,  and  thus  make  them  discourse  most  ex- 
cellent music.  The  manner  in  which  the  Messrs. 
Harrison  perform  is  astonishing,  and  proves  that 
they  must  be  accomplished  musicians,  thorough- 
ly versed  in  the  principles  of  their  art ;  for  un- 
less they  understood  the  principles  of  harmony 
it  would  be  impossible  for  them  to  perform  as 
they  do  on  this  the  most  perfect  rock  harmoni- 
con  that  has  ever  yet  been  exhibited.  It  has  a 
complete  chromatic  scale  from  the  top  to  the 
bottom,  and  its  compass  is  so  great  that  it  is 
capable  of  performing  any  operatic  music,  how- 
ever difficult.  The  arrangement  of  the  keys  is 
most  ingenious,  and  whether  as  a  beautiful  musi- 
cal instrument,  or  as  an  ingenious  piece  of  mech- 
anism, it  is  well  worth  attention  and  inspection. 
The  stones  from  which  the  notes  are  produced 
were  brought  from  the  mountain  of  Skiddaw,  in 
Cumberland. 

RODE,  PIEKUE,  a  celebrated  French  violin- 
ist, was  bom  nt  Hourdeaux,  February  2fi,  1774. 
His  first  masters  in  mu^ic  were  Fauvee.  Dacos- 
ta,  and  Gervais.  He  went  to  P.iris  when  thir- 
teen years  of  age,  and  was  introduced  to  Viotti, 
who,  with  his  usual  good  nature,  interested  him- 
self much  in  pertecting  the  talent  of  the  young 
artist.  In  17'.>0  Uodc  made  his  d/hiit  by  the  per- 
formance of  the  thiiteeiith  concerto  of  his  mas- 
ter, and  was  highly  successful.  In  17i>4  he  era- 
barked  for  Hamburg,  and  was  shipwrecked  on 
the  English  coa...t.  He  then  obtainc<l  from  the 
English  government  permission  to  go  to  Lon- 
don, chiefly  for  the  purpose  of  visiting  Viot- 
ti. On  his  arrival,  he  performetl  at  a  concert  for 
the  benefit  of  a  charity,  but  for  political  reasons 
could  not  long  continue  in  England.  He  rc^m- 
barked.  therefore,  for  Hamburg,  and  from  tlience 
travelled  through  Uenuany.      On  his  return  to 


Paris,  he  excited  renewed  enthusiasm,  and  wm 
api)ointed  professor  of  the  violin  at  the  Conser- 
vatory, and  shortly  atterwards  first  violin  in  the 
private  band  of  lionapartc,  then  first  consul.  A 
few  years  alter  this,  he  went  to  St.  Peter-burg  in 
company  with  IJoieldieu,  where  he  received  the 
appointment  of  first  violin  to  the  Emperor  Alex- 
ander. He  remained  in  Ru.ssia  five  years,  and  in 
1809  returned  to  his  native  country.  Disap- 
pointed in  not  exciting  the  sensation  by  his 
performances  which  he  formerly  created,  he  no 
longer  performed  in  public,  but,  weary  ot  this  se- 
clusion, and  ambitious  of  distinction,  he,  in  1811, 
returned  to  Germany,  and  made  the  tour  of  the 
])rincipal  German  cities.  In  1814  Rode  estib- 
lishe<l  himself  at  Berlin,  and  was  married.  He 
afterwards  removed  to  Bourdeaux,  which  he  never 
quitted  except  on  the  occasion  of  his  last  visit  to 
Paris,  in  1828,  whither  he  went  with  the  intention 
of  once  again  entering  the  lists  as  a  public  per- 
former. He  appeared  several  times,  but  was 
observed  to  be  no  longer  what  he  once  was. 
The  shock  which  this  produced  on  his  sensitive 
nature  was  too  great  for  him  to  bear,  and  had  a 
fatal  effect  on  his  constitution.  In  1829  he  was 
attacked  by  a  partial  paralysis,  under  which  he 
sank,  and  died  on  the  25th  of  November,  18.30. 
As  a  composer  for  his  instrument.  Rode  occupies 
a  distinguished  place.  His  melodies  have  a  re- 
markable sweetness ;  the  plan  of  liis  compositions 
is  well  conceived,  and  they  have  traits  of  much 
brilliancy  and  originality,  .\mongst  his  publishetl 
works,  up  to  the  year  1804,  are  the  following  : 
"3  Concerts  p.  le  CUiv.  Piincip.,  No.  1,  in  D  mi- 
nor," 1794;  "  No.  2,  in  E,"  179.5;  "  No.  .3,  in 
G  minor,"  Paris,  1796;  "3  Concerts  p.  U  '  .  Pnn- 
cip;  No.  4,  in  A,"  1798;  "No.  5,  in  D,"  and 
"  No.  6,  in  B,"  Paris  and  Orienbach,  1800  ;  •'  1 
Concert  p.  k  ('.  Princ,  No.  7,  in  A  minor,"  Paris; 
"  Air  varij  p.  le  I'.,  avec  I'.,  A.,  et  D.,"  Op.  10, 
Leipsic  ;  "  Qtiat.  p.  2  V.,  A.,  Vc.,  Nos.  1,  2,  3," 
Op.  11,  Leipsic;  '•4me  quat.  p.  detti,"  Op.  18, 
Leipsic;  "  Aiulante  rarii  p.  V.  acec  V.,  A.,  li..  No. 
2,  in  A  minor,"  Leipsic  ;  "  Air  varii  p.  I'.  Pritic. 
d  gr.  Or.  in  E,"  Leijisic  ;  "  8me  Cone,  de  C,  in  F 
minor,"  I^cijisic  ;  "  Cone.  p.  Fl.  art.  p.  Unjfineuter, 
in  E  minor,"  I^eipsic  ;  "dme  Cone.  p.  1.  in  C," 
Leipsic  ;  "  Mcthode  de  i'iolon,  par  Rode,  Kreutzer, 
el  Btiillul,  rediyie  p.  Daillol.  Adoptie  p.  le  Coruer- 
ratiire  pour  ttrrir  h  I'  Elude  dans  eel  EtablisicnieiU ;  " 
"  Erercises  p.  le  I'lohn  de  toiitea  lea  Positioit-f,  et  60 
IVir.  sur  la  (Jamme,  Suppliment  de  Mithotie  de  I'lo- 
/)//,"  Leipsic  ;  "  Arietta,  '  Dul  di  ch'io,'  c.  P.  F  o, 
Ar/Hi,"  Leipsic  ;  "Air  varie  p.  P.  F.  tiri  de  C Air 
d  yr  Orc/i.,"  Leipsic;  and  "  J'oloiioisc  p.  /'.  F., 
Nos.  1,  2,"  Leipsic. 

RODEW.VLD,  CARL,  concert  master  at  Cas- 
sel, \va.s  horn  in  Silesia,  in  I' -hi.  He  wa*  a  violin 
pu|>il  of  F.  Benda,  and  united  in  hLs  playing  the 
style  of  that  master  with  the  modern  schooL 
Kirnberger  was  his  master  in  composition. 
Amongst  his  publications,  the  most  successlul 
was  a  "  Stab<U  Matir,"  which  for  many  years 
shared  the  approbation  of  the  public  with  thotie 
of  Haydn  and  Pergole^. 

RODIO,  ROCCO.  .\  celebrated  luHnn  rontm 
puntist,  lK)rn  ia  Calabria  in  I.ViO.  An  intfiroved 
e<litiun  ot  his  princijial  didactic  work  l)c«rs  th» 
following  title:  "  lirynU  rfi  Miuicn  di  Ituc^  RiiHio, 
»otto  brcrisaime  risposte  ad  nlcuni  duhij  pr»i>oitoQh 
da  un  Cataliero,  intomo  alU  tarie  opinioiti  dt  Co  r' 


i\6 


ROD 


ENCYCLOP.F.DIA   OF  MUSIC. 


ROW 


trapontutl.  Con  la  Dimotlratione  di  tutli  i  Canoni 
lopra  il  Canto  Fermo,  con  It  Contraponti  do]>]>ij,  e 
rivoL'ali,  e  loro  regole.  Aggiontavi  un  altra  breve 
Dimostratione  de  dodici  Tiioni  regolari  Jiitti  e  tras- 
portali.  Et  di  nuoto  da  Don  liatl.  0/ifanle,  Aggi- 
ontiri  un  Trattato  di  Pruportioni  neressario  a  detto 
Libro,"  Naples,  1G09.  Tadre  Martini  often  cites 
this  work  in  terms  of  high  approbation. 

RODOLPIIE,  or  KUDOLPHE,  JEAN  JO- 
SEl'II,  born  at  Strasburg  in  1730,  learned  the 
French  horn  and  the  elements  of  music  from  his 
father,  who  was  a  performer  on  that  instrument. 
About  the  age  of  fifteen  he  studied  the  violin 
under  Lcclair,  and  was  soon  after  employed  as 
leader  in  several  concert  orchestras  in  France. 
About  1754  he  went  to  Italy,  in  the  service  of 
the  Duke  of  I'arma.  Kodolphe  was  the  first 
who  performed  a  concertante  horn  accompani- 
ment to  a  public  Italian  singer ;  it  was  the  cele- 
brated J^iraglier,  and  the  air  was  one  by  Traetta. 
lie  was  also  the  first  who  accompanied  motets 
•with  a  horn  in  the  Italian  churches.  Whilst  at 
I'arma  he  learned  composition  of  Traetta.  In  1700 
he  quitted  Italy,  and  entered  the  service  of  the 
Duke  of  Wurtcmburg,  at  Stuttgard,  where  he 
took  further  lessons  in  counterpoint  liom  Jomel- 
li,  and  composed  music  for  many  ballets  of  the 
celebrated  Noverre.  In  176.3  Kodolphe  went  to 
Paris,  and  entered  the  band  of  the  Prince  de  Conti. 
In  17fio  he  was  admitted  a  member  of  the  or- 
chestra of  the  Royal  Academy  of  Music,  when  ho 
introduced,  ^vith  great  effect,  a  horn  concertante 
accompaniment  to  the  air  of  Boyer,  "  Amour  sous 
ce  riant  Oinbrage."  About  the  year  1780  he  pre- 
sented to  M.  Amelot  a  plan  for  a  school  of  mu- 
f\c,  which  idea  was  acted  on,  in  1784,  by  M.  de 
Breteuil,  when  Rodolphe  was  appointed  pro- 
fessor of  composition  to  the  new  establishment, 
now  called  the  Conservatory,  and  for  which  he 
has  since  written  the  following  important  works  : 
"  Soljtges  didiis  n  la  Xation,  dirisis  en  dtux  Par- 
ties. La  Premiire  coutennnt  la  Thiorie  de  act  Art; 
la  Detixidme  les  Lemons  avcc  la  Basse  et  les  Grada- 
tions nicessaires  pour  parrcnir  aux  Dijficuliis," 
Paris,  1799;  and  "  T/iiorie  if  Accompagnement  et 
de  Comjmitiou,"  Paris,  1799.  On  occasion  of  the 
maiTiage  of  the  Count  d'Artois,  Rodolphe  com- 
posed the  opera  of  "  Ismenor;"  and  for  the  Ital- 
ian theatre  in  Paris,  the  operas  of  "  Z^i  Mariage 
par  Capitxdation,"  in  1701,  and  "  V Avcugle  de 
Palmyre,"  in  1767.  He  also  published  some 
practical  works  for  the  horn  and  violin. 

RODKIGUES,  JOAO.  A  Portuguese  monk 
and  musician  in  the  first  half  of  the  sLxteenth 
century. 

RODRIGUES,  MANOEL,  a  celebrated  or- 
ganist and  haqiist,  born  at  Elvas,  in  Portugal, 
flouri.shed  about  the  year  IfiOO.  lie  published 
"  Fiores  da  Musica,  para  o  Instrumcnto  de  Tvcla  e 
Harpo,"  Lisbon. 

ROE,  lUCIIARD,  a  singer  of  some  mark,  and 
the  author  of  some  critical  musical  essays  in  the 
"  Monthly  Review,"  and  a  few  songs,  (some  of 
which  were  written  for  Mr.  John  Parry,)  died  in 
London,  April,  1853. 

ROEMIIILD,  JOIIANN  THEODORE,  a 
good  Cierman  church  composer,  was  born  in 
\Mt.  Ho  was  court  and  cathedral  organist  at 
Mcrsburg,  and  published  a  variety  of  sacred  can- 
•atas,  motets,  &c. 

8 


ROESER,  VALENTIN,  a  clarinetist  at  Paris, 
about  the  year  17G9,  rc-^idcd  afterwards,  in  1781, 
at  Vienna,  where  he  publLshed  "  Instructions  for 
Composers  of  Clarinet  and  Horn  Music,"  and 
some  symphonies,  quatuors,  a)id  other  instru- 
mental music. 

ROESLER,  JOSEPH.  A  composer  at  Prague, 
at  the  commencement  of  the  i)rcsent  centtiry, 
when  he  was  conductor  of  the  music  in  the  or- 
chestra of  the  Italian  opera  in  that  city.  He 
died  in  1811,  in  the  thirty-sLxth  year  of  his  age, 
being  known  by  various  admired  dramatic  and 
instrumental  compositions. 

ROE.SSIG,  C.  G.,  published  at  Be>Teuth,  in 
1779,  a  work  in  octavo,  entitled  "  Versuche  in 
Musikalischen  Dramen  nebst  einigen  Anmerkungen, 
JKC. ; "  i.  e.,  "  An  Essay  on  Musical  Dramas, 
with  Notes  relating  to  the  History  and  Rules  of 
that  Si)ecies  of  Poetry  ;  also  on  the  Morality  and 
Advantages  of  the  Theatre."  Roessig  was  bom 
at  Mersburg  in  1752,  and  in  1784  was  an  advo- 
cate at  Leipsic.     He  died  Ln  1806. 

ROGANTINI,  FRANCESCO.  An  eminent 
church  composer  about  the  year  1G50. 

ROGERS,  BENJAMIN,  was  the  son  of  Peter 
Rogers,  a  gentleman  of  the  Chapel  of  St.  George, 
at  Windsor.  He  was  first  a  chorister  under  the 
tuition  of  Dr.  Nathaniel  Giles,  and  then  a  clerR 
or  singer  in  the  chapel.  Afterwards  he  was  ap- 
pointed organist  of  Christchurch,  Dublin,  where 
he  continued  until  the  breaking  out  of  the  rebel- 
lion, in  1641,  when  he  returned  to  Windsor,  and 
again  became  a  clerk  in  the  chapter. 

The  troubles  during  the  rebellion  soon  de- 
prived him  also  of  this  situation  ;  and  aided  by  a 
small  annual  allowance,  which  was  paid  him  in 
compensation  for  his  losses,  he  was  compelled  to 
earn  a  subsistence  by  teaching  music  at  Windsor. 

In  1653  he  composed  "A  Set  of  Airs  in  Four 
Parts  for  Violins,"  which  were  jiresented  to  the 
Archduke  Leopold,  afterwards  Emperor  of  Ger- 
many, and  were  often  played  before  him. 

Through  the  interest  of  Dr.  Ingels,  chaplain 
to  the  Lord  Commissioner  Whitelocke,  Rogers 
was  recommended  to  the  University  of  Cam- 
bridge, and  having  received  from  Cromwell  a 
mandate  for  that  purpose,  was  admitted,  in  1658, 
to  the  degree  of  bachelor  of  music. 

In  tlio  year  1662  he  was  again  appointed  a 
clerk  of  St.  George's  Chapel  at  Windsor,  with 
some  addition  of  salary,  and  was  also  elected 
organist  of  Eton  College.  Both  these  places  he 
held  until,  a  vacancy  occurring  in  Magdalen  Col- 
lege, O.xford,  he  was  chosen  organist  there.  In 
1669,  upon  the  opening  of  the  new  theatre  .it 
Oxford,  he  took  the  degree  of  doctor  of  music. 

He  continued  in  his  latter  station  of  organist 
until  the  year  1685,  when  he  was  ejected  by 
order  of  King  James  II.  The  college  allowed 
him  a  small  pension,  on  which  he  lived,  in  the 
outskirts  of  the  city,  to  an  old  ago,  entirely  neg- 
lected. 

His  works  are  not  numerous.  There  are  some 
of  his  detached  compositions  in  a  collection  en- 
titled "  Court  AjTes,  consisting  of  Pavans,  Al- 
magnes,  Corants,  and  Sarabands,  of  Two  Parts," 
published  by  Playford  in  1655  ;  some  hj-rans  and 
anthems  for  two  voices,  in  a  collection  entitled 
"  Cantica  Sacra  ;  "  and  others  in  the  psahns  and 
hymns,  in  four  parts,  publislied  by  Plaj-ford. 
16 


ROG 


ENCYCLOP-EDIA    OF    MI'SIC. 


ROM 


His  services  and  nnthems,  of  which  there  are 
several  in  Engli«h  cathedral  books,  are  the  most 
celebrated  of  liis  works.  Tliey  contain  ^roiit 
sweetness  of  melody  and  correctness  oi  harmony. 
One  ot  his  full  anthems,  •'  Lord,  who  shall 
dwell  in  thy  tubernacle  ? "  is  inserted  in  Pa;;c's 
"  Ilarmnnia  Sacra,"  and  another  for  four  voices, 
"Teach  me,  O  Lord,"  amongst  Dr.  Crotch's 
specimens. 

ROGCilU.s,  NICOLAUS,  a  musician  resident 
at  Hrunswick,  was  bom  at  Gottingen,  and  pub- 
lishstl  in  the  former  town,  in  1566,  "  Muaic<e 
Practice,  sine  Artis  tanendi  elementa,  modonimr/ite 
musiconim  doclrina,  quieationibus  breviler  et  jierapiciie 
ejcposita," 

ROGNONE  TAEGIO,  FRANCESCO,  con- 
cert-master of  the  Duke  of  Milan,  and  chapel- 
master  of  the  church  of  St.  Ambrosio  Maggiore 
in  that  city,  about  the  year  1620.  rendered  him- 
self celebrated  as  a  composer,  by  the  following 
works  :  "  Messe  e  Stlini  Fabi  Bortloni,  e  Mo/elti  a 
6,col  Biisan per  r  Organo,"  Milan,  1610;  "  Madrigali 
a  5  col  Ilaiso;"  Venice,  1613  ;  "  Aggiunta  del  Scho- 
lare  di  I'iolinoct  altri  Stromenti,  cot  liasso  continuo 
per  VOrnn>,n,"  Jlilan,  1614;  "  Selca  de  carii  pas- 
laggi  aecondo  I'  uso  moderno,  per  cantare  et  auonare 
con  ogni  sorte  de  slromenti,  divUa  in  due  parti,  iVc.," 
Milan,  1620  and  1646  ;  "  Correnti  e  Gagtiarde  a  4, 
con  ta  qiiiiita  parte  ad  arbitrio,  per  auoiutr  sti  rarii 
Stromcnfi,"  Milan,  1624  ;  and  "  Partita  all'  Orga- 
tu>  delie  Messe,  Motetti  d  4,  6,"  Venice,  1624. 

ROGXONE  TAEGIO.  GIOVANNI  DO- 
MENK'O,  an  ecclesiastic  and  eminent  organist 
of  the  church  of  St.  Sepolcro,  at  Milan,  pub- 
lished the  following  works :  "  Canzoiutte  d.  Z  e  \ 
>isirme,  coil  atcitn  altrc  di  Rugger  Trofeo,"  Milan, 
1615  ;  "  Madrigali  d  8,  Lib.  1,  due  Cori  con  Parti- 
iura,"  Milan,  1619  ;  "  Messa  jier  Defonti  all'  Am- 
brnaiana,  con  f  aggiunta  per  sertirsene  alia  Roma- 
na,"  Milan,  1624. 

ROGNONI,  RICARDO,  the  father  of  the  two 
preceding,  was  a  composer  at  Milan,  towards  the 
end  ol  the  sixteenth  century.  lie  was  also  an 
eminent  pcrlormer  on  the  violin,  as  well  as  on 
several  other  instruments.  Of  his  compositions 
we  call  name  "  Canzonette  alia  Seapolitana  d'ie  i 
voci,"  Venice,  1586 ;  "  Libro  di  Passaggi per  Voci 
e  Slromenti,"  Venice,  1592  ;  and  "  Pacaue  e  Balli 
con  2  Canzoni  e  dicerae  Sorti  di  Brandi  per  tuonare 
ii  4  6  5  voci,"  Milan,  1603. 

ROHMANN.     See  Romano. 

ROIIR.    (G.)    A  reed. 

ROHRWERK      (G.)    The  reed  stops  taken 

collectively. 

ROI,  one  of  the  oldest  French  contrapuntists, 
douri.shed  about  the  year  1450,  being  a  contem- 
porary of  Ockenheim. 

ROI,  HARTOLOMEO.  a  NcapoliUn  chapel- 
master,  wiuM  eminent  as  a  contrapuntist  about 
the  year  1600. 

ROLLA.  ALESSANDRO.  Member  of  the 
Conservatory  at  Milan,  and  first  violin  at  the  great 
theatre  in  that  city.  He  was  very  celebrated  as 
a  performer  on  the  tenor.  He  was  born  in  Paris 
in  1767,  and  died  at  Milan  in  18.17.  Amongst 
his  works  are  the  following  :  "  Concerto  per  it  I'i- 
olino,  in  G,"  Paris,  1795;  "  Serenatn  d  2  V.,  2 
103  8 


Alti,  2  Cor.  obi.,"  Op.  2,  Paris  and  Offenbach 
1795  ;  "  Tr>is  Trios  pour  l'.,  A.,  ct  B.,"  Paris, 
1795;  "  Trois  Duos  jmur  V.  et  A.,"  Op.  1,  Pari* 
and  Offenbach,  1795  ;  "  2  Cone,  pour  Alto  princip. 
i\'m.  3  et  i,"  Offenbach,  1800 :  "  3  Gr.  Duetti 
concert.  A  T.  «  A.,"  Zurich,  1803  ;  "  3  Duos  amc. 
■pour  2  v.,"  Op.  3,  Uonn,  1803 ;  and  "  Trois 
Trios  pour  V.,  A.,et  B.,  Lie.  2,"  Paris. 

ROLLE,  JOIIANN  IIEINRICH.  was  bom  at 
Quedlinburg  in  1718.  .\s  early  as  his  thirteenth 
year  he  composed  a  com|)leto  church  service, 
which  was  well  received.  From  1730  to  1740  he 
studied  ])hilosophy  and  law  at  Leipsic  ;  but  he 
afterwards  devoted  his  musical  talents  to  the 
church.  Rolle  wa.s  a  favorite  and  a  truly  devo- 
tional harmonist.  His  oratorio  of  '-Thirsa  and 
her  Sons  "  Is  full  of  good  ta.stc,  new  j)assagcs, 
ploa.sing  effect-s,  and  jjathoH.  He  was  likewi-e 
the  author  of  several  pieces  for  the  organ  and 
harpsichord,  which  have  great  merit.  Speci- 
mens of  his  sacred  music  are  inserted  in  La 
Trobe's  publication.  Rolle  died  in  the  vcai 
1785. 

ROLLING.  A  word  applied  to  that  rapid 
pulsation  of  the  drum  by  which  the  sounds  so 
closely  succeed  each  other,  as  to  beat  upon  the 
ear  with  a  rumbling  continuity  of  effect. 

RO.MANCE.  (F.)  ROMANZA.  (L)  For- 
merly the  name  given  to  the  long  lyric  tales  sung 
by  the  minstrels ;  now,  a  term  applied  to  an  ir- 
regular, though  delicate  and  refined  composition. 

ROMANESCA.  (I.)  An  old,  Uvely,  Italian 
dance.     See  Galliakd. 

ROMANA,  GIULIA.  A  celebrated  Italian 
female  singer,  in  the  latter  part  of  the  seventeentli 
century. 

ROM.-VNI,  a  celebrated  Italian  violinist,  per- 
fonned  in  London  in  the  year  1770. 

ROMANO,  MICILVELE,  was  a  pupU  of 
Soriano,  and  afterwards  chapel-master  in  the 
church  called  Cathedrale  de  Ccr.cordia,  at  Ven- 
ice. This  person,  as  well  as  his  master,  is  cele- 
brated for  the  composition  of  csnous ;  a  speci- 
men of  which,  in  one  for  nine  choirs,  or  thirty- 
six  voices,  is  inserted  in  Kircher's  "  Musurgia." 
lie  is,  however,  best  knowi;  by  his  work  enti- 
tled "  Musica  vaga  et  arti^^-iosa,"  published  at 
Venice  in  1615,  in  which  the  suoject  of  canon  is 
very  learnedly  discussed  and  explained  by  a  vari- 
ety of  examples.  In  the  preface  to  this  work  aie 
contained  memoirs  of  the  most  celebrated  Itahan 
musicians  who  were  living  at  the  time  when  it 
was  written. 

ROMANO,  or  ROIIMANN,  L.  II.,  chapel - 
master  to  the  King  of  .Sweden,  was  an  excellent 
composer  in  the  early  part  of  the  last  century. 
Amongst  his  works  we  can  name  the  two  follow- 
ing, which  were  published  at  Amsterdam:  "12 
Sonates  d  2  Fl,  et  Basse  coiU.  Lib  1,"  and  "  Sonat 
d  2  /•/.  et  B.  C.  Lib.  2.' 

ROMANO,   GIULIO.     Sec  C.vccisi. 

ROM.VNO,    ALE.S.S.VNI)RO.     See  Albssa.v. 

ORO. 

ROMANO.  BALLABENE.     Sec  Ballabink. 

ROMREIUJ.  ANTON,  a  celebrated  performer 
on  the  ba»soon,  was  bom  in  1745,  and  in  the  yeai 
1792  resided  at  Bonn.     In  the  spring  of  1790  h( 
17 


ROM 


ENCYCLOPEDIA    OF    MUSIC. 


R0» 


was  Rt  HiunlMirf;,  wliere  he  ;^ave  a  fnmily  concert, 
riins-istin;;  oi'  tlio  ])crforniaiicc  of  hLs  brother,  hira- 
sell',  and  their  children. 

UOMHEUG.  15EKMIAUD,  eldest  son  of  the 
j>recedinji,  and  an  excellent  violoncellUt,  was 
iiorii  in  1770.  In  the  year  1790  he  was  a  mem- 
ber of  the  court  chapel  of  the  Elector  of  Cologne 
nt  Konn,  which  establishment  was  broken  up 
early  in  the  Erench  revolution.  He  then  went, 
Av  ith  his  cousin  .\ndreas  l{omberg,  the  violinist, 
to  Hamburg,  where  they  both  procured  engage- 
ments in  the  orchestra  of  the  German  theatre. 
This  was  in  the  year  179.3;  two  years  alter 
which  time  the  cousins  quitted  Hamburg,  and 
travelled  together  into  Italy,  from  whence  they 
again  returned  to  Hamburg  in  1797:  they  then 
ficparnted,  and  in  1799  Bemhard  proceeded 
nlone,  by  way  of  England  and  Spain,  to  Lisbon. 
In  ISO.'}  we  find  him  once  more  in  Hamburg,  and 
in  180i)  holding  a  situation  in  the  Royal  Chapel 
at  Berlin,  llomberg  was  an  excellent  composer 
lor  his  instrument,  and  has  also  written  some 
very  pleasing  vocal  music.  Amongst  his  works 
are  the  following  :  "  Die  wiedercjefuiulene  Statw-," 
operetta,  Bonn.  1790;  "  Der  Schijfbruch"  operet- 
ta, Bonn,  1791  ;  "Arietta  p.  il  Vc.  solo,  Vio/ino, 
)'iola,  e  li.,"  Vienna;  "Deux  Gr.  Concertos  pour 
Vc.  avec  Ace.,"  Ops.  1  at  2,  Paris,  1802  ;  "  Pot- 
pourri pour  le  IV.  avec  Ace.  de  2  V.,  A.,  B.,  et  2 
Ft.,"  Op.  4 ;  "  Gr.  Concerto  pour  Vc,"  Op.  3 ; 
"  Troisii me  Concerto  pour  Vc,"  Op.  6;  "Quatritinc 
Concerto  ]X>ur  \'c,"  Op.  7  ;  "  Gr.  Trio  pour  Vc.,  V., 
et  A.,"  Op.  8  ;  "  Trois  Duos  pour  2  Vc,"  Op.  9; 
"  Fanfaisie  pour  Vcavec  Orchest.,"  Op.  10  ;  "  Oic- 
verinrc  d  gr.  Orchest.,"  Op.  11  ;  "  Quat.,  No.  4,  pour 
2  v.,  A  ,  Vc,"  Op.  12  ;  "  Capricho,  y  Roitdo  en  el 
gusto  Espanol,  con  una  .Uiscelania  de  Bolero,  Gitano, 
Cachirulo,  y  Zorongo,  para  J'c  obligado,  c  Ace.  de  2 
1'.,  A.,  y  J'c,"  Obra.  13,  Paris;  "Rondeau  Es- 
paijnol  p.  P.  F.  arr.  de  I'CEuv.  13,"  Paris  ;  "  Nou- 
vetle  Polon.  p.  P.  F.  No.  1,"  Paris;  "  Ulysses  und 
Circe,"  Oper.  Paris;  "  Quat.  p.  P.  F.,  V.,  A.,  Vc" 
Op.  22,  Moscow  and  Leipsic  ;  "  Trauersymphonie 
fMr  Orch.  dein  Andenkcn  der  KOnigin  Lui.se  von 
Preussen  gewidmet.  23  Werk,"  "  Divertimento  p. 
Vc.  avec  2  V.,  A.,  B.,"  Op.  24,  Moscow  and  Leip- 
sic;  "  Quatuors,  Xos.  5,  6,  7, />.  2  V.,  A.,  Vc," 
Op.  25.  Moscow  and  Leipsic ;  and  "  Ouvert.  de 
I' Op.  L'lysse  et  Circe,  a  gr.  Orch.,"  Op.  26,  Mos- 
cow and  Leipsic. 

ROMBERf  i,  AXTOX,  Jun.,  brother  of  the  pre- 
ceding, was  born  in  1777.  He  was  a  good  vio- 
linist and  performer  on  the  bassoon. 

ROMBERO,  ANGELIKA,  sister  of  the  prc- 
celing,  h.in,  in  1779,  became  known  to  the  Ger- 
man public  as  a  pleasing  singer  and  a  good 
pianist. 

ROMBERG,  HEINRICH,  brother  of  Anton 
Romberg,  and  born  in  1748,  was  an  excellent 
clarinetist,  and  held  the  situation  of  music  di- 
rector to  the  Hishop  of  Munster. 

ROMBEU(},  DR.  ANDREAS,  eldest  son  of 
the  preceding,  was  an  excellent  violinist,  and  the 
companion  lor  several  years  of  Bemhard  Rom- 
berg, a.s  before  related.  He  was  born  in  17(>7  and 
died  at  (iotha,  November  10,  18'J1.  After  Bern- 
hard  left  Hamburg,  in  1799,  Andreas  particu- 
Inrly  paid  attention  to  composition.  He  had, 
however,  previously  become  known  by  several 
kdmued  d)ii  uatic  and  vocul  pieces,  written claetty 


at  Bonn,  and  some  of  them  published  there  and 
at  Leipsic ;  a  few  of  these  were,  however,  the 
joint  compositions  of  himself  and  cou*in.  In  the 
year  1809,  the  university  of  Kiel,  in  Holstein, 
conferred  on  him  the  degree  of  doctor  of  arts. 
The  following  are  his  principal  works :  "  Dns 
graue  Vngeheucr,"  operetta,  Bonn,  1790;  '■^  Der 
liahc,"  operetta,  Bonn,  1791;  "Die  Macht  der 
Musik,"  operetta,  Bonn,  1791;  "  Ein  Fasten-Ora- 
torium,  nach  dem  com  Urn.  Reic/iardt  aus  HOndels 
Messias  zusammengesctzteti  und  in  seinem  Kunst- 
magazin  abgedrUckten  Texte,"  Bonn,  1793  ;  "  Fine 
Sammlung  ton  Liedcrn,"  1793  ;  "  3  Quariiors 
jtour  2  v.,  Viola,  et  Vc,"  Op.  1,  Leipsic,  1798;  "3 
Duos  pour  2  V.  et  Vc,"  Op.  2,  Leipsic,  1800,  by 
Andreas  and  Bemhard  ;  "  2  Canons  fUr  3  und  (5 
Stimmen ;  "  "  6  Lieder  beym  Klavier  zu  singen," 
Leipsic,  1799  ;  "  6  Canzoni  colV  Ace.  del  Clavicemb," 
Leipsic,  1800;  "  Kosegartens  CaiUale,  'Die  Har- 
monic der  Spharen,'  "  about  1800  ;  "  3  Quat.  p.  2 
v..  A.,  et  Vc,  dediit  h  Jos.  Haydn,"  Op.  2,  Bonn, 
1802  ;  "  Gr.  Concerto,  p  V.  avec  Ace  So.  1,"  Op. 
3,  1802,  with  Bernhard  ;  "  Six  Duos  Cone,  pour 
v.  et  Vc,  2  etZ  Suite,"  Paris,  with  Bemhard  ;  "  3 
Quint,  pour  Fl.,  V.,  2  AU.et  Vc,"  Op.  1,  Nos.  1, 
2,  3,  1803;  "  Psalm,  Dixit  Dominus,  ore,"  1800; 
"  Selmar  und  Selma,  Elegie  von  KlojMtock,  fiir  2 
Singst.  mit  Begl.  2  V.,  A.,  u.  B,"  Op.  3,  1800  ; 
"  Simphonie  in  Es,"  Op.  6;  "  3  Duos  Cone,  pou^ 
2  r,"  Op.  4;  "3  Quat.  pour  2  I'.,  A.,  et  Vc," 
Op.  7  ;  "  Deuxiime  Concerto  pour  1'.  avec  Orch.," 
Op.  8  ;  "  Gr.  Quintetto  pour  2  V.,  2  A.,  et  Vc," 
Op.  23,  Hamburg,  1808  ;  "  Deuxiime  Sinfonie  a 
gr.  Orchest.  in  D  dur,"  Op.  22,  1808:  "Der  Mes- 
sias von  Klopstock,"  manuscript ;  "  Te  Deum," 
manuscript ;  "  Die  Glocke,  Gedicht  ton  .Schiller,  in 
ChOren,  i:c.,"  ("  Song  of  the  Bell,")  180S  ;  "Eludes, 
ou  trois  Sonatcs  p.  un  V.,"  Op.  32,  Leipsic  ;  and 
"  Troisiime  Simph.  in  C.,''  Op.  33,  Leipsic. 

ROMBERG,  BALTHASAR,  younger  brothei 
of  the  preceding,  born  in  177.5,  promised  to  be- 
come a  superior  artist  on  the  violoncello,  but  died 
at  the  age  of  seventeen. 

ROMBERG,  THERESE,  sister  of  the  preced- 
ing, born  in  1781,  was  known  in  Germany  as  a 
good  pianist  and  singer. 

ROMI,  first  violin  and  director  of  the  music 
in  the  orchestra  of  the  Italian  theatre  at  Lisbon 
in  1801. 

RONCAGLIA,  FRANCESCO,  nn  excellent 
Italian  sopranist,  of  the  Bolognese  school,  flour- 
Lshed  between  the  years  1772  and  1792.  He  was 
considered  one  of  the  tirst  singers  in  Europe. 

RONCONI,  DOMENICO.  A  celebrated  tenor 
and  professor  of  singing,  bom  in  Lombardy,  in 
1772.  He  made  his  debut  in  179(),  and  held  a 
prominent  place  on  the  lyric  stage  up  to  1829. 
He  sang  in  all  the  principal  cities  ot  Europe,  and 
receiving  an  appointment  Irom  the  King  of  Bava- 
ria, establishwl  himself  in  Munich,  where  he  re- 
sided tor  ten  years.  In  1829  he  returned  to  -Mi- 
lan, where  he  gave  instruction  in  s-inging. 

RONDE.     (F.)    A  semibrcve. 

RONDINO,  RONDILETl'A,  RONDINEl- 
TO,  or  RONDOLEITO.     (I.)     A  short  rondo. 

RONDO,  (I.)  or  RONDEAU,  (F.)  A 
composition,  vocal  or  instrumental,  generally 
consisting   of  three  stra'iis,   the   first   of  which 


813 


RON 


ENCYCLOIVEDIA    OF    MUSIC. 


Tioa 


closes  ill  tlie  original  key,  while  each  of  the  oth- 
jrs  is  so  constructed  in  point  of  modulation  (is  to 
reconduct  the  ear  in  an  easy  and  natural  manner 
to  the  first  strain.  'ITiis  construction  is  an  in- 
herent and  indispensable  quality  in  the  roiulo, 
since  it  takes  its  name  from  the  circumstance  of 
the  melody  (70injr  round,  after  both  the  second  and 
third  strain,  to  the  first  strain,  with  which  it  final- 
ly closes.  In  the  vocal  rondo  con.sidrrablo  dis- 
cernment is  requisite  in  the  choice  of  proper 
words.  The  lines  of  the  first  strain  should  be 
complete  in  themselves,  while  those  of  each  of 
the  other  strains  should  not  only  rise  out  of 
them,  but,  like  the  music,  lead  to  them  again. 

KONG,  AVII.IIELM.  Chamber  musician  to  the 
King  of  I'russiii  at  licrlin  from  1780  to  1821.  He 
has  published  many  ingenious  musical  works, 
amongst  which  are  the  following  :  "  Vcrsuch  ei- 
ne^  El  mcntartehre  ftir  die  Jujend,  am  Klacier," 
I'oisdam,  1793  ;  "48  Tabellen  aiis  einer  Tunart  in 
jede  andere  auizuiceichen,  ifv.,"  1800 ;  '•  Theore- 
tischtpiaktiachea  Ilaiidbuch  der  Tonarten  Keiintniss ; " 
"  ilein  Vorthcil,  alle  Tonarten  mil  ihnr  W-ncandt- 
tchaj't  ohne  Mtlfie  zti  erkennen."  He  was  also  known 
as  a  composer  of  songs  and  collections  of  dance 
music. 

ROXZI,  SIGXOR  and  MADAME.  See  De 
Beg.ms. 

ROOT.  The  term  applied  by  theorists  to  the 
furidamcntal  noie  of  any  chord. 

RORE,  CTPRIANO  DI.     See  Cipkiaxo. 

ROSA,  SALVATOR,  chiefly  celebrnted  as  a 
painter  and  poet,  was  boni  at  Renessa,  near  Na- 
t,les,  m  the  year  161.5.  He  was  originally  intend- 
ed for  the  church,  and  was  educated  in  accord- 
ance with  that  intention  ;  but  his  mind,  of  all 
others,  was  ill  calculated  for  a  monkish  lil'e,  and 
at  an  early  age  he  abandoned  his  probationary 
habit,  and  returned  to  his  tatlier's  house.  We 
now  first  hear  of  him  in  connection  with  music, 
and  cannot  resist  giving  an  account  of  his  prog- 
ress in  this  science,  in  the  very  eutcrtainiug 
words  of  Lady  Morgan. 

'•  'Hie  contumacious  student  of  the  Padii  So- 
maschi  escaped  from  the  ri'straints  of  their  cloister, 
and  the  horrid  howl  of  their  laiide  spiritiuili,  to  all 
the  intoxication  of  sound  and  sight,  with  every 
sense  in  full  accordance  with  the  musical  pa.ssion 
of  the  day.  It  is  little  wonderlul  if,  at  this  epoch 
of  his  life,  Salvator  gave  himselt  up  unresistingly 
to  the  pursuit  of  a  science  which  he  cultivated 
with  ardor  even  when  time  had  preached  his 
tumultuous  pulse  to  re^t,  or  if  the  fioatini;  ca[:i- 
tal  ol  genius,  which  was  as  yet  unappropriated, 
was  in  part  applied  to  that  species  of  composition 
■which,  in  tie  yo\ith  of  a  man,  aa  of  nations,  pre- 
cedes deeper  and  more  important  studies,  and  for 
which,  in  either,  there  is  but  one  age.  All  poe- 
try and  passion,  his  young  mu.-e  'dallied  witli 
the  innocenreol  love,'  and  inspired  strains  which, 
though  the  simple  breathings  of  an  ardent  tem- 
perament, the  exuberance  ol  youthful  excitement 
and  an  overtecraing  sensibility,  were  assigning 
him  a  jlace  among  the  first  Italian  lyrists  of  his 
»ge.  Little  did  he  then  dream  that  posterity 
would  apply  the  rigid  rules  of  criticism  to  the 
'idle  visions'  of  hLs  boyish  tancy ;  or  that  his 
Dars  and  basses  would  be  analyzed  by  the  learned 
.mipircs   of  future  ages,  declared  '  not  only  ad- 


mirable for  a  dilettante,'  but,  '  in  point  of  mclodv 
superior  to  that  of  most  of  the  masters  of  hit 
time." 

"  His  musical  productions  became  so  popular, 
that  the  '  spinners  and  knitters  in  the  sun  did 
use  to  chant  them,'  (an  image  which  every 
street  in  Naples,  during  the  winter  season,  daily 
exhibits;)  and  there  were  in  some  of  these  short 
lyric  poems,  which  he  set  to  music,  a  softness 
and  delicacy  that  rendered  them  even  worthy  to 
be  sung 

•  nv  ■omc  fair  quo«n  In  aummtr  bower 
With  ravUhing  diviiiont  of  lirr  lutvt* 

Still,  however,  they  are  more  curious  as  compared 
to  that  stem  strain  of  harp  invective  which  runs 
through  all  his  miiturer  compositions,  and  to  that 
dark,  deep,  and  indignant  feeling  which  perradeit 
all  his  satires. 

"  Having  acquired  considerable  mastery  on  the 

lute,   (for  which,   like  Petrarch,   he  presen-ed   a 

passion  till  the  last  year  of  his  life,)  he  soon  be- 

j  came  one  of  the  most  brilliant  and  successful  ser- 

]  enadcrs  of  Nai)les.     Many  of  those  gay  and  rial- 

Hard  figures  which,  in  after  life,  escaped  from  his 

:  graphic  pencil  and   rapid  graver,  with  luiir  and 

feather  floating  in   the   breeze,  are  said  to   have 

I  been  but  copies  of  himself,  as  he  stood  niched 

!  under  the  shadow  of  a  balcony,  or  reclined  on  the 

I  prow  of  a  felucca,  singing  to  his  lute  the  charms 

or  cruelty  of  some  listening  Irene  or  Cloris  of  the 

,  moment. 

"  'lliis  mode  of  life,  of  course,  could  not  Inst 
I  very  long  ;  it  was  necessary  that  he  should  turn 
his  serious  exertions  to  some  prolession  ;  and  f 
family  connection  drew  them  to  that  of  painting. 
From  this  time,  Rosa  advanced  rapidly  in  repu- 
tation and  in  wealth  ;  and  his  house  became  the 
resort  of  some  of  the  most  intellectual  and  culti- 
vated men  in  Rome. 

••  His   pathetic   cantatas,   and    their   plaintive 
I  compositions,  drew  tears  from  the  brightest  eye^ 
1  in  Rome;  the  'potent,  grave,  and  reverend  sig- 
:  nors  '  of  the  conciave  did  not   disdain  to  solicit 
adiuission  to  those  evening   convtrsazioni   of  the 
Via  liabiiina,  where  the  comic  muse  alone  pre- 
sided, but  where,  under  the  guiie  of   national 
!  iia)cct<',  veiled  in  a  rustic  dialect,  and  set  otf  by 
the  most  humorous  gesticulations,  truths    were 
let    drop   with    impunity,    more    perilous    than 
those  for  translating  which  from  the  pages  of  Lu- 
cian  a  prolegf  of  the  Grand  Duke  de'  Me<lici  was 
at  the  same  moment  confined   by  the  Inquisi- 
I  tion. 

I  "The  manner  of  the  daring  improttisatore,  as 
left  on  record  by  his  chroniclers,  or  handed  down 
by  tradition,  was  no  less  singular  and  attractive 
than  the  matter  which  ins])ired  him.  The  apart- 
ment in  which  he  received  his  company  was  af- 
fectedly simple.  The  walls,  hung  with  faded 
tajicstry,  exhibited  none  of  his  beautiful  pic- 
tures, which  miglit  well  have  8ttractc<l  attention 
from  the  actor  to  his  works.  A  lew  rows  ol  rooms 
included  all  the  furniture  ;  and  they  were  secured 
at  an  early  hour  by  the  impatience  of  an  audi- 
ence, select  and  exclusive,  eitJier  invited  by  him- 
self or  introduced  by  hLs  Iriends.  When  ihf 
company  were  assembled,  and  not  l)cfore,  Salva 
tor  ajipeared  in  the  circle,  but  with  the  air  of  ■ 
host  rather  than  tliat  of  an  exhibitor,  until  the 
desire  to  bear  him  recite  lii>  poetry,  or  to  impior- 
rttare,  expressed  by  some  individual,  produced  a 
general  ncch'mation  of  entreaty.  It  ww  •  (<«rl 
13 


ROS 


ENCYCLOPAEDIA    OF   MUSIC. 


KOS 


of  his  coquetry  to  require  much  solicitation  ;  nnd 
M-hc-n  at  Inst  he  consented,  he  rose  with  an  air  of 
timi'lity  and  confusion,  nnd  presented  himself 
vith  his  lute  or  a  roU  of  paper  containing  the 
hends  of  his  subject.  After  some  graceful  hesi- 
tntion,  a  few  preluding  chords,  or  a  slight  licra  ! 
to  clear  his  full,  deep  voice,  the  scene  changed  ; 
the  elegant,  the  sublime  Salvator  disappeared, 
nnd  was  replaced  by  the  gesticulating  and  gri- 
macing Coviello,  who,  long  before  he  spoke,  excited 
8uch  bursts  of  merriment,  con  le  piii  ridimlose 
smoi-fie  al  auo  modo  Napolitann,  (with  the  most 
huighable  grimaces  in  the  true  Neapolitan  style,) 
that  even  the  gravest  of  his  audience  wt;re  ready 
to  burst.  M'hen  tlie  adroit  improvcis-ttore  had 
thus  wound  up  his  auditory  to  a  certain  pitch  of 
exaltation,  and  prepared  them  at  least  to  receive 
with  good  humor  whatever  he  might  hazard,  he 
suddenly  stepped  forth  and  exclaimed  with  great 
energy,  in  the  broad  Neapolitan  of  the  Largo  di 
Castcllo,  '  Siciite  chism  vi),  anza  ijli  iitcci ' — a  Nea- 
jiolitan  idiom,  meaning  '  Awaken,  and  heed  me,' 
but  literally  translated,  '  Listen,  and  open  your 
eyes.'  lie  then  began  his  recitation.  '  Whatev- 
er were  its  faults  of  composition,'  says  one  of  his 
biographers,  '  it  was  impossible  to  detect  them, 
as  long  as  he  recited;  nor  could  t^eir  charm  be 
understood  by  those  who  did  not  hear  them  re- 
cited by  himself.  MTien  some  of  these  produc- 
tions were  published  after  his  death,  it  was  sup- 
posed that  they  would  lose  much  of  their  apjiar- 
ent  merit,  because  his  fervid  and  abundant  genius, 
rich  in  its  natural  fertility,  despised  the  trammels 
of  art,  as  submitting  talent  to  mean  and  slavish 
rules.  The  contrary,  however,  was  the  fact ;  for 
they  excited  universal  admiration.' 

"  With  a  thirst  of  praise  which  scarcely  any 
applause  could  satisfy,  Salvator  united  a  quick- 
ness of  perception  that  rendered  him  suspicious 
of  pleasing,  even  at  the  moment  he  was  most  suc- 
cessful. A  gaping  mouth,  a  closing  lid.  a  lan- 
guid look,  or  an  impatient  hem  !  threw  him  into 
■utter  confusion,  and  deprived  him  of  all  presence 
of  mind,  of  all  power  of  concealing  his  mortifica- 
tion. AVhen  he  perceived  that  some  witty  sally 
had  fallen  lifeless,  that  some  epigrammatic  point 
had  escaped  the  notice  of  his  auditors,  he  was 
■wont  to  exclaim  to  his  particular  friends,  when 
the  strangers  were  departed,  *  What  folly  to  lose 
my  time  and  talent  in  reading  before  these  beasts 
of  burden,  who  feel  nothing,  and  have  no  intel- 
lect beyond  what  is  necessiury  to  understand  the 
street  ballads  of  the  b/iml  band .' ' 

"  Observing  the  manners  of  an  age  in  which 
he  deemed  it  an  indignity  to  have  been  born, 
with  the  deep  and  philosophic  view  which  dis- 
tinguished all  he  thought  and  produced,  Salva- 
tor perceived  that  the  church  was  making  the 
same  monopoly  of  music  as  .she  had  done  of 
painting,  and  would,  in  the  end,  degrade  one  art 
(as  she  had  already  deteriorated  the  other)  to 
the  worst  purposes.  The  finest  singers  were 
now  shut  up  in  the  Roman  monasteries ;  and  all 
Home  was  tlien  resorting  to  the  Spirito  Santo,  to 
hear  the  sister  Veronica,  a  beautiful  nun,  who 
awakened  emotions  in  her  auditors  that  did  not 
all  belong  to  heaven. 

"  It  was  in  the  palaces  of  the  Vorporati  that 
the  first  musical  dramas  were  given,  which  bore 
any  re.-emblance  to  the  modern  opera  by  which 
they  are  now  succeeded  in  the  Argentina ;  and 
the  choir  of  the  Pontifical  Chapel  (which  gave 

.s 


the  m\isical  tone  to  all  the  churches  of  Christen- 
dom, while  it  engrossed  all  the  patronage  of  the 
government)  was  gradually  abandoning  those 
learned  combinations,  and  that  solemn  and  af- 
fecting simplicity,  which  were  calculated  to  an- 
swer tlie  purposes  of  a  passionate  devotion,  and 
to  satisfy,  at  the  same  moment,  the  taste  of  the 
amateur  and  the  enthusiasm  of  the  devotee. 

"  The  first  attempt  at  a  regular  drama  was 
made  at  liome  in  one  of  these  palaces,  as  early 
as  lf)32,  three  years  before  Salvator's  first  arrival 
there.  It  was  called  '  //  Ritorim  di  Angelica  nella 
India,'  and  was  composed  by  the  then  fashion- 
able secular  composer  Tignali.  Public  operas 
were  at  this  time  performmg  in  Venice  and  "o- 
logna. 

"  It  may  be  curious  to  observe,  that  the  in- 
struments which  were  then  found  in  the  secular 
orchestras  of  Italy,  were  the  organ,  viol,  viol  da 
gamba,  harj),  lute,  guitar,  spinet,  harpsichord, 
theorbo,  and  trumpet :  while  the  court  band  of 
Louis  XIll.  and  XIV.  only  consisted  of  the  far- 
famed  'J'oui-and-twenty  fiddlers  all  in  a  row,'  and 
even  they  were  imported  from  Italy.  The  first 
and  the  most  distinguLshed  was  Baptiste  LuUi, 
brought  from  Florence  by  Maria  de'  Medici,  at 
the  age  of  fourteen.  From  a  simple  violonter,  he 
became  the  founder  of  the  French  opera,  and 
the  model  upon  which  Cambra,  Destouches,  and_ 
other  French  composers  founded  their  braying 
monotonies.  At  the  same  period  in  England, 
the  music  of  Lawes  and  Bird  was  laid  aside  as 
profane,  and  replaced  by  those  pious  discords, 

•Sucti  aa  from  1ab*rlnglnnp9  enthu«la«t  blows. 
High  sound*  attempted  through  the  vocul  Dosc.* 

Vicenzio  Galileo  (the  father  of  the  celebrated 
astronomer)  remarks,  however,  in  his  '  Dialogo 
della  Mu-iica,'  that  the  best  Italian  lyres  were 
made  for  the  English  market. 

"  While  the  music  of  the  church  was  thus 
gradually  a.ssuming  an  effeminate  character,  the 
pidaces  of  the  great  were  filled  with  the  most 
worthless  of  the  profession,  of  both  sexes.  The 
genius  which  went  to  the  composition  of  the 
finest  music  was  then,  as  now,  less  prized  and 
rewai'ded  than  the  voice  which  executed  it,  and 
the  jnofligacy  of  the  public  singers  iu  Italy  was 
no  impediment  to  their  reception  into  the  first 
families  of  the  country.  Upon  this  shameless 
laxity  of  manners,  and  the  visible  degradation 
of  ecclesiastical  music,  Salvator  fell  with  a  Puri- 
tan's severity,  scarcely  surpassed  by  the  anathe- 
mas of  Calvin,  or  the  vituperations  of  Erasmus. 
He  attacked  the  style  of  singing  in  the  Pontiti- 
j  cal  Chapel.  He  attacked  the  vices  of  a  profes- 
sion which  now,  beyond  every  other,  received  the 
special  i)atronage  ol  the  lords  of  the  conclave ;  and 
though  his  etlbrts  at  reformation  were  as  yet 
confined  to  his  lecitations,  and  to  the  frank  ut- 
terance of  opinions  over  which  he  hekl  no  con- 
trol, yet  these  philippics  increased  the  number 
of  liis  enemies,  even  more  than  an  attack  on  re- 
ligion itself  would  have  done. 

"  While,  however,  all  the  singers  in  Rome, 
with  their  patrons  and  partisans,  took  the  field 
against  the  satiu^t,  the  great  composers,  distin- 
guished alike  for  their  genius  and  their  morals, 
rallied  round  him  ;  and  the  musical  album  of 
Salvator,  brought  a  century  after  his  death  into 
England,  (the  land  which  lias  always  been  true 
to  liis  merits,  ar.d  in  sympathy  with  his  genius,) 

2i) 


ROS 


ENCVCLOl'-EDIA    OF    MUSIC. 


K  < )  .i 


is  a  record  that  he  oflcnded   none  but  those 
whose  enmity  was  distinction." 

"  Among  the  musitiil  manuscripts  purchnscd 
at  Home  in  1770,"  sayn  Dr.  liurney.  in  his  "His- 
tory of  Music,"  "  one  that  ranks  the  liij;he»t  in 
ray  own  I'uvor  was  the  music  book  of  iSalvator 
Kosa,  tlie  painter;  in  which  are  contained,  not 
only  the  airs  and  cantatas  set  by  CarisNinii,  t'es- 
ti,  Luigi  (Kossi,)  Cavclli,  l.egrcnze,  CapcUino, 
Pastiualini,  and  liandini,  of  which  the  words  of 
several  are  by  Salvator  Kosa,  but  eight  entire 
cantatas,  written,  set,  and  transcribed  by  the  cel- 
ebrated i)ainter  himself.  The  book  was  pur- 
chased of  his  granddaughter,  who  occupied  the 
house  in  which  her  ancestor  had  lived  and  died. 
The  handwriting  was  ascertained  by  collation 
wiih  his  letters  and  satires,  of  which  tlic  origi- 
nals are  preserved  by  his  dcscendunta.  The  his- 
torians of  Italian  poetry,  though  they  often 
mention  Salvator  as  a  satirist,  seem  never  to  have 
heard  of  his  lyrical  productions.  Other  single 
airs  by  Luigi  and  Legrenze,  the  words  by  Sal- 
vator Kosa,  fill  up  tlie  volume,  in  which  there 
is  notliing  so  precious  as  the  musical  and  poetical 
compositions  of  Kosa."     It  is  enough  to  cstab- 


to  enable  him  to  travel  into  other  countries  for 
improvement.  He  accordingly  went  to  Korae  in 
the  year  1710.  How  long  lie  continued  abroad 
is  not  exactly  known;  but  in  1720  he  apjjearH  to 
have  had  some  concern  in  the  management  of 
the  opera  at  the  Haymarkct ;  for  in  tliat  year  he 
brought  upon  the  stage,  with  some  additional 
songs  of  his  own,  tiio  0])cra  of  "  Xarciiaus," 
written  by  Kolli,  and  set  to  music  by  Domenico 
Scarlatti. 

Koseingrave  afterwards  became  teacher  of 
music,  ill  the  princi])les  of  which  he  was  sup- 
posed to  be  deeply  skilled.  His  style,  however, 
both  of  playing  and  composing,  was  harsh  and 
disgusting,  showing  much  learning,  but  very 
little  either  of  elegance  or  variety.  About  the 
year  172.),  an  organ  having  been  erected  in  the 
new  church  of  St.  George,  Hanover  Square,  he 
was  appointed  the  organist. 

A  few  years  after  he  had  obtained  this  situa- 
tion, he  lixed  his  affections  on  a  female,  by 
whom  he  was  rejected  at  a  time  when  he  thought 
himself  most  secure  of  her  affections.  This  dis- 
appointment was  BO  severely  felt  by  the  unfor- 
tuiiat"    lover   as    to   occasion    a   temporary   and 


lisli  the  musical  genius  of  Salvator  Kosa,  that  his     rery  strange  kind  of  insanity.     He  used  to  say 


compositions  were  pronounced  by  the  most  learned 
and  elegant  musical  profcs-sors  of  the  liu>t  century 
to  be,  "  in  point  of  melody,  superior  to  most  of  the 
masters  of  his  time  "    Kosa  died  at  Komc  in  1G73. 

KO.SALIA.  A  term  applied  by  tlie  Italians 
to  the  repetition  of  a  passage  given  one  note 
higher.  A  resource  very  tiresome  in  its  effect, 
when  injudiciously  introduced,  but  capable  of 
greatly  heightening  the  melody,  when  dictated 
by  tasie  and  sanctioned  by  judgment. 


that  the  lady's  cruelty  had  so  literally  and  com- 
pletely broken  his  heart,  that  he  heard  the  stringii 
of  it  cnuk  at  the  time  he  received  his  sentence ; 
and  on  that  account,  he  ever  afterwards  called 
the  disorder  of  his  intellects  his  ci-fjxi/ion,  from 
the  Italian  verb  cn-pare,  to  crack.  After  this 
misfortune,  he  was  never  able  to  hear  any  noise 
without  great  emotion.  If,  during  his  ])erform- 
ance  on  the  organ,  any  one  near  him  coughed, 
sneezed,  or  blew  his  nose  with  violence,  he  would 
instantly  quit  the  instrument  and  run  out  of 
KOSAKIO,    AXTOXIO    DO,    a    Portuguese  '  church,  seemingly  in  the  greatest  pain  and  terror, 


ecclesiastic  and  church  composer,  born  at  IJsbon 
in  lt)!S2,  wrote  tiic  following  works,  which  are 
to  be  found  in  the  Koyal  Library  of  Portugal  : 
"  8  MiKjitiJicat  sobre  o  Canto  Chad  dos  outo  toiu^" 
*'  Lai»eiUa(;oriis,  et  Moteles  da  Uiiaresnui  e  Semaiia 
Santa,  d  8,  6,  e  4  Vvzea  ; "  "  liespoimorioa  das  Ma- 
tiiuu  da  Conceicao  da  Senhora,  d^•,"  "  Jiaj/uimo- 
rioa  das  Malinus  de  S,  Jeronijmu,  d  8  ;  "  "  yillan- 
cicos  d  S  e  (i  i  ;"  and  '*  Are^a  iioia  de  S.  Jozd 
IHjita  em  Canto  Chad." 

KOSE,  JOIIANX  IIEIXKICH  VIKTOK.  or- 
gHnist  of  the  principal  church  at  (iuedlinburg, 
w<t8  born  in  that  town  in  1743,  and  was  a  pupil 
of  his  lather,  J.  (i.  Hose.     In  17t5(')  the  Princess 
Amelia,  then  abbess  of  the  convent   of    Qued- 
linburg,  took  him  to    Berlin,  and  proi-ured    tor 
him    tlie    best  masters  on    the  violoncello.     At 
lierlin   he  remained  till  17»J3,  when  he  entered 
the  service  of   the   Prince  of  Anhalt-Bernburg,  ' 
which  he  quitted  in   17()7  lor  that  of  the  Prince  | 
of  Anhalt-I)es.sau,  with  whom  he  continued  aa  I 
chamber  musician,  till   his  first  royal  patroness  j 
procured  him,  in   1772,  the   organist's  situation 
of  his  native    town.     Kose   perl'irmed    well    on 
several    instruments,  and  published,  in    17'J2,  a  | 
collection  of  psalms  for   his  o«n  church,  with  I 
new  melodies,  arranged  for  four  voices. 

ROSELNGK-WE,  THOMAS,  was  the  son  of 


I  crying  out  tiiat  it  Wiis  U/d  !\raich  who  torment- 
ed him,  and  played  on  hLs  crv/hUion. 

About  the  year  1737,  on  account  of  his  occa- 
sional insanity,  he  was  superseded  at  St.  George's 
Church  by  Keeble,  who,  during  his  lite,  divided 
with  him  the  salary.     He  died  in  the  year  17.50. 
Koseingrave  was   an   enthusiastic   admirer  of 
Pale»triiia,  and  the  ornaments  of  his  bed  cham- 
j  ber  were  scraps  of  paj-cr  containing  select  paa- 
I  sages  from  the  works  of  that  composer. 
I       Some  time   previously  to  his  death,  he  pub- 
I  lishcd  a  collection  of  "  Lessons  for  the  Harpsi- 
chord," of  his    friend    Domenico    Scarlatti,   in 
which    are   contained   also    two  or  three  of  his 
own.     His  other  work.s,  that  are  to  be  met  with 
in  print,  are  additional   songs  to  the   opera    of 
"  yarcijiiiis ;"    voluntaries    and    fugues    fcr   the 
organ  and  harpsichord  ;  and  twelve  solos  for  a 
German  flute,  with  a  thorough  bajni  for  the  harp- 
sichord. 

KOSELLI,  SIGXOR,  an  Italian  sopranist, 
sang  at  the  Concert  of  .'Vucieut  Music,  in  Lon- 
don, in  1749. 

KOSEXI.  An  instrumental  composer  at  Paria, 
about  the  year  1776. 

HOSENMULLEli,  JOIIX.  was  a  Saxon  by 
birth,  and  joint  prolessor  of  music  with  'lobias 
Michaclis    in    the    .-Vcadcmy   of    St.    Thomas   at 


nne  of  the  vicars  choral  of  St.  Patrick's  Cliurch,  '  Lcipsic,  until  he  was  imprLsone.l  on  suspicion  of 
Dublin,  under  whom  he  received  the  first  rudi-  having  committed  a  heinous  crime,  lie  found 
ments  of  his  musical  education.  As  he  exhibit-  means  to  escape  from  prUoii,  and  tied  to  Ham- 
•d  early  indications  of  musical  genius,  the  burg.  After  some  stay  there,  he  went  to  Italy, 
chapter  of  St.  Patrick's  allowed  him  a  pension,     where    his  skill   on  thi   organ  was  uuirentallT 

821 


ROS 


EXCYCLOP-EDIA    OF   MUSIC. 


ROS 


admired.  At  length  he  obtained  the  situation  of 
chnpcl- muster  in  the  great  church  at  Woll'en- 
buttel.  lie  was  born  about  1615,  and  died  in 
the  yiar  108.5. 

The  most  celebrated  of  his  compositions  are, 
"  Soiiafc  {III  Camr-ra  i)  .5  Sirnnienti,"  and  a  collec- 
tion of  airs  of  various  kinds. 

ROSKTII,  ANTONIO,  chapel- master  to  the 
Duke  of  Mecklenburg- Schwcrin,  was  born  at 
Milan  about  the  year  1744.  His  musical  taste 
was  princijially  formed  alter  the  model  of  the 
great  Haydn ;  llosetti  having  been,  about  the 
year  1760,  violinist  of  the  lmi)erial  Chai)el,  and 
chamber  musician  to  Count  Althan  at  Vienna, 
which  place  be  held  till  about  1780,  when  he 
l>ecame  cliapel-msihtcr  to  the  Prince  of  Wnllcn- 
Btein.  His  usual  instrument  was  the  double 
bass,  1  ut  his  principal  merits  were  as  composer 
and  leader  of  an  orchestra ;  and  these  procured 
him,  in  1789,  his  first-named  situation  at 
iSchwerin,  where  lie  succeeded  the  celebrated 
AVestonholtz.  His  published  compositions  were 
numerous,  but  considered  to  be  occasionally  too 
close  imitations  of  Ilaydn.  The  following  is  a 
list  of  his  principal  published  works  up  to  the 
year  1786:  "Six  Trios  for  the  Harpsichord  and 
Violin,"  Op.  1,  Paris;  "  Six  Trios  for  the  Harp- 
sichord,"' Op.  2 ;  "A  Concerto  for  the  Harp- 
sichord," Op.  .3,  Frankfort ;  "  Three  Concertos 
for  the  Harpsichord,  with  V.  and  Vc,"  8pire  ; 
"  Three  ditto,"  Op.  4.  Berlin ;  "  6  V.  Duos," 
Vienna ;  "  Tliree  Symph.  for  full  Orch.,"  Op.  1, 
Amsterdam ;  "  Trois  Cone,  for  Horn,  Xos.  1,  2, 
3."  Paris,  1784  ;  "Trois  Cone,  for  Flute,  Nos.  4. 
5,  and  6,"  Paris ;  and  "  Three  Trios  for  the 
Harpsichord,"  Op.  5. 

Several  composers  of  this  name  flourished 
about  this  same  period,  so  that  it  is  impossible  to 
decide  to  which  to  attribute  many  of  their  pub- 
lished works.  And  according  to  some  authori- 
ties, many  of  the  works  in  the  list  given  above 
belong  actually  to  the  subject  of  the  following 
article. 

ROSETTI,  FRANCESCO  ANTONIO,  born 
at  Leutmeritz,  in  Bohemia,  in  1750,  was  educat- 
ed for  the  church  in  the  seminary  at  Prague,  till 
the  age  of  nineteen,  when,  wishing  to  embrace 
the  musical  profession,  he  obtained  a  dispensa- 
tion for  that  purpose  from  Rome.  Soon  after 
this  he  undertook  a  journey  as  musician,  in  the 
course  of  which  he  was  engaged  in  the  situation 
of  chapel-master  to  the  I)uke  of  Wallenstein. 
Here  he  was  permitted  by  the  duke  to  proceed 
on  his  journey  to  Paris  for  the  ])uri)osc  of  fur- 
ther musical  improvement.  On  his  return  he 
composed  the  celebrated  oratorio  of  "  Dcr  Slcr- 
beitde  Jesus."  In  1792  he  was  invited  to  Berlin, 
by  the  order  of  Frederic  William  III.,  when  his 
new  oratorio,  "Jesus  in  Gethseraane,"  also  a 
"  Hallelujah  "  of  his  composition,  were  ])erformed 
in  the  Chapel  Royal,  before  the  Prussian  court. 
From  about  this  time  his  health  began  to  fail, 
and,  in  1792,  he  died  of  an  affection  in  the  chest, 
and  in  the  forty-second  year  of  his  age.  Besides 
the  works  above  mentioned,  he  composed  a 
"  Rei/idem,"  which  was  jierforraed  at  Prague,  in 
1791,  at  the  funeral  of  Mozart. 

ROSINGRAVE.     See  Roseinguave. 

ROSINI,  GIROLAMO,  of  Perouse,  was  a  so- 
pranist  in  the  I'opc's  Chapel  at  Rome,  early  in 


the  seventeenth  century.  He  was  the  ./fr»< 
Italian  sopranist,  all  who  preceded  him  having 
been  Spaniards  'n-  birth. 

RO.SS,  JOHN,  organist  of  St.  Paul's  Chapel 
in  Aberdeen,  was  born  at  Newcastle-upon- 
Tyne  in  1764.  He  filled  that  situation  forty 
years,  with  great  credit,  being  highly  esteemed 
as  a  teacher  of  music,  as  well  as  celebrated  as  an 
organist  and  composer.  His  talents  for  the  art 
discovered  themselves  at  a  very  early  j)eriod  of 
life.  When  only  five  years  of  age,  he  could 
play  several  airs  on  the  violin  with  perfect  cor- 
rectness. Having  attained  his  eleventh  year,  he 
was  ])laced  under  the  tuition  of  Hawdon,  then 
organist  of  St.  Nicholas  Church  in  Newcastle 
This  gentleman  was  of  the  old  school,  having 
received  hLs  musical  education  from  the  well- 
known  Charles  Avison.  Ross  prosecuted  his 
studies  under  him  for  seven  years,  during  which 
time  his  taste  was  much  improved,  by  obtaining 
an  acquaintance  with  the  works  of  the  old  mas- 
ters, particularly  those  of  Handel.  ThLs  laid 
the  foundation  of  his  musical  knowledge,  and 
led  him  to  the  true  style  of  organ  playing. 
Most  of  the  psalm  tunes  which  he  used  were  com- 
positions of  his  own,  and  hLs  voluntaries  were  al- 
ways extempore.  Many  of  these  were. specimens 
of  original  genius,  indescribably  beautiful,  and 
producing  an  enchanting  effect. 

It  w.os  towards  the  end  of  the  year  178.3  that 
Ross  was  appointed  orgaiust  of  St.  Paul's  Chapel 
in  Aberdeen,  at  which  time  he  was  only  seven- 
teen years  of  age.  On  his  arrival  in  that  city  he 
was  happy  to  find  weekly  concerts  established 
on  a  very  extensive  scale.  At  these  he  was  in- 
vited to  jireside  at  the  organ  and  harpsichord, 
and  continued  to  do  so  for  many  years,  until  the 
concert  ceased.  They  had  been  previoxisly  sup- 
ported with  spirit,  by  pubUc  subscrijjtion,  for 
upwards  of  forty  years.  Ir.  the  year  1812,  owing 
to  a  general  failure  of  the  crop,  the  poor  in  Aber- 
deen weie  reduced  to  the  greatest  want,  and 
although  hberal  exertions  were  made  by  the  in- 
habitants, their  necessities  were  not  altogether 
supplied.  .Something  more  was  requiied  to  be 
done,  and  Ross  was  requested  to  give  a  musical 
performance  for  the  relief  of  the  distressed.  Thia 
he  willingly  undertook,  and  an  oratorio  was  per- 
formed in  St.  Paul's  Chapel,  which  answered  the 
proposed  charitable  purpose,  and  at  the  same 
time  afforded  much  amu.sement  to  the  musical 
amateurs  of  Aberdeen.  This  and  a  similar  per- 
formance the  year  following  yielded  the  sum  of 
three  hundred  and  fourteen  pounds.  On  these 
occasions  Ross  received  the  thanks  of  the  magis- 
trates and  most  respectable  inhabitants  of  the 
city.  The  following  is  a  ILst  of  some  of  Ross's 
principal  compositions :  "  Six  Concertos  for  the 
Piano-forte,  with  A;c. ;"  "Seven  Sets  of  three 
Sonatas  for  the  Piano-forte  ;  "  "  Ten  Songs  in 
Score,  with  an  Ace.  for  the  Piano-forte ;  "  "  Nine 
Songs,  with  an  Ace.  for  tlie  Piano-forte  ;  "  "  Fif- 
teen Songs,  with  ditto  ;  "  "  Six  Songs,  with  dit- 
to," Edinburgh  ;  "Two  Sets  of  Six  Canzonets  ;  " 
"  Si.x  Hymns  for  throe  Voices,  with  8i\  Ace.  foi 
the  Organ  ;"  "An  Ode  to  Charity,  consisting  of 
Airs,  liccitatives,  and  Choruses,  with  an  -Vcc.  foi 
the  Organ;  "  "  Four  Sets  of  Six  Waltzes;  "  also 
a  verv  considerable  number  of  single  sonata^ 
songs,  and  airs,  with  variations. 


ROSSETTI.     See  Roseiti. 


822 


ROS 


ENCYCLOP.^iDIA    OF   MUSIC. 


Roa 


ROSSETTUS,  BLASIUS,  probably  on   Itnlinii  |  ruary,  17i>'2,  at  Pesaro,  h  small  town  in  flic  papal 


ecclesinstic  and  musician,  published  at  Verona, 
in  1529,  "  liudimenta  Muaicea,  tie  triplici  miuicva 
specie  ;  de  inodo  tlevite  sohendi  divinum  peiisum  :  et 
de  auJerendU  tuinnaUis  ahmtibua  in  Templo  Dei." 

HOSbETUS,  STEl'lIANUS,  a  contrapuntist 
of  the  sixteenth  century,  published  "  Madrii/ali  a 
(i  coct,"  Venice,  loGii  ;  "  Madri./a/i  d  3  voc,"  Ven- 
ice, lo()7  ;  "  Cantiones  Sacrie  6  et  G  voc.,"  Xurem- 
ber;;,  157.i  ;  "  Madriyali  a  4  i>oci,"  Venice,  1 JGO  ; 
and  "  MiileUa  5  et  6  voc."  Nuremberg,  1573. 

KOSSI,  CIIUISTOFERO.  A  Milanese  com- 
poser of  church  music,  about  the  middle  of  the 
seventeenth  centiu-y. 

ROSSI,  EMILIO,  chapel-master  at  I.oretto 
about  the  year  1530,  was  a  very  celebrated  con- 
tra|)unti9t,  and  csi)eciiilly  remarkable  for  hLs 
varied  u>e  of  fu-^ue.  An  ingenious  tive  part 
canon  by  this  composer  may  be  seen  in  Sir  John 
Hawkins's  "  History,"  vol.  ii.  p.  3()5.  Numerous 
scholastic  and  didactic  works  of  Emilio  Rossi  are 
still  prct-crved  in  the  library  ol  the  Vatican  at 
Rome. 

ROSSI,  GIOVANNI  BAITISTA,  a  Genoese 
musician,  was  one  of  the  be-it  Italian  organists  at 
tlie  commencement  of  the  seventeenth  century. 
He  published  "  Oryann  de  Cantori  per  intende  da 
se  ateise  oijni  piuso  dijficile  che  ii  trova  neUa  mu- 
iica." 

ROSSI,  GIOVANNI  MARL\.,  of  Brescia,  a 
celebrated  Italian  composer,  Hourishcd  about  tlie 
year  15t;o.  Amongst  his  published  works  is 
"  Libra  1  de  Motetli  d  5  coci,''  Venice,  1567. 

ROSSI,     HENRIETl'E,     COUNTESS      DE. 

Sec  So.NT.vG. 

RO.SSI,  or  RUBEUS,  LEMME,  a  profcs.sor  of 
the  Greek  lani;ua;;e  at  Peruana  in  the  middle  of 
the  seventeenth  century,  is  the  author  of  the  fol- 
lowing work  :   "  Sistentti  iliiaico,  ucero  iniaica  tpe 


states,  situated  on  the  (julf  of  Venice.  His  tatliCT 
was  an  inferior  performer  on  the  French  liorn, 
and  belon};ed  to  one  of  those  strolliu'^  compani*** 
of  actors  and  musicians  who,  to  t;ain  o  livelihood, 
attend  the  fairs  of  the  small  towns  in  Italy  :  hin 
mother,  who  passed  for  one  of  the  i)rettiest  women 
of  Koniagna,  was  a  .leio/ida  diiina  of  passable  tal- 
ents, 'riicir  son,  of  course,  accompanied  tliein  in 
these  excursions.  In  1790  Rossini's  father  took 
him  to  Bologna,  where  he  lie^an  to  study  music 
in  1802;  his  Hrst  master  being  I),  .\ngclo  TescL 
In  the  course  of  a  few  months  the  young  Gionc- 
chimo  already  earned  paili  by  singing  iu  tho 
clmrchos.  His  pleasing  soprano  voice,  and  the 
vivacity  of  his  youthful  nuinners,  gained  hii  > 
many  friends  among  the  priests  who  directed  the 
FunziDiii.  Under  Professor  Angdo  Tesei,  Rossini 
became  a  tolerable  proticient  in  singing,  in  the 
art  of  accompanying,  and  in  the  rules  of  counter- 
point. In  180G  he  was  capable  of  singing  at  first 
sight  any  piece  of  music  put  before  him,  and 
great  hopes  were  conceived  of  his  future  excel- 
lence;  it  was  augured  from  his  growth,  and  the 
quality  of  his  voice,  that  he  would  make  un  ex- 
cellent tenor. 

On  the  27th  of  August,  1800,  he  quitted  Bo- 
logna  to  make  the  musical  tour  of  Romagna.  He 
took  his  place  at  the  piano  as  director  of  the  or- 
chestra at  Lugo,  Ferrara,  Forli,  Siniga'^lia,  and 
other  little  towns.  It  was  only  in  1S07  that  the 
young  Rossini  gave  up  singing  in  the  church. 
The  20th  of  March,  in  the  same  year,  he  entered 
the  Lyceum  of  Bologna,  and  received  lessons  in 
music  from  Padre  Stanislao  MatteL 

A  year  after  (the  llth  of  August,  1808)  he 
made  so  considerable  a  progress  as  to  be  qualified 
to  compose  a  symphony,  and  a  cantata  entitled 
"  //  I'iaiUo  iF Armonia."  This  was  his  first  essay 
in  vocal  music.  Immediately  after  this  he  was 
chosen  director  of  the  academy  of  the  Coiicordi,  n 
musical  .societv  at  that  time  existin'i  in  the  bosom 


cidalivti,  dove  si  spiegano  i  piu  cclehri  sistemi  di  tuiti  i  <>'    t'^C    Lyceum   at    Bologna.     "  Ihmrtri,  et  Po- 


tri  geiieri,"  Perugia,  KitHi 

ROSSI,  LORENZO.  A  Florentine  dramatic 
and  instrumental  composer  in  the  latter  years  of 
the  hist  century. 

ROSSI,  LUIGI,  born  townrds  the  close  of  the 
sixteenth  century,  was  so  eminent  in  Home  as  a 
musician  that  he  was  called  there  //  /Jici;n.  He 
was  a  contemporary  of  Cari.ssimi,  and  concurred 
with  him  in  perfecting  the  harmony  and  njeloily 
of  their  ago.  He  was  also  celebrated  for  his  can- 
tatas, ki.d  was  one  of  the  earliest  composers  of 
that  species  of  music. 

ROSSI,  MICHAEL  .VNtJELO,  a  composer 
and  violini.st  of  Rome,  published  in  that  city,  in 
1627,  the  opeia  "  Krminin  sul  Uiortiaito''  His 
"  ToccfUe  e  t'orrenle  d' Inlarolntiira  d"  Oryano  e  Cun- 
balo"  was  printed  in  the  same  city. 

ROSSI,  SALOMON,  a  Jew,  born  about  the 

year  1600,  was  a  good  composer   for  the  age  in  lady  of  considerable  Iwauty  and   fortune  formed 

which  he  lived.     Amongst  his  published  works  the  happy   idea   of  sending   him   to  Venice :  ho 

are  "  Libra  1  de  Madrirjali  A  5  voci"  Antwerp,  1610,  there  composc.l,  for  the  Theatre  San  Mos<-,  a  little 


libio"  is  the  first  opera  composed  by  Rossini.  It 
is  said  to  have  been  written  in  1S03,  but  it  was 
not  perfonned  till  1812,  in  the  Theatre  Valle  at 
Rome.  Some  have  ima;;ined  that  it  was  rewrit- 
ten by  the  master  for  this  representation ;  but 
there  is  no  proof  of  the  fact.  Ilis  known  indo- 
lence, and  the  active  duties  he  wan  obliged  to 
perform  this  year,  would  rather  tell  against  such 
a  su[)position. 

Such  was  the  progress  Rossini  had  made  at 
nineteen  that  he  was  chosen  to  direct,  as  head  of 
the  orchestra,  the  "  Four  .'reasons  "  of  Haydn, 
which  were  executed  at  Bologna :  tho  "  Crea- 
tion," which  was  given  on  the  same  occasion, 
(May,  ISU,)  was  directed  by  the  celebrated  so- 
prano Marche?*i.  When  the  parents  of  Rossini 
had  no  cnga;^ement,  they  returned  to  their  resi- 
dence at  Pcsaro.  Some  rich  amateurs  of  thi'* 
town,  we  believe  of  the  family  Pertiiari,  took  tho 
young  Ros>iiii  under  their  protection.     A  young 


and  *'  Simaic  Gayliardi,  Branli,  e  Correnti  a  2   V. 
Op.  4,  Venice,  1623. 

ROSSI,  DOM.  VON.     An  instrumental  com- 
poser at  Vienna  about  the  year  1797. 

ROSSINI,  GIOACCIIINO,  was  born  in  P«b- 


opera,  ni  one  act.  entitled  "  />i  Cunhiale  di  M,it- 
rimonin,''  1810.  'Diis  was  the  first  n[>erB  of  Ros- 
sini performo<l  upon  the  stage  .Vtter  a  succaaa 
very  fiattering  to  a  boginncr.  he  returned  to  Bo- 
logna :  and,  in  the  autumn  of  the  lollowinj;  jear, 
(1811,)  produced  "  L'  Equicoco  Strara</anlt."     Th« 


823 


KOS 


ENCYCL0P.15DIA    OF    MUSIC. 


ROS 


foilowing  your  ho  returned  to  Venice,  and  com- 
posed for  the  carnival  "  L'luganno  Felice." 

In  this  piece  u'eiiiuB  Rhinos  forth  in  every  part. 
An  cx])ericncc(l  eye  will  at  once  recognize  in  this 
opera  in  one  act  the  parent  ide;is  of  fifteen  or 
twenty  jjieccs,  which  at  a  later  period  contrib- 
uted to  decide  the  fortune  of  the  chef-d'ocuvrea  of 
Rossini. 

The  "  Iiif/auiio  Felice  "  resembles  the  first  pic- 
tures of  lljiphael,  which  he  painted  in  the  school 
of  I'crriiKino,  and  wliich  display  all  the  faults 
and  all  the  timidity  of  early  youth,  llossini,  not 
venturing  to  assume  the  master  at  twenty,  was 
fearful  as  yet  to  attemjit  to  please  himself  only. 
The  same  year  his  patrons  procured  him  an  en- 
gagement at  Ferrara  ;  and,  during  the  last  season, 
he  comi)osed  an  oratorio  entitled  "  Giro  in  liabi- 
lonia;"  a,  work  containing  many  beaiities,  but 
considered  by  critics  as  inferior  in  energy  to  the 
"  Inganno  Felice."  After  this  he  was  again  sum- 
moned to  Venice;  but  the  impresario  of  San 
Mose,  not  content  with  gaining  for  a  few  sc/uini 
the  talents  of  a  pleasing  composer,  who  was  pat- 
ronized by  tlie  ladies,  and  whose  rising  genius 
was  destined  to  bring  new  honors  to  his  theatre, 
thought  that,  as  he  was  poor,  he  might  treat  him 
cavalierly  with  impunity.  Rossini  at  once  gave 
him  a  proof  of  that  independence  of  character  by 
which  he  has  since  been  always  distinguished. 
In  quality  of  composer,  Rossini's  power  over  the 
orchestra  was  absolute,  and  he  could  oblige  them 
to  execute  whatever  he  composed.  In  the  new 
opera,  therefore,  of  "  La  Svala  di  Seta,"  which  he 
made  for  the  insolent  impresario,  he  brought  to- 
gether an  assemblage  of  nil  the  extravagances 
and  whimsical  combinations  in  which,  it  may 
well  be  suoposed,  a  head  like  his  is  sufficiently 
fertile.  For  instance,  in  the  allegro  of  the  over- 
ture the  violins  are  made  to  break  off  at  the  end 
of  every  bar,  in  order  to  give  a  rap  with  the  bow 
upon  the  tin  shades  of  the  candlesticks.  It  would 
be  difficult  to  imagine  the  astonishment  and  in- 
dignation of  an  immense  concourse  of  people  as- 
sembled from  every  quarter  of  Venice,  and  even 
from  the  Terra  Firma.  to  hear  the  new  ojiera  of 
the  young  maestro.  This  public,  who,  during  the 
greater  part  of  the  afternoon,  had  besieged  the 
doors,  who  had  been  forced  to  wait  whole  hours 
in  the  passages,  and  at  last  to  endure  the  "  tug 
of  war "  at  the  opening  of  the  doors,  thought 
themselves  personally  insulted,  and  hissed  with 
all  the  vengeance  of  an  enraged  Italian  public. 
Rossini,  not  in  the  least  moved  bj-  all  this  up- 
roar, coolly  asked  the  trembling  impresario,  with 
a  smile,  what  he  had  gained  by  treating  him  so 
cavalierly.  He  then  quitted  the  theatre,  and 
8t.irted  at  once  for  Milan,  where  his  friends  had 
procured  him  an  engagement.  However,  a  month 
after,  he  made  his  peace  with  the  humbled  man- 
ager ;  and,  returning  to  Venice,  successfully  pro- 
duced two  J'arze  (operas  in  one  act)  at  the  The- 
atre Sir  Mosfc.  "  L' Occasiane  fa  il  Ladn>,"  1812, 
and  ■  ..  Fii/lio  per  Azzardo,"  ni  the  carnival  of 
1813.  It  was  also  during  this  carnival  that  Ros- 
sini composeil  his  "  Tancredi." 

No  adeiiuate  idea  can  be  formed  of  the  success 
which  this  delightful  opera  obtained  at  Venice. 
Kuffice  it  to  say  that  the  ])resence  of  Xapoleoa 
himself,  who  honored  the  Venetians  with  a  visit, 
was  unalile  to  <lraw  off  their  attention  from  Ros- 
sini. -\11  was  enthusiasm  !  tufio  furore,  to  use  the 
ti>niu  of  thai  cxpres»ive  language,  which  seems 


to  have  been  created  for  the  use  of  the  arts. 
From  the  gondolier  to  the  patrician,  every  body 
was  repeating  "  Mi  rivcdrai,  ti  revedro."  In  the 
very  courts  of  law  the  judges  were  obliged  to 
impose  silence  on  the  auditory,  who  were  cease- 
lessly humming  "  'J'i  revedro." 

The  delightful  opera  of  "  Tancredi"  made  the 
tour  of  Europe  in  the  short  space  of  four  years. 

It  may  well  be  supposed  that,  in  such  a  place  as 
Venice,  Rossini  was  not  less  happv  as  a  man 
than  celebrated  as  a  composer.  The  fame  of  hia 
genius,  aided  by  the  agrccableness  of  his  man- 
ners, won  him  the  heart  of  the  charming  can- 
tatrice  buffa,  the  Signora  Marcolini,  then  in  the 
flower  of  her  beauty  and  her  talents.  Her  charms 
were  all-powerful,  and  she  succeeded  in  estran- 
ging hLs  affections  from  his  former  fair  i)atrons. 

It  was  for  Marcolini,  it  was  for  her  delicious 
contralto  voice  and  admirable  comic  powers, 
that  ho  composed  the  gay  and  animated  part  of 
the  "  Italiana  in  AU/cri,"  which  at  once  placed 
the  youthful  composer  in  the  first  rank  of  ma- 
estri. 

Such  was  the  run  that  this  new  piece  obtained, 
that  Rossini  had  leisure  to  indulge  for  some  time 
in  his  natural  indolence  ;  lor  indolent  he  was  to 
excess.  This  the  following  anecdote  will  serve 
to  prove. 

During  his  residence  in  Venice  this  year  (1813) 
he  lodged  in  a  little  room  at  one  of  the  small  inns. 
When  the  weather  was  cold  he  used  to  lie  and 
write  his  music  in  bed,  in  order  to  save  the  expense 
of  fuel.  On  one  of  these  occasions  a  duet,  which 
he  had  just  finished  for  a  new  opera,  "  II  Figlio 
per  Azzardo,"  slipped  from  the  bed  and  fell  on 
the  floor.  Rossini  peeped  for  it  in  vain  from  un- 
der the  bed  clothes  ;  it  had  fallen  under  the  bed. 
After  many  a  painful  effort  he  crept  from  his 
snug  place,  and  leaned  over  the  side  of  the  bed 
to  look  for  it.  lie  sees  it,  but  it  lies  beyond 
the  reach  of  his  arm  ;  he  makes  one  or  two  inef- 
fectual efforts  to  reach  it ;  he  is  half  frozen  with 
cold ;  and,  wrapping  himself  up  in  the  coverlet, 
exclaims,  "  Curse  the  duet ;  I  will  write  it  over 
again':  there  ^vill  be  nothing  difficult  in  this, 
since  I  know  it  by  heart."  He  began  again,  lut 
not  a  single  idea  could  he  retrace;  he  fidgets 
about  for  some  time  —  he  scrawLs  —  but  not  a 
note  can  he  recall.  Still  hLs  indolence  will  not 
let  him  get  out  of  bed  to  reach  the  unfortunate 
paper.  "  Well,"  he  exclaims,  in  a  tit  of  impa- 
tience, "  I  will  rewrite  the  whole  duet.  Let  such 
composers  as  are  rich  enough  keep  fires  in  their 
chambers ;  I  cannot  afford  it.  There  let  the 
confounded  paper  lie.  It  has  fallen,  and  it  would 
not  be  lucky  to  pick  it  up  again." 

He  had  scarcely  finished  the  second  duet  when 
one  of  his  friends  entered.  "  Have  the  goodness 
to  reach  me  the  duet  that  lies  under  the  bed." 
The  friend  poked  it  out  with  his  cane,  and  gave 
it  to  Rossini.  "  Come,"  said  the  composer,  snug- 
ging close  in  his  bed,  "  I  will  sing  you  these  two 
duets,  and  do  you  tell  me  which  pleases  you  the 
best."  The  friend  gave  the  preference  to  tlie 
first ;  the  second  wa.s  too  rapid  and  too  lively  for 
the  situation  in  which  it  was  to  stand.  Another 
thought  came  into  Rossini's  head  ;  he  seized  his 
pen,  and,  without  lo.ss  of  time,  worked  it  up  into 
a  terzetto  for  the  .same  opera.  The  relater  of  this 
anecdote  states  that  there  was  not  the  slightest 
resemblance  between  the  two  duets.  The'  ter- 
zetto finished,  Rossini  dressed  himself  in  hast^ 


an 


ROS 


ENCYCLOPEDIA    OF   MUSIC. 


Roa 


cursing  the  cokl  the  whole  time,  and  wet  off  with 
hb  friend  to  the  casino  to  warm  hiraHclt  and  take 
a  cup  of  coffee.  After  this  he  sent  the  lad  of  the 
«Mi/(o  with  the  duet  and  tlie  terzetto  to  the  copy- 
ist of  San  Mos6,  to  be  inserted  in  the  score.  In 
the  autumn  of  the  same  year  (1812)  Uossini  was 
engaged  at  Milan,  when,  for  the  Scala,  he  com- 
posed "  La  Pietra  del  I'ariigoitr."  He  had  now 
attained  his  twentieth  year.  His  opera  had  the 
good  fortune  to  be  sustained  by  the  talents  of 
Signora  Marcolini,  Ualli,  Ilonoldi,  and  I'arlama- 
gni,  who  were  'u\  the  Howerof  their  fame,  and  ob- 
tained a  success  for  this  piece  which  was  little 
short  of  extravagance. 

"  La  Piitra  del  I'aragone"  (The  Touchstone)  is 
considered  by  some  critics  as  the  chef-iCccuvre  of 
Uossini  in  the  butfa  stylo.  .Vfter  obtaining  such 
distinguished  success  at  Milan,  Rossini  revisited 
Pesaro  and  his  family,  to  whom  he  was  warmly  at- 
tached. Tl:e  only  person  with  whom  he  has  been 
known  to  correspond  is  his  mother,  and  his  let- 
ters to  her  are  thus  singularly  addressed  :  "  AW 
Oniatisiiiitn  Si'jnnra  lioiaini,  Miutre  del  celebre 
Maestro,  in  Itologna." 

Such  is  the  character  of  a  man,  who,  half  in 
jest,  half  in  earnest,  scruples  not  to  make  an 
avowal  of  the  glory  that  surrounds  him,  and 
laughs  at  tlie  modest  prudery  of  the  academy. 
Deriving  happiness  trom  the  effects  produced  by 
his  genius  upon  a  people  the  most  sensitive  upon 
earth,  and  intoxicated  with  the  voice  of  praise 
from  his  very  cradle,  he  believes  implicitly  in 
his  own  celebrity,  and  cannot  see  why  a  man, 
gitted  like  Rossini,  should  not  rank  in  the  same 
degree  as  a  general  of  ilivLsion  or  a  minister  of 
stjiie.  They  had  gained  a  grand  prize  in  the 
lottery  of  ambition,  he  had  gained  a  grand  prize 
in  the  lottery  of  nature.  This  is  one  of  Rossini's 
own  phrases.  I  heard  it  trom  liis  own  lips,  says 
one  of  his  biographers,  at  a  party  given  by  Prince 
Ghigi  at  Rome,  in  1819. 

About  the  time  of  his  journey  to  Pesaro,  an 
attention  was  shown  him  a.s  honorable  as  it  was 
rare,  and  which  is  ccjually  creditable  to  the  giver 
and  the  receiver  :  his  genius  proved  the  means  of 
his  exemption  from  the  almost  universal  operation 
of  the  miserable  conscription  laws.  The  minister 
of  the  interior  ventured  to  projjose  to  Prince  Eu- 
gene, the  Viceroy  ot  Italy,  an  exception  in  his  fa- 
vor. ITie  prince  at  lii>t  hesitAted,  through  fear  of  a 
reprimand  Irora  he.id  quarters,  at  Pari>,  the  daily 
advices  from  which  were  most  pressing  and  most 
rigorous  upon  this  ]]oint  ;  but  he  at  length 
yielded  to  the  decided  feelings  of  the  public. 

After  this  narrow  escape  of  being  sent  for  a 
soldier,  Kossini  went  to  Ilologna,  where  the  same 
adventure  awaited  him  as  at  Milan  —  the  enthu- 
siasm of  the  public,  and  the  more  grateful  meed 
of  the  smiles  of  be.iuty. 

The  rigorists  of  Ilologna,  so  celebrated  in  Italy 
for  the  severity  of  their  critical  taste,  and  who 
exercised  the  siuno  dictatorship  over  music  as  the 
members  of  the  French  Academy  did  over  the 
three  unities,  reproached  him,  and  not  without 
reason,  with  having  sometimes  transgressed 
against  the  rules  of  lomposition.  Rossini  did 
not  deny  the  iustice  of  the  charge.  "  I  should 
Dot  have  so  many  laults  to  reproach  myself 
wth,"  was  his  reply,  "if  I  had  leisure  to  read 
my  manuscript  twice  over  ;  but  you  know  very 
well,  that  scarcely  six  weeks  are  allowed  me  to 
tompose  an  opera.  I  take  my  pleasure  during 
104  8 


I  the  first  month  ;  and  pray  when  would  you  have 

me   take  my  i)leasure,  if  not  at  my  present  age, 

and  with  my  present  success  •     Would  you  have 

I  me  wait  till   I  am  grown  old  and  full  of  spleen  ? 

I  At  length  the  two  last  weeks  arrive  :    I  compose 

I  every  morning  n  duo  or  air,  which  is  to  Ik.'  re- 

'  hearsctl  that  very   evening.     How,  then,   would 

you  have  me  detect  little  faults  of  grammar  in  the 

accompaniments  ■  "  [f imtrumenlazi'iiie. ) 

1       Notwithstanding  the  candor  of  this  excuse,  • 

'  great  bustle  was  made  in  the  musical  circles  of 

Ilologna  respecting  those  faults  of  grammar.  This 

is  the  same  comi)laint  that   the   ])etlauts   of  hia 

time  made  against  Voltaire,  whom   they  accused 

of    not    knowing    orthography.       So    much    the 

worse  for  orthography,  was  the  dry  remark  of 

Rivarol. 

.\fter  listening  as  patiently  as  possible  to  the 
declamation  of  these  pedants  against  Rossini  for 
violating  the  rules  of  composition,  a  celebrated 
critic  made  this  reply  :  "  Pray,  who  laid  down 
these  rules  ■  Were  they  made  by  persons  supe- 
rior in  genius  to  the  author  of  ' 'J'aiicndif' 
Does  stupidity  cease  to  be  stupidity  because  sanc- 
tioned by  anticjuity  and  the  usages  of  the  schools  r 
Let  us  examine  these  pretended  rules  a  little  more 
closely  ;  and  pray  what  are  we  to  say  of  rules 
that  can  be  infringed  without  the  public  perceiv- 
ing it,  and  without  our  pleasure  being  in  the 
least  diminished  r " 

M.  Ucrton,  of  the  Institute,  renewed  this  dis- 
pute at  Paris.  The  fact  is,  that  the  fHults  here 
complained  of  are  scarcely  perceptible  while  lis- 
tening to  the  operas  of  Rossini.  It  is  like  ob- 
jecting as  a  crime  to  Voltaire  that  he  does  not 
emi)loy  the  same  phrases  and  terms  of  expression 
as  La  Bruycre  and  Montesquieu.  The  second 
of  these  great  writers  has  this  memorable  sen- 
tence :  "  A  member  of  the  French  Academy 
writes  as  they  write ;  a  man  of  wit  writes  as  h« 
writes." 

Rossini  is  full  of  grammatical  faults :  well,  be 
it  so ;  and  yet  there  is  not  a  village  in  Italy 
which  could  not  furnish  a  dozen  of  these  critics 
upon  notes,  who,  for  a  single  sequin,  would 
undertake  to  correct  the  errors  in  any  one  of 
his  operas. 

After  his  success  at  Bologna,  which  was  consid- 
ered as  the  head  quarters  of  Italian  music,  Ros- 
sini received  offers  from  almost  every  town  in 
Italv.  Every  impresaric  was  required,  as  a  tiut 
qua  noil,  to  furnish  his  theatre  with  an  opera 
from  the  [)en  of  Rossini.  The  consideration  he 
generally  received  for  an  opera  was  a  thousand 
francs,  and  he  generally  wrote  from  four  to  five  in 
a  year. 

From  ISlOto  1816  Rossini  visited  in  succession 
all  the  principal  towns  of  Italy,  remaining  Irom 
three  to  lour  months  in  each.  Wherever  he 
arrived  he  was  received  with  acclamations,  and 
fiUH  by  the  diiettanii  of  the  place.  The  first 
filtccn  or  twenty  days  were  pavsed  with  his 
friends,  dining  out,  and  shrugging  up  his  shoul- 
ders at  the  nonsense  of  the  librelio  which  was 
given  him  to  set  to  music.  For,  besides  the  tire 
of  his  own  natural  genius,  Rossini  was  inspired 
with  a  good  taste  by  his  first  admirer,  the  Coun- 
tess P ,  of  Pesaro.    She  had  read  with  him 

the  works  of  .\rinsto  and  Metastasio,  us  well  as 
the  comedies  of  Machiavcl,  the  "  Fiihe"  of  Uozxi. 
and  the  ]>ocms  of  liurati ;  he  wa<,  therefore,  tulljr 
competent  to  judge  of  the  worthleunoas  ol  theM 


AOS 


ENCYCLOPEDIA    OF    MUSIC. 


ROS 


libretti.  "  Tu  mi  fiai  tlalo  versi,  ma  non  ailuazio- 
ui,"  he  has  been  heard  frequently  to  repeat  to  an 
unhnii])y  votary  of  tlie  nine,  who  staraiuered  out 
a  tliou>and  excuses,  and  two  hours  after  came  to 
8alutc  him  in  a  sonnet,  '*  timiliato  alia  gloria  del 
pill  yi-iin  maestro  d' Italia  e  del  mondo." 

Alter  two  or  three  weeks  spent  in  this  dissi- 
pated niiinner,  Ilossini  begins  to  refuse  invitations 
to  diiinrrs  and  musical  aoiries,  and  falls  to  work 
in  good  earnest.  He  occupies  himself  in  study- 
ing the  voices  of  the  performers  ;  he  makes  them 
Biujj  at.  the  piano  ;  and  on  more  than  one  occa- 
sion lie  has  been  driven  to  the  mortifyin<5  necps- 
eity  of  mutilating,  and  "curtailing  of  their  fair 
proportions,"  some  of  his  most  brilliant  and  hap- 
py ideas,  because  the  tenor  could  not  reach  the 
note  which  was  necessary  to  express  the  com- 
poser's feeling,  or  because  the  prima  donna  always 
sang  false  in  some  particular  tone.  Sometimes, 
in  a  vhole  company,  he  could  find  no  one  but  a 
bass  ^ho  could  sing  at  all.  At  length,  about 
thiet  weeks  before  the  first  rejiresentation,  hav- 
ing ac<iuired  a  competent  knowledge  of  the  voices, 
he  begins  to  write.  He  rises  late,  and  passes  the 
day  in  composing,  in  the  midst  of  the  conver- 
sation of  his  new  friends  ;  who,  with  the  most 
provoking  politeness,  will  not  quit  him  for  a  sin- 
gle instant.  The  day  of  the  first  representation 
is  now  rapidly  approaching,  and  yet  he  cannot 
resist  the  ])ressing  solicitations  of  these  friends  to 
dine  with  them  a  I'  Ostcria.  This  of  course  leads 
to  a  supper :  the  sparkling  champagne  circulates 
freely  ;  the  hours  of  morning  steal  on  apace.  At 
length  a  compunctious  visiting  shoots  across  the 
mind  of  the  truant  maestro ;  he  rises  abruptly ; 
his  friends  will  see  him  to  his  own  door :  they 
parade  the  silent  streets  unbonneted,  shouting 
some  musical  impromptu,  perhaps  a  portion  of  a 
Miserere,  to  the  great  scandal  and  annoyance  of 
the  good  Catholics  in  their  beds.  At  length  he 
reaches  his  house,  and  shuts  himself  up  in  his 
chamber;  and  it  is  at  this,  to  every-day  mortals, 
most  ungenial  hour,  that  he  is  visited  by  some 
of  the  most  brilliant  of  his  inspirations.  These 
he  hastily  scratches  down  upon  odds  and  ends 
of  pa])er,  and  next  morning  arranges  them, 
amidst  the  same  interrui)tions  of  conversation  as 
before.  Figure  to  yourself  a  quick  and  ardent 
mind,  susceptible  of  every  impression,  and  capa- 
ble of  turning  to  advantage  the  most  trifling  oc- 
currence of  passing  observation.  When  compos- 
ing his  "  Most,"  some  one  said  to  him,  "  What, 
you  are  going  to  make  the  Hebrew  sing !  do  you 
mean  to  make  them  twang  it  as  tl»ey  do  in  the 
synagogue  r  "  The  idea  struck  him  at  once, 
and  he  sketched  out  on  the  spot  a  rough  draught 
of  the  magnificent  chorus  so  much  admired  in 
this  opera,  and  which  is  observed  to  begin  with  a 
kind  of  r.asal  twang  jjcculiar  to  the  syiuigogue. 

But  let  us  return  to  our  little  Italian  town, 
which  w>  loft  in  the  anxiety,  or  rather  in  the 
agitation,  that  jjrecedos  the  day  of  the  first  rep- 
resentation of  an  opera.  At  length  the  most 
impoitant  of  evenings  arrives.  The  maestro  takes 
his  place  at  the  piano  ;  the  theatre  overflows  ; 
people  have  Hocked  from  ten  leagues'  distance. 
The  curious  form  an  encampment  around  the 
theatre  in  their  calashes  ;  all  tlie  iims  are  filled 
to  excess,  where  insolence  reigns  at  its  height. 
All  occupations  have  ceased  ;  at  the  moment  of 
the  performance,  the  town  has  tlio  aspect  of  a 
Uesert.     All  the  jmssious,  all  the  solicitudes,  all 


the  life  of  a  whole  population,  is  concentrated 
in  the  theatre. 

The  overture  commences  ;  so  intense  Ls  the  at- 
tention that  the  buzzing  of  a  fly  could  be  heard 
On  its  conclusion  the  most  tremendous  uproa 
ensues.  It  is  either  ap])lauded  to  the  clouds,  oi 
hissed,  or  rather  howled  at,  without  mercy.  It 
is  not  in  Italy  as  in  other  countries,  where  the 
first  representation  is  seldom  decisive,  and  where 
either  vanity  or  timidity  prevents  each  man  from 
intruding  his  individual  opinion,  lest  it  should 
be  found  in  discordance  with  the  opinions  of  the 
majority.  In  an  Italian  theatre,  they  shout,  they 
scream,  they  stamp,  they  belabor  the  backs  of 
the  seats  with  their  canes,  with  all  the  violence 
of  persons  possessed.  It  is  thus  that  they  force 
upon  others  the  judgment  which  they  have 
fonned,  and  strive  to  prove  that  it  is  the  only 
sound  one ;  for,  strange  to  say,  there  is  no  intol- 
erance equal  to  that  of  the  eminently  sensitive. 
When  you  see  a  man  moderate  and  reasonable 
in  what  regards  the  arts,  begin  to  talk  to  him  of 
history,  politics,  or  political  economy ;  such  a 
man  will  make  a  distinguished  magistrate,  a  good 
physician,  a  sound  lawyer,  an  excellent  academi- 
cian, in  a  word,  whatever  you  will,  except  an 
enthusiast  in  miLsic  or  painting. 

At  the  close  of  each  air  the  same  terrific  up- 
roar ensues  :  the  bellowings  of  an  angry  sea  could 
give  but  a  faint  idea  of  its  fury. 

Such,  at  the  time,  is  the  ta.ste  of  an  Italian 
audience,  that  they  at  once  distinguish  whether 
the  merit  of  an  air  belongs  to  the  singer  or  the 
composer.  The  crj*  is  Brato  David !  Draro 
Pisaroni .'  or  the  whole  theatre  resounds  with 
liravo  maestro !  Ilossini  then  riocs  from  his 
place  at  the  piano,  his  countenance  wearing  an 
air  of  gravity  —  a  thing  very  unusual  with  him  ; 
he  makes  three  obeisances,  whicli  are  followed 
by  salvos  of  applause,  mingled  with  a  variety  of 
short  and  panegyrical  phrases.  This  dorie,  they 
proceed  to  the  next  piece. 

Rossini  presides  at  ttie  piano  during  the  three 
first  representations,  after  which  he  receives  his 
eight  hundred  or  a  thou-and  francs,  is  invited  to 
a  grand  parting  dinner,  given  by  his  friends,  that 
is  to  say,  by  the  whole  town,  and  he  then  starts 
in  his  ceturino  with  his  portmanteau  much  fuller 
of  music  paper  than  of  other  efl'ects,  to  com- 
mence a  similar  course,  in  some  other  town  forty 
miles  distant.  It  is  usual  with  him  to  write  to 
his  mother  after  the  first  three  representations, 
and  send  her  and  his  aged  father  two  thirds  of 
the  little  sum  he  has  received.  He  sets  ott"  with 
ten  or  twelve  sequins  in  his  pocket,  the  happiest 
of  men,  and  doubly  happy  if  chance  should 
throw  some  fellow-traveller  in  his  way,  whom  he 
can  quiz  in  good  earnest.  On  one  occasion,  as 
he  was  travelling,  i'»i  vetarino,  from  Ar.cona  to 
Keggio,  he  passed  himself  ott"  for  a  master  of 
music,  a  mortal  enemy  of  Rossini,  and  filled  up 
the  time  by  singing  the  most  execrable  music 
imaginable,  to  some  of  the  words  of  his  own  best 
airs,  to  show  his  superioritv  to  thai  animal  Rossi- 
ni, whom  ignorant  pretenders  to  taste  had  the 
folly  to  extol  to  the  skies. 

After  terminating  his  engagements  at  Bologna, 
liossini  accepted  an  off'cr  made  him  at  Milan, 
whither  he  repaired  in  the  spring  of  18  U.  It 
was  for  the  Scala  that  he  composed  "  Aureliatio 
in  Palmira."  h\  spite  of  many  beauties,' and 
particularly  the  duet  "  Se  tu  m'  ami,  O  tnia  regi- 
826 


R«    3 


ENCYCLOPAEDIA    OF   MUSIC. 


nua 


tin,  which  some  critics  have  considered  as  the 
mo*,  beautiful  thing  of  the  kind  that  has  pro- 
ceeded from  our  composer's  pen,  it  proved  un- 
successful. It  was  Rossini's  first  failure :  it 
annoyed  him  not  a  little,  and  he  at  once  deter- 
mined on  chanj^in^  his  style. 

Unsuccessful  in  "  Aurcliano  in  Puhntra,"  which 
Rossini  had  composed  for  the  carnival  season,  ho 
made  nnotl'.er  effort  in  the  autumn  of  the  same 
year,  (1811,)  and  produced  the  "  Turco  in  Iltiliti," 
which  was  considered  as  a  kind  of  se<juel  to  tiie 
"  Ilaliana  in  A/yeri."  Incessant  cries  resounded 
of  liraro  Oalli  I  (the  celebrated  ba>8  sin^;er,)  but 
not  a  single  lirmo  maisiro !  for,  as  we  have  be- 
f  re  observed,  on  the  first  representations  of  an 
opera,  the  applauses  bestowed  on  the  singers  and 
the  master  are  things  perfectly  distinct.  Trifling 
as  this  circumstance  may  appear,  it  had  a  deiiilcd 
influence  upon  the  fate  of  the  opera;  for,  al- 
though some  of  tlic  iiieces,  particularly  the 
piiiuant  duet,  "  /"  un  M  iiso  di  Turc/iia,"  and 
the  celebrated  ([uintetto,  "  Oh  .'  (juurdnlcchc  ani- 
dente,"  met  with  much  ap|)lause,  yet  the  opera, 
upon  the  whole,  was  coolly  received.  The  na- 
tional pride  was  wounded.  They  declared  that 
l{o<sini  had  copied  himself.  He  might  take  this 
liberty  with  little  towns  ;  but  for  the  Scala,  the 
first  theatre  in  the  world  !  rei)eatod  the  Milan- 
ese, with  I'eculiar  emi)hasis,  he  must  take  pains 
to  pn'x'P  something  new.  That  the  fate  of 
this  i>,  c.i  .MIS  determined  by  some  local  circum- 
stances, is  evident  from  the  fact,  that,  four  years 
after,  the  "  Turco  in  Italia  "  was  reproduced  in 
Milan,  and  received  with  the  greatest  enthu- 
siasm. 

The  glory  of  Rossini  had  now  reached  Na- 
ples, where  tlie  astonishment  was  that  there 
could  be  any  great  composer  who  was  not  a 
Neapolitan.  The  director  of  the  theatre  at  Na- 
ples was  a  M.  Barbaja,  formerly  of  Milan,  who, 
from  being  a  waiter  at  a  coffee  hou.se.  had,  by 
good  luck  at  play,  and,  above  all,  by  the  lucra- 
tive situation  of  manager  of  a  faro  bank,  acquired 
a  fortune  of  several  millions  of  francs.  Trained 
up  to  business  at  Milan,  in  the  midst  of  French 
/ournissetirs,  who,  in  army  contracts,  made  and 
dissipated  a  fortune  every  six  months,  he  could 
not  fail  of  acquiring  a  certain  tact,  which  was 
afterwards  very  useful  to  him.  He  had  sufh- 
cicnt  address  to  ingratiate  himself  into  regal 
f.ivor,  and  to  obtain  the  post  of  director  of  the 
Theatre  San  Carlo,  as  well  as  that  of  Del  Fondo. 
He  had  sufhcient  foresight  to  see  that,  from  the 
manner  the  reputation  of  Rossini  was  gaining 
ground  in  the  world,  this  young  composer,  good 
or  bad,  right  or  wrong,  would  become  the  popu- 
lar compo^er  of  the  day.  He  therefore  set  off 
post,  to  go  and  find  him  out  at  Bologna.  Ros- 
sini, accustomed  to  have  to  deal  with  poor  devils 
of  impresari,  who  were  ever  on  the  verge  of 
bankruptcy,  was  astoni.shed  at  a  visit  from  a  mil- 
tionnaire,  who  would  probably  find  it  unworthy 
his  dignity  to  haggle  about  a  few  dozen  sequins. 
An  engagement  was  offered  and  accepted  on  the 
spot.  Afterwards,  on  his  arrival  at  Naples,  Ros- 
sini signed  a  .irrillura  for  several  years.  He  en- 
gaged to  compose  two  new  operas  every  year ; 
and  was  moreover  to  arrange  the  music  of  all 
the  operas  M.  Barbaja  should  think  proper  to 
produce  either  at  San  Carlo,  or  the  secondary 
theatre  Del  Fondo.  In  consideration  of  this,  he 
was  to  receive  twelve   thou-aud  francs  per   an- 


num, as  well  as  an  interest  n  a  bank  for  play, 
which  was  farmed  out  by  M.  Barbaja,  and  whicb 
brought  in  the  composer  some  thirty  or  forty 
louis  more  yearly. 

The  musical  direction  of  these  two  theatres, 
which  Rossini  had  undertaken  without  giving  it 
a  moment's  reflection,  was  an  immense  ta»k,  a 
herculean  labor  :  incfedible  was  the  (|uantity  of 
music  he  was  obligeil  to  transpo.sc  and  arrange, 
according  to  the  comj>asrt  of  the  voices  of  tlie 
different  donnas,  or  according  to  the  interest  or 
caprice  of  their  various  patrons  and  ])roIcctors. 
This  would  have  been  sutlicient  to  overwhelm  a 
man  of  tender  nerves  or  sombre  habits.  Mo- 
zart would  have  sunk  under  it.  The  gay  and 
daring  cluiractcr  of  Rossini  brought  him  through 
every  obstacle,  every  snare  tiiat  the  envious  laid 
to  entnip  him.  All  he  saw  in  an  enemy  was  a 
butt  for  satire  and  ridicule,  in  which  ho  was  a 
most  perfect  adept. 

liossini  entered  with  a  light  heart  upon  the 
heavy  duties  that  had  devolved  upon  him,  and 
like  ^'iV/az-o  of  liis  own  "  Barbierc,"  undertook  a 
thousand  commissions  that  jjoured  in  upon  him 
from  every  side.  He  got  through  them  all  with 
a  smile,  and  a  ready  joke  upon  all  who  came  in 
his  way.  This  drew  down  ui)on  him  a  host  of 
enemies ;  the  most  sworn  among  whom,  in  latter 
years,  has  been  M.  Barbaja  himself,  whom  he 
treated  so  unceremoniously  as  to  marry  his  mis- 
tress. His  engagement  at  Naples  did  not  con- 
clude till  18'i2,  and  had  a  most  decided  influ- 
ence upon  his  talents,  his  happiness,  and  tlie 
economy  of  his  whole  life. 

Always  happy,  Rossini,  towards  the  close  of 
181.5,  made  his  tiibut  at  Naples  in  the  most  bril- 
liant manner,  with  the  serious  opera  of  "  EiUa- 
betta  lie/ina  d' Ingtetcra." 

After  the  flattering  reception  which  his  "  Elisa- 
betta  "  exi)crienced  at  Naples,  Rossini  was  called 
to  Rome  for  the  carnival  of  18 IG,  where  he  com- 
posed his  semi-serious  opera,  "  TorvaUlo  e  U.irlii- 
ka,"  for  the  Theatre  Valle,  and  his  chef-d'ooavre, 
the  "  Barhiere  di  Scvii/lin." 

The  first  of  these  operas  was  considered  as  very 
mediocre,  and  quickly  consigned  to  the  tomb  of 
the  Capulcts.  Elevated  by  the  success  he  had 
attained  at  Rome,  Ros.sini  returned  to  Naples  in 
the  spring  of  1816,  and  recommenced  his  labors 
with  fresh  spirit. 

The  next  subject  proposed  to  Rossini  was 
"  OtcUo  i  "  but  he  had  the  good  taste  to  ol)ject 
to  the  Italian  imitation,  or  rather  caricature,  of 
Shakspeare.  Tlie  author,  the  Marquis  di  Berio, 
was  a  man  of  consideration  in  Naples,  and  his 
libretto  was  at  last  adopted. 

The  great  merit  of  this  opera,  Rosoini's  chef- 
(Tccuvrc  in  the  forcible  style,  is,  that  it  is  full  of 
fire  :  It  is  a  perfect  volcano,  said  the  critics  of 
San  Carlo.  Yet  it  must  be  observed  tlnit  thia 
force  is  always  the  same ;  there  are  no  shades ; 
we  never  pass 

**  Froro  grart  to  ^j,  fVom  Urrljr  to  MTtr*.** 

The  trombones  are  always  in  our  oars.  Thin 
violence,  which  those  but  little  ci'fo'l  in  the  arts 
are  apt  to  mistake  for  the  sul)lime,  is  doublv 
monotonous  by  the  almo.st  total  absi-ncc  of 
simple  recitative,  lliose  of  the  •'  O.v.ii  "  art 
nciirly  all  of  the  accompanied  kind :  this  U  a  re- 
source which  the  composer  ought  prudently  to 
economize ;  when  ho  laviithes  it  upon  every  occm* 


827 


ROS 


ENCYCLOPEDIA    OF    MUSIC. 


ROS 


eioii,  what  is  he  to  do  in  movements  where  all  i  raida  ;  "  the  princijial  characters  of  which  were 
tlie  powers  of  his  art  arc  necessary  to  be  brought    sustained  by  Signora  Colbran,  Nozzari,  Davide, 


into  action  ? 

lios.sini  returned  to  Rome  for  the  carnival 
Reason,  which  commences  the  'iOth  of  December, 
and  lasts  till  about  the  middle  of  February  fol- 
lowing, where  he  composed  "  lyi  Ccnerentola," 
for  the  Theatre  Valle.  The  music  of  this  opera 
is  altogether  Hossinian.     Neitlicr  PaisicUo,  Cim- 


Benedetti,  and  Signora  Pisaroni. 

This,  like  several  of  this  com[)oscr's  operas,  has 
no  overture.  Rossini  had  often  tried  to  convince 
the  manasers  and  hLs  friends,  by  a  number  of 
very  sjjecious  arguments,  that  overtures  are  not 
only  unnecessary,  but  very  absurd  things  ;  but 
we  believe  the  true  secret  is,  that  Rossini  did 


arosu,  nor  (iuglielrai,  ever  indulged  in  the  excess     not  like  the  labor  of  composing  them,  and  that 


of  le\-ity  that  marked  such  airs  as  "  i'lta  voUa, 
e  due,  e  Ire  !  "  This,  and  many  others  like  it, 
absolutely  border  upon  the  trivial. 

Tills  opera  met  with  considerable  success  at 
Rome,  and  has  since  become  a  favorite  in  most 
of  the  oapitiils  of  Europe. 

At  tl  e  conclusion  of  the  carnival,  Rossini  pro- 
ceeded to  Milan,  where,  in  the  spring  season  of 
1817,  he  composed  the  celebrated  "  Gazza  Latlra." 

The  public  of  Milan  had  taken  a  pique  at  Ros- 
sini's quilting  them  for  Xaples ;  hence,  on  the 
first  evening  of  its  representation,  the  crowd 
flocked  to  the  Scala  with  a  full  determination  of 
hissing  the  author  of  "  II  liarbii-re,''  "  ElisabMa," 
and  "  Otello."  Rossini  was  aware  of  this  dispo- 
sition on  the  part  of  the  Milanese,  and  took  his 
seat  at  the  piano  in  by  no  means  the  best  of 
spirits. 

But  he  was  most  agreeably  disappointed. 
Never  was  a  piece  received  with  such  enthusi- 
asm ;  furore  would  be  the  energetic  term  an  Ital- 
ian would  _emi)loy.  At  every  instant  the  pit 
arose  en  masse,  to  hail  Rossini  with  acclamations. 
At  the  close  of  the  performance,  the  composer 


his  reasonings  served  only  as  a  pretext  for  his 
natural  indolence. 

On  the  20th  of  February,  1819,  he  brought 
out  a  cantata  written  in  honor  of  his  majesty  the 
King  of  Naples,  and  sung  by  Signora  Colbran,  at 
the  Theatre  San  Carlo.  It  was  full  of  grace  and 
expression,  and  the  simple  and  appropriate  ac- 
companiment was  much  admired. 

During  the  Lent  of  the  same  year,  he  produced 
his  serious  opera  of  "  Ermione."  It  was  so  cold- 
ly received  as  to  amount  almost  to  a  failure; 
only  a  very  few  parts  of  it  were  applauded. 

On  the  9th  of  May  following,  he  produced  a 
cantata,  which  was  composed  on  occa.sion  of  a 
visit  made  by  his  majesty  Francis  I.,  of  Austria, 
to  the  Theatre  .San  Carlo.  It  was  sung  by  Col- 
bran, Davide,  and  Rubini,  and  honored  by  the 
gracious  notice  of  the  sovereign. 

Rossini  was  very  active  this  year,  1819.  Be- 
sides the  works  above  mentioned,  he  also  com- 
])Osed  an  opera,  entitled  "  Odoardo  c  C'riitiiia," 
which  was  performed  in  the  spring,  at  the  Thea- 
tre San  Benedetto  at  Venice.  This  opera  intro- 
duced to  the  public  Carolina  Cortesi,  one  of  the 


was  heard  to  declare,  in  the  Cafi  d<M'  Aceidemia,     prettiest  actresses   that  had  appeared  upon  the 
that  independent  of  the  exertions  of  the  evening,     stage  for  some  years. 

he  was  overcome  with  fatigue  at  the  innumera-  '  On  the  4th  of  October,  1819,  Rossini  pro- 
ble  obeisances  he  was  called  on  to  make  to  the  duced  the  "  Donna  del  Lajo,"  which  was  sung  at 
public,  who  were  every  moment  inteiTupting  the  the  Theatre  San  Carlo  by  Signora  Pisaroni,  (one 
performance  with  liravo  maestro!  Viva  Rossini!  of  the  least  handsome  figures  that  could  be  im- 
Crowned  with  fresh  laurels,  Rossini  returned  agined.)  Signora  Colbran,  Nozzari,  Davide,  and 
to  XmjIcs  in  the  autumn  of  1817,  and  immedi-  Benedetti.  It  may  be  said  that,  after  the  "  i7/^o- 
ately  ^iwe  his  "  Armida"  On  the  day  of  its  betta,"  Rossini  succeeded  only  by  the  force  of 
first  representation,  the  public  visited  him  with  ,  his  genius.  His  principal  merit  lay  in  his  style, 
the  sins  of  Signora  Colbran's  voice.  Besides,  which  was  altogether  difl'erent  from  that  of 
they  were  piqued  at  the  extraordinary  success  his  contemporaries,  and  in  the  wide  range  of 
of  the  "  Gazza   Ladra"  at  Milan,  and  could  not  '  his  ideas,  which  possessed  a  character  entirely 


understand  why  Rossini  should  produce  any 
tiling  inferior  for  themselves.  There  is  nothing 
so  dangerous  to  disappoint  a  public  in  as  in  the 
e.xpectation  of  their  pleasure.  "Armida"  was 
very  coldly  received,  in  spite  of  its  magnificent 
duet  "  Ainore  possente  nume ;  "  perhaps  the  most 
celebrated  that  ever  proceeded  from  this  com- 
poser's ]>en. 

Of  the  opera  "  Adelaide  de  Borgognn,"  which 
was  brought  out  at  Rome  in  the  carnival  of  the 
«ame  year,  but  little  is  knomi  except  the  air, 
"  O  crude  stelle!"  which  is  often  performed  and 
heard  with  delight. 

Of  the  opera  "  Adina,  osxia  il  Calijfo  di  Bag- 
dad," the  only  particulars  we  are  able  to  collect 
are,  that  it  was  written  for  the  opera  at  Lisbon, 
and  performed  there  in  1818,  at  the  Theatre  Sau 
Carlo  in  that  city. 

"  Mini  in  Iv/ii/o  "  was  produced  at  Naples  the 
<!ame  year,  in  the  Theatre  San  Carlo,  and  per- 
formed, in  the  first  instance,  as  a  kind  of  orato- 
rio during  the  Lent  season 


new  to  the  public.  He  enlivened  the  tedi 
ousness  of  the  opera  seria,  and  imparted  to  it  a 
life  and  animation  to  which  it  had  before  been  a 
stranger.  But  then  the  public  could  not  sepa- 
rate Rossini  from  the  general  discontent  that  was 
felt  against  M.  Barbaja  and  the  Signora  Colbran. 
Impatience  at  last  rose  to  its  height,  and  made 
itself  heard  in  a  manner  that  could  not  be  mis- 
understood. Rossini  has  been  known  to  become 
quite  ill  from  the  hisses  that  resounded  from 
this  vast  interior.  This,  in  a  man  of  his  natural 
indiff'erence,  and  who  feels  a  perfect  confidence 
in  his  merits,  speaks  volumes.  It  took  place 
at  the  first  representation  of  the  "  Donna  dci 
Logo." 

'rhis  first  representation  took  i)lace  on  a  gala 
day ;  the  theatre  was  Uluminafed,  and  the  court 
was  not  present  to  place  any  restraint  on  the  up- 
roarious spirit  of  the  audience.  Nothing  could 
equal  the  extreme  hilarity  of  a  number  of  young 


officers,  who    filled,  per  privilcgin,  the   first  five 
The  success  of  this     rows  of  the  pit,  and  who   had   drunk  deeply  to 
opera  wa.~(  immense.  the  health  of  their  king,  as  all  good  and  loya 

In  the  autumn  of  1818,  Rossini  produced,  at    subjects  should  do.     One  of  thesti  gentry,  at  the 
San  Carlo,  his  serious  opera  of  "  liicciardo  »  Zo-     first  sound  of  the  trumpets,  began  to  imitate  with 

828 


ROS 


ENCYCLOPEDIA    OF   MUSIC. 


ROS 


his  cane  the  noise  of  a  horse  in  full  gallop.  The 
public  were  struck  with  the  fucctiousncsH  of  the 
Idea,  and  in  an  instant  the  pit  is  full  of  five  hun- 
dred imitators,  who  join  in  this  novel  accompani- 
ment. The  ears  of  the  poor  mue^trn  found  neitlier 
novelty  nor  pleasure  in  such  an  addition  to  his 
music  ;  it  was  but  too  ominous  of  the  issue  that 
liwaitcd  his  opera,  and  he  sat  upon  thorns  in  ex- 
pectation of  tlie  fate  that  was  prepared  for  him. 

The  same  \\\^\\t  he  had  to  set  off  i)o^t  for  Milan 
t>'  fullil  an  en^jaj^cmcnt  wliicli  had  for  sometime 
b.x>n  contracted  there.  On  the  following  day 
the  public  at  Naples  wore  too  candid  not  to  ac- 
knowledi,'e  the  act  of  inju-itice  into  which  they 
had  boon  betrayed ;  and  accordingly  tlie  ne.\t 
evening  the  opera  was  hailed  with  all  the  ap- 
l)lau.-.e  which  it  so  justly  merits.  The  trumpet 
accompaniment  was  softened  down  by  diminish- 
\\\'^  the  number  of  instruments,  which  on  the 
first  evening  was  really  dcalening. 

l{ossini  has  devoted  but  little  attention  to 
Bacred  music  ;  however,  thi-;  year  we  Hnd  him 
composing  a  grand  mass  at  Naples.  It  took  him 
three  or  lour  days  to  give  the  character  of  church 
music  to  some  of  his  most  beautiful  motites.  The 
Neapolitans  found  it  a  delicious  treat ;  they  saw 
pass  successively  before  their  eyes,  and  under  a 
little  different  form,  all  the  sublime  airs  of  their 
favorite  composer.  One  of  the  priests  exdaimpd, 
in  a  serious  tone,  "  Rossini,  if  thou  dost  but 
knock  at  the  gate  of  Paradise  with  this  ma.s.s,  in 
spite  of  all  thy  sins,  St.  Peter  will  not  have  the 
heart  to  refuse  thee  an  rntrance."  This  phrase 
is  delicious  in  the  Neapolitan  dialect  on  account 
of  its  grotesque  energy. 

We  saw  Uo.ssini  (piit  Naples  on  the  night  of 
the  Uh  of  October  amidst  a  storm  of  hisses  ;  on 
the  '.'ilth  of  December  following  wo  find  him 
bringing  out  his  "  liianca  e  Falirro,"  in  the  Scala 
at  Milan.  The  music  was  full  of  rcminLscences, 
and  its  reception  was  so  cold  as  to  amount  to  lit- 
tle short  of  a  tailurc. 

In  the  carnival  of  1821  Rossini  gave  his  "  Ma- 
tilda  ill  Siibriin  "  at  the  Theatre  d'.Vpollone,  at 
Rome,  which  was  built  by  the  French,  and  Ls  the 
only  tolerable  theatre  in  this  city.  This  opera 
introduced  to  the  public  the  pretty  and  favorite 
singer,  Catharina  Lijiparini.  The  opinion  of  the 
public  was,  that  the  libretto  was  execrable,  but  the 
music  charming. 

In  the  spring  of  1822  Rossini  returned  to 
Naples,  and  brought  out  his  "  Zflmira."  which 
was  sung  at  Son  Carlo,  by  Signora  Colbran,  Noz- 
r.ari,  Davide,  Ambrogi,  Benedetto,  and  Signora 
Cccconi. 

Rossini  also  composed  a  pastorale  for  four 
voices,  entitled  "  La  liiconoxcenza,"  which  was 
performed  at  San  Carlo,  on  the  27th  of  Hecem- 
biT,  lor  his  own  benetit.  It  was  sung  by  the 
Signoras  DardanclU  and  Cornelli,  with  Rubini 
and  Hencdetti.  Ros-.ini  quitted  Naples  the  fol- 
lowing morning,  and  departed  for  IJologna.  On 
the  l.ith  of  March  following  he  wa.s  married  to 
Signoni  Colbran.  The  ceremony  took  place  at 
Castcnaso,  near  Bologna,  where  the  lady  has  a 
country  seat.  Meanwhile  Davide,  Nozzari,  and 
Ambrogi  arrived  from  Naples,  and  a  few  days 
after  they  all  started  together  to  Vienna,  where 
Kossiui  had  accepted  an  engagement,  and  where 
he  was  to  make  his  drbnt  with  "  jiclmira." 

On  the  30th  of  March  Rossini  made  his  rUbut 
at    Vienna    with    the     opera    of   "  Cenerentola," 


"  Zelmira  "  had  been  promised,  but  as  the  forraei 
opera  had  already  been  adapted  to  (Jerman  words, 
and  performed  at  Vienna  under  the  title  of  "  Hie 
AxcheitbrOittt,"  Rossini  wished  to  pay  a  compli- 
ment to  the  (lenuan  taste,  and  e.xpressetl  a  wish 
that  this  o|)era  should  take  the  precedence,  and 
be  given  by  tlie  (ierman  company.  At  the  re- 
hearsal he  desired  the  music  to  be  performed  in 
a  quicker  time  than  had  usually  been  done ; 
which,  however,  did  not  very  well  accord  with 
the  i>onderou8  nature  of  the  (ierman  language. 
When  this  iiuonvcnicnce  was  pointed  out  to  him 
he  replied,  with  the  frankness  and  naWiti  j>e- 
culiar  to  him,  that  "the  words  with  hjm  were 
quite  a  secondary  consideration  ;  that  the  music 
and  effect  were  every  thing."  Who  durst  contr.i- 
dict  him  ■ 

At  length  his  promised  "  Zelmira"  wvif.  pro- 
duce<l.  He  attended  to  all  the  arrangcment.s  of 
the  opera,  but  declined  presiding  at  the  piano, 
excusing  himself,  with  a  well-turned  comjiliment 
to  the  orcliestra,  by  expressing  his  contidence 
that  his  music  was  perfectly  sale  in  their  hands, 
and  did  not  reiiuire  his  interference.  Nothing 
could  exceed  the  enthusiasm  with  which  this 
opera  was  reccive<l.  Not  only  the  master,  but 
al.so  the  singers,  were  called  for,  at  the  close  of 
the  piece,  to  receive  the  congratulations  of  the 
audience. 

The  next  opera  that  followed  was  "  Iai  (la::a 
iMdra,"  the  favorite  overture  to  which  was  greet- 
ed with  tumultuous  applause,  and,  what  was 
altogether  new  in  the  annals  of  theatrical  usages, 
the  maestro  was  called  for  at  its  conclusion  ;  nor 
was  the  opera  allowed  to  proceeil  till  he  had 
made  his  appearance.  The  fact  Ls,  that  on  the 
first  reiircsentation  of  this  opera  in  Vienna,  in 
1810,  this  overture  had  been  tlie  cause  of  a  mu- 
sical war,  in  which  numerous  dissertations  were 
printed  on  both  sides.  The  "  Gazza  Latira  "  was 
followed  by  "  Corradiuo,"  "  FJi:abetta,"  and  "  Itic- 
citirdo;"  but  "Zelmira"  remained  the  favorite 
opera,  and  held  its  course  triumphantly  through 
the  whole  season. 

We  now  come  to  o  period  in  which  we  find 
insurrection  in  the  pit,  redoubled  intrigue  behind 
the  scenes,  tumult,  scandal,  a  war  of  pamphlet*, 
and  diplomacy  itself  called  in  to  the  aid  of  mu.sic. 
liossini  had  entered  into  a  contract  with  tlie  im- 
prcasario  of  the  Fenice  Theatre  in  Venice.  SLx 
thousand  francs  were  insuretl  to  Signor  Rossini, 
and  four  thou.-and  to  Madame  Colbran  Rossini, 
upon  condition  that  he  should  bring  out  two 
operas  during  the  carnival,  one  old  and  one  new, 
and  Madame  was  to  perform  in  both.  All  Ven- 
ice had  been  waiting  for  these  opents  with  the 
utmost  an.xicty.  "  Zelmira,"  performed  at  Na- 
ples, had  long  liecn  promised,  and  the  company 
at  the  Fenice  was  already  occupied  in  rehearsing 
it,  when  the  rival  theatre  of  San  Benedetto  an- 
nounced the  representation  of  tlie  same  i)iccc. 

The  two  theatres  immediately  contested  the 
right  to  this  opera,  and  the  disputes  grew  so  high 
that  the  goveniinent  interfered.  A  stormy  con- 
test ensue<l,  at  the  ;lose  of  which  it  was  decide  I 
that  San  Benedetto  had  the  legitimate  right  to 
"  Zelmira  ; "  and  it  was  representixl  at  this  the- 
atre, to  the  great  detriment  of  the  Fenice,  which 
had  been  at  considerable  expense,  and  after  all 
found  its  hopes  frustrated. 

Rossini  was  not  allowed  to  remain  neutrml 
during  this  scene.     He  was  aaiailed  by  tlie  angr^ 


829 


II  OS 


ENJYCLOPuEDlA    OF   MUSIC. 


KOS 


manager ;  aiid,  to  remedy  an  evil,  which  it  seemed 
impossible  not  to  impute,  in  some  deforce,  to  him, 
Jc  proposed  the  representation  of  "  M^iometto," 
wliich  we  have  seen  condemned  at  Naples,  hut 
whose  fame  he  promised  to  re "stablish  by  rccora- 
posins  the  whole  second  act.  This  promise  f;iven, 
he  departed  for  Verona,  remained  there  a  con- 
siderable time,  spent  his  leisure  very  agree- 
ably amon<;  his  friends  and  admirers,  and  wrote 
a  cantata  in  honor  of  the  Emperor  of  Austria, 
which  was  performed  during  the  congress;  but 
not  a  note  did  he  rewrite  of  the  promised  second 
act  The  manager's  indignation  knew  no  bounds ; 
tlie  puldic,  fearful  of  being  disappointed  of  their 
ph'asures,  began  to  take  an  active  part  in  the 
Vusiness;  and  the  report  was  spread  that  Signora 
'  olbran  had  lost  her  voice.  Things  did  not  wear 
a  bett<  r  aspect  in  the  inside  of  the  theatre  ;  the 
lencarsnls  became  scenes  of  discord.  One  day 
(Jalli.  the  celebrated  bass,  took  an  affront,  and 
set  off  in  the  middle  of  the  second  act.  Kossini, 
in  disgust,  broke  up  the  meeting  and  withdrew. 
The  manager  appealed  to  the  public  authorities, 
and  Rossini  was  ]>laced  under  arrest. 

Under  all  these  terrible  auspices  the  fatal  day 
approached.  An  irritated  public  filled  the  theatre 
at  an  early  hour ;  cries  resounded  from  every  side 
that  the  manager  had  reproduced  an  old,  con- 
demned opera,  and  that  Rossini  had  neglected  to 
fulfil  his  engagements.  The  overture  was  hissed, 
the  ilrst  scene  hooted,  and  the  second  drowned 
by  the  impromptu  accompaniment  of  the  pit, 
whose  discords,  if  we  may  be  pardoned  a  mu- 
sical phra.sc,  no  art  could  resolve.  Silence  could 
only  be  obtainel  when  clamor  and  fury  had 
howled  themse'ivcH  to  rest,  and  were  tired  out  by 
their  e.xertion;. 

The  enemies  of  Rossini  had  circulated  a  report 
through  the  house  —  a  report,  by  the  way,  that 
had  but  too  much  truth  in  it  —  that  Kossini  had 
only  altered  one  miseral)Ie  trio,  and  had  simply 
introduced  some  shreds  of  his  other  works  ;  and 
towards  the  close  of  the  opera  an  uproar  arose  of 
which  no  image  in  nature  could  convey  an  ade- 
quate idea.  Galli  and  Madame  Colbran  Ros- 
sini drank  the  bitter  cup  of  humiliation  to  the 
lees.  Sinclair,  the  English  tenor,  partook  of  these 
attentions,  and  was  overwhelmed  with  hisses  and 
outrages.  From  seven  in  the  evening  till  tliree 
in  the  morning  this  tempestuous  outrage  en- 
dured, and  fears  were  entertained  for  the  sal'ety 
of  the  scenery  and  the  decorations  of  the  house. 

Rossini  endeavored  to  make  his  peace  with  the 
Venetians  the  following  carnival  by  calling  his 
talents  into  action  in  the  opera  of  "  Semiramifl^," 
which  was  iierlormcd  at  the  Theatre  Delia  Fc- 
r.ice.  and  sung  by  Madame  Colbran  Rossini,  Rosa 
Mari'uii,  (a  delightful  contralto,)  Sinclair,  Galli, 
and  Lucio  Mariani.  A  passage  in  the  overture 
tended  much  to  conciliate  the  audience  and  ob- 
literate the  fotnier  unfavorable  impression,  and 
this  feeling  was  strengthened  by  an  air  of  Mari- 
ani's,  which  was  full  of  beauty  and  sweetness. 
The  ne.xt  piece  that  called  forth  ajiplause  was  a 
duct  between  this  lady  and  Madame  Coll)rau 
Kossini ;  besides  which  an  air  of  tialli,  and  a  ter- 
tctto  between  him  and  the  two  above-mentioned 
ladies,  were  received  with  tumultuous  applau.se. 
Kossini  wa.s  called  for  at  the  end  of  the  second 
act,  and  came  forward  with  a  humble  obci.sance 
to  receive  this  token  ol  reconciliation. 

Alto*  having  received  the  homage  of  the  lovers 


of  music  in  Paris,  we  find  Rossini  fulfilliug  his 
engagements  in  lx>ndon.  The  following  is  a 
chronological  list  of  his  works  :  1 .  "  Deinelrio  e 
I'olihio.''  This  is  Rossini's  first  opera.  It  is  said 
to  have  been  written  in  the  spring  of  1809,  though 
not  performed  till  1812  at  the  Theatre  Valle  iu 
Rome.  2.  "  La  Cambiale  di  Matriiminio,"  1810, 
farza,  (hy  farza  is  understood  an  opera  in  one 
act,)  written  at  Venice  for  the  Stagione  del"  Au- 
tunno.  3.  "  L' Er/iiUoco  Siraewjante,"  lSi\,  autiin- 
tio,  composed  at  Uologna  for  the  Theatre  Del 
Corso.  4.  "  L' Iiif/aitiuj  Felice,"  1812,  carnicale, 
written  for  the  'I'lieatre  San  Mosii  at  Venice. 
This  is  the  only  one  of  Rossini's  early  works  that 
has  retained  its  place  on  the  stage.  5.  "  Z,a  Scala 
di  Scia,"  farza,  \S12,  prinuivera,  performed  in  the 
San  Mos^  at  Venice.  6.  "  La  Pictra  del  I'ara- 
ffone,"  1812,  aulumio,  at  the  Scala  in  Milan.  7. 
"  L' Occasiotie  fa  it  Ladro,"  farza,  1812,  autunno, 
in  the  Theatre  San  Mos6  at  Venice.  8.  "  It  Fi- 
glio  per  Azzardo,"  farza,  1813,  carnivale,  at  the  same 
theatre.  9.  "II  Taitcredi,"  1813,  carnivale,  at 
the  grand  Tlieatre  Delia  Fenice  at  Venice.  10. 
"  L  Ita/iana  in  Altjeri,"  1813,  estate,  performed  at 
the  Theatre  .Sun  Benedetto  at  Venice.  11.  "  Au- 
retiano  in  Palmira,"  1814,  carnivaie,  sung  in  the 
Theatre  of  La  Scala  at  Milan.  12.  "//  Tarco  in 
Italia,"  1814,  autunno,  at  the  Theatre  of  La  Scala 
at  Milan.  13.  "  Sigisnwiulo,"  1814,  in  the  The- 
atre Delia  Fenice  at  Venice.  14.  "  Elisabstta," 
181.5,  autunn),  Naples,  sung  at  San  Carlo.  1.5. 
"  Torcaklo  e  Dirlisca,"  IS16,  carnivale,  in  the  The- 
atre Valle  at  Rome.  16.  "  II  Barbiere  di  Seiiglia," 
the  same  sea.son,  at  the  'ITieatre  Argentina  in  tho 
same  city.  17.  "La  Gazzetta,"  1816,  eita<e,  per- 
formed at  the  Theatre  Dei  Fiorentini  at  Naples. 
18.  "  L'Otelh,"  1816,  inverno,  sung  in  the  'I'he- 
atre  Del  Fondo,  (a  handsome  round  theatre, 
which  is  subsidiary  to  that  of  San  Carlo.)  19. 
"  La  Cenereiitoki,"  1817,  carnivale,  performed  iu 
the  Theatre  Valle  at  Rome.  20.  "  La  Gazza  La- 
dra,"  181',  primavera,  Milan,  sung  iu  the  Scala. 
21.  "  Armiita,"  1817,  autunno,  Naples,  sung  at 
the  Theatre  San  Carlo.  22.  "Adelaide  di  Bar- 
gogna,"  1818,  carnivale,  Rome,  perfonned  in  the 
Theatre  Argentina.  23.  "  Adina,  ossia  il  Calijfo 
di  Bagdad."  Rossini  composed  tliis  piece  for  the 
opera  at  Lisbon,  where  it  was  performed  in  the 
Theatre  San  Carlo.  24.  "  Mosi  iu  Egitto,"  1818, 
Naples,  sung,  during  Lent,  in  the  Theatre  San  Car- 
lo. 25.  "  liicciardo  e  Zoraide,"  1818,  Naples,  sung, 
during  the  autunno,  at  San  Carlo.    23.  "  Ermione," 

1819,  Naples,  sung,  during  the  Lent  season,  at 
San  Carlo.  The  libretto  is  an  imitation  of  the 
Andr»nar/ue  of  Racine.  Rossini  aimed  at  an  im- 
itation of  the  style  of  Gluck.  27.  "  Odoardo  e 
CriMina,"  1819,  primavera,  Venice,  sung  at  the 
Theatre  San  UeneJetto.  28.  "  La  Donna  dtl  La- 
go,"  4th  of  October,  1819,  Naples,  sung  in  *.he 
Theatre    San    Carlo.      29.  "  Bianca  e   Falitro," 

1820,  carnivale,  Milan,  performed  at  the  .Scala. 
30.  "  Muometto  Secondo,"  1820,  carnivale,  Naples, 
at  the  Theatre  San  Carlo.  31.  "  Matilda  di  Sa- 
bran,"  1821,  carnivale,  Rome,  at  the  Theatre 
d'Apollonc.  32.  "  Zclmira,  1822,  Naples,  in- 
vcriu),  sung  at  the  Theatre  San  Carlo.  33.  "  Se- 
miramide,"  1823,  carnivale,  at  the  grand  Theatre 
Delia  Fenice.  34.  " //  Viaggio  a  lUieim^,"  at  tht 
Theatre  Italien  at  Paris  in  the  summer  of  1825. 
3.5.  "  r^  Siige  de  Coriuihe,"  at  the  Opera,  Paris, 
October,  1826.  36.  "  Moise,"  at  the  same  theatre 
iu  1827.     37-  "  Le  ComU  Or<„"  at  the  same  th»- 


830 


KOS 


ENCYCLOPEDIA    OP   MUSIC. 


ROU 


«tre  in  1828.  38.  "  Guillmime  Tell,"  nt  the  same  '■ 
thentre  in  1829.  Rossini  has  devoted  but  little 
attention  to  sacred  compositions  ;  we  know  of  no 
other  than  the  tw  o  following  :  1.  "  Ciro  in  liabilo- 
nia,"  an  oratorio,  1812,  composed  at  Ferrara  for 
the  Lent  season,  and  performed  at  the  Teatro 
C'ommunale.  2.  "  A  Grand  Ma.s.s,"  composed  in 
1819  at  Nn])les.  Rossini  has  composed  many 
cantatas,  but  we  know  of  no  other  than  the  nine 
toUowinf;:  1."//  J'ianto  rl' Armoiiin,"  1808,  per- 
fotraed  in  the  Lyceum  of  Bologna.  This  is  Ros- 
sini's first  attempt.  The  style  resembles  the 
weaker  parts  of  "  L'Inganno  Felice."  2.  "  Ditloiie 
abbaitdunala,"  18l\.  3.  "  Efflo  e  Irene,"  1811.  4. 
"  Ted  e  I'eleo,"  1816,  composed  for  the  occasion 
of  the  nuptials  of  her  royal  highness  the  Duchess 
of  Berri,  sung  at  the  Theatre  Del  Fonda  at  Na- 
ples. 5.  "  A  Cantata,"  for  a  single  voice,  com- 
j)osed  in  honor  of  his  majesty  the  King  of  Na- 
jiles,  1819.  G.  "A  Cantata,"  performed  before 
his  majesty  Francis  I.,  Emperor  of  Austria,  the 
9th  ot  May,  1819,  when  this  prince  appeared  for 
the  first  time  at  tlie  Theatre  San  Carlo.  7.  "A 
Patriotic  Hymn,"  composed  at  Naples  in  1820. 
Another  Hymn  of  the  same  kind,  but  of  very 
opposite  politics,  composed  at  Bologna  in  1815. 
For  the  same  offence  Cimarosa  had,  a  few  years 
before,  been  thrown  into  prison.  8.  "  La  liico- 
ttoscenza,"  a  pastorale,  for  four  voices,  performed  at 
San  Carlo,  the  27th  December,  1821,  for  Rossini's 
benefit.  9.  "  //  lero  Omaggio,"  a  cantata,  executed 
nt  Verona,  during  the  congress,  in  honor  of  his 
majesty  the  Emperor  of  Austria.  Rossini  also 
composed  a  mass,  which  was  performed  at  a 
country  town  near  Prjis  in  1832,  and  subse- 
quently to  this  his  celebrated  "  Stabat  Mater,"  in 
11538,  for  grand  orchestra  and  chorus,  which  is 
now  so  well  known.  Since  this  he  has  composed 
nothing  except  a  liyran  to  I'io  Nono  nt  the  time 
of  the  recent  Roman  ])olitical  troubles.  He  is 
still  living,  (1854,)  in  luxurious  retirement,  prin- 
cipally at  Bologna. 

ROSWICK,  MICHAEL,  a  Saxon  musician  at 
the  bcginnnig  of  the  sixteenth  century,  published 
'*  Conipvndiaria  Miisic<e  I'.ditio,  cuncta,  qiue  ad  prac- 
ticam  atliiieiit,  niira  quadam  brevitate  complecteiis," 
Leipsic,  loKi  and  1519. 

ROTA,  ANDREA,  a  Bologncse  composer  of 
the  sixteenth  century,  born  about  1540,  pub- 
lished, amongst  other  works,  "  Madrigali  h  5 
loci.,"  Venice,  1579. 

ROTA.  ANTONIO,  was  not  only  cclebrate<l 
throughout  Italy  as  a  performer  on  the  comet, 
but  was  also  a  compo,-er.  He  resided  at  I'adua, 
and  died  in  1548.  Iciiving  amongst  other  writings 
a  manuscript  treatise  on  the  cornet,  and  a  practical 
work  entitled  "  liicrcari,  Motetti,  Haiti,  Madri- 
gali e  C'aiizoni  fraiicese  :"  this  was  published  at 
Venice  in  1540. 

ROTA,  CYPRIANO  DE,  an  Italian  composer 
of  the  sixteenth  century,  was  the  author  of  the 
following  aiuongst  other  works,  "  MadrijaUitm 
Libri  5  locum,"  Venice,  1562  and  1565. 

ROTA,  ROSA,  a  celebrated  Italian  singer, 
was,  in  1770.  a  pupil  of  (inluppi  in  the  Conser- 
vatory of  the  Incurabili  at  Venice.  Dr.  Burney 
heard  her,  and  spoke  highly  of  her  talent. 

ROTE.  An  instrument  frequently  mentioned 
by  Chaucer,  as  well  as  by  the  old  French  poets, 

83 


and  which,  from  the  analogy  of  its  name  to  the 
Latin  word  rota,  a  wheel,  is  generally  supposed 
to  have  Ix-en  the  same  with  the  French  rielle,  or 
English  hurdygurdy,  the  tones  of  which  are 
produced  by  the  friction  of  a  wheel. 

ROTII,  WILHELM  A.  T.,  bom  at  Erfurt 
about  the  year  1720.  learned  the  elements  of 
music  of  Adlung.  and  continued  his  studies, 
principally  of  the  harpsichord,  at  Weimar,  under 
the  celebrated  Walther.  In  1754  he  settled  as 
a  teacher  of  music  at  Berlin,  and  in  1757  pub- 
lished there  a  collection  of  songs  of  his  own 
composition. 

ROTIIE,  JOHANN  CHRISTOPII,  born  in 
1653.  was  the  son  of  a  sin'.;er  at  Rosswcin.  who 
taught  him  the  elements  of  vocal  and  in.stru- 
mental  music.  He  first  entered  the  service  of 
the  Duke  of  Coburg  as  violinist  in  the  Chapel 
Royal,  and  subse(iuently  (in  1093)  became 
chamber  musician  to  the  Prince  of  .Schwartz- 
burg.  He  died  in  1720.  leaving  several  consid- 
erable works  for  the  church. 

ROTIIE,  JOHANN  ERNEST,  eldest  son  of 
the  preceding,  wa.s  born  at  Coburg  in  1688. 
Having  received  the  elements  of  his  musical 
education  from  his  father,  he  went  to  Berlin, 
where  he  obtained  the  situation  of  a  chorister. 
He  next  became  a  bass  singer  to  several  Ger- 
man theatres;  till,  tired  of  the  wandering  life  of 
an  actor,  he  settled  at  Sondcrshausen,  where  he 
was  received  in  the  prince's  chapel  as  a  singer 
and  violinist.  lie  died  at  the  above  town  in 
1774. 

ROTHE,  AUGUST  FRIEDRICH,  younger 
brother  of  the  preceding,  born  at  Sonder-nhausen 
in  1696,  was  a  good  violinist,  and  in  1723  en- 
tered the  service  of  the  Margrave  of  Bayreuth. 
Some  years  at'tor  this  he  returned  to  his  native 
town,  when  his  prince  nominated  hira  diambcr 
mu'^ician  and  director  of  his  chapel.  He  died  at 
Sondcrshausi-u  in  1784. 

ROTONDA.  (I  )  Round,  full,  in  speaking 
of  the  tone  of  a  voice  or  instrument. 

ROU(iET  DE  LISLE.  Author  of  the  French 
national  song  the  Marseillaise. 

ROCLADE,  or  ROULEMEN.  (F.)  A  term 
applied  to  all  kinds  of  rapid  movements,  or  pas- 
sages, but  particularly  to  a  rapid  flight  of  notes 
extemporaneously  introduced  as  an  einbellioh- 
ment.     See  Vol.^t.v. 

ROCNDELAV,  or  RONDEL.  From  the 
French  word  rondrlrl.  A  kind  of  ancient  poem, 
so  denominated,  according  to  Menage.  /riTi  its 
form,  by  whiih  it  constantly  rcturnevl  to  the 
first  verse,  and  thus  went  miind.  The  comraot 
roundelay  consisted  of  thirteen  verse-*,  eight  in 
one  rhyme,  and  five  in  another.  One  ot  its  rulw 
was,  that  the  first  verse  should  have  a  i  orapleto 
sense,  and  yet  jo'.n  agreeably  w  ith  the  cloning 
veise,  though  in  iUclf  independent. 

Some  writers  speak  of  the  roundelay,  or  rondel, 
as  a  kind  ot  air  appropriatiMl  to  dnnrini; ;  and 
in  this  sense  the  word  seems  to  imply  little  more 
than  (lancing  in  a  circle.  Our  old  Engli-h  poota 
use  this  word  as  signifying  a  simple,  rural  strain, 
both  short  and  lively. 

ROUND.  A  species  of  fugue  in  the  uniaon, 
I 


ROU 


ENCYCLOP/EDIA    OF    MUSIC. 


ROl; 


composed  in  imitatioi\  of  a  catch,  and  so  called 
becaU'*o  the  |)crforracrs  follow  each  other  through 
the  several  j)art.f  in  a  circulating  motion.  The 
following  round  on  the  diatonic  scale  was  WTit- 
ten  and  composed  by  T.  Goodban,  Canterbury. 
^Ve  copy  it  from  Xovello's  "  Musical  Times." 


Mntltrnto. 


It  was  at  Venice  thi.t  his  natural  love  for  this  art 
wa-s  more  decidedly  developed,  and  his  t.iste 
especially  led  him  towards  the  best  music  in 
Italy.  On  his  arrival  at  Paris,  he  soon  became 
known  as  a  philosopher  and  orator,  and  not  le->s 
as  being  one  of  the  mo-^t  singular  in  his  conduct 
of  human  beings.  He  began  his  literary  career 
by  painting  in  the  most  vivid  colors  the  dangers 
of  theatrical  representations ;  at  the  same  time 
he  wrote  himself  a  comedy,  "  Sarcisse."  lie 
published  hLs  opinion  that  the  French  languace 
was  incapable  of  truly  musical  adaptation,  and, 
at  the  same  time,  he  set  to  music  a  French  opera, 
"  Le  Delia  rf«  Villa'je."  He  demonstrated  the 
moral  injuriousness  of  romances,  and  he  wrote 
the  "  Nouvelle  EMse."  Part  of  his  daily  occu- 
pation, after  his  first  arrival  at  Paris,  still  con- 
sisted in  copying  music,  which  he  continued 
chiefly  for  the  support  of  n  poor  relation.  At 
the  same  time  he  completed,  besides  many  other 
chefs-d'oeuvre,  both  the  words  and  music  of  his 
"  Devin  dti  Village,"  and  invented,  in  his  "  Pyg- 
malion," the  species  of  performance  since  called 
melodrama.  His  "Devin  du  Villaqc'^  had  just 
been  brought  out,  and  received  with  enthusia,sra, 

r\ ]  when,  in   17-52,  a  company  of  Italian  singers  ar- 

j^  —        -  ■  g-t rived  at  Paris,  whose  success  aroused  the  jeal- 

Xf^}         IS rr,.^.  — ousy   of  the    French   composers.     Two    parties 

were  immediately  formed  in  Paris,  the  one  sup- 

r, porting  Italian  music,  the  other  abusing  it ;  till  ■ 

V  "I      ~f  I       ^^^^i"    "*  l6"S''i  the  controversy  ran  so  high,  that  the 

^^ — ^-      "■  —  '        '    — ^>^^^i^— Italian    singers   were    ordered   to    quit   France. 

'~^'  Rousseau,  warm  partisan  of  the  Italians,  then 

seemed  to  forget,  not  only  his   "  Dei-in  du   I'il- 

p       »-^   . ___, „_!.  '".7''."    but   various   other    advantages   that   the 

-j^ — ^^-p-^^^^^    P^~"I  f^  ^^H ' — ■~-_l     French  theatre  offered  him.  and  wrote,  in  17-53, 

^v>       ' —    1        L^^  -p"    P^  ^^     r^~ '.    his  celebrated  letter  on  French  musig.     In  this 

'  work,    written   with   all  his   characteri-stic   elo- 

quence and  enthusiasm,  he  went  so  far  as  to  de- 

V^         .^       I—  4  -j nzil^l    clare  that  the  French  liad  absolutely  no  music ; 

gq.1 ~        ^ir~'^        : ga ^  __^) :    that  their  aricttes  were  not  ariettes;  their  recita- 

•7  Ji^  Si  j^  ^,  I  tives  not   recitatives ;   and    that   their   harmony 

was  nothing  better  than  the  work  of  schoolboys, 
"y~         '           1       ,        I  T       !  I       —       I     which  they  used   without  the  least  discretion. 

/p^        I      i         ^"^^      ^ — ^T^  ~T7]         I    '    ^^'^  added,  at  the  same  time,  a  parallel  of  the 
^ 1—^—' ^ ^^— *— ^ — g>JJ-T    advantages  of  Italian  music   in   the   above  re- 

spects, and  concluded  by  a  critique  of  a  very 
celebrated  monologue  in  the  "Armidc"  of  Lully. 
This  critique  was  immediately  refuted  by  Ra- 
meau,  who  had  previously  attacked  the  "  Devin 
du  yiUayc."  A  host  of  other  pamphlets  followed, 
abusing  and  ridiculing  the  opinions  of  Rousseau 
in  every  possible  way.  Pasquinades  and  songs 
were  written  against  him,  and  in  every  print 
shop  he  was  indecently  caricatured.  At  one  of 
the  theatres  a  farce  called  "  The  Fairies  "  was  pro- 
duced, in  which  his  character  and  opinions  were 
outraged.  He  was  refused  the  payment  of  the 
sums  due  to  him  from  the  theatre  for  the  per- 
formances of  his  own  opera,  and  even  forbidden 
to  enter  the  house  when  his  own  piece  wa« 
ROUSSEAU,  JEAN  JACQI'ES.  This  cele-  I  played.  These  persecutions  continued  and  came 
brated  philosopher,  author,  and  musician,  was  home  to  their  object,  being  even  greatly  height- 
boni  at  Geneva  in  171'i.  His  father  was  a  ened  by  his  restless  and  diseased  imagination, 
watchmaker  in  that  town,  and  destined  his  son  i  He  now  more  and  more  shunned  the  society  of 
first  to  learn  the  business  of  enamel  painting,  I  the  capital,  and  at  length,  on  the  invitation  of 
and    afterwards  of  copperiilate   engraving ;    but     the  Marquis  of  Girardin,  retired  to  the  village  of 


soothes 


the  aversion  of  Jean  Jacques  to  both  these  occu- 
pations soon  decided  him  to  quit  Geneva,  which 
he  did  in  1 728,  and  wandering,  at  first,  through 
various  parts  of  France  and  Italy,  he  jiicked  up 
«  mi.--crable  pittance,  chiefly  by  writing  music. 


Ermenonville,  where,  after  a  residence  of  only 
six  weeks,  he  died.  The  following  are  the 
w  ritings  of  this  great  author  on  the  subject 
of  music :  I.  "  I'rnjet  concernaiU  de  nouveaux 
Siijnei  jtour  la    Musique."      This    waa    read    bv 


832 


ROU 


ENCYCLOP.EDIA    OF    MUSIC. 


ROY 


the  author  nt  the  Academy  of  Sciences  in  1712. 
2.  "  Dis.sfrtation  siir  la  Miisir/ne  Modcnte,"  PnriM, 
1743.  .'i.  "  L-t/ re  W an  Si/inphoiuste  ile  I'.lcadimie 
Rixjale  lie  Musi /lie  d  sea  Caiiuircules  ile-  I'  Orchestre," 
Piiri.i,  17o2.  4.  "  I^'tre  sur  la  Muiiqnc  l'raii<;ahe," 
with  iho  motto  "  Sunt  _tvrha  it  voces  jtnr/ercar/ue 
lihil,"  I'iiris,  17o;i.  i).  "  Dictiniiunirc  cle  Mii- 
tiijue."  Xcitlicr  in  this  work  nor  in  any  of  his 
posterior  musical  publiciitioiis  did  he  disavow  or 
change  his  opinions  respecting  French  music. 
().  Many  articles  concerninf;  music  in  the  Ency- 
chpi'.die.    Tliese  were  written  about  the  year  1750. 

7.  "  Uiic  L'tCre  fi  M.  I' Ahhi  Uaynal  au  Sujel  d' un 
nnuveau  Mode  de  Mu-iiquc  invoiti  par  M.  Jllaiiwili'e." 

8.  "  llxiimcn  dea  I'riiui/>es  avaricin  par  M,  Jtamcau 
dtiiui  3u  lirochure  iiititulte  '  Erreurs  siir  la  Muni'jue 
duns  I' Kucyclopidie.' "  And  9.  "  Let  I  re  &  M. 
Buniey  sur  la  Musiijue,  avec  des  Fragimns  de  I' Ob- 
tercation  sur  I'Alcaste  Italiemie  de  M.  le  C/icvalicr 
Gluck."  His  principal  practical  works  consist  of 
"  Pygnia'ion,"  a  melodrama;  "  Ae  Derin  du  Vil- 
liiffi;"  interlude"  "  I'raymens  de  Daphnis  et  Chloe, 
comj>osii  du  premier  Acte,  de  V  Esquiase  du.  Prologue 
el  de  dijfirois  Morccaux  priparis  pour  le  second 
Acle,"  Piris,  1780  ;  "  Les  six  uouveaux  Airs  du 
Decin  du  Village,"  Paris,  1780;  and  '^  Les  Conso- 
lations des  Mistres  de  ma  Vie,  ou  liccueil  d'Airs, 
Romances,  et  Duos,"  with  this  motto,  "  Nature  est 
un  doux  guide  ;  Je  qtceste  partout  sa  piste ;  nous 
I'acons  confondue  de  traces  artijtcielles ;"  from 
Montaigne.  This  work  was  raaf,'niticently  en- 
graved at  Paris,  in  1781.  It  contains  nearly  one 
hundred  songs,  ariettes,  and  duos,  with  French 
and  Itiilian  le.\t. 

ROUSSEL,  FRANCOIS,  a  French  composer 
of  the  si.xteenth  century,  published,  amongst 
other  works,  "  Chansons  d  4,  5,  et  G  parts, ' '  Paris, 
1577. 

ROU.SSEL,  FERDINAND,  a  French  professor 
of  music,  published  in  1775,  at  Paris,  a  work 
entitled  " /-e  Guide  Musical,  oh  Tli.orie  et  Pra- 
tique abrei/iei  de  la  Musii/ue  I'ocale  et  Inslrumentale, 
selon  lis  Riyles  de  I' Accompagnement  et  de  la  Co'-t- 
position." 

ROUSSIER.  ABRE  PIERRE  JOSEPH,  was 
born  at  Marseilles  in  1710.  He  wrote  several 
works  on  music  which  were  published  at  Paris 
and  (ieneva  between  the  years  1704  and  178.'5. 
He  died  at  Ecouis,  in  Normandy,  about  the  year 
1790. 

ROVEDINO,  an  excellent  Italian  bass  singer, 
])erlormcd  at  Paris  in  1790,  and  subsenuonfly 
went  to  London,  where  he  belonged  to  the  King's 
'l"heatre  for  upwaids  of  ten  seasons. 

ROVE'rrA,     D.     GIOVANNI    BATTISTA. 

I'hapel  master  of  St.  Mark's  at  Venice,  and  church 
and  dramatic  composer  there,  towards  the  middle 
of  the  seventeenth  century.  Amongst  his  works 
arc  the  following.  Sacred  music  :  "  Messa  e  Sal- 
mi d  6,  6,  7,  c  8  loci,  con  2  I'.  ;  "  "  Salmi  (i  5  e  0 
Voci,  con  2  V,  ;  "  "  Salmi  <i  .3  e  4  loci,  con  2  V.,  6 
altri  Stromenti;"  "Salmi  f)  H  I'oci,"  "  Motetti  d 
2  e  3  I'oci ;  "  "  Moti'Iti  Concrrtati  d  2  c  3  I'oci,  con 
V,  se  place  ;  "  "  Motetti  conccrtati  <)  2  f  3  Voci,  con 
Litanie  h  4  Voci ;  "  "  Madrigali  concerlati  a  6 
Voci,  eon  2  V.  e  li.,"  Venice,  1()25.  Dramatic: 
'  Ercole  in  Lidia,"  opera,  1045  ;  "Antiope,"  opera, 
1049,  conjointly  with  Lcardini ;  "  Costanza  di 
Rosmonda,"    opera,    1059;     '^  Amori    di  ApoUo    e 


Leucntoe,"  opera,   1003;    and  "  Risilcna,"  opera, 
1604. 

KOY,  ADRIEN  I.E.     See  Lkuoy. 

ROYAL  SOCIETY  OF  MUSICIANS,  LON- 
DON. Tlie  origin  of  this  institution,  like  that 
of  many  others,  was  purely  accidental.  In 
1738,  a  celebrated  oboe  i)layer,  of  the  name 
of  Kytch,  went  to  England  from  Gennany, 
whose  performance  was  hold  in  such  high  esti- 
mation that  he  was  engaged  at  two  or  three  pri- 
vate parties  of  an  evening  to  play  opera  songs, 
&c.,  which  lie  executed  witli  cxciuisitc  taste  n«id 
feeling,  liut  with  all  the  jjatronage  and  encour- 
agement that  Kytch  enjoyed,  ho,  like  too  many 
other  talented  men,  was  very  improvident ;  he 
neglected  his  family,  then  himself;  consequently 
he  became  totally  incapaljle  of  »p|, caring  before 
any  respectable  assembly ;  and  at  last  he  was 
found,  one  morning,  dead  in  St.  James's  market. 
That  a  great  good  otten  arises  from  j)artial  evil 
was  veriried  in  this  instance.  .Soon  after  the 
death  of  Kytch,  Festing,  the  celebrated  violinist, 
"W'eidemann,  the  flute  ])laycr,  (who  instructed 
George  III.,)  and  Vincent,  the  oboe  player,  were 
standing  at  the  door  of  the  Orange  Cotl'ee  House, 
in  the  Haymarket,  when  they  observed  two  very 
interesting  boys  driving  milch  asses  ;  on  iiKjuir- 
ing  who  tiicy  were,  they  proved  to  be  the  orphans 
of  the  unfortunate  Kytch.  With  a  feeling  that 
reflects  honor  on  their  memories,  they  cntrred 
into  a  Kul)seri|)tioii  to  rescue  the  children  of  their 
departed  brother  professor  from  such  a  degrading 
situation,  and,  on  consulting  with  Dr.  (ireene, 
and  several  other  eminent  composers,  on  the 
necessity  of  a  fund  to  allevia'e  the  distress  of  indi- 
gent musicians,  their  widows  and  orphans,  they 
established  on  tb.e  19th  of  April,  17:i8,  this  soci- 
ety. In  a  document  i)rintcd  in  May,  1738,  sev- 
eral rules  and  regulations  are  inserted,  and 
among  the  names  enrolled  as  nicFubers  are, 
(jeorge  Frederic  Handel,  Esq.,  Dr.  Arne,  Dr. 
Uoyce,  Dr.  Ruriicy,  Dr.  Hayes,  Dr.  (ireene.  Dr. 
Pepusch,  J.  C.  Smith,  (Handel's  amanuensis, )  M:c. 

ROY,  SIMON  DE.  A  French  contrapuntist 
of  the  8i.\tecnth  century.  Several  of  his  motcta 
may  be  found  in  "  Joanelli  Nov.  The*.  Mut.," 
Venice,  1508. 

ROYER,  JOSEPH  NICOLAS  PANCRACE, 
a  niitive  of  Rurgunily,  was  l)orn  about  the  year 
1705.  He  went  to  reside  in  Paris  about  the  year 
1725,  and  there  aci(uircd  much  reputation  for 
his  manner  of  singing,  and  tor  his  excellent  per- 
formance on  the  organ  and  harpsichord.  Through 
the  interest  ot  l-.is  iricnds,  aided  by  his  own  mer- 
its, he  obtained  a  reversionary  grant  of  the  place 
of  music  master  to  the  royal  lanilly  of  France; 
and  he  came  into  po-tscssion  ot  it  in  the  ycai 
1746.  In  the  following  year  he  was  appointed 
director  of  the  ('oncrrt  Spirilutl,  and  in  1754 
obtained  the  situation  of  composer  of  the  ii]U.tic 
lor  the  king's  chamber,  and  inspector  general  of 
the  ojiera.  He  did  not  long  enjoy  the>e  advan- 
tageous and  lucrative  emj)loyraent.s,  lor  he  dioc 
in  the  month  of  January  following,  in  the  fUtiet) 
year  ol  his  age. 

Royer  compose  I  the  operas  of  "  Pyrrhus,' 
"  Zatdf,"  "  Le  Pour  >ir  de  f  Amour,"  "  AmaJsi*,' 
and  "  Promt  thir,"  and  many  lessens  for  the  harp- 
sichord, of  which,  however,  only  one  collection 
baa  hitherto  Iccn  publisheil. 


105 


833 


IIUZ 


ENCYCLOPAEDIA    OF   MUSIC. 


RUP 


ROZE.  NICOLAS,  librarian  to  the  Conserva- 
tory of  Music,  was  born  near  Chalons-sur-Saone, 
in  174.J,  and,  from  the  age  of  seven,  officiated  as 
chorister  in  tlie  town  of  Bcaune.  Shortly  after- 
wards he  studied  music  under  Rousseau  of  Dijon, 
and  made  such  profjrcHs  in  counterpoint,  that 
before  he  wivs  ten  years  of  age  a  motet  of  his 
composition  was  perforrae<l  with  a  full  orchestra. 
His  voire  was  also  so  remarkable  at  that  age, 
that  persons  came  from  all  the  neighboring 
towns  to  hear  him.  In  17r>9,  after  having  com- 
posed a  grand  mass  for  the  town  of  Ueaune,  he 
b^ou^ht  it  to  Paris  for  t!ie  inspection  of  Dau- 
vergne,  then  superintendent  of  the  king's  band. 
This  able  master  immediately  engaged  Roze  to 
^^  rite  a  motet  for  the  Concert  Spirituet.  It  was 
from  this  time  that  his  talents  became  very  gen- 
erally known,  and  he  was  accordingly  soon  nom- 
inated conductor  of  the  music  at  the  cathedral  of 
Angers  ;  in  which  city,  during  a  residence  of  five 
years,  he  established  a  public  concert,  and  other- 
wise promoted  the  interest  of  music.  In  177.5 
Roze,  now  the  Abbe  Roze,  was  named  chapel- 
raastcr  of  the  Saints-Innocens  Church,  at  Paris, 
where  his  compositions  and  performance  became 
very  celebrated.  On  the  death  of  Langle,  in 
1807,  he  received  his  appointment  of  librarian. 

RUBATO,  or  ROBATO.  (L)  Robbed,  bor- 
rowed. The  term  tempo  ruhato  is  applied  to  a 
style  of  performance  in  which  some  notes  are 
held  longer  than  their  legitimate  time,  while 
others  are  c'lrtailed  of  their  proportionate  dura- 
tions, in  order  that,  on  tlic  whole,  tlie  aggregate 
value  of  the  measure  may  not  be  disturbed. 

RUBIXELLI.  GIOVANNL  a  celebrated  eon- 
traltist,  was  born  at  Brescia,  about  the  year  1752. 
In  1772  he  belonged  to  the  Duke  of  Wurtem- 
burg's  chapel  at  .Stuttgard,  and  his  name  first 
appears  in  1771.  as  a  principal  singer  in  Italy. 
He,  in  that  year,  performed  at  Modena,  in  Pai.si- 
ello's  "  Alessandro  iieW  Indie,"  and  in  Anfossi's 
"  DemofootUe."  After  this  he  appeared  as  princi- 
pal singer  in  all  the  great  theatres  of  Italy,  pre- 
viously to  his  going  to  London,  in  April,  1786. 
His  journey  from  Rome,  where  he  had  just  sung 
at  the  carnival,  was  by  no  means  propitious. 
The  weather  was  unusually  severe  ;  and  he  was 
not  only  overturned  in  his  chaise  at  Ma<;on,  in 
France,  but  alter  quitting  the  ship  in  which  he 
sailed  from  Calais  to  Dover,  the  boat  that  was  to 
have  landed  him  was  overset  near  the  shore,  and 
he  remained  a  considerable  time  in  the  water. 
The  first  opera  in  which  Rubinelli  appeared  in 
England  was  a  pasticcio,  called  "  Virginia,"  on 
the  4th  of  May.  His  own  part,  however,  was 
chieriy  composed  by  Angiolo  Tarchi,  a  young 
Neapolitan,  who  afterwards  rapidly  advanced  to 
great  eminence.  In  figure  Rubinelli  was  tall 
and  majestic,  in  countenance  mild  and  benign. 
ITicre  was  dignity  in  his  appearance  on  the 
stage;  and  the  instant  the  tone  of  his  voice  was 
heard,  no  doubt  remained  with  the  audience  that 
he  was  the  first  singer.  His  style  was  grand 
and  truly  dramatic,  his  execution  neat  and  dis- 
tinct, his  taste  and  embellishments  new,  select, 
and  masterly,  and  his  articulation  so  pure  and 
well  accented,  that,  in  his  recitatives,  no  one  con- 
v€r»it  in  the  Italian  language  ever  had  occa- 
wor.  to  look  at  the  book  of  the  words  while  he 
was  singing  Rubinelli,  from  the  fidness  of  his 
voice  and   greater  simplicity  of  style,  pleaicd   a 


more  considerable  number  of  hearers  than  Psc- 
chierotti ;  though  none,  perhaps,  so  exquisitely 
as  that  singer  used  to  delight  his  real  admirers. 
Rubinelli,  finding  himself  censured,  on  his  first 
arrival  in  England,  for  changing  and  embellish- 
ing his  airs,  sang,  "  Return,  O  God  of  hosts!  "' 
in  Westminster  Abbey,  in  so  plain  and  una- 
dorned a  manner,  that  even  those  who  venerate 
Handel  the  most,  thoiight  him  insipid.  The 
second  opera,  in  which  Rubinelli  and  Mara  sang 
together,  was  "  Armida."  All  the  music,  except 
Mara's  part  in  this  drama,  was  the  composition 
of  Mortellari. 

RUBINI,  GIOVANNI  BATTISTA,  the  most 
celebrated  living  tenor,  was  bom  on  the  7th 
of  Ajiril,  179-5,  at  Romano,  a  little  town  of  the 
province  of  Bergamo.  The  son  of  a  professor  of 
music,  he  acquired  the  elements  of  the  art  in  his 
earliest  years,  and  at  the  age  of  eight  he  already 
sang  in  the  churches,  or  took  his  part  on  the 
violin  in  the  orchestra.  At  a  later  period  he  was 
put  under  the  chaige  of  D  n  Santo,  a  priest, 
and  organist  of  Adro,  near  Brescia,  who  was 
learned  in  harmony  and  in  the  art  of  singing. 
After  having  tried  the  voice  of  the  young  Rubini, 
he  decided  that  the  child  had  no  talent  for  sing- 
ing, and  sent  him  back  to  his  father,  who,  con- 
vinced of  the  mistake  of  the  organist  of  Adro, 
continued  to  give  lessons  to  his  son,  who  made 
his  dibut  at  the  age  of  twelve,  in  a  female  part. 
After  this  attempt  Rubini  repaired  to  Bergamo, 
having  an  engagement  to  play  the  Wolin  solos 
between  the  acts  and  to  sing  in  the  choruses. 
His  first  attempt  as  a  singer  in  the  theatre  of  this 
city  was  in  an  air  of  Lamberti,  which  had  been 
introduced  into  a  comedy ;  he  had  a  brilliant 
success,  and  received  from  the  impre^sario  Jive 
francs  as  a  reward.  'Die  recollection  of  this 
incident  still  sometimes  amuses  the  now  cele- 
brated artist.  Notwithstanding  this,  he  had  the 
mortification  of  seeing  his  triumph  effaced  by 
the  refusal  of  the  impressario  at  Milan  to  re- 
ceive him  into  the  chorus  of  his  theatre,  because 
he  had  not  voice  enough.  An  engagement 
offered  him  in  a  strolling  troupe,  which  was 
about  to  go  into  Piedmont,  was  the  only  resource 
which  remained  to  him.  On  hLs  arrival  at  Fos- 
sano,  Rubini  sang  the  rdlcx  of  the  first  tenor,  as 
well  as  at  Saluzzo  and  Vcrceil.  In  the  last- 
named  place  he  met  a  violinist  named  Madi, 
with  whom  he  associated  himself  for  the  purpose 
of  giving  concerts  ;  but  their  tour  to  Alexandria. 
Novi,  and  Valenza,  proving  unsuccessful,  thif 
were  compelled  to  return  to  Verceil.  The  mis- 
ery which  he  experienced  in  these  excursion* 
induced  him  to  quit  the  strolling  troupe,  and  go 
to  Milan.  He  could  only  find  there  an  engage- 
ment at  forty-five  francs  a  month,  at  Pavia  ;  but 
the  success  which  he  met  there  was  such  that  he 
was  engaged  for  the  carnival  of  181.5,  at  Brescia, 
where  he  received  one  thousand  fianc*  for  three 
months.  This  price  was  doubled  iji  the  follow- 
ing spring,  for  the  theatre  San  Mo>c,  at  Venice, 
and  finally  Barbaja  engaged  him  Jor  the  theatre 
Fiorentini,  at  Naples,  at  eighty-four  ducats  a 
month.  After  a  year  Barbaja  wished  to  dismiss 
Rubini,  although  he  had  obtained  the  favor  of 
the  public,  and  only  consented  to  retain  him 
on  condition  of  reducing  his  salary  to  seventy 
ducats.  The  singer  could  have  obtained  more 
advantageous  situations  elsewhere,  tiut  he  wished 


I 


834 


RUB 


ENCYCLOPEDIA   OF   MUSIC. 


RUB 


to  remain  in  Naples,  where  he  received  useful 
lessons  from  Nozzari.  Still,  in  subscribiiii^  to  the 
hard  conditions  of  the  manager,  he  said  to  liim, 
with  the  confidence  of  an  artist  wlio  knew  his 
real  worth,  and  what  he  was  one  day  to  become, 
"  You  profit  by  the  advantage  which  my  posi- 
tion gives  you  ;  but  I  will  catch  yo\i  later."  He 
was  not  deceived  ;  some  operas  written  for  him 
in  181G  and  1817,  the  jirofound  impression  which 
he  produced  at  Home  in  the  "  Ga:za  Latlra," 
the  brilliant  success  which  he  obtained  at  I'aler- 
mo,  and  after  his  return  to  Naples,  caused  his 
com))i-nsation  to  be  raised  to  a  considerable  sum. 
In  \H2i')  he  apjicarcd  at  I'aris  for  the  first  time  ; 
making  his  dihut  on  the  Gth  of  October,  in  the 
r6le  of  Uamiro,  in  "  I^t  ('nu-rcnlo/a."  The  charm 
of  bis  voice ;  his  style,  peculiar  to  himself, 
wliich  he  has  borrowed  from  no  school  ;  his  rare 
elegance  of  vocalization,  and  ornaments  in  the 
best  taste,  made  his  triumph  sure.  "  La  Donna 
del  Lai/o,"  "  I.a  Gazza  I^itlra,"  and  "  Otelto," 
consolidated  his  reputation,  and  made  the  jour- 
nalists of  that  day  give  him  the  title  of  the 
"king  of  tenors."  liabnja,  who  had  yielded 
Rul  ini  %■•>  the  management  of  the  Italian  thea- 
tre at  I'aris,  recalled  him  at  the  end  of  six 
months.  After  his  return  to  Najjles  in  18'2fi,  he 
wa-;  Bent  to  Mian,  and  then  to  ^'ienna,  where  he 
had  already  been  in  1824.  In  this  intei-val  Uel- 
lini's  "  II  Virata  "  and  "  La  Snunambula,"  as 
well  as  Donizetti's  "  Anna  liolena,"  had  at  last 
given  to  llubiiii  the  kind  of  music  which  suited 
best  his  talent  and  organization,  and  in  which 
he  showed  himself  much  superior  to  what  he  had 
been  in  the  operas  of  liossini.  Uelliiii  and  Rubi- 
ni  seemed  to  have  been  born  for  each  otlier,  and 
for  their  mutual  glory  to  be  inseparable.  It  is 
from  this  time  (182t;)  that  the  incontestable  supe- 
riority of  Kubini  in  his  special  walk  bears  date. 
In  the  works  already  cited,  lie  made  use  of  the 
frequent  contrast  oi  piano  and  forte,  which  is  the 
distinctive  characteristic  of  his  style,  which  he 
perhaps  abuses  by  too  fretjuent  use,  but  by  means 
of  which  he  excites  the  most  lively  emotions. 
It  is  his  individual  miu-k.  and  it  is  by  this  that 
he  has  created  a  manner,  of  which  the  imitators 
are,  unhappily,  far  inferior  to  the  model  which 
he  has  given. 

Up  to  the  year  1831,  Rubini  had  been  in  the 
pay  of  Barbaja,  who  had  been  obliged  to  increa-e 
his  salary  to  sixty  thousand  francs.  Free,  now, 
from  all  engagements,  Kubini  returned  to  Paris, 
where  he  excited  the  most  lively  enthusiasm  in 
"II  J'irata,"  "Anna  liolena,"  "La  Sonnamhula." 
and  the  other  works  of  his  new  re/iertoire.  From 
this  time  he  sang  every  year,  alternately,  si.\ 
months  in  Paris,  and  the  other  six  either  in 
London  or  at  the  Engli.sh  festival!*,  with  the 
exception  of  the  summer  of  1838,  in  which  he 
went  to  Italy,  and  to  his  native  place,  Bergamo. 
Ilis  reputation  increa-sed  from  day  to  day,  and 
his  success  has  caused  him  to  be  recognized  as 
the  first  tenor  of  his  time.  His  wealth  suqias,se<l 
that  of  all  singers,  even  those  whom  fortune 
has  most  favored.  In  the  first  year  alter  his 
engagement  with  Barbaja,  he  made  one  h\in(lred 
and  twenty-five  thousand  francs;  since  which 
time  his  annual  income  has  exceeded  two  hun- 
dred thousand  francs,  and  the  total  of  his  tor- 
tune  is  upwards  of  two  millions  and  a  half. 
Rubini  raarrietl,  in  1819,  Mile.  Chomcl,  a  French 

eantatiicc,   who   liad    some  success   at   Naple«>,  '  audience  so  dec;>ly ! 

83d 


under  the  name  of  Comelli.  f>he  sanf;  in  I.iOn- 
don,  in  1831,  with  her  husband,  in  " //  I'irata,'' 
which  wa*i  the  last  season  that  she  sang  in  public. 
She  wa.s  born  at  Paris  May  31,  179L 

"  Rubini's  voice,"  says  a  recent  critic,  "  is  a  ten- 
or, in  the  full  sense  of  the  word.  It  begins  from 
E,  and  rises  in  p<tto  notes  to  B  above  the  lines  ;  it 
continues  in  di  tistu  notes  to  the  F, ever  in  an  in- 
tonation of  perfect  justness  and  evenness.  Thus 
the  scale  which  it  runs  over  is  of  two  octave* 
and  one  note.  But  that  is  hut  its  ordinary  com- 
pass ;  for  we  have  heard  Rubini,  in  Donizetti's 
"  Roberto  Decerettx,"  leap  even  to  (j.  Ho  had, 
indeed,  never  a.scendcd  so  high  ;  and  he  himself, 
after  that  tour  deforce,  appeared  a.stoiiished  at  th« 
feat. 

"  So  much  for  its  extent.  As  for  its  power,  it 
has  not  been  below  what  the  strongest  dramatic 
expression  may  reciuire  from  a  singer.  BvU  this 
strength,  however  great,  never  offends  the  ear  by 
too  rough  bursts.  His  voice  is  enveloped,  a.s  it 
were,  in  a  light  gauze,  which,  without  interfer- 
ing with  the  most  rapid  lea;)s,  softens  the  asperi- 
ties almost  always  insoparaljlo  from  an  energetic 
vibration.  Hence  the  unspeakable  sweetness 
and  charm  which  spread  round  the  singer  when 
he  utters  pa.s.sages  of  sorrow  and  tenden>esj<.  It 
is  of  him  that  one  may  say,  without  exaggera- 
tion, that  be  has  tears  in  his  voice. 

"  We  willingly  acknowledge  that  nature  comes 
in  for  a  large  share  in  those  (jualities  so  rare  and 
so  precious ;  but  what  art  has  added  is  immense. 
One  of  the  wonders  of  that  art  is  revealed  in  the 
transitions  from  the  chest  to  the  head  voice,  and 
vice  versa.  When  he  has  reached  the  limit  of  the 
chest  register,  E,  for  instance,  the  change  in  en- 
tering the  head  voice  is  effected  so  marvellously 
that  it  is  impossible  to  seize  the  moment  of  the 
transition.  Another  of  those  wonders  is  that, 
gifted  with  very  broad  lungs,  and  which  respire 
a  large  quantity  of  air,  he  measures  his  respira- 
tion with  so  much  dexterity  that  he  loses  of  his 
breath  but  just  what  is  required  to  prod\ice  the 
sound  proportioned  to  the  value  of  the  notes. 
His  manner  of  drawing  breath  is  aNo  one  of  the 
secrets  of  art  for  which  it  is  impossible  to  account. 
He  so  cleverly  dissembles  the  artifice  of  respira- 
tion, that,  in  the  longest  passages,  one  cannot 
perceive  the  moment  when  his  breath  is  renewed. 
To  explain  such  a  phenomenon,  he  must  fill  and 
empty  his  lungs  almost  instantaneously,  and  with- 
out the  least  interruption,  as  would  be  the  eas? 
with  a  cup  which  one  emptied  with  one  haiul  and 
filled  with  the  other.  It  may  he  easily  imagined 
what  advantage  a  singer  must  derive  from  such 
a  facultv,  which  he  is  as  much  indebted  for  to 
nature  as  to  practice.  By  this  means  he  can 
impart  to  his  phra.ses  a  brilliant  and  varied  color, 
for  his  organ  retains  in  its  graduation  the  strength 
ne<"essary  for  commencing,  pursuing,  and  ending, 
without  any  interruption,  the  longest  periods. 

'•  Tliere  are  those  who,  after  w-eing  Kubini,  will 
tell  you  that  he  is  a  cold  and  stiff  actor,  if  they 
do  not  even  add  that  he  is  no  actor  at  a\\.  This 
is  another  error  that  it  is  ea^y  to  di.spcl.  Thi< 
immobility  he  is  reproached  with,  is  the  neecs- 
sary  con^-cniuence  of  his  manner  of  singing.  Be- 
hold Kubini  in  those  famoui  ndaii  ■«,  when,  mo- 
tionless, and  his  bead  inclineil  backw.irds,  to 
open  to  sound  a  broa<ler  pavsage,  he  mis«s  that 
harmonious  and  limpid  voice,  which  moves  the 
"n>e  slightest  motion '.f  the 


RITC 


ENCYCLOPEDIA    OF   MUSIC. 


1  tTL 


hody  would  produce  a  waving  in  that  voice  which  I  nasio  Ripapnol  de  Madrigalen  y  ViUancicos,  d  qmitro. 


i«  of  itself  so  Pure,  and  dc])rive  it  of  that  even 
iiess  and  finish,  whose  charm  is  unspeakable. 
It  is  his  voice  that  weeps,  and  makes  you  weep  ; 
you  are  moved  —  you  feel  enraptured  ;  Talma 
himself,  with  his  admirahle  mimic  powers,  did 
not  jiroduce  more  stirring  effects. 

"  Such  are  the  various  ajipects  under  which  this 
great  singer  presents  himself.  Nature  and  art 
have  combined  to  render  him  a  real  phenome- 
non. His  voice  is  strong,  sweet,  just,  and  even  ; 
it  is  nature  which  has  made  it  thus,  and  nature 
never  ])roved  more  liberal.  His  method  is  a  per- 
fect one,  because  it  is  founded  in  truth  and  the 
most  exquisite  taste.  Rubini  has  carried  scien- 
tific singing  to  perfection  ;  lie  docs  better  all  that 
was  done  before  him,  and  art  is  moreover  indebt- 
ed to  him  for  many  innovations  which  have  al- 
ready enriched  all  methods.  Thus,  to  mention 
but  one,  Kubini  has  been  the  first  to  introduce 
into  song  those  vigorous  aspirations  which  con- 
sist in  protracting  a  sound  upon  the  same  note 
before  the  solution  of  the  cadence.  This  shake 
imparted  to  the  voice,  this  sort  of  musical  sob, 
ever  produces  a  great  effect,  and  there  is  now  no 
singer  that  does  not  strive  to  imitate  it. 

"  Yet,  as  nothing  in  the  world  is  quite  perfect, 
Rubini  likewi.se  pays  his  tribute  to  human  nature. 
In  our  opinion  he  is  too  negligent  in  his  manner 
of  delivering  a  rccitatiio.  Then,  again,  in  fiii.icm- 
ble  pieces,  he  does  not  even  take  the  trouble  to 
sing ;  and  when  he  conde.scends  to  open  his  lips, 
it  is  to  remain  completely  silent.  One  may  say 
that  Rubini  docs  not  exist  in  ensemhk  pieces. 
He  likewise  often  sings  with  his  chest  voice.  It 
is,  perhaps,  to  these  naXce  artifices  that  Kubini  is 
indebted  for  the  so  complete  preservation  of  his 
organ,  which  is  now  as  fresh  as  in  his  most 
3'outhful  days  ;  but  it  is  not  the  less  true,  that 
bj'  that  excessive  laziness  he  may  endanger  the 
dramatic  conception  of  the  composer,  and  para- 
lyze the  exertions  of  his  comrades.  We  have 
said  nothing  of  Rubini's  private  character,  for 
our  object  was  the  artist  only  ;  but  wo  cannot 
dismiss  this  brief  sketch  without  doing  justice  to 
his  generous  feelings,  the  simplicity  of  his  hab- 
its, and  the  kindness  of  his  heart.  All  his  com- 
rades, and  all  who  have  liad  opportunities  of 
knowing  him,  will  bear  witness  to  his  eminent 
qualities  both  as  an  artist  and  as  a  man  of  the 
world." 

Rubini  is  still  living,  in  18.54,  in  princely  re- 
tirement, in  the  neighborhood  of  Milan,  having 
lor  some  years  retired  from  the  stage. 

RUCKUXG.    (G.)     Syncopation  in  melody. 

RUDIMENTS.  The  first  elements  or  princi- 
ples of  music.  Those  who  desire  a  more  con- 
nected explanation  of  the  rudiments  of  music 
may  find  all  they  wish  in  '•  Moore's  Rudiments," 
now  (18.51)  jjublishing,  with  "  Progressive  Exer- 
cises to  be  written  upon  Slates."  This  work  also 
embraces  the  "  Grammar  of  Music,"  and  a 
"  Treatise  upon  Counterpoint." 

RUE,  PIERRE  DE  I, A.  One  of  the  most 
voluminous  coinpo.sers  of  the  sixteenth  century 
was  Pierre  de  la  Rue,  or,  as  he  was  sometimes 
called,  J'ffnis  I'latennis.  He  re-sided  chiefly  in 
Germany,  and  was  in  great  favor  with  Prince 
Albert  and  the  I'rincess  Isabella  of  the  Low 
Countrias.     He  published,  at  Antwerp,  "  AV  J'nr- 


cinco,  y  seis  Voces,"  besides  several  masses  and 
motets  to  Latin  words. 
I  Many  of  his  compositions  are  still  extant  in  the 
"  Collection  of  Masses  and  Motets  "  preserved  in 
the  Uritish  Museum,  some  of  which  we»-e  pub- 
lished early  in  the  sixteenth  century,  immedi- 
ately after  the  invention  of  musical  types.  He 
was  a  very  learned  and  e.xcellent  contrapuntist. 

I      RUETZ,  (lASPARD,  a  musician  and  learned 
author  of  Lubec,  was  born  at  Wismar  in   170S. 
His  father  was  a  jiupil  of  the  celebrated  Buxte- 
hude,  and  taught  his  son  the  elements  of  music 
and  harpsichord  playing,  whilst  he  learned  from 
I  Wilken  the   flute,  hautboy,  and  violin,  and  from 
[  Holken  the  organ.     In  17 ■il  he  obtained  the  situ- 
ation of  chanter  at  Lubec.     His  death  took  place 
in    17-5.5.      He    wrote   the   following   works   on 
music  :  "  Wiederleiite  Vorurtluile  vo/n  Urspruu^e  dcr 
Kirchenmusic,   ixc.,"  (i.  e.,  "  Ref\itation  of  exist- 
ing Prejudices  as  to  the  Origin  of  Church  Music,") 
Lubec,  1750;    "  Refutation  of  existing  Prejudices 
as  to  the  present  State  of  Church  Music,"  Lubec, 
17.52;    and    "Refutation    of  e.xisting  Prejudices 
j  against  Church  Music,  and  the  Expenses  which 
j  it  requires,"  Rostock  and  Wismar,  17-5:?.     These 
I  three  dissertations  are  considered  the  best  which 
I  have  been  written  on  the  same  subjects. 

RUFFO,  VINCENZO.  An  Italian  contra- 
puntist of  the  sixteenth  century.  Amongst  his 
works  are  the  following  :  "  Madrijali  d  o  voc. 
Lib.  1,"  Venice,  1;5.5.3  ;  "  Madrigali  Cromatici  A  6, 
7,  dvoci,"  Venice,  1.551  ;  "  Madiiyali  Cromatici  d  o 
voc,"  Venice,  15)5,  1558;  "Madrigali  Cromatici 
d  A  voc,"  Venice,  1555,  15G0  ;  "II  Libra  Prima 
de  Motetti  n  6  i-oci,"  Venice,  1583  ;  and  "  II  Libra 
Prima  de  Motetti  n  5  vaci." 

RUGGERI,  GIOVANNI  MARIA,  a  vocal 
and  instrumental  composer  at  Venice,  published, 
amongst  others,  the  following  highly  esteemed 
works  :  "  Mariane,"  opera,  1696 ;  •'  Miltiade," 
opera,  IG99  ;  "  Amor  pur  I'endeita,"  ojicth,  1702; 
"  Arato  in  Sparta,"  opera,  1709;  "  Armida  abban- 
donata,"  opera,  1710;  "12  Cantale  con  e  acnza 
v.,"  Op.  5,  Venice,  170G ;  and  "  donate  a  2  V.  e 
Vc,"  Op.  4. 

RUGGERIO,  FR.\NCESCO.  a  celebrated 
maker  of  violins  at  Cremona,  was  called  Jl  licer. 
lie  lived  tow.irds  the  middle  of  the  seventeenth 
century.  Two  of  his  violins,  sold  in  1790,  bore 
the  dates  1640  and  1670. 

RUGGERIO,  GIOVANNI  B.,  called  //  Bm. 
was  a  celebrated  violin  maker  at  Bri.xia  about  the 
year  1653. 

RUHEPUNCT.  (G.)  A  point  of  repose  in 
melody  ;  a  cadence. 

RUIMONTE,  P.  DE,  a  native  of  Saragossa, 
was,  in  16J0,  chapel-master  to  Prince  Albert, 
governor  of  the  Pays  B;vs.  He  published  a  work 
entitled  "  II  Pamassa  l^fmmd  de  Madriijalles  y 
VilUiiicicos,"  and  two  books  of  masses  and  mo- 
tets. 

RULED  PAPER.  Paper  on  which  the  atava 
arc  ruled  for  receiving  the  written  notes  of  any 
composition.  Formerly  this  paper  was  wholly 
ruled  bv  hand,  and  by  common  quill  pens,  the 
tedious  operation  of  which  was  aflcrwanis  super- 
seded by  the  invention  of  five-pointed  pens  mad« 


836 


RUL 


ENCYCLOPEDIA    OF    MUSIC. 


Rua 


of  brass.  At  present,  however,  the  still  more 
expeditious  method  of  ruling  the  paper  with  a 
machine  is  goncrally  adopted. 

RUI.OFFS,  or  HOELOFFS.  BARTH.,  orRnn- 
ist  and  conductor  of  the  theatrical  orchestra  at 
Amsterdam,  was  born  in  that  city  in  1740.  He 
was  considered  a  p;ood  vioiinist  and  composer, 
sud  had  also  merit  as  a  poet.  He  pro<hu'cd  many 
works  for  the  Dutch  theatre,  of  some  of  which 
he  wrote  both  the  poetry  and  music. 

RUSO,  AlilJK,  horn  at  Dijon  about  the  year 
1700,  was  master  of  the  choristers  in  the  church 
of  Tournay,  and  died  in  17')  1.  Some  of  liis  print- 
ed ma.sses  are  highly  esteemed. 

RUSO,  FUKD1:HIC.  violoncellist  oi  the  Chaix-l 
Royal  of  Frai.co,  was  born  at  Versailles  in  17t).). 
He  was  a  pupil  of  the  younger  Duport,  and  en- 
tered the  orchestra  of  the  Royal  .Vcademy  of  Mu- 
sic in  1787.  He  was  also  a  singing  master  of  high 
repute,  and  published  several  operas  of  vocal  and 
instrumental  music. 


Russian  ;  as  d  la  lituse,  in  the 


RUSSE.     (F.) 
Russian  style. 

RUS.SELI..  WII-I.LVM,  bachelor  of  music,  was 
born  in  liOndon  in  tlie  year  1777.  -Vt  the  age  of 
eight  lie  was  placed  under  the  tuition  of  Cope, 
organist  of  the  Church  of  St.  Savior,  South- 
wark  ;  but  his  father,  being  jiartial  to  cathedral 
music,  engaged  also  Shrubsole,  the  ori;anist  of 
Spa  F'ields  t'hapel,  wl;o  had  formerly  been  in  the 
cathedral  of  Canterbury,  and  the  organist  at 
l?ani;or,  to  instruct  his  sou  in  cathedral  service. 
Afterwards,  as  a  sort  of  tinishing  master,  he  was 
put  under  (iroomhridge,  the  organist  of  Hackney 
and  of  the  Church  of  St  Stephen  in  Coleman 
Street ;  with  bim  lie  continued  about  two  years. 
Russell  then  lelt  offall  masters  till  the  year  1797, 
when  he  placed  himself  for  about  three  years 
under  Dr.  Arnold. 

An  ardent  and  laudable  desire  to  attain  emi- 
nence in  his  profession  tirst  led  Kussell  to  exam- 
ine the  writin;;s  of  Haydn  and  Mozart  ;  and  it 
was,  perh:iiv«,  in  a  great  measure,  from  an  atten- 
tive study  of  their  scores  that  he  might  date  his 
great  knowledge  and  excellence  in  the  art,  both 
as  a  performer  and  composer. 

In  the  year  17S9  his  father  appointed  him  his 
deputy,  as  organist  of  St.  Mary's,  .Vldcrmanbury, 
and  he  continued  to  otticiatc  there  till  the  autumn 
of  179;>,  when  he  was  appointed  organist  of  CJueen 
Street  Chapel,  in  Lincoln's-Inu-Fields.  At  the 
time  that  he  was  engaged  in  this  chapel,  a  cathedral 
service  was  performed  there  by  a  small  but  very 
respectable  choir.  Russell  continued  in  this  en- 
pagement  till  the  middle  of  179S,  vvhen  the  cha])cl 
W!is  converted  into  a  Mcthotli.->t  meeting  house. 
He  then  returned,  tor  about  three  months,  to  St. 
Mary's,  Aldermanbury,  till  Septcml)er  of  the  same 
vear,  when  he  wiv»  elei-ted  organist  of  St.  Ann's, 
Limehouse.  In  1801  he  wius  unanimously  elected 
orgiinist  of  the  Foundling  Chapel.  In  the  year 
1798  he  was  a  candidate  with  six  others  for  this 
hituation,  at  the  roignation  of  lirenvillo  ;  but, 
owing  to  the  powerlul  interest  that  had  been 
made  for  the  j)erson  who  succeeded,  his  wishes 
were  at  that  time  Irustrated.  In  1807,  induced 
ihietly  by  the  excellence  of  the  organ,  which  was 
not  only  the  largest,  but  one  ot  the  tinest  in  Eng- 
land, he  offered  himself  a  candidate  for  the  place 
oi  orgauist  at  Christchurch,  SpitalUelds.     Hw  was 


oppo.sed  by  no  fewer  than  ten  rivals;  yet  such 
were  his  fame  and  excellence  as  a  perlormer  upon 
tliLs  instrument,  that  although  he  was  personally 
unknown  to  every  person  in  the  parish,  exce;)t 
one,  be  was  only  outnumbered  in  votes  by  the 
person  who  succeeded,  and  for  wliom  exertions 
had  l)een  made,  and  promises  of  votes  obtuinc<l, 
for  several  years  betore. 

With  respect  to  his  theatrical  engagements, 
Russell's  eiitrie  was  (at  the  recommendation  of 
his  friend  and  master.  Dr.  Arnold)  as  piano-forte 
player  and  composer  at  Sadler's  Wells,  in  the 
year  1800.  He  continued  to  hold  the.se  situations 
for  lour  seiL-ons,  till  a  change  of  |)roprietors  took 
l)lace,  and  Reeve  purchased  an  eighth  in  the  con- 
cern, after  which  liis  services,  of  course,  were  no 
longer  wanted.  In  1801  the  managers  of  Covent 
Ciarden  Theatre  engaged  him  to  preside  at  the 
piano-forte  there,  for  the  express  purpose,  as  they 
stated  to  him,  of  accompanying  Mrs.  Uillington, 
Storacc,  and  liraham. 

Russell's  theatrical  comj)Ositions  are  numerous, 
but  consist  chietly  of  dramatic  spectacles  and  jian- 
tomimes.  They  amount,  in  tl»e  whole,  to  about 
twenty,  and  were  principally  written  for  Covent 
Garden,  Sadler's  Wells,  and  the  Circus.  He 
composed,  also,  two  oratorios  :  "  The  Redemption 
ot  Israel,"  and  "Job,"  and  four  ode.s,  one  ou 
music,  another  to  the  genius  of  Handel,  a  third 
on  St.  Cecilia's  day,  and  a  fourth  to  harmony, 
besides  several  voluntaries,  glees,  and  single 
son„s. 

As  a  composer  Russell  had  great  excellence ; 
and  it  is  only  to  be  wished  that  the  managers  of 
Covent  Ciarden  had  put  into  his  hands  things  of 
greater  importance  tl\an  pantomimes.  As  a  per- 
former on  the  piano-forte  and  organ,  he  had  few 
etjuals.  He  died  in  the  year  1813,  aged  thirty- 
sLx. 

RUSSELL,  HENRY.  An  Englishman,  who  has 
acquired  considerable  reputation  in  this  country 
as  a  singer  of  ballads  and  similar  music,  mostly 
of  his  own  composition. 

HUSSLVX  MUSIC.  The  Russians  are  a  mu- 
sical people ;  they  pos,sess  a  great  number  of 
national  songs,  which,  at  tirst  hearing,  are  not 
without  a  certain  charm  ;  but  they  have  the  fault 
of  being  all  formed  on  the  same  model,  which 
gives  them  a  monotonous  tinge,  by  which  one  is 
soon  fatigued.  But  a  more  complicated  kind  of 
music  could  not  be  executed  on  the  IxiUilaika,  the 
only  instrument  by  which  the  Russian  iitouijik  is 
accompanied.  .V  piece  of  wood,  rudely  shaped, 
naiTower  and  more  Hat  than  the  guitar,  furnished 
with  three  strings,  has  neither  gieat  resources 
nor  very  attractive  charms.  Mililiury  music  ia 
generally  very  good  in  Russia,  the  intonation  of 
the  horns  and  trumpets  being  peculiarly  remark- 
able. A  sort  of  music,  peeuliar  to  Uussia.  remains 
to  be  mentione<l.  It  is  produced  by  a  kind  of 
tubes,  which  give  but  one  note  each.  Such  an  or- 
chestra, to  be  effective,  must,  of  >  ourse.  In:  very 
numerous ;  but  the  etfect  is  admirable.  The 
sound,  better  supplied  than  that  of  any  other 
wind  instrument,  may  bo  swelled  and  diminished 
at  pleasure,  and  thus  joins  lone  to  exprcviion 
This  music,  which  is  sufKcicntly  rare  in  Ku.s.-«ik, 
is  in  great  reipiisition  at  the/i''<ji .  it  is  generally 
playe<l  in  a  garden,  and  the  etfert  proclaco.l  at  ■ 
great  distance,  ou  a  delightful  Ruaaiou  uight,  U 
wondcrfuL 


S37 


Kas 


enc"sclop.i:dia  of  music. 


RYS 


Rl'ST.  FRIEDUICH  WILHEI^M,  leader  of 
tie  band  of  the  rrince  of  Aiihiilt- Dessau,  was 
D'lrn  ill  17-'J'J.  He  wiis  a  cclubnited  performer 
from  his  childhood,  both  on  the  harpsichord  and 
Violin.  He  published  niHuy  vocal  and  instru- 
mental works  between  tlie  year  17(it5  and  his 
death,  which  took  place  at  Dessau  in  1796. 

UUSTIC  SONG.  A  song,  the  words  of  which 
arc  on  n  rural  subject,  and  tlic  melody  rude  and 
familiar. 

RUST,  RUSTI,  or  RUAT,  GIACOMO,  chap- 
el-master at  IJarcclona  about  the  year  1767,  was 
born  at  Rome  in  17-41.  He  studied  music  and 
composition,  first  at  the  Conservatory  Delia  Piet.i, 
and  then  at  Rome,  under  the  Chapel-master  Ri- 
naldo,  of  Capua,  lie  ne.\t  removed  to  Venice, 
where,  in  1764,  he  gave  his  first  opera,  entitled 
"  La  ConUuliiui  in  Corte."  After  obtaining  his 
rhajiel-raaster's  situation,  he  produced  the  fol- 
lowLn<i  operas  :  "  Idolo  Cinese,"  1774;  "  Amur  Bi- 
:arro,  1775;  "  Akssandro  neW  Indie,''  1775; 
"P.  J*vo«  di  teUa  asciutta,"  1776;  " //  Socrale 
I^tm^  trio,"   1776;    "  Jl   Oiov.,"   1776;   "/    due 


ProMli,"  1777;  "  Artaserse,"  op.  ser.,  Modena, 
1734;  and  " //  Taliimano,"  second  act  only,  Mi- 
lan. 1785.     Rust  died  about  the  year  1787. 

RUTINI,  GIOVAXXI  TLACIDO,  a  Floren- 
tine composer,  born  about  the  year  1730.  He 
first  travelled  through  Germany,  and  about  1757 
was  established  at  Prague.  In  1766  he  returned 
to  Italy,  and  then  produced  at  Modena,  and  other 
cities  of  that  country,  several  operas  of  hLs  com- 
position, amongst  which  are  the  following  three : 
"  Gti  Sposi  in  Slaschera,"  Modena,  1760;  "Amor 
Induntrioao,"  1705  ;  and  "  Vohrjeso."  During  his 
residence  in  Germany  several  of  his  works,  for 
the  voice  and  harpsichord,  were  published  a1 
Nuremberg  and  Leipsic. 

RYST,  HERMAXN  VAN  DER,  founder  of 
the  College  of  Music  of  St.  Cecile,  near  Dieste, 
in  the  Netherlands,  was  born  in  that  town  about 
the  year  1550.  He  was,  during  twelve  years, 
member  of  the  chapel  of  the  Duke  of  Bavaria,  of 
which  the  celebrated  Orlando  Lasso  waa  then 
chapel-master 


838 


ENCVCLOr.EDIA    OF    MUSIC. 


SAC 


s. 


S.     Tliis  letter  is  used  as  an  abbreviation  of  I      SACCIIINI.  ANTONIO  MAIIIA  (iASl'AUO 
Solo ;  as,  on/.  S.,  ors»nn   solo.     It    is   sometimes     This   celebrated    Italian    composer  was   boni    at 


used  thus,  (:  S:),  with  dots  ou  each  side  of  it,  to 
mark  a  niieat ;  but  more  generally  thus,  :  $  : . 

SAAL,  .\NTON  \V.  C.  Harpist  to  the  Duke 
of  Meckleriburg-Schweriu,  and  composer  for  liis 
instrument,  since  the  year  179.5. 

SAUADINI,  UEKNAUDO,  a  distinguished 
Venetian  composer,  was  chapel-master  of  the 
jathedral  and  court  of  I'arma.  The  following 
jf  his  works  are  known:  "  Facore  ilei/li  Dii;" 
•Gloria  W  A  more."  UiDO  ;  "  Eraclea,"  KiOli;  and 
•'  /  Disei/iii  ilella  Diciiui  Sipienza,"  oratorio,  1698. 

SAUHATINI,  P.  LUD.  ANT.,  commonly 
called  ^iMiiliiii  of  I'ailim,  was  a  pupil  in  coun- 
terpoint of  Padre  Martini,  as  also,  probably,  of 
P.  Valloti,  wlioiu  he  succeeilcd  as  chapol-ma>tcr 
of  the  Church  of  St  .\nthony  at  Padua.  He 
published  several  theoretical  and  practical  works, 
namelv:  '• -V  Treatise  on  Chords,  according  to 
the  Classitication  of  Fundamental  Bass:"  this 
book  is  entitled,  in  Italian,  "  La  vera  IiUa  (Ifl'e 
Mtmicali  .\uiiieric/ie  Sc/iiaturt;"  Venice,  1799  ; 
'  Treatise  on  Fugue,"  in  two  volumes,  with  many 


Puzzuoli  in  173-1.  In  early  youth  he  studied, 
during  several  years,  under  the  renowned  Du- 
rante, at  the  Consen-atory  of  St.  Onofrio,  at  Na- 
ples, where  Piccini,  Traetta,  and  (iuglielnii  were 
his  fellow-students.  He  there  prosecuted  l.is 
studies  on  the  violin  with  particular  care;  and 
the  dexterity  which  he  aojuired  on  this  instru- 
ment gave  him  that  facility  of  throwing  \  certain 
elegance  and  iclat  into  his  ac  companimeuts  which 
was  afterwards  so  cons|)icuou8  in  his  compo- 
sitions. After  quitting  this  exccl'ent  school,  ho 
was  not  long  in  making  himself  knoun  bv  his 
works,  the  celebrity  of  which  ])rocured  him,  in 
17')2.  an  engagement  as  composer  to  the  princi- 
pal theatre  at  Rome,  where  he  chiefly  resided 
during  seven  or  eight  yenrs,  makini;,  however, 
occasional  excursions  to  the  principal  towns  of 
Italy  for  the  purpose  of  bringing  out  his  works. 
The  Italian  connoisseuis  seemed  now  to  agree 
that  if  Piccini  had  the  advantage  of  .S  icehini  in 
the  buffo  style,  the  latter  certainly  excelled  in  the 
serious  opera.  In  17t)9  he  was  chosen  successor 
to  Ualuppi,  in  the  direction  of  the  ( 'onservatory  of 


examples   from  the  works  of   P.  Valloti.  Venice,  !  L'"^!'^''''';"""^  ^'«"V«,    This  institution  wasen- 
,o,>,  .     ..  L-i  ,.     J ;...■    .    <.-.     ./;     If....;...  •■     tirely  tor  temales,  and  the  girls,  who  were  sevcre- 


1801  ;  "  EUinoiiti  teoriri  e  pratiei  ili  Mn-siai, 
Uome,  1790  :  this  is  a  solfeggio,  the  rules  and 
lessons  of  which  are  in  canons ;  the  "  2.5  Stlmi 
(it  benedvtio  Marci-Un,"  a  new  edition.  ])ublished 
in  1803,  \i\  conjunction  with  P.  .Vnselmo  Mar- 
sand  :  of  Sabbatini's  part  in  this  edition  it  is  said 
on  the  title,  "  //  (jimU  ha  riilotlo  il  te.iln  a  modema 
ieltura  ;  "  and  of  Marsand"s  part,  "  Da  ciii  fa  or- 
relta  e  rn^rrelta  la  ttanipa."  Sabbatini  has  al-o 
composed  a  great  variety  of  music  tor  the  church, 
which  chiefly  remained  in  manuscrij)t.  He  died 
at  Padua  in  1309.  .\t  the  funeral  service  of  Jo- 
melli,  a  grand  mass  by  Sabbatini  was  performed. 

SABH.VTINI,  GALE.VZZO,  of  Pisaro.  was 
an  excellent  theoreticid  and  practical  musician. 
Amongst  other  works,  he  published  at  Venice, 
.n  llHl,  "  llri/ola  /iiti'e  brere  per  saoimre  topra  it 
Uaaao  ( 'untiniio  iitlC  Ori/ann,"  Ike.  A  second  edition 
of  this  work  appeared  at  Home  in  1699. 

SABECA,  or  SAMBUCA.  An  instrument 
rendered  sackbiu  ;  but  it  is  more  probable  that  it 
was  a  large  stringed  instrument  resembling  the 
harp. 

SABINO,  HIPPOI.ITO.  An  lulian  com- 
poser, chiefly  of  madrigals,  which  were  published 
at  Venice  between  the  years  1670  and  1.584. 

SACCIII.  D.  GIOVENAI.E,  canon  of  the 
Church  of  St.  Paul,  and  member  of  the  Royal 
Academy  at  Mantua,  was  considered  as  an  excel- 
lent musical  theorist.  He  dietl  at  Milan,  where 
he  was  profes.sor  of  eloquence  at  the  College  of 
Nobili,  in  1789.  He  wrote  several  works  on  mu- 
sical subjects,  published  at  Milan  between  the 
years  17(51  and  1778. 

SACCHI,  SIGNOR-A..     See  Sciilick. 


ly  disciplined  with  rejard  to  morals,  generally  re- 
mained thi  re  till  they  married.  It  was  an  object 
ot  curiosity  to  strangers  who  atlemled  their  con- 
certs, not  only  to  hear  all  kinds  of  female  voices, 
but  al.so  all  sorts  of  instruments  played  by  fe- 
males, without  the  exception  even  of  the  double 
bass,  horn,  or  bassoon.  During  the  time  that  .Sac- 
chini  was  director  of  this  institution,  he  formed 
a  great  number  of  good  singers  in  it ;  among 
whom  may  be  distinguished  (iabrlelli,  Canti,  and 
Pas(iuali.  In  ()ctol)er,  17'>7,  the  Kiig's  Theatre 
in  London  was  opened  with  a  new  serious  o|)era, 
by  different  com))osers,  called  "  Ti'/rnur,"  in  whii-h 
an  admirable  cantabilc  air,  composed  by  Sjicchini, 
was  sung  in  an  cxciuisitc  manner  by  (iuarducci. 
This  air  was  the  first  of  Sncchini's  compositions 
ever  ])erfonue<l  on  the  English  stage.  Five  years 
after  thi.s,  namely,  in  177'2,  Sacchini  himself  went 
to  P^ngland,  where  he  not  only  supported  the 
high  reputation  he  had  acquired  on  the  conti- 
nent, b\it  vanquished  the  natural  enemies  of  hi^ 
talents  in  England.  His  o|>cras  of  the  "  Ciil "  and 
"  Tami-rlaao  "  were  e<{ual,  if  not  su|)erior,  to  most 
of  the  musical  dramas  i)erformf(l  in  any  part  of 
Europe  ;  indeed,  each  of  thc>sc  dramas  was  so  en- 
tire, BO  masterly,  and  yet  so  new  and  natural, 
that  there  was  nothing  left  for  criticism  to  cen- 
sure, though  innumerable  beauties  to  point  out 
I  and  admire.  It  is  evident  that  this  compostT  ha<l 
a  taste  so  exquisite,  and  so  tottdly  ixcv  from  i>etU 
antry,  that  he  was  frequently  new  without  effort, 
never  thinking  of  hira»clf,  or  his  fame,  for  any 
particular  excellence,  but  totally  occupied  with 
the  ideas  of  the  poet,  and  the  propriety,  cousi.it- 
ency,  and  effect  of  the  whole  dnuua.  His  accom- 
paniments, though  always  rich  and  ingeniouA, 
never  call  off  attention  from  the  voice,  but  thi 


839 


SAG 


ENCYOLOPiEDIA    OF    MUSIC. 


SAC 


principal  melody  is  invariably  rendered  distin- 
quislinblo  tlirouf;h  uU  the  contrivance  of  imitative 
and  picturesciue  design  in  the  instruments.  His 
dramatic  works,  in  the  year  1778,  amounted  to 
Bevci\ty-ei^ht  in  number ;  and  by  the  many 
masses  and  motets  which  he  composed  while  he 
remained  at  Venice,  in  the  cliaracter  of  Maestro 
ihll'  OipeilaUtt)  Conserratorio,  he  manifested  him- 
self to  be  able  to  write  for  tlie  church  as  well  as 
for  the  stHj^c. 

He  remained  too  long  in  England  for  his  fame 
and  fortune.  The  first  was  injured  by  cabals, 
and  by  what  ou<;ht  to  have  increased  it,  the  num- 
ber of  his  works  ;  and  the  second  by  inactivity 
and  want  of  economy.  •'  Upon  a  difference  with 
Rauz7.ini,"  says  Dr.  Huniey,  "  this  sinj;er,  from  a 
friend,  became  his  foe  ;  declnrin.5  himself  to  be 
the  author  of  the  ]>riiicipal  soni^s  in  all  the  late 
operas    to    which    Sacchini    had    set    his    name. 


parts ;  particularly  a  small  one,  called  by  the 
Italians  tromboiw-piccoh,  and  the  Germans  Kh'ine 
alt  Posaune,  proper  for  the  counter  tenor.  Re- 
Bi)ecting  the  sackbut  of  the  ancient  Hebrews,  so 
various  have  been  the  conjectures  of  commenta- 
tors that  their  opinions  form  no  satisfactory  in- 
formation to  the  curious  inquirer.  Indeed,  scarce 
any  ancient  instrument  has  been  heard  of^  for 
which  the  sackbut,  or  the  psaltery,  has  not  fur- 
nished a  name.  A  well-known  pa-ssage  in  Daniel 
puts  it  out  of  all  doubt  that  music  was 'cultivated 
and  brought  to  a  considerable  degree  of  perfec- 
tion amongst  the  ancients,  if  we  may  judge  by 
the  number  and  variety  of  the  instruments  men- 
tioned in  it,  of  which  the  names  of  two  occur  for 
the  first  time  in  tlie  sacred  writings,  viz.,  the 
sackbut  and  dulcimer.  "  Nebuchadnezzar,  the 
king,  made  an  image  of  gold,  whose  height  was 
threescore  cubits,  and   the  breadth  thereof   si.\ 


and  threatening  to  make  affidavit  of  it  before  a  cubits.  Then  a  herald  cried  aloud,  To  you  it  is 
magistrate."  The  utmost  of  this  accusation  that  '  commanded,  O  people,  nations,  and  languages, 
can  be  looked  upon  as  true,  may  have  been  that, 
during  Sacchir.i's  severe  tit  of  the  gout,  when  he 
was  called  upon  for  his  oi)eras  beiorc  they  were 
ready,  he  emjiloyed  Kauzzini,  as  he  and  others 
had  done  Anfossi  in  Italy,  to  till  up  the  parts,  set 
some  of  the  recitatives,  and,  perhaps,  compose  a 
few  of  the  airs  for  the  under  singers.  The  story, 
however,  gained  ground,  and  was  propagated  by 
his  enemies,  though  always  disbelieved  and  con- 
temned by  his  friends  and  by  the  reasonable  part  of 
the  public.  In  the  summer  of  1781,  Sacchini  went, 
for  the  first  time,  to  Paris,  where  ho  was  almost 
adored.  After  increasing  his  reputation  tliere  by 
new  productions,  he  returned,  in  the  following 
year,  to  London,  where  he  only  augmented  his 
debts  and  embarrassments;  so  that,  in  1784,  he 
took  a  final  leave  of  the  country,  and  settled  at 
I'aris,  where  he  not  only  obtained  a  pension  from 
the  Queen  of  France,  but  the  theatrical  pension. 


that  at  what  time  ye  hear  the  sound  of  the  cor- 
net, flute,  harp,  sackbut,  psaltery,  dulcimer,  and 
all  kinds  of  music,  ye  fall  down  and  worship  the 
golden  image  which  Xebuchadnezzar,  the  king, 
hath  set  up."  There  are  various  conjectures  con- 
cerning the  sackbut  and  dulcimer.  It  is  thought 
that  the  sackbut  was  a  wind  instrument,  formed 
of  the  root  of  a  tree,  and  played  upon  by  stops, 
like  a  flute.  Isadore  considers  it  a  kind  of  flute ' 
or  hautboy,  and  others  have  imagined  it  an  in- 
strument of  four  strings  ;  but,  as  the  word  seems 
to  signify  something  that  may  be  lengthened  or 
shortened,  there  can  be  little  doubt  that  it  was 
what  we  call  the  trombone.  An  ancient  sack- 
but  was  found  in  the  ruins  of  Pompeii,  and  ap- 
pears to  have  resembled  our  modern  trombone, 
which  was  formed  by  the  Italians  from  the  one 
they  discovered  in  the  ashes  of  Vesuvius,  where 
it  had  been  buried  nearly  two  thousand  years, 
in  couscnuence  of  three  successful  pieces.     The  j  Whetlier  the  sackbut  was  ever  lost,  or  only  fell 


last  of  Sacchini's  works  was  the  ojiera  of  "  Eveli 
nn,"  founded  on  an  interesting  event  in  the  his- 
tory of  the  ancient  princes  of  Wales.  This 
graceful,  elegant,  and  judicious  composer  died, 
however,  be;bic  it  could  be  performed,  at  Paris, 
in  178!).  He  was  honored  with  a  public  funeral, 
and  with  every  mark  of  respect  and  distinction 
which  sensibility  and  gratitude  could  bestow  on 
a  person  who  had  contributed  so  largely  to  the 
public  pleasures. 

SACELLUS,  LEO.  Chapel-master  of  the  Du- 
omo  Church  at  Vicenza  in  1600.  Amongst  his 
works  were  publLsheJ  at  .^Vntwerp  •'  Fton-s  2,  3, 
et  4  vocttm,"  1019. 

SACRED  MUSIC.  Oratorios,  church  ser- 
vices, av.theins,  chants,  hymns,  psalms,  and  what- 
ever a  musician  composes  for  the  purpose  of  pub- 
lic worship  or  private  devotion.  j 

SACRIST.     A  person  retained  in  a  cathedral,  I 
whose  office  it  is  to  copy  out  the  music  for  the 
use  of  tlie  choir,  and  take  care  of  the  books.  | 

SACKHUT,  or  SACUUT.     A  brass  wind  in-  ' 
Btrument  resembling  the  trumpet,  so  contrived  as 
to  be  cu])able  of   being  drawn   out  to  different 
lengths,  according  to  the  acutcness  and  gravity 


into  disuse,  is  not  certain.  The  ancient  one  found 
at  Pompeii  was  presented  to  King  George  IV. 
by  the  King  of  Sicily.  It  is  made  of  bronze, 
with  the  upper  part  and  mouthpiece  of  gold, 
and  its  tone  is  said  to  be  unrivalled.  The  dulci- 
mer is  supposed  by  the  Padre  Martini  to  have 
signified  a  concert  of  instruments  or  voice-*,  rather 
than  any  single  instrument.  The  possession  of 
these  instruments,  and  the  reference  of  several 
passages  in  the  sacred  writings,  are  sufficient 
j)roofs  that  music  was  cultivated  amongst  the 
Babylonians  ;  and  the  Padre  Martini  naturally 
supposes  that,  as  this  people  were  every  where 
celebrated  for  luxury  and  splendor,  their  music 
partook  of  the  '-haracter.  The  Assyrians  invent- 
ed a  trigonum  or  triangulum,  a  stringed  instru- 
ment of  a  triangular  shape,  played  ujion  with  a 
plectrum.  The  trigonum  is  supposed  to  have 
been  the  instrument  which  King  David  ijlaycd 
upon ;  but  that  is  a  fact  which  cannot  be  easily  de- 
cided, on  account  of  the  difference  in  the  numbers 
of  the  strings;  for  David  is  mentioned  as  playing 
upon  the  ten-stringed  harp,  whereas  the  one  we 
have  just  described  contains  twelve  strintrs.  The 
Phcrnicians  had  several  musical  instruments,  one 
called  after  their  own  country,  Ph<rnices,  and 
another   called    naublum    or   nebel,    which    was 


of  the  scale  reiiuired.  The  sa<kbiU  is  usually  played  upon  at  the  feast:"  of  Bacchus.  There 
about  eight  feet  long,  and  when  extcndc<l  to  its  were  also  a  number  of  other  tribes  in  .\.sia,  such 
full  length  about  titteen.  There  are.  however,  as  the  Edomites,  the  Moabites,  the  Phrygians,  the 
•OikbitU   of    different   sLzos   to   execute   different     Lydians,  the  ^tolians,  the  loniaus,  and  the  Do- 

840 


SA] 


ENCYCLOPAEDIA    OF   MUSIC. 


SAI 


nans,  of  whose  manners  nnil  customs  we  know  i 
very  little  ;  but  we  may  presume  that  they  stud-  j 
ied'nnd  promoted  the  Bcience  of  music,  lor  we 
find  that  several  of  the  Grecian  modes  derived  | 
their  namc-i  from  some  of  these  countries,  as  the  j 
f/ydiai),  Phrygian,  Dorian,  &c.  i 

SAIN'T-AMANS,  I.OUIS  JOSEPH,  boni  at 
Marseilles  in  1749,  was  at  first  a  provincial  actor, 
and  afterwards  engaj;ed  himself  as  music  master 
to  the  family  of  a  Swiss  baron,  with  whom  he 
travelled  in  Italy  for  nearly  three  years,  improv- 
ing himself  grcatlv  in  music  by  the  study  of  the 
i-hefs-U'aiirre  of  Durante,  Pcrgolcse,  end  other 
great  masters  of  that  country.  In  the  year  17IJ9 
he  went  to  Paris,  and  made  himself  known  by  a 
motet  of  his  composition  for  a  single  voice,  en- 
titled "  Cailalu  Domino."  'Hiis  was  sung  at  the 
Concert  Spiriiiwl.  Encouraged  by  its  great  suc- 
cess, he  compased  aa  opera  for  the  Theatre 
Italien  ;  it  was  called  "  A/caret  Mincia,"  and  per- 
formed in  1770.  His  ne.Kt  works  were  "  La  C'o- 
</iK-t!e  (k  I'illw/i;"  an  opera  in  two  acts,  1771; 
*'  Le  Puiriir,"  in  one  act,  1772  ;  and  "  Le  Mdecin 
d'Ammr,"  in  one  act,  1773.  In  1774  his  "  Fortl 
Rnchant'':!-,"  opera  ballet  in  two  acts,  and  his 
"  Faux  Vii-iV(irJ,"  in  one  act,  were  rehearsed  at 
the  Grand  0|  eia,  but  rejected.  In  177i)  "  Or'Ps," 
a  tragic  opera,  was  relionrscd  at  the  same  theatre,  ^ 
and  also  rejected.  The  managers  of  the  ojjora 
rciiuested  him,  the  same  year,  to  write  the  music  , 
of  the  ballct-i  and  the  recitative  for  the  "  Olympi- 
aile"  of  .Sncehiiii,  which  had  been  translated  into 
French,  and  was  to  have  been  performed  ;  b>it 
the  cabal  then  existing  in  Paris  against  the  Italian 
music  prevented  its  appearance,  and  Saint- Ainans 
received  no  remuneration  for  his  trouble.  In 
177(i  he  also  com,)osed  the  music  of  "  L<i  Mori  ile 
Dttlon,"  a  ballet,  by  Gardel ;  and  in  1777  jiro- 
duced  the  oratorio,  •' Dwid  et  Goliaf/i,"  which 
was  performed  with  success.  In  1778  Saint- 
Amans  went  to  Brussels,  where  he  was  appointed 
music  director  at  the  theatre,  and  brought  out,  of 
his  own  composition,  "  Daphnh  tt  Thimire,"  a 
pastoral ;  "  L'  Occ-iiion,"  an  opera  butfa  in  one  act ; 
'•  L<i  J'iii.sxf  Veui\;"  and  "  I'3i/tM  et  L' Amour :" 
these  operas.  c-<pccially  the  last,  were  highly  suc- 
cessful In  17S;J  he  set  new  music  to  the  "  Ro- 
liern  He  Snienci/  "  of  Favart.  ITiis  was  S'viccessful,  ] 
as  was  also  an  "  O  aalntaria,"  which  he  composed 
about  tlio  same  time,  for  the  fete  Dieu.  In  178 1 
he  was  invited  t>  Paris,  with  the  otfer  of  a  pro- 
fessorship in  the  Royal  School  of  Music.  For 
Paris  he  then  wrote,  in  178.5,  new  music  to  the 
"  F(/e  lie  Flore,"  an  opera  in  one  act,  and  "  Le 
Prix  lie  CArr"  an  opera  in  one  act,  for  the  court 
theatre.  In  1788  ho  put  new  music  to  "  La  Fie 
I'tijile."  In  1700  he  broU'.;ht  out  "  Laurence" 
which  was  perfonucd  at  Paris  and  at  Strasburg ; 
in  1791,  "  .Vi(i(7/t'  a  la  Conr"  with  new  music  ; 
in  1791,  "  L' Ileiireux  Dementi,"  in  two  acts,  and 
"  Aspiiaiii,"  in  two  acts;  in  17'Jo,  "  Le  I'auvre 
Homme,"  in  one  act;  in  1797,  "La  File  de  la 
Paix,"  an  interlude.  In  17;»8  he  was  nominated 
professor  at  the  Conservatory.  In  1799  he  pro- 
duced at  the  Theatre  dcs  Jeunes  Arti,stes,  <•  La 
Tiretise  de  Carte*."  in  one  act ;  and  in  1802, 
"  Choi-uii  II  *)/i  /V,i;i,"  at  the 'ITieatre  Porte  St. 
Martin.  About  this  period,  some  alterations  hav- 
ing taken  ]'lacc  in  the  expenditure  of  the  Conser- 
ratory.  Saint- Amans  was  made  one  of  the  victims 
to  economy,  when  he  again  (juittei  i'aris  for 
106  8 


Brest,  in  the  cap«city  of  director  of  (he  orcliestra 
there.  In  this  town  he  brought  out,  in  INOl,  an 
"  O  Jilii,"  for  three  voices  and  choruses,  wliich 
was  jjerformed  at  Eiister  ;  also,  in  the  B:ime  year, 
"  Im  Destruction  ile  Jericho,"  a  grand  oratorio,  in 
celebration  of  the  victories  of  Xajyoleon.  In  1807 
he  produced  a  "  Te  Deum,"  for  three  voices  and 
chorus,  also  in  honor  of  Napoleon  ;  "  hi  I^'qon 
Littiraire,"  a  comic  opera  in  one  act ;  two  col- 
lections of  romances,  and  a  scene  of  "  Alcijone," 
the  words  by  Dcmoustier.  To  the  above  may  be 
added  various  ojieras  jmbliahcd  at  different  i)eri- 
ods.  between  the  years  17<)9  and  1807,  and  a  di- 
dactic work  entitled  "  Table  ilimentaire  den  acmrdi, 
eonteiiant  la  nomenclature,  tes  notes  sur  leai/iieUea  ils 
aoni  emploijis,  leura  sons  fonilamcntaux,  rinumira- 
tion  lies  inttrrallcs  qui  lea  comjxtaeni,  le  chijfre  qui 
lea  diaiijne ;  lea  obaervations  aiir  la  priimrtition  dea 
diiaonancea  ;  la  miinif're  de  lea  aanver  et  let  exemplei 
qui  y  font  relatifs,"  Paris,  1800. 

SAITE.  (G.)  A  string  of  a  musical  instru- 
ment. 

SAL.V,  XICOLO.  Born  at  Naples  in  1701. 
He  was  a  pupil  of  Leo,  and,  on  leaving  his  mas- 
ter, being  appointed  master  of  the  Conservatory 
of  La  Pieti  at  Najjles,  he  began  an  immense 
work,  to  which  he  consecrated  his  whole  lite. 
He  made  it,  in  some  sort,  the  monumental  his- 
tory of  harmony,  by  classing  and  preserviui;  the 
masterpieces  of  the  Neapolitan  school,  according 
to  the  progress  of  the  art.  He  finished  it  at  tlie 
end  of  the  century  in  which  it  was  begun.  It 
was  printed  and  published  at  the  expense  of  the 
King  of  Naples,  under  the  title  of  "  Un/ ,U  del 
Contrapunto  prattico,"  when  it  was  unfortunately 
destroyed  during  the  revolution  at  Naples,  in 
1799,  by  the  furious  populace,  wlio  atlaclved  the 
royal  jjrinting  office,  and  destroyed  the  plates. 
Sala  died  in  1800,  inconsolable  at  his  immense 
loss ;  but,  if  his  life  had  been  prolonged  during 
eight  years,  his  old  age  would  have  been  con.soled 
by  the  reproduction  of  his  work  by  M.  Clioron, 
in  his  "  Princi/H'S  de  C'ninj>'>.iition  dcs  Fcolei  d'  Ilnlie." 
It  is  probable  that  Sala  was  so  entirely  occupied 
by  this  great  work,  that  he  had  small  leisure  for 
composition.  We  know  of  no  work  composed  by 
him  either  for  the  theatre  or  church. 

SALARI,  FRANCESCO,  born  at  Verona,  has 
boeij  known  as  a  dramatic  composer  since  the 
year  1777,  when  he  produced  the  comic  oiwra  of 
"  L'Amo  Ilaminijo." 

SALBLINGER,  SIGISMUND,  a  musician  at 
Augsburg  in  the  sixteenth  century,  published  in 
that  town,  in  lof.i,  a  work  entitled  "  Concentua  4, 
5,  6,  et  8  Tocum,"  and  detlicate<l  to  the  magistracy 
of  Augsburg.  The  book  contains  a  collection  of 
the  compositions  of  the  most  celebrated  madri- 
galists  up  to  the  period  of  its  publication. 

S.VLD.VNHA,  GON^ALO  MENDE.S,  a  Por- 
tuguese  composer,  bom  at  Lisbon,  was  a  pupil 
of  Duarte  Lobo,  and  flourishe<l  as  one  of  the 
best  musicians  in  his  native  country  alxnit  the 
year  162  5. 

SALE,  FRAXCISCUS,  chaj  cl-ma.ster  at  Hnlle, 
in  Tyrol,  at  the  close  of  the  sixteenth  century, 
was  a  Fleming  by  birth,  and  publi.she.1  a  voluni* 
of  masses  under  the  title  "  Pnlrocinium  Miuicra," 
1.589.  iseveral  other  works  by  him,  ronsi-ting  of 
masses  and  motet-',  are  to  be  fouad  iu  the  Uoyal 
tl 


BAL 


ENCYCLOPAEDIA    OF    MUSIC. 


SAL 


Librnry  at  Munich.     They  bear  date  from   1574  I      SALES,    I'lETllO   POMPEO,  chapel-mastei 
to  1598.  and  counsellor  of  tint  ncc  to  the  Elector  of  Treves, 

at  Cobleiitz,  was  born  at  Urescia,  in  1729.  After 
rendering  himself  cons])icuous  for  talent  in  hia 
own  cotmtry,  he  travelled  throuf;h  various  parts 
of  Germany.  In  17(i.'!  he  was  recalled  to  Padua, 
to  compose  a  serious  ojjcra  for  that  city.  Having 
acquitted  himself  with  credit  in  this  instance,  he 
went  to  England,  where  he  remained  several 
years,  and,  about  1768,  returned  to  Germany 
In  1772  wo  find  him  engaged  in  the  composi- 
tion of  an  opera  for  the  court  theatre  of  Bavaria, 
and  in  1777  he  revisited  London  with  his  wife, 
who  was  an  agreeable  singer.  He  corapo^.ed 
many  works  for  the  church,  amongst  which  his 
clwf-d'ceuvre  is  considered  to  be  the  oratorio  of 
"  iietulia  Liberata."  He  died  in  Germany  in 
1797.  Very  few,  if  any,  of  his  compositions  were 
published. 


SALE,  JOHN,  was  born  in  London  in  the  year  | 
1758,  and  ii\  17i>7  was  admitted  as  a  chorister  of  ] 
the  Koyal  Cliaiiel  at  Windsor,  and  Eton  College 
Chapel,  un<k'r  Mr.  \Vel)b,  organist  of  tho.-e  choirs. 
This  situation  he  continued  to  hold  till  1775.  In  \ 
1777  he  was  appointed  lay  vicar  of  the  choirs  of 
Windsor  and  Eton,  which  otlice  he  retained  till 
Christmas,  179i>;  being,  at  that  period,  a  member 
of  live  choirs,  namely,  Windsor,  Eton,  his  majes- 
ty's Chajicl  Uoyal,  St.  Paul's,  and  Westminster  j 
Abbey.  In  1788  Sale  succeeded  Ladd  as  gentle-  i 
man  of  his  majesty's  Chapels  Itoyal ;  Soaper  as 
vicar  choral  of  St.  Paul's,  in  1794;  and  Ilindle 
Rs  lay  vicar  of  Westminster  .Vbbey,  in  1790  ;  and 
at  Christ  mas,  in  the  latter  year,  resigned  Wind- 
sor and  Eton.  In  1800  he  succeeded  liellamy, 
senior,  as  almoner  and  master  of  the  choristers 
of  St.  Paul's,  both  of  which  he  relinquished  in 
181'2.  In  1818  he  became  senior  gentleman  (^or 
father)  of  the  Koyal  Chapels ;  by  which,  accord- 
ing to  custom  from  time  immemorial,  he  is  ex- 
cused all  duty  or  attendance.  Sale  was  a  princi- 
pal bass  singer  at  the  King's  Concert  of  Ancient 
Music,  -Vcaderay  of  Ancient  Music,  Ladies'  Con- 
cert, vocal  and  other  concerts,  oratorios,  &c.,  in 
London,  as  well  as  at  Liverpool,  Chester,  Worces- 
ter, Birmingham,  Hull,  Norwich,  Nottingham, 
Haliiax,  Yarmouth,  Lincoln,  Winchester,  at  vari- 
ous times,  for  above  tliirty  years,  always  acquit- 
ting himself  with  professional  credit.  It  may 
further,  with  great  truth,  be  said  that  he  through 
liie  preserved  an  irreproachable  private  character, 
and  was  greatly  esteemed  and  respected.  Sale's 
voice  was  a  genuine  bass,  of  fine  tone  and  suf- 
ficient compass  to  do  every  justice  to  part  sing- 
ing. He  has  composed  many  good  glees,  &c., 
Bomc  of  which  are  printed.  He  also,  with  the 
permission  of  the  noble  family  of  the  Wellesleys, 
published  some  of  the  Earl  of  Morningtou's  glees, 
amongst  which  is  that  great  favorite,  "  O,  bird  of 
eve." 

SALE,  J.  B.,  son  of  the  preceding,  was  born  at 
Windsor  in  the  year  1779,  and  admitted  as  a  chor- 
ister in  the  choirs  of  Windsor  and  Eton   in  1785. 


SALIERI,  ANTONIO,  chapel-master  to  the 
Emperor  of  Austria,  at  \'ienna,  was  born  at  Leg- 
nano,  a  Venetian  fortress,  in  the  year  1750.  At 
eleven  years  of  age,  he  began  to  learn  the  harp- 
sichord ;  but  his  passion  for  music  soon  increased 
to  such  a  degree,  that  on  the  death  of  his  father, 
who  was  an  eminent  merchant,  and  who  died 
just  as  his  son  had  attained  his  fifteenth  year,  the 
boy  devoted  himself  entirely  to  the  study  of  liiu 
favorite  art.  The  patronage  of  Mozenijo,  a  Ve-  ' 
netian  nobleman,  furnished  him  with  an  oppor- 
tunity of  resorting  to  that  city  to  continue  his 
studies,  which  he  afterwards  concluded  at  Napli>s. 
Giovanni  Pescetti,  a  celebrated  chapel-ma.ster  at 
St.  Mark,  was  his  first  master;  after  whose  death, 
he  made  choice  of  Pierre  Passini.  About  this 
time,  the  celebrated  Gassmann  came  to  Venice, 
when  the  young  Salieri  availed  himself  of  the  op- 
portunity of  taking  some  lessons  Irom  him,  both 
on  the  harpsichord  and  in  singing.  The  affection 
he  soon  conceived  for  this  master  induced  him 
to  accompany  Gassmann  to  Vienna,  his  patron 
having  consented  to  the  journey,  that  he  might 
have  an  opportunity  of  perfecting  himself  in 
composition.  He  arrived  at  Vienna  in  the  spring 
of  1766,   where   he    remained   eight    succeeding 


vicar  at  Westminster  Abbey ;  in  180-3  was  ap 
pointe<l  gentleman  of  his  majesty's  chapel,  vice 
Champness ;  in  1808  he  succeeded  to  a  second 
situation  at  Westminster  Abbey,  in  the  place  of 
Guise,  and  finally  was  appointed  organist  of  St. 
Margaret's,  Westminster,  in  1809.  J.  B.  Sale 
was  an  excellent  teacher  of  the  piano-forte  and 
singing.  He  attended  the  king's  concerts  at 
Windsor,  and  the  Ancient  Concert,  during  many 
years.  In  music  he  was  a  true  disciple  of  the 
Ilandelian  school.  His  voice  was  a  powerful 
ba.ss,  and  he  chiefly  accustomed  himself  to  sing 
anthems  and  part  songs.  As  a  composer,  he  has 
written  but  little ;  some  few  of  his  songs,  ducts, 
and  glees,  however,  are  much  admired  ;  among 
others,  "The  Butterfly,"  a  vocal  duet. 

SALE,  GEOllGE  CHAKLES.  youngest  son 
of  John  Sale,  was  born  at  Windsor  in  1796, 
and  was  admitted  chorister  in  .St.  Paul's  Cathe- 
dral, under  his  father,  who  then  was  almoner 
and    master  of  the  'ooys.     He    was   a   very   fine 

fcrforracr  on  the  organ,  and,  in  1817,  succeeded 
)r.  Busby  as  organist  of  St.  Mary's,  Newington, 
K'her«  there  were  upwards  of  twenty  candidates. 


,    ,   „  „  years,  enjoving,  during  the  whole  of  that  period. 

In  the  year  1800  he  succeeded  BcUamy  as  lay  j,^g  benefit'of  lessons  Irom  Gassmann  in  counter- 
point. On  his  master's  death,  .Salieri  was  nomi- 
nated at  once  to  his  places  of  chapel-master  to 
the  court  and  theatre  at  Vienna  ;  wiiilst  enjoying 
which  situations  the  precepts  of  the  celebrated 
Gluck  replaced  in  some  degree  those  of  his  for- 
mer master.  The  age  and  infirmities  of  Gluck 
disabling  him  from  satisiying  the  continual  de- 
mands of  the  public  at  Paris  for  new  composi- 
tions for  their  theatres,  Salieri,  under  the  auspices 
of  Gluck,  and  with  the  assistance  of  his  ideas 
as  to  the  manner  of  treating  the  subject,  com- 
posed the  opera  for  him  entitled  "  Les  Danaiiks." 
Gluck  assured  him,  on  this  occasion,  that  he  was 
the  only  German  that  had  ever  been  able  to 
familiarixe  himself  with  his  style.  It  was  sup- 
posed in  Paris  that  Salieri  had  not  the  least  hand 
in  the  composition  of  this  opera,  with  tlie  excep- 
tion of  the  third  act;  so  completely  did  the  imi- 
tation succeed.  In  17S1  .Salieri  wont  to  Paris 
with  his  opera,  which  was  performed  several 
times  before  the  royal  family,  and  at  each  repre- 
sentation with  increased  success.  The  queen 
even  flattered  him  by  singing  in  it  herseif  at 
every  performance.     At  length  this  opem  cam* 


842 


»AL 


ENCYCLOPEDIA    OF    MUSIC. 


RAT. 


out  at  the  preat  theatre  of  the  capital ;  and  I 
sritics  then  discovered  in  the  details  of  tlic  i)iece,  ! 
principally  in  the  recitative  and  the  vocal  parts, 
a  peculiar  style,  which  announced  the  most  strik- 
ing talent.  It  was  not  till  after  the  thirteenth 
representation  that  Gluck,  in  an  address  to  the 
public,  declared  Salieri  to  be  the  sole  composer 
of  the  "  Daiiaifles."  The  directors  of  the  opera 
immediately  paid  him  a  remuneration  of  ten 
thousand  francs,  and  three  thousand  more  for 
the  expenses  of  his  journey.  'Hie  queen  like- 
wise made  him  a  very  considerable  present,  and 
a  printer  paid  him  two  thousand  francs  lor  the 
score.  Before  his  departure  for  Vienna,  tl.e 
directors  engaged  him  to  compose  the  oj)era  of 
"  Lvs  lloiaren  H  les  Ciiriaces."  Shortly  afterwards 
he  set,  for  the  theatre  of  Vienna,  the  opera  of 
"  Axus,  King  ot  Ormus,"  for  which  the  Emi)cror 
Joseph  II.  presented  him  with  two  hundred  i 
ducats,  and  a  pension  for  life  of  three  hundred 
ducats.  Soon  after  this  he  married  a  young  lady,  1 
who  brought  him  a  considerable  estate.  After 
this  time  he  continued  composing  both  in  the 
serious  and  comic  styles,  and  did  not  cease  to 
enrich  the  dirterent  theatres  of  Europe,  esjiecially 
those  of  his  own  country ;  to  which  he  consecrat- 
ed the  best  fruits  of  his  labors,  especially  in  the 
comic  department.  At  Venice  he  iiroduced,  suc- 
cessively, the  "  Scola  de  Gehsi,"  the  "I'artenza  inas- 
peUata,"  the  "  TalUmano."  the  "  Dama  Pastore'Ui," 
and  the  "  Eur.-ypa  ricon-jsriu/a,"  the  latter  being  a 
work  in  a  more  lofty  style.  All  these  operas  were 
successful.  On  his  return  to  Vienna  from  Italy 
Salieri  again  displayed  there  the  variety  and  fer- 
tility of  his  talent.  In  addition  to  the  numerous 
operas  which  he  had  already  composed  for  that 
city,  he  now  produced  the  "  Spazzo  Caminn,"  the 
"  lirl/a  Meiiiitrice,"  the  grand  opera  of  "  Scmira- 
mide,"  the  "  Grolto  di  Tmjhnio,"  three  other 
comic  operas,  entitled  the  "  Avtiro,"  the  "  J'mdi- 
ffo,"  and  the  "  Cijfra,"  and  various  other  pieces 
of  instrumental  and  church  music,  especially  an 
oratorio  called  the  "  Passione  di  J.  C.  nostra  Siy- 
nore."  Salieri's  music  otl'ers  a  tine  model  of 
Italian  melody  united  to  the  rich  harmony  of  the 
land  of  his  adoption.  He  has  never  abused  the 
style  of  eitlier  country,  but,  with  a  master's 
hand,  has  avoided  confounding,  altering,  or  de- 
stroying their  distinct  merits,  at  the  same  time 
that  lie  has  rendered  the  beauties  of  both  con- 
spicuous ;  thus  exhibiting  an  example  of  sober 
wisdom,  in  the  unprejudiced  adoption  of  the 
richest  models  both  of  harmony  and  melody. 
No  greater  test,  indeo<l,  can  be  given  of  the 
intrinsic  beauty  of  this  author's  compositions, 
than  the  rapture  with  which  they  were  heard, 
and  the  magic  etfect  they  had  on  the  audience, 
even  when  adapted  to  (ierman  or  French,  instead 
of  the  original  Italian  words.  Salieri  cultivated 
gratuitously  the  talents  of  two  favorite  German 
composers,  Joseph  AVeigl  and  Francis  Snss- 
mayer ;  indeed,  various  amiable  trait-s  arc  related 
of  his  private  life.  We  have  omitted  to  mention 
that,  in  consc<iuence  of  the  almost  unrivalletl 
approbation  his  opera  of  the  '•  Dnnatdea  "  met 
with  at  Paris,  Salieri  received,  in  17'J0,  a  second 
invitation  from  that  capital,  which  he  accepted, 
and  was  received  with  so  much  enthusiasm  that 
the  most  alluring  j)roposals  were  made  to  him  to 
settle  in  France.  Itut  he  preferred  remaining 
faithful  to  his  engagements  at  Vienna.  Accord- 
ingly,  soon   alter   his   return    from    this  second 


journey  to  the  French  capital,  the  Emperor 
Josej)h  appointed  him,  with  exjtressions  of  the 
highest  esteem,  otKciating  leader  at  the  Imperial 
Chapel,  in  the  room  of  Josei>h  Bono,  and  with  an 
extra  salary  of  two  hundred  ducats.  This  lavoi 
of  his  sovereign  was  greatly  increa.sed  by  liit 
being  exonerated  in  the  succeeding  year  from 
the  drudgery  attached  to  one  of  his  other  ofHces, 
namely,  that  of  always  presiding  at  the  piano 
in  the  Italian  opera.  Salieri  died  in  18'2.3,  at 
Vienna. 

SALII.  (L.  pi.)  The  name  given  by  the 
Komans  to  the  young  men,  twelve  in  number, 
whom  Xuma  himself  ajipointed  out  of  the  patri- 
cians, as  a  kind  of  dancers,  and  singers  of  hymns 
in  praise  of  the  god  of  war.  The  festivals  in 
which  the  Salii  were  employe<l,  and  which  con- 
stituted the  sixth  branch  of  that  emperor's  reli- 
gious institutions,  were  celebrated  al>out  the  time 
of  the  Panathena-a  at  Athens,  in  the  month  of 
March,  and  at  the  public  expense.  'l"hey  contin- 
ued several  days,  during  which  the  Salii,  .^c. 
jirocceded  through  the  city  to  the  Forum  and  the 
Capitol,  as  well  as  to  many  other  public  places, 
beating  upon  the  ancilia,  or  sacred  shields. 

SALIMBENI,  FELICE.  A  celebrated  soprano 
singer,  born  at  Milan  about  the  year  1712.  He 
was  a  pupil  of  Nicolo  Porpora.  In  1733  he 
entered  the  service  of  the  emperor  at  Vienna, 
which  he  quitted  in  1737,  and  returned  to  Italy. 
In  1743  he  became  attached  to  the  court  of  Prus- 
sia, and  remained  at  Berlin  about  seven  years, 
whence  he  ))rocecded  to  Dresden,  and  being  on 
the  point  of  again  returning  to  his  native  coun- 
try, he  died  at  Lay  bach,  in  17.il.  ."^alimbeni  wa.s 
decidedly  one  of  the  best  sopranist-s  that  Italy 
has  produced.  His  voice  wa.H  [jure  and  pleiusing, 
and  his  tone,  though  penetrating,  sufficiently 
round  and  lull.  lie  shone  most  in  ailagios,  in 
which  he  often  produced  tears  from  his  audience. 

SALINAS,  FU-\NCISCUS,  was  the  son  ol  the 
treasurer  of  Burgo.s,  and  born  about  the  year 
1.J13.  Although  from  the  day  of  his  birth  ho 
laborwl  under  the  mislortune  of  an  incunible 
blindnes.s,  he  was  the  author  of  one  of  the  most 
valuable  hooks  on  music  now  extant  in  any  lan- 
guage. He  began  very  cariy  to  devote  himself 
to  the  study  ot  music.  During  his  youth  nearly 
the  whole  of  his  time  was  employcil  in  singing 
to.  and  playing  on,  the  organ.  While  he  was  a 
boy,  a  young  female,  who  was  about  to  take  the 
veil,  hap])ene<l  to  come  to  the  plai  e  where  he 
resideil.  She  had  expresse<l  a  desire  of  learning 
to  i>lay  on  the  organ,  and  for  that  purpose  be- 
came an  inmate  in  hLs  father's  house,  ."she  w.-m 
taught  music  by  Salinas,  while  he,  in  return. 
receive<l  a  knowknlge  of  Latin.  From  the  littla 
instruction  thus  obtained,  having  become  ex- 
tremely eager  towards  the  acquirement  of  more, 
he  prevailed  with  his  parents  to  send  him  to 
Salamanca,  where  for  some  years  he  a.s,«iduously 
applitnl  himself  to  the  8tu<iy  ot  the  (ircek  lan- 
guage, and  also  to  the  study  of  phUosophy  and 
the  arts.  The  narrowness  of  his  circumstances', 
however,  after  a  while  compelleil  him  to  leave 
thai  university  ;  and  from  thence  he  wa'<  taken 
into  the  king's  palace,  where  he  was  paironizcil 
by  Petrus  ."sarraentus.  Archbishop  of  Coropostella. 
When  the  archbishop  was  made  a  canlinal,  Sali- 
nas went  with  him  to  llomc,  more,  ka  he  baij. 


84.1 


SAL 


encyclop-i:dia  of  music. 


SAL 


for  the  sake  of  leaniint;  than  for  cnriehin^  him- 
self. Here  he  studied  the  works  of  Uocthius, 
niid  of  the  ancient  Greek  writers  about  liarrao- 
ny.  In  these  researches  he  spent  upwards  of 
thirty  years ;  until,  depressed  by  the  loss  of 
friends  and  by  other  misfortunes,  he  resolved 
upon  returning  to  Spniu  with  the  slender  pit- 
tance he  had  saved,  in  order  that  he  might  pass 
the  remainder  of  his  days  in  retirement.  From 
Sj)nin  he  was,  however,  afterwards  recalled  into 
Italy  ;  whence,  after  residing  there  some  years, 
he  was  invited  to  .Salamanca,  and,  with  a  sti]x;nd 
sufficiently  liberal,  was  appointed  professor  of 
music  there.  Salinas  was  an  excellent  composer 
for  the  organ  and  other  instruments,  and  on 
account  of  his  great  abilities,  was  much  esteemed 
by  jiersons  of  rank,  but  in  i)articular  by  Pope 
Paul  IV.,  through  whose  favor  he  was  created 
Abbot  of  St.  Pancratio  dcUa  Rocca  Salcgna,  in 
the  kingdom  of  Naples.  lie  died  in  1590,  at  the 
advanced  age  of  seventy-seven  years. 

lie  wrote  a  treatise  "  De  Musica,"  which  is 
divided  into  seven  books.  In  the  first  he  treats 
only  of  the  different  methods  of  calculating  the 
ratios  of  sound.  In  the  eighth  and  ninth  chap- 
ters of  the  second  book,  he  contends  against  the 
musicians  of  his  time,  that  the  diatcsscron,  or 
fourth,  is  a  concordant  interval.  The  ditone  and 
semiditonc  he  ranks  amongst  the  consonances, 
and  also  the  lesser  intervals.  The  6ubse;iuont 
chapters  of  this  book  contain  a  great  number  of 
scales  and  diagrams,  contrived,  with  much  inge- 
nuity, to  explain  and  illustrate  the  several  sub- 
jects he  has  spoken  of.  In  the  third  book  he 
speaks  of  the  genera  of  the  ancients,  and  with  so 
much  learning  and  sagacity,  that  Dr.  Pepusch 
has  declared  that  the  true  enharmonic,  which 
for  many  ages  had  been  supposed  lost,  was  in 
this  work  accurately  determined.  All,  however, 
that  seems  to  have  been  discovered  is,  that  it 
consisted  of  certain  divisions  of  the  tetrachord, 
to  which  we  are  at  this  day  entire  strangers.  Sa- 
linas, in    another    part  of  his    book,   shows  the 


no  means  bigoted  to  their  opinions,  but  assumed 
the  liberty,  in  many  instances,  of  thinking  and 
judging  for  himself.  The  last  subject  treated  by 
him  is  the  rhythms  of  the  ancients ;  and  he 
enters  itito  a  copious  dissertation  on  the  variom 
kinds  of  metre  used  by  the  CJreek,  the  Roman, 
and  the  Spanish  poets. 

The  most  ciurious  parts  of  the  concluding  chap- 
ters are  the  little  fragments  of  old  Spanish  melo- 
dy which  belong  to  his  specimens  of  versification. 
Some  of  these  are  very  graceful  and  pleasing,  par- 
ticularly when  we  consider  that  at  that  time  they 
had  received  no  polish  from  the  opera.  Of  this 
work  it  may  be  sufficient  to  say,  that  a  greater 
degree  of  credit  is  due  to  it  than  to  almost  any 
other  production  of  modern  writers  of  the  same 
kind.  The  author  was  a  practical  as  well  as 
theoretical  musician,  and  throughout  the  whole 
of  his  book  he  manifests  a  disposition  the  farthest 
removed,  that  can  possibly  be  imagined,  from 
that  credulity  which  betrayed  Glareanus  and 
others  Into  error.  This  disposition  led  him  to 
inquire  accurately  and  minutely  into  the  doc- 
trines of  the  Greek  writers  :  and  from  the  confi- 
dence with  which  he  sometimes  blames  them, 
we  are  led  into  the  persuasion  that  the  truth  waa 
on  his  side. 


SALMO.     (I.) 

SALMODIA. 
word. 


A  psalm. 

(I.)      Psalmody. 


See    that 


SALMON,  THOMAS,  an  English  musician 
of  the  seventeenth  century,  published  in  Loudon, 
in  1G72,  besides  several  other  musical  tracts,  a 
work  entitled  "  An  Essay  to  the  Advancement 
of  Music,  by  casting  away  the  Perplexity  of  dif- 
ferent Clefs,  and  uniting  all  Sorts  of  Music,  Lute, 
Viol,  Violins,  Organ,  Harpsichord,  Voice,  &c.,  in 
one  universal  Character." 

SALMON,  MRS.  This  British  vocalist  (cele- 
brated in  the  early  part  of  this  century)  was  a 
member  of  a  familv  eminent  for  vocal  as  well  as 


method  of  constructing  what  he  calls   the  type     general  musical  ability,  the  Mahons  of  Oxford, 
of  the  diatonic.     Though  he  seems  to  have  been    Her  mother,  whose  name  was  Munday,  was  sis- 


very  solicitous  to  attempt  some  of  the  harsher 
intervals  in  the  diatonic  series,  it  is  by  no  means 
to  be  inferred  from  his  works  that  he  had  any 
desire  to  re-;tore  the  ancient  genera  The  pains 
he  has  taken  to  ascertain  the  true  divisions  of 
the  chromatic  and  enharmonic  genera  seem  re- 
solvable into  that  eager  desire  of  rendering  the 
writings  of  the  ancient  Greeks  intelligible,  which 
he  uniformly  manifests  in  the  course  of  his 
works. 

Salinas  next  treats  of  the  temperament  of  the 
organ  and  other  instruments,  and  makes  some 
interesting    observations    on    the  powers  of   the 


ter  to  the  celebrated  Miss  Mahon,  also  to  Mrs. 
Ambrose  and  Mrs.  Second,  both  public  singers. 
Her  first  master  was  John  Ashley ;  but  time, 
practice,  and  observation  appear  to  have  been 
her  most  capable  instructors.  With  all  her  ac- 
quisitions she  certainly  can  be  justly  said  to  have 
belonged  to  no  school.  She  sang  English  and 
Italian  with  the  same  brilliancy  of  tone,  and  th« 
same  facility.  One  of  the  critics  of  her  day  say6 
of  her  :  "  Clearness,  beauty,  ra])idity,  polish,  in- 
vention, and  taste  are  her  attributes  ;  and  with 
these  she  makes  so  j.erfect  a  combination  of  what 
is  delightful  to  the  ear,  without  being  offensive 


human  voice.      He  then  speaks  of  the  lute  and  to  the  judgment,  that  she  takes  a  rank  far  beyond 

the  viol,  and  of  the   temi>erBments  adapted  to  dmt  wl-.ich  it  has  been  usual  to  allot  to  qualities 

each.     In  the  tenth  chajiter  of  the  fourth  book  which  have  been  held   rather  to  pertain  to  or- 

there  is  a  diagram,  representing,  in  a  collateral  gnnic  than   to  intellectaal  superiority.     Though 

view,  the  tetrachords  of  the  ancients,  conjoined  never    grand,   and    seldom,  if  ever,    pathetic   or 

with  the  hexachords  of  (juido,  and  showing  how  touching,  though   never  extorting  the  tril)ute  of 

the  latter  spring  out  of  the  former.      The  ancient  applause   by   sudden,   powerful,   and   irresistible 

division  of  the  gei\era  into  8i)ccies  is  afterwards  appeals   to  "the  imagination  or   to  the  heart,  she 

noticed.     In  a  subsequent  chapter  he  exposes  the  (^till  is  suie   of  her    object.      She  captivates   by 

errors  of  Aristoxcnus,  in  a  manner  very  different  sweetness,  delicacy  and  variety,  by  exquisite  or- 

both  from  Ptolemy  and  Roethius ;  and  alter  that  naraent,  by   uncommon   ease,  leaving   the  judg- 

censurcs  each  of  these  writers  with  a  degree  of  jueut  free,  whilst  she  wins  upon  the  senses." 
fifjedom    which    shows,   tliat  though    he  enter-  .  . 

Uincd  a  reverence  for  the  ancients,  he  was  by  !      SALOMON,  a  native  of  Provence,   boru    u 

844 


SAL 


ENCYCLOPEDIA    OF   MUSIC. 


HA1\ 


ISfil,  was  admitted  into  the  band  of  the  Chapel 
Royal  of  France,  to  ])lay  on  the  bass  viol,  an  in- 
strument on  which  he  excelled.  He  composed  an 
opera  entitled  "  Midie  et  Jamn,"  which  was  per- 
formed in  the  Royal  Academy  in  1713,  with 
great  applause.  .Salomon  died,  at  Versailles,  in 
the  year  1731. 

SALOMON,  JOIIANN  TETER,  was  born  at 
Bonn,  in  the  electorate  of  C"olo.;ne,  in  \l\o,  ac- 
cording to  a  baptismal  certificate  found  amongst 
his  ])a[iers.  lie  was  educntcd  for  the  law,  l)ut  his 
love  for  music  predominating  over  every  other 
inclination,  he  was  at  Icngtli  allowed  to  devote 
himself  to  its  study,  and  soon  became  celebrated 
in  Germany  and  France,  not  only  for  his  per- 
formance on  the  violin,  but  for  his  profound 
knowledge  of  the  art  generally.  He  went  to 
England  about  1781;  after  which  time  that 
country  proved  the  place  of  his  constant  resi- 
dence, the  scene  of  his  best  efforts,  and  the 
source  of  his  warmest  attachments.  Salomon 
was  one  of  those  few  whose  right  to  contend  for 
the  honor  of  being  the  greatest  performer  on  the 
violin  in  Europe  was  undisputed  ;  "  his  taste, 
rctincraent,  and  enthusiasm,"  to  use  the  words  of 
Dr.  liurney,  "excited  universal  admiration,  and 
caused  his  instructioi\  to  be  eagerly  souL'ht  for." 
Amongst  his  pupils,  Pinto  proved  the  extent  of 
his  master's  skill,  and  his  ability  in  communicat- 
ing it.  Unfortunately,  this  extraordinarj-  young 
man,  whose  musical  progress  rcHocted  so  much 
honor  upon  his  master,  possessed  qualities  which 
are  not  unusually  the  concomitants  of  genius,  and 
he  perished  just  as  he  was  ripening  into  unri- 
vallcil  e.\ccllencc.  England  is  indebted  to  the 
spirit  and  enterprise  of  Salomon  for  haWng 
brought  into  it,  at  a  great  pecuniary  risk,  that 
most  original,  brilliant,  and  fertile  musical  gen- 
ius, the  immortal  Haydn  !  It  was  in  London 
that  he  produced  those  great  masterpieces,  the 
twelve  symphonies,  written  for  Salomon's  con- 
certs, which  are,  and  most  [)robiibly  will  ever  con- 
tinue, the  standard  of  perlection  in  this  species 
of  composition  ;  indeed,  they  are  acknowledged 
as  such  wherever  modulated  sounds  are  under- 
stood or  felt.  His  discriminating  judgment  was 
not  exercised  in  one  department  of  music  only  ; 
he  brought  out  of  obscurity,  and  placed  in  their 
proper  sphere,  the  unctiualled  vocal  powers  of  llra- 
hara,  who  avowed  the  obligation,  and  was  proud 
to  boast  of  having  possessed  a  friend  whose  un- 
solicited patrona:;c  was  a  recommendation  of  the 
most  gratifying  and  valuable  kind.  Disinterest- 
ed in  his  views,  and  anxious  for  the  prcser\'ation 
and  improvement  of  his  favorite  art,  he  was  one 
of  the  early  promoters  and  active  a.ssistants  of 
the  I'hilharmonic  Society,  the  tirst  concert  of 
which  he  led  with  a  zeal  and  ability  that  age  had 
not  abated  ;  and  the  last  business  that  occupied 
his  attention  was  relative  to  the  preparations  tor 
the  ensuing  season,  in  which  he  manifested  a 
clear  and  unimpaired  state  of  mind  only  four 
days  previous  to  his  death.  Salomon  had  lived 
chjctly  in  the  higlier  circles,  where  his  good 
sense  and  polishetl  manners  ever  renderc<i  him 
acceptable;  indeed,  his  education  qualirie<l  him 
for  any  society.  His  classical  attainments  were 
considerable ;  and  to  these  he  added  the  more 
current  and  useful  acquisition  of  four  living 
languages,  which  he  wrote  and  .spoke  with  8-s- 
fonishing  correctness  and  fluency.   Hut  the  quali- 


ties of  his  heart  are  those  which  have  left  the 
most  lasting  impression  on  his  friends.  He  was 
honorable,  generous,  and  sincere ;  bis  talents 
were  always  to  be  gratuitously  commanded  if 
appealed  to  by  distress  ;  ami  his  purse  was  so 
readily  opened  when  his  compassion  was  excited, 
that  if  a  very  faithful  and  vigilant  8er\'ant,  who 
lived  with  him  twenty-eight  years,  had  not  been 
more  cautious,  his  master  would,  in  all  probabil- 
ity, have  offered  his  indeiiendence  at  the  shrine* 
of  charity.  He  died  in  London,  after  a  long  ill- 
ness, which  originated  in  a  fall  from  his  horse. 
His  remains  were  interred  in  the  cloLstcrh  of 
Westminster  Abbey. 

SALTAN  DO,  or  SALTO.  (I.)  Proceeding 
by  skips  or  bounds. 

SALTARKLLO.  (I.)  A  particular  kind  of 
jig,  so  called  Irom  the  dance  of  that  name,  chiefly 
consisting  of  leaping  motions. 

SALVATOR  ROSA.     Sec  Rosa. 

SALVE  REGIN.V.  (L.)  A  hymn  to  the 
Virgin. 

S.VMBUCA.  An  ancient  stringed  instrument 
used  by  the  Greeks,  Inu  the  particular  construc- 
tion of  which  is,  at  present,  unknown. 

SAMBUCUS.  An  ancient  wind  instrument, 
resembling  a  flute;  supposed  to  be  so  callcil  from 
its  being  made  of  elder  wood,  the  Latin  name  for 
which  is  sambiicus. 

SAMI'UNI.V.  A  pneumatic  instrument,  used 
by  the  ancient  Hebrews,  resembling  the  modem 
bagpipe. 

SANCES,  GIOVANNI  FELICE,  chapel-mas- 
ter to  the  Emperor  Leopold  I.,  at  Vienna,  in  the 
tirst  half  of  the  seventeenth  century.  He  com- 
posed many  motets  and  other  vocal  music,  part 
of  which  was  published  at  Venice,  between  the 
years  1G38  and  1649. 

S.-VNCTUS.  (L.)  A  principal  movement  of 
the  mass  or  Catholic  service. 

SANDER,  F.  S.,  a  Bohemian  musician  resi- 
dent at  Brcslau  in  Silesia,  was  considered,  in  Ger- 
many, a  good  vocal  and  instrumental  com])Oser. 
He  has  also  brought  out  some  dramatic  pieces. 
His  works  bear  date  from  the  year  1783  to  1797. 

SANDERSON,  JAMES.  ITiis  English  dra- 
matic composer  was  born  in  1709,  at  Working- 
ton, in  the  county  of  Durham.  From  childhood 
he  evinced  a  strong  passion  for  music,  and  when 
at  school,  at  a  very  early  age,  was  much  flclight- 
ed  by  playing  on  a  toy  fiddle.  He  soon  alter 
was  presented  by  hLs  friends  with  a  small  violin, 
and  learned  the  gamut  from  an  old  l)ook,  lent  to 
him  by  a  dancing  master,  being  soon  abb-  to  play 
easy  tunes  by  note.  His  father,  about  this  time, 
remove<l  to  Suiulerland,  where,  after  three  years' 
contin\iance  of  i)ractice,  young  Sanderson  became 
a  tolerable  dance  player.  He  next  became  ac- 
quainted with  a  violinist  in  the  orchestra  of  the 
theatre,  and  was  permitted  to  sit  by  his  side 
during  the  performance  ;  by  which  means,  to- 
gether with  indefatigable  practice,  he  improved 
sufficiently  to  l>e  engaged  at  the  theatre,  on  a 
salary,  for  the  ensuing  season :  ho  was  also  invit- 
ed to  piny  at  the  amateur  concerts  in  .'^uii  er- 
land.      Being  now   desirous   of  obtaiuing    s  me 


84J 


SAX 


ENCYCLOP.I^DIA    OF    MUSIC. 


SAN 


knowledge  of  harrnony,  he  procured  an  old  spin- 
et, as  also  a  work  by  Hicks  on  thorough  bass 
and  composition,  and  scored  several  instrumental 
jiieces  with  great  attention  ;  till,  at  length,  when 
only  Rtteen  years  of  age,  he  considered  himself 
capable  of  teaching  the  piano-lbrte  ai\d  violin ; 
and  a."  there  aj)penred  to  be  a  good  opening  at 
North  and  Soiuh  Shields,  he  went  to  those 
towns,  and  boldly  solicited  the  patronage  of  the 
l)rincipal  families.  The  result  of  this  step  was  so 
succe>shil,  that  he  remained  three  years  at 
f^hields  with  much  employment  as  a  teacher.  At 
the  expiration  of  this  time  the  manager  of  the 
theatre  at  Newcastle  engaged  Sanderson  as  the 
leader  of  his  orchestra.  There  he  remained 
twelve  months,  till,  by  a  casualty,  he  was  intro- 
dviced  to  Astley.the  proprietor  ol  the  Amphithe- 
atre in  London,  who  engaged  him  to  join  his 
orchestra  at  an  increased  salary.  His  first  at- 
tempt at  dramatic  com])osition  was  at  Chester,  in 
1789,  when  he  composed  appropriate  sympho- 
nies to  various  parts  of  CoUins's  "  Ode  on  the  Pas- 
sions," which  was  to  be  recited  by  the  celebrated 
G.  Cooke,  the  tragedian,  for  his  bei\etit  in  that 
town.  His  next  work  was  the  comic  pantomime 
of  •'  Harlequin  in  Ireland,"  performed  at  Astley's 
theatre  in  1792,  with  much  applause.  From  this 
time  till  the  year  1820,  he  produced  no  less  than 
one  hundred  and  fifty-four  melodramas,  burlet- 
tas,  pantomimes,  spectacles,  &c.,  for  the  minor 
theatres,  receiving,  also,  during  many  years  of 
that  time,  a  salary  of  eight  guineas  a  week  as 
.hcf-d'oichcstn\  He  also,  since  the  ychr  1799, 
published  various  operas  for  his  instrument,  and 
in  1822  submitted  an  overture  in  full  score  to 
the  Philharmonic  Society,  of  which  he  was  a 
member.  We  should  not  forget  to  mention,  that 
his  vocal  compositions,  for  Vauxhall  and  other 
public  jdaces,  were  very  numerous.  There  have 
been  few  instances  of  an  individual,  entirely 
self- instructed  in  music,  and  jjossessed  in  early 
life  of  such  slight  opporHmities  of  attaining 
musical  infonnation,  having  overcome,  so  com- 
jiletcly  as  Sanderson  did,  by  his  own  persever- 
ance and  natural  talent,  all  obstacles  to  profes- 
sional advancement.  His  laborious  life  affords 
an  example  of  the  fruits  of  honest  industry, 
which  every  young  musician,  ungifted  by  for- 
tune, would  do  well  to  reflect  on  with  attention. 

SANDONI,  PIETRO  GIUSEPPE,  of  Bologna, 
was  a  harpsichord  maker,  also  a  composer  of 
Bome  eminence.  Amongst  his  works  were  ".'Ir- 
taaerse,"  an  opera,  ])erformed  at  Verona  in  1709, 
and  '•  Ciiiitah'  da  Camera  e  Son/iie  jicr  il  Cembalo," 
published  in  London.  He  married  Cuzzoni,  in 
England,  where  he  died  about  1750. 

SANDONL  FUANCESCA  CUZZONI,  wife 
of  the  preceding,  but  usually  called  Cuzzoni, 
was  born  at  Parma,  in  1700,  and  received  her 
vocal  instructions  from  Lanzi.  After  singing  at 
most  of  the  great  theatres  in  Italy,  she  was  en- 
gaged for  the  opera  in  London,  soon  after  the 
arrival  of  Senesino.  Her  voice  was  a  very  fine 
contralto.  Till  the  time  of  her  arrival  in  Eng- 
land, Cuzzoni,  as  a  female  singer,  was  in  full 
jiosi-ession  of  the  public  favor  ;  she  then,  how- 
ever, quarrelled  with  Handel,  who  patronized  her 
rival,  Faustina,  and  the  following  year  Cuzzoni 
■juitfed  the  kingdom.  In  171S  she  returne:!,  but 
being  then  advanced  in  years  gave  little  satisfac- 
tion.    She  died  indigent,  in  her  native  country. 


in  the  year  1770.  I'he  following  anecdote  is 
related  of  Cuzzoni.  Handel  had  composed  for 
her  the  song  of  FaUa  InuKjinc,  in  "  Ol/io,"  which 
occasioned  so  severe  a  dispute  between  them,  on 
account  of  her  refusing  to  sing  it,  that,  at  last, 
Handel  threatened  to  throw  the  refractory  signora 
out  of  the  window  ;  telling  her,  "  that  he  always 
knew  she  was  a  very  devil,  but  that  he  should 
now  let  her  know,  in  her  turn,  that  he  was  Beel- 
zebub, the  prince  of  devils."  He  then  actually 
seized  her  by  the  waist,  and  lifted  up  tlie  sash. 
Alarmed  at  this  fearful  process.  Cuzzoni  now 
consented,  and  by  the  exquisite  grace,  pathos, 
not  less  than  by  the  beautiful  ornaments,  with 
which  she  executed  and  diversified  the  few  sim- 
ple notes  that  compose  the  air,  she  added  more 
to  her  reputation  than  by  anj'  other  performance. 

SANES,  FELICE,  an  Italian  church  composer, 
flourished,  probably  at  Venice,  towards  the  close 
of  the  seventeenth  century. 

SANFf.  (G.)  Soft;  as,  mil  sanften  Stimmen, 
with  soft  stops,  in  organ  music. 

SAN-ROMANO,  CARLO  GIUSEPPE,  ehap- 
el-raaster  and  organist  at  Milan,  was  born  there  in 
1630.  He  studied  the  harpsichord  and  composi- 
tion under  A.  M.  Turato  and  M.  A.  Grancini. 
He  published  various  motets  and  other  church 
music  at  Milan. 

SANS.  (F.)  Without;  as,  saiu  pedales,  vrith- 
out  the  pedals,  in  organ  playing. 

SANTARELLI.  Chaplain  of  the  order  of  Mal- 
ta, and  chapel -master  to  the  pope  at  Rome.  To 
extraordinary  skill  in  the  practice  of  music  and 
singing  he  joined  a  profound  knowled;;e  of  the 
theory  and  history  of  his  art.  In  1764  he  pub- 
lished at  Rome  the  first  volume  of  hia  "  Treatise 
on  Church  Music,  from  the  earliest  Ages  to  the 
present  Time."  The  manuscript  of  his  second 
volume  was  complete  in  1770,  but  has  not  been 
printed.  The  exact  title  of  his  work  is  •'  Delia 
Miisica  del  Santuario  delta  DiicipUna  de  stiii  Can- 
tori."  He  also  wrote  some  letters  on  church 
composers  and  modern  church  music,  which  may 
be  seen  in  Gerbert's  "History  of  Church  Music," 
vol.  ii.  p.  3.54,  et  seq.     He  died  in  1790. 

SANTI,  .\LFONSO,  of  Ferrara.  An  esteemed 
Italian  dramatic  composer  previouslv  to  the  vear 
1783. 

SANTINELLI,  an  Italian  nobleman,  held  a 
place  in  the  court  of  Leopold  I.  of  Austria,  and 
was  also  considered  one  of  the  best  musicians  of 
hLs  time.  He  composed,  in  1660,  on  occasion  of 
the  marriage  of  the  emperor,  the  opera  "  GU 
Amori  di  Or/eo  ed  Ewidice,"  which  is  said  to  have 
exceeded  in  beauty  all  preceding  compositions  of 
a  similar  nature,  and  to  have  been  tlie  occasion 
of  the  establishment  of  the  grand  Italian  opera 
at  Vienna. 

SANTIS,  GIOVANNI  DE,  a  Neapolitan  vio- 
linist and  composer,  flourished  about  tlie  year 
1740.     A  publisher  at  Amsterdam,  having  pro- 
cured, through   his  correspondents,  some   manu- 
script violin  concertos  and   solos  of  this  master, 
,  printed  them  at  Amsterdam  ;  at  which,  it  is  said, 
;  Santis  was  so  indignant,  that  he  set  out  on  a 
j  joUrney  to  Holland,  for  the  express  purpose  of 
being  revenged  on  the  publisher,  but  died  on  hia 
'  route. 


84G 


SAN 


ENCYCLOPEDIA    OF  MUSIC. 


8AR 


SAXTO-LAPIS,  a  celebrated  Bolognese  com- 
poser, ttourislied  in  the  middle  of  the  eighteenth 
century.  Amongst  hLs  dramatic  works  are  "  L'  In- 
fclice  AveiUwatu,"  opera  serin,  1754  ;  "  //  FiiUo 
('araliero,"  opera  buHii ;  and  a  part  of  "  Aa  Feile 
in  Cimeiito,"  the  remainder  being  by  F.  Uaspa- 
lini. 

SAPIO,  .     A   celebrated   Italian    profea- 

fsor  of  singing.  lie  was  chapel-master,  and  also 
gave  instructions  in  singing,  to  Marie  Antoinette, 
the  unfortunate  queen  of  Lnuis  XVI.  He  mar- 
ried a  French  woman,  but  emigrated  with  his 
family,  in  the  Frcnih  revolution,  to  England, 
where  he  resided  many  yeai-s,  his  lessons  in  sing- 
ing being  considered  unrivalled. 

SAPIO, ,  son  of  the  preceding,  was  born 

ill  England.  lie  was  not  brought  up  to  music, 
but  studied  it  simply  as  an  accomplishment. 
After  receiving  a  chi-ssical  education,  he  entered 
the  army,  which  he  left  in  consequence  of  family 
circumstances,  that  led  him  to  prefer  a  j)rofession 
oflering  speedier  and  more  certain  emoluments. 
8apio's  voice  was  a  tenor  of  much  compass,  and 
he  iiad  the  faculty  of  assimilating  his  falsetto, 
with  ease,  to  the  natural  voice  at  their  junction, 
which  added  all  that  he  could  want  to  the  upper 
jiart  of  his  scale.  The  quality  of  his  tone  was 
full  and  brilliant.  He  inherited  from  nature 
a  quick  and  lively  apprehension.  He  was  a  de- 
chimator)'  singer,  and  his  manner  was  more  rhe- 
torical and  ctfective  than  that  of  most  concert 
singers. 

SAPPHO.  A  poetc&s  and  musician  of  Lesbos, 
in  tl.e  forty-fourth  Olympiad.  She  acquired  the 
name  of  the  tenth  muse.  She  invented  the  poet- 
ic measure  known  as  Sapphic  verse,  and  also 
established  a  new  mode  in  music,  entitled  mijm- 
Lydian.  Plutarch  states  that  the  tragic  poets 
adoptel  this  mode,  it  being  highly  titted  for 
I  atlictic  representations. 

SAH.VBANDE,  (F.t  or  S.\R.\BANDA.  (L) 
A  dance  said  to  be  originally  derive!  from  the 
Saracens.  According  to  some  authors,  it  had  its 
appellation  from  a  comedian  named  Sarabandi, 
who  tirst  introduced  it  in  France.  The  tune  of 
the  Haiabandc  is  written  in  g  or  '^,  and  its  char- 
acter is  both  expressive  and  majestic.  One  of  its 
distinguishing  features  is  the  lengthening  of  the 
second  note  of  the  measure,  which  at  once  gives 
a  gravity  and  consequence  to  the  movement. 

SAUATEI.LI,  GIUSEPPE,  of  Padua,  born  in 
1714,  was  the  predecessor  of  Cialuppi  in  the  sit- 
uation of  chapel-master  of  St.  Mark's  Church  at 
Venice.  He  was  also  a  professor  of  great  emi- 
nence at  the  Conservatory  of  the  Mcndicanti. 
Ue  died  in  1702. 

S.\RUO,  DOMEXICO,  ^-ice-maestro  of  the 
Chapel  lioyal  at  Xajdes,  flourished  from  the  year 
172.')  to  17-il.  This  master  was  much  esteemed, 
both  lor  his  ecclesiiustical  and  secular  productions. 
The  most  celebrated  of  his  operas  were,  "  Ttto 
iStmpronio  Oracco,"  for  Naples,  1725,  and  Metas- 
lasio's  "  Diiioite  abbandnnata,"  for  Turin,  1727. 
He  was  one  of  the  early  reformers  who,  like 
Vinci,  simplitted  harmony  and  polished  melody 
m  his  productions  for  the  stage. 

SAltTI,  GIUSEPPE,  imperiiil  ch»pel-ma.itCT  at 
St.  Petersburg,  was  born  at  Faeuza  in  1730.     In 


1750  he  held  tlic  situationn  o{  court  chapel-mai- 
ter  and  music-master  to  the  royal  family  in  Co- 
]>enhagen  ;  he  also  composed  there  some  ojiems, 
which  were  only  moderately  successful.  .Some 
time  after  this,  we  tind  him  holding  the  place  of 
chapel-master  of  the  Conservatory  Delhi  Piota  at 
Venice;  and  it  is  Irom  this  epoch  that  liis  high 
reputation  in  Italy  must  lie  dated.  His  music 
was  then  di'eiue<l  divine.  .\11  the  Italian  theatres 
were  anxious  for  his  compositions,  «hieh  he 
could  not  produce  in  sulticient  number.  In  17h2 
he  was  elected  chapel-master  of  the  Duomo  at 
Milan.  His  most  popular  opera,  at  this  time, 
was  "  Giitlio  Siihiiio,"  compose<l  in  17S1  lor  Ven- 
ice, and  published  at  Vienna  in  1784.  .Some 
German  critics,  however,  were  of  opinion,  that 
the  harmony  of  this  opera  was  weak  and  defec- 
tive, and  that  its  only  merit  lay  in  the  melody, 
lie  that  as  it  may,  the  high  reputation  of  t\\\a 
work  extended  itself  even  to  St.  Petersburg, 
when  the  Empress  of  Uussia  invited  Sarti  to  hrr 
capita!,  witli  the  appointment  of  imperial  cha;  el- 
mnster,  for  a  term  of  three  years.  In  17'S5,  he 
accordingly  arrived  there,  and  made  his  dtbiU  at 
St.  Petersburg,  by  a  loic  rl  spintuol  for  Good 
Friday,  introducing  also  some  Kussian  psalms, 
which  were  pertoriued  by  sixty-six  voice^  and  a 
hundred  liussian  horns,  besides  the  customary 
orchestra.  Still,  however,  this  concert  was  not 
noisy  enough  to  please  the  Russians ;  so  that 
shortly  after,  on  the  occasion  of  the  taking  of 
Okzakow,  he  produced  a  J'e  Ucum,  in  which  he 
introduced  real  tiling  of  cannon  ;  the  guns  being 
placed  in  the  court  of  the  castle,  and  disrharged 
with  great  precision,  in  the  appointed  passages 
of  the  music.  .Vlter  the  representation  of  "  Ar- 
inida,"  in  178'!.  the  empress  presented  Siirti  with 
j  a  gold  snuffbox  and  diuiuond  ring,  and  appointed 
I  him  director  of  tlio  Conservatory  of  Musical  Ca- 
I  tharineiislaf,  with  a  salary  of  thirty-tive  thousand 
]  ruble's,  besides  his  lodging,  and  a  purse  of  tiftccii 
thousand  rubles  as  an  indemnity  lor  his  travelling 
expenses.  .She  also  conferred  on  him  a  title  of 
nobility.  .Vfter  a  residence  of  eighteen  years  in 
Russia,  and  receiving  various  additional  tavors 
from  the  court  and  nobility,  the  Emperor  Ale.x- 
aiider  permitted  him,  in  1801,  on  accuunt  ot  his 
health,  to  retire,  with  the  continuance  of  liLs  pen- 
sion, to  a  warmer  climate.  He  then  went  to 
Berlin;  but  his  constitution  was  so  broken  up, 
that  he  died  in  that  city  in  the  following  year, 
1802.  The  following  are  amongst  Sarti's  prin- 
cipal dramatic  compositions  :  "  L<i  Giardiiiitra 
hrilliiiUe,"  opera  buHa,  Dresden,  1781;  "  I  Con- 
tratempi,"  o,  era  butfa,  Dresden,  1782;  "II  Tri- 
oitfo  ikUa  J'aiv,"  opera  serin,  Mantua,  1783  ; 
"  Uidone."  opera  seria,  1785;  "Amor  Timid), 
Cantata  d  voce  sola,"  Viccnza,  1787:  "/  Preteti- 
denli  Drliisi,"  Ojicra  butfa,  1788;  "  CIromnie.' 
opera  seria,  Bologna,  1788;  "La  CaUoi^Jo  di 
iHnuburijo,"  opera  biilTa,  Chiavari,  1788;  " /-•! 
(■lemcnza  di  Tiln,"  opera  seria,  1783;  "  ldaiid«," 
ojicra  seria,  Petersburg,  1785  ;  "  l^  Sozzt  di  Do- 
riiui,"  o,.era  butfa,  17uO  ;  "  I  lliciUt  iMiuti,"  op- 
era bulfa,  London;  "  L'  Aiaro,"  an  interlude; 
'•  Cf  Amanii  Conx>l<iti,"  opera  butfa,  17'.*'J;  and 
"Ep/yitiiiui,"  opera  seria.  Turin.  in  the  »i  cond 
Tolumc  of  I.a  Trobe's  sacred  music,  there  is  ao 
exquisitely  beautitul  trio  from  a  .Uucri  rt  by  Sarti 
It  begins  "  AmpUu*  lac»  ine." 


SARTOIUO,.VNT0XIO,ch8pel-ma.sicr  of  Si 


817 


8AU 


ENCYCLOPEDIA    OF    MUSIC. 


SCA 


Mark's  Church  at  Venice,  composed  man}'  operas 
between  the  years  l()o2  and  1G81. 

SAHTOUirS.  ERASMUS,  a  celebrated  Ger- 
man poet  and  musical  writer,  was  born  at  Schlcs- 
wick  in  lo77.  He  held  the  Hituations  of  chapel- 
master  and  vicar  of  the  cathedral  at  Hamburg, 
and  died  in  that  city  in  1039.  His  principal 
work  is  entitled  "  I/nfitud'onr^  Masker,  cum  Doc- 
trinri  (le  MoJis,"  Hamburg,  1033. 

SATTEL.  (G.)  The  nut  of  a  violin  finger- 
board, &c. 

^■AUVEUR,  JOSEPII,profes8orof  mathematics 
at  .he  Royal  College  in  Paris,  and  member  of  the 
Academy  of  Sciences,  was  born  at  La  Fleche  in 
16;)3.     He  had  not  the  faculty  of  speech  till  seven  i 
years   of   age.       Another  jjccuHarity  of  his  life  j 
■was,  that  he  could  not  be  jjrevailed  on  to  see  the  \ 
person  he  was  about  to  marry  till  the  contract  of  j 
marriage  was  signed.      He  was  fond  of   music,  | 
but  had  neither  voice  nor  ear.     His  great  object  ' 
was  to  simplify  the  science,  with  which  view  he 
proposed   to  constitute  one   fixed  key  for  all  the  j 
niu>ic  in  the  worhl,  and  also  produced  a  specimen  ' 
of  a  mode  of  writing  )uusic  on  one  line.     He  also 
invented  a  musical  chronometer.     His   treatises 
on  music  were  all  published  in  the  Memoirs  of 
the  Academv  of  Sciences,  between  the  years  1701 
and  1713.     He  died  in  1716. 

SAVART,  FELIX,  the  distinguished  French 
physician  and  writer  on  acoustics,  was  born  at 
Mezicres  in  1791,  and  died  in  1841. 

SAVIOXI,  MARIO,  counter  tenor  singer  in 
the  Pope's  Chapel  at  Rome,  about  the  year  1G42, 
was  also  a  good  composer. 

SAX,  CHARLES  JOSEPH,  a  celebrated  man- 
ufacturer of  musical  instruments  in  BrusseLs,  was 
born  at  Dinant,  on  the  Meuse,  in  1793. 

SAX,  ADOLPH  AXTOIXE  JOSEPH,  son 
of  the  preceding,  and  inventor  of  the  iMxnphone, 
and  the  whole  modern  family  of  brass  instru- 
ments, called  Sax-ttthas,  Sax-horiis,  &c.,  was  born 
at  Dinant  in  1814.  These  instruments  are  com- 
bined in  the  following  manner  :  — 

1  Sa.x-tuba  in  B  flat,  (octave,) 


1  "  in  E  flat  soprano, 
4         "  in  B  flat  contralto, 
3         "  in  E  Hat  ;dto  tenor, 

2  "  in  B  flat  baritone, 
2         "          in  B  flat  bass, 

1         "  in  E  flat  contra-basso, 

1         "  in  B  flat  contra-basso. 

The  form  of  M.  Sax's  tii!)a  is  borrowed  from 
the  flgures  which  we  sec  upon  Trajan's  pillar  at 
Itome.  With  the  Romans  this  instrument  was 
sometimes  called  tiiha,  sometimes  bucciiui,  and 
even  irre  reciirio,  because  it  was  curved  in  such 
a  manner  that  the  large  part,  after  passing  under 
the  arm  of  the  musician,  repassed  over  his  shoul- 
der, and  presented  the  bell  in  front.  The  advan- 
tage of  this  form,  for  jjowcr  of  sound  in  the  open 
oir,  is,  that  it  avoids  tlie  elbows,  which  impair  the 
free  propagation  of  the  sonorous  waves.  Xoth- 
ing  can  give  an  idea  of  the  volume  of  sound  pro- 
duced by  these  new  acoustic  contrivances  of  the 
intelligent  nuikcr,  to  whom  wc  owe  already  so 
tiany  beautiful  inventions.  The  contra  bassos 
n  E  flat  and  B  flat  ])os>ess  an  unheard-of  power. 
This   latter   instrument,  very  ca.sy  to  play,  )-.as 


forty -eijht  feet  of  development  in  its  tube,  with  a 
conical  diameter  well  jiroijortioned.  It  is  the 
gia)it,  the  mammoth  of  the  species. 

.SBALZO.  (I.)  A  skip  in  melody,  in  contra- 
distinction to  a  progression  by  single  degrees 
only. 

SBARRA  DOPPIA.     (L)     A  double  bar. 

SCACCHI,  MARCO,  a  native  of  Rome,  was 
chapel-master  to  Sigismund  III.  and  to  Uladis- 
laus  IV.,  successively  Kings  of  Poland.  He  was 
the  author  of  a  treatise  published  in  1643,  en- 
titled "  Cfibrum  Musicum  ad  Triticum  Sifertiiium, 
leu  Examinntio  succincta  Psalmorum,  &c. ; "  of 
*'  Cantileua  5  voc.  et  LachrynKr  Sepiilchralcs,"  1647  ; 
and  of  a  set  of  canons  entitled  "  Canonet,  sice 
Lnchryma:  Scpiilckrales  ad  'I'limulum  Joliannia  Slo- 
baci."  The  compositions  of  Scacchi  are  greatly 
esteemed  by  the  Italians  for  the  closeness  of  their 
te.xture,  and  for  the  great  ingenuity  and  con- 
trivance that  are  to  be  found  in  them. 

SCACCIA,  AXGET,0  M.\RIA,  a  Milanese 
violinist  and  composer  for  hLs  instrument,  flour- 
ished towards  the  middle  of  the  eighteenth  cen- 
tury. 

SCALA.     (I.)     A  scale  or  gamut. 

SCALD.  The  name  given  by  the  ancient 
northern  nations  to  their  bards,  whose  employ- 
ment it  was  to  compose  those  odes  and  hjTuns 
which  were  chanted  at  every  public  solemnity. 
These  songs  were,  in  general,  descriptive  of  emi- 
nent exploits,  and  were  animated  by  an  enthusi- 
astic spirit. 

SCALE.  (From  the  Latin  scalaA  The  de- 
nomination first  given  to  the  arrangement  mad« 
by  Guido,  of  the  six  syllables  iit,  re,  mi,  fa,  sol,  la ; 
aLso  called  gamxit.  This  order  of  sounds,  tc 
which  the  French  have  added  that  of  si,  bears 
the  name  oi scale,  (i.  e.,  kidder,)  because  it  repre- 
sents a  kind  of  ladder,  by  means  of  which  th€ 
voice,  or  instrument,  rises  to  acute,  and  descends 
to  grave  ;  each  of  the  seven  syllables  being,  as  it 
were,  one  step  of  the  ladder.  The  word  scaU  is 
also  used  to  signify  a  series  of  sounds  rising  or 
falling  from  any  given  pitch,  or  tone,  to  the 
greatest  practicable  distance,  through  such  inter- 
mediate degrees  as  make  the  succession  most 
agreeable  and  perfect,  and  in  which  we  have 
all  the  harmonical  divisions  most  coramodious- 
ly  divided.  This  scale  is  properly  called  the 
uniccmal  system,  as  including  all  the  particular 
systems.  This  enumeration  of  all  the  diatonic 
sounds  of  our  system,  ranged  in  order,  and  which 
we  call  scale,  was  denominated  by  tlie  Greeks 
totrnc/iord,  because,  in  eftbct,  their  scales  were 
composed  of  only  four  sounds,  which  they  re- 
peated from  tetrachord  to  tetrachord,  as  we 
repeat  ours  from  octave  to  octave. 

Guido  was  led  to  the  invention  of  the  method 
of  solmization,  or  singing  by  syllables,  which 
are  so  used  as  to  mark  the  places  of  the  semi- 
tone*, by  observing  that  in  a  hj-mn  to  St.  John, 
the  first  and  middle  syllables  of  the  first  throe 
lines  formed  a  regular  ascent  in  the  scale  of  the 
major  mode,  as  we  should  say.  Several  different 
copies  of  this  hymn  arc  yet  to  be  found.  One  of 
the  most  modern  copies  we  here  insert,  as  a  cu* 
riosity  worthy  of  preservation. 


84S 


8CA 


ENCYCLOPAEDIA    OP    MUSIC. 


SCA 


Hymn  to  St.  John. 


UT  qucant  laxis,         RE^-aonare  flbris,        MI 


ge»  -  tonim,    FAmull    tu  -  orum,       SOL  -  T*  pollati, 


I  ■  g   ^.    o 

-■ — 1 — 

-iS»- 

-eh-. 

^ 

g- 

3C 

-a^ 

-a 

LA   -  bil 


re    •    a  -  turn,    Sane  - 1«    Johannca. 


Every  concord,  or  harmonic  inten-al,  is  resolva- 
ble into  n  certain  number  of  degrees ;  the  octave, 
ior  instance,  into  three  greater  tones,  two  less 
tones,  and  two  semitones ;  the  greater  sixth,  into 
two  greater  tones,  two  less  tones,  and  one  semi- 
tone ;  tlie  less  sixth  into  two  greater  tones, 
one  less  tone,  and  two  semitones;  the  fifth  into 
two  greater  tones,  one  less  tone,  and  one  semi- 
tone ;  the  foiirth  into  one  greater  tone,  one  less 
tone,  and  one  semitone  ;  the  greater  third  into 
one  greater  tone  and  one  less  tone  ;  and  the  less 
third  into  one  greater  tone  and  one  less  tone.  It 
is  true  tliere  is  a  variety  of  other  intervals  or 
degrees,  besides  greater  tones,  less  tones,  and 
semitones,  into  which  the  concords  may  be 
divided  ;  but  these  three  are  prei'erred  to  all  the 
rest,  and  these  alone  are  in  use.  Further,  it  is 
not  any  order  or  progression  of  these  degrees  that 
will  produce  melody.  A  number,  for  instance, 
of  greater  tones  will  make  no  music,  because  no 
number  of  them  is  equal  to  any  concord,  and  the 
same  is  true  of  the  other  degrees.  ITbere  is  a 
necessity,  therefore,  of  mixing  the  degrees  to  make 
music  ;  and  the  mixture  must  be  such  that  no  two 
of  the  same  kind  be  ever  next  each  other. 

The  design  of  the  scale  of  music  is  to  show 
how  a  voice  may  rise  and  fall  less  than  any  har- 
monic interval,  and  thereby  move  from  the  one 
extreme  of  any  interval  to  the  other,  in  the  most 
agreeable  succession  of  sounds.  The  scale,  there- 
fore, is  a  system,  exhibiting  the  whole  principles 
of  music,  which  are  either  harmonic  intervals 
(commonly  called  concords)  or  concinnous  inter- 
vals ;  the  first  are  the  essential  principles,  the  others 
subservient  to  them,  to  make  the  greater  variety. 
Accordingly  in  the  scale  we  have  all  the  concords, 
with  their  concinnous  degrees,  so  placed  as  to 
make  the  most  periect  succession  of  sounds  from 
any  given  fundamental  or  key,  which  is  supposed 
to  be  represented  by  i.  It  is  not  to  be  supposed 
that  the  voice  is  never  to  move  up  and  down  by 
any  other  more  immediate  distances  than  those 
of  the  concinnous  degrees ;  for  though  that  be 
the  most  usual  movement,  yet  to  move  by  har- 
monic distances,  as  concords,  at  once,  is  not 
excluded,  but  is  even  absolutely  necessary.  In 
effect,  the  degrees  were  only  invented  for  variety 
sake,  and  that  we  might  not  always  move  up 
and  down  by  harmonic  intervals,  though  those 
are  the  most  perfect,  the  others  deriving  all  their 
agreeableness  from  their  subsen-iency  to  them. 
Besides  the  harmonic  and  concinnous  intcri'nls, 
which  are  tne  immediate  principles  of  music,  and 
we  directly  applied  m  practice,  there  are  other 
discord  relations,  which  happen  unavoidably  in 
music,  in  a  kind  of  accidental  and  indirect  man- 
ner ;  for  in  the  succession  of  the  scrcral  notes  of 


107 


8 


the  scale  there  are  to  be  considered  not  only  the 
relations  of  those  that  succeed  others  immediate- 
ly, but  also  of  those  betwixt  which  other  notes 
intervene.  Now,  the  immediate  succession  may 
be  conducte<l  so  as  to  j)roduce  good  melody,  and 
yet  among  the  distant  notes  there  may  be  very 
gross  dUcords,  that  would  not  be  allowed  in  im- 
mediate succession,  much  less  in  consonanca 
Thus,  in  the  first  scries,  or  scale,  above  delivered 
though  the  progression  be  melodious,  as  the  tenus 
refer  to  one  common  fundamental,  yet  are  there 
several  discords  among  the  mutual  relations  of 
the  terms;  e.  gr.,  from  the  4th  to  7th  is  32,  45, 
and  from  the  greater  2d  to  the  greater  6th  Is  27, 
40,  and  from  the  greater  2d  to  4th  Ls  27,  .'i2,  which 
are  all  discords ;  and  the  same  will  ha|)pen  in 
the  second  scries.  From  wliat  we  have  observed 
here,  and  under  the  article  Key,  it  appears  that 
the  scale  supposes  no  determined  pitch  of  tune, 
but  that,  being  a.ssigned  to  any  key,  it  marks  out 
the  tune  of  all  the  rest,  with  relation  to  it,  shows 
what  notes  can  be  naturally  joined  to  any  key, 
and  thereby  teaches  the  just  and  natural  limita- 
tions of  melody,  and  when  the  song  is  carried 
through  several  keys,  yet  it  is  still  the  same  nat- 
ural scale,  only  applied  to  different  fundamentals. 
If  a  series  of  sounds  be  fixed  to  the  relations  of 
the  scale,  it  will  be  found  exceedingly  deJective; 
but  this  imperfection  is  not  any  dcfc-t  of  the 
scale,  but  follows  accidentally  from  its  being 
confined  to  this  condition,  which  Ls  foreign  to 
the  nature  and  otScc  of  the  scale  of  music. 
This  Ls  the  case  in  musical  instruments,  and  in 
this  consists  their  great  deficiency.  For,  suppose 
a  series  of  sounds,  as  those  of  an  organ  or  harp- 
sichord, fixed  in  the  order  of  tliLs  scale,  and  the 
lowest  taken  at  any  pitch  of  tune,  it  is  evident 
that  we  can  proceed  from  any  note  only  by  one 
particular  order  of  degrees,  since  from  every  note 
of  the  scale  to  its  octave  is  contained  a  different 
order  of  the  tones  and  semitones.  Hence  wo 
cannot  find  any  interx-al  re<|uired  from  any  note 
upwards  or  downwards,  since  the  intervals  from 
every  note  to  every  other  are  also  limited.  A)ul 
hence  a  song  may  be  so  contrived  that,  beginning 
at  a  particular  note  of  the  instrument,  all  the 
intervals,  or  the  other  notes,  shall  l)e  found  exact- 
ly on  the  instrument,  or  in  the  fixed  series ;  yet 
were  the  song,  though  perfectly  diatonic,  begun  in 
any  other  note,  it  would  not  proceed.    In  effect,  it 

;  Ls  demonstrable  there  can  be  no  such  thing  as  a 
perfect  scale  fixed  on  instruments,  (i.  e.,  no  such 
scale  as  from  any  note,  upwards  or  downwards, 
shall  contain  any  harmonic  or  coucinnous  in- 
terval re({uired.)  The  only  remedy  for  thLs  defect 
of  instruments  whose  notes  are  fixed,  must  l>e 
by  inseiting  other  notes  and  degrees  betwixt 
those  of  the  diatonic  series.  Hence  some  au- 
thors speak  of  dividing  the  octave  into  10,  18,  20, 
24,  2t),  .31,  and  other  numbers  of  degrees  ;  but  it 
is  easy  to  conceive  how  hard  it  mu.st  be  to  per- 
form on  such  an  instrument.  We  have  a  remedy 
on  ea.sier  terms ;  for  a  scale,  proceeding  by  twelve 
degrees,  that  is,  thirteen  notes,  including  the 
extremes,  to  an  octave,  renders  our  instrument  so 
perfect  that  we  have  little  reason  to  complain. 
This,  then,  is  the  present  scale  for  instrumenta, 
viz. :  between  the  extremes  of  every  interval  of  the 
natural  scale  is  put  a  note,  which  divides  it  into 
two  une<)ual  jmrts,  called  semitones,  whence  the 
whole  may  Ix;  called  the  scmitonic  scale,  as  con- 
taining twelve  semitone*,  betwixt  thirtoeu  not«^ 

i9 


SCA 


ENCYCLOPEDIA    OF   MUSIC. 


SCA 


*ivhin  the  compass  of  an  octave.  And  to  pre- 
Beive  the  diatonic  series  dixtinct,  these  inserted 
notes  take  eitlier  the  name  o(  the  natural  note 
next  below,  with  the  mark  called  a  ifiarp,  or  the 
name  of  the  natural  note  next  above,  with  the 
mark  called  a  fat. 

The  student  will  remember  that  if,  after  sound- 
ing one  note,  we  ascend  or  descend  an  octave, 
we  have  executed  what  is  termed  a  scale,  or  pas- 
sage. The  diatonic  scale  consists  principally  of 
whole  tones,  and  the  chromatic  entirely  of  half 
tones.  In  the  diatonic  scale  of  eight  notes,  there 
are  live  whole  tones  and  two  half  tones.  ITie 
ascending  scale  is  the  same  as  the  descending. 


The  chromatic  scale  consists  of  thirteen  notes 
and  twelve  semitones  ;  in  this  scale,  the  ascend- 
ing differs  from  the  descending  —  in  the  former, 
sharps  are  used  to  raise  each  note ;  in  the  latter, 
flats  to  lower  each. 


There  are  two  kinds  of  diatonic  scales,  major 
and  minor.  In  the  major  scale,  the  semitones 
fall  between  the  third  and  fourth  and  the  seventh 
and  eighth  notes,  both  ascending  and  descending. 

Every  diatonic  scale  is  also  called  a  key,  and 
said  to  be  in  a  certain  key.  Thus  when  the  scale 
begins  upon  C,  it  is  said  to  be  in  the  scale  and 
key  of  C ;  when  it  begins  on  D,  it  is  said  to  be 
in  the  scale  and  key  of  D ;  and  so  on. 

The  scale  of  C  is  termed  the  natural  scale, 
because  it  can  be  produced  without  the  aid  of 
sharp  or  flat  signs.  In  every  other  diatonic 
major  scale,  sharps  and  flats  are  required  to  place 
the  semitones  in  their  proper  places. 

If  we  form  a  scale  of  ascending  fifths,  we  shall 
find  that  every  scale  a  fifth  higher  than  the  pre- 
ceding one  will  require  an  additional  <*,  which 
additional  sharp  is  always  found  a  semitone  be- 
low the  new  key  note,  or  first  of  the  scale.  G 
has  one  sharp,  F#?  ;  D,  a  fifth  higher,  has  two 
sharps,  Ftf  and  Of.  The  scale  of  ascending 
fifths  will  thus  be  formed  :  — 


^^^fefe^ 


If  we  make  a  scale  of  descending  fifths,  we 
shall  find  that  every  new  key,  a  fifth  below 
a  preceding  one,  will  require  an  added  b,  the 
additional  b  being  a  fifth  below  the  new  key 
note. 

Sharps  and  flats  not  placed  at  the  commence- 
ment of  the  start"  are  called  accidentals.  If  there 
are  two  notes  on  the  line  or  space  in  one  bar, 
and  the  first  is  made  sharp,  the  second  also  must 
be  sharpened  ;  and  if  the  note  ending  a  bar  be  tf 
or  b,  and  a  note  of  the  same  name  be„in  the 
following,  that  also  must  be  made  sharp  or  flat ; 
but  if  a  different  note  begins  the  ne.\t  bar,  the 
preceding  sharp  or  flat  has  no  effect. 


A  scale  of  flat  keys  may  thus  be  formed :  — 


^^^^^^ 


Besides  the  major  diatonic  and  chromatic 
scales,  there  is  another  kind,  termed  "  minor," 
or  "  lesser,"  which  differs  principally  from  the 
major  by  having  its  third  note  flattened,  oi 
brought  nearer  to  the  second  ;  so  that,  instead  of 
the  semitones  falling  between  the  tliird  and 
fourth  and  seventh  and  eighth,  they  fall  between 
the  second  and  third  and  seventh  and  eighth. 

In  ascending,  the  semitones  fall  between  the 
second  and  third  and  seventh  and  eighth. 

Ascending. 


But  this  is  not  the  only  respect  in  which  the 
minor  scale  differs  from  the  major :  the  latter  is 
the  same  both  ascending  and  descending  ;  while 
the  descending  scale  of  the  former  is  not  the 
same  as  its  ascending. 

Descensino. 


:!: 


EJ^ 


In  descending,  the  semitones  fall  between  the 
fifth  and  sixth  and  second  and  third. 

It  will  always  be  found  that  accidental  sharps 
or  naturals  are  used  in  the  ascending  minor 
scale,  in  order  to  place  the  seventh  note  only  a 
semitone  from  the  eighth  ;  but  these  figures  are 
omitted  at  the  signature,  because,  though  used  in 
ascending,  thej-  are  not  in  descending,  as  the 
above  two  examples  prove. 

Minor  scales  are  termed  "  relative,"  because 
they  have  the  same  signatures  as  the  major  scales 
of  a  third  above.  Thus  E  minor  has  the  same 
signature  as  G  major  ;  it,  therefore,  is  termed  the 
relative  minor  to  G. 

The  Majos  Scales  and  Keys,  with  theik  Rel- 
ative Minors. 


Major  Keys. 

C  Majob. 


^^^ 


Their  lielatiee  Minon. 
A  Minor. 


332: 


-+— (- 


=t: 


^rsf-^' 


rs^ 


^2^^ 


ZZ 


O  Majob. 


E  Minor. 


^^^=fe^^ 


D  Major. 


B  Minor. 


3i^^ 


A  Major. 


F  Sharp  Minor. 


^tef^afe^i^^ 


850 


RCA 


ENCYCLOPEDIA    OF    MUSIC. 


SCA 


1 — I  I     It ' — ' ;r-!5)5-S«  "-1 


£  Flat  Major. 


C  Uniot. 


^^g^f^fe^:^ 


XT 


1=S 


B  Majok. 


0  SOABT  Minor. 


S^l 


fe^^^%S^fe^ 


F  Sbait  Majob. 


D  Sharp  Miiior. 


The  relative  minor  is  always  found  a  tone  and 
a  semitone  below  the  major  scale  of  the  same 
signattire.  If,  therefore,  the  third  note  is  found 
to  be  two  tones  from  the  first,  the  scale  is  major ; 
if  only  a  tone  and  a  semitone,  it  is  minor. 

SCALE  OF  NATURE.  This  is  the  scale 
from  which  our  modern  scales  ari.se,  and  from 
which  we  derive  important  principles  relative  to 
every  branch  of  the  science  of  music.  It  is  a 
gradual  succession  of  fi.xed  sounds,  which  nature 
produces  from  a  string  when  divided  into  equal 
parts.  Theorists  have  made  three  grand  divisions, 
viz.,  the  diatonic,  the  chromatic,  and  the  enhar- 
monic. 

SCAI.ETTA,  OIL.\ZIO.  chapel-ma,ster  of  St. 
Anthony's  Church  at  I'adua,  was  born  at  Ber- 
gamo, lie  died  of  the  plague,  at  Padua,  in  1630. 
Amongst  other  works  he  is  known  by  the  follow- 
ing :  "  ScaUi  (ii  Mu3ica  per  principianli,"  Milan, 
l.i'JO  ;  "  Sro/rt  di  Mtuica  motto  necessaria,  fatta  con 
or/ni  brevila,"  &c.,  Venice,  1600,  (a  fifth  edition 
of  this  work  appeared  at  Milan  in  1610;  other 
editions  at  Milan  in  1647  and  16(6,  and  at  Korac 
in  1666  and  1677)  ;  "  Madri/jali  A  6  coci,"  Venice; 
and  '•  Me^sa  brere  da  Morli  H  4  rod,"  Venice. 

SCANDELLL  ANTONIO,  chapel-ma-iter  to 
the  Elector  of  .'^a.Tony,  was  appointed  to  that 
otHce  in  1560,  and  died  at  Dresden  in  1.580.     He 

CMished  several  collertions  of  songs  at  Nurtm- 


SCANELLO.  ITie  name  given  by  the  Italiana 
to  the  bridge  of  a  violin,  violoncello,  &c. 

SC.\RLATTL  ALESSANDRO.  was  born  at 
Trapani,  in  Sicily,  in  16.)'J.  The  name  of  his 
master  is  unknown  ;  but  the  reputation  of  Caris- 
simi,  who  then  flourished  at  the  head  of  the  Ro- 

i  man  school,  having  reached  Na|)le«,  .Scarlatti 
thought  it  right  to  repair  to  the  metropolis  of  the 
arts,  and  to  hear  the  compositions  of  this  mastor, 
in  order  to  form  his  style  on  so  great  a  raod^l, 
and  to  profit  by  Carissimi's  instructions.  Scar- 
latti was  the  greatest  harp  jjlayr  of  his  day.  Hj 
the  aid  of  this  instrument  he  sought  to  introduce 
himself  to  C'arissirai.  The  straUigem  succeeded, 
and  the  most  sincere  attachment  was  the  effect. 
CarLssimi,  in  exchange  for  the  delightful  airs 
composed  and  performed  by  Scarlatti,  revealed  to 
him  the  secrets  of  his  art.  Scarlatti  augmented 
these  acquirements  by  the  learning  and  experi- 
ence afforded  by  travel.  Instead  of  returning  to 
Naples,  he  visited  the  theatr'.'s  and  masters  of  Uo- 
logna.  Florence,  and  Venice,  at  which  latter  city 
he  analyzed  the  principles  of  the  art,  as  he  had 
done  at  Rome.  From  thence  he  proceeded  to 
Vienna,  whose  rising  school  promised  future 
greatness  to  Germany  when  it  should  have  been 
vLsited  and  enlightened  by  the  masters  of  Italy. 
In  this  city  he  made  the  first  essay  of  his  talents 
for  composition,  and  his  theatrical  and  sacred 
works  were   alike  successful.     On  hLs  return  to 

I  Naples  he  halted  at  Rome,  where  he  composed 
several  operas  as  a  testimony  of  gratitude  for 
his  favorable  reception  on  his  first  visit  to  this 
city  :  they  were  received  with  transport.  Ar- 
rived at  Naples,  and  possessed  of  talents  ripened 
by  science  and  experience,  Scarlatti  devoted  him- 
self entirely  to  his  own  country,  and  applied  him- 
self not  only  to  the  production  of  numerous  sa- 
cred and  profane  compositions,  but  al.so  to  ths 
regeneration  of  the  Neapolitan  school,  by  the  best 
principles,  the  best  regulations,  and  the  most  per- 
fect methods  of  instruction.  Until  the  time  of 
Scarlatti,  the  overture  to  an  opera  consisted  of 
meagre  obligato  symphony,  produced  by  certain 
routine,  and  frequently  in  bad  taste.  Scarlatti 
reformed  this  department  of  the  opera,  and  estab- 
lished it  less  upon  the  form  than  upon  the  foun- 
dation of  the  work  itself,  making  it  a  species  of 
musical  prologue  or  programme  of  the  action  ;  ho 
informed  it  with  truth,  images,  and  melody.  He 
perfected  the  obtii/ntt  or  accompanied  recitative, 

I  and  invented  the  introduction  of  the  da  capo  or 
ritornel  of  the  sym])honies  into  recitatives  of 
strong  passion,  which  before  his  time  wns  neither 
practi.se<l  nor  known  by  the  Italian  composers. 

I       Dr.  Humey  says,  "  llie  most  voluminous  anl 

I  most  original  composer  of  cantatas  that  has  ever 
existe<l  in  any  country  to  which  my  in(iuirics 
have  reached,  seems  to  have  be«n  Ale*sandro 
Scarlatti.  Indeed,  this  master's  genius  was  truly 
creative  ;  and  I  find  part  of  his  projicrty  among 
the  stolen  goods  of  all  the  best  composers  of  iha 
first   forty  or  fifty  years  of  the  present  century, 

\  1 790.     ITie  violoncello  parts  of  many  of  his  ran- 

.  tatas  were  so  excellent  that  whoever  was  able  to 
do  them  justice  was  thought  a  supernatural  be- 
ing." Although  the  modulation  in  the  cantata* 
is  sometimes  crude  and  unnatural,  yet  they  ar« 
never  without  some  beauty.  Durante,  a  pu|)iJ 
of  Scarlatti,  alterwnrds  arrangecl  several  of  then 
as  dueU  of  great  leaxnijig.  Sacchini,  whau  teack 
851 


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ENCYCLOPAEDIA    OF    MUSIC. 


SCH 


ing  at  the  Conservatory  of  L'Ospedaletto  at  Yen- 
ice,  at  the  end  of  each  lesson  respectfully  kissed 
the  book  which  contained  them.  Scarlatti  is  said 
to  have  composed  near  a  hundred  operas,  besides 
oratorios,  and  two  hundred  masses.  His  inven- 
tion was  80  fertile,  and  his  application  so  intense, 
that  he  coinjiosed  with  greater  rapidity  than  his 
copyist  could  write.  "La  I'riiicipcssa  F^dvle"  is 
generally  cited  as  his  best  dramatic  production. 
The  Italians  speak  of  him  as  the  glory  of  the  art, 
and  the  chief  of  composers,  llassc  said  of  him, 
that,  in  jwint  of  harmony,  he  was  the  greatest 
master  of  Italy.  In  1725  Quantz  saw  him  at 
Naples,  where  he  was  still  composing  for  the 
church,  and  played  e.xtrcmely  well  on  the  harp, 
notwithstanding  his  advanced  age.  He  died  in 
1725. 

SCARLATTI,  DOMENICO,  son  of  the  pre- 
ceding, was  born  in  1683,  and  inherited  the  tal- 
ents of  his  father.  He  was  less  his  pupil  than 
Lis  successor,  and  imitated  him  in  his  conduct  as 
well  as  in  his  productions.  While  a  youth,  he 
studied  under  Francesco  Gasparini,  then  a  com- 
poser and  excellent  harpsichord  player  at  Home. 
As  soon  as  his  musical  studies  were  compkted, 
he  visited  the  schools  of  Italy,  and  particularly 
that  of  Yenice,  in  1709,  which  had  become  the 
riral  of  Naples.  After  having  observed  the  prog- 
ress of  this  school,  Scarlatti  did  not  fear  to  try 
his  strength ;  and  he  was  supported  by  the  ap- 
plause of  the  public,  and  the  approbation  and  es- 
teem of  the  cognoscenti;  never  was  success  less 
contested.  Scarlatti  sought  the  friendship  of  the 
masters  of  the  Yenetian  school,  and  became  ac- 
quainted with  Handel,  who,  although  a  German, 
was  considered  as  an  Italian  in  Yenice,  where  he 
studied  his  art.  Scarlatti  became  so  attached  to 
this  composer,  who  then  held  the  rank  in  Ger- 
many that  his  father  had  occupied  in  Italy,  that 
he  followed  him  to  Rome,  protitmg  by  his  coun- 
sel, advice,  and  even  by  his  conversation.  He  only 
quitted  him  to  repair  to  Portugal,  where  he  was 
engaged  as  chapel-master.  He  composed  operas 
and  sacred  music  at  Lisbon,  which  were  as  suc- 
cessful as  those  produced  at  Yenice.  D.  Scarlatti 
quitted  Portugal  in  172fi,  and  made  some  stay  at 
Rome,  where  he  became  acquainted  with  Quantz. 
At  Naples  his  compositions  for  the  church  and 
the  theatre  obtained  the  unanimous  approbation 
of  his  countrymen,  less  for  the  double  consider- 
ation of  the  memory  of  his  father,  and  the  affec- 
tion which  attracts  towards  an  artist  born  on  the 
same  spot  as  ourselves,  than  for  the  real  merit  of 
works  which  united  science  with  taste,  and  cul- 
tivation with  genius.  Ilasse,  known  by  the  title 
of  II  S<issonf,  (the  Saxon,)  was  then  studying  at 
Naples,  and,  witnessing  the  success  of  Domenico 
Scarlatti,  solicited  and  obtained  his  friendshij) ; 
he  w  IS  heard  to  say,  fifty  j'ears  after,  that  no 
composer  had  ever  greater  enthusiasm  and  taste 
for  his  art.  His  reception  was  the  same  wher- 
ever he  appeared.  He  was  ent;aged  by  the  court 
of  Madrid,  and  first  apjjcared  in  the  opera  of 
"  Mcrope."  Besides  being  appointed  master  of 
the  Royal  Chapel,  he  became  teacher  of  the  harp- 
sichord to  the  queen,  on  which  he  i)articularly 
sxcclled,  as  well  as  on  the  harp,  f he  style  of 
thipi  compo.ser,  which  was  formed  on  that  of  hLs 
father,  was  grand  and  majestic.  His  modulations 
in  his  compositions  for  the  church  had  nothing 
of  the  monotonous  austerity  of  the  ancient  chant*. 


and  his  theatrical  productions  possessed  the  i  rt 
of  expressing  with  truth  and  grace  the  emotioas 
and  sentiments  of  the  soul.  He  also  composed 
for  the  harpsichord  ;  and  his  lessons,  dedicated 
to  the  Queen  of  Spain,  were,  according  to  Uur- 
ney,  "  the  wonder  and  delight  of  every  hearer 
who  had  a  spark  of  enthusiasm  about  him,  and 
could  feel  new  and  bold  effects,  intrepidly  pro- 
duced by  the  breach  of  almost  all  the  old  and 
established  rules  of  composition."' 

SCARLATTI.  GIUSEPPE,  grandson  of  Ales- 
sandro  Scarlatti,  was  born  at  Naples  about  tre 
year  1718,  and  passed  the  greater  part  of  his  lilfl 
at  Yienna,  where  he  was  much  esteemed,  botli  as 
a  dramatic  compo.ser  and  perfonuer  on  the  haq)- 
sichord.  He  died  at  Yienna  in  1776.  Amongst 
his  works  are  the  following  operas  :  "  Pompeo  in 
Armenia,"  1747;  "  Adriano  in  Siria,''  1752; 
"  Ezio,"  1754  ;  "  L' Effetti  del/a  yran  Madre  -Va- 
tura,"  Yenice,  1754  ;  "  De  gustibus  non  est  dispu- 
tand ntn, "  Ycwicc,  1754  ;  "  Chi  tutlo  abraccia,  nulla 
stringe,"  Yenice,  1754;  "  Mercato  di  Malmatiiile" 
1757;  this  opera  had  prodigious  success;  "  Iso- 
la  disabitata,"  Vienna,  1757;  "  Islpile,"  "  Nar- 
cisso,"  "  La  Sena  scaUra,"  1759  ;  "  La  Clemenza 
di  Tito,"  1760;  and  "  Im  Moglia  Padrona,"  Yien- 
na, 17()8. 

SCENA.  (I.)  A  scene.  A  term  applied  by 
the  Italians  to  a  portion  of  an  opera  comprised  in 
any  one  entire  composition. 

SCENA  DA  CAMERA.  (I.)  An  expression 
applied  by  the  Italians  to  all  vocal  compositions 
not  designed  for  the  church  or  theatre,  but  th« 
chamber  only  ;  as  C3ntata.s,  canzonets,  &c. 

SCENIC  MUSIC.  Music  adapted  to  dramatic 
business. 

SCHACK.  An  actor  at  Munich  and  Yienna, 
also  a  theatrical  composer,  much  admired  in  Ger- 
many. Amongst  his  works  are  the  following  : 
a  second  part  to  the  opera  "  Una  cosa  rara," 
Yienna,  1789  ;  "  Das  Scfilnraffentand,"  about  1790  ; 
"Die  Wiener  Zeitxing,"  \1  do  ;  "  Don  Quixote,'  op- 
eretta, Yienna,  1792;  "  Der  Stein  der  Weisen," 
Yienna,  1792  ;  and  '•  Die  Zaubertmmmel,"  operet- 
ta. 1796. 

SCHADECK,  JOHANN.  An  instrumental 
composer  at  Yienna.  He  died  previously  to  the 
year  1807.  His  works  are  much  admired,  and 
are  chiefly  for  the  haqisichord  and  violin. 
Amongst  them  are  "  3  Gro.ise  Sonaten  fllr  das 
Klavicr,"  Yienna,  1801  ;  "  3  Quaiuors  pour  2  J'-, 
A.,  et  Vc,"  Op.  2.  Yienna.  1802. 

SCHAFRATH,  CHRISTOPH,  chamber  mu- 
sician  of  the  Princess  and  Abbess  Amelia  at  Ber- 
lin, was  born  near  Dresden  in  1709.  He  was  one 
of  the  most  distinguLshed  contrapuntists  of  Ger- 
many, and  the  art  is  much  indebted  to  his  tuition 
for  many  of  the  best  singers,  performers,  and 
composers  of  Germany,  in  the  latter  half  of  the 
last  century.  Amongst  his  pupils  was  the  cele- 
brated C.  G.  Richer,  of  Berhn.  Of  his  ])rinted 
compositions  we  can  only  name  "  Sei  duetti  d 
Cembalo  Oblig.  e  Vinlin  o  F/auto  Concerto ; "  Op.  1, 
1752,  and  "  Six  Harpsichord  Sonata-s,"  Op.  2, 
1754.     He  died  about  the  year  1762. 

SCHAII-CULI,  the  Orpheus  of  the  Persians, 
flourished  at  Bagdad  towards  the  middle  of  tht 
seventeenth  century.  Ainiirnth  lY.,  having 
taken  that  city  in  1G38,  gave  orders  for  a  maa- 


So2 


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ENCYCLOPEDIA    OP   MUSIC. 


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sacre  of  thirty  thousand  of  the  iiihabitnnta.  A 
part  of  the  eoiKlcmiicd  had  nheiidy  lieeu  put  to 
the  sword,  when  Schah-Ciili  found  means  to 
penetrate  to  the  sultan,  who  was  present  at  the 
slaughter.  He  then  immediately  san;,',  accom- 
panied by  his  harp,  the  traffic  fate  of  ]<a<;dad,  and 
this  in  strains  so  deeply  aH'ecting  that  the  heart 
of  the  cruel  monardi  became,  for  the  first  time, 
accessible  to  pity.  He  ordered  the  work  of  blood 
to  be  i)ut  a  stop  to,  and  took  the  savior  of  his  coun- 
try, tofjether  with  four  other  musicians,  with  him 
to  Constantinople.  These  were  the  first  founders 
of  good  music  in  the  Turkish  empire.  Tlie  mu- 
sicians of  Constantinople  perform,  to  this  day, 
the  celebrated  composition  which  saved  the  lives 
of  so  many  unfortunate  victims  of  despotism  and 
barbarity.  See  "  Todcriui  Litterutura  Turchesva," 
Venice,  1787. 

SCIIALE,  CIIIUSTIAX  FHIEDIUCII,  cham- 
ber musician  and  ors;anist  of  the  cathedral  at 
I'erlin,  was  born  at  IJrandenburg  in  17Ut.  He 
was  considered  one  of  the  best  organists  and 
harpsichord  pcrfonners  in  (jerinany,  and  com- 
posed various  excellent  works  for  these  instru- 
ments.    He  died  at  lierlin  in  1800. 

SCIIALL,  CL.VUS,  royal  concert  master  at 
Copenhagen,  was  born  in  that  city.  lie  was  con- 
sidered a  man  of  much  talent,  especially  as  con- 
ductor of  an  orchestra.  He  was  also  a  good  solo 
performer  on  the  violin.  He  composed  several 
ballets,  also  Danish  operettas,  and  some  violin, 
flute,  and  horn  mu.sic.  He  died  at  Copenhagen 
in  1834,  at  an  advanced  age. 

SCHALMERS.  The  old  French  name  for 
hautboy. 

SCHAUEXSEE,  FRANCOIS  JOSEPH  L. 
M.  DE,  organist  of  a  convent  at  Lucerne,  in  Swit- 
zerland, was  born  in  that  town  in  1720.  From 
the  age  of  five  years  he  took  lessons  in  singing, 
and  at  six  years  old  began  to  study  the  organ. 
At  twelve  he  had  made  such  progress  in  that  art, 
that  hLs  master  could  confide  in  him  for  the  organ 
performance  of  the  convent,  even  on  the  days  of 
festival.  In  1731  he  was  sent  to  a  convent  of 
]?enedictines,  in  the  neighborhood  of  St.  Gall, 
to  continue  his  studies.  This  convent  liaving  no 
organ,  he  applied  himself  to  tl)e  harpsichord,  and 
began  also  the  violin  and  violoncello.  In  173.5 
he  returned  home,  and,  alter  about  thice  years' 
study  of  counterpoint,  composed  a  small  dramat- 
ic  piece,  the  performance  of  which  was  so  ap- 


instruraent  also,  in  the  style  of  Corelli.  Hiv- 
ing passed  a  year  at  Milan  in  the  above  manner, 
he  recommenced  composition  by  writing  som« 
sonatas  for  the  harpsichord,  which  were  after- 
wards published.  A  few  months  after  this  time 
he  entered  as  ensign  in  a  Swiss  regiment,  in  th« 
service  of  the  King  of  .Sardinia,  with  which  h« 
made  the  camjiaign  of  1742,  and,  alter  beii\g  pro- 
moted, was  taken  prisoner.  In  171.3  his  regin.ent 
was  in  garrison  in  Sardinia  :  there  he  not  only 
finished  his  opera  of  harj)sichord  sonatas,  but 
comjiosed,  for  the  l)iithd!iy  of  his  colonel,  an  op- 
eretta, wliich  was  ])erlormcd  at  Canliari,  and  so 
pleased  the  viceroy  that  he  re(|uestcd  Schaucns6e 
to  compose  a  "  Tc  Drum,"  to  bo  s\ing  on  the  oc- 
casion of  a  victory  obtained  over  the  Spaniards. 
The  great  success  of  tliis  |)erformanee  determined 
him  immediately  to  compose  u  new  opera ;  it  was 
entitled  "  .4/y/rtii.vt  Fistasi,"  anA  jdaycd  in  1741, 
in  ])rosenee  of  tlie  viceroy,  meeting  with  uni- 
versal applause.  His  regiment  wius  then  ordered 
to  quit  Sardinia  for  Nice,  when  Schaueiis(''e,  being 
made  prisoner,  was  allowed  to  return  to  hLs  own 
country  on  his  ])arole.  He  there  comjiosed  much 
church  and  other  music,  and  at  length  took  or- 
ders as  priest  of  the  Roman  Catholic  Church. 

SCHEinE,  JOHANN  ADOLPII,  chapel- 
master  to  the  King  of  Denmark,  was  born  at  Leip- 
sic  in  1 708.  He  studied  the  harpsichord  and  organ 
in  early  life,  but  without  the  intention  of  follow- 
ing music  as  a  profession,  till  172.5,  wlien  his 
father  suffered  so  severely  in  his  pecuniary  cir- 
cumstances as  to  decide  young  Schcibe  to  pursue 
the  study  of  music  in  a  profes.'-ional  point  of  view. 
IJeing  shortly  after  disappointed  in  obtaining 
several  vacant  situations  as  organist,  he  devoted 
himself  more  exclusively  to  composition.  In 
1730  he  produced  some  lessons  for  tlic  harp.si- 
chord,  and  other  practical  works.  In  173.5  he 
went  to  Prague,  and  pas.sed  the  following  winter 
at  Ciotha.  In  173')  he  resided  for  some  time  at 
Sondershausen,  whence  he  proceeded  to  Ham- 
burg, with  a  wish  of  corapo.sing  an  opera  for  the 
theatre  of  that  city.  Unfortunately,  however,  the 
theatre  was  closed  immediately  afterwards,  and 
he  then  turned  his  mind  to  jirocure  the  means 
of  subsistence  from  didactic  writings.  He  began 
by  publishing  a  weekly  periodical  work  entitled 
"The  Critical  Musician."  This  seemed  to  prom- 
ise success,  when,  in  1740,  the  Margrave  of  Uran- 
denburg-Culmbaeh  nominated  him  chapel-mas- 
ter. This  ajipointmcnt  did  not  interfere  with  tho 
plauded  a.s  to  decide  him  to  consecrate  his  talents     continuance  of  his  "Critical    Musician."     Some 


to  composition ;  and  that  he  might  meet  with 
less  distraction  in  hi-^  new  oecupntion,  he  became 
a  monk  in  the  convent  of  >St.  I'rbain,  of  the  Cis- 
tercian order.  fSoon,  however,  disgusted  with 
this  state  of  life,  he  returned  to  his  family  in 
about  a  year ;  almost  immediately  deciding  to  ac- 
cept his  grandlather's  orter  to  send  him  to  .Milan, 
tliat  he  might  penect  himself  in  the  Italian  lan- 
guage, and  from  thence  proceed  to  Rome.  At 
Milan,  having  the  ojiportunity  of  hearing  the 
best  music,  both  sacred  and  theatrical,  and  be- 
coming acquainted  with  several  celebrated  por- 
lormers,  he  laid  aside  composition  tor  a  short 
t^me,  and  devoted  hilusell  to  practiie  on  tlic 
piano-forte,  on  which  he  made  such  progiess  as 
to  be  soon  considered  one  of  the  1  est  jilaycrs  in 
that  citv 


He  then  took  lessons  on  the  violin  of 
Galiinberti,  and  soon  became  eminent  on  that  I  violin    concertos,  seventy   symphonies, 

853 


time  afterwards  he  obtained  the  place  of  chapel- 
master  to  the  King  of  Denmark.  He  then  pub- 
lished at  Leipsic,  in  174.J,  the  second  edition  of 
his  "Critical  Musician,"  enlarged  by  various  con- 
trover>ial  es.says  which  it  had  produced.  On  the 
arrival  of  Sarti  at  Copenhagen,  Seheibe  was  su- 
].erseded  as  chapel-master,  receiving  a  pension 
for  liie  of  about  seventy  pounds  a  year.  Shortly 
before  his  death  he  commenced  another  work  on 
musical  composition,  which  was  to  extend  to  lour 
volumes  in  ijuarto  ;  but  he  died  at  Copenhagen  in 
1770,  immediately  after  the  piibliciition  of  hii 
first  volume.  Seheibe  was  a  voluminous  compo- 
ser, and,  l)esides  his  publishe<l  works,  his  nmnu- 
Bcripts  amounted,  in  1740,  to  no  U->s  than  one 
hundred  and  filty  pieces  of  church  music,  one 
hundred   and   filly  flute  concertos,  above   thirtj 

great 


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ENCYCLOP.EDIA    OF   MUSIC. 


sen 


number  of  trios  and  solos  for  the  harjjsichord, 
ami  Humorous  Italinii  and  German  cantatas.  His 
jirlntcd  works  bear  date  from  1729  to  1773. 

SCIIEIDT,  SAMUEL,  chapel-master  and  or- 
ganist  at  Halle,  was  born  there  in  1587.  The 
thurch  of  .St.  Maurice  in  that  town  is  indebted 
to  him  for  a  superb  organ,  he  having  left  in  his 
will  a  sufficient  sum  for  it;*  construction,  lie 
died  in  10,54,  having  left  many  works  of  sacred 
vocal  music,  published  at  Hamburg,  Halle,  Leip-  |  17,53. 
Bic,  and  Ciorlitz,  between  the  years  1024  and  bein" 
1653.  His  principal  work  was  published  in  the 
former  year  at  Hamburg,  in  three  volumes  folio, 
and  is  entitled  "  TabukUura  Sova." 

SCHEME.  (From  the  Greek.)  A  term  used 
in  the  ancient  music  to  exjiress  the  varieties 
arising  from  the  different  positions  of  tones  and 
■emitoues,  in  a  consonance. 

.SHEMIUTH.  (H.)  A  stringed  instrument, 
or  possibly  a  species  of  music,  or  a  particular  part 
of  a  composition. 

SCHENXK,  JOHAXX.  Chapel-master  to  an 
Austrian  nobleman  at  Vienna,  in  179(5.  He  not 
only  composed  many  favorite  German  operettas 
lor  different  theatres  of  Vienna,  but  also  some  sym- 
phonies and  other  instrumental  music.  Amongst 
his  dramatic  works  we  can  name  the  following  : 
"  Im  Fiii.Htern  ist  nicht  gut  lappen  ;  "  "  Die  Wein- 
lese,"  1791  ;  "  Die  WeihnaclU  auf  dem  Lande," 
1792;  "Das  Siiujspiel  ohne  Tdel,"  1790;  "  Der 
Aerntekratiz,"  1791;  "  Achmed  nnd  Almanzitie," 
1795;  "  Der  Beltehtitdent,"  1796;  "  GesOnpe  zum 
Siiltaii  Ac/imet,  oder  Achmct  U)id  Zi'tiide,  von  Ijfiand," 
1797;  "/Jte  Jajd"  1798;  •' Der  Dorfbarbicr," 
1798  ;  and  "  Der  Fassbinder." 

SCHERER,  a  German  musician,  resident  in 
Italy,  published,  previously  to  the  year  1785, 
"  Six  Trios  for  the  Harpsichord  and  Violin,"  Op. 
1,  Genoa  ;  "  Six  Solos  for  the  Violoncello,"  Op. 
5,  Genoa  ;  and  "  Six  Symphonies,"  Op.  6,  Genoa. 

SCHERZAXDISSIMO.  (I.)  In  an  exceeding, 
ly  playful  style. 

SCHERZAXDO,  or  SCHERZO.  (I.)  In  a 
sportive,  playful  manner. 

SCHETKY,  F.  G.  C.  An  excellent  \-ioloncel- 
list,  in  the  service  of  the  Prince  of  Hesse-Darm- 
stadt in  1772.  Previously  to  the  year  1780,  he 
had  published  in  London  and  at  the  Hague  rive 
operas  of  instrumental  music.  He  also  left  at 
his  death  many  manuscript  compositions  for  his 
instrument.     He  died  at  Edinburgh  in  1773. 

SCHIASSI,  CAJKTAXO  MARIA,  a  Rolognose 
composer  and  violinist,  produced  several  esteemed 
operas  in  Italy.  He  also  published  some  violin 
music  at  Amsterdam  in  1720.  Amongst  others 
of  his  dramatic  works  are  the  following  :  "  Amor 
tra  ucmici,"  1732  ;  "  Fede  »c  tradiinenti,"  1732  ; 
"  Alessandro  nell'  Indie,"  1731;  "  DemofooiUe ;  " 
and  "  Didone  abbandoiiata,"   1735. 

SCHIATIT,  LUIGI,  concert-master  to  the 
Margrave  of  Baden- Durlac  towards  the  middle 
of  the  eighteenth  century,  was  appointed,  in 
1747,  to  a  situation  in  the  Imperial  Chapel  at 
St  Petersburg.  At  the  time  he  resided  in  Ger- 
many, he  published  at  Amsterdam  "  Six  Violin 
Trios,"  Op.  1.     Other  pieces  of  vocal  and  iustru- 


raentol   music  by  this  composer  are  known  ia 
manuscript. 

SCHIAVELLI,  GIULIO,  a  contrapuntist,  to 
wards  the  middle  of  the  sixteenth  century,  pub- 
lished, amongst  other  works,  "  ilotetti  d  5  e  6 
voci,"  Venice,  15G5. 

SCHICHT,  JOHAXX  GOTITRIED,  music 
director  of  the  grand  concert,  and  organist  of  the 
new  church  at  Leipsic,  was  born  near  Zittau  in 
He  first  resided  for  some  years  at  Leipsic, 
occupied  in  composition  and  teaching 
music.  On  the  resignation  of  Chapel-master 
Hillcr,  in  1785,  Schicht  was  unanimously  aj)- 
l)ointed  his  successor.  He  composed  many  prac- 
tical works  of  great  merit,  for  the  church  and 
chamber,  also  published  enlarged  editions  of 
PleyeVs  and  dementi's  piano-forte  methods,  and 
of  Celoni's  method  for  singing.  In  1810  he  was 
appointed  cantor  and  director  of  music  to  the 
•St.  Thomas  School  at  Leipsic  ;  which  functions  h« 
filled  with  honor  till  his  death  in  1823. 

SCHICK,  ERXST,  formeriy  chamber  musiciau 
to  the  Elector  of  Mentz,  and  one  of  the  best  vio- 
linists of  Lolli's  school,  was  born  at  the  Hague  in 
1756.  In  1811  he  belonged  to  the  Prussian  Chapel 
Royal  in  Berlin.  Amongst  his  published  works 
are  "  Six  Violin  Concertos,"  Berlin,  1783. 

SCHICKHARD,  JOH.  CHRISTI.VX.  A  good 
instrumental  composer,  resident  at  Hamburg 
about  the  year  1730.  He  published  much  music 
at  Amsterdam,  chiefly  for  the  hautboy  and 
flute. 

SCHIEBEL,  JOHAXX  GEORG.  Author  of  a 
German  work  entitled  "  The  Wonders  effected 
by  Xature  on  Man,  Animals,  and  other  Crea- 
tures, by  means  of  harmonious  .Sounds."  He 
was  a  poet  and  singer  at  Ratzeburg,  and  died  in 
1684. 

SCIIIMPKE.  A  Bohemian  musician  and  dis- 
tinguished instrumental  composer  in  the  latter 
part  of  the  Isvst  century.     He  died  in  1789. 

SCHIXDLOEKER,  WOLFGAXG,  violoncel- 
list and  chamber  musician  to  the  Grand  Duke  of 
Wurtzburg,  was  born  at  Vienna  in  1789.  He 
received  his  musical  education  princi))ally  from 
his  uncle,  who  was  chamber  violoncellist  to  the 
court  at  Vienna,  and  a  good  composer.  K.t  fil- 
teen  years  of  age  young  Schindloeker  made  his 
debut  as  concerto  player  at  the  court  theatre  at 
Vienna,  and  succeeded  to  the  first-named  situa- 
tion in  Wurtzburg  in  1807. 

SCHIOERRIXG,  XIELS,chamber  musician  to 
the  King  of  Denmark  at  Copenhagen,  a)>out  the 
year  1784,  was  a  pupil  of  Emmanuel  Bach.  He 
l)ublished  some  psalms  in  the  Danish  and  Gnrmau 
languages.     He  died  previously  to  the  year  1801. 

SCHISMjV.  (G.)  In  the  ancient  music,  a 
small  interval  equal  to  the  hall  of  a  comma,  or 
the  eighteenth  part  of  a  tone. 

SCHLETT,  musical  professor  at  Munich  in 
1804,  was  considered  a  good  theorist  and  com- 
poser. 

SCHLICK,  JOII.VXX  COXRAD.  A  celebrat- 
ed German  violoncellist  and  admired  compose), 
towards  the  close  of  the  bust  century.  He  wu 
chamber  musiciar  •"  d  secretary  to  Pri)tce  Au- 


854 


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EXCYCLOP-EDIA    OF   MUSIC, 


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gustus  at  Gotha.  His  works,  which  are  all  iu- 
Btrumcntal,  bear  date  from  the  years  1787  to  1803. 

sen  LICK,  REGINA,  wife  of  the  precedinj,', 
was  celebrated  by  her  maiden  name  of  Sacchi, 
»s  a  performer  on  the  violin.  She  was  born  at 
Mantua  in  17()4,  and  received  her  musical  edu- 
cation at  the  Conservatory  della  l'iet,i  at  Venice. 
She  aftiTwards  passed  some  years  at  Paris. 

SCHLtrSSEL.     (G.)     The  clef. 

SCIIMELZEIl,  JOIIAXN  IIEINRICH,  vice 
chapel- master  to  the  court  of  Vienna  towards  the 
close  of  the  seventeenth  century,  was  by  birth 
an  Austrian.  lie  was  the  first  German  who  had 
occupied  that  situation.  lie  was  living  iu  IGOo. 
He  j)ublishcd  at  Nuremberg  thirteen  sonatas  un- 
dsr  the  title  "  Sucro- prof  anus  ConcetUus  musicua 
Jidiuin  alioruinque  iitstrumeutorum." 

SCIIMELZER.  ANDREAS  ANTON,  son  of 

the  preceding,  flourished  at  Vienna,  about  the 
year  1077,  as  director  and  first  violin  iu  the  im- 
perial band. 

SCUMELZER.  JOIIANN  WILHELM.  A 
composer,  also  celebrated  at  Vienna  in  the  latter 
part  of  the  seventeenth  centixry. 

SCHMETZER,  GEORG,  a  singer  and  music 
director  at  Augsburg,  died  there  in  1G94.  He 
composed  much  music,  chiefly  sacred. 

SCHMID.  JOSEPH,  a  musician  at  Vienna, 
published  some  piano-forte  music  there  in  the 
years  1798  and  1799. 

SCHMIDT,  JOHANN  CHRISTOPH.  chnpel- 
mastcr  to  the  King  of  Poland  and  Elector  of  Sax- 
ony, was  born  iu  16(']4.  He  was  u  good  church 
composer;  also  brought  out  a  French  opera  at 
Dresden  In  1718.     He  died  at  Dresden  in  172S. 

SCHMIDT,  J.  P.  S.,  a  pupil  of  Nauruann,  was 
born  in  Prussia,  and  was  a  pianist.  He  publislicd 
Bome  instrumental  music  at  Offenbach  towards 
the  close  of  the  last  century.  Iu  1806  he  was 
still  chamber  assessor  at  Berlin. 

SCHMIDT,  or  SCHMITT,  JOSEPH  ADAM. 
A  composer  of  instrumental  music  at  Wurt7;burg 
and  Amsterdam.  He  was  originally  a  monk,  but 
afterwards  left  his  convent  and  settled  at  Amster- 
dam. 

SCHMIEDT,  SIEGFRIED,  a  good  vocal 
composer,  bom  at  Suhl  about  the  year  1756, 
resided  at  Leipsic  from  the  years  1786  to  1796, 
when  he  retired  to  his  native  town,  and  died  in 
1799.  His  compositions  were  numerous,  and 
principally  for  the  church.  Few  of  them  have 
been  published. 

SCHMIIT,  .VLOYS.  a  professor  of  the  piano 
and  composer  of  some  note  in  (icrmany,  was  born 
at  Erlenhach,  in  Unvaria,  in  1789.  His  father  gave 
him  n  liberal  education  and  taught  him  music. 
At  the  age  of  fourteen  he  was  considered  a  virtu- 
oso on  the  piano.  At  twenty  he  became  a  pupil 
of  Andre,  at  Offenbach,  in  composition.  In  1816 
he  estabUshed  himself  as  teacher  of  the  piano  in 
Frankfort,  and  began  to  be  favorably  known  by 
his  compositions  for  that  instrument.  After- 
wards he  removed  to  Herlin,  and  then  to  Hano- 
ver, as  organist  to  the  court.  Since  ISJO  he  has 
lived  independently  at  Frnnklort  on  the  Maine. 
He  ha;i  composed  overture-",  symphonies,  quar- 


tets, concertos  for  piano,  sonatas,  rondos,  songs, 
&c. 

SCHMIIT,  JACQUES,  brother  to  the  preced- 
ing, was  born  in  1796.  After  studying  with  hia 
brother,  he  established  himself  as  professor  of  the 
piano  at  Hamburg,  where  he  has  composed  much 
for  that  instrument,  besides  a  serious  opera  called 
"  Alfred  the  Great." 

SCHMirr,  NICOL.  Performer  on  the  bas- 
soon and  composer  for  his  instrument.  Several 
of  his  works  were  published  at  Paris  between  tlie 
years  1788  and  1797. 

SCHMriTH.VUER,  JOHANN  ALOYSIUS. 
chapel-master  at  Carlsruhe,  and  born  in  1718, 
received  the  principal  part  of  hi<  musical  educa- 
tion at  .Stuttgard,  under  Jonielli.  From  tht-nce 
he  went  to  Ra.stadt,  and  proceeded  to  Carlsruhe 
in  1777.  Ho  was  a  composer  much  esteemed  by 
the  Germans,  and  excelled  ])rincipally  in  church 
music.  He  died  at  Carlsruhe  in  1809.  Of  his 
works  we  can  mention  the  tollowing.  For  the 
church  :  "  Stnhat  Muter,"  1774  ;  "  A  (Jrand  Mb.ss," 
Cologne,  1776;  a  cantata  for  Easter,  entitled 
"The  Friends  at  the  Tomb  of  the  .Savior  ;  "  and 
"  A  Mass,"  Spire,  1781.  For  the  theatre  :  "  Lin- 
dor  and  Esmene,"  an  operetta  ;  "  The  Sepulchre 
in  Arcadia,"  an  operetta ;  '•  Endymion,"  opera, 
1774;  '•  Hercules,"  1790.  For  the  chamber:  a 
cantata  entitled  "The  Resolute  Soldier,"  in  the 
Spire  collection  ;  "  RegretvS  at  the  Dci)arture  of 
Madame  Todi  from  Carlsruhe,"  for  two  hoprani, 
with  accompaniments;  a  cantata  entitled  "Our 
Ancestors  during  the  first  Storm  ;  "  "  .Six  Qua- 
tuors  for  FL,  V.,  T.,  and  B. ;  "  "  Three  Sympho- 
nies for  full  Orchestra;"  "Three  Flute  Trios 
and  three  Harpsichord  Quartets." 

SCHMOLL,  FRIEDRICH,  organist  at  Grou- 
Btadt,  published  some  harpsichord  music  at  Offen- 
bach and  Spire  between  the  years  1780  and  1790. 
He  died  in  1792. 

SCHMUGEL.  JOHANN  CHRISTOPH.  born 
in  1726,  was  organist  at  the  principal  church  at 


!  Luneburg.  He  published  some  orjjnn  and  vocal 
music  at  Hamburg  and  Berlin.  He  died  sud- 
denly in  1798. 

SCHNARRPFEIFEN.  (G.)  Reed  pipes,  rccd 
stops. 

SCHNEIDER.  GEORG  LAURENZ,  music 
director  at  Coburg,  was  born  in  Franconia  in 
1765.  He  was  a  striking  instance  of  precocity  of 
musical  talent,  and  rc.-eived.  when  only  thirteen 
years  of  age.  the  appointment  of  music  director 
to  a  German  prince.  Amongst  his  works  ore 
several  operettas,  besides  both  vocal  and  instru- 
mental music  for  the  chamber. 

SCHNEIDER.  JOII.VNN.  an  excellent  Ger- 
man  organist  at  St.  Nicholas's  Church  at  I.cip- 
sic,  was  born  near  Coburg  in  1702.  He  learned 
the  elements  of  music  of  Mailer,  composition  of 
Reinmann.  the  harpsichord  of  Sebastian  Bach, 
and  the  violin  under  Graun  and  Graf.  In  the 
year  1726  he  was  engaije*!  as  violinist  in  the 
chapel  of  the  Duke  ol  Weimar,  from  whence  he 
removed  to  I<eipsic.  He  died  some  time  between 
the  ye.u-s  1770  aail  1780. 

SCHNEIDER.  JOHANN  CHRISTI.VN 
FRIEDUlCil,  B  celebrated  composer  and  writei 


855 


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ENCYCLOr^DlA   OF   MUSIC. 


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upon  muBic,  wns  born  in  ITS')  at  WalletHdorf, 
Ut-ar  Zittau.  He  commeu'  ej  the  study  of  music 
when  lie  wns  lour  years  old  under  his  fatlier, 
who  was  then  or$;ani8t  at  Gersdorf.  So  rapid  was 
hi*  projjress  that  he  was  employed  as  town  or- 
P1ni^t  belore  hi«  feet  could  reach  the  pedals.  At 
the  ace  of  eight  he  played  the  piano-forte  sonatas 
of  Mozart.  At  twelve  he  wa^  sent  to  the  gym- 
nntiium  at  Zittnu  to  pcrsue  his  literary  studies. 
There  the  organist  Unger  became  his  master,  and 
taught  him  to  carry  on  a  fugue  in  four  parts, 
Dihcouraged  at  not  being  allowed  to  appear  in 
public  ns  n  pianist,  he  was  almost  ready  to  aban- 
don music,  although  he  had  written  several 
pieces  for  wind  instruments  and  some  masses  in 
the  style  of  Haydn.  Ihit  tlie  interest  which  he 
in-pired  in  a  wealthy  advocate,  who  went  to  Zit- 
t  lU  in  180.3  to  attend  a  performance  of  Haydn's 
"  Creation,"  gave  him  new  means  and  encour- 
agement. In  1804  Schneider  was  named  director 
of  the  singing  society  at  Zittau  ;  but  in  the  next 
year  he  went  to  complete  his  studies  at  the  Uni- 
versity of  Leipsic.  In  1807  he  l>ecame  organist 
to  the  university,  and  e.stiiblished  his  reputation 
by  the  performance  of  his  vocid  and  iu'truraent- 
b1  works  in  the  Leipsic  concerts.  In  1808  he 
performed  a  piano-forte  concerto  of  his  own  there 
with  success.  Since  1803  he  had  published  his 
first  set  of  sonatas  for  piano  ;  but  after  his  anival 
in  Leipsic  his  productions  rapidly  increased.  In 
IS  10  he  accepted  the  place  of  orchestra  leader  in 
u  troupe  which  gave  opera  performances  alter- 
nately at  Dresden  and  at  Leipsic.  In  1 3 1 3  he  was 
•ippointed  o^  ganist  to  tiie  Church  of  St.  'ITiomas  in 
the  latter  city.  From  this  period  his  great  cora- 
I'Oi-itions  date.  Having  become  musical  director 
of  the  '.lew  theatre  in  Leipsic  in  1817,  he  achieved 
a  biilliant  success  in  the  production  of  several 
(i;  his  overtures.  In  1821  he  became  chapel- 
master  to  the  Prince  of  Anhalt- Dessau,  a  position 
which  he  occupied  until  his  death  in  1853.  Con- 
tidered  as  one  of  the  chie.s  of  the  more  recent 
German  school,  he  owes  his  fame  chiefly  to  his 
oratorios,  which  have  been  jierformed  in  the 
great  musical  festivals  upon  the  Rhine  and  Elbe. 
The  principal  of  these  are,  "  The  Deluge,"  "  The 
Last  Judgment,"  "  Paradise  Lost,"  "  Pharaoh," 
"The  Lord  Jesus  Christ,"  "Absalom,"  "The 
Infancy  of  Christ,"  "  Gideon,"  "  Gethsemane 
and  Golgotha,"  iVc.  Friedrich  Schneider  is  also 
known  as  a  didactic  writer  and  theorist  by  the 
following  works:  1.  •'  Elcmenlerbuch  der  Harm/mie 
und  Tonsetzkunst,"  (Elementary  Treatise  on  Har- 
mony and  Composition,)  Leipsic,  1820  and  1827  ; 
2.  "  Vurschule  <U-r  Musik,"  (Principles  of  Music,) 
Leipsic,  1827  ;  3.  "  ilandbuch  dts  Oiyanistcn," 
(Muuue.  10.-  Organists,)  Halberstadt,  1820,  1830. 

SCHNKIDEU,  JOHANN  GOITLOB,  brother 
to  the  preceding,  is  one  of  the  best  German  or- 
ganistA  of  the  day.  He  was  born  at  Gersdorf  in 
1789.  In  1811  he  obtained  the  place  ot  organist 
to  the  church  of  the  University  at  Leipsic.  In 
18l()-17  he  gave  organ  concerts  at  Gorlitz,  Dres- 
den, and  Zittau.  Three  years  afterwards  he  or- 
gani/e>l,  with  his  colleague  Ulaher,  the  hrst  great 
musical  festival  in  the  Church  of  St.  Nicholas, 
where  the  "  Crejition  "  was  performed  under  his 
direction,  he  also  singing  the  i)art  of  Uriel.  In 
the  same  ye;ir  he  gave  concerts  at  Zittau,  Frcv- 
berg,  Leipsic,  Weimar,  (iotha,  and  Diesden.  In 
1825  he  was  appointed  ciurt  organist  at  Dresden, 


which  position  he  still  occupied  in  1853,  and 
where  his  organ  playing  has  long  been  the  theme 
of  general  admiration.  He  has  published  bul 
few  of  his  compositions,  chiefly  organ  fugues  and 
choruses. 

SCHNEIDER,  J.  O.  W.,  or  only  WILHELiL 
A  vocal  composer,  first  resident  at  Halle,  and  af- 
terwards at  Berlin,  where  he  died  in  1812.  Hia 
works  bear  date  from  the  years  1802  to  1810. 

SCHNEIDER,  FRANZ,  was  born  in  1737  at 
Pulkau.  At  an  early  age  he  was  taught  singing, 
playing  on  the  violin,  piano,  organ,  and  several 
wind  instruments.  At  the  age  of  twenty  he  was 
invited  to  Melk  by  Albrechtsberger,  of  whom  he 
took  lessons  ;  and  when  -•Vlbrechtsberger  left  Vi- 
enna, Schneider  became  his  successor.  He  com- 
posed much  music,  among  which  were  deposited 
in  the  convent  library,  in  manuscript,  fifty  mass- 
es, thirty-three  motets,  and  other  pieces  of  merit. 
The  Abb6  Vogler,  who  undertook  a  journey  for 
the  express  purpose  of  hearing  him,  one  day 
gave  him,  alternately  with  Forkcl,  a  very  diffi- 
cult chromatic  theme,  from  which  he  improvised 
fugues  indicative  of  the  full  powers  of  his  organ, 
an  instrument  with  thirty-two  feet  pedal  regis- 
ters.    He  died  in  1812. 

SCHNYDER  VON  WARTENSEE,  XAVER. 
the  celebrated  teacher  of  musical  composition 
and  writer  upon  music  at  Fraukiort  on  the  Maine,. 
was  born  in  1786  at  Lucerne.  He  has  composed 
operas,  cantatas,  quartets  for  solo  voices,  songs, 
&c. 

SCHBOERT,  or  SCHUBART,  a  celebrated 
performer  on  the  harpsichord,  was  in  the  service 
of  the  Prince  of  Conti  at  Paris,  in  which  capital 
he  arrived  from  his  native  place  (Strasburg)  in 
the  year  1700  His  compositions  for  the  harpsi- 
chord were  numerous  and  ettective ;  many  of 
them  were  published  at  Paris,  and  reprinted  at 
Amsterdam  and  London.  He  was  poisoned,  in 
1768,  by  eating  some  mushrooms  of  noxioxis  qual- 
ity which  he  had  collected  himself  in  the  fields. 

SCHOENEBECK,  CARL  SIEGEMUND,  a 
German  violoncellist  and  esteemed  vocal  and 
instrumental  composer,  was  born  in  1758.  His 
performance  was  much  admired  in  the  principal 
towns  of  Germany.  He  published  many  works 
lor  his  instrument,  chiefly  at  Otfenbach. 

SCHOENFELD,  JOHANX  PHILIP,  chapel- 
master  of  the  new  church  at  Strasburg,  was  bom 
in  1742.  He  was  an  eminent  vocal  composer. 
Several  collections  of  his  songs  wire  published  at 
Berlin,  Nuremberg,  and  Brunswick. 

SCHOENHERR,  GOITLOB  FRIEDRICH, 
born  in  1760  at  Freyberg,  in  Saxony,  was  an 
able  musician  and  composer.     He  die<l  m  1807. 

SCHOENION.  (Gr.)  A  term  used  in  the 
ancient  music,  signifying  a  kuid  of  nomt:,  or  sci- 
entific air,  composed  for  flutes. 

SCHOLLENBERGER,  GASPARD,  first  in- 
troduced into  Germany  instrumental  music  in 
the  churches.  According  to  Walther,  he  pub- 
lished, in  1718,  a  work  in  folio  entitled  "  Offer- 
I  toria  festha  pro  toto  anno,  a  4  voc.,  2  vioUnts,  vionM, 
violone,  et  organo,"  Op.  3. 

SCHOPP,  JOHANN,  of  Hamburg,  so  earlj 
as  the  year  IP40  and  1644   published  paduana^ 


856 


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gtdliards,   allemand(»,   and  thirty  concertos  for 
violins. 

SCHRAMM,  JOHANN  CHRISTIAN,  chain- 
her  musician  and  performer  on  the  hariwichord 
to  the  King  of  Prussia,  at  Berlin,  was  a  native  of 
Dresden,  where  his  father  was  organ  builder  to 
the  court.  lie  studied  the  elements  of  music 
ander  Cliajjet-master  Richter,  and  succeeded 
Chapel-maiter  Bai  h  in  his  above-named  situation. 
Little  or  none  of  his  music  has  been  published. 
He  died  at  Ucrlin  ia  179G,  aged  eighty-five. 

SCIIREIUART.     (G.)     Style. 

SCHREYEU,  CHRISTIAN  HEIXRICH,  the- 
ological candidate  and  amateur  musician  at  Dres- 
den, .vas  born  there  in  17.51.  He  was  entirely 
bolt'-taught  in  music.  He  comi)osed  various 
pieces  lor  the  church,  also  much  harpsichord 
music.  He  also  wTote  an  instruction  book  for 
choristers,  entitled  "  yutzliche  UiUertceisung  xum 
Chorali/tDiaiiff." 

SCHROEDEL,  FULEDRICH  LUDWIG.  born 
at  Baireuth,  about  the  year  17.54,  was  a  celebrated 
violoncellist  and  chamber  musician  to  the  Prince 
of  Anhalt-Bernberg  at  Ballenstedt.  He  died  in 
the  year  1800.  Six  duos  for  violoncello  and  bass, 
of  hb  composition,  were  published  at  Leipsic. 

SCHROEDER-DEVRIEXT,  WILHELMI- 
NA,  the  celebrated  dramatic  singer,  was  born  at 
Hamburg  in  1805.  She  was  daui^hter  of  the 
great  actress,  Soplue  Schroeder.  At  the  age  of 
five  she  made  her  dibut  in  the  corpi  de  baliet  at 
the  Hamburg  theatre.  Her  mother  resolved  to 
make  a  tragic  actress  of  her,  and  in  1820  she 
played  at  Vienna  in  the  "  Phidre  "  of  Racine,  and 
in  several  plays  of  Schiller.  Soon  after  she  de- 
voted herself  to  the  study  of  singing,  and  changed 
her  career,  appearing  in  the  part  of  Pamina  in 
Mozart's  "  Magic  Flute."  She  soon  took  the 
first  rank  among  the  prime  donne  of  the  German 
stage.  During  her  stay  at  Vienna  she  continued 
her  vocal  studies  under  an  Italian  master  named 
Mazatti.  In  the  "  Swiss  Family  "  and  in  "  Fide- 
lio  "  her  successes  were  contirmeil.  Arrived  at 
Berlin  in  1823,  she  excited  the  liveliest  interest. 
It  was  in  that  year  that  she  married  the  distin- 
guished actor  l)e\Ticnt,  who  was  engaged  with 
her  at  the  theatre  of  Dresden,  where  they  both 
continued  as  late  as  1347,  though  they  had  been 
divorced  some  years.  In  1829  and  1830  she  ap- 
peared in  Paris,  in  a  German  troupe,  and  made 
the  greatest  sensation  in  "  Fidelio,"  "  Euryan- 
the,"  "Obcron,"  &c.,  and  as  Donna  Anna  in 
"  Don  Juan."  Madame  Schroetler  Devrient  will 
long  be  remembered  as  one  of  the  finest  dra- 
matic talents  that  have  ever  appeared  on  the 
German  stage. 

SCHROETER,  G  VSPARD.  A  celebraietl  or- 
csnist  at  Brieg,  in  Silesia,  towards  the  year  1700. 
He  forme«l  many  excellent  pupils,  amongst  whom 
we  may  distinguish  Kirsten,  organist  at  Brcslau. 

SCHROETER,  CHRISTOPH  GOITLIEB.  or- 
ganist at  Nordhauscn,  wus  bom  at  Ilohcnstciu, 
on  the  frontiers  of  Bohemia,  in  16'J9.  At  seven 
years  of  age  he  went  to  Dresden  as  a  chorister, 
receiving  lessons  in  music  from  Chapel-mostcr 
Schmitt.  From  thence,  in  1717,  he  was  entered 
in  the  University  of  Leijisic,  with  a  view  of  stud- 
jrin^  theology ;  but  his  mother  dying  within  the 


same  year,  he  abandoned  that  pursuit,  and  re- 
turned to  Dre»dei\,  whore  Chapul-master  .Schmitt 
recommended  him  to  Lotti  ivs  his  secretary.  In 
this  situation  ho  had  not  only  to  write  out  fair 
the  compositions  of  Lotti,  but  also  frefjuently  to 
supply  the  middle  parts.  This  place  he  held  till 
the  return  of  Lotti  to  Italy.  Shortly  afterwards 
an  op|)ortuuity  was  afforded  him  of  travelling 
with  a  nobleman  (a  musical  amateur)  to  most  of 
the  courts  of  Germany,  aLso  to  Holland  un<l  Eng- 
land ;  from  whence  he  did  not  return  till  1721, 
when  he  proceeded  to  Jena,  to  study  tlie  belles- 
lettres.  His  musical  obilities  becoming  now  well 
known,  the  students  eugagetl  him  to  give  public 
lectures  on  the  theory  and  practice  of  music.  In 
172(i  he  obtained,  without  solicitation,  tiie  ]>laco 
of  organist  of  the  principal  church  in  Minden,  and 
in  1732  that  of  organist  at  Nordhausen,  where  ho 
resided  till  his  death,  which  took  place  in  1782. 
The  profound  and  e.xtensiivc  knowledge  oi 
Schrocter,  and  the  real  with  which  he  a]>]>lied 
himself  to  his  art,  merited  a  much  higher  rewaril 
than  he  met  with.  It  was  a  monochord  given  to 
him  by  the  organist  Bchnisch,  of  Dresden,  that 
first  led  to  his  learned  researches  on  that  instru- 
ment, and  to  his  musical  calculations,  of  which 
he  afterwards  made  use,  when  nominated,  in  1739, 
member  of  the  Musical  Society  of  Mitzer.  The 
tuning  and  repairs  of  harpsichords,  wliich  he  was 
in  the  habit  of  occupjing  himself  with,  at  length 
suggested  to  him  his  great  invention  of  the  piano- 
forte. Being  at  the  time  (1717)  only  a  pupil  at 
the  School  of  the  Holy  Cross  at  Leipsic,  he  con- 
structed a  double  model  of  his  improved  instru- 
ment, which  he  procured  to  be  shown  to  the 
court  in  1721.  Although  the  king  then  tes- 
titied  his  satislaction  at  the  invention,  and  from 
tkat  time  thousands  of  these  instruments  were 
constructed,  Schroeter  received  neither  reward 
nor  even  the  honor  of  being  recognized  the  first 
discoverer  of  the  improvement.  He  next  turned 
his  mind  to  another  and  not  less  important  in- 
vention, namely,  to  make  the  organ  pLiy  either 
piano  or  forte  without  any  u.se  of  the  stops.  He 
had  nearly  succeeiled  in  this,  when,  in  1740,  a 
meclianic  offered  him  five  hundred  crowns  ii'  he 
would  communicate  to  him  his  invention,  and 
cede  to  him  his  claim  of  being  the  autlior  of  it. 
Schroeter  rejected  this  proposal  with  di-->gu--'t,  and 
soon  abandoned  the  idea  altogether.  He  wrote 
many  musical  works,  chietly  theoretical,  also  a 
considerable  number  of  practical  pieces,  both 
vocal  and  instrumental. 

SCHROETER,  JOHAXX  SAMUEL.  'I-his 
celebrated  performer  on  and  componer  for  the 
piaixo-forte  was  a  native  of  Warsaw,  and  born  in 
17»  '.  He  went  to  London  in  1782,  where  hi» 
talev.^  were  so  highly  appreciated,  that  although 
he  fonned  a  very  advautagooua  matrimonial  al- 
liance, entering,  at  the  same  time,  into  an  en- 
gagement never  again  to  play  in  public,  yet  he 
soon  lound  it  impossible  wholly  to  retire.  Ho 
conse<iuently  was  induced  to  accept  the  situntinu 
of  music  master  to  the  queen,  in  which  he  suc- 
ceeded John  Christian  Bnch.  He  aUo  had  an  ap- 
pointment under  the  Prince  ot  Walex,  at  whose 
concerts  he  perlonncd,  as  well  a-s  occa..ionally  at 
the  private  concerts  of  several  of  the  nobility. 

His  compositions  consUt  chicdy  of  concor- 
ton  and  sonatas  lor  the  piano-fnrtc,  the  whole  of 
w^ich  atTord  indicatiotut  of  great  taste  oud  judg» 


8CH 


EXCYCLOr.r.DIA    OF   MUSIC. 


8CH 


ment.  Schrocter  contributed  very  essentially 
towards  the  introduction  of  a  naturally  melodi- 
ous porionniinc^e  on  keyed  instruments. 

For  some  years  previously  to  his  decease,  he 
lost  his  voice  by  a  severe  cold,  and  could  not 
make  liimself  understood  otherwise  than  in  a 
whisper,     lie  died  at  I'imlico  in  17S8. 

SCIIROETER,  JOII.  UEIXKICH,  young- 
er brother  of  the  preceding,  was  born  at  War- 
saw in  I7C2.  At  seven  years  of  age  he  performed 
a  coucc;-to  on  the  violin,  at  a  public  concert  in 
Loipsic.  About  1782  he  went  to  England  with 
his  brother,  and  published  there  some  duos  for 
the  violin. 

SCHKOETER,  CORONA  ELIZABETH  WIL- 
HELMINE,  sister  of  the  two  preceding,  was 
born  at  Warsaw  in  1748.  About  the  year  1764 
ehe  made  her  dibiU  as  a  public  singer  at  Leipsic, 
from  whence,  in  1778,  she  was  engaged  in  the 
Bcrvice  of  the  Duke  of  Weimar.  She  was  espe- 
cially celebrated  for  her  singing  of  adagios.  Her 
talent  for  vocal  composition  was  also  remarkable. 
This  was  evinced  by  twenty-five  charming  songs, 
published  by  her  at  Weimar  in  1786. 

SCHUBACK,  JACOBUS,  syndic  of  the  city 
of  Hamburg,  was  born  there  in  1726.  To  his 
extensive  knowledge  of  jurisprudence  he  joined 
an  exquisite  taste  for  music.  He  not  only  per- 
formed with  skill  on  several  instruments,  and 
■was  a  good  conductor  of  an  orchestra,  but  was 
also  distinguished  as  a  composer  of  and  wTiter 
on  music.     He  died  at  Hamburg  in  1784. 

SCHUBART,  CHRISTIAN  FRIEDRICH 
DANIEL,  music  director  to  the  court  and 
theatre  at  Stuttgard,  was  born  at  Oberson- 
theim  in  1739.  He  was  destined  by  his  friends 
for  the  church,  but  his  extraordinary  ability 
as  a  performer  on  the  harpsichord,  joined  to 
■lis  general  musical  talents,  determined  him,  in 
1766,  to  accept  the  proffered  situation  of  organ- 
ist at  Ulm,  which  he  exchanged  afterwards  for 
Ills  first-mentioned  situation  at  Stuttgard.  His 
musical  works  consist  of  various  theoretical 
essays,  also  several  cantatas  and  other  vocal 
music,  published  between  the  years  1783  and 
1790.  He  was  also  celebrated  in  Germany  as  a 
poet.     He  died  in  1791. 

SCHUB-^RTH,  JOHANN  CASPAR,  singer 
and  organist  at  Regensberg,  was  born  at  Rodach, 
in  the  prijicipality  of  Coburg,  in  1757.  He  was 
H  pupil  iu  composition  of  the  celebrated  Riepel. 
He  published  some  sacred  music  ;  also  left,  at  his 
death,  to  his  master,  Riepel,  some  of  his  manu- 
scripts for  publication.  The  first  of  these  tliat 
appeared  from  the  press  was  his  didactic  work 
entitled  "  liassc/dUssel,"  containing  instructions 
for  beginners  in,  or  amateurs  of,  composition. 

SCHUBERT,  HEINRICH  FRANZ,  a  cele- 
brated vaolinist  and  composer  fur  his  instrument, 
■was  born  at  Prague  in  1724.  He  died  at  the 
early  age  of  thirty-four. 

SCHUBERT.  JOHANN  FRIEDRICH.  a  vio- 
linist and  composer,  was  born  at  Rudolstadt  in 
1770.  After  leading  various  theatrical  orchestras 
in  (jerraany,  he  obtained,  in  1801,  the  appoint- 
ment of  director  of  the  orchestra  of  the  theatre 
of  Ulogau,  where  he  first  evinced  his  talent  for 
composition.  In  1804,  he  removed  to  a  similar 
•ituation  at  Bnllcnstedt.  Schubert  published, 
amongst  other  works,  u  tre.itLse  ou  sinking,  en- 


titled "  Xeue  Sinffschuk,  oikr  griliuUlche  und  voU- 
itttndige  Anxceisutig  znr  Singktiiist  in  3  Abilieihuxgen 
mil  hinlUnglichen  Uebitngsstllcken,"  Leipsic.  1804  ; 
also  several  operas  of  instrumental  music. 

SCHUBERT,  JOSEPH,  chamber  musician  to 
the  Elector  of  Saxony,  was  born  in  Bohemia  in 
1757.  After  studying  the  harpsichord  at  Prague, 
principally  under  the  Abb6  Fischer,  he  went,  in 
1778,  to  Berlin,  and  in  the  following  year  was 
engaged  as  chamber  musician  by  the  Mar- 
grave of  Schwedt,  whose  service  he  exchanged, 
in  1788,  for  that  of  the  elector.  He  composed 
severol  operas,  also  many  pieces  of  instrumental 
music.  His  works  were  published  principally  at 
Dresden,  and  bear  date  from  the  year  1780  to 
1803. 

SCHUBERT,  FRANZ.  Ferdinand,  Ignaz,  and 
Franz  were  the  three  sons  of  school-teacher 
Schubert,  of  the  Lichtenthal  parish,  one  of  the 
suburbs  of  Vienna.  Ferdinand  was  born  in  that 
parish  on  the  18th  October,  1794  ;  Franz  in  the 
suburb  Himmelpfortgrand,  on  the  last  day  of 
January,  1797  ;  Ignaz,  it  is  presumed,  was  the 
youngest  of  the  three,  but  we  have  no  means  of 
ascetraining.  The  father  was  their  first  music 
teacher ;  but  their  studies  in  singing,  violin,  piano- 
forte, and  organ  playing,  as  well  as  in  the  science 
of  music,  were  perfected  under  the  guidance  of 
Michael  Hobzer.  Ferdinand's  progress  ■n-as  such  ■ 
that  at  the  age  of  thirteen  years  he  played  the 
violin  concertos  of  Fodor,  in  the  choir  of  the 
church,  and  is  no^w  one  of  the  most  distinguished 
organists  in  the  Axistrian  capital.  He,  however, 
did  not  make  music  his  profession. 

Franz  profited  so  greatly  by  the  instructions  of 
hLs  father  and  Michael  Hobzer,  that  at  the  age  of 
eleven  ho  was  placed  among  the  singing  boys  of 
the  Court  Chapel  —  a  place  for  which  his  un- 
commonly fine  voice  peculiarly  fitted  hira.  In 
this  position  he  remamed  five  years,  studied  the 
piano-forte  and  stringed  iustrument.s  with  such 
success  as  soon  to  be  able  to  lead  the  rehearsals 
of  the  orchestra  as  first  violinist.  The  court  or- 
ganist was  his  instructor  at  this  time  in  thorough 
bass,  and  old  Salie  in  composition.  After  his 
voice  changed  he  left  the  institution,  being  about 
seventeen  j-ears  of  age,  and  lived  sometimes  in 
lodgings,  sometimes  in  his  father's  house ;  stud- 
ied the  works  of  that  great  triumvirate,  Haydn, 
Mozart,  and  Beethoven ;  gave  lessons,  and  de- 
voted all  the  rest  of  his  time  to  original  compo- 
sition. Long  before  he  had  mastered  the  rules  of 
composition,  and  ■with  no  one  to  guide  him,  he 
had  written  quartets,  sj-mphonies,  and  piano-forte 
music  ;  now  he  tried  his  hand  at  every  possible 
style  and  form  of  composition,  and  the  result  of 
his  labors,  both  as  to  quantity  and  quality,  almost 
surpass  the  limits  of  credibility. 

Operas,  sjnnphonies,  choruses,  overtures,  can- 
tatas, psalms,  ma.sse$,  graduales,  offertories, 
Stabat  Mater,  hallelujahs,  many  sonatas,  trios, 
variations,  fantasias,  rondos,  diuices,  marches, 
impromptus,  vocal  and  string  quartets,  Italian 
arias,  a  grand  octet,  &c.,  &c.,  prove  his  wonder- 
ful productiveness.  In  ballads  and  songs  it 
■would  be  difiicult  to  find  hLs  ec^ual  in  musical 
history ;  more  than  two  hunibed  were  printed, 
and  have  become  the  common  inheritance  of  the 
musical  world,  and  many  others  were  left  in 
miuiuscript. 

"  The  exceeding  beauty  of  his  melodies  a&(! 


85S 


BCU 


ENCYCLOPEDIA    OF   MUSIC. 


sen 


yet  more  of  liin  Imnuoiiios,  reveals  )iim  to  us  as 
lUHster  oi  tlio  very  soul  of  the  art.  What  sweet 
ievotion  in  his  '  Ave  Maria,"  with  its  accoin- 
panimcnt,  so  steadily  preserved,  like  ])rayer  with- 
out ceasing,  yet  rising  and  falling  like  tlie  i)ant- 
ing  bosom  which  pours  it  forth  !  What  longing, 
desolate  sadness  in  liis  song  of  Grctchen,  in 
Faust  —  and  how  skilfully  the  ceivseless  lium  and 
motion  of  her  spinning  wheel  accompanies  her 
heart-breaking  strains  !  What  lender  yearnings 
in  the  'Last  Greeting,'  the  'Complaints  ol  a  Young 
Maiden,'  and  in  •  I  should  tiy  from  thee  '  —  what 
stirring  dramatic  motion  in  hLs  '  ErI  King,'  and  the 
'  I'ost  Horn  '  —  what  solemnity  and  grandeur  in 
the  '  Stars '  —  what  fime,  rertective  soliloquizing  in 
the  »ong  of  the  '  Old  Man  '  —  what  wild  grace  in 
the  rocking,  wavy  motion  of  the  '  Harcarole,'  and 
'  Fisher  Maiden '  —  and  what  cxtiuisite  breathings 
and  droppings  of  love,  moonlight,  dowers,  and 
every  thing  iairy-like  and  heavenly,  in  his  '  Se- 
renade !  '  I  should  have  mentioned  the  stormy 
sorrow  of  his  '  Atlas '  —  and  the  mighty  descent 
of  the  godlike  tonus  to  earth,  in  music  to  Schil- 
ler's dith)Tambic.  '  Never,  believe  me,  appear 
the  immortals,  never  alone.' 

"  In  every  mood  of  passion  and  feeling  he  is  at 
home.  We  do  not  easily  forget  songs  that  thus 
Bway  us  as  the  wind  does  the  willow.  They 
■waken  in  us  dreams  as  wild  and  sweet  as  ever 
bard  or  lover  indulged  —  they  are  indeed  the 
most  genuine  poetry  of  song.  They  spring  from 
a  genius  imbued  with  the  very  soul  of  poetry." 

This  remarkable  genius  died  young.  He  ap- 
pears to  have  composed  his  best  works  for  the 
pure  love  of  it,  and  he  left  the  manuscript  scores 
carelessly  scattered  about  without  the  lea.st  con- 
cern for  present  or  for  future  fame.  Many  of 
his  best  works  he  never  heard  performed.  His 
monument  is  ornamented  with  his  bust  in  bronze, 
and  the  following  inscription  : — 

"The  art  of  music  buried  here  a  rich  posses- 
sion, but  yet  far  fairer  hopes.  Frvxz  Schubeht 
lies  here.  Horn  on  the  30th  January,  1797,  died 
on  the  19th  November,  1S2S,  thirty-one  years  old." 

SCHUERER,  ADAM.  Church  composer  to  the 
Elector  of  Saxony  at  Dresden,  from  1750  to  1780. 
His  masses  were  greatly  admired,  both  in  Ger- 
many and  other  countries.  He  was  one  of  the 
ma-sters  of  Schuster. 

SCHUERMANN,  GEORG  CASPAR,  chapel- 
master  to  the  Duke  of  Brunswick,  was  a  cele- 
brated composer,  poet,  singer,  and  performer  on 
the  harpsichord  in  the  latter  part  of  the  seven- 
teenth and  beginning  of  the  eighteenth  century. 
In  1701  he  was  sent  by  the  duke  to  Italy  for  his 
improvement  in  music.  On  his  return  he  pro- 
duce I  several  operas,  two  of  which  were  pub- 
lished in  Hamburg,  namely,  "  Alcetle,"  in  1719, 
and  "  Telrmnchm,"  in  1721.  He  also  composed 
many  church  cantatas,  together  with  chamber 
music,  both  vocal  and  instrumental. 

SCHULE.  (G.^)  A  schoo.  or  method  for 
learning  any  instrument,  &c. 

SCHULTESIUS,  JOHANN  PAUL,  perpetual 
secretary  in  the  Academy  of  the  Beaux-Arts  at 
Leghorn,  wa«  born  near  Coburg  in  1748.  He 
was  a  pupil  of  Philip  Emmanuel  Bach.  In  1773 
he  went  to  Italy,  where  l-.e  afterwartU  resided, 
enjoying  the  acquaintance  and  esteem  of  the 
tirst  musicians  of  his  day.     He  published  sererol 


works  on  music,  amongst  which  is  "  A  Trent  i-.^ 
on  Church  Music,"  1  vol.  8vo  ,  Leghorn,  1801. 
His  practical  works  were  chiefly  for  the  piano- 
forte, on  whidi  he  was  an  eminent  performer. 
Many  of  them  were  published  in  various  town? 
of  Italy  and  Germany,  and  bear  date  betweei 
the  years  1780  and  1797. 

SCHUI/rZE,  CHIUSTIAN  AUGUST,  com 
poser,  pianist,  and  distinguished  performer  on  tht 
tenor  and  violin,  resided  at  Nuremberg  in  lH():t. 
He  wa.s  born  in  Saxony  in  17.59,  where  his  father 
was  a  clergyman  and  great  admirer  of  church 
music,  keeping  up  on  that  subject  a  constant 
correspondence  with  the  Bachs,  HiUcr,  (t.  Benda, 
and  other  celebrate<l  masters.  Such  a  father  gave 
his  son,  as  may  bo  supposed,  the  advantage  of 
the  best  masters  in  the  science  of  music,  which 
at  length  qualitied  him  for  the  situation  of 
chapel-master  at  Nuremberg,  to  which  he  was 
elected  in  1798.  He  published  various  cantata.s, 
and  some  instrumental  music. 

SCHULZ,  JOHANN  ABR.\HAM  PETEIt, 
■was  a  native  of  the  territory  of  Luneburg,  in  the 
Prussian  dominions.  During  hLs  youth  he  stud- 
ed  music  under  Kirnberger  at  Berlin.  Some  time 
after  he  had  completed  his  education,  he  wa.s  ap- 
pointed by  Frederic  the  Great  music  director  of 
the  French  theatre  at  Berlin.  He  afterwards  ob- 
tained the  situation  of  chapel-ma-ster  to  Prince 
Henry  of  Prussia,  and  went  to  reside  at  Reins- 
berg.  An  invitation,  with  the  promise  of  a  large 
salary,  however,  induced  him  in  a  short  time  to 
leave  Reinsberg,  and  go  to  Copenhagen,  as  prin- 
cipal chapel-master  to  the  King  of  Denmark. 
Schul/  retJiined  this  situation  till  he  was  tar  ad- 
vanced in  years,  when  he  was  permitted  to  resign 
it,  with  a  ])ension  from  the  Danish  court ;  and 
during  the  latter  part  of  his  lile  he  resided  almost 
entirely  at  Reinsberg.  He  died,  however,  at 
Schwedt  in  1800. 

The  works  of  .Schulz  are  known  and  esteemed 
through  every  part  of  Germany.  He  was  un- 
doubtedly a  nervous  and  excellent  composer,  and 
also  an  elegant  writer  on  the  subject  of  music. 
He  composed  a  great  number  of  songs :  his 
"  Athalia,"  written  at  the  re<iuest  of  Prince  Hen- 
ry, Ls  considered  to  be  his  best  i)iece.  He  also 
composed  the  tunes  to  Uz's  religious  lyric  poems. 
With  respect  to  hia  other  works,  they  consist 
chietly  of  ■'  A  Dissertation  on  the  Theory  of 
Music,"  printed  in  the  second  volume  of  .Sulzer's 
"  Theory  of  the  Fine  Arts,"  and  another  "  On  the 
Intluence  of  Music  in  the  Formation  and  Char- 
acter of  a  People."  He  likewise  published  a 
sketch  of  musical  tables,  which  might  be  cm- 
ployed  in  theoretical  works  on  music,  where 
proper  types  of  the  notes  are  wanting. 

SCHULZ,  JOHANN  PHILIP  CHRI.STIAN. 
Bom  at  Langensalza,  in  Thuringia,  in  1773.  After 
studying  theolojjy  at  Leipsic,  he  determined  to 
quit  that  pursuit  and  devote  himself  to  music. 
He  first  corapa'-e<l  various  light  dramatic  music 
for  a  minor  theatre  at  I/Cipsic,  where  he  al^o  con- 
ducted the  orchestra.  From  the  year  IS  10  he 
also  became  director  of  the  weekly  public  con- 
certs at  Leipsic.  Several  of  his  dramatic  pieces 
aLso  some  collections  of  songs,  have  been  pub- 
lished at  Leipsic,  and  are  much  admirc<l.  An 
extremely  pleasing  pastoral  d\iet  by  this  com- 
poser, adapted  to  English  words,  moy  be  found 
in  the  "Vocal  Anthology."     He  diet!  in  IS'i". 


859 


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ENCYCLOPEDIA   OF    MUSIC. 


SCH 


SCIIUMAXX,  UOHEUT,  the  very  original  com- 
poser aud  critic,  was  born  at  Zwickau,  in  Saxony, 
in  1810.  He  CHtabliahcd  the  Lcipsic  "  AVite  ZeU- 
tchrift  fur  ilusik,"  one  of  the  most  earnest  and 
best  musical  journals  ever  published.  Hut  his 
Btrou);  tendency  to  composition  soon  ^ot  the  bet- 
ter ol  his  critical  faculty.  From  liLs  twelfth  year 
he  had  composed  music  to  the  1.50th  psalm  with 
orchestra,  fragments  of  an  opera,  pieces  for  the 
piano,  &:c.  His  first  models  were  Ilaydn  and 
Mozart ;  afterwards  Moscheles  and  Hies.  As 
he  grew  older  he  developed  a  most  decided 
individuality,  and  the  boldness  and  6tran{{e- 
)iess  of  his  compositions  have  caused  his  genius 
to  be  as  earnestly  denied  by  some,  as  it  is 
enthusiastically  admired  by  others.  He  has 
composed  a  vast  number  of  piano-forte  pieces, 
many  of  them  in  novel  and  fantastic  forms,  and 
many  of  exceeding  beauty  and  simplicity ;  also 
quartets  and  quintets  for  string  instruments,  sev- 
eral remarkable  symphonies,  large  vocal  works, 
cantatas,  &c.,  and  many  exquisite  songs.  In 
1840  Schumann  married  the  celebrated  pianiste 
Clara  Wieck.  For  some  years  (18.5.!)  he  has 
been  chapel-master  at  DUsseldorf,  where  he  con- 
ducted the  last  festival. 

SCHUSTER,  JOSEPH,  chapel-master  to  the 
King  of  Siirdinia  and  to  the  Elector  of  Saxony 
at  Dresden,  and  one  of  the  most  agreeable  of 
German  composers,  was  born  at  Dresden  in 
17-48.  His  father,  who  was  chamber  musician 
and  singer  in  the  Chaj)el  Royal  of  Poland,  pro- 
cured for  his  son's  instructor  in  music  Schurer, 
then  composer  to  the  Elector  of  Saxony.  Young 
Schuster  next  accompanied  Chapel-master  Xau- 
mann,  in  176.5,  in  a  journey  to  Italy,  where  he 
studied  counterpoint  at  Venice  under  the  cele- 
brated Girolamo  Pera,  profiting  at  the  same  time 
by  the  lessons  and  advice  of  Naumann.  The 
gay  and  brilliant  style  of  his  dramatic  composi- 
tions procured  a  favorable  reception  for  several  of 
his  operas  at  the  Italian  theatres  during  the  three 
years  that  he  resided  in  that  country.     The  same 

i'ustice  was  done  to  hLs  talent  on  his  return  to 
)resden,  in  1772,  when  the  elector  nominated 
him  his  church  and  chamber  composer.  In  1774 
he  took  a  second  journey  to  Italy,  chiefly  with  a 
view  of  j)rofoundly  studying  the  style  of  the 
celebrated  Padre  Martini  of  Bologna :  at  the 
same  tune  he  took  the  opportunity  of  writing 
many  more  operas  for  the  theatres  of  Naples  and 
Venice.  It  was  in  this  journey  that  the  king  of 
Na])les  ap])ointed  him  his  chapel-master.  He 
again  returned  to  Dresden  in  177«),  but  in  1778 
revi.sited  Italy  the  third  time,  where,  besides  the 
honor  and  profit  derived  from  his  compositions, 
he  now  enjoyed  the  society  of  tlie  celebrated 
Ilassc,  who  was  living  at  an  advanced  age  in 
Venice.  In  1781  Hasse  confided  to  Schuster  the 
last  mass  of  his  composition,  to  be  presented  to 
the  Elector  of  Saxony.  In  1787  Schuster  was 
nominated  cliapel- master  to  the  elector,  and  the 
directiim  of  the  music,  both  at  the  Chapel  Royal 
and  opera,  was  confided  to  him,  alternately  with 
Naumiinn  and  Seydelmunn.  The  characteristics 
of  .Schuster's  works  are  gayety  and  brilliancy. 
Some  of  his  musical  ideas  are  irresistibly  comic, 
which  caused  his  compositions  to  be  highly  popu- 
lar in  (iermany.  He  died  at  Dresden  in  181'2. 
His  principal  compositions  are  as  follows  :  — 
For  the  church;  "  Missa  d  4  voci,"  1703  ;  "La 


Pussioiie,"  Dresden,  1778;  "  Etlcr,"  oratorio, 
Venice,  1781  ;  "It  Moisi  ricoiiosciuto,"  oratorio, 
Dresden,  178G  ;  "  Detulia  liberata,"  oratorio,  Dres- 
den, 1797  ;  "  Cotifitebuntur,"  a  psalm  ;  "Te  Deiiin," 
1800;  aud  "  Gioas,  Re  di  Giuda,"  Dresden,  1803. 
For  the  theatre  :  "  The  Alchymist,"  oi)era  ;  the 
airs  in  "  The  PhUUtine,"  by  Junker ;  "  The 
Desert  Isle,"  opera  in  one  act ;  "  Keep  your 
/ePc/,"  operetta ;  "La  Fedelld  in  A  more,"  Dresden; 
"  L'  Idolo  Ciiieae,"  Dresden,  1774  ;  "  La  Didone  ab- 
bamlonaia,"  Naples,  1776;  "II  Ucrnofoonte,"  Forti, 
1776  ;  "  L'  Amr>re  Ariiffiaiio,"  Venice,  1776  ;  "  ^a 
Schiava  liberata,"  Dresden,  1777  ;  "  La  Didme," 
Venice,  1779  ;  "  Ruyt/iero  e  liradamantc,"  Padus. 
1779  ;  "  Creso  in  Media,"  Naples,  1779  ;  "  Le  Bon 
Tun,"  opera  bufFa,  Venice,  1780  ;  "  Amor  e 
Psyche,"  Naples,  1780  ;  *'  L  Isola  disabitata," 
Naples,  1781;  "II  Marito  Indolente,"  Dresden, 
1782;  "  II  Pazzo per  Forza,"  Dresden,  1 784  ;  "  Lo 
Spirilo  di  CoiUradiziouc,"  Dresden,  178.5;  "  G/» 
Avari  in  Trappola,"  1787;  "  Rubenza/U,  ossia  il 
vero  Amore,"  Dresden,  1789  ;  "  //  Servo  Padrone," 
Dresden,  1793;  "  Osmatvi,  Dey  dAlt/eri,"  Dres- 
den, 1800 ;  "  Claris  e  FiUidt,"  a  pastoral,  for 
soprano  and  tenor  voices,  with  an  accompani- 
ment for  two  violins  and  bass  ;  and  several  Ger- 
man operettas,  probably  translated  from  the 
Italian.  For  the  chamber :  "  6  Dirertimeuti  per 
il  Ccmb.  con  V. ;  "  "  Concerto  for  the  Har}ysichord ;  " 
"  Musikalische  Todtenfeyer,"  Dresden,  1791 ;  "  Siz 
petites  Piices  pour  le  Clav.  acec  I'.,"  Dresden,  1796. 
Several  of  his  symphonies  and  instrumental 
pieces  may  also  be  found  in  manuscript. 

SCHUTZ,  GABRIEL,  a  celebrated  musician 
at  Nuremberg,  died  there  in  1711. 

SCHUTZ,  JACOBUS  BALTUAZ.\R,  son  of 
the  preceding,  was  a  celebrated  violinLst  and 
singer  at  Nuremberg,  where  he  died  in  1700, 
aged  thirty-nine. 

SCHUTZ,  HEINRICH,  was  born  in  the  year 
1.585  at  Kosteritz,  a  village  on  the  River  ELster,  in 
Voightland.  His  grandfather  was  a  privy  coun- 
sellor, and  his  father  a  burgoma.ster  of  Weissen- 
fels.  In  1.599  he  was  introduced  to  the  Count 
Palatine  Moritz,  at  his  court  of  Ilesse-Cassel,  and 
was,  by  the  direction  of  that  prince,  instructed 
in  languages  and  the  arts.  Having  perfected 
himself  in  the  rudiments  of  literature,  he  was  ad- 
mitted about  eight  years  afterwards  into  the  uni- 
versity of  Marburg,  aud  began  to  study  the  law. 
In  this  he  made  great  proficiency  ;  but  his  patron, 
finding  that  he  had  an  invincible  propensity  to 
music,  generously  offered  to  take  him  from  the 
university,  and,  at  his  own  e.xpcnse,  to  place  him 
under  the  tuition  of  Gabrielli,  at  that  time  a  cel- 
ebrated musician  at  Venice.  This  offer  was  so 
entirely  accordant  to  the  wishes  of  the  young 
man,  that  it  was  immediately  accepted.  Sehutz 
went  to  Venice,  and  continued  there  until  the 
death  of  his  master,  which  took  place  in  the  year 
1612.  He  then  returned  to  Ilesse-Cassel,  and 
the  count  palatine  settled  on  him  an  annual  pen- 
sion of  two  hundred  guilders,  and  at  the  same 
time  honored  him  with  a  gold  chain  and  medal. 
In  1628,  havmg  a  desire  to  revisit  Italy,  he  ob- 
tained permission  for  that  purpose,  and  during 
his  abode  at  Venice,  in  the  year  following,  he 
published  a  collection  of  motets,  with  the  title  of 
"  Si^jillarius."  Soon  after  his  return  to  Dresden 
the  electorate  of  Saxony  I  «<am'»  the  s'.at  of  war 


860 


SCH 


ENCYCLOP-SDIA    OP   MUSIC. 


SCO 


Not  likinpt,  therefore,  to  make  that  city  the  place 
of  his  residence,  he  accepted  an  invitation  from 
his  Danish  majesty  to  reside  at  Copenhagen. 
From  thence  he  afterwards  removed  to  Uruns- 
wick-Luncnhurg,  nnd  in  1042  returned  to  I)en- 
mnrk,  where  he  was  appointed  director  of  the 
kinji's  music.  Towards  the  latter  end  of  his  life 
he  became  very  deiif,  and  employed  much  of  his 
time  in  reading  the  Scriptures  and  in  the  study 
of  theology.  lie  did  not,  however,  renounce  the 
science  of  music,  for  in  his  retirement  he  com- 
posed many  noble  works  He  set  to  music  several 
of  the  psalms,  and  the  history  of  the  passion  as 
it  is  recorded  by  three  of  the  evangelists.  He 
died  in  the  year  1G72,  in  the  eighty-eighth  year 
of  his  aijo. 

His  principal  works  are,  "  Ilistnrie  der  Aufersteh- 
%mg  Jfsii  OhrUli,"  in  seven  books,  published  at 
Dresden  in  1()23  ;  "  K/etnen  iieistlicheti  Concerten," 
for  one,  two,  three,  four,  and  five  voices,  at  Leip- 
sic,  16:16  ;  and  "  Symphonic  Sacrie,"  the  first  part 
of  which  was  published  at  Friburg  in  1629,  the 
second  at  Dresden  in  1617,  and  the  third  in  1650. 
Eleven  years  after  this  period  all  the  works  of 
Schutz  were  reprinted  together  at  Dresden. 

SCHWACH.     (G.)    Piano,  or  soft. 

SCHW'EIGEX.     (G.)     Rests. 

SCHAVAXBERG,  JOHANX,  chapel-master 
to  the  Duke  of  Brunswick,  was  bom  at  Wolfen- 
buttcl  in  1740.  After  having  familiarized  him- 
self in  early  life  with  the  works  of  Graun,  which 
he  took  for  his  model,  he  visited  Italy,  with  the 

Sermi-^sion  and  at  the  expense  of  the  Duke  of 
runswick,  and  resided  in  that  co\mtry  about 
six  years,  where  he  received  instructions  from 
the  best  masters  of  the  age,  and  amongst  others 
from  Saratelli  and  Lntilla.  On  his  return  to  Ger- 
many ho  was  considered  an  excellent  dramatic 
composer,  and  was  also  celebrated  for  his  perform- 
ance on  the  harpsichord.  He  composed  several 
cantatas,  also  some  harpsichord  music,  only  one 
opus  of  which  was  published.  The  following 
are  amongst  his  principal  operas,  which  also 
remained  in  manuscript :  "  Adriaiuj  in  Stria," 
1762;  '•  Solimano,"  1762;  "  Ezio,"  1763;  '•  Ta- 
Uttri  ;  "  "  La  Didotie  abbandonata  ;  "  "  Issipile," 
1766;  "Zenobia;"  "II  Parnaaso  acctisato  e  dife- 
to ;  "  "  Antiffono  ; "  "  Romeo  e  Giulia,"  1782  ;  and 
"  L'Olimpiade,"  1782. 

SCHWAKTZKOPFF,  THEODOR,  chapcl- 
mastcr  to  the  Duke  of  Wurtemburg  at  Stuttgard, 
flourished  towards  the  end  of  the  seventeenth 
and  beginning  of  the  eighteenth  centuries.  He 
publislied  "  t'uga  Melanchotiit  Harmonica,  i.  e., 
Conceiitua  Sacri,  Miatoj,  J'aalinot,  et  Ilymnoi  con- 
tinente^,  h  4  tocibus  uecesanriis,  et  5  iiistrum.  ati  lib- 
Hum,"  Stuttgard,  1648,  and  "  llarmonia  i<acra,  i. 
e.|  I'sahni  d  1,  2,  3,  i,  6,  et  6  voci.,  concert,  et  In- 
itrum.,"  Stuttgard,  1697. 

SCinVEGLER,  JOHANX  DAVID,  a  cele- 
brated  performer  on  the  hautl)oy  and  composer 
for  wind  instruments,  was  bom  at  Endersbach  in 
1759.  He  was  in  the  service  of  the  Duke  of 
Wurtcraburg,  and,  up  to  tlie  year  1789,  had  pub- 
lished a  great  quantity  of  instrumental  music. 

SCinVEKSI,,  IGXAZ,  a  violinist  resident  at 
Vienna,  published  ii\  that  city,  in  1786,  a  method 
for  the  violin,  under  the  title  of  "  GnmHIehre  der 


Violin,  zur  Erleichlerung  der  Lehrer  und  zum  VoT' 
theil  der  Scbuler  grl'mdlicher  Unterricht,  die  Violin 
zu  apielen.  Worin  sick  die  An/finger  ton  den  Ere- 
ten  (Irund^atzen  allgemach  zum  Begrijfe  eiites  Con- 
trapuncta  Sachahmungen  Kanon  einer  Fiige  gefllhri 
teird.  Vor  jene  zum  ]'ortheik,  die  weder  von  Mit- 
teln  noch  von  Lehrmeister  tinteratillzet  irerden  kOn- 
nen." 

SCinVEITZER,  AXTOX.  chapel-raastcr  to 
the  Duke  of  (iotha,  was  born  at  Coburg  in  1737. 
He  composed  various  dramatic  works  for  the 
German  stage,  amongst  which  the  opera  of"  Al- 
ceste"  is  considered  his  cfwf-d' wurre.  Ho  died  in 
1787,  in  the  fifty-first  year  of  his  age. 

SCHAVEMMEK,  HEIXRICH.  a  musician  and 
esteemed  composer  at  Nuremberg,  was  bom  in 
Franconia  in  1621.  He  was  a  pupil  of  Kiiider- 
mann.  He  formed  many  excellent  i)upils; 
amongst  others  Johann  Krioger,  I'achclbel,  Ga- 
briel Schutz,  and  M.  Zeidler.     He  died  in  1696. 

SCHWEXKE,  CHRISTIAX  FRIEDRICH 
GOITLIEB,  son  of  Johann  Gottlieb  Schwenke, 
a  performer  on  the  bassoon  at  Hamburg,  was  bom 
at  Hanover  in  1766.  He  was  a  pupil  in  counter- 
point of  Kimberger,  and  was  an  eminent  compo- 
ser of  vocal  music,  chiefly  of  cantatas  and  ora- 
torios. He  succeeded  the  celebrated  Emanuel 
Bach  as  music  director  at  Hamburg.  His  princi- 
pal works  bear  date  from  1789  to  1799,  but  few 
of  them  have  been  published. 

SCHWIXDEL,  FRIEDRICH.  The  compos* 
of  several  overtures  and  symphonies  for  a  full 
band,  as  well  as  of  quartets,  trios,  and  duets,  and 
some  sonatas  for  the  piano-forte.  The  iorraer, 
which  were  thought  .so  pleasing  and  excellent 
before  the  Vienna  school  was  known,  seem  to 
have  been  wholly  laid  aside.  But  though  they 
have  been  admired  by  dilettanti  in  Germany, 
those  professors  who  allowed  the  author  to 
have  genius  denied  hira  taste  and  correctness. 
Schwindel  died  at  CarLsruhe  in  1786. 

SCIOLTO.  (I.)  A  word  implying  that  th« 
notes  are  to  be  performed  in  a  free,  separate,  and 
distinct  manner. 

SCIOLIST.  One  who  professes  to  understand 
and  teach,  or  perform  upon,  many  different  in- 
struments, but  who  is  not  a  thorough  master  of 
any. 

SCIROLI,  GREGORIO.  chapel-master  at  Xa- 
ples,  and  previously  music- master  to  the  Con- 
seri-aton.-  at  Palermo,  published  at  Paris,  in  1770, 
"  Six  Trios  for  the  Violin,"  Op.  1. 

SCOLARI,  GIUSEPPE,  an  Italian  diamatic 
composer,  resident  at  Vienna,  produced  many 
works  for  the  different  theatres  of  Italy.  Amongst 
hU  operas  we  can  name  the  following:  *'  I'an- 
dolfo,"  1745  ;  "  La  Fata  Mararagliota,"  1746  ; 
"  Olimpiade,"  1747  ;  " //  VelUy  ,r  Oro,"  1749;  '•  Chi 
tutto  abbraccia  nulla  stringe,"  Venice,  1753;  "La 
Conversazione,"  1758;  "  Artasertt,"  1758;  "  AUe- 
tandro  ntW  Indie,"  1758;  " //  Ciarlaiann,"  1759; 
"La  Buona  Figliuola  maritata,"  1762;  "  f 'q/o 
Marin,"  Milan;  "La  Famiglia  in  Scompii lio," 
Dresden,  1766;  and  "La  Donna  Stracaga^tt*  «t 
la  Schiaca  riconotciuta,"  Venice,  1766. 

SCOZZESE.     (I.)     In  the  Scottish  style. 


861 


SCO 


ENCYCLOPEDIA    OF    MUSIC. 


see 


SCOLARO.    (I.)    A  scholar,  an  accompliBhed  I      SCORING.     The  art  of  forming  a  Bcore,  by 
pupU.  j  collecting   and   properly  arranging   under    each 

other  the  several  detached  parts  of  any  composi- 
tion. 


SCOLIA.  (Or.  pi.)  The  name  given  by  the 
nncicntfl  to  songs  in  general,  but  more  especially 
to  those  of  a  festive  kind.  Of  all  the  different 
kinds  of  scolia  that  were  in  use  among  the  inhab- 
itants of  (Jreece,  and  that  were  dLitinct  Irom 
religious  hjnnns,  those  of  which  we  have  any 
ren.ains  are  chiefly  such  as  were  sung  at  table, 
during  the  time  of  public  banquets,  or  private 
repasts.  We  are  told,  however,  by  several  Greek 
writers,  that  in  the  Jirst  ttse  of  these  they  were  real 
paeans,  sacred  canticles,  or  hymns,  sung  by  the 
whole  company  to  some  divinitj'.  It  was  after- 
wards the  custom  for  each  of  tlie  guests  to  sing  one 
of  these  songs  alone,  holding  a  branch  of  myrtle  I 
in  his  hands,  which  he  passed  to  his  next  neighbor 
after  his  song  ;  and  this  may  be  called  the  second 
manner  of  singing  these  songs.  The  third  manner 
was  distinguished  by  the  accompaniment  of  the 
lyre,  and  required  the  skill  of  professed  singers 
and  citharffidists.  As  there  were  three  ways  of 
performing  these  acolia,  the  subjects  upon  which 
they  were  composed  may  be  likewise  arranged 
\uidcr  three  classes.  The  Jirat  class  consisted  of 
mere  songs,  of  which  several  have  been  preserved 
to  us  by  Athenajus.  The  second  class  of  scolia 
comprehends  mythological  hymns  and  historical 
songs.  The  third  and  last  class  of  scolia  was  upon 
common  and  miscellaneous  subjects,  and  not 
peculiar  to  any  age  or  country.  The  greater  num- 
ber, and  the  best  of  these,  were  upon  love  and 
wine.  "  Love  inspires  music  and  poetry "  was 
a  memorable  maxim  among  the  Greeks. 

SCORE.  The  original  and  entire  draught,  or 
its  transcript,  of  any  composition  in  parts.  In 
the  score  all  the  parts  of  the  piece  are  ranged 
perpendicularly  under  each  other,  so  that  the 
eye,  catching  the  corresponding  bars  of  the  sev- 
eral staves,  sees  at  a  glance  the  whole  construction 
and  design  of  the  harmony.  As  in  this  dispo- 
sition one  single  line  of  music  comprehends  as 
many  staves  as  there  are  parts,  these  staves  are 
held  together  by  a  brace  drawn  down  the  margin 
at  the  beginning  of  the  hnc.  The  use  of  the 
score  is  indispensable  in  composition  :  to  the 
conductor  of  any  performance  it  is  also  highly 
requisite,  in  order  to  his  knowing  whether  each 
performer  properly  executes  his  part,  and  to  en- 
able him  to  supply  any  accidental  omission  with 
the  jiiano-forte  or  organ  at  which  he  presides. 
The  word  score  originated  from  the  bar,  which 
in  its  early  use  was  drawn  through  all  the  parts, 
thus :  — 


^cjttS^ 


t^n 


^ 


^^ 


pis?s 


gp^^^ 


^5^, 


-^m 


■■-M^-^ 


^^^ 


s3? 


a35iSE 


Jl 


ma 


^ 


SCOTCH  SCALE.  A  scale  different  from  that 
of  the  other  nations  of  Europe,  by  its  omLssion 
of  the  fourth  and  seventh  —  a  peculiarity  from 
which  all  the  genuine  Scottish  melodies  derive 
their  national  and  distinguishing  character.  This 
scale  is  erroneously  supposed  by  some  writers  to 
be  the  same  with  the  original  enharmonic  scale 
of  the  ancient  Greeks. 

SCOTCH  TUNES.  Melodies  peculiar  to  the 
ancient  North  Britons,  and  the  characteristi'; 
sweetness  of  which  is,  in  a  degree,  attributable 
to  their  consisting  of  the  diatonic  intervals  un- 
mixed with  those  chromatic  notes  which  di^^de 
the  octave  into  twelve  semitones.  Some  give 
David  Rizzio  the  credit  of  being  the  inventor  of 
this  species  of  music  ;  others,  and  certainly  with 
more  probability,  say  we  owe  it  to  John  the 
Archchanter  from  llome,  who  carried  it  \nih 
him  when  he  settled  among  the  Northumbrians. 
The  Scotch  music,  without  possessing  much  claim 
to  art,  has  a  decidedly  characteristic  feature.  It 
is  unlike  the  compositions  of  any  other  country. 
Even  its  quickest  airs  have  something  pecu- 
liarly melancholy  in  their  style,  which  is  touch- 
ing and  agreeable.  The  principal  feature  in  the 
Scotch  music  is  the  frequent  introduction  of  short 
catching  sounds  before  long  notes.  The  ancient 
music  of  Scotland  has  become  a  matter  of  faith 
or  conjecture,  so  that  no  one  arrogates  to  him- 
self the  knowledge  to  establish  the  facts  of  its 
truth,  or  the  superiority  of  the  whole  or  of  any 
neglected  portion  of  it.  Music,  like  all  other 
fine  arts,  has  been  progressive,  being  common  to 
all  ages  and  nations.  From  the  accounts  of 
Plato,  the  study  of  music  was  for  a  long  time 
confined  to  the  priesthood,  and  was  considered 
sacred,  and  forbidden  on  all  light  occasions  ;  but 
we  can  trace  no  accurate  judgment  of  the  rela- 
tive excellence  of  the  ancient  music  in  the  various 
nations.  So  far  as  Scotland  is  concerned,  the 
first  real  account  of  ita  rise  and  spread  is  to  be 
learned  in  the  various  meetings  of  the  clans  during 
the  rude  and  warlike  times  of  the  country.  The 
"  Blackmatch,"  as  originally  organized  through 
the  Highlands  in  the  feudal  times,  on  their  great 
days  ol  assembly,  brought  together  the  finest  look- 
ing men  their  chiefs  could  muster,  and  also  all 
the  wandering  and  ancient  bards,  who  performed 
extemporaneous  airs  and  stories,  accompanied 
i  with  their  harps  and  pipes,  to  suit  the  nature  oi 
these  occasions.  Through  the^se,  the  national 
music  of  Scotland  was  kept  alive,  and  the  spirit 
of  poetry  kept  floating  from  mind  to  mind  with- 
out the  aid  of  the  printer,  and  perhaps  long  be- 
fore the  Celtic  nation  had  reduced  the  science  to 
I  any  positive  rules. 

I  Since  the  harp  ceased  with  the  feudal  time^ 
there  appears  to  have  been  no  musician  of  high 
merit  in  the  Highlands  capable  of  imparting, 
much  less  preserving,  the  music  as  then  sung  to 
its  native  words,  or  of  giving  that  effect  to  its 
circulation  which  popular  verses  never  fail  to 
produce,  although  there  have  appeared  in  Edin- 
V  irgh  and  other  places  many  industrious  collec- 
tions of  the  Scottish  music,  among  the  first  of 
which  was  that  of  Oswald  and  McUibbons,  who 
had  the  aid  of  Allan  liamsay,  the  author  of  th« 


862 


SCO 


ENCYCLOPEDIA    OF    MUSIC. 


SCO 


"  Gentle  Shepherd,"  to  write  verses  to  the  air. 
It  is  (leli<;htt\il  to  look  into  the  creation  of  the 
songs  and  airs  ol'  Scotland,  because  the  roost  of 
these  had  a  romantic  origin  in  the  love  of  their 
chiefs,  or  the  return  of  some  wanderer,  the  birth 
of  an  heir,  or  the  settlement  of  some  quarrel, 
wliilo  others,  inspired  from  inward  feeling,  ad- 
dressed themselves  to  the  grandeur  of  the  raa- 
iestic  mountains.  Among  the  most  modern 
authors.  King  James  I.,  and  also  King  Jamex  IV., 
Merc  celebrated  composers  ;  and  onward  to  the 
I'eriod  of  James  VI.  may  be  reckoned  the  bright 
era  of  Scottish  music.  -VJl  these  preserved,  com- 
posed, and  discoursed  most  eloquent  music  and 
words,  while  one  of  the  Jameses  invented  a  new 
style  of  music,  plaintive  and  melancholy,  in 
which  he  was  imitated  by  many  of  the  Italians. 
In  reference  to  James  IV.  and  V.,  it  would  apj)car 
that  the  Scotch  are  now  far  behind  them  in  their 
devotion  to  the  gentle  art ;  and  even  yet,  while 
all  the  branches  of  polite  education  are  fast  pro- 
gressing, the  science  of  music  has  almost  been  a 
dead  letter,  at  least  in  the  education  of  the  Scot- 
tish youth,  excejjt  some  small  beginnings  recent- 
ly in  the  education  of  young  ladies  in  superior 
seminaries  ;  while  in  Germany,  and  other  parts  of 
the  continent,  it  has  long  been  one  of  the  elemen- 
tary branches  of  education. 

SCOTCH  BAGPIPE.  The  bagpipe  has  gen- 
erally been  considered  as  a  national  instrument 
ol  Scotland.  Strip  a  Highlander,  according  to 
the  common  notion,  of  his  bagpipe  and  kilt,  and 
what  do  you  leave  him  r  A  naked  I'ict,  meagre 
and  i)ale,  the  ghost  of  what  he  was.  Popular  as 
this  instrument  may  have  been  in  the  Highland 
districts,  the  musical  magistrates  of  the  city  of 
.\berdeen  in  1(>;{0  "  discharge  the  common  piper 
of  all  going  through  the  town  at  night  or  in  the 
morning,  in  time  coming,  with  his  pype,  it  being 
an  uncivil!  forme  to  be  usit  within  sic  a  famous 
burglio,  and  being  often  found  fault  with,  als 
Weill  be  sundric  ncighbouris  of  the  towne  as  be 
blrangeris." 


^m^^MM^M 


SCOTITSH  HARPERS.    The  last  of  this  race, 
representing  the  more  respectable  class  of  harp- 
ers, was  Roderick,  or,  as  he  was  generally  called. 
Blind  Rory,  a  Highlander,  who,  if  tradition  is  to  j 
be  trustcil,  was   born  a  gentleman,  and   live<l  on  : 
that  footing  at  Duuvegan  Castle,  in  Skye,  in  the  I 
family  of  tlie  Laird  of  McLcod.     His  name  will  | 
be  familiar  to  many  as  the  supposed  instructor  of 
Flora  Mclvor.     ITic  proficiency  of  the  Highland-  I 
ers  in  haq)  music   is  sufficiently  proved  by  the  | 
"ports,"  as  they  are  called,  or  airs  composed  for 
the  harp,  of  which  the  Skene   manuscript  con- 
tains  one,  the  Stralock    manuscript  four,  all  of 
which  were  translated   by  Mr.  Graham,  and  are 
remarkable  for  their  elevated  character  ;  the  wild, 
romantic  style  of  their  modulation  often  remind- 
ing us  of  the  strange  and  more  gloomy  concep- 
tions of   Beethoven's  adagios,  and  that  tone   of 
melancholy  which   per\-ades   them,   so   much  in 
harmony  with  the  character  of  the  Celtic  muse. 
The   following,  entitled  "  Port  Jean   Lindsay," 
is  from  the  Gordon  manuscript  of  1627  : 


The  merit  of  originally  introducing  the  harp 
into  Scotland  must  be  ascribetl  to  Ireland,  though 
it  seems  very  early  to  have  become  a  favorite  in- 
strument, and  one  on  which  the  Highland  harp- 
ers appear  to  have  attained  a  proficiency  liftie,  if 
at  all,  inferior  to  that  of  the  Irish  and  the  Welsh. 
During  the  fifteenth  century  it  appears  to  have 
been  e.\tremely  fashionable,  James  I.  having 
touched  it,  as  Fordun  tays,  Hke  another  Orpheus. 
It  was  considered  an  instrument  "  fit  to  be  used 
by  knights,  esquires,  clerkes,  persons  of  rank, 
and  ladies  with  plump  and  beautiful  hands,  and 
whose  courteous  and  gentle  sounds  should  be 
heard  by  the  elegant  and  the  good." 

SCOTTISH  MELODIES.  ScottLsh  airs  must 
not  be  considered  as  the  results  of  rudeness  or 
ignorance,  for  they  were  written  conformalily  to 
the  approved,  and,  indeed,  the  only  principles 
of  compo>ition  jjrevailing  in  the  remote  jxriods 
which  producetl  them.  The  fiat  seventh,  in  the 
ascending  minor  key,  which  is  a  remarkable  fea- 
ture in  Scottish  music,  was  the  regular  form  of 
intonation  in  all  their  music  once  ;  and  tlie  mod- 
ulation which  characterizes  Scotch  music,  giving 
it  a  nationality,  from  the  minor  chord  of  the 
tonic  to  the  major  chord  of  the  tone  below,  as 
from  I)  F  A  to  C  E  G,  may  be  also  found  in  the 
works  of  the  greatest  masters.  Beethoven,  in 
])articular,  was  in  the  habit  of  resorting  to  these 
simple  and  old-lashioned  forms  of  tonabty,  prob- 
ably from  a  sense  of  their  superiority  in  express- 
ing certain  emotions,  and  as  a  contrast  and  cor- 
rective to  the  too  chromatic  and  luscious  sweet- 
ness of  modern  intervals.  Scotch  music  bclon^i 
to  an  old  school,  less  refined,  less  Hexible,  and 
less  voluptuous  than  the  one  now  prevailing, 
I  but  yet  founded  in  principles  of  science  as  well 
I  as  in  the  print iples  of  the  human  heart.  'ITio 
ancient  melody  of  Scotland  is  distinguWiwl  from 
modern  music  by  those  tonal  peculiarities  which 
characterize  all  music  of  an  early  date.  The  in- 
dividual character  of  Scotch  music,  a«  a  cla.<us 
depends  upon  the  manner  in  which  those  tonali- 
ties have  been  made  use  of,  as  dcmon«trative 
either  of  melodic  skill  or  expressi%-e  ot  nientAl 
emotion.  In  both  of  these  resjiects  the  S-otch 
' '.  I  melodies  undoubtedly  possess  great  exi-ellcncc. 
Tlio  range  of  their  modulations  is  limited ;  but 
these  modulations  are  conducted  often  with 
great  art  and  ingenuity,  in  a  mu.sical  ]>oiut  of 
S63 


SDR 


ENCYCLOPEDIA    OF    MUSIC. 


SEQ 


>iew,  while  they  are  made  eminently  subservient  I 
to   purposes   of  expression.      The    modulations 
chiefly  used  are  from  the  major  to  the  relative  I 
minor,  and  vice  rcrsa;   from  the  minor  chord  of  ( 
the  tonic  to  the  major  chord  of  the  tone  below  ; 
and  from  the  tonic  to  the  dominant,  particularly 
in   minor  keys.     See  "  Uonny  Dundee."      The  ' 
air,  "She  rose  and   loot   me  in,"  which  may  be 
traced  as  far  back  as  the  seventeenth  century,  is 
constructed  on  the  modern    minor  key,  with  a 
sharp    seventh,   and   is  as   perfectly   chromatic 
witliin  the  minor  key  as  the  most  scientific  com- 
position. I 

There  is  a  close  correspondence  and  harmony 
between  national  music  and  national  disposition. 
The  sounds  with  which  a  country  most  abounds 
reproduce  themselves  in  its  music ;  it  would  be  i 
Btran^c  if  it  were  not  so  ;  and  it  would  be  equally  ' 
singular,  if  the  scenery  and  the  climate,  which 
60  powerfully  affect  our  associations,  and  by 
which,  undoubtedly,  a  grave  or  lively  character 
is  in  some  measure  impressed  upon  a  national 
genius,  should  not  be  traced  in  those  musical 
sounds  which  are  the  most  natural  channels 
through  which  we  vent  our  emotions  of  gayety 
or  gloom.  The  Swiss  music  derives  its  peculiari- 
ties from  the  mountain  echoes  among  which  it 
has  been  produced,  and  vividly  reflects  the  hardy 
and  elastic  tcm))erament  of  a  people  at  once  pas- 
toral and  warlike.  The  ripple  of  smooth  canals, 
and  the  undulation  of  the  Adriatic,  and  the  pro- 
longed, melancholy,  and  monotonous  cry  of  the 
boatmen,  may  have  given  their  character  to  the 
Venetian  barcaroles.  The  light  and  dancing 
measures  of  France,  pleasing  and  lively,  but 
without  deep  feeling,  show  the  animal  gayety  and 
levity  of  the  country  which  gave  them  birth.  The 
plaintive  and  gloomy  airs  of  the  northern  na- 
tions have  a  natural  connection  with  that  more 
thouglitl'ul  and  brooding  turn  of  mind,  which  an 
in-door  existence,  or  a  sombre  landscape  and  un- 
certain climate  without,  have  a  tendency  to  cre- 
ate. The  few  specimens  of  savage  music  which 
are  known  to  exist  are  wonderfully  in  harmony 
with  the  wild,  ferocious  character  of  the  nations 
in  which  they  have  their  origin  ;  they  are  strains  I 
6uch  as  would  scatter  dismay  among  the  ranks 
of  hostile  tribes,  or  form  a  fit  accompaniment  to 
the  "  dismal  dance  around  the  furnace  blue." 
Not  only  is  something  of  national  character  al- 
ways impressed  on  music,  but  the  music  of  each 
age  has  its  peculiarities,  essentially  connected  ' 
■with  the  general  state  of  the  social  condition,  and 
therefore  likely  to  render  it  unsuited  to  the  tastes 
and  habitudes  of  others.  j 

SDllUCCIOLATO.  (I.)  Gliding.  SUding 
the  finger  along  the  keys  or  strings  of  an  instru- 
ment. 

SE.V  SHELLS.  Mr.  Freberhuyser,  a  musician 
of  Alb  ny.  New  York,  has  invented  a  new  mu- 
wcal  instrument,  the  materials  used  for  its  con- 
struction being  sea  shells.  The  exterior  of  the 
shell  is  not  disturbed,  and  retains  all  ita  rough 
attractions.  The  mouthpiece  is  fitted  to  a  screw 
tube  adjusted  at  the  head  of  the  shell.  Along 
the  sides  the  key  holes  ore  arranged  at  proper  in- 
tervals, and  the  edges  carefully  lined.  A  valve, 
lined  with  velvet,  hinged  at  one  corner,  covers 
the  mouth  of  the  shell,  and  is  compressed  or 
opened  as  the  character  of  the  music  ro(iuires. 
At  the  opposite  and  extreme  corner  of  the  mouth, 


the  vent  is  left  for  the  egress  of  the  surplus  air. 
The  in«trument,  tliercibrc,  with  the  valves  and 
keys  closed,  is  air  tight,  and  the  variations  in  the 
size  and  natural  organization  of  the  shell  furnish 
the  change  in  the  tone  of  the  instrument.  The 
music  is  powerful,  but  not  agreeable. 

SEBASTIANI.  CLAUDIUS,  organist  at  Metz, 
published,  in  1.5.53,  a  singular  work,  entitled 
"  Belltim  musica/e,  inter  plani  et  ni<'«siwa/w  catUut 
reyes,  de  nrincipatu  in  mu.iitre  procinciee  obtinendo 
contendentes."  This  book  is  ludicrously  descrip- 
tive of  a  contest  between  the  king  of  plain  des- 
cant and  the  king  of  figurate  descant,  which  lat- 
ter gains  the  victory,  and  afterwards,  on  a  treaty 
of  peace  being  concluded,  the  empire  of  church 
music  is  divided  between  them. 

SEBASTIANI  DI  ALBANO,  P.  L.,  an  Italian 
ecclesiastic  and  musical  writer,  died  at  Rome  in 
1809.  He  published,  in  that  city,  in  1789,  a 
work  entitled  "  Elements  of  the  Theory  of  Mu. 
sic,"  and  at  Venice,  in  1802,  "  \n  easy  and  sure 
Method  of  composing  Fugues." 

SEC.  (F.)  SECCO.  (I.)  In  a  dry  or  un- 
omamental  manner. 

SECIISZENTHEIL  NOTE.  (G.)  A  semi- 
quaver, or  sixteenth  note. 

SECONDE.  (F.)  SECONDA,  or  SECON- 
DO.    (1.)     The  second. 

SECOND.  An  inten-al  of  conjoint  degree. 
There  are  four  kinds  of  seconds  —  the  diminished 
sectjnd,  containing  four  commas  ;  the  minor  sec- 
ond, consisting  of  five  commas  ;  the  major  second, 
consisting  of  nine  commas ;  and  the  redundant 
secoiul,  composed  of  a  whole  tone  and  a  minor 
semitone. 

SECTIO  CANONIS.  (L.)  The  name  given 
to  that  celebrated  division  of  a  chord,  by  which 
the  portions  of  its  several  sounds  are  precisely 
ascertained.  It  was  invented  by  Euclid,  and 
includes  his  name  in  its  general  title,  as  "the 
sectio  canonis  of  Euclid." 

SECUL.\R  MUSIC.  Operas,  serenatas,  can- 
tatas, songs,  catches,  glees,  sonatas,  concertos, 
and  whatever  is  composed  for  the  theatre  or 
chamber.  An  expression  used  in  opposition  to 
that  of  sacred  mtisic,  or  compositions  for  the 
church  or  chapel. 

SECULARS.  Those  unordained  officiates  of 
any  cathedral  or  chapel,  whose  functions  are  con- 
fined to  the  vocal  department  of  the  choir. 

SEER.  The  ancient  name  for  a  bard,  or  rhap- 
sodist. 

SEGNO,  or  :$:  (L)  A  sign;  as,  al  segno,  go 
back  to  the  sign  or  mark. 

SEGUE.  (I.)  It  follows;  as,  segue  coro,  the 
chorus  follows.  It  is  also  used  in  the  sense  of 
i)t  similar  or  like  manner,  to  show  that  a  sub- 
sequent passage  is  to  be  played  like  that  which 
precedes  it. 

SEGUE  SUBITO  SENZA  CAMBIARE  IL 
TEMPO.  Proceed  directly,  and  without  chan- 
ging the  time. 

SEGUE  SENZA  INTERMISSIONE.  Go  ca 
without  stopping. 

SEGUIN,  EDMUND,   the    vocalist,    died  «t 


8Gi 


8EI 


ENCYCLOP.EDIA    OF    MUSIC. 


SEM 


New  York,  December  11,  1852.  He  was  some- 
what noted  as  one  of  the  "  Seguin  troupe."  A 
correspondent  of  Novello's  "MusifalTiraes,"  says, 
"  Ho  liad  one  of  the  finest  bass  voices  ever 
heard,  and  commenced  liis  career  in  England 
with  more  than  ordinary  success. ,  Mr.  Seguin, 
after  experiencing  a  little  disapiiointrucnt  in  his 
own  country,  repaired  to  New  York,  where  his 
death  recently  occurred.  He  was  one  of  the 
earliest  pupils  of  the  Royal  Academy  of  Music, 
where  he  distinguished  himself  by  his  musical 
and  vocal  attainments.  Mr.  Seguin  made  his 
)l'  but  as  a  ba.iso  canlante  at  Her  Majesty's  Thea- 
tre, in  or  about  the  year  18.34,  in  Cim.irosa's 
'  ytatrimoiiio  Segiefo'  as  Count  Robinson,  and 
MBS  recognized  at  once  as  a  singer  of  undoubted 
promise,  and  obtained  a  very  flattering  reception. 
His  style,  however,  was  not  exactly  suited  to  the 
exigencies  of  the  Italian  opera.  He  was  found 
much  better  adapted  to  English  opera  and  Drury 
I.ane,  where  he  appeared,  in  conjunction  with 
Malibran,  under  ^Ir.  Dunn's  management,  in 
*  La  Soiiiiambiila,'  and  other  operas.  Mr.  Seguin 
subsequently  transierrcd  his  services  to  the  Ly- 
ceum. Some  tempting  offers  having  been  made 
to  him  by  the  manager  on  the  other  side  of  the 
Atlantic,  he  accepted  an  engagement  for  him- 
self and  wife  about  fourteen  years  ago  ;  they  ob- 
tained a  fair  repute  in  tlie  new  world  as  singers, 
and  have  invariably  given  satisfaction  in  all  their 
engagements.  Mrs.  Seguin  was  formerly  Miss 
Chllde,  a  pupil  of  the  Royal  Academy  of  Music, 
and  appeared  for  two  or  three  seasons  at  Her 
Majesty's  nieatre,  under  I.aporte's  management, 
as  tecomhi  donna."  Mrs.  Seguin,  when  she  first 
landed  in  America,  lacked  that  which  her  con- 
stant practice  here  could  alone  impart  —  ease  and 
self-possession  upon  the  stage.  Her  musical  ed- 
ucation was  most  thorough,  and  she  much  im- 
proved alter  singing  in  the  States. 

SEIDEL,  FRIEDRICII  LUD"\VIG,  organist 
of  St.  Mary's  Church  at  Rerlin,  published  there, 
between  the  years  1792  and  1802,  several  collec- 
tions of  vocal  and  some  instrumental  music. 

SEITENBEWEGUNG.  (G.)  Oblique  mo- 
tion. 

SEIZIEME  DE  SOUPmE.  (F.)  A  demi- 
semiquaver  rest. 

SEJAN,  NICHOLAS,  born  at  Paris  in  1745, 
was  a  harpsichord  and  organ  pupil,  from  the  year 
175.3,  of  his  uncle,  Forqueray,  organLst  of  Su 
Merry.  At  the  age  of  thirteen,  having  previous- 
ly learned  the  elements  of  composition  under 
IJordier,  young  Sejan  playe<l  at  St.  Merrj-  an 
extemporaneous  Te  Di-um,  which  astonishetl  I)a- 
puin,  C'ouperin,  and  some  other  celebrated  organ- 
ists who  were  present.  In  1760,  belorc  he  had 
attained  his  fifteenth  year,  he  stood  foi  the  situa- 
tion of  organist  of  St.  .\ndr<!'des-.\rcs'  parish 
church,  which  he  ohtainctl  against  a  strong  com- 
petition. In  1772  he  was  nominated  joint  organ- 
ist of  the  cathedral  of  Notre  Dame,  and  in  1783 
organist  of  St.  Sulpicc.  In  1789  he  was  appoint- 
ed court  organist ;  he  was  aUo  made  profes»or  of 
his  instrument  at  the  Conservatory,  Irom  its  first 
formation.  Finally,  he  became  organi.st  of  the 
Church  of  the  Invalides.  Four,  only,  of  the 
works  of  this  great  organist  were  published, 
namely,  "  Six  Sonatas  for  the  Piano-forte,  with 
V.  J  "    "A  Collection  of  Rondcaux  and  Airs ;  " 


I  ••Three  Trios  for  the  Piano-forte,  with  V.  and 
B. ;"  and  "  Fu'jue$  ct  Noils  pour  r  Orgue  ou  U 
Piano" 

SEL.'V.H.  (H.)  This  terra  was  anciently  used 
to  indicate  tlie  interlude,  in  which  the  priest* 
should  blow  the  trumpets,  to  carry  up  the  senti- 
ments expressed  for  a  memorial  before  God. 
The  terra  higgaion  lelah  indicates  the  sound  of 
stringed  instruments  used  by  the  Ix;vites,  in  con  • 
nection  with  the  blowins;  of  the  trumpets  on  the 
part  of  the  priests.  The  Levites  usually  stood  in 
the  siniier-i'  gallery,  opposite  to  the  priests  with 
trumpets. 

SELLE,  THOM.VS,  singer,  minor  canon  and 
music  director  of  the  cathedral  at  Hamburg,  was 
born  in  Saxony  in  1599.  He  composed  leveral 
ma-sses  and  other  sacred  works,  and  also  wrote 
some  books  on  music.  He  died  at  Hamburg  in 
1663. 

SELV.\GGI,  G.  A  Neapolitan  amateur  com- 
poser, resident  in  France  since  the  year  1 797. 
He  published  two  sets  of  romances  in  179S  and 
1799.  He  is  said,  by  the  editors  of  the  French 
Dictionary  of  Musicians,  to  have  brought  into 
France  the  most  complete  collection  that  cxL',ts 
of  the  compositions  of  Palestrina  and  Durante. 

SEMI.  (L.)  A  word  signifying  kaJf;  lemi- 
breve,  half  a  breve  ;  semj-quaver,  half  a  quaver. 

SEMIBREVE.  A  note  of  the  fourth  degree 
of  length,  reckoning  from  the  large.  The  longest 
note  now  in  common  use.  Half  a  breve.  Tlie 
semibreve  is  now  made  round,  but  was  anciently 
in  the  form  of  a  lozenge  It  was  divided  inti 
major  and  minor  :  the  major  was  c<\nn\  to  two 
thirds  of  the  perfect  breve,  and  the  minor  to  one 
third.  The  .semibreve,  the  half  short,  once,  with 
a  single  exception,  the  shortest  note,  has  long 
been  practically  the  starting  point  in  our  measure 
of  time  ;  while  the  minim,  minimum,  originally 
the  least  in  duration,  has  been  completely  out- 
stripped bv  crotchet,  ([uaver,  serai  and  domiscmi- 
quaver,  whose  minor  subdivisions,  like  numerals 
ascending  beyond  millions,  have  lieconie  dithcult 
of  appreciation  or  name.  These  designations 
have,  under  the  simplifying  and  reformatory 
proces.ses  which  mark  the  age,  already  become, 
in  some  degree,  and  may  eventually  be  wholly 
superseded  l)y  the  names  of  half  note,  quarfn 
note,  eighth,  sixteenth,  and  so  on,  as  in  a  simil.ii 
manner  you  now  find  the  figures  2-2,  4-4,  S:c., 
often  substituted  for  the  character  formerly  in 
use  to  mark  the  common  time. 

SEMICIIORI'S.  A  short,  unclalvirat ed  cho- 
rus. \  word  used  in  opposition  to  c/ionis,  or 
J'nJl  chunu. 

SEMICON.  An  instrument  used  by  the 
ancients,  of  which,  at  present,  little  more  i» 
known  than  that  it  resemble*!  the  haqi,  and  con- 
tained thirty-five  strings. 

SFMI-CRiOH.    (Or.)    A  wmlqu^Tcr. 

SKMI-Dl.M'ASOS.  (Or.)  An  ocI«t«  dlmlnlttlM  hy  ■  miuoi 
•rmilt-nr. 

sKMIHI  \rKXTE,  (From  Iht  Orwk.)  An  lm|xTftc«  or  filM 
Sf1)i.     Srr  lUviMtnSTIl. 

SIM  1-1)1  ATi;sSEKON.     A  dHVrtlTt  or  hU«  llfth. 

SI.MIDlTOXfc.     (From  lb«  Oiv»li.)    A  l*Mcr  IMrd.    8m  Hem- 

IDIT05B. 

SEMIQl'-WER.  A  note  of  the  eighth  de- 
grce  of  length,  ntckonini  from  the  large.  Hail 
a  quaver. 


109 


Bfr'i 


SE^t 


ENCYCLOPEDIA    OF    MUSIC. 


SEB 


SEMI'LICK.     (I.)     A -n-ord  imph-ing  that  the  I 
inoveraent  before  wliich  it  is  placed  is  to  be  per- 
formed with  fhaxteness  and  simplicity. 

SEMPUE,  or  SEMP.  (I.)  Always,  or  through- 
out ;  as,  sempre  piano,  soft  throughout.  Sempre 
jiiano  e  ritenuto,  always  more  and  more  soft,  and 
falling  off  in  the  degree  of  movement.  Sem- 
pre piu  (h'crencendo  e  piu  ralentatido,  gradually 
softer  and  slower.  Sempre  piu  forte,  .  .  .  all.  ff. 
mo.,  louder  and  louder  to  the  fortissimo. 

SEMIMINIM,  or  CRUTCHETAM.  Half  a 
minim.  The  name  originally  given  to  the  crotch- 
et.    See  Ckotchet. 

SEMITONE.  Half  a  tone ;  the  smallest  of  all 
the  intervals  admitted  in  modern  music.  There 
are  two  species  of  semitones  ;  the  major  and  the 
minor.  The  semitone  major  is  produced  by  rising 
a  degree,  as  Irom  G  natural  to  A  flat ;  the 
semitone  minor,  by  passing  from  a  natural  note 
to  its  sharp. 

SEMITOXIC.  An  epithet  applied  to  intervals 
consisting  of  half  tones.  Tlie  semitonic  or  chro- 
matic scale  proceeds  by  semitones,  and  is  formed 
by  a  division  of  the  diatonic  scale  into  semitones, 
ascending  by  sharps,  and  descending  by  flats, 
thus:  — 


§^^P^^^ 


Each  semitone  in  the  above  example  may  form 
a  tonic,  and  retain  the  natural  scale  entire ;  and 
it  will  be  good  exercise  for  the  student  to  take 
any  sound  in  the  chromatic  scale,  and  form  the 
natural  in  both  modes ;  for  instance,  the  major 
of  E  flat,  or  the  minor  of  C  sharp.  By  this 
method,  he  will  not  only  see  the  utility  of  flats 
and  sharps  in  removing  the  tonic  from  one  part 
of  the  scale  to  another,  but  will  ascertain  where 
they  must  be  placed,  in  order  to  bring  the  semi- 
tones in  their  proper  places. 

SEXAILLE,  J.  B.,  a  good  French  violinist 
and  composer  for  his  instrument,  died  at  Paris  in 
1730,  aged  forty-two. 

SEXESIXO,  FRANCESCO  BERNARDO. 
See  Bernaudi. 

SENFL.  I.UDWIG,  chapel-master  to  the  Duke 
of  Bavaria,  about  the  year  1538,  was  a  native  of 
Zurich,  and  a  pupil  of  Heinrich  Isaac.  Martin 
Luther  i)referred  Senfl's  motets  to  those  of  any 
other  composer ;  and  Sebaldo  Hayden,  in  the 
preface  to  his  work  "  Dc  Arte  Canendi,"  calls  him 
m  MusicA  totiiis  Germatiia  Priticcps.  He  probably 
died  about  15dd. 

SENS  IMBERT,  a  performer  on  the  serpent  at 
one  of  the  churches  at  Paris,  published  there  a 
method  for  his  instrument,  in  1780. 

SENSIBLE.  The  appellation  given  to  the 
sharp  seventh  of  any  key,  because  u  renders  the 
ear  sensible  of  the  next  tone  above,  which  is  the 
fundamcntdl,  or  tonic  of  the  key. 

SENTENCES.  Certain  interlude  strains  some- 
times introduced  in  the  service  of  the  established 


church,  especially  of  particular  chapels  ;  as  thosf 
of  the  Asylum  and  Magdalen. 

SENTIMENTO,  SENTIMENTALE-  (I.)  With 
feeling  and  sentiment. 

SENZA.  (I.)  Without ;  as,  senza  stromentit 
without  instruments;  leiiza  (w^atio,  without  the 
organ. 

SENZA  RIGORE.  (I.)  Not  in  strict  time. 
An  expression  which  has,  in  some  degree,  the 
same  sense  as  that  of  ad  libitum. 

SEPTETTO.  (L.)  A  septet,  or  piece  for 
seven  instruments. 

SRPTUOR.  A  composition  for  seven  voices 
or  instruments. 

SEQUENCE.  A  regular  alternate  succession 
of  similar  chords ;  as  when,  in  the  common  chord, 
the  note  which  makes  the  fifth  to  the  bass  is 
changed  to  the  sixth,  and  after  making  a  fifth  to 
the  succeeding  bass  note,  is  again  changed  to  the 
sixth,  and  so  on. 

SEQUENTIA.  (L.)  Certain  hymns  used  in 
the  lipmish  church,  otherwise  called  pros<t,  (i.  e., 
proses,)  because,  though  in  their  composition 
rhyme  is  adhered  to,  the  laws  of  measure  and 
quantity  established  by  the  ancient  Greeks  and 
Romans  are  neglected.  ITiese  hjTnns  are  always 
sung  after  the  introitus ;  whence  their  name  of 
sequetitia.     Of  this  kind  is  the  "  Stabat  Mater." 

SEQUENZA.  (I.)  A  hymn  formerly  sung 
in  the  Romish  service  after  the  Gradual,  immedi- 
ately before  the  Gospel,  and  sometimes  in  the 
vespers,  before  Magnijical. 

SERIA.  (I.)  Serious,  tragic ;  as,  opera  seria, 
a  serious  opera. 

SERIOSO.     (I.)     In  a  serious  style. 

SERENADE.  A  concert  performed  at  night 
in  the  open  air,  and  under  the  wmdow  of  the 
party  it  is  designed  to  entertain.  This  word, 
Italian  in  its  origin,  seems  to  be  derived  from 
sereno,  or  from  the  Latin  serum,  in  the  evening. 
When  the  concert  is  performed  in  the  morning, 
or  at  break  of  day,  it  is  called  an  aabude. 

SERENATA.  (I.)  A  vocal  composition  on 
an  amorous  subject,  consisting  of  choruses,  solos, 
duets,  trios,  &c.  Handel's  "  Acis  and  Galatea," 
and  Dr.  Boyce's  "Solomon,"  are  serenatas. 
Also  a  lover's  vespers,  or  evening  song. 

SERIOUS  SONG.  A  song  consisting  of  plain- 
tive words  and  music. 

SERPEGGLVNDO.  (I.)  Gently  and  silent- 
ly  creeping  onwards  ;  quietly  advancing. 

SERPENT,  SERPENTE.  (I  )  A  ba-^s  win.l 
instrument,  which  has  its  name  from  its  curvi- 
linear form,  and  consists  of  several  folds  or 
wreaths,  which  are  usually  covered  with  leather. 
It  has  three  distinct  parts  —  a  mouth;)iece,  neck, 
and  tail  —  and  six  circular  apertures  tor  the  mod- 
ulation of  its  notes.  Tlie  scale  of  thi-.  instrument, 
which  includes  every  semitone  in  its  compas.s, 
begins  two  octaves  below  the  C  clef  no"e,  and  in 
its  original  form  extended  no  higher  than  G,  the 
the  twelfth  above ;  but  in  skilful  hands  it  was 
capable  of  rising  to  B  flat  above  the  bass  clef 
note ;  and  some  solo  performers  carry  it  still 
higher.  It  is  a  Ijrass  instrument  of  a  loud  and 
coarse  tone,  much  used,   formerly,   in    military 


8G6 


SER 


ENCYCLOPAEDIA    OF    MUSIC. 


SET 


bands,  and  sometimes  introduced  into  the  or- 
chestra, where  it  is  employed  to  strengthen  the 
double  basses  in  the  forte  passages,  fslow  pas- 
sages produce  the  best  effect  on  this  instrument. 
l"he  best  keys  for  it  are  those  of  C,  F,  Bb,  E[>, 
and  Ab. 

On  the  occasion  of  first  using  this  variety  of  the 
bas.soon,  Handel,  then  a  stranger  to  this  newly- 
invented  machine,  was  so  shocked  and  disgusted 
with  the  powerful  coarseness  of  its  tone,  that  he 
exclaimed,  in  a  fury,  "  Vat  do  diffel  be  dat  r  "  On 
being  told  it  was  a  newly-invented  instrument, 
called  the  serpent,  "  O,"  he  replietl,  "  dc  serpent. 
Ay,  ay !  but,  by  Jove,  dis  is  not  de  serpent  dat 
ten:!?ted  Eve,  1  am  sure."  He  forthwith  com- 
manded its  silence.    However  opposed  to  the  ser- 


pent, he  held  a  favorable  opinion  of  tlie  bassoon, 
and  had  little  fear  of  its  overpowering  effects,  foi 
he  caused  one  to  be  constructed  of  the  enormous 
length  of  si.xtccn  feet,  for  a  celebrated  bassoonist 
named  Lampe,  who  alone  was  capable  of  giving; 
it  full  justice.  In  his  hands,  the  cHect  was  ex- 
traordinary indeed,  and  only  in  his  hand",  for, 
after  his  death,  an  attempt  was  made  to  use  it  at 
the  great  Haiidcl  commemoration,  by  Ashley, 
celebrated  on  the  biu-.-oon ;  but  he  did  not  suc- 
ceed, and  after  that,  the  great  bassoon  remained 
useless  and  unattempted. 

Late  improvements  have  made  the  compass  of 
the  serjieut  as  extensive,  by  additional  holes  and 
keys,  as  the  bass  horn,  as  will  bo  seen  by  th^ 
following  scale :  — 


Sc.VLB    FOR   TUB    SeUFENT. 


^ff^m^^^ 


■^e^^mM 


•   •••«•    •   »   a 


•  •   o   o 

O     O     O     0 

•  o   o   o 


i*aaoooo»«« 

iO0O*OOO»«* 

•   •oooooa** 


•  ••  •  o  o  •  o 
o  a*  •  o  •  •  o 
o  CO   o   o   •   o   o 


•   ••oaa    »   »   o 


•   • 


o   o   •   •   •    o 


o    o   o   o   o   o   o 


•  •••oo    oooooooo 

•  ••o*»    oooooooo 


•  o   o   o  o   o 


oa  • 
•  o  o 

•o  o 

•o  o 


•   • 


•  • 
oo  o  o 
oo  o  o 
oo  o  o 


oo«o««««« 


0*00000 

o   •    o   o   o    o    o 


o   •   o   o   o   o   o 


torn*    oooooooooa*oo«oooo   eooao*  oo  o  o   o   •  aoaoooo*  •  ao  9*  •   •  o«o* 


•   •oaoo    ooo 


00900000 


SERRA,  r.-VOLO.  Singer  in  the  Papal  Chapel 
at  Rome,  in  1768,  in  which  year  he  published,  in 
that  city,  "  Inlroduzione  Armonica  sopra  la  nuoca 
serie  de  suotii  modulati  in  oijgidi." 

SERRE,  J.  A.,  a  miniature  painter  and  musi- 
cian at  Geneva,  was  a  great  antagonist  of  the 
theories  of  Rameau  and  Tartini,  and  published 
the  following  works  :  "  Essais  sur  Us  Principes 
de  V Harmonie,"  I'aris,  1753.  "  Obnrrations  sur 
Us  Principes  de  I'  Harmonie,  occasionnies  par  qttclq'tes 
Ecrits  modernes  sur  ce  Siijet,  eC  particulicremtnt  par 
t  Article  '  Fondamental '  de  M.  cC  Alembert  dans  C  En- 
cyclopidie,  le  Traiti  de  Thiorie  Miuicale  tie  M,  Tar- 
ini,  et  le  Guide  Uarvtonique  de  M.  Geminiani," 
Geneva,  1763. 

SERVICE.  A  chtirch  composition,  consisting 
of  choruses,  trios,  duets,  solos,  &c. 

SERVI  SYMPIIONIACI.  (L.  pi.)  Among 
the  Romans,  a  band  of  musicians  kept  by  a  per- 
son of  rank  for  his  own  amusement,  or  that  of 
his  guests. 

SESQUI.    A  Latin  particle,  signifying  a  whole 
and  a  half,  and  which,  when  joined  with  altera, 
ter:a,  quarta,  &c.,  e.xpresses  a  kind  of  ratio ;    par- 
ticularly  the   several   sijccies   of    triples.      The 
ratio  denoted  by  sesqui    is  the  second  ratio  of  I 
inequality,   called,    also,    super-particular   ratio, 
and  which   contains    the    less    once,  and    some  | 
ff rtain  part  over,  as  3  :  2,  where   the   first  term  i 
contains  the  second  once,  and  a  unit  over,  which 
is  a  quota  part  of  2.     If  the  part  remaining  be 
just  half  the  less  term,  the  ratio  is  callc<l  setqui 
altera  ;  if  it  be  a  third  part  of  tlie  less  term,  as 
4  :  3,  the  ratio  Msesqui  quarta  ;  and  so  on  to  infin- 
ity, still  adding  to  sesgui  the  ordinal  number  of 
'he  Ws  ttrm. 

86 


SESQIIAI.TKRA.  The  n«me  prtn  by  th«  (ncirnU  to  that 
ratio  which  ificltid,'*  a  whiile  and  ita  hair. 

SKSyri-ALTERATE.  Tht  urrairr  VtrftcL  Onr  of  Ihf  kindi 
of  Iripli-i  i-X[)n'At(-tl  t>y  the  L.atin  |vartirlr  tenjui.  A  triple  in  the  old 
muiic.  in  whirh  the  breve  it  three  meaiuna,  or  •emit>revei,  and 
that  without  harinff  anv  point,  or  dot,  annexed  to  it. 

SESOlI-ALTKRArE.  Untr  rcrjfU.  A  triple  lime  In  the  old 
mi]«ie.  in  which  ttie  lemibreve  contain*  three  mcaiurei,  or  miDlml, 
independent  of  anv  dot. 

SKSyri-AI.Tt'RATE.  Tkr  grtaler  Imptrfecl.  A  triple  in  the 
old  mu.ic.in  which  the  hreve.when  glutted, contain!  tlirreineaiurca. 
or  iemihrevei.  and  when  without  a  dot,  two. 

SESQfl-ALTERATE.  t^urr  lm]<rjtcl.  A  triple  time  In  the 
old  mu.ic.  in  which  the  ■einihreve.  when  doited,  containi  three 
ineasuref,  or  minimf,  and  when  without  a  dot,  two. 

SESCit'ITERTIA.    A  niuilcal  ratio  if  laid  to  be  •r«7iiirrrri<i  whan 

it  li  aa  4  to  :!. 

SKStjl'ITUNE.  A  minor  third;  or  Interval  coniiitin;  of  three 
aeniitonet. 

SET  TO  MU.SIC.  An  expression  applied  to 
any  lyrical  poem,  or  poetical  prose  composition, 
to  which  music  is  superadded.  Such  a  compo- 
sition is  said  to  be  set  to  music. 

SESTETTO,  (I.,)  or  SESTUOR.  A  vocal  or 
instrumental  composition  in  six  parts. 

SETTIMA.    (I.)    A  seventh.     See  that  woni. 

SETZ.\RT.     (G.)     Style  of  composition. 

SEVENTH.  A  dissonant  interval  called  by 
the  Greeks  heplacfuirdnn,  because  it  is  forme  I  of 
seven  sounds,  or  six  diatonic  degrees.  There 
are  four  kinds  of  sevenths  —  the  minor  seventh, 
composed  of  four  toiitst  (three  majors  and  one 
minor)  and  two  major  semitones ;  the  major 
seventh,  coraposetl  diatonically  of  five  tone*  i  three 
majors  and  two  minors)  and  a  major  semitone  ; 
the  diminished  seventh,  consisting  of  three  tones 
(two  minors  and  one  major)  and  three  mnjoi 
semitoni!s  ;  ond  the  tupiTtluous  seventh,  contain- 
ing five  tones,  (three  minors  and  two  majons)  a 
seniitonc  major,  and  a  semitone  minor.  Tht 
chord  of  the    seventh,  when  minor,  is  ao  conao- 


BEX 


ENCYCLOPEDIA   OF   MUSIC. 


SHE 


nnnt  and  agreeable,  that  Geminiani  and  others 
have  not  scrupled  to  pronounce  it  a  concord. 

SEXTA  PARS.  (L.)  Four  parts  being  the 
number  to  which,  in  peneral,  church  composi- 
tions were  liniiic'd  during  the  fit'toenth  century, 
when  an  additional  ])art  was  introduced,  it  was 
called  quinta  pars,  and  it'  stiH  another  were  added, 
it  was  denominated  sexta  pars. 

SKXTOX,  WILLIAM,  organist,  subprccentor, 
and  master  of  the  clioristcrs  of  St.  George's 
Chapel,  Windsor,  and  lay  clerk,  &c.,  of  Eton 
College  Chapel,  was  admitted  as  chorLster  to  both 
of  the  above  chapels  in  1773,  being  in  the  ninth 
year  of  his  age.  One  of  the  most  singular  cir- 
cumstances in  his  lile  was,  that  during  a  space  of 
nearly  tifty-one  years,  he  had  never  been  absent 
from  his  professional  duties  so  long  as  fourteen 
days  at  one  time.  lie  was  next  placed  as  a  pupil 
under  Edward  Webb,  a  celebrated  organist  of 
M'indsor  and  Eton,  lie  next  officiated  as  depu- 
ty organist,  &c.,  till  the  year  1801,  when  he  was 
appointed  organist  of  St.  George's  Chapel,  at 
the  same  time  continuing  his  duties  at  Eton 
College,  the  organist  there  being  alive,  but  past 
duty ;  80  that  both  master  and  scholar  may  be 
said  to  have  been  (to  use  a  professional  phrase) 
real  cathedralists.  Sexton  composed  some  an- 
thems, canons,  glees,  songs,  &c.,  but  did  not  pub- 
lish any  of  them.  In  1808  he  printed  a  vol- 
ume of  eight  anthems,  by  Handel,  composed  for 
the  Duke  of  Chandos.  These  he  shortened  and 
arranged  for  the  organ  and  voices,  for  the  use  of 
cathedrals. 

SEXTUPLE.  The  name  formerly  given  to 
measures  of  two  times,  composed  of  six  equal 
notes,  three  for  each  time.  The  measures  are 
now  more  generaUy  called  compound  common 
time. 

SEYDELMANN,  FRANZ,  chapel-master  at 
Dresden,  was  born  there  in  1748.  He  learned  the 
elements  of  his  profession  of  C.  J.  Weber,  and 
afterwards  studied  counterpoint  under  Chapel- 
mastcr  Naumnnn,  whom,  together  with  Schuster, 
he  accompanied  in  their  journey  to  Italy,  in  1765. 
On  his  return  to  Dresden,  he  was  nominated,  in 
1772,  church  and  chamber  composer  to  the  court, 
and  was  directed  to  perform  the  duties  of  con- 
ductor of  the  opera  and  chapel-master  alternately 
with  Xaumann  and  Schuster.  He  compo.sed 
some  harpsichord  sonatas,  several  oratorio<,  and 
the  following,  amongst  other  operas :  "  The 
Wounded  Hussar;"  "La  Bella  Arscne,"  1780; 
"  //  Capriccio  corrctto ;  "  "  La  Figlhu>la  di  Misnia," 
178-1;  "  II  Mostro,"  1787;  "  II  Turco  in  Italia," 
1788;  "  Amor  per  Oro,"  opera  bulfa,  1790;  and 
"  La  Serra  tcaltra."  He  died  at  Dresden  in 
180G. 

SEYFARTII,  JOIIAXX  GABRIEL,  cham- 
ber musician,  violinist,  and  ballet  composer  at 
lierliii,  was  born  in  1711.  After  finishing  his 
musical  studies,  under  the  organist  Walther  for 
the  harpsichord,  Hock  for  the  violin,  and  Fasch 
for  composition,  he  entered  the  service  of  Prince 
Henry  of  Prussia.  He  wrote  much  instrumental 
music,  besides  many  works  for  the  theatre.  He 
died  at  Uerlia  in  17'JG. 

SEVFRIED,  IGX.VZ  XAVIER,  chapel-mas- 
ter of  the  new  theatre  at  Vienna,  was  born  there 
iJi  1776.     He  wi.?   intended  to  be  brought  up  for 


the  law,  but  his  passion  for  music  soon  became 
irresistible.  He  composed  various  operas  for  the 
Schikaneder  theatre,  at  Vienna,  between  the 
years  1796  and  1810.  He  also  composed  much 
instrumental  music. 

SFORZATO,  SFORZAXDO,  or  SF.,  (L,)  im- 
plies that  a  particular  note  or  passage  is  to  be 
played  with  emphasis  and  force. 

SHAKE.  An  embellishment  consisting  of  the 
alternate  reiteration  of  two  notes  comprehending 
an  interval  not  greater  than  one  whole  tone,  nor 
less-  than  a  semitone.  The  shake  is  expressed  by 
this  character,  tr.  The  shake  is  sometimes  double ; 
that  is,  two  shakes  are  simultaneously  given  on 
the  same  instrument,  and  by  the  same  hand> : 
generally  in  thirds,  but  sometimes  in  sixths. 

SHALISHIM.  A  triangle,  invented  by  the 
Syrians.  Triangular  rods  were  used,  of  metaU 
charged  with  rings. 

SHARP.  A  character,  the  power  of  which  is 
to  raise  the  note  before  which  it  is  placed  half  a 
tone  higher  than  it  would  be  without  it.  The 
sign  of  elevation  is  tf.  This  artificial  note  or 
character,  when  prefixed  to  any  note,  shows  that 
it  is  to  be  sung  or  played  a  semitone,  or  half  a 
tone  higher  than  the  natural  note  would  have 
been  without.  When  the  semitone  takes  the 
name  of  the  natural  note  next  above  it,  it  is 
marked  with  a  character  called  a  flat.  It  is  in- 
different, in  the  main,  which  of  the  two  be  used, 
though  there  are  sometimes  particular  reasons 
for  the  one  rather  than  the  other.  The  use  of 
flats  and  sharps  is  by  way  of  remedy  to  the  defi- 
ciencies of  the  fixed  scales  of  in;-truments.  The 
character  now  used  for  the  sharp  was  originally 
designed  to  represent,  by  its  four  cross  lines,  the 
four  commas  ot  the  chromatic  scale. 

SHAW.  OLIVER,  an  eminent  composer  and 
teacher  of  music  at  Providence,  R.  I.,  died  in 
that  city  on  the  last  day  of  December,  1813,  aged 
seventy. 

Mr.  Shaw  was  a  man  of  placid  disposition,  un- 
obtrusive manners,  and  truly  Christian  character. 
He  was  warmly  devoted  to  his  divine  art,  and 
his  numerous  compositions  bear  the  impress  of 
genius.  HLs  "  Mary's  Tears,"  "  Xothiug  true 
but  Heaven,"  "  Arrayed  in  Clouds,"  "  Home  of 
my  Soul,"  and  other  sacred  pieces,  will  ever  hold 
a  place  among  the  best  compositions  of  their 
kind. 

SH-\WM.  A  religious  instrument  of  the 
ancient  Hebrews,  supposed  to  be  similar  to  the 
horn. 

SHELL.  Some  shells,  when  blown  into,  pro- 
duce a  musical  sound.  The  ancients,  it  is  sup- 
posed, supplied  shells  with  distended  strings, 
and  thus  converted  them  into  tensile  instru- 
ments. 

SHEMIXmi.  (H.)  A  stringed  instrument. 
It  was  also  sometimes  used  to  denote  a  species  of 
music,  and  tlso  a  particular  part  of  a  composition. 

SHEPHAKD.  JOHX,  an  English  contrapun- 
tist of  the  sixteenth  century,  studied  music  at 
Oxford.  Several  of  his  works  are  to  be  found  in 
the  publication  entitled  "  Mornyn^  and  Evenyng 
Praver  and  Communion,  set  lor  the  Voyce,  in 
foure  Partes,  to  be  sung   in  Chuiches,  both  foi 


86S 


SHE 


ENCYCLOPEDIA    OF   MUSIC. 


SUJ 


Men  and  Clhildren,  wyth  dyvcrs  other  R'ldly 
Prayers  and  Anthems,  of  sundry  Men's  doyngest," 
London,  1.5()5. 

SIIERAllI),  JAMES,  nn  En;,'lish  ai)OthccBry, 
composed,  curly  in  the  last  century,  two  sets  of 
sonatas,  which  might  easily  be  mistaken  for  the 
ftompositions  of  Corelli. 

SHERIDAX,  MRS.     See  Linley. 

SHIELD,  WILIJAM.  Horn  in  1754.  This 
very  eminent  English  composer  was  first  taught 
to  modulate  his  voice  and  practise  the  violin, 
when  he  was  only  six  years  old,  by  his  father  ; 
and  8ubse(iuently  received  a  few  lessons  of 
thorough  bass,  in  his  infancy,  from  the  celebrated 
Avison,  of  Newcastle  upon  Tyne.  At  the  deatli 
of  his  father,  he  was  bound  by  indenture  to  Ed- 
ward Davison,  boat  builder,  in  South  Shields  ; 
and  during  his  apprenticeship,  for  want  of  better 
violin  performers,  led  the  Xewcastle  subscrijjtion 
concerts,  where  he  rei)eatedly  |)layed  the  solo 
parts  of  Geniiuiani"s  and  (Jiardini's  concertos. 
Having  })roduced  an  admired  specimen  of  sacred 
music,  when  the  new  church  was  to  be  conse- 
crated at  Sunderland,  he  was  rctiucstcd  to  com- 
pose the  anthem,  which  was  performed  by  the 
then  excellent  Durham  choir,  to  an  immense 
congregation.  At  Scarborough,  in  the  fashionable 
Spa  season,  he  was  the  occasional  leader  ot  the 
concerts,  and  the  constant  one  in  the  orchestra 
of  the  theatre,  for  which  he  composed  many 
Bongs,  written  by  the  ingenious  pastoral  poet 
Cunningham,  who  was  an  actor  in  Uates's  com- 
pany at  that  period.  At  one  ot  the  concerts,  he 
was  irai)ortuned  by  the  eminent  professors, 
Fischer  and  Rorghi,  to  fill  a  varant  seat  in  the 
orchestra  of  the  Italian  Opera  House,  which  griit- 
iiying  oHcr  was  most  readily  accepted,  and  that 
great  musical  general,  Giardini,  placed  him  in 
the  rank  of  the  second  violins;  but  the  follow- 
ing season  the  excellent  leader,  Mr.  Cramer,  re- 
moved him  to  the  principal  viola  ;  at  which  post  he 
remained  eighteen  yeai-s,  in  the  course  of  which 
time  he  produced  upwards  of  twenty  operas  for 
Colman's  and  for  C'ovcnt  Garden  Theatre  :  of  the 
latter  he  became  the  musical  director,  and  was 
also  a.'pointed  one  of  the  musicians  in  ordinary 
to  his  majesty.  His  cngat;eraent8  comprised 
Itach  and  Aliel's  concerts,  the  Professional  con- 
certs, the  Ladies'  Friday  concert,  the  grand  Sun- 
day concerts,  and  the  Wednesday  concert  of 
ancient  mu>ic  ;  from  the  latter  ot  which  he  with- 
drew, as  tiic  necessary  attendance  at  the  Monday's 
rehe  irsal  interfered  with  his  thertrical  duty  ; 
but  Li.rd  Sandwich,  who  wius  the  inHucntinl  friend 
of  Mr.  Harris  and  Joah  Hates,  commanded  his 
return  to  a  duty  which  he  always  pertorraed  with 
profitable  i)leasure,  and  at  last  relintiuished  with 
mortifying  le^ret.  Shield  had  the  good  fortune, 
about  this  time,  to  travel  from  London  to  Taplow 
with  the  greatest  of  instrumental  composers, 
Haydn  ;  and  gained  more  important  information 
by  four  days'  communion  with  that  founder  of  a 
style  which  has  given  tame  to  so  many  imitators, 
than  ever  he  did  by  the  be«t  diiected  studies  in 
any  four  years  of  any  part  ot  his  life.  In  the 
Hummer  of  17*.>l,he  accompanie<l  his  countryman 
Kitson  to  Paris  ;  from  which  city  he  procee<led, 
with  several  agreeable  foreigners,  to  Italy,  who, 
like  himself,  were  anxious  to  improve  their  tnsto 
by  being  auditors  aud  spectators  of  oiieratic  per- 


formances in  Turin,  Milan,  Bologna,  Piaccnza, 
Parma,  Lodi,  Modena,  Florence,  Sienna,  and 
Rome.  There  he  lemained  stationary,  until  he 
became  familiar  with  the  object  of  his  journey  ; 
after  which  he  returned  with  the  courier  to 
Turin,  and  from  thence,  by  the  speediest  convey- 
ances, in  1792,  to  resume  his  re.ser\-ed  situationH 
in  Ix>ndon. 

Soon  after  this  j)eriod,  he  published  his  well- 
known  "  Introduction  to  Harmony,"  and  ever 
since  continued  studious  to  augment  his  knowi- 
edge  of  the  divine  art  and  science  of  music.  At 
the  death  of  Sir  William  Parsons,  his  majesty 
(jeorge  IV.  appointed  him  master  of  his  musi- 
cians in  ordinary.  He  died  in  I/>ndon  in  18'2'J. 
Of  the  merits  of  .Shield  as  a  composer,  we  can- 
not more  justly  s))eak  than  in  the  words  of  the 
(iuarterly  Musical  licvicw.  "  Late  as  he  ap- 
peared, he  struck  out  for  himself  a  style  of  writ- 
ing, pure,  chaste,  and  original.  HLs  great 
prominent  characteristic,  however,  is  simplicity. 
No  com])oser  has  ever  woven  so  few  notes  into 
such  sweet  and  irai'.ressive  melodies,  while  the 
construction  of  the  bass  and  harmony  is  alike 
natural,  easy,  and  unaffected.  We  cannot  open 
one  of  his  operas  without  l)eing  instantly  capti- 
vated with  this  ([uaiity  of  his  music.  In  such 
delightful  little  entertainments  as  '  Marian'  and 
'  liaiiiia,'  his  airs  breathe  all  the  beauty  of  rural 
life,  though  the  more  ornamented  and  dilHcult 
parts  are  carried  far  beyond  the  common  style 
ol  bravura.  Shield  appears  to  have  been  singu- 
larly fortunate  in  the  great  com])ass  and  agility 
of  the  female  singers  for  whom  he  wrote  his  airs 
of  execution.  In  'Marian'  there  is  a  hautlwy 
song  of  amazing  extent  and  much  com|)lication. 
In  most  of  his  works  where  he  introduces  bra- 
vura.s,  we  find  passages  combining  the  ditficulties 
of  execution,  in  a  manner  which,  if  not  abso- 
lutely new,  lay  considerable  claims  to  novelty, 
and  full  of  the  same  ingenious  cast  of  expres- 
sion that  is  dLscernible  throughout  all  the  ])arts 
of  hLs  style.  Perhaps  no  writer  is  so  remarkable 
tor  songs  containing  so  much  that  is  strictly  na- 
tional. .Vfter  Purcell,  we  consider  .Shield  to  be 
the  finest  and  most  perfect  example  of  really 
Eiiiilish  writers.  Ballads,  in  all  the  different 
modes  of  sentiment  and  description,  aliound  in 
his  operas.  Sea  and  hunting  songs,  the  rural 
ditty,  the  convivial  song  and  glee,  the  sweet, 
sentimental  ballad,  are  so  frequent,  that  indeed, 
with  the  occasional  interi)osition  of  songs  of 
execution,  they  may  be  said  to  make  up  the  cus- 
tomary and  continual  alterations  from  air  to  air. 
j  It  will  strike  the  observer  as  singular,  that  tbo 
later  composers  for  the  stage  should  have  made  so 
little  use  of  the  minor  key.  Shield  h&i  applied 
it  in  a  most  iK'autiful  manner.  The  tiuste  ot  our 
own  age  bears  us  out  in  the  belief,  that  as  much 
of  Mr.  .Shield's  music  will  descend  to  posterity, 
carrying  with  it  the  intrinsic  marks  ot  English 
genius,  as  of  any  other  writer  since  the  days  of 
Arne.  As  a  whole,  we  have  found  nothing  su- 
perior to  '  Rosina.'  His  works  arc  very  numer- 
ous, though  iii  many  of  his  pie*'c»  he  ha.»  availed 
himself,  with  facility,  of  jiopular  airs,  aud  of 
selections  from  Handel  and  foreign  corapoMTs." 
The  t  ties  of  Shield's  puhlishe  1  works  are  as 
follows:  "  \n  Intro<luction  to  Harmony,"  ••  .\ 
Cento,"  "  .^ix  Canzonets,"  "Two  Stts  ot  Trio* 
for  a  \  lolin.  Tenor,  and  Violoncello."  Dromatia 
pieccd  :    "  Flitrh  of  Bacon,"    "  IlcMiiiia,"    "  Poor 


8S-J 


sni 


excyclop-5;dia  of  music. 


SIQ 


f<nl(lii'r,"  "  Miirinu,"  "  Farmer,"  "  Hartford 
HridsP/'  "  ^VoodImn,"  "  liohin  Hood,"  "Abroad 
and  at  Homo,"  "  Foiitainebleau,"  "  Xoble  Peaa- 
ant,"  "Crusade,"  "The  Travellern  in  Switzer- 
land," "  Omai,"  "  Lord  Mayor's  Day,"  "Picture 
of  Paris,"  tlic  luiijor  part  of  "  Oscar  and  Mal- 
vina,"  "  Lock  and  Key,"  "  Patrick  in  Prussia," 
"Choleric  Fathers,"  "  Xetley  Abbey,"  "Two 
Faces  under  a  Hood,"  &c.,  vtc.  .Sin};le  pieces 
■which  remain  popuhir :  "  Sliakspeare's  Load- 
stars," "The  Thorn,"  "  The  Bird  of  the  Hose," 
"  O,  bring  me  wine,"  "  The  Wolf,"  "  The  Heav- 
ing of  the  Lead,"  "The  Post  Captain,"  "  Old 
Towler,"  "  The  Streamlet,"  "  The  I'lou),'hboy," 
"  Let  Fame  sound  her  trumpet,"  "  Tlie  pretty 
little  heart,"  "How  shall  we  mortals,"  "  Vil- 
la;;e  Maids,"  "  Ah,  welladay,  my  poor  heart," 
"  The  llattle  Song,"  "  Pve  traversed  Judah'a 
barren  land,"  "  'Tis  no  harm  to  know  it,  ye 
know,"  "Heij»h-ho!"  "Tom  Moody,"  "Poor 
Barbara,"  "  The  Literary  Fund  Glee,"  "  John- 
ny and  Mary,"  better  known  by  its  beginning 
"  Down  the  bourne  and  through  the  mead,"  the 
•words  of  which  were  furnished  by  Mr.  Holcroft, 
(although  this  ballad  has  been  frecjueiitly  inserted 
in  the  collections  of  inaccurate  editors,  in  the  class 
of  original  Scottish  songs,)  "The  Prince  and 
old  England  forever,"  "  Our  Laws,  Constitution, 
and  King,"  "  Oxfordshire  Nancy  bewitched," 
composed  at  the  request  of  Mr.  Garrick,  after 
that  monarch  of  the  histrionic  art  had  ceased  to 
DC  the  greatest  ornament  of  the  British  stage. 

SHIFT.  That  motion  of  the  hand  along  the 
finger  board  of  a  violin,  violoncello,  &c.,  neces- 
sary to  the  execution  of  pa.ssages,  the  notes  of 
which,  in  point  of  gravity  or  acutencss,  lie  at  a 
considerable  distance  from  each  other. 

SHOPHAIl.  (H.)  A  trumpet,  or  bent  horn, 
80  called  because  it  gave  a  brilliant,  clear,  ring- 
ing sound. 

SHORT  OCTAVES.  An  appellation  given 
to  some  of  the  lower  octaves  of  an  organ,  be- 
cause, from  the  omission  of  some  of  the  interme- 
diate notes,  the  extreme  keys  lie  nearer  to  each 
other  than  those  of  the  full  octaves. 

SHRILL.  An  epithet  applied  to  those  acute 
Bounds  which  form  the  upper  part  of  the  scale  of 
soprano  voices  and  treble  instruments. 

SHUSHAXEDUTH,  or  SHOSHAXXIM.  (H.) 
A  musical  instrument,  somewhat  resemliling  the 
lily.  It  is  possible  the  cymbal  is  meant,  as  that 
instrument  resembles  the  flower. 

SHUTTLEWORTH,  OBADIAH.  Organist 
of  the  churcli  of  St.  Michael,  Cornhill,  London. 
He  played  the  tirst  violin  at  the  Swan  Concert  in 
Cornhill,  from  the  first  institution  of  that  society 
till  the  time  of  his  death,  which  took  place  about 
the  year  1735.  He  was,  besides,  a  very  good 
composer,  and  wrote  twelve  concertos  and  various 
sonatas  for  violins,  of  which  some  of  his  friends 
were  favored  with  manuscript  copies. 

SI.  One  of  the  seven  syllables  said  to  be 
originally  used  in  France  in  solfaing.  Guido, 
whose  system  was  divided  by  hexachords,  used 
only  six  syllables,  though  his  (jamut,  as  well  as 
ours,  was  composed  of  seven  notes.  The  neces- 
sity of  a  seventh  syllable,  however,  soon  became 
•vi'dent,  and  I  e  Muirc,  a  French  musician  of  the 


'  seventeenth  century,  has  generally  the  credit  of 
having  introduced  the  syllabic  ai,  though  some 
attribute  its  invention  to  Vander  Pullen,  and 
others  to  Jean  dc  .Muris. 

SIBLEY,  STEPHEX.  Tliis  veteran  musician 
died  at  his  residence  in  Portsca,  England,  on 
I  Friday,  2.'{d  October,  1842,  in  the  seventy-seventh 
year  of  his  age.  Mr.  S.  filled  the  office  of  organ- 
ist at  St.  Thomas's  Church.  Portsmouth,  and  St. 
John's  Chapel,  Portsea,  during  the  very  long 
terra  of  fifty-two  years. 

SICILIAXO.  (I.)  An  epithet  applied  to  a 
movement  of  six  or  twelve  quavers  in  a  bar,  of 
rather  a  slow  time,  and  proceeding  by  alternate 
crotchets  and  quavers,  each  measure  of  the  time 
beginning  with  a  crotchet.  The  style  of  this 
species  of  movement  is  simple,  and  the  effect  at 
once  tender,  soothing,  and  pastoral. 

SIDE  DRUM.  The  common  military  drum. 
So  called  from  its  hanging  at  the  side  of  the 
drummer  during  performance. 

SIEBER,  professor  a)jd  editor  of  music  at 
Paris,  was  born  in  Franconia.  In  1765  he  was 
received  in  the  orchestra  of  the  Royal  Academy 
of  Music  as  first  horn.  He  was  celebrated  for  his 
editions  of  the  classical  instrumental  works  of  all 
i  Europe. 

i  SIEBER,  GEORGE  JULIEX,  son  of  the  pre- 
ceding, and  born  at  Paris  m  1775,  was  a  pupil  of 

i  Xicodami  for  the  piano,  and  of  the  celebrated 
Berton  for  composition.  He  has  composed  some 
piano-forte  and  vocal  music,  and  was  also  pro- 
prietor of  a  music  warehouse. 

SIEBERS,  JOHAXX  FRIEDRICH  LUD- 
WIG.  Organist  of  the  cathedral  at  Magdeburg 
from  the  year  1776,  previously  to  which  time  he 
had  held  the  same  situation  at  Brunswick.  He 
published,  amongst  other  works,  "  Songs  from 
the  Romance  of  Siegwart,"  Magdeburg,  1779; 
"  A  Symphony  for  the  Harpsichord,  with  Accom- 
paniments," Frankfort ;  and  "  Three  Sonatas  for 
the  Harpsichord,"  Op.  1,  Berlin.  He  died  at 
Magdeburg  in  1806. 

SIEBIGK,  CHRISTIAN  ALBRECHT  L.,  a 
professor  at  Breslau  in  1804,  resided,  about  tlie 
year  1797,  in  Leipsic,  where  he  published  some 
music  for  the  piano-forte.  He  has  since  edited, 
at  Breslau,  a  work  entitled  "Museum  beitihrntt-r 
TonkitnstU'r,"  which  contains  biographical  sketch- 
es and  portraits  of  several  of  the  most  eminent 
I  modern  musicians  ;  amongst  others,  of  Sebastian 
Bach,  Haydn,  Mozart,  Clementi,  Zumstceg.  &c. 

SIEGUE.  (I.)  It  follows.  A  word  always 
used  in  reference  to  something  that  is  to  continue 
or  to  succeed.  When  applied  to  a  particular  pas- 
sage, it  signifies  that  though  that  passage  does 
not  continue  to  be  made  out  in  the  same  form  of 
notes  in  which  it  commenced,  yet  the  same  execu- 
tion is  to  be  preserved.  When  it  relates  to  any 
succeeding  movement,  it  announces  the  imme- 
diate approach  of  that  movement ;  as,  i/ci/ue  ii 
coro,  the  chorus  follows ;  siegue  Caria,  the  air  fol- 
lows. 

I  SIGHTSMAX.  Tl>e  appellation  given  to  him 
who  reads  or  sings  music  readily  at  tirst  sight : 
hence  we  say,  "  Such  a  one  is  a  good  siijhtsman." 


SIGISMUXDO  D'lXriA,  knight  of  the  ordei 


870 


5IO 


ENCYCLOPEDIA    OF    MUSIC. 


SIM 


of  St.  Murk,  and  born  at  Palermo,  in  Sicily,  flour- 
ished about  the  year  KUO,  not  only  as  a  skilful 
musical  jierforraer  and  composer,  but  also  as  a 
poet.  Ill  his  works  Dr.  Burney  found  the  earli- 
est siiccimens  of  recitative.  Awom^st  his  pub- 
li-hed  works  were  "  Mwlrif/ali  d  a  voci,"  Op.  1, 
Venice,  I'JU  ;  "  Mudrijali  d  5  voci,"  Op.  2,  Ven- 
ice, 1611;  "  Le  Mitsiche  del  Cavalier  Sigiamundo 
d' India,  Lib.  5,"  Venice,  1623  ;  and  "  ilotelti," 
Venice,  1027. 

SIGNATURE.  A  name  i;iven  to  the  number 
of  flats  or  sharps  indispensable  to  each  key,  and 
plated  at  the  bef^inning  of  each  staff.  The  sij;- 
nature  is,  or  should  be,  always  a  guide  to  the  key 
of  a  pifce  of  music.  Sometimes  the  printer  makes 
a  mistake,  and  prints  the  sif^nature  wron;;,  and 
hometimes  an  author  understands  harmony  so  im- 
perlectly  that  he  does  not  know  himself  what  key 
his  composition  is  in.  Strictly  speaking,  there 
are  very  few  tunes  in  which  the  key  does  not 
change  one  or  more  times  in  the  course  of  the 
tune ;  but  it  is  not  necessary  that  the  singer  should 
notice  the  change,  and  indeed  no  one  can  tell 
where  it  is,  unless  familiar  with  the  science  of 
harmony.  The  signature  should  always  tell  the 
principal  key  in  which  a  tunc  is  written,  and,  as 
far  as  sinking  is  concerned,  the  whole  tune  should 
be  regarded  as  in  the  key  indicated  by  the  sig- 
nature. 

SIGNS.  The  general  name  for  all  the  different 
characters  used  in  music  ;  as  sharps,  flats,  re- 
peats, pauses,  dots,  directs,  &c. 

SILBEKMANN.  The  name  of  a  celebrated 
Ocnnan  lamily  of  instrument  makers.  The  chief 
was  Andre  Silbennan,  born  in  Saxony  in  1678. 
He  WHS  the  son  of  a  cari  enter,  and  devoted  his 
youth  to  the  study  of  or^an  building.  lie  finally 
bcttlcd  ia  Strnsburg,  wliere,  in  170S,  he  married 
Anna  Maria  Schmid,  by  whom  he  had  twelve 
children.  He  died  in  1734,  having  in  the  space 
of  twenty-seven  years  constructed  thirty  organs. 

SILBEHM.\NN,  GOTIFUIED,  younger 
brother  of  the  preceding,  was  bom  in  ir>,S4 ; 
.earned  the  art  of  organ  building  of  his  brother ; 
and  in  17  H  gave  a  jiroof  of  his  own  ability  by 
constructing  the  cathedral  organ  at  Freytierg, 
which  had  forty-five  stops,  lie  was  one  of  the 
lir-t  makers  of  piano-fortes,  and  the  invention  of 
that  instrument  has  been  commonly  ascribed  to 
him  in  tierraauy.  lie  submitte<l  two  pianos  to 
the  examination  of  John  Sebastian  IJach,  who 
praised  tlio  novelty  of  the  mechanism,  but  found 
the  upper  octaves  lecble.  ^llbermann  devoted 
himself  in  silence  to  new  researches,  and  offered 
no  more  instruments  for  sale  until  he  had  reme- 
died the  defe.-t.  The  next  time  Bach  declared 
the  instrument  faultless.  The  pianos  of  Silber- 
mnnn  were  from  that  time  Ihmous.  He  was  also 
tlie  inventor  of  the  ctdmin  d'amoitr. 

SILBEKMANN,  JOHANN  ANDRE,  eldest 
Bon  of  .Vmlrc,  was  born  at  .Strosburg  in  1712, 
■where  also  he  died  in  1  783.  lie  was  the  maker 
of  fifty- four  church  organs,  some  of  them  very 
celebrated. 

SILBERMANN,  JOIIANN  D.\MEL,  second 
ion  of  Andre,  was  born  at  Stra-nburg  in  1717, 
and  wjis  also  a  famous  organ  builder.  In  1761 
he  removed  to  Freyberg,  where  he  devotfltl  him- 
»elf  with  success  to  the  manufacture  of  harpsi- 
chords and  pianos.     He  died  at  Leipsic  in  1766, 


leaving  some  manuscript  compositions  of  some 
merit. 

SILBERMANN,  JOHANN  HEINRICH. 
youngest  son  of  Andr6,  was  born  at  Strasburg  in 
1727.  He  devoted  himself  especially  to  the  man- 
ufacture of  pianos,  and  his  were  the  first  instru- 
ments which  made  their  way  into  France.  He 
died  in  1799. 

SILVANL  GIUSEI'I'E  ANTONIO,  chapel- 
master  of  St.  Stephen's  Church  at  Bologna,  pub- 
lished there,  in  1720,  his  eleventh  opus,  com- 
prising four  masses  for  four  voices. 

SIMICIUM.  An  ancient  instrument  consist- 
ing of  thirty-five  strings.  This  instrument,  which 
is  mentioned  by  Athena-us,  is  not  supposed  to 
have  ])roduccd  as  many  different  notes  as  it  con- 
tained strings,  one  half  of  which  are  conjectured 
to  have  been  in  uiumou,  or  octaves,  with  the  other, 
like  the  strings  of  the  arch-lute,  double-harp,  or 
harpsichord. 

SI.MILAR  MOTION.  When  two  or  more 
parts  ascend  or  descend  simultaneously,  they  are 
said  to  be  in  simiUtr  motion. 

SIMMS,  JOHN,  a  native  of  Staffordshire,  and 
the  father  of  a  celebrated  musical  family,  was  de- 
scended from  respectable  parent.-*,  who  gave  him 
a  good  commercial  education,  and  intendetl  him 
to  fill  the  situation  of  clerk  in  a  merchant's 
counting  hou.se.  He,  however,  continued  in  Ids 
father's  business  (the  iron  trade)  during  the  early 
part  of  his  li!e,  when,  being  pa.ssionately  fond  of 
music,  he  amused  himself,  in  his  leisure  hours, 
in  the  cultivation  of  that  art,  and  afterwards  bo- 
came  a  respectable  amateur  jjerlormer  on  several 
in>truments,  particularly  tlie  organ  and  viohn. 
Possessing  also  a  mechanical  gen. us,  he  directed 
his  attention  to  the  construction  of  musical  in- 
struments, and,  without  the  aid  of  in.struction, 
produced  several  excellent  specimens,  one  of 
which,  namely,  an  upright  har])sichord,  was  ex- 
hibited to  an  audience  of  the  first  distinction  and 
respectability,  among  whom  were  the  Dowager 
Countess  of  Stamford  and  family,  the  Viscount 
Dudley  and  Ward,  &c.,  who  expressed  the  great- 
est satisfaction  at  its  mechani.sm.  From  knowl- 
edge thus  accpiired,  he,  during  the  last  thirty 
years  of  his  active  life,  was  in  great  jiractice  as  a 
tuner  and  repairer  of  musical  instruments,  and 
was  employed  by  a  large  circle  of  nobility  and 
gentry  in  the  counties  of  Stafford,  Worcester, 
Salop,  Jtc,  by  whom  he  was  greatly  esteemed, 
and  his  skill  highly  a])preciatcd  He  married 
early  in  life,  and  had  the  ."alisfaction  of  having  a 
wile  etjually  musical.  Thi.s  union  was  produc- 
ti%'e  of  a  family  consisting  of  eight  sons  and  two 
daughters,  all  of  whom  played  at  an  early  age ; 
■which  enabled  them,  on  several  occasions,  to  give 
concerts  of  vocal  and  instrumental  music  without 
other  a.ssistancc.  There  were,  in  1.S2.),  five  of  the 
sons  in  the  jirofession  of  mufie,  namely.  Bishop 
Siraras,  organist  of  St.  Philip's  Church  and  St, 
Mary's  Chapel,  Birmingham  ;  James  Simms,  or- 
ganist of  Bromsgrovc  aiul  Chadtle.'»ly ;  Edward 
Simms,  organist  of  Ashbum  and  Oakovcr  ;  and 
Samuel  and  Henry  .'^iiums,  organists,  Stour- 
bridge. From  their  originality  of  style,  gen- 
uine taste,  and  neatnofts  oi  cxecutiiui,  they  hi>d 
not  only  cstnblishisl  a  high  re|<utation  in  their 
respective  situations,  but  had  called  fortn  warm 


871 


8lil 


ENCYCLOPiEDIA    OF    MUSIC. 


SIM 


expressions  of  ni>]>robation  from  stmiiKcrs.  On 
•omo  oonisions,  \v)icTe  opportunity  had  offered, 
ilifir  performance  had  been  honored  by  high  en- 
comiums from  bome  of  the  first  judges  in  the 
kingdom  ;  amongst  whom  was  the  late  William 
Knyvett,  organist  to  the  king.  In  the  sacred  de- 
pHrtmcnt  of  their  profession,  the  rit^h  variety  and 
novel  etfects  produced  by  their  judicious  man- 
agement cc  the  organ,  together  with  their  man- 
ner of  conducting  the  singing  in  their  respective 
churches,  had  not  only  been  held  in  high  esti- 
mation by  the  ofKciating  ministers  and  congrega- 
tions, but  had,  in  many  instances,  attracted  the 
notice  and  admiration  of  several  dignitaries  of  the 
church,  niwiK'ly,  Dr.  I'orteus,  IJishop  of  London, 
Dr.  Law,  l!i>hop  of  Chester,  &c.  Their  compo- 
eilious,  sacred  and  secular,  are  rather  numerous. 

SIMM?!,  EDWARD,  Jun.,  eldest  grandson  of 
John  Simras,  was  resident  at  Coventrv  as  a 
professor  of  music,  and  much  esteemed,  both 
there  and  in  London,  as  an  organ  and  piano-forte 
player  and  teacher.  lie  commenced  the  studv  of 
music  at  si.x  years  of  age,  under  his  uncles,  the 
Messrs.  Simms,  of  Stourbridge,  under  whom  he 
practised,  with  great  success,  for  about  twelve 
years.  lie  subsequently  became  a  pupil  of  Kalk- 
brenner,  in  London,  from  whom  he.  at  various 
times,  received  the  most  flattering  encomiums  on 
his  compositions  and  performance.  He  has  pub- 
lished various  works  for  the  piano-forte.  He  has 
likewise  written  many  original  pieces  for  the  or- 
gan, as  well  as  twenty  psalm  tunes  in  the  old 
church  style,  in  score,  for  four  and  five  voices, 
with  a  considerable  number  of  chants  and  secular 
glees,  which  are  not  published. 

SLMOXELLI,  MAITEO,  was  a  singer  in  the 
Pontifical  Chapel  in  the  year  1662,  and  was,  in 
the  language  of  the  Italian  writers,  a  grand  con- 
trapuntist ;  for  which  reason,  and  for  his  excel- 
lence in  the  church  style,  he  has  been  called  the 
Palestrina  of  his  time.  In  teaching,  he  was  e.v- 
trcraely  successful,  and  he  had  the  honor  of 
being  the  first  master  to  Corelli. 

It  does  not  appear  that  any  of  his  compositions 
were  ever  jjulilished ;  but  his  works  were  pre- 
served with  great  care  in  the  college  of  the  pon- 
tifical singers  at  Rome. 

SIMOXIDES.  There  were  in  antiquity  many 
poets  of  that  name ;  but  by  the  marbles  it  ap- 
pears, that  the  elder  and  most  illustrious  of  them 
was  born  in  the  fifty-filth  Olympiad,  five  hundred 
and  tliirty-eight  years  before  Christ,  and  died  in 
his  nineteenth  year ;  which  nearly  agrees  witli  the 
chronology  of  Eusebius.  He  was  a  native  of 
Ceos,  one  of  the  Cyclades,  in  the  neighborhood 
of  Attica,  and  the  preceptor  of  i'indar.  Loth 
I'lato  and  Cicero  gave  him  the  character  not  only 
of  a  good  poet  and  musician,  but  speak  of  him 
OS  a  person  of  great  virtue  and  wisdom. 

SIMPLE.  A  terra  apjjlied  to  that  counterpoint 
in  which  note  is  set  against  note,  and  which  is 
called  siinpU;  in  opposition  to  more  elaborate 
composition,  known  by  the  name  of  figurative 
counterpoint.  Simpk  f'ut/ue,  or  simple  imitalion,  is 
that  style  of  c^mjwsition  in  which  a  single  sub- 
ject is  adopted,  or  some  partial  echo  preserved, 
amongst  tlic  several  purls.  This  word,  in  the  old 
music,  is  lre({uently  used  in  contradi>tinction  to 
liiuble,  applied  to  rarinlimis,  as  double  I,  double 
'I,  UQ.,  and  biguiUcs  the  ],laiii  inAico,  or  subject, 


87 


on  which  the  variations  are  founded.  Simple  ca- 
detice  is  that  in  which  the  notes  are  cqu.il  through 
all  the  parts.  Simple  coiworils  are  those  wherein 
we  hear  only  two  notes  iu  consonance ;  and 
simple  intervals  are  those  in  which  no  paits  or 
divisions  are  supposed,  and  which  the  ancient 
Greeks  called  diasleiiu. 

SIMPLE  SOUND.  A  pure,  unmixed,  single 
sound.  Some  theorists  will  not  allow  that  there 
is,  musically  speaking,  any  such  sound  in  nature  ; 
but,  on  the  contrary,  assert,  that  every  sound 
which  is  produced  is,  at  least,  accompanied  with 
its  twelfth  and  seventeenth. 

SIMPLICITY.  In  composition,  a  natural, 
unadorned  melody,  or  incomplex  combination  of 
parts,  in  which  the  composer  endeavors,  rather 
by  the  force  of  his  genius  and  feeling  than  the 
refinements  of  science,  to  awaken  the  softer  jias- 
sions,  or  rouse  the  mind  to  ardor.  In  perform- 
ance, simplicity  is  that  chaste,  unaffected  style, 
which,  rejecting  all  vain  and  unmeaning  flourish, 
only  aims  at  conveying  the  ideas  of  the  composer, 
without  disturbing  the  purity  of  the  text. 

SIMPSON,  CHRISTOPHER,  one  of  the  most 
eminent  English  musicians  of  his  time,  born 
about  1610,  was  the  author  of  two  treatises  on 
music,  and  was  likewise  much  celebrated  for  his 
skill  in  playing  on  the  viol.  Of  his  birth  and 
education  we  meet  with  no  records,  e.xcept  that, 
in  his  younger  days,  he  was  a  soldier  in  the  army 
raised  by  William  Cavendish,  Duke  of  Newca-stle, 
for  the  service  of  King  Charles  I.  against  the 
parliament ;  that  he  was  a  member  of  the  Ro- 
mish communion,  and  was  patronized  by  Sir 
Robert  Bolles,  whose  son  he  taught  to  play  on 
the  viol. 

In  1665  he  published,  in  a  thin  folio  volume, 
a  work  entitled  "  Chelys  Minuritionum,"  printed 
in  two  columns,  one  English,  the  other  Latin. 

The  design  of  the  treatise  is  to  render  familiar 
a  practice  which  the  i)erfonners  on  the  viol  da 
gamba,  about  the  time  of  its  publication,  were 
emulous  to  excel  in,  namely,  the  making  of  ex- 
temporary divisions  on  a  ground  ba.ss ;  but,  as 
this  required  some  previous  knowledge  of  the 
principles  of  harmony,  the  author  here  under- 
takes to  unfold  them. 

It  is  divided  into  three  parts :  the  first  con- 
tains instructions  at  large  for  playing  on  the  in- 
strument ;  the  second  teaches  the  use  of  con- 
cords and  discords,  and  is,  in  truth,  a  compen- 
dium of  descant ;  and  the  third  part  contains  the 
method  of  managing  the  division  to  a  ground, 
which  is  illustrated  by  many  examples. 

In  1667  Simpson  published  "  A  Compendium 
of  Practical  Music,"  in  five  parts ;  containing, 
1.  the  rudiments  of  song;  2.  the  principles  of 
composition ;  3.  the  use  of  dLscords ;  i.  the  form 
of  figurate  descant ;  o.  the  contrivance  of  canon. 

The  first  part  contains  little  more  than  what  u 
to  be  found  in  every  book  that  professes  to  teach 
the  precepts  of  singing. 

The  second  part  treats  of  the  principles  of 
composition  and  of  couiiterj)oint,  intervals,  and 
concords,  with  their  use  and  application  ;  of  th« 
key  or  tone  ;  and  of  closes  or  cadences  belonging 
to  the  key.  From  the  directions  here  given,  it 
apjiears  that  it  was  the  ancient  practice  to  frame 
the  b^ihS  part  first. 

He  begins  his  rules  for  compositiou  witb 
2 


SIX 


ENCYCLOPAEDIA    OF    MUSIC. 


SIN 


directions  how  to  frame  a  bass,  and  how  to  join 
a  treble  to  a  bas- ;  after  which  he  proceeds  to 
composition  of  tlixee,  four,  five,  six,  seven,  ami 
eight  parts,  and  to  compositions  for  two  clioirs 
or  clioruses  eacli. 

The  third  part  of  the  book  teaches  the  use  of 
the  discords,  and  shows  the  nature  of  syncopa- 
tion, and  of  rciiition  enharmonical.  Here  he 
takes  notice  of  the  three  scales  of  music  ;  the 
diatonic,  the  chromatic,  and  the  enharmonic,  of 
which  he  ^-ivcs  a  concise   but  clear  definition. 

He  inclines  to  the  opinion  that  the  modern 
«cale,  in  which  the  octave  is  divided  into  twelve 
semitones,  is,  in  fact,  a  commixture  of  the  dia- 
tonic and  chromatic. 

The  fourth  part  relates  to  the  form  of  figuratc 
descant,  and  treats,  first,  in  a  very  concise  and 
perspicuous  manner,  of  the  ancient  modes  or 
tones.  In  his  directions  for  figunito  descant,  the 
author  shows  how  they  are  made  to  pass  through 
each  other,  and  speaks  of  the  consecution  of 
fourths  and  fifths,  thirds  and  sbcths.  He  ex- 
plains tlie  nature  of  fugue  in  general,  and  then 
gives  directions  for  constructing  a  fugue  per 
arsin  et  l/iesin,  and  also  a  double  fugue. 

He  next  treats  of  vocal  music,  which,  he  says, 
is  to  be  preferred  to  that  of  instruments,  because, 
of  all  sounds,  that  of  the  human  voice  is  most 
grateful.  He  mentions  the  lUlferent  kinds  of 
vocal  music  iu  use  in  his  time,  and  afterwards 
speaks  of  music  composed  for  instruments.  t)f 
the  latter  he  observes,  that  it,  no  less  than  vocal 
music,  abounds  iu  points,  fugues,  and  all  other 
figures  of  dcicant. 

The  filth  part  is  on  the  subject  of  canon,  a  spe- 
cies of  conipusition  in  which  the  author  says  the 
English  I'.ave  been  ;,articulrtrly  excellent.  lie  ex- 
plains the  method  of  composing  canon  in  two  or 
tliree  parts,  as  also  canon  in  the  uniaon  ;  synco- 
pated or  driving  canon  ;  canon  a  note  higher  or 
lower ;  canon  rising  or  falling  a  note  each  repe- 
tition ;  retrograde  canon,  or  canon  recte  eC  retro ; 
double  descan;,  in  which  the  parts  are  so  contrived 
that  the  treble  may  be  tlie  bass,  and  the  bass  the 
treble  ;  and  canon  on  a  given  plain  song,  with 
examples  of  each. 

Lastly,  he  gives  direction  for  tlie  composition 
of  the  catch  or  round,  called,  by  some,  canou  in 
the  uni:>un. 

SIXCL.VIR,  JOIIX,  was  born  near  Edinburgh, 
In  the  year  1790,  and  from  a  child  received  con- 
stant in-itructions  in  music.  When  a  boy,  he 
was  very  jiartial  to  the  stage,  and  passed  all  his 
leisure  hours  in  performing  plays  with  his  little 
companions,  in  a  place  they  procured  lor  the  pur- 
pose in  Edinburgh.  At  length,  being  de.<irousof 
trying  his  success  in  a  regular  theatre,  he  and 
one  of  his  school- fellows  earnestly  entreated  the 
piompfer  of  the  Elinhurgh  theatre  to  hear  them 
recite,  wbicli  ho  declined. 

Sinclair's  attadiment  to  the  stage  having  now 
come  to  the  knowledge  of  his  father,  it  was 
looked  upon  by  him  (a  devout  follower  of  the 
church  of  Scotland)  with  the  utrao>t  horror,  and 
his  future  attendance  at  theatrical  meetings  was 
strictly  prohibited ;  but  still  the  son  so  particu- 
'arly  dLnUkcd  the  profession  his  father  wished  to 
bring  him  up  to,  that  he  resolved  at  last  to  run 
sway  Irora  home.  At  this  time,  (jow,  of  Edin- 
burgh, wa<  apil.ed  to  by  the  late  Colonel  Camp- 
bell, ot  Shawfield,  to  prevail  on  Sin.'lair  (whose 


musical  abilities  were  then  much  admired)  to  join 
his  regiment  as  clarinet  player.  On  (iow's  appli- 
cation to  this  eH'ect,  .Sinclair,  considering  him-self 
under  many  obligations  to  (iow,  wlio  had  been 
always  very  friendly  to  him,  was  easily  persuaded, 
without  the  knowledge  of  his  parents,  to  accept 
the  otfer,  and  accordingly  joined  Colonel  Camj)- 
bell's  regiment.  He  continued  in  this  situation 
some  time,  during  which  he  went  to  Aberdeen, 
where  ho  taught  singing  in  most  of  the  principal 
families,  and  saved  sulKcicr.t  money  to  jiay  one 
hundred  ]>ounds  for  his  discharge,  and  to  procure 
a  substitute.  This  enabled  him  to  visit  Ixjndon, 
where  he  remained  some  time,  and  then  again 
returned  to  Aberdeen.  His  friends,  liowever, 
being  convinced  that  his  musical  al>ilitie!<,  if 
known,  would  procure  him  an  engagement  in  a 
London  theatre,  induced  him  to  revisit  the 
metropolis,  and  try  his  success  on  the  stage, 
which  he  consentetl  to  do  ;  and  at  a  benefit  about 
to  take  place  at  the  Haymarkct  Theatre,  he  was 
announced  for  the  ])art  of  Che<'rly,  in  "  Lock  ai.d 
Key,"  as  a  young  gentleman,  being  bis  first  ap- 
pearance. His  flattering  reception  induced  him 
to  decline  the  acceptance  of  an  ensigns  commis- 
sion, that  was  at  this  time  j)re>ente<l  to  him ; 
and  on  being  introduced  to  T.  Welsh,  he  was  im- 
mediately taken  by  that  gentleman  as  a  pupil  for 
three  years,  and  on  singing  to  Mr  Harri.i,  wa."  en- 
gaged by  him  at  Covent  Garden  Theatre  for  five 
years,  which  engagement  wiis  alterwards  length- 
ened to  seven,  T.  Welsh  sharing  his  salary,  bene- 
fits, &c.,  during  the  time  he  remained  under  his 
tuition.  His  dibut  at  Covent  Garden  was  in  the 
character  of  Don  Carlon,  in  the  '•  Duenna."  Sin- 
clair married,  in  ISliJ,  the  daughter  of  Captain 
Norton,  who  fell  in  Ei,'yiit,  under  .^ir  Ralph 
Abercrombie,  a  young  hidy  to  wliom  he  had  been 
secretly  attached  :  the  marriage  took  i)lace  in 
Kdinburi^h,  witho>it  the  consent  of  her  mother; 
but  a  reconciliation  was  brought  about  immedi- 
ately after  the  ceremony,  through  the  interven- 
tion of  friends.  His  engagement  witli  Mr.  Har- 
ris having  tenninatcd  in  July,  ISIH,  and  his  for- 
tune being  sulficient  without  the  aid  of  the 
thcotre,  Sinclair  now  resolved  to  fulfil  the  desire 
he  had  always  entertained  of  visiting  It.ily,  for 
the  purpose  of  heiu-ing  the  best  music,  and  of 
studying  under  the  first  Italian  masters ;  he  con- 
sequently declined  any  offer  that  was  made  to 
him  of  renewing  his  engagement  at  Covent 
Garden,  and  passed  the  remainder  of  the  year, 
and  part  of  the  following,  in  lulfilling  engage- 
ments he  had  contracted  in  the  north,  and  in 
county  towns  in  England. 

At  length  he  quitted  England  in  April,  1819, 
for  Paris,  where  he  received  nistructions  for  some 
time  from  the  celebrated  Pellegrini,  of  the  Italian 
opera  there.  He  then  went  to  Milan,  where  he 
put  himself  under  Banderali,  one  of  the  masters 
of  the  Conservatory,  which  he  likew  ise  fre<iuentl.- 
attended,  lor  the  purpose  of  studyini;  thci.< 
method  of  teaching,  &c.  Not  having  originally 
intended  singing  on  the  continent,  he  refu-sed  an 
engagement  which  was  offere<l  him  at  Milan, 
and  determined,  before  a])pearing  in  an  Italian 
theatre,  to  hear  and  study  the  style  of  every  prin- 
cipal singer  in  Italy  ;  which  he  at  lcn.;th  ac- 
complishe<l,  by  visiting  every  town  where  any 
celebrated  opera  was  performing,  or  singer  en- 
gaged. In  May,  1821,  he  went  to  Naples  whcr« 
lie  bang  to  Uossini,  and,  by  his    request,  to  th 


110 


U73 


BIN 


ENCYCLOP-EDIA    OF    MUSIC. 


SIS 


manager  of  Sun  Carlo,  who  immediately  proposed 
an  enf^iigemcnt  to  liim,  on  terms  which  were  ac- 
cepted ;  when  a  sudden  stop  was  put  to  all  nego- 
tiattons  between  them,  in  couocquence  of  the 
revolution,  whioh  so  greatly  involved  the  mana- 
ger, (by  removing  his  gaming  tables,  the  great 
6ouri-e  of  his  profit,)  that  he  declined  continuing 
the  mana;;ement  of  the  tlieatrc,  and  quitted 
Naples.  Sinclair  now  availed  himself  of  offers 
he  received  from  the  north  ot  Italy,  and  left  Na- 
ples, though  not  until  he  had  greatly  profited 
by  Kossini's  advice  and  inhtructions.  At  the 
carnival  of  1821  he  was  engaged  at  PLsa,  where 
he  previously  >ang  with  great  6clat  at  the  court 
of  the  (irai.d  Duke  of  Tuscany,  who  liberally  re- 
warded him.  The  following  spring  he  sang  at 
Bologna,  where  he  was  voted  member  of  the 
Philharmonic  Academ  y  ;  a  distinction  considered 
as  highly  honorable,  and  but  rarely  granted. 
From  thence  he  w;im  engaged  at  Modena,  and  the 
toUowing  autumn  at  Florence.  At  Venice,  in 
the  carnival  1822-1823,  he  likewise  profited  by 
Kossini's  assistance,  and  had  the  advantage  of 
having  an  opera  written  for  him  by  that  cele- 
brated master ;  he  had  there  also  the  honor  of 
singing  at  the  grand  concert  given  to  the  Emper- 
ors of  Kussia  and  Austria.  In  the  spring  of  1823 
he  was  engaged  at  Genoa,  on  account  of  the 
King  of  Sardinia's  visit  to  that  town,  who  sent 
for  him  to  sing  at  his  palace,  and  greatly  distin- 
guished him.  It  was  here  that  he  terminated 
his  theatrical  career  in  Italy,  declining,  amongst 
many  other  offers,  a  most  advantageous  one  to 
return  to  Naples,  and  likewise  one  from  Vienna, 
by  the  then  reestablished  manager  of  San  Carlo. 
He  at  last,  after  repeated  invitations,  concluded, 
m  December,  1824,  an  engagement  with  Mr.  C. 
Kemble,  for  the  season,  lor  fiity  nights.  Sinclair 
came  to  America  about  the  year  1830,  and  sang 
for  some  time  in  concerts. 

SINFONIA,  or  SINF.  (I.)  S)Tnphony.  See 
that  word. 

SINFONIA  DA  CAMERA.  (I.)  An  appel- 
lation given  by  the  Italians  to  symphonies  com- 
posed lor  chamber  use,  as  quartets,  trios,  &c. 

SINGIUOZZANDO.     (I.)     Sobbingly. 

SINGING.  The  art  of  producing  with  the 
voice  the  sounds  of  any  melody,  together  with 
the  words  to  which  that  melody  is  set.  To  per- 
form this  with  justness  and  felicity  of  effect,  a 
fine  voice,  sensible  ear,  good  natural  taste,  and 
considerable  knowledge  in  the  science  of  music, 
are  indispensable  requisites.  P>om  the  voice 
its<-ll",  all  must  be  draw:i,  in  respect  of  sweetness, 
power,  and  modulation,  of  which  by  practice  it 
is  cajiable,  while  judgment,  sense,  and  leeling 
dictate  the  graces,  accent,  and  e.\j)ression. 

Singing  is  first  mentioned  in  the  history  of 
Jacob  ;  it  is  idso  mentioned  in  almost  every  book  ' 
of  the  Old  and  New  Testament,  and  sometimes  i 
in  every  chapter  for  a  considerable  space  together.  ' 
Singing  has  always  been  n  part  of  divine  worship 
by  heathens,  Jews,  and  Christians.     The   gospel 
not  only  authorizes  it  by  example,  but  expressly 
enjoins  it.     Singing  was  by  the  early  Christians 
usually  perfonued  in  a  stiinding  posture.     The 
Jewish  hymns  were  accompanied  with  vorious 
musical  iustrume-its,  to  assist  the  voices  of  the 
I.eviies. 

87 


[  SINGING  BOYS.  An  old,  familiar  appella- 
tion, sometimes  applied  to  the  young  gentlemen 
of  the  choirs  of  the  King's  Chapel,  Westminster 
Abbey,  St.  Paul's,  and  other  cathedrals  in  Eng- 
land. 

SINGING  MEN.  The  appeUation  formerly 
given  by  the  common  people  to  the  gentlemen 
of  cathedral  choirs  in  England. 

SINGSTIilMEN.  (G.)  The  voices,  the  vocal 
parts. 

SINISTR,^.  (L.)  The  name  by  which  the 
Romans  distinguished  their  lelt-handed  flutes. 
'Iliose    made    for  the  right   hand  were  called 

dexira. 

SINO,  or  SIN".  (I.)  As  far  as;  aa,confuooo 
sin  al  Ji>ie,  with  spirit  to  the  end. 

SI  PIACE.  (I.)  If  you  please.  An  expres- 
sion signifying  that  the  passage  or  movement, 
over  which  it  is  written,  may  be  sung  or  played 
in  the  performer's  owni  style,  or  even  omitted,  if 
his  pleasure  direct. 

SI  RIPLICA.  (I.)  An  expression  implying 
that  the  passage  or  strain  over  which  it  is  written 
is  to  be  repeated. 

SIRMEN,  LUDOVICO.  Chapel-master  at 
Bergamo.  Sue  violin  trios  of  his  composition 
were  published  at  Paris  in  1769. 

SIRMEN,  MADDALENA  LOMBARDINI.  a 

celebrated  lemale  singer,  violinist,  and  composer, 
received  her  first  musical  instruction  at  the  Con- 
servatory of  the  Mendicanti,  at  Venice.  She  then 
took  lessons  on  the  ^'iolin  from  Tartini,  till,  by 
her  performance,  she  was  able  to  rival  Nardini 
In  1782  she  was  principal  singer  at  the  court  of 
Dresden,  and  before  that  period  had  visited 
England  and  Paris,  where  her  performances  were 
highly  applauded.  She  composed  much  violin 
music,  a  great  part  of  which  was  published  at 
.iVmsterdam. 

SISTRA.  (L.  pi.)  Instruments  of  brass, 
about  eighteen  inches  long,  to  be  held  upright 
and  shaken,  the  rings  moving  to  and  fro  upon 
the  bars.  These  were  made  in  all  shapes,  and 
some  to  resemble  snakes. 

SISTRUM.  This  was  a  rod  of  iron,  bent 
into  an  oval  or  oblong  shape,  or  square  at  two 
corners  and  curved  at  the  others,  and  furnished 
with  a  number  of  movable  rings  ;  so  that,  when 
shaken,  or  struck  with  another  rod  of  iron,  it 
emitted  the  sound  desired.  Some  of  these  in- 
struments were  in  the  shape  of  a  shoulder  belt, 
with  brass  wires  across,  which  played  in  holes, 
wherein  they  were  stopped  by  their  flat  heads. 
They  were  played  on  by  shaking  in  cadence,  and 
thereby  the  brass  wires  matle  a  shrill  and  loud 
noise.  The  Eastern  instruments  named  the  dijf, 
and  our  tambourines,  are  instruments  similar  to 
the  shtra.  There  was  also  an  ancient  stringed 
instrument  of  percussion,  known  by  the  names 
sUtrum,  cislrum,  and  citron.  This  instrument 
was  of  Egyptian  invention,  and  was  much  used 
by  the  priests  of  Isis  and  Osiris  in  sacrifice.  Th« 
cistrum  is  described  by  musical  writers  as  of 
an  oval  form.  ITiree  sticks,  obliquely  traversing 
the  instrument,  were  agitated  by  a  motion  given 
to  the  whole,  and  the  strings  struck  by  theee 
produced  a  melodious  sound.    Oiselius  and  other 


SIT 


ENCYCLOPAEDIA    OF   MUSIC. 


81V 


authors  observe,  that  the  representation  of  the 
eiatrum  is  found  on  ancient  medals  and  on  talis- 
mans. Osiris  is  sometimes  pictured  on  them 
with  a  dog's  head,  and  a  cistrum  in  his  hand. 

SI  TACE.     (I.)     Be  silent. 

SIXTEENTH.  The  replicate  of  the  ninth  ; 
an  interval  consisting  of  two  octaves  and  a  sec- 
ond. 

SIXTH.  An  interval  of  five  diatonic  decrees. 
There  are  four  kinds  of  si.xths,  two  consonant, 
and  two  dissonant.  The  consonant  si.xths  are, 
first,  the  miiu>r  sUth,  com]>o.scd  of  three  tones  and 
two  semitones  major  ;  secondly,  the  major  sixth, 
t  mposed  of  four  tones  and  a  major  semitone. 
The  dissonant  sixths  are,  first,  the  dimiitialted 
tixth,  composed  of  two  tones  and  tlireo  major 
semitones  ;  secondly,  the  supi-rjiuuiu  sUth,  com- 
posed of  four  tones,  a  major  soimtone,  and  a  minor 
semitone. 

SKENE  MANUSCUIPT.  This  manuscript 
existed  during  the  reign  of  James  VI.,  and  is 
supposed  to  have  been  noted  in  great  part  be- 
tween 1615  and  1C20  ;  and  while  no  part  of  it  is 
likely  to  be  more  recent  than  this  latter  date, 
there  is  every  reason  to  believe  that  one  portion 
of  it  was  committed  to  writing  before  1(515,  and 
probably  about  the  commencement  of  the  seven- 
teenth century.  It  belonged  to,  if  it  was  not 
actually  noted  by,  John  Skene,  of  Hallyards,  a 
principal  clerk  of  the  Court  of  Sessions  in  Scot- 
land, who  died  in  1644.  It  contained,  in  all,  one 
hundred  and  five  tunes,  of  which  the  greater 
part  were  certainly  Scottish,  and  some  of  them 
familiar,  such  as  "The  Flowers  of  the  Forest,"  a 
number  of  dancing  airs,  &c.  The  airs  were  noted 
for  the  mandour,  a  five-stringed  instrument,  of 
the  lute  class,  then  fashionable  ;  and  the  peculi- 
arity of  the  mode  of  notation,  which  is  totally 
different  from  that  of  modern  times,  for  a  long 
■while  interposed  a  formidable  difHculty  to  deci- 
phering the  musical  contents  of  the  manuscript. 
Tliat  difficulty  was  subsequently  overcome,  and 
the  airs  reduced  to  ordinary  notation,  by  Mr.  G. 
J.  Graham.  Although  the  airs  in  the  Skene 
Manuscript  cannot  be  of  a  later  date  than  about 
the  year  1620,  it  is  impossible  to  say  how  much 
earlier  many  of  them  were  composed ;  for  it  is 
natural  to  suppose  that  the  collector,  in  forming 
an  anthology  of  Scottish  airs,  would  not  confine 
himself  to  the  airs  then  current,  but  would  select 
the  best  from  the  whole  range  of  existing  tunes, 
including  those  which,  even  at  that  time,  were 
entitled  to  the  name  of  old  airs.  The  oldest 
collection  of  Scotch  airs  wo  know  in  a  printed 
form  is  'ITiompson's  "  Orp/teus  Cakdonius,"  the 
first  vd  ume  of  which  appeared  in  17'2o,  and  the 
second  in  17.'!3.  'ITie  Skene  collection  is  about  a 
Limdred  years  older  than  any  published.  Sev- 
eral Scotch  tunes  were  known  in  England  — 
witness  lago's  "  Tak"  yer  auld  cloak  about  ye," 
in  Othello,  and  others  which  had  found  their 
way  into  printed  collections  before  the  publica- 
tion of  the  "  Oq)heus ;  "  and  Gay  introduced  some 
of  these  Scotch  airs  into  the  "  lleggar's  Opera." 
ITie  next  ancient  Scotch  manuscript  is  "  Ano 
Playing  Booke  for  the  Lute,  wherein  are  con- 
tained many  currents,  and  other  musical  things. 
Uusiia  nieiuia  mfdiciiui  ma-sdr.  At  A)>crdeen, 
noted  and  collected  by  Kobcrt  Gordon,  in  the 
year   of  our   Lord    1627,    in    February."      Two 


Scotch  compositions,  bearing  the  dates  of  1503 
and  1507,  were  discovered  in  18.39,  recorded  ir 
the  register  of  Burgh  Sasines  for  the  city  of 
Al)ordcen  ;  and  nearly  fifty  of  the  po)iular  mel- 
odies of  Scotland,  noted  in  the  same  tabliitun.'  Hf 
those  of  ti)e  Skene  Manuscript,  were  discovered 
in  the  midst  of  a  little  volume  of  very  clostly 
written  notes  of  sermons,  preacheil  by  the  cove- 
nanting minister,  James  Guthrie,  who  was  exe- 
cuted in  l(i61,  for  declining  the  jurisdiction  of  the 
king  and  council, 

SKIP.  A  term  ap))lied  to  any  transition  ex- 
ceeding that  of  a  whole  tone. 

SKIPPING  NOTES.  Notes  which  lo  not 
proceed  by  conjoint  degrees,  nor  in  any  regular 
course,  but  which  lie  at  awkward  and  unex- 
pected distances  from  each  other. 

SLENTANDO.  (I.)  The  abbreviation  of  « 
lentando,  it  slackens ;  or  the  time  of  the  passage 
decreases. 

SLIDE.  The  German  slide  consists  of  two 
appoggiaturas,  moving  by  regular  degrees  to  the 
principal  note,  thus  :  — 


SLUR.  A  character  consisting  of  a  curvilin- 
ear line,  drawn  over  or  under  the  heads  of  those 
notes  which  are  meant,  in  performance,  to  be 
blended  by  a  kind  of  smooth,  gliding  progres- 
sion. It  shows  what  number  of  notes  are  to  be 
sung  to  one  syllable,  thus  :  — 


SE 


Fraiie,       O  praiw        the     Lord     of        llutU. 

SLURRED.  Notes  or  passages  performed  in 
a  smooth  and  gliding  manner  are  said  to  be 
slurred. 

SLURRING.  Performing  in  a  smooth,  glid- 
ing style. 

6MANIOSO.     (I.)     With  fury. 

SMORFIOSO.     (L)     In  an  affected  manner. 

SIVOUI,  CAMILLO.  was  born  in  Genoa. 
June  6,  1817.  The  same  place  also  had  the 
honor  of  giving  birth  to  the  great  Paganini, 
■whose  mantle,  many  think,  has  fallen  on  the 
shoulders  of  Sivori.  It  Ls  a  somewhat  remarka- 
ble circumstance,  and  one  which  may  ]>lca.se  the 
curious  in  sucii  matters,  that  the  birth  of  the 
young  artist  was  somewhat  hastened  by  the  pecu- 
liar and  wonderful  strains  of  Paganini's  violin ; 
for  on  the  night  he  was  born  his  mother  attended 
a  concert  given  by  the  great  maestro  at  the  Tea- 
tro  Santo  .Vgostino,  in  Genoa.  He  had  hardly 
reached  the  age  of  eighteen  months  before  he 
gave  evidence,  almost  miraculous,  of  that  innate 
proi>en»ity  for  music  which  in  after  lilc  nii-'Oi.l 
him  to  such  fame.  At  this  early  age  he  began 
to  fiddle  on  two  sticks,  using  one  aa  the  bow, 
and  the  other  as  tlie  violin,  at  the  same  time 
hmuniing  o\  cr  such  "  glini)>fteM  of  music  "  as  came 
into  his  mind.     Wo  are  well  aaaured  that  buoit 


SIV 


ENCYCLOPAEDIA    OF    MUSIC. 


SI"V 


two  yeare  had  pofiKcd  over  the  youthful  Camillo's 
Lend,  hearing  some  music  from  a  cavalcade 
which  >va.s  ]>a.HsiiiK  by,  he  rushed  Irom  tliu 
house,  and  followed  them  several  miles  to  tlu'ir 

filace  of  destination.  The  nurse  soon  missed  the 
ittle  runaway,  and  ran  all  over  the  village  in  a 
state  of  distraction,  seeking  for  him  every  where, 
and  not  linding  him  until  he  returned  with  the 
cavalcade  in  tlie  evening.  At  two  years  of  age 
he  was  t^iken  from  his  nurse  into  his  father's 
family,  and  even  at  that  age  cried  for  a  violin. 
He  teased  his  father  so  much,  that  a  viohn  was 
purchased  for  him  ;  and  at  three  years  old  he 
began  to  apply  himself  to  the  instrument  with 
all  the  eagerness  and  will  to  learn,  of  one  of  riper 
years.  At  the  ogeof  four  years  he  could  perform 
every  thing  he  heard  his  sisters  play  or  sing. 
The  report  of  his  previous  skill  spread  over  Gen- 
oa, and  the  youthful  artist  was  invited  every 
where.  The  highest  nobility  in  the  city  had 
him  at  their  soiriea.  Even  the  king  and  queen 
dowager,  hearing  of  the  wonders  of  the  child, 
often  invited  him  to  the  palace,  and  made  him 
many  jiresents.  He  would  never  go  to  church, 
or  any  other  place  of  public  resort,  unless  there 
was  music  on  the  occasion ;  and  if  there  was,  no 
power  hardly  could  prevent  him  from  visiting 
such  places.  When  he  was  six  years  old  a  new 
era  in  his  existence,  and  a  new  phase  in  his  for- 
tunes, took  place.  I'aganini  arrived  iu  his  na- 
tive city,  and  hearing  the  marvellous  accounts 
of  young  Sivori,  wrote  to  his  father,  and  request- 
ed him  to  bring  his  wonderful  boy.  Camillo 
was  soon  ushered  into  the  presence  of  the  great 
maestro,  and  requested  to  play.  He  did  so,  and 
Pagauini  immediately  became  interested  in  the 
youthful  artist,  and  took  him  under  his  tuition, 
in  less  than  two  months  he  made  such  advances 
in  his  practice  and  studies  under  Paganiui,  that 
he  played  concertos  iu  public  written  expressly 
lor  him  by  his  great  instructor,  together  with 
six  short  sonatas.  All  these  pieces,  written  in 
Paganini's  own  hand,  he  has  preserved,  and 
continually  carries  them  with  him  wherever  he 
goes,  .\verse  as  Paganini  was  to  give  instruction 
to  any  one,  however  great  the  reward  ottered 
for  such  services  might  be,  still  he  took  a  great 
interest  in  Camillo,  and  seemed  to  love  to  be  with 
him.  Six  months  after  this,  Paganini  left  his  na- 
tive city,  and  anxiously  besought  Sivori's  father 
to  let  him  take  Camillo  with  him.  But  the  fa- 
ther, knowing  what  a  capricious  and  eccentric 
character  I'aganini  was,  refused  to  part  with  his 
child,  and  intrust  him  to  the  charge  of  such  a 
man.  Paganini  then  advised  his  father  to  place 
young  Camillo  under  Costa,  who  had  instructed 
the  great  artist  in  his  first  studies.  He  was  thus 
placed,  and  during  three  years  Costa  kept  him 
almost  entuely  to  the  music  of  Corelli,  Tartini, 
Paganini,  and  Viotti.  When  Paganini  returned 
to  (ienoa  lie  was  enchanted  with  the  improve- 
meut  young  Camillo  had  made,  and  advised  his 
father  what  course  to  pursue  with  him.  He  was 
then  placed  under  other  masters. 

His  father  was  now  desirous  that  his  son  should 
make  a  tour  in  France  and  England.  And  in 
the  year  1829,  when  he  was  but  ten  years  of 
age,  he  started  on  his  journey,  accompanied  by 
M.  Dcllcpiane,  his  second  ma.ster,  an  intimate 
friend  of  Paganini.  At  Paris  he  played  twice  at 
the  Conservatoire,  where  he  obtained  such  ap- 
plause and  success  a^  never  fell  to  the  lot  of  any 


other  youthful  artist.  From  this  time  he  cot 
tinued  to  improve  upon  his  favorite  instrument, 
and  to  astonish  the  peoi)le  wherever  he  went, 
llie  first  time  he  played  in  London  was  on  the 
occasion  of  Madame  Pasta's  benefit  at  Her  Ma- 
jesty's Theatre ;  and  subsequently  he  gave  fre* 
concerts  on  his  own  account.  Every  night  dur- 
ing his  stay  in  London,  he  was  engaged  at  soirie*, 
and  his  reception  every  where  was  most  enthusi- 
astic. From  London  he  returned  to  Paris,  where 
he  contmued  his  studies  nearly  a  year,  and 
thence  proceeded  to  Havre,  Kouen,  Amiens, 
Lille,  &c.  After  an  absence  of  eighteen  mouths 
he  returned  home  to  Genoa.  He  now  applied 
himself  closely  to  the  study  of  counterpoint  un- 
der Serra,  an  ingenious  composer  after  the  man- 
ner of  Mozart,  though  but  little  known  as  yet 
beyond  the  native  walls  of  Genoa.  His  instruc- 
tions in  harmony  were  rigorous  and  inflexible. 
The  young  artist  studied  under  him  for  eight 
years.  When  Paganini  returned  from  France 
and  England,  young  Camillo  fretiuently  called 
upon  him  to  hear  him  play,  and  ask  his  advice. 
And  although  the  great  violinist  was  at  this  time 
most  grievously  indisposed,  yet  he  neither  refused 
his  assent  unto  nor  withheld  his  playing  from  his 
young  friend.  We  have  not  room  to  loUow  this 
young  artist  through  all  his  brilliant  career.  .Suf- 
fice it  to  say  that  he  visited  all  the  great  cities 
of  Europe,  and  was  every  where  victorious,  sweep- 
ing all  before  him,  and  creating  a  ^teat  furore  in 
all  the  audiences  that  heard  him  i)lay. 

His  ear  became  so  refined  and  sensitive  that 
he  grew  dissatisfied  with  his  violin,  although  it 
was  the  best  he  could  procure,  and  was  n)anu- 
factured  by  Andrew  Guamerius.  He  requested 
his  father  to  write  to  Paganini  for  one  of  his 
violins,  and  offer  him  any  price  for  it.  His  father 
did  write,  and  the  great  master  sent  back  word 
that  he  would  not  sell  him  one,  but  make  him  a 
present  of  one.  In  1840  Sivori  travelled  to  Nice 
on  puipose  to  receive  the  violin  from  the  hands 
of  his  former  master.  He  found  Paganini  in  a 
most  deplorable  situation,  hardly  able  to  utter  a 
word  distinctly ;  and  yet  in  this  fearful  state  he 
signified  his  wish  to  hear  his  pupil  play.  He 
did  play,  in  a  room  adjacent  to  that  in  which  the 
sick  artist  lay,  and  performed  whatever  he  called 
for.  Paganini  comphmented  him  highly,  gave 
him  his  viohn,  and  said,  "  You  will  be  the  only 
survivor  of  my  manner.  Go  to  Paris  —  study 
there  —  there  all  artists  beget  their  reputations." 
In  six  days  Sivori  was  obhged  to  leave  his  sick 
friend,  and  in  a  few  weeks  he  received  a  .o»tei 
informing  him  that  Paganini  was  no  more.  The 
violin  which  Sivori  now  uses  is  the  one  he  re- 
ceived from  the  hands  of  his  dying  friend  and 
master.  Sivori's  concert  tour  in  Ameiica,  in 
1846,  (part  of  the  time  in  company  with  Herz, 
the  pianist,)  is  fresh  in  the  memory  of  mu.sic 
lovers.  Since  that  time  he  has  been  a  distin- 
guished ornament  of  all  the  principal  classical 
concerts  in  Lon'-*  ■•n,  besides  having  made  several 
brilliant  concert  .-,nrs   upon   the  continent. 

In  jjcrson  Sivori  is  quite  below  the  ordinary 
stature,  measuring  but  little  if  any  over  five  feet, 
slenderly  formed,  very  expressive  dark  eyes,  high 
but  not  broad  forehead,  the  jx:rceptive  organ* 
well  developed.  In  manners  he  is  very  modest 
and  unassuming,  apparently  not  wishing  to  pas* 
himselt'  off  upon  the  public  for  more  than  he  it 
worth. 


87a 


BMA 


ENCYCLOPEDIA    OF    MUSIC. 


SMI 


SMART,  SIR  GEORGE.     This  eminent  pro-  |  "  Lamentation  of  David  on  the  Death  of  Satd 
fessor   and  orchestra   conductor  was   the  son  of'  and  Jonathan,"  an  oratorio,  176G  ;  aud  "Six  Sett 
a  proprietor  of  a    music  warehouse  in  London,    of  Harpsichord  l>e»son8." 
At  the  oratorios  for  some  vears  past,  at  several        c\tiTtr    n    i  r.    11  rn 

of  the  first  London  concerts,  and  at  the  great  ,  "^-^"1".  ROBERT,  professor  at  Trinity  CoL 
provincial  meetings,  his  lii-h  talent  as  conductor  ]"«'''  Cambridge,  published,  in  1749,  '•  Ilarmon- 
hiui  rniKriliiitna  nil    nninin.w.       As  n  fimrhnr,  nlsn.     'f".   <""   "'C     rlillosophy   ot    Sounds."       A   second 


ha»  conciliated  all  opinions.     As  a  teacher,  also, 
of  the  piano-forte  and  siiif^in'^,  he  was  very  dc- 
Bervedly  placed  in  the  front  rank  of  the  profes-  | 
eion.     lie  has  risen  into  estimation,  indeed,  by  a 
combination  of  qualities  not  often  to  be  found  in 
the  same  individual,  namely,  by  extreme  correct- 
ness and  skill  in  his  instrumental  performance, 
by  a  f;encrnl    acquniiitance  with    the   details    of' 
musical    business,    by   uiuissuiniiig    and    (gentle- 
manly manners,  and  by  iiite;j;rity  and    liberality 
of  conduct.     I'robably  from  Sir  G.  Smart's  nu-  : 
meroiis  professional  avocations,  he  has  given  but 
few  of  his  compositions  to  the  public.     ITio  lew 
that  are  known  are  highly  creditable  to  his  tal- 
ents as  a  contrapuntist.  I 

SMART,  HENRY,  brother  to  the  preceding, 
began  his  musical  education,  and  studied  the 
violin  under  the  celebrated  Cramer,  and  in  the 


iphy 
edition  of  this  work  appeared  in  1760. 

SMITH,  JOHX  STAFFORD,  was  bom  at 
Gloucstor  about  the  year  17o0,  where  his  father, 
who  initiated  him  in  music,  was  organist  of  the 
cathedral.  Young  Smith  went  to  London  early 
in  life,  and  was  placed  under  Dr  IJoyce,  to  liiiLsh 
his  musical  education.  From  the  excellence  of 
his  boy's  voice,  he  obtained  the  situation  of  chor- 
ister of  the  Chapel  Royal  ;  and  was,  after  some 
years,  chosen  one  of  the  organists  of  that  ch«i)el. 
Whilst  yet  a  youth,  he  gave  strong  indications 
of  genius  in  composition,  and  gained  a  pri/o 
medal  given  by  the  Noblemen's  Catch  f'lub,  for 
the  best  glee.  Amongst  his  most  admired  works 
are  the  following :  "  Whilst  fools  their  time," 
glee,  four  voices ;  "  Return,  blest  days,"  glee, 
four  voices ;    "  Hiest   pair  of  sirens,"    glee,    live 


early  part  of  his  Hie  played  in  the  orchestras  of    voices;    and   "  ^\'hcn   to  the  Muses."     He  rLso 


the  Italian  Opera,  the  Haymarket  Theatre,  and 
the  Concert  of  Ancient  Music,  where  we  believe 
he  occupied  the  stand  of  the  principal  viola. 
About  the  year  1803  he  retired  from  the  musical 
profession,  and,  in  conjunction  with  his  father, 
oecarae  the  proprietor  of  a  brewery.  The  con- 
cern, however,  did  not  answer  his  expectations, 
and  he  again  resumed  his  original  occupation. 
He  was  cmployc<l  with  his  brother.  Sir  George 
Smart,  in  teaching,  and  assisted  in  several  schools, 
where  his  ability  and  attention  were  highly  es- 
teemed. His  character,  however,  as  a  violinist, 
induced  Mr.  Arnold  to  engage  .Smart  at  the  open- 
ing of  the  English  Opera  House,  as  leader  of  the 
band,  where  he  remained  during  many  seasons. 
lie  was  then  retained  at  Drury  Lane  in  a  similar 
capacity.  He  continued  to  lead  the  Drury  Lane 
band  till  1821.  He  has  also  led  the  oratorios 
since  the  management  was  undertaken  by  his 
brother  in  1813.  It  was  his  ]ieculiar  i>iide  to 
have  formed  the  Drury  Lane  band  entirely  of 
English  professors ;  and  so  justly  did  they  esti- 
mate his  character  and  serv-ices  that  a  cup  was 
presented  to  him,  to  lecord  his  merits  and  their 
gratitude.  He  die  1  of  a  typhus  fever  at  Dublin, 
in  November,  1823,  aged  forty-five.  Ho  was  a 
member  of  the  Philharmonic  Concert,  which  he 
led  in  turn.  Nor  were  hLs  merits  known  only 
in  the  metropolis.  He  had  a.ssi..tcd  at  many  pro- 
vincial meetings,  where  his  talents  and  his  iir- 
banity  were  alike  conspicuous,  and  gained  the 
universal  esteem.  About  1821  he  set  up  a  man- 
uJactory  of  piano-fortes  upon  a  peculiar  struc- 
ture, and  he  obtained  a  patent  for  an  improve- 
ment of  great  importance  in  the  touch  of  these 
instruments. 


published  "  A  Collection  of  .Songs  of  wnous 
kinds,  and  for  different  Voices,  with  the  .\lus-c," 
folio,  178.),  and  "Musica  Antiqua,  a  Selection  of 
Music  from  the  Twelfth  to  the  Eighteei  th  Cen- 
tury," two  volumes,  folio,  1812. 

SMITH,  CHARLES,  was  bom  in  l/indon  in 
1786 :  his  father,  Mr.  Felton  Smith,  was  brought 
up  in  the  choir  of  Christchurch,  Oxford,  and 
displayed  much  musical  talent,  but  on  leaving 
college  declined  making  it  his  profession.  At  tl.o 
early  age  of  four  years  C^harles  Smith  evincrl  a 
great  genius  lor  music,  both  vocal  and  instru- 
mental, playing  at  that  age,  on  tlie  piano  fi  rte, 
any  tune  he  had  heard,  and  singing  several  i.f 
Dibdin's  favorite  songs  with  the  greatest  truth 
and  correctness,  though  he  could  not  speak  the 
words  ])lainly.  The  premature  genius  he  thus  dis- 
played induced  his  parents  to  give  him  a  mas- 
ter,  and  before  he  was  five  years  old  he  was  p-il 
under  the  care  of  Costellow,  with  whom  he  made 
a  most  rapid  progress  :  before  he  even  attained 
the  age  of  six  he  compo8c<l  a  little  air,  to  which 
his  mother  wrote  the  words  ;  this,  with  some  of 
Dr.  .\rne's  beautiful  airs,  he  use»l  to  sing,  accom- 
panying himself  on  the  piano-forte,  to  the  .-vston- 
ishmcnt  of  all  who  heard  him.  At  tlie  age  of 
eight,  his  mother  requestetl  the  ailvice  ot  Dr. 
Arnold,  concerning  his  future  dentination,  when 
the  dictor,  with  great  promptitude  and  kimlnem, 
immediately  called  at  the  house  of  his  parent.i  to 
hear  him.  The  child  played  a  very  ililHcuIt 
sonata  of  Clomenti's,  at  which  perfornianrc  the 
doctor  expressed  himself  highly  crntiticd,  and 
rcquestctl  a  specimen  of  hLs  vocal  talents ;  he 
then     .sang,    accompanying    himself,    "  llennr'a 


Cottage  Maid,"   and   "  In  infnncv."     ITie  doctor 
SMITH,  JOHX  CHRISTOrilER,  an  English  j  was  delightetl  at  this  last  trial';    but   when  he 


musician  and  composer,  was  conductor  of  several 
grand  concerts  in  I/indoii,  betww'n  the  years 
1732  and  17(i8.  His  talents  were  principally 
fonued  under  the  direction  of  Handel,  several  of 
whose  oratorios  he  produced  ;  amongst  others, 
he  gave  eight  performances  of  Handel's  "  Sam- 
ion,"  from  the  year  1760  to  1768.  Amongst  his 
own  compositions  may  l)c  uaraed  '•  Teraminta," 
tr  opera,  1732;    "Rosalinda,"  an  opera,   1731); 


saw  little  Smith  put  "The  soldier  tired''  upon 
his  desk,  he  laughevl,  and  said,  "  My  dear,  you 
are  a  clever  little  fellow,  but  I  hope  you  are  not 
going  to  attempt  that  song."  He  rcplie<l,  "  Yea, 
sir,  il  you  please,  I'll  try  it ;  but  I  only  bought  i 
yesterday,  st  I  fear  I  shall  not  sing  it  very  well." 
He,  however,  execute<l  the  air,  and  accom|vuued 
himself  in  a  style  which  the  doctor  Miid  he 
could  have  had  no  conception  of ;  not  tuppoeiag 


877 


SMI 


ENCYCLOPEDIA    OF    MUSIC. 


SNP 


It  possible  that  a  child  of  that  a;^e  could  have 
breath  sutficient  to  go  through  the  running  pas- 
Mgm.  The  docto-  then  told  his  parontit  that  he 
was  certainly  a  native  genius ;  that  it  would  be  a 
Bin  to  rob  the  profession  of  him;  that  he  had 
every  refiuisite  to  make  a  fine  singer ;  but  as  the 
voice  of  a  boy  was  very  precarious,  he  advised 
them  not  to  depend  upon  that,  but  recommended 
his  being  put  into  the  Chapel  lloyal,  where  he 
■would  be  well  grounded  in  the  theory  of  music, 
&c.  The  doctor's  advice  was  taken,  and  soon 
after  he  was  introduced  to  Dr.  Ayrton,  the  mas- 
ter of  the  boys,  who,  being  highly  delighted  with 
the  child,  introduced  him  as  a  chorister  on  the 
first  vacancy,  which  did  not  happen  till  the  year 
1796.  In  the  summer  of  that  year  the  princess 
loyal  was  married,  and  though  young  Smith 
had  only  been  a  few  months  in  the  school,  he 
vas  selected  to  sing  a  principal  part  in  the  mar- 
riage anthem  ;  in  performing  which  he  pleased 
Dr.  Ayrtun  so  much,  that  he  gave  him  a  silver 
coin.  The  doctor's  great  age  and  infirmities 
prevented  his  paying  that  attention  which  his 
parents  thought  so  promising  a  child  required, 
and  the  other  branches  of  his  education  not 
being  so  well  attended  to  as  they  wished,  induced 
them,  in  the  year  1798,  to  take  him  out  of  the 
school,  and  introduce  him  to  J.  Ashley,  who,  for 
Handel's  music  and  ballads,  was  considered  one 
of  the  first  masters  of  his  day.  Mr.  Ashley  saw 
the  youth's  merits,  and  eagerly  accepted  him  as 
an  articled  pupil.  In  1799  he  began  to  sing  in 
private  parties,  and  in  the  year  1800  he  came  for- 
ward at  the  oratorios  and  vocal  concerts  at  liane- 
lagh,  &c.  After  being  heard  at  these  places,  he 
was  eagerly  engaged  at  all  the  private  concerts, 
ladies'  glee  concerts,  and  all  the  country  music 
meetings,  city  balls,  dinners,  suppers,  iS;c.  He 
was  also  a  regular  attendant  of  the  Prince's 
Harmonic  Club,  held  for  several  seasons  at  the 
Thatched  House  tavern,  and  often  had  the  honor 
to  join  in  glees  and  sing  duets  with  the  king, 
■whose  fine  voice,  taste,  and  skill  in  the  science 
■were  well  known.  He  was  also  a  regular  attend- 
ant at  the  Royal  Kentish  Bowmen's  Lodge,  in 
Kent,  where  concerts  were  given  to  the  ladies 
who  graced  the  lodge  with  their  presence.  Here 
Smith  used  to  be  greatly  caressed  by  the  Duch- 
esses of  Devonshire  and  Gordon,  Mrs.  Crew,  and 
other  ladies  of  high  rank  and  fashion,  whose 
parties  in  town  he  constantly  attended,  when 
there  was  no  regular  concert ;  for  as,  when  only 
thirteen,  lie  played  concertos  and  accompanied 
himself  finely,  many  parties  preferred  his  single 
performance  to  a  regular  concert.  At  sixteen, 
Smith  was  lilierated  from  the  control  of  Mr.  Ash- 
ley, and  continued  his  vocal  career  without  any 
interval  of  leisure,  having  sometimes  three  en- 
gagements of  a  night,  till  the  year  1803;  in  the 
summer  of  which  he  went  with  a  party  to  Edin- 
burgh and  Glasgow,  to  perform  glee  concerts,  and 
at  both  places  met  with  much  encouragement. 
In  the  month  of  Se;)tember  he  returned  to  town. 
He  had  then  comjjleted  his  seventeenth  year,  and 
Mr.  Ashley,  on  hearing  iiim,  found  his  voice 
beginning  to  be  unsteady,  on  which  he  advised 
him  to  sing  soprano  no  more;  in  conse<iuence  of 
■which  he  retired,  and  applied  himself  to  study 
the  theory  of  music,  the  practice  of  the  organ, 
and  to  teaching,  of  which  he  had  soon  a  great 
share.  He  had  very  early  become  a  proficient  on 
the  organ  and  now  often  officiated  for  Mr.  Kny- 

8 


vett  and  Mr.  Stafford  Smith,  at  the  Chapel  lioyal. 
AVhen  he  was  about  eighteeen,  he  became  Mr. 
liartleman's  deputy  at  Croydon  Church,  and  on 
that  gentleman's  resignation  he  was  elected  or- 
ganist there.  To  his  skill  on  this  instrument 
Dr.  Crotch  and  Charles  Wesley  have  often  borne 
testimony.  During  this  time.  Smith's  talent  for 
composition  had  not  lain  dormant :  he  com- 
posed several  songs  for  bass  and  tenor  voices, 
which  were  sung  by  T.  Welsh  and  himself  (for 
hLs  voice  was  now  sunk  to  a  tenor)  with  great 
applause ;  also  several  ballads,  which  were  sung 
by  Miss  Bolton,  and  other  professional  persons. 
When  near  twenty.  Smith  was  solicited  by  a 
theatrical  performer  to  accompany  her  and  her 
husband  to  Ireland,  where  she  was  going  to  sing 
and  give  recitations.  Much  against  the  inclina- 
tion of  his  parents,  he  acceded  to  her  proi)osal, 
and  joined  the  party ;  he  returned  at  the  stated 
period,  but  his  mind,  in  consequence  of  some 
connections  he  had  formed  there,  had  become 
unsettled,  and  in  a  few  weeks  he  returned  back  to 
Dublin,  where  he  remained  ten  months,  and  then 
rejoined  his  family  in  London  :  he  was  soon  rem- 
statcd  in  hLs  business,  and  was  appointed  organ- 
ist of  Welbeck  Chapel,  on  the  resignation  of  Mr. 
Charles  Wesley.  He  now,  in  conjunction  with 
J.  Pocock,  began  to  write  for  the  theatres ;  and 
in  1809  composed  the  music  to  a  farce  called 
"  Yes  or  Xo,"  which  had  a  great  run.  Some 
time  after  this  he  undertook  the  whole  of  the 
music  to  a  melodrama  called  "The  Tourist 
Friend ;  "  this  was  succeeded  by  "  Hit  or  Miss," 
which  had  an  astonishing  run,  as  had  also  "  Any 
Thing  New."  He  wTote,  also,  two  songs  in 
"  How  to  die  for  Love."  Soon  after  this,  Mr. 
Pocock,  on  some  difference  with  the  managers, 
left  Drury  Lane,  and  wrote  for  Covent  Garden, 
to  which  house  Mr.  Bishop  was  appointed  com- 
poser. C.  Smith,  not  wishing  to  write  with  any 
other  WTiter,  then  gave  up  his  theatrical  pursuits 
entirely.  His  voice  at  this  period  was  settled  to 
a  bass';  and  in  1813,  he  appeared  at  the  oratori- 
os, and  was  received  with  great  applause.  He 
continued  singing  in  public  during  three  seasons. 
In  1815  he  married  Miss  Booth,  of  Norwich,  a 
young  lady  justly  celebrated  for  her  musical  tal- 
ents, and  whose  exertions  in  her  profession  were 
of  the  most  essential  service  to  him.  The  fol- 
lowing year,  having  the  offer  of  a  very  lucrative 
situation  in  Liverpool,  where  he  had  sung  the 
year  before,  and  made  some  valuable  connections, 
he  accepted  it,  and  the  success,  from  his  very  first 
year,  exceeded  his  most  sanguine  hopes.  Dur- 
ing his  residence  in  Liverpool,  Smith  composed 
much  music  for  the  piano,  and  some  sweet  bal- 
lads, published  by  Power  in  the  Strand.  "  The 
Baby  Boy,"  and  "  Far  o'er  the  sea,"  both  sung 
by  Mrs.  Salmon  with  the  most  unbounded  ai>- 
Ijiause,  established  his  fame  as  a  ballad  writer ; 
but  his  best  composition  was  "The  Battle  of 
Hohenlinden." 

SMORZ.\NDO,  or  SMOIIZATO,  or  SMORZ. 
(I.)  An  expression  implying  that  the  sounds  of 
the  passage  over  which  it  is  placed  are  to  be 
gradually  diminished,  in  the  Ugato  manner. 

SNEGASIUS,  CYRIACUS,  published,  at  Ox- 
ford, in  1590,  a  tract  upon  harmonics,  or  th« 
use  of  the  monochord,  an  instrument  for  meas- 
uring and  ascertaining  the  proportions  of  sound* 
by  a  single  string,  of  which  he  ascribes  theinven- 


SOA 


ENCYCLOPEDIA    OF   MUSIC. 


80L 


tion  to  the  Arabians  :  this  is  the  only  new  idea 
Dr.  Burney  could  find  in  this  book,  of  which  the 
original  title  is,  "  A'oi'a  et  Exquitita  Monochordi 
Dimensio."  The  same  author  published  likewise, 
in  1690,  an  elementary  tract,  entitled  "  hagoget 
Musie<F,"  in  two  books,  the  chief  merit  of  which 
seems  brevity ;  consisting  of  little  more  than 
definitions  of  musical  terms,  with  short  exam- 
ples in  notation. 

SOAVE.  (I.)  A  word  implying  that  the 
movement  to  which  it  is  prefixed  is  to  be  per- 
formed in  a  soft,  sweet,  and  engaging  style.  See 
Dolce. 

SODI,  a  Parisian  harpist  and  dramatic  com- 
poser, brought  out  several  operettas  at  the  Th6A- 
tre  Italienne,  between  the  years  1753  and  1760. 

SOECK  PIPE.  The  appellation  given  by  the 
ancient  northern  poets  to  the  bagpipe. 


SOGGETTO. 
See  those  words. 


(I.)     The  theme,  or  subject. 


SOEUEXSEX,  JOHAXX,  doctor  of  medicine 
at  Lobenstein,  was  bom  at  Ilolstein  in  1767. 
Early  in  life  he  studied  music  under  Gambold 
and  La  Trobe ;  and  afterwards  at  Copenhagen, 
under  J.  A.  P.  Schulz.  He  published  much  ad- 
mired vocal  music,  in  the  north  of  Germany, 
since  the  year  1796. 

SOL.  The  fifth  of  the  six  syllables  invented 
by  Guido,  and  applied  to  the  notes  of  his  gamut. 
I'he  natural  sot  answers  to  the  letter  G. 

SOLA,  CHARLES  MICHAEL  ALEXIS, 
born  at  Turin  in  1786,  was  placed  at  an  early  age 
under  Pujjnani,  to  loam  the  theory  of  music.  At 
the  death  of  that  great  master,  Sola  became  de- 
sirous of  devoting  his  attention  to  the  study  of 
some  instruments,  wi  liout,  at  the  same  time, 
giving  up  that  of  co  ii.tcrpoint.  He  decided  on 
the  ttute,  aud  accordiiij;ly  engaged  for  his  mas- 
ters, first  Pipino,  and  subsequently  Vondano,  two 
flutists  much  di-tinguished  at  that  period.  Af- 
ter making  rapid  progress  on  his  instrument,  he 
accepted  an  engngcraent  as  flutist,  for  the  tenn 
of  two  years,  at  the  Theatre  lioyal  in  Turin. 
Peing  then  desirous  of  visiting  foreign  countries, 
he  entered  as  a  volunteer  musician  in  the  third 
demi-brigade,  in  which  situation  he  remained 
nearly  four  years.  He  then  obtained  his  dis- 
charge, and  settled  at  Geneva,  in  the  family  of 
Madame  dc  Staol,  as  singing  master  to  her  daugh- 
ter, in  which  situation  he  remained  nearly  four 


I  tion  of  Lady    Charlotte  Campbell,    he   went  tc 

I  England,  and,  remaining  in  London,  madi-  him- 
self known  by  many  very  beautiful  compositions, 

j  both  vocal  and  instrumental,  as  also  several  taste- 
ful  adaptations.      His    compositions    are   quitr 

I  numerous. 

I  SOLERE,  or  SOLLER,  El'IEXN'^E.  a  claii- 
nctist  at  Paris,  was  bom  at  Mont  Louis  in  1753. 

I  In  1784  he  made  his  dibiit  at  the  Concert  Spirituel. 
He  then  became  a  member  of  the  Chapel  Royal, 
and  afterwards  professor  of  his  instrument  at  the 
Con8er\-atory.  He  published  much  music  for 
his  instrument.     He  diet!  in  1817. 

SOLFAIXG.  .Singing  the  notes  of  the  scale 
to  the  monosyllables  applied  to  them  by  Guido. 

See  SuLMIZATION. 

SOLFEGGI.  (L  pi.)  Exercises  for  the  voice, 
according  to  the  rules  of  solmization. 

SOLFEGGIARE,      (I.)      To  lo/fa.     See  Sol- 

HUATIO.V. 

SOLFEGGIO.  (I.)  An  exercise  for  the  voice, 
through  all  the  various  intervals,  as  named  in 
solmization. 

SOLFEOGIAMENTL  (L  pi.)  Compositions 
intended  as  exercises  for  singing  at  si^^ht,  and 
of  which  the  syllables  do,  re,  mi,  fa,  sol,  la,  si, 
form  the  subject. 

SOLI.  (I.  pi.)  Two  or  more  instruments 
playing  their  respective  parts  singly,  are  said  to 
perform  soli.  This  word,  in  the  score,  always  in- 
dicates the  composer's  design,  that  the  pai-u  over 
which  it  is  written  should  he  performed  by  single 
instruments  ;  that  is,  should  not  be  doubled. 

SOLIE,  JEAX  PIERRE,  a  favorite  French 
dramatic  composer,  was  also  a  singer  at  the 
Theatre  Feydcau  about  the  year  1767.  He  died 
at  Paris,  in  1812,  aged  fifty-six.  Amongst  hit 
dramatic  works  we  can  name  the  following : 
"Jean  et  Genevifrf,"  in  one  act,  1792  ;  '•  Le  Jac- 
ket/," in  one  act;  "La  Souirette,"  in  one  act; 
"  Azetinc,"  in  three  act.s  1796;  "  Le  Chapiire 
fiecoitd,"  in  one  act,  1799;  "La  Pluie  et  U  beau 
Tenu,"  in  on«  act,  1800;  "Lite:  I'lutnnjw,"  in 
one  act,  1801;  "  L'Eponx  Ginireux,"  in  one  act; 
"  Henriette  et  Veraeuil,"  in  one  act  ;  "  L' Incerti- 
tude Miiteriu-lle,"  in  one  act,  1803  ;  "  Les  lietLX 
Oncles,"  in  one  act,  1804;  "  C'hacun  son  Tour,"  in 
one  act,  1805;  "  L  Opira  au  ViUaije,"  1807; 
"  /><  Ilussaid  Suir,"  in  one  act ;  "  Anna,"  in  one 
act ;  "  MmicnxoiseUe  de  Guise,"  in  three  acts,  1808  j 


years.     At  one  of  the  concerts  which  were  peri-  i  and  "Les  M6neslrels,"  in  three  acts,  1811. 


odically  given  by  Madame  de  StaOl,  Sola,  who 
was  the  principal  musician,  finding  that  the  con- 
versation of  the  company  was  so  loud  tl.at  it  was 
impossible  for  the  music  to  bo  hciud,  spoke  to 
his  brother  musicians,  and  they  accordingly  com- 
menced and  finished  a  quartet  in  four  different 
kevs,  receiving  afterwards  the  approbation  of  th« 
company,  who  had  not  discovcre<l  the  circum- 
stance, thouglt  one  gentlcmnn  observed  that  he 
could  not  understand  the  music  thev  were  plny- 


SOLLECITO.  (I)  A  word  formerly  used 
to  signify  sometimes  a  pathetic  style  ol  perform- 
ance, at  other  times  a  careful  and  cx.ict  man- 
ner. 

SOLMIZATIOX,  or  SOLFAIXG.  llie  art 
of  sounding  the  notes,  together  with  the  corre- 
sponding syllables,  of  the  gamut.  ThU  prepara- 
tory exercise,  so  necessary  to  sight-singing,  and 
which,  by  uniting  in  the  mind  of  the  jiraotitionei 


ing.     He   likewise,  during  this  period,   received     the  ideas  of  the  ilitfercnt  syllnblw  with  thos«  of 

further  instructions  in  counterpoint  from  Bidcnu, 

(l\\e  elder,')  tonucrly  violoncellist  at  the  Comi-dio 

Italienne,  in   Paris,  and  a  profound  harmonist. 

In    1816   he  wrote  a  French  opera,  cnlletl  " /v 

Tribunal,"  which  wa.s  perlormed  nt  Gene^-a  with 

great  success.     In  1817,  by  the  earnest  solicita- 


the  intervals,  facilitates  the  recollection  of  the 
several  sountb),  was  of  very  ancient  mloplion. 
Aristidcs  Uuintilianus  informs  us  that  the 
(ireeks  had  four  syllables,  or  denominations  of 
notes,  which  they  applie-l  to  the  roui\(U  of  theil 
tMrachord,  aa  we  assign  our  tot,  fa,  to  those  of  otti 


879 


SOL 


ENCYCLOPAEDIA    OF    MUSIC. 


SON 


odate.  These  four  syllnbles  were  tlie  following : 
te,  ta,  the,  ilm.  Tlic  te  answered  to  the  first  sound, 
or  tlie  hi/pate,  of  the  first  tetraehord  ;  the  ta  to 
the  pariipnlc ;  the  the  to  the  lychanos  ;  and  the 
tho  to  the  tide ;  and  so  on,  in  replicating  the  tet- 
raehord. 

(juido,  havin(5  substituted  his  hexachord  in 
place  of  the  ancient  tetraehord,  adopted  at  the 
snnip  time,  for  his  silmization,  six  other  syllables, 
—  u(,  re,  mi,  fa,  sol,  la,  —  taken  from  the  h}inn 
of  St.  John  the  Baptist. 

It  appears,  however,  that  the  use  of  these  sylla- 
bles was  not  quickly  adopted,  except  in  Italy, 
•where  they  were  first  introduced  ;  and  that  the 
syllables,  pro,  to,  do,  no,  a,  were,  I0115?  after,  con- 
tinued to  be  used  in  France,  though  at  length 
those  of  Guido  were  received  in  that  as  well  as 
in  the  other  countries  of  Jlurope. 

Of  the  seven  notes  in  the  French  scale,  only 
four,  for  a  while,  were  used  by  the  English,  as  mi, 
fa,  sol.  In ;  but  now  they,  as  well  as  the  Italians, 
employ  them  all,  with  tlie  exception  of  changing 
vt  for  do,  as  a  softer  and  more  vocal  syllable.  By 
applying  these  syllables  to  the  several  notes,  the 
practitioner  not  only  utters  the  sound  with  more 
fulness,  ease,  and  freedom,  but,  by  the  associa- 
tion  of  ideas,  attains  a  ready  recollection  of  tlie 
places  of  the  tones  and  semitones,  and,  bv  feeling 
the  relation  between  the  syllabic  and  the  musical 
sounds,  acquires  the  power  of  expressing  them 
with  truth  and  certainty. 

In  l.")82  six  syllables  were  used  in  solmiz.ation, 
and  at  that  time  v  was  used  for  u ;  as,  vt,  ut. 
The  syllables  were,  — 


-^- 


Vt 


Ke        My        Fa 


Sol 


La 


In  Guido'b  system  the  seventh  is  left  blankt 
not  knowing  what  syllable  was  used  previous  to 
the  application  of  it  by  the  French.  In  sharping 
notes  we  use  the  syllables  re  and  «/.  which  bring 
the  sj'llables  in  t)ie  chromatic  octave  as  fol- 
lows :  — 


*J  Fa    fi.  «nl.  Hi 


w. 


fe 


'i^p 


^j^i^FS 


In  the  application  of  syllables  to  the  notes,  the 
Americans  once  used /a,  sol,  la,  mi.  Guido  intro- 
duced the  following  :  ut,re,mi,fa,  sol,  la.  Hear- 
ing the  monks,  in  a  church  at  Rome,  sing  a 
hymn  in  Sapphic  verse  in  honor  of  St.  John,  he 
observed  that  the  first  syllable  of  the  first  word 
of  each  hemistich  rose  either  a  tone  or  semitone 
higher  than  the  first  syllable  of  the  last  preceding 
hemistich,  so  as  to  form  a  complete  hexachord, 
beginning  with  the  tonic  and  ascending  to  the 
ninth.  The  words  of  the  hymn  and  the  melody, 
as  it  was  then  sung,  have  been  discovered  in  the 
library  of  the  Cathedral  Church  of  Sens. 

The  French  retain  the  original  six,  with  the 
addition  of  *i  for  the  seventh,  viz. :   ut,  re,  mi,  fa,  !  of  sonatas. 


Fa,  fi,  Kol,  ai,  U,  (a,    fl,  ml,  el.  la,    fa,  mi,    fa. 

SOLMIZATIOX  A.  LA  GREC.  A  species 
of  sohnixation  formerly  practised,  in  which  the 
old  Greek  system  of  tetrachords  was  adhered  to, 
^o  far  as  to  use  but  four  characters,  which  were 
repeated  from  tetraehord  to  tetraehord  as  we  now 
repeat  from  octave  to  octave,  'i'he  Greek  tolmi- 
zation  consisted  of  the  four  monosyllables,  tu,  ti;, 
TO),  T« ;  and  the  English,  for  a  long  while,  used 
only  four  of  the  8i.\  syllables  of  their  hexachorda 
—  mi,  fa,  sol,  la. 

SOLNITZ,  A  G.,  an  instrumental  composer 
of  talent  at  Leyden  in  1758,  died  there,  aged 
thirty-six.  Some  of  his  music  was  published  at 
Amsterdam. 

SOLO.  (I.)  A  composition  for  a  single  voice 
or  instrument. 

SOMIS,  LOREXZO,  chapel-ma.ster  to  the  King 
of  Sardinia,  was  recorded  in  Italy  as  an  imitator 
of  Corelli,  but  in  a  style  somewhat  modernized, 
after  the  model  of  Vivaldi.  He  printed  at  Rome, 
in  1722,  his  "  Opera  Prima,  di  Soiiate  (i  Violino  e 
Violoncello  0  Cembalo,"  the  pieces  contained  in 
which  are  much  in  Corelli's  manner ;  some  of 
them  with  double-stopped  fugues,  like  those  of 
his  model,  and  some  without.  Somis  was  one  of 
the  greatest  masters  of  the  violin  of  liis  time ; 
but  his  chief  professional  honor  is  the  having 
formed,  amongst  his  scholars,  such  a  performer  as 
Giardini. 

SOMMEILS.  The  name  by  which  the  French 
distinguished  the  airs  in  their  old  serious  operas, 
because  they  were  calculated  to  tranquillize  the 
feelings,  and  lull,  even  to  drowsiness. 

SOX  ATA.  (I.)  An  instrumental  composition, 
consisting  of  several  movements  calculated  to 
display  the  powers  and  expression  of  the  instru- 
ments for  which  it  is  written.  The  sonata,  which 
is  designed  for  a  single  instrument  to  each  part, 
is,  in  instrumental  composition,  what  the  cantata 
is  in  vocal  composition ;  and  varies  from  the 
overture  and  concerto  as  the  trio  or  quartet  dif- 
fers from  the  chorus.  There  are  several  kinds 
I'he  Italians,  however,  reduced  them 


Mol,  la,  si.  The  Italians,  for  the  sake  of  a  softer 
pronunciation,  have  changed  the  i(t  into  do,  viz.  : 
do,  re,  mi.  fa,  sol,  la,  si.  C  II.  Graun,  the  cele- 
brated Prussian  chapel-master,  employed  da,  me, 
ni,  po,  tu  la,  be  ;  which  accustomed  the  student 
to  sing  upon  all  the  vowels,  intermixed  with  the 
principal  consonants.  The  following  exhibits  the 
manner  in  which  the  diflerent  syllables  are  ap- 
plied to  notes :  — 


^m^ 


:^ 


^ 


Ouldn'f  tvitcm ut. 

The  Frt-nch ul, 

Thr  luliin du. 

C.  11.  t;r.un'.>  . 

■piilirution,  ( ^ 

The  tiiglUh,      h. 


ut,  re.  ml.  fa, 
UU  rt'.  nil,  tN, 
du,  XV.  mi,  ta. 
da.  mc.  ni.  po, 
to.  •ol.  la.  fa. 


Ml.  I>, 
•ol,  la,  il, 
•ol,  la.  •!, 
tu,  la.  be, 
•ol,  la,  ml. 


ut. 
uL 
do. 

do. 

fn. 


principally  to  two :  the  sonata  da  camera,  or 
chamber  sonata  ;  and  the  sonata  da  chiesa,  or 
church  sonata. 

The  sonata,  in  the  modern  sense,  is  a  composi- 
tion lor  piano,  organ,  or  other  instrument,  usu- 
ally of  three  or  four  distinct  movements,  each 
with  a  unity  of  its  own,  yet  all  related  so  as  to 
form  one  varied  but  consistent  whole.  It  com- 
monly begins  with  an  allegro,  sometimes  preceded 
by  a  slow  introduction.  Then  come  the  an- 
dante, adagio,  or  largo ;  then  the  lively  and 
playful  minuet  and  trio,  or  scherzo  ;  and  lastly 
the'  finale,  in  quick  time.  The  sonata  form  is 
common  also  to  the  symphony,  and  the  trio, 
quartet,  quintet,  &c.,  for  string  instruments. 

SONATINA.  (I.)  A  short  sonata.  The  di- 
minutive of  that  term. 


880 


SON 


EXCYCLOP-EDIA    OF    MUSIC. 


SON 


SOXG.  A  short  lyric  poem  set  to  music.  In 
poetry,  a  little  composition,  conxistin;;  of  on.<y 
Riul  nnturnl  verses,  tet  to  a  tune  in  order  to  be 
Buns;-  Song,  in  music,  is  applied  in  gonernl  to  a 
8in<;lc  [liccc  of  music,  whether  contrived  for  the 
voice  or  an  instrument.  The  use  of  .tonf/s  seems 
to  be  a  natural  consei)uence  from  that  of  words, 
and,  in  etfect,  is  scarcely  less  fjcncral.  The  an- 
cients had  tl.e  art  of  singing  before  they  had  that  of 
writing ;  and  their  laws,  as  well  as  their  histories, 
were  sung  long  before  they  were  inscribed.  All 
lyric  poetry,  properly  sjieaking,  consists  of  songs: 
but  we  only  treat  of  tliat  which  more  commonly 
bears  this  name,  and  which,  as  far  as  concerns 
the  ancient  songs,  will  lead  us  to  some  curious 
particulars. 

To  begin  with  the  songs  of  the  table.  In  the 
most  remote  times  of  Greece,  all  the  guests,  ac- 
cording to  Dica'archus,  Plutarch,  and  Artemon, 
sang  together,  and  in  the  same  strain,  the  praises 
ot  the  Divinity.  Hence  these  songs  were  real 
pa'ans,  or  sacred  canticles.  The  guests  afterwards 
sang  successively,  each  in  his  tuni  holding  a 
branch  of  myrtle,  which  passed  from  the  hand  of 
him  wlij  had  sung  to  him  who  was  to  sing 
next. 

At  length,  when  music  was  improved  and  the 
lyre  was  used  in  feasts,  only  the  ingenious  and 
Bcientitic  were  qualified  to  sing  at  table,  at  least 
to  the  accompaniment  of  the  lyre.  The  others, 
obliged  to  sing  unaccompanied  and  to  confine 
themselves  to  the  branch  of  myrtle,  gave  biith 
to  a  Greek  proverb,  by  which  they  said  of  a  man, 
when  they  would  ta.x  him  with  ignorance,  that 
he  sang  with  the  myrtle. 

The  subjects  of  the  scotin,  or  songs  sung  to  the 
lyre,  were  not  only  drawn  from  love  and  wine, 
like  the  modern  festive  songs,  but  from  history, 
war,  and  even  morality. 

The  Greeks  had  also  songs  proper  to  the 
different  professions  ;  such  a.s  the  song  of  the 
shepherds,  the  song  of  the  reapers,  the  song  of 
the  millers,  the  song  of  the  weavers,  the  song 
of  the  wool  carders,  the  song  of  the  nurses,  the 
song  of  the  lovers,  the  song  of  the  ladies,  and 
the  soi\g  of  the  young  girls. 

They  had  also  a  marriage  song,  called  "  Ili/me- 
nea  ;  "  the  song  "  Dalis,"  for  merry  occasions ;  for 
lamentation,  "  JaUme  ;  "  and  "  Liwi$  "  for  funerals. 
Lastly,  there  were  al.so  hymns  or  songs  in  honor 
of  the  gods  and  heroes.  This  genus  passed  from 
the  Greeks  to  the  Komans ;  and  several  of  the 
odes  of  Horace  are  amatory,  others  bacchanalian. 
The  ecclcsia.stics  among  our  Saxon  ancestors 
bad  a  particular  song,  psalm,  or  hymn  for  each 
of  the  canonical  hours ;  as  daybreak  song,  mat- 
in song  ;  third  song,  or  song  for  the  third 
hour  of  the  day ;  midday  song ;  song  for  the 
ninth  l-.our ;  evening  song,  or  vespers ;  and 
midnight  song.  The  modems  have  al.so  their 
songs  of  different  kinds,  according  to  the  ta.stc 
and  genius  of  each  country  ;  but  the  Italians, 
English,  and  French  are  most  celebrated  in  this 
species  of  composition.  The  genuine  Scotch  and 
Irish  songs  have,  however,  the  merit  of  an  origi- 
nality ot  character,  and  possc&s  an  exclusive 
sweetness,  which  has  always  delighted  the  ears 
of  every  nation. 

Our  own  country  has,  as  yet,  little  to  boast  of 
in  the  way  of  national  melodies.  Yet  the 
American   revolution  lends  a  lasting   interest  to 


during  that  memorable  struggle.  We  subjoin 
the  words  and  tunes  of  a  few  of  these,  with  soma 
account  of  the  origin  of  each. 

IhlE   LinKHTY   So.so, 

Copied  from  an  Almannc  piihlisherl  at   Boston    in 

the  year  1709. 


rouK  >-our  bold  h  carta  *l  fair  Libcrty't  nil  i 

No  tyrmnnoai  acU  ihall  nip- 


prvu  your  jufl  clftim. 

Or  suln  with  diahonor  America'!  name. 


Iq  free- 


^^^^^^^m 


dom  we're  bom,  aud  in  freedom  weTI  ilTe. 
Our 


pur*-c«   are  ready  i 


Steady,  friend),  iteady  I  Not  ai  alares,  but  a>  freemen,  our  money 

we'll  giva. 

1.  Come,  join  liand  In  hand,  brave  American!  oil. 
And  roune  your  lK,ld  ht^arta  nt  fair  Liberty '•  call ; 
No  tyrannoiif  nctn  •liall  «uppre«»  your  jutt  claim, 
Or  itain  with  diahonur  .\merica'a  name. 

Cnono. 
In  freedom  we're  bom,  and  in  freedom  we'll  lirei 

(Jur  numra  are  reodv  i 

$tea<lT,  frienda,  atiady  t 
Not  aa  alave's,  but  aa  freemen,  our  money  we'M  glre. 

2.  Our  worthy  forrfhthcra  —  Icl'a  (rive  them  a  cheer  — 
Toclimale'a  unlcnown  did  c*>ura{li*oti«ly  alt-er: 
Through  oceana  to  dcflvrta  lor  freiMlom  tln'y  came, 
And,  dying,  bequeathed  ua  ihoir  frecloin  and  fame. 

lu  frveduui  wc'n;  l>urn,  AC. 


3.  Their  eenemna  boaoma  all  danerrf  dcapiaed 
■  Ijjrttitijihu  lli.v 

We'll  keep  what  thev  »ave,  we  will  pinutir  keep. 


.So  highly,  ao  winlr.  their  liji 


Nor  fruatrate  Uieir  tuila  on  the  land  ami  the  d< 
In  freedom  we'rv 


prized  I 
P. 

bom,  he 

4.  The  tree  their  own  handa  had  to  Lilierty  reared 
Thov  lived  to  behold  ([rowiiij  atmnit  and  revered  ! 
Wil(>  tnina|iorl  thev  cried,  -Now  our  wiahea  we  «aln. 
For  our  children  afiall  gather  the  fruju  cif  our  i>aln." 

In  freeilom  wc'ra  bom,  *C. 

5.  Swarma  of  placemen  and  penalonera  aoon  will  appear, 
Like  locnala,  drfurmina  the  ehamia  of  the  year  i 
Suna  vainly  will  riae,  aliowera  vainly  ili-»cend. 

If  we  are  to  drudge  for  what  othera  ahall  a|H.nd. 

In  freedom  ae're  t>om,  *& 

g.  Th»n  ]oin  h!>ndln  hand,  brave  Americana  all  i 
By  uiiilml.  we  aunil  i  hy  illvldini;.  we  fall  i 
In  ai»  ritfhteoua  a  caitn-  let  ua  ho|H'  to  auceee.l. 
Fur  Heaven  approvea  of  each  aeneroua  de,'d. 

In  freedom  we're  bom,  kc 

7.  All  a^ea  ahall  apeak  with  amaie  anl  «i>pl«M>» 
Of  the  courage  we'll  ahow  in  aiii  I  "i 

To  die  we  can  ticor  —  hut  to  *m  ■ 
Vox  ahame  la  to  freenien  more  ,1-  "• 

In  ;i  -•m,  ha. 

S.  Thla  bumper  I  etown  (br  nut  aovereltn'a  health. 
And  thia  t\)r  Brllannia'a  glory  ard  wealth  i 
That  wealth  an<l  that  alory  Immortal  may  be. 
If  ahe  ia  but  juat,  and  if  we  are  but  ttrt. 

Id  freedom  we're  bom,  and  In  freedom  well  llva  I 


Our  puraea  a 
Stea,ly.  frle.l 


■dy 


dy,  frle.lda.  ateady  I 
Not  aa  alavea,  but  aa  Irremen.  our  money  ^ 


The   "  Song  of  Liberty  "  wa.*  written  bar  Mr* 
Mercy  Warren,  wife  of  General  James  Warren,  of 
Plymouth,  Ma.as.,  and  Is  the  first  native  compo- 
sition s<>t  to  mu.«ic  and  published  that  wo  hav« 
k  few  patriotic  songs,  which  sprang  into  pxistenc«    seen   in   this    country.       It   »«»    Teiy  populM 
111  881 


RON 


ENCYCLOP-SDIA    OF    MUSIC. 


S0^ 


throughout  the  colonics.  Mrs.  Warren  also 
wrote  several  jiolitical  pieoes  before  the  revolu- 
tion, and  Hltcrwards  a  very  interesting  history 
of  the  princii)al  events  of  the  war.  She  died  at 
Plymouth  in  IHU.  In  1770  a  new  vi-rsion  of  this 
song  was  publi><hcd  in  Hic-kerstnft's  Almanac. 
The  old  music  was  retained ;  but  the  words  were 
new,  and  the  title  of  the  song  changed  to  "  The 
Mas.-inchusetts  Song  of  Liberty."  The  new  song 
commenced  with  this  verse :  — 

Come,  »wa1lnw  rour  hiimncn.  ye  torlei,  and  roar, 
Thnl  Itu'  »(His  oV  fjiir  freedom  are  hampered  onec  more; 
H-:l  kiHivf  that  no  eiit-lhront»  our  epirits  can  tame, 
I'ur  a  holt  of  oppreiiMini  ahall  smother  the  flame. 

In  freedom  we're  horn,  and,  like  aont  of  the  brave. 
Will  never  surrender. 
Hut  *wear  to  defend  hen 
And  acorn  to  iurvive,  if  unable  to  aave. 

In  17o5  simultaneous  attacks  were  made  upon 
the  French  posts  in  America.  ITiat  against  P'ort 
1  "u  Quesne  ( the  pi  esent  site  of  Pitt.sburg)  was  con- 
d  icted  by  General  Braddock ;  and  those  against 
>  iagara  and  Frontcnac,  by  Governor  Shirley, 
of  Massachusetts,  and  General  Johnson,  of  New 
\ork.  The  army  of  Shirley  and  Johnson,  dur- 
ing the  summer  of  17)5,  lay  on  the  eastern  bank 
of  the  Hudson,  a  little  south  of  the  city  of  Al- 
bany. In  the  early  part  of  June  the  troops  of 
the  eastern  provinces  began  to  pour  in,  company 
after  company  ;  and  such  a  motley  assembly  of 


men  never  before  thronged  together  on  such  ar 
occasion,  unless  an  examjile  may  be  found  in  the 
ragged  regiment  of  Sir  John  Falstaff.  It  would 
have  relaxed  the  gravity  of  an  anchorite  to 
have  seen  the  descendants  of  the  Puritans  march- 
ing through  the  streets  of  that  ancient  city, 
(Albany,)  and  taking  their  situations  to  the  left 
of  the  Hritish  army,  some  with  long  coats,  some 
with  short  coats,  and  others  with  no  coats  at  all, 
■with  colors  as  varied  as  the  rainbow  ;  some  with 
their  hair  cro])pcd  like  the  army  of  Cromwell, 
and  others  with  wigs,  the  locks  of  which  floated 
with  grace  around  their  shoulders.  Their  march, 
their  accoutrements,  and  the  whole  arrangements 
of  the  troops  furnished  matter  of  amusement  to 
the  rest  of  the  Briti.sh  anny.  The  mu-ic  played 
the  airs  of  two  centuries  ago  ;  and  the  tout  en- 
semble, upon  the  whole,  exhibited  a  sisht  to  the 
wondering  strangers  to  which  they  had  been  un- 
accustomed. Among  the  club  of  wits  that 
belonged  to  the  British  army  there  was  a  Dr. 
Shackburg,  attached  to  the  staff,  who  com- 
bined with  the  science  of  a  surgeon  the  skill 
and  talents  of  a  musician.  To  please  the  new 
comers  he  composed  a  tune,  and  with  much 
gravity  recommended  it  to  the  officers  as  one  of 
the  most  celebrated  airs  of  martial  music.  It 
was  this : — 


The  joke  took,  to  the  no  small  amusement  of 
the  British.  Brother  Jonathan  exclaimed  it  was 
'nation  Jine,  and  in  a  few  days  nothing  was  heard 
in  the  provincial  camp  but  the  air  of  Yankee 
Doodle.  Little  did  the  author,  in  his  composi- 
tion, then  suppose  that  an  air  made  for  the  pur- 
jiose  of  levity  and  ridicule  should  be  marked  for 
such  high  destinies.  In  twenty  years  from  that 
time  the  national  march  inspired  the  heroes  of 
Bunker's  Hill,  and,  in  less  than  thirty,  Lord 
Cornwallis  and  his  army  marched  into  the  Amer- 
ican lines  to  the  tune  of  Yankee  Doodle. 

This  tune,  however,  was  not  original  with 
Dr.  Shackburg.  He  made  it  from  an  old  song 
which  can  be  traced  back  to  the  reign  of  Charles 
I. ;  a  song  which  has  in  its  day  been  used  for  a 
great  variety  of  words.  One  of  these  songs,  writ- 
ten in  ridicule  of  the  Protector,  began  with  this 
line — "The  Koundheads  and  the  Cavaliers." 
Another  set  of  words  to  the  same  tune  was  en- 
titled Nankee  Doodle,  and  ran  thus :  — 

**  Nankee  Doodle  came  to  town 
I'pon  a  little  pony, 
W.lh  a  leather  in  hij  hat, 
I'pon  a  macaroni." 


sports.     But  our  version  is  a  little  different  from 
the  old  lady's,  and  runs  thus  : — 

*•  Lucy  Locket  lout  her  pocket 
In  a  rainy  ahnwer ; 
Philip  Carteret  he  ran  arter  it. 
And  fouDd  it  in  an  hour.' 

At  a  later  period  the  tories  had  a  song  com  • 
menciug,  — 

"  Yankee  Doodle  came  to  town 
For  to  buy  a  firelock  ; 
We  will  tar  and  feather  him. 
And  so  we  will  John  Hancock.'* 

This  version  has  a  very  strong  resemblance  to 
the  original  —  the  first  line  being  the  same,  with 
the  exception  of  the  N,  for  which  the  Y  is  sub- 
fititufed.  The  occurrence  of  the  word  feather 
in  the  third  line  is  no  less  remarkable.  A  long 
string  of  similar  verses  Ls  known  to  exist,  which 
were  supposed  to  allude  to  the  coming  of  Oliver 
Cromwell  (on  a  small  horse)  into  Oxford,  with 
his  single  plume,  which  he  wore  fastened  in  a 
sort  of  knot,  which  the  adherents  ot  the  royal 
party  called  "a  macaroni"  out  of  deri.sion. 
\Vhat  renders  the  history  of  this  tune  the  more 
remarkable  is,  that  to  this  vcrv  dav  the  words  of 


The  first  American  parody  upon  the  original  I  "  Lydia   Locket,  "    alias     "  Lucy   Locket,  "    are 


which  we  have  seen  was  entitled  Lydia  Fisher. 
An  aged  and  respectable  lady,  born  in  New  Eng- 
land, says  she  remembers  it  well,  and  that  it  was 
a  common  song  long  before  the  revolution.  It 
was  also  a  favorite  New  England  jig.  Before  the 
war  it  was  customary  to  sing  the  tune  with  various 
impromi/tu  v^ses,  such  as, — 

••  Lydla  Locket  Inat  her  pocket, 
J.ydin  Fisher  found  it ; 
Not  a  bit  of  money  In  It, 
Only  binding  round  it" 

Perhaps  there  may  be  something  in  this,  for 
within  1  ur  re,  ollection  the  "gals  and  boys"  of 
Maiisachusctts     hud    -something   like    it  iu   their 


sung  to  it  by  school  children. 

The  tune  is  written  in  the  same  time,  and  has 
the  same  number  of  bars,  as  Yankee  Doodle ;  and 
from  its  close  resemblance,  together  with  the 
identity  of  the  words,  we  have  little  doubt  but 
that  the  latter  (Yankee  Doodle, )  was  com- 
posed as  a  sort  of  parody  to  the  more  ancient 
one;  and  though  perhaps  first  used  or  adapted  as 
a  military  air  in  1 75o,  as  stated  above,  some  other 
individual  than  Dr.  Shackburg  was  tlie  author. 
The  tune  as  originally  written  is  in  the  key  of 
C,  2  time,  and  the  notes  are  very  similar  in  theii 
situation  to  those  in  Yankee  Doodle.  The  olij 
tune  is  this  :  — 


882 


SON 


excyclop.«:dia  of  music. 


Sl>N 


*^ 


m^0^s 


^0 


S*St 


•n 


In  Poulson's  Advertiser  we  find  still  another 
version  ol'  this  tune,  siiid  to  he  the  orir/imil.  We 
are  not  preimred  to  believe  the  authority  so  good 
here,  since  the  notes  are  represented  by  letters ; 
and  the  tune  has  as  much  resemblance  to  N'ancy 
Dawson  as  it  has  to  Lydia  Locket  or  Yankee 
Doodle.     The  letters  given  by  I'oulson  are,  — 


rx*T  I. 
CDCJ?'«ECKiDKDE|DBCD 
cue  £  I  U  e  C  £  1  A  C  B  I>  I  C 


-c- 


n  \  n  T 
(/  A  a  K 


rAtT  It. 

EncEiUEnciBAG'; 
i:  I)  C  B  I  A  C  B  u  I  c  -  c  - 


i  which,  when  reduced  to  mu«ic  paper,  read,  — 


a^i^^iipriiiii^i^s 


'V**** 


The  Rritihh,  precedins  the  revolutionary  war, 
V  hen  disposed  to  ridicule  the  simplicity  of  Yan- 
'•  ■•'.  manners  and  hilarity,  were  accustomed  to 
sing  airs  or  songs  set  to  words  invented  for  the 
passing  occasion,  having  tor  their  object  to  sat- 
irize and  sneer  at  tlic  N'ew  Knglanilers.  It  is 
remembered  that  the  English  olHccrs  then  among 
us,  acting  under  civil  and  military  appointments, 
oiten  felt  lordly  over  us  colonists,  and,  by  counte- 
nancing such  slurs,  they  sometimes  expressed 
their  superciliousness.  When  the  battles  of 
Concord  and  Lexington  began  the  war,  the  Eng-  ! 
lish,  when  advancing  in  triumph,  played  along 
the  road,  "  Ciod  save  the  Kwg;  "  but  when  the 
Americans  had  made  the  retreat  so  disa-strous  to 
the  invaders,  these  then  struck  up  the  scouted 
Yankee  Doodle,  as  if  to  say,  "  See  what  we  sim- 
ple Jonathans  can  do  I  " 

From  that  time  the  tunc  of  intended  derision 
was  assumed  throughout  all  the  American  colo- 
nies as  the  national  air  of  the  sons  oi  liberty, 
even  as  the  Methodists  —  once  reproachfully  so 
called  —  assume<l  it  as  their  acceptable  appella- 
tion. Even  the  name  of  "  sons  of  lil>orty,"  which 
was  so  popular  at  the  outset,  was  a  name  adopted 
from  the  appellation  given  us  in  I'arliaraent,  by 
Colonel  liarre,  in  his  speech. 

"  Adams  and  Libertv."     This  was  one  of  the 


most  popular  songs  of  early  revolutionary  times. 
It  was  written  by  Robert  Treat  I'aine,  of  Taun- 
ton, Ma.ssachusetts  ;  and  it  was  said  that  he  re- 
ceived from  its  sale  the  sum  of  seven  hundred 
and  fifty  dollars. 

To  the  tune  of  Yankee  Doodle  Francis  Ilopkin- 
son,  of  Pliiladelphia,  adapted  the  words  of  the 
song  known  as  the  •' Battle  of  tlie  Kegs."  Mr. 
H.  wa.s  a  native  of  Philadelphia,  and  a  signer  of 
the  Declaration  of  Independence.  The  circum- 
stances upon  which  he  founded  this  famous  bat- 
tle were  tliese :  David  Bushnell  had  invented 
some  articles  of  submarine  machinery,  with  which 
he  intended  to  destroy  the  IJritish  vessels  stationed 
in  the  Delaware.  His  plans,  however,  all  failed. 
15ut  in  December,  1777,  he  charged  a  large  num- 
ber of  kegs  with  powder,  and  prepared  them  so 
that  they  would  explode  on  coming  in  contact 
with  the  British  ships  :  these  were  launched  at 
night,  but  they  never  reached  the  intended  des- 
tination, having  been  dispersed  by  the  Hoating 
ice.  They,  however,  explode<l  in  the  vicinity  of 
the  enemy,  and  arou>e<l  all  the  British  troops  and 
sailors  in  the  neighborhood,  who  kept  up  a  con- 
tinued discharge  of  cannon  and  small  arms  at 
every  object  ii\  the  river  for  hours  ;  and  this  was 
the  "  Battle  of  the  Kegs." 


'  Stab-spaxoled  Ba.vner." 


{As  originallg  written.) 


O  Mv,  can  you  mc,  by  tb«  dawii*i  eartj  light.  What  vo  proudly  we  hailed  a(  the  twilight*!  Urt  f  Irsmlng  7  Whoae  broad  ftrlpea  and  brixhl 

■tan,  thro*  the 


g^^^^^S?^^ 


it^ 


v-v- 


*-#-g-p  f* 


nr 


4—1- 


Bjr-rjrf^^^E& 


perilous  flghl.  Or  Uw  nunpatu  we  walchxl  vera  to  pllanllj  ttmminf  ?  And  the  rockct't  red  flu*,  the  Inmli*  buntini  In  dr.  Garr  pronC 

thro*  till  olfhl.  thai  ytt 


r  11.       I -.>     i    I    !  I  -^-^m  ^'  -^  .     .  T J  *  n^  M   ^  mi — ^""^ •  ii 


flag  atill  wna  there  I      O    aay.dnti  Ihalttar-ipangled  banner  rtlll  waTa,        O'er  the     land  of  the  fre*  and  the  hnme  of  the  brare? 

This  beautiful  and  patriotic  national  song  was  <  pelled    to    witness    the    bombardment    of    Fort 


composed  by  Francis  S.  Key,  Iis(i.,  under  the  fol 
lowing  circumstances :  A  gentleman  had  left 
Baltimore  with  a  flag  of  truce,  for  the  puq>ose 
of  getting  rcleii.-.ed  from  the  British  tleet  a  friend 
of  his  who  had  Ix^en  captured  at  Marllmrough. 
He  went  as  far  as  the  mouth  ot  the  Patu.xent,  anil 
was  not  I'crmitteil  to  return,  lest  the  inlende<l 
attack  on  Baltimore  should  bo  disclosed.  He 
was,  therefore,  brought  iip  the  bay  to  the  mouth 
of  the  Patapsco,  where  tlie  flag  vessel  was  kept 
onder  the  guns  of  a  frigate  ;  and  he  v%a  com- 

8S3 


McIIcnry,  which  the  admiral  had  l)oastrd  he 
would  carry  in  a  lew  hfiurs,  and  that  the  citv 
must  fall.  He  watched  the  flag  of  the  fort  through 
the  whole  day,  with  an  anxiety  that  cnii  be  bet- 
ter felt  than  describe<l,  until  the  night  prevontwl 
him  Irom  seeing  it.  In  the  iiighi  he  watolitHl  the 
bombshells,  and  at  early  dawn  his  eye  wna  ngnio 
greeted  bv  the  proudlv  waving  flag  of  hi*  coun- 
try. 

**  And  the  •tl^•|l«n#1ed  b«nn*r  In  trivMpli  atMll  vaw 
O  cr  tb*  Und  U  thm  fm  ^m4  Ue  booN  «f  Ike  brar^** 


BON 


ENCYCLOPiEDIA    OF   MUSIC. 


SON 


Hon.  Francis  S.  Kcj*  died  in  1840.  He  was  a 
iistin;;uislicd  civilian,  and  not  only  wrote  the 
Dest  luttriotic  song  ever  penned,  but  many  taste- 
ful fugitive  pieces,  which  have  been   published 


since  his  death.     A  fine  moral  vein  perrades  al] 
his  writings. 

In    1789    Ethan   Allen  wrote    the    following 
song :  — 


When  Death  sends  bli  lanunoiiB  to    seize  on   my  body,    N*o    crocodile    tears  un  the    way  shall  be  shed ; 


t*-r^ 


S=t=£ 


:t=t 


— 1 — I — I 1- 


^ 


^ 


^i=i^ 


^E^ 


,  '-Kir^'~^~~*lf 


zHiiHi 


^ 


=#=P- 


^|] 


No      counterfeit  raiment  shall    fly  in  compassion.  My   earnest  request  is,  no       mourning  be  made. 


!L-^=i=m^^^f^^f^-,t7^^s^^^^s^m 


Ethan  Allen  was  bom  in  Roxbury,  Litchfield 
tounty,  Connecticut.  He  went  into  Vermont 
at  an  early  age,  and  in  1770  took  a  very  active 
piirt  in  the  disturbances  that  occurred  between 
the  New  Hampshire  grants  and  the  State  of 
New  York  ;  for  which  cause  he  was  declared,  by 
New  York,  an  out/aw,  and  a  large  reward  was 
offered  for  hLs  apprehension.  He  was  active  in 
the  revolution  ;  and,  though  an  honest  man,  was 
supposed  to  be  an  infidel.  He  died  at  Colches- 
ter, Vermont,  February  13,  1789,  and  was  buried 
at  the  Winooski  Cemetery,  near  Burlington. 
Sometime  before  his  death  he  wrote  the  notes 
and  words  above,  and  gave  them  the  title  of 
*'  Ethan  Allen's  Epitaph,  written  by  himself." 
'lliere  can  be  but  little  doubt  that  the  words  were 
original ;  but  we  think  the  music  is  from  an  old 
Scotch  melody,  which  might  have  been  then 
new,  and  which  afterwards  became  very  popular 
as  "  Allen's  Song."  There  were  six  verses  of 
this  "  epitaph,"  the  first  of  which  accomjtanics 
the  music  above ;  and  the  remaining  five  give 
directions  concerning  the  manner  in  which  Mr. 
Allen  wished  to  be  carried  to  the  grave  —  "  early 
next  morning,  by  four  clever  fellows,"  who,  on 
the  way,  were  directed  "  to  sing  and  make  the 
woods  ring  "  with  the  above  music.  After  the 
burial,  the  "  clever  fellows  "  and  their  companions 
were  to  have  a  feast,  "  with  thirty-six  gallons  of 
brandy  and  wine,"  which  was  to  continue  tintil 
the  "  clock  struck  nine."  This  feast  was  to 
be  closed  witli  a  "  grand  dance,"  when,  if  any 
dissensions  arose,  tlie  strongest,  with  •'  hand- 
some thorn  cudgels,"  were  to  belabor  the  weak- 
est, and  "  end  all  disputes  with  a  full-flowing 
bowl." 

SONG  OF  BIRDS.  The  song  of  birds  has 
been  defined,  by  the  Hon.  1).  Harrington,  to  be  a 
■uccession  of  three  or  more  ditl'crent  notes,  which 
arc  continued  without  interruption,  during  the 
same  interval,  with  a  musical  bar  of  four  crotch- 
ets, in  an  adagio  movement,  or  whilst  a  pendu- 
lum swings  four  seconds.  It  is  affirmed  by  this 
author  that  the  notes  of  birds  are  no  more  innate 
than  language  in  man,  and  that  tliey  dejjcnd 
upon  imitation,  as  far  as  their  organs  will  enable 
them  to  imitate  the  sounds  which  tliey  have  fre- 
quent ojiportunities  of  hearing  ;  and  their  ad- 
berin;;  so   steadily,  even    in  a  wild   state,  to  the 


same  song,  is  owing  to  the  nestlings  attend- 
ing only  to  the  instructions  of  the  parent  bird, 
whilst  they  disregard  the  notes  of  all  others  that 
may,  perhaps,  be  singing  around  them.  Birds 
in  a  wild  state  do  not  commonly  sing  more  than 
six  or  seven  months  out  of  the  twelve ;  but  birds 
that  are  caged  and  have  plenty  of  food  sing  the 
greatest  part  of  the  year  :  and  some  suppose  that 
the  female  of  no  species  of  birds  ever  sings.  It 
has  been  remarked  that  there  is  no  instance  of 
any  bird  singing  whose  size  exceeds  that  of  the 
English  blackbird  ;  and  this  is  supposed  to  arise 
from  the  difficulty  it  would  have  of  concealing 
itself,  did  it  call  the  attentioi\  of  its  enemifcs,  no- 
only  by  its  bulk,  but  by  the  proportional  loud 
ness  of  its  notes.  It  has  also  been  noticed  that 
certain  passages  of  the  son;/,  in  a  few  kinds  of 
birds,  correspond  with  the  intervals  of  our  scale, 
of  which,  indeed,  the  cuckoo  affords  a  striking 
and  well-known  instance.  But  much  the  greater 
part  of  such  sour/  is  not  capable  of  musical  nota- 
tion ;  partly  because  the  rapidity  is  often  so  great, 
and  it  is  also  so  uncertain  when  they  may  stop, 
that  we  cannot  reduce  the  passa„'es  to  the  form 
of  any  musical  bar  whatsoever ;  partly,  also,  be- 
cause the  pitch  of  most  birds  is  considerably 
higher  than  that  of  the  shrillest  notes  of  our 
higliest  instruments ;  and  principally  because  the 
intervals  used  by  birds  are  commonly  so  minute, 
and  conseiiuently  so  different  from  the  more  gross 
intervals  into  wliich  we  divide  our  octave,  that 
we  cannot  judge  of  them. 

Most  people  who  have  not  attended  to  the 
notes  of  birds  suppose  that  all  those  of  the  same 
species  sing  exactly  the  .same  notes  and  jiassages  ; 
which  is  by  no  means  true,  though  it  must  be 
admitted  that  there  is  a  general  resemblance. 
Thus  the  London  bird  catchers  prefer  the  song 
of  the  Kentish  goldfinches  and  Essex  chaffinches  ; 
but  some  of  the  niglitingale  fanciers  prefer  a  Sur- 
rey bird  to  one  of  Middlesex. 

'llie  nightingale  has  been  almost  universally 
esteemed  the  most  capital  of  singing  birds ;  and 
its  su]"'riority  chiefiy  consists  in  the  following 
])articulars  :  its  tone  is  much  more  mellow  than 
that  of  any  other  bird ;  though,  by  the  exertion 
of  its  powers,  it  can  be  extremely  brilliant.  An- 
other I'oint  of  superiority  is  its  continuance  of 
song  without  a  pnu>e,  which  is  often  extruded  to 
twenty  seconds ;  and  wlien  respiration  becomof 


6Hi 


SON 


ENCYCLOPEDIA    OF    MUSIC. 


SON 


necessary,  it  takes  it  with  «s  much  judgment  as  1  Little  exertion  as  the  few  notes  it  ninkiM  u»<e  of 


an  opera  Bingcr. 

The  writer  once  mot  with  that  unrivalled  sonj;- 
»ter,  the  mockin;;  bird,  in  Trumbull  county,  Ohio. 
He  was  hunting  for  rare  birds  on  the  banks  of 
a  branch  of  the  Mahoning,  when  from  a  small 
grove  of  solt  maple  a  succession  of  songs  was 
heard,  as  though  there  were  assembled  represen- 
tatives from  all  tlic  feathered  tribes.  Creeping 
cautiously  up  to  the  grove,  the  song  of  the  veros 
was  recognized,  followed  by  that  of  various  other 
birds,  ai.d  occasionally  interrupted  by  tiie  harsh 
notes  of  the  jay  ;  but  nothing  was  seen  from  which 
all  these  varied  sounds  could  proceed.  At  length 
a  single  songster,  the  mocking  bird,  was  observed 
near  the  tip  of  one  of  the  highest  trees,  which 
continued  for  some  moments  to  pour  forth  the 
most  varied  and  enchanting  song,  but  soon  took 
alarm  and  disai)i)eared,  and  all  efforts  to  secure 
it  were  unsuccessful.  As  a  songster,  it  stands  at 
the  head  of  all  our  birds ;  and  as  a  mimic  is  inim- 
itable, repeating,  and  frequently  improving  ujion, 
the  songs  of  all  other  birds,  and  in  the  cage  imi- 
tating every  sound  that  it  hears.  For  these  <(unl- 
itications  it  is  highly  valued,  and  single  birds 
have  been  sold  for  one  hundred  dollars.  A  pair 
of  these  birds  visited  Tallmage,  in  Summit  coun- 
ty, Obio,  for  several  successive  years,  and  raised 
their  young  there. 

The  singing  of  most  birds  seems  entirely  a  spon- 
taneous etl'u^ion,  jiroduced  by  no  lassitude  in 
muscle  or  relaxation  of  tlie  jjarts  of  action.  In 
certain  seasons  and  weather  the  nightingale  sings 
all  day  and  all  night ;  and  we  never  observe  that 
the  powers  of  song  are  weaker,  or  that  the  notes 
become  harsh  and  untunablo,  after  all  the>e  hours 
of  practice.  The  song-thrush,  in  a  mild,  moist 
April,  will  commence  his  tune  early  in  the  morn- 
ing, and  pipe  unceasingly  through  the  day  ;  yet  at 
the  close  of  eve,  when  he  retires  to  rest,  there  is 
no  obvious  decay  in  his  musical  powers,  or  any 
sensible  effort  reiiuired  to  continue  his  harracuy 
to  the  la-t  Birds  of  one  sjtecies  sing  in  general 
very  like  each  otlier,  with  diifcreut  degrees  of 
executioit 


seem  to  require,  yet,  by  the  middle  or  end  of 
June,  it  loses  its  utterance,  l)CComcii  hoarse,  and 
ceases  from  any  further  essay. 

The  following  table,  forrae<\  bv  >Ir.  Harrington, 
agreeably  to  the  idea  of  M.  de  I'iles,  in  estiniatinu 
the  merits  of  painters,  Ls  designed  to  exhibit  the 
comparative  merit  of  the  Uritish  singing  birds  • 
in  which  twenty  is  supposed  to  be  the  \mhit  of 
absolute  perfection  :  — 


BiBDt. 

1 

S 

1 

1 

■s 
0 

I 

i 

19 

ID 
IS 
I-.' 

n 
n 

0 
M 

14 

10 
4 
11 
III 
IV 

'4^ 
0 
4 
4 
4 
4 

l« 

!.• 
4 

II 

19 

4 
17 
\t 
\t 

4 
4 
4 
« 
0 
0 
4 
0 
M 
0 

n 
u 

mi 
12 1 

Skylark 

Woodlark 

Titlark 

Lhinrt, 

CoUlflnch 

Chtifflnfh 

Ahrrilivine.  or  Siikin 

It.'d  Poll 

Thruih 

nioikbird 

K„|>in 

Wmi 

Blockc.p.  or  Norfolk  Mock  NiKhlinmlr 

SONI  MOBII.KS.  The  n«nie  hy  which  the  •ndrnla  dlflln- 
eiitflhc<l  the  tntcniu-dinry  Roun<li  of  ttirir  lrtnchor«lfl,  bfc«u»c.  In- 
iloail  or  hcine  tlxeil  like  the  Soni  StntjilfH,  rir  rxtn-mr*.  tlicr  wer« 
chanircl  with  tlif  iiiiMle,  and  therefore  were  continually  moving  ut 
varvine.     Sec  S051  STAMII.rs. 

."fONI  STABILES,  or  SONI  9TANTES.  The  name  givrn  by 
the  flneirnt  Oret-ki  to  the  extn>ini'a  itf  tlu-ir  tetmrhnnU,  iH-rallar, 
thouch  from  the  varioua  nifHleaofdividine  the  tt-trarhoril.  nr  fiturlh. 
the  intertneiUate  loiiiidi  were  cnnlinually  liable  to  Ih- ctianci'd.  vrt 
the  extreme  tounda  were  fixed  a.nd  uualterwble.  Sc«  Sum  Mu- 
n\\.r.%, 

SOXNET.  (From  the  lUlian.)  A  Imcal  com- 
position properly  comprised  in  fourteen  verses  ; 
viz.,  two  stanzas  of  four  verses  each,  and  two  of 
three  each  ;  the  first  eight  verses  being  in  altcriui- 
tive  rhymes.  The  sonnet  is  of  Italian  orii;in,  and 
Petmrcli  has  the  honor  of  its  invention  Dti  Itellai 
is  said  by  Fascjuier  to  have  tirst  introduceil  son- 
nets into  France  ;  but  Du  Hellai   himself  tells  us 


that  Melin  de  .*s.  Oelais  lirst  translated  the  Italian 
.Some  countries    may   ))roduce   tiner  I  8onnet.<i   into   French.     Who  tirst  gave  them   an 


«ong^ters,  but  without  great  variation  in  the 
notes.  In  tlie  thrush,  however,  it  is  remarkable 
tl'.at  there  seem  to  be  regular  notes,  each  indi- 
vidual pii>ing  a  voluntary  of  his  own.  Their 
voices  may  always  be  distinguished  amid  the 
choristers  of  the  copse,  yet  some  one  jierformer 
will  more  particularly  engage  attention  by  a  pe- 
culiar modulation  ot  tune  ;  and  should  stations 
of  the>e  birds  be  visited  the  same  morning,  few 
or  none  probably  woidd  be  found  to  persevere 
in  tlie  same  round  of  notes  —  whatever  is  uttered 
seeming  the  effusion  of  the  moment.  At  times 
a  strain  will  break  out  perfectly  unlike  any  \  re- 
ceding utterance,  and  we  may  wait  a  long  time 
without  noticing  any  repetition  of  it.  Harsh, 
strained,  and  teii>e  as  the  notes  of  this  bird  are, 
>et  they  are  pleitsing  Jrom  their  variety.  The 
voice  of  the  bliickbird  is  infinitely  more  mellow, 
but  has  much  less  variety,  coiupasn,  or  exe«-u- 
tkin ;  and  l.e,  too,  commences  caiols  with  the 
morning  light,  persevering  from  hour  to  liour 
without  effort  or  any  sensible  faltering  of  voiic. 
The  cuckoo  wearies  us  throughout  some  long 
May  morning  with  the  unceasing  monotony  of 
its  song  ;  and  though  there  are  others  a,s  vocif- 
erous, yet  it  is  the  only  biril  we  know  that  seems 
to  suffer   from   the  us«  of   the  organs  of  voice. 


English  dre»6  Ls  not  certainly  known  ;  but  Milton 
has  left  us  twenty-three  examples  of  this  spccien 
of  song,  amongst  which  that  addressed  to  the  mu- 
sician l.aws  is  one  of  the  best,  though  it  server 
to  prove  how  difficult  of  construction  the  sonnet 
is  in  the  English  language. 

SONNEITI,  J.  J.  .\  pamphlet  entitle«l  "  U 
Brii/aiirliii/e  de  la  Mitaii/iie  Italienne,"  was  published 
under  this  author's  name  in  1777.  There  are 
many  curious  anecdotes  in  it  relating  to  mu- 
sicians. 

SOXNETl'O.    (I.)    A  sonnet.     Sec  that  wrrd. 

SONNLEITHNKIl,  doctor  of  laws.  &c..  «t  Vi- 
enna, was  a  very  able  amateur  church  comjKisex. 
He  died  in  179'>. 

SONNLKITHXEll,  JOSEPH  FERDINAXH. 
son  of  tlie  preceding,  was  l>om  at  Vienna  aliout 
the  year  l"ti.j.  He  was  the  etlitor,  Irom  the  year 
1791,  of  a  very  useful  publication  entitled  •' Th« 
Vienna  'n»eiilrical  .\linanac."  He  has  also  writ- 
ten several  practical  work*. 

SOXOKors.  .Sounding.  .\n  epithet  appli- 
cable to  whatever  is  capable  of  yielding  »ounda; 
hut  more  m|>ecially  to  thoM!  ))o<licf>,  natural  ot 
artificial,  which  ]  roduc*  muftic*!  sound*. 


886 


SOX 


ENCYCLOPEDIA    OF    MUSIC. 


SOU 


SONS.  (F.  J)!.)  The  name  formerly  given 
by  the  l'rovcn<;al  minstrels  to  their  airs  and  lyric 
poems. 

SONTAG,  IIENUIETTA.  was  born  at  Cob- 
Icntz,  on  tlie  i:Uh  of  May,  l.SO.j,  of  one  of  those 
families  of  nomadic  actors  of  wliich  Uoethe  has 
given  us  the  poetical  history  in  his  W'ilhclm  Mcislcr. 
born,  like  the  halcyon,  on  the  stormy  waves,  she 
early  knew  the  vicissitudes  and  trials  of  an  artist 
life.  When  only  six  years  old  she  made  her  MbiU  at 
Daimstadt,  in  an  o]>era  very  popular  in  (jerraany, 
the  "  I)an){htcr  of  the  Danube,"'  where,  in  the 
)>art  of  Salome,  she  was  admired  for  the  infantile 
graces  of  her  person  and  the  correctness  of  her 
voice.  Three  years  later,  hnvinsj;  lost  her  father, 
Henrietta,  with  her  mother,  went  to  Prague, 
where  she  played  children's  parts  under  the  di- 
rection of  Weber,  then  at  the  head  of  the  thea- 
tre orchestra.  Her  precocious  success  obtained 
lor  her,  by  most  especial  favor,  permission  to  fol- 
low llie  courses  of  the  Conservatoire  in  that 
city,  although  she  had  not  yet  reached  the  age 
required  by  the  rules.  There,  for  four  years,  she 
studied  vocal  music,  the  piano,  and  the  elements 
of  vocalization.  The  indisposition  of  the  prima 
donna  of  the  theatre  gave  her  an  opportunity, 
for  the  first  time,  to  undertake  a  rather  impor- 
tant rdlc,  that  of  the  Princess  of  Navarre  in 
Boildieu's  "  John  of  I'aris."  She  was  then  fif- 
teen. The  facility  of  her  voice,  her  budding 
beauty,  the  trouble  which  made  her  heart  full  of 
mysterious  presentiments,  achieved  her  a  suc- 
cess which  augured  well  for  the  future  of  her 
talent. 

From  Prague  Henrietta  Sontag  went  to  Vi- 
enna, whore  she  met  Mme.  MainvicUe-Fodor, 
whose  example  and  good  counsels  developed 
the  hajjpy  tendencies  she  had  received  from  na- 
ture. Singing  alternately  in  German  and  Italian 
opera,  she  could  try  her  powers  in  both  of  these 
so  different  languages,  and  give  herself  time  to 
choose  between  the  glitterijig  caprices  of  the 
Italian  music  and  the  sober  and  profound  ac- 
cents of  the  new  German  school.  Ueing  offered 
an  engagement  at  the  German  Opera  in  Leipsic, 
in  1824,  she  went  to  that  focus  of  philosophical 
and  literary  discussions,  and  there  acquired  a 
great  fame  by  the  manner  in  which  she  interpret- 
ed the  "  Frcyschiltz  "  and  "  Etiryanthe  "  of  Weber. 

The  admirers  of  this  great  musician's  genius 
were  composed  of  the  youth  of  the  universities, 
and  of  all  the  ardent  and  generous  souls  who 
wished  to  redeem  Germany  from  foreign  domin- 
ion, as  well  in  the  realm  of  the  imagination  as  in 
that  of  politics.  They  shouted  with  enthusiasm 
the  name  of  Fraulein  Sontag,  which  spread 
thrc  ugh  all  Germany  a-s  that  of  a  virtuoso  of  the 
tirst  order,  called  to  renew  the  marvellous  things 
of  Mara.  It  was  at  Lei])sic  that  Mara,  that  fa- 
mous German  singer  of  the  end  of  the  eighteenth 
lentury,  had  been  educated  under  the  care  of 
old  Professor  Hiller.  They  felt  obliged  to  .Mile. 
Sontag  for  consecrating  a  magniticent  organ,  and 
a  voca' ization  far  irom  common  that  side  of  the 
Khinc  to  tlie  rendeiing  of  the  strong  and  deep 
music  of  Weber,  of  licethoven,  of  Sjjohr,  and  of 
all  the  new  German  composers  who  had  broken 
all  tnice  with  foreign  impiety,  and  given  full  scojie 
to  th'^  genius  of  their  country.  Surrounded  with 
homage,  celebrated  by  all  the  beaux  esprits,  sung 
by  tne  students,  and  escorted  by  the  huzzas  of 


the  German  press.  Mile.  Sontag  was  called  to 
IJerlin,  where  she  made  her  dibut  with  immense 
success  at  the  theatre  of  Konigstadt.  It  was  at 
Berlin,  it  will  be  remembered,  that  Der  Fiey 
schutz  was  re|)resented  for  the  first  time,  in  IS'il. 
It  was  at  Berlin,  that  Protestant,  rationalist  city, 
the  centre  of  an  intellectual  and  i)olitical  move- 
ment which  sought  to  absorb  the  activity  of 
Germany  at  the  ex])ense  of  Vienna,  the  Catholic 
city,  where  reigned  the  s|)irit  of  tradition,  the 
sensuality,  the  breeze,  and  the  facile  melodies  of 
Italy ;  it  was  at  Berlin,  we  say,  that  the  new 
school  of  dramatic  music,  founded  by  Weber,  had 
found  its  fulcrum.  Mile.  Sontag  was  enthusias- 
tically received  there,  as  an  inspired  interpreter 
of  the  national  music.  The  Hegelian  philoso- 
phers made  her  the  subject  of  their  learned  com- 
mentaries, and  in  her  limpid  and  sonorous  voite 
they  hailed  the  blending  of  the  subjective  with  the 
objcclii-e  in  an  absolute  unity.'  The  old  King  of 
Prussia  received  her  at  the  court  with  a  paternal 
kindness.  There  it  was  that  diplomacy  found 
occasion  to  approach  Mile.  .Sontag,  and  to  lay 
siege  to  the  heart  of  the  Muse. 

Availing  herself  of  leave  of  absence.  Mile.  Son- 
tag  went  at  length  to  Paris,  and  made  her  dibut 
at  the  Italiau  theatre  on  the  1.5th  of  June,  1826, 
in  the  rdle  of  Ilosina,  in  the  "  Barber  of  Senile." 
Her  success  was  brilliant,  especially  in  Kode's  va- 
riations, which  she  introduced  in  the  second  act 
during  the  singing  lesson.  This  success  was  con- 
firmed and  even  increased  in  the  "Dmna  del  hago" 
and  the  "  Italiana  in  Algieri,"  in  which  she  had  to 
transpose  several  pa.ssages  written  for  a  contralto. 
On  her  return  to  Berlin  she  was  received  with 
redoubled  interest.  In  that  city  she  remained  till 
the  end  of  the  year  1826  ;  tlien,  abandoning  Ger- 
many and  the  school  which  had  brought  her  up 
in  the  depths  of  its  sanctuary,  she  went  to  fix 
her  abode  in  Paris.  She  began  with  the  r6l«  of 
Desdemona,  in  "  Oiello,"  on  the  2d  of  January, 
1828.  She  made  one  of  that  constellation  of  ad- 
mirable artists  who  at  that  time  charmed  Paris 
and  London,  and  among  whom  Pasta,  PLsaroni, 
Malibran,  and  Sontag  shone  as  stars  of  the  first 
magnitude. 

Between  these  two  last  cantatrici,  differing  so 
greatly  in  their  kinds  of  merit,  one  of  those  fruit- 
ful rivalries  declared  itself  of  which  Hoffman  has 
given  us  such  a  dramatic  picture.  This  rivalry 
was  pushed  so  far  between  the  imperious  Juno 
and  the  blonde  Venus  that  they  could  not  meet 
in  the  same  saloon.  On  the  stage,  when  they  sang 
in  the  same  opera,  whether  it  were  "  Don  Juan  " 
or  "  Seiniramidc,"  their  heroic  jealousy  revealed 
itself'  in  killing  cadenzas  and  vocal  Congreve 
rockets,  which  set  the  audience  on  fire.  Now  the 
Trojans,  and  now  the  Greeks,  carried  it.  The 
parterre  rose  and  subsided  like  the  waves  of  the 
sea  under  the  Olympic  deities.  Finally,  one 
day,  Mme.  Malibran  and  Mile.  Sontag  having 
to  sing  a  duct  in  a  princely  house,  the  blending 
of  these  two  voices,  so  different  in  timbre  and 
in  character  of  expression,  produced  such  an 
effect  that  the  success  of  the  two  great  sing^ 
brought  about  their  reconciliation.  From  that 
time  a  calm  reigned  sul  mare  infiilo.  But  in  the 
midst  of  these  successes  and  these  fe-stivals  of 
art  a  black  speck  rose  on  the  horizon  :  diploma- 
cy was  secretly  at  work ;  it.s  protocols  grew 
threatening ;  and  it  was  suddenly  learned  thaf 
Mile.  Sontag  was  about  to  quit  the  theatre  foi 


83G 


BON 


ENCYCl.OP-IDIA    OF   MUSIC. 


soy 


duties  more  nustcre.  A  year  since  she  had 
formed  u  private  »iiiiou  with  Count  Uossi,  wlio 
was  not  (lisj)0>ed  to  nlinrc  his  happiness.  She 
bade  adieu  to  the  Parisian  public  in  a  ))erforni- 
ance  lor  the  benefit  of  the  poor,  wliicli  took 
place  nt  tlie  opera,  in  January,  1830.  Returning 
to  Berlin,  at  the  instance  of  her  friends  and  nu- 
merous admireis  she  consented  to  give  a  few 
more  re;re>ei.tations,  and  then  quitted  the  stage 
dctiiiitively,  two  montlis  before  the  revolution  of 
July.  Hut  be.bie  accepting  the  new  rnU  which 
she  had  chosen  for  life,  before  desi)oiliiig  herself 
of  the  brilliant  fame  which  she  had  so  justly  ac- 
ijuired  Mile.  .Sontag  made  a  tour  to  Russia,  giv- 
ing concerts,  as  brilliant  as  they  were  remunera- 
tive, at  Warsaw,  Moscow,  St.  Petersburg,  ajid 
then  at  Hamburg  and  other  important  cities  of 
Germany. 

I',  was  after  this  tour  that,  under  the  name  of 
Madame  the  Countess  of  Rossi,  following  the 
fortunes  of  her  husband,  she  i)assed  several  years 
in  succession  at  Brussels,  at  the  Ilaye,  at  Frank- 
fort, and  at  lierlin,  letting  her  voice  lie  heard 
only  in  the  reunions  of  that  high  European  soci- 
ety which  the  revolution  of  February  shook  to 
its  foundations. 

Mile.  .Sontag  possessed  a  soprano  voice  of  very 
great  extent,  of  great  equality  of  timbre,  and  of 
marvellous  flexibility.  In  the  upper  octave,  from 
the  medium  (-  to  C  above  the  stalf,  that  voice 
rang  deliciously  like  a  silver  bell  ;  and  you  had 
never  to  fear  a  doulHful  intonation,  or  a  want  of 
equilibrium  in  its  prodigious  exercises.  This 
rare  flexibility  of  organ  was  the  result  of  the 
munificence  of  nature,  Iructilied  by  incessant  and 
well-directed  hiboi-s.  Until  her  arrival  at  Vienna, 
where  she  had  occasion  to  hear  the  great  virtu- 
osos of  Italy,  she  had  been  guided  only  by  her 
happy  instinct,  and  by  the  more  or  less  enlight- 
ened taste  of  her  public.  It  was  to  the  counsels 
of  Mme.  Mainvielle-Fodor,  and  still  more  to  the 
exam])le  which  the  ex<iuisite  talent  of  that  ad- 
mirable singer  daily  offered  her,  that  Mile.  Sontag 
owed  the  expansion  of  those  native  (qualities, 
which,  until  then,  had  remained,  &»  it  were,  shut 
U))  in  the  bud.  The  competition  with  rivals  like 
Mmes.  Pisaroui  and  Malibran,  those  heroic  com- 
bats which  she  had  to  sustain  on  the  theatres  of 
Vienna.  Paris,  and  London,  perfected  her  talent 
to  tliat  degree  of  savory  maturity,  which  lias 
made  Mile.  Sontag  one  of  the  most  brilliant 
singers  ot  Europe. 

In  the  magniticent  casket  of  vocal  gems  which 
Mile.  Sontag  displayed  every  night  before  her 
admirers,  we  especially  remarked  the  limpidity 
of  her  chromatic  gamuts  and  the  brilliancy  of  her 
trills,  which  sparkled  like  rubies  on  a  velvet 
^ound.  Each  note  of  those  long-descending 
spirals  stood  out  as  if  it  had  been  struck  iso- 
Intedly  and  attached  itself  to  the  following  note 
by  an  imperceptible  and  delicate  solder  ;  and  all 
these  marvels  were  accomplished  with  a  perfect 
grace,  never  disfiguring  her  countenance  by  the 
slightest  sign  of  cll'ort.  Her  charming  figure,  her 
tine  limpid  and  soft  eyes,  her  elegant  form,  and 
her  stature,  springing  and  supple  as  the  stem  of 
I  young  poplar,  finished  the  picture,  and  com- 
pleted the  enchantment. 

Mile.  Sontag  tried  her  power  in  every  kind. 
Bom  in  Germany  at  the  commencement  of  thia 
•tomy  century,  she  was  nourishe<l  on  the  vigor- 
ous and   powerful  muMC  of    the   new  German  I  Lobcr.s*.cin,  wa«  bom  iu  11 

as  7 


school,  and  obtained  her  Srst  successes  in  thf 
masterpieces  of  Weljer.  .\l  Paris  she  undertook 
successively  the  parts  of  Dcsdeniona,  of  Semira- 
mis,  and  of  Donna  Anna  in  Mo/.art's  chef-il'icitvre. 
In  spite  of  the  enthusiasm  wliich  she  seems  to 
have  excited  in  her  countrymen  by  her  maniiet 
of  rendering  the  dramatic  inspiration  of  Weber, 
(an  enthu^iiasin  of  which  we  find  the  echo  in  the 
works  of  Louis  Boerne,)  —  in  spite  of  the  brilliant 
qualities  she  has  disjdaycd  in  the  part  of  Desdo- 
moiia,  and,  above  all,  in  that  of  Donna  .Vnna, 
which  was  almost  imposed  upon  her  by  the  jeal- 
ousy of  MaUbran,  —  it  is  in  the  light  music  and 
in  the  temperate  style  that  Mile.  Sontag  found 
her  true  superiority.  Her  Rosina  in  the  "  Bar- 
ber," her  Ninette  in  "  Ld  Uazza  Liitira,"  her.Vmc- 
naide  in  "Ttiucrcili,"  and  her  Elena  in  the  "  Donita 
(lei  f^Kjo,"  have  been  her  finest  triumphs. 

The  voice  of  Mile.  Sontag  is  well  iireservod. 
If  the  lower  chords  have  lost  their  fulness  and 
grown  dull  u  little  under  tlie  hand  of  time,  as  it 
always  happens  with  soprano  voices,  the  upper 
notes  are  si  ill  full  of  roundness  and  ol  charm. 
Her  talent  is  almost  as  ex<iuisite  as  it  wius  twenty 
years  ago ;  her  vocalization  has  lost  nothing  of 
the  marvellous  tiexibihty  that  characterized  it 
then;  and  without  much  effort  of  imagination, 
one  finds  again  to-day  in  Mile.  Sontag  tlic  tiuLsh, 
the  charm,  the  tempered  and  serene  cxpre.ssiou 
which  distinguished  her  among  the  eminent  cnu- 
tittrici  who  have  been  the  marvel  of  Europe  for 
the  last  half  century.  Welcomed  with  di-.tinc- 
tion  by  a  select  public,  which  assembled  at  the 
report  of  her  glory  and  of  her  misfortune,  Mme. 
Sontag  has  sung  several  j)ieces  of  her  old  reptr- 
toire  with  great  success. 

'Die  above  is  from  the  French  of  M.  Scudo, 
(1S.50.)  After  twenty  yciu-s'  retirement  from  pub- 
lic life  as  an  artist,  the  Counte.-)s  Rossi,  moved  by 
pecuniary  reverses  of  her  husband,  again  returned 
to  the  stage.  After  brilliant  seasons  in  Pirris,  vari- 
ous German  cities,  and  in  London,  she  came  to 
tlie  United  States  in  the  autumn  of  lSo2,  where 
she  has  continued  to  the  present  time,  (spring  of 
KSo4,)  singing  in  opera  and  concerts  with  most 
brilliant  success. 

SON'S  PLEINS.  (F.)  Terms  which  often 
occur  in  flute  music,  and  which  indicate  that 
the  notes  must  be  blown  with  a  very  full,  round 
tone. 

SOPRA.  (I.)  Above,  or  upper;  as,  nelU 
parte  ili  sopru,  in  tlic  higher  or  upi)er  part ;  tU 
sopra,  above  ;  coiUraputUo  sopru  H  aoggetto,  counter- 
point above  the  subject. 

SOPRANO.  (I.)  The  treble  or  higher  spe- 
cies of  the  female  voice.     .See  Voick. 

SOPRANI.  (L  pi.)  The  treble  or  higher 
voice  parts  ;  as,  a  due  toprani,  for  two  trebles  ;  a 
Ire  aitpraiii,  for  three  trebles. 

SORDINO.     (I.)     A  small  utensil  of  coppei 

or  silver  applie<l  to  the  bridge  ol  a  %'iolin,  or  vio- 

i  loncello,  to   render  the  sound  jaintcr  by  inter. 

cepting  the  vibrctions  of  the  body  of  the  inatru- 

meat. 

SORDINI.  (I.  pi.)  The  dnminm;  thus,  *««# 
sordini,  in  piano  music,  means  without  the  damp- 
ers, or  with  the  open  penial  prewse<l  down. 

SO  RGB.    GEORG    ANDREA.^  org»ni»t    al 


o:i 


IIo  was  a  good 


SOR 


EXCYCLOPiEDIA    OF    MUSIC. 


SOU 


porformcr,  compoaer,  and  singer ;  also  wrote  many 
theoretical  works,  the  hest  of  which  is  his  "  Ele- 
ments of  l'oini)osition,"  published  iit  Lobenstein 
in  17-10,  in  tlirec  volumes  quarto.  His  work  en- 
titled "  Ci>mpcn'tiitn\  Ilarinonicum  "  gnve  rise  to  a 
controversy  with  Miirpurg.  who  published  crit- 
ical notes  on  it  in  17()0.  Ilis  practical  publica- 
tions were  iirincipally  for  the  harpsichord  and 
organ,  and  many  of  them  were  printed  at  Nu- 
remberg.    Sorgc  died  at  Lobenstein  in  1778. 

SOUIAXO,  FRANCESCO,  cliapel-mastcr  of 
St.  Peter's  Church  at  Rome,  published,  in  1610, 
one  hundred  and  ten  canons  upon  the  chant  to 
the  hymn,  "  Are  Maria  Utella,"  for  three,  four, 
live,  si.x,  seven,  and  eight  voices ;  from  which  the 
musical  HMder  will  have  a  much  higher  opiuioii 
ol  his  patience  than  his  genius. 

SOSl'IRO.  (I.)  A  word  expressive  of  silence, 
formerly  written  over  those  characters  called  rests, 
and  generally  cousidcred  as  equal  in  length  to  a 
crotchet. 

SOSTEXUTO,  or  SOS.  (I.)  A  word  imply- 
ing that  the  notes  of  the  movement,  or  passage 
against  which  it  is  ])laced,  are  to  be  sustained,  or 
held  on,  to  the  extremity  of  their  lengths. 

SOTTO.  (I.)  Below,  inferior;  as,  solto  il 
togyclto,  below  the  subject. 

SOITO  VOCE.  (1.)  An  expression  imply- 
ing that  the  movement,  or  passage,  over  wliich 
it  is  written,  is  to  be  played  or  sung  moderately 
loud.     See  Mezz.\  Voce. 

SOUIIAl'lTY,  JEAN  JACQUE.S,  n  French 
ecclesiastic,  published,  in  1677,  an  essay  entitled 
"  Notiteaiix  EUmciis  du  ChaiU."  In  this  book  he 
proposes  a  new  method  of  writing  plain  chant  by 
figures  instead  of  notes. 

SOUND.  Musical  sound  may  be  considered 
as  certain  aerial  agitations,  of  such  qualities  and 
dispositions  as  to  produce  that  agreeable  and 
appreciable  eiTect  upon  the  ear  whicli  we  denom- 
inate melodious,  or  harmouical.  Sound  being 
the  object  of  the  musical  science,  it  may  be  ex- 
pected that  we  should,  in  treating  of  this  article, 
go  into  the  philosophy  of  its  causes  and  ert'ects  j 
but  we  must  conhne  our  observations  chiedy  to 
that  affection  of  sound  by  which  it  becomes  dis- 
tinguished into  acute  and  grave.  This  ditfeience 
has  hitherto  api-vrfied  to  have  no  other  causes 
than  the  different  velocities  of  the  vibrations  of 
the  sounding  bodies.  In  fact,  the  tone  or  pitch 
of  a  sound  seems  to  have  been  discovered,  by  an 
abundance  of  ex[  eriments,  to  depend  on  the  na- 
ture of  those  vibrations  whose  difference  we  can 
conceive  no  otherwise  tlian  as  having  different 
velocities ;  and  since  it  is  proved  that  all  the 
vibrations  of  the  same  chord  are  all  performed 
in  ecual  time,  and  that  the  tone  of  a  sound, 
which  continues  for  some  time  after  the  stroke, 
is,  in  quality  and  pitch,  the  same  from  first  to 
la.st,  it  follows  that  tlie  tone  is  necessarily  con- 
nected with  a  certain  quantity  of  time  consumed 
in  each  vibration  ;  and  it  is  from  this  principle, 
combined  with  that  of  tonic  arrangement,  that 
all  the  phenomena  of  tunc  are  deduced. 

If  the  vibrations  be  isochronous,  the  sound  is 
called  musical,  and  is  said  to  be  acuter,  or  higher, 
,hun  any  other  sound  whose  vibrations  are  slower 
and  graver,  or  lower  than  any  other  sound 
wliose  vibrations  are  quicker. 


From  the  same  principle  arise  what  we  cal 
concords,  &c.,  which  are  resolvable  into  the  fre- 
quent unions  and  coincidences  of  those  vibra- 
tions of  two  sonorouit  bodies,  and  consequently 
of  the  undulations  of  the  air  communicated  by 
those  vibrations.  On  the  contrary,  the  result  of 
less  frequent  coincidences  of  those  vibrations  is 
what  we  call  discord. 

Another  considerable  distinction  of  musical 
sounds  is  that  by  which  they  are  denominated 
lon/j  and  s/iorl ;  not  with  regard  to  the  sonorous 
body's  retaining  a  motion,  once  received,  a  longer 
or  shorter  time,  but  to  the  continuation  of  the 
impulse  of  the  efficient  cause  on  the  sonorous 
body  for  a  longer  or  shorter  time ;  as  in  the 
notes  of  a  violin,  &c.,  wliich  are  made  longer  or 
shorter  by  strokes  of  different  length  or  quick- 
ness. 

This  continuity  is,  propcrlj-,  a  succession  of 
several  sounds,  or  the  effect  of  several  distinct 
strokes  or  repeated  impulses  on  the  sonorous 
body,  so  quick  that  we  may  judge  't  one  contin- 
ued sound,  especially  if  it  be  continued  in  the 
same  degree  of  strength ;  and  hence  arises  the 
doctrine  of  nveastire  and  time.  Sounds,  again,  are 
distinguished  by  musicians  into  simple  and  com- 
pound. A  simple  sound  is  the  single  product  of 
one  voice  or  one  instrument.  A  compound  sound 
consists  of  the  sounds  of  several  distinct  voices  or 
instruments,  all  united  in  the  same  individual* 
time  or  measure  of  duration  ;  that  is,  all  striking 
the  ear  together,  whatever  may  be  their  other 
differences.  15ut  in  this  sense  they  are  twofold 
compound  —  natural  and  artificial.  A  iiatura* 
compound  is  that  proceeding  from  the  manifold 
reflections  of  the  first  sound  Irom  adjacent  bodies, 
when  the  reflections  are  not  so  sudden  as  to  oc- 
casion echoes,  but  are  all  given  at  the  same  mo- 
ment, as  well  as  in  the  same  tone  or  pitch  with 
the  first  note.  The  artificial  com/mund  is  a  mix- 
ture of  several  different  sounds.     (See  that  term.) 

Every  impression  made  on  the  ear  sufficient  to 
attract  attention  is  sound.  These  impressions 
are  made  on  what  we  technically  call  the  tym- 
panum of  the  ear,  and  are  caused  by  the  vibra- 
tions of  bodies.  The  power  of  hearing  is  nothing 
more  than  to  feel  vibrations  on  the  nerves  of  the 
ear.  Every  living  creature,  every  body  in  mo- 
tion, |)roduces  few  or  more  vibrations,  and.  con- 
sequently, sounds.  The  human  ear  is  not  capa- 
ble of  distinguishing  or  feeling  the  impression 
of  every  sound.  Some,  it  is  true,  have  what  is 
termed  a  sharp  ear,  or  great  power  of  hearing  ; 
such  are  susceptible  to  vibrations,  whether  slow 
or  (juick  ;  while  in  others  the  same  impression  is 
entirely  wanting.  Of  two  persons  in  the  same 
open  field,  one  will  be  sensible  of  the  slow  vibra- 
tions from  a  distant  church  bell,  the  lowing  of 
animals,  or  an  earthquake;  while  the  ther  will 
say,  1  do  not  hear  theiu ;  and  simply  because  the 
nerves  of  the  ear,  or  this  organ  in  the  one,  are  more 
susceptible  than  in  the  other.  Sounds  may  be 
produced  by  unilorm  and  regular,  or  irregular, 
vibrations  of  bodies  ;  that  is,  when  the  interval 
of  time  from  one  vibration  to  the  other  is  always 
the  same  in  length,  in  the  one  instance  ;  and,  in 
the  other,  where  a  certain  number  of  vibrations  are 
produced  in  the  first  second  of  time,  and,  more 
or  less,  in  the  second  space.  In  the  first 
case,  the  sound  is  plea-saut  and  easily  distin- 
guished ;  in  the  second,  it  is  not  so  distinguished, 
and   is   unpleasant.     The  pendulum  of  a  clock 


88S 


sou 


ENCYCLOPAEDIA    OF    MUSIC. 


SOD 


for  example,  is  governed  by  the  mainspring, 
which  keeps  it  always  in  regular  motion,  and 
one  and  the  same  sound  is  constantly  produced. 
But  where  the  intervals  of  such  vibrations  are 
longer,  or  shorter,  or  irregular,  the  impressions 
or  sounds  are  unpleasant  and  often  disagreeable ; 


ear  that  all  sounds,  whether  mosical  or  unmu- 
sical, are  perfectly  distinguishable  from  one  an- 
other. The  tcnn  intintuuxt/,  therefore,  is  not  only 
applied  to  all  jarring  and  discordant  sounds,  bu 
to  whatever  is  unharmonious,  unmelodio\is,  oi 
disa-irecablc  to  a  cultivatetl  ear.      All   miniica] 


such  sounds  are  termed  noise.     Uniform  vibra-  '  sounds  are  produce<l  by  regular  vibrations.   There 


lions  always  produce  simple  sounds.  We  use 
the  tenn  soiiiifl  for  all  impressions  of  regular 
vibrations,  and  classify  the  sounds  according  to 
their  height  or  pitch.  All  sounds  in  music  are, 
in  regard  to  their  pitch,  mathematically  regu- 
lated, and  the  succession  of  thiwe  sounds  is  called 
the  scale  of  music  ;  and  each  sound  has  its  abso- 
lute unchangeable  pitch  or  deijree  of  the  scale. 

Sound  is  a  perception  of  the  soul,  communi- 
cated by  nieiins  of  the  ear,  or  the  ett'cct  of  a 
collision  of  bodie-s,  and  a  tremulous  motion  coii- 
se<|uent  thereon,  communicated  thence  to  the  cir- 
cumambient Huid,  and  propai;ated  through  it  to 
the  organs  of  hearing.  Sound  is  any  thing  and 
every  thing  heaiable.  It  is  noise,  report,  the  ob- 
ject of  hearing,  that  which  strikes  the  ear;  a  vi- 
bration of  the  air,  caused  by  a  collision  of  bodies 
or  other  means,  sufhcient  to  effect  the  auditory 
ner\'es  when  perfect.  It  is  noise  without  signifi- 
cation ;  empty  noise ;  noise,  and  nothing  else. 
Sound  is  the  noise  produced  by  all  vibrating 
bodies.  Every  motion  communicated  to  the  air 
is  propagated  onward  like  a  wave ;  but  a  certain 
suddenness  or  force  is  necessary  in  order  to  affect 
the  ear  so  as  to  produce  an  audible  sound.  'Hie 
slow  waving  of  a  tiag  through  the  air  is  noise- 
less ;  but  the  sudden  removal  and  return  of  a  jjor- 
tion  of  air,  caused  by  the  lash  of  a  whip  or  other 
means,  produces  an  explosion  ;  and  as  there  is 
an  endless  variety  in  vibrating  bodies,  so,  also, 
there  Ls  an  endle-is  variety  of  sounds.  Musical 
sounds  arc  certain  aerial  agitations  of  such  quali- 
ties and  dispositions  as  to  produce  that  agreeable 
and  appreciable  effect  u[)on  the  e?T  which  we  de- 
nominate melodious  or  harmonical.  Sound  in 
music  denotes  a  quality  in  the  several  agitations 
of  the  air, considered  as  their  dispositions,  measure, 
S:c.  ;  and  it  may  l)e  so  combined  as  to  make  mu- 
sic or  harmony.  The  differences  in  the  acutcness 
and  gravity  of  sounds  have  hitherto  appeared  to 
have  no  other  causes  than  the  different  velocities 
of  the  vibrations  of  the  sounding  bodies.  The 
tone  or  pitch  of  a  sound  seems  to  have  l)cen  dis- 
covered, by  an  abundance  of  experiments,  to  de- 
pend on  the  nature  ol  those  vibrations  whose 
difference  we  cnn  conceive  no  otherwise  than 
OS  having  di.Tcrcnt  velocities ;  and  since  it  is 
proved  that  all  the  vibrations  of  the  same  chord 
are  pertormid  in  coual  time,  and  that  the  tone 
of  sound,  which  continues  (or  some  time  after  the 
stroke,  is  the  same  trom  the  first  to  the  last,  it  fol- 
lows that  the  tone  is  nec«!ssarily  connected  with 
a  certain  quality  of  time  in  making  each  vibra- 
tion ;  and  it  is  from  this  principle  that  all  the 
phenomena  of  tune  are  deduce.l. 

Sounds  are  not  and  cannot  all  be  musical ;  for 
instance,  those  produced  by  irregular  vibrations. 
If  the  impulse  is  short  and  single,  we  hear  a 
sound  like  the  blow  of  a  hummer  on  stone,  the 
report  of  a  jiistol,  or  the  crack  of  a  whip ;  if  of 
perceptible  duration  and  irregular,  we  hear  a 
crash  like  the  falling  of  a  tree  or  of  a  building  ; 
if  of  some  length  of  time  and  interrujited,  we 
hear  a  rumble  like  a  peal  ol  thunder  or  an  earth- 
quake ;  and  such  is  the  extreme  sensibility  of  the 


ore  three  principal  |)oint.s  of  distinctiryi  in  mu- 
sical sounds  —  the  quality,  the  intensity,  and  the 
pitch.  The  quality  of  sounds  depends  on  the 
nature  and  structure  of  the  Iwdies  vibrating;,  and 
may  be  of  any  length  of  time,  from  the  shortest 
to  the  longest  possible  sound ;  a.s  the  notes  of  a 
violin,  &c.,  which  are  made  lon;{cr  or  shorter  by 
strokes  of  different  length  or  ([uickness.  The  i  i- 
tensity  of  sounds  depends  on  the  force  of  tlie  im- 
puLse,  and  may  be  of  any  degree  of  strcn:;th,  from 
the  softest  to  the  loudest  sound.  All  sounds  are 
supposed  to  be  perfectly  round  ;  and  the  follow- 
ing diagram  shows  the  graduid  indati^n  or  in- 
crease of  strength  of  any  given  sound,  from  soft 
to  loud. 


The  pitch  of  sounds  depends  on  the  fre<iueucy 
of  the  vibrations,  and  may  be  of  any  decree  of 
elevation,  from  the  lowest  to  the  most  acute 
sound.  On  this  distinction  the  whole  doctrine 
of  harmony  is  founded ;  and  sounds  are  either 
hi'jh  or  hir,  according  to  their  relative  position. 

The  greater  clearness  with  which  sounds,  even 
di.stant  sounds,  are  heard  during  the  night,  Ls  au 
interesting  phenomenon.  It  was  noticed  by  the 
ancients,  and  asctibcd  to  the  repose  of  animate! 
nature.  The  noise  of  cataracts  is  three  times 
louder  during  the  night  than  in  the  day.  The 
air  during  the  day  is  a  rai.xed  metliutn,  in  which 
the  souirds  are  scattered  and  reflected  in  passing 
through  streams  of  air  of  different  dciu-ities,  as  in 
the  e.xperiment  of  mi.xing  atmospheric  air  and 
hydrogen.  At  midnight,  on  the  contrary,  when 
the  air  is  transparent  and  of  uniform  density,  as 
may  be  seen  by  the  brilliancy  and  numlx-r  of  the 
stars,  the  slightest  sound  reaches  the  car  without 
interruption. 

SOUNDINfi  BOARD.  In  a  harpsichord  oi 
piano  forte,  a  broad,  thin  board,  horizontally 
placed,  and  over  which  the  strings  are  dUtcnded. 
and  the  vibration  of  which  greatly  contribute* 
to  the  tone.  This  board  is  also  culled  the  beUy 
of  an  instrument. 

SOUI'IIt     (F.)     A  crotchet  rest. 

SOUUDELLNE.  (F.)  A  kind  of  musette, 
or  bagpipe. 

SOL'UUET.  (F.)  The  little  pipe  of  a  trum- 
pet. 

SOUSDOMIX.\NTE.  ^.F.)  The  subdonunant, 
or  fourth  of  the  scale. 

SOISMEDLVXTE.    (F.)     The   submeduuit, 

or  sixth  of  the  scale. 

SOZZI.  FU.VNC'ESCO.  a  Tiolin  pupil  of  Nar. 
dini,  was  born  at  Florence,  and  belonged,  in  !  790 


112 


889 


sou 


ENCYCLOPiEDIA    OF   MUSIC. 


SPE 


to  the  »'l-.n;iel  oftho  Grand  Duke  of  Tuscany.  lie 
atferwanls  resided  several  years  in  Germany,  and 
published  some  violin  music  at  Augsburg  in 
1801. 

SPACES.  Tlie  voids  or  intervals  between  the 
lines  oi'  the  staff.  The  staff  consists  of  live  lines 
and  limr  spaces.  The  lines  and  spaces  being 
equally  ntiud,  a  note  on  any  space  is  two  notes 
hifihcr  than  a  note  on  the  space  irainediately  be- 
low it,  and  two  notes  lower  than  a  note  ou  the 
space  immediately  above  it. 


Lines. 


II 


,  Spaces. 


SPANISH  MUSIC.  The  species  of  music  in 
which  the  Spanish  most  delight  is  the  romance; 
they  have  several  beautiful  compositions  of  this 
kind.  The  guitar  is  the  instrument  most  gener- 
ally employed  to  accompany  the  voice :  this  in- 
strument is  quite  as  national  as  their  beads  and 
their  chocolate,  and  is  to  be  found  in  every  house 
from  that  of  the  ytoer  to  the  barber.  The  Spanish 
guitar  is  constructed  with  double  strings,  each 
pair  being  tuned  in  unison,  with  the  exception 
of  the  lowest,  which  are  tuned  in  octaves.  All 
play  the  guitar,  and  all  have  a  tact  in  playing  it. 
The  song  of  the  Spaniards  is  full  of  feeling ;  their 
inflections  of  voice  are  highly  impassioned  ;  and 
their  features,  in  playing,  assume  a  variety  of 
e.vpression,  analogous  to  the  sentiments  uttered. 
The  .Spanish  style  of  music  is  pleasing  but  vari- 
able. The  national  fondness  for  dancing  appears 
to  e.xercise  some  influence  over  all  their  strains  ; 
notwithstanding  which  many  of  their  airs  have 
an  extremely  melancholy  expression.  As  opera 
writers  they  have  never  excelled ;  but  for  love 
songs  and  martial  choruses,  their  style  is  e  jual  to 
that  of  any  other  people  in  the  world.  Their 
serenades  are  among  the  sweetest  efforts  of  sim- 
ple composition  that  exist,  containing,  notwith- 
standing the  plainness  of  their  style,  considerable 
feeling,  and  an  obvious  expression  of  deep  pas- 
sion. 

SPAZIAXO,  FRANCESCO,  was  the  first 
person  who  collected  and  published  at  Florence, 
in  1.52'.),  the  "  Canti  ('arnascialeschi."  They  con- 
sist of  songs,  ballads,  madrigals,  &c.,  on  every 
sort  of  subject,  and  take  their  name  from  being 
sung  late  at  night  in  the  streets  of  Florence,  dur- 
ing the  carnival,  by  parties  of  men  in  masks, 
often  to  the  number  of  three  hundred,  and  all 
carrying  lighted  tapers.  They  were  attended, 
also,  by  a  band  of  musical  instruments. 

SPAZIEll,  JOIIAXX  CAUL  G(JTTLIEB, 
doctor  of  laws  and  inspector  of  education,  &c.,  at 
Dessau,  was  born  at  Berlin  in  1761.  He  pub- 
lished many  musical  essays  of  high  interest,  chief- 
ly in  i>eriodical  publications  ;  also  several  sets  of 
vocal  music.  His  works  bear  date  from  the  year 
1781  to  1800.     He  died  at  Leipsic  in  1805. 

SPEAKING  MACHINE.  In  1842  Mr.  Fa- 
ber,  at  Hamburg,  Liivented  a  speaking  machine 
—  the  result  of  a  beautilul  ada])tation  of  mechan- 
ics to  the  laws  of  acoustics.  Hitherto  attempts 
to  imitate  the  human  voice  have  not  been  very 
succcsslul ;  in  fact,  our  knowloilgo  of  the  physi- 
ology of  the  larynx  and  its  aiipendicos  has  been 
go  limited  thai  we  have  not  even  an  explanation 
of  the  motle  in  which  the  falsetto  is  produced. 


Mr.  Fabcr's  instrument  solves  the  difficulty.  The 
machine  consists  of  a  pair  of  bellows  worked  by 
a  pedal  similar  to  that  of  an  organ,  of  a  caout- 
chouc imitation  of  the  larynx,  tongue,  nostrils,  and 
of  a  set  of  keys  by  which  the  springs  are  brought 
into  action.  The  weather  naturally  affects  the 
tension  of  the  India  rubber;  and  although  Mr. 
Faber  can  raise  the  voice  or  depress  it,  and  can 
lay  a  stress  upon  a  single  syllable  or  word,  stQl 
one  cannot  avoid  feeling  there  is  room  for  im- 
provement. This  is  even  more  evident  when  tht 
instrument  is  made  to  sing ;  but  when  we  re- 
member what  difficulty  many  people  have  to  reg- 
ulate their  own  cltorda:  vocales,  it  is  not  surprising 
that  Mr.  Faber  has  not  yet  succeeded  in  givi-ig 
us  an  instrument  equal  to  the  human  voice.  We 
will  mention  a  discovery  in  mechanics  announced 
in  New  York.  This  instrument  is  played  on  by 
kej's  like  a  piano-forte,  and  can  be  made  to  say 
anij  thing  in  any  language  that  its  inventor  de- 
sires. The  New  York  "  American  "  newspaper 
says.  "  We  heard  it  say  '  Mr.  Speaker  '  in  a  tone 
so  distinct  and  startling  that  no  speaker  could 
have  failed  to  be  attracted  by  it ;  and  then  it 
went  on,  now  in  German,  now  in  English,  then 
in  Latin,  &c."  It  is  appropriately  named  "  the 
speaking  machine."  "The  tone  Ls  not  that  of  a 
human  voice ;  though  it  resembles  that  of  some 
persons,  in  being  mainly  through  the  nose.  But 
no  one  could  fail  to  perceive  at  once  that  the' 
sound  was  produced  by  some  artificial  wind  in- 
strument. Its  outward  appearance  is  very  sim- 
ple. A  Turk's  head,  with  turban  and  long  beard, 
faces  the  spectator,  and  the  word.s  are  uttered 
by  movements  of  the  lips,  the  tongue,  the  palate, 
and  all  the  articulating  organs,  precisely  as  in 
the  living  person.  These  movements  are  pro- 
duced by  machinery  concealed  beneath  a  diapeiy 
behind  the  figure,  and  moved  by  keys  at  its  right. 
These  keys  are  si.xteen  in  number,  each  repre- 
senting a  particular  sound.  It  rciiuiros  no  little 
skill  to  use  the  keys,  as  a  great  number  of  them 
must  be  quickly  and  properly  struck  to  utter 
even  the  simplest  words.  A  bellows  beneath 
supplies  the  breath,  which  the  machinery  thus 
manufactures  into  tcords.  The  Turk  recited  to 
us  the  alphabet,  counted  fii'ty,  gave  the  Latin 
titles  of  several  European  monarchs,  held  an  etli- 
fying  conversation  with  us  about  the  weather, 
sang  a  German  song,  and  bade  us  good  day  in 
very  distinct  and  courteous  plirase.  The  utter- 
ance is,  of  course,  very  slow,  and  sometimes  dit- 
ticult  and  indistinct ;  but  it  is  easy  to  see  that 
the  fault  lies  in  an  inability  to  work  the  keys 
with  sufficient  rapidity,  and  not  in  any  want  of 
vocal  organs.  It  is  certainly  very  curious,  and 
shows  that  the  inventor,  who  is  an  Austrian,  is 
possessed  of  great  skill  and  ingenuity.  We  un- 
derstand that  the  instrument  engaged  his  close 
attention  for  &bo\it  J'ourteeii  years." 

SPEAKING  TRUMPET.  A  tube  from  six 
to  fifteen  feet  long,  made  of  tin,  pcrlectly  straight, 
and  with  n  very  large  aperture  at  one  end,  and  a 
mouthpiece  just  big  enough  to  receive  both  lips. 
The  mouth  being  applied  to  this  instrument,  it 
carries  the  voice  to  a  very  great  distance ;  so  that 
it  may  be  distinctly  heard  through  a  circle  of  a 
mile,  or  farther.  Hence  its  great  use  at  sea.  The 
invention  of  the  speaking  trumpet  is  supposed  tc 
be  modern,  and  is  generally  a,scribcd  to  Sir  Sam 
ucl  Moreland.     See  STEsrouoriio-Nic  Tuue. 


890 


51' E 


ENCYCLOPEDIA    OF   MCSIC. 


SPG 


SPECII,  JOIIANN,  a  composer  for  the  piano- 
forte, i)robably  resident  at  Vienna,  published 
some  sonatas,  &c.,  in  that  city,  at  the  close  of  the 
last  and  commencement  of  the  present  centuries. 
Three  violin  quartets  by  him  are  also  printed. 

SPECIES.  A  subdivision  of  one  of  the  genera 
t/  the  ancient  music. 

SPERGER,  JOHANX,  a  celebrated  performer 
on  the  double  bns-*,  and  instrumental  composer, 
was  chamber  musician  to  the  Duke  of  Mecklen- 
burg from  the  year  178S  Amongst  his  works 
we  can  name  the  following  :  "  ;{  QuarUtti  d  2  V., 
A.,  et  11.,"  Op.  1,  Berlin,  1792;  "  FlOtenduo," 
Vienna,  1792  ;  and  "  3  Trios,  d  Fl.,A.,e  Vc,  .Vo». 
'.  «   2,"  Vienna,  1796. 

SPERLING,  JOIIANN  PETER  GABRIEL, 
secretary  to  the  magistracy,  and  music  director  at 
ISaut/en,  in  I.usatia,  published,  amongst  others, 
the  following  works  :  "  Cuiueuiim  W'speitiniu  seu 
Psalini  miitores  per  aHniiin,  4  roc,  2  I'.,  3  yiolinis, 
seu  TrombonU  et  B.  G.,"  Bautzen,  1700;  "  I'rin- 
cipiit  MusicfT,"  &c.,  Bautzen,  1705;  and  "Porta 
Music(F,"  Baut/en,  1708. 

SPICCATO.  (I.)  A  word  denoting  that  the 
notes  over  which  it  is  placed  are  to  be  j)erformcd 
in  a  distinct  and  pointed  manner.     See  Stacc.vto. 

SPIES.S  MEIXRAD.  Prior  of  a  convent  in 
Suabia,  and  member  of  the  Musical  Society  of 
Mitzler  from  the  year  1743.  He  was  a  pupil  of 
Joseph  lU'iiiabei,  and  was  living  in  1774.  He 
published  in  174ti,  at  Augsburg,  a  work  in  the 
Genuan  language,  with  the  title  "  Triutatii.i  Mn- 
sicopraclicu^,''  &c.  According  to  Ililler,  it  is  a 
work  containing  many  excellent  remarks  on  the 
science  of  music,  but  so  badly  written  that  it  were 
to  be  wished  some  one  would  translate  it  from 
bad  German  into  good.  Spicss  also  published 
many  masses  and  other  church  music  between 
the  years  1713  and  1734. 

SPIX-E.  (L.)  The  original  name  of  the 
quills  of  the  spinet,  and  from  which  word  that 
instrument  received  its  appellation.     See  Si-inet. 

SmXDLER.  FRAXZ  STAXISLAU.'^.  a  self- 
taught  musician,  was  born  at  Augsburg  in  17.)9. 
In  17S2  he  became  an  actor  at  the  theatre  of 
Augsburg,  and  soon  after  produced  several  suc- 
cesstul  operettas.  He  afterwards  attacheil  him- 
self to  the  theatre  at  Breslau,  for  which  he  com- 
posed several  jiicces  in  the  same  style  up  to  about 
the  year  1800. 

SPIXET.  A  stringetl  instrument  formerly 
much  in  use,  somewhat  similar  to  the  harp- 
sichord, and,  like  that,  consisting  of  a  case, 
sounding  board,  keys,  jacks,  and  a  bridge.  The 
principal  dirtcrence  of  the  spinet  and  harpsichord 
i-s,  tl'.at  the  latter  is  larger,  and  contains  two  or 
thn<c  sets  of  jacks  and  strings,  so  disposed  and 
tuned  as  to  admit  of  a  variety  of  stops  ;  while  the 
former  ha.s  only  one  set  of  jacks  and  strings,  and 
consequently  only  one  stop.  When  the  spinet 
was  tirst  brought  into  use,  though  its  invention 
was  certainly  anterior  to  that  of  the  harpsichord, 
is  not  exactly  known.  But  that  it  was  derived 
from  the  harp  is  evident  from  it-s  character  as 
well  as  construction,  internal  and  external;  and, 
indeed,  it  was  originally  called  tlie  couched  harp, 
though  since  denominated  spinet,  from  its  quills, 
which  resemble  thorns,  called  in  Latin  tpino. 


SPIRITOSO.    (L)     With  spirit. 

SPOFFORTII.  A  celebrated  Engli>h  gle« 
composer.  Aiuongst  the  most  celebrated  of  liis 
compositions  arc  the  following  :  "  Where  are 
those  hours,"  glee,  four  voices  ;  "  Lightly  o"et 
the  >-illage  green,"  glee,  three  voices  ;  "  Hark, 
the  goddess  Diana,"  duct;  and  a  set  of  "Can- 
zonets." 

SPOIIR,  LUDWIO,  concert  master,  \noliui«t, 
and  compo>er  to  the  Duke  of  Gotha,  vas  Ixirn 
at  Seesen,  in  the  Duchy  of  Brunswick,  in  1784. 
Ilis  father  was  a  doctor  of  medicine  in  Bruns- 
wick, and  a  celebrated  amateur  perfonner  on  the 
tlute.  He  received  his  early  instruitioiis  on  the 
violin  from  Maucourt,  and  made  his  'l''.biit  at 
Brunswick,  as  a  public  jK-rfonuer,  at  the  age  of 
twelve  years,  on  which  occasion  he  jjlayed  s 
concerto  of  his  own  composition.  The  Diikc  of 
Brunswick,  who  was  himself  a  performer  on  the 
violin,  interested  himself  much  from  tliis  time  ir 
the  success  of  young  Spohr,  and  received  liim, 
when  tliirteen  years  of  age,  a.s  musician  in  lh» 
Chapel  Royal.  On  his  attaining  his  eighteenth 
year,  the  duke  allowed  him  to  accompany  Fran> 
Eck,  younger  brother  and  violin  pupil  of  J.  F 
Eck,  to  Russia,  pajing  the  whole  of  his  ex- 
penses. He  thus  enjoyed  the  lessons  of  this  ex- 
cellent master  during  a  year  and  a  half.  On  his 
return  he  applied  him.self  still  more  studiously 
to  his  instrument,  and  then  commenced  travel- 
ling through  dirterent  towns  of  Saxony  and  Prus- 
sia ;  in  the  course  of  which  jovirney,  in  ISO.i,  ho 
was  ofTcred  his  tirst-named  situation  at  (iotha, 
which  he  accepted,  after  obtaining  the  consent 
of  his  patron  the  Duke  of  Brunswick.  In  1820 
Spohr  made  his  tirst  appearance  in  England  at 
the  Philharmonic  concerts,  when  his  ilr/jut  was 
thus  notice<l  by  an  eminent  reviewer  :  '•  He  tirst 
l)layed  a  concerto  in  the  dramatic  style  :  the  com- 
position was  very  clever,  and  classed  under  its 
proper  head.  A  quartet,  in  which  he  afterwards 
assisted,  was  so  entirely  calculated  to  display  the 
single  performer  a,s  to  injure  its  effect  as  a  con- 
certed piece.  His  manner  is  totally  withotit  yre- 
tension  ;  his  tone  hne,  his  intonation  admirable, 
and  his  execution  of  the  most  linished  order." 
On  another  occasion  this  critic  observes,  "  We 
have  the  traces,  in  Spohr's  execution,  of  a  mind 
continually  turning  towards  retinement,  and  de- 
serting strength  for  jxilish.  His  tone  is  pure  and 
delicate,  rather  than  remarkable  for  volume  or 
richne-s  ;  his  taste  was  cultivated  to  the  highest 
excess  ;  and  his  execution  was  so  hnishcd  that  it 
appeared  to  encroach,  in  a  measure,  u|>oi<  the 
vigor  of  his  performance.  But  he  was  v(iy  far 
from  being  deficient  in  the  energy  necesNir\  to 
make  a  i;reat  player,  llie  fact  seems  to  be  that 
this  quality,  which  for  its  inlierent  prerMninenco 
is  most  distinguishable  in  other  violinists,  was,  in 
Spohr,  cast  into  secondary  importance,  and  ren- 
dered less  discernible  by  the  pre<lorainating  in- 
fluence of  his  superior  retinement.  Ilis  delicacy 
was  so  beautiful,  and  so  frequent  an  object  of  ad- 
miration, that  l\is  force  was  lowered  in  the  com- 
parison. But  though  it  must  \h>  confes.Hcd  that 
his  )x)w  arm  had  not  the  opcnne«M  and  command 
so  peculiarly  striking  in  Mori,  yet  he  could  sus- 
tain and  protract  his  tones  to  an  extraordinary 
duration.  His  method  of  taking  the  staccato 
passages  was  excellent ;  but  the  saltations  ht 
frequently  made  in   his  passages  of  exccutii>i 


891 


SPO 


ENCYCLOPEDIA    OF    MUSIC 


SPvJ 


could  not  bo  said  to  accord  with  the  general  com- 
posedncss  of  his  raannor.  And  as  it  is  l're:iuently 
the  conseiiufnce  of  a  too  subtile  habit  of  retiniug 
to  obliterate  the  stronger  traces  of  scn^ibility,  bo 
liis  expression  was  more  remarkable  for  polUhed 
elej^ancc  than  for  those  powerful  and  striking 
moditiiations  of  tone  that  are  the  oHsprinj;  of  in- 
tense feelin;;.  It  is  probably  owing  to  this  sof- 
tening  down  of  the  bright  and  brilliant  effects 
that  he  failed  (if  such  a  man  could  be  ever  said  to 
fail)  in  eliciting  those  stronger  bursts  of  the  public 
approbation  that  attend  those  exhibitions  of  art 
that  are  directed  against,  and  that  reach,  the  af- 
fections of  a  mixed  audience.  Thus,  though  in 
the  very  first  rank  of  his  profession  and  of  talent, 
Spuhr  perhai)s  excited  a  lower  degree  of  interest 
than  has  frequently  attended  the  performance  of 
men  whose  excellences  were  far  below  his  stand- 
ard. But  such  is  the  common  fate  of  every  ex- 
treme cultivation  and  polish.  It  transcends  the 
judgment  of  the  million.  The  Roman  critics  re- 
marked tlie  i)reCminent  beauty  with  which  Spohr 
enriched  his  playing  by  a  strict  imitation  of  vocal 
ettccts.  They  said  he  was  the  finest  singer  upon 
the  violin  that  ever  appeared.  This,  perhaps,  is 
the  highest  praise  that  cau  be  bestowed  ;  lor,  al- 
though instrumental  music  certainly  raises  emo- 
tions and  passions,  yet  they  arc  very  faint  and 
vague  when  compared  with  the  full,  deep,  and 
definite  affections  awakened  by  the  human  voice. 
The  nearer  an  instrument  ai)proaches  the  voice, 
the  nearer  is  art  to  the  attainment  of  its  object : 
and  the  reverse  of  the  proposition  equally  applies 
to  singers  ;  the  more  they  wander  through  the 
mazes  of  execution  towards  instrumental  effect, 
the  farther  they  stray  from  the  seat  of  their  own 
proper  dominion  —  the  heart." 

The  most  brilliant  period  in  Sjjohr's  career  was 
from  181.5  to  1825.  Since  that  time  he  has  oc- 
cupied the  place  of  chapel-master  to  the  electoral 
court  of  Hesse-Cassel.  Called  to  London  in  1840, 
he  brought  out  there  a  new  symphony  and  ora- 
torio of  his  own  composition,  and  was  received 
with  the  most  marked  consideration  by  persons  of 
the  tirst  distinction.  He  was  again  invited  to  Lon- 
don in  the  summer  of  18.52,  when  he  conducted 
the  performance  of  his  oratorio  of  "  Calvary,"  or 
"  Die  letite  Dini/e,"  and  of  his  opera  of  "  Faust," 
at  the  Uoyal  Italian  Theatre.  Spohr  has  found- 
ed in  Germany  a  violin  school  that  Ls  more  large 
and  vigorous  than  that  of  his  predecessors.  Its 
princi])lcs  are  exjiosed  in  his  "  I'ioliiwichuU," 
("Violin  School,")  in  thiee  parts,  Vienna,  1331, 
a  folio  of  two  hundred  and  fifty  pages. 

The  principal  compositions  of  Spohr  are  the 
following :  — 

I.  Uklioioi's  Music.  1.  "Mass  for  five  solo 
Voices  and  two  Choirs  of  five  Voices  each,  with- 
out Accompaniment,"  Op.  .54.  2.  "  Three  I'salms 
of  Mendelssohn,  for  two  Choirs  and  Solos,"  Op. 
8.5.  3.  •''  later  uiiscr,' of  Muhlmann,  for  four 
Voices."  4.  "  Hymn,  '  Goll,  du  bi.it  gro.ts,'  for 
four  Choirs,  with  Solos  and  Orchestra,"  Op. 
98.  5.  "Die  letztcn  Diiigc,"  oratorio.  6.  "  Des 
Ueilanil's  lelzte  Stioidcn,"  oratorio.  7.  "Das 
jiiiif/ste  Gcricht,"  {"'I'he  Last  Judgment,")  ora- 
torio. 

II.  Du.VMATic  Mi'sic.  1.  "  Der  Zweikampf  <ltr 
Gclichtcii,"  opera.  2.  "  Der  Uert/i/eis(,"  do.  3. 
"  Faust,"  do.  4.  "  Jcssonda,"  grand  opera  ;  con- 
Mdered  one  of  Spohr's  best  works.  5.  "  Zemirc 
U  Azor."     0.    '  J'ieCro  d'Albaiio."      ' .  '' Der  Atchij- 


mist."     8.  "  Da$  befreile  DetUsMand,"  scenic  ora- 
torio. 

III.  Vocal  Music.  1.  "Songs  for  four  Men'i 
Voices,"  Ops.  44,  90.  2.  "  Scena  and  Aria,  witli 
Orchestra,"  ("  Ta  m'ahhandt>in,")  Op.  7L  3. 
"  Songs  for  one  Voice,"  Ops.  25,  37,  41,  72,  94 
101.  103. 

IV.  I.v.sTuuME.NTAL  Music.  \.  "  Symplioiiiei 
for  Grand  Orchestra,"  Op.  20,  in  E  fiat;  Op. 
49,  in  D  minor ;  Op.  78,  in  C  minor ;  the  sym- 
phony, "  Die  IV'eihe  der  TOnc,"  ("  Consecration  of 
Tones;")  also  two  or  more  symphonies  suice- 
one  of  them  for  double  orchestra,  and  one  called 
"  The  Seasons."  2.  "  Four  Overtures."  Ops.  12, 
15,  21,  (to  "  Alruna,")  and  one  to  •' Macbeth." 
3.  "  Nonetto,  for  Violin,  Alto,  Violoncello.  Oboe, 
Clarinet,  Flute,  Horn,  Bassoon,  and  Double  Ba.ss," 
Op.  31.  4.  "Ottetto,  for  Violin,  two  .\ltos.  Vio- 
loncello, Clarinet,  two  Horns,  and  Double  Bass," 
Op.  32.  5.  "  Double  Quatuors.  for  four  Violins, 
two  Altos,  and  two  Violoncellos,"  Ops.  C4,  77, 
87.  6.  "Quintets  for  Strings,"  Ops.  33,  69,  91. 
7.  "  Quatuors  for  Strings,"  Ops.  4,  11,  15,  29,  30. 
43,  45,  (three,)  58,  (three,)  61,  68,  74,  (three,)  82, 
(three,)  81,  (three,)  93.  8.  "Duos  lor  two  Vio- 
lins," Ops.  3,  9,  13,  39,  67.  -•Vlso,  viohn  con- 
certos, concertos  for  clarinet,  pot-pourris  for  violin, 
with  orchestra  or  (luartet.  a  quintet  for  piano, 
flute,  clarinet,  horn,  and  bassoon,  (op.  52,)  ron- 
dos, music  for  the  harp,  &c. 

Dr.  Spohr  had  a  daughter,  eelebratetl  as  an  alto 
singer,  who  married  and  resided  in  New  York. 
She  has  sung  in  public,  there  and  in  Boston,  as 
Madam  Spohr-Zahn. 

SPOXD.\UL.\.  (Or.)  The  nnme  ^ven  by  the  snciontsfo  a  per- 
former nil  the  flute,  or  some  timilftr  intlrumcnL  who.  while  the  Mic- 
ritlce  WHS  ottering,  plaved  to  the  priest  some  suitable  air,  to  prevent 
his  listeninir  to  any  thmg  which  might  interrupt  him  in  his  fluty. 

Sl*ONI)l.AS.M.  (Or.)  An  alteration  in  the  harmonic  cenus,  by 
which  a  chord  was  elevated  three  dieses  alwivc  its  ordinary  pitch,  so 
that  the  fpoiidiajim  was  precisely  the  opposite  of  the  eclysix. 

SPONTIXI,  GASPARD.  This  celebrated 
dramatic  composer  was  born  at  Jesi,  a  small  town 
of  the  Roman  States,  in  1778.  After  studying 
the  first  principles  of  music  under  the  celebrated 
Padre  Martini  at  Bologna,  and  under  Boroni  at 
Rome,  he  was  entered,  at  the  age  of  thirteen,  as 
a  pupil  of  the  Conservatory  of  La  I'ieta  at  Na- 
ples, then  under  the  direction  of  the  celebrated 
masters  Sala  and  Trajetta.  At  the  expiration  of 
a  year  he  was  nominated  a  master  in  this  Con- 
servatory. At  seventeen  years  of  age  he  com- 
posed an  opera  buffa  entitled  "  /  I'untijU  dclie 
Donne,"  the  success  of  which  was  so  complete 
that  all  the  theatrical  managers  of  Italy  were 
anxious  to  obtain  his  operas.  The  year  follow- 
ing he  went  to  Rome,  where  he  composed  "  Uli 
Amanti  in  Citnenlo ;"  and  thence  passed  on  to 
Venice,  where  he  wrote  "L'Amor  Secreto."  He 
next  returned  to  Rome,  and  set  to  music  the 
drama  of  Metastasio  called  "  L'  I  sola  Disabitnta." 
This  he  sent  to  Parma,  being  disabled  from  going 
there  himself  by  engagements  at  Naples  and 
Palermo.  It  was  at  Naples  that  he  became  ac- 
quainted with  Cimarosa,  by  whose  instructions 
he  profited  during  five  years,  when  he  proceeded 
to  Palermo.  In  the  mean  time  he  was  not  inac- 
tive in  composition,  having  written,  whilst  at 
Naples,  "  L'  Enismo  Hidicolo,"  opera  buffa,  for 
that  city  ;  "  //  Teseo  riconosciuto,"  opera  seria,  for 
Florence;  and  "La  Finta  Fihsoja,"  and  "La 
Fiipa  in  Masc/irra,"  also  for  Naples.  Aboutthii 
period,  the  Neapolitan  court  being  at  Palarmov 


SOi 


SPR 


ENCYCLOPEDIA    OF    MUSIC. 


8TA 


the  mannRer  of  the  Tlieatre  Royal  there  engaged  |      STADELMAYER,  JOIIAXX.  native  of  Frey- 
Spontini  to  write  two  opere  buHe  and  one  opera  '  singcn,  in  Bavaria,  was  chapel -master  to  an  arch- 


Written. 


Played. 

4- 


^^^p-^i^ai 


All  kinds  of  graces  are  liable  to  alteration  by 
the  use  of  incidentals. 


Bcna.  The  two  former  were  called  "  /  Quadre 
Parlanii  "  and  "  II  Fiiito  Piltnre,"  and  the  latter 
"  (Hi  Elisi  dvlusi."  The  climate  of  Sicily  not 
agreeing  with  Sjjontini,  he  then  returned  to 
Home,  where  he  wrote  "U  (ieloso  e  I'Amlace." 
Shortly  atterward.s  lie  was  invited  to  Venice, 
where  he  brought  out  the  two  operas,  "  I.e  Meta- 
mor/osi  di  I'as'/iitile,"  and  "  CAi  piii  ffiutrtla,  vie 
tin  vcdc."  Having  now  jjroduced,  with  success,  I 
eleven  comic  and  three  serious  operas  at  the  ])rin-  | 
cipal  theatres  of  Italy,  he  resolved  to  visit  I'nris, 
where  he  arrived  about  the  year  180t.  lie  first 
made  himself  known  in  that  city  by  his  "  Finta 
J'iloso/a,"  pcrfonned  at  the  ThfrAtrc  de  I'Optni 
BuHa.  lie  then  gave,  at  the  Theatre  Feydcau, 
"  La  Petite  Mai-vjii,"  which  failed  on  account  of 
the  words,  and  "  Milton,"  which  was  highly  suc- 
cessful. From  this  period  he  confined  his  com- 
position to  the  Koyal  Academy  of  Music,  where 
he  brought  out,  in  IMOT,  his  celebrated  opera  of 
'•  La  I'lStale  ;  "  in  1809,  "  Fentand-Corlez  ;  "  and 
subsequently,  "  Otimpie."  A  modern  French 
critic  obserN'es,  "  In  allowing  to  Rossini  the  merit 
of  novelty,  —  to  Mayer  harmony,  science,  and 
correctness,  —  to  Spontini  sensibility,  vigor,  and 
truth  of  expression,  —  we  believe  that  we  have 
awarded  to  each  his  just  praise;  and  we  leave  to 
an  enlightened  public  the  task  of  judging  which 
of  these  three  celebrated  dramatic  comjiosers  ap- 
jjroaches  nearest  to  perfection  in  his  art.  We 
mu.st,  however,  confess  that  the  question  appears 
to  us  to  be  resolved,  in  France,  in  lavor  of  the 
author  of  '  Ln  Vestalc,'  of  '  Fernand-Cortcz,'  and 
of  '  Olimpie.'  "     lie  died  February  24,  1851. 

SPUING.  An  embellishment.  Tlie  German 
spring  consists  of  two  small  notes  before  a  prin- 
cipal, similar  to  the  Italian  mordente,  but  very 
distinct ;  thus  :  — 


MATER.     (L.)     A   hymn  on   the 


STABAT 
crucifi.xion. 

STABIXGIIER,  M.VTTIIIAS.  A  German 
musician.  Resident  in  France  about  the  year 
1770.  and  in  Italy  in  1780.  He  produced  in  1784, 
at  Bologna,  a  ballet  entitled  "  La  Morte  rf  Arriijo 
17.,"  and  at  (ienoa,  in  178.3,  a  comic  opera  en- 
titled '•  L' Astu-.ie  di  Hettina."  Several  of  hit  in- 
strumental works  for  tho  flute  haro  also  been 
pub'iO'.ed  in  Paris. 

ST-\CC.\TISSIMO.     (I.)    Very  detached. 

STACCATO,  or  ST.\C.  (I.)  A  word  .signi- 
fying that  the  notes  of  the  passage  over  which  it 
is  written  are  to  be  performed  in  a  short,  pointed, 
and  di-itinct  manner.  It  is  the  opposite  of  lejato, 
■which  word  see.  It  is  represented  either  by  the 
word  itself,  or  by  small  dots  or  dashes  placed  over 
or  under  the  notes,  thus  :  — 


duke  of  Au.stria  about  1040.  He  ])ublLshed  many 
sacred  vocal  works  between  the  years  IC>0?,  and 
1G60. 

STADEN,  JOII.VXN',  organist  and  chtirch 
composer  at  Nuremberg,  his  native  city,  died 
there  in  10;{4.  He  published,  between  the  years 
1C16  and  1<'..3'2,  si.x  grand  opera  of  motets  and 
poalms,  amongst  which  are  some  tor  twelve  voices. 
On  his  death,  the  magistracy  of  his  town  causetl  a 
medal  to  be  struck,  with  his  portrait,  in  honor  of 
bus  memory. 

STADKN,  SIEGMUND  TIIEOPIIILI'.S,  or 
GOTI'LIKB,  son  and  pupil  of  the  preceding,  was 
born  at  Nuremberg  in  1007.  He  was  considered 
a  great  master  both  in  theory  and  jjractice,  and 
held  the  situation  of  organist  in  one  ot  the  largo 
churches  of  the  above  town  till  his  death,  which 
took  place  in  lOo.).  He  published,  in  1010  and 
1048,  a  work  entitled  "  Hndimentum  Mii.uriim  ;  " 
also,  in  10.51,  a  collection  of  songs  for  three  voicea 
and  instruments. 

STABLER,  MAXIMILIAN,  the  abW-.  was 
born  in  1748  in  a  little  town  in  Lower  Austria, 
lie  distinguished  himself  in  1820  in  the  contro- 
versy about  the  genuineness  of  Mozart's  "  Jie- 
guittn,"  against  Gottfried  Weber.  He  wa.s  dis- 
tinguished e<iually  as  an  organist  and  as  a  com- 
poser, having  written  ma.s.ses,  motets,  fugues,  &c., 
and  an  oratorio,  "  Jerusalem  Delivered."  Ha 
died  near  Vienna  in  1833. 

STAFF.    (PL  Siavc3.)    The  five  horizontal  and 
parallel   lines  on  and  between  which  the  notes 
are  placed.     Guido,  the  great    improver  of  the 
modem  music,  is  said  by  some  to  have  first  used 
the  staff;  but  others  give  an  earlier  date  to  iu 
introduction      Kircher  aflirms  that,  in  the  Jes- 
uit's library  at  Messina,  he  found  a  Greek  manu- 
script of  h>Tnns  more  than  seven  hundred  yean 
old,  in  which  some  of  the  music  was  written  on 
staves  of  eight  lines,  marked  at  the  beginning  with 
I  eight  Greek  letters :  the  notes,  or  rather  points, 
were  on  the  lines,  but  no  use  was  made  of  tin 
I  spaces.      This  however,  at  most,    only  deprive* 
I  Guido  of  the  original  invention  of  the  statf,  and 
I  still  leaves  him  the  credit  of  its  great  imjirove- 
;  ment,  by  reducing  it  to  five  lines,  and  employing 
both  lines  and  spaces. 

ST.VPF  OF  FOUR  LINES.  There  arc  now 
extant  several  specimens  of  the  style  of  music 
in  use  among  the  monks  of  the  earlier  Christian 
ages.  These  examples  are  very  curious,  and,  to 
the  casual  observer,  extremely  interesting  The 
airs  are  written  on  four  lines,  and  are  marked 
with  treble  and  bass  clefs  ;  but  they  would  ap- 
pear to  have  been  intended  almost  entirely  for 
the  use  of  singers.  Instrumental  music  of  that 
period  is  much  more  rare  and  uncommon.  The 
compositions  alluded  to  are  very  ti-ehlc,  and 
evince  an  ignorance  of  the  extent  to  which  mu- 
sical sounds  might  l)c  made  available.  They  aro 
merely  loose  themes,  without  any  attempt  what- 
ever at  artistic  effect  .\s  time  wore  on,  tha 
writing  on  five  \iup»  instead  of  on  four  liccain* 
universally  adopteil  in  Europe,  and  the  style  of 
composition  gradually  improved.     Sec  alwivc. 

STAOGINS,  NICHOL.VS.  wa«  e»iucateil  un- 
der  hU  father,  a  mu.sician,  '"!•  ■>'    ■  -^    r'-Mi  cnal- 


803 


ST  A 


ENCYCLOPEDIA    OF    MUSIC. 


STE 


nenrc,  who  lived  in  London.  lie  hnd  interest 
enough  to  procure  the  pliice  of  composer  to  King 
Charles  II.,  nnd  afterwards  to  be  made  master  of 
the  band  of  William  III.  In  the  year  1G41  he 
was  admitted  to  the  degree  of  doctor  in  music  ; 
but  through  the  favor  of  Dr.  James,  the  vice 
chancellor  of  Cambridge,  the  most  difficult  part 
of  the  exercise  for  his  act  was  dispensed  with. 
This  partiality  occasioned  great  murmurings ;  not- 
withstanding which  the  university  also  thought 
proper  to  appoint  him  their  public  professor  of 
music.  There  was  at  Cambridge  no  endowment 
for  a  musical  professorship,  so  that  the  appoint- 
ment must  have  been  merely  honorary  ;  by  vir- 
tue of  it,  however.  Dr.  Tudway  succeeded  to  the 
title  on  the  death  of  Staggins.  In  a  collection 
of  "  Choice  Ajtbs,  Songs,  and  Dialogues,  to  sing 
to  the  Theorb  Lute  or  Bass  Viol,"  published  in 
167-5,  there  is  a  song  composed  by  Dr.  Staggins 
to  the  words  "  While  Alexis  ;  "  and  there  is  an- 
other, "  How  unhappy  a  lover  am  I,"  in  Smith's 
"  Miisica  Antiqua."  It  does  not  appear  that  he 
ever  comjwsed  anthems  or  services,  or,  indeed, 
any  work  that  could  render  him  justly  eminent 
in  his  profession. 


great  musician,  both  as  a  concerto  player  on  th« 
violoncello  and  tenor  and  as  an  instrumental 
composer.  Many  of  his  works  were  pu  ilished  at 
Paris,  Berlin,  and  Amsterdam.  He  died  at 
Jena,  on  his  journey  to  Russia,  in  1801.  His 
writings  had  all  the  tire  and  spirit  of  those  of  his 
father ;  whilst  he  contrived  to  keep  pace  with 
modern  improvements,  without  the  sers'ile  imita- 
tion of  any  style. 

STANLEY,  JOHN,  bachelor  of  music,  wag 
bom  in  the  year  1713.  At  two  years  old  he 
totally  lost  his  sight  by  falling  on  a  marble  hearth 
with  a  china  basin  in  his  hand.  At  the  a^e  of 
seven  he  first  began  to  learn  music,  as  an  art 
that  was  likely  to  amuse  him,  but  without  his 
friends  supposing  it  possible  for  him,  circum- 
stanced as  he  was,  to  make  it  his  profession.  His 
master  was  Heading,  a  scholar  of  Dr.  Blow,  and 
organist  of  Hackney.  But  his  father,  finding 
that  he  not  only  received  great  pleasure  from 
music,  but  had  made  a  rapid  progress,  placed  him 
with  Dr.  Greene,  under  whom  he  studied  with 
great  diligence  and  a  siiccess  that  was  astonish- 
ing. At  eleven  years  of  age  he  obtained  the 
place  of  organist  at  All  Hallows,  Bread  Street ; 


STAIXER,  or  STEINER,  JACOB,  a  celebrated  I  and  in  172ii,  at  the  age  of  thirteen,  was  elected 


violin  maker  at  Absom,  a  small  village  of  the 
Tyrol,  lived  towards  the  close  of  the  seventeenth 
century.  lie  was  ,  an  apprentice  of  Amati.  His 
instruments  were  not  highly  valued  till  after  his 
death,  since  which  time  to  the  present  period 
they  have  produced  very  considerable  prices. 
The  Stainer  violins,  compared  with  the  Amatis, 
are  hiy;h  and  narrow,  and  the  box  more  confined ; 
ine  sound  holes  are  cut  more  perpendicular,  and 
are  shorter ;  there  is  also  a  kind  of  notch  at  the 
turn.  The  Straduarius  violins  are  of  a  larger 
pattern,  particularly  those  of  Antonius  the  son, 
and  have  a  wider  box  than  the  Amatis,  and  long- 
er sound  holes,  which  are  cut  at  the  cuds  very 
siiiirp  and  broad,  with  a  little  hollow  at  that  end 
which  other  makers  cut  fiat.  The  varnishes  of 
the  Amatis  and  Stainers  arc  yellow,  as  well  as 
those  of  Straduarius  the  father;  the  son's  varnish 
is  red.  Of  the  audible  characteristics,  surely 
of  the  most  importance,  though  too  frequently 
a  secondary  consideration,  generally  speaking, 
the  Amatis  have  a  mild  and  sweet  tone,  the 
Stainers  a  sharp  and  piercing  tone,  and  the  Stra- 
d\iarius  a  rich  and  full  tone.  See  Am.iti,  and 
Str.vuuakius. 

STAMITZ,  JOIIANN  CARL,  concert  master 
and  chamber  musician  at  Manheim  in  17o(),  was 
born  in  1719  at  a  small  town  in  Bohemia,  where 
his  father  was  a  schoolmaster.  He  was  the 
founder  of  the  famous  violin  school  at  Manheim, 
whi-ih  for  a  long  time  preserved  a  high  reputa- 
tion. J.  C.  Stiimitz  was  one  of  those  professors 
whose  works  have  deservedly  attained  celebrity. 
They  consist  principally  of  spnphonios,  or  over- 
tures, concertos,  quartets,  and  trios.  Though 
truly  masterly,  they  still  are  of  the  old  school, 
and  are  considered  by  some  critics  to  savor  too 
much  of  the  church  style. 

STAMITZ,  CARL,  elder  son  of  the  preceding, 
wa.s  born  iit  Mnnheim  in  1740.  He  studied  the 
violin  und'.'r  his  father,  and  his  father's  pupil, 
Cannabich.  and  was  engaged  in  the  chapel  of  a 
lerraan  prince,  till  in  1770  he  went  to  Paris,  and 
tat  along  time  sustained  his  reputation  there  as  a 


organist  of  St.  Andrew's  in  preference  to  a  great 
number  of  candidates.  In  17.34  the  benchers 
of  the  honorable  society  of  the  Inner  Temple_ 
elected  him  one  of  their  organists.  These  two 
places  he  retained  till  the  time  of  his  death.  Few 
professors  have  spent  a  more  active  life  in  every 
branch  of  his  art  than  this  extraordinary  musi- 
cian ;  having  been  not  only  a  most  neat,  pleasing, 
and  accurate  performer,  but  a  natural  and  agree- 
able composer,  and  an  intelligent  instructor.  He 
W!xs  the  conductor  and  soul  of  the  Swan  and 
Castle  concerts  in  the  city  as  long  as  they  sub- 
sisted. Upon  the  death  of  Handel,  he  and 
Smith  undertook  to  superintend  the  perform- 
ance of  oratorios  during  Lent ;  and  alter  Mr. 
Smith  retired  he  carried  them  on,  in  conjunction 
with  Linley,  till  within  two  years  of  his  death  in 
1786.  That  Stanley  was  able  to  accompany  a 
singer  as  he  did,  and,  above  all,  to  conduct  the 
oratorios,  is  astonishing,  and  far  beyond  all  pos- 
sibility of  explanation.  It  is  said  that  Miss  Ar- 
lond,  his  sister-in-law,  played  each  oratorio  once 
throughout  to  him,  previously  to  the  public  per- 
formance, and  thfit  he  needed  no  further  help. 
He  published  several  opera  of  instrumental 
music. 

STANZEN,  JOIIANN  L.,  organist  at  Ilildes- 
heim,  published  at  Cassel,  in  1782  and  17S.'{,  "A 
Collection  of  Songs,  with  Piano-forte  Accompa- 
niments, in  two  vols."  He  also  published  six 
opera  of  piano-forte  music,  at  Ofienbach  and 
Brunswick,  between  the  years  1793  and  1797. 

STARK.  (G.)  Forte,  loud;  as,  mit  slarken 
Slimmen,  with  loud  stops,  in  organ  playing. 

STARZER,  a  very  celebrated  ballet  composer 
and  excellent  violinist  at  Vienna,  died  there 
about  the  year  1793. 

STATION.  This  word  is  sometimes  used  by 
ancient  musical  authors  for  any  fixed  pitch  or 
degree  of  sound,  whether  produced  by  intension 
or  remission. 

STECHER,  MARIAN,'  a  good  composer  for 
the  organ  and  piano-forte,  resided  at  Munich  ir 


894 


STK 


ENCYCLOPAEDIA    OF   MUSIC. 


STB 


the  latter  part   of  the  last   century.     Rtecher's  I 
works  hear  date  from  the  year  1793  to  1803. 

STECKLEU,    MI-LE.,     a   celebrated    female 
harpist  at  I'aris,  was  a  pupil  of  Kruraphol/.     She  ! 
made  her  dihtit  at  the  concert  spiiituel  in  1780.  I 

ST?:FFAN,  JOSEPH   ANTON,  professor  of 


few  of  his  profession  ever  attained.  He  becar  e 
a  diplomatic  character,  and  was  frequently  en.- 
jdoyed  in  negotiations  to  foreign  courts.  For 
ills  conduct  in  the  scheme  of  erecting  tho  duchy 
of  Brunswick- I.uneburg  into  an  electorate,  he 
received  from  the  elector  a  pension  of  one  thou- 
aand  fire   hundred  rix  dollars  per  annum  ;  and 


the   harpsichord  at  Vienna,  was   bom  in  1720.     j,y  the  pope.  Innocent  XI.,  he  was  promoted  to 
"'  '    -'--  -     '  '-    -'     the  l)i«hopric  of  Spigna.     Being  now  a  states- 

man and  a  dignitary  of  the  church,  he  forlwro 
any  longer  to  set  his  name  to  his  composition*, 
but  ado|)ted  that  of  hLs  secretary,  Gregorio  I'uia; 
and,  perhaps  intlucnccd  by  the  same  motives,  he, 
in  1 70H,  ruiiigned  his  emploj-racnt  of  clmpcl-mas- 


He  was  a  pupil  of  Wagenscil,  whose  style  of 
playing,  however,  he  soon  neglected  for  one  en- 
tirely his  own.  He  was  music  master  to  Marie 
Antoincttft,  Queen  of  France,  and  to  the  Queen 
of  Naples.  Ho  published  several  operas  of  music 
for  his  instrument,  at  Vienna,  between  the  years 


175C   and    1798;    also  a   collection    of   German  |  ter  in  favor  of  Handel.     A'l>out   1724  the  Acad- 
songs,  in  four  volumes,  in  1778  and  1781. 

Sl'EFFANI,  AGO.STINO,  was  bom  in  the 
year  1655  at  Castello- Franco,  a  small  frontier 
town  in  the  territory  of  Venice.  In  his  child- 
hood he  was  a  singer  in  some  neighboring  cathe- 
dral, church,  or  chapel ;  but  he  had  not  served 
more  than  two  years  in  the  choir  when  a  Ger- 
man nobleman  was  so  much  pleased  with  his 
voice  and  figure  that  he  procured  his  discharge 
and  took  him  into  Bavaria.  At  the  expense  of 
this  nobleman,  Stefl'ani  was  instructed  in  all  the 
branches  of  useful  and  ornamental  literature. 
The  direction  of  his  musical  studies  was  com- 
mitted to  Ercole  Bernabci.  In  compliance  with 
the  request  of  his  patron,  who  was  desirous  of 
rendering  his  learning  of  further  advantage  to 
him,  he  took  holy  orders,  and  was  soon  after- 
wards made  an  abbate.  In  the  course  of  his 
studies  he  had  composed  several  masses,  motets, 
magnificats,  and  other  kinds  of  church  music, 
which,  alter  his  promotion,  were  pcrformotl  in 
the  chapel  at  Munich.  The  reigning  Duke  of 
Brunswick,  the  father  of  King  George  I.,  was  so 
greatly  delighted  with  them  that  he  invited 
btetlani  to  the  court  of  Hanover,  and,  it  is  said, 
conterred  on  hun  the  employment  of  chapel-mas- 
ter. He  also  committed  to  his  ciue  the  manage- 
ment of  the  opera,  an  entertainment  wliich  had 
then  but  lately  found  its  way  into  Germany. 
Alter  his  settlement  in  Ciennany,  Stctfani  applietl 
himself  wholly  to  the  study  of  secidar  music, 
and  composed  many  operas,  among  which  were 
••AJe.xauder  the  Great,"  "  Orlando,"  and  "  Al- 
cibiadcB."  These  were  translate<l  from  the  Italian 
into  the  Gernian  language,  and  were  perfonued 
at  Hamburg  between  the  years  1(;94  anil  1700. 
He  compdsctl  also  a  lew  madrigals  in  five  parts, 
some  ot  which  arc  very  fine.  But  the  most  cel- 
ebrated of  all  his  works  arc  his  duets  lor  two 
voices,  with  a  bass  accompaniment,  eo  calculated 
as  simply  to  sustain  the  harmony,  without  in- 
creasing in  effect  the  number  of  parts.  Of  these 
compositions,  it  is.  perhaps,  their  best  praise  that 
Handel  professed  to  imitate  them  in  twelve  duets 
which  he  compose^l  for  Queen  Caroline.  Their 
characteristic  is  a  tine  and  elegant  melody,  origi- 
nal aiul  varied  modulation,  and  a  contexture  of 
parts  so  clojc.  that,  in  some  instances,  canon  it 


emy  of  Ancient  Music  in  Ix)ndon  elected  him 
their  president.  He  died  at  Frankfort,  in  the 
year  17:50,  alter  an  indi.Hpo>ition  of  only  a  few 
(lavs'  continuance. 

Besides  the  works  above  mentioned,  there  are 
extant  in  print,  by  Stcffani,  a  Berics  of  letters 
entitled  "  limuita  certezza  ubhia  da  >uoi  I'tiiuipi,  In 
Minicu;"  "  I'sdlmodia  Vraprrt.,%  rne."  imblished 
in  1674;  a  collection  of  motets,  entitled  "  Sactr 
Jamts,  (ii4'i(lri/otis,  3  roc.,  Monnchir,"  in  10S5; 
and  ft  "  Collection  of  Airs,"  said  to  be  taken  from 
his  operas.  The  hitter  are  not.  however,  to  be 
regarded  as  his  genuine  productions. 

Of  the  woiks  of  this  excellent  comi>oscr,  Ste- 
vens's "  Collection  of  Sacreil  MiLsic  "  contain* 
three  duets  ;  n.oroely,  "  Come,  ye  Children,"  ■'  I 
will  give  Thank.s,"  "  O,  praise  the  I^ird :  "  and 
four  trios,  "Rejoice  in  the  Lord."  "  O.  hear  ye 
this,"  "  O,  be  joyful,"  and  *•  I'hou  art  my  Por- 
tion." In  Dr.  Crotch's  publication  there  i»  ft 
"  Qui  diliijU  Mitrinm,"  by  Stetfani,  which  lorms  a 
fine  specimen  of  his  works. 

STECJMANN,  C.\UL  DAVID,  music  director 
nt  the  theatre  of  Grossraann,  at  Dresden,  was 
Ixirn  there  in  1751.  He  was  a  pupil  ol  Homilius, 
and  was  not  only  a  good  dramatic  compO'.er,  but 
also  an  able  violinist  and  jicrformcr  on  the 
harpsichord.  HLs  dramatic  works,  written  lor 
various  towns  in  (Jermnny,  bear  date  from  1773 
to  1800.  He  also  composeil  much  instrumental 
music,  most  of  which  has  remained  in  manu- 
script. 

STEIBELT,  DANIEL,  was  Ixirn  at  Berlin  in 
175.1.  His  father  was  well  known  as  a  manu- 
facturer of  piano-fortes.  HLs  musical  talcnta 
were  develoiied  at  an  early  a:;c;  and  good  for- 
tune introduced  him  to  William  III.,  ol  Pmssia. 
under  whose  patronage  he  was  enabled  to  purstie 
his  studies  in  playing  and  composition.  He 
afterwards  travelled  abroad,  and  resided  durirg 
fifteen  years  in  London  and  Paris.  It  is  tc  liim 
that  the  Parisians  are  indebted  for  their  first 
acquaintance  with  the  "  Creation "  of  Haydn. 
The  French  critics  of  this  period  were  of  opinion 
that  the  work  abounded  with  many  excellences, 
but,  upon  the  whole,  was  heavy  and  tedious. 
During  his  residence  in  I'aris,  it  is  said  that  h€ 


sell'  is  sciu'celv  more  strict ;  and,  which  is  very  gave  considerable  offence  to  hLs  lellow-artists  by 
remarkable,  this  connection  is  raaintainetl  with  assuming  an  air  ot  haiueur  incompatible  with 
such  art  as  not  to  art'ect  the  air,  or  cre;itc  any  the  modesty  of  a  professor.  He  affected  t  de- 
necessity  of  varying  it  in  order  to  accommodate  spiso  his  mother  tongue,  and  preferred  speaking 
it  to  the  harmony.  ,  bad  French  to  good  German.      In  1799   ^tcibilt 

llie  musical  talents  of  Steffani,  though  very    returned  to   Germany,   and  afterwards  went  to 


splendid,  were  liir  from  being  the  only  dL«tin- 
guLshed  part  of  his  character.  HLs  great  natural 
endowments  enabled  him  to  act  in  a  sphere  that 


Russia,  where  he  had  the  honor  of  being  nomi- 
nated, by  the  Emperor  Alexander,  to  the  nlKcc  of 
chapcl-raastcr.      He    died    at  tit.  Petersburg  ia 


895 


STE 


ENCYCLOPAEDIA   OF   MUSIC. 


STE 


182^,  after  a  painful  and  protracted  illness.  Due 
respect  was  shown  to  his  memory  by  the  united 
efforts  of  liis  brother  artists,  assisted  by  a  great 
number  of  amateurs,  who  performed  a  solemn 
dirge  to  his  honor. 

Rtcibelt  was  not  less  esteemed  as  an  admira- 
ble player  than  as  a  pleasing  composer.  His 
forte  lay  in  music  of  the  bravura  kind,  which  he 
gave  with  great  precision,  ])owcr,  and  effect, 
united  to  hinguhir  beauty  and  delicacy  of  manner. 
His  compositions  for  tlic  ])iano-forte,  particularly 
those  of  the  middle  part  of  his  life,  had  numerous 
admirers  as  well  in  Germany  ns  in  Kngland,  but 
particularly  in  P'rance.  This  may  l)e  easily  ac- 
counted for  from  the  character  of  his  music, 
•which  is  full  of  gayety,  animation,  and  spirit, 
easy  of  conception,  and  generally  not  difficult  in 
the  performance.  That  portion  of  his  works 
which  to  us  appears  less  subjected  to  the  fashion 
of  tlic  day,  and  more  abounding  in  richness  and 
originality  of  invention,  than  the  greater  part  of 
his  other  compositions,  is  liis  "  Etudes,"  in  two 
volumes.  Hut  some  of  his  sonatas,  particularly 
that  dedicated  to  Madame  Bonaparte,  will  be  ad- 
mired so  long  as  the  piano-forte  music  of  this 
age  shall  be  esteemed.  For  other  instruments 
and  a  full  orchestra  he  wrote  but  little ;  and  he 
showed  his  judgment  in  so  doing ;  for  in  the  little 
he  attempted  his  success  was  very  limited.  He 
produced  a  few  operas,  which,  however,  appear 
never  to  have  circulated  beyond  the  limits  of  the 
citie.s  for  which  they  were  composed.  The  last 
of  his  compositions  of  this  kind  was  "  The  Judg- 
ment of  Midas,"  which  he  left  to  his  son  in  an 
unfinished  state,  and,  unfortunately,  was  the  only 
thing  lie  had  to  leave  him  ;  for  Steibelt  had  the 
misfortune,  like  many  other  men  of  genius,  to 
pay  but  little  regard  to  economy  and  the  grosser 
things  of  this  world.  The  embarra.ssraent  of  his 
circumstances  had  no  small  effect  upon  the  vigor 
and  elasticity  of  his  mind.  In  consideration  of 
the  merits  of  the  father  and  the  distressed  situa- 
tion of  the  son.  Count  Miloradowitsch,  of  St. 
Petersburg,  humanely  suggested  the  idea  of  a 
great  concert  for  the  bcyiefit  of  the  latter,  which 
produced  the  desired  result. 

Steibelt  occupied  the  latter  days  of  his  life  in 
recomposing  his  opera  of  "  Koraco  and  Juliet," 
the  score  of  which  he  on  his  dying  bed  dedicated 
to  the  King  of  Prussia,  out  of  a  feeling  of  grati- 
tude for  the  patrojiage  and  favors  he  had  received 
from  his  royal  father.  His  two  other  operas, 
"Cinderella"  and  "The  Judgment  of  Midas," 
were  written  for  the  Imperial  French  llieatre  at 
St.  Petersburg,  wliere  tliey  were  performed  with  I 
considerable  a|)plausc.  Of  Steibelt  it  may  be  j 
truly  said,  that  if  he  neither  opened  any  new  \ 
paths  in  science,  nor  enlarged  its  boundaries,  at 
least  he  has  done  much  for  the  cultivation  and 
improvement  of  that  which  was  already  known. 
He  has  contributed  very  considerably  to  advance 
the  interests  of  music,  by  increasing  the  number 
of  amateurs  through  the  medium  of  his  instruc- 
tions, and  by  means  of  his  compositions,  which 
have  been,  and  many  of  them  still  continue,  de- 
servedly amongst  the  most  popular  piano-forte 
works  in  his  time  sent  forth  to  the  world. 

STEIN,  JOIIANN  ANDREAS,  an  organist 
at  Augsburg,  born  in  17l!8,  was  particularly  cele- 
brated as  a  manufacturer  of  organs.  He  was  the 
inventor  of  a  musical  instrument  called  the  me- 


lodica,  which  was  fasltionable  at  Paris  for  some 
time.     He  died  at  Augsl)urg  in  1792. 

STEIX,  FRIEDUICH.  youngest  son  of  the 
preceding,  was  born  at  Augsburg  in  1784.  He 
was  a  pupil  of  Albrechtsberger,  and  was  a  cele- 
brated pianist  and  admired  dramatic  composer. 
He  died  in  his  twentv-fifth  vear  at  Vienna,  in 
1809. 

STEINER.     See  Stainer. 

STEIX  FELD,  X.  J.,  organist  at  Bergedorf, 
near  Hamburg,  published  several  operas  of  vocal 
and  instrumental  music  in  that  city  between  the 
years  1784  and  1802. 

STEINGUDEN,  CONST ANTIN,  chapel-mas- 
ter at  Constance  in  the  seventeenth  century,  pub- 
lished there,  in  16G6,  his  Op.  4,  entitled  "  Flore* 
Ilyemales  o  3,  4  voci,"  with  instrumental  accom- 
paniments. 

STEINMULLER.  There  were  three  lirothers 
of  this  name,  hornists  in  the  celebrated  chapel 
of  Prince  Esterhazy  when  it  was  under  the 
direction  of  Haydn.  They  wrote  much  music 
for  their  instrument. 

STELLA,  SCIPIONE.  an  Italian  monk,  was 
celebrated  at  Naples  as  an  able  contrapuntist,  and 
especially  canonist,  at  the  beginning  of  the  sev- 
enteenth century.  Amongst  his  works  is  "  II, 
Libra  2do  de  Madrigali  d  a  voci,"  second  edition, 
Venice,  1808. 

STEM.  ITiat  part  of  a  note  which  branches 
upward  or  downward  from  the  point  or  head. 
See  Tail. 

STENTATO.  A  word  sometimes  used  by  the 
Italians  to  signify  that  the  voice  should  be  thrown 
out  freely  in  the  passages  over  which  it  is  writ- 
ten, for  the  expression  of  some  e.xtraordinary 
emotion. 

STENTOROPHONIC  TURE.  (From  the 
Greek.)  A  speaking  trumpet,  so  called  from 
Stentor,  the  lierald  or  crier  mentioned  by  Homer, 
and  who,  as  that  author  tells  us,  could  call  louder 
than  fifty  men.  The  stentorophonic  horn  of 
Ale.xander  the  Great  is  famous  :  with  this,  it  is 
said,  he  could  give  orders  to  his  army  at  ths 
distance  of  one  hundred  stadia,  which  is  above 
twenty  English  miles. 

STEPHENS,  MISS.  This  eminent  artist  was 
born  in  London,  and  received  the  first  rudiments 
of  instruction  in  the  art  of  singing  from  Lanza, 
under  whose  tuition  she  passed  a  considerable 
period.  Proceeding  upon  the  genuine  Italian 
method  of  forming  the  voice,  Lanza  initiated  his 
pupil  very  slowly,  but  very  surely,  we  a]>prchend, 
in  the  elements.  Her  power  of  sustaining  and 
her  intonation  are  therefore  both  fi.Ked.  Whilst 
under  her  first  master,  Miss  Stephens  was  brought 
out  at  the  Pantheon.  At  length,  however,  the 
slowness,  though  correctness,  of  Lanza's  process 
of  tuition  induced  the  father  of  Mi.ss  Stephens 
to  apj)ly  to  Thomas  Welsh,  wlio  at  once  saw  the 
great  vocal  promise  of  the  young  lady,  and  ex- 
erted himself  in  every  way  to  bring  her  suffi- 
ciently forward  to  appear  before  the  public  witli 
iclal.  She  made  her  dibtU  at  Covent  Garden 
Theatre  with  brilliant  approbation.  The  quality 
of  hrr  tone  was  full  and  rich.  The  peculiar  bent 
of  her  talent  was  towards  ballads  and  songs  of 


896 


8T11 


ENCYCLOPEDIA    OF   MUSIC. 


STE 


simple  declarant  ion  ;  in  a  word,  towards  that  par- 
ticular style  which  is  generally  esteemed  to  he 
purely  Eu;;lish,  thouj;h  the  formation  of  the 
■roicc  may  (indeed  it  must,  Ibrtlicreare  no  other) 
have  been  conducted  upon  the  principles  of 
Italian  teaching.  It  is  impossible  lor  any  thing 
to  be  more  pure,  more  clia>te,  than  tlie  simplicity 
with  which  Miss  Stephens  gave  such  songs  as 
"Auld  Uobin  (irny,"  "Angels  ever  bright  and 
fair,"  and  "  Pious  ()rgies"  ol  Handel.  Her  orna- 
ments were  correct  iind  pleasing,  but  seldom  far 
sought  or  surprising,  while  there  was  little  of  the 
coarseness  of  the  stuge  to  1)0  discovered 

STERKEI,,  ABHE  J.  F.,  was  born  at  Wurtz- 
bnrg  about  the  year  17.)0.  He  was  a  composer, 
jirincipaUy  of  sonatas  and  concertos  for  the  harp- 
Bichoid ;  and  a  great  many  sets  of  these,  at  ditt'er- 
enl  times,  have  been  ])ubllshecl.  He  travelled 
into  Italy  for  improvement,  and  ai)i)ears  to  have 
considerably  benehted  himself  l)y  attending  to 
and  studying  the  Italian  style  of  coiui  o.-ition. 
"His  works,"  says  Dr.  Burney,  "although  they 
are  not  very  learned  or  consonant  to  har/nonical 
rules,  arc  full  of  spirit,  and  abound  in  tasteful 
and  pleasing  passages.  His  violin  concertos  gen- 
eruUy  con-ist  of  passages  of  effect  and  such  as 
give  importance  to  the  i)layer.  Indeed,  hLs 
l)icces,  though  not  very  original,  are  less  tinc- 
tured with  Bachism  or  Ilaydnisra  than  those  of 
most  of  his  countrymen  who  have  not  visited 
Italy ;  and  though  less  solid,  and  less  his  own 
property,  than  Kozeluch's,  yet  they  are  more 
easy  to  execute,  and  more  intelligible  to  un- 
learned hearers." 

STESIC'HOKUS,  a  much  respected  bard,  who, 
according  to  Athcnanis,  was  born  at  Himera,  in 
Sicily.  His  tirst  name  was  Tisias ;  but  he  ac- 
quired t!ie  title  of  8tesichorus  from  the  changes 
he  made  in  the  manner  of  performing  the  dithy- 
rambi<;  chorus,  which  was  sung  and  danced 
round  the  altar  or  statue  of  Uucchus  during  the 
worship  of  that  god.  Our  latest  chronologers 
agree  in  fixing  the  time  of  his  death  to  have  been 
five  hundred  and  tifty-six  years  beiore  Christ.  A 
character  of  his  numerous  poems  may  be  seen  in 
Quinctilian,  who  speaks  of  them  as  subsisting  in 
his  tin\e.  At  present,  only  a  lew  fragments  of 
them  remain.  Among  his  musical  improvements, 
I'lutarch  enumerates  the  changes  which  he  made 
in  the  Imrmaiian  or  chariot  air,  composed  by 
Olympus. 

8TESS0.     (I.)     'ITio  same. 

STEUEULEIX,  JOII  ANN,  a  celebrated  church 
composer,  was  born  at  6chmalkald  in  151G.  His 
compositions  bear  date  from  1571  to  1601.  Uo 
died  in  1(313. 

STEUr,  H.  C.  A  pianist  at  -Vmsfcrdam,  and 
also  ]iroprictor  of  a  music  warehou.se  there. 
Many  ot  his  instrumental  compositions  have  been 
publLslud  since  the  yeiu  ISOO. 

STEVEN'S,  H.  J.  S.     ITiis  celebrated  composer 
of  part  songs  was  organist  of  the  Charter  1  louse 
and  of  the  Temple;  also  Greshnm  protcssor  of 
rau.sic.      He    published  a    ?ery   beautiful  selec- 
tion of    sacred   music    in    three   volumes    folio. 
Amongst  his  glees,  tlic  following  are  the  most 
admired:   "Sigh  no  more,  ladies,"    live  voices;  | 
"  Ye  spotted  snakes,"   four   voices  ;     "  It  waj»  a  ' 
lover  ajul    his   lass,"    five   voices;    "O  mistrcsa 
mijie,"  live  voices  ;  and,  "  See  what  horrid  tem-  I 
H3  807 


pests,"  four  voices.     His  compositions  ap])oarcd 
chietiy  between  the  yeare  I'i'Jj  and  1805. 

STEVENS.  WILLIAM  S.,  was  born  in  Wnst- 
minster  in  1778.  At  six  or  seven  years  of 
age  he  was  sent  to  Wallinglord,  in  Berkshire, 
where  he  received  a  classical  education  ;  at  thir- 
teen he  was  removed  to  Laytonstone,  in  Eisc.x, 
where  for  two  years  he  studied  the  mnthcmaticri 
and  the  French  language,  and  improved  him.sclf 
in  the  cla.ssics.  The  tirst  musical  impul.>e  ho  felt 
(being,  as  a  child,  inclined  to  mechanics)  was  a 
desire  to  make  a  tile,  one  of  his  schoolfelloxvs 
having  an  instrument  of  that  sort  which  he 
would  not  lend  him.  He  began  this  mechanical 
undertaking  by  giving  sixpence  from  his  pocket 
money  for  a  piece  ol  bamboo  cane,  with  which, 
and  the  assistance  of  an  iron  skewer,  made  hot, 
he  burned  the  several  holes  for  his  life,  and 
formed  a  tolerably  « ell-tuned  and  well-toned 
instrument,  with  which  he  emulated  the  strains 
of  his  rival  schoolfellow.  Having  evinced  thuH 
early  (for  he  was  but  eight  years  old  at  the  time) 
a  decided  aptitude  for  music,  his  father  bought 
him  a  flute,  and  he  receive  1  some  lessons  from  a 
teacher  in  the  town  ;  after  which  he  made  so 
great  a  progress  as  soon  to  excel  his  master,  by 
liis  own  confession.  In  the  course  of  a  few 
years  he  became  acquainted  with  keyed  instru- 
ments ;  at  that  period,  howevir,  very  scarce. 
His  father  bought  him  a  virginal,  il.e  fruitful 
mother  of  the  piano. forte.  For  this  instrument 
he  felt  a  very  strong  attachment,  as  he  soon  found 
that  he  could  play  all  his  flute  music  on  it ;  he 
Iclt,  however,  the  want  of  rules  and  signs  to 
assist  and  regulate  his  harmonies  and  to  combine 
both  his  hands.  The  assistance  of  a  master  was 
therefore  procured,  who^e  name  was  Thomas 
Smart,  a  pujjU  of  Drs.  I'epusch,  Nares,  and 
Boyce.  Under  his  tuition  he  soon  evinced  his 
improvement  on  a  good  Kirkman's  harpsichord, 
and,  in  a  little  time,  equally  so  on  the  organ, 
to  which  he  had  now  constant  access  in  the 
Churches  of  St.  Bride,  St.  Clement,  and  the  Tem- 
ple. Under  Smart  he  also  studied  thorough 
bass,  which  had  the  greatest  charms  for  him ; 
principally  becau.se,  though  now  a  good  practical 
player  from  figured  notes,  he  felt  that  he  wanted 
the  principles  of  hannony,  fundamental,  deep, 
and  certain  :  these  he  wished  lor,  to  lead  him  to 
that  i-erleci  knowledge  of  the  art  which  he  aimed 
at  and  was  resolved  to  attain.  In  this  rcsi)ect  he 
more  esijc^ially  succeeded  in  his  sub.scfjuent 
studies  with  K  J.  S  Stevens,  of  the  Charter 
House,  n)ul,  lastly,  with  Dr.  took,  of  Westmin- 
ster .\bbey :  the  former  opened  to  him  the  har- 
monic code,  an.l  taught  him  counterpoint  and 
composition  ;  and  with  the  latter  he  studied  the 
nature  ol  cathedral  music,  the  accompaniment  ol 
its  services,  and  obtaine<l  a  true  idea  of  iK-orcx 
and  of  the  ready  manner  of  reading  thom. 

Stevens  having  consideral>lc  cxi>c.-tationii, 
which  were  considered  as  certainties,  both  from 
his  lather  s  as  well  as  other  pm]>crtv.  waa 
brought  up  to  no  profession,  although  he  studied 
lor  more  than  one.  Fearing,  however,  (what  in 
fact  happened,)  that  hLs  expectations  might  not 
be  realized  in  lull  by  the  alter  rircum.ttauccn  ot 
hLs  lile,  he  resolved  to  apply  him.oclt  to  the  mu»i- 
cal  profession  as  a  le.ichcr ;  nfxtn  after  which  deter- 
mination he  was  apjiointcd  pianist  and  master  of 
the  chorLitors  at  the  Ilarraarkct  Theatre,  which 


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ENCYCLOPAEDIA    OF    MUSIC. 


BTO 


Kitiintion  he  hold  until  a  new  manaf»enient  ex-  ' 
l)ollctl  the  jiinno -forte  from  the  orchestra.  At 
various  times  he  puhlishcd  songn,  glees,  and  a 
few  sonatas,  capriccios,  J<:c.  ;  he  also  employed 
his  pen  and  talents  on  otlier  subjects  than  music  ; 
having  written  and  presented  to  government  an 
"  Essay  on  Projectiles,"  so  I'ar  as  ball  shooting  is 
eoneerned,  which  essay  found  its  way  to  Wool-  \ 
wich  Warren  ;  and  guns,  it  has  been  said,  were 
cast  on  tlie  plan  he  re;'omraended.  He  next 
turned  his  mind  to  giving  a  plan  for  the  orchestra 
at  Drury  I.anc  Theatre,  when  to  be  rebuilt  after  the 
fire  :  his  idea  was  only  in  part  acted  on,  jirovision 
being,  however,  made  for  the  completion  of  the 
plan,  should  it  be  afterwards  thought  advisable. 
After  this  he  sedulously  exerted  his  inventive 
faculties  to  devise  a  plan  for  preventing  the  for- 
gery of  bank  notes,  and  did  not  discontinue  his 
efforts  till  it  was  resolved  by  the  directors  to  call 
in  the  small  notes  and  pay  in  specie.  He  was 
not  idle  alter  the  above  project  ceased  to  occupy 


Catch  Club  a  massive  and  elegant  silver  cup  in 
testimony  of  their  estimation  of  his  talents  and 
in  consideration  of  the  many  delightful  coraposi 
tions  which  he  had  contributed  to  the  entertain- 
ment of  the  club  and  the  honor  of  th»  country. 
Sir  John  Stevenson's  compositions  are  i)rincipaUy 
vocal.  Several  of  his  glees  and  duets  have  ob- 
tained great  celebrity.  He  has  also  jiublished 
some  church  music.  His  most  popular  work, 
however,  is  his  arrangement  of  the  Irish  Melodies 
to  the  poetry  of  Moore.  ITie  following  are 
amongst  the  more  admired  publications  of  Sir 
John  Stevenson :  — 

Olees :  "And  will  he  not  come  again?'' 
"  Allen  a  Dale,"  three  voices ;  <•  Alice  Brand," 
three  voices  ;  "  Doubt  thou  the  stars  are  fire  ;  " 
*•  Come,  let  us  play,"  madrigal,  three  voices ; 
"  Fairy  Olce;"  "Hail  to  the  mighty  power  of 
song,"  charter  glee  ;  "  Raise  the  song  ;  "  "  lie  is 
gone  on  the  mountain ;  "  "  See  our  oars  "with 
feathered   spray,"   boat   glee ;    "  (),    stay,   sweet 


his  mind,  but  wrote  "  An  Essay  descriptive  of  a  ]  fair,"  &c.      Duets  :    "  Tell    me    where  is  Fancy 


new  Method  of  Navigation,  by  newly-invented 
Charts  and  Instruments,  by  which  the  Longitude 
is  found,  kept,  and  always  known."  lie  also 
■wrote  on  every  part  of  musical  science,  harmo- 
ny, modulation,  fingering,  expression,  &c. ;  also, 
*•  A  complete  double  counterpoint  of  the  prepara- 
tion and  resolution  of  the  seventh  for  all  the 
modulations  both  in  major  and  minor,  making 
sequences  through  each  ottave ;  in  four  parts, 
forming  twenty-three  inversions,  and  showing 
every  discord  that  can  arbe  in  music,  with  their 
natural  resolutions." 


bred;"  "  Those  laughing  eyes  ;  "  "  Sweet  stream, 
if  e'er  thy  limjiid  How  ;  "  "  Valentine's  Day," 
&c.  .Songs  :  "  Cheerful  as  the  bird  of  May ;  " 
"  Cypress  Wreath  ;  "  "  Dearest  girl,  I  soon  must 
leave  thee  ;  "  "  Doubt  not,  sweet  maid  ;  "  •'  Fair- 
est, awake;"  "  Farewell,  my  harp  ;  "  "Harper's 
Son,  in  Rokeby ; "  "Remember  your  vows;" 
"  To  the  brook  and  the  willow  ;  "  "  Come,  take 
the  harp  ;  "  "  Dear  Fanny  ; ''  "  Does  the  harp 
of  Rosa  slumber-"  "Go,  sweet  enchantress;" 
"I  am  wearing  away;"  "  Maid  of  Marlivale;" 
"  O,  turn  away  those  mournful  eyes  ;  "  "  W^a- 


Amongst  his  published  practical  works  are  the     ters  of  EUe,"  &c.      "  Symphonies    and   Accom- 


foUowing  :  "Le  Lever  rie  I' Amour,"  a  sonata  for 
the  piano-forte  ;  "  Lc  Roveile  dv  Diane,"  a  sonata 
for  the  piano-lorte ;  "  A  set  of  capriccios  or  short 
pi  eludes, "  i*tc.  Songs:  "  Art  thou  not  dear  unto 
my  heart  r "  "The  Curfew,"  from  Gray's  Ele- 
gy ;  "  The  Indian  Girl's  Lamentation  over  her 
Lover  killed  by  Lightning;"  "The  Castilian 
Lover."  Glees  :  "  The  Voice  of  Spring ; " 
"  Mary  of  liuttemere,"  an  extemporary  effusion  ; 
"  The  Grand  Musical  Magazine,''  di.scontinued 
after  about  six  or  eight  numbers ;  and  "  A 
Treatise  on  I'iano-forte  Expression-"  Theoreti- 
cal :  "  A  Card,  simplifying  the  Reading  of  the 
Counter  Tenor  Clef." 

STEVENSON,  SIR  JOHN.  A  native  of  Ire- 
land. He  was  born  about  the  year  1772,  and 
received  his  earliest  musical  instructions  under 
Dr.  Murphy,  in  the  Cathedral  Church  of  St. 
Patrick,  Dublin.  In  this  situation  he  first  ac- 
quiicd  that  taste,  both  for  secular  and  sacred 
music,  which  he  cultivated  with  so  much  success. 
Whilst  he  continued  in  Ireland,  the  musical  af- 
terpieces of  the  "  .Son-in-I.aw  "  and  "Agreeable 
Surprise,"  being  the  property  of  the  manager  of 
the  Hayniarket  Theatre,  in  London,  an<l  the 
original  music  not  having  been  published,  he 
was  reiiuested  to  reset  them,  for  the  j.ur|)Ose  of 
their  being  played  in  Dulilin  ;  and  in  this  city 
they  were  jcrforracHl  with  his  music.  Hesidcs 
these  he  composed  for  the  liish  stage  tlie  ojieras 
of  "The  ("ontract"  and  "  Love  in  a  lUazc,"  the 
former  written  by  Dr.  llolton,  and  the  latter  by 
Mrs.  Atkinson.  It  is  state<l  that  the  degree  of 
doctor  of  music  was  conferred  upon  him  under 
circumstances  which  greatly  redound  to  his 
credit ;  and  that  he  rci-oived  from  the  Hibernian 


paniments  to  the  Irish  Mclodie;*,"  eight  parts, 
words  by  T.  Moore,  Rsq. ;  "  Symphonies  and 
Accompaniments  to  popular  National  Airs," 
worils  by  T.  Moore,  Esq.  ;  some  of  the  "  Series 
of  Sacred  Songs,  Duets,  and  Trios,  "  words  by 
T.  Moore,  Esq  ;  and  "  Handel's  Son'js,  arranged 
with  a  Piano-forte  Accompaniment." 

STICCADO.  An  instrument  consisting  of 
small  lengths  of  wood,  flat  at  bottom,  rounded  at 
the  top,  and  resting  on  edges  of  a  kind  of  open 
box.  They  are  unequal,  both  in  length  and 
thickness,  gradually  increasing  from  the  smallest 
to  the  largest,  and  are  tuned  to  the  diatonic 
scale.  This  instrument  is  called  a  sticcado  be- 
cause the  parts  from  which  the  tones  jiroceed  are 
generally  formed  of  wood  :  but  they  sometimes 
consist  of  metal,  and  sometimes  even  of  glass. 

STICH.     See  Pinto. 

STILO  DI  RECITATIVO.  (I.)  A  tedious, 
monotonous  style  of  composition,  in  the  mannei 
of  recitative,  formerly  much  adopted  in  Italy, 
and  sometimes  e.\tending  through  a  whole  narra- 
tive, or  drama,  without  the  least  change  of  meas- 
ure or  mixture  of  air,  except  now  and  then  a 
formal  close. 

STILLINGFLEET,  HENJAMIN.  an  English 
author  and  naturalist,  published  in  London,  in 
1771,  a  commentary  on  Tartini's  trca;i-e  on  mu- 
sic, with  the  title,  "  Principles  and  Power  of 
ILirmony."     He  dieil  in  1771. 

STOB.EUS,  JOANNES,  was  chapcl-ma.ster  at 
Konigsbcrg,  in  Pru.ssia,  towards  the  commence- 
ment of  the  seyenteenth  century.  Amongst  other 
works  he  pubUshe<l  "  CwUmiwi  Su-ra,  4,  5,  10 
voc.,''  Frankfort,  11)24. 


898 


STO 


ENCYCLOP.EDIA    OF    MUSIC. 


STC 


STOELZEL,  GOTTFRIED  IIEINRICII. 
cha))el- master  to  the  Duke  of  Saxc-Gotha,  was 
born  in  1G90.  lie  rcieived  tlie  rudimentH  of  his 
musical  education  from  his  father,  who  was  an 
or};anist,  and  in  1707  was  entered  at  the  Univer- 
sity of  Leipsie,  where  he  formed  an  acquaintance 
with 'the  celebrated  (i.  Hoffmann,  then  music 
director  at  the  new  church  in  that  town.  After 
a  residence  of  three  years  at  I.cipsic,  he  proceed- 
ed to  Breslau,  in  Silesia,  where  he  continued  two 
years,  givin<;  lessons  in  music.  At  the  same 
time  he  composed  there  numerous  overtures, 
concertos,  and  other  works  ;  the  most  remarkable 
of  which  were  a  serenade  on  the  occasion  of  the 
coronation  of  the  f-mperor  Charles  VI.,  and  a 
diamatic  piece  entitled  "  Xaicissits,"  in  honor  of 
the  Countess  of  Ncidhardt ;  of  this  he  wrote 
both  the  m.iiic  and  words.  lie  now  began  to 
feel  a  strong  inclination  to  visit  Italy  ;  and  ac- 
cordingly, alter  writing  several  more  operas  for 
tl'.e  Cierman  theatres,  he  proceeded  to  Venice, 
and  from  thence  to  Florence  and  Rome,  in  all 
which  places  he  was  introduced  to  the  principal 
musicians  of  that  period  ;  amongst  others  Gaspa- 
rini,  Vivaldi,  Polaroli,  Vinacessi,  B.  Marcello, 
Buononcini,  A.  Scarlatti,  &c.  From  Italy  he 
went  to  Prngxie,  where  he  remained  three  years, 
and  composed  the  words  and  music  to  various 
operas  and  oratorios.  He  also  wrote  some  mas-es 
and  instrumental  music.  In  1719  he  cntcrcil 
the  service  of  the  Count  of  Gcra.  He  died  in 
1741).  Amongst  his  works  was  an  interesting 
"  Treatise  on  Recitative."  which  he  drew  up  for 
a  musical  society  about  the  year  1739. 

STONARD,  W.,  organist  of  Christ  Church, 
Oxford,  and  made  doctor  of  music  in  l(J08,  com- 
posed several  anthems,  the  words  of  which  are 
inserted  in  Clifford's  collection.  He  was  also  the 
composer  of  some  pieces  communicated  by  Wal- 
ter Porter  to  Dr.  Wilson,  the  professor  of  music 
at  Oxlbrd,  which  were  directed  to  be  preserved 
forever  among  tlie  archives  of  the  music  school. 

STOP.  A  word  applied  by  violin  and  violon- 
cello performers  to  that  pressure  of  the  strings 
by  which  they  are  brought  into  contact  with  the 
Hnger  board  and  by  which  the  pitch  of  the  note 
is  determined.  Hence  a  string,  when  so  pressed, 
is  said  to  be  iloppvd,  —  Stop  oj  an  Organ.  A  col- 
lection of  pipes  similar  in  tone  and  quality,  which 
run  through  the  whole,  or  a  great  part,  of  the 
compa.ss  of  the  instrument.  In  a  gteat  oigati,  the 
Hdjis  are  numerous  and  multifarious,  commonly 
comprising  the  following :  Open  Duipa.son  St(tp. 
A  metallic  stop  which  commands  the  whole  scale 
of  the  organ,  and  which  is  called  open  in  contra- 
distinction to  the  $top  diapason,  the  pipes  of  which 
are  closed  at  the  top.  —  Stopjied  Dinpason  Stop. 
A  stop  the  pipes  of  which  are  generally  made  of 
wood,  and  its  bass,  up  to  middle  C,  alirays  of 
wood.  They  are  only  half  as  long  as  those  of 
the  open  diapason,  and  are  stopped  at  the  upper 
end  with  wooden  stoppers,  or  plug",  which  render 
the  tone  more  soft  and  mellow  than  that  of  the 
open  diapason.  —  I'riucipal  Stop.     A  metallic  stop 


never  properly  be  used  alone.  The  open  dio/xtmn, 
stopped  diapason,  principal,  and  JiJ'tivnth  are  tho 
best  qualilied  to  accommodate  it  to  the  ear.  —  Fif- 
teenth Stop.  A  stop  which  derives  its  name  from 
its  pitch,  or  scale,  being  fifteen  notes  higher  than 
that  of  the  diapason.  This  slop  and  the  tirelfth, 
mellowed  and  embodied  by  the  two  dia/xisons 
and  principal,  form  a  pro|)er  corapounil  for  ac- 
companying choral  parts  in  common  choirs  and 
parochial  churches.  —  Sesr/uialtcra  .'Hop.  \  mixed 
stop  running  through  the  scale  of  the  instrument, 
and  consisting  of  three,  four,  and  sometimes  five 
ranks  of  pipes,  tuned  in  thirds,  Kfths,  and 
eighths.  In  small  organs,  this  stop  is  generally 
divided  at  middle  C,  when  the  lower  part  ii 
called  the  sesi/uialiera,  and  the  upper  part  the 
comet.  The  whole  of  this  stop  lies  above  the 
fifteenth  ;  the  first  rank  being  a  seventeenth,  the 
second  rank  a  nineteenth,  and  the  third  rank  a 
twenty-second  above  the  diapason.  —  Mijctiire,  or 
Furniture  Stop.  A  s/up  comprising  two  or  more 
ranks  of  pipes,  shriller  than  those  of  tho  sesquiat- 
tcra,  and  only  calculated  to  be  used  together  with 
that  and  other  sto])s.  The  micture  is  nearly  tho 
same  as  the  sesquialtcra,  and  greatly  enriches  the 
instrument.  —  Trumpet  Stop.  A  reed  metallic 
slop,  so  called  because  its  tone  is  imitative  of  the 
trumpet.  In  large  organs,  it  generally  extends 
through  the  whole  compass.  The  mouths  of  itd 
pipes  are  not  formed  like  those  of  the  pi))es  of 
otiier  slopf,  but  resemble  that  of  the  real  trumpet. 
At  the  bottom  of  each  of  the  pipes  of  this  stip, 
in  a  cavity  called  the  socket,  is  tixed  a  brass  reed, 
stopped  at  the  lower  end  and  open  in  front :  it 
is  furnished  with  a  tongue,  or  brass  spring,  which 
covers  the  opening,  and  which,  when  the  wind  is 
impelled  into  the  pipe,  is  thereby  put  into  vibra- 
tory motion,  which  produces  the  imitative  tone 
peculiar  to  this  stop.  The  trumpet  ttop  is  the 
most  powerful  in  the  instrument,  and  improves 
the  tone  as  much  as  it  increases  the  peal  of 
the  chorus.  Unisonous  with  the  diapasons,  it 
strengthens  the  foundation,  subdues  the  disso- 
nances of  the  thirds  and  tilths  of  the  sesijuialtera, 
and  imparts  to  the  compound  a  richness  and 
grandeur  of  elfect  adecjuate  to  the  sublimest 
subjects.  —  Clarion,  or  Octave  Trunt]>et  Slop.  A 
reed  xtop  resembling  the  tone  of  the  trumpet,  as 
may  be  inferred  from  its  name,  but  the  scale  of 
which  is  an  octave  higher  than  the  trum/Kt  stop. 
This  stop  forms  a  brilliant  supplement  to  the 
chorus,  and  is  judiciously  employed  on  occasion* 
which  require  every  power  of  the  instrument ; 
but  should  not  be  commonly  used,  nor  ever,  in- 
deed, without  tho  other  stops.  —  Tierce  Stop.  A 
stop  which  is  tunc<t  a  miijor  third  higher  than  the 
ffleenth,  and  only  employed  in  the  full  organ.  — 
Ixirigol  Stop,  or  Octave  Tirelfth.  A  slop  the  scale 
of  which  is  an  octave  above  the  ticelfth.  Only 
used  in  the  full  organ.  —  Cornet  Stop.  \  stop  con- 
sisting of  tive  pii)es  to  each  note,  tuned  somewhat 
in  the  manner  of  the  sesquialtera,  having,  besides 
the  unison  of  the  duipason,  its  third,  tilth,  eighth, 
and  seventeenth.  The  cornet  being  only  a  treble 
stop,  it  Ls  employed   in   parish   churches  in  lon- 


originally  distinguished    by  that  name,  because  |  junction  with  the  diajxism  intcrlude>    and   th« 
holding,  in  point  ol  pitch,  the  middle  station  bo-  i  giving  out  of  the  ])salms.  —  liulciana  Stop.     A  slop 


tween  the  diapason  and  titteenth,  it  forms  the 
itaudard  for  timing  the  other  it  >ps. —  Tirelfth 
Stnp.  A  metallic  stop  so  dcnorain  itcd  from  its 
being  tuned  twelve  notes  alwvc  the  diapa-on. 
I'hif  itop,  on  account  ot  its  pitch,  ur  tuning,  can 


in  the  choir  organ  of  a  peculiar  sweetness  ol  tone, 
which  it  chiilly  derive'*  from  the  bodies  of  itai 
pipes  being  longer  and  smaller  than  th<-i>c  of  tht 
pipes  of  other  j/»/m.  It  is  in  unison  nith  tho  dia- 
pasons, and  ct^uais  them  in  coropaM  upwarvia,  bal 


899 


STO 


ENCYCLOPAEDIA  OF  MUSIC. 


STR 


only  descends  to  O,  gamut.  —  Flutt^  Stnp.     A  stop  |  several  children  by  his  wife,  the  daughter  o.'  Mr. 


imitative  of  the  common  flute,  or  flageolet.  It  is 
in  unison  with  the  principal,  but  of  a  much  Bofter 
tone  than  that  slop.  —  Bassoon  Stop.  A  reed  slop 
imitative  of  the  instrument  from  which  it  derives 
its  name  This  slop,  so  far  as  it  extends  upwards 
in  the  scale,  is  in  unison  with  the  tliapawns,  in 
company  with  which  it  only  ou^ht  to  be  used.  — 
Vox-humana  Slop.  Arcod  slop  the  tone  of  which, 
as  its  name  implies,  resembles  the  human  voice. 
The  quality  of  this  slop  is  seldom  so  good  as  to 
render  it  agreeable  when  heard  alone ;  it  is 
therefore  advantageously  blended  with  the  diupa- 
lons,  with  which  it  is  in  unison.  —  Ilnulhoy  Slop. 
A  reed  stop  voiced  in  imitation  of  the  hautboy. 
It  is  in  unison  with  the  diapasons,  witli  whir  h  it 
only  should  be  used.  —  Cremona  Stop.  A  reed  stop 
in  unison  with  the  diapasons.  The  name  of  tliis 
Btop  has  induced  most  organ  builders  to  erronc?- 
ously  suppose  that  it  was  originally  meant  as  an 
imitation  of'the  Cremona  violin;  but  the  writers 
best  informed  U])On  the  subject  inform  us  that  it 
•was  do-i;;ned  to  imitate  an  ancient  instrument 
called  a  AV«»i  horn,  which  M-ord  has  been  corrupt- 
ed into  Cremona. 

STOPPLES.  Certain  plugs  with  which  the 
ancients  stopped  or  opened  the  holes  of  a  flute, 
before  the  performance  began,  in  order  to  accom- 
modate its  scale,  or  range  of  sounds,  to  some  par- 
ticular mode  or  genus. 

STOKACE,  STEFAXO.  This  eminent  com- 
po.ser  of  theatrical  music  was  the  son  of  Stephen 
Storace,  a  well-known  Italian  performer  on  the 
double  bass,  who  resided  in  England.  He  was 
born  in  the  year  17G.3.  In  the  early  part  of  his 
life  he  exhibited  a  strong  propensity  to  music ; 
and  this  his  father  took  such  pains  to  cultivate, 
that,  before  his  son  had  attained  the  age  of 
eleven,  he  Avas  able  to  perform  on  the  violin  the 
most  difficult  solos  of  Tartini  and  Giaidini  with 
great  correctness.  Not  long  afterwards  he  was 
Bent  into  Italy,  where  he  studied  the  harpsichord, 
violin,  and  the  art  of  composition.  Ilis  proti- 
ciency  in  the  science  must  have  been  very  rapid, 
since  he  not  only  wrote  what  is  considered  by 
many  as  his  best  composition,  the  tinale  to  the 
first  act  of  the  "  Pirates,"  but  most  of  the  other 
pieces  for  which  he  was  so  greatly  admired  dur- 
ing his  residence  on  the  continent.  On  his  re- 
turn to  England  he  went  to  resule  in  Ihith  ;  but, 
Knding  that  there  was  no  opening  either  at  that 
])lace  or  in  London  for  the  exercise  of  his  i)rofes- 
hional  talents,  he  was  induced,  for  a  while,  to 
give  up  his  musical  pursuits,  and  to  turn  his  at- 
tentior.  to  drawing  ;  an  art  lor  which,  as  well  as 
music,  he  had  always  n  groat  jjredilcclion.  His 
introduction  to  Dury  Lane  'I'hcatre  was  at  length 
efl'ectcd  through  the  friendship  and  intcrlercnce  of 
Michael  Kelly,  who  had  forcned  an  acquaintance 
with  him  in  Italy  ;  and  he  was  appointed  com- 
poser to  that  theatre,  where  he  had  lull  scope  for 
the  expansion  of  his  great  abilities  ;  the  jjublic 
judgment  of  his  pioductions  continuing  througli- 
out  his  musical  career  to  be  so  lavorabie  that  he 
is  said  to  lni\e  leceived  from  the  music  dealers 
greater  prices  for  some  of  his  operas  than  ever 
had  been  given  belore.  At  the  early  age  of 
thirty-three  Storace  was  attacked  by  a  violent  fit 
of  the  gout,  which  flew  into  his  head  and  de- 
prived tlie  wodd  of  this  highly-proni^ing  young 
man    in    the   year    17'JG.      He   left    oehind    him 


Hall  the  engraver.  Storace  had  just  before  been 
to  Hath  for  the  purpose  of  hearing  Braham  sing, 
and,  with  the  consent  of  the  managers,  had  en- 
gaged him  for  a  limited  number  of  nights  at 
I)rury  Lane,  where  he  was  to  appear  in  .Storace's 
new  opera  of  "  Mahmoud,"  which  was  in  prepa- 
ration. Before  his  opera  was  ready,  however, 
the  regretted  composer  sank  into  the  grave. 
Although  his  death  paralyzed  the  work,  it 
did  not  prevent  its  being  afterwards  produced, 
though  in  an  incomplete  state.  With  the  con- 
sent of  the  managers,  of  Mr.  Hoare,  the  author 
of  the  opera,  and  by  the  friendly  assistance  of 
Kelly,  together  with  some  additional  music  se- 
lected by  Signora  Storace,  the  composer's  sister 
it  was  performed  for  the  benefit  of  his  family. 

The  compositions  of  Storace  are  full  of  spiiil 
and  fire ;  and  his  melodies,  at  least,  have  not 
often  been  excelled  by  theatrical  composers.  Ii. 
his  quartettos  and  finales  he  was  chiefly  excel- 
lent. His  productions  for  the  theatre  consist 
chiefly  of  the  following  operas :  "  Doctor  and 
Apothecary,"  farce,  1788;  "Haunted  Tower," 
comic  opera,  1789;  "  Xo  Song,  no  Supper,"  mu- 
sical farce,  1790;  '<  Siege  of  Belgrade,"  comic 
opera,  1791  ;  "Cave  of  Trophonius,"  musical  en-' 
tertaininent,  1791 ;  "  Pirates,"  comic  opera,  1792  ; 
"  Dido,"  opera,  1792  ;  "  Prize,"  musical  enter- 
tainment, 1791  ;  "  Cherokee,"  comic  opera,  1791 ; 
"  Glorious  First  of  June,"  musical  entertainment, 
1791 ;  "  Lodoiska,"  (selected,)  musical  romance, 
1791;  "Tliree  and  the  Deuce,"  comic  drama, 
179.5;  "My  Grandmother,"  musical  farce.  1790; 
"Mahmoud,"  opera.  1796;  and  "Iron  Chest," 
play,  1796. 

STORAGE,  AXXA  CELIXA.  This  excel- 
lent actress  and  theatrical  singer  was  a  pupil  of 
Sacchini.  Her  eminence  commenced  about  1780, 
at  the  opera  at  Florence,  whence  she  was  invited 
to  Vienna  by  the  emperor  in  1781,  a  salary  being 
assigned  to  her  of  near  five  hundred  pounds  per 
annum.  .She  quitted  Vienna  after  the  carnival 
of  1787,  when  she  went  to  London,  and  in  a 
short  time  ranked  amongst  the  favorite  comic 
performers  and  singers  of  the  stage.  She  died 
near  London  about  the  year  1811. 

STRADELLA,  ALESSAXDRO,  of  Xaples, 
was  born  about  the  year  1615,  and  was  not  only 
an  excellent  composer,  but  also  eminent  as  a 
perlormer  on  the  violin.  In  addition  to  these 
qualifications,  he  possessed  a  fine  voice  and  an 
e.xquisite  taste  in  singing.  His  comjjositions, 
which  are  all  vocal,  are  perhaps  superior  to  any 
that  were  produced  in  the  seventeenth  century, 
with  the  single  exception  of  the  works  of  Caii>- 
simi ;  and  perhaps,  had  he  enjoyed  ejual  lon- 
gevity, he  might  have  rivalled  eien  that  wonder- 
lul  musici.m.  Stradella,  jirobably  at  a  very  early 
period  of  his  life,  having  acquired  great  reputa- 
tion by  his  talents,  wius  emi)loyed  by  a  noble  Ve- 
netian to  teach  a  young  lady  of  r.  noble  Roman 
family,  named  Ilortensia,  to  sing.  Hortensia,  on 
whom  nature  had  beiUowed  a  bcautil'ul  person 
and  exquisite  voice,  notwitlxstauding  her  illus- 
tiious  birth,  having  been  scduce<l  from  her 
Iriends,  had  submitted  to  live  with  this  Venetian 
in  a  criminal  manner.  Her  delight  in  music  and 
admiration  of  th'.-  talents  of  her  instructor  boou 
gave  birth  tc  a  ))nssi"^'  -''  a  difl'ercnt  kind  ;  and 
like  llcloistt,  Kuv  inuna  th:  I,  though  at  fir.st 


900 


8TR 


ENCYCLOPAEDIA    OF   MUSIC. 


STR 


**  Ouiltleai  the  gnteiX  and  liatened  while  he  ftinir. 
While  •cieiicf  fldwed  li-roiihic  fri.in  hi»  tiinguo  i 
From  lipi  like  hii  tht*  nn-ct-riln  Urn  much  move  i 
They  music  lauifiit  —out  more,  ulual  to  love  I  " 

By  frequent  access,  Ilorteiisia  and  her  master 
became  mutually  enamoured  of  each  other.  Ueforo 
their  attachment  was  di-icovcrcd,  they  agreed  to 
quit  Venice  together  and  Hy  to  Naples.  Alter 
travelliu";  in  the  most  secret  manner,  they  ar- 
rived at  Rome  in  their  way  to  that  city.  The 
Venetian  seducer,  enraged  at  their  escape,  deter- 
mined to  satiate  his  revenge  in  having  tliem 
assassinated  in  whatever  part  of  the  world  they 
could  be  found ;  and  for  this  purpose  engaged 
two  desperate  ruffians,  by  a  largo  sum  of  ready 
money,  and  a  promise  of  a  still  greater  reward 
when  the  work  should  be  accomplished.  The 
assassins  proceeded  directly  to  Xajilcs,  the  place 
of  Stradella's  nativity,  supposing  that  he  would 
naturally  return  thither  for  an  asylum  in  prefer- 
ence to  any  other  part  of  Italy.  After  many 
fruitless  researches  in  that  city,  they  were  at 
length  informed  that  Stradclla  and  the  lady  re- 
Btdcd  at  Home,  where  she  was  regarded  as  his 
wile.  Of  this  they  conveyed  intelligence  to  their 
employer,  assuring  him  of  their  determination  to 
go  through  with  tiie  business  they  had  under- 
taken, provided  he  would  procure  them  letters 
of  recommendation  to  the  Venetian  amba-ssador 
at  Kume,  to  grant  them  an  asylum  as  soon  as  the 
deed  should  be  perpetrated.  xVfter  waiting  at 
Naples  for  the  neccssiury  letters  and  instruitions, 
they  proceeded  to  Rome,  where,  such  was  the 
celebrity  of  Stradella,  they  very  shortly  dis- 
covered his  residence.  But  hearing  that  he  was 
soon  to  conduct  an  oratorio  ot  his  own  composi- 
tion in  the  Church  of  St.  John  Lateran,  in  which 
he  was  not  only  to  play,  but  to  >ing,  the  principal 
part,  and  as  this  performance  wivs  to  begin  at 
three  o'clock  in  the  evening,  they  determined  to 
avail  themselves  of  the  darkness  of  the  night, 
when  he  and  his  mistress  should  return   home. 

On  their  anival  at  the  church  the  oratorio 
w;i8  begun  ;  and  the  e.xcellence  of  the  music  and 
its  pertormance,  joined  to  the  rapture  that  was 
e.xprcs.sed  by  the  whole  congregation,  made  an 
impression,  and  softened  the  rocky  liearts  even  of 
these  human  savages  to  such  a  degree  as  to  in- 
cline them  to  relent  and  to  spare  the  lite  of  a  man 
whose  genius  and  abilities  were  the  delight  of  all 
Italy.  Here  we  have  an  instance  ot  the  miracu- 
lous power  of  modern  music,  superior  to  any  that 
could  be  well  authenticated  of  the  ancient,  and 
which  may  fairly  lead  us  to  conclude  that  the 
Sibulous  stories  of  Orpheus,  Amphion,  &c., 
were  but  exaggerations  of  matters  of  (act  well 
known  in  tho-e  days,  but  which  have  not 
descended  to  posterity.  Both  the->e  as.-<a8sins, 
being  equally  atlected  by  the  pertormance  and 
alike  inclined  to  mercy,  accosted  him  in  the 
street  when  he  quitted  the  church  After  com- 
plimenting him  on  his  oratorio,  they  confessed 
the  busine-s  on  which  they  had  been  sent  by  the 
Venetian  nobleman,  whose  mLstress  he  had  taken 
away  ;  adding  that,  chanucd  by  his  mu-ic,  they 
had  abandoned  their  inirixise,  and  dotennine<l  to 
reliiKniish  the  rest  of  the  reward  that  liad  been 
promised  theiu,  and  to  tell  their  employer  that 
btnidella  and  his  mi.otress  had  (quitted  Uome  the 
night  before  their  arrival  in  that  city. 

Alter  thi*  providential  escipe  the  lovers  set 
"ut  that  very  night  for  Turin,  as  a  place  most 
remote   Irom   their   im^dacable   enemy   and    his 


emissaries  ;  and  the  assa.ssins,  returning  to  Ven 
ice,  told  the  enraged  Venetian  that  they  liai 
traced  the  fugitives  to  Turin,  wlicre  the  lawe 
being  not  only  more  severe,  l)ut  the  dilKculty  of 
escaping  so  much  greater,  than  in  any  other  part 
of  Italy,  on  account  of  tlic  garrison,  tliey  should 
decline  any  further  concern  in  the  busineis.  Th<» 
intelligence  did  not,  however,  incline  the  c.xa-i- 
perntcd  nobleman  to  relincjuish  his  ]>urposc,  but 
rather  stimulated  him  to  new  attempts.  He 
therefore  engaged  two  other  as.sa.ssins  in  his  ser- 
vice, procuring  for  theiu  letters  of  recommendatiou 
from  the  Abb(^  d'Kstiade.  at  that  time  the  French 
ambassador  at  Venice,  addre-.sed  to  the  Maripiiit 
de  Vilhirs,  ambas.sador  from  France  to  Turin  — 
the  Abbe  d'K>trade  re<iuesting,  at  the  desire  of 
the  Venetian  amliassador,  protection  lor  two  mer- 
chants, who  intended  to  re-ide  some  time  in  that 
city  ;  which  being  delivered  by  these  new  lussas- 
sins,  they  jiaid  their  court  regularly  to  the  am- 
bassador, waiting  for  a  favorable  opportunity  to 
accomplish  their  undertaking  with  safety.  The 
Duchess  of  .Savoy,  at  that  time  regent,  having  been 
informed  of  the  sudden  Hight  of  Stradella  and 
Hortensia  from  Rome  and  of  their  arrival  at  Tu- 
rin, and  knowing  the  danger  they  were  in  from 
the  vindictive  s|)irit  of  their  enemy,  ]>laced  the 
lady  in  a  convent,  and  retained  .Stradella  in  lier 
l)alace  as  her  nuuMro  rli  chjmIIu.  In  this  situation, 
apparently  so  secure,  Stradella's  fear  for  his  sa;ety 
began  to  abate ;  till  one  day,  at  six  o'clock  in  the 
evening,  as  he  was  walking  for  the  air  on  the 
ramparts  of  the  city,  he  was  attacked  by  two 
rutHans,  who  each  -gave  him  a  stab  in  the  breast 
with  a  dagger,  anil  immediately  escaped  to  the 
house  of  the  French  ambas.s;idor  as  to  a  sanctu- 
ary. The  lussault,  having  bei'n  witnessed  by  num- 
bers of  people  who  were  walking  in  the  same 
place,  occasioned  such  an  uprour  in  the  city  that 
the  news  soon  reached  the  duchess,  who  instant- 
ly ordered  the  gates  to  be  shut  and  the  assassins 
to  be  demanded  of  tlie  French  amba.ssjulor  ;  but 
he,  insisting  on  the  privileges  granted  to  men  of 
his  functions  by  the  law  of  nations,  refused  to 
give  them  up.  This  transaction,  however,  made 
a  great  noise  all  over  Italy  ;  and  M.  dc  Villars 
wrote  immediately  to  the  Abbe  d'Estrade  to 
know  the  reason  of  the  attack  upon  Slr.tdella  by 
the  two  men  whom  he  had  recommended  ;  and 
was  iulormed  by  the  abbe  that  he  had  been  sur- 
prise<l  into  a  recommendation  of  these  assassins 
by  one  of  the  most  powerful  of  the  Venetian  no- 
bility. 

In  the  mean  while  Stradella's  wounds,  though 
extremely  dangerou.*,  proved  not  to  be  mortal ; 
and  the  Marquis  de  Villars,  having  been  inforrool 
by  the  surgeons  that  he  would  recover,  in  order 
to  prevent  any  further  dispute  about  the  privi- 
lege* of  the  poifts  diplonitUi'jiie,  sutfered  the  avsas- 
sins  to  esv-ape.  Hut  so  invincible  was  the  im- 
placability of  the  enrage<l  Venetian  that,  never 
relinquishing  his  purpose,  he  continued  to  main- 
tain spies  at  Turin  to  watch  the  motions  of  Stra- 
della. .V  year  having  elapse<l  after  the  cure  of 
his  wound.s,  lie  tancied  himself  se<'ure  from  any 
further  atteiapt«  upon  his  lite.  The  duchess  re- 
gent, interesting  hcrscU  in  the  hap|iincss  of  the 
two  persons  who  had  sutfered  mi  much  and  who 
seemed  born  lor  each  other,  had  the  ceremony 
of  their  marriage  perlorraed  in  her  own  palace ; 
after  which  Stradclla,  licing  invited  to  (jeiioa  to 
compose  an  o;  era  for  that  city,  went  thitliw  with 
901 


STR 


EXCYCLOP.EDIA    OF   MUSIC. 


STB 


his  wife,  (Ictcnniniiii;  to  return  to  Turin  durinj» 
the  carniviil.  Hut  the  Venetian,  bein;;  ini'ormcd 
of  tliLs  chmi(;o  of  residence,  sent  assassins  after 
thera.  who  rushed  into  their  chamber  early  one 
tnorning  and  stabbed  them  both  to  the  heart. 
The  murderers,  having  secured  a  bark,  which  lay 
in  the  port,  l)y  instantly  retreating  to  it,  escaped 
trom  justice,  and  were  never  afterwards  heard  of. 
This  occurred  about  the  year  1079.  Among 
various  other  works,  Stradella  compo.sed  the  lol- 
lowing:  "  Oratorio  di  S.  Gioo.  lialtU/a,  a  5  vici 
con  Stromenti,"  and  "  La  Fnrza  deW  Amor  Pa- 
lerno,"  opera  seria,  Uenoa,  1078. 

STUADIVAUI,  or  STKADIVARIUS.  A\- 
rOXIO.  There  were  two  celebrated  violin 
makers  (father  and  son)  of  this  name  at  C're- 
n.ina,  m  Italy,  in  the  early  part  of  the  last  cen- 
tury. The  signature  on  their  instruments  was, 
"  Aittouiits  S/radivariiis  Crcmotieiisis J'acubat,  anno." 
See  Amati,  and  St.^inek. 

STRAIX.  A  word  applied  to  those  successive 
parts  of  a  composition  into  which  it  is  divided 
bv  double  bars.  The  first  strain  lies  between  the 
first  brace  and  the  first  double  bar ;  the  second 
strain  between  the  first  ai.d  second  double  bars  ; 
the  third  strain  between  the  second  and  third 
double  bars ;  and  so  on. 

STUAKOSCII,  MAURICE,  the  brilliant  pi- 
anist, was  born  at  Lemberg,  in  Poland,  in  182;5. 
His  father  was  a  wealthy  man,  and  a  colonel  in 
the  Polish  array.  He  displayed  great  ajititude 
lor  music  at  a  very  early  age ;  and  he  had  every 
opportunity  of  studying  music  thoroughly,  as  his 
father  emigrated  to  Germany  in  1828.  When  he 
became  ]iroricient  in  his  art  he  went  to  Denmark 
and  gave  many  concerts  there.  From  thence' he 
went  to  St.  Petersburg,  where  he  received  much 
honor  from  the  emperor,  and  was  engaged  to  in- 
struct the  Princess  Olga,  one  of  the  most  beauti- 
ful women  in  the  world.  Shortly  after  he  visited 
I'aris,  where  he  was  highly  jjraised  ;  and  from 
thence  he  went  to  Lyons,  Marseilles,  and  then 
made  a  three  years'  tour  through  Spain  and  It- 
aly. Every  where  his  efforts  were  crowned  with 
marked  success  ;  and  since  1818  he  has  been  in 
this  country.  In  New  York,  Boston,  and  all  the 
principal  cities  he  has  given  concerts,  and  been 
well  received.  Besides  many  compositions  tor 
the  piano  in  the  modern  fantasia  style,  Strakosch 
has  composed  a  German  o[)era,  "  Sardannpaliis," 
and  an  Italian  opera,  "  (Jiocannadi  Napoli,"  which 
was  brought  out  in  Xew  York. 

STRASCINO.  (I.)  A  drag.  This  grace  is 
chiefly  confined  to  vocal  music,  and  is  only  used 
in  slow  passages.  It  consists  of  an  unequal  and 
descending  motion,  and  generally  includes  from 
eight  to  twelve  notes.  In  music  of  a  pathetic 
cast  the  ttrascino  is  of  powerful  effect,  especially 
when  performed  by  a  soprano  voice  ;  but  it  re- 
quires to  bo  introduced  with  the  nicest  judg- 
ment, and  to  be  executed  with  taste  and  pre- 
cision. 

STRATHSPEY.  A  lively  Scotch  dance,  the 
tune  of  which  is  generally  written  in  common 
time. 

.STR.VVSS,  JOHN.  This  celebrated  composer 
of  wall/es,  ,tc.,  was  born  at  Vienna  March  M, 
l801.      In   accordance  with   the  wishes   of  his 


parents,  he  was  early  apprenticed  to  learn  the 
business  of  bookbinding ;  but  he  found  the  study 
of  music  more  congenial  with  his  taste  and  tem- 
perament. At  the  age  of  nineteen  he  became  a 
member  of  Lanncr's  celebrated  orchestra  ;  and  it 
was  here  that  he  found  ample  field  for  the  fre« 
indulgence  of  his  peculiar  talent  and  predilection 
for  accompanying  movements  for  dances,  waltzes, 
&c.  His  first  attempts  in  tliLs  species  of  comp?- 
sition  were  eminently  successful ;  aiJ  in  a  snort 
time  he  himself  ajipeared  as  the  conductor  of  a 
band  which  he  had  organized,  and  shared  in 
common  with  his  former  principal  the  laurels  so 
freely  bestowed  by  the  public  of  Vicuna.  There 
probably  existed,  in  his  time,  no  composer  whose 
works  were  more  generally  ajiprcciated.  The 
Strauss  waltzes  have  found  their  way  over  the 
wide  world.  Many  of  his  compositions  wei'O 
dedicated  to  the  crowned  heads  of  Europe  and 
the  nobility  ;  and  he  was  the  recipient  of  the 
most  magnificent  and  costly  souvenirs  from  those 
he  thus  honored.  Strauss  died  at  Vienna,  Sep- 
tember 15,  1849.  It  is  said  that  a  son  of  the 
great  Strauss  has  gained  some  laurels  by  getting 
uj)  a  band  similar  to  the  one  led  by  his  father, 
and  by  the  performance  of  the  same  music. 

STRAUSS,  JOSEPH,  chapel-master  to  the 
Grand  Duke  of  Baden  at  CarLsruhe,  was  born  at 
BrClnn,  in  Moravia,  in  1793.  Less  known  than 
the  waltz  composer,  he  is  an  artist  in  a  more  im- 
portant sense,  having  composed  excellent  works 
iti  all  kinds.  A  symphony  of  his  was  crowned  at 
Vienna  in  18.38.  In  1840  he  directed  the  German 
opera  at  London. 

STREICHEU,  JOHAXX  AXDRE,  a  cele- 
brated piano-forte  maker  in  Stuttgard,  was  born 
there  in  1761,  and  died  in  1833.  He  first  made 
the  I'tilycl,  or  grand  piano,  popular  in  Germany. 

STREPITOSO.  (I.)  A  word  signifying  that 
the  movement  to  which  it  is  prefixed  is  to  be 
performed  in  an  impetuous,  boisterous  style. 

STRETIO,  or  STRET.  (I.)  Shortened.  A 
word  formerly  used  to  signify  that  the  movement 
to  which  it  is  prefixed  was  to  be  performed  in  a 
qu  ck,  concise  style. 

STRIGGIO,  ALESSAXDRO.  A  lutanist  and 
voluminous  composer,  whom  Morley  and  others 
have  frequently  mentioned,  llis  madrigals,  in 
si.x  parts,  were  published  at  Venice  in  l.itiO.  A 
copy  of  them  is  preserved  in  the  collection  at 
Christ  Church,  Oxford,  but  they  do  not  contain 
any  thing  remarkable  either  for  genius  or  science. 

STRIXG.  Any  wire,  or  preparation  of  sheep 
or  catgut,  used  in  musical  instruments.  The  an- 
cients originally  strung  their  instruments  with 
thongs  of  leather ;  but  afterwards  so  far  refined 
ui)on  their  construction  as  to  adopt  not  only 
stritigs  formed  of  the  baser  metals,  but  also  of 
silver  and  gold  —  the  latter  of  which  was  even 
in  common  use.  Respecting  the  proportions  and 
vibrations  of  strings,  it  is  necessary  to  observe 
that,  if  two  chords  differ  only  in  length,  their 
tones,  i.  e.,  the  number  of  the  vinrations  tliey 
make  in  tlie  same  time,  are  found  to  be  in  an  in- 
verted ratio  of  their  lengths ;  if  they  vary  only 
in  thickness,  their  sounds  are  in  an  inverted 
ratio  of  their  diameters.  To  estimate  the  ten- 
sion of  strings  we  must  conceive  them  to  be  dis- 
tended by  weights,  in  which  case  (otlier  tlunin 


902 


bl  K 


EXCYCLOP-EDIA    OF    MUSIC. 


STY 


being  equal)  their  sounds  ftre  in  a  direct  ratio  of  ]  eric  Williain,  Elector  of  nramlenburg,  came  to 


the  8(|iuiic  roots  of  tlie  weights  ;  i.  e.,  the  note  or 
sound  of  a  string  stretched  by  a  weight  four  will 
be  an  octave  above  the  note  of  a  string  stretched 
by  a  weight  one. 

STUIXfiED.  An  epithet  applied  to  those  in- 
struments tl'.e  sonorous  parts  of  which  consist 
of  strings ;  as  catgut,  or  wire  of  silver,  bra.s8,  or 
bleel. 

STKIXGEXDO.  (1.)  Pressing,  hurrying, 
contracting.     Nearly  the  same  as  accelerando- 

STRISCIAXDO.    (I.)     Gliding,  sliding. 

STROFA.     (I.)     A  strophe. 

STUOMENTI  DI  VENTO.  (I.)  ^Vind  in- 
struments ;  as  havithoys,  horns,  clarinets,  bas- 
soons tliitcs,  trumpets,  ^c. 

Snit)MENTO.     (L)     An  instrument. 

STROPHE,  ((ir.)  A  stanza,  or  certain  num- 
ber of  verses  including  a  perfect  sense,  succeeded 
bv  another,  consisting  of  the  same  number  and 
measure  of  verses  and  in  the  same  dispo..ition 
and  rhythmus,  called  antistrophe.  What  the 
couplet  is  in  songs  and  the  stanza  in  epic  poetry, 
the  8tro]>he  is  iu  ocies. 

STROZZI,  or  STROZZA,  RARRARA,  a  noble 
Venetian  lady,  flourished  about  the  mid<Ue  of 
the  seventeenth  century,  and  was  the  author  of 
«omc  vocal  compo-itions,  containing  an  inter- 
mixture of  air  and  recitative.  These  she  i)ub- 
lished  in  l(i.53,  with  the  title  of"  Can/at/;  An'etic, 
e  Duitti,"  intimating,  in  the  preface,  that,  having 
invented  this  mixed  style,  she  had  given  a  speci- 
men of  it  to  the  public  by  way  of  trial.  The 
style  of  the  airs  is  too  simple  to  be  jjleasing  ;  yet 
the  e.xperiment  succeeded.  .She  is  allowed  to 
have  been  the  inventor  of  that  elegant  species  of 
Tocal  com])0sition  called  the  cantata. 

S'lTiUCK.  PAirL,  a  musician  at  Vienna,  and 
pupil  of  Haydn,  pulJished  seversd  operas  of  in- 
strumental music,  chicrty  for  the  harpsichord,  nt 
Offcnbarh  and  Vienna,  subsequently  to  the  year 
1797.     He  is  considered  a  good  composer. 

STRUNGK.  NICOLAUS  ADAM,  a  cele- 
brated violinist  of  the  seventeenth  century,  was 
chapel-master  to  the  Elector  of  .Saxony.  He  was 
born  in  1640  at  Zell,  where  his  father,  Deljjhins 
Strungk,  was  then  court  organist.  When  twelve 
years  ol  age  he  removed  with  his  father  to  Rruns- 
wiik,  and  was  soon  alter  himself  made  organist 
of  the  t'hurch  of  St.  Magnus  in  that  town.  Soon 
after  this  his  partiality  for  the  violin  was  evinced, 
and  he  went  to  Lubec  to  take  lessons  on  that 
instrument  of  an  excellent  player  tlierc,  named 
•Schnittelbach.  He  imi)roved  so  rapidly  that  at 
the  age  of  twenty  he  was  nominated  first  violin 
in  the  chapel  of  the  Duke  of  Wolfenbuttel,  where 
he  remained  but  a  short  time,  jjreferring  another 
situation  in  the  chajjcl  of  the  Duke  of  Zell. 
After  this  he  obtained  the  duke"s  consent  to  take 
a  journey  to  Vienna,  where  he  performed  before 
the  emperor,  who  rewarded  him  with  his  por- 
trait in  miniature  attached  to  a  gold  chain.  On 
the  death  of  the  Duke  of  Zell  he  was  engagc<l  in 
the  ehnpel  of  the  Duke  of  Hanover,  whence  he 
was  invited  to  Hnniburg  as  music  dire<'tor  and 
jompns^r  to  the  theatre.  He  there  wrote,  up  to 
Jh»  yeui  1085,  eight  operas,  till  at  length  Fred- 


Hamburg,  and,  desir.)us  of  jjossessing  so  eminent 
an  artist  in  his  chapel,  demanded  him  'if  the 
magistracy  of  Hambiirg.  and  nominated  him 
chapel-master.  The  Elector  of  Hanover,  on  hear- 
ing of  this  apjiointment,  reclaimed  Strungk  n\ 
his  vassal ;  at  the  same  time,  to  indemnify  )iim  for 
any  loss  of  salary,  he  nominated  him  first  hii 
chamber  organist,  and  afterwards  canon  to  the 
Churi'h  of  Notre  Dame  iit  Einbeik.  The  Duke 
of  Hanover  then  took  Strungk  with  him  in  a 
journey  to  Italy,  where  he  had  the  advantage  of 
meeting  C'orelli.  Strungk  reujained  several  years 
in  Italy,  and,  on  his  return,  again  jiassed  through 
Vienna,  where  lie  once  more  performed  beioru 
the  emjieror,  choosing  this  time  the  harpsichord 
for  his  instrument.  A  second  chain  of  gold  tes- 
tified the  satisfaction  of  the  monarch.  From  Vi- 
cnna  he  proceeded  to  Dresden,  where  the  Elector 
John  (jeorge  VI.  ai)pointcd  him  vice  chapel- 
master,  and  lifter  the  death  of  Hernhard  he  was 
a])pointed  full  chapel-master,  filling  that  situa- 
tion from  1092  to  1090.  when  he  appears  to 
have  settled  at  I.eipsic,  where  he  died  iu  1700. 
Amongst  his  publislied  instrumental  music  we 
can  mention  "  Ricercare  on  the  Death  of  his 
Mother  at  Venice,  December  20th,  lOHV" 
and  •'  Musical  Excrci.ses  for  the  Violin,  or  Viol 
da  Gamba,  containing  several  Sonatas,  &c.,  and 
some  Chacoinics  for  two  Violins,"  Dresden,  1081. 
His  church  and  dramatic  music  was,  however, 
the  most  esteemed.  That  he  was  a  man  of  hu- 
mor and  ])leasantry  may  be  interred  from  tlie 
following  story  related  by  Walther  :  — 

Strungk,  being  at  Rome,  upon  his  arrival  made 
it  his  business  to  see  C'orelli.  Upon  their  first 
interview  Strun),k  gave  him  to  uiulerstand  that 
ho  was  a  musician.  "  What  is  your  instrument  •  " 
B.sked  C'orelli.  "  I  can  play,"  answered  Strungk, 
"  upon  the  harpsichord,  and  a  little  on  the  violin, 
and  should  esteem  myself  extremely  happy,  mi:;lit 
I  hear  your  performance  on  this  latter  instrument, 
on  which  I  am  informed  you  excel."  C'orelli  very 
politely  condescended  to  this  reiiuest  of  a  stran- 
ger :  he  played  a  solo.  Strungk  accomiianied  him 
on  the  harpsichord,  and  afterwards  playcil  a  toc- 
cata, with  which  C'orelli  was  so  much  taken  that 
he  laid  down  his  instrument  to  admire  him. 
When  Strungk  had  done  at  the  harpsichord  l.c 
took  up  tliC  violin,  and  began  to  touch  it  in  a 
very  careless  manner ;  upon  which  Oorelli  re- 
marked that  he  had  a  good  bow  hand,  and 
wanted  nothing  but  jiractico  to  become  a  master 
of  the  instrument.  At  this  instant  Strungk  put 
the  violin  out  of  tunc,  and,  ajiplying  it  to  i's 
place,  played  on  with  such  dexterity,  attemjior- 
ing  the  dissonances  occa-sioned  by  the  mistuning 
of  the  instrument  with  sui  h  amazing  skill  acd 
dexterity,  that  C'orelli  cried  out  iji  broken  Ger- 
man, "  I  am  called  .Yrcangelo,  a  name  that,  in 
the  language  of  my  country,  signifies  archangel ; 
but  let  mo  tell  you  that  you,  sir,  are  an  arch 
devil." 

STUDIO.  (I.)  A  term  applied  by  modem 
roasters  to  piano- forte  and  other  excrcusos. 

STU.MI'F,  JOHANN  CHRISTIAN.  An  ex- 
cellcnt  performer  on  the  bansoon  and  compoocr 
for  wind  instruments  at  Frankfort,  where  he  died 
in  1801. 

STYLE.    That  cost  or  manner  of  compoaitioa 


903 


STY 


ENCYCLOPEDIA    OF    MUSIC. 


SUB 


or  performance  on  which  the  effect  chiefly,  if  not 
wholly,  depend*.  The  command  of  a  good  style 
can  only  result  from  natural  taste,  aided  by  judg- 
ment and  long  experience.  The  hapjjiest  subject 
ill  treated,  i.  e.,  in  a  bad  style,  will  be  barren  of 
effect ;  and  the  finest  composition,  e.xecuted  in  a 
defective  manner,  will  labor  under  equal  disad- 
vantages. 

STYLES,  or  STILES,  F.  II.  E.,  pubUshed  in 
the  transactions  of  the  Koyal  Society  of  London 
for  17(iO  a  dissertation  entitled  "  An  E.xplanation 
ot  the  Modes  or  Tones  in  the  ancient  Grecian 
Music." 

STYLO  IlAPrRESENTATIYO.  (I.)  An 
appellation  given  to  recitative  music,  because  it 
is  almost  exclusively  adapted  to  the  drama. 

SUH.  A  Latin  preposition,  corresponding 
with  the  Greek  word  //y/w,  the  Italian  autto,  the 
French  dcssouK,  and  the  English  helow.  This 
word  is  frequently  used  in  musical  treatises  in 
conjunction  with  the  Greek  names  of  the  inter- 
vals, as  sub-diapason,  sub-diapente,  sub-diatessa- 
ron,  &c. 

SUBCHAXTER.  ITie  deputy  of  the  precentor 
in  a  cathedral. 

SU15DOMIXANT.  The  name  given  by  some 
theorists  to  the  fourth  note  of  any  mode,  or  key  ; 
because  the  dominant,  or  filth,  is  immediately 
above  it ;  or  rather  because  it  has  the  same  in- 
terval with  the  tonic  in  descending,  which  the 
dominant  has  with  the  tonic  in  ascending. 

SUHIIARMOXICS.  Organ  builders,  in  tun- 
ing, have  ahviiys  heard  a  "  hum  ;  "  and  Tartini 
speaks  of  "a  bass  note"  being  heard  when 
double  notes  arc  played  on  the  violin.  Rut  it  is 
of  the  actual  law  of  these  "  hwns  "  and  "  bass 
notes"  that  we  now  speak.  The  reader  must 
place  himself  in  very  close  connection  with  the 
pipes  of  an  organ,  and,  having  drawn  the  "  prin- 
cipal "  stop  alone,  must  play  the  following  notes, 
and  to  each  chord  he  will  hear  a  giien  bass, 
which  in  produced  by  the  vibration  of  the  two 
notes.     This  given  bass  we  call  suhharmonics  :  — 


m 


?  f^  « 


^^^-Si 


f^^S^ 


8va. 

Upon  examination,  it  will  be  found  that  in  this 
given  bass  there  is  the  most  perfect  law ;  that  is, 
whenever  a  major  third  is  held  down,  the  sub- 
harmoni  ■  is  a  liltcenth  below  the  low  note  ;  and 
in  everv  instance  where  the  minor  third  is  held, 
the  subl.irmonic  will  be  a  seventeenth  below  the 
low  note. 

The  following  will  show,  at  the  same  moment, 
the  notes  held  down  and  the  suhharmonics  pro- 
duced :  — 


•^    8t». 


1  &   :gi 


■^=^=^     g     g— 


^s: 


m 


gubharmonici. 


•*■     ITTP-      "*• 


m 


If  these  notes  be  inverted  the  subharmonict 
will  be  the  same,  as  sliown  in  the  following  ex- 
planation of  sixths :  — 


I 


-:a_-^  ^  r°^  ^ 


¥ 


i 


8va. 


,_ — a=iw — a I 

XT  .^ 

Subbarmonici. 

There  are  also  regular  double  suhharmonics ; 
for  instance,  if  three  notes  be  held  down,  nature 
gives  two  regular  low  notes,  thus  :  — 


Subharmonics 


This  last  is  easily  explained  ;  viz.,  whenever  k 
major  third  is  held  down  it  produces  the  fif- 
teenth below  the  low  note,  which  accounts  foi 
the  upper  subharmonic  in  the  first  chord ;  the 
lower  subharmonic  Ls  produced  from  the  two  low 
notes,  which,  being  minor  thirds  from  each  other, 
give  F.     We  will  now  explain  fourths :  — 


SubbarinoDics. 


The  above  shows  that  perfect  fourths  give  a 
subharmonic  of  a  fifteenth  below  the  high  note ; 
but  that  the  imperfect  fourth  does  not,  (see  the 
Db.)  This  imperfect  fourth  is  very  difhcult  to 
detennine  upon  an  organ  that  is  not  tuned  in 
equal  temperament. 

Fifths  produce  the  same  subharmonics  as 
fourths,  being,  in  point  of  fact,  inverted  fourths 
The  theory  of  sevenths  is  as  follows  :  — 

-^     JO-      ^ 


^ 


^^EE^^Eh 


^ 


8va. 


il 


P= 


===©= 


-»- 


Subharmonicis. 

The  above  shows  that  every  minor  seventh 
gives  for  its  subharmonic  a  sound  of  three  octaves 
below  the  high  note :  and  seconds,  being  inverted 
sevenths,  give  the  same.  The  major  seventh  in 
each  instance  gives  a  much  lower,  but  regular, 
sound,  as  just  shown. 

The  following  also  shows  that  the  closer  tht 
interval  the  dcpiT  ti.e  subharmonic  :  — 


001 


BOH 


EXCYCL0P-12DIA    OF   MUSIC. 


SWBi 


-as 

-^ 

5: 

^ 

V                                                                                                     1 

/. 

/m  .                                          J 

0 

• 

w 

— !W 

__»j^ 

^^— _— 

!« 



Sabburmouics. 

The  D  b  marked  with  n  •  will  sound  E  b  on  an 
organ  tuned  in  unequal  temperament.  If  we 
approach  the  quarter  tone,  we  obtain  subhar- 
raonics  as  deep  as  pedal  i)ipc«  ;  for  instance,  G 
and  A  b  in  altissirao,  being  a  small  semitone  from 
each  other  on  most  of  our  organs,  produce  BB 
for  the  Bubharmonic,  thus  :  — 


Sva. 


S 


Subbarmonlc. 

the  gubharmonic  being  nearly  five  octaves  Delow. 

If  we  could  have  a  set  of  pipes  tuned  in  quarter 
tones,  the  result  would  be  that  some  of  the  high- 
est notes  would  produce  subharmonics  as  low  as 
CCC.  But  directly  the  two  pipes  are  tuned  in 
unison,  a  muteness  or  absence  of  subharmonics 
must  immediately  bo  experiencetl.  Two  pipes 
sounding  nenrly  the  same  note  produce  a  sub- 
harmonic  of  seven  or  eight  octaves  below,  and 
lower  still  beyond  calculation. 

A  short  study  of  these  subharmonics  will  be 
useful  to  violin  players  in  double-stopping  the 
highest  notes  of  the  instrument ;  indeed,  it  will 
be  an  easy  matter  to  play  in  tune  to  the  sixteenth 
of  a  tone,  or  even  closer :  for  instance,  su])pose 
the  two  notes  to  be  E  and  C  (thirds)  in  altissi- 
mo ;  should  the  subharmonic  sound  Bb,  the 
third  will  be  a  quarter  of  a  tone  too  small ;  and 
should  the  subharmonic  sound  B,  the  third  will 
still  be  out  of  tune  by  the  eighth  of  a  tone  ;  and 
xhould  the  subharmonic  sound  a  note  between 
B  and  C,  the  third  will  be  a  sixteenth  of  a  tone 
too  small.  ThLs  last  fact  will  also  enable  organ- 
ists to  test  the  temperament  of  their  ••  king  of 
instruments"  with  the  utmost  nicety. 

SUBITO.  (I.)  Quick,  expeditiously  ;  as  rotti 
subito,  tuni  over  quick. 

SUBJECT.  The  theme  or  text  of  any  move- 
ment. That  prevailing  idea  from  which  the  sub- 
ordinate passages  are  supposed  to  spring,  and  to 
wliich  they  ought  at  least  to  bear  some  sensible 
reference  or  affinity. 

SUBMEDI.VNT.  The  appellation  given  lo 
khe  sixth  of  the  key,  or  middle  note  between  the 
tclave  and  the  siUxloininant. 

SUB-SEMITONE.  Tlie  name  by  which  theo- 
rists distinguish  the  sharp  seventh,  or  scitsMe,  of 
any  key.     Sec  Se.nsiule. 

SUB-TOXIC.  The  semitone  immediately  be- 
low the  Umic.    Sec  Si'ii-Semitonk. 

SUCCESSION.     A  word  applied  to  I'.'.c  note* 
lU  G 


of  melody,  in  conti°adistinction  to  tliose  of  har- 
mony,  which  are  given  in  combinalion.  Of  titc- 
cession  there  are  two  kindt,  conjunct  and  disjunct. 
Conjunct  succession  is  when  the  sounds  ])rocced 
regularly,  ujiward  or  downward,  througli  the 
several  intervening  degrees.  Disjunct  succession 
is  when  they  immediately  pass  from  one  degree 
to  another  without  touching  the  intermediate 
degrees. 

SUDUE,  FIl-^NQOIS.  Bom  at  Toulouse 
in  1791.  He  visited  many  of  the  largo  cities  in 
Europe  for  the  purpose  of  bringing  before  the 
public  an  ingenious  system  of  conveying  intelli- 
gence by  means  oi  seven  primitive  musical 
sounds.  In  his  system  these  sounds  are  em- 
ployed to  represent  the  twenty-four  letters  of  the 
alphabet,  and  are  to  be  combined  in  words  uf  all 
kinds. 

SUITE.  (F.)  The  name  formerly  given  to  a 
set,  or  course,  of  lessons,  sonatas,  concertos,  Stc. 
Also  applied  to  a  single  piece  when  consisting 
of  several  movements. 

SUITES  DE  PIECES.  (F.)  A  coUecUon  of 
pieces. 

SUMPUNJAH,  or  the  dukimer  of  the  an- 
cients, was  a  wind  instrument  made  of  reeds  ;  by 
the  Syrians  called  samboujah,  and  by  the  Italians 
zampogna. 

SUO  LOCO.  (I.)  In  its  own  place.  See 
Loco. 

srrFRII'S.  (I-)  The  nttntby  which  the  eontrmpuntittoorUi* 
flftc«nih  nnd  fixtrvnlh  centuriMtllitinguUhed  the  upper  p«rt  of  an/ 
coinixiaitinn. 

Sl'l'KKSirS.  The  nnme  fomictly  giTen  to  trebles  when  their 
ftation  wu  Tcry  high  in  the  Kale. 

SUPER-TONIC.  The  second  of  (he  key,  or 
the  note  next  above  the  key  note;  i.  e.,  C,  being 
the  key  note,  D  will  be  the  super-tonic. 

SUPPOSED  BASS.  A  term  applied  to  any 
bass  note  of  a  different  literal  denomination  from 
that  of  the  accompanying  chord ;  as  the  bass 
note  £,  or  Ci,  taken  with  the  chord  of  C.     See 

Fl'NDAMKXTAL    BaSS. 

SUU-SHAUP.  The  fifth  tetrachord  above, 
added  by  Uuido,  was  called  the  tetrachord  of  the 
$ur-shaqi>. 

SUSPENSION.  A  theoretical  expression  ap- 
plied to  the  retaining  in  any  chord  some  note  or 
notes  of  the  preceding  chord. 

SUSSMAYEK,  FUANZ  XAVER.  Music 
director  and  composer  to  the  National  Theatre  at 
Vienna  since  the  year  1795.  He  was  a  pujiil  of 
Salieri.  He  published  various  operas  and  oper- 
etttvs  for  Vienna  and  other  towns  in  (ierraany, 
which  bear  date  from  the  year  1792  to  l.SOl.  He 
died  at  Vienna  in  180.3.  SQssmaycr  was  the 
friend  of  Morart,  and  he  it  was  who  completed 
the  "  Uequicm  "  which  Mozart  left  unfinished. 

SUSTAINED.  Notes  arc  said  to  be  tuilain«d 
when  their  sound  is  continued  through  their 
whole  power  or  length.     See  Sostbxcto. 

SVECiLIATO.  (I.)  A  word  indicating  a 
brisk,  lively  style  of  pcrfonnance. 

SNVKI.INCK,  JAN  PETER,  organist  of  the 
prrni  chureh  at  Amsterdam,  was  Imm  at  Derenter 
about  tl'.e  year  IjlO.     By  a  peculiar  method  ot 


SWE 


EXCYCLOPiEDIA    OF   MUSIC. 


SYN 


fingoriii;;,  he  nttuiiicd,  in  curly  youth,  great  per- 
fection in  jiliiying  on  the  harpsichord  and  orgiin. 
Being  ignorant,  liowcver,  of  composition,  he 
vent,  about  tlie  year  1557,  to  Venice,  for  the 
purpose  of  receiving  instructions  from  tlie  cele- 
brated Zavlino.  On  his  return  to  Holland  he 
was  regarded  as  the  phccnix  of  organists,  and 
crowds  attended  whenever  he  performed.  Some 
amateurs  of  music  amongst  the  merchants  of 
Amsterdam  wishing  to  provide  for  Swehnck  in 
hLs  old  age,  borrowed  of  him  the  small  sum  of 
two  hundred  tlorins,  (about  twenty  pounds,)  on 
the  condition  that  they  would  make  mercantile 
pvirchases  with  it,  Irom  which  he  should  derive 
all  the  benefit,  they  taking  upon  themselves  the 
risk  of  loss.  After  some  years,  this  small  capital 
had  produced  no  less  a  sura  than  four  thousand 
florins,  which  placed  the  old  musician  quite  at 
his  ease.  He  died  in  11)22.  Amongst  his  works 
were  the  following  :  "  Pseaumes  rC  aprts  Labwas- 
%er  d  4-8  part.,  Lie.  2,"  Amsterdam  ;  "  Chanaotis 
d  i  et  0  part.,"  Antwerp,  1502  ;  "  Xitti  Chijter- 
boeck,"  Amsterdam,  1602;  "Rimes  Francoises  et 
Itatiennes  mises  en  Musigue  d  2  et  3 part,  avec  une 
chanson  d  4,"  Leyden,  1612;  "  Pseaumes  mis.  en 
Mzisitjue  (i  4  d  8  part.  Liv.  2,"  Leyden,  1613; 
"Ditto,  Lie.  3,"  Leyden,  1614;  "Ditto,  Liv.  4," 
Amsterdam,  1622;  and  "  Cantinnes  Sacrcf  cum  B. 
contin.  5  voc,"  Antwerp,  1623.  It  is  also  said 
that  he  translated  into  Dutch  the  "  Instituzioni  " 
of  Zailino. 

SWELL.  The  name  given  to  a  part  of  an  or- 
gan consisting  of  a  certain  quantity  of  pipes 
enclosed  in  a  large  wooden  case  called  the 
axcell  box.  In  the  front  of  this  box  are  one 
or  more  oblong  apertures,  over  which  there  is  a 
movable  shutter  called  a  slide,  and  which,  by 
means  of  a  communicating  pedal,  can  be  raised 
and  depressed  at  the  pleasure  of  the  performer, 
who,  by  pressing  the  pedal  with  his  foot,  un- 
covers the  apertures  of  the  bo.K,  gives  free  vent  to 
the  sound,  and  produces  a  crescendo,  or  smell. 

SWIETEN,  GOTTFRIED,  FREYHERR 
VAX,  president  of  the  commission  of  public  iu- 
•truction  at  Vienna,  and  a  distinguished  amateur 
of  music,  died  in  1803.  He  was  the  intimate 
friend  of  Haydn. 

SYLVA,  TRISTAO  DA,  Chapel-master  to 
King  Alphonso  V.,  of  Portugal,  in  the  fifteenth 
century. 

SYLVEIRA,  Fll.  PLACIDO  DA,  a  Portu- 
Kuese  church  composer,  died  in  1736. 

SYMBOLS.  The  musical  name  given  by  the 
Greeks  to  the  twenty-four  letters  of  their  alpha- 
bet, all  of  which  they  employed  as  cliaracters  in- 
dicative of  sounds. 

SYMOXDS,  HEXRY.  one  of  the  kings  band 
of  musicians  in  England,  and  organist  of  the 
Church  of  St.  Martin,  Ludgate,  and  also  of  the 
Church  of  .St.  John,  was  a  celebrated  master  of 
the  haq)sichord  in  his  time.  He  published  six 
•ets  of  lessons  lor  his  instrument.  Symonds  died 
•bout  tlic  year  1730. 

SYMPHONTA.  (Or.)  A  pulsatile  instru- 
ment of  the  ancients  made  of  a  hollow  tree, 
closed  at  each  end  with  leather,  and  struck  with 
•ticks.  It  produced  notes  of  varied  pitch,  and 
conKC(|ucntly  was  not  flie  same  wAh  our  monot- 
onous drum. 


SYMPHOXIAC.  (From  the  Greek.)  An 
epithet  applied  to  music  in  parts,  or  counterpoint. 
See  that  word. 

SYMPHOXIAL.  (From  the  Greek.)  Said 
of  tones  agreeing  in  quality.  The  tones  of  th€ 
violin  and  violoncello,  or  of  the  hautboy  and 
bassoon,  are  symphonial. 

SYMPIIOXIALE.  A  word  frequently  pre- 
fixed to  the  old  canons,  or  perpetual  fugues,  to 
indicate  that  they  are  in  unison ;  i.  e.,  that  the 
second  part  is  to  follow  the  first  in  the  same 
intervals,  and  the  third  to  observe  the  same  rule 
with  regard  to  the  second. 

SYMPHOXOI.  (Gr.  pi.)  The  name  given 
by  the  ancients  to  concords  and  those  sounds 
which  so  mix  and  unite  that  the  tone  of  the 
lower  is  scarcely  distinguishable  from  the  upper. 
The  unisons,  or  duplicates,  of  the  same  sound, 
were  called  hotnophotioi.     See  that  word. 

SYMPHOXIOUS.  An  epithet  applied  by  the 
poets  to  an  harmonious  combination  of  voices 
or  instruments,  or  to  any  "  concord  of  sweet 
sounds." 

SYMPHOXIST.  A  composer  of  symphonies, 
overtures,  or  instrumental  music  in  general.  In 
France,  the  term  symphonist  is  also  applied  to  a 
composer  of  church  music. 

SY^klPHOXY.  or  SYM.  (From  the  Greek.) 
The  word  symphony,  in  the  ancient  music,  signi- 
fies that  union  of  sounds  which  forms  a  concert. 
\Vhen  the  whole  concerted  in  unison,  it  was 
called  a  symphony  ;  but  when  one  half  of  the 
concertants  were  in  the  octave,  or  double  octave, 
of  the  other  half,  it  was  called  antiphony. 

At  present  the  word  symphony  is  ajiplied  to 
overtures  and  other  instrumental  compositions, 
consisting  of  a  variety  of  movements,  and  de- 
signed for  a  full  band.  The  introductory,  in- 
termediary, and  concluding  instrumental  pas- 
sages in  vocal  compositions  are  also  called  syni- 
phonies. 

SV'MPOSIACII.  (From  the  Greek.)  An  cpithrl  t-enerally  •!>- 
plieable  to  cheerful  aad  coariviol  compovitions ;  aj  catches,  gleci. 
round!),  Jtc. 

SVNAIMIE.  (Or.)  A  term  applied  by  the  ancionta  to  the  eon- 
junction  of  two  tetrachordt :  or,  more  properly,  it  is  the  reaonance 
or  tile  h4)n)olot;ou9  chorda  of  two  conjoint  tetrachordt^.  The  Greeka 
reckone<l  three  Bi/Hatihe*;  one  tK-tween  the  tetrBchordof  the  hypatea 
and  that  of  the  niesia :  one  between  the  tetnichord  of  the  meiif  and 
that  of  the  conjunct  i  and  one  twtween  the  tetr«chord  of  the  disjunct 
and  that  of  the  hyperbolct. 

SY.N'.VITLIA.  '(From  the  Greek.)  In  the  ancient  muaic,  a  con- 
cert of  flute  playeri  who  anawered  each  other  alternately  without 
any  union  ot  the  Toicc. 

SYXCOPATIOX.  (From  the  Greek.)  A 
term  applied  to  that  disposition  of  the  melody  or 
harmony  of  a  composition,  by  which  the  last 
note  of  one  bar  is  so  connected  with  the  first 
note  of  the  succeeding  bar  as  to  form  but  one 
and  the  same  sound.  Syncopation  is  also  fre- 
quently used  during  the  course  of  a  bar,  or 
measure  ;  as  when  the  last  note  of  one  of  tlie 
measures  is  united  to  the  first  note  of  the  succ<!€d- 
iug  measure,  which  is  also  called  binding,  or 
legato. 

Syncopation  is  likewise  used  for  a  driving  note  ; 
i.  e.,  when  some  shorter  note  at  the  Ijcginning 
of  a  measure,  or  half  measure,  is  followed  by 
two,  three,  or  more  longer  notes,  before  any 
other  occurs  equal  to  that  which  gave  birth  to 
the  driving  note,  to  make  the  number  even. 

SY'XCOPE.     The  division  of  a  note,   intro 
duted  w'len  two  or  more  uotcj  of  one  part  on 


9  .() 


BYN 


ENCYCLOPAEDIA    OF   MUSIC. 


SY8 


8\ver  to  a  siiifjle  note  of  another,  as  wlien  the 
semibreve  of  the  one  corresjionds  with  two  or 
throe  notes  of  the  other,  liut  to  give  ii  clear  idea 
of  the  syncope,  first  it  is  necessary  to  observe,  that 
every  measure  in  common  time  has  two  parts, 
one  commencing  when  the  hand  falls,  the  other 
when  it  rises.  Secondly,  that  any  note  which 
contains  two  limes,  or  a  rise  and  fall  of  the  hand, 
is  divisible  into  two  parts,  for  the  first  of  which 
the  hand  descends,  and  for  the  latter  of  which  it 
rises.  Thirdly,  that  every  note  (tliough  of  less 
value  than  a  semibreve)  being  divisible  into  two 
others,  one  of  these  will  be  during  the  first  part 
of  the  measure,  the  other  during  the  second  piurt. 
The  syncope  is  frequently  introduced  in  melody 
for  tlie  purpose  of  expression  ;  but  its  principal 
use  respects  the  harmony,  the  concords  and  dis- 
cords of  wliich  it  serves  to  prepare  and  resolve. 
Ii)  harmony,  there  are  three  syncopes  :  the  first  is 
when  all  the  parts  sycojHite  at  the  same  time,  but 
without  discords,  which  the  Latin  writers  call 
lyncope  tpquivayans.  The  second  is  when  only 
ouo  of  the  part.s  syncopats,  but  without  discord. 
This  is  called  by  the  Italians  contrapunto  Ugato. 
The  third  is  when  one  part  syncopates,  and  that  in 
order  to  introduce  some  discord  ;  and  this  is  the 
contrapanto  syncr>p:U)  of  the  Italians.  This  term 
also  implies  a  soft,  smooth,  and  delicate  manner 
of  shortening,  or  cutting  off,  the  notes  of  a  pas- 
sage in  its  performance  ;  a  style  or  mode  of  ex- 
pression of  which  only  the  example  of  a  great 
master  can  convey  a  just  and  clear  idea. 

SYXJJEME.VON.  (Gr.)  The  unltnt,  or  conjunct.  The  ippcl- 
latum  ifiven  bv  the  encieutj  to  their  third  u-tr^churd.  from  itJ  bvnin- 
Din<  with  the  liut  note  of  the  teconil  tetniehortl.  When  thii  ihinl 
letrKchtirtl  wui,  on  the  coDtrttry.tepamtetl  from  the  M'lonil.iind  con. 
lolnt  «'i(h  the  fourth,  it  took  the  name  ut  d^ezeui;menoit.  See  that 
word. 

SV.VXEMKNOX  DIATONOS.  (Kmni  the  Greelt.)  Thif  wa« 
In  thf  Muiaie  of  the  ancienti  the  third  chord  of  the  Utrachorit  t\fn- 
n^mrHoii  III  ihiltoiiic  iTrnlu. 

SVN"  TO.VIC.  (Or.)  The  epithet  hy  which  Ariitonenui  and 
other  ancient  inu'ieal  writer*  diatin>ruiili  a  i|H-cief  of  the  diatonic 

SeDU«,  winch  was  nearl)'  the  lamc  with  our  natural  diatonic.  In 
le  lyiitonlc  irenui.  the  t.'tiachor\l  waa  divided  into  a  ivniitone  and 
two  eqii;il  tone* ;  whervufl  in  the  flat  diatonic,  after  the  aemitonic, 
the  hTKt  interval  wa«  three  quarter*  of  a  tone,  and  tlio  other  live 
quarter*. 

SYNTONO-LVDIAN.  The  name  of  one  of  the  mn<lea  In  the 
ancient  muiie.  Tlato  telU  ui  thnt  the  inixo-lydlan  and  ayntouo- 
Ijrdiau  mode*  were  peculiar  to  tear*. 

SYUINGA.  (L.)  Pipes  of  Pan.  These  pipes 
have  also  been  known  as  the  syrinx,  or  Pandean 
pipes.  Kvery  classical  reader  knows  the  history 
of  Pan,  who  became  a  shepherd  to  win  the  affec- 
tions of  Dryopc,  in  which  ho  succeeded.  lie 
also  courted  the  nymph  Syrinx.  This  time, 
however,  he  did  not  succeed  so  well.  Syrinx 
tied  from  her  lover,  till  coming  to  a  ri^xr,  whcro 
her  flight  was  stopped,  she  prayeil  to  the  water 
nymphs  to  change  her  into  a  bundle  of  reeds, 
just  as  Pan  was  laying  hold  of  her ;  and  he  caught 
the  reeds  in  his  hands  instead  of  her.  The  winds, 
moving  the  reeds  backward  and  forward,  occa- 
sioned mournful  but  musical  sounds,  which 
Pan  perceiving,  cut  them  down  and  made  of  them 
reeden  pipes. 

"  So  he  thi*  pipe  of  reed*  unequal  fVumed 
With  wax.  and  Syriux  from  hi*  mi*tr^*«  named." 

Thus  originated  the  sjtin.x.  There  are  many 
wonderful  tales  told  of  the  effect  of  the  music 
Pan  made  with  his  pipe  of  uneven  reeds,  (syrinx,) 
and  it  is  said  he  could  even  cheer  the  gods  them- 
eelvos.  But  the  greatest  wonder  of  all  wa-s  that 
as  often  as  Pan  blew  his  pipe  the  dugs  of  the 
•heep  were  tilled  with  milk.  Unfortunately  for 
the  umpire,  Pan   at    length  had  the  vanity  or 


temerity  to  contend  for  the  palm  of  music  with 
Apollo,  King  Midas,  of  Phrygia,  was  umjiire, 
and  he,  like  many  of  our  modern  connoisiours, 
foolishly  determined  the  victory  to  Pan.  Uui 
the  unlortunato  king  paid  dearly  for  his  decision  ; 
for  .\pollo  stretched  his  ears  to  the  length  of 
asses,  which  made  it  necessary  for  him  to  wear 
long  hair,  that  he  might  hide  the  deformity. 

SYRINGE.  A  kind  of  fistula,  or  pipe,  used 
by  the  ancient  Uomuns  to  regulate  the  voice  io 
oratory  and  singing. 

SYSIGl.X.  .\  Greek  term,  ilffnlfyinii  any  combination  of  aounda 
fo  nron.irtioMed  to  encti  other  a*  to  affect  the  eor  with  pleasure. 

SVSTAf.TIC.  (Fr..m  the  (;reek.)  An  epilhet  anpllr<l  by  lh« 
ancients  to  that  ot  the  •ulKlivminiii  of  tlielr  iiielii[i<cia  which  eo»- 
•tituted  the  mournful  and  pattieti':.     See  MKLuntlA. 

SYSTEM.  An  interval  compounded,  or  sup- 
posed to  bo  compounded,  of  several  lessor  inter- 
vals, as  the  fourth,  the  fifth,  the  sixth,  the  octave, 
&c.,  the  components  of  which,  considered  as  the 
elements  of  the  systems,  are  called  dia-ilems.  A 
system  is  also  a  method  of  calculation  to  determine 
the  relations  of  sounds,  or  an  order  of  sign  estab- 
lished to  express  them  ;  and,  lastly,  a  system  is 
the  code  of  harmonic  rules  drawn  from  those 
common  principles  by  which  they  arc  computed. 
There  is  an  affinity  of  different  intervals,  and, 
conse<iuently,  an  affinity  also  of  possil)lc  sy.\/emj. 
Any  interval,  between  the  terms  of  which  one  or 
more  sounds  intervened,  was  by  the  ancients 
called  a  system  ;  E,  G,  for  example,  constituted 
the  system  of  a  minor  third  ;  E,  A,  of  a  fourth  ; 
E,  B,  of  a  fifth,  Jtc.  Systems  were  divided  into 
general  and  particular.  The  particular  systems 
were  those  which  were  composed  of  at  least  two 
intervals.  The  yeneral  systems,  or  diagrams, 
were  formed  of  the  sura  of  all  the  ]>articular  sys- 
tems, and,  consequently,  contained  all  the  souudii 
in  mu-.ic. 

The  whole  system  of  the  Greeks  was  originallv 
composed  only  of  four  sounds  at  most,  which 
formed  the  concord  of  tbcir  lyre,  or  citliara. 
These  four  sounds,  according  to  some  authors, 
were  by  conjoint  degrees ;  according  to  others, 
they  were  not  diatonic ;  but  the  two  extremes 
were  at  the  distance  of  an  octave,  ami  the  two 
intermediate  ones  divided  it  into  a  fourth  on 
each  side,  and  a  tone  in  the  middle.  This  system 
did  not,  however,  continue  long  confined  to  so 
few  sountls.  Chorebus,  son  ot  Athis,  King  of 
Lydia,  as  Boethius  informs  us,  added  a  fifth 
chord,  llyagnis  a  sixth,  Terpander  a  seventh, 
to  ot^ual  the  number  of  the  planets,  and  Lychaon 
an  eighth.  But  Pliny  gives  a  different  account 
of  the  progression  of  the  ancient  system  ■  accord- 
ing to  that  writer,  Terpander  addoid  three  chorda 
to  the  tctrachord,  and  was  the  first  who  used  ths 
cithara  with  seven  chords  ;  Simonides  joined  to 
it  an  eighth,  and  Timotheus  a  ninth.  Which- 
ever of  these  accounts  may  be  the  true  one,  it 
seems  pretty  certain  that  the  system  of  th« 
Greeks  was  gradually  extended,  both  upward 
and  downward,  and  that  it  attained,  and  even 
exceeded,  the  limits  of  the  bLs-diapason,  or  double 
octavo,  an  extent  which  they  called  tystema  per- 
fectum,  maximum  immestatnm,  the  great  system, 
the  perfect  system.  This  entire  system  was  com- 
posed of  four  tctrachord.s,  three  conjoint  and 
one  disjoint,  and  the  chord  called  proslnmbnno- 
menos.  which  was  added  below  thc»c  tetrachord* 
to  complete  the  double   octave.      This   general 


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ENCYCLOPEDIA    OF    MUSIC. 


SYS 


lyitem  of  the  (j recks  lerua'.necl  nearly  in  this 
state  till  the  eleventh  century,  when  Uuido  made 
a  considerable  chan;;e  by  adding  a  new  chord 
below,  which  he  called  hi/pnprjsUimljaimmcnos ; 
aLso  a  fifth  tetrachord  above,  or  tetrachord  of  the 
sur-shttrp,  and  substituting  hexuchords  iu  the 
plate  of  the  ancient  tetrachords.  Since  the  time 
of  Guido  the  general  system  has  again  been 
greatly  extended  and  divided  into  octaves,  which 
ha\  0  long  been  adopted  throughout  Europe, 
an(".  which  the  ear  certainly  recognizes  a*  the 
mct't  natural  of  all  possible  partitions  of  the  great 
Ma  e  of  sounds. 


SYSTE.MA  MASSIMO.  One  of  the  appella- 
tions  given  by  the  Italians  to  the  Greek  systena 
as  perfected  by  Pythagoras,  by  his  addition  of 
the  proslambanomcnos  below  the  hypate  hypa- 
ton. 

SYSTEMA  PARTICIPATUM.  (L.)  A  di- 
vision of  the  octave  or  diapason  into  twelve  semi- 
tones 

SYSTEMA  TEMPERATUM.  (L.)  The  at- 
tempered system.     See  TEMrEOAXENT. 


MS 


ENCYCLOPAEDIA    OF    MUSIC. 


TAU 


T. 


r.  lliis  letter  is  soraetiraes  used  as  the  abbre- 
vi  ition  of  ttt/ti,  all ;  and  is  opposed  to  the  letter 
S,  or  word  solo,  alone. 

TA.  One  of  Ihe  four  fyllnblpt  aied  by  the  ancient  Oreeki  In 
to^'aing  their  muiic.  It  aiitwvred  tu  the  hifi>ote,Qt  tint  eouudof  the 
te  :nichurd. 

TABLATURE.  This  word  was  formerly  ap- 
plied to  the  totality  or  peneral  assembluue  of  the 
Bigiis  iisetl  in  music;  so  that  to  understand  the 
notes,  clefs,  and  other  necessary  marks,  so  far  as  to 
be  able  to  sin^  at  sight,  was  to  be  skilled  in  the 
tablaliire.  The  literal  notation  for  the  lute  was 
also  distinguished  by  this  appellation.  The  Ger- 
man tabhture  was  invented  in  the  sixteenth  centu- 
ry, and  from  its  ingenuity  and  utility  was  formerly 
well  known.  A  specimen  of  it  may  be  seen  in 
the  tract  entitled  '•  Momchordum  Andrea  liein- 
hardi,  Lipsitr,  1604." 

TABOR.  A  small  drum,  usually  forming  an 
accompaniment  to  the  jiipe.  'Hiey  arc  both  played 
by  the  same  performer.  While  the  tones  of  the 
pipe  are  regulated  by  the  fingers  of  the  left  hand, 
■which  stop  the  holes,  the  tabor  is  beat  by  the 
right.  The  talmr  and  pipe  were  formerly  favor- 
ite instruments  with  the  common  people  of  most 
of  the  countries  of  Euroix;,  and  were  particularly 
calculated  for  dancing  music. 

TABORET.     A  small  tabor. 

TABRET.     A  kind  of  drum  used  by  the  an- 
cient Hebrews.     The  first  mention  we  have  of 
instrumental   music   .n   the   Scriptures  is  in  the 
■words  of  Laban,  at  the  flight  of  Jacob,  where  he  ; 
mentions  both  the  lahrct  and  the  harj).     Laban  ; 
was    a   Syrian,  and  brother  of  Rebecca,   Isaac's  I 
■wife ;  and  it  is  therefore  ^^robable  that  the  iabrct, 
as  well  as  harp,  were  Eg>^7tian  instruments.     The 
tabrtt  was    composed   of  a  circular   hoop,  either 
of  wood  or  bra-ss,  wli'^^h  was  covered  with  a  piece 
of  skin    tensely  dm-^n    and    hung    round   with  ' 
small  bells.     It  wros  held  in  the   left  hand,  and  ! 
beaten  to  noto  rf  music  with  the  right :  tlie  la- 
dies in  the  East,  to  this  day,  dance  to  the  sound 
of  this  instrument. 

TACET.  (L.)  A  word  by  which  the  per- 
former is  to  understand  that  the  instrument  with 
the  name  of  which  it  is  conjoined  is  to  be  silent ; 
as,  violino  tiuet,  the  violin  is  not  to  play.  Oboe 
tacel,  the  oboe  is  silent. 

TACCIIINARDI.  NICOLAS,  the  famous  tenor 
Binger,  was  born  at  Florence  in  177tJ.  At  first 
intended  lor  the  church,  he  made  some  literary 
studies,  which  he  abandoned  for  designing  and 
painting.  From  his  eleventh  year  he  learned  mu- 
sic ;  that  is  to  say,  singing  and  the  violin.  At  the 
age  of  seventeen  he  became  a  violinist  in  the  tliea- 
tre  orchestra  of  Florence,  and  continued  in  that 
position  for  five  years ;  but  his  voice  having  devel- 
oped itself  into  a  fine  tenor,  he  began  to  sing  in 
churches  and  in  concerts.  Then  he  tried  his 
powers  in  amateur  theatres,  making  the  tenor 
Babini  his  model.     Finally,  in  1804,  he  made  hia 


dibut  in  the  theatres  of  Livomo  ar.d  Pisa,  m.o 
afterwards  at  Florence  and  Venice,  where  th« 
purity  of  his  taste  and  his  excellent  vocal  meth- 
od were  admired.  Called  to  Milan  in  the  next 
year  at  the  coronation  of  Najmlcon,  jo  shone  at 
La  Scala  by  the  side  of  Mme.  Festa,  ;.nd  in  1805 
at  the  Theatre  Carcano,  with  the  Strinasaechi. 
In  Rome  he  had  unexainiilcd  success,  exciting  the 
enthusiasm  of  the  public  for  five  years.  Ho  was 
intimate  with  Canova,  who  modelled  a  bust  of 
him  ;  and  he  cultivated  sculjiture  with  some  suc- 
cess. In  1811  Taccliinardi  was  called  to  I'arLs, 
and  appeared  for  the  first  time  at  the  Odeon  The- 
atre in  Zingarelli's  "Destruction  of  Jerusalem." 
At  his  entrance  many  exclaimed,  "  He  is  a  hump- 
back !  "  but  the  talent  of  the  artist  soon  effaced 
that  impression.  Tliey  admired  the  purity  of 
his  style,  and  the  ease  with  which  he  passed  im- 
perceptibly from  the  chest  to  the  head  voice ;  al- 
so at  his  la\-ish  yet  tasteful  use  of  ornament  ajid 
fiorittirc.  In  this  last  resi)cct  he  diHered  totally 
from  Crivclli,  who  at  that  time  shared  with  him 
the  part  of  first  tenor  at  the  Italian  Opera,  and 
who  was  distinguished  for  his  simple,  large,  ex- 
pressive manner.  In  "  Adol/o  e  Chiara,"  a  poor 
opera  by  Pucitta,  the  first  success  of  Tacchinardi 
was  compromised,  because  his  awkward  exterior 
and  hLs  nullity  as  an  actor  made  him  coraimrc 
unfavorably  with  Elleviou,  who  was  channing 
the  public  in  a  French  opera  on  the  same  subject. 
But  he  had  his  revenge  in  "La  Molinara"  of 
PaLsicUo,  aiul  from  that  day  became  the  idol  of 
the  habituii  of  the  Odeon.  After  the  events  of 
181.5  he  returned  to  Italy,  and  sang  with  success 
in  the  principal  theatres  of  his  country.  The 
Grand  Duke  of  Tuscany  made  him  his  first  singer 
in  182'J,  but  left  him  the  liberty  of  continuing  his 
dramatic  career.  In  the  following  year  he  sang 
at  Vienna,  and  then  went  to  Spain,  where  he 
was  admired  at  the  theatre  of  Barcelona,  although 
he  was  nearly  fifty  years  old.  In  IH.'Jl  he  re- 
nounced the  stage  and  continued  in  the  service 
of  the  Duke  of  Tuscany.  He  also  devoted  him- 
self to  tCiiching  singing,  and  produced  several  dis- 
tinguished puj  ils,  esjjccially  his  daughter  (Mme. 
Persiani)  and  the  Frez/.olini.  To  aci-vistom  his 
pupils  to  dramatic  action,  he  constructed  a  little 
theatre  in  a  country  house  which  he  i)ossessc<l  near 
Florence.  He  composed  many  exercises  for  tho 
voice,  and  published  a  little  work  entitled 
"  DelV  Opera  in  Musica  sul  Tcatro  Ilalitino,  e  de  $uoi 
di/etti.  " 

TACTART.  (G.)  Tlic  species  of  time  or 
measure. 

TACTUS,  or  T.\CT.  (L.)  In  the  ancient 
music,  the  stroke  of  the  hand  by  which  the 
time  was  measured  or  beaten.  \Vhcn  the  time 
consisted  of  a  breve  in  n  bar,  the  time  ulrolui  was 
called  tactit.1  majir  ,■  and  when  of  a  scniibrcve  in 
a  bar,  tadiis  minor.  But  the  scroihrcve,  being, 
■with  mocicrn  musicians,  the  standard,  or  princi- 
pal time  note,  has  become  the  si^pt  ot  the  prvacnt 


909 


TAD 


ENCYCLOPJEDIA    OF    MUSIC. 


TAL 


Ulcitu  major;    and  the  minim,  or  2,  that  of  the 
turdu  minor. 

TADEI,  ALESSANDRO.  A  celebrated  com- 
poser o(  tlip  seventeenth  century.  Several  motets 
of  his  corai)osition  may  be  found  in  the  J'anuu- 
tus  MtisicK3  Ferdiiiandeta. 

TADOLINI,  GIOVANNI,  opera  composer 
and  director,  was  born  at  Rolognn  in  1793.  From 
18  U  to  1813  he  was  cngaqed  at  the  Italian  Opera 
in  Paris,  as  accompanist  at  the  piano,  while 
Spontiiii  was  director.  He  returned  to  Italy  af- 
ter the  invasion  of  Paris  by  the  allied  armies  in 
1814.  There  he  comiiosed  various  successful 
operas,  and  was  recalled  with  his  young  wife,  a 
Finger  of  talent,  to  Paris,  in  1830,  where  he  re- 
sumed his  old  functions  as  accompanist  and  di- 
rector at  the  Italian  Theatre,  which  he  still  re- 
tained as  late  as  1814.  Besides  operas,  he  has 
publi'-hed  cantatas,  romances,  canzonets,  and  some 
instrumental  music. 

TAEUHER,  TEIBEIl,  TEUBER,  or  TEY- 
BER,  AXTOX.  Chapel-master  at  Vienna  in  1798. 
Amongst  his  works  are  "  La  Pansuinc  di  Jesu 
C/iristo,"  oratorio,  in  manuscript,  Vienna,  1790; 
"3  Qua/,  p.  2  v.,  A.,  ct  li,"  Op.  1,  Vienna,  1788; 
"Die  Einnahme  von  Belgrad,"  Dresden,  1792; 
"6  M/lrsche  und  evie  Jietirade,"  Dresden,  1792; 
"12  Menuetten  und  12  Allcmanden,"  Dresden, 
1798;  "  (Scsttmie  beym  Klavier,"  Dresden,  1798; 
"  Xi.-rmes  tiiid  Mirabe/h,"  melodrama,  in  manu- 
script; and  "Or.  Sin/on,  d  plus.  Instntm.,"  Of- 
fenbach, 1799. 

TAG,  CHRISTIAN  GOTTHILF,  music  direct- 
or at  HoeuBtein,  in  Saxony,  about  the  year  1783, 
was  con>i(Iered  in  Germany  as  an  e.\cellent  church 
composer.  His  works,  con.sisting  of  masses,  mo- 
tet.s,  &c.,  and  several  theatrical  pieces,  bear  date 
from  the  year  1783  to  1803.     He  died  in  1811. 

TAGLIA,  PIETRO.  An  Italian  composer  of 
the  middle  of  the  sixteenth  century,  of  whose 
works  have  been  published,  "  iladrigali  d  4  noci," 
Milan,   l,)<3o. 

TAGLIETn,  GIULIO.  A  voluminous  com- 
poser to  the  Collegio  de  Nobili  di  St.  Antonio,  at 
Brescia,  towards  the  year  1700. 

TAGLIETn,  LUIGI,  an  Italian  instrument- 
al composer,  published  in  I7oO,  at  Amsterdam, 
his  Op.  (),  consisting  of  concertos  and  sympho- 
nies Inr  violins,  vtc. 

T.\IL.  Thot  part  of  any  note  which  runs 
peqiendicularly  upward,  or  downward,  from  its 
nead. 

TAILI-ARD,  CON.STANT,  called  L'a1n6. 
Fiivl  flute  at  the  Concert  Spiritucl  in  Paris  about 
the  year  17G0.  He  publLshcd  some  music  for  his 
instrument. 

TAII.LE.  (I.)  The  name  by  which  for- 
merly the  tenor  part  of  a  vocal  score  was  desig- 
nated. 

TAILPIECE.  The  thin,  broad  piece  of  eb- 
ony horizontally  susMonded  over  the  lower  end 
cf  a  violin,  and  to  wliich  one  end  of  the  strings 
is  attached. 


TAKT.     (O.;     The  measure. 


9 


TAKT.STRIcn.  (G.)  ITie Hnes  or  b.-irs  which 
mark  the  division  of  a  piece  into  measures. 

TALESIO,  PEDRO,  professor  of  music  at 
Coimbra  in  the  beginning  of  the  seventeenth 
century,  published  "  Arte  do  Canto  Cha6  com  hunxa 
brerc  inxtruqad  pura  os  Saccrdotes,  Diacon/is,  i  Sub- 
diaconos,  e  Mo<;os  do  Coro  conforme  0  Uso  Romano," 
Coimbra,  1617. 

TALETELLERS.  The  name  formerly  giren 
by  the  Irish  to  their  bards,  or  harpers,  because  in 
a  kind  of  cathedral  chant  they  recited  their  po- 
etical histories.  The  celebrated  Cormac  Dall, 
who  flourislied  at  the  beginning  of  the  eighteenth 
century,  was  the  last  bard  who  bore  the  appella- 
tion of  taleteller. 

TALLIS,  THOMAS,  the  master  of  Bird,  and 
one  of  the  greatest  musicians,  not  only  of  Eng- 
land, but  of  Europe,  during  the  sixteenth  centu- 
ry, in  which  so  many  ab!e  contrapuntists  were 
produced,  was  born  early  in  the  reign  of  Henry 
VIII. ;  but  though  it  has  been  frequently  assert- 
ed that  he  was  organist  of  the  chapel  royal  dur- 
ing the  reigns  of  that  monarch,  Edward  VI., 
Queen  Mary,  and  Queen  Elizabeth,  yet  it  would 
be  difficult  to  prove  that  in  the  three  first  of  these 
reigns  laj-meii  were  ever  appointed  to  any  such 
office.  In  tlie  reigns  of  Henry  and  his  daugh- 
ter Mary,  when  the  Roman  Catholic  religion 
prevailed,  the  organ  in  convents  was  usually 
played  by  monks,  and  in  cathedrals  and  colle- 
giate churches  and  chapels  by  the  canons  and 
others  of  the  priesthood.  The  first  lay  or- 
ganists of  the  chapel  royal  upon  record  were  Dr. 
Tye,  Blithman,  the  master  of  Dr.  Bull,  Tallis, 
and  Bird ;  all  during  the  reign  of  Queen  Eliza- 
beth. 

Though  the  melody  of  the  cathedral  service 
was  first  adjusted  to  English  words  by  Marbeck, 
yet  Tallis  first  enriched  it  with  harmony.  But 
the  most  curious  and  extraordinary  ot  all  his  la 
bors  was  his  song  of  forty  parts,  which  is  still 
subsisting.  This  wonderful  effort  of  harmonical 
abilities  is  not  divided  into  choirs  of  four  pnrts, 
soprano,  alto,  tenor,  and  bass,  in  each,  like  the 
corapo.sitions  a  milti  cori  of  Benevoli  and  others  ; 
but  consLsts  of  eight  trebles  placed  under  each 
other,  ei:iht  mezzo  soprano  or  mean  parts,  eight 
counter  tenors,  eight  tenors,  and  ei:;ht  basses,  with 
one  line  allotted  to  the  organ.  All  these  several 
parts,  as  may  bo  imagined,  are  not  in  simple 
counterpoint,  or  filled  up  in  mere  harmony  with- 
out meaning  or  design,  but  have  each  a  share  in 
the  short  subjects  ot  fugue  and  imitation  which 
are  introduced  upon  every  change  of  words. 
The  first  subject  is  begun  in  G  by  the  first  mez- 
zo soprano  ;  tl:e  second  mcdius,  in  like  manner 
beginning  in  G,  is  answered  in  the  octa»e  below 
by  the  first  tenor,  and  th.it  by  the  first  counter 
tenor  in  D,  the  fifth  above :  then  the  first  bass 
has  the  subject  in  D,  the  eighth  below  the  coun- 
ter tenor ;    and  thus  all  the  forty   real  parts  are 

'  severally  introduced  in  the  course  of  thirty-nine 

I  bars,  when  the  whole  phalan.x  is  employed  at 
once  during  six  bars  more ;  after  which  a  new 
subject  is  led  off  by  the  lowest  bass,  and  pursued 
by  ofl-.cr  parts,  severally,  for  about  twenty-foui 
bors,  when  there  is  another  general  chorus  of  all 
the  parts  ;  a)\d  thus  this  stupendous,  though  p«.r' 
haps  Gothic,  specimen  of  human  labor  and  ia> 

I  tellcct  is  carried  ou  in  alternate  flight,  pursiit, 

10 


lAL 


ENCYCLOPAEDIA    OF    MUSIC. 


TAR 


attack,  and  choral  union  to  the  end,  when  the 
polyphonic  phenomenon  19  termimited  by  twelve 
oars  of  universal  chorus,  in  quadragintesimal 
harmony. 

This  venerable  musician  died  in  the  year  158.5, 
and  was  buried  in  the  old  parish  church  of  (ircen- 
wich,  in  Kent.  Tlie  following  epitaph,  which 
Dr.  Uoyce  has  printed  in  the  first  volume  of  his 
collection  of  cathedral  music,  Stryjjc,  in  his  con- 
tinuation of  Stowc's  Survey,  printed  in  1720, 
says  ho  tbund  enijraved  in  Gothic  letters  on  a 
brass  plate  in  the  chancel :  — 

**Enlrrro(l  here  doth  ly  a  worthy  wy^ht. 

Who  tor  loiif?  time  in  louilck  h*>rt'  Iho  b*Ui 
Hit  imliiL'  tu  thi-w  Wat  'rhomit  Tullii  hyghtl 
In  huuvat  Tcrttiuua  lyti  h«  dyd  excvll. 

He  torvi'd  lonR  tymc  In  chsppcl  with  grrtc  pr«yfe, 
Fowtr  i»ovcrt-\niu-i  n*isni-».  (■  thing  nr>t  often  tecnei) 

1  nicnn  Kinu  Ilinrv.  ■lul  Prince  Edwiinl'i  daye*, 
(Quelle  Muri.-,  ond  Kliubvth  our  qucne. 

He  miiryi-d  wB«,  thouffh  ehlldren  he  htd  none. 
And  lyv'd  in  love  full  three  and  thirty  yerea 

With  lo>nl  ■powie,  whf>te  name  yclept  waa  Jone, 
'Who,  here  entonitwd,  him  company  now  be«r«. 

A*  he  (lyi!  lyve,  "o  alno  dyd  he  dy, 

In  nivUI  ntid  <|tivvt  M>rt,  O  happy  man  I 
Tt'  (i.il  lul  oil  I. 'r  mercy  did  he  cryi 

Whcrclorc  he  lyvea,  let  Deth  do  what  he  can." 

The  stone  to  which  this  plate  was  affi.xed  had 
been  renewed  by  Ur.  .\ldrich  ;  but  the  old  church 
having  been  pulled  down  about  the  year  1720, 
in  order  to  be  rebuilt,  no  memorial  remains  of 
Tallis. 

TALOU.  The  heel  of  a  bow;  that  part  near 
the  nut. 

TAMBOUR  DE  BASQUE,  or  TAMBOU- 
RINE. (Fr.)  A  drum  in  the  shape  of  a  sieve, 
furnished  at  the  sides  with  small  bells  and  loose 
bits  of  tin.  A  tinkling  cymbal ;  or,  to  describe  it, 
perhaps,  in  clearer  terms,  a  kind  of  hand  drum, 
formed  of  a  circular  frame  and  distended  parch- 
ment. It  is  sometimes  furnished  with  tin  jingles, 
which  are  put  into  motion  by  shaking  the  instru- 
ment with  one  hand,  while  the  parchment  is 
struck  with  the  other. 

TAMBOURIN.  A  kind  of  dance  formerly 
much  in  fashion  on  the  French  stage.  Its  air 
wns  very  lively,  and  consisted  of  two  crotchets 
in  a  bar. 

TAMBURA.  The  Arabian  name  for  all  in- 
struments of  the  guitar  kind. 

TAMBURIXI,  ANTONIO,  the  famous  bari- 
tone singer,  was  born,  in  1800,  at  Faenza.  He 
lived  in  Italy  until  1832,  when  he  yielded  to 
pressing  invitations  to  Paris  and  London,  and  af- 
terwards to  .St.  Petersburg.  His  name  is  always 
associated  with  those  of  Kubini,  Lablache,  Per- 
sian!, Grisi,  X:c. 

TAMBURO.     (I.)     A  drum. 

TAMBURONA.     (L)    A  great  drum. 

TAXSUR,  WILLIAM,  an  English  musician, 
born  about  the  year  1700.  He  published,  in 
1735,  a  work  entitled  "A  complete  Melodij,  or  the 
Uarmoivj  of  Sioii,  in  three  Volumca  :  the  Jirst  con- 
taining an  Introduction  to  Vocal  anil  Initrumental 
Mnsic ;  the  second  comprising  the  Psalnu,  vith  new 
Melodies,  and  the  third  being  composed  of  J'art 
Siii.js."  Some  years  afterwards  he  published 
two  otlier  works,  the  one  eniitletl  ••  Universal 
Harmony,"  *nd  tlie  other  "  A  new  Musical  Gram- 


mar and  Dictionary."  On  the  titlepRi;e  of  the 
latter  he  calls  himself  NVillium  Tansur,  Sen., 
musico-lhforico ;  the  work  being  stated  to  be  sold 
by  the  author,  and  by  his  son,  chorister  of  Trinity 
College,  Cambridge. 

T.\NTO.  (I.)  Much,  very,  too  much.  Thus, 
allegro  nan  tanto,  fast,  but  not  too  fast. 

TANTUM  ERGO.  (L.)  A  h)Tnn  sung  at  the 
benediction. 

TAPPI.V,  GIOVANNI,  a  priest,  resident  at 
Naples  about  1528,  was  bom  in  Spain.  He  was 
the  founder  of  t)ic  first  musical  icEservatory  at 
Naples ;  soon  alter  which  various  others  were 
formed,  both  in  Naples  and  Venice.  These  in- 
stitutions have,  on  tlie  whole,  much  contributed 
towards  the  improvement  of  the  art.  Tlicir  first 
establishment  was  occasioned  by  the  great  want 
of  singers  in  all  large  towns,  which  was  owing 
to  the  government  not  having  the  means  of  main- 
taining musical  schools,  and  the  convents  liaving 
their  own  interest  too  much  at  heart  to  offer  any 
assistance.  Tappia,  full  of  enthusiasm  for  the 
art,  resolved  al  last  to  do  the  utmost  for  its  eman- 
cipation. He  first  gave  in  several  plans  to  his 
government,  which  were  not  accepted.  He  then 
desired  to  accomplish  these  plans  himself,  and 
applied  jjublicly  for  assistance ;  in  vain,  however, 
for  nothing  succeeded;  till  at  last,  after  several 
years'  exertions,  he  took  the  resolution  to  rely 
on  nothing  but  the  intrinsic  merit  of  his  plans 
and  his  own  perseverance,  and  went  from  house 
to  house,  from  place  to  place,  to  beg  subscriptions. 
Though  but  too  often  denied,  iiublicly  scoffed 
and  laughed  at,  he  was  here  and  there  listened 
to,  and  obtained  small  donations,  afterwards 
gi-eater  ones  ;  and  this  work  he  carried  on  for  full 
nine  years,  when  he  added  his  own.  not  incon- 
siderable, fortune  to  the  total  sum  he  had  begged, 
and  found  himself  in  possession  of  a  large  capi- 
tal. With  this  he  now  founded  the  first  conser- 
vatory at  Naples,  which  he  dedicated  to  and 
named  alter  the  Madonna  di  Loretto. 

TAPRAY,  J.  F ,  a  Frenchman  by  birth,  and  a 
pupil  of  Domenico  Scarlatti,  was  considered  a 
good  performer  on  the  harpsichord  In  17GS  ho 
was  organist  at  Besancon,  after  which  he  went 
to  Paris,  and  was  nominated  organist  of  the  mil- 
itary school.  He  had  publishetl,  up  to  the  year 
1801,  twenty-eight  works  of  harpsichord  music 
and  romances. 

TAR.\DE,  a  good  ^•iolinist  in  the  orchestra  of 
the  Royal  Academy  of  Music  at  Paris,  brought 
out,  in  17o5,  at  the  Comcdie  Italienne,  a  success- 
ful opera  entitled  "La  HiconcUiation  Villageoite," 

T.VKANTELLA.  (I.>  A  swift,  delirious  sort 
of  Italian  dance  in  whirling  si.x-eight  measure. 
The  fonn  has  been  nilopted  in  many  compositions 
of  the  modem  school  of  piano-forto  « riters,  ns 
ITialberg,  Liszt,  Cho,,in,  \c. 

TAR.VNTUL.V  DANCE.  A  partimlar  but 
ordinary  ttme,  so  called  from  its  reputo<l  power 
in  curing  the  cffet-t?.  01  the  I'oi.sonous  bite  of  the 
tarantula.  It  was  in  A]>ulia,  in  Italy,  that  the 
pretence  was  first  i)ro;ngated  ;  and  many  Icnmctl 
physicians  and  naturabsts  of  Italy,  Fiaiiee,  Eng- 
land, and  other  countries  have  yield>-d  to  the 
opinion  ;  which,  however,  more  xcnipiilnus  and 
curious  inquirers  assert  to  have  been  built  upoc 
fraud  and  luUacy. 


911 


TAR 


ENCYCLOPEDIA    OF   MUSIC. 


TAR 


TARCIII,  AXGIOLO,  an  Italian  composer 
•nd  professor  of  siiif^iii;;,  resident  at  Paris,  wha 
born  at  Naples  in  1700.  He  studied  during  thir- 
teen years  at  the  Conservatory  of  La  Pieta,  un- 
der Tarcntino  and  Sala.  Whilst  still  there,  in 
1781,  he  wrote  his  Erst  dramatic  work,  being  an 
ojjcra  buffa  entitled  "  L' Architittn."  Its  success 
was  such,  when  performed  witliin  the  walls  of  the 
Conservatory,  that  the  king  (Ferdinand  IV.)  de- 
sired it  might  be  played  at  one  of  his  private 
theatres.  In  1783,  being  still  n  pupil  of  the  Con- 
servatory, he  composed  for  the  new  theatre  at 
Naples  "  La  Caccia  W  Enrico  11'.."  an  opera  buffa, 
which  had  ranch  success.  He  then  gave,  at  the 
Theatre  del  Fondo,  an  interlude,  which  he  fi)l- 
lowed  up  by  three  operas.  At  this  epoch,  being 
at  Rome,  he  wrote  lor  the  Theatre  of  Capra- 
nica  "  /  due  Fratitii  Pappamosca,"  an  interlude. 
In  1784  he  composed  in  the  same  city,  for  the 
Theatre  de  Valle,  the  intcvlude  of  "Don  Falio- 
pio,"  and  in  1785,  at  Milan,  for  the  Theatre  of 
La  Canobia,  the  opera  scria  entitled  "  Ademira." 
After  this  period  his  works  succeeded  rapidly  in 
the  following  order  :  "  Arianna  e  Dacca,"  opera 
seria,  Turin,  1785  ;  "  Ifiijenia  in  Tauride"  opera 
seria,  Venice,  1786  ;  "  L' Ariarate,"  opera  seria, 
Milan,  1786 ;  "  I'ttblio"  opera  seria,  Florence, 
1786;  "  Arminia."  opera  scria,  Mantua,  1786; 
"  Demofoonte,"  opera  seria,  Crema,  1786;  " // 
Trionfo  dl  Clelia,"  opera  seria,  Turin,  1787  ; 
"Paolo  e  T'l'ryi/nVi,"  Venice,  1787;  "  Artaserse" 
Mantua,  1787;  "/  due  liioali,"  opera  buffa. 
Home,  1788;  "  Mitridate,"  Rome,  1788;  "II 
t'onte  di  Sai^af/na,"  Milan,  1788  ;  "  Antioco,"  Pad- 
ua, 1788;  "II  Disertore,"  London,  1789;  "  Ales- 
tnndro  ncW  Indie,"  London,  1789;  "  Lo  Spazza- 
cammino,"  opera  buffa,  Monza,  a  country  house 
near  Milan,  1789;  "  L'Ap'Jtcose  dt Erade,"  Venice, 
1790;  "  Ezio,"  Vicenza,  1790;  "  L' Olimpiade," 
Home,  1790  ;  "  Giulio  Stbino,"  opera  seria,  Turin, 
1791  ;  "Don  Chisciottc,"  Paris,  1791;  "  Adrasto," 
Milan,  1791;  " /j«(7/;o,"  oratorio,  Mantua,  1792; 
"  Esler,"  oratorio,  Florence,  1792  ;  and  "  La  Morle 
di  Seronc,"  Milan,  1792.  Tarchi  produced  at  the 
TW'Atre  de  I'Opera  Comique,  at  Paris,  subse- 
quently to  the  year  1796,  "  Le  Cabriolet  Jaime," 
in  one  act;  "Le  Trente  et  Quarante,"  in  one  act; 
"  ^'^  Foix,"  in  one  act;  "  D'  Aubi-rge  en  Aubcrgc," 
in  three  acts,  &c.  Some  masses  and  other  sacred 
music  by  this  musician  have  also  been  performed 
at  Naples. 

TARDANDO.     (I.)     Retarding. 

TARDIEU,  ARBE,  of  Tarascow,  brother  of  a 
chapel-master  of  the  same  name,  celebrated  in 
Provence,  lived  early  in  the  eighteenth  century. 
He  much  promoted  the  substitution  of  the  vio- 
loncello for  the  viol  da  gamba. 

TAliDITI,  ORAZIO.  Chapel-master  at  Fa- 
enza,  in  the  Papal  States,  in  the  first  half  of  the 
Bcvenfeenth  century.  Judging  from  the  number 
of  his  published  works,  he  appears  to  have  been 
\  prolific  composer  of  sacred  music,  especially 
it  motets. 

TARDO.  (I.)  Slow.  A  word  synonymous 
with  Uinio. 

TARONI,  ANTONIO,  canon  of  St.  Barbara's 
Church,  in  Mantua,  and  composer,  towards  tlie 
middle  of  the  si.xtcentti  century,  published  "  .V<i- 
irii/ali  ri  5  rod,"  Venice,  1612,  and  "  .Mis^e  da 
CapeUa  d  5  voci,"  Venice,  1616. 

012 


TARIINI,  GIUSEPPE,  wa.-»  bom  at  Pirano, 
in  the  Province  of  Istria,  in  1692.  His  father, 
having  been  a  great  benefactor  to  the  Cathedral 
Church  at  Parenza,  had  been  ennobled  in  rewarc) 
for  his  piety.  Giuseppe  was  orisinally  intended  foi 
the  law  ;  but  mixing  music  with  his  other  studiei 
during  the  course  of  his  education,  it  soon  tyran- 
nized over  the  whole  circle  of  the  sister  sciences. 
ThLs  is  not  so  surpri.sing  as  another  strong  pro- 
pensity, which,  durinsr  his  youth,  greatly  occu- 
pied his  attention  :  this  wa.s  fenrimi,  an  art  not 
likely  to  become  necessary  to  the  safety  or  honor 
of  a  man  of  so  pious  and  pacific  a  disposition  en- 
gaged in  a  civil  employment ;  and  yet  he  is  said 
even  in  this  art  to  have  equalled  the  master  of 
whom  he  received  instructions.  In  1710  he  was 
.sent  to  the  University  of  I'adua  to  pursue  his 
studies  as  a  ci\nlian  ;  but,  before  he  was  twcntv, 
having  married  without  the  consent  of  his  parents, 
they  wholly  abandoned  him,  and  obliged  him  to 
wander  about  in  search  of  an  asylum  ;  which, 
after  many  hardships,  he  found  in  a  convent  at 
Assisi,  where  he  was  received  by  a  monk,  his 
relation,  who,  coramLscrating  his  misfortunes,  let 
him  remain  there  till  something  better  could  be 
done  for  him.  Here  he  practised  the  violin  to  keep 
off  melancholy  reflections,  till  he  was  discovered 
on  a  great  festival  in  the  orchestra  of  the  convent, 
by  the  accident  of  a  remarkably  high  wind,  which, 
forcing  open  the  doors  of  the  church,  blew  aside 
the  curtain  of  the  orchestra,  and  exposed  all  the 
performers  to  the  sight  of  the  congregation  :  be- 
ing thus  recognized  by  a  Paduan  acquaintance,  dif- 
ferences were  accommodated,  and  he  settled  with 
his  wife  for  some  time  in  Venice.  This  lady  was 
of  the  true  Xantippe  breed  ;  but  as,  fortunate- 
ly, poor  Tartini  was  very  Socrutic  in  wisdom, 
virtue,  and  jjatience,  her  reign  was  unmolested 
by  any  domestic  war  or  useless  opposition  to  her 
supremacy. 

During  his  residence  at  Venice,  the  celebrated 
Veracini  arrived  in  that  city,  whose  performance 
awakened  an  extraordinary  emulation  in  Tartini; 
for,  though  he  was  acknowledged  to  have  him- 
self a  powerful  hand,  he  had  never  heard  such  a 
great  player  before,  or  conceived  it  possible  for 
the  bow  to  possess  such  varied  powers  of  energy 
and  expression  as  were  commanded  by  Veracini. 

In  fact,  Tartini  quitted  Venice  the  very  next 
day,  and  procce.led  to  Ancona,  in  order  to  study 
the  use  of  the  bow  in  greater  tranquillity  and 
with  more  convenience  than  he  could  at  Venice. 
lliLs  happened  in  1714,  the  year  in  which  he 
discovered  the  phenomenon  of  the  third  sound. 
This  phenomenon  of  the  third  sound  is  the  res- 
onance of  a  third  note  when  the  two  ui)per  notes 
of  a  chord  are  sounded.  Thus,  if  two  parts  are 
sung  in  thirds,  every  sensitive  ear  will  feel  the 
impression  of  a  bass  or  lower  part.  Tliis  may  be 
distinctly  heard  if  you  play  a  series  of  consecu- 
tive thirds  on  the  violin,  they  being  jjerfectly  in 
tune.  '•  If  you  do  not  hoar  the  ba.ss,"  said  Tar- 
tini to  his  pupiLs,  "the  thirds  or  sixths  which 
you  are  playing  are  not  perfect  in  the  intona- 
tion." Here,  too,  during  the  carnival  of  the  same 
year,  he  heard  and  perceived  the  extraordinary 
eflccts  of  a  piece  of  simjilo  recitative,  which  he 
mentions  in  his  "  Trattnto  di  Mtisica."  It  was 
likewise  during  his  residence  at  Ancona  that  by 
diligence  and  practice  he  acquired  reputation 
sufficient  to  entitle  him,  in  1721,  to  an  invitation 
to  the  distinguished  place  of  first  violin  and  mas- 


TAR 


ENCYCLOPAEDIA    OF   MUSIC. 


TAX} 


ter  of  tho  band  to  tho  celebrated  Church  of  St. 
Anthony  of  Padua.  I?y  this  time  his  fame  was 
80  much  extended  that  he  had  repeated  offers 
from  Paris  and  London  to  visit  those  capitals ; 
but  by  a  singular  species  of  devotion  and  attach- 
ment to  his  patron  saint,  to  whom  he  consecrated 
himself  and  his  instrument,  he  constantly  de- 
clined entering  into  any  other  service.  By  the 
veer  17+S  he  had  made  many  excellent  scholars, 
and  had  established  such  a  system  of  practice  for 
students  on  the  violin  that  he  was  celebrated  all 
over  Europe ;  and  in  this  respect  his  reputation 
increased  till  the  period  of  his  death,  which  took 
place  in  the  year  1770,  to  the  intiiiite  regret  of 
the  inhabitants  of  Padua,  where  he  had  resided 
nearly  tifty  years,  and  was  not  only  regarded  as 
its  most  attractive  ornament,  but  even  as  a  phi- 
losopher and  saint. 

M.  De  Lalande  states  that  he  had  from  Tartini's 
own  mouth  the  following  singular  anecdote  re- 
specting one  of  his  compositions,  which  shows  to 
what  a  degree  his  imagination  was  inflamed  :  — 

"  He  dreamed  one  night,  in  1713,  that  he  had 
made  a  compact  with  the  devil,  who  promised  to 
he  at  his  service  on  all  occasions ;  and,  during 
this  vision,  every  thing  succeeded  according  to 
his  mind  :  his  wishes  were  anticipated  and  his 
desires  always  surpassed  by  the  assis'ance  of  his 
new  servant.  In  short,  he  imagined  that  he  pre- 
sented the  devil  his  violin,  in  order  to  discover 
what  kind  of  a  musician  he  was,  when,  to  his 
great  astonishment,  he  heard  him  play  a  solo 
so  singularly  beautiful,  which  he  executed  with 
such  superior  taste  and  precision,  that  it  sur- 
passed all  the  music  he  had  ever  heard  or  con- 
ceivetl  in  his  life.  So  great  was  his  surprise  and 
so  exquisite  his  delight  upon  this  occasion  that 
it  deprived  him  of  the  power  of  breathing.  lie 
awoke  with  the  violence  of  his  sensations,  and 
instantly  seized  his  fuhllc,  in  the  hopes  of  ex- 
pressing wJiat  he  had  just  l-.eard ;  but  in  vain. 
lie,  however,  directly  composed  a  jjiece,  which 
is,  perhaps,  the  be>t  of  all  his  works,  and  called 
it  the  "  Devil's  Sonata."  lie  knew  it,  however, 
to  be  so  inferior  to  what  his  sleep  had  i)roducevl, 
that  he  stated  he  would  have  broken  his  instru- 
ment and  abandoned  music  forever  if  he  could 
have  subsisted  by  any  other  means." 

The  following  are  some  of  the  i)rincipal  works 
of  Tartini :  "  Tratlato  di  Miuica  secoudo  la  vera 
Scimza  deW  Armonia,"  Padua,  1754;  "  Uiposta  di 
Giu3iT>pe  Tartini  alia  critica  del  di  lui  Trallnto  di 
Miuica  di  M.  Serre  di  Ginevra,"  Venice,  1767  ; 
"  l)i.isertnzimie  dfi  Principi  dclC  Armnnia  iluaicnle, 
iintcnttla  del  Diatnnico  Gencre,"  Padua,  1767  ; 
"  Leltera  atla  Sii/itora  Mitddalena  Lombardini,  in- 
trrriente  ad  una  impirtnnte  I^zi'ine  per  i  Suonatori 
di  Violiiio."  'ITie  Abbe  Fanzugo  speaks  also  of  a 
manuscript  treatise  by  Tartini,  entitled  "  Lezioni 
aopra  i  vari  generi  di  appogyiafure,  di  tril/i,  tremoli 
«  mordeiiti,"  &c.  ••Vmongst  his  practical  works 
are  many  opera  of  violin  sonatas,  also  numero\is 
concertos.  Dr.  Ilurncy  etatcs  that  the  two  books 
of  sonatas,  published  in  England  as  Tartini's, 
contain  more  than  fifty  different  pieces.  A  man- 
uscript of  his,  called  "  Lezioni  prnliche  drll  Vio- 
lino,"  was  in  the  hands  of  many  of  his  pupils. 
AVe  can  further  name  "  U Arte  delC  arco  o  aiano 
60  Viirinzioiii  ;xt  y.  »  $empre  enllo  itetfo  It.,"  Na- 
ples, 1792;  and  "  Adn/ji  >  rarii  ile  plu.tieiin  fi%<;o»i 
diffirciUes  :  trta-iUilet  mix  prrmnnea  qui  reulrnt  ap- 
prendre  d  J'aire  det  trat$  >o  it  chaqite  note  d'har- 
Ua  9 


monio,"  &c.,  published  in  Paris  about  the  year 
1801. 

TAllTIlE,  LE.  Organist  and  vocal  ccmposer 
at  Paris  about  the  year  1716.  His  motets  met 
with  much  applause,  and  were  often  performed 
in  the  churches.  Of  his  printed  works  can  be 
named  "  La  I'aix,  Catitatc,"  "  Miserere  d  grand 
Chccur,"  and  "  8  lieciteih  d'Airs  a  chanter." 

TASTATURA,  (I.)  The  appellation  former- 
ly given  to  the  whole  range  of  keys  of  an  organ 
or  haqjsichord.  Hence  the  little  preludu  ])layed 
by  way  of  trying  the  instrument  were  cijled  las- 
ta'ure. 

TASTIERA.  (I.)  Tlie  finger  board  of  my 
instrument. 

TASTO.  (I.)  The  touch  of  any  instrument. 
Hence,  also,  a  key  or  thing  touched. 

TASTO  SOLO,  or  T.  S.  (I.)  These  words 
imply  that  the  bass  notes  over  or  under  which 
they  are  written  are  not  to  be  accompanied  with 
chords  ;  but  that,  while  the  left  hand  performs 
them  on  the  organ  or  piano-forte,  the  right  is 
either  to  remain  at  rest  or  perform  in  octaves. 

TATTOO,  or  TAPTO.  The  beat  of  drum  at 
night  by  which  the  soldiers  are  called  to  their 
quarters. 

TAUBE,  CHRISTIAN  FRIEDRICH,  pub- 
lished at  Dresden,  in  1730,  an  octavo  work,  in 
two  volumes,  entitled  "  ViitersHchtin'i  Mclodischer 
lAfhrsfiize,"  i.  e.,  "  Examination  of  the  Principles 
of  Melody." 

TAUBER,  or  TAUBERT,  J.  F.  Flutist  and 
composer  for  his  instrument  in  the  electoral 
chapel  at  I'ernburg.  He  was  an  able  professor 
of  his  instrument.  In  1792,  at  a  concert  given 
by  him  in  Berlin,  he  evinced  such  extraordinary 
skill  as  to  astonish  his  audience.  Gerbcr,  though 
he  only  heard  him  perform  the  first  flute  in  an 
easy  trio  from  the  "Creation,"  heard  enough,  ho 
says,  to  convince  him  of  Tauber's  deep  feeling, 
beautiful  expression,  and  almost  unlimited  power 
over  his  instrument.  Ho  was  born  at  Naum- 
berg,  in  Saxony,  about  the  year  17o0,  and  re- 
ceived hLs  musical  instructions  at  Dresden  under 
Gotze  :  he  was  then  entered  at  tho  University  of 
Giittingen,  and  alter  that  procured  an  apjioint- 
ment  in  the  service  of  the  Elector  of  Bernburg. 
Unhappily  this  able  artist  had  weak  lungs,  which 
soon  incapacitated  him  for  the  u>e  of  l.is  instru- 
ment. He  died  of  asthma,  in  1803,  at  Bailcn- 
stadt.  Alter  his  decease  several  of  his  works 
were  published. 

TAUBERT.  WILHELM,  a  distingnishod  pi- 
anist and  composer  of  8ymi)honies,  ]>inn<i- forte 
trios,  sonatas,  &c.,  and  of  a  great  variety  of  songs, 
was  boni  at  Berlin  in  1811.  He  was  a  pupil  ol 
Berger  and  of  B.  Klein.  For  some  years  he  has 
been  chai)ol-raa«ter  at  tho  Royal  Opera  in  Ber- 
lin, where,  in  1832,  he  prodiiced  bi\  operetta 
called  "  Die  Kirmesse,"  ("The  Fair,")  which  was 
well  received;  al.so  "Blue  Beird,"  a  romnntio 
opera.  He  was  the  author  of  Jenny  I.ind's 
"  Birdling  "  song. 

TAUSCH,  FRANZ,  a  clarinotint  and  instru- 
mental  composer,  also  a  memlwr  of  tho  chapel 
of  the  Queen  Dowager  of  Pnusia  at  Berlin,  WM 
13 


I'AU 


EX  CYCLOPAEDIA    OF    MITSIC. 


TAY 


bom  at  Ileidelber;?  in  1762.  He  had  no  other 
instructor  in  his  art  t'.inn  his  father,  who,  at  the 
time  of  the  birth  of  his  son,  was  only  an  under 
musician  at  llpidclbcrg  church.  Soon  alter, 
however,  on  the  occasion  of  a  hunting  festival, 
onlcrcd  by  the  court  to  take  place  at  lleidclberf;, 
Tausch,  senior,  so  attracted  the  observation  of  the 
prince  elector,  by  his  tidents  on  the  clarinet,  that 
this  promoter  of  the  arts  engaged  him  imme- 
diately for  iiis  cliapi'l  at  Maulicini.  Scarcely  hud 
youni^  Franz  reached  his  fourth  year  when  he 
received  instructions  from  liis  father  on  the  vio- 
lin ;  and  at  the  aije  of  eight  i)layed  before  the 
court  on  the  clarinet.  From  this  early  age  he 
was.  indeed,  considered  as  an  efficient  member 
of  the  chapel  both  for  the  clarinet  and  violin.  In 
the  year  1777,  when  tlie  Prince  Elector  of  Ba- 
varia changed  his  rc:<idcnce  from  Manheira  to 
Munich,  young  Tausch,  then  aged  fifteen,  was 
obliged  to  follow  the  court,  though  against  the 
wishes  of  his  father.  At  Munich  he  remained 
ti'.l  1730,  when  he  accompanied  Chapel-master 
^Vinter  to  Vienna,  where  several  offers  of  engage- 
ments were  made  to  him  ;  hut  he  remained  faith- 
ful to  his  prince,  and  again  returned  to  Munich 
in  17S1.  In  1784  he  set  out  on  a  second  journey, 
and  within  nine  months  visited,  besides  several 
other  courts,  those  of  lierlin  and  Dresden  ;  after 
which  he  agiiin  retired  to  Munich.  Five  years 
posterior  to  this  he  received  a  professional  invi- 
tation to  Berlin,  by  order  of  the  Queen  of  Prus- 
sia, which,  with  his  wife,  who  was  an  excellent 
pianist,  he  accepted.  In  1791,  at  the  command 
of  the  King  of  Pru.ssia,  he  performed  at  the  ser- 
vice in  the  Chapel  Koyal  until  the  arrival  of  Bacr 
from  Petersburg  In  the  following  year  he  went 
to  Paris,  and  performed  at  several  concerts,  to 
the  brilliancy  of  which  his  remarkable  talents 
did  not  a  little  contribute.  In  179'5  he  visited 
Hamburg,  and  was  there  again  greatly  admired. 
In  1799  he  gave  at  his  own  house,  in  Berlin,  a 
very  superior  weekly  concert,  in  which  the  first 
amateurs  of  that  city  played.  His  published 
works  arc  not  numerous,  and  consist  chieHy  of 
concertos.     He  was  still  living  in  18J6. 

T.YUSCHER,  J.  G.,  a  German  writer  on  the 
the  organ,  died  about  the  year  1787. 

TAUTOLOGY.  A  tiresome  repetition  of  the 
Bame  passage  or  passages. 

TAVAKKS,  MAXOEL,  a  composer,  born  at 
Portalcgre,  in  Portugal,  Hourishcl  about  the  year 
1625.  He  was  at  first  singer  in  the  chapel  of 
King  John  111.,  after  which  he  became  chapel- 
master  of  the  Cathedral  Church  at  Murcia,  and 
lastlv  at  Cuen^a,  whore  he  died.  In  the  lloyal 
Musical  Library  at  Lisbon  are  found  many  mass- 
es, motets,  &c.,  of  his  composition. 

TAVAKES,  XICOL.VO,  a  Portuguese  mu- 
sician, born  at  Portalcgre,  flourished  about  the 
year  ir>2).  He  wa.s  only  twenty-live  years  of 
age  when  he  died,  being  then  chapcl-mastcr  at 
Cadiz  and  at  Cucncn.  Of  his  compositions  several 
pieces  in  manuscript  are  preserved  in  the  Itoyal 
Musical  Library  at  Lisbon. 

TAVEUXEU,  JOIIX.  Organist  of  Boston,  in 
Lincolnshire,  and  likewise  a  member  of  ("Hrdin.al, 
(now  ChrLst  Cliurch)  College,  O.xford.  Being  in 
religio)!  a  Lutl  eran,  and  connected  with  John 
Fritb,  tlic  nmrtvr,  and  some  others,  he  was,  to- 


I  gether  with  them,  accused  of  heresy.     They  were 
all  seized  and  imprisoned  in  a  deep  cavern  under 
the  college,  at  that  time  used  for  the  keeping  of 
salt  fish,  the  putrid   stench  arising  from  which 
I  actually  suffocated  one  of  them.     Frith  was  con- 
victed and  burned  at  Smithtieldin  the  year  1.533  ; 
but  Taverncr  had  kept  more  within  the  bounds 
of  moderation    than   the  others,   and  was  only 
'  accused  of  having  conceale<l  some  heretical  books 
under  the  boards  of  the  school  where  he  taught. 
On  this  account,  and  from  hLs  great  eminence  as 
a  musician,  he  was  fortunate  enough  to  escape 
condemnation.     It  Ls  necessary  to  remark  that 
there  were  two  Taverners  living  about  the  same 
time,  who  had  the  same  Christian  name.     The 
one  above  mentioned  is  known  as  Taverner  the 
musician ;    the  other  was   one  of   the  Gresham 
1  professors,  and  the  publisher  of  Matthew's  Bible 
j  in  1539.     ITiLs  person,  indeed,  took  a  degree  in 
j  O.xford ;  but   he   is   not   known  to   have  at  all 
excelled  in  musical  science. 

TAYLOR,  RICHARD,  was  bom  in  the  city 
of  Chester  in  the  year  1758.  In  hLs  origin  he 
traces  a  long  line  of  ancient  Britons,  his  family 
having  for  three  centuries  resided  in  the  Isle  of 
Mona,  (Angle^ea,)  where  hLs  ancestors  were  all' 
seafaring  men  excepting  his  father,  who  «as  sent 
to  Chester  to  be  instructed  in  another  j)rofe8sion, 
owing  to  his  father  (Richard  Taylor's  grand- 
father) having  been  drowned  in  his  own  vessel 
previous  to  the  birth  of  his  son.  Taylor,  in  the 
first  sLxteen  years  of  his  life,  evinced  an  impas- 
sioned thirst  for  music,  never  being  so  happy  as 
when  he  could  get  to  the  tlieatre  or  to  any  place 
where  music  was  to  be  heard  ;  on  which  occa- 
sions he  used  to  take  a  pride  in  bearing  off  in  his 
memory  some  of  the  best  and  most  esteemed 
English  airs ;  as,  "  Thou  soft-flowing  Avon," 
"  \Vould  you  taste  the  noontide  .\ir,"  "Water 
parted  from  the  Sea,"  &c.  He  was  never 
fond  of  light  and  trilling  songs  ;  they  did  not 
make  up  any  part  of  hLs  early  mental  furniture ; 
on  tlie  contrary,  he  had  a  very  strong  bias  in  fa- 
vor of  sacred  and  classical  music,  wliich  seemed 
more  congenial  to  his  feelings.  In  his  eighteenth 
year  Taylor  became  attaclied  to  the  choir  of  a 
Calvinistic  chapel,  under  the  Rev.  William  Armi- 
tage.  In  early  life  he  pubUshed  several  light 
vocal  pieces ;  but  the  sublime  oratorios  in  the 
score  of  Handel  were  his  delight,  and  from  those 
stores  his  knowledge  in  composition  was  derived. 
The  only  scientific  work  published  by  Taylor  is 
"  The  Principles  of  Music  at  one  View,"  which 
has  gone  through  many  editions.  A  new  edition 
of  it  afterwards  came  out,  a  circular,  on  one 
sheet,  and  filled  ingeniously  with  every  thing 
belonging  to  tlie  elements  of  the  science.  A 
patrioiic  song  by  Taylor,  called  the  •'  Glorious 
Si.xth  of  May,"  went  through  nine  editions.  It 
was  published  on  the  occasion  of  a  contested 
election  at  Chester.  It  is  worth  remarking  that 
this  tune  was  played  by  the  military  bands  at  the 
entrance  of  the  Duke  of  Wellingt'^n  and  the 
allied  sovereigns  into  Paris  after  the  battle  of 
Waterloo.  Tlie  following  are  among  Taylor's 
principal  compositions.  Rural  pieces :  "  Ix), 
Winter  with  her  hoary  Train ;  "  "The  gloomy 
Season's  pa.st ; "  "Summer  now  upholds  hei 
.Scenes ; "  "  Clad  in  hor  brown  Vesture ; "  "  Gently 
as  the  breathing  Gale;"  "See  how  yon  Lark,' 
music  culv  ;  "  From  Bowers  of  Amaranthine.' 


914 


TA  Y 


ENCYCLOP-CDIA    OF   MUSIC. 


TEL 


National  jiicces :  "  Hark  I  how  the  dismal  Tempest 
roars;"  "  Now  see  the  bloody  Fla;;  unfurled;" 
"  Says  IJony,  I'll  invade  you,"  duet ;  *'  Our  Arms 
were  piled."  Sacred  music :  "  Deauties  of  Sa- 
cred Verse,"  vols.  i.  ii.  and  iii.  ;  "  Star  of  IJcthle- 
hem  ;  "  "  In  Heaven  the  rapturous  Song  began  ;  " 
"Angels,  roll  the  Uock  away  ;  "  "  O'er  the  gloomy 
Hills  of  Darkness ; "  "  We  worship  thee,  O 
Lord." 

TAYLOR,  THOMAS,  son  of  the  preceding, 
was  bom  in  the  city  of  Chester  in  1787,  and  was 
an  organist  and  music  master  of  considerable 
abilities.  At  a  very  early  period  of  life  he  gave 
a  specimen  of  his  accjuirements  by  presiding  at 
the  grand  piano- forte  during  the  subscription 
conceit  given  by  Yaniwicz,  Mme.  Catiilani,  Ike, 
at  the  Koyal  Hotel  in  Chester:  he  there  played 
the  beautiful  concerto  of  Viotti  in  G,  &c.,  ac- 
companied by  Yaniwicz  and  Charles  Nicholson. 

His  compositions  and  arrangements  are  not 
numerous,  but  they  are  select.  Sacred  music  : 
"  A  Book  of  original  Chants ;  "  "  Hallelujah," 
(Messiah,)  arranged  ;  "  Lilt  up  your  heads," 
arranged ;  "  As  from  the  power,"  arranged ; 
National  Songs:  "Old  England,  my  country," 
poetry  by  Bloomfield ;  "  John  Bull  is  his  name," 
poetry  by  R.  Taylor.  Many  NVelsh  airs,  the 
poetry  to  all  which  was  written  by  his  father. 

TAYLOR,  JAMES.  A  very  able  musician, 
resident  at  Norwich.  His  ability  as  a  theorist  i.s 
conspicuous  in  various  papers  published  in  the 
Quarterly  Musical  Review.  Amongst  these  are 
"  Remarks  on  the  Minor  Key,"  ((Juart.  Mus. 
Rev  ,  vol.  i.  p.  HI  ;)  "  On  Modulation."  ((iuart. 
Mus.  l{ev.,vol.  i.  p.  302  ;)  and  "On  Consecutive 
Fifths  and  Octaves,"  ((iuait.  .Mus.  Rev.,  vol  ii.  p. 
271.)     He  was  still  living  in  1824. 

TE.  One  of  the  syllables  used  by  the  ancient 
Greeks  in  solfain^  their  music.  It  aiisweied  to 
the  pari/paCe,  or  the  second  sound  of  the  tetra- 
chord. 

I'E  DEUM.  A  Latin  hymn  of  the  church, 
so  called  trom  the  tirst  two  words.  The  same 
name  is  retained  in  the  English  title. 

TEDESCA,  or  TEDESCO.  (L)  German ;  as, 
a/la  Ti'desco,  in  the  lierman  style. 

TEPESCHI,  ARRIGO.  Chapel-master  to 
the  Church  of  St.  John,  at  Florence,  in  U80. 
Several  part  songs  for  three  voices  of  his  compo- 
sition are  known  in  Italy. 

TEDESCO,  FOUTl'NATA,  is  a  German  by 
birth,  a  native  of  Brunn,  in  Moravia.  Her  real 
liame  is  Deutsch.  In  Italy  she  translated  this 
into  the  Italian  7V(/<?J(«,  and  under  this  name 
has  gained  a  high  fame,  especially  in  .\meriia. 
She  was  born  in  1821,  and  is  said,  both  in  her 
voice  (a  contraltoi  and  in  her  ])erson,  to  resemble 
Johanna  Wagner,  ."^lie  is  very  happily  married 
to  a  Creole,  but  still  retains  the  name  by  which 
she  has  become  famous.  Cornet  and  Meyerbeer, 
who  heard  her  in  Paris,  have  this  year  (^l!*53) 
engaged  her  for  Vienna  and  Berlin. 

The  chief  qualities  of  Madame  Tedcsoo's  voice 
are  power,  grandeur,  and  largeness.  She  sings 
with  great  ease,  and  manages  her  voice  with 
admirable  skill.  Her  voice  is  always  in  tune, 
whether  she  sings  high  or  low,  forte  or  piano. 
She  has  established  a  high  reputation  in  I'aris 
and  iu  I.ondoii 


TEIXEIR.\,  ANTONIO,  singer  at  the  Tatri- 
archal  Church  in  Lisbon,  w.is  born  there  in  1707, 
and  was,  by  command  of  the  king,  sent  to  Rome 
in  the  ninth  year  of  his  age  to  study  counter- 
point. In  the  year  1728  he  returned  to  Lisbon, 
and  immediately  obtained  the  above-menlioiicd 
employment.    He  published  much  church  music. 

TELEMANN,  GEORCJ  PHILIP,  was  born  at 
Magdeburg  in  UiSl.  His  (ather  was  a  minister 
of  the  Lutheran  church,  who,  dying  in  the  in- 
fancy of  his  son,  lelt  him  to  the  caro  of  his  moth- 
er. As  the  child  grew  up  he  discovered  a 
strong  propensity  to  music,  which  his  mother  en- 
deavored to  get  the  better  of,  intending  him  for 
the  university.  Finding,  however,  that  her  son, 
who  had  been  taught  the  rvidinients  of  music,  as 
other  children  in  the  (ierman  schools  usually 
are,  wa-s  determined  to  pursue  the  study,  she  at 
length  gave  way  to  his  inclination.  As  a  proof 
of  the  early  abilities  of  Telemann,  it  is  said  that 
he  composed  motets  and  other  pieces  of  tlie 
church  service  in  his  intancy,  and  that,  by  the 
time  he  was  twelve  years  of  age,  he  ha  1  conipo.sed 
almost  the  whole  of  an  opera.  In  the  year  1701, 
beini;  sent  to  Leipsic  to  study  the  law,  he  was 
appointed  to  the  direction  ol  tlic  0|.crii.<,  and  wiis 
also  chosen  first  music  director  and  organist  of 
the  new  church.  In  the  year  1701  he  became 
chai)el-raaster  to  the  Count  of  Promniz,  which 
situation,  in  170'.',  he  exchanged  for  that  of  sec- 
retary and  chapel-master  to  the  Duke  of  Eise- 
nach. In  1712  he  was  chosen  chapel-master  to 
t'.'.e  Carmelite  monastery  at  Fianklort  on  the 
Maine,  .shortly  after  he  obtained  the  music 
direction  in  St.  Catharine's  Church,  and  was  ap- 
pointed cliapel-master  at  the  court  of  Saxc- 
(iotha.  In  the  year  1721  the  city  of  Hamburg, 
de-irous  of  having  such  an  extraordinary  man 
amongst  them,  prevailed  on  him  to  accept  the 
pl.ice  of  director  of  their  music  and  also  the 
otficc  of  chanter  in  the  Church  of  .St.  John.  He 
had  scarcely  been  a  year  at  Hamburg  when  an 
offer  was  made  him  of  the  place  of  music  director 
at  Leipsic.  which  by  the  decease  of  Kuhnan  had 
then  lately  become  vacant ;  but  being  so  well 
settled  he  declined  accenting  it,  and  it  wiis  there- 
fore conferretl  on  John  .Sebastian  Bach. 

Telemann  was  a  very  voluminous  composer, 
and  the  greatest  church  musician  in  Germany. 
Handel,  speaking  of  his  uncommon  skill  and 
readiness,  used  to  say  that  ho  could  WTite  a 
church  piece,  of  eight  parts,  with  the  same  ex- 
pedition as  another  would  write  a  letter.  Fhe 
time  of  his  death  is  variously  reported,  but  tlie 
better  opinion  is  that  it  took  place  about  the 
year  17<)7.  The  following  ILst  contains  many  of 
the  principal  publishfnl  works  of  Telemann.  His 
manuscripts  were  literally  innumerable,  even  by 
himself. 

"  Si.x  .Sonatas  for  Violin  and  Harpsichord," 
Frankfort,  171.5  ;  "  Light  Chamlwr  Masic  for  Vi- 
olin, Flute,  Harpsichord,  and  lin\itt)oy,"  Frank- 
fort.   17  III  ;   "  <>    !^ii)Uiiu    )>rr    f'inltno  e    Crmhnlo," 

1718;  ".si.x  Trios  for  different  In.itrumcntn." 
1718;  "Harmonic  Divine  Service,  or  Cantxto* 
for  all  the  Epistles  of  Sundays  and  Holydayg, 
for  the  Voire  and  Instruments,"  Hambur;:.  172.'); 
"  Extracts  from  the  .Virs  usually  sung  to  the  (>os- 
pels  in  the  (."hurches  of  Hamburg,  for  one  Voice 
with  Thorough  Bn»« ; "  "The  faithful  Mu.«ic 
Ma.ster,"   Hamburg,   1728;   "  Sonatr  i  dtie  Jttuit 


915 


TEL 


ENCYCLOPEDIA    OF    MUSIC. 


TEN 


trav.,0  Hue  riolitii  sntza  basso,"  Amstordam  ;  "The  ' 
g  Miernl  Luthcrnii  I'l^nlm  Hook,  coiitainiii};  more 
t.mn  five  hundred  Melodies,  armiined  lor  Four 
Voices,"  Hamburg,  17:50;  "3  Triilti  Melhndichi 
rl  3  Seherzi,  for  two  V.  or  Fl.  with  B,"  1731; 
"  Cantatas,  with  pay  I'oetry,  for  a  Soprano  and 
^'iolinR;"  "Six  new  Sonatinas  for  the  llaqisi- 
fliord,  Sec. ;  "  "  Scfierzi  Metodichi per  difrrtimento  di 
coloro  die  prendoiio  racr/tie  minerali  in  I'irmoiite, 
am  arietle  semplici  e  faciti,  a  violino,  tiolu  e  fon- 
dam.,"  1734;  "Seven  times  seven  and  one  Min- 
n?ts  for  the  Harpsichord,  Jtc.  ;  "  "  Heroic  Music, 
or  twelve  Marches  for  the  Harpsichord,  &c. ;  " 
•'  A  second  Set  of  seven  times  seven  and  one 
Minuets;"  "An  Overture,  S:c.,  for  Violins;" 
"  six  (Juatuors  for  Violin,  Fl.,  kc."  •'  Gay  Ari- 
ettes  from  the  Opera  Adelaide  ;  "  "  I'innpine,  or 
the  ill-assorted  Marriaf^e,  being  an  Interlude  for  i 
two  Voices  and  Instruments;"  "Sinking  Exer- 
cises ;  "  "  Jubilee  Music,  consisting  of  two  Can-  | 
tatas  for  one  and  two  Voices,  with  Instruments," 
1733;  "  Easy  Fugues  for  the  Organ  or  Hnrpsi-  j 
chord  ;  "  "  Methodical  Sonatas  for  Violin  or 
Ilute,  with  li. ;  "  "  Continuation  of  the  Method-  , 
i  al  Sonatas  ;  "  "  Twelve  Fantasias  for  the  Flute ;  " 
•'Three  dozen  Fantasias  for  the  Haqjsichord  ;  " 
"Table  Music,  being  a  Collection  of  Overtures, 
Concertos,  &c.,  for  a  Chamber  Band;"  and 
•'  (Juatuors  or  Trios  for  Flute,  Violin,  and  Violon- 
cello." 

TELEMANN,  GEORGE  MICHAEL,  chant- 
er, conductor  of  the  music,  and  master  of  the 
choristers  at  the  cathedral  of  Kiga,  was  born  at 
Ploen  in  1748.  He  published  at  Hamburg,  in 
1773,  a  work  entitled  "Unterricht  im  General- Bass- 
Spielen;"  and  at  Leipsic,  in  178.5,  a  book  called 
"  Beytrdge  zur  Kircheiimusik,"  &c.  He  was  a  man 
of  talent,  and  grandson  of  G.  P.  Telemann. 

TELLER,  MARK,  an  ecclesiastic  and  musi- 
cian at  Maestricht,  published  at  Augsburg,  in 
172G,  his  Opus  1,  entitled  "  Musica  Sucra,  stylo 
plani  Italico  ct  cromatico  pro  compositionis  amaJori- 
biis,  complcctens  9  motetta  brecia  de  teinjmre  et  2 
missas  solennes."  The  second  volume  of  this  work 
■was  not  published  till  after  TeUer's  decease. 

TELLTALE.  A  movable  piece  of  ivory,  or 
lead,  suspended  in  front  of  a  chamber  organ,  on 
one  side  of  the  keys,  by  a  string,  one  end  of 
which,  being  attached  to  the  bellows  within,  rises 
R8  they  sink,  and  apprises  the  performer  in  what 
degree  the  wind  is  exhausted. 

TEMA.     (I.)     A  subject,  or  thorae. 

TEMPELHOF,     GEOUO    FRIEDRICH.    a 

Prussian    major  of  artillery,  and  teacher   of  the 
mathematics  to   one  of    the  i)rinres    of  Prussia 


that  is,  on  the  diminution  of  some  intervals,  and 
augmentation  of  others,  by  which  it  partakes  ol 
the  diatonic  and  chromatic  svstems. 


In  a  tcrapcBtuous  man- 

(I.)    Time.     (See  that 

(I.)     In  a  convenient 

(I.)     Woris    iMd  to 


(I.)     In  minuet 


TEMPESTOSO.    (I.) 
ncr ;  violently  agitated. 

TEMPO,  or  TEMP, 
word. ) 

TEMPO  COMMODO. 
degree  of  movement. 

TEMPO  DI  BALLO. 
signify  that  the  time  of  the  movement  to  which 
they  are  prefixed  is  that  of  a  dancing  minuet. 

TEMPO  DI  CAPELLA.  (I.)  An  expres- 
sion implying  a  certain  species  of  quick  common 
time,  formerly  used  in  church  music,  and  called 
alia  breve.     See  Alla  Brf.ve. 

TEMPO  DI  GAVOTTA.  (I.)  In  the  time 
of  a  gavot. 

TEMPO  DI  MARCIA.  (I.)  In  the  time  of 
a  march. 

TEMPO    DI    MIXUETTO. 
time. 

TEMPO  GIUSTO.     (L)     In  exact  time. 

TEMPO  PRIMO,  or  TEMP.  PRIM.  (I.)  In 
the  primary  or  original  time. 

TEMPOREGIATO.  (L)  A  word  signifying 
that  the  accompanist  is,  in  some  particular  pas- 
sages, to  pause,  or  prolong  the  measure,  in  order 
to  afibrd  the  voice,  or  principal  instrument,  an 
opportunity  of  introducing  some  extemporary 
grace  or  embellishment.  Also  a  holding  note. 
See  Hdi.dino  Note. 

TEMPO  RUBATO.  (I.)  An  expression  ap- 
plied to  a  time  alternately  accelerated  and  retard- 
ed for  the  purpose  of  enforcing  the  expression. 

TEXALI.\,  or  TEXAGLIA,  AXTOXIO 
FRAXCESCO,  a  celebrated  church  composer, 
born  at  Florence,  flourished  about  the  year  1650 
at  Rome.  Under  his  portrait,  engraved  by  Clow- 
et,  stands  Tenalia  Florcntinus  musicis  in  rebus  ex- 
cellens.  He  also  wrote  for  the  theatre  ;  since,  in 
the  year  1060,  the  oi)era  "  Clearco,"  of  his  com- 
position, was  performed  at  Rome.  It  is  one  of 
the  first  pieces  in  which  the  da  capo  appears. 

TEXDREMEXT.  (F.)  Tenderly,  gently ;  in 
a  moving  and  affecting  manner. 

TEXDUCCI,  GIUSTO  FERXANDO,  was 
born  at  Sienna.  He  went  to  England  in  1758, 
and  first  ap])earcd  in  a  pasticchio  called" Attala." 
It  was,  however,  in  the  opera  of  "  Ciro  riconosciuto" 


eubseiiuently  to  the  year  1786,  published  at  Ber-  I  set   by  Cocchi,  performed   in   the   beginning   of 


lin,  in  1775,  a  pamphlet  entitled  "  Rcrtections  on 
the  Musical  Temperament  of  Kirnberger,  with 
easy  Instructions  for  tuning  Organs,  Harj)si- 
chords,"  &c. 

TEMPER.\MENT.  The  accommodation  or 
adjustment  of  the  imperfect  sounds,  by  trans- 
ferring a  i)art  of  their  defects  to  the  more  perfect 
ones,  in  order  to  remedy,  in  some  degree,  the 
false  intervals  of  those  instruments,  the  sounds 
of  which  are  fixed  ;  as  the  organ,  harpsichord, 
j)inno-forte,  &c.  Temperament  is  what  the  Ital- 
inns  call  participatione,  juirticipiUo,  or  sysienin 
\emjx-raia,  because  it  is  founded  on  temperature  ; 

91 


1759,  that  this  excellent  singer  was  first  particu- 
larly noticed.  From  London  he  proceeded  to 
Scotland  and  Ireland  in  company  with  Dr.  Arne, 
and  in  1765  returned  to  London.  He  afterwards 
quitted  England  on  account  of  his  debts,  and 
was  afterwards  well  received  in  all  the  great  the- 
atres of  Italy. 

TENEBR.-E.  (L.)  A  musical  office  in  the 
Romish  church,  celebrated  in  the  afternoon  of 
MaundrtV  Thursday,  Good  Friday,  and  othei 
solemn  days,  to  commemorate  the  darkness  tha' 
over.ipread  the  face  of  the  earth  at  the  time  of 
the  crucifixion. 


tEN 


EXCYCLOP.EDIA   OF  MUSIC. 


TES 


TEN  ELLA.  A  burden  used  by  the  ancient 
Greeks  to  songs  of  triumph,  as  lo  triuniphe  wns 
by  the  Romans. 

TEXEUAMENTE,  TENEIU).  or  COX  TEX- 
EKEZZA.     (,1.)     Tenderly,  or  with  tenderness. 

TEXETE  SINO  ALLA  FIXE  DEL  SUOXO. 
(I.)  Keep  the  keys  down  as  long  as  tl»e  sound 
lasts. 

TEXIERS,  DAVID,  a  celebrated  Flemish 
painter  of  the  seventeenth  century,  was,  at  the 
same  time,  an  excellent  viol  da  {jiimbist.  He 
painted  himself'  ]>laying  on  this  instrument  by 
the  side  of  his  family,  which  picture  has  been 
engraved  by  Le  Uas. 

TEXOU.  The  second  of  the  four  parts  in  liar- 
monical  composition,  reckoning  from  the  ba.ss. 
The  tenor  is  the  part  most  accommodated  to  the 
common  voice  of  man  ;  from  which  circumstance 
it  has  sometimes,  by  way  of  preference,  been 
called  "  the  human  voice."  Its  general  comjiass 
extends  from  C  above  O  gamut  to  G  the  treble 
clef  note. 

The  tenor  was  formerly  the  jdain  song,  or 
principal  part  in  a  comjjosition,  and  derived  the 
name  of  tenor  from  the  Latin  word  (eneo,  I  hold; 
because  it  held  or  sustained  tlie  air,  point,  sub- 
stance, or  meaning  of  the  whole  cantus  ;  and 
everv  part  superadded  to  it  was  considered  but  as 
its  auxiliary.  It  appears  that  the  contrary  prac- 
tice of  giving  the  air  to  the  soprano,  or  treble, 
had  its  vise  in  the  tlieatie,  and  followed  the  in- 
troduction of  evirati  into  musical  performances; 
since  which  it  has  been  universally  adopted, 
both  in  vocal  and  instrumental  music. 

TEXOll  UASS  VOICE.  The  second  species 
of  the  male  voices,  reckoning  from  the  bass,  or 
deepest.     See  Voice. 

TEXOll  CLEF.  The  name  given  to  the  C 
clef  when  placed  on  the  fourth  line  of  the  staff. 
See  Clef. 

TEXOU  VIOLIX,  or  VU)LA.  A  stringed 
instrument  resembling  the  violin,  but  lower  in 
its  scale ;  having  its  lowest  note  in  C  above  U 
gamut.  In  concert,  this  instrument  takes  the 
part  next  above  the  bass. 

TEXOU  VOICE.  Tlie  third  species  of  the 
male  voices,  reckoning  from  the  bass.    Sec  Voice. 

TEXSILE.  An  epithet  applied  to  stringed 
instruments,  on  account  of  the  tension  of  their 
cords,  or  wires ;  as  a  guitar  or  violin. 

TEXTII.  An  interval  comprehending  nine 
conjoint  degrees,  or  ten  sounds,  diatonically  di- 
vided. The  tenth  is  the  octave  of  the  first  third, 
or  the  third  of  the  second  octave  ;  and  it  is  ma- 
jor, or  minor,  according  to  the  simple  interval  of 
which  it  is  the  replicate. 

TEXl'TO,  or  TEN.  (I.)  A  word  signifying 
that  the  notes  are  to  bo  sustained  or  held  on. 
See  SosTKNUTO. 

TEl'l'EU  VOX  FERGUSSON  was,  in  1801, 

Russian  imperial  chapel- master  at  St.  Petersburg 
He  was  the  son  of  an  cx-bankcr  at  Warsaw,  and 
Kecms,  by  a  residence  of  eight  years  at  Vienna, 
lo  have  accomplished  himself  as  an  able  perform- 
er; for,  in  179j,  his  extraordinary  ability  on  the 
piaoio,  as  well  as  hii>  taste  and  knowledge  of  the 


science,  wtrc  highly  praised  at  Hamburg  also,  in 
wjiich  city  le  made  some  stay  in  IT'Jii,  jirobably, 
before  his  departure  lor  Petersburg.  .Soon  alter 
his  arrival  in  Russia  he  had  the  good  fortune  to 
be  ap])oii  ed  teacher  of  the  piano  to  tlie  imierial 
princesses,  with  a  salary  of  two  thousand  rubles. 
He  then  wrote  successively  several  operettas  lor 
the  court  theatre,  and  with  so  mu<h  success  that 
the  emperor  nominated  him  chapel-nuister,  with 
a  considerable  salary.  Of  his  compositions  little 
is  known  out  of  Russia. 

TER.     (I.)     Thrice. 

TERNARY,  or  PERFECT  MEASUUE. 
Triple  time.     See  Ti.me. 

TEUUADELL.\S,  or  TEUUADEGL.VS,  DO- 
MEXICO,  was  born  at  Uarcelona  in  1701.  He 
was  sent  to  study  at  Xa])lcs,  in  the  Conservatory 
of  San  Onofrio,  under  Durante.  He  began  liis 
musical  career  about  the  year  17.'ii>.  when  he  com- 
posed the  opera  of  "  Aslnr/o"  and  part  of  •'  lln- 
molo,"  in  conjunction  with  Latilla,  lor  the  Tcairo 
dclla  Dame,  at  Uome. 

In  1746  he  went  to  England,  where  he  com- 
posed two  operas ;  but,  unfortunately  for  him, 
none  of  the  singers  of  that  time  stood  high  in  the 
favor  of  the  public.  His  comjiositions,  however, 
when  executed  in  Italy  by  the  first  class,  ac- 
quired for  him  great  reputation.  Besides  tl.e 
lavoritc  songn  in  his  operas  of  "  Milhridales  "  and 
"  IMU-rophon,"  which  were  printed  by  NValsh,  he 
published,  whilst  in  England,  a  collection  of 
•'  Twelve  Italian  Airs  and  Duct","  in  which  he 
is  less  masterly  and  original  than  in  most  of  his 
other  productions.  In  the  songs  which  he  wrote 
for  Reginelli  we  find  boldness  and  force  as  well 
as  pathos ;  and  some  arie  di  bravura  of  his  com- 
position for  the  celebrated  tenor  singer  liabbi,  at 
Rome,  abound  with  great  fire  and  spirit.  If  his 
productions  be  compared  with  those  of  his  con- 
temporaries, his  writings  in  general  must  bo  al- 
lowed to  have  great  merit,  though  his  passages 
now  seem  old  and  uncommon.  Tcrradellas  died 
at  Rome,  in  1751,  in  consequence,  as  was  report- 
ed, of  the  bad  success  of  one  of  his  operas. 

TERZA,  or  TERZI,  GIUSEPPE,  i)ublishcd 
at  Xaplcs,  in  1805,  an  essay  entitled  "  A'uorn  .s'm- 
tenta  cUl  Suoiio."  It  is  nothing  more  than  a  pro- 
spectus, ably  drawn  up,  of  a  larger  work  upon 
the  art  of  a  chapel-master.  He  examines  in  it 
the  o])inions  of  Aristotle,  Descartes,  Xewton,  and 
others  upon  the  origin  of  sounds,  and  demon- 
strates much  extensive  and  useful  learning.  He, 
however,  hos  not  carried  the  work  into  execu- 
tion. 

TERZEITO.  (I.)  A  piece  for  three  voices 
or  instruments. 

TKRZI,  GIOVAXXI  AXTOXIO.  a  celebrated 
lutist  and  composer  for  his  instrument,  Houiished 
in  the  beginning  of  the  seventeenth  century  at 
Uergamo. 

TERZIAXI,  PIETRO,  an  Italian  composer, 
brought  out,  in  1788,  at  Venice,  an  opera  »eii« 
entitled  "  //  t'reso." 

TESI-TRAMOXTIXI,  VllTOUIA,  a  cele- 
brated Italian  sinL;cr,  was  born  at  Flormce  about 
the  year  10S>0.  She  was  n  pupil  of  Fmncosco 
licdi,  and  afterwards,  nt  liologna,  of  Campeggi 
and  Bernacchi.     In  1719  she  »ang  at  tlie  oi<«n 


917 


ras 


ENCYCLOPEDIA    OF    MUSIC. 


THA 


U  Dresden;  nficrwards  returned  to  Italy;  and, 
troni  1748  to  1772,  resided  at  Vienna,  having 
long  before  the  latter  period  quitted  the  stage. 
She  died  about  the  year  J  775.  Tesi's  voice  had 
great  compass,  and  she  sang  with  equal  facility 
in  both  high  and  low  compositions.  Dr.  Uurney 
hays  that  she  generously  refused,  at  Vienna,  the 
hand  of  a  count  in  marriage,  from  consideration 
for  his  family,  and  married  afterwards  a  journey- 
man baker. 

TES.SAHINI,  CARLO,  first  violin  and  concert 
master  at  the  metropolitan  church  of  Urbino, 
was  born  at  Uimini  in  1690.  From  the  year 
17'2l  he  enjoyed  a  high  reputation  in  Italy  as 
composer  and  violiui^^t.  In  17.52  he  went  to 
Amsterdam.  His  later  compositions  were  writ- 
ten so  completely  in  the  modern  school  of  his 
time  that  they  bore  no  resemblance  even  to 
those  of  his  own  works  which  he  had  composed 
forty  years  previously.  They  consLsted  chiefly 
of  violin  music  ;  also  of  "A  Method  for  the  Vio- 
lin," Amsterdam,  1762. 

TESTAMAXZI,  FABRIZIO,  published  at 
Milan,  in  1636,  "Brece  Melodo  di  Canto  Fermo." 

TESTO.  (I.)  The  text,  subject,  or  theme  of 
any  composition.  A  word  ap])Iied  by  the  Italians 
to  the  poetry  of  a  song.  When  the  words  are 
well  written,  the  song  is  said  to  have  a  good  testo. 

TESTOIII,  CARLO  GIOVANXL  a  musician 
at  Vercelli,  in  Piedmont,  published,  towards  the 
middle  of  the  last  century,  a  work  entitled  "J/«- 
tica  ragionata." 

TESTUDO.  (L.)  The  name  given  by  the 
Romans,  in  imitation  of  the  ancient  (jreeks,  to 
the  lyre  of  Mercury,  because  the  inventor  made 
it  of  the  back  or  hollow  of  a  sea  tortoise.  See 
Shell. 

TETAKTOS.  (Or.)  Fourth.  The  epithet  •pplied  by  the  an- 
cieiiti  lu  tliut  ut'  their  four  authentic  modes  culled  lite  Mixolydian. 

TETRACIIORD.  (From  the  Greek.)  A  con- 
cord in  the  music  of  the  ancients  consisting  of 
three  degrees  or  intervals,  and  four  terms  or 
sounds ;  also  called  by  the  Greeks  diutessaron, 
and  by  us  a  fourth.  In  this  system  the  extremes 
were  tixed ;  but  the  middle  sounds  were  varied 
according  to  the  mode.  In  the  ancient  music  all 
the  primitive  or  chief  divisions  were  confined  to 
lour  chords ;  so  that  the  great  scale  consisted  of 
replicates,  and  all  the  upper  tetrochords  were 
considered  only  as  repetitions  of  the  first  or  low- 
est. The  tetrochord  consists  of  two  tones  and 
one  semitone ;  two  tetrachords,  having  a  tone 
between  them,  make  an  octave,  thus  :  — 

Tetrachord.  Tetrechord. 


In  the  Greek  and  Roman  music  the  tetrachord 
was  divided  into  three  scales — the  diatonic,  the 
chromatic,  and  the  enharmonic  ;  thus  :  — 


TETRADIAPASOV.  The  Greek  •ppell«tinn  of  the  quadruple 
oetave.  which  we  lito  call  the  twentv-nfnth.  The  •y«tem  of  the  «ii- 
clenu  not  extending  to  thii  Intcrvftl,  they  only  kocw  it  iD  inia^na- 
lion  or  tty  tiame. 

TETKATti.NON.  The  Oreek  name  of  an  ioterral  of  four  tooea, 
Milrd.  at  prcaent.  the  luperfluouf  dfth. 

9 


TEVO,  ZACCARIA,  a  native  of  Sa-ca,  in 
Sicily,  a  Franciscan  monk,  bachelor  in  divinitj 
and  professor  or  master  of  music  in  Venice,  pub- 
lished in  the  year  1706,  in  quarto,  a  work  en- 
titled •'  II  Miisico  Testore,"  containing,  in  sub- 
stance, the  whole  of  what  has  been  written  on 
the  subject  by  Boethius,  Franchinus,  Galilei, 
Mersennus,  Kircher,  and,  in  short,  every  other 
author  on  the  subject  of  music  before  his  time. 

TEXTOR,  ABEL,  a  composer  at  the  begin- 
ning of  the  seventeenth  century,  wrote  "  Dolyelta 
Muaicale  delte  Canzonetle  Villaiielk  ed  Arie  Neapo- 
litana,  dei  diversi  excell.  Musici,  d  3  foci.  Nova- 
mente  posle  in  lace,"  Frankfort,  1620.  How  much 
earlier  the  first  edition  of  this  republication  ap- 
peared cannot  now  be  ascertained. 

TEXTOR,  GUGLIELMO,  a  composer  of  the 
sixteenth  century,  published  "  Madrigali  A  5 
voci,"  Venice,  1.566.  This  work  was  to  be  found 
in  the  library  at  Munich. 

TEYBER.  A  German  composer  in  the  service 
of  the  Margrave  of  Baden  in  1789. 

TEYBER,  ELIZABETH,  an  e.xcellent  singer 
at  the  German  theatre  of  Vienna,  was  the  daugh- 
ter of  a  violinist  at  the  Imperial  Chapel,  and , 
studied  singing  and  declamation  under  Chapel- 
master  Ilasse  and  Vittoria  Tcsi.  She  had  also 
some  lessons  from  Haydn.  About  the  year  1769 
she  went  to  Naples,  where  she  sang  at  the  the- 
atre with  much  success.  Thence  she  was  invited 
to  Petersburg,  from  which  city  she  returned  some 
time  afterwards  with  her  constitution  so  debili- 
tated that  she  was  at  first  interdicted  from  ever 
again  singing.  A  second  journey  to  Italy,  how- 
ever, partially  restored  her  health;  and  a  few 
years  afterwards  she  again  sang,  occasionally,  at 
Vienna. 

TEYBER,  FRANZ.  A  vocal  composer  at  Vi- 
enna, known  by  the  following  works  :  "  Alexan- 
d«r,"  an  opera,  the  poetry  by  Schickaneder ;  and 
"  Oes/ltige  von  Salts,"  Vienna,  1803. 

THALBERG,  SIGISMUXD,  the  celebrated 
pianist,  was  born  at  Geneva  January  7,  1812.  Ar 
an  early  age  he  was  taken  to  Vienna,  where  his 
musical  education  commenced.  He  is  said  to 
have  received  lessons  from  Sechter  and  from 
Hummel ;  but  M  Fctis  states  that  Thalberg  him- 
self denied  this,  as  well  as  the  assertion  that  he 
acquired  his  talent  by  indefatigable  labor.  At 
the  age  of  fifteen  he  began  to  excite  attention 
in  saloons  and  concerts.  At  sixteen  he  pub- 
lished his  first  works,  now  regarded  by  him- 
self as  trifles,  but  in  which  there  are  indications 
of  the  peculiar  style  which  he  has  since  devel- 
oped. One  who  knows  Thalberg  as  he  has  since 
become,  both  as  pianist  and  as  composer,  say* 
M.  Fetis,  will  find  it  interesting  to  examine  his 
"Melange  sur  le>  fhlines  d' Euryanlhe,"  (op.  1,)  his 
fantasia  on  a  Scotch  air,  (op.  2,)  and  his  im- 
promptu on  motives  from  the  "  Siige  de  Corinthe," 
(op.  3,)  which  appeared  at  Vienna  in  1828. 
Two  years  after  this  he  made  bis  first  visit  to 
England  to  give  concerts.  The  journals  of  that 
day  are  full  of  him.  He  had  written  for  this  tour 
a  concerto,  (op.  6 ;)  but  it  was  not  for  this  spe- 
ciality that  his  talent  suited  him;  the  constraint 
of  the  classical  form  and  of  the  orchestra  was  too 
much  for  him.  His  thoughts  then  turned  to  the 
development  of  the  sonorous  power  of  the  piano ; 
to  the  combinatirns  of  various  effects ;  and,  alort 
18 


riiA. 


ENCYCLOP-EDIA   OF  MUSIC. 


THE 


all,  to  a  novelty  of  which  the  invention  properly 
belongs  to  him.  The  old  school  of  pianists  was 
di^-ided  into  two  principal  catcsories;  namely,  j 
the  brilliant  iiinni.-t.s,  such  as  dementi  and  hi.s  j 
pupils  ;  and  the  harmonists,  such  as  Mozart  and  j 
Beethoven.  Each  of  these  schools  was  subdi- 
vided into  several  shades.  Thus  I)u>.sek,  by  his  ' 
national  instinct,  tended  to  the  harmonic  school,  j 
ulthouiih  he  wrote  incorrectly  and  must  be  con- 
sidered one  of  the  brilliant  pianists.  Kalkbren- 
ncr  aficrwanls  followed  the  same  direction.  On 
the  other  hand.  Hummel,  and  then  Mo-che'.es, 
pianists  of  the  harmonic  school,  <;ave  more  of 
brilliancy  to  their  compositions  than  did  Mo/art 
and  Uecthoven.  But  in  both  schools  we  remark 
that  soni»  and  harmony  on  the  one  hand,  and 
the  brilliiint  traits  on  the  other,  are  always  sep- 
arated, and  that  these  two  elements  of  piano- 
forte mu-ic  only  appear  one  by  one  in  turn,  and 
in  an  order  nearly  symmetrical.  In  the  brilliant 
pa.ssases  of  these  two  schools  it  is  the  sc.iKs  that 
predominate ;  the  arpefii/i  api)car  only  at  long 
intervals,  and  almost  always  in  the  same  forms,  j 
In  the  singing  and  hannonious  passages,  if  the 
two  hands  are  brought  together  they  occupy  but  ; 
one  side  of  the  key  board  ;  if  they  are  widely  1 
separated  they  leave  a  void  between  them  ;  the 
harmony  is  not  tilled  up.  Such  wa.s  the  state  of 
piano  ])iaying  when  Thalberg  conceived  the  idea 
of  uniting  .song  and  harmony  and  brilliant  pas- 
sages in  one,  instead  of  letting  them  alteniato 
with  one  another  by  a  sort  of  formula.  He  I 
Bought  to  make  the  whole  key  board  speak  at 
once  throughout  its  entire  compass,  leaving  no 
void  in  the  middle.  This  thought,  gradually 
matured  and  developed,  led  him  to  the  dis- 
covery of  a  multitude  of  ingenious  combinations 
of  the  fingers,  whereby  the  song  or  melody  could 
always  be  heard  strongly  accented  in  the  midst 
of  rapid  arpeggio  passages  and  verj*  complicated 
fonns  of  accompaniment.  In  this  new  system 
the  scales  ceased  to  be  a  principal  part  in  the 
brilliant  piano  music  ;  different  forms  of  arpefjiji 
took  their  place  ;  the  lingering  was  greatly  mod- 
ified ;  and  the  frequent  passage  of  the  thumb 
became  its  essential  characteristic.  It  was  by 
means  of  the  thumb,  taken  alternately  in  the  two 
hands,  that  the  melody  established  itself  in  the 
centre  of  the  instrument. 

In  1830  Thalberg  made  an  artistic  tour  through 
Germany.  In  18.'i4  he  accompanied  the  .Austrian 
Emperor  Ferdinand,  as  pianLst  to  the  imperial 
chamber,  to  Toplitz,  to  the  meeting  of  his  sover- 
eign with  the  Emperor  of  Russia  and  the  King 
of  Prussia.  There  his  playing  awakened  a  warm  I 
interest.  But  his  true  European  fame  dates  from 
hi.-)  success  in  Paris  during  his  first  visit  there  in 
the  latter  part  of  the  year  18:t5.  .Since  then  ho 
has  made  fre<iuent  tours  in  France,  Belgium, 
England,  Rus,sia.  and  (iermany  ;  an. I  every  wliere 
the  precision,  delicacy,  and  fini^4h  of  his  playing, 
the  beautiful  sound  which  he  draws  from  hLs  in- 
strument, the  brilliant  effects  which  he  com- 
bines, and  the  individual  charm  which  he  has 
put  into  his  musical  lorm.s,  have  c.xciled  a  gen- 
eral cntnusiasm.  These  forms,  imitated  by  m'>st 
of  the  new  scliool  \iianist:*  iu  their  coinpo-.itioiis, 
or  rather  their  arrannement-s  of  thcrais  from  op- 
era.s  have  become  the  fitshion  of  nearly  all  tho 
piano  music  of  our  time.  Thalberg  and  I.iitzt 
stand  preomincntly  at  the  l;cad  of  thus  new  school 
of  pioiiibts.     Amcng  the  prodactions  by  which 

9: 


'ITiallK-rg  and  his  peculiar  method  have  acquired 
the  most  celebrity,  are  his  fanta.sias  on  themes 
from  "  llobert  U  Diubla,"  from  "  Let  IluijuenoU," 
from  "  MoXae,"  from  "  Don  Jtuiii,"  and  trom  "  L/i 
Donna  ilel  iMffo."  He  has  also  published  some 
charming  t':tuttes ;  and  more  recently  in  England 
( lS.):i)  a  course  of  instructive  exercises  entitled 
"  'n»e  .Vrt  of  .Singing  applied  to  the  Piano- Forte." 
This  very  u.seful  work  has  been  reijublished  in 
this  country  by  Oliver  Ditson,  Boston,  Mossa- 
chu.setts. 

TH.VLES,  or  TII.VI.ETAS,  a  poet -musician, 
sometimes  confoundetl  with  the  philosopher 
Thales,  of  Miletus,  was  born  in  the  Isle  of  Crete. 
He  was  a  contemporary  of  J.ycurgus,  and  lived, 
therefore,  about  three  hundied  years  after  tho 
Trojan  war.  To  him  is  attributed  the  second  es- 
tablishment of  music  at  Sparta.  Most  of  his  songs 
were  about  the  necessity  of  obeying  the  laws. 
Strabo  accords  to  him  the  invention  of  the  Cre- 
tan lyre:  Porphyry  assures  us  that  Pythagora-s 
loved  to  sing  the  old  pseans  of  llialetas;  and  the 
sclioliast  of  Pindar  says  that  this  musician  was 
the  first  who  composed  airs  called  hujxirclienujta 
for  warlike  dance.s.  'l"he  Greeks,  fond  of  the 
marvellous,  ascribed  to  the  music  of  Thaletas  the 
singular  virtue  of  curing  diseases  ;  and  said  that, 
in  obedience  to  the  oracle  of  Delphi,  he  went  to 
iSparta,  ond  by  Lis  songs  delivered  that  city  Ixom 
the  plague. 

T  n  C  One  of  the  four  woMi  used  br  the  inrieiit  Greeke  In  ml- 
faing.    It  ■uiirered  to  the  lychanoe.  or  ttilnl  tound  of  the  tetrttchord. 

TIIEILE,  JOIIANN,  was  the  son  of  a  tailor 
at  Nauraburg,  and  born  in  the  year  KilR.  He 
studied  in  the  Universities  of  Halle  and  Leipsic. 
From  thence  he  went  to  Weis.senfels,  in  Sa.xony, 
and  under  Schtitz,  the  chapel-master  there,  per- 
fected himself  in  the  art  of  composition.  Thu.* 
qualified,  he  removed  to  Stettin,  in  Poinerania, 
and  became  a  teacher  of  music.  In  1673  he  was 
made  chapel-master  at  Gottorp ;  but,  being 
driven  from  thence  by  the  wars,  he  settled  at 
Hamburg.  He  was  subsequently  elected  to  tho 
otfice  of  chapel- master  at  Wolfenbuttel  in  the 
room  of  liosenmQller.  After  holding  this  place 
for  some  years  he  entered  the  service  of  Chris- 
tian, the  second  Duke  of  Mcrseburg,  in  which  ho 
continued  until  the  death  of  that  prince.  .  Dur- 
ing this  time  he  composed  many  pieces  for  tho 
church,  and  in  some  of  them  professes  to  imi- 
tate the  style  of  Palestrina.  He  was  the  com- 
poser of  a  highly  valuable  work,  the  title  to  which 
begins  thus :  "  Soe<e  Sonata  rarUainia  Arlu  et 
suacitatii  Mu-^ictr,  partim  3  rocum,  cum  aimpfis, 
rluph  et  Iriph  inreriis  Fu<ji.f,  partim  i  v'iciim,"  &c. 
From  the  evidence  of  deep  learning  contained  in 
his  works,  Theile  was  justly  ranked  among  tho 
first  of  the  German  musicians.  He  died  at  Naum- 
burg  in  the  year  1721. 

THEn.,E.  (G.)  Parts,  or  capital  divi-tions  of 
the  measure. 

THEII.E,  .VNDKE-VS,  was  a  celelirntetl  mu- 
sician, contcmjMirary  with,  and.  n*  it  ha%  l)eeii 
gcnernlly  suji|<o.ed,  brother  of,  the  last- mentioned 
composer.  Ho  was  the  author  ol  a  collection 
of  les.-,ons.  ]iublished  in  the  year  lo9G,  entitled 
"  .Veuf  tVij  nVr- t"^«/y." 

TIIEMA.     (O.  and    L.)     lite  subjecU     Sm 
that  word. 
P 


ruE 


excyclop,t;dia  of  music. 


TBI 


THEORIK).  (I.)  An  old  strin-od  iiistru- 
meiit  rescmt)liii<j  the  lute  both  in  tone  and  form  ; 
the  only  diilcrcnce  being  that  the  theorbo  has 
eii;ht  bass  wtrinf^s  twice  an  long  as  those  of  the 
lute,  whifh  renders  their  tone  exceedingly  solt  and 
plea-sing,  and  that  it  has  two  necks,  the  longest 
of  which  sustains  the  four  last  or  deepest-toned 
strings.  Tlie  theorbo  is  said  to  have  been  in- 
vented in  France  by  the  Sieur  Hottenian,  and 
thence  introduced  into  Italy. 

TIIEOKIST.  A  scientific  musician.  A  per- 
son who  speculates  upon,  and  is  acquainted  with, 
the  essence,  nature,  and  properties  of  sound  as 
connected  with  the  established  laws  of  harmony, 
melody,  and  modulation. 

THEORY.  The  doctrine  of  music  as  it  re- 
gards speculation  on  the  science  and  its  object  — 
eound  —  independent  of  practice.  A  person  may 
be  a  good  theoretical  musician  without  perform- 
ing or  singing  well. 

TIIEP,  (H.)  is  frequently  joined  with  the 
flute,  hautboy,  or  timbrel,  meaning  the  tabor  or 
tabret :  but  in  place  of  the  tabor  or  tabret  trans- 
lators have  it  often  t/ic  dunce  ;  thus  substituting, 
rather  imjjropcrly,  the  effect  for  the  cause ;  for, 
although  in  common  life  the  tabret  might  have 
been  employed  to  encourage  dancing,  it  certainly 
was  not  introduced  into  the  temple  ser\'ice  with 
that  design,  unless  we  refer  it  to  the  solemn  dan- 
cing at  the  nightly  rejoicings  during  the  feast  of 
tabernacles.  It  resembled  in  form  the  flute  or 
hautboy,  only  it  had  fewer  holes,  and  conse- 
quently possessed  a  more  limited  range  of  mu- 
sical notes. 

TIIEURGIC  HYMNS.  Songs  of  incantation, 
such  as  those  ascribed  to  Orpheus,  pertbrmcd  in 
the  mysteries  upon  the  most  solemn  occasions. 
These  hymns  were  the  first  of  which  we  have 
any  account  in  Greece.  They  are  supposed  to 
have  originated  in  Egypt. 

THIEME,  FRIEDRICH.  A  German  mu- 
sician, resident,  during  many  years,  in  France. 
Amongst  other  works  of  merit,  he  published 
"Etimens  de  Musiqiie  Pratique  ct  Solfeijcs  nouveaux 
jx)ur  apprendre  la  Musir/iie  et  le  Gout  dii  Chant," 
Paris,  1784  ;  a  second  edition  of  this  work  was 
published  under  the  title,  "  Principes  Elitncn- 
taires  de  Musique  Pratigtie  ct  So/J'eyca  Italiem," 
Paris  ;  "  Principes  abriyis  de  Musique  d  I'  Usage  de 
ccttr  qui  veulent  apprendre  d  jouer  du  Violon,"  Op. 
10;"  Principes  abrigis  de  Miisique  Pratique  pour 
i<i  Forte-Piano,  suiviesde  six  petites  Satiates  formies 
(C Airs  connus  ;"  "  Trois  Sonates  en  Duos  dialogues 
pour  dciu  i'iolons  d'une  Exicution  facile,"  Op.  12; 
and  "  Nouvcllf  Thcorie  sur  les  diffirens  Mouveniens 
des  Airs,  fondie  sur  la  Pratique  de  la  ilusique  Mu- 
acrne,  avec  le  Projet  (Tun  nouveau  Chrottomftre, 
destini  A  perpetuer  d  jamais,  pour  tous  hs  Terns, 
comme  pour  tous  les  Lieux,  le  Muucemcnt  ct  la  Me- 
sure  des  Airs  de  toutes  les  Com/yosilioiis  Musicales," 
Paris,  1800.     Thiemc  died  at  Kouen  in  1802. 

THILLOX,  ANNA.  This  charming  vocalist 
nnd  fascinating  actress  is  a  native  of  London. 
Her  maiden  name  was  Hunt.  A  thousand  ro- 
mantic causes  are  assigned  for  her  adopting  the 
profession  of  which  she  is  such  an  onnimcnt;  but 
the  real  one  was  the  embarrassment  of  her  fa- 
ther's circumstances,  which  reduced  him  suddenly 
'rom  ullluence  and  splendor,  and  forced  him  to 


retire  to  France  and  live  in  obscurity.  Having 
married  M.  Thillon,  the  chef-d'orchestre  of  tha 
Philharmonic  Society  of  Havre,  she  determined 
upon  apjiearing  in  public  ;  and  accordingly  made 
her  dihut  in  "  Dcr  Freijschutz  "  at  the  little  theatre 
of  Clermont,  where  she  met  with  prodigious  suc- 
cess. From  thence  she  proceeded  to  the  Grand 
Theatre  at  Nantes,  where  she  continued  for  two 
years,  increasing  in  fame  and  ability.  Tl  e  young 
vocalist  was  on  the  point  of  setting  out  1  x  Italy, 
"  cettc  patrie  d)  s  beaux  arts."  where  the  d.:«.!Ctor 
of  the  Theatre  of  La  Renaissance,  M.  Antenor 
Joly,  who  was  seekinj;  in  the  provinces  for  artistta 
for  the  now  'Dieatre  Ventadour,  heard  the  prima 
donna  of  Nantes,  and  was  so  charmed  with  her 
that  he  prevailed  upon  her  to  relinquish  the  idea 
of  visiting  Italy,  and  engaged  her  for  the  French 
capital ;  where  she  shortly  afterwards  apjiearcd 
in  "Lady  Mebril,"  and  forced  the  Parisians  to 
confess  that  she  was  not  only  a  fine  singer,  b\it 
one  of  the  most  pleasing  actresses  that  ever  trod 
the  stage.  To  a  soprano  of  great  compass  and 
sweetness,  but  not  great  power,  she  unites  ex- 
quisite finish  and  brilliant  flexibility,  added  to  a 
style  and  pathos  peculiarly  her  own.  The  charm 
of  her  singing  Ls,  if  possible,  enhanced  by  the  love- 
liness of  her  face,  the  elegant  symmetry  of  her  ' 
figure,  and  the  i)iquant  fascination  of  her  acting. 
She  shines  chiefly  in  the  light,  sparkling  comic 
operas  of  Auber,  Balfe,  &c.,  in  which  she  has 
uniformly  drawn  large  audiences  in  this  country, 
where  she  has  sung  in  the  principal  cities,  ani  in 
California,  since  1830. 

TIIILO,  CARL  AUGUST.  A  German  mu- 
sician resident  at  Copenhagen  in  the  middle  of 
the  last  century.  He  published  "  Directions  for 
Self-Instruction  in  the  Science  of  Music  and  iu 
playing  the  Harpsichord."  The  original  edition 
was  published  in  the  Danish  language,  at  Copen- 
hagen, in  1746.  Of  his  practical  works  we  can 
name  .the  following  :  "  Odes  with  Melodies,"  Co- 
penhagen; "The  ItAlian  Air  '  D'  un  gcnio  chi 
m'  accende,'  &c.,  for  Sopr..  V.,  and  B. ;  "  "  Twelve 
Minuets  ;  "  and  "  Sinfonia  per  il  Cembalo." 

THIN.  An  epithet  applied  to  music  the 
harmony  of  which  is  meagre  and  scanty,  and 
used  to  distinguish  it  from  rich  and  elaborate 
comp>osition.  All  those  tones,  both  of  voices 
and  instruments,  which  are  not  rich  and  round, 
are  called  thin. 


THIRD.  An  interval  so  called  because  it 
contains  three  diatonic  sounds.  The  Greeks  not 
admitting  the  third  as  a  consonance,  it  obtained 
no  general  name  amongst  them,  but  took  that  of 
the  lesser  or  greater  interval  from  which  it  was 
formed.  There  are  four  species  of  thirds  —  two 
consonant  and  two  dissonant.  The  consonant 
are,  first,  the  major  third,  called  by  the  anciente 
ditone,  composed  of  two  tones ;  secondly,  the 
minor  third,  called  hemidilone,  consisting  of  a 
tone  and  a  half.  The  dissonant  thirds  are,  first, 
the  diminished  third,  composed  of  two  major 
semitones  ;  secondly,  the  superfluous  third,  com- 
]>oscd  of  two  tones  and  a  half.  This  last  inter- 
val, not  having  place  in  the  same  mode  or  key, 
is  never  used  either  in  harmony  or  in  melody. 
The  Italians  sometimes  introduce  the  diminished 
third  in  airs,  but  it  is  never  used  in  harmony. 
The  consonant  thirds  arc  the  spirit  of  harmony, 
particularly  t!ie  major  tliiid,  wLich  is  sonorous 

y.o 


rni 


ENCYCLOPEDIA    OF    MUSIC. 


fHO 


and  brillinut ;  the  minor  third  is  more  tender,  I  was  leader  of  the  concerts  at  Sunderland,  and 


and  even  pathetic  ;  a  difference  of  character  from 
which  skilful  composers  derive  some  of  the  best 
<ind  most  poignant  efferts.  The  old  French  the- 
orists had  almost  as  severe  laws  respcclinf;  the 
thirds  as  we  now  observe  in  rej;ard  to  the  fifths 
and  eighths.  It  was  by  them  forbidden  to  have 
two  in  immediate  succession,  even  of  different 
kinds,  particularly  in  the  same  direction. 

THIRTEENTH.  An  intcr\-al  forming  the  oc- 
tave of  the  first  sixth,  or  the  sixth  of  the  first 
octave.  It  contains  twelve  diatonic  degrees,  i.  e., 
thirteen  sounds. 

TIIO.  or  TO.  On«  of  the  four  wonli  uikI  hy  the  ancient  Orcckl 
In  solt'uing.  It  answcrrU  to  the  nete,  or  fuurth  •ound  of  the  tvtrm- 
chord. 

THOLLE,  THOMAS,  born  at  Liege  about  the 
year  I7G0,  first  studied  music  in  that  city  under 
Moreau,  who  was  one  of  the  masters  of  (jretry  ; 
from  thence  he  was  entered  as  a  chorister  of  the 
catliedial  at  Antwerp.  At  about  the  age  of  four- 
teen ho  was  sent  to  Italy,  and  studied  at  the 
Conservatory  of  Loretto  under  {"enaroli  and  .Sala. 
Having  finished  his  musical  education,  he  was 
engaged  in  several  of  the  principal  towns  of  Jtaly 
as  a  bufl'o  tenor  sijigcr,  and  at  length  went  to 
France,  where  he  wsis  elected  chapel-master  of 
one  of  the  churches  in  Poictiers.  At  the  time 
of  the  revolution  he  jiroceeded  to  Paris,  where 
he  afterwards  resided,  being  chiefly  employed  aa 
a  singing  master.  ThoUc  published  five  collec- 
tions of  romances  of  his  own  composition  and 
many  other  detached  vocal  pieces. 

THOMAS.  CHARLES  LOUIS  AMBROISE, 
a  French  dramatic  composer,  was  bom  at  Metz 
in  1811.  He  commenced  the  violin  and  piano  at 
the  age  of  seven.  In  1828  he  entered  the  Con- 
servatory of  Paris.  In  1829  he  obtained  the  first 
prize  for  the  piano;  in  1830  the  first  prize  for 
harmony  ;  and  two  years  later  the  first  prize  of 
the  Academy  and  Institute  for  composition.  He 
spent  three  years  in  Italy,  and  then  went  to  Vi- 
enna. Returning  to  I'aris  in  IS-ifi,  he  composed 
and  brought  out  the  following  dramatic  works  : 
"  La  doubln  Echelk,"  comic  opera,  1837  ;  "  Le  J'er- 
ruqiiier  de  la  liiijciicc,"  ditto,  1838;  "La  (Jipty," 
ballet,  1839;  "  Lv  I'anier  JUuri,"  comic  opera, 
1839  ;  "  Cartiiic,"  1840;  "  Le  Comptc  de  Carmmj- 
no/<i,"  grand  opera,  1841;  "  Le  Uiu-rillero,"  dXuo, 
1842;  "  Aiii/eiiqiie  et  ^fed'>r,"  cotaic,  1843.  He 
has  also  published  a  "  RequUm,"  written  at  Rome,  I 
and  much  other  religious  music  ;  also  quintets, 
trios,  \:c.,  for  string  instruments  and  piano.  ! 

THO.MAS,  CHRISTIAN  GOTTFRIED,  a 
German  -hurch  composer,  resided,  in  1789,  at 
Hamburg  aul  stood  for  the  place  of  music  di- 
rect ■  •  vacant  by  the  death  of  Uach.  He  is  known 
by  various  vocal  compositions,  chierty  sacred  ; 
also  by  a  few  instrumental  pieces  in  manuscript. 

THOMASI,  GIOV.VNNL  an  Italian  composer 
of  the  sixteenth  century,  published  "  Tricinia," 
Venice,  loUi. 

THOMPSON.  THOMAS,  organist  of  St.  Nich- 
olas's  Church,  Newcastle  upon  Tync,  was  born 
of  musical  parents  at  Sunderland,  in  the  county 
of  Durham,  in  the  year  1777.  His  father,  when 
a  boy,  was  tinder  James  Hesletine,  organist  of  the 
cathedral,  Durham,  a  pupil  of  the  celebrated  Dr. 
Blow.     At  the  time  hia  son  Tliomas  was  born  he 


in  1778  removed  to  Newcastle,  where  shortly 
afterwards  subscri])tion  concerts  were  e^tablishe*!, 
at  which  he  continued  to  as8i.-.t  as  principal  sec- 
ond violin  until  they  were  abandonetl  in  IS  13. 
'Hiomas,  at  the  early  age  of  nine  years,  was  in- 
itiated into  tlic  practice  of  the  violin  and  French 
hom  under  the  tuition  of  his  father,  and  jier- 
formed  on  the  horn  at  the  theatre  and  at  cm- 
certs  when  only  twelve  years  old.  At  this  time 
he  had  lessons  on  the  piano-forte  from  Hawdon, 
the  organist  of  All  .Saints,  and  on  the  organ  't.l 
piano-forte  from  Charles  .VvLson,  son  to  that  £.r- 
coraplished  musician,  Avison,  of  Newcastle,  lu 
the  beginning  of  the  year  1793  his  father  was  in- 
duced to  place  him  under  the  tuition  of  the  just- 
ly celebrated  Muzio  Clcinenti  ;  and  under  so 
competent  a  master  ho  pursued  the  study  '\i  his 
favorite  instrument  with  such  ardor  that  Le  prac- 
tised upon  an  average  ten  hours  a  day.  Tliis 
persevering  industry  could  not  fail  to  secure  the 
approbation  of  Clcmenti,  whose  kind  though 
strict  admonitions  left  a  powerful  impression  up- 
on the  mind  of  his  admiring  pupil.  He  was  in- 
troduced by  dementi  to  Frick,  the  author  of  a 
well-known  treati.se  on  modulation,  and  received 
instructions  from  him  in  thorough  bass  and  com- 
position. In  1801  and  1803  he  had  lessons  of  J. 
B.  Cramer,  and  continued  to  visit  London  at  in- 
tervals for  the  purpose  of  hearing  and  receiving 
lessons  from  the  first  performers ;  amongst  others, 
Ries  and  Kalkbrenner. 

In  1794  Thompson  was  called  from  Ijondon  by 
the  death  of  Hawdon,  to  whom  he  succeeded  as 
organist  of  All  Saints ;  and,  upon  the  death  of 
Avison  in  179.5,  was  appointed  by  the  corpora- 
ration  of  Newca.stle  organist  of  St.  Nicholas.  In 
the  year  1 79G  there  was  an  oratorio  at  Newcastle 
under  the  patronage  of  Prince  William  of  Glouces- 
ter :  the  elder  Cramer  led  the  band,  and  young 
Thompson  had  the  honor  of  presiding  at  the  or- 
gan ;  and  again  in  1814  he  jjiesided  at  the  organ 
on  the  occasion  of  a  musicid  festival  under  the 
direction  of  General  Ashley.  In  1797  the  sub- 
scription concerts  recommenced,  when  he  played 
a  sonata  on  each  concert  night  until  about  ISOO; 
after  which  time  he  played  alternately  w  ith  Mon- 
ro. Since  these  concerts  were  discontinued  he 
performed  little  in  public  ;  but  during  their  con- 
tinuance the  brilliancy  of  his  finger  in  r.'ipid  jias- 
sages,  and  the  still  more  striking  feeling,  expres- 
sion, and  taste  displayed  in  the  cantabile  parts 
of  the  performance,  never  failtnl  to  call  forth 
great  and  merited  applause.  His  behavior  lo  his 
numerous  pupils  was  kind  and  conciliatory  ;  and 
to  those  who  showed  a  disposition  to  jirorit  by 
his  instructions,  his  exertions  for  their  imprrve- 
ment  were  unwearied.  Thompson's  coraj  ositiona 
have  been  principally  confined  to  songs  imd  du- 
ets, many  of  them  elegant  and  pleasing,  and  all 
marked  by  a  simple  and  fiowing  melody. 

THORNE,  JOHN,  an  English  musician,  of 
York,  flourished  about  the  year  1520.  Sir  J. 
Hawkins  has  inserted  in  his  hLstory  a  motet  for 
three  voices,  "  .s<e/Zo  C'ali,"  by  this  comjx)ser. 

TlIOROUtJH  R.VSS.  Thoroueh  ba-vs  wna 
invented,  abotu  the  year  1 60.3,  by  Ludovico  Via- 
dana,  some  time  mae-tiro  Hi  capeUa  of  the  Cathedial 
Church  at  Fano,  a  small  city  aitunte.i  in  the 
Gulf  of  Venice,  in  the  duchy  of  Urbiuo,  and 


il6 


921 


TIIR 


EIXCYCLOP.EDIA    OF    MUSIC. 


TIM 


afterwards  of  the  cathedral  of  Mantua.   See  Bass, 
Thokkvoh. 

THKENODIA.     (L )     A  funeral  song.      See 

DlIlGK. 

TIIUMA,  orTUMA,  chapel-master  to  the  Em- 
jiress  Dowager  £li7.al>cth  at  Vienna,  wan  born  in 
liohcinia  in  1701.  lie  was  a  pupil  of  Fuuh.'*,  and 
succeeded  liis  master,  in  1722,  as  chapel-master 
to  the  Emperor  Charles  VI.  lie  was  ai)pointed 
t  his  drst-named  place  in  1741.  After  the  death 
01  the  empress  dowu'^er  he  retired  to  a  convent, 
where  he  died  in  1774-  He  was  considered  an 
e.\cellent  church  composer. 

THUUIXG,  IREBEXSIS  JOHAXX.  lived  in 
the  beginning  of  the  seventeenth  century  as  a 
Bohoolmaster  at  Willerstadt,  whence  he  published 
the  following  of  his  compositions :  "  Catiiioues," 
Erfurt,  1017;  "2  C'/iristliche  Kni(Ui-n-Clisd>ii/e," 
Jena,  I')20  ;  "  15  GeistUche  M/lclten,  nebst  der  Lita- 
iiei  tintl  ilcm  Te  Detim  laiitlanius,  von  4  bis  8  Stim- 
nieii."  Erfurt,  1021 ;  and  '•  Serium  Spiritual  .U«j(J- 
ca'e,"  Erfurt,  1G37. 

TIBALDI,  GIOVAXXI  BATTISTA,  an 
instruraintal  composer  at  Modena,  lived  about 
1720,  and  pubUshed  "  txniate  a  3,"  Ops.  1  et  2, 
Amsterdam. 

TIBIA. 
See  Flute. 


(L.)     llie  name  of  the  ancient  flute. 


TIBI.E  PARES.  (L.  plu.)  Two  flutes  of 
the  same  pitch,  which  among  the  ancients  were 
jilayed  together  by  the  same  performer. 

TIBICIX,  or  TIBICTXIST.  (From  the  Latin.) 
An  ancient  flute  player. 

TIBICIX  A.  (From  the  Latiu.)  An  ancient 
female  performer  on  the  flute. 

TIED  XOTES.  Xotes  the  stems  of  which  are 
joined  together  by  cross  lines,  as  in  united  qua- 
vers, semiquavers,  &c. ;  or  notes  over  the  heads 
of  which  a  curve  is  drawn,  to  signifj'  that  they 
ore  to  be  slurred. 

TIERCE.    The  interval  of  a  third.    See  Third. 

TIKKCE  OF  PICAKDY.  The  name  formerly  ^ven  In  Frmnce 
to  the  inoior  third,  intrtMluced  instead  of  tliu  minor,  in  the  conclude 
iiii;  Chora  of  ■  comi>oiition  in  the  minor  miHle.  The  mi^or  mode 
being  connidered  at  more  harmonious  Ihoii  the  minor,  it  »■»■  a  law 
to  Hiiij>h  on  tlic  tirtt:  but  a  mora  i>.>li.tifit  taste  lm«  discarded  that 
Gotiiic  fashion  :  and  we  now  concludi'  witli  the  third  proper  to  the 
mode  in  whicli  llie  comlH'Sition  is  written. 

The  major  tliird.  as  tornu-riy  adopted,  was  called  the  tierce  of  Pic- 
ardy.  because  the  use  of  this  tinul  chord  continued  longest  ni  church 
niuiic,  and  conseitnently  in  Picardy.  where  lliey  had  music  in  B 
grvat  number  of  cuthedrala,  and  other  churches. 

TIES.    Those  thick  lines  which  unite  the  tails, 
or  stems,  of  notes,  and  distinguish  quavers,  semi- 
quavers, ice,  from  crotchets.     The  thin  curves  i 
drawn  over  the  heads  of  notes  meant  to  be  slurred 
arc  also  called  ik-s.  I 

TIETZ,  or  TrrZ,  A.  FERDIXAXD,  an  ex- 
cellent violinist,  resided  in  17«'.*  at  St.  retersbuig.  ^ 
.So  much  of  his  music  is  known  in  manuscript  at  ' 
Vienna  that  it  is  probable  lie  lived  in  tlint  city 
previously  to  removing  to  Russia.     Amongst  his  , 
published  works  arc  "  .Sij;  (Juatuors  d  2  I'.,  A.,  et 
H;"  Vienna,  1789;   and  "  Sona/e  piur  le  CUiv.  or. 
I',  obi.,"  Op.  1,  Uotha  and  Petersburg,  1790.  i 

TIGRIXI,  OR.VZIO,  canon  of  Arezzo,  pub-  ' 
lished  at  Venice,  in  1.588,  a  musical  work  cntillcd 
"  Compindio  d>tJa  Miisiin,"  which  he  dedicated  to 
Zurlino,  from  whom  he  received  a  letter  of  thanks 

92 


for  the  laurel  crown  with  whicli  he  had  bound 
his  brows ;  which  letter  is  prcfi.xcd  to  the  work, 
with  coini)limentary  verses  iniiuinerable  irorn 
other  friends.  This  com])endium  is  not  only  well 
digested  by  the  author,  but  rendered  more  deal 
and  ])lea8ant  in  the  jierusal  by  the  printer,  whc 
has  made  use  of  large  Roman  types  instead  of 
Italic,  in  which  most  of  the  books  that  were  pub- 
lished ill  Italy  before  the  present  century  were 
printed.  This  author  is  the  first,  according  to  Dr. 
Burney,  who  has  censured  the  impropriety  and 
absurdity  of  composing  music  for  the  church 
upon  the  subject  of  old  and  vulgar  ballad  tunes. 

TILL,  JOH.\XX  HERMAXX,  organist  at 
Spandau,  about  the  3"ear  1730,  published  a  cate- 
cliism  of  music. 

TILLIERE.  A  good  French  violoncellist. 
He  published,  in  1764,  a  method  for  his  instru- 
ment, which  is  still  recommentled  by  several 
French  professors  of  the  violoncello.  He  pub- 
lished also  at  Paris,  in  1777,  "  HU  Duos  pour  2 
I'c- 

TIMBALE.     (F.)    A  kettledrum.    See  Ket- 

TLEDUIM. 

TIMBREL.  One  of  the  names  of  the  ancieni 
Hebrew  drum.  This  instrument  is  very  much 
like  our  tambourine,  consisting  of  a  bra.s8  hoop, 
over  wliich  was  stretched  a  parchment.  It  was 
held  in  the  left  hand,  and  struck  with  the  right , 
and  was  played  on  while  dancing,  on  occasions 
of  great  joy.  "  And  Miriam,  the  prophetess,  took 
a  timbrel  in  her  hand,"  &c. 

TIME.  The  measure  of  sounds,  in  regard  to 
their  continuance  or  duration.  The  old  musi- 
cians were  acquainted  with  no  more  than  twc 
sorts  of  ^iHic ;  one  of  three  measures  in  a  bar, 
which  they  called  perfect ;  and  the  other  of  tieo, 
considered  as  imperfect.  When  the  time  wae 
perlect,  the  breve  was  ctjual  to  tlirec  scmibreves, 
which  was  expressed  by  an  entire  circle,  barred 
or  not  barred,  and  sometimes  also  by  this  com- 
pound character,  ^.  When  the  tmu  was  imper- 
fect, the  breve  was  only  equal  to  two  semibreves, 
which  was  indicated  by  a  semicircle,  or  C.  Some- 
tiiues  the  C  was  reversed,  as  thus,  3,  which  signi- 
fied a  diminution,  by  one  half,  of  the  powers  of 
the  notes;  a  particularity  sometimes  denoted  in 
the  more  modern  music  by  a  perpendicular  bar 
drawn  through  the  character ;  as  thus,  (]y  .  The 
time  of  the  full  C  was  generally  called  the  nuijor 
time,  and  that  of  the  reversed  q  the  minor  time. 
l"he  moderns  have  added  to  the  old  music  a 
combination  of  times :  but  still  we  may  say  that 
we  liave  no  more  than  two  tim  s,  twofold  and 
triple;  since  the  time  of  nine  crotchets,  or  nine 
quavers  in  a  bar,  is  but  a  species  of  triple  time; 
and  that  of  si.x  crotchets,  or  six  quavers  in  a  bar, 
though  called  a  compound  twolo)d  time,  being 
measured  l)y  two  beats,  one  down  and  one  up,  is 
as  absolutely  twofold  time  as  that  of  four  or  two 
crotchets  in  a  bar.  With  respect  to  the  velocities 
of  the  different  species  of  tiine,  tliey  arc  as  various 
as  the  measures  and  modifications  ot  music ;  and 
are  generally  expressed  by  some  Italian  word  or 
phrase  at  the  beginning  of  each  movement ;  as 
Lnijlutto,  rather  slow ;  presto,  (juick,  &c.  But 
when  once  the  time  of  the  movement  is  deter- 
mined, all  the  measures  are  to  be  perfectly  equal, 
that  is,  every  bar  is  to  lake  up  the  same  quantity 


TIM 


EXCYCLOP-EDIA    OF    MUSIC. 


TI3 


of  time,  and  the  corresponding  divLiiou*  of  the 
bars  are  to  be  perfectly  symnictric;U  with  respet't 
to  each  other.  Our  slowest  time  is  forty  (juarter 
notes  in  a  minute,  and  our  fastest  two  hundred 
and  eight  quarter  notes  in  a  minute.  The 
rhythmical  signature  teaches  us  how  many  beats 
in  a  measure ;  and  these  are  good  guides.  We 
also  have  tlio  metronome  and  the  rhythmome- 
ter,  by  which  we  can  perform  music  with  a  cer- 
tain degree  of  slowness  and  fastness. 

TIME  TABLE.  A  representation  of  the  sev- 
eral notes  ui  music,  and  their  relative  lengths 
and  durations. 

TIMIST.  A  1  crformcr  who  preserves  a  just 
and  steady  time. 

TIMOKOSO.  (I.)  A  word  signifying  a  style 
nf  performance  expre.ssive  of  awe  or  dread. 

TIMOTHEUS,  one  of  the  most  celebrated  poet- 
musicians  of  aTitiquity,  was  born  at  Miletus,  an 
Ionian  city  of  Caria,  four  hundred  and  forty-six 
years  before  Chri>t.  He  was  contemporary  with 
i'hilip  of  Macedou  and  Euripides,  and  not  only 
excelled  in  lyric  and  dithyraiubic  poetry,  but  in 
his  performance  upon  the  cithara.  According  to 
Pausanias,  he  perlected  that  instrument,  by  the 
addition  of  four  new  strmgs  to  the  seven  which 
it  had  before. 

TIMPANO.  (I.)  The  ^rt./xino,  or  kettledrum, 
was  mtroduced  into  the  English  orchestra  about 
1743.  Among  the  spoils  of  war  was  a  pair  of 
brass  drums,  taken  at  the  battle  of  Dettingcn, 
which  Handel  emjjloyed  in  his  grand  TV  Dium, 
composed  and  penormed  in  honor  of  the  victory. 

TIXCT'OK,  JOANNES,  doctor  of  laws  and 
canon  at  NivcUe,  in  Brabant,  was  born  in  that 
town  about  the  year  1  loO.  Early  in  lile  he  was 
invited  to  Naples  by  king  Ferdinand,  of  Arragon. 
and  appointed  royal  chaplain  and  professir  of 
music  tliere.  The  various  treatises  which  he 
■wrote  for  the  newly-established  royal  music 
school  at  Naples  prove  how  much  interest  and 
pains  he  look  in  its  improvement.  He  seems  to 
have  lelt  Naples,  and  returned,  in  ll'JO,  to  liis 
own  country,  where  he  died.  Besides  the  trea- 
tises above  ailudcd  to,  Tinctor  is  the  author  of  a 
dictionary  ol  music,  entitled  "  'J'trminorum  -W<nu<e 
Dcjimiortum."  This  work,  the  first  of  its  kijul,  is 
also  the  hrst  book  on  music  which  wius  printed. 
Dr  Burney  lound  a  copy  of  thisi  dictionary  in  the 
king's  library,  and  Forkel  also  saw  one  in  the 
library  of  the  Duke  of  (Jolha.  There  is  neither 
printer's  name  nor  date  on  the  book.  Burney, 
h3"ever,  ^on  what  authority  is  not  known,) 
states,  that  the  edition  he  saw  was  pruiteJ  at  Na- 
ples in  1-174.  Amongst  his  minor  treatises,  three 
were  entitled  "  De  .ire  C'onliajmiuii,"  "  I'ropur- 
lionaU  Miums,"  and  '•  l)e  Urt'/iiu'  .\Iu,ic(r."  Tinc- 
tor was  assisted  in  laying  the  loundation  of  the 
Naples  music  school  (since  so  highly  celebrated) 
by  (Jarnerius  and  Franchinus  Oatfurius,  Milan- 
ese. 

TINEO,  J.  SANCHEZ  1)1.  A  Spanish  con- 
trapuntist towards  the  close  of  the  sixteenth  cen- 
tury. 

TINTI,  SALVATOIiE.  a  Florentine  violinist, 
flourished  between  the  years  1770  and  ISOO,  in 
which  latter  year  he  di«J  at  Venice.  Amongst 
his  compositions  are  the  loUowing  :  "  Three  Q<4m- 


iit-i  h  v.,  "2  A.,  e  Vc,"  in  manuscrijjt,  at  Traeg's, 
in  Vienna;  and  "Six  Qnarletti  d  2  I'.,  .4.,  e  I'c," 
whicli  were  printed  at  Vienna. 

TINTINNAUULA.  (L.  pi)  Little  belU 
Used  by  tlio  ancients.  Great  belLs,  such  as  w« 
now  hang  in  the  towers  ot  churches,  were  i  ot 
known  till  about  the  si.xth  century. 

TINTINNALOGI.V.  (L.)  The  art  of  ring- 
ing bells. 

TIPPING.  A  certain  distinct  articulatioi; 
given  to  the  flute  by  the  appulse  of  the  perform- 
er's tongue  against  the  roof  of  the  mouth. 

TIRANNA.     (L)     A  Spanish  national  air. 

TTUATA.  (I.)  A  term  formerly  applied  tc 
any  number  of  notes  of  equal  value  or  length, 
and  moving  in  conjoint  degrees. 

TIRE.  (F.)  Drawn.  This  term  is  used  in 
\-iolin  music  to  denote  a  down  bow. 

TIRKY,  ANT.,  chamber  musician  and  clari- 
netist to  the  Duke  of  Wurtemburg  in  the  hitter 
years  of  the  last  century,  was  born  in  Hungary 
about  the  year  1757. 

TISCHER,  GASPARD,  a  German  organist 
and  composer,  flourished  about  the  year  1714. 

TISCHER,  JOHANN  NICHOLAS,  concert- 
master  to  the  Prince  of  Snxe-Coburg  and  organ- 
ist at  Smalkalden,  was  one  of  the  most  agreeable 
and  esteemed  composers  of  his  time.  He  was 
born  in  1707,  and  received  his  first  lessons  in  mu- 
sic from  Johann  B.  Ranch.  He  was  then  made 
clerk  to  a  magistrate  at  Halberstadt,  where  he  re- 
ceived further  instructions  in  music  from  Graaf, 
organist  ot  the  cathedral  in  that  town.  Thence 
he  went  to  Anistiidt,  where  he  learned  composi- 
tion, the  violin,  and  the  viol  d'amore  of  Schwert- 
zelberg,  cha[:el-master  to  Prince  WUliara  of 
Schwartzburg,  and  commenced  himself  to  teach. 
Not  being  able,  on  account  of  his  religion,  to 
procure  the  situation  of  organist  at  Arnstadt,  to 
which  he  had  been  recommended  by  the  Dowa- 
ger Princess  of  Schwartzburg,  he  continued  his 
travels,  and  visited  Brunswick,  Hamburg,  Ber- 
lin, and  Dresden,  where  he  missed  no  opportuni- 
ty of  hearing  the  most  eminent  masters  and  profi- 
ting by  their  advice.  At  length  he  returned  to 
his  native  country;  but  finding  no  means  of  sub- 
sistence there,  and  being  desirous  of  marrying,  he 
engiigcd  himself,  in  172.S,  as  hautboyist  iu  the 
regiment  ol  the  Duke  of  Brunswick.  In  1730  ht 
quitted  that  situation,  being  appointed  organist 
at  Smalkalden.  Besides  the  organ,  harjisichoid, 
violin,  and  hautboy,  Tischer  performed  well  on 
the  flute,  honi,  and  violoncello.  The  following 
is  a  list  of  his  works:  "FLlty  Piecij  of  Church 
Music,  finished  up  to  1732  ;  "  "  .Six  Concertos  lor 
Hautboy  and  Tenor;"  "Six  .Symphonies  for  two 
Flutes,  2  v.,  T.,  and  B. ; "  "  Six  Symphonies, 
with  the  .\ddition  of  two  Horns;"  ".Six  Violin 
Concertos;"  "  Overture  for  Violin  ;  "  "TwoSc"* 
of  Solus  for  Violin;"  "Twenty-four  Harlequin- 
ade*, in  all  Keys;"  "Six  Fugues;"  "The  Four 
Sea>ons.  under  the  Title  ot  Harmonic  .Vmuseraent 
for  the  Harpsii hord ; "  and  "."six  Harj)sichord 
Concertos."  The  above  works  were  all  finished 
before  the  year  1732,  but  it  it  doubtful  which  of 
them  were  printed.  The  following  corai'Ositioiis, 
written  since  the  year  174S,  have  been  all  puti- 


rii 


EXCYCLOPyEDIA    OF    MUSIC. 


TOM 


likhed :  "Six  Galanteries  for  I>adics'  Amusement, 
I'.irts  1,  •_>,  and  3,"  Nuremberg ;  "  Musical  Amune- 
mcnt,  consisting  ol  tlirce  Collections  tor  the  Harp- 
sichord, I'nrts  1,  2,  and  3,"  Nuremberg;  "Six 
ttmall  Collections  for  the  Harpsichord,  for  the 
Use  of  Beginners ;  "  "  Six  Numbers,  each  consist- 
ing of  two  Harpsichord  Concertos;  "  "  A  seventh 
Number  of  same  Work,  containing  one  Con- 
certo;" "  Kyrie  and  Alleluia,  in  two  Concertos 
for  the  Harpsichord;  "  and  "  Six  easy  and  pleas- 
ing ("ollections  for  Beginners  on  the  Harpsi- 
chord," Munich,  17G6. 

TITON  DU  TILLET,  EVRAKD.  born  at 
Paris  in  1677,  was  at  first  a  captain  of  dragoons, 
afterwards  master  of  the  dauphin's  household, 
and  lastly  commissary  of  war.  He  published,  in 
1732,  a  work  entitled  "  Le  1'arna.ise  Fr(iu<;ais." 
This  is  a  valuable  book,  and  contains,  first,  re- 
marks on  poetry  and  music,  and  on  the  excel- 
lence of  these  two  arts  together,  with  special 
observations  on  French  poetry  and  music,  and 
on  the  French  drama.  Secondly  and  thirdly, 
separate  remarks  on,  and  necrological  sketches  of, 
French  musicians,  &c.     He  died  in  1762. 

TOBI,  FL.  J.,  published  at  Paris,  in  1780, 
three  trios  for  clarinet,  violin,  and  bass.  Op.  I. 

TOCCATA.  (I.)  An  obsolete  form  of  piece 
for  the  organ  or  harpsichord,  something  like  our 
capriccio. 

TOCCATINA.     The  diminutive  of  toccata. 

TODERINI,  GIAMBAITISTA,  an  Italian 
abbe,  was  private  tutor  to  the  sou  of  the  ambas- 
sador of  Venice  to  Constantinople.  He  published 
at  Venice,  in  1787,  a  work  in  three  volumes,  en- 
titled "  Lilleratura  Turchesca."  The  first  volume 
treats  of  Turkish  music.  He  states  it  to  be  false 
what  Niebuhr  advances  of  the  Turks  of  distinc- 
tion disdaining  to  learn  music.  They  only  avoid 
playing  in  public.  The  Turks,  ho  says,  have 
taken  much  of  their  music  from  the  Persians. 
The  sultan  has  a  numerous  band  of  musicians, 
who  i)erform  on  all  religious  and  other  festivals. 
There  is  also  a  chamber  band  in  the  seraglio,  who 
perform  before  the  sultan  several  times  in  the 
week.  Occasionally  eminent  musicians  of  the 
city,  whether  Orceks,  Armenians,  Jews,  or  Turks, 
are  permitted  to  perform  in  this  chamber  band. 

TODI,  MARIA  FRANCESCA,  born  in 
Portugal  about  the  year  1748,  was  a  pupil  of 
David  Perez,  and  one  of  the  most  celebrated 
singers  of  the  last  century.  About  1772  she  went 
to  England,  and  sang  contralto  at  the  King's 
Theatre.  From  thence  she  proceeded  to  Paris 
about  the  year  1780,  and  made  her  dibtU  at  the 
Concert  Spirituel  with  prodi^'ious  success.  The 
following  year  she  was  engaged  at  Berlin,  and 
thence  went  to  St.  Petersburg,  where  she  was 
nominated  singer  to  the  court,  and,  after  her  rep- 
resentation of  the  Armida  of  Sarti,  was  pre>ented 
'oy  the  empress,  Catharine  III ,  with  a  diamond 
necklace.  In  1787,  on  the  invitation  of  Frederic 
William  II.,  she  returned  to  Berlin,  a  salary 
being  assured  to  her  of  nearly  one  thousand 
pounds  a  year.  In  1789  siie  quitted  Prussia,  with 
the  intention  of  returning  to  ParU,  and,  in  pa.>8- 
iug  through  Mcntz,  sang  before  the  court  ot  the 
elector.  'I'he  horrors  of  the  French  revolution, 
wiiich  then  began  to  rage,  i)rcvcn!ed  her  con- 
inuuig  her  journey,  and  in  1790  she  was  singing 


nt  Hanover.     She  subsequently  returned  to  Por- 
tugal, where  she  died  in  1793. 

TOESCHI,  C.  JOSEPH,  first  vioUnist  in  the 
Royal  Chapel  at  Manheim  in  1756,  was  ten  years 
afterwards  concert  master  there,  and  finally,  in 
1786,  was  appointed  private  music  director  to  the 
Elector  of  Bavaria.  Toeschi  published  much  in- 
strumental music  at  Paris  and  .\msterdam.  He 
was  a  pupil  of  J.  Stamitz.  He  died  at  Munich 
in  1788,  aged  sixty-four. 

"TOLLET,  THOMAS.  This  English  mu- 
sician composed  the  "  Ground,"  well  known  by 
his  name,  and  published  directions  to  plav  on 
the  French  flageolet.  In  conjunction  jvith  John 
liCntou,  he  also  composed  and  published,  about 
the  year  1694,  a  work  entitled  "A  Concert  of 
Music  in  three  Parts." 

TOLLING.  The  act  of  ringing  a  deep-toned 
church  bell  to  announce  a  recent  death-  The 
custom  of  tolling  is  supposed  to  have  originated 
in  the  intention  of  apprising  the  searchers  of  the 
parish  that  their  otficial  inspection  is  required. 

TOMASCHEK.  JOII.VNN  WENZEL,  com- 
poser to  the  Count  George  von  Bourguoi,  in. 
Prague,  was  born  in  Bohemia  in  1774.  His  early 
disposition  for  music  induced  his  father  to  have  him 
instructed  in  the  art,  and  the  master  of  the  chor- 
isters in  the  town  of  Chrudcii  was  fi.xed  upon  as 
his  teacher.  Under  his  direction  the  boy  made 
great  progress  in  two  years,  both  on  the  violin 
and  in  singing ;  at  the  end  of  that  time  he  could 
sing  even  the  most  difficult  passages  at  first 
sight.  He  then  returned  to  his  friends,  but  with 
a  greatly  increased  desire  to  perfect  himself  in 
music.  The  organ  was  now  the  object  of  his 
■wishes ;  he  therefore  requesteil  hLs  father  to  allow 
him  to  receive  instructions  on  that  instrument. 
The  latter,  however,  refused  ;  notwithstanding 
which,  Tomaschek  took  the  resolution  of  learning 
the  organ  without  the  assistance  of  a  master.  A 
small  piano-forte,  given  him  by  his  brother, 
was,  in  this  respect,  of  essential  seirice  to  him. 
He  now  sjient  all  his  leisure  hours  in  practising 
on  this  instrument,  which  he  had  concealed  in  a 
distant  room  of  the  house.  At  first  he  played 
only  chords,  but  afterwards  exercised  his  genius 
by  ])reluding.  He  soon  found,  however,  that, 
without  previous  instruction  and  studying  the 
rudiments  on  a  systematic  plan,  he  could  never 
be  able  to  proceetl.  At  length  another  lad  of 
hLs  own  age,  who  was  then  receiving  instructions 
from  the  chapel-master  of  the  place,  drew  him 
out  of  this  dilemma.  Their  meetings,  however, 
could  only  be  by  stealih,  his  parents  having, 
from  anxiety  for  his  morals,  prohibited  hiin  all 
intercourse  with  the  other  boys  of  the  town. 
From  tliis  child  he  learned  all  the  various  keys,  a* 
also  the  meaning  of  diH"erent  musical  terras,  &c. 
He  also  borrowed  some  sonatas  Irom  him.  But 
these  hapjjy  hours  were  soon  interrupted  by  a 
fresh  prohibition  from  his  parents,  who  had 
discovered  the  meetings  of  the  two  young  musi- 
cians. Still,  not  at  all  discouraged,  Tomaschek 
redoubled  his  zeal  and  api)lication,  and  industri- 
ously studied  the  pieces  lor  the  organ  and  piano- 
forte lent  by  his  little  friend,  and  which  he 
had  copied.  At  length,  in  1787,  he  was  admitted 
as  a  chorister  into  the  convent  of  the  Minorites 
at  Iglau,  where  he  went  at  the  same  time  to  the 
Latin  school  during  three  years.     There  he  btiU 


924 


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ENCYCLOP^ilDlA    OF    MUSIC. 


TON 


continued  to  practise  on  the  piano-forte.  After 
reiuaiiiiii;^  three  years  at  Iglau  he  quitted  the 
convent,  under  a  false  pretence  of  liavini;  lost  his 
voice,  and  was  sent  to  Prague  to  continue  his 
studies.  There  the  purest  taste  for  music  was 
tlien  reigning,  it  being  the  flourishing  epoch  of 
Mozart.  Tomaschck's  natural  love  of  music,  it 
may  be  well  conceived,  was  increased  and  his 
t.ilents  devclo])ed  by  the  opportunities  now  af- 
fcnled  him  of  hearing  the  works  of  the  first  mas- 
tiTs.  lie  soon  discovered  his  want  of  systematic 
fingering  ;  upon  whicli  he  studied  the  great  ])iano- 
foitc  method  of  Turk,  attending  at  the  same 
tiiac  to  the  theories  of  music,  harmony,  and 
counterpoint.  Keing  occupied  the  whole  of  the 
day  in  his  literary  academic  Ics-sons,  he  was 
obliged  to  spend  his  night  in  his  favorite  occu- 
pation. At  the  end  ot  nine  years,  without  hav- 
ing received  any  verbal  instruction  whatsoever 
in  music,  he  succeeded  to  such  a  degree  as  to  find 
himself  possessed  of  all  the  theoretical  informa- 
tion requisite  to  form  an  able  musician,  lie 
found,  also,  that  he  had  made  such  jnogress  in 
practice  that  he  decided  on  giving  up  his  literary 
pursuits,  exchanging  them  for  the  business  of 
teacher  of  music.  Still  he  continued  to  apply 
himself  zealously  to  composition.  In  179;)  his 
brother,  however,  wished  him  much  to  devote 
himself  to  the  law ;  and  in  compliance  with  his 
wishes  he  was  about  to  do  so,  when  a  happy 
accident  prevented  it.  Ilis  music  to  Burger's 
poem  of  "  Leonora"  ap])cared  just  at  this  time, 
and  so  much  cl.armed  one  of  his  pupils,  Count 
George  Uourguoi,  that  he  took  Tomaschek  into 
his  lamily  as  composer,  and  enabled  him,  by  a 
BufHcicnt  salary  and  leisure,  to  pursue  his  art 
without  interruption.  In  this  situation  he  was 
living  in  ISll,  continually  producing  offerings  to 
the  Muses,  and  fully  justifying  the  count's  pat- 
ronage; a.s  he  not  only  beoarae  one  of  the  most 
able  pianists  of  Germany,  especially  in  fantasias 
and  fugues,  but  has  also  produced  many  excellent 
and  original  compositions  for  the  piar.o-forte, 
the  voice,  and  full  orchestra.  X.lgeli,  who  was 
considered  an  able  judge  in  the  science,  ranked 
him  amongst  the  inventive  musical  geniuses,  in 
his  lecture  before  the  Swiss  Musical  Societv  at 
Zurich  in  18V1. 

TOMASELLI,  GIUSEPPE,  an  Italian  sing- 
ing  master,  began  his  musical  career  in  Milan, 
went  afterwards  to  Saltzburg,  and  then  to  Vienna, 
where,  in  1812,  he  was  appointed  court  singer  in 
the  Imperial  Chapel.  He  had  a  fine  bnritono, 
and  sang  with  much  expression.  lie  dedicatctl 
himself  almost  entirely  to  giving  instructions  in 
singing,  and  has  brought  out  many  able  pupils, 
ol  which  Vienna  in  particular  can  muster  a  great 
number.  Several  celebrated  female  singers,  such 
as  Milder,  Ses.si,  &c.,  took  lessons  of  him. 

TOMASI,  BLASIO,  or  DI.ASIUS  DE  TO- 
M  ASUS.  Organist  and  composer  in  the  beginning 
of  the  seventeenth  century  at  Comacchio,  a  town 
under  the  jurisdiction  of  Ferrara.  He  published 
"  Madrigaii  a  6  voci,"  Op.  1,  Venice,  1611  ;  "  Mo- 
tetti  n  2,  .3,  e  4  roci,  con  Litanie  6  4  voci,"  Venice, 
161.5;  and  '•  11  Conceiii,  a  1,  2-3  roci,"  161.5. 

TOMASINI,  LUIGI.  An  Italian  violinist  and 
comiioscr,  who  resided  at  Vienna.  Much  of  his 
violin  music  was  kr.own  there  subsequentlv  to 
the  year  1780. 

9:^ 


TOMEONI,  FLOUIDO,  a  native  of  Lucca, 
was  resident  at  Paris  for  many  years  as  professor 
of  music.  He  published  there,  in  1799,  a  work 
entitled  "  TMorie  de  la  Muniijue  Vocalc,  area  tlei 
I{e»iar(jue3  sur  la  I'rononcialiim  <les  Laiif/iirt  I'ran- 
(nise  et  Itatiinne."  This  work  contains  some  ju- 
dicious rertections  on  the  Italian  and  French 
schools  of  music. 

TOMI,  D.  FLAMIXK).  An  abb6,  and  excel- 
lent  singer  at  Venice  about  1770.  His  sister, 
Francesca  Tomi,  was  at  the  same  time  one  of 
the  most  distinguished  pupils  of  the  Consen-a- 
torio  Dei  Mendicanti. 

TOMKINS,  THOMAS,  the  son  of  one  of  the 

chanters  in  the  choir  of  the  Cathedral  Church  of 
Gloucestershire,  received  his  musical  educatiot 
under  I5ird.  His  abilities  were  such  as  very 
early  in  life  to  obtain  for  him  the  jjlace  of  gen- 
tleman of  the  Chapel  Uoyal,  and  afterwards  that 
of  organist.  Some  years  subsequent  to  th^latter 
promotion  he  became  organist  of  the  Cathedral 
of  Worcester,  and  in  that  city  composed  songs  of 
three,  four,  five,  and  si.x  parts,  which  ap])ear  to 
have  been  ])ublished  about  the  year  l()2:j.  He 
was  also  the  author  of  a  work  in  ten  books,  or 
parts,  consisting  of  anthems,  hymns,  and  other 
pieces  adapted  to  the  church  service,  entitled 
"  Miisica  Deo  Sacra  et  Ecclesice  Aiiijluaiitr;"  or 
music  dedicated  to  the  honor  and  ser\-ice  of  God, 
and  to  the  use  of  cathedrals  and  other  churches 
of  England,  esi)ecially  the  Chapel  Royal  of  King 
Charles  I.  The  words  of  some  others  of  his 
compositions  arc  to  be  seen  in  Clitfor  I's  collection. 
There  is  in  the  library  of  Magdalen  College,  Ox- 
ford, a  manuscript  of  Tomkins,  consisting  of 
vocal  church  music  in  four  and  five  parts  Some 
of  the  madrigals,  also,  in  the  "  Triumphs  of 
Oriana,"  are  of  his  composition.  Dr.  Hun\ey 
ha.s  given  us  the  following  cliaractcr  of  his  works  : 
"  By  the  compositions  I  have  scored,  or  examined 
in  score,  of  Tomkins,  he  seems  to  me  to  have  had 
more  force  and  facility  than  Morley.  In  his 
songs  there  is  much  melody  and  accent,  a.s  well 
as  pure  harniony  and  ingenious  contrivance." 
The  times  of  his  birth  and  death  arc  both  un- 
known ;  and  the  principal  data  from  which  can 
be  ascertained  the  i)crioil  when  he  tiouri.shcd  arc, 
that  he  was  a  i)upil  of  Bird  ;  that  he  was  ad- 
mitted to  the  degree  of  bachelor  of  music  in  the 
University  of  Oxlord  in  1607  ;  and  that,  accord- 
ing to  the  a.s6ertion  of  Wood,  he  was  living  alter 
the  breaking  out  of  the  rebellion.  Toinkius 
had  several  brothers,  all  of  whom  were  edu- 
cated to  the  profession  of  music.  Giles  was 
organist  of  the  Cathedral  Church  of  Salisbury  ; 
John  was  organist  of  St.  Paul's  and  a  gentleman 
of  the  chapel ;  and  Nicholas,  one  of  the  gentle- 
men of  the  privy  chamber  to  King  Charles  I., 
was  a  person  well  acc^uainted  with  the  practice 
of  mui>ic. 

TON.  (F.)  Tlic  kcv  ;  as,  k  ion  (Tut,  the  key 
of  C. 

TON  ART.     (G.)     Mode. 

TONADILLAS.  National  Spanish  airs,  sung 
to  a  guitar  accompaniment. 

TONAUSWEICIIUNG.     (O.)     Modulation. 

TONE.  This  word  is  received  in  variouf 
senses. 


\ 


rox 


ENCYCLOr.EDIA    OF    MUSIC. 


TOS 


First,  lone  is  used  incorrectly  to  sisiiify  a  rer- 
tnin  de;'rec  of  distance  or  interval  between  two 
Hounds,  as  in  the  M'ljtr  tone  and  the  Minor  lotu; 
the  ratio  of  the  first  of  which  is  eif^ht  to  nine, 
and  which  results  from  the  difference  of  the 
fourth  to  the  fifth  ;  while  the  ratio  of  the  latter 
is  nine  to  ten,  and  results  from  the  difference 
of  the  minor  third  to  the  fburtli. 

Secondly,  the  word  lone  implies  a  property 
of  sound  by  which  it  comes  under  the  relation 
of  grave  and  acute  ;  or  the  degrees  of  elevation 
in  any  sound  as  produced  by  the  particular 
velocity  of  the  vibrations  of  the  sonorous  body. 

Thirdly,  we  understand  by  lone  the  particular 
quality  of  the  sound  of  any  voice  or  instrument, 
independent  of  the  acuteness  or  (jravity  of  the 
note  it  produces  ;  as  when  we  speak  of  a  thin 
tone,  a  full  tone,  a  rich  tone,  a  mellow  tone,  a 
liquid  '.one,  a  round  tone,  &c. 

A  tone  is  a  given,  fixed  sound,  of  certain 
pitchy  and  the  word  cannot,  strictly  speaking, 
be  properly  used  to  express  the  difference  between 
one  and  tico  of  the  scale.  Again :  since  tone 
means  sound,  we  may  not,  strictly  speaking,  use 
the  word  semitone,  for  that  would  be  half  of  a 
sound.  These  terms  are,  however,  generally  used, 
and  it  will  be  a  long  time  before  other  and  more 
correct  words  will  take  their  place.  In  time  the 
word  step,  or  some  equivalent,  will  be  generally 
used  to  designate  the  difference  between  any 
one  tone  and  the  next  regular  succeeding  tone 
of  the  scale.  When  speaking  of  harmony,  or 
of  intervals  in  relation  to  harmony,  the  terms 
seconds,  thirds,  foiirlh-s,  &c.,  or  major  seconds, 
minor  seconds,  &c.,  are,  and  have  ever  been,  in 
general  use. 

TOXI./EUM.  In  the  nncient  music,  one  of  the  divitiont  of  the 
ehroinutic  genuf.  In  Che  tonixuin  dtviaiuti.  the  tetmchorU  rote  by  a 
heniitonc  and  trihcntituiic, 

TONIC,  or  TONIQUE.  (F.)  The  name  given 
to  the  key  note  of  any  comjjosition.  Also  ap- 
plied by  Aristoxenus  to  that  of  the  three  kinds 
of  chromatic  genu.«,  which  proceeded  by  two 
consecutive  semitones  and  a  minor  third,  and 
was  the  ordinary  chromatic  of  the  Greeks.  Tonic 
is  also  sometimes  used  adjoctivoly,  as  when  we 
speak  of  the  tonic  chord,  the  tonic  note,  &c. 

TONINI,  an  Italian  instrumental  composer, 
born  at  Verona  about  1008,  jmldished  "  Soaate  it 
2  I',  e  Conlin.,"  Op.  2,  Amsterdam  ;  "  liallctli  da 
Camera,  d  l'.  e  Vc.  o  li.  C,"  Op.  A,  Amsterdam  ; 
and  "  Sonate  d  2  I'.,  /'c,  e  Conlin.,"  Op.  4,  Am- 
sterdam. 

TONLEITER.     (G.)      The  scale. 

TONOLINI,  GIOVANNI  UAITISTA,  or- 
ganist at  Salo,  in  the  Urescian  territory,  was 
born  thore,  and  flourished  as  a  church  composer 
at  the  beginning  of  the  seventeenth  century. 

TONOKIUM.  (L.)  A  kind  of  pitchpipe, 
joraething  hke  the  fistula,  or  syringe,  used  by 
the  ancient  Romans  to  regulate  the  voices  of 
orutors,  actors,  and  singers. 

TONSCULUSS.    (G.)    A  cadence. 

TONSETZER.     (O.)    A  composer. 

TONSTCCK.     (G  )     A  musical  composition. 

TONSTUFE.     (G.)     A  degree  on  the  stafT. 

TOril.     (II  )     An  irstruracnt  like  the  tam- 


'  bourine,  which  was  known  to  the  Jews  before 
'  they  quitted  Syria 

TOUELLI,  GASPARO,  an  Italian  composer 
flourished  about  the  year  1570.  He  was  cele- 
brated tor  hLs  madrigals  and  other  vocal  compo- 
sitions. 

TORELLI.  GIUSEPPE,  a  native  of  Verona, 
member  of  the  Philharmonic  Academy  at  Bo- 
logna, and  a  famous  performer  on  the  ^nolin,  w  as 
concert  master  at  Anspach  about  the  year  1703 
After  that  he  removed  to  Bologna,  and  became 
chapel-master  in  the  Church  of  San  Petronio  in 
that  city.  He  composed  and  published  variou* 
collections  of  airs  and  sonatas  for  violins;  but  th^ 
most  considerable  of  his  works  is  hLs  eighth 
opera,  published  at  Bologna  by  his  brother 
Felice  Torelli,  after  the  death  of  the  author  in 
1709,  entitled  "  Concerli  Grossi,"  &c. 

TORLEZ,  music  master  to  the  academies  of 
Grenoble  and  of  Moulins  in  17G7,  published  at 
Paris,  about  that  time,  "  Cin'j  Motels  a  Voiz  scale 
avec  Symphonic." 

TORRI,  ANNA  MARIA.  A  celebrated  singer 
at  the  court  of  Mantua  in  1090. 

TORRI.  PIETRO,  an  Italian  by  birth,  wa.s,  in 
the  younger  part  of  his  li.e,  chamber  musician  to 
the  Margrave  of  Bayreuth  ;  after  that  he  became 
chapel-master  of  the  great  church  at  Brussels. 
It  is  said  that  he  was  a  disciple  of  Steffani ;  which 
is  probable,  seeing  that  his  compositions  are  chief- 
ly duets  and  close  imitations  of  the  style  of  that 
master.  One  of  the  most  celebrated  of  his  works 
of  this  kind  is  a  duet  entitlel  "  Hericlitits  and  De- 
mocrilKS,"  in  which  the  affections  of  laughing  and 
weeping  are  contrasted  and  expressed  with  singu- 
lar art  and  ingenuity.  He  died  about  the  yearl722. 

TORRIANI.  GIOVANNI  ANTONIO.  A 
composer  of  the  seventeenth  century,  bom  at 
Cremona.  Amongst  his  works  was  an  oratorio 
entitled  "  La  Coiiveraione  di  San  Romualdo,"  1688. 

TOSCANI,  GIOV.  FRED.,  an  agreeable  tenor 
singer,  was  born  at  Warsaw  in  1750,  of  Italian 
parents.  He  settled  for  some  years  at  Cassel,  and 
was  considered  a  good  buffo  caricato  singer,  both 
on  the  German  and  Italian  stage. 

TOSCANO.  NICOLO,  born  at  Monte  di  Tre- 
pani,  in  Sicily,  was  an  ecclesia.stic  and  excellent 
singer.  So  much  did  he  excel  in  his  art  that  the 
common  people  rcporte  I  that  he  had  an  organ 
always  concealed  within  his  clothe.^.  Having 
traversed  all  Italy,  he  pas.sed  the  latter  years  of 
his  life  in  his  convent.     He  died  in  1G05. 

TOSI,  PIETRO  FRANCESCO,  was  an  Italian 
singer,  greatly  celebrated  in  his  time.  Having 
resided  in  most  of  the  courts  of  Europe,  and  be- 
ing an  attentive  hearer  of  other.»,  and  a  person  of 
reflection,  he  attained  to  such  a  degree  oi  skill 
and  judgment  in  the  practice  of  singin,'  as  ena- 
bled him  to  compose  a  treatise  on  the  subject, 
which  he  published  at  Bologna  in  the  year  172.1, 
with  the  following  title :  "  Opinioni  dei  Cantori 
antichi  e  moderni,  o  tiano  Osservazioni  sopra  il  Canto 
Fiijurato  di  I'ier  Francesco  Toai,  Academico  Filar- 
monico," 

Tosi  not  only  visited  England,  but  had  made 
London  his  residence  from  the  latter  end  of  King 
Will-nro's  reign  to  the  end  of  that  of  George  I., 
except  during  such  short  intervals  as  business 

23 


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ENCYCLOP.EUIA    OF    MUSIC. 


TRA 


or  the  desire  cf  HCeing  his  ("rieiuls  and  rclntions, 
railed  liirn  away;  nevertheless  it  does  not  aijpcRr 
that  he  ever  sang  in  the  opera  there.  The  trea- 
tise of  Tosi  above  mentioned  is  altogether  prncti- 
eal,  and  contains  a  great  number  of  particulars 
respecting  the  management  of  the  voice,  and  the 
method  of  singing  witli  grace  and  elegance. 
Moreover,  it  contains  short  memoirs  and  general 
characters  of  the  most  celebrated  singers,  male 
and  female,  of  the  author's  time.  Tosi  was,  it 
seems,  not  only  a  very  fine  singer,  but  also  a  com- 
|)Oser.  Galliard  relates  that,  after  his  voice  had 
left  him,  he  composed  several  cantatas  of  an  ex- 
quisite taste,  especially  in  the  recitatives,  in  which 
he  says  the  author  excels,  in  the  pathetic  and  ex- 
pression, all  others,  lie  died  in  London,  having 
attained  above  the  age  of  eighty. 

TOST,  JOIIAXX,  a  musician  at  Presburg, 
composed,  about  17'Jo,  "  Mann  und  Frau  ;  "  "  H'ltt' 
ver  tiiid  W'iltire,"  operetta  ;  and  "  Songs  to  Figaro, 
the  Eccentric,  the  Liar,"  and  other  comedies. 

TOUCH.  A  word  applied  to  the  resistance 
made  to  the  fingers  by  the  keys  of  an  organ, 
harpsichord,  or  piano-forte.  When  the  keys  are 
put  down  with  difficulty,  the  instrument  is  said 
to  have  a  hard,  or  heavy  touch;  when  a  little  jires- 
eure  is  sutticient,  it  is  said  to  have  a  soft,  or  li'jht 
touch. 

TOUCHEMOLIN.  There  were  two  brothers 
of  this  name,  who  were  good  violinists  from  about 
the  year  17.j-t.  They  composed  some  music  for 
their  instrument  and  for  the  harp.sichord. 

TOUCHEvS.  (F.)  The  keys  of  a  piano  or  organ. 

TOULOUSE,  r.,  professor  of  the  guitar  at 
Jena  in  1800,  published  there,  for  some  years  af- 
ter the  above  date,  a  monthly  number  of  songs, 
with  an  accompaniment  for  the  guitar. 

TOVAR.  FRANCESCO.  A  Spanish  musi- 
cian of  the  si.xtecnth  century.  In  1550  he  pub- 
lished, at  Ihircelona,  a  work  entitled  "  Libra  He 
ilttsica  Vractica." 

TOWN  PIPERS.  Certain  performers  on  the 
pipe,  one  of  whom  was  formerly  retained  by  most 
of  the  principal  towns  in  Scotland  to  a-ssLst  in 
the  celebration  of  particular  holidays,  festivals, 
rejoicings.  &c. 

TOWXSEND,  JOHN,  was  born  in  the  county 
of  Yorkshire.  When  he  was  only  twelve  months 
old  his  family  removed  to  Liverjiool,  where  his 
fother  became  a  merchant.  The  son  began  to 
study  music  when  only  five  years  of  ape  under 
his  father,  wlio  was  an  amateur,  and  had  weekly 
concerts  at  his  house.  At  the  age  of  seven  he 
played  the  ttute,  and  sometimes  the  violoncello,  ■ 
at  tliese  concerts.  His  father  having  taught  him 
also  a  little  of  the  theory  of  music,  he  composed 
Heveral  marches,  &c.,  in  eight  parts,  for  violins, 
tenor,  flutes,  horns,  and  violoncello,  which  were 
generallv  pcrtormed  at  the  above-nomed  weekly 
concerts.  Wl-.cn  ten  years  of  age  hLs  partiality 
tor  the  tlute  became  more  decided,  and  he  used 
to  practise  six  or  .seven  hours  a  day.  About  that 
time  he  was  placed  under  the  celebrated  tlute 
player  and  composer,  Miillcr,  who  cave  him  a 
fubject  once  a  week  to  compose  variations  on, 
which  he  executed  in  the  various  styles  of  artic- 
ulation. He  was  aitcrwards  pupil  to  (rcorge 
Ware,  and  benefited  much  by  him  in  the  theory 

9: 


of  music.  At  the  age  of  fifteen  he  began  to  per- 
form concertos  in  public. 

TOYS.  A  name  formerly  given  to  little  tri- 
fling airs  or  dance  tunes. 

TOZZI,  ANTONIO,  of  Bologna,  was  a  pupH 
of  Padre  Martini.  In  170.5  he  was  chai)el-mn'(- 
:  ter  to  the  Duke  of  lirunswick,  and  in  17'.>1  pian- 
ist in  the  orchestra  of  the  principal  thoatri-  at  Ma- 
drid. Amongst  his  dramatic  works  are  the  fol- 
lowing :  "  Ti<irane,"  170J  ;  "  Inn-tcenza  vendicata,'' 
176.3;  "Andromeda,"  17G.5  ;  "  Itinaldo,"  177.5; 
"  La  Serva  Astula,"  opera  buffa,  178.5;  and  "La 
Cacciti  d' F.nri'n  /[',"  opera  buffa,  1788.  He  also 
composed  for  Madrid,  in  1790,  an  onitorio  enti- 
tled "  Elenn  al  Calcario." 

THAHACCI.  GIOVANNI  MAKL\.    Organist 

of  the  Chapel  Royal  at  Najjles  at  the  beginning 
of  the  seventeenth  century.  He  jjublished  sov . 
eral  sets  of  madrigals  and  organ  masic. 

TRABATONE,  EGIDIO,  organist  of  St.  Vic 
tor's  Church  at  Varese,  in  the  Milanese,  at  the 
commencement  of  the  seventeenth  century,  woa 
born  at  Decio,  and  published  "  \tei>e,  ilotelti, 
Maffnificat,  Falsibordoni  e  Litanie  dcUa  B.  V.," 
Mailand,  1G1.5. 

TRACIIE.V.  (Gr.)  The  windpipe.  Tliis  car- 
tilaginous and  membraneous  canal,  which  begin* 
at  the  root  of  the  tongue  and  terminates  at  the 
lungs,  receives  the  air,  the  expulsion  of  which 
forms  both  the  speaking  and  the  singing  voice. 

TRADOTTO.  (I.)  Transposed,  arranged,  or 
accommodated.  An  expression  applied  to  a  com- 
position when  made  out  from  tlie  original  score 
in  a  new  form  tor  the  convenience  of  some  par- 
ticular instrument  or  instruments. 

TRAEG,  .VNDRE.VS.  A  musician,  resident  at 
Vienna  in  1798.  of  whose  works  have  been  pub- 
linhed  •'  1)  Sinfan.  d  ffraitd  Orche-itre,"  Vienna, 
1798;  and  "6  Fantauio  pour  Flutes,"  Op.  1. 
Many  of  his  songs  and  dances  are  known  in 
manuscript. 

TR.\ETTA,  or  TRAJETTA,  TOMASO,  one 
of  the  most  celebrated  pupils  of  Durante,  was 
bom  at  Naples  in  1738.  When  arrived  at  the 
early  age  of  twenty-one  he  quitted  the  Conser- 
vatory of  La  Picta,  and,  two  years  afl'erwanls, 
composed  for  the  Theatre  St.  Carlo  the  opera  of 
"  Fanuicf,"  the  success  of  which  was  so  bril- 
liant that  he  was  at  once  engaged  by  difl'erent 
theatR-s  to  compose  sLx  more  opera.«,  some  tragic 
and  others  comic.  Amongst  these  he  gave  the 
"  K^iit  "  of  Metasta.»io  at  Rome,  which,  with  the 
five  others,  were  all  highly  appl.iudcd.  Every 
great  theatre  of  Italy  was  then  anxious  for  hi» 
music.  After  having  travelled  throvigh  that 
country  triumphing  over  all  competition,  he  at 
length  attached  himself  to  tlie  service  of  the 
covirt  of  Pnrma.  His  opera  of  "  [f^iolitn  ed  Ari- 
cia  "  was  amongst  the  most  favorite  (^ivcn  by  him 
about  this  time.  He  next  rece.ved  two  inrita- 
tions  from  Vienna  to  write  there  two  grand  ope- 
ras, with  choruses  and  ballets.  Their  succes-  wa* 
prodigious.  On  the  death  of  the  Infante  Hon 
Philip,  Trajetta  went  to  Venice,  where  the  diiec- 
tion  of  the  Con-.ci-vatory  ot  the  Ospe<laleUo  raa 
ii\lruste\l  to  him.  There,  however,  he  did  not 
long  remain,  for  the  empress,  Catharine  U.,  in- 
7 


TK  A 


liXCYCLOP^DIA    OF   MUSIC- 


Tl?  A 


vitod  hira,  two  years  nftcrwnrdR,  to  St.  Petersburg, 
to  succeed  Oaluppi  as  )icr  principal  chapel-master. 
lie  was  tliere  engaged  tor  a  term  of  live  years ; 
and,  at  the  expirntion  of  that  time,  the  empress 
letained  liim  two  years  longer.  During  his  resi- 
dence in  Russia  he  composed  seven  operas  and 
many  cantatas.  It  is  related  that,  after  a  repre- 
sentation of  his  "  DidiDir,"  Catharine  II.  sent  hira 
a  gold  snuffbox,  with  her  portrait  on  it,  accom- 
panied by  a  letter,  in  which  she  said  that  the  jjres- 
cnt  was  from  "  Didone."  Trajetta  soon  after  this 
went  to  England,  but  remained  there  only  during 
a  single  season,  in  which  he  brought  out  "  Ger- 
inondii,"  a  serious  opera,  and  "  Lai  Sena  HivaU;" 
a  burletta,  previously  performed  in  Italy ;  but, 
says  Dr.  Burney,  "  .Sacchini  had  so  firmly  estab- 
lished himself  in  the  public  favor  that  he  was  not 
to  be  supplanted  by  a  composer  in  the  same  style, 
neither  so  young,  so  graceful,  nor  so  fanciful  as 
himself."  Trajetta  died  in  his  own  country,  in 
1779.  The  following  is  a  list  of  the  principal 
operas  of  this  great  composer:  " Didone  abban- 
cloiiata,"  1757;  "  Ifgenia,"  Vienna,  1768;  '•  Far- 
nace,"  1758;  "  Ezio,"  1758;  " //  Buovo  d'Antona," 
1758;  "  Ippolito  cd  Aricia,"  1759;  "  Armida," 
Vienna,  1760  ;  "  La  Francese  d  Malaffhera,"  1764  ; 
"  Scmiramide  riconoschtta,"  1765;  "La  Scrva  Ri- 
va'e,"  1766;  "  A  more  in  Trappola,"  17G8  ;  "  hoUi 
disahitiila,"  Petersburg,  1709;  "  Olimpiadc,"  Pe- 
tersburg, 1770;  "Antigone,"  opera  seria,  1772; 
"  Germondo,"  London,  1776;  "La  Difelta  di  Da- 
rio,"  1778;  'Mrtottce,"  Naples,  1781;  "  Stordila- 
tto,  Principe  di  Granada,"  opera  buffa,  1785;  and 
"  iw/onisba,"  Manheim,  1796. 

TRAGEDIE  EN  MUSIQUE.  (F.)  A  serious 
or  tragic  opera. 

TRAGEDY.  Formerly  any  little,  doleful, 
historical  ballad,  as  "  The  Children  in  the 
M'ood,"  "The  Lady  Isabella's  Tragedy,''  &c. 

TRAMEZZANI,  DIOMIRO.  A  favorite  Ital- 
ian tenor  singer,  born  at  Milan  in  I77(),  who  per- 
formed at  the  King's  Theatre  in  London  for  many 
seasons  up  to  about  the  year  1814.  To  a  beau- 
tiful voice  he  joined  delicate  apprehension,  in- 
tense feeling,  and  rich  expression. 

TRANSCHEL,  CHRISTOPH,  a  German  com- 
poser and  professor  of  the  harpsichord,  resident 
at  Dresden,  was  born  near  Rosbach  in  1721.  He 
studied  philo.so])hy  and  theology  at  the  Univer- 
sity of  I.eipsic,  but  at  length  attached  himself  to 
music,  as  affording  more  immediate  means  of 
supplying  the  deficiencies  of  his  fortune.  He 
became  intimately  acquainted  about  the  same 
time  with  the  celebrated  Bach,  who  assisted  him 
in  the  early  part  of  his  musical  career.  He  did 
not  quit  Lcipsic  till  1755,  when  he  proceeded  to 
Dresden  in  the  capacity  of  a  teacher  of  music. 
Nor  did  his  merit  long  remain  unknown  in  his 
new  residence,  his  instructions  being  sought  af- 
ter by  the  first  families  ot  Dresden.  His  per- 
formance on  the  harpsichord  was  in  the  style  of 
liach,  and  to  this  he  joined  a  profound  knowl- 
edge of  the  history  and  theory  of  his  art.  He 
died  at  Dresden  in  the  year  1800. 


In  harmony,  trantilion  is  the  changing  the  genus, 
or  mode,  in  a  sensible  but  regular  manner.  Thus 
when,  in  the  diatonic  genus,  the  bass  moves  so  as 
to  re(iuire  in  the  parts  the  introduction  of  a  minor 
semitone,  it  is  a  chromatic  transition ;  and  if  we 
change  the  tone  by  favor  of  a  diminished  seventh, 
it  is  an  enharmonic  transition. 

TRANSMISSION  OF  SOUNDS.  Sounds  of 
all  qualities  and  pitches  move  with  equal  rapid- 
ity ;  but  quality  and  pitch  must  not  be  confound- 
ed with  intensity,  for  the  loudest  instruments  in 
a  band  will  be  heard  farthest,  of  course ;  but  the 
notes  of  all  reach  the  ear  at  the  same  instant. 
The  transmission  may  be  facilitated  or  impeded 
by  contrivance  or  accident.  The  speaking  tube, 
in  hotels  or  dwellings,  shows  how  the  ordinary 
tones  of  the  voice  may  be  conveyed  perfectly  be- 
tween distant  points.  The  length  of  the  tube 
seems  to  be  immaterial. 

TRANSPO.SITION.  A  change  made  in  a 
composition,  either  in  the  transcript  or  the  per- 
formance, by  which  the  whole  is  removed  into 
another  key,  higher  or  lower,  as  the  compass  of 
the  voices  or  instruments  require.  In  order  to 
render  the  transposition  just,  all  the  interi-als  of 
the  original  must  be  exactly  presen-ed,  which  can 
only  be  done  by  introducing  the  sharps,  or  flats, 
proper  to  the  adopted  key ;  thus  :  — 
Written. 


TRAUTM.VNN,  HEINRICH,  of  Ulm,  was 
cantor  at  Lindau  at  the  beginning  of  the  seven- 
teenth century,  and  published  at  Kemplen,  ir. 
1618,  an  octavo  work  entitled  "  Compendium  Mu- 
sictr  Laiino-Germanicum  in  ttsum schola:  Lindaviensis 
maximi  accominodatum." 

TRAVANET,  MAD-\ME  B.  DE.  was  lady  in 
waiting  to  Madame  Elizabeth,  sister  of  Louis  XL 
She  wrote  the  words  and  music  of  the  very  pop- 
ular French  romance  '•  I'auvre  Jacques,  qtiand 
j'itais  prts  de  toi."  The  following  anecdote  is 
related  respecting  the  composition  of  this  song. 
Madame  Elizabeth  had  retired  to  Montrcuil,  near 
Paris,  and  devoted  much  of  her  time  to  rural  oc- 
cupations. Wishing  to  establish  a  dairy  of  a  su- 
perior description,  she  ordered  some  heifers  of  a 
vcrv  fine  breed  from  Switzerland,  and  desired 
that  a  Swiss  girl  might  be  sent  who  had  been  ac- 
customed to  take  care  of  them.     This  girl's  name 


-„...,,,„...„       .  ...    ,  1-  J   .     »,  ^^n••^  Marv :   handsome,  innocent,  but  always  in- 

TIIANSIE.N  r.     An  epithet  applied  to  those    ^y^^^^^  ,^  melancholy,  she  could  not  forget  her 

mountains,  and  especially  her  lover  Jacques,  to 
whom  she  was  betrothed.     At  length  she  con- 


chords  of  whose  harmony  no  account  is  meant  to 
be  taken,  but  which  are  used  as  }>assin(/  c/iords. 

TRANSITION,     llie  softening  a  disjunct  in-     fided  the  simple  story  of  her  love  to  Madame  de 
terval  by  the  introduction  of  intermediate  sounds.  '  Travanct,  who  was  much  affected,  and  immedi- 

928 


TRA 


ENCYCLOPEDIA    OF   MUSIC. 


TRE 


»tely  wrote  the  words  and  music  of  "  Paurre 
Jaa'/ues."  Soon  nfter  this  Mnry  cauj^ht  the  air, 
and  was  heard  singing  it  hy  Madame  Eh/.abetli. 
The  princess  listened  to  her  with  lively  interest ; 
and  knowin;;  that  the  words  depicted  Iter  true  sit- 
uation, she  gave  private  orders  that  Jacques  might 
be  sent  for  from  Switzerland,  and  united  him  in 
marriage  to  his  Mary. 

TRAVENOL,  LOUIS,  a  violinist  in  Paris. 
pubHshed  there,  in  17.54,  a  pamphlet  entitled 
'•  Arrit  ilii  Coiueil  (T  ittat  d'ApolloH,  rcmlu  en  fa- 
veur  de  V  Orckestre  de  f  Opira,  contr*  le  nommi  J. 
/.  Ruimseaii,  Arc." 

TRAVERS,  JOHN,  received  hLs  education  in 
music  in  the  Chapel  of  St.  George,  at  Windsor  ; 
and  being  a  favorite  boy  of  Dr.  Henry  Godol- 
phin,  Dean  of  St.  Paul's  and  Pr.ivo^t  of  Eton  Col- 
lege, was  by  him  put  apprentice  to  Urceno.  and, 
about  the  year  17'2.5  became  or.'anist  of  St.  Paul's 
Church,  Covent  Garden,  a:id  after  that  of  Fulhara. 
Upon  the  decease  of  Jonathan  Martin,  in  1737, 
Travers  was  appointed  organist  of  the  Royal 
Chapel ;  soon  alter  which,  upon  some  disgust,  he 
quitted  his  place  at  Fulham.  Travers  was  a 
sound  musician ;  he  commenced  an  early  ac- 
quaintance with  Dr.  Pepusch,  and  received  some 
assistance  from  him  in  the  course  of  his  studies, 
which,  by  a  sedulous  application,  he  was  very 
careful  to  improve.  In  the  chapel  books  are  sun- 
drv  anthems  of  his  composition ;  but  as  a  com- 
poser he  is  best  known  to  the  world  by  eighteen 
canzonets,  being  verses  and  songs  chiefly  taken 
from  the  posthumous  works  of  I'rior,  which  he 
set  for  two  and  three  voices,  in  a  style  as  elegant 
as  it  is  original.  Amongst  these  is  the  much- 
admired  duet  of  "  Haste,  my  Nanette  "  Travers 
published,  likewise,  the  whole  Book  of  Psalms  for 
one,  two,  three,  four,  and  five  voices,  with  a  thor- 
ough ba.s8  for  the  harpsichord.  He  died  in  the 
year  17.58,  and,  as  organist  of  the  Chapel  Royal 
was  succeeded  by  Dr.  William  Boyce. 

TRAVERSA.  (I.)  A  German  flute.  See 
Flute,  Geum.\n. 

l'RAVERS.\,  GIOACHIMO.  Violinist  to  the 
Duke  of  Carignan,  at  Paris,  about  the  year  1770. 
He  published  some  quatuors  and  other  music  for 
his  instrument. 

TR.WIS,  MISS,  was  an  English  singer,  a  na- 
tive of  Shaw,  a  village  near  Oldham,  in  Lanca- 
shire. She  was  an  articled  apprentice  to  the  di- 
rectors of  the  Ancient  Concert,  who  provided 
her  with  an  Italian  and  a  singing  master,  paying 
all  e.xiienscs,  making  her  a  handsome  present  at 
the  close  of  the  season,  and  permitting  her  to 
form  engagements  entirely  for  her  own  emolu- 
ment. Her  only  musical  instr\ictor  was  Mr. 
Greatorex.  The  peculiar  and  proper  distinction 
of  Miss  Travis's  performance  was,  that  it  was 
genuine  English  singing,  of  the  best  school. 
She  was,  in  point  of  style,  amongst  the  female, 
what  Mr.  Vaughan  was  amongst  the  men  sing- 
ers of  the  day ;  simple  in  her  manner,  pure  in 
her  tone,  accurate  in  her  intonation,  chaste  in 
her  declamation,  and  with  so  much  of  science 
that  her  auditor  was  never  distressed  by  any  ap- 
prehension of  her  failure  or  extravagance.  As 
•  singer  of  glees,  she  was,  perhaps,  the  very  best 
of  her  time;  for  her  tone,  from  its  richness  and 
volume,  blended  and  assimilated  with  male  voices 
117  9: 


better  than  that  of  any  female  then  (1S2.'))  before 
the  juiblic  ;  and  slie  was,  moreover,  jiractLsed  in 
the  tinest  school  for  this  department  of  vocal  art. 

TRE.  (I.)  Tlirce;  as,  i  Ire  voce,  for  three 
voices. 

TREBLE  The  highest  of  the  parts  in  mu- 
sic. Tliat  which  is  sung  by  women  and  boya, 
and  played  on  violins,  hautboys,  flutes,  and  oth- 
er acute  instruments. 

TREBLE  CLEF.  The  character  used  to  de- 
termine the  pitch  and  names  of  the  highest  of 
the  parts  of  music. 

TREBLE  CLEF  NOTE.  That  note  which  in 
the  treble  staH"  is  placed  on  the  line  with  the 
clef  ;    i.  e.,  the  second  line. 

TREBLE  VIOL.  -Vn  instrument  the  inven- 
tion of  which  preceded  that  of  the  modem  vio- 
lin. It  was  furnished  with  six  strings,  tuned 
chiefly  hy  fonrt/u  ;  its  finger  l)oard  was  fretted  to 
the  notes  D,  on  the  third  line  of  the  bass  staff, 
G  on  the  fourth  .space,  and  C  on  the  first  leger 
line  above ;  E  on  the  first  line  of  the  trch!e  staff, 
A  on  the  second  space,  and  D  on  the  fourth  line 

TREBLE  VOICE.  The  highest  species  of 
the  feminine  voice. 

TREE,  MISS  M.,  a  very  pleasing  singer  at 
Covent  Garden  Theatre,  made  her  diibiU  in  Lon- 
don about  the  year  1820.  Besides  possessing 
great  merit  as  an  actress,  she  was  considered  in 
the  very  first  rank  of  English  female  vocalists. 
Her  voice  was  a  me/!zo  soprano,  the  tones  of 
which,  especially  the  lower  ones,  were  peculiarly 
rich  and  attractive. 

TREFFZ.  JETTY,  was  bom  at  Vienna,  on  the 
28th  of  June,  182'?.  Her  father,  a  Polish  gen- 
tleman, was  an  ofKcer  in  the  Austrian  service. 
Her  mother  was  a  daughter  of  that  beautiful 
Laura  Schwan,  of  Manheim,  who  w.is  loved  and 
sung  by  the  great  poet  of  Germany,  Frederic 
Schiller,  but  who,  undazz'cl  by  the  poet's  fame 
and  unrtattercd  by  his  muse,  preferred  the  less 
brilliant  attrnitiuns  of  the  Professor  Trcffz,  and 
espoused  him.  Jetty's  mother  was  pos.ses.scd  of 
a  considerable  fortune,  and  was  determined  to 
have  her  daughter  educated  in  the  most  perfect 
manner.  Unfortunately,  the  greater  part  of  her 
fortune  was  cmbez/led  liy  a  nefarious  tutor,  to 
whose  k<'ei)ing  it  was  intrusted,  when  Jottv  wa.- 
only  thirteen  years  of  age.  Nevertheless,  it  was 
most  probably  to  this  circumstance,  so  much  to 
be  deplored  at  the  time,  that  the  world  is  in- 
debted tor  an  opportunity  of  admiring  a  talent 
of  too  rare  an  occurrence  to  suffer  it  to  be  buried 
in  the  dilettantism  of  private  life.  Tlie  Prince 
(iuizeppo  Poniatowsky,  an  enthusiast  in  the 
cause  of  music  and  a  comi)oser  of  no  mean  ac- 
quirements, who  had  long  been  on  intimate  terms 
with  Jetty's  father,  was  the  first  who  discovered 
the  great  talent  of  the  young  girl.  Jetty  h«,l 
received  from  nature  a  mezzo  soprano  voice  oi 
remarkable  t)eauty  and  flexibility,  ])Owerful,  sono- 
rous, and  of  unusual  extent.  From  her  earliest 
days  passionately  fond  of  music,  she  joined  to  a 
brilliant  imagination  an  espril  facile  and  |icn- 
etrating  and  a  memory  singularly  retentive. 
Added  to  these.  Jetty  possessed  a  face  an  i  fi,'ure 
the  most  prepossessing,  and  promising  those 
graces  and  attractions  which  are  now  her  ac- 
id 


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knowledtjcd  rights.  Such  was  Jetty  Treffz  when 
Prince  Poniiitowsky  first  discovered  her  latent 
talent  and  counselled  her  parents  not  to  allow  it 
to  (JO  uncultivated.  Signor  Gcntilhuomo,  an 
I  nliau  professor  of  singing,  was  Jetty's  first  mas- 
ter. After  fifteen  days  of  study,  Mcrcelli,  the 
director  of  the  Italian  Opera  at  Vienna,  wishing 
to  have  in  his  possession  a  younp;  pirl  whose  fu- 
ture he  ciuld  not  Init  foresee,  engaged  her.  Jet- 
ty iramrdiately  applied  herself  to  her  studies 
with  CD  liusiastic  zeal.  Among  her  instructors 
at  this  t.me  may  be  particularly  mentioned  M. 
('harlcs  Koent,  a  professional  musical  crilic,  and 
a  singer  of  tasto  and  talent.  Much  to  Jetty's 
chagrin  and  disajiiiointment,  since  she  burned  to 
distinguish  herself  on  the  stage,  Mercelli  detained 
her  a  whole  year  without  giving  her  a  single 
jiart  to  play.  She  tlircw  up  her  engagement  in 
i^onsequcnce,  and  departed  for  Dresden,  where, 
in  her  fifteenth  vear,  she  made  her  debut  in  the 
character  of  Juliet,  in  the  "  Mont,  cc/ti  e  CapuUtti." 
The  celebrated  Schroder  Dcvricnt  was  the  llo- 
meo.  Jetty's  success  was  triumphant.  The 
(iueen  of  Saxony,  charmed  with  the  grace  and 
talent  of  the  young  dibtUaiite,  commanded  her 
intcndant,  the  liaron  de  Luttichaw,  to  present 
Jetty  to  her,  in  her  bo.x,  the  same  evening.  Uut 
her  majesty  of  Saxony  did  not  stop  here.  At  her 
own  expense,  and  under  her  immediate  inspection. 
Jetty  received  lessons  from  the  famous  singing 
master  Morlachi,  and  from  Schroder  Devrient, 
'he  best  model  that  she  could  have  found  in  all 
jcrmany  for  the  mimic  art.  There  were,  how- 
ever, several  little  intrigues  on  the  part  of  tl\is 
great  artist,  which  determined  her  pupil,  who 
now  commenced  to  become  her  rival,  to  quit 
Dresden,  after  a  twelvemonth's  sojourn,  during 
which  she  had  been  constantly  distinguished  by 
the  queen,  and  applauded  by  the  public,  on  all 
occasions,  with  the  greatest  fervor. 

TKEIBER,  JOHAXX  FUIEDKICII,  rector 
of  the  town  school  at  Arnstadt,  published  there, 
in  1701,  a  programme  entitled  " /Je  .Uitsica  /).i- 
vidica,  itemqiie  discitrsibiis  pur  to bc-m  musica  ttoc- 
tiirnu."     He  died  in  1719. 

TREIBER,   JOHANX   PHILIP,  son  of  the  , 
preceding,  published  a   work   entitled  "  The  ac- 
curate Organist  in  General  Hass,'  Arnstadt,  1704. 
He  had  previously  printed  another  book   calhd  | 
"  Souderbnte  Invention,  eine  ein:if/e  Aric  mis  alien 
TOnen  und   Accorden,   auch  jfr/lkhcn    Tacten   odvr  ! 
llensuren  zu  comjMniren ,"  Jena,  1702.    lie  died  in 
1727.  I 

TREMAXDQ.  (I.)  Trembling.  A  word  , 
denoting  that  the  jiassage  over  which  it  is  placed  ] 
is  to  be  performed  in  a  tremulous  manner. 

I'REMOLO,  TREMOLAXTE,    or  TREMEX- 
lE      (I.)     A    word    intimating  thnt    the    notes 
are  to  be  drawn  out  with  a  tremulous  motion,  in  i 
imitation  of  the  beatings  of  an  organ.  I 

TREXCIIMORE.  The  name  of  an  old  dance 
the  e.\act  cast  of  which  is  not  now  known,  but 
which  is  supposed  to  have  been  very  Uvely. 

TREXISE.  (F.)  One  of  the  twelve  move- 
ments of  the  quadrille.  i 

TREXTO,  PIETRO,  chapel-master  at  Naples,  ' 
wrote  in   180.1,  lor   the  Theatre    San    Carlo,  the 
Djera  seriu  "  Jjijenia  in  AuiiiU.-,"  which  was  very 


successful.     His  second  opera  was  "  Q'lanti  cast 
mi  tin  giortto." 

TREXTO,  VITTORIO.  A  Venetian  dramatic 
compo.ser,  born  in  1761.  Amongst  his  works  are 
the  following:  "La  Virtii  ri<-onosciiiln,"  ballo, 
Verona,  178.5  ;  "  Enrichetto  e  Vakur,"  ballo,  Ven- 
ice, 1788  ;  "  //  Seraglio,  ossia  C  Eijuivocn  i»  Eqtii- 
I'oco,"  ballo,  Venice,  1788;  "Denwfooute,"  ballo, 
Padua,  1791  ;  "  Flammingo,"  ballo,  Padua,  1791  : 
and  "  The  Triumph  of  Love,"  ballet,  performe<l 
at  Drury  Lane  Theatre  in  1797. 

TRESTI,  FLAMIXIO,  an  Italian  church  com- 
poser, fiourished  in  the  last  years  of  the  sixteenth 
and  beginning  of  the  seventeenth  centuries. 

TREU,  DAXIEL  GOTTLIEB,  chapel-master 
to  the  Count  of  Schaffgotsch.  at  Hirschberg,  was 
born  in  169.5  at  Stuttgard,  where  his  lather  wa« 
a  printer.  His  genius  for  music  developed  itself 
at  a  very  early  age,  and  when  only  twelve  vears 
old  he  published,  of  his  own  composition,  "  Three 
Overtures  for  the  Violin  and  three  other  Instru- 
ments." He  next  composed  four  German  operas ; 
and  at  length  manifested  such  unusual  applica- 
tion in  his  musical  studies  that  at  the  age  of 
twenty-one  he  composed  a  violin  concerto  every 
morning,  marking  down  the  middle  parts  bv 
means  of  a  musical  shorthand  which  he  had 
himself  invented.  About  this  time  he  presented 
to  the  Duke  of  Wurtemberg,  on  the  occasion  ot 
his  birthday,  a  poem  which  he  had  himself  writ- 
ten and  set  to  music.  He  also  performed  a  solo 
on  the  violin  before  the  duke.  His  competitor 
on  this  occasion  was  J.  A  Brcsccanello,  who  also 
performed  before  the  duke  for  the  first  time,  and 
was  appointed  chajiel-master.  Treu,  however, 
partly  succeeded  in  his  object,  as  the  prince  re- 
cognized his  high  talent,  and  presented  him  with 
a  sutHcient  sum  of  money  to  pay  the  expenses 
of  a  journey  to  Italy.  He  proceeded  by  Bavaria 
and  the  Tyrol  to  Venice,  where  he  took  some 
lessons  of  A.  Vivaldi.  As  Trcu  played  more  oi 
less  almost  every  instrument,  he  had  no  difficul- 
ty in  gaining  his  livelihood  in  a  city  like  Venice, 
where  music  was  singularly  cultivated.  In  about 
a  year  he  had  acquired  so  high  a  reputation 
that  gondolas  were  sent  to  take  him  to  the  houses 
of  the  first  families  in  the  city  :  having  been  in- 
vited, amongst  others,  to  the  house  of  the  Count 
of  Thurn-Taxis,  that  celebrated  musical  amateur 
was  so  pleased  with  Treu's  skill  in  shiging  at 
sight  that  he  desireil  him  to  accept  the  free  run 
of  his  house  and  table.  He  now  studied  with 
great  attention  the  Italian  language,  with  the 
view  of  bringing  out  some  Italian  operas,  of  which 
he  subsequently  composed  twelve  at  Venice. 
His  reputation  had  then  so  increa.sed  that  he 
was  oHcrc<l  the  place  of  composer  to  the  Theatre 
of  .St.  Angelo  Being  invited,  however,  in  the 
same  yeiu  (172.5)  to  take  the  situation  of  chapel- 
ma-ster  at  Bre^lau,  he  preferred  the  latter,  and 
set  out  for  his  new  detination.  He  composed 
for  the  theatre  of  that  town  four  ojieras  ;  name- 
ly, "Astartn,"  172.5;  "  Corio/ano,"  1726;  "  Ulisse 
e  Tt'lcmneo,"  172(i;  and  "Don  ChisciDltn,"  1727. 
He  was  then  called  to  Prague,  where  he  had  the 
direction  of  several  chapels  of  the  nobility  till 
1740,  when  he  held  his  first-named  situatioji. 
The  subsccjucnt  events  of  his  life  aie  not  known. 

TRI.VD.  Tlie  harmonic  triad,  or  common 
chord,  or  harmony,  is  a  u  lion  of  any  sound  with 


030 


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its  third,  ranjor  or  minor,  and  its  perfect  fifth, 
and  is  termed  major  or  minor  triad,  according  to 
the  nature  of  its  third,  thus :  — 


Major  Triad. 


m 


Minor  Triad. 


^ 


# " 


T        3         5  13         5 

There  are  also  two  other  triads ;  one  consist- 
ing of  two  minor  thirds,  as  from  B  to  F ;  and  the 
other  of  two  major  thirds,  as  from  C  to  CJ  sharp, 
thus :  — 


•J  135  -*■-♦' 


^ 


TRIAL,  JEAN  CLAUDE,  bom  at  Avignon  in 
1732,  was  a  viohn  pupil  of  Grauier,  and  com- 
posed some  motet-s  and  music  for  his  instrument 
at  a  very  early  age.  He  afterwards  went  to 
Paris,  and  was  appointed  first  violin  at  the  Op6ra 
Comique.  He  next  entered  the  service  of  the 
Prince  of  Conti,  through  whose  interest  he  pro- 
cured the  situation  of  director  of  the  Uoynl 
Academy  of  Music.  Here  his  theatrical  occupa- 
tions were  such  as  to  leave  him  but  little  time  lor 
composition.  He  was  just,  however,  preparing 
to  bring  out,  in  conjunction  with  Dauvcn;ne  and 
Berton,  the  opera  of  "  Linus,"  when  he  died  sud- 
denly, in  1771.  Amongst  his  dramatic  works 
for  the  opera  were  "  Silvie,"  1765  ;  the  last  act  of 
this  was  by  Berton;  "  Thionia,"  1767,  with  Ber- 
ton and  Granier;  and  "  La  File  de  Flore,"  1771. 
He  also  produced  at  the  L'oratdie  Italienne,  in 
17()6,  "Esope  d  Cythire."  He  likewise  com- 
posed much  music  for  the  Prince  of  Conti,  ic. 

TRIAL,  D'AKMAND,  son  of  the  preceding, 
was  born  at  Paris  in  1771.  Ho  was  a  pupil  of 
the  Conservatory,  and  nitorwards  became  pro- 
fessor of  the  piano  and  dramatic  composer. 

TKLYNGI.E.  A  steel  instrument,  so  called 
from  its  consisting  of  three  bars  of  j)oli.she,l  steel, 
po  united  at  their  ends  as  to  ])roduce  a  kind  of 
triangular  trame.  The  part  lor  the  triangle  is 
Hhvays  written  in  the  treble  clei,  and  consigts  of 
various  repetitions  of  the  note  C  only  ;  as,  — 


TUIAR  DF.FICIENS.  (L.)  lm,,er/ecl  triad. 
The  chord  ot  the  tliird,  fifth,  and  eij;hth,  taken 
on  the  seventh  of  the  key,  and  consisting  of  two 
minor  thirds ;  that  is,  two  thirds,  each  of  which 
rontain»  three  bcnitonos. 

TRIAS  HAUMONIC.A  (L.)  The  hnrn^nie 
triad.  A  compound  of  three  radical  sounds, 
consisting  of  a  fuiulnmcntal  note,  its  third,  and 
its  fifth.  Of  these  three  sounds,  the  gravest  is 
railed  the  fundamental ;  the  ffth  the  e.xcluded 
sound,  oi  sontu  rxcluna ;  and  the  third  the  har- 
nioi\icnl  mean,  or  mcdiut  harmnnicu.r. 

This  division  of  the  fifth  into  two  thirds  is 
performed  in  two  ways  :  first,  harmonically ;  as 
when  the  greater  third  is  lowest,  in  which  ca.«e 
the  triad  is  said  to  bo  perfect  and  natural. 
Secondly,  arithmetically  ;  as  when  the  lesser  third 
'»  lowest ;  and  then  the  triad  is  called  fiat,  or  im- 
p"rfct  t. 


TRICHORD.  (From  Ihc  Orwk.)  Tl\r  ntmt  ^rtn  Vi  thr  thrre- 
llrincriMl  lyir,  «up|Mt«e(l  to  huve  bvcn  the  inrruliOD  of  Mercur)r.  H«% 
Dii-ii<)i(i>. 

TRI-UIAPASON.   (From  the  Grttk.)    A  triple  oclart,  or  twenty- 

KCUIld. 

TUIEHEL,  J.  N.  A  good  German  church 
composer,  resident  at  Schnepfentlvil.  Hiu  works 
bear  date  from  1789  to  1800. 

TUIEMER,  JOIIANN  SEBALD,  a  violoncel- 
list and  composer  for  his  instrument,  was  a  native 
of  Weimar.  In  172.i  he  belonged  to  the  theat- 
rical orchestra  at  Hamburg,  whence  he  proceede<l 
to  Paris  in  17'27,  and  finally  settled  in  Holland, 
where  he  died  in  17i)2.  Some  of  his  music  was 
published  at  Amsterdam. 

TRIER,  JOHANN,  a  celebrated  organist  at 
Zittau,  died  in  1789.  He  left  many  excellent 
compositions  in  manuscript. 

TRIGON  A  thrfe-Blrinecd  instrument,  resemblini;  the  lyn  Hied 
bv  tht*  niu'ient  Grc.-kt. 

■TRIGONfM.orTRIANGin,AR  HARP.  An  in«lninirnt  rap. 
po».'(l  to  hnVi'  iH-en  t»f  Plirycinn  invt-ntion  ;  in  thi-  rircutii^hiticr  of 
wanting  one  sidi'  to  coiiipK-Ie  the  triank'le,  it  rt^st-ntbli''!  thr  Tht-lmn 
liarp.  Fniiii  Sophoclt'»  we  leurn  that  n  certain  niuiuinn  ol  tin-  nnmo 
of  Alexamlei  .\iexanilrinu9  wa»  Mt  adiiiimlile  n  p<Tforin'-r  uit.»n  fiie 
tri^onum.  an>l  had  piven  puch  prfxtfM  of  hi*  ahilitie*  at  R'>ine.  thut 
lie  MifMle  the  inhiiliilaiiU  niiiii»lly  niiul. 

THIIIKMITKXK.  (Gr.)  An  inlerval  conaiiting  of  one  preatet 
and  two  lc««er  feniitunesj  t.  e..  a  minor  thirtl. 

TRILL,  or  TRILLO.     A  shake.     See  Siiakb. 

TRILL.VXDO.    (L)    Shaking,  or  with  shakes. 

TRILLETIA.  (I.)  A  short,  or  passing 
shake.     The  diminutive  of  iriUo. 

TRIMELES.  A  kind  of  nome  in  the  ancient  muiic  performed 
on  fliite». 

THI  MERES.  A  nnme  of  the  ancient  Oreeki  vhioh  wai  executed 
in  iltree  eon«eeutive  niodea,  ris.,  tlip  IMiryirian,  the  Doric,  end  thi 
I.vditin.  The  invention  Of  thia  compound  nome  ia  attributed  by 
some  u  fitem  to  Saendaa  Of  Arf^  ;  hy  othera  to  Cl^>noa  Tiiegeatea. 

TRIM  ETERS.    Aucieul  lyrical  vertca  of  a  aix-fect  nieaaure. 

TRINKLIED.  (G.)  A  bacchanalian  or  drink- 
ing song. 

TRIO,  or  TERZEITO,  or  TEIIZE'IT.  A  com- 
position for  three  voices  or  instruiuents. 

TRIOLE.     Same  as  Triplet,  which  see. 

TRIPARTITE.  (From  the  Latin.)  Scores  in 
three  parts  are  said  to  be  tripartite. 

TRIPLE,  or  TRIPLE  TIME.  A  time  con- 
sisting of  three  measures  in  a  bar,  the  first  two 
of  which  are  Ix-at  with  tlie  falling  of  the  hand, 
or  foot,  and  the  third  inarketl  by  its  elevation. 
There  were  formerly  in  use  no  less  than  six  dif- 
ferent triple  measures:  first,  that  of  thrre  breve.t 
in  a  bar,  denoted  hy  the  figtiro  3  ;  secondly,  that 
of  three  scmibrcves  in  a  bar,  the  sign  of  which 
was  '^;  thirdly,  that  of  three  minims  in  a  bar, 
marked  by  i| ;  fourthly,  that  of  throe  crotchets  in 
B  bar,  implied  by  J  ;  fifthly,  that  of  three  quavcm 
in  a  bar,  signified  by  jj ;  sixthly,  that  of  three 
serai(|uavers  in  a  bar,  expressMl  by  *. .  But  at 
prcteiit  we  only  employ  three  different  trijiles ; 
that  of  three  minims,  that  of  three  crotchets,  and 
that  of  three  quavers.  The  reader,  being  informwl 
that  the  s^inibrevo  (which  is  now  the  longest 
note  in  common  use,  and  thcrclorc  made  the 
common  standard  of  reckoning*  is  equal  in  dura- 
tion to  two  minims,  or  to  four  crotchets,  or  citjht 
quavers,  will  readily  comprehend  the  propriety 
of  announcing  thc-<e  different  measures  hy  tl^s 
above  fiRures,  and  will  perceive  that,  to  indicat* 
a  tiracol  three  minims  in  a  bar,  (i.  e.,  thrc«  halve*, 
or  second  parts,  of  a  semibrcvc,,*  no  method  mon 


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consise  or  simple  could  bo  adopted  than  that  of 
placing  at  the  beginning  of  the  movement  the 
figures  *;  for  a  time  of  three  crotchet*,  (i.  e.,  three 
fourth  parts  of  a  semibreve,)  the  figures  ^  ;  and 
for  a  time  of  three  quavers,  (i.  e.,  three  eighths  of 
a  semibreve,)  the  figures  '. 

'Hie  old  musicians  considered  the  triple,  or  three- 
timed  measure,  as  superior  to  the  binary,  or  two- 
timed  ;  and  for  that  reason  called  it  the  perfect 
time. 

TUIPLE  CROCIIE. 
ver.     See  that  word. 


(F.)     A   demisemiqua- 


TUIPLE  PROGRESSION.  An  exprc'^sion 
in  old  music,  implying  a  series  of  perfect  fifths. 
A  progression  of  sounds  thus  explained  by  the- 
orists :  let  any  sound  be  represented  by  unity,  or 
the  number  1  ;  and  as  the  third  part  of  a  string 
has  been  found  to  produce  the  twelfth,  or  octave 
of  the  fifth  above  the  whole  string,  a  scries  of 
fifths  may  be  represented  by  a  triple  geometric 
progression  of  numbers,  continually  multiplied 
by  3, —  as  1,  3,  9.  27,  81,  243,  729, —  and  these 
tonns  may  be  equally  supposed  to  represent 
twelfths,  or  fifths,  either  ascending  or  descend- 
ing. For  whether  we  divide  by  3,  or  multiply 
by  3,  the  terms  will,  in  either  way,  be  in  the  pro- 
portion of  a  twelfth,  or  octave  to  the  fifth. 

TRIPLET.  The  name  given  to  three  notes 
Bung  or  played  in  the  time  of  two  ;  thus  :  — 


TRIPLtJM.  (L.)  Formerly  the  name  of  the  treble,  or  highest 
part.     See  Tkeblk. 

TRIPODI.\^N.  (Krom  the  Greek.)  A  itringed  imtrument,  (laid 
to  have  been  invented  by  Pythagoraa,  the  Zacynthiun.)  wliicli.  un 
account  of  the  difficulty  of  it*  pcrtbrninnce,  continued  in  u^c  but 
for  aahort  time.  It  reaembled  in  form  the  Delphic  trii>od.  whence  it 
had  ita  name.  The  legf  were  equidistant,  and  fixed  upon  a  mova- 
ble baae  that  waa  turned  by  the  foot  of  the  player;  the  itringswere 
placed  between  the  Wgf  of  the  itool ;  the  vase  at  the  top  ser^'cd  for 
the  puriwse  of  a  sound  boartl;  and  the  ttrings  of  the  three  sides  of 
tlie  inrttrunient  were  tnned  to  three  different  modes,  tlir  l>oric,  l,yd- 
ian.  and  Plirvirian.  The  performer,  sitline  on  a  chair  made  on  pur- 
|K>se,  struck 'ttie  stringa  with  the  fingers  of  his  leii  hand,  using  the 
plectrum  with  his  right, while  he  turned  the  instrument  with  his  loot 
to  whichever  of  the  three  modes  he  jileased ;  so  that  by  great  pnie- 
tice  he  w  as  enabled  to  change  the  modes  with  such  readiness  and 
velocity  that  those  who  did  not  see  him  would  imagine  they  heard 
three  tfiflercnt  performers  playing  in  three  different  nio<les, 

TI<IS.\GIU.<I,  A  hymn  In  the  old  church  music,  in  which  the 
word  holy  ii  repealed  three  times  luccessively.    See  Ciikbubicau 

IIVM.K.  _ 

TKITE.  A  Greek  term  signifying  three,  or  third.  Three  chords 
of  the  ancient  system  were  called  by  this  name,  from  their  actual 
situation  in  the  tetnichords  of  which  they  respectively  formed  a 
part     SiM!  Thitk-Dikzhuovknox,  TulTK-UrPKBBOL.Cux,  and 

Tl[|TF.-SrNKHMI:.NO?«. 

TKITE-DIKZKl'OMKNON.  (From  the  Greek.)  The  third 
string  of  the  diezeugmenon,  or  fourth  tetrachord  of  the  ancients, 
reckoning  from  the  top.  The  sound  of  this  string  corresiwnded  with 
our  C  almve  the  has.  clef. 

TKlTK-llVl'KKll()I..EOX.  (Or.)  The  thirl  string  of  the  an- 
cient hypirbolKon,  or  filth  tetniehordi  and  which  answered  to  our 
G  on  the  seennd  line  in  the  treble. 

TRITE-SVNKMMKNO.V.  (From  the  Greek.)  The  third  string, 
recknnine  from  the  t*>p  of  the  thirti,  or  svneMmienon,  tetrachord ; 
and  which  corresponded  with  our  U  Hat  above  the  fifth  line  in  the 

TRITON  A^^9.  The  name  of  a  beautiful  West  Indian  bird, 
remarkable  for  lU  musical  ixiwers.  It  is  said  to  have  thr«-  distinct 
Mites,  (iu  Ionic,  or  lower  note,  and  the  tweltlh  and  sevenli-enlh  of 
that  note,)  and  to  be  capable  of  sounding  Ihcni  all  at  Uie  same 

TIUTONK.  A  dissonant  Interval,  otherwise  called  a  superfluous 
fiurth  i  a  kind  of  n  dundant  third,  consisting  of  three  tunes,  tw.. 
major  and  one  niiiior  ;  or  more  pn>l>erly,  i»f  twoti»nes  and  two  semi- 
tones, itiie  grenter  and  <»ne  h  "s  ;  as  from  C  to  F  sharp.  The  ratio  of 
the  tritotie  in  numt>ers  is  as  V>:  .'tj. 

TRITOS.  ((ir.)  Thinl.  The  epithet  applied  by  the  anclenti  to 
that  c»f  their  t>>ur  authentic  modes,  called  the  J:kilian,  and  some- 
limes,  though  impniperly,  the  Lydian. 

TRITTO,  GIACOMO,  profewor  at  the  Con- 
»*rvatory  of  La  Pieti'i  at  Naples  about  the  year 
1790,  brought  out  in  that  town,  m  1787,  the  Op- 
tra of  "  Lti  Virgiite  del  tolt,"  and,  in   1788,  "  La 


MolinnnlUi."  Amongst  his  other  composition* 
are  "  Arminin,"  opera  scria,  1786,  written  for 
Rome;  "  Lq  Atventure  Amorose,"  opera  buffa,  al- 
so for  Rome,  1788  ;  "  I  due  Gemelli,"  opera  buffa, 
Capua,  1788  ;  "  Le  Viceiide  Amorose,"  opera  buffa, 
Fano  and  Rome,  1788  ;  "  U  Carte.iiatto  Fantnstico' 
opera  buffa,  Naples,  1791  ;  "  L'  Ingantio  Fortuna- 
to,  ossia  la  I'roba  Ileciproca,"  opera  buffa,  Madrid. 
1791  ;  "  Gli  Amici  Rivali,"  opera  buffa,  Vienna, 
1792;  "  Le  Trame  Spiritoac,"  Naples,  1792; 
"  Giiier-ra  e  Ariodante,"  Naples,  1803;  and  "  Gli 
Americani,"  Naples,  1804.  iTiLs  composer  seemed 
to  have  the  idea  of  forming  a  new  school  ;  or 
rather,  he  appeared  desirous  to  unite  the  soft 
melody  of  his  country  to  German  liarmony,  in 
order  to  render  it  fitter  for  the  expression  of  the 
great  passions  of  the  tragic  opera. 

TRIUMPILVNT  MUSIC.  A  general  name 
for  songs  and  instrumental  pieces  composed  or 
performed  for  the  celebration  of  victorie.s.  The 
ancient  Greeks  indulged  to  excess  in  the  vain- 
glorious practice  of  adding  insult  to  conquest. 
Ly:-aiidcr,  the  Spartan  general,  destroyed  the 
walls  of  the  subdued  .\thenians  to  the  exulting 
sounds  of  voices  and  flutes. 

TRIVIL'M.  (L.)  The  name  by  which  the  first" 
thrt^  of  the  seven  liberal  arts,  grammar,  rhetoric, 
and  logic,  were  formerly  distinguished.  The  other 
four,  consisting  of  arithmetic,  music,  geometry, 
and  astromomy,  were  called  the  quadrivium. 

TROCHEE.  A  dissyllabic  foot,  composed  of 
one  long  and  one  short  syllable. 

TROFEO,  RUGGERO.  Chapel-master  of 
the  Church  Delia  Scala  at  Milan  in  the  sixteenth 
century.  He  published,  amongst  other  works, 
some  collections  of  canzonets. 

TROLL.  To  troll  is  to  sing  a  catch,  canon, 
round,  or  any  composition,  so  taking  up  the  parts 
that  the  voices  follow  each  other  in  regular  suc- 
cession or  a  circular  motion. 

TROMBA,  or  TROMLO.     (L)     A  trumpet. 

TR0MI3A.  GIULIO,  first  vioUn  at  the  Church 
of  St.  Anthony  at  Padua,  was  a  pupil  of  Tartini, 
and  succeeded  his  master  in  the  above  situation 
in  the  year  1770. 

TROMBA  DI   BASSO.     (I.)    Bass  trumpet. 

TROMBA  MARINA.  (L)  The  trumpet 
marine,  a  species  of  monochord. 

TROMBEITA.  (I.)  A  smaU  trumpet.  The 
diminutive  of  tromba. 

TROMBETTO.  ASCANIO,  a  Bolognese  com- 
poser, flourished  at  Naples  about  the  year  1571, 
and  published  there  a  collection  of  the  then  ad- 
mired viilanclle  ;  also  a  work  entitled  "  Sacrd 
Si/mphonia- ;  a  third  publication  by  him  was  en- 
titled "  Napolitane,  d  3  foci,"  Venice,  1773. 

TROMBONE,  or  TROMBONO.  A  long  brass 
instrument  somewhat  similar  to  the  trumi,ct. 
Of  this  instrument  there  are  three  kinds  —  the 
bass,  the  tenor,  and  the  alto.  The  bass  trom- 
bone begins  at  G  gamut  and  reaches  to  C  above 
the  ba-ss  clef  note,  producing  every  semitone 
within  that  compass.  The  tenor  trombone  be- 
gins at  A,  one  note  above  G  gamut,  and  pro- 
duces every  semitone  up  to  the  liMeeiith  above 
This  powe;fnlly  sonorous  instrument  ia,  by  some 


932 


TRO 


ENCYCLOPAEDIA    OP   MUSIC. 


TRi: 


esteemed  extremely  useful  in  grnnd  choruses 
and  other  full  compositions  ;  but  many  acknowl- 
edged judges  think  it  more  poweriul  than  mu- 
sical. The  trombone  is,  perhaps,  the  most  difH- 
cult  of  all  brass  instruments  to  make  discourse 
sweet  sounds  ;  yet  in  skilful  hands  there  is  no 
music  more  effective,  especially  in  concerts.  The 
trombone  is  one  of  the  oldest  instruments  at  the 

E resent  day.      The   Hebrews   and   the   Ilomans 
oth  employed  it  in  their  triumphal  and  religious 


ceremonies.  The  secret  of  manufacturini;  the 
instrument  in  such  a  manner  as  to  draw  from  it 
it.s  peculiar  effect  became  lost,  and  troniboneii 
went  out  of  vogue.  One  was  discovered  among 
the  ruins  of  Ilerciilancum,  and  was  sent  as  a 
curiosity,  by  the  King  of  Naples,  to  George  III., 
who  caused  experinient-s  to  be  made  upon  that 
model.  These  resulted  in  the  adoption  of  tho 
trombone,  now  in  such  general  use  in  military 
music. 


Sc.\LE    roil    THE    Bb    TUOMIIONE. 


7    6    R    4    3 


2    .  J        2        S       S       g 
iiZZZltitl   tyt:   *  ^    X     1    bi      Li   4,  S    ?    2    8    4    5    6    7    128    45    6    7 


a 


Scale  fob  thb  G  T&ombonb. 


7      8       S432176548Z}.      S.      4      3    J      ?    J      i   J      1     A  gi   ■«• 


_^^±iAljL-U   3   4   s   f   2 


:x: 


1     ^ 8      4      5      6      7      1       2 S__4 5      8      7 


765432178548 


Scale  Fon  the  F  Trombone. 

i   f   >  .   I   !   !   «   I  J   1 1^1  i  X 


m 


jj^i^JrrU* 


^ 


S   2   }   e   2 


m 


^SP=j;7~jgj^ 


i 


T 


In  the  preceding  scales  for  the  Bb,  G,  and  F 
trombones,  the  Hi»ures  above  the  notes  mark  the 
positions  on  which  tliey  can  be  played  ;  and  the 
learner  will  ob>crve  that  these  notes  cannot  be 
correctly  sounded  in  any  other  position.  It  is 
ot  the  utmost  importance,  that  the  pupil  become 
familiar  with  the  po^itions  and  with  the  scale 
before  he  attempt  to  perform  music,  especially 
with  accompaniinents. 

The  first  thing  to  be  learned  is  the  mannrr  of 
holding  the  in.^tnim,  nt.  The  trombone  should  be 
held  with  the  left  liand  in  nearly  a  horizontal  jjo- 
sition,  the  lower  cnil  inrlined  a  little  downward, 
the  thumb  over  the  lower  cn)S8piece  of  the  bell, 
the  firet  finger  on  the  side  of  the  mouthpiece,  the 
second  and  third  fingers  over  the  cross  piece  of 
the  trombone,  the  fourth  finger  on  the  outside 
and  under  the  troml^one.  The  slide  should  be 
held  with  the  right  hand ;  the  thumb  on  the  up- 
per side ;  the  first,  second,  and  third  fingers  un- 
der the  crosspiece  ;   the  fourth  finger  outside  and 


under  the  slide.  The  fore  arm  alone  will  follow 
the  motion  of  the  wri.st  ;  but  when  the  slide  is  to 
be  moved  in  connected  positions,  the  wrist  only 
will  perform  the  movement ;  thus  :  — 

Example. 

4  S      «  4 


The  attitude  is  very  important.  Let  the  per- 
former keep  the  head  directly  opposite  the  mu^ic 
he  is  playing,  the  two  elbows  about  six  inches  dis- 
tant from  the  body. 

There  are  seven  positions  on  the  trombone ; 
the  first  is  when  the  slide  is  closed  ;  the  second 
when  the  slide  is  puslie<l  Rt)out  three  and  tmr 
quarter  inches ;  the  third  when  the  slide  is  pu.<hrd 
about  three  and  a  quarter  inches  farther  frnm  the 
second,  &c.,  from  position  to  poait  on  ;  but  the  only 
true  guide,  after  all,  for  the  poaitions,  is  the  good 


933 


TRO 


ENCYCLOPiEDIA    OF   MUSIC. 


TRXT 


musical  ear,  so  that  from  one  position  to  the  next 

the  instrumeut  ahould  differ  precisely  a  half  tone. 

The  following  exercises  on  the  seven  positions 


FInt  PotltioQ. 


SKond  PodHon. 


Third  Position. 


Fourth  Position. 


Fifth  Position. 


Sixth  PosltloD. 


Seventh  Position. 


^^m 


t£4£ 


Rive  all  the  notes  -which  can  readily  be  sounded. 
It  will  be  well  for  the  learner  to  ])ractise  each 
position  till  he  shall  have  committed  it  perfectly. 


^i^^f^ 


T      f'Ji     f^-^^^ 


t.  ♦ 


^ 


SE. 


-kT^^^-^-t- 


-» — I 


i^EE: 


t^- 


»  t    »- 


-0 0- 


-0 •- 


^ 


_,J?Ljn 


I-CH-; — H-^-*'  '  I  r"y-+— »  I  i  *^»  »  '  i~*  r  i    1 


^^^     *-^' '-<  ^'  '        0    W    0        '    0\         :        0    '  ;— ^ 


It  is  apprehended  that  these  directions  will  be 
a  sure  guide  and  preceptor  for  the  B  b  tenor 
trombone,  as  we  have  given  in  the  first  position 
the  chord  in  B  b ;  also  two  scales  for  the  different 
bass  trombones  in  G  and  in  F. 


TROMBONO     PICCOLO. 
sackbut.     See  Sackbut. 


(I.)       A    small 


TROMLITZ,  JOHANN  GEORG,  a  cele- 
brated musician  and  flutist,  was  born  at  Gera 
about  the  year  1726.  lie  resided  at  Leipsic  from 
1700,  and  was  there  considered  as  an  excellent 
j)layer,  though  his  embouchure  was  imperfect. 
Being  obliged  to  renounce  his  instrument,  owing 
to  the  state  of  his  health,  he  dedicated  liis  time 
to  the  instruction  of  numerous  students  in  the 
university ;  besides  which  he  exercised  his  tal- 
ents in  the  fabrication  of  some  excellent  flutes, 
and  also  in  the  engraving  of  some  of  his  own  mu- 
sical compositions.  He  wrote  many  works  for 
his  instrument ;  and  also  published  at  Leipsic, 
in  17.S6,  a  short  dissertation  on  the  flute  and  the 
best  manner  of  performing  on  it ;  a  second  edition 
of  which  work  appeared  in  1790. 

TROMMEL.     (G.)     The  great  drum. 

TKOMP  DE  BEARX.  A  Jew's  harp.  See 
Jew's  IIaup. 

TROOP.  A  kind  of  march,  generally  in  quick 
time. 

TRO  PER.  A  book,  formerly  used  in  the 
church,  containing  the  se<iucnccs  or  chants  sung 
after  the  recital  of  the  o|)istle.  There  Ls  now  ex- 
tant in  the  Bodleian  Library  at  Oxford  a  very 


curious  manuscript  of  this  kuid,  with  the  musical 
notes,  which  the  catalogue  calls  a  troparion. 

TROPPO.  (I.)  An  adverb  signifying  too 
much;  as,  allegro  ma  now  troppo,  fast,  but  not  too 
fast. 

TROPPO  CARICATA.  (I.)  An  expression 
api)lied  by  the  Italians  to  an  air  overburdened 
with  accompaniments. 

TRO.ST.  JOHANN  CASPAR.  Organist  at 
Halbcrstadt  in  1660.  He  translated  many  didac- 
tic works  of  the  first  importance  from  the  Latin 
and  Italian  languages  into  German. 

TROUBADOURS.  The  appellation  given  to 
the  early  poet  musicians  or  bards  of  Provence 
and  Normandy.     See  Baud. 

TRf  BENSEE,  JOSEPH.  Chapel-master  to 
the  Prince  of  Lichtenstein  at  Vienna  about  the 
year  1796.  He  was  a  celebrated  performer  on 
the  hautboy,  and  also  a  good  vocal  and  instru- 
mental composer. 

TRUMPET.  The  loudest  of  all  portable  wind 
instruments,  and  consisting  of  a  folded  tul>e,  gen- 
erally made  of  brass,  and  sometimes  of  silver. 
The  ancients  had  various  instruments  of  the 
trumpet  kind  ;  as  the  tuba,  cornua,  &c.  Moses, 
as  the  Scripture  informs  us,  made  two  of  silver  to 
be  used  by  the  priests ;  and  Solomon,  as  Jose- 
phus  relates,  made  two  hundred  similar  to'  those 
of  Moses,  and  for  the  same  jiurpose.  The  mod- 
ern trumpet  consists  of  a  mouthpiece,  nearly  an 
inch  across.  The  pieces  which  conduct  the  wind 
are  called  the  branches ;  the  parts  in  M-hich  it  is 


934 


FKU 


ENCYCLOPEDIA    OF   MUSIC. 


TRt 


bent,  the  jx}fences  ;  and  the  caiml  between  the  sec-  i 
ond  bend  atid  the  extremity,  the  /Mcilion ;  the  nnfjs  ' 
where  the  branches  take  asunder  or  are  soldered  ' 
together,  the  knots,  wliich  arc  five  in  number,  nnd 
serve  to  cover  tlie  joints.     One  peculiarity  in  tliis 
powerful  and  noble  instrument  is,  thnt,  like  the 
horn,  it  only  commands  certain  notes  within  i's 
com]  ass.     The  trum;.et  produces,  as  natural  and 
ea.sy  sounds,  (i  above  the  bass  clef  note,  or  violin 
G,  C  on  the  first  lefjer  line  below  in  the  treble,  t 
E  on  the  first  line  ot  the  staff,  O  on  the  second  , 
line,  C  (,n  the  third  space,  and  all  the  succeeding 
notes  up  to  C  in   alt,  including  the  sharp  of  F, 
the  fourth  of  the  key.     Solo  performers  can  also 
produce  U   fiat,  (the  third  above  the  treble  clef 
note  ;)  and  by  the  aid  of  a  newly-invented  alide 
many  other    notes  which  the  common  trumpet 
cannot  sound  are  now  produced. 

The  crooked  trumpet,  or  horn,  was  a  very  an- 
cient instrument,  made  of  the  horns  of  oxen  cut 
off  at  the  smallest  extremity.  In  progress  of  time 
rams'  horns  were  used  for  the  same  purpose. 
This  in-truracnt  was  chiefly  used  in  wur.  The 
form  of  the  straight  trumpet  is  better  known  :  it 
was  u>ed  by  the  priests,  both  on  extraordinary 
occasions  and  also  in  the  daily  service  of  the 
temple.  In  time  of  peace,  when  the  people  or 
the  rulers  were  to  be  convened  together,  this 
trumpet  was  blown  softly  ;  but  when  the  camps 
were  to  move  forward,  or  the  peojile  were  to 
march  to  war,  it  was  sounded  with  a  decixT  tone. 

ITie  number  of  trumpets  in  the  public  service 
of  the  sanctuary  and  temple  could  never  be  les« 
than  two  nor  above  one  h\indred  and  twenty, 
because  that  was  the  number  at  the  beginning 
of  the  ttmple  service.  ITie  manner  of  blowing 
the  trumpet  was,  first  by  a  long,  plain  blast;  then 
by  one  with  breakings  and  quavcring-i ;  and  then 
by  a  long,  pliun  blast  again.  In  our  language, 
the  blowicg  of  the  tnun]  et  is  often  described  by 
the  arbitrary  word  turatantara ;  but  if  such  a 
word  were  to  describe  the  Jewish  manner,  it 
should  be  iantaratan,  making  the  flourish  in  the 
middle,  and  the  plain  notes  at  either  end. 

'l"he  trumpet  is  a  noble  instrument,  and  Ls 
much  used  in  war  among  the  cavalry  to  direct 
them  in  the  service.  ITie  word  is  formed  from 
the  French  trompete.  Menage  derives  it  from  the 
Greek  turbo,  a  shell  anciently  used  for  a  trum- 
pet. Ducani;e  derives  it  from  the  corrupt  Latin 
tnimpa,  or  the  Italian  tromba,  or  trombetta  ;  others 
from  the  Celtic  tronipiU,  which  signifies  the  same. 

In  war  there  aie  eight  principal  manners  of 
sounding  the  trumpet :  the  first,  called  the  cacal- 
quet,  used  when  an  army  approaches  a  city  or 
]  asses  tlirough  it  in  a  march  ;  the  second,  the 
hoiitv-filU;  used  when  the  army  is  to  decamp  or 
mar.h:  the  thirtl  is,  %vhen  they  sound  to  horse 
and  then  to  the  standard  ;  the  fourth  is  the 
charffr;  the  tifch  the  tratch ;  the  sixth  is  called 
the  double  caeiilquet ;  the  seventh  the  chamiule  ; 
and  the  eighth  the  retreat;  besides  various  Hour- 
ishes,  voluntaries,  S:c.,  uscd  in  rejoicings.  There  ' 
are  also  people  who  blow  the  trum;  et  so  soltly, 
and  draw  so  delicate  a  sound  from  it,  that  it  i^ 
u.sed  not  only  in  church  mu.-ic,  but  even  in 
chamlK>r  music ;  and  it  is  on  this  account  that  in 
the  Italian  and  German  music  we  tre(|ucntly  find 
parU  entitled  trontha  prima,  or  I»,  first  trumpet, 
tromba  Il»,  tegonda.  111",  lerza,  second,  third 
trumi^et,  &c.,  as  being  intended  to  be  played  with  { 
Irumpeis.     Ihere  arc  two   notable  defects  iu  the 


trumpet  observed  by  Mr.  Robert*  in  the  Philo- 
sophical Transactions ;  the  first  is,  tnat  it  will  only 
perform  certain  notes  within  ita  compass,  com- 
moidy  called  trumpet  notes ;  the  second,  that 
four  of  the  notes  it  does  perform  are  not  in  exact 
tunc.  The  same  defects  are  found  in  the  trum- 
pet marine ;  and  the  reason  is  the  same  in  both. 

The  but  rind,  or  ancient  trumpet,  Ls  a.scribed  to 
the  Egyptian  Osiris,  who  made  use  of  it  in  grand 
sacrifices.  The  Hebrews  derived  it  from  the 
Egyptians  mo.st  prob^ibly  during  their  long  cap- 
tivity ;  as  the  first  mention  of  it  in  the  Holy 
Scriptures  is  at  the  descent  of  the  Lord  upon 
Mount  .Sinai,  and  the  second  where  he  cays  t<» 
Moses,  "  Make  thee  two  trumpets  of  silver  ;  of  a 
whole  piece  shalt  thou  make  them,  that  thou 
mayest  use  them  for  the  calling  of  the  assembly 
and  for  the  journeying  of  the  camp."  Previous  to 
this  pciiod  the  trumpets  of  the  Israelites  appear 
to  have  been  made  of  the  horn  of  the  ram  or  some 
other  animal,  and  were  called  buccina ;  their  form 
resembled  the  modern  hunting  horn  ;  but  after 
that  time  they  were  made  of  metal,  and  assumed 
a  shape  somewhat  similar  to  the  modern  instru- 
ment. Mr.  Bruce  says,  "  The  Abyssinian  sol- 
diers make  use  of  an  ancient  trumpet  which  is 
called  meleket.  It  is  made  of  a  cane  that  has  less 
than  half  an  inch  aperture,  and  about  five  feet 
four  inches  in  length.  To  this  long  stalk  is  fixed 
at  the  end  a  round  piece  of  the  neck  of  a  gourd, 
which  has  just  the  form  of  the  round  end  of  our 
own  trumpet,  and  is  on  the  outside  ornamented 
with  small,  white  shells.  It  is  all  covered  over 
with  parchment,  and  is  a  very  neat  instrument. 
This  trumpet  sounds  only  one  note,  ¥.,  in  a  loud, 
hoarse,  and  terrible  tone.  It  is  played  slow  when 
on  a  march  or  before  an  enemy  appears  in  sight ; 
but  afterwards  it  is  repeated  very  (juick  and  with 
great  violence,  and  has  the  effect  upon  the  Abys- 
sinian soldiers  of  transporting  them  absolutely  to 
fury  and  madness,  and  of  making  them  so  re- 
gardless of  life  as  to  throw  themselves  in  the 
middle  of  the  enemy,  which  they  do  with  great 
gallantry." 

In  the  ninety-sixth  Olympiad  a  prize  was  in- 
stituted at  the  Olympic  games  for  the  best  per- 
former on  the  trumpet;  and  the  first  of  these 
honors  gained  there  was  adjudged  to  Timicus,  of 
Elis.  In  the  same  year  another  was  obtauied  by 
Crates,  the  countryman  of  Timieus,  on  the  cor- 
net, or  horn.  Archias,  of  Hybla,  in  Sicily,  was 
victor  on  the  trumpet  at  three  several  Olyrajjiads ; 
and  the  famous  trumpeter  Ilerodorus,  of  Megara, 
carried  off  the  prize  ten  several  times,  and  was, 
Athenx'us  infonns  us,  victor  in  the  whole  circle 
of  sacred  games,  having  by  turns  been  crowned 
at  the  Oljnnjiian,  Pythian,  Nemcan,  and  Isth- 
mean.  According  to  some  authors,  Ilerodorus 
was  as  remarkable  for  his  gigantic  figure  as  for 
the  strength  ot  his  lungs,  wliich  was  so  powerful 
that  his  performance  could  not  be  heard  with 
safety  unless  at  a  great  distance.  The  exertions 
uscd  by  the  ancients  in  blowing  the  fiutc  and  the 
trumpet  were  so  great,  that,  for  the  preservation 
of  their  ;hceks,  they  weie  obliged  to  use  a  aipii- 
Iruni,  or  muzzle,  wliich,  however,  was  not  aluays 
ade<iuate  to  the  puri)"i'e.  .Vccording  to  I.uciaii, 
Ilannnnides,  a  juvenile  scholar  of  'limotheus,  at 
his  fir^t  jiublic  performance,  iK'gnn  his  fiute  solo 
with  so  violent  a  bla.st  that  he  lireatheil  into  the 
instrument  his  la.st  breath;  and  from  an  epigram 
of  Archias,  the  Hybla-an,  we learu  that  that trum- 


9i6 


TRU 


ENCYCLOPEDIA    OF   MUSIC. 


TUD 


peter  detlicnted  a  statue  to  Apollo,  in  gratitude 
for  that  deity's  preservation  of  his  cheeks  and 
blood  vessels  while  with  his  utmost  force  he  pro- 
claimed the  Olympic  games. 

TUUMPKT  MARINE.  A  kind  of  raonochord 
consistinf^  of  three  tables,  which  form  its  trian- 
gular body.  It  has  a  very  narrow  neck,  with 
one  thick  string  mounted  on  a  bridge,  which  is 
firm  on  one  side  and  tremulous  on  the  other.  It 
is  struck  with  a  bow  by  the  ri<?ht  hand,  while 
the  thumb  of  the  left  is  pressed  on  the  string. 
The  peculiarity  of  its  sound,  which  resembles 
that  of  the  trumpet,  is  produced  by  the  trerau- 
lation  of  the  bridge.  The  trumpet  marine  has 
the  same  defects  with  the  trumjjet ;  viz.,  that 
it  performs  none  but  trumpet  notes,  and  some 
«f  those  either  too  flat  or  too  sharp.  The  reason 
Mr.  P'r.  Koberts  accounts  for,  only  premising 
the  common  observation  of  two  unison  strings, 
that  if  one  be  struck  the  other  will  move ;  the 
impulses  made  on  the  air  by  one  string  setting 
another  in  motion  which  lies  in  a  disposition 
to  have  its  vibrations  synchronous  to  them  :  to 
which  it  may  be  added,  that  a  string  will  move, 
not  only  at  the  string  of  a  unison,  but  also  at 
that  of  an  eighth  or  twelfth,  there  being  no 
contrariety  in  the  motions  to  hinder  each  other. 
Now,  in  the  trumpet  marine  you  do  not  stop 
close,  as  in  other  instruments,  but  touch  the 
string  gently  with  your  thumb,  whereby  there  is 
a  mutual  concurrence  of  the  upper  and  lower 
part  of  the  string  to  produce  the  sound.  Hence 
it  is  concluded  that  the  trumpet  marine  yields 
no  musical  sound  but  when  the  stop  makes  the 
upper  part  of  the  string  an  aliquot  part  of  the 
remainder,  and  consequently  of  the  whole  ; 
otherwise  the  vibrations  of  the  parts  will  stop 
one  another,  and  make  a  sound  suitable  to  their 
motion,  altogether  confused.  Now,  these  aliquot 
parts,  he  shows,  are  the  very  stops  which  pro- 
duce the  trumpet  notes. 

TSELTSEL.  This  was  composed  of  broad  and 
large  plates  of  brass  of  a  convex  form,  like  cym- 
bal?. In  the  Gemara  and  Jerusalem  Talmud 
we  are  told  of  "  a  cymbal  in  the  sanctuary,  made 
of  brass,  whose  sound  was  very  sweet.  It  be- 
came cracked,  and  the  wise  men  sent  to  Alexan- 
dria for  workmen  to  mend  it,  but  when  mended 
it  was  not  so  sweet  as  before;  they  therefore 
took  off  the  mending,  and  allowed  it  to  continue 
as  it  was." 

TUB.\.  (L.)  A  wind  instrument  used  by 
the  Hebrews  ;  called  by  them  the  trumpet  of  the 
Jubilee. 

TUB.\  COMMUNIS.  (L.)  An  ancient  in- 
strument of  the  trumpet  kind  ;  so  called  in  con- 
tradistinction to  the  tuba  duclilii. 

TUBA  DUCTILIS.  (L.)  An  ancient  trum- 
pet of  a  curvilinear  form.     See  Tuba  Commu.nis. 

TUBA  .STENTOKOPHONICA.  The  name 
given  by  Sir  .Samuel  Morehead  and  other  writers 
to  his  invention  of  the  speaking  trumpet.  See 
Speaking  Tuimpet. 

TUCH,  HEINUICH  AGATIUS  GOTTLOB, 
»  composer  and  book  and  music  seller  at  Dessau, 
was  born  at  Gera  in  17i'i8.  He  received  the  ele- 
uents  of  his  musical  education  from  N.  G.  Gru- 


I  ner.  In  1780  a  fire  destroyed  his  parents'  housa 
and  property  at  Gera,  and  tliey  were  obliged  to 
remove  to  Sangerhausen,  where  young  Tuch  had 
the  advantage  of  further  instruction  from  the  or- 
ganist lioUe.  He  subsequently  went  to  the  Uni- 
versity of  Leipsic,  chierty  with  a  \-iew  to  study 
theology  and  the  fine  arts.  All  other  i)ursuita, 
however,  soon  gave  way  to  that  of  music,  in 
which  he  perfected  himself  under  the  music  di- 
rector Dole.  From  the  year  1790  to  1800  he 
filled  several  theatrical  engagements,  either  as 
bass  singer,  music  director,  or  composer.  He 
then  entirely  quitted  the  theatrical  Ufe,  and  es- 
tablished a  warehouse  for  music  and  books  at 
Dessau.  He  still,  however,  continued  to  com- 
pose, even  engraving  himself  several  of  his  works 
with  extreme  neatness.  His  compositions  con- 
sist of  several  pieces  for  the  theatres,  also  of  some 
church  music,  sonatas,  &c.,  for  the  piano-forte, 
collections  of  songs,  and  some  music  for  wind 
instruments.  They  bear  date  from  about  the 
years  1790  to  1813. 

TUCKER,  REV.  WILLIAM,  one  of  the  gen- 
tlemen of  King  Charles  II. 's  Chapel,  was  a  very 
judicious  composer  of  vocal  music.  He  died  in 
1678.  Mr.  Mason,  of  London,  in  speakmg  of  the" 
full  anthem,  "  O,  give  thanks  unto  the  Lord  !  " 
by  this  ingenious  dilettante,  very  truly  obser>-e9 
that  •'  every  syllable  in  this  composition  has  its 
just  length,  and  each  part  of  a  sentence  its  proper 
pause  ;  it  admits  no  perplexing  alterations  or  un- 
meaning repetitions,  but  proceeds  in  one  full  yet 
distinct  strain,  harmonically  yet  intelligibly." 

TUCZEK,  or  TUSSEK,  VINCENZ,  chapel- 
master  to  the  Duke  of  Courland  at  S<igan,  was, 
in  179fi,  pianist  at  one  of  the  theatres  in  Prague, 
where  he  wrote  several  operas,  which,  being  writ- 
ten in  Bohemian  text,  are  little  known  even  in 
the  rest  of  Germany. 

TUDWAY,  THOMAS,  received  his  education 
in  music  in  the  Chapel  Royal  under  Dr.  Blow, 
and  was  a  fellow-disciple  of  Turner,  Purcell,  and 
Estrick.  In  1664  he  was  admitted  to  sing  a 
tenor  in  the  chapel  at  Windsor.  After  this,  in 
1664,  he  went  to  Cambridge,  to  which  university 
he  was  invited  by  the  off"er  of  the  place  of  organ- 
ist of  King's  College  Chapel;  and  in  1681  was 
admitted  to  the  degree  of  bachelor  in  his  faculty. 
In  the  year  170o  Queen  Anne  made  a  visit  to  the 
University  of  Cambridge ;  upon  which  occasion 
he  composed  an  anthem,  "Thou,  O  God,  hast 
heard  my  vows,"  which  he  performed  as  an  ex- 
ercise for  the  degree  of  doctor  in  music,  and  was 
created  accordingly,  and  honored  with  the  title 
of  public  professor  of  music  in  that  university. 
He  also  composed  an  anthem,  "  Is  it  true  that 
God  will  dwell  with  men  upon  the  earth  r "  on 
occasion  of  her  majesty's  first  going  to  her  Royal 
Chapel  at  Windsor  ;  and  for  those  compositions, 
and  perhaps  some  others  on  similar  occasions,  he 
obtjiined  permission  to  style  himself  composer 
and  organi-t  extraordinary  to  Queen  .\nne.  A 
few  songs  and  catches  are  the  whole  of  Dr.  Tud- 
way's  works  in  print;  nevertheless  it  appears 
that  he  was  a  man  studious  in  his  profession,  and 
a  composer  of  anthems  to  a  considerable  number. 
In  the  latter  part  of  his  life  Dr.  Tudway  mostly 
resided  in  London.  Having  a  general  acquaint- 
ance with  music,  and  being  personally  intimatt 
with  the  most  eminent  of  the  prolession,  ho  wa« 
J6 


ruL 


E^UVCLOP.EDIA    OP    MUSIC. 


TUN 


employed  by  Edward,  Earl  of  Oxford,  in  collect-  I  The  compositions  of  Tulou  are  much  sought 
ing  for  him  musical  compositions,  chiefly  of  the  for  by  amateurs  of  the  flute.  Amonf;  them  are 
Italians,  and  in  making  u  collection  of  the  most     a  •' Si/m/>/umie   Concertanle,"   for   flute,    hautboy, 


valuable  English  services  and  anthems.  Of  these 
he  scored  with  his  own  hand  as  many  as  filled 
seven  thick  quarto  volumes,  which  are  now  de- 
posited in  the  British  Museum. 

TULOU,  JEAN  LOUIS,  the  celebrated  flutist, 
was  born  at  Paris  September  12,  1780.  He  en- 
tered the  Conservatoire  in  1790,  where,  in  1799.  he 
received  the  second  prize  for  flute  playing,  and  in 
1801  the  first  prize.  From  that  time  he  was,  be- 
yond dispute,  the  first  flutist  in  France,  if  not  in 
al'.  Europe.  In  1804  he  enteretl  the  orchestra  of 
the  Italian  Opera  as  first  flutist,  where  ho  re- 
mained until  181. '5,  when  he  succeeded  his  early 
master,  ^\■underlich,  as  first  flute  at  the  Grand 
Opera,  lie  was  a  careless,  happy,  pleasure-lov- 
ing being,  fond  of  hunting,  painting,  and  various 
other  distractions  from  his  proper  calling ;  so 
that  he  neglected  practice  for  long  periods,  and 
often  came  to  a  concert  unprepared.  lie  would  | 
let  his  flute  get  mislaid,  and  borrow  another  on 
the  eve  of  a  public  performance.  Once,  at  a  con- 
cert of  Mmc.  Catalani,  he  was  seen  preparing 
to  play  a  difficult  piece  upon  an  instrument  which 
was  cracked  throughout  the  whole  length  of  one 
of  its  pieces.  He  had  not  perceived  the  flaw  un- 
til the  moment  for  commencing,  and  then  began 
to  doctor  it  with  bits  of  thread  and  wa.\  before 
the  eye*  of  all  the  audience.  All  his  friends 
were  trembling  with  anxiety  ;  but  he,  full  of  as- 
surance, as  if  every  thing  were  in  the  best  possi- 
ble order,  played  with  such  spirit,  grace,  and 
perfection  that  transports  of  enthusiasm  burst 
from  the  whole  house.  He  actually  shared  the 
triumplis  of  the  great  cantcUrice. 

In  IS  14  a  rival  to  Tulou  appeared  in  the  per- 
son of  Drouet,  who  to  great  execution  added  the 
charms  of  youth  and  novelty.  Each  had  his  ar- 
dent party  of  admirers.  For  nearly  two  years 
the  victory  remained  uncertain,  when  Lebrun 
composed  his  o,  era  "  Ia^  Hnssiynol,"  in  which  the 
song  of  the  king  of  birds  was  given  to  the  flvite 
of  Tulou.  'lliis  was  decisive.  Throughout  the 
whole  opera  he  produced  accents  so  new,  so  pure, 
so  tender,  and  so  brilliant  at  the  same  time,  that 
the  audience  were  in  a  frenzy  of  admiration. 
Numerous  successive  representations  continually 
added  to  the  triumph  of  Tulou.  Drouet  removed 
to  England. 

In  the  first  days  of  the  restoration  Tulou  took 
sides  with  the  ardent  youth  whose  sarcasms  pur- 
sued the  old  dynasty  and  its  partisans.  For 
this  he  wa"  disgraced,  and  not  in\-itcd  along  with 
other  artits  to  join  the  new  chapel  of  tl>e  king; 
and  some  years  alterward.s,  wlien  his  old  master, 
Wunderlich,  vacated  the  professorship  in  the 
Conservatory,  it  was  not  he,  l)ut  an  artist  of  in- 
ferior talent,  who  was  called  to  fill  it.  Irritated 
bv  this  injusficc,  he  resigned  his  place  at  the 
()pera  in  ISJ'J.  P'or  five  years  ho  only  appeared 
before  the  world  as  a  composer.  Finally,  under 
a  new  administration,  he  was  rei-alled  to  the 
Grand  Opera,  with  the  title  of  Jirtl  fItUr  toln,  in 
18'2(>,  and  soon  alter  was  made  professor  at  the 
Consen-atory.  These  functions  he  still  dis- 
charge<i,  together  with  that  of  first  tlute  at  the 
Socicte  des  Concert^,  as  lale  as  ISl.T.  He  estab- 
ILshed  a  manulactory  of  flutes  on  the  old  system, 
wtioh  has  been  quite  celebrated. 


and  bassoon ;  another  for  flute,  hautboy,  and 
horn  or  bassoon  ;  "  Five  Concertos  for  Flute  and 
Orchestra;"  "Two  tirand  Solos  for  Flute  and 
Orchestra  ;  "  "  Fantasias,"  for  ditto  ;  "  Airs  va- 
riia,"  for  ditto  ;  trios,  duos,  polonaises,  &c. 

TUNABLE.  An  epithet  given  to  those  pipes, 
strings,  and  other  sonorous  bodies  which,  from 
the  e<iual  density  of  their  parts,  are  capable  of 
being  perfectly  tuned. 

TUNE.  A  succession  of  measured  sounds  at 
once  agreeable  to  the  ear  and  possessing  a  dis- 
tinct and  striking  character  ;  as  the  air  to  "  God 
save  the  King,"  "  lloslin  Castle,"  &c. 

TUNEFUL.  An  epithet  applied  to  sounds  me- 
lodious either  in  their  tone  or  by  their  succession, 
but  more  especially  the  former  ;  as  when  we 
speak  of  tuneful  bircU,  tuiuful  bells,  &c. 

TUNELESS.  An  epithet  given  to  sounds  out 
of  tune  or  unmelodioua  in  their  succession ;  also 
to  false  strings,  false  pipes,  *cc. 

TUNEIt.  One  whose  profession  it  is  to  rec- 
tify the  false  sounds  of  musical  instruments. 

TUNING.  As  all  stringed  musical  instrunient.i 
are  very  liable  to  go  out  of  tune  even  with  much 
care  and  good  treatment,  it  may  easily  be  sup- 
posed what  will  be  the  consequence  of  the  re- 
verse. But  alter  all  the  care  that  can  possibly 
be  taken  of  them  they  will  not  keep  their  tune 
long,  perhaps  three  months  at  the  most  ;  and 
that  depends  ujion  their  being  fre<iucntlr  tuned 
previously  to  their  standing  so  long.  In  a  gen- 
eral way,  they  ought  to  be  tuned  once  in  six 
weeks ;  but  as  instruments  ditfer  so  much  in  ex- 
cellence, there  can  be  no  certain  length  of  time 
fixed  ;  some  reciuire  tuning  once  a  month,  others 
oftcner,  according  to  the  use  they  have  had  ;  and 
new  instruments  (except  those  of  which  the 
strin'.;s  have  been  well  stretched  still  more  fre- 
quently, till  they  are  brought  to  their  tension 
and  will  keep  their  tune.  If  this  be  true,  which 
we  believe  will  be  allowed  by  all  musioai  in.stru- 
ment  makers  and  most  professional  men,  then, 
of  course,  those  instruments  which  are  tuned 
only  half  yearly  or  yearly  can  seldom  be  in  tune 
Instruments  will  not  keep  their  tunc  if  they  ar<» 
made  use  of  as  tables  or  sideboards,  or  it  books, 
itc,  be  heaped  upon  the  outside,  and  many  things 
deposited  in  the  inside  among  the  strings.  Ex 
posing  them  much  to  the  sun  or  open  air.  great 
lieat  from  fire,  removing  them  from  one  room  to 
another,  and  from  tlie  town  to  the  country,  «ill 
juit  them  out  of  tune.  Placing  an  instrument 
in  a  new-plastered,  damp  room  will  bre.ik  the 
strings ;  and  new  strings  will  not  keep  their  tune 
long. 

TUNING  FORK.  A  steel  utensil  about  three 
inches  long,  coiiMisiing  of  two  prongs  and  a  han- 
dle, and  which,  l>eing  struck  against  a  table  oi 
any  other  substance,  produces  the  tone  to  which 
itself  was  originally  set.  lliis  instrument  wa« 
invented  by  Mr.  John  ."shore,  sergeant  trurapetci 
to  tieorge  I.  It  is  chiefly  used  by  harpsichord 
and  piano-forte  tuners.  There  ere  forks  ot  vari- 
ous tones  or  pitches  ;  but  the  A  and  (J  forka  tx% 
most  generally  used. 


113 


037 


I  UN 


ENCYCLOP-El'IA   OF    MUSIC. 


TUR 


TrXINfi  HAMMER.  A  steil  or  iron  uten- 
sil uned  by  hnrpsiihord  and  piano-forte  tuners. 
It  is  about  tour  inches  long,  and  foriucd  like  a 
romnion  hammer.  With  the  liead  of  tlie  ham- 
mer the  pe{;s,  round  which  the  ends  of  the  wires 
are  twisted,  are  driven  into  the  sockets  ;  and  the 
bottom  of  the  handle  is  furnished  with  a  s(iuare 
nr  oblon;;  liole,  in  a  longitudinal  direction,  which, 
being  of  a  size  to  tit  the  tops  of  the  pegs,  enables 
the  hand  to  turn  them,  and  thereby  to  relax  or 
distend  the  wires. 

TUNSTKDK,  SIMOX,  a  Franciscan  monk, 
bom  at  Norwich,  in  England,  tlourished  in  the 
middle  of  the  fourteenth  century.  Two  musical 
treatises  by  him  are  to  be  found  in  the  liodleian 
Library  at  Oxford.  The  following  are  their  titles  : 
**  /le  miisioa  continua  et  discrela,  cum  diai/ramma- 
tibiis,  per  Simoiicm  Tunstede,"  13.51 ;  and  "  De  gmi- 
tuor  priiicipaiibui  in  quibtis  totiua  miuicee  radices 
coitsislutU." 

TUKINI,  FRANCESCO,  a  profound  contra- 
puntist, was  the  son  of  Gregorio  Turini,  a  singer 
in  the  chapel  of  the  Emperor  Rudolph  II.,  and 
M-as  born  at  Prague  in  1.590.  WhiLst  still  a  boy 
he  lost  his  father,  when  he  received,  through  the 
especial  favor  of  the  emperor,  the  appointment  of 
chamber  organist,  with  permission  of  visiting 
Rome  and  Venice  to  study  the  organ  and  com- 
position there  under  the  tirst  masters.  He  re- 
turned afterwards  to  Prague,  where  he  tilled  the 
situation  which  had  been  given  him  with  high 
credit  for  several  years,  until  he  was  invited  to 
Jill  the  situation  of  organist  at  Brescia,  in  which 
town  he  died  in  1G56.  His  works  consist  chictly 
of  masses,  motets,  and  madrigals,  and  bear  date 
from  the  years  IGIo  to  1613. 

TURK,  DANIEL  GOITLOB,  organbt,  sing- 
er, music  director,  and  preceptor  at  the  Lutheran 
Gymnasium  at  Halle  subsequently  to  the  year 
1787,  was  born  in  17o(J.  In  1773  he  was  a  stu- 
dent at  the  University  of  Lcipsic,  and  at  the  same 
time  was  a  violinist  in  the  orchestra  of  the  (irand 
Concert  there.  The  celebrated  Hassler  having 
arrived  about  that  time  at  Leijjsic,  Turk  took 
lessons  of  him  during  three  months  to  learn  the 
harpsichord  sonatas  of  Emmanuel  Bach.  The 
following  year  he  succeeded  to  the  situation  of 
Hassler.  Amongst  his  principal  |)ublished  works 
are  the  following  :  "  Karze  Aniccisuny  zum  Gcne- 
raibassipielen ,"  Halle,  1791;  "  Kurze  Aniceisiiiiy 
zum  Klavierapieleii,  ein  Auszuy  aus  der  grossen  Kla- 
vierschule,"  Halle,  1792;  "  G  K/aiiersoiialen  yrOss- 
teiUheils  fllr  Kenner,  oder  Zte  Samml.  der  grOsaern 
SoiuUeii,"  Halle,  1789;  "6  Kleiiie  Klaviersnnaten, 
Zter  Theil"  Halle,  1793  ;  "  60  llandslUcke  fUr  An- 
fanger  des  Ktaciers,  Iter  T/icH,"  Halle,  1792  ;  "60 
Ua»dMiickeJ(lr  aiigehende  Klarierxpiilen,  'Iter  T/icil," 
Halle,  179.5.  The  last  two  works  ought  particu- 
larly to  be  distinguished  as  elementary  publica- 
tions :  they  are  both  in  four  divisions  ;  the  tirst 
containing  short  and  easy  exercises  ;  the  second, 
exercises  rather  more  difficult ;  the  third,  exer- 
cises containing  three  and  more  parts  ;  and  the 
fourth,  sundry  pieces.  References  are  occasion- 
ally made  in  those  compositions  to  his  '•  Grosse 
Kiariersrhiile"  the  last  edition  of  which  was  pub- 
lished in  1800. 

TURKLSII  MUSIC.  It  has  been  a.scertnined 
from  the  best  authorities  that  it  was  not  until  the 
reign   of    the  Sultan  Amurath   that    the  art   of 


music  was  cultivated  or  known  amongst  the 
Turks,  and  they  undoubtedly  derived  it  from 
Persia.  When  Amurath  conquered  Bagdad,  he 
ordered  a  general  massacre  of  the  Persians.  A 
harper  named  Sach-Cule,  however,  played  an  air 
of  so  pathetic  and  affecting  a  nature  that  the 
sultan  was  influenced  by  it  to  put  a  stop  to  the 
execution  of  his  harsh  decree.  The  musician 
and  four  of  hLs  companions  were  conducted  to 
Constantinople,  and  by  them  the  knowledge  of 
music  was  imparted  to  the  Turks  Music  flour- 
ished under  Mahomet  IV.  chiefly  through  the 
exertions  of  Osman  Ettendi,  who  was  an  able 
musician,  teaching  as  well  as  practising  the  art, 
and  forming  a  great  number  of  scholars.  The 
first,  however,  that  applied  notes  to  Turkish 
ail's  was  Prince  Cantemir,  who  dedicated  a  vol- 
ume of  melodies,  now  very  rare,  to  Achmet  II. 
The  Turks  prize  this  work,  but  seldom  use  it. 
They  compose  and  execute  from  memory,  it  being 
e.xtremely  diflicult  to  reduce  to  a  regular  scale 
the  notation  of  Turkish  musir.  They  are  not, 
however,  without  a  system  or  rules ;  for  their 
music  has  not  only  all  the  times  and  sounds  ol 
ours,  but,  possessing  quarter  tones,  is  much  richer 
in  materials,  and  consequently  much  more  melo,- 
dious.  The  Turks  make  music  a  part  of  the  ed- 
ucation of  the  higher  orders  ;  and  the  sultan  has 
a  magnificent  band  composed  of  the  best  musi- 
cians of  Constantinoijle.  lliey  play  in  unison  or 
in  octaves ;  which  ])ractice,  though  hostile  tc 
harmony  in  the  musical  sense  of  the  word,  is 
productive  of  a  grand  martial  effect,  and  is  very 
imposing.  The  musical  instruments  of  the 
Turks  aie:  1.  The  A<!/«a/i  ,■  2.  TXic  ajakli-keman  ; 
3.  The  siite-keman  ;  all  of  the  violin  kind,  and  re- 
sembling our  violin,  the  bass  viol,  and  the  viol 
damour.  4.  The  rcbab,  a  two-stringed  instru- 
ment, played  with  a  bow  :  it  is  shaped  like  a 
sphere,  and  is  now  little  used.  5.  Tlie  tambour, 
which  is  an  instrument  of  eight  strings,  with  a 
long  handle,  on  which  the  scale  of  notes  is 
marked.  This  instrument  is  played  upon  with 
a  small  flexible  plate  of  tortoLse  shell.  6.  The 
iiei,  a  flute  made  of  cane,  tl-.e  fiishionable  instru- 
ment among  persons  of  rank.  7.  The  ghirif, 
a  species  of  octave  flute.  8.  The  mescal,  an  in- 
strument like  the  syrinx,  composed  of  twenty- 
three  cane  pipes  of  unequal  length,  each  of 
which  gives  three  different  sounds  from  the  man- 
ner of  blowing  it.  9.  The  santur,  or  psaltery, 
which  is  the  same  as  our  instrument  of  that 
name.  10.  Tlie  canuii,  or  psaltery,  with  catgut 
strings,  on  which  the  ladies  of  the  seraglio  play 
with  a  tortoise-shell  plectrum. 

The  military  instruments  are :  1.  The  ziir- 
ua.  2.  The  kaba-aunia,  a  large  and  small  oboe. 
3.  The  born,  a  tin  trumpet.  4.  The  zil,  or  cym- 
bals. 5.  The  (iau/,  or  large  drum.  6.  The/OHiAa//;A, 
a  small  drum.  7.  The  triangle.  8.  An  instru- 
ment formed  of  several  small  bells  hung  on  an 
inverted  crescent,  which  is  fixed  on  the  top  of  a 
start"  about  six  feet  high  and  played  l)y  agitating 
it.  This  instrument  may  be  seen  in  the  hands 
of  many  of  the  itinerant  musicians,  and  was  for- 
merly used  in  several  of  our  military  bands. 

Among  the  wind  instruments  used  by  the 
Turks  is  also  a  flute,  called  solonuinie  :  it  is  en- 
tirely open  and  without  any  reed,  so  that  to  til] 
it  is  no  easy  matter.  This  is  the  favorite  instru- 
ment of  the  Merlavi  dervishes,  who  excel  in  play- 
ing on  the  flute ;  it  is  made  either  of  a  reed  or  of  c 


iJ3S 


J 


ruR 


ENCYCLOP.IIDIA    OF   MUSIC. 


TYB 


piece  of  fine  wood.    The  sitmara  is  a  sort  of  flute  ( 
with  two  pipes  :  the  shorter  is  used  for  playing 
aira,  and  the  latter  for  a  continued  bass.  I 

The  dancing  dervishes  of  Turkey  (who  re-  ] 
semble  those  of  Persia)  have  often  been  de-  ' 
scribed,  and  by  no  traveller  more  vividly  than  | 
Mr.  McFarlane,  in  the  Appendix  to  his  clever  I 
work  entitled  •'  Constantinople  in  1828."  The  I 
music  to  wl.ich  these  dervishes  jjcrform  their 
rotatory  ambulations  is  composed  of  tambour- 
ines, small  drums,  and  Turkish  flutes,  or  pipes. 
The  ceremony  commences  with  prayer ;  then  I 
they  "  begin  to  chant  in  a  very  slow,  mild, 
and  subdued  tone,  turning  round  at  first  very 
slowly,  and  in  time  with  the  low  and  deliberate 
notes  of  the  music.  This  slow  motion  increases 
till  it  becomes  a  rapid  whirl,  which  they  con- 
tinue ten  or  tilteen  minutes  to  the  wild,  thrilling 
notes  of  the  choir.  An  instantaneous  pause  en- 
sues, which  is  followed  after  a  rest  by  another 
dance ;  and  that  by  a  third,  generally  wilder, 
more  rapid,  and  more  maniac-like  than  the 
preceding.  "The  sounds  of  A/.'u/i  il  Allah,  La 
ilia  il  Allah,  rose  louder  and  shriller,"  says  Mr. 
McFarlane,  describing  this  third  dance  as  he 
witnessed  it  at  I'era  ;  "  the  measure  of  the  music 
was  quicker  and  more  inspiring ;  the  pipes 
screamed,  the  tambourines  and  little  Eastern 
drums  clanged,  the  dancers  spun  round,  marking 
their  orbits  with  pers|iiration,  which  fell  in  large 
drops  on  the  floor ;  the  eyes  of  the  Moslerain 
spectators  glistened  with  delight ;  the  immobility 
of  their  form  and  face  was  gone ;  they  seemed 
electrified,  and  to  own,  in  an  extended  degree, 
the  effect  of  ancient  music  on  the  savage  mind 
as  described  by  some  historians  —  an  effect 
strengthened  by  the  rapid,  giddy  wliirl  before 
them,  and  lorm  that  mysterious  but  existing 
connection  between  sound  and  motion.  The  low, 
wooden  dome  reechoed  and  trembled  to  the 
efforts  of  the  minstrels  ;  and  the  whole  Techri-  at 
last  (to  my  eyes)  seemed  to  reel  round  with  the 
frantic  dancers." 

TURN.  An  embellishment  formed  of  ajipoggi- 
Rtur:ts.  consisting  of  the  note  on  which  the  Cum 
is  made,  the  note  above  it,  and  the  semitone 
below  it.  There  ore  two  sorts  of  turns,  the 
common  turn  and  the  back  turn.  The  common 
turn  commences  on  the  note  above  ;  the  back 
turn  on  the  semitone  below.  The  following  ex- 
ample shows  the  regular  turn  and  the  inverted 
iurn  .  — 

RrgDiar  turn.  Inrerted  tarn. 

_sv . s^ ^ a 


^^^ 


TCRXER,  DR.  WILLIAM.  A  pupil  of 
Blow.  In  the  choir  books  of  the  Royal  Chapel 
and  of  many  cathedrals  is  an  anthem,  "  I  will 
always  give  thanks,"  called  the  Club  Anthem, 
as  having  been  composed  by  Humphrey,  Hlow, 
and  Turner  in  conjunction,  and  intended  by  them 
as  a  memorial  of  the  strict  friendship  that  sub- 
iiistcd  between  them  Dr.  Turner  died  in  1740, 
at  the  age  of  eigbty-eight,  and  was  buried  in 
die  cloister  of  Westminster  Abbey. 

TURRSCIIMIEDT,  JOIIANX,  the  eldest  of 
the  very  able  family  of  performers  on  the  horn, 
»ui  probably  the  father  of  Carl  TOrrschmicdt, 


was  born  in  lioficmia  in   172.5.     He  was  in  the 
service  of  the  I'rince  Oettingen-Wallerstein. 

TURR.SCIIMIEDT,  ANTOX,  younger  brother 
of  the  preceding,  was  also  a  good  hornist  in  the 
service  of  I'rince  Albrecht  von  Teschcn. 

TURRSCIIMIEDT,  CARL.  Hornist  in  the 
chamber  band  of  the  King  of  Prussia.  He  was 
the  constant  companion  of  the  celebrated  Palsu 
He  died  at  Berlin  in  1797.     See  P.\ls.\. 

TCRRSCHMIEDT.  JOSEPH,  younger  brother 
to  the  preceding,  was  in  Paris,  and  considered  to 
be  a  good  second  hornist,  in  the  year  17'J7. 

TURRSCIIMIEDT,  CARL  NICOL,  son  of 
Carl  TUrrschmiedt,  was  born  in  Paris  in  17  70. 
He  studied  tlie  horn  under  his  father  and  under 
Rrun  of  Berlin,  and  was  considered  an  excellent 
performer. 

TL'TTA  FORZA.  (I.)  With  the  utmo.st  ve- 
hemence ;   as  loud  as  possible. 

TU'lTE  CORDE.  (I.)  Upon  all  the  strings. 
This  term  is  sometimes  met  with  in  music  for  the 
piano,  to  im])ly  that  the  pedal,  which  sliitts  the 
movement,  must  no  longer  be  pressed  down. 

TUTIT.  (I.)  All.  A  word  used  in  contra- 
distinction to  snlo,  to  point  out  when  the  whole 
band  or  all  the  instruments  of  the  kind  required 
are  introduced. 

TWELFTH.  An  interval  comprising  eleven 
conjunct  degrees,  or  twelve  sounds,  continuous 
and  diatonically  arranged. 

TYE,  or  TIE.  A  curve  line  between  two 
notes,  which  so  binds  them  that  the  two  form  but 
one  note  of  the  length  of  both. 

TYE,  DR.  CHRISTOPHER,  though  not  in- 
serted in  the  list  of  musicians  of  the  Cha])el 
Royal  or  household  ;n  the  reign  of  Edward  VI., 
was  doubtless  at  the  head  of  all  the  ecclesiastical 
composers  at  that  jieriod.  Neither  the  state  of 
the  church  nor  the  religious  ])rineiples  of  itst 
nominal  members  were  then  sutticicntly  settled 
to  render  it  possible  to  determine  who,  among 
quiet  and  obedient  subjects,  were  Protectants 
and  who  Catholics  ;  for,  during  the  eoi\tiiet  be- 
tween the  zealots  of  both  religions,  the  changes 
were  so  violent  and  rapid  that  great  tie.xibility  or 
great  dis.simulation  must  have  been  practised  by 
those  who  not  only  escaped  persecution,  but 
still  continued  in  olHces  either  of  church  or 
state.  The  few  who  seem  to  have  been  truly 
pious  and  con.scicntious  on  both  sides  suffercil 
martyrdom  in  sup]xirt  of  their  opinions;  the 
rest  appear  to  have  been  either  unjirineipletl  oi 
fluctuating  between  the  two  religions.  One  of 
the  ]innci]>al  evils  which  the  champion*  for 
reformation  combated  wa.«,  the  »ise  of  the  Ijitin 
language  in  the  service  of  the  church  ;  however, 
the  best  choral  compositions  produced  by  the 
best  masters  of  those  times  which  have  ccme 
down  to  us  ore  to  Latin  wurds.  Dr.  Hnrney.  in 
his  second  volume,  h.ns  oxhiliited  specimen*  of 
Dr.  Tye's  clear  and  masterly  manner  of  comfo<«- 
ing  for  the  church  in  that  language  when  hr 
was  at  least  n  nominal  Catholic,  cither  during 
the  reign  of  Henry  VIII.  or  (iucH>n  Mary  ;  and 
the  worthy  Dr.  Itoyce  ha.*  given  an  adnurnble 
specimen  of  his  nhililics  in  the  am). cm  tor  touz 


939 


TYM 


ENCYCLOPEDIA    OF   MUSIC. 


TTR 


voices,  "  I  will  oxnlt  thee,  O  Lord,"  inserted  in 
the  second  voluiuc  of  his  excellent  "  Collection 
of  C'athedriil  Music  by  English  Masters."  There 
is  hardly  nny  instance  to  be  found  in  the  produc- 
tions of  composers  for  the  church  during  his 
time  of  a  piece  so  constantly  and  regularly  in 
any  one  key  as  this  is  in  that  of  C  minor  and  its 
relatives  :  the  harmony  is  pure ;  the  time  and 
melody,  though  not  strongly  marked  and  ac- 
cented as  in  those  of  the  best  compositions  of 
the  present  and  last  centuries,  are  free  both  from 
pedantry  and  the  ditticulties  of  complicated 
measures,  which  this  composer  had  the  merit  of 
being  the  first  to  abandon. 

That  he  translated  the  first  fourteen  chapters 
of  the  Acts  of  the  Apostles  into  metre,  in  imita- 
tion of  Sternhold's  Psalms,  which  were  the  de- 
light of  the  court  in  which  he  lived,  was  doubt- 
less an  absurd  undertaking  ;  and  was  rendered 
still  more  ridiculous  by  the  elaborate  music  to 
■which  he  set  thera,  consisting  of  fugues  and  can- 
ons of  the  most  artificial  and  complicated  de- 
scription. Dr.  Tye,  however,  if  compared  with 
his  contemporaries,  was,  perhaps,  as  good  a  poet 
ns  Sternhold,  and  as  great  a  musician  as  Europe 
could  then  boast ;  and  it  is  hardly  fair  to  expect 
more  perfection  from  him,  or  to  blame  an  indi- 
vidual lor  the  general  defects  of  the  age  in  which 
he  lived. 

TYMPANL     (L)     The  kettledrums. 

TYRO.  (L.)  A  learner  or  beginner  in  mu- 
sic, whether  scientific  or  practical. 

TYROL  SINGING.  In  the  mountains  of  the 
Tyrol,  hundreds  of  the  women  and  children 
come  out  when  it  is  near  bedtime  and  sing  their 
national  song,  until  they  hear  their  husbands, 
fathers,  or  brothers  answer  them  from  the  hills 
on  their  return  home.  On  the  shores  of  the 
Adriatic  the  wives  of  the  fishermen  come  down 
to  the  beach  about  sunset  and  sing  a  melody. 
They  sing  the  first  verse,  aud  then  listen  for 


some  time  ;  and  then  sing  the  second  verse,  and 
listen  until  they  hear  the  answer  come  from  the 
fishermen,  who  arc  thug  guided  by  the  sounds 
to  their  own  village. 

TYROLIENNE.     (F.)     A  dance  peculiar  to 
the  inhabitants  of  the  Tyrol. 

TYRTyEUS,  an  Athenian  general  and  musi- 
cian, is  celebrated  by  all  antiquity  for  the  comi)o 
sition  of  military  songs  and  airs,  as  well  as  the 
performance  of  them.  He  was  called  to  the  as- 
sistance of  the  Lacedaemonians,  in  the  second 
war  with  the  Messeiiians,  about  six  hundred 
and  eighty-five  years  before  Christ ;  and  a  mem- 
orable victory  which  they  obtained  over  that 
people  is  attributed  by  the  ancient  scholia;>ts 
upon  Horace  to  the  animating  sound  of  a  new 
militarv  flute,  or  clarion,  invented  and  played 
upon  by  Tyrtajus.  Plutarch  tells  us  that  they 
gave  him  the  freedom  of  their  city,  and  that  his 
military  au-s  were  constantjy  sung  and  played  in 
the  Spartan  army  to  the  hist  hour  of  the  repub- 
lic. And  Lycurgus  the  orator,  in  his  oration 
against  Leocrates,  says,  "  The  Spartans  made  a 
law,  that,  whenever  they  were  in  arms  and  going 
out  upon  any  military  expedition,  they  shoulc^ 
all  be  first  summoned  to  the  king's  tent  to  hear 
the  songs  of  Tyrtaus,"  thinking  it  the  best  means 
of  sending  them  forth  in  a  disposition  to  die  with 
pleasure  for  their  country.  He  was  likewise  the 
author  of  a  celebrated  song  and  dance  performed 
at  festivals  by  three  choirs,  the  first  of  which  was 
composed  of  old  men,  the  second  of  such  as  wers 
arrivetl  at  maturity,  and  the  third  of  boys.  The 
first  began  by  this  verse  :  — 

•*  In  youth  our  touli  with  martial  ardor  glowed." 

The  second,  — 

"  We  pretcnl  glory  leek  —  point  out  the  road  " 

The  third,  — 


'Though  now  with  children  we  can  only  claifc 
We  hope  cur  futuit  deeda  will  jroura  lurpaaa.* 


9«0 


UBE 


ENCYCLOP.'EDIA    OF    MUSIC. 


UHl 


u. 


UBER,  CHRISTIAN  BEXJAMIX,  advocate,  | 
ic,  at  Breslau,  was  bom  there  in  1746.     lie  was 
a  distinguished  musical  araateur  and  pcrfornicr  1 
on  the  harpsichord ;  also  comi)osed  much  liarijsi-  I 
chord  music  and  several  operettas  and  cantatas, 
which  appeared    between   the   years    1772    and 
1787. 

UBER,  FRIEDRICH  CHRISTIAN  HEK-  I 
MANN,  son  ot  the  prccedin;»,  was  born  at  Itrcs- 
lau  in  1781.  He  at  first  pursued  the  study  of  the 
law  at  the  University  of  Halle ;  but  the  counsels 
of  Turk  determined  him  to  yield  to  his  natural 
bent  and  devote  himself  to  musical  composition. 
Turk  had  resigned  to  him  the  direction  of  the  win- 
ter concerts  at  Halle  ;  and  there  he  had  his  first 
works  executed,  consisting  of  a  concerto  for  the 
violin  and  a  cantata.  The  favorable  reccjition 
of  these  efTorts  led  him  to  undertake  the  compo- 
eition  of  an  opera,  "  Die  liuinen  von  Portici," 
which  he  did  not  finish.  The  overture  and  cer- 
tain airs  from  it  alone  were  known  about  180.3. 
llcturnijig  to  Hreslau,  he  again  began  to  i)re|)are 
himself  for  the  legal  profession ;  but  his  earnest 
appeals  to  his  father,  and  the  success  of  a  second 
cantata,  "  Die  Fvier  dir  Liebe,"  decided  the  latter 
to  leave  him  to  his  own  tastes.  In  1804  he  ac- 
companied I'rincc  Kadziwill  to  Berlin,  and  en- 
teric! the  service  of  I'rince  Lo\iis  Frederic  of 
I'russiu,  as  solo  violinist,  on  the  recommendation 
of  Bernard  Romberg  ;  but  the  events  of  IHOli  de- 
prived him  of  that  position.  He  had  already 
given  a  grand  concert  at  Berlin,  at  which  his 
talent  on  the  \-iolin  was  greatly  admired.  In 
ISO"  a  place  was  offered  him  in  the  cliapel  of 
Brunswick;  but  he  left  it  in  Decomher,  1808,  to 
enter  the  service  of  the  King  of  Westphali%  as 
first  violin  and  director  of  the  German  Opera. 
He  wrote  at  Cassel  several  concertos:  the  Ger- 
man intermezzo  " /fcr  _/W&c/ie  Wcrhvr ;"  the  mu- 
sic to  "  Moses,"  a  drama  by  Klingemami ;  to 
"The  Diver,"  by  Schiller;  and  several  French 
comic  operas,  of  which  the  only  one  now  known 
is  "  Les  Marina."  At  the  dissolution  of  the  king- 
dom of  Westphalia,  in  1814,  Uber  accepte<l  the 
place  of  director  of  music  in  the  theatre  of  May- 
cnce,  where  l.e  produced  the  operetta,  "  Dcrfrohe 
Tag."  Appointed  musical  director  to  the  truujxi  of 
Seconda,  at  Dresden,  in  1816,  he  wrote  there  the 
music  of  "  Saxonia,"  an  allegorical  piece.  After 
this  he  spent  some  time  in  I^ipsic,  giving  private 
lessons;  and  then  accepted,  in  1817,  the  place  of 
cantor  and  director  of  the  music  at  the  Church  of 
the  Cross  in  Dresden,  llicre  he  wrote  a  cantata 
for  the  jubilee  of  tl.e  King  of  Saxony  in  1818; 
another  entitled  "Die  Fcier  der  Aufi-rsuKung ;" 
the  music  to  the  Axnxati  "  Dt  cxciga  Jutie  ;"  and 
the  oratorio,  "The  Last  Words  of  the  Savior." 
He  died  on  the  2d  of  March,  13'22,  just  as  they 
were  executing  his  oratorio  for  the  first  time  in 
the  Church  of  the  Cross. 

UBER,  ALEXANDER,  second  son  of  Chris- 
tian Benjamin,  was  bom  at  Breslau  in  1783.  He 
was  a  distinguished  violoncellist,  and  a  composer 

941 


of  instrumental  music,  songs,  &c.    He  died  in 

1824. 

UBERMASSIGE.  (O.)  Augmented,  super- 
fluous in  regard  to  intervals. 

UBUNG.  (G.)  An  exercise  or  study  for  any 
musical  instrument. 

UCELLIXI,  DO>L  >L\RCO.  Chapel-master 
to  the  college  of  I'arma  al)out  the  middle  of  the 
seventeenth  century.  He  composed  the  operas 
"  Le  Nave  d' Enea,"  1673;  "  Eventi  di  Filandro  ed 
Edi^fsa,"  167-5;  and  "(Hove  di  Elide  fulminntn," 
1077.  Several  sonatas,  symphonies,  S:c.,  by  him 
were  also  published. 

UDALRCHALK,  abbot  of  a  convent  at  Augs- 
burg,  died  in  11.51.  Many  hymns  composed  by 
him  are  still  sung  in  the  churches  of  tliat  town. 

UFFEXH.VCH.  JOHANX  FRIEDRICH.  was 
born  at  Frankfort  in  1687.  In  early  life  he 
studied  the  law,  and  afterwards  devoted  his  tal- 
ents entirely  to  music  and  poetry.  Amongst  his 
works  was  "  The  Imitation  of  Jesus  ChrLst,  by 
Thomas  a  Kcmpis,"  adapted  to  music. 

UFFEXBACH,  Z.VCII.  CONRAD  D',  broth- 
er  of  tlie  preceding,  and  a  lawyer,  was  born  at 
Frankfort  in  1683.  In  a  work  published  by  him 
in  1713,  entitled  "  McrkwUrdi'je  Reisen,"  Sec,  are 
to  be  found  several  interesting  anecdotes  relating 
to  music.  He  was  himself  a  good  amateur  flutist 
-and  violinist.     He  died  at  Frankfort  in  173d. 

UGAB.     (II.)     An  organ. 

UGOLIXI,  BLAS..  a  learned  Italian,  pub- 
lished at  Venice,  subsequently  to  the  year  17.56, 
a  work  in  several  folio  volumes,  entitled  "  T/u- 
tanru3  aiUiyiiitalum  tacrarum,  complectens  sefectis- 
tima  clarissimorum  virorum  opuscuia,  in  gtiibiu  re- 
teruin  Hebra^rum  leges,  insliiiUa,  riiiis  lacri  at  ei- 
vika  illitalrantur."  The  thirty-second  volume  of 
this  collection  is  entirely  devoted  to  the  subject 
of  Hebrew  music. 

UGUALE.  (I.)  A  word  signifying  an  equal 
and  just  time. 

UGUALMEXTE.     (I.)     EquaUy,  all  aUke. 

UHDE,  JOIIAXX  OTIIOX.  a  lawyer  and 
musical  amateur  at  Berlin,  was  boni  in  Lithua- 
nia in  1725.  He  was  a  violin  pupil  of  Simonetti, 
and  studied  the  harj)sichord  and  composition  un- 
der Schafroth.  He  compostnl,  subsequently  to 
the  year  1746,  several  symphonies,  concertos, 
trios,  &c.,  for  the  violin.  He  also  wrote  many 
French,  Italian,  and  (Jerraan  airs,  which  he  sang 
himself'  in  private  concerts.  He  died  suddenly 
in  1766. 

UHLMAXX.  JOHAXX  ADAM,  music  di- 
rector to  the  court  at  Bamberg,  was  born  at  Kro- 
nach  in  1732.  He  studied  composition  at  .Mu- 
nich, and  went  afterwanls  to  B.imberg  in  tl  4 
above  situation,  where,  by  his  abilitien  as  a  mas- 
ter of  counterpoint,  he  forme  1   many  exo«ll«: 


DLU 


ENCYCLOPEDIA   OF  MUSIC. 


UNI 


pui)ilK.  lie  wa-s  himself  nn  able  composer ;  but 
his  works  arc  diflicult.  Ilis  modesty  prevented 
him  from  publi^ihiiij^  any  of  them.  IIi»  chief  in- 
strument was  the  violin,  over  which  he  had  the 
roost  perfect  command.  He  died  at  ISaraberg  in 
1802. 

ULBUICII,  MAXIMILIAN.  Bookkeeper  un- 
der the  Lowfr  Austrian  government,  at  Vienna, 
in  1796.  Thou};h  only  an  amateur,  he  possessed 
such  distinfjuished  talents  in  composition  that 
both  hifl  instrumental  and  vocal  works  met  with 
a  good  reception.  His  symphonies  are  ]  rticu- 
larly  esteemed  ;  they  are  best  calculated  lor  per- 
formance on  solemn  occasions. 

LLICH,  JOIIAXX,  singer  and  composer  at 
AVittenberg  in  the  seventeenth  century,  was 
born  at  Leipsic.  He  published  a  short  introduc- 
tion to  singing  at  Wittenberg  in  1678. 

ULLALOO.  One  of  the  vocal  deplorations  of 
the  Irish  over  the  dead. 

ULLIXGER,  AUGUSTIN',  an  able  church 
composer  at  Munich,  died  too  soon  for  musical 
science  in  17S0. 

ULLOA,  DOX  PEDRO,  published  at  Madrid, 
in  1717,  a  work  entitled  "  Musica  Universalis,  o 
Principios  Uniccrsales  de  Miisica." 

ULRICH,  JOHAXX  RUDOLF.  An  excel- 
lent performer  on  the  hautboy  and  composer  for 
that  instrument,  formerly  in  the  service  of  the 
Duke  of  Wurtcmborg  at  Stuttgard.  He  retired 
to  Switzerland  about  the  year  17S0.     Died  1795. 

UMBREIT,  CARL  GOITLIEB,  organist  at 
Bonne,  born  near  Gotha  in  176.3,  was  an  eminent 
pupil  of  the  great  organist  Kittel.  He  entered 
upon  a  very  honorable  career  as  a  musician,  by 
publishing,  in  small  collections,  several  of  his  or- 
gan pieces  and  chorals,  in  order  to  promote  the 
genuine  art  of  organ  playing.  The  published 
works  of  Umbreit  are,  "12  OrgchUcke  rerschie- 
dener  Art,  icc,  Iste  Sninmliiug,"  Leipsic  and  Go- 
tha, 1798  ;  "  12  Dergleichen,  2te  Samnil.,"  (iotha, 
1800  ;  "  15  Leichle  vhoral-  \'orspielc  fur  die  Orgcl," 
Gotha,  1800;  "12  Orgvistllcke  versc/i.  Art,  3te  bis 
6te  Samml.,"  Gotha,  1802  and  1800;  "  Filnfzig 
C/ioral- Melorlien  4  stiinmig  fur  die  Oryel  bearbeitel ," 
Gotha,  1808;  "  Allgemeines  Choralbuch  fur  die 
Protestant iscJie  Kirclie  vierstimmig  ousgesitzt  mil 
einer  KinLilung  llbcr  den  Kirclieiigesang  und  dcssiti 
liegleilung  durch  die  Orgcl,  von,  Ac,"  Gotha,  1811. 
This  clioral  book  contains  three  hundred  and 
thirty-two  melodies  to  twelve  of  the  best  and 
newest  collections  of  hymns  of  Upper  and  Lower 
fSaxony.  In  all,  there  are  melodies  to  three 
thousand  eight  hundred  and  thirty  hymns,  for 
lour  vuices,  «  ilh  a  bass.  Umbreit  is  also  the  first 
who  in  such  collections  mentioned  the  name<  of 
tl'.e  cov.i;>osers  of  these  hymns.  By  this  work  he 
niisea  hira.-%clt  a  lasting  monument  of  his  l-.ar- 
luonic  knowledge  and  of  his  talents  for  organ  ac- 
companiment. 

UMKEIIKUXG.  (G.)  Inversion  in  speaking 
of  chordd. 

UMLAUFF,  IGXAZ,  chaprl-master  to  the 
emperor,  and  music  director  at  the  Cierman  ope- 
ra at  Vienna,  first  entered  that  orchestra  in  1772, 
ni  the  capacity  of  violinist,  and,  in  1778,  was 
nominated  director.  He  furthermore  8vi])erin- 
tendcd  t'»c  music  in  the  Imperial  'jliapcl  during 


the  absence  of  Salieri,  and  was  also,  in  1796,  ap- 
pointed piano- forte  master  to  the  young  arch- 
duke. His  works  consist  of  several  church  com- 
positions, some  piano-forte  music,  and  about  six 
operetta-s. 

UMSTADT,  JOSEPH,  music  director  in  tht 
chapel  of  Count  BrUhl,  published  some  harpsi- 
chord music  about  the  year  1750. 

UX.     (I.)     A  ;  as,  un  poco,  a  little. 

UX.l  CORDA.  (I.)  Implies  that  a  passage 
is  to  be  played  upon  only  one  string. 

UX-'VCCENTED.  Those  parts  of  a  measure 
are  unaccented  which  are  not  of  much  impor- 
tance. 

UXACCOMPAXIED.  An  air  intended  to  be 
sung,  or  a  recitative  designed  to  be  spoken,  with- 
out the  assistance  of  instruments,  is  said  to  be 
unaccompanied. 

UXDER  PART.  That  part  in  a  duet,  or  trio, 
which  is  subordinate  to,  or  beneath,  the  other 
pari  or  parts. 

U.N'DULATIOX.  That  agitation  in  the  aii 
occasioned  by  the  vibration  of  any  sonorous 
body.  So  called  because  it  resembles  the  motion 
of  waves. 

UXGER,  CAROLIXE,  caUed  in  Italy  Vngher. 
one  of  the  best  singers  of  recent  times,  was  bom 
at  Vienna  in  1800,  and  there  pursued  her  vocal 
studies.  She  made  her  dibut  in  1819  in  the  rdle 
of  Cherubino,  in  Mozart's  "  .Vorre  di  Figaro."  In 
1825  she  sang  at  Xaples,  Milan,  Turin,  and  Rome 
with  great  success.  She  was  tall  and  beautiful, 
possessed  a  true  dramatic  feeling,  and  only  lacked 
equality  of  voice  to  be  counted  among  the  great 
singers  of  Italian  opera.  In  1833  she  made  her 
first  appearance  in  Paris,  where  her  success  was 
not  very  decided.  Thence  she  proceeded  to  Flor- 
i  ence,  where  her  triumph  was  complete ;  thence 
to  Venice,  Rome,  Trieste,  Vienna,  Dresden,  (in 
1839  ;)  and  finally  again  to  Trieste  and  Florence. 
In  1840  she  retire  1  from  the  stage,  having  mar- 
ried liappily,  and  settled  in  Dresden. 

UXGER.  JOHAXX  FRIEDRICII,  counsellor 
of  justice  at  Brunswick,  was  born  there  in  1716. 
He  invented  a  machine  to  be  attached  to  a  harp- 
sichord which  should  write  down  every  succes- 
sive note  performed  on  the  instrument.  He  pub- 
lished at  Brunswick,  in  1774,  a  detailed  descrip- 
tion of  this  machine,  entitled  "  Entwarf  einer 
Mascliine,"  lk.c.  He  died  at  Brunswick  in  1781. 
See  HouLFELu. 

UXGERADE  TAKTART.    (G.)    Triple  time. 

UXII-\RMOXIOL'S.     Dissonant,  discordant. 

UXLSOX,  or  UXIS.  That  consonance,  or  co- 
incidence of  sounds,  proceeding  from  an  equality 
in  the  number  of  vibrations  made  in  a  given  time 
by  two  sonorous  bodies;  or  the  union  of  two 
sounds,  so  directly  similar  to  each  uthcr  in  respect 
of  gravity,  or  acutene.ss,  that  the  ear,  pcrceiviug 
no  ditference,  receives  them  as  ofie  and  the  same. 
The  ancients  were  much  divided  in  opinion  re- 
specting the  question,  whether  the  unin)  i  be  a 
consonance.  ArLstotle  speaks  in  the  negative; 
Muris,  Mcrsennus,  and  others  declare  in  .he  af- 
firmative. The  decision  of  the  question.  In  wcver 
depends  on  the  definition  we  give  to  tie  wore 
consonance.     If,  by  a  consonance,  nc  on)j'  under 


912 


UNI 


ENCYCLOPAEDIA    OF    MUSIC. 


UUK 


stand  the  simultaneous  junction  of  two  or  more 
sounds  agreeable  to  the  ear,  the  unison  is  a  dis- 
consonnnce;  but  if  we  imply  by  the  consonanre 
the  combination  of  sounds  of  a  different  pitch, 
i.  c.  soiinds  less  or  more  acute  with  respect  to 
each  other,  the  unison,  by  its  own  detinition,  is 
not  a  consonance. 

I'XISONI,  UXISOXO,  UNISONAXT,  or 
UXIS.  (I.  pi.)  A  word  implying  that  the 
/Kti-in  in  a  score  over  which  it  is  written  are  in 
unison  with  each  other;  as,  viotini  tinisnni,  the 
violins  in  unison ;  JIauti  unisoni,  the  Hutes  in 
unison. 

UXISOXOUS,  or  UXISOXAXT.  An  epithet 
applied  to  those  sounds  which  are  of  the  same 
des;iee  of  acuteness  or  gravity :  i.  e.,  iji  unison 
Mith  each  other. 


UXrsOX  P.\SS.\GES.  Tlie  unison  perlonns 
an  imiwrtant  part  in  orchestral  music.  Passagi-^ 
in  unison  must  be  often  employed ;  and,  when 
they  are  used  to  express  a  jileasing  or  majestic 
trait  of  melody,  their  effect  is  certain.  Such  pas. 
sages  vary  the  harmony  by  suffcrin.;  it  to  repose 
for  a  while,  without  dlmiiiLshing  its  interest  or 
robbing  the  orchestra  of  cither  its  fulness  or  iu 
power. 

The  unison  Ls  susceptible  of  several  differen 
modifications ;  viz.,  — 

1.  nie  unison  wHth  stringed  instniraents  only. 

2.  The  unison  with  wind  instruments  only. 

3.  The  unison  with  both  stringed  and  wind  in- 
struments combined. 

4.  Tl»e  unison  varied  in  different  wavs. 


Unlton  with  •yDcopatloni,  kc 


Examples. 

lotemipted  by  rvtln 


With  appoggUtanu,  Ac. 


with  pttMing  notes. 


^^^sg^ 


^K?^^^:gi[:^=^== 


&C. 


i^ 


m 


=3=5^ 


&e. 


UNrV'OCAL.  The  epithet  applied  by  Ptole- 
my to  the  octave  and  its  r«plicates. 

rXMELODIOUS.  An  epithet  applicable  to 
any  succession  oi'  notes  not  forming  an  air ;  not 
producing  an  appreciable  effect. 

UXMrSICAL.  An  epithet  applied  not  only 
to  all  jarring  and  dissonant  sounds,  but  to  what- 
ever is  not  absolutely  harmonious,  melodious,  or 
agreeable  to  a  cultivated  ear.  Unmusical  sounds 
are  those  produced  by  irregular  vibrations.  If 
the  impulse  is  short  and  single,  we  hear  a  sound 
like  the  blow  of  a  hammer  on  stone,  the  report  of 
a  pistol,  or  the  crack  of  a  whip ;  if  of  perceptible 
duration,  and  irregular,  we  hear  a  crash  like  the 
tailing  of  a  tree  or  of  a  building;  if  of  some 
length  of  time,  and  interrupted,  we  hear  a  rum- 
bling like  a  jcal  of  thunder  or  an  earthquake; 
and  such  is  the  extreme  sensibility  of  the  ear 
that  all  sounds,  whether  musical  or  unmusical, 
are  perfectly  distingui.shable  from  one  another. 

UX  rOCO  RITEXUTO.  (I.)  A  very  little 
slower. 

UXSTOUNO.  Said  of  any  instrument  from 
which  the  strings  have  been  taken. 

UXTUXABLE.  An  epithet  applied  to  those 
pipes,  or  strings,  which  from  some  flaw,  or  the 
ine<iuality  of  their  parts,  cannot  be  brought  to  an 
exactly  unisonous  pitch 


T'PINGE.  The  name  of  a  song  consecrated 
by  the  ancient  Greeks  to  Diana. 

UIIHANI,  an  Italian  composer,  resided  for 
many  years  in  Scotland  and  Ireland  from  about 
the  year  ITSi.  His  taste  in  arranging  Scotch 
music,  and  even  in  composing  imitations  of  it, 
was  highly  considered  at  Edinburgh,  where  he 
jjublisiied  several  volumes  of  Scotch  melodies, 
with  new  accompaniments,  and  some  of  his  own 
airs  infermwed.  One  of  his  most  admired  songi 
in  the  Scotch  style  is  "The  Red  Hose,"  given  in 
the  Vocal  .\nthology.  Araoni{st  his  other  works 
were  "  //  h'arnnce,"  op.  per.,  ])ertormed  at  Dublin  ; 
and  "  //  Trionfo  di  (  Irlia,"  oji.  scr.,  alio  pcrtonnrd 
at  Dublin,  in  which  city  he  died  in  the  year  15)16. 

UKEXA,  PIETRO  D",  a  Spanish  monk,  dour- 
ished  in  the  sixteenth  century  ii\  the  Milanese. 
He  was  born  blind,  and  before  his  dcatli  ntlainetl 
the  dignity  of  a  bLshoji.  Artcaga  pretends  that 
he  was  the  first  who  added  a  seventh  syllable  to 
the  GuidonLan  scale. 

URFEY,  THOMAS  D".  A  cclehrBte<l  conviv- 
ial songster  in  the  reign  of  Charles  II.  He  lived 
chiefly  in  the  ale  and  wine  houses  of  London, 
where  he  sang  his  own  compositions  with  much 
humor.  He  had  also  an  excellent  voice,  which, 
however,  seems  to  have  been  nearly  the  extent 
of  his  musical  talents.     In  1719  there  was  pub- 


913 


UKI 


ENCYCLOPEDIA    OF   MUSIC. 


ITRS 


lished  in  London  a  collection  of  his  Hongs,  enti- 
tled "  Wit  and  Mirth,  or  Pills  to  purge  Melan- 
choly ;  being  n  collection  of  the  best  merry  bal- 
lads and  songs,  old  and  new,  fitted  to  all  hvimors, 
having  each  their  proper  tunc  for  cither  voice  or 
instrument."    To  this  book  his  portrait  is  prefixed. 

URIO,  FR.YN'CESCO  ANTOXIO,  chapel- 
master  at  Venice  in  the  seventeenth  century, 
publiithcd  at  Uolognn,  in  1697,  "  iialmi  Concertati, 
d  3  Voci,  con  Violini,"  Op.  2. 

URSILLO,  FABIO,  published  at  Amsterdam, 
about  the  year  1748,  three  sets  of  violin  trios. 
He  was  a  chapel-master  at  Rome. 

L'RSIXI,  GI.\COMO,  an  Italian  composer, 
born  at  Pantreraoli,  flourished  about  the  middle 
of  th  1  sixteenth  century.  He  published,  amongst 
other  works,  "Madrii/ali  d  i  Voci,"  Venice;  and 
"  Ein  anderei  Werk,"  Venice,  1550. 

URSO,  CAMILL.Y,  belongs  to  an  Italian  fam- 
ily which  has  rendered  considerable  service  to 
art.  Her  father,  Salvator  Urso,  born  at  Palermo 
in  1810,  was  the  son  of  a  distinguished  musician, 
ond  himself  received  a  thorough  musical  educa- 
tion. He  established  himself  at  Nantes,  where 
he  was  organist  of  the  Church  of  the  Holy  Cross. 
At  the  age  of  six  years  she  was  one  of  the  most 
charming  children  in  the  world.  Her  musical 
sensibility  was  so  e.vquisite  that  the  slightest 
sound  caused  her  to  weep  or  laugh  according  as 
it  expressed  joy  or  grief.  Her  father,  from  an 
early  jeriod,  devoted  all  hLs  time  to  the  educa- 
tion of  this  interesting  child,  whom  he  looked 
upon  as  a  superior  being,  committed  by  Provi- 
dence to  his  care.  The  occasion  which  first  re- 
vealed to  Camilla  her  vocation,  and  when  she 
made  choice  of  the  instrument  which  was  to  give 
her,  at  such  a  tender  age,  the  joj-s  and  glories  of 
the  artist,  deserves  to  be  related.  Her  father  had 
taken  her  to  a  mass  of  St.  Cecilia  in  the  Church 
of  the  Holy  Cross,  where  he  was  organist.  The 
temple  had  been  sumptuously  decorated  for  the 
solemnities  of  the  day  ;  and  the  rays  of  the  au- 
tumn sun,  shining  through  the  windows  of  stained 
glass,  shed  a  grave  and  religious  light  upon  the 
nave.  At  the  moment  when  Camilla  had  taken 
a  place  at  her  father's  side,  a  well-trained  orches- 
tra gave  the  opening  chords  of  the  Kyrie  Eleison. 
Soon  the  sound  of  the  organ  and  of  the  voices 
of  the  choir  joined  with  the  Iiarmonics  of  the 
instruments.  From  that  moment  Camilla  re- 
mained motionless  as  the  pillar  against  which 
she  was  leaning  ;  all  the  pomp  of  the  divine  ser- 
vice had  disappeared  from  her  eyes  ;  she  had 
but  one  sense  left  —  hearing ;  and  while  other 
children  rf  her  age  were  gazing  with  curious 
eyes  upon  the  altar,  blazing  with  tapers,  and  the 
gilded  vestments  of  the  priests,  Camilla  saw 
nothing,  heard  nothing,  but  the  music  and  the 
singing.  Finally,  the  service  being  finished,  the 
music  ceased,  the  crowd  began  tc  retire,  while 
she  still  stood,  as  if  listening,  mute  and  motion- 
less as  a  statue.  Her  father  was  obliged  to  take 
her  by  the  arm  to  make  her  conscious  that  they 
were  alone  and  that  it  was  time  to  return  home. 
Camilla  followed,  and  confided  to  him,  on  the 
way,  all  her  impressions.  What  she  had  found 
to  be  mo:.t  beautiful,  most  touching,  in  the  midst 
of  the  ii.ass  of  St.  Cecilia,  the  instrument  which 
hail   most   charmed  her  among  all  those  whose 


sounds  rang  among  the  vaults  of  the  church, 
was  the  violin,  the  king  of  instruments  —  the  vio- 
lin, whose  tones  weep  and  sing  like  the  human 
voice  ;  that  instrument  which  best  obeys  the  hand, 
the  most  efficient  agent  of  the  will  and  the  inspira- 
tion of  the  artist.  "  I  wish  to  learn  the  violin," 
said  the  little  Camilla,  resolutely,  to  her  father. 
M.  Urso,  like  a  sensible  man,  did  not  attempt  to 
oppose  an  inclination  announced  in  so  character- 
istic a  manner:  he  procured  a  teacher  of  the  vi- 
olin for  his  daugliter,  and  himself  taught  her  the 
first  elements  of  music.  Nature  had  endowed 
the  child  with  those  rare  qualities  which  are  the 
certain  indications  of  an  irresistible  destiny.  The 
progress  of  Camilla  was  so  rapid,  that,  at  the  end 
of  about  a  year,  she  appeared  for  the  first  time 
in  public  at  a  concert  given  for  the  benefit  of  the 
widow  of  an  artist.  The  debut  of  the  j-oung 
virtuoso  produced  an  immense  sensation.  The 
principal  journal  of  Nantes  speaks  as  follows  of 
her  performance  on  this  occasion  :  "  Never  had 
\-iol'.nist  a  pose  more  exact,  firmer,  and  at  the 
same  time  perfectly  easy ;  never  was  bow  guided 
■with  greater  precision  than  by  this  little  Urso, 
whose  delivery  made  all  the  mothers  smile.  Lis- 
ten, now,  to  the  air  variie  of  the  celebrated  Do 
Beriot :  under  these  fingers,  which  are  yet  ofteh 
busied  in  dressing  a  doll,  the  instrument  gives 
out  a  purity  and  sweetness  of  tone,  with  an  ex- 
pression most  remarkable.  Every  light  and  shade 
Is  observed,  and  all  the  intentions  of  the  com- 
poser are  faithfully  rendered.  Here  come  more 
energetic  passages  ;  the  feeble  child  will  find 
strength  necessary  ;  and  the  voice  of  the  instru- 
ment assumes  a  fulness  which  one  could  not  look 
for  in  the  diminutive  violin.  Effects  of  double 
stopping,  staccato,  rapid  arpeggios,  every  thing, 
is  executed  with  the  same  i)recision,  the  same 
purity,  the  same  grace.  It  is  impossible  to  de- 
scribe the  ovation  that  the  child  received.  Re- 
peatedly interrupted  by  ajiplause  and  acclama- 
tions, she  was  saluted  at  the  end  by  salvos  of 
bravos  and  a  shower  of  bouquets."  Shortly  af- 
ter this  concert,  M.  Urso,  desiring  to  perfect  the 
education  of  his  daughter  by  placing  her  under 
the  greatest  masters,  did  not  hesitate  to  abandon 
the  position  which  he  held  at  Nantes,  in  order 
to  establish  himself  with  his  whole  family  at 
Paris,  where,  as  soon  as  he  arrived,  he  presented 
himself  to  NI.  Massart,  professor  at  the  Conser- 
vatoire. Struck  by  the  extraordinary  talent  of 
Camilla,  and  deeply  interested  in  her  by  the 
sweetness  of  her  disposition,  Massart  admitted 
her  to  hb  class,  and  wished,  beside,  to  give  her 
private  instruction.  With  such  a  teacher,  the 
young  pupil  could  not  but  make  the  most  rapid 
progress.  One  who  heard  her  at  this  period  at 
a  private  soirie  says  of  her,  "  Her  attitude  was 
at  once  modest  and  confident;  one  would  say 
that  she  had  a  consciousness  of  herself,  of  her 
talent,  and  that  this  conviction  inspired  her 
with  the  boldness  which  is  indis;)ensable  to  the 
success  of  all  who  would  offer  themselves  for  the 
suffrages  or  to  the  criticism  of  the  public.  This 
strength,  which  springs  from  confidence  in  his 
own  resources,  is  as  necessary  to  the  artist  as  su- 
periority of  talent."  Success  followed  the  young 
artiste  every  where.  Dilettanti,  artists;  every 
body,  overwhelmed  her  with  i)raise  and  loaded 
her  with  bonbons  and  toys;  a  kind  of  ovatioi 
to  which  the  little  Camilla  was  not  yet  of  an  ag' 
to  be  insensible. 


94i 


USE 


ENCYCLOPEDIA    OF   MUSIC. 


UTT 


Proud  of  the  success  of  his  c'.aui;htcr,  M.  Urso, 
with  a  view  to  better  his  modest  cireurastnnces, 
started  on  a  tour  through  the  departments.  It 
was  a  succession  of  triura])hs.  Then  a  series  of 
concerts  in  some  of  the  German  cities,  Heidel- 
berg, liaden- Baden,  Mayeucc  ;  another  series  of 
ovations.  Finally  the  Urso  family  returned  to 
l'arL<,  where  Massart  was  awaiting  his  pujiil  with 
impatience.  Camilla  returned  with  new  ardor 
to  her  studies  under  the  skilful  and  paternal  di- 
rection of  her  excellent  professior.  In  a  few 
months  she  made  her  appearance  in  the  public 
concerts  of  Paris  before  audiences  whose  verdict 
decides  the  fate  of  asjiiring  artists ;  at  the  .Salle 
Ilerz,  Soci6t6  Polytechnique,  the  Conservatoire, 
the  Association  of  Musical  Artists.  Every  where 
her  success  was  the  same ;  and,  crowned  with  the 
approval  of  tliese  audiences,  she  now,  in  the  words 
of  her  biographer,  "  is  walking  in  the  steps  of 
the  greatest  virtuosi.  She  plays  the  violin,  not 
Rs  any  well-organized  child  might  play,  after  a 
certain  period  devoted  to  study,  but  indeed  with 
a  skill  truly  prodigious.  Her  pose,  her  energy, 
her  bowing  reveal  the  consummate  artist.  But 
what  is  most  surprising  is  the  sentiment  of  her 
execution ;  she  excels  in  that  essential  expression 
which  comes  wholly  from  the  soul,  and  which 
the  composer,  from  lack  of  means  to  note  and 
write  out,  abandons  to  the  discretion  and  intelli- 
gence of  the  executant." 

Camilla  Urso  came  to  the  United  States  in  1852, 
and  has  performed  at  the  principal  concerts  in 
New  York,  Boston,  Philadelphia,  and  indeed  all 
the  principal  cities  of  the  Union,  to  the  admira- 
tion of  all.  As  we  write,  (March,  1854,')  she  is 
connected  with  the  concert  troupe  of  Mme.  Son- 
tag,  giving  concerts  in  New  Orleans,  Mobile,  &c. 

USEDA,  JOSEPIIA,  called  SPAGNOLETTI, 
was  a  celebrated  singer  in  Italy  about  the  year 
1760. 


rsTTS.    That  branch  of  the  indent  melopttta  which  compre- 
^CDded  the  ralei  for  eo  regulating  the  order  or  eucceafioD  of  the 


•oiindi  ••  In  prwiure  an  aim-eable  mflody.  Thf re  »ere  Ibur  ep*- 
cii-i  of  u>ii>.  a<  wi-  Irarn  frum  .VriilliU't  and  Eiicliil. 

Thi'  tint  wo<.  wh.ii  the  n.it.i  (.llnwrdfx-h  (ithrr  m  (fro.M.  ai  the 
Italian!  •»>■.  or  In  rcmji.lnt  drurfci,  1.  c,  without  mlailni  any  intrr- 
meiliatF  «.unil.  Th.-  .icon.l.  »h.ii  the  ii..t.i  ilefimded  RriKluillr. 
or 'li  am  III  <lrir.-N'l--nl' .  The  third,  when  the  nct.i.  iitVr  h«»iiilt 
a«^h(l.il  hy  noturil.  or  diatonic  wiuniU.  iliK-eiulid  through  the 
iiine  .l.-irree.,  fioiil  that.  Inilenil  of  II  natural.  II  (liit  woi  alwayi 
louilied  in  detcendlnd.  The  fourth  reganlod  time.  1.  e.,  the  length 
or  duration  of  the  atuinda. 

The  lew  rulea  foTnid  In  the  acarce  and  ohtcure  treatltea  of  the  an- 
clinti  mill  renmlnlne.  leare  ui  ((reatly  In  the  dark  with  reaped  to 
many  important  |ioinIa  In  the  niuilc  of  the  Oreeki  and  Ibunani  i 
bill  even  from  Iheae  we  majr  collect  that  their  lyttem.  when  a  living 
•cience.  waa  carried  to  a  noble  extent,  and  that  the  effecia  of  lu  prac- 
tice werv  great  and  atriking. 

UT.  The  first  of  the  monosyllables  adopted 
by  Guido.  and  still  used  by  the  French  in  solmi- 
zation.  The  Italians,  deeming  this  syllable  too 
hard  for  free  and  easy  pronunciation,  substitute 
in  its  place  that  of  do.  Ut  and  do  are  always 
the  tonic,  or  key  note,  of  the  major  mode,  and  the 
mediant,  or  third,  of  the  minor  mode. 

UT  QUEANT  LAXIS,  &c.  (L.)  A  hymn 
composed  about  770,  and  ascribed  to  St.  John 
the  Baptist.  Rendered  famous  by  Guido,  who 
took  from  its  first  strophe  tlie  monosyllables  ap- 
plied to  the  notes  of  his  gamut. 

UTENTHAL,  ALEXANDER,  a  favorite 
composer  of  the  sixteenth  century,  was  in  the 
service  of  the  Archduke  Ferdinand  of  Austria. 
Many  of  his  published  church  pieces  are  to  be 
founil  in  the  public  library  at  Munich,  under  the 
name  of  Uttendal.  His  works  bear  date  from 
the  years  1570  to  1583. 

UTRICUL.'V.RIS  TIBIA.  (L.^  The  name 
given  by  the  Romans  to  the  bagpipe.  See  that 
word. 

UTTINI,  FRANCESCO,  chapel-master  to  the 
King  of  Sweden,  was  the  predecessor  of  Krauso 
at  Stockholm.  He  resigned  his  office,  with  a 
pension,  about  the  year  1795.  He  was  in  Eng- 
land many  years  previously,  and  published  in 
London,  in  1770,  seyeral  sonatas  for  different  in- 
stniments.  He  produced  several  operas  whilst 
at  Stockholm. 


119 


»M 


ENCYCLOPAEDIA    OF    MUSIC. 


VAl 


V. 


V  is  used  for  the  nbbreviation  of  the  word  vio- 
lin ;  and,  when  written  double,  implies  both  the 
first  and  second  violins.  It  is  sometimes  used 
as,  V.  P.,  violin  prime ;  V.  S.,  violin  secondo  ;  and 
V.  S.,  void  subifo,  turn  over  quickly. 

VA.  'I.)  Go  on ;  as,  va  crescendo,  go  on  in- 
creasing 

VACCAJ,  NICOLO,  an  operatic  composer, 
was  bom  in  1791  at  Tolentino,  in  the  Roman 
States.  In  1811  he  became  a  pupil  of  Paisiello 
at  Naples ;  and  between  that  time  and  1820  he 
produced  half  a  dozen  operas,  besides  cantatas, 
ballets,  &c.  Disgusted  with  the  dramatic  career, 
he  then  taught  singing  first  at  Venice,  then  at 
Trieste  in  1821,  and  at  Vienna  in  1823.  In  1824 
he  went  to  Milan,  where  he  wTote  the  opera 
buffa  "  Pietro  il  Grande  "  for  Parma  ;  and  in  the 
same  year  his  "  Pastorella  feudataria  "  was  pro- 
duced at  Turin.  Called  to  Naples  in  1825,  he 
composed  " Z(«ii(7  ed  Astartea;"  and  on  return- 
ing to  Milan  he  brought  out  "  Giulictta  e  Romeo," 
hLs  best  work.  In  1829  he  went  to  Paris,  where 
he  was  considered  one  of  the  best  masters  of 
Italian  singing.  After  two  years  he  also  went  to 
London  and  taught ;  but  after  the  revolution  of 
1830  he  returned  to  Italy,  where  he  composed 
more  operas,  and  in  1838  became  the  first  master 
ot  composition  in  the  Conservatory  at  Milan, 
which  place  he  still  occupied  in  1843. 

VACCARI,  FRANCESCO,  an  cxceUent  vio- 
linist, was  bom  at  Modena  in  1773.  At  five 
years  of  age  his  father  set  him  to  study  the  vio- 
lin, and,  finding  much  talent  in  the  child  for  the 
instrument,  frequently  encouraged  him  to  play 
at  sight  by  gifts  of  new  music.  Shortly  after  he 
had  attained  his  ninth  year  he  was  introduced 
by  his  father  to  Pugnani,  who  at  first  did  not 
like  to  be  troubled  by  a  child's  playing  ;  though, 
on  hearing  him,  he  could  not  refrain  from  ap- 
plauding his  execution.  Young  Vaccari  then 
went  to  Florence  to  receive  some  instructions 
from  Nardini.  When  thirteen  lie  proceeded  to 
Mantua,  where  Pichl,  at  a  public  concert,  pre- 
sented him  with  a  concerto  of  his  composition, 
which  the  boy  performed,  without  hesitation,  at 
first  sight.  AJfter  visiting  most  of  the  great  towns 
of  Italy,  the  son  of  the  Grand  Duke  of  Parma 
took  Vaccari  with  him  into  Spain  ;  and,  in  1804, 
the  King  of  Spain  appointed  him  first  violin  of 
his  chamber  band.  On  account  of  the  political 
troubles  in  Madrid  he  left  Spain  for  Portugal, 
and  in  the  year  1823  was  performing  in  England 
for  the  second  time,  having  been  there  previous- 
ly in  181.i.  On  the  subject  of  one  of  the  Phil- 
harmonic concerts  of  1823  a  modern  critic  ob- 
serves, "The  most  brilliant  feature  in  this  con- 
cert was  a  concerto  on  the  violin  by  Signor  Vac- 
cari. This  excellent  —  we  had  almost  written 
unrivalled  —  violinist  has  an  appointment  at  the 
court  of  Madrid,  from  which,  for  the  present, 
prudence  bids  him  retire.  He  took  a  chief  part 
in  these  concerts  about  eight  years  ago,  and  then 


made  an  astonishing  impression  upon  the  mu- 
sical world.  He  is  what  he  was ;  and  to  thos« 
who  admire  the  genuine  tone  of  this  fine  instru- 
ment, who  think  that  playing  always  in  tune  is 
a  merit,  who  consider  gracefulness  and  taste  as 
indispensable  to  a  perfect  performer,  and  who 
approve  of  that  execution  which  is  without  trick 
and  invariably  accompanied  by  a  delightful  re- 
sult, —  to  such  persons,  the  retreat  of  Vaccari  to 
this  country  will  prove  the  source  of  as  much 
pleasure  as  instrumental  music  can  afford." 

VACHER,  PIERRE  JEAN,  was  born  at  Paris 
in  1772.  He  commenced  the  study  of  the  violin 
at  eight  years  of  age,  first  under  Andre  Monin, 
and  afterwards  under  the  celebrated  Viotti.  From 
the  age  of  fourteen  to  nineteen  he  was  engaged 
as  violinist  at  the  great  theatre  at  Bourdeaux. 
At  the  commencement  of  the  French  revolution  ' 
he  went  to  Paris,  where  he  remained  several 
years  engaged  in  the  orchestra  of  the  Vaudeville 
theatre.  He  then  became  known  as  composer 
of  some  popular  airs  for  that  theatre.  Vacher 
was  afterwards  employed  in  the  orchestras  of 
the  Thfcitre  Feydcau,  and  of  the  Academy  of 
Music,  &c.  Several  romances  of  his  composition 
became  great  favorites  of  the  French  public ; 
amongst  these  were  "  Pour  Toi,"  "  Le  Plaisir  et 
I' Esp6rance,"  "La  Verdure,"  "  L' Invocation  d 
I'Amitii,"  "  Le  Voyaye  a  Bartje,"  and  "  La 
Sympathie  en  Amour."  He  also  published  several 
operas  of  violin  music. 

VACHON,  PIERRE,  concert-master  of  the 
King  of  Prussia  at  BerUn,  was  born  in  Provence 
about  the  year  1730.  He  was  first  heard  in 
Paris  in  1758,  at  the  Concert  ispiritue!,  where  he 
performed  a  concerto  of  his  own  composition 
with  great  applause.  In  1766  he  was  first  vio- 
lin to  the  Prince  of  Conti  at  Paris.  In  1784  he 
went  to  Germany,  where  he  received  his  first- 
mentioned  appointment.  Besides  much  violin 
music,  he  composed  the  following  amongst  other 
operas  :  "Les  Femmcs  et  U  Secret,"  1767  ;  "  Esope 
(t  Cyt/dre,"  in  conjunction  with  Trial ;  "  Hyppo- 
mene  et  Alalante,"  1769;  "  Renaud  d'Aste,"  1765  ; 
"  Le  Mettnier,"  1765;  and  "Sara,"  1773. 

VACILLANDO.    (I.)    Changing,  vacillating. 

VAGUE,  a  professor  of  music  at  Marseilles, 
published  at  Paris,  in  1733,  a  small  work  entitled 
"L'Art  d'apprendre  la  Musique,  ejrposi  (tune 
Maniere  noucclle  et  intelliijible  par  une  Suite  de 
Lf(;ons  qui  se  servent  success! cement  de  prtparation." 
This  work  was  highly  spoken  of,  and  went  through 
two  editions. 

VALENTINI,  GIOVANNI.  An  esteemed 
Neaiwlitan  dramatic  composer.  Amongst  his  ope- 
ras were  the  Ibllowing  :  "  Z^-  Xozze  in  contraito," 
opera  buffa,  1784;  "/  Castcllani  Burlati,"  opera 
butfa,  Parma,  1786:  "La  Statua  Matvmatica," 
opera  buffa,  Pesaro,  1786  ;  and  "  L'  Impresario  in 
Rocina,"  opera  buffa,  Cremona,  1788. 

VALENTINI,  GIOVANNI,  a  celebrated  Ital. 


94  G 


VAL 


ENCYCLOPEDIA    OF    MUSIC. 


VAN 


ian  church  composer,  flourished  in  the  beginning 
of  the  seventeenth  century.  lie  was  on;anist  to 
Sigismund  III.,  King  of  I'olnnd  and  Sweden,  nnd 
afterwards  to  the  im|)crial  court  nt  Vienna.  His 
works  bear  date  from  the  years  lUl  1  to  1626. 

VALENTINI,  PIETUO  FRANX'ESCO,  a 
Roman  by  birth,  and  the  descendant  of  a  noble 
family,  was  educated  in  the  music  school  at  Rome 
instituted  by  Palestrina  and  Xanini.  He  was  an 
excellent  theorist.  Notwithstanding  his  lugh 
birtii,  he  was  so  reduced  in  circumstances  as  to 
be  necessitated  to  make  music  his  profession,  and 
even  to  play  for  hire.  He  compo.sed  many  pieces 
of  great  value,  and  amongst  the  rest  a  canon, 
printed  in  Kirchcr's  •'  Miuiirt/ia,"  entitled  "  Xodus 
S.i/ontrttis,"  which  may  be  sung  two  thousand 
ways.  Valentini"s  works  bear  date  from  about 
the  yetits  1G29  to  1G.54. 

VALENTINI,  GIUSEPPE,  published  in  Hol- 
land, about  the  year  17'J0,  nine  different  works 
for  violins ;  the  seventh  and  last  of  which  were 
"  Concerti  Grossi,"  for  four  violins,  tenor,  and 
two  basses  ;  but  they  have  been  long  since  con- 
signed to  oblivion. 

VALHADOLID,  FRANCISCO  D.,  chapel- 
master  to  the  Episcopal  .seminarj-  at  Lisbon,  was 
bom  at  Funchal,  the  principal  town  in  the  Island 
of  Madeira.  He  had  for  pupils  in  music,  first, 
Manuel  Feniandes,  and  afterwards,  at  Lisbon, 
Joac.  Alvares  Frovo  ;  whereupon  he  was  soon 
appointed  to  the  above  situation,  in  the  enjoy- 
ment of  which  he  died  in  1700.  He  labored 
much  in  the  completion  of  a  work  in  which  he 
proposed  to  unfold  all  the  mysteries  of  the  theory 
and  practice  of  music,  but  was  prevente  I  bv  his 
death  from  publishing  it.  He  also  leit  many 
practical  works,  as  masses,  psalms,  lamentations, 
resj)onses,  motets,  &c. 

VALLADE.  JOIIAXN  BAPTIST  ANTON, 
organist  at  Mendorf  towards  the  middle  of  the 
last  century,  published  at  Augsburg  .-everal  works 
for  his  instrument  and  for  the  harpsichord. 

VALLARA,  P.  FRANCESCO  MARIA.  An 
Italian  professor  of  music  early  in  the  seventeenth 
century.  He  published  at  Modena,  in  1707,  a 
treatise  entitled  "  ikiiola  Corale,"  &c. 

VALLE,  GUGLIELMO  DELLA.  an  Italian 
eccle-iinstic  of  Bologna,  read  at  Rome,  in  1784, 
ft  eulogium  on  Padre  Martini,  which  he  attcr- 
w.irds  published. 

VALLE,  PIETRO  DELL-\.  a  Roman  knight 
and  amateur  musician,  studie<l  music  from  his 
seventh  year  under  the  first  masters.  He  pub- 
h»he<l,  in  I'UO,  an  able  historical  dissertation, 
written  in  opposition  to  the  opinions  of  I^^lio 
Guidiccioni,  and  entitled  "Delia  Miisica  Helf  eth 
nostra,  che  lunt  i  punto  inferiort,  an:i  i  mipliore 
a  quella  delf  ild  paasata."  He  also  comjKiscd  ^ 
?ome  sacred  music. 

VALLO,  DOMENICO.  published  at  Naples, 
in  1804,  a  volume  in  duodecimo  entitle<l  "  t'om- 
pendio  Elenientare  di  Miuica  SpecoUitiro-  J'ralica," 

VAI.LOriT,  or  VALOTTI,  PADRE  FRAN- 
CEStO  ANTt)NIO,  chapel-master  of  St.  .\n- 
thony's  Church  at  Padua,  was  Ixini  in  Pie<hnont 
m  lt)i)7.  In  his  youth  he  Avas  highly  rc'lebrnlr<l 
for  his  skill  on  the  organ,  and,  nttor  the  year  17.>0, 
■wiw  considered  one  of  the  best  church  composers 

94 


of  Italy.  A  few  years  before  his  death  he  pub- 
lished the  first  part  of  a  work  entitled  "DelU. 
Scienza  Tinrica  e  I'liUica  det/a  Moderna  Miisica," 
Padua,  1779.  Three  other  volumes  were  to  have 
followed.  The  first,  which  is  merely  theoretical, 
probably  contains  his  system,  alluded  to  in  the 
memoir  of  his  pupil  the  Abb6  Vogler.  The  j)ub- 
lication  of  the  additional  volume  was  probably 
interrupted  by  his  decease.  Vallotti  also  wrote 
a  dissertation  on  luoduliition ;  in  s])eaking  of 
which.  Dr.  liurney,  in  his  Travels,  expresses  a 
wish  that  it  may  be  published,  on  account  of  the 
clear  and  able  manner  in  which  the  subject  is 
treated.  His  practical  works  were  principally  for 
the  church,  and  amongst  them  is  the  requiem 
that  was  perfonucd  at  tlie  funeral  of  Tartini. 

VALSE.     (F.)     A  wah/. 

VALUE,  VALEUR.  (F.)  VALORE.  (L) 
The  duration  of  a  note  in  regard  to  length  of 
time. 

VANDENBROCK.  OTIK^X,  bnm  at  Ypres. 
in  Flanders,  about  the  tuiddle  of  the  last  centu- 
ry, was  a  celebrated  performer  on  the  horn.  His 
masters  on  that  instrument  were  F.  Biinncu.x  iind 
Spandau.  He  also  studied  composition  under 
Fux.  He  published  vario\is  works  for  his  instru- 
ment, chiefly  at  Paris,  between  the  years  1700 
and  1800.  He  also  brought  out  several  operettas 
at  the  minor  theatres  of  that  city  ;  but  the  work 
by  which  he  is  best  known  is  his  "  Mitlwde 
iiouvelle  et  raisonnie  pour  ap/n-endre  d  sontier  da 
Cor,"  Paris,  1797  ;  an  improved  edition  of  which 
appeared  in  1789,  under  the  title  "  Mitliode  de 
('or,  acec  /a'/uelle  on  pent  apprendre  el  connaitre 
piirfaiteineiU  (itcndue  de  ret  iiistriimeiit." 

VANDERIIAGE-N,  AM  AND  J.  F.  J  ,  mem- 
ber of  the  legion  of  honor  and  master  of  the 
band  of  the  imperial  and  royal  French  guards, 
was  born  at  Antwerp.  He  was  a  pupil  of  his 
uncle,  A.  Vanderhagen,  a  celebrated  hautboyist, 
and  of  Paul  Vanmalder.  He  composed  a  great 
variety  of  music  for  wind  instruments,  especially 
for  the  clarinet  and  flute.  Many  of  his  works 
were  greatly  admired,  both  for  the  beauty  of 
their  melody  and  harmony  and  for  the  faciUty 
of  performance.  His  "  Mtdiode  noiive/le  et  rai- 
sonnie  pniir  C Ilaulbois,  diris6e  en  2  Parties," 
Paris,  17;i8,  was  considered  one  of  the  very  best 
instruction  books  for  that  instrument.  His  in- 
troductions to  the  flute  and  to  the  clarinet  are 
also  highly  spoken  of:  the  title  of  the  former  is 
••  Mi'thude  claire  et  facile  pour  apprendre  fl  jouer  en 
Iris-peii  de  temps  de  la  Flute,"  Paris,  1798.  He 
also  composed  some  vocal  music. 

VANDINI,  ANTONIO.  Principal  violonceb 
list  of  the  Church  of  St.  Anthony,  at  Padua.  He 
was  throughout  life  an  intimate  friend  of  Tartini, 
and  was  with  him  at  Prague  in  17'i3,  and  subse- 
quently, during  three  years,  in  the  service  of  the 
Count  of  Kinsky.  He  died  at  Padua  in  1773, 
far  advanced  in  years. 

VANH  ALL.  or  WANIIALI,,  JOHANN,  born 
in  Bohemia  in  17.19,  resided  chiefly  at  Vienna. 
The  sjiirited,  natural,  and  unafricted  sympho- 
n  e»  of  this  excellent  composer  seem  to  have  pre- 
cede! those  of  Hiiydn,  at  lea.st  in  England.  Hit 
qu  irfet«  nn<l  other  compositions  for  violins  ccj- 
tninly  deserve  a  place  among  the  first  production  i 
in  which  the  unity  of  melody,  plca-sing  harmon  ■ 
7 


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ENCYCLOPiEDIA    OF   MUSIC. 


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and  a  free,  manly  style  are  constantly  preserved. 
Of  his  writings  that  have  been  pubiished  there 
are  several  symphonies,  quartets,  trios,  duets, 
and  solos,  and  some  sets  of  sonatas  for  the  harp- 
sichord. Part  of  his  second  sonata  in  the  key 
of  U  major,  and  part  of  the  second  in  his  ninth 
opera,  arc  ijiserted  as  specimens  of  his  composi- 
tions in  Dr.  Crotch's  publication.  He  died  at 
Vienna  in  the  year  1813. 

VAXINI,  FUANCESCA,  a  celebrated  Italian 

singor,  was  the  wife  of  Boschi,  the  eminent  bass 
sinirer.  Slie  went  to  London  with  lior  husband 
in  1710,  but  was  much  past  her  prime  when  she 
arrived  in  that  country ;  and  her  performance 
made  no  great  impression,  though  she  had  pre- 
viously been  highly  celebrated  in  Italy.  i 

VAXMALDfiRE,  PIERRE,  concert  master  to 
Prince  Charles  of  Austria  at  Brussels,  was  a  cel- 
ebrated violinist.  Some  of  his  compositions  for 
his  instrument  were  highly  esteemed.  He  also 
brought  out  at  the  Theatre  Italicn  in  Paris,  about 
the  year  1754,  a  comic  opora  called  "La  Bu- 
garre."     He  died  at  Brussels  in  1771. 

VANMALDfiRE,  brother  of  the  preceding, 
and  successor  to  his  musical  appointments  at 
Brussels,  was  a  pupil  of  Martinelli  at  Venice. 

VANNEO,  STEFFANO,  an  Augustine  monk, 
published  at  Rome,  in  the  year  l.)38,  his  "  Rc- 
canetum  lie  Musica  aurea."  It  was  written  origi- 
nally in  Italian,  and  translated  into  Latin  by  Vin- 
cenzio  Rossetto,  of  Verona. 

VAQUERAS,  a  celebrated  Spanish  contra- 
puntist, flourished  probably  about  the  year  1520. 
Some  specimens  of  his  compositions  may  be  found 
in  the  "  Dodecachordon  "  of  Glarcanus. 

VARENNE,  JEAN  JAQUES,  a  French  vio- 
linist, born  at  Poictiers  in  1760,  had  resided,  in 
1782,  for  some  time,  at  Berlin. 

VARESE,  AXGIOLO,  called  SANTAXGI- 
OLIXO,  an  Italian  violinist,  was,  from  1788  to 
1790,  leader  of  the  orchestra  in  the  opera  buffa 
at  Monza. 

VARESE,  FABIO,  chanter  of  the  Church 
Delia  Passione  at  Milan,  was,  towards  the  end 
of  the  sixteenth  century,  known  also  as  a  com- 
poser and  poet. 

VARIAMEXTO.     (I.)    A  variation. 

VARIATIOXS,  (F.,)  VARIAZIOXI,  (I.,) 
or  abridged,  VAR.  Variations.  A  name  given 
to  certain  ornamental  repetitions  in  which,  while 
the  original  notes,  harmony,  and  modulation  are, 
or  should  be,  so  far  preserved  as  to  sustain  the 
present  subject,  the  passages  are  branched  out  in 
flourishes,  or  multiplied  sounds,  and  a  more  busy 
and  brilliant  execution  every  where  assumed. 
These  repetitions,  or  variation):,  were  formerly 
called  doubles.  Hence  in  the  old  lessons,  or  so- 
natas, instead  of  Variation  1,  Variation  2,  &c.,  we 
tind  written  Doubl-e  1,  Double  2,  &c. 

VARIATO.     (I.)     Varied,  altered. 

VAROTI,  MICIIELE.  A  church  composer 
of  the  sixteenth  century.  His  principal  works 
Dear  date  from  1563  to  1568. 

VAUDEVILLE.  (F.)  A  ballad,  or  song  ; 
JO  called  from  Vaudevire,  a  Norman  town,  where 
iwelt  Oliver  Bassell,  the  first  inventor  ol  this 


kind  of  air.  This  term  has  now  no  particular 
force  even  in  the  country  that  produced  it.  It 
is  supposed  that,  as  the  people  of  Xormandy  met 
in  the  \'al  dc  Vire  (Valley  of  Vire)  for  the  pur- 
l)ose  of  dancing  to  these  airs,  they  were,  at  first, 
called  Vaux  de  Vire,  and  by  corruption  Vaude- 
villes. Such  also  is  the  account  given,  but  with 
caution,  by  M.  Mcusnier  de  (iuerlon,  the  very 
learned  and  industrious  antiquarian,  in  his  .M6- 
nuiire  llisli/rifue  sur  la  Cliaiisoii,  prefixed  to  the 
"  Ant/ialoi/ie  Fran<;oisc ;"  who  likewise  says  that 
the  raudecille  had  its  origin  about  the  time  of 
Francis  I.,  and  is  the  same  thing  as  the  pnssaraille, 
or  passacalla,  of  Spain,  named  also  t'/taiiso;t  des 
TtuL's,  or  street  tune,  in  opposition  to  the  VillaneUc, 
or  peasant's  song. 

VAUGHAN, .  This  celebrated  tenr  i  .ling- 
er was  a  native  of  Xorwich,  where  he  received 
the  first  rudiments  of  his  musical  instruction  in 
the  choir  of  the  Cathedral  Church.  There  were 
at  that  time  (early  part  of  this  century)  sub- 
scription concerts  at  Xorwich,  upon  a  good  scale, 
where  the  best  secular  music  was  performed  un- 
der the  direction  of  an  amateur ;  at  these  young 
Vaughan  sung  with  great  applause.  His  voice, 
his  countenance,  and  his  manners  were  alike' 
prepossessing  ;  and,  what  adds  an  interest  to  the 
relation,  his  father  died  and  left  him  an  orphan 
very  young,  at  the  very  instant  when  the  first 
notes  of  a  concert  for  his  benefit  were  perform- 
ing. He  was  immediately  befriended  and  pro- 
tected. Dr.  Berwick,  a  very  sound  musician, 
then  the  organist  of  the  Cathedral  and  of  St.  Pe- 
ter's and  the  most  esteemed  teacher  of  his  day, 
continued  to  instruct  him  ;  but  he  was  still  more 
fortunate  in  the  friendship  of  a  clergyman,  deep- 
ly learned  in  the  science  and  enthusiastically 
fond  of  it,  who  used  such  exertions  to  forward 
his  promotion  as  belong  only  to  warm,  disinter- 
ested affection.  His  merits,  aided  by  such  assist- 
ance, soon  translated  him  to  the  chapel  of  Wind- 
sor ;  and  he  gradually  went  on  till  he  arrived  at 
the  eminent  distinction  of  succeeding  the  cele- 
brated Harrison  in  the  choirs  and  concerts  of  the 
metropolis,  and  was  ranked  as  one  of  the  very 
first  tenor  orchestral  singers  in  England  ;  being 
always  conspicuous  for  most  correct  intonation, 
singularly  agreeable  tone,  simple  grace,  uniform 
polish,  and  sublimit)'. 

VAUGHAX,  MRS.  Wife  of  the  preceding, 
lliis  lady  made  her  first  appearance  as  an  orches- 
tral singer  about  the  year  1797,  being  then  Miss 
Tennant.  In  1800  she  was  engaged  at  the  Con- 
cert  of  Ancient  Music,  and  in  subsequent  years 
became  a  great  favorite  with  the  public. 

VECCHI,  ORAZIO,  a  native  of  Milar.  was 
for  many  years  chapel- master  at  Padua.  HLs 
vocal  compositions  have  obtained  considerable 
celebrity.  He  composed  masses  and  hymns  and 
one  book  of  madrigals ;  but  his  principal  compo- 
sitions are  canzonets,  of  which  he  was  the  author 
of  no  fewer  than  seven  sets.  Milton,  who  was  a 
great  lover  of  music  and  very  well  imderstood 
the  science,  esteemed  Vecchi  as  one  of  the  most 
accomplished  masters  of  his  time.  There  are 
two  madrigals  from  the  first  edition  of  his  first 
book,  which  was  printed  at  Venice  in  1589,  in- 
serted in  Smith's  "  Musica  Antigua." 

VECOLI,  PIETRO.  A  contrapuntist  of  the 
sixteenth  century,  born  in  Lucca.     Of  his  works, 


i)4d 


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EMCYCLOP-EDIA    OF    MUSIC. 


VEF 


the  following  is  to  be  found  in  the  Public  Library 
at  Munich  :  "  Madrigali  d  5  voci,"  Torino,  1581. 

VECOLI.  REGOLO.  An  Italian  contrapun- 
tist of  the  sixteenth  century.  Some  of  his  com- 
positions are  to  be  found  in  a  collection  of  Nea- 
politan songs,  published  at  Venice  in  1751,  in 
six  volumes.  A  work  by  him,  entitled  "  Madri- 
(laH  d  5  vrici,"  Lyons,  1577,  is  in  the  Munich 
Library. 

VEGGIO,  CLACDK).  a  contrapuntist  of 
the  sixteenth  (eiitury.  In  the  Public  Library  at 
Munich  is  a  printed  work  by  him,  entitled  "  .!/«- 
i»\fuli  d,  4  voci,"  Venice,  1540. 

\  EICHTNER,  FK ANZ  ADAM,  chapel-mas- 
ter to  the  Duke  of  ("ourland  at  Milan,  >vas  a 
pupil  of  F.  Benda  He  was  celebrated  both  as  a 
vi-"iniat  and  composer.  Amongst  his  pupils  for 
;£a  violin  was  C'hapel-master  Keichardt.  He 
published  many  symphonies,  concertos,  &c.  ;  also 
some  oratorios  and  cantatas.  He  went  to  St. 
Petersburg  about  the  year  1700,  from  which 
town  most  of  his  works  are  dated,  up  to  the  year 
1802. 

VEIT,  WEXZEL  HEINRICH,  a  compo.ser 
of  quintets,  quartets,  &c.,  for  string  instruments, 
was  born  in  180G  at  Kzepnitz,  in  Bohemia. 

VELOCE.  (I.)  Swift.  A  word  implying 
that  the  movement  to  wliieh  it  is  prefixed  is  to 
be  sung  or  played  in  a  rapid  time. 

VELOCISSIMO.  (I.)  With  extreme  rapid- 
ity. 

VENEZIANA,  ALLA.  (I.)  In  the  Vene- 
tian style. 

VENTO,  IVO  DI.  Chapel-ma,ster  to  the 
Duke  William  of  Bavaria,  at  Munich,  towards 
the  end  of  the  sixtecntli  century. 

VEXTO,  MATTHIAS.  This  composer  went 
from  Italy  into  England,  about  the  year  17G.3,  at 
the  invitation  of  Uiardini,  during  his  manage- 
ment of  the  opera.  His  harpsichord  pieces,  of 
which  ten  sets  have  been  published,  are  so  much 
alike  that  the  invention,  with  respect  to  melody 
and  modulation,  may  almost  be  compressed  into 
two  or  three  movements.  In  the.se  sonata.s,  as 
well  as  in  his  >ong8,  lic,  however,  avoids  vulgar 

pa.ssages,  rnd  has  a  graceful,  easy,  and  flowing  |  courts  of  Germany,  and  twice  in  England,  where, 
melody.  He  had  a  great  number  of  scholars,  I  during  the  time  of  FarincUi,  he  coniimscd  several 
which  insuied  the  expense  of  printing  his  pieces,  |  ojwras.  Burney  mentions  haviiij  himself  heard 
though  not  their  general  reception  with  the  pub-  j  him  lead  a  banil  at  a  concert  in  Hickford's  room 
lic.  His  duos  lor  voices  are  alike  trivial  and  un-  i  in  such  a  bold  and  masterly  manner  as  lie  had 
interesting.      He  wrote  an   opera  called  "  Aria-     never  In-lore  witnessed.     Soon  after  this  Veracini 


the  mere  excellence  of  their  performance,  but  ex- 
tended equally  to  composition,  in  which  they 
both  manifested  great  genius  and  science.  Bu( 
whatever  resemblance  there  may  have  been  in 
the  professional  skill  of  these  two  masters,  it  wai 
impossible  for  any  two  men  to  be  more  dis'iimil.ir 
in  disposition.  Tartini  was  so  hum!)Io  and  timid 
that  he  was  never  hajjpy  but  in  obscurity  ;  whi'e 
Veracini  was  in  an  equal  decree  vainglorious. 
Being  at  Lucca  at  the  time  of  La  Ft-ula  deltu  ('rone, 
which  is  celebrated  every  year  on  the  11th  of 
September,  when  it  is  customary  for  the  princi- 
l)al  professors  of  Italy,  vocal  and  instrumental, 
to  meet,  Veracini  put  down  his  name  for  a  solo 
concerto;  but  when  he  entered  the  choir  in  or- 
der to  take  possession  of  the  i>rinci))al  ))laie,  ho 
found  it  already  occui.ied  by  Padre  Girolamo 
Laurentii,  of  Bologna,  who,  not  knowiii'.;  him, 
a-i  he  had  been  some  years  in  Poland,  asked  him 
where  he  was  going.  Veracini  answered,  to  tlio 
place  of  first  violin.  Laurentii  then  told  him 
that  he  had  been  always  engaged  to  till  tiiat  post 
himself,  but  that  if  he  wished  to  play  a  con  xnto, 
either  at  vespers  or  during  high  mass,  he  should 
have  a  place  assigned  him.  Veracini,  with  great 
contempt  and  indignation,  turned  his  back  to  him 
and  went  to  the  lowest  place  in  the  orchcstia. 
In  that  part  of  the  service  in  which  Laurentii 
performed  his  concerto  he  did  not  play  a  note, 
but  listened  with  great  attention ;  and  being 
called  upon  would  not  play  a  concerto,  but  re- 
quested the  old  father  would  permit  him  to  play 
a  solo  at  the  bottom  of  the  choir,  desiring  Lan- 
zelli,  the  violoncellist  of  Turin,  to  accompany 
him  ;  when  he  played  it  in  such  a  manner  as  tc 
e.xtort  "  Ecviva!"  in  the  ))ublic  church.  When- 
ever he  was  about  to  make  a  close,  he  turned  tc 
Laurentii  and  called  out,  "  Cosi  si  siioiui  per  fare 
il  prima  violino  "  —  "ITiis  is  the  way  to  play  the 
first  fiddle."'  Many  silly  stories  of  a  similar  de- 
scription are  handed  about  Italy  concerning  the 
arrogance  of  this  perl'orraer,  who  was  usually 
complimented  with  the  title  "  Ca/Ki  pa:M."  Ve- 
racini would  instruct  no  one  e.xcept  a  ne-phew, 
who  died  young.  The  only  master  he  hud  him- 
self in  his  youth  was  Antonio  Veracini,  ot  Flor- 
ence ;  but  by  travelling  all  over  Europe  he  ac- 
quired a  style  of  playing  peculiar  to  himself. 
Besides  being  in  the  service  of  the  King  ot  Po- 
land, he  was   a   considerable   time   at   dilfcrent 


terse.''     Vento  died  in  1777. 

VERACINI,  ANIONIO,  uncle  and  master  to 
Francesco  Maria  Veracini,  the  celebrated  per- 
former on  tl:e  violin,  published  at  Florence,  in 
lGi)2,  ten  soinitus,  tiie  usual  number  till  Corelli's 
time,  and  afterwards  "  Smite  da  I'/ticsa,"  two 
sets  ;  but  this  author  not  being  possessed  of  the 
knowledge,  hand,  or  caprice  of  his  nephew,  his 
works  are  now  not  sufficiently  interesting  to 
merit  any  further  notice. 

VEKAtTNI.  FKANCKSCO  MARIA,  was 
Dorn  at.  Florence  about  1085.  He  and  his  con- 
temporary Tartini  were  rewarded  in  their  day  as 
the  greatest  masters  of  the  violin  that  had  ever 
appeared.     Their  abilities  were  not  confined  to 

949 


was  shipwrecked,  and  lost  his  two  .Stoiner  ^io- 
lins,  esteemed  the  best  in  the  world,  and  all  his 
effects.  In  his  usual  liglit  way,  he  used  to  cull 
one  ofthc.se  instruments  St.  Peter,  and  the  other 
St.  Paul.  As  a  composer  he  hud  cerfninly  a 
grent  share  of  whim  and  caprice  ;  but  lir  built  liin 
freaks  on  a  good  foundation.  The  peculiaritiei 
in  his  performance  were  liis  bow  hand,  his  shakr, 
his  learned  arpeggios,  and  a  tone  so  loud  niul 
clear  that  it  could  be  distinctly  heard  tliro\igti 
the  most  numerous  lumd  of  a  church  or  the  are 

VERANDERUNGEN.     (G.)     Variation* 

VERBIXDUNG.     (G.)     Combination. 

VERDELOT,  PIIILIPPUS,  a   Flemish   con- 


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ENCYCLOPEDIA    OF   MUSIC. 


VER 


trnpuntist,  appears  to  havo  lived  principally  in 
Ituly,  where  liis  name  not  only  occurs  in  most 
of  the  music  catalogues,  but  is  also  frenueiitly 
mentioned  by  Znrlino,  Pietro  Pontio,  ana  other 
writers,  as  one  of  the  best  masters  of  the  begin- 
ning of  the  sixteenth  century.  His  works  are 
all  written  either  in  Latin  or  Italian,  and  bear 
date  previously  to  the  year  1550. 


VERDL  GIUSEPPE.  Since  Rossini,  Bellini, 
and  Donizetti,  this  composer  has  been  the  reign- 
ing star  of  the  Italian  opera.  Yet,  though  his 
operas  have  been  for  several  years  the  fashion 
and  the  rage  in  every  theatre  throughout  the 
•n-orld  where  operas  are  heard,  it  is  in  vain  that  we 
have  searched  for  any  satisfactory  notice  of  his 
life.  The  following,  from  the  Illustrated  London 
News  for  May  30,  1846,  is  all  that  we  can  tind  :  — 

"  Verdi  was  born  in  an  insignificant  village  of 
Lombardy,  called  Busscto.  Ills  family  was  poor 
and  unable  to  defray  the  expenses  of  a  musical 
education  for  the  young  Giuseppe,  who  derived 
his  first  ideas  on  the  subject  from  the  organist 
of  the  village  church.  lie  soon  found,  however, 
friends  and  appreciators  of  the  extraordinary 
talent  he  manifested ;  and  by  the  intervention  of 
these  he  was  at  length  sent  to  Milan.  At  an  un- 
fortunate season  at  the  Scala  (18.39)  he  brought 
out  his  first  opera,  '  Oberto  di  San  Bonifacio,'  a 
work  which,  though  unequal  in  its  parts  and 
displaying  manj'  of  the  faults  of  a  young  compo- 
i-er,  nevertheless  contained  portions  of  extraordi- 
nary merit.  But  the  young,  unknown,  and  al- 
most unbefriended  composer  was  not  likely  to 
meet  a  better  fate  than  all  the  other  writers 
whose  works  that  year  had  met  with  deteat  at 
La  Scala.  The  work  was  for  a  time  buried  in 
oblivion,  but  at  length  exhumed  by  the  kindness 
of  u  zealous  friend  of  Verdi,  named  Pasetti  la 
Marini.  Mrs.  Shaw,  Salvi,  the  tenor,  and  Mari- 
ni,  the  basso,  all  appeared  in  this  opera,  which 
created,  on  this  its  second  appearance,  such  a 
J'anatismo  as  can  only  be  witnessed  in  Italy. 

"An  opera  buffa  was  the  next  work  under- 
taken by  our  i  omposer ;  but  during  its  composi- 
tion he  lost  his  beloved  wife ;  and  certainly,  after 
that,  his  thoughts  tended  rather  to  the  serio  than 
the  biijfo.  This  work,  however,  has  been  repro- 
duced at  Venice  with  a  success  that  would  not 
have  been  expected,  considering  the  circura- 
htantes  under  wliich  it  was  written.  But  Verdi's 
(hiy  of  triumph  was  approaching.  '  Xabueco,' 
known  and  adjuircd  in  England  as  '  Nino,'  cre- 
ated a  degree  ot  enthusiasm  extraordinary  even 
in  Italy.  It  was  performed  sixty  times  running, 
and  on  each  occasion  the  actors  had  to  retrace 
their  steps  from  twenty  to  thirty  times  before  the 
curtain,  after  the  fashion  of  Italian  theatres.  '  / 
L'imbardi,'  tlie  next  work  brought  out,  enjoyed 
],erhaps  still  greater  triumph,  on  account  of  the 
brilliant  talent  of  Frezzolini,  whose  style  of  sing- 
ing is  admirably  adapted  to  do  justice  to  the 
works  of  Verdi's  school.  •  Eniani '  is  another 
of  his  most  popular  compositions.  Then  lol- 
lowcd  '  (Jiavanno  d'Arco,'  also  performed  in  by 
Frezzolini,  a  magnificent  work  and  brilliantly 
Kuccessful ;  'Alzira'  and  '/  due  Foacari ;'  the 
latter  hardly  equal  to  those  we  have  named. 
The  la.st  work  (1846)  of  the  great  maestro  is 
'  Altilii,'  a  highly  dramatic  and  most  original 
roiupoMtion,  with  a  degree  of  local  coloring  and 
•Hcciiveness  quite  new  to  the  lyrical  stage.    This 

950 


opera,  brought  out  at  Venice  with  Loewe,  Guas- 
co,  Marini,  and  Constantini,  enjoys  that  favoi 
which  the  works  of  this  master  always  command 
among  his  countrymen.  The  enthusiastic  appre- 
ciation in  Italy  of  a  composer  of  Verdi's  stamp 
would  appear  strange  to  those  who  have  ima- 
gined Italian  musical  taste  to  be  represented  by 
the  sickly,  sentimental  compositions  untQ  lately 
classed  as  *  Italian  ransic  '  par  excellence ;  but  Ver- 
di's works  show  that  the  '  fatherland  of  song  '  has 
newer  and  more  vigorous  resources." 

The  writer  adds  that  Verdi  was  then  (1846) 
thirty  years  of  age,  though  looking  much  older. 
The  traces  of  care  and  illness,  as  well  as  of  deep 
thought,  were  visible  on  his  countenance.  He 
lived  quiet  and  retired;  his  active  mind,  how- 
ever, was  always  employed,  and  he  devoted  a 
large  portion  of  time  to  his  musical  and  literary 
studies. 

Verdi's  operas  have  been  among  the  most 
prominent  and  popular  of  those  presented  by 
Italian  troupes  in  this  country  also,  since  "  Er- 
tiani,"  the  greatest  favorite  of  them  all,  was  first 
presented  in  Boston  and  New  York,  about  the 
year  1847,  by  such  singers  as  Tedesco,  Perelli, 
Vita,  and  Novelli.  "  /  Lombardi,"  "  Xabucco," 
"  Attila,"  and  "■' Macbetto,"  (a  later  work  than 
either  of  the  above  named,  in  which  Bosio  and 
Badiali  rendered  the  principal  parts,)  have  also 
had  their  turn  of  favor.  The  last  opera  of  Verdi, 
which  appears  to  be  enjoj-ing  great  favor  in  the 
European  theatres  at  this  present  time,  (1853,)  is 
"  Itigoktto." 

VEllDONCK,  CORNELIUS,  an  excellent 
composer  and  musician,  born  at  Corehout,  in 
Flanders,  in  1564,  lived  in  the  latter  part  of  his 
life  at  Antwerp,  and  died  there  in  1625.  He 
jjublished  several  works  in  the  above  town,  and 
also  at  Amsterdam,  of  which  the  following  only 
can  be  named :  "  I'oisiet  Franqoisea  de  divers  Au- 
teurs  mises  en  Musique  d  5  part,  acec  une  Chanson 
d  10,"  Antwerp,  1599;  and  "  Madriffoli  h  9  voci," 
Antwerp,  1604. 

VERMINDERTE.  (G.)  Diminished,  in 
speaking  of  intervals. 

VERNIER,  JEAN  AIME,  born  at  Paris  in 
1769,  commenced  learning  the  harp  and  violin  at 
a  very  early  age,  and  at  eleven  performed  a  violin 
concerto  at  the  Conct-rt  Spiritiiel  with  much  suc- 
cess.    In  the  following  year  he  played  the  harp 
in  a  quatuor  at  the  same  concert.     In  17S7  he 
i  first  performed  in  a  sonata  of  his  own  compo- 
i  sition.     Vernier  had   no  other  master  than   his 
father,  who  was  an  able  professor  of  the  man- 
I  dolin  with  six  strings.     In  1795  he  was  elected 
harpist   at   the  Thcitre   Feydeau.      In  1813  he 
I  succeeded    Dalvimare    in   the   orchestra   of    the 
I  Grand  Opera,  from  which  post  he  retired  in  1838. 
He  has  published  much  music  for  the  harp  and 
various  romances. 


VEROCAI,  GIOV.\NNI,  concert  master  to 
the  Duke  of  Brunswick,  and  celebrated  as  a  vio- 
liuLst,  was  a  native  of  Italy.  After  visiting  sev- 
eral towns  in  Germany,  he  went,  in  1729,  to  Pe- 
tersburg, where  he  was  engaged  by  the  court. 
About  1743  we  find  him  again  at  Brunswick, 
where  ho  brought  out  an  opera  named  "  Denw- 
J't>oiUc." 

VERSE.    The  appellation  given  to  those  por- 


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tions  of  an  anthem  meant  to  be  performed  by  a 
tingle  voice  to  each  piirt ;  also  the  epithet  ai)plied 
to  an  antliem  be^^inning  with  verse.  In  secular 
music,  as  a  song  or  ballad,  each  stanza  of  the 
words  is  a  verse. 

VERSEITEN.  (G.)  Short  movements  for  the 
organ,  intended  as  preludes,  interludes,  or  post- 
ludcs  to  psalm  tunes,  &c. 

VERSEITO.  (I.)  A  little  verse.  The  di- 
minutive of  verso, 

VERSETZUNG-ZEICIIEX.  (G.)  Marks  of 
transposition  ;  the  sharp,  the  flat,  and  the  natu- 
ral. 

\"ERSI  SCIOLTI.  The  name  given  by  the 
Italians  to  their  blank  verse.  The  reciiative  por- 
tions of  their  operas  are  generally  written  in  verai 
sciulli. 

VERSO.     (I.)     A  verse. 

VERSO,  ANTONIO  LO.  a  celebrated  contra- 
puntist of  the  sixteenth  century,  born  at  I'laza, 
in  Sicily,  was  a  pupil  of  I'ietro  Vinci.  He  pub- 
lished several  sets  of  madrigals  between  the  rears 
1590  and  1612. 

VERSUS  FESCENNIXI.  Nuptial  songs,  so 
called  because  they  were  Brst  used  by  the  people 
of  Fesceunia,  a  city  of  Etruria.  The  style  of  this 
kind  of  poetry,  wliich  was  afterwards  retined  into 
that  of  the  tpithalamium,  was,  at  its  origin,  in 
no  way  peculiar  for  its  delicacy. 

VERTICAL  SLUR.  A  perpendicular  slur, 
showing  that  the  chord  before  which  it  stands  is 
to  be  pertormed  iu  imitation  of  harp  music. 

VERWANDT.  (G.)  Related  as  to  the 
keys. 

VERWECHSLUNG. 
mutation. 

VERZIERUNG. 
ation. 


(G.)      A    change,   or 


(G.)     Embellishment,  vari- 


VESl,  SIMONE,  chapel-master  at  Padua  about 
the  year  1650,  was  born  at  Forli,  in  the  Roman 
States.  lie  published  several  masses,  motets, 
&c.,  at  Venice. 

VESPA,  GERONIMO.  A  celebrated  Italian 
composer  towards  the  close  of  the  sixteenth  cen- 
tury. Amongst  his  works  are,  "  Madriijaii  il  5 
vi>ci,"  Venice,  1570 ;  and  "  MadrigcUi  A  6  voci," 
Venice,  1575. 

VESPER  HYMN.  A  vocal  hymn  used  in 
the  evening  ser\-ice  of  the  Catholic  church. 

VESPERS.  (From  the  I^tin.l  Name  of  the 
last  evening  service  in  the  Romish  church ;  a 
servics  ihielly  consisting  of  singing. 

VESPERTINI  PSALMI.  (I.  pi.)  Evening 
hymns,  or  psalms. 

VESTRIS,  MADAME.  This  delightful  ac- 
tress and  very  i)li"«.sing  theatrical  singer  was  a 
daughter  of  Uartalozzi,  the  celebrated  engraver. 
Slie  was  engaged  for  a  short  time  at  the  King's 
Theatre  about  the  year  18 It);  alter  which  she 
visited  Italy  and  sang  at  several  of  the  theatres 
in  that  country.  Her  voice  was  a  nwzzi}  mprntu) 
of  more  than  usual  compass ;  and  her  style  had 
more  of  true  expression  and  simplicity  than  of 
modern  agility.     'Ihis  lady  was  posscused  of  ex- 


traordinary versatility  of  talent,  and  was  equally 
an  acquisition  to  both  Driiry  Lane  and  the  King's 
Theatres. 

VEITER,  DANIEL,  organist  of  St.  Nicholas's 
Church  at  Leipsic,  died  in  that  city  about  the 
year  1730.  He  published,  in  1 7 1<>,  a  collection 
of  vocal  music,  arranged  for  the  piano,  and  en- 
titled '•  Musical  Amusement." 

VETl'ER,  HEINHICII  LUDWIG,  concert 
master  to  the  Prince  of  Anhalt,  was  an  excellent 
performer  on  the  violin  and  hautboy.  He  pub- 
lished some  instrumental  music  at  Offenbach 
and  Spire.  In  the  year  1800  he  was  living  at 
Ilanau,  having  retired  from  the  profession. 

VIADANA.  LUDOVICO,  chapel-master, 
first  of  the  Cathedral  of  Fano,  a  small  city  in  the 
duchy  of  Urbino,  and  afterwards  of  the  Cathe- 
dral in  Mantua,  is  celebrated  for  having,  about 
the  year  I'lOo,  improved  the  science  of  music  by 
the  invention  of  the  figured  or  thorough  ba-ss. 
Dr.  Rurney  says,  indeed,  that  he  has  found  in- 
stances of  the  minute  beginnings  of  this  expedient 
before  the  time  of  Viadana ;  but  ho  allows  that 
this  musician  was  the  first  who  drew  up  general 
rules  for  expressing  harmony  by  figures  inserted 
over  the  bass.  Of  the  works  of  Viadana,  the 
two  following  are  the  chief :  "  Opus  Musicum 
Sicrorum  Conccntuiim,"  published  in  the  vear 
1612;  "Opera  omnia  Sacronim  Concenluum,  1,  2, 
3,  et  4  vocum,"  in  the  year  10 13,  and  again  in 
1629. 

VIAL,  a  Parisian  musician,  published,  in 
1767,  a  small  work  in  three  folio  sheets  entitled 
"  Arbre  GiiUahgiijue  de  V llartnonie."  The  first 
sheet  contains  the  genealogical  tree,  of  which  the 
two  other  sheets  are  explanations.  The  whole 
is  very  carefully  arranged  according  to  the  sys- 
tem of  Rumeau. 

VIAN A,  MA-nAS  JUAN.  A  Spanish  church 
composer,  deemed  by  Yriartc,  in  his  history 
"  Delia  Musica  "  of  1779,  one  of  the  first  and  most 
accomplished  musicians  of  his  country. 

VIBRANTE.  (I.)  A  peculiar  vibratory  man- 
ner of  touching  the  keys  of  the  piano. 

VIBRATION.  That  tremulous  motion  of  aui 
sonorous  body  by  which  the  sound  is  produced. 
The  vibratory  action  being  communicate<l  to  the 
air,  the  air  becomes  the  vehicle  by  which  it  is 
borne  to  the  ear  ;  and  the  sound  is  grave  or 
acute  as  the  vibrations  are  lower  or  more  numer- 
ous in  any  given  time. 

Vibration  Ls  the  quick  repetition  of  an  empha- 
sis upon  the  same  note,  three  or  four,  or  perhaps 
more,  tmies,  according  to  the  length  of  the  note 
and  the  fancy  of  the  singer.  Occasionally  intro- 
duced, it  produces  a  very  striking  eff€>ct ;  but  it 
becomes  ludicrous  if  ti>o  often  used.  It  is  indi- 
cated by  the  Italian  word  rtbrnto.  The  merit  of 
all  embellishments  consists  in  their  distinct  and 
voluble  exwution.  They  arc  mint  projxrlv  em- 
ployed in  llie  brilliant  style.  Em^ellishmcMls  mar 
sometimes  be  introduced  to  advaiilngc  in  the  cnn- 
tahilf.  or  cxpre«'sive  *l\  Ic  ;  hut  here  they  must  be 
delivered  with  lesn  rapi  lity.  In  the  niiifni  they 
can  only  be  executed  slowly  and  under  the  form 
ol  measured  notes ;  that  is,  as  integral  and  rhvth- 
mieal  divisions  of  the  bar. 

The  word  til>r<ui'>n  is  also  applied  to  a  c«rtaia 


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ENCYCLOPEDIA    OF   MUSIC. 


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tremulous  motion  given  to  a  note ;  as  wlien  the 
finger  of  tlic  tiutist  tremulates  over  the  hole, 
without  comins;  in  contact  with  the  instrument 

VIDRATISSIMO.  (I.)  The  superlative  of 
vibrato. 

VIBKATO.  (I.)  With  a  strong,  vibrating 
quality  of  tone. 

VICEXTINO.     See  Vincentixo. 

VIDAL,  B.,  a  guitarist  and  composer  and 
arranger  of  music  lor  his  instrument,  at  Paris, 
published,  in  1797,  a  work  cnlMod  "  Journal  ile 
Guitare;  "  also  some  other  music  for  his  instru- 
ment. 

VIDO.  (I.)  A  word  formerly  applied  to  the 
ccund  drawn  from  the  open  string  of  a  violin, 
violoncello,  &c. ;  i.  e.,  when  not  being  brought 
into  contact  with  the  finger  board  by  the  press- 
ure of  the  fingers,  its  vibration  extends  through 
its  whole  length.  A  sound  so  drawn  was  called 
a  chord  a  vido. 

VIEIRA,  AXTOXIO,  chapel-master  at  Crato, 
in  Portugal,  and  born  at  Villa  Vicosa,  studied 
music  under  Manuel  Rebello.  He  was  after- 
wards chapel-master  to  the  church  at  Loretto ; 
then  at  Lisbon  ;  and  lastly  at  Crato,  as  above, 
where  he  died,  probably  about  16.50.  The  com- 
positions he  has  left  are  greatly  admired  by  con- 
noisseurs, and  are  still  preserved  in  the  Koyal 
Musical  Library  at  Lisbon.  In  the  Crassbeeck 
catalogue  they  stand  as  follows  :  "  Missa  do  1 
Tom  d  12  Vozes  ;  "  "  Miserere  d  8  ]'o:es  dt>  8  Tom  ;  " 
"  Dixit  Dominus,  H  8  do  I  Tom,  com  Instrumen- 
tos  ; "  "  Bealtis  vir  a  12  do  1  Tom  ;  "  "  Lauda  Hie- 
ru»alem  Dominum,  a  8  I'oxs  do  8  Tom  ;  "  "  Motete, 
Pater  Peccavi ;  "  and  "  Motete  de  Dcfuntos,  Domine 
quando  vereris." 

VIEIRA,  ANTONIO,  a  Portuguese  priest, 
bom  in  Lisbon,  became  attached  to  hLs  order  in 
1664,  and  in  the  end  distinguished  himself  as 
one  of  the  most  celebrated  organists  of  his  coun- 
try. He  died  in  1707,  leaving  a  work  lor  the 
organ  under  the  following  title :  "  Diver(;<u  Obras 
de  On/ad  para  os  Tamjedores  deste  ItuirumeiUo," 
folio,  manuscript. 

VIELLE.  (F.)  An  old  French  instrument 
resembling  the  English  hurdygurdy.     See  Rote. 

VIERDANCK,  JOIIANN,  a  celebrated  church 
composer  in  the  middle  of  the  seventeenth  cen- 
tury, was  organi.st  of  St.  Mary's  Church  at  Stral- 
sund.  In  1641  and  1643  he  published  two  vol- 
umes of  spiritual  concertos.  His  other  works 
consist  chiefly  of  masses  and  motets. 

VIERLING,  JOHANN  GOTTFRIED,  an 
excellent  organist  and  composer  at  Smalkalden, 
was  born  near  Meiningen  in  1750.  He  studied 
composition  under  Kirnberger  at  Berlin,  and 
was  one  of  the  most  celebrated  organists  of  Ger- 
luany.  His  works  consist  of  concertos,  sonatius, 
&c.,  for  the  harpsichord  and  organ,  and  of  several 
collections  of  sacred  music.  He  also  published  a 
didactic  work  entitled  "  AUgcmein  fassUcher  Un- 
terricht  im  Generatbass,"  Leipsic,  1806. 

VIERTELNOTE.  (G.)  A  quarter  note,  or 
crotchet. 

VIETATO.  Forbidden.  A  word  applied  by 
llie  Italians  to  such  intervals  and  modulations  as 


are  not  allowed  by  the  established  laws  of  bar 
mon)-. 

VIEUXTEMPS,  HENRY.  This  distinguished 
composer  and  jjerformer  was  born  at  the  town 
of  Verviers,  in  Belgium,  in  1820.  The  discovery 
of  that  wonderful  musical  talent  which  has  given 
him  the  high  reputation  he  has  for  yci.rs  enjoyed 
was  altogether  accidental.  His  perfonnances 
upon  a  child's  toy  of  a  fiddle,  while  only  five 
years  of  age,  gave  positive  promise  of  what  he 
would  one  day  become.  Not  only  did  the  peo- 
ple of  the  neighborhood  in  which  he  lived  opeuly 
express  their  admiration  of  this  first  dawning  ol 
his  talent,  but  De  Beriot,  the  great  violinist, 
happening  to  pass  through  the  town  of  Ver- 
viers, also  saw  and  heard  him.  So  deliijhted  was 
he  with  his  performances  that  he  offered  to  be 
his  teacher  upon  the  instrument,  on  the  single 
condition  that  he  himself  might  be  intrusted 
with  the  sole  care  of  his  musical  education. 
The  offer  was  accepted,  and  De  Beriot  kept  his 
word  most  faithfully.  He  watched  over  the 
marked  and  rajjid  improvement  of  his  pupil 
with  unflagging  interest,  and  obviously  felt  as 
much  pleasure  in  the  task  as  he  had  anticipated. 
The  youth  made  great  progress  in  tlie  science  to 
>vhich  he  had  shown  so  early  and  decided  a  par- 
tiality. The  result  was,  that,  at  the  early  age  ol 
twelve  years,  he  played  at  the  Conservatoire  in 
Parts  —  the  sternest  critical  school,  perhaps,  in 
the  world  —  with  the  most  entire  success  ;  and 
De  Beriot's  task  was  completed.  Young  Vieux- 
temps  then  returned  home,  and,  accompanied  by 
his  father,  he  travelled  first  all  over  his  own  coun- 
try, and  immediately  afterwards  in  Germany, 
obtaining  every  where  the  highest  encomiums  as  a 
composer  and  performer  upon  the  violin.  Ho 
went  to  Vienna,  and  found  himself  in  the  pres- 
ence of  a  coiamunity  whose  very  element  is 
music.  And  even  there,  at  so  early  an  age,  he 
wa.s  perfectly  successful,  and  acquired  a  reputa- 
tion which  extei  ded  over  the  entire  continent. 
He  performed  th  re  the  most  difficult  composi- 
tions of  Beethovi  n,  Spohr,  Mayseder,  and  Men^ 
delssohn  in  a  style  of  surpassing  accuracy  and 
brilliancy,  and,  when  afterwards  he  reached 
Leipsic  and  Dresden,  the  last  named  of  these 
great  composers  paid  him  the  most  marked  and 
decided  eulogiums.  The  same  success  attended 
him  at  Berlin  and  St.  Petersburg,  where  he  made 
a  long  stay,  and  at  which  capital  he  was  hon- 
ored with  the  universally  awarded  title  of  "  Le 
lioi  de  Violin."  After  acquiring  so  wide  a  re- 
nown in  the  old  world,  he  came,  in  1843,  to 
America,  where  he  gave  concerts  ■with  much 
success. 

"  His  tones,"  says  a  high  authority,  "  are  re- 
markable for  their  richness  and  clearness  ;  his 
management  of  tlie  bow  is  beautiful ;  and  he  ex- 
ecutes his  compositions,  which  have  a  more  mel- 
ancholy than  lively  character,  with  tlint  calmness 
and  sweetness  which  kindle  enthusiasm  in  all 
hearts  open  to  the  influence  of  harmony.  He 
plays  the  accord  and  octave  pa.ssages  with  the 
greatest  precision  ;  his  arpeggios  are  unequalled  ; 
his  staccatos  are  pure  and  distinct ;  but  all  derive 
their  chief  excellence  from  that  ciJmne.-.s  wJiich 
reigns  throughout,  and  is  a  distinguishing  char- 
acteristic of  his  performances.  HLs  memory, 
too,  is  extraordinary;  for  he  plays  nearly  all 
Paganini's,  as  well  as  other  most  classical  coa.- 


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VI N 


positions  perfectly.      His  bcht  composition  is  the  '  He  died  in  1G17,  and  left,  besides  several  practi- 


grcat  concerto  in  E  flat,  which  is  considered  by 
all  artists  as  a  masterpiece;  and  it  is  that  for 
which  the  King  of  the  Belgians  made  him  Knight 
of  the  Older  of  St.  Leopold." 

Since  184^1,  Vieuxtemps  lias  held  the  place  of 
Bolo  violinist  in  the  Imperial  Chapel  at  St.  Peters- 
burg. 

VIGANO,  S.\LVADOUE,  ballet  master  at 
Venice  since  the  year  1788,  appears  to  have  been 
the  husband  of  the  celebrated  dancer  Madame 
Vigand,  with  whom  he  went  to  Vienna  about 
1792,  wlieie  ho  continued  several  years  as  a  dan- 
cer at  the  theatre  of  that  capital.  In  the  year 
1797  they  were  both  at  Uerliii,  where,  during  the 
nuptial  leslivities,  thoy  danced  at  the  great  Opera 
Theatre.  He  was  also  the  inventor  and  composer 
of  the  music  for  his  ballets. 

VIGAXOXI,  GIUSEPPE,  a  celebrated  Italian 


cal  works,  which  are  still  to  be  found  in  the  Koy- 
al  Musical  Library  at  Lisbon,  a  tract  in  man- 
uscript entitled  "  Arte  de  Canto  Ch&o  para  I'rin- 
cipiantea." 

VILLANELLA.  (L)  The  air  of  an  old  rustic 
dance,  the  time  of  which  was  gay  and  brisk  and 
the  measure  strongly  marked.  The  subject,  oi 
melody,  was  tirst  played  in  a  plain  style,  and  then 
embellished  with  variations.  The  titianella  wiu 
a  tune  of  a  light  and  trivial  character.  It  origi- 
nated with  the  Neapolitans.  Morley  speaks  of  it 
in  a  contemptuous  strain.  It  admits  "  many  per- 
fect chords  of  one  kind,  and  even  disallowance* 
at  pleasure,  suiting  a  clownish  muisic  to  a  clowu- 
ish  matter." 

VILLANI,  CASPARO,  organist  at  the  Doni 
Church  at  Piacenza  about  the  year  IGIO,  pub- 
lished, amongst  other  works,  "  .S</;iu'  n  .^-S  voci. 


singer,  went  to  England  about  the  year  1795,  and     con  li.  ('.,"  Venice;  aud  "  Xliase  e  ]'espcri;"  Ven- 
was  engaged  as  principal  tenor  at  the  opera.     His     ice,  1611 
voice  was  of  no  considerable  volume ;  but  his  taste 
was  exquisite  and  his  manner  polished.      He  re- 


mained in  England  many  years,  and  was  as  much 
esteemed  as  a  teacher  as  for  his  public  perform- 
ance. He  died  at  Bergamo  iu  the  autumn  of 
1823. 

VIGNATI,  GIUSEPPE.  Chapel-master  at 
Milan  towards  the  year  1740.  His  compositions, 
both  for  the  church  and  theatre,  were  much  es- 
tceiucd. 

VIGXOLI,  GABllIEL,  a  Venetian  composer 
of  the  seventeenth  century,  published  a  work  of 
part  songs  entitled  "  Sacri  ribotnbi  di  pace  e  di 
ytteira,"  166.5. 

VIGOUOSO.  (I)  A  word  implying  that 
the  movement  before  which  it  is  placed  is  to  be 
I  erformcd  in  a  bold,  energetic  style. 

VIGUEUIE.  BEUXAUD,  pianist  and  com- 
poser at  Paris,  was  horn  at  Carcassonne,  in  the 
province  of  Laiiguedoc,  iu  1761.  He  studied 
music  in  his  eighteenth  year  under  Laguna,  or- 
ganist of  the  C'ailiednd  Church  in  the  above  town, 
and  went,  in  his  twenty-tirst  year,  to  Paris,  where 
he  further  prosecuted  his  studies  under  Charpen- 
tior,  organist  of  St.  Paul's  Church.  At  length, 
about  the  year  179."),  he  established  a  music  ware- 
house in  I'aris,  Irom  which  he  publi>hed  many 
works  ot  other  composers,  also  some  instrumental 
music  of  his  own  composition. 

VILIIALVA,  AXTOXIO  RODRIGUES, 
chapel-nia...terof  the  Cathedral  Chiirch  at  Evora, 
Was  born  at  Vilhalva,  near  the  tow  n  of  Fronteira, 
in  the  province  of  .Vlentijo,  in  Portugal.  In  his 
youth  he  had  a  tine  voice,  ami  studied  music 
abiiut  162.5,  uiuler  the  celebrated  Manuel  Rebello, 
with  such  diligence  and  success  that  he  was  lirst 


VILLEBLAXCHE,  ARMAXD  DE.  honi  at 
Paris  in  1786,  received  his  first  musical  instruc- 
tions in  England  from  the  celebrated  harpist  M. 
de  Marin,  who  was  his  relation.  He  next  took 
lessons  of  the  Abbe  liose  at  Paris,  and  subse- 
quently of  J.  B.  Cramer,  on  the  piano,  lie 
composed  and  published  several  seta  of  sona- 
tas, &c.,  for  the  ])iano- forte,  also  several  cantalas 
and  romances.  He  likewise  brought  out  in  1809, 
at  the  Theatre  Feydcau  at  Paris,  a  successlul 
opera  entitled  "  Le  Xii/rc  /mr  Amour,"  and  since 
that  time  several  other  dramatic  pieces.  He 
perished  under  Xapoleon,  in  the  retreat  from 
Moscow,  in  December,  1812. 

VILLOTEAU,  G.  A.,  a  Parisian  professor  of 
music,  member  of  several  learned  societies,  and 
of  the  committee  for  Egyptian  arts  and  sciences, 
was  born  at  Belleme  in  17o9.  In  1807  he  pub- 
lished at  Paris  an  essay  on  the  utility  of  an  exai  j 
and  com))lete  theory  of  the  natural  principles  o 
music.  This  work  was  only  meant  to  be  intra 
ductory  to  a  larger  one  on  the  analogy  ot  must, 
with  those  arts  which  have  for  their  object  thj 
imitation  of  language.  This  latter  has  been  pul- 
lished  in  two  voluines  octavo. 

VILLOTl'E.  (I.)  One  of  the  names  f^iven 
to  tiie  first  secular  music  in  jmrls  alter  the  in- 
vention of  counterpoint,  and  which  was  lounded 
ou  the  popular  melodies  of  Xaplcs. 

VIMEKCATI,  a  celebrated  perform* /  on  the 
mandolin,  born  in  1778,  performed  at  the  King's 
Theatre  and  the  oratorios  in  London  in  the 
season  of  1824.  This  instrument  is  strung  with 
w  ire.  and  is  played  with  a  plectrum,  or  piece  of 
wood,  held  between  the  thumb  and  tore  tiiiger. 
The  tone  has  not  tlie  sweetness  that  is  vi'.lded  bv 


api  ointed  chapcl-ma^•ter  of  the  Royal  Hospital    catgut  strings,  but  is  more  penetrating,  aud  there- 


at Lisbon,  and  subsequently  of  the  Cathedral 
Church  of  that  capital.  He  corapo.sed  many 
jisalms,  masses,  and  hymns,  which  are  still  pre- 
served in  the  i{oyal  Musical  Library  at  Lisbon. 
The  chief  work  among  them  is  a  mass  for  eight 
voices,  in  four  parti. 


fore  better  calculated  for  a  capacious  theatre  or  a 
large  room.  Signor  Vimercati  obtaincil  great 
ma-stery  over  his  instrumejit. 


VIXA.     Tlic  rhiii,  or  iccii,  is  the  oldest  musical 

instrument  in  use  in  Hindostan  ;  it  is  a  fretted 

instrument  of  the  guitar  kind.     'I'hc  linger  board 

VILHEXA,  DIEGO  DIAS  DE,  chapel-mas-     is  21  6-8th»  inches  long.     A  little  Iwvond  each 

ter  at  Evora,  in  I'ortugjd.  was  one  of  the  most     end  of  the  tiuger  board  are  two  large  gourds,  and 

distinguished  contrapuntists  of  his  country,  and     beyond   these  arc  the  pegs  and  tnilpii^  e  whick 

•  pupil  of  the  great  master  Antonio  Piiiheiro.     hold  the  wires.     The  whole  length  ol  the  iustru 

1-0  963 


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ENCYCLOP-CDIA    OF   MUSIC. 


YIN 


nient  is  tliree  feet  seven  inches.  The  first  gourd 
is  fixed  nt  ter\  inches  from  the  top,  and  the  second 
w  about  two  feet  eleven  and  a  half  inches.  The 
gourds  are  very  lar<;e,  about  fourteen  inches  in 
diameter.  The  fiiifi;er  board  is  about  two  inclies 
wide.  The  wires  arc  seven  in  number,  and 
consi-^t  of  two  steel  ones,  very  close  together,  on 
the  ri^ht  side  ;  four  brass  ones  on  the  fiuj^er  board ; 
and  one  brass  one  on  the  left  side.  The  instru- 
ment i.s  held  over  the  left  shoulder,  the  upper 
goard  resting  on  that  shoulder,  and  the  lower 
i)ne  on  the  right  knee. 

VIXACESE,  BENEDE'rrO.  A  chevalier  of 
Brescia  and  chapel-master  to  an  Italian  prince. 
His  sacred  comi)ositions  were  highly  esteemed. 
In  1697  he  published  at  Venice  his  first  opera 
of  sonatas  in  three  parts.  Amongst  his  operas 
■we  can  name  "  Gti  sf'ir/hi  di  i/iubilo ; "  "  Cuor  ncllo 
icrigiio,"  Cremona,  1696;  "  Innocenzagiuatificata,'' 
IR99  ;  "  AmaiUi  ffenerosi,"  1703. 

VIXCEXTINO,  XICOLO,  a  learned  compo- 
ser and  priest,  was  born  at  Vicenza  in  loll,  and 
died  at  Korae  about  1.57.5.  With  respect  to  this 
writer  there  are  few  modern  books  on  music  in 
which  some  mention  is  not  made.  He  published 
at  Home,  in  15.55,  a  work  entitled  "  L'Antiai  Mu- 
tica  riilolta  alia  Moderna  Praltica,"  containing 
chiefly  a  series  of  dissertations  on  the  music  of 
the  ancients  in  comparison  with  that  of  the  mod- 
erns. The  author's  principal  design  in  publish- 
ing it  seems  to  have  been  to  revive  the  practice 
of  the  ancient  music ;  and,  for  this  purpose,  he 
invented  an  instrument  of  the  harpsichord  kind, 
so  constructed  and  tuned  as  (he  has  told  us)  to 
answer  the  division  of  the  ancient  tetrachord  in 
each  of  the  three  genera.  Such  a  multiplicity 
and  confusion  of  chords  as  attended  this  inven- 
tion ijitroduced  a  great  variety  of  intervals,  to 
which  the  ordinary  division  of  the  scale,  by  tones 
and  semitones,  was  by  no  means  commensurate. 
He  was  therefore  reduced  to  the  necessity  of  giv- 
ing to  his  instrument  no  fewer  than  si.\  rows  of 
keys,  the  powers  of  which  he  has  attempted  to 
e.\plain,  but  in  very  obscure  terms. 

The  success  which  he  fancied  he  had  attained 
by  this  instrument,  induced,  after  his  death, 
manj'  persons  to  attempt  the  recovery  of  the  an- 
vieat  musical  genera  ;  and  several  alterations  of 
diHerent  kinds  were  made  in  it  by  a  reduction 
of  the  keys  and  other  methods.  All  these  were, 
however,  to  no  purpose.  The  arrangements  of 
the  tones  and  semitones  in  the  musical  instru- 
ments continue  at  this  day  precisely  the  same 
as  they  did  when  Vincentino's  ideas  on  the  sub- 
ject first  occurred  to  his  mind. 

His  work  has  been  variously  spoken  of  by  mu- 
sicians. Some  have  condemned  it  as  containing 
the  most  absurd  doctrines ;  others  have  stood  for- 
ward L::  its  defence.  Among  the  latter  is  to  bo 
numbered  Dr.  Pepusch.  On  the  whole,  however, 
it  appears  that  Vincentino  derived  all  his  knowl- 
edge of  the  ancient  writers  from  the  works  of 
Boethius  and  his  contemporaries,  and  that,  be- 
yond some  whimsical  notions  of  his  own,  there 
is  nothing  contained  in  his  publication  which  is 
not  also  to  bo  found  in  them. 

VIXCI,  LEOXAUDO  DA.  Bom  at  Vinci,  a 
chate.iu  in  the  neighborhood  of  Florence,  in  14  id. 
Highly  distinguished  a,s  a  painter,  he  was  also 
tclebrated  as  a  performer  on  the  violin,  and  was 
2nguged  in  this  capacity  in  tlie  service  of  the 


Duke  of  Milan,  at  a  salary  of  five  hundred 
crowns.  He  was  in  the  habit  of  using  a  violin 
with  a  silver  neck,  and  a  head  in  the  form  of  a 
horse's,  and  of  singing  to  his  own  accompaniment. 
He  died  at  Foutainebleau  in  1523,  at  the  age  of 
seventy-five,  e.^jjiring  in  the  arras  of  Francis  I., 
wlio  had  come  to  visit  him  in  his  illness.  This 
scene  has  been  made  the  subject  of  an  admirable 
picture  by  Menageout. 

VIXCI,  LEOXARDO  DA,  was  bom  at  Na- 
ples in  1690.  This  composer  manifested  at  an 
early  age  the  rarest  ability  ;  and  although  he  de- 
voted but  few  years  to  his  studies,  they  were  not 
less  complete.  He  was  still  at  the  Conservatory 
when,  on  the  report  of  his  fame  as  one  of  the 
pupils  who  gave  the  brightest  hopes  of  future  ex- 
cellence, he  was  engaged  at  Rome  to  compose  the 
opera  of  "  SemiramU."  The  apjilause  of  the  Ro- 
mans, who  are  not  more  difficult  to  satisfy  than 
any  of  the  Italians,  flattered  the  self-love  of  the 
young  artist ;  he  was  animated  with  fresh  ardor, 
and  continued  to  receive  the  reward  of  his  zeal. 
The  Romans  were  struck  with  tlie  melody  of  his 
airs,  the  science  of  his  accompaniments,  and  the 
brilliancy  of  his  style,  which  was  the  purest  and 
finest  of  his  time,  then  so  I'ertUe  in  great  masters! 
Vinci  returned  to  Naples,  in  order  to  add  to  his 
triumph  the  applause  of  his  fellow-citizens :  he 
composed  the  opera  of  "  AsCyaiiax,"  the  success 
of  which  surjjassed  his  greatest  hopes  and  spread 
his  reputation  beyond  the  shores  of  liis  native 
country.  From  this  moment  the  theatres  of  the 
greatest  cities  in  Italy  solicited  his  services.  Ven- 
ice carried  off' the  prize;  and  m  1725  he  gave  his 
first  opera  in  that  city,  where  he  was  not  only 
able  to  dispute  the  reputation  and  abilities  of 
Porpora,  but  had  the  glory  of  seeing  hLs  opera  of 
"Si/ace"  preferred  to  the  "  Siroe"  of  his  rival. 
Vinci  then  gave  his  "  IJigenia,"  which  wa-s  equal- 
ly fortunate  with  "  Siface."  His  talents  increased 
with  his  success.  He  returned  to  his  country  to 
offer  there  anew  the  tribute  of  his  acquirements, 
the  graces  of  youth  united  to  the  masculine  beau- 
ties of  a  riper  age.  He  composed  immediately  on 
his  arrival  the  opera  of  "  liosmira,"  which  de- 
lighted by  the  novelty  and  beauty  of  its  combi- 
nations ;  the  freshness,  purity,  and  truth  of  its 
melody ;  and  particularly  by  the  profound  and 
scientific  knowledge  of  all  the  secrets  of  harmony, 
as  displayed  in  its  modulations.  He  was  again 
called  to  Rome,  where  the  public,  notwithstand- 
ing its  known  character  for  inconstancy,  appeared 
to  relish  no  music  but  that  of  Vinci,  and  he  com- 
posed "  Artaserse"  and  "  Didom:."  The  former 
is  considered  as  hLs  chef-d'ivuirt:,  and  also  amongst 
the  first  productions  of  the  Italian  theatre.  The 
reputation  of  Vinci  had  now  reached  it*  height ; 
but  this  glorious  epoch  was  also  that  of  his  death. 
During  the  brilliant  success  of  "Didoiie"  at 
Rome  he  became  attached  to  a  lady  of  rank,  tal- 
ents, and  beauty,  who,  it  is  -said,  recompensed  his 
att'ection.  On  his  return  to  Xaples  his  fellow, 
citizens  wished  to  hear  this  opera  ;  and  while  he 
was  preparing  it  for  representation,  one  of  the 
relations  of  this  lady,  hearing  that  Vinci  had 
boasted  of  the  favors  he  had  received  from  her, 
mixed  some  poison  in  a  cup  of  chocolate,  which 
she  presented  to  him,  and  thus  put  an  end  to  his 
lil'e  in  the  year  1732.  Vinci  iwssessed,  together 
with  the  talent  of  invention,  th.nt  of  the  most  per- 
feet  execution.     He  completed  the  improvemeuta 


954 


VIN 


ENCYCLOPAEDIA   OF  MUSIC. 


VIO 


.n  recitntive,  rigorously  adapted  the  music  to  the 
expression  of  words,  and  was  the  lirst  composer 
who  effected  any  great  change  in  the  musical 
drama  alter  the  invention  of  recitative  by  Jacopo 
Peri  in  KiOO.  The  accompanied  recitatives  in 
"  /Jiihiie"  are  particularly  celel)ratcd.  He  com- 
posed many  operas  besides  those  already  men- 
tioned, amongst  which  are  several  of  the  comic 
kind. 

VINCI,  MARIANA.  A  celebrated  Italian 
Ringer.  She  ])erfornied  at  the  opera  in  Lisbon 
in  I.SOI,  and  created  the  greatest  enthusiasm  both 
by  lier  singing,  ])erson,  and  acting.  It  was  said 
of  lier,  that  if  the  public  was  composed  of  only 
the  deaf  and  blind,  the  former  sihould  not  fail  to 
sr-e  Vinci,  and  the  latter  to  hoar  her.  From  Lis- 
Don  nlic  went  to  England,  and  made  her  Mhiit  at 
ttie  King's  Tlieatre,  in  l.SOl,  in  the  o])era  of  "  Iji 
I'riiicipcssa  Filti.iof'a,"  by  Andrco//.i.  .She  had 
the  advantage  of  a  tine  figure,  a  tall  and  majestic 
dc])oitraent,  sang  with  great  sweetness  and  taste, 
and  was  as  well  received  by  the  IJritish  public 
as  uhe  had  previously  been  on  the  continent. 

VINCIUS,  PETRUS,  a  very  distinguished 
composer  in  the  second  half  of  the  sixteenth  cen- 
tury, was  born  at  Nicosia,  in  .Sicily.  Early  in 
life  he  was  chapel-master,  first  in  Rome,  and 
afterwards  of  the  Church  of  St.  Marco  and  Major 
at  Bergamo.  He  returned  at  length  to  his  native 
country,  and  died  there  in  1584.  His  printed 
works  consisted  chiefly  of  motets,  and  bear  date 
between  the  years  157S  and  1591. 

VINDERS,  JERONIMIIS.  a  Flemish  compo- 
ser, lived  about  the  year  1540.  Of  his  published 
works,  we  can  only  name  his  "  LameiUatio  super 
Mor/e  Josquin  de  Pre:,  7  vocuni,"  which  is  printed 
in  "  Le  septiime  Litre,  cnntenant  24  Chansons  ft  5  et 
d  6  I'artic.i,  par  feu  de  bonne  Mimoire  et  trts-excel- 
lenl  en  Musique  Josquin  de  Prez,  Avec  3  Epitnphes 
du  diet  Josquin,  composis  par  divers  Aucteurs," 
Antwerp,  1545. 

VIOCCA,  PIETRO,  an  Italian  composer,  lived 
about  1720.  From  his  works  the  following  may 
be  named  :  "  Tre  Marie  a  Pii  della  C'roce,"  ora- 
torio ;  •'  Parten:a  Amoroso,"  opera  ;  "  Die  Kro- 
iiUnfi  Ludwigs  15,  KOitigs  in  Frankreich."  This 
was  brought  out  at  the  ojiera  theatre  at  Ham- 
burg in  1722.  Mattheson  makes  mention  of  it 
as  lollows  :  "  Viocca  set  the  music,  and  Matthe- 
son lound  the  Italian  words."  Ry  this  it  would 
appear  that  he  resided  about  this  time  at  Ham- 
burg. 

VIOL.  A  stringed  instrument,  resembling,  in 
shape  and  tone,  the  violin,  of  which  it  was  the 
origin  ;  that  impressive  and  commanding  instru- 
ment being  little  more  than  an  improvement  of  i 
the  old  viol.  This  instrument  formeily  consisted 
of  five  or  six  strings,  the  tones  of  which  were  reg- 
ulated by  being  brought,  by  the  fingers,  into  con- 
tact with  the  frets  with  which  the  neck  was  fur- 
nished. The  rial  was,  for  a  long  while,  in  such 
high  esteem  as  to  dispute  the  preeminence  with 
the  harp,  especially  in  the  early  times  of  music 
m  France ;  and,  indeed,  being  reduced  to  four 
strings,  and  stripped  of  the  Ircts  with  which  tiols 
of  all  kinds  .seem  to  have  been  furnished  till  the 
sixteenth  century,  it  still  holds  the  first  place 
among  the  treble  instruments,  under  the  denom- 
uiatioa  o!  riolin. 


There  were  anciently  viob  of  divers  kinds.  The 
first  and  principal  was  the  b<tss  liol,  called  by  the 
Italians  viola  di  (jainba,  or  the  leg  viol,  because  held 
between  the  legs.  It  is  the  largest  of  all,  and  is 
mounted  with  six  strings.  Its  neck  is  divided  in 
half  notes,  by  seven  frets  fixed  thereon,  and  its 
sound  is  very  deep,  soft,  and  agreeable.  The  tab- 
lature  or  music  for  the  bass  viol  is  laid  down  on 
six  lines,  or  rules.  What  the  Italians  call  alto  vio- 
la is  the  counter  tenor  of  this,  and  their  teimr^ 
viola  the  tenor.  Tliey  sometiiues  called  it  simply 
the  viol.  Some  authors  will  have  it  the  Igra, 
others  the  ciihuru,  others  the  chelys,  and  others 
the  lestudo  of  the  ancients.  The  love  viol,  viola 
damori;  which  is  a  kind  of  triple  viol,  or  violin, 
having  six  brass  or  steel  strings  like  those  of  tha 
harpsichord,  was  a  good  instrument,  and  yielded  a 
kind  of  silver  sound,  which  had  something  in  it 
very  agreeable.  There  was  also  a  large  viol,  with 
forty-four  strings,  long  used,  called  by  the  Ital- 
ians viola  di  bardone,  which  instrument  was  littl* 
known  in  other  nations.  The  viola  ba-slonln,  or 
bastard  viol,  of  the  Italians,  was  never  used  among 
us  ;  but  Hrossord  says  it  was  a  kind  of  bass  viol, 
mounted  with  six  or  seven  strings,  and  tune<l  as 
the  common  one.  Another  was  what  the  Italians 
call  (It/a  di  braccio, arm  viol,  or  simply  brcu-cio,  arm. 
It  was  an  instrument  answering  to  our  counter 
tenor,  treble  or  tilth  violin.  Their  rio/<i  prima,  or 
first  viol,  is  really  our  counter  tenor  violin  ;  and 
they  commonly  used  the  clef  of  C,  sol  ut  on  the 
first  line  to  denote  the  piece  intended  for  their  in- 
strument. Their  viola  svcoiula  is  much  the  same 
as  our  tenor  violin,  having  the  clef  of  C,  sol  id  on 
the  second  line.  The  viola  ttrza  was  nearly  a  fifth 
violin,  the  clef  C,  sol  ut  being  on  the  third  line. 
The  Italian  viola  quarta,  or  fourth  viol,  was  not 
known  in  England  or  France,  nor  in  this  coun- 
try, though  we  fretiucntly  find  it  mentioned  in 
the  Italian  compositions  —  the  clef  on  the  fourth 
line.  Their  violeita,  or  little  viol,  was  iu  reality 
the  English  triple  viol,  though  writers  fretiuently 
confound  the  term  with  what  has  been  said  of  the 
viola  prima,  sccouda,  terza,  &c. 

VIOL.\.  A  tenor  violin.  This  instrument  is 
similar  in  its  tone  and  formation,  to  the  violin ; 
but  its  dimensions  are  somewhat  greater,  and  its 
compass  a  fifth  lower,  in  the  great  scale  of  sounds. 
Its  lowest  note  is  C  on  the  second  space  in  the 
bass.  The  part  it  takes  in  concert  is  between  that 
of  the  bass  and  the  second  violin. 

VIOLA,  ALFONS  DELLA,  chapel-master  to 
the  Duke  of  Estc,  at  Ferrara,  about  the  year 
1541,  wa-s  born  in  that  city.  It  is  a  common 
o]nnion  that  he  was  the  first  who  united  singing 
with  declamation  on  the  bfiards  of  a  theatre  ;  if 
so,  he  may  be  truly  nametl  as  the  first  opera 
composer.  Indeed,  the  earliest  monument  which 
now  remains  to  us  in  the  form  of  an  opera  ap- 
peared at  Ferrara,  in  1541,  under  the  title  of 
"  Orberchr,  Traijedia  di  (jiambatliMa  Girnldt  Cm- 
thin  Fi-rrarece :  in  Ferrara,  in  Ca*a  drlT  AiUnrt, 
dinanzi  ad  Krcolc  '1  iC  Este,  liuca  4  di  Ferrara  :  ftce 
la  Musira  AIJ'oiLV)  della  Viola :  fu  f  Architrtto  e  ii 
Dipiiiloro  (Urotant.-}  Carpi  di  Ferrara."  lie  also 
composed  the  operas  ••  //  Sacri/izin,"  1565  ;  ".4r» 
tiu'i,"  15i>:j  ;  and  "  /./>  Sfortunain"  15<<7.  There 
were  likewise  publLshed  by  him  "  iladri'jali,  ' 
Ferrara,  1599. 

VIOLA   DA   UAMDIST.      A   performer,   of 


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profwsor,  of  the  viol  da  gamba.     Sec  Viol   da 

CJAMBA.. 

VIOL  DA  URACCIA.  (I.)  The  name  for- 
merly given  to  the  alto  viola,  or  counter  tenor 
violin,  because  it  waH  played  on  the  arm,  or 
shoulder,  like  the  treble  or  coiuinoa  violin.  So 
called  to  distinguish  it  from  tlie  viol  da  ijamha, 
which  is  held  between  the  legs.  See  Viol  da 
Gamba. 

VIOL  DA  GAMBA,  or  GREATER  VIOL. 
A  viol  with  six  strings,  formerly  much  used  in 
Germany,  but  at  present  little  practised.  The 
])lace  of  (/amhist  is  now  as  totally  suppressed  in 
the  chapels  of  that  country  as  is  that  of  lutenists 
in  England.  This  instrument,  which  is  a  rem- 
nant of  the  old  chcsl  of  cioh,  is  so  crude  and  na- 
sal in  its  tone  that  even  the  hand  of  the  scientific 
and  skilful  Charles  Frederic  Abel  could  not  ren- 
der it  attractive  to  the  ears  of  u  Hritish  audience 
Its  name  of  ti^)l  da  gamba  is  derived  from  the 
circumstance  of  its  being  held  between  the  legs 
during  performance.     See  Viol  da  Brvccia. 

VIOL  D'AMOUR.  or  LOVE  VIOL.  A  viol, 
or  violin,  furnished  with  six  brass  or  steel  wires 
instead  of  sheepgut,  and  usually  played  with  a 
bow.  It  yields  a  kind  of  silver  sound,  at  once  so 
soft,  sweet,  and  tender  as  to  have  given  biith  to 
the  ilarae  by  which  it  is  known. 

VIOLARS.  Certain  practical  musicians  much 
encouiaged  in  Provence  during  the  twelfth  cen- 
tury, and  so  named  because  they  performed  on 
the  vie'le  and  viol.  Their  office  was  to  accom- 
pany the  Troubadours,  or  bards,  when  the)'  re- 
cited their  poetry. 

VIOLETIA  MARIXA.  A  stringed  instru- 
ment not  now  in  use,  supposed  to  have  been  sim- 
ilar in  shape  and  tone  to  the  viol  d'amour.  It 
was  tirst  introduced  in  England  by  Signior  Cas- 
trucci  in  the  year  1732. 

VIOLIN,  or  FIDDLE.  \  well-known  stringed 
instrument,  of  brilliant  tone  and  active  execu- 
tion. When,  or  by  what  nation,  this  important 
and  interesting  instrument  was  tirst  invented,  is 
not  at  present  known ;  nor  can  the  form  and 
character  of  the  violin  used  in  England  in  the 
time  of  Chaucer,  who  mentions  it,  be  exactly  as- 
certained. There  is,  however,  much  reason  for 
supposing  that,  from  its  Krst  introduction,  it  un- 
derwent continual  alterations  and  improvements  ; 
since  even  towards  the  end  of  the  sixteenth  cen- 
tury its  shape  ajipears  to  have  been  vague  and 
undetermined.  It  has,  however,  long  attained  its 
present  excellence  and  formed  theleuling  instru- 
ment in  concert.  During  the  protectorship  the 
violin  w;is  in  little  esteem  in  England,  and  gave 
way  to  the  rising  prevalence  of  the  viol ;  but  at 
the  restoration  viols  began  to  be  out  of  fashion, 
and  violins  resumed  their  former  consequence. 
The  antiquity  of  this  instrument  has  long  been  a 
subject  of  dispute  with  the  learned.  It  is  gener- 
ally siipjiosed,  and  with  much  reason,  that  no 
instrument  played  with  the  bow  was  known  to 
the  ancients. 

The  history  of  the  violin  is  a  standing  contra- 
diction to  the  doctrine  of  progress.  More  than 
two  hunrlrcd  an<l  fifty  years  have  transpired 
since  its  origin  in  Italy;  and  yet,  although  count- 
less attempts  have  been  made  from  time  to  time 
to  imjirove   upon   its   con-struction,  it    not    only 


remains  without  material  change,  but  the  oldest 
specimens,  by  connoisseurs,  are  esteemed  of  tht 
greatest  value  —  especially  those  which  wert 
manufactured  by  the  brothers  Aniati,  and  by 
Straduarius,  at  Cremona,  about  the  year  IG.jO. 

Prior  to  the  introduction  of  the  violin  into 
England,  the  leading  instrument  at  concerts  was 
the  viol,  which  was  furnished  with  frets.  'J'he 
removal  of  these  mechanical  guides  from  the  fin- 
ger board,  which  constituted  one  of  the  peculiari 
ties  of  the  violin,  was  intensely  ridiculed  by  mu- 
sical men,  as  ])rcscnting  a  conclusive  impediment 
to  all  further  use  of  what  they  pronounced  a 
mere  bawble.  Rut  its  grandest  |)roperty  con- 
sisted in  that  very  change ;  for  it  made  the  ear, 
and  not  the  fingers,  the  umpire  of  tone  and  of 
taste.  It  substituted  mind  and  soul  for  the 
mere  exercise  of  manual  skill.  The  truth  and 
certainty  of  which  its  opponents  thought  it  might 
rob  the  viol  were  more  effectually  secured  by 
calling  into  action  the  far  nicer  faculties  of  the 
organ  of  hearing.  There  are  in  existence,  at  this 
day,  some  of  the  instruments  manufactured  mare 
than  two  hundred  years  ago  by  the  artists  iibove 
mentioned.  "The  Amati,"  says  a  writer  on  this 
subject,  "  is  rather  smaller  in  size  than  the  violins 
of  the  present  day,  and  is  easily  recognized  by  its' 
peculiar  sweetncsi  of  tone." 

But,  although  there  has  been  little  or  no  alter- 
ation of  its  shape,  the  method  of  performing  ujjon 
this  instrument  has  been  wonderfully  improved 
within  the  last  century.  Although  CorcUi,  and 
Tartini,  and  others  had  aimed  to  develop  its 
powers,  it  was  not  until  Iluydn  wrought  a  revo- 
lution in  music,  by  introducing  true  nature  into 
the  science  and  displacing  the  dry  rules  of  mere 
art,  that  the  capabilities  of  this  ii\strument  began 
to  be  felt  and  understood  The  cultivation  of 
the  female  voice  was  not  fairly  commenced  until 
about  this  period.  From  this  beautiful  auxiliary, 
it  has  been  remarked,  tl.e  violin  received  its  first 
lessons  in  pathos  and  feeling,  and  in  return  it  has 
taught  the  voice  grace  and  execution. 

To  the  violinist  there  is  almost  as  much  of 
beauty  in  the  form  of  a  perfectly  modelled  instru- 
ment as  there  is  of  sweetness  in  its  tones ;  and 
as,  in  all  cases  of  natural  organization,  this  exte- 
rior beauty  is  intimately  connected  with  the  per- 
fect efficiency  of  the  object  for  the  purposes  for 
which  it  is  intended,  —  the  tone  of  the  violin  de- 
pending upon  the  exact  proportion  and  perfect 
adjustment  of  its  part, — it  may  well  be  ques- 
tioned whether  any  conceivable  alteration  in  the 
form  and  construction  of  the  violin  could  by  pos- 
sibility be  an  improvement.  Its  contour  is  a  se- 
(juence  of  lines  of  beauty;  its  model,  in  exact 
obedience  to  the  rigid  laws  of  proportion,  falls 
into  graceful  profiles;  in  n  word,  it  may  be  in- 
stanced as  a  faultless  illustration  of  the  beauty  of 
fitness,  even  to  the  consul  iraate  grace  of  the  scroll 
which  terminates  the  neck  of  the  instrument. 

The  oldest  makers  may  be  supi'Osed  to  have 
determined  their  contours  (as  we  have  little 
doubt  the  (Sreek  sculptors  and  architects  did  in 
those  remains  which  exist  only  to  foil  the  re- 
searches of  formalists)  by  hand  and  by  eye.  We 
know  not  whether  we  are  safe  in  saying  that 
Anthony  Straduarius  was  the  first  to  reduce  the 
principles  of  construction  to  communicable  ule. 
What  M.  Vuillaume  can  so  readily  and  so  a.  cu- 
rately  determine  in  his  "  Copies  "  was,  it  Ls  ob- 
vious, previously  perfectly  systematize!  ir    th( 


OdG 


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EXCYCLOP.EDIA    OF   MUSIC. 


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inventor's  mind.  Stradunrius,  besides  the  most 
•ij;id  ndhercneo  to  uniform  priiicijilc  in  the  out- 
lines, ma'ntained  a  system  of  gradients  in  the 
tliickncsses  of  the  paits  throughout. 

It  is  not  every  one  who  is  nwarc  that  no  less 
than  tifty-eight  pieces  go  to  make  up  n  violin  ;  or, 
iMupJoying  twice  the  reckoned  number  of  pieces 
in  the  purHing,  (as  Choron  and  I.afage  do  in  the 
"Manuel  de  Miisifjuc.")  the  number  of  parts 
amounts  to  seventy.  These  jjieces  are  as  follows  : 
wo  for  the  back  ;  two  for  the  belly  ;  six  for  the 
blocks  at  the  top,  bottom,  and  four  corners ;  six 
for  the  sides;  twelve  for  the  lining  for  the  sides; 
one  bass  bar;  twelve  for  the  purHiiig;  one  rest  for 
liiilpiece;  one  neck;  one  fingerboard;  one  tail- 
|,iece ;  four  i>cgs ;  one  nut ;  one  button  for  the 
tailpiece ;  four  strings ;  one  catgut  or  wire  to 
connect  the  tailpiece  with  the  button;  one 
sound  post ;  one  bridge. 

The  violin  takes  its  name  from  the  Italian  word 
vii>/i)io,  which  latter  is  a  diminutive  of  viola.  It 
lias  lour  strings,  the  lowest  of  which  is  tuned  to 
G,  the  next  higher  to  1),  and  the  next  to  A,  and 
the  highest  to  E.  These  mounted  strings  are 
struck  or  jilaycd  with  n  bow.  The  violin  con- 
sists, like  most  other  stringed  instruments,  of  three 
parts  —  the  neck,  the  (abfc,  and  the  sound  board. 
At  the  sides  are  two  ajiertures,  and  sometimes  a 
third  towards  the  top,  shaped  like  a  heart.  Its 
bridge,  which  is  below  the  apertures,  bears  up 
the  strings,  which  are  fastened  to  the  two  ex- 
tremes of  the  instrument ;  at  one  of  them  by  a 
screw,  which  stretches  or  loosens  them  at  pleas- 
ure. The  style  and  sound  of  the  violin  are  the 
gayest  and  most  sprightly  of  all  other  instru- 
ments ;  and  hence  it  is,  of  all  others,  the  fittest 
lor  dancing.  Yet  there  are  ways  of  touching  it, 
which  render  it  grave,  soft,  languishing,  and  fit 
for  church  or  parlor  music.  The  notes  to  which 
the  violin  is  tuned  are  as  follows  :  — 

4th  itring,  G.         3d  airing.  D.      2d  itring,  A.        Ut  itriDg,  E. 


i 


i 


^js -^^-^ 5- 


Its  harmony  is  from  fifth  to  fifth  ;  and  it  gener- 
ally makes  the  treble  or  highest  parts  in  con- 
certs. Its  play  is  composed  of  bass,  counter-ten- 
or, tenor,  and  treble ;  to  which  may  be  added  a 
fifth  part.  Each  part  has  four  fifths,  which  rise 
to  a  greater  seventh.  In  compositions  of  music, 
violin  is  expressed  by  V ;  double  V  denotes  two 
violins.  The  word  rioHn  alone,  stands  for  treble 
violin.  When  the  Italians  prefix  alto,  (more,  or 
baam,  it  then  expresses  the  counter-tenor,  tenor, 
or  bass  violin.  In  compositions  where  there  are 
two,  three,  or  more  different  violins,  they  make 
use  of  prima,  secondo,  terzo,  or  of  the  characters  I, 
II,  III;  or  Ist,  2d,  3d,  &c.,  to  denote  the  differ- 
ence The  violin,  we  have  said,  has  only  four 
strings,  each  of  a  different  thickness,  the  smallest 
whereof  makes  the  E  si  mi  of  the  highest  octave 
of  the  organ ;  the  second,  a  fifth  below  the  first, 
makes  the  A  mi  la;  the  third,  a  fifth  below  the 
9econd,  is  I)  la  re ;  lastly,  the  fourth,  a  fifth  be- 
low the  third,  is  G  re  sol.  'ITie  natural  compass 
Df  the  strings  of  the  violin  may  be  seen  by  the 
Tollowing  scale :  — 


-.4— 


-D— 


First     String,  —  E. 


Second  String,  —  A. 


F         ( 
E (  T/iird   Siring,  — D. 


-C— 


n 

A— 


I    o 


Fourth  String,  —  O , 


Most  nations  have  used  the  clef  G  re  sol  on  the 
second  line  to  denote  the  music  for  the  violin  ; 
hut  in  France  they  use  the  same  clef  as  the  fint 
line  at  bottom.  The  first  method  is  good  where 
the  song  goes  very  low,  the  second  where  it  goes 
very  high.  Nothing  can  surjjass  the  melting 
tones  which  the  violin  produces  in  the  hands  of 
a  skilful  performer.  Yet  common  and  well  known 
as  the  violin  now  is  as  a  musical  stringed  instru- 
ment, it  still  ret|uires  the  greatest  skill  in  the  per- 
former to  make  it  agreeable.  As  the  world  goes, 
there  is  hardly  a  worse  instrument  than  a-fiddle. 
AVe  had  as  lief  hear  the  filing  of  a  saw  as  ninety- 
nine  hundredths  of  the  vile  scraping  of  catgut 
with  which  the  world  is  annoyed.  Our  Puritanical 
ancestors  had  even  a  worse  opinion  of  it  than  we 
of  the  present  day  —  a  fiddle  in  the  meeting 
house  was  by  them  regarded  as  downright  sac- 
rilege. Now,  all  this  bad  odor  grows  out  of  a 
want  of  knowledge  of  and  skill  uj)on  the  instru- 
ment. As  a  -simple  instrument,  it  stands  at  the 
very  head  of  the  list :  nothing  can  suq)ass  it 
when  in  the  hands  of  a  skilful  performer :  for 
richness  and  variety  of  tone  it  is  almostja  mira- 
cle. Persons  who  hive  never  heard  it  can  have 
no  idea  of  it.  Talk  to  them  of  a  fiddle,  and  they 
think  of  nothing  but  the  unearthly  scrapings,  to 
the  time  of  which,  in  their  younger  days,  ]>cr- 
chance,  they  "shaved  it  down"  in  the  "Chorus 
Jig"  or  ">Ioney  Musk"  —  and  as  for  going  to 
hear  it,  commend  them  to  a  hurdygurdy  sooner. 

The  I/ondon  Musical  World  says,  "  'ITie  first 
violin  that  there  is  any  account  of  was  con- 
structed in  Italy  about  the  year  KlOO;  but  those 
which  are  esteemed  by  musical  men  as  most  val- 
uable were  manufactured  by  the  family  of  A.  and 
J.  Amati,  at  Cremona,  in  the  year  16.50.  The  \'io- 
lin  was  first  introduced  into  concerts  about  twc 
hundred  years  ago ;  and  when  first  played  ujKjn 
it  was  pronounced  a  humbug,  never  capable  of 
being  used  with  any  success." 

Directions  for  playing  the  notes  of  the  scale.  — 
Hold  the  violin,  with  the  left  hand,  abo\it  half  an 
inch  from  the  bottom  of  it.s  head,  which  Ls  gen- 
erally termed  the  nut,  and  let  it  lie  between  the 
root  of  your  thumb  and  fore  finger,  leaning  the 
body  of  the  instrument  against  the  collar  bone, 
with  the  elbow  immediately  undenieath,  that  the 
fingers  may  more  ea.sily  touch  the  strinjjs, 

'Rie  bow  must  be  held  lictween  the  thumb  and 
fingers  of  the  right  hand,  just  alxive  its  nut,  the 
hair  being  turned  inward  against  the  outride  of 
the  thumb,  and  the  fingers  placed  at  a  little  dis- 
tance from  each  othi  r  u;  on  the  wood,  so  M  to 
command  the  whole  length  of  the  bow. 


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EXCYCLOP.EDIA    OF   MUSIC. 


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There  are  four  notes  npportaining  to  the  fourth, 
*r  biu^est  string ;  viz.,  U.  A,  U,  and  U.  G  is  to  be 
played  open ;  A  must  he  stopped  with  the  fore 
linger  of  the  left  hand,  almost  at  the  distance  of 
an  inch  from  the  nut;  15  with  the  second  finger, 
about  half  an  inch  from  the  tirst ;  and  C  wjth  the 
third  linger,  close  to  the  second. 

Tlie  third  string  has  in  a  like  manner  four 
notes,  which  are  as  follows;  viz.,  1),  E.  Y,  and  (i. 
1)  is  struck  open;  E  is  to  be  stopped  with  the 
fore  finger,  about  an  inch  from  the  nut ;  F  with 
the  second  finger,  close  to  the  first ;  ard  G  with 
the  third  finger,  three  quarters  of  an  inch  from 
the  second. 

'ITie  second  string  has  also  four  notes  ;  viz..  A, 
B,  C,  and  D.  A  must  be  struck  o,  en ;  B  is  to  be 
stopped  with  the  fore  finger,  about  an  inch  from 
the  nut;  C  with  the  second  finger,  close  to  the 
first ;  and  D  with  the  third  finger,  about  three 
quarters  of  an  inch  from  the  second. 

The  first,  or  treble  string,  has  five  notes,  which 
are  as  follows ;  viz.,  E,  F,  G,  A,  and  B.  Strike 
E  open ;  stop  F  with  the  fore  finger,  very  near 
the  nut ;  G  with  the  second  finger,  about  three 
quarters  of  an  inch  from  the  first ;  A  with  the 
third  finger,  at  the  same  distance  from  the  sec- 
ond ;  and  B  with  the  little  finger,  half  an  inch 
from  the  third. 

It  will  be  necessary  likewise  to  take  notice  that 
all  the  notes  on  the  first  or  treble  string,  e.^ccept- 
ing  E,  ere  termed  in  alt.,  for  distinction's  sake ;  and 
that  the  first  note  on  every  string  must  be  drawn 
with  a  down  bow. 

The  distance  from  the  nut  to  the  bridge  must 
be  eleven  inches  and  one  tenth. 

To  produce  a  good  tone,  draw  the  bow  gently 
upon  the  strings  and  parallel  with  the  bridge. 
Then  practise  the  first  gamut. 

When  you  are  acquainted  with  the  manner  of 
stopping  according  to  the  first  scale  you  may 
proceed  to  the  scale  of  flats  and  sharps,  and  the 
manner  of  shifting  the  hand  up  the  finger  board, 
or  neck  of  the  violin. 

Diatonic  Scale  of  tub  Violin. 

4th  itrlng.  3d  string.         2d  string.         let  string. 


OABCD         DEFOA        ABCDE        EFGAB 

0     li!34      U1234      Ui;i34      Ui;>34 

Op  tuning  the  Violin. 

Tlie  second  string  must  be  tuned  A,  and  the 
other  strings  by  filths ;  aa,  for  example  :  — 

4lh,  or  G.  3d,  or  D.  2d,  or  A.  lit,  or  E. 


m 


^ 


— ff- — -I 


■o- 


SCALB  FOB  TUNING   THE   StkINGS. 


i 


^^^^mf^ 


Kule  1st.    .'^crew  up  the  second  string,  A,  to 
ihttame  pitch  with  A  on  the  ilute  or  clarinet. 


Rule  2d.  Then  tune  D,  the  third  string,  five 
notes  below  A,  the  second  string. 

Rule  3d.  Tune  G,  the  fourth  string,  five  notes 
bel'iw  D,  the  third  string. 

Kule  4th.  Tune  E,  the  first  string,  five  notes 
above  X,  the  second  string. 

In  oJie  scale  of  shifts,  the  first,  or  half  shift,  is 
on  the  fifth  line,  or  G.  The  second,  or  whole  shift, 
is  on  the  eighth  line,  or  A.  The  double  shift  is 
on  the  seventeenth  line,  or  D.  The  last  shift  is 
on  the  twentieth  line,  or  E.  In  shifting,  place 
the  frst  finger  on  the  line  or  letter  at  which  the 
shift  is  marked,  and  then  move  the  hand  accord- 
ingly. 

Observe  that  Aj*  and  B  b ,  D**  and  E  b ,  and  Gj* 
and  Ab,  are  not  stopped  with  the  same  finger. 

Half  Shift. 

4th  string.         3d  string.         2d  string.  Ist  string. 


I 


^9         I      'JJi^ 


-#-* 


■ M-, 1 1 1_ 


m 


1284       1234      12    34         1234 

Whole  Shift. 

4th  string,         3d  string.         2d  string.  1st  strior. 


I 


a 


S£ 


T^ 


I 


^-•^^ -^ . 

1234      1234      1234         1234 

Double  Shift. 

4th  string.         3d  string.         2d  string.  Ist  string. 


^ 


^^ 


-#-^ 


*^       12    34      1234       1234         1234 

Last  Shift. 

4th  string.        Sd  string.         2d  string.  Ist  string. 


•7   1234   1234   1234    1234 

When  the  same  tone  may  be  produced  in  dif- 
ferent methods  and  on  different  strings,  observa- 
tion and  ])ractice  must  determine  which  to  take. 
By  practice  this  will  become  easy. 

The  method  of  using  the  fourth  finger  instead 
of  an  open  string  will  be  often  found  convenient, 
and  sometimes  jireferable,  for  its  softness  in  ac- 
companying a  voice,  and  in  piano  passages  when 
the  open  string  would  so>ind  harsh. 

The  cipher,  in  the  diatonic  scale,  signifies  that 
the  string,  or  note,  must  be  played  open  ;  and  the 
figures  1,  2,  3,  4  signify  the  1st,  2d,  3d,  and  4th 
fingers.  When  you  find  a  figure  placed  under 
a  note,  and  the  same  figure  under  the  ne.xt,  it 
denotes  that  the  same  finger  must  be  flopped 
about  half  an  inch  farther  than  it  was  before. 

ITie  notes  over  or  under  a  slur  are  stopped  in 
two  different  ways  —  either  on  the  string  open, 
or  on  the  next  with  the  little  finger ;  the  latter 
will  be  found  frequently  convenient,  and  some- 
times necessary. 

When  the  same  finger  is  used  twice,  which 
will  he  found  necessary  in  the  chromatic  scale 
the  second  time  it  must  be  stopped  about  half  a> 
inch. 


958 


VIO 


ENCYCLOPEDIA    OF    MUSIC. 


VI  ; 


Fonith  itrbig. 


Chromatic  Notes  foe  the  Violin. 

Third  ilriDg.  Bfcond  itring. 


FIrat  Itring. 


^ft^^ 


^^ 


m 


S^  Ab  AJf  B>  Cjf  d1^  D^   Kb  FJI  Gb  G^  Ab    A^  fib  cjf  ob  V>j^  sb  F^  cb  GJ|  Ab  aJ*  Bb  cj}  Dt^ 
li;2284         112884         ll-^;:84         112884 


Flain  Scai.b  of  the  Finoeb  Boa&d. 


4tli  String 


4th  Finger 


3dj;inKer_2d  Finger. 

"I  a' 


lit  String, 


Cheokatic  Scale  with  Shifts. 


Directions  for  bowing.  —  Press  the  bow  on  the 
ttrings  with  the  fore  finger  only,  and  not  with 
the  weight  of  the  whole  hand ;  make  use  of  the 
bow  from  the  point  to  that  part  under  the  fin- 
gers. Obser\-e  in  up  bows,  when  the  nut  ap- 
proaches the  violin,  to  keep  your  hand  bent 
downwards  from  the  joint  of  the  wrist,  and  bring 
the  hand  upwards. 

In  playing  quick  passages,  let  the  motion  pro- 
ceed from  the  joints  of  the  wrist  and  elbow,  and 
not  at  all,  or  very  little,  from  the  joint  of  the 
shoulder ;  but  in  playing  long  notes,  when  the 
bow  is  dr.iwn  from  end  to  end,  the  joint  of  the 
shoulder  is  also  employed. 

At  last,  he  careful  to  draw  the  bow  smooth 
and  even  from  end  to  end  without  stopping,  or 
else  you  cannot  produce  any  harmonious  sounds. 

One  of  the  chief  beauties  of  the  violin  is  the 
swelling  and  the  diminishing  of  the  sound.  It 
is  practised  on  long  nntes,  in  slow  and  expressive 
movements,  in  the  following  manner  :  begin  the 
sound  very  soft,  and,  pressing  the  bow  with  the 
fore  finger,  increase  the  sound  gradually  to  the 
middle  of  the  note,  and  then  decrease  gradually 
to  the  end.  Some  notes  should  be  softly  sus- 
tained, others  played  quick   and  loud.      These 

9 


distinctions,  however,  cannot  be   correctly  and 
gracefully  acquired  but  by  long  practice. 


A  performer  on,  or  professor 


VIOLINIST, 
of,  the  violin. 

VIO  LINO  PRINCIPALE.  (I.)  Tlie  first 
violin. 

VIOLS.  During  the  seventeenth  century  most 
of  the  musical  families  of  England  were  in  pos- 
session of  a  chest  of  ^•iols,  consisting  of  two 
trebles,  two  tenors,  and  two  basses,  with  six 
strings  upon  each,  all  tunctl  alike  by  fourths 
and  thirds,  and  the  necks  fretted.  The  compass 
and  accordaliira  of  this  instrumental  family,  says 
Bumey,  were  the  following  :  — 

Treble  Viol. 

—  9 


Ie 


Bmm  Vtol.  or  FioJ  do  (J<mtba.        Tenor  Viol,  or  Viol  da  Brmeeia. 
?v-: » r^. :r-<»- 


^^i 


tf-*- 


59 


VIO 


rxcYCLor.i  dia  of  music. 


VIO 


These  instruments  had  but  a  feeble  vibrntinn, 
and  would  make  no  way  in  a  large  room.  The 
frets  on  the  necks  show  how  little  trust  was  re- 
posed in  the  ciu-  of  the  performer,  that  the  note, 
without  their  aid,  could  ever  be  stopped  in  tune. 
There  existed  no  knowledge  of  the  bow,  no  vari- 
ety, and  no  accent ;  yet  from  such  weiik  and 
rude  beginnings,  in  accompanying  madrigals  up- 
on these  toneless  instrument'*,  the  taste  for  in- 
strumental music  took  its  rise.  For  now  the 
players  found  that  they  could  dispense  with  the 
voices ;  and,  as  they  got  more  and  more  interested 
in  their  own  progress,  they  applied  themselves  to 
music  specially  produced  for  instruments,  ex- 
tending over  a  larger  range  of  notes  than  the 
vocal  compositions  which  they  had  previously 
used. 

The  people  of  England  became  much  preju- 
diced in  favor  of  the  viol  as  an  instrument  of  a 
gentleman  ;  so  much  so  that  the  progress  of  the 
violin,  notwithstanding  its  manifest  superiority, 
was  most  strenuously  and  obstinately  opposed. 
Anton}-  Wood  was  one  of  the  first  converts  to 
the  violin  in  England.  "  In  the  latter  end  of  the 
year  16.i7  Davis  Mell,  the  most  eminent  violinist 
of  London,  and  clockmaker,  being  in  Oxon,  Pe- 
ter Pitt,  Will  Bull,  Kenelm  Digby,  and  others 
of  All  Souls,  as  also  Antony  Wood,  did  give  a 
very  handsome  entertainment  in  the  tavern  called 
the  Salutation.  The  company  did  look  on  Mr. 
Mell  to  have  a  prodigious  hand  on  the  violin, 
and  they  thought  that  no  person,  as  all  in  Lon- 
don did,  could  go  beyond  him." 

Wood  lived,  however,  to  hear  a  rival  of  Mr. 
Mell.  "Thomas  Baltzar,  a  Lubecker  bom,  and  the 
most  famous  artist  for  the  violin  that  the  world 
had  yet  produced,  was  now  (IfioS)  in  Oxon  ;  and 
this  day,  July  24,  Antony  Wood  was  with  him, 
and  Mr.  Edward  Low,  lately  organist  of  Christ 
Church,  at  the  house  of  William  Ellis.  Antony 
Wood  did  then  and  there,  to  his  very  great  as- 
tonishment, hear  him  play  on  the  violin.  He 
then  saw  him  run  up  his  fingers  to  the  end  of 
the  finger  board  of  the  violin,  and  run  them  back 
insensibly,  and  all  with  alacrity  and  in  very  good 
tune,  tchich  he  ;ior  any  in  England  saw  the  like  be- 
jore." 

The  apparition  of  Baltzar  must  have  been 
even  more  astonishing  than  that  of  Paganini  in 
our  own  day-  He  surjjrised  our  innocent  ances- 
tors just  when,  after  aatcitig  madrigals,  they  fan- 
cied that  they  had  been  performing  instrumental 
music. 

VIOLIST.  A  performer  or  professor  of  the 
viol. 

VIOLONCELLO.  A  small  bass  viol  contain- 
ing four  strings,  the  lowest  of  which  is  tuned  to 
double  C.  The  strings  are  in  fifths ;  consequent- 
ly the  pitch  of  that  next  the  gravest  is  G  gamut ; 
that  of  the  next,  D  on  the  third  line  in  the  bass ; 
and  that  of  the  upper  string,  A  on  the  fifth  line. 
The  violoncello  was  called  the  violona  till  the 
introduction  of  the  double  bass,  which  assumed 
that  name.  The  notes  to  which  the  instrument 
is  tuned  are  as  follows  :  — 


4eh  •iriiig,  C. 

3d  ftrinft,  0 

2(1  itring,  D. 

lit  itring,  A. 

C\' 

*  )' 

-^ 

1 o 

the  English  fifth  violin,  wliich  was  a  little  bas» 
violin,  half  the  size  of  the  common  bass  violin, 
and  its  strings  just  half  as  thick  and  half  as  long, 
rendering  the  sound  just  an  octave  lower.  Their 
viulone  was  a  double  bass,  almost  twice  as  large 
as  the  common  bass  violin,  and  the  strings  larger 
and  longer  in  proportion  ;  and  consequently  its 
sound  wa>  an  octave  lower  than  that  of  the  bass 
violin.     It  had  a  fine  effect  in  great  concerts. 

The  bass  viol,  or  ^-iolonceHo,  was  ever  esteemed 
an  excellent  instrument,  not  only  in  concerts,  but 
also  for  playing  lessons. 

The  best  position  for  holding  the  bass  viol  is 
for  the  lower  part  of  it  to  rest  on  the  calves  of 
the  legs,  the  edge  of  the  back  to  rest  on  the  left 
leg  ;  by  which  means  it  turns  the  strings  of  the 
bass  convenient  for  the  bow  hand,  and  places  it 
in  the  most  convenient  position  for  playing. 


COMPASS   OP   THE   STUINOS. 


r 


— c- 

B 


1! 


Firtt     String,  —  A. 


D- 


The  violoncello  of  the  Italians  was  properly 


L 


F 

—E— 
—D— 
C 


Second  Siring,  —  D. 


Third   String,  — a. 


Fourth  String,  —  C. 


The  bass  viol  is  a  musical  stringed  instrument, 
of  the  same  shape  as  the  violin,  but  much  larger. 
It  is  struck  with  the  bow  as  the  violin  is ;  has 
the  same  number  of  strings ;  and  has  eight  stops, 
which  are  subdi-v-ided  into  semi-stops :  its  sound 
is  grave,  and  has  a  much  nobler  effect  in  concert 
than  that  of  the  violin. 

At  first  pay  no  attention  to  the  letters  which 
are  sharped  and  flatted.  Learn  only  the  places 
of  the  large  letters  as  they  stand  upon  the  strings. 

The  four  letters.  A,  D,  G,  and  C,  at  the  nut, 
are  called  open  notes,  as  each  string,  when  put  in 
motion  by  the  bow,  produces  its  respective  tone 
without  placing  any  of  the  fingers  upon  it. 

The  other  letters  are  called  stopped  notes,  be- 
cause it  requires  the  assistance  of  the  fingers  loi 
producing  any  of  their  particular  tones. 

Observe  the  distance  between  the  letters  strict- 
ly, and  whether  they  be  whole  tones  or  semi- 
tones. 

By  committing  the  following  table  to  memory, 
you  will  more  readily  learn  to  stop  in  tune  :  — 

TABLE. 

From  C  to  D  is  a  whole  tone. 

"  D  to  E  "  "        " 

"  E  to  F 

"  F  to  G 

"  G  to  A  "  "        " 

•'  A  to  B  "  "        " 

••  B  to  C  "  semitone. 

^^'hen  you  have  learned  the  places  of  the  sev- 
eral letters  upon  the  strings,  endeavor  to  learn 
how  to  tune  the  strings  as  in  the  following  scale. 

One  of  the  principal  beauties  of  the  bass  viol 
is  expresbi  m ;   such  as  the  piano,  the  crescendo. 


semitone, 
whole  tone. 


9G0 


VIO 


ENCYCLOPAEDIA    OF    MUSIC. 


VIO 


the  forte,  &c.  All  this  is  done  by  a  pressure  of 
tlie  bow,  more  or  less,  as  the  passage  requires; 
and  music  without  it  would  be  like  a  painting 
without  shades  to  show  it. 

The  first  thing  to   be  learned  is  the  diatonic 
scale  as  it  is  here  subjoined  :  — 


Diatonic  Scale  for  the  Violoncello. 

C  Mring.  G  string. 


§iL= 


I      \>     I      %     % 

D  string. 


g 


1       2 
A     U 


A  string 


') 


I      % 


^± 


13^ 


It: 


»  1)  ?  3  X         i  t  6  &  fe 

In  all  music  where  the  notes  go  up  beyond  D, 
you  must  use  the  half  shift.  &c. 

When  the  same  tone  may  be  produced  in  dif- 
ferent methods  and  on  different  strings,  observa- 
tion and  practice  must  determine  which  to  take. 
By  practice  this  will  become  easy. 

Scale  fok  tuning  the  Stuinos. 


Fire  nolej. 
-«--i 


X 


ADO  0 

The  strings  must  be  tuned  the  distance  of  a 
fifth  from  each  other. 

Rule  Ist.  Screw  up  the  first  string.  A,  to  the 
tame  pitch  with  A  on  the  flute  or  clarinet. 


Rule  '2d.    Then  tune  D,  the  second  string,  five 
notes  bfhw  A,  the  first  string. 

Rule  3d.    Tune  G,  the  third  string,  five  notes 
hehxo  D,  the  second  string. 

Rule  4th.   Tune  C,  the  fourth  string,  five  notes 
below  G,  the  third  string. 

The  first  string  must  be  tuned  A,  and  the  o  ihcr 
strinss  by  fifths,  as  in  exarajile. 

The  strings  may  be  also  tuned  by  the  voice,  for 
which  the  intermediate  small  notes  are  inserted. 

II'  the  fifths  between  the  strings  be  perfect,  — 
Then  A,  the  first  finger,  third  string,  will  be  an 

eighth  below  A,  first  string; 
and  I),  the  third  finger,  first  string,  will  be  ai. 

eighth  above  D,  second  string ; 
and  1),  the  first  finger,  fourth  string,  will  be  an 

eighth  below  D,  second  string  ; 
and  (j,  the  third  finger,  second  string,  will  be  an 

eighth  above  G,  tliird  string ; 
and  C,  the  third  finger,  third  string,  -w-ill  be  an 

eighth  above  C,  fourth  string. 

Example  op  Sounding  by  Eighths. 


7=^. © 1 

3d    finger 

8.i. 

8d. 

'^• 

-^ 

<*3 

■■fi 

1 G> ' 

1st  finger. 
A 


Ist'^flnger. 
D 


The  bow  must  be  held  a  short  distance  from 
the  nut,  and  the  greater  part  of  the  first  joint  (^ 
all  the  fingers,  e.^cept  the  fourth,  must  reacn 
over,  but  not  so  far  as  to  touch  the  end  of  the 
thumb  ;  alsoobser\-e  that  the  back  or  stick  of  the 
bow  must  incline  towards  the  finger  board,  and 
must  be  drawn  from  one  end  to  the  other  in  a 
parallel  line,  about  two  inches  and  a  half  from 
the  bridge. 


Fourth  atring. 


Chromatic  Notes  pob  the  Violoncello. 

Third  itring.  Second  itring. 


Firrt  ttring. 


^g^^ii^iJj^ 


Iiii5c 


^^VHi-^^-^^i^fe^gi 


m 


¥^< 


^  ^       3      4 

I '..If  Shift. 

'cjf^  T>\}  dJI  z\f  F^     G^  a\?  A^  nb  C^  ob     DJI  Eb  F^  ob  G*}  Ab     A^  sb  b|{  cb  C^  ob  dJ|  Eb   E^ 


2       2       3       8 


Plain  Scale  op  the  Fi.vqeii  Uoabd. 


4th  String. 

Q 

5 

•« 

« 

^i 

'1 

''I 

cT 

° 

* 

o 

s 

1 

1 

0| 

-o| 

9. 

3d  String. 

> 

i 

o 

5i 

1 

HI 

H 

r. 

~ 

a 

c- 

lit  String. 

H 

The  number  of  notes  in  each  bar  ought  to  be 
attended  to ;  for  if  you  have  2,  4,  6,  8,  or  any 
equal  number,  in  playing  the  first  down,  the  next 
up,  and  80  on  alternately  down  and  up,  you  will, 
of  course,  finish  with  an  up  bow,  and  be  pre- 
pared to  begin  the  next  bar  with  a  down  bow ; 


but  when  you  find  the  number  unequal,  x-.ich  ai 
3.  5,  7,  9,  &c.,  you  should  endeavor  to  play  th« 
two  shortest  notes  with  one  stroke  of  the  bow, 
and,  in  that  case,  you  will  find  yourself  where  yo\i 
would  if  the  number  had  l)oen  equal,  .'sometimes 
you  vrill  find  a  successioi]  of  bars  with  an  uneqtial 


121 


961 


VIO 


EX  CYCLOPAEDIA    OF   MUSIC. 


VIO 


number  of  notes,  particularly  in  triple  time,  which 
frequently  conbists  of  tliree  notes  in  a  bar ;  in 
Bueh  a  case  you  Hhould  bow  alternately  down 
and  up.  by  which  the  first  note  of  every  second 
bar  will  come  with  a  down  bow. 

In  1834,  C.  E.  (lark,  of  Dansville,  New  York, 
invented  an  imjiroved  violoncello,  which  he  called 
(k/ub/c  loiicd.  The  invention  did  not  relate  to  ad- 
ditional strinfjs,  —  the  outside  is  unaltered,  —  but 
by  the  combination  of  sleel  wires,  brought  to  an 
extraordinary  degree  of  tension  and  fitted  in  the 
interior  of  the  instrument,  a  poor  and  indifferent 
violoncello  can  be  made  much  better,  if  not  equal 
to  the  best,  in  depth  and  fulness  of  tone.  John 
llolnies,  of  Holmes's  Hole,  Martha's  Vineyard, 
has  ajjplicd  tl'.e  same  improvement  to  violins. 

VIOLON.     (F.)     A  violin. 

VIOLOXO.  (I.)  The  name  originally  given 
by  the  Italians  and  French  to  the  violoncello,  but 
afterwards  transferred  to  the  double  bass,  to 
which  instrument  it  is  still  applied.  Its  pitch  is 
an  octave  below  that  of  the  violoncello,  and  its 
true  use  is  to  sustain  the  harmony ;  in  which 
application  of  its  powers  it  has  a  firm  and  noble 
rtfect.     See  Double  Bass. 

VIOTTI,  GIOVAXXI  BATTISTA.  Tliis 
celebrated  violinist  was  born  at  a  village  in  Pied- 
mont in  17o.<.  He  waj,  a  pupil  of  Pugnani,  and 
Bt  an  early  age  held  the  office  of  first  violin  in  the 
Chapel  Koyal  of  Turin.  About  the  year  1778  he 
left  Italy  with  the  intention  of  tr.-ivelling  through 
Germany,  and  ))assed  some  time  at  Berlin; 
whence  he  removed  to  Paris,  making  his  debut  at 
the  Concert  Spirit  ml  there  in  the  spring  of  1782. 
He  on  that  occasion  p.erformed  a  concerto  of  his 
own  composition,  in  which  the  Parisi^tns  ob- 
served an  originality  of  style  that  appeared  to  fix 
the  limits  of  this  kind  of  performance  —  a  fruit- 
ful imagination,  a  happy  freedom,  and  all  the 
fire  of  youth,  attempered  by  a  pure  and  noble 
taste.  The  audience  applauded  tlie  beautiful 
movements  in  this  concerto,  which  from  the  very 
first  bars  announced  the  genius  of  the  corajjoser, 
and  that  development  of  original  thought  where 
the  progression  of  sentiment  raises  the  effect  to 
the  highest  degree.  With  respect  to  Viotti's  ex- 
ecution the  enthusiasm  was  extraordinary ;  the 
finish  of  bis  adagio,  the  brilliancy  of  his  allegro, 
the  energy  and  grace  of  the  ensemble,  won  the 
favor  of  every  hearer.  The  queen  i^Murie  Antoi- 
nette) now  desired  that  Viotti  should  come  to 
Versailles  to  perform  at  one  of  the  court  con- 
certs :  the  day  was  fixed,  most  of  the  nobility 
had  arrived,  and  the  music  had  commenced  with 
a  solo  by  Viotti,  the  first  bars  of  which  com- 
manded the  greatest  attention,  when  suddenly  a 
cry  was  heard  in  the  adjoining  apartment,  "  Make 
room  for  the  Count  d'Artois  ;  "  which  interrup- 
tion and  the  tumult  occasioned  by  the  count's 
Mitry  so  provoked  Viotti  that  he  put  his  violin 
under  his  arm  and  left  the  palace,  to  the  great 
scandal  of  all  the  spectators.  Very  shortly  after 
this  time  this  singular  character  determined  to 
play  no  more  in  public ;  his  friends,  however, 
were  still  allowed  the  p^i^^lege  of  hearing  him 
in  private  concerts.  In  1790  a  deputy  of  the 
constituent  asfembly,  an  intimate  friend  of  Viotti, 
was  lodging  on  a  fifth  floor,  and  re<iuested  ^■iotti 
to  give  a  concert  at  his  apartment.  He  consent- 
ed, and  the  first  nobility  of  France  were  invited, 

96 


when  Viotti  remarked,  "  AVe  have  long  enough 
descended  to  them ;  they  must  now  ascend  tc 
UB."  Viotti  had  a  talent  for  repartee.  One  day 
the  minister  Culonne  asked  him  which  violin  was 
the  most  true.  "'DiBt,"  replietl  he,  observing 
the  minister  elo.scly,  "  which  is  the  least  false  '' 
A  violinist  named  Puppo  being  in  the  habit  of 
boasting  that  he  was  a  pupil  of  Tartini,  which 
was  known  not  to  be  the  case,  Viotti,  being  once 
in  his  company  at  a  musical  party,  toeiether  with 
M.  Lahoussaye,  who  was  a  real  pupil  of  that 
great  master,  asked  Lahoussaye  to  play  some- 
thing in  th.e  style  of  Tartini,  observing  at  the 
same  time  to  Puppo,  '•  Listen  well,  sir.  to  M. 
Lahoussaye,  who  will  give  you  a  good  idea  of 
Tartini's  maimer  of  playing." 

Viotti  remained  in  JF ranee  till  the  year  1790, 
when  the  horrors  of  the  French  revolution  cha.s(xl 
away  the  Muses,  and  Viotti  in  their  train.  He 
next  went  to  England  and  made  his  d6biU  at 
.Salomon's  concert  with  a  degree  of  success  equ.i' 
to  what  he  had  experienced  in  France.  Soon  af- 
terwards he  became  concerned  in  tlie  manage- 
ment of  the  King's  'J'heatre,  and  subsequertly 
succeeded  W.  Cramer  as  leader  of  the  0))era  or- 
chestra. He  thus  proceeded,  continually  reap- 
ing professional  honors  o{  the  highest  class,  till" 
the  year  1798,  when  he  very  unexpectetUy  re- 
ceived an  order  from  government  to  quit  Eng- 
land without  dblay,  being  suspected  of  partaking 
and  encouraging  those  revolutionary  principles 
which,  at  the  above  period,  were  alarmingly 
spreading  throughout  England.  Xo  good  evi- 
dence has,  however,  been  since  adduced  of  Vi- 
otti's having  really  participated  in  such  princi- 
ples ;  and  it  has  been  thought  in  no  way  credi- 
ble that  a  man  of  his  known  mild  disposition 
should  have  used  the  heinous  and  sanguinary 
expressions  against  the  highest  personage  in  the 
realm  which  were  at  the  time  publicly  imputed 
to  him.  From  London  Viotti  proceeded  through 
Holland  to  Hamburg,  in  the  neighborhood  of 
which  city  he  lived  in  the  strictest  retirement,  at 
a  place  called  Schoenfeld.  Xor  was  he  idle  there ; 
for  be  not  only  put  the  finishing  hand  to  the  ac- 
complishment of  the  youthful  violinist,  Pixis, 
who  with  his  father  resided  at  Schoenfeld  during 
a  whole  summer  lor  the  express  purpose  of  re- 
ceiving Viotti's  valuable  instructions,  but  he  ako 
published  in  Hambiirg  "Six  Duets  for  Violins." 
To  the  work  is  prefixed  his  portrait ;  also  a  pref- 
ace, in  which  are  these  words :  "  This  book  is 
the  fruit  of  the  leisure  afforded  me  by  mLsfortune. 
Some  of  the  pieces  were  dictated  by  trouble,  oth- 
ers by  hope."  He  remained  in  the  neiirhborhood 
of  Hamburg  till  the  year  1801,  when,  the  revolu- 
tionary storm  having  l)lown  over,  he  was  allowed 
to  return  to  London.  He  did  not,  however,  return 
to  the  public  duties  of  the  musical  profession, 
but  he  performed  at  private  concerts,  and  at 
length  became  infected,  to  use  Gerber's  words, 
"  like  many  other  first-rate  artists,  with  the  Brit- 
ish spirit  of  traffic,  and  embarked  a-s  a  partner  it 
the  wine  trade."  In  this  way  hepaid  his  devoticr 
for  some  years  both  to  Mercury  and  Apollo  ;  b", 
with  so  little  succes-i,  that,  at  length,  he  lost  his  «■. 
tire  fortune  in  business,  and  was  obliged  to  solicit 
some  trifling  place  at  the  French  court.  ■  Louis 
XVIII.  kindly  proposed  to  him  the  diiection 
of  the  Uoyal  Academy  of  Music,  upon  the  duties 
of  which  ofhcc  he  entered,  but  found  the  situatiok 
too  arduous  for  Lis  age  and  state  of  health,  ani 


VIO 


EXCyCLOP^DIA    OF    MUSIC. 


VIB 


shortly  aftenvnrdj  retired  on  a  small  pension.    In 
the  year  1822  he  once  more  returned  to  England, 
%vith  the  view  of   passing  the  remainder  of  his 
days  in  quietude ;  which,  however,  he  did   not 
long  enjoy,  as  he  died  in  London  in  March,  KS24. 
M.  Eymar  has  thus  described  some  of  the  moral 
qualities  of  Viotti  :  "  There  never  existed  a  man 
who  attached  such  great  value  to  the  simplest 
gifts   of  Nature  ;  there  never  was  a  child   who 
more  ardently  enjoyed  them.     A  violet    found 
under  the  grass  would  transport  him  with  joy, 
or  the  gathering  of  fresh  fruit  render  him  the 
happii?st  of  mortals  :  he  found  in  the  one  a  per- 
fumi  ever  new,  in  the  other  a  tlavor  always  more 
and   jiorc    delicious.     His  organs,  thus  delicate 
Bud  sensible,  seemed  to  have   preserve  I   the  im- 
pressibility of  early  youth  :  whilst  stretched   on 
the  grass,  he  would  )  ass  whole  hours  in  admir- 
ing the  color  or  inhaling  the  odor  of  a  rose.    Ev- 
ery thing  that  belonged  to  the  country  was,  for 
this  extraordinary  man,  a  new  object  of  amuse- 
ment, interest,  and   enjoyment :   all  his   senses 
were  excited  by  the  slightest  impressions  ;  every 
thing   around  him  affected  his  imagination  ;   all 
nature  spoke  to  his  heart,  which  overflowed  with 
sentiment."     We  are  also  indebted  to  M.  Eymar 
for   the   knowledge   of  the  "lianz   des    Vaclu-s," 
which  Viotti  used  to  play  with  emotion  on  the 
days  he  consecrated  to  music.     At  M.  Eyraar's 
reijuest,  Viotti  copied  for  him  this  air,  accom-  ] 
panying  the  gift  with  the  following  lines  :  "  This  | 
'  y^i;ic  ttcs  \'(u-hcs  '  is  neither  the  one  which  our  j 
friend  J.  J.  Rousseau  has  favored  us  with  in  his  i 
works,  nor  is  it  that  of  which  M.  De  la  Horde  \ 
speaks  in  his  book  on  music.    -I  am  not  aware  I 
that  it  is  known  to  many  persons ;  all  I  can  say  j 
is,  that  I  have  beard  it  in  Switzerland,  and  that 
I  learned  it  in  a  way  ever  to  be  impressc  1  in  my 
memory.     I  was  walking  alone,  towards  evening, 
in  one  of  those  gloomy  spots  where  one    never 
wishes  to  speak  ;  the  weather  was  beautihil ;  the 
wind,  which  I  dislike,  was  still ;  every  tiling  was 
calm  and  analogous  to  my  sensations ;  and  1  lelt  ! 
within  me  that  melancholy  which  has  ever  been 
present  to  my  mind  at  the  hour  of  evening,  and 
will  remain   as  long  as    I  exist.     My  thoughts 
were  wandering,  and  my  steps  followed  them  ;  my 
heart  gave  the  preference  to  no  particular  object, 
but  it  was  prepared  lor  that  tenderness   and  love 
which  have  since  caused  me  so  much  pain   and 
taught  me  such  real  happinefss.    My  imagination, 
idle,  if  I  may  use  the  expression,  from  the  absence 
of  the  passions,  was  without  motion.     I  climbed 
and  descended  the  most  imposing  stccjts,  till  at 
length   chance  led  mc  to  a  valley,  to  which  at 
tirst  I  paid  no  attention ;  and  it  was  not  till  some 
time  afterwards  that  1  perceived  it  was  beautiful, 
and  such  as  I  had  often  read  of  in  the  works  of 
Gessner.    Flowers,  grass,  a  stream,  all  were  there, 
and  all  formed  the  most  harmonious  picture.    At 
length,  though  not  fatigued,  I  mechanically  sat 
down  upon  a  piece  of  rock   and  gave  myself  up 
to  that  profound  revery  which  I  not  unfrequent- 
ly  indulge  in,  and  in  which  my  ideas  wander  so 
as  to  make  me  forget  that  I  am  an  inhabitant  of 
the  earth.     I  know  not  what  it  is  that  produces 
ill  me  this  species  of  ecstasy,  whether  it  be  the 
sleep  of  the  soul,  or  an  absence  of  the  thinking 
faculty  ;    1  can  only  say  that  I  delight  in  the 
tceling,  and  willingly  abandon  mysell'  to  it.     On 
this  stone  then  was  I  sitting,  when  on  a  sudden 
my  ear,  or  rather  my  existence,  was  struck  by 

9 


sounds,  now  sudden  and  short,  and  now  again 
prolonged  and  slower,  which  proceeded  from  on* 
mountain  and  Hew  to  the  other  without  being 
repeated  by  the  echoes.  It  was  a  long  strain, 
and  a  female  voice  mingled  in  perfect  unison 
with  the  sad  though  sweet  and  affecting  sounds. 
Struck  as  if  by  enchantment,  I  shook  off  ray 
lethargic  sensations,  anil, whilst  I  intently  listened, 
learned,  or  rather  engraved  on  my  memory,  the 
'  l{(iii2  lies  Vaches,'  which  I  now  send  you.  I  hflv« 
thought  it  most  characteristic  to  note  it  down 
without  bars  :  it  is  of  a  nature  to  be  jierfcctly 
without  restraint :  regularity  of  time  would  de- 
stroy its  effect;  for  its  wild  sounds  prolonginu 
themselves  in  the  air,  the  time  they  took  to  reach 
from  one  mountain  to  another  could  not  be  de- 
termined. It  is  then  depth  of  thought  and  feel- 
ing which  ought  to  guide  us  in  the  execution  of 
this  air,  rather  than  rhythm  and  measured  ca- 
dence. This  '  Ranz  (Us  l^aclwit'  j)layed  in  strict 
time,  would  be  unnatural,  and  lose  its  sim|)licity. 
To  produce  its  true  effect,  imagination  must  trans- 
jiort  the  performer  to  the  mountains  where  the 
melody  is  indigenous;  whilst  executing  it  in 
Paris,  it  must  be  felt  as  in  Switzerland.  It  is 
thus  that,  in  some  moments  of  inspiratior.,  I  have 
myself  played  it  on  my  violin,  accompanied  by 
Mile.  Montgerault." 

With  respect  to  the  compositions  of  Viotti,  he 
])ublished  hrst,  for  bow  instrumcnt.s,  "  Twenty- 
five  Concertos  for  the  Violin,"  which  were  en- 
graved in  successive  numbers  in  Paris  from  the 
year  178o,  the  twentieth  number  being  publi.'hed 
there,  by  Pleyel.  iii  1799.  It  is  sufKcient  to  state 
in  their  praise  that  numerous  subsequent  editions 
of  them  have  been  published  at  London,  Vienna, 
Berlin,  Offenbach,  &c.  2.  "Ime.  ide.  Sinfonit 
CoiicuitaiUe  p.  2  Violoiis  princip.  av.  Orchest.," 
Paris,  1788.  3.  "GQuatuors  Concert,  p.  2  J'., 
.-«.,  et  n.,  Lie.  1  et  2,"  Op.  3,  Paris.  4.  "  6  Trios 
a  2  ['.  et  B.,"Op.  2,  Paris.  3.  "  3(5  Ditos  p.  2  F." 
6.  "  12  iSolos  a  I',  et  D.,  Liv.  1  et  2,"  Op.  4,  Vien- 
na. 7.  "  Recueil  ctAirs  connia  et  variis  p.  le  V.  et 
Z<.,"  Paris.  8  "3  Duos  p.  2  Vc,"  Op.  29,  Offen- 
bach, 1800.  Piano-forte:  probably  the  only  gen- 
uine piece  for  this  instrument  wTitten  by  Viotti 
is  the  "  Concert  p.  le  Clav.  d  o  et  6  Octace,"  Op. 
24,  Offenbach.  The  other  concertos  and  sonatas 
for  this  instrument  are  probably  only  his  violin 
music  arranged  for  the  piano  by  other  masters. 
Vocal :  the  only  two  vocal  pieces  composed  oy 
Viotti  are,  1.  "  Aria  :  '  Consola  amato  bene,'  Vc, 
c.  Accomp.  (C Orch,"  Paris;  and  2.  ".4r(Vi;  '  CA« 
gioja,  che  conteiito,'  c.  Accomp.  d'Orc/t.,  A'o.  289," 
Paris.  Dussek  published  piano-forte  variations 
to  these  airs.  The  ptincipal  pupils  of  the  Viotti 
school  are  Ilode,  Alday,  Libon,  Labarrc,  J.  P. 
Cartier,  Vacher,  Pixis,  Mori,  &c. 

VIUELAY.  The  name  of  an  old  country  bal- 
lad, or  song,  invented  by  Oliver  Uassell,  of  Vau- 
dcvire,  and  hence  also  called  a  vaudeville.  Se« 
Vauueville. 

VIUGIN.VL.  A  stringed  and  keyed  instru- 
ment, resembling  the  spinet ;  lormerly  in  touch 
esteem,  but  now  entirely  out  of  use. 

VIKGUL.\.  (L.)  The  norao  of  one  of  th« 
ten  nates  u.«e<l  in  the  middle  ages. 

VIUGULUM.  (L.)  The  term  formerly  ap- 
plied to  that  part  of  a  note  now  called  the  tati 
or  stem. 


VIR 


ENCYCLOPEDIA    OF    MUSIC. 


DC 


\7RTU,  VIRTUOSITA.  (I.)  Taste  and  ad- 
dress in  performance. 

VIRTUOSO.  (I.)  One  who  feels  delight  in, 
and  possesses  taste  for,  the  rausical  science. 

VISCONTI,  GASPARO,  an  instrumental 
composer,  and  probably  violinist,  was  born  at 
("remona.  lie  resided  in  England  at  the  begin- 
ning of  the  last  century.  Some  of  his  instru- 
mental music  was  published  at  Amsterdam. 

VITALI,  AX(jEL(),  of  Modena,  a  good  com- 
poser, brought  out  at  Venice,  in  1680,  the  music 
of  the  drama  "  Tomiri." 

VITALI,  FILIl'PO,  born  at  Florence,  was  a 
chanter  in  the  Pontifical  Chapel  in  1C36.  He 
published  several  works  of  sacred  music  at  Rome. 

VITALI,  GIOVANNI  HAITISTA,  a  native 
of  Cremona,  lived  at  the  end  of  the  seventeenth 
and  beginning  of  the  eighteenth  centuries.  He 
enjoyed  a  high  reputation  in  Italy  as  a  singer. 
He  was  also  esteemed  as  a  church  and  instru- 
mental composer. 

VITE.     (F.)    Quick,  lively. 

VITO,  PADRE.  A  Portuguese  ecclesiastic, 
produced  at  the  Coticert  Spiritttel  at  Paris,  in  1781, 
a  Stabat  Mattr,  in  which  are  found  two  move- 
ments of  great  beauty,  namely,  the  duo  "U<ji(am 
tristis,"  and  the  movement,  "  J'ro  peccatis."  This 
Slabat  was  printed  in  London  in  1783. 

VITTORI,  LORETl'O,  born  at  Sjioletto,  a 
Roman  chevalier,  belonged  to  the  Pontifical 
Chapel  at  Rome,  as  a  sopranist,  in  1G62.  He  was  ; 
also  a  good  composer.  Amongst  his  works  was 
a  favorite  opera  entitled  "  Galatea,"  wliich  he 
published  and  dedicated  to  Cardinal  Barbarini. 

vittorijv,  tomaso    ludovico  da,  ' 

chapel-master  of  the  Church  of  St.  Apollinare  at 
Rome,  and  afterwards  a  singer  in  the  Pontifical 
Chapel,  was  an  excellent  harmonist.  He  printed 
at  Rome,  in  1583,  a  set  of  masses,  which  he  ded- 
icated to  Philip  II.,  King  of  Spain,  and  two  years 
afterwards  another  set,  a  copy  of  which  is  pre- 
served in  Dr.  Aldrick's  collection  at  Christ 
Church,  Oxford.  His  burial  ser\'ice,  or  "  Mass  for 
the  Dead,"  was  much  celebrated,  as  were  also  hLs 
"  Penitential  Psalms."  Peacham,  who  styles  him 
"  a  very  rare  and  excellent  author,  whose  vein 
was  grave  and  sweet,"  informs  us  that  he  quitted 
Rome,  and  resided,  about  the  year  1594,  at  the 
court  of  Bavaria. 

VIVACE.  (I.)  A  term  impljnng  that  the 
movement  to  which  it  is  ])refixed  is  to  be  sung 
tr  played  in  a  brisk  and  animated  style. 

VIVACISSIMO.  (I.)  Extremely  Uvely.  The 
iuperlative  of  vicace.     See  that  word. 

VIVALDI,  ANTONIO,  an  Italian  ecclesiastic 
ar.i  chapel-master  at  the  Conservatory  of  La  Pieta 
at  Venice,  was  very  celebrated  both  in  Italy  and 
tjermany  in  the  first  half  of  the  last  century. 
He  held  diiring  some  time  the  situation  of  chapel- 
master  to  Philip,  landgrave  of  Hesse- Darmstadt, 
but,  from  the  year  1713  to  his  death,  never  quitted 
Venice.  He  was  esteemed  as  a  great  master  ot 
the  violin,  and  also  an  excellent  writer  for  that 
instrument.  It  is  said  that,  one  day,  whilst  say- 
ing mass,  a  theme  for  a  fugue  suddenly  struck 
him.   wh'ju   he   immediately   quitted    the   altar  , 


wheie  he  was  officiating  and  hastened  to  th«  sa- 
cristy to  write  down  the  tliemc,  afterwards  re- 
turning to  finish  the  mass :  for  this  conduct  he 
was  brought  before  the  Inquisition,  who  haj-pily 
considered  him  only  as  a  miuician,  that  is  to  say, 
as  a  nintlman.  and  confined  their  sentence  to  the 
forbidding  him  to  say  mass  in  future. 

VIVIANI,  GIOVANNI  BONAVENTURA, 
of  Verona,  was  chapel-master  to  the  Emperor  of 
Germany,  at  Inns])ruck,  towards  the  close  of  the 
seventeenth  century.  We  know  only  the  third 
of  his  published  works,  which  is  entitled  "  /«- 
treccio  Armoiiico  tli  Fiori  Ecdesiastici,"  Augsburg, 
1G76.  He  also  wrote  for  the  theatre,  and  amongst 
his  operas  was  "  Astiai/e,"  composed  in  1G77. 

VI VIER, ,  has  long  enjoyed  the  reputation 

of  being  the  most  extraordinary  performer  on  the 
horn  on  the  continent  of  Europe.  M.  Vivierhas 
a  double  claim  to  notice  —  first,  as  a  very  tine 
player,  with  a  bcautil'ul  mellow  tone,  execution 
remarkable  for  finish  and  vigor,  and  a  style  of 
irreproachable  elegance  and  correctness  ;  next,  as 
the  inventor,  or  rather  the  discoverer,  of  proper- 
ties hitherto  unknown  or  unrecognized  in  the 
instrument.  The  unwieldy  and  unmanageable 
nature  of  this  fine  orchestral  instrument  has  ever 
been  the  stumbling  block  of  professors  and  the 
puzzle  of  theorists.  The  peculiarity  of  its  struc- 
ture limited  its  scale  of  open  notes  to  the  har- 
monics iiroducible  upon  instruments  of  vibration. 
Foi  example,  the  scale  of  the  horn  — suppose  the 
key  of  C  —  is  C,  G,  E,  and  B  flat ;  C,  D,  E,  F,  F 
sharp,  G  ;  which  notes  only  could  be  produced 
without  difficulty.  Skilful  cornists,  however, 
brought  the  shut  notes,  as  they  are  called,  so 
much  under  command  that  they  have  been  gen- 
erally available  in  melodies  and  passages,  but 
never  so  much  so  as  to  conceal  the  difference  of 
tone.  Composers  have  been  compelled  to  restrict 
their  use  of  the  horn  to  suit  this  deficiency,  and, 
till  Weber  and  Spohr  made  instrumentation  more 
complicated,  confined  themselves  to  the  use  of 
the  open  notes.  But  by  Vivier's  discovery,  pre- 
suming it  possible  to  be  brought  into  common 
use,  the  scale  of  the  horn  will  be  doubled,  all  the 
"  shut  notes "  being  producible  with  as  much 
ease  and  with  as  full  a  tone  as  the  open  ones. 
Another  property  discovered  by  M.  Vivier  is  the 
possibility  of  playing  two,  three,  four,  and  even 
five  notes  in  harmony ;  and  these  combinations 
are  not  merely  confined  to  simple  common  chords 
and  their  inversions,  but  to  sevenths  and  other 
discords,  with  the  ]X)wer  of  modulating  from  one 
key  to  another.  Last,  and  most  wonderful  of  all, 
is  the  fact  that  M  Vivier  can  play  a  melody  whUe 
he  is  sustaining  a  harmony. 

VIVO.     (I.)    Animated,  lively. 

VOCAL.  An  epithet  applied  to  those  musical 
sounds  which  proceed  from  the  human  musical 
organs  ;  also  to  music  comj)osed  for  the  voice,  and 
to  performances  consisting  of  singing. 

VOCAL  APPAR.\TUS.  Respiration  Ls  the 
first  operation  in  the  production  of  sound  ;  the 
lungs  being  the  principal  operators,  furnishing, 
like  the  bellows  ol  an  organ,  the  air  necessary  tor 
the  toimation  of  sound.  The  lungs,  r.ftcr  receiv- 
ing the  air,  exhale  it  through  the  t)ronchial  tubes, 
which  are  several  in  number,  gradually  meeting 
as  they  rise,  until  they  resolve  theinselvas   into 


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two  Inrge  tubes,  which  form  the  bifurcations  of 
the  windpipe ;  this  latter  is  about  an  inch  in  di- 
ameter. Above  the  windpipe,  and  communicat- 
ing with  it,  is  the  larynx,  composed  of  four  parts, 
or  pieces,  which  have  the  power  of  playing  one 
into  the  other,  or  of  moving  together  as  a  whole, 
as  in  the  gradual  raising  or  lowering  of  the  voice  ; 
these  several  parts  are  four  in  number,  and  are 
called  cartilages  :  the  thyroid,  circoid,  and  two 
^rvthenoids.  The  larynx  is  placed  on  the  fore 
part  01  the  throat,  and  can  be  seen  and  touched 
from  the  outside,  (Adam's  apple.)  Two  horizon- 
tal membranes  are  placed  one  on  either  side  of  it, 
called  the  vocal  chords;  the  opening  betivcen 
them  is  of  a  triangular  form,  less  than  half  an 
inch  wide,  and  is  called  the  glottis ;  these  two 
membranes  are  often  called  the  lips  of  the  glottis, 
being,  in  the  utterance  of  musical  sound,  what 
the  lips  are  to  the  mouth,  and  the  only  passage 
through  which  the  air  passes  to  and  trom  the 
lungs.  Placed  just  above  the  vocal  chords  is  the 
superior  glottis.  The  liirynx  terminates  in  a  wide 
opening,  formed  by  two  folds  of  the  moicous 
membrane,  which  opening  is  covered  during  the 
period  of  deglutition  by  a  small  tongue  called  the 
epiglottis,  situated  just  at  the  root  of  the  tongue. 
The  cavity,  which  may  be  seen  at  the  back  of  the 
throat,  and  which  extends  as  far  forward  as  the 
roof  of  the  mouth,  is  the  pharynx.  It  is  here 
that  the  voice  tirst  impinges,  in  pxssing  from  the 
larynx  through  the  glottis ;  the  larynx  produces 
the  sound,  the  pharyn.\  modihes  it.  The  pharynx 
communicates  above  with  the  nasal  apparatus. 
The  palate,  or  upper  part  of  the  mouth,  is  fur- 
nished «"ith  a  sott,  fleshy  curtain,  from  the  centre 
of  which  hangs  the  uvula,  (erroneously  termed, 
in  common  parlance,  the  palate,)  thus  formuig  a 
sort  of  double  arch.  Pendent  from  this  uvula 
are  two  tibres,  called  the  posterior  props;  and  in 
front  of  them,  also  pendent  from  the  uvula,  two 
smaller  hbres,  fonning  a  triangular  space,  between 
which  are  placed  the  tonsils. 

This  anatomical  knowledge  is  of  great  impor- 
tance, and  should  form  a  principal  part  of  the 
study  of  the  singer,  being  necessary  in  order  to 
comprehend  the  different  musical  sounds. 

VOCALIST.     A  singer,  male  or  female. 

VOCALIIT.  Quality  of  being  uttered  by  the 
voice. 

VOCALIZE.  To  practise  singing  on  the  vow- 
els, chiefly  the  Italian  A. 

VOCAL  MACHINERY  OF  BIRDS.  It  is 
difhcult  to  account  for  so  small  a  creature  as  a 
bird  making  a  tone  as  loud  as  some  animals  a 
thousand  times  its  size ;  but  a  recent  discovery 
has  shown  that,  in  birds,  the  lungs  have  several 
openings,  communicating  with  corresponding  air- 
bags,  or  cells,  whicli  till  the  whole  cavity  of  the 
body  from  the  neck  downwards,  and  into  which 
the  air  pas,ses  and  repasses  in  the  progress  of 
breathing.  'ITiis  is  not  all :  the  bones  are  hollow, 
from  which  airpii>es  are  conveyed  to  the  most 
solid  parts  of  the  lody,  even  into  the  quills  and 
leathers.  The  air,  King  rarefied  by  the  heat  of 
their  bodies,  adds  levity.  Uy  forcing  the  air  out 
of  the  body,  they  can  dart  down  from  the  great- 
wt  heights  with  astonishing  velocity.  No  doubt 
the  same  machinery  forms  the  basis  of  their  vocal 
powers,  and  at  once  resolves  the  mystery. 

VOCAL  SCORE.     An  arrangement  in  notes 


of  all  the  separate  voice  parts,  placed  in  their 
proper  bars  under  each  other,  and  used  by  the 
vocal  conductor. 

VOCE.     (I.)     Voice. 

VOCE  DI  CAMERA.  An  expression  applied 
by  the  Italians  to  a  voice  the  strength  or  luality 
of  which  is  only  calculated  for  chamber  perform- 
ance. 

VOCE  DI  PETTO.  (I.)  The  natural,  or 
che..t  voice. 

VOCE  DI  TESTA.  (L)  The  head  voice.  A 
fiiUetto,  or  feigned  voice. 

VOCE  MU.SICALE.  The  appellation  by  wl.i.h 
the  It^dians  formerly  distinguislied  the  tonic,  or 
major  key  note  ;  in  solmizatiou  called  do. 

VOCE  SOLA.  (I.)  An  expression  implying 
that  the  movement,  or  passage,  over  which  it  is 
written  is  to  be  sung  without  accompaniment. 

VOGEL,  JOIIANN  CIIRISTOPH,  born  at 
Nuremberg  in  175G,  was  a  i)upil  of  Riej.el.  Very 
early  in  life  he  went  to  .St.  Petersburg,  and  about 
1776  left  Russia  for  Paris,  where  he  became  sec- 
ond hornist  in  the  service  of  the  Duke  de  Mont- 
morency. At  that  eorly  age  he  bad  already  com- 
posed much  music,  principally,  however,  for  oth- 
ers, under  whose  name  it  was  published.  Im- 
mediately on  his  arrival  in  France  he  took  the 
compositions  of  Gluck  for  his  models  ;  but  it  was 
not  till  1786  that  he  hazarded  submitting  to  the 
public  his  first  opera,  "La  TuUon  (C Or,"  which 
he  dedicated  to  Uluck,  who  praised  it  highly. 
Vogel  died  of  a  putrid  fever  in  1788,  at  the  early 
age  of  thirty-two.  At  his  death  he  left  an  opera 
completed,  entitled  "  Demophoon,"  the  music  of 
which  was  an  additional  proof  of  his  dramatic 
talent.  The  editors  of  the  French  Dictionary  of 
Musicians  state  that,  in  the  year  1791,  on  the  day 
devoted  to  the  performance  of  a  church  service, 
the  overture  to  "Demophoon"  was  played  in  the 
Champ  de  Mars  by  twelve  hundred  wind  instru- 
ments, with  an  unparalleled  effect. 

VOGLER,  JOHANN  CASPAR,  court  organ- 
ist and  burgomaster  at  Weimar,  was  bom  near 
Schwartzburg  in  1698.  He  was  one  of  the  best 
organ  pupils  of  Sebastian  Bach.  In  1735  he 
stood  for  the  place  of  organist  at  Hanover,  which 
he  obtained  in  preference  to  various  other  can- 
didates. He  did  not,  however,  take  pos-session  of 
the  office,  as  his  prince  constantly  refused  to  give 
him  his  discharge ;  but,  as  an  indemnification, 
nominated  him  burgomaster  as  aliove,  to  which 
place  was  attached  considerable  pecuniary  cmol- 
ument.     He  died  at  Weimar  about  the  yciirl7(i.5. 

VOGLER,  ABBK  GEORG  JOSEPH.  T\\xi 
celebrated  musician  was  bom  at  WOrzburg  in 
1749.  His  predilection  for  music  discovereil  it 
self  at  a  very  early  age,  which  induced  his  father, 
at  that  time  a  violin  maker,  to  pro<-ure  his  son  a 
piano-forte,  the  instrument  to  which  he  was  most 
partial,  as  also  an  experienced  teacher.  The  h•^\•\ 
xcal  and  talent  soon  made  him  eijual  to  hi*  in- 
structor, whilst  at  the  same  time  he  tAught  him- 
self to  play  on  several  other  instruments,  nttnin- 
ing  a  high  degr(>o  of  [H-rfection  on  the  violin  w 
pecially.  lli.s  piano-forte  hail  a  ]HMlal,  which  was 
not  at  that  time  common.  On  the  action  of  fhi< 
pedal  Voglcr  made  such  remarks  as  soon  led  hiio 
to  propose  improrc  mcnt«  in  its  construction.    lit 


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ENCYCLOPAEDIA    OF    MUSIC. 


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likewise  used  a  new  method  of  fingering  the  pia- 
no, wliich  he  tried  witli  success  on  several  of  his 
first  pupils.  AVitliout  neglecting  his  other  studies 
at  the  seminary  of  Manheim,  where  he  was  then 
educating  for  the  church,  he  also  made  at  that 
time  several  successful  attempts  at  composition, 
and  established  an  amateur  concert,  at  which, 
under  his  dhection,  the  works  of  the  best  com- 
j.oscrs  were  performed.  The  sublime  music  and 
religious  musical  festivals  of  the  Jesuits,  both"  at 
WtUzburg  and  at  Bamberg,  where  he  ne.xt  went 
to  study  the  civil  and  canon  law,  not  a  little  con- 
tributed to  his  ardent  love  of  the  musical  art 
and  to  the  excitement  of  his  genius.  Thus  ac- 
complished as  an  artist,  he  was  now  desirous  of 
serving  his  country  by  some  appointment :  as, 
however,  there  was  no  immediate  prospect  of 
this,  he  proceeded  again  to  Manheim,  where  he 
exijeiicnced  such  marked  approbation  that  the 
elector,  Carl  Theodor,  sent  him  to  Padre  Martini, 
at  Bologna,  to  study  counterpoint.  But  as  he 
found  the  principlej  he  had  hitherto  adopted 
were  not  in  unison  with  the  system  of  this  mas- 
ter, he  went  to  Padua,  where  Padre  Vallotti  re- 
sided, of  whose  newly-discovered  system  he  had 
already  heard  on  his  arrival  at  Venice.  Whether 
Vallotti  had  or  had  not  ever  before  imparted  this 
system  to  a  pupil,  Vojiler  certainly  received  in- 
structions in  it  from  him  for  the  space  of  seven 
months ;  at  the  end  of  which  time  the  impa- 
tience of  the  pupil  was  such  that  the  Padre,  who 
was  eighty  years  of  age,  thus  addressed  him  : 
"  You  seem  to  wish  to  know  in  five  mouths  that 
which  has  cost  me  fifty  years  to  attain  !"  and  gave 
up  Ids  office  of  teacher.  After  Vogler  had  written 
recitative  at  Venice  with  Hasse,  melodies  at  Rome 
with  MisUweczek,  and,  lastly,  choruses  and  fugues 
under  the  direction  of  Vallotti,  at  the  same  time 
studying  theology  at  Padua,  he  returned,  in  1775, 
to  Manheim,  where  he  succeeded  to  the  direction 
of  the  Electoral  Chapel.  Of  his  subsequent  trav- 
els, it  is  to  be  observed  that  he  pursued  them  in 
Spain,  Africa,  Asia,  and  the  Armenian  isles,  with 
a  view  of  obtaining  the  ancient,  pure,  and  unper- 
verted  sacred  music  of  those  countries.  He  first 
submitted  his  new  system  of  music  to  the  appro- 
bation of  the  Academy  of  Sciences  at  Paris  in 
1780,  and  then  to  the  Royal  Academy  of  London 
in  1783  ;  and  although,  in  1786,  he  held  the  situa- 
tion of  chapel-master  at  Stockholm,  this  did  not 
prevent  him  from  indulging  his  love  of  observa- 
tion in  foreign  countries.  In  1790  we  find  him 
in  London,  where  he  was  heard  with  much  ap- 
plause on  his  newly-inveuted  orchestrion,  an 
instrument  something  like  the  panharmoaicon. 
By  his  performance  on  this  instrument  at  the 
Pantheon  he  realized  one  thousand  pounds  ster- 
ling. The  same  year  he  returned  to  Gennany, 
where  his  orchestrion  was  also  heard  with  ad- 
miration at  Coblentz  and  Frankfort.  At  the  lat- 
ter place  his  second  concerto,  including  Handel's 
celebrated  "  Hallelujah  "  arranged  as  three  dis- 
tinct themes,  astonished  his  hearers.  From  hence 
he  went  to  Suabia,  and,  in  Etzlingen,  was  present- 
ed with  the  wine  of  Itonor.  In  the  year  1792  he  was 
again  at  Hamburg,  where  he  was  heard  several 
times  in  the  churches.  After  his  return  to  Stock- 
holm he  commenced,  in  1793,  reading  lectures 
on  his  introductory  system  of  harmony,  and  pur- 
sued these  courses  in  two  successive  years.  In 
the  year  1795  he  again  undertook  a  journey  to 
Paris,  in  order  t<)  bear  the  revolutionary  music  of 


that  place.  Of  this  opportunity  he  also  availed 
himself  to  give  a  concert  on  the  organ  at  the 
Church  of  St.  Sulpice  for  the  benefit  of  the  poor, 
which  produced  fifteen  thousand  livres.  On  re- 
turning through  Amsterdam,  he  took  his  orclies- 
trion,  which  had  then  become  much  worn  and 
decayed,  to  Stockholm  ;  he  there  hired  a  spacious 
saloon,  with  tliree  adjoining  rooms  for  domestic 
purposes,  and  had  his  instrument  erected,  in 
1796,  in  one  of  the  smaller  rooms;  it  being  so 
placed  that  the  whole  power  of  its  sounds  vi- 
brated against  a  door,  by  opening  or  closing  of 
which  the  pianissimo,  crescendo,  and  fortissimo 
of  the  instrument  could  be  completely  produced. 
Some  other  curious  mechanism  was  also  con- 
trived to  regulate  the  sound  of  the  orchestrion 
in  the  saloon.  At  the  end  of  the  year  1796, 
when  the  ten  years  of  his  engagement  as  Swe- 
dish chapel-master  had  expired,  he  had  the  sat- 
isfaction to  see  that  the  pupils  in  instrumental 
music,  belonging  to  the  royal  music  school  which 
he  had  established,  had  increased  to  the  number 
of  seventeen,  and  in  that  year  the  academy  had 
an  orchestra  of  twenty-eight  Swedes,  of  whom 
four,  whose  united  ages  did  not  exceed  thirty-six 
years,  executed  in  public  a  quartet  composed  by 
Vogler ;  besides  this,  several  entire  operas  were 
performed  by  mere  children  of  the  singing  school, 
which  was  then  under  the  direction  of  Hatfner, 
as  its  chapel-master,  and  of  the  son  of  the  famous 
Piccini,  as  singing  master.  From  the  happy  re- 
sults of  his  various  exertions  to  promote  the  mu- 
sic of  Stockholm,  it  is  no  wonder  that  the  period 
of  his  service  was  extended  by  the  duke  regent 
to  the  eleventh  year.  At  length  he  quitted 
Stockholm  entirely  in  1799,  with  a  pension  for 
life  of  five  hundred  Swedish  dollars.  He  next 
proceeded  to  Copenhagen,  where  he  produced 
his  very  successful  opera  of  "  Hermann  von  Un- 
na."  He  then  continued  for  some  time  at  Al- 
tona,  during  the  publication  of  some  of  his  sacred 
music,  and,  in  the  summer  of  the  year  1800,  vis- 
ited Berlin ;  here  he  gave  three  concerts  on  the 
organ,  the  first  in  the  garrison  church,  and  the 
second  and  third  in  the  Church  of  St.  Mary.  On 
these  occasions  he  always  regulated  his  organ 
according  to  his  own  system  of  simplifications, 
which  system  met  with  such  approbation  in  Ber-  ' 
lin  that  he  received  a  commission  from  the  king 
to  build  quite  a  new  organ  according  to  that 
plan  at  New  Rupin ;  he  at  the  same  time  much 
assisted  the  amateur  theatre  at  Berlin  by  bring- 
ing out  his  "Hermann  von  Unna."  He  quitted 
Berlin  at  the  end  of  the  year  1800.  The  next 
intelHgcnce  concerning  him  was  from  Prague, 
where,  in  1801,  he  delivered  his  introductory  dis- 
course as  a  public  teacher  of  music ;  the  ques- 
tion proposed  by  him  being,  "  What  is  an  acad- 
em}'  of  music  r  "  Previously  to  his  pronouncing 
this  discourse  his  patent  of  appointment  by  the 
imperial  government  was  read,  upon  which  Coun- 
cillor Ungar  declared  his  nomination  to  the  gov- 
ernorship of  the  institution.  He  then  advertised 
his  lectures  on  theoretical  music,  and  in  these 
bills  styled  himself  "  Protonotarius  apostolicus,  for- 
merly elect,  palat.  consistory  councillor,  first 
chapel-master  and  public  teacher  of  music,  and 
pensioner  of  his  majesty  the  King  of  Sweden, 
and  now  musician  extraordinary  at  Prague."  It 
is  said  that  he  delivered  these  lectures,  at  first,  to 
a  numerous  auditory.  In  1803  he  left  Prague 
for  Vienna,  being  invited  to  write  an  opera  for 


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one  of  the  theatres  there.  When  the  war  broke 
out  in  1S04  he  left  Austria  for  Bavaria,  where 
at  Munich,  on  occasion  of  the  nuptials  of  the 
princess,  he  represented  his  opera  of  "  Castor  und 
Pollux  "  with  great  success ;  he  afterwards  made 
a  tour  to  Frankfort  and  the  neighboring  places, 
and  was  then  invited  to  Darmstadt  by  the  grand 
duke.  Here  he  met  with  much  encouragement, 
the  grand  duke  immediately  engaging  him  in  his 
service,  with  a  salary  of  three  thousand  florins, 
and  fi-ee  board  and  lodging ;  he  also  conferred  on 
him  the  dignity  of  privy  councillor  of  spiritual 
aifairs  ;  at  the  same  time  he  presented  him  with 
the  order  of  merit  of  the  fii-st  class,  and  appoint- 
ed him  director  of  the  court  orchestra. 

We  must  not  omit  to  observe  that  the  two 
nble  musicians.  Winter  and  Knecht,  were  pupils 
of  Vogler's  music  school  at  Manheim.  It  should 
likewise  be  noticed  respecting  his  orchestrion 
that  he  worked  four  years  ou  its  arrangement. 
In  1797  he  prepared  in  Stockholm  another  new 
invented  instrument,  named  the  orgaiio  chor- 
dium.  It  was  manufactured  by  an  able  piano- 
forte maker  of  that  town  named  Rackwitz,  and, 
it  is  said,  afterwards  excited  much  admiration,  so 
much  so  that  several  ot  them  were  ordered.  The 
following  are  amongst  the  Abb6  Vogler's  princi- 
pal works.  Books,  essa3's,  &c. :  "  Bemerkungen 
liber  die  der  Musik  vurtheilhafteste  Bauart  eiiies 
Musikchors ;"  "  Aesthetisch  kritische  Zergliederung 
des  wesenUich  vierstlminigcH  Hingesatzes  des  vom 
Hrii.  Musikdirector  Knecht  in  Musik  gesetzen  ersten 
Psalms;"  "  Verbesserung  der  Forkelschen  Verdn- 
derungeii,"  Frankfort,  1793  ;  "  Introduction  to  the 
Art  of  Harmony,"  Stockholm,  1795,  in  the  Swe- 
dish language;  "  Organisten-Schule  mit  90  Schwe- 
dischen  ChorCLlen,"  Stockholm,  1797;  "  Klavier 
und  Generalbassschuh,"  Stockholm,  1797 ;  "  Cho- 
ral System,"  Copenhagen,  1800 ;  "  Aeusserung 
ilber  Hrn.  Knechis  Harmonik;"  in  this  work  he 
explains  his  simplification  system ;  "  Handbuch 
ztir  Harmonielehre"  Prague,  1802;  "  Vergleich- 
ungsplan  der  vorigen  mit  der  mm  umgeschaffenen 
Orgel  im  Hofbethause  zu  MUnchen,"  Munich,  1807  ; 
"  Ueber  die  harmonische  Akustik  und  ihren  Einfluss 
auf  alte  Musikalische  Vildungszweige,"  Munich, 
1807 ;  and  '*  Grilndliche  Ankitung  zum  Klavier- 
stimmen  filr  die,  tcelche  ein  gutes  GehOr  haben," 
Stuttgard,  1807.  Operas:  "Albert  der  dritte  von 
Bayeni,"  in  live  acts,  Munich,  1781;  "  Gustavus 
Adolphiis,"  Stockholm,  1791;  "Castor  und  Pol- 
lux," Manheim,  1791;  "Hermann  von  Unna," 
Copenhagen,  1800  ;  and  "  Hamori,"  grand  opera, 
Vienna,  1804.  Amongst  his  chamber  music, 
which  is  chiefly  for  the  piano-forte  with  violin 
accompaniments,  we  may  distinguish  a  curious 
work  entitled  "  Polymelos,  ou  Caractires  de  Mu- 
sique  de  dijfirentes  Nations,  pour  Clav.  avec  2  V., 
A.,  et  B.,"  S^jeier,  1792.  Amongst  his  church 
compositions  are  many  beautiful  hymns,  and  a 
delightful  motet  entitled  "Borate  ca:li."  This  is 
printed,  with  the  Latin  and  also  English  words, 
in  the  "  Vocal  Anthology." 

VOGT,  AUGUST  GEORG,  a  celebrated  obo- 
ist, was  born  at  Strasburg  in  1781.  In  1808  he 
became  adjunct  professor  of  the  hautboy  in  the 
Conservatory  at  Paris.  In  182-5  the  Philhar- 
monic Society  called  him  to  London.  In  1829 
he  returned  to  Paris,  where  he  received  the  deco- 
ration of  the  Legion  of  Honor.  He  composed 
concertos,  airs  variis,  and  fantasias  for  the  oboe. 


VOICE.  The  sound,  or  sounds,  produced  by 
the  vocal  organs  in  singing.  There  are  six  spe- 
cies of  the  human  voice,  which  rank  in  the  fol- 
lowing order :  the  bass ;  the  baritono,  or  ten- 
or bass  ;  the  tenor ;  the  counter  tenor ;  the  mezzo 
soprano ;  and  the  soprano,  or  treble.  A  good  bass 
voice  generally  extends  from  F  or  E,  below  G 
gamut,  to  C  or  D,  above  the  bass  clef  note ;  the 
baritono  from  about  G  gamut  to  F  above  the  bass 
clef  note ;  tlie  tenor  from  C  above  G  gamut  to 
G,  the  treble  clef  note,  or  A  above  it;  the  coun- 
ter tenor  from  E  or  F  above  G  gamut,  to  B, 
or  C,  above  the  treble  clef  note ;  the  mezzo  so- 
prano from  A  or  B,  above  tlie  bass  clef  note,  to 
E  or  F,  above  the  treble  clef  note ;  and  the  so- 
prano, or  treble,  from  C  above  the  bass  clef  note 
to  A,  B,  or  C,  in  alt.,  and  sometimes  higher. 
To  voice  a  pipe,  is  to  bring  it  to  its  intended  tone 
or  power  ;  and  to  voice  is  an  expression  applied  by 
organ  builders  to  the  regulating  of  the  tone  of 
a  pipe ;  but  there  is  no  instrument  that  can  well 
compare  with  the  human  voice,  or  which  is  quite 
similar  to  it.  All  musical  instruments  endeavor 
to  imitate  it,  and  their  glory  consists  in  the  near- 
ness of  their  approach  to  this  standard.  The  vi- 
oloncello, the  alto,  the  violin,  are  those  which 
have  best  succeeded  in  this  imitation.  As  an 
exception  to  this  rule  of  superiority  stands  the 
organ ;  which,  although  not  so  similar  to  the 
voice  as  the  above-mentioned  instruments,  comes 
first  after  it  in  power  and  effect ;  rendered  superior, 
in  its  grandeur  of  expression  and  deep-toned  mel- 
ody, to  any  other  instrument,  by  combining  within 
itself  the  peculiarities  of  all,  from  the  deep  bass 
to  the  birdlike  flute.  The  power  of  imitation 
is  possessed  by  the  human  voice  in  an  eminent 
degree  ;  for  not  only,  when  cultivated,  can  it  pro- 
duce the  tones  of  many  instruments,  but  the 
natural  voice  can  imitate,  with  more  or  less 
study,  almost  all  sounds  with  which  the  ear  is  ac- 
quainted. 

To  take  proper  care  of  the  voice  is  of  so  much 
importance  to  every  singer  that  the  greatest  at- 
tention should  be  paid  to  all  the  means  for  its 
preservation  and  to  every  species  of  indisposition 
that  tends  to  injure  it.  There  are  but  few  mala- 
dies that  affect  the  organs  of  the  voice  alone,  as 
the  greater  part  of  the  troubles  to  which  it  is  lia- 
ble are  merely  symptoms  or  parts  of  other  com- 
plicated diseases.  In  every  case  of  this  kind  a 
judicious  singer  will  at  once  seek  the  advice  of 
an  experienced  physician,  without  making  the 
matter  worse  by  trying  to  cure  himself  or  by  re- 
sorting to  quacks. 

One  of  the  most  common  affections  of  the  vc ice 
is  hoarseness,  causing  it  to  lose  in  volume  of  sound 
and  in  distinctness  and  precision  of  tone.  The 
origin  of  hoarseness  is  often  catarrhal,  in  which 
case  it  must  be  treated  as  a  catarrh.  It  is,  how- 
ever, frequently  caused  by  speaking  or  singing 
too  much  ;  when  it  arises  Irom  the  dryness  of  the 
larynx,  and  the  consequent  relaxation  of  its  mus- 
cles. In  this  case  singing  must  be  postponed  for 
some  time,  to  give  room  for  those  parts  to  recover 
the  necessary  power  an  i  humidity.  They  may  also 
be  assisted  in  it  by  the  application  of  gently  sof- 
tening and  moistening  remedies,  such  as  gargling 
with  lukewarm  elder  tea  and  honey.  Hoarseness 
is  very  often  the  consequence  of  a  faulty  respi- 
ration. When  the  vowel  toue  is  not  Drought  out 
with  proper  economy  of  breath,  when  it  is  pro- 
duced more  by  a  forcible  discnarge  liom  off  th« 


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lungs  than  by  a  quiet  emission  of  the  breath, 
the  necessary  moisture  is  driven  away  from  the 
vocal  chords,  and  an  irritation  is  felt,  which  pro- 
duces frequent  couching.  This  cough  takes  away 
the  flexibility  of  the  voice,  and  may  destroy  its 
organs  prematurely ;  nay,  it  may  be  very  detri- 
mental to  the  chest  itself.  Hoarseness  from  swal- 
lowing very  fat  meats  or  drinks  will  lose  itself 
in  a  short  time  after  this  stimulus  has  ceased. 

Sometimes  it  is  the  symptom  of  more  serious 
indisposition,  especially  of  consumption.  But 
upon  this  we  can  only  so  far  touch  as  to  give 
the  following  rules:  If  hoarseness  comw  often, 
and  from  every  little  cause,  from  every  little  ex- 
ertion of  the  voice,  there  is  reason  to  be  seriously 
alarmed  for  the  chest,  and  carefully  to  avoid  ev- 
ery thing  that  might  hurt  it ;  for  this  often  re- 
peated and  continued  hoarseness  is  a  certain  sign, 
if  not  of  decided  consumption,  at  least  of  great 
weakness  in  the  chest,  and  a  tendency  to  all  the 
ills  connected  with  it. 

United  to  hoarseness  is  generally  another  de- 
fect of  the  voice,  rouyhness,  which  is  caused  by 
too  much  or  too  little  moisture  in  the  breathing 
passages,  or  by  a  natural  unevenness  of  them, 
or  by  sickness.  It  comes  from  the  same  causes 
as  hoarseness,  and  is  remedied  by  the  same 
means.  Good  domestic  remedies  for  it  are  the 
yolk  of  an  egg,  with  sugar  and  a  little  claret. 
To  add  alcohol  to  it  is  not  good  for  every  organ ; 
it  creates  an  unpleasant  irritation  and  cough. 
Honey  and  liquorice,  taken  in  small  quantities, 
are  useful ;  but  they  easily  produce  a  stopping 
of  the  passages  of  the  chest  and  throat  with 
phlegm.  Tea  with  sugar  is  beneficial  to  some 
organs,  but  very  often  produces  greater  roughness 
of  voice.  Gargluig  with  warm  elder  tea,  and  in- 
haling the  vapor  of  tea,  are  recommended  in  such 
cases.  After  applying  these  remedies  internally, 
it  is  very  beneficial  to  wash  the  neck  with  luke- 
warm water,  and  to  rub  it  with  flannel  after 
it  is  thoroughly  dry.  When  the  organ  of  the 
voice  becomes  di-y  by  too  much  exercise,  or  the 
necessary  mucus  is  taken  from  the  vocal  chords, 
this  mucus  will  very  seldom  be  fully  restored  by 
artiflcial  means.  The  best  remedy  in  this  case 
is,  to  chew  a  piece  of  hard  bread,  or  cracker,  un- 
til it  makes  a  moist  paste ;  eat  this  paste  slowly, 
and  drink  a  few  swallows  of  moderately  cold 
water  after  it.  This  simple  remedy  is  applied  by 
the  best  singers  with  good  success.  Strong  spir- 
ituous drinks,  such  as  brandj',  rum,  &c.,  are,  by 
their  astringent  effect,  particularly  apt  to  cause 
roughness  of  the  voice,  which  will  be  easily  ob- 
sert'ed.  The  only  remedy  in  this  case  is,  to  ab- 
stain fron.  them  altogether.  The  singer  has 
especially  to  be  very  careful  in  the  selection  of 
the  beer  he  may  drink.  It  is  a  very  common  but 
mistaken  error,  committed  by  bass  singers  in  par- 
ticular, to  think  that  beer  is  beneficial  to  the 
voice.  The  sound  of  the  high  and  middle  tones 
is  always  endangered  by  it ;  and  though  the  low- 
er tones  may  apparently  gain  in  volume,  they 
generally  become  rough  and  hard,  ^\^le^e  rough- 
ness is  natural,  or  arises  from  climate,  (in  the 
north  it  is  almost  epidemical,)  very  little  can  be 
done  to  amend  it.  Correct  respiration,  and  care- 
ful solfeggio  singing,  can  alone  aid,  and  this  in  a 
limited  measure. 

Catarrh  has  its  origin  mostly  in  a  cold,  and 
tlierefore  requires  warmth  and  remedies  that  ex- 
cite perspiration ;  such   as  elder  tea,  balm   tea. 


oftentimes  made  stronger  by  elderberry  jam,  &c- 
The  same  is  to  be  observed  of  all  those  ills  that 
are  connected  with,  and  are  a  consequence  of,  ca- 
tarrhs ;  as  cough,  sore  throat,  swelling  of  the  ex- 
ternal and  internal  glands  of  the  neck,  of  the 
tonsils  of  the  throat,  of  the  glottis  :  local  reme- 
dies merely  may  be  called  in  to  aid  these  local 
indispositions;  gargling  with  elder  tea,  honey, 
&c.;  and,  if  the  evil  is  deeper  down  in  the  throst, 
inhaling  the  vapor  of  tea.  External  applications 
of  camomile  bags  are  advisable,  especially  for 
swellings  of  the  glands.  But,  above  all  things, 
the  throat  must  be  kept  warm  by  day  and  night. 
To  wrap  the  neck  in  flannel,  and  to  wash  both  it 
and  the  chest  with  lukewarm  brandy,  are  useful 
for  this  purpose.  Asthma  and  want  of  breath, 
if  occasioned  by  weakness  of  the  chest,  require 
the  treatment  of  a  jihysician.  Domestic  reme- 
dies may  do  much  harm ;  but  correct  practice  of 
singing,  under  the  direction  of  a  teacher  acquaint- 
ed with  physiology,  will  most  certainly  contribute 
materially  to  the  strengthening  of  the  organs  of 
respiration,  provided  there  be  no  natxiral  defect 
in  their  construction. 

From  these  rules,  in  cases  of  indisposition  of 
the  throat,  the  reader  may  deduce  for  himself, 
for  the  most  part,  what  he  has  to  do  for  the  pres- 
ervation of  his  voice  ;  and  we  will  only  add  the 
following  remarks.  The  most  important  thing  to 
be  observed  is,  the  condition  of  the  body  when 
singing  and  the  manner  of  singing.  Never  sing 
while  indisposed,  particularly  in  the  organs  of 
the  voice  ;  never  sing  immediately  after  running 
fast,  or  after  riding,  lifting,  or  similar  bodily  ex- 
ertion ;  when  the  voice  is  not  at  command,  is 
wavering,  incorrect,  or  panting  ;  which  may  have 
very  bad  consequences  withal.  Never  sing  im- 
mediately before  or  after  meals,  for  it  hurts  both 
the  voice  and  the  health  together.  Never  talk 
or  sing  too  long ;  it  will  raise  an  irritation,  a 
burning,  a  pricking  in  the  throat  or  chest,  which 
are  always  signs  of  the  approach  of  a  state  of 
indisposition.  During  singing,  stand  free  and 
easy ;  and  do  not  hold  any  thing  before  the  mouth 
which  might  prevent  the  free  flow  of  the  breath, 
and  thus  weaken  the  chest  and  deaden  the  tone. 
The  chest  must  always  be  held  freely  erect,  that 
the  lungs  may  expand  ;  strengthening  the  breath, 
and  giving  more  ease  to  the  song.  Never,  or  at 
least  very  seldom,  touch  the  exti'eme  limits  of 
your  power  of  voice.  Frequent  repetition  of 
this  over-singing  might  produce  a  sudden  and 
entire  loss  of  voice.  Do  not  sing  in  a  place  eithiT 
too  cold  or  too  warm,  so  as  to  lose  the  prop(  r 
proportion  of  warmth  between  the  breath  inhaled 
and  e.xhaled.  A  singer  must  be  more  modeiate 
than  any  body  else  in  eating  and  drinking,  for 
the  sake  of  the  preservation  of  his  voice ;  and 
this  precious  treasure  is  well  worth  such  a  privs  - 
tion.  This  is  particularly  applicable  to  "enor,  so- 
prano, and  alto  voices ;  the  bass  voice  is  not  sc 
delicate.  As  to  the  choice  of  meats  and  drinks, 
prefer  the  lighter  and  milder  articles,  and  avoid 
all  that  is  very  fat,  and  even  rich  fruit,  nuts,  S:c., 
aU  strong,  spirituous  drinks,  &c.  Tobacco  smok- 
ing does  not  hurt  the  voice  if  used  moderately  ; 
nay,  it  may  be  of  material  use,  by  promoting  the 
secretion  and  discharge  of  the  phlegm  from  tlie 
organs  of  breathing,  and  thus  making  the  voice 
purer  and  clearer.  Snufl'taking,  however,  stops 
up  the  canals,  obstructing  the  resonance  of  the 
tone,  and  consequently  making  it  weaker ;  and 


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it  should  therefore  be  avoided  by  the  singer.  He  [  ing  nearly  closed  is  also  bad,  as  it  brings  the  teeth 
should  be  so  dressed  as  to  keep  the  body  as  equal-  !  in  contact;  the  consequence  of  which  is,  the  sound 
ly  warm  as  possible,  to  prevent  being  either  heat-  '  becomes  nasul  and  cleiUal. 


ed  or  taking  cold,  both  of  which  necessarily  hurt 
the  voice ;  but  he  should  also  be  dressed  with 
ease  and  comfort,  particularly  in  those  parts 
which  are  active  in  singing,  as  the  throat  and 
chest,  in  order  to  allow  them  a  free  and  unmo- 
lested motion  ;  otherwise,  by  being  compressed 
in  their  action,  they  would  injure  the  health. 
Practice  on  wind  instrximents  is  not  admissible 
for  the  singer ;  his  breath  and  the  strength  of 
his  chest  belong  to  his  voice,  and  must  be  pre- 
served for  it.  Lastly,  lake  great  care  for  the 
preservation  of  the  teeth.  Their  decay  and  loss 
•will  take  away  the  chief  instrument  for  the  res- 
onance of  the  voice  ;  and  this  loss  will  be  felt 
the  more,  as  it  prevents  the  perfect  and  clear  ar- 
ticulation of  the  words  The  singer  must  there- 
fore do  notliing  which  would  hurt  the  teeth. 

l"he  delivery  of  the  voice  is  a  fundamental  part 
of  vocal  music.  Very  few  persons  know  how  to 
manage  their  voices  so  as  to  produce  the  most 
agreeable  sounds  :  some  give  the  nuaal  sound, 
and  make  a  noise  more  akin  to  the  sound  of  a 
ram's  horn  than  a  human  voice ;  others  give  the 
denial  sound,  which  makes  one  feel  as  if  the  par- 
ty was  laboring  under  some  great  physical  defi- 
ciency; and  vai'ious  other  equally  injudicious  ways 
are  contrived,  as  unpleasant  as  is  that  of  com- 
mencing the  word  with  a  sort  of  huh,  similar  to 
the  noise  made  by  the  Irish  stone  drivers,  or 
paviers,  or  nu  American  woodman. 

In  all  cases  a  moderate  breath  must  be  taken, 
and  not  a  long  one ;  for  by  so  doing  the  lungs 
become  much  opjiressed,  and  have  an  inclination 
to  eject  the  air  in  a  body  instead  of  gradually: 
thus  all  command  of  the  voice  would  be  lost. 
In  taking  breath  the  throat  must  be  well  opened, 
and  the  palate  raised,  so  that  the  lungs  may  be 
inflated  instantaneously  and  noiselessly.  The 
breath  must  never  be  taken  in  the  middle  of  a 
word,  but  in  the  various  points  of  suspension. 
When  exercising  the  voice,  the  person  should 
stand  erect,  firm,  and  at  ease,  with  the  shoulders 
back,  chest  expanded,  head  upright,  and  a  gen- 
eral freedom  about  the  face,  throat,  and  body. 
The  mouth  should  be  opened  so  as  to  present  an 
easy,  smUing,  and  graceful  appearance,  with  the 
jaw  and  lips  perlectly  loose ;  the  upper  lip  raised 
sufficiently  to  show  the  upper  row  of  teeth.  The 
tongue  should  remiiin  fiat  in  the  mouth,  the 
uvula  and  soft  palate  incUned  towards  the  pas- 
sage of  the  nose,  thus  preventing  the  breath  from 
passing  through,  (otherwise  the  voice  becomes 
nasal,)  leaving  open  only  the  passage  to  the 
mouth,  through  which  it  passes  unobstructed, 
thereby  giving  a  strong  vibratory  power.  The 
throat  sliould  be  kept  well  open,  and  all  tossing 
of  the  head  particularly  avoided  ;  the  jaw  should 
be  allowed  to  fall  inward,  and  then  the  voice 
should  be  thrown  out, as  it  were  from  the  chest,  and 
all  pain  or  pressure,  or  contraction  of  the  throat 
carefully  avoided.  Great  care  must  be  taken  not 
to  project  the  lips,  as  by  so  doing  the  muscles  of 
the  throat  become  compressed,  which  prevents  a 
fret  expansion  of  the  sound,  and  also  checks  the 
power  of  vibration.  The  lips  must  not  be  ex- 
tended very  much  laterally,  as  it  produces  a  thin 
quality  of  tone,  and  also  stift'ens  the  muscles  of 
the  throat  and  mouth,  which  greatly  lessens  the 
vibratory  and  expansive  power.     The  mouth  be- 


lt is  now  obvious  that  vocal  music,  as  an  ap- 
proved branch  of  common  education,  is  rapidly 
making  its  way  into  the  schools  and  academies 
of  our  country,  eventually  to  become  one  of  the 
educational  habits  of  the  mass.  The  knowledge 
of  music  must  prevail  where  there  is  industrious, 
earnest,  and  intelligent  teaching,  and  the  work 
will  be  hastened  in  proportion  to  the  improve- 
ment of  teachers  and  text  books.  At  present  tha 
Pestalozzian  system  is  very  generally  adojited 
but  this  system  does  not  begin  at  the  right  point, 
and  consequently  the  pupil  is  at  work  for  a  num- 
ber of  lessons  before  he  sees  any  considerable 
musical  meaning  in  what  he  is  doing.  It  begins 
always  —  we  mean  in  its  school  books  —  with 
rhythm,  time  beating,  bars,  measures,  compara- 
tive notes,  &c.  But  does  musical  science  origi- 
nate or  practically  begin  with  any  of  these  princi- 
ples ?  These  are  mostly  common,  more  or  less, 
with  all  other  arts.  The  purest  tone,  any  more 
than  the  ring  of  a  hammer,  is  still  no  i)art  of 
musical  science  so  long  as  it  is  only  varied  by 
time.  But  —  and  here  is  the  great  point  —  let 
another  sound  be  heard  in  pleasing  relation  above 
or  below  it,  in  pitch,  and  we  are  at  once  within  its 
exclusive  province.  Music,  then,  originates  in 
the  uisE  and  fall  of  tones  ;  and  these,  as  it  is 
well  known,  are  controlled  by  the  given  pitch,  or 
starting  tone,  called  the  tonic,  or  key.  Certainly, 
then,  its  study  properly  commences  at  this  point ; 
and  the  tonic  must  immediately  take  the  chair  of 
state  and  rule  by  evident  "  right  divine." 

VOIGT,  JOIIAXX  CARL.  Organist  at  Wal- 
denberg,  in  Saxony,  towards  the  middle  of  the  last 
century,  lie  wrote,  in  the  year  1740,  a  dialogue 
on  music  between  an  organLst  and  his  deputy,  in 
which  the  abuses  prevalent  in  musical  perform- 
ances at  that  period  are  vigorously  controverted. 

VOIGT,  JOIIAXN  GEOUG  HERMANN, 
organi.st  of  St.  'Iliomas's  Church  at  Leipsic,  was 
born  at  Osterwick  in  17G9.  He  received  the  ru- 
diments of  his  musical  education  partly  from  his 
father,  and  partly  from  J.  G.  Rose,  town  musician 
of  Quedlinburg.  On  the  death  of  his  father, 
about  the  year  1780,  he  was  apprenticed  by  his 
guardian,  for  a  term  of  years,  to  another  mu- 
sician, under  whom  he  studied  various  stringed 
and  wind  instruments.  On  the  completion  of 
his  apprenticeship  in  the  year  17S8  he  went  to 
Leipsic,  where  he  was  appointed  violinist  and 
solo  performer  on  the  hautboy  at  the  principal 
concert;  from  thence,  in  1790,  he  removed  to 
Zeitz,  being  elected  organist  of  the  principal 
church  in  that  town.  In  1801  he  returned  to 
Leipsic,  being  invited  to  fill  the  situations  of  or- 
ganist of  St.  Pef'r's  Church,  and  of  violini.st  and 
concerto  violoncellist  in  the  concert  orchestra. 
In  the  following  year  he  obtained  his  first-named 
appointment.  Voigt  published  at  Otienbnch  and 
Leipsic  several  works  of  instrumental  music,  and 
left  many  manuscript  compositions  at  his  death, 
which  took  place  at  Leipsic  in  1811. 

VOIGT,  CARL  LUDWIG,  son  of  the  preced- 
ing, was  born  at  Zeitz  in  1791,  and  succeeded  his 
father  as  violoncellist  in  the  theatre,  concert,  and 
churches  at  Leipsic  in  181 1.  He  published  many 
compositions  for  the  violoncello,  with  other  string 
instruments. 


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yOI.ANTE.  (I.)  Flying.  In  a  U-ht  and 
rapid  manner. 

VOLATA.  The  appellation  sometimes  j^iven 
by  the  Ituliuns  to  a  division,  or  rapid  flight  of 
aotes. 

VOLEE.     (F.)     A  rapid  flight  of  notes. 

VOI.KERT,  FllAXZ,  an  organist  at  Vienna, 
vas  distinguished  from  1810  to  1830  as  a  com- 
poser of  comic  operas,  melodramas,  ])arodics,  &c., 
which  he  had  represented  at  the  Leojjoldstadt 
Theatre,  where  he  was  director,  lie  wrote  more 
than  a  liundred  of  such  works;  also  some  instru- 
mental music. 

VOLKMAR,  TOBIAS,  a  distinguished  church 
composer,  music  director,  and  chorister  at  Ilirsch- 
berg,  in  .Silesia,  was  born  in  1078.  He  studied 
composition  under  Johann  Krieger,  of  Zittau, 
whose  solemn  and  profound  style  he  so  com- 
pletely adopted  that  he  was  called,  at  Hirschberg, 
Krieger  the  Second.     He  w;i8  living  in  1740. 

VOLKSLIED.  (G.)  People's  song.  A  pop- 
ular song,  tune,  or  ballad. 

VOLL.  (G.)  Full;  as  mit  voUem  Orgcl,  with 
full  organ. 

VOLLKOMMEN.     (G.)    Perfect. 

VOLTA.  (I.)  An  old,  three-timed  air,  pe- 
culiar to  an  Italian  dance  of  the  same  name,  and 
forming  a  kind  of  galliard  ;  also  a  word  used  by 
modern  composers  for  time ;  as  voUa  prima,  the 
first  time  ;  voUa  secoiula,  the  second  time. 

VOLTI.     (I.)     Turn  over. 

VOLTI  SUBITO,  or  V.  S.  (I.)  Turn  over 
quickly. 

VOLUME.  Quantity  or  fulness;  as  when 
we  say,  "  Such  a  performer  possesses  an  exten- 
sive or  rich  volume  of  voice." 

VOLUNTARY.  A  voluntary  is  an  extem- 
pore performance  upon,  or  a  composition  written 
for,  the  organ,  and  serving  to  relieve  and  em- 
bellish divine  service.  Tliis  species  of  music, 
though  necessarily  limited  to  a  gravity  and  so- 
lemnity of  style,  admits  of  considerable  variety. 
The  change,  order,  and  number  of  its  movements 
have  never  been  settled  by  any  law  deduced 
from  the  authority  of  particular  example  or  gen- 
eral usage  ;  consequently  much  is  left  to  the  fan- 
cy, tast"?  and  judgment  of  the  composer  ;  and  if, 
in  the  agipegate,  he  preserve  a  sufficient  degree 
of  dignity,  seriousness,  and  science,  not  admit- 
ting any  lighter  ideas,  or  passages,  than  are  cal- 
culated to  relieve  the  more  solemn  parts,  he  may 
be  said  to  keep  within  the  i)ale  described  by  the 
sacred  use  for  which  the  organ  is  so  truly  fitted 
and  designed.  The  voluntary  was  originally  so 
called  because  its  performance,  or  non-perform- 
ance, was  at  the  option  of  the  organist. 

VON.  (G.)  By,  of;  often  occurs  in  German 
titles. 

VORBEREITUNG.  (G.)  Preparation.  A 
term  used  in  harmony. 

VOIlSCHL.\.G.     (G.)     An  appoggiatura. 

VORSPIELE.     (G.)     Preludes. 

VORZEICIINUXG.     (G.)     The  signature. 

VOSS,  CHARLES,  a  favorite  piano-forte  com- 


poser, was  born  at  Strcliti!  in  1810,  and  yet  lives 
in  Berlin. 

VOSSIUS.  GERARD  JOHN,  born  in  1.577  at 
a  small  town  in  the  neighborhood  of  Heidelberg, 
was  a  man  of  universal  learning  and  abilities. 
He  commenced  his  studies  at  Uort  about  the 
year  l.WO,  and  ten  years  afterwards  was  chosen 
director  of  the  college  in  that  place,  though  at 
the  time  only  twenty-three  years  of  age.  In 
1G14  he  wa.s  appointed  director  of  the  theological 
college  which  the  States  of  Holland  had  then 
lately  founded  in  the  University  of  Leyden.  Be- 
fore he  received  this  latter  appointment,  Vossius 
had  attached  himself  to  the  jirofession  of  divinity, 
and  had  warmly  espoused  the  side  of  Arminius 
at  the  famous  SjTiod  of  Dort.  These  principles, 
and  his  history  of  the  Pelagian  controversy,  rec- 
ommended him  to  the  notice  of  Archbishop  Laud, 
who  procured  for  him  a  prebendal  stall  in  the 
Church  of  Canterbury,  «nth  permission  to  hold 
it  notwithstanding  his  residence  at  Leyden.  On 
this  promotion  he  went  over  to  England  to  be  in- 
stalled ;  and  having  received  an  honorary  degree 
of  doctor  of  laws  at  Oxford,  returned  to  Leyden ; 
from  whence,  in  163.3,  he  removed  to  Amsterdam, 
and  became  the  first  jjrofessor  of  history  in  the 
college  then  newly  founded  in  that  city.  He 
died  at  that  place  in  the  year  1649,  at  the  age 
of  seventy-two.  Vossius  published  at  Amster- 
dam, in  16.50,  a  work  "  De  qiuUuor  Artibtts  popu- 
laribia;"  and  afterwards  another,  "  De  Vniversce 
Mdthcsias  Naiura  et  Compositione ; "  in  each  of 
which  are  contained  many  curious  particulars 
relative  to  music  and  musicians. 

VOSSIUS,  ISAAC,  son  of  the  preceding,  was 
bom  at  Leyden  in  the  year  1618,  and,  under  the 
instruction  of  his  father,  soon  became  distin- 
guished for  his  proficiency  in  academical  learn- 
ing. He  was  honored  by  the  patronage  of  Chris- 
tina, Queen  of  Sweden,  who  invited  him  to  her 
court,  and  was  taught  by  him  the  Greek  lan- 
guage. About  the  year  16.5 '2,  having,  however, 
formed  a  design  of  writing  against  Salmasius, 
who  at  that  time  stood  high  in  her  favor,  the 
queen  withdrew  her  regard  and  dismissed  him 
from  any  further  attendance.  At  the  death  of 
his  father,  Vossius  was  offered  the  situation  of 
professor  of  history  in  the  University  of  Leyden, 
but  he  thought  proper  to  decline  it.  In  1760  he 
went  to  England,  and  at  Oxford  was  admitted  to 
an  honorary  degree  of  doctor  of  laws.  Three 
years  afterwards  he  was  made  a  canon  of  Wind- 
sor by  order  of  King  Charles  II.,  who  permit- 
ted him  to  reside  in  the  castle,  where  he  died 
in  the  year  1688.  Of  his  works  the  most  popu- 
lar is  his  treatise  "  De  Poematum  Cantu  et  Viribiis 
llhylhmi,"  printed  at  Oxford  in  1673.  This  he 
begins  by  a  remark  that  music  is  of  two  kinds ; 
namely,  such  as  consist  of  sounds  only,  and  such 
as  consist  of  sounds  joined  to  words.  He  then 
gives  an  account  of  the  rhythms  of  the  ancient 
Greeks,  and  of  the  various  kinds  of  metrical  feet 
used  in  their  verses,  all  of  which  he  affects  to 
admire  with  rapture.  His  contempt  of  modem 
music  and  musicians  he  freely  expresses,  and 
says  that  all  the  powers  of  exciting  the  ])assions 
by  music  had  ceased  above  a  thousand  years  be- 
fore his  time.  On  the  controverted  question, 
whether  the  ancienta  were  acquainted  with  mu- 
sic in  consonance,  he,  with  the  utmost  confi- 
dence, gives  it  as  his  decided  o;iinion  tliat  chey 


970 


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EN'CYCLOP.EDIA    OF  MUSiC. 


VDl. 


were.  The  improvement  of  the  musical  scale 
lias,  he  says,  erroneously  been  ascribed  to  Uuido; 
since,  in  forming  his  scale,  he  derived  all  his 
ideas  from  the  organs  and  harps  of  his  time, 
which  consisted,  the  one  of  twenty  pipes,  and  the 
other  of  twenty  strings.  As  to  the  application 
of  the  syllables,  he  considers  that  to  be  an  inven- 
tion of  no  u>e  whatever.  The  invention  of  the 
catttua  mensuiahilU,  the  substitute  for  the  ancient 
rhythms,  he  holds  in  the  utmost  contempt.  The 
arguments  against  the  imperfection  of  ancient 
music,  arising  from  the  fonu  of  the  instruments, 
he  endeavors,  but  in  vain,  to  refute.  In  the 
course  of  this  work  the  author  is  lavish  of  his 
censures  of  the  ignorance  and  folly  of  other 
writers  on  music,  though  his  own  enthusiasm 
and  bigotry  liavo  laid  him  widely  open  to  the 
latter  imjiutation.  In  short,  it  al)ounds  in  evi- 
dence of  that  gross  credulity  for  which  its  author 
is  well  known  to  have  been  remarkable.  This, 
however,  is  by  no  means  the  only  weakness  with 
which  he  is  charged  ;  his  partiality  for  the  an- 
sients,  his  bold  and  hasty  conclusions,  his  affect- 
ad  coutempt  of  all  modern  improvements,  his  in- 


solent treatment  of  such  persons  as  differed  from 
him  in  opinion,  and,  above  all,  his  vanity,  have 
placed  him  in  the  foremost  rank  of  literary  co.\- 
combs.  As  to  hLs  work,  its  general  character 
may  be  given  in  a  few  words  :  it  is  a  futile,  un- 
satisfactory, and  for  the  most  part  unintelligible, 
disquisition. 

VOX  ACUTA.  (L.)  In  the  ancient  music, 
the  highest  note  in  the  bisdiapason,  or  double  oc- 
tave. 

VOX  GRAVIS.  (L.)  In  the  ancient  music, 
the  lowest  note  in  the  bisdiaposon,  or  double  oc- 
tave. 

VUIDE,  or  VIDE.  (F.)  Open;  rs  cordi 
viiide,  the  open  string.  Used  in  all  music  foi 
stringed  instruments  to  show  that  the  note  ovei 
which  it  is  placed  must  be  played  on  the  open 
string. 

VULPIUS,  MELCHIOR,  an  excellent  church 
composer,  was  born  at  Wasungen,  in  Thuringia, 
about  the  year  ISfiO.  He  published  in  lfi04,  at 
Leipsic,  a  choral  book,  a  second  edition  of  which 
appeared  at  Jera  in  1609. 


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ENCYCLOPEDIA    OF    MUSIC. 


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w. 


WACH,    CAKL    GOTTFRIED  WILHELM,  i  phlet,  pronounces  to  be  the  greatest  composer  of 


B.  performer  on  the  double  bass  at  Leipsic,  was 
born  at  Lobau  in  17. 'to.  He  was  considered  an 
excellent  performer,  and  also  arranged  much  dra- 
matic music  for  instrumental  pieces.  Amongsl 
his  works  are  "  Le  Prinonnier,"  an  opera  of  Delia 
Maria's,  arranged  as  quintets,  Leipsic,  1803  ;  and 
"  Die  Schwcize  Familie,"  opera  by  Weigl,  arranged 
as  quintets,  Leipsic,  1811. 

WAELRANT,  RUBERT,  a  celebrated  Flem- 
ish composer,  was  born  in  1517.  He  resided 
chiefly  in  Italy,  where  many  of  his  works  were 
published,  and  the  remainder  at  Antwerp.  He 
was  the  principal  promoter  of  the  use  of  the  syl- 
lable si  in  solmization,  in  addition  to  the  six  Gui- 
donian  syllables.  He  died  at  Antwerp  in  1595, 
in  the  seventy-eighth  year  of  his  age.  Amongst 
his  works  are  "  Caiitiones  Neapolitaiue,  Z  et  i  voc," 
Venice,  1565  ;  "  Hymphonia  aiu/elica,  4,  5,  6,  7,  et 
8  voc,"  Antwerp,  1565;  "  Madrigali  e  Canzoni 
Francesi,  d  5  voci,"  Antwerp,  1558.  Avery  beau- 
tiful specimen  of  the  madrigals  of  this  master  is  to 
be  found  in  the  "  Vocal  Anthology." 

WAERT,  GIACHES  DI,  a  celebrated  Flem- 
ish  contrapuntist,  flourished  at  Antwerp  about  the 
year  1560. 

WAGENSEIL,  GEORG  CHRISTOPH,  cham- 
ber musician  to  the  Emperor  of  Germany,  was 
born  in  the  year  1688,  and  was  living  in  1784. 
From  the  spuited  compositions  of  this  master 
for  the  harpsichord,  before  the  piano-forte  was 
brought  to  any  perfection,  the  lovers  of  music, 
observes  Dr.  Burney,  received  great  delight.  The 
Germans  long  allowed  Wagenseil's  sonatas  to  be 
written  in  a  lively  and  easy  style;  but  those  mu- 
sicians who  are  attached  to  the  more  refined  and 
expressive  style  of  Emmanuel  Bach  consider 
them  as  too  trifling. 

WAGNER,  GEORG  GOTTFRIED,  chorister 
at  Plauen,  in  Voigtland,  was  born  at  Muhlberg 
in  1698.  Besides  the  harpsichord,  he  studied  the 
violin  and  several  other  instruments,  his  progress 
on  whi:h  was  much  facilitated  by  the  opportu- 
nities afforded  him  of  hearing  the  best  musicians 
nt  Leiptjic.  The  celebrated  Bach  having  succeed- 
ed Kuhnau,  Wagner  had  now  the  opportunity  of 
hearing  the  works  of  this  great  master  during  a 
period  of  three  years,  and  till  he  got  his  first- 
named  appointment,  in  1726,  which  he  still  held 
in  1740.  He  composed  much  church  and  instru- 
mental music,  all  of  which  remained  in  manu- 
script. 

WAGNER,  CARL,  a  celebrated  performer  on 
the  horn,  belonging  to  the  Chapel  Royal  at  Darm- 
stadt in  1795,  was  also  considered  a  good  vocal 
and  ijistrumental  composer.  He  was  a  pupil  of 
Portmann,  after  whose  death  he  published  a  new 
edition  of  his  master's  method  for  the  horn. 

WAGNER,  JOHANNA.  This  celebrated  vo- 
calist is  the  niece  of  Richard  Wagner,  the  chapel- 
master  of  Dresden,  whom  Liszt,  in  a  recent  pam- 


the  age.  The  early  days  of  Johanna  Wagnei 
were  passed  at  WUrzburg,  in  Bavaria,  her  parents 
being  engaged  at  the  theatre.  As  a  child  she  was 
selected  to  represent  the  good  spirit  in  the  fairy 
spectacles,  her  declamatory  powers  being  remark- 
able. At  fifteen  years  of  age  she  made  a  success- 
ful dibut  in  Abigail,  in  the  comic  piece,  "  Le  Verre 
d'Eau,"  at  the  theatre  of  Ballenstadt.  She  sub- 
sequently appeared  as  Preciosa  and  Esmeralda, 
and  made  a  great  sensation  in  the  part  of  Corde- 
lia, in  "  King  Lear."  At  this  epoch  of  her  career 
it  was  remarked  that  her  style  was  distinguished 
as  much  for  juvenile  grace  as  tragic  energy.  Her 
original  destiny  was  fixed  for  the  drama ;  but  as 
her  parents,  who  had  a  reputation  as  teachers  of 
singing,  perceived  that  she  had  a  good  voice,  she 
was  taught  the  character  of  the  Page  in  Meyer- 
beer's "Huguenots."  Her  organ,  however,  daily 
increasing  in  compass  and  power,  she  was  allotted 
the  part  of  Caterina,  in  Halevj-'s  "  Reiiie  de 
Chypre ;  "  and  the  striking  success  she  met  with 
decided  Mile.  Wagner  to  quit  definitively  the  le- 
gitimate drama  for  opera.  Her  uncle  strongly 
urged  her  to  visit  Dresden  ;  but  before  she  went 
to  that  city  she  visited  Paris  with  her  father,  and 
there  took  lessons  for  sis  months  of  Manuel  Gar- 
cia, the  brother  of  Viardot  and  Malibran,  and  the 
master  of  Jenny  Lind.  On  the  arrival  of  Mile. 
Wagner  at  Dresden  she  was  engaged  for  five 
years  at  the  theatre ;  and  from  this  time  she  took 
the  line  followed  bj'  Madame  Schroder  Devrient, 
although  without  any  servile  imitation  of  the 
style  of  that  eminent  artiste.  In  Agatha,  in 
Weber's  "  Dcr  Freyschiltz,"  and  in  Beethoven's 
"  Fidelia,"  she  acquired  great  fame.  Her  next 
engagement,  owing  to  poUtical  events  having 
aff"ected  the  Dresden  theatre,  was  at  Hambtu-g ; 
and  she  was  the  first  singer  in  Germany  who 
undertook  the  part  of  Fides,  in  Meyerbeer's 
"  PropMte."  It  was  her  delineation  of  this  char- 
acter which  spread  her  name  throughout  Ger- 
many. She  afterwards  sang  in  Vienna  and  Ber- 
lin with  signal  success,  in  the  last-mentioned 
capital  being  the  successor  of  Mme.  Viardot  in 
Fides.  The  result  was,  that  the  royal  intendant 
of  the  Berlin  Opera  House  entered  into  an  en- 
gagement with  Mile.  Johanna  Wagner  for  ten 
years,  on  terms  far  beyond  those  ever  before 
granted  to  any  prima  donna  in  Germany.  In 
her  contract,  leave  of  absence  for  six  mouths 
during  the  year  was  reserved  for  the  young  and 
gifted  artiste. 

The  ripertoire  of  Mile.  Wagner  is  rich  and  va- 
ried ;  and,  owing  to  her  genius,  the  masterpieces 
of  Gluck  and  of  Spontini  have  been  most  suc- 
cessfully revived  at  Berlin.  "  Iphigenie  en  Tau- 
ride,"  and  "  Clytemnestre  en  Autide,"  and  the 
Grand  Priestess  in  the  "  Vestale,"  have  been 
highly  popular.  Her  Alice  in  "  Robert  le  Diable," 
Valentina  in  the  "  Huguenots,"  and  Fides  in  thi 
"  Prophlte,"  have  displayed  her  supremacy  in 
Meyerbeer's  operas.  In  the  revival  of  Spontini' 
"  Olympia"  she  was  the  Statira,  surpassing,  ao 


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ENCYCLOPiEDIA    OF    MUSIC. 


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tording  to  the  German  critics,  the  celebrated  Mil- 
der, who  was  the  original  representative.  Hell- 
stab,  the  eloquent  critic  of  Berlin,  writes  of  her 
Statira)  "In  passion  she  is  a  Medusa,  in  imperi- 
ous command  a  Juno,  and  in  pathos  a  Niobe." 
Mile.  Wagner  does  not  confine  her  line  of  char- 
acters to  the  classic  models.  Her  Xorma,  Lucrc- 
zia  Borgia,  and  Romeo,  in  Bellini's  works,  have 
cre.ited  as  great  a  sensation  in  Germany  as  her 
Fides,  Fidelio,  Statira,  Alice,  Yalcntina,  ic.  Her 
Donna  Anna  in  "Don  Giovanni,"  and  Odette  in 
Halevy's  "  Charles  VI.,"  show  the  versatility  of 
her  lyric  capabilities. 

Mlie.  Wagner,  while  she  has  acqviired  within 
such  a  brief  period  her  artistic  fame,  seems  to 
have  inspired  her  admirers  in  Germany  with  the 
highest  respect  for  her  personal  qualities.  When 
she  quitted  Hamburg,  in  the  spring  of  1851,  for 
her  engagement  at  Berlin,  there  was  a  grand 
ceremonial  at  the  Tonhalle :  she  was  crowned  in 
public ;  and  the  population  accompanied  her  to 
the  railroad,  greeting  her  with  prolonged  accla- 
mations. 

WAGNER,  RICHARD.  M.  Fetis,  in  a  series 
of  articles  in  the  "  Revue  ei  Gazette  Musicale,"  gives 
the  followng  particulars  of  the  history  of  this 
remarkable  innovator  in  dramatic  music,  who  for 
some  years  has  been  so  lauded  by  some  and  de- 
cried by  others  in  the  musical  world  of  Germany, 
Paris,  and  London ;  and  who,  since  the  autumn 
of  1853,  has  excited  no  little  attention  among  the 
lovers  of  great  orchestral  music  in  this  country 
by  the  successful  and  repeated  performance  of  his 
overture  to  "  Tannhauser."  M.  Fetis  gleans  his 
materials  from  Wagner's  own  "  Communications 
to  his  Friends." 

Richard  Wagner  was  born  at  Leipsic  on  the 
10th  of  May,  1813.  He  thinks  it  a  good  fortune 
that  he  lost  his  father  in  his  earliest  years ;  for 
after  relating  the  story  of  a  king  who  drove  from 
his  palace  a  certain  young  fairy,  who  wanted  to 
endow  his  new-born  son  with  a  spirit  of  discon- 
tent with  the  a'-tual  and  of  passionate  pursuit  of 
the  new,  he  says  that  this  same  fairy  comes  to  us 
all  at  our  birth,  and  that  we  might  all  beccome 
geniuses,  if  she  were  not  repulsed  from  us  by 
what  is  called  education.  "  Without  let  or  hin- 
derance,"  he  adds,  "  after  the  death  of  my  father, 
the  fairy  glided  into  my  cradle  and  bestowed  ou 
me  the  gift  that  never  left  me,  and  which,  in 
complete  independence,  has  made  me  always  my 
own  teacher,  directing  me  in  life  and  art.  Be- 
hold, in  that  co7isists  all  genius."  But  the  boy  was 
not  isolated  from  all  influences.  He  had  family 
relations,  a  mother,  a  sister,  a  brother,  all  con- 
nected somehow  with  the  theatre,  who  made  him 
frequent  the  side  scenes ;  and  there  he  imbibed  a 
dramatic  taste.  He  played  little  plays,  in  his 
own  chamber,  however,  and  alone ;  he  invented 
his  own  subjects,  and  took  no  pleasure  in  the 
hackneyed  drama  which  he  saw.  He  was  sent  to 
a  gymnasium,  ("  neglected  as  his  education  was,") 
where  he  acquired  a  knowledge  of  antiquity  and 
a  taste  for  poetry  and  music  ;  and  he  even  tried 
his  hand  at  painting,  until  the  painter,  who  had 
received  him  into  his  house,  died. 

"  I  was  writing  dramas,"  says  Wagner,  "  when 
at  the  age  of  fifteen  I  became  acquainted  with 
Beethoven's  symphonies ;  these  decided  my  ex- 
clusive passion  for  the  study  of  music,  which  had 
wted  powerfully  upon  my  organization  ever  since 


I  heard  the  •  Freyschtltz  '  of  Weber.  Still,  my 
studies  in  this  art  never  turned  me  from  ray  pro- 
pensity to  imitate  the  poets  ;  only  this  propensity 
submitted  itself  to  the  musical  impulse,  and  I 
cultivated  poetry  only  from  the  musical  jjoint  of 
view.  Thus  I  remember,  in  my  exaltation  about 
the  '  Pastoral  Symphony,'  I  composed  a  comidie 
champttre,  borrowing  the  subject  from  (Jot; the  s 
«  Lovers'  Humors.'  I  made  no  poetical  sketch ; 
I  wrote  the  verses  and  the  music  at  once,  and  let 
the  dramatic  situations  and  their  musical  expres- 
sion arise  conjointly." 

In  the  beginning  of  his  eighteenth  year  he  was 
deeply  excited  by  the  revolution  of  1830  and  the 
unhappy  fate  of  Poland.  Too  j'oung  to  be  an 
actor  in  those  events,  his  emotion  sought  vent  in 
the  writing  of  a  great  deal  of  instrumental  mu- 
sic, particularly  sonatas,  overtures,  and  one  sym- 
phony, which  was  performed  at  a  subscription 
concert  in  1833.  Wagner  did  not  hear  it,  be- 
cause poor  health  had  obliged  him  to  leave  Leip- 
sic and  seek  a  milder  climate  at  Wartzburg,  near 
his  brother,  professor  of  singing  and  father  of  the 
famous  prima  djnna  Johanna  Wagner. 

After  a  year  of  repose,  he  became  director  of 
music  in  the  theatre  at  Magdeburg.  So  far,  as 
he  says  himself,  he  had  been  but  an  imitator  of 
the  style  of  renowned  composers.  The  "  Oberon  " 
of  Weber,  and  the  "  Vampire "  of  Marschner, 
then  in  vogue  at  Leipsic,  suggested  to  him  the 
text  of  an  opera  entitled  "  The  Fairies,"  which 
he  drew  from  one  of  Gozzi's  novels.  He  set  it  at 
once  to  music,  a  mere  echo  of  his  impressions  of 
Beethoven,  Weber,  and  Marschner,  About  this 
time  passions  of  another  and  more  private  nature 
got  possession  of  him  and  modified  his  ideas.  He 
wrote  another  opera,  "  The  Novice  of  Palermo," 
which  was  represented  on  the  Magdeburg  stage 
on  the  29th  of  March,  1836,  and  failed.  His 
chagrin  led  him  to  resign  his  place.  In  1837  we 
find  him  at  Konigsberg  as  conductor  of  the  the- 
atre orchestra ;  but,  for  reasons  not  known,  he 
remained  there  only  a  few  months.  It  appears 
that  he  married  in  this  period,  as  he  says,  too 
lightly. 

He  was  afterwards  engaged  as  musical  director 
in  the  theatre  at  Riga,  and  there  commenced  a 
comic  opera  on  a  subject  taken  from  the  "  Thou- 
sand and  One  Nights,"  which  his  disgust  at  the 
lile  of  the  theatre  and  his  position  soon  led  him 
to  abandon.  He  resolved  to  go  to  Paris,  and 
wrote  the  first  two  acts  of  his  "  Rienzi."  Driven 
by  despair,  "he  broke,"  as  he  says,  "the  rela- 
tions which  had  existed  till  that  moment,"  and 
was  en  route  for  Paris  without  sufficient  means 
for  such  a  journey.  The  vessel  in  which  he  em- 
barked was  wrecked  upon  the  coast  of  Norway  ; 
but  finally  he  reached  the  shores  of  France,  and 
in  a  few  days  entered  Paris,  possessing  nothing 
but  the  sketch  of  an  opera  and  the  hope  of  bettei 
times.  "  I  trusted  in  the  universal  language  of 
music  to  fill  the  gulf  which  my  unmistakable 
instinct  told  me  existed  between  me  and  Parisiai 
life." 

His  first  care  was  to  look  out  for  immediate 
aid.  M.  Maurice  Schlesinger,  music  publishei 
and  proprietor  of  the  "  Gazette  Musicale,"  gart 
him  emplo3Tneut  enough  to  satisfy  his  mor< 
pressing  wants,  placed  him  in  relation  with  ar- 
tists and  literary  men,  and  even  tried  to  db'ecl 
him  by  his  counsels.  He  made  him  compose  ro- 
mances to  French  'vords,  so  that  his  name  migh' 
73 


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ENCYCLOPAEDIA    OF    MUSIC. 


WAG 


penetrate  the  saloons;  but  the  unusual  forms  of 
his  melodies  went  against  the  cars  and  larynxes 
of  those  who  tried  to  sing  them.  Schlesinger 
procured  him  a  commission  to  write  an  overture 
for  the  Sncidti  dcs  Concerts,  and  he  chose  GoCthe's 


break  definitively  with  the 'existing  forms  of  th» 
musical  drama  and  place  the  art  under  new  con- 
ditions. The  subject  of  this  work  lay  in  the  old 
legend  and  chanson  of  "  Tannhfluser."  "  Thi* 
Tannhauser,"  says    M.   F6tis.   "was  of  a   noble 


"  Faust "  for  a  subject,  desiiining  t.)  make  it  the    familj'  of  Franconia,  one  of  those  German  trou- 
first  movement  of  a  grand  symphony  ;  but  such     badours  who  flourished  in  the  twelfth  and  thir- 


an  enigma  did  it  prove  upon  rehearsal  that  a 
))ublic  jierformance  of  it  was  put  out  of  the  ques- 
tion. An  opera  in  the  mixed  style,  called  "  La 
Difense  de  F Amour,"  met  with  no  more  success. 

These  failures  in  a  small  sphere  did  not  disturb 
a  mind  so  organized  as  Wagner's ;  they  only 
made  him  greater  in  his  own  eyes.  lie  looked 
up  to  a  higher  order  of  success ;  he  yielded  to 
the  counsels  of  his  friends  to  encourage  their  good 
will ;  but  he  would  be  content  with  nothing  short 
of  the  Grand  Opera,  with  all  its  means  of  musical 
and  scenic  effect :  the  persuasion  that  this  was 
his  true  place  was  what  had  drawn  him  to  Paris. 
^Vhat  he  saw  at  the  Academie  Royale  had  sur- 


tcenth  centuries  under  the  name  of  minnesing- 
ers, or  singers  of  love.  Tannhauser  was  a  good 
knight,  according  to  the  old  popular  Gericar 
ballad :  — 

*  Der  Tannhaueer  war  etn  Bitter  gut : 

"  He  cultivated  poesy  and  music  with  equal 
success,  and  was  a  worthy  rival  of  Wolfram  vnn 
Eschenbach,  Walter  von  der  Vogelweide,  Ro- 
dolph  of  Rotenburg,  Ulric  of  Lichtenstein  ;  in  a 
word,  of  the  most  celebrated,  judging  by  the  six- 
teen songs  and  ballads  that  have  reached  us  un- 
der his  name.  In  1207  Tannhauser,  or  Than 
hauser,  or,  finally,  TauhUser,  received,  like  all  the 
minstrel  poets   of  Germany,  an  invitation  from 


passed  all  his  imaginings,  and  lent  new  energy  to  i  the  landgrave  of  Thuringia  to  take  part  in  the 


his  desire  to  exhibit  his  jiower  in  a  serious  work 
upon  that  vast  stage.  His  brain  whirled  with 
the  excitement  of  the  music  in  the  first  opera  he 
heard  there ;  yet  before  long  he  felt  a  hope,  nay, 
a  certainty,  of  bearing  off  the  palm  from  all  rivals 
as  soon  as  a  work  of  his  own  should  be  brought 
out.  To  support  himself,  in  the  mean  while,  the 
author  of  "  Tannhiluscr"  was  obliged  to  arrange 
vaudeville  music  for  a  theatre  on  the  Boulevards, 
which,  however,  did  not  pay,  because  it  did  not 
answer  the  purpose.  There  remained  but  one 
resource  for  Wagner,  offered  him  by  Schlesinger : 
the  arrangement  of  new  operas  for  the  violin  and 
cornet- d-pistons.  .Such  drudgery  was  not  to  his 
liking  ;  and  Schlesinger  proposed  to  him  to  write 
fantastic  pieces  for  his  musical  journal,  which 
were  translated  by  another  out  of  the  German 
into  French.  Here  he  succeeded  better.  Two 
novels  from  his  pen  were  remarkable  for  interest 
of  subject  and  originality  of  form.  The  first  is  a 
young  composer's  pilgrimage  to  Vienna  to  see 
Beethoven  ;  the  other  the  death  by  star\-ation  of 
a  young  musician  seeking  recognition  in  Paris. 
The  first  embodied  his  sentiments,  the  second  his 
personal  experience. 

Two  years  of  fruitless  efforts  in  Paris  convinced 
Wagner  that  that  was  no  place  for  his  ideas  and 
tastes.  One  thought  now  occupied  him  ;  which 
was,  to  return  to  Germany  and  procure  a  repre- 
sentation in  a  grand  theatre  of  his  "  Rienzi,"  now 
completed,  and  which  seemed  to  him  the  com- 
plete realization  of  the  idea  he  had  pursued  from 
early  youth.  He  had  also  finished  the  j)oem  of 
his  '•  Ihtlandnis  volant," — Flying  Dutchman, — 
and  was  negotiating  with  his  country  for  the  ad- 
mission of  these  works  in  some  capital.  His  evil 
fortunes  were  suddenly  at  an  end.  He  received 
letters  from  Dresden  and  Berlin  informing  him 
of  the  acceptance  of  "  Rienzi  "  at  the  theatre  of 
one  of  those  cities,  and  of  the  "Flying  Dutch- 
man" at  the  other.  A  commission  to  arrange  an 
opera  of  Halevy  for  the  piano,  and  the  sale  of 
his  Hollanduis  libretto,  to  be  used  by  another 
composer  under  another  name,  gave  him  the 
means  for  this  journey  ;  and  he  left  Paris  in  the 
beginning  of  1842,  after  three  years  of  torture 
there,  with  a  new  era  opening  before  him. 

On  the  way  from  Paris  Wagner's  mind  was 
preoccupied  with  a  new  work,  in  which,  devel- 


famous  poetical  tournament  held  by  the  prince 
at  his  Castle  of  Wartburg,  near  Eisenach.  Here 
begins  the  plot  of  Wagner's  opera.  It  seems 
that  the  good  knight  had  found  on  his  way  one 
of  those  rare  manuscripts  of  which  we  have  an 
instance  in  the  '  Metamorphoses '  of  Ovid,  and 
that  he  was  seized  with  a  veritable  passion  f.r 
the  allegories  of  paganism,  especially  for  the  gal- 
lantries of  Venus.  He  chose  this  theme  for  his 
improvisation,  and  sang  with  enthusiasm  of  the 
delights  of  a  myserious  place  called  the  Vemis- 
bery.  A  cry  of  indignation  escaped  all  lips  when 
they  heard  him  eulogizing  sensual  love  instead 
of  that  pure,  Platonic  love  which  fired  most  of 
the  minnesingers  for  the  beauties  that  existed  in 
their  imagination.  Declared  unworthy  of  the 
prize,  Tannhauser  went  off  with  a  bleeding  heart. 
He  was  seized  with  remorse,  and  went  to  Rome 
to  confess  his  sins  and  seek  for  absolution  ;  but 
this  was  refused.  Desperate  and  furious,  hoping 
no  joy  but  in  that  that  had  caused  his  ruin,  th« 
poet  dedicated  himself  anew  to  the  worship  of 
the  false  aivinity  that  had  led  him  astray.  He 
died  impenitent,  and  fell  into  the  power  of  the 
evil  one.  Such  is  the  les^end  handed  down  from 
age  to  age  and  still  repeated  evenings  by  the 
peaceable  people  of  Thuringia." 

On  his  way  to  Dresden  to  bring  out  his  '<  Ri- 
enzi," Wagner  followed  the  valley  of  Thuringiti, 
and  passed  near  the  Castle  of  Wartburg,  the 
sight  of  which  inspired  his  project  with  new 
force.  From  that  moment  he  was  elaborating 
the  subject  of  '•  Tannhtl user,"  and  caressing  his 
imagination  with  the  hope  of  fine  success. 

Arrived  in  Dresden,  he  set  about  the  rehearsals 
of  his  "  Rienzi,"  finding  a  new  sense  of  satisfac- 
tion in  the  zeal  and  praises  of  the  singers.  The 
first  performance  was  a  triumph ;  though  M. 
Fctis  intimates  that  the  pubUc  understood  not 
what  it  was  applauding,  and  was  only  carried 
away  by  the  momentary  charm  of  novelty.  At 
all  events,  he  reaped  a  solid  benefit,  about  which 
he  records  his  great  surprise :  "  What !  I,  but 
just  now  isolated,  abandoned,  without  hearth 
or  home,  find  myself  all  at  once  loved,  ad- 
mired, and  even  contemplated  with  astonish- 
ment. Moreover,  as  an  effect  of  this  success,  I 
found  a  solid  and  durable  basis  of  a  prosper- 
ous existence  in  my  unexpected  appointment  a. 


oping  his  tendencies  more  fully,  he  proposed  to  I  chapel-master  to  the  King  of  Saxony  ! ' 

974 


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ENCYCLOPEDIA    OF    MUSIC. 


WAl 


T)ie  success  of  "  Rienzi "  decided  the  director 
of  the  Court  Theatre  at  Dresden  to  put  upon  the 
stage  the  "  FUegende  HaHatuler,"  —  Flying  Dutch- 
man, —  which  met  with  a  signal  failure  on  the 
2d  of  January,  1813.  Early  in  1844  it  was  again 
produced  twice,  under  better  auspices,  at  Berlin, 
but  on  the  second  time  to  an  almost  empty  house. 
The  critics  spoke  of  the  eccentricity  of  its  mu- 
sical forms,  and  this  had  its  weight  with  the  pub- 
lic. One  consolation  Wagner  had,  however,  in 
a  letter  from  Spohr,  who  had  produced  the  "  Hol- 
lander" in  the  theatre  at  Cassel,  and  encouraged 
him  to  go  on  in  the  path  he  had  marked  out  for 
himseh'. 

Wagner's  hopes  of  revolutionizing  the  musical 
diama  seemed  for  a  time  dashed.  At  Hamburg 
his  "Rienzi"  had  not  succeeded.  Autograph 
copies  of  his  two  operas,  which  he  had  sent  to 
the  theatre  directors  in  several  great  cities,  were 
in  most  case-s  returned  unopened.  But  he  lost 
no  faith  in  his  own  conception  ;  he  ascribed  the 
lailure  eitlicr  to  defects  of  execution  or  to  the 
du'ness  of  the  public.  Tlie  response  of  here  and 
tl.ere  an  appreciative  individual  confirmed  him 
in  his  self-reliance;  and  thenceforth,  he  says,  he 
addressed  himself,  not  to  the  masses,  who  had  no 
affinity  with  him,  but  to  the  few  whose  tone  of 
thought  and  feeling  was  analogous  to  his  own. 
He  returned  in  earnest  to  the  composition  of  his 
"  TannhOuser ;"  the  painful  and  laborious  task 
impaired  his  health  ;  the  physicians  urged  a  sus- 
pension of  labor  and  a  visit  to  the  baths  of  Bo- 
hemia. There  he  only  half  followed  their  pre- 
scription, for  he  already  sketched  the  plan  of  his 
«ast  opera,  "  Lohengrin." 

Returning  to  Dresden,  he  commenced  the  re- 
hearsals of  "  Tannhtluser."  The  director  of  the 
Royal  Theatre  hoped  much  from  this  work,  and  ' 
lavished  great  expense  upon  it.  It  required  an  i 
enormous  orchestra  —  nearly  two  hundred  instru- 
ments, we  have  been  told.  Actors,  orchestra,  and 
chorus  vied  with  one  another  in  zeal  and  careful- 
ness to  make  the  execution  answer  to  the  poet- 
musician's  thought.  But  the  result  was  a  dis- 
appointment ;  the  audience  went  off"  with  open 
signs  of  discontent,  and  only  one  more  perform- 
ance was  tolerated. 

He  sought  to  get  his  "  Tannhduter  "  introduced 
into  other  tlieatres.  "  I  took  measures  for  the 
propagation  of  my  opera,  and  particularly  turned 
my  eyes  towards  the  theatre  at  Berlin ;  but  I  re- 
ceived a  fonnal  refusal  from  the  superintendent 
of  the  royal  theatres  of  Prussia.  The  general 
intendant  of  music  to  the  royal  court  seemed 
more  favorably  disposed  :  through  his  mediation 
I  solicited  the  royal  interest  in  behalf  of  the  exe- 
cution of  my  work,  and  begged  permission  to 
dedicate  the  score  of  '  TannMuser.'  I  was  told, 
in  reply,  that  the  king  never  accepted  the  dedica- 
tion of  a  work  with  which  he  was  unacquainted  ; 
but  that,  considering  the  obstacles  to  the  repre- 
sentation of  my  opera  in  the  theatre,  the  king 
might  consent  to  hear  it  if  I  would  arrange  some 
portions  of  it  for  military  music  to  be  played  on 
parade.  I  could  not  have  been  more  profoundly 
humiliated,  nor  taught  to  feel  my  true  position 
with  more  certainty.  From  that  time  all  pub- 
licity of  art  had  ceased  for  me." 

Neverthelei-s,  he  immediately  set  about  the 
composition  of  "  Lohengrin."  His  sense  of  sepa- 
ration Irom  the  public,  he  says,  excited  him  to 
try  to  manifest  himself  to  his  own  circle  of  sym- 


pathizers in  the  full  development  of  his  ideas 
T'hree  years  had  passed  between  the  production 
of  the  "  Ilullander  "  and  the  "  Tnnnhfluwr  ,■  '"  this 
last  was  played  for  the  first  time  on  the  20th  oi' 
October,  l,84-i.  The  "  LoJwngrin "  was  finished 
in  the  latter  part  of  1847,  and  had  begun  to  b« 
studied  by  the  singers  in  the  early  part  of  18  JH, 
when  the  political  events  of  that  year  suddenly 
interrupted  his  artistic  projects.  Wagner  was  a 
radical :  though  he  had  never  taken  any  active 
part  in  politics,  he  says  his  instinct  led  him  to 
take  an  interest  in  it  the  moment  that  any  revo- 
lutionary element  was  mingled  in  it.  Before  this 
explosion  Wagner  had  been  preoccupied  wth  a 
plan  of  refonning  the  taste  of  the  population  of 
Dresden  by  a  new  organization  of  the  Royal 
Theatre  and  new  kinds  of  exhibitions ;  but  he 
despaired  of  achieving  any  thing  so  long  as  the 
theatre  was  under  court  influence ;  nothing  but 
a  revolution  could  render  possible  the  realization 
of  his  views.  It  came.  Wagner  went  down 
into  the  street,  and  the  revolution  was  \'ictorious. 
But  the  triumph  was  a  short  one,  for  the  Prus- 
sian army  came  to  the  aid  of  the  court  of  Sax- 
ony. Dresden  was  reconquered,  and  Wagner 
was  a  fugitive  from  his  country.  Arriving,  not 
without  danger,  in  that  beautiful  valley  of  Thu- 
ringia  through  which  he  had  travelled  with 
enthusiasm  seven  years  before,  he  followed  its 
windings,  agitated  by  very  different  feelings.  In 
a  few  days  he  crossed  the  frontier  of  Switzerland, 
in  the  character  of  a  political  refugee,  and  fixed 
his  abode  at  Zurich,  where  he  has  since  lived  in 
meditation  and  retirement.  During  the  years 
1849  and  1850  his  name  was  current  in  Germany 
chiefly  through  the  efforts  of  Liszt,  that  lover  of 
new  things,  to  convince  the  public  of  the  value 
of  the  Wagner  operas,  in  which  he  recognized  a 
new  era  for  art.  Through  the  Goethe- like  su- 
premacy of  Liszt  in  matters  of  art  at  Weimar,  the 
operas  were  repeatedly  brought  out  there  in  the 
Court  Theatre ;  enthusiastic  reports  were  written 
to  the  principal  German  musical  journals,  a 
strong  and  earnest  Wagner  party  sprang  up, 
headed  by  Liszt  and  the  editor  (Brendel)  of  the 
Leipsic  "  Neue  Zeitschrift fUr  Music,"  and  NVagner 
seized  the  favorable  moment  to  set  forth  his 
programme  of  a  grand  revolution  in  the  musical 
drama,  and  in  fact  in  all  art,  in  his  three  princi- 
pal books,  entitled  "  Das  Kunstwerk  der  Znkunft" 
—  The  artistic  Mission  of  the  Future,  —  "  Kunst 
und  Rev:)liition," — Art  and  Revolution,  —  and 
"  Opir  tiiid  Drama,"  —  Opera  and  Drama,  — fol- 
lowed by  the  "Communications  to  his  Friends" 
above  mentioned. 

In  1851  the  "  Police  Gazette "  contained  tlic 
following  :  — 

"  Wagner,  Richard,  late  chapel-master  from 
Dresden,  one  of  the  most  prominent  adherents 
of  the  revolutionary  part)',  who  was  prosecuted 
for  his  participation  in  the  revolution  in  Dresden 
in  May,  1819,  is  supposed  to  have  the  intention 
of  quitting  Zurich,  where  he  has  for  some  time 
resided,  to  come  into  Germany.  A  portrait  of 
Wagner  is  here  appended  ;  should  he  be  identi- 
fied, he  is  to  be  handed  over  to  the  Royal  Statt 
Tribunal  in  Dresden." 

W ALDER,  J.  J.,  a  musician  at  Zurich,  it 
Switzerland,  about  the  year  1790,  published  if 
that  town,  in  1788,  a  method  for  singing;  also., 
about  the  same  time,  several  collections  of  songs 


976 


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ENCYCLOPEDIA    OF    MUSIC. 


WAL 


.WALDIIORN,  (0.)  The  French  liom.  Lit- 
enilly,  irooil/iom. 

WALKElt,  JOSEPH  C,  an  P^s'i-^h  author, 
born  at  Dublin  in  17(50,  publiBhed  iii  London,  in 
1786,  a  work  entitled  "  Historical  Memoirs  of  the 
Irish  Bards  interspersed  with  Anecdotes  of,  and 
occa.«ionnl  Observations  on,  the  Music  of  Ireland  ; 
also  an  historical  and  descriptive  Account  of  the 
Musical  Instruments  of  the  Ancient  Irish ;  and 
an  Appendix,  containing  several  biographical 
and  other  Papers,  with  select  IrLsh  Melodies." 

WALLACE,  WILLIAM  VINCENT,  was  bom 
in  Ireland  in  1815.  His  father  was  master  of  a 
military  band,  and  an  excellent  practical  musi- 
cian, playing  nearly  every  instrument  in  the  or- 
chestra. The  young  Wallace  displayed  a  won- 
derful aptitude  to  excel  his  father  in  all  these 
accomplishments,  and  at  the  age  of  fifteen  could 
handle  with  considerable  mastery  nearly  every 
instrument,  and  could  play  with  extraordinary 
excellence  the  piano-forte,  the  violin,  the  clarinet, 
and  the  guitar.  Nor  was  this  a  display  of  mere 
mechanical  facility ;  his  great  store  of  mechanical 
power  was  practically  applied,  for  he  had  ^vritten 
over  two  hundred  compositions,  fantasias,  march- 
es, &c.,  for  military  bands,  before  the  period  at 
which  we  have  commenced  his  history.  So  Wal- 
lace at  fifteen,  though  a  young  leader,  was  an  old 
musician.  His  position  in  Dublin  brought  him 
in  contact  with  all  the  musical  celebrities  of  that 
day,  and  doubtless  his  musical  purposes  were 
strengthened  by  the  kind  encouragement  and  ju- 
dicious commendation  of  Paganini,  Catalani,  and 
others.  For  three  years  he  occupied  a  high  mu- 
sical position  in  Dublin,  and  had  the  honor  of 
directing  the  first  performance  of  Beethoven's 
"Mount  of  Olives"  in  Ireland.  At  the  age  of 
eighteen  his  strength  seemed  to  sink  under  the 
pressure  of  his  many  studies  and  various  en- 
gagements. A  long  sea  voyage  was  recommend- 
ed for  the  estabhshment  of  his  health ;  so  he 
sailed  for  Sidney,  far  away  in  the  South  Seas. 
For  a  long  period  after  his  arrival  in  Sidney  he 
led  an  active  life ;  his  fiddle  remained  unpacked, 
and  he  literally  plunged  into  the  bush.  But  for 
one  characteristic  circumstance  the  world  might 
never  have  known  Wallace,  the  composer.  Dur- 
ing one  of  his  brief  visits  to  the  town  of  Sidney 
he  was  invited  by  some  friends  to  attend  a  musi- 
cal party.  He  went,  little  dreaming  how  that 
evening  was  to  influence  his  destiny  forever. 
When  he  entered  the  room  he  saw  four  gentle- 
men seated  round  a  table,  working  away,  with 
greater  will  than  power,  at  a  quartet  of  Mozart. 
All  the  music  slumbering  at  his  heart  seemed  to 
spring  at  once  into  vivid  life,  and  he  became  pos- 
sessed with  the  great  musical  desire.  Much  to 
the  surprise  of  his  host,  he  played  first  fiddle  to 
the  next  quartet,  and  so  they  played  on  till 
morning.  The  fame  of  his  playing  spread 
through  the  town  Uko  wildfire,  and  reached  the 
ears  of  the  governor.  Sir  John  Burke,  who  urged 
Wallace  to  give  a  concert.  After  much  per- 
suasion he  consented.  His  success  was  great ; 
and  Sir  John  Burke,  as  a  mark  of  his  delight,  sent 
hira  two  hundred  sheep,  which  was  in  that  coun- 
try a  princely  gift. 

After  giving  several  concerts,  a  restless  desire 
to  travel  sci/.ed  upon  hira.  First  he  visited  Van 
Dieman's,  then  New  Zealand,  from  whence  he 
went  on  a  whaling  voyage  in  the  South  Seas. 

9 


From  New  Zealand  he  journeyed  to  the  East  In- 
dies. With  that  unconsciousness  or  recklessness 
of  danger  which  was  his  characteristic  in  those 
days,  he  penetrated  far  into  the  interior,  and  en- 
countered "  incidents  "  of  travel  from  which  noth- 
ing but  a  remarkable  coolness  and  presence  of 
mind  could  have  delivered  him.  After  seeing  all 
he  deemed  worthy,  tiger  hunting  included,  he 
longed  for  change  of  scene,  and  so  started  from 
Madras,  after  half  a  day's  thought,  for  Valparaiso, 
in  South  America.  From  Santiago  he  crossed 
the  majestic  Cordilleras  of  the  Andes  to  Buenos 
Ayre.",  where  his  stay,  however,  on  account  of 
the  blockade,  was  but  brief.  He  returned  to 
Santiago,  where  he  displayed  a  remarkable  evi- 
dence of  his  enthusiasm  for  art.  He  had  given  a 
pledge  to  play  at  a  concert,  on  a  certain  day,  in 
Valparaiso,  for  the  benefit  of  a  charity,  but  some 
circumstances  drove  the  promise  from  his  memo- 
ry. Being  reminded  by  a  friend  of  the  fact  when 
it  was  apparently  impossible  for  him  to  reach  Val- 
paraiso in  time,  Wallace  resolved  to  ride  on  horse- 
back the  whole  distance,  one  hundred  and  twen- 
ty-five miles,  to  keep  faith  ;  and  he  performed  thia 
equestrian  feat  with  thirteen  horses  in  less  than 
eleven  hours,  and  was  in  time  for  the  concert. 
From  Chili  he  went  to  Peru,  and  gave  a  concert 
at  Lima,  which  produced  the  large  sum  of  five 
thousand  dollars. 

He  then  visited  the  West  Indies  ;  and  then  went 
to  Vera  Cruz,  Tampico,  and  the  city  of  Mexico. 
His  success  in  these  cities  was  great,  and  there 
can  be  but  little  doubt  that  he  realized  a  great 
amount  of  money.  In  New  Orleans  his  triumph 
was  more  gratifying  than  any  triumjih  he  had 
yet  achieved,  for  it  was  wrung  from  a  critical  and 
e.xacting  audience.  So  great  was  the  enthusiasm 
his  performance  excited  that  the  musicians  in 
the  orchestra  forgot  to  play,  and  laid  down  their 
instruments  to  join  in  the  tumult  of  applause. 
From  New  Orleans  he  journeyed  through  the 
States,  and  his  concerts  were  a  succession  of  tri- 
umphs. 

"  We  remember  as  well  as  though  it  were  but 
yesterday,"  says  a  wTiter  in  a  New  York  journal, 
"  being  one  of  a  party  invited  to  meet  a  new  mu- 
sical wonder  from  the  south.  We  were  intro- 
duced to  a  tall,  slim,  and  gentlemanly  man,  care- 
fully and  elegantly  dressed.  There  was  high  in- 
telligence in  his  face,  but  it  seemed  to  lack  fire ; 
there  was  a  languor  in  his  air  which  made  us 
think  that  the  luxurious  indolence  of  the  south 
had  become,  as  it  were,  a  part  of  his  nature.  He 
seemed  half  a-dreaming ;  and  the  wild  romance 
of  his  lil'e,  which  spread  abroad,  linked  half  a 
dozen  heartrending  love  tales  with  the  name  of 
our  melancholy  musician.  He  played  the  piano. 
His  famous  '  Cracotieiine '  was  the  first  piece,  and 
it  was  generally  acknowledged  that  he  was  the 
greatest  pianist  that  had  then  vLsited  America. 
But  when  he  took  his  violin  in  hand  and  exhib- 
ited such  extraordinary  mastery  over  the  instru- 
ment and  such  impassioned  sentiment,  we  were, 
one  and  all,  carried  away  with  mingled  feelings 
of  astonishment  and  delight.  His  success  in  this 
country  which  followed  this  well-remembered 
evening  is  familiar  to  all.  He  was  looked  upon 
as  a  gifted  and  eccentric  genius  and  as .  a  musi- 
cian of  high  attainments.  His  compositions  for 
the  instruments  upon  which  he  played  were  ac- 
knowledged as  full  of  originality  and  power." 

Wallace  next  went  to  London.     As  a  pianist 

6 


WAL 


ENCYCLOP.EDIA    OF    MUSIC 


WAL 


ne  took  a  position  at  once ;  but  there  were  ninny 
good  piuniHtK,  some  of  them  the  rage,  and  piano 
compositions  were  a  druj;  in  the  market.  "  We 
have  often  heard  Wallace  tell  how,  on  his  first  ar- 
rival in  London,  he  left  some  of  his  piano  coinjio- 
sitions  with  C,  the  publisher  of  H.ind  .Street,  and 
how,  on  hi.s  second  visit,  they  were  politely  hnnd- 
e<l  back  to  him ;  how  he  on  his  return  home, 
somewhat  discomfitcil,  but  with  an  inward  con- 
sciousness of  future  greatness,  market  on  the 
margin  of  said  pieces,  '  Jitfiitid  by  ('.,  on  such  a 
date;'  and  how,  after  the  triumphant  success  of 
'  Maritana,'  C.  came  to  his  lodgings  and  paid 
liira  twenty  guineas  for  one  of  the  very  pieces  lie 
had  formerly  refused  even  as  a  gift ;  and  how 
thoy  had  a  hearty  laugh  at  the  turn  of  Fortune's 
wheel." 

lie  determined  to  write  an  opera.  "  Maritana  " 
was  produced,  and  met  with  a  success  far  beyond 
the  most  sanguine  hopes  of  the  composer.  His 
second  opera,  "  Matilda  of  Hungary,"  called  forth 
admiring  comments  from  the  best  musical  writers 
in  England.  From  the  first  to  the  second  opera 
there  was  a  wonderful  mental  stride.  By  this 
work  Wallace  placed  himself  at  the  head  of  Eng- 
lish operatic  composers.  In  the  many  English 
operas  written  during  the  past  twenty  years 
there  are  countless  prominent  beauties  that  the 
world  will  luit  willingly  let  die ;  but  in  all  there 
was  a  want  of  that  character,  that  strong  individ- 
uality, which  stamp  a  style  and  mark  a  school. 
In  "Matilda  of  Hungary"  these  requisites  are 
found. 

The  success  of  Wallace's  opera  in  England  at- 
tracted the  attention  of  the  continental  musical 
world,  and  lie  received  an  invitation  from  Vienna 
to  superintend  the  production  of  "  Maritana." 
Wallace  longed  to  be  heard  in  (iermany  ;  ond  he 
started  with  his  scores,  and  arrived  in  Vienna 
shortly  after  IJcnedict.  They  both  sent  in  their 
operas  for  approval,  and  the  work  of  Wallace 
was  accepted,  although  he  was  a  foreigner  and 
unknown  compared  with  Benedict.  The  opera 
was  most  carelully  rehearsed  and  admirably 
performed,  and  was  received  with  more  public 
enthusiasm  in  Vienna  than  it  even  met  with 
in  London.  It  was  played  night  after  night 
lor  many  months,  and  ran  through  all  the  (jcr- 
man  theatres. 

Wallace  studied  most  a-ssiduously  while  in 
Germany,  and  wrote  the  greater  port  of  his  grand 
opera,  "  Litrlei."  His  fourth  opera  was  "The 
^laid  of  Zurich."  We  find  mentioned  also  two 
Italian  operas,  "Gulnare"  and  "Olga." 

When  WflL'ace  left  Germany,  after  a  brief  visit 
to  London,  t\  went  to  Paris,  where  he  revelled 
in  the  fellowship  of  the  most  brilliant  musical 
minds  in  the  world.  The  great  ambition  of  an 
operatic  composer's  life  wius  in  a  fair  way  of  be- 
ing realized.  He  was  commissioned  to  write  an 
3pera  for  the  Grand  Opera  of  Paris.  Elated  with 
ihe  bright  prospect  before  him,  he  sought  out  St. 
George,  and  from  him  procured  a  UbriUo  for  his 
opera.  Full  of  the  subject,  he  began  his  work ; 
but  before  he  had  finished  the  first  number 
that  calamity  which  of  all  calamities  he  feared 
the  most  overtook  him,  and  he  iKJcame  blind. 
Ihe  first  oculist  in  France  attended  him  a»sidu- 
3ualy ;  week  succeeded  week  until  they  grew  into 
months,  and  still  he  rcmaineil  in  total  darkness. 
The  an.xiety,  the  torture  of  mi)id,  which  he  en- 
lured  duriut;  this  trying  period  may  be  better 

1:^3  U7 


imagined  than  described.  At  length  a  change  for 
the  l>etter  was  apjiarent ;  and  a  long  sea  voyage 
was  ordered  him,  as  the  only  means  of  permanent 
relief.  So  once  again  he  became  a  wanderer.  He 
arrived  in  Uio  Janeiro.  He  remained  in  South 
America  some  eight  months  and  gave  several 
concerts.  He  ])layed  freciueiitiy  before  the  court, 
and  received  from  the  hands  ofthe  emperor  a  su- 
perb diamond  rin^.  Leaving  Uio,  ho  visited  New 
Orleans,  where,  togethir  with  Strako>ch,  ho  gave 
several  concerts  with  wonderful  success.  From 
Xew  Orleans  Wallace  worked  his  way  to  New 
York,  through  the  west,  norrowly  escaping  death 
by  the  cxj.losion  of  the  steamer  St.  Louis,  on  tli« 
Mississi])i.i,  in  the  summer  of  18.50.  He  immc<li- 
ately  registered  his  declaration  of  intention  to 
become  a  citizen,  and  prepared  himself  to  work 
upon  new  oj.-eras  in  hand.  lie  had  only  l)eeu 
here  a  brief  space  of  time  when  he  made  a  lucra- 
tive and  brilliant  engagement,  for  a  number  of 
years,  with  the  firm  of  William  Hall  &  .Son, 
awarding  to  them  the  sole  right  of  publishing 
his  compositions  in  this  country.  The  amount 
of  his  music  already  published  in  this  country, 
not  including  his  opertis,  is  immense. 

WALLIS,  JOHN,  doctor  of  divinity,  an  emi- 
nent divine  and  mathematician,  was  born  at  Ash- 
ford,  in  Kent,  in  the  year  1616.  From  the  gram- 
mar school  at  Felsted,  in  Essex,  he  went  to  Eman- 
uel College,  Cambridge,  but  was  afterwards  elected 
fellow  of  Queen's  College.  About  the  year  16-10 
he  was  admitted  into  holy  orders,  and,  leaving 
the  university,  became  domestic  chaplain  to  Sir 
Richard  Darley  and  the  I>ady  Vere.  Four  years 
alter  his  admission  to  orders  he  was  chosen  one 
of  the  scribes,  or  secretaries,  to  the  Assembly  of 
Divines  at  Westminster.  In  1610  he  was  made 
Savilian  professor  of  geometry  at  O.xford ;  on 
which  occasion  he  entered  himself  at  E.xeter  Col- 
lege, and  was  admitted  to  the  degree  of  master 
of  arts,  and,  in  16.51,  to  that  of  doctor  in  divinity. 
Soon  after  this,  on  the  decease  of  Dr.  Gerard 
Langbaine,  he  was  apjiointed  cuslos  arcfiivorum 
of  the  university.  He  was  one  of  those  persons 
whose  private  meetings  for  the  improvement  of 
philosophy  by  experiments  gave  ri>e  to  the  insti- 
tution of  the  Royal  .Society  ;  and  after  its  estab- 
lishment he  was  not  only  a  constant  attendant 
on,  but  a  frctiuent  correspondent  of,  this  society. 
His  learning  was  not  le.ss  deep  than  it  was  ex- 
tensive ;  and  a  singular  degree  of  acuteness  and 
penetration  is  discoverable  in  all  his  writings  ; 
the  only  parts  of  which  necessary  to  be  mentioned 
are  his  edition  of  Ptolemy,  with  the  appendix 
entitled  "  Dc  veterum  Ilarmoniit  ad  hoilicniam  com- 
pnrata  ;  "  his  "  Purphyrii  in  Harmonica  I'totomtri 
Commentariia,  ex  Cod.  MS.  (ji treed  Latinecditia ;" 
and  "  Manuflii  liryennii  Harmonica,  ex  Cod.  MS.  ;  " 
all  contained  in  the  third  volume  of  his  work-s, 
printed  at  O.xford  in  the  year  1669.  Dr.  Wallis 
was  al.so  the  author  of  various  musical  papers  in- 
serted in  the  Philosophical  Transactions,  par- 
ticularly a  di.scourse  on  the  trembling  of  con.so- 
nant  strings ;  another  on  the  division  of  the 
monochird  ;  another  on  the  imperfection  of  the 
organ  ;  and  the  fourth  on  the  strange  effects  re- 
ported  of  music  in  fonner  times.  He  died  in  1703 
in  the  eighty-eighth  year  of  his  age. 

WALLISER,  CHRISTOPH  THOMAS,  di- 
rector  of  music  in  the  Cathedral  of  St.  Thomaa. 
also  to  th»>  Uiurersitj  of  Straaburg  from  the  yeai 


WAL 


encyclop-i:dia  of  xiusiu. 


WAP 


1.599,  died  in  that  town  in  1C48.  lie  published, 
u  1011,  a  work  entitled  "  Musicce  Jiguralis  pr<t- 
cepta  bretia,  facili  ac  perspicitd  methodo  conscripta 
et  ad  capluin  ti/ronum  uccommodata,  ifc.  ;  "  "  Chorus 
uiil)iiim  ex  Ari^ttphanU  comedia  ad  tequalea  compo- 
sUu3  ;  et  chori  musici  novi,  ElicF,  dramati  sacro  tra- 
gico  acrommodtUa,"  Strasburg,  1G13  ;  "C/torimiisici 
tuici  hiirmonicU  4,  5,  et  6  vocum  uumeria  eiornati 
et  in  Chariclis  trat/ka  comedia  in  Ari/cntoralctisis 
acadetnia  thcatro  cxhibita,  iiUoposiii,"  Strasburg, 
1641.  This  was  one  of  the  first  attempts  made 
in  Germany  to  imitate  the  Greek,  or  rather  the 
Italian,  custom  of  introducing  choruses  in  dra- 
matic pieces. 

WALMISLEY,  THOMAS  FORBES.  Born  in 
the  year  1783.  lie  was  the  third  son  of  William 
AValmisley,  Esq.,  clerk  of  the  papers  to  the  lIou>e 
of  Lords.  He  received  the  rudiments  of  his  mu- 
sical education  in  the  choir  of  Westminster  Ab- 
bey, and  of  his  classical  studies  in  Westminster 
school ;  and,  in  1798,  was  introduced  by  the  Hon. 
John  SDCncer  (who  first  instructed  him  in  play- 
mgy  lo  Aitw"id.  organist  and  composer  to  his 
•majesty's  Chapel  Koy!>J  •  &c.,  under  whom  he 
studied  the  piano,  organ,  and  counterpoint.  In 
1803  he  began  his  career  as  a  teachc"  of  the  piano 
and  singing,  and,  in  ISO-i,  as  a  composer  c*' vocal 
music.  In  1810  he  man-ied  the  eldest  daughter  of 
William  Capon,  Esq  ,  (draughtsman  to  his  royal 
highness  the  Duke  of  York,)  a  lady  of  superior 
endowments,  by  whom  he  had  five  sons  and  three 
daughters.  In  1812  he  became  assistant  organ- 
ist at  .St.  Martin's  in  the  Fields.  Among  his  most 
popular  works  are  the  following.  Cantatas  and 
canzonets  :  "  The  Sailor,"  "  The  Soldier,  "  O 
Memory,"  "To  Hope,"  " To-morrow,"  " O  W'o- 
man,"  "The  Tear,"  "Thyrza,"  "Flowers  are 
Fresh,"  duet;  "Dear  is  the  Dawn,"  ditto;  and 
"  The  Weird  Sister  of  the  Lake."  Glees,  rounds, 
and  trios  :  '•  The  Fairy  of  the  Dale,"  three  voices  ; 
this  is  light,  elegant,  and  expressive  :  "  Ye  mari- 
ners of  England,"  four  voices,  with  double  ac- 
companiment for  the  piano-forte ;  "  Underneath 
this  stone  doth  lie,"  round  for  four  voices  ;  this 
is  in  a  chaste,  subdued  style  ;  the  theme  is  plain, 
out  the  harmony  is  rich  ;  "  O'er  the  glad  waters," 
round  for  four  voices  ;  "  Six  Glees,  for  3,  4,  .5,  and 
6  Voices,"  inscribed  to  Attwood  ;  "  No  more  with 
unavailing  love,"  for  four  voices  ;  "  Hail,  lovely 
power,"  for  four  voices  ;  "  The  bride's  Wreath," 
for  fourvo'.;e*-  "As  those  we  love  de.ay,"  for 
three  voices;  "Busy,  curious,  thirsty  tty,"  for 
four  voices  ;  and  "  From  flower  to  flower,"  for  five 
voices. 

W-\.LTER,  GEORG  ANTON,  a  German  in- 
struracntnl  composer,  resident  at  I'aris,  was  also 
a  good  violinist.  His  principal  published  works 
bear  date  from  the  years  1790  to  1800. 

WALTER,  IGN.VZ.  singer  in  the  Electoral 
Chapel  at  Mrtz,  was  born  in  Bohemia  in  1759. 
He  was  a  pupil  in  composition  of  Chapel-master 
Starzer,  of  Vienna.  He  composed  many  operet- 
tas, also  some  church  and  instrumental  music, 
up  to  the  year  1800. 

WALTIIER,  JOHANN  GOTTFRIED,  was 
of  a  family  that,  from  the  time  of  Luther 
downwards,  has  produced  many  excellent  mu- 
sicians. Ho  llouri>hcd  in  the  first  half  of  the  last 
centurv,  and  was  oigiiiiist  of  the  CJliurches  of  St. 
I'eter  and  I'aul  in  thecily  of  Weimar,  and  is  .said 


by  Mattheson  to  have  ranked  .'.mong  the  most 
famous  organists  and  composers  for  the  organ  of 
his  time.  The  friends  of  music  owe  the  highesl 
obligation  to  him  as  the  author  of  a  laborious 
and  most  valuable  work,  compiled  ty  him  and 
published  at  Leipsic  in  1732,  entitled  "  .V-n/Ad- 
tiuhes  Lexicon,  od<r  Musikaiische  Bthti^'hek,"  in  a 
large  octavo  volume,  containing  not  only  an  ex- 
planation, in  the  manner  of  Brossard.  of  all  tht 
terras  used  in  music,  but  memoirs  of  musicians 
in  all  ages  and  all  countries,  from  the  first  insti- 
tutors  of  the  science  down  to  his  own  time. 

WALTIIER,  JOHANN,  one  of  the  most  ceh 
ebratcd  contrapuntists  of  the  sixteenth  century, 
was  chapel-master  to  the  Elector  Maurice,  of  Sax- 
ony, at  Dresden.  In  the  library  of  the  Duke  of 
Saxe  Coburg  is  to  be  found  a  manuscript  collec- 
tion of  German  and  Latin  hymns,  which  were 
sung  by  the  Protestants  in  the  time  of  Luthei. 
It  has  the  following  motto  :  — 

**  Si  nescis  Christum  ct  TinciB  Ariona  cantu, 
Debetur  nius'iB  gloriu  nulla  tuts.* 

The  greatest  of  his  works  is,  however,  the  ont 
entitled  "  Wittembergisch  TeiUsch  Geiitl.  Geaang- 
bilchleia  mil  4  und  5  Siimmen,  dtirch  Johann  Wal- 
thern,  ChurfUrstlichen  von  Sachsen  Sit ngermeiateiux 
aufs  neiie  mit  Vleias  corrigirt,  und  mit  rieUn  schfl- 
tuy  Liedern  gebessert  und  gemehrt,"  Wittenberg 
1544.  It  cnntains  sixty-three  German  hymns  foi 
four,  five,  and  six  voices,  and  thirty-seven  Latin 
hymns  for  four  and  five  voices, 

WALTZ,  or  WALZ.  (G.)  The  name  of  a 
modern  dance  originally  used  in  Suabia.  The 
measure  of  its  music  is  triple,  usually  ^vrit- 
ten  in  y  or  f  time,  and  performed  moderately 
slow,  or,  at  the  quickest,  in  allegrMo.  The  waltz, 
though  of  comparatively  late  introduction  intc 
this  country,  has  long  been  a  favorite  species  of 
movement  in  Germany,  and  is  frequently  intro- 
duced in  the  overtures,  concertos,  sonatas,  and 
other  extended  forms  of  composition. 

WANII.\L,  JOHANN.     See  Vanhall. 

WARBLE.  To  warble,  Ls  to  sing  in  a  manner 
imitating  that  of  birds.  Those  soprano  perform- 
ers whose  voices  are  of  a  clear,  flutelike,  and 
shrill  tone,  and  who  run  divisions  with  smooth 
rapidity  and  liquid  sweetness,  are  said  to  warble. 

WARE,  GEORGE,  an  eminent  musician  and 
composer,  died  in  1850,  at  his  residence  in  Par- 
liament Place,  Liverpool,  in  the  eighty-second 
year  of  his  age.  Mr.  W'are  was  the  original 
lender  of  "  Der  Freischut:  "  in  England,  and  was 
the  author  of  several  elaborate  works  on  the  the- 
ory and  practice  of  mu.sical  composition. 

WARREN,  E.  T.  An  English  musician,  and 
author  oi  a  work  entitled  "  Reliqueb  of  Ancient 
Music."  He  also  published  an  annual  collection 
of  catches  and  glees,  and  a  monthly  collection  of 
the  same,  both  of  which  works  were  in  high  re- 
pute, he  flourished  in  the  last  thirty  years  of 
the  eighteenth  century. 

WARWICK.  THOMAS,  w.is  organist  of  West- 
minster .\bbey,  and  also  one  of  the  organists  ol 
the  Chai)cl  Royal.  He  composed  a  songin  forty 
parts,  which  was  pcrtormed  in  1635,  by  forty  ran- 
sicians,  before  King  Charles  II.  Sir  I'hihp  War 
wick,  secretary  of  the  tieasury  in  the  reign  of 
diaries  II.,  w;vs  his  sou. 


078 


»VAT 


encyclop-i:dia  of  music. 


W'El 


WATER  MUSIC.  Music  expressly  composed 
for  performance  upon  the  water,  and  consisting 
ol'  a  combination  of  parts  for  wind  instruments ; 
particularly  horns,  ilutcs,  hauthoys,  and  bassoons. 

Handel,  who  had  fallen  into  disgrace  with  his 
patron,  George  I.,  hit  upon  a  scheme  of  regain- 
ing the  king's  pleasure,  by  forming  a  band  of 
wind  instruments  upon  the  water,  to  play  some 
melodious  airs  (called  his  water  mu.sic)  which 
he  had  written  for  the  time  and  occasion  of  a 
royal  regatta.  The  king  was  so  much  pleased 
and  surprised  by  the  effect  that  he  sent  for  Han- 
del, who  was  instantly  restored  to  favor.  This, 
probably,  was  the  first  band  of  wind  instruments 
ever  heard  in  England.  AVind  instruments  were 
u^'ed  in  the  time  of  Charles  II.,  as  appears  from 
a  passage  in  Pnpys's  Diary,  p.  201.  He  went  to 
the  playhouse,  and  says,  "  That  which  did  please 
me  beyond  an>  fSing  in  the  whole  world  was  the 
wind  iiiusiquc,  which  is  so  sweet  that  it  ravished 
me." 

WATSON,  THOMAS,  an  English  musician 
and  poet,  published  in  London,  in  1.590,  a  work 
entitled  "  The  first  Set  of  Italian  Madrigals  Eng- 
lished, not  to  the  .Sense  of  the  original  Dittie,  but 
after  the  Affection  of  the  Noate."  Some  of  the 
works  of  Luca  Marcnzio  are  in  this  collection. 

WAVING  LINE.  MTien  a  wa^-ing  line  is 
placed  vertically  before  the  chord  the  notes  are 
played  successively,  from  the  lowest  ascending  to 
tlie  highest,  and  retained  down  the  full  time  of 
the  chord. 

WAYGHTES,  or  WAITS.  This  substantive 
fonnerly  signified  hautboys;  and,  which  is  re- 
markable, luus  no  singular  number.  From  the 
instruments  its  signification  was,  after  a  time, 
transferred  to  the  jicrforniers,  who,  being  in  tlie 
liabit  of  parading  the  streets  by  night  with  their 
niti-ic,  occasioned  the  name  to  be  applied,  goncr- 
ally,  to  all  musicians  who  followed  a  similar  prac- 
tice. Hence  those  persons  who  annually,  at  t!ie 
api)roach  of  Christmas,  salute  the  public  with 
their  nocturnal  concerts,  were,  antl  are  to  this 
day,  called  u;aij(ihtei. 

WEBB,  DANIEL,  an  English  author  and 
amateur  musician,  publi-;hcd  in  London,  in  the 
latter  part  of  the  last  century,  a  work  entitled 
"  Observations  on  the  Correspondence  between 
Poetry  and  Music."     He  died  in  1798. 

AVEBBE,  SAMUEL,  was  born  in  17J0.  His 
father  was  of  higli  respectabdity  and  independ- 
ent fortune,  but  dying  suddenly  at  Minorca, 
wl'.ither  he  went  to  assume  an  otHce  under  gov- 
ernment, while  his  son  was  an  infant,  ar.d  the 
family  property  being  alienated  from  the  rightful 
descentbmts,  his  widow  was  reduced  to  such 
comparative  iiuligence  that  her  son  received  but 
very  little  education,  and  was  apprenticed  to  the 
trade  of  cabinet  maker  at  the  very  early  age  of 
eleven.  His  disposition  was  avcr>e  from  so  me- 
chanical an  employment ;  and  his  indenture  wa,s 
no  sooner  concluded  than  he  determined  not  to 
follow  his  trade.  He  applied  himself  to  the  study 
of  Latin.  His  mother  died  in  less  than  a  yeiu 
alter  this  period,  and  he  had  recourse  to  cojjying 
raxisic  for  hi.s  s\ipi)ort,  though  as  yet  wholly  un- 
acquainted with  the  art.  to  which,  however,  he 
was  very  much  attached.  From  a  (icnnan  pro- 
fessor, i.imed  Barnandt,  orgmist  to  the  Bavarian 


07 


Chapel  in  London,  with  whom  he  became  ac- 
quainted in  the  course  of  his  business  as  a  copy- 
ist, he  nc(|uired  the  rudiments  of  music.  In  the 
mean  time  his  industry  was  so  unceasing,  that, 
when  fully  employed,  he  would  write  from  five 
in  the  mornin.;  till  twelve  at  night,  and  when 
this  was  not  the  case  he  pursued  the  study  of 
music  ;  having  also  ol)tained  a  rcspectible  knowl- 
edge of  Latin,  ho  turned  to  the  acquisition  of 
French.  At  the  age  oi  twenty-three  he  raan'icd, 
and  the  birth  of  a  child  added  to  his  difficulties. 
His  ardor  for  knowledge,  however,  seemed  tc 
augment  with  bis  embarrassments,  and  he  now 
engaged  an  Italian  master.  .Soon  after  this  he 
began  to  teach  music  and  to  compose;  and 
scarcely  a  year  passed  without  his  receiving  n 
])rize  medal,  and  sometimes  two,  tor  his  glees, 
from  the  Glee  Club,  down  to  the  time  when  this 
donation  to  merit  was  discontinued.  He  subse- 
quently acquired  a  competent,  and  indeinl  ex- 
tensive, knowledge  of  the  German  and  Hebrew  ; 
nor  did  ho  neglect  the  manly  exercise-i,  for  he  ii 
said  to  have  excelled  both  in  fencing  and  dan- 
cing. These  high  accomplishments  were  accom- 
panied with  a  simplicity  and  goudness  of  heart 
which  endeared  him  to  the  whole  circle  of  his 
connections. 

Webbe's  glees  and  part  songs  have  been  col- 
lected and  published  in  three  volumes,  and  they 
amount  to  no  less  than  one  hundred  and  seven 
compositions.  We  have  subjoined  the  list ;  and 
this  collection,  though  it  by  no  me.ins  compriees 
all  his  works,  for  he  has  written  masses  and  songs 
which  have  attained  a  great  celebrity,  may  yet 
be  considered  as  comprehending  those  parts 
which  have  most  essentially  contributed  to  his 
fame  :  "  As  o'er  the  varied  meads,"  "  A  generous 
friend. hip,"  "As  Nancy  danced,"  "Arise,  ye 
winds,"  "As  the  moments  roll,"  "Around  the 
fe.tivc  board,"  "Alas!  how  vain,"  "Awake, 
sweet  muse,"  "Belinda's  sparkling  wit,"  "Bac- 
chus. Jove's  delighted  boy,"  "  Breathe  soft,  ye 
winds,"  "  Balmy  zephyrs,"  "  Bid  me,  when  forty 
winters,"  "  Come  live  with  mo,"  "  Come,  rosy 
health,"  "  Cecilia  more  than  all,"  "  Cupid,  my 
pleasure,"  "  Come,  push  round,"  "  Discord,  dire 
sister,"  "  Daughter  sweet,"  "  Divine  Cecilia," 
"  Fair  eye  of  night,"  "  CJlorious  .\pollo,"  "  Great 
Bacchus,"  "Hither,  all  ye  loves."  "Hail,  happy 
meeting,"  "  Hence,  all  ye  vain  delights,"  "Hail, 
mu.sic,"  "  If  love  and  all  the  world,"  "  In  laro 
and  sorrow,"  "I'll  enjoy  the  present  time," 
"  Let  not  love,"  "  Live  to-day,"  "  Music's  the 
language,"  "  Me  Bacchus  fires,"  "  My  fair  is 
beautiful,"  "  My  name  it  is  slight,"  "  Now  I'm 
prepared,"  "  .Vi);i  fi<U;  al  mar,"  "  O  night,"  "  O 
love,"  "  On  his  death  be<l,"  "  O  onmr,  O  bella," 
"Pretty  warbler,"  '•  QiiaiiH  to  hrm,"  "  lUse,  my 
joy,"  "  Sister  of  Phrpbus,"  "  Seek  not  to  draw 
me,"  "Surely  that's  the  charming  ra.iid,"  "Since 
I'm  born  a  mortal  man,"  "  So  full  of  life," 
"  .Swiftly  from  the  mountain's  brow,"  "  .Sweet 
bird,"  "To  me  the  wanton  girls,"  "Thyroice, 
O  Harmony,"  "The  Spring,"  "To  tic  festive 
board,"  "  There  behold  the  mighty  IkiwI,"  '•  'Tis 
Beauty  calls,"  "  The  mighty  coixiucror  "  Thy 
bcauteotis  eyes,"  "  The  death  of  fair  Adonis," 
"The  girl  that  I  love,"  "To  the  pf.ie  tynnt,' 
"  'Vhe  sun  that  sets,"  ••  To  tl\e  gods  of  the  ocean,' 
"Tl>e  man  who  in  his  breast,"  "The  fragran 
painting,"  ''The  gods  of  wit  and  wine,"  "  T( 
love  I  wukc,"  "  llio  glorioud  sun,"  "Trtio  a.1  th 
0 


\V  E  B 


ENCYCLOPEDIA   OF   MUSIC. 


WES 


needle,"  "  To  a  hcnrt  full  of  love,"  "  The  blossom 
so  pleasing,"  "  When  innocence  and  beauty," 
"  When  charming  Cbloe,"  "  When  shall  we  three 
meet  again,"  "  ^\^lo  can  be  happy,"  "  When 
•winds  breathe  soft,"  "  When  Nature  formed," 
"  Where'er  my  Delia  comes."  "  Wine  gives  the 
lover  visjor,"  "  Wanton  gales,"  "  What  bright 
joy,"  "  When  we  dwell,"  "  We  our  short  lives 
will  measure,"  "Where  hapless  Ilion,"  "What 
may  arrive,"  "  With  breath,"  "  Wine  and  good 
cheer,"  and  "  You  gave  me  your  heart." 

WEBBE,  SAMUEL,  Jr.,  eldest  son  of  the 
prereding,  was  born  in  I,ondon  about  the  year 
1770.  lie  received  his  principal  instructions  in 
music  from  his  father,  and  early  in  life  wis  con- 
sidered an  excellent  pianist  and  organist.  He 
Boon,  also,  attained  eminence  as  a  composer  of 
part  songs  ;  one  or  more  of  his  works  ol  that  de- 
scription having  been  adjudged  the  i)rize  medal 
from  the  Glee  Club.  About  the  year  1798  he 
settled  in  Liverpool  for  some  time.  He  after- 
wards, however,  returned  to  London,  where  he 
engaged  with  Messrs.  Logier  and  Kalkbrenner  in 
the  conduct  of  a  musical  school  on  Logger's 
system,  and  became  organist  of  the  Spanish 
ambassador's  chapel,  near  Manchester  S(iuaro. 
Amon^,<  his  numerous  vocal  works  we  can  men- 
tion the  following.  Songs:  "I'll  sing  of  love," 
"  Farewell  to  Northmaven,"  "  Harp  on  the  wil- 
low," "  Love  wakes  and  weeos,"  "Ode  to  Soli- 
tude." Duet :  "  In  Celia's  fact."  Glees  :  "  Stay, 
O  stay,  thou  lovely  shade,"  three  voices  ;  "  .Six 
Airs  from  Beggar's  Opera  harmonized  ;  "  "  One 
morning,  very  earlj',"  four  voices  ;  "  Come  away, 
death,"  four  voices  ;  and  "  Gentle  stranger,  l-.ave 
you  seen."  Webbe  has  also  ably  an-anged,  as 
motets,  seven  different  pieces  from  the  well- 
known  "  Passione"  of  Haydn.  He  has  also  com- 
posed a  "  Paternoster "  and  other  music  for  the 
Catholic  church,  some  of  which  may  be  found  in 
Novello's  collection  of  motets. 

WEBER,  BERNHARD  ANSELM,  chhpel- 
master  to  the  King  of  Prussia  at  Berlin,  was  born 
at  Manheim  in  1766.  He  was  first  educated  for 
the  church ;  at  the  same  time  receiving  instruc- 
tions in  music  from  the  Abbe  Vogler.  Holzbauer, 
and  Einberger.  In  1787  he  was  elected  conductor 
of  the  orchestra  in  Grossmann's  theatre  at  Han- 
over. Here  he  remained  three  years,  when  he 
was  invited  by  the  Abb6  Vogler  to  accompany 
him  in  a  journey  through  part  of  Germany,  Hol- 
land, and  the  north  of  Europe.  They  remained 
for  some  time  at  Stockholm,  where  Weber  pro- 
duced a  mass,  a  Te  Deiim,  and  several  other  pieces 
for  the  church.  In  1792  we  find  him  at  Berlin  ; 
from  whence,  in  the  following  summer,  he  pro- 
ceeded to  Vienna,  where  he  became  known  to 
the  celebrated  Salieri,  who  gave  him  much  en- 
couragement in  theatrical  composition.  He  was 
appointed  to  his  first-named  situation  in  the  year 
1803.  His  works  consist  chiefly  of  dramatic 
pieces  and  piano-forte  music,  bearing  date  from 
tlie  vears  1781  to  1809.  He  died  at  Berlin  in 
1821". 

WEBER,  HEINRICH  DIONYS.  A  vocal 
tnd  instrumental  composer,  resident  at  Prague  in 
She  year  1800.  He  was  considered  in  Germany 
to  be  a  man  of  much  talent. 

^\TBER,  DR.  FRIEDUICH  AUGUST,  a 
physician  at  Heilbronn,  was  born  there  in  17o3. 


He  was  a  distinguished  musical  amateur  and 
composer,  and  wrote  many  theoretical  and  j^rac- 
tical  works.     He  died  at  Heilbronn  in  1806. 

WEBER,  GEORG,  organist  of  the  Ducal 
Chapel  at  WOrzburg  in  1807,  was  considered  an 
eminent  organist,  pianist,  and  professor  of  music. 
Some  of  his  works,  both  instrumental  and  vocal, 
have  been  published. 

WEBER,  GOTTFRIED,  the  con;p>vser  and 
writer  about  music,  was  born  March  1,  1779,  at 
Frcinsheim,  in  Rhenish  Bavaria.  Being  the  only 
sou  of  the  burgomaster,  who  was  afterwards 
counsellor  of  justice  at  Manheim,  he  received  a 
serious  education  and  made  his  first  studies  un- 
der the  pastor  of  his  native  village,  which  he  con- 
tinued at  the  gymnasium  in  Manheim.  In  1796 
he  went  to  the  University  of  Heidelberg.  In  the 
following  year  he  undertook  a  journey  to  Mu- 
nich, Regensburg,  and  Vienna,  in  which  latter 
city  he  remained  some  time ;  when  he  resumed 
his  studies  at  Heidelberg  in  1799,  spent  a  year 
in  the  office  of  a  respectable  advocate  in  Man- 
heim, and  betook  himself  in  1800  to  Gottingen, 
where  he  studied  a  year  and  a  half.  This,  with 
some  practice  in  the  Imperial  Chamber  at  Wetz- 
lar,  prepared  for  Godfrey  Weber  an  honorable 
official  career.  In  1802  he  established  himself  at 
Manheim  as  an  advocate.  His  success  at  the  bar 
procured  for  him,  in  1804,  the  appointment  of 
]irosecuting  attorney  for  the  city.  After  ten 
years'  exercise  of  that  function,  during  which  he 
had  leisure  enough  for  an  ardent  devotion  to 
music,  he  was  called  in  1814  to  Mayence  as  a 
judge;  and  four  years  afterwards  the  Grand 
Duke  of  Hesse  made  him  counsellor  of  justice  at 
Darmstadt.  In  182.5  he  was  member  of  a  com- 
mission for  framing  a  n3w  civil  and  criminal 
code  for  the  Grand  Duchy  ;  for  his  zeal  and  in- 
dustry in  which  ho  was  rewarded,  in  July,  1832, 
by  the  appointment  of  attorney  general  to  the 
Svipreme  Court  of  Appeal  and  of  Cassation.  He 
died  on  the  12th  of  September,  1839,  at  the  baths 
of  Kreuzenach,  at  the  age  of  sixty. 

His  musical  education,  which  was  that  of  an 
amateur,  began  at  the  piano,  at  which  he  made, 
at  first,  but  little  progress  ;  then  he  took  lessons 
on  the  flute  and  violoncello,  on  both  which  in- 
struments he  acquired  some  skill.  His  taste  for 
the  art  increasing  with  his  progress,  he  devoted 
himself  to  it  with  ardor  during  the  twelve  years 
of  his  life  in  Manheim  after  his  return  from  Got- 
tingen. He  founded  there  a  school  for  music 
and  .some  spiritual  concerts,  which  long  con- 
tinued to  be  famous.  It  was  also  during  his  first 
years  in  Manheim  that  he  made  attempts  at  com- 
position, without  possessing  much  idea  of  har- 
mony or  counterpoint.  He  wrote  his  first  mass- 
es ;  they  were  received  with  favor,  but  he  soon 
saw  that,  to  produce  any  thing  of  permanent 
value,  he  must  master  the  science  of  Composition. 
He  read  all  the  treatises  which  he  could  lay  his 
hand  upon.  Struck  by  the  contradictions  which 
he  found  in  the  different  systems  of  Kirnberger, 
Vogler,  Marpurg,  and  others,  and  lacking  practi- 
cal education,  he  came  to  the  conclusion  that  all 
the  received  ideas  about  the  generating  principles 
of  the  chords,  the  scales,  &c.,  were  sheer  illu- 
sions :  he  became  a  sceptic  as  to  any  absolut* 
miisical  scieitce,  and  ba.sed  every  thing  upcn  th« 
mere  empirical  ground  of  practice  and  image. 
He   read  the  scores  of  tlie  great    ma.sters     and 


.    930 


WEB 


ENCYCLOP-'EDIA    OF    MUSIC. 


WEfl 


deduced  his  rules  from  a  comparison  of  cases  in  I  holm    mndc  hira   an   honorary   academician    ir 
their  practice.     In  his  "  Attempt  at  a  systematic     1827. 


rheory  of  Composition,"  —  Versuch  einer  geortl- 
neteii  Theorie  der  ToiiseCzkuiist, — Mayence,  1817- 
21,  in  three  volumes,  he  declares  that  he  does 
not  believe  in  the  existence  of  a  system  that  ac- 
cords with  all  the  facts  of  harmoiiical  expciience. 
The  originality  of  so  bold  a  work  excited  great 
attention,  and  a  second  edition  was  called  lor  in 
1824.  and  still  a  thinl  in  1S30-32.  The  Ciermans 
themselves  soon  felt  the  emptiness  of  such  a 
negative  theory,  but  gave  Godfrey  Weber  all 
credit  for  his  remarkable  powers  of  analysis,  dis- 
played in  his  close  and  accurate  comparison  of  a 
multitude  of  particular  cases.  A  translation  of 
this  work,  under  the  title  of  "  Godfrey  Weber's 
Theory  of  Musical  Composition,"  by  James  F. 
Warjier,  was  publishdl  in  Boston,  Massachusetts, 
in  184G. 

His  second  work,  an  extract  of  the  more  ele- 
mentary portions  of  the  first,  was  published  in 
1822,  and  called  "  AUyemeine  Mtt^iklehre  fiir  Lehrer 
uiid  Lerneiule."  To  the  third  edition  of  this  (1831) 
"VVeber  appended  a  dictionary  of  music.  He  also 
published  the  following  :  'i.  "  Die  Geiieralbass- 
lehre,"  itc.,  —  Doctrine  of  Thorough  Bass,  for  Self- 
Instruction,  —  1833.  4.  '■  On  the  chronometrical 
^lurking  of  Time,  with  a  Comparison  of  Mael- 
zel's  Degrees  with  the  simple  Oscillations  of  the 
Pendulum,"  1817.  5.  "Description  and  Scale 
of  G.  Weber's  Double  Trombone,"  an  instrument 
which  he  invented,  1817.  6.  "  Vet-such  einer 
praktisclien  Akunlik  der  Blaseiiinstrumeitti;"  —  Prac- 
tical Acoustics  of  wind  Instruments.  7.  "  Uebcr 
Saite>iiii3trumei(le  mil  BUiuten,"  —  On  stringed  In- 
6trument.s  with  Bows, —  1823.  8.  "On  an  im- 
portant Improvement  of  the  Horn."  9.  "  On 
the  Simplitication  and  Improvement  of  the  Ket- 
tledrums." 10.  "  Results  of  Inquiries  into  the 
Authenticity  of  Mozart's  Requiem,"  132G.  11. 
"  Further  Results,"  &c.,  1827.  Most  of  the  above 
■corks  were  written  lor  encydopiedias  and  mu- 
M3al  journals.  In  1824  Weber  undertook  the 
publication  of  a  periodical  magazine  of  the  his- 
tory and  literature  of  music,  entitled  "  Cacilia." 
He  was  principal  editor  of  the  tirst  eighty  num- 
l)cr3  of  this  excellent  work,  forming  twenty  oc- 
tavo volumes.  Interrupted  for  a  time,  it  was  re- 
sumed alter  his  death  by  Dehn,  of  Berlin. 

Godfrey  Weber  aspired  to  the  reputation  of  a 
great  composer,  and  always  e.xpie.ssod  regret  that 
his  fame  as  a  theoretic  writer  had  so  absorbed 
that  which  he  had  coveted  lor  his  compositions. 
This,  it  is  said,  gave  him  a  distaste  for  music  in 
his  latter  years.  He  began  to  publish  when  his 
musical  education  was  scarcely  sketched  out. 
The  arrival  of  the  Abbe  Vogler  at  Darm.stadt,  and 
the  acquaintance  which  he  formed  at  his  school 
with  Carl  Maria  von  Weber  and  with  Meyerbeer, 
and  their  ardent  love  for  art,  stimulated  his  cre- 
ative faculty,  and  it  was  then  that  he  produced 
his  best  works.  Among  these  arc,  "  A  Te  Deiiin 
(in  E  fiat)  lor  four  Voices  and  Orchestra,"  Op. 
18;  "A  Requiem  (in  F  minor)  for  male  Voices, 
Violas,  Bass  Horns,  Drums,  and  organ  Obli- 
gato,"  Op.  24  ;  "Three  Ma.sses"  Ops.  27,  28,  33  ; 
"  A  Hymn  to  God,"  lor  two  choirs,  Op.  42 ;  a 
great  variety  of  songs  for  one  or  more  voices. 
Also,  some  instrumental  pieces  :  a  sonata  for  pi- 
ano, a  trio   for  violin,  alto,  and  violoncello,  &c. 


WEBER,  EDMUND  VOX,  director  of  tht 
music  at  the  Court  Theatre  in  Salzburg  in  1707, 
was  a  pupil  of  Haydn.  He  was  elder  brother  of 
the  celebrated  C.  M.  Von  Welier.  Some  of  his 
instrumental  works  have  been  published.  He 
has  also  composed  some  dramatic  pieces. 

WEliER,  CAlil,  MARIA  VOX.  The  fol- 
lowing account  of  this  favorite  composer  ia 
abridged  from  "  Hogarth's  Musical  History  :  "  — 

Carl  Miiria  von  Wel)cr  was  born  in  1786  at 
Eutin,  a  small  town  in  Holstcin.  His  father,  who 
was  a  violinist  of  some  note,  gave  him  a  liberal 
education,  and  enabled  him  to  cultivate  his  tal- 
ents for  music  and  painting,  between  which  his 
inclinations  seem,  in  his  early  years,  to  have  been 
divided.  His  ardor  in  the  study  of  painting, 
however,  abated  as  his  mind  became  more  and 
more  engrossed  by  his  love  of  music.  After  he 
had  acquired  great  skill  as  a  ])iano-forte  ))layer, 
his  father  placed  him  under  the  care  of  Michael 
Haydn,  brother  of  the  illustrious  Joseph  Haydn, 
and  himself  a  celebrated  composer  in  the  eccle- 
siastical style.  Under  him  Weber  labored  ear- 
nestly ;  but,  according  to  his  own  account,  with- 
out much  success.  The  master  was  then  far 
advanced  in  years  and  of  an  austere  dispo- 
sition. "  TTiere  was  too  awful  a  distance,"  We- 
ber himself  savs,  "  between  the  old  man  and  the 
child." 

At  this  time,  in  1798,  his  first  work  was  pub- 
lished, consisting  of  six  ^' Fughetti,"  or  short 
fugues,  which  were  favorably  noticed  by  the 
"  Leipsic  Musical  Gazette."  In  the  same  year 
he  went  to  Munich,  where  he  received  instruc- 
tions from  M.  Kalcher,  the  organist  of  the  Royal 
Chapel,  to  whom  he  ascribes  his  knowledge  of 
the  laws  of  counterpoint  and  their  ready  appli- 
cation to  practice.  Under  the  eye  of  this  master 
he  composed  an  opera,  a  grand  mass,  and  many 
instrumental  pieces ;  all  which  were  afterwards 
committed  to  the  flames.  The  art  of  htho- 
graphy,  recently  invented,  now  attracted  his  at- 
tention ;  and  his  attempts  to  improve  upon  the 
invention  for  a  time  entirely  occupied  his  mind. 
But  his  ardor  in  this  pursuit  soon  subsided,  and 
he  returned  to  his  musical  labors. 

At  the  age  of  fourteen  he  composed  the  opera 
"  Das  WaUiinddchen,"  — The  Wood  Girl,  —  which 
was  performed  for  the  first  time  in  Xovemher, 
1800,  and  received  with  applause  at  Vienna. 
Prague,  and  St.  Petersburg.  The  whole  of  the 
second  act  was  composed  in  ten  days,  "  one  of 
the  unfortunate  consequences,"  he  himseb'  says, 
and  the  remark  is  wortliy  of  being  attended  to, 
"  of  those  marvellous  anecdotes  of  celebrated  men 
which  act  so  strongly  on  the  youthful  mind  and 
incite  to  emulation."  After  this  he  was  induced, 
by  reading  an  article  in  a  musical  journal,  to 
think  of  composing  in  an  ancient  style  and  of 
reviving  the  use  of  forgotten  instruments.  Ac- 
cording to  this  plan,  he  composed  an  opera  caLe<l 
"  Peter  Schmoll  uiiH  seine  yacfibarii,"  —  Peter 
Schmoll  and  his  Neighbors,  —  which  had  littU 
success,  but  received  the  warm  approbation  of 
his  old  master,   Michael  Haydn. 

Soon  alterwards  he  visited  Vienna  and  min- 
gled in  the  musical  society  of  that  city.     He  bc- 


Gottl'ried  Weber  was  a  member  of  most  of  the    came  acquainted  with  the  Abbt  Vogler,  a  learned 
musical  academies  of  Europe.      That  of  Stock-     and  profound  musician,  vbo  genero-osly  uudcf' 

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ENCYCLOPEDIA    OF    MUSIC. 


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took  to  fjivc  liini  the  benefit  of  his  own  knowl- 
edge and  expciicnce.  Aided  by  the  advice  and 
n-sslstance  of  Vogler,  AVcber  for  two  years  de- 
voted himself  to  a  severe  study  of  the  works  of 
tlie  great  masters  ;  and,  during  this  period,  pub- 
lished only  one  or  two  trifles.  After  having  fin- 
ished this  course  of  education,  he  received  the 
hituation  of  maestro  di  capclla  at  Breslau.  During 
his  residence  there  he  composed  an  opera  called 
"  lUibczahl,  or  Nurabcr-Ni]),"  the  celebrated  spir- 
it, or  fiend,  of  the  Ilnrt/,  Mountains. 

In  180G  lie  entered  into  the  emploj-ment  of  the 
Duke  Eugene,  of  Wurtcmbcrg.  Here  he  com- 
posed several  symphonies  and  other  pieces  of  in- 
strumental music.  He  also  remodelled  his  opera 
of  "  The  Wood  Girl,"  and  reproduced  it  under 
thf  title  of  "  Sylvana."  In  1810  he  composed 
the  opera  of  "  Abu  Hassan  "  at  Darmstadt.  This 
"/iece,  which  is  founded  on  a  well-known  and 
anmsiiig  story  in  the  "  Arabian  Nights,"  had 
considerable  success.  The  tale  is  well  drama- 
tized, and  the  music  light  and  comic.  It  was 
Itrought  out  in  London  some  years  ago  and  fre- 
quently performed. 

In  1813  he  was  employed  to  reorganize  and 
direct  the  opera  at  Prague,  and  relinquished  the 
management  in  1816,  after  having  accomplished 
the  object  for  which  ho  undertook  it.  He  then 
received  an  invitation  to  Dresden,  for  the  pur- 
pose of  establishing  a  German  opera  in  that  city. 
He  had  previously  declined  many  handsome  of- 
fers from  various  quarters ;  but  this  invitation  he 
accepted  with  alacrity,  as  it  promised  to  gratify 
the  wish  he  had  long  entertained,  of  placing  on  a 
proper  footing  the  national  0])era  of  his  own 
country.  He  continued  to  hold  this  situation 
till  his  death. 

At  Dresden  he  composed  his  far-famed 
■'  Freischut:."  Ho  did  not,  however,  bring  it 
Dut  there,  but,  by  permission  of  his  sovereign,  at 
Berlin,  where  it  was  first  perfonned  in  the  begin- 
ning of  1822.  It  was  received  with  an  enthusi- 
asm which  rapidly  spread  over  Germany,  and  at 
once  raised  its  author's  name  to  the  summit  of 
poi)ularity.  His  well-regulated  mind  bore  with 
calmness  this  sudden  celebrity.  "  I  am  de- 
lighted," he  says,  in  a  letter  to  a  friend,  "  that 
ray  '  Freischiltz '  has  given  you  pleasure.  I  need 
the  approbation  of  men  of  merit  to  stimulate  me 
to  activity.  Carried  to  my  present  height  by 
the  storm  of  applause,  I  am  ever  in  fear  of  a  fall. 
How  much  better  it  is  to  pursue  one's  way  in 
peace  and  quiet  !  "  Nothing  but  •'  Der  Frci- 
schutz"  was  performed  in  any  theatre  in  Ger- 
many, and  nothing  but  the  airs  from  it  were 
heard  even  in  the  streets  of  the  smallest  villages. 
In  July,  1824,  an  English  version  of  it  was  pro- 
duced in  London,  at  the  English  Opera  House, 
and  fully  gratified  the  highly-raised  e-xjiectations 
of  the  public.  On  tlie  opening  of  the  urcat 
winter  theatres,  it  was  brought  out  at  both  of 
them.  Each  theatre  had  a  diiforent  version  of  it, 
and  in  each  version  it  was  injured  by  wanton 
changes,  mutilations,  and  interpolations,  accord- 
ing to  the  prevailing  usage  in  English  adapta- 
tions of  foreign  operas.  The  great  features  of 
the  piece,  however,  remained ;  it  was  got  up 
with  much  splendor  and  magnificence  ;  and,  gen- 
erally speaking,  was  well  performed.  It  was  re- 
ceived with  an  enthusiasm  not  inferior  to  tliat 
which  it  had  e.xcited  in  Germany ;  it  made  the 
round  of  all  the  proriucial  theatres ;  and,  wher- 


ever it  appeared,  was  played  night  after  niglit  to 
overflowing  houses. 

In  the  winter  of  1822  Weber  produced  the 
musical  drama  of  "  Preciosa,"  founded  on  a  -ale 
of  Cer\"antes.  ITiis  piece  was  very  successful, 
not  only  at  Dresden,  where  it  was  originally  pro- 
duced, but  all  over  Germany.  The  attempts, 
however,  to  adapt  it  to  the  French  and  English 
stage  fiiiled,  notwithstanding  the  beauty  and  ro- 
mantic character  of  the  music. 

In  November,  182.3,  the  0])era  of  "  EuryatUhe" 
was  produced  at  Vienna,  and  received  as  warmly 
as  the  "Freischiltz"  had  been.  The  applause 
was  enthusiastic,  and  the  composer  was  four 
times  called  upon  th.e  stage  during  the  first  per- 
formance. Its  progress  in  general  favor,  how- 
ever, was  less  rapid  than  that  of  the  "  Frei- 
schiltz." It  was  rather  coldly  received  at  Berlin  ; 
and  the  musical  wits  of  that  place  punned  upon 
its  title,  and  called  it  "  V  EnnuyatUe '.  "  People 
'  were  disappointed,  not  because  they  did  not  meet 
I  with  the  same  excellence  as  in  the  "  Freischiltz," 
but  because  it  was  not  the  same  kind  of  excellence. 
"The  effect  produced  by  my  * Euryanthe,' " 
Weber  says,  in  one  of  his  letters,  "  is  precisely 
what  I  anticipated.  My  indiscreet  friends  have, 
in  this  instance,  lent  their  hand  to  ray  enemies,' 
by  requiring  that  '  Eiiryanihe'  should  seduce  as 
many  a,s  the  '  Freischiltz '  had  done ;  both  the  one 
and  the  other  are  equally  foolish  in  doing  so." 
"  Euryaiithe,"  however,  was  calculated  to  gain  a 
lasting  success,  if  a  slow  one.  Its  story,  though 
it  wants  the  attractions  of  diablerie,  is  interest- 
ing, and  resembles  that  of  Shakspeare's  "  Cym- 
beiine  ;  "  and  the  music,  though  not  capable  of 
immediately  striking  the  popular  ear,  makes  a 
profound  imjjression  when  the  performers  have 
surmounted  the  great  difficulties  of  its  e.xecution. 

In  the  year  1824  Weber  undertook  to  compose 
an  opera  for  Covent  Garden  Theatre ;  and  the 
drama  of  "  Oberon  "  was  written  for  him  by  Mr. 
Planch6.  Mr.  Kemble,  then  manager  of  that 
theatre,  in  the  course  of  a  tour  through  Ger- 
many, in  which  he  was  accompanied  by  Sir 
George  Smart,  went  to  Dresden  in  the  month  oi 
August,  1825,  for  the  purpose  of  visiting  Weber 
and  making  the  final  arrangements  respecting 
this  opera,  which  was  to  be  brought  out,  under 
his  own  su].erinteudence,  in  the  following  spring. 
On  this  occasion  the  travellers  were  witnesses  of 
Weber's  zeal  for  the  improvement  of  music.  He 
carried  them  to  a  tea  garden,  the  price  of  admis- 
sion to  which  was  a  few  groschen,  —  somethiug 
about  threepence,  English,  —  where  a  good  and 
numerous  orchestra  were  playing  for  the  enter- 
tainment of  the  comjjany.  On  his  desiring  them 
to  mention  any  overture  they  wished  to  hear, 
thej'  named  one,  which  was  played  with  admira- 
ble precision  and  effect.  Weber  then  told  them 
that  this  band  was  supported  as  a  kind  of  nur- 
sery for  instrumental  performers,  who  entered  it 
for  a  low  remuneration,  as  vacancies  in  the  or- 
chestra of  the  opera  and  other  regular  orchestras 
in  the  city  were  tilled  up  from  it,  and  it  afforded 
a  supply  of  well-trained  and  experienced  players. 

On  the  5th  of  March  Weber  arrived  in  I^on- 
don.  His  expected  vi.sit  had  excited  great  in- 
terest, and  the  attentions  he  received  were  ir.  the 
highest  degree  gratifying  to  liis  feelings.  Or.  liig 
arrival,  in  place  of  being  retiuired,  as  an  alien,  to 
present  himself  at  the  passport  office,  he  waa 
waited  upon  and  requested  to  give  himself  no 


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ENCYCLOPAEDIA    OF    MUSIC. 


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trouble,  as  that  matter  had  been  arranged  for 
him.  lie  took  u]i  his  abode  in  the  }iouse  of  Sir 
George  Smart,  whose  attention  to  his  comforts 
was  unremitting.  Tlie  letters  written  by  him 
from  London  to  his  wiio,  Caroline  Urand,  a  dis- 
tinguisl'.ed  actress,  to  whom  he  had  been  married 
for  some  years,  give  an  account  of  every  tiling 
that  occurred  to  him  at  this  time  and  phice  his 
oharacter  in  the  most  amiable  light.  In  n  letter 
written  a  few  days  after  his  arrival  he  describes 
the  impression  made  upon  him  by  liis  reception 
IK  England. 

'  The  English  way  of  living,"  he  says,  "  suits 
mine  exactly ;  and  my  little  stock  of  English,  in 
which  I  make  tolerable  progress,  is  of  incalcula- 
ble use  to  me.  •  •  •  The  people  are  really 
f>o  kind  to  me.  No  king  bad  ever  more  done 
for  him  out  of  love.  I  might  almost  say  they 
carry  me  in  their  arms.  At  seven  o'clock  in  the 
evening  we  went  to  Covent  ( iarden,  where  ■  Rob 
Koy,"  an  opera  after  Sir  Walter  Scott's  novel, 
was  played.  The  house  is  handsomely  deco- 
rated, and  not  too  large.  When  I  came  forward 
to  the  front  of  the  stage  bo.\,  that  I  might  have 
a  better  view  of  it,  some  one  called  out,  •  Weber  ! 
Weber  I '  and  though  I  drew  back  immedi- 
ately, there  followed  a  clamor  of  applause  that  I 
thought  never  would  have  ended.  Then  the 
overture  to  the  '  FreischUtz'  was  called  for,  and 
every  time  I  showed  myself  the  storm  again 
broke  loose  Fortimately,  soon  after  the  over- 
tui-e  '  Rob  Roy '  began,  and  things  gradually 
became  more  quiet.  Could  a  man  wish  tor  more 
enthusiasm  or  more  love  r  I  must  cont'ess  that 
I  was  completely  overpowered  by  it,  though  J 
am  of  a  calm  disposition  and  somewhat  accus- 
tomed to  such  scenes.  I  know  not  what  I  would 
have  given  to  have  had  you  by  my  side,  that  you 
might  have  seen  me  in  my  foreign  garb  of  honor. 
And  now,  my  dear  love,  I  can  assure  you  that 
you  may  be  quite  at  ease,  both  as  to  the  singers 
and  the  orchestra.  Miss  I'aton  is  a  singer  of 
the  first  rank,  and  will  play  '  Beiza'  divinely. 
Braham  not  less  so,  though  in  a  totally  different 
style.  There  are  also  several  good  tenors,  and  I 
really  cannot  see  why  the  English  singing  should 
be  so  much  abused.  The  singers  have  a  perfect- 
ly good  Italian  education,  tine  voices  and  e.x- 
pression.  The  orchestra  is  not  remarkable,  but 
still  very  good,  and  the  choruses  particularly  so. 
In  short,  I  feel  quite  at  ease  as  to  the  fate  of 
•  Oberon.' " 

This  opera,  after  very  careful  preparation,  was 
brought  out  on  the  I'ith  of  .-Vpril.  It  was  admi- 
rably performed  in  every  department,  and  the 
creat  powers  of  IJraham  and  Miss  Paton  never 
«ere  more  fully  displayed.  The  composer,  in  a 
letter  to  his  wife  written  the  same  night,  de- 
scribes the  reception  of  the  piece.  "  My  best- 
beloved  Carohne,"  hesays,  "through  God's  grace 
and  assistance,  I  have  this  evening  met  with  the 
most  complete  success.  'Hie  brilliancy  and  affect- 
ing nature  of  the  triumph  are  indescribable. 
God  alone  be  thanked  for  it !  When  I  etitered 
the  orchestra  the  whole  of  the  house,  which  was 
tilled  to  overflowing,  rose  up,  and  I  was  saluted 
by  huzzas,  and  waving  of  hats  and ,  handker- 
chiefs, which  I  thought  would  never  have  done. 
They  insisted  on  encoring  the  overture.  Every 
air  was  interrupted  twice  or  thrice  witn  bursts 
of  applause.  •  •  •  So  much  for  this  night, 
dear  Ule,  from  your  heartily- tired  husband,  who, 


however,  could  not  sleep  in  peace  till  he  had 
communicated  to  you  this  new  blessing  of  ileav 
en.     Good  night  I" 

During  his  residence  in  London  Weber  showed 
great  simplicity  of  manners,  ([uiet  and  retiring 
hal)its,  and  a  mild  and  cheerful  temper.  Ho 
greatly  enjoyed  the  society  of  a  few  accomplished 
and  intelligent  jjersons,  but  disliked  gay  and 
lashionablc  parties,  which  he  always  avoided  ex- 
cept on  the  very  lew  occasions  of  his  being  in- 
vited to  them  US  a  musician,  when  he  considered 
his  attendance  as  a  sucriticc  to  professional  duty. 
At  table  he  was  tem])erate;  never  exceeding, 
alter  dinner,  two  or  three  glasses  of  port,  which 
he  preferred  to  every  other  wine,  feeling,  n  > 
doubt,  the  benefit  of  its  cordial  and  restorative 
quality  in  a  climate  so  severely  trying  to  his 
feeble  constitution.  He  greatly  enjoyed,  too,  a 
glass  of  good  porter.  He  disliked  the  introduc- 
tion of  the  "  Frei.tcliittz"  as  a  subject  of  conversa- 
tion. Notwithstanding  the  extraordinary  success 
of  that  opera,  though  it  had  been  performed 
times  innumerable  at  every  theatre  in  Germany 
and  printed  ii  a  great  variety  of  lorms,  he  had 
never  derived  any  pecuniary  advantage  from  it 
whatever ;  and  he  telt  sore  and  mortified  that  a 
work  which  had  profited  so  many  should  have 
contriliute.l  nothing  to  the  benefit  of  his  family. 
So  strong  was  this  feeling  that  to  dwell  on  the 
merits  or  the  popularity  of  the  "  FreischUtz"  was 
the  only  thing  that  seemed  capable  of  disturbing 
the  gentleness  of  his  temper. 

Weber  was  now  in  the  last  stage  of  the  fatal 
malady  under  which  he  had  long  labored.  It 
was  a  pulmonary  disease,  which  had  been  aggra- 
vated by  the  fatigues  of  a  long  journey  and  the 
severity  of  a  climate  to  which  he  was  unaccus- 
tomed. "  To-day,"  he  says  to  his  wife  on  the 
17th  of  April,  "  is  enough  to  be  the  death  of  any 
one.  A  thick,  dark,  yellow  fog  overhangs  the 
sky,  so  that  one  can  hardly  see  in  the  house 
without  candles.  The  sun  stands  powerless,  like 
a  ruddy  point  in  the  clouds.  No,  there  is  no 
living  in  this  climate.  The  longing  I  feel  for 
Hosterwitz  and  the  clear  air  is  indescribable. 
But  patience,  patience  —  one  day  rolls  ou  after 
another ;  two  months  are  already  over.  I  have 
formed  an  ac(iuaintance  with  Dr.  Kind,  a  nephew 
of  our  own  Kind.  He  is  determined  to  make  me 
well.  God  help  me  I  that  will  never  be  in  this 
life.  I  have  lost  all  hope  in  physicians  and  their 
art.  Repose  b  ray  best  doctor,  and  henceforth 
it  shall  be  my  sole  object  to  obtain  it." 

"  Oberon"  continued  to  draw  good  houses,  but 
its  popularity  was  not  eijual  to  tliat  of  the 
'•  FreischUtz."  The  composer,  wlule  he  was  the 
delight  of  the  small  circle  of  musical  friends 
among  whom  he  lived,  was  dis-jualificd,  by  his 
feelings,  habits,  and  manners,  from  sharing  iu 
the  golden  harvest  .so  abundantly  reaped  by  for- 
eign favorites  among  the  EnglLsh  aristocracy. 
His  feelings  were  too  high,  bis  habits  too  retir- 
ing, and  his  manners  too  plain  and  simple  to 
enable  him  to  protit  by  their  lil>erality.  He  was 
willing  to  increase  the  emoluments  of  his  long 
and  painlul  journey  to  England  by  attending 
private  parties  tor  the  usual  remuneration  to  art- 
ists of  distinction  ;  but  he  was  not  willing  to  seek 
invitations  to  sucli  parties  by  paying  court  to  theii 
givers  ;  and  the  conscquonce  wa..,  that  two  or 
three  such  invit.itions  were  all  he  received.  Or 
the  Jjtb  of  May  he  had  a  bcuctit  concert;  and 


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ENCYCLOPEDIA    OF   MUSIC 


WEE 


on  this  occasion,  when  it  might  naturally  have 
been  expected  that  an  overtiowin<j  audience 
would  have  testified  the  sentiments  of  the  Eng- 
lish public  towards  one  of  the  greatest  musicians 
who  had  ever  visited  our  shores,  the  room  was 
not  more  tlian  half  filled.     Weber,  struggling  at 


If  the  author  of  the  "  FreUchlUz,"  "  EuryatUhe,' 
and  "  Oberon  "  has  not  raised  himself  to  the  leve 
of  ]5eethoven  and  Mozart,  he  is  but  a  little  lowei 
than  these  mighty  masters.  His  powerful  and 
original  genius  was  strcngtliened  by  a  profound 
knowledge  of  his  art,  and  his  mind  was  enriched 


once  with  illness  and  with  suppressed  teelings  of  I  and  fertilized,  (if  the  expression  may  be  allowld, ) 


disappointment  and  mortification,  was  hardly  able 
to  get  through  the  business  of  the  evening  as 
conductor.  At  the  end  of  the  concert  he  threw 
himself  on  a  sofa  in  a  state  of  exhaustion,  which 
filled  his  surrou)uling  friends  with  alarm. 

His  whole  thoughts  were  now  turned  towards 
his  home,  and  his  impatience  to  be  once  more  in 
the  bosom  of  his  family  was  extreme.  This  joy- 
ful ho|)e  was  destined  never  to  be  realized.  On 
the  morning  of  the  -jth  of  June,  1826,  Weber  was 
found  dead  in  his  bed. 

On  the  21st  of  June  his  remains  were  interred 
in  the  vaults  below  the  Koman  Catholic  chapel 
in  Moorfields.  The  procession  was  attended  by 
a  numerous  body  of  his  friends  and  i)rolessional 
brethren.  Sir  George  Smart  being  chief  mourner. 
The  funeral  service,  in  which  the  "  Requiem  "  of 
Mozart  was  performed  by  a  large  vocal  and  in- 
strumental band,  took  place  in  the  presence  of 
'.wo  thousand  persons,  by  whom  the  chapel  was 
filled ;  and  the  ceremony  was  solemn  and  im- 
pressive. 

The  last  account  of  Weber's  family  that  we 
have  met  with  is  that  given  by  Moschcles,  who 
visited  Dresden  in  October,  1826,  and  wrote  to  a 
friend  in  London.  "  I  visited  poor  Weber's  wid- 
ow, and  found  her  still  inconsolable  for  the  loss 
of  her  husband.  She  burst  into  tears  as  soon  as 
she  saw  me.  What  has  been  rumored  here,  and 
even  in  England,  as  to  their  not  having  lived 
happily  together,  is,  I  can  assure  you,  a  calumny. 
He  has  left  two  tine  young  boys."  The  en- 
venomed tongue  of  detraction  none  can  escape; 
but  if  ever  there  was  a  case  in  which  such  ru- 
mors were  utterly  groundless  and  malignant,  it 
was  that  of  ^\'eber.  Besides  the  two  boys  whom 
he  left,  he  had  three  children  who  died  in  their 
infancy. 

Weber's  character  may  be  gathered  from  the 
foregoing  sketch,  brief  as  it  is,  of  the  circum- 
stances of  his  life.  He  was  modest,  gentle,  and 
affectionate ;  possessed  of  a  strong  intellect  and 
much  firmness.  His  mind  was  highly  cultivated, 
and  his  knowledge  of  literature  considerable.  In 
the  Ciirlier  part  of  his  life  he  exercised  his  pen, 
with  some  dLstinction,  as  a  critic,  in  the  musical 
journals  of  that  period  ;  and  left,  at  his  death,  an 
unfinished  work,  entitled  "  TonkUnstlers  Lebcn, 
eiiie  Arabeskc,"  —  The  Life  of  a  Composer,  an  Ara- 
besque, —  which  wa.s  published,  after  his  death, 
by  the  guardian  of  his  children,  along  with  an 
autobiographical  sketch  of  his  life  and  fragments 
of  his  correspondence.  This  production,  as  its 
title  indicates,  is  written  in  that  fantastic  and  in- 
coherent style  to  which  the  German  literati  are 
somewhat  too  much  addicted ;  there  is,  too,  a 
vague  and  misty  air  about  the  general  specula- 
tions, also  characteristic  of  tlie  German  literary 
school,  which  frequently  renders  the  aim  and 
meaning  of  tlie  author  difficult  to  come  at ;  and 
there  is  a  good  deal  of  lalxirious  and  overstrainetl 
humor.  With  all  this  there  are  many  acute  and 
profound  observations  on  musical  subjects  ;  and 
tlie  whole  is  interesting,  as  throwing  light  on  the 
uit«Uectual  constitution  of  a  great  artist. 


not  only  by  a  most  extensive  study  of  the  works 
of  the  greatest  composers,  but  by  the  closest  ob- 
servation of  all  the  phenomena  of  nature  from 
which  musical  imjiressions  are  derived.  From 
these  sources  his  strong  and  active  imagination 
was  stored  with  materials  which,  as  he  lived,  only 
became  more  and  more  exhaustless.  None  of  his 
works  e.xhibit-s  such  a  richness  of  ideas  as  "  Obe- 
ron," a  piece  that  was  written  when  his  body, 
wasted  by  disease,  was  sinking  into  the  grave. 
Though,  however,  this  opera  may  be  considered 
the  greatest  of  his  compositions,  containing  strains 
the  most  tender,  romantic,  and  impassioned,  mag- 
nificent choral  harmonies,  and  novel  and  beauti- 
ful orchestral  effects,  —  and  though,  among  those 
who  are  capable  of  appreciating  the  highest  ef- 
forts of  art,  it  has  even  e.xalted  the  reputation  of 
the  author  of  the  "  Freischiitz,'' —  yet  it  has  never 
excited  those  mingled  feelings  of  amazement  and 
delight  with  which  that  unique  production  was  ' 
every  where  hailed.  Weber's  fancy  loved  to 
wander  in  the  regions  of  enchantment,  and  to 
imbody  the  wild  and  fantastic  images  of  German 
superstition.  "  Like  Salvator,"  to  adopt  the  lan- 
guage of  the  best  criticLsm  on  the  genius  of  We- 
ber we  have  yet  met  with,  "  he  gloried  in  deUn- 
eating  the  wild  and  savage  aspects  of  Nature, 
and  in  wandering,  like  Beethoven,  in  her  sullen 
and  more  gloomy  recesses.  The  romantic  turn 
of  his  mind,  inspired  by  his  early  studies,  ren- 
dered the  wild  legend  of  the  '  Freisc/iUtz'  per- 
haps the  most  suitable  subject  on  which  he  could 
have  employed  his  talents.  In  depicting,  or 
rather  in  aggravating,  the  horrors  of  the  '  wolfs 
glen,'  with  its  fearful  omens  and  all  its  unearth- 
ly sights  and  sounds,  in  painting  the  grief  and 
despair  of  his  hero,  and  the  gloomy,  demoniacal 
spirit  of  the  lost  and  abamloned  Caspar,  he  found 
full  scope  for  his  peculiar  talent.  Were  we  to 
compare  him  with  any  of  our  romance  writers, 
we  should  say  that  he  possessed,  though  mingled 
with  and  controlled  by  a  finer  taste  and  far  great- 
er discretion,  a  congeniality  of  soul  with  Monk 
Lewis  and  Mrs.  Kadclitfe ;  and,  rich  as  the  dra- 
matic literature  of  his  country  is  in  tales  of  su- 
perstition and  diahterie,  we  think  it  to  be  regretted 
that  he  did  not  at  least  furnish  us  with  another 
romantic  opera  from  that  prolific  source."  Some 
of  the  most  powerful  passages  in  "  Oberon"  af- 
ford striking  manilcstations  of  this  peculiar  turn 
of  the  author's  genius.  Among  these  are  the 
incantation  scene,  "  Spirits  of  air ; "  and  the 
ficndlike  chorus,  mingled  with  shouts  of  laugh- 
ter, of  the  evoked  demons ;  the  chorus  which 
forms  the  finale  to  the  second  act ;  and  the  scene 
in  wliich  the  hero  is  tempted  by  evil  spirits.  In 
all  these  we  recognize  in  every  note  the  autlioi 
of  the  "  Freisc/iiltz." 

Weber's  instrumental  accompaniments  art 
stronger  than  those  of  Mozart.  Whether  this 
species  of  coloring  has  reached  its  height,  or 
whether  it  will  continue  to  increase  in  strength, 
it  seems  hardly  possible  to  conjecture.  Every 
succe<'ding  generation  of  dramatic  composers  h»a 
added  variety,  richness,  and  force  to  the  effect* 


934 


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ENCYCLOPAEDIA    OF   MUSIC. 


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of  the  orchestra ;  and  accompaniments,  at  first 
thought  too  predominant  and  overpowering,  have 
come,  in  cotirse  of  time,  to  be  considered  thin  and 

feeble. 

WEBERLIXG,  JOII.VNN  FIIIEDRICH,  vio- 
linist in  the  chapel  of  the  Duke  of  Wurtemberg, 
was  born  at  f>tuttgard  in  17o8.  lie  pubUshed 
three  concertos  for  the  violin,  composed  in  a  bril- 
liant style,  three  solos  for  the  violin,  three  con- 
certos for  the  horn,  and  several  duos,  variations, 
&c.,  for  the  dutc.     He  died  in  1825. 

WECnSELXOTEX.  (G.)  Irresular  tran- 
sient notes,  ajjpoggiaturas. 

^VEt■KMAX.^',  MATHIAS,  organist  of  St. 
Ji,mcs's  Church  at  Hamburg,  was  born  in  1021. 
He  was  a  pupil  in  singing  of  J.  Gabrieli ;  and  in 
composition,  of  Chapel-master  H.  Schutz.  He 
sang  in  the  Elector's  Chapel  at  Dresden  till  the 
change  of  his  voice,  when  he  applied  himself 
more  e.-si)eci;dly  to  the  orijan,  and  was  soon  nomi- 
nated by  the  elector  court  organist.  He  was 
thence  invited  to  Xyktrjiing.  in  l)enraark,  by  the 
prince  royal  of  that  country,  who  appointed  him 
his  chapel-master.  The  prince  dying,  Weck- 
roann  returned  to  his  ori;anist  situation  at  Dres- 
den, which  he  oidy  quitted  some  years  afterwards 
for  his  more  lucrative  apjtointmcnt  at  Hamburg, 
where  he  died  in  1674.  He  published,  among.^t 
other  works,  "  Canzones  pour  deux  V.,  liaison,  tt 
B.  C.,'   Dresden,  1651. 

WEELKES,  THOMAS,  organist  of  Winches- 
ter, and  afterwiirds  of  Chichester,  was  the  author 
of  a  set  of  madrigals  for  three,  four,  five,  and  si.x 
voices,  printed  in  1597.  He  published  also,  in 
the  year  following,  ballets  and  madrij;als  to  five 
voices,  with  on-  to  si\  voices,  in  UiOO ;  "A  Set 
of  Madrigals  in  si.\  Parts ; "  and,  in  1608.  "  -\yeres 
or  Phantasticke  .Spirites  for  three  Voices."  He 
likewise  composed  many  services  and  anthems 
which  are  well  known  and  much  esteemed. 
There  is  a  madrigal  of  his  composition  printed  in 
the  "  Triumphs  of  Oriana,"  and  an  anthem  in 
Barnard's  collection.  Several  of  the  madrigals 
of  Weelkes  were  highly  esteemed  and  frequently 
perfonned  by  English  glee  >ingcr8.  Among  these 
ire  "Welcome,  sweet  Pleasure,"  and  "The 
Nightingale." 

WEICH.  (G.)  Soft;  minor,  in  respect  to 
k  ^ys  and  mode. 

WEICH.MAXX,  JOIIAXX.  A  German  mu- 
s  cian.  Amongst  his  works  arc  "  Musica,  or  the 
Art  of  Singing."  1647;  and  various  ballets,  cou- 
rantes,  allemaudes,  and  sarabands,  for  two  voices 
or  instruments,  Konigsberg,  1619. 

WEICHSEL,  CAUL,  an  excellent  violin- 
■.st,  and  brother  of  the  celebrated  Mrs.  Billing- 
tou,  was  born  in  London  in  1764.  He  was  a  pu- 
pil of  W.  Cramer,  and  for  several  seasons  le«l  the 
orck?stra  at  the  King's  Theatre.  He  published 
some  violin  music  in  London,  as  also  at  Vienna, 
between  the  years  1790  and  1300. 

WEIGL.  JOSEPH,  Sen.,  a  celebrated  violon- 
cellist, resided  at  Vienna  about  the  year  1772. 
Ue  was  a  member  of  the  Chapel  Royal  there. 

WEIGL,  JOSEPH,  son  of  the  prece<ling,  and 
■chapel- master  and  condu"tor  of  the  orche-tra  at 
the  Tteatrc  Royal  in  Vienna,  was  born  there  in 


1765.  lie  was  a  pupil  of  Albrecht.sbsrger  anj 
Salieri.  He  wrote  several  dramatic  pieces  of  con- 
siderable merit  for  the  \'ieuna  theatro :  on  the 
appearance  of  one  of  which,  "  Im  I'riii.  ijii-iaa 
itAinalfi,"  opera  buffa,  1794,  he  received  a  very 
flattering  letter  of  approval  from  the  great  ILiydn, 
who  named  the  piece  a  c/ief-il'triicre.  In  1S02 
Weigl  was  appointed  chapel-miuitcr,  \c..  i.t 
Stuttgard.  The  success  of  liis  Italian  operas  a« 
Vienna  procured  him  engagements  at  Im  Scala,  in 
Milan,  in  1807  and  1815.  Alter  the  death  of  Sa- 
lieri he  obtained  (in  1825)  the  place  of  second 
imperial  chapel-master.  From  that  time  he 
ceased  writing  for  the  theatre,  and  devoted  him- 
self .solely  to  church  mu.->ic.  His  compositioDS 
are  very  numerous,  including  about  thirty  oiieras, 
among  which  the  most  famous  is  the  "  ."iwis* 
Family;"  some  fifteen  ballets;  eighteen  dra- 
matic oratorios  and  cantatas ;  ten  masses,  gradu- 
als,  oft'urtories,  &c. ;  overtures,  airs,  romances, 
choruses,  &c. 

WEIGL,  THADDEUS.  Younger  brother  of 
the  preceding,  and  also  a  composer  to  the  Theatre 
Royal  at  Vienna  since  the  year  1797.  He  pro- 
duced many  dramatic  pieces  of  merit,  and  in  1804 
was  appointed  to  the  situation  of  director  of  the 
music  at  the  Theatre  Royul,  iu  the  place  of  Suss- 
mayer. 

WEIMAR,  GEORG  PETER,  music  ma.ster  at 
the  gymnasium  in  Erfurt,  was  born  near  that 
town  in  1734.  He  was  considered  a  very  excel- 
lent master,  and  pulilished,  amongst  other  works, 
"A  Method  for  Singing,"  Lcipsic,  1795,  and  va- 
rious sets  of  cantatas,  motets,  and  hymns.  Ue 
died  in  1800. 

WEIXLICH,  CIIRIS'nAX  EHREGOTT, 
music  director  in  t'ne  Church  of  the  Holy  Cro-s  at 
Dresden,  was  born  in  1743.  He  wa-<  a  pupil  of 
Homilius,  and  in  1767  was  appointed  organist  of 
the  Reformed  Church  at  Leipsic,  whence  he  re- 
moved to  the  same  situation  in  Dresden,  being 
also  nominated  chorus  master  to  the  opera  butik 
there.  He  composed  various  oratorios  of  consid- 
erable merit;  also  some  instrumental  music.  His 
works  bear  date  between  the  yeiirs  1775  and  ISOI. 

WEISS,  CH.VRLES,  flutist  and  composer,  was 
born  at  Mulhausen,  in  Switzerland,  and  accom- 
panied an  English  nobleman  to  Rome,  in  1760,  in 
the  capacity  of  music  master.  Through  the  in- 
terest of  his  pupil  he  afterwards  established  him- 
self in  London,  where  he  died  in  1795.  He  held 
the  situation  of  first  flutist  in  the  private  concerts 
of  George  III.  His  playing  was  much  admired, 
and  he  also  composed  some  good  music  for  his 
instrument. 

WEISS,  CARL  R.,  son  of  the  preceding,  is  n 
native  of  Mulhausen.  He  received  musical  in- 
structions from  his  father  from  so  early  an  ago 
that  he  played  a  concerto  on  the  flute  when  only 
nine  years  old.  His  father,  however,  woulil  not 
consent  to  his  following  the  musical  profe>.sion ; 
he  «as  therefore,  much  against  his  inclination, 
sent  into  a  counting  hou,-e,  the  routine  of  which 
so  di.sgusted  him  that  he  soon  neglecte<l  his  busi- 
ness and  wivs  sent  to  Paris,  and  thence  procee<le<l 
to  Italy.  In  Bergamo  he  was  introduced  to  the 
eminent  composer  Mayer:  from  that  moment  his 
only  delight  consisted  in  rau.sic  paper,  and  he  en- 
tertained a  hope  that  his  Ir.ther  would  >till  allow 
him  to  follow  the  stream  cf  Nature,  aud  embrace 


9S5 


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ENCYCLOP.EDIA    OF   MUSIC. 


WEL 


iiiusic  aj  lu3  profession.  This,  however,  was  not 
the  case ;  but  tliree  years  afterwards,  being  in 
Naples,  a  singular  circumstance  afforded  him  an 
opportunity  of  breaking  what  he  conceived  to  be 
liis  mercantile  chains.  lie  was  invited  every 
evening  at  that  time  to  musical  parties,  and 
thus  again  was  obliged  to  neglect  his  mercantile 
occupations.  His  employer,  who  was  a  rich  mer- 
chant, reproaching  him  for  this  want  of  attention, 
said  that  he  must  either  give  up  the  mercantile 
or  the  musical  pen,  for  that  one  combining  with 
the  ot;her  formed  bad  harmony.  "  I  think  you 
are  right,"  e.^claimed  Weiss  ;  "  and  I  will  avoid 
these  discords  by  leaving  you."  Scarcely  had 
he  pronounced  these  words  when  an  eruption 
of  Mount  Vesuvius  gave  the  signal  of  alarm 
througliout  the  town.  Weiss,  although  not  su- 
perstitious, could  not  help  feeling  at  that  mo- 
ment tliat  liis  new  career  would  not  always  be 
accompanied  with  sunshine.  Still  ho  was  de- 
lighted at  having  obtained  his  freedom  from  the 
counting  house,  and  was  directly  advised  by  his 
friends  to  settle  as  a  professor  of  the  flute  at  Na- 
ples. His  first  pupil  was  tlie  son  of  the  Princess 
Filangini ;  and  he  was  proceeding  with  very  good 
prospects,  when  he  found  that  his  presence  in 
Naples  interfered  with  the  business  of  a  valued 
friend,  who  was  also  a  fiute  master.  He  there- 
fore decided  to  leave  Naples  for  Rome,  where  he 
gave  his  first  concert,  which,  unexpectedly,  was 
so  crowded  that  he  cleared  in  one  evening  as 
much  as  he  got  in  a  whole  year  from  his  mercan- 
tile pursuits.  The  idea  of  going  to  England  to 
ioin  his  father,  who  was  living  there,  was  now 
constantly  present  to  his  mind.  He  first,  how- 
ever, travelled  farther  in  Italy,  and,  being  in  Gen- 
oa at  the  time  the  English  troops  took  posses- 
sion of  that  town,  cu-cunistances  obliged  him  to 
accept  an  offer  of  employment  as  clerk  in  the 
office  of  Sir  John  Dakymple.  The  Italian  levy 
being  discharged  at  the  expiration  of  two  years, 
Weiss  proceeded  to  Mdan,  and  thence  to  Geneva, 
where  he  procured  an  introduction  to  Madame 
de  Stacil,  w  ho  promised  him  good  letters  for  Eng- 
land, but  died  before  he  required  them.  He  now 
determined  to  proceed  to  London  without  any 
letters  of  introduction,  and,  after  the  usual  diffi- 
culties in  making  talents  known  in  a  foreign 
country,  he  settled  in  London,  with  a  considera- 
ble share  of  patronage  both  as  composer  and  per- 
former. At  the  end  of  the  season  of  1821  Weiss 
left  London  on  a  tour  to  Brussels,  Spa,  and  Ai.x- 
la-ChapeUe.  When  he  arrived  at  Lille  his  pass- 
port was  not  returned  from  the  minister  in  Paris, 
and,  having  no  connection  in  Lille,  he  did  not 
wish  to  comply  with  the  prefect's  order  to  re- 
main until  he  received  his  document.  Ho  there- 
fore took  the  diligence  next  morning  for  Urussels 
without  passport.  No  unpleasant  rencontre 
happened  until  he  left  Spa  for  Aix-la-Chapelle. 
On  the  frontier  of  Prussia  and  the  Netherlands 
he  was  requested  to  show  his  passport  Weiss 
explained  the  matter  by  saying  that  he  was  re- 
quested by  the  amateurs  of  music  to  go  to  Ai.x- 
la-Chapelle  to  give  a  concert.  His  name  was 
not  unknown  to  the  olKccrs,  but  they  insisted  on 
having  evident  proofs  that  he  was  a  performer. 
Weiss  had  then  no  other  choice  left  but  to  take 
out  his  fiute,  when,  after  a  short  prelude,  he  was 
tllowed  to  pass.  He  published  about  seventy 
compositions  for  the  flute ;  among  others  a  con- 
certo, many  etudes,  fantasias,  trios,  duos,  &c. 


WEISS,  FiiANZ,  a  violihist  in  the  service  of 
Prince  Razumowsky  at  Vienna,  was  born  in  Si- 
lesia in  1778.  He  played  the  alto  in  the  cele- 
brated quartet  party  where  the  quartets  of  Beet- 
hoven were  first  executed  by  Schuppanzich. 
He  died  at  Vienna  in  1830.  He  was  a  composer 
of  some  merit,  and  wrote  ballets,  symphonies,  and 
overtures,  besides  "  Trois  Uuatuors  pjur  2  V.,  A., 
et  Vc.,"  Op.  1 ;  "  TroU  Duos  p'jur  2  V.,"  Op.  2  ; 
'■'Caprices  et  Variat.  pour  itiie  Ft.,"  Op.  3;  "  Gr. 
Soiiale  pour  le  C'lav.,"  Op.  4,  1803;  "  Or.  Quintuor 
pour  2  F.,  2  A  ,  et  Vc  ,"  Op.  5  ;  "  Gr.  Soiiate  pour 
le  Clav.,"  Op.  6. 

WELDON,  JOHN,  a  native  of  Chichester,  re- 
ceived his  instruction  in  music  from  John  Wal- 
ter, organist  of  Eton  College,  and  afterwards  from 
Henry  Purcell.  From  Eton  he  went  to  Oxford, 
and  was  appointed  organist  of  New  College ;  but 
in  1701  he  was  appointed  a  gentleman  extraordi- 
nary of  the  Royal  Chapel,  and  in  1708  succeeded 
Dr.  Blow  as  one  of  his  majesty's  organists.  In 
171.5,  upon  the  establishment  of  a  second  com- 
poser's place,  Weldou  was  admitted  to  it.  He 
had  been  but  a  short  time  in  this  station  before 
he  gave  a  specimen  of  his  abilities  in  the  compo- 
sition of  the  communion  service,  as  well  as  by  the 
several  anthems  required  by  the  conditions  of  his 
appointment.  At  the  same  time  that  Weldon 
was  organist  of  the  Royal  Chapel  he  held  the 
same  situation  in  the  Church  of  St.  Bride's,  Lon- 
don ;  and  King  George  I.  having  presented  the 
parish  of  St.  Martin  in  the  Fields  with  an  organ, 
Weldon,  perhaps  in  compliment  to  the  king,  was 
chosen  organist.  He  was  a  very  sweet  and  ele- 
gant composer  of  church  music.  This  tvjiO  poser 
died  in  173G,  and  was  succeeded  in  the  King's 
Chapel  by  Dr.  Boj-ce. 

WELSH  BARDS.  When  Edward  I.,  of  Eng- 
land, conquered  Wales,  he  found  that  the  songs 
of  the  Welsh  bards  had  so  i,owerful  an  influence 
over  the  minds  of  the  people  that  for  his  own 
safety  he  adopted  the  cruel  policy  of  putting 
them  all  to  death. 

WELSH  TUNES.  Melodies  of  the  ancient 
Cambrians,  and  said  by  Caradocus,  in  his  Chron- 
icle of  Wales,  to  be  derived  from  the  Irish 
through  the  means  of  Griffith  Ap-Conan,  of  Irish' 
birth,  and  King  of  North  Wales.  Many  of  the 
Welsh  tun»s  are  sufficiently  in  the  measure  and 
style  of  th  ^e  of  Ireland  to  sanction  this  opinion ; 
which  is  further  confirmed  by  the  similarity  of 
the  ancient  uistruments  of  the  two  countries. 

Wvnne,  in  his  History  of  Wales,  asserts  on  the 
authority  of  Caradoc,  a  Welsh  writer  of  the 
twelfth  century,  that  the  Irish  devised  all  the  in- 
struments, tunes,  and  measures  in  use  among  the 
Welsh. 

WELSH  HARP.  An  instrument  formerly 
mucli  used  by  the  Cambrian  harpers,  and  said 
to  have  about  a  hundred  strings.  Its  form  is 
somewhat  difierent  from  any  other  harp,  and  the 
great  number  of  strings  renders  it  a  very  difficult 
instrument  to  play,  and  it  is  seldom  found  to  be 
in  perfect  tune. 

WELSH,  THOMAS.  This  eminent  English 
musician  was  born  about  1770  at  Wells,  in  Som- 
ersetshire. At  the  age  of  six  he  was  a  choris- 
ter in  the  cathedral,  and  by  singing  the  anthems 
on  Sundays  attracted  the  lovers  of  music  from 


98^' 


WEN 


ENCYCLOP.EDIA    OF    MUSIC. 


WEi 


Bath,  Bristol,  Bridgewatcr,  and  still  more  distant 
to  .vns ;  so  that  on  Saturdays  the  city  hotels 
felt  the  increase  of  visitors,  and  on  Sundays  the 
church  was  crowded  to  excess.  The  reputation 
of  so  young  a  singer  soon  reached  the  ears  of  Mr. 
Sheridan,  who  sent  to  Wells  and  engaged  the  lad 
for  the  oratorios,  then  conducted  by  Linley,  at 
the  Opera  House  in  the  Haymarket.  Ou  his  first 
performance  the  boy  founded  a  reputation  which, 
until  tliat  period,  it  had  never  been  the  fate  of 
any  child  to  enjoy :  the  attraction  of  his  voice 
and  style  of  singing  was  prodigious,  and  an  en- 
gagement followed  for  the  stage,  during  which 
he  performed  in  many  operas  written  expressly 
to  exhibit  his  powers.  The  first  was  "The  Pris- 
oner," by  Attwood;  this  was  succeeded  by  "The 
Prize,"  '-The  Adopted  Child,"  "The  Mariners," 
"The  Cherokee,"  and  "  Lodoiska  "  It  was  re- 
maikable  that  Stoiace  betrayed  a  wish  to  sup- 
press the  growth  of  the  boy's  reputation,  and  re- 
fused to  compose  for  him ;  so  that,  had  not  Mr. 
Kemble,  the  manager,  insisted  on  the  production 
of  "'I'lie  Cherokee,'  and  the  beautiful  song, 
"Sweet  bird,"  in  the  opera  of  "Lodoiska,"  his 
fame  (owing  to  the  unkiudness  of  Storace)  would  ' 
have  been  suffered  to  fade,  instead  of  grow,  as  ic  j 
did,  to  high  importance.  Through  the  liberal 
feelings  of  Mr.  Kemble,  who  bestow  ed  great  pains 
on  him,  he  was  also  brought  into  notice  as  an  ac-  j 
tor  ;  Mr.  Kemble  conceiving,  on  Welsli's  perform- 
ing the  character  of  Prince  Arthur,  in  "King 
John,"  tliat  he  displayed  a  mind  well  suited  to 
the  stage. 

His  musical  education,  however,  still  continued 
to  be  carefully  attended  to ;  and  his  masters  were 
Horn,  senior,  John  Cramer,  and  Baumgarten : 
with  the  last  gentleman  he  studied  the  theory  of 
music,  and  was  his  favorite  pupil.  The  works 
produced  by  Welsh,  when  about  twenty-three 
years  of  age,  were  the  farces  of  "The  Greeneyed 
Monster"  and  " Twenty  Years  ago,"  at  the  Ly- 
ceum Theatre,  and  a  full  opera  at  Covent  Garden 
entitled  "  Kamtschatka,''  which,  although  not 
successful  as  a  drama,  gave  the  composer  of  the 
music  great  scope,  and  placed  Welsh  high  in  his 
profession  for  taste  and  song  writing,  and  ability 
in  the  arrangement  of  the  orchestra.  The  chorus 
which  commenced  the  opera,  as  well  as  many 
others  in  the  piece,  was  beautifully  constructed, 
and  received  decided  marks  of  public  admiration 
by  frequent  encores.  For  some  time  'after  there 
appeared  no  theatrical  compositions  of  Welsh; 
but  liis  time  was  well  employed  for  the  gratifica- 
tion of  the  public  in  teaching  pupils  for  the  stage, 
and  in  this  department  he  had  no  rival.  Sinclair, 
Charles  Horn,  Miss  Stephens,  Miss  Merry,  and 
Miss  \\  ilson  are  the  persons  who,  fortunately  for 
tliemselves  and  the  public,  became  his  appren- 
tices, and  made  their  dibuts  under  his  direction 
ai:d  care. 

Welsh  appears  to  have  studiously  endeavored 
to  give  to  his  female  pupils  each  a  different  style : 
perhaps  the  natural  abihty  of  each  may  have 
marked  the  line  best  suited  to  their  respective 
talents,  which,  under  so  judicious  a  master,  would 
of  course  be  embraced  as  allbrding  legitimate 
grounds  for  discrimination. 

WENK,  A.  H.,  secretary  to  the  Duke  of  Saxe 
Gotha,  was  considered  as  a  good  comjioser,  pi- 
anist, and  performer  on  the  harmonica.  He 
resided  lor  many  years  'ip  to  the  year  1810,  at 


Amsterdam.  He  was  a  violin  pupil  of  Hatasch, 
and  studied  the  piano  and  composition  under  G. 
Bcnda,  with  whom  he  resided  for  some  time  at 
Piuis,  where,  and  subsequently  at  Leipsie,  he 
published  some  instrumental  music. 

WEXKEL,  JOHANX  FRIEDRICH  WIL- 
HELM,  organist  at  Uelzen,  in  the  duchy  of  Lune- 
berg.  was  born  in  173-1.  He  first  studied  the 
organ  and  composition  under  Schroeter,  and  in 
17.56  went  to  Berlin,  where  he  formed  an  ac- 
quaintance with  Bach,  Marpurg,  and  Kirnberger, 
through  whose  interest  he  obtained  the  situation 
of  singing  master  at  the  Secondary  School  in  Ber- 
lin. After  remaining  there  seven  years,  he  was 
invited  to  Stendul  as  director  of  music  in  tlie  I'oui 
principal  churches.  In  1768  he  quitted  that  sit- 
uation lor  the  place  of  organist  at  Uehten,  where 
he  was  still  living  in  1791,  with  the  reputation 
of  being  one  of  the  best  organists,  pianists,  and 
composers  of  Germany.  His  works  are  principal- 
ly instrumental. 

WEBCKMEISTER,  ANDREAS,  the  son  of  u 
brewer  at  Benneckenstein,  a  small  town  in  Thu- 
ringia,  was  born  in  16-15.  After  the  usual  school 
education,  he  was  sent  to  the  College  of  Qued- 
linburg,  and,  having  much  improved  himself  in 
music,  was  some  time  afterwards  in\-ited  by  the 
council  of  Hasselfelde,  a  city  in  the  principahty 
of  Blankenburg,  to  become  their  organist.  'VVhile 
in  this  employment,  he  was  sent  tor  to  the  same 
office  at  Elrich,  but  was  prevented  from  going 
thither  by  the  Duke  Hudolphus  Augustus,  who 
wished  to  keep  him  within  his  own  district.  Be- 
ing, however,  invited,  in  the  year  167i,  to  Elbin- 
gerood,  with  the  offer  of  the  places  of  organist 
and  recorder  of  the  town,  he  W!\s  permitted  to 
accept  them.  He  was  some  time  afterwards  ap- 
pointed organist  of  the  Church  of  St.  Martin  at 
Wallerstadt,  in  wliich  station  he  died  in  tlie  year 
1706.  His  works  are  "  Orgel  Probe,"  printed  in 
1681;  "  Muiicce  Mathematical,"  in.  1687;  "Sona- 
tas for  a  Violin,  with  a  Thorough  Bass,"  in  1689  ; 
"  Musicalische  Temperafur,"  in  1691  ;  "  A  Treatise, 
in  German,  on  the  Use  and  Abuse  of  Music," 
printed  in  the  same  year ;  "  Ht/jmmnemata  Mu- 
sica,"  in  1697  ;  "  EricciU-rle  Orgel  Probe,"  in  1698; 
'•  Cribrum  Musinwi,"  in  1700;  "  A  Translation 
of  Steffaui's  Letters,  ^rith  Notes,"  in  1700  ;  "  Re- 
flections on  Thorough  Bass,"  in  German,  with- 
out a  date;  "  Harmono/ogia  Musica,"  in  1702; 
"  Organiim  Gruningense  redicivum,"  in  170.5  ;  and 
"  Musical  Paradoxal  Dbcourse,"  published  tht 
year  after  his  death. 

WERNER,  GREGORIUS  JOSEPH,  chapel- 
master  to  Prince  Esterhazy  at  Eisenach,  in  Hun- 
gary, about  the  year  1736,  was  the  predecessor 
of  ilaydn  in  that  office.  He  composed  several 
cantatas,  and  a  curious  work  entitled  "  .Vei«.-r 
tmd  se/tr  curios  ilusikalisclicr  InstrumeiUalkaleiidet 
Parlhien  Weiss,  mit  2  V.  und  B.  in  die  12  Jahrmo- 
nate  eingetheikt  und  nach  eines  JedweiUn  Art  und 
EigenschaJ't  mit  Bizzarrien  und  seltsamen  Erjindun- 
gen,"  Augsburg,  1748. 

WERNER,  JOHANN  GOTrLOB,  formerly 
chorister  in  Hohenstein,  and  afterwards  musio 
du-ector  at  Merseburg,  published  at  Leipsie  a 
work  entitled  "  40  OrgeUtUcke  filr angehende  Orgcl- 
spivlcr,  nebst  Bcuterhiiugen,  2  Abtheilungen  ;  "  aLsO 
the  following:  "Two  hundred  and  forty-one 
Preludes;"    "Two  Interludes  and  four  Varia- 


987 


Vv'ES 


EXCYCLOPiEDIA    OF    MUSIC. 


"WES 


tions  ;  "  "  Eight  clioial  Preludes  ; "  "  Twelve  mis- 
cellaneous Or!,'aii  Pieces  ;"  and  ••  Choral-Buch  zu 
den  neueii  proteUciiitischen  GesanpbUcherii  vlerstim- 
migfurdie  Ort/el  aus;/esetzt  nebst  Vur  and  Zicischen- 
spielen ;"  Leipsic,  1815.  This  volume  contains 
all  the  best  old  German  church  melodies  from 
the  time  of  Luther. 


WESENTLICH.     (G.) 
to  chords,  melody,  &c. 


WESLEY,  CHARLES.  This  celebrated  mu- 
sician was  born  at  Bristol  in  1757.  He  was  the 
son  of  the  Rev.  Charles  Wesley,  aiid  nephew  to 
John  Wpsley,  the  leader  of  the"  Methodists.  His 
musical  genius  was  observed  when  he  was  not 
quite  three  years  old,  when  he  surprised  his 
father  by  playing  a  tune  on  the  harpsichord 
readily  and  in  just  time.  Soon  afterwards  he 
played  several  others.  Whatever  his  mother 
sang,  or  whatever  he  heard  in  the  streets,  he 
could,  without  difficulty,  make  out  upon  this  in- 
strument. Almost  from  his  birth  his  mother 
used  to  quiet  and  amuse  him  -with  the  harpsi- 
chord. On  these  occasions  he  would  not  suffer 
her  to  play  only  with  one  hand,  but,  even  before 
he  could  speak,  would  seize  hold  of  the  other 
and  i)ut  it  upon  the  keys.  When  he  played  by 
himself  she  used  to  tie  him  by  his  back  string  to 
the  chair,  in  order  to  prevent  his  falling.  Even 
at  this  age  he  always  put  a  true  bass  to  every 
tune  he  played.  From  the  beginning  he  played 
without  study  or  hesitation. 


no  person  was  able  to  e.xcel  him  in  performing 
the  compositions  of  these  masters. 

On  going  to  L.mdon  he  received  instructions 
on  the  harpsichord  from  Kelway,  and  in  th« 
rules  of  composition  from  Dr.  Boyce.  His  first 
work,  "  A  Set  of  six  Concertos  for  the  Organ  or 
Harpsichord,"  was  published  under  the  imme- 
diate inspection  of  that  master  ;  and,  for  a  tirst 
Essential,  in  regard  attempt,  was  indeed  a  wonderful  production,  as 
it  contained  some  fugues  which  would  have  done 
credit  to  a  proiessor  of  the  greatest  experience 
and  the  first  eminence.  About  the  year  1779  a 
domestic  subscription  concert,  for  twelve  nights 
in  each  season,  was  opened  at  Wesley's  house 
in  Chesterfield  Street,  Marylebone,  which  con- 
tinued for  some  years,  and  in  which  many  of  his 
own  compositions  were  heard  with  pleasure.  His 
performance  on  the  organ,  and  particularly  his 
extempore  playing  on  that  sublime  instrument, 
was  the  admiration  and  delight  of  all  his  audi- 
tors. In  1784  he  published  "A  Set  of  eight 
Songs,"  in  an  extremely  fine  and  ma.sterly  style  ; 
and  an  anthem  by  him,  "  My  soul  hath  patiently 
tarried,"  is  also  inserted  in  Page's  "  Harmonica 
Oacra."     He  was  still  living  at  London  in  1829. 


J  _.  — —     Whenever,  as  was        ,  ,     ,    ,         ,  , 

frequentlv  the  case,  he  was  asked  to  play  before    ^"^^  remarked  that  they  were  among  the  mos 
a   stranger,   he   would    invariably  inquire,   in   a  '  pleasing  that  he  had  ever  heard.     "  This  boy, 


AVESLEY,  SAMUEL,  brother  of  the  pre- 
ceding, was  born  in  1766,  and  also  afforded  a 
very  early  indication  of  musical  genius.  When 
only  three  years  of  age  he  could  play  on  the  or- 
gan, and  when  eight  years  old  attempted  to  com- 
pose an  oratorio.  Some  of  the  airs  which  he 
wrote  for  the  organ  were  shown  to  Dr.  Boyce, 

the  most 


variably  inqui: 
plirase  of  his  own,  "Is  he  a  musikerf"  and  if 
he  was  answered  in  the  affirmative,  he  always 
did  with  the  greatest  readiness.  His  style,  on 
all  occasions,  was  con  spirito ;  and  there  was 
something  in  his  manner  so  much  beyond  what 
could  be  expected  from  a  cliild,  that  his  hearers, 
learned  or  unlearned,  were  invariably  astonished 
and  delighted.  When  he  was  tour  years  old  Mr. 
Weslej'  took  him  to  London  ;  and  Beard,  who 
was  the  first  musical  man  who  had  heard  him 
there,  was  so  much  pleased  with  his  musical 
abilities  that  he  kindly  offered  his  interest  with 
Dr.  Boyce  to  get  him  admitted  among  the  king's 
hoys.  This,  however,  his  father  declined,  as  he 
then  had  no  thoughts  of  bringing  him  up  to  the 
profession  of  music.  He  was  also  ijatroduced, 
among  others,  to  Stanley  and  Worgan.  The  lat- 
ter, in  particular,  was  extremely  kind  to  him, 
and  would  frequently  entertain  him  by  playing 
on  the  harpsichord.  The  child  was  greatly  struck 
by  his  bold  and  full  manner  of  playing,  and 
seemed  even  then  to  catch  a  spark  of  his  file. 
Mr.  Wesley  soon  afterwards  returned  with  him 
to  Bristol ;  and  when  he  was  about  six  years  old 
he  was  put  under  the  tuition  of  Rooke,  a  very 
good-natured  man,  but  of  no  great  eminence, 
who  allowed  him  to  run  on  ad  libitum,  whilst  he 
Bat  by  apparently  more  to  observe  than  to  con- 
trol him.  Rogers,  at  that  time  the  oldest  organ- 
ist in  Bristol,  was  one  of  his  first  friends.  He 
would  often  seat  him  on  his  knee  and  make  the 
boy  play  to  him,  declaring  that  he  was  more  de- 
lighted in  hearing  him  than  himself.  For  some 
years  his  study  and  practice  were  almost  entirely 
confined  to  tlie  works  of  Corelli,  Scarlatti,  and 
Handel ;  and  so  rapid  was  his  progress,  that,  at 
tlie  age  of  twelve  or  thirteen,  it  was  thought  that 


he  said,  "  unites  by  nature  as  true  a  bass  as  I  can 
!  do  by  rule  and  study."  S.  Wesley  composed  a 
I  high  mass  for  the  chapel  of  the  unfortunate  pon- 
tiff Pius  VI.  The  pope  thanked  the  composer 
for  it  in  a  Latin  letter,  written  to  his  apostolic 
vicar  in  I-cndon.  He  published,  amongst  other 
works,  some  anthems,  sonatas,  and  duets  for  the 
piano-forte,  and  a  series  of  voluntaries  for  the 
organ  ;  aU  of  which  afford  the  most  satisfactory 
evidence  of  taste  and  genius.  His  compositions 
are  masterly  and  grand  ;  and  his  extempore  per- 
formance of  fugues  on  the  orgjin  was  astonishing. 
He  produced  from  that  solemn  instrument  all 
the  grand  and  serious  graces  of  which  it  is  capa- 
ble. His  melodies,  though  struck  out  on  the 
instant,  were  sweet  and  varied,  and  never  com- 
monplace ;  his  harmony  was  appropriate,  and 
followed  them  with  all  the  exactness  and  dis- 
crimination of  the  most  studious  master  ;  and  his 
execution,  which  was  very  great,  was  always 
sacrificed  to  the  superior  charms  of  expression. 
S.  Wesley  died  about  the  year  1815.  A  full- 
length  portrait  of  him,  at  the  age  of  eight,  was 
engraved  in  London.  He  is  standing  at  a  table, 
with  a  pen  in  his  hand,  and  music  before  him,  as 
if  composing  ;  and  by  the  foot  of  the  table  lies  n 
book  of  music,  with  the  title,  "  Huth,  an  Ora- 
torio, by  Samuel  We.sley,  aged  eight  years." 

WESSELY,  JOHANN,  concert  master  to  the 
Duke  of  Bernburg  at  Balleustadt,  was  born  in 
Bohemia  in  1762.  He  was  not  only  a  good  vio- 
linist and  conductor,  but  also  an  agreeable  quar- 
tet composer  in  the  style  of  Pleyel.  Dy  the 
"  Gotha  Theatrical  Calendar"  for  1799,  we  find 
him  engaged  in  that  year  in  the  theatrical  or- 
chestras of  Cassel  and  Altona.  In  the  former 
town  he  seems  to  have  resided  from  the  yean 


933 


WES 


F.XCYCL0P^5:I)IA    OF    MUSIC. 


WHl 


1797  to  1800,  when  he  was  invited  to  his  first- 
nam  d  situation  at  Ballenstadt.  Ilis  works  bear 
date  from  the  years  1788  to  1804. 

AVESSELY,  BERNHARD,  born  of  Jewish 
parents  at  Berlin  in  1767,  obtained,  in  1788,  the 
(iituiition  of  music  director  at  the  National  The- 
atre m  Berlin.  He  studied  music  under  Kirn- 
berger,  Fasch,  and  Schulz,  and  became  known 
as  a  composer,  in  1786,  by  two  cantatas;  the  one 
on  the  death  of  Moses  Mendelssohn,  and  the  other 
on  the  coronation  of  the  King  of  Prussia,  both 
of  which  pieces  were  performed  in  public  and 
highly  applauded.  It  is  remarkable  that,  though 
a  Jew,  Wesscly  played  the  second  violin  at  the 
performance  of  Handel's  "  Messiah "  in  the 
Church  of  St.  Nicholas  at  Berlin.  In  179G  he 
M-as  appointed  chapel-master  to  Prince  Henry 
of  Prussia  at  Rheinsberg.  He  has  published 
various  works  of  vocal  and  instrumental  music 
of  great  merit.  His  works  bear  date  from  1786 
to  1802,  in  which  latter  year  he  wrote  both  the 
words  and  music  of  a  cantata  on  the  death  of  his 
master.  Prince  Henry.  This  compositioc  was  per- 
formed in  the  Garrison  Church  at  Berlin  with 
(•onsiderable  applause. 

WESTENHOLZ,  CARL  AUGUST,  chapel- 
master  to  the  Duke  of  Mecklenburg-Schwerin  at 
Ludwigslust,  was  born  in  1736.  He  was  a  pupil 
in  singing  and  composition  of  J.  A.  Kerazen,  and 
studied  the  violoncello  under  Vortizka.  He  wrote 
many  oratorios,  cantatas,  and  other  pieces  for  the 
church,  only  one  of  which  was  published  ;  name- 
ly, his  cantata  entitled  "  The  Shepherds  at  the 
Manger  of  Bethlehem."  He  died  at  Ludwigslust 
in  1789. 

WESTERHOFF,  C.  W.,  a  much-esteemed 
vocal  and  instrumental  composer,  was  concert 
master,  violinist,  and  tenorist  in  the  Ducal  Chapel 
at  Buckeburg  in  1799.  He  has  published  much 
instrumental  music. 

"WESTON,  ,  of  Charlton,  Northampton- 

ehire,  England,  died  in  March,  1849.  He  ob- 
tained a  local  celebrity,  seldom  equaUed,  for 
purity  of  tone  and  accuracy  of  time  in  leading 
concerts  of  the  old  masters.  For  this  last  half 
century  he  has  held  the  high  post  of  premier 
violin  and  leader  at  all  the  concerts  in  that  neigh- 
borhood ;  and  many  are  the  amateurs  and  others 
that  cat.  bear  witness  to  his  ability  and  steadiness 
in  that  arduous  though  lofty  position.  His  man- 
ner was,  on  all  occasions,  mild  and  placid,  and 
towards  the  latter  part  of  his  life  showed  the 
playful,  kindly  spirit  of  one  on  whom  Time  had 
laid  his  hand  with  gentlest  care  :  this  did  not 
preclude  him  from  giving  to  his  bow,  when  it 
was  needed,  all  the  energy  and  strength  the 
choruses  of  the  great  masters  require,  or  the  del- 
icacy and  finish  the  instrumental  jjieces  may  de- 
mand. We  may  easily  conceive  he  was  one  of  that 
fast-fading  school  of  violinists  that  like  steady, 
sound,  legitimate  jtlaying,  be.'ore  the  fantastic 
tricks  that  are  so  much  practised  now.  In  his 
walk  he  earned  and  deservedly  held  a  high  reputa- 
tion over  what  may  be  called  a  long,  a  moment- 
ous epoch  —  a  venerable  existence  of  seventy- 
nine  years.  He  was  followed  to  the  grave  by- 
twelve  of  his  old  friends  and  pupils,  and  sleeps 
pow  beneath  the  green  turf  — 


"  WMhed  by  itiU  r«in»,  and  lUitj  bkMwmcd  "  — 


01  Charlton  churchyard,  in  the  shadow  of  thoss 
walls  whose  echoes  he  has  so  often  raised  to  th» 
voice  of  devotion  and  praise. 

"NVESTPHAL,  JOHANN  CHRI.STOPH,  son 
of  the  proprietor  of  the  celebrated  music  ware- 
house at  Hamburg,  was  appointed,  in  180.3,  or- 
ganist of  St.  Nicholas's  Church  in  that  town.  He 
was  celebrated  as  a  performer  on  that  instru- 
ment ;  also  as  a  pianist  and  violoncellist.  He 
has  also  composed  some  good  instrumental  mu- 
sic. 

WEYSE,  C.  E.  F.,  an  excellent  pianist,  resided 
at  Copenhagen  in  1798.  He  has  published  much 
instrumental  music,  of  which  four  alle.qri  di  bra- 
vura for  the  piano-forte  were  republished  at  Ber- 
lin, in  1796,  by  the  Chapel-masters  Schulz  and 
Reichardt.  They  are  considered  to  be  brilliant 
and  excellent,  but  very  difficult  studies  for  pian- 
ists. He  also  produced  a  symphony,  some  sona- 
tas, and  several  operas. 

SVHISTLE.  A  small,  shrill  wind  instrument, 
in  tone  resembling  a  fife,  but  blown  at  the  end 
like  the  old  EngUsh  flute. 

WHITE,  ROBERT,  who  preceded  Bird  and 
Tallis,  and  who  died  before  their  fame  was 
well  established,  was  an  excellent  composer  of 
church  ser\'ires  in  the  style  of  Palestrina  ;  whom, 
however,  he  did  not  imitate,  as  he  was  anterior 
to  him,  and  a  great  master  of  harmony  before 
the  productions  of  this  chief  of  the  Roman  school 
were  published,  or  at  least  circulated,  in  other 
parts  of  Europe.  He  died  in  1581.  The  works 
of  White  do  not  appear  to  have  been  ever  print- 
ed ;  but  in  the  hbrary  of  Christ  Church,  O.xford, 
a  sufficient  number  of  them,  in  manuscript,  has 
been  preserved  to  excite  not  only  wornler,  but 
indignation,  at  the  little  notice  that  has  been 
taken  of  him  by  musical  writers. 

WHITE,  JOHN,  professor  of  music  at  Leeds 
and  organist  of  the  church  at  Wakefield,  was 
bom  in  the  year  1779  in  the  city  of  York.  His 
parents  first  intended  to  place  him  as  an  appren- 
tice to  a  medical  friend,  but,  finding  his  taste  for 
music  to  be  decidedly  predominant,  they  were 
induced  to  hesitate  upon  their  choice.  They  ob- 
served, that  wherever  the  sound  of  a  violin  was 
heard  the  young  boy  was  found  to  be  an  eager 
listener  ;  that  neither  marbles,  hoop,  cricket,  nor, 
indeed,  any  other  juvenile  amusement,  possessed 
the  least  charm  for  him  ;  that,  although  com- 
pelled to  attend  the  grammar  school  from  seven 
in  the  morning  till  five  in  the  evening,  he  sought 
no  relief  from  the  confinement  of  school  in  the 
amusements  of  his  schoolfellows,  but  preferred 
sitting  to  hear  the  strains  of  even  indifferent  mu- 
sic. A  turn  so  decisive  his  parents  at  length 
determined  should  be  encouraged,  and  young 
White  was  regularly  brought  up  to  the  profes- 
sion of  music  ;  when  such  was  the  rapidity  of  his 
progress,  that,  at  the  age  of  twelve,  he  surprised 
the  citizens  of  York  by  the  performance  of  one 
of  the  concertos  of  Borghi,  an  autlior  whose  com- 
positions were  at  that  time  esteemed  the  cAe/"- 
tfarurres  of  art.  In  1794  Lord  Harewood  having 
intimated  his  wish  to  obtain  a  leader,  teacher, 
and  director  for  his  private  concerts  and  ora- 
torios at  Harewood  House,  young  White,  who 
;  was  then  only  fifteen  years  of  age,  was  considered 
the  only  person  in  the  neighboring  country  abU 


989 


Wtil 


ENCYCLOPAEDIA    oF  MUSIC. 


WIE 


to  undertake  the  situation.  In  consideration, 
however,  of  his  youth,  and  the  inexperience 
which  must  necessarily  attend  him,  his  first  cn- 
p;«i;eraont  was  only  lor  the  short  term  of  a  month  ; 
but  tliiit  month  superinduced  a  long  succession 
of  years,  a  ])erm!inent  s;dary  bcinf;  soon  [proposed 
to  him  and  accepted.  White  went  regularly 
with  the  family  to  London  for  the  space  of  eight 
years,  although  not  particularly  wanted  by  thera 
for  the  fulfilment  of  any  musical  department. 
His  object  was,  to  gain  as  much  knowledge  as 
possible  in  the  profession,  to  which,  with  the  ut- 
most ardor,  he  had  now  devoted  himself.  He 
selected  his  various  masters,  and  became  a  pupil 
of  Dussek  on  the  piano-forte  ;  of  John  Ashley  in 
thorough  bass,  the  organ,  and  singing  ;  of  llai- 
mondi  on  the  violin  ;  of  P.  Meyer  on  the  liarp  ; 
and  of  Dahmen  on  the  violoncello.  Various  as 
y\et»  the  instruments  he  determined  to  under- 
take, they  appear  not  to  have  confounded  his 
progress,  for  he  obtained  considerable  success  on 
nil.  At  this  time,  also,  he  became  particularU- 
intimate  with  Salomon,  who  introduced  him  to 
the  professional  concerts  in  town,  and,  when 
Lindley  or  Dahmen  had  previous  engagements, 
took  him  to  various  parties  to  supply  their  places 
as  principal  violoncello.  At  this  period  of  his 
musical  progress,  so  nicely  balanced  was  his  skill 
on  the  two  instruments,  tlie  violin  and  violon- 
cello, that  it  became  difficult  to  determine  on 
■which  was  his  superioiity.  A  wager,  indeed, 
■was  laid  between  Kaimondi  and  Salomon  which 
was  his  principal  instrument :  the  former  said 
the  violin  ;  the  latter  persisted  in  declaring  that 
it  was  the  violoncello.  One  thing,  however,  is 
certain,  that  the  violoncello  brought  him  more 
into  notice  with  the  professors  ;  but  engagements 
on  one  or  the  other,  for  he  was  equally  ready  for 
either,  were  offered  in  all  the  principal  orchestras 
in  the  metropolis. 

In  1803  he  married;  soon  after  which  he  set- 
tled at  Leeds.  His  reputation  there  rapidly  in- 
creased, and  he  may  he  sai  1  to  have  had  the  pat- 
ronage of  nearly  all  the  noblemen's  and  gentle- 
men's families  within  the  space  of  twent)'  miles. 
In  1804  he  was  appointed  organist  of  Hare  wood 
church ;  in  1807  of  St.  Paul's  Church,  Leeds ; 
and  in  18'21  of  the  parish  church  in  Wakefield. 
The  organist  he  here  succeeded,  Mr.  Clement- 
bhaw,  was  a  man  of  no  ordinary  character  in  his 
profession.  He  was  of  the  true  Ilandclian  school : 
it  was  thought,  therefore,  that  his  loss  must  pro- 
duce a  chasm  in  the  organ  department,  whoever 
should  be  elected  his  successor ;  but  this  chasm 
was  completely  filled  up  by  White.  In  York- 
shire White  was  the  favorite  and  popular  leader, 
jKirticularly  in  Handel's  oratorio  mu^ic',  which  I 
may  be  said  to  have  been  greatly  cultivated  and  I 
improved  under  his  direction.  His  skill,  indeed,  i 
in  this  dc];artment  was  very  great,  and  gave  a 
lonfidcncc  and  accuracy  to  the  chorus  singers  of  i 
.he  West  Riding  which  rendered  them  almost  un- 
rivalled. 

As  a  concerto  player,  no  one  in  the  recollec- 
tion of  the  oldest  inhabitant  ever  played  so 
many  concertos  or  gave  more  general  satisfac- 
tion in  this  very  difficult  and  trying  department. 
From  the  years  1798  to  1818  there  is  a  list  of  per- 
formances, .with  concertos,  played  by  White,  in 
Edinburgh,  Glasgow,  Manchester,  (occasionally,) 
York,  Leeds,  Sheffield,  (almost  regularly  for 
many  years,)  Hull,  Doucabter,  Rothcrliam.  Scar- 


borough, Harrowgate,  &c. ;  in  short,  in  all  the 
principal  towns  in  the  northern  part  of  the  king- 
dom. 

WHITEFIELD,  the  celebrated  preacher,  wa< 
the  first  person  who  adapted  devotional  poetry  tit 
the  old  popular  songs  of  the  Scotch  and  English 
His  reason  was,  as  he  said,  "  becau.se  it  was  nol 
right  that  the  devil  should  have  all  the  good  mu- 
sic." He  was  such  a  lover  of  old  tunes,  that,  were 
he  now  living,  he  would  probably  be  willing, 
rather  than  give  up  l/ie  bal  mitsic,  that  the  devil 
should  take  the  modern  school  of  "  professcrs.  ' 

WIIYTHORNE,  or  WHITIIORXE,  THOM- 
AS,  an  English  musician,  was  born  in  1.5.31.  A 
collection  of  hLs  songs  was  published  under  the 
following  title  :  '•  Songes  of  three,  fower,  and  five 
voyces,  composed  and  made  by  Thomas  Why- 
thoriie,  Gent.,  the  which  songes  be  of  sundrie 
sortes  ;  that  is  to  say,  some  long,  some  short,  some 
hard,  some  easie  to  bo  song,  and  some  between 
both  ;  also  some  solerane,  and  some  pleasant  or 
raery ;  so  that,  according  to  the  skill  of  the  sing- 
ers (not  being  musicians)  and  disposition  or  de- 
htc  of  the  hearers,  they  may  here  find  songes  to 
their  contev.tation  and  liking,"  London,  1.571. 
At  the  back  of  the  titlepagc  is  a  portrait  of  Why- 
thorne,  engraved  on  wood. 

WIDERKEHR,  JACQUES  CHRIST.  MICH., 
born  at  Strasburg  in  175  •,  was  a  (mpil  of  the  cel- 
ebrated Richter.  He  went  to  Paris  in  1783,  and 
was  received  as  a  violoncellist  at  the  Concert  Spir- 
itiiel  and  Concert  Ohjmpi'iiie.  Widerkehr  was  a 
distinguished  instrumental  composer.  Amongst 
his  works  are  two  opera  of  sonatas  for  the  piano- 
forte ;  two  opera  of  violin  duos ;  two  of  quintets  ; 
nvo  of  symphonies,  with  grand  orchestra ;  and, 
finally,  eleven  concertante  symphonies.  The 
whole  were  performed  in  public  at  Paris,  in  va- 
rious concerts,  and  with  considerable  applause. 

WIDMANN,  ERASMUS.  Chapel-master  to 
the  Count  of  Hohenlohe  at  Weckercheim.  He 
publishe.l  various  opera  of  sacred  and  instru- 
mental music  and  several  didactic  works.  Hi« 
compositions  oear  date  from  the  vears  1G07  to 
162:<. 

\VIECK,  CL.VRA,  who  became  the  wife  of  the 
composer  Robert  Schumann,  and  who  for  some 
years  has  been  accounted  the  greatest  of  fe- 
male pianists,  is  the  daughter  of  the  much-es- 
teemed music  teacher  Wieck,  of  Leipsic,  where 
she  was  born  in  1818.  She  is  also  favorably 
known  as  a  composer. 

WIEDERHOLUXG.     (G.)     Repetition. 

WIEDERKEHR,  JOH.\XX.  A  German  in- 
strumental com])oser,  resident  at  Paris.  Amongst 
his  works  are  the  following :  "  3  Qical.  a  2  V.,  A., 
et  Ic,"  Op.  1,  Paris;  "3  Quat.  a  1  V.,  A.,  el  I'c," 
Op.  6,  Olfenbach  ;  "  3  Sonat.  pour  Ic  Clan,  aicv  V.," 
Op.  4,  Paris,  1796  ;  "  3  Sonat.  pour  le  Clac.  avec  V. 
ad  lib.,"  Op.  o,  Paris,  1797  ;  "  3  Soiiat.  pour  U  Clav. 
avec.  V.  a<l  li't.,"  Op.  5,  Offenbach;  "  3  Qaat.  Cone, 
jmur  2  v.,  A  ,  et  I'c,"  Op.  6,  Paris,  1796  ;  "  Sinfon 
Cone.  ]K)iir  Clar.  in  C,  Fl.,  Oboe,  Cor  in  F,  2  Fag.- 
«,'  Vc.  obUg,,"  Poris,  1800  ;  "  2»ie.  Sinfon. pour  Clar 
et  liasnon  princ. ; "  and  "  Zmr.  Sinf.  pour  Cor  » 
liiissoii  princ." 

WIESE,  CHRISTIAN  LUDWIG  GUSTAB 
FliEVHERR  VON.  born   at  Anspach  in  173i 


900 


WIE 


ENCYCLOPJEDIA    OF   MU.SIC. 


WIL 


■was  a  eolebrated  musical  amateur.  lie  wrote 
several  theoreticitl  works  on  music  between  the 
years  1790  and  1795. 

WIESNElt,  NORDERT,  an  instrumental  cora- 
l)0>er  at  Vienna  in  1800,  was  also  known  as  a 
pianist  and  harpist. 

WIMIYE,  JOHN.     A  celebrated  English  mu- 
sician, wlio  Hourishcd  at  the  end  of  the  sixteenth 
and  commencement  ot  the  seventeenth  centuries.  | 
He  publislied  "  Matlrigiils  to  three,  tovir,  five,  and 
six  Voice's,"  London,  lo98;  "  Mndrif^nls  to  three,  ■ 
lour,  five,  and  six  Voices,"  second  book,  London, 
1(500      Amongst  his  more  favorite  compositions  I 
m-e  the  following  :   "  Flora  gave  mc  fairest  flow-  | 
ers,"  madrigal,  live  voices.     A  copy  of  tins,  with 
6ei)nrate  piano-forte  accompaniment,  is  inserted 
in   the  Vocal   Anthology.      '•  Fly,  love,   to   the 
heaven    above,"    madrigal,    three    voices ;    and 
"  Down  in  a  valley  as  Ale.xis  trips,"  madrigal, 
five  voices. 

WILCKE,  JOHANN  CASPAR,  chamber 
musician  and  tenor  singer  to  the  Prince  of 
f^chwartzburg,  was  born  at  Weimar  in  1707. 
His  master  in  singing  was  the  celebrated  J. 
Pfeiffor.  After  performing  in  several  German 
towns  he  went  to  Russia,  when  he  was  engaged 
at  Moscow,  in  the  Iiu[icrial  Chapel,  at  an  annual 
salary  of  about  one  h\indred  and  twenty  pounds. 
He  did  not  however  remain  longer  than  six 
months ;  though  he  was  in  such  favor  with  the 
court  of  Russia  that  on  quitting  tht  country  he 
■was  intrust.ed  with  several  valuable  i)rt'sent8  for 
the  Prince  Royal  of  Prussia,  and  was  accompanied 
to  the  frontiers  of  Russia  by  two  grenadiers  of  the 
imperial  guard.  Shortly  afterwards  he  accepted 
his  first-named  situation,  which  lie  filled  till  his 
death  in  the  year  17.38. 

WILDE.  JOII.VXN,  chamber  musician  to  the 
Emperor  of  Russia  at  .St  Petersburg  after  the  year 
1741,  was  a  native  of  Uuvaria.  He  was  eminent 
a.s  a  violinist  and  performer  on  the  viol  da  garaba. 

WILLAERT,  ADRIAXO,  was  a  pupil  of 
John  Mouton  and  the  master  of  Zarlino.  He  is 
placed  by  the  Italians  at  tlie  head  of  the  Venetian 
school.  Ho  was  born  at  liruges,  in  Flanders,  and, 
during  his  youth,  studied  the  law  at  Paris  ;  if 
■with  the  view  of  making  it  his  profession,  there 
must  have  been  an  early  coiiftict  between  legisla- 
tion and  music,  which  hitter,  having  a  powerful 
advocate  in  his  own  heart,  gained  the  cause;  for, 
by  his  own  acc'iunt,  he  went  to  Rome  in  the  time 
of  Leo  X.,  where  he  found  that  his  motet,  "  IVr- 
biim  bunum  it  siiiirc,"  was  ],erformed  as  the  com- 
position of  Joscpiin  :  he  therclore  had  been  a  com- 
poser some  time  before  his  visit  to  Rome.  He 
died,  at  an  advanced  age,  about  the  year  1.3.50. 
Amongst  his  published  works  we  can  enumerate 
tlie  following  :  "  Verhnm  hoiiiim  et  simve,"  Sec,  mo- 
tet for  six  voices ;  this  is  printed  in  the  "  Motetti 
dtlhi  Coronit,"  Fossombrone,  1.519;  "  Farnoshsimi 
Adriani  Willarrt,  Clviii  Did  Mttrci  illiulrusimtr 
liepublicm  \'enHiarum  Migistri,  Mu$ica  4  vociim, 
(qiue  vhIijo  Motectrr  )iuncnpatar,  )nociter  omni  stuHio 
ac  diti'ienliA  in  luccin  cdita,"  Venice,  1.539  ;  "  Mo- 
tettrr  6  vociim.'  Venice,  1.542 ;  several  motets  in 
i^alblil1gcr's  "Co»ce-Uus,"  Aug.sburg,  1.)J.5  ;  "I'a/er 
nostcr  a  4  voci,"  prit\ted  in  the  *'  Fior.  de  MotHti," 
Lib.  1,  Venice,  15.39;  •«  Fnntusie  o  Ricercari  dnli' 
axctlUntiis.      Adr.   Vuijliart  e   Vtpr.  liore,  *uo  Oil- 


cepo!'),"  Venice,  1549;  "  Psalmi  vispertini,  omitimn 
dieriim  Jrnltnim  pi-r  annum,  4  eociiin,"  by  Willaert 
and  Juchct.  Venice,  1557  ;  "  Muiica  n>r<t  d  :i,  4,  5 
6,  e  7  cue,"  Fcrrara,  15H8;  this  collection  wa.s  pulv 
lished  by  Willacrt's  pupil  and  friend  F.  Viola, 
and  contains  Willacrt's  |)ortrait ;  "  Caniiinea  Mit- 
sictr,  sen  Mofettri;  cum  alii.i  ijasdem  caiUionihiu  tin- 
licia,  4,  5,  6,  and  7  cocnm,"  Venice;  and  "  rUlti- 
ueltte  Ncapilitantt,  4  Vicum,"  Venice.  A  four-part 
motet  by  Willaert  is  also  given  by  Sir  J.  Haw- 
kins in  his  "  History  of  Musicians,"  vol.  ii.  p.  474. 

WILLING,  JOILVyN  LUDWIG,  organist  at 
Nordhausen,  was  born  at  Kuhndort  in  175i).  He 
was  a  jmpil  of  J.  E  Rembt,  and  was  considered 
one  of  the  iK'st  German  musicians  of  the  la-st  cen- 
tury. He  died  in  1805.  His  works  were  chiefly 
instrumental,  and  for  the  organ  and  piano-forte. 

WILLMANN,  SAMUEL  DAVID,  organist  at 
Berlin,  published  from  the  year  178J  the  follow- 
ing amongst  other  works  :  "  .'}  Quart,  prjnr  le  Clar. 
aocc  FL,  K,  ct  U.,"  Berhn,  1789;  "  3  .Solos  f.  di» 
FlOle  mit  Degl.  de.s  F'irtcp.  oder  \'c.,"  Berlin,  1796  ; 
"  1  Duettcnf.  2  FL,"  Berlin,  1797;  and  "  Der  Ley- 
ermann  und  ein  ii'alwr,"  Berlin,  1797. 

WILLMERS,  F.  J.  RUDOLPH,  a  talented 
pianist  and  composer  for  his  instrument,  was 
born  at  Copenhagen  in  1820.  He  studied  under 
Hummel;  and  in  1836  he  studietl  composition 
under  Friedrich  Schneider  at  Dessau,  with  whom 
he  passed  two  years.  He  then  ■nsitetl  the  north 
of  Germany,  Sweden,  Norway,  and  finally  re- 
turned to  Denmark.  In  1840  he  made  an  artistic 
tour  in  Germany  with  much  iclat. 

WILMS,  J.  W.,  professor  of  music  at  Amster- 
dam, and  a  good  pianist  and  flutist,  was  born  in 
1771.  He  has  published  many  works,  chiefly  for 
the  piano -forte.  His  "  Sin/oiiics  n  (/raixi  Orches- 
tie,"  Op.  9,  are  highly  considered  in  Germany. 
They  are  published  at  Leifwic  by  Kilhnel. 

WILSON,  DR.  JOHN,  a  native  of  Feversham, 
in  Kent,  born  in  1597,  was  first  a  gentleman  of 
the  Chapel  Royal,  and  afterwards,  in  his  faculty 
of  music,  a  servant  in  ordinary  to  the  king.  He 
is  reported  to  have  been  the  best  lute  player  of 
his  time,  and,  being  a  constant  attendant  on  his 
majesty,  freiiuently  played  to  him  in  private.  He 
was  created  doctor  in  music  at  Oxford  in  1014, 
and  continued  in  that  university  a')out  two 
years ;  but,  on  the  surrender  of  the  city,  he  went 
to  reside  in  the  family  of  Sir  William  Walter,  of 
Sar^den,  in  Oxfordshire.  In  the  year  IGo'i  he 
obtained  the  musical  professorship  and  resided 
in  Baliol  College.  After  the  restoration  he  was 
made  a  gentleman  of  the  Chapel  Royal.  Ilicse 
preterraent.s  drew  him  from  Oxford,  and  ind\iced 
him  to  resign  his  professorship  to  Edward  Low, 
who  for  some  time  before  had  officiated  as  his 
deputy. 

lie  died  in  the  year  1'576,  at  the  age  of  se^ven- 
ty-nine,  and  was  interred  in  the  cloisters  of  St. 
Peter's  Church,  Westminster.  His  compositions 
ar«,  "  I'salttTium  CuroHnum,  the  Dcvotioiit  nf  hii 
Sacrrd  Majestie  in  his  Silitndfi  and  Sujfcrinffs 
rendfTfH  in  I'erse,  let  to  Mniic  for  three  I  oicei  ant 
an  Organ  or  Tfieorho,"  published  in  1657  ;  "  Cheer 
ful  Airi,  or  Ualladt ;  Jint  comprutrd  fir  one  linyU 
Voicf,  and  lince  let  for  three  Voicei,"  published  al 
Oxford  in  I'lBO;  "Aire*  for  a  Voire  nliine  to  » 
Theorbo  or  Bats  Viol,"  printed  in  a  collection  en- 


991 


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ENCYCLOP.EDIA   OF   MUSIC. 


Wit 


titled  "  Select  Airt  atid  Dialogties,"  in  1053  ;  nnd 
"  Dirirtf  Servicfs  and  Anthems,"  published  in  the 
year  16G3.  He  also  composed  ^'  Fantasiai  for 
Viols,"  and  music  to  several  of  the  odes  of 
Horace,  and  to  some  select  passages  in  Ausonius, 
Clavidinn,  I'etronius  Arbiter,  and  Statius.  The 
latter  was  never  published,  but  is  extant  in  a 
manuscript  volume,  curiously  bound  in  blue 
Turkey  leather,  with  silver  clasps,  which  he  pre- 
sented to  the  university,  with  a  strict  injunction 
that  no  one  should  be  permitted  to  peruse  it  until 
after  his  death.  It  is  now  deposited  under  the 
archives  of  the  Bodleian  Library.  Dr.  Iturner 
says  that  Wilson  "  seems  to  have  set  words  to 
music  more  clumsily  than  any  composer  of  equal 
rank  in  the  profession;"  and  in  another  place, 
that  "  his  compositions  will  certainly  not  bear  a 
severe  scrutiny  either  as  to  genius  or  to  knowl- 
edge." 

V\^LSOX,  JOHN,  renowned  as  a  singer  of 
the  Scotch  ballads,  was  born  in  the  Canongate 
of  Edinburgh  on  Christmas  day,  in  the  year 
1800,  and  served  an  apprenticeship  as  a  printer 
till  his  nineteenth  year.  He  was  married  shortlv 
afterwards,  and  by  this  marriage  had  six  children. 
At  an  early  age  he  gave  indications  of  high  tal- 
ent in  his  profession  as  a  comi)ositor,  and  was 
ultimately  engaged  as  a  reader  or  corrector  of  the 
press  by  the  well-known  James  IJallantyne,  the 
printer  of  Scott's  novels,  a  great  portion  of  the 
manuscript  of  which  passed  through  the  hands 
of  Wilson,  who  thus  became  acquainted  with  the 
author  of  Waverley.  At  this  period  Wilson  be- 
gan to  feel  the  defects  of  his  early  education,  for 
he  had  been  sent  to  work  when  only  ten  years 
of  age.  and  he  applied  himself  diligently  to  the 
acquirement  of  the  French  and  Latin  languages, 
with  a  view  to  qualify  him  for  rising  in  his  pro- 
fession. By  close  ajjplication  in  the  evenings  he 
soon  became  versed  in  thor-e  two  languages  ;  and 
shortly  afterwards,  in  company  with  two  intimate 
friends,  he  turned  his  attention  to  the  study  of 
Italian. 

Wilson  was  always  passionately  fond  of  sing- 
ing ;  but  in  boyhood  his  voice  was  thin  and  husky 
in  q>iality.  His  taste  was  first  formed  under  the 
auspices  of  John  Mather,  who  at  that  time  was 
leader  and  teacher  of  a  musical  association  called 
the  Edinburgh  Institution,  which  met  in  the 
High  Church  Aisle,  and  to  the  classes  of  which 
great  numbers  of  children  were  admitted  gratu- 
itously. The  tuition  received  at  the  institution, 
with  some  occasional  practice  in  a  band  in  the 
Tron  Church  led  by  Benjamin  Gleadhill,  formed 
tiie  early  musical  education  of  John  Wilson. 
Long  afterwards  both  his  teachers  were  delighted 
with  his  musical  powers,  expressed  their  aston- 
ibhment,  and  said  that  such  success  could  not 
liave  been  predicted  from  his  early  capabilities. 
One  (luality,  however,  he  seems  always  to  have 
had ;  and  that  was,  a  devoted  attachment  to  sing- 
ing. He  never  tired  of  it.  He  delighted  in  ex- 
ercising his  voice.  He  attained  a  smattering  of 
music,  which  enable<l  him  to  read  a  psalm  tune, 
and  he  used  occasionally  to  make  his  appearance 
in  the  j)recentor'9  desk  of  some  obscure  kirk  or 
meeting  house,  and  gradiially  began  to  indulge 
hopes  of  becoming  a  cunilidate  for  some  such  sit- 
uation. About  this  time  a  musical  companion 
was  appointed  precentor  to  DuiUliiig'-ton  Church, 
thu  clergyman  of  which,  Mr.  I'homijson,  the  cel- 


ebrate:! landscape  painter,  was  passionately  fond 
of  music ;  and  he,  together  with  hLs  lady,  aided 
by  their  new  precentor,  made  a  daring  innovation 
on  the  ancient  mode  of  drawling  the  music,  and 
establi.shed  in  the  church  a  little  band. 

The  romantic  walk  to  this  sweet  little  churck. 
accorded  well  with  Wilson's  attachment  to  rura. 
scenery,  and  he  was  in  the  habit  of  accompany- 
ing his  friend  to  Duddingston  on  the  Sunday 
mornings  to  assist  him  in  his  musical  avocation, 
occasionally  officiating  for  him  in  his  absence. 
His  voice  now  began  to  be  developed,  and  the 
liberal  and  enlightened  artistic  clergyman,  a  man 
well  known  to  have  been  the  means  of  forward- 
ing many  desen-ing  young  men,  was  the  first  to 
appreciate  the  quality  of  Wilson's  voice  and  the 
first  to  advise  sedulous  cultivation.  Cheered  on- 
ward thus,  he  applied  himself  diligently  to  mu- 
sical education,  and  soon  afterward  became  a 
candidate  for,  and  was  appointed  precentor  of,  the 
Relief  Church  in  Roxburg  Place,  with  a  yearly 
salary  of  seventeen  guineas.  After  remaining 
several  years  there,  where  he  was  much  admired 
and  was  presented  with  a  piece  of  plate  from 
the  congregation,  his  now  beautiful  tenor  voice 
and  his  fine  musical  taste,  which  began  to  be  much 
talked  of  and  attracted  crowded  audiences,  in- 
duced the  town  council  to  appoint  him,  in  1826, 
as  precentor  to  the  new  Church  of  St.  Mary,  the 
pastor  of  which,  the  Rev.  Henry  Grey,  was  at 
that  time  the  most  popular  of  the  Edinburgh 
jireachers.  Situated  in  a  fashionable  neighbor- 
hood, the  congregation  chiefly  of  the  higher 
classes,  the  modest  bearing  and  amiable  character 
of  their  young  precentor,  together  with  the  beau- 
tiful manner  in  which,  even  at  that  time,  he 
chanted  the  pleasing  melodies  of  his  country, 
made  him  a  welcome  guest  at  many  of  their  ta- 
bles, and  induced  many  of  them  to  employ  him 
in  teaching  singing  to  their  children. 

About  this  time  Mr.  Ballantyne  got  into  em- 
barrassed circumstances  and  was  obliged  to  re- 
duce the  expenses  of  his  printing  establishment. 
Unwilling  to  part  with  Wilson,  he  asked  him  to 
remain  at  a  reduced  salary ;  but  as  Wilson's 
family  was  increasing,  he  thought  it  justifiable  to 
endeavor  to  better  his  circumstances,  and  left  the 
printing  business  finally  in  January,  1827.  He 
was  now  well  employed  as  a  teacher  of  singing, 
and  enabled  to  put  himself  under  the  tuition  of 
an  accomplished  teacher. 

Wilson  continued  teaching  singing  and  appear- 
ing occasionaUy  at  private  concerts  in  Edinburgh 
until  June,  1827,  when,  ever  anxious  for  im- 
provement, he  went  to  London,  where  he  re- 
mained for  three  months,  receiving  lessons  from 
Signer  Lanza,  an  Italian  master  of  the  vocal  art. 
His  progress  pleased  his  teacher  so  much,  that,  on 
his  return,  Lanza  gave  him  a  letter,  saj-ing  that 
he  had  intended  visiting  Edinburgh,  but  had 
abandoned  that  intention  in  consequence  of  the 
return  to  his  native  town  of  his  pujjil,  whom  he 
now  considered  as  well  qualifie.l  to  teach  as  he 
was  himself  nie  mode  he  had  learned  from 
Lanza  of  bringing  out  the  cocc  Hi  petto,  or  chest 
voice,  was  so  superior  to  any  hitherto  practised 
in  Edinburgh  that  he  soon  acquired  a  great  num- 
ber of  pupils. 

Wilson  still  retained  his  situation  aa  precentor 
in  St.  Mary's  Church,  and  during  the  winter 
season  his  time  was  fully  occupied  in  teaching. 
By  this  means  he  was  again  enabled  to  visit  Lou- 


992 


WIL 


ENCYCLOPEDIA    OF    MUSIC. 


WIN 


don  in  the  Rummer  of  1828.  when  he  received  I  WILSON,  MARMADUKE  CHARLES,  wm 
lessons  from  As;mll,  then  a  celcl)nitcil  tenchur  of  I  born  of  resijcctixhlepiireuts  in  London  in  17'Ji).  A« 
harmony,  counterpoint,  nnd  thorough  bnsa.     Af-  |  lie  very  early  evinced  considerahlo  talent,  hoth  in 


ter  three  months'  exerci.-^e  under  this  master, 
during  which  time  he  was  kept  i)ractising  daily, 
from  seven  o'clock  morning  till  10  o'clock  even- 
ing in  a  room  where  there  wei-e  three  ])upils, 
each  fiiujiinn  different  tunes  and  practising  on 
different  piano-fortes,  Wilson  went  home  ma- 
turely versed  in  the  tlirory  and  practice  of  music. 
Again,  in  the  summer  of  1829,  after  another  win- 
ter's teaching,  he  visited  London,  and  remained 
there  until  February,  1830,  under  his  last  and 
most  eminent  teacher,  the  fiU'-taraed  CrivcUi,  to 
whose  tuition  he  was  so  much  attached  that  ho 
studied  assiduously  to  perfect  himself  as  a  musi- 
cian, and  remained  until  ho  had  scarcely  sutK- 
cient  means  to  pay  his  i)assage  home.  On  arriv- 
ing at  Kdinburgli,  he  found  the  funds  he  had  left 
to  sustain  l\is  family  totally  exhausted  ;  and  lie 
was  fond  of  relating  how,  when  on  this  occasion 
walking  along  the  streets  on  his  way  to  a  friend 
to  borrow  a  ono-)>ound  note,  ho  met  with  a  pui)il 
who  had  not  paid  him  his  fees  for  lessons  re- 
ceived during  tlie  previous  winter,  and  who,  ac- 
cusing himself  of  neglect,  ))ulled  out  his  purse, 
and  sent  him  home  to  his  wile  and  family  with 
three  guineas  in  his  pocket.  After  this  SVilson 
never  knew  poverty. 

Previous  to  this  period  Wilson  had  taken  les- 
sons in  elocution  both  in  Edinburgh  and  in  Lon- 
don, and  in  March,  KS^iO.  made  his  first  appear- 
ance on  the  stage  of  the  Ediidjurgh  theatre,  as 
Henry  Bertram,  in  the  opera  of  "  Guy  Man- 
nering."  Many  of  his  friends  and  acquaintances 
were  present,  and  several  of  them  recollect  well 


the  ])erformancc  and  composition  of  music,  ho 
was  placed  under  the  charge  of  Mr.  William 
Heale.  With  this  gentleman  he  continued  till 
1812.  In  tlie  year  ISO.'i,  being  seven  ycaij  of 
age,  he  jierlormed  on  the  piano  at  the  Ilbnover 
Scjuare  Rooms,  and  obtained  unanimous  applause 
from  the  audience,  nit  only  on  account  of  tho 
execution  exceeding  what  could  have  been  cx- 
j)ected  from  his  years,  but  for  the  actual  merit  of 
the  performaiu'c  itself.  Samuel  Wesley,  being 
attracted  by  his  prorai-ing  talent,  proposed  that 
Wilson's  musical  educiition  should  be  corapletcil 
\inder  his  superintendence  :  this  desirable  jiropo- 
sition  was  acceded  to,  and,  while  with  Wesley, 
he  repeatedly  performed  in  piiblic  with  uniform 
success  and  applause.  Upon  his  performance  of 
the  fth  of  May,  1813,  a  morninu  paper  remarks, 
that  "  the  amateurs  and  jirofessors  who  woro 
in  the  room  were  unanimous  in  declaring  that 
he  would  be  one  of  the  most  accomplished  per- 
formers on  the  piano-forte  that  England  had 
ever  produced." 

Xotwithstanding  tho  signal  success  which  at- 
tended his  early  efforts,  a  natural  ditHdence  and 
a  repugnance  to  the  gaze  of  tho  many  induced 
him,  on  the  completion  of  his  studies,  to  with- 
draw from  public  performances,  and  to  restrict 
himself  to  composition  and  private  tuition. 

Wilson's  compositions  partake  largely  of  the 
beauties  and  peculiar  character  of  those  of  his 
friend  and  principal  master;  they  abound  in  vig- 
orous and  scientific  movements,  blended  with 
passages  of  e.xquisite  harmony  and  pathos.     Tho 


the  tremulous  anxiety  that  pervaded  the  house  principal  and  rao.st  popular  of  them  are :  Instru- 
when  his  voice  was  first  heard  behind  the  scenes,  [  mental.  Op.  1,  "  The  Air  nf  Up,  Jttck,  up,  and  th« 
in  the  opening  of  the  beautiful  duct,  "  Now  hope,  |  day's  your  own,"  arranged  as  a  rondo  for  tho 
now  fear,"  and  with  what  unmingled  delight  |  piano-forte.  2.  "A  Duet  for  the  Harp  and  Piano- 
they  hailed  his  success.  On  the  following  night  |  forte,"  dedicated  to  the  Right  Hon.  Lady  Foley, 
he  sang  in  the  opera  of  "Rosina,"and  during     3.  '' The  Tenth  Air  of  the  Series  of  Drantatic  Airs," 


the  same  week  hLs  fame  was  stamped  as  an  actor 
as  well  as  a  singer  by  his  ma.sterly  impersonation 
of  "  Massaniello."  On  that  evening,  among  other 
magnates  who  at  the  time  frequented  the  Edin- 
burgh theatre,  was  James  Hallantyne,  Mr.  Wil- 
son's former  employer,  in  whoso  critical  acumen 
with  regard  to  the  drama  and  opera  all  parties 
had  unbounded  confidence.  As  the  opera  ad- 
vanced, and  the  young  vocalLst  warmed  in  his 
part,  the  veteran  connoisseur  was  seen  to  get 
restless  and  fidgety,  until  Wilson,  with  matchless 
purity  and  intensity  of  feeling,  chanted,  in  tones 
that  thrilled  through  every  heart,  the  delightful 
song,  "  My  sister  dear;"  when,  unable  to  con- 
tain himself,  Mr.  IJallantyne  exclaimed  aloud, 
"  Bravo !  bravo  !  that  irill  do  !  that  icitl  do  I  I  was 
wrong  in  my  estimation  of  his  powers,  after  all." 
Mr.  Wilson  was  now  an  established  favorite. 
ITae  public  jiress  was  teeming  with  his  praise, 
and  he  remained  performing  for  three  weeks  at 
the  Edinburgh  theatre,  at  the  conchision  of  which 
he  had  a  bumper  benefit  Immediately  there- 
after ho  went  to  I'crth,  where  he  perlormed  dur- 
ing the  summer,  and  was  engaged  for  C'ovent 
Garden,  where  he  appeared  for  the  first  time 
October  30th.  He  sang  at  C'ovent  Garden  and 
Drury   Lane  until    183".     He  was  engaged   in 


arranged  by  various  composers  for  the  Harmonic 
Institution.  4.  "Airs  from  llintmers  Ojyera  of 
/VincAo/i,"  arranged  for  the  piano-forte.  .5.  "An 
Air,  with  Variations,"  dedicated  to  Mr.  Atkinson. 
6.  "  A  Sonata,"  dedicated  to  J.  B.  Cramer,  Esq. 
Vocal  :  1.  "  The  Exile,"  a  ballad.  2.  "  Merrily 
swim  we,  the  moon  shines  hrii/ht,"  a  glee  for  four 
voices,  the  words  from  "Tho  Lord  of  the  Monas- 
tery." 3.  "  Ijore  wakes  and  wee/>f,"  a  serenade, 
the  words  from  the  novel  of  "The  Pirate."  4. 
"  Carle,  now  the  kind's  come,"  a  solo  and  chorus. 

WINDLADE.  (G.)  Tlie  wind  chest  of  ui 
organ. 

WIND  INSTRITMENTS.  Those  instruments 
the  sounds  of  which  are  produced  by  the  breath 
or  by  the  wind  of  bellows.  So  calle<l  in  contra- 
distinction to  tho-ic  which  are  struck  or  which  arc 
performed  with  the  bow,  as  the  drum,  tam- 
bourine, violin,  violoncello,  .See.  For  descriptions 
of  the  various  wind  instruments  and  scales,  refer 
to  the  snme  under  tho  several  heads  as  alphnl>et- 
ically  arranged  in  this  Encyclop.iHlia.  Person* 
who  have  lislcne<l  to  sounils  attentively  have 
noticed  that,  besides  their  acuteness  and  gravity, 
loudness  or  so.tness,  shape  an.l  figure,  there  w 
another  ipiality  belonging  to  them,  which  rouM- 


English  opera  in  1838 ;  and  in  Septemln'r  of  that  cians  have  agreed  to  denominate  color.  Thn* 
^ear  came  to  this  country.  He  died  at  Montreal,  the  trombone  has  !H>cn  called  deep  mi  ;  thn 
August,  1849.  trumpet,     scarlet  ;     the    clarinet,     orangt ;     Iha 

125  993 


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ENCYCLOPAEDIA    OF    MUSIC. 


WIS 


oboe,  yrl/oiB;  the  bassoon,  deep  yellow;  the  flute, 
iky  blue  ;  the  diniinson,  deeper  blue  ;  the  double 
diapason,  purple ;  the  horn,  violet ;  &c. 

WINXEHEIKJEH,  PAUL.  A  vio.oncellist 
and  composer,  in  the  year  1800,  JJt  the  French  the- 
ntro  in  llambur;;.  He  is  known  by  three  violin 
'[uurtets,  published  at  Otfenbach  in  1800 ;  con- 
certos for  violoncello  and  orchestra  ;  sonatas  for 
piano,  with  and  without  other  instruments;  &c. 

WINTER,  JOIIAXX  CIIIUSTIAX,  chorister 
and  music  director  at  Hanover,  was  born  at  Helm- 
stadt  in  1718.  He  wrote  several  dissertations 
on  church  music  in  the  Latin  language ;  also  the 
words  and  music  of  many  cantatas. 

WIXTEK,  PETER  VOX.  This  eminent  com- 
jioser  was  violinist  and  vice  chapel-master  to  the 
King  of  Ravaria  at  Munich.  He  was  bom  in 
1754.  In  1770  ho  conducted  the  orchestra  of 
the  theatre  at  Munich.  He  not  only  com- 
posed for  the  theatres  of  his  own  country,  but 
has  enriched  the  Italian  stage  by  many  excellent 
works.  The  following  list  contains  his  jirincipal 
compositions.  For  the  church :  "  Mcssa  d.  4  voci, 
2  v.,  2  Fl.,  2  Ob.,  2  Cor.,  2  Farf.,  Viola,  2  Tromp., 
Timp.,  B.,  e  Organ,"  Vienna ;  "  Gradunle  d  i  voci, 
2  v.,  2  Vio/e,  2  Fl.,  2  Cor.,  2  Tromp.,  Timp.,  e  D.," 
Vienna;  "Die  Pilyer  atif  Kalfari,"  oratorio,  Mu- 
nich; "  BetUdia  liberata,"  oratorio,  Venice,  1792; 
and  "  Die  Aufcrstehung,"  ca.\\ta\j\..  For  the  thea- 
tre :  "  llelima  und  Paris,"  opera,  Munich;  this 
was  translated  into  Italian,  and  peformed  at 
Florence  in  1784  ;  "  Bcllerofon,"  melodrama, 
Manheim,  1787  ;  "  Psyche,"  German  opera  ; 
"  Circe,"  serious  opera,  in  Italian ;  "  Orphetts," 
ballet,  with  songs.  This  work  had  the  greatest 
success  in  London.  It  is  a  grand  tragic  panto- 
mime, in  four  .acts,  intermixed  with  songs  and 
choruses.  "  Leonardo  and  Blandine,"  melodrama ; 
"Cora  and  Alonzo,"  melodrama;  "  Armida,"  in 
three  acts,  with  choruses,  melodrama  ;  "  Der 
Bettehtudenl,"  operetta,  Vienna;  "Das  Ilirten- 
mttdchen,"  operetta,  Vienna  ;  "  Schcrz,  List,  und 
Roche,"  operetta ;  "  Catone  in  Utica,"  opera  seria, 
Venice,  1791;    "Antigone,"  opera  seria,  Xai)les, 

1791  ;  "  /  Sacrljici  di  Creta,"  opera  seria,  Venice, 

1792  ;  "  Armida  und  Rinaldo,"  melodrama,  Vien- 
na, 1793;  "/  Fratelli  Jiieati,"  opera  bulfa,  1794; 
"  Ogiis,  os.iia  il  Trionfo  di  bel  Sesso,"  opera  bulfa, 
Prague,  1791:  '■'Die  Sommerbettistigungen,"  bal- 
let, Rerlin,  1795;  "Das  unfcrbrochcne  Opferfest," 
operetta,  Vienna,  1796.  The  music  of  this  op- 
eretta was  ])ublished  in  various  editions,  for  in- 
struments, at  different  towns  in  Germany.  "  / 
due  Vedoci,"  opera  buffa,  Vienna,  179t);  "Die 
ThomaanachI,"  operetta,  BayTCuth,  1795;  "Die 
Pyramiden  von  Babilon,"  or  the  second  ])art  of  the 


Lustgarten,"  cantata  ;  "  Die  llochzcit  des  Figaro," 
cantata  ;  "  Andromague,"  cantata ;  "  Progne  et 
Philomele,"  cantata ;  "  Gesttnge  beym  Klavier," 
first  and  second  part,  Munich,  1800;  "  GesOngt 
beym  Klavier,  3lcr  Thcil,"  Augsburg,  1801;  "3 
Kantalinen,"  Italian  and  German,  Op.  15;  "9 
Kanzonettcn,"  Italian  and  German,  Op.  16  ; 
"  Quartet  fUr  Gesang,"  Italian  and  German,  Op. 
17  ;  "Die  ErlOsung  des  Menscheti,  mit  tin/ergeleg- 
tem  Stabnt  Mater ; "  "  Timoteo,  oder :  Die  Sfncht 
der  Tone,"  a  grand  cantata  from  Dryden's  "  Alex- 
ander's Fea.st,"  Leipsic,  1809;  "  Cotmal,"  grand 
opera,  Munich,  1809;  "Die  Blinden,"  opera, 
1810  ;  and  "  Die  ErlOsung  des  Menschen,"  cantata 
for  four  voices,  with  orchestra  and  Stabat  Mater, 
Leipsic,  1805.  Instrumental:  "6  Concerti  d  V. 
princip.  c.  Ace. ; "  "  Concerto  d  Oboe  princip.  c. 
Ace.  ,■ "  "  Concertini  d  V.,  Clar.,  Cor.,  de  Bassetto, 
e  Fag.  princip.  c.  Ace.  di  2  V.,  I'iola,  e  B.;" 
"  Rondo  con  Var.  d  V.  princip.  2  I'.,  2  Fl.,  2 
Cor.,  v.,  e  B. ; "  "  3  Sinfon.  d  Grand  Orchestra," 
Ops.  1,  2,  and  3,  Offenbach,  1795  ;  "  QiuUuor  pour 
2  v.,  A.,  et  B.,"  Op.  5,  Munich,  1800 ;  "  3  Quin- 
ietti  pour  2  V.,  2  A.,  et  B.,"  Op.  6,  Leipsic,  1802; 
"  Sesletto  pour  2  V.,  2  Cors,  A.,  et  B.,"  Op.  9,  1803  ; 
"  3  Xouv.  Quai.  pour  2  V.,  A.,  et  B.,"  Paris,  1803  ; 
"  Septuor  pour  2  Cors,  Clar.  2  V.,  A.  et  B.,"  Op.- 
10,  Leipsic,  1804  ;  "  Sinfon.  concert,  pour  V.,  CI., 
Fag.,  et  Cor.,"  Sec,  Op.  11;  "  Ouverture  de  Pro- 
serpine," in  parts,  Leipsic,  1809  ;  and  "  Ouverture 
de  Calt/pso,"  in  parts,  Leipsic,  1809.  Winter  died 
in  1825. 

WIRBEL.  (G.)  Tlie  peg  of  a  ^^olin,  tenor, 
guitar,  &c. 

WIRES.  Wires  are  used  to  form  the  strings 
of  harpsichords,  pianos,  and  other  similar  instru- 
ments, and  also  to  cover  the  catgut  strings  of 
many  large  strings  used  on  instruments. 

WISE,  SIICH^VEL,  was  a  native  of  Salisbury, 
and  one  of  the  first  of  the  children  of  the  Chapel 
Royal  after  the  restoration.  He  became  composer 
and  master  of  the  choristers  at  Salisbury  in  1668, 
and  in  1675  was  appointed  a  gentleman  of  the 
Chapel  Royal.  Eleven  years  after  this  last  promo- 
tion he  was  made  almoner  and  master  of  the  chor- 
isters of  St.  Paul's.  He  was  much  favored  by 
Charles  II. ;  and  being  appointed  to  attend  the  king 
in  one  of  his  journeys,  he  claimed,  as  his  organist 
for  the  time  being,  the  privilege  of  playing  on  the 
organ  in  the  church  of  whatever  place  the  king 
stopped  at.  It  is  said  that  in  one  place  he  had 
the  presumption  to  begin  his  voluntary  before  the 
preacher  had  finished  the  sermon  ;  and  it  is  pos- 
sible that  some  such  unwarrantable  and  indiscreet 
beliavior  as  this  might  have  drawn  upon  him  the 
royal  dLsplesusure ;  for,  on  the  king's  decease,  we 


ZaubcrfOle."     The  second  act  was  com])Osed  for  |  find  that  he  was  under  a  suspension,  and  at  th 


the  Schikaneder  theatre  at  Vienna  in  1797. 
"  Elisa,"  o))cretta,  Vienna,  1798;  "Das  Laby- 
rinth," operetta,  Vienna,  1798;  "  Der  Sturm  ron 
Shakspearc,"  Munich,  1799;  "Maria  von  Mon- 
talban,"  oj'ora  seria,  Munich,  1800  ;  "  TamerUtn," 
opera,  in  French,  Paris,  1802;  "  Casfore  e  Pol- 
lux," opera,  in  Italian,  London,  1803  ;  and 
"  Frauenbund,"  Munich.  1804.  For  the  chamber. 
First,  vocal :  "  I'igmnlione,"  cantata;  "  Piramo  e 
Thiibe,"  cantata  ;  "  Die  verlassene  Dido,"  cantata ; 
"  Vorligerni;"  cantata;  "Hector,"  cantata;  "  Ig- 
ties  de  Cii.siro,"  cantata;  "Henry  IV.,"  cantata; 
•*  Bayersche   Luitbarkeit,"   cantata  ;    "  Der  Franz 


coronation  of  James  II.  Edward  Morton  officiated 
in  his  room.  He  comjjosed  many  fine  anthems, 
"  Awake  up  my  glory,"  "  I'rejmrc  ye  the  irny  of  the 
Lord,"  "  Aicake,  put  on  thy  strength,"  and  some 
others.  He  composed  also  that  well-known  two- 
part  song,  "  Old  Chiron  thus  preached  to  his  pupil 
Achilles,"  and  some  catches,  jirinted  in  the  "  Mu- 
sical Companion."  He  was  a  man  of  great  pleas- 
antry, but  ended  his  days  unfortunately.  MTiilst 
ho  was  at  Salisbury,  in  the  year  1087,  some  harsh 
words  took  place  between  him  and  his  wife,  on 
which  he  rushed  out  of  the  house  in  a  violent  rage, 
and  (it  being  towards  midnight)  was   stopped 


994 


WIT 


ENCYCLOP-'EDIA    OF   MUSIC. 


WOI. 


Dv  one  of  the  watchmen.  With  this  man  he  be- 
jjaii  a  new  Ira 5-,  and,  in  the  contest,  received  a 
dieiidfiil  blow  on  the  nead,  which  fractured  his 
ukuU  and  killed  him. 

WriT,  CHRISTIAN  FKIEDRICII.  chapel- 
master  to  the  Duke  of  Gotha,  was  born  at  Alten- 
burg,  where  his  father  was  court  organist.     He 


music  from  his  father,  who  was  an  organiht  in 
that  town  ;  and  afterwards  became  a  pujdl  of  tlie 
Conservatory  at  Paris,  studying  the  jiiano  undoi 
Hoieldicu,  and  composition  under  licrton.  Ho 
has  published  several  works  of  admired  jjiano- 
forte  music,  and  some  collections  of  romances. 

WOLDKMAK.  MICHEL,  a  violinist  at  Pariv, 


was  sent  early  in  life  by  his  prince  to  Vienna,  for  1  born  at  Orleans   in   17o0,  was   a   pupil  of  Lolii. 


improvement  in  music,  jmd  on  his  return  was 
first  appointed  court  organist,  and  afterwards,  in 
1713,  chapel-master.  He  died  in  17U).  Ho 
wTote  various  hymns,  also  some  hariisichord  and 
organ  music. 

WITT,  FRIEDRICH,  chapel-master  to  the 
grand  duke  of  Wilrzburg,  and  a  very  able  and 
agreeable  composer,  was  born  in  Franconia  in 
1771.  He  studied  the  violoncello  early  in  life, 
and  was  appointed  professor  of  that  instrument 
in  the  chapel  of  the  Duke  of  Getting- Wallersteiu 
in  the  year  1790.  His  master  in  composition  was 
the  Chapel- master  Rosetti.  F.  Witt  composed 
several  oratorios  and  cantatas,  also  much  Lnstru-  | 
mental  music.  His  jirincipal  works  are  dated 
between  the  years  1800  and  1807. 

WITTHAUER,  JOIIAXX  GEORG,  a  pro- 
fessor of  music  at  Berlin,  and  snbseciucntly  organ- 
ist at  Lubeck,  was  born  at  Neustudt,  in  Suabia,  in 
1750.  He  was  a  harpsichord  pupil  of  J.  Adlung, 
of  Erfurt.  He  died  at  Lubeck  in  1802.  Amongst 
his  works  was  an  improved  edition  of  "  LOhUins 
Klavicrschule,"  and  several  sonatas  for  the  harp- 
sichord, published  between  the  years  1783  and 
1793. 

WITVOGEL,  G.  FRIEDRICH,  organist  of 
the  new  Lutheran  Church  of  Amsterdam,  was  a 
native  of  IJarel,  in  the  duchy  of  Oldenburg.  He 
engaged,  in  1730,  in  the  music  trade  at  Amster- 
dam, where  he  published  the  works  of  most  of 
the  great  masters,  also  some  Protestant  church 
music  of  his  own  composition. 

WOELFFL,  JOSEPH.  This  celebrated  pian- 
ist and  comjmscr  was  born  at  Salzburg  in  1772, 
where  he  studied  the  jiiano-forte  and  composition 
under  Leopold  Moziut  and  Michael  Haydn.  In 
the  year  1793,  or  1794,  he  commenced  a  musical 
tour,  proceeding  first  to  Warsaw,  and  afterwards 
going  to  Vienna,  where,  in  179.5,  he  produced  his 
first  opera,  entitled  •'  Der  IlOlU-nberg,"  at  the 
Schikanc'der  theatre,  which  was  received  with 
great  applause.  The  distracted  state  of  Ger- 
many, on  account  of  the  wars  of  that  period,  de- 
termined WoellH  to  visit  England.  In  his  jour- 
ney thither  he  perlbrmed  at  Prague,  Drestlen, 
Leipsic,  Berlin,  and  Hamburg,  where  he  gave 
his  last  concert  in  1799.  After  remaining  for 
some  time  in  England,  his  playing  being  the 
theme  of  universal  admiration,  he  went  in  1801 
to  Paris,  where  lie  was  also  con>idcre<.l  the  most 
extraordinary  pianist  in  Europe.  He  there  pro- 
duced an  operetta  which  was  favorably  received, 
entitled  "  V Ammir  liomaneajue."  He  soon  after 
returned  to  England,  and  resided  there  till  his 
death,  which  took  jdace  in  the  year  1811.  He 
composed  several  other  ojicraa,  besides  a  long  list 
of  instrumental  works,  consisting  of  sonataa, 
concertos,  quartets,  trios,  &c. 

WOETS,  JOSEPH  BERNARD,  professor 
of  the  piano  at  Paris,  was  born  at  Dunkirk 
in  1783.     He  received  his  first  instructions  in 


He  composed  much  music  for  his  instrument, 
amongst  which  are  "2  Cunc.  pour  V. ; "  "12 
Dtios  pour  I'.;"  "6  lUves  d'un  I'.  $eut ;"  "6 
Caprices  jx>itr  t'- ;"  "4  Sonat.  faiitasmayoriques, 
iiUiltUie)  I' Ombre  de  LoUi,  f  Ombre  ile  Tartini, 
r  Ombre  de  Piiijiuini,  et  V  Ombre  de  Mestrino ;" 
"  Thimes  de  Mnzart  ct  Uiii/ilii,  vuriis  pour  Violon 
sriil;"  "Grand  Solos,  Liv.  1  and  2."  He  has 
also  publislied  a  metliod  for  bowing,  and  a  meth- 
od for  the  clarinet ;  likewise  two  works,  the  one 
entitled  "  liarCme  Lyriqiie  de  Woldemar,  ou  I' Art 
de  composer  totite  sorte  de  Mitsiqiw  sans  safoir  la 
ComjMsition,"  Paris,  1800,  and  the  other  "  Ta- 
bleau Milo-tachijtjraphiqiui."  This  is  a  treatise  on 
musical  short  hand. 

WOLF.  ERNST  WILHELM,  was  bom  at 
Great  Behringen,  near  Gotha,  in  173.5,  and  stud- 
ied music  at  Jena.  In  1761,  when  his  studie.4 
were  completed,  he  was  appointed  concert  mas- 
ter to  tlie  Duke  of  Weimar.  He  not  only  com- 
posed a  great  number  of  German  comic  operas, 
but  also  several  excellent  pieces  for  the  haqisi- 
chord.  In  1782  he  brought  out  an  Easter  can- 
tata, or  anthem,  in  score,  and  afterwards  a  fu- 
neral anthem,  of  which  the  music  is  admirable, 
though  in  the  former  the  airs  are  somewhat  too 
dramatic  for  the  church.  He  is  justly  esteemed 
a  composer  of  much  originality.  A  chorus,  taken 
from  each  of  the  above  pieces,  is  inserted  in  La 
Trqbe's  sacred  music  as  a  specimen  of  his  com- 
positions. He  died  at  Weimar  in  1792.  Amongst 
his  works  we  can  enumerate  the  following.  The- 
oretical :  "  Musical  Travels  in  June,  July,  and 
August,  1782,"  Weimar,  1784;  "Lessons  of  Mu- 
sic," &c.,  Dresden,  1788,  in  folio.  Church  mu- 
sic :  "  Oslerkanlatc,  nach  II.  J.  Todt's  I'ocsie," 
Schwerin,  1789;  "Jesus  in  Gethsemane,"  a  can- 
tata, Schwerin,  1789;  "  Die  Iclzte  S/imme  der  ster- 
benden  Liebc  am  Kreuz,"  cantata ;  "  Der  Sieg  dcs 
ErlOsers,"  cantata;  " Der  leidende  ErIOser,"  can- 
tata; "Die  letzie  Stunde  dcs  sterbciulen  ErlOsers," 
cantata;  "  Klcitus  I'assiotu  Oratorium;"  "  Ilier 
iriU  ich  bey  dir,"  kc,  a  passion  cantata;  "Der 
lOOte  I'salm."  Theatrical  music  :  various  oper- 
ettas and  cantatas  ;  also  the  operas  of  "  Alecsie," 
words  by  Wieland ;  and  "  Superba,"  words  by 
Sechendorf.  To  these  we  might  add  various  in- 
strumental sonatas,  concertos,  &c.,  chiefly  for  the 
harpsichord,  and  bearing  date  from  the  years  1774 
to  1789. 


WOLF,  GEORG  FRIEDRICH,  chapel-mas- 
ter  to  a  German  nobleman,  was  bom  at  Hajni- 
rode,  in  the  duchy  of  Schwartzburg.  He  pub- 
lished a  method  for  the  piano-forte  entitled 
"  Unierricht  im  Klavierspielcn,"  in  two  volume*, 
which  went  through  several  c<litions  after  the 
year  1783  ;  also  a  method  for  singing,  and  a  con- 
cise musical  dictionary.  His  practical  worku 
consist  of  piano-forte  and  vocal  mu.sic.  In  1802 
he  received  the  appointment  of  chapel-master  at 
Wcmigerode,  in  Upper  Saxonv,  where  he  died 
in  1814. 
99.'> 


WOL 


ENCYCLOPEDIA    OF   MUSIC. 


WUN 


WOLF,  LUDWIO,  an  excellent  violinist  and 
composer  for  his  instrument,  belonged  to  the  or- 
chestra of  the  theatre  at  Frankfort  in  the  year 

179G. 

WORGAN,  JOHN,  bom  at  London  about 
1715,  was  at  first  a  pupil  of  his  elder  brother, 
afterwards  of  Roscinprave,  and  finally  of  Gemi- 
ninni.  Handel  and  Palcstrina  were  the  subjects 
■<f  his  persevering  study.  By  analyzing  the  works 
of  Handel  he  became  a  learned  fuguist  on  the 
organ.  He  obtained  the  places  of  organLst  at  St. 
Butolph's  and  St.  Andrew's;  and  the  University 
of  Oxford  conferred  on  him  the  degree  of  doctor 
in  music.  He  died  in  1790.  His  principal  works 
are  the  oratorios  "Hannah"  and  "Manasseh." 
Some  collections  of  organ  pieces  and  a  great  num- 
ber of  songs  for  one  or  more  voices,  which  he 
composed  for  the  VauxhaU  Concerts,  have  been 
printed  at  London. 

WIIANITZKY,  PAUL,  an  exccUent  violinist, 
was  elected,  in  1790,  first  violin  and  director  of 
the  opera  orchestra  at  the  National  Theatre  of 
Vienna.  He  was  born  in  Bohemia  in  1756,  and 
was  a  pupil  of  the  celebrated  Haydn.  His  com- 
positions are  very  numerous  and  highly  admired. 
They  consist  of  several  theatrical  pieces,  per- 
formed at  Vienna  between  the  years  1791  and 
1800,  and  various  opera  of  instrumental  music, 
consisting  of  symphonies,  concertos,  sestets,  quin- 


tets, quartets,  trios,  duos,  and  solos,  bearing  datt 
between  the  years  1790  and  1800.  His  Germar 
opera  called  "  Oberon,"  which  was  performed  at 
Frankfort  in  1790  on  the  occasion  of  the  corona- 
tion of  the  Emperor  Leopold  II.,  had  such  suc- 
cess, that,  during  six  weeks,  it  was  performed 
every  night.     Wranitzky  died  at  Vienna  in  1808. 

WTIANITZKY,  ANTON,  younger  brother  of 
the  preceding,  was  chapel-master  to  the  Prince 
of  Lobkowitz  at  Vienna,  and  from  about  the  year 
1796  was  considered  one  of  the  best  violinists  in 
that  capital.  He  died  in  1819.  He  has  composed 
various  works  for  his  instrument. 

^VUNDERLICH,  JOHANN  GEORG,  bom 
at  Bayreuth  in  1755,  was,  in  the  year  1800,  flutist 
in  the  orchestra  of  the  Grand  Opera  at  Parb ; 
also  professor  of  that  instriunent  (in  the  second 
class)  at  the  Conservatory.  He  has  published 
various  works  for  the  flute.     He  died  in  1819. 

WUNDERLICH,  CHRISTIAN  FRIED- 
RICH,  chamber  musician  and  performer  on  th« 
hautboy  in  the  chapel  of  the  Margrave  of  An- 
spach,  was  bom  at  Culmbach  in  1722.  He  wa« 
considered,  in  his  youth,  as  an  excellent  player 
both  on  the  hautboy  and  clarinet,  for  both  of' 
which  instruments  he  composed  various  workf 
between  the  years  1733  and  1770. 


996 


XAV 


ENCYCLOPAEDIA    OF    MUSIC. 


XI  M 


X. 


XAVIER,  ANTON  MAIUA.  chamber  violin- 
ist to  the  Emperor  Napoleon,  and  member  of  the 
lioynl  Academy  of  Music,  was  born  at  I'aris  in 
1769.  He  was  of  a  noble  family,  but  was  obliged 
on  account  of  the  French  revolution  to  follow 
music  as  a  profession.  He  was  a  pupil  of  Ber- 
theaume  and  of  Mestrino.  His  violin  playing  was 
proatly  admired  at  I'aris.  He  published  like- 
uisc  several  compositions  for  his  instrument  and 
many  romances. 


XIMENES,  FllAN.,  cardinal,  and  Archbishop 
>f  Toledo,  was  bom  at  Tordelaguna  in  1457.    He 


took  a  very  active  part  in  the  organization  of  the 
Spanish  church  music  of  his  time ;  and  intrn- 
duced  the  Mo/.arabic  or  Gothic  chant,  which  dif- 
fers in  several  respects  from  the  (jregorian  and 
Ambrosian  chants.  It  is  very  similar  to  the  an- 
cient African  church  music  introduced  by  St. 
Augustin.  A  law  of  the  council  of  Toledo  de- 
termines that  no  person  shall  be  admitted  to  the 
ecclesiastical  dignity  in  Spain  without  being  able 
to  sing  the  whole  missal,  or  at  least  all  the  cus- 
tomary chants  and  h}-mnB  of  the  church,  in  th« 
Mozarabic  stvle. 


897 


YAN 


ENCYCLOPEDIA    OF    MUSIC. 


YZO 


Y. 


YAXIEWICZ,  FETJX.  A  PoUsh  gentleman, 
born  at  Wiliia.  and  in  his  youth  attached  to  the 
court  of  Stanislaus,  King  of  Poland.  His  t^cnius 
for  music  showed  itself  at  a  very  early  age,  and 
was  so  much  admired  by  King  Stanislaus  that  he 
signilied  his  desire  that  every  means  should  be 
employed  for  the  cultivation  of  a  talent  so  re- 
markable. With  this  oljject  in  view,  a  liljcral 
pension  was  assigned  to  Vaniewicz,  that  be  might 
travel  in  Germany,  Italy,  and  France  for  tlie  im- 
provement of  liis  art.  \Vliil»t  in  Paiis,  where  lie 
was  particularly  noticed  by  several  members  of 
the  royal  family,  the  French  revolution  broke 
out,  and  soon  iii'ter  the  sun  of  Polisli  liberty  set, 
perhaps  forever.  Amidst  the  tempest  of  politi- 
cal commotion  which  involved  the  ruin  of  Stan- 
islaus and  the  dismantlement  of  Poland,  Ya- 
jiiewicz's  fortunes  were  involved  in  the  general 
wreck;  and  in  1792  ho  went  to  England,  wliere 
he  remained.  There  he  married  an  English  ladv, 
by  whom  he  had  one  son  and  two  daughters. 
Both  his  daughters  seemed  to  inherit  their  fa- 
ther's musical  talent.  The  eldest,  Felicia,  be- 
came distinguished  as  an  admirable  pianist,  pos- 
sessing great  force,  neatness,  brilliancy  of  touch 
and  execution.  Her  public  performances  have 
been  equally  creditable  to  herself  and  to  her 
father,  who  was  her  chief  instructor  and  the 
model  of  her  taste.  As  a  singer,  her  pure  and 
unpretending  style  and  delicate  intonation  have 
given  great  pleasure  to  her  hearers  in  public  and 
in  private.  The  youngest,  Pauline,  gave  great 
promise  of  musical  excellence.  Yaniewicz  was 
long  well  known  in  the  musical  world  as  a  very 
eminent  performer  on  the  violin.  His  style  seems 
to  have  been  more  the  result  of  his  own  peculiar 
mode  of  feeling  and  expression  than  any  scho- 
lastic imitation  or  predilection.  AVith  great  spirit 
and  precision  in  the  more  brilliant  passages,  there 
•was  blended  in  those  of  the  cautabile  character  a 
strain  of  amatory  feeling  and  serious  tenderness  i 
which  gave  an  indescribable  charm  to  his  per- 
formance. His  tone  was  pure  and  equal,  his  in- 
tonation  remarkably  exact,  and   his  style   free 


tos,  trios,   duets,   and  other  compositions  gave 
proof  of  a  fine  and  cultivated  taste. 

YONGE.  Author  of  a  work  entitled  "  Micsica 
Trtiisalpinn,"  published  in  London  iu  the  year 
15SS.  The  dedication  to  this  work  supplies  the 
following  interesting  notice  of  tlie  state  of  music 
in  London  at  that  time  :  "  Since  I  first  began  to 
keep  house  in  this  city,  it  hath  been  no  small 
comfort  unto  me  that  a  great  number  of  gentle- 
men and  merchants  of  good  account,  as  well  of 
this  realm  as  of  foreign  nations,  have  taken  in 
good  part  such  entertainments  of  pleasure  as  my 
poor  ability  was  able  to  afford  them,  both  by  the 
exercise  of  music,  daily  used  in  my  house,  and 
by  furnishing  them  with  books  of  that  kind, 
yearly  sent  to  me  out  of  Italy  and  other  places  ; 
which,  being  for  the  most  part  Italian  songs,  are 
for  sweetness  of  air  very  well  liked  of  all,  but 
most  in  account  with  them  that  understand  the 
language." 

YOST,  MICHAEL.  Under  this  name  several 
pieces  of  instrumental  music  were  published  at 
Paris  about  the  year  1790.  All  of  them,  how- 
ever, wore  the  composition  of  J.  C.  Vogel. 

YOUXG,  MATTHEW,  an  Irish  bishop,  pub- 
lished at  Dublin,  in  17S4,  a  treatise  entitled  "An 
Inciuiry  into  the  principal  Phenomena  of  Sounds 
and  Musical  Strings."  He  died  at  Wliitworth, 
in  Lancashire,  in  the  year  1800. 

YKIARTE,  DON  TOMAS  DE,  a  Spanish 
author,  published  at  Madrid,  in  1779,  a  poem,  ir 
five  cantos,  entitled  "  La  Musica."  There  is  an 
indifferent  Frencli  translation  of  this  poem,  en- 
titled "  La  Miisijue,  Potme  de  D.  Thomas  Yriarte, 
trad,  de  V Espagnol  par  Grainville,  et  acconipoffni 
de  Xotes  p.ir  Langks."  Paris,  1800. 

Y'SS.\XDOX,  JEAX,  a  French  musician,  pub- 
lished at  Paris,  in  1.582,  a  work  entitled  "  TraUi 
de  Mwiiqiie  pratique,  divisie  en  deiix  Parties,"  &c. 

YZO  published  in  1754,  probably  at  Paris, 
two  works,  entitled  "  Apo'ogie  de  la  Musique  el  det 
miisiciuiis  Fran(;ais,  cotUre  lea  Assertion-^  peu  meh- 


from  those  unmeaning  harlequinades  and  flatter- 
ing flipjiery  embellishments  which  disfigure  the  I  dieuses,  peu  mesurics  et  mal  fondies  de  J.  J.  Rous- 
violin    playing   of    so   many   jierlbrmers   whose  .  seau,  Citoycn  de  Ginive,"  and  "  Lettre  sur  cell*  d* 
merits  are  otherwise  considerable.     His  concer-  I  J.  J.  Rousseau  sur  la  Musiqtie." 

998 


ZA 


ENCYCLOP-EDIA    OF   MUSIC. 


ZAP 


z. 


ZA.      A    syllable    formerly    applied    by    the  i  His  profcssionnl  celebrity  occasioned  him  to  have 


French,  in  tlioir  church  music,  to  U  Hat,  to  dis- 
tiii'^uish  it  from  B  natural,  called  si.    Mons.  Lou-  I 
lie,  the  author  of  "  Elimrnls,  oii  Principes  tie  Mit-  , 
iiV/i.;,"  printed  at  .\rasterdam  in  the  year  1698,  rc- 
jcctin;^  the  syllable  :a,  has  retained  only  si;   and  I 
tliis  method  of  solmization  has  been  since  prac- 
ticed throu-jhout  France. 

ZABEHN,  JACOB,  published  at  Munich,  in  \ 
l.*)iiO,  a  work  entitled  "Ara  bene  cantaiuii  choralem  . 
cantum."  j 

ZACCARirs,  or  ZACIIRIIS,  CESAR  DE, 
born  at  Cremona,  was  musician  to  the  Bavarian 
court,  and  flourished  towards  the  end  of  the  six- 
teenth century. 

Z.VCCIIAKELLI,  an  Italian  dramatic  com- 
poser in  the  latter  part  of  the  last  century. 

ZACCHIXI,  GIULIO,  an  organist  at  Venice, 
published  in  1572  a  work,  entitled  "  Motetti  a  4 
rod." 

ZACCOXI,  LUDOVICO,  an  Augustine  monk 
of  I'esaro,  and  afterwards  a  musician  in  the  ser- 
vice of  the  Duke  of  Bavaria,  was  the  author  of 
an  excellent  work,  printed  at  Venice,  tirst  in  loUl 
and  afterwards  in  1.59G,  under  the  title  ai"Pra'i- 
ca  di  Musica."  This  is  justly  esteemed  one  of  the 
most  valuable  treatises  on  the  subject  of  practical 
music  tliat  is  e.vtant ;  and  although  it  seems  chief- 
ly intended  for  the  use  of  experienced  musicians, 
it  abounds  with  precepts  which  are  applicable  to 
practice,  and  suited  even  to  oniinary  capacities. 
In  the  year  1G62  he  published  a  second  part  of 
this  work,  in  wliich  he  treats  of  the  elements  of 
music  and  the  principles  of  composition.  The 
rules  for  the  composition  of  counterpoint,  fugue, 
and  canon  are  taken  from  the  writings  of  Zarli- 
no,  Artusi,  and  other  Italians. 

Z.VCII,  JOIIAXN,  was  born  in  Bohemia,  and 
received  his  musical  education  under  the  tirst  or- 
ganists and  contrapuntists  of  his  dav.  He  was 
chapel-master  to  the  Elector  of  Mentz,  and  his 
instrumental  compositions  were  much  admired. 
He  died  in  poverty  in  1773. 

ZACIIARIA,  JUSTIN  FRIEDRICH  WIL- 
IIDI.M,  an  eminent  German  poet  and  composer, 
was  professor  of  belles  Utires  at  the  Gymnasium 
in  Brunswick,  where  he  died  in  1777.  His  com- 
positions wore  chicrty  vocal. 

ZACHAU,    FRIEDRICH     WILHELM,    the 

60u  of  a  musician  of  Lcipsic,  was  bom  in  that 
town  in  l(it>3.  He  was  placed  at  the  public 
school  there,  and  became  a  deeply-skilled  pro- 
ficient in  the  science  of  music,  and  likewi.se  at- 
tained sotnc  excellence  as  a  performer  on  the  or- 
gan and  other  instruments.  He  studied  under 
Thiel  at  Stettin,  and  in  ItiSl  was  appointed  or- 
ganist of  the  Cluirch  of  the  Virgin  Mary  at  Halle, 
in  Saxony,  where  he  contin\ied  until  hLs  death 
in  the  year  1721.  He  comixised  several  pieces  for 
the  church  and  some  lessons  for  the  harpsichord. 


many  pupils;  and  it  is  no  small  addition  to  his 
character  that  he  was  the  musical  preceptor  of 
Handel. 

Z.\HN,  a  celebrated  performer  on  the  bassoon, 
was  b.)rn  in  Franconiii.  He  was  engaged,  in 
1701,  in  the  Imperi.nl  Chapel  of  .St.  Petersburg, 
and  resided  in  Russia  during  twenty  years. 

ZAMPIF.HI.  or  SAMI'lEUI,  a  good  Italian 
violinist,  resirled  for  some  time  in  England  about 
the  year  170.i.  He  was  a  very  singular  charac- 
ter, and  gave  several  concerts,  at  which  he  intro- 
duced hisown  compositions,  whimsically  describ- 
ing in  the  bills  the  story  his  music  was  meant  to 
illustrate. 

ZAMPOGXA,  or  SAMPOGXA.  The  flute  a 
bee,  or  common  flute. 

Z.\XCHIU.S  court  musician  and  organist  to 
the  Emperor  Rudolph  II.,  was  bnrn  at  Treviso 
about  1.570.  He  flourished  at  Prague  at  the 
commencement  of  the  seventeenth  century,  and 
publislied  there,  amongst  otlier  works,  "  5  Vespcr- 
psalmen  von  8  und  12  Sliinmen,"  1C03. 

ZAXEHT    or    ZAXETTIXI,    AXTOXIO.   a 

Venetian,  was  chapel-master  to  the  Duke  of  Mo- 
dena.  He  brought  out  at  Venice  the  follow- 
ing operas:  •' Medea  in  Atene,"  li>7o  and  1C78  ; 
"  L' Aurora,"  l'>78;  "  Irene  e  Constantino,"  1681; 
"  Temiitocte  in  linnrh,"  1(583  ;  "  Virgilio  Console," 
1704;   Mv\.  "  Artaserse,"  170.5. 

ZAXEITI,  FRAXCESCO,  chapel-master  at 
Perugia,  was  born  at  Voltcrra  abnut  tlie  year  1740. 
In  17U0  he  resided  in  England,  where  he  published 
several  compositions  for  the  violin.  Amongst  his 
dramatic  works  are  "  L Antiijono,"  Leghorn,  17^.5  ; 
"La  Diflone  ahbandonata,"  Leghorn,  17'ii);  and 
"  Le  C'o'/nate  in  Cu;i/fjj(i,"  opera  buff.i,  Alessan- 
dria, 1783. 

ZAXOITI,  FRAXC.  M.,  an  Italian  author, 
published  "  Lettere  del  S<;r.  Fninr.  M.  /..motti,  del 
P.  Giamb.  Martini,  del  P.  Ciioicnnle  Sirc/ii,  Acca- 
demici  deW  htitiUO  di  liuh<jna,  nelle  quali  .\i  propon- 
ffono  e  risolronn  alcuni  dubbi  appartenenti  nl  trat- 
trato  :  Delia  dirisione  del  tempo  nelia  mxuica,  uel 
baUo  e  nella  /nesia,  puMicato  in  Milano  neW  antto 
1770,  e  air  aUro  :  delle  quinle  successive  net  contra- 
punto,  e  delle  revolt  deijli  accompai/namenii,  pubbU 
C  anno  1780,"  Milan,  1782. 

Z.\XOTTL  GIOVAXXI  CALISTO.  was  in 
1770,  chapel-master  at  Bologna,  lu  1791  he  it 
named  as  a  dramatic  composer  in  the  Milan  the- 
atrical calendar. 

ZAPF,  JOHAXX  XEPOMUK.  pianist  al 
Gratz,  published,  chiefly  at  Vienna,  many  work* 
for  his  instrument  since  the  year  1 800. 

Z.VPPA,  FR.VXCESCO.  a  good  violoncelli,»t 
and  composer  for  his  instrument,  publitlicd  some 
of  his  music  at  Paris  about  the  vear  1770. 


999 


ZAU 


encyclop.t:dia  of  music. 


ZEI 


An  old  dance  in  waltz  time. 


little  attention  to  the  instruction  he  received  on 
the  piano-forte  and  organ  from  a  Berlin  organist. 
After  a  tedious  and  painful  illness,  by  which  he 
was  attacked  in  his  cii;hteenth  year,  an  extraor- 
dinary passion  for  music  all  at  once  sjirung  up  in 
him.  But  as  at  this  jjcriod  nearly  the  whole  of 
his  time  was  derote<l  to  his  profes^iional  pursuits. 


Z.VUABAXDA. 

See  Sarahanda. 

Z.-\.KGE.  (G.)  The  Bides  of  any  musical  in- 
strument ;  Bueh  as  the  violin,  tenor,  violoncello, 
guitar,  &c. 

ZAULIXO,  GIUSEPPE,  a  celebrated  chapel- 
raastcr  of  St.  Mark's  Church  at  Venice,  was  born  j  the  evening  alone  was  left  to  him  to  satisfy  his 
at  Cliiuggiii,  near  Venice,  at  the  commencement  i  thirst  for  linrmony.  Thus  whole  nisxhts  were 
of  the  sixteenth  century.  He  was  a  pupil  of 
Adrian  Willaert,  and  succeeded  Cyprian  de  llore, 
whose  office  he  filled  in  1.505.  His  theoretical 
works  raised  him  to  the  rank  of  one  of  the  first 
classical  authors  of  the  sixteenth  century.  He 
was,  alter  Guido,  one  of  the  first   authors  who 


fretjuently  spent  in  copyin:?  mtisic  and  in  prac- 
tising the  violin  and  piano-forte.  This  enjoy- 
ment, however,  was  but  of  short  duration,  for  hii» 
instructor  in  the  latter  instrument  could  no  long- 
er attend  him ;  and,  fearing  that  such  constant 
and    unwearied    api)lication    might    injure    his 


MTote  on  music  scientifically,  inakina;  use  of  the  ;  health,  his  father  endeavored  to  check  his  volun- 


monochord  to  treat  of  the  length  of  the  strings 
and  the  consonances.  The  merit  of  having  dis- 
covere  1  the  relation  between  the  major  and  mi- 
nor thinl  is  also  attributed  to  him.  All  his 
works  were  printed  at  Venice  in  1.538,  in  four 
volumes  folio.  Zarlino  was  the  composer  of  the 
"  M'x/it'ntiiiies  S{'x  I'-ivum pur  Phil.  Usbertum  edites" 
Venice,  1.566.  He  likewise  composed  for  the  the- 
atre In  1630  one  of  his  operas,  called  •'  Orfeo," 
was  rej)!  eseuted  at  Paris  by  a  company  of  singers 
brought  there  by  Cardinal  Mazariu.  Walthcr 
fixes  the  time  of  the  death  of  Zarlino  in  the  year 
1.5.59  ;  but  he  is  deceived,  since  he  succeeded  Rore 


tary  studies.  But  this  did  not  stop  his  progress, 
for.  as  he  was  now  deprived  of  his  instruments,  ho 
began  to  compose,  for  which  purpose  only  pen, 
ink,  and  paper  were  necessary.  He  had  no  rules, 
and,  being  governed  only  by  his  fancy,  his  defi- 
ciency in  the  knowledge  of  composition  was  con- 
stantly manifesting  itself;  and,  having  no  ac- 
quaintance with  scientific  musicians,  he  had  no 
means  ol  gaining  information  through  the  medi- 
um of  conversation.  He  therefore  procured  some 
scores  of  Emanuel  Bach  and  Hasse,  the  study  of 
which  showed  him  the  importance  of  order  and 
unity  in  composition,  and  taught  him  how  to  pre- 


in  15()5.      Fctis  names   the  year  1590;   and  this     serve  a  constant  flow  of  melody  in  the  middle  parts. 


opinion  is  most  probable.  Dr.  Burney  says, 
"  There  are  few  musical  authors  whom  I  have 
more  frequently  consulted  than  Zarlino,  having 
been  encouraged  by  his  great  reputation  and  the 
extent  of  his  plan  to  hope  for  satisfaction  from 
his  writings  concerning  many  ditficultie^  in  the 
music  of  the  early  contrapuntists  ;  but  I  must  own 
that  I  have  been  more  frequently  discouraged 
from  the  pursuit  by  his  prolixity  than  enlight- 
ened by  his  s,  ience :  the  most  trivial  information 
is  involved  in  such  a  crowd  of  words,  and  the 
suspense  it  occasions  is  so  great,  that  patience 
and  curiosity  must  be  in\nncible  indeed  to  sup- 
]ort  a  musical  inquirer  through  a  regular  perusal 
of  all  his  works."  However,  as  there  is  perhaps 
more  pedantry  discovered  by  writers  upon  mu-ic 
in  general  than  any  other  art,  from  their  ambi- 
tion of  being  thought  profoundly  skillel  in  the 
useless  jargon  of  ancient  Greek  theorists,  if  «e 
make  allowance  for  Zarlino's  infirmity  in  that 
jjarticular,  many  useful  precepts,  and  much  curi- 
ous information  concerning  the  music  of  the  six- 
teenth century,  may  be  collected  from  his  works. 

ZEITMAASS.    (G.)     The  time,  or  movement. 


Xow,  however,  hLs  health  actually  began  to 
sink  under  his  exertions  and  the  many  priva- 
tions to  which  his  earnest  application  subjected 
him.  His  thoughts  were  exclusively  devoted  to 
the  art  of  which  he  was  enamoured,  and  all  else 
was  neglected.  His  business  was  neglected  for 
it,  and  his  health  ruine.l.  His  father  again  re- 
monstrated, and  the  young  enthusiast  renewed 
his  promises  of  obedience  :  he  for  some  days  took 
more  sleep  and  paid  more  attention  to  his  affairs, 
but  in  less  than  a  month  relapsed  into  his  former 
habits,  though  he  did  also  attend  to  his  drawing, 
his  geometry,  and  other  business ;  but  at  the 
same  time  prosecuted  his  musical  studies  with 
all  the  ardor  which  his  little  remaining  strength 
would  permit. 

In  the  year  1783,  having  completed  his  proba- 
tionary architectural  arawing,  he  was  admitted 
among  the  number  of  master  builders.  And 
now,  for  the  fir-st  time,  he  received  lessons  in 
counterpoint  from  M.  Fasch.  "  I  have,"  he  him- 
self states,  '•  made  as  much  use  of  this  excellent 
instruction  as  I  pos>it)ly  could  in  the  midst  of 
my  other  occupations.  To  this  worthy  M.  Fasch 
1  am  entirelv  indebted  for  whatever  merit  many 


ZELLEll,  G.  B.  L.,  chapel-mas; er  to  the  Duke  1  of  my  compositioi\s  may  possess." 


.Vfter  alluding  to  three  themas  with  variations 
of  his  comjiosition  published  at  Berlin,  and  many 
songs  6cattere;l  in  various  publications,  he  adds, 
"  I  have  besides  composed  several  j)ieces  of  mtisic 
for  particular  occa.sions.  The  best  among  these 
are  a  cantata  upon  the  death  of  the  Emperor 
Friedrich  II.  in  the  year  1787,  and  another  can- 
tata upi.n  the  birthday  of  a  beloved  mother  in 


of  Mecklenburg-.Strelitz  and  comprser  of  some 
dramatic  and  violin  music,  died  at  .Strelitz  in  the 
year  1S03. 

ZELO,  ran,  ZELOSO.     (I.)     With  zeal,  en- 
thublasticallj. 

ZELTEll,  CAUL   FUIEDKICH,  was  bom  at 
Berlin   in   1758.     His   fatlier,  a  Saxon,  had   him 

instructed  during  his  childhood  and  youth  in  j  the  year  1793.  A  variety  of  single  arias  and 
various  elegant  as  well  as  useful  aciiuirements.  I  sccnas,  many  of  which  I  scarcely  even  can  rccol- 
Engngcd  in  the  cultivation  of  his  mind,  for  which  ;  lect,  are  not  to  be  taken  into  account.  The  con- 
purpose  he  attended  the  Joachimsthal  College,  certo  for  the  tenor  wliich  I  compo.sed  in  the  year 
lie  had  already  attained  his  seventeenth  year,  1  1780,  it  it  has  merit,  has  on  the  otlier  hand  many 
when  he  was  articled  to  his  father's  huKiiie-s,  that  faults,  and  Ls  not  theoretically  correct.  All  the 
ot  a  builder.  Hitherto  he  had  not  shown  much  |  rest  of  my  musical  works  arc  studies,  consisting 
ijclination    for  music,  and    had    iauid.e>te,l   but  •  of  tugued  choral  piece- and  fugues,  wluch  1  hav« 

1000 


ZEL 


encyclop.i:dia  of  mu.sic. 


Zl.\ 


never  considered  worthy  of  preservation.     If  I  I  quoted  in  Rellstab's  catalogue  :    "Ariadi  Uravu- 

ahould  hereafter  be  enabled  to  devote  more  time 

to    my   beloved    art,   I    hope    to    indemnity    the 

friends  of  my  muse,  if  any  such  there  be,  for 

those  works  which,  from  precipitance  or  without 

any  blame  attaching  to  rae,  have  already  been 

brought  before  the  public." 

"Thus  far  only,"  (ierber  states,  "extend  the 
particulars  which  Zclter  had  the  kindness  to 
lurnish  me  with  in  17'J'?.  lUit  it  is  necessary  to 
add  a  few  explanatory  observations.  For  the 
benefit  of  such  of  my  readers  as  have  no  other 
idea  of  a  master  builder  than  that  he  must  be 
begirt  with  a  leathern  apron  and  armed  with  a 
trowel,  1  must  remind  them,  in  the  first  place, 
that  Zcltcr's  tools  con-iisted  solely  of  a  case  of 
drawing  instruments  and  a  pen  ;  and  that  no  one 
can  have  any  conception  of  his  great,  his  impor- 
tant, occupatii)n8  who  has  not  had  an  opportuni- 
ty of  witnessing  the  solid  taste,  the  grandeur  and 
splendor,  of  the  architecture  of  Berlin."  How 
many  an  artist  might,  with  a  feeling  of  shame, 
look  upon  this  pattern  of  activity,  who  day  after 
day  superintended  the  building  of  various  great 
edifices,  yet  nevertheless  ever  bore  in  mind  with 
reference  to  music  the  words  of  Horace,  nulla  dies 
sine  linca !  In  order  also  to  be  as  useful  as  possi- 
ble when  his  fatiguing  profes.sional  duties  of  the 
day  were  completed,  he,  in  his  hours  of  relaxa- 
tion, joined  the  singing  academy  of  Fasch  and 
became  one  of  its  most  active  members ;  in- 
deed, it  may  be  said  that  he  was  Fasch'a  right 
hand. 

And  when,  in  the  year  1797,  Gcrber  revis- 
ited Berlin,  Zclter  singly  at  the  piano-forte  di- 
rected the  whole,  while  Fasch,  then  become  aged 
and  infirm,  was  most  commonly  a  silent  listener 
in  one  corner  of  the  room.  And  this  school,  or 
society,  performed  before  Naumann,  Hiramcl,  and 
other  distinguished  composers  one  of  Naumann's 
learned  compositions  written  for  them,  (a  Latin 
psalm,)  and  a  part  of  Fasch's  masteqnece  for 
four  choirs.  In  the  same  year,  too,  Zelter  con- 
ducted Graun's  "  Tod  Jesn"  at  the  Opera  House, 
iu  which  the  choruses  were  sung  by  the  united 
members  of  Fasch's  society ;  the  orchestra  hav- 
ing consisted  ol'  the  members  of  the  Royal  Chap- 
el and  the  best  amateurs  in  Berlin. 

The  following  arc  the  titles  of  Zelter's  detached 
papers  and  compositions.  On  the  represcnUition 
of  Uluck's  opera,  "Alceste,"  at  the  Berlin  Opera 
House,  from  the  letters  of  an  artist,  published 
in  the  fifth  number  of  the  Journal,  entitled 
"  Deutschliind,"  Berlin,  170G,  after  many  inter- 
esting observations  upon  the  dramatic  treatment 
of  the  story  l)y  C'alsabigi,  he  remarks,  "  The  con- 
ductor of  the  opera  should  always  have  the  right 
to  wield  the  heliu  of  the  vessel,  because  he  is  more 
likely  to  enter  into  the  beauties  of  an  excellent 
poem  than  a  poet  is  to  understand  any  thing  of 
music,  even  what  is  meant  by  a  dissonance." 
Analysis  of  a  scene  from  Benda's  "  Romeo  and 
Juliet,"  in  the  first  volume  of  the  "  Lyceum  of  the 
Fine  Arts,"  Berlin,  17S)7-3  ;  dance  and  aria  from 
tl.e  opera  "Axur,"  with  variations,  for  the  piano- 
forte ;  "  La  ilaludc,  piece  cnracteristiqite  pour  le 
Clarccin;  "  Schiller's  "  Ode  an  die  Frcude,"  —  Ode 


Gra/o  Flauto,  ifc,  p.  Soprano  con  Flauto  concer- 
talo.  Hondo  h  6;  Dove  act,  mid  bulla  nice,  Stc,  p. 
Soprano  con  Flauto  concerlalo ;"  fragment  from 
Wioland's  '•  Sera  fine"  in  score;  all  of  which  were 
already  written  about  the  year  1790  ;  and  another 
of  the  same  description  from  his  celebrated  can- 
tata, already  alluded  to,  on  the  death  of  the  Em- 
peror Friedrich  H. 

The  following  works  of  his  also  have  appeared 
in  print :  "  Memoir  of  t'arl  FViedrich  Christian 
Fa.sch,  by  C.  F.  Zelter,  with  a  Portrait,"  Berlin, 
1801;  another  set  of  twelve  songs,  with  piano- 
forte accompaniment;  "  Der  Taucher," — The 
Diver,  —  by  Schiller,  for  the  piano-forte;  "  Collec- 
tion of  Ballads  and  Songs,"  books  1,  2,  3,  4  ;  "Jo- 
hanna Svhii.i,"  for  several  voices,  with  piano-forte. 
He  subsequently  collected  his  gems  of  songs  and 
arias  of  every  description,  and  published  them  in 
numbers.  There  is  also  a  "  Te  Dcuin  "  of  his 
composition. 

In  1809  Zelter  was  appointed  by  the  king  pro- 
fessor of  music  at  the  Berlin  Academy  of  Arts 
and  Sciences ;  and  as  a  proof  that  it  was  not  a 
more  empty  title  conferred  upon  him,  the  king 
called  him  the  very  same  year  to  Konigsberg  to 
attempt  the  revival  of  a  taste  for  church  music, 
which  had  sunk  to  a  very  low  ebb  —  a  task  for 
which  he  was  eminently  qualified.  At  the  com- 
mencement of  this  year,  too,  a  new  society  had 
been  formed  at  Berlin,  consisting  of  about  twen- 
ty-four male  members  of  the  Singing  Academy, 
under  the  name  of  "  Die  Liederta/cl,"  — The  Vo- 
cal Club,  —  of  which  Zelter  was  president.  The 
members  were  divided  into  two  bodies  of  tenors 
and  two  of  basses ;  they  assembled  once  a  month 
and  sang  their  songs,  the  poetry  and  music  being 
of  their  own  production,  their  president  making 
his  remarks  on  them.  In  fact,  it  was  a  revival,  in 
a  much  improved  form,  of  the  guild  of  tho  old 
German  "  Meister-s.Tnger,"  and  did  no  little  credit 
to  the  state  of  cultivation  and  the  attainments 
of  the  dilettanti  of  Berlin. 

Zelter  died,  at  a  rather  advanced  age,  in  1832. 
He  appears  to  have  been  not  only  a  skilful  mu- 
sician and  an  ardent  lover  of  his  art,  but  also  a 
man  of  strong  mind  and  of  refined  taste  general- 
ly ;  and  the  correspondence  between  himself  and 
Goethe,  which  commenced  in  1790,  on  the  occa- 
sion of  his  setting  to  music  Goethe's  song,  "  IcA 
denke  Dein,"  and  was  continued  until  1832, — 
when  it  was  terminated  by  the  poet's  death,  — 
forms  six  volumes,  every  page  of  which  in  rej)lctc 
with  information  and  amusement.  It  has  been 
said  of  Lord  Bacon's  Essays  that  they  are  not 
essays,  but  severally  contain  hints  for  many  es- 
says. The  same  may  be  observed  of  the  criti- 
cisms of  Zelter  and  (ioethe ;  they  are  fragment- 
ary rather  than  elaborate,  and  contain  the  gerni 
of  more  extensive  disquisition. 

ZE-N'.VRO,  D.V  S.VLO  GIULIO,  a  musician 
of  the  sixteenth  century,  published  at  Venice,  in 
loOO,  "  Madrigali  SpirituaJi  a  3  cod." 

ZERSTREUT.  (G.)  Dispersed,'  scattcrod, 
with  respect  to  the  notes  of  arpeggios  or  chords, 
the  situation  of  the  different  parts  of  a  compo- 
sition, &c. 


to  Joy,  —  for  the  piano-forte  ;  "  Seize  chorales  com- 
po-^ies"  par  M.  M.  Rcichardt,  GOrrlich,  Zelter,  ZIAN'L  DON*  rtETRO  AXDRE.\,  by  birth 
kc;  "Triiiklicd,"  "  Drinking  Song,  '  of  K.  Mtlch-  a  Venetian,  was  in  early  age  chapel-master  of 
ler;  twelve  songs  with  pinno-lorte  accompaniment.  St.  Mark's  at  Venice,  and  subsequently  entered 
Ite  following  greoter  vocal  productions  also  are  '  the  service  of  the  court  at  ^^enna.  He  was  on* 
126  1001 


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ENCYCLOP-EDIA    OF   MUSIC. 


ZIN 


.if  the  best  theorists  of  his  time,  and  the  number 
of  his  practical  works  attests  the  fecundity  of  his 
talent.  IJcsides  seven  sets  of  sonatas,  which  were 
\11  jjublished,  he  produced  the  following  operas  : 
"  Im  Guerriera  SjmrCana,"  16.5-1 ;  "  Eupatra,"  1G55 ; 
"  Le  Fortune  di  Iloilope  e  di  Dalmira,"  10.57; 
•*  L'  Inconstanza  trion/anle,"  1658  ;  "  Antiyotia  de- 
Wa  da  Akcstc,"  16C0;  "  Annibale  in  Capua," 
1661;  "  Gli  Scherzi  di  Fortuna  ;  "  "  Le  Lagrime 
iella  Vergine ;"  "  Le  Fatiche  d'Ercole,"  1662; 
"  Amore  iruerriero,"  166.3  ;  "  Akiade,"  1667  ;  "  .Ve- 
•niratnide,"  1671;  "  Eraelio,"  1671;  •' AUila," 
1672  ;  and  "  Candaule,"  1679. 

ZIAXI,  MARCO  ANTONIO,  was  a  relation 
of  the  preceding,  and  his  successor  in  the  jjlace 
of  chapel-master  at  Vienna.  Some  of  his  sona- 
tas were  published  at  Amsterdam.  The  follow- 
ing are  amongst  his  operas  and  oratorios  :  "  Ales- 
fatidro  Magno  in  Sidoiic,"  1679;  "La  Niufa  Di- 
zarra,"  1680  ;  "  Alcibiade,"  1680  :  "  Damira  pla- 
tata,"  1680  ;  "  La  Virth  sublimaia  dai  Grande," 
1683  ;  "  Tullo  Ostilio"  1685  ;  "  Ltganno  regnante" 
1688;  "II  gran  Tamerlano,"  1689;  "  Crermte" 
1690;  "Falsirena"  1690;  "  Amante  Eroc,"  \Q,9Z  ; 
"  Marte  dehtso,"  "  La  Virtii  Trionfanle  deW  Amore 
e  dcir  Odio"  1691;  "  liosalinda,"  1693;  "Amor 
Figlio  del  Merio,"  1694;  "La  Finta  pazzia 
d  I'lisse ;  "  "  Domicio  ;  "  "  Constanza  in  Trionfo" 
1096;  "Eumene,"  1697;  "  Odoardo ;"  "It  Giu- 
dizio  di  Salomone ;  "  "  Egisto,  Rt  di  Cipro,"  1698  ; 
*'  Amori  trd  gli  odi,  ossia  il  Ramiro  in  Norvegin  ;  " 
"//  Theodosio,"  1699;  "Duello  d' Amore  edi  Ven- 
detta;" "  Gordiano  Pio  ;"  "II  Meleagro,"  1700; 
"  Temistocle,"  1701;  "  Romolo,"  1702;  "  Esojyo," 
1703;  "  Alboino,"  1707;  "  Chclonidn,"  1709; 
"  Gcsh  fl^tgellato,"  oratorio,  1714;  and  the  first 
act  of  the  opera  "  Atenaide." 

ZIEGLER,  FKANZ,  a  monk  at  the  Abbey  of 
Ebcrbach,  published  at  Nuremberg,  in  1740,  a 
work  entitled  "  84  Interludia,  siie  brtviores  ver- 
siculi  ad  miisicam  choralcm  iibii/ue  nccessarii." 
Sometime  afterwards  he  published  a  second  col- 
lection of  eighty  easy  fugues. 

ZIEGLER,   CHRISTIAN    GOTTLIEB.     An 

excellent  organist  and  learned  musician  at  Qued- 
linburg  in  tlie  first  half  of  the  last  century. 

ZIEGLER,  JOSEPH.  A  good  violinist  at  Vi- 
enna about  the  year  1750.  He  was  one  of  the 
masters  of  Von  Dittersdorf. 

ZIELCHE,  HANS  HEINRICH,  chamber  mu- 
sician and  flutist  to  the  King  of  Denmark,  also 
court  orgiinist  at  Copenliagen,  published  there 
*nd  at  Berlin  much  music  for  the  flute  between 
the  years  1775  and  1790. 

ZIMMERMANN,  MATrillAS.  A  German 
church  composer  towards  the  close  of  the  seven- 
teenth century. 

ZIMMERMANN,  ANTON,  organist  of  the 
Cathedral  Church  at  Presbufj;  died  in  1781.  He 
lett  much  instrumental  music  of  his  corofosition, 
fliiefly  in  manuscript. 

ZIMMERMANN,  PIERRE  JOSEPH  GUII^ 
L.WME.  was  born  at  Paris  in  1785.  He  was  a 
pupil  of  IJoieldii.li  at  tlie  Conservatory.  At  four- 
teen years  ot  age  lie  obtained  the  prize  for  per- 
formance on  the  piano-forte,  and,  having  studied 
harmony  under  Catel,  he,  two  years  afterwards,  j 


sitions  consist  of  piano-forte  music  and  a  great 
variety  of  romances. 

ZINCKE.  A  small  hornpipe,  or  whistle,  of 
German  origin ;  supposed  to  be  so  called  from 
the  word  Zinkcn,  the  small  branches  on  the  head 
of  a  deer. 

ZINCKEX.  (G.)  A  kind  of  rustic  pipe,  n, 
longer  used  ;  a  cornet. 


ZINGARESA,  ALLA. 
style. 


(I.)     In  the   gypsy 


gained  the  first  \  ri-.c  for  that  also.     His 


ZINGARELLI,  NICOLO,  chapel-master  of 
St.  Peter's  at  Rome,  was  born  at  Naples  in  1752, 
or,  according  to  Gerber,  at  Milan  in  1760.  Hav- 
ing lost  his  father  at  an  early  age,  he  was  placed 
at  the  Conservatory  of  Loretto  to  learn  the  rudi- 
ments of  composition  under  Feneroli.  Cimarosa 
and  Giordanello  were  here  his  fellow-students. 
On  quitting  the  Conservatory  he  learned  the 
higher  branches  of  the  science  from  Speranza. 
One  of  his  earliest  works  was  his  "  Montezuma," 
which  was  produced  at  the  Naples  theatre  in 
1781,  and,  though  not  free  from  faults,  gained 
the  approbation  of  Haydn.  He  then  wrote  for 
almost  all  the  theatres  in  Italy ;  and  sifter  having 
visited  Paris  in  the  year  1789,  where  he  produced 
his  "  Antigone,"  he  returned  to  Italy,  being  chosen 
chapel -maister  to  the  Cathedral  of  Milan.  This 
situation  he  subsequently  relinquished,  being 
elected,  on  the  death  of  the  celebrated  Guglielmi 
in  1804,  to  his  place  in  the  chapel  of  the  Vatican. 
From  this  epoch  church  music  was  the  only  spe- 
cies of  composition  to  which  he  applied  himself. 
The  following  list  contains  his  principal  dramat-- 
ic  works  :  "  Tclemaco,  ossia  la  f'erlu  vincitricc," 
cantata,  Milan,  1785;  "  Ricimero,"  opera  seria, 
Venice,  1785  ;  "Armida,"  opera  seria,  Rome, 
1780;  "  .l/on/c::i«n«,"  opera  seria,  Najjles,  1781; 
"La  Morte  di  Cesare,"  opera  seria,  Milan,  1791; 
'Mh/i//o;io,"  Paris,  1789;  "II  Mercato  di  Monfre- 
goso,"  Vienna,  1793  ;  "  La  Secchia  rapita,"  opera 
buffa,  1795  ;  "  Stanze  del  Canto  J'igesimo  della 
Gierusalemme  liberata  di  Tasso,"  Paris,  1795  ;  "  Ro- 
meo e  Giulietta,"  opera  buffa,  Vienna,  1797  ;  "  Dio 
sulci  Francesco  Impcratorc ;  Inno  Pafriotico  degli 
Austriaci,  con  Ace.  d'  Orchestra:  Gott  erhnJte  Franz 
den  Kaiser,  IrasjMriaio  in  Lingua  Ital.  dc  Carpani," 
Vienna,  1789;  "  I'irro  Ri  (/' f/Jiro,"  opera  seria, 
Vienna,  1798  ;  "  Ero,  Cantata,  ossia  Monologo  con 
Ace.  di  Cemb.,"  Vienna,  1802;  "  Preghiera,  coW 
Ace.  di  Cembalo,"  Vienna,  1803;  "  L'Oracolo  de 
Sanniti,"  opera  seria,  Naples,  1805  ;  "  Der  33  Ge- 
sang  atts  Dante's  llOtle,  J'ilr  mehrstimmigen  Ge- 
sang,"  1808;  "La  Distrttzione  di  Gierusalemme," 
oratorio,  Florence,  1800;  "  //  Trionfo  di  Davidc," 
oratorio;  "  Ijigcnia,"  opera;  "  Artaserse,"  opera  ; 
"  Apelle  e  Campaspe,"  opera ;  "  //  Conte  di  Sal- 
dagna,"  opera  ;  "  Ines  de  Castro,"  opera  ;  and  "  // 
Rittrato."     Zingarelli  died  in  1837. 

ZINK,  BENEDICT  FHIEDRICH,  organist 
of  the  Cathedral  at  Sehleswick  in  1783,  piiblishcd 
some  admired  instrumental  music.  He  died  at 
Ludwigslust  in  1801. 

ZINK,  II.VRTNACK  OTI'O  CONRAD,  son 
of  the  jireceding,  was  master  of  the  chofisters  at 
tlie  Chapel  Royal  of  Copenhagen.  He  was  con- 
sidered a  good  performer  on  the  flute  and  piano- 
forte, and  published  several  compositions  forthos« 


compo-  I  instruments. 
1002 


ZIT 


ENCYCLOP.^DIA    OF   MUSIC. 


ZUM 


ZriHEll.     (G.)    The  guitar,  or  cithern. 

ZITIIERN.  An  instrument  which  may  be 
called  a  compound  of  the  liiirp  and  guitar.  The 
harmonies  ot  the  first-named  in»trumcnt  are  pro- 
duced from  it,  and  it  possesses  the  sweetest  notes 
pertaining  to  both,  but  not  great  compass.  It 
■was  first  introduced  into  this  country  by  the 
the  Hauser  family  (Tyrolian)  in  181!). 

ZONKA,  or  ZOXCA,  or  ZOXOA,  JOIIANN 
BAPTISTE.  A  good  bass  singer  and  iierformcr 
on  the  harmonica,  belonging  to  the  Elector's 
Chapel  at  Munich  till  178f),  when  he  returned  to 
Italy,  his  native  country.  lie  published  several 
bass'  songs,  with  instrumental  accompaniments. 

ZOPPIS,  FRANCESCO.  Chapel-raastcr  to 
the  Emperor  of  Russia  at  St.  Petersburg  in  17.56. 
lie  first  went  to  that  country  with  an  Italian 
opera  company,  of  which  he  was  the  cnmpositore. 
Both  his  serious  and  comic  operas  were  very  suc- 
cessful. The  following  nrc  the  only  two  of  his 
entire  works  which  are  well  known  out  of  Rus- 
oia  :  "  Sacrijicio  d'  Abramo,"  oratorio;  and  "  Vo- 
loffeso,"  opera.  Several  detached  airs  from  his 
other  operas  became  popular  in  Germany. 

ZOPPO,  or  ZOPPE.  A  tenu  applied  by  the 
Italians  to  a  certain  species  of  countcqioint  cal'i- ' 
contrapunta  alia  zoppa,  in  which,  to  the  given  .--uIj- 
ject,  one  note  is  so  placed  against,  or  between, 
two  others  as  to  produce  in  the  performance  a 
tijnvope,  or  leaping  clfect. 

ZUCCARI,  CARLO,  an  Italian  violinist  and 
eomposer,  flourished  about  the  year  1770.  He 
was  for  some  time  in  England,  and  published 
in  London  "  'llie  .\rt  of  Adagio,"  consisting  of 
solos  for  the  violin  and  ba.ss,  and  "  Three  Trios 
for  two  Viohns  and  Bas-s." 

ZUCC.\RI,  GIOV.\NNI,  an  Italian  dramatic 
composer,  resided  at  Venice  about  the  year  172f>, 
and  produced  there  tlie  opera  of  "  Scli-iico,"  in 
which  the  celebrated  Carestini  made  his  first  ap- 
pearance on  the  Venice  boards. 

ZUCCIII.  A  celebrated  Milanese  vioUnist  at 
the  commencement  of  the  last  century. 

ZUCCIIELLI,  CILVRLES.  This  bass  singer 
is  said  to  bo  an  Englishman  by  birth,  and  to 
have  passed  the  first  eight  or  nine  years  of  his 
childhood  in  England.  IILs  organs  of  speech 
haWng,  therefore,  been  early  trained  to  the  pro- 
nunciation of  the  English  languaije,  he  spoke  it 
far  better  than  foreigners  in  general,  though  with 
a  slight  foreign  accent.  He  sang  at  the  Ancient 
(Concert  in  IS'J2  ;  and  though  he  ccrtaiidy  did 
not  shine  in  Handol's  finest  bass  songs,  such  a.s 
"Wliy  do  the  nations,"  and  •' O,  ruddier  than 
the  cherry,"  being  manifestly  unacquainted  with 
the  style'of  these  songs,  still  the  splendor  of  his 
voice  had  its  effect.  He  also  performed  at  the 
King's  'I'hcatre. 

ZUCIIINO,  GREGORK),  a  monk,  bom  at 
Brescia,  flourished  in  the  first  years  of  the  seven- 
teenth century.  Amongst  his  publisheil  works 
»re  "  Ilnrmom'a  Sarrn,  8, 9,  10-16  roc.,  aeit  Motetii," 
Venice,  1603  ;  and  •'  Muse  d  8-16  roc.,"  Venice, 
1603. 

ZUFAI.LIG.  (G.)  Accidental  in  respect  to 
■harps,  flats,  or  intervals,  or  to  chords  chromat- 
ically altered,  &c. 


ZTIFFI,  GIOVANNI  AMBROSIO.  organwt 
at  Milan  in  the  beginning  of  the  seventeenth 
ccnturv,  published  in  that  city  "  Concerfi  EccUa. 
A  1,  2,  3,  e  4  voci,  Parle  Ima.  e  2(la.,"  Milan,  16'2l  ; 
and  "  ConciTti  e  Magnificat  h  4  voci,"  Mihin,  1624. 
ZUFOLO.  (L1  Any  little  flute  or  flageolet ; 
but  more  especially  that  which  is  used  to  teach 
birds. 

ZULEHNER,  a  German  musician  and  com- 
poser of  a  mass  and  other  works  at  Mentz,  pub- 
lished, in  the  latter  i)art  of  the  last  century,  a 
very  extensive  collection  of  the  best  Italian, 
French,  and  German  ojjeras  and  oratorios,  ar- 
ranged for  the  piano- forte. 

ZUMSTEEG,  JOII.\NN  RUDOLF,  wa.s  bom 
at  (jausingon  in  1760.     He  was  an  excellent  vio- 
loncellist and  highly  esteemed  vocal  comjjoser. 
In  the  year  1792  he  was  elected  concert  raa«ter 
and  director  of  the  opera  at  Stuttgard.     Zuni- 
Bteeg   received   his  early  instructions   in   music 
from   the  Chapel-master  Agostino  Poli ;  but  he 
acquired  the  greater  part  of  hus  tht>oretical  knowl- 
edge by  studying  the  works  of  Mattheson,  Mar- 
pur^,  and  D'Alembert.     His  comjiositions  are  in 
general  distinguished  by  the  gravity  and  dignity 
of  their  style.     He   died  at   Stuttgard   in    1S02. 
The  following  is  a  li.st  of  his  principal  works. 
For  the   church :    "  Cantatas    and   other    Sacred 
Music  for  the  Fe^^tivals  of  an  entire  Year."     For 
the  theatre  :  "  Tlie  law  of  the  Tartars,"  opera ; 
"  Renaud  and  Armida,"  opera;  "  Schusa  de  l!a- 
etueiri/;,"  opera;  •' Z'tl.tnr,"  opera;    "Tlie   Frte 
of  Spring,"  opera  ;  "  Tamira,"  a  duodrama ;  songi 
for  Schiller's  "  Robbers ;  "  "  Proloi  vnn  Schubert, 
in    Stiittijnrd,  am    (iebiirtaf>at«    dca    ILrzoija   anfge- 
fuArt,"  XTiO;  "  Aira  dii  Diiertisacmcnt,  douui  par 
lea   Enfiina,  A  ann  AUcaae  Rnyale  Mad.  la  Oucheaat 
riynai'ite  de  W'urtembcrg,  tiie   I'rinciaae   dc    ]'ruaae, 
h   toccaiion    du  jour    de   Ste.   DorotMe,  aa  File," 
Stoccard,  1796  ;  "Die  Geiaterinael  Ein  Singajiiel  irt 
3  Akt.    von  Goiter,  zum  eraten  Mai  auftji'fuhrt  zu 
Stuttgard,"  1798  ;  "  Daa  Pfauenfcst,"  opera,  Stutt- 
gard,  1301  ;  "  Zataor,"  opera.     Chamber  music  : 
"  Lieder,  zeratreut  cingeriicki  in  don  Musihnliachen 
Potpourri   1,   2,  3,  und  4  Vierteljahr,"  Stuttgard, 
1790 ;     "  Jica    Pfarrrra    Tochier    von    Taubenhain, 
fine  Ballade  ron   lillrgcr,  mil    Bcglcit.  dea   Klac," 
Lcipsic,  1702  ;  "  Colma,  ein   Gcaang    Oaaiana,  von 
GOthe,    mit     Begleit.    dea    Klav.,"    Leipsic,    1794; 
"  Die  Eiilfnhrung,  oder  Bitter  Karl  ron   Eicherhott 
und  FrAul,  Gertrude  ton  llorhhurg,  eine  Ballade  v. 
Burger,    mit    Begleit.  dea    Klav.,"    Leipsic,    1794; 
"  \i  Lii'drr  mit  Klavier- Bcgleitung,"  Lcipsic,  1797  ; 
"  Die  Bilaaende,  eine  Ballade  von  Stollber'i,  mit  Klac. 
Begleit.,"    Leipsic,    1797;  "  Hagara   Klage  in  der 
Wttate  Beraaba,  f\lr  eine  Singalimme  und   Klav.," 
Leipsic,  1797;    "  GcaOm/e  dir  Wehmulh  von    Sati* 
und    Matthisaon,"    Leipsic,     1797  :   "  Lcnnorr,   eine 
Ballade   von   BUrger,  in    Miiaik   gcaclzt  f.   Klav.," 
Leipsic,    1798;   '•  Iglou'a  d.r   Mohrin   Klugrgeaang, 
/.  Klac."  Leipsic,  1800  ;   "  Traurige  Carallrn,  Du- 
ett aus  der  Geiaterinael  /lira  Klac,"  Leipsic,  1800; 
"  Kleine   Balladen  und    Lieder  mit    Klarier- Begtei- 
twig.    Part    1    und    2,"    I-cipsic,    ISOO;    "  Dritlet 
llfft.  Part  3,"  I.«ipsic,  1801  ;  "3  Dwta  it  FtuU  « 
IV.,"  Augsburg,    ISOO;    "  Elvine,    Bolladr,    vom 
Frhrn.  v.  I'lmcnalrin,"  Lcipsic,  1801  ;   "  .'i  Geiftngt 
mil   Klavier,"   Leipsic,    1801  ;   "  Trauerhtnlate,   im 
I'artitur   und  f.   Klav,  grdruchi,"  Leipsic,    1802  J 
"  Bequiem  auf  den  Tod  dra  Grafcn  Zej'/yetin,"  1801 ; 
"  KItine  Balladen  und   Lieder,   I'irl  4,"   I.«ipaio 


1003 


ZUP 


EXCYCLOP.EDIA    OF    MUSIC. 


ZYK 


1802;  "Part  o  ditto,"  1803;  "Sixth  and  Sev- 
enth Parts  ditto,"  1803;  •' Rilter  Toggeixburg, 
JialladefUr  Guitarre,  Violin,  und  Violoncetl.,"  1802  ; 
"  Elbotuiokani,  Siiujapiel  in  1  Akt,  von  Jitsti  nach 
dem  Kali/en  von  Bagdad,  furs  Klav.  gedrilckt," 
1802  ;  "  Johanna's  Abschied,  aia  Schiller's  Mad- 
e/ten von  Orleans,  fUrs  Klavier ;  ron  uubekannter 
Hand  vollendet,  aber  treit  unler  Zumsteeg's  Ueiste," 
Lcipsic,  1803  ;  •'  Die  FrllhUngi/eier,  Ode  zur  De- 
klamation  mil  Orcliesler-begleit.,"  Leipsic,  1804 ; 
"  Der  Abschied  an  Fanny ;  Kantate  f.  1  Sing- 
stimme,"  Leipsic,  1804  ;  "  Duo  cone.  p.  2  Violon- 
celtes,  et  Sonat.  p.  I'c.  el  D. ;  "  "Schiller's  Ode  an 
die  Freude,  mil  P.  F.  ;  "  "  L  'Amor  timido,  Cantata 
di  Metastasio  a  voce  sola  con  P.  F.  ed-  Orchestra," 
180  J;  and  "  Concert  p.  I'c.  av.  Orcheslre,  Xo.  I," 

ZUPHELIUS,  MATl'IIIAS.  A  contrapuntist 
of  the  sixteenth  century.  Several  motets  of  his 
composition  may  be  found  in  "  Petr.  Joanelli  Nov. 
Thes.  Music,"  Venice,  1568. 

ZURiJCKHALTUNG.  (G.)  Aholdingback 
in  the  time  ;  a  retardation,  or  suspension. 

ZUSAMMENGESETZT.  (G.)  Compound, 
in  speaking  of  times. 

ZUSAMMENSCHLAG.  (G.)  Italian,  acci- 
acatiira.  In  the  half  beat,  the  inferior  note  is 
struck  only  once,  and  at  the  same  time  with  the 
principal  note,  but  is  immediately  quitted. 


ZWEISTIiDUG.      (G.)      For  two  voices  oi 
parts. 

ZWISCHEXRAUME.     (G.)    The  spaces  be- 
tween the  lines  of  the  staff. 


(G.)    An  interlude  in 


ZWISCHENSPIEL. 
organ  playing. 

ZYGMANTOWSKY,  NICOLAS,  a  celebrated 
performer  on  the  violoncello,  was  born  in  1769. 
He  played  on  the  tenor  at  a  public  concert  when 
only  four  years  of  age,  and  on  the  violoncello  at 
seven.  He  died  before  he  had  attained  his  elev- 
enth year. 

ZYKA,  JOSEPH,  chamber  musician  and  vio- 
loncellist at  the  Chapel  Royal  at  Berlin,  was  born 
in  Bohemia.  He  flourished  about  the  middle  of 
the  last  century,  when  much  of  his  music  was 
known  in  manuscript. 

ZYKA,  JOSEPH,  Jr.,  youngest  son  of  the 
preceding,  was  chamber  musician  and  performer 
on  the  tenor  to  the  King  of  Prussia  at  Berlin. 
He  composed  various  operettas  ;  also  some  piano- 
forte music  and  cantatas.  In  the  year  1797  he 
presented  a  "  Stabat  Mater,"  of  his  own  compo- 
sition, to  the  Emperor  of  Russia,  who  rewarded 
him  on  the  occasion  with  an  elegant  gold  repeat- 
er and  chain. 


1004 


APPENDIX 


to 


ENCYCLOPAEDIA  OF  MUSIC. 


CONTAINING 


EVENTS  AND  INFORMATION 


OCCURRING    SINCE    THE    MAIN    WORK    WAS    ISSUED. 


BY 

JOHN   W.    MOORE. 


4    ^m»    9 


BOSTON : 

NEW  YORK:   C.  H.  DITSON  &  CO.     CHICAGO:  LYON  &  HEALY. 


COPYBIOUT,  1876,  Dv  Jo^^^  W.  Moobe. 


MOORE'S  COMPLETE  ENCYCLOP.EDU  OF  MUSIC. 


This  work  was  first  published  in  1854  ;  and  to  its  contents  I  devoted  more 
Hian  seventeen  years'  time  and  labor.  It  was  the  first  American  book  of  its 
kind,  and  is  to-da}'  the  onl}'  extensive  and  Aill  work  upon  music  published  in 
this  country. 

Since  the  time  in  which  tiiis  work  was  published,  I  have  been  engaged  in  pre- 
paring a  s''COH(l  volume,  not  yet  ready,  from  which  selections  have  ijeon  made  for 
this  Appexdi.x  ;  thus,  brieflj',  bringing  all  musical  events  down  to  the  present 
time.  I  most  respectfully  tender  sincere  thanks  to  such  of  my  friends  as  have 
assisted  me  in  my  labors,  while  I  acknowledge  my  obligations  to  such  editors  of 
periodicals  as  have  aided  in  the  collection  of  biographical  and  historical  matter 
for  my  work,  as  well  as  to  my  brethren  of  Uie  press,  at  home  and  abroad,  for  the 
many  notices  given  my  Encyclopedia. 

The  use  which  has  been  made  of  the  information  contained  in  the  first  volume, 
by  abstracts  and  (juotations,  has,  I  trust,  made  the  work  better  known,  and 
created  a  thirst  for  the  second  volume,  which  will  embrace  all  such  subjects  as  I 
was  compelled  to  omit  for  want  of  space  and  information.  I  hope  to  make  an 
acceptable  second  volume  in  tlue  time.  I  am  thankful  to  llim  who  has  preserved 
my  \'\i\\  and  given  me  health  and  strength  to  lalior  in  the  musical  field  during 
more  than  half  a  century  ;  and,  though  my  work  has  been  small,  it  has  been  per- 
formed faithfully,  and  with  the  desire  of  doing  the  best  I  could  do.  I  hope  my 
futiu'c  efforts  will  be  yet  more  valuable. 

JOHN   W.   MOORE. 

SlAXi'UESTEB,  Jf.U.,  October,  1S75. 


APPENDIX 

TO  MOORE'S  COMPLETE   ENCYCLOPEDIA  OF  MUSIC, 


CONTAININO 


SKETCHES  OF  EMINENT  MUSICIANS  AND  COMPOSERS, 

WXTO    HUSICAL   EVENTS    WHICH   HAVE   TRANSPIRED   SINCE  THE    PUBUCATION   OF   THB 

ORIGINAL,    WORK. 

BY    JOHN     W.     MOORE. 


ABERDEEN  CAXTUS.  "  Cantus,  Songs  I 
and  Fancies.  To  Thre,  Foure  or  Five  partes, 
both  apt  for  voices  and  viols.  With  a  briefe 
Introduction  of  Musick,  as  is  taught  in  tlie 
Musick-Scbole  of  Aberdene,  by  T.  D.  [  Thomas 
Davidson  ]  Master  of  Musick.  Aberdene, 
printed  by  lolin  Forbes,  and  are  to  be  sold  at 
his  Shop.  Anno  Doni.  MDCLXII."  The 
above  title  is  printed  within  a  rude  wood-cut 
border,  representing  a  lady  with  a  lute  on  one 
side,  and  a  gentleman  with  a  music-book  on  the 
other.  It  usually  passes  under  the  printer's 
name,  as  "  Forbe-,'s  Cantus,"  although  Mr.  T. 
D.  or  Thomas  Davidson,  may  have  been  the  1 
editor;  and  it  may  be  objected  that  the  word  | 
"  Cantus"  is  improperly  used,  as  applied  t<»  a 
collection  of  airs,  instead  of  to  only  one  of  the 
parts.  The  first  edition  of  the  "Cantus"  is 
of  very  great  rarity,  and  contains  sixty-one 
songs.  This  collection,  the  earliest  printed  in 
Scotland,  1(562,  contains  a  set  of  English  tunes, 
or  tunes  composed  in  an  English  style,  rather 
than  of  genuine  Scottish  melodies,  and  is  a 
small  oblong  quarto,  fifty  leaves.  The  dedica- 
tion, by  Forbes,  is  a  curiosity,  abounding  in 
lK>mba>t.  lie  speaks  of  "  the  heavenly  melody 
and  the  nightingales  of  Bon-Accord,"  or  Aber- 
deen, to  which  place  "  many  have  come  of  pur- 
pose from  the  outmost  partes  of  the  Hand,  to 
hear  the  checrfull  Psalms  and  heavenly  melo- 
dies;" and  he  adds,  "to  have  been  born  in 
Aberdene,  hath  been  sufficient  to  advance  any 
one  to  (he  profession  of  music  elsewhere." 

The  second  edition  of  the  Canttin,  l(Wfl,  a 
quarto  of  fifty  leavei,  containing  only  fifty-five 
songs,  six  having,  for  some  re.ison,  been 
omitted,  is  very  rare.  It  has  on  the  title  the 
same  rude  wood-out  border  as  in  the  first  edi- 
tion. A  third  edidon  was  published  in  lrt82, 
to  which  were  adde<l   several    choice   Italian 


songs.  John  Forbes  was  the  city  printer,  and 
his  prayer  was  "that  all  his  painful  labors 
might  tend  for  the  good  of  the  city  and  his 
country."  In  the  Cantus,  the  notes  are 
lozenge  shaped  semibreves,  minims,  and  crotch- 
ets, without  any  bars.  We  give  one  of  the 
songs,  thrown  into  modern  notation.  "  Love 
will  find  out  the  way."  This  is  an  exact  copy 
of  the  melody,  as  printed  in  1(302;  but  the  sim- 
ple melo<ly  of  this  fine  old  song  would  be 
scarcely  discernible  amidst  the  superfluous 
extravagance  of  modern  embellishment. 
Psalm-book  makers  have  used  it. 


m 


il^Pt: 


ig 


O-  vcr  the  mountains,  and  nn-dcr  the  caves. 


*—0^.-M 


-+- 


Mz:s:= 


I 


O  -  ver   the  fountaiiu  and  nn  -dcr  tbcwaret 


*-    u    >  i-F        J      J         '  —^^^ — y — h*— J 


O-  vcr  wa  -  tcrs  that   are  decpcit,  and  which 


Nep-  tune  o  -  her,      O  -  rcr  rocks    that  an 


;9 


•te«p  -  est,    love  will  pohit   ont     the   waj. 


AliT 


APPENDIX. 


ACC 


AUT.  FRANZ,  was  bom  at  EilenburR,  in 
the  Pru>-i;iii  province  of  Saxony,  Dec.  21. 181i). 
Ili-i  fatlicr,  a  (•Ici'iymaii  of  the  LiUli(!raii 
C'luiroli,  wa'i  di^tiiriuislicil  as  a  iiiusiciaii,  and 
fiave  Franz,  who  evinced  great  love  and  apti- 
tude for  the  art.  his  first  musical  instruction, 
and  I  lien  )>lace(l  liini  at  the  celebrated  Thomas 
Scliool  al  Iyei|)>ic.  where,  from  olden  times, 
music  —  i)articularly  singinjj  —  had  been  culti- 
vated ;  and  here  his  musical  love  found  natural 
.sustenance.  This  was  fortunate,  as.  before 
enterinj;  upon  the  third  year  of  liis  university 
studies,  the  death  of  his  father  deprived  him 
of  the  means  of  continuing  the  study  of  law, 
and  he  was  compelled  to  leach  music  in  order 
to  support  himself  and  his  mother.  lie  de- 
voted himself  now  to  the  doctrine  of  harmony, 
and  be^an  to  compose  songs,  some  of  which 
became  known  in  IS^iS;  as  in  April  of  that 
year,  in  addition  to  songs,  he  found  a  i)ul)lisher 
for  his  first. '"  Six  contrc-dance.i,^'  W.  A.  Kun/.el. 
Some  of  these  were  arranged  for  orchestra, 
and  were  jjlayed  at  two  gardens  largely  fre- 
quented by  the  Leipsic  public.  His  first  waltz 
was  api)roved  by  the  celebrated  Queisser,  and 
was  performed  in  the  garden  of  the  IlofcJ  de 
PrUKf'p,  to  the  great  delight  of  the  audience, 
and  there  was  a  public  summons  for  its  repeti- 
tion; the  publisher  was  satisfied,  and  made  for 
Abt  several  thousand  dollars.  Franz  now 
became  conductor  of  the  Philharmonic  Society, 
and  in  September,  1S41,  married,  and  found  a 
position  as  leader  of  an  orchestra  at  Zuricli. 
Here  he  composed  seven  songs.  "  Af/athe,'' 
**  Jreur,"  •' Pa»?/)io,"  ^^  Adpllieid,"  ^' Ar/nes," 
and  two  others.  Agathe.  '•  When  the  swallows 
homeward  fly,"  was  finished  ilay  14,  1842;  it 
was  first  sung  by  Fraulein  Agathe  Reuss,  at  Zu- 
rich, and  pleased  the  audience ;  but,  as  Abt  was 
unknown,  it  was  a  long  time  before  he  could 
find  a  publisher  willing  to  risk  the  publication 
of  the  seven  songs.  At  last,  after  many  trials. 
Gopel,  of  Stutgard.  brought  them  out.  and 
the  "Swallows"  (lew  with  rapidity  over  the 
world;  and  his  name  became  known  to  almost 
every  musical  household.  Abt  remained  at 
Zuiich  until  18")1,  when  he  accepted  the  posi- 
tion of  Kdiif'lliiif'inlcr  t>i  the  IJrnnswick  theatre  ; 
which  he  retained  until  18.J5.  when  he  held 
office  at  the  theatre,  court,  and  chapel.  In 
lS(i.5  he  was  one  of  the  conductors  of  the  great 
festival  at  Dresden.  He  came  to  this  country, 
and  was  present  at  the  Peace  Jubilee  in  Bos- 
ton , where  he  directed  the  performance  of  some 
of  his  own  music;  he  arrived  in  New  York. 
May  2.  1872,  and  was  welcomed  by  a  testimo- 
uial  concert,  for  his  benefit,  at  Sfeinway  Hall. 
May  IS,  1872.  It  is  .saiil  that  Theodore 
Wachtel  has  .sung  one  of  Abt's  songs  six  hun- 
dred and  seventy-eight  times,  in  operas,  as  an 
interlude.  Other  singers  arc  equally  devoted 
to  Abt's  music,  and  rec»MV<;  every  new  son'.:  of 
his  with  joy.  At  Boston,  he  complimented  us 
by  saying.  "  The  Americans  have  more  talent 
for  music  than  the  English;  and  I  think  the 
growth  of  musical  taste  among  the  peoi)le 
here  is  wonderful,  protnising  a  great  fu- 
ture." 

AC:COMPANIMENT  OF  ANTHKMS  con- 
sists principally  of  the  voice  parts  played  with- 
out much  modllic.'ition. 

ACCOMPANIMENT  OF  THE  CHORAL. 
The  first  and  easiest  task  for  the  practice  of 


accompaniment.  Such  hannonies  should  be 
chosen  as  are  most  easily  attached  to,  and 
best  support,  tlu^  melody,  the  aceoiupaniment 
should  correspond  with  the  general  character 
of  the  choral  and  words,  taking  into  considera- 
tion the  features  of  each  verse. 

ACCOMPANIMENT  OF  CHORUS.  The 
chorus  accompaniments,  except  those  to  an- 
thems, are  generally  written  for  the  orchestra, 
which  is,  for  this  i)urpose.  divided  into  the 
string,  the  reed,  and  the  brass;  the  brass  in 
emphatic  passages,  the  strings  and  reeds  sup- 
porting tire  voices. 

ACCOMPANIMENT  OF  INTERVALS. 
The  intervals  belonging  to  chords  are  not 
always  indicated;  but  the  rules  of  accompani- 
ment make  known  the  chord  which  each  bass 
note  ought  to  carry.  Figures  are  sometimes 
used,  though  not  necessary,  to  designate  the 
chords.  In  every  chord  there  is  a  characteris- 
tic interval,  which  being  marked,  the  others 
follow  as  a  matter  of  course. 

ACCOMPANIMENT  OF  RECITATIVE. 
Recitatives  are  of  two  kinds,  accompanied  and 
unaccompanied;  they  are  sung  without  partic- 
ular regard  to  time,  and  require  only  simplp 
chords  in  arpeggio,  frequently  played  by  the 
violoncello;  when  accompanied  more  fully, 
they  seldom  require  other  instruments  than 
the  strings. 

ACCOMPANIMENT  OF  SOLOS.  In  so- 
los the  accompaniment  may  not  interfere  with 
the  melody  so  as  to  take  attention  away  from 
it,  but  it  may  be  made  to  express  the  senti- 
ment of  the  words  or  the  air;  and  symphonies 
may  be  added  during  the  rests  of  the  voice  as 
well  as  at  the  beginning  and  end  of  a  piece. 
Solo  accompaniments  may  be  pl.iyed  by  one  or 
more  instruments,  or  by  an  orchestra.  Solos 
in  anthems  are  accompanied  by  the  organ;  in 
oratorios,  bv  the  orchestra. 

ACCOMPANIMENTS.  H.  Berlioz  says, 
"The  history  of  the  race  is  the  history  of  the 
individual."  The  time  was,  when  the  human 
race  was  only  a  child.  Grown-up  men  and 
women  spake  and  thought  like  children;  and 
pre-historic  men,  dwelling  in  caves  or  in  Swiss 
lake-cities,  were  not  much  more  than  adult 
infants.  The  child  is  first  an  animal,  then  a 
little  saviige.  He  grows  up  through  the  bar- 
barous, half-civilized,  and  civilized  stages  of 
the  school-books.  His  first  expression  is  a 
mere  animal  cry.  As  he  grows  in  months  he 
expresses  his  crmle  emotions  in  crowings  and 
vague  attempts  at  songs.  Still  later,  he  ac- 
(piires  some  sense  of  rhythm  and  time,  and 
catches  a  hint  of  pitch;  and  his  savage  cries 
resolve  into  simple  m<'lodies  or  songs.  Then 
he  seeks  to  mark  the  time  with  barbaric  beat- 
ings and  poundings  with  sticks  or  >ton(-.s  upon 
>omc  resounding  body :  and  a  drum  Ix'comes  a 
treasure  of  unendin'j;  delight. 

The  types  of  the  lake  dwellers  niul  thestone- 
asie  men  are  extinct.  We  have  only  the  savage 
type  left,  that  has  advanced  to  the  tom-tom 
and  concli-shell,  —  the  drum  periixl  of  the  boy. 
From  that  up.  we  have  still  living  on  the  earth 
all  the  various  >ia','es  of  mu-ical  growthj  from 
the  triin-tom  of  the  South-Sea  Islanders  to  the 
grand  orch'rstras  of  our  cities. 

In  making  this  glance  at  the  history  of 
music,  both  in  llie  r.ace  and  in  the  child,  we 
notice    how  early  the  desire   for  accompanl- 


ACC 


APPENDIX. 


ACC 


ment  sprin^i  up.  Tlie  savage  and  the  boy 
both  want  a  drum  to  mark  the  nieiLsures  of 
their  music.  It  is  not  (Miou-Jih  to  sini;.  They 
want  some  kind  of  measured  aeoeni,  even  if 
it  is  only  a  dull  thud,  or  the  sliarp  rattle  of  bit-* 
of  wood  struck  toiiether.  After  a  time  tlie 
mere  barbaric  instruments  of  percussion  fail  to 
satisfy,  and  something  with  ])iteli  is  wanted; 
and  llie  llute,  violin,  and  irunipei  types  of  in- 
struments are  invented.  Tlieii  harmony  is 
demanded;  and  from  tlie  Pan-pipes  and  the 
harp  sprini;  up  the  orj;.in  and  pianoforte. 
Lastly,  all  instruments  are  united,  and  the 
desire  for  accompaniment  is  fully  satisfied  in 
the  orchestra. 

The  child,  on  first  afteinptini;  to  draw, 
■'lakes  only  outlines  <if  nninials  and  thiu'^'s. 
riie  Japan^•^e  and  Chiiie.-'e,  still  children  in 
pictorial  art,  paint  with  exquisite  skill  and 
fidelity,  but  seem  to  have  very  little  idea  of 
perspective.  It  was  the  same  in  E^ypt  at  the 
time  the  Pyramids  were  built.  The  hiero- 
glyphics are  in  the  tlaf,  — only  outlines. 

In  music  the  accompaniment  is  the  hack- 
ground, —  the  per-ip'>ctive.  The  song' alone  i-* 
only  outline  drawinc;.  It  does  not  sati>fy. 
Some  perspective,  background,  and  harmonic 
shading  is  demanded,  or  the  tone-picture 
appears  flat  and  only  in  unsatisfactory  outline. 
The  human  voice  is  the  best  instrument  we 
have.  We  wish  to  hear  it  more  than  any 
other:  so  it  is  easy  to  sec  that  all  other  instru- 
ments stand  in  relation  to  it  .as  the  back'^rouml, 
or  accompaniment.  The  voice  may  be  accom- 
panied by  any  instrument ;  but  no  instrument 
or  combination  of  instruments  is  ever  accom- 
panied by  voices.  The  voice  gives  the  form  — 
the  drawing  —  of  the  tone-picture:  the  orches- 
tra, organ,  or  piano  give  colorifig,  back- 
ground, perspective,  and  shading.  The  voice 
may,  indeed,  give  color  and  shading,  just  .a« 
figures  in  a  picture  have  both  fonn,  tints, 
lights,  and  shadows  ;  but  there  can  be  no  dis- 
tance, no  atmospheric  effects,  no  enchantment 
of  horizon,  without  scenery  and  a  l)aekgroun(l. 
The  background  has  alsf)  fomi,  and  the  accom- 
paniment has  melody  or  fonn  as  well  as  the 
figures  or  solo  voice.  At  the  same  time  it 
mu«t  evcrl)e  kept  in  view,  that  the  accompani- 
ment is  only  the  background,  and  that  the 
h.ackground  is  only  secondary.  The  fi'^ures 
make  the  central  and  primary  points  of  the 
picture:  the  solo  is  the  chief  and  fir,-<t  point  of 
interest  in  the  tone-picture. 

Holding  to  this  evident  and  natural  analogy 
between  pictures  and  music,  or,  better,  between 
a  solo  and  accompaniment  and  a  Jigure-picce, 
it  is  easy  to  draw  a  lesson  for  the  musician 
from  the  art  of  the  painter.  In  the  first  place, 
the  background  is  secondary  to  the  figures ; 
and  the  .accompaniment  is  kept  in  a  sec- 
ondary place  by  being  softer,  and  by  being  of 
a  simple  and  unobtni-iive  character.  Its 
ch.ar.acter  is  settled  by  the  composer;  its  man- 
ner of  HMideriiig  is  in  the  haiuN  of  the  accom- 
panist. He  niu>t  have  sufiicient  humility  to 
take  a  second  place  in  the  |M>rformance.  Here 
the  vanity  of  the  player  of  pianoforte  accom- 
paniments often  destroys  the  whole  p«>rfonn- 
ance  througli  a  silly  fear  that  somehow  people 
would  not  notice  the  ]>laying.  N'othing  could 
be  more  shallow.  People  of  sense  and  culture 
recognize  the  artist  iu  the  good  accompanist; 


.and,  the  more  retiring  and  self-sacrificing  he  is, 
the  greater  the  estimation  in  which  he  will  be 
heltl.  This  position  of  retirement  can  hardly 
be  carried  to  excess  within  the  limits  of  the 
actual  inu^ic.  In  fact,  a  mere  touching  of 
almost  unheard  chords  is  a  favorite  method 
of  writing  accumpanimeuts  with  some  com- 
posers. 

Finally,  the  accompaniment  must  be  iu 
keeping  with  the  subject  or  story  both  in  col- 
oring, manlier,  and  form.  These  thiu'^s  con- 
cern the  composer.  At  least,  he  desi.;ns  the 
coloring  and  foi'in  of  the  !iccoini)animent,  and 
points  out  the  nianii<>rof  its  rendering.  By  the 
coloring  is  meant  the  selection  of  the  instru- 
ment or  instruments  on  which  it  i-i  given.  In 
orchestral  acconipaiiiiiiwiit  {\u:  iusirUMient? 
are  fixed  and  marked  l)y  the  composer,  antl  tlia 
l)and  have  no  choice  in  the  matter.  Tlieii 
only  duty  is  to  see  that  the  balance  of  the  in- 
struments is  preserveil,  and  that  no  one  exceeds 
its  plainly-marked  duty.  In  accoinpaiiinients 
on  the  organ  the  coloring  is  obtained  by  the 
registration.  In  the  best  work-*,  the  group- 
in'4  of  the  stops  is  more  or  less  plainly  marked. 
Where  only  general  directions,  or  no  directions 
at  all,  are  given,  the  organist  has  some  choice, 
aiul  hen;  he  has  a  hand  in  the  coloring.  He 
must  study  the  music,  and  arrange  his  stops  to 
give  the  appropriate  coloring  to  the  accom- 
paniment. Many  l)ages  could  be  written  on 
this  subject,  did  space  permit.  We  can  only 
now  say,  that  in  this  matter  of  coloring  the 
organist  has  more  freedom  than  any  other 
.'U'conipanist ;  and,  consequently,  he  should 
study  the  matter  more  carefully.  In  piano 
accompaniment  there  can  be  no  choice  in  color, 
as  the  instrument  is  the  poorest  accompani- 
ment of  all,  being  colorless,  and  like  a  photo- 
graph in  its  cold  liuht  and  shade. 

ACCOMPLISHED  SIXGEK.  An  essay  oi 
tract,  published  at  Boston,  Mass.,  in  1721,  and 
written  by  Dr.  (Jotton  Mather.  It  is  entitled 
'"The  Accomplished  Singer.  Instructions 
how  the  piety  of  singing  with  a  true  devotion 
may  be  obtained  and  expressed:  the  (iLouious 
Goi)  after  an  uncommon  manner  lilorified  in 
it,  and  his  peoi)le  edified.  Intended  for  tha 
assistance  of  all  that  sing  psalms  with  grace 
in  their  hearts;  but  more  particularly  to  ac- 
comi)any  the  laudabh!  endeavors  of  those  who 
are  learning  to  sing  by  rule,  and  seeking  to 
preservi!  a  UEfMi^Aii  si.voiNO  in  the  assem- 
blies of  the  faithful." 

I     In  onler  to  know  loAj/ such  an  essay  as  the 
'one  by  Mather  was  necessary  at  the  time  In 
I  wbicli  it  was  written,  the  reacliT  must  under- 
stand, that,  soon  after  the  settlement   of    tlie 
colonies,  so  many  and  so  gre.it  troubles  came 
upon  the  Puritan-*,  thai,  however <lesirous  they 
may  have  In-en  of  improving  their  muHie,  they 
could  not  do  so;  and  the  cultivation  of  mu- 
I  sic    was    neglected,    until    the    congregations 
j  throughout  New  Knuland  were  r.irely  able  to 
sing   more   than    three   or   four   tuin-<.      The 
knowledge  and  use  of   the  notes,  loo,  had  so 
[  loiii;   been   neglected,   that   the   few  nielo<lie4 
'  sung   becaini>  corru|iled.   until   no    two   indi- 
i  viduals  santr  them  alike.     In  fact,  it  w;vs  with 
great  diHirulty  tli.it   this  part  of  wor>hip  wa* 
]>erfonned  ;  and.  when  afteinpteil,  it  w.-v*  ren- 
dered with  a  medley  of  confused  and  disor- 
derly   sounds    ur    uoiscs,    rather    than    iu    a 


ACC 


APPENDIX. 


ADA 


decorous  sonpr.  This  decline  inmii^iicliad  been 
so  f;ra<lual  ami  imi>erceptible,  that  tlie  con- 
fusion ami  ilisconi  had  become  grateful  to  the 
ears  of  the  Puritans;  and,  consequently,  a 
melody  sun?  in  time  and  turn;  was  to  Iheni 
really  offenxive.  At  this  sta<;e  of  affairs, 
some  of  the  best  men  of  the  day,  seeing  the 
need  of  reform,  resolveil  to  set  about  the 
work.  The  mo-^t  able  divines  commenced 
j.reachim;  upon  the  subj-ct;  and  several  ex- 
cellent and  spiiited  discourses  were  published, 
and  scatfereil  amon?  the  people.  No  sooner 
had  the  cry  of  reform  been  heard,  than,  sin- 
gular as  it  may  now  seem,  it  was  opposed  by 
a  large  party  in  almost  every  church,  and  op- 
posed with  a  virulence  of  feeling,  and  tenacity 
of  attachment  to  their  old  customs,  that 
seemed  to  defy  their  best  efforts.  Objections 
were  urged  even  by  serious,  and  on  other 
subjects  well-informed  persons,  which,  how- 
ever trifling  and  pitiful  they  may  seem  to  us, 
■were  to  them  important  and  solemn.  The 
idea  of  learning  to  sing  by  note,  or  to  sin.g  a 
melody  correctly,  had  something  in  it  little 
less  fearful  in  itself,  or  in  its  effects,  than 
witchcraft  and  its  scenes  through  which  the 
Puritans  had  just  passed. 

They  said,  '•  It  was  a  new  way  of  singing, 
—  an  unknown  tongue. — not  so  melodious  as 
the  usual  way.  Thei-e  were  so  many  new 
tunes  one  could  never  learn  them.  The  new 
way  of  singing  made  disturbance  in  churches. 
grieved  good  men,  exasperated  them,  and 
caused  them  to  behave  disorderly.  It  was 
popish,  and  would,  if  allowed,  introduce  in- 
struments. The  names  of  the  notes  were 
blasphemous.  It  was  needless,  and  the  old 
way  was  good  enough.  It  w.as  a  contrivance 
to  get  money.  It  would  take  too  much  time 
to  learn  the  new  way  of  singing;  it  would 
make  the  young  disorderly,  and  keep  them 
from  the  proper  influence  oif  the  family." 

Such  were  the  objections  raised  by  the  good 
old  Puritans  to  the  introduction  of  music 
among  them  in  1720,  one  hundred  years  after 
the  landing  of  the  Pilgrims  upon  these  shores. 
To  prove  tlie  unreasoufibleness  of  such  objec- 
tions, the  musical  reformers  of  America  labored 
long  and  faithfully  aiul  successfully. 

"The  Accomplished  Singer"  says,  "The 
skill  of  rerjvlar  sint/imi  is  among  the  gifts  of 
God  unto  the  children  of  men,  and  by  no 
means  uiithaukfully  to  be  neglected  or  de- 
spised. For  the  congregations  wherein  it  is 
wanting,  to  recover  a  re'julnr  shviin;/  would 
be  really  a  reformalinn,  and  a  recovery  out 
of  apostasy,  and  what  we  may  judge  that 
Heaven  wcmld  be  pleased  withal.  We  ought 
certainly  to  serv'e  our  (iod  with  the  best ;  and 
rerjular  singing  must  nee<ls  be  better  than 
the  confused  noise  of  a  wilderness.  God  is 
not  for  confusion  in  the  churches  of  his 
saints;  Imt  rei|uires,  ^  Let  nil  lliini/s  be  done 
dercnili/.'  It  is  a  great  mistake  for  some 
l>eo[)l«>,  that  the  tunes  regulated  with  the 
notes  used  in  the  regular  singing  of  otu- 
churches  are  the  same  that  are  used  in  the 
iduirches  of  Home.  And  if  they  were?  Our 
|>salms,  too,  are  used  there.  Hut  the  tunes 
in  the  French  I'saliiiod!/,:ixu\  from  them  in  the 
Dutch  also,  were  set  by  a  famous  tnartrjr  of 
.iKsi's  Ciikist;  an<l  when  .Sternhold  and 
Hopkins  illuminated  England   with  their  ver- 


sion of  the  Psalms,  the  tunes  liave  been  set 
by  such  as  goo<l  Protestants  may  be  willing 
to  hold  communion  withal.  The  tunes  com- 
monly used  in  our  churches  are  few;  it  were 
well  if  Ibey  were  more.  But  they  are  also 
grave,  and  such  as  well  become  the  oracles  of 
God.  It  is  to  be  desired  that  we  may  see  in 
the  rising  generation,  a  fresh  and  strong  dis- 
position to  leiirn  the  pro|H!r  tunes,  that  God 
may  be  glorified,  and  religion  beautified,  with 
a  regular  singing  among  us  for  all  time  to 
come." 

Itev.  Mr.  Walter  said,  "Their  singing 
soiuided  like  five  hundred  different  tunes 
roared  out  at  the  same  time."  The  singing 
had  become  so  hideous  ami  disorderly,  that 
some  of  the  able  men  of  the  day  uiulertook  to 
reform  it;  and  for  this  purpose  Dr.  Mather 
published  his  essay.  It  designed  to  show  that 
•'  the  people  0H;jht  to  sin;),  and  how.  and  what 
they  ouglit  to  sing:  that  singing  is  natural 
worship,  and  a  positive  institution  of  God." 
lie  recommends  young  people  to  learn  to  sinj 
bij  rule,  and  says,  "  Our  blessed  Saviour  him- 
self, n;)  doubt,  at  the  Passover,  as  often  as  it 
recurred,  sung  at  least  a  part  of  what  they 
called  The  Great  llaUel,  which  was  the  hun- 
dred and  thirteenth  INalm,  with  the  five  that 
followed  it." 

ADAM,  ADOLPII  CHARLES  [mentioned 
in  vol.  i.  p.  2-2\,  died  at  Paris,  May  2.  1856, 
.aged  fifty-three.  His  death  was  from  disease 
of  the  heart.  On  Friday  he  was  in  perfect 
health  and  his  usual  spirits;  was  at  the  Grand 
Opera  with  his  friends  that  night,  and  later 
accompanied  them  to  the  Theatre  Lyrique, 
where  one  of  his  own  operas.  "  Si  J'ctais  lioi,'" 
a  favorite  with  the  public,  was  in  rehearsal 
for  a  series  of  representations.  On  reaching 
home,  he  wrote  a  letter  ami  some  notes  of 
music,  which  he  left  upon  his  piano-forte.  Not 
appearing,  at  the  usual  hour  the  next  morn- 
ing, his  wife  went  to  his  room  at  eight  o'clock 
to  call  him.  and,  receiving  no  answer,  ap- 
proached his  bed.  and  found  him  dead.  He 
liad  previously  suffered  from  heart-disease; 
and  the  family  physician  thought  that  the 
extinction  of  vitality  must  have  been  instan- 
taneous,—  without  warning,  without  pain: 
such  a  death  as  the  illustrious  composer  had 
desired;  without  precedent  decay,  in  the  midst 
of  his  strength  and  honors.  At  his  funeral, 
when  the  solemn  services  of  the  church  were 
ended,  a  procession  composed  of  artists  of  all 
kinds,  and  men  of  letters,  with  a  numerous 
body  of  friends,  luimbering  in  all  some  three 
thousaml  i>er>t)ns,  followed  his  remains  to 
their  resting-place.  He  left  at  his  death,  for 
publicati<>n.  bis  memoirs,  containing  curious 
details  of  his  experience  behind  the  scenes  of 
the  stage  and  in  politics.  He  was  above  all, 
and  before  all.  a  Frenchman:  worked  assidu- 
ously, and  ol)tained  both  fame  and  money. 
The  avocations  of  M.  Adam  were  many. 
He  composed  opera*  and  ballets  without  num- 
ber: \n^  v,'role  teuilletons  in  the  daily  papers; 
provided  the  church  with  music;  was  a  pro- 
fessor in  till'  Conservatoire,  a  menibi!i'  of  the 
instituti'.  and  at  oni'  time  manager  (  f  the 
theatre.  He  was  as  amiable  .is  he  was  ( lever, 
an<l  was  much  love<l  by  friends  and  -acquaint- 
ances. His  works  were  sparkling,  pretty,  and 
popular;    and   he   will    rank,  among    French 


ADA 


APPENDIX. 


AIN 


composers  of  his  day,  next  to  Auber,  altliough 
below  him  in  inventive  funey. 

AUAMS,  Dk.  F.  W..  Wiis  born  in  1787;  was 
a  resident  of  Montpelicr,  Vt.,  where  h»!  died 
in  IfSOi),  at  tlie  aj;e  of  .••evenly-two  years,  lie 
early  tnrned  liis  attention  to  violin  niakinj; 
and  ])ractiee;  and  at  the  time  of  his  death  he 
liad  eoinpleted  one  hundred  and  forty  in^iru- 
inent.s;  they  were  valued  at  very  hifjh  i)riees, 
and  he  would  not  often  sell  one  even  at  the 
prices  he  had  named.  He  called  his  violins 
"Ancient  Ciemouas  lievivcd.'"  and  made  most 
of  them  from  maple  and  pine,  takinu  his  wood 
from  old  trees  partially  dei'ayed,  and  contend- 
ing; that  the  Cremonas  were  mostly  so  excel- 
lent because  the  wood  of  which  they  were 
made  had  become  very  old  before  it  was  used, 
and  not  because  the  violins  themselves  had 
been  made  so  many  years,  or  were  better 
made.  His  opinion  was,  that  a  new  violin,  if 
it  could  be  made  from  timber  of  the  same  ai^e, 
and  in  the  same  conditi<m  of  the  timber  of  tin; 
old  Cremonas,  would  sound  as  well  as  the  old 
ones.  He  succeeded  in  his  imitations  of  the 
ancient  ("remonas  beyond  expectation;  and 
some  of  his  instruments  were  very  powerful 
and  sweet-toned.  es|H'cially  those  from  the 
oldest  woods.  He  became  famous  for  his 
charities,  was  a  s;ood  reader  of  music,  a  re- 
sjiectable  sin<ier,  and  a  superior  violinist.  He 
exploreil  Northern  Vermont  and  Canada  for 
ancient  woods  of  the  forests. 

ADAMS.  Mas.  .lEAX,  was  l)orn  in  the  town 
of  Crawfordsdyke,  in  the  parish  of  (ireenoak, 
and  shire  of  Uenfrew,  in  the  we>t  of  Scotland. 
Her  father  was  a  common  shipmaster,  and  her 
breeding;  was  as  is  ordinary  for  .^irls  of  her 
station  and  circumstances;  but.af'erthe  death 
of  her  father,  she  went  to  reside  with  a  minis- 
t«r  in  the  neighborhood,  wliere  she  had  access 
to  i)eriise  such  of  his  books  us  her  fancy  led 
ht-r  to  read.  She  afterwards  tau;;ht  a  d.iy- 
school.  became  known  as  a  soni^-writer,  and 
died  in  the  town  hospital  at  Olasfjow,  .\pril  '.i, 
17tM.  Evidence  exists  that  she  wrote  the  cele- 
brated som;,  '•  There  is  nae  Liu-k  about  the 
House. ■'  and  it  ap|)ears  in  a  volume  of  her 
poems,  published  by  >ubscrii)tion  in  17:]4;  but 
the  authorship  has  been  by  som('  ascribed  to 
AVilliam  .Julius  Mickle.  though  the  measure 
and  rhythm  of  .lean  Adams's  other  poems  are 
so  like  that  of  this  song  as  forcibly  to  recall 
it  to  recollection,  wliih;  nothing  written  by 
Mickle  has  the  remotest  re>emblance  to  it. 

A  parody  on  this  song  appeared  in  England, 
in  l'S'2,  on  the  conclusion  of  i)eace  with 
America,  and  was  printed  in  the  common 
otall-form,  which  began  thus:  — 


"  But  are  yon  sure  tho  news  Ih  true? 
Ami  lit  it  roully  fact? 
IlnvR  Conwiiy,  iiiirki>,  nii<l  Fox  at  last 
LmM  North  ii|ioii  Inn  Ixick? 

Chont).  —  Thorc  Is  ii.ic  luck  alK>iit  the  court, 
Tlicro  is  ii:if  luck  lit  :i' : 
There  can  l>u  n:uie  wliile  we're  at  war 
\Vl'  North  America." 


5[r.  Mickle  did  not  include  "  There  Is  nae 
hick''  in  his  collection  of  poems,  nor  did  he 
flaiin  it :  but  Kev.  Mr.  Sim,  who  Ix-came  the 
editor  of  Mickle's  works,  claims  it  for  him, 
and  says,  "  Mrs.  Mickle,  though  laboring  un- 


der paralysis,  recollects  that  it  was  given  to 
her  as  her  husbaml's  composition."  Mrs. 
Kiillerton,  on  the  contrary,  who  was  a  pupil 
of  .lean  Adams,  says,  •' I  frecpiently  heard  her 
rei)eat  it,  and  allirin  it  to  be  her  own  composi- 
tion;" and  ;i  daughter  of  .Mrs.  Fullerton,  as 
late  as  ,Iaii.  24,  1810.  says,  "  it  was  written  by 
.Jean  Adams  on  a  couple  in  the  town  where 
her  father  lived.  I  have  always  heard  it 
sjjokcMi  of  as  being  lu-r  composition;  and  my 
aunt  often  sang  it  as  such." 

AlHLlN'(;Kh.  .lOSElMI  KASPER,  a  (ier- 
man  musician,  born  in  177.'>,  acipiired  a  com- 
petent knowledge  of  hi-  profe^>|on  without 
the  aid  of  any  master.  He  resided  >ome  time 
in  Italy,  where  he  studied  the  Italian  masters; 
but  returned  to  (Ji^rmany  confirmed  in  his 
pr(>p()ssession  for  the  procluctions  of  (iermaii 
musicians,  and  soon  Imcame  favorably  known 
among  his  countrymen.  In  1>'2'!  he  liecamo 
conductor  of  the  Hoyal  Orchestra  at  Munich, 
and  died  there,  May,  1807,  aged  ninety-two 
years.  His  own  compositions  are  remarkable 
for  tender  simplicity  and  for  careful  treatment 
of  the  male  voices. 

AINSWOUTH,  IIENHY,  w.is  a  native  of 
England,  and  a  Puritan,  who,  as  early  as  l.'/K), 
became  a  distinguished  leader  among  the 
lirownists.  He  retired  to  Ilollaiul  in  loO-'J, 
the  period  of  the  general  banishment  of  the 
sect  with  which  he  had  become  identiticd. 
Young  says,  "  lie  was  a  very  learned  man, 
and  a  close  student,  which  much  impaired  his 
health.  We  have  heard  some,  eminent  in  the 
knowledge  of  the  tongues,  of  the  University 
of  Leyden,  say  that  they  thought  he  had 
not  his  better  for  the  Hebrew  tongue  in  any 
University,  nor  scarce  in  Euro])e.  He  was  a 
man  very  modest,  amiable,  and  social  in  his 
ordinary  course  and  carriage,  of  an  innocent 
and  unblamable  life  and  conversation,  of  a 
meek  spirit  and  calm  temper,  void  of  passion, 
and  not  easily  provoked.  Yet  he  would  be 
something  smart  in  his  style  to  his  op|K)sers, 
in  his  public  writings;  at  which  we,  that  have 
seen  his  constant  carriiige,  both  in  public  dis- 
[lUtes  and  the  managing  of  all  church  affairs, 
and  such  like  oct'urrenees,  have  sometimes 
marvelled.  He  had  an  excellent  gift  of  teach- 
ing ami  opening  the  Scriptiu'es;  and  things 
did  flow  from  him  with  that  facility,  plainness, 
aiul  sweetness,  as  did  much  affect  his  hearers. 
He  was  powerful  and  profound  in  doctriiu", 
although  his  voice  was  not  strong;  and  had 
this  excellency  above  many,  that  he  was  most 
ready  an<l  pri'gnant  in  the  .Scriptures,  as  if  the 
book  of  God  had  been  written  in  his  heart; 
being  as  n>ady  in  his  (juotations,  without  toss- 
ing or  turning  his  book,  as  if  they  hail  laid 
o|M'n  before  his  eyes,  ami  seldom  mi-sjng  a 
word  in  citing  of  any  place,  le.iching  not  only 
the  word  and  doctrim*  of  Uod,  but  in  the 
Words  of  God,  and  for  the  most  part  in  a  con- 
tinued phra-e  and  words  of  Scripture.  In  a 
word,  the  times  ami  |)lace  in  which  he  lived 
were  not  worthy  of  such  a  man." 

Ainsworth's  knowledge  of  the  Hebrew,  and 
his  annotations  on  the  Holy  Scriptures,  gained 
for  him  much  n']>utation.  .Vfti-r  comjileting  a 
very  learned  commentary  on  the  (ive  b<Mik^  of 
Moses,  In  which  be  -hows  himocif  a  comp|et»» 
m.ister  of  the  Oriental  l.-\ngua:;es.  rtnd  of  the 
Jewish  antitiiiities,  be  was  colled  the  ILabbi  of 


AIN 


APPENDIX. 


VLB 


his  age.  lie  lived  at  Amsterdam,  where  he 
wa<  at  one  time  a  porter  to  a  boolvseller;  aud, 
after\vard.s,  for  some  years,  he  was  teacher  of 
the  church  at  Amsterdam.  While  thus  living, 
he  is  said  to  have  restored  to  a  Jew  a  valua- 
ble diamond  wliieh  had  been  lost,  aslcin^  as  a 
com])ensalion.  Ihat  the  Jew  would  procure  for 
him  a  conference  witli  some  rabbles,  who 
might  enligliten  him  concerning  the  prophe- 
cies of  the  Old  Testament  relating  to  the  Mes- 
siah. This  tli<'  Israelite  solemnly  promised  to 
bring  about;  but  after  repeated  efforts,  failing 
of  success,  it  was  believed  at  the  time,  that  he 
poisoned  Ainsworth  through  shame  and  vexa- 
tion. It  is  certain  that  Ainsworth,  from  vio- 
lence or  some  other  cause,  died  very  suddenly 
in  1022.     [See  Article  "  Psalmody,"  vol.  i.  pp. 

AIXSWORTH'S  PSALMS  were  brought  to 
Plymo'ith,  Mass.,  by  the  Pilgrims.  Thomas 
Prince,  the  historian,  says.  "  I  have  .seen  an 
edition  of  Ainsworth,  published  in  1618,  in 
quarto  form,  which  was  used  here."  Rev. 
Thomas  Symmes,  who  was  settled  at  Brad- 
ford, Mass.,  says,  ''The  church  at  Plymouth 
made  u<e  of  Ainsworth  until  the  year  1002; 
and  although  the  New  England  version  was 
completed  by  Pres.  Dunster,  about  the  middle 
of  1040,  the  Plymouth  church  did  not  use  it 
till  two  and  fifty  years  after,  but  stuck  to 
Ainsworth;  and,  until  about  1682,  their  excel- 
lent custom  was  to  sing  without  reading  the 
lines." 

Ainsworth's  Version  of  the  Psalms  was 
printed  with  the  melodies  in  which  they  were 
to  be  sung,  pl.aced  over  the  psalms.  The 
music  was  in  the  lozenge  or  diamond  shaped 
notes,  without  bars,  and  was  in  the  German 
choral  style.  The  following  is  a  specimen  of 
the  words  and  music  of  this  famous  versifica- 
tion :  — 

CANTEKBURY  TU>fE. 


,^^^ 


li 


-i&- 


O    Bless  -  ed    man,  that   doth  not     in 


^ 


the       wick 


ed 


coun  -  sells       walk; 


t^ 


nor    stand  in     sin  -  ner's  way ;     nor     sit 


-<!»- 


seat      of     scorn 


fal     folk. 


In  tlie  preface  to  his  "  Book  of  Psalms." 
Ainsworth  says,  "I  have  enterprised  (Chris- 
tian reader)  this  work,  with  regard  of  God's 
honour,  and  comfort  of  his  peojile;  that  his 
word  might  dwell  in  us  richly,  in  all  wisdom; 
and  tliat  we  might  teach  and  admonish  oiir- 
selves  in  psalmes  and  hymnes.  and  songs  spirit- 
uall.     This  1  have  laboured  to  effect  by  setting 


over  into  our  tongue  the  Psalmes  in  metre,  as 
agreeable  to  the  originall  Uebrew,  as  are  other 
usuall  translations.  For  the  better  discerning 
hereof,  I  turned  them  into  prose,  and  set  these 
versions  one  by  another,  to  be  the  more  easily 
compared.  And,  because  the  Psalmes  have 
hard  words  and  phrases,  I  have  added  notes 
to  explain  them  with  brevity;  which  was  to 
me  as  laborious  as  if  I  had  made  a  larger 
commentary." 

PKOSE  OF   rSALM. 

O  Blessed  is  the  man,  that  doth  not  walk,  in  the 
counsell  of  the  wicked,  nor  stand  in  the  way  of  sin- 
ners,  nor  sit  iu  the  seat  of  the  scomf  ull. 

SASIE   PSALM  IX  METRE. 

O  Blessed  man,  that  doth  not  iu 

The  wicked  counsells  walk ; 
Nor  stand  in  sinner's  way ;  nor  sit 

In  seat  of  scomf  uUyb^K. 

As  a  rule,  the  Pilgrims  of  Mivssachusetts 
sang  the  Psalms  of  David  as  versified  by 
Henry  Ainsworth;  but  some  individuals  had 
copies  of  Steriihold  and  Hopkins;  and  they 
sang  sometimes,  perhaps,  different  psalms  to 
tlie  tunes  arranged  by  that  ancient  bachelor 
of  music,  Thomas  Bavenscroft.  It  is  proba- 
ble that  they  occasionally,  also,  sang  the 
hjanns  and  songs  of  simple  old  George  Wither, 
to  the  plain  and  plaintive  two-part  melodies  of 
Orlando  Gibbons.  And,  after  some  years, 
they  made  a  psalm-book  for  themselves,  and 
published  it  among  the  cheri«ihed  first  fruits 
of  a  New  England  free  press.  "  Old  Hundred  " 
was  undoubtedly  one  of  the  tunes  used  by  the 
earliest  Church  of  England  missionaries  in 
Virginia;  and  it  was  also  one  of  the  songs  of 
the  Puritan  Fathers  of  Xew  England,  and  was 
iu  some  of  the  books  of  psalmody  which  they 
brought  from  Holland.  It  was  i)robably  one 
of  the  tunes  with  which  the  wild  forests  of  the 
New  Woi-td  were  early  made  vocal.  Its  use  was 
not  confined  to  the  early  Eiu-opeau  settlers; 
for  its  lofty  strains  were  taught  by  them  to 
the  native  "inhabitants  of  the  forest  whom 
they  found  here.  It  was  sung  by  the  new- 
made  converts  of  the  missionaries,  and  by 
John  Eliot,  who  taught  it  in  the  various  mis- 
sionary settlements,  among  the  Indians,  whose 
descendants  sing  it  even  to  this  day.  This 
one  tune  has  been  sung,  perliaps,  more  than 
any  other  ever  written;  and  there  have  not 
been  published  in  this  country  many  singing- 
books  of  note,  since  the  first  settlement,  which 
have  not  contained  "  Old  Hundred." 

ALBAXI,  EMMA,  an  American  artist  who 
has  shared  the  laurels  and  honors  of  the  Royal 
Italian  Opera  with  Adelina  Patti,  was  born 
at  Plattsburg,  N.Y.,  in  1850.  Her  father, 
Joseph  La  Jeunesse,  was  a  French  music- 
teacher  of  Montreal,  Canada,  where  he  m.ar- 
ried  the  daughter  of  a  wealthy  Scotchman, 
and  afterwards  settled  in  Platts"burg.  Ennna 
La  Jeunesse  was  the  oldest  of  a  family  of  six 
children,  and  was  trained  in  early  childhof>d, 
in  the  study  of  music,  by  her  father,  and  dis- 
played remarkable  talents  for  the  divine  art 
froin  the  most  tender  years.  The  father,  not 
meeting  with  success  in  Plattsl)urg  as  a 
teacher,  removed  to  Albany,  where  Emma 
was  engaged  to  sing,  and  where  her  progress 
as  a  vocalist  and  pianist  soon  attracted  atten- 


6 


ALB 


APPENDIX. 


ALB 


tion ;  aiul  she  was  sent  to  Paris  to  study  uiuler 
the  fiiincius  Duprez.  She  next  sliulieil  witli 
Liunpcrii  at  Milan,  who  welcomed  her  witli 
the  remark,  '•  Tliere's  a  fortune  in  that  httle 
throat."  She  maiU;  her  lirst  appearance  in 
opera  at  Messina,  un(kn'  the  assumed  name  of 
Emma  Albani,  with  success:  she  then  iiad 
enga<;ements  at  Malta,  Florence,  and  at  the 
principal  opera-houses  of  Italy,  and  later  in 
London,  En;;.,  and  at  St.  Petersburj;;  and  has 
since  ranked  with  the  first  artists  in  Europe. 
Her  voice  is  a  rich  soi)rano,  commanding  a 
compass  extending  to  E-llat  in  alt.  Slu;  is 
clever  as  an  .actress;  is  a  brunette,  with  black 
hair  and  eyes,  and  a  fair  complexion ;  every 
feature  gives  token  of  a  sensitive  nervous 
organization;  slightly  below  the  medium  size, 
and  slender.  She  is  womanly  in  her  ways,  un- 
assuming in  manners,  remarkably  fond  of  her 
friends,  and  a  devout  ('atholic.  She  returned 
to  America,  October,  1S74,  after  brilliant  suc- 
cess in  St.  Petersl)urg,  Moscow,  Italy,  P'i'ance, 
and  England.  Her  voice  has  a  ])eculiarly 
genial  and  sympathetic  expression,  and  an  ex- 
pansiveness  that  permits  the  hearer  in  tlie 
remotest  pait  of  the  theatre  to  enjoy  its  ileli- 
cacy  and  i)erfection  as  completely  as  tlie  leader 
of  the  orchestra.  It  is  tlexibli;,  firm,  clear, 
and  sweet,  and  luvs  a  freshness  that  grants 
sips  of  delight  from  every  sound.  Her  tones 
are  full,  and  if  sjjeaking  of  fruit  it  might  be 
said  that  they  were  ripe  and  luscious.  Her 
style  of  singing  is  of  a  school  of  which  she 
herself  is  the  sole  representative,  although  it 
resembles  somewhat  that  of  Adelina  Patti. 
Every  note  expresses  feeling.  The  composer's 
score  is  always  her  guide;  and  to  that  she 
clings  with  a  tenacity  seldom  found  in  these 
days,  when  for  effect  pyrotechnical  departures 
are  indulged  in  and  too  often  applauded. 
Her  singing  is  absolutely  free  from  trick  or 
exaggeration  of  any  description.  Albani's 
acting  constitutes  a  power  and  a  charm  in 
accord  with  her  singing.  She  is  always  thor- 
oughly up  in  hor  i)art,  conscientious  and 
earnest,  thinking  more  of  the  character  she  is 
imiKjrsonating  than  of  herself.  She  masters 
and  portrays  every  phase  of  passion,  feeling, 
and  sentiment;  and  is  admirable  whether  as 
the  simple  Amina,  the  furious  Lucia,  the 
piquant  Zerlina.  or  the  mad  Ophelia.  The 
utter  absence  of  show  or  pretentiousness  is  of 
itself  an  indelinable  attniction.  She  idealizes 
the  composer's  characters,  voice  and  acti»m 
being  in  unison.  Her  dramatic  talent  of  itself 
is  suttii'ient  to  stamp  her  as  a  genius. 

ALBONI,  MARIETTA  [mentioned  vol.  i. 
p.  }  1  achieved  her  mu-<ical  reputation  at  a 
verj  ^arly  age.  Her  father  wa,s  a  captain  in 
the  Papal  army;  ami  her  husband  was  (.'ouiif 
Pepoli.  a  Venetian,  and  the  son  of  the  eminent 
poet  of  that  name.  The  parents  of  this  gifted 
artist  did  all  in  their  power  to  dissuade  her 
from  embracing  the  musical  i)rofession ;  her 
musical  studies  were  discontinued,  ami  every 
thing  w.as  done  to  subihie  her  vocal  tendencies. 
But  her  talents  still  continued  to  develop 
themselves,  and  her  voice  to  gain  in  strength 
and  riclmess.  proving  that  she  possessed  <|uali- 
fications  as  a  vocalist  of  the  liighest  order: 
this  caused  her  father  at  last  to  resolve  '•  tliat 
such  wonderful  musical  jxiwers  as  she  pos- 
sessed should  not  on  his  account  be  suflered 


to  lie  dormant;  but  that,  on  the  contrary,  they 
should  be  develo))ed  to  the  greatest  possible 
(extent."  Alboni's  reputation  was  nuide  at 
Milan,  aft<-r  which  she  travelled  through 
Europe;  and,  after  her  starring  tour  thnniuh 
France,  she  iti  one  year  secured  f<irty  tlmu- 
saiid  dollars:  and  with  this  she  purchased  a 
beautiful  chateau  in  the  Champs  Elysees,  iu 
Paris.  She  came  to  America  in  1852,  and  re- 
mained for  about  one  year,  visiting  several  of 
the  large  cities. 

.VLBliECHT,  the  second  clarinetist  of  the 
(iormania  .Musical  Society,  on  their  disl)and- 
ing  in  1S.')4,  presented  his  library  of  music 
and  music  books  to  the  Icarian  Commu- 
nity at  N'auvoo,  111.  [This  statement  wa.s 
made  by  "The  Newport  (H.  I.)  Daily  News." 
Whether  Mr.  Albreclit  i>resented  Ills  library, 
as  stated,  is  a<|uestion;  for  in  IS.")",  at  which 
tiuK!  he  was  a  resident  of  Philadel]ihia,  it  was 
in  his  possession,  and  he  advorti>ed  it  for  sale 
there.  It  has  also  been  said  that  the  library 
of  Mr.  Mason  is  much  larger  than  any  other 
musical  library  in  this  country.]  The  library 
at  that  time  consisted  of:  — 

1.  History  of  Music :  oS  works  in  08  volumes. 

2.  Biograpliies  and  Dictiomiries :  01  works, 
109  vols. 

3.  Acoustics,  or  Science  of  Sound :  6  works, 
0  vols. 

4.  Construction  of  Instruments:  9  works, 
10  vols. 

5.  Elements  of  Theoretical  and  Practical 
Music:  58  works,  58  vols. 

•5.  Theory  of  Musical  Composition:  35 
works,  40  vols. 

7.  Instruction  Books  for  Song  and  Instru- 
ment: 5.5  works.  .54  vols. 

8.  Essays  on  Musical  Expression :  28  works, 
;}l  vols. 

0.  Musical  Novels,  Almanacs,  Descriptions 
of  Musical  Festivals,  Musical  Travels,  &c. :  tSrt 
works,  122  vols. 

10.  Historical  and  Critical  Musical  Journals: 
25  works,  ]:!8  vols. 

11.  Polemical  and  Satirical  Writings:  14 
works,  14  vols. 

12.  Accounts  and  Reports  of  Musical  Socie- 
ties: 15  works,  15  vols. 

Making  in  all  478  works,  in  fWi  volumes. 

It  is  a  well-known  fact,  that  libraries  of  this 
kind  are  very  rare.  In  the  public  libraries  of 
this  country,  among  from  SO.OH)  to  1(H),(H>) 
volumes,  scarcely  fifty  books  can  be  found 
which  range  under  the  head  of  musical  litera- 
ture. Besides  the  above-named  collection  of 
Mr.  Albrecht,  which  is  consideri'd  the  mo>t 
complete  in  America,  we  only  know  of  but 
three  more  in  this  country:  the  first  is  owned 
by  Dr.  La  Roche  of  Philadelphia,  and  consists 
of  4(K)  volumes ;  the  second,  belonging  to  Mr. 
Lowell  Mason  of  New  York  (and  including 
the  library  of  the  late  Prof.  Rink),  numbers 
from  ;ino"to  40<t  volumes;  the  third  is  thi- 
musical  library  of  the  Harvard  .Musical  Ass«M-i- 
ation  of  ('aml>rid'.;e  and  lioston.  which  num- 
bers from  ;!:h)  to  4l».i  volumes.  Many  lovers  of 
music  claim  to  have  collections  of  musical 
books;  but  by  a  v'^sc  examination  it  s<M>n 
appears  tliat  they  consist  mainly  of  choral 
books,  hymns,  ]isalms,  and  other  music,  which 
of  course  are  out  of  place  in  a  collection  uf 
mu^ical  writings. 


ALE 


APPENDIX, 


AMD 


ALKXAXDEU,  upon  Lis  return  from  the  '  she  was  obliged  to  employ  professionally  her 
con'iuol  of  India,  bi-came  enamoured  of,  and  nuisicul  talent,  cultivated  previously  as  au 
devoted  himself  entirely  to,  a  beautiful  younf;  I  accomplishment;  she  adopted  the  stage,  Jan. 
female,  and  was  rea<ly  to  give  up  all  his  plans  of  12,  1822,  and  gradually  rose,  as  a  vocalist, 
conquot  for  her.  His  otlicers  became  impa- i  to  eminence  and  distinction.  In  1825  she 
tient.  and  began  to  murmur;  while  his  tutor,  I  accepted  an  engagement  in  London,  appearing 
Aristotle.  u|)braided   him.  and  endeavored  to  ;  at  the  King's  Theatre,  as  the  page  in  Mozart's 


show  him  the  improi)riety  of  his  conduct 
Alexander  for  a  time  forbore  to  visit  her;  and, 
when  he  did,  he  was  forced  by  her  tears, 
caresses,  and  reproaches  to  excuse  himself  by 
telling  her  why  he  had  absented  himself  from 
her.  She  resolved  to  be  revenged  upon  Aris- 
totle, and  requested  Alexander  to  be  at  his 
■window  the  next  morning  at  daybreak,  when 
she  went  into  the  palace  garden,  and  sung 
under  the  window  of  Aristotle,  who  Wiis  so 
charmed  that  he  asked  her  to  marry  him ;  to 
which  projjosal  she  consented  upon  condition 
that  he  would  first  bring  from  the  stable  a 
saddle,  and  allow  her  to  jjuI  it  upon  his  back, 
while  he  was  ujwn  his  hands  and  knees,  and 
to  mount  upon  it  and  be  carried  round  the 
garden.  To  this  he  consented  readily;  and 
while  she  was  thus  mounted,  and  taking  an 
airing  u])on  her  wise  horse,  she  laughingly 
sung  the  following  song:  — 


=fe-^ 

— 1 S^ 

-  ,      .] 

— t- 

1 — ' — 1 

:S^— 

*  •     *  *  #- 

-, — #- 

'i' 

Thus    blind-  ly. 


he    pro-ceeds  Whom 


.. -^ 


love 


pleasure  leads;  As     all    who 


live  must  bear  The 


mortals  share. 


So        all       who       love   with  zeal,    Must 


■y-- 


zsz 


i 


pain    <iiul        anguish    feel:  Thus  blindly. 


'SZ 


JOl 


be    proceeds, Whom  love  at. . . .  pleasure  leads. 


'■  Figaro,"  with  success,  assuming  the  name 
of  Mile.  Caradori ;  and  for  many  years  was 
the  leading  attraction  in  musical  circles 
throughout  England  and  the  Continent.  IIt 
father  was  Baron  de  Munck,  an  officer  in  the 
French  service;  she  married  an  English  gen- 
tleman, Mr.  Allan,  secretary  of  the  King's  The- 
atre, 182:3.  Her  European  fame  being  estab- 
lished, she  determined  to  visit  America;  and 
arriving  in  New  York.  September,  18.17,  was  at 
once  taken  into  favor  by  the  iVdc.  Here  she  at 
once  made  arrangements  with  Mr.  Simpson, 
manager  of  the  Park  Theatre,  and  made  her 
first  appearance,  Oct.  30,  18:J7.  as  Rosina,  in 
the  opera  "/<  Barbifre  di  Savlr/lUi;"  the  house 
was  crowded,  and  she  rose  at  once  into  public 
favor  as  a  finished  vocalist  and  fine  actress. 
Caradori  remained  in  New  York  and  other 
large  cities,  singing  in  a  variety  of  operas  and 
in  sacred  and  secular  concerts  with  decided 
success;  appearing  to  equal  advant;vge  in  the 
concert-room  or  on  the  stage.  In  1840  Mad- 
ame Allan  made  a  concert  tour  through  the 
United  States,  warbling  sweet  music  to  en- 
chanted listeners,  and  then  bade  farewell  to 
her  friends  in  this  country.  Returning  to 
England,  she  was  received  with  enthusiasm; 
but  having  obtained  a  competency,  and  won 
hosts  of  friends  both  in  the  Old  and  New 
World,  she  retired  gracefully  from  the  stage, 
and  lived  in  elegance  and  ease  until  her 
death  in  186-5,  in  the  sixty-fifth  year  of  her 
age.  She  was  a  lovely  woman,  distinguished 
artist,  and  celebrated  prima  donna,  taking 
rank  with  the  first  of  Italian  female  vocalists. 
On  her  tombstone  are  written  two  lines  of- 
llandel's  incomparable  song, — 

"  Angels,  ever  bright  and  fair, 
Take,  oh,  take  me  to  jour  care." 

AMBROSE,  SAINT,  was  born  at  Trevis, 
:340,  and  died  :W7.  He  greatly  improved  the 
singing  in  the  Western  churches,  and  wrote 
the  "  i'e  Deum  Laudamus,"  which  has  never 
been  suri)assed  in  excellence  by  any  human 
composition.  It  was  written  on  the  occasion 
of  the  baptism  of  St.  Augustine.  He  was 
made  Bishop  of  Milan,  A.D..  374.  and  estab- 
lished his  chant  :5S(');  it  was  in  his  time  first 
ordered  that  the  hymns  and  psalms  should  be 
suns;  after  the  manner  of  the  Eastern  nations. 
The  first  rcjular  choir  and  form  of  church 
service  w.as  established  at  Anlioch  in  the 
time  of  Constantine;  and  at  Antioch  the  anli- 
lihoual  method  of  singing  the  psalms,  that  is, 
the  singin','  of  the  verses  alternately,  by  sep- 
arate choirs,  was  fir>t  introduced:  and  this 
pr.ictice.  bcins;  brought  by  St.  Ambrose  to 
.Milan.  li(>caine  generally  adopted  throughout 


Alexander  the  Oreat.  who  ha«l  been  a  spec- 
tator of    this  philosophic   feat,   now  came  to 

them.  !ind    inquired   if  the  tutor  had   lost   his,  .  ..  -      r    i       4      i 

senses  when  Ari>tolle  with  shame  n'plied,  !  Cliristen<lom,  under  the  name  of  the  .Vmbro- 
"I  reproaclK-d  vou  with  the  intemperance  of  1  sian  (Miant.  Some  of  the  chants  known  at 
youth,  from  which  mv  old  age  has  not  been  this  time,  we  have  reason  to  believe,  came 
able  to  protect  me."'     '  down    direct  from   the   primitive   Christians, 

ALLAN,  CARADORI,  was  born  in  Milan,    and  were  used   long  before  the  advent  of  the 
1800.     Her  mother  and    father  both  dying,  I  Saviour.     An  order  of  monks  was  established 

8 


AMB 


APPENDIX. 


AXO 


at  Antioch  in  the  earliest  ages  of  Christi- 
anity, wlio  preserved  the  old  psaltnody  and 
the  niusic  of  the  lli'ltrcws.  Anil)nis»!  adnptcd 
the  (Jrcck  nonicnclaliii'c;  and  so  ^rcut  was  tlie 
sensibility  of  the  ancient  (iie('l<s,  atid  so  soft 
and  rt'fiiii'il  tlieir  laiiijuagt',  tliat  tliey  seem  to 
have  Ijccu  in  bolli  n!s()('cts  to  tlie  rest  of  the 
world  wliat  Mk!  modern  Italians  an;  at  [)rt's- 
ent.  And  of  tlicso  last  tin;  lanuuaijc  itself  is 
niusic;  and  tli(>ir  ears  are  so  polisheil  and  ac- 
customed to  sweet  sounds  tliat  tliey  are  ren- 
drcred  fastidious  judj^es  of  melody,  both  by 
habit  and  education 

AMUKOSE.  WILLIAM  AUGUSTUS,  chief- 
ly known  by  his  writiniis  publisli<'d  in  Schu- 
mann's Musical  .lounial.  was  born  in  Manlh, 
Uoheniia,  November.  ISK!.  In  early  childhood 
he  couM  sim;.  or  i>erform  upon  the  piano-forte, 
any  melody  he  had  once  lieard ;  he  also  Inul 
the  faculty  of  varyinsj  any  theme  given  him; 
he  has  written  numerous  musical  works,  and 
some  of  his  compositions  have  had  a  large 
circulation. 

AMODIO,  ALLESSAXDRO,  born  at  Na- 
ples, 18:!!,  was  early  ])laccd  under  the  train- 
ing of  th(!  most  cel(>brated  inaentri  of  the  city, 
learned  the  llute,  and,  at  the  age  of  eighteen, 
found  himself  in  pos-^ession  of  a  superbly  rich 
hanjlonc  voice,  which  he  at  once  cultivated 
and  develoiH'd.  After  leaving  the  schools,  he 
became  so  enamoured  of  the  stage,  that,  failing 
to  obtain  the  consent  of  his  family  to  a  jjublic 
career,  he  ran  away  with  a  singing  troupe, 
and  engaged  to  sing  in  opera  at  Elorence. 
Lively,  amiable,  and  well  educated,  he  sang 
from  pure  love  of  the  art,  an<I  became  exten- 
sively known  in  his  own  country,  at  Naples, 
Florence,  Milan,  and  other  places.  He  came 
to  this  country  with  the  La  Grange  opera 
Comi)a!iy,  IS.V);  travelled  through  the  .Stjites, 
singing  in  opera  and  at  concerts  with  success; 
visited  the  Tacon  Theatre  at  Havana;  went 
to  Veiu'zuela,  sang  in  Caraccas,  ami  died  of 
fever  at  sea,  near  Havana,  on  his  way  to  his 
adopted  home,  New  York.  June,  18<il. 

AMODIO,  FREDItlCO.  brother  of  Alles- 
sandro,  born  at  Naples,  18;i:!,  becamt;  exten- 
sively known  in  his  own  country  as  a  singer, 
and  going  to  South  America,  where  he  added 
to  his  reiui'alion.  was  with  Alessandro  there, 
and  when  he  died.  Being  gifted  with  a  rich, 
musical  hiiri/limc  voice,  on  arriviu'^  in  tliis 
country,  1S()1,  betook  the  place  of  his  brother 
in  New  York.  The  love  of  these  brothers  was 
remaikable.  The  family  consisted  of  six  sons 
and  two  daughters;  the  father  w;is  formally 
years  editor  of  tin'  ofhcial  journal  of  Naples. 

ANCIENT  HAll.MONY.  Longinus  sjjeaks 
much  in  favor  of  ancient  harmony,  and  says 
the  principal  subject  in  music  becomes  more 
agreeable  to  the  ear  when  it  is  broken  into 
division^:  but  Kepli-r.  whose  name  is  >o  well 
known  to  the  musical  world,  wiutld  never  allow 
that  the  ancients  had  any  iilea  of  real  har- 
mony; and  he  compares  their  accompanimi'iits 
(admitting  it  possible  that  they  h,'ive  any ),  to 
the  droning  of  a  bagpi|M\  Fatiier  Mareennus 
says,  they  might,  indeed,  vary  the  sounds  of 
the  lyre,  or  strike  several  strings  togethiT  as 
at  present ;  but,  as  all  W(!  have  been  able  to  col- 
lect shows  them  to  have  Ixh'h  ignorant  of 
counterjioint,  it  is  natural  to  suppose  that  ] 
there  was  little  variety  in  their  jK>rifonnances. 


A  learned  Venetian,  who  wrote  on  music  in 
l.')80,  supposes  it  imjiossible  for  the  ancients  to 
have  made  much  correct  ii'-e  of  iif-truinents 
of  many  strings  without  playing  in  consonance. 
The  Irish  harp  had  a  greater  number  of  strings 
than  the  lyre,  yet  for  many  ages  that  delight- 
ful instrument  was  only  used  for  playing  a 
simple  melody,  or  a  singb;  ])arf ;  nor  h,id  its 
primeval  players  any  idea  <>f  playing  in  parts 
or  of  counter|)oint.  Tin. ugh  the  most  ancient 
histories  of  music  are  iwr.v  lost,  yet,  ever  since 
the  revival  of  literature,  w<!  tiiid  the  Italians 
and  (Jermans  at  a  very  early  ptM-iod  compiling 
general,  critical,  ami  philological  histories 
of  limbic.  Old  and  scarce  books  also  contain 
much  information  on  this  head.  What  an- 
cient music  really  was,  is  not  very  easy  to  be 
determined  now;  but  that  it  constituted  the 
delight  of  human  kind  is  evident.  All  the 
ancient  philosophers  and  historians  are  dif- 
fuse in  its  praise.  Yet  the  subject  of  ancient 
music  cannot  be  easily  treated  of,  b(;cau<e  it  is 
enveloped  in  all  those  clouds  of  obscurity 
that  hang  over  the  pristine  aires. 

ANCIENT  INSTRUMENTS,  ^^^len  the 
cities  of  Ilerculaneum  and  Pom[K>ii  were  dis- 
covered, a  sdckhut  was  dug  up,  after  having 
been  buried  n<>arly  two  thousand  years  by  the 
dreadful  catastrophic  which  destroyed  those 
great  places.  This  ancient  instruiui-nt,  which 
is  frequently  mentioniKl  in  the  sacred  writings, 
might  have  been  lost  to  us  forever,  had  it  not 
been  preserved  in  the  ashes  of  Mount  Vesu- 
vius, to  give  force  and  variety  ami  energy  to 
the  music  of  modern  times.  The  lower  part 
of  this  sackbut  was  made  of  bron/.e.  and  the 
upiMT,  with  tlie  mouth-piece,  of  solid  gold. 
Soon  after  being  found,  the  King  of  Naples 
made  a  prestuit  of  it  to  (Jeorge  IV.  ;  and,  from 
this  antique,  tin;  instruments  now  called  by 
the  Italians  TroiuliDiii  have  been  fashioned. 
In  (|Uality  of  tone  tlu!  trombone  has  not  been 
equalled  by  any  of  modern  make;  and  perhaps 
it  has  done  more  towards  augmenting  the  sub- 
lime effects  of  the  orchestra  than  any  one  of 
the  known  instruments.  For  some  years  the 
sax-hom  was  used  in  its  place,  but  the  trom- 
bone is  again  coming  into  favor.  [See  vol.  i. 
p.  840.1 

ANCIENT  TIME-BEATING.  Ilie  an- 
cients were  accustomed  to  Iw'at  time  to  their 
niusic  in  several  diffennit  ways.  Tlii>  most 
common  w;iy  was  by  the  foot,  which  they  lifted 
up  and  beat  down  alli-riiatelv,  .acconlini;  to  what 
was  afterwards  called  common  or  tripli'  tim<', 
itc.  This  was  gem-rally  perfonned  by  music- 
in.asfers,  who  were  placed  in  the  m!ldle  of  the 
orchestra,  among  the  musicians,  in  a  conspicu- 
ous situation,  in  order  that  they  might  be  seen 
by  every  one.  Their  feet,  on  these  iM-easioiis, 
were  genenilly  furnished  with  wooileii  or  iron 
sandals,  in  order  that  they  iniuht  mark  the 
time  in  a  more  distinct  manner.  Tln'V  also 
iM'at  the  time  on  their  hands,  the  ri'.;hl  lingiT  on 
the  p.ilm  of  the  left  haml :  and  th<'y  often  usetl 
oyster  shells  ;ind  bones  in  the  same  manner 
as  we  use  castanets.  To  Ix-conie  a  giKxl  linie- 
beaier  re«piired  long  and  con«tuiit  praetlre. 
The  {x^sition  w.is  a  i-es|><>nsible  one,  and  large 
compensation  was  paid  for  such  service. 

ANCIENT  TR.V(;EDV.  In  the  ancient 
tragedy  the  ileclamatjon  of  the  actor  w.%s  ac- 
companied   by     certain     utiwical   imUrumenU 


Q 


ASS 


APPENDIX 


ART 


which  rcpulated  the  tones  of  the  voice;  and 
till!  stiif^'  was  occupied  l)y  a  cli<)ru»  coiisistini; 
of  a  iiuinljcrof  i)fr>oiis,  wlio.  ilioii;.'li  not  ac- 
tually iMrj;a!,'cd  in  llic  action  of  tin-  piece,  were 
interoted  in  it.  and  ininijled  their  rctlections 
or  exclainations  witli  the  dialogue  of  tlie 
drama.  In  tlic  modern  ojx'ra  tlie  characters 
.^peak  in  recitativi!.  an<i  there  i>  a  chorus  ;  and 
hence  it  is  infernal  that  the  modern  opera 
si)ruiij;  from  the  ancient  tra'.:edy.  It  may  he 
true  that  the  iilea  of  recitative  was  suiigested 
to  it*  inventors  hy  what  they  had  read  of  the 
musical  declamation  of  the  ancient  traiiedies  ; 
but,  hefore  the  invention  of  opera,  the  knowl- 
edge of  the  mode  of  performing  ancient 
tragedy  had  heen  lost  for  aues. 

AXSCIIUTZ,  CARL,  horn  in  Germany, 
came  to  this  country  in  1857,  and  soon  hecaine 
identitied  with  the  cause  of  musical  progress  in 
the  United  States,  being  considered  one  of  the 
most  accomplished  musicians  among  us.  He 
w.as  more  jiartial  to  tlie  old  than  tlie  new 
school,  because  of  his  long  sojourn  in  Eng- 
land :  was  a  composer  of  considerable  merit, 
and  an  excellent  conductor,  especially  of  opera. 
He  died  at  his  residence  in  Boston.  Jan  23, 
1870,  of  cancer  in  the  throat,  which  compelled 
him  for  four  months  to  live  on  fluids  entirely  ; 
for  eight  days  before  death,  he  had  only  been 
able  to  swallow  a  little  water.  The  day  before 
lie  died,  he  bit  his  wife's  finger,  to  indicate  his 
hunger;  an<l,  on  being  asked  what  he  wanted, 
replii-d  in  an  almost  inaudible  whisper,  "I'm 
bungry."'  lie  belonged  to  a  type  of  German 
musicians  which  is  fast  dying  out,  and  of 
■which  he  w.as,  perhaps,  in  this  country,  the 
only  representative;  his  name  will  live  in  the 
history  of  art,  and  his  influence  will  prove  ben- 
eficial. In  ISGl  he  was  connected  with  the 
Academy  of  Music,  and  the  National  Musical 
Institute.  Xew  York. 

AXTIPIIOXAL  SIX'GIXG,  a  species  of 
nmsic  common  among  the  early  Christians. 
In  Ihi-^  music,  a  certain  phrase  of  melody,  after 
having  been  sung  by  one  portion  of  the  chor- 
isters, is  echoed  by  the  others,  at  certain 
distances,  and  at  a  higher  or  lower  i)itch  ;  and 
the  successive  accumulation  of  the>e  dilTerent 
masses  of  sound  into  one  grand  and  harmonious 
whole,  it  was  supjwsed,  produced  the  greatest 
effects  of  which  nmsic  was  capable.  Pliny 
says  the  ancients  "  were  accustomed  to  sing 
songs  to  Christ,  as  God,  one  to  another,  or 
with  alternate  voices.  As  any  one  is  able, 
he  is  enlisted  to  sing  to  (Jod,  either  from  the 
sacred  Scriptures  or  according  to  his  own  pe- 
culiar talent."  The  Psalms  of  David  were 
performed  hy  alternate  voices  or  choirs,  sonu' 
of  them,  the  one  resixindiug  to  the  other  ;  this 
■was  i)ractised  in  the  time  of  St.  lunatius  and  in 
the  time  of  St.  Ambrose,  both  of  whom  intro- 
duced aniiphsnal  singing  among  their  people  ; 
it  has  been  supposed  to  have  been  practi-ed  l)y 
the  Israelites.  Out  of  this  manner  of  singing 
arose  the  /H'/i/e.  In  IS.^;}  the  choral  service  at 
the  Church  of  the  Advent,  Boston,  Ma-<s.,  was 
sung  ant iphonally.  the  choir  consisting  of  ten 
boys.iiul  live  adults,  under  the  direction  of  the  : 
organist,  II.  S.  Cutler.  The  matter  of  ein- 
j)loyiiig  boys  instead  of  fi'inales,  as  trebles,  had 
never  l)efore  met  with  favor  in  the  United 
States  ;  but  in  IS.V)  fair  parishes  in  this  coun- 
try  employed    boys  ;  namely,  St.    Mark's   in 


Philadelphh-i,   Trinity   and  Dr.    Muhlenberg's 
in  Xew  York,  and  the  Advent  in  jioston. 

AI'PY,  IIKXltl.  the  elde>t  son  of  John 
Appy,  solo  violinist  to  King  William  I.  of  Hol- 
land, was  born  at  the  Hague,  in  1828.  While 
quite  young  he  exhibited  great  niu>ical  talent, 
and  gave  concerts  in  Amsterdam  and  other 
cities,  which,  proving' successful,  were  extended 
through  Belgium.  Germany,  and  France.  In 
1848  he  was  appointed  solo  violinist  to  Wil- 
liam II.  ;  in  18">uhe  gave  concerts  with  Mile. 
Bertha  Johannsen.  and  came  to  America  in 
18ijl,  and  later  made  a  tour  of  the  country 
with  Mine.  Biscaccianti  ;  he  was  also  engaged 
for  the  farewell  concerts  of  Jenny  I^ind.  He 
is  now  established  in  Rochester,  N.  Y.,  as  a 
teacher  and  conductor. 

AIJDITI,  LUIGI,  born  at  Crescentino,  Pied- 
mont, 1822  ;  learned  violin  playing  and  com- 
position of  Caldera  ;  entered  the  Milan 
Conservatory,  and  in  1841  jjroduced  the  opera 
''I  Bri'/aiiti  :''  was  orche-tral  conductor  at 
Vercelli.  1842  ;  travelled  extensively  with  con- 
cert companies,  and  came  to  this  country  with 
Marty.  1840;  conducted  opera  and  went  through 
the  United  States  with  Alboni.  Grisi,  Mario, 
and  others,  as  conductor  of  concerts:  returning 
to  liis  native  country  in  18.'>(i,  he  became  con- 
ductor at  the  Xaum  Theatre,  Constantinople. 
Maiiv  of  his  compositions  have  been  published. 

ART  OF  I'LAYIXG  OX  IXSTKUMENTS. 
Instrumental  performance  is  naturally  divid- 
ed  into  the  individual  and  collective.  It  is 
composed  of  the  art  of  playing  on  individual 
instruments,  and  of  combining  the  perform- 
ance of  a  certain  number  of  persons,  so  as  to 
produce  a  imited  effect  in  time  and  sentiment. 
Instruments,  as  is  commi>nly  known,  are  di- 
vided into  live  principal  kin<i> :  Uwjirxt  is  com- 
posed of  instruments  i)layed  with  the  bow  ; 
the  .seco)i(/,  of  iiistrument>  played  hy  snapping 
the  strings;  the  IhirJ.cf  instruments  with 
key-boards  ;  thc/ourHi,  of  wind  instruments  ; 
and  the  fi/tli,  of  inslrumenls  of  percussion. 

Each  of  the><e  kinds  of  instruments  requires 
peculiar  qualities,  to  be  well  jdayed  ;  thus 
instruments  played  with  ihe  bow  demand 
e-ipecially  a  <lelicate  ear.  to  produce  precision 
of  tone,  which  is  funned  by  piessingthe  lingers 
upon  the  strings,  and  much  suppleness  of  arm, 
for  the  maiiagemeiit  of  the  bow.  Good  execu- 
tion, upon  instrunuMits  |ilayed  by  snapi>ing  the 
strings,  cannot  be  attained  without  great 
strength  of  fin;:er,  to  re>i.-l  the  impression  of 
Ihe  strings,  and  to  obtain  a  fine  tone.  Instru- 
ments with  key-boards,  in  which  the  intona- 
tions are  already  made,  require  length,  supple- 
ness, .activity,  and  strength  of  lingers.  In  order 
to  acquire  skill  upon  wind  instruments,  the 
same  accuracy  of  ear  is  reipii>ite  as  for 
stringed  instnnnents  ;  and,  bcNides,  the  faculty 
of  moving  the  lijis  with  facility,  of  modifying 
their  i)ressnre,  and  of  regulating  the  force 
of  the  breath, —  (|ualilies  which  collectively 
constitute  what  is  called  the  (iiilmnchure.  As 
to  instruments  of  percu>sion,  it  seems,  at  first 
view,  that  any  robu>t  man  ought  to  possess  the 
necessary  (jualities  for  jilaying  on  them  ;  yet 
great  diffen-nces  are  jx-n-eplible  between  dif- 
ferent drummers,  thouiih  they  may  have  had 
the  same  education.  To  play  the  drum  the 
p<'rfonner  must  possess  a  certain  sui)]ileness  of 
wrist,  and  a  certain   power  of  touch,    which 


10 


ART 


APPENDIX. 


ART 


it  wouM  be  impossible  to  analyze,  but  which 
are  not  the  less  real. 

In  the  enumeration  of  qualities  necessary  to 
play  well  upon  instruments,  I  have  not  men- 
tioned sensibility  or  imagination,  which  are 
elements  of  all  talent,  because  we  were  consitt- 
erini;  none  but  phy>ical  qualities.  In  vain 
would  a  pianist  or  oboeist  be  emlowcd  with 
the  most  ex(|uisite  sensibility,  if  the  Hnjjers 
of  the  oni;  were  sliiY  or  feeble,  and  the  lip->  of 
the  other  thin  and  dry  ;  they  could  no  more 
become  great  instrumenlists,  than  could  the 
best  made  man  become  a  singer  if  he  had  no 
voice. 

The  playing  of  bowed  instruments,  as  the 
violin,  alto,  violoncello,  and  contra-basso,  is 
composed  of  two  distinct  part.s  ;  the  ./id.'/tr/H,'/. 
and  Ihe  inimwioucnlof  Ihc  bow.  The  hngering 
(or  t'luch)  is  the  art  of  forming  the  intonations 
by  the  pressure  of  the  fingers  upon  the  strings 
against  the  upper  jiart  of  the  neck,  or  finger- 
board. This  pressure,  which  shortens  tin; 
vibrating  length  of  the  string  more  or  less, 
cannot  produce  pure  sounds,  unless  it  is  very 
energetic  ;  for  a  string  does  not  vibrate  in  a 
satisfactory  manner  except  when  it  is  very 
firmly  fixed  at  its  points  of  attaclunent.  It  is, 
cons(M|uently,  necessary  lliat  a  violinist  or 
a  violoncelli,-<t  should  ])ress  the  lingers  with 
much  force  upon  the  strings,  notwithstanding 
the  painful  sensation  which  this  exercise  i)ro- 
duces  in  tlie  commencement  of  Ids  studies. 
Sometimes  the  ends  of  an  artist's  fingers 
become  armed  with  a  sort  of  callous,  or  harden- 
ing i>f  the  skin,  l>y  the  long  use  of  his  instru- 
ment. No  inconvenience,  however,  seems  to 
result  from  this,  as  to  the  production  of  sound. 

Another  important  point  in  fingering  is  pre- 
cision, —  that  is,  the  art  of  placing  the  fingers 
upon  the  strings  in  such  a  manner  a.s  to  render 
the  intonations  just.  All  violins  or  violon- 
cellos are  not  of  the  same  dimensions  ; 
certain  makers  having  adopted  larger  forms 
for  these  instruments  than  others.  Now,  the 
spreading  of  the  fingers  to  form  the  intonations 
is  always  in  proportion  to  the  length  of  the 
neck  of  the  violin,  alto,  or  violoncello  ;  for  it  is 
evident  that  the  length  of  tlie  string  is  in  jiro- 
portion  to  the  dimensions  of  the  instrument. 
Tlie  greater  the  length,  the  greater  must  be 
the  spreading  of  the  fingers  to  pass  from  one 
sound  to  another  ;  the  less  the  distance,  tlie 
more  the  fingers  must  be  brought  togetlier.  A 
delicate  ear  promptly  infonns  the  jK-rforraer  of 
the  fa\ilts  he  commits  against  precision.  But 
this  is  not  enough  :  to  play  ju^t  always,  lie 
must  be  provided  with  a  certain  power  of 
address,  and  must  have  had  long  practice  on 
the  sounds.  There  are  different  degrees  in  the 
manner  of  playingj'iwt  and. /"«/.>!»'.  An  approx- 
iniaiion  to  justness  is  all  to  which  ordinary  in- 


tlie  string,  and  that,  as  the  position  of  the  left 
hand  is  iixeil  in  a  precise  way  for  each  sound, 
the  intonation  may  be  higher  or  lowi-r.  ac- 
cording to  the  mode  of  prer.sure  with  the  bow. 
The  celebrated  violinist  I'aganiiii,  at  lea>l,  used 
to  ascribe  the  extraordinary  precision  of  lii:i 
l)laying  to  this  power  of  the  bow. 

The  action  of  the  fingers  of  the  left  liaiul  U|>- 
on  the  strings  alleets  oidy  the  justm-ss  of  the 
intonations  ami  the  purity  of  the  vil>rations. 
The  qiLilily  of  Ihe  sounds,  as  more  or  less  soft 
or  loud,  more  or  less  hard  or  me,  ow,  is  the  re- 
sult of  Ihe  management  of  the  bow  by  the 
right  hand.  This  management,  which  in  ai>- 
jiearance  is  nothing  more  than  alternately 
drawing  and  pushing  the  frail  instrument  upon 
the  strings,  is  excessively  difllcult.  Experience 
lias  shown  that  a  jMu-fect  correspondi'iice  can- 
not be  effected  between  the  movements  of  the 
bow  and  those  of  Ihe  lingers,  without  reducing, 
as  much  ;i-s  jiossible,  the  action  of  the  arm 
which  diiecls  the  bow.  in  such  a  manner  that 
the  wrist  may  act  freely  and  without  siilTiiess. 
[See  in  vol.  i.  articles  Execution,  liowing.  and 
Instrunu'iils.  uiuh-r  appropriate  heads,  such 
as  Flute.  Violoiu-ello,  Horn.  &<:.] 

Airr  OF  WIUTING  MUSIC.  In  poetry, 
as  in  some  f>f  the  arts  of  design,  composition 
I>resents  itself  to  the  ima'zination  of  tlie  poet, 
or  of  the  artist,  under  the  form  of  a  >iinple 
idea,  exi)ressed  as  it  is  conceived,  that  is  to 
say,  without  complicatiiui  of  elements.  It  is 
not  so  in  music.  In  this  art,  every  thing  is 
complicated;  for  to  compose  is  not  merely  to 
imagine  agreeable  niehidies,  or  to  find  the  true 
expression  of  the  dillereiit  sentiments  which 
affect  us,  or  to  make  beautiful  combinations 
of  hannoiiy,  or  to  dispose  of  the  voices  in  an 
advantageous  manner,  or  to  invent  fine  effects 
of  instrumentation:  but  it  is  to  do  ail  this  at 
once,  and  many  other  things  besides.  In  a 
quartet,  in  a  chorus,  in  an  overture,  in  a 
symphony.  —  each  voice  antl  each  instrument 
advances  in  its  own  iH>culiar  manner;  ainl  the 
combination  of  all  these  movements  consti- 
tutes the  mu<!ic;  and  from  all  this  we  may 
form  some  o[)inion  of  the  compjicaled  charac- 
ter of  that  operation  of  the  mind  which  we 
call  c"iiii>i>nilii)ii,  and  of  the  studies  necessary 
to  be  pursuiMl  in  order  lo  evcrcoroo  the  obsta- 
cles of  so  dilhcult  an  art. 

There  was  a  time  when  it  could  not  he 
said  that  musicians  composed:  tliey  merely 
arranged  souiuls.  This  jx-riod  included  nearly 
three  centuries;  that  is  to  s.'jy,  from  the  end 
of  the  thirteenth  to  about  tin.'  viar  I.V.m.  A 
few  po])ular  airs,  and  the  chanN  of  the  church, 
were  tlie  only  melodies  with  which  tln-y  were 
acquaintetl ;  and  it  was  not  uncommon,  as  in 
the  Ixxjks  of  the  psalm-tiuie  makers  of  this 
coiinlrv,  to  sei-  the  same  air  used  as  a  eoinni'>n 


stnunents  (>ver  attain  ;  absolute  precision  is  [  thenn'  of  twenty  dilTi'ient  eomix>siiions,  .-ind 
the  lot  of  but  .a  very  small  number  of  artists.  |  a]>plied  inditTerenily  to  every  kind  of  wonls. 
This  is  especially  difticult  to  acquire  in  what  No  traces  of  expression,  of  i>nthusi;i>m.  of 
are  called  pfvnaije.i  of  donl>le  .ilriiiii.  In  these  passion,  or  of  elevation,  are  to  be  remarked  in 
passivges.  which  produce  the  effect  of  a  union  |  the  great  multitutle  of  such  tunes.  In  music, 
of  two  voices,  the   bow   touclies  two  strings,  j  it  is  necessani-  lIuU   musieians  should  employ 


and  produces  at  Ihe  same  time  Iwo  intonations, 
which  are  the  result  of  a  combination  of  the 
fingers  of  the  left  hand.  IJesides  the  necessary 
infiuence  of  the  fingers  upon  precision  of  tone, 
it  ap|H'ars  that  the  bow  hiv  also  an  influence 

depending  upon  the  manner  in  which  it  strikes  '  sounds  is  susceptible. 

U 


themselves  in  creating  the  material  rfMnni-es 
of  tlii'irart;  and  they  must  not  deceive  them- 
selves in  seeking  these  means.  It  will  reouirc 
all  their  efforts  to  arrange  in  onler  the  chaiis 
of  varied  form*  of  which  tlic  connection  of 
They  will  find  wonder 


ASS 


APPENDIX. 


AUS 


ful  combinations  of  liannony  in  the  works  of 
the  old  )ii:i>ti'r>,  and  observe  that  tliey  nian- 
ajjod  (iicat  dilliculties  uilli  inncli  skill.  Tin; 
art  of  writin-^  nuisic  can  he  ac'iuircd  hy  study 
and  luiii'h  praciic-e:  and  tliose  who  hii<l  the 
foundation  of  iliis  science  were  men  of  genius. 
Coniixisition  consists  of  different  oi)erations, 
say  five,  wliich  arc,  1.  to  give  to  each  pai-t 
notes  of  ci|ual  <luratiou;  2.  to  malve  tlie  dura- 
tion of  the  notes  of  one  of  the  parts  sliorter 
by  liaif  tlian  tlio.-e  of  anotlicr;  3,  to  reduce 
them  in  one  part  to  a  fourtli  of  the  lengtli  of 
those  of  anotlier;  4.  to  connect  flie  iKttes  by 
8ynco|)e  in  one  part,  whilst  another  i)roceeds 
accordini;  to  tlie  lime  of  the  measure;  o,  to 
mingle  together  these  dilTercnt  kinds  (»f  com- 
binations, including  accidental  points  and 
various  ornaments.  Select  an  air,  and  com- 
mence writing  for  two  voices,  then  for  three, 
four,  five,  or  six,  or  more;  and  it  will  be  found 
that,  the  greater  the  inunber,  the  more  com- 
plicated are  the  combinations.  Studies  of  this 
character,  frequently  repeated,  will  teach  us 
to  foresee  all  cases,  to  overcome  ail  difticulti«i;, 
and  in  time  to  understand  the  art  of  writing. 
One  must  study  harmony,  for  its  rules  are 
applied  at  every  instant,  and  under  all  circum- 
stances; we  oamiot  write  even  a  few  measures 
correctly  without  a  knowledge  of  harmony, 
which  includes  counterpoint  and  thorough 
bass. 

ASSYRIAN  MUSIC.  Recent  investiga- 
tions seem  to  show  that  the  parent  of  all 
known  musical  science  was  Assyria.  From 
the  Assyrian  people,  the  Hebrews,  tlie  Egyp- 
tians, and  all  Eastern  nations  derived  their 
knowledge  of  music.  The  tuiveiled  monu- 
ments show  that  in  the  time  of  Sennacherib 
music  wa-s  a  highly  cultivated  art,  and  must 
have  existed  through  generations.  It  is 
known  that  this  polished  nation  used  a  harp 
of  twenty-one  .strings,  the  frame  of  which  was 
four  feet  high,  which  was  used  to  accompany 
minstrel  songs  and  for  performing  dance 
music.  Anmng  this  people,  the  lyre  of  tor- 
toise-shell, the  double  pipe,  the  trumpet, 
drum,  and  bell  were  common,  and  representa- 
tions of  the  bagpipe  have  been  discovered  in 
Assyria;  but,  as  yet,  none  of  the  stringed  in- 
struments of  the  violin  family,  played  with  a 
bow,  have  been  found. 

AUHER.    DANIEL   FRANCOIS    ESPRIT 

t mentioned  in  vol.  i.  p.  T")],  died  in  I'aris, 
France,  ^lay,  1S71,  aged  eiglity-seven  years. 
Some  authorities  give  the  dale  of  his  birth 
1782.  Fetis.  the  musical  historian,  says  that 
Auber's  father  told  him  that  the  comjjoser  was 
born  in  17>^2;  and  if  so.  he  was  eighty-nine  at 
tLo  time  of  his  death,  or  in  his  ninetieth  year. 
The  characteristics  of  Auber's  music  ar(> 
eprightliness,  grace,  and  great  clearness  and 
simpliciiy  in  their  dramatic  effects:  his  com- 
binations are  ingenious,  if  not  profound,  and 
his  meloilies  simple,  and  often  tender,  although 
lart'ly  |iathrtic.  It  has  elicited  widely  different 
criticisms,  l)ut  all  agree  that  it  is  seldom  dull 
and  never  offensive:  if  he  had  written  for  a 
different  class  of  hearers,  it  is  possilile  that  he 
might  have  written  .something  niudi  better 
than  any  thing  he  has  left  behind  him.     He 


was  fond  of  praise,  proud  of  his  vigorous 
health  in  old  age,  and  eager  to  write,  a:id  write 
well,  in  order  to  show  tliat  lie  had  lost  none 
of  his  old  spirit.  Some  of  his  operas  are  the 
most  successful  now  represented  upon  the 
stage:  many  of  them  have  been  translated 
into  English  and  (ierman,  and  almost  all  into 
Italian,  and  their  melodies  are  known  all 
over  the  civilized  world;  while  mai'V  jK'rsons 
consider  him  one  of  the  most  dist.;iguished 
musical  composers  that  France  has  produced. 
From  1820  to  1870,  a  period  of  fifty  years, 
Auber  was  an  industrious  and  prolific  com- 
lioser;  hut  the  French  ideal  of  opera  is  not 
that  of  luily  or  of  Germany ;  the  pre-re<iuisite 
condition  is  dramatic  power  and  liveliness; 
the  music  is  a  secondary  consideration,  but 
that,  too,  must  be  bright  and  sparkling.  All 
these  conditions  Auber  met;  and  his  de- 
votion to  the  French  ideal  of  opera  is  the 
secret  of  his  marvellous  success  with  the 
Parisians.  His  career  was  an  eventful  one. 
In  his  time  Mozart,  Haydn,  and  Beethoven 
were  living,  and  died;  Schumann  was  born, 
flourished,  and  passed  away;  Rossini  was  also 
born  and  died  :  Schubert,  Mendelsscdm,  Bach,  , 
Handel,  Cherubini.  and  others  died  younger; 
Auber  in  the  number  of  his  days  outlived 
them  all. 

AUGUSTINE,  SAINT,  was  born  in  Africa, 
A.  D.  345,  and  died  440,  aged  ninety-five. 
He  wrote  six  books  upon  music,  which  were 
printed  at  Lyons  in  15SG.  eleven  hundred  and 
forty-six  years  after  his  death.  There  is,  in 
one  of  the  English  libraries,  a  manuscript 
sermon  of  his.  on  the  practice  of  church 
music;  but  his  books,  it  is  said,  contiiined  no 
other  rules  than  those  upon  metre  and  time. 
It  has  been  supj)ose<l  that  the  ancient~s  knew 
how  to  produce  the  effects  of  innno,  crescendo, 
and  J'orlc,  because  their  musicians  were  di- 
rected to  "  take  care  to  lessen  the  sound  of 
instruments,  in  order  to  augment  them  after- 
wards :  to  diminish,  to  swell,  to  vary,  to 
diversify."  We  know  tliat  music  was  era- 
ployed  from  the  earliest  ages  of  the  Christian 
Church,  in  its  religious  service  ;  but  what  that 
music  was,  can  only  be  matter  of  conjecture; 
though  it  may  be  supposed  to  have  been 
similar  to  that  which  had  formerly  been  used 
in  the  different  countries  where  they  dwelt. 
In  Juda-a.  the  religious  chants  fonnerly  used 
in  the  .lewish  worship  would  still  be  used; 
and,  in  other  parts  of  the  Roman  Empire,  the 
new  Christians  would  have  reourse  to  the 
Pagan  livnins  of  the  CJrecks  and  Romans. 

AUSTIN,  SAINT,  established  a  school  for 
instruction  in  ecclesiastical  music  at  Canter- 
bury, Eng.,  about  the  middle  of  the  nintli  cen- 
tury, by  which  greater  facilities  were  offered 
for  tlie  genei'al  cultivation  of  the  art  of  music. 
The  science  of  music,  at  this  early  age.  being 
confined  to  the  ecclesiastics,  it  wat-  the  custom 
of  the  English  clergy  to  travel  to  Rome  for 
their  improvement  in  it;  and  masters  or 
teachers  from  that  city  frei|ueiitly  visited  the 
churches  in  England.  Many  of  the  sovereigns 
of  Europ<'.  at  tills  time,  concurred  in  encour- 
aging the  pious  and  edifying  practice  of  church 
music. 


12 


BAI 


APPENT)IX 


BAL 


B. 


BAILEY,  THOMAS  ami  DANIEL  (some- 
times spelled  Biiyley),  f)f  XewburypDrt,  Mass., 
were  publishers,  and  also  composers,  of  music. 
In  1755  Thomas  republished  a  portion  of  an 
Entrlish  work,  by  William  Tansur  (who  com- 
posed ''St.  Martins"  and  other  tunes  a<  early 
as  17;!5),  entitled  "Aromplete  >[eli>dy  :  in  Three 
Parts."  And  this  abridged  work  luijl  a  sireat 
sal<>.  thoui:h  it  contained  only  al)out  one-third 
of  the  music  in  Tansur's  English  Siniiin^-IJook, 
comprising  a  portion  of  the  Psalms  with  new 
melodies.  Daniel  Bailey,  in  connection  with 
John  W.  Gilnian.  an  engraver  of  Exeter,  X.II., 
published  at  Newbury.  Mass.,  in  1T(>4,  a  small 
work  entitled,  ''A  New  and  Coinplete  Intro- 
duction to  the  Grounds  and  Rules  of  Music: 
in  Two  Parts."  The  First  Part  of  this  work 
contained  the  Introduction  to  the  Art  of  Sing- 
ing by  Note,  taken  from  the  book  previously 
published  by  Thomas  Walter,  A.M.  The  Sec- 
ond Part  contained  a  new  ami  correct  Intro- 
duction to  the  (Jrounds  of  Music,  Uudimental 
and  Practical;  from  William  Tansur's  Royal 
Meloiiy:  the  whole  being  a  collection  of  a 
variety  of  the  choicest  tunes  from  the  most 
approved  masters.  "Oh.  praise  ye  the  Lord; 
prepare  your  glad  voice,  hi-i  praise  in  the  great 
assembly  to  sing"  (Ps.  cxiix.  1).  Printed  for 
and  sold  by  Bulkly  Emerson  and  Daniel  Bai- 
ley of  Newburyport,  ITtU.  This  work  con- 
tained thirty-four  tunes.  They  were  neatly 
engraved  by  Oilman,  in  a  diamond-shaped  note. 
The  style  of  the  music  is  nearly  that  of  Mr. 
Walter's,  or  the  choral  style.  The  only  three 
tunes  at  all  removed  from  it  are  "  St.  Luke's," 
'•St.  Martin's."  and  "Weston  Flavel."  The 
others  are  like  "  St.  David's,"  "  Windsor," 
"  York,"  &c.  The  tunes  are  .all  arriinged  in 
three  parts,  —  bass,  treble,  and  tenor.  Some 
are  copied  literally  from  Mr.  Walter;  while 
one,  at  le.ast,  bears  the  mark  in  the  style,  as 
well  as  the  name,  of  an  American  composi- 
tion ;  but  of  this  we  are  not  certain,  as  the 
authors'  names  are  in  no  instance  given. 
Three  editions  of  this  work  were  publisiied  in 
the  same  year,  17(54.  Two  were  printed  at 
Newburyport,  — one  for  Bulkly  Emerson,  con- 
taining thirty-four  tunes;  and  the  other  for 
the  author,  Mr.  Bailey,  containing  fourteen 
additional  tunes.  The  third  was  printed  at 
Salem.  Mass.,  for  Mascholl  Williams.  These 
were  all  printed  from  the  siime  engraved  |)lates ; 
but  the  titlep.ages  and  introductions  were  typ- 
ographical, and  differed  in  form.  We  have 
seen  it  stated  that  Daniel  Bailey  published  in 
177-1  an  English  work,  entitled  "  Williams's 
Collection;"  but  we  have  never  been  able  to 
procure  satisfactory  evidence  of  fhi-<;  and  we 
are  led  to  believe,  from  such  infornjation  as 
we  jxissess,  th.it  the  collection  spoken  of  w.as 
a  new  edition  of  the  "l'niver>al  Ilarmimy.'' 
because  it  is  known,  that,  in  17i')l>,  be  repul»- 
lished  a  part  of  Tansur's  "Psalmody,"  and 
called  it  by  the  name  of  "Universal  Harmony." 
For  this  work  he  largelv  -elected  from  a  work 
then  just  published  in  London,  entitled  "  Psal- 
niodia  Kvangelica,"  by  Thomas  Williams,  which 


rhurch  Music."  It  is  st.ited  In  "The  History  of 
Newburyport,"  that  William  Tan-iu' publisiied 
there,  in  17i)tl,  a  singing-book  entitled  "The 
American  Harmony:"  but  we  have  ncvi-r  been 
able  to  lind  any  copy  of  the  work,  or  other 
m(>ntion  of  it,  and  think  it  must  have  been  a 
mistake.  Probably  the  book  named  was  "The 
Universal  Harmony,''  by  Bailey,  a-*  that  was 
partly  taken  from  TauMir:  an<l  it  is  po>-ible, 
since  the  [lublishers  sometimes  changed  the 
title  of  books  in  different  editions,  that  one 
edition  might  have  been  called  *"  The  American 
Harmony." 

When  the  publication  of  music  w.as  fint 
commenced  in  this  countn,',  great  igncransc 
of  the  science  prevailed;  and  no  one  wa-;  ':on- 
sidered  competent  to  make  correct ion<,  esccjit 
where,  by  cojjying.  printing,  and  reprinting, 
palpable  and  gross  errors  were  |)erccptible. 
Tunes  were  taken  as  they  were  found,  and  so 
published ;  and  this  was  probably  the  most 
judicious  course;  for  the  oldest  and  most  ex- 
perienced dared  not  expose  their  ignorance  by 
attempting  to  correct  en-or".  To  show  how 
little  was  known  by  the  wisest,  we  will  just 
mention  that  a  committee  for  publi-ihing  a 
book  saw  fit  to  introduce  some  tunes  from  a 
recent  English  pul)lication,  with  the  figures  of 
the  harmony  attached;  and.  wheti  one  of  their 
number  was  asked  the  u->e  of  tho>e  figures,  he 
honestly  answered  that  he  did  not  know,  but 
that  the  committee  intended  to  make  the  pub- 
lic believe  thev  knew  something. 

BAKER,  BEN.JAMIN  FRANKLIN,  w.o-s 
boni  at  Wenham,  Mass..  ,Iuly  10,  isil;  n^- 
moved  to  Salem ;  studied  music,  and  com- 
menced teaching,  18:>1 :  travelled  as  one  of  a 
concert  company,  18;i3;  studied  with  John 
Paddon.  Boston,  and  became  director  of  music 
at  Dr.  Channing's  Church,  18;j!>,  which  posi- 
tion he  held  eight  years;  commenced.  1S41, 
holding  musical  c<mventions,  which  were  suc- 
cessful ;  w.as  appointed  vice-president  of  the 
Handel  and  Haydn  Society,  which  office  he 
held  six  years;  was  superintendent  of  musical 
instruction  to  the  grammar  schooN.  lS-12,  and 
during  six  years  met  eight  thou-and  pnjiils  a 
week;  inlnxluced  mu>ic  into  the  scIuhiN  of 
Low(>ll  and  Lawrence:  became  editor  of  "The 
Boston  Musical  Journal."  and  principal  of  the 
Boston  Mu>ic  .School,  incorporated  1S.j7. 

BALFE,  MICHAEL  WILLIAM,  was  bom 
in  Dublin,  May  15,  lSi>8.  He  took  music-les- 
sons of  his  father,  and  violin-lessons,  when  a 
mere  child,  from  a  bandmaster  at  Wexford, 
and  at  the  age  of  eight  years  played  a  concerto 
on  that  instrument  at  a  public  concert.  At 
the  .age  of  nine,  he  wrote  the  ballad  calle<! 
"The  Lover's  Mi-take."  which  was  introiluecil 
into  the  play  of  "  Paul  Pry."  with  sucee-*.  by 
Madame  Ve<frii.  After  the  death  of  his 
father,  who  died  in  ls-_>2,  he  in  IS-j;!  went  to 
London  with  Mr.  t'liarle-  Horn,  with  whom 
he  studied  seven  year-:  and  here  he  iM-c.aine 
principal  violini-t  in  the  Drury  Lane  orchestra, 
under  .Mr.  T.  Cook'-.  In  Ifsi")  he  went  on  the 
st.oge  as  an  o|>era-singer,  but  at  first  made  a 
signal  failure  on  account  of  timiility.  .Vfter 
studying  further  in  Italy,  whither  he  wi-nt 
under  the  patronage  of  Count   Maz/.era,  wlio 


contained  nuisic  arranged  in  three  parts,  and  I  took  an  interest  in  him  on  .account  of  afancicfl 
figured  for  the  organ.  Thus  originated  the  |  resemblance  to  a  lost  son,  he  m.oile  a  s«H'<>nd 
n.ame  "  Williams's  and  Tansur's  Collection  of  1  and  successful  essay  on  the  stage,  first  appear- 

13 


BAL 


APPEXDIX. 


BAR 


lilt;  ill  Paris,  ami  subsequently  in  It^iy,  Eng- 
laiitl,  ami  oilier  countries.  His  Paris  iMhnt, 
was  as  Fiuani  in  '•  llu;  Barber  i>f  .Seville," 
witli  .Siiiita.;  as  Hosina.  the  opera  llien  beintj 
uniler  IJossini's  own  (lirocfion.  In  Italy  he  had 
ali-eady  composed  a  l)allet,  "La  Paruu.ie,^' 
whiili  was  well  received. 

In  IS.;.")  he  returned  to  London.  accompanle<l 
by  Ills  wife,  who  had  Ixhmi  Ma<leinoiselle  Lina 
lie/.er,  iiriiiKi-iloniia  of  one  of  the  tii)up<'s.  of 
which-he  was  the  leadins;  barytone,  in  Sicily. 
He  sang  at  the  Ancient  and  Philharinonic 
Concerts,  and  also  appeared  at  Drury  Lane  in 
"TheSiese  of  Kochelle,"  on(!  of  his  earliest 
operas.  "'The  Jewess,"  and  other  pieces.  His 
"  Maid  of  Artoi.s"  was  written  for  Malibran; 
and  the  irreat  cantatrice  won  in  it  one  of  her 
chief  successes.  In  ISJi)  he  undi'rtook  the 
nianasement  of  the  English  Opera  House;  but 
the  enterprise  was  unsuccessful,  and  he  aban- 
doned it  for  the  more  congenial  and  profitable 
work  of  comjiosition.  His  "  Bohemian  (iirl" 
was  now  produced;  and  it  has  been  the  most 
successful  of  anv  of  his  operas.  His  "  Uaucrh- 
ter  of  St.  Mark?'  "The  Enchantress,"  "The 
Bondman,"  and  many  other  works,  followed; 
"The  Puritan's  Daughter"  (performed  by  the 
Parepa-Kosa  troupe  at  the  Boston  Theatre), 
and  "Blanche  de  Nevers,"  being  among  his 
latest  productions.  The  "Daughter  of  St. 
Mark"  ran  at  Drury  Lane  for  one  hundred 
nights.  In  the  spring  of  18.57  his  daughter, 
Victoria  Balfe,  appeared  upon  the  operatic 
stage.  She  became  the  wife  of  Sir  John 
Crampton.  and,  after  a  divorce  from  him,  was 
married  to  the  Duke  of  Fri.as,  of  Spain. 

Balfe  w.as  undoubtedly  at  the  head  of  com- 
posers of  English  opera ;  aiul  he  was  also  one 
of  a  very  few  composers  of  the  first  rank  whose 
talents  as  a  virtuoso  lay  in  vocaiism.  Like 
all  great  writers  of  music,  he  was  thoroughly 
acquainted  with  the  powers  of  various  instru- 
ments; but,  during  the  greater  part  of  what 
may  be  called  his  public  career,  ho  was  simply 
a  singer  in  opera,  ('uriously  enough,  his  operas 
were  well  received  in  England,  and  in  this  coun- 
try; and  they  met  also  the  warmest  reception  in 
Germany.  Balfe's  style  is  not  English,  but  a 
medley  of  French,  Italian,  and  frequently  of 
German  melodies:  though,  i)'.operly  speaking. 
his  model,  if  he  had  any,  was  Auber.  He 
composed  music  to  several  beautiful  lyrics  of 
the  poet  Longfellow,  which  obtained  wide 
popularity  in  England,  as  well  as  in  this  coun- 
trv. 

"In  18.")T  Mr.  Balfe  published  "  A  New  Sing- 
ing Method,"  without  the  use  of  solfeggi;  pre- 
senting the  lu^cessary  element^iry  studies  in 
the  form  of  in-iginal  ballads  and  songs,  — a  sys- 
tem substituting  an  airreealde  amusement  for 
disagreeable  lai)or.  He  died  at  his  country 
residence  in  Hertfordshii'e.  Eng.,  Oct  L'l.  lST>i. 
in  his  sixty-third  year.  Previous  to  his  death. 
Mr.  Balfe  had  made  two  visits  to  this  country, 
and  w:is  intendini;  to  come  here  in  1S71  again. 

BALFE,  VICTOK'IA.  second  daughter  of 
M.  W.  Balfe.  was  born  in  the  Hue  dv  Id  V'ic- 
tnlrc,  Paris.  Sept.  1,  18:!7,  and  in  her  child- 
liooil  .••howed  great  taste  and  feeling  for 
niu-ic.  Her  voic<',  a  )iure  soiirano.  was  de- 
veloped under  the  instruction  of  Emmanuel 
Garcia,  ami  subsequently,  in  Italy,  under  her 
father's  care,  with  the  aid  of  emin«nt  m.'i:<ters. 


Her  first  appearance  upon  any  stage  was  at 
the  Italian  Opera  House,  London  (Mr.  Gye's), 
May  28,  18.")7,  as  AtuiitK  in  "  Ld  Stmnuinhdla,''' 
supported  by  Madame  Tagliatico,  Signor  Ron- 
coni,  and  Signor  Gardoni.  Her  success  was 
great  and  real.  Her  voice  ranged  from  i(jw  C 
to  C  in  alt.  The  same  year  she  sang  in  Turin. 
Returning  to  England,  ISTjO,  she  ni.ade  one  of 
her  greatest  hits  in  the  role  of  Arlhif,  in 
"La  Ziiii/ara'^  (her  father's  "Bohemian  Girl" 
Itali.ani/.ed).  In  18.j1>  Miss  Balfe  acci'pted 
an  enga'gement  at  the  opera,  St.  Petersburg, 
where  she  married  Sir  John  Crampton.  for- 
merly English  minister  at  Washington,  D.C., 
tlien  representing  Queen  Victoria  at  St.  I  e- 
tersburg.  This  marriage  excited  much  inter- 
est among  Sir  Jolm's  aequaintaiic<!s  in  this 
country;  and  Lady  Crampton  was  talked 
about  here,  and  coldly  received  in  court  cir- 
cles in  Europe,  because,  before  marriage,  she 
was  simply  Victoria  Balfe,  an  opera-singer. 
Miss  Balfe  had  an  irrepro.achable  reputation 
before  marriage;  but  her  marriage  was  ren- 
dered unpleasantly  conspicuous  by  pc'sons 
who  made  a  point  of  eUqueUe ;  and  in  1SC3 
she  became  legally  divorced,  aft(!r  which  she. 
married  the  Duke  de  Frias,  a  Spanish  grandee. 
She  died  at  Madrid  Jan.  22,  18';5. 

BALL.VD.  This  word,  now  used  only  to 
designate  the  words  of  a  peculiar  species  of 
song,  is  derived  from  the  Italian  bnllare,  to 
dance,  and  originally  signified  a  dance  accom- 
panied by  a  chant  It  was,  probably,  panto- 
mimic, exhibiting  the  story  of  the  accom- 
panying verse  by  that  exi)ressive  gesticulation 
in  which  the  Italians  of  all  ages  have  ex- 
celled. 

BALLETTO  has  a  similar  meaning  as  the 
ballad.  One,  compared  by  Cavravaggio,  1581, 
sounds  almost  like  modern  music,  both  as 
regards  melody  and  harmony.  Change  a  few 
perfect  chords,  which  injure  the  modal  con- 
nection, into  chords  of  the  seventh,  and 
you  have  a  little  melodious,  well  cadenced, 
quite  correctly-written  chorus  of  our  owu 
time.  Its  expression,  to  be  sure,  is  rather 
ordinary;  but  it  may  have  been  very  original 
two  hundred  and  ninety  years  ago. 

BAUD.  The  profession  of  bard  appeared 
with  great  lustre  in  Gaul,  Britain,  and  Ire- 
land. Demodocus  is  mentioned  as  a  bard  by 
Homer.  Alexander  the  Great  had  a  bard 
named  Cherylus;  and  we  find  bards,  accord- 
ing to  Slrabo.  among  the  Romans,  before  the 
age  of  Augustus.  The  Druids,  among  the 
English,  were  philosophers  and  priests;  and 
their  bards  were  their  poets.  They  were  re- 
corders of  heroic  actions  in  Irelaiicl  and  Scot- 
land, almost  down  to  our  limes.  Ossian  flour- 
ished in  the  third  century;  Merlin,  in  the  tifth. 
The  former  speaks  of  a  prince  who  kept  a 
hundred  bards.  Irish  soiniets  are  tlie  chief 
f(Uin(lations   of  the  ancient  histoiy  of  Ireland. 

The  favorite  songs  of  the  bards  are  said  to 
have  been  those  celebrating  the  renown  of 
their  ancestors.  The  i>raises  of  great  men 
were  accomi)anied  with  a  sort  of  religious 
feeling.  It  was  not  only  useful  to  the  living 
to  extol  the  virtues  of  former  heroes  as  an  ex- 
citement to  their  imitation.  l)ut  was  reckoned 
extremely  pleasing  to  the  deceased:  it  was, 
indeed,  thought  the  means  of  .assisting  the 
spirit  to  a  state  of  happiness,  and  became,  cou- 


14 


BAR 


APPENDIX, 


B.VR 


sequently,  a  religious  duty.  Tlie  bardic  compo- 
sitions, coiniiiemorutiii'^  the  wortli  aii<l  exploits 
of  heroes,  \v<M-e  ;i  sort  of  n:itioii;il  aiiiKil-*,  wliicii 
served  tlie  (l(iul)le  jjiirpose  of  preserving;  tlie 
memory  of  ])a-^t  transactions,  aiiil  of  stinuilat- 
ing  the  youtli  to  an  imitation  of  their  virtuous 
ancestors. 

The  practice  of  animating  troops  by  the 
chantini'  of  lieroic  poems  is  of  most  ancient 
ori.^in.  IJooks  of  war-verses  existed  t!:ii)  years 
before  our  era.  Tlie  Calculonian  l)anl-i  oHiei- 
ated  as  aids  to  the  chief,  comniiniicatiii!^  his 
orders  to  tlie  followers.  The  bards  unimaled 
the  troops  in  battle,  and  amused  them  by  their 
soiifjs  during  the  hours  of  darkness. 

Mufic  is  either  inolhi-r  or  daughter  of 
poetry.  The  manner  of  the  (Jaelie  bards 
seems  to  have  been  to  make  the  tune,  or 
melody,  lirst.  and  then  to  adai)t  words  to  it. 
The  original  poem  was  often  lost;  but  the  air 
of  a  good  one  seldom  shared  the  same  fate, 
because  a  tune  is  easier  learned  than  a  song. 
Many,  however,  could  make  a  song  who  could 
not  compose  a  tune,  and,  conseciuently,  many 
wen;  adapted  to  the  same  air.  Wo.  are  not 
precisely  informed  of  the  inelliod  by  which 
tlie  bards  taught  music.  It  is  not  probal)le 
tliat  in  ancient  times  they  had  the  art  of  com- 
municating their  melodies  by  notation;  and, 
if  not,  tln^y  were  given  music-lessons  iniliviilu- 
ally,  and  each  lesson  must  have  been  com- 
mitted to  memorv,  as  were  the  poems. 

B.VRDS.  "According  to  J.  C.  Walker  in 
his  '  Memoirs  of  the  Irish  Bards'  (4to.  Dublin 
1~8(>),  Ambcrgiii.  bmiherof  Ileber,  lirst  mon- 
arch of  Ireland,  had  the  rank  of  chief  of  the 
bards.  This  dig'uty  imposed  on  him  the 
triple  duty  of  poet,  historian,  and  legislator. 
The  colleges  of  the  bards  were  held  in  the 
depths  of  oaken  forests.  There  the  Druids 
taught  their  disciples  the  elements  of  history, 
the  art  of  oratory,  the  laws,  by  means  of 
poetry,  in  which  was  contained  all  the  science 
of  those  distant  ages.  Music  w.is  always 
connected  with  this  multiple  course  of  in- 
struction, and  was  regarded  as  the  most  ex- 
quisite divisi>n  of  human  knowledge.  Their 
teachings  were  oral,  and  were  continued  from 
twelve  to  twenty  years. 

"  The  word  hunt  comes  from  Mr  or  hnjnjd'l, 
which  signities  the  'fine  frenzy'  or  exalta- 
tion of  tiie  poet.  Famous  singers  celebrated 
to  the  sound  of  the  lyre  or  harp  the  acts  and 
deeds  of  heroes,  and  preserved  the  genealogies 
of  all  their  jirinees.  which  they  carried  back 
tn  a  dii>H"t  line  to  Adam. 

"  In  Iri'land,  when  the  student  had  finished 
his  course,  a  b:)nnet  called  harrvil,  and  the  de- 
gree OUiimh  (or  doctor),  were  conferred  ui)on 
liim.  Every  profession  being  hereditary,  the 
candidates  for  bardism  were  necessarily  of 
certain  families. 

"  As  so:)n  as  tlie  young  bard  had  received 
his  degree  of  Olliinili.  the  clioice  of  his  prof;»<- 
sion  was  determined  by  that  of  the  family  to 
which  he  belonged.  lie  became  Filci,  llrri'h- 
cntuh,  or  Seannchn,  according  to  his  birth. 
These  oftices,  long  united  in  the  same  person, 
had  become  separated,  their  duties  l)eing 
thousht  too  numerous  for  a  single  individual. 

'■  The  OHninh(iin-rr-(liin,  or  Filidhf,  were 
poets.  They  preserved  in  verse  the  traditions 
of  religion;  they  animated,  both  before  and 


during  th<!  combat,  the  soldiery  with  nmrlial 
odes  and  songs  of  war;  they  celebr;. t"d  valor- 
ous deeds,  anil  composed  vei'ses  iipm  Ilio 
births,  marriai;es,  and  deaths  of  flu.'  cliieti* 
and  princes  who  held  them  in  their  sei-vice. 
Tlie  Filiilhc  were  also  the  heralds  anil  faiiliful 
followers  of  their  princes.  They  niat'clied  at 
the  head  of  the  armies,  clad  in  Inn,'  whilo 
(lowin;;  robes,  holding  niaL:ni(icent  harps  iii 
their  lianils,  and  surrouiiiled  by  the  Orjldijh, 
or  musicians  of  ihi'  orchestra 

"  During  battle,  they  held  themselves  aloof, 
and  from  a  safe  place  (ilieir  persons  being 
held  s.'icred)  watched  the  deeds  of  their 
chieftain.  The  Muse  animated  them,  and 
aided  their  walchfulness.  Some  even  pre- 
tended to  the  gift  of  priii>liccy;  and  ihc  better 
instructed  among  tliein  were  admitleil  into 
the  order  of  the  Drniils. 

"  The  lircit/icdiiili'iin,  or  UrrhmiK,  promul- 
gated their  laws  in  a  sort  of  recitative,  sitting 
ujjon  an  eminence  in  the  o|>en  air.  They 
united  the  double  functions  of  judges  and 
legislators, 

'"The  Seanachai'Uie  v,'eTe  antiquaries,  gene 
alogists,  and  historians.  Each  province,  chief^ 
prince,  had  their  own. 

"  Besides  these  three  orders  of  bards,  there 
was  another  fif  inferior  grade,  comprehending 
all  i)layers  upon  instruments.  To  all  ehvsse:* 
of  these,  their  profession  was  aNo  hereditary. 

"  In  Gaul,  as  in  Ireland,  the  bards  immor- 
talized in  their  verses  the  action  of  heroes: 
moreover,  they  often  interposed  in  combat; 
and,  throu'ih  their  influence,  the  sword  wxs 
often  returned  to  its  scabbard.  They  even 
censured  their  chiefs,  wht>n  their  actions  were 
not  exempt  from  rejiroach. 

"Thus  viewed,  the  part  which  mu«ic  played 
becomes  really  sacerdotal.  It  added  to  the 
majesty  of  religious  rites  by  giving  more  of 
force  and  harmony  to  public  [jrayer,  api)eased 
the  fun'  of  the  warriors,  taught  history,  pre- 
serveil  the  memory  of  grand  deeds,  and  repre- 
hended those  who  did  wrong,  —  truly  grand 
and  important  functions,  whose  benefits 
might  in  our  day  be  felt,  if  those  who  rule 
in  art  would  v^ill  it  sericu-'ly  and  i>ersever- 
inglv. 

••  Under  the  Roman  dominion,  Gaul  received 
the  inlluence  of  Greek  civilization:  but  the 
Itoman  emperors  were  often  cniel  and  san- 
i;iiinary.  A  law  of  Claudius  abidished  the 
druidical  rites,  and  ordained  the  extermination 
of  the  firiests.  The  noble  profession  of  the 
bards  de:^enerafed  by  degrees  under  the  cor- 
rupting inlluence  of  strange  and  I'auaii  man- 
ners. According  to  Atheiueus,  they  l>ecame 
nii're  courtiers  and  parasites. 

"  The  principal  string-instruments  in  use  in 
Roman  Gaul  were  the  barliiton,  or  lute;  the 
psaltery  of  ten  strings,  which  were  pl.\vc<l 
with  a  plectrum;  the  cilhara  of  tw  •,  four, 
or  eight  flaxen  strings,  under  iKiwerful  ten 
sion.  Among  the  win  l-i;istruments  wen*  thu 
horn  of  the  Urochs;  Pan's  pip<'s;  trumfMst", 
straight  and  cur%'ed  ;  the  simpb-  flute,  straight 
or  curved,  long  or  short :  and  the  double  lime, 
f)f  wood  or  silver.  The  l>a'Z)>i|M's  aii'l  shep- 
herd's  iiipes  are  curious  n-lies  of  ancient  in- 
struments. The  instruments  of  percussion  in 
use  in  those  times  were  cymbals,  rrotales, 
cithern  (of  Egj-ptlau  origin),  and  the  basque 


15 


BAS 


APPENDIX. 


BEL 


drum.  But  soon  the  invasion  by  barbarous 
nations  began  to  pull  down  the  structure  of 
the  Roman  empire;  the  Burgundians  and 
Franks  successively  overran  Gaul ;  and  Clovis 
founded  the  first  united  French  monarchy. 

"  A  grander  cause  of  civilization  had  risen  in 
the  East.  In  the  time  of  Augustus,  Christian- 
ity was  born  in  the  stable  at  Bethlehem.  The 
apostles  soon  spread  the  good  news  in  all 
hinds.  The  church  at  Lyons  was  founded  by 
Pothin  and  Irenseus,  coming  thither  frorri 
Smyrna.  Christians  were  multiplied  through 
the  influence  of  eloquent  preaching,  but  m<)re 
through  martyrdom.  Clotilde  converted  Clo 
vi 


of  the  Voice,"  &c.  Cailo  Bassini  was  pure, 
noble,  cliaritable,  and  learned.  He  died,  and 
was  buried  from  a  Roman-Catholic  church,  in 
Brooklyn,  N.Y.,  Nov.  25,  1870,  aged  fifty-five. 
At  his  funeral,  a  choir  of  three  hundred  sing- 
ers sang  his  last  composition,  "Light  in  the 
Sky." 

Bells,  in  civilization,  the  bell  has  played 
an  important  part;  and  its  history  is  among  the 
most  interesting  of  narratives,  whether  it  be 
of  its  rude  early  state,  or  of  that  period  when 
science  added  to  its  vibrations  the  tones  and 
harmonies  of  music.  The  ear  is  to  be  grati- 
fied or  displeased  by  the  tone  of  the  bell. 


HiS' 

ris.     Martin,  Ililaire,  and  Denis  had  planted  I  tory  gives'  us   no  definite  or  satisfactory  ac- 
.he  fuith  among  the  Gauls.     When  the  light    count  of  the  origin  of  bells.     Small  tinkling 


of  the  gospel  had  caused  the  dark  mysteries  of 
Druid  ism  to  vanish,  the  bards  no  longer  sang 
the  piais.?s  of  false  gods,  but  made  their  harps 
to  sound  in  honor  of  the  Trinity.  The  Chris- 
.  tians  also  spread  their  doctrines  with  the  aid 
of  hymns  and  sacred  canticles.  Thus  we  see 
that  in  all  times,  under  all  forms  of  civiliza- 
tion and  religion,  music  was  added  to  prose 
and  poetry  to  augment  their  force,  and  add  to 
their  effects." 

If  we  may  judge  by  the  respect  and  rever- 
ence shown  to  their  bards,  we  may  conclude 
that  the  ancient  Britons  were  passionate 
admirers  of  vocal  and  instrumental  music. 
"Sometimes,"  says  Bertholinus,  "when  two 
armies  were  standing  in  order  of  battle,  with 
their  swords  drawn,  and  their  lances  extended, 
upon  the  point  of  engaging  in  a  most  furious 
conflict,  the  poets  have  stepped  in  between 
them,  and,  by  their  soft  and  fascinating  songs, 
calmed  the  fury  of  the  warriors,  and  prevented 
the  bloodshed."  The  Scalds  were  the  poets 
and  musicians  of  all  the  Northern  nations; 
and,  upon  the  establishment  of  the  Saxons  in 
Britain,  the  courts  of  the  kings,  and  the  resi- 
dences of  the  nobility,  afforded  a  constant  asy- 
lum to  these  early  minstrels.  "  In  the  Anglo- 
Saxon  language,  they  were  distinguished  by 
two  appellations,  —  the  one  equivalent  to  the 
modern  teiTn  of  gleemen,  or  merrymakers ;  and 
the  other,  harpers,  from  the  instrument  they 
usually  played  upon.  The  gleemen  added 
mimicry,  and  other  means  of  promoting  mirth, 
to  their  profession,  as  well  as  dancing  and 
tumbling,  with  sleights  of  hand,  and  a  variety 
of  deceptions,  to  amuse  the  spectators." 

BASSINI,  CARLO,  master  of  singing,  was 
born  at  Cuneo,  Italy,  in  1815;  was  educated 
in  the  Conservatory  of  Naples,  where  he  was 
compelled  to  study  an  instrument  in  order  to 
be  useful  in  defraying  the  expenses  of  the  col- 
lege, by  going  out  to  play  at  concerts  or  theatres, 
and  giving  che  profits  to  the  institution.  He 
chose  the  violin,  at  the  same  time  studying 
singing;  and  remained  in  this  college  ten  years, 
■when  he  commenced  his  career  as  solo-violin- 
ist, by  giving  concerts  in  Europe,  and  then  in 
South  America.  In  1853  Mr.  Bassini  found 
himself  involved  in  the  troubles  at  Rome,  and 
was  forcibly  compelled  to  leave  France.  He 
came  to  New  York,  and  immediately,  for  the 
first  time,  published  the  report  of  his  studies 
in  "The  Musical  World,"  and  afterwards  liis 
.system,  "  The  Art  of  Singing."  Since  this 
dale,  he  has  i)ublished,  "Methods  for  Tenor, 
Barytone,  Soprano,  and  Mezzo-Soprano;" 
"  Twenty  Melodic    Exercises ;   '    "  Educ;vtion 


igm  oi  Dens,  small  tinkling 
instruments  are  mentioned  by  Hebrew  writers 
as  having  been  worn  by  the  high  priests  and 
persons  of  distinction;  but  of  their  shape 
notliing  is  recorded.  The  name  bell  is  from 
the  Saxon  bellan.  to  bawl  or  bellow.  The  bell 
is  used  to  this  day  in  Catholic  countries  for  a 
similar  purpose  to  that  recorded  in  Scripture. 
Perhaps  no  instrument  of  music  (for  it  is 
ranked  by  musicians  among  the  musical  in- 
struments of  percussion)  is  moie  intimately 
associated  with  the  religious  and  imaginative, 
as  well  as  with  the  most  joyous  and  rnost  sad, 
feelings  of  the  human  heart. 

"  To  call  the  fold  to  church  in  time, 
They  cliime. 

When  joy  and  mirth  are  on  the  wing, 
They  ring. 

Lamenting  a  departed  soul, 

They  toll." 

Thus  they  perform  their  threefold  duties. 
Bells  were  used  in  Christian  churches  about 
the  year  395  of  our  era.  They  were  conse- 
crated and  baptized,  washed  with  water,  an- 
ointed with  oil,  and  marked  with  the  sign  of 
the  cross  as  early  as  787. 

William  the  Conqueror  introduced  into  Eng- 
land, from  France,  the  custom  of  ringing  the 
curfew;  though  some  say  that  King  Alfred  was 
the  first  to  order  the  ringing  of  a  bell  at  nine 
o'clock  in  the  evening,  when  the  people  were 
commanded  to  extinguish  all  lights,  and  cover 
up  the  fires  in  the  house.  Curfew  is  from  the 
French  words  eouvre  feu,  "cover  fire."  This 
custom  became  common,  and  from  it  came  that 
of  New  England,  still  practised  in  our  country 
villages ;  and,  if  it  were  now  enforced,  it  would 
serve  as  a  great  protection  against  fires.  The 
use  of  bells  in  olden  time  was  to  praise  the 
true  God,  call  the  people,  and  convene  the 
clergy,  mourn  the  dead,  drive  awivy  the  pesti- 
lence, and  grace  the  feast.  In  remote  times, 
the  bell  summoned  the  people,  gave  notice  of 
dinner,  the  hour  for  bathing,  the  time  of 
prayer,  time  of  danger,  to  awaken  the  senti  • 
nels,  to  give  notice  of  funerals,  of  the  sacri- 
fice, to  designate  criminals  (who  wore  them  on 
the  neck)  to  find  the  cattle,  and  to  call  the 
servants. 

BELLS.  MUSICAL,  are  still  in  use  in  some 
parts  of  Europe,  and,  to  some  extent,  in  this 
country,  and  are  regarded  as  delightful.  They 
are  played  upon  by  means  of  keys,  sometimes 
not  unlike  those  of  the  piano-forte.  An  old 
painting  of  King  David  represents  him  as 
playing,  with  a  hammer  in  each  hand,  upon 
five  bells,  which  were  hung  up  before  him. 
The  music  of  the  thirty-three  bells  which  were 


16 


BEL 


APPENDIX. 


be:n 


suspended  in  the  tower  of  the  Cathedral  of 
Antwerp  is  highly  celebrated:  one  of  these 
bells  was  seven  feet  in  width,  and  eight  feet 
high.  The  Swiss  bell-ringers,  who  introduced 
their  peculiar  bell-music  into  this  country, 
were  famous  for  their  performances,  producing 
as  they  did  most  exquisite  melody  and  har- 
mony from  hand-bells.  The  Peak  family,  and 
others,  have  since  imitated  the  Swiss,  and 
have  become  celebrated  for  their  bell-music. 
So  skilful  are  some  of  these  ringers,  that  they 
will  change  the  bells  used  from  one  to  another 
wi'h  iiie  greatest  rapidity,  using  both  hands. 
Miisical  bells  vary  in  size,  from  a  large  cow- 
be'l  „D  the  very  smallest  dinner-bell,  each  with 
a  tone  diti'erent  from  that  of  the  rest;  and  as 
many  as  forly-two  are  used  by  a  company  of 
seven  persons. 

BELLS,  LARGE.  Russia  exceeds  all  other 
countries  in  bells.  Moscow  alone  once  had 
1,76G  large  bells.  One  tower  had  thirty-seven ; 
one  being  so  large  that  it  took  twenty-four 
men  to  ring  it,  and  this  was  done  by  pulling 
the  clappei'.  It  weighed  two  hundred  and 
eighty-eight  thousand  pounds.  The  great  hell, 
cast  by  order  of  the  Empress  Anne,  in  16.53, 
weighed  44:5,772  pounds :  it  was  nineteen  feet 
high,  and  measured  around  its  margin  sixty- 
three  feet  and  eleven  inches.  The  metal  alone 
cost  over  three  hundred  thousand  dollars.  It 
now  lies  broken  on  the  ground.  It  was  never 
suspended.  When  the  Kremlin  was  burned, 
the  bell  became  heated,  and  the  water  thrown 
to  extinguish  the  fire  caused  the  fracture.  In 
1837  the  Czar  Nicholas  caused  the  bell  to  be 
elevated  from  the  pit  in  which  it  lay;  and  it 
has  since  been  used  as  a  chapel.  The  door  is 
in  the  aperture  made  by  the  piece  which  fell 
out.  The  room  is  twenty-two  feet  in  diame- 
ter, and  twenty-one  feet  and  three  inches  in 
height. 

BENDEL,  FRANZ,  was  born  in  Shoenlinde, 
Bohemia,  March  23,  1833,  in  which  place  his 
father  was  a  teacher.  He  received  a  thorough 
musical  education  at  Prague,  in  the  Music 
Institute  of  the  blind  Joseph  Proksch.  His 
higher  artistic  consecration  he  received  at  the 
hands  of  Franz  Liszt,  who  watched  over  his 
development  up  to  the  independent  master, 
along  with  Carl  Tausig,  Hans  von  Biilow, 
and  other  afterward  brilliant  virtuosos. 

Released  by  Liszt,  Bendel  created  a  famous 
name  for  himself  by  means  of  his  most  suc- 
cessful concert-tours  through  Germany,  Swe- 
den, Denmark,  and  Russia,  and  was  even 
called  to  America  to  add  glory  to  the  great 
musical  festival  held  at  Boston  in  1872.  In 
ISfi]  he  began  his  virtuoso  concerts  in  Berlin. 
Here,  however,  he  was  soon  bound  by  tender 
bands,  and  finally  concluded  to  take  up  his 
residence  in  that  city.  In  the  year  1867,  he 
was  united  to  his  long-chosen  bride,  Lucie 
Schroeder;  and  no  dissonance  has  ever  dis- 
turbed the  pure  harmony  of  their  marriage 
life.  Beudel  composed  with  an  unusually  easy 
hand,  writing  down  his  musical  thoughts  like 
fresh  heart-springing  lyric  poems,  and  was 
therefore  enabled,  in  addition  to  his  always 
continued  studies,  not  only  to  publish  a  large 
numb(;r  of  instrumental  and  vocal  composi- 
tions, but  also  to  devote  several  hours  in  the 
day  to  itistruction.  Continued  labor  overcame 
him ;  and  he  died  at  Berlin,  July  3,  1874,  aged 


forty-one;  and  was  considered  one  of  the  best 
pianists  in  Germany. 

BERKELEY,  DR.  GEORGE,  was  bom  at 
Thomastown,  in  the  county  of  Kilkenny,  Ire- 
land, in  1GS4.  He  was  distinguished  at  Dublin 
University  for  his  proficiency  in  mathematics, 
and  became  a  fellow  of  Trinity  College.  He 
was  a  poet  as  well  as  a  mathematician  and 
philosopher.  One  of  his  poems  shadows  forth 
the  first  accomplishing  greatness  of  the  New 
World,  America,  — 

'•  Westward  the  course  of  empire  takes  its  way: 
The  four  first  acts  already  past, 
The  flfth  shall  close  the  drama  with  the  day : 
Time's  noblest  offspring  is  the  last." 

Dr.  Berkeley  became  Dean  of  Derry,  and 
afterwards  Bishop  of  Cloyne.  He  sailed  for 
America,  Sept.  6, 1728,  and  arrived  at  Newport, 
R.I.,  Jan.  23,  1729.  In  Um  Bishop  Berke- 
ley presented  an  organ  to  the  town  of  Berk- 
ley, Mass.,  which  town  had  been  named  after 
him.  The  selectmen  of  the  town,  however, 
were  not  prepared  to  harbor  so  dangerous  a 
guest;  and  after  voting,  that  "a«  organ  is  an 
hifitrument  of  the  Devil  for  the  entrapping  of  the 
souls  of  men,"  they  politely  declined  receiving 
or  examining  the  gift,  and  desired  the  donor  to 
take  the  wicked  thing  away.  This  organ  was 
forwarded  at  great  expense,  originally,  from 
England  to  America  by  the  dean,  and  was  sur- 
mounted by  the  crown  of  the  olden  time, 
which  bore  the  inscription  that  the  organ  was 
the  gift  of  Dr.  Berkeley,  late  Lord  Bishop  of 
Cloyne.  After  this  splendid  gift  had  been 
declined  by  the  Puritan  town-ofiicers  of  Berk- 
ley, the  dean  conferred  the  instrument  on 
Trinity  Church  at  Newport,  R.I.,  where  it  is 
still  used  (1868),  and  is  shown  as  among  the 
curiosities  of  the  town,  ranking  with  the  anti- 
quities of  the  place. 

A  church  in  Brooklyn,  N.Y.,  claims  the 
honor  of  owning  this  ancient  organ.  The 
truth  of  the  matter,  however,  is  not  favorable 
to  the  claim.  Once,  when  the  Berkeley  organ 
at  Newport  became  in  need  of  repairs,  it  was 
sent  to  New  York  to  be  put  in  order ;  and  a 
portion  of  the  pipes  were  found  to  be  so  defec- 
tive, that  it  was  considered  expedient  to  replace 
them  by  new  ones,  which  were  provided  and 
forwarded  in  the  old  case  back  to  Newport. 
Some  time  afterwards  one  of  the  workmen, 
thinking  that  the  old  metal  should  not  be 
thrown  away,  went  to  work  and  restored  the 
old  pipes ;  and  they  were  put  into  a  new  organ 
with  other  pipes,  and  set  up  in  a  new  case  in 
a  church  at  Brooklyn.  The  original  case  was 
of  English  oak :  the  one  made  in  New  York  is 
in  imitation  of  it,  and  actually  has  a  portion  of 
the  old  pipes. 

BENKERT,  GEORGE  F.,  was  born  in  Ger- 
mantown,  Penn.,  April  11,  1831,  and  at  the 
age  of  nine  years  was  placed  umler  the  care  of 
Joseph  F.  Duggan  of  Philadelphia,  when  he 
composed  an  overture  and  an  oratorio,  which, 
with  some  songs,  made  him  known  as  a  write" 
He  also  acquired  some  fame  as  a  iiianist.  Ho 
next  studied  with  Lindpainter  in  (Jcrmany, 
who  personally  directed  the  performance  of  a 
Grand  Mass  composed  by  his  pupil,  and 
brought  out  at  Stuttgard,  which  won  a)iprol)a- 
tion.  The  same  Mass  was  performed  at  Vienna, 
by  an  orchestra  and  chorus  of  a  hundred  per- 


17 


BEN 


APPENDIX. 


BIS 


formers.  After  this  triumph,  the  young  Amer- 
ican composer  rciiKiinod  in  Germany  five  years, 
wIk'ii  lie  n'luriicil  to  Phlladelpliia,  with  tlie 
intention  of  pursuiir^  tliere  his  profession  as 
Composer  ami  instructor. 

HEXNETT,  SIK  WILLIAM  STERN- 
DAIjE,  principal  of  tlie  Royal  Academy  of 
Music,  is  the  son  of  the  late  Mr.  Robert  Ben- 
nett, who  was  for  many  years  the  organist  in 
the  parish  church  of  .Sheffield,  in  Yorlvshire, 
Eng. ;  and  his  mother  was  Elizabeth,  daughter 
of  ^Ir.  .James  Dunn.  F.L.S.,  curator  oif  the 
Koyal  Botanical  (iardens  at  Cambridge.  He 
was  born  at  .Sheffield  in  the  year  1810;  and, 
having  lost  both  his  jiarcnts  in  his  infancy,  he 
was  brought  up  l)y  his  grandfather,  Mr.  John 
Bennett,  by  whom  he  was  entered,  when  eight 
years  of  age,  as  a  chorister  in  King's  College, 
Cambridge.  Two  years  afterwards,  he  was 
placed  in  the  Royal  Academy  of  Music,  where 
he  begail  his  regular  studies  by  taking  the 
violin  as  his  instrument;  but  he  shortly  aban- 
doned it  for  the  piano-forte,  upon  which  he 
received  instruction.  He  soon  began  to  turn 
his  mind  to  composition,  and,  as  a  pu|)il  of 
Dr.  Crotch.  i)roduced  his  first  symphony  in  E 
flat  at  the  Royal  Academy,  which  was  followed, 
at  short  intervals,  by  his  |)iano-forte  concertos. 
Having  formed  an  intimate  friendship  with 
Mendelssohn,  he  went,  in  1S.'j(5,  to  Lcipsic, 
where  several  of  his  works  (particularly  his 
overture  to  the  '^Naiades"  and  his  concerto 
in  C  minor)  were  performed  at  concerts  under 
Mendelssohn's  direction.  His  published  works 
are  numerous,  including  his  overtures,  the 
"  iVa(V((7»'.s,"  the  "  Wdhlnymphe,"  "  PaWsiH«," 
and  '•  The  Merry  Wives  of  Windsor,"  con- 
certos, sonatas,  and  studies  for  the  piano-forte, 
songs,  duets,  and  other  vocal  pieces.  His 
charming  cantata.  "The  May  Queen."  is 
possibly  the  best  known  of  his  vocal  works. 
In  lS.")(i  he  was  appointed  professor  of  music 
at  the  University  of  Cambridge,  and  received 
the  degree  of  Doctor  of  Music  in  the  same 
year,  and  M.A.  in  18(50;  and  he  was  also 
created  DC.L.  of  the  University  of  Ox- 
ford in  1870.  From  1850  till  18(i8  he  was 
conductor  of  the  Philharmonic  Concerts;  and 
in  the  latter  year  he  was  api)ointed  principal 
of  the  Royal  Academy  of  Music.  Professor 
Sir  Sterndale  Bennett  is  as  well  known  for  his 
suavity  of  manner  and  kindness  of  heart  as  for 
Iiis  musical  abilities.  He  married,  in  1844, 
Miss  Mary  .Vnn  Wood,  daughter  of  James 
Wood,  Commander.  R.X.,  who  resided  at 
Southamptt)n.  and  was  an  .accomplished  pia- 
nist. She  died  in  1800,  leaving  her  husband 
two  sons  and  a  daughter.  The  lumor  of 
knighthood  was  awarded  Professor  Bennett 
by  her  most  gracious  Majesty,  1871.  Died 
Feb.  1,  1S7.5.  au'cd  fifty-nine,  and  was  buried 
in  Westmiu'-ter  Abbev. 

BEZA,  TliEODoitE,  in  1545,  revised  Ma- 
rot's  Psalms,  and  made  additions  to  them  ;  and, 
although  ten  thousand  copies  of  Marot  had 
been  previously  published  and  sold,  the  new 
work  of  Beza,  it  is  reconlcd,  .sold  nearly  as 
well.  Theodore  Beza  was  one  of  the  most 
eminent  reformers;  and  w:is  born  at  Vezelai, 
in  the  Nivernois.  in  151!).  Atthejige  of  t  went  v. 
lie  had  gained  a  high  reputation  as  a  poet.  In 
l.'>5il  he  removed  to  (Semiva.  and  became  the 
colleague  of  John  Calvin,  through  whose  in- 


fluence he  was  appointed  rector  of  the  academy, 
and  theological  professor.  In  1.50:J  he  suc- 
ceeded Calvin  in  his  offices  and  influence.  an<l 
was  thenceforwar-d  considered  at  the  head  of 
the  Calvinistic  Church.  After  an  exceedingly 
active  life,  he  died  on  the  13th  of  October, 
1005. 

Some  writers  have  asserted  that  Beza  as- 
sisted Marot  in  translating  the  first  thirty 
Psalms  into  the  French  language:  but  they 
have  no  evidence  of  such  assistance.  Marot 
died  in  1.544;  and  Beza  revised  the  Psalms  in 
1.545.  Beza's  version  was  receiven  with  the 
greatest  approbation,  and  led  to  some  further 
and  very  successful  measures  on  the  part  of 
Calvin  to  render  psalm-singing  accei)table  to 
the  church  as  well  as  people.  From  an  act  of 
devotion  appropriate  to  the  church,  the  use  of 
singing  was  now  carried  into  the  camp  and  the 
field  of  war;  and  in  the  frequent  acts  of  re- 
sistance made  by  Protestants  .against  their 
persecutors,  a  devotional  psalm  shouted  forth 
with  energy  by  four  or  five  thousand  men  in 
array  served  .as  a  signal  for  battle.  An  exam- 
ple of  a  similar  kind  may  be  found  in  the  One 
Hundred  and  Forty-ninth  Psalm,  which  i§ 
thought  to  be  an  ode  sung  when  David's  army 
was  m.arching  out  to  war  against  the  devoted 
nations. 

Beza's  Psalms,  some  of  them,  had  the  advan- 
tage of  Marot's,  inasmuch  as  they  were  set  to 
music  of  a  different  character;  for  we  are  told 
that  they  were  "admirably  fitted  to  the  tiolin 
and  other  musical  instruments."  Taking  ad- 
vantage of  the  public  feeling,  Calvin  (to  whose 
exertions  Beza  was  indebted  for  some  of  the 
most  simple  and  beautiful  airs  which  were 
added  to  the  Tiew  collection)  wisely  had  en- 
gaged the  first  musical  composers  then  living, 
to  aid  by  the  p<^)wers  of  melody  the  spread  of 
his  opinions,  though  he  w.as  opposed  to  the 
use  of  any  other  music  than  such  as  was  pub- 
lished with  the  Psalms.  For  the  most  part, 
the  plainest  melody,  and  the  most  monotonous, 
prevailed  in  the  Genevan  Church.  In  other 
parts  of  Switzerland,  and  in  France  and  Flan- 
ders, a  style  more  harmonious,  with  some 
tunes  arrancied  for  several  voices,  and  generally 
acccmipanied  by  musical  instruments,  was  ap- 
proved and  introduced.  If  Calviii  had  not 
made  it  a  point  that  the  Reformers  should  use 
his  music,  and  none  other;  had  he  not  insisted 
that  these  Psalms  alone  should  be  sung  at  all 
his  meetings,  and  been  careful  to  have  them 
appended  to  his  catechism.  —  the  Catholics 
would,  probably,  have  extensively  used  them; 
but  they  could  not.  though  they  like<l  the  music, 
use  the  same  words  which  were  solacing  the 
Huguenots.  Beza's  vei>ion  of  the  Psalms  was 
pul)lishe<l  at  Strasburi;  in  1.545. 

BISHOP.  ANNA,  mentiimed  at  page  140, 
vol.  i.,  made  a  tour  through  Europe:  and  be- 
tween September.  18;>i>.  and  May,  1843,  she 
visited  all  the  principal  cities  of  tin-  Continent, 
appearing  before  the  crowned  heads,  and  re- 
ceiving special  and  valuable  mark*  of  favor 
.and  api)recia!ioii  from  them.  During  this 
period,  .Mme.  Bishop  gave  no  le«s  than  two 
liundre<l  and  sixty  concerts.  From  1843  to 
1840,  she  remained  in  Itiily,  havinu  achieved 
such  astonishing  success  .as  to  be  (uigaged  as 
prima-iJnnna  at  the  Grand  Theatre,  San  Carlo, 
for  tvTcntv-seven   months.     She   returned   to 


18 


BIS 


APPENDIX. 


DON 


Enslanil,  and  in  1847  saih'd  for  America,  and 
uniil  licr  depart ure  for  Aii>tr;iliii.  in  ISoj,  met 
willi  a  >iieci'ssioii  of  continued  musical  tri- 
umphs tliroU','liout  tlie  entire  couiilry.  After 
visitimj  Australia  and  South  America,  she  re- 
turned to  Kn.L;land  in  1S.V<,  and  while  there 
sang  at  the  Crystal  Palace  to  thirty-i-iiiht  thou 
sand  people.  —  one 
is  lu'lievcd.  that  ever  u'ri'eted  any  nriiytf. 

In  lS.")il  she  a,;ain  sailed  for  .Vmcrica.  where 
she  appeared  in  o|)era,  oratorio,  and  concrt, 
in  tho  States  and  Canaila.  meelini;  with  tne 
most  signal  artistic  and  |)ecuniary  siu-cess. 
Her  stay  in  this  eimntry  continued  until  ISd"), 
when  she  visite<l  .Mexico,  and.  2''ter  a  concert- 
season,  sailed  for  Havana,  and  from  thence  to 
New  York.  Leaving'  this  latter  city  in  Sep- 
temher,  IStW,  she  apiin  visited  California  and 
tlie  Sandwich  Islands,  where  her  reception 
was  both  i)leasant  and  jiraiifyini:.  Uuriiiir  the 
voyage  from  Honolulu,  S.  I.,  to  China,  in  Fcl>- 
ruary,  1S<>(1.  the  IJrenu'U  bark  "  Libelle,''  on 
which   p;uisage    had    been    secured,  was   ship 


debte<l  for  the  airs  of  many  of  their  jMipular 
comic  songs  and  Hibernian  ditties,  amongst 
which  latter  '"  IJ.iriii'y  Itrallaghan  "  may  be 
mentioned  as  having  brouu'ht  a  fortune  to  pub- 
lisher and  singer,  without  realizing  a  sixpence 
for  the  compos.'r.  At  tht;  Knglisli  glee-«-lubs, 
Ulewitt's  compositions  generally  carried  o(f 
f  the  largest  audiences,  it  the  pri/.e;  and  as  the  musical  director  of  Vaux- 
hall  (Janlens.  and  afterwards  as  a  pi. mist, 
accompanying  Mr.  'renipletou  in  his  vocal 
entcrtainmi'iits,  his  talents  weie  always  recog- 
ni/ed.  As  a  pupil  of  th<^  great  Haydn,  the 
tutor  of  many  eminent  Knglish  vocalists,  and 
the  coini><.,-<'r  of  upwards  of  two  thousand 
original  pieces nf  music.  .John  lllewitt  dcHirral, 
at  least,  a  coini>elency  for  his  obi  :i'.;e ;  but  he 
died  in  London.  September,  Is.V!.  aued  seventy- 
three,  leaving —  too  often  the  only  legacy  of 
genius  —  a  widow  and  two  daughters  without 
the  sli','htest  means  of  support. 

DONAW  ITZ.  .H:AN'  HKNlil,  "  w.is  born  at 

Durkbeini.  Dec.  4.  is;!!).  at  least,  so  we  read  in 

.Schubert's    '  Musical     licxicon,'      printed     at 

wrecked   on  a   coral    island  known    as    Wake  i  Leipzig  in  lS(i4.     His  ancestors  are  of  Pidish 


Islanil;  and.  after  nearly  forty  days'  privation 
and  suffering,  she  arrived  at  the  L.adrone 
Islands,  anil  from  thence  obtained  passage  to 
Manilla,  which  she  reached  with  the  loss  of 
her  entire  wardrobe,  jewelry,  and  music.  She 
".eft  this  place  for  China  and  India,  arriving  in 
the  latter  country  in  18(17,  and.  after  an  ex- 
fended  tour,  sailed  in  May,  18<i8,  for  the  Aus- 
tralian colonies,  returning  to  England  by  the 
Hed  Sea  to  Suez  and  Alexandria  in  Egypt, 


origin,  as  might  be  inferred  from  his  name, 
and  especially  from  tlie  Sclavonic  melancholy 
which  i>ervades  all  his  compositions.  He  en- 
tered tlie  conservatoire  of  Lie^'e  at  a  very  early 
age.  and  remained  there  until  his  thirteenth 
year,  devoting  himself  exclusively  to  the  study 
of  the  old  masters.  Nourished  by  the  classics, 
and  fortified  by  their  excellent  method,  his 
tiilents  developed  to  such  a  degree,  that,  even 
at  tliat  early  age,  he  was  an  object  of  admira- 


Malta,  Gibraltar,  thence  to  London,  and  back  |  tion  and  astonishment;  and  none  hesitated  to 


New  York.     Since   her   return,  her   successes 
are  fresh  in  the  minds  of  musical  jK-ople. 

lUSHOP.  SIR  IlEXHY.  mentioned  at  p.age 
144,  vol.  i.,  was  famous  for  his  dramatic  (iroduc- 
tions.  and  the  most  voluminous  English  com- 
poser after  Purcell.  He  died  May  1,  1855,  and 
was  buried  (Mayo)  in  the  Marylebone  Cenie- 
terv,  Finklv   Road.     He  earned  more  monev 


predict   for  him  a  brilliant  and    triumphant 
future. 

•'  But  it  seems  that  an  implacable  fatality 
follows  genius,  only  to  throw  obstacles  in  the 
way  of  its  progress,  and  to  discourage  its  aspi- 
rati(uis.  At  this  tender  age,  Uonawitz  hail  to 
encounter  the  greatest  vicissitudes.  His  par- 
ents were  com|)elled.  like  many  of  his  country- 


than  any  other  English  composer;  yet  he  died  .  men  at  that  time,  to  take  refuge  in  America, 
in  a  state  of  great  pecuniary  embarrassment,  j  Hut  Heaven's  blessing  at  last  rewarded  the 
No  English  musician  has  composed  so  much :  |  efforts  and  struggles  of  tin-  child,  and  threw  a 
few  so  well ;  and  probably  no  one  has  protluced  j  friend  in  his  way.  who  took  an  interest  in  the 
so  many  things  that  are  likely  to  endure.  In  I  gifted  boy,  and  aided  him  in  pursuing  the 
every  bouse  where  music,  more  esjKJcially  1  development  of  his  genius.  It  is  very  touch- 
vocal  music,  is  a  welcome  gue~t.  the  name  of'  uvj.  to  read  this  part  of  the  biography  of  our 
IJishop  has  long  been  and  nui-t  remain  a  artist,  written  by  the  hand  of  liis  kind  pri>- 
houseiiold  word.  ^  tector.     Suffice  it  to  say  that  by  incessant  work, 

HLAKE.  GEORGE  E.,  born  in  177');  died  night  and  day.  his  jjersistent  study  w;is  at  lAst 
Feb.  i'4.  1871,  aged  ninety-six.  He  commenced  crowned  with  success;  and  the  aspiring  youth 
the  business  of  publishins;  and  selling  music  found  at  an  early  age  the  recognition  which  ho 
at  Philadelphia,  Penn..  in  1SH2,  at  No.  i:;  South  1  felt  was  his  due." 

Fifth  Street,  in  what  timr  Is  a  small,  old-fash-  |  "  He  remained  in  America  up  to  the  ago  of 
ioned.  yellow  brick  building,  that  served  him  |  citizenohip;    and    at    twenty-one   he   went   to 


as  both  store  and  residence  for  many  years. 
He  was  the  oldi'st  music-publisher  in  .\nierica. 
nLKWITT,  JOHN,  was  born  in  London, 
September,  1780;  and.  from  the  time  when  he 
became  known  as  a  composer,  contitnied.  till 
within  a  few  weeks  of  his  death,  to  throw  otT 
the  merriest  of  melodies  for  the  music-pul>- 
lishers;  and  after  having  for  twenty-tive  years 
provided  the  "Christmas  Pantomime"  music 
for  the  principal  London  theatres.  — a  branch 


Lomlon.and  maile  his  ili'liut  in  two  memorable 
ctmcerfs  at  Exeter  Hall  and  the  Artist  Club. 
He  was  received  with  enthusi;vsm.  and  gave 
re|>eated  proofs  of  bis  pre-eminent  abilities. 
To  s,'(>  his  n'served.  calm,  and  sidf-i»>sses>cd 
manner  in  playinc.  the  rnuiyiixsrur  rii((inirf 
might.  perhai>s,  think  him  cold;  but  just  this 
se«»ming  coldness  is  a  merit,  and  show*  to 
gr<>al  .ailvant.nge  the  profoundncsM  of  his  fe«'l- 
inn.  the  purity  of  his  sentiment,  his  masterly 


of  art  in  which  he  particularly  excelled.  —  he  touch  and  dazzlini;  mechanism, 
showed  in  his  last  Urury  Lane  pantomime  of,  "His  •  Uride  of  Messina'  w.os  pro<luce<l  for 
"  Harlequin  Ilutlibras."  that  his  gnyety  w.xs  i  the  first  time  at  the  .Vo.idemy  of  Music,  IMiihi- 
rxuberant.  and  his  invention  as  fertile  .as  ever,    delphia.  .Vpril  T2.  1S74. 

To  John   IJlewitt  the  English  people  are  in-'      "B-mawitx  spent  five  ye.ars  at  Wiesbaden 

10 


BOR 


APPENDIX. 


BRA 


where  he  won  a  high  degree  of  esteem  and 
sympathy,  both  as  a  man  and  an  artist;  and, 
whon  he  left  there,  the  ^  Mittclrhchiiitclie  Zei- 
tinvj'  took  leave  of  him  witli  anient  and  sin- 
cere praise  of  his  natural  and  artistieal  (luali- 
ties.  his  exquisite  affaMlily,  and  the  disiuter- 
esied  zeal  with  whicli  In;  made  himself  ac- 
(jualnted  with  the  works  of  other  composers. 
Paris  opened  a  wider  field  for  this  arti-t,  and 
he  went  there  and  nave  concerts,  and,  while 
in  that  city,  composed  many  of  his  finest 
works,  — his  opera,  'The  IJride  of  Messina,'  a 
nonetto,  a  (piartet,  a  trio,  an  operetta  '"Di- 
ocenes,'  a  sonata  for  piano  and  violin,  a  sym- 
phony, and  several  overtures  for  orcheVtra. 
In  Paris.  lionawitz  was  admitted  to  the  hic^hest 
circle  of  composers  and  poets,  with  IJossini. 
Meyerbeer  (whose  acquaintance  lu;  Iiad  made 
in  GeruiaJiy,  and  with  whom  he  was  in  con- 
stant correspondence),  Berlioz,  Heller,  Wai^- 
ner,  Liszt  (by  whom  his  compositions  were 
played  at  the  court  at  Weimar),  Xestor  Kotpie- 
plan,  and  Alexandre  Uumas  the  elder,  who 
wrote  friendly  criticjues  on  Bonawitz  in  the 
Paris  journals  over  Ids  own  signature. 

"Compelled  to  h'ave  Paris  by  the  breaking- 
out  of  the  Franco-German  war,  he  determined 
to  return  to  America.  He  settled  in  Xew  York 
after  a  short  concert-tour,  where  he  became 
known  as  a  composer,  i)ianist,  director,  and 
teacher." 

BORGHI  MAMO,  or,  rather,  Mile.  Borghi, 
manifested  at  a  very  early  age  a  genius  for 
dramatic  singing.  Sh«  was  not  twelve  years 
old,  when,  having  taken  her  to  a  representa- 
tion of  Rossini's  ''  Tancredi,'"  her  parents  were 
astonished  on  the  following  morning  to  liear 
her  repeat  all  the  most  striking  melodies  from 
that  opera,  among  which  we  may  be  sure  the 
celebrated  '■'■  Di  tanti  paljiiti"  was  not  for- 
gotten. Nor  did  the  little  girl  recollect  the 
music  alone.  Every  scene,  with  the  dramatic 
action  appropriate  to  each,  had  impressed 
itself  upon  her  memory;  and  a  few  days  after 
this  visit  to  the  oi)era,  which  must  be  re- 
garded as  one  of  the  most  important  events 
in  Mile.  Borghi's  life,  her  father  and  mother, 
returning  home  unexpectedly,  f<iund  their 
drawing-room  converted  into  a  theatre,  and 
their  child  declaiming  and  singing  on  that 
portion  of  it  which  represented  the  stage. 

The  youthful  Adelaide's  passion  for  the 
opera  was  so  evident,  that  her  parents,  who 
had  no  sort  of  likinc;  for  theatrical  pursuits, 
resolved,  if  they  could  not  restrain  it,  at  least  to 
do  nothing  in  a!iy  way  that  could  stimulate  it. 
But  Adelaide  studied  in  secret,  and,  one  happy 
day,  succeeded  in  prevailing  upon  a  friend  to 
take  her  to  the  house  of  Rossiin.  where  the 
great  master  heard  her  sing  several  of  his  com- 
positions, himself  accompanying  her  on  the 
piano.  The  young  artist  —  which  by  instinct 
and  intelligence  she  already  was  —  tr4'nd)led 
with  excitement  ivs  she  awaited  the  decision 
of  the  illustrious  composer  respecting  her  capa- 
bilities and  chances  of  success  in  the  career  for 
whicli  she  fi-lt  so  strong  a  dc-*ire.  Rossini 
did  not  keep  lier  long  in  suspense,  but,  embra- 
cing her  attectionately,  said  with  enthusiiism, 
"  You  will  one  day  be  a  great  sinsjer!'' 

Adelaide  Borghi's  passion  for  sinning  was  so 
strong,  and  it  was  so  obstinately  thwarted  by 
her  fatlier  and  mother,  that  the  consequence 


was  a  ner\'ou8  fever,  beneath  which  the  poor 
girl  was  near  succumbing.  In  her  delirium, 
she  constantly  reifeated  the  name  of  Rossini, 
and  exclaimed,  in  accents  of  despair,  that  he 
had  told  her  she  never  would  be  a  great  singer. 
Adelai<le's  interview  with  Rossini  appears  to 
have  been  kept  a  secret  from  her  relations ; 
but  the  doctor,  finding  that  her  brain  was  tor- 
mented with  ideas  wliich  Rossini  alone  could 
di-^pel.  called  upon  the  composer,  who  lost  no 
time  in  returning  with  him -to  his  patient's 
bedside.  Tliere  he  repeated  to  her  again  and 
again,  that  she  would  indeed  be  a  great 
singer;  and  his  assurances  and  general  kind- 
ness had  the  effect  of  allaying  the  delirium 
of  the  sick  child.  Rossini  then  convinced  the 
parents  of  the  inutility,  not  to  say  cruelty, 
of  ignoring,  from  a  feeling,  which,  however 
conscientious,  was,  after  all.  but  a  prejudice, 
an  inclination  that  w'as  irresistible,  and  which, 
properly  directed,  might  lead  to  the  Iiappiest 
results. 

After  oi)posing  their  daughter's  wishes  imtil 
it  was  unreasonable  to  do  so  any  longer, 
Adelaide's  father  and  mother  showed  their 
l)arental  affection  by  carefully  watching  over 
lier  during  the  difficult  period  of  her  Mbuts. 
She  had  been  singing,  however,  only  a  few" 
years,  when  she  io>t  them  both ;  and  she 
was  already  an  orphan,  then  in  Malta,  where 
slie  liad  a  three-years'  engagement  to  fulfil, 
when  she  accepted  the  hand  of  M.  Manio,  a 
member  of  one  of  the  most  respectable  families 
in  the  island.  Madame  Borghi  Mamo  left  the 
Malta  Theatre,  where  she  had  very  lucrative 
'■ap])oiutments,"  for  the  Scala  at  Milan.  Here 
she  received  a  smaller  salary,  but  at  once 
established  a  reputation  which  has  since  become 
European. 

BRADBURY.  WILLIAM  B..  was  bom  in 
the  town  of  York.  Me.,  ISIO.  His  grandfather 
was  an  old  Revolutionary  soldier,  universally 
respected  and  esteemed.  His  parents  were 
noted  in  York  for  their  musical  taste  and 
excellent  singing:  the  father  being  tlie  leader 
of  a  choir  and  a  teacher  of  music.  From  them, 
the  son  inherited  that  musical  taste,  the  devel- 
opment of  which  rendered  his  name  popular, 
and  his  life  ])rosperous.  His  education  was 
received  at  the  village  school ;  and  he  diligently 
cultivated  his  musical  talent  when  not  engaged 
on  the  farm,  or  at  his  father's  mechanical  busi- 
ness, at  which  he  became  a  skilful  workman. 
In  his  native  place,  out  of  the  family,  he  had 
little  oi)i)iirtunity  of  hearing  or  studying  music; 
but  he  mastered,  after  his  own  fashion,  every 
instrument  that  came  in  his  way;  and  the 
facility  with  whicli  he  accomi)lislied  this,  com- 
bined with  other  traits  c>f  character,  clearly 
foreshadowed  the  true  bent  of  his  mind.  In 
is:',;)  his  family  removed  to  Boston:  and  up  to 
this  time  he  had  never  seen  or  heard  an  organ 
or  a  piano-forte.  In  Boston  he  saw  an<l  heard 
both  music  and  musical  instruments,  and  at 
once  decided  to  become  a  musician. 

Young  IJradbury  now  took  lessons  upon  the 
organ,  ami  in  lS;i4  was  known  as  a  i>ra(tised 
organist:  and  in  1S4I)  he  began  teaching  in 
New  York.  He  i-xjierienced  all  the  trials,  per- 
plexities, and  laboi-s  common  to  the  profession, 
till  at  last  lie  became  recognized  as  a  teacher, 
composer,  organi-t,  publisher,  and  manufac- 
turer.    That  Mr.  Bradburv  had  a  genius  both 


20 


BRA 


APPENDIX. 


BRl 


for  musical  composition  and  instruction,  none 
will  deny.  His  power  of  drill  was  remarkable. 
His  manner  was  singularly  kind,  p»;rsuasive, 
and  assuring.  He  was  agood  nuisjcai  educator, 
had  great  executive  al)ility ;  and,  wlien  he  had 
prepared  a  book,  lie  ])uslit!d  it  in  tin;  market. 

In  1S47  Mr.  Bradbury,  with  liis  family,  went 
tr>  Europe,  and  travelled  tlirough  Germany 
and  Switzerland.  At  Leip>ic  he  receiveil 
instruction  from  the  best  masters.  From  the 
time  of  his  retflrn  home,  in  lsv4!),  until  he 
commenced  the  business  of  manufacturing 
piaiu)-fortes,  he  devoted  his  entire  attention  to 
teaching,  and  to  eonip()>ing  aiul  publishing 
church  music-books,  glee-bonk-;,  and  otiier 
musical  works,  to  the  nuinbi^r  of  some  twenty 
volumes.  He  was  also  constantly  called  to 
conduct  large  nui-iical  conventions  in  ail  sec- 
tions of  the  country,  —  a  duty  which  still 
further  iiuTcased  his  reputation,  and  added 
greatly  to  his  popularity.  His  la^t  work,  pub- 
lished in  18.5S,  was  called  "The  .Jubilee."  He 
had  bestowed  extra  care  upon  this  book;  and 
his  labor  was  well  rewarded,  for  the  sale  not 
only  exceeded  that  of  all  his  previous  works, 
but  of  any  work  by  any  other  author.  More 
than  two  liundred  thousand  copies  were  sold 
in  an  extraordinary  brief  s])aee  of  time. 

In  l.sT)-!  Willjani  B.  Bradbury,  in  connection 
with  bis  lu'other  E.  (i.  Bradbury,  commenced 
the  piano  business  with  a  well-known  firm 
which  had  been  gradually  growing  into  pop- 
ularity. 

As  a  composer,  Mr.  Bradbury  filled  the 
chasm  between  the  artistic  and  the  popular 
music.  His  books  have  generally  sold  well. 
The  following  list  comprises  his  most  impor- 
tiiiit  works  down  to  18.")T.  with  the  date  of  tlieir 
publication.  Quite  a  number  of  juvenile  sing- 
ing-books we  have  omitted  to  notice,  though 
some  of  them  are  popular:  they  are  of  every 
size  and  shape. 

JCVE.NILE,  OR  SCHOOL  81XG1XG-BOOKS. 

The  Yoiuig  ( :ii<)ir 1»-H 

The  School  Siiitrer 1M:1 

The  Yomi);  Mel(Mli»t  1*45 

Floiji's  Ko.-itiviil     1k47 

Musical  Ueins  for  School  ami  Home li*49 

8al>lmth  .School  .Melodies \K)0 

'•Siimiuer"  one  part  of  "The  SeasoiiH" 1862 

The  Sinning  IJinl 1S52 

The  Yonii;;  .Shiiu-in ISW 

.SiibbiUh  School  Choir 1H56 

Musical  Bouquet 1V5T 

OLEE-BOOKS. 

The  Social  SiiiKlng-U<K>k 1844 

The  Alpine  Ulo.--SinKer IWO 

Metroiiolitiui  (Jlee-llook I(»,W 

Kew-Yorli  Glee  ami  Chorus  Book 1855 

COLLECTIO.NS  OF  CHCBCU   MUSIC. 

1  he  rsiUmodist 1M4 

The  Choriilist 1847 

The  McndelsHohu  Collection .  IS49 

Psnlini^ta      1H51 

The  Shawm IS53 

"  Kstlier,"  a  Cnnuitn  ls.v> 

The  Jubilee  ...   ...IM7 

Mr.  Bradbury  died  at  his  residence  in  Mont- 
clair,  N..I.,  on  Wednesday  evening,  .Ian.  ,H, 
18»>S.  passim;  pe;ieefully  away,  surrounded  by 
his  family,  who  had  for  several  days  ex|)ected 
his  ilecea>e.  His  age  was  fifty-two  years.  He 
left  a  widow,  four  daughters,  and  a  younger 
son.  Two  of  the  daughters  are  married,  one 
only  a  few  weeks  before  the  death  of  her  father. 


He  wa.s  buried  on  the  hillside  in  the  Bloom- 
field  Cemetery,  beside  his  mother,  whom  he  so 
much  loved,  and  in  the  place  of  burial  which 
he  had  hiniself  ehosen. 

BHADV,  .NICIKJL.VS,  the  well-kn.iwn  versi- 
fier of  till-  I'sahus  of  David,  was  born  at  Ban- 
don,  Irelaml,  Oi.'t.  li.s,  1»;.V.».  His  father  was  an 
otHeiT  in  the  king's  army:  and  Nieholas  was 
sent  to  \\'i'>lminster  school  when  twelve  years 
of  age,  where  lit!  Was  chosen  king's  sch<dar, 
and  whence  he  wiis  afterwanis  eleett'd  a  stu- 
dent of  Christ  Church.  After  remaining  at 
Oxford  four  veal's,  he  removed  to  Uublin, 
where  his  father  re-ided,  and  fi'om  whose 
universitv  he  i)btahieil  succe-isivelv  the  <legrees 
of  B.A.,  M.A.,  and  DA).  .Soon  iifter  his  ordi- 
nation, he  was  appointed  a  prebend  of  Cork, 
and  obtaincxl  other  Iri>h  ]prefermeiit.  In  Kt'.K), 
troubles  having  broken  out  in  Ireland,  Dr. 
Brady  thrice,  by  his  ititervention  with  the 
royalist,  (leu.  MacCarthy,  sav(Ml  his  native 
town,  Bandon,  from  (le>truction ;  the  king 
having  thrice  ordered  it  to  be  razed  to  the 
ground.  The  same  year  he  was  deputed  by 
the  people  of  Bandon  to  go  over  to  England 
to  petition  parliauK'Ut  for  a  redress  of  Irish 
grievances,  which  in  those  days  were  more 
than  imaginary.  He  settleil  in  England,  and, 
during  the  whole  of  his  life,  was  lieM  in  the 
highest  esteem  as  a  man  and  a  minister. 

In  1692  Mr.  Br.ady  wrote  an  "  Ode  for  the 
Feast  of  St.  Cecilia,"  which  was  set  to  music  by 
Purcell.and  was  i)erfoniu'd  on  the  22d  Novem- 
ber, 1852,  by  the  Purcell  Club  of  London. 
Brady  is  chielly  known  in  this  country  from 
his  connection  with  Nahum  Tate  in  versifying 
the  psalms.    He  died  in  London,  May  20,  1720. 

BBAIN'AUD,  SIL.VS.  wa-s  boru  at  Lemp- 
ster,  N.H..  Feb.  14,  1S14,  but,  except  as  an 
excellent  jlittc-i>l(ii/er,  was  not  known  as  a 
musician  until  18;}t5.  He  was  educated  at 
New  Hampton,  and  with  his  parents  went  to 
reside  in  Cleveland,  ().,  IS'U.  Here  he  be- 
came a  leading  nu'inber  of  a  musical  society, 
formed  in  18;K,  and  became  useful  by  arran- 
ging music  for  an  orchestra  and  chorus.  In 
IS:H)  he  o|HM>ed  a  str>re  for  the  sale  of  mu^ic, 
and  in  184.")  became  a  music-publisher,  estab- 
lishing the  house  of  S.  Brainanl  it  .S»>ns.  one 
of  four  or  five  of  the  largest  nuisic-houses  in 
the  country.  He  became  an  accomplished 
theoretical  and  practical  musician,  and  the 
author  of  several  musical  works,  such  ;us  his 
Flute  aiul  Violin  Instruction  Books.  He  died 
from  an  attack  of  intlammatory  rheumatism, 
April  ,'^,  isTl,  aged  fifty-seven  years.  He  Wiis 
(|uiet  and  unobtrusive  in  manners;  a  gentle- 
ni.an  of  refined  ta.stes  and  habits,  worthy  of 
esteem  ami  confidence. 

BlllSTOW.UEi^UGE  F..  a  talented  pianiiit, 
violinist,  and  composer,  lM>rn  in  Bnxiklyn,  X.  Y., 
182.>,  When  quite  young,  he  exhibited  n-m.irk- 
able  musical  ability;  and  his  father,  iH-ing  an 
accomplished  professor,  gave  him  a  thonuigh 
education  in  everj'  branch  f)f  the  art.  His 
first  cl.tssical  comi>ositi<>n  which  attracted  at- 
tention wivs  a  symphony  fip't  bn«uglit  out  by 
the  New-York  Philhannonic  .Socictv.  of  whicji 
he  w.i,s  A  member:  ami  since  that  time  he  h-itt 

f)roduced  a  numl>er  of  com |>osi lions  which 
lave  r<^ceive<l  high  commendation*.  Jullien, 
when  in  this  country,  was  so  much  ple.i-«'d 
with  Mr.  Bristow's  compositions,  that  he  took 


BKO 


APPENDIX. 


CAL 


two  of  tliein  (l)otli  symphonies)  with  liim  on 
liis  return  to  Europe,  and  ljrom;lit  tlieni  out  in 
Liinilon,  anti  en^aited  the  American  composer 
to  write  others  for  his  orcliestra.  He  is  one 
of  the  be>t  composers  the  country  has  pro- 
duced :  ilie  works  of  few  others  have  crossed 
the  Atlantic.  For  this  reason,  lie  should  be 
famous,  instead  of  reniainiiii;  comi)aratively 
ol)scui'e.  TIk;  '•  Pyne  ami  Harrison  Troupe" 
secured  an  opera  from  Mr.  Uristow.  "  liij) 
Van  Winkle."'  which  enjoyed  considerable 
l)opularity.  In  addition  to  what  Mr.  Brislow 
iiad  previously  accomplislied,  in  1800  he  com- 
posed an  oratorio,  entitled  "  Praise  to  God," 
which,  as  a  classical  composition,  compares 
well  with  older  works;  and  his  orchestral  ac- 
coiupaniments  show  a  knowledsrc  of  the  best 
effects  which  can  be  i)r(Kluced  by  the  various 
orchestral  insti-uments.  [We  do  not  know 
why  the  composer  gave  to  this  coniix)sition 
the  title  of  "Oratorio;"  for  a  sacred  drama 
or  an  oratorio  must  have  action,  or  at  least  a 
dramatic  contrast  of  emotions;  and  this  can 
liardly  be  the  characteristic  of  the  Song  of 
Praise  in  the  Episcopal  service.  Perhaps  the 
Word  "  oratorio  "  is  here  used  simply  to  describe 
an  entertainment  of  a  sacred  character.] 

BKOWNE,  AUGUSTA,  or  Mr.s.  AutruMa 
Browne  Garrelt,  late  of  New  York,  now  resid- 
ing  in  Washington,  D.C.,  a  composer  of  iu)te. 
Her  productions,  which  are  in  all  styles  — 
fantasies,  airs  varies,  waltzes,  songs  sacred 
and  secular, — number  about  two  hundred; 
and  many  of  them,  such  as  the  brilliant  ro- 
mance "ia  lirise  dans  Les  Fetullaije."  "Air  a 
la  llnsse,"  "National  Bouriuets,"  and  various 
songs,  have  gaiiu'd  great  popularity. 

Besides  occupations  in  music,  Mrs.  Garrett 
has  long  had  literary  pursuits,  c(mtributing  to 
many  magazines  and  other  periodicals,  and 
has  published  two  books.  One  of  these  is 
"Hamilton,  the  Young  Artist"  (memoirs  of 
her  brother);  and  the  other,  "The  Precious 
Stones  of  the  Heavenly  Foundation."  Many 
r)f  lier  articles  on  church-music  have  elicited 
much  interest. 

BULOW,  HANS  GUIDO  VON,  was  born 
in  Dresden,  Saxcmy,  Jan.  8,  18:50,  and  did 
Hot  display  any  peculiar  talent  for  music  until 
his  ninth  year,  when  he  was  dangerously  ill  of 
brain-fever;  and,  immediately  after  his  recov- 
ery, he  showed  a  wonderful  power  of  reading 
music  at  sight.  He  studied  under  Wieck  and 
Litolff,  and,  later,  under  Eberwein  and  Haui)t- 
mann.  In  18-10  he  went  to  the  Lyceum  at 
Stutgard,  in  1848  to  the  Leipsic  University, 
and  iji  18.")0  to  Berlin,  with  the  intention  of 
studying  law.  Later,  in  1850,  Billow  went  to 
Weimar,  and  witnessed  the  first  rei)resentation 
of  Wagners  "  Lolien;/rin,"  given  under  Liszt's 
direction.  For  the  next  few  years.  Billow  was 
the  jirott'iig  of  Liszt  and  Wagner:  the  latter 
giving  him  very  often  iiecuniary  support, 
whicli  his  parents  were  unwilling  to  do  on  ac- 
count of  their  dislike  to  his  newly-chosen  )iro- 
fession,  to  which  they  became  reconciled  after 
a  few  years.  He  made  several  musical  tours  in 
Europe,  and  was  enthusiastically  received.  He 
became,  in  1854,  head  professor  of  the  piano 
department  in  the  Berlin  Conservatoriujn.  In 
18.")7  he  was  naturalized  as  a  Prussian  citizen; 
.ind  in  the  same  year  he  married  Liszt's  youn 


ess  d'Agout.  In  the  following  year,  he  was 
appointed  court  pianist  at  Berlin.  In  1804  he 
created  a  great  sensaiir)n  in  Kussia,  b(Jth  as 
an  orchestra  director  and  as  pianist.  In  the 
same  year.  Billow  went  to  Munich,  and  was 
appointed  pianist  to  the  King  of  Bavaria.  In 
1800  Billow  followed  Wagner  to  Lucerne,  but 
returned  in  1807  to  take  the  position  of  court 
chapel-master,  director  of  the  opera,  in  which 
position  he  gained  fresh  laurels  in  bringing  out 
Wagner's  ''  Meislersin/jer,"  ami  numy  other 
operas.  In  1809  Mme.  Von  Billow  concluded 
that  she  would  like  to  change  husbands:  so 
she  left  Munich,  and  went  to  live  with  Bichard 
Wagner  at  Lucerne.  Soon  after,  a  divorce 
was  pronounced  by  the  Bavarian  co  irts ;  and 
Von  Billow  came  to  Florence,  where  he  has  been 
ever  since,  and  now  is.  Besides  the  honors 
already  mentioned,  he  has  been  decorated 
Knight  of  the  Order  of  St.  Michael  (Bavarian), 
Member  of  the  Prussian  Order  of  the  Crown, 
Member  of  the  Order  of  the  House  of  Uohen- 
zolleni,  Receiver  of  the  Mecklenburg  Gold 
Medal,  Doctor  of  the  Faculty  of  'he  Jena 
University,  Corresponding  Membei  of  the 
Dutch  Musical  Society,  &c. 

As  a  man  of  society,  Von  Bulow  is  genial 
and  pleasant,  often  striving  to  be  witty,  and 
succeeding  occasionally.  He  has  much  affect- 
ed modesty,  and  is  seldom  capricious  about 
performing  in  private.  His  personal  api>ear- 
ance  is  not  peculiarly  prepossessing.  He  is 
below  the  average  height,  and  of  rather  a  slight 
figure.  His  head  is  proportionately  large,  and 
his  face  an  egg-shaped  oval,  being  immensely 
broad  behind  the  eyes,  and  sloping  inward 
toward  the  forehead  and  chin.  His  features 
are  regular;  and  his  eyes,  which  are  rather 
small,  but  prominent,  have  a  most  laughing 
expression.  He  is  slightly  bald,  and  wears  a 
mustache  and  goatee.  His  movements  are 
all  quick  and  nervous. 

As  a  composer,  Von  Billow  has  not  published 
very  many  works.  They  number  only  between 
twenty  and  thirty.  The  most  celebrated  of 
them  are  the  "  Overture  and  Music  to  Shak- 
speare's  Julius  Cajsar,"  "  The  Singer's  Curse  " 
for  orchestra.  "  A'/rfCf/HO,"  nimierous  piano 
pieces,  songs  for  single  voices  and  for  chorus, 
besides  two  concert  duos  for  piano  and  violin. 
He  is,  however,  better  known  for  his  arrange- 
ments and  transcriptions,  among  which  we 
should  mention  the  piano  arrangement  of 
Wagner's  "  Tristan  mid  Isolde,"  Glilck's 
"  Iphi'/eiiia  in  Aulis"  and  many  other  produc- 
tions of  Wagner,  Liszt,  Handel,  Bach,  and 
Berlioz. 


c. 


CALLIOPE.  This  is  an  invention  by  which 
steam  whistles  are  made  to  discourse  lery 
loud,  if  not  sweet  music.  It  is  a  simple  but 
ingenious  nuichine,  consisting  of  a  steam  cyl- 
inder, along  the  tt)p  of  whicli  valve  chambeis 
an;  arranged,  having  double,  steam-tight,  me- 
tallic valves.  By  means  of  a  stem  or  rod  pass- 
ing from  each  of  the  valves  through  the  steam 
chiunber,  they  may  be  opened  by  a  slight 
pressure ;  when  the  pressure  ceases,  the  valves 
instantly  close.     A  steam  whistle  having  it.s 


est  daughter,  Cosima,  the  child  of  the  Count- 1  own  peculiar  tone,  is  placed  over  each  valve. 

22 


CAL 


APPENDIX. 


CAL 


The  instriiinont  is  doiible  in  its  construiaion, 
ami  can  bv  pluyeil  by  striking  keys  similar  to 
those  of  an  or};aii ;  or,  by  means  of  a  coj;- 
wlieel.  may  be  set  to  a  i)articnl:ir  tune,  like  a 
common  music-box.  Its  mu>ical  strains,  in 
\vell-exi)resst;il  tunes,  may  be  liearil  live  miles 
on  land,  ami  muoli  farther  on  water. 

The  C"allii)|>e  was  invented  and  introduced 
to  the  public  by  Mr.  I.  C.^>tod^lard,  of  W'orees- 
ter,  Mass.  When  first  heard,  the  jx-ople  of 
that  city,  as  well  as  those  residiu'.:  within  five 
miles  of  the  place,  were  surprised  by  familiar 
strains  of  music,  very  \  nid,  very  clear,  and 
very  sin.nular.  Everybody  wondered  what 
band  it  was,  or  what  combination  of  in-lru- 
ments  it  could  be;  and  one  old  lady  thoULjhl 
the  Angel  Gabriel  had  come  with  the  last 
ti  urn  p. 

A  d'lzen  or  two  of  steam  whistles  of  com- 
mon locomotives,  with  the  screaming  element 
materially  softened;  a  hand-organ  or  two, 
without  their  usual  grating  sensation;  a  few 
clarinets,  through  which  every  tone  is  clearly 
and  distinctly  ton'juf'l ;  and  a  very  .-light 
piano-fi>rte  accomitaniment.  all  acting  in  ])er- 
tect  accord  as  to  time,  will  give  a  good  idea, 
expressed  in  words,  of  the  Calliope.  If  this 
instrument  could  be  generally  adopted  when' 
steam-whistles  are  now  u>ed.  which,  like  the 
hinges  of  Milton's  "  infernal  doors,  grate  harsh 
thunder,"  a  sireat  iniisance  would  be  re|)laced 
bythis  not  .iltogether  disagreeable  steam  mu- 
sical engine. 

The  first  apiiearanco  of  one  of  the  Muses, 
under  the  inspiration  of  xleam,  secured  a  poet- 
ical record,  in  which  Calliope  is  thus  repre- 
sented :  — 

"  O'er  tields  niul  seas  she  Likes  her  airy  (light, 

Until  on  fair  Ci>iiiml>ia's  soil  they  li>;''t; 

Here  toacliieve,  liy  nobler  deeds  »ul>liMio, 

What  li.id  beeivloit  In  the  .Kj;oan  olinie; 

And  tirst,  the  railroad  horse's  lungs  she  stole, 

And  next.  l>y  wtxid.  or  Pennsylvania  eoal. 

Expands  her  giant  voice,  so  loud,  ."O  great, 

It  sIkhiIc  all  r\>und,  throughout  the  town  and  State. 

Such  mnsie.  loud,  was  never  heard  before, 

No,  not  ill  Ur«ece  or  Kouie,  lu  days  of  yore." 

CALVIN,  JOHN,  one  of  the  apostles  of  the 
reformation,  w.is  born  at  Noyon,  in  Picardy, 
on  the  10th  of  .Inly.  l.jOO.  His  family  name 
was  Cauvin.  which  he  latinized  into  Calvinus. 
He  was  a  man  of  eminent  talents,  but  of  an 
arrogant  and  persecuting  spirit,  if  we  credit 
some  historical  .accounts ;  and  his  conduct  to 
Servetus,  whom  he  brought  to  the  stake,  h.as 
fixed  an  indelil)le  stain  upon  his  char.acter. 
It  lias  V>een  recorded,  and  h.os  been  generally 
Liider>tood,  that  Calvin  was  oppnKpd  to  the 
cflture  and  elevation  of  music.  History  s.ays, 
th.r  the  gloomy  views  adopted  by  this  great 
French  divine,  led  him  to  pursue  a  course 
very  different  from  that  of  Luther;  and  to 
mark  his  hostility  to  the  pretensions  of  Home 
by  an  entire  rejection  of  all  the  us.ages  of  her 
ciiurcli,  not  a  musical  instrument  was  siilTered 
within  the  walls  of  tieneva  for  more  than  a 
centm-y  .after  the  Heformation:  and  music,  ex- 
cept Calvin's  own  plain  p.t<ilmod>/,  was  pre- 
scribetl  wherever  the  doctrines  of  this  man 
were  received. 

The  curiosities  of  history  sometitnes  startle 
us.  When  we  begin  to  examine  for  ourselves 
we  feel   that  too  often   histories   have   been 


written  rather  to  conceal,  or  pervert,  tlian  to 
record  the  truth.  In  studying  musical  history 
nothing  has  surprised  u^  more  than  its  oerver- 
sions  and  fallacies,  ari-ing  from  prejudice.t 
and  ])reconceived  notions.  For  in-tanee,  an 
early  bi>torian  of  Martin  Luther  gravely  says, 
th.it  he  cotdd  not  polluie  the  French  language 
by  expressing  in  it  much  of  the  bi>(ory  of  hiii 
life;  therefore,  he  records  it  in  Latin,  and  it  is 
a  mercy  that  such  a  record  can  oidy  be  found  in 
the  libraries  of  the  curious,  and  in  a  language 
which  comparatively  few  can  reail.  In  one 
parlicular.  however,  all  historians  ugiee; 
namely,  that  he  was  a  great  musician,  and  in 
this  roped  a  perfect  contra-t  to  his  conlem- 
jKirary,  John  Calvin.  Hullah's  History,  page 
";},  says :  — 

"Calvin  seems  never  to  have  recognized 
music  as  a  meait-  of  religious  exiiression,  and 
scarcely  even  to  have  appreciated  it  as  an  aid 
to  devotion;  and  the  music  of  his  followers 
has  suffered  accordingly." 

The  I{ev.  Henry  Allen,  an  English  divine, 
said,  at  Exeti'r  Hall,  in  1S(!2:  "Calvin  was 
utterly  destitute  of  mu-ical  sensibility,  as 
every  page  of  his  works  and  every  element  of 
his  character  indicate.  He  was  too  much  of 
a  theological  formula  to  have  much  of  the 
genius  of  song.  And  this  unhappy  defect 
bus  deprived  his  writings  of  the  broad  human 
sympathy  which  so  characterized  Luther's, 
and  has  entailed  upon  all  the  churches  that 
bear  his  name  such  musical  a-ceticism  and 
l)overty.  In  no  Calvinistic  country — Ameri- 
can, Scotch,  Dutch,  and,  in  so  far  as  it  is 
Calvanistic.  English,  is  there  a  church  song. 
The  musical  Luther  has  filled  Germany  with 
rich  church  hymnody;  the  iinmu-ical  Calvin 
has  impovished  Puritan  and  Presbyterian 
worship;  that  its  rugged,  inarti-itic.  slovenly 
psalmody  has  Ijecome  a  by-word  and  a  need- 
less repidsion;  for  surely  there  is  no  |)iety  in 
discord,  or  any  especial  dcvoutness  in  sloven- 
liness. Our  nature  craves  something  belter 
than  the  traditional  psalm-singing  of  tlie  in- 
hannonious  '  meeting-house.'  Our  affinities 
are  with  whatever  is  best,  whether  iu  elo- 
quence, poetry,  or  music. 

"  And  yet,  strange  to  say,  it  is  to  Calvin 
that  we  owe  the  introduction  of  metrical 
psalmody  into  the  reformed  churches  of 
France." 

Stntn^je  indeed:  but  let  Calvin  answer  for 
himself,  first  by  his  labors  for  psalmody,  next 
by  his  pref.ace  to  the  Psalter. 

In  lij.58-40  Calvin,  Miles  Coverdale,  and 
the  Wedderburns  met  in  exile  in  Saxony,  and 
sat  at  the  feet  of  Luther.  The  German  sing- 
ing of  praise  surprised  them  all.  and  each  set 
to  work  tr)  do  for  his  own  countrymen  what 
Luther  had  done  for  the  fJerman  s]>eaking 
people.  Calvin  began  by  putting;  into  French 
metre  the  Twenty-fifth  ami  Forty-sixth  Psalms. 
He  got  them  set  to  music  at  .'^tra-bour.;  (pre- 
sumably by  (rinllcainni'  Franc)  and  printed  a, 
number  r>f  Copies  which  he  brouubt  to  hi-*  own 
congrcLtatioii  on  his  return  to  (Jeneva.  They 
became  so  popular,  that  he.  through  a  frienil 
in  Pari*,  induced  Clement  Marot  to  apply  his 
poetical  powers  to  the  renderini;  of  David's 
psalms  into  French  metre.  Marot  conipletcil 
fifty-one  Ixfore  his  di'ath.  and  the  remaining 
ninety-nine  were,  at  Calvin's  urgent  request. 


23 


C^VL 


APPENDIX. 


CAL 


supplied  by  Heza.  Luther  liad  only  rendered 
sixteen  inio  (Jcrinani  metre,  so  that  to  Calvin 
belongs  the  honor  of  being  the  lirst  man  at 
vhose  instance  the  whole  book  of  Psalms  was 
.in<lere(l  into  metre  for  praise  in  any  living 
langna<;e. 

Attain  as  to  the  music,  ^^^lile  the  psalms  of 
jUther,  Cdvcrdale,  and  the  Wedderburns  w(;re 
sung  to  the  most  popular  ballad  tunes  of  Ger- 
many, England,  and  Scotland,  Calvin's  soul 
revolted  from  such  words  i)cing  so  desecrated. 
and  he  set  to  work  to  get  music  supplied  s-uita- 
ble  for,  and  worthy  of,  them.  lie  employed  first, 
for  this  work.  (JuilleauuK!  Franc  of  Strasbourg, 
and  ne.\t  Claude  (Joudiinel  of  Rome.  .So  in 
n.usic,  as  well  as  in  words,  he  was  the  first  who 
ever  supplied  a  true  and  distinctive  psalmody. 
His  Psalter  is  a,  monument  of  beauty,  which 
all  ages  following  have  used  as  a  mine  and  a 
model.  The  old  1,  old  44,  40,  OS,  old  100.  old 
113,  119,  124,  134,  137,  l+S  and  others  are 
familiarly  known  to  all  lovers  of  psalmody 
as  unsurpassed  for  simplicity,  beauty,  and 
grandeur  in  any  country  or  in  any  i^e. 

But  Calvin  not  only  produced  the  first 
French  psalter,  he  also  produced  the  first 
English  one.  The  title-page  bears  his  name 
and  his  express  sanction.  It  was  printed  at 
Geneva  in  l.j.JO,  for  the  use  of  the  English- 
speaking  congregation,  of  which,  at  that  time, 
John  Kno.\  was  minister.  This  psalter  was 
brought  to  England  and  Scotland  on  the  re- 
turn of  the  exiles ;  and  was  the  foundation  of 
Knox's  psalter,  published  in  Edinburgh,  I'AV) ; 
and  of  the  Englisli  psalter,  published  in  Lon- 
don in  the  same  Vear. 

Calvin's  labors  in  this  work  began  in  1538, 
and  did  not  cease  till  his  "  fully  II.U{M0NIZED 
psalter  for  use  in  public  worship"  appeared  in 
1561.  Thus  he  labored  during  twenty-three 
years  of  his  life  in  this  cause. 

The  first  edition,  containing  fifty-one 
psalms  with  music,  appeared  at  Geneva  in 
1543,  bearing  a  remarkable  preface  which  ap- 
peared with  all  the  numberless  future  editions 
of  this  work;  but  which,  surely,  historians 
and  critics  have  either  shut  their  eyes  to,  or 
been  unable  to  read. 

Let  it  speak  for  itself.  No  more  thorough, 
hearty,  comprehensive,  and  exalted  views  of 
psalmody  have  ever  been  expressed.  Let  his- 
torians and  critics  reconcile  them  with  their 
own  expressed  statements  as  they  best  can. 

For  the  following  extract  from  Calvin's 
preface  to  the  Genevan  Psalter,  we  are  in- 
debted to  the  Lecturer  on  Music,  Andersonian 
University,  (ilasgow,  July,  1870:  — 

"To  all  Christians,  lov(vs  of  the  word  of 
God,  greeting:  As  for  public  prayers,  there 
are  two  kinds  of  them  —  the  one  is  expresseil 
In  words  only,  the  other  with  song;  and  this 
is  no  recent  invention,  for  from  the  first  ori- 
gin of  the  church,  this  h;is  been  the  case,  as 
appears  in  history.  And  «'ven  St.  Paul  does 
not  speak  of  verbal  prayer  alone,  but  also  of 
singing.  And  in  truth,  we  know  liy  experi- 
ence that  soiiK  has  <jreat  force  and  power  in 
movitig  and  inflaming  the  heart  of  man  to 
invoke  and  praise  God  with  more  vehement 
and  ardent  zeal. 

"Itshonlil  alw.ays  be  seen  to  that  the  song 
should  not  be  light  and  frivolous,  but  that  it 
have  weight  and  majesty,  as  saith  St.  Augus- 


tine; and  also  that  there  is  a  great  difference 
between  the  nmsic  that  is  employed  for  the 
enjoyment  of  men  at  table,  and  in  their 
houses,  and  the  psalms  which  they  sing  in 
eluu-ch  in  the  presence  of  God  and  his  angels. 
But  when  the  form  here  given  is  rightly 
judged  of,  we  hope  that  it  will  be  found  holy 
and  pure;  seeing  that  it  is  simply  constructed 
for  the  edification  of  which  we  have  spoken, 
as  well  as  that  the  use  of  singing  may  be 
greatly  extended.  So  that  even  in  the  houses 
and  in  the  fields  it  may  be  to  us  an  inc.tement 
and  an  instrument  or  means  to  prai-e  God 
and  raise  our  hearts  to  him ;  and  to  console  us 
in  meditating  on  bis  power,  goodness,  wisdom, 
and  justice,  which  is  more  necessary  for  us 
than  we  know  how  to  express. 

"  For  the  first,  it  is  not  without  cause  that 
the  Holy  Spirit  exhorts  us  so  carefully,  by  the 
holy  Scripture,  to  rejoice  ourselves  in  God, 
and  that  all  our  joy  should  rest  there  as  its 
true  end.  For  he  knows  how  truly  we  are 
inclined  to  please  ourselves  in  vanity.  Thus 
while  our  nature  draws  and  leads  us  to  seek 
all  means  of  foolish  and  vicious  enjoyment  — 
on  the  contrary,  our  Lord,  to  separate  and 
draw  us  from  tlie  allurements  of  the  flesh  and 
of  the  world,  presents  to  us  every  possible 
means  to  fill  us  with  that  spiritual  joy  which 
he  commends  so  much  to  us. 

"But  amongst  other  things  which  are  suita- 
ble for  the  recreation  of  men,  and  for  yieldmg 
them  pleasure,  music  is  either  the  first,  or  one 
of  the  chief,  and  we  must  esteem  it  a  gift  of 
God  bestowed  for  that  end.  Therefore,  by  so 
much  the  more,  we  ought  to  see  that  it  is  not 
abused,  for  fear  of  soiling  and  contaminating 
it;  turning  that  to  our  condemnation  which 
was  given  for  our  profit  and  good.  Even  were 
there  no  other  consideration  than  this  alone, 
it  ought  to  move  us  to  regulate  the  use  of 
music,  so  as  to  make  it  sul)servient  to  all  good 
morals,  and  that  it  should  not  give  occasion 
for  loosing  the  bridle  of  dissoluteness,  that  it 
should  not  lead  to  voluptuousness,  nor  be  the 
instrument  of  immodesty  and  impurity. 

"  But  further,  there  is  scarcely  any  thing  in 
this  world  which  can  more  powerfully  turn  or 
bend  hither  and  thither  the  manners  of  men, 
as  Plato  lias  wisely  remarked.  And  in  fact 
we  exi)erimentally  feel  that  it  has  a  secret  and 
incredible  power  over  our  hearts  to  move  the.i 
one  way  or  other.  Therefore,  we  ought  to  be 
so  much  the  more  careful  to  n>guiate  it  in 
such  a  manner  that  it  maybe  useful  to  us, and 
in  no  w.ay  pernicious.  For  this  .'pas<":i  the 
ancient  doctors  of  the  church  of  tea  com- 
plained that  the  people  of  their  time  were 
addicted  to  disgraceful  and  immodest  songs, 
which,  not  without  cause,  they  esteemed  and 
called  a  deadly  and  satanic  poison  for  cor- 
rupting the  world. 

"  But  in  speaking  of  music  I  include  two 
parts,  to  wit.  the  words,  or  subject  .and  mat- 
ter; secondly,  the  song  and  melody.  It  is 
true  that  all  evil  words,  as  saith  St.  Paul, 
corrui)t  good  manners,  but  when  melody  is 
united  to  them,  they  much  more  jwwerfully 
pierce  the  heart,  and  enter  in:  just  as  when 
by  a  funnel  wine  is  poured  into  a  vessel,  so 
poison  and  corruption  is  infused  into  the 
depth  of  the  heart  by  the  melody. 

"  What,  then,  is  to  be  done?    It  is  to  have 


24 


CAL 


APPEXDIX. 


CAM 


songs  not  only  pure,  but  also  holy,  that  they 
may  be  inciteineiils  to  stir  us  up  to  pray  to 
and  praise  God,  ami  to  nicditate  on  his  works, 
in  order  to  love  him,  foar  him,  lumor,  and  glo- 
rify him.  But  what  St.  Augustine  says  is  true, 
that  none  can  sing  things  worthy  of  God  but 
he  who  has  received  the  power  from  himself. 
Wherefore  whi'U  we  have  sought  all  round, 
searching  hero  and  there,  we  shall  lind  no 
son^s  better  or  nu)re  suitable  for  this  cud  than 


sistance  that  he  wa.s  ab'^  to  command,  lie 
introduced  a  version  of  the  Psalms,  in^tt-ad  of 
the  elmral  service;  ami  the>e  I'-alms  bein^  set 
to  music,  soon  became  pojjular  through  all  the 
reformed  churches.  For  this  cause  it  was  re- 
corded that  he  opposed  music. 

C.VMl'AMN'I,  1T.\LI().  was  born  at  Par- 
ma, in  lS4(i;  was  a  Mililicr  in  the  army  of  Gar- 
ibaldi, with  wliieh  he  remained  until  Oct, 
1,  hSiIO,  when  he  received  a  wound  wliieh  pre- 


tlie  Psalms  of  David,  which   the  Holy  Spirit    vented  eontitiued  sen-ice.     From  this  time  ho 
dictated  and  gave  him.     And  therefore,  when  i  devoted  his  energies  to  the  cultivation  of  his 


we  sing  then),  we  are  as  certain  that  God  has 
put  words  into  our  mouths  as  if  lie  himself 
saig  within  us  to  exalt  his  glory.  Wherefore 
•  Mirysosl'  'H  exhorts  all  men  and  women  and 
little  children  to  accustom  themselves  losing 
them  as  a  moans  of  associating  themselves  with 
the  company  of  angels;  further,  we  must  re- 
member what  St.  Paul  says,  that  spiritual  songs 
cannot  be  sung  well  but  with  the  heart.  But 
the  heart  requires  tlx;  understanding:  and  in 
that,  saitli  St.  Augu-iline,  lies  the  tlifference 
between  the  song  of  niau  and  that  of  birds, 
for  a  linnet,  a  nightingale,  and  a  jay  (inipe'juij) 
may  sing  well,  but  it  will  be  without  under- 
standing. 

"But  the  peculiar  gift  of  man  is  to  sing 
knowing  what  he  says.  Further,  the  under- 
standing ought  to  accompany  the  heart  and 
alTections,  which  cannot  be  unless  we  have 
the  song  imprinted  in  our  memory,  that  we 
may  be  ever  singing  it. 

"  This  present  book,  for  this  cause,  besides 
what  otherwi>e  has  been  said,  ought  to  be 
particularly  acceptable  to  every  one  who  de- 
sires, without  reproach,  and  according  to 
God,  to  rejoice  in  seeing  his  own  salvation, 
and  the  good  of  his  neighbors ;  and  thus  has 
no  need  to  be  much  recomniende<l  by  me,  as 
it  carries  in  itself  its  own  valui-  and  i)rai.>e. 
Only  let  the  world  be  well  advi>ed  that  instead 
of  songs  partly  vain  and  frivolous,  partly  fool- 
ish and  dull,  partly  filthy  and  vile,  ami  con- 
se(|uently  wicked  and  hurtful,  which  it  has 
heretofore  u>-cd,  it  should  accustom  itself 
liereafter  to  siir.;  the>e  heavenly  and  divine 
songs,  with  good  king  David. 

"Touching  the  mu-ic,  it  appeared  best  that 
it  sliould  be  simple  in  the  way  we  have  i)ut  it. 
to  carry  weight  and  majesty  suitable  to  the 
subject,  and  even  to  be  sung  in  church  ;us  lias 
been  said.''  —  Goiirrn.  llUh  June.  l.Vl:>. 

The  salient  points  of  Calvin's  life  may  be 
(lazily  tr.ieed.  He  adopted  the  reform  di>c- 
trii>"- •il'out  the  year  l.">.'ii>:  and  published  the 
tiiNt  edition  of  his  '•  In-titutes"  in  l.")-;.").  He  was 
first  >ettled  in  Geneva  in  the  year  l.'i.W;  and  ex- 
l)elled  along  with  William  Farell,  his  colleague, 
iiy  the  lieentiousm-«s  of  the  (ienevese  in  li'>;i8. 
Af'er  a  re-idence  of  about  two  years  at  Stras- 
bourg, he  was  recalled  to  Geneva,  as  the  only 
luan  capable  of  saving  it  amid  the  turbulence 
and  agitations  which  rased  within  the  city. 
There  he  continued  to  labor  as  a  n'fomicr, 
an   author,   an  ecele-<ia-tic,   a  pastor,   and   a 


remarkable  musical  ability,  studying  with  un- 
tiring perseverance.  A  mere  accident  had  in- 
duceil  him  to  cultivate  his  voice.  While  sing- 
ing with  some  friends  at  a  social  gathering,  a 
musical  authority  who  happened  to  be  pre>ent, 
remarked  ((n  the  special  excellence  and  |Kiwer 
of  his  voice,  and  strongly  advi,-ed  him  to  study. 
C'ampanini  was,  naturally,  much  impressed  by 
these  remarks,  and  manifesteil  an  earnest  de- 
sire to  become  a  profieimt  in  the  art  of  song. 
His  parents  were  wi>e  enouu'h  to  olTerno  oppo- 
sition to  his  wishes,  and  lie  studied  with  the  in- 
dustry that  springs  from  enthusiasm.  At 
eighteen  years  of  age  he  was  received  into  the 
Conservatory  of  Music  of  Parma,  where  he 
soon  made  himself  a  name  as  the  mo>t  prom- 
ising pu|)il  of  the  institution.  For  two  years 
he  remained  there,  working  steadfastly  from 
six  to  eight  hours  every  day.  and  taking  espe- 
cial care  not  to  tire  his  voice.  When  he  was 
twenty  years  of  age,  an  impreiisario  offered 
him  an  engivgement  for  Russia.  For  some 
time  Campanini  (|uestioned  the  wisdom  of  in- 
terrupting his  studies;  but  the  temptation  was 
too  great,  and  he  conse(|uently  made  his  ai>- 
pearance  in  the  small  towns  of  Russia.  Odess.a, 
KarkolT,  Titlis,  drc,  as  second  tenor.  The 
musical  experiences  of  these  unimportant 
Russian  towns  must  be  of  a  curious  and  un- 
satisfactory character.  Evi>ry  singer,  whether 
good  or  bad,  opens  his  or  her  career  in  these 
provincial  opera-houses.  Those  who  subse- 
quently succeeil  in  the  great  capitals  of  Europe, 
and  prini'ipally  in  Lonilon  and  Paris,  never 
return  to  the  scene  of  their  original  trium|)hs, 
while  secoiul  and  third  rati-  singers,  tiiuling 
themselves  in  the  background,  on  great  stages, 
reluin  to  Odessa,  Tiliis,  Arc,  as  stars. 

Cam|)anini,  as  we  have  >aiil,  made  his  il/hut 
as  second  tenor,  but  was  soon  promoted  to  the 
dignity  of  tirsf.  He  remained  some  three 
years  in  Russia,  singinir  at  night  and  studying 
by  day,  with  praisewi>rthy  perseverance  ami  ii:- 
domiiable  energy.  He  was  not  eonti-iit  with 
the  success  his  tine  voice  hail  procured  him; 
he  was  ever  anxious  to  improve:  anil  this  is  a 
very  rare  feature  in  genius,  ami  es|>eeially  in 
musical  genius,  men  are  m>  apt  to  think  them- 
selves finished  artists  when  they  liavi-  hardly 
mastered  the  rudiments  of  tlu-ir  calling.  On 
leaving  Russia,  Campanini  made  his  way  to 
Milan,  where  he  stuilied  arduously  unib'r  the 
celebrated  Mai'stra  Lamerti  (whoiaucht  Mile. 
La  .)eune>se  —  known  in  the  operatic  world  an 


legislator,  till  the  I'Tth  of  May,  l.jtW,  when  ho  ;  Mile.  .Mbani).  reputed  to  1h>  the  llrst  professor 
died.  'of  sjii^iii^  in  Italy.   .Nlaplesoii.  of  cour-e.  heanl 

Calvin  undoul>tedly  gave  a  great  impulse  to  of  ilie  new  ti-nor  who  was  nchieving  the  nio^l 
general  dissent,  among  his  followers,  tmm  the  siijnal  suecesses  on  the  Continent,  ami  he  stolo 
choral  service  of  the  Uomish  church,  with  a  mandi  upon  (iye.  and  secured  the  rising  «l.ar 
which,  on  many  accounts,  it  is  well  known  he  for  Her  >Iajesty's  ()|M'ra,  Drury  lane,  where 
h.ad  but  little  sjinpathy.     Then,  with  the  as-    Campanini  api>ean.Hl  in  IsTli,  for  the  first  time, 

25 


CAR 


APPEXDIX. 


CAR 


in  **  L- j~z:.;  B-.-rrix"  Hi»  suooes*  was  un-  mu*ic  ent*-r*  into  Uie  obserranc*  of  the  joy- 
doBbtrd.  aiju  tii>  bwU  OD  lite  Fngiish  public  fal  aunirersary  more  fully  than  into  that  of 
as  one  of  tbe  fnest  tenor?  —  if  not  fAe  fi]le:^t  any  other  festal  day  of  the  year.  Elabwate 
— became  firariy  establi-ihed.  He  came  to ,  musical  services  are  held  iii  many  of  the 
this  CMmtry  in  IST^  and  sang  in  the  principal  i  diunehes.  and  the  greatest  ccmpo>sers  haTC 
cities.  l>ai  vith  moderate  soccess.  contribmed  s«ne  of  their  noblest  works  in 

CARMAGNOLE.  The  name  of  a  soi^  and  ^  celebratioD  ot  the  erent  dear  to  every  Chri^ 
dance,  which  became  popular  dorii^  the  ter- :  tian  bean, — the  natirity  of  Christ.  Telespho- 
libte  day%  of   the  Fkvncfa  BexoliitioD.     Ex-   ni«.  a  Pope  in  the  reign  of  Antoninus  Pins, 


pvessiTc  of  a  quidt-step.  lirely  and  animating, 
the  air  was  a  prod^ioos  farorite  with  the  Pai^ 
isian  mobs  of  that  time,  who  Qs>ed  to  call  for 
it  from  military  bands  and  the  orchestias  <^ 
thratres,  and  join  in  dancing  to  it,  anging  at 
the  same  tinke  the  doggrel  verses  vhidi  had 
seen  CMBpoeedfurit,  some  of  wiiich  bear  refers 
ence  to  tbe  fiKtttiampks  over  the  royal  family, 
and  thor  friends  in  Angnst  and  Septonber, 
17SS.  The  sinking  and  dancing  of  the  Carma- 
ynoir  became  the  ^nal  df  £eroaoQs  attacks  on 
anthc-riiT.  At  la^th  Fashion  i^ipcopriafeed 
the  word,  and  applied  it  to  a  peeatiar  fnm  of 
hio^t.-^.  with  vide  sleeves,  vom  1^  the  rerola- 
t::-:.:-:--.  And  all  those  vbo  willed  to  make  a 
sh'>w  •:'  their  patiiotiani.  The  soi^  and  the 
Dew-fi-hio»ed  gaiMmt  bodt  disappeared  with 
the  reieii  et  tennr. 

^ -r'^rXO.  TERESA-  pianist,  was  boni  in 
•  Venezuela,  on  tlM  23d  c£  December, 

1:-^^  1^1  J  family  is  one  of  the  mo>st  distin- 
goi^ed  :^iani'4t  f™''*'^  in  that  ei>iintry.  Her 
mnacal  talent  first  manifested  itself  when  she 
was  abr*at  two  years  <^  bat  prerioas  to  that 
time,  eren  while  she  was  a  mere  infant,  it  was 
otomcd  that  she  tookgreat  pleasure  in  listen- 
iBg  to  moac  At  flie^eatly  age  of  two  yeais 
slie  sai^  with  sii^nlar  eoneetness  Tarioos 
operatic~aiis.  and  when  firv  years  old  cora- 
meaced  playing  iqMm'  tihe  pianoforte.  Al- 
thoi^  entirelT  mitanght.  she  readily  played 
several  Spani^  dances.  p»f onnii^  a  plain  but 
correct  acccamnaiment  with  her  left  hand. 
Abii-..:  i  year  juod  a  half  later,  her  h^U^er,  Don 
Manael  Antoiuo  Caneno.  eoramenced  gini^ 
ber  lesscms  npon  the  instrument,  and  the  only 
otker  inatiutlar  Ae  had  in  Yenezuela  was  Mr. 
Julias  Hobeni,  a  distiuniished  German  Pro- 
fessor. Mr.  Hidieni  bad  ber  nnder  his  care 
only  foar  mniifhiT  beioie  iiie  left  ber  natire 
eoutiy. 

Her  progress  was  Toy  lapid.  She  obtained 
a  perfect  masteii  orer  ThaJberg's  fantasia  on 
"Xorma."  when  only  seven  years  <^  and  soon 
afier  Iraraed  mai^  other  eaaapoeitions  ot  the 
dasBie  and  modem  ennpoaen.  Shottlyafto- 
ber  aixival  inXew  Tock,  die  bad  an  interriew 
wttb  Goctsdialk,  and  played  a  piece  with  him 
f «ir  fonr  hyMJ*  In  ax  days  ^te  learned  by 
heart  bis  **  Jerasalem.~  and  the  "  Bananier,^ 
and  iqua  Gottschalk's  return  from  girin^ 
aome  cwiteils  in  Boston,  be  gave  her  instrac- 
tioat  for  tibeir  more  faiMted  execution.  She 
ia^rovises  with  great  Polity,  and  her  cfmp»- 
iiitiimii  are  of  ifm^il  iMf  beauty  Sbe  came 
to  this  euuatrj  and  appeared  in  Xew  York  in 


who  died  A-D.  13^  and  who  is  cre^iited  with 
institining  Christmas  as  a  regular  festival  of 
the  chun^  wdered  that  an  Angelical  Hyiin 
be  sung  as  a  part  ot  dirine  serrioe  the  night 
before  Christmas — on  Christmas  Ere — for 
oar  Saviour  is  su[^?o>sed  to  have  been  bom 
about  the  middle  of  the  night. 

The  good  old  costiMn  of  singing  "Christmas 
Carols  "  had  its  origin  in  the  continnedobsair- 
anoe  of  Christmas  Ere  by  the  choreh.  and  in 
the  mingHng  of  the  cheerful  element  in  the 
holy  commemofaticm  ot  the  nativity.  The 
carols  date  &om  the  time  when  the  common 
people  ceased  to  imdostand  Lann.  The  bi^H 
(^  and  lower  clergy  often  joined  with  the 
populace  in  canning  and  songs,  and  in  the 
dances  which  acocmipanied  the  singing.  Tun- 
bours,  (Hgaus,  and  various  stringed  instnmMnts 
were  osed  to  accompany  the  $<^Sw  There  are 
probably  ntme  of  tiiose  eariy  carols  yet  i»e- 
serred,  althoo^  many  old  compositions  of 
this  class  are  still  in  existence.  Many  odlee- 
tions  ot  than  have  been  made  from  time  to 
time,  the  old^t  of  which,  bearing  the  title  td 
^  ChriMmoKK  Corollea."  was  printed  by  Wyn- 
kin  de  Wmde.  in  1.5£L  Davies  Gilbeit  pub- 
lished a  volume  €i  "'  Ancient  Christmas  Car- 
ols,'' with  ton^  to  which  they  were  foimeriy 
soiu;  in  En^and,  and  William  Sandys  made  a 
stiU  mcHC  ctmplete  colkctHMu  Carols  exist  in 
other  languages  as  well  as  FnHUh.  and  there 
are  two  books  extant  ccmtaining  ancient  Welsh 
compositions  of  this  class,  the  («e  called  "Lfyr 
CaroUur  (Bookd  Carols),  and  the  other "£lo- 
datgo'dd  Cyan."  The  f •>rm»'  ccAtains  sixty- 
six  specimens,  and  the  laner  fony-eight.  A 
coHet^im  at  German  carc-is  was  published  in 
1S%  and  a  bc(A  of  French  carols,  or  nods,  at 
PcHtiers  in  1S21.  It  is  still  the  custom  f<v  the 
Calabrian  minstrels  to  descend  fram  the 
moontains  to  Xaples  and  Rome,  to  sahite  die 


shrines  of  the  Virgin  mother  with  thor  wild 
mnsic,  nndo-  the  poetic  idea  of  cheering  he; 
ontfl  the  birth  of  the  infant  Jesus.  In  a 
picture  of  die  nativity  by  Raphael,  a  shefriierd 
is  icpfcacnted  standing  at  the-  dom-  with  a 
bagpipeL  The  same  id^  which  now  animates 
the  feeble  imitaton  Ot  the  bards  and  minstr^ 
ot  old.  doubtless  in^NTed  the  eariy  celebration 
of  Christmas  Eve.  The  joyous  melc-dies  weie 
supposed  to  recall  the  glad  songs  of  the  shep- 
herds as  they  were  simg  mi  Bethlehem's  plains. 
Notwithstanding  the  preservation  of  many  <rf 
tbe  endearing  Christmas  cifeioms  of  foreign 
lands,  which  throw  about  this  ferial  day  such 


indescribable  charms  far  old  and  young,  com- 
tbe  aatuum  of  IdSS,  and  in  Boeton  soon  after.  '  parativehr  linle  b  known  amcHig  our  people  at 


Ae  sole 


ocateda 

penonMTj 


and  only  nine  jcaia  of 


CABQLS.    It  was  a  happr  thoi^ht  to  miii- 
:  ao  favBdj  with  the  iestirities  of  Oe 
Tfaroaghovi  CbrirteadoaB, 
buth  in  Protestaat  and  Catholir  comtiifK, 


large  about  Christmas  Carc^.  In  England, 
the  silking  of  Christmas  Carols,  or  "  Cluist- 
■nas  Waits,"  as  the  cnstom  of  peripatetic  car- 
olling on  the  ere  before  Christmas  istenned,  is 
inseparably  connected  with  the  ha{^y  seas<m. 
CABY,  AXXTE  LOUISE,  was  bom  in  the 
town  of  Wayne,  Kranphec  Coimty,  Me.,  in 


as 


CAR 


APPEN'DIX. 


CAT 


1S42.  Her  ancestors  lived  in  Xonh  Bri<lge- 
wattT,  Ma»>..  and  w>»re  noted  for  joaie  geiiera- 
tion>  for  their  inu>icul  attainments.  llt*r 
grandfather  moved  to  Ma>*achu>ett:^  in  1^15. 
Her  lather  was  bred  to  the  profession  of  med- 
icine, to  which  he  brought  sound  sense,  good 
habits,  winnin;;  manners,  and  e»thusia.-ni 
which  in>ured  success.  Her  mother  waa 
Maria  Siockbrid^e  of  Yarmouth,  long  de- 
ceased, but  wannJy  remembered  for  her  niany 
virtues.  lu  l^ki  Ur.  Cary  was  living  in 
Wayne,  Me. ;  he  removed  some  years  later  to 
Gorham.  where  he  h.ns  ever  since  resi<led.  It 
wa-  a  musical  f.-\mily:  and  Annie's  true  e;ir 
and  voice  were  marke»l  at  a  ver>-  early  ]>eriod. 
She  ?ould  sing  Ix'forf  she  could  talk  plainly, 
often  chimin?  in  with  the  older  members  of 
the  household  when  singing.  Though  early 
recognized  as  a  charming  singer,  she  had  no 
musical  instruction  except  what  she  rec«*ived 
at  h'lrae.  until  IS-W,  when,  having  complete*! 
her  fducation  at  the  Gorham  Seminar)-.  >he 
went  into  her  brother's  family  in  B<j>t'>n. 
There  her  rich  contralto  voice  appears  to  have 
attracted  immeiliate  attention,  and  early  in 
1S<)0  she  was  engageil  to  sing  in  the  quartet 
choir  at  Dr.  Stowes  Church  in  Betlford  Street. 
After  two  years  in  Bedfonl  Street,  she  sang  for 
an  e"iual  time  at  Dr.  Lowell's  Church,  and  for 
two  years  more  at  Dr.  Huntington's.  During 
these  sis  years  Miss  Csry  was  a  pupil  of  Mr. 
Wheeler,  and  receivetl  instruction  from  other 
teachers  in  Boston.  More  and  more  the  possi- 
bility of  her  future  opened  before  her.  She 
began  to  sing  at  concerts  in  the  cities  and 
larger  towns  of  New  England,  ami  learned  to 
tru>t  her  powers.  In  i6()6  she  fully  deter- 
mined to  visit  Europe,  in  order  to  get  herself 
under  the  training  of  the  best  masters,  and  to 
learn  thoroughly  the  French  and  Italian  lan- 
guages. At  Milan  Miss  Cary  met  a  country- 
woman, Mi>s  Whitten  of  Boston,  since  de- 
ceasetl.  Together  these  two  ladies  devoted 
eighteen  months  in  unintermitting  study  to 
the  huiguage  of  the  country  and  the  art  of 
music.  Aiterwanl  they  visited  in  company. 
Florence.    Rome,   Naples,   and    other   Italian 


ko«ch  to  return  to  this  countr>-  with  Mademoi- 
selle Nilsson.  Her  tin-t  ap|»- .  .  V  -.v 
York  was  on   the   liuh   of  >  I    ; 

and  since  that  time  she  has  sL—    - .> 

of  the  fair  Swede,  whose  soaring  s<iprano  was 
Well  sup|»i>rtetl  bv  Miss  Car^-'s  rich  contnilto. 

CATHEDKAL  MISIC.  The  tatholic 
Church  has  for  centuries  |H)»ses-<.-d  the  tine«t 
service  music  of  any  denomination:  her  many 
and  varied  ceremonies  call  to  her  as-i^tance 
the  perfections  of  science  and  of  art.  Xo 
ornamentation  can  be  too  beautiful,  uo  music 
too  sweet,  no  accompaniment  too  2TS!i<i.  to 
give   projier  expression   to  the  Uf  ■     ■{ 

the  Church  in  it?  immase  to  its  Div; 
The  greatest  masters  of  painting  aim  >  i  inu-ic 
have  exerted  themselves  to  the  utmost  to 
assist  the  Church  in  rendering  the  sen  ices  and 
surroundings  beautiful  and  sublime.  The 
cathedrals  and  churches  of  th'>  Old  World 
have  Icing  be^n  noted  fxr  tli>-  .  "  ir  and 
magiiiticence  of  the  musical  i  i  their 

cert?monies:  but  not  until  witiii,.  .»  ;.  «  ye.-irs 
ptist  have  the  people  of  the  New  World  given 
sufficient  attention  to  the  subject.  This 
apathy  was  occasioned,  not  by  the  want  of 
inclination,  or  cf  taste,  on  the  part  of  the  devo- 
tees in  this  coiuttn.-.  but  rather  by  want  of 
proper  training.  But  now.  that  mu>ic  has 
taken  a  le.iding  position  in  the  e-!"'- '■'■■"  "f 
the  people  here,  there  has  been  a  i 
provement  in  the  rendering  of  chu:  -     : 

and  artists  and  authors  have  sprung  up.  many 
of  whom  have,  within  a  very  short  time, 
acquiretl  a  just  and  enviable  notoriety. 

England  i*  entitled  to  boa<t  that  her  cat he- 
drel  music  is  superior  to  that  of  any  other 
countni-.  and  that,  while  the  music  of  the 
church  in  Italy,  and  even  in  Germany,  has 
degenerated,  hers  retains  the  solemn  grandeur 
of  the  olden  time.  The  English  services  and 
anthems.  t<x>.  are  more  roca/ than  •"  -   - 

and  motets  of  the  IJoniishchurvh:  ; 

the  voices  are  very  fre<iuently  sub  :  • 

the  rich  and  powerful  instrumental  sjTuphony 
which  accompanies  them.  English  cathedral 
mu-'ic  is  jicoompanied  by  the  organ  only;  a 


cities,  travelling  leisurely,  and  returning  after  kind  of  .iccomp.iniment  that  is  not  liable  to 

their  vacation  to  Milan  and  music.      In  the  the  chaniies  which  orchestral  music  is  con- 

eusuing  winter.  Miss  Cary  was  engaged  with  stautly  undergoing,  and.  from  its  grave  and 

an  Italian  troupe  to  sing  in  Copenh.igen.  where  solid  style,  is  calcuiattnl  to  support  and  enrich 

she  m.ade  her  di-but  upon  the  operatic  stage,  the  vocal  harmony  without  withdrawing  the 

Her  reception  here  w.xs  very  flattering,  and,  attention  from   it.      The    more  ind*»pendent 
attracted   by  the  glowing   comments  of  the  '■  vocal  music  is  of  instrumental  accompanimeni 

press,  one  of-the  Strakosch  brv>thers  presently  the  less  it  will  be  subject  to  the  mutabilitr  A 

sent  for  her  to  meet  him  in  Stockholni,  where  taste  and  fa»hion:  and  tbS  ■-    •                 (  the 

she  sang  for  the  remainder  of  the  season.     At  durability  of    Engli-h   cv                                 Its 


choral  hanuony.  t.M..  is  ..I  -  uleiu', 

when  perfomiwl  with  suflici<-m  *i«.  hi  sirength ; 


Stockholm  she  was  presented  to  the  King  of 
Sweden  by  the  ^Vnierican  Minister,  and  was 
received  with  extntorilinary  courtesy  and  at- 
tention. The  next  eighteen  months  were 
si>ent  by  Miss  Cary  in  Germany,  in  study, 
except  that  during  the  opera  season  she  re- 
turned to  Copenhagen.  Her  services  wer« 
also  in  request  fn->m  time  to  time  at  et">ncerts 
in  Hamburg,  Brussels,  and  other  tJennan 
cities,  and  she  sang  also  at  Christiania  in  Nor-  '  the  .vlde«l  <iuantity  of  sound 
way.  In  IStW  Mi-s  Cary  was  in  Paris,  still  j  Tliis  ''  "  .  indiNtl.  • 
studying    her   pn>fess!>>n.   and    in    February,    from  of  the  w 

through  die  intluence  of  Mr.  Strakosch,  she  is  pa...  .  \  rcise«l  iii 
was  persuaded  to  appear  in  London.  Her  sue-  separate  tlie  tones  and  « 
cess  there  was  the  crx>wning  triumph  of  her  frvim  the  mass  of  in«; 
career,  and  led  to  the  engi^meut  with  Stra-    which  they  »k  »mothet«d. 

27 


,  though,  unfortunately,  tlii*  i-  s,>!.l.Mn  '?>•■  «■ 
I  The   cathedrals  an.i 
I  the  vocal   sound  o-i 

i  the  edifice.     This  <1.  ;■  ■  , 

I  by  the  loudut-ss  of  organ  playing. 
I  ling  the  quantity  of  roriU  m>iui<I.  ili 
'  of  its  effj-ct  mav  be  doubletl:  but  n 


a*e. 

-         -A 

.1 

.    ........>1 

By  .loub- 

.■n-atness 


The  choral  ■ 


CHI 


APPENDIX. 


DAP 


lishniLMits  of  cfithwlrals  must  be  numerous,  or 
the  >iii;;ers  will  be  unable  to  do  justice  to  the 
grand  and  solemn  music  which  they  have  to 
perform. 

ClIICKERIXG.  JONAS,  was  born  in  New 
Ipswicli,  N.ll..  April,  1797;  receiveil  a  com- 
mon-school education,  and,  at  the  n'^e  of  sev- 
enteen, became  an  apprentice  to  a  cabinet- 
maker, in  his  native  town.  lie  had  a  natural 
love  for  music,  and  spent  ftiucli  of  his  leisure 
in  learning  to  sini;  and  to  play  upon  such  in- 
struments as  Were  most  in  use.  There  was 
one  solitary  piano-forte  in  the  place,  and  one 
maiden  that  could  i)lay  upon  it.  In  course  of 
time,  this  instrunieiit  got  out  of  tune,  and 
Jonas  Chickering  undertook  not  oidy  to  tune, 
but  to  repair  it;  and  was  successful.  lie  was 
*,ben  nineteen  years  of  age;  and  here  was  the 
germ  of  the  great  piano-forte  manufacturing 
business  that  now  bears  his  name.  He  went  to 
Boston,  Feb.  15. 1818,  and  entered  the  workshop 
of  Mr  O-born,  then  the  only  piano-ft)rte  manu- 
facturer in  that  city.  In  1823  he  connnenced 
the  business  for  himself,  introduced  many  im- 
provements, and  soon  became  known.  He  now 
identiiied  himself  with  the  musical  interests  of 
Boston;  jjlayed  instruments  in  street-bands; 
sang  alto  in  the  church-choirs,  and,  finally,  his 
establishment  became  the  centre  of  mirsical 
art  and  artists  in  the  city.  In  December,  1852, 
his  establishment  was  totally  destroyed  by  fire; 
but  was  soon  rebuilt,  and  upon  a  more  exten- 
sive plan.  Mr.  Chickering  was  an  active 
member  of  many  of  the  musical  societies,  a 
liberal  patron  of  art,  and  Presitlent  of  the 
Mechanics'  Charitable  Society.  He  died  of 
apoplexy,  at  Boston,  Dec,  9, 1853,  aged  fifty -six 
years,  leaving  four  children. 

CHINESE  MUSIC.  The  invention  of  Chi- 
nese music  is  given  in  tlie  following  legend: 
About  or  in  the  year  2700,  B.(y.,  Chr  Hoang-ty 
conquered  the  celestial  empire.  He  gave 
orders  toLyng-lun  to  establish  rules  for  music. 
The  philospher  went  to  the  country  called 
Si-young,  where  the  bamboo  grows.  Here  he 
cut  a  bamboo,  blew  into  it,  and  it  produced 
soiuids  like  the  murmuring  of  the  river 
Hoang-ho,  which  passes  by.  While  thus  en- 
gaged in  making  attempts  at  finding  a  system 
lor  music,  I^yng-luii  heard  the  tones  (jf  the 
wonderful  birds  calleil  Fung-hoang,  the  male 
producnig  six,  antl  the  female  answering  with 
six  other  tones.  Only  one  tone  was  fouiul  to 
correspond  with  the  tone  of  Lyng-lun's  bam- 
boo. By  shorter  and  longei'  bamboos,  he  suc- 
ceeded in  producing  all  the  tones  he  heard  by 
the  birds,  and  gave  thus  to  the  Chinese  tlie  six 
perfect  and  six  imperfect  tones.  The  scale 
consists  of  F  G  A  C  D.  The  first  tone,  F,  was 
called  "  Kung,"  or  (nnperor;  G  is  "Ttchang," 
or  minister  of  state;  A  is  '"Kio,"  the  people; 
C  is  '•Tschi,"  affairs  of  state;  and  D  is*'Yu," 
the  emblem  of  all  things. 

Sonu!  of  their  instruments  are  very  curious. 
The  Yuh-Kin  is  fiat,  and  its  body  is  round  and 
much  like  a  thin  lid  of  a  chees('-box,  closed  on 
both  sides.  It  is  lu't  varnished,  the  Chinese 
believing,  and  justly  so,  that  unvarnished  wood 
vibrates  hetter,  Tlie  neck  is  short,  the  strings 
are  of  silk,  the  screws  consist  of  long  pegs, 
thick  at  one  end.  Its  four  strings  are  so 
arranged  that  two  and  two  are  close  together, 
and  are  tuned  alike:  to  that  two  tones  can  be 


produced  by  the  four  empty  strings.  They  are 
tuned  in  fifths.  The  instrument  lias  frets  like 
a  guitar.  It  is  played  with  remarkable  skill, 
the  strings  b(!ing  struck  by  the  aid  of  a  small 
piece  of  wood.  Its  sounds  are  harsh,  and  the 
rapid  succession  and  long  repetition  of  one 
tone  produces  very  ludicnnis,  and  at  times 
even  offensive  effects.  This  instrument  is 
used  for  solo  playing,  as  well  as  for  the  accom- 
paniment of  songs. 

The  San-Hiin  lias  three  strings,  and  is  shaped 
much  like  our  banjo.  The  body  is  of  very 
heavy  wood,  solid,  and  covered  with  the  skin 
of  the  striped  snake.  This  is  done  with  the 
object  of  softening  its  sounds,  and  with  the 
belief  that  there  is  a  charm  in  the  snake-skin. 
The  sounds  of  this  instrument  are  low  and  at 
times  dull.  It  is  evidently  about  an  octave 
lower  than  the  Yuh-Kin.  Its  strings  are  tunert 
in  fourths. 

The  Urh-Hiin,  or  Chinese  fiddle,  is  the 
mother  of  all  violins.  The  base  of  this  instni- 
nient  is  an  empty,  round  piece  of  wood,  much 
like  a  reversed  tumbler.  It  also  is  covered 
with  snake-skin.  Two  strings  are  fastened  as 
if  it  were  on  the  bottom  of  the  tumbler,  and 
run  akmg  the  neck,  wliich  is  simi)ly  a  stick,  at 
the  end  of  which  they  are  fastened.  The  bow 
runs  between  the  strings,  and  as  the  slightest 
elevation  or  sinking  of  the  hand  will  cause  thy 
bow  to  strike  the  one  or  the  other  sti-ing  or 
both,  it  will  be  readily  seen  that  it  is  not  e.vsily 
played.     Its  striniis  are  tuned  in  fifths. 

CHORLEY,  HENRY  FOTHERGILL,  was 
born  of  a  good  old  Lancashire  family,  1808; 
when  a  boy,  went  to  reside  in  Lond<m,  where 
he  diligently  studied  music,  and  secured  a  posi- 
tion in  connection  with  the  "Athenseuni,"  and 
for  thirty-five  years  conducted  the  musical  de- 
partment of  tiiat  publication.  He  was  above 
fear  and  favor;  a  warm  advocate  of  what  he 
held  to  be  true,  and  a  bitter  opponent  of  what 
he  deemed  the  false  in  art,  lie  published 
many  valuable  musical  works,  among  which 
we  inention,  "  Modern  G,  Music,"  "  Modern 
Opera."  "  Thirty  Years'  Musical  Recollec- 
tions;" many  songs,  librettos,  and  essays;  the 
'•Amber  Witch,''"  '"May  Queen,"  '"•Kenil- 
wortli,"  "Sapphire  Necklace,"  "Faust,"  and 
other  librettos.     He  died  Feb.  1872.  aged  (U. 

CRUVELLI,  >IDLLE,  SOPHIE,  was  born 
at  Bielefeld,  in  1828  (some  say  Dusseldorf ),  in 
Prussia.  Her  name  w;us  Fk.vuleix  Chuvel; 
but,  after  spending  sotne  time  in  Italy,  she 
assumed  the  name  of  Sophie  Cruvelli.  One  of 
her  sisters,  celebrated  for  her  beauty,  and  for 
the  fact  that  she  sang  successfully  at  Her 
Majesty's  Theatre,  w'as  brought  to  this  coun- 
try by  Strakosch,  October,  1859,  to  sing  at  the 
Academy  in  New  York. 


D. 


DAPONTE,  or  D'APONTE,  LORENZO, 
was  born  at  Creda,  a  city  of  Venetia,  1748;  was 
the  composer  of  the  libretto  of  ''Don  Gioctinni," 
anil  "Lc  Xozze  di  Fi;inro:''  w.as  professor  in 
the  seminary  of  Porto  Guaro.  and  afterwards 
a  roident  of  Venice;  but  in  1792,  some  poli- 
tical reason,  or,  as  he  himself  supposed,  the 
publication  of  a  satirical  sonnet  upon  Count 
PisacI    c-ccasioned  his  banishment;  but  we 


28 


DAP 


APPENDIX. 


DET 


soon  hear  of  Iiiin  as  liatin  Secretary  to  the 
Emperor  Joseph  II.,  and  as  a  writer  of  librettos 
for  some  of  tlie  operas  of  Mozart,  Marlini,  and 
Salieri.  A  green-room  ((iiarrel,  and  conscMiuent 
exile,  sent  liini  to  London,  where  he  remained 
several  years  as  poet  and  secretary  of  the  Italian 
opera.  He  came  to  this  country  in  1805;  and 
lived  many  years  in  New  York  City,  where  he 
died.  August,  ISoS,  aged  ninetv  years. 

DAVIU,  FERDINAND,  was  an  eminent 
violinist,  composer,  and  concert-master.  lie 
was  born  at  Hamburg,  on  the  I'Jth  of  June, 
1810.  David  displayed  at  an  early  ag(!  a  de- 
cided aptitude  for  music,  and  even  while  a 
bry,  obtained  unusual  mastery  over  the  violin. 
Scarcely  liatl  he  completed  his  tliirteenth  year, 
hefore  he  was  sent  to  Cassel,  where,  under 
Spohr's  guidance,  he  made  rajjid  progress  in 
his  ait.  As  far  back  <as  1825,  he  undertook  a 
long  professional  tour,  which  served  to  intro- 
duce him  honorably  to  the  world  of  music. 
From  his  industry  as  a  teacher  sprang  a  long 
series,  comprising  admirable  editions  of  ancient 
and  modern  classical  Conccrftiluckp,  Hach's 
Violin  Sonatas,  and  other  things,  but  above 
all,  the  model  "  Violin  School,"  in  which  he 
poured  the  rich  stores  of  his  exi)erience  antl 
observation.  He  came  forward,  also,  as  a 
composer,  writing  especially  for  his  own  in- 
strument many  well-conceived  and  elTective 
concertos,  variations,  and  etudes.  He  entered, 
too,  the  sphere  of  tlie  stage,  with  his  comic 
opera,  "//a/(,s  H'acht,''  produced  in  1852.  He 
died  at  Kloster,  in  Switzerland,  Julv  lil,  1873. 

DE  BERIOT,  CHARLES  AUGUST,  was 
born  at  Lonvain,  IJelg.,  Feb.  20,  1802,  and  from 
early  youth  studieil  music  with  great  industry. 
At  nine  years  of  age  lie  became  an  orphan ; 
but  found  a  second  father  in  M.  Tiby,  and  for 
ten  years  he  practised  incessantly,  improving 
upon  the  school  of  Jacotot,  which  was  held  in 
high  estimation.  At  the  age  of  nineteen,  he 
left  Louvain  for  Pari-;,  where  he  enjoyed  the 
tutorage  of  Baillot,  and  was  advised  by  Viotti. 
musical  director  of  the  opera.  Here  he  made 
the  acquaintance  of  P.iganini,  at  whose  con- 
certs he  made  his  first  public  appearance;  thus 
meeting  with  success,  he  i)roceeded  to  Eng- 
land, and  there  increased  his  reputation. 
While  conductor  of  the  opera  in  18;iO.  he  he- 
came  acquainted  with  Malibran,  and  with  her 
travelled  in  Italy,  derivinggreat  advantage  from 
her  advice.  She  had  been  married  in  early 
life,  but  had  for  some  time  been  separated 
from  her  husband,  and  on  obtaining  a  divorce, 
married  De  Beriot.  March  20,  18;!(!.  Their 
union  was  happy,  but  brief:  Malibran  exi)iring 
on  the  following  September.  After  her  death, 
De  Beriot  settled  at  Brussels,  where,  in  1842, 
be  became  professor  at  the  conservatoire.  He 
erecteil  to  her  memory  a  beautiful  chapel,  at 
Lacken,  with  her  statue  in  the  character  of 
"  Norma."  In  1842  his  foriner  teacher,  Baillot. 
having  died.  De  Beriot  became  principal  of  the 
Paris  Conservatory.  He  gave  one  or  two  con- 
certs after  this;  but  in  the  latter  days  of  his 
life  he  became  totally  blind,  and  was  partially 
paralyzed;  but  to  the  la>t,  his  instrument  was 
his  constant  companion  and  solace,  though  his 
playing  was  past.  lie  composed  much  for  his 
instrument,  and  wa<  the  author  of  a  work  on 
tlie  study  of  the  violin.  He  died  at  Brussels, 
Feb.  12,  l.STO,  aged  sixty-eight. 


DESTRUCTION  OF  MUSIC-BOOKS,  OR- 
GAN.S,  (Jic.  Tht>  civil  dissensions  during  tha 
Commonwealth,  which  ended  in  the  subver- 
sion of  monarchy  and  the  death  of  the 
king.  i)Ut  an  entire  sto]),  for  a  long  time,  to 
the  improvement  of  the  fine  arts  in  England. 
The  liturgy  of  the  Church  of  England  and 
the  Cathedral  service  were  abolished  in  livl;); 
the  chiu-ch-books  were  destroyed,  the  organs 
taken  down,  and  The  organi>ts  and  singers 
belonging  to  the  churches  turned  out  of  their 
places.  Nothing  was  allowed  in  the  churches 
but  the  psalmody  of  the  Presbyterians;  and, 
as  the  gloomy  fanatiei<m  of  the  Purit.ms  pro- 
scribed every  sort  of  light  ami  profane  nui^ic 
a*  a  pastime  or  amusement,  the  art,  for  a  time, 
may  be  said  to  have  been  banished  fi'on\  the 
land.  Cromwell  himself,  however,  was  fond 
of  music,  and  frequently  indulged  himself  in 
hearing  it. 

The  gossipping  analist,  Anthony  h  Wood, 
tells  a  story  of  a  student  of  Christ  t^hurcb, 
James  Quin,  who  had  been  turned  out  of  his 
place,  and  restored  to  it  in  conse(|uence  of 
Cromwell  hearing  him  sing.  "  Being  well 
acquainted,"  says  Wood,  '"with  some  great 
men  of  those  times  that  loved  mu'^ick,  they  in- 
troduced him  into  the  company  of  Oliver  Crom- 
well, the  Protector,  who  loved  a  good  voice  and 
instrumental  music  well.  He  heard  him  sing 
with  very  great  delight;  liquored  him  with 
sack,  and  in  conclusion,  said,  'Mr.  Quin,  you 
have  done  very  well, — what  shall  I  do  for 
you?'  To  which  Quin  made  answer,  with 
great  compliments,  of  which  he  had  command, 
with  a  great  grace,  that  his  highness  would  be 
pleased  to  restore  him  to  his  student's  place; 
which  he  did  accordingly,  and  so  kept  it  to  his 
dying  dav." 

•'  DETTINGEN  TE  DEUM."  This  is,  per- 
haps, the  noblest  piece  of  Protestant  church- 
music  extant,  and  d(?rives  a  special  interest 
from  the  fact  of  its  having  been  written  to 
connnemorate  the  last  occasion  recorded  in 
history  of  an  English  king  connnanding  an 
army  in  the  field.  It  seems  probable  that 
Handel  composed  it,  not  to  order,  but  in  com- 
pliment to  his  steady  patron,  George  II.,  inas- 
much as  it  was  begun,  July,  174;?,  almost  im- 
mediately after  the  news  of  the  victory  was 
known,  and  comi)leted  before  the  king  returned 
from  the  battle-lield  to  England.  That  some 
of  the  themes  of  the  choruses  were  borrowed 
from  a  forgotten  anthem  by  Francesco  Urio, 
chapel-master  at  Venice,  and  a  composer  of 
note,  detracts  nothing  from  the  merits  of 
Handel,  who,  like  Sliaks|)eare^  turned  every 
thing  he  touched  into  gold. 

This  "Te  Deum  "  was  written  in  honor  of 
the  victory  gained  by  the  British,  Hanoverian, 
anil  Hessian  troo|)s  over  the  French:  and  w.as 
first  performed  before  the  King  and  Court,  in 
the  Royal  (bapel  of  St.  James,  Nov.  27.  174;J 
(the  year  of  the-  victory). 

King  (ieorge  11.  set  the  example,  never 
since  departed  from  by  English  audiences,  of 
standing  nj)  during  the  [x^rfonnance  of  the 
'■  Hallelujah  Chorus."  He  was  a  man  of  deep 
musical  sympathies,  and  also  a  sturdy  warrior 
on  horseback  and  on  foot;  yet  the  verj-  name 
of  Dettingcn  and  the  record  of  the  victory  have 
been  preserved  through  the  instruuieutality  of 
'  this  "Te  Deum,"  by  Uaudel. 


2Q 


EIC 


APPENDIX. 


EME 


EICIinKKG.  JULIUS,  the  son  of  a  clfr^iy- 
niaii.  was  liorii   at   Dussclilorf.  June  13,  l!S25. 


these  hammers  communicate  with  the  key- 
board in  the  usual  way;  l)Ut  in  tluMi-  o]>po.site 
end  tliey  liavc  small  wooden  rods  ti-nninating 
with  armatures,  which  arc  attracted  to  the 
elect r()-ina<;ncts  whenever  they  hccome  active. 


lie  lirst  attcnck-d  tli(!  musical  academy  of  ,  The  music  to  be  performed  is  arranged  on  a 
Wurtberg,  Havaria;  tlicn  Ik;  studied  at  the  continuous  strij)  of  paper,  perforated  with 
coilene  in  Mcntz,  where,  at  the  age  of  nine  holes  in  such  a  way  as  to  re|)resent  the  differ- 
yeais,  he  played  a  concerto  by  Hode.  He  '  cut  notes.  This  long  strip,  by  means  of  clock- 
studied  composition  with  Hii-tz  of  Dresden,  w<irk,  is  rolled  otT  from  one  cylinder  to  an- 
and  afterwards,  at  the  age  of  fourte<"n,  he  otlier,  the  two  being  separated  by  an  inter- 
becan»e  director  of  the  opera  at  Elberfield,  and  nictliate  cylinder  of  metal.  There  is  also  a 
then,  at  the  age  of  si.\lcen,  went  to  the  Urns- !  small  key-board  with  small  movable  copper 
sels  Conservatory,  upon  the  recommendation  I  hammers,  which  is  placed  above  the  inter- 
of  Mendelssohn,  where  he  studied  tlie  violin,  I  mediate  cylinder,  so  that  the  small  lieads  of 
under  De  Beriot  and  Fetis.  Here  lu;  took  the  the  hammers  rest  upon  the  continuous  str-ip  of 
two  first  iirizes  for  violin-jjlaying  and  compo-    [lerforated  paper.     The  battery  is  so  arranged 


sition.  He  then  went  to  Base!,  Berne,  and 
Geneva,  in  Switzerland,  as  musical  director 
of  the  opera,  and  in  the  hitU:r  city  remained 
some  time  as  professor  of  the  violin  in  the 
Conservatory,  and  as  director  of  church-music, 
appointed  by  th(!  Consistory  of  the  (.'hiu-cli  of 
Geneva.  In  1850  he  came  to  this  country, 
and,  after  remaining  one  year  in  Xcw  York, 
removed  to  Boston,  Mass.,  where  he  has  re- 
sided most  of  the  time  since.  For  several 
years  Mr.  Eichbcrg  was  director  of  the  nnisic 
at  the  Boston  Museum,  and.  in  18f>7,  he  be- 
came director  of  the  Boston  Conservatory  of 
Music.  He  also  succeeded  Mr.  Zerrahn  as 
teacher  and  director  of  the  music  in  the  High 
and  Normal  schools  of  Boston,  upon  the  resig- 
nation of  the  latter,  and,  in  1808.  he  was  sent 
abroad  by  the  School  Committee  to  inquire 
into  the  condition  of  niusic  in  the  German 
schools.  He  is  also  vice-conductor  at  the  Har- 
vard concerts. 

Mr.  Eiehberg  has  composed  four  very  suc- 
cessful American  operas,  the  first  of  which, 
"The  Doctor  of  Alcantara,"  was  first  pro- 
duced at  the  Boston  Museum  in  18!!S.  The 
other  works  are,  "  A  Night  in  Home,"  pnv 
duced  in  1865;  "The  Rose  of  Tyrol,"  also 
brought  out  in  1805;  and  "The  Two  Cadis," 
first  given  in  March,  1808.  All  these  works 
had  their  first  re|)resentation  in  Boston,  and 
all  except  the  last  at  the  Boston  Museum. 
"The  Doctor  of  Alcantara"  has  been  given 
in  all  the  important  cities  of  the  Union. 
Many  of  his  published  compositions  are  of  a 
high  order  of  merit,  and  among  them  are  sym- 
phories,  overtures,  (piartets.  a  school  for  the 
violin,  aiid  some  sacred  niusic.  His  works 
have  been  published  in  Leipsic,  Hamburg, 
Franl;port,  Paris,  aiid  lately  i)i  this  country. 
His  career  fn^n  youth  has  been  marked  by  an 
enthusiastic  devotion  to  the  art  of  which  he  is 
so  brilliant  an  ornament,  ai>d  by  successes 
which  il  is  vouchsafed  to  few  to  achieve.  He 
studies  and  thinks  and  feels  the  sublimities 
and  sweets  of  music,  regarding  it  in  the  li;,'ht 
of  a  sacred  message  to  the  hearts  and  hopes 
of  mortals. 

ELKCTIUC  PIANO.  This  was  one  of  the 
great  curiosities  at  a  late  meeting  of  a  tecli- 
iiologieal  society  in  Paris,  in  which  much  in- 
terest was  manifested.  The  music  jirodneed 
is  said  to  b(  brilliant  and  effective,  is  auto- 
matic, and  entirely  independent  of  the  skill  of 
the  operator.  On  the  interior  of  this  there  is 
a  seric-i  of  electro-magnets,  which  act  upon 
the  ordinary  hammers  that  strike  the  tones; 


that  one  pull  coiTwnunicates  with  tlie  small 
key-board,  and  the  other  with  the  metallic 
roller.  As  the  sheet  of  paper  is  rolled  from 
one  wooden  cylinder  to  the  other  it  presses  on 
the  metallic  cylinder,  and  whenever  a  hole 
in  the  paper  comes  under  the  key-board,  the 
hammer  makes  contact,  and  a  current  passes 
throtigh  to  the  electro-magnet,  which  attnicts 
the  hammer,  and  the  required  note  is  then 
struck. 

ELI>:CTRIC  ORGAN.  An  instrument  of 
this  name  was,  in  1808,  erected  at  Her  Majesty's 
Opera,  Loudon  ;  the  body  of  the  instrument  be- 
ing behind  the  scenes,  and  the  maiuials  in  the 
orchestra  close  by  the  conductors  seat.  The 
l^erformer  can  sit  anywhere  away  from  his  in- 
strument, at  the  opposite  end  of  the  house  if 
he  likes,  the  connection  between  the  two  being 
ati  insulated  cable.  The  effect  is  good  for 
echoes  and  strong  sensations. 

E.MERSON.  LUTHER  ORLANDO,  teacher, 
composer,  and  director,  was  born  at  Parsons- 
field,  Me..  Aug.  ?>,  182H;  began  the  study  of 
music  at  the  .ige  of  twenty-four,  and  published 
his  first  book  of  church-music,  the  "Romberg 
Collection,"  185:!;  and  in  1857,  his  "Golden 
Wreath,"  a  school  song-book,  was  published, 
of  which  three  hundred  thousand  copies  were 
soon  sold ;  and  Mr.  Emerson,  encouraged  by 
such  success,  commenced  the  business  of  book- 
making,  issuing,  in  18.58.  the  "Golden  Harp;" 
18()0,  '"The  Sabbath  Harmony :  "  in  1803. ''  The 
Harp  of  Judah;"  in  18(^5.  "  Merry  Chimes;  " 
in  1800.  ".Jubilate,"  followed  by  the  "Chorus 
Wreath;"  •(Jreeting."  a  glee  book;  "Choral 
Tribute,"  church-music  book;  "Glad  Tid- 
ings," Sabbath-school  song-book;  "  Sal)batli 
Guest,"  anthem  book;  "Emerson's  Singing 
School;"  "National  Chorus  Book;"  "Chants 
and  Responses;"  "Episcopal  Chants;" 
"Cheerful  Voices,"  school  song  book;  and  in 
connection  with  II.  R.  Palmer  of  Chicago,  "The 
Song  Monarch."  for  singing  schools.  "The 
Standard,"  and  "  The  Leader,"  church-music 
books. 

He  has  also,  with  the  assistance  of  Mr.  W.  S. 
Tilden,  brought  out  "  The  Hour  of  Sinning," 
and  "The  High  School  Choir."  for '"High 
Schools,  and  "The  American  School  Music 
Readers,"  in  three  volumes,  which  are  graded 
music  readers  for  common  schools. 

He  has  l)een  known  as  a  conductor  ofmore 
than  one  hundred  nuisical  conventions  and 
festivals  in  the  principal  towns  and  cities  of 
New  England,  and  in  the  South  and  West. 
His    published   works   and   his  success  as  a 


30 


FEL 


APPENDIX. 


F03 


teacher  and  conductor  have  given  hira  great 
popularity.  He  is  a  hard  worivcr,  atul  has  a 
happy  faculty  of  iini)artiiig  instruction,  anil 
has  done  much  to  improve  the  standard  of 
church-music.  His  vocal  and  instrumental 
compositions,  published  in  the  form  of  sheet- 
music,  are  numerous  and  popular. 

F. 

FELTRE,  A.  DE.  of  Nantes,  France,  was 
passionately  fond  of  music,  which  he  culti- 
vated with  great  assiduity;  he  studied  under 
Reicha  and  Roieldicu,  and  composed  some 
pieces  much  praised  by  M.  Felis.  He  subse- 
quently itroduccd  a  comic  opera,  "Lcs  Fitx  (In 
J'rlncc,'''  which  was  successful;  atul  composed 
the  •'  Iiicendio  di  ISnhi/lonia.^'  His  third  opera 
was  nearly  completecl,  in  18.>4,  when  he  died. 
Ui:!  brother,  Duke  Edgard  de  Feltre,  a  musi- 
cian and  patron  of  the  arts,  died  soon  after, 
bequeathing  his  library  to  the  municipal  au- 
thorities, who  opened  it  in  1S.")(),  with  a  grand 
musical  festival,  at  which  tlie  works  of  Count 
Alphonse  were  executed  by  the  principal  ar- 
tists of  the  citv. 

FLOTOW,  VON  FRIEDRICH,  a  nobleman, 
a  son  of  a  wealthy  lord  of  the  manor;  born  in 
Mecklenburg,  north  of  Germany,  1812.  H(! 
early  went  to  Paris,  where  he  studied  music, 
opera,  ballet,  and  soon  became  known  as  a 
musician  and  composer.  Flotow  learned  first 
how  to  write  little  romances  in  the  Frenc'h 
style,  then  he  tried  larger  forms,  until,  at  last, 
he  accomplished  the  short  opera  comique. 
Paris  has  been,  in  a  musical  sense,  the  cradle, 
nursery,  and  school-room  of  Flotow;  he 
learned  there  to  creep,  to  walk;  to  spell,  to 
write,  anrl  to  produce.  Had  Flotow  continued 
to  walk  in  the  same  path, — to  compose  only 
for  the  Opera  Comiipie  in  Paris,  — the  desireil 
full  success  would  not  have  failed  to  appear  at 
last;  but,  at  that  time,  he  made  the  ac(|uaint- 
ance  of  a  German  author,  who  spent  a  portion 
of  each  ye.ir  in  Paris,  to  look  out  for  pieces  to 
translate  and  arrange  for  the  German  stage ; 
and  it  is  this  acquaintance  which  changed  the 
course  of  the  c  >mposer,  and  had  the  greatest 
influence  upon  his  further  career.  Tlu;  imb- 
lic  name  of  that  author  is  W.  Friedrich,  of  a 
wealthy  nu'rchant  family  in  Hamburg.  This 
man  has  obtained  a  reputation  in  Gennanyfor 
being  the  best  translator  of  French  pieces,  for 
his  great  knowledge  of  the  stage,  and  the  abil- 
ity to  write  gentle  verses,  esiM^cially  for  opera 
purposes.  Flotow  reipiired  a  lil)retto  ;  Fried- 
rich  proposed  one  for  the  (lerman  stage,  based 
upon  the  priucipl-M  of  the  French  Ojx^ra  Com- 
ique; Flitow  agreed,  and  both  men  began  to 
work.  The  first  sign  of  this  new  part lu-rship 
was  the  opera,  "  Ali:'<sfiii<lro  Slrnilfllit."  It  is 
almost  the  same  i>lot  which  inspired  Nieder- 
meyer  to  make  a  grand  opera  for  the  French 
Academy  of  Music.  The  next  o]>era  was  '•  The 
S.iilors,"  a  more  severe  undertaking,  and  for 
this  very  reason  unsuccessful.  Flotow  was, 
in  consequence  of  this,  rather  dissatisfied  with 
his  partner;  still  he  agreed  for  a  third  trial 
t  >gether.  The  result  was  '"The  Forester." 
Again  no  success;  decidedly  Mr.  Friedrich 
was  not  worth  any  thing.  Flotow  resolved 
npon  dissolution  of  the  p.trtnership;  but  first, 


he  would  try  once  more  the  ability  of  the  lil)- 
rettist.  "Martha"  w.as  the  result  of  tht  ir 
labors,  and  this  time  a  successful  one.  ••  M;ir- 
fha  "  gave  the  composer  a  position  ami  riq)ii- 
talion  in  Germany,  which  his  later  o|M'ra-. 
"  In'lni"  and  "  Huhrziihl,'^  although  they  weri* 
very  feeble  reproductions  of  his  powi-r^.  could 
not  shake!  The  music  to  "Martha"  is  spir- 
ittlal,  light,  and  brilliant,  iiralefiil  to  the  ear, 
the  singers,  and  also,  as  experience  1ki>  taught 
us,  to  the  composer  hiiiisclf.  Flutow  married 
at  Vienna,  ISHt.  but  his  wife  died  in  IHoD;  ho 
afterwards  l)i'came  manager  of  a  theatn',  but 
soon  resigned  in  disgust;  afterwards  married 
a  secoiul  wife,  and  took  up  his  abode  at  Vienna. 
The  opera  of  "Martha"  was  inlroduccd  to  the 
Ameiican  public  by  Madame  Hishcqi,  when 
she  was  in  this  country  with  Bochsa,  the 
harpist. 

FORMES,  CARL  JE.\N,  was  bom  in  the 
little  village  of  Muhlhciin,  on  the  Rhine,  Aug. 
7,  IS18.  He  received  instruction  in  music 
early  in  life,  and  displayed  great  love  for  the 
art;  but  his  father,  being  a  prai'tical  man,  pro- 
posed tliiit  he  should  follow  some  other  occu- 
pation. The  course  of  life  di'cided  upon  for 
him  became  extremely  distasteful  to  the  yoring 
artist,  and  he  took  the  only  way  in  his  power 
to  free  himself  from  it  —  he  enlisted  in  the 
Austrian  service.  This  stiqi  fortunately 
brought  him  to  Vienna,  where  his  intelligence 
and  fine  musical  organization  soon  attracted 
the  attention  of  Bassadone,  who  at  once  of- 
fered to  direct  his  musical  studies.  He  pur- 
sued his  art  with  enthusiasm  and  such  rapid 
strides,  that  on  the  0th  of  January,  1S42,  he 
made  bis  (hhut  in  Cologne  in  tlu;  character  of 
.Sarastros  in  Mozart's  opera  of  "  Die  Znuhrr- 
Jlocte.'^  His  success  was  unequivocal,  and  he 
was  admitted  into  the  community  of  artists 
from  that  night.  In  l.<4:5  he  was  chosen  a 
member  of  the  Court  Op<-ra  at  Manh<-iin,  and 
in  1844  he  became  a  primo  basso  assujuto  at 
the  Imperial  Opera  House  in  Vienna,  where 
he  receives,  the  larijest  salary  ever  given  to  a 
(ierman  artist.  Formes  made  his  first  appear- 
ance in  this  country  at  the  New  York  Acad- 
emy, Dec.  2,  lsC)7,  where  tlie  great  volume  of 
his  voice  excited  ceiu^ral  admiration. 

FOSTER,  STEPHEN  C,  was  born  in  Pitts- 
burg, Renn..  .Inly  4,  182(i.  His  father  was  a 
farmer,  and  laid  out  on  his  property  a  town, 
which  he  intended  to  call  Fosterrille,  but 
wliich  he  concluded  to  name  Lawrenceville,  in 
honor  of  the  gallant  Capt.  Lawrence,  adopting 
as  the  motto  on  the  corporation  sea'  the  dying 
words  of  Lawrence,  "Don't  give  up  tlie  ship. 
.Stephen  C.  Foster,  when  young,  learned,  un- 
aideil,  to  play  several  instruments,  but  w.as 
never  eminent  as  a  perfornn-r.  He  was  fond 
of  singinji  his  own  songs,  anil  of  making  ac- 
companime'its  with  the  |)iano-forte  or  guitar, 
and  he  resided  on  his  father's  farm  all  his  life, 
exctqiting  three  years  in  Cincinnati.  ().,  and 
two  years  in  New  York  City.  H<\i>iijoMd  but 
limited  opportunities  for  musical  instruction; 
but  when  nineteen  years  of  .-jge,  he  compose<l 
for  a  social  quartet  club,  of  which  he  w.as  n 
member,  his  first  successful  soni;.  the  |>opular 
favorite,  "I'ncleNed;"  this  w.is  followed  by 
"Susanna.''  "Old  Folks  at  Home,"  and  a 
long  catalogtie  of  similar  songs,  known  all 
over  the  world.    The  reason  of  the  popularity 


31 


FRA 


APPENDIX. 


GEW 


of  Mr.  Foster's  songs  lies  in  their  easy,  flowin"; 
melody,  the  adherence  to  plain  chords  in  the 
accompaniments,  and  the  avoidance  of  intric- 
acy in  the  harmony,  or  embarrassing  accident- 
als in  the  melody.  He  was  '"  the  finder  of 
many  melodies,"  and  his  compositions,  if  not 
his  name,  are  familiar  everywhere,  lie  was, 
ill  his  time,  the  ballad-writer  of  America.  He 
died  and  was  bnried  at  Pittsburg,  Jan.  18. 
1864;  and,  at  his  grave,  a  band  of  music  per- 
formed his  "  Old  Foli<s  at  Home  "  and  "  Come 
where  my  love  lies  dreaming." 

FRANZ,  ROBERT,  the"  song-writer,  was 
born  at  Halle,  on  the  Saale,  June  28,  1815 ;  his 
parents  belonged  to  the  middle  class,  and 
could  sing  chorals  and  church  nmsic,  but  were 
insensible  to  all  other  musical  impressions. 
Robert  grew  up  unconscious  of  the  musi- 
cal capacities  slumbering  within  him;  but  he 
heard  music  in  church,  and  at  school  practised 
singing  one  hour  each  week.  At  length  a 
piano-forte  was  purchased ;  and  the  boy,  then 
fourteen  years  of  age,  soon  learned  to  play  ac- 
companiments for  the  music  class  at  the  gym- 
nasium. He  next  was  admitted  into  the 
musical  circle  of  Schroner,  "  Landgerichts  di- 
rector," at  Halle,  and  this  event  exercised  an 
important  influence  upon  his  future  develop- 
ment. Principally  compositions  of  the  old 
Italian  masters,  and  works  of  Bach  and  Han- 
del were  practised  in  this  circle.  Franz,  at 
first  one  of  the  chorus,  soon  became  the  ac- 
companist, and  thus  the  direction  of  the  whole 
fell  into  his  hands.  He,  after  this,  gave  a  di- 
rection and  important  ailistic  meaning  to 
music  at  Halle;  his  firm  yet  modest  character 
exercised  an  important  influence,  and  he  ever 
after  enjoyed  the  universal  esteem  of  friends 
and  acquaintances. 

FRY,  WILLIAM  HENRY,  of  Philadelphia, 
Penn.,  enjoyed  rare  musical  opportunities;  in 
1849  went  to  Paris,  with  the  intention  of  col- 
lecting antique  specimens  of  music,  illustra- 
tive of  the  progress  of  the  art;  returned  in 
1854,  and,  h.aving  been  a  correspondent  of 
newspapers,  he  now  became  connected  with 
"  The  New  York  Tribune,"  as  musical  critic. 
Previous,  in  1840,  he  composed  some  "  Concert 
Overtures,"  which  were  performed  in  New 
York  by  Jullien's  orchestra,  then  giving  con- 
certs in  this  country,  and  also  an  opera, 
"  Leonora,"  which  was  performed  in  Phila- 
delphia; some  of  the  melodies  from  this  work 
won  considerable  popularity.  Later,  Mr.  Fry 
composed  a  "  Stabat  MnUr"  and  some  "  Vio- 
lin quartets,"  eleven  in  number.  In  18o5,  in 
a  series  of  papers,  he  undertook  to  prove  that 
"all  that  is  good,  great,  or  novel  in  the  art  of 
music  comes  from  Italy;"  and  was  opposed 
by  those  who  claimed  "  that,  wherever  the 
musical  art  has  entered  upon  a  new  phase,  and 
made  new  steps  in  its  progress,  it  has  origin- 
ated from  German  genius  and  from  German 
inspirations."  This  controversy  proved  unfa- 
voiable  to  Mr.  Fry,  and  his  works  could  not 
gain  a  hearing.  In  1853  he  delivered  a  course 
of  lectures  in  New  York,  illustrating  tln.'m  by 
practical  performances;  he  employed  Italian 
vocalists,  a  chorus  of  one  hundred  singers,  an 
orchestra  of  eighty  i)erformers,  and  a  military 
band  of  fifty  performers;  it  did  not  pay,  and, 
having  expended  many  thousand  dollars,  the 
lectures  closed.      His  second   opera,  "  Notre 

32 


Dame,"  was  a  failure  in  New  York,  but  well 
received  in  Philadelphia,  May,  1864.  Mr.  Fry 
died  at  Santa  Cruz,  Dec.  21,  1804. 

G. 

GARDINER,  WILLIAM,  was  bom  at  Leices- 
ter, Eng.,  1700;  well  known  as  the  author  of 
"Gardiner's  Music  of  Nature,"  "Music  and 
Friends,"  "  Sights  in  Italy,"  and  other  musical 
works,  died  at  his  residence  in  Leicester, 
Nov.  Hi,  1853,  aged  eighty-seven.  His  "  Sacred 
Melodies"  contain  some  of  the  most  popular 
choruses  —  such  as  "  Now  elevate  the  Sign  of 
Judah,"  and  others  first  adapted  to  English 
words,  and  published  by  him.  Old  Dedham 
was  composed  by  him. 

GEVAERT,  M.  CHARLES,  born  near 
Ghent,  of  Belgian  parents,  1820;  made  his 
debut  in  Paris  as  a  composer,  with  success;  his 
first  attempts  at  writing  being  performed  by 
setting  upon  the  ground  and  tracing  figures  in 
the  sand,  which  were  musically  intelligible  to 
him.  Self-taught,  he  composed  an  air  with 
variations,  a  mass  for  three  voices,  moiet*, 
trios  for  instruments,  &c.,  which  SDr<»ad  his- 
fame  among  the  neighboring  villages.  He 
now  entered  the  Conservatoire  at  Ghent, 
gained  the  prize  for  harmony  and  counter- 
point; in  1847,  at  Brussels,  he  gained  the  prize 
which  entitled  him  to  visit  Rome;  before  go- 
ing there,  however,  he  composed  several  op- 
eras, performed  at  Ghent.  In  1849  he  visited 
Paris,  Italy,  Germany,  and  Spain,  at  the  ex- 
pense of  the  Belgian  government ;  returned  to 
Ghent,  18.')2;  again  visited  Paris,  1853,  and 
produced  there  a  comic  opera,  "  Georijette," 
1854.  In  1858,  srill  at  Paris,  he  produced  at 
the  Opera  Comique  "  Quenlin  Durward," 
based  on  the  novel  of  Walter  Scott. 

GEWANDHAUS  CONCERTS  IN  LEIP- 
ZIG. These  concerts,  so  justly  celebrated  for 
their  production  of  a  vast  amount  of  the  good 
music  of  all  times,  and  the  admirable  per- 
formance of  it  by  one  of  the  best-trained  or- 
chestras in  the  world,  date  as  far  back  as 
March  11, 1743.  At  least,  on  this  day,  sixteen 
persons,  citizens  as  well  as  noblemen,  resolved 
to  pay  yearly  twenty  dollars  each,  for  the  pur- 
pose of  having  every  year  one  concert  in  which 
also  sixteen  perfonners  should  take  part.  Four 
weeks  after  this  meeting  this  concert  took 
place;  and  in  1744  we  find  in  the  "  Continua- 
tio  Annaiiiim,'''  Lip.  Vogelii,  p.  505,  the  follow- 
ing: "March  9th,  the  anniversary  of  the 
'  great  musical  concert '  was  held,  with  trum- 
pets and  cvmbals,  by  a  cant.ata  composed  by 
Mr.  Dohles!" 

These  concerts  were  repeated  every  year, 
with  only  a  .short  interruption  at  the  critical 
period  of  the  Napoleonic  war,  1813-14.  It 
w.as  Nov.  15,  1781,  when  they  were  given  for 
the  first  time  at  the  Gewandhaus,  a  large  build- 
ing at  Leipzig,  where  they  have  ever  since 
been  held.  In  1781  Adam  Ililler,  a  distin- 
guished musician,  who,  as  early  as  1700,  had 
commenced  editing  a  periodical  work  on 
music,  conducted  the  vocal  part  of  the  con- 
cert. The  instrumental  part  was  left  to  the 
care  of  the  first  violin,  that  is,  to  the  same 
person  who  in  our  day  is  called  leader.  Cantor 
Schicht  conducted  from  1785  to  1810,  and  after 


GIL 


APPENDIX. 


GOU 


this,  diitil  1827,  came  Cantor  Schultz.  \Vlien 
Schum;iiin  came  to  Leipzig,  Poliienz  ami 
Matth;iei,  both  leaders,  coiiclucted  the  con- 
certs; and  in  1885  Mendelssohn  appeared  for 
the  first  time  at  the  head  of  this  orchestra, 
conducting  with  a  baton.  With  instrumental 
compositions  this  had  never  before  been  done 
in  Leipzig.  After  Mendelssohn,  came  Gade, 
and  after  him,  Julius  Rietz. 

GILLIE RS,  JE\N  CLAUDE,  composer, 
was  born  in  I'aris,  1G67;  began  his  career  at 
the  Comedie  FrauQaise,  as  a  violinist,  where 
he  wrote  music  for  the  dances.  He  became 
known  as  the  founder  or  creator  of  that 
i\ational  French  form  of  the  musical  drama, 
the  comic  opera.  The  list  of  liis  works,  which 
are  distinguished  by  frank  gayety,  neatness  of 
;hythm,  and  a  melody  easy  to  fix  in  the  mem- 
ory, is  large;  fifteen  of  them  are  dated  be- 
tween the  year  1711  and  1786,  some  of  them 
being  published  a  short  time  before  his  death, 
which  took  place  at  Paris,  1737,  when  he  was 
seventy  years  of  age. 

GIKAC,  EM,  for  several  years  after  he  came 
to  this  country  a  professor  in  one  of  the  West- 
ern colleges,  was  esteemed  as  an  accomplished 
scholar;  in  1853  became  assistant  editor  of 
"  The  New  York  Musical  World  and  Times ; " 
was  a  graduate  of  the  Paris  Conservatoire, 
and  known  not  only  as  a  choir-master,  musi- 
cian, critic,  and  composer,  but  as  the  author 
of  the  "Appendix  and  Notes"  to  tlie  Ameri- 
can edition  of  "Marx's  Musical  Composition." 
Soon  after  the  publication  of  that  work,  re- 
turned to  Paris,  and  died  there,  on  Christmas 
evening,  1869.  He  was  one  of  the  Faculty  of 
Notre  Dame. 

GODDARD,  ARABELLA,  bom  at  St.  Ser- 
van,  Brittany,  Jan.  12,  1836;  appeared  in  pub- 
lic at  the  age  of  five  years,  as  a  pianist,  at  a 
charity  concert  in  her  native  village;  studied 
in  Paris,  and  performed  at  Buckingham  Palace, 
London,  1848.  She  now  studied  the  works  of 
the  great  masters  with  untiring  zeal,  and  in 
1854  took  rank  with  the  first  pianists,  playing 
at  the  concerts  of  the  quartet  association  in 
1856,  at  which  time  she  was  considered  as  one 
of  the  best  pianists  in  London,  and  was  after- 
wards called  "  Queen  of  the  piano-forte."  She 
married  W.  J.  Davison,  musical  critic  of  "  The 
London  Times;"  made  a  successful  concert- 
tour  through  the  principal  cities  of  Germany, 
through  Europe,  and  her  services  were  in  con- 
stant demand  at  the  grand  concerts ;  she  came 
to  America  in  1872,  performed  at  the  Peace 
Jubilee,  in  Boston,  and  retired  from  the  stage, 
bidding  luir  English  friends  adieu,  in  1873,  at 
the  most  brilliant  point  of  her  career,  intend- 
ing to  travel  round  the  world,  to  Australia, 
California,  and  Canada  on  the  way. 

GOTTSCIIALK,  LOUIS  MOREAU,  a  Cre- 
ole, born  in  New  Orleans,  La.,  1829.  At  the 
age  of  twelve  years  (1841).  went  to  Paris  for 
musical  instruction,  and  appeared  in  concerts 
there  in  1845;  returned  to  the  United  Slates, 
January,  18.53;  was  assisted  by  Jonas  Chick- 
ering  of  Boston,  in  commencing  his  musical 
career  in  that  city,  and  by  Francis  G.  Hill: 
afterwards  made  a  professional  tour  through 
South  America;  gave  concerts  in  the  United 
States,  and  published  com|)ositions  for  his  in- 
strument; became  generally  known  as  a  pian- 
ist, aud  finally  settled  in  Brazil,  receiving  many 


attentions  from  the  emperor.  At  a  public 
concert,  while  performing  one  of  his  own  com- 
positions, "ia  Mori,'"  he  was  seized  with  sud- 
den illness  from  which  he  never  recovered. 
This  was  at  Rio  Janeiro,  his  disease  being  a 
cancerous  affection  of  the  stomach.  He  died 
at  Tijucka,  where  he  had  been  taken,  in  the 
hope  that  a  chaniie  of  air  would  benefit  him, 
Dec.  18,  1869.  He  was  a  Roman  Catholic, 
aud  the  funeral  exercises  were  conducted  with 
the  usual  rites  of  that  church;  was  buried  ia 
the  cemetery  of  San  Joas  Baptista,  in  Boto 
Fogo.  He  left  several  unpublished  works,  in- 
cluding three  operas;  was  a  man  of  genius, 
and  bis  career  as  a  pianist  was  one  of  great 
brilliancy. 

GOUNOD,  CHARLES  F.  F.,  was  bom  at 
Paris,  June  17,  1818;  studied  hannony  under 
Reicha,  Lesueur,  and  Halevy ;  gained  a  second 
prize  in  1837,  afterward  the  first  prize  for  mu- 
sical composition  in  1839,  and  lived  until  1843 
in  Italy.  His  passion  for  sacred  music  in- 
duced him  to  quit  the  villa  Medicis,  for  the 
seminary  at  Rome,  and  for  some  time  he  even 
thought  of  taking  holy  orders. 

On  his  return  to  Paris,  he  was  for  six  years 
attached  as  chapel-master  to  the  church  of 
foreign  missions ;  had  some  of  his  early  com- 
positions performed  there,  and  gained  a  genu- 
ine success  by  "Solemn  Mass  of  St.  Cecilia" 
('^ Mease  solennelle  de  Ste.  CecUe"),  sung  at 
St.  Eustache  in  1849. 

The  following  year  the  field  of  the  opera  was 
opened  to  him  by  "Sappho,"  a  lyric  drama  in 
three  acts.  A  great  artist.  Mad.  Viardot-Gar- 
cia,  had  obtained  this  poem  for  him.  She  took 
the  principal  part  in  it,  and  was  as  worthy  an 
interpretess  as  she  had  been  faithful  patroness. 
The  critics  were  unanimous  in  hailing  the  new 
master.  The  grandeur  of  the  recital ivos,  the 
fulness  of  the  melodies,  the  steady  power  of 
the  orchestration,  revealed  a  composition  of 
high  character,  a  composer  of  rare  excellence. 
It  was  a  happy  protest  against  the  instrumental 
uproar  by  which  so  much  abuse  had  been 
effected,  and  which  is  still  so  fruitful  of  mis- 
chief. The  difference  between  power  and 
noise  was  soon  thoroughly  recognized.  In 
spite  of  the  sympathetic  welcome  of  the  public, 
notwithstanding  the  transcendent  merit  of  the 
work,  "Sappho"  had  at  Paris  only  nine  repre- 
sentations. In  it  there  was  no  ballet,  and  the 
ballet  is  a  isina  qua  non  to  the  success  of  an 
opera. 

On  the  18th  of  June,  ia52,  at  the  French 
Theatre,  was  played  "  Ulysses,"  a  tragedy  in 
five  acts,  by  Frani;ois  Ponsard.  The  music  of 
the  choruses  was  by  Gounod.  This  music  dis- 
plays a  masterly  movement,  a  vigor  of  inven- 
tion, a  profound  appreciation  of  situation  and 
color.  The  composer  has  thrown  over  the 
barren  and  colorless  verses  of  Ponsard  the 
splendid  vestment  of  liamiony. 

"The  Bloody  Nun"  {"  Ln  yonno  San- 
f/lante,")  an  oi)era  in  five  act*.  w';us  produced 
in  1854.  The  libretto  had  already  been  in- 
trusted to  several  rom|>oser.<>,  anion*;  them 
Hector  Berlioz.  All  had  rejected  it.  GouikmI, 
to  whom  it  was  then  offered,  .icce])ted  it. 
There  are  fine  passages,  grand  i|ualities  ia 
this  work;  but  it  lacks  unity. 

Gounod,  who,  by  a  singular  fortune,  had 
risen   in   proportion  to  the  inferiority  of  his 


33 


GRI 


APPE.YDIX. 


HAS 


poets,  or  his  paroliers,  as  Castil  Blaze  called 
tliein,  reached  his  popularity  by  the  choice  of 
a  i)iece  which  mi.uht  have  crushed  him.  We 
mean  "The  Physician  in  Spite  of  Himself" 
(■'Le  M^diciii  miiiire  luV),  a  comic  opera  in 
three  acts,  brought  out  at  the  Lyric  Theatre 
for  the  first  time,  Jan.  15,  1858.  Instead, 
however,  of  overpowering  him.  the  genius  of 
Molibre  sustained,  relieved,  and  inspired  him. 
His  music  is  wonderfully  appropriate  to  this 
master-piece,  and  has  all  its  fine  liealthy 
qualities,  —  clearness,  elegance,  correctness, 
vigor. 

In  March.  18.59,  the  first  representation  of 
"  Faust,"  a  lyric  drama  in  five  acts,  was  given 
at  the  same  theatre. 

A  first  symphony,  entitled  "  The  Queen  of 
the  Apostles,"  ("La  Heine  des  Apotrea'^)  1850, 
two  other  symphonies  executed  by  the  Society 
of  Young  Artists  (1855  and  1S5C),  and  a  can- 
tata, on  occasion  of  the  visit  of  the  Queen  of 
England  to  Paris,  complete,  thus  far,  the  list 
of  the  compositions  of  Gounod.  The  sym- 
phonies, conceived  in  the  form  consecrated  by 
Haydn,  Mozart,  and  Beethoven,  are  especially 
remarkable  for  their  ample  melody  and  scien- 
tific orchestration.  A  fervent  worshipper  of 
the  masters,  a  passionate  disciple  of  Bach, 
Handel,  and  Mozart,  Gounod  devoted  liimself 
to  the  constant  study  of  their  works,  and  ap- 
prehended and  appreciated  them  to  a  wonder- 
ful degree. 

In  1852  Gounod  was  appointed  director  of 
the  Normal  course  of  singing  of  the  city  of 
Paris,  known  under  the  name  of,  Orpheon, 
and  has  since  then  labored  constantly  to  im- 
prove the  Methode  Wilhebti,  so  as  to  secure 
the  concurrence  of  the  rival  methods.  In 
1847  he  married  the  daughter  of  the  piano- 
composer,  Zimmennan,  anil  was  decorated  with 
the  Legion  of  Honor,  Aug.  15,  1857. 

GRi'SI.  JULIA,  mentioned  in  vol.  i.  p.  347, 
visited  this  country  in  1854,  in  company  with 
her  second  husband,  Mario,  and  sang  in  the 
principal  cities  of  the  United  States  with  the 
highest  success.  In  1855  they  returned  to 
Europe.  In  her  day,  Grisi  was  the  queen  of 
the  realm  of  acting  and  music :  she  drank  the 
cup  of  pleasure  to  its  dregs,  and  was  cro^v^led 
•with  the  laurel  of  the  world's  admiration. 
She  died  at  Berlin,  Nov.  29,  1869,  aged  fifty- 
eight  years.  In  her  the  lyric  stage  lost  an 
artist  who  was  great  in  natural  talent  and  in- 
spiration, and  splendid  in  achievement.  For 
more  than  twenty  years  she  held  supremacy 
in  the  same  capital,  London.  She  possessed 
a  strong,  sonorous,  sweet,  extensive  voice,  a 
legitimate  dramatic  soprano,  ready  at  its 
owner's  call,  and  capable  of  conveying  almost 
every  emotion  of  the  imagination. 

GROBE,  CHARLES,  the  son  of  a  Lutheran 
clergyman,  is  a  native  of  Sax  Weimar,  Ger- 
many; born  1S17;  came  to  this  country  18;59, 
and  was  appointed,  1S4I.  professor  of  music  in 
the  Weslcyan  Fenjale  College.  Wilmington. 
Del.,  which  situation  he  heid  several  years. 
In  1842  his  piano-forte  publications  became 
known,  which  are  very  numerous.  His  "  New 
Method''  for  the  piano-forte  is  among  the  most 
important  of  his  works,  published  in  1859. 
He  is  known  as  a  contributor  to  different  mu- 
i-ical  publications,  as  a  composer  of  variations 
more  than  as  a  performer. 


H. 


HAGEN,  THEODORE,  was  bom  in  Ham- 
burg, April  1.5,  182:J.  He  was  a  pupil  of  Ja- 
qucz  Schmitt  in  piano-forte  playing;  went  to 
Paris  in  1841,  and  studied  hannony  for  two 
years,  under  George  Kastner,  and  in  1843 
commenced  his  career  as  a  writer  under  the 
name  of  Joachin  Fels.  He  wrote  articles  for 
the  leading  papers  of  Gennany,  especially  for 
Schumann's  "  Neu  ZeUnchri/t  fiir  Munik." 
Returning  to  Hamburg,  he  there  gave  con- 
certs, in  which  he  introduced  several  pieces  for 
voices  and  orchestra,  and  other  music  of  *•'« 
own  composition.  He  now  became  musica. 
editor  of  the  leading  daily  paper  of  Hamburg, 
and  wrote  his  first  book,  "  Civilization  and 
Music,"  which  had  a  great  success,  and  was 
published  in  Rome.  In  1848  his  "  Musical 
Novels"  were  published,  which  have  been 
translated  into  French  and  English.  Mr.  Ha- 
gen  came  to  New  York  in  1854,  and,  renewing 
here  the  acquaintance  of  William  Mason, 
whom  he  had  met  at  Liszt's  in  Weimar,  he 
was  introduced  to  Mason  Brothers,  at  that 
time  publishing  a  fortnightly  paper,  "The 
Musical  Review  and  Choral  Advocate,"  who 
offered  him  the  editorship  of  a  new  musical 
journal,  which  they  were  about  to  start  under 
the  name  of  "  The  Musical  Gazette."  This 
paper,  published  weekly,  Mr.  Hagen  edited  for 
about  six  months,  when  it  was  merged  into 
the  "  New  York  Musical  Review  and  Gazette," 
which  he  edited  to  June,  18(52,  when  he  be- 
came the  proprietor.  In  January,  1865,  he  en- 
larged it  to  a  double  folio  of  large  size,  weekly, 
including  literature  and  the  fine  arts,  but  giv- 
ing prominence  to  musical  matters.  Died  in 
New  York,  Dec.  27, 1871,  aged  fortj'-eight.  He 
was  greatly  beloved  by  those  who  knew  him, 
for  his  manliness,  his  goodness,  his  generosity, 
his  wide  range  of  sympathies,  and  the  happy 
and  winning  compound  of  refinement  and 
joviality  that  he  diffused  in  the  evcry-day 
business  of  life.  His  career  as  a  journalist 
extended  over  a  period  of  more  than  thirty 
vears. 

HASTINGS,  DR.  THOMAS,  was  bom  in 
Litchfield,  Conn.,  on  the  1.5th  of  October.  1784; 
but  his  parents,  during  the  winter  of  1796-7, 
removed  to  Oneida  County,  N.Y.,  then  one  of 
the  border  settlements  of"  the  West.  In  1819 
he  published  "  Musica  Sacra,  or  Springfield 
and  Utica  Collections  United,"  assisted  by 
Solomon  Warriner,  at  Utica,  N.Y. ;  which  im- 
plies that  the  two  collections  had  before  been 
published  separately.  In  1822  he  published 
his  "Dissertation  on  Musical  T.aste;"  which 
excited  much  interest,  but  he  was  declared  to 
be  a  generation  ahead  of  the  time.  After  a 
year  spent  in  Albany,  in  charge  of  a  clioir,  he 
removed  to  Utica,  N.Y.,  in  182.%  to  become 
the  editor  of  a  religious  journal.  Here  he 
spent  nine  years,  never,  during  his  eilitorial 
life,  losing  sight  of  the  interests  of  sacred  mu- 
sic. His  articles  in  this  paper  created  much 
interest,  and  invitations  to  lecture  on  the  sub- 
ject came  from  various  Eastern  towns  and 
cities.  In  1832  he  was  invited  by  twelve 
churches  of  New  York  to  take  up  his  residence 
there,  and  thenceforth,  for  almost  forty  years, 
with  unrt.igging  zeal  and  industry,  and  with 
great  singleness  of  puipose,  pursued  his  ap- 


34 


HAY 


APPENDIX. 


KEIi 


pointed  work.  lie  wrote  much  for  the  press, 
lectured  fn'i|ueiitly,  unil  publi-hi'd  luiiiiy  vdI- 
mnes  of  sacred  niu>ic.  la  If>-'>1  he  issued  at 
Utica,  "The  S|)n-itual  Sonus,"  with  music;  in 
18;J0,  in  connection  witli  Dr.  William  l'atton,a 
cliurch hymn-book,  '•  TheChri-tlan  I'salmist." 
Tlxis  was  followed,  in  IS:!",  Ity  tiie  "  Maidiat- 
tan  Collection"  of  church  music.  In  lS:iy  he 
edited  a  musical  ma;;azine;  in  1840  j)uljlished 
the  "Sacred  Lyre."  and  also  about  this  time 
a  volume  of  juvenile  and  nursery  soiiijs,  with 
music,  and  a  ci>llection  of  hynnis  for  maternal 
associations.  A  few  years  lati'r,  hi;  formed  a 
connection  with  William  11.  Hradbury;  and  to- 
gether they  issued  "The  rsalmodist,"  in  1844; 
in  1847,  "The  Choralist;"  in  1849,  "The 
Mendelssohn  Collection;"'  in  1851,  "The 
P.salmista."  lie  also  published  a  history  of 
forty  choirs,  and  a  new  revised  edition  of  his 
work  on  nuisieal  taste,  and  a  collection  of  his 
own  "  Devotional  Hymns  and  Poems."  His 
late  works,  after  .separating  from  Mr.  IJrad- 
bury,  were  "  Selah,"  issu<>d  in  18.)(i,  and  "The 
Church  Melodies,"  a  book  of  hymns  ami  tunes 
for  consjref^ational  sinking,  in  which  he  had 
the  assistance  of  his  son,  the  Itev.  Dr.  T.  S. 
Hastings.  In  addition.  In;  eilited  two  collec- 
tions of  hymns  and  tunes  for  the  American 
Tract  Society  and  the  Presbyterian  Board  of 
Publication.  Durina;  his  life;  he  wrote  no  less 
than  six  hundred  hymns.  Died  May  15,  1872, 
aged  eiiihty-eight. 

HAYTEll,  A.  U.,  was  born  in  Gillingham, 
England,  on  the  Kith  of  December,  17'.i».  He 
was  the  eldest  son  of  Samutd  Ilayter  of  More, 
England,  an  organist  of  eminenct-  in  the  Es- 
tablished Church  of  that  town.  At  the  age  of 
six  years  he  was  |)laced  in  the  collegiate  school 
connected  with  Salisbury  Cathedral,  England, 
where  he  was  educated.  While;  thcjre,  lie  re- 
ceived his  musical  instruction  from  Mr.  Corfe, 
the  celebrated  composer,  and  organist  of  Salis- 
hury  Cathedral.  WHu'n  Mr.  C'orfe  was  com- 
pelled, by  advancing  years,  to  relinquish  active 
duties  as  organist,  he  was  succeeded  by  Mr. 
Ilayter,  who  retained  this  important  position 
for  a  number  of  years.  During  this  time  he 
achieved  eminence,  and  was  offered  the  situa- 
tion of  organist  at  the  Cathedral  of  Hereford, 
which  he  accepted.  In  18:!5  he  left  Hereford, 
and  came  to  New  York,  where,  at  the  solicita- 
tion of  his  devoted  friend,  Hev.  Dr.  Wain- 
wright,  then  rector  of  Grace  Church,  he 
accepted  the  position  of  organist. 

Shortly  after.  Dr.  Wainwright  received  a 
call  to  the  Trinity  Church  Society  of  Boston, 
Mass.,  ai\d  was  commissioned  by  the  wardens 
and  vestry  of  the  church  to  visit  England  for 
the  pupose  of  procuring  an  organ,  which  was 
Com)>Ieted  and  ready  for  u-e  in  March.  18;!7. 
At  the  solicitation  of  Dr.  Wainwright,  Mr. 
Ilayter  resigned  his  situation  at  tJrace  ("luirch. 
New  York,  and  came  to  Boston  as  organist  of 
Trinity  Church,  which  position  he  held  for 
more  thai\  a  quarter  of  a  century.  In  July, 
1802,  while  playing  the  morning  service,  he 
w.as  suddenly  stricken  with  paralysis,  from 
which  he  never  recovered.  In  18;)li  >Ir.  Ilay- 
ter was  elected  orsjanist  and  conductor  of  the 
Handel  and  Haydn  Society,  during  which  year 
he  visited  Europe  for  the  purpose  of  selecting 
new  oratorios.  lie  achieved  great  success  for 
the  society,  bringing  out  nearly  all  the  ora- 


torios ever  given  by  it.  He  died  in  Boston, 
July  28,  187;!. 

IIEUVK,  whose  real  name  is  Florimond 
Houger,  a  French  composer,  was  born  at  Ilou- 
daiii,  near  Arras,  in  182."},  and  was  brought  up 
in  Paris  among  the  mu^ic  ])Upils  of  the  Cliurch 
of  St.  IJocli.  He  was  afterward,  for  eight 
years,  organi-t  at  St.  Eustache,  and  at  the 
same  time  leader  of  tin;  orchestra  at  the  Palais 
Boyal.  He  then  sang  at  the  Theatre  de 
rOpera  National,  where,  in  1842,  his  "Dun 
Quiculc."  the  first  specimen  of  opera  boulle 
ever  presented  to  a  French  audience,  was  i)ro- 
duced.  It  was  well  reei'ived,  and  oik;  of  the 
princi|)al  airs,  the  "  lioitdc  de  •Suncho,"  ol>- 
tained  popularity.  As  a  prote'ij^  of  M.  De 
Morny,  Ilerve  became  connected  with  varirms 
theatres,  where  he  continued  to  produce  sim- 
ilar entertainments,  and  thus  |)aved  the  way 
for  Offenbach,  who,  in  fact,  managed  to  eclipse 
him  in  popularity,  and  for  several  years  kei>t 
him  from  the  stage.  In  18.j:{  lierve  founded 
the  Folies  (.'oncertantes,  where  he  produced 
several  bouffonnericii,  among  them  "  La  flue 
Flcur  (le  V  Andalounie  ; "  but  a  condemnation 
by  the  Police  Correctionnelle  at  length  put  an 
end  to  this  phase  of  his  musical  career.  Since 
1805,  when  he  became  leader  of  the  orchestra 
at  the  Eldorado,  he  lias  again  appeared  fn;- 
quently  before  the  public  as  a  rival  of  Offen- 
bach. Among  his  later  productions  are 
"L'(Eil  Crec^,"  "  Cliilperic:'  "La  Petit 
Fau^t,"  and  "Lea  Turcit."  These  composi- 
tions liave  achieved  a  popularity  scarcely  sec- 
ond to  that  of  OtIenl>ach"s  works. 

HODGES,  DK.  EDWAKD,  w.os  horn  In 
Bristol,  England,  in  17!H1.  He  spent  the  earliest 
years  of  his  life  in  his  native  city,  holding  the 
post  of  organist  of  St.  James'  and  St.  Nicho- 
l<as'  Churches,  and  director  of  music  in  the 
Parish  Church  of  Clifton.  At  that  time  he 
produced  many  works  for  the  service  of  the 
sanctuary.  He  is  remembered  by  the  older 
inhabitants  of  Bristol  ius  a  very  tine  instru- 
mental accompanist.  It  was  said  that  it  was 
ivs  good  as  a  sermon  to  hear  him  play  a  psalm- 
tune.  In  18:i7  he  received  the  degree  of  Doc- 
tor of  Music  from  Cambridge.  In  IS'W  he 
came  to  the  United  States,  intending  tt)  settle 
in  Cana<la  as  director  of  the  music  of  the  Ca- 
thedral Church  of  Toronto.  But  tlie  destruc- 
tion of  that  church  by  fire,  shortly  after  his 
arrival,  left  him  at  liberty  to  accept  the  i)osi- 
tion  of  organist  at  Trinity  Church.  New  York. 
Died  at  Bristol,  England,  Nov.  1,  1807,  aged 
seventy-two. 


K. 


KELLOGG,  CLARA  LOUISE.  wa.s  bom 
at  Charleston,  S.C.,  of  New  England  parents, 
1840.  Removed  to  Connecticut  when  (|uite 
young,  and  made  lier  first  appearance,  hi 
operiv,  at  New  York,  18«'(1.  After  singing  in 
the  large  cities  of  the  United  States,  she  madu 
her  ap|)earance  in  London,  at  Her  M.aji-sty'n 
Theatre,  Nov.  18<)7.  One  of  her  great  channs 
is  her  j>erfect  enunciation.  Her  voice  is  a  si>- 
prano,  extremely  agreeable,  and  .Tsfonishingly 
flexible.  Her  phriuslng  Is  finished;  her  ca- 
dences are  so  rounded  as  to  satisfy  the  m'>st 
exacting  car;  and  her  acting  is  that  of  a  Idghly 


S6 


KRE 


APPENDIX, 


LEG 


brod  artist.  Iler  evenings  in  London  were 
always  iittcnded  by  crowds  of  tbe  most  refined 
Hiul  ciilliviiti'd  persons.  Miss  Keilosig's  career 
in  Eiiropo  was  brilliant  ami  successful,  and  slie 
may  ]>ro])erly  be  numbered  among  tbe  Ameri- 
cans wliose  !;enius  lias  won  tbe  warm  praise  of 
European  .scbolars  and  connoisseurs. 

KHEIiS,  MAIUE,  was  l)orii  in  Germany,  in 
ISoO.  iler  fatlii'r  is  known  as  a  composer  anil 
leiider  of  tbe  Dresden  Court  tbeatre  and  opera 
bouse,  and  lier  motlier  as  one  of  tbe  finest 
amh-iillos    of    tbe     German     operatic    stage. 

KELLER,  MATTHIAS,  born  .it  Ulm.  Wur- 
temburg,  Marcb  20, 1S1;J;  early  became  a  Ijand- 
master.  He  came  to  ibis  country  in  lH4(i,  and 
became  a  violinist  in  Pbiladejpbia,  Penn.,  and 
then  a  conductor  of  Eii^'lisb  oj)era  in  New 
York.  He  afterwards  removed  to  Boston, 
Mass.,  wbere  lie  became  celebrated  as  a  song- 
writer, but  cbietly  as  the  autbor  of  tbe  "Ameri- 
can Hi/imi,"  wbicli  was  performed  at  tbe  Peace 
Jubilee  by  a  cliorus  of  ten  thousand  five  hun- 
dred voices  and  an  orchestra  of  eleven  hundred. 

KULLAK,  THEODORE,  court  pianist  to 
the  King  of  Prussia,  was  born  Sept.  12,  181S, 
at  Krotocge,  a  village  in  tbe  duchy  of  Posen 
(Russian  Poland).  His  talents  for  music  at- 
tracted tbe  notice  of  Prince  Radziwill,  who 
gave  him  the  means  of  study.  In  1850  he 
joined  with  Stern  and  Marx  in  founding  the 
Conservatoriiim  of  Music,  from  which,  how- 
ever, he  separated,  in  1854  (or  1855)  to  estab- 
lish another  with  Dehn,  Haupt,  and  others, 
which  is  in  very  successful  operation. 

He  has  written  a  good  deal  of  music,  pub- 
lished many  ''  transcriptions,"  &c.  His 
"School  for  Octa\ <;-playing,"  and  another 
work  of  instruction  "  Materials  for  Piano- 
forte playing,"  are  held  to  be  iu  the  very  first 
rank  of  works  of  the  kind. 


L. 


LAW,  ANDREW,  born  at  Cheshire,  Conn., 
1748,  was  a  well  educated  gentleman,  possess- 
ing rare  attainments,  \aric'I  talent,  and  good 
moral  character.  Early  i/i  life  he  became 
somewhat  celebrated  as  a  vacher  of  vocal  and 
instrumental  music,  and  '/as  much  better  iu- 
fonned,  in  regard  to  th'.  science  of  sounds, 
than  any  teacher  of  hij  time  in  this  coun- 
try. He  taught  music  ;n  the  New  England 
States  and  in  the  South,  for  many  years, 
with  success,  and  also  in  some  of  the  acade- 
mies and  colleges;  and  in  these,  where  the 
officers  and  students  of  those  days  were  ac- 
customed to  investigate  every  subject  con- 
nected with  education,  bis  fine  talents  were 
appreciated.  In  1782  he  published,  at  Ches- 
hire, Conn.,  "A  Collection  of  tbe  best  and 
most  approved  Tunes  and  Anthems  known  to 
exist;"  a  second  volume  was  afterwards  jmb- 
lisbed  containing  sixt.y-four  pages,  the  whole 
neatly  engraved,  called  "  Christian  Ilannony." 
It  bii-s  been  asserted  that  Mr.  Law  published  a 
singing  book,  entitled  "Sacred  Hymns,"  as 
early  as  1770,  but  we  have  never  seen  tbe  book : 
the  first  of  his  works  that  has  come  to  our 
notice  is  the  "  Musical  Primer,"  1780.  In 
1786  he  published,  at  Raltimore,  Md.,  an 
"  Original  Collection  of  Music,"  and  in  1702 
he  published  the  f(>urth  edition  of  a  work 


entitled  "  The  Rudiments  of  Musick,"  76 
pages,  engraved  plates.  The  copy  of  this  work 
Ix'fore  us  was  owned  by  Timotjiy  Swan,  au- 
tbor of  "China,"  "Poland,"  andotber  living 
church  tunes,  and  was  presented  by  biin  to  the 
Harvard  Musical  Association.  "  The  Musical 
Magazine,"  by  Mr.  Law,  was  the  first  musical 
periodical  ever  published  in  this  country,  and 
formed  tbe  third  part  of  his  "  Art  of  Singing" 
in  three  parts,  to  wit :  I.  The  Musical  Primer; 
or,  the  first  part  of  the  art  of  singing:  contain- 
ing the  rules  of  i)salmody  newly  revised  and 
improved,  together  with  a  number  of  practical 
lessons  and  plain  tunes;  designed  expressly 
for  the  use  of  learners.  II.  Tbe  Christian 
Hannony;  and  III.  The  Musical  Magazine. 
These  three  works  were  sometimes  bound  in 
one  volume  and  sometimes  separately,  each 
part  containing  96  pages.  But  it  seems  that  the 
second  part  was  published  last  of  all,  for  a 
bound  book  before  us  contains  tbe  Primer  and 
the  Magazine:  only  it  is  called  the  "Art  of 
Singing,"  and  is  tbe  fourth  edition,  with  addi- 
tions and  improvements,  printed  upon  a  new 
plan, and  published  according  to  act  of  congress. 
The  Primer  having  been  printed  at  Cambridge, 
Mass.,  by  W.  Hilliard,  1803,  and  the  Magazine* 
by  E.  Lincoln,  Boston,  1805;  and  thus  it 
appears  that  these  two  parts,  1st  and  3d,  were 
issued  before  tbe  second  part.  This  edition 
is  in  tbe  new  notation,  without  lines,  and  was 
sold  by  John  West,  No.  75,  Cornbill,  Boston, 
Mass.  In  an  advertisement  of  this  work,  the 
author  says,  "  Additional  numbers  may  be 
printed  upon  this  plan,  as  often  as  tbe  public 
mind  shall  be  prepared  to  receive  them.  The 
second  part,  or  "Christian  Hannony,"  will 
soon  be  printed  in  this  way."  This  was  after- 
wards published,  and  contained  64  pages,  en- 
graved music.  In  his  preface  to  this  work, 
Mr.  Law  says,  "  The  art  of  singing  will  con- 
sist of  three  leading  parts :  the  Musical  Prim- 
er, the  Christian  Harmony,  and  the  Musical 
Magazine;  the  second  part,  or  the  'Christian 
Harmony,'  will  be  further  divided  into  two  vol- 
umes; and  tbe  third  part,  or  'Magazine,'  into  a 
course  of  numbers.  It  is  to  comprise  the  ele- 
ments or  rules  of  the  science,  together  with  a 
regular  gradation  of  the  best  sacred  music, 
from  tbe  i)lainest  tunes  up  to  the  nicest  airs 
and  anthems." 

Mr.  Law  composed  a  number  of  excellent 
church  tunes,  which  h.ive  had  a  wide  celebrity, 
and  are  still  in  use;  one  of  his  compositions, 
the  tune  "  Archdale,"  is  familiar  to  every  singer 
acquainted  with  the  singing-books  which  have 
been  published  within  the  last  fifty  years ;  but 
he  was  principally  celebrated  as  a  teacher,  and 
as  the  inventor  of  the  patent  note  system, 
which  characterized  all  his  publications.  He 
died  at  Cheshire.  Conn.,  Julv,  1821,  aged  73. 

LECOCQ,  CHARLES,  a  distinguished  com- 
poser of  opera  bouffe,-  w.as  the  son  of  an  em- 
ploye' of  tbe  Tribunal  de  Commerce.  He 
was  born  at  Paris,  on  the  .3d  of  June,  1834. 
At  a  very  early  age  he  displayed  an  astonish- 
ing talent  for  music,  and  could  play  the  fl.ageo- 
let  when  only  three  years  old.  He  commenced 
the  study  of  harmony  iu  1850,  at  the-  Paris 
Conservatoire  de  Musique,  and  made  such 
rapid  and  excellent  progress  that  he  carried  ofl 
several  prizes,  among  others,  when  only  twenty- 
one  years  old,  the  second  prize  for  fugue  and 


36 


LOE 


APPENDIX. 


MAU 


counterpoint.  Hin  first  conipositiou  was  "  ie 
Doc'cur  Miracle,''''  which  was  represented  in 
18.")7.  This  was  spcoilily  followed  by  "  Le  Ilai- 
8Pr  de  la  I'orle,"  '^Lilinc  ct  Valentin,'"  "Li'.t  Ou- 
dine»,''  and  ^^Le  Cabaret  de  lianiiioneaui.'"  In 
January  of  the  following  year  Lecocq  produced 
'^L' Amour  et  nan  ('(irquoin,"  which  proved  a 
great  success,  and  had  a  loiitj  run  when  first 
brought  out;  in  yhuch,  "  La  FUur  de  T/ie," 
which  has  been  represented  with  a  .success 
only  second  to  that  of  "  L(t  Grande  Dttcliesse." 
Other  operas  of  the  same  general  character 
followed  in  rapid  succession,  the  most  popidar 
being  ^'J.e  Cent  Viin/rg."  In  1872 appeared  his 
most  successful  effort,  "'  La  Fitle  de  .^fad'iinc 
Aiuiot,"  which  has  been  received  with  great 
favor  in  all  the  large  cities  of  Europe  aiul 
Anu'riea.  Lecocq's  latest  production  is  '•  fliro- 
fiee  Cirofla."  It  was  fir>t  represented  in  IJrns- 
sels  at  the  Theatre  di's  Fanlaisies  I'arisiennes, 
in  March,  1S74,  and  soon  after  on  the  boanN 
of  one  of  the  Jjondon  theatres. 

LOEWE,  JOIIANN  KARL  GOTTFRIED, 
was  born  on  thi'  oOth  of  November,  17iKI.  in 
Lolwjan,  near  Ilalle;  and  he  received  from 
his  father,  who  was  Cantor,  not  only  a  severely 
pious  bringing  up,  but  also  the  foundation  of 
Ills  mu-iical  education,  which  he  continued 
from  his  tenth  year  as  clioir-boy  in  Koethen, 
and  completed  in  the  orphan  hou>e  at  Halle 
as  a  pui)il  of  the  celebrated  old  Turk,  who 
took  a  fond  interest  in  the  talented  boy.  After 
the  prospect  of  a  purely  musical  career  —  with 
a  salary  from  the  Kingof  Westphalia  —  wa-;  cut 
off  for  him  by  the  revolution  in  political  atTairs. 
he  accommodated  himself  to  the  favorite  «i>h 
of  liis  father,  and  studied  theology  in  Ilalle, 
where  lie  was  matriculated  at  Mich;elin;us. 
1817.  As  his  clear,  but  somewhat  sharp 
soprano  liad  done  for  the  boy,  so  now  his 
exceedingly  delicate  tenor,  of  great  compass, 
and  his  pure  intelligent  delivery,  won  for  the 
youth  a  great  many  friends.  Moreover,  the 
composition  of  hisbest  ballads,  ''Treiirnsclien.^' 
"  WaUhnide,"  "/ir/Ao/ii;/."  «S:c..  falls  within  this 
student  period.  Loewe's  published  coiiip(i>i- 
tions  number  more  than  one  humlred  lie 
wrote  also  sym]dionies.  overiurer-  and  ^onalas. 
Besides  being  one  of  the  mo>t  prolilic  compos- 
ers of  recent  times,  he  was  al>o  active  in  a 
literary  way.  He  wrote  a  vocal  method  for 
high  schools,  which  appeared  in  ISiC),  and  a 
commentary  on  the  second  part  of  (ioetlie's 
"  Faust."  He  died  April  20,  1871,  at  Kiel, 
aaed  73. 

LUCCA,  PAULIXE.  the  daughter  of  poor 
but  worthy  parents,  who,  on  account  of  re- 
duced circumst.ances,  were  unable  to  educate 
their  children,  w.as  born  at  Vienna,  April  2.'), 
ISIO.  A  profes'iional  sing<'r  named  Erl,  who 
accidentally  di.'^coveied  that  she  possessed  a 
most  promising  voice,  veiy  generously  uiuler- 
took  to  give  her  instruction;  and  when  lift<'en 
years  of  age,  she  obtained  an  engagement  at 
the  Karinther  Tlior  Tlieatre.  an<l  assisteil  in 
the  Sunday  services  at  the  Karl  Kirche.  At 
the  latter  place,  tlie  unavoidablt>  absence  of  a 
leading  vocalist,  in  18.")(5,  gave  the  youthful 
a^)>irant  an  o|>[M)rtunity  for  distinguishing  her- 
self; and  the  sensation  she  created  w.ts  so 
great  that  means  were  devised  by  the  princi- 
pal mnsieians  in  Vienna  to  enable  her  to  com- 
plete  her   training.      Her    improvement   wa-s 


rapid  and  decided;  and  having  accepted  an 
engagement  to  sing  Italian  parts  at  the  Olmutz 
Theatre,  she  appeared  in  .September,  IS"*!*,  for 
the  first  time,  as  Elvira  in  Verdi's  "  Eriiani," 
with  such  success  that  brilliant  offers  were 
immediately  made  her  from  many  parts  of 
Germany.  She  afterwards  sang  with  iniinen>e 
success  in  Uerlin,  Paris,  and  London,  and 
more  recently  in  this  country. 


M. 


MARETZEK,  M.VX.  born  in  Austria.  182.S; 
came  to  this  country  in  1S48,  and  has  be<'n 
more  or  less  engaged  since  in  conducting 
Italian  opera  here. 

MARIO,  GirSEPPE  (Marquis  of  Candia), 
was  born  at  Cagliari,  in  Sardinia,  Oct.  IS,  l8ln. 
His  visit  to  tills  country,  in  company  with 
(iri>i,  18.54,  and  his  n'tiirn  here  in  187:),  will 
l)e  well  remembered.  As  a  singer,  he  is  dis- 
liiigui^hecl  for  a  voice  of  rare  sweetness  and 
[)urity.  graceful  vocalization,  excellent  method, 
and  fair  dramatic  ability.  He  ha-s  rarely  or 
never  been  without  a  good  engagement ;  and  if 
not  rich,  it  is  because  of  his  great  liberality  to 
his  countrymen,  whom,  as  political  e.\ilesand 
artists,  he  has  ever  been  ready  to  relieve.  Hi* 
reiiertoirc  embraces  the  great  works  of  Hossini, 
liellini,  Donizetti,  and  Verdi.  Nearly  all  tlie 
great  artists  contemporary  with  him  have 
|)assed  away,  and  he  is  left,  almost  the  "  last 
it-af  upon  the  tree." 

MA  ROT,  CLEMENT,  was  a  valet  of  the 
bedchamber  to  Francis  I.,  and  tlie  favorite 
l)oet  of  the  country  at  that  time,  about  the 
year  1.540.  His  amorous  ditties  were  the  de- 
light of  the  French  court,  and  when  his 
"  Sainctct  Chan.tonctteii"  was  first  published, 
his  thirty  psalms  acquired  such  favor,  that,  in 
s|)ite  of  the  censures  of  Sorbonne,  they  were 
sung  by  the  king,  queen,  and  chief  personages 
of  the  ccmrt.  In  fact,  so  great  was  the  favor 
with  which  his  "holy  song-book"  was  re- 
ceived, that,  for  a  time,  nothing  w.is  heard 
but  the  Psalms  of  Clement  Marot  in  all  France, 
anil  at  the  splcndiil  court  of  the  gay  French 
monarch.  Calvin,  finding  these  Psalms  so 
popular,  introduced  them  into  the  celebrateil 
•' Genevan  Psalter,"  and  probably  they  were 
accompanied  by  tlie  same  old  and  familiar 
melodies.  In  this  Psalter,  Old  Hundred  is  one 
of  the  tunes;  and  as  (iiiillauine  Franc  w.'is  the 
person  who  arranged  the  music  for  the  "Gen- 
evan Psalter,"  the  same  claim,  that  he  com- 
posed Old  Hundred,  has  been  established  for 
liirn  Jis  w.as  made  for  Claude  fJoiidimel,  who 
also  arranged  some  of  Marot's  Psahns  to 
inu^ic.  Luther's  example  of  publishing  met- 
rical versions  of  the  Psalms  seems  to  have 
spread  rapidly,  and  was  followed  In  several 
countries  with  great  success,  until  the  I{oniaii 
Catholic  doctors,  who  li.id  at  first  m.aile  no  «»|>- 
position  to  the  intr<Hluctioii  of  these  metrical 
versions  of  the  Psalms  in  the  veniacniar 
tongue,  became  alaniieil  at  their  rapid  spp'iid 
among  the  Protestant",  anil  conseipiently  for- 
bid tlieir  use.  threw  Marot  into  prison,  and 
only  consented  to  |ii»  release  on  conilition  that 
he  should  leave  th<^  countr>-;  which,  fearing 
pcr.«eciition  for  h<'re»y,  he  gladly  con«ented  !•> 
do,    and    went    to   (Jeneva,    where    he    added 


MAS 


APPENDIX. 


NIL 


twiMity  more  Psalms;  and  those,  with  the 
tliirty  which  had  heen  pubHshed  at  Paris,  in 
all  niiiking  sixty,  were  printed  at  Geneva,  in 
154:!,  with  a  jireiface  written  hy  Calvin  himself. 
.Such  was  the  commencement  of  the  system  of 
jjopnlar  i)artici|)ation  in  the  senMce  of  sonij 
for  the  liouse  of  the  Lord  in  the  Reformed 
Church,  —  a  participation  which  the  people 
admired  because  the  Psalms  were  set  to  such 
po]>ular  soni;s  as  they  wor(!  familiar  with,  could 
well  niulcr^tand,  and  delighted  to  sinjr.  not  only 
at  public  meetings,  but  at  their  homes  and  at 
their  dailv  toils. 

MASON,  DK.  LOWELL,  was  born  in  Mcd- 
field,  Mass.,  Jan.  8,  1792.  and  from  childhood 
ina):ifested  great  fondness  for  music.  In  his 
twentieth  year,  he  removed  to  Savannah,  Ga., 
where,  in  connection  with  other  pursuits,  he 
devoted  much  time  to  giving  instruction  in 
music  and  leading  choirs  and  musical  associa- 
tions. In  1S21  the  "Boston  Handel  and 
Haydn  Collection."  his  first  essay  in  the  com- 
pilation of  church  music,  was  published,  and 
was  favorably  received.  He  was  induced,  in 
1S27,  to  leave  Savannah  for  Boston,  where  he 
began  the  instruction  of  classes  in  vocal  music, 
devoting  special  attention  to  the  training  of 
children  to  the  perfomiance  of  the  alto  part  in 
choral  music,  and  to  the  introduction  of  vocal 
music  into  the  public  schools.  About  1828 
Willi.am  C.  Woodbridge  called  his  attention  to 
the  Pestalozzian  mettiod  of  teaching  music, 
and  especially  to  the  various  improvements 
upon  it;  and,  after  due  examination,  Mr.  Ma- 
son became  a  champion  of  the  new  method. 
Juvenile  classes  were  now  established  and 
taught  gratuitously  by  him;  and  he  was  soon 
compelled,  by  the  extent  of  his  labors,  to  take 
G.  J.  Webb  as  an  associate.  Under  his  influ- 
ence vocal  music  received  a  new  and  extraor- 
dinary impulse  in  Boston  and  throughout 
New  England.  Eminent  teachers  were  intro- 
duced into  the  schools ;  the  Boston  Academy 
of  Music  was  established;  music  was  pre- 
scribed as  a  regular  branch  of  instruction  in 
the  public  schools  of  Boston,  and  subserjuently 
very  generally  throughout  the  entire  country; 
permanent  musical  classes,  l(>ctures  on  music, 
concerts,  schools  for  instrumental  music,  and 
teachers'  institutes,  were  also  widely  estab- 
lished. 

In  1837  Mr.  Mason  visited  Europe,  and 
made  himself  acquainted  with  all  the  im- 
provements in  music-teaching  in  the  Con- 
tinental cities.  The  growing  taste  for  nuisic 
which  he  had  inspired  incited  him  to  prepare 
o'^out  this  time  numerous  text-books  for 
juve'iile  classes,  glee-books,  and  coll(>ctions 
of  cluirch  music.  In  18.").5  Mr.  Mason  re- 
ceived from  tlie  New  York  University  the 
degree  of  doctor  in  music,  the  first  instance 
of  the  conferring  of  such  a  degree  by  an 
American  college. 

Dr.  Mason  died  at  liis  residence  in  South 
Oran'.;<',  X.J..  Am:.  11.  1S72,  aged  81t  vears. 

MITCHELL.  NAHU.M,  was  born  at  Bridge- 
water,  Mass.,  in  17()!).  His  love  of  music,  and 
desire  for  knowledge  in  its  mysteries,  began  in 
early  life,  and  never  left  him.  His  early  pro 
ductions  were  written  in  the  style  of  the  day, 
hut  his  later  compositions  were  very  popular. 
In  1S()0,  in  conjunction  with  Hev.  Mr.  Buck- 
minster  of  Boston,  he  compiled  a  small  volume 


of  church  music,  entitled  the  "  Brattle  Street 
Collection,"  which  was  ])uhlished  in  1810.  In 
1812  he  pul)lished  the  '■' TempVi  Varndna"  — 
Songs  of  the  Temple,  or  Bridgewater  Collec- 
tion of  .Sai-red  Music.  This  was  very  po]>ular, 
and  exerted  a  great  influence  in  promoting  a 
reform  in  the  style  of  the  church  music  in 
New  England,  though  this  first  attempt  at 
reform  was  made  and  received  with  caution. 
In  the  preparation  of  this  work  he  was  assisted 
by  Brown  and  Holt,  music  teachers,  and  in  it 
the  compilers  ventured  an  improvement  in  the 
h.armony  of  some  of  the  common  tunes. 

Mr.  Mitchell  descended  from  ancestiy  that 
arrived  at  Plymoutli  in  the  third  ship,  in  1C23. 
He  was  one  of  Nature's  noblemen,  a  gentleman 
of  the  old  school ;  he  was  courteous,  compas- 
sionate, unselfish,  honoral)le,  and  industrious. 
He  was  many  years  chief  justice  of  the  circuit 
courts,  and  was  in  Congress  at  a  most  impor- 
tant period  of  our  history.  He  wrote  and  pub- 
lished, probably,  as  large  an  amount  of  useful 
matter  as  any  man  of  his  generation  in  his 
native  State.  He  prepared  a  "  Grammar  of 
Music."  and  wrote  and  published  in  the  Bos- 
ton ■'7v(/e;-p'iV/'?"  a  series  of  articles  on  the 
"  History  of  Music."  As  a  composer  of  music, 
he  was  a  connecting  link  between  the  old 
dynasty  and  the  new;  and  though  not  cele- 
brated as  a  singer,  he  was  leader  of  the  church 
choir  in  his  native  town  and  a  teacher  of 
music.  His  collection  of  music  was  the  most 
valuable  that  had  appeared  in  this  country, 
and.  in  18:33,  h.ad  passed  through  twenty-three 
editions.  Judge  Mitchell,  Au"  1. 1853  (while 
witnessing,  from  the  steps  of  Pilgrim  Hall, 
Plymouth,  Mass.,  the  pageant,  on  the  occasion 
of  celebrating  the  embarkation  of  the  Pilgrims 
from  Delft  Haven  for  America),  having  missed 
his  pocket-book,  while  in  the  act  of  stoop- 
ing down  to  look  for  it,  fell  to  the  ground 
senseless.  He  lived,  however,  to  reach  his 
home  in  Bridgewater,  where  he  died  early  in 
September,  at  the  age  of  84  years,  being  at  the 
time  the  oldest  of  the  American  composers  of 
note. 


N. 


NIEDEBMEYER,  LOUIS  was  born,  April 
27,  1802,  at  Nyon,  Switzerland.  He  composed 
several  oper.as,  also  many  smaller  vocal  pieces. 
Died  April  14,  1861. 

NILSSON,  CHRISTINE,  was  born  in  one 
of  the  principal  cantons,  near  the  town  of 
Wexio,  Sweden,  Aug.  3.  184.3;  but  her  parents, 
honest  peasants,  paid  but  little  attention  to 
the  precocious  taste  for  music  the  child  pos- 
sessed, and  certainly  never  thought  of  m.aking 
ai\  artist  of  her.  When  about  ten  or  twelve 
years  old,  a  notable  of  the  village  proposed  to 
attend  to  lu'r  musical  education,  and  placed 
her  under  the  care  of  the  Baroness  de  Leu- 
hasen.  formerly  an  artist  of  reno^m,  and  who 
was  so  pleased  with  her  .young  prot(';/ec''s  latent 
talent,  that  she  herself  gave"  her  instructions 
in  singing.  A  year  later  she  was  sent  to 
Stockholm,  and  lived  in  the  family  of  Frederic 
Bernald,  a  violoncellist  and  highly  esteemed 
composer,  ex-court  kapellmeister,  and  whose 
three  daughtei-s  are  well  known  and  esteemed 
in  their  <>wn  country  and  in  (Germany  as  can- 
tatrices  of  (lie  first  order.    Tlifuiks  to  Bernald'». 


38 


NOV 


APPENDIX. 


PAR 


lessons,  Christine  was  soon  fit  to  appear  in 
public;  and  her  first  debut  took  piaee  in  a 
grand  concert,  at  wliich  tlie  royal  family  was 
present,  when  she  obtained  the  most  favorable 
reception  both  as  singer  and  violinist.  It  was 
then  determined  to  send  her  to  Paris. 

At  Paris,  Christine  was  placed  under  the 
care  of  M.  Wartel,  an  ex-tenor  of  the  (Jrand 
()l)cra;  ami,  after  three  years,  he  secured  for 
her  a  three  years'  enj;at;emeMt  at  the  Theatre 
Lyriquc;  and  on  the  2"tli  of  October,  1800,  the 
young  Swede  made  her  first  appearance  on  the 
French  stage,  and  before  a  Pari>ian  audience. 
In  18(17  sh(!  made  her  ai)pearance  in  London, 
at  Ilei-  Majesty's  Theatre,  when;  her  triumph- 
was  fully  e(|ual  to  any  she  had  gaineil  in  Paris. 
Sh(!  c.iine  to  Anu'rica  in  the  antuTun  of  187tt, 
and,  after  singing  in  the  principal  cities  of  this 
country,  returned  to  Englaiul,  where  she  mar- 
ried M.  A.  Kouzeauil,  a  French  stock-broker, 
.July  27,  1872,  and  went  directly  to  Switzer- 
land. Christine!  Nilsson  never  forgot  her 
family  nor  her  friends.  On  arriving  in  her 
own  country,  she  was  literally  covered  with 
flowers  by  those  of  her  friends  a-isenibled  to 
receive  her.  But  a  few  years  back  her  family 
was  almost  in  want;  and  now  her  parents  in- 
habit a  charming  residence,  which  the  happy 
dau'^hter  jiurehased  for  them  at  Malmiie. 

NOVKLLO.  CLAKA  ANASTASIA,  a 
daughter  of  Vincent  Novello,  was  born  June 
V),  1818. 

NOVELLO,  VINCENT,  a  sterling  musician 
of  the  old  school,  mentioned  at  page  0(52,  vol. 
i.  was  born  Sept.  (?,  1781,  and  died  Aug.  9, 
1801,  at  Nice,  aged  80.  By  descent  an  Italian, 
the  larger  part  of  his  life  and  his  professional 
career  were  passed  in  London,  where  his  sound 
musical  knowledge  and  his  command  over  the 
organ  (then  not  common  in  England)  enabled 
him  to  do  valuable  service  to  his  art.  Espe- 
cially was  this  rendered  in  the  naturalization 
of  sacreil  music  of  the  great  Italian  and  Ger- 
man writers  belonging  to  the  Koman  Catholic 
Church.  The  Masses  of  Mozart,  Haydn,  and 
Ilummel  owe  the  largest  share  of  their  intro- 
duction in  a  complete  form  to  Mr.  Novello's 
editorship. 


0. 


OFFENBACH,  JAQUESE  was  born  at 
Cologne,  June  21,  1819.  He  went  to  Paris 
in  1842,  as  a  violoncello  player,  and,  though 
he  failed  in  that  department,  succeiHled  in  be- 
coming leader  of  the  orchestra  at  the  Theatre 
Fran(;ais  in  five  years.  It  was  not  long  before 
his  taste  for  the  peculiar  line  of  composition 
in  which  he  was  to  become  famous  was  de- 
veloped. His  first  efforts  were  the  setting  of 
some  fables  of  La  Fontaine,  —  which,  if  not 
very  deep,  were  at  least  gay  and  sparkling. 
H.aving  once  struck  the  vein,  the  stream  of 
his  pieces  began  to  flow  in  a  full  and  rapid 
current.  In  18.").")  Offenbach  undertook  the 
directorship  of  the  iu!W  tlieatre,  "  Les  Bouffes 
Parisiens,"  and  it  w.as  there  that  the  openus 
were  produced  which  have  mii<le  his  name 
celebrated.  Within  sixteen  years  he  wrote 
more  than  thirty  of  these  operas,  some  of 
them  very  short,  some  quite  puerile,  and  some 
of  them  associated  with  scenes  and  language 
characteristic  of   the   low  moral   tone  of  the 


Second  Empire,  but  all  sparkling  and  merry. 
The  best  known  among  th(Mn  are  '■^Orphic  auz 
Enferx,"  '•La  Jiclli-  JUletiP,"  La  linrhc  llleue," 
"La  Gramle  Diicliennc,"  '"La  I'erichole,"  and 
"Les  liriiiunds." 

OLIVER,  HENKY  KEMBLE,  now  of 
Salem.  Mass.,  was  born  Nov.  24,  1800,  at 
Beverley,  Mass.  He  did  not  attempt  (com- 
position till  lS.i2,  when  he  wrote  "'  Federal 
Street,"  a  widely-known  hymn-tune.  In 
1849  he  edited,  with  Dr.  S.  P.  Tuckerman,  a 
colleetion  of  church  music,  called  the  ''  Na- 
tional Lyre,"  an  admirable  volume,  and  in 
ISOO  he  published  "Oliver's  Collection  of 
Church  Music,"  wliieli  was  succeeded  in  1875 
bv  "Oliver's  Original  Ilvmn  Times." 
"OUSLEV,  IJKV.  SIRF.  A.  (;()UE,  born  in 
England,  in  1827,  was  early  distinguished  as  a 
musical  wonde;*. 


P. 


PALMO,  FERDINAND,  who  introduced 
Italian  opera  into  New  York,  in  1844.  ami 
built  Palmo's  Opera  House,  in  Chambers 
street,  in  that  city,  came  to  this  country  in 
18:!4;  and  one  of  the  artists  who  came  with 
him  was  Salvatore,  the  father  of  Adalina  and 
Carlotta  Patti.  He  was  at  length  forgotten 
by  his  friends,  and  served  as  a  cook  at  the 
Waverly,  corner  of  Broadway  and  Fourth 
street,  where  he  died,  Sept.  lsr)9. 

PANTIIARMONICO.  An  instrument  in- 
vented by  Signor  G.  Briganti  of  Italy,  is  com- 
posed of  six  instruments  nniteil  in  one  case, 
and  forming  a  most  beautiful  drawing-room 
orchestra. 

PAPANTI,  LORENZO,  was  born  in  Flor- 
ence, Italy,  in  1790;  and,  in  early  life,  became 
a  musician.  His  connection  with  the  orchestra 
was  of  short  duration;  for  he  gave  his  atten- 
tion to  (lancing,  a  profession  which  he  after- 
wards followed  for  a  period  of  nearly  fifty 
years,  thirty-four  years  of  which  were  passed 
in  Boston.     Died  Mav  7.  1872. 

PAREPA.  EUPHROSYNE,  known  as 
Madame  Parepa-Rosa,  was  born  in  Edin- 
burgh, May  7,  18:;o.  Although  her  life  com- 
menced on  Scottish  soil,  it  is  to  eastern  Europe 
she  owes  her  jiaternal,  anil  to  western  Europe 
her  maternal  lineage.  Her  mother  was  a  Miss 
Seguin,  sister  to  the  great  basso,  the  elder 
Mr.  E.  Seguin;  her  father.  Demetrius  Parepa, 
was  a  scion  of  the  brave  Wallacbian  nohlciMe, 
Baron  Georgiades  de  Boyesku  of  Bucharest, 
whose  early  death  after  this  union  left  the 
Baroness,  then  twenty-one  years  old.  a  widow, 
and  her  infant  Enphrosyne  an  orphan. 

As  a  mere  girl,  in  185"),  she  inaile  her  first 
public  appearance  in  o|M>ra.  at  Malta,  making 
lier  d€but  as  Amiita,  in  the  "Snnuamhuln,'' 
with  a  success  most  brilliant  and  flattering. 
This  was  followed  by  her  appearance  in  suc- 
cession in  grand  opera  at  Naples,  Geno.a. 
Rome,  Florence,  Madrid,  and  Lisbon.  Her 
remarkable  compass  of  voice,  wonderful  exe- 
cution, and  astonishing  power,  createil  quite  n, 
flutter  in  the  musical  world,  and  not  only  con- 
quered criticism,  but  cansetl  pnvsents  innu- 
merable to  be  strewed  in  the  path  of  licr  ex- 
tended tour. 

From  18.")9  to  1866  she  remained  in  London 
during  which   period  she  was  m.irried   to  » 


39 


'ZZ 


PAT 


APPENDIX. 


PHI 


captain  in  the  British  army,  but  became  a 
willow  sixteen  months  after.  Subsequent  to 
tliis  event  she  was  iiKhiced  to  accept  one  of 
the  numerous  offers  wliicli  liad  been  made 
to  her  to  vi^it  the  United  States,  giving  the 
preference  to  Mr.  H.  L.  Bateman,  with  wliom 
slio  ai'rived  in  Ilie  autumn  of  1800,  witli  Levy, 
tlie  famous  eornet  i)layer,  Carl  llosa,  the 
eminent  violi^i^t,  and  otlier  artists. 

Iler  fir>t  appearance  in  Boston,  Mass.,  was 
Sept.  20,  1800;  lier  first  operatic  appearance 
here"  was  in  Feb.  1807.  She  married  Carl 
Rosa  Feb.  2(i,  1807,  in  New  York.  In  ISOi) 
she  sang  at  the  first  National  Peace  Jubilee, 
and  soon  after,  with  her  husband,  formed  the 
Parei)a-i;osa  English  Opera  Troupe.  She  died 
Jan.  21.  1S74. 

PATTI,  ADELIXA,  who  has  had  the  given 
names  Adkla  Juaxa  Makia  Ci.orinda,  was 
born  at  Madrid,  Spain,  April  9,  1843.  Her 
mother,  Madame  Barilli-Patti,  was  the  prtimi 
donna  of  the  (Irand  Tli<'atre  at  Madrid. 

The  Patli  family  emigrated  to  this  country 
in  1844.  Adelina  was  what  is  called  a  pre- 
cocious child.  She  could  sing  almost  before 
she  could  speak.  She  caught  up,  at  the  age  of 
four,  all  tlu!  gems  of  the  operas,  and  sang  them 
correctly.  Ilerfirst  public  appearance  was  made 
at  tlie  age  of  nine  years,  when  Mr.  Strakosch, 
Ole  Bull,  and  the  infantile  prima  donna  made 
a  tour  in  the  provinces,  where  Adelina  sang  all 
the  great  pieces  made  familiar  by  Jenny  Lind, 
Sontag,  Bosio,  and  others.  The  little  lady 
created  great  enthusiasm,  and  her  share  of 
the  profits  amounted  to  twenty  thousand  dol- 
lars, which  her  father  invested  in  a  country 
seat,  and  the  summer  residence  of  the  family. 

At  this  time  Miss  Patti  received  the  highest 
compliments  from  Sontag,  who  told  her  that 
she  would  be  one  of  the  greatest  singers  in  the 
world ;  and  from  Alboni,  who  said  if  she  went 
to  Paris  she  would  make  such  a  furore  as  is 
seldom  seen  there. 

After  the  concert  tour  with  Strakosch,  Miss 
Patti  went  to  the  West  Indies  with  Gottschalk. 
the  ])iani-t.  In  Havana,  she  sang  in  costume 
the  duet  in  tlie  "  Barber  of  Seville,"  with  her 
brother  Barilli.  The  enthusiastic  Havanese 
made  such  a  noise  in  recalling  her  that  she 
ran  away  frightened,  and  could  not  be  per- 
suaded to  go  upon  the  slace  again.  Through- 
out the  Indies  she  divided  tlie  honors  with 
Gott-cbalk,  and  at  Porto  Rico  had  an  offer  of 
marriage  (she  was  then  only  fourteen)  from 
the  richest  pro])rietor  in  the  place.  Aftei-ward 
she  visited  Europe,  and  for  some  years  has 
been  the  leading  prima  donna  at  all  the  prin- 
cipal cities  and  royal  courts,  amassing  honors 
and  wealth  by  her  musical  genius. 

The  mother  of  the  Patti  family  died  in  18.J9. 
Her  eldest  daughter,  Clotilda  Bakillt,  was 
eminently  successful  as  a  singer  in  Europe 
and  in  this  eountry.  Of  the  sons,  Ettohk 
was  a  hari/tone  ;  Antonio,  a  basi<o  profitttdo  : 
and  XicoLo  a  basMO.  These  were  tlie  children 
of  the  marriage  with  Sioxoii  Bauilli.  Th(> 
Patti  childn'ii  were,  Amali.\..  who  married 
M.viiticK  Stuakoscii;  Adelina,  the  famous 
vocalist;  Cahlotta,  now  greatly  celebrated, 
and  Caklo,  the  violinist. 

Adelina  Patti  re-appeared  in  New  York, 
Nov.  24,  1859,  and  early  in  1802  she  sailed  for 
Vurope,  and   has   appeared    in   the   principal 


cities  with  the  highest  success.  On  July  29, 
1868,  she  was  married  to  the  Marquis  de  Canx, 
but  the  union  has  not  i)roved  too  happy. 
Adelina  Patti  is  probably  the  greatest  living 
cantalrice.  In  1807  she  was  creating  a  great 
sensation  in  the  French  provinces. 

PATTI,  CARLOTTA,  a  sister  of  Adelina. 
made  lier  d^but  at  Ihe  Academy  of  Music,  in 
New  York,  1861 ;  but,  as  the  war  disoncerted 
her  plans,  she  sailed  for  Europe.  Arriving  in 
London,  she  at  once  obtained  an  engasrement, 
for  two  months,  at  the  Covent  Garden  Theatre, 
during  which  she  sang  in  a  series  of  concerts 
over  fifty  nights  in  London,  and  with  great 
success. 

In  France,  Belgium,  and  Holland  she  was 
equally  successful  as  in  England. 

Rossini  and  Auber.  Gounod  and  Ambroise 
Thomas,  manifested  the  warmest  esteem  and 
sympathy  for  her;  and  thus  encouraged  by  the 
souvenirs  and  hearty  approbation  of  the  Pari- 
sians, she  started  for  Russia.  Constantinople, 
Moldavia,  and  Wallaehia.  Her  success  was 
immense;  and  in  the  two  latter  places  she 
created  a  perfect  furore,  driving  the  rich  men 
and  nobles  into  a  sort  of  musical  frenzy. 

After  this    most    successful    toiu-    through  ■ 
Europe,   she   returned  to   the  United   States, 
crowned  with  unfadinc  laurels. 

PIIILLIPPS,  ADELAIDE,  was  born  in 
Bristol,  England,  where  her  father  was  a 
druggist  and  chemist,  and  her  mother  a  pro- 
fessor of  dancing.  'When  Adelaide  was  about 
seven  j-ears  of  age,  Mr.  Phillipps,  hoping,  like 
many  before  him,  to  better  his  position  in  life, 
came  to  America,  and,  by  way  of  Canada,  to 
Boston,  Mass. 

Young  Adelaide,  at  a  Aery  early  age,  dis- 
played great  aptitude  for  the  stage,  and  gave 
unmistakable  signs  of  possessing  a  fine  con- 
tralto voice.  She  commenced  the  study  of 
music  under  Thomas  Comer  of  Boston,  to 
whose  sound  and  well-directed  instruction,  in 
a  large  measure,  she  is  indebted  for  her  suc- 
cess. Her  voice  was  found  to  reach  the  com- 
pass of  two  octaves  and  five  tones,  and  was 
mellow  and  musical  to  Bl?.  Her  father  ob- 
tained engagements  for  her  at  the  Boston 
Museum,  at  Philadelidiia.  and  in  other  cities; 
and  she  played  a  variety  of  characters,  from 
"Little  Pickle"  (as  she  grew  older  and  her 
vocal  powers  developed  themselves)  up  to 
Lacy's  English  version  of  "  La  Cenerentola.^' 
She  continued  at  the  Boston  Museum  nearly 
up  to  the  time  of  her  fii'st  return  to  England, 
being  constantly  on  the  stage,  and  always  a 
favorite  with  the  public. 

When  Madame  Lind-Goldschmidt  came  to 
Boston.  Adelaide  sang  before  her.  and  Miss 
Lind  was  much  ])leased  with  the  voice,  and 
stnuigly  rocominended  the  father  to  send  his 
young  daughter  to  Eurojie  for  instruction. 
Mr.  Phillipps  candidly  confessed  his  inability 
to  meet  so  heavy  an  expense;  upon  which  Miss 
Lind  suggested  the  getting  uj)  of  a  benefit  for 
the  purpose  of  raising  the  necessary  funds. 
This  resulie.l  in  raising,  with  a  coi.tribution 
of  Miss  Lind,  something  more  than  a  thousand 
dollars;  and  several  merchants  an<l  gentlemen 
afterwards  added  liandsome  subse!ii)tions  to 
the  fund.  Thus  armed.  Miss  Phillipps.  with 
her  father,  started  for  London,  where  they 
arrived  in  March,   1852.    She  at  once  placed 


40 


PTC 


APPENDIX. 


ICOS 


herself  under  the  able  tuition  of  Signor  E. 
Garcia  for  the  voice,  and  of  \V.  Chalmers 
Masters  as  instructor  in  harmony  and  upon 
the  piano-forte. 

After  remaining  a  year  and  a  half  in  London, 
Mr.  Jonas  Chickering  of  Boston  provided  the 
funds  necessary  for  licr  to  proceed  to  Italy, 
where  she  received  further  instruction  from 
eminent  masters,  and  sung  at  Brescia  and 
other  small  towns;  but  upon  her  arrival  at 
Milan  fhe  foimd  great  difficulty  in  obtaining 
engagements,  owing  to  the  number  of  artists, 
from  various  countries,  who  were  waiting  lo 
■pay  the  managers  at  the  opera  for  the  i)rivilege 
of  singing!  She  played  "ylr.srfcc"'  one  niglit, 
with  great  success,  when  Mr.  Phillipps,  tirecl 
of  being  so  long  away  from  the  country  of 
liis  adoption,  and  anxious  to  rejoin  his 
family,  left  Iialy  with  his  daughter,  and  pass- 
ing through  Loudon,  in  August,  1855,  reached 
Boston,  where  a  sad  blow  awaited  them, — 
the  mother,  Mrs.  Phillipps,  dying  almost  im- 
mediately after  their  arrival  home. 

Miss  Phillipps  has  hatl  an  uninterrupted 
career  of  success;  and,  in  various  tours 
through  the  States,  has  sung  with  the  late 
lamented  Bosio,  Mile.  Patti,  Uonconi,  Formes, 
Gassier,  ami  others.  In  1801,  the  theatrioal 
interest  being  the  first  to  suffer  frotu  the 
effects  of  the  Rebellion  and  war,  Miss  Phil- 
lipps re-visited  Europe,  being  well  received  in 
London  and  Paris,  where  she  made  a  success- 
ful Mbut  in  "Azucena."  Returning,  she  has 
made  frequent  tours  through  the  States,  and 
constantly  gained  in  reputation.  Her  father, 
Alfred  Phillipps,  died  at  Marshfield,  Mass., 
Oct.  16,  1870. 

PICCOLOMIXI,  MARIA,  was  born  at 
Sienna,  Tuscany,  in  18o5. 

Maria  early  evinced  great  love  for  music, 
and  made  her  iV'but  at  Florence,  in  1852,  in 
Donizetti's  opera  "  Lucretia Borgia."  Shortly 
after,  she  appeared  in  Sienna,  her  native  town  ; 
then  at  Rome,  at  Paris,  and  in  London.  Eng- 
land, where,  in  18.57,  she  married  Lord  Ward, 
the  owner  of  (,'ovent  Garden  and  other  London 
theatres.  Few  artists  had  acquired  public 
esteem  so  rapidly,  and  few  became  more  popu- 
lar. She  left  Englaiul,  Oct.  18-58,  and  in  the 
same  month  made  her  appearance  at  the 
Academy  of  Mu-lc  in  New  York,  creating  a 
sensation,  though  not  considered  a  great 
singer.  Her  voice,  though  sympathetic,  was 
not  powerful ;  and  her  success  arose  from  her 
acting. 

PLANTADE,  CHARLES  M.,  was  born  at 
Paris,  178C,  and  was  eminent  as  a  musician. 
He  died  in  Pari-;,  May,  1870.  aged  84. 

PONIATOW.SKI,  JOSEPH.  The  career  of 
this  man  was  remarkable  for  its  vicissitudes. 


appearing  at  the  Pergola,  in  Florence.  In  tliat 
city,  at  twenty-three,  the  Prince  produced  his 
first  three-act  opera,  "  (Hovanni  <ln  I'l-ocidn," 
which  was  succeedeil  by  many  well-knnwn 
works.  He  died  at  I'aris,  July  3,  1873,  anil 
was  buried  at  ('hisclhurst. 

PYNE,  LOUISA,  known  in  this  country  as 
coniiect<'d  with  the  fanu)us  Pyne  and  Harrison 
Opera  Trouitc,  was  born  ill  England  in  l^H. 
She,  with  a  younger  sister,  conunenced  singing 
in  public  at  the  Surrey  Chapel,  in  London. 


R. 


ROOT,  GEORGE  P.,  was  born  in  Sheffield, 
Mass.,  18'J();  removed  to  Boston.  1838,  to  New 
York  in  1844,  ami  to  Chicago  in  IS'IO.  He  early 
became  known  by  some  published  songs  anil 
as  a  music-teacher  and  conductor  of  conven- 
tions. After  spending  a  few  months  in  Paris, 
France,  he  went  largely  into  church-music 
writing  and  convention  work,  which  latter 
took  him  throughout  the  entire  North  and  part 
of  the  South.  He  also  conceived  an  idea  for  the 
education  of  music-teachers,  which  has  since 
grown  into  the  system  of  normal  music  schools, 
so  well  known  of  late,  and  engaging  Dr.  Ma- 
son's interest  in  tlie  enterprise,  aiuiounced  a 
school  for  music  teachers,  to  be  held  in  New 
York  during  those  months  when  teachers  have 
their  vacation.  This  was  an  important  move, 
and  at  the  present  day  hardly  a  successful 
worker  in  the  field  of  popular  musical  educa- 
tion can  be  found  who  has  not  been  educated 
wholly  or  in  part  at  these  schools  under  the 
teaching  of  Dr.  JIason.  Mr.  Bradbury,  Mr. 
Webb,  and  Mr.  Root.  His  next  move  was  to 
Chicago.  He  had  now  given  uj)  all  teaching, 
and  was  devoting  himself  to  authorship,  occa- 
sional convention  tours,  and  normal  institutes 
each  summer,  at  which  he  still  continues  the 
work  of  educating  those  who  are  to  be  the 
successful  teachers  and  writers  of  popular 
music  in  this  country. 

Mr.  Root  is  also  the  author  of  many  musical 
works,  which  havi- had  an  extendeil  popularity, 
including  the  "Flower  Queen,"  '"Shawm," 
•'Sabbatli  Bell,"  and  "Triumph,"  the  last- 
named  having  already  paid  him  a  profit  of  over 
forty  thousand  dollars.  His  cantatas  <(f 
"Daniel,"  "Pilgrim  Fathers,"  and  "Belsh.az- 
zar's  Fc.-tst"  are  also  among  the  best  in  that 
department  of  music.  "  The  Haymakers,"  an 
ojjora  of  much  merit,  and  containing  many  ex- 
quisite gems,  was  written  by  him  aliout  ten 
years  ago.  and  has  been  perfonm-d  in  nearly 
all  the  leading  cities  of  the  country  with  flat- 
tering success.  But  evidently  neither  operas 
I  nor  oratorios  are  his  /or^e.     He  is  "a-child  of 


He  was  the  grand-nephew  of  .Statiislaus  the    .sonr/"  in  the  fullest  seu'-e  of  the  term. — aFos- 
Second,  the  List  King  of  Poland,  and  w;us  born  '  ler  rather  than  a  Haydn.  —  swei-t.  natural,  me- 
iu   Rome,   on   the   20th   of    Feb.    1810.      His    lodions.  and  plaintive,  singing    to    the  heart 
musical  talent  was  developed  at  an  early  .age,  ]  rather  than  to  the  mind, 
for  before  he  was  six  years  of  age  he  was  a       He  was  of  the  firm  of  Root  &  Catly,  Cliicago ; 


good  pianist.  His  family  took  up  their  resi- 
dence in  Tuscany,  in  1823;  the  Prince  studied 
at  the  college  of  the  "  P.adri  Seolopii."  where 
he  gained  the  first  prize  for  mathematics  when 
seventeen  years  old;  but  following  up  his 
musical  studies,  aiul  being  gifted  with  a  fine 
tenor  voice,  he  made  his  dibut  at  Lucca,  on 
the  lyric  st;u;e,  ind  followed  up  his  success  by 


their  musical  establi^hnu'Ut  was  entirely  de- 
stroyed by  the  great  fire,  in  which  their  loss 
wasestim'ated  at  $200,000. 

KO.s.V.  CARL,  w.-vs  born  in  Hambur^r, 
March  22,  1^42;  he  l>egan  the  study  of  the 
violin  when  he  w,as  six  years  old.  Lindenau 
was  his  first  teacher.  lie  m.ode  his  first  ai>- 
pearance    in    public    in   1850,  at  the  age  of 


41 


,y 


RUB 


APPEXDIX. 


SMI 


eight,  phiying  a  concertino  by  Jansa.  From 
that  time  the  boy  played  frequently  in  con- 
certs; went  on  a  conoert-tour  to  Scotland  in 
1854,  and  returned  there  three  successive  sea- 
sons. In  1858  he  went  to  the  Conservatory  at 
Leipsic.  where  for  about  three  years  he  stud- 
ied the  violin  un<ler  David  and  Dreyschock, 
counterpoint  under  II:uii)tniaiin  and  Richler, 
&c.  It  was  in  18(15  that  he  went  to  London 
for  the  season,  and  there  played  in  a  concert 
where  Mile.  Parepa  sant;.  VVith  her  he  was 
engaged  by  Mr.  Batenian  for  the  concert-tour 
in  America,  which  led  to  their  happy  union 
by  the  most  intimate  of  all  ties,  tlicy  being 
married  in  New  York,  Feb.  20. 18(57;  and  after 
a  concert-tour  through  the  States,  they  re- 
turned to  Europe,  and  organized  an  English 
opera  company  in  London. 

RUBINSTEIN,  ANTON  GREGORY,  pi- 
anist, was  born  on  the  30th  of  November, 
1830,  at  Vechwotynetz,  a  village  in  Russian 
Bessarabia,  near  Jassy  in  Moldavia.  His  par- 
ents were  wealthy.  They  owned  large  es- 
tates in  Wallachia,  and  lived  handsomely. 
But  they  were  unfortunately  involved  in  law- 
suits with  the  government,  and  lost  their  whole 
fortune,  an  event  to  which  the  music  of  this 
age  is  indebted  for  one  of  its  most  iioted  repre- 
sentatives. The  mother  of  young  Anton  Ru- 
binstein, herself  a  woman  of  uncommon  intel- 
ligence and  an  excellent  pianist,  gave  the  first 
instruction  to  liertwo  sons, — Anton  and  Nich- 
olas,—  and  was  so  successful,  especially  in 
her  music  lessons,  that  the  family  resolved  to 
remove  to  Moscow.  In  that  city  Madame  Ru- 
binstein herself  took  a  situation  as  teacher  in 
the  Imperial  Institute  of  Education,  while  the 
further  musical  instruction  of  her  two  sons 
was  intrusted  to  the  excellent  maestro,  Alex- 
ander Willoing.  At  the  end  of  two  years, 
Anton,  whose  genius  even  then  was  apparent, 
had  advanced  so  far  that  he  was  able  to  per- 
form solos  at  a  concert  in  Moscow.  In  18:^9 
he  gave  concerts  at  Paris,  and  remained  there 
two  years,  b<Mng  assisted  in  his  studies  by  Liszt. 
He  then  made  a  three-years'  tour  through 
France,  England,  Holland,  Sweden,  and  Ger- 
many, and  in  1844  went  to  Berlin.  In  1858, 
having  returned  to  Russia,  he  founded  at  St. 
Petersburg  the  Russian  Musical  Association 
and  the  St.  Petersburg  Conservatory,  of  which 
he  was  appointed  president,  and  which  he 
managed  for  the  following  ten  years  so  suc- 
cessfully that  the  institution  has  now  become 
one  of  the  best  known  in  the  Old  World. 

Since  1808  he  has  travelled  as  a  virtuoso,  in 
Germany,  Austria,  and  other  countries,  and 
has  visited  this  country,  appearing  in  the 
principal  cities  with  success. 

RUUERSDORF,  MADAME,  was  born  in 
Deceml)er,  1822,  at  Ivanowsky  in  Russia;  but 
at  the  age  of  three  years  she  was  taken  to 
Hamburg,  where  her  father  was  engaged  as 
concert-master.  Her  beaulful  voice  was  formed 
at  an  e.arly  age  through  Marianne  Sessi ;  after- 
wards, Bandi-rali  and  IJordogni  liecame  her 
teachers.  After  ap|>earing  in  England  and 
Germany  as  a  concert-singer,  she  made  her 
dt!fmt  in  opera  al  CarNruhe  in  1S41,  and  was 
tlien  engaged  at  Frankfort-on-the-Main,  where 
she  was  married  in  1S44  to  Dr.  Kuchenmcister. 
a  professor  of  mathematics.  .She  renounced 
the  sl.agc  for  a  time,  but  accepted  an  engage- 


ment at  Breslau  in  1840;  afterwards  in  Berlin 
from  1852  to  18.54,  when  she  removed  to  Lon- 
don, and  became  distinguished  in  opera,  ora- 
torio, and  at  concerts,  as  a  sinijer;  at  the  Bir- 
mingham Festival  of  ISOl,  she  shared  the  lead- 
ing soprano  honors  with  Tietjens,  Lemmens, 
Sherrington,  &c.  She  came  to  tliis  country 
and  sang  at  the  May  Festival  in  Boston,  1807. 

s. 

SEGUIN,  ELIZABETH,  the  mother  of  the 
distinguished  operatic  artist,  Madame  Parepa- 
Rosa,  was  born  in  London,  England,  1815 
Madame  Parepa  (Elizabeth  Seguin)  died  at 
the  house  of  her  daughter  (Parepa-Rosa),  at 
Maida  Hill,  London,  1870.  There  was  a 
very  strong  attachment  between  mother  and 
daughter.  The  mother  was  the  last  of  the 
elder  generation  of  Seguins,  who  gained  repu- 
tation in  this  country. 

SERVAIS,  ADRIEN  FRANCOIS,  one  of 
the  most  notable  violoncello  performers  of  his 
time,  was  born  at  a  village  near  Brussels,  on 
the  7th  of  June.  1807.  He  did  not  discover  his 
real  vocation  until  he  heard  Platel.  the  violon-  . 
cellist,  perform  a  solo ;  but  from  that  moment 
he  devoted  himself  with  ardor  to  this  his 
chosen  instrument.  Servais  was  married  In 
1842,  at  St.  Petersburg;  he  died  at  Brussels, 
Nov.  20,  1872.  aged  05. 

SMART,  SIR  GEORGE,  was  born  in  Lon- 
don, England,  May  10,  1770.  He  early  mani- 
fested a  taste  for  music,  and  a  correct  ear;  and 
his  father,  who  was  connected  with  the  musi- 
cal profession,  sent  George  to  the  Royal  St. 
James'  Music  School,  where  he  was  instructed 
by  Dr.  Ayrton.  lie  was  taught  the  use  of  the 
organ  by  Dr.  Dupais,  and  the  piano-forte  by 
John  Baptist  Cramer. 

In  1811  he  went  to  Dublin  to  conduct  a 
series  of  musical  performances,  where  he  was 
knighted,  and  became  known  as  Sir  George 
Smart.  On  returning  to  London,  he  assumed 
the  highest  grade  in  the  musical  profession. 
For  thirteen  years  he  conducted  music  at  the 
Drury  Lane  and  Covent  Garden  theatres.  In 
1834  he  had  the  entire  management  of  the 
seventy-fifth  anniversary  of  the  Handel  cele- 
bration, which  insured  his  metropolitan  repu- 
tation. During  his  life  he  conducted  festivals 
and  concerts  in  no  less  than  twenty-three 
provinces,  cities,  and  towns. 

He  was  present  at  the  Handel  Commemora- 
tions of  1784,  1785,  1780,  and  1701,  and  directed 
the  music  at  the  coronation  of  William  IV.  and 
Queen  Victoria.  He  was  one  ()f  the  founders 
of  the  London  Philharmonic  Society,  1813. 
The  renowned  composer.  Von  Weber,  died  in 
his  house  in  1820.  In  1827  he  was  cliaiiTuan 
of  the  banquet  to  the  celebrated  jiianist  and 
composer,  Clementi,  the  teacher  of  Meyerbeer. 
In  1830  he  conducted  the  Manchesier  Festival, 
(luring  the  progress  of  which  Malibrau  died, 
lie  gave  lessons  both  upon  the  piano-forte  and 
in  singing,  but  had  the  greatest  repute  in  the 
latter.  Among  his  pupils  were  .Sontag  and 
Jenny  Lind.  He  continued  giving  instructions 
till  be  was  eighty,  and  died  in  London.  April, 
1807,  full  of  honors,  at  the  age  of  ninety-one 
yeai-s. 

SMITH,  DR.  WILLIAM,  born  in  Scotland, 


42 


SON 


APPENDIX. 


TIT 


1754;  came  to  this  country  from  Aberdeen, 
1TS5;  officiated  at  several  cliurches,  ami 
among  them  at  the  Bishop  Berkeley  church, 
Newport,  K.I. ;  devoted  much  of  liis  time  t<j 
church  music;  publi.-hed  a  "Book of  Chants," 
1814,  and  sought  to  introduce  chant  int;  and 
singing  of  anthems  in  the  churches  of  America, 
but  the  matter  was  looked  upon  as  an  innova- 
tion, and  the  change  was  not  encouraged. 
Dr.  Smith  built  several  small  organs;  they 
had  wooden  pipes,  made  of  ceilai',  and  gener- 
ally ranged  about  four  octaves.  Thomas  Ilall, 
one  of  the  old  organ-builders  in  America,  said 
that  the  Doctor's  organs  were  made  in  a  most 
finished  manner;  he  died  at  the  house  of  Pi'ter 
Erben,  in  New  York,  April  0,  1821,  aged  07. 

SOXNLEITIINEK,  LEOPOLD  VON,  was 
born  in  1797,  and  died  at  Vienna,  March  4, 
187.5. 

STRAUSS,  JOHANN,  eldest  of  the  three 
sons  of  Johann  Strauss,  was  born  in  Vienna, 
1825.  His  father  prepared  him  for  the  military 
profession,  but  the  feel>le  health  of  the  boy 
and  the  wonderful  mu~ical  talents  which  he 
displayed  at  an  early  age,  decided  his  father  to 
make  a  musician  of  him.  He  had  excellent 
instructors,  and  already  in  liis  sixteenth  year 
had  become  a  virtuoso  on  the  violin,  and 
thoroughly  familiarized  himself  with  the  art 
of  composition  and  counterpoint.  Several  of 
his  compositions  were  published  and  became 
very  popular,  and  in  his  nineteenth  year  he 
resolved  to  form  an  orchestra  like  the  one  over 
which  his  father  had  pre-^ided  so  long  and  so 
creditably.  The  undertaking  was  successful, 
and  before  long  young  Strauss'  orchestra  be- 
came as  popular  as  that  of  his  father.  In 
1840  he  set  out  upon  a  two  years'  tour  through 
the  countries  on  the  lower  Danube,  and  was 
well  received  everywhere.  In  1X48  he  pul>- 
lished  his  famous  "  Radetzky  March,"  which 
is  now  a  national  air  in  Austria,  and  for  which 
he  received  a  title  and  an  honorable  decora- 
tion. 

During  the  following  fifteen  years  he  visited 
nearly  every  capital  in  Euroi>e  with  his  orches- 
tra, and  received  as  many  decorations  ji^  adorn 
the  breast  of  a  field-marshal.  His  greatest 
triumj)!!  he  achieved  with  his  band  at  the 
Paris  Exhibition  of  18(>7.  wliere  Strauss'  con- 


first  musical  instruction  from  hi«  father,  who 
was  a  violinist.  He  ac<iuired  skill  ui>on  the 
violin  at  a  very  early  age,  playing  In  public 
with  ccUit  when  otdy  six  years  old.  Tho 
family  emigrated  to  New  York  in  1845,  and  for 
two  years  he  was  heard  at  various  cnncerts 
during  the  season.  For  tlu'  few  years  fullnw- 
ing  he  travelled,  visiting  tlie  most  prumlnent 
cities  of  the  United  States,  and  gathering  up 
knowledge  and  information  for  future  use. 
For  the  next  few  years  he  occu])ied  the  posi- 
tion of  first  violin  in  the  engagements  of 
Sontag.  Jenny  Lind,  Grisi,  Mario,  &c.,  and 
finally  became  conductor  at  both  the  Italian 
and  German  Operas.  He  also  formed  one  of 
the  parties  of  eminent  artists  who  successfully 
travelled  through  the  United  States  —  such  as 
Labarde,  Thalberg,  Piccoloniini.  «tc.  During 
this  period,  however,  he  stole  a  year  from 
public  duty  to  pursue  the  study  of  musical 
science.  He  established  his  famous  (|uartet 
soirees,  in  conjunction  with  Wm.  Mason  and 
others.  These  soir^in  were  maintained  for 
years,  purely  in  the  interest  of  art. 

In  ISOl  Mr.  Theodore  Thomas  abandoned 
his  connection  with  the  opera  altogether.  The 
position  was  profitable,  but  its  scope  was  not 
in  the  direction  of  his  feelings.  As  an  old  and 
prominent  member  of  the  New  York  Philhar- 
nuinic  Society,  he  had  taken  to  his  heart  the 
great  symphonic  works  of  the  classical  authors. 
He  felt  that  the  field  was  not  fully  occupied ; 
that  five  concerts  a  year  were  altogether  too 
few  to  develop  the  great  works  of  the  de.id 
and  the  living  masters;  one  or  the  other  must 
be  neglected  in  some  degree.  This  conviction 
led  him  to  establish  his  famous  symphony 
soiree.t,  which  he  has,  all  unaided,  continued 
during  the  ])ast  five  years.  To  these  concerts 
we  owe  a  vast  re])ertory  of  classical  nuisic, 
ancient  and  modern,  which  would  otlierwiso 
have  remained  sealed.  The  variety  ayid  rare 
excellence  of  his  programmes  have  been  the 
subject  of  admiring  comment,  both  here  and 
in  Europe.  Theodore  Thoma-'s  orchestni, 
since  ISOlt.  has  .acpiired  great  reputation,  and 
has  been  heard  in  all  parts  of  the  countrv. 

TITIENS,  or  TIKTJKXS.  TKUKS.V."  is  of 
Hungarian  extraction,  and  w.as  born  at  Ham- 
burg. June,  18'U.    Like  most  great  lyric  artists. 


certs  were  one  of  the  principal  attractions.  |  she  displayed  an  early  tiiste  for  music,  as  well 
He  had  meanwhile  published  a  great  many  i  as  a  strong  dis|H)sition  tg  study.  Belonging 
compositions,  and  the  numl)er  of  his  works  is  i  to  very  humble   pan*nts,   she   received    little 


now  upward  of  six  hundred.  Some  of  his 
productions  have  had  an  extraordinary  sale. 
Of  his  "  Radetzky  March,"  "  Blue  Danube 
Waltz."  and  "  Annen  Polka,"  upwaiils  of 
half  a  million  copies  were  sold.  .Strauss  re- 
ceives from  the  copyright  of  his  comj>ositions 
fifty  thousand  florins  aniuially,  and  is  looked 
upon  as  by  far  the  richest  of  the  living  com- 
nosers  of  EurojH".  Strauss  was  married  to 
IIei\rit>tta  Treffz.  an  eminent  op«^ra  singer,  and 
luis  four  chiklren.  He  came  ti>  this  country 
in  1872,  and  led  the  orchestra  in  the  p«"rforin- 
ance  of  his  most  famous  compositions,  at  the 
Pence  Jubilee,  Ikiston. 


THOM.VS.  THEOOORE.  w.is  bom  in  the 
kingdom  of  Hanover  in  18o5,  and  receive«l  his 


instruction  in  the  art  until  a  neighboring 
teacher,  skilled  in  judging  of  the  voice,  hajv 
|>eiu'd  to  hear  her  sing,  and.  being  struck  with 
the  promising  character  of  her  vo<-al  |H>wers, 
offered  to  take  her  ontindy  under  hi-'  charge, 
and  to  educate  her  for  the  profession  of  music. 
A  course  of  prelinjinan.-  lessons  establi-«hed 
the  fact  that  tlie  young  girl,  at  this  time 
scarcely  fourteen  years  of  age,  |>os>essod  an 
organ  of  givat  power  and  marvellous  sweet- 
ness. As  it  Ix-came  develop<><I.  it  was  found 
to  1m>  a  high  soprano  of  unparalleled  rogUtpr, 
ranging  from  C  Ixdow  tlie  line  to  D  in  nit. 
Such  a  voici'  only  rei|uin'd  cultivation  to  yield 
n  fortune  and  reputation.  .She  m.nle  her  flr-i 
app<>arance  at  the  HambuiTj  Iheitre.  I84l»,  and 
hen^  her  reputation  at  a  gifted  artist  w.-v^ 
established.  Fn>n»  Hamburg  she  wont  I  >  VI- 
eiuia,  when'  she  wa^  enthuoi.T'tieally  n-ciMved. 
From  Vienna  she  went  to  London,  .and  there, 


43 


T'^'y 


TOR 


APPENDIX. 


WOO 


ill  185S,  made  her  lUhul  on  tlie  sta?e  of  Her 
JLijcsfy'.s  Tlieaire  in  A])ril.  Mile.  Titicns  re- 
lumed to  Vienna  in  the  autumn  of  18oS,  and 
Oi)miiletO(l  lior  three  years'  (!ni;ai:eniont  at  the 
Itnpi'iial  Theatre.  She  then  travcdlcd  to  Italy, 
where  >lie  was  met  by  iMr.  E.  T.  Smith,  an(l 
secured  hy  that  g(Mitleman  for  his  ojxTatie 
nampaii;n  at  I)rni-y  \.mw  Theatre.  She  com- 
meneed  her  second  season  in  London,  on  May 
3,  ISo'.t,  as  Lucrezia,  sustainin:;  the  character 
of  the  liau^lity  Duchess  even  better  than 
before;  a  year's  close  study  of  the  Italian 
scliool  of  .sin^in!:;.  and  a  rapidly  acquired  ])ro- 
ficiency  in  the  lanituagc;  of  Italy,  had  given  lier 
advantages  to  wliich,  liitherto.  she  had  been  a 
stranger.  This  improvement  was  eciually 
inanifested  in  her  Leonora  in  "  U  Trotatore." 
Her  greatest  success,  however,  was  in  " /.fis 
IIu'/ucnotK"  Mile.  Titiens  is  cngixged  foi  a 
series  of  concerts  in  the  United  States,  com- 
mencing in  October,  1875. 

TOHUIANI,  OSTAVA,  whose  real  name  is 
TORNQIUST,  was  born  in  Uaniburg,  Ger- 
many, in  1850;  her  father  was  a  Swede,  and 
held,  for  some  years,  a  position  as  consul 
from  Hamburg  to  tliis  country;  lie  died  at 
Rio  Janeiro,  in  1859.  When  but  six  years  old. 
Mile.  Torriaui  began  the  study  of  music,  ami 
at  the  age  of  ten  she  gave  her  first  concert  in 
Dresden,  where  the  family  had  removed  after 
the  death  of  her  father.  She  then  continued 
her  musical  studies  in  Paris,  under  the  famous 
master  Delle  Sedie,  and  soon  evinced  such 
rare  talent,  that,  .acting  upon  the  advice  of 
Rossini,  she  went  to  Italy  to  prepare  herself  for 
the  stage.  Her  first  appearance  was  m.ade  in 
Milan, when  but  seventeen  years  of  age,  "  Rigo- 
letto"  being  chosen  for  lier  de'lmt.  In  this 
opera  she  achieved  a  brilli.ant  success.  Since 
then  she  has  sung  in  all  the  principal  cities  of 
Europe,  meeting  everywhere  with  the  com- 
mendation she  so  justly  merits.  She  came  to 
this  country,  1873.  with  the  Strakosch  Italian 
opera  company,  and  sang  here  in  "  Trovatore," 
"  Traviata,"  "Martha."  "Lucia  di  Lamnier- 
moor,"  "Ernani,"  "  Mignon,"  "  Sonnam- 
bula,"  "  Huguenots,"  "  Don  Juan,"  "  Rigo- 
letto,"  and  "  Aida,"  previous  to  her  return  to 
Europe.  She  made  her  dcliut  in  opera  at  the 
Scala,  in  Milan,  in  "  Rigoletto,"  and  was  re- 
markably successful.  She  received  marked 
appreciation  from  thecrilieal  audienciisof  that 
city,  who  were  chai-ined  by  her  well-cultivated 
and  sympathetic  voice,  and  King  Victor 
Emaimel  took  great  pleasure  in  her  perform- 
ances, and  presented  several  costly  gifts  to  the 
young  (irlinlc.  Mile.  Torriaui  also  sang  witli 
mai'ked  success  Iti  Turin,  Rome,  Venice, 
flenoa,  liaicelona,  Madrid,  Seville,  Grenada, 
Cadiz,  I'.iri-i    and  l;i--llv  in  London. 

TRKIiKLLI,  ZKLIA,  is  of  French  descent, 
born  in  Paris,  where  her  fatlier  holds  a  high 
covernment  ofliee.  Her  real  n.ame  is  (I'dhert. 
Her  musical  talent  manifested  itself  early ;  she 
therefore  received  instiiiction  in  i>iano-playing 
when  sh<!  was  only  si.\  years  (dd,  her  first 
teacher  being  a  (Jerman,  which  circumstance 
has  greatly  intlueneed  the  direction  of  her 
niu>^ical  taste.  In  the  fall  of  lS5i>.  Signora 
TrelK'lli  left  her  teacher,  \Vartel,  and  made  her 
(Uhnl  in  Madrid  witli  an  Italian  troupe.  Dur- 
ing the  wli'ile  winter  season  Aw  had  such  a 
bUcccsB  its  beginners  rarely  attain.     She  first 


appeared  as  Rosina  in  the  "Barbiere,"  witli 
Mario  for  the  count.  Her  second  essay  waa 
the  page  in  the  "  Huguenots."  Her  engage- 
ment in  Madrid  teiininaiing  in  April,  18(50, 
sh(!  returned  to  Paris  and  re>ume(l  her  studies 
with  .Mr.  Wartel  until  July,  180'),  when  Merelli 
engaged  her  for  his  Berlin  troupe.  She  made 
her  first  api)earance  in  Germany  in  the  old 
city  of  Cologne,  as  Arsace  in  "  Semiramide," 
with  the  most  decided  success.  .She  then  went 
to  Hamburg,  and  finally  to  Berlin,  where  she 
became  a  great  favorite. 


w. 


AVOLLEXHAUPT,  HERMA^TO  A.,  was 
born  at  .Sclikenditz,  Province  of  Prussia,  Sept. 
27,  1827.  His  rare  musical  talents  brouglit 
him  early  before  the  i)ublic,  and  he  acliieved 
signal  successes  wherever  he  appeared.  In 
1845  he  came  to  New  York,  where  his  piano 
performances  at  the  Philharmonic,  and  other 
concerts,  rapidly  gained  for  him  a  brilliant 
teaching  connection,  so  that  in  two  years  he 
was  enabled  to  send  for  his  parents  and  his 
brothers  and  sisters.  These  he  educated  and* 
maintained,  devoting  all  his  energies  and 
means  to  their  comfort  and  advancement. 
Observing  great  talent  in  his  brother  Bruno, 
violinist,  he  sent  him  to  Germany  to  study, 
keeping  him  there  seven  years,  until  he  had 
achieved  the  position  of  a  first-class  artist. 
During  the  years  of  his  residence  in  New 
York,  Hermann  AVollenliaupt  produced  a  large 
number  of  brilliant  piaiio  compositions,  which 
have  become  famous,  not  only  in  this  country, 
but  throughout  all  Eurojia.  They  have  be- 
come standard  works,  and  have  made  his 
name  respected  wherever  thev  are  known.  He 
died  in  New  York,  1863. 

WOOD,  MRS.  MARY,  fomieily  MISS  PA- 
TON,  was  born  at  Edinburgh  in  1802.  Many 
people  in  this  country  remember  Mrs.  Wood 
with  delight  as  one  of  the  very  finest  vocalists 
and  arii-ts  of  lier  time.  She,  willi  her  hus- 
band, Joseph  Wood,  a  popular  tenor,  sang  in 
this  country  in  English  opera,  and  wc  believe 
their  last  engagement  here  was  the  last  they 
ever  fulfilled.  They  liad  acfpiired  alian<lsome 
fortune  by  their  professional  efforts,  and  re- 
tired to  private  life  while  they  were  in  the  full 
maturity  of  their  ]iowers.  In  18.50  they  were 
living  on  a  farm  near  Wakefield,  and  about 
that  time  became  residents  of  Mauchester, 
England,  where  they  were  both  engaged  in 
giving  vocal  instruction.  Mrs.  Wood  died  at 
ilanchester  in  1803.  Her  career  was  marked 
by  many  romantic  incidents,  but  we  have  not 
been  able  to  obtain  more  than  this  meagre 
sketch  of  her  life, 

WOODBURY,  ISAAC  B.,  w.as  l)()rn  at 
Beverly,  Mass.,  Oct.  18,  1819.  At  an  early  age 
he  was  thrown  almost  entirely  u])on  his  own 
resources,  and  became  an  api)renlicc  .at  the 
Ijlacksmith's  trade  in  Boston,  where  he  attend- 
ed the  public  seliools,  and  devoted  liis  spare 
time  to  music,  learning  the  violin.  In  18:]9  lie 
became  a  member  of  a  travelling  company, 
the  liaij  Sfnir  (ilir  (VuK  and,  appearing  at 
Bellows  Falls,  Vermont,  was  invited  by  John 
W.  Moore  to  remain  with  them  tliere,  and 
attempt  the   formation  of  a  musical  society; 


44 


ZEL 


APPENDIX. 


ZEU 


he  did  so,  and  orgiiiiized  the  Now  Ilainpshiri' 
and  Vcrnioiil  Musical  Association,  whicli  lie 
was  called  to  conduct  for  several  years.  He 
now  became  known  among  the  teachers  of 
music  in  Boston,  and  soon  after  went  to  Eu- 
rope for  instruction.  In  IfvlDlie  went  to  reside 
in  New  Yorlc,  wiiere  he  commenced  publishing 
books  of  psalnioily,  having;  become  known  as 
a  composer  associated  with  IJ.  F.  llaker  ami 
A.  N.  .Johnson  of  liostou.  He  edited  several 
musical  works,  published  some  popular  songs 
and  several  collections  of  sacred  music;  he 
also  became  known  as  a  conductor  of  con- 
vei\tions.  He  visited  Europe  for  the  second 
time,  in  lS.j(),  and  returning,  died  nt  Columbia, 
S.  ("..  Oct.  HO,  1^.")S,  aged  ;5'l). 

Mr.  Woodbury  was  editor  and  assistant  (al- 
itor of  "The  Timbrel,"  and  some  lifteen  other 
collections  of  sacred  and  secular  music,  and 
was  connt^cted  with  several  musical  periodicals. 
Fi>r  several  years  he  held,  with  Messrs.  ISaker, 
Johnson,  Hastings,  an<l  others,  musical  con- 
ventions and  teachers'  classes,  in  Boston  and 
elsewhere.  Hesting  from  earthly  laliors,  he 
left  an  exam]>le  of  what  may  be  acipiired  by 
persevering  diligence,  even  uiuler  unfavorable 
circumstances. 

z. 

ZELLTNGER.  a  celebrated  pianist,  residing 
at  Vienna  in  1S0I>,  published  there  several 
works  for  his  instrument,  and  died  there,  at 
an  a<lvancotl  age.  very  poor. 

ZEUNER,  CHARLES,  a  distinguished  or- 
ganist and  composer,  was  boni  at  Eisleben, 
near  Gotha,  Saxony,  Sept.  20,  1705,  and  was 
baptized  Ilrinrirh  Llirixtophrr  Zeuner.  We 
have  no  means  of  knowing  why,  oji  coming  to 
tills  country,  he  took  the  name  of  Charles. 
He  came  liere  about  1824,  and  took  up  his 
residence  in  Boston,  Mass.  In  early  life  he 
was  a  court  musician,  near  his  native  place. 
Wlicn  Mr.  Zeuner  became  a  resident  of  Boston, 
Mass.,  he  was  considered  one  of  the  best  edu- 
cated musicians  and  organists  then  in  this 
country;  and  while  residing  there  he  pub- 
lished several  musical  works,  which  had  exten- 
sive sales.  In  18;J9  he  published  "The  Ameri- 
can Harp,"  400  pages.  His  oratorio,  "Feast 
of  Tabernacles,"  was  well  worthy  of  celebrity. 
The  first  edition  of  this  work  was  published  in 


1S;}2,  at  whicli  time  Mr.  Zeuner  wu-s  organist 
at  Talk  .Street  (.'hureh,  |)resident  of  lh«f  Musi- 
cal Professional  .Society,  and  organist  for  the 
Ilanclel  and  Haydn  Society.  In  the"Ami'ri- 
can  Harp,"  every  piece  of  music,  except  live 
was  composed  by  .Mr.  Zeuner.  In  Is-I.S  ho 
published  till!  "Aiu-ient  Lyre,"  IJfW  pages.  Ho 
wrote  a  large  number  of  the  tunes  which  ap- 
iH'ared  in  tlie  various  collections  published  by 
Lowell  Mason,  the  latest  of  which  were  pub- 
lished in  the  "  I'saltery,"  and  the  "  New  Car- 
mina  Sacra."  He  removed  from  Boston  to 
I'hiladelphia,  Penii.,  in  IS.Vl,  .and  was  organ- 
ist at  St.  Anilrew's  Episcopal  Cliureh,  and 
afterwards  held  the  same  position  in  the  Arch 
Street  I'resbyterian  ( 'hureh,  I'hiladelphia. 
For  several  years  before  his  death  his  friiMuls 
had  noticed  in  him  a  ])eculiarity  of  demeanor, 
indicating,  at  times,  slight  abi'ri'ation  <'f  mind. 
On  Saturday,  Nov.  7,  l.si.')7,  he  left  his  board- 
ing-house and  proceeded  to  We^t  riiiladelphia, 
crossing  the  Delaware  river  by  steamboat,  aiul 
walking  over  the  bridge  at  the  Schuylkill  river. 
On  the  afternoon  of  the  same  day,  sonu;  gtiti- 
ners,  passing  Ihrougli  Smith's  woods,  dis- 
covered a  body,  with  the  head  entirely  shat- 
tered by  a  gun.  This  proved  to  be  the  body  of 
Mr.  Zeuner.  Upim  subsi^nuMit  examination, 
it  was  plainly  evident  that  he  had  been  his 
own  murderer. 

It  is  said  that  while  organist  in  Philadelphia, 
upon  a  certain  Sunday,  allowing  his  fancy  to 
assume  the  shai)e  of  a  masterly  impromptu 
fugue,  he  astounded  the  few  appreciative  and 
knowing  members  of  the  congregation  with 
his  wonderful  performance  —  while  he  simul- 
taneonsly  shocked  many  with  what  seemed  to 
thetn  music  totally  incomprehensible  and 
devoid  of  beauty.  At  the  conclusion  of  the 
service,  one  of  the  prominent  members  of  the 
church,  meeting  the  great  organist  in  the  ves- 
tibule, put  the  following  query  to  him:  "Mr. 
Zeuner,  pray,  is  our  organ  out  of  order? 
There  was  such  an  unaccountable  jolting  and 
rumbling  in  the  pedals  this  morning,  that 
altogether  it  sounded  very  strangely  indeed." 
This  lamentable  display  of  musical  ignorance 
entirely  overcame  the  testy  and  sensitive  har- 
monist; and  with  a  contemptuous  hiss  between 
his  teeth,  he  strode  from  his  interrogator  and 
never  went  near  that  stately  church  again, 
professionally  or  otherwise. 


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